Datasets:

BrandDead
/

t3

Dataset card Data Studio Files Files and versions Community

Split (1)

train · 93 rows

filename stringlengths 14 102	text stringlengths 1.64k 2.07M	keywords sequencelengths 10 10	structured_info dict
251937336-Music-Business.pdf	Networking Strategies for the New Music Business by Dan KimpelNetworking Strategies for the New Music Business ©2005 by Dan Kimpel. All rights reserved. No part of this book may be reproduced or transmitted in any form or by any means, electronic or mechanical, including photocopying, recording, or by any information storage or retrie val system without written permission from Thomson Course T echnology PTR, except for the inclusion of brief quotations in a review. The ArtistPro and Thomson Course T echnology PTR logos and related trade dress are trademarks of Thomson Course T echnology PTR and may not be used without written permission. Publisher and General Manager of Thomson Course T echnology PTR: Stacy L. Hiquet Executive Editor: Mike Lawson Associate Director of Marketing: Sarah O’Donnell Manager of Editorial Services: Heather Talbot Marketing Manager: Kristin Eisenzopf Senior Editor: Mark Garvey Marketing Coordinator: Jordan Casey Project Editor & Copy Editor: Dan Foster, Scribe Tribe Thomson Course T echnology PTR Editorial Services Coordinator: Elizabeth Furbish Cover Designer & Interior Layout T ech: Stephen Ramirez Indexer: Katherine Stimson Proofreader: Gene Redding Back cover photo: Davis & Davis–www.davisanddavis.org All other trademarks are the property of their respective owners. Important: Thomson Course T echnology PTR cannot provide software support. Please contact the appropriate software manufacturer’s technical support line or Web site for assistance. Thomson Course T echnology PTR and the author have attempted throughout this book to distinguish proprietary trademarks from descriptive terms by following the capitalization style used by the manufacturer. Information contained in this book has been obtained by Thomson Course T echnology PTR from sources believed to be reliable. However, because of the possibility of human or mechanical error by our sources, Thomson Course T echnology PTR, or others, the Publisher does not guarantee the accuracy, adequacy, or completeness of any information and is not responsible for any errors or omissions or the results obtained from use of such information. Readers should be particularly aware of the fact that the Internet is an ever-changing entity. Some facts may have changed since this book went to press. Educational facilities, companies, and organizations interested in multiple copies or licensing of this book should contact the publisher for quantity discount information. Training manuals, CD-ROMs, and portions of this book are also available individually or can be tailored for speciﬁ c needs. ISBN: 1-59200-753-8 Library of Congress Catalog Card Number: 2005923856 Printed in Canada 05 06 07 08 09 WC 10 9 8 7 6 5 4 3 2 1 Thomson Course T echnology PTR, a division of Thomson Course T echnology 25 Thomson Place Boston, MA 02210 http://www.courseptr.com iiiAcknowledgments Thank You: To my family in Ohio, and Yuji and Nick in Los Angeles. To my associates at ASCAP, BMI, and SESAC for inviting me to interview their songwriters and composers; to Arthur Bernstein, Mark Featherstone-Witty, Ian Gardner, and Martin Isherwood at the Liverpool Institute for Performing Arts (LIPA); and to my students who inspired this text. To my friends and colleagues: Luis and Gloria Villegas, Keo Woolford, Jeffrey Tennyson, Bobbi Marcus, Dan Desouza, John and JoAnn Braheny, Scott and Denise Davis, Marta Woodhull, John Philip Shenale, David Edward Byrd, Joe Beserra, Richard Moll, Susan Wong, Armando Soria, Kenny Kerner, Guy Marshall, Brett Perkins, Denise Bradley, Martin Cervantes, Simon Barber, and David Quan. And to the amazing Karan Longbrake, whose energy has inspired me since high school. Thanks to Mike Lawson at ArtistPro and to my diligent editor, Dan Foster. Appreciation always to Mark Garvey, who ﬁ rst convinced me that I was an author. Grateful thanks to Tena Clark and the staff at Disc Marketing/DMI Networks and Firehouse Recording Studios in Pasadena, California, with special gratitude t o Ronny Schiff, whose support is immeasurable. Selected interviews in this book were conducted for “Song Biz Proﬁ les” and feature stories written for Music Connection magazine. Thank you to senior editor Mark Nardone, publishers Eric Bettelli and J. Michael Dolan, and associate editor Michael Mollura. The proﬁ le of Lindy Robbins appeared in Songwriters Market 2005. Thank you to editor Ian Bessler and Writer’s Digest Books.ivAbout the Author Dan Kimpel is one of the American media’s foremost authorities on popular music and songwriters. He contributes to a dizzying variety of print and electronic mediums, including books, interactive CDs, magazines, Web sites, videos, and new media. If you ﬂ y United Airlines worldwide, you can hear his audio interviews with hit recording artists and songwriters on The United Entertainment Network. Dan conducts workshops on the subject of music business networking at universiti es, conferences, and seminars across North America and in England. Visit Dan’s Web site at www.dankimpel.comvContents Introduction .................................... xi CHAPTER 1 Personal Paths in the Music Business .................. 1 The Kind of Person... ............................... 2 Assessing Your Strengths ............................ 3 Songwriters ...................................... 3 Musicians ....................................... 4 Music Biz Pro’s: Aspiring Moguls ..................... 5 Technical Triumphs ................................ 6 Born to Succeed ................................... 7 Reinvention ...................................... 9 Signs from the Universe ............................ 10 The Commitment Key .............................. 12 Time Has Come Today ............................. 13 Summary ........................................ 15 CHAPTER 2 The Modern Music Business ........................ 16 Transmission Is Secondary .......................... 16 Expanding and Contracting Genres ................... 17 The New Music Entrepreneurs ....................... 18 Music for Kids .................................... 19 Soundtrack to a Fast Track ......................... 20 Internet Notions ................................. 22 Fish or Fowl? .................................... 23 A Mosaic of Mediums ............................. 25 Radio Is Our Salvation ............................. 27 Satellite, Public, and Internet Radio .................... 31 chris and thomas: Acoustic Essence .................... 33 Music Publishing: The Way In ........................ 35 Major and Indie Labels ............................. 37Networking Strategies for the New Music Business viMusic Biz Marionettes: Who Pulls the Strings? .......... 38 Validation ...................................... 39 American Idolization .............................. 40 Summary ....................................... 42 CHAPTER 3 Personalities Plus ................................. 43 Ten Successful Attributes of Music Biz Professionals ...... 43 Negative Notions ................................. 49 The Put Down .................................... 51 Negative to Positive ............................... 52 Find Reasons to Feel Good about Yourself .............. 54 Visualize Your Success ............................. 54 Network with People You Respect and Observe Their Traits ................................. 55 The Smooth Road ................................. 55 Myths ......................................... 57 Reinvention ..................................... 58 Same Old Same Old ............................... 59 Summary ....................................... 60 CHAPTER 4 True Tales ...................................... 62 The I’s Don’t Have It .............................. 62 The Power of “You” ............................... 63 Could’a, Should’a, Would’a ......................... 64 You’re It ........................................ 66 Bridges Aflame .................................. 67 Celebrity ....................................... 68 Ten Strategies for Interacting with Celebrities ........... 69 How Would I Reach You? ........................... 71 Who Needs You? ................................. 72 Look Around .................................... 74 Sixth Sense ..................................... 75 Drugs in the Music Biz ............................ 76 On the Road with John Mayer ....................... 77 Am I Too Old to Rock? ............................ 78viiCritical Crises and Drama Queens .................... 81 Ten Networking Strategies for Dispelling a Crisis ........ 83 Treat Everyone with Respect ........................ 84 Summary ....................................... 86 CHAPTER 5 Making Contact .................................. 87 Body Language .................................. 87 Good Grooming ................................. 89 Clothes Horse ................................... 90 Ups and Downs in the Capitol Tower .................. 91 Ten Visual Cues for Your “Look” ..................... 93 Conversation Instigation ........................... 94 Ten Conversation Leaders .......................... 95 Sensitive Areas ................................... 97 Assumptions to Avoid about Anyone to Whom You’re Introduced ................................. 98 Complimentary Consideration ...................... 98 Remembering Names ............................. 100 Did You Drop That Name? ......................... 101 Business Cards ................................... 102 Working the Room ............................... 103 Hidden Opportunities ............................. 106 Practice Makes Perfect ............................. 108 The Fine Art of the Studio Hang ..................... 109 CHAPTER 6 Telephone and E-Mail ............................. 112 The Telephone ................................... 113 Sound ......................................... 114 Reflections of Power .............................. 115 Telephone Basics ................................. 116 Telephone Tracking ............................... 117 Cell Phones: Antennas of Satan? ..................... 118 Cell Phone Etiquette .............................. 121 E-Mail ......................................... 122ContentsNetworking Strategies for the New Music Business viiiCHAPTER 7 Creating Effective Tools of the Trade ................. 125 Press Kits ....................................... 126 The Folder ...................................... 127 The Cover Letter ................................. 127 A CD or DVD ................................... 128 The Bio ........................................ 129 Your Photo ..................................... 133 Full-Court Press ................................. 134 Credibility in the Credits ........................... 136 The Man in the Gorilla Suit ......................... 138 Extreme Strategies ................................ 139 Rejection ....................................... 140 Ten Thoughts on Overcoming Rejection ............... 141 Ten Reasons Your Calls Are Not Returned ............. 142 Web-Wise ...................................... 145 Do I Need a Web Site? ............................. 146 Additional Resources .............................. 151 CHAPTER 8 Live Venues and Ventures .......................... 153 Gigology 101 ..................................... 153 Creative Outlets .................................. 154 Alternative Venues ................................ 156 Inventing Your Own Show .......................... 157 Soft Ticket ...................................... 157 How to Make a Soft Ticket Show Work for You .......... 158 You Sounded Fabulous! ............................ 159 Ten Post-Performance Tips ......................... 159 Performance Peeves ............................... 160 Ten Commandments of Club Land ................... 161 Club Clues ...................................... 162 Soundman Scenarios .............................. 163 Scams ......................................... 164 Compilation CDs ................................. 166 Performing Rights ............................... 169ixCHAPTER 9 Success Stories .................................. 172 Jeffrey Steele: Country Craftsman .................... 173 Lindy Robbins: Late Bloomer ....................... 178 Luis Resto: Lost in the Music ........................ 183 Bob Malone: Road Warrior ......................... 185 Summary ....................................... 187 CHAPTER 10 Go Where You Wanna Go ......................... 188 Nashville ....................................... 189 New York ....................................... 193 Los Angeles ..................................... 196 Emerging Cities ................................. 200 All Over the Map ................................. 201 Music Conferences ............................... 201 15 Tips to Maximize Your Conference Experience ....... 202 World Beat ..................................... 204 Further Afield ................................... 205 CHAPTER 11 Defining Your Direction .......................... 207 Questions for Artists ............................. 208 Questions for Aspiring Moguls ...................... 210 Teamwork ...................................... 212 Management .................................... 212 When Do You Need a Manager? ..................... 213 What to Look for in a Manager ...................... 214 Do You Want to Be a Manager? ...................... 215 Your Law yer .................................... 215 Agents ......................................... 216 Your Publicist ................................... 217 Artist’s Responsibilities ............................ 218 Get a Job ....................................... 219 CHAPTER 12 It’s a Wrap ..................................... 221 Creative Confluence .............................. 221 Five Tips for Personal References ..................... 222ContentsNetworking Strategies for the New Music Business xBack Home ..................................... 223 Making It Happen Where You Are .................. 224 What Have You Been Given? ....................... 226 In Conclusion ................................... 227 Appendix A Resources ...................................... 229xiIntroduction Who you know, what you know, and who knows you: Every single deal I’ve ever seen go down in the music business has been the direct result of a personal contact. In this way, the music business is not that different from any other enterprise because people will do business with those whom they know, whom they trust, and who they believe will deliver what is required and expected of them under any circumstance. In many other ways, however, the music business is radically different from other industries. It’s built on a vibe; it’s tied to trends, fashion, and media; it communicates an intangible com- modity capable of mirroring profound emotions. What Is a Networking Strategy? Networking is communication—simple human interac- tion. Strategy is the art of devising or employing plans toward a goal. It follows that Networking Strategies are plans toward a successful career via personal relationships. Truth be told, it’s always a new music busi- ness—the most signiﬁ cant recent changes have been the merger of the major record companies, the rise of inde- pendent labels and artists, and the leveling of the playing ﬁ eld through the Internet. Although all of these changes are signiﬁ cant, success will still be determined by per- sonal relationships. I repeat: Every single deal I’ve ever seen go down in the music business has been a direct result of a personal contact. This book is intended as a guide to making your personal strengths and relationships with others work Networking Strategies for the New Music Business xiifor you. It’s about connecting to others who share your aspirations, energies, and enthusiasm, and allowing these collective talents to shine for all, whether you’re a professional or an aspirant in the music business: a songwriter, recording artist, musician, composer, music editor, music educator, music publisher, DJ, publicist, PR expert, entertainment lawyer, or if you plan on working with any of the above. Raging Rivers and Tiny Ants An upbeat, positive attitude, a sense that all will work out well in the world, and a drive to evolve, progress, and succeed in the music business are all attitudes that will light your path. Our destinies are self-fulﬁ lling prophe- cies and the positive energy we transmit via our music will return ampliﬁ ed and multiplied. That said, our ability to control the course of our speciﬁ c destiny may be questionable. I was in Nashville interviewing songwriter and vocalist extraordinaire Michael McDonald when he offered this analogy: “Imagine a raging river; down through the rapids comes a 100-foot-long log moving at incredible speed. At the front of the log is perched a tiny ant who looks out and marvels, ‘Man, I’m really driving this thing!’” Who Am I? I’m a music business survivor who has survived and ﬂ ourished through a career that has taken me from the hard scrabble bars of Ohio to the power centers of Nashville, London, Tokyo, New York, and Hollywood. xiiiFor the past two and a half decades I’ve made my home in Los Angeles where my career trajectory includes phases as a songwriter and musician, a manager and pub- licist, creative director, event producer, journalist, editor, lecturer, and author. I continue to invent new outlets that reﬂ ect my love of music and songwriters and to utilize and expand my knowledge in an ever-shifting ﬁ eld. I’m a strong believer that like the tiny ant in the story, we cannot make things happen; we can only put ourselves in a position where things will happen. Case in point: When I penned my ﬁ rst book, Networking in the Music Business , I was not an author; indeed, at that point I had barely published any articles. What I had was a pivotal position with a non-proﬁ t organization, a grow- ing list of stellar contacts, and boundless enthusiasm for the subject. Under the ministrations of a patient editor, I learned how to write a book. I was subsequently invited to travel across the U.S. and Canada to lecture at music conferences and institutions, but I soon ﬁ gured out that someone who was an expert on personal contacts in the music business would be best served by using these talents to advance his own career, rather than making a questionable living foisting his views, and his words, on impressionable readers. As creative director for the National Academy of Songwriters, I was honored to work with many of the greatest singer/songwriters in the history of American popular music: Joni Mitchell, John Fogerty, Tom Petty, Robbie Robertson, Gamble and Huff, Ashford and Simpson, Jackson Browne, and Burt Bacharach. I wrote, edited, produced, created, and made invaluable contacts.IntroductionNetworking Strategies for the New Music Business xivAlas, the destiny of non-proﬁ t organizations is a treacherous one, and after three years I departed my cushy corner ofﬁ ce on the 10th ﬂ oor of a Sunset Boulevard high-rise, and moved my operations to my home in the hills of the Los Angeles district known as Eagle Rock. Remember what I said about being in a position where things could happen? A continent away, at the Liverpool Institute for Performing Arts (LIPA), the college founded by Sir Paul McCartney, the head of music, Arthur Bernstein, dropped into the school library to ﬁ nd a book to read on a train trip. He grabbed mine. The next day he sent me a fax, inviting me to come to England to teach a one-week master class based on my book to LIPA’s graduating seniors. This turned into a ﬁ ve-year venture, and expanded my realm of international contacts, if not my appreciation for British food, immeasurably. Who Are You? Sadly, the people who need this book the most will never read it. You know them: they’re the ones who are too hip for the room; who bluster their way about, often using their aggression or belligerence to mask fears and uncertainties, always remaining clueless. I remember a call from a singer/songwriter in Arizona when the Networking book was ﬁ rst released. “All this network- ing is OK for some people, but I just want to stay in my studio, write songs, record, and get paid.” Me too! But the caller never told me how to get that gig. I suspect he didn’t know either.xvThe Power of Yes I learned long ago in the music business, when someone asks you if you can do something, the correct answer is “Yes!” I’m not talking about jumping out of airplanes if you’re afraid of heights or playing a classical toccata if you’re a speed metal guitarist, but within the realm of reason, the possibilities others see in us often exceed the limitations we see in ourselves. In order to do the gig, you have to get the gig; in order to get the gig, you have to understand the gig. If you aspire to a position at a record label, a publish- ing ﬁ rm, or a performing rights organization, you will seldom see these positions advertised in the paper or anywhere online. Why? Because they will be ﬁ lled by people from the inside of the business, never the outside. My career took another dramatic leap when a longtime friend, Ms. Ronny Schiff, VP of audio pro- gramming for Disc Marketing (now DMI Entertainment Networks), asked me to conduct an audio interview with the classic British rockers, the Moody Blues, for a program to be heard worldwide by United Airlines pas- sengers on The United Entertainment Network. Since then, I’ve conducted hundreds of interviews for United, speaking in studio to everyone from Leonard Cohen to Holland/Dozier/Holland to Brian Wilson and Rufus Wainwright. From legendary Rock Hall of Fame induct- ees to the hottest new band, it’s my pleasure to interview them all. Had I not known Ronny socially, this incred- ible opportunity never would have arisen. Over time, I’ve become the “go-to” guy for song- writer-related mediums. In print, Music Connection IntroductionNetworking Strategies for the New Music Business xvimagazine, a bi-weekly West coast music publication, has been a welcome home for my prose, as I contribute the column, “Song Biz,” and a proﬁ le of a songwriter, com- poser, or singer/songwriter to every issue as well as cover stories and feature interviews. I estimate I’ve interviewed over 200 hit makers for this magazine. I write and inter- view for all three U.S. Performing Rights organizations, ASCAP, BMI, and SESAC, and I’ve been conducting on- camera interviews for ASCAP’s Pop, Film and Television, and Rhythm & Soul Awards, quizzing, on camera, every- one from Elvis Costello to Clint Eastwood. I love to say yes. When ASCAP, BMI, or SESAC asks me to moderate a conference panel, I never ask, “How much does it pay?” Whether or not there’s a check involved, I’m always glad to be of service. The visibility of these endeavors, the introductions to hit writers, and the credits are of far greater value to me than a few hun- dred dollars. Dedicated to the Gig Sometimes when people react to how busy I always seem, I have to remind them of this truth: When you don’t have a job, you have to work extra hard. I had to invent my career because it never existed; it is singular to me, but it’s the people within my exten- sive world of contacts that have made it possible. I have always made it my creed to deliver above and beyond what was expected and to do it with joy. In the real world—that is, outside the entertainment sphere—we often encounter an attitude that is much less than 100 percent committed. At the store, the post ofﬁ ce, the car xviiwash, or wherever we interact with others, don’t you sometimes have the feeling that those who work there are simply going through the motions—sleepwalking until quitting time? The music business is not like this . It’s made up of passionate, energetic, super-charged individuals who dedicate themselves totally to their craft and cause. Executives well into their ﬁ fth decades begin the day with a personal trainer or a ﬁ ve mile run before strap- ping on the headset for a round of calls to the East coast. Successful managers are combing the clubs on the Sunset Strip, checking out bands and artists until the wee hours, then making it to the Farmer’s Market for a power breakfast. Recording engineers are taking advan- tage of free studio time to develop their own projects. Songwriters are collaborating for hours perfecting a line. Indie bands are scouring the hinterlands in vans, sleep- ing on fans’ ﬂ oors, and enlisting street teams to spread the news. They’re not looking at their watches, waiting for quitting time, or waiting for the proverbial “some- thing to happen.” In the changing course of our business, the only con- stant is our commitment to our career and the support of those around us. In the context of these pages it is my sincere intention to offer options, possibilities, afﬁ rma- tion, inspiration, and the occasional harsh slap of reality. Be True to Yourself I suspect that you, dear reader, already have many of the tools of communication to help you succeed. You’re interested enough in honing your people skills—and IntroductionNetworking Strategies for the New Music Business xviiiunderstand how vital this is—that you’ve chosen to read this book. Please note: I never encourage anyone to be anyone other than who they are. Networking Strategies does not involve transforming yourself into another entity, becoming some manipulative, reptilian creature or disguising yourself in any way; rather, it’s about tak- ing the most positive aspects of yourself and projecting them to others. I’d like to conclude this Introduction with a brief list of precepts that deﬁ ne my overall philosophy. Talent, information, and ability are all necessary ingredients for developing a career, but “people power” will ultimately determine your success. Precepts of Networking Strategies 1. Be the person others want to help succeed. 2. Your objective is a long career; play a long-range game. 3. Treat everyone with equal respect. 4. Understand others, not only their words, but emotions. 5. Fame and fortune are not synonymous. 6. Your happiness in life is not dependent on either of the above. 7. Change is good. 8. At the crossroads of technology and show business is opportunity. 9. Play the game you truly believe you can win. 10. Project yourself with genuine, positive energy.1CHAPTER 1 Personal Paths in the Music Business Every networking trick in the book will not help you if you do not have the goods. I don’t claim to be able to improve your chops as a musician, your word ﬂ ow as a songwriter, or your business acumen as a music biz whiz. However, if you have the necessary talents and con- tinue to develop them, you will ultimately ﬁ nd a way to express yourself and build a viable career. As I mentioned in my Introduction, my personal path in the music business began in my hometown and ultimately led me to all three music capitals and to Europe. As a boy, I dreamt of rocking stadiums, endless accolades, unfathomable riches. As a struggling musician dealing with shady club owners, elusive agents, and bare- bones tours in rusted out vans, I kept this image in my mind, but it grew fainter and was replaced by another image: a signpost inquiring “What talents have you been given and what are you doing with them?” It’s a deep question. What do you think you were put on this earth to do?2The Kind of Person... The most powerful character trait you can possess in the music business is being the kind of person others want to see succeed. There is no substitute for this quality and no way to manufacturer it synthetically because it’s an inner strength. To be effective, successful interaction in the music business must beneﬁ t both parties equally. This con- cept is based on the radio call letters “WIFM,” which is broadcasting the question, “What’s in it for me?” Fortunately, if you’re just beginning your career, you probably have strengths that may not be immediately apparent to you: for instance, your level of enthusiasm and power of potential. As we progress in our careers, sometimes the joy of creating music, or being around those who do, becomes obscured or diluted. Meeting someone who is energized about what they’re creating and who is on an upward career trajectory because of it, can be inspiring. This is one of the reasons I enjoy teaching and lecturing, because it gives me special opportunities to meet those who are coming up. And make no mistake: The music business thrives on new blood. Not everyone in the music business is like this, how- ever. I have longtime friends in the industry who seem to have disconnected from cultivating this quality, prefer- ring instead to work only with those with whom they’ve worked over the years. In my opinion, this leads to stag- nation. I feel that at any given moment there might be an airplane landing at LAX with someone getting off of the plane whom I should meet. And I probably will.Networking Strategies for the New Music BusinessChapter 1 Personal Paths in the Music Business 3Assessing Your Strengths So if you have enthusiasm, are the kind of person oth- ers want to see succeed, and believe that a life in music is your calling, how do you proceed? First, what do you love to do most? Second, what are your skill levels? Knowledge-based skills are generally acquired from education and experience. These include computer skills, languages, and technical or musical abilities, to name a few. Transferable skills are portable skills that you take with you, such as communication and people skills, analytical problem solving, and planning. Equally important, personal traits are your own special qualities, which can include being dependable, ﬂ exible, friendly, hard working, expressive, formal, punctual, and a team player. Songwriters Are you capable of creating words and music that move a wide audience? Are you directing your energies into your songs and, at the same time, ﬁ nding outlets for your music? Remember that what exists at the core of your songs—the intent and belief—are the qualities that resonate the strongest. By accepting special songs into the rareﬁ ed stratosphere of hits, however, buyers of music continually remind songwriters, “Don’t write about your life—write about mine .” Often, experiences that are the most personal are paradoxically the most universal as well. Songwriting is all about collaboration. It’s no secret—just look at the Billboard charts: co-written songs Networking Strategies for the New Music Business 4rule the marketplace. How and why these collaborations exist—and what makes certain combinations work—are subjects of strong opinions, heated debate, mercenary judgments, and a certain amount of cosmic songwriter juju (mystical beliefs) . The trio of genres that currently comprises the majority of record sales—R&B (including hip-hop, which often has lists of collaborators because of the use of samples), country, and pop—are all over- whelmingly dominated by groups of writers. Choosing the right partner, or partners, is probably the most cru- cial decision a songwriter will make. How do you meet collaborators? If you live in a music capital, you have the advantage of endless classes, workshops, panels, and seminars. If you live outside of New York, Nashville, and Los Angeles, you may have to work harder, but it’s still possible to make contacts. I’ll address the best ways to do so later in the book. Networking Strategy for Songwriters Songwriters are sometimes indistinguishable from the public at large. Songwriting organizations in your area are a great way to make local contacts. Online, check out www.justplainfolks.com. Musicians The music business is the most cooperative of endeavors. Sure, maybe you can play solo or perform exclusively at karaoke bars, but sooner or later you’ll need to include other players to expand your sound.Chapter 1 Personal Paths in the Music Business 5Playing in a band can be a profoundly challenging experience and, of course, can be equally rewarding. Some bands in the history of pop music, such as The Rolling Stones and U2, are long-lived. Most often, how- ever, a band will be a unit that you perform with for a short time until you leave or the band breaks up, and you continue on your way. Networking Strategy for Hanging Out Your local music store is a great place to interact. Ask the clerks for advice; they’re probably players themselves and totally “plugged in.” Post ads online or in local papers to make contacts. Sit at your favorite coffeehouse with a copy of a guitar, bass, or percussion magazine prominently arranged on the table and see who begins talking to you because of it. Wear T-shirts that display the logo of music manufacturers. Music Biz Pros: Aspiring Moguls The music business might be viewed as a pyramid, with large numbers of people and resources supporting the tiny fraction of artists who go on to be hugely successful. If you work in the business, you must adjust as it transforms itself and develop new skills to go with the ﬂ ow. In many ways, if you’re in a support position in this business, then you are possibly in the best position to ascend in the industry. I recall being in a class on artist management at UCLA Extension (a great place to meet people, by the way) observing a panel of eminent lawyers, agents, managers, and record execs, when one of them stated ﬂ atly, “The only people who have long careers in the music business are sitting up here.”Networking Strategies for the New Music Business 6Networking Strategy for the Energetic but Economically Challenged Volunteer to help coordinate a music conference or event. You’ll be in a position t o make valuable contacts from the inside. However, never let your primary responsibili ty slide; you are not there simply to hype yourself, but to help the event. Still, it’s a tried and true way of meeting others. Technical Triumphs Teaching in colleges, I encounter some students who are full-ﬂ edged musicians but who don’t play conventional musical instruments. The tools of their trade are sam- plers, ProTools, and similar studio gadgetry. DJs and remixers are experiencing unprecedented prominence in the music business. In Europe, dance music rules, and in the urban centers of the U.S., the latest trends are often delivered by club savvy DJs. The palette of creation has been widened dramati- cally by technology and sampling, and this has been a boon for many songwriters. It’s not uncommon to see a writer who penned an R&B chestnut in the late ’ 60s or early ’ 70s being honored as a co-writer for Song of the Year by the performing rights organizations because a sample of the song was used in the latest Beyonce smash. Networking Strategy for Studio Wizards Studio and technical people are generally more at home behind the mixing board than in social situations. I recently lectured to a group of audio engineering students at a college in Sacramento who had requested that I help polish their networking skills for the Audio Engineering Society convention in San Francisco. Having worked with some Chapter 1 Personal Paths in the Music Business 7of the most prolific engineers in Los Angles, I’ve observed that one common trait is a sense of quiet assurance, sympathy, and concentration. If engineering or studio work is in your future, you can’t go wrong with studies of basic psychology. In addition, the most effective engineers I know are also proficient musicians. Born to Succeed I always ask the students to whom I lecture where they rank in birth order. This has become a new area of study and is an intriguing barometer of personality. In a collaborative situation—particularly in a band—birth order can make a huge difference in the interaction of the various personalities. The oldest child often has the weight of expectations placed on him by his well-meaning parents. Oldest chil- dren are often moody and occasionally lack sensitivity. They can be intimidating, particularly by pushing people too hard or refusing to take no for an answer. Oldest children gravitate toward positions of responsibility: corporate heads, doctors, ministers, and band leaders. Almost all of the U.S. presidents were either the ﬁ rst- born child or the ﬁ rst-born son in their family, and all but two of the ﬁ rst astronauts sent into space were ﬁ rst- borns, and the other two were “only children.” Often the eldest is also responsible for his or her siblings, so they learn to give orders. In the music biz, many producers and recording artists are oldest children. Middle children are often mediators, adept at bridging opinions. Middle children have the ability to see both sides of the story, to empathize with a diversity of opinions, and often to peacefully resolve potentially Networking Strategies for the New Music Business 8disruptive conﬂ icts. Middle children may feel they have the most negative lot in life and are less than special when, in essence, they have the best of both worlds. Middles tend to make friends easily. Once they have them, they often work harder to keep them. They’re usually good at keeping secrets, too. Middle children may gravitate to positions as musicians, lawyers, or artist managers. An exercise that usually impresses classes I teach is when I correctly predict that the majority of the students are the youngest children in their families. The reason is quite simple: Youngest children, to compete with their older siblings, often use clowning or other entertainment to call attention to themselves. The down side is that they may expect others to make their decisions or take responsibilities, but they are many times overachiev- ers, using every means at their disposal to compete with their older siblings. Later-borns tend to be more creative and much more likely to reject the status quo. Many per- formers are youngest children. Only children are often self centered, in their younger years not as effective in relationships with other children, but more at home with adults, so they can often be conﬁ dent and well spoken. Only children are usually not afraid to make decisions and are comfort- able with their opinions. They generally like things to be organized and are often on time. Often they can be the most creative of all. The above scenarios are not meant as empirical scientiﬁ c facts. Moreover, any character trait that is nega- tive can certainly be recognized and muted as need be.Chapter 1 Personal Paths in the Music Business 9Reinvention In biology (not my strong suite, I assure you) we learn that cells mutate and change in order to survive. A suc- cessful music business career should be emotionally fulﬁ lling and hopefully a long one, but what we want as children—glory, riches, etc.—is generally supplanted at some point by a desire for stability, contentment, and a sense that we’re doing something right in the world. The music business is not, and has never been, a stable environment. Changes are sweeping and huge. Artists have become the most disposable part of the equation, yet paradoxically, it is the artists who drive the business and remain at its center. Around them swirls every imaginable participant, from the lawyer who signs them, to the makeup artist who makes them look good for the camera, to the roadie who changes their guitar strings. The choices of careers in the music business are incredible. The outside public sees only the artist, but we as music business insiders know that there are legions of hard-working, creative souls who are propping them up and propelling them forward. So what happens to artists after they exceed their 15 minutes of fame? They might produce records, write songs, develop talent, open recording studios, or become record label executives. Remember, they’re already inside the business, so they can move laterally if they so choose. Long-term practitioners in the music business will most likely have more than one career. Beginning as Networking Strategies for the New Music Business 10musicians, love and understanding of the music will create more options. Having spent many years in the trenches as a songwriter and musician, I know what its like to call my answering machine and sing a fragment of a song I don’t want to forget, to have a song placed “on hold” interminably, to have a track with a major artist be taken off the record a week before its release. Most important, I know the miracle of a seamless verse and a melody that seems to have written itself. This experience is invaluable in interviewing songwriters. I consider myself a songwriter, even though I no lon- ger write songs. I prefer to express myself now through prose, which allows me many more words to say what I want to say. But when I write prose I still think as a songwriter: I concentrate on an intro, a second verse that moves the story foreward, and a bridge that takes the message upwards, and I always remember the songwriters mantra of “Don’t bore us, Doris, get to the chorus.” Signs from the Universe I had a recent conversation with a young man I’d met when he was an electronica composer/performer in Los Angeles, who informed me that he is now pursuing his new career as an actor. “The universe sent me signs,” he told me. He was paraphrasing words he heard me deliver at a lecture, and ﬂ attered as I was that he could quote me, it inspired me to revisit the message behind this directive. At one point in my life, worn down by performing in clubs, I decided to take a respite from playing live music. All well and good, but I still needed to pay the bills. I Chapter 1 Personal Paths in the Music Business 11applied for a low-level part-time public relations gig and, as the saying goes, the veil was lifted—I realized that I had an untapped reservoir of talents and abilities. I sub- sequently returned to the music business on the other side of the desk with much greater reward. The universe had sent me a sign. Years later, I was managing Keo Woolford, an artist from Hawaii. Despite the power of his charisma, song- writing, and conceptual abilities, we were having a rough time getting him signed to a record deal. However, we were approached by a prestigious Los Angeles theater who inquired if Keo would be willing to write and per- form a one-man piece based on his Hawaiian origins for a segment of a multi-artist performance. Although he was skeptical (“But I’m a singer,” I remember him say- ing), I convinced him that this was an unprecedented opportunity. The show was a smash. The Los Angeles Times theater critic raved, the show was held over, and suddenly the young man who thought he was a singer became a sought-after actor. A nice coda: I saw him perform to an audience of 1,500 starring in a revival of The King and I at the London Palladium. He now lives in New York and continues to break new ground as an actor and a writer. And, yes, he writes songs. He also contributed to a project nominated for a recent Grammy for Reggae Album of the Year. Things that happen of signiﬁ cance in the entertain- ment world often happen naturally and easily. There is no science involved—it’s a vibe; they just feel right. Your instincts will tell you—if you’ve been trying to knock down doors for years with your songs and your music, maybe it’s time to step back, be quiet, and listen. Networking Strategies for the New Music Business 12The Commitment Key One situation that often comes up in the course of my lectures and consultations is that I meet artists or song- writers who deﬁ ne their career trajectories this way: “I was a professional musician. I was out of it for awhile. Now I’m getting back into it. Do you think I have a chance to make it?” Let’s deﬁ ne our terms. Does “make it” mean to obtain a record deal, to make a living as a musician or songwriter, or to ﬁ nd a way to share something special with an audience? If it’s the third alternative, the answer is probably “Yes.” If someone is working a full-time job and support- ing a family and has a fully developed career outside of music, she can probably write songs in her spare time and play weekend shows, but will her future be compro- mised by her present level of comfort? Recording artists tend to be signed at progressively younger ages. Who else could live in a van, tour across the country eating frozen burritos at 7-11 stores, survive on three hours of sleep on a fan’s ﬂ oor, and dedicate their entire existence to living and breathing music? They’re out there in America touching audiences. And as a rule they don’t have wives or husbands and kids at home needing to be fed. In my experience, people who are successful in the music biz don’t have other options. They don’t choose music; the music chooses them. While it’s certainly not my place to tell people what they can and cannot do, I truly believe the music business will never be a canoe Chapter 1 Personal Paths in the Music Business 13that we can blithely enter and exit at will. It moves down a roaring river. When we step out it travels on torrents, far beyond our reach. And you can never get out of a business that you were never really in. At some point, you’ll have to grab that paddle, face the rapids, and push off. Networking Strategies is about having the fortitude and foresight to weather the changes, create a niche only you can ﬁ ll, and establish a real audience for your music and a bullet-proof list of close personal contacts. Those of us who stay in the business have often made tremendous sacriﬁ ces to do so. Maybe we’ve watched while members of our peer group have taken lofty cor- porate positions, purchased palatial homes, and made six-ﬁ gure incomes. But keep in mind that we can never compare our lives to that of any other person. We’re each singular—and we have only one life to live, our own. If the music chooses us, then it’s up to us not only to ﬁ nd a way to survive, but to thrive. Time Has Come Today There is the concept of an artist, and the concept of an artist in his time. Timing is crucial to wide-scale artis- tic acceptance. Look at the famous historical model, the Beatles. The group was introduced in the U.S. at a critical time—President John F. Kennedy had been assassinated, and the country was undergoing severe depression and anxiety. What better to dispel the gloom than four sunny boys from Liverpool brimming with hope and melody?Networking Strategies for the New Music Business 14The biggest artists often express values in direct opposition to the times in which they live. Elvis rose during the Eisenhower era. During the strait-laced, con- servative Wall Street values of the Reagan administration, the omni-sexual antics of Madonna provided a welcome counterpoint. During the optimism of the Clinton administration, dark grunge ﬂ ourished. Political hip- hop, of course, and the melding of metal and rap have ﬂ owered under the political climate of George W. Bush. This is not to say that you should alter your musical/ artistic approach to take advantage of the sociologi- cal edge, only that you should be well aware of it. I was recently on a panel at the University of Southern California (USC) with Marshall Altman, A&R, Columbia Records. “The more you chase the music business the further away it becomes,” he shared. What Marshall meant was this: If there is a current trend, and you reinvent yourself in an attempt to be a part of it, by the time you’ve written songs and recorded them and costumed/pierced/tattooed/dyed yourself to conform, another new trend will have supplanted what you’re trying to emulate, and you’ll look cheesy and out- dated. Worse, you’ll have no credibility, since what you were trying to portray in the ﬁ rst place wasn’t even you. The second you see a bandwagon, it’s too late to jump on it. Pop music is cyclic—if you do what you believe in, eventually the cycle will come around to you. Chapter 1 Personal Paths in the Music Business 15Summary If creativity doesn’t have an outlet, a path, it stagnates at a dead-end. True creativity is not deﬁ ned simply by the ability to create art, but in divining outlets for it. It’s through our interactions with others as a part of a community that we begin to modify and monitor our own success. As our contacts move up, we also rise.16CHAPTER 2 The Modern Music Business The modern music business reinvents itself with blind- ing speed, and those of us who stay abreast the changes and are adaptable to new technologies, new genres of music, and new artists can always invent new methods of using our talents. In this chapter you’ll meet some key industry players who have not only weathered these changes but have turned them to their advantage. Transmission Is Secondary From wax to digital transmission, the music business has always been in drastic technological ﬂ ux. At a lecture I attended in Liverpool, Sir George Martin related that when he began his career, weights were dropped from the ceiling and the resultant motion was what made wax mastering discs go around—machines were too unreliable. Sir George is now a principal owner of AIR Studios, a facility that boasts satellite technology enabling music recorded on their sound stage in London 17to be immediately sync’d to picture in Hollywood. It’s a long way from the post-war ropes and pulleys of the past. CDs, iPods, BlackBerries, ring-tones, and whatever comes next is not what this book is about. As drastic as the changes in technology may seem, what is vital to understand is the power of the people who make the music and run the music business. It’s an arena in which the wildcard often comes into play, and something that is totally unexpected, and real, breaks through. Expanding and Contracting Genres If artists are willing to do the work, the correspond- ing good news is that it is possible to ﬁ nd an audience for almost any type of music. New genres are con- stantly being invented: from emo to children’s music, Americana to electronica, and beyond. Niche markets make it possible for literally any genre to ﬂ ourish, but like any other commodity-based business, you have to locate the audience of buyers for your music. In recent years, hip-hop has moved from underground street music to dominate the mainstream. Rock in all forms will always have a place, and its convergence with hip- hop via creative “mash-ups” and new styles that merge the intensity of metal to the urban verbal expression attract fans of both styles. Both rock and hip-hop are people’s music. Neither rock nor hip-hop is a conservative form; their shared roots are in outlaw cultures, but over time both have been appropriated by the mainstream. Both forms are decidedly global—you can even hear Japanese Chapter 2 The Modern Music BusinessNetworking Strategies for the New Music Business 18and Korean rappers emulating the gangstas of South Central Los Angeles. Pop music will always have a place in our pantheon of styles. Currently the strongest market for pop is with “tweens”—that is, young listeners between the ages of 7 and 12 who represent a huge buying demographic. This information is not lost on Disney and the creators of television programs who feature music geared to this burgeoning demographic. Country music was ﬂ ying in a huge bubble back in the ’90s that subsequently burst, leaving many pala- tial ofﬁ ces vacant along Music Row. The radio market remains huge, however, and the current crop of new country stars, raised on rock, is capable of generating enthusiastic live audiences for their concerts. Praise-based music, contemporary Christian and Christian rock, are two genres that are experiencing enormous growth. Dance music, more popular in the urban centers in the U.S., maintains enormous inﬂ uence in Europe and the U.K. The New Music Entrepreneurs Sometimes it seems like everyone has entered the music business. You can’t go for a cup of coffee at Starbucks without seeing the latest CD for sale by this caffeinated conglomerate. The success of Ray Charles’ Genius Loves Company was due in no small part to 1.6 million in sales at the coffee counter. Putumayo Records was founded when a clothing store in New York began putting together world music compilations to play for shoppers. 19Soon, customers were begging to purchase copies of the music, giving birth to a proﬁ table record label. There are many examples of music creators who have turned a handsome proﬁ t by following their passions, often far from the beaten track, and I’d like to share some of their experiences with you. Music for Kids Music has always been a part of Mae Robertson’s life. As an educator in New York who holds a masters degree in Early Childhood Development and Education, she often used music to calm her students. After the birth of her ﬁ rst child, Mae left teaching and opened a success- ful chain of natural-ﬁ ber clothing stores in Westchester County, New York. One night, her friend Don Jackson overheard her singing the traditional folk song “The Water is Wide” while rocking her baby to sleep. When he suggested that Mae record an album of traditional songs geared for families, a new career path was revealed. Her debut, All Through the Night, struck a resonant chord in a public eager for positive, family-oriented music. Since Mae had never promoted a record before, she wasn’t aware she was breaking any rules when, with winning enthusiasm, she would naïvely call magazine and newspaper editors and say, “You’re going to review it, aren’t you?” Surprisingly, they did, and the initial CD sold over 10,000 copies in its ﬁ rst year. Eventually, Mae Robertson sold her clothing stores and dedicated herself to her new career, founding a record label called Lyric Partners.Chapter 2 The Modern Music BusinessNetworking Strategies for the New Music Business 20At the center of an extensive network of signiﬁ cant songwriters, Mae began championing them with the founding of “The Troubadour Series,” an ongoing concert program now in its fourth season featuring a slate of nationally touring acoustic artists. Staged at the WorkPlay Theatre in Birmingham, Alabama, these performances are intimate experiences for all fans of the singer/songwriter genre. Whether she’s singing sweet lullabies for children or creating sophisticated words for adults, Mae Robertson’s personal vision is the mortar in her artistry. “I want listeners to get lost in the songs with me. Through the beauty of the melodies and the truth in the lyrics, I want to give back dreams.” Soundtrack to a Fast Track Anytime music is played in any environment—a super- market, a mall, a gym, onboard an aircraft—someone has made a conscious decision to select it. Major record labels are very hip to this: They purchase spots for their artists on domestic and international ﬂ ights, in cloth- ing stores, and in movie theaters. The best part of this trend is that it’s given the consumer more occasions to hear music, and it’s given those who program music— like myself and the companies I work for—more gigs. Corporations are also well aware of the power of music to positively affect buyers, and they use it in a variety of methods far more sophisticated than the simple jingles of the past. In 1997, the year of its founding, all of Disc Marketing’s employees could have ﬁ t neatly into one 21compact car. Today, the Pasadena, California–based music and new media marketing company has over 60 employees housed in a lavishly refurbished Old Pasadena, California, ﬁ rehouse. The location inspired the name of the adjoining studio, Firehouse Recording, the West Coast’s largest ProTools facility. Tena Clark, a gold and platinum songwriter and record producer, founded the company that now domi- nates its niche. Through audio, video, new media, print media, and especially music, Disc Marketing (now DMI Networks) deploys ingenious methods for companies to enhance and promote corporate branding and for mar- keting products to consumers through customized CDs, enhanced CD-ROMs, and CD packages. In her company’s ﬁ rst month of operation, Clark landed a deal with American retail icon Sears, Roebuck & Co. It was just the beginning; Disc Marketing has since created strategic music and entertainment partner- ships with the most recognizable corporate brand names in the world, including Coca-Cola, United Airlines, Toyota, Condé Naste, General Mills, Target, Victoria’s Secret, Proctor & Gamble, Princess Cruises, and Mrs. Field’s Cookies. In 1998, Disc Marketing secured an unprecedented contract to produce all in-ﬂ ight audio entertainment for United Airlines, now enjoyed by over 19 million monthly travelers worldwide. The company also provides in-ﬂ ight audio entertainment on the presi- dential and vice presidential planes, Air Force 1 and 2, United’s domestic carrier, Ted, and Regal Cinemedia. As Disc Marketing continues to expand, new divisions (including a record company and a music library) enable new campaigns, new clients, and new Chapter 2 The Modern Music BusinessNetworking Strategies for the New Music Business 22technologies. However, music is still the company’s most treasured resource. Tena Clark recently produced the Grammy-nominated album Church: Songs of Soul and Inspiration with Patti Labelle, Chaka Kahn, and Dr. Maya Angelou, plus Dionne Warwick’s ﬁ rst ever Christmas album. “First and foremost in my heart I’m a songwriter,” conﬁ rms Clark. It may have all begun with a song, but eight short years later Tena Clark and Disc Marketing are orchestrating a global chorus of commerce, art, and vision. Internet Notions As well-noted in all quarters, the rise of technology and the digital transmission of music have radically changed the industry as we know it. The Internet now makes it possible to ﬁ nd a worldwide market for music. Theoretically, an independent artist can have the same online leverage as a major pop act. Hard-disc based recording systems, notably the industry standard ProTools, make it possible to record a seamless CD in the sonic solace of a spare bedroom and, in theory, to make it available via the Internet and send it out digitally without ever having to leave the house. According to platinum producer Glen Ballard (Dave Matthews Band, No Doubt, Alanis Morissette, Polar Express ), ﬁ ltering artists is a ﬁ ne art, and he’s not hearing ﬁ ne artists on the Net. “There have been no hit acts off of the Internet. Not one,” he insists. “That whole myth of, ‘Just wait, we’re going to get all of this great music from out there.’ There’s not one act that has penetrated. There’s no ﬁ lter. People trying to do what we do, 23identifying talent—most people aren’t really going to be able to do it. That ﬁ lter is getting removed. You have a lot of mediocre stuff.” Mediocre stuff is right. As a journalist, I receive more than 35 independent CDs and press kits a week—every week. Unless something comes to me qualiﬁ ed, which means I’m expecting it, or I have previous knowledge or a relationship with an artist or his representatives, I have no choice but to ignore them. There’s simply too much music to absorb, and I have to save my ears for what I have to listen to. Simply having produced a CD is not enough to qualify an artist for media coverage. Positioning like that cannot be purchased. There has to be outstanding music, a real audience, and an angle. Back in the days, a manager, a producer, a label— someone had to believe in an artist’s talents before he proceeded in his career. No longer. Fish or Fowl? Deﬁ nitions need to be assigned whether an artist is inde- pendent or simply unsigned. Case in point: The Bellrays from Riverside, California. With a 14-year international career that could be the envy of many a major label act (let alone an independent one), the Bellrays possess on- stage charisma, unwavering conviction, and a profound ability to impart this belief to their audiences. But the Bellrays usually don’t send out free promo copies of their CDs. Anyone is welcome to attend a show and purchase their music.Chapter 2 The Modern Music BusinessNetworking Strategies for the New Music Business 24It’s an uncommon stance in a hype-happy town. “We had to do that because we were dealing with a bunch of idiots,” says the Bellrays’s Tony Fate. “It was too many condescending phone calls from some A&R guy who thought we were going to jump on his dick because he called us up. This guy read something someone wrote because it was thrown on his desk, opened to that page, and he says, ‘Yeah, send me a tape.’ Well, why? How many tapes do you get a day? Where did you read about us? What are you going to do with it? ‘Well, if you don’t want to send me a tape forget it.’ Sure, forget it.” Bassist Bob Vennum adds, “We only print up a thou- sand of these things. If we give away 10 of them it’s giving away money.” And singer Lisa Kekaula continues. “The album is our baby. It’s not some promotional tool for the band. It’s a labor of love, hurt, pain. And if I’m giving it away you better be worthy of it.” But as Fate reveals, the band is certainly open to the right kinds of relationships. “The real people are out there. We set up the net, leave the holes for them to trickle in, and then talk to people who have a plan, who really like the music. We will talk to anyone with an open mind and a brain—at least an intelligent line. But we’re not getting a free ride, so why should anybody else? Why should we let somebody who has never seen us, [who] probably won’t show up, be on a guest list when he’s got a budget that will pay for his ass to come? It’s not even coming out of his pocket. Why should we give him a CD when we’ve got people who come to the shows? I’d rather let them in for free and have him sit outside.” When it’s time to cross America, The Bellrays are four smart professionals in a white Dodge van. “Like a church van for a small church,” explains Kekaula. They 25have buzzed Austin’s SXSW, toured with Nashville Pussy, and shared stages with artists like Wayne Kramer, Rocket From the Crypt, and The Muffs. In addition, Tony Fate designs promo materials, CD jackets, and T-shirts. “I know there are bands who don’t worry about those things,” says Kekaula. “Those are more the dinosaurs now than the norm. The bands who are getting that permanent height have been on the road, have been handling things on their own.” But it comes back to the audience connection. “We’ve got to have a lot of foot soldiers out there working for us because we don’t have publicity money. The reason people know about us is that we’ve been out there working on it.” Key Networking Strategy for Artists and Bands Touring locally and regionally is still the best way to get the word out about you, your band, and your music. Success stories come from everywhere: Omaha, Akron, Sacramento. If you can make a strong enough impression in your home market, believe me, the record labels will find you—that’s what they’re paid to do. A Mosaic of Mediums With the well-publicized downturn in CD sales comes a rise in visual mediums that devour music: network and cable television, video games, and independent ﬁ lm. The explosion of ﬁ lm (independent and studio releases), network and cable television, and video games has spawned more outlets for new music than you can shake a Stratocaster at. This is a good thing because for an independent artist or band, having a song featured on a network television show or in a high-proﬁ le ﬁ lm Chapter 2 The Modern Music BusinessNetworking Strategies for the New Music Business 26delivers much more than just a sync fee and performance income; it is an indelible sign of media credibility. For emerging artists and bands, having a song in a ﬁ lm or on a television show offers crucial exposure to a key market. The sync fees can help with substantial monies, and back end payments from a performing rights organization (ASCAP, BMI, or SESAC, for exam- ple) can represent a considerable sum for songwriters. What about songs for television? “The expectation is much lower. It’s only recently that the song aspect has come in and made it a pop product,” states Robert Kraft, chief executive of Fox Music. “Everything is such short- hand. Television is now a vehicle for delivering songs and a demographic.” Marc Ferrari of the Los Angeles–based MasterSource came into music for picture from the standpoint of a musician/recording artist. “I got into it semi-accidentally,” he admits. “I was a major-label recording artist with Keel. We did ﬁ ve albums, and I had another band on MCA. When the grunge thing happened, suddenly it wasn’t hip to be a guy that had success in the ’ 80s.” “I had a song used in a small, straight-to-video ﬁ lm. They ended up using it, giving me a screen credit, and giving me some money, and I was like: ‘Wow! How about that?’ I hadn’t thought about providing music for ﬁ lm and TV up to that time. I started representing my own material, and when I would be asked for something I didn’t know how to write, like reggae, country, or rap, I turned to friends of mine. That’s how it started: I rep’d my friends.”27MasterSource has placed over 1,000 songs in over 50 movies, including As Good As It Gets, Fight Club, Girl Interrupted, and The Sixth Sense . MasterSource TV cred- its include Ally McBeal, Buffy The Vampire Slayer, ER, and Friends . Ferrari is very proactive in seeking out new talent. “I found a lot of writers through reviews in [Los Angeles– based magazine] Music Connection ,” he offers. “And I took out ads also. I still read every issue, demo and con- cert reviews, and we ﬁ nd so many talented artists right here in our own backyard. Taxi [the independent A&R company] also. They’ve found some great things for us.” “I don’t want to discourage people from following their dreams and pursing major record deals,” concludes Ferrari, but with the Internet and everything else, a major label deal isn’t the end-all it used to be. Film/TV is growing; we have more channels, shows, and it’s more music intensive than ever before.” Networking Strategy for Songwriter/Artists If you want to venture into the world of music for film and television, create two mix es of your material, one without vocals. This way, if a scene calls for music under the dialogue, you have an option. Radio Is Our Salvation Major radio has never been amenable to independent or emerging artists. Back in the early days of rock ‘n’ roll, a labyrinthine system of payola was in place to assure Chapter 2 The Modern Music BusinessNetworking Strategies for the New Music Business 28that only select records would be played on radio. The limitations are imposed today by the consolidation of the airwaves by one monolithic corporation, Clear Channel. The airwaves are free and belong to the people, but they are severely regulated by federal decrees and the FCC. Fact: Radio is an integral component to expose new artists to fans and to uplift local acts to regional and national levels. Accordingly, it is extremely difﬁ cult to obtain signiﬁ cant airplay for independent artists. Successful radio promotion revolves around making and managing relationships—who you know and how you know them, making the right contacts, presenting the right pitch, and designing the best spin to convince a station that it should be playing your music. Radio pro- motion is, therefore, an art that demands a certain style that most artists neither have nor desire to cultivate. True, speciﬁ c artists from Fugazi to Phish have achieved monumental record sales without radio, but they are the exceptions. And you probably can’t do it alone: Radio is an area where you will need to enroll the assistance of an expert, someone other than you or your manager who is speciﬁ cally responsible for radio promo- tion. Therefore, it may be time to hire an independent radio promotion company. “The best way to get some interest on an indie release is still to have one real success story in one market. There are still a lot of labels, particularly Universal and Atlantic, who are always checking BDS and SoundScan, looking for potential pickups,” says Sean Ross, VP of music and programming, Edison Media Research (and former editor in chief of Billboard’s radio magazine, Airplay Monitor . “Even 20 spins for a week or two at one 29chart reporting station will at least get your record lis- tened to by somebody in major label A&R. At the outset, you’re better off building your base in one market and staying in touch with the gatekeepers in that market yourself.” “In the absence of an organic story, what you’re prob- ably going to get by putting promoters on a record is the airplay that a given promoter can guarantee on any record at stations where he has a good enough relation- ship to get anything on the air. That’s enough to put some spins on the board, perhaps [and probably in over- nights]; probably not enough to propel a record to any signiﬁ cant activity,” says Ross. It is generally acknowledged that radio promotion should be aligned with other career moves, merchan- dising, and touring. Common sense might dictate that an artist doesn’t need a promoter if the record is not going to be distributed in some way; otherwise, the lis- tening audience cannot buy the record, defeating the entire purpose of generating airplay. But radio promoter Bryan Farrish believes that having CDs in conventional stores is irrelevant. “We advise people to forget brick and mortar and only sell during their gigs,” says Farrish. “Getting into a physical store is too much work for the amount you sell. You’ll do more at one good gig than a year of distribution. Go out, do some shows, sell ten CDs, ﬁ ve T-shirts, pocket the cash plus whatever the gig pays you. People reading this might think, ‘If I do radio I need to be in stores.’ They’re trying to emulate how a label works. There are some things you don’t want to emulate.”Chapter 2 The Modern Music BusinessNetworking Strategies for the New Music Business 30Joel Denver, president of All Access Promotions, has a background as an on-air personality, a music director, and an editor at R&R , and he agrees. “It’s terrible to go out, garner airplay, and spend all of that time and effort and not have distribution. If you don’t have it, you’re not going to sell anything, especially at the brick and mortar level. It’s also important to have a good-looking Web site, not a lot of bells and whistles, but something that’s clean and operates well. Keep it simple stupid, make sure audiences can ﬁ nd the songs. If you’re going to sell them, make them payable through credit card or PayPal. The idea is to make it a good experience for the person visit- ing the site and listening to the music.” With the consolidation of major radio and the advent of Clear Channel ownership, it might seem that the opportunities for airplay for indie artists are evaporating. Bryan Farrish doesn’t see it that way. “The consolidation is a moot point for everyone reading this. It’s not going to affect anyone. These stations were never accessible. It’s not like something just changed. Thirty years ago [indie artists] wouldn’t be getting on the station.” Joel Denver also sees the glass as half full. “I think there’s an abundant amount of opportunity out there because the consolidation of major labels provides great opportunities for smaller labels to pitch their product and send the music out via Internet. Although a lot of program directors are playing it safe, there are also plenty out there who want to play new things.” Test shows are key to marketing new acts to radio, explains Farrish. “Many markets have something like ‘The Indie Hour’ where they play only independent music.” Again, these program and music directors have 31to be reached, sent the music, and the communication followed up on, something in which an indie radio pro- moter excels. “They have to be reached on the phone, and it’s more difﬁ cult than at college. You can maybe expect only one or two spins, but you can get on the big stations. And there are charts for those shows.” The relationships that a qualiﬁ ed independent pro- moter can bring with him are ultimately of supreme value. It’s also up to an artist or band to foster and main- tain these alliances. Joel Denver shares this example. “I was a music director for a lot of years, so I had deal- ings with promoters. I remember as a program director staging concerts, needing a band to ﬁ ll, and having a relationship with a band in town, so I got them some cartage money, a per diem, and had them open the show. If you can cultivate a relationship with a band and the band goes on to be something, that’s the shit. You’ve got to feel good about helping the band, and they’ll be good to you. The door has to swing both ways; when you work with a local band it should be win-win.” Satellite, Public, and Internet Radio Satellite radio may change all of this. Instead of adver- tising, subscribers pay a fee for unlimited listening to channels that occupy niches and have specialized pro- gramming—world music, hard-core punk, Hawaiian music—every conceivable style. Artist Patti Witten has experienced the successful power of indie promotion. “ I think the future for AAA DIY artists like myself is with public/community radio stations whose mainstay is NPR and PRI programming. Chapter 2 The Modern Music BusinessNetworking Strategies for the New Music Business 32It’s the right demographic, and you can reach the lis- teners who seek alternatives to McClear Channel and that ilk. We want to be heard on World Cafe and Sounds Eclectic and Weekend Edition . Sales spikes are huge after features on NPR, especially if you have a presence on Amazon or the digital download sites. Satellite stations are also a good market for us. Indie promoters who spe- cialize and succeed in these markets will ﬁ nd themselves ﬂ ooded with queries from DIY-ers like myself.” In the major metropolitan center, public radio is a proven taste maker. Here on the West coast we have a station, KCRW, that reaches a relatively small radio audience. However, the audience it reaches is what test marketers refer to as “multipliers”—listeners who can hear a song or an artist and spread the word or take the artist to the next level, such as ﬁ lm directors, music supervisors, and journalists. This tiny station based in a city college in Santa Monica can inﬂ uence the music heard by billions of listeners in movies and television shows worldwide. Through streaming Internet radio, a syndicated show, Sounds Eclectic , a CD compilation by the same name, and the station’s sponsorship of events in Los Angeles, San Francisco, and New York, KCRW’s image belies its origins in the basement of Santa Monica City College. In the City of Angels, eye-popping big screen ads in Laemelle movie theaters advertise to the cinema-going avant-garde. The policy at KCRW is proudly open door. Music director Nic Harcourt esti- mates that the station receives maybe 400 CDs per week, and although only a tiny fraction of them ever make it to air, literally everything that comes in is heard.33chris and thomas: Acoustic Essence Returning from a weekend in Joshua Tree, singer/song- writer duo chris and thomas were greeted by multiple phone messages from excited friends who had heard one of their songs on-air on KCRW-FM. It was news to the pair, whose EP, The Vista Street Sessions , was passed on by a mutual friend to the station’s music director, Nic Harcourt. The inﬂ uential DJ programmed it on his show, eventually included it on NPR’s syndicated Sounds Eclectic , and introduced a national audience to the rustic realness of chris and thomas. Chris Anderson from Memphis, Tennessee, and Thomas Hien from Munich, Germany, are connected via a trans-Atlantic bond. Island hopping in Greece, Anderson, soon to be a student at the Liverpool Institute for Performing Arts (LIPA) in England, ﬁ rst met a friend of Hien’s who connected the two long distance. Eventually, Hien came to visit. Anderson recounts his initial sighting of his future partner in the Liverpool train station “… with a cowboy hat, a John Lennon pinstriped beige and blue suit, python skin boots, sun- glasses, and a big metal briefcase.” In time, Hien too was enrolled in LIPA, where he lived with Anderson and a group of student musicians. chris and thomas discovered their shared afﬁ nity for the English folk music of John Renbourn, Sandy Denny, and Bert Jansch, but their ﬁ rst major co-venture was multimedia. Teaming up with a local art maven, they devised Cook Au Van , whereby they would tool across Europe in a truck converted into a cooking/eating space, invite celebrities like Bill Drummond from KLF and Jarvis Cocker from Pulp onboard to create dinners and Chapter 2 The Modern Music BusinessNetworking Strategies for the New Music Business 34videotape the proceedings. Anderson, who was behind the camera, stayed in England to edit and shop the project. Meanwhile, Hien relocated to Los Angeles, where he knocked around the commercial songwriting scene while Anderson attended art school in Devon, England. Eventually the two reconvened, this time in Hollywood. “For a year we locked ourselves in the house writing and playing—a great year of being creative,” reminisces Hien. To document their songs and prepare arrange- ments, they recorded live with guitars, banjo, mandolin, and the occasional creaking kitchen chair. When singer/songwriter Alexi Murdoch heard these homespun sounds, he invited chris and thomas to open his show at the hip Hollywood venue, the Hotel Cafe. Having never performed live as a duo, chris and thomas prepared by playing an open mic at an L.A. club. They actually took their own mic, a single AKG condenser, and gathered around it like some modern- day Carter Family, with no additional ampliﬁ cation. The simple presentation underscored the honesty of the songs. Recalls Hien, “We thought the audience would hate it because it’s vulnerable music. We got done and it was really quiet, then huge applause. After that we were ‘Wow, man!’” Naturalness remains the duo’s most the- matic through line. “That’s what it seems to be about,” confers Anderson. “It feels like the music doesn’t belong to us—it’s almost automatic.” Boosted by the Alexi Murdoch show, and aided by Harcourt’s continued airing of their music on KCRW, chris and thomas were in demand as they presented their unadorned art to a growing audience. “For the ﬁ rst 35two months we didn’t book any gigs,” notes Anderson. “They called us.” They have since signed with major management and are ﬁ elding multiple label offers for a ﬁ rst full-length album. They also have placed a song in a documentary set to screen in 90 European cities. It was the same friend of Hien’s whom Anderson met on the Greek island of Mykonos who passed chris and thomas’ CD to Nic Harcourt. Serendipity, perhaps, but the success of the duo is testimony that music illu- minated by purity and conviction is the most appealing sound of all. The Vista Street Sessions is a rare gem of exquisite song craft, intimate, understated performances, and the magical blend of two singers breathing together as one voice. “The music is like our friendship,” says Chris. “Effortless,” afﬁ rms Thomas. Music Publishing: The Way In Songwriters are no doubt familiar with the term, “No unsolicited material.” The best way to make contact with a publisher, or anyone else in this industry for that mat- ter, is direct referral by an attorney, another songwriter, or a representative of ASCAP, BMI, or SESAC. Two key songwriting events mentioned elsewhere in this book, the West Coast Songwriters Association Conference and the Durango Songwriters Expo, present unprecedented opportunities in comfortable, supportive environments. A music publisher’s willingness to connect with songwriters in controlled situations does not mean that he or she may be pitched to at will. Before contacting any company you should ﬁ rst know what types of music they publish, recent credits, where their strengths lie, what Chapter 2 The Modern Music BusinessNetworking Strategies for the New Music Business 36they listen for, and whether they’re accepting material in order to determine if you might ﬁ t in. It is important to understand songwriting/publishing terminology, to know what a sync license and a mechani- cal are, what constitutes a copyright, and the meaning of a reversion clause. Be aware that if you declare to a pub- lisher that you want to “sell your songs,” you’ve just given yourself away as an amateur. Songs are never sold, they are published, covered, or collected. The days of “selling songs,” thankfully, ended decades ago. (You can educate yourself about the business by reading Music, Money and Success by Jeff and Todd Brabec and The Craft & Business of Songwriting by John Braheny.) The bigger publishers generally deal with artists who are already signed to major record deals. If they sign songwriters, they are most interested in writer/produc- ers, especially those who have already attained cuts on their own. Having a publishing deal will make you more desirable as a collaborator, and publishers often make co-writing matches. Even if you’re signed to a major publisher, you’ll still be expected to hustle up outlets for your songs through your own contacts. The most viable outlets for new songs are ﬁ lm and television. Networking Strategy for Songwriters The days of the unattached writer of a single song are long over. Songwriting is a political proposition. If you look at the Billboard charts, you’ll observe that virtually all of the songs in top positions are co-written. But the right music publisher is an integral part of songwriting success—proof that someone believes in you and your songs.37Major and Indie Labels Enthusiasm is a wonderful quality, but imagine running into a friend who has a band and hearing him proclaim the following: “Hey man, come and check out our gig. Capitol Records is comin’ down!” Interesting notion, that. Is the entire Capitol Tower coming down? If so, there won’t be room for anyone else in the club .The reality is this: An individual is coming down to hear the band, and he’s currently employed by Capitol Records. But guess what? He may not be there next week. Steady employment in the music business is a volatile proposition. Therefore it’s imperative to comprehend this credo: Your relationships should never be with companies, rather your relationships should be with the individuals working in the companies. I’ve known many artists who were championed by an A&R executive who signed them to his company. Six months later, when he’d exited the company, the art- ist was orphaned, with no champion, no advocate. This can lead to a project being “shelved” and never released. At this point, the artist has no choice but to either sit out the contract or repay any advances and recording costs—a very expensive proposition. But as I’ve stated before in this book, change is good. For example, the A&R person who is interested in you will probably be moving on to a better position at another company, and now you’ll have a contact there. So it may be better all around. The dominance of major labels is clearly coming to a conclusion. Indie labels—freethinking companies often Chapter 2 The Modern Music BusinessNetworking Strategies for the New Music Business 38started on a shoestring and propelled forward by the strength of the music—are at the creative center. These ﬂ edgling ﬁ rms’ partnerships with international power- houses complete the circle. Like the great companies of the past—Atlantic, Vanguard, Asylum, Motown—power is being returned on the strength of the music. Music Biz Marionettes: Who Pulls the Strings? As infants squalling away in our cribs, mommy comes in, picks us up, and makes everything OK. As adults, we learn to solve our own problems, create our own realities, and quell our sobbing (maybe). Some music business aspirants never move beyond the infantile phase in their thinking, performing in substandard backwater venues, recording endless demos, and imagining that somehow, somewhere, some powerful music industry executive will sweep down, lift them up, and ﬂ y them into the stratospheres of fame. The mythologies of show business are rich with such enticing tales, but they’re ﬁ ctional. In this era, any- one hoping to get a foothold in the multi-billion dollar record business has to prove themselves—locally, region- ally, or internationally—with compelling music and an undeniable career trajectory. This is equally true for aspiring record company, management, or music publishing executives. No one comes from nowhere. There is a direct through line to the energetic college student who books shows for her university, the tireless volunteer with a local songwriter organization, the band who will drive 12 hours to per- form a 20-minute opening slot, the intern who takes 39initiative, and the artist who won’t wait for a venue to call back. They will create their own success. I recently helped a college student acquaintance of mine land an intern gig at a record company. After the second week, he called me complaining that he’d not yet done anything even remotely musical, but had only carried boxes around. “And what’s in those boxes?” I queried. Hey, no one starts at the top. The late composer Henry Mancini was once quoted as advising, “Don’t be in the music business. Be a music business.” If you’ve sold only one CD at your gig… Congratulations, you’re in. Validation Art validates its creator. Many times, aspiring and needy recording artists or songwriters will make contact with the industry simply because they need to be heard. Often, they are not even pursuing a real music business career, per se, but they have wrestled some musical cre- ation out of the depths of their psyche, and they want someone else to hear it. It’s like a sonic mirror, and they need the gratiﬁ cation of reﬂ ection. If someone wants to spend money to try to get into the music business, believe me, someone will be there to take it. It doesn’t matter how much you spend, however; if you don’t have the goods, you won’t progress any fur- ther. I’ve watched while artists and their supporters have given immeasurable sums of money to demo submission services, so-called music business insiders, questionable lawyers, and over-billing public relations ﬁ rms. None of Chapter 2 The Modern Music BusinessNetworking Strategies for the New Music Business 40these dollars spent did any good—except, of course, for the recipient’s bank account. You cannot buy your way into this business. American Idolization I was in England a few years back when I took note of the television show Pop Idols , featuring a competition between singers with the winner determined by the votes of an immense television audience. My students at LIPA—hipper than hip musicians—despised the concept, but I was mesmerized by the potential cross- marketing that could be achieved. I was not surprised, then, when a U.S. version, American Idol, became a smash hit. These types of shows are nothing new. Major Bowles Amateur Hour was the American Idol of its day, and Star Search also had its audience in the ’ 80s. From an entertainment standpoint, these shows are a hoot and, I confess, a guilty pleasure for me as well. The buffoonery aspect is the ﬁ rst hook. In the prelimi- nary round, audiences like to see someone act dumber than they do. In the U.K., it was explained to me, audi- ences always root for the underdog—the singer with the speech impediment; a vocalist who doesn’t have the same svelte shape as the others. This is true to a degree in the U.S. as well. The overweight teddy bear, the single mother, and the nerd turned glamour boy have all found fame. Such shows have given voice to the screaming school of vocal histrionics, where every note sung is divided into interminable syllables and wrung dry. I was in Ohio watching the American Idol show at my parents’ house 41when my mother passed through the room and observed a shrieking contestant competing in the ﬁ nals. “I don’t know if she’s good,” commented my mother, “but she sure is loud.” This show embodies multiple layers of classic enter- tainment. It’s funny, with its humor built on cruelty and laughing not with but at those deluded into thinking they have talent at the early auditions. Then there is the pathos of “rags-to-riches” stories, with Cinderella-like transformations of the winning contestants from geeks to gods and goddesses. And not least, the audience par- ticipation and emotional connections through the voting phone-ins. Truth is, all of those who have found fame on this show—with the notable exception of one William Hung—have been working at their craft for most of their young lives. They are well-seasoned professionals with a fanatical devotion to their craft and unerring instincts toward their art. As alluring a fantasy as it may seem, no one comes from nowhere. Britney Spears, Christina Aguilera, and Justin Timberlake were all Mouseketeers as children. They grew up in the business. This is a through line for those who are called to be entertainers, musicians, and songwriters. In my experience, it is not a choice, but a calling—the undeniable need for expression through music and performance, hard-wired into your very being and the dominant thread in the fabric of your existence. Your identity, not something that happens between 8:00 and 9:00 p.m. on your television.Chapter 2 The Modern Music BusinessNetworking Strategies for the New Music Business 42Summary CD sales are simply one facet of an emerging multi- platform media market. If music were a science, it would be scrutinized, analyzed, and dominated by corporations. Nothing succeeds like the sound of honest music, and we succeed only when we’re honest with ourselves, others, and most of all, our medium.43Personalities PlusCHAPTER 3 This chapter examines the importance of personalities. I’ll suggest speciﬁ c ways to gauge your strengths and possible weaknesses. I’ll begin with 10 shared attributes of successful music biz practitioners. Ten Successful Attributes of Music Biz Professionals 1. Talent As I explained in the Introduction to this book, every persuasive trick in the book won’t help you if you do not have the goods. We all have talent, and some incredibly lucky people are born with it, but for most of us it’s a lifelong pursuit to develop it. And not just musical talent either—it may be a talent for sales, for convincing oth- ers, for offering support and clarity. 2 Training and Education For singers, songwriters, and band members, this should be fairly self evident. You will always beneﬁ t from lessons Networking Strategies for the New Music Business 44and on-the-job experiences, especially by hanging out with those who are more proﬁ cient than you. If you’re more inclined to the business side of things, the same creed applies. Reading about the business you’re in should be the ﬁ rst fundamental rule. I was on a panel recently at an L.A. college with a senior member of the A&R staff of a major record label. “How many of you read Billboard every week?” he queried the room. When a paltry third of those in attendance raised their hands, he noted, “So, you want to be in the music business, but you don’t read the publication every single executive reads?” Billboard, e-mail journals, and Hits! magazine are all available online. If you don’t have a computer, use the one at your local library. You can browse your library’s magazines, too, or simply go to your local Borders or Barnes & Noble bookstore and stand at the magazine counter and read until they ask you to leave. By educat- ing yourself over a period of time, you’ll begin to draw a correlation between executives and events and to demys- tify this multi-level, interconnected business. Universities and colleges offer classes in the music business, although, as I often tell my students, I didn’t have this advantage during my educational years. We formed bands, bought vans, went on the road, and moved to Nashville, New York, and L.A. For me, teach- ing at a learning environment like The Liverpool Institute for Performing Arts in the U.K. or Cal Poly Pomona in Southern California is a welcome afﬁ rmation that, yes, this is a real academic pursuit. As always, the real value of any situation is in the human contacts you make.45 3. A Big Personality Personality bears a resemblance to talent in that some of us are born with it, and others take longer to develop it. The entertainment business is absolutely ﬁ lled with individuals with large personalities—quirky, offbeat, or entertaining. What we relegate to the domain of the personal is strongly inﬂ uenced by levels of conﬁ dence. A strong personality often mirrors a high degree of self- conﬁ dence. It’s not necessary to enter a room like a bull charging into a ring, to buttonhole everyone in attendance, and to dominate the proceedings, but a winning personality is the ability to draw others to you. 4. A Positive Outlook I’ve believe in the ability of positive people to determine the outcome of their own destinies through the strength of their convictions and their winning attitudes. I’ll reiterate my belief here: Positive thoughts and energies attract positive results. 5. Enthusiasm This is not simply bluster and hype, but the honest result of having something to share with others that you feel is absolutely essential. Much of my telephone time as a journalist is taken up in speaking with publicists who call me with pitches for their clients. I can tell when the enthusiasm is real and when it’s simply an hourly billing. It’s not so much in their words, but in the intentions and energies behind them. Music people have a sixth sense for this. In some instances a publicist will ask me to listen to their client with the promise that “This music will absolutely affect Chapter 3 Personalities PlusNetworking Strategies for the New Music Business 46you.” Hopefully, that’s true, because if the music doesn’t affect me, this ploy won’t work again. 6. Entertainment Value If you’re in the entertainment business, doesn’t it make sense that you must also provide entertainment for those with whom you speak and interact? I shared this thought on a panel at a recent songwriter confab and was greeted with some derision by a fellow panelist (somewhat of a curmudgeon, I might add). I was wearing an irides- cent green shirt and multi-colored Mardi Gras beads, acquired at a local wine tasting event. But my outﬁ t made a point, and for the remainder of that day, I was highly identiﬁ able to anyone who wanted to seek me out. Entertainment is not limited to the in-person effect. In Chapter 6, “Telephone and E-Mail,” I talk about the importance of “Giving Good Phone.” In our lives and businesses, as we transmit the power of entertainment, we must have our own intrinsic performance value. It’s called playing the role—it’s what a lawyer does in a courtroom, what determines a dynamic minister in a pulpit, what makes a police ofﬁ cer a ﬁ gure of authority. 7. Desire and Determination I put desire and determination together because I believe they’re interrelated. Desire is a wish, a craving, and a longing, while determination is a ﬁ rmness of purpose, will, and resolve. My hair-cutter, Armando, is full of intriguing insights. Born and raised in Los Angeles, he recently observed, “It takes you guys from these weird small towns to come out to Hollywood and kick ass.” I found this interesting on a number of levels, and he’s right. There does seem to be a disproportionate number 47of success stories that emanate from transplants from the middle of the country. When I was a kid, I resented the fact that I had been born in the middle of Ohio. But I realize now that it was this very fact that helped provide the determination and focus of my career. Because we didn’t have a music and art scene, my friends and I invented one. We created our own venues for music and performance. It was these inclinations that bonded us to each other. Yes, we were viewed as outsiders, but this alienation found an outlet through art. Just getting out of Lima, Ohio, was my beginning, when I understood that I couldn’t make a living there, that I would have to leave the sanctuary of a loving fam- ily, to ﬂ y from the nest, to live in poverty in strange cities and on the road. Leaving home propelled me and fueled me with the energy I have to this day. Rarely is anyone lucky enough to stay in a comfort zone, especially at the beginning of a career. 8. Commitment and Timing People sometimes say, “If I don’t make it in a year, I’m going to do something different.” Oh boy. What do you think will happen to the career of someone who states an objective constructed around time constraints? Time is relative, ﬂ exible, on a continuum. In our careers, although we can invent goals and look toward mile- stones, attempting to align ourselves to a time grid is a self-defeating proposition. As I stated at the onset of this book, we cannot make things happen, we can only put ourselves in the position where things can happen. This may take years, decades, Chapter 3 Personalities PlusNetworking Strategies for the New Music Business 48or even the time of an entire career. Music, and the life we live creating and working with it, chooses us. If we give ourselves an out, that dreaded “something to fall back on,” we’re negating and undermining our deter- mination. Sure, we might have to step back, access the situation, open our eyes to new possibilities, and create variations on a theme. But if our commitment is not total, we can’t expect others’ reactions to our art and work to be 100 percent, either. 9. Create Your Own Opportunities You will not be spoon fed in the music business. This I can guarantee you: The only person who can elevate you is you. Those who walk a successful career path have trained themselves to do so. Virtually every powerful manager, agent, or promoter in the business began on very humble ground, promoting local shows, handling beginning artists, booking high schools, colleges, or local shows. Don’t say “I’m thinking about…,” “I’m consider- ing…,” “I’m wondering….” No. Those of us who succeed in the music business have no other options. It’s who we are. Do it now, always, forever. 10. Understand When to Permit Emotion to Overtake Logic “My college professor told me that I have a better chance of winning the lottery than getting a record deal,” admit- ted a dejected music business student. Oh great, just what we need, another cynical academic deﬂ ating the dreams of a student. Shame on the teacher for spouting this drivel. What if he’d said this to Bruce Springsteen, Michael Stipe, or Andre 3000 and Big Boi from OutKast? We’re talking apples and oranges; there is simply no relationship between winning a game of chance and 49building a career to the point where a major record label would be interested in an artist. As discussed throughout this book, a major-label deal may not even be the best road for an enterprising creative artist, particularly at this historic time, when independent artists are emerging as new power brokers. Speaking of record deals, a friend of mine recently had two labels regularly coming to his shows, interested in signing him. He attempted to play the two compa- nies against each other, to up the ante so to speak, and ended up alienating both labels. He was attempting to determine which company to sign with based on his analytical mind, breaking down advances, percentages, and other contract details, when he should have been paying attention to the emotional commitment offered by an earnest A&R man who genuinely believed in the power of his music. Lawyers and managers are paid well to be analytical. Understanding the business is, of course, a prerequisite to being in it, but don’t permit logic to derail your heart and soul. Because if you were truly logical and normal, you wouldn’t even be in the music business, would you? Negative Notions We know them all too well: naysayers, pessimists, prophets of doom and gloom. “A&R people wouldn’t know a good song if it bit ‘em on the butt” or, “The record companies are crooks and gangsters,” or, “Commercial music is such bullshit.” Negativity is a tellingly potent force. It often manifests itself in character traits including Chapter 3 Personalities PlusNetworking Strategies for the New Music Business 50self-doubt, lack of self-worth, and low self-esteem. It is also highly contagious. If we allow them, negative people have the power to deﬂ ate us, to bring us down to their level—in short, to make us feel bad. As a longtime player, I bristle when I hear put-downs of the music industry from those who want to enter into it telling me that the business to which I’ve devoted the majority of my life is a sham, a con, a dark netherworld of shady characters and disreputable operators. I’m also keenly aware that this can be a self-defense mechanism used by those who doubt their own abilities. After all, why bother to succeed in an industry that’s such a shithouse? They’re projecting their own sense of doom on an entire business. In music, as in life, optimists are much more suc- cessful in reaching career heights. Much of this has to do with the power of self-fulﬁ lling prophecy—those who expect to succeed will do so. There is an attendant human factor, too: Positive energy attracts positivity, and positive people attract others to them. This is, of course, essential in a business built on buzz, fueled by the energy and the eternal promise of “the next big thing.” Savvy business people clamber to get on a train that’s already up and rolling. Since music and the businesses it supports are interactive, it is our quest to attach ourselves to others in the same service of success. There is even scientiﬁ c evidence proving that opti- mists live longer, have more productive lives, experience less illness (mental and physical), and achieve far more than pessimists, because an optimistic frame of mind modulates the nervous system. A study of ﬁ rst-year law 51students at UCLA showed that optimists had higher lev- els of disease-ﬁ ghting killer cells in their blood than did pessimists. So, in planning your course of action, keep in mind that it will always be easier to change the way we think about the world than to change the world itself. The Put Down I was asked to critique a self-penned bio for a new acoustic duo that included the phrase “In this age of negligible, overproduced music.” I advised them to edit this line out since it was clear they’d superimposed their own prejudices and opinions into a piece that should have been uplifting and about their music, making it shine in comparison to others. Also, they might be pitch- ing themselves to the very executives who had signed, produced, or promoted that “negligible, overproduced music.” Passing judgment on music is a dicey proposition. When my students in music schools make grave pro- nouncements based on their prejudices, I gently remind them that musicians aren’t the ones buying records—it’s the general public. Pop music, speciﬁ cally, seems to raise their hackles (and of course the more it sells, the more my students detest it). My British students detest American country. Sure, certain styles of music speak to us and others don’t, but as music people it’s essential to be open to all forms of expression. If you hear a form of music that’s unfamiliar, begin analyzing it. What are its reference points? What do the performers look like? Chapter 3 Personalities PlusNetworking Strategies for the New Music Business 52What is their audience? What are the other connecting points—for example, the fashion, politics, or lifestyles? Over roughly two decades, hip-hop music (with estimated annual CD sales of $2.8 billion) and its sur- rounding culture, have become an indomitable force. On occasion, I’ve heard harsh judgments made on rap and hip-hop—“That’s not music,” being one of the kinder pronouncements. Judgments such as these serve only to diminish my opinion of the speaker. It also makes me wonder if they dislike black music or black people. I recall the “Disco Sucks” craze of the late ’ 70s. Did those who were burning their Donna Summer records hate the relentless beat, or did they dislike those who were danc- ing to it in the discos? Whether it is teen pop or Tuvan throat-singing, I contend that there is something to be learned from every form of music. What is often being projected by harsh and negative judgments is a closed mind and jealousy. If someone says to me, “I hate rap music,” I am appalled that they can put the words “hate” and “music” into one sentence. This is not an individual with whom I would choose to work. Negative to Positive In order to break through, it’s essential to eliminate the negative people in your life. (OK, maybe they are mem- bers of your family, or even your spouse or partner, in which case you must acknowledge, and then eliminate, their negative inﬂ uence over you.) As children we are programmed in very speciﬁ c, often unintentional, ways by our families. To reconﬁ gure our patterns of thought, 53it is ﬁ rst essential to identify the traits in ourselves that amplify negativity. I was once working in a music industry position that required interaction with a large staff. One of the key employees would invariably attend planning meetings with a scowl on his face and would begin every sentence with the phrase “The problem with that is….” Whether we were planning a show, a conference, a publication, or an event, he was the one dark cloud hovering over the conference table, always predicting the dire outcome of events that had not yet transpired. I remember him rushing backstage after one of our shows and remark- ing, “Great show; the only complaint I’ve heard so far…” before I stopped him. He was taken aback. “You don’t want to hear criticism?” he asked. “Not while the applause is still ringing in the hall,” I insisted. You can probably guess the outcome of his history at the company. When cutbacks were made and restruc- turing was announced, he was the ﬁ rst one to be let go. In collaborative relationships, there is a value in having a team member who thinks of potential liabilities, but no one wants to exist under the constant onslaught of relentless negativity. No one wants to hear it. When I was managing artists, I would sometimes encounter music business colleagues who were intent on tossing their wet blanket over the proceedings. “What’s up with the guy you manage?” was often the beginning. I would take note if they didn’t call him by name. When I would indicate that we were in preliminary meetings with a speciﬁ c record label, I would hear, “Oh, that com- pany. They’re having a lot of problems over there, aren’t they?” Again, simple negativity.Chapter 3 Personalities PlusNetworking Strategies for the New Music Business 54Find Reasons to Feel Good about Yourself I’m an inveterate list-maker with yearly, monthly, weekly, and daily plans of action. It’s the proverbial “small stuff” that often fuels the most vital day-to-day operations. You can do something everyday for your music business career: doing research on the Internet, reading Billboard at the library, watching and observing videos, mak- ing calls, going out to hear music. When your plans are intentional and charted you have a much better course of action. Check off items that you’ve accomplished. In addition to having made progressive steps forward in your career, you have also achieved something for yourself, and that’s a reason to pat yourself on the back. Remember that your small victories and accomplish- ments will add up in time. Use your time effectively; pick your prime time, then prioritize tasks by asking yourself, “Will accomplishing this help me get where I want to be in ﬁ ve or ten years?” Visualize Your Success An exercise I once used while teaching at the Liverpool Institute for Performing Arts stands out in my mind. In a room full of students, I asked one young man what he wanted to accomplish in his career. “I’d like to make enough money to buy a house,” was his answer. Where would this house be? “On a cottage lane.” What were the dimensions of the house? “An upstairs and a down- stairs.” What color is the door? “A red door.” As we went further down the list, suddenly this ephemeral house he was visualizing began to take shape in his mind. He was 55on his way to moving into it because he’d built it in his imagination. Network with People You Respect and Observe Their Traits Throughout this book I’ve emphasized the value in mak- ing others feel good. When I conducted an on-camera interview with legendary R&B powerhouse vocalist, Patti LaBelle, her ﬁ rst words of introduction to me were a compliment on my sport coat as she reached over and felt the sleeve. A small act, to be sure, but one that spoke immeasurably of her interest, and kindness, to others. I was very fortunate to have come up under the guid- ance of powerful music business mentors. Respect for others and their feelings is a vital trait. I’m reminded that successful people have their own doubts, fears, and struggles, too, so it’s natural that we feel that way as we face the daunting odds of taking our music into the mar- ketplace. The value of aligning yourself with a supportive network of caring friends and colleagues cannot be over- emphasized. Unless you have a crystal ball, you may not know where your contacts will ultimately arrive, but rest assured, if you’re around strong, upbeat, positive people, they are likely already on their way to formidable desti- nations. And hopefully, so are you. The Smooth Road This week I moderated a hit songwriter panel in Hollywood at the DIY (Do It Yourself) Convention. It was a formidable panel, assembled by BMI, with my guests including Chad Hugo, one half of the multiple Chapter 3 Personalities PlusNetworking Strategies for the New Music Business 56Grammy Award-winning writing and production duo, The Neptunes. At the conclusion of our allotted time, we opened the room up to questions from the attendees. One young man strode to the mic and announced, “I’m here to give my CD to Chad Hugo from The Neptunes.” Chad explained that because of the legal ramiﬁ cations, it was not possible for him to accept material. You’re probably familiar with the scenario where an unknown songwriter claims his song was stolen by a famous artist. Undoubtedly, most of these cases have proven to be entirely without merit, but what must be proven in every instance is access. Record labels, recording artists, producers, or songwriters who accept material from an unknown source run the risk of open- ing themselves up to future legal liability. Of course, the more successful the recipient, the greater the probability that this might occur, and only successful, income gen- erating songs are ever deemed to be “stolen.” Hence the famous “No unsolicited material” credo. But the legal challenges are secondary. The most telling action by this young man was that in his mind he had deduced that the quickest way to the top was via someone who was already there. When I pointed out that he needed to ﬁ nd the next Chad Hugo, or Neptunes, or Matrix, or Jimmy Jam and Terry Lewis, he indignantly countered with this proclamation: “It’s like a Cadillac. I want the fastest, smoothest ride. That’s The Neptunes.” Oh, if it were only that simple. No one can make you famous, sail you in on their considerable coattails, and launch your career for you. Of course, having The 57Neptunes craft tracks for you would be amazing. But in a mercantile world, The Neptures reportedly earn hundreds of thousands of dollars for creating a track, and these fees are gladly paid by the record companies. They have their own label, A&R staff, publishers, and managers and are surrounded by an immense support staff. It’s not only two songwriter/producers pulling talented artists from a pool and making them stars but an entire creative mechanism. Myths It is a fallacy, a myth, and a misconception to think that the quickest way to success is through others who are already there. Since I’ve interviewed the best-known songwriter/producers in the business, I’ll have aspiring songwriters ask me, “Could you give my CD to (insert one) The Matrix, Glen Ballard, Jimmy Jam and Terry Lewis?” I have to say “No.” First off, I understand my role in the pantheon of the music business. If I’m there as a journalist or interviewer, and I suddenly start whipping out demos and press kits, I wouldn’t be in this business long, would I? Also, I’d be staking my reputation on the materials I presented. If you play or present music to anyone of impor- tance, nothing can be left to chance: Your talents have to be undeniable. I’ve had publicists rave to me about their clients, but when the music arrives it is sub-par. As a result, I will never trust that person’s judgment again and would certainly be less likely to listen to anything he sent me in the future. This is not a matter of being Chapter 3 Personalities PlusNetworking Strategies for the New Music Business 58cold hearted, but a reality of our business. Time wasted listening to inadequate or badly conceived music is time lost, never to be regained. Plus it’s depressing. Have I ever played anything for any of these lumi- naries I mentioned? Yes, once. It was a track by a new artist, and it ended up being included in a ﬁ lm. Once. In all these years. It’s self protection for the reputation and assurance that anything I present in the future will be of similar, sterling quality. Reinvention As talented people, we are often at a distinct disad- vantage in recognizing what sets us apart from the crowd. We wake up in the morning, stare at the dishev- eled image in the mirror, and go about our daily lives of creating magic—literally, conjuring up something from nothing with music and art. It’s often too easy to overlook the incredible abilities with which we’ve been bestowed. Sometimes it takes someone from outside of our sphere to make us realize how gifted and how lucky we really are. Earlier in the book I referenced my career and its progression through cities, decades, and vocations, with music always at its core. I refer to this evolution as “rein- vention,” and learning when and how to reinvent has been a prime ingredient in my longevity. At every stage in our life, our needs are changing. As children aspiring to be musicians and performers, we were probably motivated by the perceived status and glory of the stars we observed in the popular media. 59Having a burning need to communicate drives many musicians to become songwriters. Feeling powerless motivates many songwriters to become producers, dis- satisfaction with the way the music business is run may inspire a record producer to become a record executive, and so on. Reinvention works only when there is a natural pro- gression between the steps in the business. I was well aware when it was time for me to move beyond playing in bands and writing songs. Not that I couldn’t continue (if I wished), but as the venues repeated, the opportuni- ties dried up, and time ticked away, I knew it was time for a change. Nothing stays the same—either your career is mov- ing up or it’s moving down. I know bands who have stayed their steady course, waiting for a record deal that never comes, who continue to make exactly the same moves, play the same venues, and ultimately burn out their audience. No one wants to go to the same place and do the same things year after year. Human nature requires stimulation. Same Old Same Old Allegedly, Albert Einstein said that doing the same thing over and over and expecting a different result is the mark of insanity. There is certainly truth in this state- ment. The music industry, too, becomes wary over time. Our business is marked by the “newest,” “freshest,” and “hippest.” Artists who aren’t perceived to have these adjectives attached to them will suffer over time. Chapter 3 Personalities PlusNetworking Strategies for the New Music Business 60For example, there was a well-known Los Angeles band who had a residency at one of the city’s most inﬂ u- ential clubs. Even though A&R reps would come and see the group play, after a year the consensus was that if they were so good, why hadn’t they been signed? Here is an interesting reality. It is often easier to sign an artist to a deal if they’ve already had a deal. In other words, even if they’ve been dropped, because their cred- ibility has been proven once, an enterprising record label may be more willing to take a change on them than they would on a new, unproven act. Similarly, it is often easier to have a song recorded if there is a history of previous recordings. We speak of the “herd mentality” in the music indus- try. If we were creating an invention in the “real world,” we would concoct something that no one had ever seen. But in the music business, when a trend connects, there is a rush to duplicate the initial successes, be they shoe- gazing emo rock bands, lithesome pop singers, recently jailed hip-hop felons, or ﬂ ag-waving country acts. If the public has bought something once, they will buy it over and over again. And herein lies another paradox: Pop music is a savvy combination of what is fresh and what is familiar. Summary Discouragement can be a fact of life in all of our endeav- ors. I’ve witnessed multitudes of people who can no longer navigate the treacherous currents of the music business and choose to make their lives elsewhere. This is good: It creates more opportunities for the rest of us. 61I’m no Einstein, but here’s another theory: You can’t get out of a business that you’re not in. In other words, you’re not really in the business if you don’t give it your full commitment. Do you need stability in your life? A steady pay- check? Odds are, you won’t have it in the entertainment industry, especially in the early stages of your career. It’s a business where not only do you have to walk the path, you also have to clear the brush and pave it as well. That’s too much for most normal people. But then again, you’re not “normal,” are you? What did your family tell you about making a living in this crazy business? That you need something to fall back on? If you’re energetic and goal oriented and can create opportunities for yourself, that is your strongest resource; that is your fallback position. In his song “Something to Believe In,” singer/song- writer Shawn Mullins says Don’t let it pass you by Someday you’ll wake up asking yourself why You sat there at your desk Sucking on the corporate breast. If the music is in your soul, it will show you the path.Chapter 3 Personalities Plus62CHAPTER 4 True Tales This chapter examines various true-life scenarios. You’ll venture behind the velvet rope to view the underpin- nings of the music business and its participants. The I’s Don’t Have It Just prior to presenting a two-hour “Networking in the Music Business” seminar at a popular California music conference, I ran into an old acquaintance in the hall- way. Before uttering a single word of greeting, she thrust a ﬂ yer promoting her upcoming show into my hands. “I would come see you speak today,” she informed me breathlessly, “but you know I’ve got this network- ing thing down.” Oh good. This meant I could use her (anonymously, of course) as an example in my lecture that afternoon. The combination of an inﬂ ated ego and a sense of insecurity is a volatile combo, one quite common in the entertainment business. For our purposes, let’s examine 63the simple dynamics of conversation. Some people seem to think of communication only on their own terms: What they project, how they come across, how others perceive them. The exact opposite approach is what works best. Those who begin virtually every sentence with the word “I” are tiresome in any situation. Try beginning any social interaction with a question like, “What new projects have you been working on?” What you’re pro- jecting with this query is interest. You’ve also served the proverbial ball across the imaginary net; when your conversation partner concludes his explanation of recent endeavors, he will in all probability ask you what you’ve got going on. Now it’s your turn. Making others feel important is a vital communi- cation skill. Honestly listening to what others have to say, asking questions to move the conversation along, offering afﬁ rmations like, “It must be wonderful to be realizing this project,” all do wonders to impart a warm glow. But you have to be truthful, to honestly care, to make this work. The Power of “You” Here’s an interesting note on verbal communication. Suppose your friend or romantic partner drops you off at home following a fun day of recreation. You say, “Thanks, I had a really good time.” Now examine the emotional impact of that reply compared to the added signiﬁ cance of this variation: ‘Thanks, I had a really good time with you.”Chapter 4 True TalesNetworking Strategies for the New Music Business 64Note the difference? You’ve connected the emo- tions of your pleasure to the presence of another person. You’ve included them in response to you. It’s an easy way to give added impact to your declaration, with just the addition of the word “you.” Could’a, Should’a, Would’a When I was a beginning songwriter and ﬁ rst experienc- ing industry interest in my songs, I made a common mistake—I talked about something before it happened. My co-writer and I had a song recorded by a major star of the day. I was so thrilled that I told everyone within hearing range about this coup—friends, family, audi- ences at gigs where I was performing, complete strangers at parties. As time went on, and I encountered these folks again, invariably they would ask me, “So, what’s happening with your song?” Time went by, the artist changed producers, labels, and direction, and the song was never released. Meanwhile, I had credibility issues since my big break that I’d trumpeted so proudly went belly-up. Here’s some categorical advice on the subject: 1. As my big brother used to caution me back in Ohio, “Almost doesn’t count in anything but horseshoes.” 2. Recording artists, particularly in Nashville, think noth- ing of putting a hundred songs presented by songwriters and publishing companies “on hold.” Sure, they may be interested in cutting them, but there is also a theory that they’re taking the good songs—those written by other 65writers that may otherwise be recorded by their chart competitors—out of circulation. 3. No song is for certain until it’s released. Artists typically record more songs than they need for any given project. 4. The calendar of popular music has little relationship to the real world. 5. Artists, ﬁ lms, and television shows can all be dropped, and songs can be replaced up until the last possible second. 6. You’ve got to have more than one thing going on. Obviously, the more irons you have in the ﬁ re, the greater probability of one of them turning red hot. 7. The tired phrase “we’re waiting to see” is a dead giveaway that nothing is happening. People who have it going on don’t ever wait. 8. Thanking others for your successes projects a welcome sense of humility. For example, “it was an honor to” perform at a beneﬁ t, to have a song recorded, to open a show. “We were surrounded by brilliance.” 9. Admit when things don’t turn out without conveying rancor or bitterness. No one likes a sore loser. 10. Keep in mind that it’s not only our successes that endear us to others, it’s our willingness to survive the swells of adversity, to persevere, to take the hits and get back up.Chapter 4 True TalesNetworking Strategies for the New Music Business 66 12. Always crowing about your the next big thing and having nothing materialize will greatly damage your credibility. 13. Better to be enigmatic and slightly mysterious than to be overblown and pretentious. People who really have it going on don’t have to tell you about it, and it is better to exude quiet conﬁ dence than project the bellow of a human bullhorn. It’s much better to have someone else speak positively about you than to huff and puff and emit endless clouds of self-serving hype on your own behalf. Given my back- ground in sales and public relations, it is very natural for me to tout the accomplishments and talents of my friends and colleagues. In turn, when I’m out socially, many of my close friends in the business return the favor. If someone tells me “My band is amazing,” I ﬁ le away this information in a little dumpster dubbed “Hype.” Having someone not in a band tell me “I saw the most amazing band last night!” intrigues me, especially if I trust that person’s judgment. Nothing is more effective in marketing than word of mouth. Having someone else speak on your behalf is much more effective than blowing your own horn. If you honestly believe it and promote your friends, they’ll do the same for you provided you’ve got it going on. You’re It Tag teams are equally effective in other social situations. In Chapter 5, “Making Contact,” I speak about the value of, and the tricks for, remembering names, but of course 67there are instances when we all forget. If I’m out socially with a music industry tag-team partner, we’ll discuss this contingency beforehand. “If I don’t introduce you by name in the ﬁ rst 30 seconds, introduce yourself,” I’ll explain. The unnamed party will then offer his name for all to know. If you do attend events with others, make sure you share a common agenda. I don’t take romantic part- ners with me to business events. If given the option, I’d rather invite a friend whose social skills I trust and who is a devotee to Networking Strategies. One of my close business friends is an executive in the music publishing division at a major Hollywood ﬁ lm studio. His perspec- tive on the business is much more market savvy, more bottom-line dollars and cents, than my often-Quixotic outlook. But between us, we’ve got it covered, and the contrasts are what make us an effective tag team socially. He also possesses an acerbic sense of humor, doesn’t take himself too seriously, and sees the big picture and knows where he ﬁ ts into it. Bridges Aﬂ ame I mention this friend for another reason. As he was coming up in the world of music publishing, he was employed by a veteran music publisher who had been in the business for decades and who represented some very lucrative catalogs. My friend worked endless hours, endured the “low man on the totem pole” position, and was not rewarded monetarily for his work since his boss was extraordinarily cheap. He ﬁ nally left that company on good terms, but he considered writing a letter to the Chapter 4 True TalesNetworking Strategies for the New Music Business 68boss, telling him of the indignities he’d suffered—a “kiss-off” letter. Fortunately, he reconsidered. And a couple of years down the road when the music division of one of the world’s largest ﬁ lm studios was looking for an executive, they called the veteran publisher for a recommendation, who referred them to my friend. Celebrity As an interviewer and journalist, I often ﬁ nd myself in the presence of the foremost hit makers in American music. Meeting these legends is a consummate thrill, but I can never lose sight of what I need from them: credible interview material. Earlier this year, I was at the Bel Air home of Quincy Jones for the taping of a video segment commemorating the anniversary of the performing rights organization, ASCAP. Mr. Jones, of course, is one of the most cele- brated record producers in history. As the video crew set up in anticipation of his arrival and a maid served veg- gies, fruit, salsa, and chips (a nice touch), I looked over my notes and thought ahead to what I would say when I was introduced to the pop maestro. Although a number of possible scenarios ran through my head, I realized the interaction would take its own course. The video producer brought Mr. Jones to the corner of the room where we’d arranged the set and introduced us. I shook Quincy Jones’ hand, looked him straight in the eye, and said “Hey man.”69“Hey man,” responded Quincy Jones. Amazing. Everything I know and have experienced in the trenches of the music business was distilled down into those two words. I didn’t prostrate myself at Mr. Jones’ feet, tell him what an inspiration he was and what a profound honor it was to meet him. My instincts com- manded me to remain casual and relaxed, mirroring the energy I felt emanating from Mr. Jones. Living in Los Angeles, where it’s not unusual to see Brad Pitt at a local eatery, Ben Afﬂ eck in a Porsche on the Santa Monica Freeway, or Beyonce shopping for bling, celebrity is serious business. But my business is music, and I’ve found that when I interview celebrities, what they enjoy most about my interviews is that I never ask them typical, celebrity-driven questions. I save that for the supermarket tabloids. My only concern for inter- views is music and its creation. From Clint Eastwood to Metallica, Queen Latifah to Brian Wilson, I’m reminded of what draws us together as creative people. There is no “Us” and “Them.” It’s all us. Ten Strategies for Interacting with Celebrities Sometime in your career, you will meet people whom you or the media consider celebrities. As always, your instincts will guide you, and your communication skills and level of self-conﬁ dence will determine the outcome of this contact. Following are some tips to keep in mind when the opportunity arises to interact with celebrities.Chapter 4 True TalesNetworking Strategies for the New Music Business 70 1. Always keep in mind that they’re just people, too. Acknowledging their music or contributions is ﬁ ne; just don’t overdo it. 2. Know where to draw the line at being a fan. Make no mistake, celebrities love fans, but they don’t work with them—no autographs or photos, please. 3 Respect their physical space and observe their interac- tions with handlers, managers, publicists, and so on for cues. 4. Don’t be presumptuous. 5. Be careful not to age them. Telling a diva of certain years that you listened to her “when you were a little boy” will not endear you to her. Trust me! 6. If you do need to initiate conversation, ask general life questions as opposed to career questions. For example, “Are you in town for the show, or will you have a chance to enjoy the city?” 7. If you know someone in common, this is can be an excellent ice-breaker. This always works well for me. A word of caution, however: Since human relationships are volatile and ever shifting, make sure that the name you drop is of someone with whom the artist still has a good relationship. 8. Don’t offer information you haven’t been asked for, such as your current projects, your political opinions, or artistic/musical judgments.71 9. Never put pressure on a musical celebrity to listen to or look at… anything . 10. Keep the doors open. Let them know how much you enjoyed meeting them and that hopefully you’ll see them in the future. How Would I Reach You? This is fresh to me since it happened last night outside a club in Hollywood. I interviewed a hugely success- ful songwriter/producer at a monthly event, “The Songwriters Studio.” As he left the venue, he was accosted in the foyer by an aspiring singer/songwriter who offered, “I don’t want to waste your time, but I’m going to want to contact you about a year from now. How do I get hold of you?” The hit maker answered, “Dan knows, just ask him,” and walked away. By making me responsible, the hit maker gently deﬂ ected the inquiry, but I mention this story for another reason. The aspiring songwriter projected his insecurity with his vague “a year from now” dialogue; therefore, his inquiry served no real purpose other than to foist him in the hit writer’s face for a nanosecond. Knowing how to contact someone is one of the arts that must be mastered in our business. It’s not the responsibility of the contactee—in this case the hit writer—to offer up his contact information. Finally, it’s off-putting and pretentious for a beginning songwriter to assume that this multi-platinum, Grammy Award Chapter 4 True TalesNetworking Strategies for the New Music Business 72winning legend would remember him a year from now—let alone want to work with him. Who Needs You? I recently lectured to a music business class at a well- known California college and the next day received the following e-mail. Dear Dan, I attended your class last night. You were talking to stu- dents afterward and I didn’t want to disturb you, so I’m sending this e-mail instead. All my life I’ve dreamed of being a lyricist. I know I have what it takes to make my dreams come true. In class you said you’re writing for a Web site and that one of the founders is Kenneth “Babyface” Edwards. Would you please give the attached lyrics to him so he can put the music to them? Thank you, A Talented Lyricist Following is my reply: Dear Talented, I don’t wish to sound cold, but in my opinion Mr. Edwards probably does not need you. Whitney Houston does not need you either. Nor does Celine Dion or Toni Braxton.73Why? First of all, if you are a songwriter who writes lyr- ics, you need to ﬁ nd collaborators who create music so your songs can exist as a complete unit. But I’m far more concerned about other issues. Dreams are wonderful things. Indeed, most creative people share the ability to see beyond the mundane limitations of everyday life. Goals are dreams with deadlines. In establishing your career in the music business, you need to understand the marketplace for your material and the realities of it. It’s only when you seize control of your career that you succeed. Find acts and artists who are coming up, who require direction and material. Instead of looking up and fantasizing about Babyface, look on your own level to ﬁ nd the next Babyface, Timbaland, or Diane Warren. Attach yourself to people whose success you can pre- dict; indeed, be one of them yourself. When you buy into the “overnight success” mythology you set yourself up for disappointment and exploita- tion. The music business is built on relationships. In my decades in this business, every deal I’ve seen go down has been the result of a personal contact. It’s all about hard work, dedication, perseverance, and people skills. I have never known anyone to start at the top. Something else bothers me. You were too shy to come up and talk to me after class. I came there to meet you, to offer any advice that I could, to make contact. If you were not assertive enough to make my humble acquaintance, how intimidated would you be in the presence of a platinum hit-maker?Chapter 4 True TalesNetworking Strategies for the New Music Business 74I’ve read your lyrics and I agree: They do have potential. But you’re selling yourself short by fantasizing about a relationship that is virtually unattainable. Babyface will not ﬂ y out of the woodwork, give you a check for a million dollars, and make you famous. But some- where—maybe even in your class—is an artist, a writer, or a producer who has the talent and determination to go all the way with you. This is exactly who needs you. Best Wishes, Dan Kimpel Look Around As I mentioned in my response, as music professionals we need to become clairvoyant, to be able to ascertain which of those we encounter have the necessary ingredi- ents to go all the way, and to align ourselves with them while we have the chance. By the time someone becomes successful, they’re far too immersed in their own career to have time to think about yours. Music professionals are most comfortable with those who are on the same level they are—major producers work with major talent, and hit songwriters write for hit artists. I have been contacted by songwriters who are convinced that they have the next Faith Hill single. “I just have to get it to her,” they’ll tell me. There is no rule that determines that only the best songs get recorded, only the most masterful artists get signed to record deals, and only the most deserving among us have long and proﬁ table careers. Certainly unknown songwriters also have the tools to create 75stunning lyrics and music, but it’s not enough to simply have these skills. Access and a reputation is necessary as well. That’s what this entire book is about. Understand, Faith Hill is a huge talent, and most of the songwriters and artists in Nashville pitch songs for her projects. So in order for unknown songwriters to even have a faint hope of getting a song to her, they ﬁ rst have to build a career that puts them on a par with hers. Wouldn’t it make sense that an artist of this magnitude would have the ﬁ nest song crafters in the music business writing songs especially for her? Sixth Sense Music people have ﬁ nely tuned abilities to recognize and encourage future hit makers. I can recall some intrigu- ing examples in my own history—of a young man who was living in his car on the street and two years later was sharing a mansion with Lisa Marie Presley; or the bag boy who was so friendly to all of the customers at a local supermarket and was signed with a multi-release deal for Virgin Records; or the earnest young man from Washington, D.C., whom I hired to sell $20 ads for a music trade publication who is now the president of a successful record label. This all relates to my primary creed—that we cannot make things happen, we can only put ourselves in the position for success. It take tremen- dous determination, force, and focus. And before this must exist belief.Chapter 4 True TalesNetworking Strategies for the New Music Business 76Drugs in the Music Biz When teaching a series of classes, I’ll generally announce the next day’s text. My declaration, “Tomorrow we’ll be doing drugs and alcohol,” is usually met with much applause by my young charges. Of course I don’t plan to turn the hallowed halls of learning into Willie Nelson’s tour bus, but in speaking to the realities of the life of a musician, certain substances bear discussion. I’m certainly no Puritan, but regarding the myths of the musical life, it is imperative to understand what can loom in the way of success. Historically, nothing has robbed musical creators of their gifts—and their lives— like drugs and alcohol. As a child of the ’ 60s (actually, the ’ 70s, but I was in Ohio, and we didn’t get the ’ 60suntil the ’70s), I observed the hijinks of the Beatles, Stones, and the various tribes of the San Francisco Bay area, all seemingly in the throes of psychedelic creation. I was stunned by the losses: Brian Jones, Jimi Hendrix, Janis Joplin, Jim Morrison. Later, the suicide of Kurt Cobain had the same impact on his fans. Drug use affects everyone around you: Your fam- ily, your friends, your fellow musicians, and most of all, your music. For many musicians, it’s a rite of passage, and not everyone moves through it intact. My judgments are based on strict professionalism only; at the level where I operate, people need to be utterly dependable. Any substance or trait that makes them less so will make others less inclined to work with them.77Most music business professionals have operated in an arena where drugs and alcohol are accepted social ingredients. I’ve heard it implied by certain cynics that, back in the day, record labels actually preferred a certain degree of drug dependency from artists because it made them easier to control and therefore more predictable. As always, the way a million-selling artist is perceived with or without substances will be different than the atten- tion given to a new, or aspiring, artist. Times change; if you deduce that your career is stalled by substances, take heart. In the music cities, Narcotics and Alcoholics Anonymous meetings are terriﬁ c places to network. On the Road with John Mayer Reliability and consistency are trademarks of successful musicians. When I interview many rising artists, I’m aware of what they have to endure. Grammy Award winner John Mayer related these rigors to me. “To wake up at six in the morning after doing a show the night before and sing on a morning TV show, you’ve got to rehearse each song three times. If you’re singing two songs, now you’ve got six songs—actually eight songs in the morning, including the performance. After that you go and do radio—another ﬁ ve songs. For every song you sing there’s some jackass who didn’t set the levels right. You’re into the bridge and you get the international arms-waving stop sign. ‘Sorry John, the level’s messed up. Let me hear it from the beginning.’ It turns your voice to chopped liver.” Mayer avows that constant travel, interviews, and early morning performances sap him of vocal subtlety, leaving him with only his more strident vocal tones Chapter 4 True TalesNetworking Strategies for the New Music Business 78to cut through the mix and the exhaustion. Once this whirlwind is underway, Mayer is also concerned that he’s now cursing what he loves the most—singing his songs. Still, the ﬁ nal time in the day that he sings a song is invariably his favorite, because he shares it with a live audience. “I can play my songs a million times as long as it’s in front of a crowd that wants to hear them,” he pro- claims, “instead of a dented microphone that some guy insists is picking up both the vocals and the guitar.” Am I Too Old to Rock? I am not in the business of telling people what they can and cannot do. If you observe the shambling dinosaurs that make up the major-label contingent of the record business, you’ll observe that young teen stars, mostly female, are signed at increasingly younger ages. Even country music—long the bastion of grizzled faces and hat-wearing journeymen—is not immune to the trends, now featuring strapping young men who wouldn’t be out of place on a beefcake calendar. Much of this has to do with the rise of video as a marketing tool. Also, demo- graphics for recorded music purchasing are younger. Let’s face it, new pop music has much more inﬂ uence over those in their teens than those who have moved into subsequent stages of their lives. This is not to say that older audiences don’t buy music—they do. They also buy concert tickets (and mer- chandise) in record numbers. But older audiences are more resistant to new music. They remain more loyal to the artists they grew up listening to. 79The way we come in is often the way we are per- ceived, and even though we need to change career direction, others’ perceptions of us keep us pigeon-holed and limited. Following is an e-mail communiqué that addresses two concerns: one of reinvention and another of ageism. Dear Dan, I’ve been a professional in the music industry for over twenty years. As many of us do, I began as a performer and a songwriter, then I developed another career, where I have worked successfully in a behind-the- scenes capacity. Now, almost two decades later, I’ve decided that maybe I gave up too easily and allowed myself to be discouraged too early. In this coming year, it’s my inten- tion to return to writing songs and performing, but I’m worried about being too old. What advice would you give me? Behind-the-Scenes Betty Following is my reply. Dear Betty, As those of us know, being inside the music business is one key to success in it; in other words, in this notori- ously insular industry it is virtually impossible to come from outside and make an impact. So, in this light, your two decades of experience are laudable because they have given you valuable access. However, one of the realities of having already established yourself as Chapter 4 True TalesNetworking Strategies for the New Music Business 80a behind-the-scenes functionary is that this has now become your identity. As such, your desire to branch into another area of the business may be confusing to those around you. What would you think about a manager who confessed he actually wanted to be a songwriter, or a video stylist who was an aspiring diva? Would they be credible to you? And yes, there is another harsh reality in our business. For more mature performers, this is a chilly climate. One need only to turn on MTV to understand that in an era of surgically enhanced nymphets, maturity is not necessarily an advantage. Unless you consider reincar- nation, we are all given only one life. And many of the teen stars of today have spent that life in this business. There are, however, many opportunities to fulﬁ ll your- self both artistically and commercially. Songwriting, for example, is an area where all that counts is the power of the song. Songwriters are not required to possess any deﬁ nable type of visual allure or to be of a certain age. In fact, some of the most vibrant pop singles in recent memory have been penned by writers well into their fourth, and even ﬁ fth, decades. Synergy is power. Becoming involved in the careers of emerging artists and offering them open windows into the music busi- ness may be a viable way for you to fulﬁ ll your artistry. If you need to write and perform to satisfy your creative soul, you should certainly do so, whether it be in a cof- fee house, a church, or club. But don’t throw yourself into an arena with kids half your age, and don’t be con- sumed by envy of them, either.81Your letter dictates to me that you have the creativity to carve out a viable economic niche for yourself in this business. I would recommend that you continue to apply this same creativity to expanding, reinventing, and enhancing your career while divining new outlets for your creative needs. Good Luck, Dan Kimpel Critical Crises and Drama Queens I was honored to study artist management at UCLA Extension under Ken Kragen. At the time, this venerable and well-respected manager was handling his longtime client, Kenny Rogers, who was embarking on a co- headlining tour of Canada with Dolly Parton. One night, Ken came to class having just received a call on the eve of the show informing him that the elaborate stage set that would be shared by the two artists was too large to ﬁ t into the ﬁ rst venue. The production manager had insisted that Ken ﬂ y north immediately to assess and rectify the situation, but Ken had no such intention. “Crises have a way of resolving themselves,” he commented. Sure enough, when we convened for class the following week, Ken shared that somehow the production manager had made it work. Again, Kragen enunciated his theory that if you ignore a crisis, it will probably work itself out. A few years later, I could hear Ken’s words echoing through my head, even over the thunderous bluster of the manager of Mr. Big Producer who was inches from my face, snarling, “Look, either my client goes on stage Chapter 4 True TalesNetworking Strategies for the New Music Business 82now, or we’re leaving.” The occasion was the award pre- sentation to A Hit Songwriter at an historic Hollywood theater. We had invited Mr. Big Producer to present this award, and he’d shown up with an entourage that included his fashionably hirsute and stereotypically overbearing manager. The songwriter’s publicist had instructed Mr. Big Producer to arrive earlier than neces- sary, and his manager was adamant: Mr. Big Producer would not wait around. He demanded that I change the order of the show so that the award presentation would happen in the middle of the show, not at the ﬁ nale. I called the publicist on my walkie-talkie, assessed the situation for her, then disappeared into the lobby of the theater to handle another situation. Sure enough, when I poked my head backstage a half hour later, A Hit Songwriter and Mr. Big Producer were sitting and jam- ming on acoustic guitars, inventing an impromptu song to duet on when the award was presented. Everyone was all smiles. This story illustrates a couple of truths. First, the manager is paid to be commanding. His only concern was his client. Often artists and producers require some- one to wield absolute power. Being heavy-handed works for some managers whose agenda is the well-being of their clients. Second, when the human element was introduced to the so-called “crisis”—the music—the interaction between Mr. Big Producer and A Hit Songwriter smoothed over the situation. The music won. Third, the publicist had erred in requesting the early arrival of Mr. Big Producer, who had left a recording ses- sion speciﬁ cally to be at this event. In production, time is of the essence, and you don’t want to have important 83people just hanging around and waiting. Fourth, as Ken Kragen taught, once all of the bluster and drama were removed from the situation, everyone was basically decent. Ten Networking Strategies for Dispelling a Crisis Following is a list of strategies for dealing with crises. 1. Don’t be forced into making immediate decisions. Take a deep breath and remain calm. 2. Remove emotion from the equation; think logically and pragmatically. 3. Do what’s right for everyone. Don’t think only of cover- ing your ass. 4. If you’re not comfortable with high voltage screaming, then don’t be forced into doing it. Take the opposite tact. Speak softly. 5. Be aware that some people will scream to get their way. 6. Sometimes people need to be heard. Try saying their exact words back to them to let them know you’re listen- ing. If someone is screaming “This stage is too small,” you might reply, “I understand you think the stage is too small. But if we move the monitors off the front of the stage, reposition the drums, and slide the bass amp a little to the left, we can make it work.” Make allies, not adversaries. Chapter 4 True TalesNetworking Strategies for the New Music Business 84 7. Avoid overstatements and generalizations in agitated conversation. “You never…” and “You always…” are particularly off-putting. 8. Avoid confrontational poses. Don’t challenge others physically. 9. An excellent way of bridging a conﬂ ict with another person is to query, “What would you like to see happen?” 10. Remember: None of this drama will make a single iota of difference in another hundred years! Treat Everyone with Respect I received a breathless telephone pitch this morning from a high-powered New York publicist who requested that I interview her client, a hit songwriter of some repute, who had penned huge hits back in his day and was now resur- recting his career via a musical. Would I be interested in proﬁ ling him for an article? I hesitated not a second. “No, I wouldn’t be interested,” I said. Let me tell you exactly why I rejected her proposal. When I ﬁ rst came to Hollywood, I was a musician and songwriter eager to gain a foothold in the music business. I had much more time than money, so I would volunteer for non-proﬁ t music organizations and work at events where I could gain knowledge and make contacts. This was not particularly glamorous work—driving across vast stretches of a then-unfamiliar Los Angeles, delivering promotional materials to music stores, lugging sound equipment, or taking telephone calls. But I did every task asked of me with enthusiasm and energy. 85Later, when these organizations had budgets and a need for additional staff, they hired me. But back to this morning’s telephone call. As the publicist droned on about her client’s achievements, all I could remember was years ago when he was invited to speak at an event where I was a volunteer. He showed up in a surly mood with a huge, unexpected entourage in tow. Nothing was right: The mineral water we’d provided was the wrong brand, the temperature in the hospitality room was too cold, and the food was too salty. He treated those of us who were working on the event as his personal minions, and with his every pomp- ous demand, lorded over us with his superiority. One ﬁ nal note: We were in an historic meeting hall with “No Smoking” signs posted everywhere. When a member of his entourage lit up a cigarette and was subsequently asked to extinguish it, he did so by grinding the butt with the heel of his boot into the priceless mahogany ﬂ oor as he chuckled with amusement. And now, his representative is on the telephone, pleading for me to write about him, and it is my distinct pleasure to say, “No, thank you.” I do not have an agenda. I don’t stay up nights thinking of those who have wronged me. I think such energy is wasted and negative. However, I do play a very long game. So take this story as a word of caution, dear readers. Never step on toes connected to an ass that you may someday have to kiss.Chapter 4 True TalesNetworking Strategies for the New Music Business 86Summary In the music business, people don’t disappear, they sim- ply reinvent themselves and change positions. Trust me, your relationships will last much longer than any job you acquire, and you will see the same folks again and again. The way they feel about you will determine your success. I’ll conclude this chapter with a quote from one of my all-time favorite interview subjects, who says it best. “I’ve learned that people will forget what you said, people will forget what you did, but people will never forget how you made them feel.” —Dr. Maya Angelou87CHAPTER 5 Making Contact No other interaction has the intense dynamics of two people together in the same room. Huge corporations with every conceivable piece of technology for video conferencing and conference calls still prefer to send executives halfway around the world to close deals. The reason: Nothing has the impact of person-to-person interaction. Body Language The way you stand or sit makes an immediate and intui- tive impression on others. I can look at a classroom full of students and instantly identify which ones are recep- tive to my message and any who are resistant. Open body language—standing with arms at the side and palms turned outward—reﬂ ects an attitude of receptiv- ity. Crossed arms or, when sitting, crossed legs, indicates resistance.Networking Strategies for the New Music Business 88When meeting others socially, your posture also projects how you feel about yourself. When you’re out at a club, who do you think people notice ﬁ rst? The person who is standing tall and straight or the one who looks like he wants to crawl into his shell? It’s amazing how something as simple as good posture can make someone look tall, slim, and most important, conﬁ dent. And the conﬁ dent person is the one who gets noticed for all the right reasons. When we were children, we were told to walk with a book on top of our heads to practice good posture. But now posture starts with three activities we do every day: sitting, standing, and sleeping. Look at a mirror while standing up straight. Check out which areas are prevent- ing you from standing up straight. Are your shoulders crouched; is your head down; is your back bent? Straighten out whatever is slouching and observe the difference. Your ears, shoulders, hips, knees, and ankles should make one straight line. Now relax your shoulders and slightly bend your knees—you don’t want to look like a robot. The major part of maintaining proper posture is reminding yourself to stand and sit straight. And this is the hardest part. Use these little tips to make sure you don’t cheat: Tell your friends. They can serve as your support system, and they will be glad to elbow you when you’re caught slouching. Use Post-It notes. Put them in areas you see daily— your medicine cabinet mirror, your rearview mirror, and your computer monitor. 89Feel the results. Keep looking at the difference between a good posture and the one you see in the mir- ror, to really visualize the work to be done. Exercising often, especially your back and abs, and staying disciplined will reap great physical rewards. With good posture, you’ll look thinner and more conﬁ dent. You’ll have all the reasons in the world to stand tall and be proud. Good Grooming We telegraph the way we feel about ourselves to others through our physical presence. Good grooming is espe- cially critical for anyone in the entertainment business. Poor hygiene, bad breath, or dirty clothes all transmit low-self esteem and a “who cares?” attitude. For men, regular haircuts are recommended, but the more subtle areas need not be ignored. If your eyebrows are bushy, have your haircutter trim them or have them waxed at the local nail salon. It typically costs less than $10 and can make a marked difference in your appear- ance. Regular teeth cleaning is a must for good dental health, and if your teeth are stained or dull, you might want to consider the beneﬁ ts of whitening them either with an over-the-counter remedy like White-Strips or better yet, a custom-made tooth tray and gel provided by your dentist. Beware the overly white, newscaster image, though (we see plenty of that in Los Angeles). Chapter 5 Making ContactNetworking Strategies for the New Music Business 90Clothes Horse To be comfortable in any social situation, you ﬁ rst have to dress for the occasion. Wear clothes that ﬁ t well and are appropriate to the event. You want to feel good and comfortable in them because it’s hard to mingle with conﬁ dence if you’re dressed inappropriately or your clothes are ill-ﬁ tting. Given the choice of being overdressed or under- dressed for an event, it’s always preferable to be a little slicker than the occasion calls for, rather than to be perceived as a slob. I am honored to attend the annual black-tie dinners presented by ASCAP and BMI to honor their top com- posers and songwriters. For the ﬁ lm community, black tie means old-school tuxes, white shirts, and bow ties. For the pop and R&B communities, the appropriate dress is deemed “creative black tie,” which means it’s OK to augment the traditional look with any number of creative options, such as ties, hats, jewelry, and so on. I’ve also found that a formal black suit works well instead of a tux. Do I ever see guests dressed inappropriately at these high-end Beverly Hills functions? Yes, I once saw a well-known manager in a T-shirt., but he was accepting an award for Song of the Year on behalf of his client, so he could wear whatever he wanted. I regularly see another million-selling songwriter, female, wearing a tuxedo T-shirt. At a recent dinner, when the rock group Metallica and singer/songwriter Jackson Browne were being honored, I noted that they were dressed to reﬂ ect the pride they felt in their milestone achievements.91Music business people are tribal. Living in Hollywood, I’ve learned to let my instincts tell me when I’m in the presence of kindred spirits. The look is unstud- ied cool, a lot of black, leather, retro, and vintage clothes. Jewelry tends toward the severe with metallic chains and metal belts. Extreme hair colors come and go; facial hair styles for men—goatees, unshaven look, soul patch (the spot of hair just under the lower lip), and extended sideburns all serve the purpose of establishing cultural identity. I always recommend wearing a conversation piece— unusual jewelry, a lapel pin, a tie, scarf, or any other distinctive object—to give others the opportunity to begin conversations with you. People are basically shy, and that strange little tchotchke on your jacket may be the key to unlocking dialogue. “What an unusual piece. Is it vintage?” might be the opening of a conversation and the beginning of a proﬁ table relationship. Your visual presentation is your trademark. If you’re a musician, others should be able to tell what type of music you perform before you ever you play a note. Ups and Downs in the Capitol Tower It’s an iconic piece of architecture known around the world. Looming over the intersection of Hollywood and Vine, The Capitol Tower, home to Nat King Cole, Frank Sinatra, the Beatles, and the Beach Boys, is an enduring symbol of Hollywood. I recall interviewing Roy Lott, who was then presi- dent of the label, in a palatial conference room with a Chapter 5 Making ContactNetworking Strategies for the New Music Business 92panoramic view. As engaging as Mr. Lott was, what I remember most about the interview was the ride up and down the tower in the elevator. As the elevator arrived at successive ﬂ oors, I was instantly signaled what depart- ment we were in by the way the employees were dressed. Full-on suits, ties, and vests? The legal department and business affairs. Edgy, L.A. hipster attire: publicity. Edgier and more outré still? A&R. Unkempt, casually disheveled, and overly caffeinated? The musicians, of course, recording in Capitol’s fabled studios. With each successive stop, the denizens were revealed to me by their attire. Similarly, I was at a dinner party recently with a distinguished, white-haired gentleman in a black wool turtleneck. “So you’re a jazz guy” I stated by way of introduction. “You can tell?” was his reply. Yes. My instincts and experience transmitted this to me, plus I subconsciously read his attitude, energy, and creativ- ity. What this gentleman had was a distinctive “look,” emblematic of jazz musicians. What we wear as music business professionals similarly transmits information about us to others. For example, the obvious attire: T-shirts with names of bands or brands of equipment, events, or venues. When I ﬁ rst joined a gym in Los Angeles (a prerequisite to liv- ing here, I assure you), I would invariably work out with a music biz T-shirt on, so others in the gym would begin conversations with me. It worked. A simple piece of “swag” (free merchandise) was an invitation for others to interact. I know of a music publisher in Los Angeles, Justin Wilde, whose company, Christmas and Holiday Music, 93dominates the seasonal market. I can always spot Justin at an ASCAP Membership meeting by his red and white Santa Claus hat. Not a subtle gesture. Is there any doubt what type of music he deals with? Alternative, hip-hop, and country all have their individual looks. It’s tribal. When we are introduced to another person, they make an instant, instinctive judgment of us based on factors relating only to looks. Therefore, in a music busi- ness environment, it’s up to us to transmit the correct information. Ten Visual Cues for Your “Look” Consider the following tips for achieving the right look. 1. Identify yourself with the appropriate tchotchke: a lapel pin or something suitably subtle yet unique. 2. Extreme looks work in certain circles, but again, the goal is to attract others, not terrify them. 3. Watch out for the sex thing. I regularly attend a music business conference in a mountainous western state where nubile, aspiring young female artists congregate to attract the attention of A&R reps from L.A. and Nashville. If you’re doing music, don’t confuse the issue by wearing stage attire in the daytime that would be more suitable for a lady of the night. It may well telegraph a signal to the over-stimulated males of the species. 4. Casual does not mean dirty. 5. Ask your gay friends for help. Chapter 5 Making ContactNetworking Strategies for the New Music Business 94 6. Watch source material, including entertainment televi- sion shows, videos, and magazine layouts in periodicals like GQ, Details, or Vibe. 7. Let your look mirror you, not limit you. 8. We are not in a conservative, drab business. Don’t be too dull or conservative. 9. Make your look entertaining. 10. Learn what colors work best for you—clothes, like music, need to be in harmony. Conversation Instigation In researching the subjects I interview for magazine arti- cles, videos, and in-ﬂ ight audio shows, I strive to acquire a picture of the whole person, not what they project to the record buying public or to an audience full of fans. I’ve learned that legendary trumpet player and founder of A&M Records, Herb Alpert, is a noted sculptor and painter. Hit songwriter/producer Glen Ballard loves to talk about Italy, especially its art and cuisine. Leonard Cohen is a Zen Buddhist, and heavyweight industry law- yer Donald Passman trains dogs. They say in love opposites attract, but what draws us together as people are our similarities. We all come from somewhere, have families, spouses or partners, children, pets, homes. Human beings are complete packages, and their artistry and music is simply one part, which is quite often the direct result of a much larger picture. When 95meeting potential music industry contacts, concentrate on who they are as people, not only how you perceive them as musicians or business entities. Music people don’t talk music all of the time. Having a knack for expressing interest in others is what makes a good conversationalist. The ability to express thoughts and feelings eloquently is equally important. Including all people present is common sense, and the proportion of people who speak should be in equal division. If three people are present and one person dominates the conversation, he is not having a conversation—rather, he is giving a speech. Ten Conversation Leaders Being a good conversationalist requires being able to ask questions as well as excellent listening skills. Here are 10 leading questions you can ask without seeming pre- sumptuous or nosy. 1 . Are you originally from here? 2. What do you like best about living in this town? 3. Do you have many opportunities to travel? 4. Are you a ﬁ lm buff? 5. What’s your latest favorite movie? 6. What are you listening to that I should know about? 7. Are there any great restaurants in this part of town?Chapter 5 Making ContactNetworking Strategies for the New Music Business 96 8. What gym do you go to? 9. Are you a sports fan? 10. Do you have a dog or cat? Ask questions to encourage the other person to talk, and comment on their answers to continue the conversa- tion. Here are four types of comments you can make: 1. Expanding: “Tell me more, it sounds as if you had a great time.” 2. Comparing: “That sounds as if it is similar to…” 3. Self-revealing: “I know what you mean. I was in a similar situation last year.” 4. Clarifying: “What exactly did he do?” Small talk, sure, but effective ice-breakers none the less. Note that I didn’t include questions about music (I’ll get to that soon enough), spouses/partners, or children. There is no reason for anyone to take offense or feel like you’re prying. Conversation is like a tennis ball being volleyed back and forth across a net. Effective conver- sationalists know how to keep the conversation ﬂ ying. Initiating it is considered a positive trait. Asking advice is a sureﬁ re way to extend the conver- sation. If this doesn’t work, try asking for an opinion, but remember that your proper follow-up response is not to heartily agree nor to be argumentative.97Sensitive Areas At a music business conference in Northern California, I witnessed this uneasy interaction. One of the attendees, an Asian-American singer/songwriter, took understand- able offense when a clueless music publisher quizzed her with, “So, what is your nationality?” The songwriter, of course, answered with a terse, “I’m an American.” Americans come in many shapes, creeds, and colors, so many that the tired old phrase “All-American” needs to be expunged from our modern vocabulary for good. This is not the so-denigrated “political correctness”— rather, it’s correctness. “Nationality” is not “ethnicity,” and besides, why would the above publisher need to know this information? Simply because the songwriter had (in the publisher’s estimation) Asian features? When I was managing a recording artist from Hawaii, I recall encountering the same rudeness. “What is he?” one magazine editor said, squinting at his press photos. “A singer who writes songs and records,” I answered. “No, you know what I mean. What is he?” persisted the editor. In a listening session at a conference, I was teamed up with a major record executive from one of the most prominent record labels in the world to evaluate live tal- ent. One of the artists, a dynamic woman of considerable power, had the room shaking with her conviction. At the conclusion of her song, the exec asked only, “So, are you married?” The singer stood in disbelief at the inappro- priateness of his query. The entertainment business is one of smoke and mirrors, and what is projected is often the image, not the entire artist. That said, we cannot afford to make Chapter 5 Making ContactNetworking Strategies for the New Music Business 98assumptions about others in our business based simply on the way they appear to us. As the old saying goes, “If you ‘assume,’ it makes an ass out of ‘u’ and ‘me.’” Assumptions to Avoid About Anyone to Whom You’re Introduced Coming in contact with a variety of personalities is a trademark of our business. What you see, however, is not always what you get. Avoid making social gaffes based on assumptions regarding /L50480 Race /L50480 Age /L50480 Sexual preference /L50480 Political afﬁ liation /L50480 Musical likes and dislikes /L50480 Religion /L50480 Marital status Complimentary Consideration Often when I’m conducting interviews, common names will come up in conversation. During an interview with writer/producer Billy Mann, who has seen phenomenal success with artists including Jessica Simpson, Josh Groban, and many others, he referenced Pink’s guitar player, my friend Rafael Moreira. “Raf is amazing,” he said. As soon as the conversation was over, I called Rafael immediately to let him know that Billy had spoken so highly of him. A compliment once removed is doubly effective: It made Rafael feel good and also translated into his feelings about Billy. Meanwhile, I’ll also beneﬁ t because I passed on a positive message. Speak up; if you 99have a nice thought, by all means share it. You can often tell more about a person by what he says about others than what others say about him. But don’t share the negative stuff or pass it on, and please, never say anything negative about any person present. This is one lesson that I almost learned the hard way. Invited by the performing rights organiza- tion of a major composer, I attended a screening of the ﬁ lm that he’d scored. As the end credits rolled, a ghastly song almost obliterated the mood of the picture, a song so bad, in fact, that the composer whispered to the performing rights organization’s spokesperson, who sub- sequently announced to the room, “The composer wants you to know that he had nothing to do with choosing this song.” Later that same week I was having lunch with a ﬁ lm agent who asked me, “Have you ever heard a piece of music in a ﬁ lm that was so bad you couldn’t imagine why it was there?” Of course I began gleefully recounting the story of the horriﬁ c song, but fortunately, as it turned out, omitting the crucial details. “Who wrote the song?” demanded the agent. As I opened my mouth to respond I suddenly saw the songwriter I was about to malign rise up at the next table—just in time to avoid a serious faux pas on my part. Similarly, conversation shouldn’t be about someone, even in a group of close friends. If someone talks bad about another person in public, they’ll probably bad mouth you as well. No matter how tempted you may be to pass along a cutting comment or to join a group talking badly about another person, don’t do it. It doesn’t reﬂ ect on anyone other than you, and it will make you look bad. Chapter 5 Making ContactNetworking Strategies for the New Music Business 100There are rarely regrets for what has not been said. People who speak easily often communicate too much, but someone who doesn’t speak at all doesn’t add to the party. In conversation, it’s best to aim for the middle— know when to listen and when to carry. Many stories are best told brieﬂ y and once only. More regrets are expressed over what was said than what was not. In ending a conversation, use exit lines because not only do you need to say hello, you need to say good-bye. An exit line will help you say good-bye gracefully and leave on a positive note. Don’t strive for cleverness, just be sincere. You can simply say, “It’s been nice talking to you,” “Good to see you,” “I hope to see you again soon,” or my personal favorite, “I’m gonna go work the room.” If so inclined, shake hands good-bye or place your hand lightly on the other person’s shoulder to convey sincerity. Remembering Names When I ask a room full of participants at a seminar how many of them have problems remembering names, I’m not surprised when the majority raise their hands. One reason is that at the moment when someone we meet is saying their name, we’re generally shaking their hand and our attention is diverted away from the sound. Here are three strategies for remembering names. 1. Examine a person’s face discreetely when you are intro- duced. Locate an unusual feature—prominent ears, a precarious hairline, a projecting forehead, caterpillar-like eyebrows, etc.—and create an association between the characteristic, the face, and the name in your mind. 101 2. Associate the person with someone you know with the same name, or perhaps associate a rhyme or image from the name with the person’s face or deﬁ ning feature. The more infantile the better; you don’t have to share this with anyone else. 3. Repeat the individual’s name immediately after you hear it, and use it as often as possible without being obvious. If the name is unusual, ask how it is spelled or where it comes from and, if appropriate, exchange cards. The more often you hear and see the name, the more likely it is to sink in. Also, after you have left that person’s com- pany, review the name in your mind, and make notes surreptitiously in a notepad if you’re really working it. Did You Drop That Name? I remember reading review notes from a lecture at a music school accusing me of dropping names. OK, I admit, it goes with the territory. I’ve programmed music heard on-board by the most powerful ruler of the free world, interviewed virtually every major recording artist in the history of American pop music, and lectured for half a decade at a college founded by an ex-Beatle. Still, the criticism hit home. I recall that the class to whom I was lecturing was not the most welcoming, and I was probably using recognizable names to prove my credibil- ity. In retrospect, I didn’t need to, since I’d written their textbook. Many name droppers believe that if they are asso- ciated with important people, you will be impressed. They’re often gravely insecure about their own achieve- ments, so they use others’ names to add to their esteem. Chapter 5 Making ContactNetworking Strategies for the New Music Business 102After my scathing review, I’ve become more sensitive about my own tendencies in this direction. (And I’ll ask Clive, Alanis, Avril, Aretha, Britney, and Quincy to do the same.) Business Cards In this high-tech, digital world, there are few more eco- nomical ways of networking than passing out business cards. It is now possible to design and order business cards online, and in some instances you can even have cards made free. Whatever the method, your business card can communicate many things about you, and here are some tips to presenting the proper picture. /L50480 Limit yourself to the business at hand. A card that reads “Joe Jones, songwriter, recording artist, dog trainer, fortune teller, high colonic therapist” lacks a positive message about your commitment to your art and will not impress the recipient. /L50480 Simple is good; readability is essential. Check out business card design samples online or at your local library for tips and examples. /L50480 If your career requires that you move often, con- sider having a blank line on which to hand write your telephone number. /L50480 Keep the fonts simple, avoid the really grotesque ones, and don’t crowd the information. /L50480 Do include e-mail and Web site info. /L50480 Refrain from crossing out numbers or addresses. Get new cards when any of your information becomes obsolete. It’s a few dollars well spent.103The best time to pass out your card, obviously, is when someone asks you for it. Otherwise, offer it with an easy message. “Should you need to reach me for any rea- son whatsoever…” is a nice, low-key statement. Similarly, when you want someone else’s card, be direct but not demanding. “What’s the best way for me to reach you?” is an excellent prod. Working the Room Now it’s time: You’ve been invited to a music industry event where you’re sure to meet some movers and shak- ers. As you’re about to descend into a pressure-cooker environment, it is imperative that you prepare, mentally and physically, to present yourself in the best possible light. “Working a room” is a variant of the art of min- gling, of blending into any given space containing groups of socializing people and becoming part of the action. Making the transition from background to foreground, from intruder to “one of us” is no easy matter and requires considerable ﬁ nesse, especially in music circles. Here are some time-tested tips. Arrive early and spend moments of solitary time in your car relaxing and preparing yourself for the moment. If you’re late you will be in danger of giving off negative, frantic energy, so having extra time to locate parking, elevators, entrances, restrooms, and escape routes is advisable. I use this extra time to pump myself up. I might begin by afﬁ rmations, such as “I belong here” and “I’m going to be upbeat and charming.” A huge part of work- ing any room is getting fear under control.Chapter 5 Making ContactNetworking Strategies for the New Music Business 104I also review my objectives for the evening, whether it’s seeing old friends or, more likely, making new contacts. Don’t be afraid of talking to yourself in prepa- ration, of articulating your intentions out loud. I check my pockets to make sure the necessary tools are at hand. I always have an interesting and classy pen, plenty of fresh, non-dog-eared business cards in an appropriate holder, and a small notebook to jot down names or details that I may need to refer to after I leave. Breath mints are a must. Also, if food is being served, either a toothpick or a ﬂ oss stick that can be used surrep- titiously in the restroom over the course of the evening is advisable. Nothing can negate a good impression like a piece of arugula sprouting through your teeth! Give yourself time when you enter the room. It’s ﬁ ne to wait a while before striking up a conversation. We are sometimes so focused on ourselves that we are our own worst enemy, and often what people are most afraid of is sticking out like a sore thumb. Be easy on yourself. Learn to be alone for a while, and be comfortable. Assess the dynamics of the room and move around the perimeter. Enjoy the art, the buzz of conversation. Take away the pressure by imagining that no one can see you. Another advantage of early arrival is having an opportunity to meet the host or hostess and to enjoy the food before the buffet gets mobbed and before you need to expend your energies on communicating rather than scarﬁ ng the free crab cakes. Be very aware of your reaction to alcohol. For some, a drink or two can be very helpful in assuaging anxiety, 105but nothing can be more detrimental to creating a good impression than being under the inﬂ uence of demon liquor. A wine spritzer—wine diluted with soda water— may be a good compromise. Pace yourself. Prepare to move on. Finding someone—anyone—to talk to is the only goal of most crowd-phobic people. You will be perceived as needy if you cling to the ﬁ rst person who says hello. A great method in working a room is to seek out people who are standing alone. Introduce yourself, ﬁ nd out why they are attending the event, and then offer to introduce them to someone they might want to meet. Remember, if you walk into a room and you’re only there to take, people will pick up on that. But if you’re a person who gives, it’s easy for others to give to you in return. Follow the 10-5 rule for meeting and greeting: If you make eye contact with someone within 10 feet of you, you must acknowledge them with a nod or a smile. At ﬁ ve feet, you should say something—“Hello” or “Good evening.” Don’t pretend you don’t see them. I learned this next lesson the hard way. If ﬁ ve people are in conversation, feel free to join them; four people, sure, walk right up; three, no problem. But beware: If two people are engrossed in conversation, unless you know them very well, it is never permissible to intrude. Odds are, they’re discussing something private (maybe even you!). Have you ever been in conversation with some- one who seems to ﬁ nd whatever is over your shoulder more interesting than you? Being a good listener is the Chapter 5 Making ContactNetworking Strategies for the New Music Business 106most important part of being a great conversationalist. Don’t let your eyes wander. If the person you’re speak- ing to does this, follow his stare with a wry comment, “I wanted to see what was so fascinating.” Hidden Opportunities One of the famous disadvantages of living in the hills of Los Angeles is that they sometimes tumble down. Such was the case this winter, as a mountain of mud surged through my street on its inevitable, gravity-determined path. As I walked through the neighborhood survey- ing the damage, I came upon my neighbor, who was speaking with a couple who had recently relocated to the block. As I was introduced to them, the male member of the pair commented, “Jean [my neighbor] tells me I can hear you on United Airlines.” When I asserted that, yes, I did frequently voice shows for the in-ﬂ ight entertain- ment, he told me, “I’m in animation, and we always need voices. Get me a CD and I’ll see what I can do.” How cool is that? From a mountain of mud shone a window of opportunity. I was reminded of a singer/songwriter friend of mine, Beth Thornley, whose songs can be heard on the new DVD releases of Dawson’s Creek: Season 2 and Roswell and on episodes of The Chris Isaak Show, The New Ride with Josh and Emily, the CBS ﬁ lm It Must Be Love, and Book of Ruth. She tells of a serendipitous day when UPS delivered a color printer to her door that she hadn’t ordered. “I called UPS and said, ‘This isn’t mine,’” she remembers. “‘Could you come back, pick it up, and deliver it to the person whose address is just around the corner and down the street?’” “They said, ‘If we do, we’ll 107charge you for shipping.’ I said, ‘OK, I’ll just take it.’” She called the rightful recipient, who came over to claim it, and he happened to be a music supervisor. “That was my Roswell placement,” says Thornley, “but it was a full year down the road.” After that, Thornley recalls that she would often encounter him walking his dog, and he’d tell her what he was working on. “Also, I did a version of ‘Eleanor Rigby’ for another show that got canceled before they used it. I burned it to CD and asked him if I could drop it in his mailbox.” Thus began a tactic by which Thornley stayed in supervisors’ minds. “When I get done with something nice, I’ll burn a CD and drop it into the mail for them. That keeps me in their thoughts between albums. I’m working on my second album now, but I can get one thing down and send it out as a taste. This music super- visor gave me that idea. I was close enough to hand it to him, but I thought, ‘Why not send it to everyone I know?’” Granted, Thornley and I live in an entertainment capital, but the point is that many things in our music world happen as the result of simple, chance human interactions. But you have to be ready to receive and recycle the energy. If I was walking down my street angry and muttering at the watery fate that had mired my car, or if Beth Thornley felt put-upon by her chore, the same opportunities would not have happened. Any place can become an arena for meeting others. Neutral environments—airports, waiting rooms, and so on—are perfect places to practice “Pop People Power.” You have nothing to lose and everything to gain. Let your instincts guide you, invent a reason to begin a Chapter 5 Making ContactNetworking Strategies for the New Music Business 108conversation, and see where it may lead you. You could be surprised. I often play a game when I’m waiting to catch ﬂ ights, especially to or from Los Angeles, London, New York, or Nashville. I will spot the most interesting person in the waiting area and focus my attention on them. Then, if and when the time is right, I will initiate a conversation. It’s a fascinating way to pass the time, and I’ve made innumerable contacts in my professional and personal life in airports. Practice Makes Perfect Just as musicians study and practice musical instru- ments, you also have to rehearse your networking chops and practice being open to others. You may be project- ing your accessibility when you become aware if it. The following communication came to me shortly after I conducted a networking seminar as part of an educa- tional series at a local music store. Dear Dan, I attended your presentation at West LA Music in the valley about a week and a half ago. I spoke with you brieﬂ y afterwards about being from Ohio. You might enjoy some feedback about your presentation. One of the things you said that really stuck with me was the idea of practicing the networking chops. The exam- ple you used was talking to people on elevators. So, I have been doing that since that night, just to practice breaking the ice.109But here’s the cool thing that has been happening to me since I started: About half of the time, before I even initiate the conversation, the other person starts talk- ing to me. That has never happened before in my life, and now it’s happened about ﬁ ve times in the last two weeks. The only thing I can ﬁ gure is that my willingness to speak to the other person projects as openness, a quality that I didn’t used to express. I’m starting to get a sense of how the process of networking really snow- balls. Thanks again for taking the time out of your schedule to share your experiences that night. I’m excited about this new unexplored skill I’m starting to develop! Michael B. It’s true, that your openness and willingness to com- municate to others can be felt, and you just never know. I’ll sometimes reﬂ ect backwards, “If I hadn’t gone to that party, been introduced to that person, had that conver- sation, and made that follow-up call, this opportunity would have never existed.” So get yourself out there; nothing happens if you don’t. The Fine Art of the Studio Hang Is there any place more intriguing than a recording studio? Having come up in the mega-tracking rooms of Nashville and New York, it was somewhat disconcerting to move to Los Angeles and ﬁ nd myself in recording Chapter 5 Making ContactNetworking Strategies for the New Music Business 110sessions taking place in renovated garages in the far reaches of the San Fernando Valley. This was only a precursor of what was to come. Today, studios can be anywhere—in a home, a base- ment, an unused bedroom, or even a bus. Hanging out in the studio, however, is still a time-honored tradition and requires a strict adherence to protocol. Following are some tips for proper studio etiquette. 1. Never give your opinion unless you’re asked. There is a strict hierarchy in the studio. The producer is in charge but in service to the artist. If you are there as a guest, it is in everyone’s best interests, especially yours, that you not disturb the chemistry. The producer knows exactly what he or she is listening for in a take. Often it’s emotion versus technical perfection. 2. Stay visually engaged with those recording when they come in for playback. Don’t read, check your e-mail, or act bored. Again, the chemistry in a session situation is supercharged and, depending on the artist, can be very volatile. Distractions or negativity can alter the fragile emotional parameters. 3. Pay attention to everything during tracking—be very present. Look at the session as a learning experience and take in everything. What changes is the engineer mak- ing? How are the mics placed? What is the producer going for in the session? 4. Don’t set anything on the recording board or any other equipment—ever. This should be self-explanatory, but a drink spilled into a console could render a price- less piece of gear inoperable. At the Liverpool Institute 111for Performing Arts (LIPA) where I’ve lectured, they maintain a hard and fast rule that no beverages of any kind are permitted in the studio. The only exception I observed was the popping of a champagne bottle to christen “The Sir George Martin Studio.” The fact that Sir George himself was sipping the bubbly made it OK. 4. If conﬂ icts arise, make yourself invisible. Making your- self invisible also comes in handy so you don’t distract any of the recording personnel. Don’t announce your arrival and departure; rather, slip into the room and ascertain the vibe ﬁ rst. If you have to slip out, do so unnoticed. 5. Don’t distract the talent with needless chatter. Vocalists are notoriously temperamental. Loading them up with your opinions, ideas, or suggestions could blow their concentration. Non-verbal communication may be your strongest option. Again, be very positive and supportive, if only through eye contact and a smile. Chapter 5 Making Contact112CHAPTER 6 Telephone and E-Mail Cell phones, computers, BlackBerries (portable digital devices that can send and receive digital and telephone communications), and whatever might be developed by the time you’ve ﬁ nished reading this chapter are all mechanisms that should be integrated into your networking strategy of communication. Different methods of communication work for dif- ferent individuals, and timing of your communication can be as crucial as access. Below is a common scenario that happens when you try to communicate with busy people. Dear Dan, I recently met a major music industry player who was kind enough to give me his card. I’ve been calling his ofﬁ ce ever since then, and I haven’t been able to get a hold of him. His receptionist keeps saying he’s either 113not there or is “in a meeting.” What can I do to get through to him? Should I keep on calling? Puzzled in Pacomia OK, this is easy: No, don’t keep calling; change media. If calls don’t work try, e-mail; if e-mail doesn’t work, send a fax; if a fax doesn’t work, send a card or letter. It’s difﬁ cult to understand the realities and demands of those with whom we communicate. Speaking from my own experience, when I’m on a writing deadline, a telephone call from someone who is not communicating about the matters at hand is usually an unwanted intru- sion. At these times an e-mail is preferable because it’s something I can respond to on my own terms and time. Sometimes the opposite is true—I’m tired of writing, don’t want to read e-mail, would love to stand up from the computer, and could use a distraction. At these moments I welcome calls. But when something isn’t working for you, don’t continue to try to bludgeon your contacts. Simply try another avenue. The Telephone Next to human contact, the telephone is probably the most intimate method of communication. Think about it: You’re right in someone’s ear when you’re speaking. The sound you project on the phone is just one element of your communication. Like all other networking strategies, effective telephone communication is Chapter 6 Telephone and E-MailNetworking Strategies for the New Music Business 114determined by the ability to read the emotions and thoughts of the person on the other end of the line, not simply talking at them. In my ﬁ rst year in Los Angeles, as I struggled to gain a foothold in the music business and needed to ﬁ nd other ways to pay the rent, telephone work—surveys, sales, soliciting—was a time honored method of mak- ing money for musicians and struggling actors. Whereas most of my co-workers resented these jobs, I found them fascinating because I learned so much about human nature by way of the intimate communication. Many of the skills I developed and use to this day were honed by making thousands of calls to people who initially had no desire to speak to me. It was wonderful training for the future, and I’ve never hesitated to make an outgoing call since. Sound The actual sound you make on the telephone should be well modulated and pleasing to the ear. Take cues from the person with whom you’re speaking. Research indi- cates that if you talk just a little faster than the person with whom you’re conversing, you’ll be considered more intelligent. Certainly this is a challenge if you’re talking to someone in New York City, but try listening to, and then matching, the rhythms of the person on the other end of the line. Eating, drinking, lip smacking, or being too close to the phone are all negative signals.115Reﬂ ections of Power The true power brokers who use the telephone use a time-honored trick: They have mirrors within close proximity, positioned so that they can see themselves speaking, to remind themselves to smile on the tele- phone. Try it: A smile can actually be heard. Also, to project energy and forcefulness into a telephone conver- sation, stand up when you make the call. The best times to make calls in the music business are Tuesdays, Wednesdays, and Thursdays, preferably before lunch. It’s most effective to make groups of calls all at once, to psyche yourself into a frame of mind where all you’re doing is making calls and not diluting your energy by breaking up the ﬂ ow. Make business calls during business hours. If I receive a call at my ofﬁ ce on weekends (yes, I’m often here but don’t always answer), it telegraphs to me that the person making the call is a “part-timer” and cer- tainly not a music business professional. Similarly, if I’m considering working with a prospective client and they call me at night, on weekends, or on holidays, it makes me not want to become involved because it tells me that they won’t respect my privacy or my time. Begin by telling your callee the purpose of the con- tact. “Let me tell you why I’m calling,” is always helpful. “Here’s the situation,” is another effective intro. “I’ll be brief,” prepares your contact with the knowledge that it’s not going to be a lengthy encounter. You need to script your call—not word for word, but outline any main points you need to include. Then get right to the point. “I have four things to discuss with you,” will show the Chapter 6 Telephone and E-MailNetworking Strategies for the New Music Business 116recipient of your call that you’re organized and ready to do business. “How are ya?” is a cliché and should never precede a conversation with someone you don’t know well. A time-honored basic business rule is this: If you make the call, it’s your responsibility to end the call because the person who makes the call is always in the driver’s seat. Many heavy-duty executives make only out- going calls. Telephone Basics People are enthralled by the sound of their own names. You’ll need to address the person you’re speaking to by name approximately once per minute to hold their atten- tion. Don’t talk at people, and listen not only to words, but to the emotions behind them. If the person you’ve contacted sounds harried, harassed, or as if on a dead- line, be sensitive to this, and ask for a future telephone appointment with something like, “When would be a good time for us to speak?” “I’m just calling to touch base with you” is a state- ment that never fails to elicit a response from me, and not a good one. It tells me that the caller has no real information to impart, that they’re probably trolling me for information, and that they’re playing some arcane game where, for no apparent reason, I have been desig- nated the base. Never call someone without something speciﬁ c to say. Let them know clearly the purpose of the communication, and not simply some vague notion of “It’s been a long time since we spoke.” Maybe there’s a reason for that. If you’re calling to “touch base” with me, 117then we are playing a game. But I make the rules—and you’re out. If you’re receiving an incoming call of importance, move away from your computer so you won’t be tempted to check your e-mail while you’re on the phone. Yes, I know, it’s a multi-tasking world, but transmitting the tell-tale clicking of a computer while you are supposedly concentrating on a telephone conversation will project insincerity. Also, kill the background music, relegate rambunctious children to another area, and dismiss yip- ping dogs from the room when making outgoing calls. Music biz execs have key staff members to deﬂ ect calls, and you’ll generally encounter a gate-keeper. This is an opportunity for outreach. Introduce and ingrati- ate yourself to key staff, because often your access to the boss will be determined by your persuasive techniques with these subordinates. Don’t try to con or bully them; it won’t work. Tell a short version of your story; explain brieﬂ y exactly why you’re calling. When I had a recep- tionist working for me, she would often intervene on behalf of a caller who had made repeated attempts to get through, and I always heeded her advice. Telephone Tracking Having lists of people to call has proven to be very effective for some savvy networking folks: an “A” list of contacts to be spoken to weekly, a “B” list of bi-weekly contacts, and a “C” list of associates to be contacted on a monthly basis. Although you can invent reasons to call people, this invariably works best if it has some basis in Chapter 6 Telephone and E-MailNetworking Strategies for the New Music Business 118fact. “I saw an article that made me think of you,” is an effective ice-breaker. It’s helpful to take notes on conversations to avoid repeating yourself and to recall details of speciﬁ c inter- actions. Mega Hollywood execs often have an assistant listening in on the line to do just this. Cell Phones: Antennas of Satan? Has there ever been a device invented that is so conve- nient yet so utterly abused as the ubiquitous cell phone? I won’t add to the chatter on this matter other than to say that I’ve had a cell phone for many years, and that I was possibly as irritating when I ﬁ rst got it as many of the folks I currently witness. Of course, back then it was a novelty. Today, everyone from children to drug dealers are plugged in and chattering away, usually clue- lessly. Not only is using a cell phone no longer impressive in any way (unless it’s some incredibly new modern one), but when it is used for that reason, the user can be immediately identiﬁ ed as a neophyte and a poseur. A new term, “absent/present,” has been coined to iden- tify compulsive cell phone users and the phenomenon wherein an individual is there physically, but far away in conversation. It invariably throws off our sense of com- munication since we are isolated from those wired into their phones. People with whom I work may call me whenever and however they wish. But when my ﬁ rst telephone contact with someone who calls me is via cell phone, it sets off a red ﬂ ag. For instance, if I receive a call from an unknown party who uses a cell phone between the hours 119of 12:00 p.m. and 2:00 p .m., I assume that they’re work- ing a “straight” job and are using their lunch hour to make personal—or in this case, allegedly professional— calls. This thought process invariably distracts me, and I can’t take them seriously. Not a good ﬁ rst impression to give. If someone I know in passing calls me from their cell phone, I surmise that they’re in circumstances where they need to kill time and are using me to do so. Again, not good. Am I an afterthought? Did a tiny piece of pro- toplasm with the image of my face on it ﬂ oat through someone’s consciousness? I sometimes receive calls where the ﬁ rst thing I hear is the roaring of trafﬁ c. Has the 101 freeway called me? If I’m getting a call from the driver of a car, it’s an immedi- ate turn-off and tells me it’s someone who has chosen to jeopardize others’ lives for the sake of their own con- venience. (In England and Japan, talking on the phone while driving is a punishable offense. Not so in L.A.) Cell phones are not even telephones—they’re radios, and they sound crummy. To a sonically oriented person such as myself, it’s irritating, and as such, calls are lost and dropped. Nothing infuriates me so much as when someone calls me on a nasty, buzzy cell phone, bellows into it, and then drops the call. I generally don’t answer when they call back and instead let my voicemail pick up. Also, unless absolutely imperative, I won’t make out- going calls to numbers that I recognize as cell phones unless absolutely necessary. If you’re forced by circumstances to make an outgo- ing call and you have no option other than to use your Chapter 6 Telephone and E-MailNetworking Strategies for the New Music Business 120cell phone, please excuse yourself immediately when the callee answers. “I’m so sorry to have to call you on the cell, but you asked me to contact you at noon, and this was the only way.” Then proceed with the call, hopefully making it brief. Brevity is the key. Elongated conversa- tions on the cell are a strain. I can tell if someone is calling me from a cell because of the artiﬁ cial way they are talking—the dreaded “cell yell.” If your signal is weak, speaking louder won’t help, unless of course the person is actually within earshot. However, used effectively, the cell phone can be a marvelous device. I was representing a band and attempting, quite unsuccessfully, to book them into a local hot spot. I’d sent the press kit and CD, of course, but had been unable to contact the booker in person to do the all-important follow-up, so I decided to take more immediate action. One afternoon, I parked in the venue’s parking lot and, using my cell phone, made a call to the club and asked for the booker. When I received the “He’s not available,” rebuff, I determined that he was actually there. I’d dressed for the occasion in music biz garb: a nice sport jacket over an industry T-shirt, well-buffed shoes, and I carried a briefcase. I presented myself to the receptionist and announced that I was there for a meeting with the booker. Sure enough, he quizzically ventured out to greet me, invited me back to the ofﬁ ce, and we sat down for business. He ended up booking the band, and it was the beginning of a lucrative, long-term relationship with a very happening club. In retrospect, I think the booker might have imag- ined that we’d arranged this meeting and that he’d 121forgotten it. When using these types of tactics to get in front of the individuals you need to get to, it’s important that your motives and mechanisms remain transparent. If I’d begun our meeting by guffawing, “Hah, I fooled you!” it’s doubtful that I would have been able to book the band. Indeed, I may have gotten booted out the door. But selling is selling, whether it’s music or cars, and getting to the buyer is the fundamental ﬁ rst step. In this case, the cell phone conﬁ rmed the booker’s presence for me. Cell Phone Etiquette To avoid unfortunate confrontations with others, you might want to observe a few basic rules of cell phone etiquette. /L50480 Think of your phone as a portable answering machine. When you’re in an appropriate place—a parked car, outside of a restaurant, etc.—you can return calls. /L50480 If you simply must be available for a caller, put your phone on “vibrate” mode if you’re in any non-private place. /L50480 Practice speaking in a quiet conversational tone. If no one looks your way while you’re speaking on your cell phone, you’ve got it. This is the only acceptable tone of voice. /L50480 If you forget both “off” and “vibrate,” and your phone rings in any non-private place, turn it off instantly (and as unobtrusively as possible so nobody will suspect you are the jerk responsible). No matter what: Don’t answer.Chapter 6 Telephone and E-MailNetworking Strategies for the New Music Business 122Do you really want to be available all the time? Does that truly make you more productive, or does it just spread your productivity thinner over more time? A cell phone is a wonderful tool, but it’s also a leash. Cell phone conversations interfere with the person-to-person contact that you might otherwise enjoy. The random conversation you might have with a person while wait- ing in a line, a stranger you might encounter and interact with, is instead being supplanted by the impersonal 24/7 access everyone has to you. E-Mail What did we do before e-mail? I ﬁ nd that in my world, my phone calls have probably dropped in volume by half in the past couple of years, while e-mails have increased dramatically. E-mail will never take the place of the tele- phone or an in-person contact, but it’s a terriﬁ c way to keep in touch with both business and personal contacts. By checking my e-mail at an Internet café in Istanbul, I was once able to secure a valuable writing gig that required me to make an immediate response. E-mail cannot, however, transmit much emotion or energy. Also, humor may fall ﬂ at, and sarcasm is almost impossible to convey. Here are some brief guidelines for composing your e-mail messages. /L50480 Check that you’re sending e-mail to the correct destination. Horror stories abound about those who have inadvertently sent e-mail communica- tions to their bosses, enemies, etc. /L50480 Watch out for “funny” jokes or cute stories. You might send these to your friends or family, but 123they have no place in business. Ditto for warn- ings about “scams” or messages about a virus that is supposed to devour everyone’s hard drives or the United States government’s dismantling of National Public Radio. Check www.snopes.com for Urban Folk Tales ﬁ rst. /L50480 Avoid attachments if you can—better to cut and paste in the body of an e-mail than to include some- thing that your recipient may not be able to open. /L50480 Messages should be concise and to the point. Think of it as a telephone conversation, except that you are typing instead of speaking. Keep in mind that some people receive hundreds of e-mail messages per day. /L50480 If something is important, it should be reﬂ ected in your text, not in your punctuation. Don’t use !!!!! or ALL CAPS. /L50480 In the quest to save keystrokes, users have traded clarity for confusion: “FYI” and “BTW” are OK, but don’t overuse acronyms—write out every- thing else. /L50480 Use :-) and similar symbols (a.k.a. “emoticons”) sparingly, if at all. /L50480 In casual introductions, you can probably bypass the standard formalities, and just use something like “Dear Edward,” or just “Edward.” In the busi- ness realm, things are much more complicated, so each situation will need to be evaluated on its own. If you normally address a person as Miss/Mrs./ Ms./Mr., then address them identically in e-mail. /L50480 If your e-mail address is a business address, include your title and company name in the sig- nature, because in the e-mail world letterheads are not used. Always include your telephone number somewhere in your e-mail. Chapter 6 Telephone and E-MailNetworking Strategies for the New Music Business 124E-mail is a conversation that does not require an immediate response. If a hundred people send you e-mail in one day, so what? You won’t have to talk to them, so just think of all the hellos, good-byes, and other unnecessary chit-chat you’ve avoided. With e-mail you deal only with essentials, and you deal with them on your own time. That’s the blessing; the curse is that it’s impersonal and cold, and cannot transmit energy, enthusiasm, or warmth. Like any other networking tool, e-mail is simply one component of a much larger picture. It will never supplant the power of one-on-one commu- nication, but it can support it. 125CHAPTER 7 Coming up through the ranks of popular music, we are often so intent on putting ourselves out there, trying to make ourselves known and recognizable, that we leave little air in the room for breathing. I learned long ago that the most powerful position to come from is not when you’re pitching, but when someone requests some- thing from you. We have much more control over this than we might imagine. When I was managing artists, I ascertained that I would encounter immediate resistance if I tried to push the artists into people’s faces with a heavy-handed agenda. Often the opposite tack—a soft sell—worked far better. Describing the artists I was handling in non- off-putting terms or showing a press photo or a logo or wearing a merchandise T-shirt with the artists’ image, I would be questioned, “Who is that?” When I would explain (with a short pre-engineered “sound bite”), I would invariably be asked, “May I get a press kit and CD? I’d love to hear what you’re up to.”Creating Effective Tools of the TradeNetworking Strategies for the New Music Business 126Press Kits Like most music biz professionals, I get a sixth sense about artists from their presentation; sometimes, in fact, I can tell the quality of the music even before I open the envelope containing their press kit. How? First I look at the envelope it comes in. Is it ﬁ nger-printed, dirty, or dog-eared? Odds are, the music is equally a shambles. Has it been addressed to “Dear Journalist?” Not a good sign. And since the magazines I write for change location often, has the sender checked the address before mail- ing, or is it arriving with a forwarding mail notice on the front? All of these are signs I look for before I open the package. Once I do begin to open it, I note the ease in doing so. Will I need a machete to tear through the lay- ers of tape holding the envelope closed? As I pull out a package, I inevitably recall the enterprising recording artists who packaged a press kit with handfuls of glit- ter that subsequently embedded themselves in the plush carpeting of my ofﬁ ce. I discovered remnants of their presentation for months after, and it always reminded me of them, but not with love. You need to tailor-make your press kit according to whom you’re sending it. I’ve heard managers and record company A&R personnel swear up and down that a fancy press kit isn’t necessary. As a journalist, I appreci- ate a well-written bio, succinct press clippings, and a professional photo—either color or black and white— suitable for scanning and inserting in a magazine. It’s a nice touch to have downloadable, high-resolution photos on your Web site as well.127Keep your presentation envelope size standard. An interesting, eye-catching color is permissible if the music is equally colorful. Also, use standard ﬁ rst-class mail. Nothing predisposes me to not like a band more than waiting in an interminable post ofﬁ ce line to pick up a mystery package that requires my signature. Keep in mind that most post ofﬁ ce box addresses do not accept UPS or FedEx, so check before mailing. The Folder At any given moment, I have an identical stack of black glossy folders sitting on my desk. Do you know what’s in them? Well, neither do I, since there is nothing on the cover in the way of identiﬁ cation. Without a logo, a sticker, or something on the front of your folder, the recipient has nary a clue as to what it contains. The folder doesn’t have to be extravagant, although color- coordinating it with other materials in your press kit will display a sense of unity. And unity is the most important concept to grasp when putting together a press kit. All of the visual elements have to reinforce and reﬂ ect the music because odds are it will be heard as the recipient is reading the enclosed materials. The Cover Letter For cover letters, short, sweet, and to the point is the best advice. Professional-looking letterhead and good-quality paper will help you achieve a positive impression. Tell the reader who you are and especially why you’re sending the enclosed materials. If you’re sending to a journalist, let her know that you’re hopeful of a review. If you’re Chapter 7 Creating Effective Tools of the TradeNetworking Strategies for the New Music Business 128sending to a club booker, your materials should include information pursuant to your live show. A generic letter addressed to “Dear Sir/Madam” is not sufﬁ cient. Spell out the name of the person you’re addressing and be sure to render their title correctly. Be sure to include all of your contact information on every piece of material you submit: name, address, tele- phone number, e-mail, and Web site. A CD or DVD If you have a fully produced CD, it will no doubt be included in your presentation kit, of course. Depending on to whom you’re submitting, you may want to limit your exposure. For A&R at record labels or a music pub- lisher, for example, three songs should be sufﬁ cient. If the listener wants to hear more, he can always request additional material from you, which is a good position for any ﬂ edgling band or artist to be in. A video presentation is great for certain artists but a dicey proposition for others because a tacky, sub-par performance video can diminish the viewer’s opinion of the band or artist substantially. However, I’ve seen impressionistic, arty videos that mirror the music, and these can be effective. Just like the CD, it may not be necessary to deluge your contacts with too much infor- mation. If you have a video, you may want to reserve it as support material for further down the line.129The Bio I have probably written over 300 artist bios in my career. Many times harried journalists have cut corners by appropriating the exact words I’ve written in a bio into an article. This is totally acceptable, of course; I create bios as works-for-hire for a fee, and I don’t maintain control over them once they leave my computer. I maintain that a bio is the cement that holds a press kit together. Your bio should /L50480 Create an identity. /L50480 Deﬁ ne a musical style. /L50480 Lead the reader directly to the music. Recording artists, songwriters, performers, and pro- ducers all beneﬁ t from well-written bios. “Send your music, bio, and picture” is usually the ﬁ rst request from someone interested in your talents. If you don’t have major credits, your bio can spotlight personalities, histo- ries, and creative processes. The bio must be honest, but the truth should also sound as good as possible. Never mistake hype for substance. Such key phrases as “eagerly anticipated” and “critically acclaimed” always set off my B.S. meter. Beware the hackneyed cliché, the imprecise metaphor, the goofy, strained adjective. “Unique” means nothing to me. “Joe Jones is a brilliant artist” doesn’t show, it tells. “Sue Smith is destined for stardom” is lame and off-putting. The bio must lead the reader to his own conclusions. Telling a reader what to feel or think may lead to the exact opposite impression. Double check for proper punctuation, grammar, and spelling.Chapter 7 Creating Effective Tools of the TradeNetworking Strategies for the New Music Business 130Stating the style of music the artist creates in a bio is a necessity. “We don’t like being pigeon-holed” is a complaint I hear often from young bands and artists. Guess what? There is a reason that retail CD stores have categories for music; otherwise buyers would never know where to look. A bio is not a résumé, where speciﬁ c information is required and a certain format is followed. There are no hard and fast rules, though there are things to be avoided. Your bio is what the stranger who is listening to your demo for the ﬁ rst time is holding in his or her hand. Make it reﬂ ective of who you are as an artist. Be creative. A well-written bio can make the listener want to hear your music. It can even affect the way someone lis- tens, causing them to listen a little more closely or to be more inclined to give you the beneﬁ t of the doubt. One of my pet peeves is reading an artist’s bio that includes something along these lines: “Susie Stiletto combines the sensitivity of Joni Mitchell fused to the aggressive lyricism of Alanis Morissette, combined with the melodicism of Sheryl Crow.” I know how I feel about these artists, but dropping their names in as a compari- son doesn’t really tell me anything about “Susie Stiletto.” She’d certainly need to be a mind-blowing, powerhouse artist to rank comparison to this triumvirate. Do not include facts that don’t have to do with the music. For instance, it may be pertinent to say you ride horses if you have songs about horses or have written songs while riding horses or can draw some correlation between horses and music. Otherwise, leave those horses in the pasture. Information about your educational background, work experience, broken marriage, prison 131term, or dysfunctional childhood should be referenced only as it relates to the music. If you’re an artist, you probably know how difﬁ cult it is to be objective about your music and career. You’d be well advised to ask a local journalist to write your bio for you. The length is usually one page. If you’ve got a fasci- nating history and it’s extremely well written, a one and a half to two-page bio is permissible. $150–$350 is the standard rate in Los Angeles. Be involved in the writing process—you can ask for drafts and rewrites. As a journalist, I receive an average of 15 to 20 major or indie label press kits weekly. There is no singular bio style that is appropriate for all of these artists. A seeth- ing, pierced, neo-punk aggregation and a soothing, cerebral new-age artist can’t possibly share the same metaphors. Your bio must speak in the same voice as your music. Following is an example bio. Luis Villegas — Bio Each of Luis Villegas’ label releases has revealed the unfolding artistry of a master guitarist and composer. Now, Casa Villegas (Baja/TSR) marks his debut as a producer. “I had a dual life, not only writing and arranging the songs, but ﬁ guring out what instru- ments to use, setting up the sessions, and booking the studio,” says Villegas. He had the bases covered until the night before his initial session. “I’d forgotten to book the musicians,” he laughs. Chapter 7 Creating Effective Tools of the TradeNetworking Strategies for the New Music Business 132It’s clear that Villegas and his tight-knit com- munity of world-class players were ready for the challenge that began this two-month recording pro- cess. With Villegas’ blistering nylon-string guitar at the forefront, Casa Villegas marks a breathtaking musical odyssey from the gritty streets of the city to the sunswept plazas of Spain, across the plains of Morocco to the ancient temples of India. Middle Eastern percussion and Indian tabla provide an aural backdrop as African bata drums mesh with congas and timbales in a wealth of musical cultures. The rhythms of East Los Angeles, Villegas’ birthplace, fuel the opening song, “Bienvendos,” (Welcome) and the Latin/jazz grooves of “Whittier Blvd.” Two songs featuring vocals by lyricist/vocal- ist José Garcia balance the instrumental mix—”Ojos Verdes” was inspired by Luis’s daughter, Krista, while “Mujer Enamorada” is dedicated to his wife, Gloria. “She’s in love with life and living,” Luis says, “I told José, ‘Write some lyrics that go with that,’ and he hit the nail on the head.” Each song on the album is framed as a distinctive vignette. “I didn’t want to be limited to my live instru- mentation,” explains Luis, who used violin, a horn section, keyboards, and additional guest vocalists. Sonic minimalism is illustrated in the austere simplic- ity of “Recuerdos de Jerz” featuring ﬂ amenco singer Maria Benjumeda, and “Jaleo,” a song with only two guitars and percussion. Both recall a golden period Villegas spent in Spain. “It’s a feeling that you’re standing right in front of the street musicians on the banks of the Guadalquivir River.”133Villegas channels a rhythmic physicality into “From the Heart,” and a gentle samba groove informs “Brazilian Magic.” Inspired by the transcendent tex- tu res of I ndi a n m usic, “ Ka m a S utra ” co n j u res u p a frenetic mystic whirlwind of Villegas’ guitar and Charlie Bishart’s violin. New audiences were introduced to Villegas via his previous album, Spanish Kiss (Baja/TSR) as the single “La Reyna” landed on Smooth Jazz play lists coast to coast. Corresponding appearances at high proﬁ le f e s t i v a l s , i n c l u d i n g t h e C a t a l i n a J a z z T r a x F e s t i v a l , The Playboy Jazz Festival, and The Sedona Hot Latin Jazz Festival, sealed his reputation as a blistering live performer, while tracks from his debut CD, Café Olé (Domo), landed in Warner Bros., HBO, Sundance, and Warren Miller ﬁ lms. On record, he can be heard on Guitar Greats Volumes I and II (Baja/TSR); Music for the Spirit , Volumes I, II, and III (Domo); Tabu Mondo Flamenco (Narada); the Lost & Found soundtrack (Capitol); and Gypsy Magic (EMI/Virgin). A s h i s e v e r - g r o w i n g b o d y o f w o r k r e ﬂ ects his musical maturation as a guitarist, composer, and producer, his themes mirror his real life as a husband and father. Although this time out his creative geog- raphy is charted with a global compass, the music always comes home to Casa Villegas . Your Photo Photos for newspapers and magazines can be transmit- ted electronically, For most uses, low-resolution shots are ﬁ ne, but for magazines you’ll need a high-resolution Chapter 7 Creating Effective Tools of the TradeNetworking Strategies for the New Music Business 134photo. Having more than one shot is ideal, and a live pic- ture of a band can generate more energy and vibe. Also, having a selection of black-and-white and color shots for speciﬁ c uses is an excellent calling card. For your press kit, however, limit yourself to one deﬁ ning shot. Don’t pose in front of branches and trees that appear to grow out of your head, and make sure the shot conveys the exact attitude of your music. Full-Court Press There are many types of media, and each one is very spe- ciﬁ c regarding its needs. Before contacting any member of the press, you need to have a focused strategy. Are you currently performing? If so, press releases and calendar notices to print media should be sent well in advance. Monthly publications will need pertinent information up to two months in advance of the publica- tion date, weekly publications need at least two weeks, and dailies need at least a week in advance. Many major publicists prefer to work press concur- rent with a tour. If you’re doing it for yourself, compile press lists and contacts for each city you’re visiting, con- tact the press well in advance, and always follow up. Do you have a story? The press always prefer an “angle,” but it can’t be something artiﬁ cial, corny, or contrived. National press is extremely hard to come by and won’t do you any good if the reader can’t immediately 135go to a familiar Web site or a retail outlet and pick up a copy of your CD. Press is cumulative: The more you get, the more the press will be interested in what you’ve got to offer. Include a cover letter and state exactly why you’re sending information. Make sure that the person to whom you’re sending your info is still at the publication and is the proper recipient for your info. Don’t assume they’ll pass your materials on down the line, and do not address your cover letter to “Dear Journalist.” As a fea- ture journalist and columnist for a magazine, I am not predisposed to assist anyone who hasn’t bothered to do their homework and sends me materials for which I have no use. A proﬁ le, a review, a calendar listing—all are completely different functions of a magazine or news- paper. Learn who does what and address them correctly. An e-mail query to an editor is a good method. Journalists are usually slammed with deadlines and subsequently are quite disorganized. Major record labels will often send me duplicate materials, once by e-mail and once by snail mail. Having high-resolution photos on your Web site could make the difference in you being cov- ered, since journalistic decisions are often made at the last possible second and because something else has fallen out. The creation of magazine columns is much less objective than it may appear, and the decision to use your photo may be made by a photo or art director who doesn’t care what you sound like, but only what you look like. Begin with local press and move up accordingly. It’s not necessary—in fact, it’s even considered unprofessional—to thank the press unduly for doing Chapter 7 Creating Effective Tools of the TradeNetworking Strategies for the New Music Business 136their job. A simple “Thanks, you nailed it,” note is always appreciated. Unless there is an embarrassing and glaring error in the piece that requires a retraction, don’t correct them by calling attention to some insigniﬁ cant detail that might be incorrect. Follow up accordingly, but don’t harass the press. Yes, in rare cases you can wear them down, but keep your desperation at bay. Personal contacts and recommendations are still your strongest suit. In my world, a multiplicity of images makes the strongest impact. I’ll read a press item, hear a song on National Public Radio, and have a friend tell me about a new act, often all in the same day. Credibility in the Credits I have honed a method to streamline my listening pro- cess for the volume of packages I receive weekly. First, I put aside the obvious clunkers (e.g., polka bands interpreting the music of The Police, 20 of Your Favorite Patriotic Songs , etc.). Next, I select the releases from those artists I love (generally a small pile, I assure you). Then I look for artists and songwriters who will be of the most interest to the publications and assorted elec- tronic media outlets for whom I provide content. After I’ve sifted through the major label offerings, I’m left with independent releases of which I have no prior knowledge. While I listen to the music, I read the one-sheet (a slick sheet prepared especially for retail) and bio and scan the liner notes and the inside CD cover looking for the names of people I recognize who are involved with the 137project. Though seeing these names may make me want to listen, sometimes names give me other information. To illustrate, I’ve invented an imaginary artist, Harry Haze, whose package I’ve just opened. Here’s what he tells me on his album: All Songs written by Harry Haze Produced by Harry Haze Published by Harry Haze Music All Songs performed by Harry Haze Guitar, bass, drums, keyboards by Harry Haze Cover art by Harry Haze Liner notes by Harry Haze Now, while Harry thinks he’s projecting to the world how competent, versatile, and creative he is, I’m think- ing, “Harry Haze must be some god-awful prick—an insufferable control freak who can’t ﬁ nd anyone crazy enough to work with him.” Uh-oh. Harry Haze has also included a full insert of tiny-printed text: Thank you’s to various celestial deities, departed family members, a current wife, an ex-girlfriend, and a deceased pet. Gratitude is a lovely quality best saved for a commercial release. On a demo (in my opinion) such grandiose sentiments seem self- serving and off-putting. Everything is a reﬂ ection of the music. Cheesy cover art often mirrors what is contained within, but words are equally revealing. Vague and self-aggrandizing terms such as. “prestigious,” “long-awaited,” “eagerly anticipated,” or “acclaimed” never fail to rev up my B.S. meter. Also, Chapter 7 Creating Effective Tools of the TradeNetworking Strategies for the New Music Business 138please have a competent proofreader check your printed materials and your CD covers for glaring errors. The best packages are often the most simple. A clean, distinctive logo, a smart, well-written bio in a readable, eye-catching font, and a hip, revealing photo say much more than simply seeing the artist’s name repeated ad inﬁ nitum. I don’t wish to sound negative or jaded, but as the packages pile up in my ofﬁ ce, my eyes become ever more critical. I’m reminded that when we project our music into the world, —propelling our artistry out there—we’re in essence cramming messages into bottles. When they ultimately wash up on a journalistic shore, we shouldn’t let an incompetent presentation sink the package. The Man in the Gorilla Suit Recall the ’80s—an era of excess, success, and unabashed consumerism? In those pre-DIY days, record conglomer- ates ﬂ ourished, and the perception was that in order to become successful as a recording artist, one had to be signed to a major label. Artists and their representatives would go to unpar- alleled lengths to get the attention of record company A&R reps, showering them with gifts, appearing unan- nounced in their foyers singing a capella , and devising extravagant presentation packages. One of my favorite stories from that time concerns a band who was so desperate to get attention that one of the band members donned a gorilla suit to deliver their 139package to the record company. Today, I don’t recall the name of the band or their music. All I can remem- ber—and I’m sure the poor A&R guy does, if this didn’t drive him out of the business—is the gorilla suit. Yes, it’s important to get people’s attention in entertainment, but you want people to remember you for the right reasons. Extreme Strategies I told this story to a class of students in England who were amazed at my audacity. I was managing an artist afﬁ liated with a performing rights organization. There was one exec in particular who we believed would make a tremendous ally, and since he was someone I knew, I began making calls to his ofﬁ ce to set up a meeting for my client. I left repeated messages, but I wasn’t getting a return call. (In his defense, let me interject that the employees of PROs are tremendously challenged by their huge membership rosters—hundreds of thousands of afﬁ liates.) Still, I needed this hookup. I created a relationship with his sympathetic assis- tant. When I called one morning, I didn’t ask for him, I spoke only to her. “What’s his day like?” I asked. She replied, “He’s in meetings this morning, he has a lunch appointment, and then more meetings this afternoon.” I casually asked what restaurant he’d be dining in for lunch, and she provided the name of a well-known Sunset Strip eatery. That was all I needed to hear. That afternoon, as he paid his bill at the restaurant cash reg- ister, guess who just happened to run into him? I had an opportunity to reintroduce my client; he apologized for not calling back and promised to meet with us the next day. In this case, the “chance encounter” had to appear Chapter 7 Creating Effective Tools of the TradeNetworking Strategies for the New Music Business 140natural and accidental, otherwise it may have seemed as if I was a stalker—not a good thing. I have another secret weapon I utilize when it’s appropriate, albeit a very small one—my four-pound Chihuahua, Shelby Lynne. She has accompanied me to drop off materials, for brief meetings, and on one memo- rable occasion, backstage to visit a well-known diva who was considering having me ghostwrite her autobiogra- phy. I didn’t get that gig, but not because of the dog. I wasn’t ﬂ ying blind—this singer was a well-known pet advocate who traveled worldwide with her own pooch. If you utilize an extreme tactic, you have to be sure you have the goods; otherwise, you’re in danger of burn- ing a bridge. Above all, don’t be the guy in the gorilla suit. Rejection Rejection is a cold, hard fact in the entertainment busi- ness. For songwriters and artists in particular, it can be a crushing and demoralizing reality. Indeed, it is often cited as a factor that forces people out of the entertain- ment business. And this is a good thing: It leaves more room for you. In order to be successful on any level, you can’t let rejection derail you. The classic example of the Beatles, who were turned down by scores of record labels, is one of the best-known tales. It’s difﬁ cult for anyone to turn down anything, however, if its viability has being proven. An artist who is touring, has a solid fan base, and can sell a few thou- sand CDs doesn’t have to worry about rejection—it’s 141momentary, because they’re already a viable commodity. Songwriters who are collaborating with artists, placing songs in indie ﬁ lms and on cable television shows, will be more likely to be signed by a major publishing com- pany because they already have it going on. Hit songwriter Michéle Vice-Maslin notes that while writers can be discouraged by rejection letters, she is not. “I probably have 25,000 . Who cares? I think the key to surviving—other than pitching—is respecting other people’s opinions. The A&R people like to deal with me because I don’t freak out. As long as they keep listening, I’m happy. I learned once again: Don’t give up. It’s a les- son I’ve been learning the hard way for over 20 years. The more I get rejected, the more I get fueled.” Ten Thoughts on Overcoming Rejection Keep the following in mind when you experience rejection. 1. If someone rejects your song, they are not negating or condemning your existence on this earth. 2. “No” can mean “not at this time,” “not for this artist,” or “not in this market.” 3. In Los Angeles, especially, industry people don’t like to say “no.” They just won’t call you back. 4. You have to develop a career on multiple contacts, numerous outlets, and a catalog of songs. If you have one song you’re shopping and you’re “waiting to hear back,” you’re in a precarious position.Chapter 7 Creating Effective Tools of the TradeNetworking Strategies for the New Music Business 142 5. No one is ever really “waiting to hear back.” You have to move forward, regardless. 6. Ironically, projects often succeed when we least need or expect them to. 7. Holding grudges over rejection is counterproductive. 8. It’s understandable that songwriters in particular are emotionally connected to their creations. Remember: If a publisher says “no,” how many times has a label, artist, or producer said the same thing to him? 9. You are much more likely to be rejected if you’re blindly pitching to strangers. 10. As salesmen know, every rejection is one more step toward someone saying “yes.” Ten Reasons Your Calls Are Not Returned Sometimes it’s difﬁ cult to have perspective on what we’re doing wrong in our communication with others. Often, it may have nothing to do with us per se ; it could simply be an issue of timing. Following is an e-mail I received that made me analyze why some calls are returned and others aren’t. Dear Dan, Last year I had the good fortune to meet a major record producer at a music business convention. In a listening session, he evaluated my demo, which he liked enough to keep. But he hasn’t returned my calls. I wonder: Am I 143doing something wrong? Does he feel differently about my music? What would you suggest? Worried in Winnetka Following is my response. Dear Worried, A number of possible scenarios come to mind. 1. First, do you appear to be too needy? If so, you may be scaring him off. He will take you seriously if you appear to be near, or on your way to, his level of accomplishment. 2. Are you pressuring him? He probably has enough demands in his world from artists, record companies, and associates. He doesn’t need them from you. 3. Are you calling at the right time? Professionals call during business hours, not evenings or weekends. Try Tuesdays–Thursdays, preferably before lunch. 4. Are your communication skills up to par? People don’t have time to read lengthy communiqués or often to return telephone calls. Short e-mails and faxes are preferable. Check your spelling and sentence structure. 5. The moment that someone hears something is not necessarily the moment they can do something with it. When he listened to your music, he may have rec- ognized its potential but did not have an appropriate outlet at the time. This can change. I’ve seen songs for ﬁ lms used years after they were ﬁ rst submitted.Chapter 7 Creating Effective Tools of the TradeNetworking Strategies for the New Music Business 1446. Make sure to update him on your progress. In fact, you should regularly conﬁ gure press releases to inform your contacts on your career. But be wary of over-the- top bragging or shameless self-promotion. Keep it to scale, keep it human, keep it true, and make the truth sound as good as possible. 7. In my experience, music business people are always looking for progression; that is, the producer may have indeed liked your ﬁ rst demo, and now he needs to hear what you have next. It will be easier for him to imagine your future career trajectory, and to become involved, if he believes your music will ﬁ nd an audience no matter what. 8. In our business, everyone prefers to get on a train that’s up and running, not the one stalled on the tracks. You need to give the impression of growth, of career evolution, of really having something new to say. If we are only reactive—and jump on a bandwagon just because it’s there—we will ultimately wind up chasing trends, not creating them. 9. Are you delivering ultimatums? Closed-end phrases will close doors. “Do you want to produce me?” can easily be answered with a “no.” Asking for input is always preferable to a hard sell. 10. Finally, are you treating him as a person or as a stepping stone? Are you aware of the projects he’s doing now—his successes, career milestones, anything in his life? Try communicating with him in a low-key, personal tone with no “payback” expected. You may be surprised at his response.145I hope this information is helpful. Please let me know how it goes. Dan Kimpel Web-Wise In 1992, when I was the advertising director for the Los Angeles Songwriters Showcase (LASS), our co-founder and director, John Braheny, author of The Craft and Business of Songwriting and one of my foremost mentors in the music business, told me about this new technology called the Internet and how he planned to put our orga- nization’s magazine, the Songwriters Musepaper , up on the Web. I recall thinking to myself, “But who is going to ever see that?” Time has, of course, proven J.B. right. Tracks legally downloaded from the Internet now outsell physical singles. There were a record 312,000 legal downloads in the ﬁ nal week of 2004 , compared with 282,000 singles bought over the counter during the same week. The Internet is thewatershed for business in music, an incredibly empowering medium for an independent art- ist. Just as with home recording, by which you no longer need a truck full of money and Abbey Road to make a cool recording because you can create great sounding, personal work in your bedroom, similarly, you no longer need a middle man to deliver your product direct to your audience. You now have the Internet. The barriers to access don’t exist anymore.Chapter 7 Creating Effective Tools of the TradeNetworking Strategies for the New Music Business 146Do I Need a Web Site? Doesn’t everyone? My personal site (www.dankimpel. com) was designed for me by one of my outstanding students from the Liverpool Institute for Performing Arts, Simon Barber. A musician, band leader, and song- writer, Simon is also a savvy Web master with his own company, Juicing Room (www.juicingroom.com), that specializes in entertainment clients. Every objection I had to instigating my own site was easily overcome by Simon in a meeting over coffee in England, and soon I too had a great way for folks world- wide to ﬁ nd me. For this section of Networking Strategies , I decided to tap Simon’s expertise since he now lectures on the subject. DK: Give us a little overview. SB: Arming yourself with knowledge of how to operate on the Web can allow you to forge a career without waiting for a benevolent benefactor to approve of your talent. If you’re Web-phobic, you should know that there’s really no escape from the Web. You need to embrace it; make that your mantra. For me, a band/artist needs a Web site just as soon as they are trying to build a fan base. It’s the ideal, low-cost way to communicate with fans, advertise gigs, sell CDs, and generally promote. Many bands assume that if they’re good, they’ll get picked up by a major label, and that will take care of all the hard graft involved with being an indie. As you know, get- ting signed does not guarantee getting famous, getting your CD in stores, or getting paid! Over 30,000 CDs are released each year, mainly from people you’ve never heard 147of, and only 1% ever sells over 1,000 units. It’ s really the grassroots kind of operations that are ﬁ nding and devel- oping talent effectively, especially on a local level. DK: What are the economic ramiﬁ cations for indie artists? SB: If you’re an independent using the Internet as your means of distribution, you can have anything between 50% and 100% share of the revenue from a product. You may not have access to the large distribution networks or the marketing muscle of major corporations, but you do have a worldwide platform with zero overhead. So, keep costs down and maximize proﬁ t. If you can sell 5,000 CDs for $15, that’s a lot of money! Far more than you would get with a 12% royalty rate when you’ re unrecouped and won’t earn a penny until you go double platinum. If that ever happens! Plus, with indie budgets, nobody is going to be bankrupt if it doesn’ t work out. It’ s not like you’ re Microsoft and you just rolled out a product all over the country and then realized it’s defective. You still have time to grow as an artist, a concept that the bottom line of major labels can no longer afford. DK: How did you get into it yourself? SB: I formed an independent label called Digital Wings. The label was founded on the philosophy I had of using new technology as a means of liberating new artists from the traditional shackles of the industry. We released an album called Motion Picture with my band Santa Carla, and we built up quite a following on the Web. The year that the record came out, 2003 , we had almost two million visitors to the Web site. This was down to a combination of good Web promotion and good search Chapter 7 Creating Effective Tools of the TradeNetworking Strategies for the New Music Business 148engine work. If you want to effectively drive trafﬁ c to a site, you need to do three things. 1. Use good meta tags and make good submissions to the likes of DMOZ. (See the reference list at the end of this chapter.) 2. Siphon trafﬁ c from more popular Web sites (MP3, CD Baby) to your personal site by putting up a few free tracks, a photo, and a link to you. 3. Update regularly! By doing this, we were able to keep a percentage of these fans on mailing lists for marketing new releases to, and of course, some of them visited the site daily to post messages. We got some excellent press from America and did some international radio sessions. It did well in the end and sold a couple of thousand copies, too. We made it available in all the indie stores, and we did a series of free downloads at digital music services across the Web. It’s available to buy online at iTunes, CDWOW, Tower Records, and other credible retailers who support independent artists. So through using the Net, we were able to do two UK tours for the album and actually have these people show up at the gigs like a pre-booked audience. It’s about self- sufﬁ ciency. If you’re prepared to sweat for your art, then it’s a very effective way to operate. DK: Give us some hard facts and numbers regarding setting up a site. SB: The costs of setting up are not prohibitive at all. You might be looking at $20–$25 for a domain and maybe $75 a year for hosting. 149DK: OK, it sounds easy and inexpensive so far, but your perspective is as a Web designer. What can you tell us about making the site alluring to visitors? SB: If you’re not up to it, ﬁ nd someone with a good sense of graphics, fonts, and layout. Someone who understands functionality and the basic commandments of the Web so that you don’t end up with a style-over-substance situ- ation. It is very easy to spot home-made Web sites that have poor functionality, use entry-level gimmicks, have poor color schemes, unreadable text, or do not validate on different browsers/platforms. Your Web site should /L50480 Get a user’s e-mail address. /L50480 Offer easy ways to listen to the artist. /L50480 Make the product attractive to them. /L50480 Show who are you, what you look like, and most important, what you sound like. /L50480 Acknowledge and interact with visitors. Music clips should be presented in a cross-platform format such as MP3. Avoid proprietary formats where possible. People don’t really buy music for the audio, they buy the whole package. Make it an exciting pic that says some- thing about you and who you are. Include a bio. Get an angle and tie it in with the photo and tell the visitor what you represent. Create a mailing list, a viable way to harvest data from your visitors. Find out as much as possible about the fans: age, location (especially if it’s a town you’re playing in), etc. What sort of music do they like and what W eb sites do they visit? What lists do they subscribe to at stores they Chapter 7 Creating Effective Tools of the TradeNetworking Strategies for the New Music Business 150visit online? See if your CD is stocked there. As an indie, you need to manage your own contact list and get used to the idea of staying in contact with large groups of people at any one time. You’ll also need to create an easy and effective way to mer- chandise and a way for fans to buy your CDs. Remember, people are inﬁ nitely more interested in themselves than they are in you. Put them on your site with message boards. Use it to create a street team. Don’t forget that to most people, the music business is pure magic—put your fan base to work. DK: Are there key sites that should be utilized? SB: CD Baby (www.cdbaby.com) is the root of many great indie options—a selling point with built-in trafﬁ c, digital distribution services, Tower Records, etc. Become aware of your local network and what’s going on, who the local bands are, what they’re doing, and where they’re playing. DK: Any other valuable promo tools we should be aware of? SB: An electronic press kit with at least one full-length MP3 ﬁ le of a track from your CD encoded at the standard 128K bit rate. An entertaining bio written four times, in four different lengths, quotes from reviews, plus graphics , artist photos, cover art, and your logo.151Additional Resources Tlcoolhomepages.com Cool Home Pages, an excellent design resource. www.coolhomepages.com/cda/10commandments Ten Commandments of Design; an interesting article on the subject. www.google.com Google; the search engine you need to show up in. www.dmoz.com DMOZ; human-edited search engine. www.phpbb.com PHPBB; message board software. www.hostbaby .com Hostbaby; Web hosting for musicians. www.jetplanelanding.com Jetplane Landing; an excellent independent band with a powerful site. www.santacarla.co.uk Santa Carla’s site. www.juicingroom.com Juicing Room; a Web company. www.digitalwings.co.uk Digital Wings; a record label. www.apple.com/itunes/store Apple iTunes. www.napster.co.uk Napster. ww.listen.com Rhapsody. www.peoplesound.com Peoplesound. www.garageband.com Garageband.Chapter 7 Creating Effective Tools of the TradeNetworking Strategies for the New Music Business 152www.towerrecords.com Tower Records. www.cdwow.com CDWOW. www.cdbaby .com CD Baby. www.fopp.co.uk/unsigned_network/intro.htm Fopp Unsigned. www.cafepress.com Café Press; music merchandise. www.gigwise.com Gigwise; local music community. www.glasswerk.co.uk Glasswerk; local music community. www.bbc.co.uk/liverpool/entertainment/music/unsigned_bands/ index.shtml BBC Unsigned; valuable promotion tool. www.musicbias.org Musicbias; local music business support. www.marketingyourmusic.com Marketing Your Music (by the genius behind CD Baby). www.bob-baker.com Bob Baker; marketing tips. www.getsigned.com Get Signed.153CHAPTER 8 Live Venues and Ventures The heart of popular music beats within the live per- formance. Even if you are not engaged in a career as a performer, odds are you’re working with those who are. In this chapter, you’ll go backstage with the band. Gigology 101 Since I live in Los Angeles, it would be possible for me to go out 365 nights a year, hit 10 clubs every night, and never see even a tiny fraction of what’s happening in town. Given these exhaustive possibilities, it is unnerv- ing when I am invited by some well-meaning band to come by a club at 11:00 p.m. on a Monday night to catch their set. I’m more apt to be at home in ﬂ annel pajamas, watching the news with a Chihuahua dog on my lap at this hour, resting up for the day ahead. This is not to say that I don’t go out, but I have to measure the importance of the shows I attend. I’m more likely to go out if a friend is performing, it’s a band I’m passionate about, because Networking Strategies for the New Music Business 154I’m writing something about the act, or because the net- working possibilities are promising. The worst time to showcase in a major music city is on weekends. This may be when the rank and ﬁ le go out to party, but in my experience, music industry profes- sionals prefer to reserve their personal weekend time for their families. For them, hearing bands is hard work; it’s what they do for a living. And no one wants to work all of the time. For these busy professionals, weeknights are preferable, and an early show, where they can come directly from the ofﬁ ce, is ideal. All of us in the industry have clubs where we pre- fer to see artists—where the sight lines are favorable, the sound pristine, the staff professional and accom- modating. And of course the opposite is true: I would rather chew glass than go to another show at a certain Hollywood club (formerly owned by a famous actor) because the staff is invariably rude, ofﬁ cious, and makes me feel like a criminal when they search me. Creative Outlets There is a certain mystique, historical and otherwise, attached to places like The Troubadour in Los Angeles, the Bitter End in New York, and The Bluebird in Nashville. I present this theory: Audiences respond to entertainment in direct correlation to the environment in which they see it. This is a reason that the mediocre entertainment accompanied by laser and light shows wows the masses in Las Vegas—the audience has been set up by the surroundings. Conversely, seeing the great- est band in the world in a sleazy club may not necessarily 155showcase their brilliance, because the seamy circum- stances have prepared the audience for something less. At one point in my career in Los Angeles, I was promoting a vocal trio with a very original sound—a Manhattan Transfer meets Carter Family vibe, with an intricate, delicate blend, far too subtle for a club envi- ronment. I met with all three members of the band for dinner one night at a modest Japanese restaurant with ’50s decor, including turquoise and pink walls, and black and white checked ﬂ oors. As we devoured our California rolls, the trio’s leader began bemoaning the lack of a perfect venue. “What about here?” I asked. They looked at me as if the wasabi had gone to my brain. We were in a restaurant, not a club, a venue that didn’t even have music. “Perfect,” I deduced. Later that week I wrote up a proposal and approached the restaurant’s owners with a guaranteed way for them to bring in people and make money one evening at their busy daytime location that had sparse dinner business. We would produce a music night, bringing in production staff and a sound system, charge a cover at the door that would go to the band, and the restaurant could serve their regular food, drinks, and desserts and proﬁ t from these sales. When the evening of the performance arrived, the venue was packed—so full, in fact, that the restaurant’s wait staff panicked, and our friends had to help serve the food, but the group made over $1,000 at the door, and the evening had a huge buzz that carried over to successive shows. Next, I booked the trio into small theaters for weekend matinee performances. Since the band’s setup was minimal and acoustic, they could work Chapter 8 Live Venues and VenturesNetworking Strategies for the New Music Business 156around a preexistent set and not disturb the physical elements of the evening’s performances. In Los Angeles, we have equity-waver houses ( 99 seats or less) that we could sell out on a Saturday afternoon. We also provided concessions and merchandise, upping the take considerably. Alternative Venues Creative new venues can work with multiple artists as well. I was managing a performer who had devised a world-inﬂ uenced brand of pop music. When we decided it was time to take the music to the stage, we couldn’t ﬁ nd an adequate venue, so we decided to invent our own. To complement his global grooves, we invited two other acts with whom we were friendly: A Latin band from East Los Angeles and a roots reggae group. I located an appropriate venue, an historic women’s club in Los Angeles, and convinced the directors that I was creating an event of cultural signiﬁ cance. I set up sponsorships with magazines, a music store, and a sound company, so I wasn’t paying out of pocket for anything other than the venue. Tickets were affordable, and I made each of the three acts (my own included) respon- sible for selling a set number so we were assured of a full house. The bands would make a proﬁ t after their initial sale, and they could also move merchandise plus have a high-proﬁ le showcase concert with media attention. I will always recall standing in the parking lot with a trio of matronly women from the club’s board of directors when the reggae group arrived for sound check, and the looks on their faces as ﬁ ve hugely dreadlocked 157musicians emerged through the clouds of pungent smoke that billowed from their van. Jah! Rastafari! The evening was a huge success. Inventing Your Own Show Consider the following tips if you plan to create your own show. 1. Give the show a name. Our global music show was titled “World Tribe.” 2. Create a logo and artwork speciﬁ c to the venue. 3. Think way outside the box. I’ve been to art galleries, fashion shows, and pet rescue events to hear bands. 4. Write up your proposal; business people always respond better when something is in print. 5. Consider a residency, or an ongoing show for one desig- nated night per week, but keep in mind there is a natural lifespan to such events. Know when it’s time to move on. Soft Ticket With one artist, I thought big—of having him perform to audiences of more than 10,000 people. The reality was that he was from Hawaii, hadn’t yet made an impact on the mainland, and had no reputation to speak of, so it was up to me to devise a way to present him in front of as many people as possible. A “soft ticket” refers to an event that people are attending already—a fair, a Chapter 8 Live Venues and VenturesNetworking Strategies for the New Music Business 158festival—where they will see the entertainment as well. It can be a perfect opportunity for a high-visibility show. I approached the entertainment committee for an annual Asian-Paciﬁ c celebration in Los Angeles that draws thousands of visitors. I proposed presenting my artist and, as an added incentive, offered to provide publicity and public relations services for the event free of charge. I was able to “piggy-back” my artist’s appear- ance on top of the event and to make it appear (subtly, of course) as if he were headlining. Through press, stories, publicity, and media saturation, we were able to create a signiﬁ cant splash. How to Make a Soft Ticket Show Work for You Consider the following tips for creating your soft ticket show. 1. Research the demographics; you don’t want to present a nu-metal band at a gathering of senior citizens. 2. Write up your proposal, focusing on what you or your artist can do for the event, not vice-versa. 3. Play for expenses or even for free if necessary. Make your money in merchandise sales or write-off expenses for the value of publicity. 4. Outdoor shows are not a place for ballads—devise a high energy, visually engaging show that will make those in attendance stop to watch you. 159 5. Create a banner with the name of your band on it and hang it at outdoor events (or anywhere else you play). “Who is that band?” is not a question that your audience should walk away asking. You Sounded Fabulous! Accepting compliments seems to be difﬁ cult for many performers. I attended a wonderful showcase in Liverpool, England, with one of my students. After the set, I went backstage to congratulate her. “You were terriﬁ c!” I enthused. “Nah, the sound was awful, I couldn’t hear the monitors, and I forgot some lyrics,” was her mumbled response. Maybe she was being honest, and of course that’s commendable in most circumstances, but this is show business. By denigrating a performance on which I’d complimented her, she was unconsciously criticizing my taste and therefore undercutting my enjoyment of the show. Ten Post-Performance Tips 1. Be gracious, accept compliments, and thank the person who gives them. 2. Remember, non-music people are often less critical, enjoying the overall gestalt of a show and often not noticing the mistakes. Chapter 8 Live Venues and VenturesNetworking Strategies for the New Music Business 160 3. Don’t call attention to negative conditions in the club. 4 . Always graciously thank those who spent good money and came to see you perform. 5. If you’re hanging out in a club after the performance, don’t hop from table to table. Stay in one location and let the audience members come to you. 6. Sign everything. Often fans will pay more for a CD signed by the artist in person than they would at retail or online. I’ve worked with artists who mark $ 15 CDs up to $20 at shows and sell hundreds. Audiences will pay for the opportunity to meet the artist. 7. If you’re selling merchandise, don’t handle the money yourself, enlist help. 8. Have plenty of Sharpies or similar pens on hand. 9. Be prudent in handing out promotional materials for upcoming performances that are in venues other than the one in which you’ve just appeared. The club owner may frown on your promotion of a competing venue. 10. Cover your show clothes with a jacket, or change into another outﬁ t immediately after the performance. Performance Peeves I’m mystiﬁ ed why I see so many musicians swilling bottled water onstage. “Is this a show about water?” I wonder. I understand a singer taking a swig to combat dryness, but why is everyone else draining the Aquaﬁ na?161At an otherwise splendid show, a musical tribute to Joni Mitchell, I could predict what was about to be performed because the lead guitarist would play the intro lick to check his tone before each song. Surprise is good in performance; don’t telegraph what’s coming, and don’t use “weedlee, weedlee” licks when the singer is introducing the song. Just as music is rehearsed, so should the intros and outros be a part of the overall per- formance. Dull, self-conscious stage patter detracts from a performance. The song intro is a chance to connect on another level. Ten Commandments of Club Land 1. Don’t piss off the soundman; that’s just asking for end- less feedback and appalling apathy. 2. Respect the club booker; she will eventually be at House of Blues. 3. Be honest about your draw. If you can only guarantee 10 close friends for attendance, don’t proclaim that you can ﬁ ll a 500-seat venue. 4. “We’re gonna slow it down for ya now” is not a suitable song intro. 5. Don’t rail against any member of the press or threaten any music journalist. 6. Speak well of other bands on the circuit. You’ll be on a bill with them sooner or later. 7. Be unerringly professional and punctual.Chapter 8 Live Venues and VenturesNetworking Strategies for the New Music Business 162 8. A sound check is not a rehearsal. 9. Be conscientious with your guest list. Don’t demand freebies from the club. 10. Devise original ways of ﬁ lling the venue. Club Clues With the goal of selling as many drinks as possible, clubs are businesses, plain and simple. If your goal is to be a club act, that’s ﬁ ne, but at some point you’ll have to determine whether you’re in the music business or the bar business and act accordingly. As a musician, I made a decent living playing in clubs in tough markets, including New York and Los Angeles. In order to do this, however, I was forced to make many concessions in my art. Even though I wrote songs, it was a rare audience who wanted to party to unheard-of material, so covers were the way to go. There is a certain vibe that club musicians acquire. It’s difﬁ cult to describe, but audiences can feel it. (You can read Bob Malone’s comments about his own experiences in this realm in Chapter 9, “Success Stories.”) You are in the realm of service. There are, of course, exceptions to this rule. Coming up with a band in Ohio, we transformed a club in the college town of Bowling Green—Howard’s Club H—into a Mecca for free-thinking individuals of all persuasions. In Los Angeles, a club called Limey’s hosted the hippest ever musician’s Sunday night jam. But these scenes are few and far between. And if you perform in the same clubs over and over again, you’re in danger of becoming part of the furniture because careers are built on change 163and progression. It doesn’t take audiences very long to begin to take you for granted. If you’re comfortable at the same club, it’s probably time to move on. Soundman Scenarios In my list above, I cautioned you about angering the soundman. There are many intricacies in dealing with technical personnel. Doing their gig is often a thankless job accompanied by a howl of feedback, a singer com- plaining “I can’t hear myself,” mics that don’t work, and monitors that fail to deliver. If the sound is terrible, it’s the soundman’s fault and, of course, if it’s ﬂ awless no one notices. Consequently, soundmen (and women) tend to be a prickly lot, often either over-sensitive or immune to criticism, since they deal with a new band virtually every night, always with a new raft of complaints. It’s an excellent idea to always have a hard copy depiction of your set-up: mic and monitor placements and an input list. E-mailing or faxing this information to the club ahead of time if possible, or having this infor- mation on your Web site, can save time and energy. Take multiple copies to your sound check in case there is a stage manager in addition to the soundman. If the club provides a backline (drums, amps, etc.), all the better. If there are multiple acts for a show, the band who is playing last, or headlining, typically sound checks ﬁ rst. The group who opens the show sound checks last since their equipment can then be in place when the doors open. Being on time for the sound check is the ﬁ rst objective, since sound checks invariably run late. Do everyone a favor and have the band arrive together. Chapter 8 Live Venues and VenturesNetworking Strategies for the New Music Business 164Here’s a scenario that works extremely well for me when I present artists in a club or concert. I stay in the sound booth as the soundman adjusts levels in the line check (each instrument heard individually) and as the band runs down a song. At this point I don’t say a word to the soundman, I am simply a strong and obvi- ous presence hovering next to the board. Invariably the soundman will then solicit my opinion. The secret is to stay mum and await this moment. It will come, I assure you. Then, and only then, gently correct any miscalcula- tions in the mix. Always thank the soundman—either onstage, imme- diately after the performance, or in a note or e-mail the next day. Be sure to let the booker or club owner know how much you’ve appreciated the hard work and expertise of the technical staff at the venue. The sound and stage personnel will be glad to see you next time. Scams Envision this scenario. You see a solicitation in a magazine from a company that is reviewing the type of music you create. You send in your package and— surprise!—you receive a call from a company executive who praises your efforts and proclaims that your music is in the top percentile of what he has ever received. It is so stunning that he would love to have the opportunity to represent this wondrous music to the major players: the big markets, radio, record companies, etc. In fact, your music is so magniﬁ cent that he will even give you a healthy discount on the fees that he usually charges for these services.165At this point, a red light begins ﬂ ashing in your brain. “Money? I have to pay money?” you say. The elo- quent one then ups the intensity of his fevered pitch, “You have to spend money to make money. I’ve worked with (insert platinum artist here) and (insert another platinum artist here), and I’m respected in this business for hearing the hits. I believe in your music; I can make it happen for you.” The music business is ﬁ lled with inventive cottage industries. However, charging naive acts exorbitant fees to “shop” their material is a gray area where I’ve seen many an aspiring artist turn into bleeding bait for the circling sharks. There is, for instance, one Hollywood-based “pro- moter” who turns a pretty proﬁ t by luring artists into his gold record-decorated den and then pressuring them to pay for his services. His pitch rarely wavers: He is, in the next three days, traveling to New York (a convenient 3,000 miles away) and has meetings already set up to play material for the heads of major record labels. This takes money. The up-front fee? $ 8,000 . When I was on the staff of a national non-proﬁ t organization for songwriters, I encountered numerous victims of this particular scamster. Many were reticent to complain because, like most scam victims, they were mortiﬁ ed by their own gullibility. If you’re ever approached by anyone in the business with a sketchy proposition, I would advise the following: 1. First and foremost, trust your instincts. Chapter 8 Live Venues and VenturesNetworking Strategies for the New Music Business 166 2. Ask them for the names and contact numbers of clients. 3. Request additional industry references. 4. Check them out online. There’s a site called The Velvet Rope (www.thevelvetrope.com) where, if you are a mem- ber, you can post industry-related queries. If you prefer, you can remain anonymous while asking, “Has anyone ever worked with…?” 5. Don’t assume that the operator is legit just because he advertises in a legitimate music business publication. Some magazines would accept advertising from Satan himself if he paid up front. It’s up to you to exert your judgment. 6. The music business is very small. Bottom-feeding sleazes depend upon their victims not to have information or resources. Don’t be afraid to ask for references to verify a company or a person’s legitimacy. 7. Keep in mind that there are no shortcuts in the music business. Nothing will ever replace the power of creating your own personal contacts and network. 8. Educate yourself about how the business really works. Don’t allow your ego or a sense of desperation to make your decisions for you. Compilation CDs OK, emerging bands: You’ve performed, postered, pos- tured, and proclaimed to the pinnacle of your powers. So now that you’re starting to kick up some notice, you’ve 167been invited to have a song included on a compilation CD. Sure, it may cost a few hundred dollars, but it will be delivered directly into the hands of radio, record com- pany A&R, promoters, and bookers. Compilations are wonderful money-making devices for the ones who can persuade 15 to 20 bands to each give them one song and to pay anywhere from $ 500 to $ 1000 for the privilege. In turn, the producers master and man- ufacture a couple of hundred CDs, give some copies to the bands, mail out to their “contacts,” and voila, they’ve pocketed a few grand in the process. And the bands? They have copies of a CD with 19 other groups whose sole shared merit is coming up with the cash to pay for a track. There are, of course, worthwhile, legitimate compi- lations. The performing rights societies (ASCAP, BMI, and SESAC) will often showcase emerging bands and writers via a compilation. The Los Angeles–based orga- nization L.A. Women in Music (LAWIM) has a diverse, highly regarded release. But in neither of these scenarios is there any cost to the artists. Likewise, there are worth- while CD compilations that target speciﬁ c local scenes or styles of music. These can often reﬂ ect an emerging music community and offer an effective way for groups to share the costs of manufacturing, artwork, etc. Likewise, certain record companies will present their emerging acts on promotional sampler CDs at no cost to the bands. And of course on late-night television one can order everything from heart-wrenching patriotic songs to the nearly forgotten hair bands of the ’ 80s. These art- ists, even at a reduced royalty, will beneﬁ t from the sale of the CDs.Chapter 8 Live Venues and VenturesNetworking Strategies for the New Music Business 168But let’s get real. Why should a record label exec lis- ten to 20 disconnected bands on one release? Would a journalist really wade through 19 groups with the hope of hearing something interesting if he had no connec- tion to the producers? Believe this: Radio programmers and record label people, realizing that the criterion for inclusion on compilations is simply whether an artist can pay the fee to be included, will generally disdain such compilations. One of the latest wrinkles in the well-worn scam is the “event” tie-in. It works like this: “We’re going to be at (MIDEM/SXSW/EAT’EM/Sundance/Slamdance), and we’ll be distributing CDs to everyone there.” Sounds good, but how do you know that the CDs will even be distributed? After all, the point is that you won’t be there anyway, will you? And how much baggage might a convention-goer accumulate over a couple of days? And how much do they actually want to take home? If you’re asked to participate in a compilation CD project, here are some questions you should ask the producers. /L50480 What type of track record do they have in the industry? /L50480 What acts have been signed from their previous releases? /L50480 What criteria do they have for inclusion? /L50480 Do they provide group contact info with the release? /L50480 Does the group maintain control of the song’s copyright?169Ask for their previous releases, then give a good, hard listen to determine if these acts are those with whom you’d like to share CD space. In the music business, the way you come in is the way that you’re perceived. Often, being included on a dubious project is almost worse that not being heard at all, especially if you’re sandwiched between a couple of lousy groups. Compilation CDs are wonderfully lucrative endeavors for their producers. But for bands with limited economic resources, being included on a compilation project may only land you on a CD that a record company exec, radio programmer, or journalist reaches for when he needs a coaster for his cocktail. Performing Rights If you write songs for your band, you need to choose a performing rights organization. You’re in luck because there are three: ASCAP, BMI, and SESAC. All are immi- nently accessible, and all are (believe it or not) there to help you. As a songwriter, you can afﬁ liate with only one society. On the surface, what these three performing rights organizations (PROs) do is not dissimilar: They collect money for songwriters and music publishers from broadcast revenue sources, including television, radio, and Internet licenses. They then distribute these funds to their members. Sounds good, right? Keep in mind that you will never receive one penny from these sources if you do not afﬁ liate, which is reason enough to contact them as soon as you have, or anticipate having, a CD that might be receiving any kind of airplay. Chapter 8 Live Venues and VenturesNetworking Strategies for the New Music Business 170ASCAP, the oldest and largest of the three organi- zations, boasts among their membership many of the most venerated songwriters in the history of pop music. ASCAP Presents showcases unsigned bands in various cities around the U.S. Buckcherry, Lit, Gin Blossoms, and Save Ferris are all alumni. Also among the exten- sive list of workshops for songwriters is “Music Business 101,” informational and educational sessions with guest speakers, and ASCAP SWAPmeet, held in various cities, including L.A., where new works are heard by industry pros. ASCAP, governed by a board of directors elected from their membership, can be reached at (323) 883-1000 or contacted online at www.ascap.com. BMI, formed as an alternative to ASCAP, origi- nally licensed R&B and country music. Today, they are equally strong in rock and pop. BMI co-sponsors and produces live performance opportunities for members and is involved in many grass-roots events. New Music Nights is a quarterly program on the West coast that showcases a wide variety of genres—rock, alternative, pop, soul and hip-hop— to help expose new talent to the industry—lawyers, managers, A&R, publicists, and journalists, as well to the general public at large. Bands who have played and/or been signed from the showcase include Counting Crows, The Roots, Stroke 9, and Train and Creed. Contact BMI at 310-659-9109 or online at www.bmi.com. Speaking of alternatives, SESAC, although not as widely known as the other two organizations, is deﬁ nitely making up for lost time with an aggressive marketing campaign and some key signings. Oscar- winning songwriter, the legendary Bob Dylan, is a SESAC writer. SESAC has made strategic alliances with a host 171of technology companies and was the ﬁ rst PRO to offer digital watermarking so you’re paid every time your song is aired. They also offer online licensing for afﬁ liates and online registration of works. SESAC is a privately held company and is selective about its afﬁ liates. You can reach them in Los Angeles at (310) 393-9671 or online at www.sesac.com. Which society is right for you? Contact all three then examine the materials they offer concerning pay- ment schedules and contract length. Above all, trust your instincts and remember that having someone who believes in you at a performing rights organization is one major step up the ladder in this business.Chapter 8 Live Venues and Ventures172Success Stories In the mythology of the music business, there is a huge focus on the million-selling stars—the bands we see on MTV and VH1—those very few who enjoy their brief moment teetering on the chart-topping pinnacle of success. As I’ve reiterated in this book, I believe the true success stories are of those individuals who ﬁ gure out how to work and stay in the business they love, who can remain relevant over time, and who are able to sustain themselves through an art they love. In this chapter, it’s my pleasure to introduce you to some folks whose accomplishments are varied, wide, and enduring. They exemplify networking strategies through their steadfast commitment and determination to ﬁ nd a way to keep themselves in the game. There’s a lot to be learned from their career journeys.CHAPTER 9173Jeffrey Steele: Country Craftsman With over 200 songs recorded in the last three years by Nashville’s most bankable stars, including Tim McGraw, Faith Hill, Montgomery Gentry, Rascal Flatts, Leanne Rimes, and Diamond Rio, Jeffrey Steele is as hot as a country songwriter could possibly be. But songwrit- ing success for this driven Californian came only after two decades of broken dreams, busted-up bands, deals gone sour, and experiences with record executives who thought they knew more about country music than Jeffrey Steele. “The most important thing any song- writer needs to have is that drive, an ‘against all odds’ instinct to keep writing through all the rejection and all the hardships,” states Steele. “These are your stories, the stuff that turns into your songs. I think a lot of people run from these things, but they need to realize that that’s what you’re gonna be writing about for the next 20 years.” Independent releases sold on his Web site and at live shows have been, up until now, the only way to procure Steele’s solo work. Now, Outlaw, from Lofton Creek, delivers the power of Jeffrey Steele as an artist backed by the power of major distribution. “We found out that one song of mine was being played on one radio station 120 times a week,” says Steele. “The song is called ‘Good Year for the Outlaw.’ It’s an outlaw country station, and this is their theme song. The next thing I know, the song is showing up on the Billboard chart completely out of the blue.” Of the new record that takes its title from the track, Steele notes, “I ﬁ nally got a record in the store after eight years of being signed to major record deals and not getting records out. It feels good to have an actual piece of product in the Wal-Marts and Targets.” Chapter 9 Success StoriesNetworking Strategies for the New Music Business 174To promote his record, Steele has been opening shows for Brad Paisley and Keith Urban, with just an acoustic guitar. “You’ve really got to work,” he avows. “I came out for 8,000 people in Connecticut, with throngs of screaming women wanting to see Brad and Keith. I said, ‘You guys have no idea who I am, but you know my songs.’ The whole place was singing along, then I did the stuff from my new record, and ‘20 Years Ago’ earned a standing ovation. But the stage manager wouldn’t let me go back out for an encore. So I’m getting success and shooting myself in the foot at the same time. It’s all perfect.” Born in Burbank, the youngest of ﬁ ve children, Steele’s powers of perception were honed early on. “I observed my older brothers and sisters and heard all of their music,” recalls the songwriter. “I was at the bottom end of the food chain, just eating that stuff up, watching and learning. Later, all of these things were there to write about.” As the little brother, Steele learned how to vie for attention. “I remember being ﬁ ve, shaking my hips to Elvis Presley records in front of the whole family, and my brothers getting pissed and beating me up later.” One familial theme Steele has referenced in both “My Town” (Montgomery Gentry) and “20 Years Ago” is the age-old conﬂ ict between father and son. “It was my brother and my father,” he says. “ I’d watch them ﬁ ght at the dinner table. They could never get along. Ten or 15 years went by and they didn’t talk to each other until my dad was on his deathbed in a morphine-induced state. They couldn’t really make amends, but they could look each other in the eye one last time. I tell writers, ‘Don’t turn the other way from that. It’s OK to write about 175it more than once, if that’s a big issue in your life. It’s therapy for you.’” Twenty years ago thought I knew it all Trying to talk to me was like taking to a wall I thought I was a man for acting like I did But what I want right now is just to be your kid Just before my dad gave up the ghost he smiled at me and said Son let it go, that was 20 years ago. Steele spent the ’ 80s with a dual music career, playing in bands on the Sunset Strip and with country groups far from the center of L.A. It was in the country bars that he could make a living, but he decided to concentrate on writing songs. Still, he couldn’t resist an offer of $ 200 to play bass one Sunday afternoon. “I put my amp in the car and drove down to Orange Country and played the gig with Larry Parks and his brother Cary, with Hugh Wright on drums. I said, ‘These guys are unbelievable.’ Next thing I know we’re playing every bar in town. I started bringing my songs in, and the harmonies were great. It was a once-in-a-lifetime thing.” Boy Howdy’s huge radio hit, “She’d Give Anything,” took the band to the top of the country charts. But the record company wanted more of the same, and the band wasn’t amenable to being squeezed into the polished Nashville mold. Jeffrey Steele tells of the harrowing days after Boy Howdy’s demise, when he was subsequently signed to a solo deal. “I got the worst of the worst, but really no worse than anyone else. When I signed to Curb Records, I remember the guys there telling me all my songs sucked and I wasn’t really that talented, but the secretary in the ofﬁ ce thought I was Chapter 9 Success StoriesNetworking Strategies for the New Music Business 176cute, so they were going to give me a record deal. All of the things they say to make you feel like nothing.” Meanwhile, the publishers were equally underwhelmed. “They told me my songs were nowhere near the market- place—off by a mile. But I knew that I loved to write. It gets to a point where you either slough it off or think maybe they’re right. But look at the criticism and see if it has any weight. These guys are critics, and they’ll say things to discourage you. Over the years, it’s become ﬁ re for me.” On this day in Nashville, Jeffrey is behind the board, producing a record on RCA for Keith Anderson, a singer/songwriter he’s known for six years who penned “Beer Run” for George Jones and Garth Brooks. “He’d originally gotten a production deal with Sony, and I talked him out of doing it. He said, ‘You’re going to make it terrible for me. I’m never going to get a deal.’ I said, ‘No, dude, if you sign a production deal with Sony, you’re stuck there. You won’t have the option to play for anybody else. We’ll pay the money for the ﬁ rst couple of tracks, get everybody interested, and we’ll get them all out to see you.’ He showcased and had every label in town champing at the bit. Six years ago, he was too left of center.” Between the promotional tours for his record and production gigs, Steele tightly structures his songwriting time. “It’s not unusual for me to have three writing appointments a day, like I’m in a doctor’s ofﬁ ce. People say, ‘How can you do anything artistic when you’re writing that much?’ First of all, I’m a freak. That answers that question,” laughs Steele. If his ﬁ rst appointment of the day is productive, it inspires him for the next two sessions and keeps his adrenaline running until 177the late hours. “I know there’s something wrong with me, when I can’t shut my brain down, when I’m getting up and writing at three in the morning. I want to keep practicing my lyric craft, get as good as I can. I want to use less words to say more things. Instead of having two lines, I try to get it down to two words.” To the uninitiated, it may be a mystery why Jeffrey Steele, BMI’s Songwriter of the Year and one of Nashville’s most proliﬁ c talents, chooses to tour the hin- terlands instead of luxuriating in town, writing songs, and checking the mailbox for what must presumably be formidable checks. He explains that touring stirs his creativity: “Particularly in the small towns, people come up and invariably tell you about their lives, about their cousins, uncles, or talk about something that happened in town. There’s something to be said for playing for three hours and sitting in that autograph line for two. I always give everybody the time of day, let them tell me what they tell me. I like to say something positive, make the most of the time. They’re happy to see me, and I’m happy to be there. A lot of people get burned out, but I get stories and titles.” He gives this example of a song he co-wrote with Marv Green, the writer of Lonestar’s hit, “Amazed.” “I was on the autograph line and this guy comes up and he introduces me to his wife, this beautiful lady, and I could tell they’re deeply in love. He says, ‘She could have had anyone in school.’ I said, ‘What did you do to get her?’ and he said, ‘All’s I did was love her.’ My mental memory bank went on and we wrote the song a couple of days ago. It’s about what he talked about—he never had any riches, but he promised her a life of his being there and being good to her.”Chapter 9 Success StoriesNetworking Strategies for the New Music Business 178Steele reveals that he’s always prepared to write. “That’s what anyone will say, even if I’m an hour late to the writing session. It’s because I’m at home working on an idea. I want a seed or something to go on. Putting in 30 to 40 minutes a day playing, trying to think of some- thing, keeps you in that mode all of the time, ready to write something. Even if it’s crappy stuff, you’re letting your thoughts out. But I hope when a new guy comes in he’s also armed and dangerous, is focused, has a bunch of stuff, and wants to write hit songs.” Steele shares that sometimes co-writers will expect him to, in his words, “lay a golden egg.” He explains, “That’s the hardest part—when someone’s looking at me going, ‘When is it going to happen?’ And I’m like, ‘When is what going to happen?’ If I intend to lay a golden egg, I’m going to do it in the privacy of my home. I’m not going to do it in front of you, pal.” Lindy Robbins: Late Bloomer These are productive times for Los Angeles songwriter Lindy Robbins. She’s penned two songs, “Shine” and “I Will Carry You,” for Clay Aiken’s platinum debut, Measure of a Man ; she has a cut with Jesse McCartney on the Disney soundtrack and in the ﬁ lm Cinderella Story ; she’s renegotiated a new publishing pact with media powerhouse Universal Music Publishing Group; and she’s preparing to move into a home she’s purchased in the San Fernando Valley’s trendy NoHo Arts district. Make no mistake, Lindy Robbins is no overnight success. A native Angeleno who relocated to New York City in the ’ 80s, Robbins’ tale is one of fate, faith, trust, and timing. “It was only two years ago that I had any 179money at all,” she confesses. “I was a late bloomer. I had a publishing deal in 1994 with Rodgers and Hammerstein Music in New York, but I was writing theatrical, cabaret, and art songs and making a living performing. It wasn’t until 1997 that I quit performing and decided I wanted to write pop songs. I moved back to L.A. to do that, without a deal, without any money, without anything.” On a ﬂ uke, she entered a song in the UniSong International Song Contest and won the grand prize. She was subsequently invited to Ireland for Celtic Harmony, a week-long songwriter retreat organized by Music Bridges (USA) in conjunction with Irish rights society IMRO, where she was cast in intensive writing sessions with hit makers from around the world. “I had moved back to L.A. with not a fork,” laughs Robbins, “and there I was, onstage, singing with Lamont Dozier and Brenda Russell. It all happened so fast.” In Ireland, Robbins met Rowana Gillespie of Polygram Music Publishing, who signed her to a deal. (The company has since merged with Universal Music Publishing Group.) In addition to a music publisher, Robbins retains the services of a manager. Still, she never stops hustling up her own opportunities. “No matter what cuts you have, you can never stop working your songs,” she emphasizes. She makes regular trips to New York to meet personally with A&R executives at various labels. “I’ve found that if I make a connection, they’ll lis- ten to a song later,” she explains. “We talk about life for a second. It’s a human thing.” Robbins earned serious Music City credentials with a Faith Hill cut, “Back to You,” and international recognition for “I Dreamed of You,” a four and a half Chapter 9 Success StoriesNetworking Strategies for the New Music Business 180million-seller co-written and recorded by dance diva Anastacia. Unless she is co-writing with an artist, she does not generally write songs with a speciﬁ c performer in mind, and she cautions writers about becoming what she terms “genre whores.” She explains, “Sometimes there are certain types of songs on the radio. You try to copy that trend, and by the time you’re shopping those songs, the trend has changed. By the time you’re pitching yours, A&R execs have heard a hundred of those songs, and they want to hear something different. Sometimes you have to start the trend yourself.” She shares that on many occasions, it’s necessary to turn off the business mind in order to create. “It’s like, ‘Can we just write a great song today?’ Sometimes you have to ﬂ ow and not think about business—just write. And those are the songs that get cut, because they’re fun.” A global perspective is vital for pop songwriters, says Robbins. “I’ve had great things in the U.S., like Clay Aiken and Faith Hill, but I’ve gotten by on stuff in England, France, and Australia. It’s important to inves- tigate other avenues rather than just the U.S. I can go to London and write dance or pop, then go to Nashville and write country, then to New York to write urban. That’s what keeps it fresh.” Robbins’ ability to work quickly makes for a burgeoning catalog. “I can do a song a day easily,” she avows. “When I’m on a writing trip I’ll do 10 to 15 songs. If 20 percent of them get placed, that makes a huge difference.” She writes both melodies and lyrics, and she generally prefers to write with a producer. “I don’t work with other writers, except when I’m doing standards or country,” she afﬁ rms. Robbins notes that production is key to getting cuts. “That’s the biggest lesson I had to learn. As good as some 181of my songs were, the tracks weren’t good enough and the songs wouldn’t get placed. The demos have to sound as good as records.” Robbins says that it is common practice now for songwriters to create the words and music and then share a 20-percent writing credit with a producer to craft the deﬁ nitive track. “It’s worth it. Without a great demo, a song can’t get placed.” In the mercantile world of high-stakes songwriting, Robbins testiﬁ es that regular trips to Music City keep her centered. “When I get burnt on writing to tracks, I go to Nashville and get in a room with a great collaborator who plays piano or guitar. All my training in theater and cabaret comes into play there more than anywhere else. With country songs you can be funny and clever. In pop you can’t be as poetic. I love Nashville. They’ve opened their arms at the Universal ofﬁ ce—and that Faith Hill cut didn’t hurt.” One recent trend that Robbins observes is that coun- try is reverting to a rootsier style. “I’m a Valley Girl,” she laughs, “I can’t relate as much to the whole Southern experience. I try to write about what I know. But that’s what I love about collaboration. If I write with somebody who really understands that, they can help me express it. If I’m writing something urban, I’ll only write with someone who understands that world. That expands me. Where I excel is pop rock, so people will bring me in because of my expertise. By ﬁ nding collaborators who do something different than what I do, I get a lot more versatility in my catalog.” One of her newest collaborators is pop-meister David Frank, a writer/producer probably best known for “Genie in a Bottle,” the song that launched the career of Chapter 9 Success StoriesNetworking Strategies for the New Music Business 182Christina Aguilera. “David and I have just clicked; we’re on the same page creatively. The ﬁ rst thing we wrote together got cut by a new artist, Bree Larson. I’ve found that helps. If you write with someone and get an imme- diate response to your collaboration, that’s encouraging. There might be someone you’ve written seven songs with and none of them have gotten cut. You have to think maybe it’s not the best situation.” Ease and com- fort in the creative process is another collaborative plus. “Sometimes you have to give it more than one shot, but I’m the type of person who likes to go with something and not think about it. If someone keeps saying ‘No, that’s not it’ and interrupts the ﬂ ow, then I just want to go home. It should always be fun.” Robbins’ writing tools are simple: a spiral notebook, a pen, a rhyming dictionary, a thesaurus, and a small digital recorder. “I have pages of ideas in a notebook. Every time something comes to me I add to it.” Her digital recorder holds 200 songs, but after a song is demoed, Robbins erases the work track to make more room. She has notebooks dating back to 1986. “The good thing about using a notebook is you can go back and look at the work pages,” she explains. She is also adept at writing to tracks, especially in pop and dance music. “I can close my eyes and just completely sing whatever comes out of my mouth and record 10 ideas, then go back and ﬁ nd a verse, pre-chorus, and chorus that I like. It’s not a thinking process.” She is an increasingly rare breed: a successful song- writer who is not a producer, whose strength is her uncanny ability to write songs under virtually any cir- cumstances in a wide scope of styles. Still, everyday, Lindy Robbins is on the line. “There are plenty of days 183I’m driving to a writing session and I’m thinking, ‘I want to go to the mall, I want to go to the movies, I want to go to the beach, I want my mommy,’ but you have to force yourself to work hard.” Luis Resto: Lost in the Music It was Luis Resto, resplendent in his Detroit Piston jer- sey, who stepped up to accept the award when Barbra Streisand announced “Lose Yourself” from 8 Mile , recorded by Eminem, as Song of the Year at the 75th Annual Academy Awards. Resto is a Detroit native in his forties who has worked with artists from Anita Baker to Patti Smith to Was (Not Was). Now, in collaboration with Marshall Mathers (Eminem) and Jeff Bass, he’s an improbable, elated Oscar winner. “I started piano at nine,” Resto recalls. “My brother Mario was my biggest inﬂ uence since he was a guitarist and songwriter.” Resto’s parents were always supportive of their boys’ musical endeavors; his father even took them to see Jimi Hendrix at Cobo Arena in 1968 when Luis was still in elementary school. “I remember leav- ing the parking lot. This guy came around checking everyone’s car horn tones and we all honked the intro to “Purple Haze,” he laughs. Fusion music, John McLaughlin, Jan Hammer, and Herbie Hancock mesmerized the young Resto, but he needed a synthesizer. “I said to my dad, ‘It’s so expensive, but there’s something in that.’” At 12 and a half years of age, he began playing an ARP Odyssey. Then, at a police auction, a Fender Rhodes, bass amp, and Electro- Voice mic came into his possession for $ 101. “That’s Chapter 9 Success StoriesNetworking Strategies for the New Music Business 184what began my stay in my brother Mario’s group,” Resto relates. Don Was remembers his ﬁ rst encounter with Resto. “When he was 15 he was my friend’s piano student. My friend called me up and said, ‘You’ve to hear this guy and use him on a record.’” Resto reﬂ ects, “I think I appreciate Was (Not Was) more now. At the time I was a pain in the ass. But with Was there were no boundaries.” In the mid- ’90s, Resto spent seven months in Los Angeles playing on Was’ productions and pondering a move to the West coast until he received an offer to return home to play with Patti Smith. “Patti was this ﬁ gure for me,” Resto offers. “My brother brought home Patti Smith’s Horse s when I was 12 or 13. I’d listen over and over and stare at that cover. Then, 20 years later, to have this opportunity was a highlight.” It was Resto’s longtime colleague, Joel Martin, who connected Resto with Marshall Mathers. He worked on both The Eminem Show and 8 Mile , collaborating on songs and score for the latter. Additionally, he has worked with 50 Cent and Shady Records’ signees. Most signiﬁ cantly, Resto is acknowledged as a co-writer, a fact that bears enormous economic implications as Mathers, who could certainly play it any way he chooses, takes the high road. “I know the other side very well,” Resto muses. “I don’t say it in a bad way. That’s what I grew up accustomed to. Here’s this grand payoff. Who would have thought? You don’t get these kind of record sales, and for Marshall to give it up as such is remarkable.” Work with Mathers is full out. “That’s what he does. He’s concerned with (daughter) Halie, and that’s his main occupation, getting the next beat out of his head 185and getting the next project for the artists on his label.” Sessions begin around 2:00 p .m. “I’ll walk in and he’ll be at the drum machine tapping on something, and then I boot up my keyboards and some melody strikes him, and that’s a good sign. That can evolve to anything in the next half hour because he’s busy adding to that beat. Where it started from might be completely differ- ent from where it ends up. We always have a DAT going, catching everything that’s happening.” And this is the collaboration that brought Resto to the stage of the Kodak Theater, and to accepting the award from Streisand. “I’ve done every gig in the book: weddings, solo gigs, Knights of Columbus halls. When I saw her, all I could think of were those daddy/daughter dances to ‘The Way We Were’ and ‘Evergreen.’ I thought, ‘Oh my God, it’s the artist whose music I used to play at weddings!’ And that’s pretty classic.” Bob Malone: Road Warrior Everything about Bob Malone—from his stride- inﬂ uenced piano chops to his gravelly Dixie growl—seems like a compass pointing toward the Crescent City. But sounds are deceiving; Malone is actually from New Jersey. He’s spent a number of years in Los Angeles, and he has lived for extended periods in New York and, yes, New Orleans, too. “New York and New Orleans are the only cities where they have pianos in every club,” Malone intones. “In New York because no one wants to carry any gear, and in New Orleans because there are so many piano players.”Chapter 9 Success StoriesNetworking Strategies for the New Music Business 186This seasoned road warrior has toured with The Neville Brothers, opened for the Rev. Al Green and Manhattan Transfer, and performed at countless festivals ,including Kerrville and Falcon Ridge. It shows: Malone is an electrifying live performer, having learned how to drop the proverbial hammer by opening shows. “They don’t want to hear the opening act,” he explains. “But you can win them over.” Most often he traverses a cross-continental road, performing 150 dates a year as a headlining artist in con- cert venues that seat anywhere from 50 to 500 patrons. “Doing those rooms is my biggest impetus to tour,” he states. Malone’s two Delta Moon/Chartmaker releases, The Darkest Part of the Night and Bob Malone , combined with his relentless touring schedule, have earned this tenacious troubadour a national audience and an envi- able sheaf of kudos. Given his impressive sales ﬁ gures and touring visibility, it would seem that signing with a major label could take him up to the next level. “I’ve come very close a lot of times,” he confesses. “I don’t know if this will change with the new record, but I’ve had a problem with classiﬁ cation. They’re not sure what it is or what to do with it. That’s the reason I’ve been independent; it’s not by choice.” Independence is not for the lazy. Malone books his shows, handles the promo, sets up the interviews, and drives the van. He even chronicles his road adventures in vivid prose on his Web site (www.bobmalone.com), and he’s contributing to a new book, Working Musicians , due this fall from Harper Collins.187Selling CDs on the road accounts for half of Malone’s income. “When I ﬁ rst started touring, a lot of the gigs didn’t pay. I was opening for acts in cool rooms where I got seen, and I’d put on a good enough show that every- one would buy my record. I’d go into some freebie gig and make $300 in sales. I lived off of that. It was the last step of turning me into a strong live act. Desperation is a wonderful motivator.” Prior to the road gigs, Malone admits he spent time sitting around in L.A. awaiting a magic record deal. “I was doing top- 40 gigs, shit I hated. I ﬁ nally said ‘I’m not going to do this.’ You can’t be taken seriously as an artist and then go play cover tunes six nights a week. They can smell it on you. Audiences know ; you have to be that guy, the artist. It all changed for me when I decided not to do that anymore—[then] I was taken seriously.” Summary These four artists epitomize one crucial career key: They never got out of the business; instead, they discovered viable avenues to project themselves and their music. They also epitomize a sterling networking strategy: Only those who are left standing will succeed. Chapter 9 Success Stories188Go Where You Wanna Go Leaving the security of your home and moving to another location can be a daunting reality, but it may well be necessary for the advancement of your career. This chapter evaluates the scenes in the major U.S. music capitals. In one six-year span in my ﬁ rst music business incarnation as a songwriter, musician, and performer, I lived in, and survived, all three music capitals. Today, as an author and a journalist, I make my home in Los Angeles, but I am in daily contact with New York and Nashville, where I travel for interviews and other projects. Eventually, if you aspire to a professional music career, you too will need to correspond with, pitch to, visit, write, record, or live in one (if not all three) of these dynamic cities. If your aspirations guide you, you too must search for the ideal locale for your talents and be willing to pack up your tent and move to more verdant pastures, to go where it is, or to make it happen where you are.CHAPTER 10189Nashville Nashville’s reverence for the song form cannot be overstated. These days, it’s not just country in Music City either. Christian, pop, rock, gospel, alternative—and especially alt.country and Americana—are also viable forms. Nashville is a city of surprises; the rumpled- looking gentleman sitting next to you at a coffee shop could be a major songwriter, executive, or record producer. Certain parts of town near Music Row are similar to a college campus in which many of the patrons in the restaurants are in the music business. Nashville respects longevity and credibility, and personal relationships are key in this friendly, song-oriented town. Most of the major music publishers have ofﬁ ces, and many smaller boutique companies exist, too. If you plan to visit, you will need to research publishers and contact them regarding their submission policies and the possibility of setting up appointments. IF YOU VISIT The songwriting business is localized, stretching along Music Row ( 16th and 17th Avenues) in refurbished homes and newer ofﬁ ce suites. Hotel rooms cost from $50 to $200 per night; budget motels tend to be in the outlying parts of town. If you’re planning on sightseeing, you’ll probably need a car. Nashville Songwriters Association International (NSAI) is a valuable resource. If you can, schedule your trip in the spring when NSAI produces their annual event, Tin Pan South, with a slate of hit songwriter concerts, showcases, open mics, classes, panels, and workshops. Another new NSAI program, Songwriters Symposium, is a two-day fall event that offers pitch Chapter 10 Go Where You Wanna GoNetworking Strategies for the New Music Business 190sessions and evaluations from some of Music City’s most esteemed publishers and record company executives. The Songwriters Guild of America (SGA) is another strongly supportive organization with a slate of song critiques and ASK-A-PRO sessions to connect and edu- cate writers. You have to be a member to take advantage of their events. You can reach them at 615-329-1782 or online at www.songwriters.org. Other events in town include the Nashville New Music Conference, also held in mid-fall, which is a four- day event with major industry participation. Highlights include a trade show, technology forum, panel discussions, mentor sessions, keynote speakers, and a studio tour of Nashville. Information is at www.2nmc. com. The Americana Music Association Conference, held in the fall, features over 600 industry professionals in an array of panels, discussions, and performances all speciﬁ c to the Americana format. Information is at www.americanamusic.org. The Songwriter and Musician’s Guide to Nashville , authored by Sherry Bond (Allworth Press), is an invalu- able resource for the visiting songwriter. SHOWCASES AND OPEN MICS There are a variety of places to perform, including the very famous Bluebird Cafe. Nashville Scene, published every Wednesday and free at bookstores and coffee shops ,has comprehensive listings of clubs. There are Writers’ Nights going on every night of the week, including open mic events where you can line up and sign up to play that evening. Most, however, are planned. Some hosts are ﬂ exible, so if you have a persuasive 191personality, or if there has been a cancellation, you might get a chance to perform that night. If you’re going to be in town for a few days, check out your chosen club early in your stay, and see if you can be scheduled to perform later in your visit. Your set may consist of only two to four songs and should be original (not cover) tunes. The BMI Music Connection Showcase series is held at various venues in Nashville and features today’s hit songwriters as well as up-and-comers. It’s free and open to the public. The BMI Acoustic Roundup, held the sec- ond Thursday of every month at the Sutler, pairs the top names in songwriting with soon-to-break through tal- ent. The BMI RoundTable was created in order to arm songwriters with powerful information that will help them navigate today’s highly competitive music indus- try. RoundTable topics include performing rights, BMI’s history, how the Nashville music industry operates, and tips to help you become the songwriter you want to be. It is held the second Monday of each month at the BMI Nashville ofﬁ ces and is open to all songwriters. For more information, contact the BMI Writer/Publisher Relations Department at 615-401-2000 . The BMI Songwriters Workshop with Jason Blume is generally held the second Tuesday of each month from and invites all songwriters who are serious about and committed to successful com- mercial songwriting to attend. At each workshop, Jason Blume examines the components of hit songs and covers a variety of topics, including song structure, lyric and melody writing techniques, musical hooks, writing from the heart for the radio, and effective demo recording, among others. There is no cost to attend, but seating is limited, so advance registration is required.Chapter 10 Go Where You Wanna GoNetworking Strategies for the New Music Business 192IF YOU DECIDE TO MOVE THERE Nashville has a temperate climate, housing is moderately priced, and the countryside is stunning. Keep in mind that although the music industry is free thinking, you are in the South—a locale that is historically not as progressive as the Nashville arts and entertainment communities would indicate. NINE STEPS TO NASHVILLE 1. Don’t expect to open all of the doors overnight. Nashville is a town that respects history, longevity, and credibility. 2. Take enough money to at least give the illusion of some level of success. If at all possible, stay with friends. If you’re planning on sightseeing, you’ll probably need a car. 3. The business people here are incredibly savvy. Don’t assume that you’re dealing with yokels. Nashville doesn’t care what you’ve done elsewhere. 4. Use your performing rights organization to help you open doors. Contact them well in advance of your visit, but don’t expect them to perform miracles on your behalf. 5. Nashville Songwriters Association International (NSAI) is a valuable resource—especially if you’re a member. For membership information, contact them at (800) 321- 6008 or (615) 256-3354 and check out their Web site at www.Nashvillesongwriters.com. All members receive a booklet when joining that features a variety of informa- tion, including hotel listings and other information to maximize a visit to Nashville.193 6. There are people in Nashville who will rip you off by asking you to pay them up to $5,000 to get you a deal. Even if it’s all in the name of production costs, you can be taken for a ride. Yes, you may wind up with a CD, but it won’t be on a major label, and you may have paid four times too much to record it. Always be wary of name- droppers and people who make promises with price tags attached. 7. Music Row , a trade publication, is an excellent source for an insider’s look at the Nashville music scene. Learn the names and positions of the movers and shakers. 8. With demos, the simpler the better. Since Nashville is a song town, your demo doesn’t have to be as highly pol- ished. A guitar/vocal or piano/vocal is often sufﬁ cient. 9. Nashville takes the music industry very seriously, and the caliber of talent is in the stratosphere. There’s a lot of pride in this quality; don’t ever sell that short. The only people who wear cowboy hats and boots in Nashville are tourists. New York From Tin Pan Alley to the Brill Building, from Broadway to Greenwich Village, music is the soundtrack to suc- cessive eras of history in the Big Apple. Since New York is the center of the theater world, there are many outlets and opportunities for songwriters and composers who create for the stage and cabaret. The pop world is well represented, too, as are hip-hop and R&B, with the cur- rent climate heavily favoring songwriter/producers. Most major music publishers are in midtown Manhattan, but Chapter 10 Go Where You Wanna GoNetworking Strategies for the New Music Business 194the center of the songwriting world is Greenwich Village, with its cafés, coffeehouses, and clubs presenting a wide spectrum of acoustic and songwriter-oriented shows. DOWNTOWN The New York Songwriters’ Circle is a showcase held twice monthly at The Bitter End ( 147 Bleecker Street in The Village) that features many of the city’s most distinguished songsmiths alongside up-and-coming singer/songwriters. Artists are selected via word of mouth or from tapes heard in listening sessions. They now book up to eight months in advance. You can ﬁ nd information at www.songwriters-circle.com. UMO Music presents a Sunday showcase at the Baggot Inn ( 82 W. 3rd Street between Sullivan Street and Thompson Street) most Sundays in the winter but only if the weather is bad in the summer. Sign-up is at the door. Information is at www.umo.com. The Cornelia Street Café ( 9 Cornelia Street, 212-989-9319 ) presents The Songwriters Beat, a monthly showcase of original songwriters. Booking information is at www. corneliastreetcafe.com or www.songwritersbeat.com. SESAC’s Writers on the Storm, currently in residence at The Cutting Room, features four of the organization’s writers in a showcase format. Due to the success of club alumni Norah Jones, The Living Room, also in the Village, is home to a major scene. ASCAP Writers at Night is an intimate showcase series designed to feature the talents of promising new songwriters, while providing them with an opportunity to forge new relationships in a laid-back and supportive atmosphere. It’s currently held every ﬁ rst Tuesday of the month.195SONGS ABOVE THE FOOTLIGHTS ASCAP and the Manhattan Association of Cabarets (MAC) have instigated a showcase program where cabaret and theater songwriters present new material before an audience of publishers and other songwriters. The ASCAP Foundation also presents a showcase series, Thru The Walls, that spotlights concert-trained composer/performers who cross genres. Contact the Society at wwwmacnyc.com. BMI and the late Lehman Engel joined forces to cre- ate a setting where new writers for the musical theatre could learn their craft. The BMI Lehman Engel Musical Theatre Workshop continues to ﬂ ourish and is consid- ered to be the foremost training ground for new writing voices, bringing forth musical milestones such as A Chorus Line, Little Shop of Horrors, Nine, and Ragtime. The Workshop presents a series of in-house cabarets that attract music and theatrical industry attention. The Workshop participates both formally and informally with various New York and regional theaters in devel- opmental programs. Contact BMI at 212-830-2508 or via e-mail at [email protected]. SONGWRITERS HALL OF FAME The Songwriters Hall of Fame and the National Academy of Popular Music sponsor meetings where music indus- try professionals enlighten and educate attendees on both the craft and the business aspects of songwriting. These are held eight times per year, followed by open mics co-hosted by Bob Leone and April Anderson. For more information, contact Bob Leone at 212-957-9230 or via e-mail at [email protected]. Current members of the National Academy of Popular Music (NAPM) are also eligible to submit songs for Songwriters Chapter 10 Go Where You Wanna GoNetworking Strategies for the New Music Business 196Hall of Fame Songwriter Showcases, which are held four times annually. You’ll need to submit materials at least two months in advance of the shows. IF YOU VISIT Manhattan is where you’ll want to be, and it’s not cheap. Check out a Web travel service like Expedia.com or Travelocity.com for the best deals. Hotels shouldn’t be your priority, since in this dynamic “city that never sleeps” (to paraphrase Kander and Ebb) you’ll ﬁ nd many things to occupy your time entertainment- and business-wise. The city itself is a breeze to navigate via taxis or well-designated busses and subways, taking you anywhere you need to go. It’s inspiring to walk, too. Just remember that numbered streets descend as you head downtown and you can’t get lost. Pick up a copy of the venerable Village Voice for all of the club listings. IF YOU DECIDE TO MOVE THERE New York rents are among the most astronomical in the country. Some musicians opt to live in Brooklyn or Queens, which are cheaper, or across the river in New Jersey. The trains can whisk you anywhere quickly. For acoustic artists, there is a distinct advantage in living in New York because it is a hub of activity with close prox- imity to other Northeast towns (especially Boston) that have strong performing scenes and a multitude of venues for singer/songwriters. Los Angeles Los Angeles is a package town. Songwriters and art- ists succeed because they are somehow connected—to artists, producers, ﬁ lms, and other media. In this ever 197mutating city of the angels (or perhaps more appropri- ately, the “city of the angles”), the song is an essential component. Writer/producer teams of two or three specialists—e.g., a producer, a groove maestro, and a lyricist—are highly valued, while the era of the single, unconnected song (if it ever existed) has been supplanted by a corporate, high-stakes publishing environment. FILM AND TELEVISION The explosion of ﬁ lm, network and cable television, and video games has spawned innumerable outlets for new music and songs. Songs that mirror what’s happening on the charts (as of this writing, edgy alternative rock and singer/songwriters) are the most requested and easily placed. Check out www.ﬁ lmmusicworld.com. The Songwriters Guild of America (SGA) pro- duces a variety of educational events, including their ASK-A-PRO series. SGA membership is available to all, and the Hollywood ofﬁ ce is an unfailingly writer- friendly environment. There are always ongoing classes as well. Contact SGA at 323-462-1108 or online at www. songwriters.org. Another local songwriting group produces well- regarded activities, including ongoing songwriter showcases and educational events. As their Web site says, “The L.A. Songwriters’ Network (www.songnet. org) seeks to establish, develop, promote, and sustain for the songwriting community in Los Angeles, and for the global songwriting virtual ‘cyber-community’, free and low-cost access to the tools required to improve their craft, build successful careers, host and promote workshops and events, and most importantly give back to the world better music, better lyrics, greater positive, Chapter 10 Go Where You Wanna GoNetworking Strategies for the New Music Business 198wholesome, uplifting, sincere, and genuine musical and artistic creation and expression.” PERFORMING RIGHTS If you belong to ASCAP, try to plan your songwriting trip around the General Member Meeting, now held in L.A. every other year in early February. Year round, ASCAP hosts educational events, including Music Business 101 and The Songwriters Studio, plus their highly regarded acoustic showcase, Quiet on the Set. This show has spawned a spin-off, the Cover Me series, which celebrates writers whose works have been covered by prominent artists. Past participants have included Vonda Shepard, Jill Sobule, Willie Nile, Joseph Arthur, Sixpence None the Richer, Jonatha Brooke, Ben Harper, Catie Curtis, Allen Shamblin, Deana Carter, Rufus Wainwright, and John Mayer. BMI’s contributions to Los Angeles’ night life and their continued high-octane shows—BMI’s Circle of Songs, Songwriters Club, and Pick of the Month among them—are some of the showcase tickets in town. Information is available at BMI’s Web site, www.bmi. com, or www.circleofsongs.com. SESAC now has a West coast ofﬁ ce located in Santa Monica and has begun presenting highly regarded industry showcases and edu- cational events for their members. GET CONNECTED For the past 27 years, Music Connection magazine has measured the pulse of L.A.’s music business. Music Connection publishes special editions throughout the year, including a guide to music publishers, music supervisors, open mics, and showcases. The “Song Biz” column, my domain, has information about performing 199rights organizations, publishing companies, and show- cases. You can read the current issue online at www. musicconnection.com or call 818-955-0101 for subscrip- tion information. The distances in Los Angeles are vast. The music community is spread from the beach towns of Santa Monica and Venice inland to West Hollywood, Hollywood central, Silverlake, and the San Fernando Valley, especially Universal City, Studio City, and North Hollywood. For acoustic performers, Li’l Hal’s Guide (www.halsguide.com) is the deﬁ nitive resource for locat- ing open mic and showcase clubs. Taxi, the independent A&R service, holds their annual convention, the Road Rally, in the fall. It’s a weekend of classes, panels, pitch sessions, etc. You have to be a member to attend, but the event itself is free. Check out www.taxi.com. There are other events in the early stages of development, includ- ing a Songsalive! Expo for independent artists (www. songsalive.org), and Loyola Marymount Law School and California Lawyers for the Arts present an industry panel in the fall that is an excellent networking resource. Lastly, UCLA Extension’s Music Business programs pres- ent one free day of songwriter events every September to promote their upcoming classes. IF YOU DECIDE TO MOVE THERE Los Angeles may remind you of the fable of the blind men and the elephant because every part of it you touch feels different. You can live in a roaring city, in the tran- quil suburbs, at the beach, in a small town, high in the hills in a neighborhood of palatial mansions, or deep inside the barrio and still be within the city limits.Chapter 10 Go Where You Wanna GoNetworking Strategies for the New Music Business 200Emerging Cities With a population of 425,000 , Atlanta is only the thirty- ninth largest city in the United States, but there is a supportive network of musicians, clubs, radio, and publi- cations in the city that help set it apart. For R&B artists and songwriters, Atlanta, Georgia, has become the musical capital of the New South. Ludacris, OutKast, and P. Diddy have homes there, and it’s not only home to soul music—The Black Crowes, Collective Soul, Indigo Girls, Shawn Mullins, Elton John, and John Mayer base their operations there as well. One of the things that has made it easier for bands to emerge, and possible for them to survive, is the abundance of local clubs that feature live music in East Atlanta, Little Five Points, and Midtown. When it comes to hip-hop, Atlanta is unrivaled. Rappers and artists who may have started in the Big Apple or in the City of Angels have migrated to Atlanta. Another extension of the Atlanta music scene is under- ground dance clubs and DJs, and another supportive outlet that helps Atlanta’s music scene thrive is local radio. Both Album 88 (WRAS-FM 88.5), GA State University’s student-run station, and 99X (WNNX-FM 99.7), the city’s “alternative” station, have given local bands the chance to be heard. Album 88 does it with the Georgia Music show, and 99X gives bands airtime on “Local Only,” which can be heard via the station’s Internet site, 99X.com, and sponsors the Locals-Only Stage, during Atlanta’s annual Music Midtown Festival.201All Over the Map If you are a visiting musician, songwriter, or aspiring executive, your success will be determined by your inter- action with the people you meet. It is imperative to do your homework before visiting any of these locales, to make a strong, enduring impression once you’re there, and to follow up and keep in touch with your contacts when you leave. ASCAP, BMI, or SESAC members should make a visit to their performing rights organiza- tion a ﬁ rst stop, but be realistic: Don’t expect them to perform miracles on your behalf. Music Conferences Maybe you’re not prepared to make the move yet to a major recording capital, but when you do, you’ll need contacts. Music conferences proliferate in all genres of music. A dedicated Web search will display events coast to coast. These are invaluable opportunities to make lasting contacts, and the information and contacts to be gained by attending a songwriting conference cannot be over-emphasized. It’s more than just a place to meet—it’s empowerment, a sense of community, the joy of belong- ing. Many participants share that they come away sig- niﬁ cantly inspired by these experiences. Of all the annual events, two come to mind quickly. The Durango Song Expo (www.durangosong.com), as its name would indicate, was ﬁ rst held in Durango, Colorado. The locale has now shifted to Telluride, and the same organization is producing a songwriting event in the wine country just north of Santa Barbara. Imagine Chapter 10 Go Where You Wanna GoNetworking Strategies for the New Music Business 202the combination of hundreds of songwriters and endless bottles of great wine! The Durango folks pride themselves on limiting the number of registrants so that everyone will have an opportunity to have their songs heard by industry reps from Nashville and Los Angeles. The pros and the writ- ers tend to be slanted toward country/roots/Americana, so if you create in these ﬁ elds, you’re in luck. Panels cover everything from copyright basics to promotion and publicity with hit songwriter concerts and long nights of guitar pulls in many of the rooms. The second of these events is the West Coast Songwriters Conference (www.westcoastsongwriter.org). With 16 seminars, 50 song screening sessions, 1,500 songs reviewed, performance showcases, one-on-one sessions, and concerts, the conference is a wellspring of opportu- nities for over 500 songwriter/musicians who attend the event. It’s just close enough to Los Angeles to draw a strong cross-section of Hollywood publishers and record label execs. The vibe of the conference is endlessly supportive; there’s a respect for the songwriter that goes far beyond monetary commercialization, and many types of music are represented. 15 Tips to Maximize Your Conference Experience 1. Bigger is not necessarily better. Some of the smaller regional conferences can be more valuable than a huge, confusing cattle call. 203 2. Plan, plan, plan. You can generally save big bucks by registering early. 3. Minimize lodging costs by sharing rooms or staying with friends. 4. Don’t assume that if you’re staying at a hotel where the conference is held you’ll pay less with a group rate. Check out the possibilities online; sometimes you’re better off booking a room on your own. 5. If you stay in a hotel where the event is held, specify if you’ll be in a “quiet” area. At the Folk Alliance Conferences it’s not unusual for musicians to jam all night. Consequently, a quiet wing of the hotel is reserved for those who require some sleeping silence. 6. Do research. Anticipate what classes, panels, and work- shops you want to attend. Often these are the most valuable events happening. 7. Again, the purpose is to open doors and windows. Pressing press kits and CDs into everyone’s hands can be off-putting. I often leave conventions overwhelmed. What I appreciate is someone asking for my card and contacting me in the next week when I’m not deluged. 8. Mixers and social events are a key component of conferences and conventions. Save your energy for late- night schmoozing. 9. When you return home, don’t procrastinate: File all of the names and contacts you made. Chapter 10 Go Where You Wanna GoNetworking Strategies for the New Music Business 204 10. Write thank you letters to panel participants whose presentations you particularly enjoyed. 11. Your most valuable contacts will probably be the other attendees. 12. Dress comfortably but distinctively. Project a vibe. 13. If possible, set up meetings in advance of the event. Proffering an invitation for a meal (you pay!) is a generous way to interact. 14. The booth areas are also valuable places to meet people in a natural setting, especially at slow times or lunch hours. 15. See if you can volunteer to assist at the event. Some conferences will comp volunteers. World Beat As I teach students from the U.K., Norway, Germany, Japan, the Philippines, and the U.S., I emphasize that pop music is a global phenomenon. Sometimes what is successful in one part of the world spreads across the continents; other times, the payoff is more localized. As music industry professionals, we need to be apprised of the explosive potential of world markets. There are many examples of U.S. artists who ﬁ rst became successful in the U.K. A struggling sideman for Little Richard, Jimi Hendrix came to prominence in the U.K. before returning to conquer the states at the Monterey Pop Festival.205In the following decade, an aspiring rock singer from Ohio, Chrissy Hynde, moved from Akron to London to form The Pretenders, who were similarly successful stateside only after their breakthrough in Britain. The lowly Ramones, jokes in their hometown, blew away English audiences and inspired a whole generation of punks before returning in leather-jacketed triumph to their native New York. The market for songs is worldwide, too. Los Angeles songwriter Michéle Vice-Maslin has made a living for years writing songs for global markets: in the U.K., Denmark, Spain, Scandinavia, Belgium, and Holland. What’s her secret? “I pitch through [the U.K. magazine] SongLink ,” she says . “I’ve gone to MIDEM six times. I went to the Music Bridges trip to Ireland and the D’Pop writers week in Denmark. I know all of the A&R people all over the world, and I solicit them. When I was signed to publishing deals, I would ﬁ nd out who the local pub- lishers were in each country, and I’d call them and send them my songs. Also, I’d buy international music trades and really research them.” This proactivity leads to contacts. As Vice-Maslin says, it was her personal relationships with music busi- ness people worldwide that sustained her until her ﬁ rst huge U.S. hit, in a songwriting career that has spanned 20-plus years. Further Aﬁ eld London—a pop, dance, and techno music center—is a co-writer’s Mecca, since much of the pop recording is project oriented. Liverpool and Manchester also have Chapter 10 Go Where You Wanna GoNetworking Strategies for the New Music Business 206vibrant music scenes. Stockholm, Sweden, has emerged as a pop capital in the past decade. And don’t rule out Tokyo, Japan, or Seoul, South Korea. And with China becoming a major world power, it’s only a matter of time before there’s bling-bling in Beijing. Begin your global music education by reading the trades ( Billboard has a listing of world charts) and check out Vice-Maslin’s recommended publication, SongLink, for a listing of acts worldwide who need material. You can also search the Internet for many variations on this theme. The business of music is different for each city, state, and country. However, the real tools—contacts, people skills, persistence, and dedication—are absolutely identical, no matter what market you’re in.207CHAPTER 11 Deﬁ ning Your Direction By now, you’ve hopefully absorbed enough positive information to help you make real choices in your career. But if you’ve been banging your head against the wall, trying to make things happen, perhaps it’s time for an inner dialogue with yourself. It is all too easy to ignore things that don’t exist. Writing down your goals, your ambitions, your hopes and dreams should be the very ﬁ rst step in planning your year. I spend the last week in December devising a list of what I want to happen in the upcoming year, whether it’s a new position, a show I’d like to produce, artists I want to interview, or a book I want to write. Twelve months later, I’m always amazed to see that although all the new benchmarks I’d set for myself may not have been reached, many others have. And it’s because of my efforts on behalf of my primary goals that the secondary events occurred. Motion begets motion.Networking Strategies for the New Music Business 208You can stir up the universe by transmitting and expending your energy correctly. I know this may sound like some California New-Age malarkey, but try focus- ing and devoting your energy to achieving your goals. Weekly, daily, and monthly “to-do” lists are effective ways to track your progress. Remember, all of those small things you accomplish will eventually add up. The following questions are for you to answer only to yourself. Questions for Artists 1. How important is your career to your life? Successful music business practitioners do not go from one comfortable situation to another. Would you be will- ing to move to another city? To go on the road? To leave friends and family behind in the pursuit of your dreams? 2. Can you make it happen where you are? As discussed earlier in this book, the music business now has other centers of creativity. Creating a scene in your hometown, with similar bands, media, and artists, can help you attract attention to your music. But it takes a willingness to be proactive and to work tirelessly and a certain personality to convince others that they should work for the good of all. 3. Do you have reference points for your music? If so, is it in a style that is viable for new audiences? Remember, buyers for music are progressively younger. 209 4. Are you performing regionally? It’s imperative to expand audiences for live music. It may even cost you to travel to another area to perform, but in the long run it will be well worth the investment. 5. Are you making too much money working a straight job? At some point you’ll need to deﬁ ne yourself strictly as a music professional—sink or swim time. It’s difﬁ cult to devote eight hours a day to working for someone else and then attempt to do music full time. You may need to cut your job loose—usually a harrowing, but often necessary, proposition. 6. Are you improving your chops? Classes, workshops, and lessons are not only essential to pursuing your art, but also to making new contacts. 7. Are your aspirations viable? Dreams are marvelous, but you have to live in the moment as well. The great thing about outreach, personal contacts, and networking strategies is that you can practice them every single day of your life. 8. Do others like working with you? Even the most talented musician won’t get work if no one likes being around him. In Los Angeles, for example, where the talent pool is phenomenal, it goes far beyond technique when it comes time to call up players for high-paying sessions. It’s more about vibe—that the best musicians also bring in enthusiasm, a “can-do” attitude, and make everyone feel like they’re on a winning team. 9. Do you have a vibe? This is an intangible quality, but it’s an energy, an aura, something that makes others respond to you—the Chapter 11 Deﬁ ning Your DirectionNetworking Strategies for the New Music Business 210elusive “star quality.” I can detect it, but I can’t explain it; still, if you aspire to a career as a major recording artist, others will need to feel it coming off of you. 10. Do you fear success? There are many ways to sabotage your own intentions, either consciously or unconsciously. Using alcohol or drugs, overeating, or taking health risks are the most obvious. But do you alienate others, forget to return tele- phone calls, or in general not take care of business? If so, you may not feel you deserve to be successful. I am not a psychologist or a psychiatrist (at least not a trained or accredited one!), but I know that it’s much harder to be successful than to not be. Success will lose you many more friends than failure. More will be expected, others will resent and be intimidated by you, and it may be difﬁ cult to decide whether people like you or your position. Talent is not its own reward. The perils of instant fortune are well known. Questions for Aspiring Moguls 1. Do you read the trades every week? If so, do you know the names of the movers and shakers in the music business, and can you track their movements? Do you study their pictures to be able to recognize them on sight if necessary? 2. Have you relocated to a music center? As discussed many times in this book, you either have to create it where you are or go to where it is. 211 3. Do you recognize talent in others? Try predicting which movies will do well, what singers will be selected on American Idol and shows of this ilk. Are you usually correct? 4. Can you champion, and sell, artists? Make no mistake: it’s all sales. Being able to convince others and to transmit enthusiasm and emotion is a major attribute of music industry professionals. 5. Do you present yourself correctly? Music people can recognize others. It’s a hip, fast-moving world. A strait-laced suit-wearing businessman may alienate musicians. Even if you’re on the other side of the desk, you’re expected to have a “look.” 6. Do you have a handle on economics? Planning, strategizing, and tracking income and expenses are valuable abilities for anyone hoping to handle and earn large sums of money. 7. Can you go with the ﬂ ow? Virtually every situation in the music business happens at the last possible second. Being overly rigid therefore can be detrimental in an environment where plans are always changing. Musicians typically follow their own clocks, and working with them requires an understand- ing of creative chronology. 8. Do you see the big picture? Artist managers and other handlers of talent must be able to deal with the details at hand but also must be able to visualize what will occur much further down the road. This requires a master plan. Are you capable of such a long-term commitment to others? Chapter 11 Deﬁ ning Your DirectionNetworking Strategies for the New Music Business 212 9. Do you have the time to devote to my career? It is virtually impossible to launch viable enterprises if you don’t have the time or energy to do so. You cannot buy your way into this business; it’s insular, and relation- ships run long and deep. 10. Are you enterprising enough to create your own niche market? The music business utilizes everything from voice and performance coaches to dentists who specialize in trum- pet players’ teeth. Possibly you have a skill that could be tailored to the music business. Remember:There are no rules; only your own creativity is devising outlets and applications for you talents. Teamwork Other than the ﬁ lm business, the music business is prob- ably the most interactive enterprise in the entertainment industry. Artists are the visible tip of the iceberg, sup- ported by an immense cast of players who may be less evident but are none the less equally vital and, in most cases, will probably enjoy longer careers than the artist. This section examines some of the principal players from two sides: one, if you’re an artist needing to engage team members, and two, necessary qualiﬁ cations if you want to work in any of these essential ﬁ elds. Management “I need to ﬁ nd an agent or a manager,” you say. But which do you need? The duties, responsibilities, and qualiﬁ cations are totally different. First, there are 213managers. Back in the day, managers were often solo operators—savvy visionaries who would attach them- selves to artists and guide each and every aspect of the artist’s career. Long-term relationships were the norm: Brian Epstein with the Beatles, Colonel Tom Parker with Elvis, and Albert Grossman with Bob Dylan. (Interestingly enough, Grossman never used the term “manager.” He preferred the more general “works with the artist” to describe his duties.) A manager is many things: counselor, sounding board, partner, Svengali—depending, of course, on the needs of the artist. Above all, he or she is an employee— hired by the artist to oversee all elements. When Do You Need a Manager? This is easy: when you can no longer run your own busi- ness affairs because you’ve become too successful. When artists tell me they think they need a manager, my ﬁ rst question is always, “How much income are you currently generating?” If the answer is none, nil, nada, the correct response is “Why do you need a manager?” I’ve done everything within the management sphere: hand holding, brow beating, booking dates, hauling gear, and bailing my clients out of jail. The question of what a manager does is answered by the phrase, “Whatever is necessary.” I would always give keys to my house to artists I managed in case they needed a safe haven, peace and quiet, or a place to do their laundry. Handling clients signed to record deals is a taxing existence. I discovered I was spending more time with Chapter 11 Deﬁ ning Your DirectionNetworking Strategies for the New Music Business 214the label than with the artists. And I learned that if events, projects, and tours went well, it was always because of the artist. If things fell ﬂ at or were less than successful, it was always because of management. A manager has to take the blows for the artist. What to Look For in a Manager So if a manager is interested in you or your act, is it best to sign with the biggest one? Not necessarily. I’ve known new artists signed to high-proﬁ le managers who have fared poorly because the manager’s attention was invari- ably focused on his bigger, higher-earning clients, not the ones who were still struggling to ﬁ nd an audience. Technically, anyone can call himself a manager with- out having any qualiﬁ cations whatsoever, and that’s a dicey proposition for most new artists. It is better to have no manager than to have the wrong one, because he or she will inevitably alienate those whom you need to cul- tivate. Record labels will rarely sign artists without proper management in place. Sometimes if an A&R executive is interested in signing an act without management, he will recommend someone he knows. This can be an excel- lent way to come in from a position of power. Beware the manager who comes in simply to sign you to a label, however. It is not unknown for unscrupulous A&R execs to be in cahoots with managers to skim and split a per- centage of the signing bonus offered by a record label. That has happened.215A good manager is with you for the long term, is sympathetic to the artist, can see the big picture, and can facilitate a wide range of scenarios, from negotiating record deals and sync licenses to publishing and touring. A great manager doesn’t need to know everything, but he has to know how to ﬁ nd out everything. And he takes 15% to 20% of your earnings in exchange for this expertise. Do You Want to Be a Manager? Managers are a special breed in the business. If you are organized, understand how the business works, and are well connected, aggressive, and irrepressible, you have some necessary attributes. Some managers are hard- driving street hustlers, some are smooth Ivy League law school graduates—but all are capable of multitask- ing, and not only recognizing talent but knowing how to make the most of it. A good manager says “yes” to virtually any situation and then ﬁ gures out how to make the most of it. Your Lawyer Lawyers in the music business are different than law- yers in the civilian world. They are paid hourly or on a retainer basis. Few reputable lawyers in Los Angeles will shop packages to labels. Beware of an up-front fee from those who do so. Donald S. Passman, author of All You Need to Know About the Music Business, is a high-proﬁ le Hollywood music business attorney whose reputation is Chapter 11 Deﬁ ning Your DirectionNetworking Strategies for the New Music Business 216irreproachable. Jay Cooper is another high-stakes player, as is Peter Paterno. But we’re talking major billings for their services, probably in excess of $ 600 an hour. Unless you’re negotiating a multi-million dollar agreement, it’s doubtful you need someone on this level. On the other end of the spectrum is a cadre of eager young lawyers fresh out of law school and eager to earn a reputation in the high-stakes music world who charge a fraction of these fees. Often these lawyers are out in the clubs, discovering talent, the same as any other operative in the music business. Having a lawyer with whom the label is familiar may be to your advantage, but keep in mind that some major labels will hire lawyers to work for them simply to keep them in the pocket when it comes time to negotiation deals with artists—a distinct disadvantage and a clear conﬂ ict of interest. But a good lawyer is necessary when it’s time to sign contracts. And I’ve seen sympathetic lawyers defer billing altogether if they have a relationship with an artist who is having money problems. Agents Agents work for the buyer, period. Yes, you’ll need an agent if you are successful, have a major deal, and are ready to tour; otherwise, you may be better off booking yourself. Agents are extremely selective and generally sign only artists who they know they can work in speciﬁ c markets; rarely will they take a chance on an unknown. As with other elements, it’s all about relationships: in this case, between the agent and the buyer. In the state of 217California, an agent posts a bond with the state in order to be licensed and qualiﬁ ed. As a holdover from the dark days of the movie business, it’s not possible for someone to be both an agent and a manager—this is considered a conﬂ ict of interest. Agents generally earn 10% to 15% of their artists’ gross earnings from performances, and they deduct expenses incurred as well. The agent takes his clues from the manager, ﬁ nds out what fees are necessary, how far the artist will travel, audience speciﬁ cs, packaging, plans for recording and touring, special needs, plus sound and lighting. The most effective agents are highly specialized, dealing in a speciﬁ c genre of music—Latin, jazz, world, or rock, for example. If you have the qualiﬁ cations to be an agent, you’re probably already doing it: booking bands at shows or parties. Your Publicist You need a publicist only if you have a story to tell and a product to sell. Nothing could be more counterproduc- tive than to engage and pay a publicist, garner national publicity, and not have anywhere for potential buyers to go to hear your music or buy your CD. A good publicist will map out a campaign gener- ally two or three months in duration (few will work for a shorter period), concentrating on local, regional, or national press. A publicity campaign generally works around the release of a CD and/or a tour. A publicist will develop press materials, advise you on photos, bios, and Chapter 11 Deﬁ ning Your DirectionNetworking Strategies for the New Music Business 218press releases, and often generate all of the above and have relationships with the music press. (See the “Press Kits” section in Chapter 7 for more on generating these materials yourself.) The major publicists get major results. As a journal- ist, I interact daily with a variety of publicists from the major companies in Hollywood to small indie operators. Publicists also specialize; if you’re doing speed metal, for example, you won’t want a publicist who operates in the cabaret world. $350 to $500 per week for a three-month campaign would be in the ballpark. Artist’s Responsibilities If you are an artist, you will likely take on many, if not most, of these duties yourself at the onset of your career. This is valuable because you’ll have a handle on what each of these endeavors entails, so when you do choose to hire functionaries to take over these chores, you’ll know what to expect. The day of the uneducated artist is long gone. Today’s successful artists—whether independent or signed to labels—ask questions. They’re not snowed under by smooth-talking con operators or bullied by double-talk. The more you learn about the different aspects of your career, the stronger you will be. And always, if your music is happening and you’re making headway, meeting these operatives will come quickly and naturally. Trust your instincts; work only with people with whom you share a common philosophy. Ask yourself, “Is this truly a person I trust to represent me?” 219Get a Job As I mentioned in the Introduction to this book, you will rarely see listings posted for record company jobs because they’re few and far between, especially in this age of lay-offs and consolidations. The other reason is that they’re generally ﬁ lled by those within the business whose motion is upward and lateral as executives jump from position to position with the various companies. In my career, the ﬁ rst position I ever held in the business (that is, not as a performer or songwriter) was selling advertising to recording and demo services and to studios and equipment manufacturers for the Los Angeles Songwriters Showcase Songwriters Musepaper . Wages were lowly: a minimal weekly draw plus com- mission on what I sold and collected on. Initially, I was earning so little in this position that I had to work a part-time job at night to be able to afford to work almost for free during the day. Holding down two jobs was a struggle, but I knew that to build my credibility in the industry I’d have to begin somewhere. Internships are the time-tested method for the industry to employ free labor. At Cal Poly Pomona, a college where I often teach, most of the students hold internships at labels, music publishing, and publicity companies. It’s important to realize that often in order to get a job in the business, you must ﬁ rst have a job in the business. To work within this paradoxical conundrum, you’ll have to start somewhere. Keep in mind that most companies are leery of hiring musicians and songwriters who may have their own agendas.Chapter 11 Deﬁ ning Your DirectionNetworking Strategies for the New Music Business 220If you’re located outside of a major music capital, you can still meet regional promotional and sales representa- tives from record labels. The turnover rate in publicity departments tends to be high, so if you can write and talk and are great on the phone, apply in this area. Clips or articles you’ve written for your local or school paper can be helpful indications of your interest and ability to write about music. Record labels and music publishing ﬁ rms are obvious places to apply, but as music becomes a component of more businesses—e.g., coffee companies like Starbucks, retail outlets, fashion designers, and sporting events—a forward-thinking aspirant has more opportunities to advance. There is little job security in entertainment posi- tions. If this is your priority, you may need to rethink your strategy. Your security will need to come from an ever-increasing list of contacts. If you do land a job in the music business, you’ll need to devote yourself fully to the company that hires you, while at the same time being realistic enough to know that jobs are tenuous at best. Belonging to industry organizations, widening your list of social and business contacts, observing patterns and start-up companies—all of these create an atmosphere of information. If you do your job effectively, you will be noticed, not only by your bosses and superiors, but by everyone else with whom you interact. And you’ll be on your way up.221Personal references will always be the strongest calling card. Being in a position to put people together is a spe- cial gift and a valuable attribute for any music business networking pro. Creative Conﬂ uence I would caution you to always be aware of the balance of relationships between other individuals before you use one of them as a reference. Let me give you an example. When I ﬁ rst began managing artists, a musician of somewhat questionable character told me he was “good friends” with a promoter who handled a variety of out- door festivals. “Call him and use my name,” he urged. When I called the promoter and dropped this musician’s name, there was an absolute silence. It took me the entire conversation to recover from this gaffe, and I found myself having to defend myself and my reputation to a stranger because I’d dropped the name of someone for whom he had no respect. It’s a WrapCHAPTER 1 2Networking Strategies for the New Music Business 222Five Tips for Personal References 1. People prefer to do music business with friends and peo- ple they enjoy working with. Become a whole person, not a ladder-climbing opportunist. 2. Musicians are curious creatures; they will often lend their services to people and projects they believe in regardless of immediate ﬁ nancial incentives. Give, take, or barter—“I’ll play on your project if you play on mine.” All of these factors are advantageous for up-and- coming artists, and friendships and camaraderie among musicians are an enduring force. 3. When you ask someone for a reference, you run the risk of putting them in an uncomfortable position. Although your suggestions may well lead them to that conclusion, it’s better if you let them make their own recommenda- tions. Some people like their own ideas best. 4. Notice if others use you as a reference and why. Sometimes it’s just a “brush off” and not really a referral. If someone submits music for a project and it’s clearly not right, rather than rejecting it, often the confounded listener might interject, “This is perfect for a ﬁ lm/TV placement.” This means nothing. 5. Be aware that personal relationships can be volatile and shifting. I was planning to interview a hit songwriter I’d never met, whose co-writer on a top- 10 hit happened to be an old acquaintance of mine. The night prior to the interview, I happened to run into my friend, who alerted me to a potential lawsuit brewing between the two and a massive chasm in their friendship. Had I gone in the 223next morning and trumpeted my long-term friendship with his co-writer, it would have been an uneasy session. Back Home After my ﬁ rst book on networking was published, I returned for a visit to my hometown, Lima, Ohio, where I was interviewed by the entertainment editor of the local paper. “What you’ve done in your career isn’t realis- tic for most people,” he insisted. I disagree: In my world, commitment and resourcefulness, imagination and creativity are shared trademarks of my contemporaries. We work with no safety net, no guarantees, no rules, no predestined career paths to follow down the road to our golden years. As a teenager, cloistered in my room with musical instruments, magazines, and records, little did I under- stand how I could forge a career with these obsessions. My father used to remark, “You’re living in a dream world,” and he was totally correct. I dreamed of living in New York and Hollywood, of a life far beyond the cornﬁ elds and oil reﬁ neries that surrounded me. Staying in your hometown and creating outlets for your art and music locally is a wonderful thing, too. Not everyone has the same needs. If you love music, incorporating it into the fabric of your life may fulﬁ ll you. Teaching music, performing in your local church choir, singing in senior citizen homes—all these are worthwhile outlets for talented people who allow music to fulﬁ ll its most elemental endeavor: to make others feel good by sharing the sound.Chapter 12 It’s A WrapNetworking Strategies for the New Music Business 224Making It Happen Where You Are With the decentralization of the recording industry, it may not be necessary to move to a music capital. Scenes have developed in unlikely places in recent years: Omaha, Nebraska; Akron, Ohio; Austin, Texas; Chapel Hill, North Carolina; Sacramento, California; and Athens, Georgia, being among the most prominent. You can make it happen where you are if there is a sizable audience to support your music—a CD-buying, concert-attending audience—particularly if there is a large college or university nearby. Having local media to promote the music scene, visual artists to identify it, and an audience hungry for culture and enlightenment are all prerequisites to a “scene.” Chris Stamey, who has produced artists including Whiskeytown, Yo Lo Tengo, and Alejandro Escovedo, is at the forefront of the roots-driven sound in Chapel Hill, North Carolina. Stamey lived in New York in the ’80s, playing with Big Star’s Alex Chilton and forming the dB’s with North Carolina refugees Peter Holsapple, Will Rigby, and Gene Holder. But after 13 years in the Big Apple, Stamey returned to North Carolina. “For me, coming back to the South is great,” Stamey enthuses. “You gain two to three hours out of every day. It’s much easier to get things done, whether it’s going to get gar- bage bags or meeting someone for lunch. You don’t have to wear armor as much. I love New York, but it’s more fertile for me here.” Stamey observes that North Carolina is not necessarily the next musical Mecca. “A lot of things that seem like movements are one person. It might be one club owner making a stand. Here, a couple of musi- cians bring Wurlitzers and play them in a certain way.” But his life, his songs, and his music comprise a compass 225that has guided Chris Stamey back to North Carolina. “When I was playing with Alex Chilton, I asked him why he didn’t live in New York or L.A.,” Stamey recalls. “He said, ‘Good things come from the provinces.’” Barsuk Records began as a venture by Josh Rosenfeld and his partner Christopher Possanza to release the album by their band, This Busy Monster. Taking its name from the Russian word for “badger,” the label, based in Seattle, is home to Death Cab for Cutie, Jesse Sykes and the Sweet Hereafter, Rilo Kiley, Nada Surf, and many others. The future soundtrack for america, a fund- raising compilation with R.E.M., Tom Waits, They Might Be Giants, and others is one of their newest projects. Rosenfeld explains that his label ﬁ nds bands through personal references from their signed artists. “We used to accept unsolicited demos. We got too much stuff. It’s harder now than it was 10 or 15 years ago. It’s so easy now for someone to make music with a home computer. There’s so much, it became overwhelming. We started the label because we were in a band and we couldn’t ﬁ nd a label who wanted to put out our music. I remember thinking at that time, as I looked at the rosters of labels I admired, that it seemed cliquish: ‘Oh, of course they signed you because you know the guys in that band.’ I’ve come to realize exactly how that functions over time. The one huge place where we ﬁ nd music we like is when bands on the roster are on the road, play shows, bring us a CD back, and say, ‘This band is really good.’ I share a taste in music with bands on the roster, so there is a lot of overlap. It’s not a clique; that’s how I hear music I like.”Chapter 12 It’s A WrapNetworking Strategies for the New Music Business 226What Have You Been Given? Whatever attributes we have we can choose to use in either positive or negative ways. The music business is made up of individuals who don’t ﬁ t other models. As I said at the beginning of this book, Networking Strategies is not about becoming another person, it is about allow- ing the light within you to shine and illuminate a career path. As our lives progress, our needs change, and our successes and failures shape our personalities, there are many things that will separate us from music: rejection, changing trends, ﬁ nite abilities, the lure of the straight job, and partners and spouses who don’t understand why we spend our spare time in the basement tinkering with instruments and recording equipment. With recording artists being signed at progressively younger ages, you can observe that many of these bud- ding stars in Hollywood are managed by family members. “Mamagers” is the newly coined term for stage mothers who navigate their children’s careers. Jessica and Ashley Simpson’s father, Joe, a minister who traded the pulpit for show business, is now a high-powered entrepreneur. Interestingly, the reverse is also true: Old-school crooner Tony Bennett has become newly hip under the watch of his manager son, Danny, and Tom Jones’ offspring, Mark Woodward, has provided the same service for his perennially swinging father. Maybe your art and love of music will be expressed through your children or, if you don’t have children, through those you encourage, nurture, and teach. I hope that the books I write and the courses I teach have helped to enlighten students and aspiring artists—a responsibility that I do not take lightly.227In Conclusion That plucky poultry of childhood lore, Chicken Little, ran about proclaiming, “The sky is falling!” I hear this echoed by his human counterparts who lament, “The music busi- ness is falling!” Let me be clear: The music business is just ﬁ ne, thank you. Video games, independent ﬁ lms, cable television, satellite radio, digital transmissions, ring tones, remixing, and the rise of independent artists are all add- ing to this burgeoning bottom line. There is a tendency to use the terms “record busi- ness” and “music business” interchangeably. The record business—sales of music in hard, tangible form like CDs or DVDs—is always in a state of ﬂ ux. Quite famously, sales of CDs have been impacted by ﬁ le-sharing of music and the division of the entertainment dollar into ever smaller increments. Back in the day, consumers had far fewer choices on which to spend their entertainment dollars. But the “music business” is much greater than a single commodity. Whenever or wherever individu- als make their living connected to music—performing, writing, teaching, consulting, or advising—there is a solid “music business.” As DJs and remixers reinvent the muse, and as samples reconnect the past and future, the soundtrack becomes increasingly cross-generational. New palettes shine from well-burnished hues, and new combinations spin together—punk rockers with country queens, classic rockers with hip-hop artists. The possibilities are inﬁ nite. As always, language is being reinvented as the rise of hip-hop fuels the art of the spoken word. As the world becomes smaller, the beat becomes bigger, and music is a potent passport across lines and dimensions. Chapter 12 It’s A WrapNetworking Strategies for the New Music Business 228Everyone feels it, from your skateboarding, Misﬁ ts wearing, T-shirted kid down the street to your big-band- loving grandmother. Music is generated every single day to satisfy an ever-increasing consumerism. At the crossroads of art and technology, even dead rock stars are exhumed as classic artists and remixed by today’s hottest DJs. Feel the power: Music is the heartbeat. Even Elvis has a new dance hit. As corporate radio squeezes the playlist ever tighter, a new generation of musicians hunches over computers in suburban bedrooms, roams the hinterlands in packed vans, gives back to the muse in classrooms and choir lofts. We have video games, computers, advertising, cable television, independent artists, digital transmission, sat- ellite transmission, iPods, and pod casting. In my years in the music business, I have never seen as many oppor- tunities as exist today. “Music business” is two words. May the music always come ﬁ rst.229Appendix A The Academy of Country Music 4100 W. Alameda Ave, Suite 208 Burbank, CA 91505 T el: (818) 842-8400 Web site: www.acmcountry.com ASCAP—New York (headquarters) One Lincoln Plaza New Y ork, NY 10023 T el: (212) 621-6000 Fax: (212) 724-9064 Web site: www.ascap.com ASCAP—Los Angeles 7920 W. Sunset Boulevard, Third Floor Los Angeles, CA 90046 T el: (323) 883-1000 Fax: (323) 883-1049 ASCAP—London 8 Cork Street London W1X1PB T el: 011-44-207-439-0909 Fax: 011-44-207-434-0073 ASCAP—Nashville Two Music Square West Nashville, TN 37203 T el: (615) 742-5000 Fax: (615) 742-5020ASCAP—Miami 420 Lincoln Rd, Suite 385 Miami Beach, FL 33139 T el: (305) 673-3446 Fax: (305) 673-2446 ASCAP—Chicago 1608 N. Milwaukee, Suite 1007 Chicago, IL 60647 T el: (773) 394-4286 Fax: (773) 394-5639 ASCAP—Puerto Rico 654 Ave. Muñoz Rivera IBM Plaza, Ste. 1101 B Hato Rey, PR 00918 T el: (787) 281-0782 Fax: (787) 767-2805 ASCAP—Atlanta PMB 400 541 T enth Street NW Atlanta, GA 30318 T el: (404) 351-1224 Fax: (404) 351-1252 BMI—New York (Broadcast Music, Inc. headquarters) 320 West 57th Street New Y ork, NY 10019-3790 T el: (212) 586-2000 Web site: www.bmi.comResources ORGANIZATIONSNetworking Strategies for the New Music Business 230BMI—Nashville 10 Music Square East Nashville, TN 37203-4399 T el: (615) 401-2000 BMI—Los Angeles 8730 Sunset Blvd. 3rd Floor West West Hollywood, CA 90069-2211 T el: (310) 659-9109 BMI—Atlanta 3340 Peachtree Road, NE Suite 570 Atlanta, 30326 T el: (404) 261-5151 BMI—London 84 Harley House Marylebone Rd London NW1 5HN, ENGLAND T el: 011-0044 207486 2036 BMI—Miami 5201 Blue Lagoon Drive Suite 310 Miami, FL 33126 T el: (305) 266-3636 BMI—Puerto Rico 255 Poncé de Leon East Wing, Suite A-262 BankTrust Plaza Hato Rey, Puerto Rico 00917 T el: (787) 754-6490 Arizona Songwriters Association P .O. Box 678 Phoenix, AZ 85001-0678 T el: (602) 973-1988 Web site: www.punkfolker.comAssociation of Independent Music Publishers (AIMP) Los Angeles Chapter P .O. Box 69473 Los Angeles, CA 90069 (818) 771-7301 New York Chapter c/o Burton, Goldstein & Co., LLC 156 W. 56th St., SUite 1803 New Y ork, NY 10019 (212) 582-7622 Web site: www.aimp.org Austin Songwriters Group P .O. Box 2578 Austin, TX 78768 T el: (512) 442-TUNE Web site: www.austinsongwriter.org Baltimore Songwriters Association P .O. Box 22496 Baltimore, MD 21203 T el: (410) 813-4039 Web site: www.baltimoresongwriters.com The Black Tock Coalition P .O. Box 1054 Cooper Station New Y ork, NY 10276 T el: (212) 713-5097 Web site: www.blackrockcoalition.org The Boston Songwriters Workshop T el: (617) 499-6932 Web site: www.bostonsongwriters.org California Copyright Conference (CCC) PO Box 57962 Sherman Oaks, CA 91413 T el: (818) 379-3312 Web site: www.theccc.org231California Lawyers for the Arts Fort Mason Center C-255 San Francisco, CA 94123 T el: (415) 775-1143 1641 18th St. Santa Monica, CA 90404 T el: (310) 998-5590 926 J St. Suite 811 Sacramento, CA 95814 T el: (916) 442-6210 1212 Broadway St. Oakland, CA 94612 T el: (510) 444-6351 Web site: www.callawyersforthearts.org Colorado Music Association 8 E. First Ave. #107 Denver, CO 80203 T el: (720) 570-2280 Web site: www.coloradomusic.org Connecticut Songwriters Association P .O. Box 511 Mystic, CT 06355 T el: (860) 945-1272 Web site: www.ctsongs.com Dallas Songwriters Association Sammons Center for the Arts 3630 Harry Hines Box 20 Dallas, TX 75219 T el: (214) 750-0916 Web site: www.dallassongwriters.org Film Music Network c/o Film Music Media Group 13101 Washington Blvd., Suite 466, Los Angeles, CA 90066 T el: (800) 744-3700 T el: (310) 566-7377 Web site: www.ﬁ lmmusicworld.comThe Folk Alliance 962 Wayne Ave. Suite 902 Silver Springs, MD 20910-4480 T el: (301) 588-8185 Web site: www.folk.org Georgia Music Industry Association, Inc. P .O. Box 550314 Atlanta, GA 30355 T el: (404) 633-7772 Web site: www.gmia.org Gospel Music Association 1205 Division St. Nashville, TN 37203 T el: (615) 242-0303 Web site: www. gospelmusic.org International Bluegrass Music Association 2 Music Circle South Suite 100 Nashville, TN 37203 T el: (888) GET-IBMA Web site: www.ibma.org International Songwriters Association Ltd. 37b New Cavendish St. London, WI England T el: (0171) 486-5353 Web site: www.songwriter.co.uk Just Plain Folks Music Organization 1315 N. Butler Indianapolis, IN 46219 T el: (317) 513-6557 Web site: www.jpfolks.com Los Angeles Music Network P .O. Box 2446 T oluca Lake, CA 91610-2446 T el: (818) 769-6095 Web site: www.lamn.comAppendix A ResourcesNetworking Strategies for the New Music Business 232Los Angeles WoMen In Music (LAWIM) 11664 National Blvd., Ste. #280 Los Angeles, CA 90064 T el: (213) 243-6440 Web site: www.lawim.com Nashville Songwriters Association International 1701 W. End Ave. 3rd Fl. Nashville, TN 37203 T el: (615) 256-3354 Web site: www.nashvillesongwriters.com Outmusic P .O. Box 376 Old Chelsea Station New Y ork, NY 10113-0376 T el: (212) 330-9197 Web site: www.outmusic.com Paciﬁ c Music Industry Association 501-425 Carrall St. Vancouver, BC V6B 6E3 Canada T el: (604) 873-1914 Web site: www.pmia.org San Diego Songwriters Guild 3368 Governor Dr., Suite F-326 San Diego, CA 92112 T el: (619) 615-8874 Web site: www.sdsongwriters.org SESAC, Inc. 55 Music Square East Nashville, TN 37203 T el: (615) 320-0055 Web site: www.sesac.com 152 West 57th St. 57th Floor New Y ork, NY 10019 T el: (212) 586-3450501 Santa Monica Blvd. Suite 450 Santa Monica, CA 90401-2430 T el: (310) 393-9671 SESAC International 67 Upper Berkeley Street London W1H 7QX England T el: 0207-616-9284 Web site: www.sesac.com Society of Composers & Lyricists 400 S. Beverly Dr. Suite 214 Beverly Hills, CA 90212 T el: (310) 281-2812 Web site: www.thescl.com The Songwriters Guild of America 1560 Broadway Suite 1306 New Y ork, NY 1003 T el: (212) 768-7902 6430 Sunset Blvd. Suite 705 Hollywood, CA 90028 T el: (323) 462-1108 1222 16th Ave. S. Suite 25 Nashville, TN 37203 T el: (615) 329-1782 Web site: www.songwritersguild.com West Coast Songwriters 1724 Laurel St., Suite 120 San Carlos, CA 94070 T el: (650) 654-3966 T el: (800) FOR-SONG (California and Nashville only) Web site: www.westcoastsongwriters.org233Women in Music P .O. Box 441 Radio City Station New Y ork, NY 10101 T el: (212) 459-4580 Web site: www.womeninmusic.org EVENTS Breckenridge Educational and Music Seminars (BEAMS) A series of music and songwriting weekends held in Colorado. T oll free USA: 1-(888) 31-BRECK (or in Colorado and outside USA: (303) 596- 6056) 145 Fairfax St., Denver, CO 80220 Web site: www.beamsonline.com Durango Songwriters Expo Currently producing two events: a fall Expo in T elluride, CO, and a Spring Expo in the Santa Barbara wine county T el: (970) 259-9747 Web site: www.durangosong.com Canadian Music Week P .O. Box 42232 128 St. S Mississauga, ON L5M 4Z0 Canada Web site: www.cmv.net Cutting Edge Music Business Conference 1524 Clairborne Ave. New Orleans, LA 70116 T el: (604) 945-1800 Web site: www.jass.com/cuttingedgeFilm & TV Music Conference 5055 Wilshire Blvd. Los Angeles, CA 90036-4396 T el: (323) 525-2000 Web site: www.billboardevents.com/ billboardevents/ﬁ lmtv Folk Alliance Annual Conference 962 Wayne Ave. Suite 902 Silver Spring, MD 20910 T el: (301) 588-8185 Web site: www.folk.org Independent Music Conference 304 Main Ave. PMB 287 Norwalk, CT 06851 T el: (203) 606-4649 Web site: www.gomc.com Kerrville Folk Festival P .O. Box 291466 Kerrville, TX 78029 T el: (830) 257-3600 Web site: www.kerrvillefolkfestival.com Music Business Solutions/Career Building Workshops P .O. Box 230266 Boston, MA 02123-0266 T el: (888) 655-8335 Web site: www.mbsolutions.com South By Southwest Music Conference (SXSW) P .O. Box 4999 Austin, TX 78765 T el: (512) 467-7979 Web site: www.sxsw.comAppendix A ResourcesNetworking Strategies for the New Music Business 234West Coast Songwriters Conference 1724 Laurel St. Suite 120 San Carlos, CA 94070 T el: (650) 654-3966 T el: (800) FOR-SONG Web site: www.westcoastsongwriters.org Winter Music Conference 3450 NE T errace Ft. Lauderdale, FL 33334 T el: (954) 563-4444 Web site: www.wintermusicconference.com PERIODICALS American Songwrit er Magazine Web site: www.americansongwriter.com Back Stage West Web site: www.backstagwest.com Billboard Web site: www.billboard.com Canadian Musician Web site: www.Canadianmusician.com CMJ New Music Report Web site: www.cmjmusic.com Daily Variety Web site: www.variety.com Hits Magazine Web site: www.hitsmagazine.com Jazztimes Web site: www.jazztimes.com Music Connection Web site: www.musicconnection.com Music Row Web site: www.musicrow.comThe Performing Songwriter Web site: www.performingsongwriter.com SongLink International Web site: www.songlink.com235Index A A Chorus Line, 195 absent/present phenomenon, 118 The Academy of Country Music, 229 access, proof of, 56 accessibility, practicing, 108–109 accomplishments, discussing, 64–66 acronyms on e-mail, 123 advertisements, 5 advice, asking for, 96 afﬁ rmations, 63 working the room and, 103 age assumptions about, 98 effects of, 78–81 agents, 216–217 Aguilera, Christina, 41, 182 Aiken, Clay, 178, 180 Air Force 1 and 2, 21 AIR Studios, 16–17 Airplay Monitor, 28 airports, meeting people in, 107–108 Album 88 (Atlanta), 200 alcohol use, 76–77 working the room and, 104–105 Alcoholics Anonymous, 77 All Through the Night (Robertson), 19–20 All You Need to Know About the Music Business (Passman), 215 Ally McBeal, 27 Alpert, Herb, 94 alternative venues, 156–157 Altman, Marshall, 14 A&M Records, 94 “Amazed” (Green), 177 Amazon.com, 32 American Idol, 40–41 American Songwriter Magazine, 234 Americana, 17 The Americana Music Association Conference, 190 Anastacia, 180 Anderson, April, 195 Anderson, Chris, 33–35Anderson, Keith, 176 Angelou, Maya, 22, 86 Arizona Songwriters Association, 230 Arthur, Joseph, 198 artist’s responsibilities, 218 As Good As It Gets, 27 ASCAP , 26, 35, 68, 169–170 black tie dinners, 90 compilation CDs from, 167 General Member Meeting (Los Angeles), 198 headquarters, list of, 229 In Los Angeles, 198 SWAPmeet, 170 Thru The Walls series, 195 Web site, 170 Writers at Night (New Y ork), 194 ASK-A-PRO (SGA) in Los Angeles, 197 in Nashville, 190 Association of Independent Music Publishers (AIMP), 230 assumptions, avoiding, 97–98 Asylum, 38 Atlanta, 200 Atlantic, 28, 38 attachments to e-mail, 123 attorneys, 215–216 audio engineers, 6–7 Austin Songwriters Group, 230 B Back Stage West, 234 “Back to Y ou” (Robbins), 179 Baggot Inn (New Y ork), 194 Baker, Anita, 183 Baker, Bob Web site, 152 Ballard, Glen, 22, 94 Baltimore Songwriters Association, 230 bandwagons, 14 banners, names on, 159 Barber, Simon, 146–150 Barsuk Records, 225 Bass, Jeff, 183 BBC Unsigned Web site, 152 BDS, 28 The Beach Boys, 91 The Beatles, 13, 76, 91, 213 rejection, dealing with, 140236Networking Strategies for the New Music Business “Beer Run” (Anderson), 176 Beijing, 206 The Bellrays, 23–25 Bennett, Danny, 226 Bennett, T ony, 226 big personality, 45 Billboard, 3–4, 44, 234 Airplay Monitor, 28 world chart listings, 206 bios example of, 131–133 in press kits, 129–133 on Web sites, 149 birth order, 7–8 Bitter End (New Y ork), 154, 194 Black Crowes, 200 BlackBerries, 17, 112 The Black Rock Coalition, 230 Bluebird Cafe (Nashville), 154, 190 Blume, Jason, 191 BMI, 26, 35, 169–170 Acoustic Roundup (Nashville), 191 black tie dinners, 90 compilation CDs from, 167 headquarters, list of, 229–230 Lehman Engel Musical Theatre Workshop (New Y ork), 195 In Los Angeles, 198 Music Connection Showcase (Nashville), 191 RoundTable (Nashville), 191 Songwriters Workshop with Jason Blume (Nashville), 191 Web site, 170 Writer/Publisher Relations Department, 191 Bob Malone (Malone), 186 body language, 87–89 Bond, Sherry, 190 Book of Ruth, 106 Boston, 196 Boston Songwriters Workshop, 230 Boy Howdy, 175 Brabec, Jeff, 36 Brabec, T odd, 36 Braheny, John, 36, 145 breath mints, 104 Breckenridge Educational and Music Seminars (BEAMS), 233 Broadway (New Y ork), 193Brooke, Jonatha, 198 Brooks, Garth, 176 Browne, Jackson, 90 Buckcherry, 170 Buffy The Vampire Slayer, 27 burning bridges, 67–68 Bush, George W., 14 business cards, 102–103 working the room and, 104 C cable television, 25 Café Press Web site, 152 Cal Poly Pomona, 44, 219 calendar notices, 134 California Copyright Conference (CCC), 230 California Lawyers for the Arts, 199, 231 Canadian Music Week, 233 Canadian Musician, 234 Capitol T ower, 91–93 career changes, 9–10 Carter, Deana, 198 CD Baby, 148, 150 Web site, 152 CDs, 17 compilation CDs, 166–169 DMI Networks and, 21 in press kits, 128 promotional sampler CDs, 167 signing, 160 unsolicited CDs, 23 CDWOW, 148, 152 celebrity, 68–69 strategies for interacting with, 69–71 cell phones, 112 conversations on, 118–121 etiquette for, 121–122 Celtic Harmony (Ireland), 179 chance opportunities, 106–108, 139–140 changing careers, 9–10 character traits, 2 Charles, Ray, 18 children’s music, 17, 19–20 Chilton, Alex, 224–225 chris and thomas, 33–35 The Chris Isaak Show, 106 Christian rock, 18 Christmas and Holiday Music, 92–93237Index Church: Songs of Soul and Inspiration, 22 Cinderella Story, 178 Circle of Songs (BMI), 198 clairvoyance, 74–75 clarifying comments, 96 Clark, T ena, 21–22 Clear Channel, 28, 30 cliches in bios, 129 clothing information transmitted by, 91–93 for live performances, 160 tips, 90–91 visual cues for, 93–94 clubs. See venues CMJ New Music Report, 234 co-written songs, 36 Cobain, Kurt, 76 Coca-Cola, 21 Cocker, Jarvis, 33–34 coffeehouses, 5 Cohen, Leonard, 94 Cole, Nat King, 91 collaborators, 4 Collective Soul, 200 colleges, education at, 44 Colorado Music Association, 231 Columbia Records, 14 commitment, 12–13 personality and, 47–48 comparing comments, 96 compilation CDs, 166–169 compliments accepting, 159 in conversations, 98–100 computers, 112 Condé Naste, 21 conferences. See music conferences conﬁ dence, posture and, 88 conﬂ icts in studio, 111 Connecticut Songwriters Association, 231 consistency, 77 contacts, 71–72 multiple contacts, developing, 141 conversations. See also telephones compliments in, 98–100 dynamics of, 63 e-mail conversations, 124 ending lines for, 100instigating, 94–95 leading questions for, 95–96 negativity, sharing, 99–100 sensitive areas for, 97–98 10-ﬁ ve rule for meeting and greeting, 105 in working the room, 104 Cook Au Van, 33–34 coolhomepages.com, 151 Cooper, Jay, 216 copyrights, 36 Cornelia Street Café (New Y ork), 194 Counting Crows, 170 country music, 4, 18 put downs of, 51 Steele, Jeffrey and, 173–178 cover letters, 127–128 with press releases, 135 Cover Me (ASCAP), 198 cover songs, 162 The Craft and Business of Songwriting (Braheny), 36, 145 creative black tie, 90 credibility, 14 advice on, 64–65 crisis resolution, 81–82 strategies for, 83–84 crossed arms/legs, 87 Curb Records, 175–176 Curtis, Catie, 198 Cutting Edge Music Business Conference, 233 D Daily Variety, 234 Dallas Songwriters Association, 231 dance music, 6, 18 dankimpel.com, 146 The Darkest Part of the Night (Malone), 186 Dave Matthews Band, 22 Dawson’s Creek: Season 2, 106 Death Cab for Cutie, 225 demographics for music, 78–81 demos in Nashville, 193 placing songs and, 181 submission services, 39 suggestions for submitting, 136–138 Denny, Sandy, 33 Denver, Joel, 30–31238Networking Strategies for the New Music Business desire, 46–47 Details, 94 determination, 46–47 Diamond Rio, 173 digital transmission, 16–17 digital watermarking, 171 Digital Wings, 147, 151 Disc Marketing, 20–22 disco music, 52 Disney, 18 Cinderella Story, 178 distractions in studio, 111 distribution on Internet, 147 radio promotion and, 30 DIY, 31–32 DIY (Do It Y ourself) Convention, 55–56 DJs, 6, 227 DMI Networks, 21–22 DMOZ, 148, 151 Dozier, Lamont, 179 draw, honesty about, 161 drug use, 76–77 Drummond, Bill, 33–34 Durango Songwriters Expo, 35, 201–202, 233 DVDs in press kits, 128 Dylan, Bob, 170, 213 E e-mail, 113, 122–124 business cards including, 102 non-returned e-mails, 142–145 set-up, copy of, 163 Edison Media Research, 28 education, 43–44 Edwards, Kenneth “Babyface,” 72–73 ego inﬂ ation, 62–63 8 Mile, 183–184 Einstein, Albert, 59 Eisenhower, Dwight D., 14 “Eleanor Rigby,” 107 electronica, 17 Eminem, 183 The Eminem Show, 184 emo, 17 emoticons, 123 emotions crisis resolution and, 83e-mail and, 122–123 and logic, 48–49 telephones, reading on, 114 verbal communication and, 63–64 employment in industry, 219–220 Engel, Lehman, 195 entertainment value, 46 enthusiasm, 45–46 entrepreneurs, 18–19 Epstein, Brian, 213 equity-waver houses, 156 ER, 27 Escovedo, Alejandro, 224 ethnicity, questions about, 97 etiquette for cell phones, 121–122 for studio hang, 110–111 events list of, 233–234 tie-ins, 168 “Evergreen” (Streisand), 185 expanding comments, 96 Expedia.com, 196 extreme strategies, 139–140 eyebrows, trimming, 89 F facial hair styles, 91 Falcon Ridge festival, 186 family management, 226 Farrish, Bryan, 29–30 Fate, T ony, 24–25 faxing copy of set-up, 163 FCC (Federal Communications Commission), 28 fees, scams and, 164–166 Ferrari, Marc, 26–27 50 Cent, 184 Fight Club, 27 ﬁ lm, 25–26 independent ﬁ lm, 25 in Los Angeles, 197–198 Film and TV Music Conference, 233 Film Music Network, 231 Firehouse Recording, 21 ﬁ rst-born children, 7 Folk Alliance Annual Conference, 233 The Folk Alliance, 231 Conferences, 203239Index Fopp Unsigned Web site, 152 Fox Music, 26 Frank, David, 181–182 Friends, 27 Fugazi, 28 fusion music, 183 the future soundtrack for america, 225 G Garageband Web site, 151 gatekeepers, 117 General Mills, 21 generalizations and crisis resolution, 84 “Genie in a Bottle” (Frank), 181–182 Genius Loves Company (Charles), 18 genres, 17–18 Gentry, Montgomery, 173 Georgia Music Industry Association, Inc., 231 Georgia State University, 200 Get Signed Web site, 152 Gigwise Web site, 152 Gillespie, Rowana, 179 Gin Blossoms, 170 Girl Interrupted, 27 Glasswerk Web site, 152 global perspective, need for, 180 goals, deﬁ ning, 207–208 “Good Y ear for the Outlaw” (Steele), 173–174 Google Web site, 151 Gospel Music Association, 231 GQ, 94 gratitudes. See thank yous Green, Al, 186 Green, Marv, 177 Greenwich Village (New Y ork), 193 Groban, Josh, 98 grooming tips, 89 Grossman, Albert, 213 growth, impression of, 144 grudges, holding, 142 grunge music, 26 H haircuts, 89 Hammer, Jan, 183 Hancock, Herbie, 183 Harcourt, Nic, 32, 33, 35 hard copy of set-up, 163Harper, Ben, 198 Harper Collins, 186 Hendrix, Jimi, 76, 183, 204 herd mentality, 60 hidden opportunities, 106–108, 139–140 Hien, Thomas, 33–35 Hill, Faith, 74–75, 173, 179, 180 hip-hop, 4, 17 in Atlanta, 200 Bush, George W. and, 14 put downs of, 52 Hits Magazine, 44, 234 Holder, Gene, 224 Hollywood, 199 dressing in, 91 Holsapple, Peter, 224 hometown musicians, 223–225 Horses (Smith), 184 Hostbaby Web site, 151 Hotel Cafe, 34 Howard’s Club H (Bowling Green), 162 Hugo, Chad, 55–56 Hung, William, 41 Hynde, Chrissy, 205 I “I Dreamed of Y ou” (Robbins), 179–180 “I Will Carry Y ou” (Robbins), 178 ice-breakers, 70 in conversation, 95–96 on telephones, 118 IMRO (Ireland), 179 in-ﬂ ight audio entertainment, 21 independent artists, 23–25 independent ﬁ lm, 25 independent labels, 37–38 Independent Music Conference, 233 “The Indie Hour,” 30–31 Indigo Girls, 200 insecurity, 62–63 name-dropping and, 101–102 instrumentals, 27 International Bluegrass Music Association, 231 international markets, 204–205 International Songwriters Association Ltd., 231 Internet. See also Web sites distribution on, 147 downloaded tracks from, 145240Networking Strategies for the New Music Business radio, 31–32 worldwide market on, 22–23 internships, 39, 219–220 introductions, 67 intros in performances, 161 iPods, 17, 228 It Must Be Love, 106 iTunes, 148, 151 J Jackson, Don, 19 Jansch, Bert, 33 Japan rappers in, 17–18 T okyo, music in, 206 jazz music, 92 Jazztimes, 234 Jesse Sykes and the Sweet Hereafter, 225 Jetplane Landing Web site, 151 jewelry, 91 jobs in industry, 219–220 John, Elton, 200 jokes on e-mail, 122–123 Jones, Brian, 76 Jones, George, 176 Jones, Quincy, 68 Jones, T om, 226 Joplin, Janis, 76 Juicing Room, 146, 151 Just Plain Folks Music Organization, 231 K Kahn, Chaka, 22 KCRW, 32 chris and thomas on, 34 Keel, 26 Kekaula, Lisa, 24–25 Kennedy, John F., 13 Kerrville Folk Festival, 186, 233 Kiley, Rilo, 225 The King and I, 11 KLF, 33 knowledge-based skills, 3 Kodak Theater, 185 Korea rap in, 18 Seoul, music in, 206 Kraft, Robert, 26Kragen, Ken, 81–82, 83 Kramer, Wayne, 25 L The L.A. Songwriters’ Network, 197 LaBelle, Patti, 22, 55 Laemelle movie theaters, 32 lapel pins, 91 Larson, Bree, 182 Las Vegas shows, 154 lawyers, 215–216 Lehman Engel Musical Theatre Workshop (New Y ork), 195 Leone, Bob, 195 Li’l Hal’s Guide, 199 Limeys (Los Angeles), 162 listening in conversations, 105–106 skills, 63 Little Richard, 204 Little Shop of Horrors, 195 live performances, 153–171. See also venues compliments, accepting, 159 inventing your own show, 157 peeves about, 160–161 post-performance tips, 159–160 soft tickets, 157–159 Liverpool, 205–206 Liverpool Institute for Performing Arts (LIPA), 33, 44, 54, 110–111 local press, releases to, 135–136 logic and emotion, 48–49 logos for shows, 157 London, 205 Lonestar, 177 look, visual cues for, 93–94 Los Angeles, 188, 196–199 moving to, 199 Los Angeles Music Network, 231 Los Angeles Songwriters Showcase (LASS), 145 Los Angeles WoMen In Music (LAWIM), 167, 232 “Lose Y ourself” (Resto), 183 Lott, Roy, 91–92 Loyola Marymount Law School, 199 Ludacris, 200 lullabies, 19–20 Lyric Partners, 19241Index M Madonna, 14 magazines clothing tips from, 94 education and reading, 44 resource list, 234 mailing lists from Web sites, 149–150 Major Bowles Amateur Hour, 40 Malone, Bob, 162, 185–187 Web site, 186 mamagers, 226 management, 212–213 dealing with, 81–83 mamagers, 226 need for, 213–214 qualiﬁ cations of, 214–215 Manchester, 205–206 Mancini, Henry, 39 Manhattan, 193–194 visiting, 196 Manhattan Association of Cabarets (MAC), 195 Manhattan Transfer, 186 Mann, Billy, 98 marital status, assumptions about, 98 Marketing Y our Music Web site, 152 Martin, Joel, 184 Martin, Sir George, 16–17, 111 mash-ups, 17 MasterSource, 26–27 Mathers, Marshall, 183–185 Mayer, John, 77–78, 198, 200 MCA, 26 McCartney, Jesse, 178 McGraw, Tim, 173 McLaughlin, John, 183 Measure of a Man (Aiken), 178 mechanicals, 36 merchandising, radio promotion and, 29 meta tags, 148 Metallica, 90 middle children, 7–8 mingling, 103 moguls, questions for, 210–212 Monterey Pop Festival, 204 Moreira, Rafael, 98 Morissette, Alanis, 22 Morrison, Jim, 76 Motion Picture, 147Motown, 38 Mouseketeers, 41 MP3, 148, 149 Mrs. Field’s Cookies, 21 The Muffs, 25 Mullins, Shawn, 61, 200 multipliers, 32 Murdoch, Alexi, 34 Music, Money and Success (Brabec & Brabec), 36 Music Bridges (USA), 179 Music Business 101 (ASCAP), 170, 198 Music Business Solutions/Career Building Workshops, 233 music conferences, 201–202 tips for, 202–204 Music Connection magazine, 27, 198–199, 234 music publishing, 35–36 jobs with ﬁ rms, 219–220 Music Row, 189, 193, 234 music stores, 5 Musicbias Web site, 152 musicians, 4–5 goals, questions on, 208–210 in international market, 204–205 Malone, Bob, 185–187 personal references and, 221–223 in studios, 110 “My T own” (Steele), 174 mystery, air of, 66 mystical beliefs, 4 myths about success, 57–58 N Nada Surf, 225 names banners for band names, 159 on cover letters, 127–128 dropping names, 101–102 remembering names, 100–101 for shows, 157 Napster Web site, 151 Narcotics Anonymous, 77 Nashville, 188–193 moving to, 192 showcases in, 190–191 Nashville New Music Conference, 190 Nashville Pussy, 25 Nashville Scene, 190242Networking Strategies for the New Music Business Nashville Songwriters Association International (NSAI), 189–190, 232 membership information, 192 National Academy of Popular Music (NAPM), 195–196 nationality, questions about, 97 neediness, appearance of, 143 negativity eliminating, 52–53 in personality, 49–51 sharing negative comments, 99 The Neptunes, 56–57 network television. See television Neville Brothers, 186 New Jersey, 196 New Music Nights (BMI), 170 The New Ride with Josh and Emily, 106 New Y ork, 188, 193–196 downtown area, 194 moving to, 196 New Y ork Songwriters’ Circle, 194 niche markets, 17 Nile, Willie, 198 No Doubt, 22 non-returned calls, 142–145 North Hollywood, 199 NPR (National Public Radio), 31–32 Sounds Eclectic, 32–33 O older audiences, 78 oldest children, 7 ongoing shows, 157 only children, 7 open body language, 87 openness in communication, 108–109 opportunities creating, 48 hidden opportunities, 106–108, 139–140 optimism, 50–51 outdoor shows, 158 OutKast, 200 Outlaw, 173–174 outlaw cultures, 17 Outmusic, 232 outros in performances, 161 over-dressing, 90 overnight success mythology, 73P P . Diddy, 200 Paciﬁ c Music Industry Association, 232 Paisley, Brad, 174 Parker, Colonel T om, 213 Parks, Cary, 175 Parks, Larry, 175 Parton, Dolly, 81 Passman, Donald S., 94, 215–216 Paterno, Peter, 216 payola on radio, 27–28 PayPal, 30 Peoplesound Web site, 151 The Performing Songwriter, 234 performing rights organizations, 169–171. See also ASCAP; BMI; SESAC in Los Angeles, 198 in Nashville, 192 periodicals. See magazines personal references, 221–223 personality, 3 assumptions, avoiding, 97–98 big personality, 45 birth order and, 7–8 negative traits, 49–51 success, attributes of, 43–49 pessimists, 49–51 Phish, 28 photos in press kits, 133–134 PHPBB Web site, 151 Pick of the Month (BMI), 198 Pink, 98 Polar Express, 22 politics, assumptions about, 98 Polygram Music Publishing, 179 Pop Idols, 40 pop music, 4, 18 creative black tie dinners, 90 put downs of, 51 positive outlook, 45 Possanza, Christopher, 225 posture, 88 power, telephones and, 115–116 practicing networking, 108–109 praise-based music, 18 prejudicial statements, 51–52 Presley, Elvis, 14, 213 Presley, Lisa Marie, 75243Index press kits, 126–127 bios in press kits, 129–133 CDs or DVDs in, 128 cover letters, 127–128 electronic press kits, 150 folders for, 127 at music conferences, 203 photos in, 133–134 press releases, 134–136 The Pretenders, 205 PRI programming, 31–32 Princess Cruises, 21 Proctor & Gamble, 21 producers in studios, 110 progression in career, 144 promotional appearances, 160 promotional sampler CDs, 167 proofreading materials, 137–138 proposals for shows, 157 for soft tickets, 158 ProT ools, 6, 22 public radio, 31–32 publicists, 217–218 publicity, 217–218 soft tickets as, 158 publishing. See music publishing Pulp, 33 “Purple Haze” (Hendrix), 183 put downs, 51–52 Putumayo Records, 18–19 Q Quiet on the Set (ASCAP), 198 R race, assumptions about, 98 radio, 27–31 in Atlanta, 200 compilation CDs and, 168 Internet radio, 31–32 KCRW, 32 promotion on, 28 public radio, 31–32 satellite radio, 31–32 test shows, 30–31 Ragtime, 195 Ramones, 205rap music in Atlanta, 200 Bush, George W. and, 14 put downs of, 52 Rascal Flatts, 173 R&B, 4 creative black tie dinners, 90 Reagan, Ronald, 14 record deals, 49 record labels, 37–38, 138–139 access, proof of, 56 jobs with, 219–220 recording studios, 109–111 references, 221–223 Regal Cinemedia, 21 reinvention, 9–10, 58–59 rejection, 140–141 overcoming rejection, 141–142 reliability, 77 religion assumptions about, 98 praise-based music, 18 R.E.M., 225 remembering names, 100–101 remixes, 6, 227–228 Renbourne, John, 33 repeating names, 101 resources, 229–234 respect for celebrities, 70 networking with, 55 rejection and, 141 treating people with, 84–85 Resto, Luis, 183–185 Resto, Mario, 183–184 reversion clauses, 36 Rhapsody Web site, 151 Rigby, Will, 224 Rimes, Leanne, 173 ring-tones, 17 Road Rally, 199 Robbins, Lindy, 178–183 Robertson, Mae, 19–20 rock music, 17 Christian rock, 18 Rocket From the Crypt, 25 Rodgers and Hammerstein Music, 179 Rogers, Kenny, 81244Networking Strategies for the New Music Business The Rolling Stones, 5, 76 room, working the, 103–106 The Roots, 170 Rosenfeld, Josh, 225 Ross, Sean, 28–29 Roswell, 106–107 R&R, 30 Russell, Brenda, 179 S sacriﬁ ces, 13 samplers, 6 San Diego Songwriters Guild, 232 San Fernando Valley, 199 Santa Carla Web site, 151 Santa Monica, 198–199 Santa Monica City College KCRW, 32, 34 satellite radio, 31–32 satellite technology, 16–17 Save Ferris, 170 scams avoiding, 164–166 compilation CDs as, 166–169 event tie-ins, 168 in Nashville, 193 scarves, 91 Sears Roebuck & Co., 21 self-doubt, 50 self-fulﬁ lling prophecy, 50 self-revealing comments, 96 SESAC, 26, 35, 169–171 compilation CDs from, 167 headquarters, list of, 232 in Los Angeles, 198 Web site, 171 Writers on the Storm, 194 set-up, hard copy of, 163 sexual preference, assumptions about, 98 sexy clothing, 93 Shady Records, 184 Shamblin, Allen, 198 “She’d Give Anything” (Boy Howdy), 175 Shepard, Vonda, 198 “Shine” (Robbins), 178 signing CDs, 160 Silverlake, 199 Simpson, Ashley, 226 Simpson, Jessica, 98, 226Simpson, Joe, 226 Sinatra, Frank, 91 Sixpence None The Richer, 198 sixth sense developing, 75 from press kits, 126 The Sixth Sense, 27 slick sheets, 136 smiling on telephone, 115 Smith, Patti, 183, 184 snopes.com, 123 Sobule, Jill, 198 Society of Composers & Lyricists, 232 soft sell, using, 125 soft tickets, 157–159 “Something to Believe In” (Mullins), 61 Song Biz column, Music Connection magazine, 198– 199 SongLink International, 205–206, 234 Songsalive! Expo, 199 The Songwriter and Musician’s Guide to Nashville (Bond), 190 songwriters, 3–4 age and, 80 in international market, 205 music publishers and, 35–36 Resto, Luis, 183–185 Robbins, Lindy, 178–183 Steele, Jeffrey, 173–178 Songwriters Club (BMI), 198 Songwriters Guild of America (SGA), 232 in Los Angeles, 197 in Nashville, 190 Songwriters Hall of Fame (New Y ork), 195–196 Songwriters Musepaper, 145, 219 The Songwriters Beat (New Y ork), 194 The Songwriters Studio (ASCAP), 71, 198 Songwriters Symposium (NSAI), 189–190 Sony, 176 sound checks, 163–164 soundman, dealing with, 161, 163–164 Sounds Eclectic, 32 The Vista Street Sessions on, 33 SoundScan, 28 soundtracks, 20–21 South By Southwest Music Conference (SXSW), 233 Spears, Britney, 41 stage patter, 160245Index Stamey, Chris, 224–225 Star Search, 40 Starbucks, 18 Steele, Jeffrey, 173–178 Stockholm, 206 stolen songs, 56 Streisand, Barbra, 183, 185 strengths, assessing, 3–4 Stroke 9, 170 strong personality, 45 Studio City, 199 studio hang, 109–111 studio/technical personnel, 6–7 Summer, Donna, 52 support positions, 5 swag, 92 SXSW, 25 sync fees, 26 sync licenses, 36 synthesizers, 183 T t-shirts, 5 tag teams, 66–67 talent, 43 Taxi, 27, 199 teamwork, 212 technical musicians, 6 T ed, 21 teeth cleaning, 89 telephones, 113–114. See also cell phones basics of calling, 116–117 ending calls, 116 gatekeepers, 117 non-returned calls, 142–145 power and use of, 115–116 purpose of conversation, stating, 115–116 sounds on, 114 timing for calls, 115 tracking calls, 117–118 television, 25 clothing tips from, 94 in Los Angeles, 197–198 songs for, 26 T en Commandments of Design, 151 10-ﬁ ve rule for meeting and greeting, 105 test shows, 30–31 thank yous, 65on demos, 137 to music conference participants, 204 to performance attendees, 160 to soundman, 164 “The Way We Were” (Streisand), 185 They Might Be Giants, 225 This Busy Monster, 225 Thornley, Beth, 106–107 Thru The Walls series (ASCAP), 195 tickets, 156 ties, 91 Timberlake, Justine, 41 timing and artistry, 13–14 effective use of time, 54 personality and, 47–48 for telephone calls, 115 Tin Pan Alley (New Y ork), 193 Tin Pan South (NSAI), 189 touching base phone calls, 116–117 touring. See also venues radio promotion and, 29 success with, 25 T ower Records, 148, 152 T oyota, 21 tracking phone calls, 117–118 Train, 170 training, 43–44 transferable skills, 3 Travelocity.com, 196 trends, 60 The Troubadour, Los Angeles, 20, 154 “20 Y ears Ago” (Steele), 174–175 U UCLA Extension classes, 5, 199 ultimatums, 144 UMO Music, 194 under-dressing, 90 UniSong International Song Contest, 179 United Airlines, 21 United Kingdom London, music in, 205 working in, 204–205 Universal City, 199 Universal Music Publishing Group, 28, 178–179 universities, education at, 44 University of Southern California (USC), 14246Networking Strategies for the New Music Business unsigned artists, 23–25 unsolicited CDs, 23 Urban, Keith, 174 U2, 5 V Vanguard, 38 The Velvet Rope Web site, 166 Venice, California, 199 Vennum, Bob, 24 venues, 153–171 alternative venues, 156–157 as businesses, 162–163 equity-waver houses, 156 ﬁ tting bands with, 155–156 inventing your own show, 157 soft tickets, 157–159 sound checks, 163–164 soundman, dealing with, 161, 163–164 tips for dealing with, 161–162 verbal communication, 62–86. See also conversations; telephones crisis resolution and, 83 viability and rejection, 141–142 Vibe, 94 Vice-Maslin, Michéle, 141, 205 Victoria’s Secret, 21 video games, 25 video presentations in press-kits, 128 Village Voice, 196 Villegas, Luis, 131–133 Virgin Records, 75 The Vista Street Sessions, 33, 35 visual mediums, 25–27 visualizing success, 54–55 vocals, 27 volunteering, 6 at music conferences, 204 W Wainwright, Rufus, 198 waiting rooms, opportunities in, 107–108 Waits, T om, 225 Warwick, Dionne, 22 Was, Don, 184 Was (Not Was), 183–184 The Water is Wide, 19 Web designers, 148Web sites bios on, 149 business cards including, 102 costs of, 148 mailing lists from, 149–150 merchandising on, 150 requirements for, 146–150 resources list, 151–152 sales on, 30 updating, 148 Weekend Edition, 32 weekends performances on, 154 telephone calls on, 115 West Coast Songwriters Conference, 35, 202, 232, 233 West Hollywood, 199 Whiskeytown, 224 WIFM concept, 2 Wilde, Justin, 92–93 wine spritzers, 105 Winter Music Conference, 234 Witten, Patti, 31–32 WNNX-FM 99.7 (Atlanta), 200 Women in Music, 233 Woodward, Mark, 226 Woolford, Keo, 11 Working Musicians (Malone), 186 working the room, 103–106 WorkPlay Theater, Birmingham, 20 World Cafe, 32 world markets, 204–205 WRAS-FM 88.5 (Atlanta), 200 Wright, Hugh, 175 Writers at Night (New Y ork), 194 Writers on the Storm (SESAC), 194 Y Y o Lo T engo, 224 youngest children, 7	[ "music", "business", "new", "artist", "song", "songwriter", "one", "strategy", "make", "time" ]	{ "summary": "Networking Strategies\nfor the\nNew Music Business\nby Dan KimpelNetworking Strategies for the New Musi" }
362815407-194724108-Music-the-Business-Ann-Harrison-pdf.pdf	ContentsCoverAbout the BookAbout the AuthorPraiseTitle PagePrefaceIntroductionChapter 1: Getting StartedIntroductionCreating a buzzThe band nameTrade mark searchShowcasing your talentPresenting yourself wellShort cutsThe demo recordingGetting help and putting together your teamConclusionsChapter 2: Management DealsIntroductionHow to find a managerThe principlesWhat to look for in a managerWhat does a manager do for you?What is in a management contract?The manager’s roleConclusionsChapter 3: What Is A Good Record Deal?IntroductionNew business modelsThe hype of the million pound record signingThe legal principlesCreative control versus large advancesTypes of dealOther aspects of recording contractsWhat happens in a production deal when a bigger company comes along?ConclusionsChapter 4: What is A Good Publishing Deal?IntroductionHow to find a music publisherWhat does a publisher do?What are music publishing rights?Where does the money come from?Record deal before publishing?Types of publishing dealRestraint of tradeWhat is in a typical publishing contract?New business modelsConclusionsChapter 5: Getting A Record MadeIntroductionProduction deals versus direct signingsFinding a studioThe recording budgetThe producerMixingMix contractsMasteringDelivery requirementsArtworkConclusionsChapter 6: Manufacture, Distribution And MarketingIntroductionManufacturingP&D dealsCatalogue or single item distribution dealExclusive versus non-exclusiveMarketingEPQsVideogramsLong-form DVDsConclusionsChapter 7: Online Sales And DistributionIntroductionOverviewReproduction and distributionStreaming and online broadcastingSo how has the music industry sought to cope or adapt to these changes?PiracyAnti-piracy measures and digital rights managementGowers ReviewNew business modelsTerritorial issuesPhysical CDsMobiles and mobile music playersMove away from albumsSocial networking sitesMarketing onlineWebsite design rights and copyrightHosting agreementData protectionMarketingThe futureConclusionsChapter 8: BrandingIntroductionBranding of artistsMerchandising dealsHow to apply for a trade markPassing offOther remediesConclusions on protecting your nameUnauthorised, unofficial merchandiseHow do you go about getting a merchandise deal?The merchandising dealWhat is in a typical merchandising deal?ConclusionsChapter 9: SponsorshipIntroductionHow do you find a sponsor?Ethical considerationsScope of the sponsorship dealWhat’s in a typical sponsorship deal?ConclusionsChapter 10: TouringIntroductionMadonna and Live NationMama GroupGetting startedGetting a booking agentPromotersGetting funding for live workOther issuesOther personnelConclusionsChapter 11: Band ArrangementsIntroductionWho owns the band name?Band structuresBand incomeAccounting and taxLeaving member provisionsWhat happens to a band’s assets on a split?ConclusionsChapter 12: Moral Rights And The Privacy Of The IndividualIntroductionWhat are these rights?Privacy of the individualConfidentiality agreementsHarassment actionsConclusionsChapter 13: Sampling And PlagiarismIntroductionHow much is a sample?How do you clear a sample?PlagiarismSound-a-likesSession musicians’ claimsConclusionsChapter 14: PiracyIntroductionWhat is piracy?How do you spot a counterfeit, pirate or bootleg record?How can you stop piracy?EnforcementChapter 15: Collection SocietiesIntroductionWhat are collection societies?Blanket licencesAdministrationRights grantedOther collective bodiesThe societiesChapter 16: AppendixWorking in the music businessHigher educationBecoming a solicitorBecoming a barristerBecoming a legal executiveNon-legal jobsChapter 17: Useful AddressesIndexAcknowledgementsCopyrightAbout the BookFully revised and updated including the latest information on the impact ofdigital technology, Music: The Business remains the essential referenceguide to the business of music.Whether you’re a recording artist, songwriter, music business manager,industry executive, publisher, journalist, media student, accountant, lawyeror are simply fascinated by the music industry, Music: The Business will tellyou what you need to know about how the UK music industry works.Authoritative and indispensable, Ann Harrison’s essential work answers allthe questions, decodes the jargon, gives the facts behind the headlines andreveals the real figures underlying the multi-million pound deals. Citingcase studies of the biggest recording artists and songwriters, Ann uses herextensive expertise as a music lawyer to describe the precedents that haveshaped the law today, to outline what you can expect to find in musicbusiness contracts and, in an age of rapid technological change, to show theoptions for the future.From recording and publishing deals, making a record, manufacture,distribution and marketing, to ways to harness the new media, branding,merchandising, moral rights and working in the music industry, thisfascinating, practical and comprehensive guide could be one of the mostimportant books you ever buy.About the AuthorAnn Harrison runs her own successful legal consultancy and wasformerly head of the music group at a leading media and entertainmentlaw firm.PraiseFully revised and updated including the latest information on the impact ofdigital technology, Music: The Business remains the essential referenceguide to the business of music.FULLY REVISED AND UPDATED 4TH EDITIONANN HARRISON PrefaceI QUALIFIED AS a solicitor in 1983 and began working for a firm that didgeneral work but also had a good reputation as entertainment lawyers. Atfirst I just did general commercial litigation but found that I was naturallyattracted to the entertainment cases. Somehow they seemed more ‘sexy’.When I moved to another firm to get more experience of theentertainment business I made a big mistake. The firm I joined was good atentertainment work, but in fact wanted someone to clear people off a largeholiday camp in the North of England. I spent most of the next two yearsrunning 180 separate property cases with no connection to the entertainmentbusiness at all.Luckily for me I’d kept in touch with a former flatmate who had becomea very successful music lawyer at Harbottle & Lewis. He spent some timetrying to persuade me to do the same work that he did. I thought my futurelay in sorting out disputes in court and wasn’t convinced. Then the law firmI was working for closed and that decided it. Luckily, the job at Harbottle &Lewis was still open and I joined the music group in March 1988.At first I was convinced that this had been the second big mistake I hadmade in my career. My litigation training made it almost impossible for meto appear friendly towards lawyers on the other side, signing letters ‘Kindregards’ when often I could cheerfully have strangled them. I did get overthat and stayed for about fifteen years, becoming a partner and head of themusic group.In May 2003 I left that firm to set up my own legal consultancy business,Harrisons Entertainment Law Limited. Yes the acronym does mean that I amtruly a lawyer from HELL. I wanted to have the freedom to continue torepresent artists and songwriters, managers and small record labels andpublishers. I like working for the creative end of the business and now havethe freedom to do so on my own terms. I’ve been lucky over the last 25 yearsto work with some of the leading players in the business. My clients comefrom every part of the music spectrum from hip hop and electronica musicvia classical, rock, indie and chart-topping ‘pop’ acts.In writing this book I hope I will be able to convey some of theexcitement of the music business to you. I have used ‘he’ throughout. This isnot intended as a slur on female artists or on the many excellent womenworking at all levels in the music business. Indeed, how could it be whenthey were so kind as to give me an Accolade award at the Women of theYear awards ceremony a few years ago, something I will always cherish.Recognition by your peers and clients is just the best.Ann Harrison2 January 2008IntroductionWHEN I STARTED work in the music business I had very little idea how itworked. Record and publishing companies were a mystery to me. It felt alittle like trying to do a very hard jigsaw puzzle without the benefit of apicture on the lid of the box. I looked for books that might help me but thereweren’t many around. Those that were, were mostly out of date or applied tothe USA and not to the UK music business. I had to learn from mycolleagues as I went along. I was lucky in that they were very knowledgeableand very generous with their time.Now there are many more sources of information available on the UKmusic business and there are several good full- and part-time media and lawcourses available to give you a head start. But we still lacked an easy-to-readguide to how the business works from a legal viewpoint – one that explainswhat a publisher does and what copyright is. Many of the books on thebusiness are written from the US perspective. I wanted to write one based onthe UK music industry which could be read as a road map through theindustry. Where I’ve used technical expressions I have tried to give a non-technical explanation alongside. For the legally minded among you thedetail is in the footnotes. This book is not, however, intended to be asubstitute for legal textbooks on copyright, other intellectual property rightsor contract. There are many good examples of these sorts of books around.The music business is a dynamic one and each new edition involves a re-working of most of the chapters. In particular anything to do with new mediais difficult to keep up-to-date. The chapter on New Media has beencompletely rewritten under the new title of Online Sales and Distribution ashave the chapters on Touring, Getting a Record Made and Branding andSponsorship. Video is now a dying format and references to it have beenreplaced with DVD as a revenue source.Wherever possible I have tried to illustrate points with practicalexamples. I have to add a health warning that the examples produced and theguidelines given are mine alone and others may not agree or may have haddifferent experiences.We’ve all been fascinated by newspaper reports of this or that artist incourt over disputes with their ex-managers, record companies or even othermembers of the band. Are these reports accurate? Do these cases have anylong-term effect? Do they matter? The facts of some of the more importantcases have been highlighted, what was decided and the effects of thesedecisions on the music business. I’ve included several new cases in thisedition, particularly in the chapters on band agreements, session musicians,piracy, plagiarism and publishing.What I’ve tried to do is to let you in to some of the things I have learnedover the last 24 years in the music business. There is, however, no substitutefor legal advice on the particular facts of your case. Chapter 1 deals withchoosing your advisers. Please read it. Good advisers will help to save youfrom what can be expensive mistakes. Most artists only have one chance of asuccessful career in this business – make sure you don’t lose it through pooradvice. Chapter 1Getting Started INTRODUCTIONHOW DO YOU get into the music business as a performing artist or songwriter?How do you get your foot in the door and how and when do you startgathering your team of advisers around you?Maybe you want to be a manager or set up your own record label orpublishing company. This book is all about understanding the musicbusiness, the deals and how you get yourself started.CREATING A BUZZHow do you get your work noticed? The idea is to create a ‘buzz’ bywhatever means you can. We’ll see later that lawyers and accountants canhelp you to get noticed but you also need to work out your own plan andmake it unique to you.You can play as many gigs as you can and hope to be recognised by ascout on the lookout for a record or music publishing company or you canmake a demo of your performances or songs and send it to an A&R personand hope. However, more and more companies, particularly the bigger ones,the ‘majors’, are refusing to accept unsolicited demos. They are followingtheir US colleagues in this respect and many now only accept demos from atried and tested or well-known source. Others are streamlining theirsubmissions policy and asking for MP3s rather than CDs through the post.There’s no guarantee of success. No one is ‘owed’ a living in thisbusiness. You have to earn it often through sheer hard slog.Many try and improve their chances by coming up with a previouslyuntried marketing ploy. We all remember the famous online concerts givenby Sandi Thom from her basement in Tooting. Sure got her noticed didn’t it?Occasionally you still hear of artists pitching up at record companies withtheir guitar and doing an impromptu audition at which they are ‘discovered’but the chances are very slim. These days you’d be lucky to get past thesecurity guards.You can also shamelessly exploit any and all contacts you have withanyone who has even the remotest connection with the music business. Youcan pester these hapless souls to ‘get their mate to the next gig’ or to listento your demo or visit your MySpace page. This can improve your chances ofat least getting your work listened to, but still isn’t any guarantee it will leadto a record or publishing deal.The live side of the industry is important and increasingly so in the lastfew years as traditional record sales have declined. Record and publishingcompanies send scouts out to find undiscovered talent playing in out-of-the-way pubs. If you happen to be based outside the M25 your chances of beingspotted are slimmer than if you are in London. However, there are otherareas of the country that get the attention of scouts – Sheffield, Liverpool,Manchester, Birmingham, Bristol, South Wales and Glasgow among them.Sometimes you get an ambitious scout who goes and checks out what ishappening in a part of the country not on the traditional circuit. When thishappens you can get a rash of signings from that area. Who knows, your areacould be next.A&R people live a precarious existence. They are only as good as theirlast successful signing. So they tend to like to have their hunches about anartist confirmed by someone else whose opinion they respect. This could besomeone in their own company but, somewhat surprisingly, they will oftentalk to A&R people from rival companies. You would think that if theyfound someone they thought was good they would keep it to themselves untilthe deal was done. Some do, but many seem to need to be convinced thatthey have got it right even though this might push up the cost of the deal ifthe rival company also gets in the running to sign the same artist. For theartist this is a dream come true. He can choose the company that works bestfor him, and his lawyer will negotiate between the companies to get a betterdeal. This is what we call using your bargaining power. The more bargainingpower you have the better your overall deal is likely to be. In the last coupleof years the trend has been for several successful artists to make their markelsewhere before becoming big with a major record company. Keane weresigned to BMG Music Publishing for about three years before they got arecord company interested in their brand of music. The Kaiser Chiefs withB-Unique and Domino Records with Franz Ferdinand are other goodexamples of independent labels punching above their weight. More and moreit seems that the A&R people at major record companies want actualevidence of an artist’s ability to complete recording an album and promote itbefore they come on board. This can be a depressing thought for a band juststarting out, but it could also be seen as an opportunity to create and developyour own style on a smaller independent label first. Indeed one of thebiggest growth areas of the business is that of independent labels makingtheir own story and either feeding artists in to the bigger labels or releasingrecords themselves before the acts are picked up by the bigger labels. Anexample of an artist who made it big independently before being picked upby a major is Sounds Under Radio who was the only unsigned artist on theSpider-Man 3 film soundtrack and went on to sign a multi-album deal withEpic Records.THE BAND NAMEThe name a band chooses is a vital part of its identity, its brand. It’s a verydifficult thing to get right and it’s quite common for bands to go throughvarious name changes before they settle on one they’re happy with. It shouldbe memorable, because if you combine a good name with a clever logo thenyou are already halfway to having the basis of a good advertising campaign.However you decide to market yourself, a distinctive name makes it thatmuch easier. If it’s a name that you can do some wordplay with, so much thebetter.Finding a good name is easier said than done. I’m sure you’ve all sataround at some time in the pub after a beer or three and tried to come upwith good band names. Despite all my advice on branding, I suspect thatmost bands choose their name for much more down-to-earth reasons, like itsounds cool, or it is the only one they can think of that is not naff and that noone else has already nabbed. Raiding books, old films and song titles areother good sources, for example, All About Eve, His Latest Flame and JanusStark (from a comic). History is also a fertile source, Franz Ferdinand beinga good example.You might decide on a name not knowing that anyone else has alreadyclaimed it. You may then invest a lot of time and maybe some money instarting to develop a reputation in that name. You’re not going to be veryhappy if you then find out that someone else has the same name. So how doyou check if someone else is already using a band name?There are some easy and cheap means of doing this. First, go to thenearest large record store and ask to borrow their catalogue listing allavailable records. Have a look if the name you want to use appears – the listsare usually alphabetical by artist name so that’s not as horrible a task as itmight seem.If you’ve access to the Internet you can widen your search. Using a goodsearch engine check to see if the name you’ve chosen appears. You couldjust do a UK search but if you plan to sell records overseas (and you do,don’t you?) then you should do a worldwide search. You could apply toregister a domain name and see if anyone has claimed any of the main top-line domain categories for that name. If it is available do register it quickly.There are band registers online, including one called bandname.com,which claims to be the biggest online band names registry. You couldconsider registering with them or searching first for an existing band name.It is not, however, free and so you may want to consider other free onlinesearches first. Bear in mind though that just because a band is listed on aband register database doesn’t mean that they will automatically succeed instopping you from using the same name. You have to also look at whetherthey have an existing name or reputation, whether they have registered atrademark or a domain name, and whether they had a reputation in the samearea of the business as you.If you choose a name and another artist objects to you continuing to useit because it is the same as one they have been using for a while, they maysue you. This could be for a breach of their trademark (see Chapter 8) or, ifthey haven’t registered a trademark, they would have to argue that they had areputation in the same area of music, in the same country as you and thatyou were creating confusion in the mind of the public and trading on theirreputation. This is called ‘passing off’ (see Chapter 8).1 If they can establishthese things (and that is not always easy to do) and they can also show thatthey are losing or are likely to lose out financially as a result, then they canask the court to order you to stop using the name and also to award themdamages against you. They would have to establish a number of things,including an existing reputation. Just because a band has done a gig or twounder the same name as you doesn’t necessarily mean that they have areputation or that they can satisfy the other tests of ‘passing off’. You mayhave the greater reputation or the greater bargaining power or the othergroup may have split up. If you’ve already got a record deal or are about torelease a single or album under that name you may be able to persuade themthat they are in fact trading on your reputation and that they should stopusing the name. A word of warning though, if you have a US label or intendto license recordings for sale in the US it is quite likely that the US companywill be unhappy at the existence of another artist with the same or a verysimilar name. They may well put considerable pressure on you either tochange the name or to do a deal whereby you can definitively get the rightsto use that name from the other artist. US labels tend to be risk adverse and apotential threat to stop their sales will have them running scared.If you do find another band with the same name then you could do a dealwith them to buy the right to use the name from them. You pay them a smallamount (or a big amount if you really want the name) and they stop using it,allowing you to carry on. If you’re going to do these sorts of deals youshould also make sure that you get from them any domain name that theyhave registered in the band name and, if they have a trademark, anagreement to assign the registration to you.The law can be somewhat confusing on this question of band names asshown by two band name cases. The first involves the members of Liberty,the band formed from the runners-up in the television programme Popstarsand the second a Scottish rock group and a pop boy band both called Blue.The decisions in the two cases could not have been more different.The Liberty X Case2V2 Music, the record company, had an exclusive recording contract withthe members of Liberty and was preparing to release and promote theirfirst album. The claimants were a funk band formed in the late 1980swho also went by the name Liberty. This band had had a lot of publicityand played a number of live concerts in the period up to 1996 but nevergot a record contract. Their three independent releases made between1992 and 1995 sold only a few thousand copies. The public interest inthem had become virtually nonexistent by the mid-1990s, although theykept going in the business, where they were known and respected, andappeared as session musicians on other people’s work.The question was whether they had sufficient residual goodwill leftin 2001 to be entitled to be protected against passing off.The pop group Liberty argued that even if there was residualgoodwill their activities could not be seen to interfere with the oldLiberty as they were in different areas of music.The court found that the amount of residual goodwill had to be morethan trivial which was a question of fact. The judge found that while thecase was ‘very close to the borderline’ there was a small residualgoodwill that deserved protection. He granted an injunction against thenew Liberty band’s continued use of the name. The band renamed itselfLiberty X and went on to commercial success.The Blue CaseIn complete contrast, in June 2003 a case brought by the original bandBlue – a Scottish rock group – came before the courts. Their last hit wasin 1977 when a single by them reached number eighteen in the charts.They did have a long career spanning sixteen singles and seven albums.They had a fan base and nowadays sold records mostly be mail order orover the Internet. The new Blue was a boy band formed in 2000 who hadhad 3 number 1 singles. The old Blue sued new Blue and its recordcompany EMI/Virgin for substantial damages for passing off arguingthat there was confusion over the name leading to damage to theirreputation and recording career. The case came before Judge Laddie,who is known for his forthright approach. He made it very clear at thebeginning of the case that he found these claims somewhat dubious. Heis quoted as saying, ‘Are you seriously saying that fans of one groupwould mistake one for the other.’ The judge also commented on thedifference in their appearance saying that ‘one is aged like you and me,the other is a boy band’. These are comments that could just as easilyhave been made in the Liberty case but different times, differentoutcomes. In this case the early indication of the judge’s view led to thetwo sides having discussions outside the court which led to an out-of-court settlement. Both bands were to be permitted to continue to use thesame name. Old Blue was ordered to pay the costs of new Blue whoagreed not to enforce this for so long as old Blue didn’t try to apply toregister a trademark or otherwise try to regularise ownership of thename.TRADE MARK SEARCHYou can run a trade mark search to see if there is someone else with thesame or a very similar name in the classes of goods or services that youwould be interested in (for example, Class 9 for records). In the US therecord company often makes it a condition of the record deal that they run atrade mark search and charge you for it by adding the cost on to youraccount. If the search reveals another band or artist with the same name, therecord company will usually insist on you changing your name before theywill sign the contract.SHOWCASING YOUR TALENTLet’s assume you’ve got a name, can legitimately use it and are getting someinterest from the business. Record companies have had their fingers burnedby signing artists for large sums of money that they haven’t seen performand then discovering that they can’t play or sing at all. This was a particularproblem at the height of the dance music boom when behind the scenesproducers were making the music and using front people to perform them onstage – often not live but mimed to backing tapes. So most record companieswill insist on seeing you play live. If you are already playing the club circuitthey may just turn up to a gig. If you aren’t then they may pay for the hire ofa venue or ask you to arrange one. This is called a showcase. The venue willeither be a club or a rehearsal studio. These showcases may be open to thepublic but more often they will be by invitation only. It might pay for you toget at least some of your mates/fans invited so there are a few friendly facesthere as an industry showcase can be a daunting affair.You could hire a venue yourself and send invitations out to all the recordcompanies. However, just because you’ve invited them doesn’t mean they’llcome. Don’t be at all surprised if they say they’re coming and then don’tshow up. It’s a very fickle business. They probably got a better offer on theday. The more of a ‘buzz’ there is about you the more likely it is that theywill turn up, as they won’t want to miss out on what could be ‘the next bigthing’.I once asked the MD of a major record company why he was paying foran artist to do a showcase which would be open to the public when he knewthat the artist would then be seen by the A&R people from rival recordcompanies. His answer was quite revealing. He said that he knew how far hewas prepared to go on the deal and so was not worried that it would be hypedup. He felt that if this artist really wanted to be with his record company hewouldn’t be influenced by the interest from other companies. Confidenceindeed. In fact the artist did sign to his company and remained on the labelfor a number of albums. In these days of independent labels or productioncompanies working with artists it is likely that they will set up theshowcases and either invite a broad selection of bigger labels along or onlythose with whom they have a special relationship, maybe ones for whomthey already act as a talent out-source.PRESENTING YOURSELF WELLHere are some tips that may help you showcase your talents successfully.First, do your homework. Read the music press. Find out the current‘happening’ venues, the places that regularly get written up in the musicpress. Pester that venue to give you a spot, even if it’s the opening spot, andget all your mates to come along so that it looks like you’ve already got aloyal following. Before you get to that stage you may need to start out in theclubs outside the main circuit and work your way in.You should also find out what nights the venue features your kind ofmusic. If you play radio-friendly, commercial pop you don’t want to get agig on a heavy metal night.Make sure the songs you play (your set) are a good cross-section of whatyou do. What goes down well with your mates in the local may not work fora more urban audience (but you’ll want to play one or two of the firmfavourites to give you a confidence boost).Be professional. Rehearse, rehearse, rehearse. Think about your imageand style. Don’t send mixed messages. Think about your relationship withthe audience. If yours is the ‘say nothing, the music will speak for itself’style, that’s fine – but make sure you’re sending that message clearly to youraudience. We all like a ‘personality’. If your band has got one make sure youuse him or her to their best advantage.Always tell your audience who you are at the beginning and end of yourset. You’d think this was obvious but you’d be surprised how many gigs I’vebeen to where it’s been impossible to tell who the artist is unless you’veseen them before. The line-up of the bands on the night can change and nogig ever starts at the time it’s supposed to, so you can’t even make anintelligent guess. Make life easier for us – tell us clearly who you are, this isnot the time for a shoe-gazing mumble.Try and get your local press behind you. I know of one Nottingham bandthat did this very successfully. They made a fan of the arts reporter on thelocal newspaper and kept him up to date on what they were up to and whenthey were playing. This made sure they got good reviews. A scout read oneof these and went to the next gig, which was on the outer-London circuit.The band took ‘rent-a-crowd’ with them and were spotted by an A&R mantipped off by the scout. A record deal followed. The local reporter was thefirst one they told – after their mum, of course. In an innovative marketingspin of the kind I was advocating earlier, The Other used SMS to let fansknow of their next gig relying on word of mouth and multiple texts to ensurea good turn-out at their ‘secret’ gigs and attention from the press for theirinnovative technique. It’s a wonder that they didn’t go further and sign up asponsorship deal with a telecoms company for a cut of the SMS charges.SHORT CUTSIt’s a long haul and it needs determination and dedication to plug away onthe gig circuit like this. Are there any short cuts? Yes, there are some. Thereare ‘battle of the bands’-type competitions, and if you get through to thefinal three or even win then that will give you valuable exposure and shouldensure a number of follow-up gigs in the local area and some usefulpublicity. They don’t often lead directly to deals although, if you win, youmay get free studio time to make a demo (see below). One band of under 18year olds called The Flaming Monkeys won the Kerrang! unsigned bandsaward at the Vodafone Awards in 2007 and used that as a spring board to aspot at Glastonbury and (hopefully) to a record deal. Glastonbury now has anEmerging Performers Competition for bands to play on its main stage.Indeed the under 18s market is a booming one with venues turning over theirclubs to promoters of special gigs aimed at the younger audience andobviously without the booze.Then of course there are online band competitions – such as thosepromoted by the web-based slicethepie.com. For more on these socialnetworking sites and different use of technology see Chapter 7.There are also ‘open mike’ evenings at clubs, when anyone can turn upand ask to play one or two numbers. Tony Moore’s unsigned acts nights atThe Bedford pub in Balham, South London are a regular stopping off spotfor scouts as is 014 in Baron’s Court, West London and clubs in Soho suchas Punk or pubs like The Betsy Trottwood. Tony Moore also opened anadditional live acoustic venue, The Regal Room in December 2006, based atThe Distillers in Fulham Palace Road, London.Music industry organisations such as the Performing Rights SocietyLimited (PRS) or its US equivalents, The American Society of Composersand Publishers (ASCAP), or Broadcast Music, Inc. (BMI), occasionallyarrange nights at a Central London venue to showcase two or three acts whoare either unsigned or have signed a record deal but not a publishing deal (orvice versa). ASCAP sends out a CD containing a track by each of the actsit’s promoting. These are popular with A&R people because someone hasalready filtered out a lot of the rubbish for them. See Useful Addresses forcontact details.There is also an annual UK music industry convention called ‘In theCity’. Attached to it is a series of showcases for unsigned acts at venues inthe city where the conference is being held. Its regular home is Manchesterbut it does move around. The death of one of its founders, Tony Wilson, in2007 did not stop his partner Yvette Livesey from continuing the tradition afew months later and it looks to continue for the foreseeable future. It’squite expensive to register for the conference but it’s often possible to getinto the bar of the main conference hotel where the executives meet to relax.You could get lucky and meet one or two A&R people and get your demo tothem. Remember, however, that they get given many CDs, often late at nightand possibly after several pints of beer, and they will probably need to bereminded who you are in a follow-up call a few days later. If you’re chosenfor one of the unsigned showcases, it should guarantee that at least one A&Rperson will be at your gig. In past years Suede, Oasis and The Darkness haveall played ‘In the City Unsigned’ and more recent successes include TheAutomatic and Muse.THE DEMO RECORDINGFor most people making progress in the music business means having ademo recording of your work. This is your calling card, your way ofintroducing a stranger to your work. It should be recorded to the beststandard you can afford.STUDIO DEALSWhat if you haven’t any money? How do you afford to make a recording?One way is to beg ‘down-time’ from your local recording studio. This istime when the studio is not being hired out commercially. It may be at reallyunsociable hours such as 2 a.m. to 8 a.m. But who needs sleep when you’vegot a record deal to get?The studio may give you the time cheaply or even free, but they are morelikely to let you have the time in return for promises of what they will getwhen you get your first deal. The studio owner may want some of theincome (the royalty) you earn from the sale of your records. This issometimes called an override royalty. This is fair if you get a deal usingrecordings made at the studio, but take care that the studio is not asking fortoo much. A 1–1.5% override royalty is usually enough. By that I mean thatif you are offered an 18% royalty you have to give 1–1.5% to the studioowner, leaving you with 16.5–17%. Some studios try to get royalties on yoursecond and third album too. They argue that you wouldn’t have got yourchance to record at all without their generosity. This is true, but there comesa time when your success has nothing to do with that original generosity.One album is plenty in most cases or if it goes beyond that then the royaltypercentage should reduce to say 0.5–0.75%.The studio may also want a guarantee that you use their facilities whenyou make your album. Or the studio owner may want to produce your firstcommercial album. You should be careful about agreeing to these sorts ofconditions. Record companies don’t like package deals on studio andproducer. They like to have some say on these things themselves. If theproducer is a proven talent they may be less concerned but you should tryand build in flexibility.The demo should feature a good cross-section of your work. Most peoplethink that it should contain no more than three or four different pieces, withyour best one first, your second-best one last and contrasting style pieces inthe middle, but be careful of sending a confusing message by mixing toomany different styles on one CD. The opening number should haveimmediate impact in case the listener fast-forwards it before you’ve got intoyour stride. Many A&R people listen to demo CDs in their car or MP3s ontheir MP3 player. If you don’t grab their attention they’ll move on to thenext track or CD. If you are sending a CD then the case and the CD itselfshould both contain details of who you are, the names of the pieces, whowrote them and, most importantly, a contact number, otherwise when,inevitably, the case gets separated from the CD, there is no way of tellingwho the band are and how to get hold of them. This is harder to do with anMP3 so it is important that the file name is distinctive and that the metatagson the recording itself identify the artist and the name of the track. If youcan include an email or webpage contact address so much the better. Makeyourself as easy as possible to find.FINDER’S AGREEMENTThese go in and out of popularity. At the moment they seem to have beenovertaken by the production deal but they are still used where someone justwants to find a deal and not be further involved at any level. A studio owner,producer or an established writer that you may be working with might likewhat they hear but may not have the resources or the inclination to sign youup to a record deal themselves. They may also not wish to become involvedin your career longer-term as a manager but might spot an opportunity to usetheir contacts to further your and their own prospects. Such people mightoffer to find a deal for you and if you agree in principle they may then wantyou to sign a finder’s agreement.This is usually a short document where you appoint them for a period oftime to get you a record or publishing deal. The period varies from sixmonths up to eighteen months and may be non-exclusive, in which case theperiod is of less concern, or exclusive, in which case you might want to keepthe period quite short. On an exclusive deal you pass through any interestyou get to the finder who is in overall charge. If it’s non-exclusive you andothers can go on looking for a deal but you need to have a mechanism forhow to tell who actually made the successful introduction. This is why mostfinders favour an exclusive arrangement.If the finder gets a deal within the agreed time span then that usuallyends the ongoing relationship between you and the finder, unless, assometimes happens, it changes into a different type of deal such as that ofartist/manager/artist/producer or co-writer.The fee that the finder gets varies. It may be a percentage of what youget on signing the deal, a percentage of all monies paid you in the firstcontract period of the deal or a share of these monies and of future royalties.The percentage is usually somewhere between 5% and 10%. Sometimes thefinder argues for a percentage of monies beyond the initial contract period.This is less usual and I would want to see strong grounds to justify that andeven then might well argue for the percentage to be reduced to say 2.5–5%.DEMO DEALIf an A&R man gets to hear of your music through the demo or indeed in alive gig he will undoubtedly want to hear some more.If this is not a situation where there is an existing production companywith access to studio facilities he may pay for some studio time for you torecord more material or to try out different versions of what you’ve alreadyrecorded on your demo. In that case he may offer you a demo deal.The deal will usually guarantee you a certain amount of time in aprofessional or in-house recording studio. Many record and publishingcompanies have their own studio facilities, which they may offer to makeavailable. Perhaps you shouldn’t look a gift horse in the mouth, but if thestudio doesn’t have the equipment you need to show yourself off to bestadvantage you should say so, and either ask for that equipment to be hired inor ask to go into a commercial studio. Cheeky, yes, but you can do it politely– it’s your chance, so don’t blow it.The record or publishing company will expect to own the copyright inwhat you record (see Chapter 3). The company will want to own the right tocontrol what happens to the recording. A record company will not usuallyexpect to own rights in the song but a music publisher might. Try and takeadvice before you agree to give away rights in the song. At the very leastthey shouldn’t own the song unless they offer you a proper publishing deal(see Chapter 4). The company offering you the deal will also own thephysical recording or ‘master’. This is fine as long as they don’t stop yourecording the same song for someone else if they don’t offer you a deal.They should also agree that they won’t do anything with the master withoutfirst getting your permission. This is important. When you finally sign yourrecord deal you will be asked to confirm that no one else has the right torelease recordings of your performances. The record company will not findit funny if a rival company releases the very track that they had planned asyour first single. The company who paid for the demo will usually agree thatyou can play it to other companies if they decide not to offer you a dealwithin a reasonable period of time.The record or publishing company will normally want some exclusivityin return for the studio time they are giving you. They may want you toagree not to make demos for anyone else or not to negotiate with anothercompany for a period of time.They may be slightly more flexible and want the right of first negotiationor refusal. This means that they will want either to have the first chance totry to negotiate a deal with you or they will want to have the right to say yesor no first before you sign to another company. This is a difficult call. Youwill no doubt be excited and perhaps desperate not to risk losing the dealbut, before agreeing to exclusivity or these negotiating options, you need tobe sure that the exclusive time period is not too long. If they tie you up formonths you may miss your moment. If they have first negotiating orrejection rights then they should tell you as soon as possible where youstand. If they’re not interested then you need to move on as quickly aspossible.Bear in mind, though, that the record company has to go through anumber of stages before they can make a decision. They have to listen to therecording, probably then discuss it at an A&R meeting and then maybe alsowith their immediate bosses or even overseas colleagues. All this takes timeand they may not want to risk losing you to a rival company. So you need toget a balance between the needs of the two sides.Don’t be surprised or depressed if, after you make the demo, thecompany decides not to offer you a deal. I know several artists who gotdemo time from two or three record companies and ended up with anexcellent set of demos that they took to another company who then signedthem up. What you don’t want to happen is that people feel that you’ve beenaround for a while and are sounding a bit stale. This is a difficult balance tostrike.On a more positive note, the first company may love what you’verecorded. The demos may confirm the A&R man’s faith in your abilities andhe may be ready to do a deal with you. You’ve passed go and, once you’veread the rest of this chapter on getting yourself some good advisers, youshould go straight to Chapter 3 (What Is A Good Record Deal?).GETTING HELP AND PUTTING TOGETHER YOURTEAMAll of this may seem a bit daunting. Don’t worry about negotiating orsigning a studio or demo deal. There are people that you can turn to for help.You should be looking to put your team of advisers in place as soon as youstart to get a bit of a ‘buzz’ about you so that you are ready to move quickly.THE LAWYERA good lawyer with experience of the business can be of enormous help toyou. So where do you find one and what can they do for you?Finding a lawyerGeneralYou can ask the Law Society for their suggestions (see the Useful Addressessection for details). They have entertainment firms on their referral lists butmake no judgement on the quality of the advice.Many law firms have their own websites, which will tell you a bit aboutthe firm and its areas of expertise. It will usually contain an email address,so you could try sending them a message asking for further information.Some websites contain details of the last big deals the firm did and,where their clients allow them to, list the names of some of their clients. It isnot necessarily a bad thing if there aren’t many clients mentioned.Professional rules mean we have to keep client information confidential andnot even say that someone is a client without the client’s permission orunless it is public knowledge. If a client is kind enough to give me a crediton their album artwork, I take it that he’s happy for people to know I’m hislawyer, but if in doubt I have to ask.Other sources could be the Musicians’ Union and the Music ManagersForum. The PRS runs a legal referral scheme where firms of music lawyersagree to give preliminary advice free or at a reduced rate. See UsefulAddresses.DirectoriesNot all law firms have websites, so you could also look in the two mainbooks listing UK legal firms – Chambers and Legal 500 (See UsefulAddresses). The general guides can be found in most of the larger publiclibraries and are both available online. Both have a similar approach,breaking down the lists into areas of the country and particularspecialisations. Most UK music lawyers are based in London, but there areone or two in places like Manchester, Liverpool and Glasgow. Chamberswrites short pieces on those it thinks are the leading players in a particularfield and now also boasts a USA guide. Legal 500 operates on a leagueprinciple. When it interviews lawyers it notes which names are mentionedmost frequently by others in the business and grades the firms accordingly.It also does some checking with individual clients.In addition to these general legal guides the Music Week Directory alsolists UK law firms and is a good first stop for an overview of lawyers whoclaim to have expertise in the music business. Music Week is the leadingtrade journal for the music industry in the UK. You need to take out asubscription to get the directory and online access but you may find it inbigger reference libraries or a contact in the business might lend you a copy.As with the more general guides an entry in the directory is not anyguarantee that they are any good.Managers and AccountantsIf you already have a manager or an accountant they may be able torecommend a lawyer to you. You should check if your manager has the samelawyer. Most managers realise that for some things (for example,negotiating the management contract) you have to have a separate lawyerfrom your manager. There is a conflict in the interests of the two of you thatmeans you must be separately advised. Where there is no conflict of interestthere is usually nothing wrong in you and your manager having the samelawyer. You may, however, still feel more comfortable having your ownlawyer on board.Other bandsOther bands or contacts in the business may be able to recommend someoneto you. This may be their own lawyer or someone they have heard others sayis good. We lawyers love personal recommendations as a source of newwork. It means we must be doing something right.How do you go about choosing and employing a lawyer?Occasionally lawyers are in the public eye because of a particularly high-profile piece of work they have done and everyone wants to have them astheir lawyer. You must, however, try to find out whether the lawyer isexperienced and not a one-hit wonder. How do you do that? Ideally youshould have two or three names on your list, possibly gathered from avariety of sources. You should call them, tell them you are looking for alawyer and ask to meet with them. Be wary of lawyers who promise theearth. We don’t have all the answers. Before you meet up with the lawyershave some questions ready for them. Ask how long they’ve been doing thisand who their main clients are. As we saw, they may be a bit coy about thisbecause of their duty to keep clients and their business confidential. A s kthem how their firm is structured. Will they be doing the work for you orwill it be handed over to a more junior person? Can you call up the lawyeryou are meeting at any time to discuss your case or are you expected to workwith the junior person?You should also ask the lawyers the all-important question of what theycharge, when they expect to send you a bill and when they expect it to bepaid. Will they accept payment in instalments and, if so, do they chargeinterest on the balance like you would on a credit card bill that you werepaying off monthly? Can you pay by credit card? Beware of a lawyer who isreluctant to discuss his costs. If he tells you what he charges by the hour youmay need to sit down. But quoting hourly rates doesn’t really help you tocompare two firms, as one lawyer may work faster than the other. A betterway to do it is to ask them to give you a ballpark figure for what it usuallycosts for them to do a record or publishing deal. If you ask each lawyer thesame question you’ll have a better basis for a comparison. Don’t necessarilygo for the lowest price. It may be that the deal gets done faster but it’s ashort-term view. Where the lawyer really comes into his own is whensomething goes wrong in six months’ or a year’s time. Then thethoroughness with which he has done his job in protecting your interestsreally gets put to the test. Some lawyers will agree to do a piece of work fora fixed price. Since setting up my own business I often work in that way as itgives the client certainty but as with any job of work if it turns out to be farmore complicated than it appeared at first I reserve the right to come backand revisit that fixed fee.The lawyer you finally choose should send you a letter setting out thebasis on which he is going to work for you, including details of what heexpects to charge and who you should complain to if you have a problem.Your lawyer is a fundamental part of your team. Take your time in choosingone and don’t be afraid to say if you’re not happy with a piece of work,including voting with your feet and changing lawyers if it doesn’t work out.Although you may want to give the lawyer the chance to explain his positionbefore you leave. As a last resort you can sue but this is all very negative. Inthe majority of cases there isn’t a problem that can’t be sorted out with aphone call.Conflicts of interestThere are firms of lawyers that work mostly for record and publishingcompanies and others that work for what we call the ‘talent’ (the creativeend of the business). It is important to know this. If the record labelinterested in you uses the same firm for their own legal advice there will bea conflict of interest which will make it difficult for that lawyer to work foryou if you’re ever in a dispute with the record company. Some say it’spossible to build Chinese Walls (artificial barriers where, in theory, onelawyer within a firm knows nothing about what another is doing, so can’t beinfluenced in any negotiation). When things are going well this can work,provided everyone knows it is happening. When things aren’t going so wellwill you feel confident that your lawyer is looking after your interests?Beauty paradesWhen you go to meet lawyers it’s only fair that you tell them that you’reseeing lawyers from other firms. Lawyers call these meetings ‘beautyparades’ when we set out to impress you. There’s nothing worse thanspending an hour giving advice to someone you think has already chosen youas their lawyer only to be told as they walk out of the door, ‘Thanks for that,I’ll get back to you when I have seen the other firms on my list.’If you’re asked what other firms you’ve seen you don’t have to say, butif you do it helps that lawyer, who then knows who he is in competition withand can adjust his ‘sales pitch’ accordingly.When you’ve decided who you want to work with, you should tell theothers who’ve given up an hour or more of their valuable time that they areout of luck. You never know, you may want to change lawyers at some pointand there’s no harm in keeping things civil.What does your lawyer do for you?A trite answer may be to say whatever you instruct him to do (provided it islegal). We do work ‘on instructions’ from you, but that’s really not a truepicture of all that we can do for you. We’re there to advise you, to help youdecide what the best deal is for you. We give you the benefit of ourexperience of similar situations. We know who’s doing what deals and howmuch would be a good deal.If you want, we can help you to target companies that our experiencetells us should be interested in your type of music. This can help you to bemore focused. This doesn’t mean to say that we act as A&R people, althoughI have come across one or two lawyers who do think they are and indeedthere are some law firms that employ young lawyers as quasi scouts lookingfor up and coming artists who might be future clients. The type of musicyou’re into shouldn’t influence your lawyer, who should be able to representyou whatever style of music you make, provided it’s not so far out of hisarea of expertise that he doesn’t have the necessary experience orcommercial knowledge of whether the deal is good, bad or indifferent.There’s also a growing band of lawyers who, following the Americantrend, are acting as quasi-managers, only taking on clients who they thinkthey can get a deal for. Managers seem a little uncomfortable about this, asit blurs the edges between their respective roles. It also means that thelawyer is making a judgement call, and those who really need advice may belosing out. With this breed of lawyer you need to be very clear what they areexpecting to charge you. Is it their normal rate or is there a premium for thisservice? Are they charging a percentage of the deal they get for you? If sodoes that mean that they only focus on getting the most money and to hellwith the small print?Our role can be as wide or as narrow as you want it to be. If you arealready clued-up on the type of deal you want, or have a manager who is,then you won’t need that sort of advice. If you’re quite happy aboutnegotiating a deal direct with the record or publishing company, then youbring your lawyer in later when the commercial terms are agreed and youneed to get the legal contract in place. On the other hand, if you are new tothe business and aren’t confident enough to negotiate commercial terms,you’ll want to involve your lawyer at a much earlier stage.I work differently with different types of clients. If it’s a new artist whoeither doesn’t have a manager or has a manager who isn’t very experienced Irun with things right from the beginning when a record company says itwants to do a deal. I contact the record company, get their deal proposal and,after talking to the client, I go back to the record company with any counter-proposals, continuing this process until the deal is in its final form. I thenget the draft contract, check it, make any necessary changes, and negotiatethose with the company until the contract is ready for me to recommend tothe client for signature.With other clients there may be an experienced manager on board whoknows exactly what his bargaining power is and what sort of deal he wouldideally like to end up with. My role at the beginning is more that of anadviser or sounding board. The manager will usually make sure I get a copyof the proposal and any counter-proposals, but won’t want to involve medirectly in the negotiations. He may telephone from time to time to ask if Ithink company X can do better than what they are offering. I’ll tell him whatI think based on other deals I have done with that company. I keep the namesof the clients confidential, but I can say whether I know they can do betteron a particular point or not. Once this type of client is happy with thecommercial terms I’m then brought in to do the negotiation of the contractitself.You should establish with your lawyer what kind of relationship youwant to have. This may well change from deal to deal as you grow inexperience.I like to take an interest in my clients’ work. I’m delighted to be sent acopy of the new album or single. It helps to cement the relationship betweenus. I also like to go and see my clients play live. I have to admit, though, thatwhen I’m in the middle of a very long week at work and a client rings up andsays, ‘Hi, I’m on stage tonight at the Laughing Cow at 10.30 p.m.’ (whichmeans 11 p.m. at the earliest) then my wish to support the client is tested tothe full.What you don’t want to happen is for your advisers to embarrass you.And yes, it does happen. I can still remember a gig a few years ago whenfour members of a top entertainment accountancy firm were standingproudly in the front row wearing the band’s T-shirt over their work suits.New breed of lawyersThere is a new breed of lawyers in the UK, of which I am now one. These arelawyers, usually qualified solicitors or barristers who, for one businessreason or another, have decided not to practise as solicitors and be regulatedby the Law Society. Instead, they practise as legal or business affairsconsultants. In practice you will probably not notice any difference. Intheory, because they are not bound by the Law Society’s rules they can bemore flexible in how they get paid for their work, for example, working on apercentage of your advances or royalties. Most however, including myself,stick to the rules we have operated for much of our working lives assolicitors even whilst not calling ourselves that. It does mean that we aremore restricted in that we cannot do contentious work involving representingyou in court. However, most legal consultants have arrangements in place torefer such work to lawyers who do contentious work and as it is a specialistfield even if you were using a solicitor they would probably also refer you toa colleague if it became litigious. Of course, because we are not regulated bythe Law Society you couldn’t complain to the Society about us. But we arestill open to being sued by you if we screw up and most of us carryprofessional indemnity insurance like solicitors as we are all human.When should you get a lawyer?There are a number of different views on this. Some say that there’s no needto get a lawyer until you’ve a contract in front of you. I think you should geta lawyer earlier than this. I think that the whole process of getting a deal isso much of a lottery that anything you can do to reduce the odds must beworth doing. Most of us are happy to give initial advice and guidance forfree, or only charge you when your first deal is in place. Just be careful andcheck this before going ahead.Your lawyer can also help you to find a good accountant.ACCOUNTANTSThis leads me neatly on to discuss how you find a good accountant and whatthey can do for you. How do you find one?The InstitutesThe Institutes of Chartered Accountants in England & Wales, Scotland orNorthern Ireland and the Association of Chartered and Certified Accountantscan recommend firms to you (see Useful Addresses). It’s important that theaccountant is qualified, preferably a Chartered or Certified accountant.Anyone can set up in business giving financial advice, so you should checkthat they’re properly regulated. You shouldn’t allow them to keep yourmoney in an account to which they can have access without your knowledge.If they are to have signing rights on cheques make sure there are sufficientcontrols in place.DirectoriesThere isn’t any general guide similar to the legal directories. Theaccountancy profession is broken down into the big international firms likeErnst & Young and Deloitte, medium-sized national firms with internationalnetworks like BDO Stoy Hayward, and smaller local firms.The Music Week Directory has a section on accountants. The directory isnot a recommendation that they’re any good, but it is a good starting point.AMIAYou could always try the Association of Music Industry Accountants (seeUseful Addresses). They will be happy to recommend accountants fromwithin their own membership and, as their name suggests, they are allassociated with the music business.Music Managers ForumThe MMF can give you recommendations for accountants as well as forlawyers. They have firms of accountants who are corporate members (seeUseful Addresses) as well as individual accountants who provide business orquasi-management services.LawyersYour lawyer should have had dealings with a number of accountants andshould be able to recommend two or three to you that they know haveexperience in the music business.Other sources of informationYour A&R or other record or publishing company contacts or friends in themusic business may be able to suggest some names. It’s always good to get arecommendation from someone who rates a particular accountant highly.How to choose an accountantAs I suggested when choosing your lawyer, you should see more than oneaccountant. You should ask them the type of work they can do for you. Someare strong on tour accounting or in auditing (inspecting) the books andrecords of companies. They may also do general bookkeeping and taxadvice, but they may not, so ask.If you expect to do a lot of touring, it’s worth having an accountantwho’s experienced in putting together tour accounts and is familiar with tourbudgets and all the necessary arrangements to deal with VAT on overseastours and taxes on overseas income (see Chapter 10).It’s less important that your accountant’s offices are in the same city asthe record and publishing companies. They don’t have to be in London. Themain thing is that they are familiar with the music business and how itworks. They must know the sources of income and how and when it’s paid.They need to know how to read and understand a royalty statement. Thesethings are often, literally, written in code. You need to know what country Ais and what the code for CD sales is. Your local family accountant can, ofcourse, do the basic accounting work as well as the next man, but thisprobably isn’t enough once you start getting deals. Just as you need a lawyerwith specialised music business knowledge, so you need the same expertisefrom your accountant if he’s to be able to look after your interests properly.The basic accountancy and tax rules do, of course, apply to artists andsongwriters, but there are a number of specialised rules and regulationsaimed at them. Your accountant must be up to date on these rules.Some accountants don’t claim to be experts in tax planning or adviceand, if that is an area that you need to have covered, you would be bestadvised to go to an accountant that can provide that and then get a specialistaccountant in to do the tour accounting or auditing.As your accountant will have intimate knowledge of your finances andmay have some control over your bank account, it is vitally important thatyou trust them, that they have a good reputation and that there are suitablechecks and balances in place to protect you and your money.Business ManagersThere is another breed of accountant that could provide the sort of servicesyou are looking for, and that is a business manager. This is a term that hascome across from the US, where they are quite common. In the US theygenerally act as the business and financial adviser alongside a personalmanager who looks after the day-to-day and creative aspects of the artist’scareer (see Chapter 2). In the UK the term means something slightlydifferent. They provide day-to-day business advice and bookkeepingservices. They’ll do your VAT and tax returns for you. They can providebusiness plans and advice and some also do tour accounts. Most don’tprovide international tax planning or audits. Their argument is that thismakes them more cost effective as you are not paying for a full tax planningand audit service when you don’t need it. This means they can charge lessthan the bigger firms of accountants do. When specialist tax or internationaladvice is required, they have relationships with more than one of the biggeraccountancy firms and other financial advisers and can refer you to the rightcompany for you, to get the advice you need when you need it.How do they charge?Accountants usually charge fees rather than commission. They may quoteyou a rate per annum for advising you. Some of the bigger accountancyfirms run special schemes where the first year’s work for you is done at aspecial, discounted rate. You don’t have to stay with them after the firstyear. If you are tempted by these schemes you should ask what exactly iscovered by the discount rate. It’s likely that you won’t get the same serviceas the full-price one. You should also ask what the non-discounted ratewould be after the first year so that you can decide whether you think you’dbe able to stay with them afterwards or will have to start the search for a newaccountant, which could be disruptive.You should ask them what their experience is and who will be doing thework. Often you find that the person who sees you and does the hard sell isthe partner or even the marketing person. Someone quite different andpossibly much less experienced may be doing the work. This sort of thing ismore likely to happen in the bigger firms, particularly those that are offeringa discount rate. You can be reasonably sure that it will not be a partner thatwill be doing the cut-price work.What does an accountant do?Accountants can do a number of things for you. They do the accounts booksfor you, advise and help you to complete your tax return. They register youfor VAT, if necessary, and can do your quarterly VAT returns. Depending onyour accountant, they may also do your tour accounts and help prepare a tourbudget. Your accountant will advise you on whether you should be a soletrader, in partnership or a limited company or limited liability partnership(see Chapter 11). He can prepare partnership or company accounts. Someaccountants can also act as the auditor of your company books; many canalso act as the company secretary and can arrange for the company’sregistered office to be at their offices.Your accountant can act as your financial adviser, telling you where thebest place to invest your money is. Because this area is very closelyregulated, not all accountants are authorised to provide financial servicesadvice. You should ask if your accountant is. If he isn’t you will need aseparate financial adviser.Your accountant can be your tax adviser and help plan with you thingssuch as whether you could consider putting your income in an offshore taxhaven or, indeed, if you could, or should, become a tax exile or non-domiciled. There are signs that the Government is tightening up on the taxbenefits of being non-domiciled so this may not be an attractive option formuch longer. Another reason why it’s important your accountant is up tospeed in this area.Can your accountant help you get a record deal?Yes, he can. You can use accountants in the same way as lawyers. Use theircontacts and pick their brains for information on companies and A&Rpeople. Some accountants also send out selected demo tapes on behalf ofartists and songwriters.If your accountant does find you a deal then he shouldn’t charge you acommission for doing so. He should just charge for any accountancy advicethat he gives you on that deal. If your accountant offers to get you a deal, askhim on what basis he is doing it before you give him the go-ahead.The accountant should be able to work as part of the team with you, yourmanager and your lawyer. It’s important that you keep your accountant inthe loop about the deal so that he can advise how it can be structured as tax-effectively as possible before you sign anything.All accountants should give you a letter of engagement, setting out thebasis on which they will work for you and how they will charge. They shouldgive you the name of someone in their firm that you can complain to ifyou’ve a problem with your accountant. If the complaint is about fees youcan ask for a breakdown of the bill. The professional body that youraccountant belongs to is the first port of call for complaints about youraccountant. If they don’t deal with the complaint to your satisfaction you cantake it to court. This is looking at the negative side and most relationshipsproceed smoothly.An accountant can have conflicts of interest just as your lawyer can. Ifyour accountants act for one of the major record or publishing companies,and you then want to do a deal with that company, the conflict may or maynot arise at that stage. However, if later on you aren’t sure whether thecompany is accounting to you properly and you want to send someone in tolook at (audit) the books, then your accountant will have a conflict ofinterest and you will probably have to take that work elsewhere. There are,in fact, specialist firms of accountants who only do audits. Sometimes it’sbest to use their specialised knowledge even if there isn’t a conflict ofinterest with your own accountant.So now you’ve got your lawyer and your accountant lined up. You havetwo members of your team, getting a manager could be the critical thirdstage. I’ll deal with this in the next chapter.CONCLUSIONSIf you hope to get noticed through doing live work, do your homeworkfirst. Investigate your venues and rehearse thoroughly. Tailor yourmaterial to your audience and tell your audience who you are.Consider short cuts like industry-organised showcases, open mikeevenings or music conventions as well as competitions.Make sure your demo is the best quality that you can afford and that ithas a good cross-section of your work. Put your name and contactnumber on the CD as well as the packaging or make sure they have youremail on any MP3 submission.If you do a deal with a studio for studio time, make sure it’s for nomore than 1–1.5% and don’t agree they can be the producer of your firstalbum unless there are excellent reasons to do so.If you do a demo deal, keep the exclusive period as short as possibleand make sure that no one can do anything with the recordings withoutyour agreement.If you do a finders deal keep the percentages to 5–10% and for as shorta period as you reasonably can get away with.When picking a lawyer or accountant, arrange to see two or threedifferent firms and ask them for estimates of their charges for aparticular piece of work. Find out their expertise and, if possible, whotheir clients are.When you appoint a lawyer or accountant, get written confirmationfrom them of their charges.Your accountant and lawyer are vital members of your team – take yourtime to choose the right ones.1 For a more academic overview of branding, see ‘Copinger and Skone-James on Copyright’, 15th edition. Sweet & Maxwell, 2005.2 Keith Floyd Sutherland v. V2 Music and others Chancery Division (2002). Chapter 2Management Deals INTRODUCTIONIN THIS CHAPTER I’m going to look at how to find a good manager, what toexpect from a manager, and what you have to think about when entering intoa management contract. I’m going to look at it from the artist’s point ofview, but when we get to the part on contracts I’m also going to put themanager’s side of the argument. The section on what to expect from amanager should also be useful to managers. It’ll give them an idea of whatmight be expected from them.It gives me a real buzz to team up the right manager with the right artist;it’s like watching a well-oiled machine going into action. It’s also great towork with a good artist/manager team, as everyone’s pulling in the samedirection. A good example of this in action recently has been the relationshipbetween Danny D and Tim Blackhurst as managers of the writing/productionteam of Norwegian writers ‘Stargate’. They won ‘Song of the Year’ and‘Songwriter of the Year’ awards from ASCAP in 2007 and at the ceremonycredited their managers with having the faith to encourage them to take theirskills to America. That leap of faith and the skill with which they thenexploited the new market place was a direct cause of their subsequentsuccess. What was slightly unusual was that the writers acknowledged thisopenly. Much more common is an artist who once they are successful beginsto resent the monies being paid to the manager and forgets their origins andthe crucial role played by the manager at the beginning.HOW TO FIND A MANAGERDIRECTORIESOne of the main music business directories in the UK is the Music WeekDirectory. It lists managers and the acts they manage. The Music ManagersForum also issues a directory of its managers and who they manage, whichcan be an excellent starting point for finding a manager who looks afterartists who are similar to you or who share a particular musical genre.The drawback with all directories is that they don’t give you any clues asto whether the managers listed are any good. The information you get fromthem needs to be backed up from other sources.MUSIC MANAGERS FORUMOne such source is the Music Managers Forum (MMF).1 The MMF doesn’tact as a dating agency for setting managers up with artists. It does, however,publish a directory of its members and is helpful in putting you in contactwith individual managers.Membership of the MMF is not a recommendation that a manager is anygood but, if a manager is a member, it shows that he is interested in talkingto other managers and in keeping up to date with what is going on in theoutside world that can affect the music business and their or your livelihood.The MMF also runs training courses for wannabe managers, mostly inLondon and Manchester, but occasionally regional courses in conjunctionwith other organisations such as the Welsh Music Foundation and usually atquite reasonable rates.It can be lonely out there so, if you are a manager yourself looking forlike-minded individuals, the MMF has Associate Membership at a reducedrate for new managers of as yet unsigned artists and there is also a categoryfor self-managed artists.RECOMMENDATIONSYou may by now have quite a lot of information about various managers, butyou still may not know if they’re any good or even if they’re looking for newartists to manage. What you need are personal recommendations (references,if you like) from people who have worked with a particular manager or knowhim by reputation. Where do you get these? You can ask around among otherbands to see if they have any good or bad experiences of particularmanagers. Bad reports can be as useful to you as good ones. At the end of theday you’ll have to make up your own mind whether to trust a particularmanager, but if people who know him keep saying bad things about him, youcan’t say you weren’t warned.LAWYERS AND ACCOUNTANTSIf you’ve already found yourself a lawyer or accountant then they should beable to tell you what sort of reputation a particular manager has. They arealso good sources of information and can put you in contact with managersthat you may not have discovered on your own. They may know that aparticular manager is looking for more acts to manage or, conversely, is toobusy to devote the necessary time to a new artist.As with all major decisions you shouldn’t rush into anything. Inparticular, if a lawyer or accountant has recommended someone, you shouldtry and find out what the relationship is between him or her and thatmanager. If, for example, they get most of their work from that manager,how independent are they and is there any conflict of interest? They can’tadvise you independently if the rest of the time they are advising themanager. But just because a lawyer recommends a manager that theyregularly work with doesn’t mean that there is necessarily a conflict ofinterest. You just have to be clear who is looking after your interests.SURGERIESThe Performing Right Society Limited (PRS) and the songwriter’s body, TheAcademy, hold occasional ‘surgeries’. These are meetings where musicbusiness professionals such as lawyers, managers and A&R people discussparticular topics and answer your questions. They are sociable events, oftenheld in a pub or club, and are a good place to meet other songwriters andmusic business people. Details of their meetings are given in the PRSNewsletter or direct from the PRS. ASCAP (one of the equivalent societiesin the US) also holds informal evening sessions when writers get together.A&R CONTACTSRecord or publishing company scouts or A&R people can be an excellentsource of information on managers and whether a particular manager islooking for new artists to manage. They can put you in contact withmanagers. In fact, they may insist on you getting a manager before they areprepared to discuss a possible deal with you, because they’re happier dealingwith a middleman (and preferably someone with a track record).MANAGERSThere is always the possibility that a manager will approach you direct. Theymay have heard about you from an A&R man, a lawyer or accountant, orthey may have seen you play live. It’s not unheard of for a manager to comeup to you after a gig to say that he wants to manage you. A word of warning– just because a manager approaches you doesn’t mean they’re any good, nordoes it mean that you’ve to leap at the chance of being managed by anyoneregardless of who they are. You still have to do your homework and make assure as you can that this is the right manager for you.You should always ask for a trial period to make sure that therelationship is working. It takes time to build up the necessary trust betweenyou. The manager should agree to that, but he will be looking forcommitment from you before he spends any significant amounts of his owntime or money on you. He’ll certainly be looking for you to confirm that youwant him to manage you before he approaches record and publishingcompanies on your behalf. If he’s prepared to commit time and spend moneyon you then it’s reasonable to expect some commitment from you in return.Sometimes managers ask you to sign a short agreement to cover theirexpenses and any deals they may get for you during the short trial period. Aswith any legal agreement, if in doubt – get it checked out by a lawyer.Having discussed how to find managers we should now look at one ortwo of the principles behind the artist/manager relationship. Many of theseprinciples have been developed and applied to management contractsthrough a series of cases involving some of the leading players of the time.THE PRINCIPLESThe first thing you have to understand is that it’s a relationship based ontrust. If the trust is lost then there’s little hope for the relationship. Thecontract won’t hold you together if the trust isn’t there. All that amanagement contract will then do is tell you what your rights are and whathappens if you part company.This loss of trust has led to many disputes between managers and artistsover the years. Some end up in court, many more settle before they get thatfar – even at the doors of the court. Most people don’t want to air their dirtylinen in public. It’s not a pretty sight when you’re sitting in court and thereporters are all lined up on the benches behind you ready to take downevery sordid detail. One time I was in court and found myself sitting next toa journalist from one of the tabloid newspapers. He was obviously boredwith the lack of juicy scandal and kept popping in and out of court. In one ofthe gaps in the proceedings I asked him if he’d been going out for acigarette. ‘Nah, love,’ came the reply, ‘I’m checking with my bookie whowon the last two races at Sandown Park.’ He then asked me if I fancied a beton the outcome of the trial and could I tell him what he’d missed while hewas outside on the phone. British journalism at its finest.Anyway, the cases described below did get to court. The judgements inthese cases helped to establish what lies behind the relationship in legalterms, what duties the manager has towards an artist, and what is acceptablein a management contract.Gilbert O’Sullivan Case2Gilbert O’Sullivan signed a management contract with ManagementAgency and Music Limited (MAM) in 1970. He was young and unknownat the time and had no business experience (this theme comes up timeand time again in music disputes). MAM and the man behind it, GordonMills, already had an international reputation. Mills managed thesuperstars Tom Jones and Engelbert Humperdinck. Through MAM Millsalso had interests in a number of other music companies.O’Sullivan trusted his manager completely and, at Mills’ suggestion,he also signed recording and publishing contracts with those relatedmusic companies.O’Sullivan didn’t have any independent legal advice on thesecontracts. He wasn’t told that it would be a good idea for him to get suchadvice. It seems that he trusted Gordon Mills to such an extent that itdidn’t cross his mind to get a second opinion. If his manager told him todo something, then he did it.The agreements tied O’Sullivan to Mills and to his companiescompletely, and the terms were far worse than if O’Sullivan had donethe deals with independent companies and if he had taken independentadvice.O’Sullivan’s debut single on MAM was the very successful ‘NothingRhymed’. Early UK successes were followed by a Top 10 hit in the USwith ‘Alone Again (Naturally)’. In 1972 he had two No. 1 singles in theUK with ‘Clair’ and ‘Get Down’. His second album reached No. 1 in theUK and he had a number of further hits.By 1976 O’Sullivan’s relationship with Mills had broken down; he’dlost his trust in him. This might have been because, for all these hits, hedidn’t seem to be making much money. He sued Mills, arguing that thevarious contracts should be treated as if they’d never happened (that theywere void), because Mills had used his position of trust with O’Sullivanto wrongly influence him to sign them. He also argued that the terms ofthe contracts were so unreasonable that they unfairly restricted hisability to earn a living. These concepts of undue influence andunreasonable restraint of trade come up often in music contract disputes.The court decided that Mills did owe a duty to O’Sullivan. This iscalled a fiduciary duty – a duty to act in good faith. Mills had a duty toput O’Sullivan’s interests first. The court also decided that the contractswere void and could not be enforced. If O’Sullivan chose to ignore them,Mills couldn’t do anything about it. The court tried to put O’Sullivanback in the position he would have been in had the contracts not beensigned. It ordered all copyrights that had been transferred (assigned) byO’Sullivan to be returned to him as well as all master recordings of hisperformances.This was a dramatic decision and it caused uproar in the musicbusiness. Record and publishing companies were afraid that, if thisdecision were allowed to stand, there would be a rush of other artistsmaking the same claims and trying to get their rights back. They knewthat many of the contracts around at the time were no better than thosethat O’Sullivan had signed. They were really worried that all the dealsthey had done for the records or songs would be void and unenforceable.It’s no exaggeration to say that the whole basis of the music business,and the financial security of many companies, was at risk.The AppealUnsurprisingly, Mills and his associated companies wanted to have thisdangerous precedent overturned. They appealed against the decision thatthe companies owed any duty to O’Sullivan. They argued that the recordand publishing companies had not used any influence over O’Sullivan.They also argued that the contracts should be declared void able and notvoid from the outset. If the Court of Appeal agreed with them, thecontracts would be valid but could be set aside later if they were foundto have been signed through undue influence or to be in unreasonablerestraint of trade. Because the companies had already acted as if thecontracts were valid, they argued it would be impossible to returneveryone to the position they would have been in had the contracts notexisted. They said that the copyrights and master recordings shouldn’t bereturned to O’Sullivan, but that he should be compensated by payment ofdamages.In a very important decision for the music business, the Court ofAppeal decided that the associated companies did owe a fiduciary dutyto O’Sullivan, because Mills was effectively in control of thosecompanies and was acting in the course of his employment by thesecompanies when he used his undue influence over O’Sullivan. The courtalso confirmed that it was possible to set these contracts aside, even ifthe parties couldn’t be put in exactly the same position they would havebeen in had the contracts not been signed. The court thought that thiscould be done if it was possible to reach a ‘practically just’ result forO’Sullivan.So far so good for O’Sullivan, you might think. His lawyers musthave thought they were home and dry, but there was a sting in the tail.The Court of Appeal decided that a ‘practically just’ solution would befor the copyright in the songs and master recordings already in existenceto remain with the publishing and record companies, subject to suitablecompensation for O’Sullivan. They also said that the contracts were voidable rather than void, that they were an unreasonable restraint of histrade and that O’Sullivan was freed from them but only for the future.What he’d written and recorded before stayed with the record andpublishing companies.The music business breathed a collective sigh of relief. The refusalof the Court of Appeal to order the return of the copyrights has made itvery difficult, if not impossible, to successfully argue for a return ofcopyrights in cases of undue influence or unreasonable restraint of trade.Joan Armatrading3At about the same time, another important case was reaching the courts.It involved Joan Armatrading.Joan Armatrading is a singer-songwriter who is still recording andperforming today. The case was about an agreement that Armatradingsigned when she was young and relatively inexperienced and before shebecame famous. There’s that theme again.Stone was a partner in the Copeland Sherry Agency, which hadsigned a management agreement with Armatrading in March 1973. Thiswas shortly after she released her debut album Whatever’s For Us,which was produced by Gus Dudgeon, who also worked with Elton John.Copeland is Miles Copeland, who managed The Police and Sting forsome time. Stone advised Armatrading on business matters. She tookcharge of most creative issues herself. It seems she was confidentenough to select the studios and producers she wanted to work withwithout needing advice from her managers, but didn’t have a clue whenit came to the business end of things.In 1975 Armatrading released her second album Back To The Night.It didn’t reach the charts. She then began work on an album that turnedout to be the first to bring her properly to the public’s attention.In February 1976, as the term of the original management contractwas about to run out, she signed a new contract under which Stone wasto manage her on his own. He may have been worried she would go offto another manager when the original contract ran out and just as hercareer was starting to take off. Although he denied that in his evidence,the album that she released in 1976, Joan Armatrading, went into theTop 20 in the UK and one of the singles released off it became her mostfamous and successful song. It was called ‘Love And Affection’ and itreached the Top 10.Things continued to go well for her at first and in 1980 she releasedher most successful album to date, Me Myself I, which also contained thehit single ‘All The Way From America’. Shortly after that she seems tohave become disillusioned with Stone and commenced proceedings forthe management contract to be declared void on the grounds that Stonehad used undue influence to get her to sign the contract and that theterms were unreasonable and a restraint of her trade.It became clear from the evidence given in the case that the lawyerwho drew up the contract had been introduced to Armatrading by Stoneand had done some work for her. Coincidentally, I worked with thatsame firm of lawyers for a couple of years. The contract was done beforemy time there, but the court case was going on when I was there and Iknow it caused a lot of strain on everyone concerned. When preparingthe management contract, it seems the lawyer acted on the instructionsof Stone and not Armatrading. In particular, Stone asked for two specificthings to be added to the draft contract. The lawyer billed Stone for thework and it’s clear from the description on the bill that he thought hewas acting as Stone’s lawyer.At a meeting on 4 February 1976 at the lawyers’ offices,Armatrading received a copy of the draft contract to take away with her.She returned the next day to sign it. She didn’t ask for any changes to bemade to it.Stone claimed that the lawyer acted as lawyer for both of them.When he gave evidence the lawyer said that he thought he was justacting as lawyer to Stone. A very confusing state of affairs. Stone andArmatrading were both present at the meeting with the lawyer on 4February when the contract was discussed. That must have been veryawkward. If a manager turns up at a meeting I’m due to have with anartist to discuss a management contract, I insist on him staying outsidewhile I take the meeting. I can’t be open with the artist about what Ithink about the contract or the manager if the manager is in the sameroom. The same would apply the other way around.The contract was strongly biased in Stone’s favour. It was for fiveyears and during that time Armatrading was exclusively tied to Stone asher manager. The contract didn’t say that Stone had to do very much atall for her. He could manage other artists. He was to be paid amanagement commission of 20% (which, as we will see, is quitecommon) but 25% on any new recording or publishing deals she signed(which is not). He got 20% commission on touring whether or not thetour made a profit. The court thought this was particularly harsh, as wasthe fact that Stone’s right to commission was open-ended. For example,if Armatrading signed a new record deal in year three of the five-yearmanagement term, Stone would be entitled to 25% commission. H emight stop being her manager two years later, but he’d still go onearning at 25%. If Armatrading got herself a new manager and henegotiated some improvements to the recording contract in return for,say, a two-year extension on the record deal, then Stone and not the newmanager would get commission at 25% on the extended term. Not muchof an incentive for the new manager (or expensive for Armatrading ifshe had to pay out two lots of commission to the original and the newmanager).When he gave evidence, Stone agreed that he knew that he had a dutyto act in Armatrading’s best interests and that she had trust andconfidence in him. This fiduciary duty already existed when the 1976management contract was being discussed. Stone knew that his interestsunder this contract were not the same as Armatrading’s and yet he stillseemed to think that the same lawyer could act for both of them.Stone admitted that it was very likely that Armatrading didn’t realiseshe should have separate legal advice. Even though he accepted hisfiduciary duties existed, he didn’t seem to accept the idea of a conflict ofinterest and couldn’t seem to see that if something in the managementcontract was in his interests it would not necessarily be in Armatrading’sbest interests. This doesn’t mean that a manager can’t look out for hisown interests just that it’s up to him to make sure that the artist hasseparate advice and is able to come to an informed decision.The court found Stone’s evidence very contradictory. It decided thatArmatrading relied heavily on Stone in business matters. She trustedhim and he’d told her that he would look after her. The court thought itwas clear that he had influence over her. She didn’t look at the detail ofthe contract. She relied on Stone, who told her that it was a standard andfair contract, even though he had asked for two specific changes to bemade to the draft.The court decided that the contract should be set aside by reason ofundue influence by Stone. The terms of the contract were said to beunreasonable (‘unduly onerous and unconscionable’ in the words of thejudgement). The contract was void able and not void from the outset. Onthis point they came to the same conclusion as in the O’Sullivan case.The fact that Armatrading didn’t have separate legal advice was seenas very important. On its own this wouldn’t have been enough to setaside the contract. For example, if the contract had been a perfectlyreasonable one, so that any lawyer who advised on it would say it was allright to sign it, then the absence of that advice wouldn’t have been fatal.The absence of separate legal advice coupled with the particularly harshterms of the contract was enough to convince the court to set it aside.The court found that, although she had some experience of the musicbusiness, because she concentrated on the creative side it was importantthat she be given a proper understanding of the business side of thecontract. She hadn’t understood the implications of the open-endedcommission clause and hadn’t been able to form an independent viewafter full, free and informed thought. She had signed the contract relyingon her manager’s claim that it was fine. He had failed in his fiduciaryduty to her. She was freed from the contract and went on to recordseveral more successful albums.Although this case wasn’t reported in the Law Reports, it had a verysignificant and practical effect on management contracts. We lawyersstill use it as a yardstick to measure the reasonableness of managementcontract terms. It’s also quoted as an authority for saying that artist andmanager should have separate lawyers when discussing the managementcontract and whenever their interests are not the same.After this case it became usual to add a clause to managementcontracts saying that the artist has been advised to take independentlegal advice. I don’t think this goes far enough. Just advising someonethey should get advice and then not making sure that they do is not goodenough. I think that the manager should insist on the artist havingseparate legal advice from a lawyer who understands the music business,and should make sure he understands what he’s being asked to sign.The Armatrading case also cast doubt on whether a five-year contractterm was reasonable. After the case, some managers decided to go for ashorter term or otherwise tried to make their contracts more reasonable.No manager wants to risk having an artist walk away from amanagement contract at the height of his or her success. However, as weshall see below, the trend these days is back to longer minimummanagement terms.The judge was also quite critical of the 25% commission rate on newrecord and publishing deals (25% rates are now rare, but do stilloccasionally occur). He was even more concerned about the fact thatStone took commission on touring money even if the tour made a loss.Music business lawyers reacted to these criticisms by introducing newprotections for artists in this area.Elton John4Another case on management contracts that was reported in the tabloidsas well as the Law Reports involved Elton John.Elton John signed a series of publishing, management and recordingcontracts starting in 1967, when he was still under age and unknown.Although these themes come up quite often in these cases, each caseplayed its own part in developing how the business operates and howcontracts have to be adapted to deal with criticisms made by the judges.Elton John and his lyricist, Bernie Taupin were originally taken on asin-house writers for James’s new publishing company, DJM. It’s saidthey were on wages of £10 per week. It took quite a while for them to becommercially successful. The first successful album was produced byGus Dudgeon and was called Elton John. The 1972 album contained thenow-classic work ‘Your Song’. Seven consecutive No. 1 albumsfollowed in the next seven years.Although Elton was making a lot of very successful records, hedidn’t seem to be seeing much of the proceeds. For example, thepublishing set-up consisted of a number of interrelated companies, eachtaking its own slice of the income, so that a very small amount was leftfor Elton. What he did get he had to pay management commission on.He sued to try and recover his copyrights and damages for backroyalties. He relied on the tried and true arguments that he had signedthe contracts under undue influence and that they were an unreasonablerestraint of his trade.He hadn’t taken separate legal advice before signing any of thecontracts. He’d placed trust and confidence in James. The contractsweren’t as beneficial for him as they could have been had they been withindependent companies. The publishers could take rights in his songsand not have to do anything with them. They could be shut away in adrawer and never seen again and Elton couldn’t do anything about it. Hewas also signed up exclusively, so he couldn’t take his songs to anothermusic publisher.The court decided that in these circumstances it was to be assumedthat there was undue influence at work and that it was up to the managerto show that he didn’t use his influence in the wrong way. The courtfound that James had failed in his fiduciary duties to Elton. It felt thatJames couldn’t be acting in the best interest of Elton if James’spublishing and recording companies were also entering into contractswith him. How could James be advising Elton as his manager while healso had an interest in making as much money as possible for his recordand publishing companies out of those contracts?Once again, the decision in this case had a knock-on effect on themusic business. It was fully reported in the Law Reports, so hadauthority and it confirmed the existence of the fiduciary duty owed notonly by the manager, but also any companies under his control. It alsobrought home the importance of separate legal advice.The other important thing it changed was what happens where yourmanager also has a record or publishing contract that he wants you tosign up to. If your manager also has an interest in a record or publishingcompany, the management contract will now usually ask the artists toconfirm that he won’t consider it a failure of the manager’s fiduciaryduty to him if he signs up to the record or publishing company on themanager’s advice. I don’t think this would be enough to get the manageroff the hook if he did, in fact, break his duty to the artist especially if theartist hadn’t had separate legal advice. There’s also usually a clause thatsays the manager can’t take a double hit on the income from the recordor publishing deals. For example, if the artist releases a record on themanager’s record label, the manager should get his money from therecord label’s profits on the record sales. He shouldn’t also take amanagement commission on the artist’s record royalties. As we shall seebelow this blurring of the edges between the roles of managers isbecoming a key issue and a potential future problem area.WHAT TO LOOK FOR IN A MANAGERThis all depends on what you expect your manager to do for you. You mayonly need a manager to advise you on business matters. You may want thatbut are also looking for creative advice, comment and guidance. Some artistsalready have a clear idea of what they are doing creatively and have a goodbusiness sense and grasp of contracts. They don’t want an all-round managerand may only be looking for a good organiser. We saw in the Armatradingcase (above) that Stone only looked after Armatrading’s business interests.She looked after the creative side herself. This tends to only apply to moreestablished artists. Those who are new to the business tend to look for all thehelp they can get from a manager.You may be looking for a svengali, someone who will come up with thecast-iron plan for world domination in three years. Such managers do exist,for example, people like Tom Watkins, who has successfully managed actslike The Pet Shop Boys and Bros to considerable success and Nigel Martin-Smith who masterminded the early days of Take That and Jonathan Shalit anearly manager of Charlotte Church and now behind several successful R’n’Bacts. Then there are managers like Simon Fuller, whose marketingbackground meant that he could see the worldwide possibilities of an act likeThe Spice Girls and S Club 7 and more recently the first album by AmyWinehouse and the career of Will Young.When you expect a manager to devise an all-encompassing game planand then to implement it, you can’t expect to get away with no effort on yourpart. You and your manager will have to put enormous amounts of time andenergy into making the plan work and both of you must completely buy intothe whole idea behind it. There is, of course, also the type of artist who’sbeen formed for a particular purpose, such as TV-based acts like S Club, orthose who have won reality TV competitions such as The X Factor. Providedthe artist fits in with this game plan then all is well. It’s only when the artist,or one or more members of the group, starts to rebel or baulk at the situationthat problems occur. Bands that have come together for the purpose of a TVshow struggle when it comes to the cut and thrust of the music industry andit is rare for them to have a career beyond the album that comes out quicklywhen they win the competition. Interestingly, most of the successful artistsfrom these shows have been solo stars like Lemar, Kelly Clarkson and morerecently, Leona Lewis.IS IT ESSENTIAL TO HAVE AN EXPERIENCED MANAGER?Someone who hasn’t managed anyone before can make a good manager ifthey have the flair for it. They may have been a musician themselves, a tourmanager, a producer or may have worked in-house at a record or publishingcompany. Those with a marketing background can be very useful indeveloping a strategy to get you noticed. These people will have seen howthe music business works and can bring valuable experience to the job ofmanager. However, their skills are not necessarily those that make a goodmanager, so be careful. On the other hand, a manager may be experiencedand still not right for you because his experience is in a different arena (forinstance, as a tour manager) rather than skilled in managing an artist’scareer. So take your time before making up your mind.QUALITIES TO LOOK FOR IN A MANAGERThe manager has to be a diplomat, motivator, salesman and strategic planner– and has to have the patience of a saint.Record and publishing companies like to have managers around to act asmiddlemen so they don’t have to have unpleasant conversations with you.They’d like you to choose someone who’s already successfully steered anartist through getting a deal, getting a record made and who’s already donethe whole touring and promotion side of things. This doesn’t mean to saythat they won’t work with an inexperienced manager, just that they wouldprefer one who was not. They would also like you to be managed bysomeone they already know, someone they know they can work with. Thisdoesn’t necessarily mean that that manager will be in their pocket. It couldmean that they have a healthy respect for him for being tough but fair,someone that gets the job done, but if you are being pushed by your recordcompany towards a particular manager, take the time to stop and ask whyand to do some research of your own before meekly accepting their choice.There is a growing trend amongst major labels to seek to reduce their risksby only working with artists who have a manager on board that they like orwith whom they have an existing relationship. This can work well but youneed to be sure the manager has the necessary degree of independence.WHAT DOES A MANAGER DO FOR YOU?PERSONAL MANAGERSA personal manager looks after your day-to-day needs. This usually includessome advice on the creative side of things. The personal manager also actsas go-between with the record and publishing companies and the outsideworld. This might involve working with you on creative issues such as thechoice of songs. A personal manager is also usually someone who organisesyour life and tries to make everything run smoothly. They put into actionplans others have come up with. They don’t necessarily get involved in day-to-day business decisions or strategic plans.BUSINESS MANAGERSA business manager doesn’t usually involve himself in the day-to-daybusiness of running your life. It’s the job of the business manager to workout where you should be in terms of business planning and to help you putthe plan into action. He will liaise with the record and publishing company,but usually more at the level of negotiating deals, changes to the contracts,setting video and recording budgets and getting tour support when it’sneeded.It’s much more common in the US to have a separate business andpersonal manager. There the business manager is often an accountant orfinancial adviser. The idea of these roles being filled by different peoplehasn’t yet become popular in the UK. What tends to happen here is that oneperson will do both jobs, sometimes with the assistance of a personalassistant (see below) or you have co-managers with complementary skills.If you do have separate business and personal managers, you need to besure that you’re not paying too much by having two people on board insteadof one.Don’t assume that because you have a business manager you can doaway with the need for an accountant. You will need one to oversee your taxand possibly VAT returns and someone to prepare company or partnershipaccounts. Bear this in mind when you agree what to pay your businessmanager. If you’re paying your business manager 20% of your income, yourpersonal manager another 10% and then paying an accountant, that’s not agreat bargain.The manager is there to advise you, to guide you through your career inthe music business. A successful career as a performer or composer can leadinto other areas such as films, television, writing or modelling. One of themany things you have to consider in choosing your manager is whether themanager can also look after these other areas of your life.The manager should spend a reasonable amount of time on your affairsand your career. He should help you to get a record and/or publishing deal,live appearances, sponsorship and merchandising deals.The manager should advise you whether or not you should take up aparticular offer. It may not fit in with the game plan that you and themanager have worked out. Putting together that game plan is a veryimportant job for your manager. You and he need to be on the samewavelength on it.PERSONAL ASSISTANTSAs you become more successful, so the manager may employ someone to actas your personal assistant (PA). If the PA is working full-time for you, themanager will expect you to pay their wages. If they work some of the timefor you and the rest on general work for the manager or for other acts that hemanages, then the cost is likely to be shared between you. If the PA worksmost of the time for the manager and only occasionally runs errands for you,then you would expect the manager to bear all the cost.FIDUCIARY DUTIES AND PROBLEMS WITH BANDSAs we saw in the section on the cases (above), the manager has to always actin your best interests. He has a fiduciary duty to you, which means that hehas to always act with the utmost good faith towards you.This duty can cause problems when dealing with a band. Something thatmay be good for the band as a whole may not be good for one of the bandmembers. There’s a very narrow line that the manager has to tread.Sometimes you may feel that the manager has stepped the wrong side of thatline.This issue was one of several behind a dispute between Nigel Martin-Smith and Robbie Williams.5The Robbie Williams management caseI have to declare an interest here, as this was a case I inherited when Ibecame Robbie’s lawyer a few years ago. Martin-Smith was the managerof Take That from the early days to the height of their success. TakeThat was made up of five members, including Robbie. He became fed upat the direction his life was taking and was thinking about leaving theband. His version of events is that he was prepared to see hiscommitments to a major tour through to the end before leaving the band.He says that, on advice from Martin-Smith, the band sacked him. Theother members and Martin-Smith say he walked out.When Martin-Smith later sued Robbie for unpaid commission(Robbie had refused to pay him), one of the arguments that Robbie usedwas that Martin-Smith had failed in his fiduciary duty to Robbie and wasnot acting in his best interests in advising the band to sack him.Martin-Smith acknowledged that it was very difficult in suchcircumstances to advise a band when he also had a duty to each of themas individuals. He admitted that he had had discussions with the otherband members about Robbie and how disillusioned he was, but he saidhe also tried to advise Robbie on what was best for him. He said that hehad acted in the best interests of the band as a whole, while trying tobalance this against the interests of the individual members. He deniedthat he’d advised the band to sack Robbie.The judge accepted his evidence that he had acted in good faith andwas not in breach of his fiduciary duty to Robbie. The judgeacknowledged the difficulties that a manager faces in suchcircumstances, but decided that in this case Martin-Smith had stayed theright side of the line.If you’re in any doubts as to the good faith of your manager, you should seekindependent advice, if only to be aware of your legal position.NEW BUSINESS MODELSThere is a growing trend for managers to also take a financial interest andpossibly ownership of rights in some other capacity. For example, a managermay say that he also wishes to act as your record label or your publisher.These are big issues and are driven by the fact that as manager he doesn’thave any ownership of rights and can only take a financial cut on cataloguesales of records or songs for so long as his management contract allows.Some managers now feel that is not enough. They say it is taking longer toget an artist a deal and each album is taking longer to make and thepromotion associated with it is even longer. On a basic three or even fiveyear management term the manager may, at best, only get paid on songs andrecordings on a couple of albums. Some managers want more. They are alsoaware of the personal nature of management contracts and that their artistmay leave so they seek to gain some future security through ownership ofrecordings or of rights in your songs. Whilst the commercial reasoningbehind these actions is easy to see it doesn’t necessarily mean it’s a goodthing. The skills that a manager brings to bear may not be the same ones thatare needed to successfully release and sell records or promote uses of songs.If the manager has to bring in others to fill some of his skills gaps or to fillthese roles overseas then the artist./songwriter may lose out financiallyand/or have to wait longer to be paid.There is also the big problem of potential conflicts of interest. As amanager he has to put your interests ahead of his own. What would happen ifhe felt, as your publisher, that it would be best for you to put one of yoursongs in an advert for a particular brand of lager as it would earn a lot ofmoney but you feel that this would jeopardise your image as an artistpopular with the 12–15 year age group. Who would fight your corner?Finally, there is also the issue of the manager having more than one sourceof income i.e. he has his management commission on your earnings but alsohis profits as your record label or publisher. It is very important that themanagement contract doesn’t allow the manager to take commission on anysource of income that he has other interest in e.g. record sales or incomefrom songs.Seal v. Wardlow6A recent case on this point is that of Seal v. Wardlow. John Wardlowbegan working with Seal who was then an unknown artist in 1987. MrWardlow provided studio time, instruments and musicians free ofcharge. Over the next two years he helped Seal to record some demosand in time his role grew into that of a manager. He had very littleexperience of management but that in itself is no bar to being a goodmanager in this industry. The efforts of Mr Wardlow did not at this timeresult in any deal from a record label or publisher and in 1988 MrWardlow went into business as a music publisher himself as part ownerof the company Beethoven Street Music. That company entered into apublishing agreement with Seal to publish his songs. Seal had legaladvice before signing that deal. The following year Seal collaboratedwith Adamski and they had a number one hit single with ‘Killer’. In1990 Seal signed a record deal with ZTT Records and a couple of monthslater finally signed a written management agreement with Mr Wardlow.That deal allowed for Mr Wardlow to receive commission at 20% onSeal’s income including publishing monies. As we will see below as MrWardlow also benefited as publisher it is usually unacceptable for him toalso then take commission on the publishing money paid to the writer. Inthis case this so-called ‘double-dipping’ went on for some time. By 1995Seal felt he had outgrown Wardlow’s capabilities as a manager andended the management agreement. Seal continued with moreexperienced US management and a settlement agreement was enteredinto between him and Wardlow in 1995. He continued to pay MrWardlow in accordance with that settlement through to 2000 when hestopped. Mr Wardlow sued for what he said was properly due to him.Seal was trying to get out of his agreement to pay on the basis amongstother things that Mr Wardlow had used undue influence when in 1988 hehad gone behind Seal’s lawyers back direct to Seal to persuade him toenter into the publishing agreement and accept the double-dipping. Thejudge said that Wardlow had not convinced him that he had not usedundue influence in relation to that agreement. But the judge thought itwas academic as the settlement that they had entered into in 1995 put inplace new arrangements, was not a variation of the original agreementand superseded it. The settlement had not been entered into using undueinfluence; Seal has independent advice and the help of his moreexperienced new manager. It was a settlement by which Mr Wardlowgave up rights to income from future albums and the settlement wasmeant to draw a line under these issues.Seal did not accept the decision and appealed to the Court of Appeal.In February 2007 the Court of Appeal upheld the earlier decision of Mr JGray and went slightly further to say that it did not matter if thesettlement was a variation of the original agreement or a new set ofarrangements; it was intended to replace the earlier agreement and wasnot entered into through undue influence. The Court of Appeal judgesfelt that by 1995 Mr Wardlow could not have been in a position of trustand confidence with Seal to exercise undue influence; by that time hewas no longer the manager.Some commentators have suggested that this case now takes overfrom the Armstrong v. Stone case (above) as the definitive view onundue influence in management cases. In fact the two continue to existside by side as the judge in this later case found that there was a cleardistinction between the two cases on their facts and on what was in thetwo management contracts so a direct comparison could not be made.Some managers are better than others at walking the delicate tight-rope here.For example, the 19 Entertainment Group, (formerly owned by Simon Fullerand sold in March 2005 to a US investor on condition that Fuller remains onboard and which he is apparently now in the process of buying back), hasmanagement contracts with artists but often also acts as record label andmusic publisher and sometimes as a merchandising/sponsorship company.But the management contract is then only for the remaining activities e.g.live work and there is therefore no conflict of interest or double-dip of themoney. In theory the artist can bring in other managers to look afterrecording, songwriting, merchandising activities etc., in practice few artistsdo so.There are other managers who are not so fastidious in keeping the linesclearly drawn as the Seal case shows.It is a fact of the current business that such arrangements exist and youmay well be offered such a deal and may have no alternative than to accept itif you want to work with a particular manager. Many of these arrangementswork very well but before you go into them take legal advice and be awareof potential pitfalls.WHAT IS IN A MANAGEMENT CONTRACT?Once you’ve found yourself a manager you think you can trust and who willdo a good job for you, you need to think about putting a contract togetherbetween you.What you want out of this contract will be different depending onwhether you are an artist or a manager. In what follows I’m going to look atthings from the artist’s viewpoint, but in my time as a music lawyer I’veacted for both artists and managers and so I’ll try to present both sides of theargument.INDEPENDENT LEGAL ADVICEAs we’ve already seen, when negotiating a management contract the artistmust have separate legal advice. The manager may decide not to take legaladvice at all but this is rare. He may be experienced enough to feelcomfortable with the deal he’s prepared to do and doesn’t need advice. Ifhe’s experienced with management contracts this isn’t really a problem. Ifthe artist decides that he doesn’t want legal advice, then this is a problem forthe manager. The manager should insist on you getting separate advice fromsomeone who is familiar with the music business and with managementcontracts.What if you haven’t got the money to pay for a lawyer? The Musicians’Union (MU) has a limited free legal advice service for its members, but youcan’t expect it to be as detailed as if you were paying proper rates for it andit may take some time for you to get the advice (contact details are in UsefulAddresses). The Music Managers Forum has forms of management contractsthey recommend to their members, and which are drafted from themanager’s perspective and so may need adjusting if you are looking at itfrom the artist’s viewpoint.Some managers will lend you the money to take independent legaladvice, because it’s in the manager’s interests to make sure you’re properlyadvised. If the manager does lend you money to get a lawyer, he will usuallyput a limit on how much he’ll contribute. You’ll either have to get thelawyer to agree to do the work for that much or you’ll have to put some in aswell. The manager will get his contribution back out of your first earnings.Your lawyer may agree to accept payment by instalments if you ask and ifhe thinks he’ll get more work from you in the future.TERRITORYThe first thing you have to decide is what countries the contract will cover.We call this the territory of the deal.The manager will probably want to manage you for the world. This isn’tjust so that he can get as much commission as possible, although that is afactor. He may want to keep overall control of the game plan, which hewon’t be able to do very easily if he only manages you for part of the world.You may be fine about this because you’re confident that he can lookafter your interests around the world. But you must bear in mind that theway the music business operates, in the US in particular, is very differentfrom the UK. Does the manager have an office in the States? Does he havean associate there? Or will he be spending half his time on planes crossingthe Atlantic? If he is, who’s going to end up paying for that? Sometimes it’llbe the record company, sometimes it’ll be part of a tour budget, butsometimes it’ll be you.If you don’t think that the manager can successfully look after yourinterests worldwide, you could insist that he only manage you for part of theworld, for example, the world outside North America.Even if you aren’t sure he’s up to being a worldwide manager you couldinitially give him the benefit of the doubt. You could make it a worldwidedeal to start with and, if he’s not up to it, you could insist that he appoint aco-manager, probably for the US but possibly for other parts of the world,like Japan, to look after your interests there. This is a very personal thingand both you and your manager should agree the identity of this person.The co-manager is usually paid out of the commission you pay to themanager. Apart from the co-manager’s expenses, you shouldn’t end uppaying out more in total commission just because there’s a co-manager onboard.There are several ways that the manager and co-manager can split thecommission between them. They could just take the total worldwidecommission and split it down the middle. They could each just takecommission on the income earned by you in their particular areas of theworld. For example, the co-manager could take commission on the incomeyou earn in North America and your original manager on the rest of theworld income. The manager could decide not to share his commission but toput the co-manager on a retainer or pay him a fee. It’s a complex subject andthe manager should take legal advice on it.ACTIVITIES COVEREDThe next thing to think about is whether the contract will cover everythingyou do in the entertainment business or just your activities in the musicbusiness. You might start out as a songwriter or performer and later moveinto acting or writing books. The manager may be perfectly capable ofmanaging you for all those activities, or he may be an expert at the musicbusiness and know nothing about the business of writing books or acting. Ifyou’re not convinced he can look after your interests across the whole of theentertainment industry you should limit it to the music business only. Themanager may be unhappy about this. He may think that it will be hismanagement skills that will help turn you into a success in the musicbusiness which will in turn open doors to acting or writing books. He mayfeel that he should share in your income from those other activities. On theother hand, you may be concerned that he’s not up to representing yourinterests and may want a specialised acting or literary agent involved.Many managers will agree to compromise and say they have noobjection to you bringing in specialised acting or literary agents if you areacting in roles or writing books that have nothing to do with you being asuccessful musician or songwriter first. If the acting role or book is directlyconnected to the fact that you are an artist, they will want to share thatincome and manage those projects. For example, if you are asked to write abehind-the-scenes look at your time out on the road with the band, themanager will expect to take commission on your income from that book. If,however, you are asked to write a book on climbing in the Himalayas thatclearly has nothing to do with your fame as a successful musician orsongwriter, the manager may agree not to take commission on that income.By the time you get a manager you may already have establishedyourself in another part of the entertainment business. For example, you mayalready be a successful TV actor or model. The manager may agree not tomanage those areas of activity. He may also agree not to manage or takecommission on work that comes from a particular contact or source of work,such as a recording studio, that was in place before he came along. If,however, you ask him to manage projects that come from that source,perhaps by chasing them for payment for you, then it’s only reasonable thatthe manager should be allowed to take commission on that work.EXCLUSIVITYOnce you’ve decided what activities he’s going to manage and in what partsof the world, the manager will expect to be your only manager for thoseactivities and those areas. He will want to be your exclusive manager. Youwill not be able to manage yourself or to ask someone else to manage aparticular project unless he agrees. This is not only reasonable it’s practical.You can’t go around accepting work without referring it to your manager asit might clash with something he is putting together for you.KEY-MAN PROVISIONSWhat happens if your manager manages other acts or is part of amanagement company that manages a number of people? How can you makesure he’ll be there for you when you need advice? How do you make sureyou aren’t fobbed off on to someone else because your manager is busy withthe others he manages? Well, first of all you make sure that yourmanagement contract says that he has to spend a reasonable amount of timeon a regular basis on managing you.You could possibly go further and insist on what we call a ‘key-man’clause being put into the contract. I believe this term comes from insurancepolicies that are taken out on the life of key individuals in an organisation,which pay out if the key-man dies or is unable to work. You name themanager as a key-man and say that if he’s not available to you as and whenyou need him, you can bring the contract to an end.Your manager may be very flattered at being named as a key-man, but heor his bosses may feel that it’s a bit harsh to allow you to end the contract soabruptly. He may want to say that you can only terminate the contract if hehas regularly not been available to you or has been unavailable to you forover, say, six weeks at a time. You have to be sensible about this. If you’reburied in a residential studio in the depths of the country, writing orrehearsing material for your next album, it may not be reasonable to expectyour manager to be there all the time. If you’re in the middle of a majorrenegotiation of your record contract, however, you can reasonably expecthim to be around.These key-man clauses are also sometimes put into record or publishingcontracts, but the companies hate them because they give the artist and thekey-man a huge amount of power. If they sack the key-man you can end thecontract. Unconfirmed rumour has it that the band Oasis had a key-manclause in their record contract with Creation Records. When Sony firstlooked to buy the remaining shares in Creation that they didn’t already own,they are said to have had to rethink things because Oasis could have walkedout of their contracts at the height of their success if the key-man at CreationRecords, Alan McGee, was no longer in control at the label. So it seems theyhad to do a deal with either Oasis at Creation or Alan McGee or with both. Itis becoming increasingly difficult to get such provisions as the industrybecomes more uncertain as to its future profitability and instances like thisdon’t help.HOW LONG SHOULD THE CONTRACT RUN?The contract could be open-ended and carry on until one side or the otherdecides it’s over. This is a very confident position for the manager to take asin theory the artist could dump him just as things are starting to come goodand few are this brave.It could be for a fixed period of, say, one or two years and then, ifeverything is going well, could continue until one party wanted to end therelationship.More usually it’s for a fixed period of three to five years and at the endof that time the contract is renegotiated or it just ends.Until the early 1980s, terms of five years or longer were common, butthe Armatrading case cast some doubt on that. This is not the case in the US,where terms of five years or longer are still common and given that artistsseem to take longer to record and promote each album terms of five yearsare becoming very common In the UK too.I can usually be persuaded to agree to a three-year term with the managerhaving an option to extend it for one or two years. The right to exercise thatoption should be linked to the manager achieving something for the artist –what I call hurdles.HURDLESA hurdle could be that the artist has to have a record or publishing deal orhave earned a minimum amount of money within the first three years,although it’s difficult to say what the right minimum level of income is.It’s also possible to put hurdles in at an earlier stage of the contract. Youcould have a get-out if the manager hasn’t got you a decent record orpublishing deal in the first twelve to eighteen months. Or if he got you a dealin that time and it’s come to an end and he hasn’t got you another onewithin, say, six to nine months.ALBUM CYCLESThis is a US concept, but has gained ground among a number of UK lawyers,where the length of the contract is linked to an album cycle. An album cyclestarts with the writing of the songs to be recorded on an album, and runsthrough the recording of the album and all the promotion that then goes onafter its release. The cycle ends with the last piece of promotional work forthat album.My problem with it is that it’s very difficult to say how long it will last.You don’t know at the beginning how long it will take to write, record andpromote an album. I’m uncomfortable with agreeing to two- or three-album-cycle deals, which could easily run for five years or longer. If you’re offeredthis type of deal, I advise you to put a time backstop on it, for example, twoalbum cycles or three years, whichever comes first.ENDING THE TERM EARLYSometimes an artist or a manager wish to part company whilst the term ofthe contract still has some time to run. If it’s all amicable then that’s onething and an agreement on the manager’s share, if any, of future incomeearned by the artist can be reached and put in writing as you would in say anamicable divorce.If, however, one party wants to go (usually the artist) and the other(usually the manager) doesn’t agree or think there are any grounds for anearly termination, then the matter is more complicated. In such cases if asettlement can’t be reached by negotiation the matter ends up in court. Arecent case on this involved Australian singer, Holly Valance.Holly Valance caseIn November, 2003 the case brought by Holly Valance’s formermanager, Scott Michaelson, came to court. Michaelson was arguing thatValance had wrongly terminated the management contract with him inJanuary 2002 just as her career was taking off. Valance argued that shewas in the right in terminating the contract because Michaelson was ill-equipped to manage her burgeoning music career. Like her, Michaelsonwas a former actor in the Neighbours television soap. The court sidedwith Michaelson and found that the contract was unfairly terminated.Michaelson was claiming £160,000 in lost income plus a 20% cut ofincome from sales of her second album and exemplary damages.Sometimes you get a settlement which one party then becomes discontentedwith as in the Seal case above. That old adage of ‘where there’s a hit there’sa writ’ certainly seems to hold true.THE MANAGER’S ROLEI’ve already explained a little of what you can expect the manager to do foryou. What you can’t do, though, is list every single thing that you expect amanager to do. Murphy’s Law says that it will be the very thing that isn’tlisted that causes the problem. There are still some contracts around that tryto list things the manager is expected to do: for example, the manager willadvise on clothes, image, voice training etc. I think these have an old-fashioned feel about them. I end up imagining what the reaction would be ifthe Scissor Sisters’ or Magic Numbers’ manager tried to advise them ontheir stage image. My management contracts just say that the manager willdo all he reasonably can to further the artist’s career and to do all the thingsexpected of a manager in the entertainment or music business.WHAT IS THE MANAGER PAID?Some would say too much, but if you ever saw a manager working round theclock, seven days a week to make an artist successful, with not even a thankyou from him, you’d say it wasn’t enough. It is a measure of the fact thatmany managers are branching into publishing or setting up as productioncompanies that they are unable to make a good living from an averagelysuccessful artist once they’ve paid the staff, overheads and taxes.The average rate of commission for a manager is 20%. If you’re verysuccessful the 20% could be negotiated down to 10–15%. Some record-producer managers only charge 15% because, arguably, there is lessmanagement of projects or a career than there is with performing artists.Very few managers try for a 25% rate though there are some circumstancesin which it could be justified. The manager may have invested a lot of hisown money in making an artist successful and may want to get that back incommission as soon as possible. He may agree to reduce his commissiondown to 20% when the artist becomes successful and he’s got his investmentback.PERCENTAGE OF WHAT?A percentage of your gross income but net of some expenses is the simpleanswer. For example, if you were paid a £100,000 personal advance onsigning a record deal, the manager on a commission of 20% would take£20,000.What if you have to use some of that money to record your album or paya producer? What happens if you are advanced money by your recordcompany (which they get back or recoup from your royalties) to make avideo or to underwrite losses on a tour? Is it fair that the manager takes 20%off the top? The answer is no, it’s not. There are a number of exceptions. It’snot usual for the manager to take commission on monies advanced to you asrecording costs, video costs, and payments to record producers or mixers,sums used to underwrite tour losses and sometimes monies advanced to youto buy equipment.Example: The record company sets a budget of £200,000 for you to makean album, £50,000 to make a video and £100,000 for you to live on for thenext year. The manager usually won’t take commission on the £200,000 orthe £50,000, but will take commission on the £100,000, i.e. £20,000.Depending on the manager and the contract, he may say that if youdecide to use £20,000 of your £100,000 to buy some equipment, then that’syour choice and he’s still going to take commission on the full £100,000. Orhe might treat the £20,000 spent on equipment as an exception and take hiscommission on the balance of £80,000.Commission on earnings from live work can be a problem. The managerusually has to work very hard putting together and running a successful tour.He may feel that he should take his 20% off the top from the income thatcomes in from that tour. What if the expenses of putting on the tour are sohigh that the tour makes little or no profit? For example, you take £50,000 inticket sales and the expenses are £40,000. If the manager took his 20% offthe £50,000 (i.e. £10,000) there’d be £40,000 profit left, which would bewiped out by the expenses. As an artist performing every night of the touryou may start to resent the manager making £10,000 when you are gettingnothing. As we saw in the Armatrading case, the judge was very critical thatStone took 20% of gross income on touring regardless of whether the tourmade a profit.What tends to happen is that the manager takes his commission on netincome on live work after some or all of the expenses are taken off. Thereare various formulas to arrive at a fair compromise, your lawyer will advise.Trent Reznor Management DisputeIn June 2007 a US court awarded Trent Reznor of ‘Nine Inch Nails’approx. $2.9million in his claim against his former manager John Malm.He brought the case back in 2004 alleging that Malm had mismanagedhis finances and in effect defrauded the band out of money by trickingthem into signing a contract that gave Malm the rights to 20% of theband’s gross income as opposed to the net income. The manager claimedto have not taken advantage of this and that he had not actually collectedthe additional money. He also pointed out (presumably as evidence ofhis bona fides) that he had worked for no money for many years. Thecourt nevertheless found that he had taken funds that he was not entitledto and awarded the damages to Mr Reznor.This case shows the difficulties managers get into when they step outside theestablished norms.POST-TERM COMMISSIONThis means how long after the end of the management contract the managercontinues to get paid commission. It has two sides to it. Firstly, should themanager take commission on albums made or songs written after the end ofthe management term? Secondly, for how long should he earn commissionon albums made or songs written while he was the manager?WHAT IS COMMISSIONABLE?Until the early 1980s it was quite usual to see management contracts thatallowed a manager to go on earning on things the artist did long after he’dstopped being the manager. If he negotiated a five-album record deal whilehe was the manager and he stopped being the manager after two albums,he’d still take commission on the remaining three albums because thatcontract was done while he was the manager. Some contracts also allowedhim to continue to take commission after he stopped being manager ifsomeone else negotiated an extension of or substitution for that originalcontract. Again, because he had done the original work. This led to somevery unfair situations. The new manager had no incentive to improve upondeals because it was the former manager who got the commission. Artistsfound it difficult to get new managers and were forced to stay with theoriginal manager or the artist ended up paying out two lots of commission.This situation was strongly criticised in the Armatrading case and leddirectly to a change in the way UK managers operated and it is this aspectthat the judge distinguished in the Seal case in saying that the facts of thetwo cases were not the same. Managers now accept that they only getcommission on work done, recordings made and songs written while they arethe manager.How long should the manager continue to receive commission?After it was established that managers should only take commission on whatwas recorded or written while they were the manager, the question thencame up of how long they should go on earning commission on thoserecordings and songs.Some managers, notably Sanctuary and other ‘old-school’ managers, stilltake the view that they should go on earning commission as long as the artistgoes on earning income from a particular song or recording. It remains to beseen whether Sanctuary will continue to take this stance now that it is ownedby the Universal Music Group. I can see the logic in this but again it canlead to some unfairness. A manager might have only been around for onealbum’s worth of recordings. It may be a second manager that makes theartist successful. Fans of successful artists want to own all the artists’ backcatalogue of records and so buy the first album, or a track from the firstalbum may go on a Greatest Hits album. The first manager has done nothingto help ongoing sales of that first album. Should he get full commission onit? Most managers accept that after a period of time their influence cannotbe affecting continuing sales of early records, so they agree to a reduction intheir commission rate. Most also agree that it should stop altogether after agiven period. For example, the first manager could agree that hiscommission on the first album drops to 10% after five years after the end ofthe management term and stops altogether after ten years. This means theartist can give the second manager an incentive by giving him 10% of theincome on the first album after five years and 20% after ten years. Or theartist could keep the saving himself and give nothing to the second manager.These periods of time are negotiable. Some music lawyers insist that thecommission stop after two or three years. In my view this is far too short fora manager to be properly compensated for the work he has done. It may,however, be acceptable if the artist is established and successful and hasgreater bargaining power than the manager.WHAT HAPPENS IF THERE’S NO WRITTEN CONTRACT?A few managers prefer to work without any written contract. They saythey’d rather work on a good-faith basis, trusting you to do the right thing bythem. This is a comparatively rare situation but it is also possible for amanager to work for a trial period and then not carry on. Sometimes themanager just can’t get the artist to commit to a contract and carries onreluctantly without one. Even where there is no written deal you still have todeal with what the manager gets paid for the work he did. It is, of course,perfectly possible for there to be a verbal contract in place. The difficultywith verbal contracts is that it’s very hard to prove what exactly was agreed.If it’s not possible to show that there was any sort of agreement, themanager has to rely on what would be a fair price for the work he has done(a quantum merit claim). If you and the manager can’t agree this and there isa court case, the judge will take expert evidence of what’s usual in the musicbusiness and will make an order of what he thinks the manager should bepaid. The court will order payment for the work already done, but it’s rarefor them to order payments going forward. For example, if the manager got arecord deal for you then the court might order that he’s paid a percentage ofthe money payable on signing that deal; but rarely does it order that themanager is paid a share of ongoing royalties. So the manager wouldn’tusually get post-term commission. For these reasons it’s usually moreimportant for the manager to have a written contract to protect hiscommission on future royalty income than it is for the artist. However, bothsides may want the certainty of knowing where they stand and want to reachsome form of agreement.WHO COLLECTS THE MONEY?It’s very important to know who’s looking after the money. The managermay be unhappy at the thought of you looking after the money just becauseyou’re an artist. Artists are notoriously bad at hanging on to money (theysay). ‘They can’t even keep the money back to pay the VAT or the taxman;how can I trust them to keep enough back to pay me?’On the other hand, you may be very responsible with your money. Youmay not want your manager controlling your money, but also may not wantto have the bother of looking after it yourself.A compromise would be for you to appoint an accountant (see Chapter1). The money is paid into a bank account in your name that the accountantlooks after. The manager sends in an invoice for his commission andexpenses. The accountant checks the sums are right and writes out a chequefor you to sign. The accountant may also deal with the VAT and he’ll almostcertainly advise keeping some money back for tax. What happens with therest of the money depends on what you’ve told him to do. He could pay itinto another account for you or leave some in the bank account to meetexpenses.EXPENSESOn top of his commission, the manager is entitled to be repaid his expenses.That doesn’t mean everything he spends. The costs of running his business,his office, staff, computers etc. are all paid for by him. These are calledoffice overheads. If he pays for a taxi to pick you up from the recordingstudio or for a courier to deliver your demo recording to an interested A&Rman, then he will probably reclaim that money from you.He should keep receipts and bills and have them available for you oryour accountant to check. He should also agree that he won’t run upexpensive items in expenses without checking with you first. I wouldn’texpect him to buy a plane ticket to New York without checking that you’reall right with him spending your money in that way. On the other hand, it’snot practical for him to have to come running to you for every small item ofexpenses, in which case you might agree a float account. This is a specialaccount with a fixed sum of money, say £500, in it. The manager isauthorised to draw money out of that account for expenses and the account isthen topped back up to £500 on a regular basis, like a float in a till of a pubor shop.TAXYou are responsible for your own tax and National Insurance and for payingyour VAT. Don’t expect the manager to do it for you. As we saw in Chapter1, your accountant is a very important part of your team. Your accountantmay keep the books, do the VAT returns and prepare the tax return for you.This doesn’t mean you can sit back and do nothing. You have to tell youraccountant what has come in and give him receipts for anything he might beable to reclaim or recharge. Your accountant will also advise what you canexpect to have to pay in tax and ways in which you can, legitimately, pay aslittle tax as possible. But remember, there are, they say, only two certaintiesin this world – death and taxes.SIGNING AGREEMENTSIt’s practical to allow the manager to sign one-off short-term contracts in theartist’s name. For example, when you do an appearance on Later with JoolsHolland or The Jonathan Ross Show, the television company needs the artistto sign a short release or consent form before he can appear and get paid. Ifyou are busy rehearsing, it’s all right for the manager to sign that form foryou.What isn’t acceptable is for the manager to sign a long-term contract, orindeed anything more than a one-off. It’s dangerous for the artist – whowon’t know what’s in it or what’s been agreed. It’s also dangerous for themanager. You may not object at the time, but when you find something inthe contract that’s not to your liking you can be sure you’ll blame themanager for not telling you.CONCLUSIONSDifferent lawyers must advise the artist and the manager on themanagement contract.Treat with caution any management contract capable of running forlonger than five years.20% is the average management commission for artist managers.Commission is on gross income net only of certain exceptions whichshould be set out in the contract.Commission on ‘live’ work should be after deduction of some or all ofthe expenses.The management deal doesn’t need to be for the whole world.Make sure it is clear who is handling the money.Only the artist should be able to sign potentially long-term contracts.1 The MMF was formed in the mid-1990s by a group of like-mindedmanagers who felt that they could achieve more both for their artists andfor themselves if they grouped together. They act as a lobbying group onbehalf of their members in relation to national and international issuesfacing the music industry. The MMF has also established links withmanagers in other parts of the world. For contact details see UsefulAddresses.2 O’Sullivan v. Management Agency and Music Limited [1985] QBD 428.3 Armatrading v. Stone and Another (1985), unreported.4 John v. James (1991) FSR 397.5 Martin-Smith v. Williams (1997), unreported.6 John Wardlow v. Henry Olusegun Adeola Samuel [2006] EWHC 1492(QB) 22 June 2006. Chapter 3What Is A Good Record Deal? INTRODUCTIONEVERYBODY’S IDEA OF what’s a good deal is different. For some it’s a questionof how much money is on offer. For others it’s how much commitment thereis from the record company. Some artists are more interested in how muchcontrol they have over what sort of record they make. We call this creativecontrol.I’m going to look at these different ideas of what’s a good deal. I’mgoing to do it from the artists’ point of view because that’s what I know best.But, because I’ve negotiated so many record deals over the years, I’ve heardall the arguments from the record companies, so I’ll try and put their sidetoo.There’s more than one type of record deal. I’m going to look at fourbasic types of deal – the licence, the development deal, the exclusiverecording contract and the production deal. As we will see it’s this last typewhich is gaining ground fast in the music industry at the moment.To understand record deals properly you also need to know some law, soI’m going to look at the basic performer’s rights, at copyright and at whatrights a record company needs in order to exploit recordings.Incidentally, in the music business we use the word ‘exploit’ a lot. Somepeople don’t like this word because they associate it with exploitation in thebad sense – misuse of the weak and that sort of thing. When we use it in thecontext of music business contracts we generally mean ‘to use’, ‘to sell’ or‘to make money from’ recordings or songs. It’s a positive use of the wordnot a negative one.You won’t be surprised to learn that there have been some celebratedcases over the years to do with recording contracts. I’m going to look at fourin this chapter to see what the problem was, what the court decided and whatthe music business learned from them. I will be concentrating on differentmodels for recording deals involving the company that is releasing therecords sharing in the artist’s other income streams. This trend was begun bythe Robbie Williams/EMI deal in 2002 but has been taken further byMadonna’s new deal with Live Nation.NEW BUSINESS MODELSConsolidation and change amongst the major record labels continues. Sonyand BMG merged their record operations at the beginning of 2005 but thatmerger was later challenged by European independent label pressure groupImpala, which resulted in the decision to allow the merger beingreinvestigated by the European Commission. Impala argued that theCommission’s original decision to allow the merger did not look sufficientlyclosely at the effect on the monopoly position in the market place if thecatalogues and power of two major labels were merged. The decision to re-open the review led to considerable uncertainly in the two companiesconcerned and some commentators believe it also led to unwillingness toconsummate the long mooted merger between Warners and EMI on the basisthat this merger would also be closely scrutinised in Europe. In autumn 2007the European Commission completed its reinvestigation and once again gavethe merger the go-ahead, thereby reducing the number of major record labelsto four: Sony/BMG; EMI Group; Warner Group and Universal. As a knock-on effect of these mergers, BMG had to divest itself of its publishingdivision, which was bought by Universal. That also caused complaints of amonopoly position arising in Universal but the Commission has given its go-ahead to that take-over. Universal Music Group has been on a bit of a buyingspree recently buying up the rump of the Sanctuary Group, supposedly toconcentrate on its special projects catalogue and on the managementactivities of the Sanctuary Group. It also acquired independent V2. In themeantime EMI has been bought by a consortium of venture capitalistslargely from outside the industry and headed up by Guy Hands. Mr Handstook over the reins in mid-2007 and most of the old level of seniormanagement has gone, including the Chairman Eric Nicoli. Mr Hands is nowlearning all about the company he has bought and rumours abound that oneway he intends to increase the value for his investors is to securitise (a kindof mortgage) the income earned by the music publishing business or even tosell off that part of the business. And it’s not only the majors who have beendoing deals; Beggars Banquet has bought up the independent label RoughTrade – the home of The White Stripes.All these labels are focusing on fewer acts and even then it is estimatedthat only 5% of their signings are successful, which is a pretty poor strikerate. So they are trying to improve the odds, by taking fewer risks andfocusing on tried and tested teams of people. The upshot of this is a safersigning policy with more focus on the sure-fire bigger sellers. This makes itmore difficult for the more innovative acts to get signed to big deals with thefull-blown international support of a major label. Indeed, even those who doget signed to majors will rarely get a cast-iron guarantee that they will getreleases outside their home market. Job insecurity in a rapidly shiftingmarket place has also led to ‘safe’ signings. No one wants to stick his or herneck out and be associated with a ‘duff’ artist when it comes to the annualjob appraisal.As a direct consequence of this, there has been a growth in the number ofindependent labels such as Beggars Banquet, B-Unique and Domino,although many of these have financial support from bigger companies eitherthrough distribution deals, international licensing deals or actual assistancewith overhead funding and provision of a signing fund. There has also been aproliferation of small studio-based production companies whose aim is todevelop an artist to the stage where he becomes of interest to the biggerlabels who can inject investment to take the artist to the next level whetherthat be moving from recording an EP to a full album or in marketing orreleasing the album overseas. A good example of an artist that came throughfrom the ground level is the 2007 Mercury Prize nominee Fionn Regan.Fionn financed the recording of the Mercury nominated album The End ofHistory himself. He then did a licensing deal with independent label, BellaUnion and with Damien Rice’s label in Ireland. The album was released tocritical acclaim if not huge initial sales. This led to interest in the albumfrom US label, Lost Highway, a sub-label of Universal, and ultimately to aworld deal with that label.The idea behind these smaller labels is to act as a nursery or feeder forbigger labels. These independents find the new talent early, sign them up onmodest deals, make some recordings either to master or demo quality,depending on the game plan and then hope to attract the attention of thebigger labels whether in the UK or in overseas markets. Often theseindependent labels have arrangements of a more or less formal nature withbigger labels to act as scouts for them. For the majors some of the risk hasbeen taken away and for the smaller label they get to retain some ownershipof copyright and to build their companies on the back of support formarketing and distribution from the bigger company. It is also often the casenow that record producers are acting as talent scouts and in the role ofdeveloping an artist, building on song-writing skills, rehearsing the artistand making master recordings with them. Their aim is to use theirconnections to sell the artist on to a label who, they hope, will use them toproduce the first album by the artist. The development role used to be oneundertaken by the record label but the cutbacks and conservatism, which ispervading the industry, has led to producers and studio owners having totake the initiative. There is more on this subject later in this chapter.THE HYPE OF THE MILLION POUND RECORD SIGNINGWe have all read in the press about new, unknown acts being signedsupposedly to million-pound deals. Can you believe what you read? Well, Iguess in one or two cases it could be true, but it’s pretty unlikely if it’s acompletely unknown artist. Also have you noticed how it’s always a millionpound deal not 1.2 million or one and a half million?What is much more likely is that the deal has been hyped up in the pressto make it seem bigger than it is. If you add up all the money that the recordcompany could spend on making an album you could get to a millionpounds. That would include the recording costs, the cost of making one ortwo videos, marketing and touring costs. The artist might only see a fractionof that money himself.When the record company is making up its mind about what to offer you,it will look at a number of things. First, and most importantly, how much itwants to sign you to the company. If they desperately want you, they’ll payover the odds to get the deal done. If you’ve got more than one companyfighting over you then you’ve much greater bargaining power. Your managerand lawyer can play one company off against the other and get you a betterdeal. There is less of that going on at the moment than previously what withthe overall uncertainty in the business, the drop in the profits and sales andthe reduction in the number of major labels from five down to four but youdo still get major companies trying to outbid each other.If the record company is doing it scientifically they’ll use variousformulas to work out what’s a reasonable deal to offer you. There arecomputer models that they can use. They look at the type of act you are, athow much they think it’s going to cost to record the album and to makevideos. They also look at other commitments, possibly to touring. They putthese estimates into the model and it tells them how many records you’dhave to sell before they break even. If they think that’s an unrealistic numberthey may scale down the offer. This is the theory anyway. I suspect thatwhile they do this number crunching they then go with their hunches anywayas to how well they think you’re going to do. There are also other factors atplay such as whether it is a good deal to sign in order to get a good slice ofthe market (so-called ‘market share’) in a forthcoming quarter so as to lookgood for the shareholders. Sometimes a deal is done for strategic reasons inorder for a particular label or label head to set out their stall as being animportant player or wanting to attract a particular type of artist. There aresome who believe that Live Nation did the deal with Madonna in order tosend the message to other artists of a similar stature that this was a potentialnew home for them. For more on the Madonna deal see the chapter onTouring below.We saw in Chapter 1 some of the ways in which you can get a ‘buzz’going for you. The ‘hotter’ you are, the more the record company is likely topay or the better overall deal you’ll be offered. The better your lawyer is, theless likely it is that the record company will get away with paying below theodds – a very good reason to get a good lawyer on your side.Your manager should sit down with you and discuss what’s important toyou. Are you only interested in big-money advances, or would you prefer togo for a smaller advance in return for creative control or more commitmentfrom the record company? Once he knows what you want, your manager canmake his ‘pitch’ to the record company along those lines.It should be a balanced contract, where the record company canreasonably protect its investment, but also one where you get somecommitment from the company and the chance to earn a decent living fromthe deal.THE LEGAL PRINCIPLESBefore I look in more detail at these questions of money, commitment andcreative control, I need to run through with you one of the guiding legalprinciples in deciding what’s a good record deal.RESTRAINT OF TRADEWe have already seen in the cases of O’Sullivan v. MAM, Armatrading v .Stone and John v. James that the courts can be highly critical of clauses incontracts that are unfair on the artist.In deciding whether a contract is fair, the court looks at a number ofthings. It looks at the bargaining power of the artist and the company. It willalso look at whether the artist had independent specialist advice before hesigned the contract, and at how experienced the artist was in the musicbusiness at the time the contract was signed. It does this against thebackground of what was the norm for these contracts at the time.Another guiding principle behind the court’s decisions is that of restraintof trade. The basic principle behind the doctrine is that, where someone hasto provide services or be exclusively employed and the contract containsrestrictions on what someone can and cannot do, that contract isautomatically a restriction on the ability to earn a living, or trade. Becauseit’s an exclusive arrangement, the person concerned can’t earn money in anyother way than through that contract.In the UK it was decided long ago that these contracts were contrary topublic policy. A person should be free to earn his living wherever he can.That said, the courts recognised that there would be circumstances where itwas commercially necessary to have restrictions in contracts. They decidedthat such restrictions would be allowed if they were reasonably necessary toprotect the legitimate business interests of the person imposing therestrictions. If the restrictions were unreasonable they couldn’t be enforced –the contract would be unenforceable.Because it was so important to the music business, the case of Macaulayv. Schroeder1 went all the way to the House of Lords before it was finallyclear that the doctrine did apply to recording and publishing agreements.Macaulay v. SchroederMacaulay was a young and unknown songwriter who entered into amusic publishing agreement with Schroeder Music Publishing Ltd. Itwas an exclusive agreement for his services for five years. The contractwas in a standard form used by the music publisher. Macaulay’scopyrights in the songs he wrote were assigned for the life of copyrightthroughout the world. The contract specifically prevented him fromworking as a songwriter for any other music publishers during this five-year period. There’s nothing wrong in signing someone up to anexclusive deal, but because it restricts that person’s ability to go andwork for anyone else, we have to look at whether as a whole such acontract is fair, at whether the restrictions still allow him to earn areasonable living. The House of Lords looked at the specific terms of theagreement to see if, taken as a whole, they were reasonable. It found, infact, that they were unduly restrictive and an unreasonable restraint oftrade. Macaulay didn’t have a reasonable chance to earn a decent livingfrom his trade of song writing.In contrast, the George Michael case described below is an exampleof an exclusive contract that was found to contain reasonablerestrictions.CREATIVE CONTROL VERSUS LARGE ADVANCESEarlier in this chapter I spoke of getting the right balance in the contractterms. Behind that statement lies this principle that any restrictions in anexclusive services contract should be fair and only go so far as to protect therecord company’s interest and not unreasonably restrict an artist’s ability toearn a living. So let’s look at some of these terms.DO YOU GO FOR THE MONEY OR TRY TO PROTECT THEINTEGRITY OF YOUR ART?Of course it’s important for you to be able to eat, to have somewhere to live,and transport to get you to and from gigs, rehearsals and the recordingstudio, but it may not just be a question of money. For many artists, creativecontrol of their work is at least as important. Being able to make a recordwith minimal interference from the record company is crucial to someartists.If creative control is the most important thing for you, then getting thatcontrol would mean you had a ‘good’ deal, even if there was less money onthe table as a result. Some record companies are more flexible than others onquestions of creative control. If this is an important issue for you, you needto look at this at the point when various record companies are still courtingyou. You should ask each of them what their attitude is to this issue. What istheir track record? If you can, you should talk to other artists signed to therecord company to find out their experiences. You should also ask if therecord company is prepared to guarantee creative control in the recordcontract. Sometimes they’ll say it but won’t put it in the contract so youcan’t rely on it.Your wish to have creative control must be balanced against putting somany restrictions on what the record company can do that they can’t sellyour records properly. They may in such circumstances choose to useanother artist’s recordings – one who isn’t so particular about creativecontrol. For example, a proposal comes in from an advertising company toput one of two tracks into a major new jeans campaign. Artist A has fullcreative control in his contract and is known to be completely against theidea of his work being used in ads. Artist B, on the other hand, has an eye tothe integrity of his work but realises that a campaign like this, if doneproperly, can really help him break into the big-time. Artist B says yes andthe record company puts their track forward not Artist A’s.You may be very interested in getting as much commitment as possiblefrom a record company. If so, then you’ll concentrate on getting acommitment from them to a specific figure in marketing ‘spend’ or tounderwrite tour losses up to a fixed amount. The record company may bereluctant to go this far. They’d be in difficulties under the contract if, forexample, there weren’t enough suitable tour dates or they were unable tofind the money to pay for the full marketing spend. It used to be the case thatartists were concerned that there’d be a commitment to make at least onepromotional video per single release, or to get a commitment to the releaseof a minimum number of singles. Now with the increase in popularity ofsingle track downloads release of singles is rarely the issue. The problem ishow to make sure that you make money from some source whether that’sactual record sales or as a taster to drive the fans to buy the album, a ticketto your live show and a T-shirt at the show. Because of the continuingimportance of radio play in promoting a new release (and to some extent ingetting the artist to perform the single on TV or radio shows like thosehosted by Jonathan Ross, Paul O’Grady or Russell Brand), A&R people arevery interested in hearing tracks that they know will get radio play topromote the artist. There is a strong belief amongst labels that in order to getcommercial success in terms of number of sales you need to get radioexposure, preferably ‘A’ or ‘B’ list at Radio 1 or 2. To some extent,therefore, marketing is driving creativity and artists that are not necessarilyradio friendly have to look for other ways to attract the attention of thepublic.The attitude to videos is also changing. The decline in musicprogrammes on television which are likely to show a promotional video hasled to a down-sizing in the number of and spend on promotional videos. Nowit’s much more likely to be a ‘behind the scenes’ long form DVD on themaking of the album or out on the road with the artist. It’s expensive tomake videos and record companies may not want to commit to making onethat only gets played once or twice. That said there has been a growinginterest in the availability of visual images in recent years to feed thedemand for DVD and online content, so you may find it isn’t necessary toinsist on a commitment to make videos because it will happen in practice.Whatever the issue may be and no matter what big statements andpromises they make when they want you, if it’s not specifically in thecontract you won’t have a chance of making them keep their promises ifthey go back on what they said or if the person who said it is no longer withthe company.Whatever your particular needs (and it may be a mixture of all of thesethings), if you get a reasonable number of them in your record contractyou’ll have what is a good deal for you.This whole issue of creative control versus money has caused a lot ofproblems over the years. It’s one of the reasons why Prince became‘Symbol’ became The Artist Formerly Known As Prince, then The Artist,before finally reverting to Prince for a sell-out 21-date concert series at thenew live venue, O2, in the former Millennium Dome in Docklands. He mayhave believed that by changing his name he could use a loophole to get outof his record contract. He was probably also hoping that it would show hisrecord company, Warner Bros., the strength of his feeling over the type ofrecords he wanted to make. He was in the news again in 2007 when it wasannounced that he had done a ground-breaking deal with newspaperpublishers of the Mail on Sunday to offer the whole album ‘free’ with thenewspaper ahead of traditional retail distribution. It is said he received$500,000 for the deal. Plans for a traditional physical CD release werecancelled. Unsurprisingly, many more copies of the newspaper were boughtthan on a normal Sunday and Prince got exceptional publicity out of thismarketing coup. More people bought tickets to see him live than mightotherwise have done so and he presumably got a good financial return firstlyfrom the price he got off the Mail on Sunday and secondly in his increasedshare of ticket sales and extra merchandising sales. There is a growth in theuse of cover mounts to market artists. The practice was decried by recordcompanies and artists because it seemed to be a way of getting a large one-off payment for the record company in the licence deal with the newspaperwithout having to share that necessarily with the artist (depending on thedeal). It was also felt to be devaluing the artist’s work. Now we are seeingthis practice evolve into one where perhaps ahead of an artist’s new albumrelease they may bring that artist back into the public eye by a cover mountDVD or album of some of their old material or previously unavailable filmfootage of a tour. Sometimes it works, other times it doesn’t. The recordcompany behind Ray Davies’ latest release thought to do this by releasing acover mount album of versions of his old material but it didn’t have thehoped for boost in first week sales of the new album.Disputes as to issues like this or as to how an artist is presentedcreatively, as well of course as to whether the artist is getting paid a fairprice take place on a daily basis between record company and artist ormanager. It is part of the daily cut and thrust between them. I regularly haveto arbitrate or advise on issues like who has final say on choice of single, orthe look of the artwork for the new album because artist and label havedifferent views. Another area of common dispute is what happens when alabel decides after hearing the finished album that they don’t want to releaseit. This is part of my daily working life but most of these disputes don’t getto court. One that did was the acrimonious case between George Michael andhis record company, Sony Records.The George Michael CaseTo understand the case2 and the decision you need to know a bit aboutthe background.As we all know, George Michael was part of the very successful popduo Wham! along with Andrew Ridgeley. The first exclusive record dealthat George and Andrew signed was with the record companyInnervision, owned by Mark Dean, in 1982. As is often the case, theywere young, unknown and inexperienced. The record deal was for up toten albums, which was a lot even in those days. They were exclusivelytied to the company until they’d delivered all the albums thatInnervision wanted from them. Applying the doctrine of restraint oftrade, the restrictions in the contract were immediately contrary topublic policy and were unenforceable unless they were reasonable.Innervision was a small record company. It had a deal with Sonywhereby Sony provided funding and facilities for the manufacture, saleand marketing of Innervision’s records. The Innervision contract withGeorge and Andrew, therefore, also included Sony’s standard businessterms. If the Innervision contract was criticised as being unenforceableand an unreasonable restraint of trade, this could also have been anindirect criticism of Sony’s terms of business.At first things went well, and their second release, ‘Young Guns’,was a UK Top 10 hit in 1982. This was followed by ‘Bad Boys’, ‘ClubTropicana’ and the chart-topping album Fantastic. By 1983, however,the relationship between Wham! and Innervision had broken down. Theysued the company to get out of the contract, arguing that it was anunreasonable restraint of trade. The case was settled before it got tocourt. It was part of the settlement that George and Andrew signed anexclusive recording contract direct with Sony label Epic Records. Again,that contract contained Sony’s business terms, but an experienced musicbusiness lawyer negotiated it on George and Andrew’s behalf.Once again things went well at first. Their first single on Epic –‘Wake Me Up Before You Go Go’ – went to No. 1 in the UK and wasfollowed by four further No. 1s in quick succession.In 1986, George and Andrew parted company. George embarked on asolo career with Sony. And it was a very successful one, although notuntil 1988 with the release of ‘I Want Your Sex’, which was a deliberatemove to break with the playboy Wham! image. His first solo album,Faith, was a huge success, selling over 10 million copies. On the back ofthat success, George renegotiated his contract with Sony again with thehelp of that experienced music business lawyer.In return for a substantial sum of money, George agreed to recordthree solo albums in the first contract period and gave Sony options forup to five more albums. Faith counted as the first of the three albumsand he went on to record and release a second hugely successful album,Listen Without Prejudice (Vol. 2), which also sold millions. His star wasalso rising in the US, where he had a No. 1 with ‘Praying For Time’ offthat album.Not surprisingly, Sony wanted George to continue in the same stylewith his third solo album. By this time, George wanted to move awayfrom the out-and-out commercial pop style of records. He wanted to beregarded as a serious artist.Because the contract ran until he had delivered up to six morealbums, or for a maximum period of fifteen years, George couldn’trecord for anyone else. Sony also had the final say on whether an albumby him met the necessary artistic and commercial criteria. They could goon rejecting more serious material from him, so a deadlock existed.George sued, arguing that the record contract was an unreasonablerestriction on his ability to earn a living, and as such was anunenforceable contract.He refused to record for Sony and instead did a number of projectswith other artists that were within the terms of his contract, just. Forexample, he did guest spots on other people’s albums. He alsoconcentrated on live work.The case finally came to court in 1994. The decision to throw outGeorge’s case was made on somewhat surprising grounds. The judgeruled that, in order to decide if the 1988 renegotiation of the contractwas an unreasonable restraint of trade, he would also have to considerthe earlier 1984 contract. He decided that he could not reopen a reviewof the 1984 contract because it had been entered into as a result of asettlement of a dispute. It’s contrary to public policy to reopensomething that was agreed by the parties as being a final settlement of adispute.It wasn’t difficult to imagine that George would appeal. Perhaps thejudge realised this because, even though he had decided that he could notlook at the 1988 contract, he went on to say what his conclusions wouldhave been if he had done so.The contract was an exclusive worldwide deal. It was for potentiallya very long time and Sony had the absolute right to reject recordings anda limited obligation in the contract to do much with any recordings thatit did accept. Obviously, Sony argued that the contract represented onlythe contractual obligations that it had and that, in fact, it would havedone far more to help sell as many records as possible. In decidingwhether the contract was unfair and unenforceable as being anunreasonable restraint of trade, the judge looked at the relativebargaining power of the two sides. By 1988 George Michael was a verysuccessful and powerful artist and well able to stand up to Sony. He hadhad the benefit of advice from his long-standing lawyer, who was veryexperienced in music business contracts. Finally, the judge looked atwhat George would get out of the contract. Financially, he stood to get agreat deal.Balancing out all these factors, the judge decided that the benefitsGeorge got out of the contract meant that the restrictions in it werereasonable to protect Sony’s investment and its legitimate businessinterests.Sony, of course, was delighted, but it was nevertheless seen by mostof the ‘talent’ in the business as a blow for creative freedom.While the case was going on it was much easier to get improvementsin record contracts, particularly those parts of the contracts that Georgewas specifically attacking. For example, on CD sales, Sony was onlypaying 75–80% of the royalty at the time. While the case was going onSony was much more inclined to agree a 100% royalty rate. As soon asSony won the case it was business as usual. George, as expected,appealed. The thought of prolonged, expensive litigation with an artistwho clearly wasn’t going to record for Sony, and who could see his ownrecording career stalling with all the delays, led to a settlement beforethe appeal was heard. George was released from the contract and signedto Virgin/Dreamworks in return for a payment back to Sony. As part ofthe settlement, he later recorded some new tracks or new versions of oldtracks for a Greatest Hits album that was released on Sony.Aston Barrett v. Universal Island Records and othersIn a dispute over monies due the bass player for ‘Bob Marley and theWailers, Aston Barrett sued Island Records and the Marley family onbehalf of himself and his brother, Carlton (who was the drummer withthe band and was murdered in 1985). Aston argued that he had notreceived the money they were due after Marley’s death in 1981. Astonand Carlton had played on a number of Marley albums. They had hadtheir own successful act The Upsetters and joined Marley after PeterTosh and Bunny Livingstone left. Their claim for royalties arose out of acontract made in 1974. Ashton was also suing separately for his propershare of song-writing royalties on songs he co-wrote with Marley.Originally Marley and the two Barrett brothers had shared royaltiesequally. It was alleged that under a new agreement made in 1976 Marleytook 50% and the Barrett brothers shared the remaining 50% betweenthem. In 1994 Aston took part in a settlement where it was said heagreed to forego any right to future royalties in return for a share of a$500,000 settlement paid by Island Records. At the trial Marley’s widowand the founder of Island Records both played down the role played bythe Barrett brothers and said that the 1994 settlement represented a fairshare to them for what they had done. The judge accepted that andrefused Aston’s claim. He also did not accept his claim that he had co-written several of the songs. Aston was something of a serial litigatorhaving sued three or four times before. The judge ruled that he would notbe allowed to start any more litigation unless allowed to do so by acourt.TYPES OF DEALWhat types of deal may be on offer, what basic rights does a performingartist have, what is copyright and what rights does the record company needin order to release records?Although there are many variations, some of which will be looked atbelow, there are two basic types of record deal – the licence and theexclusive long-term recording contract. Variations include the productiondeal, which contains elements of the latter two types, the partnership or jointventure between record label and artist, and the so-called 360 degree modelwhich embraces not only recordings but also other areas such as publishing,live and endorsements under the one umbrella deal. The latter are currently‘flavour of the month’ with the Madonna deal being the most highlypublicised. More on these below. Let’s look first at the basic types.LICENCE DEALSLegal PrinciplesLicensor is the technical term for a person or company who owns rights,which it is licensing to someone else. Licensee is the person or company towhom the rights are licensed.A licence is an agreement to allow the Licensee to do certain things withthe rights that the Licensor has to a particular product – a recording, a songand so on. A licence can be for as long as the life of copyright (see below)but is usually for a shorter period. The Licensor continues to own the rightsbut gives someone else permission to use some or all of those rights.In contrast an assignment is an outright transfer of ownership of rightsby an owner to someone else. It’s usually for the life of copyright, althoughsometimes the rights are returned (reassigned) to the owner sooner than that.The assignment can be of some or all rights and can have conditionsattached. The assignor is the owner of the rights being assigned. Theassignor no longer owns the rights once they have been assigned. Theassignee is the person or company to whom the rights are assigned.You will often see in agreements a reference to rights being granted forthe life of copyright. This is now the same period throughout the EU. Forliterary and musical works (e.g. songs) it’s seventy years from the end of theyear in which the author dies. For sound recordings and performer’s rightsit’s fifty years from the end of the year in which the recording was releasedor the performance was made.3 The situation is different in the US where inmany cases the sound recording copyright can run for up to 99 years.There was considerable political lobbying going on with the UKGovernment and to some extent in Europe, whereby interested parties triedto further extend the life of copyright. A detailed report was prepared by MrGowers, which was published in 2007. It declined to recommend anyextension and only offered up a small amount of comfort for the musicindustry e.g. an increase in the budget for Trading Standards to assist themin their anti-piracy efforts. The political battle has now moved to Europe.Part of the reason for the fuss is that many recordings including those byartists such as Elvis Presley and Cliff Richard are coming out of copyrightand as such any future uses of those recordings will not be subject to thepayment of record royalties to the artists or to their record label.Representative bodies for the lesser performers were also seeking paritywith their song-writing colleagues by getting an extension to seventy years.For the moment this plan has failed and re-issue labels are already cashingin with early 1950s recordings which are already out of copyright. Therecord company who owned the original recordings will find that its marketis no longer protected. Some argue that this is a good thing as fifty years islong enough to have achieved a reasonable return on the investment inmaking and promoting the records and it is right that they are then madefreely available. However, there are also others who believe that the loss ofrevenue from these recordings will result in yet another nail in the coffin ofthe record industry and mean less investment in new artists. There are somepractical difficulties in the way of companies seeking to take advantage ofthis, for example, in getting hold of original recordings or good qualitycopies of the same. The artwork or sleeve notes and the songs may still be incopyright so use of the artwork or changes to the original songs will not bepossible without consent. But if the re-issue label is willing to invest insome new artwork and will pay the mechanical royalties to the owners ofany songs that are still in copyright (see publishing chapter) then the re-issuelabel is still making a good profit by not having to pay for the recording northe artist for the performances or the record label for the right to licensethose recordings. The record companies are running scared – hence the rushof re-releases of Beatles box sets and wholesale re-releases of the Elvissingles in order to cash in on what may be their last chance before theirmarket is undermined as copyright ends. This is also why they are doing newversions such as remixes or mashups of the Elvis songs so that they canclaim a new copyright in the new version and hang on to rights in that foranother fifty years.The author is the first owner of the copyright.4 The CDPA 1988 saysthat in the case of sound recordings it’s the producer. This could beconfusing, and for a time record producers were claiming they were thecopyright owners. The position is in fact the same as before the 1988 Act.The copyright owner of a sound recording is the person ‘who made thearrangements for the recording to be made’. This is generally taken to meanthe person who paid for the recording to be made. With the changing role ofmanagers and producers in making independent recordings there will beissues about whether the artist, the manager, the producer or even the studioowns the copyright. I am already dealing with situations of multipleownership of copyright with the attendant problems of trying to decidemechanisms for what is to happen to the copyrights when it comes tocommercial exploitation. The artist may need to rely more than ever on theirperformance rights to ensure a measure of control and also through song-writing where they are writers of the songs being recorded.Copyright is the right that an author has to prevent anyone else doingcertain things with his work without his permission. It underlines all creativeaspects of the music industry so it is important to try and get to grips with it.The basic rights of copyright are the right to copy the work; the right to issuecopies of the work to the public; the right to rent or lend out copies of thework to the public; the right to perform, show or play the work in public; theright to broadcast the work or include it in a cable programme; the right tomake an adaptation of the work and the right to do any of these acts inrelation to that adaptation.5 Before anyone can do any of these things with acopyright work, they have to get the permission of the owner of thecopyright. This may be the author as first owner or he may have assigned hisrights to someone else or given someone else an exclusive licence to dealwith the copyright instead of him. There was some doubt until 2001 as towhether the copyright laws of the EU extended to digital, online or Internet-based uses of the copyright. A 2001 European Directive confirmed thatcopyright did indeed extend to such new media. The Directive wasimplemented into UK law late in 2003. The UK Government took the viewthat the existing UK law already covered many of the key aspects of theDirective so the changes to UK law were more to clarify than to extend thelaw. The definition of what constituted communicating and making availablea copyright work to the public was clarified as including Internet, cable andsatellite broadcasts, including on-demand services. The law was confirmedas applying to authors, record labels, film producers, broadcasters andperformers. There was much debate about the exemptions to the basic rulerequiring the copyright owners’ permission to reproduce the whole or part ofa copyright work. These are the so-called fair dealing exemptions where, forexample, an excerpt from a recording or part of a video could be reproducedfor purposes of a critical review or commentary. It was felt that there wasgreater scope for abuse of this exemption in the widespread and fast movingonline world. In the end the exemptions were not extended and quoting of a‘reasonable amount’ will still be permitted. We will see in Chapter 7 a naspect of this debate in connection with social networking sites likeYouTube or MySpace. Are they allowed to rely on these fair-dealingexemptions to put up copyright works on these sites without consent of theowner?As I mentioned above with the growing complexity of record deals andmultiple potential copyright owners the issue of performing rights willbecome more important. Performing rights are the rights performers haveto prevent someone else from doing certain things with their performances,or with recordings of their performances, without their permission. Thebasic performing rights are in some respects similar to the rights ofcopyright. They are the right to prevent someone making a recording of alive performance; the right to prevent the making of a broadcast or itsinclusion live in a cable service programme. It is also a performer’s right toprevent someone from making a recording of his performance directly froma broadcast or cable programme. The performer’s permission has to beobtained to do any of the above. Recordings of performances for personaluse are allowed. The performer also has the right to refuse to let someonemake a copy of a recording; to issue a copy of a recording to the public; torent or lend copies of the recording to the public; to play a recordedperformance in public; or to include it in a broadcast or cable programmeservice. As we’ve seen above the performer’s rights also extend to onlinemethods of making their work available to the public. The performer shouldmake sure he only grants his performing rights when he is reasonably surethat the agreement gives him either control or sufficient financial reward forlosing control.Licence versus assignmentWhen deciding on whether to license or assign rights it is important to makea distinction between a licence and an assignment. When an owner grants alicence, he keeps the underlying copyright. He only gives the licenseepermission to do certain things with the copyright for a period of time (thelicence term). In contrast when rights are assigned then ownership andcontrol of the copyright has passed from the owner to the assignee.It is clear from the Gilbert O’Sullivan case that, even where the courtfinds that a contract is unenforceable, it won’t usually order the return ofcopyrights or other rights that have been assigned. If it’s a licence then theunderlying copyright has not been assigned; there is nothing that needs to bereturned to the original owner because it never left him. If O’Sullivan hadlicensed his rights rather than assigned them he wouldn’t have had such aproblem. The licence would have come to an end because MAM were inbreach of its terms and he would still have had his copyright in his songs andmasters. So from the point of view of an artist, a licence should always bepreferable to an assignment, all other things being equal.There are two problems with this. The first is that the record companywill in many cases be the one who made the arrangements for the recordingto be made (i.e. paid for it) and so will be the first owner of copyright. Theartist may have his performing rights, but will probably not own thecopyright in the sound recording. The second is that record companies don’twant to do licence deals if they can take an assignment of rights instead.They have investments to protect. It can take up to a million pounds or morefor a major record company to launch a new act. They will want to own thecopyright outright. They don’t want to lose their rights when a licence ends,because these rights represent assets of the company and have money valueto the company. The longer they have them and the more secure theownership is the more value they have.The more successful an artist is, the more chance he has of being theowner of the copyright in the sound recording and in a position to license itto the record company. In production or partnership deals or joint ventures itis more likely that the artist and label will jointly own the copyright and maywell be in a position to keep that copyright and license it on rather thanassigning these rights away. The argument would be that the bigger label hadnot taken the commercial risk in investing in the making of the recordings soshould not take ownership either at all or unless the money paid issignificant.Exclusive and non-exclusive dealsYou might licence rights in a recording that you own to a record companyfor inclusion on a particular compilation only and probably on a non-exclusive basis. You might want to put the recording out yourself or licenseit to another company for a different compilation. You couldn’t do that ifyou’d given the first record company an exclusive licence. The sameprinciple applies to the grant of the right to put a recording in a film oradvert.On the other hand, you may be an artist or a small label that has recordeda track or an album yourself and own the copyright in it. You may not havethe financial resources to do anything with that recording. Perhaps you can’tafford to press up copies of it to sell or you can’t promote it properly. Youmight go to another record company for those resources. If they agree, thelicence is likely to be an exclusive one to protect their investment.The licence termHow long should the licence last? If it’s non-exclusive it doesn’t matter asmuch. An exclusive licence could be as long as the life of copyright or asshort as a year. Three- to five-year licence terms are common. The licenseewants to have long enough to get a reasonable return on his investment, butif it is a short licence term the licensor will get the rights back sooner andmay be able to re-license them to someone else (perhaps with a new mix) orrelease them himself. Most licence deals I’m doing at the moment are forfive years or longer with European and US companies often wanting seven toten years. As usual it’s down to knowing and using your bargaining power.TerritoryIt could be a worldwide licence or it could be limited to particular countries.If, for example, you’ve already licensed the rights exclusively to a companyin the US, you can only then grant other licences in the same recordings forthe rest of the world outside the US.A distinction used to be made between the UK and other Europeancounties, but one of the consequences of closer European integration hasmeant that Europe-wide deals, including the UK, are now more commonthan UK-only deals.There are people who specialise in trying to get you licence deals forparticular countries. They usually take a commission (called a finder’s fee)of 2–5% of the advances or royalties. Sometimes they also take a finder’sfee off the licensee for bringing the recording to them and so are rewardedby both sides. Nice work if you can get it.The main problem with individual-country deals is keeping on top of anumber of different licensees. Record releases and marketing campaignshave to be co-ordinated and there isn’t just one company to chase forpayment of royalties. The main advantage is that there is the chance tolicense the recording to the company that most wants it in each country. Youmay also be in the fortunate position of ending up with more in totaladvances from individual-country deals than you’d get from one multi-territory deal, and may also receive more than you need in contributions tomake videos or do remixes.OptionsWhen you’re doing a non-exclusive licence of a single track for acompilation, you don’t usually give the licensee any options to any furtherrecordings you may make. It’s usually a one-off.If it’s an exclusive licence for something other than just on acompilation, the licensee may be keen to get follow-up products. Thelicensee may be encouraged to invest more in promoting the first track oralbum if he knows he’s going to get the follow-up.When doing your exclusive licence deal, you can agree up-front the basison which you are going to give them any follow-up product or you can leaveit to be agreed at the time they exercise the option. This can be to theowner’s advantage if the first track has been successful, as his bargainingpower will be higher. It’s not a very certain state of affairs though and oftenleads to problems, so I don’t generally recommend it.Another possibility would be to give the licensee an option, which giveshim the opportunity to be the first to try and do a deal with you for thefollow-up. For example, you might deliver a demo of the follow-up and givethe licensee the exclusive right for a month to try and negotiate a deal withyou. If no deal is done in that time you can take it into the market place. Thisis called a first negotiating right.You could give the licensee a matching right. This is the right to matchany offer for the follow-up that you get from someone else. You have to tellthe licensee the details of the offer, and if the licensee matches or betters itwithin a given period of time then you must do the deal with him. This hasto be handled very diplomatically if you are not to seriously upset the firstrecord company making the offer that has been ‘matched’.Sometimes you do a combination of the two known as a ‘first and lastmatching right’ i.e. they get the first option to negotiate, if that fails you cango into the market place to seek a deal, if you get one you must first give thefirst company a chance to match it, if they do they get to do the deal. Againdiplomacy is the order of the day.EXCLUSIVE RECORDING CONTRACTThis type of deal may give you the greatest potential investment andcommitment from a record company but in return, of course, the recordcompany will expect to be able to protect its investment and is likely to seekgreater financial and creative controls.Development DealA variation on the exclusive recording deal is a development deal where therecord label signs an artist up exclusively for a period of time during whichthey may record some demos or enough tracks for an EP. The artist is givena recording budget and the means to pay for a producer but not usually muchby way of money to live on. It is not yet time to give up the day job. If thingsgo well with the development stage then the record label usually has theoption to decide to go on to make the rest of the album and probably thenhave options to more albums as in a normal record deal. If you get offeredone of these deals you may be disappointed that it isn’t a commitment to thewhole deal. But it is a foot in the door and if you make the most of it you canuse it as a stepping stone to your end goal. If they don’t proceed with thedeal you can ask for the demos back so you have at least got some wellrecorded material with which to continue your search for fame and fortune.It will be up to your advisers to make sure that whatever contract you areoffered is a fair one. It should also be in the record company’s interest. If thecontract is so unfair that it’s an unreasonable restraint of trade it will beunenforceable and you can walk away from it. Most major record companieshave now moderated their contracts to deal with this issue and, whileindividual cases will still arise of unenforceable contracts, you should neverenter into a contract thinking you can tear it up if it no longer suits you.Quite apart from this being a very negative approach it is likely that you willnot just be allowed to walk away and may get embroiled in a lengthy disputeor court case. Whilst this is going on it will be difficult for you to carry onwith your career and could stall it permanently.It’s likely under an exclusive recording contract that the sound-recordingcopyright will be owned by the record company, and the contract willusually confirm this. The contract will also make sure that the recordcompany will be able to exploit the performances by getting all necessaryperformers’ consents. So it is important that the contract is also balanced bysuitable controls over what the record company can do with the recordingsand performances.One thing you might not want them to do is to put your recording with anadvert for a product that you don’t approve of. I was once involved in a casewhere Sting was furious that a recording of his track ‘Don’t Stand So CloseTo Me’ was used in an advert for deodorant. Tom Waits also took exceptionto a use of one of his songs in a Levi ad. Not everyone wants, or perhapsneeds, to make money at any cost. In fact Tom Waits is something of a serialdefender of his image and creative output. You would have thought by nowthat advertising companies thinking of using his work or that of a sound-alike would have learned that he does not take kindly to this but yet againthis year he has had to take a company to court to protect his position.Term of the contractThe contract will usually run for an initial period of one year. The recordcompany will usually have a number of options to extend the contract term.In each contract period they’ll expect the artist to record a minimum numberof tracks. It could be single tracks or enough tracks to make up an album.The commitment is generally for an album unless it’s a development dealwhen they might call for five or six tracks to start with and then decidewhether to go for the balance of an album. Despite the fact that there hasbeen a growth in downloads of single tracks with over 2 billion dollars ofrevenue generated for record companies in 2006 according to the IFPI theemphasis is still very much on the delivery of enough tracks to make analbum. Indeed some artists/labels are refusing to allow their music to beavailable on the Apple websites because Apple will not commit to sellingtracks as a bundled together album as opposed to unbundling the tracks forsingle track downloads. About forty years ago singles were the norm andalbums consisted mostly of collections of previously successful singles.Whilst there is no sign at present that record labels are returning to thesedays the traditional seventy minute plus CD album consisting ofsingles/album tracks and tracks which quite frankly are ‘fillers’ may evolveinto something new – maybe a hybrid of a singles and an album deal. Eachcontract period is usually extended by up to six months after the artistdelivers the last of the recordings the record company wants. The moreslowly these are recorded and delivered, or the longer it takes to releasethem, the longer each contract period will be. It is however generallyaccepted that there should be a maximum backstop for how long each periodcan be extended. Otherwise the fear is that the contracts will beunenforceable as they are too open-ended and potentially a restraint of tradeThree or four year backstop dates are common.Why is it only the record company that has options?The record company will have invested a lot of money in making therecords. It will probably also have made videos and may have supported theartist while he’s been out touring. These costs are recoupable (i.e. the recordcompany gets some or all of them back from royalty from sales of records)but, if they don’t sell enough records, or the artist were to walk out of thecontract before the record company had the chance to recoup theirinvestment, then all these unrecouped costs would be down to the recordcompany.Then there are the promotional and marketing costs, which for a majorrelease can run into hundreds of thousands of pounds, as well as themanufacturing and distribution costs. In most deals these costs are non-recoupable from the artist’s royalties. If the artist could just up and walkaway from the contract whenever he felt like it the record company wouldn’tbe able to protect its investment, its business interests. This is why theoptions are in their favour not the artist’s.Why can’t you get your copyright back?It is easy to understand why a record company justifies its ownership ofcopyright in the recording by the fact that it’s invested a lot of money.What’s less easy to understand is why the company won’t transfer thatcopyright to the artist once they’ve recouped that investment. GeorgeMichael argued this point in his case with Sony, but the way the case wentmeant that there is no definitive decision on the point. Given the reluctanceof the courts in cases like Gilbert O’Sullivan’s to upset the economic order,it seems that the courts would be very unlikely to order a return ofcopyrights.Record companies claim that the vast majority of artists don’t recouptheir investment. Recent statistics suggest that as many as 95% of all artistsfail to achieve profitability. This is a depressing thought, and it is one of thereasons why the record industry is having such a massive rethink about howit makes money from artists who are successful. Falling CD sales because ofthe problems of free downloads means that unless they can either improvethe number of successful artists or get more money for the number who aresuccessful and preferably both then the doom mongers declare the end of therecord industry is nigh. I speculate a little more about this in Chapter 7 but ifanyone did have the magic answer then they would presumably already beapplying it and making themselves a fortune. In the meantime the rest of usstruggle on earning what we can and in my case facilitating the contractsthat provide the financial support for artists to sell records. Those contractsare for the foreseeable future going to insist that the record companies hangon to the copyrights of the small minority of artists who are successful aswithout these assets their companies become almost worthless. Recordcompanies also say that they have to spend a lot of money in researching anddeveloping new talent. If they had to return the copyrights of successfulartists they say they wouldn’t be able to invest as much in new artists in thefuture and that the culture of the nation would suffer as a result. Well, I canthink of a few bands that made barely a dent in the cultural richness of mylife, can’t you? But seriously though that is also not so true as it once was asmore and more record companies are not developing artists but are waitinguntil they are presented to them almost fully formed with a body of songs,many of which will have been recorded and produced to a high standard andwith an artist with professional managers or production companies in place.So this argument too is getting to look quite spurious. The reality is that youjust aren’t going to get those copyrights back unless you are a David Bowieor a Rolling Stone and even they would be less likely to achieve that if theytried it in the current climate.How many options should the record company have for future albums?Most major record companies in the UK want options on four or five furtheralbums.6 Independent record companies may accept less. That said, everynow and again one or two unusual deals occur where record companies havebeen so keen to sign up particular artists that they have done non-exclusive,one-album deals, with no options. In some cases the deals are seen as purelyshort-term deals to improve the record company’s share of the record salesin a particular quarter or before a company’s financial year end. A good orimproved slice of market share can significantly improve the company’sshare price and the A&R or label head’s end-of-year bonus, but in othercases it’s because the artist may not be perceived as having a five albumcareer ahead of them. If this turns out to be wrong and they wish torenegotiate then the boot will be on the other foot.The number of options, and therefore the overall length of the contract,is a key issue when considering if a contract is an unreasonable restraint oftrade.This issue was at the heart of a major court case between Holly Johnsonof Frankie Goes To Hollywood and his record company ZTT.7 (He also had asimilar dispute with the sister publishing company, Perfect Songs, which Iwill deal with in Chapter 4 on publishing deals.)ZTT v. Holly JohnsonHolly Johnson and the other members of Frankie Goes To Hollywoodwere unknown when they attracted the interest of the directors of ZTT,Jill Sinclair and her husband, the highly successful record producer,Trevor Horn. The band was broke and very keen to work with Mr Horn.They were told that ZTT would only do the record deal if they alsosigned an exclusive publishing deal with Perfect Songs. Now you mightdetect a whiff of undue influence here but, in fact, this point was notseriously argued in this case. The band signed up to both deals. Althoughthey were inexperienced and had very little bargaining power, they wererepresented by a lawyer who was experienced in music businesscontracts.Frankie Goes To Hollywood had two very successful singles with‘Relax’ and ‘Two Tribes’, both of which attracted a great deal ofcontroversy because of the subject matter in the case of the first and thevideo for the second. At one stage the tracks were Nos. 1 and 2 in the UKsingles charts. The band’s first album Welcome To The Pleasure Domesold well and produced two more hit singles. They failed to make asuccess in the US and by 1986 the pressure was on them for the secondalbum to be a success.The band had a lot of trouble with the recording of this album, to becalled Liverpool. Trevor Horn controlled the recording costs, he was therecord producer and the recordings were being made in his studios. Thecosts were escalating alarmingly and the band was horrified by howmuch they would have to recoup. After a lot of problems the band splitup but ZTT (and Perfect Songs) wanted to hang on to Holly Johnson.Johnson didn’t want to continue with them and sued on the grounds thatboth the recording and publishing contracts were an unreasonablerestraint of trade.The term of the record contract was for an initial period of sixmonths and was extendable by two option periods and up to five contractperiods, all in favour of the record company. Each contract period was tobe for a minimum of one year and extendable until 120 days after theyfulfilled their minimum obligations to the record company (known asthe Minimum Commitment). There was also no maximum extension ofthe contract period. It was open-ended and depended entirely on whenthe band fulfilled its Minimum Commitment.The Minimum Commitment was one single in each of the initialperiod, first and second option periods and one album in each of thethird through to seventh option contract periods. This is a very odd wayof structuring a contract, but basically it meant that if the recordcompany exercised every option the band had to record three singles andfive albums.The record company was free to bring the contract to an end at anytime. The record company also had the right to reject recordingsdelivered to it by the band. As the term continued until after delivery ofrecordings that were satisfactory to the record company, this meant thatthe record company controlled how long the contract lasted. There areechoes of this in the George Michael case.The court decided that the contract was one-sided and unfair and wasan unreasonable restraint of trade and unenforceable. It thought that thepotential term of the contract was far too long, as it could easily lasteight or nine years. In that time the court felt that the band wouldn’thave had the opportunity to earn a decent living from their work. Therecord company wasn’t obliged to do very much with the recordings.There was no commitment to release them. The court freed Mr Johnsonfrom the contracts and awarded him substantial compensation.As a result of this case, UK record contracts now almost invariably contain aclause committing the record company to releasing records in at least thehome country. If records are not released the contract usually gives the artistthe right to end the contract and sometimes to get the recordings back,possibly in return for an override royalty. This is not always the case outsidethe UK and I recently had to fight for a release commitment in a US deal Iwas doing.TWO-ALBUM FIRM DEALSIf you’ve enough bargaining power, it is possible to get a record company tocommit in advance to a second album. These types of deal are called ‘two-album firm’ deals. They are not currently very common. Record companiesare more likely to agree to these when they’re in competition with anotherrecord company or perhaps where they are licensing in a finished album (soknow what they are getting there) and are then more inclined to take the riskon committing to a second one but most record companies don’t want togive this commitment. They want to see how the first album does beforecommitting to a second. Some artists and managers favour them becausethey believe they provide commitment and certainty, which allows them todo some forward planning. Others feel they only work if things are goingwell. If things aren’t going well, the record company will probably try andget out of it after the first album. If your only alternative is to sue thecompany for failing to honour their side of the bargain, you’ll probablyagree to accept the offer they make to end the contract, so the commitmentmay not mean much in the end. Sometimes the record label will give thecommitment but will insert what is sometimes called a ‘disaster clause’where if the first album does not sell over a given number of units the recordcompany does not have to make the second album. To my mind this type ofclause negates the whole point of seeking the certainty of a ‘two-albumfirm’ deal.TERRITORY AND SPLIT-TERRITORY DEALSLong-term exclusive record deals will usually be offered on a worldwidebasis. This may be perfectly acceptable, particularly if the record companyhas a strong presence in most major markets of the world. However, becausethe US is a very different marketplace from that of the UK, an artistsometimes asks for what is known as a ‘split-territory deal’.This means that you do one deal with a record company for the worldexcluding the US and another deal with a different record company for theUS. To make these types of deal work the artist and his manager have tojuggle the demands of two record companies. Record companies don’t likedoing these sort of deals, because they say they need a worldwide market inwhich to recover their investment. They also say that their own companiesare strong worldwide and should be given the chance.Split-territory deals are therefore usually offered to artists withconsiderable bargaining power. Sometimes these deals are done because therecord company has a strong reputation in one part of the world but not inanother. A US branch of a UK record company may not have a track recordin ‘breaking’ non-US artists in the US. However, it is doubtful that withoutsome strong bargaining power behind you you will succeed in getting a split-territory deal even in this situation.Smaller record companies may not have their own offices in all parts ofthe world. They may have a network of licensees in different countries.Those licensees might take all the records they produce. These are calledcatalogue licence deals. Alternatively, the UK company may look fordifferent licensees for each artist. For example, the UK record companycould do a deal with Atlantic Records in the US for all its acts or it could doa deal with Atlantic for its mainstream acts and with a smaller label for itsindie acts. Whatever the situation, you need to know who the licensees aregoing to be. They need to be well-established, trustworthy companies thatwill do a reasonable job of selling your records in the country concerned. If alicence deal isn’t in place in a particular country when you do your recorddeal, you should have the right to approve that part of the licence deal thataffects you at the time the licence deal is done. I recently successfullyargued for this right of approval when the label my client was signing to wasin the process of renegotiating its international licensing set-up and socouldn’t tell us who would be releasing the album overseas.Smaller companies use overseas licence deals to help to fund theiroperation in the UK. For example, a company in Germany could pay anadvance against the royalty it expects to pay on sales of records in Germany.It may also pay a contribution to the cost of doing a remix in return for theright to use the remix in Germany. If the artist does a promotional or concerttour in Germany, the German licensee may provide some financial back-up.If you have a small low-key deal in the UK with a label that can’t afford topay you very much up-front, you could ask that some of the advances paidby overseas licensees of your recordings should be paid through to you. Forexample, if the German licensee paid an advance against royalties of!100,000 you might get 25% (i.e. !25,000). This will help to make up for thelow advances in the UK. This is something that should be negotiated at thetime the original UK record deal is done.NEW FORMS OF RECORD DEAL360 dealsAt the time of writing these are the ‘flavour of the month’ deals. They arenot new – variations on them have been around for years. The RobbieWilliams deal done in 2002 was a particularly striking example of one ofthese deals but only now, some six years later, are they starting to filterdown into the mainstream. Very few artists have been able to attract dealswith the big numbers involved in the Robbie deal and most of these deals areat a much lower level. The one that is causing considerable discussion at themoment is the deal Madonna has struck with promoters Live Nation. This isdealt with in more detail in Chapter 10 dealing with touring.So what are these deals? They have acquired the name 360 because theyinvolve all important aspects of an artist’s career. A record label may say toan artist – in effect – ‘We cannot make enough money just from selling yourrecords to justify the level of advances, royalties and recording costs youwant us to pay. We cannot invest the kind of marketing budget this recordneeds because we can’t make enough money from record sales alone. So ifwe are going to sign/extend your record deal we can only do so on the basisthat we also get a share of the money you make from other activities.’ Theseactivities might be song-writing but more commonly it means they want ashare of the money the artist makes from selling tickets to their live concertsand selling merchandise at those concerts. Sometimes it also extends to anysponsorship deals the artist may do for that concert tour. The reason therecord labels have latched on to this is because at the moment the liveindustry is doing well in relative terms. Prices of tickets to live eventscontinue to rise and with fans spending another £20 or more a head onmerchandise once they get to the concert this is currently proving a verylucrative business for the artists. The record companies have convincedthemselves on the rightness of their stance by the fact that they feel it istheir work in promoting the album and the artist that is at least in partresponsible for the artist being able to sell so many concert tickets andtherefore they should share in that money.These 360 deals can take a number of forms. The record company mightjust tack on to their already long recording contract clauses which give thema share of income from things like the artist’s website, merchandising,sponsorship and ticket sales. The artist agrees to pay over a percentage ofthis income together with supporting statements which the label can check.The percentages are variable with figures around 10–20% being common but50% not being unheard of. In these types of deals the record label doesn’tinterfere, but just selects a share of the money. In other cases the recordlabel may insist that it controls things like the merchandising andsponsorship deals which the artist does. It is here that many artist advisersstart to get more nervous as this gives the record company a great deal ofcontrol over the artist’s wider career. The Madonna deal outlined in Chapter10 goes still further as she has signed such a deal not with a traditionalrecord label but with her live promoter who will in future be releasing herrecords.One deal that I did in the last year was an innovative variation on this360 model which involved the artist and the label setting up a partnershipwhich would hold assets like recording, trademarks, videos, artwork, butwhich the artist ultimately owned. These assets were licensed to thepartnership for a period of time before going back to the artist. Thepartnership embraced records and all other activities that the artistundertook in the entertainment industry excluding song writing as that dealhad already been done. There was however no other reason why song writingcould not form part of such an arrangement if all agreed. The partnershipwas initially funded by the record label ‘partners’ and it is a net profits deal.So far reasonably similar to other production deals with added income-producing areas. Where it got innovative was after the contract term ended.The artist would then be free to go off and sign to another company if hewished but for a period of time after that the artist would continue to pay apercentage of his profits from live work and other non-song writingactivities back to the record label ‘partners’. This deal is not for everyonebut it has now been picked up by an influential US label and so we may seemore of them in future.Many managers are up in arms at the 360 model because they see it asthe record label taking slices of income that traditionally they are notentitled to and arguably therefore reducing the monies that the artist receivesand which are then commissionable by the managers. However, as I saidabove in relation to production deals, these deals are very common at themoment and it is rare these days for new start-up labels not to at least beadvised to consider whether they should spread their risk by taking a shareof other income. This must not however be confused with deals where theartist is signed exclusively for recording, song writing, merchandise andsponsorship to one or more companies controlled by the same people whomay also manage the artist. These are variations on the production dealsdescribed below and should be very carefully handled as unless conflicts ofinterest are adequately addressed they are deals just waiting for an artistwith a bit of money to challenge in the courts.Production DealsAs I’ve already mentioned a type of recording deal that has grownsignificantly in importance over the last five years is the production deal.This is usually a form of an exclusive recording agreement for the world butwhere the record label is an offshoot business of a record producer orrecording studio owner or a manager who has access to cheap recordingfacilities or a fan or a song writer who has decided to set up his own ‘label’to record an artist he has found who he thinks is talented. These productioncompanies may be partially funded by a bigger company and act as a talentoutsource e.g. their studio rent and other office overheads may be wholly orpartially met by the record label (Heavenly is one of these labels and issupported by EMI) or they may be self-financed. Sometimes the fundingcomes from venture capitalists that set up schemes to invest in artists andlabels and in so doing exploit legitimate tax arrangements to maximise theinvestors’ tax breaks. Companies such as Ingenious are heavily involved inthis and amongst Ingenious’s recent investments have been a label ventureby IE the managers of Robbie Williams and the label appropriately namedIndependiente. Many more are self-financed or use what we call ‘friends andfamily’ funding – which as its name suggests means funding provided not byofficial financial institutions but by people known to the label owner. Theseproduction companies aim to exclusively sign up artists at an early stage intheir careers before there is too much interest in the industry leading to abidding frenzy. So the advances and recording budgets are likely to be low.The production company will expect to own the copyright for life ofcopyright and to have at least a couple of options to extend the contractbeyond an initial period. The aim of these production companies is either torecord up to say five tracks to good demo or master quality and use these totempt a bigger company to come on board or the production companyrecords and releases some tracks themselves in order to hopefully create abuzz and have the bigger company come along and either buy the contractoff them or license the rights off them exclusively in return for aninvestment into marketing and promotion and reimbursement of recordingcosts. The production company will obviously also hope to make a profit onthe dealThere is some debate amongst managers and their legal representativesas to whether these production deals are a good thing. I tend to take thepragmatic view that these structures are here to stay and if this is the onlytype of deal on offer you should think carefully before turning one down.There may seem to be a distinct advantage in signing direct to a bigger label,not through a small production label. On the other hand at least you are veryimportant for the small production company who is likely to give you moreattention and perhaps more creative control than you might expect from abigger label with other artists to also deal with. The big potential downsideis that many of these deals are on the basis that they share net profits withthe production company and usually that will be a 50:50 equal split.Sometimes it is a little more in the artist’s favour but in the early stagesmany are 50:50.In an ordinary royalties deal only the recording, video costs and personaladvances and possibly a percentage of independent promotion and toursupport is recoupable from royalty earnings. With a net profits or netreceipts deal all costs are recoupable.With an ordinary royalties deal the record company recoups therecoupable sums just from sums earned in royalties. With a net profits or netreceipts deal all costs are recouped from all income attributable to therecording i.e. including advances/fees paid by licensees, the recordcompany’s share of earnings etc.So all the income generated by the recordings goes to recoup all theexpenses and any profits or receipts left at the end are divided betweenrecord company and artist in the agreed proportions. The division is usuallya minimum of 50:50 but can go considerably higher in the artist’s favourwith 75:25 splits being not unheard of.At the outset, net profit or net receipts deals can work quite well for therecord company, as that is when costs are high. The record company s t i l lbears the risk on costs initially, but it doesn’t pay out anything to the artistuntil the deal goes into profit. Also, the record company gets to recoup costsit wouldn’t normally be entitled to offset against you, such as manufacturingcosts. You can still receive an advance to live on. Where these deals start tobecome less attractive to a record company and much more attractive to theartist is when the initial costs have been recouped and ongoing costs aregoing down. If the record continues to sell well and you’re on 50% of moreof profits, you’re doing considerably better than you would be if you were ona straight royalty basis.Such deals almost inevitably benefit the label in the early days becausethey do not have to pay the artist anything until the deal goes into profit.This means they have all their costs of recording, manufacturing anddistributing the records repaid first as well as things like press andpromotion costs. Only once all those costs have been recovered and theproject goes into profit do profits start to get shared. If the artist has had anadvance against his share of profits he will have to also repay that before hesees anything more. Once the costs have been recouped and start to tail offthen if the records continue to sell the label in theory should be makinglarger profits. These profits are then shared with the artist who stands to domuch better out of it than he would if he were on a royalty from a biggerlabel. So if costs are kept under control and the record sells both sides standto do very well.Where the scales tend to tip away from the artist is if the productioncompany sells on the contract to a bigger label. The production companymay then recover some or all of the costs it has paid out for recording and sois doing quite well but may not yet be in profit so perhaps the artist may nothave seen any more money at this point. The bigger label is not likely to do anet profits deal. They are much more likely to pay a royalty to theproduction company – let’s say 22% of the dealer price of the records. Thatthen is the ‘net income’ that comes into the production company for sales ofthese records. That 22% is then what the production company shares withthe artist. If it splits it 50:50 the artist is, if you like, on the equivalent of a11% royalty deal. Now that doesn’t sound so good does it? So it is often thecase that the lawyer for the artist will ask for an increase in the sharepayable to the artist to say 70% if a deal like this is put in place to give theartist a better ‘royalty equivalent’ deal. Even though it may seem that theartist has not done as well here as he would have with the bigger label thatbigger label was not showing any interest at the time the artist signed; theproduction company invested in the future of the artist and maybe helpednurture their creativity – so is it wrong to say they shouldn’t get a fairreward for that investment? You decide.OTHER ASPECTS OF RECORDING CONTRACTSNow that I’ve looked at the main types of deal and some of the things thatdistinguish them, I want to look at some aspects of contracts that arecommon to all types.DELIVERY REQUIREMENTS – MINIMUM COMMITMENTEach type of record contract has a minimum that is required from the artist.Licence deals can be for single tracks or albums. Development deals maystart out as being for four or five tracks and then develop into a commitmentto record albums. Exclusive album deals can either be for a single track oran album initially, usually with options to acquire further product.Production deals will be either for four or five tracks with options on furtherrecordings or an album commitment with options. One of the artist’sobligations is to deliver the required minimum number of recordings.This obligation may be simply to deliver the masters of these recordingsto the record company. More often, however, the commitment is notfulfilled until the record company has agreed that the recordings meet therequired standards. As we saw in the George Michael and Holly Johnsoncases, if these standards are not met the company can reject the recordingsand make the artist re-record them until they are satisfied. It’s important thatthese standards are realistic and that they’re set out in the contract. Theycould be technical requirements or commercial ones or a combination ofboth. What you should try and avoid is a subjective standard. This issomeone else’s view of whether the recordings meet the required standard orwhether the recording is commercially satisfactory. What a record companyexecutive thinks is commercially acceptable may not be anything like yourown views on the subject. It’s best if you can try and set an objectivestandard, a standard against which the quality of your recording can bemeasured. For example, measuring it against a recording of the artist’s thatthe record company has previously accepted as being satisfactory.It’s also usual to try and put a time limit on when the record companyhas to give an answer as to whether a recording is satisfactory. It must be arealistic time period, as the company may have to go through various stagesand processes before it can give an answer. The A&R man will have to listento it and probably play it to his colleagues at the weekly A&R meeting. Hemay talk to record producers to get their view of the recording. He’llprobably talk to the artist’s manager for his views. He may have a hunch thatthe record could be improved if one or more tracks are remixed by someoneother than the record producer or original mixer. Depending on the contract,he may have to get the artist’s permission before he does that. The contractwith the record producer may mean that he has to give him the first chanceto remix the track in question. Now obviously it’s unlikely that the A&Rman will be hearing the recordings for the very first time. He is likely tohave been involved in the process to a greater or lesser extent at an earlierstage but nevertheless this approvals process takes time.Once the record company is happy with the standard of the recordings itmay say that the recordings have been accepted and that the MinimumCommitment has been fulfilled, but most companies want more informationfrom you before they do that.Acceptance or fulfilment of Minimum Commitment usually means thatthe record company has to start planning the release and maybe has to pay afurther instalment of the artist advance. The record contract may set a lastdate by which the record must be released. The record company won’t wantthat time to start running until they’re in a position to start the processes fora release. This means that they usually require you to hand over a number ofother things before delivery is said to have taken place and before theyaccept the recordings. This could be artwork for the packaging of therecords, details of who performed on the masters, and confirmation thatthose performers have given their performer’s consents. If there are samplesof anyone else’s recordings or songs in the masters, the record company willwant to know that you have permission from the copyright owners of thoserecordings or songs to use the samples (see Chapter 13). If permission to usethe samples hasn’t been agreed then the record company can’t put therecordings out without being in breach of copyright. With a production dealit is likely that the delivery of the five or more tracks will start the timerunning for when the production company has to get a bigger company onboard, release the records themselves, or release you from the contract. Sothey are going to be pretty sure they have all they need before they officially‘accept’ the recordings.Because it’s important to know when a recording has been accepted, Ioften ask the record company to agree that the recordings are said (deemed)to be accepted if the record company has not said that they aren’t within fourto six weeks of delivery of the masters, artwork etc. to them. Depending onhow long they think it will take for them to go through the acceptanceprocess, they may agree to this or they may not. With a production deal youare more likely to be closely involved in the whole process with the labeland you choosing songs, producer, remixer etc. together. There is less likelyto be a very formal procedure for notification of delivery and acceptance insuch cases but they will still want to know they have all the parts theyrequire to get a release and the artist will still want to know that he has doneall that is required of him for the moment.ADVANCESFor many artists this is one of the most important issues. Remember thatthese monies will have to be recouped out of the royalties earned from salesor other uses of the recordings. Unlike a loan, however, advances aren’tusually repayable if the record company doesn’t sell enough of the records.That’s the record company’s risk. If, however, the artist takes their moneyand then doesn’t deliver any recordings, the record company may try andcome after you to get the advance back. If it’s all gone, they may not botherto sue because it would cost them more in legal fees than they would getback. I wouldn’t like to rely on them not suing though.What’s a good advance on an exclusive recording agreement?A good advance is one that meets your needs. You may only care aboutgetting as much money as possible and aren’t concerned if you never sellenough records to recoup. There are a lot of cynical managers with that viewin the business – take the money and run. In that case you’ll just be lookingfor the most money you can get up-front. It’s a short-term view because thegreater the record company’s investment in advances, the more pressurethere is going to be on you to perform and the more likely it is that therecord company will want to dictate to you. If you go for a more reasonableadvance payable in reasonable instalments, the record company may put youunder less pressure to deliver. You should also recoup the advances soonerout of your royalties. Because so few artists recoup advances and costs, thiswill put you in a strong bargaining position with the record company. I have,however, recently heard a very successful and influential music managertake completely the opposite position. His view is that an artist who hasproved that he can sell records if the record company does its job properlycan get more commitment out of a record company by being unrecouped, asthis will encourage the company to work harder. This could well be the casewith certain labels or individuals, but I’m not convinced that this applies toeveryone, particularly in the current climate when so few artists are gettingbeyond their first album. One of the reasons the contract does not go furtheris because overall it is just too expensive. A prudent manager wouldconsider renegotiating if the label was otherwise a good bet to stay with. Ifhowever the A&R or MD who signed the act is no longer there then you maybe better off cutting your losses, walking away from the debt and trying tostart again.Whatever the position on recoupment, a good advance is going to be onethat allows the artist to live and have a roof over his head for at least a year(preferably eighteen months) while the recordings are being made and thenpromoted. It’s a good idea for the artist or his manager to do an outlinebudget of what he may need.If a manager is only interested in getting as much of the advance aspossible as early as possible as an artist I would be suspicious. Is he onlyconcerned about his commission? Is he only in it for the short term? Doesn’the expect to be around when the record is finished or when it’s time for theoption to be exercised? Whose interests is he looking after – the artist’s orhis own? It may be a perfectly legitimate approach, but don’t accept itwithout question. If he’s pushing for a very short deal with most of themoney up-front, is it an agreed approach of ‘take the money and run’ ordoesn’t he have faith that you can cut it beyond one album? You may accepta lower advance in return for other things such as greater creative control.It’s possible to get both, but usually only when you have a lot of bargainingpower. If you go for a lower advance you should also be able to argue for ahigher royalty and this argument also holds good in production deals but donot expect the production company to necessarily move beyond a 50:50 dealin the early stages.Min-max formulaThe level of advances payable could be calculated according to a formula(called a ‘min-max formula’). Under this formula a minimum advance ispayable to the artist and a limit is also set on the maximum the companywill pay. The actual amount is calculated as a percentage of the royalties theartist earns. The formula usually applies from the second contract period oralbum onwards. This method of calculating option period advances is oftenfavoured by production companies as it allows them to reward sales success.At the beginning of the second contract period, the record company looksat how much the artist has earned from sales of the recordings he made inthe first contract period. It then takes a percentage of that and, if the amountthen arrived at is more than the minimum and less than the maximum, thenthat is the advance payable for that period. For example, in the twelvemonths following the release of the first album the artist may have earned£100,000 in royalties. The formula for calculating the advance for thesecond contract period is linked to 66% of those earnings; 66% of £100,000is £66,666. The minimum advance payable in the next contract period is,say, £50,000. This is above that. The maximum advance payable is, say,£100,000, but it’s not got to that point so the advance payable is £66,666.This formula can work and many record companies favour them becausethey give them a degree of certainty for budgeting purposes and a paymentlinked to success. The artist needs to make sure that the minimums areenough to meet his minimum living requirements. In the example I gaveabove, could he live on £50,000 for a year or longer in the second contractperiod?The maximums are usually double the minimum, but may be more inlater contract periods. Is the maximum a reasonable advance if the artist isdoing very well? To be honest, I don’t worry about the maximums as muchas the minimums. If you’re hitting the maximums it’s because the artist isdoing well and the record company is more likely to want to keep him happyby renegotiating these figures upwards.Payment termsAdvances are normally paid in instalments, usually one on signing the deal,another when the artist starts recording the Minimum Commitment for thatcontract period, and the final instalment either on delivery of the completedrecordings to the record company or on commercial release of therecordings. With a production deal the later instalments may be linked to theproduction company getting a bigger company on board. As the releasecould be some months after delivery, the artist will want the final instalmentto be paid on delivery. The record company may want to protect itself byonly paying the last instalment when the record is released, when there is areasonable prospect of record sales reducing its financial exposure.However, a lot can happen between delivery of the finished masters and theirrelease. A client of mine once delivered finished masters to the recordcompany and they were accepted. A few months later, and before the lastdate on which the record company had to release the recordings, thecompany closed down and the copyright in the client’s recordings wastransferred to another record company. That record company then hesitatedfor a few months more about whether or not they were going to release thealbum. In the end the artist’s manager asked me to send the record companya formal notice under the terms of the record contract requiring the recordcompany to release the album and pay the final instalment due under thedeal. When the record company got the notice it rang me up and said that ithad decided that it didn’t want to release the album. It offered to give myclient the copyright in the album back in return for an override royalty untilsuch time as it had recovered the recording costs that had been spent on thealbum. The client and his manager decided to take this offer, but more thanseven months had passed since the recordings were delivered and the artistdidn’t get the advance due on release of the album. From the artist’sperspective therefore it would have been better to have payment linked todelivery of recordings not their release.Costs-inclusive advancesThe advances I have been describing so far are called personal advances.They go towards the artist’s personal needs. The costs of making therecording are separate recoupable amounts (see Chapter 5). The recordcompany may offer an advance, which includes the costs of making therecordings. These costs-inclusive deals are often called ‘recording-funddeals’. Both artist and the record company have to be quite careful that theamounts advanced under a recording-fund deal are at the right level. Theartist has to be sure that he can make the album he wants to make with theavailable funds and still have something over to live on. Often, costs-inclusive deals work out at less money than one for a personal advance plusrecording costs, unless the artist can record very cheaply. The recordcompany has to know it’s not being too generous but also that the artistwon’t run out of money before the recording is finished. If he does, therecord company inevitably ends up paying out more money if it wants to getthe recording finished. Recording-fund deals can work for establishedartists, for those with their own recording facilities or more mature artistswho can be relied on to make the recording without spending all the moneyon themselves. I have recently successfully negotiated just such a deal with acompany in the EMI Group. The artist had a track record of making recordsand the manager was very experienced and respected by the record company.It’s worked out well for the artist, as much of the recording was done in ahome studio.RECORD BUDGETSIf a record company is not offering a recording-fund deal you’ll need to havesome idea of how much it’s going to cost to make the recordings. You needto know that the record company is committed to spending that amount ofmoney. If you’re doing a licence deal you’ll usually have already finishedmaking recordings, and so the issue is whether they will compensate you forthe costs you’ve incurred. So you need to know what you’ve spent.The budget must take into account how much it will cost to rehearse thematerial, to do any necessary pre-production (preparation for recording andprogramming), to record the material in the studio, to have it produced,mixed and edited. Some record companies include the cost of cutting ordigitally mastering the recording in the budget. This can add thousands tothe deal so, if the budget is tight, try and get them to pay for that separately.You also have to bear in mind the cost of hiring in specialist equipment andengaging the services of additional musicians and vocalists. The budget alsousually includes what are called per diems, an expression meaning a dailyexpenses payment to cover food and drink and sometimes also transport toand from the studio.The record company may commit to a guaranteed minimum spend onrecording costs in the contract, but most are reluctant to do that. This iseither because they’re afraid they may get it wrong, or because setting aminimum figure means you tend to spend that amount of money whether it’snecessary or not. On the other hand, you’ll want to know the record companyis committed to a particular level of spend so that you know that you canmake the kind of record you want. Both sides have to be realistic. It’s nogood a record company thinking you can make an album for five pence, butneither is it any good you thinking the record company will let you have ablank cheque. This is where a decent recording budget is invaluable.Recording costs are usually fully recoupable. There are, however, someelements of the recording cost budget that may be wholly or partially non-recoupable. A classic example is the costs of remixing. Mixing costs arevery expensive. If you’re on a tight budget these costs can take a lot out ofthe total. The record company may want to commission a remix that youdon’t think is necessary. Who is to pay for this and are the costs to berecoupable? Some record companies will agree that the first mix comes outof the recording budget as does any remix that you want to do, but if therecord company wants to do additional remixes they pay that on top of therecording budget. So, you know what to do – make sure it’s the recordcompany that asks for the remix, not you.ROYALTIESThis could be the subject of a whole book in itself. No two companiescalculate royalties in exactly the same way. This is an area where there isreally no escaping the need for experience and legal advice.Record company executives usually have guidelines as to what is or isnot allowed. Certain top artists may have been given ‘favoured nations’terms. This means that they have the best deal that the record company canoffer on that particular point. If any other artist is offered better terms bythat record company, the artist with the ‘favoured nations’ provision mustalso be given these better terms. As this has potentially huge financialimplications for the record company, an executive crosses these boundariesat his peril. It may be impossible to do so and will definitely requireagreement from someone high up the corporate ladder.Retail versus dealer priceYou need to know what price basis the record company is using to account toyou. An 18% royalty on the retail price of a CD would be good, but 18% onthe dealer price of the CD would be just average.Until about ten years ago, the majority of UK record companiescalculated their royalties as a percentage of the retail price of the record inquestion. However, the retail price is not within the record company’scontrol and varies considerably. Most UK companies have, therefore, movedover to using the dealer price of the record as the basis of calculation.Outside the UK and in particular in countries like Japan and the UnitedStates, they have very different methods of arriving at a dealer or‘wholesale’ price basis. In order to make a proper comparison, you shouldask the record company to give you the actual figures they are talking aboutso you can do what is sometimes known as a ‘pennies’ calculation. Thismeans that you can calculate roughly what you’ll get from each record sold.This calculation is essential when you’re trying to compare offers from morethan one record company. It’s also important for a record companyexecutive trying to make a deal to know how much he will have to pay inrecord royalties per record sold. He or his finance officer will need tocalculate how many records will need to be sold before the advance theyoffer will be recouped. It has to make some kind of commercial sense evenif the A&R man is so determined to do the deal that he wants to pay over theodds. At least he’ll know what he has to aim at in terms of record sales.What percentage of sales?Is the royalty calculated on all records sold or a lesser percentage? Manyrecord companies build in a ‘free goods’ allowance of up to 15% of totalsales on which they do not pay a royalty.Packaging and other deductionsThe most common deductions are packaging deductions, sometimes alsoreferred to as container charges. This is a charge supposedly to cover thecost of making the cases or other packaging in which the record is sold. Inreality, the actual cost is usually far less than the average packagingdeduction and is a way by which the record company artificially reduces theroyalty paid to you. These deductions must be taken into account in order tocompare offers from different companies. An average packaging deductionfor CDs is 20%, although many companies charge 25%. More and morecompanies – including EMI and BMG before it was merged with Sony –dispensed with packaging deductions altogether as part of a drive for simplercontracts and greater transparency. Whilst I am all for that the problem isthat, because not all labels have adopted this approach, many are stillmaking a packaging deduction and therefore comparing like with like is verydifficult. A royalty rate offered by a company which does not deduct apackaging allowance may seem low and uncompetitive until you take thisinto account.Other traps for the unwary are the reductions that some recordcompanies apply to certain types of records. For instance, sales by mailorder, through record clubs or at budget prices will be at a lower royalty rate.The principle behind all these deductions is that, where the record companygets less than the full price for a sale, it will reduce the amount payable tothe artist on that sale. A record sold as a budget record will usually attract a50% reduction in the royalty rate. A 50% reduction also applies to recordsadvertised on television, sold by mail order or through record clubs. Thereduction in the royalty for mail-order sales is important when you think thatmany companies will now offer mail-order sales over the Internet. If thisbecomes the established method of selling records then we ought to lookagain at whether or not a 50% reduction is appropriate.A detailed exploration of all the royalty reductions is beyond the scopeof this book. Your lawyer and accountant will be familiar with these. MostUK record companies usually apply the principles behind the reductions in asimilar way, but the details will differ a great deal.What’s a good royalty?As a very general guideline, a basic royalty of more than 18% of the dealerprice calculated on 100% of records sold with no reduction for CDs and apackaging deduction of no more than 20% would be acceptable. It’s unusualto see royalty rates of more than 24% of the dealer price for new signings toexclusive record deals. However, royalties on licence deals could wellexceed 24% on the above basis, because the record company is getting afinished recording and can assess the commercial potential upfront. Therecord company also hasn’t taken any risk on the recording costs. On non-exclusive licence deals between record companies, for example for acompilation, the royalty may well be more than 24% of the dealer price withno packaging deductions, because they recognise the deduction for what it is.RELEASE COMMITMENTSObviously, once the album has been delivered and accepted it would be goodto have some kind of assurance that it’s going to see the light of day and notjust sit on the shelf. You need a commitment from the record company torelease the record in at least the home market and preferably also the mainoverseas markets. The release should usually take place within four to sixmonths of delivery of the masters. If it doesn’t, the usual remedy is to servea notice telling the record company that if it doesn’t release the recordwithin another two to three months then the artist has the right to end thecontract and not have to deliver any more masters. Even better would be acommitment from them to return the unreleased masters to the artist(perhaps in return for an override royalty until the recording costs have beenrecouped).Some record companies don’t want to do this, because they would rathernegotiate such things at the time. They may also want to hold on to themasters in case another company has better luck in making you successful.They then have back catalogue material they try to release to cash in on thissuccess. I think this is pretty daft because, although the tried and true fanswill buy all records, there’s no artist to promote the record so it’s unlikely togo very far. Sometimes they hold on to the unreleased masters in order to tryand sell it to the artist’s new record company at a later date and this strategyis often successful.Overseas, if the record isn’t released within four to six months of the UKrelease (depending on the contract – it might be longer if it’s a small label)you can serve another notice of thirty to sixty days; if there hasn’t been arelease the artist may have the chance to find a licensee and make the recordlabel then license it to that company to release. They’re unlikely toautomatically give the masters back, as they know it’s difficult to make theiroverseas companies or licensees release recordings. It’s mad though if youthink about it – why bother to do a worldwide deal if you can’t evenguarantee that your sister companies overseas will even release the recordsin their territory? It’s all part of that argument, ‘We have to do this becausefor the few that are international artists we would look stupid and get fired ifwe didn’t have world rights.’ACCOUNTINGThe artist should get paid at least twice a year, possibly four times withsmaller companies doing their own distribution. The accounts statementswill be sent out sixty to ninety days after the accounting date. If all advancesare recouped (oh happy day!) the statement will have a cheque with it –yippee! If you aren’t certain what the statement says, check it with youraccountant. If he doesn’t think it’s right you should challenge it, but don’tleave it too long as you probably can’t object after a period of time, say oneto three years. You have the right to audit (inspect) the books at least once ayear. Send accountants in to audit if you’ve had a successful period or at theend of a deal that has gone well.WHAT HAPPENS IN A PRODUCTION DEAL WHEN ABIGGER COMPANY COMES ALONG?Well, first the production company either sells or licenses on the rights ithas in its deal with the artist and the rights it has in any recordings it hasalready made, to the bigger label. This is either an outright sale where theproduction company steps out of the picture on an active level and passivelycontinues to earn its income from future sales or it remains as an activemiddleman. The decision is usually made between the bigger company andthe production company but as we will see below the artist may have anindirect say. If the production company stays in the picture the biggercompany does a contract with the production company and not direct withthe artist. It pays the production company an advance, maybe reimbursementof specific costs such as recording costs already incurred and a percentage offuture royalties. Out of these monies the production company pays what isdue to the artist under its separate contract with the artist.If the production company drops out of the picture the bigger label doesthe deal direct with the artist and a separate deal with the productioncompany for its share of future earnings. In the latter case the artist is free tonegotiate new terms. In the former case where the production company staysin the middle the artist is generally stuck with the original production dealhe did so it is important that that contract anticipates that this is going tohappen and ensures the artist gets a fair share going forward. This mayinvolve a bigger percentage of the profits going forward and/or a slice of theadvances paid by the bigger company.There is also a small window of opportunity for the artist to attempt arenegotiation of his deal. The bigger company will usually want the artist toconfirm that it won’t lose out if the artist and the production company fallout at a later stage; or if the production company goes bust or doesn’t wantto continue with the artist whilst the bigger company does. This document,called an inducement letter, allows the artist a little bargaining power as it isimportant to the bigger company that it is signed. Therefore the artist has anopportunity to try and improve his terms a little bit.CONCLUSIONSThere are four main types of record deal – licences, development deals,production deals and exclusive recording agreements.With each type of contract you need to work out how much exclusivityyou’re going to give and what territory the contract is to cover.Advances against royalties can include recording costs or these can bedealt with separately. Recording and personal advance budgets areuseful in setting the level of the deal.Royalties can be calculated on the retail or the dealer price of therecord. It’s important to establish which, as it makes a great deal ofdifference to the deal.Some record labels no longer deduct the cost of packaging. It isimportant to know this as it can explain what may otherwise seem apoor royalty.Record contracts often contain reductions in royalties on certain typesof sale or method of distribution.Net profits deals work for the record company at the beginning but thescales can tip in favour of the artist after the initial costs have beenrecouped.New types of recording deals based on the artist sharing income fromhis other activities (360 models) are emerging which may work for youeither once you are a successful artist or as alternatives.1 Macaulay v. Schroeder Music Publishing Co. Limited (1974) 1WLR 1308,HL.2 Panayiotou v. Sony Music Entertainment (UK) Limited (1994) EMLR 220.3 Section 16(2) CDPA.4 Sections 17-27 CDPA.5 Directive 2001/29/EC.6 In the US options for six or seven further albums are commonplace.7 Zang Tumb Tum Records Limited and Perfect Songs Limited v. HollyJohnson [1983] EMLR 6. Chapter 4What Is A Good Publishing Deal? INTRODUCTIONIN THIS CHAPTER I’m going to look at what rights a songwriter has and whathe can expect from the various types of publishing deals. I’m going to askwhether you need to do a publishing deal at all. If so, whether, ideally, itshould be before or after you’ve done your record deal. Just as we have seenwith recording deals there have also been changes in how publishing isviewed by the smaller operators and there has been a move amongstmanagers and smaller record labels to also take an interest in publishingrights. I will explore how they do this and whether or not I think this is agood idea.Before I go into any detail about the contract, I need to look at how youfind a music publisher, what a music publisher actually does, and what rightsa songwriter has. You will not be surprised by now to learn that the doctrineof restraint of trade comes up here too. Since the last edition of this bookthere have been a number of significant cases to do with publishing rightspossibly reflecting the greater interest in songwriting as a source of income.As well as looking at some restraint of trade cases these new cases will bedealt with in full below.HOW TO FIND A MUSIC PUBLISHERMusic publishers employ A&R people and scouts in the same way as recordcompanies do. They’re on the lookout for talented songwriters who eitherperform in a band or as a solo artist, or who mostly write songs for otherpeople. Hopeful songwriters send demos to publishing companies in thesame way as record companies.You can find lists of UK music publishers in the Music Week Directory(see Useful Addresses). All the major record companies also have well-established music publishing companies within their group of companies.For example, there is an EMI Records and EMI Music Publishing. There hasbeen a spate of mergers in the major music publishers in the last few yearsand threats of significant changes with others. Universal Music Publishinghas acquired BMG Music Publishing in a move which was initiallyscrutinised by the European Commission but which was subsequentlycleared on the condition that Rondor UK, Zomba UK, 19 Songs and BBCMusic were sold off. When Guy Hands’ private equity group Terra Firmabought EMI for £2.4billion in 2007 there was rampant speculation that thedeal would be funded at least in part by the sale or securitisation(mortgaging) of the EMI publishing catalogue. So far this has not happenedand the focus seems to have moved away from this as a source of revenuebut it must remain a significant possibility. There is also talk that if Warnersand EMI were to ever conclude their long on-off, love-hate courtship thatthis too might result in the sale of certain assets such as the Warner Chappellpublishing catalogue either to raise funds or to reduce the likelihood of themerger being rejected on monopoly grounds. So we are now down to fourmajor music publishers: Warner Chappell, Universal, Sony and EMI. Thereare also independent music publishers that aren’t associated with recordcompanies, for example PeerMusic or Bucks Music Group, as w e l l a sadministrators such as Kobalt and Bug Music amongst others. Your lawyer,accountant and manager can all refer you to publishers they think will besuitable for your style of songwriting.WHAT DOES A PUBLISHER DO?Have you ever wondered why we call them publishers? As far as I can workout, it comes from the early days of the music business when music waspublished in the form of sheet music in the same way as a book is published.Nowadays, of course, sheet music forms only a small part of the income thata songwriter and a publisher can make. These days the largest share ofincome comes from the use of songs on sound recordings (mechanicals) orwith TV, film or other moving images (synchronisation). As digitaldistribution of music develops, the rights in a song may well be far morevaluable than a physical sound recording like a CD as we will see in Chapter7 on digital media.Publishers have traditionally had three main roles. Firstly, they issuelicences to people who want to use music. Secondly, they actively look forways to use music – for example, putting it in an advert or on a filmsoundtrack. Thirdly, they collect the income from those licences and uses.The first of these roles is often done in conjunction with the collectionsocieties (see Chapter 15), including now the area of online uses where, afterinitially feeling their way, the societies have now begun to establish linkswith international societies and to have mandates from their members togrant commercial licences for online uses. Their position has beenstrengthened legally by the bringing into UK law late in 2003 of the EUDirective which confirmed the extension of rights of copyright owners andperformers to online, digital uses which has removed the previousuncertainty.Some publishers are better than others in finding uses for music andcollecting the money earned. Obviously, a songwriter has to be satisfied thatthey can do a reasonable job of collecting in the money. Whether he alsoneeds them to be good at finding uses for his songs will depend on the typeof songwriter he is (although most songwriters probably wouldn’t turn downadditional ways of making money).So that people know who to approach when they want to ask to use asong, and in order to track the money and collect it properly, the publisherhas to register the songs with all the main collection societies around theworld. Sometimes this just requires that the songwriter fills in a form andfiles it with the society. Sometimes they also have to send in a recording anda written copy of the words and music, called a lead sheet.If the music publisher is one of the bigger publishers, it will have its owncompanies in each of the major countries in the world. One or two of theindependent publishers, most notably PeerMusic, also have their owncompanies worldwide too. Most of the independent and smaller publishersdon’t have the resources to set up overseas companies. They appoint localpublishers in the country concerned to look after their interests there. This iscalled sub-publishing.The traditional roles of the publisher are however changing as they toolook for different ways of making money in a difficult market place. If oneof their traditional main sources of income has been mechanical royalties onrecord sales and if, as is the case, CD sales are declining then their income isalso dropping so they have to supplement it in other ways as well asbecoming better at collecting it and more efficient in running theircompanies. Publishers will also now do some of the things that wereoriginally only done by record companies. They will provide studio time foran artist or songwriter to record demos. In order to get interest from recordcompanies to sign singer–songwriters, some publishers act almost likerecord companies, putting records out in limited editions as a way to attractrecord company interest. There are even some that will provide financialsupport for you when you’re out on the road promoting your records, orextra funds for promotion or press coverage. These costs and payments areusually recoupable from your publishing income as and when it comesthrough. The main reason they do these things is in order to give you a bit ofa boost, a head start, or to top up funding that may or may not be providedby your record company. EMI was one of the first publishers to look atlicensing song lyrics for inclusion on merchandise like mugs and T-shirts.EMI has also developed an arm of its UK company which is involved in themanagement of songwriters – many of whom are producers and notnecessarily performers. These artists do not have to be signed to EMI forpublishing. With the decline in mechanical income licensing songs for use inads and films has become more important and many publishers arestrengthening their synchronisation departments.WHAT ARE MUSIC PUBLISHING RIGHTS?Before you can have any rights in a literary or musical work1 (i.e. in lyricsor music) you have to establish that the words and music are original andthat they have been recorded in some way. This could be sheet music, withthe words and music written down, or a demo of someone singing the wordsand music.2HOW DO YOU PROVE THAT YOU HAVE COPYRIGHT IN AWORK?There are a number of recognised ways of doing this.You could put the sheet music or demo recording in a safe deposit boxmarked with your name and the date on which you wrote it and get a receipt.You could send it to your lawyer and ask him to write back to confirmwhen he received it from you. Some lawyers aren’t happy about doing this.They don’t want trouble later if they lose the CD in among the one hundredand one others in their office. Also, they can’t really confirm something thatthey have no direct knowledge of. They don’t know who wrote it or when.They can only say that you sent a tape to them on a particular day.The most popular way is to put the lyric sheet and recording in anenvelope addressed to yourself that you then post to yourself by recordedmail (so you have a receipt). When it arrives you keep it unopened in a safeplace. The postmark and the fact that it’s still sealed means that you haveproof that that recording/lyric/sheet must have existed some time before thepostmark date. So, if someone later copies the song illegally, there isevidence that your version was written before theirs.WHO OWNS THESE RIGHTS?The first owner of the copyright in a musical or literary work is the personwho is the ‘author’ or creator of an original work and records it in a tangibleform.3There can be more than one writer or composer.4 These are called co-writers. One person might write the words and the other the music, or the co-writers might all work on both elements.Famous examples of successful co-writing partnerships are Elton Johnand Bernie Taupin, Andrew Lloyd Webber and Tim Rice and, more recently,Robbie Williams and Guy Chambers. It’s perfectly possible for two separatepublishers to control parts of the same song.Where there are co-writers the song is jointly owned, and it’s veryimportant to record who owns what part of the music or lyrics. When youfinish a new song and give it to your publisher, they fill in a form on yourbehalf called a Joint Registration Form. This is the form needed to recordthe details about the song, which is then sent to the collecting societies,MCPS and PRS (the Mechanical Copyright Protection Society Limited/thePerforming Rights Society Limited). The form contains the title of the song,who wrote it, what shares of it they wrote and if there are any restrictions onwhat can be done with it. If you don’t have a publisher and you’re a memberof PRS or MCPS or both, you should complete and file that form yourself.Most publishing agreements will say that all songs are assumed to bewritten in equal shares by all co-writers unless the publisher is toldsomething different when the work is completed and details given to themfor registration. The whole question of who wrote what can be the cause ofmajor arguments between co-writers, who are often members of the sameband or the producer of the album. This can be the case even where not allmembers of a band contribute to the writing. Those members that do writeresent those that don’t. These issues ought to be sorted out at an early stagebefore it becomes a real issue (see Chapter 11).You won’t be surprised to learn that disputes over ownership arecommonplace. A well-publicised 1999 case over songwriting sharesinvolved members of Spandau Ballet.5Spandau Ballet caseSpandau Ballet’ was formed in 1979 and made up of the two K e m pbrothers, Martin and Gary, together with Tony Hadley, John Keeble andSteve Norman. They were part of the New Romantic movement and,after turning down a record deal with Island Records, they set up theirown label that they eventually licensed to Chrysalis Records. Their firstsingle, ‘To Cut A Long Story Short’, went Top 5 in the UK. Theyreleased a couple more singles before having a Top 3 hit with ‘ChantNumber’. They released six albums plus a Greatest Hits compilation.The last album, Heart Like A Sky, was released in 1989. Ten years laterthey were in court arguing over song royalties. Martin Kemp was notinvolved in this case.Everyone agreed that Gary Kemp had written the lyrics to all thesongs. The dispute was over who composed the music. Gary Kemp’scompany received all the publishing income from the songs. Hevolunteered to give half of this money to the other band members, butstopped this arrangement in 1987. The other band members sued, sayingthat there was a legally binding agreement to continue to pay thismoney. They also argued that, if there was not a binding agreement, theywere entitled to the money anyway because they were co-writers of thesongs and therefore co-owners of the copyright. They said they’dcontributed enough to the music to make them co-writers. The judgedecided that there was no binding legal agreement. Gary Kemp was solewriter of all the music save for a song called ‘Glow’. The judge alsoconfirmed that to be a co-owner you have to have contributed to thesong’s creation, not just to its interpretation. So if a drummer just adds ashort drum loop that doesn’t make any material difference to the song,that won’t qualify for a claim that he has co-written that song. A bassistwho takes the melody line and just converts it into a part that is suitablefor his instrument will also probably not have claim to being a co-writer.More recently there are threats of a court case against James Blunt by recordproducer Lukas Barton who claims to have co-written a number of songs byBlunt which feature on his album Back to Bedlam, which has so far sold over14 million copies worldwide. Blunt denies Barton was a co-writer and saysthat he wrote all the songs in dispute himself, either whilst he was serving inKosovo or before that at his parents’ home. It is not certain that this casewill come to court; it is possible it will settle beforehand.Mark Taylor v. Rive Droit Music LimitedOne case that did make it to court was a claim by Mark Taylor, co-writerof Cher’s hit record ‘Believe’ against music publishers Rive Droit MusicLimited (RDM).6 Many of the problems that surround this case turn onbad drafting of a publishing agreement and a dispute as to who ownedtwo songs which Mark Taylor co-wrote and which were recorded by theartist Enrique Iglesias.In 1995 Mark Taylor entered into two agreements with RDM, thesecond of which was a written publishing agreement which was renewedtwice, the second time in 1998. At the end of November 2000 Mr Taylorstopped working for RDM and joined a rival set-up Brian RawlingProductions Limited (BRP). Brian Rawling had originally been recruitedby RDM to bring together a stable of songwriters. Songs written by thesesongwriters would be pitched to other record labels and artists. The ideawas that RDM would produce the subsequent recordings of those songsand receive both a production fee and royalties from sales of the recordsand a share of the songwriting royalties.Mr Taylor collaborated with Paul Barry (another songwriter signedto RDM) and together they wrote a number of songs including ‘Believe’which made their name. Mr Taylor entered into the third publishingagreement with RDM in about December 1998.Two years later in early December 2000 Mr Taylor and Mr Barrywent to America and worked on songs which were to be recorded byEnrique Iglesias. On 6 December Mr Taylor decided to end theproduction arrangements with RDM with effect from 1 December 2000and sent the owner of the company a fax to that effect. Over the courseof December 2000 all of the producers and most of the administrativestaff left RDM for BRP.In April 2000 Mr Taylor sought a declaration from the court that his1998 publishing agreement had expired on 30 November 2000 and thathe was due royalties. RDM disputed this interpretation of the contractand said that the term of it was three years not two. Presumably on thebasis that they may have been found to be wrong on this they tried toargue that they had the rights in the two Iglesias songs which Mr Taylorwas arguing were written after the end of the 1998 publishing agreementbecause he had in fact not created new works but adapted parts of songswritten by Mr Barry (who was presumably still under contract). RDMalleged this amounted to an infringement of their copyrights and askedthe court to award them damages.At the first hearing the judge found that it had been a two yearcontract and that Mr Taylor was under no obligation to deliver to RDMany song written in whole or in part after 1 December 2000. However,Mr Taylor did not have it all his own way because the judge also foundthat some of the two Iglesias songs had in fact been in existence on 1December 2000 and the copyright in those parts belonged to RDM.Taylor felt that RDM didn’t acquire the copyright until he had delivereda completed song. So both parties appealed to the Court of Appeal whichfinally gave judgment on the case in November 2005. Well you do knowthat saying ‘Where there’s a hit there’s a writ’. It might have beencoined for just such a case as this.There were considerable difficulties in deciding what the publishingcontract on 1998 actually meant. The Term appeared to be for two yearsbut then in another clause this was contradicted by a reference to threetwelve-month periods not two. Eventually the judges agreed that it wastwo years not three and that the earlier clause which defined the Termwas stronger than the later, contradictory one. The court also decidedthat the relevant point for determining the ownership of the copyrightwas when copyright subsisted and when it was intended that thatcopyright could transfer to another. The judges accepted this was notalways easy to determine but in this case decided that copyright vestedin RDM at the moment there was a complete work. Now this could haveimplications for drafting of publishing agreements in future as manypublishers take the view that even if a song is a work in progress theystill own rights in it. There were also echoes of our old friend thedoctrine of restraint of trade in that if they were to decide that thismeaning of composition included ALL of the writer’s output then thatcould be seen as a restraint of his trade.As a post script to this case, in late 2007 Rive Droit Music Limited went intoadministration. Whilst the arguments surrounding these cases may suggestthey turn on their own facts there are clearly lessons to be learned: be clearin your drafting, and make sure all rights of session musicians and bandmembers are clearly set out. This point will emerge again in a later chapterwhen we look at the rights of session musicians but before we leave this arealet’s look at a recent case (currently under appeal) which seems to throwsome doubt on what rights the original composer of a song has when part ofthat song is then replayed by a member of the band.Matthew Fisher v. Gary Brooker – The ‘Whiter Shade of Pale’ Case7This was a case decided some forty years after the song was originallywritten and recorded and turned into a massive hit by the band ProculHarum. Mr Fisher was the band’s ex-organist and he argued that he wasentitled to a share in the musical copyright (not the lyrics). The band’spianist Gary Brooker argued that Mr Fisher’s organ solo was essentiallythe same as the original piano composition. The judge preferred MrFisher’s version of events and ordered that Mr Fisher was entitled toclaim a 40% share in the music. It is sometimes difficult to follow ajudge’s logic as in this case, having decided that Mr Fisher had made asignificant contribution to the original musical work so as to make him aco-author with Mr Brooker he decided that that contribution was not as‘substantial’ as Mr Brooker’s contribution so awarded him a 40% not50% share. The judge also ordered that Mr Fisher was not entitled to anyroyalties for the time before he brought the case. The song wasoriginally released as a single on 12 May 1967 and was a huge hit, goingon to sell over 6 million copies worldwide. Around the time of therelease the two authors Mr Brooker and a Mr Reid assigned theircopyright in the words and music to Essex Music Limited, those rightsare now owned by the successor to Essex Music Limited, Onward MusicLimited. When the song was being written the two were forming a bandwhich Mr Fisher joined as Hammond organist. In rehearsals Mr Brookerand Mr Fisher improvised their respective piano and organ parts over theoriginal chord sequence that Mr Brooker had composed. It is thisimprovised organ accompaniment that formed the basis of Mr Fisher’sclaim for a declaration that he owned 50% of the copyright in the music.In a further twist in law the furthest back Mr Fisher could go in hisclaim for back royalties would be six years from the date of his claim.However, the judge decided that ignorance of his rights to claim was nodefence to the fact that Mr Fisher had sat back for over forty years andallowed the collection societies and publishers to collect the money anddistribute it on the basis of a 50:50 split between Mr Brooker and MrReid. The judge therefore only allowed Mr Fisher damages in unpaidroyalties from the date of his claim saying that if he allowed thecollection societies to collect and pay out despite his view that he wasentitled to a share then he must have in effect granted a free licence forall this time to use his share of the song. As it was a licence he wasentitled to end it and is deemed to have done so by bringing this claim.The music publishers who stand to lose their publisher’s share of the40% interest in the music now attributed to Mr Fisher are appealing thedecision.The lesson to be learned from this case is to make it quite clear at the timewhat claims any interested parties may have in the work. If at the time it wasfirst written Mr Fisher had signed an acknowledgement that he had no rightsin the composition then this claim would never have arisen.DURATION OF COPYRIGHTThe copyright in a musical or literary work lasts for seventy years from theend of the calendar year in which the author dies.8 If a song has been co-written, the rights last until seventy years from the end of the calendar yearin which the last surviving co-writer dies.9 This was not always so and thisextension to seventy years is a relatively recent one. When dealing witholder compositions it is essential to also look at the laws which pertained atthe time and what effect subsequent laws have had on the position.Solomon Linda’s caseThe family of South African composer Solomon Linda brought a casealleging infringement of copyright on the basis that copyright in a songhad reverted to Mr Linda under British Commonwealth laws ofcopyright 25 years after the death of the author. The song in question isbest known to us at ‘The Lion Sleeps Tonight’ but which was originallywritten by Linda with the title ‘Mbube’ (meaning ‘Lion’ in Zulu) in1939. It was a hit but as Linda and his wife had sold their rights in thesong to a local company they never properly benefited from the song’ssuccess. Mr Linda died in poverty in 1962. The song ‘Mbube’ wasadapted and covered by American folk legend Pete Seeger whotranslated the lyrics and renamed the song ‘Wimoweh’. It sold over 4million records in different versions and was covered over 150 times. Inthe 1960s another writer, George Davis Weiss, added new lyrics andcalled the new version ‘The Lion Sleeps Tonight’ and it is this versionthat was subsequently licensed to Disney for inclusion in the box officesmash film The Lion King. Linda’s widow received only 3/24ths of theincome. Lawyers for the family argued that the rights in the originalsong, on which these later versions were based, had reverted to MrSolomon Linda and thence to his family and were able to bring thecompany who had licensed the song to Disney, Abilene Music, to thenegotiating table and agreed a settlement which remains secret but atleast part of which now allowed Mrs Linda to receive 100% of thecomposer’s share of the performance income. The settlement is alsothought to include a back payment of royalties and future royalties as an‘equitable share’ of the version ‘The Lion Sleeps Tonight’.As more works come out of copyright and into the public domain (andtherefore can be freely used without payment of royalties) questions willinevitably arise as to whether a work is out of copyright. It has long beenthought in the classical recording world that an editor of a work to beperformed by musicians which was out of copyright didn’t acquire any newcopyright in what he edited.Hyperion Records v. Dr Lionel Sawkins10This view was challenged by Dr Sawkins. He has spent time and effortediting three performing editions of works by the court composer toLouis XIV and Louis XV, Richard de Lalande. Clearly de Lalande’soriginal works were out of copyright but was the effort, skill and timewhich Dr Sawkins spent in making three modern performing editions ofhis work give him any new rights as ‘original musical works’. DrSawkins thought it did but classical label, Hyperion Records, disagreedand made sound recordings of Dr Sawkins’ editions in 2002 withoutacknowledging him as having any rights of authorship and withoutpaying him any royalties. Dr Sawkins sued. He was successful in thefirst instance. The judge agreed that the Hyperion’s recordings infringedhis rights in the performing editions originated by Dr Sawkins and alsofound that his moral rights had been infringed because he was notidentified as the author of those editions. The court ordered an inquiryinto the amount of damages which should be paid to Dr Sawkins.Hyperion appealed on the basis that these editions were neither originalnor musical with the meaning of the 1988 Copyright Act. In this case theAppeal Court judges also considered that just because Dr Sawkinssought to get as close to the original as possible and had no intention ofadding any new music he could still claim to have created an neworiginal copyright in edition. He did edit, transcribe them into modernnotation, make them playable, correct errors and omissions and include afigured base. Hyperion also tried to argue that creating an edition to beplayed did not amount in itself to the creation of a new musical work.They also said that to allow Dr Sawkins to claim a new copyright wouldhave the effect of greatly extending copyright and that this was contraryto public policy in making ancient music available to modern listeners.It is this latter point which seems to have been the basis for theopprobrium that was heaped on Dr Sawkins from many quarters of theclassical music world, who clearly thought his action was ‘not on’. Thereis however also the fact that Hyperion had a vested commercial interestin arguing against Dr Sawkins claim as it may open the flood gates toother editors doing the same thing resulting in Hyperion having to paycomposer royalties that they had not budgeted for. The classical worldfeared that a consequence of this action might be that fewer classicalrecordings might get made. The Appeal Court judges rejectedHyperion’s argument that what Dr Sawkins had done could not be a newmusical work as he had added no new music just corrected errors andomissions. The judges thought this the wrong approach as a musicalwork was not just notes but the overall structure of the musicalcompositions, including how the notes were to be played. Theydismissed Hyperion’s appeal. Overall this is a case which turns on whatis mere copying and what is the application of sufficient original skilland labour to create a new copyright. It is both a qualitative and aquantitative test.WHAT RIGHTS COME WITH OWNERSHIP OF COPYRIGHT?The copyright owner of a literary or musical work (i.e. a song) has rightsvery similar to the recording copyright rights we looked at in the lastchapter. The main ones are the right to authorise the reproduction of amusical or literary work with or without visual images (mechanical andsynchronisation rights);11 the right to authorise distribution of the work;12the right to rent or lend the work to members of the public;13 the right toauthorise public performance of the work or its making available to thepublic14 and the right to make an adaptation of the work or to do any of theabove in relation to an adaptation.15 As the copyright owner, you can allowor prevent someone from doing all or any of these things either throughoutthe world or in a particular country. When you do a publishing deal you aregiving someone else the right to deal with some or all of these matters onyour behalf. The publisher might do this itself throughout the world or maysubcontract the rights to a sub-publisher.WHERE DOES THE MONEY COME FROM?MECHANICAL LICENCES AND ROYALTIESOriginally, when a recording was reproduced it was literally donemechanically, using mechanical piano-rolls. So the licence to reproduce thesong on a sound recording is called a mechanical licence. It remains thebiggest source of income for most songwriters. For example, if a recordcompany wants to record a performance of a song, it has to ask permissionfrom the author or the publisher or the person who administers the song.This may seem a bit strange where you’ve written a song that your bandwants to record. It seems odd to have to ask permission from someone elseto record your band performing it. But remember that different people aregoing to control the rights in the sound recording and the rights in the song.They are separate copyrights and the same people will probably not controlboth. The record company has to pay a licence fee to the owner of the rightsin the song. The fee for this, the mechanical royalty, is either fixed bynegotiation between representatives of the record and publishing companiesin the country concerned or set by law or legal tribunal.The present licensing system in the UK was the result of a referral to theCopyright Tribunal in 1992. The record and publishing companies couldn’tagree on what was a proper licence fee. The 1988 Copyright Designs andPatents Act states that the solution in such situations is to refer the dispute tothe Copyright Tribunal. The scheme approved by the Copyright Tribunal isoperated by the MCPS on behalf of most of the music publishers in the UK.The current licence fee is 8.5% of the dealer price of the record. The MCPScan only licence the mechanical reproduction of a song if it’s a straight‘cover’, i.e. a faithful reproduction of the original by someone other than theoriginal performers. If it’s not a faithful reproduction then the MCPS doesnot have the authority to issue a licence and permission has to be asked fromthe writers or their publishers.Until recently, mechanical reproduction took the form of physicalproduct such as a vinyl record, a cassette tape or a CD, with new formatssuch as DAT, DCC and Mini-disc added from time to time. With the comingof the digital era of music being delivered by means other than physicalreproduction the law has had to adapt to deal with this new means ofdistribution. The download of a computer file containing music on to anMP3 or similar player or a computer hard disc is treated as a reproductionakin to a physical reproduction such as a CD and this is now accepted in theEU and confirmed in UK legislation by the 2003 amendment to the Act.16Since 2002 MCPS/PRS have issued blanket licences to use music onlineand to download music off the Internet and, through its reciprocalarrangements, offered these worldwide. There is now a whole range oflicences available for other uses such as CDROMs, music in toys and incomputer games and most recently for DVDs and digital radio stations.However, they failed to reach a negotiated settlement with some recordcompanies and significantly with some Internet service providers like Yahooand the matter had to be referred to the Copyright Tribunal in a long andvery expensive hearing. The outcome is discussed in more detail in thechapter on Collection Societies but suffice it to say that it was not that farremoved from the rate applicable to physical reproduction which makessome of us at least wonder what all the fuss was about. The Tribunal’sdecision did at least end the uncertainty over whether or not you could get ablanket licence for downloads of music.CONTROLLED COMPOSITIONSAlthough in this book I’m mostly dealing with UK copyright and licensingschemes, the situation in North America is important as it can have a hugeimpact on publishing income coming from the United States (and to a lesserextent, Canada, as it is a much smaller marketplace).In the UK we have a licensing scheme and a fixed rate that has to be paidfor a licence. In the US the law also sets a fixed rate (currently 9.1 cents atrack) for the right to reproduce a song on a record, but in the US the recordindustry has more bargaining power than the music publishers. It lobbied thelegislators and got a clause included in the law that allows a different rate tobe set by agreement. Well, surprise, surprise, the record companies haveinsisted on a different rate. And is it higher? What do you think? The almostuniversal position in the US is that the record companies will only pay 75%of the fixed rate. This is referred to as a ‘controlled compositions’ or‘reduced mechanical royalty’ clause. They are called ‘controlledcompositions’ because the compositions and what happens to them are underthe control of the writer or his publishers. Obviously, you can only agree to areduced rate if you’re the owner or controller of the song. Most US recorddeals start from the standpoint that you will agree to this 75% rate. Thismeans that you’re losing a quarter of your US publishing income from thereproduction of your songs on records. The pressure will be on to accept thisand if you really want to do the US deal then there may be little you or youradvisers can do about it. However, if you already have a publishing deal, youprobably won’t be allowed to accept this reduction without your publisher’sagreement. You can use this to get your publisher to fight on your and itsbehalf to get improvements on this rate. If you’ve a lot of bargaining poweryou can get a 100% rate. If you’ve medium bargaining power you can getthem to agree to increase the 75% rate to 85% and then to 100% based onsales of a given number of records. Sometimes they will not budge at all andin most cases you have to give in or not do the deal.Most US record companies try to further reduce their liability to pay fullmechanical royalties by limiting the number of tracks on a record that theywill pay royalties on. This is usually no more than ten or eleven. If you havetwelve tracks on your album you won’t get a mechanical royalty in the USon at least one or two of those tracks with such a limitation in place. Perhapsyet another reason for aiming to keep the number of tracks on your recordwithin the ten or eleven track limit.These controlled compositions clauses cause problems in every recorddeal negotiation. There are some improvements that your lawyer can try toget for you, but this is usually one of the most keenly fought clauses in thewhole recording contract. A lot of money is potentially at stake for bothsides.SYNCHRONISATION LICENCES AND ROYALTIESIf you’re a songwriter who writes mostly music for films, adverts orcomputer games, then your main source of income may not be mechanicalroyalties but fees from the issue of licences to use your music with visualimages. This licence is called a synchronisation licence, because it gives theright to synchronise music with visual images. The publisher also licensesand collects income from these licences. The fee for this use is called thesynchronisation fee. The growth in DVD sales (now tailing off again) a l s osaw a big growth in this as a source of income. MCPS has authorised a DVDrate on a sliding scale up to 8.5% ppd depending on the amount of music inthe DVD. There is some evidence that synchronisation income is becomingmore important as a source of revenue with the decline in mechanicalroyalties on declining album and single sales but at the moment mechanicalroyalties remains the main source of income for most songwriters.We can all think of artists who have broken into the big time via anadvert or indeed where a flagging career has been boosted by a track used ina particularly good ad campaign or in a film. The Fine Young Cannibalstrack ‘She Drives Me Crazy’ regularly appears in car adverts. Devo re-recorded their biggest hit ‘Whip It Up Good’ as ‘Swiff It Up Good’ for a TVad for the floor cleaner Swiffer and seminal punk band Violent Femmestrack ‘Blister In The Sun’ was used in an ad campaign for Wendy’shamburgers. Now you might argue that some of these uses did the originalartists no favours at all in the credibility stakes but for the right music anadvertising company will pay a lot of money – £70–100,000 or more as asynchronisation fee for the right work isn’t unheard of. I should just say,though, before you all rush to get your music into adverts or films, thatmany advertising companies pay a lot less than this. Many also commissionwriters to write songs that sound like, but aren’t, famous songs or which arein the then current music style. Some songwriters make a career of writingjingles for adverts or in composing sound-alike songs. For some this is theirmain source of income. Others do it as a way to fund them writing theirmasterwork – that film soundtrack or concerto they otherwise wouldn’t havethe money to do.In some countries there’s a fixed rate for synchronisation licences. Inmost cases, though, it has to be fixed on a case-by-case basis. So this againis an area where your publisher or lawyer can get a good deal for you.If you want to put one of your songs in a promotional video for one ofyour singles your publisher will probably give you a free synchronisationlicence. If there is any chance that it will earn income commercially thenthey will want a separate fee for the commercial use. They will definitelywant a separate licence fee for a DVD.If there is a synchronisation fee payable, it is usual that the writer’s shareof the income goes towards recouping any advances which have already beenpaid to the writer. The publishers will keep their publisher’s share of theincome. For example, if the writer is on a 75:25 split of royalties in hisfavour, the publisher would keep 25% of the fee for itself and use theremaining 75% to help recoup the advances. Different scenarios to this arealso possible in individual circumstances where some of the publisher’sshare also goes to recoupment of advances or some of the writer’s share ispaid through to the writer, but in the current fairly difficult economicclimate it does not happen often.A situation may arise where a writer is commissioned to write somemusic or a song for a specific project like a film soundtrack. Publishingcontracts will often say that, even though they may have an exclusivearrangement with the writer, he can do these deals and keep the commissionfee, provided the synchronisation fee (which is also required) is paid throughto them. Now, it doesn’t take much intelligence to work out that, as asongwriter, you may want to increase the commission fee and decrease thesynchronisation fee. Publishers are obviously wise to this and may try anddirect some of this money to recoupment.PERFORMING RIGHTSWe have looked so far at two main sources of publishing income – themechanical licence and the synchronisation licence. The third significantsource of income is the right to publicly perform a song. Public performancedoesn’t just mean live concerts – it includes the playing of music in shops,restaurants and clubs, in fact anywhere that music is played in public.Most songwriters who have had some success become members of thePRS or one of its overseas affiliates. The PRS is the only UK performingright society for the administration of the right to perform a work in public,and it is responsible for the collection of income generated by the publicperformance of the music. The income comes largely from licences takenout by broadcasters, shops, pubs and so on. When you become a member ofthe PRS the rules say that you have to assign your performing rights in yoursongs to the PRS. If you send your membership the performing rights arereturned to you or as you direct. The performing rights controlled by thePRS are the right to publicly perform a work, the right to broadcast it and tomake it available to the public, and the right to authorise others to do any orall of the above. The PRS monitors use of music on TV and radioprogrammes by means of cue sheets. These are lists of music played on eachprogramme, which the station producers complete after each show. The PRShas a random sampling policy for live shows. They couldn’t possibly coverall live gigs, but do monitor the main venues and a selection of the smallerones and they keep the type of venues monitored under review.So that there doesn’t have to be a separate licence every time a song isplayed in public, the PRS has entered into licences with most of thebroadcasters. They have done the same with major places of entertainmentlike clubs and restaurant chains. These are called ‘blanket licences’ becausethey cover all songs controlled by the PRS. If you’ve a blanket licence youdon’t have to worry about whether you can play a particular song providedyou’ve paid the annual licence fee negotiated with the PRS. So every timeyour song is played on television, radio, cable or satellite you’ll receive(eventually) some income from that use of your song. Gradually blanketlicences are also becoming available for a variety of uses of music onwebsites where the PRS now licences use of extracts, Internet radio,podcasts and a variety of other online uses. Their website is very useful ingiving you to the right licence for what you want to do and in many cases theapplication form can be downloaded. It is however still too early to say howeffective they are going to be in collecting in this new source of revenuewhich explains why in many cases the licences require an upfront advancepayment. If you plan to use music in a way which is not covered by one ofthe current licences you can apply to their commercial committee withdetails of your proposal and ask them to propose an appropriate rate whichin many cases is open to some negotiation particularly whilst you areestablishing the commercial violability of your scheme.Through the cue sheets and samplings and the data they collect fromonline uses the PRS gets a good idea of what music has been performed andcalculates the amount due under the various blanket licences. The share dueto the songwriter members of PRS is paid out at regular intervals (four timesa year) after the PRS has deducted its fee for doing the administration. ThePRS rules require that at least six-twelfths (i.e. 50%) of the performingincome is paid to the songwriter direct. This money does not therefore gothrough the publisher’s hands to be used to recoup any advances but comesdirect to the writer. This can be a valuable source of income for animpoverished songwriter who is unrecouped and can’t expect any royaltiesor further advances from his publisher for some time. The other 50% can bepaid to a publisher nominated by the writer as having the right to publish hissongs. This ‘publisher’s share’ can be divided between the songwriter andthe publisher. If they do share any of it with the songwriter, that shareusually goes first towards recouping any outstanding advances. If there isn’ta publisher the songwriter can collect 100% of the income himself but mayhave difficulties in collecting or administering it and may need to get anadministrator on board to help. The PRS’s role is not a proactive one. It doesnot actively seek ways in which to exploit the performing rights in yoursongs but is there to make sure that public places playing records do sounder a proper licence scheme so that there is a chance of earning somemoney from this use of music. The PRS acts as a sort of clearing housecollecting in this money and paying it out to its members, both songwritersand publishers. The publishers are happy to allow the PRS to do this job forthem, provided, that is, that they don’t charge too much – there areperiodical renegotiations of the collection fee.PRINTAlthough not as relevant these days, the publisher also has the right to issuelicences for a song to be reproduced in printed form as sheet music. Inrelatively few cases do they do this themselves now; usually it’s third partyspecialist print companies who do it under licence. The exceptions tend to beclassical music publishers. Whilst print income from sales of sheet musicisn’t a large source of income for a popular-music songwriter, for classicalcomposers it can be a very lucrative source of income. Included in this printcategory is the hire-out charge the publisher makes to orchestras wishing tohave access to the ‘parts’ of the work, i.e. the sections written for thedifferent instruments in the orchestra – £30–40,000 fees for the hire out ofparts for a large orchestral or operatic piece aren’t unheard of. This of coursehelps to shed a little more light on the Hyperion case above as if thepublisher had to pay royalties to the editors of the scores that generate thisincome then that would significantly eat into their profit.As publishers look for new ways to make money from the songs theycontrol we may find that this print music royalty or other miscellaneousroyalties payable to the songwriters increase importance. I am thinking hereof plans to license lyrics for merchandise. The publisher would presumablycharge the merchandiser either a flat fee or a royalty per unit sold and thesongwriter ought to be entitled to a share of such income.RECORD DEAL BEFORE PUBLISHING?It used to be invariably the case that you did your record deal first and got apublishing deal later. Nowadays the publisher fills many of the same roles asa record company in finding the right co-writers and producers, and evenrecording and releasing limited edition single records. The decisiontherefore becomes much more of a personal one. For some, it’s importantthat they have got a deal, any deal. So if the publishers come courting firstthey will do the publishing deal first. Others stick to the tried and truemethod of getting a record deal first and then hoping that that deal and thesuccess of their first release will push the bidding up for their publishingrights. This can be a dangerous game as, if the first release doesn’t prove tobe a success, the publishing offers may dry up. You may be a songwriterwho wants to hang on to your publishing rights for as long as you can, inwhich case you’re going to be concerned to get a record deal that will giveyou enough by way of personal advances to live on for a reasonable periodof time without having to go looking for money from a publisher.If a songwriter doesn’t need to do a publishing deal in order to get somemoney or other form of ‘leg-up’ he can become self-published. This way hefully controls the copyright in his songs and how they are used. How do youdo this? Usually by becoming a member of the various collecting societieslike MCPS and PRS. The collection societies fulfil a lot of theadministrative functions of a publisher, but a self-published songwriter stillhas to do a lot of work himself. The collection societies don’t always notifyall foreign societies of their interest in a particular song or chase upindividual payments. The songwriter will have to track down where themusic is being used and check if the song is registered locally and if theright amount of money has been paid.Most creative people aren’t known for being organised enough orinclined to do this, nor will they necessarily have the resources. This is oneof the reasons that most new songwriters look for some form of supportfrom a publishing company. If you’re a more established songwriter, youmay be more comfortable with this kind of arrangement or will appointsomeone to administer it for you.TYPES OF PUBLISHING DEALIf being self-published isn’t an option then there are three basic types ofmusic publishing agreement that can provide outside support: theadministration deal, the sub-publishing deal and the fully exclusivesongwriting deal. Within the category of exclusive songwriting deals there isa sub-category where rights are just assigned in a single song. This is calledthe single song assignment.THE ADMINISTRATION DEALAdministration deals are popular with songwriters who have a small butpotentially lucrative catalogue or collection of songs. It may not beworthwhile for them to join the collection societies and be self-published.They may not have the necessary time, energy or organisational abilities togo tracking down the income. They may prefer to employ someone to do itfor them.These types of deal also appeal to established songwriters. They may notneed a publisher to try to exploit their songs. They may be disillusioned withexclusive publishing deals or want to own their copyrights. They may notneed up-front advances against income and may relish the increased controlthat they would have if there were no publisher breathing down their neck.The same comments I made in Chapter 3 still apply to these assignments asthey do with sound recordings.The administrator doesn’t usually take an assignment of any interest inthe copyright, but is granted a licence for a period of time. If anadministrator asks to take an assignment of rights outright, I would need tobe convinced that there was a very good business reason to do it. If youassign your rights you aren’t in a position of control and there isn’t verymuch of a difference between this and exclusive publishing deals, exceptyou’re likely to see only small or no up-front advances. So what’s theadvantage? At least if it’s for a licence term then you retain control of theunderlying copyright. A licence term can vary greatly from one yearupwards but with a three- to five-year licence term common. Many are formuch longer. I have concluded ones that were for the life of copyright. Evenwith such a long term the client was still comfortable to do it, because thedeal overall worked for him and at least if it was a licence and things wentwrong he wouldn’t have to worry about getting his copyrights back, as he’dheld on to ownership of them.As the name suggests, the administrator administers the songs for theowner of the copyright. The administrator registers the songs with thevarious collection societies and licences others to use the songs. They alsodeal with the collection of the income from these licences and prepareaccounts showing how much has been earned. The terms of the contractdictate whether the administrator has complete freedom to issue whateverlicences he thinks right for the songs, or whether he must first consult withthe songwriter. It may say that commonplace licences, such as the right forthe writer to record his own songs, can be issued without asking him first,but if someone wants to use a song in an advert or a film the songwriter hasto first give permission. Don’t put too many restrictions on what licences theadministrator can grant if you want to maximise what can be earned fromthe songs. By all means put a stop to something that is a real issue, forexample if the songwriter is a vegan he may quite rightly not want his workused in adverts for beefburgers, but think carefully before you block all usesof the songs in adverts, because you are cutting off a potentially veryvaluable source of income.The administrator could be an individual, perhaps an ex-musician orsongwriter himself, or it could be a company that specialises just inadministration. Most but not all music publishers who sign up songwriters toexclusive deals will also do administration deals in the right circumstances.The administrator will usually charge 10–15% of the gross income as hisfee. You wouldn’t usually expect an administrator to pay any advances.Payment will only be made when the administrator has collected in somemoney. It’s therefore very important to know how often the administratorwill account. They should pay at least every three months. It’s alsoimportant to check out their reputation for efficient collection of money,particularly outside the UK. The administrator may be very good in the UK,but overseas he may not have the necessary resources or contacts. In whichcase, it’s likely that all he will do is to collect what comes through collectionsocieties overseas that are affiliated to the MCPS and PRS. If this is the casethen you have to ask yourself whether it’s worth it, because you can get thisincome yourself through direct membership of MCPS and PRS. You oughtto be getting some kind of added value by having the administrator on board.It may be as little as taking the load off you, but it wouldn’t be unreasonableto ask the administrator to try and track down unpaid licence fees orroyalties on your behalf, and if he has a worldwide deal with you heshouldn’t just limit his activities to the UK.A songwriter will often do an administration deal when he isn’t tooconcerned about getting other uses for his songs. If you know people willeither not want to put your songs in a film or advert, or if they do you’re sowell known you don’t have to sell yourself and they will come to you, thenyou won’t worry about someone going out and actively looking for theseextra uses. Administrators will look after the administration side but won’tnormally be out there pitching your songs to advertising agencies or filmcompanies. However, even those who have old catalogues of songs which aremore or less dormant can still be tempted by promises of a bit of an extrapush on their songs and a bit of extra cash.THE SUB-PUBLISHING DEALThe sub-publishing deal is a mixture of an administration deal and anexclusive publishing agreement. The owner of the copyrights sub-licensessome or all of these rights to a publisher. The original owner usually keepsthe copyright, so it’s normally a licence rather than an assignment of rights.These types of deal come up in two very different circumstances.Established songwriters or songwriters who want to own or control theircopyrights may want something more than a pure administration deal. If so,a sub-publishing deal may suit. They may not need an advance or may beprepared to do without an advance in return for keeping control of thecopyrights. That isn’t to say that a sub-publisher won’t pay any advance atall. They may pay modest sums in advances, but they may not be as big asyou’d get under an exclusive publishing deal. Why? Because the sub-publisher doesn’t get as much ownership or control from a sub-publishingdeal as he would from an exclusive songwriting deal.If a songwriter needs someone to go and search out deals for him then hewon’t get that from an administrator, so a sub-publishing deal may work forhim. Under a sub-publishing deal the songwriter gets someone activelylooking for other ways of earning money from his songs.In some cases the publisher will want an assignment of the copyright.17As you know, my advice is to avoid this if you can but, if you don’t havemuch choice, then try and get them to agree that this is only for a limitedperiod of time. This period is called ‘the Rights Period’ or ‘the RetentionPeriod’. The shorter you can make it, the better in terms of control of thecopyrights. Bear in mind, though, that the shorter the period of time that thesub-publisher controls the copyrights, the fewer opportunities he has tomake money from the songs and this may be reflected in the type of deal heoffers. If you do get a publisher to agree a licence term then this could be asshort as a year, but is more likely to be for at least three years and in somecases much longer.The sub-publishing deal also appeals to smaller publishers, ones thatdon’t have their own established systems overseas. Instead of the cost ofsetting up their own companies in each of the main overseas countries, suchpublishers do sub-publishing deals in those countries. They keep the rightsthey have, but grant the overseas publisher the right to use some or all ofthose rights in their country for a period of time.Whichever type of deal we are talking about, the sub-publisher needs tohave the right to register the songs, to license some or all of the mainpublishing rights such as mechanical and synchronisation rights, and tocollect in the income.The sub-publishing contract will set out the extent to which thesongwriter or small publisher has the right to grant licences to exploit thepublishing rights. Don’t be surprised if the sub-publisher presses for overallcontrol and only wants to have to get approval on certain very specificmatters. You may have approval over alterations to the songs or over thegrant of licences to include them in adverts for products that you maydisapprove of. If you tie the sub-publisher’s hands too much then they can’teasily get further uses for the songs. You’re employing a sub-publisher andpaying them a large fee to be pro-active on your behalf, so you need tobalance the need for creative control against commercial realities.How much you have to pay a sub-publisher will depend on a number offactors such as your bargaining power, how much the sub-publisher wants tocontrol your catalogue of songs (whether for market share or income or tohave the kudos of having you on their books), and how much you areexpecting them to do. I recently had a bidding war going on for an oldcatalogue of songs because they were very iconic and ‘of their period’ and ithappened that this was a period that is popular at the moment for films andads and so the publishers involved in the bidding war could easily see howthere was a lot of money to be earned from licensing these songs. The fee islikely to be more than you would pay under an administration deal butprobably a little less than under a fully exclusive songwriting agreement. Asub-publishing fee of 15% of the gross income received is common. If youexpect a big advance then that may increase to 20% to compensate for theadditional risk the sub-publisher is taking. The sub-publisher has paid outsome money to you on the strength of what it knows about you and yourpotential. If you don’t live up to that then that’s the sub-publisher’s risk. Thecontract very rarely allows the sub-publisher to demand that money back.What does a sub-publisher do?A sub-publisher should provide the same basic services as under anadministration deal, including registering the songs, granting licences,collecting income and accounting on a regular basis.Some larger publishers can account and pay you what you’re due in thesame accounting period that they receive the monies from overseas. Forexample, the sub-publisher grants a mechanical licence to reproduce yoursong on a record in the US. The record sales take place in the period betweenMarch and June 2007. The US record company will probably pay themechanical royalty in the next three months, so it will be in the sub-publishers account by the end of September 2007. The deal with the sub-publisher says that it accounts in September for income received in theperiod up to the end of June. On the scenario I have given, the income won’thave come in until after the end of June. If the deal were that you got paid inthe same accounting period, you would get it in September. If it’s not thenyou’ll get it at the next accounting date, which would normally be March2008. This is a six-month delay which, when you’re first expecting yourmoney from overseas, can seem a very long time to wait. If prompt paymentand cash flow are important to you, and let’s face it, they are to most of us,then you need to check this out carefully. Needless to say, the sub-publisheris usually the one earning interest on the money sitting in their bank accountfor six months and not you.In addition to the basic administration services, the sub-publisher shouldgive you more for the extra money it’s getting. This could just be paymentof an advance, but the sub-publisher should also be more proactive, goingout and looking for other uses for the songs, suggesting co-writers, findingfilm projects or adverts and so on.A smaller publishing company appointing a sub-publisher overseaswould expect them to act as if they were a branch of their company overseas.If you are a songwriter with your own publishing company you may notnotice any difference between what a sub-publisher does and what you’dexpect from an exclusive publishing agreement. The sub-publisher willusually expect exclusive rights to sub-publish your songs and will charge asimilar fee to an exclusive publisher. The crucial difference is that youretain the copyright in your songs and have more control.THE SINGLE SONG ASSIGNMENTThe single song assignment is a bit of a halfway house. It’s not an exclusivepublishing agreement. The songwriter is free to publish individual songshimself or through a variety of different publishers. Unlike under a sub-publishing agreement, he assigns the rights in a song to a publisher; hedoesn’t license them. The assignment could be for the life of copyright or itcould be for a shorter Rights or Retention Period. There may be an advance,but it’s likely to be small. The publisher is likely to get a fee of about 20–25% of the gross income received.Deals such as these would be attractive to a songwriter who only writes asmall number of songs on an irregular basis, or who wants to keep hisoptions open. The publisher still gets the rights it needs in the particularsong and market share in that song. Because the publisher controls thecopyright in the song, it’s in its interests to get as many other uses for thework as possible. The publisher will also carry out all the usualadministrative functions and should account regularly. The same commentsthat I made above about accounting delays apply here. The song assignmentwill decide how much control the songwriter has over how the song is used.Because it’s a one-off, he may not have as much control as with an exclusivedeal for all his songs, but if he has enough bargaining power he shouldcertainly be able to prevent major changes to the words or music and somecontrol over the use of the song in films or adverts.EXCLUSIVE PUBLISHING AGREEMENTIf none of the above options appeal or are on offer then there is the exclusivepublishing agreement. For most songwriters this is important at some stagein their careers. Getting an established publisher behind them means thatthey’ve arrived, that someone else has faith in their work and is prepared toput money and commitment behind that conviction. In many cases apublisher is instrumental in getting record company interest. There arestories of music publishers of songwriters who are now household nameswho spent months knocking on record company doors trying to convincethem of the strength of the songs. Sometimes it’s just a case of waiting untilyour time has come whilst honing your craft in the meantime. It can be goodto have a music publisher supporting you during this time in the wilderness.RESTRAINT OF TRADEAs we saw in Chapter 3, whenever there is an exclusive arrangementcontaining restrictions on what you can and can’t do, there is an assumptionthat it is in restraint of trade. We also saw that the leading case in this area,Schroeder v. Macaulay,18 had decided that this doctrine also applied t oexclusive record and publishing contracts. We know that the contract wasfound to be an unreasonable restraint of trade and, as such, unenforceable,but so far I have not gone into any details as to what in the contract wasfound to be unreasonable. It was a publishing contract so it is better dealtwith here.Maucalay v. SchroederThe particular parts of the contract that led the court to decide that it wasunenforceable were that it was an exclusive arrangement – it requiredabsolute commitment from Macaulay, but there was no correspondingcommitment on the part of the publishers to do anything with the songs.They could accept them and tuck the copies away in a drawer or putthem on a shelf and forget about them. The term was for five years, butSchroeder could extend it for a further five years if more than £5,000worth of royalties had been earned in the first five years. This was not alot of money even then. Macaulay had had to assign the copyright for thelife of copyright. Even though in those days this was fifty years after theend of the year in which he died not seventy years, it was still a longperiod of time to have a publisher controlling the copyright in his songsexclusively without having any obligation to do anything with them. Theadvance that he received was very low. It was £50 with further paymentsof £50 as each earlier advance was recouped. This was almost likeputting him on a wage, but with no guarantee of when he would receivehis next pay cheque. The court felt that, taken as a whole, the contractwas an unreasonable restraint of trade.As a result of this and later cases there was a change in UK music publishingcontracts. The length of the term is now limited and there is a maximumbackstop – usually no more than three years per contract period. There isalso usually a requirement that the publisher has to do something with thesongs. For example, the contract will often say that if the publisher has notgranted a mechanical or synchronisation licence for a song, or no sheetmusic has been printed of it or it has not been performed in public within,say, a year or two of the song being delivered or the end of the contract term,then the songwriter has the right to ask the publisher to do something with it.If nothing happens within another three to six months then the songwritercan usually get the copyright in the song back. I have recently completed adeal where a songwriter got rights back after a wait of two years from hisfirst publisher and used that as the basis of a catalogue of material to offer tohis new publisher.WHAT IS IN A TYPICAL PUBLISHING CONTRACT?ExclusivityIf you sign an exclusive publishing deal, you are usually agreeing that thepublisher will own and control all your output as a songwriter during theterm of that contract. In return for that exclusivity you can expect acommitment from the publishing company to do something with your songs.You can also usually expect that your publisher will be reasonably proactiveon your behalf.Even though it’s an exclusive deal, you can sometimes have exceptionsto this. As I explained above, the exclusivity may not apply where you’recommissioned to write a song or some music specifically for a film. Thefilm company will usually want to own the copyright in that piece of musicor song. Your exclusive publisher may agree that these commissioned worksare excluded from your publishing deal. This could be agreed at the time thecontract is done as a blanket exception or your publisher could agree toconsider specific requests on a case-by-case basis.If you are regularly commissioned to write music for films, yourpublisher isn’t going to want to automatically exclude all these from youragreement. By not automatically agreeing that the film company can ownthe copyright, your publisher may gain some bargaining power with the filmcompany to get a better deal. As the terms of the contract should say thatyou benefit one way or another from income from these deals, it should be inyour interests for the publisher to argue on your behalf.Occasionally a publisher will agree that the songs you write for aparticular project are excluded from the deal. For example, you might writesome songs for a largely uncommercial project that the publisher isn’tinterested in. In a recent deal I did the songwriter did a bit of ‘bread andbutter’ work writing for a library music company and it was agreed thatthese songs, which earned very little money, could be excluded. If you’ve alot of bargaining power, you could insist that songs you write for a particularcommercial project are excluded from the deal but this is pretty rare. Justbear in mind that the more songs you keep back from your publisher, themore it is likely to reduce the size of the deal on offer.Rights grantedThe publisher will expect to have assigned to it the copyright in all yoursongs already in existence that no one else has the right to publish. Theassignment is usually of all rights in those works, subject to the performingrights that you may have already assigned to the PRS.If you have done a publishing deal before then another company maystill have the right to act as publisher of those songs. If the Rights orRetention Period of that earlier deal runs out while your new publishing dealis still running, the new publisher will expect to get the right to publish thosesongs too. If you don’t think they should then you need to argue for this atthe time the new publishing deal is done.It’s possible to grant a publisher some but not all of the rights of acopyright owner. I have tried in the past to hold back rights to exploit musiconline from a few publishers, but it’s true to say that they felt veryuncomfortable about it and, now that there’s a licence scheme for downloadsin place and an emerging online marketplace as a legitimate source ofincome, publishers are now unlikely to agree to exclude online rights. Inother deals I’ve done I’ve given a publisher the right to issue mechanicallicences but not synchronisation licences. Obviously you can do this ifyou’ve the necessary bargaining power, but there’s no point in doing itunless you can do something with the rights you’ve kept back. Rememberalso that the more rights you hold back the more likely it is that you’ll get aless attractive deal from the publishing company.TerritoryThe rights that you assign could be for a particular country or worldwide.We saw in Chapter 3 that it was reasonably common to have one deal for theUS and another deal for the rest of the world. Split-territory deals aren’t atall common in exclusive publishing contracts. Depending on who thepublisher is and what its overseas set-up is like it may have sub-publishingdeals in some countries. As a songwriter you should find out what thesituation is overseas. You need to know that the sub-publishers are good,efficient companies and that there won’t be any accounting delays.Rights PeriodYou could assign rights for the life of copyright or for a shorter Rights orRetention Period, which runs from the end of the term of the publishingcontract. This period can vary considerably from anything as short as two tothree years to more than twenty years. For the last three or four years theaverage deal on offer from the major publishers has been twelve to fifteenyears.The Rights Period often gets shorter when there is a more positiveeconomic climate and if there is a lot of competition to sign goodsongwriters. Ten years ago I could get Retention Periods from some of themajor music publishers as short as five years. This was when there were lotsof good songwriters and a lot of money around. Publishers were going forshort-term market share and weren’t as concerned about hanging on tocopyrights for any length of time. Many of the copyrights were for dancemusic songs and I guess they gambled that most of these would have a shortlifespan. Now there’s less money around, songwriters are expected to provetheir worth over a longer period of time and it’s difficult to get RightsPeriods of less than ten years unless you’ve got a lot of bargaining power.There are, however, always the one-off crazy deals for one album or song atludicrously high levels, but these are usually for short-term market share toboost a publisher’s standing in a particular quarter, possibly to impress theirshareholders or other investors.TermThe term of a UK music-publishing contract is usually shorter than that of arecord contract. It’s quite common to find a music-publishing contract withan initial period of one year and then options in the music publisher’s favourfor a further two or three option periods. Each contract period is usually fora minimum of twelve months, but can be longer depending on how long ittakes you to fulfil the minimum requirements that a publisher has for eachcontract period. For similar reasons to those given for record contracts, theoptions are in the publisher’s favour not the songwriter. The publisher hastoo much invested to allow the songwriter to just walk out the door when hewants to.Rolling contractsSome publishers use a different basis for the term of the publishing contract.Instead of a term made up of a number of optional contract periods, thepublisher fixes the term upfront and says it will run for, say, three or fiveyears with no options. That fixed period may be extended until you havefulfilled a minimum requirement. Sometimes, but not often, there is nominimum requirement; the publisher just publishes anything you do in thefixed term. This is a big risk for the publisher to take. You could take theadvance payable on signing the deal and then not write another thing. Tooffer this kind of deal, the publisher has to know you well and be convincedthat you are going to continue to write good songs. For a songwriter thisisn’t only a great show of faith from the publisher, it’s also a relief. Youdon’t have to worry about fulfilling a minimum requirement or deliveringsongs to order.With a rolling term you get an advance when you sign the deal and this isrecouped from your earnings. When the initial advance has been wholly orpartly recouped you are paid a further advance. This is called a rollingadvance. The publisher won’t usually pay you an advance in the last twelveto eighteen months of the fixed term because it won’t have enough time torecoup it before the deal runs out. When working out how recouped you are,to see if you should get a further advance, you should try to get the publisherto take into account income that’s been earned from your songs but hasn’tyet come through to its or your account in the UK. This is called ‘pipelineincome’.Minimum CommitmentThere are a number of different types of Minimum Commitment. Thesimplest is where you’re just required to write a minimum number of songs.If you co-write, your share of all the co-written works must add up to anequivalent number of whole songs. For example, if the MinimumCommitment is to write five new songs and you always only write the lyrics,so only control at best 50% of each song, then you’ll have to write ten half-songs to add up to the five whole ones. This type of commitment works bestfor a pure songwriter who writes for others and doesn’t perform and recordhis own material.There may be an additional requirement that, in order to count towardsthe Minimum Commitment, the song must be exploited in some way, forinstance commercially released as an A-side of a single or as an album track.This puts a greater burden on you if you’re a pure songwriter who can’teasily control whether anyone else will want to record your songs. Thepublisher usually insists on this when it wants to be certain there will besome form of exploitation (and hopefully some income) before it commitsto any more advances or decides whether to exercise an option to extend theterm.There may be a requirement that you have to write a minimum numberof the songs on an album. That percentage varies depending on thesongwriter and the style of music. For a band, the requirement is usually thatyou have to write at least 80% of the songs on your own album. There is alsousually a requirement that that album has to be commercially released. Thissort of arrangement works better for a songwriter who also performs andrecords his own material.A much less common commitment is one that you get when you have asongwriter who records some of his own material, writes to commissionsfrom others, or writes for a number of different styles of music, for example,film, TV, classical and popular. The Minimum Commitment could be anumber of ‘points’, with a different value being given to each type of usage,genre, format and so on. For example, two points for a ballet commission,five for a track on a popular-music album, with, say, thirty points in totalrequired per contract period. The publisher is only likely to agree to this sortof commitment where you’re already established in a number of these areasand they are not common.AdvancesIt’s usual under an exclusive publishing agreement for the publisher to payadvances. As we saw with record contracts, this is a pre-payment of yourshare of the gross income from the use of your songs. It’s not a loan andisn’t repayable to the publishing company if you never earn enough from thesongs it controls to cover the amount of the advance then you usually don’thave to pay it back, but if you take the money and run, never delivering asingle song, your publisher may get a bit upset and may sue for return oftheir money on the basis that you’ve failed to fulfil your side of the bargain.What size of advance can you expect? This will change withcircumstances. Your bargaining power, the number of co-writers there are,how much is your own material and how much is sampled from others willall help to determine the figure. It will also depend on how much thepublisher thinks it’s likely to earn from your songs on average. If the recorddeal has already been done, the publisher may take its lead from what itknows of the level of that deal. If that was a particularly ‘hot’ deal thepublisher will know that it probably has to increase the overall terms of itsoffer. There are also financial models that help a publisher to decide howmuch they can realistically risk. Some publishers rely on these models,while others work on more of a gut instinct or a combination of the two. Youalso have to factor in market forces. If the publisher really wants to sign youup, whether to increase the profile of the company, for market share or justbecause the A&R man wants it, then that publisher will pay whatever ittakes.The higher the advance, the more the publisher will expect from you inreturn and the larger percentage of the income that the publisher will keep astheir fee. The publisher will be more reluctant to give you a higher thanaverage royalty if they’ve had to pay out a high advance – £75,000 for awriter for 80% or more of the songs on an album isn’t unreasonable from amajor publisher. Much higher figures can be expected if there is ‘hype’ or ifyou have a proven track record. If the publisher knows that there is alreadysome income out there from your catalogue waiting to be collected, or thatyou have a song on the next album to be released by a chart-topping act,they’re more likely to risk paying higher advances. A recent deal doubled invalue when in the course of the negotiation it was confirmed that one of thesongs was to be covered by a top artist and included on her next albumwhich was expected to sell in the millions. A smaller publishing companycannot usually hope to compete just on money and if you are considering adeal with a smaller publisher you have to weigh up things like the greaterdegree of control versus advances.The publishing deal is likely to recoup a lot faster than the record dealbecause, with a publishing deal, you only have to recoup the personaladvances and maybe some money in demo costs – there aren’t the additionalrecoupable expenses like recording costs, video costs and tour support. Also,the publisher pays through to you a much larger percentage of the incomeearned for the use of your songs than most record companies do with theincome from sales of your records.RoyaltiesThe publishing advance is recouped from your royalty earnings after firstdeducting the publisher’s fee. For an exclusive publishing deal this willusually be about 20–25% of the gross income.Royalties can be calculated in one of two ways, either ‘at source’ or on‘receipts’. ‘At source’ means that there have been no deductions made byanyone (after the collection societies, the VAT man and payments to anyarranger or translator) from the gross income earned from your songs. Thisis an ‘at source’ means of calculation. In a ‘receipts’ deal in addition tothese deductions the publisher’s sub-publisher’s overseas have to be paidand these fees are deducted from the gross before the income is paid throughto you.Let me give you an example. Ten thousand euros are earned in France inmechanical income from use of your songs on a record after paying thecollection society and the tax. If you are on a ‘source’ deal then, as far asyou’re concerned, nothing else gets deducted from that 10,000 by the sub-publisher in France before it’s paid through to your publisher in the UK. TheUK publisher would then deduct this fee of say 2,500 euros from the 10,000euros and pay through 7,500 euros (or the sterling equivalent) to you. If youare on a ‘receipts’ deal then the sub-publisher in France would first taketheir ‘cut’ of, say, 15% (1,500 euros) leaving 8,500 euros to be sent throughto your publisher in the UK. They then take their 25% of that 8,500 euros,leaving you with just 6,300 euros.As a songwriter you should try and get an ‘at source’ deal, but yourpublisher may not have any choice. The deals done with their sub-publishersmay mean they have to do deals on a ‘receipts’ basis in order to make anymoney out of use of your songs overseas. If you’re offered a ‘receipts’ deal,the very least you should do is to try and limit the amount the sub-publisherscan take off the ‘gross’ income. For example, you might want to say in thecontract that the sub-publishers can’t deduct any more than 15–20%. Wesaw in the Elton John v. Dick James case that the sub-publishers were spreadall over the world and many were associated with Dick James and his UKcompanies. There was no limit on what these sub-publishers could take offthe top as their cut. As Elton was on a ‘receipts’ deal he could have, and didin some cases, find himself in a situation where the sub-publisher took 50%or more, leaving small amounts to come into the UK, where a furtherpercentage fee was deducted by Dick James – leaving very little over forElton. Putting a ‘cap’ on the deductions would have gone some way toreduce these problems.Synchronisation and Cover RoyaltiesSometimes the publisher justifies taking a larger piece of the pie by sayingthat, in order to do certain work for you, it needs the incentive of gettingmore of a fee. Part of me says that getting 20–25% of your income should beenough for most purposes. The reality is that the business has accepted thatpublishers will get a larger fee for these types of work and it’s hard to buckagainst the trend unless you have a great deal of bargaining power. Whatareas am I talking about? The two usual areas where the publisher takes alarger fee are synchronisation licences and covers.They usually look to get about another 5–10% for obtainingsynchronisation licences for your songs, so if you were paying yourpublisher a fee on mechanical royalties of 25%, you would see that increaseto 30–35% for synchronisation royalties.If you find that the publisher won’t move on this point, the best thing isto make sure that they don’t get this increased percentage on projects thatyou or someone other than the publisher introduces. For example, if one ofyour mates from drama school brings a film project to you, you wouldn’texpect the publisher to take a bigger fee because it didn’t go out and findthat work.The same sort of rules should apply to a cover. A cover is a recording ofa song done by someone other than the songwriter. So, for example, if atrack were first recorded by U2 and is later recorded by Sinead O’Connor,Sinead’s version would be the cover. Once again, the publisher will probablywant an increased fee for finding other artists keen to cover your works. Theanswer is to make sure that something doesn’t count as a cover unless thepublisher has actually done something positive to get it. For example, if youbumped into an artist at an awards show and he was raving about what hethought he could do with your song, if he then goes on to cover that song, ithasn’t happened because of anything the publisher has done. The publishershould not get an increased fee for that cover.You have to be particularly careful where you’re a songwriter whodoesn’t perform his own songs. Otherwise, you’ll find that you’re paying thehigher fee for most of what you’re doing, because the recording will alwaysbe by someone other than the person who wrote it, i.e. you, and everythingwill be a cover. In these cases I always push for all recordings to be treatedin the same way and not as covers. The publishers are sometimes reluctant todo this, saying that getting anyone to record a song requires effort and thatit’s harder if the songwriter isn’t the performing artist. You have to standyour ground on this. If you’re a songwriter you’ll be paying a publisher tofind ways to use your songs. You shouldn’t expect them to increase their feejust because you aren’t going to record your own songs.Performing incomeThe PRS rules require that at least six-twelfths (50%) of the performingincome has to go to the writer/composer. This is called ‘the writer’s share’.The other six-twelfths is called ‘the publisher’s share’. Depending on thedeal you have, the publisher will either say that they intend to keep thewhole of the publisher’s share or they will agree to share some of it withyou. You get to keep the writer’s share and don’t have to put it towardsrecoupment of your advances. Your share of the publisher’s share will gotowards recoupment of any unrecouped advance.When you’re dealing with contracts for the use of music in a film or TVprogramme, it’s still common for the publisher to insist on keeping theentire ‘publisher’s share’ and not putting any of it towards recoupment. TVand film publishing deals have lagged behind popular-music deals, whereit’s usual for the publisher to share up to 50% of the publisher’s share withthe songwriter.AccountingThe publishing company will usually account to you every six months.You’ll be sent a statement of what use has been made of your songs in theprevious six months and how much income has been received. It shouldshow the percentage that your publisher has kept as their fee and the amountthat has been credited to your account. Your share of income will go first torecoup advances. After that your publisher should send a cheque with thestatement for the royalties due to you. Even if the account isn’t recouped,you or your representatives should check these accounting statements to seeif they seem right and that the correct fee has been deducted. If, for example,you know that your music was used in an advert in the last six months butthere is no mention of income from this in the statement, you should askyour publisher to explain. It also pays for you to audit the books of thepublishing company from time to time. You don’t want to be doing thisevery five minutes, but you may want to run a check after you’ve had aparticularly successful time. You’ll probably also want to think about doingan audit when the deal comes to an end, as that is going to be your lastpractical chance to check up on your publisher. Because it can be veryexpensive to carry out an audit (£10,000 plus isn’t unusual), you only wantto do it when you think there is a reasonable chance of getting somethingback from it. If the audit shows up serious errors in your favour, you shouldexpect them to reimburse you the main costs of doing the audit as well aspaying you whatever sums the audit has shown are due to you.You shouldn’t delay in raising any concerns you might have about anaccounting statement, as the publishing contract will probably put a timelimit on you doing so. Usually, if a statement hasn’t been challenged forthree years, sometimes less, then it’s said to have been accepted and noobjection can be raised to it after that time.WHAT CAN YOU EXPECT FROM A PUBLISHER UNDER ANEXCLUSIVE PUBLISHING AGREEMENT?We’ve already seen that there is a presumption that an exclusive songwritingagreement is in restraint of trade and it’s up to the publisher to show that thecontract, taken as a whole, is reasonable to protect its interests and fair to thesongwriter. As we saw in the Macaulay v. Schroeder case, a publishingcontract should require the publisher to do something with your songs that itcontrols, and if the publisher doesn’t manage to do so within a reasonableperiod of time you should be able to get those songs back. The publisher hasto ensure that it does what it can to get the songs used, to maximise theincome from all uses and to make sure the songs are properly registered, andincome properly collected and accounted through to the writer.Your publisher should also take steps to protect your songs fromunauthorised uses. Sampling of songs is rife and it’s up to the publishereither to prevent such uses by court action or, if you and your publisher areprepared to allow the sample use, to ensure a proper amount is paid incompensation (see Chapter 13).Open-ended contracts are likely to be seen as unfairly restrictive, as wesee in the case of Holly Johnson and Perfect Songs.19Frankie Goes To HollywoodThis case came to court at the same time as the related case involvingJohnson’s record contract. Both the record and publishing companieswere trying to get an injunction to bind Holly Johnson to the contracts,even though the band he was a member of, Frankie Goes To Hollywood,had disbanded. Holly Johnson argued that both agreements wereunenforceable as being an unreasonable restraint of his trade.When the court looked at the publishing contract, it found that it waspotentially a very long contract and that it was exclusive but there hadnot been equal bargaining power when it was entered into. It found thatthe restrictions in the contract were not reasonable and declared that thepublishing agreement was unenforceable. The judge was concerned thatHolly Johnson and his fellow band members had not had any choice inwhether they did the publishing deal. It was offered as a package withthe record deal. There was also no obligation on the publisher to doanything with the songs. There was no re-assignment of the rights in thesongs if the publisher failed to exploit them in any way. The judge alsothought that it was unfair that Perfect Songs had full control over whathappened to the songs once they were delivered. The songwriters hadlittle or no creative control. The judge considered what financial benefitsthe songwriters got out of the deal and found that the 35% fee retainedby the publisher was too much.Stone Roses publishing disputeAnother case that has had an effect on the form of publishing contracts isthe Stone Roses publishing dispute.20The Stone Roses were a Manchester band that had a hit with analbum called The Stone Roses, released in 1989. They were signed to theSilvertone label, part of the Zomba Group. The members of the StoneRoses were also offered a package deal. They couldn’t do the record dealwithout also signing the publishing deal. As we saw in the case ofArmatrading v. Stone, it’s very important that the songwriter getsindependent advice from his own lawyer, someone who is familiar withthe music business and its contracts. In this case, the songwriters hadtheir own lawyer but he was not experienced in music contracts andmade hardly any changes to the terms of the contract from the initialdraft that the publishing company’s lawyer gave to him. There was noequality of bargaining power. The agreement was an exclusive one andthe rights were assigned for the life of copyright. There was a limitedobligation on the publisher to do something with the songs under itscontrol. After five years the Stone Roses could ask for the rights back inany of their songs that hadn’t been exploited. The first contract periodwas linked to that of the record deal. The court found that the firstcontract period of the record deal was capable of being extendedindefinitely. As the two were linked, this meant that the publishingagreement was similarly open-ended and, as such, unreasonable. Thecourt also found that the advances were not reasonable and objected tothe lack of artistic or creative control by the songwriters. BecauseZomba had obtained an injunction preventing the band from recordingfor anyone else, they couldn’t bring out any more records until this casehad been decided. When it was they signed a big deal with US labelGeffen. The band went on to release another album called, appropriatelyenough, The Second Coming, but split up shortly afterwards.As a result of this and similar cases it’s now common to have clauses in UKpublishing agreements making it clear that the publisher has to do somethingwith the rights it has. Also that the songwriter should have some say on whathappens to the songs once they’re delivered. It’s usual to say that no majorchanges to the music or any change to the lyrics can be made without thesongwriter’s approval. The criticism of the 65:35 split has led to the averagepublishing royalty rising to at least 70% in the songwriter’s favour and inmany cases to 75% with the publisher keeping no more than 25–30% but thisis by no means universal and 65:35 deals are still being done with 50:50deals in the TV and film industry still being common.MORAL RIGHTS AND CREATIVE CONTROLA songwriter may have strong views on what he wants or doesn’t want t ohappen to his songs. For example, a songwriter may believe passionatelythat no one should be allowed to alter the words or music without hisapproval. This doesn’t usually extend to straight translations. Those aretaken to be a logical part of the exploitation process. But if, in thetranslation, the translator wanted to give the lyrics a different meaning andthe songwriter objected to this, he should be entitled to prevent thishappening. Obviously, I’m not talking about minor changes, but major onesthat change the meaning significantly. This contractual control overlaps witha songwriter’s moral rights. Moral rights are described in more detail inChapter 12. Where you’re able to retain your moral rights then you shoulddo so. The reality is that, because our copyright laws acknowledge theserights but allow you to waive them, all publishers have put clauses in theircontracts requiring you to waive these rights. What lawyers now do is to putcontract clauses in to give you the same or similar rights to what you wouldhave got from using your moral rights. So you might ask why we bother withthis farce. Why don’t we acknowledge that the songwriter has certain rightsto object to what is morally being done to his songs? Well, the essentialdifference is that the moral rights usually go a bit wider than what you getunder your contract and a moral right is capable of being enforced by youeven if your publishing company doesn’t want to take any action.Other creative controls may involve the songwriter reserving a song forhimself or his band to record and stopping another artist applying for andgetting a mechanical licence to record that song first. The publisher willusually agree not to issue a first mechanical licence to another artist wherethe songwriter wants to reserve it, but will usually require that there is atime limit of, say, six months on this. If it hasn’t been recorded in that timethen the restriction can be lifted.Finally, of course, the songwriter will want to ensure he is properlycredited.WHAT TYPE OF DEAL SHOULD YOU DO?How do you decide which deal is best for you? To some extent this may beout of your control. You may not be offered anything other than an exclusivepublishing agreement. You may not be able to afford to keep control of yourcopyrights. You may be able to afford to do so but haven’t got theorganisational talents necessary to make sure that your works are properlyprotected and the income collected. In these cases the exclusive songwriteragreement is for you. But if you aren’t bothered about getting an advanceand you do want to control your copyrights, you may want to go for either asub-publishing or an administration deal, depending on how much activityyou require from your publisher.NEW BUSINESS MODELSAs we saw in relation to management deals in Chapter 2, some managersnow insist on taking an interest in your publishing as well. There are alsomany more package deals involving a production company acquiring rightsin your recordings as well as your songs. You also have to consider the issueof a potential conflict of interest between his role as your manager and asyour publisher. Try to make sure that the set-up is a proper, arm’s lengthone; that the manager/publisher/production company has thought about howhe is going to administer the rights he is getting, and make sure that themanager does not take management commission on your publishingroyalties for so long as he is also acting as your publisher of those songs.And of course there are the 360 deals where not only publishing and recordrights are involved but also live and merchandising rights. Look back at thelast chapter for the reservations I have expressed about these deals.CONCLUSIONSDecide what type of deal would ideally suit you.Decide if you need an advance and, if so, how big an advance – this willhelp you decide whether to go for a sub-publishing or an administrationdeal.You should try and do deals where your share of the income iscalculated ‘at source’ – but if you have to have a ‘receipts’ deal thenmake sure you put a limit on what the overseas sub-publishers candeduct in their fees.If you’re receiving 75% or more of the gross fees you’re doing well.Look at the Minimum Commitment. Is it realistic? Can you achieve itwithin a reasonable period of time?If you’re a songwriter who doesn’t also record his own works, try not toagree to a contractual commitment that means your songs have to beexploited in some way, as this will be outside your control.If you’re a songwriter who doesn’t record his own songs, hold out forno reduction in the amount of royalty you receive on ‘covers’.Make sure there’s no delay in you receiving your money from overseas.1 Section 3(1) CDPA.2 Section 3(2) CDPA.3 Section 9(1) CDPA.4 Section 10(1) CDPA.5 Hadley and Others v. Kemp and Another (1999) Chancery Division.6 Mark Taylor v. Rive Droite Music Limited November 2005 (unreported).7 Matthew Fisher v. Gary Brooker [2006] EWHC 3239 (Ch) 20 December2006.8 Section 12(2) CDPA.9 Section 12(8) CDPA.10 Hyperion Records Limited v. Dr L Sawkins 19 May 2005 (unreported).11 Section 16(1) (a) and section 17 CDPA.12 Section 16(1) (b) and section 18 CDPA as amended.13 Section 16(1) (c) and (d) and sections 19 and 20 CDPA as amended.14 Section 16(1) (e) and section 21 CDPA as amended.15 Section 21 CDPA as amended.16 The Copyright and Related Rights Regulation 2003.17 Often this is in order to get ‘market share’, which is the measure of howmany copyrights a publisher controls either in terms of numbers or, moreoften, in terms of how much income they generate. Market share iswatched by the money markets and the analysts and is also keenlycontested by the publishers themselves as a measure of how well they aredoing.18 Macaulay v. A. Schroeder Music Publishing Co. Limited [1974] 1 WLR1308.19 Perfect Songs Limited v. Johnson and Others [1993] E.M.L.R 61.20 Zomba v. Mountfield and Others [1993] E.M.L.R 152. Chapter 5Getting A Record Made INTRODUCTIONJUST TO MAKE things a little clearer in this chapter I’m going to assume thatyou’ve signed a record deal and that the money for making your record willcome from the record company, either as a separate recording budget fund oras an all-inclusive advance. At the end of the chapter I’m going to look atother ways of making a record, for example, where you’re funding themaking of the record yourself.PRODUCTION DEALS VERSUS DIRECT SIGNINGSBefore I go into the process of getting a record made, I need to look at twodifferent ways of structuring a record deal. This has an impact on how therecording process is organised. We covered both types of signings inChapter 3 – the direct signing or a signing to a bigger company through aproduction company. Now we’re going to take a closer look at theproduction deal and compare the pros and cons of this versus a straightsigning.PRODUCTION DEALSDon’t confuse production with the process of producing a record by a recordproducer which I’ll deal with below. As we’ve seen a production deal is onewhere someone (whether it’s an individual, a partnership or a company) actsas a middleman between the record company and the artist. This middlemanis the production company.Sometimes a smaller label or someone who doesn’t want a full-time roleas a manager finds a talented artist. They may not have the necessary fundsto make the record or, even if they can afford to make it, may not have thenecessary clout to get decent manufacturing, distribution, marketing orpromotion. The label or individual could sign up the artist and then look fora company with more resources to fund the recording and all aspects ofputting out the record. In effect, they are selling on the rights they have tothe artist’s services, either by a licence of rights or an assignment of them.The contract between the production company and the artist is called aproduction deal.WHAT IS A PRODUCTION DEAL?The contract may look very similar to a record deal, more details of whichare in Chapter 3. The production company could sign the artist up to recordan album with options to make further albums. The number of options maybe less than in a straight record deal, perhaps two or three options instead offour or five. The money available will often be less than with an exclusiverecord deal with an established larger record company and, in some ways,may resemble a development deal. The deal may be a ‘net receipts’ deal asopposed to one where the artist is paid a royalty on record sales. It will alsoprobably say somewhere in the contract that the intention is to try to getanother company involved with greater resources.It’s a little difficult to agree up-front what sort of deal will be done withthe bigger company. If I’m acting for the artist I usually try to ensure he getsthe chance to be involved in the negotiations with the third party wheneverthat arises. After all, the bigger company needs to know the artist is on side,so should want to co-operate. If the bigger record company is going to payadvances to the production company, the artist will want to know that he’llget a decent share of them. Also, if the artist is on a ‘net receipts’ deal, hewill need to know that the royalty being paid is high enough when it’s splitbetween him and the production company. For example, if the artist is on a50:50 net receipts deal and the royalty is 18% then he’ll be on a 9% royalty,as will the production company. Maybe the artist’s percentage should behigher – 65% or 75% instead of 50:50. If you’re the production companyyou should work out what’s a good deal for you and should be looking atgetting a clear profit equal to a 3–4% royalty. Obviously each negotiation isdifferent so these percentages are guidelines only.WHAT’S IN IT FOR THE OTHER RECORD COMPANY?The bigger company has the advantage of having someone else find anddevelop a new artist. By the time the project is brought to them they can hearwhat it’s going to sound like. Some of the risk has been taken away. Ifthey’re licensing a finished record from a production company, they knowexactly what they are getting. There’s also a middleman to deal with theartist – who becomes someone else’s problem. One downside for the biggercompany is lack of control. They need to be confident that the productioncompany can deliver the goods, so they are more likely to trust someonewho already has a track record.WHAT’S IN IT FOR THE PRODUCTION COMPANY?The production company has a much closer involvement with the artist. Ithas the thrill of discovering an artist early and of developing them. It getsanother company to take the risk on manufacture, distribution and marketingcosts, but at that stage it loses control. If the bigger company then fails inwhat it has to do, all the production company’s work will have been wasted.For the production company it’s essential they choose a bigger companywith a good marketing department and that they try and get a clause in thecontract with the bigger company which allows them to insist on outsidepress and marketing people being brought in if necessary. If it works, theproduction company get their costs and expenses repaid, the financial risk onthe manufacture, distribution and marketing taken off their hands, and adecent royalty into the bargain.WHAT’S IN IT FOR THE ARTIST?If a production company is interested in an artist then it’s a step up theladder. If they know what they’re doing, there will be a second chance laterof getting a bigger company involved. There should also be greater artisticand creative freedom, unless the production team are control freaks. Thedownside for the artist is that, if he doesn’t get the deal right, he could endup sharing a larger than necessary piece of the pie with the productioncompany. He is also a further stage removed from the record company that’spromoting the record, so it’s that much harder to get his views heard andtherefore it’s important that there are plenty of creative controls in thecontract which flow through to the bigger deal.FINDING A STUDIOWhether you’re signed direct or via a production company, one thing you’llhave to do is to find a suitable recording studio. It could be as simple as thestudio in your back bedroom or as complex as a full-blown commercialstudio. Before you decide on a studio you should look at several – at theambience as well as whether it has the necessary equipment. If equipmenthas to be hired in, it will add to the recording costs. You should listen tomaterial produced in the studios and, if you can, talk to other artists whohave used them. You should also talk to any in-house engineer or producer.How enthusiastic are they about the place and how it’s run? If you have arecord producer in mind or a favourite engineer, ask them what they think ofthe various studios on your shortlist.You also need to think about where it is. Is it easy to get equipment in orout? Is it secure? You’ll have seen stories in the press of recordings being‘leaked’ from the studio and appearing on the Internet. Record companiesare doing what they can to tighten security but do check if the studio keepsrecordings safe and secure, and who is responsible for this. Can leaks betraced? Also, provided you can keep it safe yourself consider making abackup copy of the final versions of the recordings and keeping itsomewhere safe away from the studio. This might prove invaluable if thereare problems of security or if the studio proves difficult in releasing the finalrecordings. I have known studios hold artists to ransom asking for a biggerfee in return for release of the master recordings. Most do not descend tothis level but disputes can arise over what is properly due and the studio maylegitimately have a lien or hold over the recordings until this is resolved.A studio can either be one that you go to day to day or a residential onewhere you stay in accommodation at or near the studio. Your own personalarrangements might decide which is better for you. Some bands respond bestwhen they’re immersed in the project in a residential studio. For others, theidea of spending 24 hours a day, 7 days a week with the other band membersis their idea of hell.STUDIO PACKAGE DEALSThe recording studio may block out a period of time and the studio is yoursfor the whole of that time. These arrangements are sometimes called‘lockout’ deals. Other deals are for a fixed eight- or ten-hour day. If youoverrun, you may either find that the studio has been hired out to someoneelse or that there are heavy financial penalties. Some studios will give youdiscounts on their usual rate if you record at times when the studio wouldn’tnormally be in use, for example, in the early hours of the morning. This iscalled ‘down time’. It’s fine if you’re on a very tight budget or if you justwant to record some demo tracks. But if you’re planning to use down time torecord your whole album, you’re putting very great limitations on yourself.It’s mentally and physically tough recording an album without adding to thisby having to record it all at two in the morning.Some studios will offer a package deal that includes mixing andmastering of the finished recordings. There are two things to bear in mindhere. First, the studio must have the technical capabilities to do a good joband secondly, the price offered should represent good value.Your A&R man or production company representative is going to be animportant source of information on where you choose to record. Thesepeople also have a vital role to play in giving you feedback on how therecording is going. It’s far too easy to lock yourself away in a studio andbecome isolated from reality. You’ll need feedback and constructivecriticism. The A&R man won’t be sitting at your shoulder all the waythrough the recordings, but he will want to visit the studio regularly duringthe recording process. Don’t surround yourself with yes men – you’ll needpeople who can be objective and whose opinion and judgement you respect.Once you’ve chosen your studio you need to haggle on a price – or yourmanager, production company or A&R man will do it for you. Before youbook the time, make sure that any people you want to help with therecording, like a producer, engineer or session musicians, are available. Ifyou really want to work with a particular person then you may have to adjustyour recording schedule to work around their availability. If they liveoutside the UK they may need a permit to work in this country. This can taketime and has to be factored into the recording timetable. If you want torecord overseas you may need visas or work permits so allow time for thoseto be put in place too.Another key factor in the choice of the studio is whether you can affordit. Studio costs and fees to a producer usually make up most of the recordingcosts. You’ll have to recoup these, so it’s important that you keep an eye onthem.It is becoming quite common for a record producer to offer an all-in ratefor his services which includes studio costs. This of course assumes theproducer either has his own studio or open access to one. With these deals inparticular you need to be sure that the studio is up to the job in hand.THE RECORDING BUDGETWhen you or your manager were pitching for your record deal you may wellhave done a ‘back of an envelope’ calculation of how much it would costyou to record. Now you’re going to have to do a much more detailed budget.You and your manager are going to have to work out how long you thinkyou’re going to take to record the album, how many days of studio time andwhat that will cost at the studio of your choice. You need to know how muchyour producer of choice will charge, how long a mixer will take to mix it andwhat he’s likely to charge. If there are session vocalists or musicians whowill need to be there for all or part of the time, you need to know how muchthey will charge per day or session. There are minimum rates set by bodieslike the Musicians’ Union and Equity (see Chapter 17), but good people willwant more than the minimum rate. If special equipment is required, youneed to work out how much this will cost to hire and whether it’s more cost-effective to buy it. It may be a piece of equipment that you’ll need to havelater when you’re out on the road promoting the album. You may have anequipment budget as part of your deal or the cost may be built into therecording budget. Another possibility is that you’ll have to buy theequipment out of your personal advance.Don’t forget rehearsal time. You don’t want to spend expensive studiotime rehearsing the songs until you’re ready to record them. Do this beforeyou set foot in the studio. Whether you do this in a professional rehearsalroom or in a room over the local chip shop will depend on your budget.Once you’ve thought of everything you should add at least 10% to it.This is called a contingency. It’s to cover extra costs when you spendanother day in the studio or on mixing or when you have to hire inequipment because yours or the studios isn’t up to the job.If you have a recording fund deal, your total budget should not exceedabout 60% of the total advance to give you enough to live on. If you have adeal where you have an advance plus a recording budget, you’ll have to keepwithin the maximum set by the record company and you’ll have to take yourfinished outline budget to them for approval. Bear in mind that most recordcontracts say that if you overrun the agreed budget without first gettingclearance from the record company, you’ll be liable for the extra expense. Itwill be deducted from your royalties and possibly also from any furtheradvances due to you under the deal.MASTERING AND DIGITISATION COSTSThese are a grey area. Mastering costs are the costs that are involved ingetting the final mixed recordings into a state ready to be made into records.Where those records are to be made available as digital downloads then themasters have to be digitised. I’ll deal with the process in a little more detailbelow. The record contract will say whether these costs are to be included inthe recording budget or not. Mastering can cost several thousand pounds, soit’s important to know this when setting your financial budget. The situationwith recharge of digitisation costs is in a state of flux. Some companies treatthese as part of the costs of online distribution akin to the transport coststhey incur for physical distribution. Others pass on the costs as a recoupableamount.THE PRODUCERThe role of the producer has been described as getting the dynamics andemotion of the music on tape. The producer makes your material come alive.It’s possible for you to produce yourself and many successful artists do. Bythe same token most artists, particularly when they are starting out, mightfind it difficult to get the necessary distance in order to hear how the musicwill sound to an outsider. The producer can be your external critic. You’regoing to be working closely together, so it’s helpful if you have similarmusical tastes and influences. You have to like working with them, respectthem and have a common vision of how the music should sound.Your A&R man can be very helpful in pointing you in the direction ofpossible producers. They can do a lot of the filtering process. They may playyour demo to a series of different producers to see who’s interested. Theymay invite producers to come to your gigs to get a feel for how you sound.Some vocalists need a little help in the studio in keeping in tune. A goodproducer will realise that when he hears you play live. Increasingly theproducer is through necessity taking on the role of a finder and developer oftalent, sometimes as a formal production company but sometimes just bydefault as part of his role as record producer.WHAT DOES A PRODUCER GET PAID?Fee or advanceA producer will usually expect to be paid a fee per track that they produce.This could be a pure fee, which isn’t recouped. It could be an advanceagainst the producer’s royalty, or it could be part non-recoupable fees andpart advances. Good producers can charge £5,000 plus per track and many ofthose will expect some of it to be a non-recoupable fee. Whether they getthat will depend on the negotiation. If it’s being recorded in the producer’sstudio he may include recording costs in the fee so the total may be nearer£10,000 than £5,000.RoyaltyThe producers may just work for a fee, but they will often expect to receive aroyalty calculated in the same way as the artist’s record royalty iscalculated. A good producer may insist on a royalty of 4% of the dealer priceor 3% of the retail price. They may ask for increases in the royalty if salesexceed a given amount. Producers who work with very commercial acts seethemselves very much as key parts of the team and charge royaltiesaccordingly. Some producers charge over 5–6% of the dealer price and therates will definitely be higher if the advance is low.RECOUPMENT OF COSTSAnother big bone of contention is whether the producer receives the royaltyas soon as he has recouped any advance he has received, or if he has to alsowait until his royalty, together with the artist’s royalty, has also recouped therecording costs on the tracks he has produced. If he agrees to the latter, theproducer may say that once that’s achieved, his royalty is calculated as if hehad been paid from record one after recouping his advance. Let me give youan example:A producer is to be paid a 3% royalty and has received a £30,000advance. The recording costs on the tracks he worked on came to £200,000.The artist’s royalty together with the producer’s 3% is 12%. Say each recordsold makes the artist £1.25. He’d have to sell £230,000 ÷ £1.25 = 184,000copies of the record in order to recoup the advances. Say the producer’s 3%royalty earns him 31p. To recoup his £30,000 advance he’d have to sell£30,000 ÷ £0.31 = 96,774 copies. If he’s on a deal where he’s paidretrospectively he would then get paid on the number of copies sold between184,000 and 96,774 copies, i.e. 87,226 " £0.31 = another £27,040. If theartist sells 96,775 copies, the producer recoups his advance and receives theextra £27,040 but if the artist doesn’t sell more than 184,000 copies hedoesn’t recoup the recording costs and the producer gets no more royalties.So the producer is taking a risk, but if it pays off he gets a windfall.The producer is almost invariably expected to have to wait until allrecording costs have been recouped and often it’s only with great reluctancethat record companies accept that this should then be retroactive. Where theproducer doesn’t have to wait until any recording costs have been recoupedand is paid his royalty as soon as he has recouped his advance, this can be aproblem for the artist. He can only really do it if his record company agreesto advance him the money to pay the producer. The artist is unlikely to berecouped as he will have all the recording costs, video costs and so on torecoup first. This pushes the artist further into debt, but he will often agreeto this if it’s the only way he’s going to be able to do the deal and get thatparticular producer.WHO DOES THE CONTRACT?In the UK it’s usually the record or production company that will do the dealwith the producer, will issue the contract and negotiate its terms. In therecord contract it should say whether or not the record company has to getthe artist’s approval of the commercial terms. At the very least the artistshould have approval of the royalty, because it will usually come out of hisroyalty, and of the advance, which will usually be a recoupable recordingcost.In the US the artist issues the contract and negotiates the deal with theproducer – or his lawyer does. The contract isn’t with the record company,but between artist and producer. If the artist doesn’t pay, the producer canonly sue the artist, who may not have the money. In the UK the contract isbetween the record company and the producer, so if anything goes wrong therecord producer can sue the record company not the artist. This puts theproducer in a more secure position. The US record company will usually dothe royalty calculation and, if asked, will pay royalties direct to the produceras a favour not as a legal obligation.REMIX ROYALTY REDUCTIONThe royalty to the producer almost invariably comes out of the artist’sroyalty, so it’s in the artist’s interests to keep the royalty at a reasonablelevel. If the record is to be mixed or remixed then a good record mixer willalso want to be paid a royalty. You could try and get the record producer toagree that, if the mixer is paid a royalty, the producer’s royalty is reduced bythe same amount. Some producers will agree to this. Others are adamant thatif they’ve done a good job of production there shouldn’t be any reduction intheir royalty just because the record company or artist decides to bring inanother person to mix the records. If this becomes a real sticking point, it’ssometimes possible to get the record company to contribute to the royaltyfor the mixer, perhaps by paying another 0.5%. Producers who do agree to areduction will usually limit it to no more than half the total producer royaltyor 1%.CREDITSThe producer will usually want to receive a credit on the packaging of therecord and in marketing material.Sometimes a ‘name’ producer will insist on having the right to removehis name from the packaging if his work is remixed and he doesn’t like orwish to be associated with the end result.There isn’t any one way that I have come across to credit the producer inonline uses. It is of course possible to embed information in the data for therecording when it is digitised. You see this when you download music toyour MP3 player (totally legally of course) and the software you use to dothis ‘reads’ the metadata to identify artist and track. However, it still hasn’tbecome commonplace to demand this or any other form of credit fordownloadsSTANDARD OF WORKWhether it’s the artist or his record company that’s doing the contract,they’ll want to know that the producer’s work will be of a high standard.There will probably be instalment payments to the producer so that he isn’tpaid in full until recordings of the required standard have been delivered. Sowhat is that standard? Well, just as we saw with record contracts, it’s usuallya question of whether the producer has to deliver technically satisfactoryrecordings or whether they have to be commercially acceptable. The latteris, of course, a very subjective test and the producer may well argue that hehas no say in what the artist chooses to record, so it’s not his fault if thefinished recording isn’t commercial. A common compromise is to say that itmust be a first-class technical production and of at least the same highstandards as the producer’s previous productions.RIGHTSThe producer usually assigns any and all copyright he has in the soundrecordings he produces to the artist (US deals) or to the record or productioncompany (UK deals). The recordings may have been made in a studio ownedby the producer. In that case there is a possibility that the producer made thearrangements for the recording to be made. If so, the producer could claim tobe the first owner of copyright.1 The record company will therefore want tomake sure that it takes an assignment of any copyright the producer mayhave.In the US they deal with it slightly differently. There the contracts willsay that, for the purposes of copyright, the producer is employed by theartist. Under US copyright laws the artist owns the copyright in anything aproducer creates where he is employed by the artist. This is called a ‘workfor hire’. US record companies often adopt the same approach which youhave to watch out for if you are in fact doing a licence not an assignment ofcopyright. You will want to get rid of these ‘for hire’ clauses in a licencedeal.The producer may perform on the recordings. He may play an instrumentor programme a keyboard. He may therefore have the same rights as anyother performer.2 The record company will therefore want to know that hehas given all the necessary consents to his performances being used. The feeor advances that the producer is paid will usually include any fees for hisperformances.If the producer has made any original creative contribution to the writingor composing of the music or the words then he may have rights as a co-author of that song.3 If the artist and producer agree on what each hascontributed this isn’t usually a problem. The artist will want to know that amechanical licence will be available on standard industry terms so that theproducer’s share of that song can be included on the recording. If the artisthas agreed to reduced mechanical royalties in the US and Canada (the so-called Controlled Compositions clauses as explained in Chapter 4) then theartist should make sure the producer accepts the same reductions. He may,however, refuse to do this and there is no requirement that he do so. If theproducer co-writes a number of the songs on the album, this could affect theartist’s ability to fulfil the Minimum Commitment requirements that he mayhave in his publishing deal. This must also be taken into account whenagreeing what share is allocated to the producer. If a producer co-writes thesongs, he will have moral rights in his work. He may also have moral rightsas a performer. The contract will usually require him to waive those moralrights (for more on moral rights, see Chapter 12). If he hasn’t co-written anyof the songs or isn’t claiming any publishing rights, the contract will usuallyrequire him to confirm this on a warranty.PRODUCER’S DUTIESIn addition to making sure that the production is of the required standard,it’s also the job of the producer to try to keep the recording costs within thebudget and to let the artist/record company know if it’s likely to run overbudget. The contract may make the producer responsible for any overrun onthe budget that is his fault.The producer is responsible for getting all session musicians to completethe necessary forms, buying out their rights and getting all the necessaryperformers’ consents. He has to deliver these signed forms to the recordcompany with details of who did what on each recording. He also has to keepall recordings safe and deliver them up to the record company when asked todo so. It is usual to make one or more backups. The delivery up includes allouttakes, i.e. recordings that didn’t end up in the final mix on the record.One case in which these ‘outtakes’ then found their way onto acommercially released record involved Bruce Springsteen.4The Springsteen CaseBruce Springsteen had had agreements early in his career with a recordcompany called Flute. Those agreements had been declared to be voidfrom the outset in a previous court case. As we saw in other cases suchas Elton John v. Reed, this was unusual. Most courts won’t declareagreements to be void (i.e. as if they’d never been entered into) butvoidable (i.e. could be set aside as to future rights). Because therecording and publishing agreements were said to be void, Springsteenargued that he was the owner of the copyright in all previous recordings,including any outtakes or other unreleased material. He couldn’t produceany evidence in court to back up his claim that all copyrights had beenreassigned to him, but the court accepted that he was the owner of thesound recording copyright and therefore could control what happenedwith them. The court decided he was within his rights to claim that CDscontaining outtakes of his recordings released by Flute were aninfringement of his rights.While a record company is unlikely to risk upsetting an artist by releasingrecords containing outtakes while he is still under contract to them, theymay not have any such qualms after the end of the contract. The producerwill have handed those outtakes over to the record company, so the artist’sagreement with the record company should cover what can or can’t be donewith those outtakes.MIXINGThis is the stage between production (i.e. the recording and capturing of theessence of the song) and mastering (when the recording is made ready forduplication).The mixer selects from all the various recordings he has of a song thosethat will be mixed together to make up the final version. He also chooseswhich aspects to emphasise, for example a guitar part or a vocal might bebrought into more prominence.The producer might do the mix and, as he’s been close to the recordingprocess throughout, you’d think he would be best placed for the job. He maybe, but very particular talents are required for mixing and sometimes a fresh‘ear’ can hear things that the producer and the artist can’t.There are also mixers who take the finished, fully mixed recording andplay around with it – maybe changing the rhythm or bringing in elementseither sampled from the recordings themselves or from elsewhere. These arecalled remixers and the resulting recordings are called remixes. Whensamples are being introduced, the artist (in the US) or the record company(in the UK) has to make sure that all necessary rights have been cleared andthat the mixer has permission to include them (see Chapter 13). Remixes areoften done to create a different sound for radio or to play in the clubs.MIX CONTRACTSThe contracts for mixers and remixers are very similar to (and follow thesame format as) producer contracts.Fees and advancesA mixer or remixer may only receive a non-recoupable, one-off fee for hiswork. This can be as much as £10,000-plus for one track to be remixed by abig name.Increasingly mixers demand an advance, which as with producer deals issometimes partly non-recoupable, and partly on account of royalties. Thesame comments apply here as with producer deals above.RoyaltiesIf a mixer has enough bargaining power, he can ask for and get a royalty of1% or more. This is usually calculated in the same way as the artist’sroyalty. As we saw with producer deals, the artist has to work out if there isenough left for him after producers and mixers have received royalties,whether the producer will take a reduced royalty, and whether a royalty hasto be paid to a mixer or if he will take a fee instead.The same issues apply to mixer deals: who does the contract, whether themixer gets his royalty only after all mix costs have been recouped, and whatstandard of work is expected of him.RightsAs with producer deals, the record company will usually require the mixer toassign any sound recording copyright to the record company. When danceremixes were at their peak remixers argued for the right to retain a separatesound recording copyright in their mix. It’s possible, if they have addedenough original elements or have re-recorded the track as part of the remixprocess, to create a separate sound recording copyright. I think if I was theartist I would be nervous about some mixers owning a version of my track,and I’d want to have restrictions on what they could do with it. If theywanted to just put it on one of their own record compilations that might beall right. If I were the record company who had paid for the remixes, I’dwant to own them and perhaps license rights back to the mixers for thatcompilation.Mixers don’t usually contribute to the creative writing of the song. Someremixers may claim that they have added enough original elements to createa new work. This may be true, depending on what they have done, but morelikely they will be said to have made a new arrangement of it and canreceive performance income on that version. This eats into the writer’sperforming income and most publishers will expect it to come out of thewriter’s share. The remix contract could ask the mixer to confirm he has nointerest in the underlying song at all or, as we saw with producer contracts, ifhe is a co-author that licences to use the remixer’s part of the song will begranted without difficulties on usual industry terms.MASTERINGThis is part of the post-production process when the recordings have beenproduced and mixed to everyone’s satisfaction.The next stage before the recording goes to be manufactured into recordsis mastering. It straddles recording and manufacturing. It’s not just amechanical process of ensuring all the right digital notes are in the rightplaces. It’s the means to give it a final ‘tweaking’ before the record isreleased. A person skilled in mastering can make the sound punchier,warmer, deeper or louder. He can bring out details not already obvious.Mastering is a separate process from the mix and needs a different set ofears. Some bands swear by a particular person mastering their records i nmuch the same way as film directors have their favourite editors.The mastering process helps the recording sound great no matter whatmedium it’s manufactured in and whatever hardware it’s played on. I’m sureyou can think of albums that sound fantastic played over headphones on yourCD Walkman but awful on the car CD player. This could be a problem of themix, but it’s just as likely that someone didn’t get the mastering processright.When mastering a recording, equalising and compression of the soundsgives a consistency from track to track. Have you ever found yourselfconstantly having to adjust the volume between tracks on a compilation? It’seither earth-shatteringly loud or so quiet you’re straining to hear the words.That’s an example of bad mastering. Radio really brings out the difference,as the radio process itself compresses the material. If a recording hasn’tbeen properly mastered it can sound thin and weak.Purists also believe that the compression involved in creating an MP3loses a great deal of the original, in particular the top and/or bottomregisters. The average listener will not know what he is missing and mostpeople’s home hi-fi equipment is not of studio quality so no one is any thewiser.When you’ve spent a small fortune on making a recording, you shouldn’tspoil it for a few thousand pounds in mastering costs.The person doing the mastering is engaged to do the job by the record orproduction company. He either provides the mastering suite and equipmentor the company hires or pays for one. He is paid a fee for his work. Therecord company usually pays it and, depending on the contract, will eithertreat it as a recoupable recording cost or as a non-recoupable manufacturingcost. Some, but not all, artists credit the person who did the mastering,although the actual studios used are often referred to on the packaging.DELIVERY REQUIREMENTSThere are a number of things that have to be delivered to the record companybefore the artist can be said to have completed his side of the recordingprocess.As well as the finished, fully mixed and edited recordings, he will alsohave to deliver up all outtakes and all copies of the recordings. He may alsohave to deliver finished recordings of additional tracks to act as B-sides orsecond tracks on singles, and will definitely have to deliver up all signedsession forms and clearances for any samples that have been used in therecording.The artist will have to deliver a list of all the tracks on the record in theorder in which they appear (called a track-listing). He’ll probably also haveto provide ‘label copy’, that is all the information that has to appear on thelabel and packaging of the record. This includes things like who performedon each track, who wrote each track and who publishes those writers. If thereis an agreement to give credits to producers and mixers or a name check tothe studio, then those details will have to be given to the record company.This is also when the artist gets to say thanks to particular people who havebeen helpful or supportive.The contract will be very specific about what has to be delivered and towhom. It will also be quite technical about the form in which the recordingsare to be delivered. It’s very important that the artist does deliver all that isrequired of him. If he doesn’t, then he’ll find that all sorts of things don’thappen. He won’t get the instalment of advances due on delivery, themanufacturing process won’t start nor will time start running for when therecord company has to release the record.The artist should try to get written confirmation from the recordcompany confirming that everything has been delivered from the personidentified in the contract as the person to whom delivery has to be made, forinstance, the senior vice-president of A&R.ARTWORKOne key item that usually has to be delivered is the artwork for the cover ofthe album. Without the artwork the record can’t be released in its physicalform and rather naff generic ‘covers’ have to be used for digital downloads,so it may be reasonable to assume (depending on the contract and individualcircumstances) that delivery has not taken place until the record companyhas the finished artwork. The record company usually wants the artworkdelivered in a specific format, which these days is usually online, probablywith a hard copy to follow up.Some talented bands do the artwork themselves. Some leave it to therecord company’s art department. Most hire someone else to do a design totheir brief or specification.If the record company is doing it, the artist should try and make sure hehas final approval. If someone else is being brought in, make sure they havea good, professional reputation for their work. The artist should look atcovers he admires and who designed them. It’s wise to interview a fewdesigners and ask to see examples of their work. Remember that if apotential customer doesn’t know who you are, they may be attracted to pickup your CD over all the others by the striking artwork on the cover. Youcould use art students or friends to do it on the cheap, but then you could endup spending a lot of time supervising the work and would have been betteroff using a professional in the first place.The artist’s logo should be on the artwork as well as the label orproduction company logo and name. This is all part of making the packagelook inviting and identifiably part of your image. Striking artwork and logosrepeated on the website and in any other marketing and promotional materialnot only make the association easier but also help to brand the artist and tomake his work stand out from the crowd. Sometimes artwork is used as amarketing tool in itself either by design or by accident. Take the artwork forthe last Beck album. It was released with a variety of different stickers thatthe buyer could use to customise his own copy. The company in charge ofthe Charts decided that there were too many versions to count for the albumcharts and debarred the release. This potential disaster was turned into aclassic example of ‘marketing’ spin to raise awareness of the album in thepress and amongst the public. Brilliant.Once the artist has decided on a designer who he thinks can do a goodjob in the required time, terms need to be agreed. You need a contract settingout what they are going to do, by when and for how much. You may want tomake payment in two instalments, one when they start work and the otherwhen they deliver finished work that is satisfactory.If photographs are to be used, the artist needs to agree who is going to beresponsible for supplying those and at whose expense. The record companywill usually organise and pay for a photo-shoot, but it may not necessarily bewith the top-name photographer the artist would like to use.Whether or not there are to be photographs, there needs to be anagreement with the designer or photographer that confirms that thecommissioner is the owner of the copyright in the photographs and thecopyright and any design rights in the artwork and graphics. There should bean assignment of any copyright or design rights they might have acquired.Ideally, there should be no restrictions on what the commissioner can dowith those designs and photographs. However, designers and photographersare now wise to the fact that they can earn more money if you have to goback to them for permission to reuse their work. For example, they may nowagree to license the artwork or photo for the album cover only. If the artistwants to use it on a poster, T-shirt or other merchandise, or as a backdrop onlive stage shows, then he’ll have to come back to the photographer ordesigner for further permission. If they give it – and they don’t have to –then they will probably want another fee for it.The cost of commissioning someone to create original artwork dependson who you use, but record companies don’t usually want to pay more thanabout £2–3,000 for the basic design. They will go higher if it’s a topdesigner or ‘name’. The record company doesn’t usually have any rights touse the artwork in any form of merchandise other than sales of the album, sothey will only be interested in getting album cover rights. If the artist thinkshe’ll want it for other purposes, he’ll probably have to pay for those himself.The cost of originating the artwork is usually non-recoupable and the recordcompany will usually give the artist the right to use the artwork for otherpurposes, for example, for merchandising, if he pays to them 50% of theorigination costs.The value that attaches to a distinctive artwork design was highlightedby the application for an injunction made by Creation Records (Oasis’record label at the time) against the publishers of various newspapers,including the Sun.5The Oasis CaseOasis was going to release another album in the autumn of 1997 anddecided that the photograph of it should be taken at a country hotel. NoelGallagher, the lead guitarist and deviser of the band’s artwork, had aparticular idea in mind, a kind of homage to The Beatles and their coverof the Sergeant Pepper album. The hotel swimming pool was drainedand a number of different objects were delivered to the hotel, including awhite Rolls-Royce. This was lowered into the pool at an angle and NoelGallagher supervised how the other objects were to be placed. Aprofessional photographer took a number of photos from various anglesso that the band had a choice of different images in different lights.Oasis thought it was essential that the plans for the photography werekept secret, and only a few people were allowed in on it.Inevitably, perhaps, word leaked out and a couple of newspaperphotographers turned up including one freelancer attached to the Sun.One of the photos he took was published a few days later in the Sun. Itwas very similar to the one chosen for the album cover, but had beenshot from a different angle. The Sun offered copies of the photo for saleto readers in a poster form. Although other newspapers also publishedphotos it seems none were very clear and none were offering posters ofthem for sale.Creation got an immediate injunction restraining the Sun frompublishing any more photos or from offering copies for sale. The judgethen had to decide if that injunction should continue.Creation Records were arguing that the freelance photographer hadinfringed their copyright or had breached confidence.The judge rejected the argument that the way the scene was puttogether attracted a copyright as a dramatic work. He also rejected theargument that the scene was a work of artistic craftsmanship, a sculptureor a collage (those lawyers were trying hard, weren’t they!). A film setcan sometimes be said to be a work of artistic craftsmanship, but thejudge decided that this was just an assembly of disparate objects withoutthe necessary element of craftsmanship.Creation Records and Oasis might have been thought to be onstronger ground in arguing that there was copyright in it as an artisticwork of collage – being a collection of unrelated items. Their barristerargued that it should be put in the same category as the infamous CarlAndré bricks displayed at the Tate Gallery or Gilbert and George’sliving sculptures. The judge declined to follow that line of argument, asthe assembly of objects didn’t have the same degree of permanence – itwas going to be dismantled after a few hours. This is a very restrictedview of what would be entitled to copyright protection.The judge did find that there was copyright in the photograph, but theSun didn’t copy that original – the freelancer took his own photograph ofthe same scene. Which was why Creation Records was trying to establishsome kind of copyright in the scene.So, having failed on all their ingenious copyright arguments, thelawyers then argued that the freelance photographer had breachedconfidentiality. Here they had more luck. The judge decided that anyreasonable person would have assumed that, in viewing the scene, theywere getting confidential information and so the freelance photographerwas obliged not to photograph the scene. The Sun had admitted theirphotographer had to get around a security cordon to get the film out, sothey must have known it was intended to be confidential.On balance, the judge decided Oasis/Creation Records had more tolose if the Sun were to continue to be allowed to sell posters andcontinued the injunction on the basis of breach of confidence. If he hadnot then potentially huge sales of posters and other merchandise by theband and their record label would have been lost.Once the artwork is delivered the artist should then be in a position to pressfor a release date for the album. This will depend on a huge number offactors, some of which I’ll deal with in the next chapter, but once aprovisional date has been set then the manufacturing process can begin andthe whole marketing department should start to swing into action.If the artist or production company intends to release a recordthemselves then they will also attend to all the other formalities such assample and session work clearances, obtaining barcodes, getting amechanical licence and paying the licence fees. These are dealt with in moredetail in Chapter 6.CONCLUSIONSChoose your studios well. Decide if they’ll be residential or not.Set a reasonable recording budget and stick to it.Get the best producer and mixer you can afford.Don’t skimp on mastering costs, but keep an eye on remix costs, asthese can get very high.Check you’ve complied with the delivery requirements in your contract.Try to get copyright ownership of the artwork.1 Section 9(2) (aa) CDPA and Chapter 3.2 See section 191A ff CDPA for performers’ rights and Chapter 3 for moredetails on what these rights are.3 See section 9(2) (3) CDPA on authorship of words and music and section10 on co-authorship.4 Springsteen v. Flute International Limited and Others [1998] ChanceryDivision.5 Creation Records Limited v. News Group Limited EMLR 444 1997 16. Chapter 6Manufacture, Distribution and Marketing INTRODUCTIONUNTIL ABOUT TEN years ago there was no serious viable alternative to the triedand tested method of distribution. You finished your record, it was masteredand ‘cut’ – literally cut into the vinyl or digitally mastered, (i.e. put indigital form in a computer program from which digital records such as CDsand DATS could be made). The only discussion or change here was digitalversus analogue manufacturing methods. Once you had your physical CD,tape, vinyl record or whatever, you packaged it up and it was distributed outto the record stores on the back of a van.Over the last five years there has been a dramatic increase in the numberof tracks that are being sold online as digital downloads, although illegaldownloads remain a major problem and challenge (see Chapters 7 and 14).In 2004 the industry began to turn a corner commercially with the arrival ofservices such as iTunes and the iPod and new carriers such as mobile phonesalso helped to drive the legitimate side of use of music online. Most singlesare now being offered as downloads, many off aggregator sites like iTunesor off individual artists’ pages on social networking websites like MySpace.Indeed in 2007 I was involved in several releases that were digital only.Clients didn’t want to go to the expense of pressing up physical copies of thesingle; they waited first to see how well the release went in publicity terms.Major record companies are either pulling out of distribution (EMI) or arecombining their manufacturing operations either in one place in Europe orthrough deals with other companies. By pulling out of these two traditionalmeans of earning profits the record companies may be saving millions ofpounds but they are also focusing their money-making activities on the morerisky aspects of the business, the marketing and promotion of artists andtheir records. So the stakes will be higher in future to get those expensiveaspects right more often than they do at the moment. This of course feedsinto the more cautious outlook referred to in Chapter 3 on record contractsand on the greater use of middleman production companies to filter outsome of the artists less likely to succeed commercially.MANUFACTURINGThe compact disc is however still a significant carrier, even though year onyear sales are declining by as much as 20%. The cassette tape has prettymuch disappeared as a format just as the VHS tape has ceased to be a videoformat for new releases, and retailers like Curry’s have announced they willno longer sell VHS tape players. The prediction of the death of vinyl was,however, premature. It survives (albeit in a niche market), beloved by DJsand specialist collectors. Sterling efforts were made to establish theMinidisc format. It was first launched in the early 1990s but singularlyfailed to impress. A potentially much more serious threat to the musicbusiness was thought to be the phenomenal increase in sales of recordableCDs (CDR). Originally intended as an alternative to the floppy disc, theCDR became the format of choice for ‘burning’ copies of whole albums orfavourite compilations. But it was also a boon for the small producer, newartist or production company because with a little effort they were able toreproduce their own CD albums for sale at their gigs or for sending out torecord companies, publishers and managers. Then just as we were gettingused to this came the MP3 player and mobile phones which could store andplay music. It then became so easy to copy and send copies over the Internetthat the idea of an ordinary member of the public becoming a pirate becamea reality. This ability was manipulated to the full by peer-to-peer websitessuch as Napster, MP3.com, Grokster, Kazaa etc. These issues are discussedin more detail in Chapters 7 and 14.Most mainstream releases are made available in physical format as wellas downloads and so let’s have a look at the sort of legal agreements youwill come across. If you’ve paid for the recording yourself or via aproduction company then you won’t have a record company to organise themanufacturing for you. You’re going to have to go to specialist CDmanufacturers and shop around for a deal. Lists of manufacturers can befound in the Music Week Directory. Before you decide on a manufacturer,you’d be well advised to gather together as much information on what isavailable as you can. You also need to make your arrangements withmanufacturers at least four months before you intend to release physicalcopies of your record, and even longer at popular times such as Christmas.This is to try and ensure that the manufacturing/pressing plant has capacityand won’t squeeze your record out because a release by a big star is slottedin. Bear in mind in setting your timetable that it is usual to release records toradio stations (via pluggers if necessary – see below) at least a month beforethey are available in the shops.You also need to ask what service each company provides. Is it a full-service company that will produce a production master from which toreproduce the CDs, or will you have to find a company to make a productionmaster for you and deliver that together with film or discs for the artwork tothe manufacturer? If so, would it be cheaper, easier and quicker if youlooked for a full-service company? You’ll need to check the small print verycarefully. What hidden costs are there? Do they charge you to deliver thefinished records to you?What other services can they provide? Can they offer a distributionservice or any marketing services like sales teams? If they do, is it better touse them for these services or to look for separate companies to do them?Look at the quality of their work. Ask to see samples. Do they doeverything in-house or is it farmed out? Who else do they work for?Once you’ve narrowed down your choice you have to look at howquickly they can turn things around. They may have a minimum productionrun (say 5,000 copies). Is that all right for you or were you looking for amore modest 500 copies? To be honest, if you’re going for a very shortproduction run, possibly for promotional purposes, you might be better offburning the CDs and putting the finished product together yourself.Once you’ve decided on your manufacturer you’ll need to agree a price,the number of units to be produced and a time for delivery. You ought to tryto keep some of their fee back until you see things are running according toplan, but if you’re a small unknown company they’re likely to want cash up-front. Even so, keep an eye on things. Check the quality of the sound and ofthe artwork. Is the running order correct without any gaps in the songs? Haveall the names been spelled correctly and correct credits given? If anything iswrong pull them up on it immediately. Always check a sample of thefinished product.You also have to be sure that they can continue to manufacture repeatorders as your first batch, hopefully, sells out. You need to keep closecontact between your distributor and your manufacturer so that you can putyour repeat order in as soon as your distributor sees stocks are dwindling.This need for close co-operation is one of the reasons why some peopleprefer to keep production and distribution with the same company.P&D DEALSAs you can probably guess, ‘P’ stands for production (i.e. manufacture) and‘D’ for distribution. A P&D deal is one that combines both of these servicesin one contract with one company. Companies that offer P&D deals canoften also offer marketing services like a telephone sales team (telesales), astrike force (a specialised team targeting record stores to take your records)or pluggers, who try to persuade radio stations to play your record. Whetheryou want these additional services will depend on your overall marketingplan and on the price and reliability of the service.You should ask the same questions of P&D companies as you would of amanufacturer, but you’ll also have to ask another series of questions abouttheir distribution operation. Who do they supply records to? Is it just thesmall specialist stores or can they get into the major retail chain stores andvice versa?MAJORS VERSUS INDIESUntil recently, all the major record companies had their own distributionfacilities. Mergers in recent years have resulted in some of those facilitiesbeing combined to save costs by pooling operations. The independent sectoris now dominated by Pinnacle and PIAS (formerly Vital). Clearly, the risksare outweighing the possible profits from this activity. Without an efficientdistribution system, all your talents and efforts in making the record and themarketing people’s work in getting you noticed will mean nothing if thedistribution company doesn’t have the records in the stores for the public tobuy. In the last couple of years there has been a growth in the activities ofaggregators like Nova, Pebble Beach and Remote Control amongst others.These companies have arrangements with a larger distributor to put throughthat distributor all of the aggregators output under all the labels it looksafter. The aggregator then does individual deals with independent labels orartists to distribute their product and combines all of this with the one dealwith the larger distributor. The trick with this type of deal is to ensure thatthe labels’ accounts are kept separate and that profits from one label aren’tused to subsidise another label’s losses. Whatever the company you areusing try and check their financial viability – if it’s at all suspicious do notrisk your stock and your income from sales. Even the bigger distributors arenot immune from this but there are some things you can do in your contractsto protect against this – see below on retention of title.All distributors have to also balance efficiency with a speedy response. Ifthey can’t meet demand quickly, your records won’t be available, thecustomers won’t be able to buy them and you won’t get your chart position.The major record companies tend to manufacture their records locallyand then shop them to a centralised depot, usually somewhere in Europe, andfrom there to local distribution centres in different countries. It doesn’t takemuch thought to see how savings could be made by pooling the localdistribution centres.As well as dealing with their own artists’ records, some of the majors actas separate distribution companies for other companies’ records.If you aren’t signed to a major or can’t get a deal with a majordistribution company, you may not have any alternative but to go to anindependent distributor. The BPI has a useful guide to setting up your ownrecord label and distribution on its website www.bpi.co.uk.You also need to be aware that some smaller distributors are a bit likeproduction companies and pass on the job of actual distribution to anothercompany. You should ask if that’s what your chosen distributor does; if itdoes you should try to find out how reliable and financially stable that othercompany is. As we’ll see below, there are some things you can do to protectyourself by retaining ownership of the records until you’ve been paid.CATALOGUE OR SINGLE ITEM DISTRIBUTION DEALMost of what follows in this section is geared towards physical distributionbut for the last six months or so all new deals with Pinnacle have requiredthat you also give them exclusive online distribution rights alongside thephysical distribution. Existing clients are being sent variation agreements toextend their physical deals to online distribution as well. It is likely that alldistribution deals will offer both physical and online distribution in future.This can be a problem if you have an existing arrangement with an onlineaggregator like The Orchard or online retail sales outlets like 7Digital oriTunes. If that arrangement is already in place then you will have to excludethe online rights from the deal. If it’s non-exclusive there may be room forboth. Even if you haven’t already done a deal you should not just slavishlysign up to it without first thinking if the distributor has enough specialistknowledge to do a good job and get it out to all the decent online etailers.There are some signs that companies who have had a presence in physicaldistribution have a few teething problems with online releases and may needcloser supervision than you would imagine. I have also had an examplerecently of a client who only wanted the distributor to release online andwanted to reserve all the physical releases because they did not want tojeopardise a possible future record deal for that record. These are allpossibilities you have to consider.So are you doing a deal for all the records you’re likely to produce in thenext year or so? These are called ‘catalogue deals’ and would be suitable fora small record label or production company. They would also work for acompany that was going to license in rights to records by other artists, andalso for an artist who has decided that he doesn’t want or need the facilitiesof a record company and wants to distribute his own recordings. In recentmonths, some very successful artists have seriously considered bypassingrecord labels altogether and doing it all in-house. Simply Red announcedthey were doing so and more recently Radiohead looked like they were goingdown that road when they announced online sales of their new album atprices to be set by the customer. However, they have now also decided to usea traditional record label for first international and then physical distributionof this new albumIf you aren’t doing a catalogue deal, you could just give distributionrights to a single track to a distribution company. You might choose thisroute if you were just seeing this release as a stepping stone to getting arecord company interested in you. Just bear in mind, though, that if thedistributor is only dealing with one track for you, you’ll not have muchbargaining power and will have to push hard to ensure that you get any kindof priority.EXCLUSIVE VERSUS NON-EXCLUSIVECatalogue distribution deals are likely to be exclusive, but there may be oneor two exceptions to the exclusivity. For example, you could have the rightto put tracks on compilations to be distributed by another distributor or amajor record company. Or you could have the right to distribute smallquantities of the records yourself to one or two specialist outlets or onlinealthough mainly distributors or physical records are concerned to ensure thatthe record is not made available online before physical copies are in theshops.TermThis is really only relevant for exclusive catalogue deals.The distributor deals with your entire product over a period of time. Thiscould be open-ended, continuing until one or other of you gives notice,usually three months at least. Other possibilities are a fixed period of oneyear with the distributor having the option to extend the term for anotheryear, or the term could be for one year with further one-year extensionsunless you give notice before the end of that time that you don’t want it tocarry on. You have to be careful with this one because, unless you’re good atremembering when to give notice or have an efficient reminder system, youmight miss the relevant ‘window’ and find yourself locked in to anothertwelve months. Some distributors are now insisting on two years initially butthat is negotiable.If you think you might want to move your label and catalogue at somepoint to a bigger distributor or major, the more flexible the term is and theeasier it is for you to get out of it will be important. It could also be veryimportant if you aren’t sure how good the distributor is. On the other hand,the distributor might have greater commitment to you and be more inclinedto give you priority if they know you’re going to be with them for a pre-determined minimum period of time.TerritoryThe distribution deal could be a worldwide one, but is more likely to be for alimited number of countries, for example just for the UK or the UK andEurope. If you’re a UK artist or label looking to distribute your recordsbeyond Europe (for example to the US) then you’re much more likely to doit through licensing the rights to another record company with its owndistribution set-up (see Chapter 3). It is possible to have deals where youship finished records to them and they distribute them, but this is lesscommon. They are sometimes referred to as ‘consignment’ or ‘sale andreturn’ deals and Japanese labels are quite keen on them, as are someCanadian and US labels where it isn’t worth them manufacturing copieslocally and it is cheaper for them to do it on a sale or return basis.There is a problem, though, with distribution deals for just one country,for example the UK, its imports or, more particularly, what is often referredto as parallel imports. What are these? Let’s take an example. You have therights to distribute a particular track in the UK. Another record company hasthe rights to distribute the same record in France. If the record is released inFrance first, the French record company could export the records into theUK, where they might take some of your market from under you. You maythink that wouldn’t be allowed as they only have French distribution rights.Ah yes, that’s right, but there is the principle of a common marketplacethroughout the European Union (EU), which is meant to encourage the freemovement of goods. So, within the EU, it’s illegal for you to outlaw theseimports. You can tell the UK distributor that he isn’t to actively try and getorders from outside the UK, but it’s very difficult to police it. How do youknow who approached who?It’s easier, in theory, to prevent parallel imports coming in from outsidethe EU. For example, if you were giving one UK distributor Europeandistribution rights and licensed the rights to a record company in the US forNorth America, your contract with the US record company could specify thatthey aren’t allowed to ship records outside North America. The problem isthat there are specialised exporting companies who also act as genuinedomestic distributors. The US record label could legitimately sell records tosuch a company and then deny any knowledge or responsibility if thatcompany then exports the records to the UK.This is why there is a lot of pressure to ensure that a record is releasedsimultaneously in as many countries as possible, or to ensure that there issomething special about the release. For example, Japan, which has sufferedbadly from cheap imports, often insists that releases in Japan have extra‘bonus’ tracks to make the records more attractive to the domestic marketthan the imports.There is also pressure on price levels within the EU. The idea is that ifthe dealer prices are the same throughout the EU, there is less demand forimports brought in cheaper than the domestic product.There are, of course, new issues to be addressed by distributors as aresult of the possibility of buying records online. The Internet is a globalmarketplace and one challenge is to try to find new ways of dealing with thefact that it’s one big territory. Suppose you had a distribution deal with onecompany in the UK and another with a company in the US. Your licence dealwith each would have to say either that it was open house on export sales andboth could offer records for sale on their websites, for purchase anywhere inthe world, or you could limit the territory to the UK/US and put it in eachlicence that they aren’t to solicit offers or to fulfil orders from the other’scountry. For example, your email address is UK registered and you go onlineto try to buy a CD of an album that you know has been released in the US butisn’t yet on sale in the UK. If you went to a US website to try to buy the CDthey should refuse to accept orders for distribution outside the US. Thissolution is potentially off-putting for the consumer, which is the last thinganyone wants. Obviously, if you’d done a worldwide distribution deal withone company then that wouldn’t be necessary. It may be that any solution tothis territorial issue will have to be addressed by one-stop deals or reciprocalagreements between distributors in different countries. They could, forexample, agree to pay each other a percentage commission for salesgenerated in the other company’s territory. So far we’re seeing someattempts at reciprocal agreements for licensing via MCPS and PRS, butinternational co-operation between record companies or distributors istaking longer. The solutions being adopted seem to be practical – in the caseof physical sales you have to provide a delivery address in the countryconcerned. Although of course in the spirit of true enterprise there are nowcompanies who, for a fee, will give you a PO Box address in the country andforward the goods to you. Other solutions are technical in that you have tohave an email address in the country concerned to purchase goods online inthat country.Record companies and music publishers are now investing large amountsinto systems called rights management systems that will police where a fileis being downloaded to ensure that payment is being made, and which wouldalso enable them to track whether a distributor was breaking the terms of hisdistribution licence but, as we’ll see in Chapter 7, these systems are takingtime to deliver a fully workable solution.Rights grantedIf you’re doing a P&D deal you’ll be required to give the distributor theright to reproduce the sound recording and the right to distribute and sellthose copies whether that is as physical copies or in the form of onlinedownloads.PriceThe distributor will take a fee off the top of the price they get paid. So, forexample, if the distributor gets paid £7.49 for each record sold, they take apercentage of that as their fee.The percentage can vary a great deal depending on how many additionalservices they provide, for example, a telesales service or a strike forcededicated to pushing your records. It can be as high as 28–30% of the dealerprice if you’re unknown or only have one track to distribute. Deals of 15–18% or less are available to successful independent companies with a highturnover of successful product. Major record companies will usually paydistribution fees in single figures. Sometimes the percentage the distributorgets as a fee goes down as the turnover increases. An average amount for adistributor to charge would be 23–25% to independent record labels or artistproduction companies. For online distribution the opening price is around20% but all things are usually negotiable with the right level of bargainingpower.The distributor will also usually have a discount policy. This is a slidingscale of discounts on the dealer price that have to be given to the variousretail outlets. For example, major national chains like Woolworths or VirginMegastores would be able to command a discount on the price because theyorder in bulk and are such important outlets for the music. Supermarketchains such as Tesco and Asda are also now in this category and, indeed,often undercut the high-street chains. You’ll have little or no say on thesediscount rates, nor have a chance to change them. However, you shouldknow what they are in order to check you’re being paid properly. Discountshaven’t really established themselves in the online world but as volumeincreases then they may well follow. What does appear online is thededuction of whatever charges are laid against the distributor. For example,a distributor may first offer the tracks to an aggregator who acts as a kind ofclearing house and does a variety of deals with different etailers. Theseaggregators deduct a percentage from the gross revenue after the deductionof the etailer’s mark-up. So it is starting to mirror the physical world – evendown to ‘packaging deductions’ (see below).Payment termsThe distributor will often pay half of what is due within 30–45 days ofreceiving the payment from the retailers and the balance within 60–80 days.So if they get paid for a record sold on 28 February, the label might get halfof their money by the end of March and the rest by the middle of April.Make sure that for online sales all the necessary technical requirements ofthe online distributor are in place to ensure that you can track the number ofsales and check whether you are getting paid correctly, not just for onlinesales but also the payment of mechanical royalties for reproduction of yoursongs in the online copy downloaded. As we will see in the chapter onCollection Societies, there are now licensing systems and rates set for mostuses. The challenge now is to ensure that these rates are paid. So check whois responsible for ensuring mechanicals are paid – you or the distributor, orthe etailer.The distributor will probably keep back some of the money as a reserveagainst records that are returned. This of course only applies to physicalsales as in theory at least the customer should not pay for a download whichfails. Distributors usually have a fixed policy on this, but will sometimesnegotiate the level of reserves. The reserve on singles is generally higherthan for albums unless the album has been advertised on television. Retailstores may take copies of your record on a sale-or-return basis. So althoughthe distributors have sent out, say, 1,000 copies, they don’t know how manyhave actually been sold and won’t include these copies as sales until they’vebeen paid. They keep back a reserve against these returns and any otherreturns that appear to be sales (i.e. they’ve been shipped out but may bereturned to the distributor for some legitimate reason such as being damagedor faulty). The distributor has to hold back money against such aneventuality.The distributor won’t usually take responsibility for bad debts. I t a l s owon’t usually pay out before it gets paid, because that can lead to bigproblems. For example, you do a P&D deal with a local distributor whoagrees to pay out on the number of records it actually sends out, less areserve against returns. It ships out 1,000 copies of a record to the retailstores and pays you on 750 copies, keeping back a 25% reserve, before it hasreceived payment of the 1,000 sales. Months later, the stores return not 250but 500 copies; the distributor is then out of pocket by 250 copies and willlook to you to pay it back. Even worse for you is the case where you do adeal with a local distributor who pays you on what they get paid. They do adeal with a bigger distribution company and ship records to that biggercompany. The bigger company sells those records but, for whatever reason,fails to pay the smaller distributor, who can’t then pay you (even thoughrecords have been sold) because they haven’t been paid for them. Againthough this problem should not arise with online sales because once thecustomer has paid and received his download there is a very limitedopportunity for returns.Retention of titleA way of protecting yourself when you’re in a chain of deals like the onedescribed above is to retain your title (your ownership) of the records untilyou’ve been paid. These sections of the contract have to be very carefullydrafted in order to have a chance of working. Assuming the biggerdistribution company has gone bust, the liquidator of that company will wantto hold on to whatever stocks, i.e. records, that he can. He’ll want to sellthem to raise money for the creditors of the company, so he’ll want to getaround the retention of title if he can legitimately do so. Specialised legaladvice is needed on this and again it should not be necessary with onlinesales. There the issue should be making sure that once the deal has endedthey take down the copies off the Internet and do not continue to sell them.AdvancesBefore I leave this section, I just want to touch on the question of advances.Will a distributor give you an advance? Well they might if you’ve got agood track record for finding hit records or have a catalogue that has aregular turnover. The advances for small independent labels or individualartists aren’t likely to be high – possibly only a few thousand pounds. Aswith most advances, these sums aren’t usually returnable if you don’t sellenough records, but they are recoupable from monies you would otherwisereceive from sales.MARKETINGOnce you’ve got a record mastered, copies manufactured and you’ve found acompany to distribute it, another crucial step in the process is to let thepublic know about you and your record. The marketing process has manyelements to it and it’s an ongoing process. As soon as you’ve got somethingto sell – a record, live performance, merchandise – you need to let peopleknow about it.ARTWORKGetting the right artwork for the record is crucial – it should form part of thewhole campaign. It could be used as the backdrop to a stage show and on aposter campaign. It could appear on T-shirts and other merchandise. Makesure you own the copyright in the artwork and that there are no restrictionson what can be done with it. This still applies even though the artwork ismuch smaller being only for a CD booklet as opposed to 12” vinyl record.These days, however, the challenge for artists and graphic designers is adesign that works well online and uses the interactive technology of thedigital era and the global possibilities of the Internet to the fullest extent.There are also now ways to make simple versions of the artwork available asa download when you buy the record online so it is essential that you get theright from the designer of the artwork to use it in all these ways. Focus onstandard packaging that contains the correct copyright notices and the allimportant barcode. PPL has a leaflet explaining the copyright notices andBPI produces a leaflet explaining how to get a barcode. For online salesmake sure you have the correct metadata embedded in the digital copy andthat all necessary technical requirements of the online distributor are inplace to ensure sales are correctly tracked and fed back to you.PHOTOGRAPHS AND BIOGRAPHIESYou’re going to need to have some decent photographs. They’ll be neededfor information packs, for the press, for letting overseas licensees orassociated companies abroad know what you look like. You’ll also need topost photos or graphics up on your website or page on MySpace, Facebooketc. The costs the record company pays are not usually recoupable orrepayable by you unless you want to use the photographs for merchandising,for example on a T-shirt or poster, when they may expect you to repay halfthe costs.If there’s an exclusive record contract in place it will usually, but notalways, give the artist approval over which photographs are used. It will alsousually give the artist approval of the official biography. This is a bit like alife history. It also ensures that a consistent message or image is presentedof the artist, which forms part of the brand, as we’ll see in Chapter 8 onbranding. Some record contracts now also require the artist to contribute toonline diaries or blogs.If you give the record company photographs or biographical details theywill assume they are approved, so make sure you’re happy with them.IN-HOUSE OR EXTERNAL MARKETINGMost big record companies will have in-house marketing and pressdepartments. These are staffed by dedicated marketing and press people, oneor more of whom will be allocated to marketing your product. You need tobe sure that these people understand the game plan and, preferably, that theylove your music. At the very least they should like it, because otherwise theywon’t sound convincing when they try to sell you to the press, radio, TV andso on.If the marketing is to be done in-house it will normally be paid for by therecord company on a non-recoupable basis.The position changes if it’s a smaller company without its own in-housemarketing departments or outside specialists have been brought in forparticular aspects. The costs are then usually partly or wholly recoupablefrom the record income.Whether it’s being done in-house or with a number of outside specialists,the whole campaign has to be co-ordinated.The sales force and any special strike force have to be primed withartwork, photographs, biographies and campaign details. Promotion packshave to be sent out to any exporters, to clubs, DJs and to some retail outlets.For bigger releases the record company may arrange for a private ‘playthrough’ of the new album to selected key retailers.The fact that the record is being released has to be notified to the musicpress, to the chart compilers and to MCPS/PRS to get the relevantmechanical licence and details registered for when the record is performedpublicly. Each release has to have its own catalogue number. I once acted fora label called Produce Records and their catalogue identity was MILK 1, 2,3, etc. It is usual to prepare a summary of all the information known as‘presenters’ or ‘sales sheets’ of about a page long consisting of the name ofthe artist, the title of the record and a picture of it, its catalogue number,barcode, dealer price and release date. You should then add details of how toorder it and contact details plus some brief points on what the marketingcampaign is.The adverts for a co-ordinated advertising campaign will have to bedesigned and approved well in advance so that they’re ready for distributionat the same time as the promotional packs, posters, promotional items and soon.The strike or sales force goes into action several weeks before the releasedate, trying to get orders from the retail shops. These are called the ‘pre-sales’. Everyone is interested in getting these figures, as they’re a goodindicator of how well a particular record is being received. It will helpdetermine the chart position, it tells the marketing people how much morework they have to do, and pre-sales can give you some information to passon to your manufacturer and distributor to help them assess how manycopies of the record will be needed. The figures may also tell you in whatareas of the country the record is selling best, so the distributor can know tomake more copies available in those areas. There is also now a reason tocollect ‘pre-sales’ for online sales as these help to determine a chart positionin digital charts and greater exposure for the artist. A theme that I will returnto in the next chapter is how you come up with a marketing plan whichraises your music above the ‘noise’ of all the other competing releases thatweek. Why should a potential customer listen to and possibly buy yourrecord over anyone else’s? How do they even know you have a recordreleased? You need to come up with a marketing plan or idea that makesyour release stand out. This takes talent and you may need to bring inspecialist marketing people. As with all experts that you engage, make sureit is clear in writing what you want them to do, how they will be paid andwhat constitutes a successful outcome.TV ADVERTISINGIf you are on a major record label (or perhaps an independent one owned bya millionaire!) then part of the marketing campaign might be to advertise therecords on television. This is an expensive business. A basic televisioncampaign in four ITV regions can easily cost £75,000. The record companyis only going to want to spend this money if they think they will earn it backin extra record sales. To keep their risk to a minimum, the record companywill try and recoup some or all of these costs, either as a further advance orby reducing the royalty payable to the artist. How this works is that therecord company reduces by 50% the royalty they would otherwise have hadto pay on sales of the records until they have recouped (from that reducedroyalty) 50% or more of the costs of the TV ad campaign.We lawyers try and get artists the right of approval over whether anadvert is made but have to fight for this, as record companies know if youget the right of approval you’ll only give your approval if you get a betterdeal on recoupment. Then they don’t recoup so much of the cost. Otherwisewe try to limit the ways in which your income is affected, either byrestricting the reduction to sales in the country where the campaign is run, orlimiting the time over which they can recoup the costs from reducedroyalties, or both. Currently the trend is to just treat the cost of the campaignas a further recoupable advance which makes some of these restrictionsredundant and the arguments then tend to centre on how much is recoupable.Don’t rule out the idea of a television campaign without carefullylooking at the proposals. A good, targeted campaign could be what it takes tolift your record into the Top 20 albums chart, which could make all thedifference. However, be aware of the cynical attempt to reduce royalties toyou when your record has been particularly successful by rushing out acheap TV campaign in the same accounting period as your album wasreleased and achieved most of its sales. By doing this the record companycan add a further advance to the bottom line or halve royalties on all sales inthat accounting period even if they were before the ad campaign. Don’t thinkthis is fanciful. One of my colleagues found that a major record companywas trying to do this with an artist who had had a very successful debutalbum. A TV campaign wasn’t needed and the lawyer and manager had tofight hard to get a deal whereby the royalties were not artificially reduced. Itis also true that record company executives might panic into doing a TVcampaign when they fear that the sales are not at the level they expect. It isthe job of a good manager to try and decide whether the fear is real andwould be helped by a campaign. I know of one very experienced managerwho had to persuade their artist’s record label not to rush out a TV advert foran album at Christmas. They were afraid that they had over-supplied thestores and would get masses of returns in the New Year. The managers hadto fight long and hard to stop this happening but they did have an ace uptheir sleeve – they ‘knew’ that the next single was a winner, stood theirground, were found right and the artist went on to have a very successfulalbum. Guy Hands – of venture capitalist Terra Firma – has recentlyannounced that he wants to ship fewer records so there are fewer returns andlower overheads. This is a fine principle – the problem is that it is not anexact science which can determine in advance precisely how many peoplewill decide to go into their local record store one weekend and buy aparticular record. If the demand is higher than anticipated then the storeswill run out and the prospective purchaser – maybe an impulse buyer – willmove on to his next purchase.TV AND RADIO PLUGGERSEven in these days of the Internet it’s still important to the success of arecord that it gets exposure on radio. Unless the record gets a decent numberof radio plays, it’s unlikely to enter the charts. Although it is becoming alittle easier now that downloads count towards chart positions.The people who decide what is played on Radio 1 or 2, XfM, Heart andother pivotal regional radio stations are very powerful, and some feel thatthe records chosen for the playlists are towards the commercial pop end ofthe market. There was a big problem a couple of years ago when 27-year-oldartists were being thought of as too old! Now, however, Radio 2 has steppedinto the gap, picked up many of the ex-Radio 1 DJs who had been influentialopinion-formers and given them shows. Those who had grown up with thesepeople gravitated to Radio 2, which has become much more the station ofmainstream commercial releases by older artists as well as middle-of-the-road tracks by younger artists. Now, ironically, for many releases failure toget on the Radio 2 playlist is a kiss of death.The TV and radio pluggers who have the tough job of trying to getrecords playlisted are either employed in-house by the record company orare from outside agencies that specialise in this work. Their costs are dealtwith in similar ways to press agents (see below).WHAT DO YOU PAY EXTERNAL MARKETING AND PRESSPEOPLE?There are many different ways of paying for external marketing and presswork.RetainersPress people and pluggers could be on retainers. These are regular, monthlypayments that are made to keep them on board as the press agent, constantlyhaving an eye on press opportunities. When you aren’t actively doing anypromotion, for instance when you’re in the studio recording the next album,the level of retainer could be quite small. It would then increase whenpress/promotion activities rise around the time of the release of the record.However, as the economy slows down and competition among thesecompanies hots up, the number of people on retainers has declined and nowmany are only paid when they do some work.BonusesIf someone is on a retainer or a fixed fee they may be paid a bonus forachieving certain targets. For example, a press officer could get paid a bonusfor every front page/cover he gets that features you.A plugger might get a bonus if a record goes into the Top 10 or whatever.Fixed feesMarketing and press people could be on a fixed fee, possibly with bonuseslinked to success.RoyaltiesPress and pluggers could be on a retainer or a fixed fee with bonuses. Goodpluggers and those in great demand (usually the same ones) can insist on‘points’, i.e. a royalty (usually 0.5–1%) on each record sold. If you want thebest you may have to pay this. It will either come out of the artist royalty orbe paid by the record company, or a combination of the two.Where do you find them?The usual ways – word of mouth, those companies already on a retainerarrangement with your record company, those companies known to yourmanager as doing a good job in this area of music. The Music WeekDirectory carries a list of press and promotions companies, but it would be agood idea to get a recommendation from someone in the business before youchoose one.Do they want a contract?If they’re on a fixed fee they will probably just invoice you for the fee whenthe work is done. If you’ve agreed they’ll undertake something out of theordinary, or you’re putting them on a retainer, you’ll probably want a simplecontract. If they’re being paid a royalty you’ll definitely need a contractsetting out how that royalty will be calculated and when it will be paid. Thesimplest thing is to do this on the same basis as you get your royalties underyour record deal.EPQSThis is the name given to electronic press packages. That is pre-recordedinterviews, photos and biographies, together with promotional clips of yourlatest single release, that are put together by your in-house or external pressofficer. These usually take the form of a DVD and they’re sent out toreviewers, press reporters, DJs, radio station controllers and so on as anadditional means of promotion. Some companies are now sending them outas file attachments to emails. Most new record contracts contain a clausethat says that the record company can put one of these together and that theartist will co-operate with them. There seems to be no reason why youwouldn’t want to agree to the compiling of an EPQ, but you might wantsome creative control and you’ll need to agree whether some or all of thecosts can be recouped.VIDEOGRAMSPromotional videos were a key part of the marketing process for most artistswho were aiming for a commercial chart position. They are still importantfor the pop market and can be useful for putting something interesting onyour MySpace page and on YouTube; however there are limited outlets forpromotional videos other than music stations like MTV as well as all thecable and satellite channels.However, they can be very expensive to make and there’s no point inmaking one if your record doesn’t get radio plays or TV airtime. It will be awaste of money and you’ll end up paying for it in one way or another. It hasto fit in with the overall marketing plan so don’t overspend or make a videounnecessarily. If you can pull in some favours and get your mates who’vestudied film-making to make a cheap video for you – good enough forYouTube and maybe as a video mobile phone clip – then that may be worthdoing but again only if it is part of a well thought out campaign.The creative elements such as what the story is going to be (thestoryboard), who’s going to produce and direct it, and when and where it isto be shot will probably be agreed between artist and record company.Depending on the contract, the artist may have a final say on some of thesethings and the record company on others.LONG-FORM DVDSUnlike promo videos which are generally there to accompany a singlerelease, a DVD may well be a full-length 60–90 minute production. RobbieWilliams’s Live at Knebworth was an early example of how to use themedium as a marketing tool for the artist but also as a commercial productin its own right. Yet when it was first issued the record label didn’t get it andhad to be persuaded that it would sell enough to recoup. It went on to sellover half a million copies and recoupment was not an issue. Kylie Minoguehas released a DVD of her comeback ‘Diamond’ tour alongside her latestalbum X, and such releases can also help to keep the artist in the public eyein between album releases. For example, if no new album is expected for ayear then it might be worth putting out a DVD of the last tour to keep fansinterested. There is a separate DVD chart just like the Albums and Singlescharts. The VHS video format has been killed off and you should not makevideos in that format – DVD is now the format of choice. According to themajor record companies trade body BPI, commercial videos had a retailvalue of £93.5 million in 2006 outstripping the retail value of digitaldownloads which stood at £70million. But like the CD market 2007 provedto be a difficult market for DVDs too, with prices of DVDs fallingsignificantly but without the hoped for increase in sales. In the third quarterof 2007 the sector showed a 31% drop in sales over the corresponding periodin 2006 according to the Official Chart Company statistics. Part of theproblem seems to lie in customers being prepared to watch poorer qualityvideo films online than good quality DVDs in their living rooms. Again, asbandwidth increases and download times for films reduces there are alsogoing to be increasing pressures from piracy and illegal downloads. So in anattempt to capture some of this illegal market record companies are nowoffering video clips as downloads alongside or possible slightly ahead of anartist’s album release. The idea is that if they can see a clip of the video orcan download the video to go with the single then the customer may go outand buy the full-length DVD. Streaming of long-form DVDs on online TVstations is also being explored as a new outlet or revenue stream. Some alsosee a synergy between the fact that the new owners of EMI, Terra Firma,also have a stake in the chain of Odeon cinemas and speculate on DVDs incinemas as another possible outlet.RIGHTSThe record company will usually expect to own all rights in any audio-visualrecordings of the artist’s performances they have paid for.If you have a lot of bargaining power, you can limit the rights you givethem to audio-visual rights on recordings you make for them under therecord deal. Most major record companies won’t agree to this, as they wantto know that if someone else makes a recording of your live set they can’tthen put it out as a competing record or DVD. You might have to agree thatyou won’t do that with any recordings of your performances without theirapproval.Some artists or DJs have people who film them going about theirprofessional business, doing public appearances, backstage at gigs etc. anduse some of that footage in a DVD. The trick here is to ensure they have theright to use the footage of other people who may get on the film likebackstage crew or audience members but lawyers can advise how to do that.The record company may have the exclusive right to make long-formDVDs, or they may have the first option to bid for the right to make one, orthe right to match an offer that someone else may have made to make one.The cost of making a long-form DVD is usually mutually agreedbetween the artist and the record company and a separate account is set up.You usually get to dictate, or at least approve, all the creative aspects of thelong-form DVD.ROYALTYThe royalty rate will be the same or slightly lower than that for records.There may be an advance payable for the long-form or the record companymay have had to match any offer made by a third party. The advance and thecosts should only be recoupable from the royalties on this long-form DVD.Income from records or any commercial use of promotional videos shouldnot be used to recoup these costs.CONCLUSIONSDecide on whether you need separate manufacturing and distributiondeals.Check the returns and discounts policy of your distributor and for anyhidden costs.Try to retain ownership of the records until you’ve been paid.Get the marketing campaign organised well in advance.Agree whether the press and plugging is to be done in-house or byoutside agencies. If outsiders are doing press or promotion, try to get the recordcompany to agree that only 50% of the cost is recoupable.Get approval of any photos and biographies.Gets approval, if you can, of any television advertising campaigns forthe records – particularly if your royalty will be reduced. Chapter 7Online Sales and Distribution INTRODUCTIONDigital technology is changing the face of the music industry on every level.This is not of course the first time that it has done so. The development ofthe CD 25 years ago used digital technology to create a whole new mediumof music distribution free from the constraints of analogue media such asvinyl, which had severe limitations on the amount of music each recordcould store. CD sound quality was also ‘cleaner’ although not all agree thatthat was necessarily a good thing. So the current developments could be seenas the latest in a long line of changes wrought by technological advances.However, this time the changes are more fundamental. Improvements indigital reproduction mean music is now available via an almost bewilderingarray of carriers – mobile phones, PDAs, memory sticks, MP3 players and ofcourse streaming and downloading via the Internet. The availability ofbroadband in most homes and certainly all places of further education hasmade the distribution of music via the Internet fast and almostuncontrollable. I will review in this chapter and in the later one on piracysome of the issues that this has created.OVERVIEWThe vastly expanded digital market has highlighted the flaws in the majorrecord companies, whose monolithic structures were built around thedistribution of physical copies of music, over which the record companieshad a measure of control, and for which they could demand a high price. TheCD did not render this model redundant, it just meant there was a whole newset of hardware they could develop and sell and the marketing men had afield day persuading us to buy again in CD form records we already ownedon vinyl. Even the introduction of players which made music portable likethe Sony Walkman did not alter the model fundamentally as it still requiredthe distribution and sale of physical products.It is a different story with digital distribution which takes the form ofstreamed digital radio or podcasts and downloads where there is no physicalproduct at all and where the hardware development is not in the hands of thetraditional developers like Sony and Phillips but with outsiders like Appleand distribution in the hands of Internet Service Providers (ISPs), and otherproviders of online services, like Google and Yahoo and mobile phonecompanies and it is marketed by third parties like MySpace and YouTube.The major record companies may also have lost the battle to try and controlillegal copying through digital rights management (DRM) systems. Pricingtoo is no longer in the control of the record companies. Several monopolyenquires into the supposed high price of CDs may not have shown there wasan abuse of a dominant market position by the major record labels, but thewhole issue is redundant as the battle has moved to a different ground. Theissue now is how you get people to pay for music at all when they can get itso easily for free. This battle is one that the record companies are losinghand over fist. They are rapidly coming to the conclusion that they mustchange their business model or die. Let us hope they have not left it too late.The winners in this new digital world are not the traditional players.Outsiders, telecoms companies and technology whizz kids, have spotted anopportunity. Being new to this industry they are not hampered by the oldways of the record labels, but can approach matters with a fresh perspective.I am thinking here of the social networking and gambling websites or themultiplicity of services which use music as added value to drive customersand advertisers/investors to their services. Music is just another commodity,it is not the reason for the existence of these services in the first place. Theinroads that these new players are making into the music industry bring withthem new challenges of how to make music pay and how to find the musicyou want to listen to, particularly that of new artists where the breadth ofavailable music has never been greater.Piracy or free availability of music is a major problem. As we will see inmore detail in the later chapter on piracy, the organisations representingmajor record labels such as RIAA and the BPI continue to tackle Internetpiracy head on as opposed to embracing the technology as opening up amassive potential market. I have always taken the view that criminalisingordinary people who download music for free is counter-productive. Tacklethe large-scale pirates by all means, but otherwise I think it is far better toeducate people as to the law on copyright, which to be fair lately the BPI hasbeen doing, but also to use the new technology in a positive way to reachmore fans. For example, older users of the Internet, the so-called ‘silversurfers’, have proved to be a lucrative source of online purchasers of musicvia websites like Amazon. Until recently they have been buying physicalcopies for mail order but with Amazon expanding into the download marketwho is to say that they won’t also purchase downloads if the process is madestraightforward enough? These buyers may not have gone into a high streetrecord store as they can be quite intimidating places for the uninitiated andso could be seen as a potential whole new market.The changes in how we receive music via the Internet and on mobilephones have also given the lawyers and legislators a number of knotty legalproblems to resolve. As we will see below the law has finally caught up withthe online world and recognised that copyright is capable of protection andshould be given protection for online uses. The issue of piracy and illegalfile sharing remains problematic, as does the whole question of the licensingof rights across countries given the global nature of the Internet. Muchremains to be done to ensure cross border co-operation but the collectionsocieties at least are taking steps in the right direction across Europe as wewill see in the later chapter on collection societies.A key indicator of the reality and the growing importance of the digitalmusic business was the launch of the official UK Download Chart inSeptember 2004 when, for the first time, download formats wereacknowledged as a viable commercial format. This was followed by theincorporation of downloaded tracks into the Official Singles Chart on 17April 2005. Mobile phone plays will also count for chart positions as soon asthe technical difficulties are resolved. From 22 October 2007 sales of DigitalMemory Devices (DMDs) count towards both the singles and albums charts.They have been eligible for the singles chart since September 2007. DMDformats include SD memory cards for mobile phones, USB flash devices aswell as memory sticks, so greater marketing experimentation may follow.USB releases in 2007 included a single by Keane and limited releases byKanye West and Amy Winehouse. USBs can take many forms and designsso the possibility of creative artwork, design and marketing is there for all toseize. EMI has announced it plans to release the entire Radiohead backcatalogue on a limited edition USB stick in the shape of the band’s ‘FangedBear’ logo. Artists like Arctic Monkeys, Leona Lewis and Koopa have allused Internet chart positions to boost their own profile.Many new artists now only release singles online initially, moving to aphysical release only if online sales warrant it. Distributors like Pinnaclehave added online distribution to their standard distribution deals.There has been considerable progress in the penetration of newtechnology with greater uptake of broadband; portable players such as iPodsare now available at affordable prices; and mobile phones, including the newiPhone which can download both sound and video clips are within the pricerange of many more people. The growth of these new types of players anduses, in particular mobile ringtones, has led the major record companies toalter their contracts to give them rights to distribute music on these newplatforms and they are establishing business models for being paid on thesenew uses as well as a royalties system for paying the artists and songwriters.Dominic Pride writing in Impact magazine in 2007 claimed that therewas a potential market of 3 billion mobile phone owners compared to 1billion Internet users. He was advocating the growing importance of the songand claimed that as the song was no longer restricted by formats used by therecord industry, this opened the way for new partnerships with songwritersand publishers working together to monetise the use of music. He mentionedone use in particular: mobile caller ring-back tones and the potential to tailorthese to the market place or to personalise them to the individual customer.He emphasised the delivery of a service to the customer over mobile phones,Internet TV and broadband with music as a key constituent of the service. Ifhe is right then in the future artists and songwriters might get paid for musicnot as an element on its own but as part of the fee charged for access to aservice. This makes sense to me as a new business model and the basis ofnew partnerships with service providers, but accepting this view meansacceptance of the fact that the record company is no longer in full control.This will come hard to those who make their money from that business orperhaps more importantly those who are answerable to the shareholders ofthose companies.If the future is paying for access to a service rather than access toindividual artist downloads then we need to consider if giving away musicfor free is a way of tempting consumers into this new world? Many artistsbelieve strongly that their music should not be given away. Cover mountCDs are detested by many artists. Why would a consumer pay for a classicsong when, if they wait, they will be able to get it for nothing with theirSunday newspaper? And yet, for every artist that takes this stance you willfind others who embrace the idea of music for free. Artists like The Beeshave been making acoustic podcasts of material available and Ocean ColourScene gave away downloads of their last single free. There have beenattempts like the Spiral Frog website to get consumers to accept that theycan access music for free but have to first listen to a bunch of ads, but as aservice it may be struggling.At the opposite end of the spectrum from the music for free idea arethose deals which make the most of the idea of added value by offering fanspremium products like the CD with extra tracks, a free ticket to a show nearthe fan’s home, lyrics and additional background to the songs and so on butall at a premium price. There is more on this in the marketing section below.Of course, even if you accept the view of the growing importance of thesong and partnerships between publishers and service providers such asmobile phone companies, there is still the fact that in many cases the songhas to be recorded to a reasonable quality. Polyphonic ringtones and realtones are improving but not to the standard of a properly produced andmixed studio recording. It is possible that the mobile phone companies willcommission their own recordings of music or expect the publishers to stepup to the mark and pay for good quality recordings but that is not thetraditional role of the publisher and it is unlikely that the owners of thepublishing companies will sanction large expenditure on acquiring soundrecording facilities. The more obvious route would be to use the systemsalready in place at the record companies or perhaps the newer, leanerproduction companies.If the business model is to change to shares of revenue from access toservices then the publishers will suffer a drop in mechanical royalties, butthey hope that this will be balanced out by an increase in flat fee usages,performance and synchronisation royalties, and shares of income with newpartners like the telecoms companies. It is also important that the industry isable to move fast and a one-stop shop across territories and betweenrecordings and songs will be needed, and accurate payment tracking systemswill need to be put in place.The IFPI estimates that there are twenty illegal downloads for everylegitimate one. John Kennedy, chair of the IFPI, called for a united approachacross the industry to tackling the issue of greater co-operation from theISPs over piracy and illegal downloading. He described the ISPs as the‘gatekeepers’ and that their co-operation could make ‘the single biggestdifference’ to the music industry. What the industry wants is for the ISPs toaccept they have some responsibility for the content that is on the websitesthat they host. If the ISPs were to agree to share the data from websitesbelieved to be involved in illegal downloading then stopping those pirateswould become infinitely easier. Kennedy says a precedent has already beenset when the ISPs responded to a call from the Government to put in filteringsoftware to block access to child pornography websites. We will see more ofthis in the section on social network sites below.There are some pundits who claim that the growth in the number of newpotential partners means that the power has shifted towards the artist andaway from the traditional record company. The example is quoted of SirPaul McCartney leaving EMI after forty years and releasing his new albumthrough Starbucks’ label Hear Music. Other examples might be Madonna’sdeal with her promoters Live Nation or Radiohead going ahead with its owndigital release of its latest album. However, things are never quite so simple.What all these artists have in common is that they are well established andhave a large fan base. It would not be anything like as easy for a new,unknown artist to do the same thing. It is also true that whilst many of thesewell-known artists are using new and unusual partners they haven’tcompletely abandoned the traditional routes either. McCartney’s album wasmade available to traditional outlets through a distribution deal withUniversal. Radiohead signed to XL for physical release of their album andThe Eagles, who are quoted as one of the success stories of 2007, may beunsigned but they also used a major label (Universal again) to act as theirdistributor. There is a place for newer artists to do their own thing, but theyneed the means to attract attention to their music, which means a greaterthan ever emphasis on marketing.This brings me neatly on to the last significant development I want tohighlight in this overview and that is the phenomenal growth of socialnetworking sites in particular MySpace, YouTube, FaceBook and Bebo.Alongside these pure networking sites are those which use music as the‘hook’ to attract the consumer to some other aspect of their website such asthe website slicethepie which uses the discovery and finding of unsignedartists and the purchase of contracts in the future success of these artists as acommodity to be traded online. Once again these are examples of how musicis just one aspect of a bigger service. The challenge for the music industrywith these sites is to see how the artists, songwriters and rights owners canbenefit financially from this ‘free’ use of their music.REPRODUCTION AND DISTRIBUTIONThere have been some positive developments in the area or reproduction anddistribution. Record companies have entered into licensing agreements withonline music services, and are trying to establish systems which shouldfacilitate tracking of uses, collection and accounting to the artists. Manyrecord labels are now putting their entire catalogue online with WarnerMusic the latest to announce it is doing this in the US via the Amazon.comwebsite. If record companies can make enough money from these newsources then in theory at least they should be able to continue to invest innew music.Of course, online distribution threatens the bricks and mortar retailers asillustrated by number of artists issuing tracks only as downloads. Gorillaz’release of ‘Feel Good Inc.’ only as an Internet download was one of the firstto get the high street retailers claiming foul as did more recently the releaseof Prince’s new album as a cover mount on the Sunday Mail newspaper, forwhich he was said to have been paid £500,000. This particular marketing‘first’ attracted a great deal of interest. It undoubtedly led to increased salesof the newspaper that week and also helped to market the fact that Princewas about to embark on a record breaking 21 day residency at the new O2venue in East London (housed in the Millennium Dome). You might say thatwas his main aim, not record royalties or chart positions.The retail music stores have suffered, not only because of the difficultiescaused by illegal downloads, but also from enhanced competition on thehigh street and a slowdown in the economy. Some retailers, such as HMV,have experimented with in-store kiosks for burning custom-CDs and othershave sought to improve the retail experience as well as providing musicsubscription and legal downloads through their own branded websites.However, flexibility was not enough for chains like Fopp, which went intoadministration in 2007. Virgin Retail also sold its music stores in 2007,which have been rebranded with the name Zavvi. This sale, together w i t hVirgin effectively selling up its stake in the record label V2, now a labelwithin the Universal Group, means that Richard Branson has ended his longlove affair with the music business, at least for now. Interestingly theretailers association ERA is amongst those clamouring for DRM free musicdownloads as the retailers realise they have to compete with the illegalmusic download sites and adapt their own business practices to survive.In an attempt at winning back some of their lost business the traditionaldistributors of physical product are now expanding their operations toencompass online download distribution, with Pinnacle being the latest to doso. The new Pinnacle contracts include online rights and Pinnacle, like mostdistributors, tries to get these exclusively where it can. If you already havedeals with companies like The Orchard or iTunes then it will not be possibleto do an exclusive deal with your distributor so you will have to negotiatechanges. You may also want to maintain flexibility because if, for example,you do an online only distribution deal exclusively with one distributor andthe tracks are then included on an album that you do an exclusive licencedeal for or which forms the basis of the commitment under an exclusiverecording contract for your band then you are going to be in trouble as youwill have granted away the all important digital rights. So again you have tonegotiate exclusions or compromises.These new distribution deals seem to be taking the same form as fortraditional physical distribution, with the distributor putting the record outthrough aggregators or direct to retailers online, collecting the incomegenerated, and paying the rights owner after deducting its cut. Thepercentage the distributor keeps is open to negotiation and will often start ataround 20%. Do remember that the traditional physical product distributorsare relatively new to the world of online distribution. There may be teethingproblems. You may need to be more ‘hands on’ than you might expect.Make sure the tracks are correctly digitised and that the correct metadata isincluded with the online file to enable the downloads to be tracked andpayment made. If at all possible do a trial run or a ‘soft’ release, where youlet the track out a few days before the official release date or just throughone or two key outlets to test all is well. I had one client who was releasinghis latest track online in early November 2007. He had all his promotionlined up: a live date; some radio and some press ads and articles all directingthe fans to buy the release through certain websites and services. The releasedate came and with it a host of complaints from the fans that they could notget the record or that the download had failed but the company had stilltaken their money. The release was a disaster and the artist had to make up agreat deal of lost goodwill with his fans. The response of the distributor wasa very nonchalant: ‘Oh yes, we sometimes get teething problems but theysort themselves out in time. Complaints from fans help us find what’swrong.’ Well needless to say we were not impressed with this line and theclient will think twice about using that distributor again.STREAMING AND ONLINE BROADCASTINGAbout ten years ago webcasting was seen as the future of pay-per-viewtelevision to enable all fans to access an artist’s live concerts. But thismeans of distribution seems to have run out of steam due largely toproblems of poor reception and instability in the technology: if too manypeople tried to watch at once it often crashed the system. However,streaming of music has been given a new boost by the idea of podcastingmusic i.e. making it available to your iPod or other similar portable musicdevice at a time suitable to you. Radio led the way on this. There is alsodefinitely a move towards you being able to view your favourite televisionprogrammes or listen to a radio show you’ve missed or want to listen toagain at a time of your choice and some television programmes have startedto make highlights programmes available again as a listen again service.Evidence of the fact that this is becoming an established form of broadcast isthe establishment of a Podcasting Association and the granting of blanketlicences for use of some music in podcasts (see the chapter on collectionsocieties). At the moment most of these podcasts are free, so are essentiallyused as marketing tools, but I am sure that soon it will develop into a servicethat will try and generate revenue for the broadcaster concerned.But it is not all doom and gloom as the Internet has opened the way formore specialist or obscure genres of music to find a worldwide market.There was an initial bounce back effect on music sales as consumersdiscovered new artists and went searching for more tracks by the same artistor others in the same genre. This was, of course, the original intention of theP2P services. I know I am back on my soap box again but if the musicindustry had tried to understand these new services and embrace the thinkingbehind them rather than attacking them as a threat then possibly the saleslosses could have been minimised or changes to the record industry structureintroduced sooner. They might also have saved themselves millions ofpounds in legal fees. Instead they drove the problem underground, mademartyrs of schoolgirls and the average Joe consumer and created an ‘us andthem’ feeling with the music industry as the enemy. Bands like ArcticMonkeys might not have had the success they did (or perhaps had it later) ifthey hadn’t fully embraced the positive aspects of the Internet from theoutset.SO HOW HAS THE MUSIC INDUSTRY SOUGHT TOCOPE OR ADAPT TO THESE CHANGES?CONSOLIDATIONThere has been consolidation in the retail and distribution sectors. Many ofthe major record companies have pulled out of distribution with UniversalMusic being the latest to do so in 2005. The majors have struck deals eitherwith other majors or with distribution specialists like PIAS, (formerly Vital)and have centralised their operations in one European country.There has also been consolidation amongst the majors themselves withSony acquiring BMG’s record division and Universal snapping up V2 andSanctuary Group. On the publishing side Universal has merged with BMG.The on-off merger talks between Warner Music and EMI Group seem tohave gone on the back burner since the venture capitalists Terra Firma underGuy Hands took control of EMI Group but no one is betting against itcoming back on to the agenda at some point.COST-CUTTINGThe record and publishing companies have also become leaner. They havetried to offload non-essential personnel through a mixture of voluntary andcompulsory redundancies. Accounting and legal/business affairs functionshave been cut right back, sometimes on the back of supposed greatertransparency in their contracts. They argue that with easier to followaccounts and simplified legal contracts their costs will reduce as will thecontributions they often make to the fees of the lawyers advising artists theywish to sign. But there is only so far you can go and still function.Guy Hands made the newspapers in 2007 with a flurry of stories abouthow he intended to cut back on what he saw as waste in the record companyhe was now overseeing. He announced his intention to sell off a Mayfairproperty worth £6million which had been used infrequently by the companychairman. He challenged the amount of money paid by the major recordlabels to organisations such as RIAA, BPI and IFPI asking if there wasn’t anoverlap in their functions, particularly on piracy issues. On this issue therehas been some movement in a reduction in the subscriptions paid by themajors, but not, they say, as a result of Hands’ intervention. He alsoquestioned the ‘flowers and candles’ budget and the expensive Christmasgifts sent to the artists. All made for good headlines, but it feels to me liketinkering round the edges when the main problem remains how to monetisemusic in the digital age. More serious were his plans announced in January2008 to cut 2,000 staff and reorganise the company to separate the A&R andbusiness functions.The major record labels remain monolithic structures with physicaloffices in all major capitals with big corner offices and highly, some mightsay obscenely, paid executives many of whom are on bonuses linked to shareprice or sales or both. This remuneration system might militate againstpushing the niche artist with low levels of sales, but in reality the majorshave really only been there for the commercial artist for some time. Nicheartists do still occasionally have a place, but it is rare that an artist with lessthan 100,000 sales gets to make a second album for a major record company.The executives are fighting for their very existence and there is probably alot more pain to come before it gets better. They are up against leanoperations in the telecoms business that are financially superior and they canchoose not to work with record companies who decline to work with themand this threatens to leave them isolated and redundant. The new players canoperate at a low level of overhead and from almost anywhere in the world.They can remunerate and motivate their employees differently. They do nothave to carry the enormous overheads associated with physical distributionand can, therefore, in theory, move faster and react more swiftly to change.Their challenge remains how to monetise their activities at a level whichmakes sense for their investors. I think it is fairly certain that advertisingwill play an ever more important role.Of course major labels do still have a role to play, and the CD formatstill constitutes a significant percentage of global legitimate sales of music,but more partnerships and joint ventures are needed. Technology has to bethe driver. The record companies seem to some extent to have abdicatedtheir A&R function to production companies and trusted producers andmanagers, but in so doing their role is changing to just being finders ofradio-friendly commercial hits. Where are the mavericks, the Alan McGee’swho gave Welsh-speaking Super Furry Animals a start and supported KevinRowland in his wish to wear a dress on his album cover? Without risk thereis a danger of stagnation. Yes, you can try and expand your income bysigning all your artists up to the 360 models that we read about in thechapter on record deals, but they only work for so long as the live sectorremains buoyant. If there is a downturn in the economy on the back of thecredit crunch that began in the USA and which Britain started to experienceat the end of 2007, then will people have the money to pay for expensiveconcert tickets, and if they pay for the tickets will they still buy themerchandise when they get there? Come to that unless record companies aredeveloping acts who have a chance of a long-term career in the business andaren’t just one album wonders, where are the stadium-filling live acts of thefuture coming from to sustain these 360 models?LOWER VALUE DEALSSo far, in addition to the cost savings referred to above, and their focus at themoment on the holy grail of the 360 model, the major record companieshave tried to minimise their exposure by signing fewer acts and paying lessfor those they do sign. But despite these good intentions they do still allowthemselves to be carried away by hype and bidding wars and lawyers andmanagers must take some responsibility there too. We are trained to talk updeals and to seek the best deals for our clients and that often means thebiggest financial commitment and therefore playing one party off againstanother. Often these mega signings are done out of a wish by the recordcompanies for a short-term boost to sales to keep the shareholders or theCity investors happy. Sometimes it’s in order to convince the other labelsthat here is a label with money and power so they had better watch out: themetaphorical gauntlet is thrown down to rival labels. I do wonder thoughhow many of these deals are done dispassionately with a clear notion ofexactly how many records would have to be sold to recoup and how realisticthat is.NEW FORMS OF MARKETINGThe record labels are also looking at innovative marketing ideas to drivecustomers to their product as opposed to that of a rival. These include anumber of ‘firsts’ like Universal’s first digital only record signing, followedwithin the year by signing them up for all physical rights too but they got theinitial publicity. Then there were events like the artist Sandi Thom beingsigned to Sony/BMG on the back of webcasts from her basement flat inTooting, South London, or the first download-only number one etc.If I were a gambling woman then my money would not be going intorecord companies; it would be in technology looking at ways of filtering thevast array of information available online and in companies focusing onmarketing to consumers using new technology. One example of attemptswhich are already being made to filter stuff on the Internet is the servicelaunched by MySpace in December 2007 called Earwig. It is an Internetvideo channel. The idea is that it will feature short video clips on selectedartists in which they will talk about themselves, their musical influences andmusic. These videos are meant to be self-produced interviews by the artists.It is aimed at unsigned or newly signed artists. MySpace says it will selectan artist of the week who will feature on the front page of the website. Iknow I’m a cynic but what’s the betting on that space being available tolabels/advertisers for a fee in due course?PIRACYBut enough of the predictions for now – they have a nasty habit of comingback and biting you. Let’s look in more detail at some of these issues. Thebiggest area of concern remains that of piracy. As I have consistently saidthe music industry is probably fighting a lost cause with illegal downloadingwhich is after all an invidious form of piracy. Individuals are now pirates aswell as the large-scale commercial operations. The genie is already out ofthe bottle and isn’t going to go back in. Whilst there remains a hardcore oflaw-abiding members of the public who will pay for music, they are joinedby a younger generation who are used to free availability and exchange ofmusic. Even those who will pay for it are unwilling to pay at the levels theywere in the days of physical only carriers, and they may only be interested inpaying for single tracks rather than ‘bundled’ albums. Making legaldownloads easy to get and of a superior quality to the illegal versions maygo some way to help but not for those who do not care overmuch aboutquality and who just want the latest stuff for free. Educating these peoplemay help a bit, but probably not a great deal, so one way to get them may beto get them to pay for something else that they do value, such as a mobilephone service or a favourite website, and include in the price they pay anelement for the music content on that phone or website.Piracy has in fact always been a problem for the music business with CD,tape and video copying a huge business in the Far East and former easternbloc countries (see Chapter 14). The problem also manifests itself in theleaking of albums via the Internet ahead of their commercial release –albums by artists such as Oasis, Eminem, U2, Beck and PJ Harvey havesuffered from this. It is extremely difficult to track how or where the leakoccurs: it’s not as if someone were smuggling a large tape reel out of thestudio. That said, I do have one artist who is so against his music beingavailable online that all pre-release copies of his works were made availablein cassette tape versions only on the basis that these are more difficult tocopy and put up on the Internet. I suppose with the demise of cassette tapesthis will be replaced with lower grade digital copies, but here I wonder ifthis isn’t in fact damaging the artist if the reviewers listen to an inferiorcopy of the new album and write unflattering reviews as a consequence.There are also examples of almost ‘Mission Impossible’ style scenes wherereviewers are searched before entering dedicated rooms where they listen ona special machine to one numbered copy of the album. The intention beingthat if the reviewer makes an illegal copy it will be tracked back to him. Buteven such measures don’t stop the determined pirate. The long-awaitedColdplay album was available in full on the Internet days before the officiallaunch. This was despite strenuous efforts by their record company, EMI, toprevent this. EMI made the best of a bad job by bringing forward releaseplans. Record companies also try and get the websites offering the albumsshut down but they do not always get the co-operation of the ISPs and wherethey do it may already be too late.SABAM v. ScarletThere are, however, signs that European courts may be prepared to makeISPs responsible for what they carry. The first landmark case to take thisline was brought by Belgian collection society SABAM against Scarlet,formerly a branch of the Italian ISP Tiscali in 2007. A court of firstinstance in Belgium confirmed that an ISP must take responsibility forstopping illegal file-sharing on its network by using file filteringsystems. The ruling is the first of its kind in Europe and, as you mightimagine, was welcomed by the international record industry, which hasbeen pressing for action by ISPs to curb piracy on their networks. Thecase seems to have turned on a determination of which of two pieces ofEuropean legislation should have precedence. The first to beimplemented was the E-Commerce Directive which declared that ISPs asintermediaries were not liable for the content on the websites that theyhost. However, the later Copyright Directive amending the copyrightlaws to cover online uses said that in some circumstances copyrightowners could get court orders against ISPs if websites using theirservices were being used for piracy or infringed the rights of copyrightowners. In practice up to now once an ISP is notified that a particularwebsite contains illegal material it orders the owner of the website toremove the offending material. This was the first case to decide which ofthe two conflicting laws should have precedence. The ISPs are reluctantto accept unrestricted responsibility as they feel that this is shiftingresponsibility for control of piracy to them. However, it is undoubtedlythe case that it is much easier for an ISP to take action against users ofits websites than it is for rights owners to try and track down and takeaction against individual illegal file sharers.The case was decided at the lowest level of the Belgian court system and istherefore likely to be appealed to a higher court. It is also not known at thisstage if it will apply to other ISPs within Belgium or if it might have abroader European dimension. That must be a possibility as these twoconflicting Directives were to be implemented into the laws of all EuropeanUnion countries. Belgium does not follow a strict case-law precedent systemlike we do in the UK so it does not set a binding precedent for similaractions against other ISPs in Belgium. Naturally therefore the telecomscompanies and ISPs in Belgium are playing down its significance. However,the existence of such a judgement must be influential on judges tryingsimilar cases there. They certainly cannot be ignored and it is likely thatSABAM will try and press home its advantage and try and get the other mainBelgian ISPs to come into line without the need for them to bring separatelegal actions.The case also considered various methods of filtering and came down infavour of one particular piece of software called Audible Magic, but the ISPsare doubtful about the effectiveness of this software. The court’s expert saidthat it could identify material on P2P systems which infringed copyright.The ISP was given six months in which to implement the order, with apenalty of !2,500 for every day of delay beyond that date. The ISPs havereservations about the ability of Audible Magic to operate on the necessaryscale. They also say that it should not be forced to pay the bill for protectingthe assets of other private companies. They feel that they will have to passon this cost in some way to their users and that this also indirectly penalisesthose who are entirely law abiding users of their websites. However againthat argument could be used in many areas of life: we pay higher insurancepremiums because of other dangerous drivers or because our homes happento be in areas with a high crime rate.This all feels like the ISPs throwing all their arguments at what isundoubtedly a worrying decision for them.ANTI-PIRACY MEASURES AND DIGITAL RIGHTSMANAGEMENTAs their well-publicised actions against MP3.com and Napster showed,RIAA and the music industry generally took the view that attack was thebetter form of defence. Others, including me, believe that in doing so theyalienated consumers. Headlines highlighting legal actions againstschoolgirls downloading and sharing music with their school friends did thecause no favours. So alongside the legal actions various steps were taken totry and control the making of multiple copies or to track those who did so.There has been a three-pronged approach. Digital rights management i.e.technological protection measures (e.g. encryption), backed up by end-useragreements spelling out the restrictions on use, education, and legislation,such as the EU Copyright Directive prohibiting circumvention of suchprotection measures and devices/making illegal devices, including software,whose primary purpose is to enable or facilitate circumvention. There is,however, a growing sense that these digital rights management systems gobeyond what is necessary to protect copyright owners or indeed are holdingback the development of a legitimate download market. For example, someof the protection measures had the unforeseen side effect of preventinglegitimate owners of CDs from playing the CD on their PCs or making acopy for use in their cars.TECHNOLOGICAL METHODSConsiderable resources were put into anti-piracy devices such aswatermarking and ways to track the copying of music to control it or ensureproper payment. In the 1990s, the Secure Digital Media Initiative (SDMI)was hailed as an industry-backed secure system to control illegal copying. Infact, the creators of the SDMI system offered a reward to anyone who couldcrack it. Predictably, such is the power of the Internet to harness resourcesand minds, some computer programmers did so within 48 hours. Other ideasincluded a system of permanent and temporary ‘passwords’ on computerfiles, which only allow one copy of a file to be made and played on alegitimate player. Making one copy destroys one of the passwords and if youthen try to copy it again, the copy won’t play because the player can onlyfind one of the required two passwords.Considerable resources have also been put into developing systems totrack usage of music and to ensure that the legitimate rights owners get paidfor the use of their work. These content management systems included oneswhere there is a kind of pyramid selling at work where a legitimate user whointroduces a friend to a piece of music which the friend then pays todownload receives points which the first person can use to purchase moremusic downloads.Others were just interested in tracking when a piece of music wasdownloaded and feeding the information back to the rights owner. Effortswere made to make these systems as transparent as possible so that therights owner and the artist or his advisers could get comfortable with thewhole idea that if they grant these rights they will get paid, but there werealso privacy concerns as a result of personal information that is embedded inthese DRM systems and issues such as devices which monitor what a userdoes on his computer. The SonyBMG so-called ‘Root-kit’ fiasco outlined inthe chapter on piracy below may have done much to damage the efforts toget the public to accept these tracking systems.EDUCATIONAs a second string to their bow the BPI launched a series of leaflets aimed ateducating people, particularly the young, to the illegal nature of much of thecopying music off the Internet. There is some evidence that this is helpingpeople to understand that what they are doing is illegal, but less evidencethat it is stopping them doing it anyway. One of the recommendations of theGowers Review, which is considered in more detail below, is that themaking of a copy for your own use should not be illegal – yet at the momentit is. The music industry’s initial reaction was again one of protectionism.The feeling was that if this were allowed it would be the thin end of thewedge. A Government paper on the topic is expected early in 2008.LEGISLATIONNew laws now confirm beyond doubt that the rights of a copyright ownerextend to duplication or broadcast online. In Europe this was confirmed bythe European Copyright Directive, which was implemented into UK law inNovember 2003. After all the fuss that had preceded it the Governmentfinally elected to only do the bare minimum required to incorporate theDirective into UK law. The Government argued that in most cases the UKCopyright Act of 1988 already encompassed online uses. It did make achange to include the somewhat clumsy ‘making available right’ to extendthe right of a copyright owner to control broadcasts of his work to includeonline usage. The Government did not take up the option to extend thenumber of exceptions to what is known as ‘fair-dealing’ i.e. legitimate usesof copyright works for which no permission of the copyright owner isrequired. In the US the equivalent legislation is the Digital MillenniumCopyright Act 1998. Both pieces of legislation were the subject of intenselobbying. ISPs sought, and largely got, protection from liability for illegalmaterial not within their control. In most cases the ISP is only obliged to dosomething once it is brought to their attention but court orders can bebrought against an ISP if it is hosting sites used for illegal file sharing orother pirate activities.Concern was also voiced as to how you treat ‘transient’ copying i.e.technical copies or reproductions made as a side effect of, say, sending anemail from computer to computer around the world. The EU Directive andthe regulations incorporating it into the UK Copyright Act made it clear thattransient copying which had no commercial value was not a ‘reproduction’and therefore not an infringement of copyright.In order to support the efforts of the anti-piracy brigade, the legislationmade it an offence to circumvent, or make available the means tocircumvent, devices intended to protect copyright, but as yet there have beenno reported cases of legal actions under this provision.Finally there were the attempts to bring legislation in granting rightsholders greater control over illegal use of their copyrights. In particular theyare keen to ensure that the ISPs share data with them which will enable themto target Internet pirates more effectively. The ISPs did not come up with avoluntary code by the end of 2007 and a paper is expected from thegovernment to address this and other cultural issues in February 2008.DIGITAL RIGHTS MANAGEMENTThe debate over whether or not to place digital rights managementprotections into music formats rumbled on for most of 2007. Steve Jobs ofApple kicked off the debate in April 2007 by calling for all music to bemade available for licensing for services such as Apple iTunes free of DRM.The major label bosses then lined up for or against the idea. Eric Nicoli, thenchairman of EMI Group, announced in April 2007 that EMI Music would belicensing DRM-free superior quality downloads across its entire digitalrepertoire and Apple’s online music store iTunes would be the first to makeavailable these new downloads. EMI hoped that by providing superiorquality DRM free tracks they would tempt consumers towards legitimatedownloads as opposed to the often inferior quality illegal downloads. Therewas a slight catch in that the audio compression format they use is AAC, notthe more widely available MP3 format which is compatible with mostportable players. Software ‘fixes’ are available to decode the AAC formatfor those whose players don’t support it but this may put off the lesstechnically minded music fans.In contrast, Warner Music initially came out in favour of continued useof DRM. In April 2007 it demanded that the Anywhere CD service fordownloading of albums stopped offering DRM free albums from the WarnerMusic catalogue. In July 2007 Warners tried to get one up on Apple byputting much of its back catalogue online on the Lala.com website for freestreamed previews, but not download, with Lala paying a royalty fee toWarners each time a user listened to a track.The deal with the EMI DRM-free tracks unravelled a little when thetracks went on sale on 30 May 2007 under the iTunes Plus banner and apremium rate of 99p. It was discovered that the tracks downloaded byconsumers contained the name, account information and email address ofthe person who bought the download. This in itself was not new. Apparentlysuch information can be found on all tracks purchased from iTunes. Did youknow that? I didn’t although I imagine it is contained in the terms andconditions of the website. The objection was that if this was genuinelyintended as a DRM-free download then this information should not bepresent as it enabled Apple to track the subsequent use of that musicdownload. The privacy lobby was also concerned. What else may beembedded in these files and if it were that easily uncovered how mightunscrupulous users make use of the information?Universal Music seems to be playing a waiting game. It hasexperimented with DRM-free trials and has deals with companies likeAmazon and has not as yet committed full scale to iTunes.In November 2007 the retailers association ERA announced it would belobbying the record industry to press for the abolition of DRM in downloadreleases and for the use of the MP3 compression format as the universalstandard, thereby simplifying the whole process for the consumer buyinglegal downloads.Finally, on 27 December 2007 Warners announced that it had dropped itsopposition to making available music without DRM systems in place. Itconfirmed that its entire catalogue was going to be made available DRM-free in the United States off the download website of Amazon.com. It seemsthat Warners had bowed to the pressure in order to keep pace with itscompetitors. In contrast to the less common AAC format used by EMI andiTunes, Warners’ catalogue will be available through Amazon in the morepopular MP3 format. Although at the moment these arrangements apply onlyto the United States, it is expected that they will extend internationally soon.The Times reported on 28 December that Warners was also in talks withApple to release DRM-free tracks via iTunes. SonyBMG now remains theonly major decidedly in favour of DRM.It is too early to tell if the move to DRM-free music downloads will helpto stem the drop in album sales and record company revenues. It does seemas though the battleground has moved from DRM to persuading the ISPs totake more responsibility although that particular debate has, I fear, a longway to run as the ISPs will not give up their non-liable state as anintermediary without a fight.GOWERS REVIEWThe Andrew Gowers Review of Intellectual Property was published on 6December 2006. It contained little that was of comfort to the music industry,which had lobbied hard in particular for an extension in the duration of thesound recording copyright and performers’ rights beyond fifty years.Performers were looking for parity with songwriters with a copyrightprotection period of their lives plus seventy years. The recording industrywas looking for parity with the period of copyright protection in othercountries, in particular the United States at 95 years. Gowers recommendedthat the period stay as it is, asserting that it represented a fair balancebetween the right to protection of the intellectual property and the benefitsof having work come into the public domain after a period of time. Heremained unmoved by the fact that recordings by well-known artists such asSir Cliff Richard were coming out of copyright. In January 2008 re-issueslabel Delta Leisure will follow on from its re-releases of 1954, 1955 and1956 hits with a compilation of 1957 hits including Paul Anka’s ‘Diana’ andAndy Williams’ ‘Butterfly’.Despite a brief glimmer of hope when the House of Common’s SelectCommittee for Culture, Media and Sport urged the Government to lobby foran extension across the European Union the Government has acceptedGowers’ recommendation that the status quo be maintained.Other only slightly less controversial recommendations included one thatthere be a limited ‘format-shifting’ private copying right without any levysuch as the oft touted ‘blank tape’ levy on the hardware used. Contrary towhat many people think, it is illegal to copy a CD to your iPod, even whenyou own the CD in question. The Government accepted the recommendationthat this was confusing and should be rectified. The music industry view thisas the thin end of the wedge arguing that if making one copy for a differentformat is legal it will suggest copying for one’s mates is also allright.The other issue which I have already mentioned and which arises out ofthis Review is the extent to which the Government will use the law toenforce greater co-operation from ISPs. I await with interest the proposalsfor this expected in 2008.NEW BUSINESS MODELSBut I don’t want to suggest that the music industry is doing nothing in thisarea. As new means of delivery of music have begun to establish themselves,so record companies are moving with new business models for payment toartists for these new uses.It has been difficult to find business models that work financially forboth the consumer and the copyright owner. Models that were trialled butwhich did not survive include micro-billing, where download costs are addedto your phone bill. Per-download, pay-per-listen charges, and subscriptionsystems, where a regular payment secures delivery of music to thesubscriber online seem to be the ones that are emerging as workable models.HOW IS THE CONSUMER CHARGED?Track downloadsFirst there is the sale of single track downloads such as the system adoptedby iTunes, sometimes with a refinement that the customer can buy the rightto listen to a piece of music for a limited period of time before he has to buyit in order to keep it permanently. With these systems the customer ‘owns’the tracks downloaded and pays about 79p per track or 99p for the premiumversion. The tracks paid for are then transferable to portable devices and canbe burned to disk. 7Digital, an online store which offers to provide shop-fronts for smaller labels, as well as the facility for a label or artist to createits own online store using the 7Digital back room services and its deals withonline retailers, also offers tracks at 79p a download. Neither iTunes nor7Digital offers a subscription service.Napster offers 79p downloads but also has a subscription service (seebelow).MP3.com has a limited selection of music but offers it free for downloadand streaming.3 Mobile offers a per-track download rate of £1.29 and T-Mobile one at£1.00 per download. Neither offers a subscription service.Subscription servicesThen there is the subscription model. Subscription services (e.g. Napster)allow subscribers access to all the music they want for a monthly fee,sometimes with an option to purchase selected tracks (from 79p per track).Napster’s service has what it calls ‘tethered downloads’ where the track istransferable to portable players for as long as the consumer remains asubscriber. Once the subscription ends the music is no longer available. Willsuch a service appeal to the long-term collector? The Napster subscriptionrate is £9.95 per month to listen to music on a computer; £14.95 per monthfor Napster To Go membership which allows you to download unlimitedmusic to an MP3 player.Emusic offers a Basic package of £8.99 per month for up to 30downloads i.e 30p per song; the Plus package at £11.99 a month allows up to50 downloads i.e 24p per song and the Premium package at £14,99 permonth allows up to 75 downloads i.e. only 20p per song. It is difficult to seehow at these low levels a viable percentage can be paid back to the rightsowners after all other participants have taken their cut. However, if the takeup were high enough that would help to compensate for the low per trackaverage.Vodafone says it has 1.2 million tracks available and charges £1.99 perweek through its MusicStation service.But the jury is still out on the viability of subscription services. BothHMV and Virgin Retail (as it was known) withdrew their subscription dealsin 2007. Napster scaled back its offering and Yahoo and Real decidedagainst launching them in the UK. This may in part have been to do withdifficulties in blanket licensing of music as the Copyright Tribunal case wasstill ongoing in the first part of 2007. Now that that is settled we may seemore services venturing into the subscription market. The fact remainsthough that there is a long way to go in educating music fans to take up thesesubscription services and the price level has to be right. The £1.99 a weekthat Vodafone is looking for may prove too rich for the average music fan.In the US subscription models have been around for longer and the model isstronger but it is still in its early days here. It is perhaps significant that thefar out market leader Apple with its iTunes service has not embraced thesubscription model and none of the subscription model services currently inthe market work with Apple technology.If the pundits are correct that the consumer will pay for access to aservice which includes music amongst other content, then the subscriptionmodel may be the way forward, but there will be a challenge in getting thepercentage share for the music companies and publishers right.PAYING THE ARTISTOn the other side of the coin the debate continues as to how the copyrightowner – usually the record company – will account to the artist for these newtypes of usage.Net receiptsWhen online revenue first became a reality the royalties were generallytreated as similar to a flat fee per use charge that you might get fromlicensing a piece of music for a one-off use e.g. on a compilation. The shareof receipts from online was also generally the same as for flat fee uses ataround 50%. This way of calculating shares of income still tends to applywith income that is linked to subscriptions but I have yet to see anyonereceive a full and complete royalty accounting from such uses and I wouldlove to see someone carry out an audit as I fear that only a fraction of thisincome may be being picked up.Royalty basisThis was the model used in the early days of downloads, before the recordlabels began to realise that they should think again about how they accountto their artist if they weren’t going to end up paying out more than theywanted to to their artists. In other words, greed kicked in and the modelshifted to a royalty basis. The royalty rate was about the same as applied to aphysical CD sale and the price was that which the record label received fromthe online etailers or aggregators or from the mobile phone companies. Thismethod of calculating shares of income works for downloads or per usepayments but is not so effective for subscription revenue.DeductionsThen the record labels went a little further and decided that if they weregoing to apply the royalty method then why not calculate the royalties withsome of the same sorts of reductions that apply to physical sales, such as apackaging deduction. Don’t be ridiculous I here you say. How can therepossibly be a packaging deduction when there is no packaging in an onlinedownload? You are right, but try telling the record companies that. Ofcourse, it’s called something different like ‘back end fulfilment charges’ i.e.the cost of setting up an online payment system by credit card, or an‘administration’ charge, but curiously the percentage charged was almostalways the same as that which they used to deduct for packaging on aphysical CD sale.TERRITORIAL ISSUESI have a feeling that another battleground will be territorial restrictions. Atthe moment there are deals in place between Apple and individual recordcompanies restricting consumers to only buying music from the iTunesonline store in their country of residence. In this way prices can differ fromone country to the next. The first chink in this armour came in April 2007when the European Commission issued a Statement of Objections that sucharrangements violated a section of the EU treaty on the free movement ofgoods. It looks like more pressure will follow on the heels of the launch ofthe iPhone in November 2007. Apple has struck exclusive deals with onemobile phone operator in each country restricting access to the phone byusers of other networks. The German courts initially granted Vodafone atemporary injunction forcing T-Mobile to sell iPhones that were not tied to asingle network, despite Apple’s exclusive deal with T-Mobile. However, thetemporary injunction was subsequently overturned and the exclusivearrangements were reinstated.Vodafone objected to the exclusivity agreement and said customersshould be able to choose between networks. Apple has similar licensingagreements with O2 in the UK and AT&T in the US. In the two weeks sincethe temporary injunction was granted, the BBC reported that T-Mobile hadcomplied with the injunction and sold the handsets without a networkcontract for 999 euros (£719). Although strictly complying that price was ahefty premium to the 399 euro cost for a phone with a two year T-Mobilecontract. In response to complaints from customers, T-Mobile has nowpromised that at the end of the two year contracts it will unlock the phonesat no charge. However, as always with the Internet and technology, wherethere is a will there is a way and despite the best efforts of Apple and thephone companies to tie consumers to one provider, programmes have beencirculating online that allow users to unlock their iPhone so that it can beused on any network. In an attempt to dissuade people from using theseprogrammes Apple has warned that their use could render the phones‘permanently inoperable’ when it releases software updatesThis issue is unlikely to go away as in the US alone Apple still faces twolawsuits from people alleging that preventing users unlocking their iPhonesis an unreasonable restriction of consumer choice. It would also seem topotentially fall foul of European legislation encouraging free movement ofgoods but that would have to be balanced against the rights of individuals tomake contracts on commercial terms which are acceptable to them.PHYSICAL CDSWith the proliferation of online download services there is a parallel debateon how to prolong the appeal of physical CDs. The Enhanced CD format wasseen by some to be the answer as well as special edition releases, value-added content where extra or bonus tracks are added and fancier packagingor artwork. All major artists now tend to film additional material, whetherthat be a live concert or backstage interviews to be synchronised with audiomaterial to make a new package. This may be broadcast on television or soldas a package with a DVD being sold bundled together with the audio CD. Butthe hoped for boost of DVD sales was not sustained. After an initial burst,DVD sales are again falling away as consumers view more material onlineon their PCs or portable DVD players and new format mobile phones. At theend of December 2007, Apple seemed to be close to a deal with News Corpto offer Fox films through iTunes. At the moment the only films availableon the service are from the Disney Company, but if Fox comes on board thatmight help to open the doors to other film companies.There remains a feeling in the industry that if you have a good product itwill sell and it will sell in physical CD format. The 3 million CD sales ofThe Eagles’ new album in 2007 is often cited as an example. However,whilst I would agree that good music should always find its market, there isI think a case here of physical CDs appealing still to certain sectors of themarket. We know that CD singles by pop artists buck the trend and sell alarger percentage in CD form than the usual download sales. It may well alsobe the case that the fans who are likely to buy The Eagles product somethirty years after they last released an album are likely to be of an older agegroup more comfortable with the CD format than with the online versions.MOBILES AND MOBILE MUSIC PLAYERSAlongside the online download, the other major new carrier format has beenthe mobile phone. The consumption of music on mobile phones has evolvedfrom ringtones to full audio recordings in ringtones, ring-back tunes, full-track downloads and other media applications. There is still a big issue overhow to ensure that everyone gets a fair slice of the cake. The basic issue withthe ringtone model is that there are too many people sharing in that cake.Out of a £3.00 download, after the tax man has taken his share a largeproportion goes to the mobile phone service provider who gets to charge forthe time the call takes to download the material plus a bit extra for thecrucial element they provide to the story: without them the whole thingdoesn’t work. Then there is the middleman aggregator: usually a companythat does the deals with the individual rights owners employs the technologythat allows the conversion into a form that can be downloaded andadministers the collection and payment of the proceeds. These people takethe lion’s share. Then there are the rights owners: the publishers who own orcontrol the song and in the case of real audio ringtones where the soundrecording is also copied, the owners of the sound recording. Out of theamounts that these companies receive the songwriter and artist/performerget their share. That share is usually based on the net receipts that thepublisher or record company receives depending on the contract with theartists. In some cases this is a 50:50 split and in the case of the songwritersthe share could be even higher, but it still remains that out of every £3.00download the songwriter may receive less than 30p. Then there are the issuesof ensuring proper payment. The whole question of how e-commerce is to betaxed is also fraught with difficulties, which are, thankfully, outside thescope of this book. If you intend to venture into online distribution youshould take specialist tax advice.The challenge for lawyers is to see how we can ensure a fair balancebetween what the record company or the website company gets to keep andhow much is paid through to the artist.New developments include not only the much promoted iPhone but alsoservices such as Vodafone’s MusicStation subscription service whereby themobile phone owner gets unlimited music for £1.99 per week. All the majorrecord labels and many independents signed up to this service from theoutset. Nokia also has a music download store. More profile raising for thesemobile services is likely to come with the promise to include music playedvia the Napster and MusicStation services towards chart placings once theOfficial Chart Company has resolved the tracking issues. Vodafone claims itis aiming at 10 million subscribers by the end of 2008.MOVE AWAY FROM ALBUMSAre we seeing a potential switch away from traditional albums? The CD wasliberating in that it permitted over sixty minutes’ worth of material far morethan the traditional vinyl or tape formats. This was hard on artists who hadto maintain consistent quality across twelve or more tracks but not fillingthe CD felt like the consumer was being short-changed.Radio and TV and highlights on MySpace-type pages emphasiseindividual tracks. Traditionally this was as a precursor to persuading you tobuy the album but now a consumer is just as likely to be a single trackdownload as he is a bundled album. There is no sign at the moment that thetraditional album-based model is being abandoned and certainly allexclusive artist contracts still function round the album model, but lateralthinking may see the rise of commitments based on numbers of individualtracks.Single sales have risen to their highest yearly level since records begangrowing by nearly 40% in 2005/6 according to the BPI. Ninety per cent of allsingle sales are downloads (Source: Music Week article by Ben Larder10/11/07). However, pop artists like Leona Lewis, McFly and Take Thatcontinue to score significantly higher on physical CD sales at around 40–50%. In contrast sales of physical album CDs in October 2007 were down22% on the same month in 2006. But this may have been a particularly badmonth as by 17 December 2007, Music Week was reporting that sales ofalbums had bounced back to reach a new high for 2007 but it was still over amillion sales down over the same period in 2006 so the trend is still down.We should also bear in mind that although single sales may have increasedin volume by 40% that does not mean that the income generated hasincreased by the same percentage. The average download price is around79p, not the £1.99 plus the consumer may have paid for a physical CDsingle.SOCIAL NETWORKING SITESOne of the interesting effects of the growing influence on the music industryof the Internet is the extent to which the consumer is starting to drive thesort of music he wishes to listen to and purchase. Recommendations fromonline ‘friends’ are as influential as hearing a track on the radio. One of theside effects of this is that the majority of single tracks downloaded off theInternet are not, according to a Music Week survey, current releases but backcatalogue both recent and decades old. Interest in old tracks can be boostedby an appearance in a Hollywood film or on an influential television showlike Gray’ s Anatomy or Ugly Betty. The latest in the series of back to thefuture television series Life on Mars should see a similar rise in interest in80s music to that which the original series generated in the music of the 70s.The phenomenon of the social networking site is a key part of this spreadof knowledge of obscure or old releases as well as music by unsigned or newartists.Market analysts Jupiter Research reports that 40% of users of MySpaceand Facebook go on to buy music from artists they discover on these sites.This is a sitting target in marketing terms and so it should come as nosurprise that the big boys are investing in these sites as a potentially hugesource of advertising revenue.It is a measure of the popularity of these sites that as part of thecampaign surrounding the release of her album X, Kylie Minogue’s recordlabel, Parlophone, part of the EMI Group, announced she was setting up herown social networking site.Slightly more controversially, Facebook’s owners announced the launchof an advertising model which would enable advertisers to precisely target aparticular audience. This is not new, of course – loyalty card schemes suchas the Tesco Clubcard have for many years analysed the customers’purchases with the card in order to target special offers at them. Why it isslightly different is that it would appear to use information supplied by usersof the sites when they register. On sites like Facebook that can be verypersonal data indeed. So questions are being asked as to whether Facebookhas the right to use this information in this way under privacy and dataprotection legislation.On the positive side these sites do act as a new launch pad for artists andas an A&R resource for record label execs. It is invariably the case now thatA&R people want you to direct them to a MySpace page as opposed tosending them a CD of a new artist. The problem I come back to is that thesheer popularity of these sites means that it is increasingly difficult to findnew music and to sort the good from the bad. Some might argue that havinga method to target you with the music you like may not be a bad thing evenif it did bring with it some annoying banner ads.Of course, the next logical step for a site like MySpace would be tofacilitate the purchase of music direct from the website when you areviewing an artist’s profile online. At the moment it is only possible if youlink through to another site like iTunes. This seems to be missing a trick andwill, I am sure, be rectified soon. Much smaller site, Bebo, with only 34million users compared to MySpace’s 200 million users and rising, hasstruck a deal with iTunes to do just that. It also introduced the prospect of anartist or label customising their own page with advertising of their choice.Somewhat surprisingly it does not seem to be taking any share of theadvertising revenue. Will that last though, and if so how else is it going tomake money?Advertising revenue is the Holy Grail for most of these sites. In October2007, Microsoft invested $240 million in Facebook. This sum was said torepresent a 1.6% stake in the company which therefore values it at $15billion. But as yet the company has not broken even and its predictedrevenues for 2007 are put at only $150million. So Microsoft and otherpotential purchasers like Yahoo are clearly betting on an upswing inadvertising revenue. Microsoft wishes to become a major player in webadvertising to challenge the dominance of Google. Facebook has 50 millionplus active users worldwide according to Elizabeth Judge writing in TheTimes on 26 October 2007. Part of the deal is that Microsoft becomes theexclusive third party advertiser for the site. Once again suspicions have beenvoiced that Microsoft will get access to the personal data of the Facebookusers as another part of this deal. Facebook’s owners need to take care asthere are many who might be turned off by a closer association withMicrosoft.A slightly different variation on this theme is the networking siteslicethepie, launched in the first half of 2007. It is aimed at unsigned acts,whether new acts or more established ones without a current deal. The ideais that artists enter genre specific competitions online to generate sufficientvotes for them and their music to win a guaranteed £15,000 to use to makeand promote their own album. These who don’t win can still generateenough offers of support to raise the magic £15,000. The fans or users of thesite can speculate on the success of the bands by buying and selling contractsin their chosen artists. It has been described as a ‘stock exchange forunsigned acts’ by Dan Sabbagh in The Times on 17 October 2007. The fanswho have invested in bands get special access to the bands and the right to afree download copy of the album when it is finished.It’s meant as a source of funding albums without a traditional label andas a talent source for other labels. The artists have no exclusive tie-in to thewebsite, own the copyright in what they create but pay a distribution fee of£2 per album back to slicethepie. If an artist goes on to be signed by a biggerlabel the label has the option to buy out the distribution contract. Extrashares contracts are awarded to those who engage in reviewing artists on thesite.COPYRIGHT INFRINGEMENTSBut not all is sweetness and light in the world of social networking. Onseveral occasions music and video rights owners have cried foul withallegations of unlawful use of copyrights on these sites. YouTube andMySpace have faced several lawsuits from aggrieved copyright owners.YouTube is owned by Google who paid £837million for it in October2006. As you probably know YouTube’s USP is allowing users to upload anddownload content produced by the user – usually funny videos or still photosand occasionally disturbing images of the ‘happy slapping’ kind frommobile phones. There have also been examples of online bullying of bothpupils and teachers. Not of course to suggest that YouTube condones this butit is all part of the debate over how much control ISPs have or shouldexercise over the content on their sites.At the time that it was in talks with Google, YouTube faced a massivelawsuit from Universal Music which alleged the site engaged in copyrightinfringement on a large scale by making Universal Music videos and musicavailable on the site without the consent of the copyright owners.The lawsuit did not materialise at that time because for once the majorrecord labels decided not to spend their money on legal cases as they did inthe early days of P2P services with Napster, but instead to cut licence dealswith the site allowing their videos to be shown.There are of course potentially huge marketing advantages for the labelsand artists – particularly if they can engineer a viral marketing hype on anartist’s video. But its acquisition by Google meant it was also potentiallyworthwhile taking legal action against if infringements continued.Universal began a legal action against MySpace in 2006 claiming largescale piracy of music and videos on the site, seeking damages of $9million.MySpace, perhaps predictably, argued that they were merely the conduit forthe users of the site and did not induce, encourage or condone copyrightviolation. Universal’s response was that music and video formed the keybuilding blocks of the online pages and communities of users and, therefore,added considerably to the value of the MySpace business overall. MySpacesays it does remove illegal downloads but it seems to do so only after theinfringement has been brought to its attention. It does not act proactively tomonitor content which is consistent with the line that ISPs are not liable forcontent. They also point to their users agreements which protect users fromposting offensive, obscene, abusive, defamatory or otherwise illegalmaterials but again their response is reactive not proactive and criticsremain unconvinced as to how effective these agreements are. Many userswho click on the relevant box to accept the terms have little or no knowledgeof what they are agreeing to and may not be worth suing even if they aretracked down.MySpace does appear to be willing to use filtering software to checkuploaded music against a database of copyright materials and block any thatdo not have the necessary content to avoid setting any kind of precedent.YouTube also seems to favour the take down after notice approach whichplaces the onus on the rights holders to monitor the site and notify them ofany infringements. Copyright owners argue that the search and privacyfacilities of the site make it difficult if not impossible to track down allillegal uses and that it is a simple matter for a user to repost offendingmaterial under a different ‘tag’. YouTube has taken some steps to legitimisethe use of copyright materials on its site as witnessed by a blanket licensingagreement it has reached with the MCPS-PRS Alliance of collectionsocieties. The deal relates to the use of material represented by thesesocieties in the UK. The details of the licence deal have not been revealedother than that it includes a one-stop synchronisation and mechanical licenceand that it requires YouTube to report every time a video or music is used orplayed. There is a sum of money paid by YouTube to the Alliance but theyhave not revealed how much and the Alliance has played down the sumslikely to be generated for individual rights owners. There must, however, bemerit in the information gathered and the precedent of the one-stop shop is agood one.Individuals and big corporations such as Viacom have continued to snipeaway at YouTube throughout 2007 alleging varying degrees of copyrightinfringements. Cases were brought by the football Premier League alleginginfringement of copyright. Viacom alleges 100,000 illegal videos were onthe site and claims $1billion plus in damages. Opponents of YouTube allegethat its business plan from the outset was to build its business on the back ofmassive copyright infringement. The YouTube business model depends onadvertising revenue and the popularity of its pages generating users who aredrawn to the pages by attractive content. YouTube features banner ads onvideo clips and on a featured video of the day. The argument goes that thesesites cannot be interested in clearing out the unlawful videos as it is thepresence of this material which makes the site attractive to both users andadvertisers. In an attempt to address the argument that the law says the USPis not liable where it is acting purely as a host for content, the PremierLeague litigation alleges that YouTube made and shared unauthorised copieson its servers for further dissemination and was not therefore just a passivehost. That this was more than pure transient copying which is permitted bythe copyright directive. It is clear to me that we need a high level courtdecision on the alleged conflicts between the E-Commerce Directive and theCopyright Directive. It is possible that one of these cases or even the morerecent one of SABAM v. Scarlet that we referred to above will prove that testcase.Google announced in June 2007 that it would test new ‘fingerprinting’technology to help trace illegal content by indentifying unique attributeswhich, if missing, would tend to suggest the copy was illegal. But somecommentators see this not as Google taking responsibility for content butrather using it as an after the event technology to make it easier to take downcontent after an infringement has been notified by identifying otherexamples of illegal content of the same kind. The debate continues.MARKETING ONLINEOFFICIAL WEBSITESThe Internet has proved to be an excellent means of marketing the ‘brand’.Brands that are Internet-savvy can link their online marketing efforts withthose of their record company and their own efforts in terms of live work.We’ve seen artists successfully sell out a concert in minutes when tickets areoffered for sale on their website and some are saying that they will stopusing ticket agents and make all their tickets available in that way therebycutting out the fees to the middleman. By selling tickets online the artist orhis advisers also have the opportunity, with the right permissions, to create adatabase of committed fans keen to learn more about what the artist hasplanned. This gives the artist a ready-made mailing list and, in some cases,new customers for the inner sanctum on his website where selectedinformation and exclusive tracks or visuals are made available for a smallfee. Many artists now use websites to communicate directly with their fansin the form of online diaries or ‘blogs’, but of course there is then always theissue of ensuring that the website is regularly updated. Many exclusive artistcontracts now insist that the artist commits to writing a blog or giving‘copy’ regularly to a staff writer at the record company to write one up forthem. Others require the artists to record snippets for sale as mobile phoneringtones and to take part in online chats with fans.A couple of years ago we were very concerned to ensure that artistsretained ownership of their domain names and official websites. Most recordcompanies now don’t insist on ownership of all variations of the artist’sdomain name and, even where they do, they provide links to the artists orfan-club sites. Most will now agree that their ownership and control onlylasts during the term of the record deal and will make arrangements fortransfer of names at the end of the deal. In some cases they only requireownership of one domain name with the artist’s name in it, for example a.net or .org domain name, and are happy for the artist to retain all the othernames. There is then usually a requirement for the artist to provide linksfrom his website to that domain name which is used for the ‘official’ recordcompany website page for that artist. There are however still some recordlabels who would like to control all aspects of the artist’s online presence.Sometimes I have artists as clients who really aren’t bothered about this andwho are unlikely to ever do a good website themselves so in these cases Iusually do not resist the record company having these rights exclusivelyduring the term of the contract. But at the end of the contract the rightsshould transfer to the artist.Record companies have in some, but not all, cases shown that they havethe resources and skills to create interesting, even dynamic websites. Mostof the major record labels now focus heavily on the artist website as a meansof cross-selling their product – CDs, DVDs – with whatever other activitiesthat the artist may be doing – such as gigs or personal appearances. Recordcompanies who are insisting on 360 models are keen to ensure they controlthe websites so that any revenues generated online e.g. from ticket sales orsales of T-shirts also come to them. As with all things that make up anartist’s brand, the artist should have creative control of the ‘look and feel’ ofany website dedicated to them and maybe also of the designers/artworkproviders or other creative elements.A well-linked campaign can be very effective. If all promotionalmaterial contains a website address and that website is vibrant andinformative, you create a receptive audience for the marketing material youwant to get to potential consumers.WEBSITE DESIGN RIGHTS AND COPYRIGHTIf an artist does create his own website he may decide to employ someone todesign it. The website is likely to be made up of many different elements, allof which could be the subject of copyright or other legal protection.The website will have words that, if original, could be a literary workwith its own literary copyright. The website will no doubt have visualimages or graphics. These could be still photographs, moving images orfilm. Each of these could have its own copyright. It will be made up of anumber of computer programs which are also protected by copyright. Thedesigner will have copyright in the original design drawings; he may alsohave a design right.When commissioning someone else to design a website, the artist has tomake sure that all rights have been cleared for use in the website design, sothat he has all the rights he needs to do what he wants with the website. Youalso need to find out whether these rights have been ‘bought-out’ for a one-off payment or if there is an ongoing obligation to pay for the use. It’spossible that in order to use the music or a sound recording you’ll have topay a royalty or further fee.If the person commissioned to design the website is your employee thenyou’ll own the copyright in their original work, but the other rights may stillhave to be cleared.If you ask someone who isn’t employed by you to design the website,you must make sure that you take an assignment from them of all rights inthe work they have done. You could make this a condition of thecommission fee, or it could be the subject of a separate fee, or occasionally aroyalty. The designer may grant the right to use the work only on the websiteand not, for example, to print design elements from the website and sellthem separately as posters or otherwise as part of a merchandising campaign(see Chapter 8 on branding). These additional uses could be the subject of aseparate fee.Assignments of copyright should be confirmed in writing. A writtenagreement also establishes what rights you have and on what terms. It shouldcontain a confirmation from the designer that he has all the necessary rightsfrom third parties for the use of any or all elements of the design.HOSTING AGREEMENTOnce you have the website, you need to find a way to make it available toothers via the Internet. You could become your own ISP, set yourself up withthe necessary Internet capacity to launch your own site and provide thatservice to others. This isn’t, however, the way that most artists get theirwebsite on the Internet. More usually, they arrange to have the website site‘hosted’ by another ISP or possibly by their record company. Anyone goingdown this route should have an agreement with the host ISP setting out thekind of service that will be provided and at what cost. These agreements arecalled ‘hosting’ agreements.If you’re trying to establish yourself as having a website to which yourfans and potential customers return over and over again, you need to knowthat the host will supply a reliable service. Reliability is improving but weall know of websites where the hardware on the server ‘goes down’ on aregular basis. These sites get a reputation as being unreliable and people areless likely to go back to them. Fans, or potential fans, won’t bother to go to awebsite that’s never available or which is difficult to use. The first is thefault of the server, the second that of the designer – both are your problem.The hosting agreement should insist that the server will be functioningproperly for at least 97–98% of the time. It should provide compensation ifthe server is ‘down’ for more than an agreed percentage of the time or formore than a maximum agreed number of hours a day.If the website is to be used to sell merchandise online, you’ll need toknow that any credit card payment facility is 100% secure. The ISP shouldguarantee this in the hosting agreement.The ISP should also be able to supply a reasonable amount of ‘backoffice’ support. These are the support staff that are there to process orders,keep the databases up to date and provide technical support. These are alsosometimes referred to as the ‘fulfilment centres’.The ISP should agree in the hosting agreement to provide regular,detailed information on the number of ‘hits’, i.e. visits that are being madeto the website. This is the information you need to establish who your fansare and who’s likely to want to buy records, merchandise, concert tickets andso on.The website becomes your one-stop shop window on the world. Itsdesign and reliability will say a lot about you. A good website will enableyou to target your likely market with greater precision.If you are considering selling records off your website then you will needto have secure payments systems in place and some form of online ‘store’ orpage dedicated to sales. There are companies like 7Digital who will eithercustom design an online store for you or will provide a ‘skin’ or a seamlesslink between your website and a page on the 7Digital website off which theywill sell your records. If you use services like this then don’t forget yourcontract for what they will supply and a hosting agreement specifying thereliability of the service. It is absolutely no good having an online shop if itis never ‘open’.DATA PROTECTIONIf you’re putting together data on people electronically, you have to registerwith the Information Commissioner (details are in Useful Addresses). Youcan’t do what you want with the data you collect. You have to get permissionto use it for a purpose other than that for which it was collected. You’ll haveseen this in magazine adverts or on websites for a particular product. If yousend off for that product or for details about it you’ll invariably be asked toregister and to fill in a form with your details. The product owner may wantto try to sell you other products that he has in his range, or to sell his list ofcustomers and their product preferences to another company. He can’t dothis without your permission. There is often a box on the form that you haveto tick if you don’t want your information to be used in this way. This‘negative’ consent technique is lawful, and is being adapted for online use,although the Information Commissioner is in favour of you having to tick abox if you do want more information rather than the other way around.You’ll often find a box that has to be checked or unchecked to block yourinformation being used in other ways. If you’re compiling a database andyou don’t comply with the rules on passing on information you can befined.1If, however, these data protection hurdles are overcome, a database ofconsumer profiles and information is a valuable asset. If you own yourdomain name then, subject to anything to the contrary in the hostingagreement, you’ll own the data collected in relation to that website.MARKETINGOne of the big challenges of marketing online is to make sure that fans cometo a particular website and, once they have found it, come back to it over andover again. Phrases are bandied about as to how you get more ‘eyeballs’(visitors) and whether the website is ‘sticky’. The design of the website is, ofcourse, crucial. It should be eye-catching and user-friendly. The text used init should be designed so that it features prominently in the first twentywebsites that come up when key phrases are used to search for informationusing one of the search engines like Google, Yahoo or MSN. This is an artform in itself and specialist web designers should be used.The website should be regularly updated. The ISP host should be able toprovide regular access to a webmaster who can help to put the latest newsonline.The website should be easy to view. The key information should beavailable without having to go through several ‘click through’ layers. Itshould all be on the home page – the first page a visitor to the website sees.The website should be different – it should have something that willraise it above the general ‘noise’ online. It’s all very well if you’re DavidBowie or Prince making your records available online. Just by saying you’redoing it, your name (or brand) is well known enough to guarantee you pressinterest. If you’re Joe Bloggs trying to get noticed, you have to be moreinnovative.RISING ABOVE THE NOISEOne of the biggest challenges in the online world is how you make potentialfans and purchasers of your music know that you exist. Of course, to someextent this is just an extension of traditional marketing which you shouldalso not ignore. Getting an A, B or even C listing on Radio 1 or 2 is stillessential for an artist looking for a commercial hit through single salesdriving album sales. Adverts, press interviews, personal appearances are allstill relevant, but it is now also necessary to consider your online fans andtarget them as part of your campaign. We looked at your website above andthat is an essential element of your online presence, but you must also nowthink about your pages on the social networking sites like MySpace,Facebook and Bebo. Just like you have to concern yourself about who ownsyour domain names you also have to consider who owns the name you areregistered under on these networking websites. These web pages have to beregularly updated. Someone has to monitor the sites; accept ‘friends’ whereappropriate; update the music available; decide if you are going to maketracks available for download or just streaming and keep your blog and giglist up to date. Will that be the artist or someone else? If it is to be someoneat the record company make sure they have the necessary ‘copy’ to do theirjob, otherwise they will be tempted to make things up or might present youin an inappropriate way.When MySpace first started it was a secret known only to a few and itwas exciting to customise your own website and share it with friends. Nowanyone who is anyone has a MySpace page. It remains the site of choice forthose looking for music but almost everyone on there is an unsigned artist orhas just released his or her latest single or album. You have to think abouthow you raise yourself above the noise.There has of course been a spate of firsts: the first artist to make numberone without a record deal; the first download only number one single oralbum. Then there were new stories such as the artist who sold a limitededition of his album at £100 a go. He didn’t sell that many but he gotpublicity he might not otherwise get. The band The Crimea gave awaydownload copies of their second album Secrets of the Witching Hour. Theytold the Guardian that they had done this in the hope that it would help buildtheir fan base and therefore increase their income from live work,merchandising sales and music publishing royalties.There has also been some good lateral thinking. The classical cross-overartist Katherine Jenkins’ new studio album Rejoice was promoted by shortvideos shown in over 1,000 UK doctors’ surgeries three times per hour,aimed at the older consumer who is a captive audience whilst waiting theirturn for their flu jab or whatever. To cover all bases, the album was alsoadvertised online and was backed by an online single release and some high-profile TV performances.Believe it or not, wherever there is a new service very soon afterwardsyou will find people setting up in business to help you make the most of thatnew service. There are now specialist marketing people who employ whatare called viral marketing techniques – a bit like an old-fashionedwhispering campaign where individuals are employed to ‘hit’ certainwebsites, to tell their mates about tracks they’ve heard or videos they’vewatched on YouTube, to spread the word about ‘secret’ gigs through SMStext messages. These people can be employed under a contract just like anyother marketing person either on a flat fee (with or without a retainer) or byresults.There is also a growing number of services dedicated to filteringmaterial to get you what you have said you want. This has been around forsome time for online newspapers where you specify what areas of news areof interest to you. That is now being extended to music services. Similarlythe social networking sites themselves realise that they are in danger ofcollapsing if they do not help users find what they are looking for or whatthey might like. Hence the launch by MySpace’s owners of the online videointerview service called Earwig.What might be seen as a kind of master class in what can be done inmarketing in the digital era is the campaign around the 2007 release ofRadiohead’s new album.It was the first digital only release where purchasers set the price theywould pay. This was an excellent move in raising the profile of the band andthe forthcoming release. The story reached far beyond the music press toleading articles in the media and financial sections of the broadsheets. Thiswas only for a limited period of time ending on 10 December 2007. MusicWeek reported on 7 November 2007 that the average price paid was £2.88.Thirty-eight per cent paid no more that the minimum handling fee of 45p butthis is still a much better strike rate than the estimated 80% of illegaldownloads. Music Week reported that the website attracted 1.2 millionvisitors in the first 29 days following release. In an interview with ThomYorke of Radiohead on Radio 4 on 2 January 2008, he suggested that thesefigures were not correct but declined to give his own figures merely sayingthat the band was pleasantly surprised with the results of this campaign.The online release was followed by a physical release through XL from31 December 2007. The packaging for this release contains stickers to allowthe purchaser to create his own artwork – which is an idea already used togood effect by Beck and which was designed by graphic designers BigActive. The band is very ecologically aware and therefore the packaging isall recyclable. This release was supported by an innovative televisioncampaign which nevertheless is still the use of a traditional marketingmedium.Alongside the main physical release, a special limited-edition box setwas made available containing the CD and vinyl versions of the album aswell as extras and sold at £40 through the band’s own merchandisingoperation. Another classic piece of brand marketing.They supported the physical release with traditional methods such as liveradio plays of single releases and plan a two-month tour to support thealbum beginning in May 2008.Finally there was an international digital release through their publishersWarner Chappell which combined for the first time recorded music masterand publishing rights in the same place.THE FUTUREIt is always difficult to predict where the music industry is going but I willjust suggest a few possibilities. Major record companies will survive, buttheir role will change to become a worldwide distribution and marketingresource with less emphasis on finding and developing talentThe Government in the UK and the legislators in the EU will pay lipservice to the need to protect IP and counteract piracy, but their measureswill be under resourced and superficial with the view being in truth that thisis a problem a united music industry should solve as part of its commercialsurvival mechanism. The Government does not believe the industry needssubsidy or tax breaks, such as those offered to the film industry, and has notsupported a request from the industry to extend the sound recording andperforming copyright.Music will become just another product to be traded on the Internet orincluded as part of a service. In an ever more crowded world with an overabundance of choice it will be more important than ever to be ‘heard’ abovethe noise. How you do that will result in initiatives that appear novel whenfirst encountered – viral marketing peer sites such as MySpace, guerrillagigs notified by SMS etc. – but are all just new forms of the age old conceptof marketing: find a new angle and work it. The players will not necessarilybe traditional music companies; they might be venture capitalists orcommunications companies.Major record company A&R people will continue to have a role and partof that role will be the identification of music that can be commercialised.This does not mean that they will be involved necessarily in developingtalent. Instead they will utilise a network of connections: producers,managers, studios and lawyers who will bring them projects that are alreadydeveloped, where the hard work has been done in putting together somethingwhich works creatively. The A&R person will then acknowledge this projectand assess if it can be made to sell in the kinds of numbers that make itworth a punt on signing up the artist.The need for a quick return on advances means that the first album has tohave been written and recorded, often to almost final mix stage. The idea ofan artist being successful on his third album will not survive in the majorcompany world. Longer term careers will come when the artist licencesrecords he has paid for himself or does a much lower key record deal wherethe initial financial rewards are lower but there is a possibility of earning aliving through hard work.Publishers will to an extent step in to the development of artists, but forboth major record and publishing companies advances will drop overall andthey will be looking for a greater range of rights including live andmerchandising rights.The album will become less important, individual tracks will be whatpowers the industry commercially. Online people buy tracks they like whichthey have heard on the radio or through recommendations or social networksites. Internet links to other artists with similar music will lead to anincrease in cross-selling like Amazon’s and eBay’s ‘customerrecommendations’. We will have to get used to having our music packagedwith other services and with advertsCONCLUSIONSArtists can use the Internet to partner up with investors from outside themusic industry, or to distribute their own records.Piracy remains a major problem, but one way to make money frommusic will be to ally yourself to another service like that of a mobilephone company.Marketing will become increasingly important in raising your musicabove the noise.Artists should try to own their own domain name.If you commission someone to design your website, make sure theygive you ownership of all the various elements of it and make goodhosting and maintenance arrangements.1 The Data Protection legislation extends to information held in hard-copyform as well as electronically. The Data Protection Act 1998, which cameinto force on 1 March 2000, also implemented the Database Directive. Chapter 8Branding INTRODUCTIONIN THIS AND the following chapter I’m going to look at the whole area ofbranding: first by looking at merchandising deals, at how you get a trademark and at the benefits of building up a reputation in your name and how toprotect it; and then, in the next chapter, by looking at sponsorship deals.Branding is the way in which you use your name, logo and reputation tobuild up a particular image in the public mind. You may think that this isn’trelevant for an artist just starting out in the business. It’s true that newartists are going to be more concerned at getting that first record deal than inworrying about their ‘brand’. However, you only have to look at many of theboy and girl bands, and at the image-making that surrounds TV artists suchas Il Divo, All Angels, Girls Aloud, the revival of Take That or The SpiceGirls and some of the more successful US artists like Beyonce, to be able tosee that putting a bit of thought into branding even at its simplest level canpay big dividends. Not everyone can be or wants to be The X Factor winner,but all artists should think about getting some of the basics of branding rightfrom the beginning. It can be as simple as getting a good, memorable nameand registering it as a domain name. With those two small and cheap stepsyou’ve already started to establish a brand.Branding is big business and the growth of online activities on theInternet has added to the commercial outlets for the brand. At its moststraightforward it’s the building up of an artist’s name and reputation inorder to help to sell more records and concert tickets. At its moresophisticated, a name, reputation and public image can help to sell otherthings, not necessarily ones that involve music. Artists like The Spice Girlsused their names, likenesses and the ‘girl power’ image originally to selleverything from crisps to soft drinks and sweets and are reviving that withtheir 2007/08 reunion tour when once again they are being used to sellproducts and supermarkets in TV advertising. Also bear in mind manysuccessful ‘live’ artists make as much money from sales of merchandise atthe venues or online off artist websites than they do from the ticket sales.This idea of branding isn’t anything new. All successful companies haveinvested a lot of money in the company name and logo and in establishingname recognition for their products. Think of Heinz, Sainsbury’s, Coca-Colaor McDonald’s. Companies such as Virgin turned branding into an art form.Sir Richard Branson realised the value in the Virgin name, in the fact thatthe consumer immediately recognises it and the familiar red and whitecolours. By putting that recognition together with a reputation for beingslightly anti-establishment, he got consumers to buy into almost everythingthat the name was linked with. A healthy dose of self-publicity from SirRichard himself kept the name and the brand in the public eye.With nine out of ten new artists failing to make a significant mark on therecord-buying public, the strike rate of the record business is appalling. Aswe saw in Chapter 6 it is increasingly the case that the record companies relyon excellent marketing to achieve one or more big hits, and some moremoderate successes to keep them going. Getting the marketing campaignright is therefore crucial if you’re to have a chance.In the last seven or eight years there has been an explosion in the numberof acts that seek fame and fortune not through the traditional route of hardslog on the gig circuit but on a fast track through appearances on realitytelevision shows. These are, if you like, the twenty-first century equivalentof the talent show. This started with Popstars, which spawned Hear’Say. Therunners-up on that programme were Liberty, who, as a result of anunsuccessful court case, had to change their name to Liberty X butnevertheless went on to international success. Then there was the Pop Idolphenomenon, where telephone voting by members of the public spawned alucrative new source of revenue for the TV broadcaster and maker of theprogrammes. The final of the first Pop Idol contest had an audience of about8 million voting for Will Young and Gareth Gates. Both achieved No. 1chart success but only Will Young continues to feature largely both as arecording artist but also as a live performer and a stalwart of events such asthe Queen’s Jubilee concert at Buckingham Palace and the VE 60thcelebration concert in Trafalgar Square.Pop Idol was followed by Fame Academy, which was a cross between thereality TV programme Big Brother and a Pop Idol-type talent contest whichdid not live long before the phenomenon which was Simon Cowell and XFactor hit our screens, initially as a traditional competition for lateteen/early twenties artists but then cleverly widened to appeal to a muchwider audience through having categories for older wannabes. In most casesthe contestants, or at least the finalists, are required as a condition of theirparticipation to sign up to recording contracts and often also to sponsorshipand merchandising contracts. The TV production company takes a piece ofall this income. In some cases the TV company is in business with amanager who has an option to manage some or all of the successful artists.The artist is offered these contracts at a time when they have relatively littlebargaining power and, although there can be some tinkering around theedges, the basic deal is usually already set and non-negotiable. Of course,once the artist is successful renegotiation becomes a possibility but not aguarantee.This type of programme also took off in the US with the American Idolseries being a huge success and making a TV celebrity out of judges such asSimon Cowell.There are few signs that the British public has lost its appetite for theseshows even though record sales of winners have generally been much lowerthan those achieved by Will Young’s first single, and apart from him it isdifficult to think of any UK winners or finalists who have gone on to sustaina pop career beyond the first single or in some cases album. The albums areoften rush released to capitalise on the winner’s fame before the ficklepublic moves on. These albums rarely do much more than present coverrecordings of other people’s songs and it is difficult for the artist to reallyshow what he is capable of or to build a longer term career. One UK artistwho may buck the trend on this is Leona Lewis who for various reasonswaited quite a long time before her album was released after she won XFactor in 2006. It went to the top of the download and physical album andsingles sales charts and managed to stay the course running up the secondhighest weekly sales figures of 2007 behind Arctic Monkeys.One of the main drawbacks for me to these shows is that they create anexpectation amongst many people that it’s easy to get a break, get ontelevision, get a million pound record deal and be set for life. Theexpectation is rarely met in reality and yet even the evidence of all the onehit wonder winners or finalists who disappear without trace does not dampenthis belief. Many people now fail to realise that there is a huge amount ofwork, effort and time that goes into making a true career in this business. KTTunstall worked for about six years around the clubs before she got her bigbreak on Later With Jools Holland as a last minute stand-in. Many so-calledovernight successes have in fact laboured away for years honing their craftuntil they are finally spotted. Reality television shows lead many youngpeople to believe that they are somehow entitled to their fifteen minutes offame, that everyone has a record in them and that it’s really rather easy.Why else is almost everyone on MySpace plugging their own records? Thereisn’t that much quality around – most is rubbish – and there is a danger thattrue talent will get lost in the noise. Hence the need is greater than ever foran angle that will bring you to the foreground.BRANDING OF ARTISTSMany artists are now recognising the value in the name, the ‘brand’, and areactively trying to put themselves into a position where they can make somemoney out of that brand. They may not have followed exactly in thefootsteps of The Spice Girls, but do pick and choose the products they wishto be involved with, for example, clothing shops or ranges.To a greater or lesser extent, a successful artist is always going to be abrand, in the sense of being a name that people recognise. The moresuccessful the artist is, the more likely it is that the name, likeness andimage will be recognised by members of the public. If they like or admirethat artist’s reputation, they’ll want to know more about him and will buythings that tell them more about him like books, magazines and records.They’ll buy products that have his name or likeness on it such as calendars,posters, screensavers, T-shirts or other items of clothing. If an artist isassociated with a computer game, new phone or fast car then those itemsbecome desirable and the manufacturers of those goods pay for theassociation with a ‘cool’ brand. Witness also the number of perfumes beingendorsed by celebrities – there are his and hers Beckham perfumes, forexample. Part of this branding process involves doing merchandising dealsfor these products. If you have taken steps as early as you could afford toprotect your brand then you will have an easy means of stopping others fromcashing in on your name without your approval.Cross-media branding is becoming increasingly important. It has beenshown that consumers are spending more time online, reading andresearching as well as being entertained. No branding strategy should ignoreonline uses. At the very least the artist’s official website should be dynamicand regularly updated. Some labels are using linkage of a well-known artistbrand with a website hosted by the label to cement their relationship with theartist and share revenues from products bought on the website such asmobile ringtones or video clips.It’s usually a good idea to use the same name, tag-line/slogan – whichcould be the title of the new album or the name of the tour – and imageryand logo across all forms of marketing. This ensures a consistent messageand enhances the brand. Make sure that all media carry your name andcontact details. Check that any online links between sites work well and linkto a website that carries a consistent message.If you’re considering linking up with other sites with a view to drawingtraffic to your site and theirs, then you may agree to share revenue with thatsite. For example, if you link to a site which supplies mobile ringtones andcustomers come from that site to yours and buy your latest record, youmight agree with the mobile ringtone supplier to pay them a percentage ofthe value of the sale as a kind of referral fee of 3–5% and vice versa.If the name, likeness or logo is one that can be trademarked, you canapply to register a trade mark or marks. Not all names are registrable. If it’stoo common a name or it’s descriptive of something, the Trade MarkRegistry won’t let you register it.Even if you haven’t got a trade mark registered, if someone tries to passthemselves off as you in order to cash in on your reputation and this resultsin loss or damage to you, you have the means to try and stop them. This iscalled an action for ‘passing off’.If a company wants to use your name to promote their product they willdo a sponsorship deal. You lend them the use of your name and may agree toprovide some other services, such as recording a single or performing in anadvert or turning up at a trade show or event, and they give you money andsometimes goods or services such as airline tickets or cars in return (seeChapter 9).If your fans are looking for information about you or where to buy yourrecords they will look under your name. They aren’t usually going to startlooking under the record company name. In fact, many fans may not know orcare what label your records come out on as long as they can find copies ofthem in their record shop or online which is partly why record companies areconcerned to own, or at least control, artists’ websites and domain names. Afan is going to search for the artist’s name. If you wanted to find informationon Tim Westwood on the Internet you would search under ‘Westwood’rather than under his record company, Mercury/Def Jam. There are recordcompany websites and they are getting better. At first they tended to becorporate affairs where the services and information provided was intendedfor other companies or businesses; now they’re generally more of amagazine format where news on all the major artists on the label is broughttogether in one place. Some have links to specialised websites, many ofwhich are owned and put together by the artist or his management team.These links open up many new possibilities for marketing an artist. Manynow also require the artist to submit regular updates to a blog or diary ofwhat the artist has been up to/is listening to/what films they like etc.Is branding a good idea? There are some that thought the ubiquity of TheSpice Girls was taking the idea too far. While I believe we can neverunderestimate the public’s interest in the inside story and behind-the-scenesglimpses of artists, you do have to be careful to avoid overkill. To someartists the whole idea is anathema. Most artists know that they have to workon building up a name and a reputation in order to sell their records. Some,though, think that they’re somehow selling out if they put their name toother products – selling their soul as it were. It’s obviously a personal thing.Some artists, particularly those boy or girl bands with a relatively shortshelf life before a new favourite comes along, do embrace branding in orderto make as much money as they can as quickly as they can. Others arecontent to limit their branding activities to tour merchandise or sponsorshipdeals to help support a tour that would otherwise make a loss. It all comesback to the game plan (see Chapter 2).I’ve also worked with artists who take the sponsor’s or merchandiser’smoney and put it into charitable funds rather than spending it on themselves.Some make a point of telling the public they have done this, others keep itquiet.Is it a sell out? I don’t think it is. If it’s not right for you, don’t do it.However, before you come over all credible and refuse to entertain any formof branding, just remember that you’re already doing it to some extent whenyou use your name to promote sales of your records or tickets to your gigs.There are many artists and bands whose image doesn’t easily lend itselfto selling loads of posters, T-shirts and so on or whose image is not going tobe user friendly for family-focused adverts – I’m thinking here of some ofthe Death Metal bands. If that is you then fine, don’t waste time or money onit. You also don’t have to have your name associated with every product thatcomes along. Indeed, it’s probably not wise to do so, as the public willquickly tire of you. The products you choose to associate with should beselected with the overall game plan in mind.If you do decide to do merchandising deals for your name, logo orlikeness, you also need to decide how far you’re prepared to go in protectingthat merchandise from the pirates who will inevitably come along and try tosteal your market, often with inferior products. Even if you don’t domerchandising deals, you may find that the pirates do. I know of artists thathave decided, for example, not to do a merchandising deal for calendars,only to find that unofficial versions appear in the shops anyway. As aninteresting side note on this there is at least one enterprising charity whichteams up with artists to use illegal pirate merchandise that has been seized atthe artist’s concerts to supply to disadvantaged children in Africa. It doesn’tcost the artist anything and may do a little bit of good along the way.MERCHANDISING DEALSIn its simplest form a band is involved in merchandising when they selltickets to their gigs. The band name attracts the fans that have bought therecords and now want to see them perform live. The ticket to the gig isbought on the back of the band name. If the band’s core business isperforming live then the band name is being used to sell records or othergoods like T-shirts and posters. At this time it is live concerts which aremaking the money, not sales of records – see the chapter on touring. If theconcert is well attended then the artist may also sell plenty of merchandise.Even the most credible of artists usually has a T-shirt or poster available forsale at the gigs. If they don’t offer something it is likely some of the fanswill get them from the pirates outside.In the entertainment business, merchandising has been big business foryears. People can buy the T-shirt, the football strip, the video game and theduvet cover bearing the name and image of their favourite cartoon character,football team or pop group. Disney and Manchester United Football Club aregood examples. They know that there’s a lot of money to be made frommaximising the use of the name and likeness.HOW DO YOU GO ABOUT GETTING A TRADE MARK?Before you can begin to use your name to sell merchandise outside your corebusiness of selling records, it’s essential that you have a name or logo that’seasily marketable and that you have or are starting to get a reputation thatpeople can relate to. If your game plan is to do a fair amount ofmerchandising, you should think of a distinctive name and logo from thebeginning. We all know how difficult it is to find a name that no one else hasthought of and we saw in Chapter 1 how to check this out. The same thoughtmust go into making your logo as distinctive as possible.If you’re going to have any chance of holding off the pirates, you need toprotect your rights in your name and logo as far as possible. If you want toprevent others jumping on the bandwagon and manufacturing unauthorisedmerchandise to satisfy market demand, you’ll need to have your own housein order.If you are going to go for trade mark protection you should do so earlyonce your career has started to take off as if you wait too long then it may betoo late. It’s important to get trade mark protection as early as possible.Elvis Presley’s estate was not able to protect the use of the Elvis name formerchandising as a registered trade mark in the UK because it waited untilten years after his death.1The Elvis Presley CaseIn 1989, Elvis Presley Enterprises Inc, the successors to the Estate ofElvis Presley, filed UK trade mark applications for ‘Elvis’, ‘ElvisPresley’ and the signature ‘Elvis A Presley’.The UK trade mark applications were accepted by the Trade MarksRegistry but were then opposed by Sid Shaw, a trader who’d beenmarketing Elvis memorabilia in the UK since the late 1970s under thename ‘Elvisly Yours’. He opposed the registration of the marks by theElvis Estate on the grounds, among others, that they conflicted with SidShaw’s own prior trade mark registrations for Elvisly Yours. TheRegistry upheld the Estate’s applications; Mr Shaw appealed to the HighCourt, which allowed the appeal. In a judgement which was quite criticalof character and personality merchandising in general, the court decidedthat the public didn’t care whether Elvis Presley memorabilia wasapproved by the Estate of Elvis Presley or not. The Estate took the caseto the Court of Appeal.The Court of Appeal refused the Estate’s appeal and refusedregistration of all three trade marks. The court concluded that the trademarks were not in themselves distinctive and, as there was no evidenceproduced by the Estate of any use of the marks in the UK which mighthave indicated that the marks had become distinctive of the Estate ofElvis Presley in the minds of the public, there was therefore no reason atall why the marks should be registered.The Wet Wet Wet CaseThe courts have shown that they aren’t prepared to interpret the TradeMarks Act too narrowly in favour of someone who has registered a trademark in a band name. One example is a case involving the band Wet WetWet: the Bravado and Mainstream case.2 Bravado had rights in a trademark in the name Wet Wet Wet. Bravado asked for the Scottish lawequivalent of an injunction to be ordered against Mainstream to preventit from infringing that trade mark. Mainstream was publishing andmarketing a book entitled A Sweet Little Mystery – Wet Wet Wet – theInside Story. Mainstream argued that they were not using ‘Wet WetWet’ in a trade mark sense, but rather that it was used to describe thesubject matter of the book. They also said that they weren’t suggestingin any way that it was published by Bravado and, as such, somehow‘official’. Bravado argued that if they couldn’t prevent this use then itwould be meaningless having the trade mark, because they couldn’t thenstop it being used on other merchandise relating to the band.The court decided that the words were being used in the course oftrade but refused to grant the injunction, because it said that would beinterpreting the meaning of the Trade Mark Act too narrowly. If it wereso interpreted then any mention of the group name could be aninfringement of the trade mark.The Saxon CaseThe area of trade marks and band names was also recently reviewed bythe High Court in the case of Byford v. Oliver and Dawson (2003). Thiscase involved the use of the name ‘Saxon’ by Biff Byford, the originalsinger with the British heavy metal band. Byford had been a bandmember since its formation in the late 1970s. Steven Dawson andGraham Oliver left in 1995. Biff Byford continued as a member of theband through numerous new line-ups – always called Saxon. Oliver andGraham continued to perform but used a variety of names, oftenincluding their own names with a reference to Saxon. Oliver and Dawsonnever challenged Byford’s right to use the name Saxon but in 1999 theyregistered ‘Saxon’ as a trade mark and attempted to prevent Byfordusing the name.Byford applied to the Trade Mark Registry to have the trade markdeclared invalid on the basis that the registration had been obtained inbad faith (under the Trade Mark Act 1994) and that Dawson and Oliverwere guilty of ‘passing off’ and misrepresenting themselves and theirtrade mark as ‘Saxon’ when Byford was the ‘real’ ‘Saxon’. Byford failedto have the trade mark declared invalid with the Registrar deciding thatwith band members (all of whom may have some claim on a band’sname) it was a ‘first come first served’ rule with regard to registration.Byford then applied to the High Court who overturned the Registrar’sdecision and declared the Oliver/Dawson registration invalid.There was no formal agreement between the original band membersgoverning use of the band name. Mr Justice Laddie held that, in thecircumstances, the band name must be owned by all of the original bandmembers as ‘partners’. What this means is that if a band ‘partnership’was split up NO member would own the name unless there was a formalagreement governing its use. However, the judge held that, in thecircumstances, both Dawson and Oliver abandoned their rights to thegoodwill and ownership of the ‘Saxon’ name which was now owned byByford and the new members of the band.This suggests that bands must have a written agreement governingownership of the band name – because otherwise, if the band splits, nomember of the group or members could use the band name withoutagreement of any one, or more, original members who may not wish tocontinue.HOW TO APPLY FOR A TRADE MARKYou don’t have to be already rich and famous to register a trade mark inyour name or logo. In fact, as we saw in the Elvis case, there are dangers inwaiting too long to apply for a trade mark. As soon as you can afford to, youshould think about doing it. You can apply to protect your name or that ofyour brand worldwide, but this would be expensive. To start with, I usuallyadvise that you apply to register the name in your home market, for examplethe UK for a British-based band, and then in other places where you have, orhope to gain, a market for your records and other merchandise, for examplethe US, Europe or Japan.Each country has its own special rules for registration of a trade markand, in many cases, an application to register a trade mark in one countrycan help you with applications in other parts of the world. For example, therules at present allow you to backdate an application for a trade mark in theUS to the date of your UK application provided you apply within six monthsof the UK application. So, if you apply for a UK trade mark registration on 1July, you have until 31 December to apply in the US and still backdate it to 1July. Just making the application itself can trigger trade mark protection.Even if it takes a year or more to get a registration, the trade mark, when andif it’s granted, will be backdated to the date of the application. It also givesyou priority over anyone else who applies after you to register a trade markin the same or a similar name or logo. This is, however, a specialised areaand you should take advice from a trade mark lawyer or a specialist trademark agent. Your lawyer can put you in touch with a trade mark agent and agood music lawyer should have a working knowledge of trade mark law.While you may be happy to leave all this to your manager to sort out foryou, do remember that the name should be registered in your name and notthat of your manager or record company.3Once you’ve decided the countries where you’d like to apply for a trademark – finances permitting – you have to decide what types of product orparticular goods you want to sell under the trade mark. In most countries,goods and services are split for trade mark registration purposes into classesand it’s important to make sure that you cover all relevant classes of goodsand as soon as possible. You can add other classes later, but then you run therisk of someone selling goods with your name in a class that you haven’tprotected. For example, you may have applied to register a trade mark forthe class that covers records, but not the class that covers printed materialsuch as posters. In theory, someone else could apply for a trade mark in thatarea, but then you get into the whole area of passing off. It’s also not usuallyas cost-effective. You get a costs saving by applying for several classes at atime.4A registered trade mark has distinct advantages over an unregisteredmark. Actions to stop infringements of registered trade marks are generallyquicker and more cost-effective than when you’re relying on unregisteredrights. A registered trade mark puts the world on notice of your rights. Aregistered trade mark is attractive to merchandising companies, as it givesthem a monopoly over the goods for which the mark is registered and givesthe merchandising company more of an incentive to do a deal with you.PASSING OFFIf you haven’t registered a trade mark then, in the UK, you can try and relyon the common law right of ‘passing off’ in order to protect your name andreputation. Before you can do this you’ll have to prove there is goodwill inthe name. This may not be the case if you’re unknown and haven’t yet got areputation or any goodwill in the name. You have to show that someone elseis trading on your reputation by passing themselves off as you, using yourreputation to confuse the public that they are you or are authorised by you.As well as having this goodwill or reputation, you also have to show that thishas actually caused confusion in the mind of the public resulting in damageor loss to you. For example, a band using the same name as yours, or oneconfusingly similar, might advertise tickets to a gig in the same town asyour planned gigs. Fans might buy those tickets thinking they’re coming tosee you. This loses you ticket sales and might possibly damage yourreputation if the other band isn’t as good as you. You have to haveestablished a reputation in the name in the particular area in question. Ifyour name is associated with records and someone trades under the same ora very similar name in the area of clothing, where you don’t have any areputation, there is less likely to be confusion in the mind of the public.One famous passing-off case involved the pop group Abba.5The Abba CaseA company called Annabas was selling a range of T-shirts, pillowcases,badges and other goods bearing the name and photographs of the bandAbba. The band didn’t own the copyright in any of the photographs andAnnabas had obtained permission from the copyright owners of thephotographs to use them. The band had to rely on a claim for passing off.Abba lost their application for an injunction preventing the sale becausethey were unable to show they had an existing trade in these goods orany immediate likelihood of one being started. The judge also went on tosay that he thought that no one reading adverts for the goods or receivingthose goods would reasonably imagine that the band had given theirapproval to the goods offered. He felt Annabas was only catering for apopular demand among teenagers for effigies of their idols. These wordshave been often repeated in later cases.It’s clear from this case that you have to establish that you already have atrade in the area in question that could be prejudiced, or that there was areasonable likelihood of you starting such a trade. If you’re seriouslythinking about doing merchandising you should do so sooner rather thanlater, and should be setting yourself up ready for starting such a trade (forexample, by commissioning designs, talking to merchandise companies ormanufacturers, applying to register your trade mark) well in advance ofwhen you want to start business to get around some of the pitfallshighlighted in the Abba case.The P Diddy CaseIn September 2005 a DJ called Richard Dearlove reached a settlement inhis case against Sean Combs, aka Puff Daddy, aka P Diddy, to preventhim from changing his name to just ‘Diddy’. Dearlove (a successfulrecord producer) claimed he had been using the name Diddy in the UKfor his DJ activities since 1992. His High Court action settled on thebasis that Sean Combs agreed not to shorten his name, agreed to payDearlove £10,001 in lieu of damages and his legal costs estimated at£100,000. Mr Combs agreed not to advertise, offer or provide orcause/procure others to advertise, offer or provide any goods or servicesunder or with reference to the word ‘Diddy’. He also undertook toremove from the UK all materials or articles that were in his custody,power or control, the use of which would contravene this undertaking.Unfortunately that was not the end of the matter. In 2007 the casecame back before the court because Mr Dearlove claimed Sean Combshad breached that settlement agreement. This time he was not successfulas the judge rejected his claim for an early judgement and ordered thematter to be tried at a full trial.Material relating to Sean Combs’ album Press Play had appeared onMySpace and YouTube and on a website www.badboyonline.com, whichfeatured the name ‘Diddy’. Six tracks on the album contained referencesto Sean Combs as ‘Diddy’. Dearlove claimed this was promotion underthe Diddy name in the UK in contravention of the settlement. Whilst thejudge made the important observation that placing a trade mark on theInternet from a location outside the UK could constitute use of that markin the UK. He also recognised that the fact that the lyric to one of thesongs on the album contained the word ‘Diddy’ could also be anadvertisement for goods and services in the UK (which could havebreached the settlement), particularly as many artists now use lyrics toassociate themselves with various goods and services. This didn’t meanthat every reference to a product or service in a lyric was a potentialbreach of someone’s trade mark; it would depend on how the lyric wasused and whether it was intended to promote a product or service. Thereason the judge thought this was a matter for full trial was because hecould not tell without hearing all the evidence whether this material/useof lyrics was something that was within Sean Combs’ control. If it wasthen he could well be found in breach of the settlement.The importance of this case is to emphasise the global nature of the Internetand how care has to be used not to infringe a person’s trade mark in anothercountry by making something available on the Internet in one country whereit wouldn’t be a breach, but where it could be viewed in another countrywhere it is a problem. The test would be if the consumer in the infringingcountry thought the advertisement or reference to the trade mark wasdirected at him. It also recognised that lyrics could be used to sell otherproducts as well as help promote the artist and his new recordings and sowhen deciding if someone is advertising themselves under a particular namewe need to think laterally and outside what might normally be thought of aspromotion e.g. an ad or poster or celebrity interview.There have been a run of cases where personalities have taken legalaction over adverts that they believe play on their voice/singing style orimage.Tom Waits caseTom has a very distinctive gravelly voice and he felt that a televisionadvert for Opel cars featured a singing voice and style that was too closeto his own to be a coincidence. He claimed that the car company haddeliberately used a sound-alike on one of their TV ads to imply that hehad participated in the marketing campaign. He sought an injunction tostop the ads and asked for an award of at least $300,000 in damages.Early in 2007 it was reported he had reached an out-of-court settlement,the details of which are not known but Mr Waits has indicated he willdonate the money he receives to charity. This settlement came almostexactly a year after Waits won a similar court case in Spain whereVolkswagen had used a sound-alike in a TV ad. He has also won a $2million court judgement in the past against a US company, Frito-Lay,who had used an impersonator to mimic his voice. You’d think theseadvertisers would learn that he means business. He is famously criticalof artists who take sponsorship money off big business and so isparticularly galled when his voice is used in these very same types ofads.David Bedford – 118118 CaseLate in 2003 Dave Bedford brought an action for an injunction againstthe company which was targeting the UK directory enquiries marketwith the number 118118 using two runners with 70s style hair andmoustaches, singlet and shorts. David Bedford, a successful runner in the1970s and now race director of the London Marathon claimed this wasbased on his image. The company behind the campaign initially rejectedthe claims but agreed to settle the matter by making slight changes to thelook of the character.OTHER REMEDIESIf you can’t rely on either a trade mark or the remedy of passing off thenyou’ll have to see if there’s been any infringement of copyright, for examplein a design, or possibly if there’s been a false description of goods thatmight be unlawful under the Trade Descriptions Act 1968.CONCLUSIONS ON PROTECTING YOUR NAMEClearly, getting registered trade mark protection is the best way to go aboutprotecting your brand, but when you’re just getting started you probablywon’t have the money to spend on protecting the band name. A balance hasto be struck. If you’re ultimately successful and haven’t applied for a trademark you may end up kicking yourself if others cash in on your name andmarket unauthorised products. If you apply late you may be too late, as inthe case of Elvis. On the other hand, it’s often not at all certain whether anartist is ultimately going to be successful enough to justify the expense. Asensible thing to do would be to register a trade mark in just one or twoclasses, including records, of course, and perhaps only in one or twocountries at first and then add more countries or classes as things develop.It’s also worth bearing in mind that a record company may advance youthe money to make the trade mark applications. If you don’t want yourrecord company to own your trade mark, make sure the application for theregistration is in your name not theirs, even if they offer to register it onyour behalf.As we’ve already seen in the area of e-commerce, there’s also a greatdeal of mileage to be had from registering your domain name. Among otherthings, it gives you control of the doorway to official information on you andwhat you have to offer. Registration is cheap and quick, but please don’tforget that it will need reviewing every couple of years. One recordcompany, who shall remain nameless, arranged for all the reminders fordomain-name registrations to go to one email address. The owner of thataddress left the company and no one seems to have thought to check themailbox or redirect the mail. At least one domain name registration lapsed ata crucial marketing moment and had to be bought back on the open market.UNAUTHORISED, UNOFFICIAL MERCHANDISEThe line of arguments that we saw being developed in the Abba case wasexpanded on in a case involving The Spice Girls.The Spice GirlsThe Spice Girls applied for an injunction against an Italian publisher,Panini, of an unauthorised sticker book and stickers entitled ‘The FabFive’. At this time The Spice Girls had no trade mark registrations and,in fact, it probably wouldn’t have helped them if they had, becausePanini had been careful not to use the name ‘Spice Girls’ anywhere inthe book or on the stickers. So The Spice Girls were trying to use the lawof passing off to protect the band’s image. They argued that even thoughthe words ‘Spice Girls’ were not used, the book was clearly about them.The book didn’t carry a sticker that it was unauthorised so, they argued,this amounted to a misrepresentation that The Spice Girls had authorisedor endorsed the book.The judge was not swayed by arguments that it made a differencewhether the book was marked ‘authorised’ or ‘official’. He refused togrant an injunction. As a consequence of this decision, if a company putsout an unauthorised calendar featuring pictures of an artist or band then,provided it is made clear that it’s not a calendar that has the officialblessing of the band and it doesn’t reproduce copyright words/lyrics orphotographs without permission, then that wouldn’t be a passing off nora breach of copyright rights. The judge decided that even the use of thewords ‘official’ wouldn’t have made this a case of passing off, becausethe product clearly indicated it was not approved by the artist. In thisparticular case, The Spice Girls had a trade mark application pending,but it hadn’t been registered so they couldn’t rely on arguing that therehad been an infringement of their trade mark. This is a good example ofwhy it’s important to have a registered trade mark if you’re going to tryto put a stop to the sale of unauthorised goods.You might be forgiven for thinking that all these cases involve millions ofpounds and are only of interest to the megastars that can employ people todo all this for them. Well, it’s true that it’s usually only the big names thathave the inclination or the money to bring cases to court, but protecting yourname can start at a very low level – like preventing the pirate merchandisersfrom selling dodgy T-shirts or posters outside your gigs, or stopping anotherlocal band from cashing in on the hard work you’ve put into starting to makea name for yourself.HOW DO YOU GO ABOUT GETTING A MERCHANDISEDEAL?You may start off by producing a small range of T-shirts that you sell atyour gigs. You can get these printed up locally, put up a temporary stall inthe foyer of the venue and sell them from there. You may also sell some offyour website. If it’s clear that you can sell enough to make money then youmight approach a merchandising company about doing it for you on a largerscale. The merchandising company could be a big multinational company ora small independent company. You can get names of merchandisingcompanies out of directories such as Music Week. You can also getrecommendations from your mates in other bands, your lawyer, accountantor manager.If you’re starting to sell out the larger venues and are a regular on the gigcircuit, merchandising companies may approach you or your booking agent.If they do, you could try them out with your concert or tour merchandisebefore deciding if they’re right to do your retail or mail-order merchandisingas well.THE MERCHANDISING DEALIf you have a registered trade mark, this will increase your appeal to amerchandiser. However, merchandise companies will still be interested inyou even if you haven’t got a registered trade mark if you’re sufficientlywell known for them to run the commercial risk of producing merchandisefor sale. The merchandise company will take a view as to whether yours isthe sort of image that will sell particular types of merchandise. They willknow if your image will sell T-shirts or posters at gigs and if it will also selleither the same merchandise or a different range of products through retailstores.Even quite small acts can often shift reasonable numbers of T-shirts tofans at the gigs or through mail order off their website. If there’s a steadyturnover, a merchandiser will be interested in doing a deal. Obviously, if youonly sell two T-shirts a month, and then only to your close family, thengetting a merchandise deal is going to be a non-starter. In that case youshould be looking to do it yourself. Why would you want to do this? Well,obviously, the more that you keep to yourself the more of the profit you getto keep. There is, however, an awful lot of work involved in mailing out themerchandise to fulfil orders and in ensuring that you’ve enough products tosell at your gigs.If things start to go only moderately well you’ll probably need to employsomeone to look after that side of things for you. You’ll also need to do adeal with a company to make the clothing or other products for you to yourdesign. You’ll have to be responsible for selling it either by mail orderonline, through selected retail outlets such as local record stores, and at yourgigs. You’ll need to be able to keep a check on the quality of the productbeing produced, to be something of a salesman, to be able to market thegoods and to distribute them. You’ll need to make sure that the orders arefulfilled promptly and that the accounts are properly kept. This is quite a tallorder, even if you do get to keep the lion’s share of the profits. No wonder,then, that many bands find a specialist merchandising company to do this forthem.WHAT IS IN A TYPICAL MERCHANDISING DEAL?Obviously, each merchandise deal will be different and, once again, it’simportant for you to use a lawyer who is used to doing these sorts of deals.There are, however, some points that are an issue in every merchandisingdeal.TerritoryYou can do a one-stop, worldwide deal with one company for all yourmerchandise needs, or a series of deals with different companies fordifferent types of goods. For example, you could do a deal with onecompany for merchandise to sell at your gigs like T-shirts, sweatshirts, capsand so on. This deal could be limited to the UK or Europe or if the companywas big enough in all the major markets you could do a worldwide deal. Ifthey weren’t then you could then do another deal for the US, probably with acompany who specialises in the US marketplace. If we are talking aboutmerchandise in the wider sense of marketing your name or likeness on sweetpackages, computer games or crisp packets, then you’ll do your deal with thecompany that manufactures those goods. That deal could again be aworldwide one or one for specific countries. If you’re going to do aworldwide or multi-territory deal, make sure that your merchandisecompany has the resources to look after your interests properly in eachcountry. Find out if they subcontract the work and, if so, who to. Is the sub-contractor reliable?TermIf you’re doing a series of concerts, you could do a merchandise deal thatwas just linked to those dates. If you were doing a world tour with variouslegs, it’s likely you would do a deal with one merchandise company thatcovered the whole tour. However, you could do a deal with one company tocover the period of the UK or European legs, and with another company orcompanies in other parts of the world. This isn’t as common, as it’s difficultto administer and police. The term of the contract would be the duration ofthe tour or of that particular leg of it.If you’re doing merchandise deals to sell goods in shops or by mail orderthen the term is more likely to be for a fixed period of time, probably aminimum of one year and up to three years or more.The more money the merchandising company is investing inmanufacturing costs and/or up-front advances, the longer the term they’relikely to want in return. The longer the term, the better their chances will beof recouping their investment.Some merchandising deals are linked to recoupment of all or aproportion of the advance. The term of the deal runs until that happens. Thiscan be dangerous if sales don’t live up to expectations or if themerchandising company isn’t as good as you would like them to be. The bestthing to do with these types of deals is to have the right to get out of the dealafter, say, a year by paying back the amount of money that is unrecouped.This will give you the flexibility to get out of a deal that isn’t working andinto one that might.Rights grantedThe deal will usually be a licence of rights in your name and likeness for aparticular period, not an assignment of rights. The rights granted will be theright to manufacture, reproduce and sell certain products featuring yourname and/or logo. If you have a registered trade mark you’ll be required togrant a trade mark licence to the merchandising company to use the trademark on specific goods.The rights granted could be for particular products or for all types ofmerchandise. These days the trend is towards limiting the granting of rightsto particular products. You could grant the right to use your name or likenessor your registered logo on T-shirts and keep back rights to all other productssuch as calendars, posters, caps and so on.You might grant the right to use your band name and/or logo for someparticular types of a particular product and keep rights back to other formsof the same product. For example, you could grant a licence for ordinarytoys and keep back the rights to use your name on musical toys. You couldthen do merchandising deals for all or any of those types of toys with one ormore other companies. If your music is going to be used in the musical toysthen you or your publisher will license the right to include the music foreither a one-off ‘buy-out’ fee or for a fee and an ongoing royalty (seeChapter 4).Record companies may do a variation on a merchandising deal with anartist to use his voice/catchphrase for downloads of sounds for mobiles. Thismay be included in the record deal but if that deal is an older type then itmay not be covered and there may need to be a separate deal done. Now thatthe first flush of enthusiasm for quirky mobile ozone downloads has dieddown there isn’t the clamour there was a few years back. Now it is muchmore likely in an exclusive licence or recording deal that the recordcompany will require that the artist record specific clips for such uses andwill be paid usually a percentage of what the record company earns fromselling those clips on to the middleman aggregator, who offers thedownloads to the public via a communications company. Because there areseveral parties who take a ‘cut’ before the record company, let alone theartist, sees a share these deals are not the lucrative earner everyone hopedthey were going to be but they do provide an additional revenue source forthe record companies. If instead of your voice an extract from one of yoursongs is used then the aggregator should also clear the right to use the musicand lyrics from the publisher, creating an additional income stream for thepublisher too. This is not always done and it is not always easy to track whatincome has been earned from these new revenue sources. There are,however, companies such as RoyaltyShare who are developing software totrack usage down to the last penny so in time it is to be hoped that properaccounting will take place across this new sector.Quality controlOnce you’ve decided what goods are going to feature your name, likeness orlogo, you have to make sure that the goods are of the highest possiblequality. If you don’t keep a tight hold on quality control, you could dopotentially serious and possibly irreversible damage to the reputation ofyour brand. If a T-shirt featuring your name and logo falls apart, or thecolours run on the first wash, then that is going to reflect very badly on you.The fan that bought the T-shirt won’t care that it was another company thatmade it – they’ll blame you and give you a reputation for selling shoddygoods.The contract will usually say that the merchandising company mustsubmit samples of designs for you to approve. If they’re making the goods toa design you’ve given them then they should make up samples to thatdesign. Only once you’re satisfied with the quality of the sample should youauthorise full production to go ahead. Even then, you should have the rightto inspect the product at short notice and to insist upon improvements if thequality has dropped to an unacceptable level. The contract should contain aguarantee that the product will be of at least the same quality as the sampleyou’ve approved.It’s also important that the merchandising company makes sure that whatit manufactures complies with all local laws. Toys and other children’sproducts in particular have very stringent safety standards. You may want toinsist that the manufacturer takes out product liability insurance. Be carefulalso if the company sub-contracts any of the processes. The sub-contractormust also stick to rigid quality controls and ensure product safety, carryinginsurance against any damage caused by the product.If the design is one created for you, either by the merchandisingcompany or a third party, make sure they assign the rights in that design toyou. If you don’t, you may find that the designer comes knocking on yourdoor for more money. You may want to use the same design as the artworkfor the album sleeve. As we saw in Chapter 6 you should have made sureunder your record deal that you can acquire the merchandising rights in thatartwork.Methods of distributionThe rights you grant can not only be limited to certain types of products, butalso to certain methods of distribution.You might grant mail-order rights only or limit the rights to sellingmerchandise to retail shops or at your gigs. There are specialist companieswho are good at doing tour merchandising but aren’t as good at selling goodsto retail shops, and vice versa. There are also specialist e-tailers who areexpert at selling online. It is important that you find the right company forthe right method of distribution.Depending on the means of distribution the basis on which you’re paidmay also change varying from a straight royalty to a flat fee or a percentageof the net receipts. If in doubt, ask for a breakdown of how the end figure isarrived at. Ask for details of who is taking what cut off the top before yousee your share. If it seems high or wrong challenge it or ask for furtherexplanations. This is a developing area and at the moment there is noabsolute right or wrong way to account – it’s a business decision and can bechallenged or negotiated.Advances and Guaranteed Minimum paymentsYou may get an advance against what you’re going to earn from sales of thegoods. This advance is recoupable from those earnings but, as we’ve alreadyseen with other types of music business deals, the advance isn’t usuallyreturnable if you don’t sell enough to recoup the advance. One exception isif you’re doing a merchandising deal for a live tour and you don’t do someor all of the concerts. Then you can expect to be asked to repay some or allof the advance. Some tour agreements also say that advances are repayablein whole or in part if ticket sales at the concerts don’t reach a particularlevel. For example, you may get a fixed sum, sometimes called theGuaranteed Minimum, that isn’t repayable unless you cancel the whole tour.Then there are other payments that are made which are dependent either onyou doing a particular number of big, stadium-type concerts or on youselling a minimum number of tickets over the whole concert tour. If youdon’t do those gigs or don’t sell enough tickets then you don’t get thosefurther payments.There’s also another catch with tour merchandise agreements, which isthe one that I touched on above. The contract may say that the termcontinues until you’ve earned enough from sales of the tour merchandise torecoup either the whole advance or the Guaranteed Minimum. If you aren’tcertain that you’ll be able to do this within a reasonable time, then you’llwant to have the option to get out of this by paying back the unrecoupedamount. If you don’t have this option and your tour isn’t a big success thenyou could be stuck with the same tour merchandising company for the nexttour, without the prospect of any more advances. If you can get out of it, youcan try to find someone else to do a deal for the tour merchandise for thenext year’s tour, and may even get them to pay you another advance.The advances could be payable in full when you sign the deal, or in anumber of instalments linked to concert appearances or sales of productwith, say, 25–33% of the total being payable on signature.Royalties and licence feesYou’ll usually receive a percentage of the sale price of the goods as aroyalty, which will go first to recoup any advances you’ve already had. Thispercentage will either be calculated on the gross income or, more usually, onthe net income after certain expenses are deducted. Deductions can includeVAT or similar sale taxes, the cost of manufacture and printing of the goods,and all or some costs of their distribution and sale. With online sales theremay also be a charge for things like secure credit card systems.When you’re doing a tour merchandising deal, commissions or fees areoften payable to the owners of the concert venues for the right to sellmerchandise on their premises. It’s usual for the merchandise company t odeduct this payment from the gross income. Some companies will also try todeduct other expenses, including travel and accommodation costs for theirsalesmen and other unspecified expenses. I’m not convinced that theseshould be deducted and it’s a good rule with all these deductions to look atthem very carefully, and to ask for a justification for the deduction ifnecessary.Obviously, if you’re being paid a percentage of the gross income it willbe a much smaller percentage than if it were a percentage of the net. A fee of20–30% of gross would be equal to about 60–70% of the net income,depending on what is deducted from the gross. For example, if you had agross income from sales of T-shirts featuring your name of £10 per T-shirt, a20% royalty would be £2.00. If you had a net income of £2.00, then a 60%royalty based on the net income would be £1.20.AccountingAccounts are usually delivered for retail or mail-order deals every three orsix months. Obviously, from your point of view you’ll want to be accountedto as quickly and as often as possible. You should have the right to go in andinspect the books of account regularly – at least once a year. You should alsobe able to go in and do a stock check from time to time.Merchandising deals for tours are different. There is usually a touraccountant who will check the stock and the sales sheet on a daily basis. Hewill expect to be paid within a very short period of time, preferably within24 hours of each gig or, at the very latest, within seven days.Trade mark and copyright noticesIf you have a trade mark registered, the contract should confirm that theywill include a trade mark notice on each product and a copyright notice foreach design.Termination rightsAs with all contracts, the merchandising contract should say in whatcircumstances the deal can be brought to an end. These should include apersistent failure of quality standards, failure to put the product into themarketplace by the agreed date, and other material breaches of contract, forexample, if they don’t account to you when they should. If the company goesbust or just stops acting as a merchandise company, you should also have theright to end the deal.EnforcementThis could be the subject of a chapter in its own right. The contract shouldsay who’s responsible for tracking infringements of your rights. There’susually a requirement that the merchandising company reports to you anyinfringements of your trade mark or copyright that they come across on eachproduct. It’s as much in their interest as yours to keep pirate activities to aminimum.There are civil and criminal remedies to stopping infringements. Youcan also enlist the help of Trading Standards Authorities and HM Revenueand Customs. Often, these authorities are prepared to seize unauthorisedproducts bearing a name that is a registered trade mark. Even without aregistered trade mark, Trading Standards Authorities are sometimesprepared to rely on the Trade Descriptions Act in order to make seizures andbring prosecutions. In my own experience, the Trading Standards Authoritiesare an invaluable help in clearing the streets of counterfeit products. It’spossible to provide HM Revenue & Customs with trade mark registrationdetails to assist them in identifying and seizing unauthorised productsentering the country at ports and airports.New modelsMerchandising (and indeed sponsorship income as covered by the nextchapter) now often forms part of the new deals being offered by recordlabels: the so-called 360 models. These have been dealt with fully in thechapter on recording deals above, but just to recap, a record company orproduction company may only offer you a deal if they can get access toadditional sources of income. These might be shares of publishing, shares ofconcert ticket revenue or often shares of merchandising or sponsorshipincome. For a new artist sponsorship income is likely to be quite small butmerchandising income may be significant if the artist has a growing loyalfan base and plans to tour regularly. The record company may only want tobe paid a share of the income from these other sources of money. If they dothen the percentage they want will vary from somewhere around 10% to asmuch as 50% – this is all negotiable. The percentage could be of the grossincome but this would be dangerous for an artist if after deducting the recordcompany’s share and the cost of making and distributing the merchandisethere is little or no profit left. Much better would be to base the percentageon the net receipts or profit after these expenses have been repaid. Somecompanies are insisting that this income is shared for the life of the deal butyou may want to try limiting it just until the advances have been recouped orto say the end of the first contract period. In some cases the record companywill actually want to take the merchandising rights exclusively and exploitthem themselves. This is to be avoided unless there is a significant financialincentive to do this. The record company then controls all the income fromthis source and the artist will not receive any money until all his advances –including the record advances – have been recouped. Issues like creativecontrols also have to be dealt with. In some cases these other income sourcescontinue on after the end of the term of the record deal as a reducingpercentage over a period of time. Again these deals can work if the financialupside is there, but take care that you do not tie yourself for too long and fortoo high a percentage or you will come to really resent this years down theline.CONCLUSIONSMerchandising is the use of your name and reputation to sell goods.Not everyone will want to do lots of merchandise deals and noteveryone will be in a position to. You have to build up a name andreputation.Consider registering a trade mark in your name and logo.If you haven’t got a registered trade mark but you do have a reputation,you may be able to stop people trading on your name through the lawsagainst passing off.Make sure you own the copyright in any designs you commission.Make sure you have the right to use the design featured in your albumartwork.Think about limiting the territory and the rights you grant.1 Elvis Presley Trade Marks [1997] RPC 543.2 Bravado Merchandising Services Ltd v. Mainstream Publishing(Edinburgh) Ltd [1996] F.S.R. 205.3 Some details of the process involved are outlined on the governmentwebsite www.webdb4.patent.gov.uk.4 In the UK there are 42 classes for goods and services. Some common onesused in the music business are Class 9 for records, Class 16 for printedmaterial such as programmes and posters and Class 25 for clothing.5 Lyngstad v. Annabas Productions Limited [1977] FSR 62 Chapter 9Sponsorship INTRODUCTIONWE SAW IN the previous chapter how an artist protects his name by registeringtrade marks or through taking advantage of the laws of passing off and ofcopyright. Having protected the name, your brand, you can choose how far toexploit that brand. You can decide to only use it to sell your records andvideos and to promote your live performances. Many artists choose to dojust that and don’t really go outside their core area of activity at all. This isfine. No one is saying that you have to, but you may need to look at somekind of merchandising deal to bolster your income from live work. Manytours would make a loss if they weren’t underwritten by merchandising dealsand often by sponsorship.Sponsorship is a kind of extension to a merchandising deal. The sponsoruses the association between you and their product to increase awareness ofthe product and to encourage more people to buy it. The sponsor providessponsorship money in return for the right to trade on your importance to aparticular sector of the market. For example, a sponsor of a soft drink mightlook for a sponsorship deal with a pop artist who would appeal to teenagers.An alcoholic drinks manufacturer, on the other hand, would want to sponsoran artist that had an appeal to over-eighteens and, in particular, those in theirearly twenties.Pepsi has been a keen sponsor of artists in recent years. The Spice Girlsreleased a track as a Pepsi single and featured that track in a Pepsi ad ontelevision. Robbie Williams has done sponsorship deals with Lloyds Bank,for his Royal Albert Hall concert, and several deals with Smart cars,including the premiere of his film, where a fleet of Smart cars was availableto ferry celebrities to the premiere. The Corrs have also been associated withLloyds Bank in television ads and more recently Destiny’s Child withMcDonald’s. McDonald’s also launched Big Mac Meal Tracks where thecustomer who purchases a Big Mac gets an access code worth one freedownload at the Connect music store. There is also the whole area where acompany features a previously unreleased track which is then released as asingle. Car companies are favourites for this, with Ministry of Soundreleasing the track ‘Jacques Your Body’ which featured in the animatedrobotic Peugeot car advert. Gut Records released the Diet Coke soundtrackas a single in 2007 and Positiva is releasing a vocal version of the LloydsBank ad featuring Sarah Cracknell in early 2008. Pepsi Max has featuredmusic written exclusively by The Black Eyed Peas.Sponsorship deals are often done for concert tours. You’ll often see thename of a sponsor on the ticket. For example, ‘Band X sponsored byCarling’. When you arrive at the gig, you’ll find that there are banners andposters from the sponsors. There may be more than one sponsor. You couldhave a main sponsor (the title sponsor) for the tour, another for theprogramme and the tickets, another for the soft drinks on sale at the venueand yet another for the alcoholic drinks. Venues often restrict the extent towhich they will allow outside sponsors to plaster their brands all over thevenue (see Chapter 10). Interestingly, at a time when the live scene seems tobe so vibrant, Carling has recently confirmed the ending of its nine-yearsponsorship of the Reading and Leeds Rock Festivals as the ‘CarlingWeekend’. Carling will also no longer be the official lager at the festivals.The managing director of the company with rights to the two festivals,Festival Republic, said that this was by mutual agreement with both partiesfeeling it was time to pursue new opportunities. So we may see a newsponsor on board or the southern half of the event may well revert to itsoriginal name of the Reading Festival.Clothing companies often loan clothes for photo-shoots or liveappearances in return for a suitably prominent name-check. If you’re lucky,you sometimes get to keep the clothes. Diesel and other similar ‘youth’brands have looked at sponsorship in the past, and up-and-coming newdesigners or those trying to break in to the UK market may be keen to do adeal. These kinds of deal are closer to what I would call endorsements thanpure sponsorship. You let it be known that you support or endorse aparticular product. For example, you might mention in an interview that youdo all your shopping at a particular shop in fashionable Notting Hill.Suddenly all the wannabes are queuing at the door of that shop, partly in theoff-chance that you’ll be in there, but also to try to copy your look. Retailersor designers may pay in goods or hard cash for these kinds of endorsements.HOW DO YOU FIND A SPONSOR?There are a number of ways to get a sponsor. It’s possible for a band toapproach a designer or company to ask for sponsorship. The shoe companywho makes Doc Marten boots has, on at least one occasion that I know of,sponsored an artist following a direct approach from the manager.Companies want to promote themselves as supporting and encouragingyouth culture of which, of course, music plays a huge part. Suchsponsorships by clothing companies are not common.SPONSORSHIP AGENTSApart from the direct approach, another means of getting a sponsorship dealis to approach a specialist agent who both represents one or two bigcompanies looking for suitable projects to sponsor, or who will act for youand go to potential sponsors on your behalf. There are lists of these agenciesin the Music Week Directory and magazines like Audience. There is also thetried and trusted word-of-mouth recommendation from friends or othercontacts in the business. If you’re sufficiently successful to have a brand thata sponsor might be interested in, they or their agents are likely to approachyou or your manager direct. As with all these things, don’t feel you have tograb the first thing that comes along. If you’re desperate for some funding tounderwrite a shortfall on a tour then by all means do a deal, but keep it shortand see how things work out before you get in too deep.WHAT DO THEY CHARGE?If you employ an agent to find a sponsorship deal for you then they willusually take a percentage of the deal they do for you. This percentage canvary between 5% and 15% of the gross sponsorship income. For example, ifthe agent brokers a deal for a drinks company to sponsor your next UK tourand the drinks company is prepared to offer £100,000 for the privilege, theagent would take between £5,000 and £15,000 of that as their fee. If thesponsorship is made up partly or wholly of goods rather than cash, the agentwill expect to get their percentage in the cash equivalent of the value ofthose goods. So if the drinks company were to offer £80,000 in cash and£20,000 worth of free lager to give away to your fans, then your agent on acommission of 15% would still want their £15,000 in cash.The money is usually paid to the agent at the same time as you’re paid. Ifyou’re paid in two instalments, half at the beginning of the deal and the restwhen you finish the tour, then your agent would get 50% of their fee upfrontand 50% when you get the balance of the money.The agent may want to be exclusively employed as your agent for aperiod of time. This is usually for a year but could be longer. During thattime you wouldn’t be able to use any other sponsorship agents, so you haveto make sure that they are good enough first. The advantage you get from anexclusive arrangement is the incentive that the agent has to bring deals toyou as opposed to anyone else. The disadvantage is that you can’t go toanyone else if they don’t get you particularly good deals. If you can get anagent on a non-exclusive basis, that will give you more flexibility.If the agent gets you a deal for some tour sponsorship and that sponsorcomes back to you to sponsor your next tour, then some agents insist thatthey should also get commission on that repeat work, even if they are nolonger your exclusive agent by the time of the second tour. The logic is thatthey made the initial introduction and so should benefit from any follow-up.I can see this logic, but obviously other factors also play a part in yougetting the follow-up offer for the next tour, such as the professional wayyou dealt with the first deal, the benefits that the sponsor saw that camefrom your efforts and your increased fame in the meantime. So while itmight be acceptable to agree to pay the agent for a short while after the endof your relationship with them, I would try and draw the line at, say, six totwelve months. This is all subject to negotiation when you take them on.The agent could be your only agent worldwide and be solely responsiblefor getting you sponsorship deals around the world. As many sponsors aremultinational companies, this may not be such a bad thing, but if you thinkyour agent doesn’t have the necessary overseas connections you might justagree that they can act for you in the UK and decide to use other agentsoverseas.If the agent is representing a company that comes to you with an offer ofsponsorship, you wouldn’t expect to have to pay him a fee for brokering thedeal. In those circumstances he should be paid by the company concerned. Ifhe also looks to you for payment you would be right to resist unless therewere good reasons.ETHICAL CONSIDERATIONSNo, don’t worry, I’m not going to go all serious on you and talk about yourmoral values – well actually, I suppose I am a bit. What I want you to thinkabout is whether you’ll accept sponsorship from any company that offers itand the more the merrier, or are you going to select who sponsors you onmoral or ethical grounds?When you decide on your game plan to look for sponsorship deals, youhave to think about what effect that will have on your brand and yourreputation. There is a narrow line to be drawn between using sponsorship byselected companies to enhance the brand and of being accused by fans of‘selling out’. The products you choose to be associated with mustcomplement the image you’ve established for yourself. For example, ifyou’re aiming at the teenage market you may alienate them (or perhaps theparents who supply the pocket-money) by being associated with alcohol ortobacco. On the other hand, if you cultivate a bad-boy image you won’t wantto be associated with cuddly toys. The exception to this would be if yourplan is to reposition yourself in the marketplace. For example, if you wantedto move out of the teen or pre-teen market, you might choose sponsors ofadult products to show you’re growing up. You should also consider themoral sensibilities of your fans. You could alienate a large proportion ofthem if you had manufacturers of GM foods or a fur company as yoursponsor. There was a mixed reaction to the news that U2 were sponsoring aspecial customised black iPod. Some thought it was an astute ‘cool’ movewhilst others thought it odd that a band which was so averse to sponsorshipdeals was doing one at this stage of their career.Don’t forget that the companies that you’re being sponsored by will alsoexpect things from you. They won’t want you to do anything that will bringtheir brand into disrepute or show them up in a bad way. Bear this in mindwhen negotiating your sponsorship deal. You need to be careful that youkeep an even balance between your and their expectations. If you feel at alluncomfortable about what you’re being asked to do then that should giveyou a signal either to try and change it a little or to pull out of the deal.Your public is a very fickle thing. It’s very difficult to know whetherthey will accept what you’re doing as par for the course and what theyexpect from you. If your fans think you’re selling out then you and yourpress people are going to have quite a bit to do to redress the balance.The other issues you need to think about are whether you want to beassociated with companies that are involved either directly or indirectly inactivities or causes that you disagree with. For example, if you’re acommitted vegetarian you may not want to be involved with a company thathas a subsidiary that is in the business of raising battery hens. If you have astrong aversion to anything to do with cruelty to animals or animal testing,you won’t want to do a sponsorship deal with a company that had a Frenchsister company that ran laboratories that used animals to test their products.If these things matter to you then you need to have an ethical check made onthe company to make sure that they aren’t in any way involved with thingsthat would be unacceptable to you. Remember that, although they are usingtheir association with you to benefit their business, you’re being associatedwith them too, and with the sort of things that they stand for.SCOPE OF THE SPONSORSHIP DEALThe sponsorship deal could be for a particular tour or for a series of tours.For example, it could be just for the UK or European leg of your tour orcould be for the whole world tour. It could also just be for a particularproject. A company could sponsor you for a particular event, for example, aone-off concert, or they could expect some personal endorsements of theirproduct. They may want you to do personal appearances or to give privateperformances at their company sales conferences to rally the troops. Theymay want you to write and record a song especially for them that they maywant to release as a promotion or as a proper commercial release. I’m sureyou’ll have seen special offers where you get a single or album by yourfavourite artist if you collect a given number of ring-pulls, packet tops orspecial coupons. If you have an exclusive record deal, you can’t do thesedeals unless you first get the record company’s agreement to waive theirexclusivity. They may agree to this if they think that the publicity will helpsell lots more records, or if the sponsoring company has access to markets inparts of the world that your record company can’t break into withoutspending a lot of money. For example, some of the soft drinks companieshave a huge market in parts of South East Asia or in South America. Bybeing associated with them in those countries, you’re getting a huge amountof exposure that should help to sell lots of your records. This exposure couldbe much more valuable than any amount of marketing money that yourrecord company may be prepared to put into launching you in those areas.Obviously, it makes sense in these cases for there to be a considerabledegree of co-operation between what your record company is planning, whatyou’re doing in terms of live appearances and what the sponsor intends todo. If you can dovetail these plans then your chances of world-dominationcome a lot closer.Whether it’s a tour sponsorship or an individual event sponsorship, it’s areasonable rule of thumb that the more a sponsor expects from you the moreyou can expect to be paid.EXCLUSIVITYYou could only have one sponsor at any given time or you could have aseries of sponsors for different products. If you’re only going to have onesponsor then, in return for that exclusivity, you should get a lot more money.If you’re going to look for a number of different sponsors for differentproducts then take care that you don’t narrow down your options too much.If you’re going to have a drinks sponsor, then limit the extent of theirsponsorship to alcoholic or non-alcoholic drinks, depending on what you’relooking for from another sponsor. For example, if Pepsi or Coca-Cola waslooking to sponsor you, you might limit their sponsorship to soft drinks. Youcouldn’t have another soft drinks sponsor, but you could have a sponsor foralcoholic drinks. If you have a food sponsor, try and limit it to theirparticular product, for example biscuits or crisps or whatever. This wouldleave you with lots more food products to find sponsors for. Be careful whatyou agree to do in return for the sponsorship money or you could findyourself in trouble.The Spice Girls v. AprilaAn example of this is a case brought by The Spice Girls against anItalian scooter company.1 The Spice Girls were suing the company forpayment of the balance of the monies they said they were due under asponsorship deal that they’d done with the scooter manufacturer. Thescooter manufacturer had produced a series of scooters, each in thecolours that were associated with each member of The Spice Girls. Forexample, they’d produced a bright orange version as the Geri SpiceScooter, Geri Halliwell being otherwise known as Ginger Spice. GeriHalliwell had, however, left the group shortly after the deal was done.The scooter company refused to pay and counter-claimed that The SpiceGirls had misled them, because at the time they did the deal they knewthat Geri Halliwell intended to leave the group. In February 2000 thecourt decided against The Spice Girls and found that they had misled thescooter company, who didn’t have to pay them the balance of theirsponsorship money. Furthermore, The Spice Girls were ordered to paydamages to the scooter company for the losses they’d suffered.WHAT’S IN A TYPICAL SPONSORSHIP DEAL?The ServicesThe first thing you have to establish is what they want you to do or whatevent they expect to be sponsoring. Remember to keep the scope of theirsponsorship as narrow as you can, without them reducing the money onoffer, to allow you the possibility of getting other sponsors.If the sponsor expects you to do a series of things, for example, writing anew song, doing a live concert tour, making a television ad or a TV special,then make sure that you aren’t over-committing yourself. By taking toomuch on you may not be able to do it all properly and professionally. If youagree to do too much, you’ll end up either not doing it or doing it badly. Thiswill reflect back on you and could do you more harm than good. If you failto deliver the goods the sponsor could decide to sue you.ExclusivityOnce you’ve agreed what they are going to sponsor and what the product isthat will be associated with you, you have to decide if you’re going to haveone exclusive sponsor or whether you are going to give them exclusiverights for a particular product or type of product, and still have the option totake on other sponsors for other products.TerritoryNext you have to decide whether the deal is a worldwide one or if it’s to belimited to particular countries. You could do a deal for just the US or the FarEast, depending on the type of sponsorship. For example, one company thatis ‘big’ in that area of the world but not so well known in other parts of theworld could sponsor the Far Eastern section of your tour. You could thenswitch to another sponsor for the US or European leg.Creative controlIf the sponsor intends to feature your name and likeness in any way in thecampaign, whether on packaging, adverts or otherwise, you’ll want to haveprior approval of those uses. You may want to insist on or ask for a specialphoto-shoot with a photographer of your choosing. You could then submit tothem a number of examples of photos that you like and agree that they canhave final choice.If you’re writing a special song then you ought to have some say in whatit sounds like, even if the sponsor does give you a brief to work to. If you arerecording a song for them that has been specifically commissioned, you’llwant to know whether any particular lyric or theme is to be featured andwhether you’re comfortable with that. If you’re being asked to record a newor special version of an existing song, or to allow a particular track to beused in the campaign, you’ll need to know whether they intend to change thelyrics or music. If they do, you’ll probably want some control over that andto have final approval. Bear in mind, also, that that approval should extendto any co-writers or composers of the original work, and that your publishersand record company may have to give their permission to you making therecording of the new version. You may also want to check the context inwhich the song is being used in case you find that offensive.TermYou have to agree how long the deal is to last. If it’s for a specific event or atour then the sponsorship deal will run from the lead-up to the event, whichcould be weeks or days before the tour and end shortly after the event or tourhas been completed. The sponsor may occasionally have the right to use upprinted materials or products they have already manufactured, but thiswouldn’t normally be for more than three to six months and they shouldn’tmanufacture more of the product in anticipation that the deal is about tocome to an end. Obviously, during the time that they’re allowed to sell offthe product, any exclusivity they have ends so that you can go off and lookfor a new sponsor. If it’s a general sponsorship deal for a particular productthen you might agree that it runs for a year, perhaps with an option to extendit by mutual agreement. You would normally only agree to an extension ifyou got paid a further sum of money. You’ll want to make sure that anyremaining stocks are sold off as soon as possible at the end of the deal, as itcould interfere with either the sponsorship deal for the next part of the touror a new sponsorship deal for the same type of product.You should also bear in mind that the longer your name becomesassociated with one company for a particular product, the more difficult itwill be to get a deal with another company. For example, if the public hascome to associate your name with Pepsi for soft drinks, Coca-Cola is lesslikely to want to sponsor you. Some of you might be saying, ‘I wish I hadthis problem,’ at this point.Banner advertising at venuesIf the sponsorship is for a tour or part of a tour, the sponsors will usuallywant to have their name on banners in each concert arena. They may agreethat these only go up in the foyer or they may want them in the concert hallitself. Most artists insist on no banners over the stage and, if the sponsor’sname is being projected on to the stage backdrop, that this stops severalminutes before they go on stage. Whether you want to insist on these kindsof restriction will depend on your own views as to how closely you want tobe associated with the sponsor, as well as your bargaining power. I don’tthink it’s unreasonable, though, to ask that the banners aren’t so intrusivethat they detract from your own performance.If your sponsorship deal involves publicity for the sponsor at the concertvenue, you have to be careful that you don’t run up against any restrictionswithin the venue itself. The venue owner may already have given the drinksconcession to another company. For example, Coca-Cola may already havethe right to have their soft drinks on sale at the venue to the exclusion of allother competing brands. If that is the case, the venue won’t take it too well ifyour sponsor, Pepsi, then drapes their banners and logos about the place.That doesn’t mean that you definitely won’t be able to do the sponsorshipdeal, just that you’ll have to be aware of any restrictions and make sure youdon’t agree to do anything in the contract that you can’t put into effect onthe ground. Any sponsor will want to have the opportunity to put a stand inthe foyer. You shouldn’t guarantee that they can do this, as there may bevenue or local authority restrictions. Any permissions required and feespayable should be the sponsor’s responsibility.Meet and greetsWhatever the type of sponsorship deal you do, it’s likely that the sponsorwill require you to be involved in some kind of ‘meet and greet’ sessions.These are where the sponsors, their key customers and possibly competitionwinners get to meet you. This may be before or after a concert or at speciallyorganised events. Bear in mind that a live performance can be very draining.You may not want to meet a lot of people beforehand, and afterwards youmay need time to come down from the adrenaline rush of performing. Don’tovercommit yourself. I know of some bands that share the meet and greetsessions out between them. It’s the job of your manager to make sure thatyour sponsors don’t get overeager and expect or even demand too much ofyou.Freebies and promotional activitiesBy this I mean things that the sponsor will expect to get for nothing as partof the sponsorship fee. They will usually want a guaranteed number of freetickets to your concerts. They will always want more than you’ll want togive. There will need to be a compromise. You may offer more tickets atbigger venues and less or none at all at smaller ones.The sponsor may want you to attend press conferences for productlaunches or to make personal appearances. These should always be subject toyour availability and to the other professional commitments that you have. Ifyou’re on a concert tour in Europe, you don’t want to find yourselfcommitted to having to return to London for a press conference. You shouldalso try and limit these appearances to a maximum number of days over theterm of the deal.Take care before you guarantee that you’ll do a concert tour in aparticular region. You may not be able to deliver this or, if you do, you maylose a lot of money. However, the sponsor may agree to underwrite all orpart of such a tour if it’s important to them that you perform in those partsof the world.If the sponsor wants to feature you in adverts, they need to specify howmany, whether TV or radio, and the extent to which you have to be involved.You should have rights of approval. It’s unlikely that you’ll be able to limitthe number of times they can repeat the adverts unless you’ve considerablebargaining power. If you do then you should aim to allow them a reasonableamount of repeats without it getting to the stage that every time you turn onthe television there you are. There’s nothing more off-putting than that. Thesponsor shouldn’t want that either, but sometimes they need to have thebrakes applied for them.Trade mark licences and goodwillI discussed in the last chapter the advantages of registering a trade mark. Ifyou have a trade mark either pending or registered in your name, or a logo,then in your sponsorship deal you’ll be expected to grant a licence to yoursponsor to use that trade mark. You should limit the licence to the usescovered by the sponsorship deal and the licence should end when thesponsorship deal does.PaymentI bet you were wondering when I was going to get to this. What are yougoing to get paid for all of this work? The amounts can vary widelydepending on what you’re expected to do, the size of the company, yourfame and the length of the deal and how exclusive it is. Each will have to benegotiated on a case-by-case basis. The sponsor or the agent will usuallycome to you with a figure for what the sponsor thinks it’s worth and, afterdue consideration, you may want to accept that or try to push it higher.Figures of a million pounds plus for sponsorship of big name artists are notunusual.The sponsorship contract won’t only spell out how much you’ll get paid– it will also say when you will get the money. The sponsorship fee could bemoney alone, or cash and goods, or occasionally just goods (although in thatcase it’s more of an endorsement deal). It’s not usually recoupable orreturnable. There are exceptions, though. If you break your side of thebargain, for example by not doing the tour, or if it’s a case ofmisrepresentation as in The Spice Girls scooter case above, then the contractmay say that you are required to repay some or all of the money. Or you mayget sued for its return. You may also be required to return some of themoney or to pay compensation if you bring the sponsor’s brand intodisrepute.When you’ll be paid will also usually be some kind of compromise. Thesponsor will want to hold back as much of the fee as they can until they’resure you’re delivering your side of the bargain. On the other hand, you’ll beactively promoting the sponsor’s product and you’ll want to be getting some,if not all, of the sponsorship fee in the bank. At the very least you’ll want tobe paid as soon as specific things have been achieved, for example some ofthe money should be paid when you sign the deal, some when you start theconcert tour and the balance at the end of the tour.You should also be clear what is included in the fee. If you’re doing arecording of a song, remember that there will be mechanical royalties to bepaid to your publisher and any co-writer (see Chapter 4). If you have anexclusive recording deal, your record company may want payment in returnfor releasing you from that exclusivity. If an advert is going to be puttogether with visual images for television, for example, a synchronisationfee will be payable to your publisher and to the publisher of any co-writer.These can be significant amounts of money. Who’s going to be responsiblefor these fees? Are they included in the sponsorship fee so that you have tosort it out with the publishers? Or is it the sponsor’s responsibility? Theanswer can make a considerable difference to what you end up with inpayment.You should have the right to end the deal if the sponsor breaches thepayment terms or otherwise doesn’t fulfil their side of the bargain.CONCLUSIONSDecide on the types of product you want to be associated with.Either target those companies that produce those products yourself, orthrough an agent, or decide that you’ll wait until they come to you.Decide if you’re looking for one exclusive sponsor or a series of dealsfor particular products.Decide if you want to do a worldwide or limited-country deal.Make sure that the services you have to provide are manageable andthat you have any necessary permissions from your record andpublishing companies.When setting the level of the fees, agree what is to be included.Try to get as much of the fee paid up-front as possible.1 The Spice Girls Limited v. Aprila World Service BV Chancery Division24/2/2000. Chapter 10Touring INTRODUCTIONTHE LAST FIVE years have seen a change in the fortunes of the record andpublishing business as opposed to that of the promoters and concert venues.Mintel estimates that the live music market will be worth £836 million by2009. Whether it is because people can get recorded music so easily andcheaply that they devalue it or whether it’s because we are rediscovering thatwe are social animals at heart and being stuck in front of a computer forhours is really rather sad. Whatever the cause we are spending large sums ofmoney on going to see artists perform live. Look at the record-breaking 21night run that Prince had at the O2 in 2007 and at the enormous amounts ofmoney people will pay for tickets to big name artists. This is all at a timewhen the record companies are struggling with issues of piracy, illegal freedownloads and challenges at the very heart of their business models. So it isprobably not surprising that some of the more innovative deals emerging inthe last few years have centred on the live sector which is one of the fewpresently making money. Hence the growth in the ubiquitous 360 modelswhere the record company takes a share of the artist’s live earnings. Themost talked about deal of 2007 however was that between Madonna and LiveNation.MADONNA AND LIVE NATIONMadonna has always been brilliant at reinventing herself. She has alsoalways been a very canny business woman. The two traits are combined inthis deal.It seems she had one more album to record under her deal with Warners.They also probably have the right to bring out at least one ‘Greatest Hits’ or‘Best of’ album but after the next studio album, which Madonna is currentlyfinishing recording, she will be free of that contract.She was apparently in discussions with Warners about a new deal orextension of her existing deal but then in a move which surprised theindustry it was announced that her new deal would not be with a traditionalrecord company at all but with her live touring promoters Live Nation. Whatis more it was to be a 360 model deal.As details began to emerge, Warners put out a statement wishing herwell and confirming plans to release the new studio album (the last undertheir deal) in spring 2008. This ends a twenty-year relationship between thelabel and the artist. Speculation was rife over whether there had been afalling out or some other upset. But it may be that Warners did not want topay the kind of sums that Madonna was looking for. Perhaps also theycouldn’t offer the full advantages of the 360 model for the artist.Live Nation is the biggest concert promotion company in the world but itlost $161 million in 2005 and 2006 and made a small $10 million profitfrom revenues in excess of $1 billion in the first quarter of 2007. So why dothis deal? Well, they received considerable publicity for the deal and mayhope that this will attract other stadium size artists to look to them for theirnew deals. They get a chance to earn more from Madonna’s touring,endorsement/sponsorship deals and merchandise over the next ten years andthe recording income from up to three studio albums. Madonna’s live toursattract huge audiences so for her it seems a clever move to receive a reputed£120 million in return for giving these rights to Live Nation. It is however abit of a gamble because Madonna is now 49 (admittedly a supremely fit 49)and may not want to be still touring at the same pace for the next 10 years.Will her ‘brand’ remain important enough to command large endorsementsand sponsorship deals and if she tours less will the merchandise sales bethere?The Wall Street Journal reported on 11 October 2007 that she will bepaid $17.5million as a sign on advance, between $50 million and $60 millionfor the next three albums plus a $50 million payment in cash and shares forthe concert promotion rights. When she does tour she will still reportedlyreceive 90% of the gross touring revenues. Not a bad day’s work.But do bear in mind that the full financial package is nearly alwayslinked to delivery of product and achievement of certain targets. If those arenot met then the deal could well be a lot less attractive financially.MAMA GROUPAnother company, amongst many, which is aiming to capitalise on thecurrent success of the live music scene is UK AIM listed company, MamaGroup. Through a thorough analysis of the live industry – observed at thevarious, mostly small, Barfly venues managed by the group – the founders,Adam Driscoll and Dean James, set about seeing how they could get a pieceof not just the profit from promoting concerts but also the ancillary incomelike the T-shirts and other merchandising, management and development ofupcoming artists. They now manage eighteen UK live venues, includingrecent acquisition Hammersmith Apollo in West London. Their associatedmanagement company Supervision signs up talented acts, including someperforming at the Mama Group-managed starter Barfly venues, tomanagement deals. They control big money-spinning brands like G-A-Y andown a collection of media and marketing agencies targeting the studentmarket called Campus Group. They are presently working on digitalordering and delivery of the live concert ticket alongside the music track andthe T-shirt. The all-round one-stop shop.Of course, all of this activity rests on the continuing success of the livesector. This has always been cyclical in nature – just like most areas of theeconomy – and there are some commentators that say it may have peakedwith the Madonna deal. As we don’t have a crystal ball we will just have towait and see but ride the opportunities whilst they are here.GETTING STARTEDWhen you are starting out you’ll probably get gigs in a very hand-to-mouthway. You or your manager will chase them up, probably starting in yourhome town with local pub dates. If you live in a town with a large studentpopulation, you might get on to the university/college circuit. Local bandsare often very popular for ‘rag’ or summer balls, possibly as support to otherbetter-known acts. Getting to know the local social secretary at theuniversity/college can help but remember, all local bands with a bit ofambition will be doing the same thing.If you can get the local press and radio behind you this can open up morelocal gigs. Don’t forget college radio. If you make a fan of the stationmanager or a particular DJ, they’ll plug not only your local dates but alsothose further afield. Take copies of your demo to the station and use yourbest selling skills to convince them they could be in at the start of a futureColdplay, Killers, KT Tunstall or whoever.Once you have a local following you can look to venture outside the areato bigger and (hopefully) better-paid gigs. A word of warning – don’t eventhink of inviting A&R people to your gigs unless you’re well rehearsed and‘tight’ in your playing and command an enthusiastic local following. I’vebeen to many gigs where the band makes the fatal error of treating it as justanother session in front of their mates. They act far too casually and areunder-rehearsed. If the local record company scout happens to be at that gighe could be put off you for life, or it could set back your campaign for arecord deal by several months while the damage is repaired. The samedisastrous situation could happen if there’s a reporter for the localnewspaper at the gig who gives you a bad write-up. Don’t get me wrong. Iknow that every act has its off day when, for whatever reason, it just doesn’tcome off. Scouts and newspaper reviewers will take an off day into account.What they won’t forgive is if you aren’t acting in a professional way. Youshould treat every gig as a professional job and the potential one when you’llbe discovered. Pete Doherty and Amy Winehouse are the exceptions thatprove the rule.Try to find out who the local scouts are for the major record companies.It may be someone at the local college or radio station. Local bands thathave been around for longer may be able to tell you, otherwise ask thereporter on music events at the local newspaper. It may even be them.Whoever the scout is, they may be looking to move into the businessthemselves using the discovery of a great local band as a stepping-stone.Some managers now also act as a kind of A&R outpost so don’t ignore localmanagers either.Doing all this is very hard work and mostly unrewarding. Some bandsget to play in venues in larger towns by doing a deal with the venue owner orpromoter where, in return for booking the band, they guarantee there will bea minimum number of tickets sold. If you don’t sell enough tickets you haveto make up the shortfall. It pays to drum up ‘rent-a-crowd’ from among yourlocal fans, friends and family. I know of bands that sell package tours – theyhire a coach and sell tickets to the gig and a coach to get you there and back.This proves especially popular where the band manages to get a gig in alarger town or city. Then the trip to the gig is combined with the chance of aday out in the city at a reasonable price.As I mentioned in Chapter 1, you might also consider entering one of themany competitions run around the country. These might be billed as ‘Battleof the Bands’ Vodafone Live. Look out for adverts in the local press or themusic papers like NME or Kerrang!. These contests are often viewed asslightly cheesy, not quite a credible way to break into the business. If it getsyou noticed, what’s the problem? If nothing happens, then you don’t have tomention you were ever involved in it.There are also some venues that have special showcase evenings forunsigned artists or writers. The ones I know about are in London, but theremay well be others in a town near you – ask around. Club promoter TonyMoore has an unsigned acts night at a pub called The Bedford in Balhamwhich, although ‘south of the river’, still attracts the A&R crowd. The Barflyin Camden and other Barfly operations around the country have similarevents and are a recognised source of new band talent so are regularlychecked out by the A&R scouts. The PRS occasionally supports events forartists who are either completely unsigned or have only signed a record deal.The American collection society ASCAP also holds unsigned artist eventsfrom time to time. Contact details for these venues and organisations are tobe found in Useful Addresses at the end of the book.You can try and get in on the unsigned acts part of the annual UK musicconference called In the City. It is usually held in September and its regularhome is Manchester. It has for some years been a place for UK musicbusiness people to gather and have a drink or five, as well as the venue for awhole series of music events – mostly for unsigned acts. The unsigned gigsare held in local music venues and pubs and are a magnet for A&R scoutsand record label honchos. This is because in the past this event has been afruitful source of new talent, including Suede, Oasis and Muse. The 2008ones to watch included Elle s’Appelle, The Moths and Sky Larkin. To bepart of the unsigned section you have to submit your demo and a briefbiography to the unsigned organisers, who then have the unenviable task ofwading through a vast pile of material to come up with a shortlist of about30–40 bands over the 4–5 nights of the event. The best bands from each yearusually end up doing a gig in London either immediately after the event or awhile later. In 2007 they did a showcase at the Camden Barfly on 20December which was broadcast live on Xfm, so a great piece of promotionfor the acts involved.Most artists who are already signed see live concerts as an essentialmarketing tool. People that haven’t yet bought one of your records may go toone of your gigs and love what you do so much that the next day they go andbuy up your entire recording output. A good review of a live gig can giveyour latest release very valuable publicity. Also, the current emphasis beingplaced on radio-friendly artists means that if your records aren’t the sort thatRadio 1 or 2 or other powerful radio stations are going to play, you havelittle alternative than to build a fan base through live concerts (see Chapter6). For some non-mainstream genres such as folk, blues or jazz, sales of theartist’s recordings at gigs forms the main part of their sales incomealongside mail order or sales off their websites.GETTING A BOOKING AGENTThe next stage on from you or your manager doing all the legworkyourselves is to get a booking agent. This will probably happen after yousign a record deal (see Chapter 3). It may, however, happen before if you’veestablished a reputation as a good live act and have attracted the attention oflocal agents because they can see you’re a safe bet for venues they regularlybook acts for.Do you need a booking agent? Possibly not. If your horizons are set atonly playing local pub venues and you don’t mind doing the work yourself,you probably won’t need one. It’s someone else that you’re going to have topay commission to, so you want to make sure it’s going to be worthwhilebefore you get one. Also, they aren’t likely to be interested in you unlessyou’ve already established a reputation for live work so you’ll probably haveto be passed the pure beginners stage.What you may find is that certain venues are closed to you, because thevenue owner only books acts brought to him by selected booking agents.Having a booking agent can also give you credibility to get into moreprestigious or bigger venues, and open up the possibility of supportingbigger ‘name’ acts. As the booking agent is on a percentage of what you get,it’s in his interests to drive a hard bargain. If the agent is any good youshould end up with a better deal than if you had negotiated it yourself.You might think that your manager could do the job of a booking agent.Yes, they could and in the early days they probably will, but specialisedbooking agents are the experts in putting together larger events such as a UKor European tour of the medium to large venues and stadiums. They know allthe promoters, they can get the best deals and have a better chance of gettingthe prime dates than you or your manager, who don’t do this on a day-by-daybasis. The agents also know about all the main venues you’re likely to wantto play, and one or two that you’ll not have thought of. If the venue isoutside the main concert circuit, they have the specialised expertise tonegotiate a good deal for you. With everything else that’s going on around atour, you or your manager may not have the time to do this properly. It maypay to find someone who can. 2006/07 saw a consolidation of some of theUK agencies but also the invasion of US-based agents such as WilliamMorris and CAA. This has given agents not only a bit of a shake up but alsoconsolidation has increased their bargaining power, so getting a strong agenton board can greatly increase your chances of getting good gigs at goodmoney.HOW DO YOU FIND A BOOKING AGENT?You can ask your mates in the music business. Which agents do they use,which ones do they rate and which have they found to be trustworthy? Wordof mouth is often a very reliable method of finding a good booking agent. Besure that the booking agent works in the same area of music as you;otherwise he won’t have the contacts in the right places to be of use to you.Booking agents are also listed in directories such as the Music WeekDirectory. You could call local ones and try to find out which sort of actsthey regularly work with and what venues they book. Another good source ofinformation on agents and who does what is the monthly magazineAudience. It also gives you music business news, including details of up-coming festivals and other music industry events.If you have a record deal it’s likely that your A&R man will direct youor your manager to a good booking agent. While obviously you should takeon board their suggestions, you shouldn’t blindly follow their advice. Aswith finding a manager, you should also ask around and arrange to meetmore than one agent. You should get them to come and see you perform live.This should show you who seems the most enthusiastic. You should also askaround as to which booking agents are seen as having the most ‘clout’. Yourrecord company, accountant and lawyer should all have had experience ofdealing with booking agents and can give you some guidance. It’s alsoimportant that your agent has a reputation as being honest. You don’t want abooking agent who’s going to run off with the ticket takings. If the agentwho is interested in you works for a big organisation, find out if you’ll bedealing with him in person or if he’ll be passing you on to someone else inthe organisation.Booking agents will probably approach you or your manager, eitherdirect or via the record company, if there’s a good buzz or hype about youand you’re signed to a record deal. If this happens, the same tips apply. Askwho else is on their books. Ask around about their reputation, honesty andreliability. Get them to meet the band and see you perform live. Make surethe agent ‘gets the picture’ as to what you’re trying to achieve.One thing that you should also be aware of is that some booking agentsmay also be getting a financial kick-back from the record label to come onboard as your agent. I know of record labels that are keen to see their artistsperform live and encourage agents to get involved by paying them either aretainer or a small percentage of record sales (usually 0.5–1%). This shouldbe at the record company’s expense and not recoupable against you ordeducted from your royalty or other record income. It’s not necessarily a badthing, but there could be a conflict of interest between what you want andwhat your record company thinks is best for you. Also, when you work outyour deal with an agent who’s being paid in this way, you need to bear inmind what they’re also getting from the record company.WHAT’S IN A BOOKING AGENCY CONTRACT?Some agents don’t have written contracts with the artists they represent.They prefer to work on trust. They tell the artists what commission rate theytake; they leave it to the artist’s tour manager to sort out things such as theriders (see here), security requirements and so on. The risk for an agent innot having a written contract isn’t as great as for a manager, because theagent is probably only booking one tour at a time and will have sorted out inadvance his commission on that tour. He has no interest in ongoing record orpublishing royalties, or in merchandising or sponsorship income. That said,even though some agents don’t bother with written contracts, most bookingagents like to have a contract to keep things clear and to give them somecertainty so that they can plan what’s to happen in the future. Indeed sincethe introduction of new employment agency regulations they may have noalternative in future than to put their terms in writingEMPLOYMENT AGENCY REGULATIONSThese regulations came into force a couple of years ago1 and apply to allkinds of employment agencies who charge a fee to the people they get workfor and the work seekers include actors, musicians, singers, dancers andother performers as well as songwriters, authors, directors, those involved inthe creative aspects of film and theatre productions, models and professionalsports people. The rationale behind the regulations is to ensure that the clientknows the terms on which he is doing business with the agent and what thefees will be. The regulations seek to ensure that the client cannot be made tosuffer a penalty if he terminates the agency contract, nor require the client totake other services provided by the agency. The terms of business have to begiven to clients in writing and can’t afterwards be changed without theclients’ agreement. A separate client account must now be kept and regularstatements provided. Most decent agencies will already have adopted theseaspects of the regulations as best practice but it may help to weed out someof the charlatans.Also, in a nod in the direction of health and safety issues, the regulationsrequire the agents to consider the suitability of the client for the job inquestion, e.g. not putting forward someone as a trapeze artist who sufferedfrom vertigo. On the other hand they also require the client to inform theagent if he becomes aware of any reasons why he is not suitable for the job.The terms on which the agent is employed by the hirer – the circus ownerlooking for the trapeze artist – must also be clearly stated and written downin one document. The regulations do place more of an obligation on theagent too, to ensure that the client has all the necessary permits/unionmembership etc. necessary for the job in question.If the agent wants the right to deduct his fee from the fees for the job hehas to have specifically agreed that with the client in the engagementagreement. So this may prompt a review of agents’ terms of business. Theagents can be sued in a civil court if they breach the regulations.WHAT IS IN A BOOKING AGENCY CONTRACT?In many ways the booking agency contract is similar to a managementcontract (see Chapter 2). There are several parts of the contract that arecommon to all booking agency contracts.ExclusivityThe booking agent will be looking for an exclusive arrangement. He won’twant to be competing for your work with other agents. The arrangement withthe booking agent sits alongside the management agreement. Indeed, themanager may be very involved in the appointment of the booking agent. Themanagement contract will usually give the artist the right to approve theidentity of any booking agent. The manager looks after all other aspects oftouring other than the actual booking of the concerts. There is danger of anoverlap in the commission arrangements. The artist doesn’t want to bepaying a booking agent and the manager out of his gross income. Themanagement contract will usually say that the manager takes hiscommission after any commission to a booking agent has been deducted.The management contract will usually give the artist approval over the termson which the agent is appointed, particularly if he wants to charge more thanthe industry norm of 10–15%. The booking agent’s fee should be deductedfrom the gross income first, and the manager’s commission should becalculated on the net amount that’s left after the agency commission and anyother deductions agreed in the management contract have been taken off.TerritoryThe contract could be a worldwide one or it could be for a specific territory,for example North America. If it’s a worldwide deal then it’s possible thatthe booking agent will want to use local sub-agents in some territories. Forexample, the booking agent may have his own offices in the UK and Europe,but be linked with another company or individual in the US. Until the recentinflux of US agencies into the UK market there was a kind of gentleman’sagreement that they did not try to poach acts in their respective territories,but the gloves are now off.The artist may want to have the right to approve the identity of any sub-agents. Any subagent’s fees should come out of the booking agent’s fee andnot be payable by the artist.If it’s a worldwide deal, the artist will want to be satisfied that thebooking agent has the necessary contacts himself or through established sub-agents to do a good job in all countries where the artist is likely to want toperform live. It’s no good appointing a UK booking agent worldwide whenhe can do a great job in the UK but hasn’t a clue how to deal with promotersor venues in other parts of the world.TermThe length of the term can vary considerably. It could be for a particulartour, for example the 2008 UK Arena tour. In that case the contract will endafter the last date of that tour. The artist is free to do a deal for the next touror for the US leg of the same tour with another agent, as long as it doesn’tinterfere with the UK booking agent’s rights.The term could be open-ended, continuing until one party gives the othernotice to end the arrangement. The usual notice period is a minimum ofthree months. There may also be an agreement that notice can’t take effectduring a tour, or that the agent gets commission on the whole of a tour theyhave set up, even if the arrangements with them are terminated before thetour is finished. This is only fair, because tour arrangements often have to beset up many months in advance.Many booking agents are looking for the certainty of a fixed-termcontract. This could be as short as a year, but terms of three to five yearsaren’t unusual. Obviously, from your viewpoint, the longer you’recommitted to one booking agent, the more need there is for a contract thatputs definite obligations on the booking agent to try and get work for you.The contract should also contain a get-out if it’s not working out, becausethe booking agent can’t get any work or is otherwise falling down on the job.The booking agent’s dutiesAs we saw with management contracts, the agency contract doesn’t often setout in any great detail what the booking agent will do. The agent’s duties areusually expressed in very general terms. There should at least be some kindof obligation on the agent to try to get work for you. After all, that’s his job.If there’s a fixed-term contract and if you’re ready to do gigs and your agentcan’t or won’t get you any work, then you should have the option to go toanother agent.On the other hand, if the agent does get you work, you should have theright to decide whether you actually want to do the work. The contract willprobably give you the right to turn down offers of work if you do so onreasonable grounds. For example, if the booking agent gets you three datesin the North of England and a fourth a day later in Torquay, it might bereasonable to say that you can’t reasonably get yourself and your gear fromone end of the country to the other in that time. Or, if you did, it wouldn’t becost-effective once you take into account the travel costs in getting there. If,however, your booking agent has got you work which you turn down for nogood reason, you can’t then turn around and say that the agent hasn’t donehis job.Your dutiesYou will usually have to agree to refer all offers for live work that come toyou to your booking agent. Because of the exclusive arrangements, youmustn’t act as your own booking agent. You will also usually agree to keepyour booking agent aware of your plans. For example, if the plan is torelease the new album in September, you’ll be expecting to do live dates tohelp promote that release. You’ll need to tell the agent at the beginning ofthe year so that they can begin to outline a tour in consultation with you andyour manager. Many of the bigger venues are booked up months, if not ayear, in advance for key dates, and the earlier the agent is told of the plansthe sooner they can start to take options on the key venues and dates. Theseprovisional bookings are confirmed when the details of the tour are firmedup. If you’re tying a tour in with the release of your album, the dates won’tprobably be finally confirmed until the approximate delivery date for thealbum is known. That said, it doesn’t always work to plan. If the recordingoverruns then the delivery date will shift and could have an impact on thetour dates. However, gigs at big venues are usually set up for a few monthsafter the album release and as an integral part of the promotion surroundingthat release. Tours also have to try and tie in with any plans to release thealbum overseas.You’ll usually agree to use your best efforts to do the dates that thebooking agent has booked and which you have agreed to do. Obviouslyillnesses do occur, and sometimes tours or particular concert dates arecancelled at short notice due to this. It’s usual to take out insurance againsthaving to cancel a tour, or one or more dates, if illness or accident affectsone or more band members. These insurance policies aren’t cheap, but if theartist gets laryngitis halfway through a world tour or, as happened withOasis, three band members were involved in a car crash causing thecancellation or postponement of some US dates, it is comforting to knowthat insurance will cover any losses. Meatloaf had to cancel and reschedulesome of the dates in his 2007 tour because of health problems, and VelvetRevolver had to cancel dates because of visa problems. Insurance policiescan also be taken out to cover dates that have to be cancelled because notenough tickets have been sold. These are, of course, very expensive and areprobably only worth it for big stadium dates. If you’ve got yourself a decentmanager, you shouldn’t have to worry about whether the necessary insuranceis in place as he, or the tour manager, will do this for you.Insurance policies can also be taken out to cover things like bad weatheron open-air gigs. The owner of the site that hosts the Glastonbury Festivaldescribed in the press how he’d been offered insurance cover against badweather, but hadn’t taken it up because the premium was too high. Given thenumber of years that the site turns into a giant mud bath it probably is toohigh a cost especially as the mud has now almost become a part of theexperience for the stoic British concert-going public.You can get insurance cover for most things at a price. I remember asituation when a member of a band was spending a year living outside theUK for tax reasons. The rules at the time allowed you to return to the UK fora given number of days in that year. The band was doing a world tour, whichincluded some dates in the UK. The last of these dates fell on the last daythat he would have been entitled to be in the UK and not lose the taxadvantages. The concert was due to finish at 10.30 p.m., which meant thatwith a helicopter standing by he should have been out of the country in time.If he wasn’t he would lose significant amounts of tax savings, so aninsurance policy was taken out to cover him against that happening.Everything was going very well until the band got a little too enthusiastic inthe number of encores, and it was getting nearer to 11 p.m. when the bandfinally left the stage. A very swift dash to the helicopter followed and,luckily, our man was just away in time.Van Morrison (Exile) v. MarlowBut don’t think you can always be protected against cancellation or no-show. Van Morrison’s service company, Exile, got into trouble in 2003when it was ordered by a court to pay Gary Marlow, the owner of theCrown Hotel in Marlborough £40,000 in damages. Mr Marlow hadbooked Van Morrison to appear at his hotel and was also the promoter ofthe gig. There was a written contract which, according to Exile, gavethem a prior right of approval of all advertising and promotionalmaterials i.e. it would seem Van Morrison wanted to keep it relativelylow profile. But, the contract also said Mr Marlow should do his best topromote the show. Mr Marlow mentioned the intended appearance ofVan Morrison in answer to some enquiries from the press. As a resultExile decided Van Morrison would not perform, arguing that thisinterview breached its right of approval over publicity. However, thejudge decided that it was the nature of a promoter’s contract to promoteand if the artist wants to place restrictions on that promotion these haveto be clear, unambiguous and not contradictory. This contract was notdrafted in this way so Exile was found to have wrongfully prevented VanMorrison from performing and had to pay up.I have heard of some odd grounds for cancelling tours but the one advancedby opera singer Dame Kiri te Kanawa that she feared being bombarded withunderwear certainly takes some beating.Kiri te Kanawa CaseIn an Australian case reported here in April 2007, Dame Kiri te Kanawawas booked to appear as co-headliner on a 2005 tour with Aussie veteranJohn Farnham. She cancelled after watching DVDs of his shows wherehe was thrown underwear by fans. The promoter, Leading Edge, sued herfor A$ 2 million for the money it says it had lost on publicity costs andticket sales. The Supreme Court judge rejected the claim ruling thatalthough emails had been sent with details of venues and fees for theproposed concerts there had been no firm commitment by her to do theconcerts and no contract had been finalised. So it’s a question of themost basis aspect of English contract law – was a contract formed?The feeWhat is the agent paid? His fee is usually a percentage of the gross incomefrom your live appearances. It will include the appearance fee and also anybenefits that you receive in kind as opposed to in cash. For example, thepayment you get for a particular contract could be made up of a £10,000appearance fee plus a car provided by the tour or venue promoter, or freetravel or hotel accommodation. The agent will usually want to add the valueof the car, the travel, the accommodation and so on to the gross income inworking out his fee. It’s here, of course, that you can see the value of a touraccountant. One of his many jobs will be to see that a proper value has beenplaced on these non-monetary items.The fee is usually between 10% and 15% of the gross income. If you’repaid £10,000 in appearance fees and a car worth £10,000, then your bookingagent will receive 10–15% of £20,000 (i.e. £2–3,000). The agent willnegotiate with the promoter or with the venue direct, and will usually agreethat the promoter or venue pays them their fee direct, with the balance beingpaid through to you. There may be a deposit paid which the agent may wellhold as security for their fee. Once it’s clear that there are sufficient ticketsales to mean that date won’t make a loss, the booking agent may well agreeto release that deposit to you, less their agency fee. Although as we sawabove the new regulations mean that he will have to get your writtenapproval in order to deduct his fee from these monies and he has to keep thefees in a separate client account. Or, the agent may negotiate guaranteedminimum payments from the venue or promoter, which aren’t returnable,even if insufficient tickets are sold to make the date viable. The bookingagent will usually insist on being paid for any work that has been contractedfor or substantially negotiated during the term of the agency contract. Forexample, you may contract to a forty-date tour through a particular agentand then move on to another agent for the rest of the dates or for the nexttour. While you may be free to do this, you will still have to pay the firstbooking agent for the work they did in putting the original forty-date tourtogether. Sometimes the agent will limit their commission to concert datesthat you do within six months of the end of the term of their contract. Thiscould be a little hard on the agent. If the artist is doing a world tour, it’slikely that that could run well beyond six months. If the agent has done thework in setting up the tour, there are strong arguments for saying that theyshould be paid for that work. As it’s unlikely that you will have to pay anyother booking agent for that same tour, you aren’t going to get a double-hitfor fees. If the booking agent has done an all-right job and the contract isn’tbeing disputed, or hasn’t been brought to an end because the booking agentis in breach of contract, this position is a reasonable one to take. Sometimes,if your agent leaves one company to go to another one and you move withhim he agrees to pay some of his fees to the old agency in return for takingyou with him.AccountingThe booking agent will usually want to collect the money and deduct theircommission before paying the balance through to you.You’ll want to make sure that the money is paid into a separate clientbank account. You’ll need to see detailed statements of what has beenreceived, from where and how the commission is calculated. You’ll want thebalance to be paid through quickly and will need to have the right to carryout an audit of the booking agent’s books and records to make sure you’vereceived amounts properly due.This is particularly important where some payments may be receivedupfront in the form of deposits from the venues, or as guaranteed sumsregardless of the number of tickets sold. The deposit may be returnable insome circumstances. One of the jobs of the tour accountant is to keep a trackof all these arrangements as well as keeping a close eye on any sums paid incash on the night. These deposits do not automatically have to sit in theseparate account under the new agency regulations so you might want tospecify in your agreement that they should.The balance due to you should be paid through at the end of each gig, butthat may not be possible, in which case it should be at least weekly.Sometimes payment may come at monthly intervals if the arrangements areparticularly complex or involve overseas tax issues. If you aren’t going to bepaid on the night and payment is to be delayed then a rough outline – calleda settlement sheet – should be prepared at the end of each gig and given tothe artist or the tour accountant within three days to check.Assignment and key-man provisionsYou need to establish who is going to be your agent – your key contact at thebooking agency. The larger the booking agency, the more important it is toget this sorted out. There’s nothing worse than signing up to an agencythinking that you’re going to be dealt with by one of the hot-shots, only todiscover that he has passed it to a junior with no experience or clout.If you can, you should get a right in the contract to terminate it if thatkey-man isn’t available to you as your agent. Obviously, a good agent isgoing to be working for more than one artist and is going to be in greatdemand. You can’t therefore expect him to be there for you every minute ofthe day. But when it comes to putting together a big tour, whether you’re theheadline or support act, you need to know that the agent is there for you tolend their experience and bargaining skills to sorting out the details. Theagency isn’t going to be very happy about agreeing to key-man clauses in thecontract. If a particularly good agent wants to go off to another agency, orwants to set up on their own account, that puts them in a very goodbargaining position. You can terminate the contract if the agent leaves andthen move to their new agency if you want to. The agent can use the fact thatyou could terminate to negotiate better terms for them if they’re to stay withthe agency or better settlement terms if they still want to leave. If the agencydoes agree to a key-man clause then it will probably say that the right toterminate only arises when the agent is consistently not around for thirtydays or more. They will also usually exclude periods when the agent isgenuinely ill or on holiday.If the agency plans to sell up or sell on the contract to another company,or it wants to buy into a bigger company, you should have the right to refuseto be tied to these arrangements unless the agency first gets your approval.Finally, the contract should give you the right to terminate the term ofthe contract if the agent is insolvent or breaches his obligations, forexample, if he doesn’t pay the balance of the ticket money when he shouldand he fails to put this right within a reasonable time of you putting him onnotice that they should.PROMOTERSA promoter is responsible for booking artists to perform live at particularvenues. This could be one man promoting a single venue or a multi-million-pound multinational corporation owning the right to promote a whole raft oflarge and small venues such as Live Nation.WHAT DO PROMOTERS DO?Promoters are responsible for securing the venue and for selling the tickets.The promoter may be the venue owner himself, or they may be a separatecompany who have an arrangement with a particular venue. Thisarrangement may be exclusive or non-exclusive. The promoter may dealdirect with the artist or his manager or he may negotiate through a bookingagent. Promoters make their money on their margins. If they own the venuethen they want to cover their costs and make a profit. If they just deal with avenue they make their money on the difference between what they have topay through to the venue and what they have to pay to the artist/bookingagent after allowing for their own expenses. The promoter may also controlthe sales concessions at the venues, for example for selling food, drink ormerchandise. The promoter may charge for the rental of these concessionsand/or take a percentage of the takings.A promoter may promote just one venue or perhaps a festival or a seriesof venues. There are promoters who operate nationwide, but also those whooperate only in particular parts of the UK.2Once the dates are pencilled in, the promoter will want an agreementcommitting the artist to do these dates and laying out the terms on whichthey will perform.Naturally, these sorts of arrangements are only likely to affect the mainartists on the bill – the top billing or headline acts. A supporting artist willhave little or no say on the terms of the deal with the promoter. Thepromoter will usually agree a fee with the headline act and it’s up to that actto agree a deal with the supporting act as to the terms on which they willappear on the bill.As discussed above, some promoters like Mama Group and Live Nationare also branching out into controlling other ancillary income streams notgenerally within a promoter’s remit, such as merchandising.WHAT’S IN A PROMOTERS CONTRACT?Your obligationsThe contract will set out what concerts you will do, when and where. Thecontract could spell out the length of time you are required to perform. Forexample, it may say that you’re expected to do one ‘set’ (performance) of atleast forty minutes duration. For smaller venues it may say that you’reexpected to do two forty-minute sets with a break in between.Promoter’s obligationsThe promoter will agree to provide at least the venue, ticket sales facilitiesand basic door, stage and backstage security arrangements. Thereafter it’sdown to the individual arrangements agreed in each contract. The promotermay agree to supply certain equipment and personnel, for example, aparticular sound desk or sound engineer. If the dates include any overseasgigs, then any personnel they supply should be provided with all necessarypermits, including work permits for overseas dates or for overseas personnelworking in the UK.The promoter will also usually be required to provide an agreed level ofbackstage amenities for you in the form of dressing rooms, toilets andmeeting or VIP areas.It’s also usually the responsibility of the promoter to provide insurancecover against injury or death caused to members of the public. This is calledpublic liability insurance. It’s vital to ensure that this cover is in place.Obviously, this will be the manager’s job once there is a manager on board,but a member of the public can get injured in the early days as well, so youshould think about this. Unfortunately accidents do happen at live gigs;people do fall or get caught up in the crush at the front of the stage. If thereisn’t insurance in place, the person injured could look to you direct forcompensation. If anyone is employed to do any construction work, forexample for the stage or lighting rig, then those sub-contractors should alsocarry insurance or, once again, responsibility could fall back on you. Therewas an unfortunate spate of concert related deaths and serious injuries inrecent years, beginning with the deaths of 9 music fans at the RoskildeFestival in Denmark in 2000, followed by the deaths of 21 clubbers inChicago and hundreds of deaths at the Rhode Island Club where a fireworksdisplay as part of the band Great White’s set led to disaster. An accidentinvolving one of the trucks carrying concert equipment for George Michaelforced the singer to cancel a show in Prague. In Atlanta opening artist RayLavender and Akon band members had completed their sound checks andleft the stage when the canopy suddenly caved in. In the UK incidents likethese have led to greater insistence on health and safety issues and to thesetting up of the Safety Focus Group as an offshoot of the International LiveMusic Conference in 2001.3The Licensing ActThe Licensing Act which became law in 2003 and began to have an impactin 2005 brought about major changes to how venues are licensed. The focusis on health and safety and public order issues and is a radical overhaul ofthe UK licensing system. One major change is that venues that put on livemusic regularly will need a premises licence from the local authoritywhereas before it did not need an entertainment licence for one or twomusicians performing together. The exceptions for occasional events andpurely acoustic sets have been maintained but there was initially concern forthe impact of the changes on the live music scene and this led to the launchof the government supported Live Music Forum, whose remit includes theevaluation of the impact of the Licensing Act and the promotion of theperformance of live music generally. Its report in mid-2007 found that theeffect of the Act on live music was broadly ‘neutral’ but that there had beenan impact at grassroots level with increased bureaucracy and regulations. Inan attempt to minimise some of these side effects of the legislation, whichwas after all meant to ease restrictions on live music, the Forum hasrecommended making exceptions from the need for licensing for acousticsets or for venues where live music was incidental to the main event. Theyare also lobbying for an exemption for small venues holding fewer than ahundred people. The report is now being studied by the Licensing Ministerwho promises to respond fully in due course.There have been casualties. The Brecon Jazz Festival which relies to alarge extent for its special atmosphere on the open air live sessions had tocancel about ten events in 2007 because it was apparently impossible tolicense the whole of the town centre as a premises.In a related matter George Michael was fined £130,000 for overrunningthe licensing curfew at Wembley Stadium on 9 June 2007. He was fined£10,000 for every minute he overran.The Private Security Industry (Licences) Regulations 2004As if this weren’t enough additional red tape, new regulations intended toprotect against unscrupulous bouncers or doormen were also introduced i n2004. The Private Security Industry (Licences) Regulations 2004 areeffective from 1 March 2004 and require all door supervisors and securitystaff to be licensed and to display an identifying licence at all times. Theapplication requires them to declare any criminal convictions or cautions.There are separate regulations and licences required by those supervisingthese activities. Private security firms who provide security for pubs, clubsand the like must also be licensed.Artist ridersAnyone who’s seen the spoof film about the music business Spinal Tap willknow about the occasionally ridiculous artist riders. These are the lists ofspecific requirements that the artists have for their comfort andentertainment backstage. Only black jellybeans and sandwiches cut in circleswill do! I’ve seen some very strange riders in my time. One was twelvepages of very detailed menu requirements, including very specific types ofcereal and drinks that can only be bought in the US. As this was a Europeantour that was pretty unreasonable and changes had to be negotiated andsubstitutes found. Other riders specify only a crate of good whisky and fivecrates of beer. Well, this is rock ’n’ roll. Some artists take their own catererswith them or will only use a caterer that they know is familiar with theirparticular requirements. Some riders are there for a very good reason. Forexample, an artist may be a vegan or vegetarian, or allergic to particularfood. I’ve also seen riders that insist that all hotel rooms have hypo-allergenic bedding and pillows.It’s usual to leave the negotiation of the details between the manager orthe tour manager and the promoter. It’s not usually cost-effective to get yourlawyer involved in this. The riders do form part of the contract, so thepromoter has to make sure that the requirements are reasonable, affordableand obtainable. If they don’t and the omissions are sufficiently serious, thiscould be a breach of contract. Even if the omissions are more minor innature, it can cause major grief with the artist, which is the last thing apromoter wants just before the artist goes out on stage.FeesYou and your booking agent are dependent on the promoter for ticket salesand income. You’ll want to be sure that you’re guaranteed a certain level ofincome. If you’re already an established artist, you may be able to get aGuaranteed Minimum included in the contract. This guarantees you will bepaid this amount, regardless of whether the promoter sells enough tickets.This is where the promoter takes the risk. They have to get the level of theGuaranteed Minimum right, because they’ll have to pay it even if they don’tsell a single ticket.Over and above any Guaranteed Minimum sum, you might receive afixed percentage of the promoter’s net receipts. For example, if theGuaranteed Minimum is £10,000 and, after the promoter has paid out certainagreed expenses, you are entitled to 10% of the net receipts, then if the netticket sales are £100,000 you will only get the Guaranteed Minimum. If thenet receipts are £250,000, then 10% is worth £25,000. After deducting theGuaranteed Minimum of £10,000, you are now due another £15,000. Thetour accountant will have to check very carefully that the expenses that thepromoter can deduct are reasonable and that the percentage you receive ofthe net monies represents a reasonable return. The alternative is that youreceive a further fixed payment dependent on levels of ticket sales. Forexample, it could be agreed that you get a Guaranteed Minimum of £10,000plus, if ticket sales exceed £250,000, you receive another £15,000. With thistype of payment arrangement, you must assess how realistic it is that ticketsales will be high enough so that you have a reasonable chance of receivingfurther payments.Payment and accountingThe contract should set out when any Guaranteed Minimum payment is to bemade. Usually at least half of it should be paid up-front and the rest on thenight of the first of the concerts.The balance of any payments should be made on the night of each gig orpossibly at the end of a particular leg of a tour or end of each week of a tour.It’s important that the tour accountant has access to the box-office tillsand receipts on the night of the concert and that all ticket stubs should bekept for at least three months afterwards in case they need to be checked bythe accountant. Further payments under the merchandising deal may bedependent on a given number of people being at each concert (see Chapter8). The ticket stubs and any head count on the night will prove the number ofpeople at a particular date, so access to this information and proof is veryimportant. Receipts for any expense that the promoter is allowed to deductshould also be scrutinised and kept for later checking. Only those expensesallowed by the tour accountant should be deducted.Other incomeThe promoter or the venue owner may have done deals with cateringcompanies or drink suppliers. The contract should set out whether or not youshould get any share of the profits from such sources. For example, thevenue may have a deal with Coca-Cola that they are the official suppliers ofsoft drinks to the venue. An artist that commands a very loyal following offans who will ensure that his concerts are a sell-out can only be of benefit toCoca-Cola in the considerable number of soft drinks it will sell at thoseconcerts. If you have sufficient bargaining power, you can insist on sharingsome of the money that Coca-Cola pays to the promoter or venue for theright to be the exclusive supplier.The sale of merchandise can be an important source of income for you.The promoter/venue may make a charge for the right to set upmerchandising stalls at the venue. The merchandising deal will coverwhether the merchandising company is allowed to deduct some or all of thischarge from the gross income before you receive your percentage.If you have sufficient bargaining power, you could insist that you alonehave the right to sell food or drink and that the promoter gets no incomefrom these or from merchandise sales. You can then do sponsorship dealswith food and drink companies as well as merchandising deals. These kindsof arrangements tend only to apply to established, successful artists with ateam of people able to give effect to these arrangements.RestrictionsThe contract should insist that the promoter stops anyone from recording theperformances, unless of course a live recording or film of the concert isbeing made. Your record contract will probably say something about you notallowing anyone to make a recording of your performance. While it’s verydifficult to prevent a bootlegger unofficially and unlawfully recording theperformance, you can show the right spirit by putting this requirement in thecontract with the promoter. This will demonstrate that you don’t condonethis sort of activity. If you do intend to make a film of the performance,perhaps to make a video or for a live webcast or television broadcast, thecontract should make sure that the promoter will allow access to the venuefor the recording at no extra charge. You also need to be sure that theaudience knows they will be filmed and for what purpose. Signs at allentrances usually spell this out.Each venue has its own restrictions on parking and when the stage crewcan gain access to load equipment in or out. Any particular stipulations orrestrictions should be set out in a rider or schedule to the contract. Inresidential areas, there may be severe restrictions on how late the artist canplay and there may be an early curfew on when the crew can load theequipment back out. They may have to come back the next morning. If so,you need to ensure the equipment is kept securely and that it’s insuredagainst loss or damage. If it’s a nationwide tour, the tour manager will needto know these restrictions well in advance. It wouldn’t be funny if you had adate in Scarborough on the Friday night and your equipment was still inTorquay because the crew couldn’t get in to load out the equipment afterThursday’s Torquay gig until seven o’clock the next morning.An important part of protecting your brand is to ensure that there are nosales of unauthorised merchandise inside or outside the venue. It’s easier fora promoter to control illegal merchandise inside the venue, but he may sayhe has no control over what happens outside. In that case you should try tomake sure that the venue and the promoter co-operates with TradingStandards Officers or other personnel who are trying to stop unauthorised orpirate merchandise.GETTING FUNDING FOR LIVE WORKFunding for a tour can come from a number of different places. At thelowest level, where you’re just starting out and doing local gigs, you canexpect to be paid little or nothing over and above some petrol money and afew free pints of beer. As you progress, you may get a small percentage ofthe ticket sales and may make some money from sales of T-shirts orrecordings of your performances that you sell at the gigs. There probablywon’t be much in the way of profits after the cost of hiring a PA, paying fortransport and maybe an agent or manager.It is possible for an unsigned act to get sponsorship for live work. Asmentioned in Chapter 9, companies such as Doc Martin or lager companieshave sponsored live tours by unsigned acts. More recently Sony Ericsson andOrange have sponsored an interactive talent show called ‘MobileActunsigned’. It is possible to make a decent living from live gigs if you cankeep your costs down, play decent-sized venues and have a loyal followingof fans, but it’s very hard work.Once you’re signed to a record deal, bigger venues may open up to you.A booking agent may come on the scene and get you slots as support bandsor lower-down-the-order gigs at summer open-air festivals. Money can bemade from merchandise sales or from tour sponsorship. However, it’s likelythat you won’t make a big profit on live work until you’ve achieved quite adegree of success and fame as a recording artist. Even then you may barelybreak even if you have an expensive live set with lots of special effects and acast of thousands. If your live set is kept very simple, without loads ofbacking singers or a live orchestra, then you stand a better chance of makingmoney. But it’s important to balance cutting expenses back to a minimumagainst the risk that the show is a disappointment to the fans, which wouldbe counter-productive.TOUR SUPPORTMost artists need the support of their record company to get them out on theroad. The record company will rarely agree to put this in the record contractunless you have a lot of bargaining power, or you’re prepared to hold out forthis support at the expense of perhaps a lower advance or royalty. Even ifit’s not specifically in the contract, it’s usually in the record company’sinterests for you to be out touring and promoting your new album. If you canonly do this by making a loss (the shortfall) then the record company has tocome to your rescue and underwrite this shortfall. This is usually called toursupport.Tour support is usually 100% recoupable from royalties from recordsales. This is, however, negotiable and could be reduced to 50% recoupable,with the remainder being treated as a non-recoupable marketing expense ofthe record company. Sometimes, if the tour support is for a tour in aparticular part of the world, for example Japan, then you could agree that thetour support is only recouped from Japanese record sales.In addition to making up any shortfall, the record company may pay a‘buy-on’ fee. This is the fee payable to the headline artist on a tour or to hisrecord company for the privilege of being allowed to support them. Forsome new artists, the association with a more established name gives theman opening to a much wider potential audience, as well as the chance toperform in bigger venues. For the headline act this is an additional source ofincome, reducing the amount of tour support they’ll need from their recordcompany. Buy-on fees for large venues and for concerts by big-name artistscan run to tens of thousands of pounds. It’s one of the reasons why you’lloften see a big-name artist being supported by another smaller act who’s onthe same label. That way the costs are kept in the family.How much tour support will you need?Before you can go to your record company to ask for tour support, you needto have an idea how much you’ll need.First, you’ll need to get someone to prepare a tour budget. This could beyour manager or your regular accountant or bookkeeper. However, whendoing a bigger tour, either as headline or support, consider getting aspecialist tour accountant on board. The tour accountant could be someone atthe regular accountancy firm, or one recommended by them, or by friends.Your A&R contact or manager can suggest people, as can your lawyer. Mostimportantly, the tour accountant must be honest, must understand how tourpromoting works, and be brave enough to tackle unscrupulous promotersabout to run off with the cash midway through the gig.The tour accountant, or any other person doing that job, will put togetheran outline budget that will make guesstimates of income and expenditure. Asdetails such as any Guaranteed Minimum, any buy-on fees, merchandiseadvances and so on become known they are factored in. The accountant willwork very closely with you or your manager to work out what type of showsyou intend to put on. The number of musicians and how elaborate the stageset or lighting effects will be will all affect the tour budget.Once your tour accountant has a good idea of the likely profit (or perhapsloss) he prepares an outline draft budget which your manager then takes toyour record company to negotiate the level of tour support. It’s important,therefore, that he doesn’t make wild guesses and is as accurate as he can beas to what you’re likely to need.The record company will usually set a maximum amount that they willpay to underwrite the shortfall. For example, the tour accountant may haveestimated a tour loss of £18,000. The record company checks his figures andmakes its own assessment of how valuable it will be to them in record salesif the tour goes ahead. It may decide that one or two dates should bedropped, or that some of the costs could be saved. It will set a limit on howmuch it will pay. In this case, after some adjustments it may say that it willpay up to £16,000 in tour support. You and your manager have to then sitdown with the tour accountant, and any production manager working on thetour, to see if savings can be made. If the tour then goes ahead and it doesbetter than expected and only loses £15,000, then the record companyunderwrites a £15,000 shortfall not a £16,000 one. The actual amount theywill pay (up to that maximum) is determined by the actual costs supplied bythe tour accountant after the end of the tour with supporting invoices. If thetour does worse than expected and makes a £17,000 loss then the recordcompany is only obliged to pay £16,000, and may insist that you pick up therest of the bill yourself. So it’s important to get the figure for the anticipatedshortfall as realistic as possible.The record company will usually agree to pay part of the tour support up-front. This means that the essential personnel can be paid some of what isdue to them and essential equipment can be hired. The tour accountant thenhas to juggle who gets paid along the way, and who has to wait until the finalinstalment comes in from the record company. Needless to say, the touraccountant is rarely the most popular man on the tour.Even if there is something in your record contract about tour support, it’sunlikely that all the details will be included and it is usual to set out thesedetailed arrangements in a side agreement to the main record contract.Copies of all side agreements should be kept together with the recordcontract. If you’re reviewing the accounting statements or are consideringdoing an audit, you need to have details of all the arrangements you’vereached about what amounts are or aren’t recoupable and from what sales.Unless the side agreement is very simple, a lawyer should review it before itis signed.OTHER ISSUESThere are some other things that have to be taken into account whenplanning a tour.TAX PLANNINGYour accountant should advise whether there are any tax advantages to youin putting your touring services through a limited company and, if so, shouldthat be a UK-based or offshore company (see Chapter 11).If your accountant does advise use of a limited company, a serviceagreement should be put in place between you and that company. Thecontract with any promoter will then be with the limited company.In some countries, there is an obligation to pay tax in that country onearnings from live work undertaken there. The promoter may have to deductthe tax before he hands the money over. In that case the contract with thepromoter must make sure that the promoter has to hand over the sums he haswithheld to the relevant tax authorities. In countries where there arereciprocal tax treaties in place, it’s possible to claim exemption from someof these taxes or, if they have a tax treaty in place, you may be able toreclaim some or all of the amounts withheld. The promoter should beobliged to do all the necessary paperwork and to supply you with any formsyou may need to complete to show the country in which you or your servicecompany is based and pays tax and the local tax authorities should eitherconfirm exemption from tax on the income or provide a certificate of howmuch tax has been withheld so this can be offset against UK income for taxpurposes.Obviously, everyone’s tax circumstances are different and these are onlyvery general comments. Nothing will substitute for proper, professional taxplanning and advice. Such planning should be done as far ahead as possible.PUBLICISING THE TOURThis is the joint responsibility of you and the promoter. Your recordcompany also has a vested interest and will want to co-ordinate its ownmarketing efforts with the tour dates. For example, if the label had planned aposter campaign in particular towns in the UK, it may decide to target thosetowns where you’re doing live dates. The tour posters may also giveinformation on when your latest record is to be released. The promoter or thevenue will publish adverts in the music and local press listing forthcomingtours. Your press officer and the internal press office at your recordcompany will get to work placing the information in the press, gettinginterviews and personal appearances for you to promote the tour. You’ll beexpected to mention it in interviews with the press or on radio or TV.Your record company has to be careful not to overstep the mark. In 2004,there was a spate of legal actions brought by Camden Council against thesenior executives of Sony and BMG in an attempt to curb illegal fly-posting.Camden Council took the unusual step of using anti-social behaviour orders(ASBOs) on the executives after accusing the companies they led of savingmoney on legitimate poster sites by putting up posters for albums and gigson any available space, including shop hoardings and pillar boxes. Service ofthe orders meant that the court had the power to order jail sentences of up tofive years (in extreme cases) if the executives did not stop the practice. TheASBOS were seen as a last resort when prosecutions and requests to stop fly-posting had failed. They seem to have had some measure of success as theexecutives reached compromises with the council to avoid a continuance ofthe orders and promised not to commission any more illegal fly-posting.Increasingly the Internet is being used to advertise tours and cult band,The Other, were the first to use SMS text messages to fans to alert them asto the whereabouts of the next ‘secret’ gig. This is part of the generic formof marketing called viral marketing which uses Internet or other databases totarget information at fans. This could be on the record company’s website,but more usually it will be on the artist’s website, possibly with a link to thepromoter’s site or that of the venue. Websites are being used to offer thepossibility of ordering tickets online and are offering competitions to wintickets or to meet the artist. Artist and record company websites can fulfil animportant role in promoting the tour or selling tickets online.The fan club can also be invaluable in publicising a tour. The regularnewsletter sent out to fans can give details of forthcoming live events andwhere tickets can be bought. Sometimes the fan club does a deal with thepromoter and/or a travel company to offer special travel, accommodationand ticket packages at a reduced rate to fan club members. The fan club hasto be careful not to offer things that it can’t deliver. For example, membersof the Boyzone fan club were apparently offered special top-of-the-rangeseats at Boyzone concerts as part of a special package. It seems that thepromoters didn’t deliver the expected good seats, leading (apparently) to ademand for the return of monies. Such bad experiences can have a verynegative effect on the fan base and their support for the artist. The samethings seem to have happened to teen TV star Hannah Montana in 2007. Fanswere encouraged to join her fan club not apparently on the promise of ticketsbut on the promise to help them get tickets on what was expected to be asell-out tour. The fan club failed to deliver and disgruntled fans began a USclass action.OTHER PERSONNELTOUR MANAGERDepending on the size of the tour and your degree of success, you mayappoint a tour manager to work alongside your manager in organising theday-to-day details of the tour. Tour managers go out on the tour and handleall crises as they come up. They are generally paid a weekly fixed fee andreceive free travel and accommodation and probably a fixed daily sum forexpenses.SOUND AND LIGHTING ENGINEERSHow your music sounds and how you look on stage is crucial to the successof your live performances. Most bands learn at an early stage the importanceof having their own sound engineer and not relying on some stranger in astrange venue. As soon as they can afford it, most bands also like to bringalong their own lighting engineer. Both of these will be on a daily or weeklyrate with free accommodation and travel and daily expenses.BACKING BAND AND SESSION MUSICIANSIf you’re a solo artist, or only one member of your group is signed to therecord label, then any backing musicians and singers have to be engaged forthe tour. There are many different types of arrangements that can be reachedwith regular band members. They can be on an annual retainer or on a small,daily-based retainer for when they aren’t needed and a higher fee when theyhave work to do at rehearsals, at personal appearances, interviews and duringthe tour. When they aren’t needed they could be on a first-call basis, whichmeans they have to drop everything to make themselves available for you.Or, they may be completely free to do other work but on the understandingthat if you call for them and they aren’t available you’ll get someone else.You can only afford to do that if they are replaceable. If they are crucial toyour ‘sound’ then you would be better advised to put them on a retainer on afirst-call basis.Other non-regular members of the band will generally be engaged on adaily or weekly rate plus free accommodation and travel and daily expenses.Additional fees may be payable to regular or non-regular members for otherpromotional work such as appearing in a video, for a live TV or radioperformance or a webcast to promote the tour. The fee that they are paidcould include any of these extra activities and fees. It’s important that youagree a ‘buy-out’ of all rights on the musicians’ or vocalists’ performances,whether they are your regular band members or not. If they are Musicians’Union or Equity members, there will be minimum rates for the work youwant them to do and rules on what can be bought out in the way of rights andwhat will be the subject of further repeat fees (details are in UsefulAddresses). If you don’t buy out the rights you may get into difficulties ifyou then go ahead and do a TV or video deal for performances includingthose of the session musicians or singers. You may believe you’ve clearedall rights and say as much in the contract. If you haven’t then the musicianor vocalist or their union can come out of the woodwork at the mostunhelpful moment. In the light of the recent successful claims by sessionmusicians years after the event (see chapters on publishing and bandarrangements) it would also be advisable to get a written confirmation thatthey have no interest in the songs they are performing.All these personnel should be given written agreements specifying theirfee, when it will be paid and what you expect to get by way of services andrights in return.Personnel who aren’t regular members of the team should enter intoconfidentiality agreements. These make it clear that they have to keepconfidential anything that they find out about you from being on the roadwith you. They are intended to head off people selling salacious stories andpictures. If, however, they are regular band members then it could becounter-productive, because they could get upset at what they might see asyou not trusting them. For more on the issue of privacy see Chapter 12.The importance of getting things clear in contracts with musicians isborne out by a case involving Elvis Costello.4The Elvis Costello CaseElvis Costello employed Mr Thomas as a musician to perform on theEuropean tour with him as part of his band. He was also going to do theUS tour, but as a part of a separate contract. Costello employed MrThomas through his service company, Elvis Costello Limited. The tourhad breaks in it between countries in Europe when Mr Thomas’s serviceswere not required. Mr Thomas took a seven-day break between the UKand US tours and put in a claim for payment. When he didn’t get paid, heapplied to the court to wind up/liquidate Costello’s company forinsolvency, i.e. being unable to pay its debts when they fell due. Thecourt declined to do that, but did order that Mr Thomas be paid on thebasis that the court did think it was part of the European tour.CONCLUSIONSIf you are already a successful live and recording artist, consider newpartners like promoters for your music industry deals.Evaluate so-called 360 degree models carefully – they can work if youdo your sums right.Get yourself a good agent.Get adequate insurance.Tie touring in with your record company’s marketing plans.Use the Internet to advertise forthcoming tours.1 The Conduct of Employment Agencies and Employment BusinessesRegulations 2003.2 The Regional Promoter’s Association (UK) is an informal grouping ofpromoters. Contact Josh Dean, Concorde2, Madeira Drive, Brighton, BN21EU. Tel. 01273 207241.3 Buckinghamshire Chilterns University College (now Bucks NewUniversity), the International Live Music Conference Safety Focus Groupand the European Agency for Health and Safety at Work (OSHA) created awebsite in 2004 dedicated to safety issues called Safety Rockswww.safetyrocks.org. It contains a risk assessment tool for those operatingin the live music scene.4 Elvis Costello Limited v. Thomas, Chancery Division June 1997. Chapter 11Band Arrangements INTRODUCTIONTHE SOLO ARTISTS and songwriters among you may want to skip this chapter,but if you co-write or plan any kind of recording collaboration it would beworth you reading it to see some of the potential problems.It may seem very negative to talk about problems before you’ve releaseda record or even got a deal. But that’s exactly when you should be looking atthe things that cause friction within bands. If you address these things at thebeginning when everything is going well, it will be much easier and causeless tension. If you wait to raise these issues until you’ve been on the roadnon-stop for six months and can’t stand the sight of each other then, believeme, it will seriously strain, if not destroy, the relationship.WHO OWNS THE BAND NAME?OWNERSHIPAs we saw in Chapter 1, choosing the right name is vital, but once you’vedecided on a band name and have done what you can to check that you havethe right to use it, you have to decide who owns that name.The record company won’t normally expect to own the band name. Thereare exceptions, particularly in the field of manufactured bands or ones wherethe record company thinks up the name and concept and hires in people toperform. In such cases they might have a very good reason to say that theyshould own the name, but this then forms part of the deal. Some productioncompanies are also insisting on having the right to hire and fire members ofa band. Maybe if it is an entirely manufactured band this is acceptable butnot, I think, if the band comes to the label already formed. What the recordcompany will expect you to do is to confirm that you have the right to usethe name and that they have the exclusive right to use it in connection withthe recordings you make under the record contract and a non-exclusive rightafter the contract ends. Music publishers will also want the exclusive right touse the name in connection with exploitation of your songs during the termof the publishing contract and a non-exclusive right after the end of the term.You don’t want to give exclusive rights for all uses of the name to any onecompany, for example your record company, as that would mean that youcouldn’t then use your name to sell merchandise or do a sponsorship deal.WHO WITHIN THE BAND OWNS THE NAME?It is essential that you sort this out at the beginning. I also firmly believethat you should put what you’ve agreed in writing. But I realise that I’mprobably whistling in the wind. I tell every band about to sign a deal thatthey should have a band agreement. They usually nod and say that theyunderstand why they should have one, but most of them never do anythingabout it. But, bear in mind the case we looked at in Chapter 1 that decidedthat if it isn’t spelled out in an agreement no band member can use the namewithout the agreement of the others. It doesn’t have to be a terribly formaldocument – although I would advise that a proper band agreement drawn upby a lawyer would be best. Even if you don’t go for that it would be betterthan nothing to write down what you’ve all agreed and sign it and then keepit in a safe place. You may think that this is over the top and a bitunnecessary, but if you can’t prove who owns the band name you can get thevery unedifying spectacle of two or more band members arguing over whohas the right to use the name and possibly ending up with none of thembeing able to do so.An example of this in practice is the ongoing legal suit in the US whereMike Love is claiming to have the sole right to use the Beach Boys name. Heis suing ex-bandmate Al Jardine for, he claims, illegally using the name.Holly Johnson, former lead singer with the band Frankie Goes ToHollywood, is another who was trying to claim sole right to use the name.For such a relatively short-lived band this one sure does seem to havegenerated quite a bit of litigation.Frankie Goes To Hollywood Trade Mark CaseHolly Johnson tried to register a trade mark in FRANKIE GOES TOHOLLYWOOD for goods and services including music, video andrecording goods, entertainment, clothing and other merchandise. He wasopposed by the other members of the band, Peter Gill, Mark O’Toole,Paul Rutherford and Brian Nash. The Registrar decided that the goodwillin the name was owned by the band as a whole which had accrued fromthe point that recording and performance started and no agreementregarding ownership of that goodwill had been made at the outset. If MrJohnson were allowed to use it alone then this would be amisrepresentation and result in damage to the other members. This wasthe case even though he was the better known of the former bandmembers. Mr Johnson had acknowledged there was a partnership and itwas a fact that he had not established any goodwill in that name beforehe was a member of that partnership. So as soon as they startedrecording together as members of the partnership goodwill began toaccrue to that partnership. In an echo back to the cases of Liberty X andBlue, the Registrar found that even after sixteen years of inactivity therewas still residual goodwill to protect. They still sold records and therewas other evidence that they still have goodwill – one example was thefact that an episode of the TV series Friends featured a characterwearing a ‘Frankie Says Relax’ T-shirt. It can happen that just one ortwo members of the band own the band name, for example where theyform the core of the band and the others aren’t permanent members. Aband may be made up of a core of the vocalist and the lead guitarist whodo most of the writing, and a rhythm section of bassist and drummer ona wage and not signed to the record contract. The core members may notwant to share ownership of the band name with the other two unless anduntil they become full-time permanent band members. But as theFrankie case highlights it is essential that this fact is recorded at theoutset.It’s more common to agree that all members of the band own the band name.More sophisticated band agreements could set out who gets to use the nameif the band splits up. You may decide that, in that case, none of you couldcarry on using the name or that those who carry on performing together as aband can continue to use the band name and that the one who leaves can’t.Then you get problems if two or more members leave and set up anotherband. There is no simple solution and it’s something that you should talkover with your lawyer, as they will have some suggestions that you maywant to adopt.That said, you may not in fact get any say in what happens to the bandname if the band splits up, because the record contract may well decide theissue for you. The contract might say that the record company has final sayover who can continue to use the band name. This may seem unfair but, ifyou think about it, the record company has invested a lot of time and moneyin building up your name and the reputation in your name through theirmarketing efforts. They won’t want to risk losing control of that if one ormore members of the band were to leave and, as a result, no one couldcontinue to use the name. You may get a chance to say no to this if youalready have a band agreement in place or, as usual, if you have a lot ofbargaining power. If the record company does decide who gets to use theband name then you have to think about whether the other band membersshould be paid some kind of compensation for the loss of the right to use thename. As made clear by the Frankie Goes To Hollywood case above it’spossible that, either under the terms of the partnership/band agreement or bythe operation of the Partnership Act 1890, the band name will be treated asan asset of the partnership that forms part of its ‘goodwill’. There areformulas that accountants can use to work out how much that goodwill isworth. If, for example, the partnership is dissolved because the band splitsup and the vocalist continues as a solo artist, then the others could have thevalue of their share of the goodwill in the name calculated and paid to themas part of the settlement between the band members. It’s quite a difficult anddelicate question and needs to be treated carefully. This is another goodreason why you should sort it out at the beginning before any tensions (orpretensions) get in the way.BAND STRUCTURESYou can decide on the ownership of the name and other things, such as howthe income is to be divided between you, but before your lawyer can putwhat you’ve agreed into a legal document you also need to decide what legalform the arrangements between you are going to take. There is no simpleanswer as to which is best. Each band’s needs are going to be different andyou have to look at each on its own merits. It’s important that you involveboth your lawyer and your accountant on this question, as your lawyer willbe looking to protect you from a legal viewpoint and your accountant will belooking at the financial and tax implications for you of the different types ofagreement. Your accountant will know your personal circumstances and willbe able to advise whether one type of structure works better than another foryou.The two main types of arrangement are a limited company and apartnership. There is also a subspecies called the limited liability partnershipwhich is a kind of hybrid of the two with features of a partnership, such asjoint liability for debts, but with an element of limitation on the extent of anindividual partner’s liability to third parties. This structure has been adoptedby at least one label I know of and is common amongst professionalpartnerships such as larger law firms. Ask your accountant if it could workfor your band.If you decide that the band should be a partnership then the bandagreement will usually take the form of a partnership deed. This is like alegal contract that sets out how the partnership is going to operate on a day-by-day basis and puts in writing what has been agreed about the band name,the split of earnings and so on. If you decide to become a limited companythen you’ll probably be advised to have a shareholders’ agreement, whichdoes the same thing essentially as a partnership deed but also deals withwhat happens to your shares in the company if the band splits up or one ormore members leave. At the risk of confusing things even more, it’s alsopossible for the band to take the form of a partnership or a limited company,and for the individual members to decide to set up their own company toprovide their services to the band through a company. I’ll go into this inmore detail below.LIMITED COMPANYA few years ago accountants regularly advised bands to set up a limitedcompany for some or all of the band’s services in the entertainmentbusiness. There were good tax reasons for doing so, especially the tax yearout, which was only available to employees and not to self-employedindividuals or partners in a partnership. This particular tax loophole has nowbeen closed and so the tax advantages have been considerably reduced. Thereasons now for setting up a limited company are more complex and you’regoing to have to take specialist advice from your accountant and lawyer.The main advantages are:You can spread your income (for example, a large advance) over anumber of years and therefore not have it all taxed in the year in whichyou get it.It may be a more tax-efficient way of distributing income to bandmembers.It might protect you from legal actions because anyone bringing suchan action would have to sue the company in the first instance.Also, if a lot of the band’s income is going to be earned overseas, anoffshore company may be used to avoid paying UK tax until you decide youneed to have access to the money in the UK.Among the main disadvantages are that there are more rules governingwhat companies can and can’t do, accounts have to be published so membersof the public could find out how much you earn (although there areexemptions that allow small companies to file abbreviated accounts) andthere are also higher administration charges with a limited company.Obviously, the sooner you get advice and decide on the band structurethe better. If you leave it too late and try and put the structure in place afteryou’ve already entered into contracts, things get much more complicated. Ifyou’ve already done a record deal as individuals and you then decide you’regoing to have a limited company, the record deals would have to be‘novated’ (i.e. renewed) in the name of the company. Also, if you’ve alreadyreceived some money as an individual, this might jeopardise a scheme totake money out of the country or may result in the Inland Revenue decidingyou should be taxed as individuals, regardless of the existence of the limitedcompany.On a more basic level, if you decide halfway through the negotiation of arecord or publishing deal to change the structure, the business affairs personat the record or publishing company isn’t going to find this very funny, asthey’ll have to redraft the contract to deal with the new structure. I wasrecently told an hour before a record contract was about to be signed with amajor record company that the deal was to be done through a limitedcompany. The record contract was with the individual. When I rang therecord company’s lawyer to let him know, he was in despair. Ten peoplewere meeting in an hour to get this contract signed – we had no time tochange it. So they had to go through a fiction that the deal was signed, drinkthe champagne and have the photos taken. Then we lawyers went away toturn it into a deal with the limited company so that it could actually besigned and the company paid the money.If you do decide on a limited company, bear in mind that you’ll have topay to get the company set up, to have the name that you want (assumingthat name is available) and you’ll have to pay the annual running costs.The band members will be the shareholders and you’ll have to agree howmany shares each member is going to have. This will probably be an equalnumber but need not be. Day-to-day decisions on the running of a limitedcompany generally require a 50%-plus majority. If it’s a two-member bandand each has 50% of the shares then each can block a decision by the other.Major decisions of the company generally require a 75%-plus majority. So,if you have a four-member band with equal shareholdings, one membercould block major changes but three could gang up on the fourth to pushthrough day-to-day decisions. To get around the problems that this couldbring, the band is usually advised to put a shareholders’ agreement in placewhich will govern how day-to-day matters are to be dealt with. Majordecisions could require unanimous agreement, otherwise three out of fourband members could vote through a major change against the wishes of thefourth. The shareholders’ agreement will also deal with what is to happen ifa member wants to leave. It will usually require that they resign as an officerof the company and that they first offer their shares to the other bandmembers. If a value for the shares can’t be agreed, an accountant is usuallybrought in as an arbitrator to decide the matter.PARTNERSHIPThis is the main alternative structure for bands at present without the limitedliability option but that may change if limited liability partnerships gainfurther ground. The band members are in partnership together for theparticular venture of being a band. All partners are treated equally andprofits and losses are shared by all. You’ll usually be advised to put apartnership agreement in writing. That agreement will decide how theventure is going to be run on a day-to-day basis, whether all partners areequal (or whether some are more equal than others) and what is to happen tothe band name if the partnership is dissolved. It will record whether anyonehas put any money (or goods, such as equipment) into the partnership and, ifso, whether the money is intended to be working capital of the business or aloan, and whether the equipment has been gifted to the partnership or is stillowned by one member and is on loan to the band. Does each band memberown the equipment he uses, for example a drum kit or a guitar? What if itwas bought with band advances – does that make it joint property? Whatabout the vocalist who has no equipment other than a microphone or two?Does he share ownership of other equipment with other band members? Thepartnership deed should also deal with these things.A partnership agreement can also deal with the question of who isentitled to what shares of the songs, the publishing advances and income.This is a very tricky subject and a very emotive one, which is why I say thatit should be dealt with at the beginning of the relationship before moneystarts to be earned from the songs (see Chapter 4).Even if you don’t have a written agreement, there can still be apartnership. The taxman will look at the reality of how you work togetherand how things like the band income are dealt with.SERVICE AGREEMENTSRegardless of the structure in place for the band, it’s possible for anindividual band member to have his own company, which we call a servicecompany. This service company is exclusively entitled to some or all of theindividual’s services in the entertainment business. The service companycan then enter into the record or publishing deal, hold shares in the band’scompany or an interest in the partnership. Record and publishing companiesare used to these arrangements and are usually happy to incorporate theminto their contractual arrangements, especially if they are told at an earlystage. They will usually want the individual to sign an agreement, called aninducement letter, to confirm that the service company is entitled to hisservices and agreeing that if the service company drops out of the picture forany reason he will abide by the contract personally.A service company is usually set up for tax reasons but the InlandRevenue looks closely at service companies, as they are often used as adevice to add weight to an individual claiming that he is self-employed andnot an employee. For example, if a record producer was engaged as an in-house producer/engineer at a recording studio, and he had a service companyand claimed he was not an employee of the recording studio, the InlandRevenue have said that they will look behind the service company at whatthe real relationship is between the producer and the studio. If all theindicators are that the relationship is actually one of an employee, then hewill be taxed as if he were an employee.1This issue often comes up when an artist engages musicians for aparticular tour or to record an album. The musicians may want to be treatedas self-employed. The musicians’ contracts have to be very carefully drawnup to establish the existence of a self-employed relationship. This isdefinitely one for the lawyers.BAND INCOMEWhatever structure you put in place, you have to decide what is to happen tothe income.Record, video, touring, merchandise and sponsorship income is usuallyshared between all band members. As we’ve seen, there are exceptionswhere a band consists of one or two core members who are signed up to therecord or publishing deal and the other members are employed to workalongside these. In such cases these ‘employed’ members are usually eitherput on a retainer or a weekly wage, or they’re employed as sessionmusicians. Session musicians are only paid when they work but, as theyaren’t usually signed up exclusively; they are free to work for others ( s e eChapter 5).While most disputes usually arise in the area of songwriting income, thisdoesn’t mean that arguments never arise in relation to recording income orindeed sometimes both.The Cure CaseLaurence Tolhurst, the former drummer and co-founder of the band TheCure, who was asked to leave the band in 1989, sued the lead singer ofthe band and their record company for damages arising out of deals donein 1986.2 Tolhurst argued that the record deal done with Fiction RecordsLimited in 1986 gave Robert Smith the lion’s share of the recordingincome and left him with ‘the crumbs’. He asked the court to agree thatthere was a partnership in place and to order Smith to account to him for50% of all profits receivable under the 1986 agreement. He also arguedthat he had been forced to enter into the 1986 agreement by undueinfluence exerted by the record company and its owner, Chris Parry. Hesaid that Mr Parry and Fiction Records should account to him for alltheir profit under the 1986 deal after an allowance for their skill andlabour.The case turned into a character attack on Tolhurst as allegationswere made that his contribution to the band’s success had declined as aresult of his drinking problems. Part of Tolhurst’s case was that hehadn’t been given enough information about the 1986 deal before hesigned it and that he hadn’t had independent legal advice. Once again wesee the familiar theme emerging – Tolhurst argued that the deal shouldbe set aside and that the court should order an account of all recordincome to determine how much he was actually entitled to.The court dismissed his claim and said that the question of undueinfluence didn’t arise because, although the record company would havebeen in a position to exercise undue influence, the terms offered werenot obviously bad. In fact, the judge thought that Tolhurst was lucky tohave been offered these arrangements at all in the circumstances, andfound that he hadn’t signed the 1986 agreement under undue influence.The fact that he hadn’t had independent legal advice didn’t affect thecourt’s decision, because the deal was not a bad one. The judge alsodecided that there was no partnership in place in respect of the 1986agreement, as Smith and Tolhurst had, in fact, come to a differentarrangement on what was to happen to the income.Disputes often arise in relation to songwriting income. There’s no problem ifall members of the band contribute equally to the songwriting process. Thenthe income from songwriting should be split equally. This is, however, rare.Much more common is the situation where only one or two members of theband write all the songs. This can give rise to two possible sources ofresentment. Those who write the songs could come to resent sharingadvances or royalties with the non-writing members of the band. Or, if thewriters don’t share the income, this then gives rise to resentment from thenon-writers, who miss out on a potentially lucrative form of income.Of course, leaving aside these tensions, there may also be argumentsabout who actually wrote what. As we saw in the Kemp case, the othermembers of Spandau Ballet brought a case against Gary Kemp arguing thatthey were entitled to a share in the publishing income as co-writers of themusic on the songs they recorded. They were unsuccessful, but there will beother arguments as to how much band members actually contribute to thecreative process by the way in which they interpret or perform the song. Ifthe contribution is a genuine one then they should be credited as a co-writer,but is their contribution the same as that of the main writers? If not, what isthe value of their contribution?What do you do if not all members of the band write and a publishingadvance comes in and the band is broke? Just imagine the tensions that couldthen occur if the main songwriter takes the publishing advance and doesn’tshare it with the others. Even if he agrees to share the advance equally withthe others, what will happen when the advances are recouped and publishingroyalties start to come through? Should the royalties then go to the mainsongwriters or continue to be divided equally? There isn’t one answer tothis, as it’s so personal to the individuals concerned. You only have to lookat the above cases to realise how important it is to try to sort this out.Here are three examples of ways in which I have seen bands deal withthis issue. There are many more possibilities.One band I know had an arrangement where one member controlled allthe songwriting and took all the publishing income. When this began tocause tensions, he volunteered to share percentages of his publishing incomefrom some songs with the other band members.I’ve also heard the story, which may be a myth, that the members of rockband Queen had an agreement where they got to be credited as writer of thesongs on the singles in turn. If true, this is very democratic, but doesn’treally deal with the problem if some of the band members are weakersongwriters and don’t write such successful songs as others in the band.A third way of dealing with it that I’ve come across is to share theadvances and royalties equally until the advances have been recouped. Afterthat, each band member would have his own account with the publisher andthe income from each writer’s contribution to the songs would then be paidinto his own account.Three very different solutions to a very ticklish issue. Whatever worksfor you should be written down as soon as possible. If circumstances change,review the arrangements and see if it would be fair to change them.ACCOUNTING AND TAXOne of the main things that cause problems with a band is tax and VAT. Inboth cases, bands often don’t keep enough money back to pay the bills. HMRevenue & Customs (the VAT man) have very heavy powers to imposepenalties on you. They are often one of the main creditors forcing a windingup of a limited company and they can and will make you bankrupt. Even ifthey give you time to pay, there will be financial penalties and interest topay. Believe me you won’t get away with it.Your accountant will advise you how much should be kept to one side fortax, and if he’s doing your books for you he’ll be able to tell you what toexpect to have to pay the VAT man. He’ll also probably advise you to keepall your receipts. You can then sort out which ones you can legitimatelyrecharge as business expenses against tax. If you haven’t kept them there isno proof. So do yourself a favour – get a cardboard box and get into the habitof throwing all your receipts into it. If you were more organised you couldhave a file divided into the months of the year and put the receipts in therelevant month. This makes life a lot easier for you or yourbookkeeper/accountant when it comes to doing the books.You’ll need a band account and, unless your accountant is doing all thebooks for you, you’ll need a basic accounting system. This could be a simplecomputer spreadsheet. In it you’d keep a record of the income you received,where it was from and what your expenses were for doing that work. So ifyou did a gig in March you’d record how much you received and how muchit cost you to do the gig (and don’t forget to keep receipts for all yourexpenses).LEAVING MEMBER PROVISIONSThese are the clauses in recording or publishing agreements with bands thatdeal with what happens if one or more members of a band leave or the banddisbands totally before the contract is over. The record or publishingcompany naturally wants to try to prevent this happening. They’ve investeda lot of money in supporting the band, making records or videos and inpromoting them around the world. The last thing they want is a band fallingapart on them. But, of course, no words in a contract are going to keep aband together if one or more of them have decided to call it a day.Individuals develop personally and creatively, and not necessarily in thesame direction as other band members. One member of the band may getmarried and have children and not want to spend as much time on the road.Or they may change their artistic style, which might be more suited to a solocareer than as a member of a band. Of course, there are also the possibilitiesthat the band members will grow to hate the sight of each other after yearson the road, or that the band just comes to the end of what it can docreatively. It used to be the case that when this happened the deal ended andthe companies moved on to the next potential big thing. Nowadays, with somuch money resting on building the reputation of an artist, when a splithappens the record or publishing company wants to be able to try andsalvage what it can of its investment. It will want to have the option to pickup the rights in any new projects that the writers or artists go into withouthaving to compete in the open market.The record company will also want to try to have the right to continue touse the name of the band that they’ve invested a lot of money in building upas a brand.Record and publishing companies will also want to have the option topick and choose whom they continue the deal with (sometimes called theRemaining Members) and whom they drop.For example, if the drummer leaves the band the record company willwant the right to continue with the remaining members of the band on thebasis that they continue to perform and record as a band. They will also wantto have a contract with any replacement drummer, who may be put on thesame terms as the remaining members or may be on a retainer basis.If the whole band splits up, the company will want the option to do newcontracts with each individual member. A publisher might only do newcontracts with those they know are writers who will probably go on to doother things. A record company may decide only to continue their deal withthe lead vocalist or other main focus of the band, guessing that they willteam up with other artists to form another band or will have a solo career.There’s usually a system built into the contract that gives the record orpublishing company a breathing space while they try to work out whatthey’re going to do. The record contract will usually give the company theoption to call for a leaving member to deliver to them demo tapes of what hewould do as a solo artist or with his new band. They will usually providestudio time for him to make these demos. The contract may also require theremaining members of the band to demo new tracks, with or without areplacement member, to see if the company think there is a future for theband or if they should drop them now. The record or publishing companymay know immediately whether they want to continue with a leavingmember or any or all of the remaining members and may come to a quickdecision. Don’t hold your breath, though – they will probably take themaximum time they have under the contract in order to look at their options.Once demo tapes have been delivered to the record company, theyusually have a month or two to decide what to do. In that time, both theleaving member and the remaining members of the band are in limbo. Theterm of the contract is usually suspended in the meantime.The record company may decide to take up an option on the leavingmember’s new project but not that of the remaining members, or vice versa.They may also decide to take up their option on the remaining members.They may decide to abandon both to their fate.For the leaving member or remaining members who are dropped fromthe contract, that is the end of their obligations to the record or publishingcompany. They don’t have to repay to the company their share of anyunrecouped balance on the account. However, their share of royalties fromrecordings made or songs written by them up to the time of the decision todrop them will continue to be applied to recoup the unrecouped balance. Thedropped artist or songwriter won’t see royalties from those recordings orsongs until that advance has been fully repaid.For example, let’s assume that there was an unrecouped balance on therecord account of £100,000 and that the record company continues withthree remaining members and drops a fourth (leaving) member. Let’s alsoassume that the band shared advances and royalties equally. The leavingmember’s share of the debt and of the royalties will be 25%. The leavingmember’s 25% share of royalties from recordings made while he was amember of the band will go to recoup £25,000 of the unrecouped £100,000debt. After that’s happened, 25% of any further royalties from thoserecordings will be paid through to the leaving member.If the record company continues with the remaining members and paysthem further advances, the leaving member’s share of royalties doesn’t getused to recoup those additional advances as he won’t have received anyshare of them. His debt is fixed at the time he is dropped from the contractby the record company, or at least it should be. This is something yourlawyer has to deal with when he negotiates the contract.The situation with the remaining members whose contracts continue isslightly more complicated. Their 75% of the royalties from those oldrecordings goes to recoup their 75% share of the unrecouped balance(£75,000 in our example). Their share of anything else that’s earned fromthe old recordings first goes to recoup any new advances they have receivedand only when both the old account and the new account is recouped willthey be paid any royalties. It also works the other way around. The royaltiesfrom their new recordings go first to recoup the new advances. Any surplusgoes to recoup their 75% share of the old debt. Only when both accounts arerecouped will they see royalties from the new recordings.If the contract continues with any remaining members, or if a newcontract is issued to the leaving member, the record or publishing companywill want to continue to have the same rights to the leaving member and/orremaining members as it had under the original recording or publishingcontracts. There are, however, one or two parts of the contract that they liketo try to change. The record company will often try to change the minimumrecording commitment from an album to singles, the rationale being thatuntil the record company knows how the new line-up will perform in themarketplace they don’t want to risk committing to make an album. Withsingles being seen as largely a promotional tool for album-based artists, ifyour music isn’t directed to the singles market you should hold out for analbum commitment.The record label will also usually want options to future albums. Thiscould either be for the number of albums left under the original deal, or forthat number plus one or two more. This should be agreed at the time therecord deal is originally negotiated, when you’ll have more bargainingpower. There’s no guarantee that the record company will want to negotiatethis with you in the middle of a leaving member/band split situation.The record royalties are usually the same as under the old agreement, butmay go back to the rate that applied in the first contract period so, if you’vereceived an increase in your royalty based either on record sales or becauseit’s later in the contract, it might go back to the rate before the increase tookeffect.The advances are usually a fraction of the advance that you would havegot for that contract period. For example, if you were a four-piece band andone of you left and you would have been entitled to £100,000 for the nextalbum, then the remaining three members will expect to be entitled to£75,000. This isn’t, however, a foregone conclusion. Your lawyer will haveto fight for it on your behalf.Because an artist walks away from the unrecouped debt and has a chanceto start again, many are actually crossing their fingers and hoping they’ll bedropped. This is a fairly short-term response though, because it will alldepend on whether they can get into a new deal. It’s certainly no reason tosplit up a band in the hope that you’ll get dropped.There are leaving member clauses that have special arrangements. Theremay be different rules on recoupment, or different levels of new advances,depending on which member of the band leaves and how ‘key’ he is seen tobe to the proceedings. They may feel that the lead vocalist/front man shouldcommand a larger advance and more preferential terms if he leaves than, saythe bassist. They may even say that they’re only interested in leavingmember rights for the key people.As you can imagine, these sorts of provisions can be very disruptive and,if it’s the band’s first deal, such arrangements ought really to be avoidedboth from the record company’s viewpoint and the band’s. At this earlystage, no one knows who is going to turn out to be the star. Who’d havethought the Genesis drummer, Phil Collins, would turn out to be an excellentlead vocalist and very successful solo artist?Different arrangements can also occur with publishing deals. Forexample, one of the four writer-performers in the band may be a prolificwriter for adverts or jingles in addition to his work for the band. In thesecircumstances, it’s possible for all four members to have separate accountsand to initially receive an equal share of the advances. It only really works ifeach writer earns an equal share of the income, as that goes first to recoupthe total band advances. After that, if this writer earns significantly morefrom his work as a jingles writer, his income from that source is onlycredited to his account. At the next accounting date he will then receive acorrespondingly larger royalty cheque.One area that will probably have to change in publishing deals aftersomeone leaves is the Minimum Commitment. If one songwriter previouslywrote 25% of an album and the others 75% and after a split both areexpected to deliver 100% of an album each then there is going to be aproblem. So in leaving member clauses in publishing deals, your lawyer willusually try to reduce the commitment to an achievable level.WHAT HAPPENS TO A BAND’S ASSETS ON A SPLIT?If there is a partnership or band agreement then that will say what happens tothe band’s assets if the band splits up or one or more members leave.If there’s no written or verbal agreement that you can prove between theband members and if they’re in a partnership, then the rather antiquatedPartnership Act 1890 will govern what happens. Essentially the partnershipis dissolved unless all partners elect that it can continue. If agreement can’tbe reached on a fair way of dealing with the assets then the partnership isdissolved and the assets have to be realised (i.e. sold) and the proceedsdivided equally between the partners. If agreement can’t be reached onwhether something such as the goodwill and reputation in the band nameshould be given a value and, if so, what value, the matter is usually referredto an accountant acting as an arbitrator. The way, if at all, that the recordcompany deals with the name in the recording agreement may helpdetermine if it has a value.If the band were not a partnership but had shares in a limited companythen the shareholders’ agreement and/or the Memorandum and Articles ofAssociation will say what is to happen. Usually, the remaining memberswould want to have the right to require the leaving member to resign fromany office as director or company secretary and also to sell his shares. Thearrangements would normally give the remaining members the right to buythose shares back at a certain price or in accordance with a fixed formula. Orit may require the shares to be valued by an independent accountant. Taxquestions could arise here, so everyone should take advice from anaccountant or a tax lawyer if a split occurs. In the absence of writtenarrangements, there is a danger that the company could become unworkable.If the leaving member is a director or a company secretary and he hasn’tbeen guilty of any wrongdoing, then without a written agreement it won’t beeasy to remove him from office. If he has service contracts, employmentadvice should be sought before terminating those arrangements. Without anagreement you can’t easily get shareholders to sell their shares and,depending on the size of their shareholding, they could block votes requiringa 75%-plus majority or, indeed, those requiring a simple 50%-plus majorityif it’s a two-man band or two or more members out of a four-piece bandhave left.Once agreement has been reached as to what to do with the band’s assets,this should be recorded in a settlement agreement, which should be drawn upby a lawyer. This is particularly important for matters such as rights to bandnames or copyrights.If no agreement can be reached, the parties are headed almost inevitablytowards litigation and the courts. Even though the reform of the legal systemin England and Wales now places considerable emphasis on conciliation andalternative dispute resolution (ADR) we still see the largely unedifyingspectacle of bands fighting it out in court.The partnership or band agreement should be very clear as to who ownswhat and who has brought what into the deal. For example, if one of the bandmembers has a Transit van that he allows the band to use then that should benoted. A band member could also have put money into the band to keep itgoing. This is either a loan to the band, with or without interest, or, morepractically, it’s a gift for the use of the partnership that they may or may notbe allowed to get back an equivalent sum if they leave. It’s also usual for theleaving band member to take with him any band equipment that heparticularly uses. This is fair, unless one person has the use of a lot ofexpensive equipment, which was paid for out of band advances. In that caseyou would expect the equipment to be valued and for each remaining bandmember to either get equipment to that value, or be paid his share of itsvalue by the leaving member who is going to take the equipment away.If a band name is genuinely closely associated with one individual thenit’s fair to say that that individual should be allowed to continue to use thename after the band splits. But as it will have been all the band members thatwill have helped to make the name successful, the person using the nameafter a band splits up should compensate the others. If a figure can’t beagreed it can be referred to an accountant to value it. In many cases,however, the name dies with the end of the band.Each band member should continue to be responsible for his share of therecord or publishing company unrecouped balance. This will usually becovered by the record or publishing deal. Once the old accounts arerecouped, the individual band members should be entitled to their agreedshare of any royalties.It’s also wise to decide whether the band members have to unanimouslyagree before something can be done with the material that they createdtogether, or if it’s going to be a majority decision. For example, a few yearsafter a band splits the record company wants to put out a G r e a t e s t H i t salbum. The record contract may give the band approval over whether therecord company can do this. The band agreement should say whether all theband members have to agree or not. The democratic thing would be to sayyes, they should. The practical thing would be to say that it has to be amajority decision, so that one person couldn’t hold a gun to the heads of theothers or their record company. The same situation arises with approvals ofthe use of material in adverts or films. My own view is that it should be adecision of all band members where this is practically possible but that, ifthe band has split up and one or more have gone out of the business andaren’t easily contactable, then the decision of the remaining members whoare in contact should prevail.Recently there has been a spate of cases and claims involving the boyband, Busted.James Bourne v. Brandon DavisBetween December 2000 and October 2001 James Bourne, MatthewSergeant, Kiley Fitzgerald and Owen Doyle composed and performedsongs together as an early line-up of the band Busted. There was nowritten agreement but the judge accepted that there was a partnership atwill just as we saw in the Frankie Goes To Hollywood case above. Thisline-up split in 2001 and James Bourne and Matthew Sergeant joined upwith Charlie Simpson to form the new Busted line-up and in March 2002this line-up signed a record deal with Universal-Island Records. As partof that deal James Bourne assigned all his performing rights in theearlier recordings to Universal-Island. This is quite common. This line-up was very successful and continued until January 2005 when it againsplit up and James Bourne went on to form a new group called Son ofDork. In August 2005 he did a new record deal with Mercury Recordsand again assigned his performing rights in performances of his beforethe date of the contract.In 2005 Brandon Davis issued a nine-track CD featuringperformances of the original line-up made in a hotel in 2001.Immediately James Bourne, Mercury Records and Universal-Islandissued proceedings for an immediate injunction alleging infringement ofMr Bourne’s performance rights and passing off by using the nameBusted in relation to these recordings. The court ordered an immediateinjunction in September 2005. In October 2005 Mr Doyle, from theoriginal line-up, purported to sell to Mr Davis all the consents necessaryin respect of his performances and assigning to him the copyright andperformer’s property rights and other rights in connection with thoserecordings. Mr Davis argued that this agreement had the effect ofassigning all the performer’s property rights of all four – on the basisthat it was partnership property and he as a partner could deal with it andbind all his partners. The judge accepted that all performers’ propertyrights could become partnership property. It would not be necessary forthere to be a formal agreement to give effect to this. Where Mr Davis’sclaim failed was because he had waited too long after they split to doanything. Four years was too long a gap to claim that Mr Doyle wasacting in the ordinary course of their partnership to sell the propertyrights of the partnership. Nor could it be seen as part of the winding upof the partnership. But even if they were partnership property they werestill held by the individuals who retained a beneficial interest so thepartnership did not have exclusive rights to dispose of the rights. At bestthey could argue that the rights should be applied for the benefit of thepartnership not of the individuals. So James Bourne was within his rightsto grant his individual performer’s rights to the record companies, MrDavis did not have the right to the rights because he knew Mr Doyledidn’t have Mr Bourne’s authority for the assignment and in any eventfor something like this the consent of all four members would have beenrequired under the Copyright Act (s 191 A(4).The main lesson to be learned from this somewhat complex legal case is thatto avoid any doubt it is best to deal, in writing, with partnershiparrangements and rights such as performer’s rights as well as copyright.But that is not the end of the disputes involving members of Busted. Twoof that original line-up – Kiley Fitzgerald and Owen Doyle – have broughtan action arguing that Universal-Island released recordings featuring theirvocal performances in the 2002 eponymous album Busted. They also claimthat they were integral in the creation of Busted including coming up withthe name and co-writing some of the band’s early hits. They claim that therewere unfairly cut out of the equation by the manager, Richard Rashman, andthat Rashman failed to fulfil his contractual commitments as a manager toprotect their interests by making them sign agreements on their departurethat greatly favoured Rashman and the remaining band members. They areclaiming a share of the royalties from the bands’ early songs and trade markuse. Unless it settles the trial is set for February 2008.CONCLUSIONSDecide on a good name for the band and protect it as far as you can.Decide on a band structure and put a written agreement in place.Decide who is going to be allowed to use the name if you split up.Make sure any leaving member clauses in your contracts are fair.Decide these things while you’re still friends.1 The Inland Revenue has issued guidelines with some quite useful examplesof what are the main indicators to someone being either employed or self-employed. It is called IR35 and can be obtained from your local InlandRevenue office.2 Tolhurst v. Smith and Others [1994] EMLR 508. Chapter 12Moral Rights and the Privacy of the Individual INTRODUCTIONMORAL RIGHTS HAVE their origins in well-established European principles oflaw aimed at protecting creative types and ensuring their works are treatedwith respect. These are also called droit moral. In this chapter I’m onlygoing to give an overview of these rights and of where they can be used.There are many books on the subject if you want to read into this further.1Moral rights are separate from copyright. In some circumstances you cankeep your moral rights when you’ve had to assign your copyright tosomeone else.In Europe it has long been felt that an artist’s rights to receive economic(i.e. financial) reward for the use of his work can be adequately protected bythe copyright laws. However, the integrity of the work itself deservesseparate protection. Hence the development of a separate droit moral. TheUK legal tradition makes economic rights more important than those ofartistic integrity. Why doesn’t the UK value the integrity of creative works,you may well ask? It’s not that we don’t give them a value. It’s a question ofemphasis and the answer lies in the cultural differences between the UK andthe rest of Europe and in the different legal histories they have.The European principles of moral rights were included in the majorinternational legal convention on intellectual property, the BerneConvention2 and, in particular, the 1948 Brussels Revision of the BerneConvention.3The UK lagged a long way behind and, indeed, the fact that we didn’tincorporate the two basic moral rights into UK law meant that for manyyears the UK was unable to fully comply with the Berne Convention.As the UK became more integrated into Europe it became clear that wewere out of step not only in not fully complying with the Berne Conventionbut also in not giving sufficient weight to these rights. The generalprinciples of harmonisation, which govern the operation of the EuropeanUnion, meant that the UK had to come in line on these moral rights. As wewill see, it did so, but in a peculiarly British fashion.The 1988 Copyright Designs & Patents Act was the first UK statute thateffectively incorporated all the principal moral rights. There had beenlimited moral rights in the 1956 Copyright Act but the 1988 Act was the onethat brought the UK in line with Europe and enabled us to comply with theprovisions of the Berne Convention.4 Since 1 February 2006 performers alsohave the legal right to be identified as the performer and to object toderogatory treatment of their recorded or broadcast performances.5The moral rights aren’t linked to who owns the copyright in the work inquestion. They may be the same person, but not necessarily. For example,you could assign your rights to the copyright in a musical work to a musicpublisher, but as the author of the work in question you could retain yourmoral rights. In fact, in law you can’t assign moral rights, they remain withyou or your beneficiaries on your death. This is intended to protect you fromunscrupulous people who may want you to assign your moral rightsalongside your copyright. However, there is more than one means to an end.If you and your fellow band members write a musical work together thenyou each have these moral rights independent of each other. Just because oneof you has decided to abandon his moral rights doesn’t mean that the rest ofyou have to.In reality, the 1988 Act merely put into law what had previously beendealt with in contracts. The crucial difference was that in a contract you canonly bind your contracting partner, whereas with moral rights you canenforce them against third parties who were not party to the contract. Forexample, you may have a clause in your contract that says you have to becredited as the composer of the music. If your publishing company forgets todo this, it’s a breach of contract and you can sue them. If, however, theworks are licensed for inclusion on a compilation album and the compilationcompany doesn’t credit you, then unless you have your moral rights youcan’t take action because the contract is between the compilation companyand your record company and not with you. If you have your moral rights,you can take action against the compilation company for breach of yourmoral right to be identified as the author, whether or not your publishingcompany wants to take any action.WHAT ARE THESE RIGHTS?There are four moral rights, but only three of them are likely to affect you.These three rights only exist in respect of copyright works.6 If a work is outof copyright then you don’t have moral rights in relation to it.THE RIGHT OF PATERNITYThe first moral right is the right to be properly identified as the author of thework or the performer when the performer’s performance is broadcast orwhen a recording of his performance is communicated to the public.7 This isalso known as the paternity right.The right is owned by the author of a copyright literary, dramatic,musical or artistic work, and the performer in relation to his performances.So, as a composer or lyricist of original songs, you would have the right tobe identified as having written the words or composed the music and as aperformer your name or stage name or the name of your group should alsobe identified in a manner likely to be noticed by the audience for yourperformance.It’s also possible that you’ll have moral rights in the artwork used for thepackaging of your records if you were the person who created that work (seeChapter 5 on artwork). You’ll notice, though, that the owners of the soundrecording copyright don’t have moral rights in that sound recording.The right exists in relation to a musical work and lyrics when that workis exploited in one of five ways:1. When the work is commercially published; this includes not only sheetmusic but also in sound recordings or as soundtracks to films.2. The issue to the public of copies of the work in the form of sound recordings.3. The showing in public of a film, the soundtrack of which includes the work.4. The issue to the public of copies of a film, the soundtrack of which includesthe work. Remember that the definition of ‘film’ will include videos andDVD.5. If a work has been adapted and the adaptation is exploited in one of theabove ways then you have the right to be identified as the author of the workthat has been adapted. If the arrangement itself is capable of copyrightprotection then the author of the adaptation may also have a right to beidentified as its author.There is now a moral right to be identified as the performer when that workis broadcast, or a recording of it is communicated to the public but there areexceptions. The requirement that the performer must be identified does notapply when it’s not reasonably practicable and it also doesn’t apply when theperformance is given for reasons relating to advertising or news reporting.What about the poor DJs who’d be in danger of breaching your moral rightsevery time they irritatingly didn’t give you a name check after playing yourrecord on the radio? There is no guidance at present as to whether it wouldbe taken as being ‘not reasonably practicable’ to name all the performers ona recording. Common sense suggests that a failure to give the group orperformers name or stage name would be a breach unless it was inadvertentbut it would not be practicable to name every performer, including sessionplayers. It may now be necessary in session musicians’ agreements tospecifically waive the moral rights to be identified.If you have moral rights in the artistic work (the artwork), that rightcomes into effect when that work is exploited in one of the following ways:1. If the work is published commercially.2. If it is exhibited in public.3. If a visual image of it is broadcast or otherwise made available to the public.4. If a film including a visual image of the work is shown in public or copies ofthe film (which will include videos and DVDs) are issued to the public.Section 77(7) of the 1988 Act sets out details of how the author is to beidentified. One example is that the author of the musical or artistic workmust be identified on each copy. This is logical: you wouldn’t want a recordcompany to be able to get around the right by identifying you on the first,say, one hundred copies issued and not on any of the rest.Assertion of the rightThere is, however, one very big ‘but’ here. In order to be able to rely on thepaternity right, you have to first have asserted that right. You may havenoticed on the inside cover of books published since 1988 that there is astatement along the lines of ‘the right of [author’s name] to be identified asthe author of this work has been asserted in accordance with sections 77 and78 of the Copyright, Designs and Patents Act 1988’. This is the bookpublishing world’s way of asserting the author’s right of paternity. If youwrite a song and don’t want to have the right to be identified as the authorthen you just don’t assert your moral right of paternity and you don’t insistof having a credit clause in your contracts. But why wouldn’t you want to beidentified?If you do want to be identified then you can assert your right generally –as in the statement above – or in respect of any particular act. For example,you could assert your right to be identified as the author of the musical workin the sound recording but not if that sound recording is then included in afilm. Again, you may wonder why anyone would make the distinction. Youcan choose to assert your rights in the document in which you assign anycopyright in the work, for example in an exclusive music publishing dealwhere you have to assign your rights for a period of time (see Chapter 4), oryou can do it by some other written means that brings your assertion to theattention of someone. They are then responsible if they breach your right.The problem with this is that it’s only binding on those people to whoseattention the assertion of rights is brought. For example, you could put in awritten document that you asserted your right of paternity, but if thatdocument was then put away in a drawer you wouldn’t have brought it toanyone’s attention and so couldn’t rely on your moral right later if someonefailed to identify you as the author of the work. Putting it in the assignmentdocument is the best way of ensuring that anyone who later takes anyinterest in the work assigned will have notice of your assertion of yourpaternity rights.If the musical work has been jointly written, for example by all membersof a band, then each is responsible for asserting his own right of paternity.One band member can’t take it upon himself to assert it on behalf of theothers.There are a number of exceptions.8 The most important one for you islikely to be the fact that, if the copyright is one that you created as anemployee, your employer and anyone acquiring rights from him doesn’thave to identify you as the author of that work. So, for example, if you wrotea jingle as part of your job as an employee of a jingle company then unlessthere was anything in your contract that said your employer had to give youa credit, he wouldn’t have to do so and you wouldn’t be able to rely on anyright of paternity.The integrity rightThe second moral right is the right of an author of a work or a performer in abroadcast on a recording which is then communicated to the public not tohave that work subjected to derogatory treatment (i.e. to have someone treatyour work in a way that reflects badly on the work and, indirectly, on you).9This is sometimes called the integrity right. The right is owned by the authorof a copyright literary, dramatic, musical or artistic work, by the director ofa copyright film (which includes a video and DVD) and by a performer inrelation to a broadcast of his performance or where a recording of hisperformance is communicated to the public. Once again, the right onlyapplies in relation to a work that is in copyright and it doesn’t apply to soundrecordings.The right has several hurdles to it. First, you have to establish that thework has been subjected to some form of treatment, i.e. that it has beenadded to, or parts have been deleted, or the work has been altered or adaptedin some way. Something has to have been done to it. This can be as little aschanging one note or one word of the lyrics. It isn’t a treatment of a work ifall you do is put it in an unchanged form in a context that reflects badly onits author. For example, if someone uses your song as part of a soundtrackfor a porn video, that of itself isn’t a treatment of the work for the purpose ofyour moral rights. Nor is it a treatment if someone just changes the key orthe register of the music.In a case involving George Michael, the court was asked to consider thequestion of what was a treatment.10Someone had put together a megamix of George Michael’s tracks using‘snatches’ from five songs. They had also slightly altered the lyrics. Thecourt decided that this was definitely a treatment.Once you’ve established that there has been some form of treatment, youthen have to show that that treatment was derogatory. For these purposesthat means a distortion or mutilation or something that is prejudicial to yourhonour or reputation.When you’ve established both these points, you then have to look atwhether the treatment has been subjected to a particular type of use. In thecase of a literary or musical work the integrity right is infringed by:1. Publishing it commercially.2. Performing it in public, broadcasting it or otherwise making it available tothe public.3. Issuing copies to the public of a film or sound recording of, or including, aderogatory treatment of the work.In the case of an artistic work the treatment has to have been used in one ofthe following ways:1. By publishing it commercially.2. By exhibiting it publicly.3. By broadcasting or including in a service which makes available to thepublic a visual image of a derogatory treatment of the work.4. By showing in public a film including a visual image of a derogatorytreatment of a work or issuing to the public copies of such a film.In the case of a film (which includes a video or DVD) the integrity right isinfringed by a person who shows in public or includes in a cable programmeservice a derogatory treatment of a film or who issues to the public copies ofa derogatory treatment of the film.11 In the case of a performance it’s thebroadcast of the work or where a recording of a performance iscommunicated to the public. These rights also apply to online or digitalreproduction via the Internet.FALSE ATTRIBUTIONThe third right is an extension of a right that existed under the previousCopyright Act of 1956. It is the right not to have a work falsely attributed toyou. This would happen if someone says that a piece of music is written byyou or that you directed a particular film and that isn’t in fact the case. Thisfalse attribution needn’t be in writing – it can be verbal. It also needn’t beexpress – it can be implied. So someone could suggest on a televisionprogramme that you were the author of a particular piece of music when youweren’t, or could imply that you were without coming straight out andsaying so. In many ways, it is the mirror image of the right of paternity.If there has been a false attribution then it has to be applied to a workthat has been used in one of the following ways before it can be said to be aninfringement of this moral right:1. If a person issues to the public copies of a literary, dramatic or artistic workor a film in which there is a false attribution. So, for example, if the creditswrongly identify you as the author of the music, this could be aninfringement of your moral right.2. If a person exhibits in public an artistic work, or a copy of an artistic work,in or on which there is a false attribution.3. If in the case of a literary, dramatic or musical work, a person performs thework in public, broadcasts it or otherwise makes it available to the public,saying wrongly that it is the work of a particular person or, in the case of afilm, shows it in public, broadcasts it or makes it available to the public asbeing directed by someone who had not in fact directed it.4. Material issued to the public or displayed in public, which contains a falseattribution in relation to any of the above acts, is also an infringement. Thiscould catch publicity posters for films, or adverts in magazines for a book,or the false credit on the packaging for a recording of a piece of music.There are also rights against those who indirectly infringe this right.12 Therights extend to making available over the Internet or making digital onlinecopes of the works.PRIVACY OF PHOTOGRAPHSThe final moral right is the right to privacy in any photographs that youcommission.13 This is intended to protect against unauthorised use bynewspapers and such like of private photographs that you havecommissioned. When you’re starting out in the business this right may notbe of immediate practical interest to you. There’s always the motto thatthere’s no such thing as bad publicity. However, later in life, when you’re amegastar seeking to protect your privacy at all costs, you may remember thisright and use it against unscrupulous photographers keen to sell their souland your life to the tabloids. This right can be used alongside the privacy andconfidentiality rights that are being developed by the courts implementingthe Human Rights Act as we will see later in this chapter.OWNERSHIP OF RIGHTSAs we’ve already seen, the moral rights belong to authors – to composers ofmusical works and writers of lyrics intended to be spoken or sung withmusic and to performers on sound recordings or broadcasts of theirperformances. A record producer may have moral rights but not as theproducer but because he may have also performed on the record orcontributed to the writing of the words or music (see Chapter 5).The real beauty of these rights is that they are rights of the author orperformer, who can’t be made to assign them. A songwriter may have beenrequired to assign the copyright in his words and music to a publisher as partof a publishing deal (see Chapter 4), but he can’t be made to assign hismoral rights. If he retains his moral rights then he is in a position to takelegal action against someone infringing those rights, even if the publishingcompany wants to take no action.There are, of course, difficulties with the moral right of paternity, as youwould have to show that you had the right, that it had been infringed and thatyou had asserted the right in such a way that the person infringing it hadnotice of the assertion. If your assertion was in an assignment document andwas general in nature, you could take action against the assignee of therights and against anyone else taking an interest in the rights subsequently.This could help you take action for infringement of your paternity rightagainst your publisher or one of his sub-publishers, but not so easily againstsomeone who was acting unlawfully.The other moral rights do not have to first be asserted.DURATION OF RIGHTSThe paternity and integrity rights last for as long as copyright exists in thework in question. The same applies to the right of privacy in commissionedphotographs and films.14 After a person’s death, the right to take action forinfringement passes to whomever he specifically directs. This can be morethan one person. The right against false attribution lasts until twenty yearsafter the person’s death. If there is an infringement after his death then hispersonal representatives can take action. It’s not a criminal offence toinfringe your moral rights but, if proven, you have the right to seekinjunctions and/or damages. Most importantly, you can exercise a degree ofcontrol over what’s being done with your work.THE CATCHThere is, though, one other big problem with these rights and it has beendealt with in a peculiarly British way. You’ll recall that the two main moralrights were first introduced into UK law in 1988 in order to enable the UK tofully comply with the requirements of the Berne Convention. TheConvention said that the laws of signatory countries ought to contain theauthor’s moral rights. There was, however, nothing in the Convention thatprevented a country incorporating the rights into its laws but then makingconcessions to other economic interests. This is exactly what happened inthe UK. It arose largely as a result of intensive lobbying by the powerfulrecord and publishing interests in this country. It is also a result of the long-standing laissez-faire tradition that we spoke of earlier. In the UK we stillfavour economic interests over author’s rights. So what happened was that,having included the rights in the 1988 Act, the law then went on to say thatthe author could then elect to waive his rights, to agree not to assert the rightof paternity or to enforce any of the other rights. The waiver must be inwriting and signed by the person giving up the right. The waiver can be for aspecific work, for works within a specific description or works generally. Itcan apply to existing and future works, can be conditional or unconditionaland can be revocable. The same points would now also apply to the moralrights of performers.What was the consequence of this waiver provision? I’m sure you canguess. As soon as the industry realised these rights could be waived, allcontracts were changed to include as standard a waiver of these rights in thewidest possible terms. Clauses were included which provided for anabsolute, unconditional and irrevocable waiver of any and all moral rights ofwhatever kind in relation to all existing or future works. They even put themin record contracts where there was little or no chance of the right existing inthe first place.CONCLUSIONSo why bother discussing these rights if you’re going to have to waive themanyway? Once again, it comes down to bargaining power. If creativecontrols are important to you then you could try and insist on not having towaive them. If you’re forced to waive your moral rights then try and onlywaive them against uses of your works by properly authorised people. Tryand retain the right to enforce your moral rights against unlawful users ofyour works and infringers of your rights.If you’re made to waive your rights, your lawyer will then usually usethat as a lever to try and get some of the benefits of the rights through theback door. It helps us to negotiate more favourable credit clauses for youand to cover what happens if you aren’t properly credited. We rely on theintegrity right to get you contractual consents as to what can or can’t be donewith your work. For example, that your words and music can’t be changedwithout your consent.PRIVACY OF THE INDIVIDUALI’ve been talking in this book (in Chapters 8 and 9 in particular) about howyou capitalise on your fame and fortune – but there is another side to thecoin. What rights does a famous person have to prevent others from cashingin on his fame and intruding into his private life? Can celebrities protecttheir privacy? What happens if the press gets too intrusive?There are two opposing schools of thought at work here. On the onehand, you could argue that personalities have worked hard to create theirfame; why shouldn’t they be able to benefit from the results of this hardwork and control what others do with that celebrity? On the other hand,some consider that the fame of a personality is created by the public – it issociety at large that decides whether or not an individual is famous or not, sotheir name and image should belong to the public.The courts of different countries adopt different approaches. In the USit’s much easier to protect your personality and the publicity associated withit. In the UK the courts have, for over half a century, adopted the approachthat if you choose to go into an arena where you get fame and maybefortune, then your name and reputation is a matter of public interest andpublic property.The cases on the laws of passing off that we discussed earlier clearlyshow that the courts are not keen on assisting famous personalities to clearthe market of ‘unofficial’ merchandise (see Chapter 8). So, if there is notrade mark or copyright infringement and no breach of the TradeDescriptions Act, what can you do? Well, in most western Europeancountries you’ll find that the law gives you a much broader protection,indeed a right of privacy.The Petula Clark CaseOne of the first French cases involved Petula Clark, who had authorisedan agency to interview and photograph her for a particular publication.The agency concerned, however, sold the photographs to another agencythat used them in a weekly publication. Petula Clark was successfullyawarded damages by a French court proportional to the loss of theopportunity to earn revenue from the publication of the photographs.This line of approach has been consistently followed in France but not inthe UK.The Eddie Irvine CaseA very different case, involving the racing driver Eddie Irvine, has givensome hope that the courts are starting to acknowledge that there is acommercial value in the named image of a well-known individual, whichthe individual is entitled to protect.15Talksport produced a limited run advert with a doctored picture ofEddie Irvine showing him seeming to hold a radio, not a mobile phone,in his ear with a ‘tag’ line that suggested he supported a particular sportradio station.Irvine brought an action for damages for passing off and argued thathe had a substantial reputation and goodwill and that the defendant hadcreated a false message that a not insignificant section of the publicwould take to mean that Irvine had endorsed the radio station. The radiostation argued that there was no freestanding right to characterexploitation enjoyable exclusively by a celebrity, and a passing off claimcouldn’t be based on an allegation of false endorsement.The court agreed with Irvine and held that an action for passing offcould be based on false product endorsement. The judge recognised thefact that it was common for famous people to exploit their names andimages by way of endorsement in today’s brand-conscious age, not onlyin their own field of expertise, but a wider field also. It was right,therefore, for valuable reputation to be protected from unauthorised useby other parties. The fact that the brochure had only had a limiteddistribution was not relevant. Even if the damage done may be negligiblein direct money terms, the court accepted that potential long-termdamage could be considerable.The 118 case referred to in the chapter on branding also suggests theregulators are beginning to accept in some circumstances that there is valuein a person’s image which they are entitled to protect.The implementation of the Human Rights Act into UK law in 2000attracted much interest among personalities and those advising them as theythought it might afford them more protection.The Human Rights Act gives an individual the right to respect for hisprivate and family life, home and correspondence. This must, however,according to the Human Rights Act, be balanced against the importance offreedom of expression and of the press. The courts are required to performthis balancing act.The introduction of the law saw a flood of cases, some juicy onesinvolving stories of sex and drugs. Others were less tabloid in nature, butboth sorts centred on the very serious question of the right to privacy. Hereis a selection of some of those cases:The Michael Douglas Case16This involved a claim by actor Michael Douglas and the publishers ofOK! magazine that Hello! breached his privacy by secretlyphotographing his wedding to Catherine Zeta-Jones and publishing thephotographs ahead of the exclusive that had been given to OK!Three judges reviewed the history of the developing law ofconfidence, not privacy, and the effect, if any, of the introduction of theHuman Rights Act 1998. They considered the acceptance of a right toappropriate protection of one’s personal privacy as an extension of thelaw of confidence – placing a fundamental value on personal autonomy.The court declined to expand on a new right of privacy saying that MrDouglas and OK! had sufficient protection under existing laws ofconfidence.The earlier CA case of Kaye v. Robertson was not followed on thebasis that the law had moved on to develop a law of privacy without theneed for first establishing the relationship of confidentiality, whichsometimes had to be done very artificially.On balance, they decided Mr Douglas had a right to privacy, eventhough he had waived that right by agreeing a deal for publication ofphotographs of the event in question, his wedding.The legal saga continued with £14,500 damages being later awardedto Mr Douglas and Ms Zeta-Jones and just over £1million to OK! for thecommercial damage.Hello! then announced it would appeal the amount of damagesawarded and the decision of the House of Lords in May 2005 was thatwhilst Douglas and Zeta-Jones were entitled to damages for breach oftheir right of privacy OK! was not also entitled to damages. This wasboth a significant blow to OK! which had anticipated £1m in damagesand the bulk of its legal costs and one which has created a huge hole inthe case law which was thought to protect a magazine from a ‘spoiler’story run by a rival. It would seem that protection is not available underthe privacy or confidentiality laws in those circumstances. Unless thereis an appeal to the European Court this would seem to be the end of thisparticular saga but we can expect more cases in this area as magazinesseek to establish the extent of what they can or cannot protect in terms ofexclusives.Ms Dynamite CaseIn 2003 Ms Dynamite sought to rely on her right to privacy under Article8 of the Human Rights Act and complained to the Press ComplaintsCommission that the Islington Gazette had published information whichmade it possible to identify the location of her home, against the PCCCode of Conduct. The PCC upheld her complaint and found that theCode had been breached. But whilst this may have acted as a sharp slapon the wrist to The Islington Gazette without stiff financial penalties inthe form of compensation it lacks bite.The courts have shown more of a tendency to grant injunctions in the area ofprivacy than, for example, libel. This fact, together with the hope ofcelebrities for an improvement in their right to privacy from intrusivepaparazzi and tabloid reporters, has led to several new cases in this area.The Footballer Case17A footballer wanted to prevent the publication of kiss-and-tell stories bygetting an injunction against a newspaper. The court had to balance theinterests of the individual against freedom of speech and decide whetherthere was a public interest to be served in allowing publication. Theydecided that, on balance, they wouldn’t prevent publication.This case made it clear that nearly all intrusions on privacy will be dealtwith in the area of breach of confidence. This seems to be a move away fromthe Douglas case, which clearly wished to establish a separate law ofprivacy. By returning to this law of confidence, it will be necessary forcelebrities to show that the information was obtained in confidentialcircumstances. The case also seems to show the court’s sympathies tippingin favour of freedom of the press, while stressing the need for a balancingact between privacy of the individual and the public interest. By that, I don’tmean that just because it’s a piece of juicy news that it’s in the publicinterest, but that public figures have to accept that their activities do, insome circumstances, make it in the public’s interest that they be writtenabout, whether they like it or not.This approach seems to have been followed in other cases brought bycelebrities.The Jamie Theakston CaseAnother celebrity caught, as it were, with his trousers down, was the TVpresenter and actor Jamie Theakston, who visited a brothel and wasphotographed by one of the women there, who then threatened to sell herstory to the press, apparently because he failed to pay for servicesrendered.18 Theakston sought an injunction to stop her. The courtapplied the rules on confidence and decided that the woman owed himno duty to keep the matter secret and that the public interest was servedby a story that he had visited this place. They also ruled, though, thatthat interest didn’t go so far as photographs, and made an orderpreventing the publication of the photographs.The Naomi Campbell Case19The first of the privacy cases to come to trial after the implementation ofthe Human Rights Act was one brought by the supermodel NaomiCampbell against the Daily Mirror. The Mirror intended to publishdetails of Ms Campbell’s drug addiction. She sought an injunction t oprevent them. The court decided that, while there was a public interest inknowing of her addiction (she had, apparently, previously proclaimed ananti-drugs stance), this didn’t extend to details of her therapy withNarcotics Anonymous. It granted her an injunction for breach ofconfidentiality, but awarded the very low sum of £3,500 in damages – asignal that the court didn’t think much of her behaviour. The judge wentso far as to say, ‘I’m satisfied that she lied on oath.’ This was a clearcase where the damage caused by the publicity surrounding the case andher evidence in court outweighed that caused by the original article.Appeals took the case right to the House of Lords where in May 2004 theoriginal decision stated above was upheld by the Law Courts on a 3 to 2majority decision.There is clearly still a legal tightrope to walk between what it is legitimateto publish and what oversteps the mark. The law is still developing andoccasional inconsistencies remain.Sebastian Coe Case20Shortly after the House of Lords decision in the Naomi Campbell case,Sebastian Coe brought a High Court action seeking an injunction againsta newspaper publishing details of his mistress’s abortion. As this wasprivate medical information which the courts had declared suitable forprotection in Ms Campbell’s case he might have expected to succeed buthe did not.Sara Cox v. The People newspaper21DJ Sara Cox sued The People newspaper after it published nude shots ofher and her boyfriend, John Carter, on their honeymoon whilst relaxingon a private beach. The action was settled with an award of £50,000 indamages.The Elizabeth Jagger Case22In March 2005 Elizabeth Jagger brought a claim for an injunction in theHigh Court to prevent further publication of CCTV footage of her ‘heavypetting’ near the doorway of a nightclub with her then boyfriend CallumBest. The judge agreed she had a right to privacy and that when balancedagainst public interest he thought it came down firmly on the side ofprivacy in this case.As in many other areas of English law, much can depend on the individualjudge who hears your case. In this country the press is self-regulated by thePress Complaints Commission.A 2006 case involving a Canadian musician helped to put to rest some ofthe inconsistencies and set some guidelines for where to draw the linebetween the need for privacy and the desirability of a free press.Niema Ash v. Loreena McKennitt23Although perhaps not a household name here Ms McKennitt was a verysuccessful Canadian folk singer who toured internationally. In 2005 afriend (or perhaps more correctly former friend) of hers, Niema Ash,published a book she had written entitled Travels with LoreenaMcKennitt: My Life as a Friend. Ms McKennitt claimed that the bookcontained a great deal of personal and private information about her lifewhich she was entitled to keep private. Ms McKennitt was someone whotook pains to protect her reputation and privacy. She was relying on theduty of confidence to keep private and business affairs private. Shesucceeded in this claim first time round but Ms Ash appealed.The Court of Appeal decision is useful to lawyers because itsummarises the present state of the law of privacy and confidence.English law does not have a right to sue for invasion of privacy so thecases have to be brought as breaches of confidence. That area of law alsoencompasses the provisions of the Human Rights Act but in ways thatare not always comfortable. A balance has to be drawn between the rightof an individual not to have his private information misused as againstthe right of freedom of expression. In addition the court has to considerwhether the individual complaining of misuse of private information hada reasonable expectation of privacy. This latter requirement is behindsome of the inconsistent decisions above. The judges sometimes findthat the claimant’s own behaviour has led to them foregoing thisexpectation of privacy. An example might be if a film star used hisfamily to promote an image of a happy family man he might then havegiven up his right to expect to prevent others from publishing pictures ofhim with his family.Ms McKennitt passed the first hurdle in that the Court of Appealjudges found that the information was of a personal nature that did fallwithin the category of private information. Ms Ash had, ratheringeniously, argued that it could not be private to Ms McKennitt becauseshe had shared the same experiences. But the judges rejected this line ofargument. They thought that the book wasn’t about Ms Ash’sexperiences but those of Ms McKennitt and so was not being used as anexpression of her personal experiences.The judges also decided that in this case merely because MsMcKennitt sought publicity for herself she hadn’t lost all right to protectherself against publicity that she didn’t like.So having decided this was private information that she was entitledto protect the court then had to decide if that right was outweighed bythe right of freedom of expression.The judges found here that the freedom of expression didn’tautomatically outweigh the right of privacy. Each case had to be lookedat in detail. In this case they found that Ms Ash did not have her ownstory to tell, only that of Ms Mckennitt and just because it had as it werecome into the public domain by being told to Ms Ash by Ms McKennittdid not mean Ms McKennitt had lost her expectation that thatinformation would be kept private. It might I think have been different ifMs McKennitt had already given a ‘warts and all’ interview to anewspaper.Ms Ash thought that she had the right to expose what she saw as MsMcKennitt’s hypocrisy in the difference between her public and privatelife. The judges disagreed that there were any special circumstances thatwould justify the revealing of that private information. A charge ofhypocrisy alone was not enough of a reason. And in any event they foundon the facts that Ms McMennitt was not in fact a hypocrite.On the other hand the court also made clear that there was noautomatic right to a private life by a person in the public eye but that insome circumstances there were areas of their lives that they wereentitled to keep private. Special circumstances would need in future tobe shown if for example the private life of a football player were to bemade public without his consent. Special circumstances would bematters that fell within the area of political or public debate and wouldnot therefore normally apply to the private lives of individuals, evenpoliticians and those in the public eye.Exactly a week later the Court of Appeal handed down its judgement in theappeal by Associated Newspapers to be permitted to publish extracts fromthe Prince of Wales’ private journals.Associated Newspapers Ltd v. HRH Prince of Wales24In some respects this case looks to be obvious but it nevertheless endedup in the Court of Appeal. This is probably a reflection of the amount ofmoney newspapers can make from stories of a revealing nature as wellas the fact that this is a still developing area of law where the pressperhaps senses a chance to gain some ground in the privacy versus pressfreedom battle.Prince Charles kept handwritten journals (eight in total) containinghis impressions and views in the course of his overseas visits in theperiod between 1993 and 1999. An employee of the Prince’s providedcopies of the journals to the Mail on Sunday who published substantialextracts relating to a visit to Hong Kong in 1993, including commentswhich were disparaging of certain Chinese dignitaries he had met. Heractions were a breach of her employment contract. Prince Charles suedher on two grounds, breach of copyright and breach of confidence. Onthe breach of confidence case the issues were essentially the same as inMs McKennitt’s case outlined above. Was the press freedom ofexpression enough justification to override the Prince’s right of privacyin his private life?The court which first heard the case thought it did not and gavejudgement to the Prince. The newspaper appealed.Once again the Court of Appeal judges outlined the state of thecurrent laws of confidence and in this case also discussed the extent towhich the employee was in a position of confidence such as to fairly andreasonably recognise that the information was private.Once again there was the question of the balance of interests to beweighed but also in addition the Court of Appeal felt they had toconsider how this weighed up when you also took into account that theinformation had been obtained as a result of a breach of a confidentialrelationship based on a contract – here an employment contractIn this case both the fact that the employee had a contract whichcontained a clause obliging the employee to keep the contents of thejournal confidential and the balance in favour of even the heir to thethrone having a right to keep his thoughts private fell in the Prince’sfavour. No one is so famous that they have lost all right to a private life.CONFIDENTIALITY AGREEMENTSWhat this last case in particular highlights is if a confidential relationshipdoes exist (for example, between a celebrity and his housekeeper, driver orbodyguard), then it’s important that there is a confidentiality agreement putin place. This will make the extent of the confidentiality clear and confirmthat such matters will remain confidential. This will add a claim for breachof contract to that of confidence.However, it doesn’t always go the way of the celebrity.The Beckhams v. Gibson25In April 2005 David and Victoria Beckham brought an action in the HighCourt to prevent further disclosures by a former nanny, Abbie Gibson,about their marriage and private life. There was a confidentialityagreement in place which the Beckhams claimed had been breached. Thejudge refused to grant the injunction but when the matter came beforethe courts the former nanny voluntarily undertook not to release anyfurther information pending a full hearing. In many cases this is usuallythe end of the matter.HARASSMENT ACTIONSApart from seeking court orders in the civil courts for injunctions,celebrities can, and do, seek the involvement of the police to prevent theactivities of paparazzi and reporters whose activities border on that ofstalking. They rely on legislation introduced in the 1990s to prevent privateindividuals from being hounded or stalked. If the police can be persuaded toget involved, they can be very effective in ‘moving on’ recalcitrant membersof the press. If they won’t, then private criminal actions are possible,although such cases rarely come to trial as the celebrity would have to giveevidence and many are reluctant to do so. Whether it’s a police or privatecriminal case, the court is going to want to see detailed evidence of theextent of the harassment, so private detectives are often hired to producephotographs of the paparazzi hounding the celebrity, and his private securitystaff are often called upon to produce detailed statements of the extent of theharassment. Many of these paparazzi are freelance and make their moneyfrom selling stories and photos to the highest bidder. ‘Exclusives’ can netthem tens of thousands of pounds in syndication rights worldwide. N owonder they are keen, and no wonder that many celebrities are forced eitherinto almost total isolation in the UK or to move overseas, France and the USbeing particular favourites, where the privacy laws are stronger.CONCLUSIONSTry to retain your moral rights if you can.Assert your right to be identified as an author of a work early and aswidely as you can.If you have to waive your moral rights, use this to get improvedcreative controls in the contract.Put confidentiality agreements in place with those who work closestwith you.Consider harassment actions if intrusion becomes too much.Before embarking on privacy/breach of confidence actions, considerwhether the potential bad publicity of a trial could outweigh anyadvantages gained.1 See Copinger & Skone-James on Copyright, (15th edition Sweet &Maxwell, 2005) for a more detailed legal description of UK moral rights.2 It first appeared in the 1925 Rome Treaty.3 Article 6 bis of the 1948 Brussels Revision to the Berne Conventioncontains two basic moral rights: the right to be identified as an author of awork and the right not to have that work distorted, mutilated or otherwisealtered in a manner which would be prejudicial to the author’s honour orreputation.4 The moral rights are found in Chapter 4 of the Act in sections 77–89. Theremedies are found in section 103ff.5 The Performances (Moral Rights,etc.) Regulations 2006.6 Sections 178 and 1(2) CDPA.7 Section 77 CDPA.8 Section 79 CDPA.9 Section 80 CDPA.10 Morrison Leahy Music v. Lightbond, 1993 EMLR 144.11 See section 83 CDPA for details of other persons who could be liable forinfringement of this right and section 81 CDPA for exceptions.12 Section 84(3) CDPA.13 Section 85 CDPA.14 Section 86(1) CDPA.15 Irvine and Anr v. Talksport Limited Chancery Division 13/03/02.16 Michael Douglas, Catherine Zeta-Jones, Northern & Shell Limited v.Hello! Ltd. [2001] EMLR 199.17 A v. B & C [2002] EMLR 21.18 Theakston v. MGN Ltd [2002 QBD] EMLR 22.19 Campbell v. MGN Ltd [ 2004] UKHL 22.20 The Guardian 7 June 2004.21 The Guardian 9 June 2003.22 The Times 10 March 2005.23 Niema Ash v. Loreena McKennitt [2006] EWCA Civ 1714 (14 December2006).24 Asoociated Newspapers Limited v. His Royal highness, the Prince ofWales [2006] EWCA Civ 1776 (21 December 2006).25 The Times, 17 May 2005. Chapter 13Sampling And Plagiarism INTRODUCTIONSAMPLING AND PLAGIARISM are two sides of the same problem. Plagiarism isthe taking of someone else’s ideas and passing them off as your own.Sampling is essentially the same thing but the subtle difference betweenthem is that to be guilty of plagiarism you need to show that someone hadaccess to your material and that it was not just coincidence that it soundsvery similar to your work. Sampling is always only a deliberate act. Theperson doing the sampling deliberately takes parts of someone’s work andthen, possibly after manipulating it, includes it in their own work.1 Bothsampling and plagiarism are infringements of copyright. 2 If you sample theactual sound itself by copying the digital recording, this is an infringementof the sound recording copyright. 3 If you don’t actually make a copy of thesound recording copyright, you could take the piece of music that you’reinterested in using and get someone to replay it, to re-perform it in anidentical way. This is still sampling, but it would then only be aninfringement of the musical copyright in the music and the literary copyrightin the words.4Is sampling theft? Many people argue that all cultural evolution is basedon taking bits of existing popular culture and adapting and changing them.They argue that all new musical genres ‘borrow’ or are influenced by earlierones. R&B from gospel, and rock ’n’ roll from R&B and so on. Those thatbelieve this think that clamping down on sampling stifles this growth. Theywould be in favour of the removal of all restrictions on using parts ofsomeone else’s copyright.This is all very well, but if you were to take this to its logical conclusionthen no one would be able to protect their work, music would be devaluedand people wouldn’t be able to make a living from their work. Surely that’slikely to lead to less creativity rather than more? I believe that it’s wrong todeliberately take someone else’s work without their permission, withoutpaying them anything for it and without giving them proper credit.HOW MUCH IS A SAMPLE?Although sampling has been around since the 1960s, there’s still an awful lotof confusion about what is a sample. A lot of people think that just becausethey’ve only sampled a couple of notes or a few seconds of someone else’swork they haven’t sampled it at all. That simply isn’t true. What the 1988Copyright Act says is that there has to have been copying of a ‘substantialpart’.5 It’s a question of the quality of the part sampled and not the quantity.There are a number of cases where the courts have considered what is a‘substantial part’.Colonel Bogey CaseIn the case of Hawkes & Son,6 Paramount had included the sound of the‘Colonel Bogey’ military march in a newsreel. They used 28 bars ofmusic lasting about 20 seconds. The question was whether twentyseconds out of a four-minute piece was a substantial part. The musicperformed by the band made up the main theme of the march. The courtclearly looked at the quality of what had been copied as well as thequantity and found that an infringement of copyright had taken place.Judge Slesser said, ‘Though it may be that it was not very prolonged inits reproduction, it is clearly, in my view, a substantial, a vital, and anessential part which is there reproduced.’The Beloved Case7So, could something shorter than twenty seconds constitute a sample?The band The Beloved sampled eight seconds of a recording of apiece called ‘O Euchari’. The sample was repeated several times in TheBeloved’s track, ‘The Sun Rising’. The sound recording of aperformance by Emily Van Evera of the work had been sampled.Hyperion owned the rights in that sound recording and sued. At apreliminary hearing, the judge gave his opinion that an eight-secondsample was not too brief to constitute a substantial part. He wanted thematter to go to a full hearing. However, as happens with so manysampling cases, Hyperion settled out of court and permission to use thesound recording sample was given retrospectively.The ‘Macarena’ CaseA claim was brought by Produce Records Limited, that the dance hit‘Macarena’, which had been released by BMG Records, infringed thecopyright in a sound recording by The Farm called ‘Higher and Higher’.The sample consisted of a short sound made by the vocalist Paula David,which Produce alleged had been used or ‘looped’ throughout‘Macarena’.Because so few sampling cases get to court, a lot rested on this case.If it went to a full court hearing and the court confirmed that such a shortsample could constitute a substantial part, this would be a firm rulingthat could be relied on in later disputes. After such a judgement it wouldbe very difficult to rely on the widely held view that three seconds is theminimum amount necessary to constitute a substantial part. It was moreimportant as a potential guideline for samplers than it was for BMG towin this particular case. A decision that the part sampled didn’tconstitute a substantial part would mean success for the record company,but it wouldn’t necessarily have given any guidance on what is asubstantial part. Each subsequent sampling case would continue to bedecided on a case-by-case basis. On the other hand, if the case had goneagainst BMG and such a short sample had been said to be a substantialpart then BMG would have lost this particular case, but all recordcompanies would also have lost the argument that such a small samplecouldn’t constitute an infringement of copyright. BMG settled out ofcourt on terms that remain confidential. Possibly the potential downsidewas too great.The question also comes up from time to time as to whether you can samplea rhythm or a drumbeat. I would argue that you can if it can be shown to beoriginal and distinctive and if a substantial part has been copied. There are,of course, only so many rhythms in popular music and many drum and basslines used currently are, in fact, the same as have been used in earlier works.This is particularly true in the area of reggae music. Inevitably there is goingto be duplication. I tend, however, to agree with Aaron Fuchs. He’s the manbehind an eight-beat drumbeat used in the classic hip-hop track by TheHoneytrippers, ‘Impeach the President’. In 1992 he brought legal actionsagainst Sony and Def Jam alleging that this particularly drum sound is oneof the more distinctive in the hip-hop genre and worthy of the protection ofcopyright. I can find no report of that case coming to court, so I presume itwas settled out of court like so many of these cases.In the United States the courts are handing down decisions that suggestthey are leaning towards giving protection to a distinctive or unique ‘sound’.The rap artist Dr Dré has been both successful and on the receiving endin court proceedings, perhaps reflecting the nature of the rap/hip-hop genreof music.In 2003 Indian composer Bappi Lahiri won a court injunction halting thesale of the debut album by Truth Hurts – a protégé of Dr Dré and signedto his label, Aftermath Records. Lahiri argued that the hit song‘Addictive’ contained a four minute sample of one of Lahiri’s songs,‘Thoda Restiam Lagta Hui’, which Lahiri had composed for a film in1987. Lahiri sought proper credit for the use of his work andcompensatory damages.In 2005 a songwriter, Michael Lowe, brought a copyrightinfringement action arguing that the track ‘X’ on rap star Xzibit’ssuccessful album Restless used a beat created by Lowe. Dr Dré wasnamed as a co-defendant because he was one of the co-authors of ‘X’.Lowe argued unsuccessfully that he had created and recorded the beatand gave it to a record producer, Scott Storch, in the hope that he wouldpass it on to Dr Dré. Storch denied this. However, Lowe admitted that hedid not expect to be paid anything in return for the beat. The judgedecided that on that basis he couldn’t then sue for payment and didn’trule on the facts of the use of the beat itself.8HOW DO YOU CLEAR A SAMPLE?If it’s clear that you’ve sampled someone else’s work then this is aninfringement of their copyright – unless you get their permission to copy andreproduce their work. If you don’t, they could sue you for damages for thecopyright infringement and also for an injunction stopping you fromcontinuing to use that sample. As you can imagine, record companies aren’tvery happy about having an artist who samples material from others anddoesn’t get their permission. It’s very expensive for the record company ifthere’s an injunction and they have to recall all the copies of the single oralbum and remove the offending sample before re-cutting, re-mastering andre-issuing the record. In fact, if it’s too expensive they may not botherredoing it and just kill the single or album. That isn’t a very good solutionfor you, so it’s best to get permission to use any samples. This is called‘clearing’ samples.Most record contracts, whether they’re exclusive recording agreementsor licences, will have a clause in them that says you are guaranteeing that allsamples are cleared before the recording is delivered to them. This makes itclear that it is your responsibility. This is only fair if you’re the one who putthe sample in there in the first place. But bear in mind that producers andremixers also have the opportunity to introduce samples into the recording atvarious stages in the process. Their contract should make them responsiblefor clearing any samples that they introduce. Sometimes it’s the recordcompany that has the idea that including a particular sample will turn a goodsong into a great monster hit. If the record company is encouraging you toinclude a sample then they have to take responsibility for clearing it,possibly as an additional recording cost. That cost may or may not berecoupable, depending on the deal.In a case on this point, the judge (Terence Etherton QC) had sympathyfor the defendant.9The Walmsley CaseWalmsley had recorded a track that contained two sound-recordingsamples. The track was licensed to Acid Jazz and the contract requiredAcid Jazz to pay royalties to Walmsley. Walmsley gave a warranty thatthe copyright in the track was free from any third-party claims. Why hesigned such an agreement is unknown, but part of the explanation maybe that he didn’t pay much attention to it, as we will see. Acid Jazzrefused to pay any royalties, even though the track was a chart success.Acid Jazz said the track had given rise to a number of disputes and that ithad had to pay out monies in settlement. It said that it was relying on itswarranty, which it said Walmsley had breached. Walmsley’s evidencewas that he’d told Acid Jazz at the time of the agreement andsubsequently of the samples, and had been told by Acid Jazz that nolicences were required and, if any were to be sought, Acid Jazz would doit.The judge found that Acid Jazz owed the royalties to Walmsley and,although Walmsley was in breach of contract, Acid Jazz was notpermitted under equitable principles to rely on it because it had had fullknowledge of the true position from the outset.With some types of music, particularly in the dance, electronic, hip-hoparenas, the record company is fully aware that there will be samples and willoften help to clear them. This can be an advantage, as they can use theirgreater resources and clout to pull favours and get things cleared quickly.This clout can have its downsides. If you’re a small, struggling dance labelthat asks to clear a sample, the person whose work is sampled is less likelyto ask for large amounts of money than if you were EMI or a Sony BMG forexample.WHEN SHOULD YOU SEEK PERMISSION?Ideally, you should try and get clearance before you’ve recorded the sample.Then if you don’t get permission you haven’t wasted recording costs andtime. In reality, this won’t usually be possible. It can take time to track downthe owners of the work sampled to find out who you have to ask forpermission. Even once you find them they may take their time in gettingback to you. You may then have to negotiate terms for the clearance. In themeantime you can’t get on with finishing the recording of that track. Thiscould hold up delivery of the record and its eventual release. Also, you’regoing to need a recording of what the sampled work is going to sound like inyour version of it, even if it’s only a demo. In practice therefore, theclearance process takes place after the recording has been made or duringthe recording process. Sometimes it’s left until the record has beendelivered. I think this is too late to start the clearance process. Some feelersshould have been put out beforehand, at least to find out who owns it and toget an idea of whether they’re likely to give you a problem.Most record contracts and licences will say that delivery of a recordinghasn’t taken place until evidence has been produced (usually in the form ofclearance letters or agreements) that all samples have been cleared. If youhaven’t used any samples they will want you to give a warranty (a sort ofguarantee) to that effect. Until delivery has taken place, it’s unlikely thatyou’ll get any advances due to be paid on delivery (see Chapter 3). Nor willtime start to run for your record to be released and the marketing plan won’tbe put into action. Therefore, the sooner samples are cleared the better.Some people say that they’re willing to take a risk that the use of asample won’t be spotted. They think that if it’s sufficiently obscure orhidden in the track, the sample won’t be discovered. Well, it’s just possiblethat you could get away with it if it was a limited edition low-key release.For example, if you were only going to press up 1,000–5,000 copies of therecord for release on your own small dance label then you might be lucky.Even if it were spotted, the copyright owner of the sample may not bother totake any legal action because the amounts involved and the legal costs andhassle of suing you wouldn’t warrant it. But what happens if a bigger recordcompany licenses your track in and gives it a big marketing push? Or if youmake it a big success in your own right and find you’re licensing it to loadsof different compilations? If you haven’t cleared it and you’re found outyou’ll end up with a big problem on your hands, because now the copyrightowner of the sampled work has an incentive for taking you to court. Thebigger record company that has licensed the track from you may get sued bythe sample owner. The record company will in turn usually have anindemnity from you. This means that, if they are sued, they can make youresponsible for the damages and costs involved because you’ve breachedyour warranty that there were no uncleared samples in the recording. Bylying to them you may also have irretrievably damaged your relationshipwith that label for the future. Is it worth the risk? That is for you to judge. Itis also much easier with the Internet to find tracks which might once havebeen obscure, low-key releases. Whilst this has its advantages if you arelooking to launch your career online it has significant disadvantages if youwere hoping to keep your track low key. Personally I really don’t think it’sworth the risk and I have seen many deals come unstuck through issuesarising from uncleared samples. At the very least tell the record company asearly as possible and enlist their help to clear it.WHERE DO YOU GO TO CLEAR SAMPLES?If you decide to clear samples, who do you go to for clearance? If you’vesampled the actual sound recording, you need to seek permission from theowner of the original sound, although they may have passed it on to someoneelse by licence or assignment of rights (see Chapter 3). You can start bylooking at the recording that you sampled it from. It should have a copyrightnotice on it that will say who was the copyright owner at that time, forexample ‘© EMI Music 2008’. So your first point of call would be EMI.They should be able to tell you if they still own the rights. If you don’t wantto show your hand too soon, you might want to do this through your lawyeron a ‘no names’ basis.You must allow yourself plenty of time. The first thing you should betrying to achieve is an agreement from them in principle to the use of thesample. Some artists won’t allow their works to be sampled under anycircumstances, so it’s best to know this as early as possible. Once you’ve gotthe agreement in principle then you can negotiate the terms. This can alsotake time, but you should know fairly early on whether they are going to askfor a ludicrous amount for the clearance, which will make it uneconomicalfor the sample to be used. Remember that, as well as clearing the use of thesound recording sample, you have to clear the use of the underlying musicand, if appropriate, words.The owner of the copyright in the words and music may be the writercredited on the sampled recording.10 It’s quite possible, though, that thewriter may have assigned or licensed his rights to a music publisher (seeChapter 4). So you’ll have to look at whether a publisher is credited and goto them to see if they still own or control the rights. They may only do so forpart of the world or they may have passed the rights on or back to theoriginal writer. The MCPS/PRS database should contain details of whoclaims to own or control the publishing rights (see Chapter 15). They wouldbe a good starting point if you’re a member of either MCPS or PRS. If thetitle or the writer’s name is a common one, for example John Smith, then thedatabase is going to throw up a lot of names. Try and narrow down thesearch by giving them as much detail as you can.The importance of clearing samples with the correct party is highlightedin the following case.11The Ludlow CaseLudlow published the song ‘I’m The Way’. Robbie Williams and GuyChambers co-wrote ‘Jesus in A Camper Van’, which was published byEMI and BMG.Because two lines of ‘Jesus’ resembled ‘I’m The Way’, Mr Williamsapproached Ludlow to acknowledge the resemblance and to agree thatLudlow would be a co-publisher. Ludlow wanted 50% – Williams andChambers offered 10%. Ludlow refused and, just as the albumcontaining the track was to be released, repeated their demand. EMIregistered Ludlow as having a 50% share in the lyrics i.e. 25% of thewhole song. Ludlow then brought a claim for 100% of the copyright andof the income and sought an injunction.The judge found there had been an infringement of copyright, butthought it was borderline. He gave his opinion that what the defendantshad offered was generous, but left it to another court to determine theamount of damages. He also decided that, on balance, Ludlow’s conducthad been oppressive, governed by money and that they had gone alongwith things and had seemed to have been agreeing to things up to the lastminute before release. He refused an injunction at summary judgement.An injunction was granted at the final hearing, so future copies of thatWilliams album will have to be minus this track.This is another example of how one party’s conduct can prejudice their casewhen relying on another’s bad conduct.What sometimes happens is that it’s possible to clear the underlyingwords and music but not the sound recording. If you’re adamant that youhave to use that sample then you can try and get it reproduced almostidentically by having it replayed or recreated. Then you haven’t sampled thesound recording, so you only have to clear the underlying music/words. Ofcourse, if you do a very good job of it and it sounds identical to the original,they may not believe you’ve replayed it and still sue you. Then you mayneed independent evidence from, for example, the studio engineer, that youdidn’t use the sample sound recording.I have been involved in a case where this happened. The client sampledpart of a sound recording, asked for permission, which was denied, so setabout replaying the sample to recreate the sound. He even went to thetrouble of getting a specialist report from a musicologist to confirm that hehadn’t used the original sound recording but had replayed it. Nevertheless,the owner of the original sound recording wasn’t convinced and threatenedto sue my client’s record company, who had released the track. Using a rightthey had under their record contract with my client, they ‘froze’ the royaltiesthat would otherwise have been payable to my client on the track in questionuntil there was an outcome to the dispute. The money stayed ‘frozen’ forover a year and, as it was a substantial amount, my client wasunderstandably very frustrated. Ah, but I hear you say, it serves him right forcopying someone else’s work. Well, before you get all high and mighty, justmake sure that no one can ever accuse you of sampling or plagiarism.HOW MUCH DOES IT COST?This is always a question of negotiation. It will depend on how important thetrack is that you’ve sampled and how crucial it is to you that you use it.Record companies will usually clear sound recording copyrights for anup-front sum, with a further sum when you sell a certain number of records.For example, £1,500 upfront and another £1,500 when you’ve sold 10,000copies of the record that includes the sample. This usually comes out of theartist’s royalty, but may be shared with the record company if it really wantsto keep the sample in.Publishers of sampled works may clear rights for a one-off fee or a feeand a further sum based on numbers of records sold. More likely, however,is that it will want a percentage of the publishing income on the track. Ineffect, the publisher of the sampled work is saying that their writer should betreated as a co-writer on the work and receive a co-writer’s share of theincome. That share could be as much as 100% if a substantial use has beenmade of their work. For example, in a track by All Seeing I called ‘The BeatGoes On’, substantial use was made of a Sonny and Cher song of the samename, although the band had altered the track and given it a more up-to-datesound. Warner Chappell, who publish the Sonny and Cher song, insisted thatthe All Seeing I version be treated as a cover version and they retained 100%of the publishing. If the use is less substantial then a lower percentage maybe agreed.As we saw with the Ludlow case above, claims for 50% or more of asong may be claimed even if a relatively small percentage is sampled – it’s acopyright infringement that the owner of the sampled works is entitled to becompensated for. If it’s a blatant offence, the court will be asked to awardadditional damages.If you’re going to do a lot of sampling in your work and are going to endup having to give away some or all of your publishing on certain tracks, dobear in mind that this may make it very difficult for you to fulfil yourMinimum Commitment to your publisher – make sure you take this intoaccount when setting the original level of that commitment.WHAT HAPPENS IF YOU DON’T CLEAR SOMETHING?If a sample isn’t cleared and a dispute arises, your record company maysuspend payment to you until the dispute is resolved. There may be a limiton how long it can suspend payment, but this could be a year or more. MCPSalso has the right to suspend any payments of publishing income and has adisputes procedure that has to be followed. MCPS won’t directly interveneto resolve a dispute, but can sometimes be used as an arbitrator.The Shut Up And Dance CaseIn 1992 the MCPS brought an action against dance label Shut Up andDance (SUAD) on behalf of ten of their publisher members, claimingtwelve separate infringements of copyright of works by writers such asPrince and Suzanne Vega. Legal action was taken after the owners ofSUAD, PJ and Smiley, told the music press that their policy was never toclear samples. At the time a very macho culture prevailed over the use ofsamples, with some one-upmanship going on over who could get awaywith the most in terms of uncleared samples. It’s thought their commentreflected this cultural approach to sampling. SUAD didn’t defend thecase and damages were awarded against the label.Failure to clear samples in good time could result in an injunctionpreventing distribution of copies of your record, or an order that they bebrought back from the distributors and destroyed. You could also be sued fordamages for the copyright infringement.12However, it’s not all bad. Not all copyright owners sue or want paymentwhen their work is sampled. The track ‘Ride On Time’ by Black Box mayhave attracted a fair amount of litigation in its time, but there was no claimfrom Don Hartman, whose work ‘Love Sensation’ was sampled. ApparentlyMr Hartman loved the new work so much he wanted neither payment nor awriter credit.PLAGIARISMFor the purposes of this chapter, when I’m talking about plagiarism asopposed to sampling I’m talking about a situation where someone takesanother’s work and copies it, passing it off as his own work. There are, ofcourse, overlaps with the situation where you replay a sound sampled fromanother’s work. But what I’m describing here are cases where a writer hasclaimed that another writer has stolen or copied his work; where thesimilarities between two pieces of work are so striking that you would haveto believe the one was copied from the other. As we will see from the casesbelow, once you’ve established similarities between two pieces of work thecrucial test is whether the person being accused of plagiarising the work hashad access to the other work. It’s possible to unconsciously copy somethingor indeed to arrive at a very similar-sounding piece of work purely bychance.The John Brett CaseThe composer Lord Andrew Lloyd Webber is no stranger to claims ofplagiarism. In the late 1980s a songwriter, John Brett, accused him ofcopying two songs written by him in Lloyd Webber’s musical PhantomOf The Opera. Although there were similarities between the pieces,Lloyd Webber was able to show that he had written the song first. Heproduced evidence that it had been performed in mid-1985, whereas MrBrett’s evidence suggested that he had not sent demo recordings of hissongs to his solicitor until a month later. His claim failed.The Ray Repp CaseIn another case involving Lord Lloyd Webber, a songwriter called RayRepp brought a legal action in New York accusing Lloyd Webber ofplagiarism. Mr Repp claimed that Lloyd Webber had stolen a passagefrom his song ‘Till You’ and had used it, again, in Phantom Of TheOpera. Once again Lloyd Webber was cleared, and afterwards made apassionate statement condemning the increase in cases allegingplagiarism. He blamed the lawyers (oh dear, us again) and people withan eye to the main chance. He said there were too many people aroundwho thought it was worth a chance, because record companies wouldrather settle than fight potentially damaging court cases. I understandthat he returns unopened all unsolicited demo tapes sent to him or to hisoffice. The same policy is, I believe, adopted by other well-knownsongwriters who wish to avoid any such claims.The Francis Day and Hunter CaseAn early case in this area that set out a number of guidelines for whatconstitutes plagiarism is the case of Francis Day and Hunter.13In this case it was argued that eight bars of the chorus of a songentitled ‘In A Little Spanish Town’ had been copied in the song ‘Why’.The judge found a number of similarities between the two works butdecided that copying (i.e. plagiarism) had not been proved. It went to theCourt of Appeal. That court also agreed that copying had not beenproved, but took the opportunity to consider the subject of copyinggenerally. The Appeal Court judges said that you had to establish thatthere was a definite connection between the two works, or at the veryleast to show that the writer accused of copying had had access to thework of the other.The ‘Chariots of Fire’ Case14The film Chariots Of Fire and the music written for it has also been thesubject of a number of court cases.The writer Logarides had written a piece for television called City OfViolets. He claimed that the writer Vangelis had copied four crucialnotes from City Of Violets when writing his theme tune for the filmChariots Of Fire. Logarides said that, consciously or unconsciously,Vangelis had infringed his copyright. The court decided that there wasinsufficient similarity between the works for there to have been aninfringement. This ruled out the argument that Vangelis hadunconsciously copied it, because it wasn’t similar enough. The evidencethat was produced to show that Vangelis had had access to the work wasalso not very strong, although the court thought that it was possible thatVangelis had heard the song ‘City Of Angels’. Logarides was not able toprove that Vangelis had actually had access to his work.The Beyonce CaseIn 2005 a singer-songwriter Jennifer Armour brought a lawsuit againstBeyonce Knowles claiming that Beyonce’s 2003 hit ‘Baby Boy’ includedlyrics from Armour’s song ‘Got A Bit Of Love For You’. Armourbrought evidence to show that Beyonce’s record label had had access toher song as it had been sent to them by her former manager. She alsosaid that representatives of Beyonce’s collaborator on the song, SeanPaul, had also been sent a copy. Whether or not Beyonce had ever heardArmour’s song did not have to be decided in the end because the casefailed at the first hurdle. When the two songs were compared side byside the court came to the conclusion the two songs were ‘substantiallydissimilar’ and therefore there was no copyright infringement tocomplain about.But it isn’t always deliberate. It seems that it is perfectly possible for anartist to copy another’s work unconsciously. I have a client who wasunaware that he had copied a snippet from the Don McLean song ‘Vincent’until it was pointed out to him and the same thing happened in 2004 toScottish band, Belle and Sebastian. Apparently a track on a single by theband to be released in June 2004 entitled ‘Wrapped Up In Books’ was verysimilar to a hit single by Sir Cliff Richard entitled ‘In The Country’ writtenby his backing band, The Shadows. Belle and Sebastian were seeminglyoblivious to the similarity until it was pointed out to them by friends. Theydecided the best thing to do was to come clean before the single was releasedand approached the publishers of The Shadows’ song Carlin Music with anoffer of 20% of the publishing on the ‘Wrapped Up In Books’ song. Luckilyfor them this was accepted by Carlin.15 Contrast this with the RobbieWilliams Ludlow case above and take care that you approach the correctpeople for permission.SOUND-A-LIKESThis is where someone deliberately sets out to imitate a successful piece ofmusic. It’s often used by advertising agencies when they don’t want to paythe price for the right to use the original of a piece of work. Instead theycommission songwriters to write a piece that is a close imitation of theoriginal. This is an art form in itself. We have already seen in Chapter 8 onbranding the cases where Tom Waits has successfully sued advertisingagencies or their clients for use of sound-a-likes of his distinctive voice.Here are some further cases in this area:The ‘Chariots of Fire’ Case (No. 2)16In another Chariots of Fire case, Clarks Shoes deliberately set out togain a financial advantage from using a piece of music that had a veryclose similarity with the Chariots Of Fire theme. This was found to beblatant plagiarism, but because it was so obvious the case didn’t reallyset any guidelines.The Williamson Music CaseAnother case, involving the advertising company Pearson, used a parodyof the song ‘There Is Nothing Like A Dame’ in an advert for a coachservice.17 The lyrics were changed but the layout of the verse and choruswas similar. The manager of the licensing division of the MCPS heardthe advert and thought it sounded very like the original song ‘There IsNothing Like A Dame’. He told the publishers of the song, ChappellMusic Library. Williamson Music Limited was the exclusive licensee ofthe song in the UK. They and the other plaintiffs complained ofinfringement of copyright. Williamson Music Limited retained the rightof approval to all requests for a synchronisation licence in relation tothat song. No such consent had been given. The judge applied the test ofwhether an ordinary, reasonably experienced listener would think onhearing the track that it had been copied from the other work. He grantedan interim injunction on the basis that the plaintiffs had established thatthere was a case to answer, but it seems he was of the opinion that therehad been infringement of the music but not of the words.It seems that the test for whether something is a parody that is allowable andone that infringes copyright is that, in the case of the former, the parody hasto only conjure up the idea of the original – it becomes an infringement if ituses a substantial part of the original.SESSION MUSICIANS’ CLAIMSThe last few years have seen a spate of claims by session musicians,sometimes twenty or thirty years after the original session took place, thatthey were not properly paid for the work they had done. These cases pointout the importance of ensuring that the agreement with the session musiciancovers not only their performances as musician or vocalist but also theirinterest, if any, in the underlying song.It was thought that the Kemp case that we looked at in Chapter 4represented the legal position in the UK that band or session members didnot have any interest in a song if they merely interpreted or played what thesongwriter directed them to.However, this position was challenged in the Bluebells case in 2002.Valentino v. HodgensSession player Bobby Valentino was hired to perform a violin part in asong written by Bluebells member, Robert Hodgens and alreadyrecorded by the band. The judge accepted Valentino’s claim that he hadbeen given a free hand to create the violin part, whereas Hodgens hadclaimed that he had told him what to play and had even played it to himon the guitar. Now clearly one could argue that this case just turned onthe facts that the judge just preferred Valentino’s version of events. Thisalone therefore would not have opened the floodgates and the 50%interest in the song that the judge awarded to Valentino would have beenseen as a one-off.What made this case stand out was the manner in which the judgeside-stepped the issue of why it had taken Valentino so long to make hisclaim – a delay of over fifteen years. Usually that would have beenenough to successfully argue that the claim was time barred. In whatappears to have been an attempt by the judge to find in favour ofValentino the judge decided that the correct interpretation of thesituation was that Valentino had originally granted a licence to use hiscontribution to the song for free; that he was entitled to revoke thislicence at will, and that he had done so when the song was re-releasedfifteen years later and went on to be a big hit. Valentino was awarded hisshare of royalties from 1993 when he could be said to have revoked hislicence. 18Now this is quite an extraordinary interpretation of the situation and reallystresses the need for clarity in your session agreements but it also gave manyothers the idea that they could bring claims many years after the event –some more serious than others – including claims to record royalties fromthe school choir who performed free of charge in the original recording ofPink Floyd’s ‘Another Brick In the Wall’ to a threatened claim against RodStewart by Ray Jackson, the mandolin player on Rod’s recording of ‘MaggieMay’. It culminated in an April 2005 decision in a case brought by sessionsinger Clare Terry against the writers and publishers of Pink Floyd of hitsong ‘The Great Gig in the Sky’ off the Dark Side of the Moon album.The Pink Floyd Case19Ms Terry was a session vocalist paid £30 to perform on the track, ‘TheGreat Gig in the Sky’ and was given a credit for her performance. Somethirty years later she brought a claim, in a similar fashion to the BobbyValentino case (above), for a 50% interest in the song. In an out-of-courtsettlement she received a cash payment which must have beensubstantial as the album has sold over 36 million copies since itsoriginal release. The catalyst for the publisher, EMI and the writers inPink Floyd to reach a settlement may have been because the judge hadindicated that he was convinced by Ms Terry’s claim that she hademployed a special wailing technique, recorded in a series of sessionsand effectively helped to compose the song. The parallels with theBluebells case are obvious.Finally, of course there is the recent case concerning the song ‘Whiter ShadeOf Pale’ which we looked at in detail in Chapter 4 which is under appeal.CONCLUSIONSIf you sample someone’s work, you’ll have to get permission to useboth the sound recording copyright and the copyright in the underlyingmusic and/or lyrics.Put the process of clearing samples in hand as early as possible.If there is any chance of an uncleared sample being found and legalaction taken, don’t take the risk, clear it or remove it.If you can’t clear the sound recording copyright then see if you canreplay the sounds to sound like the original and clear the rights in theunderlying music/lyrics instead.If you copy another’s work and pass it off as your own then you’reguilty of plagiarism, unless you can show that the similarity wascompletely coincidental and that there was no way that you could haveheard the work you’re accused of copying.There is a very fine line to be drawn between sound-a-likes, parody andplagiarism.1 For an overview on the state of sampling see also ‘Plagiarism andoriginality in music: a precarious balance’ by Reuben Stone published inMedia Law & Practice, Vol. 14, No. 2, 1993.2 Sections 16–21 CDPA.3 Section 5A CDPA.4 Sections 3 and 4 CDPA.5 Section 16(3) (a) CDPA.6 Hawkes & Son Ltd v. Paramount Film Service Limited [1934] 1 Ch 593.7 Hyperion Records Limited v. Warner Music (UK) Limited 1991.8 www.musicjournal.org/lawupdates.9 Richard Walmsley v. Acid Jazz Records Limited Chancery Division 2000.10 See section 9 (1) CDPA and Chapter 4 for a description of who is the firstowner of copyright in a musical or literary work.11 Ludlow Music Inc. v. (1) Robert P. Williams; (2) Guy Chambers; (3) EMIMusic Publishing Limited; (4) BMG Music Publishing Limited ChanceryDivision (2000).12 As to remedies for infringement of copyright see sections 96–100 CDPAfor civil remedies and sections 107–110 CDPA for criminal sanctions.13 Francis Day & Hunter v. Bron [1963] Ch 587.14 [1993] EMLR 306.15 www.eveningnews.co.uk/print/news.16 Warner Brothers Music Limited and Others v. De Wilde [1987].17 Williamson Music Limited v. The Pearson Partnership and Another[1987] FSR 97.18 www.leeandthompson.com/articles/the_bluebells.19 www.freelanceuk.com/news. Chapter 14Piracy INTRODUCTIONPIRACY IS A huge, worldwide problem. The worst offenders in the area ofphysical pirate copies are Eastern European and Far Eastern countries,including Taiwan, Bulgaria, the Ukraine and Pakistan, with weak copyrightlaws and little or no means of enforcement, although Taiwan is beginning torecognise it has to do something and declared 2005 the Anti-Internet PiracyYear. Countries in which piracy is rife also export these illegal records intothe UK. According to the IFPI Anti-Piracy Report for 2006 it is estimatedthat one in three CDs sold is a pirate copy. DVD piracy is a growing problemas bandwidth and fast Internet access makes reproduction quick and easy.Taiwan remains the biggest producer of blank CDRs which can be acquiredvery cheaply by small commercial operations to push out pirate copies.The online world is even worse. The IFPI 2006 Anti-piracy Reportestimates that there were 20 billion illegal songs downloaded in 2005. Thisis a frightening amount but putting a positive spin on it the IFPI reckons thatthis shows just how large the potential market is for legitimate use of musiconline. They point to the fact that record company revenues from legaldigital sales tripled in 2005 to $1.3 billion. The record companies claim thatthis does not balance out the revenues that they are losing from traditionalphysical sales. As we saw in Chapter 7 they are trying more drastic measuresto deal with the problem. Record company trade bodies, like the UK’s BPI,the IFPI and the US body RIAA, continue to tackle both physical andinternet piracy by legal actions against pirates and illegal file-sharerswinning the support of the High Court for orders to force ISPs to disclose theidentities of individuals distributing multiple music files illegally on peer-to-peer networks. The individuals face claims for compensation forcopyright infringement and legal costs. Here are just some extracts from theAnti-piracy Report highlighting key decisions which are helping them in thebattle to control online piracy:In June 2005 the US Supreme Court ruled (in MGM v. Grokster) thatfile-sharing services that distribute software with the object ofpromoting its use to infringe copyright can be held liable for theresulting infringements.In August 2005 Seoul District Court ordered Soribada, a Korean P2Pservice, to prevent its users to swap copyrighted songs or shut down.In September 2005 the Federal Court of Australia held that Kazaa wasguilty of copyright infringement and ordered it to shut down orimplement copyright filters.Also in September 2005, a Taiwanese court issued a criminal convictionto the directors of the Kuro P2P service which was in breach ofintellectual property rules.November 2005 saw the Grokster P2P network agree to shut downoperations in light of the US Supreme Court’s ruling.In February 2006 the Danish Supreme Court ruled that under EU law,ISPs can be obliged to terminate the connections of customers whoillegally upload material.May 2006 saw the American operators of BearShare agree to cease tooperate any music or film download services and sell its assets to thelegal file-sharing service iMesh.In June 2006 the Dutch Court of Appeals ruled against zoekmp3.com,effectively declaring that deep linking to infringing mp3 files is illegal inthe Netherlands.The decision of the Australian court against Kazaa was the start of sustainedpressure on Kazaa to come in line internationally. Under the terms of an out-of-court settlement, which applies to Kazaa’s operations worldwide andconcludes the ongoing legal proceedings brought by the record companiesagainst the service’s operators in Australia and the United States, Kazaaagreed to pay a substantial sum in compensation to the record companiesthat took the legal action to stop copyright infringement on the Kazaanetwork. Kazaa also agreed to introduce filtering technologies ensuring thatits users could no longer distribute copyright-infringing files.There are also signs that some political pressure may be brought to bearon the ISPs to join forces with the anti-piracy organisations such as the BPIto battle illegal downloads of music. Whilst the Gowers Review may nothave given the industry its hoped for extension of the sound recordingcopyright it did recommend that ISPs adhere to the industry practice for datasharing to allow illegal downloaders or indeed uploaders to be identified andtargeted. This was not done voluntarily by the end of December 2007 and theGovernment has announced the intention to release a paper on this and othercultural issues in 2008.And it’s not just online that steps have been taken – legal actionscontinue against pirates of physical copies too.R v. MaloneIn March 2007 it was reported that the airdrie Sheriff Court in Scotlandhad jailed George Malone who had built up a black market operationselling thousands of fake DVDs and CDs. He admitted producing theillegal copies and selling them at industrial estates across west centralScotland. He was sentenced to nine months in prison and his assets wereseized.In 2007 a partnership was set up between a new police unit dedicated tocombating movie piracy and the Federation Against Copyright Theft(FACT), and music videos will fall within its remit. Steps taken to introducecopy protection systems on new CDs to prevent multiple copies being madeand improved tracking systems to trace online usage of music illegally havemet with mixed success. As soon as a digital rights management system(DRM) is developed and rolled out commercially the computer hackers setout to break it and usually succeed in a matter of days, if not quicker. Whilewe are not all so gifted, you can rest assured that as soon as a way is found toget around a DRM then some enterprising soul will make that available toall users. The whole area of DRM was, perhaps, irreversibly tainted by thescandal that surrounded Sony’s attempts to roll out a new DRM system inearly November 2005. This is the so-called ‘rootkit’ debacle.In an attempt to limit the number of copies that could be made of a CDSonyBMG introduced copy restriction software which was embedded incopies of some new CDs released by the label. This in itself was not a badthing but it was the type of software used that caused the problem. TheElectronic Frontiers Foundation (EFF) said that the software consisted of aprogramme called a ‘rootkit’, more commonly used by spyware companiesto track what you do online. The EFF feared that if a CD with this rootkitsystem were played on a computer it would bury a new program within theoperating system of the computer enabling SonyBMG to monitor thecomputer user’s computer activity in order, for example, to prevent the usermaking additional copies of the CD. Online reports about this system causedsuch an outrage that SonyBMG issued a new program on its website whichenabled the computer user to see if his computer had been infected, but toadd insult to injury did not enable the user to uninstall it. There were alsoclaims that it slowed down the user’s computer, made it more vulnerable toattack and had the indirect effect of stopping users from listening to legalmusic on their MP3 players online. Because it was designed to be hidden itwas not easy to see what was causing the problem. It was argued that itmight also be used to mask other more malicious spyware or computerviruses. Legal class actions were begun in the US and within days SonyBMGannounced it was not going to produce any more CDs with this protectionsystem and published an uninstall program on its website. As things wentfrom bad to worse for them SonyBMG eventually recalled millions of CDsand exchanged them whilst publishing an apology to its customers.This publicity disaster increased the innate distrust amongst many in allDRM systems and led to the system being abandoned altogether in late 2007.The battle against illegal downloads will need to be fought in another way.WHAT IS PIRACY?Piracy is theft. It is the reproduction of someone’s copyright without theirapproval and generally on a commercial scale.There are three different types of pirate records.COUNTERFEIT RECORDINGSThese are copies of CDs, cassettes or vinyl records that also copy thepackaging, artwork and graphics. For example, someone gets hold of amaster recording; they use it to make copies of it, which they then pass offas the original. They don’t usually care what the sound quality is like, oreven if the tape or CD will play at all. They just want to make them look asmuch like the original as possible so that they take your money and youdon’t find out until you get home that it’s a pirated copy. The trade marksand logos of the original copyright owners are also copied to make themlook as much as possible like the originals. This is an infringement of thetrade mark, which could give rise to a legal action in its own right (seeChapter 8). Of course, if you’re buying these CDs or tapes from a marketstall at half the usual retail price, you’ve only yourself to blame if they turnout to be dodgy copies.PIRATE RECORDINGSThis is the unauthorised duplication of an original sound recording. Thepirate takes a master recording and copies it without the permission of theoriginal copyright owner. The sound quality is usually as good as theoriginal on physical copies but not always on online copies. Piraterecordings are usually put out on a different label from the original and indifferent packaging. The trade marks and logos of the original copyrightowners aren’t usually on the record or packaging. The aim is to undermineyour market for the original by putting out a pirate copy first, or in adifferent form from the way you were going to present it. For example, yourelease so-called ‘white label’ copies of your next single release to the pressand to DJs for review in advance of its commercial release. They are calledwhite labels because, in their vinyl form, they have a white label, which saysthey aren’t for commercial use. Unscrupulous characters then copy thatrecording and put it on their own compilation record without gettingpermission and without paying anything for it.Pirate recordings are generally made in countries with little or nocopyright protection and then exported to other countries. The practice is,however, spreading to other countries where the agencies in charge of anti-piracy are less effective. Sometimes publishing rights have been cleared andauthorisation obtained from a collective body like the MCPS, but nopermission has been obtained to reproduce the master sound recording. Forexample, if you were putting a pirate copy of a master recording on yourown dance compilation, you might apply for a mechanical licence fromsomeone like MCPS to get the right to reproduce the song on that master.This lends an air of respectability to the release and means you have one lesscollective body to worry about. You don’t bother to get permission from theowner of the sound recording. You hope that he either doesn’t get to hearabout the release, or hasn’t the money or the inclination to sue you forcopyright infringement.You could, in some cases, take advantage of different laws on copyright.For example, you might get permission to use the song, and the originalsound recording might now be out of copyright in your country. You makecopies of it without going back to the original copyright owner and you canimport it into other countries where the recording is still in copyright,undercutting the legitimate market in that country. This was more of aproblem when the sound recording copyright in the EU was different indifferent countries. For example, the sound recording copyright in Denmarkwas twenty years after the end of the year in which it was first released,while in the UK it was fifty years. This meant that after twenty years Danishcompanies could legitimately say that the sound recording was out ofcopyright, so no permission was required to reproduce it in Denmark. Theythen used the principles of freedom of movement of goods within the EU toexport these recordings into other EU countries. This began to be a real issuewhen early Beatles and Stones albums started to come out of copyright inDenmark. It has become less of a problem since the Directive on theHarmonisation of Copyright and Related Rights made the duration of thesound recording copyright fifty years throughout the EU.1Sometimes pirates argue that they have a valid licence to release a soundrecording because of a chain of contracts going back many years. Often, inthe 1960s and 70s, ownership of copyright was not properly recorded andthere have been many changes of ownership down the years.2 In those days itwasn’t unusual for deals to be single-page, sketchy outlines, that didn’tmake it completely clear who owned what and who could do what with therecordings. This confusion has been successfully exploited by later recordcompanies claiming to have the right to put out recordings under somedodgy deal struck twenty years earlier. It’s sometimes very difficult to provethem wrong.BOOTLEGSA bootleg is a recording of a live performance, whether it’s at an actual gigor off a television, satellite, radio or Internet broadcast, which is madewithout permission of the performers.You used to see shifty-looking people at gigs with tape recorders undertheir macs making terribly bad recordings of the performance. With theimprovements in technology and the miniaturisation of the devices, it’s noweasier than ever to make reasonable digital recordings.The Phil Collins CaseIn the early 1990s, Phil Collins, ex-Genesis drummer turned successfulsolo artist, brought an action against Imrat, a record distributor, inrespect of royalties for sales in Germany of a CD recording of one of hisUS concerts, which was made without his consent. Under German law,German nationals are entitled to stop distribution of performances madewithout their consent, regardless of where the performance takes place.Foreign nationals couldn’t rely on this law where the performance hadtaken place outside Germany.3The court decided that all European Union countries should providenationals of other European Union countries with the same degree ofprotection as they would have had in their own country. This has been akey decision in the tightening up of performers’ rights across the EU.R v. LangleyA man who was described as ‘one of Europe’s most notorious musicpirates’ who was also known as ‘Mr Toad’ pleaded guilty to sellingbootlegged recordings of Led Zeppelin gigs. Led Zeppelin guitaristJimmy Page gave evidence before the Glasgow court that he had notauthorised the recordings, which he said were of poor quality. He alsodrew a distinction between fans who swapped recording and professionalbootleggers. Langley pleaded guilty to two copyright and three trademark infringements. He sold illegal recordings he had made at live gigson his Silver Rarities and Langley Masters labels. His arrest came afterthe BPI organised a raid on his stall at a Scottish record fair.HOW DO YOU SPOT A COUNTERFEIT, PIRATE ORBOOTLEG RECORD?4CounterfeitsThese are often on sale in markets, at car-boot sales and are often obtainablefrom street traders selling goods out of suitcases on street corners. Theprices are usually 50% or less than a full-price record in the shops.The packaging will often be of poor quality, possibly blurred print,especially when it gets to the small print. Sometimes there is a white borderon the edges of the inlay card for the cassette or CDs where it’s been copied.These inlay cards may look genuine on the outside; it’s only when you openit that you see it’s a poor representation on the inside. The trade marks maybe removed, smudged or partly obscured as the pirates try to get around anallegation of infringement of trade mark. The name and logo of the originalrecord company may also be missing, blurred or obscured. There may not bea Source Identification Code. This was something introduced a few yearsago to show the place of manufacture. The sound quality will often be verypoor, particularly on cassettes. Copy protection devices will definitely beabsent.BootlegsThese are often found on sale at music festivals, second-hand or‘underground’ record stores and collectors’ fairs. They are aiming at the die-hard fans who want to own every available recording by their favouriteartist. The price is often the same or higher than the legitimate product toreflect how desirable they are to collectors and fans.The packaging may leave off company information; there could be nocatalogue numbers or proper credits. Bootleg CDs can be very good soundquality, particularly when compared to the very bad quality of bootlegcassettes. The inlay cards will often be simple colour photocopies.HOW CAN YOU STOP PIRACY?It is probably not possible to completely prevent illegal uses of music on theInternet. Whilst BPI/RIAA and IFPI actions may deter the casual oropportunist illegal file-sharer they will not deter the hard-line pirates. Copy-protection devices can be circumvented by reasonably competent hackersand can in any event sometimes prove counter-productive if they prevent alegitimate user from transferring music from his CD or PC to the car orworse as SonyBMG found out in 2005 (see above). It is also accepted thatregardless of what might happen with DRM systems in future CDs whichhave been in the market for some time – so-called legacy CDs – will not becopy protected, and that rights owners should accept this and concentrate onputting systems in place to make sure the copyright owners and creators arepaid whenever their music is used. There is certainly the view that not muchcan be done to prevent pirate recordings of sound recordings that are alreadyin the marketplace. What the music industry and the hardware manufacturersare now putting their efforts into is making legitimate downloads easily andcheaply available using desirable music hardware like the iPod (see more inChapter 7).However, this doesn’t mean that control of illegal manufacturing plantsand seizure of illegal copies has been abandoned. The underlying rightsbeing infringed are the same whether the infringement is online orreproduction of physical tapes or CDs.CopyrightPirate recordings may infringe the sound recording copyright and the rightsin the music and lyrics as well as the artwork. It’s an infringement ofcopyright to reproduce, issue copies to the public, perform in public orinclude it in a cable programme (including online). These are what we calldirect infringements of copyright.Indirect infringements of copyright include importing, possessing in thecourse of trade, selling or exhibiting infringing copies in public and/ordistributing them in the course of business.5 These are obviously aimed atthe distributor or retailer. They have to know or have reason to believe thatthey are dealing with an infringing copy.Moral RightsIf the writer or composer of the lyrics and music isn’t identified, or the workhas been subjected to derogatory treatment, this may well be aninfringement of moral rights if these have not been waived (see Chapter 12).Trade marksIf the artist’s or record company’s trade mark name or logo is reproducedwithout permission of the trade mark owner, this is an infringement of theTrade Marks Act 1994.Trade DescriptionsIf the record has been misdescribed or represented as something that it isnot, this may be a breach of the Trade Descriptions Act.ENFORCEMENTFirst, decide who you’re going to go after. Who have you got evidenceagainst? You could try to take action against the pirate manufacturer, butthis may be difficult if they’re based overseas. You could decide to try tostop distributors from starting or continuing to distribute pirate records.You’ll have to move fast. If nothing has been distributed you could try to getan injunction to stop distribution taking place. If it’s already beendistributed you may need court orders against the person retailing theproduct.So, when you’ve decided whom you want to target, what can you do?Civil ActionYou can apply for an injunction, although you have to move quickly. Youcan ask the court to make an order preventing infringement of your rights.The court can make orders preventing further sale, distribution and/orimport of pirated products. You’ll probably also make a claim for financialdamages and reimbursement of your legal costs.Criminal ActionYou have to show that the defendant had reason to believe he was dealingwith an infringing copy of a copyright work. The penalties are imprisonmentand/or a fine. For this kind of action you need to involve the police, who willneed to have explained to them how copyright exists in the product and howit is being breached. You also have to convince them that it’s sufficientlyserious for them to put resources into the case. In April 2005 the US Senatepassed a bill to make it a criminal offence capable of a sentence of up to tenyears’ imprisonment for those found to be illegally copying and distributingpre-release music and films in the US. The obvious targets are those whoillegally acquire films or albums by important artists before the officialrelease date. It is hoped that this law will help to deter all but the hard-corepirates. There is no indication that the UK government has plans to followsuit.Private Criminal ProsecutionsThe CDPA gives you the right to bring a private criminal prosecution.6 Thiswas first used successfully in a case run by my firm in 1994 to prosecutesomeone who was using computer bulletin boards to copy computer gamesillegally.The CDPA also makes it possible for an officer of a company to be liableto prosecution for an offence committed by the company.7 This is to avoidcompanies slipping through the net.If someone is found guilty of infringement, the court can order that allthe offending articles are handed over8 and can order their destruction. I’msure you’ve all have seen pictures of companies like Rolex using asteamroller to crush fake copies of their watches.Trading Standards OfficersThese are local government officials and they can be very helpful if you getthem on side. A good friend of mine is an ex-Trading Standards officer andhe tells me they like nothing better than a good raid on a pirate. They usuallyact to enforce breaches of trade mark using powers given to them under theTrade Descriptions Act among others. They can enter premises and seizegoods. Their rights also now extend to infringements of copyright. They canprosecute for offences such as fraudulently applying a trade mark9 and theapplication of a false description to goods.10 As part of the implementationof the recommendations of the Gowers Review on Intellectual Property,Trading Standards received an additional £5million to assist in the fightagainst piracy. This was to help the officers with their new role as alsoenforcers of copyright infringement. Changes to the CDPA 1988 wereimplemented in 2007 to give them the right and authority to enter premises,seize goods and documents relating to copyright infringement as well astrade mark infringements. Because these offences are criminal ones there isthe possibility of an unlimited fine and up to ten years’ imprisonment so it ishoped this may act as a deterrent to some pirates.Some further piracy casesIn March 2003 following police and Trading Standards raids YogeshRaizada was sentenced to three years imprisonment and record fines of£160,000 on eleven counts under the Trade Marks Act 1994 followingseizure of thousands of pirated CDs, DVDs and video cassettes.In 2004 the Glasgow Sheriff Court jailed Stephen Reid for fivemonths for selling pirate CDs and computer games. Mr Reid had beenfilmed in an interview broadcast on the GMTV breakfast show in whichhe boasted about his illegal business. He had had previous convictionsfor selling counterfeit videos. Before raiding his premises TradingStandards officers made test purchases from him and the police andTrading Standards put him under surveillance. The raid led to the seizureof over 6,300 CDs believed to contain pirate material.11Also in 2004 Mark Purseglove was jailed by a UK court for three anda half years.12 It is alleged that Mr Purseglove was one of the biggestbootleggers in the world and had amassed a fortune estimated to beabout £6.6 million in the 11 years he had operated as a pirate. He soldhis bootlegs around the world including off the Internet and on Internetauction sites. He was arrested after a protracted investigation by the anti-piracy teams from the IFPI and the BPI and charged with conspiracy todefraud the UK recorded music industry. Under the Proceeds of Crimelegislation his homes in Chelsea and Brighton were seized after all hisassets were ordered to be forfeit. The judge made clear that the severityof the sentence was intended to act as a deterrent to others and to sendout a strong message that the courts will provide effective protection forthe rights of copyright owners. Purseglove had collected bootlegrecordings from household names in the music business, paying people,including the band’s sound engineers, to make illegal recordings.Broadcasts were copied and he made counterfeit copies of legitimaterecordings. He had previously been arrested and deported from the USand had shown a contempt for previous court proceedings.Anti-Piracy Unit (APU)The APU was set up by the BPI and also receives financial support from theMusicians’ Union and the British Association of Record Dealers (BARD).The APU investigates complaints about piracy. They take informationfrom record companies, musicians and members of the public. They a l s omonitor new technology and how that might affect the record industry. TheAPU runs training courses and seminars for the police and TradingStandards officers.The APU can assist in both civil and criminal actions and work with anumber of other industry bodies. In 2001 they attended or gave evidence inmore than 500 criminal cases. They closed down some 400 websitestrafficking unauthorised MP3 files and others who threatened to dealillegally with unreleased tracks. They also closed down 2,315 auctionwebsites offering illegal MP3 compilations and bootleg recordings.13The International Federation of the Phonographic Industry (IFPI)This represents the international recording industry. If you’re a member ofthe BPI you automatically become a member of the IFPI. It has about ahundred members in over seventy countries. It is involved in theinternational fight against piracy. It lobbies governments for appropriatecopyright protection and helps to ensure the laws are enforced.Other BodiesOther bodies involved in the fight against piracy include the FederationAgainst Software Theft (FAST), which was set up in 1984 to represent thesoftware industry (both publishers and end users);14 the Federation AgainstCopyright Theft (FACT), which represents film and video producers,manufacturers and distributors as well as TV and the satellite industries,15and the European Leisure Software Publishers’ Association (ELSPA), whichrepresents publishers of interactive software such as computer games andhas an anti-piracy hotline.FACT, FAST and the Music Publishers Association (MPA), which looksafter the interests of music publishers, also set up a hotline in the autumn of1999 for people to report suspected cases of film, music or software piracy.You can also get legal advice on copyright and trade mark issues and theywill tell you about their education and training initiatives.16Implementation of the Gowers ReviewOne of the recommendations of the Gowers Review of Intellectual Propertywas that the ISPs adhere to their protocols for sharing data with rightsowners to identify and disbar from their services those who infringecopyright. The report says that if the ISPs cannot demonstrate that theseprotocols had proved ‘operationally successful’ by the end of 2007 theGovernment should consider legislating. The ISPs do not wish to havelegislation imposed upon them and it is to be hoped therefore that this willput pressure on them to reach agreements with record companies andpublishers which would assist in the battle against illegal use of copyright.The ISPs are in a potentially very strong position as if they agreed to shareinformation with rights owners which enabled those rights owners to showthat the use was illegal then the ISPs would be in a position to quickly barthe illegal user from their service. Now obviously it is possible that theillegal users would then just move their activities to another ISP but if allthe ISPs in turn also shared information on users who have been banned thatmight drive the illegal users off the Internet altogether. The ISPs couldcertainly do more than they are at present where their position almostuniversally has been – we do not monitor the content, we just provide themeans, the pipeline. But there is still a lot of work to do. The governmentpaper expected in February 2008 should help to move the debate forward.Leaked highlights do not seem to suggest there will be a requirement toshare data between ISPs but do seem to propose a three strikes and you’rebarred rule for illegal file sharers.1 This was implemented into UK law as section 13A CDPA. The term isfifty years from the end of the year in which the sound recording was firstmade or, if it is released in that time, fifty years from the end of the yearin which it was first released.2 See Springsteen v. Flute as discussed on See here.3 Collins v. Imrat Handelsgesellschaft mbH [1994] W.M.L.R 108.4 Source: ‘Protecting the Value of British Music’ published by the BPI Anti-Piracy Unit (see below).5 Sections 22–26 CDPA.6 Section 107 CDPA.7 Section 110 CDPA.8 Section 108 CDPA.9 Section 300 CDPA.10 Section 1 Trade Descriptions Act.11 R v. Reid (2004).12 R v. Purseglove (2004).13 Source: BPI Market Information June 2002.14 For more details of their activities see www.fast.org.uk.15 For more details of their activities see www.fact-uk.org.uk.16 The hotline number is 0845 603 4567. Chapter 15Collection Societies INTRODUCTIONAS YOU KNOW by now, copyright is the right of an individual and, in mostcases, that right should be exercised as the individual decides and on his ownbehalf.However, there comes a time when it makes more sense for these rightsto be exercised collectively by an organisation set up to represent theinterests of its members. To make doing business as easy as possiblerequires a one-stop service. For example, it wouldn’t be commercially viablefor the owners of a radio station to have to go to the copyright owners of thesound recording copyright and of the rights in the songs on each of therecords that the station bosses want to play on their programmes. It would befar too time-consuming and costly. Hence the rise of the collection societieswhich represent the interests of publishers, record companies, authors andperformers. There are several of them, brief details of which are outlinedbelow. They all have useful and informative websites which it would payyou to look at.WHAT ARE COLLECTION SOCIETIES?1They are, in effect, organisations set up by the various categories of rightsowners to administer their rights collectively as their sole, or one of theirmain, purposes.2On the whole, collection societies are private as opposed to state-ownedbodies, but they are subject to some form of government or statesupervision. In the UK, that supervision is provided for partly by the 1988Copyright Act, which established a form of compulsory arbitration in theshape of the Copyright Tribunal,3 and in part by the CompetitionCommission (formerly the Monopolies and Mergers Commission).Overseeing the whole thing is of course the EU which does intervene orintroduce pan-EU legislation when it thinks that national solutions are out-of-step or require updating, review or harmonisation.The purpose of most collection societies is to provide a practical andeconomical service to enable its members to enforce and administer certainof their copyrights. These bodies make it easier for others to get licences touse copyright works. There is also certainty in that the payment for theseuses will usually be at a fixed rate or one individually negotiated withincertain guidelines. The idea is also that, by acting collectively,administration costs are reduced.There are, of course, possible dangers inherent in that these collectionsocieties are, by their nature, monopolies. It’s the job of the CompetitionCommission to police whether that monopoly position is being abused.4BLANKET LICENCESOne of the features of collection societies is that they grant so-called blanketlicences for the right to use certain rights in all the works controlled by thesociety for a particular purpose, for a particular period of time and at aparticular rate. Anyone wishing to take advantage of these blanket licenceshas to take a licence for the whole catalogue. For example, the PerformingRight Society Limited (PRS) can negotiate a blanket licence with radiobroadcasters for the right to broadcast to the public all the works controlledby PRS. The licence would be for a given period of time, say a year, andwould then be subject to review. PRS would negotiate with individual radiostations or, more likely, with their representative bodies, the rate that wouldbe applied to these licences. It could be a flat fee per annum or it could belinked to the revenue that the radio station earns, for example, a percentageof the advertising revenue earned by commercial radio stations, or it couldbe a combination of both.Whilst the collection societies became adept at negotiating andadministrating collective licensing schemes in their own countries and fornon-digital means of distribution, things became more difficult for themwhen it came to digital uses and when they came under pressure from theEuropean Commission to make it easier for new commercial ventures toflourish across the European Economic Area (EEA). Whilst this is a laudableaim it takes time to get all members to agree on a course of action and on therate to be set for centralised licensing particularly when that involves newmedia and means of distribution where the people setting and negotiating therate had little knowledge of which of these formats would have stayingpower and what an appropriate means of setting a rate was. For some timethey felt their way forward. The European Union thought they were beingtoo slow in establishing cross-Europe licensing schemes and issued a Reportin October 2005 which urged the societies to review and reform theirpractices and in particular to ‘provide for multi territorial licensing in orderto create greater legal certainty for commercial uses . . . and to foster thedevelopment of legitimate online services’. Perhaps fearing that solutionswould be imposed on them from above there have in the two years since thepublication of this report been committed attempts to reform their practicesparticularly in the area of digital music online and on mobile phones. Thecollection societies are trying to put in place schemes which will facilitateone-stop licensing across Europe. This is an attractive proposition forcommercial users of music in new applications or services.As hard evidence of these efforts two major initiatives were announcedat the European Trade Conference MIDEM in France in January 2007. TheMusic Publishers Association announced a one-stop pan-European digitallicensing solution in conjunction with the MCPS-PRS Alliance. MCPS is theMechanical Copyright Protection Society Limited. The scheme allows musicpublishers to appoint the Alliance as their agent for management of onlineand mobile rights across Europe. Costs are to be minimised by the use of atemplate agreement.The second announcement was also one by MCPS-PRS Alliance (whohave seized the chance to become a strong player across Europe). TheAlliance announced a plan to act with the German society GEMA as anexclusive one-stop shop for Anglo-American repertoire for digital rightsbelonging to EMI Music Publishing through a new organisation owned bythe Alliance and GEMA jointly and called the Centralised EuropeanLicensing and Administration service (CELAS). The idea is that in timeCELAS may be used by other commercial users looking to avoid having tonegotiate individual licensing agreements with all national collectingsocieties.Still on the international front PPL announced in November 2007 newinternational deals with collection societies in Russia, Italy and Switzerland,bringing the total number of reciprocal agreements to 41.Closer to home too there have been rapid advances in the availability ofblanket licences for online and digital uses of music. A glance at the MCPS-PRS Alliance website will reveal schemes for everything from DVDs tomemory cardsA recent development has been the introduction of blanket licenceschemes to use music in podcasts. Whilst commercial radio has had such ascheme in place for some months the BBC did not finally agree a deal for itspodcasts until autumn 2007. This was because the BBC Trust had onlyfinally authorised the full roll out of podcasts in April 2007, thus allowingthe BBC to start negotiating with Public Performance Limited whichcontrols master rights to sound recordings for the major labels. Thebroadcasters had to convince the record companies that these podcasts werenot a back door means to download music and to some extent the majorlabels remain somewhat sceptical as they have only granted licences to usethirty-second clips of music in podcasts. In contrast AIM, which representsmany independent record labels, has agreed a deal with PPL for whole trackdownloads.On the flip side MCPS-PRS agreed a licence for use of music in podcastsin March 2006. Podcasts have really come into their own in the last coupleof years as a means of customising your own personal radio station, but alsoas a new revenue source. Initially podcasts were made available free of TheRicky Gervais Show. This was an immediate smash hit with over 2 milliondownloads worldwide. This opened up the possibility of a commercialmarket for these things and the episodes of the show were later madeavailable at 99p a time on online etail sites like iTunes. But many of thepodcasts remain free and for promotion only or to add value to anotherservice.MSPs-PRS also recognised that there was a need for a two-tier licensingscheme as there were going to be non-commercial or small commercial set-ups who could not justify or afford the payment of the minimum £400 peryear royalty payable under the scheme. If you are podcasting to a lownumber of people or are unlikely to generate much revenue then you can optto licence under the Limited Online Exploitation Licence which sets anannual minimum as low as £200.The biggest challenge that has faced the music publishers and theircollection society MCPS-PRS in the last couple of years has to be thearguments over the appropriate rate to apply to online uses of music. MCPS-PRS reached an agreement with the major record companies and with someof the ISPs in 2006 but some ISPs including Yahoo refused to sign up to thedeal and all ISPs and some of the major labels had issues over how to definethe revenue on which they would pay the agreed rate. So the matter ended upbeing referred to the Copyright Tribunal which is the arbitrator set up by the1988 Copyright Act to oversee disputes over collective licensing schemes.After a very expensive and drawn-out hearing, the Tribunal ratified theterms of the settlement on rate, proposed some but not definitive guidelinesfor the definition of revenue and provided for an arbitrator to be called in iffinal agreement on that subject could not be reached in individual cases. Theagreed rate for on-demand music downloads and subscription streamingservices is set at 8% of gross revenues. The rate set for interactivewebcasting services is 6.6% of revenues and for non-interactive webcastingit is 5.75% of revenues. A minimum royalty ‘safety net’ has also been set.ADMINISTRATIONA main role for the collection societies is the administration of the rights,making sure that a member’s interests have been properly registered, thatpeople using the rights have the necessary licences and have paid thenegotiated rate. They have to collect in the monies, allocate and distributethem. Most societies charge their members a fee of some kind for theadministration of the rights, usually a percentage of the gross income theycollect.There is usually one society for each category of rights. A majorexception is the US, where three societies doing identical things compete forthe right to administer publishing rights, namely ASCAP, BMI and SISAC.Sometimes a society will administer more than one right. For example,in Europe a number of the collection societies administer not only theperforming rights but also the right to copy or reproduce works. In fact, inthe UK, the PRS and MCPS have now combined many of their managerialand administration functions and go under the joint name of The Alliance.RIGHTS GRANTEDThe societies either take an assignment of certain rights from their membersor they have a licence from their members or act as agents for them. Theterms of membership of a collection society will usually dictate what formthe rights granted will take. The idea is to establish through thesemembership rules a clear mandate to grant licences to use certain rights. Aswe will see in the section on new issues below, there has been less certaintythan is desirable in the mandate of some of the collection societies to dealwith new technologies.The collection societies usually have reciprocal arrangements with othersocieties so that they can protect their members worldwide. These reciprocalarrangements mean that the UK societies can represent the interests of theirUK members and of foreign artists, writers and composers within the UK,with both categories of writers receiving the same treatment.One of the main advantages of collective licensing is, of course, thegreater bargaining power that you can get by being part of a big collectiveeffort. The rates and rewards for uses of your works that the collectionsocieties can get for you should be better than what you could get on a one-to-one basis.OTHER COLLECTIVE BODIESThere are a number of other music business bodies that represent theinterests of various parts of the business. These could be collectivebargaining or interest groupings such as the Music Managers Forum (MMF)and AIM (The Association of Independent Music). They also include unionslike the Musicians’ Union (MU) and Equity. British Music Rights5 is thecollective voice for the British Academy of Composers and Songwriters(BASCA), the Music Publishers Association (MPA) the MCPS and the PRS(see below). What all these groupings have in common is that they act as aforum for debate and, to a greater or lesser extent, as a means of usingcollective bargaining power to get things for their members that asindividuals they could find it very hard to achieve. A brief description of theaims of each is set out in the section on useful addresses at the end of thebook.THE SOCIETIESIn the following section I’m going to briefly describe the structure andfunction of some of the main bodies that exist in the UK at the moment.More details can be obtained from the individual societies, most of whomalso publish brochures describing what they do for their members and theirwebsites are, on the whole, very informative.THE BRITISH PHONOGRAPHIC INSTITUTE (BPI)Strictly speaking, this isn’t a collection society as such, but an organisationthat represents the interests of UK record companies. It’s a non-profit-making trade association that was set up in 1973.The BPI is based in central London (see Useful Addresses) and itsmembers are UK record companies. There are currently about 400 members.There is a fee to become a member and these fees mainly fund its activities.The subscriptions for full members are a minimum fee of £75 plus an annualpayment of 5% of the member’s performance income collected by PPL. Thischange to the subscription base is intended to open up membership to morecompanies. However, in December 2007 in the wake of a public statementfrom Guy Hands of Terra Firma (new owners of the EMI Group) questioningthe level of payments to associations like the BPI, RIAA and the IFPI, theBPI announced substantial reductions in the subscriptions to be paid for thefour major record companies. The formula will remain as before forindependent record labels. The chairman of the BPI insisted that thedecision-making process to reduce the subscriptions had begun well beforeHands made his statement. BPI members have to be approved and agree tobe bound by the membership rules and the Code of Conduct that the BPImaintains. If you’re a member of the BPI you automatically also become amember of the IFPI.The BPI Code of Conduct deals with how the music charts are drawn upand involves the BPI investigating alleged irregularities, for example if thereis an attempt to buy up unusually large numbers of copies of a particularrecord in order to artificially gain a higher chart position. If the BPI findsthat a member has been guilty of infringing the Code it can employsanctions against that member, including expelling them as a member and/orimposing a fine. It is a part owner of the Official Charts Company.Because it’s a trade association rather than a rights body, it doesn’t takeany rights from its members nor does it grant licences or otherwiseadminister or collect money from exploitation of rights.The BPI provides a forum for discussion and acts for its membersgenerally on matters in which they have a common interest. It has a lobbyingfunction at Westminster and in Brussels, and also negotiates agreementswith other groups such as music publishers, the Musicians’ Union or Equity.It also has an important function in protecting members’ rights through anti-piracy initiatives and in promoting British music overseas. Its Anti-PiracyUnit is active in trying to reduce the amount of piracy in the UK. Its roleincludes taking high-profile litigation cases against pirates and givingpublicity to successful seizures of pirate goods.PHONOGRAPHIC PERFORMANCE LIMITED (PPL)This is the record industry’s licensing body. It licences records forbroadcasting and public performance, collects the revenue generated anddistributes it.It represents a large number of record companies (about 3,500), some ofwhich, but not all, are members of the BPI and over 40,000 performers.The PPL is based in London and was incorporated as a company limitedby guarantee in 1934. (See Useful Addresses for contact details.)The PPL negotiates collective agreements with broadcasters. I t a l s oprotects the rights of its members and takes legal action to protect thoserights. It doesn’t, however, have its own anti-piracy unit or staff, but relieson its members to bring infringements to its attention.PPL has a number of different tariffs that apply to the various uses of themusic in its repertoire. These are usually payable annually. There areminimum charges and how much is paid out to the members depends on theuse. It does take assignments or exclusive agency rights of various rightsfrom its members. These include broadcasting, public performance, dubbingof background music (a role it took over in 1985), multi-media uses anddigital diffusion rights.6PPL distributes the income it collects to the owners of the soundrecordings and to the performers on the tracks who have registered theirperformance with PPL. It is a not for profit organisation so there is no fee tojoin. They cover their costs by charging a fee to administer the rights.VIDEO PERFORMANCE LIMITED (VPL)This is a company associated with PPL. It is the record industry’s licensingbody for music videos.Its members are the owners of public performance rights in music videosbeing publicly broadcast or made available to the public in the UK.VPL licenses music videos for broadcasting and public performance. Itapplies a number of different tariffs to the different uses of the musicvideos.VPL takes an assignment of its members’ public performance anddubbing rights in music videos and a non-exclusive licence of thebroadcasting rights.VPL collects performing income from use of music videos but, unlikePPL, it’s not obliged by law to share this income with performers, only withits record company members. There is no fee for joining as like PPL itcovers its running costs by charging a fee to administer these rights.ASSOCIATION OF INDEPENDENT MUSIC LIMITED (AIM)This is a relatively new association, set up in 1999. Its members are drawnfrom the independent sector of the music business, mostly the recordcompany side but including publishers, production companies andmanufacturers. It’s a non-profit-making trade organisation for independentrecord companies and distributors in the UKIt acts as a forum for debate and also has a lobbying function. Itsfunction as a trade association means that it also has a collective bargainingrole.AIM is based in London, and provides a legal advisory service to itsmembers with a number of checklists of points to look out for in negotiatingvarious types of deals. It has been forward-looking in the licensing deals ithas struck with online distributors on behalf of its largely independentmembership.THE PERFORMING RIGHT SOCIETY LIMITED (PRS)PRS is the UK collection society for composers, songwriters and musicpublishers and is charged with administering the public performance andbroadcasting rights in music and lyrics. It also administers the filmsynchronisation right.Both music publishers and songwriters are members. It was set up in1914 as a company limited by guarantee. It also represents almost a millionforeign music copyright owners through its affiliations with overseascollecting societies.PRS is based in central London. When you become a member of PRSyou have to assign your performing right and the film synchronisation rightto PRS. Although members assign rights, they can reserve some categoriesof rights or types of use of rights in all their works and the rules do allowmembers to request that PRS doesn’t license the performing right in aparticular work, for example, if it is unlawfully sampled.The criteria for membership by a composer is that at least one piece ofmusic has had a public performance or broadcast which has beendocumented (e.g. set list, programme or playlist from a broadcaster’swebsite).A letter from a broadcaster, promoter or venue owner confirmingbroadcast or performance of your music will be needed. There is a one-offfee currently £100 including VAT.THE MECHANICAL COPYRIGHT PROTECTION SOCIETYLIMITED (MCPS)This company was set up in 1911 in order to collectively license mechanicalreproduction of music, i.e. the copying of music and the synchronisation ofmusic with visual images (see Chapter 4). MCPS and PRS jointly shareback-end and administration resources under the name The Alliance and arenow supporting online, electronic means for record companies to send datafor mechanical licensing which will in due course replace the existing paperregistration form.7MCPS has both publishers and songwriters as members. Its main area ofactivity is the negotiating and administering of collective licence schemes.MCPS is a subsidiary of the Music Publishers’ Association Limited, acompany limited by guarantee.MCPS doesn’t take assignments of rights, but its membership agreementprovides that the member appoints MCPS as his agent to manage andadminister the mechanical copyright in the UK. It has the mandate to grantlicences and collect royalties but there are exceptions which you can retainto yourself and not grant to MCPS. There are full details on their website –see Membership section. It’s also obliged to use its best efforts to preventinfringement of its members’ rights. It can take legal action in their nameand often does so.The types of licence agreements are listed on their website in some detailas are the exclusions.MCPS charges its members a commission for administering the rightsand collecting the royalties. Its website contains details of its rates8.1 For a more detailed description of collection societies and their history,see Copinger and Skone-James on Copyright.2 Section 116(2) CDPA defines a licensing body as ‘a society or otherorganisation which has as its main object, or one of its main objects, thenegotiation or granting, either as owner or prospective owner of copyrightor as agent for him, of copyright licences, and whose objects include thegranting of licences covering works of more than one author’.3 Sections 116–123 CDPA.4 In the past there have been two major reviews of individual collectionsocieties. The first, published in 1988 (HMSO Cm. 530), dealt specificallywith Public Performance Limited. The second, published in 1996 (HMSOCm. 3147), dealt with the Performing Right Society Limited. That reportcontained several criticisms of the Society, which has since altered itsrules to try to deal with these concerns.5 www.bmr.org.6 Dubbing is the right to ‘copy, produce, reproduce or make recordsembodying a sound recording’. An example would be a television sportsprogramme that has music in the background. The sound recording of thatmusic is dubbed into the television programme.7 For more information on Cateo see www.bpi.co.uk/bisinfo orwww.cateouk.com.8 www.mcps.co.uk. Chapter 16Appendix WORKING IN THE MUSIC BUSINESSHERE IS A brief overview of some of the information available on the musicbusiness. It’s not meant to be a complete list; it’s information and sourcesI’ve come across when researching this book. All the contact details are inthe next section, Useful Addresses, or in the body of the text.If you’re interested in more formal training in the music business thenthere are a number of courses now available. If you have access to theInternet this is an excellent resource for finding out about courses. TheUniversity and College Clearing site at www.ucas.co.uk is a good start point.Or do a general search, using any good search engine, for education/music.For short or evening courses, check Floodlight and local authoritypublications for courses outside London. Also check out the BPI website as agood general resource for information on careers in the industry(www.bpi.co.uk).My own researches have turned up the following universities andcolleges who run courses either in the media or the music business.Qualifications vary from NVQs, through HNDs, to degrees. Some don’t offera nationally recognised qualification but more of an overview with acertificate when you complete the course. Check the course details to makesure they meet your requirements. The list isn’t a complete one by anymeans, and neither is it a recommendation of any particular course.HIGHER EDUCATIONLEGAL AND BUSINESS COURSESBath Spa University College is running a full-time two-year CommercialMusic course leading to an HND/Foundation degree with the option of athird year leading to the BA (Hons). The full three-year BA is also available.It also offers a Creative Music Technology course.The University of Westminster offers a BA (Hons) degree inCommercial Music involving music production and music business practiceat its Harrow campus as well as a one-year diploma in Music Business andan MA in Music Business Management.Bucks New University offers HND and BA (Hons) full-time courses inMusic Industry Management, as well as Audio & Music Technology, DigitalMedia, Live Production, Studio Production and Marketing.The Continuing Education Department of City University, London runs anumber of part-time introductory courses such as ‘Making Music Work: AnIntroduction to the Music Industry’. They also offer distance learning andweekend courses in Cultural Industries and the Law and An Introduction tothe Music Industry as well as Marketing and Event Management.Greenwich Community College, south London, also offers part-timecourses in The Music Business and Musicianship, which covers copyrightlaw and marketing.Dartington College of Arts in Devon runs a BA (Hons) degree course inMusic, which can be performance, professional practice or composition-based with arts and cultural management.De Montfort University, Leicester, offers BSc (Hons) courses in Musicand Media Studies, Technology and Innovation as well as BA (Hons) in ArtsManagement and Media Studies.Kingston University offers a full-time or part-time course leading to aHigher Diploma or BA degree in Audio Technology and Music IndustryStudies.Oxford Brookes University offers a number of combined modulesinvolving music, including Law/Music and Business Administration andManagement leading to a BA, BSc or LLB (Hons) degree. They may suitthose more interested in a general as opposed to a specific legal course.The University of Paisley also runs a BA course in Commercial Musicand it stresses the involvement of industry professionals.Roehampton Institute, London Southlands College, has a module inBusiness Studies and Music within its Business Studies Combined Honourscourses. These are either full-or part-time courses leading to either a BA(Hons) or BMus (Hons).The University of Sunderland offers a number of combined BAs,including Business and Music and Business Law and Music. Intriguingly, italso offers a course entitled Gender Studies and Music.The University of Wales Institute Cardiff has an HNC HND/BSc (Hon)in Music Production and Technology and in Music and Audio ElectronicSystems.The University of Glamorgan runs degree in Music Technology and adegree course in Popular Music.For those looking for a more technical emphasis, there is a highlyregarded Tonmeister course at my old university, the University of Surrey.This is a BMus (Tonmeister) degree course in Music and Sound Recording.It’s a four-year sandwich course with time spent out in work placements.The intention is to prepare you for a career in the professional audioindustry.Canterbury Christ Church University College runs a full- or part-timeHND course in Popular Music and Technology at its Thanet campus.Canterbury Christ Church University also runs a BA (Hon) in MusicIndustry Management, Commercial Music and Music: Sonic Arts.Thames Valley University also offers various two- and three-year full-time courses covering Music Recording and aspects of the music business,for example Advertising with Sound and Music Recording.University of Salford also offers a BA (Hons) course in Popular Musicand Recording. The emphasis is on popular music and music technology, butit also aims to prepare you for a career in the music business or in therecording industry. They say you’ll be directed towards modules as a studioperformer or producer depending on your aptitude and interests shown inentrance tests, interviews and by your profile. The course is accredited bythe Association of Professional Recording Services.The Nottingham Foundation for Music and Media is offering further andhigher education courses, as well as commercial training courses for themusic and multi-media industries. Their courses are validated by NewCollege, Nottingham. They offer BND and HND Certificates in MusicTechnology as well as Music Industry.The Academy of Contemporary Music, based in Guildford, has link-upswith many industry bodies. Part of each course is a module in businessstudies.City College Manchester offers courses in FDA in Popular Music &Production and in FDSc Music & New Media Management. For continuingstudies, the courses are validated by the University of Salford.BIMM offers Certificate in Modern Music, Diploma in Modern Music,Diploma in Songwriting, Diploma in Sound Engineering and TourManagement, BIMM Professional Diploma (Level 5) in Modern Music,BIMM Professional Diploma (Level 5) in Songwriting, Foundation Degreein Professional Musicianship and BA Hons in Professional Musicianship.BIMM also run annual summer schools.The University of Aberdeen has a new law degree with an option inmusic. Courses in performance studies are taken in the first and second yearof this degree.COMMERCIAL COURSESThere are also courses run by commercial organisations that aim to givepractical overviews of aspects of the music business. One of the moreestablished organisations is the Global Entertainment Group. They areoffering a two-day core programme called the Music Industry Overview.Then they have a one- and two-day specialised modules such as A&R, ArtistManagement, PR, Marketing & Promotions and Running a Record Label. Allcourses are delivered in central London.The Music Managers Forum (MMF) offers short courses called MasterClasses to its members and AIM members on aspects of music managementand the industry. These are either short evening courses or week-longintensive ones.The British Phonographic Institute (BPI) occasionally offers one-daytraining workshops.The Music Publishers Association (MPA) holds induction courses andspecialist seminars and also runs courses in conjunction with the MMF(www.mpaonline.org.uk).BECOMING A SOLICITORIf you want to become a solicitor, the Law Society can give you information.If you already have a first degree in law, you need to complete a one-yearLegal Practice Course and a two-year training contract. A discretionary fasttrack to qualifying may be available for those who already have relevantbusiness experience.The Law Society now includes Media Studies or Intellectual Property asoptional courses as part of the Legal Practice Course. The Law Society alsorequires practising lawyers to keep up to date on the law by undertakingfurther training during their working life.If your first degree isn’t in law, you’ll need to do an additional one-yearconversion course.IN-HOUSE OR PRIVATE PRACTICE?Once you’ve qualified as a solicitor, you can choose whether to work in aprivate law firm or in-house as a lawyer in a record or music publishingcompany. Managers don’t usually employ an in-house lawyer, nor do smalllabels or publishing companies. They usually use lawyers in private lawfirms.The competition between specialist music business lawyers is intense. Ittakes considerable effort, both in and out of normal working hours, to buildup a ‘practice’ – a body of clients who use you regularly for legal advice.Without a practice you are unlikely to be promoted to associate, salaried orfull partner sharing in the profits (or losses) of the business. The financialrewards and job satisfaction can, however, be considerable.Those of you who think you would find it difficult to build up a practice,or who aren’t interested in becoming a full profit-sharing partner or owningtheir own business, may decide to work in-house instead. That isn’t to saythat this is an easy option. The work in-house can be very intense. There’s nojob security and you have to follow company policy, the ‘corporate line’.The up-side is that the working atmosphere can be more relaxed, you don’thave the stresses of building a practice or running your own business and itcan be a very good way to move into management positions.It is possible to move between the two. A partner in a West End musiclaw firm left to go in-house at one of the big music publishing companiesand ended up running the whole of their European operation.BECOMING A BARRISTERInstead of being a solicitor you could choose to do a law degree, a follow-upcourse at a recognised Bar School and a minimum of one year’s training tobecome a barrister. Barristers can’t be partners in law firms without re-qualifying as a solicitor, but they can, and often do, work as in-houselawyers. For further information on becoming a barrister, contact the BarCouncil.BECOMING A LEGAL EXECUTIVEYou can also get a qualification as a legal executive. For information onlegal executive qualifications, contact the Institute of Legal Executives. Itdoesn’t entitle you to become a partner in a law firm but it does give you alegal qualification. It can be done in evening and day-release classes whileyou’re working and it can be a stepping stone to becoming a fully qualifiedsolicitor although this would take many years. You find legal executives inimportant support roles in media law firms. In the smaller firms, their roleisn’t that different from that of fully qualified solicitors. Legal executivesalso work in-house and, to all intents and purposes, they do the same work asqualified solicitors. However, there is often the view in music companiesthat, unless you’re a fully qualified lawyer or have an additional businessqualification such as an MBA (a masters degree in business administration),you’re unlikely to get promoted to a management role. On the other hand,you may not have any desire to go into management and may be happy witha non-management role.NON-LEGAL JOBSFor a general overview of types of careers available in the music business, agood place to start would be Sian Pattenden’s book How to Make i t in theMusic Business.You could also refer to your careers advisory service and government-backed enterprise and job advisory centres. Chapter 17Useful Addresses ACADEMY OF CONTEMPORARY MUSICRodboro Buildings, Bridge Street, Guildford GU1 4SBTel: 01483 500800Fax: 01483 500801Website: www.acm.ac.ukACCA – Association of Chartered and Certified Accounts29 Lincoln’s Inn Fields, London WC2A 3EETel: 020 7059 5000Fax: 020 7059 5050Email: [email protected]: www.uk.accaglobal.comAIM – Association of Independent MusicLamb House, Church Street, London W4 2PDTel: 020 8994 5599Fax: 020 8994 5222Email: [email protected]: www.musicindie.orgAMIA – Association of Music Industry AccountantsUnity House, 205 Euston Road, London NW1 2AYTel: 020 7535 1400Fax: 020 7535 1401ASCAP – American Society of Composers and Performers8 Cork Street, London W1S 3LJTel: 020 7439 0909Fax: 020 7434 0073Email: [email protected]: www.ascap.comBAR COUNCIL, THE289–293 High Holborn, London WC1V 7HZTel: 020 7242 0082Fax: 020 7831 9217Website: www.barcouncil.org.ukBATH SPA UNIVERSITY COLLEGENewton Park Campus, Newton St Loe, Bath BA2 9BNTel: 01225 875875Fax: 01225 875444Email: [email protected]: www.bathspa.ac.ukBMI – Broadcast Media Inc.84 Harley House, Marylebone Road, London NW1 5HNTel: 020 7486 2036Website: www.bmi.comBOURNEMOUTH UNIVERSITYFern Barrow, Poole, Dorset, BH12 5BBTel: 01202 524111Fax: 01202 962736Email: [email protected]: www.bournemouth.ac.ukBPI – British Phonographic InstituteThe Riverside Building, County Hall, Westminster Bridge Road, LondonSE1 7JATel: 020 7803 1300Fax: 020 7803 1310Email: [email protected]: www.bpi.co.ukBUCKS NEW UNIVERSITYQueen Alexandra Road, High Wycombe, Bucks HP11 2JZTel: 01494 522141Fax: 01494 524392Email: [email protected]: www.bcuc.ac.ukCANTERBURY CHRIST CHURCH UNIVERSITY COLLEGENorth Holmes Road, Canterbury, Kent CT1 1QUTel: 01227 767700Fax: 01227 479442Email: [email protected]: www.canterbury.ac.ukCHAMBERS & PARTNERS PUBLISHINGSaville House, 23 Long Lane, London EC1A 9HLTel: 020 7606 8844Fax: 020 7606 0906Website: www.chambersandpartners.comCITY UNIVERSITYNorthampton Square, London EC1V 0HBTel: 020 7040 8268Fax: 020 7040 8995Email: [email protected]: www.city.ac.ukCONCERT PROMOTERS’ ASSOCIATION6 St Mark’s Road, Henley-on-Thames, Oxfordshire RG9 1LJTel: 01491 575060Email: [email protected] COLLEGE OF ARTSTotnes, Devon TQ9 6EJTel: 01803 862224Fax: 01803 861666Email: [email protected]: www.dartington.ac.ukDE MONTFORT UNIVERSITYThe Gateway, Leicester LE1 9BHTel: 0116 255 1551Fax: 0116 2577533Email: [email protected]: www.dmu.ac.ukEQUITY (British Actors’ Equity Association)Guild House, Upper St Martin’s Lane, London WC2H 9EGTel: 020 7379 6000Fax: 020 7379 7001E-mail: [email protected]: www.equity.org.ukEquity is an independent trade union representing not only actors but alsoother performers including singers and dancers. Equity negotiates industryagreements with TV and radio broadcasters, theatres and record companies(through the BPI).GLOBAL ENTERTAINMENT GROUP, THEAdmin. Office: Design Works, William Street, Felling, Gateshead, NE100JPTel: 020 7583 7900Email: [email protected]: www.globalmusicbiz.co.ukIAEL – International Association of Entertainment LawyersDuncan Calow – General SecretaryDLA Piper UK LLP, 3 Noble Street, London EC2V 7EETel: 08700 111 111Website: www.iael.orgIFPI – International Federation Phonographic Ltd10 Piccadilly, London W1J 0DDTel: 020 7878 7900Fax: 020 7878 7950Email: [email protected]: www.ifpi.orgILEX – Institute of Legal ExecutivesKempston Manor, Kempston, Bedford MK42 7ABTel: 01234 841000Fax: 01234 840373Email: [email protected]: www.ilex.org.ukINFORMATION COMMISSIONER’S OFFICEWycliffe House, Water Lane, Wilmslow, Cheshire SK9 5AFTel: 01625 545745Fax: 01625 524510Email: [email protected]: www.ico.gov.ukINSTITUTE OF CHARTERED ACCOUNTANTS IN ENGLAND &WALES, THEChartered Accountants’ Hall, PO Box 433, London, EC2P 2BJTel: 020 7920 8100Fax: 020 7920 0547Email: [email protected]: www.icaew.co.ukKINGSTON UNIVERSITYRiver House, 53–7 High Street, Kingston-upon-Thames, Surrey KT1 1LQTel: 020 8547 2000Email: [email protected]: www.kingston.ac.ukLAW SOCIETY, THE113 Chancery Lane, London WC2A 1PLTel: 020 7242 1222Fax: 020 7831 0344Email: [email protected]: www.lawsociety.org.ukMCPS – Mechanical Copyright Protection Society Limited29–33 Berners Street, London W1T 3ABTel: 020 7580 5544Fax: 020 7306 4455Email: [email protected]: www.mcps-prs-alliance.co.ukMIRACLE PUBLISHING LIMITED1 York Street, London W1U 6PATel: 020 7486 7007Fax: 020 7486 2002Email: [email protected] – Music Managers ForumBritish Music House, 26 Berners Street, London W1T 3LRTel: 0870 8507800Fax: 0870 8507801Email: [email protected]: www.musicmanagersforum.co.ukMMF – Training14b Turner Street, Manchester M4 1DZTel: 0161 839 7007Fax: 0161 839 6970Email: [email protected] is the UK trade association for artist managers. It was set upapproximately twelve years ago as the International Managers Forum to actas a representative body for managers, as a forum for debate on matters ofinterest to its members and as a lobbying body.MUSIC WEEKLudgate House, 245 Blackfriars Road, London SE1 9UYTel: 020 7921 8353Email: [email protected]: www.musicweek.comMUSICIAN’S ATLAS, THEMusic Resource Group. 38 Porter Place, Montclair NJ 07042Tel: +(973) 509 9898Fax: +(973) 655 1238Email: [email protected]: www.MusiciansAtlas.comMUSICIANS’ UNION33 Palfrey Place, London SW8 1PETel: 020 7840 5504Fax: 020 7840 5399Email: [email protected]: www.musiciansunion.org.ukThe MU is the only UK trade union solely representing musicians. It wasformed in 1893. It has over 30,000 members and has a regional structure thatincludes offices in London, Cardiff, Birmingham, Manchester and Glasgow.It acts as a collective body by seeking to improve the status of musicians andthe money they earn. The MU makes national agreements with variousorganisations, including with the BPI (for recording sessions andpromotional videos) and with television companies (for broadcasts).NEW MUSICAL EXPRESSIPC Music Magazines, The Blue Fin Building, 110 Southwark Street,London SE1 0SUTel: 020 7261 5813Fax: 020 7261 5185Email: [email protected]: www.nme.comOXFORD BROOKES UNIVERSITYGypsy Lane Campus, Headington Campus, Gypsy Lane, Oxford OX3 0BPTel: 01865 741111Email: [email protected]: www.brookes.ac.ukPINNACLE ENTERTAINMENTHeather Court, 6 Maidstone Road, Sidcup, Kent DA14 5KKTel: 020 8309 3600Website: www.pinnacle-entertainment.co.ukPPL – Phonographic Performance Limited1 Upper James Street, London W1F 9DETel: 020 7534 1000Fax: 020 7534 1111Email: [email protected]: www.ppluk.comPRS – Performing Right Society Limited29–33 Berners Street, London W1T 3ABTel: 020 7580 5544Fax: 020 7306 4455Email: [email protected]: www.prs.co.ukROEHAMPTON INSTITUTE LONDONRoehampton Lane, London SW15 5PUTel: 020 8392 3000Email: [email protected]: www.roehampton.ac.ukTHAMES VALLEY UNIVERSITYSt Mary’s Road, Ealing, London W5 5RFTel: 020 8579 5000Email: [email protected]: www.tvu.ac.ukUCAS – University Clearing Advisory ServiceUCAS PO Box 28, Cheltenham GL52 3LZTel: 0870 112 2211Email: [email protected]: www.ucas.ac.ukUNIVERSITY OF GREENWICHOld Royal Naval College, Park Row, Greenwich SE10 9LSTel: 020 8331 8000Email: [email protected]: www.gre.ac.ukUNIVERSITY OF NEWCASTLE UPON TYNENewcastle NE1 7RUTel: 0191 222 6000Website: www.newcastle.ac.ukUNIVERSITY OF NORTHAMPTONPark Campus, Boughton Green Road, Northampton NN2 7ALTel: 01604 735500Email: [email protected]: www.nene.ac.ukUNIVERSITY OF PAISLEYPaisley PA1 2BE, ScotlandTel: 0141 843 3000Email: [email protected]: www.paisley.ac.ukThe University is seeking approval to change the name to University of theWest of Scotland.UNIVERSITY OF SALFORDSalford, Greater Manchester M5 4WTTel: 0161 295 5000Fax: 0161 295 5999Email: [email protected]: www.salford.ac.ukUNIVERSITY OF SUNDERLANDSt Mary’s Building, City Campus, Chester Road, Sunderland SR1 3SDTel: 0191 515 2000Email: [email protected]: www.sunderland.ac.ukUNIVERSITY OF SURREYThe Registry, Guildford, Surrey GU2 7XHTel: 01483 300800Fax: 01483 300803Email: [email protected]: www.surrey.ac.ukUNIVERSITY OF WESTMINSTER309 Regent Street, London W1B 2UWTel: 020 7911 5000Email: [email protected]: www.wmin.ac.ukVITAL338a Ladbroke Grove, London W10 5AHTel: 020 8324 2400Fax: 020 8324 0001Email: [email protected]: www.pias.com/vitalWELSH MUSIC FOUNDATION33–5 West Bute Street, Cardiff Bay, Cardiff CF10 5LHTel: 02920 494 110Fax: 02920 494 210Email: [email protected]: www.welshmusicfoundation.comINDEXThe page references in this index correspond to the printed edition fromwhich this ebook was created. To find a specific word or phrase from theindex, please use the search feature of your ebook reader.A&R (Artist and Repertoire):accountant, help with choosing a 17album, involvement with 71booking agent, help with choosing a 216future of 176manager, help with choosing a 24precarious life of 3producer, help with choosing a 118radio play, importance of 53recording studio, help with choosing a 116–17relationship with 3scouting 214, 215sending demos to 2, 8, 9social networking sites and 167–8Abba 188, 190Abilene Music 89accountants:booking agents and 222, 226–7business managers and 17–18directories 16finding 16–17how do they charge? 18how to choose 17institutes 16lawyer, help with finding a 12publishing 107record deal, help with getting a 19tax and see taxtouring and 230–1VAT and see VATwhat do they do? 18–19, 43, 44advances 72cost-inclusive 75min-max formula 73–4payment terms 74publishing 104–5size of 51, 52–7, 72what is a good? 72–5advertising:banner adverts at venues 206–7flyposting 231local press 7marketing campaigns 140–1, 180music for 60, 63, 92–3social networking sites 168, 170TV 60, 63, 92–3, 140–1, 180see also marketingAftermath Records 272Akon 224album, recording and distributing see record, making aalbum cycles 39albums, move away from 166–7All Seeing I 276alternative dispute resolution (ADR) 247Amazon 149, 152, 161, 176American Idol 181American Society of Composers and Publishers (ASCAP) 8, 22, 23, 215,299, 312Anti-Piracy Unit (APU) 292, 301Apple 63, 148, 160, 161, 164, 165Aprilla 204–5Arctic Monkeys 150, 154, 181Armatrading, Joan 26–9, 30, 39, 41, 42, 51, 108Armour, Jennifer 279artwork, cover 72, 125–8, 131, 138Ash, Niema 264Associated Newspapers 265–6Association of Chartered and Certified Accountants (ACCA) 16Association of Independent Music (AIM) 298, 300, 302, 308, 312Association of Music Industry Accountants (AMIA) 16, 312AT&T 164Audible Magic 158Automatic, The 8backing band and session musicians 97–9, 106, 122, 125, 232–3band:income 241–3leaving member provisions 244–7as a limited company 238–9name 3–6, 236–8partnership 240–1registers 4–6service agreements 241split 247–9structures 238–41Barfly 213, 214, 215Barrett, Aston 56–7Barrett, Carlton 56, 57barrister, becoming a 309Barry, Paul 86Barton, Lukas 86‘battle of the bands’ 7–8, 214BBC Music 82BDO Stoy Hayward 16Beach Boys 237Bebo 152, 168, 174Beck 126, 157, 175Beckham, David 266Beckham, Victoria 266Bedford, David 190–1Bedford, The 8, 214Bees, The 150Beethoven Street Music 34Beggars Banquet 49Bella Union 49Belle and Sebastian 279Beloved 271Berne Convention 252, 259Best, Callum 263Betsy Trottwood, The 8Beyonce 180Big Active 175Big Brother 181Black Box 277Black Eyed Peas, The 200Blackhurst, Tim 22Blue 5–6, 237Bluebells 280, 281Blunt, James 86BMG 3, 48, 49, 77, 82, 154, 156, 159, 161, 231, 271, 275Bob Marley and the Wailers 56–7booking agents 215–17, 218–23bootleg recordings 288, 289Bourne, James 248–9Boyzone 231BPI (British Phonographic Institute) 133, 143, 149, 155, 159, 284, 285,288, 289, 292, 300, 301, 308, 313branding:artist 182–4merchandising deals 184, 191–7protecting your name 180trade marks 6, 183, 184–90unauthorised, unofficial merchandise 180–1see also merchandiseBranson, Sir Richard 152, 180Brecon Jazz Festival, The 225Brett, John 277–8Brian Rawling Productions Limited (BRP) 86British Academy of Composers and Songwriters (BASCA) 300British Association of Record Dealers (BARD) 292British Music Rights 300Broadcast Music, Inc. (BMI) 8, 299, 313Brooker, Gary 87–8Bucks Music Group 83Bug Music 83B-Unique 3, 49business managers 17–18, 32Busted 248, 249buzz, creating a 2–3, 6, 51CAA 216Camden Council 231Campbell, Naomi 263Campus Group 213Carlin Music 279cases, legal:Abba 188Associated Newspapers v HRH Prince of Wales 265–6Aston Barrett v Universal Island Records 56–7Beckham v Gibson 266Beloved 271Beyonce 279Blue 5–6, 237‘Chariots of Fire’ 278, 279Colonel Bogey 271Cure 242Eddie Irvine 260Elizabeth Jagger 263Elton John v Dick James 27, 29–30, 106Elton John v Reed 122Elvis Costello 233Elvis Presley 185, 186Francis Day & Hunter 278George Michael 54–6, 71, 256Gilbert O’Sullivan 25–6, 60, 64Grokster 284Holly Valance 39–40Hyperion Records v Dr Lionel Sawkins 89–90James Bourne v Brandon Davis 248–9Jamie Theakston 262Joan Armatrading 26–9, 30, 39, 41, 42, 51, 108John Brett 277–8Kemp 85–6, 242, 280Kuro 284Liberty X 5–6, 237Ludlow 275, 279Macarena 271Macaulay v Schroeder 52, 100–1, 107–8Mark Taylor v Rive Droit Music Limited 86–7Matthew Fisher v Gary Brooker 87–8Michael Douglas 261Ms Dynamite 262Naomi Campbell 263Niema Ash v Loreena McKennitt 263–4Oasis 127–8P Diddy 188–9Petula Clark 260Phil Collins 288Pink Floyd 281R v Langley 288Ray Repp 278SABAM v Scarlet 157–8, 170Sara Cox v The People 263Saxon 186Seal v Wardlow 34–5Sebastian Coe 263Shut Up and Dance 277Soribada 284Spice Girls 190–1, 204–5Tom Waits 188Trent Reznor 41Valentino v Hodgens 280Van Morrison (Exile) v Marlow 220–1Walmsley 272Wet Wet Wet 185Williamson Music 279–80ZTT v Holly Johnson 65–6, 71, 108CD (compact disc):compilations 77cover mount 54, 150, 152dealer price 76distribution see distributionlegacy 176manufacturing 130–3, 165record companies lose control of pricing 148retail price 76sales, falling 64, 83sound quality 148CDR 130–1, 284Centralised European Licensing and Administration service (CELAS) 298Chambers, Guy 85, 275Chrysalis Records 85Church, Charlotte 30Clark, Petula 260Clarkson, Kelly 31Coe, Sebastian 263Coldplay 157, 214collection societies 91, 137administration 97, 299becoming a member of 95–6blanket licenses 297–9rights granted 299the societies 300–3what are? 296–7see also under individual societyCollins, Phil 288Colonel Bogey 271Combs, Sean 188, 189Competition Commission 296, 297concerts:‘battle of the bands’ 7–8, 214commission 41online 2, 153open mike 8, 19presentation of 7prices of tickets 68secret 7showcases 6–7venues 7see also touringconfidentiality agreements 266Copeland Sherry Agency 26Copeland, Miles 27copyright:demo 10–11duration of 88–9exclusive recording contract 62, 64fair dealing exemptions 59getting it back 64licence deals and 57, 58, 59moral rights and 252, 253, 256, 258online 59, 171–2piracy and 289–90publishing and 84–8, 90, 98what rights come with ownership of? 90Copyright Act 1956 257Copyright and Patents Act 1988 57, 58, 91, 160, 252, 253, 255, 259, 270,296, 299Copyright Directive 2003, European 157, 159–60, 170Copyright Tribunal 91Costello, Elvis 233counterfeit recordings 286Cowell, Simon 181Cox, Sarah 263Cracknell, Sarah 200Creation Records 38, 126, 127, 128Crimea, The 174Daily Mirror 263Danny D 22Darkness, The 8David, Paula 271Davies, Ray 54Davis, Brandon 248–9de Lalande, Richard 89Dean, Mark 54Dearlove, Richard 188, 189Def Jam 183, 272delivery requirements 71–2, 124Deloitte 16Delta Leisure 162demos 245composition of 9, 19demo deals 10–11, 20finder’s agreements 9–10, 20MP3 2, 9recording 8–11sending to an A&R person 2, 9studio deals 8–9Destiny’s Child 200Devo 93Digital Memory Devices (DMD) 149Digital Millennium Copyright Act 1998 160digital rights management (DRM) 136, 148, 152, 158–61, 176, 285–6, 289Disney 89, 165distribution 49catalogue or single item deals 133–4consolidation of sector 154exclusive versus non-exclusive deals 134–8major versus indies 132–3merchandise 194–5traditional distributors encompass online distribution 152–3DJM 29Doc Martin 228Domino Records 3, 49Douglas, Michael 261, 262downloads 63charts 143, 149free 64, 130illegal 149, 151, 156–62, 175royalties 163–4subscription services 163see also digital rights management and online music salesDoyle, Owen 248, 249Dre, Dr 272Driscoll, Adam 213Dudgeon, Gus 27, 29DVDs 165, 221artist website sales 171copyright 256, 257cover mount 54demand for 53licence fees 93, 298marketing 142–4piracy 284royalties 92Eagles, The 165Earwig 156, 175Ebay 176Electronic Frontiers Foundation (EFF) 286Elle s’Appelle 215Elton John 29EMI 5, 48, 49, 69, 75, 77, 82, 84, 130, 141, 144, 150, 154–5, 157, 160,161, 167, 273, 274, 275, 281, 298, 300Eminem 157End of History, The (Regan) 49Epic Records 3, 55Equity 117, 300, 301, 314Ernst & Young 16Essex Music Limited 88European Commission 48, 164, 297European Economic Area (EEA) 297European Leisure Software Publishers’ Association (ELSPA) 293European Union (EU) 48, 58, 59, 82, 91, 135, 158, 162, 285, 288, 296Copyright Directive 2003 83, 157, 159–60, 170, 287Evera, Emily Van 271Facebook 138, 152, 167, 168, 174Fame Academy 181fan clubs 171, 231–2Farm, The 271Farnham, John 221Federation Against Copyright Theft (FACT) 285, 292–3Federation Against Software Theft (FAST) 292, 293Fiction Records 242fiduciary duty 25, 26, 28, 30, 33film soundtracks 3, 60, 83, 92, 93‘fingerprinting’ technology 170Fisher, Matthew 87–8Fitzgerald, Kiley 248, 249Flaming Monkeys, The 8Flute 122Fopp 152Fox 165Frankie Goes To Hollywood 65, 108, 237, 238, 248Franz Ferdinand 3Friends 237Fuchs, Aaron 272Fuller, Simon 30, 35Gallagher, Noel 127Gates, Gareth 181G-A-Y 213Geffen 109GEMA 298getting started 2–20Gibson, Abbie 266gigs see concertsGilbert O’Sullivan 25–6, 60, 64Gill, Peter 237Girls Aloud 180Glastonbury Festival 8, 220GMTV 291Google 148, 168, 169, 170, 174Gorillaz 152Gower’s Review 58, 159, 160, 161–2, 285, 291, 293Great White 224Grokster 131, 284groups see bandsGuardian 174Gut Records 200Hadley, Tony 85Halliwell, Geri 204–5Hammersmith Apollo 213Hands, Guy 49, 82, 141, 154–5, 300harassment actions 266Hartman, Don 277Hawkes & Son 271Hear Music 151Hear’Say 181Heart 141higher education 306–8HMV 152Hodgens, Robert 280Holly Johnson 65–6, 71, 108Honeytrippers 272Horn, Trevor 65House of Lords 52, 263Human Rights Act 259, 261, 262, 264Hyperion Records 89–9, 271IE 69IFPI (International Federation Phonographic Ltd) 63, 151, 155, 284, 292,300, 315Iglesias, Enrique 86–7Il Divo 180image, band 7Impala 48In the City 8, 215independent legal advice 36Inland Revenue 239, 241, 243Innervision 55integrity right 255–7internet 2 see also downloads, Internet Service Providers and onlinemusic salesInternet Service Providers (ISP) 148, 151, 157, 158, 160, 161, 162, 169,172, 284, 285, 293, 298–9iPhone 150, 164, 165iPod 130, 150, 153, 162, 203, 289Irvine, Eddie 260Island Records 56, 57, 85, 248, 249Islington Gazette 262iTunes 130, 133, 153, 160, 164, 165, 168Jackson, Ray 281Jagger, Elizabeth 263James, Dean 213Japan 135Jardine, Al 237Jenkins, Katherine 174–5Jobs, Steve 160John, Elton 27, 29–30, 122Johnson, Holly 237Jupiter Research 167Kaiser Chiefs, The 3Kazaa 131, 285Keane 3Keeble, John 85Kemp, Gary 85, 86, 242Kemp, Martin 85Kennedy, John 151Kerrang 8, 214key-man provisions 38, 222–3Killers 214Kobalt 83Koopa 150Kuro 284Lahiri, Bappi 272Lala 160Langley Masters 288Later with Jools Holland 44, 182Lavender, Ray 224lawyer:beauty parades 14choosing and employing a 13–14conflicts of interest 13–14directories 12finding a 11–14legal consultants 15–16new breed of 14, 15–16relationship with 15what do they do for you? 14–15when should you get a? 16Law Reports 28, 29, 30Law Society 11, 15, 16, 308, 315Leading Edge 221leaving member provisions 244–7Leeds Festival 201legal executive, becoming a 309Lemar 31Lewis, Leona 31, 150, 167, 181libel 262Liberty 5, 6Liberty X 5, 181, 237licensing 49collection society blanket licenses 297–9deals 57–62mechanical licenses 90–1, 92, 109, 151performance 93–5publishing 90–1synchronisation licenses 83, 92–3, 106, 151territory 61Limited Online Exploitation Licence 298Linda, Solomon 88–9Lion King, The 89Live Music Forum 225Live Nation 48, 49, 68, 151, 212–13, 224Livesey, Yvette 8Livingstone, Bunny 56Lloyds Bank 200Logarides 278Lost Highway 49Love, Mike 237Lowe, Michael 272Macarena 271Madonna 48, 49, 57, 68, 151, 212–13Magic Numbers 40Mail on Sunday, The 54, 265–6Malm, John 41Malone, George 285Mama Group 213–15, 224Management Agency and Music Limited (MAM) 25, 60managers:A&R contacts 24business managers 32contracts 35–40, 43, 44directories 22expenses 43–4fiduciary duties and problems with bands 25, 26, 28, 33help with finding a lawyer 12how to find a 22–4independent legal advice 36is it essential to have an experienced? 31legal cases involving 25–30, 33, 34–5, 39–40new business models 33–4pay 40–2personal assistants 32personal managers 17, 31–2post-term commission 41–2qualities to look for in 31recommendations 23relationship with 24–9, 34–5role 40short-term contracts 44surgeries 23tax and 44territory 36–7trial period 24trust and 24–30what to look for in a 30–1see also Music Manager’s Forum (MMF)marketing:artwork 138DVDs 143–4EPQs 142fan clubs and 171, 231–2flyposting 231in-house or external 139–40local press 7online 156, 170–1, 173–6paying for 141–2photographs and biographies 138–9pluggers 141radio play 53, 141, 215SMS 7, 175, 176, 231telesales 136tours 231–2TV advertising 140–1, 180videograms 143Marlow, Gary 220–1Martin-Smith, Nigel 30master recordings 26, 72McCartney, Paul 151McDonald’s 200McFly 167McGee, Alan 38, 155McKennitt, Loreena 264McLean, Don 279MCPS (Mechanical Copyright Protection Society Limited) 85, 91, 92, 95,97, 135, 139, 169, 277, 280, 287, 297–8, 300, 302–3, 316 see alsolicensingMCPS-PRS Alliance 169, 170, 275, 297, 298–9, 302Meatloaf 220mechanical licenses 90–1, 92, 109, 151memory sticks 148–9merchandising 180–1, 183, 184, 191–7, 260Mercury Prize 49Mercury Records 183, 248, 249MGM 284Michael, George 52, 54, 71, 224, 225, 256Michaelson, Scott 39–40Microsoft 168MIDEM 297Mills, Gordon 25, 26Minidisc 130Minimum Commitment 65–6, 72, 74, 121, 229, 246, 276Ministry of Sound 200Minogue, Kylie 143, 167Mintel 212mixing 76, 117, 122–4 see also remixingmobile music players 165–6mobile phones 148, 149, 151, 165–6Montana, Hannah 232Moore, Tony 8, 214moral rights 109–10, 121, 122, 252–66, 290Morrison, Van 220–1Moths, The 215MP3s 124, 131, 148, 160, 161MP3.com 131, 158, 162Ms Dynamite 262MSN 174MTV 143Muse 8, 215Music Managers Forum (MMF) 12, 16–17, 22–3, 36, 300, 308, 316Music Publishers Association (MPA) 293, 297, 300, 30l, 308Music Station 166Music Week 16, 22, 82, 131, 142, 167, 175, 190, 201, 216, 316Musicians Union (MU) 12, 36, 117, 292, 300, 301, 317MySpace 2, 59, 130, 138, 143, 148, 152, 156, 166, 167, 168, 169, 174,175, 176, 182, 188name, band 3–6Napster 131, 158, 162, 166, 169Nash, Brian 237National Insurance 44News Corp 165Nicoli, Eric 49, 160Nine Inch Nails 4119 Entertainment 35NME 214, 317Norman, Steve 85Nova 132Oasis 8, 38, 126, 127–8, 157, 215Ocean Colour Scene 150OK! 26Oliver, Graham 186online music sales 148–52charts 143, 149–50data protection and 173distribution 135–6, 148, 149–51, 152–3free 64, 130future of 176–7hosting agreements 172–3illegal 148–9, 151, 156–62, 175marketing 156, 170–1, 173–6new business models 162–4official websites 170–1piracy 148–9, 151, 156–62, 175pricing 148record industry attitude towards 148–9, 150, 151–2, 154–6reproduction of 135–6, 148, 149–51, 152–3royalties 136, 148, 152, 158–61, 163–4, 176, 285–6, 289social networking sites and see social networking sitessound quality 148streaming and online broadcasting 153–4subscription services 163territorial issues 164–5website design rights and copyrights 171–2see also downloads; mobile music players; mobile phones; podcastsand ringtonesOnward Music Limited 88‘open mike’ evenings 8, 19Orange 228Orchard, The 133, 153Other, The 7O’Toole, Mark 237O2 54, 164, 212override royalty 9, 74Page, Jimmy 288P&D deals 132, 136Paramount 271Parlophone 167Parry, Chris 242partnership, artist and label 68–9Partnership Act 1890 238, 247‘passing off’ 4, 187–8paternity, right of 253–5Paul, Sean 279PDAs 148P Diddy 188–9Pebble Beach 132Peer Music 83peer-to-peer (P2P) websites 131, 154, 158, 169, 284Performing Rights 59People, The 263Pepsi 200Perfect Songs 65, 108personal assistants 32personal managers see managersPet Shop Boys, The 30photographs, privacy of 257–8PIAS 132, 154, 319Pink Floyd 281Pinnacle 132, 133, 150, 153, 317piracy 58, 149, 151, 156–62, 176, 284–6Anti-Piracy Unit (APU) 292, 301bootlegs 288, 289copyright and 289–90 see also copyrightcounterfeit recordings 286enforcement 290–3how can you stop? 289–9how do you spot a counterfeit, pirate or bootleg record? 288–9moral rights 290pirate recordings 287–8‘Rootkit’ 159, 286trade descriptions 290, 291trade marks 290what is? 286PJ Harvey 157plagarism 277–9pluggers, TV and radio 141Podcasting Association 153–4podcasts 150, 153–4, 298Police, The 27Pop Idol 181Popstars 5, 181Positiva 200PPL 138, 298, 300, 301, 302, 317Premier League 170‘pre-sales’ 139–40presenting yourself 7Presley, Elvis 58, 185, 186, 190Press Complaints Commission 262, 263Pride, Dominic 150Prince 54, 152, 212, 277Prince of Wales, Charles 265–6privacy of the individual 259–66Private Security Industry (Licences) Regulations 2004, The 225Procol Harum 87–8Produce Records 139, 271producers:as co-authors 121copy and moral rights 121, 122, 258credits 120demo 9duties 122mixing 122–4pay 40, 117, 118–19, 120, 122royalties 120standard of work 120–1promoters 223–8PRS (The Performing Rights Society Limited) 8, 12, 23, 85, 91, 93–5, 97,102, 107, 135, 139, 169, 214, 297, 300, 302, 317publishing:accounting and 107administration deals 96–7advances 104–5controlled compositions 91–2copyright and 85–90, 98exclusive agreement 100–9how to find a music publisher 82–3independent publishers 82–3mechanical licenses 83, 90–1, 109, 151Minimum Commitment 103–4moral rights and creative control 109–10ownership, disputes over 85–8performing rights 93–5, 107print 95record deal before 95–6restraint of trade 100–1rights granted 102rights period 102–3rolling contracts 103royalties 90–1, 105–7single song assignment 99–100sub-publishing deals 97–9, 102, 105, 106synchronisation licenses and royalties 83, 92–3, 106, 151territory 102, 151360 degree deals and 110tracking systems 151what are music publishing rights? 84–9what do publishers do? 83–4what type of deal should you do? 110what’s in a typical publishing deal? 101–7Punk 8Radiohead 150, 151, 175Radio 1 53, 141, 174, 215radio play 53, 141, 174, 215Radio 2 53, 141, 174, 215Raizada, Yogesh 291Rashman, Richard 249Reading Festival 201record, making aartwork 72, 125–8, 131, 138budget 117–18credits 120delivery requirements 124mastering and digitisation 118, 124mixing 76, 117, 122–4producer 118–19, 122production deals 114–15record company refusal to release 54–6recoupment of costs 63–4, 70, 118, 119remix royalty reduction 120rights 121standard of work 120–1studio package deals 116–17studio, finding a 118who does the contract? 119–20record companies: consolidation of 48–50, 154 cost-cutting 48–50, 154–5future of 176independent 3, 6, 49–50, 132–3, 136major 49, 50, 132–3, 136, 176refusal to release albums 54–6see also under individual company namerecord deals:accounting and 78advances 52–7, 72–5copyright and 62, 64creative control versus large advances 52–7delivery requirements 71–2development deals 62–3exclusive 60–6future album options 64–6hype of the multi-million pound 50–1legal principles 51–2licence deals 48, 57–60new business models 48–50new kinds of deal 57, 67–9, 110, 155–6non-inclusive 60–1production deals 69–71record budgets 75–6royalties 76–7territory and split-territory deals 66–7 360degree deal 57, 67–9, 110, 155, 171, 197, 212–13two-album firm deals 66what happens in a production deal when a bigger company comesalong? 78–9 record sales, decline in 2 see also CDsrecoupable and non-recoupable costs 63–4, 70, 73, 75–6, 78, 94, 107, 118,119, 123, 229, 245, 248Regal Room, The 8Regan, Fionn 49rehearsing 7remixing 67, 76, 120, 123Remote Control 132restraint of trade 26, 29, 51–2, 55–6, 100–1Reznor, Trent 41Rhode Island Club 224RIAA (Record Industry Association of America) 149, 155, 158, 284, 300Rice, Damien 49Rice, Tim 85Richard, Cliff 58, 162, 279Ridgeley, Andrew 54, 55ringtones 150, 151, 182Rive Droit Music Limited (RDM) 86, 87Roland, Kevin 155Rondor UK 82‘Rootkit’ 159, 286Roskilde Festival 224Rough Trade 49royalties:DVD 144leaving member 245, 246, 248mechanical 90–1, 92, 109, 151 see also MCPSmerchandise 195–6override 9, 74performing 107 see also PRSproducer 120publishing 90–1, 105–7record deal 70, 75–7synchronisation 92–3Rutherford, Paul 237SABAM 157–8, 170Safety Focus Group 225sampling:how do you clear a sample? 272–3how much is a sample? 270–2, 276what happens if you don’t clear a sample? 277when should you seek permission? 273–4where do you go to clear samples? 274–6Sanctuary Records 42, 49, 154Sawkins, Dr Lionel 89–90Saxon 186Schroeder Music Publishing Ltd 52Scissor Sisters 40S Club 7 30, 31scouts 2–3see also A&R Seal 34–5, 40Secure Digital Media Initiative (SDMI) 159Sergeant, Matthew 248session musicians 117, 122, 125, 232–3, 241, 280–17Digital 133, 162, 173Shadows, The 279Shalit, Jonathan 30Shaw, Sid 185short cuts 5–8showcases 6–7, 19Shut Up and Dance (SUAD) 277Silver Rarities 288Silvertone 108Simpson, Charlie 248Sinclair, Jill 65singles:downloads 53 see also downloadsminimum number of 53rise in sales 167SISAC 299Sky Larkin 215slicethepie.com 8Smith, Robert 242social networking sites 8, 152, 167–70see also under individual site namesolicitor, becoming a 308–9songwriters:co-authors 85, 121moral rights 109, 258publishing deals and 94, 96, 98, 101, 102, 103, 106see also copyright and publishingSon of Dork 248Sonny and Cher 276SonyBMG 159, 161, 273, 289Sony Records 38, 48, 49, 54–6, 64, 82, 154, 156, 159, 161, 231, 272, 274,286Sony Ericsson 228Sony Walkman 148Soribada 284sound-a-likes 279–80sound and lighting engineers 232Sounds Under Radio 3Spandau Ballet 85–6, 242Spice Girls, The 30, 180, 182, 183, 190–1, 200, 204–5, 208Spiral Frog 150sponsorship 7, 200–1agents 201–2ethical considerations 202–3exclusivity 204–5how to find 201scope of the deal 203–4tour 183what’s in a typical deal? 205–8Springsteen, Bruce 122Starbucks 151Stewart, Rod 281Sting 27, 63Stone Roses 108–9sub-publishing deals 97–9, 102, 105, 106Suede 8, 215Sun 126, 127, 128Sunday Mail 152Super Furry Animals 155Supervision 213synchronisation licenses and royalties 83, 92–3, 106, 151Taiwan 284Take That 30, 167, 180Talksport 260Taupin, Bernie 29, 85tax:accounting 243–4and a band split 247exiles 18, 220, 239managers and 44offshore companies and 239production deals and 69returns 18touring and 230–1Taylor, Mark 86–7te Kanawa, Dame Kiri 221Terra Firma 82, 144, 154, 300territory:distribution within 134–6licensing and 61managers and 36–7merchandising deals and 192sponsorship and 205online sales and 164–5publishing and 102Terry, Clare 281Theakston, Jamie 262360 degree deals 57, 67–9, 110, 155, 171, 197, 212–13Thom, Sandi 2, 156 33 Mobile 163Tiscali 157T-Mobile 164–5Tolhurst, Laurence 242Tosh, Peter 56touring:accounting 17, 18, 53artist riders 225–6backing band and session engineers 232–3booking agents 215–17, 218–23budget 18cancellations 220–1employment agency regulations 217–18funding for 228–30insurance 224losses 53Madonna and Live Nation 212–13Mama Group 213–15manager’s commission 28, 29, 41merchandise 183, 227 see also merchandisepayment and accounting 226–7personnel 232–3promoters 223–8publicising 231–2regulations 225–6sound and lighting engineers 232sponsorship 183, 201–2support 228–30tax planning 230–1360 degree deals and 212–13tour manager 232Trade Descriptions 190, 260, 290, 291Trade Marks 4, 6, 180, 183, 184–90, 207, 290Trading Standards 58, 291–2Truth Hurts 272Tunstall, KT 181–2, 214TV appearances 44, 53United States:copyright laws 121distribution and licensing within 135online music sales within 135personal managers in see managers: personal managersproduction deals 120, 121record labels 2, 4, 17territory 66–7Universal Music Group 42, 49, 82, 151, 152, 154, 156, 161, 169, 248, 249Upsetters, The 56USB flash devices 149, 150useful addresses 312–19U2 157, 203Valentino, Bobby 280Valance, Holly 39–40Vangelis 278VAT 17, 18, 43, 44, 195Vega, Suzanne 277Velvet Revolver 220venues:‘happening’ 7sponsorship deals 200–1see also concerts, touring and under individual venue nameViacom 170videos 53, 63, 143, 301–2Video Performance Limited (VPL) 301–2Violent Femmes 93Virgin Records 56, 152, 180Virgin Megastores 136Vodafone 8, 164, 166, 214V2 5, 49, 152, 154Waits, Tom 63, 190, 279Walmsley 272Wardlow, John 34, 35Warner Brothers Music 49, 54, 152, 154, 160, 161, 212Warner Chappell 82, 175, 276, 280Watkins, Tom 30Webber, Andrew Lloyd 85, 277–8webcasts 156Weiss, George Davis 89Wembley Stadium 225West, Kayne 150Westwood, Tim 183Wet Wet Wet 185Wham! 54, 55‘Whiter Shade of Pale, A’ (Procol Harum) 87–8William Morris 216Williams, Robbie 48, 67, 69, 85, 143, 200, 275, 279Wilson, Tony 8Winehouse, Amy 30, 150X Factor, The 31, 180, 181XFm 141, 215XL 151, 175Xzibit 272Yahoo 148, 174Yorke, Thom 175YouTube 59, 143, 148, 152, 168, 169–70, 188Young, Will 30, 181Zavvi 152Zeta-Jones, Catherine 261Zomba Group 82, 108, 109ZTT 34, 65–6AcknowledgementsTHANKS TO RICO CALLEJO and ‘The Reporter’ for the majority of myinformation on the law and cases; to Ben Challis for the general music lawupdates and to Rachel Ryding for her invaluable assistance in researchingbackground material and updating the names and addresses section. Finally,to my husband, David Hitchcock, and my mother, Sarah Mary Harrison, fortheir continuing support.This eBook is copyright material and must not be copied, reproduced,transferred, distributed, leased, licensed or publicly performed or used inany way except as specifically permitted in writing by the publishers, asallowed under the terms and conditions under which it was purchased or asstrictly permitted by applicable copyright law. Any unauthorised distributionor use of this text may be a direct infringement of the author’s andpublisher’s rights and those responsible may be liable in law accordingly.Version 1.0Epub ISBN 9780753518656www.randomhouse.co.ukThe law in this book is correct to the best of my knowledge as of 31December 2007, but the views I expound are mine alone. Although I havetried to give practical examples throughout the book, everyone’scircumstances are different, as are the facts of every case. The book is not asubstitute for independent legal advice given to you personally. No liabilitycan be accepted by me or by Virgin Books Ltd for anything done in relianceon the matters referred to in this book.Ann HarrisonThis edition first published in Great Britain in 2008 byVirgin Books LtdThames Wharf StudiosRainville RoadLondonW6 9HAFirst Virgin paperback edition published in Great Britain in 2000 by VirginPublishing LtdCopyright © Ann Harrison, 2000, 2003, 2005, 2008The right of Ann Harrison to be identified as the author of this work hasbeen asserted by her in accordance with the Copyright, Designs and PatentsAct, 1988.This book is sold subject to the condition that it shall not, by way of trade orotherwise, be lent, resold, hired out or otherwise circulated without thepublisher’s prior written consent in any form of binding or cover other thanthat in which it is published and without a similar condition including thiscondition being imposed on the subsequent purchaser.A catalogue record for this book is available from the British Library.ISBN 9781905264278	[ "record", "company", "deal", "right", "may", "artist", "also", "music", "get", "contract" ]	{ "summary": "ContentsCoverAbout the BookAbout the AuthorPraiseTitle PagePrefaceIntroductionChapter 1: Getting Sta" }
525545172-Music-Promotion-Secrets-Download.pdf	1 MUSIC PROMOTION SECRETSJOHN GOLDMUSICPROMOTIONSECRETS HOW TO PICK THE BEST MUSIC PROMOTION FOR YOUR TRACKTO GETGUARANTEEDBUZZFOR YOUR MUSIC21 Abou t JOHN GOLD 20yearsago,mymusiccareertookofflikearocket.AfewyearsintomakingmusicIhadsignedrecordlabeldealsrangingfrommajorslikeWarnerMusictoundergroundcultlabelslikeDosOrDie.Mymusicwassellinglikehotcakes!ButwhenNapster'srise'broke'theoldmusicbusinessmodel,itcallcametumblingdown...Mymusiccareerdiedasuddendeath.Ifeltcompletelylostandabandoned.Iwas100%musician-and0%musicmarketerormusicentrepreneur.Ididn'tevenknowhowtogetfansmyself.Andthatjustdidn'tworkanymoreintheNEWmusicindustry. Hi, I am John Gold. I am the CEO and founder of Hypeddit.com, a leading global music promotion and fan acquisition platform for independent music artists.But this is not where things started for me...2ButIdidn'tletthatstopme.Idecidedtodoitallover-andbecomeabetterandsmartermusicartistthistimearound.Itaughtmyselfhowtopromotemusiconline,howtoreachandgetrealfanslikearockstar,andhowtomakealivingasamusicartistonline.Ievenbuilttechnologytohelpwithit.AllofthishaschangedmylifeandthelivesoftheartistsIgottoworkwith.Withfamilyandkidsathome,Ihadtostoptouring.Butwithmycoachingandtools,Ihavehelpedhundredsofthousandsofindependentmusicartistsreachandgetmillionsoffansfortheirmusic.Someofthemwentontosignmajorrecordlabeldeals,otherssteppedontothestagesofthetrendiestclubsorbiggestconcertsandfestivalsaroundtheworld.IamsuperpassionateaboutwhatIdo:helpingindependentartistslikeyougrowabiggerandbetterfanbasearoundtheirmusicandsucceedintheNEWonlinemusicindustry.Ihopeyouenjoythisbookandlookforwardtomaybeseeingyouinsomeofmyothertrainprogramsthatwillhelpyoubecomeasmarterandmoresuccessfulmusician.3 INTROYouworkedsohardfordaysorweeks:composing,editing,mixingandmasteringyournewtrack.Nowyourreleasedateisfinallyhere!Yourtrackisgoingpublicandyourpromocampaignisrunningfullsteam…butouch!Plays,streams,downloadsorpurchasesofyourtrackdon’tseemtogoanywherenearwhereyouwantthemtobe.“Whatisgoingon?”isthequestionyou’reaskingyourself.“Whyismypromonotworking?”Ifrequentlygetthisquestionfromfellowmusicartistslookingforsomehelp.So,Idecidedtowritethisguideforallartistslookingtoturnaroundtheirpromocampaignsandtogetthemostoutofthem.Herearethemostcommonmistakesyoumayrunintoifyourpromocampaigndoesn’tdeliveronitsexpectations:You didn’t define a goal or objective for your promo campaign01You didn’t set up a clear call-to-action for fans on your track02You picked promotion channels that don’t actually support your goal (if you had one)03You didn’t set realistic expectations04Whatdoesallofthismean?Letmeexplainsothatyournextpromocampaigncanbeabiggersuccessforyourmusicandyourprofileasanartist. 4Thisisnotasstraightforwardasitsounds.Yourinitialreactionmightbethatyourgoalistogetyourmusicheardofcourse.Thatsoundsgreatatfirst.Butwhatdoesthatactuallymean?Doyouwanttomaximizethenumberofearsthatlistentoyourtrack–evenifmostofthemwouldneverengagewithyourmusic?OrdoyouwanttomaximizetheplayorviewcountonyourSoundCloudtrack,YouTubevideo,etc.togivetheimpressionofhugepopularity–nomatterifyouactuallygetanydownloadsorpurchases?Ordoyouwanttomaximizedownloadsorpurchases–evenifyourplayandviewcountshardlymove?Ordoyouwantyournameandlogotoshowupeverywhereacrosstheweb–evenifyourmusicisnotactuallygettingplayed?Thepointis:Therearemanydifferenttypesofobjectivesandgoalsforapromocampaign.Hereareafewexamples:Maximize listenership01Maximize play or view stats02 Define Goals and Objectives for Your CampaignStep#15Maximize download or purchase conversions (if you using a download gate, this could also mean you maximize follower growth, reposts, comments and likes)03Maximize visual impressions or brand awareness04Maximize ticket sales for a show or gig05Maximize merchandise sales06Alloftheseareperfectlygoodgoals.Whichgoal(orgoals)yougoforistotallyuptoyouandmaydependonyourpersonalpreferenceorwhereyouareinyourmusiccareer.Hereareafewexamples:Ifyouareanup-and-comingartistyoumightbemostfocusedonbuildingabiggerandbetterfanbasearoundyourmusic.Yourcampaigngoalcouldthenbetomaximizedownloadsthroughadownloadgatetomaximizefollowergrowth.Ifyoualreadyhaveahugefanaudienceandevencultivatedsuperfans,youmightbemostfocusedonmusic,merchandiseorticketsales.Ifyouparticipatedinaremixcontestandthewinningremixispartiallydeterminedbyplaysorviewstats,thenyoumightpickthoseasyourmaincampaigngoal.Bottomline:Definingyourcampaigngoalisaninvaluablestepinpickingtherightpromochannelsandtoolsthatcanactuallydeliveronyourexpectations(moreonthatbelow).Youcanofcoursesetmultiplegoalsforyourcampaign.Thiscanhelpyoudecidewhichpromotionchannelstocombineforyourcampaign.6 Whenyousetyourgoalsandobjectivesforthepromotionofyourlatestrelease,writeitdown.It’seasytothinkofgoalsinyourheadandconfirmthatyouhavethemthere.Butwhenyouforceyourselftowritethemdown,thenyou’recommitting.Andthat’sagreatstartingpoint.Usethispagebelowfornotestowritedownthetrackyou’replanningtopromote,andpickyourmaingoal(s)foryourpromotioncampaign.Igaveyousixexamplesofperfectlyvalidgoalsabove.Feelfreetocomeupwithadditionalgoalsiftheyareimportanttoyou.Don’toverthinkit.It’snotabouthavinglotsofgoals.It’sreallyabouthavingjustoneortwothatreallymattertoyou,andthengoingforthem.Tip Notes:7Thisstepisincrediblyimportantifyourcampaigngoalistomaximizedownloadorpurchaseconversions.Properly set up Your Call-to-ActionStep#2 Theconceptisreallysimple:Ifyouwantyourlistenersorfanstotakeaspecificaction–suchasdownloadingorpurchasingyourtrack–makeitasquickandeasyaspossibleforthemtodoso.Agoodcall-to-actionisashortandobviouslinkorbuttonthattakesafandirectlytothedesiredaction.Thebuy-linkonaSoundCloudtrack–ifsetupcorrectly–isagreatexampleofacall-to-action.Itcantakeafantoadownloadgateormusicstorewithoneclicktogetyourtrack.OnYouTube,endscreens,annotationsorcardoverlaysonyourvideoaregreatforacall-to-action.IfyouarenotinYouTube’spartnerprogram(requiredtoputanexternallinkoveryourvideowithoutrunninganad),thenyoucouldputthecalltoactionintothefirstlineofyourvideo’sdescriptionsoitshowsupabovethefold.Whicheverwayyoudoit,youwantthecall-to-actiontobeimmediatelyvisible,obvioustounderstand(e.g.,“Downloadhere:”),andclickable.8Youcan’texpectfanstospendtheirvaluabletimeGoogle-searchingorlookingaroundforadownloadorpurchaseoradditionalstreamingoptionsforyourtrack.Ifyoudon’ttellthemrightonyourtrackorvideo,thenyouaremostlikelygoingtolosethem.Somakesureyousetupyourcall-to-actionandlinkscorrectly.Obviousandwell-performingsetupsincludelinkingfromthebuy-linkonyourSoundCloudtracktoyourdownloadgateoramusicstore.OrifyouarepromotingapreviewofthetrackonSoundCloudtogrowyourSpotifylistenership,thenlinkthebuy-linkonyourSoundCloudtracktothefull-lengthstreamofyourtrackonSpotify.Therearelotsofoptions.It’sjustimportantthatthecall-to-actiondirectlysupportsthecampaigngoalyoudefinedbefore.Ifyouaren’tsurethatyoulinkedallinstancesofyourtrackonlinetothedesiredactionyouwantfanstotake-forexamplebuythetrack,ordownloaditthroughadownloadgatetogrowyourfanbase-thenyoucanusethischecklistforaquickoverviewofthemostcommonlinkplacements.Checklist Buy-link on your SoundCloud trackSoundCloud profile pageYouTube video descriptionYouTube end screenYouTube annotationInstagram profile page linkRecent Facebook postsRecent Twitter postsYour home page (on your artist website)Your email footerYouTube card overlay9Pick the best promo channels and toolsStep#3 Youdefinedyourcampaigngoalandyourcalltoactionissetup.Nowit’stimetopickthebestpromochannelsandtoolstodeliveronyourgoal.Buthow?Therearesomanyoptions!YoucouldrunadsonFacebook,YouTubeorGoogleAdWords...Youcouldgetradiopromotion(forAM/FMoronlineradio)...orfocusonSoundCloudreposts...Youcouldpromoteyourtrackonmusicblogs...orplaceslikeHypeddit’sTop100Charts(shamelessplug!;)...Howcanyoupossiblydecidewhathelpsyouthemostwithaccomplishingyourgoalsandobjectives?Thisiswhereitgetsexcitingandwherewe’redivingintohowtopickthebestmusicpromotionforyourtrack.HereishowIapproachit.It’samixofcommonsenseandexperimentationthatleadstothebestpromotionresults.Atafundamentallevel,musicpromotionisaboutgettingyourmusicinfrontofmusicfans.Musicisallaboutlisteningofcourse.Thatmeansataminimum,yourpromotionchannelneedstodeliverpeoplethat(a)wanttolistentomusicand(b)canlistentoyourmusic–thatmeanstheyneedtohaveahighprobabilityofactivespeakersorheadphonesonwithvolumeturnedup.10Itsoundsprettysimplebutit’sactuallynotthecaseforeverypromochannel.JustconsidermostadformatsonGoogle,FacebookorInstagram.It’smostlyaboutvisuals,notaudio.Butevenifyoufocusonchannelsthatcandeliveraudiopromotion,notallmusiclisteningisequal!Considerwhen,whereandhowpeoplelistentomusic.Youmightbelisteningtomusicrightnowasyoureadthissentence.Youmightbelisteningtomusicwhenyoudriveyourcar.Youmightbelisteningtomusicatwork–orwhenyouworkoutatthegym.AndyouaredefinitelylisteningtomusicwhenyoucheckoutthelatestBeatportreleases,HypedditchartbreakersorSpotify’sReleaseRadar.Althoughlotsofpeoplelistentomusicnearlyallday,thereareimportantdifferencesrelatedtowhenandwheretheylistentomusic:It’stheirfocusonthemusicandtheirlevelofengagement.Thisiskeywhenyouconsiderwhatmusicchannelsbestsupportyourcampaigngoalsandobjectives:How likely are music fans in this channel to actually listen to your music?01How likely are music fans in this channel to engage with your music (e.g., buy, download or stream your song)?02Letmegiveyouafewexamples:Radiopromotionisgreattoreachahuuuugenumberoflisteners.Thatsoundsprettyexciting.Withinminutes,yourtrackcouldbeheardbythousands,tensofthousands,orevenhundredsofthousandsofpeople!11Butmostradiolisteningtakesplaceasasecondary,backgroundactivity.Peoplelistentotheradiowhiledrivingtheircar,whilebeingatwork,whileatthegym,orwhiledoingsomeotherprimaryactivity.Ifyouradio-promoteyournewtrackasarelativelyunknownartistandyourgoalistogetasmanydownloadsaspossible,howlikelydoyouthinkitisthatsomeonelisteningtoyourtrackwhiledrivingtheircarwillpullovertothesideoftheroad,pickuptheirphone,findawaytolookupyourtrackonlineandthendownloadit?It’snotgoingtohappen!Butmostradiolisteningtakesplaceasasecondary,backgroundactivity.Radioisgreattorepeatedlyreachalargeaudienceoflistenerstobuildawarenessforanartist,songorsound-butnottoexpectimmediateconversion.Thelistenerengagementlevelisverylow.Nowviewthisincontrasttoaplacementofapromotedtrackonatransaction-focusedwebsite(i.e.,focusedonbuying/sellingmusic)suchasHypeddit’sTop100Chartsorsomeotherchartsorstoresthatofferplacementofpromotedtracks.Usingthischannel,youreachlistenersthatarealreadyinfrontoftheircomputerorattheirmobiledevice,activelylookingfornewdownloads.Theselistenersaregenre-targeted,highlyengaged,guaranteedtohaveaudioon,andwillmostlikelydownloadanytracktheylike.Soeventhoughyoumaynotreachasmanyactuallistenersasyouwouldthroughabroadradiocampaign,yourconversionratetodownloadswillbealothigher.Youaredealingwithasmallerbutextremelyengaged,genre-targetedaudience. 12ThenyouhavehugeglobaladplatformssuchasGoogleAdWords,FacebookorYouTube.Whenpromotingyourmusicontheseplatforms,Ialwaysrecommendthatyoufirstconsiderwhichadformatsaremostlikelytoreachactuallistenerswitheitherheadphonesonorvolumeuponadecentsetofspeakers(afterall,yournewtechnobangermightnotsoundatallimpressivewhenpreviewedonthetinyspeakersofaniPhone).YouTubeisalwaysagreatoption.Forthemostpart,youcanassumethatanadservedonYouTubereachesactuallistenerssincemostviewersconsumeYouTubevideoswithsoundon.ThatmaynotbethesamecaseforadsthatshowupinaFacebookstream.Facebookvisitorsmayeithernothavetheirvolumeupatallortheymaybelisteningtomusicfromanotherapplication.SojustbecauseyoucanreachmillionsofpeopleviaFacebookwhowouldhaveaneasytimeclickingthroughtoyourtracktodownloadit,doesnotmeanthatyouautomaticallygetafairshotatreachingactuallisteners.Luckily,therearetricksinsideFacebook’sadmanagerthatletyoutargetuserswiththehighestprobabilityofhavingthetimeandfocustocheckoutyourpromotedmusicvideo.OneofthosetrickscommonlyusedistotargetdevicesconnectedtoWifionlyasthisoftentimesmeanthatsomeoneisathomeratherthanrunningaroundatworkforexample.Mostofthisisprettyobviousifyoujustanalyzeyourownlisteninghabits.Askyourselfwhenandwhereyouengagewithmusic.Buttofurtherrealizehowfragmentedmediaconsumptionis,checkoutsomerecentUS-based.YoucanfinditifyougotoGoogleandsearch:HowDo‘AverageAmericans’ActuallyConsumeMedia?Asgeneralguidance,herearesomemusicpromotiongoalsandobjectiveswithmediachannelsthatmaylineupprettywell: 13GoalPromotion ChannelsMaximize listenership§Radio promotionMaximize play or view stats§SoundCloud reposts§Spotify playlists§YoutubeadsMaximize download or purchase conversions§Promote on transactional sites where listeners are already looking for new music to buy and download§Your own email list§Facebook ads optimized for conversion -requires support for Facebook pixelsMaximize fanbase growth§Combine download gate with promotion channels that maximize download or purchase conversions (see above)Maximize brand awareness§Facebook ads§Instagram ads§Google AdWordsMaximize ticket sales for a show or gig§Facebook ads (good for geo-targeting)§Instagram ads (good for geo-targeting)§Your own email listMaximize merchandize sales§Facebook ads§Instagram ads§Your own email listOnceyouhavedecidedononeormorechannels,it’stimetotakeactionandstartexperimenting.Channelsmayofferdifferentadformats(e.g.,Facebookdisplayadsvs.videos)andyoumaytestdifferentversionsofads/promotions.14Pickingamediachannelsthatismostlikelytosupportthepromotionalgoalsforyourmusicisnotanautomatickeytosuccess,butitisanimportantfirststeptohelpyoumakethemostoutofyourtimeandpromobudget.Andthat’simportant.Youdon’twanttobeamusicianwhojustpromotersharder.Youwanttobeamusicianwhopromotessmarter.Next:Usethispagebelowfornotestowritedownthetrackyou’replanningtopromoteaswellasthemaingoal(s)foryourpromotioncampaign.Nowaddtothiswhichpromotionchannelbestmatchesyourpromotioncampaigngoal.Igaveyouexamplesofgoalsandpromotionchannelsthatmightworkwellwiththosegoalsabove.Feelfreetocomeupwithadditionalchannelsthatcometoyourmind.Addthemtothepropergoalcategories.Whenthisnotespageiscomplete,youcanbeconfidentthatyousetagoalforyourselfandthatyouronyourwaytopickthebestmusicpromotionchanneltoreachyourgoal.Notes:15 Set realistic expectationsStep#4 It’salwaysgreattodreambigasamusicartist!Andyoushould!Well,that’saslongasyoudon’texpecttoautomaticallybookUltraMusicFestival,TomorrowlandorCoachellafroma$5musicpromoserviceonFiverr:)OK,that’sabitoverthetop.Dreamsareveryimportantandwillmakeyougofasterandfurther.Butit’salwaysgoodtoeducateyourselfonaparticularpromotionchannelbeforeinvestingyourhardearnedmoney.Thatwayyoucansupportyourinvestmentdecisionwithsomeindicationofwhattoexpect.Hereareafewtipsonsettingyourexpectationssothatyoucanmakesmartdecisionsaboutyourpromotionbudget.PlatformssuchasFacebookorGoogleAdWordsshowyouestimatedresultsasyousetupyourads.Otherplatformsdon’tdisplaythisinformationbutyoumaygetitifyoucontacttheircustomersupport.Letthemtellyouwhattypicalresultslooklike.Itneverhurtstoask.IfyougoforSoundCloudrepostsonaparticularchannel,justcheckoutthatchannel’stracksrepostedmorethanfivedaysago.Scrollthrough20to30oftheserecentlyrepostedtracksandlookfortheonesrepostedbythischannelthathavethelowestnumberofplays.Thosearelikelytracksthatgotonlypromotedthroughthischannelanddidn’tgetanyotherpromotion.16Thiscanbeagoodindicationofthereachtofansavailablethroughthischannel.Thisisimportantsinceexperiencehasshownthatthefollowercountofachannelaloneisnotagoodindicatoroftheactualreach,whichismoreofafunctionofthenumberofengagedfollowers.Ifyouwouldbehappygettingthesamenumberofplaysasthetrackswiththelowestplaycountyoufoundonthischannel,thengoahead.Ifnot,thenjustconsideralternatives.Andwithanychannelyoudecidetoinvestyourhard-earnedmoneyin,it’salwaysgoodtostartwiththeirsmallestpossiblecampaignsize.Iftheyofferpromotionfordifferentbudgets,pickthecheapestone.Dipyourtoes,seehowitgoes.Ifyouliketheresultsyoucanalwaysscaleup.Thiswayyoulimittheriskofblowingyourbudgetonsomethingthatdoesnotgiveyoutheresultsyouwant.Important:Asyouresearchoraskfortheresultsyoucanexpectfromdifferentchannels,bewareofpromoterswhopromiseyoupreciseresults(e.g.,youwillget5,000playsand100repostsin24hours).Thisisawarningsignthatthischannelmaybeusingbotsorotherfaketechniquestodeliverpromisedresults.Hereiswhy:Musicisveryobjective.Fewpeoplecanreliablypredicttheactualresultsofapromotionalcampaign.Andthat’sOK.Afterall,mostofitdependsonhowmuchfansloveyourtrack.It’saboutthemusic.17 Ahitsongthateveryonewhohearsitwantstohaverightawayisobviouslygoingtogetbetterresultsfromapromotioncampaignthanatrackfansarenotthatexcitedabout.Trytobeopenmindedandacceptdifferentresults.Iknowthisishardforusmusicians.Weknowthesweatandbloodwepouredintoourmusic,andwewanteachandeverytrackfromustoheahitButrealpromotiontorealhumanbeingsalwaysdeliversorganicresultsthatvary.Thatsaid,agoodpromotershouldalwaysbeabletopromiseyouaspecifiedcampaignscope(e.g.,“you’regoingtogetonerepost”,or“athousandadimpressions”,or”ahundredradioplays”,etc.).It’sjustnearimpossibletopredicthowthispromotionscopeconvertstodownloads,purchasesorothergoalsyou’retracking.Acceptthis.Thekeyassetinanymusicpromocampaignisart:yourmusic.18Summary Timetosumitalluptohelpyoumakeyournextpromocampaignabiggersuccessforyourmusicandartistprofile.Let’srecap:Startyournextpromocampaignbydefiningyourgoalsandobjectivesupfront.Thishelpssetyourexpectationsandpickthebestpossiblepromotionchannels.Beforeyoukickoffyourpromotion,makesureyourcall-to-actionissetupcorrectlytohelpyoumaximizeconversions.Thisisespeciallyimportantifyourcampaigngoalsincludeanydownloads,purchasesorfollowergrowth(anythingtransactional).Don’tjustblindlypickpromotionchannelsandtoolsforyourcampaignandhopeforthebest.Instead,besmart.Applycommonsense.Findwaystoreachactuallistenersthataremostlikelytoperformyourdesiredactions(e.g.,download,purchase,follow,share,etc.).Ifyouarestartingoutandareunsureaboutwhattoexpectfromaparticularchannelortool,startwithasmallbudget.Thislimitsyourriskandgivesyoumorebudgettoexperimentwithvariationsofyourpromotactics. 19Analyzeresultsandidentifywhatworksbest.Theninvestmoreintothosewinningchannelsandtools.Andnowit’stimetogetstarted.Ifyouhaven’tdonesoyet,gothroughthenotespagesandchecklistsinthisbook.Andthenpickthebestmusicpromotionforyourtracktogetyourmusicheard!Ican’twaittoseeyoubreakthroughwithyourmusic!Pleaseshareyourstoryandfeedback.Wouldlovetohearhowyougotyourmusicheardwithtipsandtricksinthisbook.Justemailmeathello@hypeddit.comCheers, 20Notes:24 JOHN GOLD You worked so hard for days or weeks: composing, editing, mixing and mastering your new track. Now your release date is finally here!Your track is going public and your promo campaign is running full steam… but ouch! Plays, streams, downloads or purchases of your track don’t seem to go anywhere near where you want them to be.“What is going on?” is the question you’re asking yourself. “Why is my promo not working?”JohnGold frequently gets this question from music artists looking for help. He is an accomplished music artist and the founder of Hypeddit.com, one of the largest music promotion and fan acquisition platforms for musicians in the world. So, John decided to write this guide for all music artists looking to turn around their promo campaigns and get the most out of thembyworkingsmarterandnotharder.Have You Experienced this? Music Promo Secrets helps independent music artists identify more effective ways to promote their music for more exposure to real fans.© Hypeddit LLC	[ "music", "promotion", "fan", "promo", "download", "channel", "artist", "john", "set", "purchase" ]	{ "summary": "1\nMUSIC PROMOTION SECRETSJOHN GOLDMUSICPROMOTIONSECRETS\nHOW TO PICK THE BEST MUSIC PROMOTION FOR YOU" }
374980787-Music-Business-Degree-Major-Handbook-pdf.pdf	2Prepare for your dream job in the ever-changing music industry. The following lesson material is taken from Berklee Online’s Bachelor of Professional Studies degree program in Music Business. Want to learn more about earning a degree online? Contact us at 1-866-BERKLEE (USA) / +1-617-747-2146 (INT’L) or [email protected]. The Three P’s from Music Business 101 by John Kellogg Working with PR, Radio, and Digital Media from International Music Marketing: Developing Your Career Abroad by Shain Shapiro Demand Generation from Online Music Marketing: Campaign Strategies, Social Media, and Digital Distribution by Mike King Meet Instructor John Kellogg How Berklee Online WorksGet in Touch3. 5. 7. 19. 20. 21.3By John Kellogg Is there any one thing that ensures an individual’s success in this dynamic music business? Every profession has its guiding principles. The medical field has adopted the Hippocratic oath from the ancients. Successful conduct in sports is guided by ideas of sportsmanship, including fair play and losing with grace. Being an amalgamation of art and commerce, the music business has no officially sanctioned guiding principles, but I offer the “Three Big P’s” as a roadmap which I believe can help guide your success in this industry. The Three P’s From Music Business 101 1. Powerful Product A song, audio or video recording, live performance, or technological advancement (e.g., app, site, etc.) that has the ability to build and retain long-term value and relevance. An Example of a Powerful Product In 1973, Atlantic Records producer Joel Dorn recorded the Grammy Award-winning, number-one hit single “Killing Me Softly with His Song” with artist Roberta Flack. The Charles Fox/Norman Gimbel-penned tune had a unique theme and a strong hook. The final recording sounded great -- Flack’s emotive vocal delivery, a choir-like background vocal chorus, and an infectious groove created with a displaced kick drum added to the pulse of the backbeat. By all measures this was a truly powerful product. To underscore this fact, consider that the Flack record was covered in 1995 by the Fugees and went to number two in America on the Hot Airplay chart. It also became a number-one single in the UK, selling over one million copies.2. Proper Perspective Creators of music must develop both an external and internal perspective of the music business. Externally, they must recognize that one of the primary jobs of their record company is to maximize the company’s value for the record company owners. Even if the artist owns the company, one of the company’s goals should be to generate a profit so that the company can stay in business and be of benefit to the artist. Internally, an artist must recognize that any sustained success can only be achieved through long-term investment of time and money to build valuable assets -- the powerful product. An Example of Proper Perspective The Grateful Dead are the most successful touring band in history. Their creative improvisational flights, top-shelf songwriting, and high-fidelity sound reinforcement were heralded by legions of devoted fans. Recently, several books have been published that expound upon the Dead’s innovative attitude toward the business of music and the cultivation of their fanbase. As Brian Halligan, co-4author of the book Marketing Lessons from the Grateful Dead: What Every Business Can Learn from the Most Iconic Band in History, puts it: The fundamental assumption in almost every band’s business model was that they were going to make their money on album sales. The Grateful Dead rejected that assumption. Their fundamental business model was based on making money from the concerts. Because of that change, there was a cascade of decisions that fell from that. For instance, each concert was completely unique night-after-night, so there was a strong incentive to see them for several nights in a row—this ultimately led to fans following them around the country. In addition, they allowed their fans to make tapes of the concerts and freely spread them to their fans—the more concerts they played, the more tapes there were, the more people were exposed to the music, the more people paid for concert tickets. Today, the Grateful Dead release official versions of their historic concert recordings to fans. This has become a profitable enterprise because of the thoughtful curation and superior sound quality of the recordings (compared to many of the recordings made by fans). Their constant focus on the fan’s experience has paid off in ways that the band couldn’t even have anticipated when they were in their prime. 3. Professional Attitude Participants in the music business must understand that their everyday dealings with others must be conducted in a professional manner that respects all people with which they come in contact. Whether the communication is a correspondence with a president of a major label, his or her receptionist, or a tweet to a loyal fanbase, it should reflect proper knowledge of the subject and deference to the recipient. Meerman, Scott; Halligan, Brian. Marketing Lessons from the Grateful Dead: What Every Business Can Learn from the Most Iconic Band in History. Wiley Publishing, 2010.The Three P’s “5Working with PR, Radio, & Digital Media From International Music Marketing: Developing Your Career Abroad by Shain Shapiro What comes to mind when you refer to one of your favorite artists? Even if it’s their music, which is the primary point of reference, there is always a visual element that complements that—Björk’s extravagant outfits, Slash’s long hair, hat, and sunglasses, and Daft Punk’s futuristic costumes are but a few examples. It is a fact that, when trying to build a successful career as a popular artist, your public image—your brand—plays a major role and ultimately defines how you are going to be perceived by the public. Any public performer has a public image associated with their art and it’s very difficult to separate them from each other. So, every time that art gets exposed, the public image gets exposed too. Therefore, the public image becomes an inseparable part of the artist and, in some cases, becomes art itself. The Golden Rules for Drafting an Artist Bio • Write a captivating press story that grabs readers from the start. • Talk about the music. Describe it. Make it sound exciting. • Avoid too many artist references/influences. • Adjectives: don’t over-do it. • Nobody cares about the band’s background, such as how they met, etc.• Keep it real: include quotes. • Keep it concise! • Be original. Assets, Assets, Assets So what are the assets your media pack needs to contain? Here are the most common ones, and remember, refer back to your checklist! • Bio • Press release • Sales sheet (for the distributor) • Promo photos (max five) • Single cover • Album cover • Music videos (on average, three for every album release) • Video teaser • SoundCloud links • YouTube links • Promo CDs 6All assets need to be the highest possible quality. Golden Rules of Contacting a Journalist You only get one chance to pitch something, so you need to be able to impress quickly. Be very careful with what you choose to include in your communication. Here are a few things to consider: • Include the music link first. • Don’t forget to mention release and tour dates. • Embed a spectacular artist photo. • Use an intuitive email subject. • Use a few press quotes. • Always be polite. • Don’t demand coverage. • Ask for their opinion (they love that). • Give them time and pitch well in advance. • Understand the editor’s point of view. • Develop the relationship over time.Understand that this is a two-way relationship. Editors want page hits and visitors, so that their website becomes popular and is able to generate more advertising money. The content you are offering needs to satisfy that need. Promo CDs need to be sent to long-lead press (for example, monthly music magazines) at least three months prior to an album release.Working with PR, Radio, & Digital Media • Artist Manager • Booking Agent • Concert Pr omoter • T our Accountant • Entertainment Attor ney• Music Supervisor • Publicist • Music Publisher • T our Manager • Entr epreneur• Public Relations Dir ector • Independent Radio Promoter • and mor e...Make Your Mark: Careers in Music Business7Demand Generation From Online Music Marketing: Campaign Strategies, Social Media, and Digital Distribution by Mike King Generating Demand and Building Your Community The first step in creating an effective online presence is to “get your own house in order” by creating an optimized website, which acts as a main focal point for your online promotions. Your own site gives you full control of the visitor experience and provides you with the ability to optimize any conversion opportunities. Once you have your site together, the next logical step in online music marketing is to engage in an external marketing campaign designed to create demand (i.e., web traffic, awareness, and attention) for your band and your products. While the majority of traffic you get to your site will likely come from direct traffic, links from email blasts, and organic search (which is why search engine optimization is so important!), the traffic generated from a combination of other third-party sources to your website is also significant. Taken together, outlets like Facebook, Wikipedia, Twitter, YouTube, and other online third party outlets can also drive significant traffic to your site, if you are optimizing these outlets effectively. Let’s start by looking at some general techniques to draw fans to your band from these external sites. Demand Generation: The Four Major Segments of Online Marketing A“marketing funnel” is the concept of converting the uninitiated into fans and consumers of your products. As fans move through the funnel, they are provided with additional incentives and higher rewards to increase their brand loyalty. But before consumers even enter the marketing funnel, marketers have to create a reason for potential fans to enter the funnel in the first place. As Chris Stone, accomplished marketer and cofounder of legendary NYC- and LA-based recording studio The Record Plant has said: “[without marketing] if you build it, they will not come, because they will not know you exist!” Simply put, the Internet and home recording technologies like Pro Tools have made supply abundant and demand scarce. Building up demand for your product is more important than ever. Demand Generation Demand Generation is a marketing concept used to describe the act of creating a focused and targeted campaign that drives awareness and interest in a company’s products and/or services. As Chris Stone says, it is a crucial step in “letting people know you exist.” Based on this concept, but adjusted to work specifically for online music marketing, it 8Demand Generation is recommended that artists organize their online marketing campaigns across the following four marketing channels: • Permission Marketing • Viral/Social Marketing • Discovery • Paid Placements Permission Marketing Permission marketing refers to the privilege (not the right) of delivering anticipated, personal, and relevant messages to people who actually want to get them. This form of marketing accomplishes several positive things: 1) it reduces clutter and unwanted messages for consumers; 2) the messages received by the consumer contain higher quality, more specific information; 3) it improves targeting precision for marketers. In other words, permission marketing can be considered the Artist-to-Fan channel. Examples of permission marketing outlets include: • Email Lists • Twitter Followers • Facebook Fans • Instagram Followers • Snapchat Friends • YouTube Subscribers • Fan Clubs or Street TeamsViral/Social Marketing Viral or social marketing is the utilization of a marketing tool that gets people to pass a message along to each other. Viral marketing is considered an earned channel, where the fan considers content worthy of sharing, on its own merits. Viral marketing may require very little effort on the part of the propagandist (that’s you), as the recipients of the message become the primary agents who spread it to other people. If it works, viral marketing can be rapid and explosive. Viral marketing can also be characterized as the Fan-to-Fan channel.Many of the same tools that a band can use for permission marketing can also be used by your friends, fans, and followers to help spread a viral campaign online, such as: • Forwarded Emails • Retweets • Facebook Posts / Shares / Likes • YouTube Posts • Pinterest Pins Discovery Marketing Discovery marketing takes place when your music is introduced to a completely new group of fans through efforts that are not permission or viral-based. Examples of discovery marketing outlets could include: • Search Engine Results • Blog • Online Radio • Interactive Streaming Services (like Spotify)9Demand Generation • Music Identification Apps (like Shazam) • Film and TV • Terrestrial Radio • Live Events • Print Publications Paid Placement The last channel of demand generation occurs when an artist pays for access to potentially qualified fans. Examples of paid advertising include search engine marketing (purchasing keywords), buying visibility on ad networks (such as those on Google, Twitter, and Facebook), and banner ads on blogs/music/lifestyle sites. It’s also possible (though not advisable for all but a few artists) to purchase ads on both online and terrestrial radio stations. A Framework for Marketing Across Different Channels Let’s take an in-depth look at some of the more popular third party sites for band marketing and the specific techniques we can use to increase visibility and overall demand generation. While the concepts we’ll discuss are particular to these specific online outlets, these overall marketing ideas can be applied to a variety of other existing (and not yet existing!) sites as well. How Social Media Works: a Conversation with Ian Rogers Ian Rogers has been a key player in the development of the Internet for musicians since founding the Beastie Boys website in 1993. Ian has worked as the GM of Yahoo Music, the CEO of Topspin Media (a direct to fan marketing and sales technology company), the CEO of Beats Music, and as a Senior Director at Apple Music. I try to break social media down into what the actual physics of attention are. I think about attention as this flow. We’re sort of naturally…we click on stuff right? And we move around the Internet in this way, and that to me is the overall attention flow of the Internet. I try to put that against what you are really trying to accomplish as an artist.The first thing that you are trying to do is build awareness, because no matter who you are, even if you are Linkin Park, no one knows about your new record until you tell them about it. So you are trying to build awareness on some level. The blessing and curse of the Internet is that anyone can build a website but it’s not a ‘build it and they will come’ world; just because you built it, doesn’t mean anyone is going to know it’s there. So the first thing that you are always trying to do is build awareness. If you are lucky enough to build awareness, then you are trying to build fan connections. If you can build fan connections, then you are trying to build a fan relationship and fan trust and to do that, you need to communicate in some authentic way. Only when you’ve done all that, can you sell anyone anything. So if that’s the model, let’s look at how social media plays into that model. The interesting thing about “social media” is that s kind of a catchall phrase “10Demand Generation that doesn’t really talk about what’s happening, and what’s happening is that flow of attention. The interesting thing about Facebook and Twitter is that they are not sort of inherently viral. They are really two different forms of marketing. One is direct marketing, and that’s a relationship between an artist and fan, and the other is what most people call viral marketing, or fan-to-fan marketing. So I would break it apart into those two things: so you’ve got the artist to fan channel and then you’ve got the fan-to-fan channel. If you are vending something valuable, people want to share it with other people. It’s the nature of human interaction and sort of reciprocity among human beings. So that’s kind of the physics of the space, and then you ask, “Well, what is it for? What is social media for?” I think that what you really want do with social media, more than anything else, is be a part of the conversation. The most highly leveraged thing that you can do is to put good content out there, have people care about you, have people actually follow and pay attention to what you have to say, because then you have a way to talk directly to them. I think it’s hard, having lived through it, to not look at the example of MySpace and not want a little more sovereignty beyond what Facebook offers. You know, if you spent a lot time building up hundreds of thousands of followers on MySpace, those people are unreachable to you at this point and that’s really dangerous. When I was at Topspin, we worked with Linkin Park. Linkin Park has tens of millions of fans on Facebook and hundreds of thousands of people on an email list. We still sell more products by sending a message out on an email list than we do by putting a message on Facebook, even at that scale. So there is no question that email remains a really efficient channel of direct marketing. There is a not a gigantic value to the direct marketing on Facebook. It’s good but not great. There is a little bit of a fear of lock in, I would say. Do you really want to hand all of your fan connections over to one company who will go through its changes over the coming years? Overall, with social media you want to be a part of the conversation, you want people to share what it is you are up to on Facebook and Twitter; that’s the most important thing. So using those channels to build fan connections, to put your own content out there, and to share your own content. You might just be sharing a thought that you had but that kind of authentic communication is what builds trust and can add to your artist persona and brand. So I think it’s most important to be a part of that conversation. Second to that is the homesteading part, where I am going to have a really nice page on Facebook and make sure people can hear my music. I’m going to make sure people know where they can buy my music and all that. You definitely want to have all of that in place, but I think the most valuable thing is being a part of that conversation. I certainly would, as much as possible, grab email addresses, grab mobile numbers, have my own website and be a sovereign entity, which is going to live through 11Demand Generation whatever the Facebook of tomorrow is. There will be one. Remember that once upon a time, Netscape was infallible, Microsoft was infallible, Apple was a joke that was for 5% of the population, the general consensus on Facebook was, “why would anyone use Facebook when we’ve got MySpace?” It always changes; it is the one thing that is consistent, so you want to own your fan outside of those entities first and foremost. John Mayer on Social Media and Focusing on Your Craft John Mayer, former Berklee College of Music student, has come back to Berklee several times over the years to give informative clinics to current Berklee students. In his clinics, John provides clear and concise advice on a variety of other topics, including his experience in the music business, the craft of songwriting and guitar playing, and general best practices that he has learned from his years in the industry. In one of his recent clinics, Manage the Temptation to Publish Yourself, John focused on social media and the potential pitfalls associated with it. In John’s words: This time is a really important time for you guys because nobody knows who you are, and nobody should. This is not a time to promote yourself. It doesn’t matter. This is the time to get your stuff together. Promotion can be like that. You can have promotion in 30 seconds if your stuff is good. Good music is its own promotion. John went on to say that in his own experience, he found himself asking questions like, “Is this a good blog?” or “Is this a good tweet?” When those questions used to be, “Is this a good song title?” and “Is this a good bridge?” John Mayer has a great point. Similar to other marketing verticals like press, radio, and retail visibility, social media at its core is simply a set of tools that are useful in amplifying existing efforts. Of course the level of connection between artist and fan can be much closer with social media, but without having great music, all the social media visibility in the world is not going to get potential fans of your music to become hardcore fans of your music if the music itself isn’t amazing. “12Demand Generation Facebook Overview As Ian Rogers mentioned, one has to look no further than MySpace to see how quickly folks can lose interest in an online social networking site, but at the present moment, Facebook holds the crown as the largest social networking site in the world, by far. The winds of change can move quickly, but Facebook is definitely the premier social networking site of the moment. 80% of all online social activity happens on Facebook, and the average American spends 40 minutes a day checking their Facebook feed. It’s also a popular destination outside of the U.S., with more than 80% of daily active users living outside the U.S. and Canada. For all the reasons above, it’s important for artists to understand how Facebook works from a marketing standpoint. The first step in developing a Facebook music marketing campaign is to create your “Facebook Artist Page” as opposed to a standard “Facebook Profile.” A Facebook Artist Page provides bands with more communication and interactivity options than a standard profile page, as well as the opportunity to introduce third-party marketing and visibility tools. Facebook Artist Page accounts are relatively simple to create. A quick how to: 1. Go to the Create a Page area on Facebook: facebook.com/pages/create 2. Choose “Artist Band or Public Figure,” then select “Musician / Band” from the drop down menu.3. Choose Your Band Name. 4. Click on “Get Started” 5. Upload an Image and Provide Descriptive Copy and Link. 6. That’s It! Online Marketing Opportunities on Facebook Facebook is a good example of a permission marketing channel, as well as viral/social marketing channel. The single highest converting Facebook mechanism is the “send update” feature. Sharing an update (particularly if this update is interesting content, like a photo, audio file, or video) can be an effective way to reach fans that want to hear from you. It’s also a good way to get the valuable fan-to-fan channel happening. Through the permission marketing channel, research shows that Facebook generally accounts for low to mid single-digit percentages of revenue for an artist’s campaign. Best Practices for Marketing on Facebook Similar to the rest of the Internet, Facebook is working hard on curation – finding ways to deliver the best possible content to its users. Because it would be completely overwhelming for most Facebook users to see all comments from all of their friends all of the time, the Facebook “news feed” is curated by Facebook in a very data driven way, not unlike the way that Google returns search results. On average, 1,500 stories float through the news feed of each user. Each user is seeing an average of about 100 of those stories per day, which are controlled by Facebook’s engagement algorithms. For several years, Facebook’s algorithm for 13Demand Generation determining what content you see in your news feed when you log into your account was called EdgeRank, which looked at three main things when analyzing a post: 1. Affinity: the relationship between the creator of the post, and the recipient. If there is a two-way communication street between the creator and the recipient, meaning that these two folks routinely comment on each other’s posts, share content from one another, and are generally more involved with each other online, EdgeRank looked at this relationship, and would more likely place content from one of these parties into the stream of the other party. 2. Weight: determined by the type of content that is being produced. Posts that contain video, photo, and audio were more likely to be delivered into a recipient’s stream than a simple comment or “like.” Facebook rewarded meatier content postings. 3. Time Decay: simply a measure of how long a post has been out there. Recent postings appeared in a feed more often than older postings. Although EdgeRank is no longer the term used to describe Facebook’s engagement algorithm, the above criteria (excepting time decay, which Facebook has de-emphasized) still provide a great point of reference for marketers when determining what content to post to their community. Best practices still include: • Creating posts rich in photo, audio, and video content. Not only because of the algorithm advantages, but because content is a better way to engage your fanbase. On average, content-rich posts see 200% more engagement than non-visual posts. • Encourage fans to post photos of you. Being tagged increases visibility. • Stay Aware! Hardly a week goes by without Facebook making changes to their service. There are a number of online services that are good resources for Facebook updates, including Adweek’s blog, Forbes, Mashable, and many more. For information from the horse’s mouth, check out facebook.com/press Additional Best Practices on Facebook • Wherever possible, embed a click-through link to a marketing campaign’s primary landing page. • Use a static call to action in the “about” area of your profile to drive traffic to your primary campaign landing page. • Utilize your cover photo to help promote your tour dates or music release information. • Use link tracking services like Bitly to see how your links are shared – making social media a more measurable marketing channel. 14Demand Generation • You can monitor your fan activity through the Facebook Insights analytics. Reviewing your insights can let you know when you should spike the activity or increase engagement with more content (songs, videos, remixes, etc.). Additional third party analytics services like Quintly can help you to measure what is working for other similar bands, in terms of types of posts, time of posting, and more. OF NOTE: Facebook is constantly changing their algorithms, which has recently resulted in less organic reach for marketers. What this means is that Facebook is incentivizing their paid options, to reach fans that you have acquired organically! Not the best situation for creators and marketers, but perhaps another cautionary tale against utilizing properties you don’t control as your sole online visibility. Helpful Third Party Services for Facebook Marketing Facebook itself currently does not provide a great native homesteading option for bands that want to highlight their music, tour dates, videos and more in a really user friendly way. A number of third party options have popped up to fill the gap. Again, technology is advancing on a near daily basis, but there are several helpful third party services that bands can use to help increase visibility and engagement (as well as sell direct from your Facebook profile, if you want) on Facebook. The most widely used option is BandPage, which allows artists to share their music, bio, photos, videos, tour dates, and more, as well as collect email addresses from potential fans. Twitter Overview Twitter (a tool for microblogging— creating online updates using less than 140 characters) can be highly misunderstood. To many, Twitter can simply seem like a time-wasting tool that the self-absorbed use to discuss what they had for lunch. And while there are certainly folks that use Twitter in that fashion, enlightened marketers have found Twitter to be a very useful and effective tool. While not at the scale of Facebook, Twitter currently has over 300 million monthly active users, with 100 million of these users using the service daily. Twitter has also been found to be a tool that music consumers tend to use. An NPD Group study found that active Twitter users buy 77% more digital music downloads on average than non-users. 12% of those who have bought music in the last three months also report having used Twitter, versus 8% of overall Web users. They are far more comfortable spending time online, buying online, and communicating online. As we will discuss, when best practices are followed, Twitter has a lot of potential to cheaply and effectively increase sales. Twitter is an example of a marketing tool that falls into three of our defined marketing channels: Permission, Viral/Social, and Discovery. Perhaps the most interesting facet of Twitter is how quickly messages can be spun into the viral realm via the “retweet” function. A retweet (usually noted by starting your tweet with “RT”) is when one fan resends a message (a “tweet” in Twitter-speak) from someone in their network and shares it with their 15Demand Generation entire network. It’s perhaps the highest degree of content approval and means that the content was so valuable and important that they were willing to share it with their network – causing it to spread from one community to the next. Retweets of good content are not unusual—all the more reason to focus on writing something of substance. Twitter Best Practices Some tips to consider when getting started with Twitter: • Build Up Your Base. Like any other communication method, the more engaged people you have to communicate with, the better your results will be. Certainly communicating with your fan base via site visibility and emails to let them know you are on Twitter is a good first step. But the most effective way to build up your Twitter following at the moment is to simply follow individuals that have mentioned your band, or are fans of similar bands. If you have great content, more often than not, folks you follow will follow you back. Additionally, Twitter users can view, and often follow, the folks that their friends follow. Twitter also makes suggestions of other, similar, Twitter users that fans should follow. There may not be a mathematical equation that explains it all perfectly, but the bottom line is that following key folks in your particular niche in the Twitter community will very likely result in an increase in the number of followers you have, which will provide you with a larger base to communicate with. • Quality Posts. While it’s incredibly easy to follow folks on Twitter, it is just as easy to UN-follow too. Providing your community with interesting content will not only keep folks happy and involved, it is also the basis of any viral Twitter campaign. Give folks a reason to talk about you! • Consistency in Posting. Breaks in posting could cause a drop in followers. Consider using a service that can schedule future tweets. HootSuite, Sprout Social, and many other third party services can be used to schedule tweets. • Engage your Fans. Consider asking more questions of followers to connect more personally and get everyone engaged (e.g., ask followers what they think of a recently posted demo). • Connect Your Blog to Your Twitter Account. WordPress makes it easy to send announcements to your Twitter feed from your blog. Of course the 140-character limit will not allow the entire blog post to appear, but followers will be directed back to your blog/site from the tweet. • Connect Twitter to Your Facebook Account. The Selective Tweets app lets you selectively update your Facebook status from Twitter simply by ending a tweet with #fb. • Use Hashtags for Trending. Hashtags are a way of adding additional context to your tweets. You create a hashtag simply by prefixing a word with a hash symbol, like this: #hashtag, in any of your tweets. Services like Hashtracking can help to provide analysis on trending Hashtags. Hashtags were developed as a means to create “groupings” (otherwise known as “trending topics”) 16Demand Generation on Twitter, without having to change the basic service. For example, folks at the SXSW music festival has used the hashtag #sxsw to categorize any SXSW posts under this heading, which makes for easy review by folks interested in news on SXSW. Effective use of hashtags by bands might include tweets on upcoming festival dates (such as #glastonbury, for example). Collaborative Marketing Outlet Wikipedia According to Alexa.com, Wikipedia is currently the sixth most visited site on the entire Web. With hundreds of thousands of other sites currently linking to it, Wikipedia is also one of the most optimized sites on the Web. As such, a band entry on Wikipedia often appears higher in search results than a band’s official site. Wikipedia is a collaboratively edited site, with tens of thousands of editors responsible for adding and maintaining the content. While a potentially excellent traffic generator for bands, it is also somewhat tricky to set up a Wikipedia page for developing bands. Wikipedia frowns on self-promotion (its goal is to be an impartial community-developed encyclopedia of sorts, not a promotion vehicle), and one has to take certain steps in setting up a Wikipedia page as to not have the page deleted by the site’s editors. Making your entries and edits as notable, relevant, and non-promotional as possible will help avoid this, as anything added that remotely resembles a sales tool will surely get deleted by Wikipedia’s editors post-haste. Another key to marketing and generating conversions on community-edited sites like Wikipedia is to add specific targeted links back to your site in a way that fits the context of the page. Taking the time to blend the content and the link to your site in such a way that it naturally fits and enhances the content on the page will ensure that your link does not get deleted. Research shows that proper implementation of links on these pages can account for low to mid single-digit increases to the overall revenue in a campaign. Best Practices for Marketing on Community- Generated Content Sites: 1. Add the link in the top third of the page for visibility. 2. Ensure that your link fits in naturally with the page content. Paid Marketing Opportunities on Third Party Social Networking Sites Of the four defined marketing channels we’ve identified, our previous examples have focused on organic (i.e., free) opportunities: Permission, Viral/Social, and Discovery. The fourth defined marketing channel is Paid placement. While it’s certainly advisable to exploit all organic opportunities first, online paid placements allow artists to target specific psychographic and demographic criteria of potential fans, which can provide additional 17Demand Generation visibility to support your organic efforts. There are a number of paid visibility opportunities available online. Let’s take an in-depth look at one particular option: Facebook. Facebook Advertising Options One of the problems with traditional advertising is that it is impossible to pinpoint a message specifically for someone who actually wants to hear it. While print (and some online) publications can provide general demographic information on their subscribers and readers (such as annual income, how much money they spend on music per year, age, etc.), most advertising models do not allow you to target your fan with laser-like precision. Facebook is an example of an online outlet that does provide this sort of highly targeted advertising opportunity, one in which you can pinpoint the exact characteristics of your target fan, and deliver them a specific message for a specified period of time. If done properly, this sort of online targeting is an evolution from ads being annoying intrusions, into helpful, meaningful recommendations. As mentioned earlier, Facebook generates billions of dollars a year from their advertising efforts, and they are currently the second largest web advertising vehicle in the world, behind Google. Facebook advertising traditionally relied on the information that users had uploaded into their profiles, from age, geography, favorite music, books—basically any personal information that folks have added to their profile page. But in recent years, Facebook has partnered with some third party data giants including Epsilon, Acxiom, and Datalogix to allow brands to match data gathered through shopper loyalty programs to individual Facebook profiles. What this means is that as an advertiser, you can target folks on Facebook not only based on what they say in their profiles, and what they say in their posts, you can target them based on past activity on a variety of other online and offline activities and interests. To put it another way: Facebook knows A LOT about you, and is using that information to help advertisers target their products more effectively. Based on the psychographic and demographic information you are looking for in your campaign, Facebook trawls its user base for members who meet this criteria, provides you, as an advertiser, with an estimate of the number of folks you will reach with your ad, and provides you with pricing options based on an ever growing palate of advertising options including clicks to your site, promoting your page, boosting your post, and much more. The ad creation process is simple: 1. Get Started: Assuming you have an account set up in Facebook, go to facebook.com/advertising and log in. 2. Create and Target your Ad: Say you are interested in placing an ad with the goal of driving potential fans to your site to experience your music, or learn about your tour dates. After choosing the “send people to your website” option, you will be asked for specific targeting information on who you want to reach, how much you want to spend, and what you want your ad to look like. You will also be asked for specific text and an image or video to accompany your ad. 18Demand Generation 3. Target Your Ad: Set up your target demographic and psychographic information. Let’s assume you are targeting a local demographic for a record release show taking place in Cambridge, MA. If your band sounds similar to the iconic Cambridge-based low-rock trio Morphine, you might want to consider targeting Morphine fans in this ad. Facebook will provide you with additional potential targets as well. In this example, Facebook is suggesting targeting Andrew Bird’s Bowl of Fire fans (not a bad suggestion), as well as Nirvana (not quite right). Facebook ads could just as easily be used to announce new releases, free singles, etc., with your personal website being the destination for the click-through on the ad. Facebook ads are also flexible; it makes sense to experiment with different campaigns to see what kind of traffic volume you might get from your alternate settings. 4. Determine Your Pricing: Set up a daily budget and choose your pricing model (CPM, CPC, Clicks to Website, or Daily Unique Reach). 5. Place your order and enter your payment information. Additional Advertising Options Facebook advertising is just one option available to marketers. Depending on your psychographic and the tools that your fans are more predisposed to using, your advertising campaigns can be expanded to focus on other outlets, including Twitter. Twitter’s advertising options are currently less robust than Facebook, but one relatively easy way to implement Twitter advertising is their “promoted tweets” option. With promoted tweets, you can select specific tweets to promote to your fans. Similar to Facebook you can target your audience (your fans and/or fans of other bands you’ve toured with, perhaps?), and set budget restraints in much the same way as you can with Facebook. A final note of caution with regards to paid advertising for musicians: paid advertising can get expensive, and is not the best place to start when you’re a developing band. There are a variety of free or inexpensive options that musicians should start with first that often tend to have better results. Paid ads should be considered only for more established bands that want to expand their reach and who understand that music marketing is a comprehensive system that needs to be continually monitored, assessed for success, and fine-tuned.19 John Kellogg • Assistant Chair of the Music Business & Management Department at Berklee College of Music • Music Business 101 Online Course Author and Instructor • Licensed Entertainment Attorney Licensed to practice in the states of New York and Ohio, John P . Kellogg, Esq. has represented recording artists The O’Jays, Eddie Levert, Sr., LSG, Stat Quo of Shady/Aftermath Records, and G-Dep of Bad Boy Records. He also serves as a member of the management team for the late R&B recording star Gerald Levert, whom he represented throughout his career. Kellogg is President-Elect and a member of the Board of Directors of the Music and Entertainment Industry Educators Association (MEIEA), in addition to being a former board member of the Black Entertainment and Sports Lawyer’s Association (BESLA) and a 2005 inductee into the BESLA Hall of Fame. He is the author of the book Take Care of Your Music Business: The Legal and Business Aspects You Need to Know to Grow In the Music Business, as well as numerous legal articles and editorials. A former vocalist with the group Cameo, Kellogg has been profiled in Billboard, Ebony, Black Issues, and In the Black magazines.A music business degree puts you in the position to be a leader in the music industry. You’re going to study with other students who have experience in the business as well as instructors that are skilled at incorporating music with the business principles you need to know in order to be successful. ”- John Kellogg, Music Business Online Course instructor“20Renowned Faculty Berklee Online instructors have managed, produced, and engineered hundreds of artists and records and have received numerous industry awards and accolades. Each week you’ll have the opportunity to participate in a live chat with your instructor and receive one-on-one instruction and feedback on assignments. Award-Winning Courses Instantly access assignments, connect with your instructor, or reach out to your classmates in our award-winning online classroom. Study from anywhere in the world at a time that fits into your schedule. Specialized Degree Program No other accredited institution offers the acclaimed degree curriculum provided by Berklee Online. Earn your degree at a cost that’s 60% less than campus tuition and graduate with a professional portfolio that will prepare you for a career in the music industry. Like-Minded Classmates Offering courses for beginners and accomplished musicians alike, our student body comes from over 140 countries and includes high school students getting a jump-start on college, working professionals, executives at industry-leading technology and business firms, and members of internationally known acts like Nine Inch Nails and the Dave Matthews Band. Experienced Support Every online student is assigned a Berklee-trained Academic Advisor. Each Advisor is passionate and knowledgeable about music and here to support you throughout your online learning experience. Try a sample lesson for free: online.berklee.edu/sample-a-courseHow Berklee Online WorksQuestions about Earning Your Degree Online? Contact Us. online.berklee.edu [email protected] 1-866-BERKLEE (USA) \| +1-617-747-2146 (INT’L)	[ "facebook", "marketing", "music", "fan", "online", "twitter", "band", "artist", "site", "content" ]	{ "summary": "2Prepare for your dream job in the ever-changing music industry. The following lesson material \nis t" }
412558067-Music-Business-Degree-Major-Handbook.pdf	Digital HandbookMusic BusinessTable of Contents Berklee Online’s Music Business Offerings 5 Building Your Brand with PR, Radio, and Digital Media 6 How Convergence Has Changed the Supply of Media Content 9 The Development of Modern Music Industry Revenue Streams 13 Show, Don’t Tell: Data Visualization and Infographics 27 Essential Framework to Creating a Successful Marketing Campaign 40 Music Business Degree Handbook 2Begin a new musical journey . Berklee College of Music was founded on the revolutionary principle that the best way to prepare students for careers in music is through the study and practice of contemporary music. Berklee Online extends that tradition to serve an even wider audience, for a fraction of the cost. Alumni of Berklee College of Music and Berklee Online have collectively won more than 250 Grammys and Latin Grammys. This free handbook features educational content from inside some of the required and elective courses within Berklee Online’s undergraduate Music Business major as well as from Berklee Online’s Master of Arts in Music Business degree. The material from these degrees highlight what you need for success in the music industry of tomorrow: versatility. Study from anywhere, on your schedule. Berklee Online offers you the opportunity to obtain a degree in your own rhythm. With access to Berklee’s acclaimed curriculum from anywhere in the world, you’ll be able to participate in award-winning online courses, multi-course certificate programs, and earn a Bachelor of Professional Studies degree. All of Berklee Online’s courses are accredited and taught by the college’s world-renowned faculty, providing lifelong learning opportunities to people interested in music and working in the music industry.Earn your bachelor’s and your master’s degrees online. Berklee Online’s degree programs are the most affordable and flexible option for earning your music degree from Berklee College of Music. Apply today and receive an admissions decision within two weeks. Degree Highlights ÎLess than half the cost of campus tuition ÎFinancial aid available ÎPart-time and full-time study ÎTransfer credit from other institutions ÎCredit issued for prior learning ÎBerklee degree completion opportunitiesUndergraduate Degree: Bachelor of Professional Studies in Music Business Sharpen your knowledge of the concepts, skills, and methodologies needed to succeed in today’s evolving music business. You will study how the music business currently operates and where the business is headed in the key areas of music publishing, licensing, law, management, touring, marketing, and entrepreneurship. Through hands-on instruction from Berklee College of Music’s award- winning music business faculty and industry professionals, this degree will prepare you for a variety of music business-focused careers, including artist manager, booking agent, music publisher, business manager, concert promoter, music supervisor, label operations manager, entrepreneur, and more.Graduate Degree: Master of Arts in Music Business Innovation is shaping many areas of the music business, including management, marketing, licensing, distribution, touring, and more. The Master of Arts in Music Business program prepares you to be a leader in the growth and success of the evolving music business by connecting your passion with advanced knowledge and skills in the key sectors of the industry. Throughout the program, you’ll learn from industry professionals and undertake in-depth analyses of factors, both internal and external, that influence the industry—from technology and data to policy, law, and finance. Coursework prepares you to complete a culminating experience that allows you to define your unique contribution to the music industry and advance business opportunities that present innovative, viable solutions in the marketplace. The program is designed to be completed in one year. You will complete 12 courses at a recommended pace of three courses per semester over four 12-week semesters. But you are welcome to study at your own pace as well. Throughout the program, you will participate in a community of highly engaged and motivated peers and faculty committed to high-level learning and collaboration.Berklee Online’s Music Business Offerings Berklee Online’s Music Business Offerings Learn More & ApplyMusic Business Degree Handbook6 Building Your Brand with PR, Radio, and Digital Media By Shain Shapiro What comes to mind when you refer to one of your favorite artists? Even if it’s their music, which is the primary point of reference, there is always a visual element that complements that—Björk’s extravagant outfits, Slash’s long hair, hat, and sunglasses, and Daft Punk’s futuristic costumes are but a few examples. When trying to build a successful career as a popular artist, your public image—your brand—plays a major role and ultimately defines how you are going to be perceived by the public. Excerpted from the undergraduate course International Music Marketing: Developing Your Career Abroad ASSETS, ASSETS, ASSETS So what are the assets your media pack needs to contain? Here are the most common ones, and remember, refer back to your checklist! It goes without saying—though I will say it—that all assets need to be the highest quality possible. ÎBio ÎPress release ÎSales sheet (for the distributor) ÎPromo photos (max five) ÎSingle cover ÎAlbum cover ÎMusic videos (on average, three for every album release) ÎVideo teaser ÎSoundCloud links ÎYouTube links ÎPromo CDs ÎWrite a captivating press story that grabs readers from the start. ÎTalk about the music. Describe it. Make it sound exciting. ÎAvoid too many artist references/ influences. ÎNobody cares about the band’s background, such as how they met, etc. ÎKeep it real: include quotes. ÎKeep it concise! ÎAdjectives: don’t over-do it. ÎBe original. ÎCheck out the Why I Deleted Your Band’s Promo Email Tumblr and cross-check your language! THE GOLDEN RULES FOR DRAFTING AN ARTIST BIO Any public performer has a public image associated with their art and it’s very difficult to separate them from each other. So every time that art gets exposed, the public image gets exposed too. Therefore, the public image becomes an inseparable part of the artist and, in some cases, becomes art itself. Here are some of the steps you'll take when building your brand: Music Business Degree Handbook 7WORKING WITH PR, RADIO, AND DIGITAL MEDIADr. Shain Shapiro is the founder and CEO of Sound Diplomacy. He has worked in the music industry for nearly 20 years, including roles as the European Representative of the Canadian Independent Music Association, and as UK Press Manager for One Little Indian and FatCat Records. He is also an internationally published music journalist, writing for Timeout, VICE, and others. He holds a PhD from Birkbeck, University of London.Understand that this is a two-way relationship. Editors want page hits and visitors, so that their website becomes (or remains) popular and is able to generate more advertising money. The content you are offering needs to satisfy that need. Promo CDs need to be sent to long-lead press (for example, monthly music magazines) at least three months prior to an album release. If a publication runs the story, link back to them in a social media post. Feel free to thank them, talk about your experience doing the interview, or pull out a phrase that you liked that they wrote about you. ÎInclude the music link first. ÎDon’t forget to mention release and tour dates. ÎInclude a link to a spectacular artist photo. (Do NOT send the 1 million GB pic in the email itself!) ÎUse an intuitive email subject. ÎUse a few press quotes. ÎAlways be polite. ÎDon’t demand coverage. ÎAsk for their opinion (they love that). ÎGive them time and pitch well in advance. ÎUnderstand the editor’s point of view. ÎDevelop the relationship over time.GOLDEN RULES OF CONTACTING A JOURNALIST You only get one chance to pitch something, so you need to be able to impress quickly. Be very careful with what you choose to include in your communication. Here are a few things to consider: Music Business Degree Handbook 8WORKING WITH PR, RADIO, AND DIGITAL MEDIAMusic Business Degree Handbook9 How Convergence Has Changed the Supply of Media Content By Jeanine Cowen Creative individuals have long partnered with business entities, financial firms, publishers, and distributors at a multitude of stages within the content creation process. It is only in the past few decades that it has become easier for artists to create an independent path through the maze of crafting a fiscally sustainable career. But easier does not always mean better, for every artist. Understanding the ebb and flow of market strategies and alternative finance models is requisite knowledge for creative individuals working in the new media economy. No longer do the firms producing and distributing media content have the sole voice in how that content is supplied to audiences. Narrow or misguided distribution plans can too easily miss intended audiences and potentially doom that particular content to obscurity.Excerpted from the undergraduate course New Media Economics: Music, Mobile, Gaming, and Online Markets Convergence Through convergence, potential content consumers now have more than one way to access the same content and experience it, whether it be in a large media room or on a small, personal mobile device. Challenges The array of devices and online platforms mean that content suppliers must take these modes of distribution into account during the production phase. Media firms need to proactively produce content with those end experiences in mind. Missteps in this area can turn away a loyal audience, pushing them to seek other alternatives. Opportunities Convergence now enables firms to reach potential audiences that they may not have had access to through traditional mediums. Convergence also allows potential audiences to experience more than one content option, where traditional media distribution methods required audiences to make choices based on programming schedules. But traditional firms have also realized the flexibility of new media platforms as avenues to reintroduce or revive older content. The digital remastering, reformatting, and repurposing of pre-existing content has allowed media firms to re-introduce material to the marketplace. Such activities greatly extend a media material’s longevity and its potential for generating additional revenues. For example, with on-demand firms such as Netflix and Amazon Prime Music Business Degree Handbook 10HOW CONVERGENCE HAS CHANGED THE SUPPLY OF MEDIA CONTENTproviding 24-hour access to many types of movie and series genres including classics, younger audiences can easily binge on iconic television series from past decades such as Friends, The X-Files, and Battlestar Galactica (both the original and remake series). Partnerships vs. Independence While digital convergence has, in many cases, made the actual production of content easier, there are no guarantees of success with consumers. Depending on target audiences and intended markets, the production and distribution of media content can be financially risky. Depending on the size and scope of the project, accessing the value of potential partners is one way to reduce and spread some of this exposure. Easier Is Not Always Better As emerging technologies have lowered entry barriers for most media and entertainment sectors, the balance between cost and quality has become more apparent. Lower cost equipment and tools may provide that initial entry and introduction of creative intent, but the varying levels of digital quality available often affect the consumer experience. For example, costs for broadcast news collection and reporting have been greatly reduced as mobile reporters have begun using cellular technology for live transmissions. However, the quality and reliability of these cellular feeds is contingent on network availability and strength at the point of origin. Consumers often experience buffered, choppy, or low- resolution reports as well as dropped transmissions during live news broadcasts. Music Business Degree Handbook 11HOW CONVERGENCE HAS CHANGED THE SUPPLY OF MEDIA CONTENTJeanine Cowen is Vice President for Curriculum and Program Innovation at Berklee College of Music. She is a frequent lecturer on the topic of music technology and new media industries. She is an active composer, music producer, and technologist, working primarily with sound and music for visual media.Expertise vs. DIY Having access to cheaper equipment and easy-to-use software doesn’t ensure the success of a media project. Expertise in the creation, design, and development of a media form will greatly enhance its potential to reach the appropriate audience. Financially stronger firms may be able to leverage greater technological assets such as labor expertise, special effects, and sound design to produce richer media content. DIY can be easy and inexpensive but generally involves an increased amount of trial and error. The learning curve is high but the end result can be successful in its own right. Partnering with firms and individuals with expertise can increase the chance for successful outcomes. Music Business Degree Handbook 12HOW CONVERGENCE HAS CHANGED THE SUPPLY OF MEDIA CONTENTMusic Business Degree Handbook13 The Development of Modern Music Industry Revenue Streams By John Kellogg The generation of revenue from music has taken many forms since the royal class patronage of classical musicians during the Age of Enlightenment, when musicians and composers were paid servants, composing and performing music specifically for powerful noblemen. But the invention of the printing press allowed music to be duplicated and widely distributed, setting off a chain of events that, over the centuries, has significantly expanded the capability of music to derive revenue from innumerable sources. From sales of sheet music in the 1800s through the challenges brought on by the growth of the piano-roll trade; various configurations of recordings (vinyl singles, albums, cassettes, CDs, and digital downloads); development of radio, TV, videos, Internet streaming services, and mobile applications (APPS), and Excerpted from the graduate course Music Business Revenue Streams music products to the ageless allure of live performances, this durable industry, as a whole, has taken each turn in stride and adapted to change in a triumphant manner. While the history of the music business is marked with tremendous successes and devastating setbacks over the years, the power of music to speak to the masses worldwide and create economic opportunity for those who create and provide products or services for its dissemination has endured. The technological innovations of the twenty-first century may present unique challenges for those dependent on traditional music industry revenue streams such as the sales of CDs, but for those with an entrepreneurial spirit, keen knowledge of current trends, and an abiding faith in the power of music, the future is bright. Primary Revenue Streams An examination of the development of various revenue streams in the music business requires a review of the history of the intersection of musical art with commerce. From the days of patronage through the present day, one thing has remained constant: the ability of talented performing musicians and composers to receive some form of compensation for their work. Over the centuries, technological advancement, changes in laws and policy, and advancement of business interests have all had a hand in forming the various revenue streams at play in today’s music industry. The compensation and provisions provided for musicians during the Renaissance pales in comparison to the current touring business that exceeds $25 billion in annual revenue. Musical instruments such as drums, whistles, and flutes date back to the beginning of Music Business Degree Handbook 14THE DEVELOPMENT OF MODERN MUSIC INDUSTRY REVENUE STREAMShuman culture. During the Age of Enlightenment, the use of instruments for solo—instead of just accompanying—purposes caused craftsmen to give instruments their classical shape and expand their offerings. Since that time, the musical instrument industry has evolved into one which not only encompasses instruments, but one that also consists of many other products associated with creating music. With live performance and musical instruments and products as a constant, other areas of commerce tied to music began to evolve. The enactment of the United States Copyright law in 1790 and printing presses capable of mass production during the Industrial Revolution spawned a sheet music publishing business in the nineteenth century that changed the revenue prospects for both publishing companies and songwriters. Copyright Act of 1790. Source: United States Copyright Office/Library of Congress Music Business Degree Handbook 15THE DEVELOPMENT OF MODERN MUSIC INDUSTRY REVENUE STREAMSThomas Edison’s invention of the mechanical phonograph cylinder in 1877 was the genesis of what would become the burgeoning business of the sale of music recordings in the twentieth century, starting with the first mechanical reproduction product: the piano-roll, a mechanism used to control a player piano. Throughout the twentieth century, the evolution of various configurations of recorded music, from the hard lacquer 78 RPM singles played on the Gramophone, to the turntable record player and later the compact cassette, expanded the popularity and revenue-generation potential of music. But it was the advent of the Sony Walkman, the first personal portable music player, which changed the commercial appeal of music and caused the music industry to focus on providing music when and where you want it, a manner of delivery that is even more popular today. Primary sources of revenue for musical talent in the music industry include: ÎEarnings that flow directly from their live musical performances ÎRoyalties from recording and composition copyrights At one time, musical artists generated earnings primarily from those sources. However, with the technological advances and expanded reach of film, TV, the Internet, and other media outlets, skilled musicians have experienced a growth in the potential of generating significant proceeds from activities ancillary to—or indirectly associated with—their success as a recording or performing artist. Many of those recording artists through the 1950s didn’t know the value of copyrights and the primary source of revenue that could be derived from royalties associated with owning compositions and recordings, so they missed out on this valuable source of proceeds. Music Business Degree Handbook 16THE DEVELOPMENT OF MODERN MUSIC INDUSTRY REVENUE STREAMSIn 1955, four male New York City teenagers including Jimmy Merchant (pictured, far left) and Herman Santiago (second from left) performed as the vocal group the Premiers. After auditioning for George Goldner, the owner of Gee Records, performing a composition written by Merchant and Santiago called, “Birds Sing So Gay,” Goldner recorded the song. However, shortly thereafter, 13-year-old Frankie Lymon (pictured, center) joined the group and replaced Santiago as the lead singer on the recording. Goldner changed the name of the group to Frankie Lymon & the Teenagers and the title of the song to “Why Do Fools Fall in Love,” which topped the Pop charts in 1956, ushering in a new era of R&B and rock ‘n’ roll music. Goldner credited himself and Lymon as the copyright authors of the song instead of Merchant and Santiago who, therefore, received no songwriter royalties. Each member of the Teenagers received only $1,000 total for the subsequent 18-month concert tour. For years, Merchant and Santiago complained about not being paid, but were intimidated by threats of physical harm from Morris Levy, who at the time was an important music promoter and music company owner with reported ties to the mob. They were further infuriated when it was revealed Lymon was receiving royalties for the song, even though he had made no contribution to its creation. They also discovered that Goldner only put Lymon’s name on the song in order to market it as a song about a teenage boy’s ode to a teacher. Although Lymon was credited as one of the song’s writers, most of the royalties were going to Goldner and Levy. In 1964 Goldner signed over his interests in the song to Levy, claiming that he had mistakenly taken songwriting credit for the song actually due to Levy. Subsequently, Goldner, Levy, and all members of the group, except Merchant and Santiago died. Merchant and Santiago eventually filed a lawsuit against the estate of Levy and companies he owned. They won their case for rightful credit as the sole songwriters of the song and were awarded $4 million in damages. Since that time, many music creators have made efforts to become aware of their rights and insist on their fair share of these important earnings directly related to copyright ownership and other primary income-generating activities.A CASE OF MISDIRECTED PRIMARY REVENUE Music Business Degree Handbook 17 Ancillary Revenue and the 360-Degree Deal The 1990s were a boom era for music creators, record companies, and publishing companies. Direct revenue generated from the sale and licensed use of copyrights in sound recordings and compositions was at an all-time high, primarily from the market domination of CDs. Self-produced artists were capable of extracting sizeable—sometimes seven-figure— advances from any of the six major labels, while artist rosters and employment at a number of record labels skyrocketed. During that same period, recording agreements provided labels the right to participate in revenue solely generated from the sale and use of an artist’s recordings while other income streams artists enjoyed—such as touring, publishing, merchandise, acting, sponsorships and endorsements—were off- limits to the labels. What wasn’t expected, however, was the impending decimation of the value of music primarily resulting from illegal peer-to-peer file- sharing programs like Napster, Kazaa, and other sites at the dawn of the new Millennium. Record companies quickly discovered that in order to stay in business, they would have to fashion a new relationship with their artists and they did so by instituting the 360-degree deal. This new type of arrangement, also referred to as an All-Rights deal, enabled the labels to start participating in receiving proceeds being generated not just from the sale and use of their artists’ recordings, but also other income- generating artist activities that were deemed indirect or ancillary.Case Study: Robbie Williams’ 360-Degree Deal British rocker Robbie Williams reached stardom in the 1990s as a member of the group Take That, but he experienced his greatest success as a solo artist after leaving the group, becoming the best-selling British artist in the UK and best-selling non- Latino artist in Latin America. In other words, Williams was one of the world’s most famous artists outside the US. Based on this success and dwindling overall record label earnings as Internet piracy continued to rapidly shrink the pre-iTunes market for the sale of recordings, Williams’ label, EMI, entered into a groundbreaking new deal with him. In 2002, EMI paid Williams a $100 million advance in exchange for six albums and an unprecedented cut of his lucrative ancillary revenue (continued on the next page)Drew de F Fawkes [CC BY 2.0 (https:// creativecommons.org/licenses/by/2.0)], via Wikimedia Commons Music Business Degree Handbook 18THE DEVELOPMENT OF MODERN MUSIC INDUSTRY REVENUE STREAMSThe labels’ rationalization for this change was based on the rapid demise of their once profitable market leader—the sale of CD albums—and the resulting losses, which could not even be offset by an eventual rise in digital singles and album sales. Between 2000 and 2015, record label revenue was halved. Labels began to realize their significant financial investment in building the career of a successful new artist often led to the artist having several ancillary earning opportunities such as lucrative tours, TV and acting roles, commercials, sponsorships, merchandise, and publishing activities, all areas that the labels had previously not participated in. So, based on that reasoning, labels not only wanted, but believed they deserved, to participate in the fruits of the budding artists’ careers, which their initial investment helped create and having artists enter into 360-degree deals with them was the way to make that happen.Acting Licensing PublishingSponsorship & Endorsements Record Sales & StreamingMerchandise Touringstreams from publishing, touring, and merchandise. The deal set a new path for label/artist relationships in the post-Napster, pre-iTunes and streaming music economy and was touted as a way for artists of Williams’ stature to gain more control, while providing more financial security for labels. When Williams was signed, EMI president Tony Wadsworth said, “It means record companies and artists are much more clearly on the same agenda. It may signal a change in the business, as investments we make in artists are realized in a greater range of potential income streams instead of solely recorded music sales.” In spite of Wadsworth’s optimism, the deal failed miserably. Williams’ albums, Intensive Care and Rude Box experienced dismal sales. However, that did not discourage most major labels from adopting the principal of the 360-degree deal, a model most labels still insist upon today. However, some question whether labels still need the extra revenue, especially in light of the drastic increase in earnings from streaming activities and the difficulty they experience in tracking and monitoring many of the artists’ ancillary income streams. Music Business Degree Handbook 19THE DEVELOPMENT OF MODERN MUSIC INDUSTRY REVENUE STREAMSCategories of Primary and Ancillary Revenue Streams and Related Benefits While generating revenue is essential to establishing and maintaining a career or business, there can sometimes be other residual benefits we can accrue in addition to revenue. Categorizing revenue and benefit streams requires you to investigate the position of the individual party to which these streams are associated. A party may have a number of categories of primary and ancillary income depending on several factors. To put this into concrete terms: a live performer may derive more income from the sale of CDs at a live performance than their performance fee. In that case, is the performance fee or money made from CD sales the primary source of revenue for the artist? If a live promoter, like Live Nation, makes most of its money from parking fees and concession sales at the venues they own, is it the revenue they earn from ticket sales or the sponsorships which are deemed primary or ancillary? What about an independent live promoter, who rents a venue they don’t own, makes most of his or her money from ticket sales but additional substantial amounts from sponsors who support the show? Is the sponsorship revenue deemed ancillary, when without it, the show may not go on? Music Business Degree Handbook 20THE DEVELOPMENT OF MODERN MUSIC INDUSTRY REVENUE STREAMS ÎLive Performance ÎLive Promoters ÎBranding ÎCopyright ÎSocial Media ÎNon-Featured Session Musician/Vocalist ÎActing ÎMerchandise ÎCrowdfundingAs seen by these examples, the categorization of a party’s primary or ancillary revenue may vary widely. Let’s look at some categorizations of various types of revenue/benefits one can obtain from several sources: ÎMusic Product Sales and Endorsements ÎGrants The Importance of The Three Big Ps in the Development of Revenue in the Music Industry The Three Big Ps or principles for success in today’s and tomorrow’s music industry are Powerful Product, Proper Perspective, and Professional Attitude. Adherence to these principles isn’t a guarantee of favorable outcomes, but collectively, they do increase the likelihood of an eventual breakthrough and success of your venture. Powerful Product For purposes of this discussion, powerful product may be song, recording, live performance, app, software program, brand, or other creative work that has a telling impact on an audience or market. Most musical artists receive their first exposure from the exploitation of an audio or video recording. While audio recordings are no longer the primary revenue-generating source Music Business Degree Handbook 21THE DEVELOPMENT OF MODERN MUSIC INDUSTRY REVENUE STREAMSfor most artists, they are still usually the first opportunity for artists to build an audience and, as they say, the first impression is always the most important. The key to success in this business is to make your first impression an impactful one. Powerful product not only moves an audience, it may create long-term asset value that is a key to continued revenue-generation from the product and, in some cases, one powerful product can lead to the development of other powerful products. Proper Perspective Creating powerful product is essential, but it’s not the only component of continuing success in the music industry. Having powerful product without knowledge of the past or the necessary skills to critically analyze the future of the music business is analogous to putting the cart before the horse. Famed astronomer and author, Dr. Carl Sagan once said, “In order to understand your future, you’ve got to know your past.” The music industry has unlimited opportunities for innovative growth and development in the future that will only be exploited by those that have a grasp on the significance of the past. Currently, three major labels maintain a stranglehold on the distribution of physical copies of music. But were you aware that at one time in the 1990s there were six major labels that shared in what has been deemed the Golden Age of recorded music? Since then, several factors have contributed to the rapid consolidation of the business through mergers and acquisitions. A paradigm shift from the physical configurations of music to the digital space has caused the demise of the sale of CDs and ushered in an era of digital service providers selling subscriptions and/or ads, which only provide access to the music through specific devices. Knowing how these changes alter the business of music creators and facilitators is crucial to creating a viable future for all interested parties. Music Business Degree Handbook 22THE DEVELOPMENT OF MODERN MUSIC INDUSTRY REVENUE STREAMSNew and interesting revenue streams emerging from the gathering and use of important data tracking trends in music and social media activity are becoming the key to innovative ideas, products, and services. Those with the proper perspective will be the pioneers of the new digital music industry. Professional Attitude The final Big P is professional attitude. To achieve longevity in the music business as an artist or business leader, it is important to not only respect yourself, but the people you come in contact with in all your business dealings. It is becoming increasingly important for artists to respect themselves by putting a priority on their physical health and mental wellbeing. Chester Bennington was an American songwriter and lead singer of the group Linkin Park. Linkin Park’s first album, Hybrid Theory, became an immense commercial success in 2000 and in 2005 was recognized with Diamond certification by the Recording Industry Association of America (RIAA) for selling 10 million copies. In 2004, the band collaborated with JAY-Z, as one of the first real creative projects to materialize after both artists’ work were incorporated into a mash-up. The band’s subsequent albums continued the group’s success. In 2017 Linkin Park was about to embark on the North American leg of a world tour when Bennington was discovered dead by his housekeeper. The hanging death, ruled a suicide, rocked a music world that had only two months earlier been shocked at the suicide of Bennington’s close friend and star performer, Chris Cornell. Both of these deaths forced the industry to pay attention to the drastic increase in suicides within the music industry. Music Business Degree Handbook 23THE DEVELOPMENT OF MODERN MUSIC INDUSTRY REVENUE STREAMSPrior to Prince’s death from an overdose of Fentanyl on April 21, 2016, there were signs of distress in the health of the pop music icon. Earlier in the month, he had cancelled two appearances and, while flying back to his home in Minneapolis after performing a rescheduled show, his plane was forced to land in Illinois where he was hospitalized and received Narcan. In the case of both Bennington and Prince, there was obviously great physical and/or emotional pain, and for whatever the reason, they did not receive the proper care that may have saved their lives. Over the past 20 years, several artists, including Michael Jackson, and this course author’s client and friend, Gerald Levert, have died as a result of what I call “the celebrity’s cocktail”—a lethal mix of over-the-counter and prescribed substances, which, when combined, most often result in death. What does this have to do with professional attitude and revenue streams? Plenty! Without the proper respect and care for your own life, you cannot function at the job of creating and performing for your fans. This isn’t an indictment of the individuals named above, many of whom relied on taking a celebrity cocktail to enable them to work through both the physical and emotional pain they experienced as a result of a hectic schedule of performance dates and other career commitments that kept revenue streams flowing for them and their associates. It is rather, a recognition that their deaths robbed the world of their creative genius and revenue channels that supported other people, including their families, in spite of the fact that consumption of their music experienced an increase immediately following their deaths. Music Business Degree Handbook 24THE DEVELOPMENT OF MODERN MUSIC INDUSTRY REVENUE STREAMSWhen Pat Corcoran, Chance the Rapper’s manager, was asked what is the most common mistake young managers make, he responded: “There are times you have to grind and hit the road for months at a time, but you have to remember that your life matters too. Focus on improving the quality of your life and the quality of your work will improve, too.” So, if you are an artist or represent an artist, keep a professional attitude by respecting yourself and your audience. Not only do artists need to respect themselves, but those who are responsible for managing their business must do the same. Building relationships with people you do business with is the key to a long and prosperous career. Someone once said that in the music business, “you can’t make a living, but only a killing. The key is to put as many killings together as you can.” Basically, this means that you need to accumulate as many hit records in a row as you can. This dire warning may be true to an extent, but for music industry businesspeople, another fundamental is treating everyone you meet with respect and dignity. The recent #MeToo movement is a great example. Women and men should always be treated with respect, but the actions of some industry power players has shown that isn’t the case in all too many instances. Another well known saying is, “chances go around: you meet the same people going up as you do going down.” I have found it to be true that artists and businesspeople who have let success go to their heads and disrespect their colleagues have short-lived careers. However, those with a professional attitude develop and nurture courteous and respectful relationships that can lead to long successful careers which foster steady, profitable revenue streams for themselves and their artists. Music Business Degree Handbook 25THE DEVELOPMENT OF MODERN MUSIC INDUSTRY REVENUE STREAMSThe definition of primary and ancillary revenue streams in the music business continues to evolve as new technology emerges. While the recording artists’ primary source of earnings for years emanated from recordings and live performances, as technological advances led to the development of movies, TV, and the Internet, additional earning opportunities opened the way for new related revenue streams. John P . Kellogg Esq. is the Program Director for Berklee Online’s Master of Arts in Music Business program, and the author and instructor of that program’s Music Business Revenue Streams course. He is an entertainment attorney and the former Chair of the Music Business/ Management department at Berklee College of Music. Once a vocalist and songwriter with the group Cameo, he is now known for writing best-selling books and academic articles relating to the music business. Music Business Degree Handbook 26THE DEVELOPMENT OF MODERN MUSIC INDUSTRY REVENUE STREAMSMusic Business Degree Handbook27 Show , Don’t Tell: Data Visualization and Infographics By Liv Bulli Data visualizations have become an increasingly important medium and even the simplest graphic can serve to elevate and enhance your analysis and the story you are attempting to tell with data. Some data visualizations even drive the story for you. It’s not the Pie Chart, It’s You Employing data visualization isn’t technically a new phenomenon. The first example of a graphical representation of data was presented by William Playfair in the early nineteenth century. However, with the rise of big data across industries, it has become an increasingly important visual medium for storytelling. In fact, here is a very basic “data viz” on “data viz” to help illustrate the rise of “data viz” in recent years, courtesy of Google’s Ngram Viewer:Excerpted from the graduate course Data Analytics in the Music Business A decade ago, few had even heard of the niche “data visualization as art,” nor did graphics serve as a foundation for entire publications such as Nate Silver’s Fivethirtyeight, “The Upshot” from the New York Times, or the Pudding. Nor was it taught as a separate subject within schools and universities, even those that focus on design or computer science. Today a large data visualization community exists, communicates, and collaborates on platforms like Twitter and Reddit. Books and resources are published at a rate that can barely keep up with the thirst for knowledge on the topic. You are likely to come across infographics and data viz in your daily consumption of broadcast news and journals. Charts and graphs have become the purview of journalists, business analysts, and marketers alike. Anyone who is trying to make sense of data, which is most of us these days, is likely to have dabbled in the art of designing a graph. Keep in mind that reading and creating charts is not necessarily intuitive, and that our general introduction to them is pretty basic unless we study in a relevant field. In addition, there are countless examples of terrible—not to mention, inaccurate— data visualizations that enter the mainstream and exacerbate the issue. Also note from our graph that the term “data visualization” still remains an extremely small fraction of the English corpus. Music Business Degree Handbook 28SHOW, DON’T TELL: DATA VISUALIZATION AND INFOGRAPHICSWe Are Not Yet Data Literate The pie chart gets a bad rap, especially after data visualization grand master Edward Tufte denounced its efficacy as a chart and claimed that the only design worse than a pie chart was several. Research indicates that humans do have a hard time interpreting the proportions of a pie chart, yet we are drawn to them as a medium. Others have argued the pie chart does indeed have an appropriate time and place; we use pie charts to illustrate parts of a whole. Simply put, data visualization is the presentation of data and information in the form of a chart or diagram. It is a particularly valuable medium for sharing insights. Research shows that the human brain is able to interpret information and patterns presented in visual form, far faster than if it is shared as written text or communicated verbally. We are also likely to retain that information for longer. Really this debate is a can of worms we don’t need to open just now. What we can (or should) all agree on, is that a pie chart should never add up to anything other than 100 percent or a meaningful whole. Yet . . . Music Business Degree Handbook 29SHOW, DON’T TELL: DATA VISUALIZATION AND INFOGRAPHICSAnd a pie chart that makes up more than a whole is not the only way to skew data graphically. You might cherry-pick your data points to suit the story you are trying to tell . . . Or exaggerate a trend by starting your Y-axis at an arbitrary (or not so arbitrary, depending on your motive) number, rather than at zero. Or otherwise manipulating the intervals of data represented without explicitly stating so and having a legitimate reason to do so. Music Business Degree Handbook 30SHOW, DON’T TELL: DATA VISUALIZATION AND INFOGRAPHICSAnd while the above are real examples of presenting data in a certain way with the intention to mislead, an inaccurate chart isn’t necessarily made with underhanded motives. A flawed chart or interpretation of a chart can simply be the result of an error in calculation. These are just a few examples of how this can all go wrong. There are countless ways to skew and manipulate data either to suit your needs, or that can be chalked up to human error. Looking at a particular subset of data can obscure the big picture and trend. And in addition to this, keep in mind that data literacy is still in its infancy. It will likely take at least a generation where this exists as a mainstream medium before reading charts becomes second nature, if not longer. The idea that computational thinking as a skill needs to be taught at the same level as reading, writing, and math is becoming more and more common. This is why it is essential to adhere to the fundamental principles of data visualization and graphics when using this medium. Even as we begin to experiment and stretch the limits of conventional chart types and data visualization, this requires thoughtful consideration of how a chart will be interpreted, both at first glance, and following some level of scrutiny. So what are some of these fundamental rules and definitions? Read on! Music Business Degree Handbook 31SHOW, DON’T TELL: DATA VISUALIZATION AND INFOGRAPHICSFrom Bar Charts to Box Plots: The Fundamentals of Data Visualization The advantages to data visualization and information graphics are many. Presenting data in visual manner can reveal patterns and trends in large amounts of data. As opposed to spreadsheets containing potentially millions (if not billions) of rows of data that are pretty much impossible to digest with the human eye, our data can be condensed into a relatively small space: bitesize graphics that are easy to share. What’s more, data visualization, when done well, can be an extremely powerful and persuasive medium that can help tell a compelling story or share ideas, whether that is as a standalone graphic, or accompanying text. For these reasons and more, we want to learn more about how to employ data visualization as a tool. That doesn’t necessarily mean that we need to be able to build complex interactive graphics using terabytes of data to get our point across (though some of the tools we will explore that have been developed in recent years do make that an easier task than it once was). Music Business Degree Handbook 32SHOW, DON’T TELL: DATA VISUALIZATION AND INFOGRAPHICSThe previous graphic from the data visualization blog Information Is Beautiful aims to explore the financials of streaming services as this relates to artists and compares this data across major platforms. The amount of data used in this graphic is fairly limited. Yet, the graphic tells a powerful story about which services provide the most value back to artists, how much activity an artist will need to see on a specific platform in order to make a living wage, and how these platforms net out in terms of audience and reach. For instance, while YouTube comes out as paying the least amount of money per play to artists, their user base and audience reach far exceeds that of every other service. Sure, it can take more than 2 million plays to make a living wage from your YouTube account alone, but then again there are more than one billion users on the platform you could potentially reach, most of whom are using it for free. And this is just one of many tidbits we can decipher. This fairly simple, but well-designed graphic tells us an awful lot about how royalty payments shake down across platforms and why that is. In fact, the founder of Information Is Beautiful, data journalist David McCandless, has shared some insights on what makes for good information design. He sees a successful data visualization as a combination of four elements – Interestingness, Integrity, Form, and Function. Music Business Degree Handbook 33SHOW, DON’T TELL: DATA VISUALIZATION AND INFOGRAPHICSSimple diagrams will more than suffice as long as they are: ÎMeaningful and relevant to an audience ÎFactual, honest, and accurate ÎPleasing to look at (in other words beautiful) ÎUseful and easy to interpret Or, put in visual form: interestingness integrityproof of conceptexperiment eye-candyuselesssuccessful information designugly boringrubbish sketchfunction formeasiness usefulness useability ﬁt beauty structure appearancetruth consistency honesty accuracyrelevant meaningful new Music Business Degree Handbook 34SHOW, DON’T TELL: DATA VISUALIZATION AND INFOGRAPHICSNow that we have established how to think about information design, we can walk through the process of designing a data visualization and cover some of the basic rules. It might behoove us to start by thinking about our audience and objective. What story are we looking to tell? What ideas do we want to communicate, and who are we trying to reach? For what it’s worth, this is the first question we need to ask ourselves regardless of what medium we are using to tell a story, whether it be writing an article, shooting a film, or choreographing a ballet. Once we have defined our argument and our audience, we can start to look for the right data. We’ll need to explore the data we have available not only to determine what might be relevant to our story, but also to see what patterns and trends we might be able to spot. Does the data corroborate our story, or do we need to reevaluate? What are some of the outliers, and what do they tell us about the overall data set? What do you want your audience to get from this data? The next step is to choose the right chart type for your data and story. There is a bunch of research done on the matter, and plenty of guides and cheat sheets that experts have developed to help you make the right choices, but according to Stephen Few, the author of Show Me the Numbers and Big Data, Big Dupe, there are a few fundamental principles we can keep in mind. Music Business Degree Handbook 35SHOW, DON’T TELL: DATA VISUALIZATION AND INFOGRAPHICSTIPS FOR PRESENTING DATA VISUALIZATION Always scale to zero. Otherwise we risk exaggerating the difference between values and this can be misleading to our audience.The right chart will: ÎClearly indicate how values relate to one another ÎRepresent quantities accurately ÎMake it easy to see the ranked order of values ÎMake it clear and intuitive how to interpret the information 80828486 020406080 When scaled to zero we can see there is only a small difference between values.Not scaled to zero, these differences appear staggering. Music Business Degree Handbook 36SHOW, DON’T TELL: DATA VISUALIZATION AND INFOGRAPHICSKeep it simple and reduce clutter. The more we can focus on just the information we are trying to relay, the easier it is for an audience to interpret the chart how it is intended.Never use 3D charts. The effect distorts the perception of values, serves no purpose, and is distracting. 33%33% 33%33% 33% 33% 05101520253040 35 Group A Group B Group C Group D Group A Group B Group C Group D10203040 /remove /ok Music Business Degree Handbook 37SHOW, DON’T TELL: DATA VISUALIZATION AND INFOGRAPHICSLabel well. Titles, annotations, or legends that help explain your chart should be integrated as part of the chart as much as possible. If the audience’s eye needs to travel far to understand what data they are looking at, you will quickly lose your audience and risk misinterpretation.Provide ample and accurate context. We’ve seen examples of how cherry-picking data points can severely distort the interpretation of data. /remove /ok 20406080Series 1 Series 2 Music Business Degree Handbook 38SHOW, DON’T TELL: DATA VISUALIZATION AND INFOGRAPHICSPractice austerity with your color choices. Color is a powerful tool in data visualization. Your color choices should be analogous so as not to distract. Different colors can be used to contrast values, to highlight and emphasize your point, but never to “decorate.” In addition, note that there are intrinsic interpretations associated with color choices: red means loss; green means profit; pink is female; blue is male. To make it even more complicated, these associations are culture dependent and can vary. In other words, you will need to think carefully about your color choices. And last but not least, as Edward Tufte famously put it: “Above all else show the data.” Liv Buli is a data journalist and author, known for her work with Pandora Media and Next Big Sound. She has spent most of her career working at the intersection of storytelling, data science, and visualization, thinking about how best to tell stories with data and speaking at conferences around the world. She is also the author of Penelope Pie’s Pizza Party, the first book in the Vizkidz series: a collection of books that teach the fundamental concepts of data visualization and analysis to children. Music Business Degree Handbook 39SHOW, DON’T TELL: DATA VISUALIZATION AND INFOGRAPHICSMusic Business Degree Handbook40 Essential Framework to Creating a Successful Marketing Campaign By Mike King When discussing the most important facets of marketing, we usually talk about goals, strategy, tactics, identifying who you want to talk with, and creating a funnel to measure success. However, a more complete framework, starting from the top, would need to include the following: 1. The BIG Idea What is it you want to do and what are your goals? Are you working to launch a new artist’s career, or are you interested in starting a new music management company? What are you working to do, and how will you measure success? 2. Market Research Once you know what you want to accomplish, determining the opportunities in the market are critical. First-mover advantage (being the first to create something in a particular market) means there is less competition, but it Excerpted from the graduate course The Business of Music Marketing also means you could have a more difficult time gaining traction for something consumers might be unfamiliar with. Gaining an understanding of potential market size for your idea, trends in the market, and buying habits of potential consumers will all work towards validating your idea, as well as set the stage for creating the strategy for your marketing plan. For example, if your idea is to launch and market a physical vinyl-only store in Keene, NH, you would be well-served to understand the consumption habits of the local community, the number of potential consumers in the area, trends in vinyl, etc. 3. Competitive Analysis Complementing the market research idea above, it’s helpful to understand your competition as deeply as possible. Who else is doing what you want to do? How are they doing it? What opportunities are there for you to do it better? Understanding how your competition prices their offering, how they market, who they partner with, and how they brand what they are doing provides you with solid insight into how you can differentiate yourself. There are a wide array of tools and services available to help with determining what your competition is doing, and where they are spending their advertising dollars (which is the best indicator of what they are truly focused on). 4. Target Market Knowing who your potential fans are, and targeting your marketing appropriately to reach those who are most predisposed to being open to your product is definitely a best practice. Segmenting your market and identifying appropriate outlets and techniques to reach the right Music Business Degree Handbook 41FRAMEWORK TO CREATING A SUCCESSFUL MARKETING CAMPAIGNfolks allows you to be more efficient with your marketing effort and associated spend, and have the added layer of potentially delighting prospective consumers, as opposed to annoying those who have no interest, and will likely never have an interest, in what you are doing. 5. Positioning Once you have a handle on the market and on any competition, you can work on positioning your product or service. Creating a USP (Unique Selling Proposition) based on opportunities you have discovered through your research, or through surveying existing consumers of your product or service helps to guide your marketing messages, images utilized, and overall strategy. Your marketing positioning and associated outreach should also include best practices with behavioral marketing techniques. Consumers are motivated by any number of biases (confirmation bias, outcome bias, zero-risk bias, and more). Strategy and Tactics All of the above flows into creating your strategic and tactical marketing plan. Your strategy and tactics will include everything from the operational aspects (pricing, ecommerce and bundling options, website creation and visibility, etc.) to the platforms and methods you use to communicate, your social media plan, your acquisition techniques, your image and copy choices, content marketing, partnerships, paid and organic search techniques, and much more. Music Business Degree Handbook 42FRAMEWORK TO CREATING A SUCCESSFUL MARKETING CAMPAIGNMike King is the author of several Berklee Online courses, including the Business of Music Marketing, part of Berklee Online’s Master of Arts in Music Business program. Before coming to Berklee, he served as the Marketing/Product Manager at Rykodisc and the Director of Marketing and Managing Editor of Herb Alpert’s online musician’s resource, ArtistsHouseMusic. He is also the Vice President of Enrollment at Berklee College of Music and Chief Marketing Officer at Berklee Online.6. Budget How much do you have, and what is the most appropriate way to spend? Online advertising provides marketers with the ability to adjust campaigns midstream based on results, and while it is important to align your marketing spend against specific goals, a marketing budget should be flexible to support changes in the market, testing, and optimization of efforts. Data and Analysis One of the most critical aspects of marketing is to effectively measure your efforts. A proper approach to data and associated analysis includes measuring the effectiveness of as many of your campaign ideas as possible, including the results of A/B testing taglines, images, overall advertising campaigns; traffic to your website, lead and registration activity, and tracking costs to your marketing efforts—cost per acquisition (CPA), cost per click (CPC), cost per lead (CPL), etc. Again, online endeavors provide marketers with a variety of tools to measure their effectiveness, and the cycle of marketing execution  testing variables  measuring results is a great way to ensure that you are on track with reaching the right people and validating your marketing assumptions. Music Business Degree Handbook 43FRAMEWORK TO CREATING A SUCCESSFUL MARKETING CAMPAIGNHow Berklee Online Works Renowned Faculty Berklee Online instructors have managed, produced, and engineered hundreds of artists and records and have received numerous industry awards and accolades. Each week you’ll have the opportunity to participate in a live chat with your instructor and receive one-on-one instruction and feedback on assignments. Award-Winning Courses Instantly access assignments, connect with your instructor, or reach out to your classmates in our award-winning online classroom. Study from anywhere in the world at a time that fits into your schedule. Specialized Degree Program No other accredited institution offers the acclaimed degree curriculum provided by Berklee Online. Earn your degree at less than half the cost of campus tuition and graduate with a professional portfolio that will prepare you for a career in the music industry.Like-Minded Classmates Offering courses for beginners and accomplished musicians alike, our student body comes from more than 140 countries and includes high school students getting a jump-start on college, working professionals, executives at industry-leading technology and business firms, and members of internationally known acts like Nine Inch Nails and the Dave Matthews Band. Experienced Support Every online student is assigned a Berklee-trained Academic Advisor. Each Advisor is passionate and knowledgeable about music and here to support you throughout your online learning experience. Try a sample lesson for free at online.berklee.edu/sample-a-lessonQuestions abou t earning your degree online? Contact Us. Mon- Thu, 9AM–8PM ET Fri, 9AM–5P M ET Call or Text Us at US: 1-866-BERKLEE Int’l: +1-617-747-2146 advisors@onli ne.berkl ee.edu online.berkl ee.edu	[ "music", "business", "data", "degree", "artist", "revenue", "handbook", "industry", "medium", "visualization" ]	{ "summary": "Digital HandbookMusic BusinessTable of Contents\nBerklee Online’s Music Business Offerings 5\nBuilding" }
624984671-The-Innovative-Business-Model-of-Music-Industry.pdf	3 The Innovative Business Model of Daft Punk 3.1. Introduction Music, much like other activities in the creative industries, has undergone profound changes since the late 1990s with the transformation of physical media (such as compact discs or CDs) into digital media (in a specific format such as MP3) and the massive adoption of peer-to-peer download software such as Napster. Some actors have benefited from these developments, such as computer and MP3 player manufacturers (Apple with iPod and iTunes) or streaming services (such as Spotify or YouTube), while others have experienced an inexorable decline (physical media distributors such as Virgin Megastore in Europe or Tower Records in the USA) (Tellier 2017). These technological innovations have made it possible to implement new “ways of doing business” in the music industry by promoting new offers and innovative services through young companies (Moyon 2011). In management terms, what a company offers, the customers it targets and the way it is organized and remunerated co nstitute its business model. While the effects of these technological innovations on business models have been widely studied in management science research at the level of companies in the sector such as music labels, little work has focused on those who create music: the artists. The first electronic music group to win a Grammy Award in 2015 for best album, the French duo Daft Punk, composed of Thomas Bangalter and Guy- Chapter written by Alexandre PERRIN . Innovation in the Cultural and Creative Industries , First Edition . Edited by Estelle Pellegrin -Boucher Pierre Roy . © ISTE Ltd 2019. Published by ISTE Ltd and John Wiley & Sons, Inc.56 Innovation in the Cultural and Creative Industries Manuel de Homem Christo, is an innovative business player in the music industry. However, the general public does not know much about these musicians. Cultivating secrecy and medi a scarcity, since 2000, Daft Punk have effectively chosen to hide their faces and appear as robots, a decision that goes against the promotion strategies in forc e in this sector. This idea, borrowed from the main character of the film Phantom of the Paradise , is not new in the electronic music scene, however, as Kraftwerk were pioneers in this field. The group’s innovative character is ther efore to be found elsewhere. In this chapter, we show how since the beginning of their careers in 1993, these creators have been in opposition to the dominant business model of the music industry. In section 3.2, we define more precisely the components of a business model and then describe the model used in music (section 3.3). Subsequently, in section 3.4, we will de scribe the first attempts by artists to break the dominant model. Finally, we will focus on the specific case of Daft Punk and the electronic music segment to address the innovative nature of the French group’s business model (section 3.6). The methodology, as well as the main lessons to be learned from th is dive into the “Daft Punk system”, will be described in section 3.5. 3.2. The definition of a business model A business model can be defined in diffe rent ways, which is why we have included in this article the summa ry proposed by the authors of Strategor (2016). They propose a business model composed of three elements: – a relevant and attractive value proposition for customers (a); – a valuable architecture (b); – a business value equation (c). The first component of the business model focuses on the value proposition: what do I offer and for whom (a)? This offer may take the form of a good, a service or both. It corresponds to a set of ch aracteristics that will be offered to customers in the hope that th ey will value them. This is why these characteristics (price, features, relate d services, brand image) are called the “value proposition”. Proposal s are made according to the buyers interested in the offer: it can be free on one hand (e.g. Google and its sea rch engine can be freely accessed by users) and profitable on the other hand (the massive number of free users allows Google to sell ad vertising space on th is free service). The Innovative Business Model of Daft Punk 57 The second component focuses on the ability of companies to mobilize resources and skills (b). The value architecture corresponds to the organizational framework necessary to achieve this proposal. Some activities are carried out internally while others are carried out by service providers. Designing such an architecture is like asking oneself the question “how”. Of course, the choices made by the company about what it proposes and how this is organized are only judicious if they allow it to be profitable (c). The cost structure and revenues generated are determined by the value architecture and the value proposition. T hus, a model is coherent if all the elements that compose it create business value. Building this equation requires answering the question “how much”. Table 3.1 summarizes the various issues related to the definition of a business model. Proposal Architecture Business equation Characteristics of the service or product offered Resources and skills mobilized Revenues generated and costs generated What do I offer? Who do I offer it to? What do I need to do internally or to commission? How much and how are my profits generated? Table 3.1. The dimensions of a business model Major technological changes can lead to the development of new business models and make old ones obsolete. Innovation can then focus on the model itself. In order to understand the innovative nature of Daft Punk’s model, it is therefore necessary to explain the predominant/principal/ dominant model in the music industry. 3.3. The business model of the music industry The business model of the music industry constantly oscillates between two main activities: recorded music and live music. The revenues generated by one usually influence the other, since musicians usually produce a recording to encourage listeners to come and see them in concert and vice versa. The size of the global music market has been estimated at €56 billion for 2016–2017 (Page 2018). The recorded musi c sector is estimated at around 58 Innovation in the Cultural and Creative Industries €26 billion overall (section 3.3.1). The co st of live music (concerts, festivals) is estimated at €30 billion (section 3.3. 2). We will then detail the current business models (section 3.3.3) and present some examples of innovations (section 3.4). 3.3.1. Recorded music To understand the business model of musi c, it is essential to describe the different rights holders involved in the creation of a recorded work. This includes two types of intellectual property: one about the composition (score and lyrics) and one about the interpretation. Figure 3.1 provides a summary of this complex operation. Figure 3.1. How the music industry works At the beginning, as with any artistic creation (a book, a painting, etc.), music is an idea. The composer will tr ansform this idea, this melody that runs through his or her head, into a c oncrete, real creation, either by writing notes on a score, or by composing directly on an instrument or on a computer. The author is the person who will write lyrics for this musical composition, provided that it is a song. The composer and the author are creators : they give birth in a concrete way to what was, before them, only an idea, they give it a precise and personal form, and they must ensure its original character (under penalty of Public performance Funds Disseminate Promote Autho r Compose rPublishe r Produce rFunds Help Recorded workReproduction on a mediumCollective management societies Collect rights Singe rThe Innovative Business Model of Daft Punk 59 being accused of plagiarism). From a legal point of view, they are the “parents” of the musical work and that is why they have “rights” over their creation: copyright. These authors also have a proprietary right to authorize the exploitation of their works throug h their public performance (e.g. at a public concert, in radio broadcasts, or when they are used in film music or advertising) or their reproduction (on a medium such as CD, or on a streaming platform). In return for th e use of their work, authors receive remuneration. The author may decide to entrust the management of their business rights to a collective manageme nt society such as Sacem in France or Ascap in the USA. From a business point of view, music composition is therefore an activity linked to music publishing and its economic impact is assessed nationally by performance royalty organizations, as their data is aggregated at the global level by CISAC ( Confédération internationale des sociétés d’auteurs et compositeurs ). Composers or authors may receive payment of their royalties directly from these organizations for an annual subscription. They can also receive payments of their rights from their publisher. These companies, such as Sony/ATV Music Publishing, Warner/Chappell Music or Universal Music Publishing, finance (in advance) author/composer creation projects and assist them in the administrative procedures for protecting their rights. Very often, the contract with the creator stipulates a 50/50 sharing of the income generated by the intellect ual creation. In the long term, the objective of these companies is to build a broad catalog of songs and lyrics that can be used on as much media as possible or in public performances. In France, the number of employees in a music publishing house is mainly between one and ten (EY 2013). To be broadcast, a musical work must be recorded. It is then said to be “fixed on a medium”. Recording the work is an important step because then the music can be played – on the Internet, on the radio, sold in stores, etc. Performers are required to record a musical work. They are the individuals who play music (musicians, orchestras) and sing it. It is of course possible that a performer may also be a songwri ter. Performing rights are additionally managed by producers (commonly known as music labels). Labels finance, distribute and promote recorded music. A work is usually recorded either in a “personal” studio (or home studio) or in a professi onal studio. In the latter case, specialists such as sound engineer s are involved in the recording. Given the costs and risks involved, record co mpanies obtain a subs tantial share of the revenue generated by the use of this recording. For a music label, this 60 Innovation in the Cultural and Creative Industries involves signing an exclusive contract with artists. By financing the production of the music album through a lump sum advance, the company in turn ensures control over the paymen t of royalties and revenues generated during concerts, the sale of merchandising products, etc. When this system works, the biggest sales of a company finance more intimate or less popular recordings, because the latter may beco me the cult records of the future. Music labels are therefore responsible for promoting artists to radio stations, streaming platforms and social networks. In return, they create a catalog of recordings (called masters or master tapes) that trigger the payment of reproduction rights for each use. In France, the three main labels collect the rights to their recordings through the SCPP ( Société civile des producteurs phonographiques ) while the independent labels collect them through the SPPF ( Société civile des producteurs de phonogrammes en France ). With the emergence of streaming, these labels have signed agreements with streaming companies (such as Spotify) to monetize their catalog. Platforms pay advances to reco rd companies in order to use their catalog. This process is revised upwar ds or downwards depending on the titles the listeners of these platforms actually listen to. In practice – and depending on the country–music publishing and sound recording activities are grouped under the same legal entity. A simple search of the NAF code of companies regi stered with the code “5920Z Sound recording and music publishing” includes Universal Music Publishing (publisher), Universal Music France (label) and Universal Production Music France (producer). Although these activities are separate due to the reasons previously mentioned, these different entities are often subsidiaries or have cross-shareholdings in share capital. In terms of economic weight in the sec tor, the activity of publishers and creators represents 43% of recorded music, estimated at €26 billion worldwide. Music producers and labels therefore represent the majority (57%) of the revenues generated in the re corded music sector (see Table 3.2). 2016 2017 Publishing activity 2 billion (publishers) €8.3 billion (rights) 2 billion (publishers) €8.9 billion (rights) Production activity €14 billion €14.8 billion Table 3.2. World market for recorded music (source: adapted from Page 2018) The Innovative Business Model of Daft Punk 61 3.3.2. Live music Live music encompasses all activities that allow a musician to play music in front of an audience in a specific location (a concert hall, bar/restaurant, festival, etc.). This is called a public performance or show. For example, six out of ten French people attend a concert or festival at least once a year. Despite a growing concentration within global companies such as Live Nation, this sector remains very fragmented and very local. The usual process for a young musician is therefore to start by performing concerts in their neighborhood, city, or region and fi nally to be recognized at a national level. Each venue holding public concerts (or live music) must pay a license fee to the collecting societ ies. These charge around 10% of a festival’s total budget or an annual sum depending on th e size of the venue. Recent audio signature technologies allow these venues, if they wish, to identify in real time the different tracks that are played by a group or a DJ. The remuneration system here is quite similar to that of recorded music, since festivals or concert halls often pay musicians an advance. The most renowned artists can also negotiate a pe rcentage of the income generated by the tickets sold or on merchandising. Gi ven the high structural costs and low occupancy rate of some concert halls, it is in the interest of the business actors involved in the organization of a c oncert or festival (the promoter or owner of the concert hall) to build pa rtnerships with other business actors such as local authorities (city, region) or companies wishing to be associated with the event in question (banks, textil e companies, media, technology, etc.). 3.3.3. Current business models We tend to forget that the original business model of music is indeed that of public representation: a musician, whether a composer or not, will give a “performance” in front of people who have gained entrance, for a fee, to live this temporary experience. The first source of income for musicians, therefore, is still the concert. Whether it is at a wedding, or a private or public concert, musicians and performers derive most of their income from the practice of music. Since songwr iters are not necessarily performers, recorded music allows them to receive income from the use of their music. Therefore, for all the players in the sector, there is an essential link between the revenues generated by concerts a nd those generated by listening to recorded music. A group of musician s can use streaming platforms to promote a national or international t our, etc., and conversely a listener can discover a music group during a festival and listen to it on a private copy. 62 Innovation in the Cultural and Creative Industries In detail, each player in the music industry (creator, publisher and producer) is trying to build a business model that will allow them to solve their own equation between their costs and revenues. – Creators (composers and performers) produce music on scores or music composition software based on their own musical knowledge. Their main difficulty lies in the need to fi nance this creative and complex activity because the income is, as the work is being created, to be received in the future. They, therefore, need a financia l advance that is most often paid by publishers or producers. – The publishers’ objective is to build a catal og of works that is broad enough and rich enough to be of interest to users such as advertisers, television or film studios, etc. Their equation is based on a type of risk taking (investment in an artistic creation) whose future revenues will be generated by repeated use on media as diverse as video games or television series. – Producers develop content that requires distribution on a medium that is adopted by the majority of the public. The latter can then use an MP3 player, mobile phone or CD player. Producers must therefore work with the most widespread distributors in a specific area. The producer’s risk taking is thus based on the investment, support and promotion of a performer. It is then said that the producer “signs” an artist to receive future income. As risk-taking is becoming increasingly unpredictable, producers have made it mandatory to sign so-called “360 degree” contracts including recorded music revenues and concert, merchandising or neighboring rights revenues. Table 3.3 summarizes the business models in use in the music industry. Proposal Architecture Economic equation Creator Artistic creation projects on a score or on software. – Ability to create intellectually. – Lack of financial resources. Receives income but shares rights if there is a financial advance. Publisher Obtaining a catalog and disseminating an artistic creation on any medium. – Collects the income from the catalog. – Needs to have a quality catalog. Collects revenue if the catalog is used on any medium. Producer Recording and promoting an artistic creation on a medium. – Invests in recorded media. – Need to diversify investments. Funds and promotes recorded music by collecting artists’ rights. Table 3.3. Business model of the music industry The Innovative Business Model of Daft Punk 63 3.4. First historical attempts to break the model Noting the abuses and inadequacies of so me actors in the sector to adapt to technological changes or, more simply, responding to the evolution of their own audience, musicians have been the first actors of innovations on the business model. 3.4.1. Attempts concerning value propositions The first attempt of an author to modify the offer most certainly dates back to James Brown and his album Live at the Apollo (1963). As Albéric Tellier (2017, p. 25) reminds us: “At th at time, live records were still very rare, but James Brown wanted to follow in the footsteps of Ray Charles, who had become a huge star thanks to such a recording published in 1959.” Faced with the reluctance of his record co mpany, King Records, for which the business model was based on the creation of singles recorded in the studio, a live album was unlikely to be as successful as expected. Moreover, this type of recording went against the classical model: if the public bought such a record, why would they continue to co me to concerts? Unlike Ray Charles, who was supported by his record company, James Brown financed his recording himself: He personally invested $5,700 (about $70,000 today) to rent the equipment and the concert hall he had chosen, the Apollo Theatre in New York. Once the recording was finished, James Brown tried to convince Syd Nathan, the boss of King Records, to buy the tapes from him and publish the album. (Tellier 2017, p. 25) The success was colossal since the album remained 66 weeks in the American charts. Live at the Apollo is now ranked 25th in the Rolling Stone ’s ranking of the “500 Best Albums of All Time” In this example, the creator (James Brown) ran the risk of financing the recording project of his concert. Usually, this risk is assume d by the producer, in return for a majority share of the income in their favor. Another interesting attempt in history concerns the group Radiohead. In 2007, the English group distributed its new album, In Rainbows , only for download and offered Internet users the possibility of setting their own price. The context here is different from th e one experienced by James Brown, 64 Innovation in the Cultural and Creative Industries since the innovative proposal here concerns the dissemination of the recorded work (and not the cost of its recording). In 2007, recorded music was still mainly consumed on a physi cal medium. Customers with personal music players then mainly used illegal download sites (such as Napster or Kazaa) or legal sites (such as iTunes). In the latter case, the industry price was $0.99 for a title (or single) and $9.99 for an album. Therefore, offering an album for free was revolutionary (Elberse 2008). In fact, downloading the album was not totally free of charge since a price of $0.90 had to be paid as a technical fee. But at the same time, the band distributed a deluxe $80 box set including two CDs (with exclusive songs), a vinyl record, an art book and a download code for the album. Like James Brown, it was Radiohead that shouldered the risk by financing the cr eation of this deluxe box set. Having ended their relationship with the label EMI in 2003, the group indeed achieved total financial and creative independence. With this original proposal, creators can therefore capture the total value produced by the sales of their recorded music. 3.4.2. Attempts concerning value architectures The decision to sign with a record company or to remain an independent player is certainly the most strategic issue for a creator. To the rhetorical question “what is in my best interest to do?”, many artists answered “everything” since they prefer to focu s on composition or interpretation. But by receiving a financial advance or simply by outsourcing certain investments, artists will reduce the share of their future revenues and, more often than not, transfer the intell ectual property of their works to the producer of the container. As musician Moby sums it up: “It’s as if you go to a bank, they give you a loan to buy a house and at the end of the loan that you have repaid, with interest , the bank owns your house!” The financial and legal independence of artists is therefore essential for them to maintain control over their creation and income. This is why a growing number of artists have chosen to create a legal entity such as a single-person company or a limited liability company. Examples include Madonna, Michael Jackson or more recently Jay-Z, who have respectively become producers (Maverick Records fo r Madonna), investors in publishing (the Beatles catalog in the case of Michael Jackson) or investors in music distribution platforms (Tidal in the case of Jay-Z). The Innovative Business Model of Daft Punk 65 3.4.3. Attempts concerning business equations Turning fans into subscribers is certa inly the most interesting proposal for an artist in search of financial resources. In 2000, the singer Prince offered his fans exclusive information, con cert tickets, invitations to sessions and unpublished songs to download in exchange for a monthly subscription. More recently, and shockingly, in the history of music, the band Vulfpeck asked their fans to stream an album with no sound on Spotify to collect rights to finance a tour. They therefore used their own music catalog to finance their tour, without the financial support of a promoter. Crowdfunding platforms (or participatory funding) have also been a response to the problem of the artists’ financial independence. By allowing fans to make monthly financial contri butions (as is the case on the Patreon platform) or investments in a catalog (MyMajorCompany), or simply to receive a future signed album or a private concert (PledgeMusic), these platforms allow artists to receive financial advances without sacrificing their future revenues. They remain masters of their artistic creation. This section aimed to define the business models in place in the music industry and to identify the various i ssues and innovation attempts by artists who have acted as entrepreneurs in the industry’s eyes. Let’s now look at the specific case of the French group Daft Punk. 3.5. Methodology The methodology used involved a case study. Data collection was based on financial documents (balance sheets available on the Internet) and a literature review on the group Daft Punk. Given the difficulty of assembling primary data, we have opted for this method, which allowed us to access not only financial information accessible from the beginning of their careers, but also to “reconstruct” all the decisions taken by the group, bearing in mind that these decisions are recorded in the accounting documents. We have therefore downloaded the accounting documents of the business entities attached to the Daft Punk group, namely: – Daft Trax S.A.R.L. (France). Created on August 21, 1996 under the French sectoral code “Enregistrement sonore et édition musicale (5920Z)”, it 66 Innovation in the Cultural and Creative Industries aims to finance the group’s activities, collect their rights and carry out financial transactions with the English en tity described below. It is the music label and publishing house of Daft Punk. Its shareholder base consists of two representatives: Thomas Bangalter and Guy-Homem de Manuel Christo. The financial documents of this company ar e available on the Infogreffe website for a fee. However, the announcements published on the Bodacc (Official Bulletin of Civil and Commercial Announcements) make it possible to retrieve some partial data; – Daft Life Ltd (England). Created on June 20, 1997 under the sector code “Artistic creation (SIC 90030)”, this company aims to collect the group’s revenues from recorded music. It was created on the same date on which the license agreement for the group’s first album, Homework , was signed with Virgin Music. The financial documents of this company can be freely accessed on the website of the Companies House Financial Authority in Great Britain from 1997 until the present day. Table 3.6 in the Appendices (section 3.8), presents the result of this reconstruction; – Daft Arts Inc. (United States). This audiovisual production company was created on January 18, 2005 by Cédric Hervet and Paul Hahn. Hervet has been editor and creative director of Daft Punk for 15 years and co- producer of Interstella 5555 and Electroma . Hahn is a producer and manager of the group in the United States. This entity made it possible to finance video clips and the feature film, Daft Punk’s Electroma , a visual and musical odyssey that follows the story of two r obots in their quest to become human. The company was dissolved on June 27, 2018. Daft Arts was based at the Jim Henson Production Studios in Los Angeles, a company known for its family audiovisual productions, and more specifically for the Muppet Show . The reconstitution of the group’s financial situation between 1997 and 2017 therefore allows us to “follow” the financial flows between the different entities. For the year 2017, the financial results of each entity have been simplified in Table 3.4. Year 2017 Daft Trax SARL Daft Life Ltd Daft Arts Inc Revenues from operations €1, 918,342 £1,066,884 NC Net income (loss) €383,147 £16,005 NC Table 3.4. Daft Punk Group's financial results for 2017 The Innovative Business Model of Daft Punk 67 3.6. Daft Punk: an innovative model in electronic music In the following table you can view the impact the innovations made by Daft Punk in the context of electronic music have influenced other artists. Each of the dimensions will be detailed. Proposal Architecture Business equation Description Offer a finished product from a home studio. Use record companies only for promotion and distribution. Control of financial resources and intellectual property. Tax optimization between legal entities based in different countries. Share revenues under a temporary license agreement. Reinvest the profits in spectacular concerts. Influenced artists DJ Hip-hop artists EDM (Skrillex) Table 3.5. Innovations in the business mode l and influence on other artists 3.6.1. Innovation concerning the value proposition Electronic music has offered a new opportunity for artists. For Violaine Schütz, its birth in France (and more generally the French Touch ) resulted from importing English warehouse parties in the early 1990s: The hits of the time were created at home, in the bedroom, in the home studio, with brand new machines such as sequencers, samplers, turntables... and were produced by small independent labels like Solid, the record company launched by Étienne De Crécy. The songs were then often tested in the evenings by the artists themselves who were also DJs. The traditional pattern of music production was then short-circuited. Many young people sold their guitars and discovered the joys of electronic equipment and the freedom it implied. (Schütz 2014, p. 34) This is exactly what three young musicians, Thomas Bangalter, Guy- Manuel de Homem-Christo, and Lauren t Brancowitz (who left the group to found Phoenix), did in 1992. They launched the rock band Darlin’ by 68 Innovation in the Cultural and Creative Industries covering Beach Boys songs and some co mpositions. But they soon realized that this style of music was no longer in fashion and they turned to techno at an evening organized at the Beaubour g Museum in Paris: “During this evening we discovered an underground music that made people dance... when they didn't know the songs played by the DJ. We played rock and nobody danced!” says Thomas Bangalter in the documentary Daft Punk Unchained (2015). But making electronic music is expensive, even if at the time it seemed easier for trainee producers to write electronic music songs instead of pop or jazz. In the early 1990s, it was nece ssary to spend about 500,000 F (about €80,000, about €120,000, excluding inflation) to build a little French touch studio, including all the necessary mu sic software (like Cubase) (Schütz 2014). Thanks to their savings and th e support of their families (Thomas Bangalter’s father was a former disco music producer), Daft Punk equipped themselves with the best computers and synthesizers of the time and set up their home studio to start writing their first album, entitled Homework (in reference to their home studio). Innovation here involved integrating the production costs of music recorded by artists. However, these co sts were reduced by the absence of rental fees for a professional recording studio. These two young musicians then learned their trade from a sound e ngineer. They mixed, sampled, cut, and modulated sounds. They started performing live as DJs at a very early age and showed a certain talent in handling mixing boards. All the record companies of the time then wanted to sign the band exclusively. 3.6.2. Innovation concerning value architecture On October 16, 1997, Daft Punk signed a deal that is a landmark in the history of music. In agreement with the English label Virgin Music, they kept all the intellectual property rights of their catalog but granted the record company an exclusive distribution of the Homework album for a period of 10 years. By offering record companies an (excellent) finished product, the French duo reversed the balance of power. Without the need for a financial advance, they used the record compa ny to promote their record and not to finance it. In fact, they signed with the company that gave them the most artistic flexibility (Schütz 2014). This a pproach was later taken up by many artists, DJs and rappers, as s hown by the editor-in-chief of Les Inrockuptibles , Jean-Daniel Beauvallet, in the documentary Daft Punk Unchained : The Innovative Business Model of Daft Punk 69 For me, this is the biggest hold-up in the history of the music industry! Their business model has been very clear from the beginning: Daft Punk want total control over their artistic production but also over their brand and communication. They managed to impose this on record companies because they didn’t need an advance. Most of the American hip-hop stars of that time referred to Daft Punk when they signed with the big labels. The French duo had perfectly prepared this agreement by creating two legal entities: one in France (Daft Trax SARL) and one in England (Daft Life Limited). The two members of the group are equal shareholders. The innovation operated by Daft Punk is found here in a global vision of the management of their contracts and in an “optimized” use (in the legal and tax sense) of these entities. For exampl e, 2001 shows funding of £1,476,358 (see Table 3.6). It can be hypothesized (because we do not have access to the details of each account line) that these ar e the costs charged for the recording of the Discovery album. Figures 3.2 and 3.3 show the amount of cash available for the English entity. We can quantify the success of their latest album Random Access Memory here, since the level of available cash increases from £700,209 to £7,152,272. Cash flows in the form of inter-company loans (between Daft Trax SARL and Daft Life Limited) can also be observed in the financial documents. Figure 3.4 illustrates these movements: the French entity “lends” £197,606 to the English entity. The latter paid in the same year a salary of £1,200,229 to Guy and of £1,512,578 to Thomas. By creating their own label and publishing house between France and England (the American entity being dissolved to date), the group has been able to optimize their tax situation. Indeed, interbank loans between subsid iaries are a technique well known to tax practitioners to increase revenues (a nd conversely to lower expenses) in countries where the tax on commercial prof its is lower. This tax architecture was relatively sophisticated in the music industry at that time. 3.6.3. Innovation concerning the business equation Optimizing the group’s financ ial sustainability has b een Daft Punk’s real obsession. Without this financial au tonomy, the duo knows that the music industry does not allow for artistic auto nomy. Labels or investors want to have a right of control over creators in order to limit risks. On the contrary, each Daft Punk project (see Box 3.1 fo r the complete list) – the documentary 70 Innovation in the Cultural and Creative Industries D.A.F.T , the film Electroma or the cartoon Interstella 555 – is self-financed by one of the three legal entities owned by the group. This risk-taking led them to a critical financial situation in 2006 (see Figure 3.4) due to the relative failure of their third album ( Human After All ) and the high cost of Electroma and Interstella 555 . That same year, they launched their major world tour and played a poker game w ith the organizers of the biggest American music f estival: Coachella. The group asked for a $300,000 advance to finance a pharaonic project: a giant LED pyramid that would surround the two members of the group on stage. Th e result was extrem ely spectacular, and this concert left a lasting impression, so much so that the American magazine L.A. Weekly ranked it as the best concert of all time at the festival. Unlike the general patterns on the electronic scene, Daft Punk chose to reduce the number of concerts on their tour. The innovation here involved building the group’s business equation by self-financing each project and betting significant sums on a few key con certs. This strategy was later taken up by the American DJ and composer Skrillex (he even admitted to having been present in the audience at Coache lla in 2006). By handling rare public appearances and record releases produced with the greatest care, the Daft Punk duo has built an innovative and sustainable business model. Each of their public appearances makes the performance unique. Each of these moments makes their collaboration with other artists (Pharell Williams, Chilly Gonzales, etc.) even more precious. Daft Punk has become a French luxury product. 3.7. Conclusion Daft Punk’s success has been built arou nd four key principles that break the rules of the music industry: a) do things your own way; b) present finished products; c) finance your own work; d) keep it under control. Young singer-songwriters like Jacob Whitesides have scrupulously followed these four aspects. Whitesides owns his own publishing and recording house, Double U Records, retains all future rights to his music revenues and uses the BMG label to disseminate his music on all possible channels worldwide. Unlike Daft Punk, he built his success by involving his fans on social networks such as Facebook, Snapchat or Instagram. The latter now appears as an external validator of an artist’s talent in the eyes of record companies. On the contrary, Daft Pu nk have cultivated media scarcity and have no account on social networks. We exercis e manag e dissemi provide copyrig bodies. the fin a stakeho 2018, i s the pa y compa n Punk o r the hea r 3.8. A p Figure can conclu d e control ov e ement of t h nated. Com p r for song w ht outside t h We conside r ancial indepe lders. The n e s in line wit h yment of th e nies will re m r Jacob Whi t rt of the mus ppendices 3.2. An exam p as a de this chap t er works if he process panies suc h writers, that he national t r that this ty p ndence of c r ew Europea n h this. Howe v e economic main in cont r tesides to re v ic industry. H ple of the acc o at June 30, 2 0 The Inno v ter with thi s this is acco m by which h as Kobalt is, to col l territory an d pe of offer m reators and a n copyright l ver, without rights of c rol of the g a verse the pr o Human, afte r ounts analyz e 017 (source: C vative Busines s s observatio n mpanied by their wor k offer to a c lect neighb o d outside co l makes it poss i a fair remun e legislation, a technologic a creators an d ame. It is u p ocess and p u r all.... ed: Daft Life L i Companies H o s Model of Daft n: creators c a rigorous f ks are crea ct only as a oring rights, llective ma n ible to main t eration of th e dopted in S e al tools that d performer s p to the fut u ut the creato r imited’s balan ouse) Punk 71 can only financial ated and a service that is nagement tain both e various eptember simplify s, record ure Daft r back at ce sheet 72 Innovation in the Cultural and Creative Industries Year (account as 30th of June) 1998 1999 2000 2001 2002 2003 2004 2005 2006 2007 2008 2009 2010 2011 2012 2013 2014 2015 2016 2017 Turnover 897,952 £ 828,995 £ 514,662 £ 1,270,170£ 2,898,413£ 2,638,039£ 1,637,235£ 953,101 £ 899,953 £ 3,706,662£ Cost of Sales 704,335 -£ 471,544 -£ 143,066 -£ 1,476,358 -£ 43,435 -£ 12,153 -£ 66,040 -£ Gross Profit 193,617 £ 357,451 £ 371,596 £ 206,188 -£ 909,666 £ 887,800 £ 3,640,622£ Administrative Expense 22,523 -£ 4,153 -£ 10,030 -£ 67,561 -£ 2,951,941 -£ 2,990,249 -£ 1,647,304 -£ 1,012,677 -£ 968,212 -£ 3,198,918 -£ Operating Profit 171,094 £ 353,298 £ 361,566 £ 273,749 -£ 53,528 -£ 352,210 -£ 10,069 -£ 103,011 -£ 80,412 -£ 441,704 £ Interest Receivable 1,477 £ 15,959 £ 36,565 £ 15,598 £ 24,739 £ 53,015 £ 78,131 £ 108,575 £ 105,596 £ 51,568 £ Interest Payable - £ - £ - £ 24 -£ - 104 -£ - Profit before Tax 172,571 £ 369,257 £ 398,131 £ 258,151 -£ 28,789 -£ 299,195 -£ 68,062 £ 5,564 £ 25,184 £ 493,272 £ Tax on Ordinary Activity 51,318 -£ 113,096 -£ 118,731 -£ 91,123 £ - - £ 11,881 -£ 1,467 -£ 1,584 -£ 150,707 -£ Retained Profit for the Period 121,253 £ 256,161 £ 279,400 £ 167,028 -£ 28,789 -£ 299,195 -£ 56,181 £ 4,097 £ 23,600 £ 342,565 £ Retained Profit Brought Forward 121,253 £ 377,414 £ Retained Profit Carried Forward 377,414 £ 656,814 £ ASSETS Tangible 914 £ 10,239 £ 25,718 £ 195,857 £ 171,481 £ 144,030 £ 120,128 £ 106,168 £ 114,139 £ 136,997 £ 112,741 £ 93,426 £ 73,113 £ 85,904 £ 64,410 £ 57,837 £ 43,535 £ 91,008 £ 78,300 £ 58,881 £ CURRENT ASSETS Stocks 81,724 £ 89,139 £ 89,144 £ 63,069 £ 50,591 £ 47,720 £ 47,720 £ - £ Debtors 122,617 £ 137,558 £ 233,759 £ 525,299 £ 415,263 £ 542,259 £ 343,325 £ 290,022 £ 583,112 £ 469,275 £ 177,873 £ 302,287 £ 61,219 £ 217,640 £ 220,837 £ 543,831 £ 410,872 £ 820,623 £ 519,525 £ 1,383,230£ Cash at bank and in-hand 151,388 £ 670,426 £ 506,325 £ 5,343 £ 634,287 £ 2,464,243£ 3,243,450£ 3,155,127£ 1,968,875£ 1,245,802£ 2,327,510£ 2,115,759£ 1,639,887£ 965,074 £ 905,599 £ 700,209 £ 7,152,272£ 5,268,388£ 4,053,753£ 3,860,799£ Total Current Assets 274,005 £ 807,984 £ 740,084 £ 530,642 £ 1,049,550£ 3,006,502£ 3,586,775£ 3,526,873£ 2,641,126£ 1,804,221£ 2,568,452£ 2,468,637£ 1,748,826£ 1,230,434£ 1,126,436£ 1,244,040£ 7,563,144£ 6,089,011£ 4,573,278£ 5,244,029£ CURRENT LIABILITIES Bank loans and overdrafts 29,367 £ - 5,265 £ Taxation and social security 23,144 £ 111,240 £ 79,721 £ 9,089 £ 3,452 £ 14,678 £ 71,736 £ 107,868 £ Other Creditors 60,137 £ 5,935 £ 11,487 £ 737,539 £ 2,940,060£ 523,445 £ 343,318 £ 1,366,561£ Trade Creditors 70,285 £ 323,534 £ 17,680 £ 13,331 £ 45,247 £ 123,042 £ 135,124 £ 193,310 £ Provisions for liabilities and charges 1,959,438£ Total Creditors 153,566 -£ 440,709 -£ 108,888 -£ 236,637 -£ 759,959 -£ 2,988,759 -£ 204,068 -£ 690,532 -£ 2,509,616 -£ 1,673,004 -£ 2,342,198 -£ 2,202,156 -£ 1,418,797 -£ 880,968 -£ 756,724 -£ 833,539 -£ 6,681,946 -£ 5,152,363 -£ 3,600,699 -£ 4,236,026-£ Net Current Assets 120,439 £ 367,275 £ 631,196 £ 294,005 £ 289,591 £ 17,743 £ 3,382,707£ 2,836,341£ 131,510 £ 131,217 £ 226,254 £ 266,481 £ 330,029 £ 349,466 £ 369,712 £ 410,501 £ 881,198 £ 936,648 £ 972,579 £ 1,008,003£ TOTAL NET ASSETS 121,353 £ 377,514 £ 656,914 £ 489,862 £ 461,072 £ 161,773 £ 3,502,835£ 2,942,509£ 245,649 £ 268,214 £ 338,995 £ 359,907 £ 403,142 £ 435,370 £ 434,122 £ 468,338 £ 924,733 £ 1,027,656£ 1,050,879£ 1,066,884£ PROVISIONS FOR LIABILITES AND CHARGES 3,284,882 -£ 2,720,460 -£ FINANCED BY Called-up share capital 100 £ 100 £ 100 £ 100 £ 100 £ 100 £ 100 £ 100 £ 100 £ 100 £ 100 £ 100 £ 100 £ 100 £ 100 £ 100 £ 100 £ 100 £ 100 £ 100 £ Profit and Loss Account 121,253 £ 377,414 £ 656,814 £ 489,762 £ 461,072 £ 161,673 £ 217,853 £ 221,949 £ 245,549 £ 268,114 £ 338,895 £ 359,807 £ 403,042 £ 435,270 £ 434,022 £ 468,238 £ 924,633 £ 1,027,556£ 1,050,779£ 1,066,784£ Shareholder Funds 121,353 £ 377,514 £ 656,914 £ 489,862 £ 461,172 £ 161,773 £ 217,953 £ 222,049 £ 245,649 £ 268,214 £ 338,995 £ 359,907 £ 403,142 £ 435,370 £ 434,122 £ 468,338 £ 924,733 £ 1,027,656£ 1,050,879£ 1,066,884£ Table 3.6. Reconstruction of Daft Life Limited’s balance sheets (1998–2017) in Excel (source: author) The Innovative Business Model of Daft Punk 73 Figure 3.3. Cash flow of Daft Life Limited (1998–2017) (source: author) £-£1,000,000 £2,000,000 £3,000,000 £4,000,000 £5,000,000 £6,000,000 £7,000,000 £8,000,000 1998 1999 2000 2001 2002 2003 2004 2005 2006 2007 2008 2009 2010 2011 2012 2013 2014 2015 2016 2017 9. Transactions with directors Included in other creditors is an amount of £1,200,229 (2002 £64,935) owed to Guy Manuel de Homen Christo, a director of the company. The transactions during th e year in the sum of £1,135,294 are related to monies paid to the artist. Included in other creditors is an amount of £1,512,678 (2002 £69,960) owed to Thomas Bangalter, a director of the company. The tr ansactions during the year in the sum of £1,442,718 are related to monies paid to the artist. 10. Related party transactions Included in other debtors is the sum of £197,606 (2002 £244,839) owed by Daft Trax S.A.R.L., a company registered in France. This co mpany is related by virtue of the fact that the directors of Daft Trax S.A.R.L. are also di rectors of Daft Life Limited. The transactions during the year in the sum of £47,233 are relate d to third party costs incurred by Daft Life Limited, and funded by Daft Trax S.A.R.L. Included in other debtors is the sum of £Nil (2002 £11,384) owed to Daft Inc, a company incorporated in the United States of America. Th is company is related by virtue of the fact that the directors of Daft Inc. are also director s of Daft Life Limited. The transactions during the year in the sum of £1,347 are related to third party costs incurred by Daft Life Limited, and funded by Daft Inc. Figure 3.4. An example of the financial flows between Daft Trax SARL and Daft Life Limited for the year 2003 (source: adapted from Companies House) 74 Innovation in the Cultural and Creative Industries 1992 : creation of the rock band Darlin’ in Paris. April 11, 1994 : first single The New Wave under the name The Two Darlin. 1995 : meeting with the manager, Pedro Winter. May 25, 1996 : first single Da Funk under the name Daft Punk band. August 21, 1996 : Daft Trax SARL is founded in Paris. January 17, 1997 : launch of the first album, Homework (Virgin Records). June 20, 1997 : Daft Life Limited is created in London. 1999 : creation of Daft, Inc. in Los Angeles (later Daft Arts, Inc.). November 1, 2000 : launch of the documentary D.A.F.T.: A Story About Dogs, Androids, Firemen and Tomatoes . March 12, 2001 : second album, Discovery (Virgin Records). October 1, 2001 : first live album, Alive 1997 (Virgin Records). May 28, 2003 : Interstella 5555: The 5tory of the 5ecret 5tar 5ystem . 2004 : the duo moves to Los Angeles. January 18, 2005 : Daft Arts, Inc. is created in Los Angeles. March 14, 2005 : third album, Human After All (Virgin Records). April 4, 2006 : first compilation, Musique Vol. 1 1993–2005 (Virgin Records). April 29, 2006 : first concert at the Coachella Festival in California. November 16, 2007 : second live album, Alive 2007 (Virgin Records). 2008 : Pedro Winter leaves his position as group manager. February 8, 2009 : Daft Punk wins a Grammy Award for Alive 2007 and for its single Harder, Better... December 7, 2010 : soundtrack of the film Tron: Legacy (Walt Disney). May 17, 2013 : fourth album, Random Access Memory (Colombia Records). January 26, 2014 : Daft Punk wins five Grammy Awards including the album of the year. September 22, 2016 : launch of the singles Starboy and I Feel It Coming composed for rapper The Weekend. Box 3.1. Chronology of the Daft Punk group (source: author) The Innovative Business Model of Daft Punk 75 3.9. References EY (2013). Panorama des industries culturelles et créatives . Ernst & Young, Paris. Martin-Delpierre, H. (2015). Daft Punk Unchained . BBC Worldwide. Moyon, É. (2011). Le changement du business model de l’entreprise : une étude des majors de l’industrie phonographique (1998–2008). PhD thesis, IAE Lille. Page, W. (2018). How the global music copyright business grew by 1.5 Bn in 2016, Music Business Worldwide [Online]. Available at: https://www.music business worldwide.com/how-the-global-music-copyright-business-grew-by-1-5bn-in-2016/. [Accessed September 2018]. Schütz, V. (2014). Daft Punk : Humains après tout . Camion Blanc, Rosières-en- Haye. Tellier, A. (2017). Bonnes Vibrations . Éditions EMS, Caen.	[ "music", "daft", "business", "model", "punk", "company", "record", "industry", "group", "artist" ]	{ "summary": "3 \n The Innovative Business \nModel of Daft Punk \n3.1. Introduction \nMusic, much like other activiti" }
140046243-BMI-Royalty-Information.pdf	BMI ROYALTY INFORMATION Editor's Note: The following document was taken from the BMI Web Site in March 2000. This information is updated periodically, and to be sure you have the latest updates, consult the online version at: www.bmi.com/iama/songwriter/royalty/index.asp. All content ©2000 Broadcast Music, Inc. All Rights Reserved. Used with permission. Table of Contents: General Information U.S. Radio Royalties U.S. Television Royalties Foreign Royalties Compulsory License Fees Pay-per-view Services InternetCommercial Music Services Live Concert Royalties Miscellaneous Royalty Rules Affiliate Services Contact InformationAll content ©2000 Broadcast Music, Inc. All Rights Reserved. Used with permission.General Information Registering Your Works BMI enters work registrations into its databases from one of two sources, (1) a BMI song registration form (formerly known as a clearance form) provided either electronically or on paper, or (2) a cue sheet which details all music written specifically for a film or television show, or other audio-visual work, typically prepared by the production company. All songs must be submitted to BMI via a BMI registration form in order to receive credit for certain types of performances (e.g., all radio, commercial music services, commercial jingles and promotional announcements, live pop and classical concerts and Internet). Separate registrations need not be supplied to BMI for individual music cues (dramatic underscore) used in audio-visual programs. These will be automatically registered when the cue sheet is received and processed by BMI. You agree to notify BMI promptly if there are any errors or omissions contained in the registration information for your works or if the information, as it is set forth on the bmi.com website , is in any way inaccurate. A registration received from any songwriter, composer or publisher of a work will suffice to credit all participants. If the publisher submits a registration, the writer does not have to submit one as well, and vice-versa. However, we strongly encourage each co-publisher of a work to submit its own song registration form in order to assure that the work is entered into the publisher's correct BMI account. BMI will enter the work into its database for the shares and participants indicated on the first registration received. If a later registration is received for the same work which conflicts with the earlier registration, we will notify the party submitting the later registration and request documentation or written confirmation from all affected participants before changing our records to reflect the different information indicated on the later registration. In order for BMI to make payment on time for the public performance of your music, it is imperative that all registrations (both songs and cue sheets) be received as close to the performance date as possible. It is essential that you register all of your works in order that BMI can provide information about your entire catalogue to foreign performing rights organizations, and so that BMI may quickly and easily identify foreign royalties received on your behalf. Late registrations and cue sheets may cause royalties to be delayed and/or lost . It is your ultimate responsibility to make sure that works registrations and cue sheets are delivered to BMI in a timely fashion, even though you may rely upon others to provide them to BMI in the normal course of business. Also, you must affiliate with BMI prior to the time of the performance of your music in order to receive royalties. Late affiliations will cause royalties not to be paid.All content ©2000 Broadcast Music, Inc. All Rights Reserved. Used with permission.Samples and Medleys BMI accepts for registration works which "sample" other works, provided all parties have agreed to the share percentages on the new work. These shares cannot exceed 200%. (See How Royalties are Divided .) The percentages must be noted on the BMI registration form for the work and a copy of the sample license agreement must be provided to BMI upon request. Standard rates for a popular song will be paid. The same rules apply when two or more works are utilized in a single recording as a medley. Assignment of Works A BMI publisher may assign a work to another BMI publisher as of the calendar quarter in which BMI receives notice of the assignment. However, BMI will not accept such assignment until all outstanding financial obligations or liabilities to BMI of the assigning publisher are adjusted appropriately. An assignment or transfer of control of an entire catalogue of works from one BMI publisher to another in connection with a sale, merger or otherwise will be subject to all of the terms and conditions of the agreement between BMI and the publisher whose works are sought to be assigned or transferred. Withdrawal of Works A publisher who seeks to withdraw any of its works from its BMI catalogue other than on account of an assignment to another BMI publisher (see Assignment of Works ) may do so only as of the end of the current term of its agreement with BMI, upon notice to BMI by registered or certified mail not more than six months or less than three months prior to the end of the current term. However, no such withdrawal will be accepted until all outstanding financial obligations or liabilities to BMI of the publisher are adjusted appropriately. In addition, the withdrawal of any such work by the publisher will not affect the right of BMI to continue to license the interest of any other participants in the work. Instrumental and Lyric Versions of the Same Work BMI cannot undertake to distinguish between lyric and instrumental performances of a work unless the two versions bear different titles. If the lyric and instrumental versions are known by different titles, performances of the instrumental version will be credited solely to the songwriter or composer and to the publisher of the instrumental version unless BMI is notified by all parties involved of an agreement between them that the lyricist and the publisher of the lyric version are entitled to share in performance royalties of the instrumental version. Where the lyric and instrumental versions are known by the same title, the lyricist and the publisher of the lyric version will each be credited respectively with 100% of the applicable writer and publisher shares for all performances, unless BMI is notified by all participants of an agreementAll content ©2000 Broadcast Music, Inc. All Rights Reserved. Used with permission.between them that the lyricist and the publisher of the lyric version are to be credited for a stated percentage of all performances. How Royalities are Divided BMI considers payments to songwriters or composers and to publishers as a single unit equal to 200%. Where there is the usual division of performance royalties between songwriters or composers and publishers, the total writers' shares will be 100% (half of the available 200%), and the total publishers' shares will be the remaining 100%. Please note the following rules with respect to the division of the 200% royalty: • The total publishers' shares may not exceed 100%. • If the agreement between the publishers and songwriters or composers provides for the songwriters or composers to receive more than 100%, the work should be registered with BMI indicating the percentages allocable to all songwriters or composers and all publishers so that the total is not more than 200%. • Where no performing rights (or only partial performing rights) have been assigned to a publisher, the songwriters or composers will receive the entire 200% (or the balance of the entire 200%) in the same ratio as their respective writer shares. However, a songwriter or composer who has assigned to a publisher all or part of his or her proportionate rights in the publisher's share shall not be entitled to receive any portion of the remainder of the publisher's share allocable to his or her co- writer(s). If BMI is notified subsequent to the initial registration that rights have been assigned to a publisher, BMI will credit the publisher with the appropriate share for performances beginning with the quarter in which such notice is received. No Retroactive Adjustments Will Be Made. (Example: John and Mary wrote "Their Song" together. John signed a songwriter agreement with Music Publisher. Mary did not. When the work is registered with BMI, John will list his writer share as 50%, Mary will list her writer share as 100% (50% for her co-writer interest and 50% for her unassigned publisher interest) and Music Publisher will list its publisher share as 50% (for the publisher's interest it obtained from John). If Mary later assigns her publisher interest to the same Music Publisher, Mary will notify BMI, her writer share will be reduced to 50% and Music Publisher will be paid 100% effective in the quarter that BMI received Mary's notice.) Wherever royalty rates are indicated in this booklet, the amount shown is the 200% royalty. In the typical case where all songwriters or composersAll content ©2000 Broadcast Music, Inc. All Rights Reserved. Used with permission.have assigned their copyright in a work to publishers, half of the amount listed is paid to the songwriters or composers and half to the publishers. BMI operates on a non-profit basis. All available income is distributed, except for a modest reserve. BMI may, from time to time, voluntarily increase royalty rates. Arrangements of Public Domain Works Copyrighted arrangements of works in the public domain (classical and popular) will be credited at 20% of the otherwise applicable rate of payment for popular songs for all performances, with the exception of the Live Classical Concert distribution, where no payment is made for performances of arrangements of public domain works. Payment for Uses in Unmonitored Areas BMI collects license fees from thousands of music users in addition to those listed in this booklet. These "general licensing" music users include, but are not limited to, hotels, restaurants, nightclubs, sports arenas, theme parks, airlines, jukeboxes and retail stores. If the administrative cost involved in collecting the performance data for music used by these licensees is not economically feasible, BMI may choose an appropriate surrogate, such as radio or television performances, for the distribution of the fees. In such a case, general licensing revenue serves to increase the rates payable for other performance types which we determine are representative of the universe of performances of music used in general licensing categories. BMI also reserves the right to use surrogates when accurate distribution data is unavailable. However, we strive to distribute license fees derived from specific users of music to the songwriters, composers and publishers whose music is performed by those users. At any time, we may add a distribution source that was previously unmonitored, if accurate distribution data subsequently becomes practically available. Non-payment Sources No payment is currently made for the following types of performances in electronic media: • Cue, bridge or background music on radio • Partial performances of popular songs on radio • Station IDs in any medium • Promotional announcements on radio or local broadcast, cable or satellite TV However, BMI may voluntarily introduce payments for these categories at any time, at rates to be determined by BMI. Also note that, due to the cost ofAll content ©2000 Broadcast Music, Inc. All Rights Reserved. Used with permission.distributing negligible royalties, if the total amount of royalties earned from all sources in any distribution is less than $1.00, no payment will be made and no royalty statement will be rendered for that distribution. Frequency of Royalty Payments BMI makes royalty distributions quarterly in January, April, July and October for all sources discussed in this booklet, with the exception of Live Concerts, for which royalties are distributed semi-annually in April and October for Pop concerts and annually in July for Classical concerts. We also may from time to time make special distributions should circumstances warrant. The distribution schedule is subject to change at BMI's discretion. U.S. Radio Royalties U.S. Radio Feature Performances BMI considers a radio feature performance of a popular song to be one which lasts 90 seconds or more and which is the sole sound broadcast at the time of the performance. BMI makes separate payment for four categories of radio feature performances, based upon a sampling of stations licensed by BMI. • COMMERCIAL RADIO • CLASSICAL RADIO • COLLEGE RADIO • NATIONAL PUBLIC RADIO Commercial Radio Payment is made for a local commercial radio performance based upon the license fee paid to BMI by the station broadcasting the performance. If the station's BMI license fee is among the top 25% of license fees paid by radio stations in the previous year, each performance of a popular song on that station will be paid no less than 12 cents total for all participants. For example, if there are two songwriters or composers and one publisher, each songwriter or composer will be paid at least 3 cents per performance, and the publisher will be paid a minimum of 6 cents per performance. If the station's BMI license fee is among the bottom 75% of license fees paid by radio stations in the previous year, each performance of a popular song on that station will be paid at the rate of at least 6 cents total for all participants. Extended Works A work (other than a classical work) which exceeds 6 minutes as commercially recorded will receive double credit for a full radio broadcast performance. TheAll content ©2000 Broadcast Music, Inc. All Rights Reserved. Used with permission.registration form submitted to BMI for such work should be accompanied by a letter noting the length of the recording and requesting the higher rate of payment. Classical Radio If a local commercial radio feature performance is of a classical work, each performance will be paid at the minimum rate of 32 cents per minute total for all participants on those stations in the top 25% of license fees, and no less than 14 cents per minute total for all participants on those stations whose fees are in the bottom 75%. A classical work is defined as a symphonic, chamber music, solo or other work originally written for classical concert or opera performance. College Radio Payment is made for feature performances of a song on radio stations which are affiliated with colleges and universities at a minimum rate of 6 cents total for all participants. National Public Radio The royalty rate paid for performances on National Public Radio (NPR) is based upon the amount of license fees received by BMI from the Corporation for Public Broadcasting (CPB), as compared to the total number of monitored performances of BMI works on NPR stations. As a result, the royalty rate changes each quarter, as a different number of performances is paid from the amount of fees received. Radio Feature Performance Bonus Payment Rates A work which, as reflected by BMI's records, has had more than 25,000 logged U.S. feature broadcast radio performances and U.S. feature television performances on broadcast and cable networks, PBS and certain distant-signal local television stations carried by cable systems ( superstations ) will be paid at the bonus payment rates described below for subsequent U.S. feature broadcast performances on radio, except college radio. These bonus payment rates are used instead of and not in addition to the minimum (base) payment rates previously indicated. Bonus payment rates are available to each songwriter or composer and to each publisher whose interest in a work is licensed by BMI during the period for which the bonus rate is applicable. A bonus payment rate for a work will be determined each quarter by analyzing both the historical cumulative feature performances of that work ("cumulative history") and the feature performances of all works which were performed in that quarter. All feature performances of a work monitored by BMI since January 1, 1960 are included in its cumulative history and include performances in the quarter for which the bonus payment rate is used.All content ©2000 Broadcast Music, Inc. All Rights Reserved. Used with permission.There are four levels at which a work will be paid at bonus rates: Super (S) Bonus Payment Rates: 4 times the base rate Those works with the highest cumulative history whose current quarter's performances together constitute approximately 10% of the current quarter's radio feature performances of all BMI works. Upper Level (U) Bonus Payment Rate: 2-1/2 times the base rate Those works with the next lower cumulative history whose current quarter's performances together constitute approximately 15% of the current quarter's radio feature performances of all BMI works. Mid-Level (M) Bonus Payment Rate : 2 times the base rate Those works with the next lower cumulative history whose current quarter's performances together constitute approximately 25% of the current quarter's radio feature performances of all BMI works. Entry-Level (E) Bonus Payment Rate: 1-1/2 times the base rate All other works with a cumulative history of 25,000 or more performances. U.S. Television Royalties Types of Performances BMI categorizes broadcast television and cable television performances as listed below and derives the usage information from music cue sheets and performance information provided to BMI by BMI television licensees, the TV Data Corporation, and other qualified sources. Feature Performance A performance of a work which is the focus of audience attention at the time of the broadcast. These works properly are noted on the music cue sheet with one of the following codes: • Visual Vocal (VV) - to be used when the vocalist is on camera singing the song • Visual Instrumental (VI) - to be used when the instrumentalist is on camera performing the songAll content ©2000 Broadcast Music, Inc. All Rights Reserved. Used with permission.• Background Vocal (BV) - when the song is audible to the listening audience, even though there may be some dialogue in the foreground of the scene Background Performance A performance of a work (or works) used as dramatic underscore to a scene where the music is not the focus of audience attention yet nonetheless is used to set the mood of the scene. These usually are works commissioned especially for a TV program or motion picture, or are library works selected by a program producer in lieu of specially commissioned music. These works generally are of a background instrumental nature and properly are noted on cue sheets with a use code of " BI." Theme Performance A performance of a work which is regularly associated with a television program and identifies that program to the viewer when used as the opening and/or closing music. Theme credit is given only when a work is used in multiple episodes of a television program. Works, other than the theme as described above, used at the opening and/or closing of an individual episode of a series will be credited in accordance with their actual use (feature or background). Logo Performance A performance of music regularly accompanying the visual identification of a production company or program distributor. Infomercial Performance Music performed in a short-form or long-form advertisement, the content of which often includes a product demonstration and invites direct consumer response. The rates for feature, background, theme and logo performances are indicated on the Network Television and Local Television rate tables below. Music performed within infomercials will be paid at one-third of the otherwise applicable rate listed. Promotional Announcement and Commercial Jingle Performance A promotional announcement (promo) is an announcement that advertises an upcoming program on television or radio. The programming being promoted must be aired on the same network or station as the promo itself. BMI pays for music used in promotional announcements aired on the ABC, CBS, Fox and NBC television networks. Payments are calculated based upon the time of day of the performance, and the rate of payment varies from quarter to quarter depending upon the number of promotional announcements aired in aAll content ©2000 Broadcast Music, Inc. All Rights Reserved. Used with permission.given quarter. At this time, no payment is made for promotional announcements on any other medium. A commercial jingle is a work (either pre-existing or specifically written for an advertiser) used to advertise products and/or services for sale on television and radio. Payment is made for feature performances of commercial jingles on broadcast and cable networks, local television and radio. Royalties are paid for background performances only on the ABC, CBS, Fox, and NBC television networks. In both cases, rates vary from quarter to quarter depending on the number of commercials aired in a given quarter. For more information about rates and the documentation required to become eligible for payment of Promo and Commercial Jingle royalties, please contact BMI's Commercial Jingle and Promo Department in New York by mail, or by telephone at 212-830-2551 (Promos) or 212-830-8387 (Jingles), or by facsimile to 212-830-3865. Network Television BMI currently licenses the ABC, CBS, and NBC television networks under agreements where the fee to cover music used in network originating programming is paid for by the network instead of by the local TV station carrying the program. Performances of music on these networks is listed separately on your royalty statements. Other television "networks," such as Fox, United Paramount Network (UPN) and Warner Brothers (The WB), are not currently licensed by BMI as networks. The license fees associated with performances of music in the programming carried by these networks are paid by the individual local stations broadcasting the programs. For purposes of distinguishing these programs from other local and syndicated programs, BMI indicates the "network" origination on your royalty statements, but the rates paid are lower than the rates paid for ABC, CBS and NBC performances. The following page gives applicable rates for performances on licensed networks (ABC, CBS, and NBC) and on Fox, UPN and The WB. When BMI computes royalties earned by a single performance, we multiply the indicated rates by the number of local stations carrying the network broadcast.All content ©2000 Broadcast Music, Inc. All Rights Reserved. Used with permission.ABC, CBS AND NBC NETWORK TELEVISION RATES PERFORM- ANCE TYPEPRIME- TIME (7:00 PM- 10:59 PM)LATE- NIGHT (11:00 PM- 1:59 AM)OVER- NIGHT (2:00 AM- 5:59 AM)MORNING/ DAYTIME (6:00 AM- 6:59 PM) FULL FEATURE (45 SECONDS OR MORE)$11.50 $9.00 $5.00 $6.00 THEME (PER SHOW)$5.00 $2.00 $0.58 $1.00 BACKGROUND (PER MINUTE)$1.10 $0.72 $0.52 $0.60 LOGO (PER SHOW)$0.30 $0.24 $0.22 $0.28 Performances of less than 45 seconds are paid on a prorata basis. PAYMENTS FOR PERFORMANCES ON FOX, UPN AND THE WB ARE PAID AT 75% OF THE ABOVE APPLICABLE RATE. Local Television Currently BMI licenses over 1100 local television stations on a "blanket" or "per-program" basis. A blanket licensee pays a single fee that covers the performance of any BMI-licensed work in the licensee's syndicated and locally- originated programs (including those carrying Fox, UPN and The WB programming). A per-program licensee pays a fee to BMI only when there is BMI music used in films or other audio-visual works or on a syndicated or locally originating program broadcast on the station, as well as for certain incidental and ambient uses of music. For distribution purposes, BMI separates fees derived from blanket licensees and per-program licensees. Performances occurring on stations choosing a blanket license are paid in accordance with the Local Television rate table below. Performances of music on stations opting for a per-program license are credited by calculating the fee associated with the individual program and applying the relationships between the various use types, i.e. feature, theme, background, etc. Fees collected from per-program stations are distributed only to those songwriters, composers and publishers whose music is used on the programs for which the fees are paid, less an administrative charge.All content ©2000 Broadcast Music, Inc. All Rights Reserved. Used with permission.Local Television Rates PERFORMANCE TYPEDAYPART A (4:00 PM-10:59 PM)DAYPART B (ALL OTHER TIMES) FULL FEATURE (45 SECONDS OR MORE)$3.00 $1.50 THEME (PER SHOW)$1.60 $1.00 BACKGROUND (PER MINUTE)$0.76 $0.42 LOGO (PER SHOW)$0.18 $0.16 Performances of less than 45 seconds are paid on a prorata basis. Public Television (PBS) BMI receives compulsory license fees for performances of music on public broadcasting stations and distributes the fees derived from this source to those songwriters, composers and publishers whose music is broadcast on public TV stations. Rates vary from quarter to quarter depending on the amount of the license fee collected and the base value of BMI performances tabulated during a quarter. The value of a performance on a PBS station could be higher or lower than the Local Television Daypart A rates, depending on the factors noted above. The methodology and relative weightings of the Local Television rates are used to begin the calculation. Cable Television BMI collects license fees from both pay cable networks (e.g., HBO, Cinemax, Showtime, etc.) and basic cable networks ( e.g., MTV, USA Network, Lifetime, Discovery Network, VH-1, TNN, etc.). Because the list of cable licensees changes from quarter to quarter, they are not included in this booklet. Please contact your local Writer/Publisher Relations office if you have a question about the licensing status of a particular cable network. A census of programming information for cable TV is provided to BMI by outside sources such as the TV Data Corporation, and cue sheets for the programs are collected from many sources, including, but not limited to, cable networks and program producers and distributors. Royalty rates are determined each quarter by applying the amount of license fees collected from each cable network (less an administrative fee) against the payable performances occurring on that network, using the methodology and relative weightings of the Local Television Daypart A rates as a starting point.All content ©2000 Broadcast Music, Inc. All Rights Reserved. Used with permission.Foreign Royalties BMI has reciprocal agreements with performing rights organizations ( PROs) throughout the world, which allow those PROs to license your works and collect fees on your behalf when your music is performed outside of the United States. The foreign PROs calculate payments to BMI composers, songwriters and publishers in accordance with their own distribution rules and remit royalty payments to BMI for those songwriters, composers and publishers listed in an international index as being affiliated with BMI or whose works have been reported by BMI to these PROs. Foreign royalties are distributed quarterly by BMI after the deduction of an administrative handling fee, which, as of October, 1998, is 3.6%, but which is subject to change at any time. When a royalty payment from a foreign PRO is designated for a specific BMI songwriter, composer or publisher, BMI pays that affiliate directly if BMI's records confirm entitlement to that payment. There are, however, instances where, instead of an affiliate's name, only a song title, film title or TV show name is provided by the foreign PRO in conjunction with a lump sum royalty payment to BMI. In those instances, we must do more extensive research to determine the entitled parties and their percentage splits and make an allocation in accordance with the data contained in BMI's records. Sometimes, this causes a minor delay in distributing the royalties. Although BMI has an extensive foreign royalty tracking system, we always welcome information from you regarding foreign translations of song titles , film and TV show titles, and details regarding foreign sub-publishing agreements. You should send this information to BMI International Administration in New York, and the information will be noted in our database for tracking purposes. Compulsory License Fees Approximately once a year, BMI receives royalties from the U.S. Copyright Office for BMI music performed on distant signal broadcast television stations carried by cable television systems (e.g., superstation WGN-Chicago) and for music performed in broadcast television signals retransmitted by satellite carriers. BMI distributes this money to those songwriters, composers and publishers whose music is contained in these broadcast signals. BMI additionally receives a modest amount of royalties from the compulsory copyright royalty paid by manufacturers and distributors of audio home recording devices and media. BMI distributes these royalties using a combination of performance information and recorded music sales data. For information on compulsory license fees received from National Public Radio and Public Television , please refer to those sections of this booklet.All content ©2000 Broadcast Music, Inc. All Rights Reserved. Used with permission.Pay-Per-View Services At any given time, BMI may have a license agreement with one or more pay- per-view services. When a license agreement is in effect and BMI receives payment from a pay-per-view licensee, royalty payments are distributed to those songwriters, composers and music publishers whose music is aired on any individual service, using a formula as described in the Cable Television section of this booklet. Internet BMI licenses certain Internet sites and is seeking to license many more. As this is a very new medium for licensing and distribution, policies still are being established as to how performances are to be tabulated and royalties are to be distributed. To the extent that music usage information has been submitted to us, we have distributed and will continue to distribute royalties for performances of your music over the Internet on sites licensed by BMI. For further developments in this area, please contact your local Writer/Publisher Relations office. Commercial Music Services BMI distributes license fees collected from digital/cable music suppliers and background music suppliers (e.g., AEI, Muzak) when your musical works are used by these services. BMI uses performance information provided by the audio services to create a database of BMI-licensed works that are eligible to receive a royalty payment. Since the number of BMI-licensed works, as well as the amount of the license fees collected by BMI, changes from one distribution to another, the royalty rate for works performed on these services likewise varies with each distribution. Live Concert Royalties Pop Concerts BMI uses an independent source of pop concert information to create a database which is used to solicit concert set lists. We compile these responses and determine semi-annually which musical acts were among the 200 top-grossing tours. A royalty payment is calculated for each BMI-licensed work used in the headliner's act in each of these top musical tour set lists. Since the number of BMI-licensed works changes from one semi-annual period to the next, as do the license fees collected by BMI from concert promoters and venues, the royalty rate for your works performed in live pop concerts also changes each period.All content ©2000 Broadcast Music, Inc. All Rights Reserved. Used with permission.Classical Concerts BMI pays royalties for original classical works performed at live classical concerts in the U.S. which are presented by entities licensed by BMI under classical and symphonic licenses. Payment is based upon a census of all eligible concert programs received from these licensees. The rates are determined annually based upon the fees received from classical licensing and the total number of BMI works performed. Miscellaneous Royalty Rules Direct Licensing of Works If a songwriter, composer or publisher directly licenses to a user or source licenses to a production company the right to perform one or more works, BMI must be notified in writing within ten days of the issuance of the license or within three months of the performance, whichever comes first. In the event that such notice is not timely given to BMI, the direct license shall be deemed null and void. A copy of the license should be attached to the notification (with the amount paid for the license deleted, if desired). As license fees for direct or source licensed performances cannot be collected by BMI, no royalties will be paid by BMI for these performances. If the direct or source license includes performances for periods for which BMI has already paid royalties because we were unaware that such a license had been issued, a debit will be made to the songwriters' or composers' and the publishers' accounts with respect to such performances. Royalty Adjustments All claims for adjustments to royalty distributions must be made in writing to your local Writer/Publisher Relations office within nine months of the date of the distribution seeking to be adjusted. Adjustments to royalties which were or should have been paid more than nine months before notice of the claim is received by BMI will not be considered. BMI will prepare timely-requested adjustments to U.S. royalty distributions in those situations where royalties were paid incorrectly, as long as the total amount of the adjustment likely will exceed $25. If no payment was made because of missing/late cue sheets or work registrations, royalties will be paid beginning with the first possible distribution after all documents are received and processed, provided that they are received within nine months after the distribution in which royalties otherwise would have been paid had the necessary documents been submitted to BMI in a timely fashion.All content ©2000 Broadcast Music, Inc. All Rights Reserved. Used with permission.Because many foreign PROs have strict cutoff dates beyond which they will not consider adjustment requests, all claims for foreign adjustments should be submitted in writing within nine months of the date of the foreign distribution in which royalties were incorrectly paid or expected royalties were missing, along with detailed information about the incorrect or missing payments. BMI will research the matter and request an adjustment, where appropriate, from the foreign PRO, provided that the amount expected to be received from the foreign PRO will exceed $25. Any additional royalties received from the foreign PRO as a result of BMI's adjustment request will be remitted to you as part of the next possible distribution following receipt of the royalties by BMI. Payment From Another Organization In the event that BMI has reason to believe that you will receive or are receiving payment from a performing rights organization other than BMI for or based upon United States performances of one or more works for a period when those works were licensed by BMI for you, BMI shall have the right to withhold payment from you for such performances until BMI receives satisfactory evidence that you have not been paid or will not be paid by the other organization. In the event that you were or will be paid or do not supply such evidence within 18 months from the date of BMI's request, BMI shall be under no obligation to make any payment to you for performances of such works for that period. Assignments of Royalties to Repay Loans BMI will recognize an assignment of your royalties to a lending institution or other person or entity who makes a bona fide loan of a specific sum of money to you which is intended to be repaid, in whole or in part, from your BMI royalties. You must be affiliated with BMI at the time that the assignment is made. In addition, a special loan assignment form, executed by both you and the lender, and acknowledged by BMI, must be completed and signed before BMI will pay your royalties to the lender. Please contact your local Writer/Publisher Relations office for the loan assignment form. Royalties Withheld Due to Litigation It is BMI's policy to withhold royalties earned by any works which are the subject of litigation. Upon the written request of any affiliate whose royalties are being withheld, when accumulated royalties exceed $1,000, the royalties will be transferred to an interest-bearing bank account, at money-market rates. All such principal and interest is remitted to the writer(s) and/or publisher(s) who are determined by final, unappealable decision, or by settlement between the litigants, to be entitled to the funds, upon submission to BMI of a copy of the final court order or settlement documents.All content ©2000 Broadcast Music, Inc. All Rights Reserved. Used with permission.In lieu of the withholding of royalties during litigation, BMI will accept a letter of direction, signed by all parties to the lawsuit, to pay the royalties to a third party escrow agent as they become payable. In such case, the royalties will not generate interest through BMI. Legal Process Administration Charge Due to BMI's increased costs in handling legal process that is received against certain affiliates, it has become necessary to institute an administration fee for such matters. Effective January 1, 1999, if BMI is served with a state or federal tax levy, restraining notice, order to withhold, judgment, child support order, divorce decree, subpoena or the like against you which requires BMI to hold or pay your royalties to another party who has a legal entitlement to them, or to provide information or documents regarding your account, you will be assessed a handling fee of $50 (or such lesser amount as may be required by the authority issuing the process). The $50 fee will be deducted from the next royalty distribution of each affected account following adjustment of BMI's records to reflect the process, or following the transmittal of the information or documents. The handling fee will be assessed for each new process received, except that you will not be charged an additional fee if BMI receives updated process while previous process for the same obligation is still in force according to BMI's records. Stop Payments And Re-Issuance Of Royalty Checks An oral request to BMI to stop payment of and reissue a royalty check will be accepted, but the request must be confirmed in writing and received by BMI within two days of the oral request. An administrative charge of $30 will be deducted from the amount of the reissued check. Stop payment orders cannot be accepted, however, for royalties which have been directly deposited into the payee's bank account. Affiliate Services Direct Deposit of Royalties Your royalty payments can be deposited directly to your checking or savings account. Contact your local Writer/Publisher Relations office for the necessary authorization form, or download the form from BMI's web site, http://bmi.com . Bank of America / BMI Loan Program For many years, BMI has accepted loan assignments to the bank of your choice, so that you are able to borrow money against your future BMI royalties. We will continue to accept loan assignments to your chosen lender. (See Assignments of Royalties to Repay Loans .) However, for those affiliates who do not have an established banking relationship that they wish to continue, BMI has arranged with Bank of America, one of the country's leading financial institutions, to make loans against their BMI royalties. All loans are made at aAll content ©2000 Broadcast Music, Inc. All Rights Reserved. Used with permission.favorable rate of one percent above the prime rate, with only a $100 application fee. Also, processing of these loans is given priority by both Bank of America and BMI. In order for you to be able to participate in this program, you must be an affliliated songwriter or composer, or sole proprietorship or sole stockholder publisher. Also, your average annual BMI royalty earnings for the past three years must be more than $1,800 and your current royalties must be clear of any liens. If you qualify, Bank of America will lend you up to 70% of the amount that BMI projects you will earn over the following two years, with a minimum loan amount of $2,500. To find out if you qualify for this program, contact your local Writer/Publisher Relations office. For details about loan procedures and requirements or to obtain a loan application, contact Bank of America at 1-888- 777-7354. Loan applications also can be downloaded from bmi.com. Electronic Transfer of Information BMI encourages the use of electronic transfer of information related to work registrations, cue sheets, and affiliate receipt of royalty statements. The exchange of electronic information is based on established industry and specific BMI standards. Please contact your local Writer/Publisher Relations office for more information to participate in any of these services, or check bmi.com for future developments. BMI.com BMI's website, bmi.com , contains many features that keep you posted on happenings in the music business, new BMI services, legislation that affects your royalties and copyrights, and other useful information. You can also review your song registrations with BMI in the website's hyper-repertoire section. Visit the site and bookmark it for future use. You'll be glad you did!All content ©2000 Broadcast Music, Inc. All Rights Reserved. Used with permission.Contact Information If you have any questions about any of the information in this booklet, please contact the BMI office listed below which covers your state or location of residence or business. A Writer/Publisher Relations executive will be happy to assist you. BMI London 84 Harley House Marylebone Rd. London NW1 5HN England 44-171-486-2036 Fax: 44-171-224-1046 BMI Miami 5201 Blue Lagoon Dr. Suite 310 Miami, FL 33126 305-266-3636 Fax: 305-266-2442 BMI Miami will gladly assist our Spanish-speaking affiliates, wherever resident BMI New York 320 W. 57th Street New York, NY 10019 212-586-2000 Fax: 212-245-8986 Alaska American Samoa Connecticut Delaware District of Columbia Guam Hawaii Illinois Indiana Iowa Kansas Maine Maryland Massachusetts Michigan Minnesota Nebraska New Hampshire New Jersey New York North Dakota Ohio Pennsylvania Puerto Rico Rhode Island South Dakota Vermont Virgin Islands WisconsinBMI Los Angeles 8730 Sunset Blvd. 3rd Floor West Los Angeles, CA 90069 310-659-9109 Fax: 310-657-6947 Arizona California Colorado Idaho Montana Nevada New Mexico Oregon Utah Washington Wyoming BMI Nashville 10 Music Square E. Nashville, TN 37203 615-401-2000 Fax: 615-401-2707 Alabama Arkansas Florida Georgia Kentucky Louisiana Mississippi Missouri North Carolina Oklahoma South Carolina Tennessee Texas Virginia West Virginia	[ "bmi", "performance", "royalty", "work", "music", "publisher", "rate", "payment", "fee", "license" ]	{ "summary": "BMI ROYALTY INFORMATION\nEditor's Note: The following document was taken from the BMI\nWeb Site in Mar" }
470815995-Business-model-types-associated-with-network-structure-changes-in-the-music-industry-pdf.pdf	See discussions, st ats, and author pr ofiles f or this public ation at : https://www .researchgate.ne t/public ation/308265950 Business model types associated with network structu re changes in the music industry Article in International Journal of Business Inno vation and R esearch · Dec ember 2016 DOI: 10.1504/IJBIR.2017.10003878 CITATIONS 0READS 1,369 1 author: Dina Delly ana Bandung Instit ute of T echnolog y 10 PUBLICA TIONS 21 CITATIONS SEE PROFILE All c ontent f ollo wing this p age was uplo aded b y Dina Delly ana on 19 Sept ember 2016. The user has r equest ed enhanc ement of the do wnlo aded file. Int. J. Business Innovation and Research, Vol. X, No. Y, xxxx 1 Copyright © 20XX Inderscience Enterprises Ltd. Business model types as sociated with network structure changes in the music industry Dina Dellyana, Togar M. Simatupang and Wawan Dhewanto School of Business and Management, Bandung Institute of Technology, 10 Ganesha St., Bandung 40132, Indonesia Fax: +62-22-2504249 Email: [email protected] Email: [email protected] Email: [email protected] Corresponding author Abstract: The music industry is developing and starting to catch up after its downturn in previous years. The number of actors is growing and coming up with different new business models to creatively enter the new market and beat competitors. Unique offerings require new partnerships which change the network structure in the business model. Many companies revise their business models as they deal with various actors with specific terms in constant change. Previous research often captures a single actor’s business model and tends not to focus on providing the changing network structures in regards to the different types of business models emerging in the industry. The research reported here was carried out to identify the relationship between the available types of business models and the changing relationship structures in the music industry. The results show that changes in network structures correspond to different business model types in the case of Indonesian music industry. Further research is suggested to gain a better understanding of the implementation and evaluation of the business model types due to the changing network structures. Keywords: business model; network struct ure; music industry; creative industry. Reference to this paper should be made as follows: Dellyana, D., Simatupang, T.M. and Dhewanto, W. (xxxx) ‘Business model types associated with network structure changes in the music industry’, Int. J. Business Innovation and Research , Vol. X, No. Y, pp.000–000. Biographical notes: Dina Dellyana is a Lecturer in entrepreneurship, business modelling and creative business. Her cu rrent research focuses on business model innovation, SME development, business incubator, social media, e-commerce for SME’s, and music industry. Togar M. Simatupang is a Professor of Operations and Supply Chain Management. He has extensively published in logistics, supply chain management, and entrepreneurship journals. He has been attributed Highly Commended Award by Emerald Literati Network for his research in supply chain management. His current research and teaching interests focus primarily on supply chain collaboration, operations management, logistics management, service science, and creative economy. 2 D. Dellyana et al. Wawan Dhewanto is a Lecturer in the areas of entrepreneurship, innovation management, and family business. His research interests include technology commercialisation, innovation cluster, and SME internationalisation. 1 Introduction The music industry is slowly gaining progress after the rough downturn in previous years. Digital sales grew by 4.3% in 2013 to US $5.9 billion. Notwithstanding the shift to digital products, physical music sales still dominate industry sales in many major markets, accounting for 51.4% of all global revenues compared to 56.1% in 2012. Current popular physical formats include gifting and deluxe boxes, while at the same time vinyl continues to grow as a niche product (Smirke, 2014). The music business keeps generating new business models and venturing into new markets, which brings artists to a broader global audience and draws in more users to advanced music services (Smirke, 2014). Most of the models are creating new channels, broadening consumption tools, monetising prom otional tools, and providing a different model for music purchasing (International Federation of the Phonographic Industry, 2014). Implementing these attempts are ol d players in the music industry who are renewing their models or offerings, and actors that are new to the music business and want to differentiate their offerings (Dobusch and Schüßler, 2014). Besides that, many actors are also varying the option digital music offering. One of the models consists of offering music streaming by applying subscription fees or letting consumers hear music for free in exchange of allowing commercials between songs (Nguyen et al., 2014). As a consequence of the expected broader music market, many new, more dynamic actors are emerging (Graham et al., 2004). They have different concerns and interests, which leads to different business model types and relationship structures for their business models. Although most research concerns business models in the music industry, none of them covers available business model types in association with changes in relationship structures. Thus, this paper aims to provide an empirical study that shows the emergence of different business model types in responding to the changing network structures. This paper is structured as follows. First, the literature review is provided. Second, the conceptual model of the business model and network of actors is described to guide this research. Third, the research methodology is outlined. Fourth, the results of this paper comprising the network of actors, the available business model types and the changing relationship structures are delivered. Fifth, a discussion of the results is elaborated. Finally, the conclusion section summarises the main research findings. Business model types associated with network structure changes 3 2 Literature review Numerous papers have investigated the emerging new business model types in the music industry. To strengthen the value of new business models, a trustworthy partnership for certain evolving competences is needed (Pekkarinen et al., 2012; Palo and Tähtinen, 2011). The new competence leads to new offerings and requires changes in previous activity systems. Although the changes seem incremental, it could affect the whole business model and transform the old business model to a new one (Pekuri et al., 2014). Several new business models are emerging due to the rise of the digital music industry, various complementary products, and partnerships. Research focusing in business models for digital music is on the rise. In his research, Vaccaro and Cohn (2004) found that the peer-to-peer music file trading boom suggested that legitimate online downloading services could be a better opportunity. Another online business models that are suggested are subscription systems model, music service provider model, and super-distribution model, which usually embedded in online downloading service (Buhse and Wetzel, 2003). The digital products offered in online business model include polyphonic ringtones, ring-back songs, true tone ringtones, full-track music downloads and ubiquitous music (U-Music) (Lee, 2012; Levy and Bosteels, 2010; Baym and Burnett, 2009; Lantos and Craton, 2012). The digital products offered in online business models could also expand to provide additional services in accessing mobile music (Buhse and Wetzel, 2003) such as offering the audience to make mix tapes with available sound samples (Muxtape) (Choi et al., 2009). Attempts in selling digital products could also extend to physical products, such as enhancing a CD’s content by adding lyrics, photos, protected links to online bonuses and releasing music DVDs (Curien and Moreau, 2005). Gaining new revenue streams from various complementary music products and services has become another option of the new business model. Examples of new revenue streams include advertising, merchandise, producing and promoting collaborated works, movie scoring, newsletters, commercials and cell phone jingles, ancillary products and publication royalties in performers’ income (Koster, 2011; Connolly and Krueger, 2006; Choi et al., 2009; Bourreau et al., 2007). Executing vertical integration by providing services to distribute and selling music from external actors could also offer opportunities to add new streams of revenue (Kretschmer et al., 2001; Swatman et al., 2006). Furthermore, changing pricing models has become one of the prominent focuses in several new business models. Several occurring types adopt the creative commons concept by offering music for free and gaining revenue from selling merchandise, concerts and music tipping (Choi et al., 2009). These attempts are sometimes in line with the utilisation of net labels, where artists can promote and sell their digital music products by themselves (Bourreau et al., 2007). The price of products or services in online business models can also vary based on usage rules, frequency of access, expiration dates and restriction of transfer to other devices (Liu et al., 2003). In addition, different prices for users can be applied for each download, platform, and advertiser (Kretschmer et al., 2001; Swatman et al., 2006). New types of business models also emerge as a result from partnerships. A partner must be trustworthy and two-way contracts should be provided (Pekkarinen et al., 2012). Examples of business model types include gaining license fees through partnerships with third parties that act as brokers for copyrights to the media (Kretschmer et al., 2001), selling digital music by e-commerce web stations established by internet in brick 4 D. Dellyana et al. and mortar physical stores (Koung and Wen, 2003; Choi et al., 2009), conducting direct distribution and relationships between artists and consumers (Choi et al., 2009), and conducting intense relationships with radio or television stations to emphasise repeat visits (Buhse and Wetzel, 2003). Although previous research already provided different types of business models resulting from partnership, few papers discussed the changing network structures in each business model. For example, the network structure of internet and brick and mortar stores (Koung and Wen, 2003) and direct distribution (Choi et al., 2009), are two models with different network structures that differ from traditional models. Understanding changing network structures that would lead to emerging business models can help researchers predict upcoming network structure changes that can possibly result in new business models. 3 Conceptual model A conceptual model is provided to guide data collection and analysis. The main factors analysed in this research are network stru cture and business model. Network structure determines and utilises emerging business models. According to Bourreau et al. (2007), network structure consists of participating actors engaged with particular roles that can exchange ideas for creating different business model types. Network structure can be defined as a set of actors (such as individuals, collectives, communities, enterprises, industries and governmental bodies) who perform interaction to co-create and apply certain business models. A business model is defined as a rationale of how the organisation creates, delivers and captures value (Osterwalder and Pigneur, 2010). In line with the network theory, the main reasons for actors to participate in a network are to innovate new activity and acquire access to complementary assets and/or form a governance structure that reduces the costs or risks of innovative activity (Rasmussen, 2007). This acknowledges that the more a network performs, the more likely innovative ideas will occur. In order to tap opportunities of collaboration and share fundamental advantages, the benefits for the whole network must be examined when designing a business model (Zott and Amit, 2010). Since the relationship among participants often changes, discovering the complicated relationships and positions of each participant must be carried out and the innovation capability within the internal and external actors needs to be measured (Fu et al., 2006; Saunila et al., 2014). 4 Research methodology 4.1 Methods Since this research is focused on investigating phenomena within a real life context, a qualitative research approach was chosen (Yin, 2009). In order to obtain a dynamic perspective for the networks of actors and different business model types in the music industry, semi-structured interview techniques are utilised, which is usually chosen because it can encourage two-way communication, can confirm what is already known and provides an opportunity for learning. Besides, it also encourages the interviewee to Business model types associated with network structure changes 5 relate experiences and perspectives that are relevant to their problems of interest (Wahyuni, 2012). This research selects Indonesia’s music industry as its case. Indonesia’s music industry losses due to piracy have reached 4.5 trillion Rupiah per year (Purwanto, 2013). Music stores have also begun to close due to drastic decreases in album sales (Sinjal, 2013). Besides record stores, ASIRI (Recording Industry Association of Indonesia) reports that the music labels that still remain consist of only 65 from the 240 companies listed. In his interviews with Rolling Stone Indonesia Magazine (2009), Rahayu Kertawiguna, managing director of Nagaswara record company, argued that eventually recording an album in a physical format is only valid as an accessory or for display, since selling albums in music stores now is very difficult. While they could previously sell as many as 50,000 copies of each album through stores, at present the number has dropped dramatically to 2,000 or 3,000 units (Asmoro, 2014). The physical sales total for CDs in Indonesia only reached 7 million copies, which represents an almost 50% decline from the previous year (Amal and Alla, 2014). However, the growth of the digital music industry is slowly rising in Indonesia. The number of internet users in Indonesia is now approaching 72 million, which accounts for 29% of the total population (Arifiani, 2014). Table 1 Sample of the research No. Name Position Length of interview 1 Widi Asmoro Entertainment manager Southeast Asia in Mixradio 1h 41 min 2 Iwan Hadibroto HR consultant of Trinity Optima Production 32 min 3 Harun Nurasyid Managing director of Music Factory, KFC Music 53 min 4 Marin Ramdani Founder of FFWD Records Indonesia 1h 14 min 5 Robin Malau Digital entrepreneur, founder of Musikator 2h 15 min 6 Wendi Putranto Author of Music Biz, editor at Rolling Stone Indonesia Magazine 1h 10 min 7 Aldo Sianturi Believe Digital Indonesia 45.10 min 8 Hang Dimas Langit Data Indonesia 50.12 min 9 Andre Sumual Editor-in-chief of Trax Magazine , manager of The Titans 10 Ari Juliano Creative commons specialist 35.11 min 11 Ventha Lesmana Managing director, ASIRI 41.21 min 12 Eki Puradiredja Program Director, PT. Java Festival Production 26.15 min 13 David Karto Demajors Independent Music Indonesia (DIMI) 1h 23 min 14 Marin Ramdhani Fast Forward Records 1 According to the Republic of Indonesia’s Ministry of Tourism and Creative Economy (2014), the Indonesian music’s creative chain is comprised of four chains: creation, reproduction, distribution and consumption. This research focuses on the four creative chains in the Indonesian music industry for several reasons. First, in order to identify the 6 D. Dellyana et al. structures of network changes, available busi ness models in the four creative chains of the music industry need to be analysed. Second, the music industry is one of the industries from 18 subsectors of the Indonesian creative industry, which has the largest multiplier number. That means that increasing investment or final demand in this subsector will also increase the final output of the total national economy. Third, 80% of sales from Indonesian music market shares consist of Indonesian music. This indicates that the domestic music market is very appreciative of Indonesian music and could provide opportunities for the continuously evolving Indonesian music industry. The study respondents are affiliated with companies actively involved in Indonesian music development. They also represent the most involved and accessible music experts in Indonesia. Interview participants were mostly owners, directors, or people in managerial positions as seen in Table 1. In order to achieve the aims of this study, the research questions were as follows: • (RQ 1): What are the available networks of actors in the music industry? • (RQ 2): What are the available types of business models within the four creative chains of the music industry? • (RQ 3): What are the available changing network structures in the music industry? 4.2 Data collection and analysis Interviews were mostly held in the respondent’s office, commercial environments and also by telephone. An interview protocol was created and applied to guide each activity in this research and ensured the gathering of necessary information regarding the proposed theoretical model and related research questions. The variables of the interview protocol include a network of actors and business model types. For the networks of actors variable, respondents were asked exploratory questions about the actors that are actually engaged with their company, and also the emerging actors that have potential but are not yet engaged with their company. For the business model types variable, respondents were asked about business models currently and will be applied by their company. They were also asked about potential business models available in the industry. Interview lengths varied, the shortest being around 32 min while the longest was over 2 hours and 15 min. The total interview time was 12.42 hours and conducted in May–November, 2014. Throughout the interview process, the interviewer always wrote fields note to avoid misinterpretation of the transcribed interviews. Although interview protocol was provided, questions were sometimes enhanced to deepen the interview results. For instance, when respondents were asked about potential business model types available in the industry, their answ ers were usually unclear. However, when we provided leads, for example about collaboration, the answers became more elaborate and needed to be categorised further to get the expected answers. After interviews were finished, they were then transcribed and analysed. The complete written results were then sent to each respondent for double-checking to increase the validity. When data was completely gathered, a data analysis was conducted. This analysis process was conducted by managing the focus of data, reading and annotating the data, and categorising similar data, then the data output of the previous process was categorised, linked and connected using maps and matrices. Finally, the data was then corroborated as evidence for an author to produce an account. Business model types associated with network structure changes 7 5 Results 5.1 Network of actors Figure 1 shows the network of actors in the Indonesian music industry based on the four creative chains: creation, reproduction, distribution and consumption. It includes the main industry players’ relations in music sub-sectors with the industry players that provide supply to the major industry players (backward linkage) and the industry players that provide requests (demand) to the main industry player (forward linkage). Figure 1 Generic network of actors in Indonesian music industry (see online version for colours) The process of creation is a process where activities are based on the creativity of the people involved in it. The main actors in the process of creation are the most creative people and businesses engaged in the creative and artistic segments, such as producers, composers, lyricists, song writers, sound engineers and music directors. In addition, there are also players from the industry segments, including recording studio providers. The activities in this chain require music education to provide qualified musicians and other creative people. Other than those described above, there is also a new phenomenon of the movement promoted by independent, or indie, musicians in Indonesia that frees usage of songs under the auspices of the Creative Commons license. The Creative Commons license, commonly referred to as the CC license, is a license that contains a provision that allows a creation to be shared and reused under flexible terms and in accordance with applicable law. “In general, musicians who use CC licenses distribute their work under net labels.” (Arie Juliano, Creative Commons Indonesia) 8 D. Dellyana et al. A net label is a platform for online distribution and promotion in which a piece of music is released for free under a CC or similar license. They are part of the free music scene, which has grown dynamically since the advent of the internet and the digitisation of the culture. The reproductive process is the process of placing music on certain media that is physical or digital (Leyshon, 2001). The processes of reproduction for digital media include ‘packaging’ a song with metadata in accordance with Digital Data Exchange (DDEX) standards. The main actors of the pr ocess of reproduction are music labels and music publishers (publisher). When viewed fr om the perspective of the size and structure of the business, there are three types of music label companies operating in Indonesia: a A major label is a major music label that has a larger parent company abroad. Example: Warner Music Indonesia, Sony Music Entertainment and Universal Music Indonesia. b A major-independent label/local music label is one that is native to Indonesia and has its own sources of financing, although the operating scale cannot compete with international labels. Examples include Musica Studios, Nagaswara, Trinity Optima Production and Aquarius. c Independent labels, which include several subtypes: • A vanity label is a music label that gets funding from one of the major record labels, to find talent and new work. “It usually is the result of an independent production deal with musicians who are already established and have experience in the recording world. Examples include Pops, Independent, and Forte.” (Wendy Putranto, Rolling Stone Indonesia Magazine ) • Do it yourself (DIY) or ‘self-release’ is an effort by musicians to act as a record label to produce, distribute and sell their own piece of music. Examples of DIY include High Octane Records and Revolt Music. “However, during the process of distributing these musicians occasionally collaborate with independent distributors.” (Marin Ramdhani, FFWD Records) • A true independent label is a small organisation that distributes the products themselves or through independent distributors. They have very few employees and are not affiliated with a major music company. This label is often operated with a minimal budget and often financed by the owner and/or their investors. Examples: DeMajors, Organic Records and FFWD Records. Distribution of products such as digital media products is aimed at spreading music in various forms into a wide variety of digital stores. The final form of digital products includes PDD (permanent digital download), limited download, webcasting, interactive streaming, tones (ring tones), peer to peer and ring back tones. Distribution of media products in physical form continues to provide the reproduction process output to physical stores. For physical products, most of the distribution process is still run in conventional manners by the music labels and/or physical product distribution services. The rise of communication technology development in Indonesia in 2003 expanded the telecommunications industry not only in the form of telephone and short message text services, but also involved music, marked by the appearance of more familiar content providers (CPs). Business model types associated with network structure changes 9 “In Indonesia, the number of CPs was only 50 in 2002 and in the year 2011 the number reached 400 CP partners.” (Widi Asmoro, Mixradio) They each formed their own association and there are still three active associations, namely Indonesian Mobile and Online Content Provider Association (IMOCA), Indonesian Mobile Multimedia Association (IMMA) and Association of Indonesian Digital Content (AKDI). Meanwhile, the recent deployment of physical music products is now aided by the presence of unconventional distributors in addition to specialty stores that sell CDs such as Ambassador Sound and Disc Tarra. Unconventional distribution or an umbrella is usually associated with unconventional stores. In the consumption process, purchase of physical products is usually at conventional stores where the primary function is to sell products such as music and music merchandise derivatives. Conventional stores are commonly found in shopping malls or self-contained locations, such as Voice Ambassador, Disc Tarra, Music+, Society and Harika. In addition, there is now the emergence of unconventional music stores. The main function of these stores is not to sell music, but Fast Moving Consumer Goods (FMCG) products such as food and so on. Examples of unconventional music stores include Kentucky Friend Chicken (KFC), Texas Fried Chicken, Carrefour, Alfamart, cafes, clothing distributors, gas stations and other specialty outlets. There is even distribution via USBs, as was implemented by the band Naif through the Cosmic Clothes company. In addition, music is also sold through partnerships with other products, such as Kotak selling their new album as a bundle with Harmonic Rock Cloth products. “This approach (combining the conventional and unconventional stores) is considered effective in delivering the product as close as possible to the consumer.” (Iwan Hadibroto, Trinity Optima Production) Structures of music consumption in Indonesia are also experiencing a transition to digital formats. For music in the form of digital products, digital product providers store types can vary depending on the platform or base, such as web-based digital shops, store-based mobile digital, web-based digital shops and mobiles. In addition, through digital stores, music consumption can also be in the form of New Media. New Media is a way to consume music by purchasing certain goods or services that offer value-added music for free or at a very low price. “Some of the OEM (Original Equipment Manufacturer) examples that offer music as a value-added product purchase are Nokia, Nexian and Cross.” (Aldo Sianturi, Believe Digital) Although derived from the same chain and even engaged in the same type of business, it turns out that actors have different interests. The difference in interest is also driven from the different strengths of each actor, both in terms of capital and scope of operation. Not infrequently, the source of their revenue comes from consumers who do not normally become direct consumers, such as OEMs, brands or companies. In addition, cooperation conducted by actors has also begun to widen and form cooperative relationships that involve more than two actors. 10 D. Dellyana et al. 5.2 Available business model types The music industry is one of 18 subsectors in the Indonesian creative industry, with innovation in business models. In general, there are three types of products derived from the music industry, namely digital products, physical products and performance products. The expected output of digital products is the format variety that can meet the standards of some available digital music platforms. “The expected output of physical products is some product formats such as CDs, LPs, cassette tapes and DVDs, while the expected output of performance products is a live show with music as the main component and other components such as choreography, stage design and lighting as secondary components.” (Eki Puradiredja, Java Production) In order to reach the consumption chain, a product must pass through some processes in the music creative chain, in which the creation chain becomes the first chain to be accomplished. In this chain, the creative people are in need of funds to carry out the production of a creative work. These funds can be obtained in a variety of ways; one of them is by using the crowd-sourcing business model. “By using a crowd-sourcing model, the creative people obtain voluntary funding from the community or their fa ns through the fund aggregator platform or other means.” (Robin Malau, Musikator) There are three types of crowd-funding models available. They include equity crowdfunding with Symbin and Crowncube as examples. A second technique is donation crowd-funding with Kickstarter, Rockethub, Indiegogo, Wujudkan (Indonesia), Kita Bisa (Indonesia), Bursa Ide (Indonesia), and Patung an (Indonesia) as examples. A third model is debt crowd-funding, with Prosper, Crunchbase and Lending Club as examples. However, donation crowd-funding is one of the types commonly used by Indonesian musicians not by the available platforms but by their own websites. Some of the Indonesian indie bands using this model include Efek Rumah Kaca and BIP. Advertising business models are another option for funding the recording or business operations of the company or other creative efforts. This model works by using the brand to endorse the creative work, for instance by putting their logo or advertisement before or after music videos, putting their logo on the artist’s website or CD cover, and brand campaign by the artist at their live shows. One model that is slightly different from the others is to use an open business model in the creative work. With this model, musicians usually provide opportunities for fans or other creative people to download the raw materials of their work to be used and pr ocessed as a new creative work, which can be further monetised by the musicians who published the initial content. Two Indonesian musical artists who use this technique include Andezz and Homogenic. Finally, for artists that prefer to self-release albums, the self-fu nded model is an option. This model has now become feasible to the artist through the availability of digital technology for music production which lowers the cost of music production. “There is a rising artist named Tulus who is now experiencing huge success by using this (self-funded) model. This su ccess has inspired other new artists to follow his path.” (Andre Sumual, Trax Magazine ) After the completion of the creative work, the next process is the license registration and reproduction. The efforts in this chain are usually done by a record label and publisher. In this chain, the record label typically implements a 360-degree business model. In this Business model types associated with network structure changes 11 model, the record label agrees to provide substantial financial support for creative people, including direct advances as well as funds for marketing, promotion and touring. In return, the musicians agree to give record labels a percentage of all their income, including the sale of digital products, physical, performances and other income. This model is usually used by bigger record labels, including Trinity Optima Production in Indonesia. Another model is the tailor-made model, which differs from the 360-degree model in that the artist and record label discuss the capabilities of each party and how they can complement each other. “The dual output result is based on discussions that are contextual to each artist. One of the record labels who implement this model is DIMI Records.” (David Karto, DIMI) To increase revenue, Indonesian music companies usually perform one of the two types of these models: the partnership business model or the vertical integration model. The vertical integration model is often used by record labels that have sufficient capital and resources. For digital product processing in pa rticular, there are some record labels that work together with content aggregators to perform the digitisation of music products. In addition to performing the digitisation of music products, the distribution of the digital music products to digital stores can be conducted at the same time. “This effort (vertical integration) is considered effective and cost-saving.” (Ventha Lesmana, ASIRI) For record labels that have sufficient capital, they use the vertical integration model by providing management services to the production of creative work from upstream to downstream. Another unique model, which has provided opportunities for record labels, is by gaining income from user generated content (UGC) monetisation. In YouTube or other licensed platforms, the revenues usually come from advertising in official videos and from non-official user-generated content, which the label allows to be licensed and monetised. Table 2 Business model types in Indonesian music industry Product Creative chain Creation Reproduction Distribution Consumption Digital product • Crowd sourcing • Advertising • Open • Sponsorship (investor) • Self-funded • Traditional (funded by records label) • 360-degree • Tailor made • Partnership • Vertical integration • Self-funded • UGC monetisation • Super distribution • Long tail • Cross platform • Free • Tipping • Subscription • Pay per download • Ad funded • New media Physical product • Super distribution • Direct distribution • Bundle • Merchandise • Value added Performance product • Not available • Sponsorship • Do it yourself 12 D. Dellyana et al. In the distribution chain for digital products, there are three types of business models that are found in Indonesia, namely ‘super distribution’, ‘long tail’, and ‘cross platform’. The long tail business model is conducted by a co ntent aggregator that looks for artists or labels with the highest song availability at digital stores. In addition to song availability, consumers now expect that songs can be played on any kind of device, anytime and anywhere. This is where the cross-platform business model is needed. “Users (music consumers) are now demanding. When a song is not available for their phone because the application is not available in their OS (Operating System), they can easily go to another application. The co mpetition is tough.” (Hang Dimas, Langit Data) In addition to digital products, there are also physical products that are still demanded by the popular market. To provide many markets and the widest range of consumers in getting music products with ease, the super distribution model is needed. In this model, physical products are distributed through as many channels as possible. The distribution process is conducted conventionally at conventional stores and unconventionally at the unconventional stores such as fast food restaurant and supermarket. Another distribution method, usually used by smaller record labels or even self-release artists, is the direct distribution model. In this model, physical music products are delivered directly from the record label distributors or even artist management for the music consumers. The order process is usually conducted using the artist or label website and social media. The payment method varies, including bank transfers, PayPal and credit cards. The free business model in the music industry is conducted by providing free products with expectations that consumer will pay for the next purchase. “In digital music, this free model is usually conducted by offering free streaming in expectation that the consumer will later on subscribe or buy the album or song.” (Widi Asmoro, Mixradio) The tipping business model sometimes becomes an extension of the free business model, in which musicians get money as tips from listeners after hearing the music for free. Subscription, pay-per-downloads and advertisement-funded business models are usually found with digital music products where the method can vary depending on the quantity, quality or duration of use or membership. The bundled business model is conducted by combining some creative work with products that are similar or dissimilar at a lower price. Sometimes a bundle model is called a new media product. In Indonesia’s case, there are some hardware manufacturers who embed the music in their product as a value- added feature. Another merchandising model is the creative effort to gain income through means other than selling physical products, digital products, and performance products. Merchandise is also used as one of the major added values to the product of music to attract customers. The merchandise sometimes becomes the main income for artists who apply the free business model. For product pe rformance, financial resources are usually obtained from the sponsor. However, for creative people and creative businesses and smaller performances, too little funding is obtained from the performance itself. The impact resulting from this small scale is also not as big as that obtained from the product performances that are funded by sponsors. Business model types associated with network structure changes 13 5.3 Changing network structures and business model types Based on the data analysis, there are several types of business models that require fewer actors (reduction on actors) and several models that need more actors (addition on actors). In Figure 2, items 1 to 5 indicate that most of the reduction of the actors is through the reduction of partnerships with record labels. Here, the actors in the creation chain, mostly musicians, feel they can release their own products without the help of a record label. Sources of capital for existing artists can be from their own funds (numbers 2 and 5), from companies or sponso rs (number 3) and from consumers by using the crowd-funding method and pre-order system (number 4). In Structure Number 1, it can be seen that the record label at the end of the chain has also begun vertical integration to become a record label and distributor to entice self-release artists to continue using their services as a distributor, considering the advantages and experience in deploying the music label products. Most of all, the Reduction of Actors is chosen to lower costs and increase margins, while also reaping other potential benefits from having direct contact with the consumers. Figure 2 Changing network structure caused by reduction on actors (see online version for colours) 14 D. Dellyana et al. Figure 3 Changing network structure caused by addition on actors (see online version for colours) On the other hand, there are also actors who need to add more partners to their business model. In Figure 3, structure number 6 depicts new actors engaged in digital products. This structure is now becoming common in the music industry as new channels for distributing digital products are increasing and record labels cannot provide those services independently. Structures 7 and 8 indicate companies that start to go directly to record labels or distributors. A company is used as another source of income for record labels and distributors. This Addition on Actors is usually done to cover the shortage of resources as they need to provide new offerings to the consumer. Moreover, new partnerships are conducted to reduce the risk of operating new businesses by themselves, and also to gain potential benefits from the cooperation. 6 Discussion Based on the changing network of actors caused by addition on actors, it can be found that business models have moved from serial to parallel activities. The major and local record labels mostly conduct this activity. This attempt is conducted in order to gain more revenue streams from different types of business models. Second, the network of actors has moved from static to dynamic, since actors now have more choices of partnership to conduct their unique business models. The development of digital technology is also one of the factors that allow the dynamic network of actors. The two findings are in line with Graham et al. (2004). However, it differs with the findings of Graham et al. (2004) that stated that the current governing mechanism is the less-dominant position of records companies because the internet allows artists to conduct direct distribution. In Indonesia, the conditions are much differ ent. Although the number of independent or self-released artists is increasing, and the internet enables them to distribute their products anywhere, Business model types associated with network structure changes 15 the distribution of their products still cannot beat major label artist distribution. Since Indonesia is an archipelago country, and the number of internet users are only 72 million out of 200 million Indonesian citizens (Arifiani, 2014), the internet and direct distribution are not yet sufficient to ensure equitable distribution. There has also been research which analyses emerging business models. In their paper, Bourreau et al. (2007) analysed the emerging business model based on digitisation, where content becomes easy to share and distribute and the modes of promotion become different. More intensively, Choi et al. (2009) discussed the changing business model of independent record labels based on changes in the recording industry and the trend of digitisation. However, this research provides a wider landscape of emerging business models based on the changing network structures of the music industry, not only from the digitisation point of view but also from actors in the four chains in the music industry. As indicated by the findings, it is apparent that most business models types are growing towards the digital market. Although approaches to enter new business models come from traditional to nearly-new models, the resources which are utilised are not always new. Thus, the investments made by each actor to utilise the business models are not that extensive. Even if they need specific resources to utilise the models, partnerships with companies which have the resources usually become a solution. For instance, to sell digital music, partnerships with established online music providers or telecommunication companies are more preferable than creating new platforms. 7 Conclusions This paper provides a number of business model types available in the four music creative chains, namely creation, reproduction, distribution and consumption. Based on interviews with a number of experts, it was discovered that many different types of business models have emerged because of new partnerships. This research also discovered the available network of actors in the Indonesian music industry that are categorised using the model of interconnecting networks in the music industry. This has guided the change in form of the network from the horizontal chain to the scattered-spider-web-like network of actors. After looking at the network of actors and different business model types, it is found that the network structure of actors can trigger the emerging of new business models. The changes depend on reduction of actors or addition of actors. Both changes are conducted to gain more opportunities from the reduction or addition of actors. With this paper, the interesting research avenues for business models are derived. First, by providing a map of network of actors for the music industry, it can help the researcher to further develop an area or subject for further research. Second, by providing various types of business models, it can inspire the researcher to examine each of the business model types and gain an understanding of each performance. Furthermore, the business model types based on the changing network structure provided in this research can uncover important issues that might occur and may not be depicted in this research. Business model innovation requires great effort, and there are many things that must be considered by a company in order to design a potential business model. One of the ways is to know the actors involved in the industry. By knowing who the players in the industry are, be it through direct, backward or forward linkage, the company can determine the potential of the existing actors in cooperation. In addition, the network of 16 D. Dellyana et al. actors can also help companies to understand the extent of the industry’s development, to ensure that the strategy developed by the company will not be misleading and outdated. In addition to knowing the network of actors, knowing the types of business models is also important, as a company can identify trends and strategies available in the industry. In addition, companies can also learn from the successes and failures in application of the existing business models, so that in the future they can try to adapt and conduct the business combinations over existing business model types. Some limitations of this study include the fact that the sources for the interviews of this paper are mostly in the higher positions of their respective companies, so it is feared that the picture of the companies is too broad. Second, the companies included in this study only represent one actor in the chain. For example, Trinity represents major labels, DIMI represents indie labels and Mixradio represents digital platforms, whereas many other types of business models may emerge and be more creative outside of these companies. For future research direction, the researcher could continue finding new business model types based on the changing network structure modelling. This could be an opportunity to suggest upcoming business model types that might occur in the near future. The partnered members who first implement a new business model could benefit from it. References Amal, N. and Alla, S. (2014) Penjualan CD Turun Musisi Lirik Digital Download [online] http://teknologi.news.viva.co. id/news/read/555095-penjualan-cd-turun--musisi-lirik-digital- download (accessed 10 November 2014). Arifiani, S. (2014) Pengguna Internet di Indonesia Capai 73 Juta Orang [online] http://www.solopos.com/2015/03/10/pengguna-internet-di-indonesia-capai-73-juta-orang-583730 (accessed 10 March 2015). Asmoro, W. (2014) Tulisan Ilmiah Tentang Industri Musik di Indonesia [online] http://www. widiasmoro.com/2012/03/16/tulisan-ilmiah-tent ang-industri-musik-di-indonesia-bagian-1- dari-3/ (accessed 10 August 2014). Baym, N. and Burnett, R. (2009) ‘Amateur experts: international fan labor in Swedish independent music’, International Journal of Cultural Studies , Vol. 12, No. 5, pp.433–449. Bourreau, M., Gensollen, M. and Moreau, F. (2007) The Digitization of the Recorded Music Industry: Impact on Business Models and Scenarios of Evolution , Conservatoire National des Arts et Métiers Laboratoire d’Econométrie, Paris, France. Buhse, W. and Wetzel, A. (2003) ‘Creating a framework for business models for digital content – mobile music as case study’, Digital Rights Management , pp.271–287, Springer, Berlin, Heidelberg. Choi, J., Lee, S.M. and Soriano, D.R. (2009) ‘A n empirical study of user acceptance of fee-based online content’, Journal of Computer Information Systems , Vol. 49, No. 3, pp.60–70. Connolly, M. and Krueger, A.B. (2006) ‘Roc konomics: the economics of popular music’, Handbook of the Economics of Art and Culture , Vol. 1, pp.667–719, Elsevier, Amsterdam. Curien, N. and Moreau, F. (2005) The Music Industry in the Digital Era: Towards New Business Frontiers , Unpublished Working Paper. Dobusch, L. and Schüßler, E. (2014) ‘Copyright reform and business model innovation: regulatory propaganda at German music industry conferences’, Technological Forecasting and Social Change , March, Vol. 83, pp.24–39. Business model types associated with network structure changes 17 Fu, R., Qiu, L. and Quyang, L. (2006) ‘A netw orking-based view of business model innovation: theory and method’, Communications of the IIMA , Vol. 6, No. 4, ppp.81–86. Graham, G., Burnes, B., Gerard, J.L. and Langer, J. (2004) ‘The transformation of the music industry supply chain: a major label perspective’, International Journal of Operations and Production Management , Vol. 24, No. 11, pp.1087–1103. International Federation of the Phonographic Industry (2014) IFPI Digital Music Report 2014 Lighting Up New Markets [online] http://www.ifpi.or g/downloads/Digital-Music-Report- 2014.pdf (accessed 25 February 2015). Koster, A. (2011) ‘The emerging music business model: back to the future?’, Journal of Business Case Studies , Vol. 4, No. 10, pp.17–22. Koung, C.S. and Wen, T.L. (2003) Discuss Factors of How Online Music Business Model Influences Traditional Music Industry Based on the Destructive Innovation , Department of MIS, National Chengchi University, Taiwan. Kretschmer, M., Klimis, G.M. and Wallis, R. (2001) ‘Music in electronic markets: an empirical study’, New Media and Society , Vol. 3, No. 4, pp.417–441. Lantos, G.P. and Craton, L.G. (2012) ‘A mode l of consumer response to advertising music’, The Journal of Consumer Marketing , Vol. 29, No. 1, pp.22–42. Lee, K-J. (2012) ‘The coevolution of IT innovati on and copyright institutions: the development of the mobile music business in Japan and Korea’, The Journal of Strategic Information Systems , Vol. 21, No. 3, pp.245–255. Levy, M. and Bosteels, K. (2010) ‘Music recommendation and the long tail’, WOMRAD 2010 Workshop on Music Recommendation and Discovery , co-located with ACM RecSys 2010, Barcelona, Spain. Leyshon, A. (2001) ‘Time-space (and digital) compression: software formats, musical networks, and the reorganisation of the music industry’, Journal of Environment and Planning , Vol. 33, No. 1, pp.49–77. Liu, Q., Safavi-Naini, R. and Sheppard, N.P. (2003) ‘Digital rights management for content distribution’, Proceedings of the Australasian Information Security Workshop Conference on ACSW Frontiers 2003 , Australian Computer Society, Vol. 21, pp.49–58. Ministry of Tourism and Creative Economy, Republic of Indonesia (2014) Ekonomi Kreatif: Rencana Pengembangan In dustri Musik Na sional 2015–2019 [online] http://program.indonesiakreatif.net/wp-co ntent/uploads/2015/03/Rencana-Pengembangan- Musik-Nasional.pdf (accessed 1 March 2015). Nguyen, G.D., Dejean, S. and Moreau, F. (2014) ‘On the complementarity between online and offline music consumption: the case of free streaming’, Journal of Cultural Economics , Vol. 38, No. 4, pp.315–330. Osterwalder, A. and Pigneur, Y. (2010) Business Model Generation: A Handbook for Visionaries, Game Changers, and Challengers , Wiley, New York. Palo, T. and Tähtinen, J. (2011) ‘A network perspective on business models for emerging technology-based services’, Journal of Business and Industrial Marketing , Vol. 26, No. 5, pp.377–388. Pekkarinen, O., Piironen, M. and Salminen, R.T. (2012) ‘BOOT business model in industrial solution business’, International Journal of Business Innovation and Research , Vol. 6, No. 6, pp.653–675. Pekuri, A., Suvanto, M., Haapasalo, H. and Pe kuri, L. (2014) ‘Managing value creation: the business model approach in construction’, International Journal of Business Innovation and Research , Vol. 8, No. 1, pp.36–51. Purwanto, D. (2013) Gita Wirjawan “Curhat” soal Pembajalan Musik [online] http://bisniskeuangan.kompas.com/read/2013/ 05/29/10053369/Gita.Wirjawan.Curhat.soal.Pe mbajakan.Musik (accessed 30 May 2013). Rasmussen, B. (2007) Business Models and the Theory of the Firm , Working Paper 32, Centre for Strategic Economic Studies, Victoria University of Technology, Australia. 18 D. Dellyana et al. Saunila, M., Mäkimattila, M. and Salminen, J. (2014) ‘Matrix structure for supporting organisational innovation capability’, International Journal of Business Innovation and Research , Vol. 8, No. 1, pp.20–35. Sinjal, H.A. (2013) Penjualan Album Fisik Terus Menurun [online] http://sinarharapan.co/news/ read/30265/penjualan-album-fisik-terus-menurun (accessed 5 August 2014). Smirke, R. (2014) IFPI Music Report 2014: Global Recorded Music Revenues Fall 4%, Streaming and Subs Hit $1 Billion [online] http://www.billboard.com /biz/articles/news/global/5937645/ ifpi-music-report-2014-global-recorded-music-revenues-fall-4> (accessed 15 April 2014). Swatman, P.M., Krueger, C. and van der Beek, K. (2006) ‘The changing digital content landscape: an evaluation of e-business model development in European online news and music’, Internet Research , Vol. 16, No. 1, pp.53–80. Vaccaro, V. and Cohn, D.Y. (2004) ‘The evolution of business models and marketing strategies in the music industry’, International Journal on Media Management , Vol. 6, Nos. 1–2, pp.46–58. Wahyuni, D. (2012) ‘The research design ma ze: understanding paradigms, cases, methods and methodologies’, Journal of Applied Management Accounting Research , Vol. 10, No. 1, pp.69–80. Yin, R.K. (2009) Case Study Research: Design and Methods , 4th ed., Sage, Thousand Oaks, California. Zott, C. and Amit, R. (2010) ‘Business mode l design: an activity system perspective’, Long Range Planning , Vol. 43, No. 2, pp.216–226. View publication statsView publication stats	[ "model", "music", "business", "product", "industry", "network", "actor", "digital", "type", "label" ]	{ "summary": "See discussions, st ats, and author pr ofiles f or this public ation at : https://www .researchgate." }
653174043-Top-5-Music-Revenue-Trends-2022.pdf	Chris Cook founder CMU. www.completemusicupdate.com Top 5 music revenue trends It is about the front-line artists revenues. Where do they fit in? The main interest is the frontline artist revenue streams and the key trends in each of their areas of the business. The artists that are on stage and those who are building a brand around their music/business. We are coming from the point on view of the front like artists and all of their business partners. We can generalize revenue streams into three categories: 1. Rights revenue streams (IP) Generally Copyright. (Song rights, Recording rights, Visual Rights, Trademarks, Others like image rights and publicity rights) 2. Live revenue, revenues around live performance. 3. Fan base revenue streams. Direct to fan relationship revenue stream. Most music industry companies are specialized. We can organize them by the type of revenue stream: 1. Rights 2. Live 3. Fans As we go through, we will look at the top business trends : Copyright Revenues Live Revenues Fan Relationship Revenue streams And the Importance of data across all these revenue streams. Trends in artist businesses + rights 1. Music Right Revenues Music copyright has never had it so good. (Will Page) The pandemic has hit the Live and sync. However, the record industry has not felt it. What kind of growth we are talking about? All of this growth was down to digital/streaming. RECORD INDUSTRY Digital has been the key to the revenue stream. It is what is allowing the music industry to see the top level growth. According to IFPI the global music revenues for 2021 are the following: All of this growth was down to digital. Other music branches are growing as well but most money is coming from streaming. The song side of the business The data presented below is from CISAC and the Collective Licensing System. However, it does not capture all the revenue, however it can give us an overview of what is happening in the music industry from the song side (For example, some publishers (Anglo-American repertoire) do direct licensing and we cannot see the entire picture). The key message here is: The music copyright side of the business is in growth and it is predominantly down to digital. What are the kinds of digital services that are responsible for the growth? - Download stores - gives us a minority of the money. What we talk about is streaming: - Premium Streaming services: 1. Global streaming: Spotify Apple, Amazon… 2. Regional streaming: Gaana, Resso, NetEase, Jio Saavn… - Free Streaming services: Youtube, Spotify, Soundcloud , Deezer… - User Generated Content Platforms (UGC): Facebook, Instagram, TikTok, Youtube. (where people insert music to the videos that they upload) - Other digital services like: Online Radio, Music Podcasts, Non-Music Apps, Live Streaming, Digital Collectibles, Meta Verse. - Direct to fan income streams that are digitally based: Bandcamp, Patreon, fancircles, Serenade… Which platforms consumers are interacting more prolifically? IFPI is answering this too, and in the recent report they identify that about 32% of the music consumption is happening in the streaming services, and that similar amount is happening on UGC Platforms. As per numbers above, we can see that even though consumption is pretty similar between these two, streaming and UGC, the streaming from premium subscription is bringing more money. The dominant players in premium streaming are: The key idea here is that it is the premium streaming that is powering the growth of the music market. The suspicion is that in 2022 Youtube Music will be higher up, because we are seeing an increasing number of people paying to stream and access music through Youtube platform. Spotify is the dominant player now, but it is slowly loosing the market share to Youtube and Apple Music. Key is: The Premium streaming is bringing the growth in the market. This is why the priority of the record industry, music distributors and streaming services, and also for Publishers and Collecting societies has been to grow the premium market because this is where we are making the most of the money. How to do that? 1. Bring new people to sign for subscription. 2. Convert more free to premium. Scandinavian markets and all who was going to pay already took premium. Emerging markets can be a solution. 3. Put the price up. Spotify never increased their fee (it is still £9.99). However, Apple Music did increase their subscription fee, therefore we are expecting that other streaming services would increase their fee too. 4. Find complementary digital revenues through UGC. The UGC does not compete with streaming services. The services are complementary. UGCs are powering the growth not competing at the moment. What is coming next? Will these help? Reality Check: 2. Live Sector Revenue Streams Pandemic had a negative impact on the live sector. However, we started to see some recovery. Statistics for 2020: Live sector returned in 2022: There is a mixed picture. Good news there is a pretty steep return. See chart below: Analised Goldman Sachs published in 2022: Live Nation reported positive figures too: The upper tier of the music industry are now thriving. However, lower down in the sector artists have challenges. The artists cannot afford going on tours. Examples: Why is this happening? First reason: is that once the pandemic was over and all artists started touring, the market had an excess of shows and people preferred going to big shows and big venues, and having less money and time to go to lower level shows. Second reason: Shortage of skilled people to help this shows work. Thirdly: Some people are still nervous to go to shows. Fourth reason: The cost of putting a live show is increasing. There’s a live music ladder. In the UK, Live only becomes lucrative only around big club venue and small theatre venues, once you start getting to the arena venues that’s when you start making serious money. Live Industry has always been top heavy. Challenges! Grass roots have always struggle. Mid-tier has generally made money from live, but operating from pretty tight profit margins. However, now the surging costs are eating up those margins. Which means that - Ticket prices need to go up! But…it’s a super competitive post COVID market place; ticket sales are slower; wider costs of living crisis. What do we do? Some challenges are short term. Pandemic issues are going away. Can the industry address these problems to ensure that touring works on the lower, mid- tiers? We don’t know that for now. On the good side: Other challenges: Other non-music based entertainment competition Conclusion: On one level the live sector has gone up in 2022 - upper level is doing very well on the Live music side. There’s still a lot of challenges in the live side of the business and 2023 is going to be very interesting. 3. Direct to fan. It is about digital content and digital experience. Any frontline artist needs to build a fan base to unlock the rights and live revenue streams we talked about before. But since the fan relationship became online, other opportunities have emerged to monetized that fan relationship. Fan artist relationship used to look like this: We are starting to see other ways to monetize this fan relationship: More and more artists are offering premium or exclusive digital experiences to their fans. Transaction and the product or service are digital like the above. Income = PREMIUM DIGITAL EXPERIENCE Which one of the above works depends on the artist and fan base. The questions that the managers and artists need to ask is what are the ways to persuade the core fan base to spend more money every month with the artist. What digital content and experience will excite the fans and make them want to spend a little bit of money. Music community and other online creators - need to have an experience exchange. We are selling something emotional Opportunities: It’s all about the Direct to Fan Technology! Data To capitalize on opportunities we need to get better with the data. The Music Industry is a data driven business. To capitalize on opportunities and to meet the challenges we talked about earlier we need to get better at dealing with data, like the following: These data ensures that people know where to go when they want to use music. Who do they do a deal with. Not having the right data can cause loss of deals and money for artists and songwriters, and we are not able to maximize the user experience. Important consumption data: The above data allows the business partners to capitalize on the fan base. Challenge: How to ensure the data is spread? Ensure the data is flowing as below: Frontline Artist business is about: It all comes down to identifying the right opportunities: As the digital evolves the artists will be exploiting more rights than ever: To sum up: 1. Music Copyright “has never had it so good”. Streaming boom continues on recording and song side. The question remains if we can maintain that growth, and why some songwriters and artists are not seeing the benefit of that growth. 2. The Live sector is in post-COVID recovery mode - however touring remains a challenge even in mid tear. 3. Direct to fans is increasingly about digital content and experiences. 4. Good data management remains key for maximising and efficiently precessing revenues. 5. Artist businesses are more diverse than ever. The challenge is to identify what are the opportunities for the individual artists and their fan base, and what rights they need to secure to capitalize on those opportunities.	[ "music", "revenue", "artist", "live", "fan", "streaming", "digital", "right", "stream", "data" ]	{ "summary": "Chris\tCook\tfounder\tCMU.\t\twww.completemusicupdate.com\t\tTop\t5\tmusic\trevenue\ttrends\t\tIt\tis\tabout\tthe\tfr" }
489775649-MIDiA-Research-Amuse-Independent-Artists-September-2020.pdf	Independent Artists \| Pathfinding Through a Pandemic September 2020Mark Mulligan • Keith Jopling About MIDiA Research MIDiA Research is a market intelligence and consulting firm with longstanding expertise in the business of entertainment and digital media. We help businesses formulate commercially actionable strategy to navigate the evolving digital landscape. Our clients leverage our expertise, proprietary multi-country consumer data and market forecasts to enable smarter and faster decisions. We work with record labels, TV networks, streaming services, tech firms, financial organisations, gaming and sports companies, providing unparalleled insights into trends and innovations shaping the entertainment market and audience behaviours. For more details visit our website: www.midiaresearch.com or email us at [email protected] About Amuse Changing the game since 2017, the music company Amuse gives free music distribution and empowering tools to artists and their teams across the globe. By using music consumption data Amuse finds, licenses and builds cutting-edge services for tomorrow’s platinum-selling independent talent. Based out of Stockholm, Sweden, Amuse was founded by music industry executives with a collective vision to redefine artist discovery and label deals. Read more at amuse.io. MIDIARESEARCH.COM • AMUSE • 2CONTENTS 04 Key insights 06 Introduction - artists are no longer just creators 07 About the survey and sample 08 Artists direct is the fastest growing sector in the music industry 09 Where labels come into the picture 10 COVID-19 and lockdown - what impact has been felt among artists? 14 Money, money, money - artists and the challenge of funding and earning 14 Artists need to work multiple revenue streams to build career momentum 16 Funding options 18 Conclusions 19 Appendix MIDIARESEARCH.COM • AMUSE • 3MIDIARESEARCH.COM • AMUSE • 4 2019 was yet another stand-out year for independent artists, with revenues, streams and market shares all growing strongly. Then, along came COVID-19 and the world turned upside down. However, in lockdown many independent artists found new opportunities and the ability to innovate and create. Leveraging new, not-seen- before data, this report presents a unique view of the state of the independent artist sector in 2020 and how it has navigated the challenges posed by COVID-19. KEY INSIGHTS • A sector with real scale. Artists direct (i.e. those without record labels) generated $873 million in 2019, up 32% from 2018. These independent artists represent the fastest- growing segment of the global recorded music business, a segment of global scale with real impact and influence. They are also more streaming native than label artists. • Success on artists’ own terms. Some 44% of artists want to build online and streaming success ‘on their own terms’ , with less than one in five artists considering it important to be signed to a record label. So, how much do labels matter? For just under one in five, getting signed remains the goal while a further quarter of artists want to get signed. However, 14% of artists feel they can do fine without a label and 13% have no interest in signing. • Lockdown was seen as a unique creative window by artists. Nearly 70% of artists took the opportunity in lockdown to spend more time writing or making music, and a further 57% created more content for social media. • Artists have reacted to lockdown differently. In terms of releasing music, artists were split – with 46% releasing more music, but 40% putting projects on hold. While nearly 30% of artists are now more worried about finances than before, a similar proportion are not too concerned and feel that life will be back to normal soon. MIDIARESEARCH.COM • AMUSE • 5 • Lockdown placed the spotlight on streaming economics. Half of artists are becoming concerned that streaming services are not paying enough for artists to make a living. One in five artists got involved with doing live-streamed performances. • Money, money, money still elusive. The majority of independent artists earn less than $10,000 a year from music, yet income can grow to over $100,000. This is in part due to the sheer scale of artists making (and distributing) music, but also illustrates how tough it is to make a living from being an artist in today’s industry. The use of crowdfunding platforms remains low and artists still have too few funding options for the direct sector to truly blossom. • Artists need to work multiple revenue streams to build career momentum. For independent artists, streaming is their primary source of income at 28%. Live revenue is second at 18% (which means they are less exposed to lockdown’s impact than established label artists). The key for today’s artists is to make revenues from multiple sources such as publishing, teaching, session work, sponsorship and merchandise. Artists are small entrepreneur businesses. They need four or five income streams to get off the ground. • Marketing is a DIY affair. Half of all direct artists do their own marketing, with one third managing their own marketing budget, but 40% of direct artists spending nothing on marketing. Less than one in five direct marketers are working with a distributor or label on marketing activities. • Artists are self-reliant but still inexperienced with marketing. At least when it comes to getting their careers started, artists are doing their own DIY marketing, but they are not making the most of the tools available. While almost two-thirds of artists are using Spotify For Artists, few of them are using any other marketing-related tools. MIDIARESEARCH.COM • AMUSE • 6 Introduction - artists are no longer just creators The author Nancy Baym (now a principle researcher at Microsoft) recently said: “it’s amazing to me to see how so many careers, in music and beyond, have shifted such that it’s no longer enough to do the work. Now you have to do the work of making sure everyone is seeing that you’ve done the work.” Baym’s point is that the ‘create and they will come’ principle of simply making great art, no longer gets that art to its deserved audience. A field of dreams the music industry is not, but the barriers to entry have been removed at the ground level. With a reported 40,000 songs uploaded onto Spotify every day (as mentioned by Daniel Ek in April 2019) there has never been a more vibrant time to get music out there, nor a more competitive time. In album equivalents (admittedly less relevant to streaming, but still many artists’ primary unit of output) that is roughly 23,000 albums per week. This is adding to the 50+ million songs already available on Spotify. It comes as no surprise that in the current music environment, the up- and-coming artist is rapidly learning the skills of the marketer/promoter (and often manager) as well as creator. MIDiA’s latest independent artist survey finds that half of all artists do their own marketing. That is DIY marketing, since the vast majority of direct artists cannot allocate any of the precious income as ‘marketing budget’ . Indeed, two in five artists spend no money on marketing at all. As ‘competition’ has intensified, 2020 has been no ordinary year. The COVID-19 pandemic hit the entire music ecosystem hard, yet little work has been done so far to understand artists’ strategies in response to it. Perhaps as expected, artists have reacted creatively. Artists turned lockdown to their advantage, but mostly to create more. Nearly 70% of artists took the opportunity in lockdown to spend more time writing or making music, and a further 57% created more content for social media. Although some chose to release less and put projects on hold, direct artists were more likely to press on and keep releasing music – with nearly half of them doing this. In order to provide a unique and unprecedented view of the artist community and how all of these issues and more are shaping artist careers, MIDiA Research fielded a survey to 376 artists across the globe. This report highlights some of the key findings from the study to reveal what it means to be an artist in these streaming boom years; how they make money, what career paths they are taking and what their aspirations are. Welcome to the next chapter of the era of the independent artist. MIDIARESEARCH.COM • AMUSE • 7 About the survey and sample Our sample of artists for this survey was 376, with respondents from around the world including sub-Saharan Africa, MENA, Asia, Europe, Latin America and North America. The survey responses were collected throughout June and July 2020, when most of the world was in some form of government-imposed ‘lockdown’ , providing a unique window into how artists were choosing to cope and emerge from the situation. The large majority of our sample are artists direct – releasing music independently without a label. The average length of time our artists have been making music approached five years, and our artists varied widely by age, with an average age of nearly 30 years. For more details, see the infographic in the Appendix of this report. MIDIARESEARCH.COM • AMUSE • 8 Artists direct is the fastest growing sector in the music industry Artists direct (i.e. artists that release music without a record label) are the fastest growing part of the global recorded music business. The sector is increasing its share on streaming platforms like Spotify, and there are more and more artists able to get their music to audiences via the direct route. Figure 1: Global artist direct revenue and its share of all recorded music revenue, 2015–2019, global Artists direct generated $873 million in 2019, up 32.1% from 2018. Over the same period the total market grew by 111.4%, with the majors growing by 10.5% and independents by 11.1%. These independent artists now represent the fastest growing segment of the global recorded music business, affecting a market of global scale with real impact and influence. In 2019 they represented 4.1% of global recorded music revenues, up from 3.4% in 2018. Crucially, artists direct added more revenue in 2019 ($212 million) than in 2018 ($183 million). This means that their role in the market is not just bigger than ever, it is growing faster than ever. Streaming is the main way artists direct make their money from recorded music, with 78% of all their recorded music revenue coming from it. This compares to 72% for record labels. In terms of their recorded music income, independent artists are streaming native, more so than their label artist peers.MIDIARESEARCH.COM • AMUSE • 9 Independent artists take the holistic view: contribute to the culture, gain respect, earn a loyal following and use streaming and label services to work towards becoming a successful touring act. The job is to build, build, build, become known in their scene and to stand out from the pack. In the current intertwined industry, the role of manager is more critical than ever before: to be able to work these separate strands into a coherent whole on behalf of their artists. Managers are there to join the dots in an ever more complex music business landscape. Where labels come into the picture So, how much do labels matter to artists as they set out to build a career in 2020? For just under one in five, getting signed remains the goal, and a further quarter of artists want to get signed. However, 14% of artists feel they can do fine without a label and 13% have no interest in signing. Figure 2: Importance of getting signed to a record label Among our sample, one in 10 considered themselves to be ‘signed’ to a label (with 3% under contracts with indies and the remainder releasing under their own labels). This puts labels firmly into the category of being a choice for these artists, but not a condition, of becoming a professional. Record labels play a central role in the recorded music business, but that role is evolving and becoming more defined. One of the key shifts in attitude here is timing, with artists no longer rushing to sign the first deal presented to them, or seeing the label deal as the fait accompli. MIDIARESEARCH.COM • AMUSE • 10 Instead, it’s a question of where a label fits into the picture of building their career. Indeed, of those under label contracts, their views on the value of labels did not differ greatly from those unsigned. Whether a major label, indie label or distributor, the ‘label’ sector that serves artists to make and release records, find audiences and shape careers needs to keep on proving its value to every new artist around the block. COVID-19 and lockdown - what impact has been felt among artists? Little more needs to be said about the impact of COVID-19 on the music industry. However, until now, little has been understood about the range of different responses to the pandemic from artists around the globe. The responses to our artist survey show that COVID-19’s impact has been far from all negative. Indeed, the time has been productive for creatives, with many established artists continuing to release music, or even make new records, during the height of the pandemic and the various national lockdown periods. Figure 3: Artist activities during lockdown MIDIARESEARCH.COM • AMUSE • 11 For our sample of artists around the world, lockdown was seen as a unique creative window. Nearly 70% of artists took the opportunity in lockdown to spend more time writing or making music, and a further 57% created more content for social media. With more time spent making music at home, more artists have been learning the production side of music creativity, accentuating a trend that was already picking up speed before COVID-19. Online creator platforms and tools have been well placed to harness this increased demand, which will help ensure the post-pandemic music business looks a lot different for artists than the one that existed before. Artists have reacted to lockdown differently in some respects. In terms of releasing music, artists were split – with 46% releasing more music, but 40% putting projects on hold. Most artists have carried through on releasing music and 46% say they have released more music, with a further 36% working on collaborations. Lockdown placed the spotlight on streaming economics. Half of artists are becoming concerned that streaming services are not paying enough for artists to make a living. The flip side to this is the rise of direct selling platforms, or those that focus on alternative formats to streaming (vinyl and downloads) such as Bandcamp. Another income source just emerging in 2020 is live streaming. As the pandemic lingers and new outbreaks continue to be spiky reminders of the danger zone we are still in, real concerts seem further off, with the live industry likely to remain reduced in scale in 2021. This means that the live streaming sector is likely to become a permanent sector, not a stop-gap. One in five artists have been doing live streaming performances since the sector took off and this figure will grow as the sector develops and new platforms drive more live stream content, including the likes of StageIt, Driift, Maestro, Noon Chorus, Side Door and of course, the lockdown success story, Zoom. While it is still early days for live streaming, and revenues still need to catch up with viewer figures, it is developing into a significant channel for many established artists, with the major social platforms all hosting live events, as well as a new crop of independent platforms. However, there remains an important opportunity to scale live streaming activity for the community of lesser-known independent artists who would also be learning their trade as well as earning some much needed revenues. MIDIARESEARCH.COM • AMUSE • 12 Although the impact of COVID-19 has been negative overall, and for some artists close to devastating, not all artists have lost out. In the live category incomes are down for the majority of artists (though many independent artists made little money from live in the first place). However, recordings and publishing are a mixed picture with some artists making more money than before from releases. The cessation of live was the key cause of disruption for established and more traditional artists. However, for the emerging generation of independent artists, live is not anywhere as big a part of their revenue mix. Across our sample of artists, live music represented just 18% of total income. Of course, part of this is related to the fact that many of these artists are earlier on in their careers, and live careers typically peak after recording careers have peaked. Yet there is also an industry shift taking place. More artists are spending more time focusing on the production of their music, and making music designed to flourish in streaming environments. It is not that they are actively deprioritising live, but they are spending more time producing than performing and making soundscapes that suit recorded formats better than live. The added change catalyst is that the combined effect of lockdown and the coming recession will likely see many smaller live music venues close. This makes it harder for smaller artists to find places to play, thus encouraging them further towards placing even more focus on production than performance. Clearly this differs a lot by genre, but the paradigm shift is here. Figure 4: COVID-19 impact on artists’ incomes MIDIARESEARCH.COM • AMUSE • 13 Figure 5: COVID-19 impact on artists’ outlooks Artists continue to believe that they will have more time to write and produce new music – perhaps the future offers more breathing room to create without distractions. Outlook over financial issues is split. While nearly 30% of artists are now more worried about finances than before, a similar proportion are not too concerned and feel that life will be back to normal soon. A similar proportion of artists also feel that they have not had enough financial support from their governments, though most are not relying on handouts, working whatever revenue streams they can. The great financial struggle for up-and-coming artists continues. MIDIARESEARCH.COM • AMUSE • 14 Money, money, money - artists and the challenge of funding and earning The majority of independent artists earn less than $10,000 a year from music, yet income can grow to over $100,000. With the recent announcement by AWAL that ‘hundreds’ of artists are earning over $100,000 from streaming, the message is clear that the ‘middle class’ of artists does exist. However, the proportion of artists that make it to this level is literally the ‘top 2%’ . This is in part due to the sheer scale of artists making (and distributing) music, but also illustrates how tough it is to make a living from being an artist in today’s industry. Figure 6: Average amount earned by artists each year Artists need to work multiple revenue streams to build career momentum For independent artists, streaming is their primary source of income at 28%. Live revenue is second at 18%. The key for today’s artists is to make revenues from multiple sources, including publishing, teaching, session work, sponsorship and merchandise. MIDIARESEARCH.COM • AMUSE • 15 Figure 7: Distribution of artist income by source When it comes to artist income, the clear picture is that there is no clear picture. Instead, modern day artists manage a mix of income streams, with each individual item often being small but collectively contributing to a more meaningful total revenue base. Independent artists are small entrepreneur businesses. They need four or five income streams to get off the ground. Streaming remains the primary income source for independent artists, many of whom are not yet well established enough to earn significant revenue from performing live. Not only that, but live earnings have been all but destroyed by the coronavirus pandemic – and indeed this survey suggests that live revenues made up 18% of earnings in 2020 compared with over a quarter last year. As a result, streaming (which has historically come under some heavy criticism over low per-stream rates) has come under an even harsher spotlight. For established artists, the loss of live earnings has meant a 60% or more drop in earnings, making streaming income essential. For our sample of independent artists, the key is to have a range of revenue streams contributing to earnings, including publishing, teaching and session work. One trend to emerge in recent years is that many independent artists are more likely to earn income by writing and producing for others. This is a valid path to both becoming a known artist (i.e. cutting your teeth by working with other musicians as a writer, producer or feature artist) as well as a route to earning a living from music. MIDIARESEARCH.COM • AMUSE • 16 Another emerging income stream is participation in online collaboration platforms such as Soundbetter, melboss and LANDR Network. These platforms have gained increased importance for many artists during lockdown as they seek out new side hustles to offset the decline in live income. Funding options When it comes to funding options, the use of crowd funding platforms remains low and artists still have too few funding options for the direct sector to truly blossom. Figure 8: Use of crowdfunding services by independent/ unsigned artists The vast majority of independent artists – 85% – are not using any of the major creator funding platforms, with just 8% using Patreon. More solutions are needed to the problem of artist funding and remuneration. If more artists can crack funding and remuneration earlier in their careers, the direct artist sector would grow exponentially. The case here is clear for increasing the ways that artists of all kinds can close the funding gap as they build their music careers. MIDIARESEARCH.COM • AMUSE • 17 As an artist’s career grows their choices grow with them, but for those first few years the artist’s career is about hard graft first, and choices second. Artists now have more tools, services and choices than at any previous time in the history of recorded music. The entire industry has evolved to enable artists to plot their own unique career paths through its rapidly changing landscape. The question for emerging artists is, do they have the time to be their own marketer/manager/distributor as well as creator? Our survey indicates that with even more time made available (with reluctance thanks to the COVID-19 pandemic) most artists invested this time in music creation, and are still not using the marketing, data capture or creator dashboards being made available to them. For independent artists, and those on non-exclusive label deals, the outlook is changing with the emergence of new ways to raise finance, whether that be borrowing against prior income, e.g. 23 Capital, or being paid for anticipated future earnings, e.g. Amuse’s Fast Forward and also the Music Fund. MIDIARESEARCH.COM • AMUSE • 18 Conclusions With low barriers to entry, multiple distribution platforms, multiple revenue streams and an endless choice of tools to work with, artists are equivalent to small businesses. Over decades, a series of large industry verticals have been thrown up around the central creative output of artists: recording, live, publishing and merch. These sectors are largely siloed from each other. Looking at how artists create and get started in their careers in 2020, however, those vertical structures are no longer always the most effective way for artists to start out on the journey of a music career. Artists need to experiment – with release strategies, collaborations, live performances and by responding and adapting to audience reactions to their early work. Often the artists’ vision of how they see themselves – their brand and contribution to their scene, needs to be flexible and nimble. There is no greater example of this than how artists have responded to the coronavirus pandemic that has swept across the world in 2020 – a year in which live shows were cancelled wholesale, physical retail was slammed and as a result – the already competitive online world became even more competitive. In this environment, artists need to be their own marketers, but are not using the tools available to them: funding, collaboration, marketing. Artists’ response to COVID-19 has been more positive than negative: artists have taken advantage of having more time to create, collaborate and communicate with fans on social media. However, with half of all artists managing their own marketing – and many of them without budgets – it will be an even more crowded market than ever before as content pours onto the social and streaming platforms. How will the work of independent and direct artists stand out and cut through? There is a greater need than ever for artists to access light touch, low-cost but high-value marketing services and collaboration tools. The challenge goes out to labels, distributors, artist service businesses and the creator tools sector to serve the growing community of direct artists better – to take the burden off them when it comes to administrative tasks but to help them find their first audiences. The elephant for artists still looms large in the room: money. Most artists simply do not make a living from music, and with live income taking a hit, streaming and the collection of money through multiple revenue streams becomes even more critical. MIDIARESEARCH.COM • AMUSE • 19 Appendix: More about our sample midiaresearch.com	[ "artist", "music", "label", "independent", "streaming", "live", "revenue", "amuse", "income", "direct" ]	{ "summary": "Independent Artists \| \nPathfinding Through a \nPandemic\nSeptember 2020Mark Mulligan • Keith Jopling A" }
358841206-The-New-Music-Industries.pdf	THE NEW MUSIC INDUSTRIES Disruption and Discovery Diane Hughes, Mark Evans, Guy Morrow and Sarah Keith The New Music Industries Diane Hughes • Mark Evans • Guy Morrow • Sarah Keith The New Music Industries Disruption and Discovery ISBN 978-3-319-40363-2 ISBN 978-3-319-40364-9 (eBook) DOI 10.1007/978-3-319-40364-9 Library of Congress Control Number: 2016944989 © The Editor(s) (if applicable) and The Author(s) 2016 This work is subject to copyright. All rights are solely and exclusively licensed by the Publisher, whether the whole or part of the material is concerned, specifi cally the rights of translation, reprinting, reuse of illustrations, recitation, broadcasting, reproduction on microfi lms or in any other physical way, and transmission or information storage and retrieval, electronic adaptation, computer software, or by similar or dissimilar methodology now known or hereafter developed. The use of general descriptive names, registered names, trademarks, service marks, etc. in this publication does not imply, even in the absence of a specifi c statement, that such names are exempt from the relevant protective laws and regulations and therefore free for general use. The publisher, the authors and the editors are safe to assume that the advice and information in this book are believed to be true and accurate at the date of publication. Neither the pub-lisher nor the authors or the editors give a warranty, express or implied, with respect to the material contained herein or for any errors or omissions that may have been made. Cover illustration: © John Rawsterne / patternhead.com Printed on acid-free paper This Palgrave Macmillan imprint is published by Springer Nature The registered company is Springer International Publishing AG The registered company address is: Gewerbestrasse 11, 6330 Cham, Switzerland Diane Hughes Macquarie University Sydney , New South Wales , Australia Guy Morrow Macquarie University Sydney , New South Wales , Australia Mark Evans University of Technology Sydney , New South Wales , Australia Sarah Keith Macquarie University Sydney , New South Wales , Australia v According to Charles Darwin’s well-known theory, evolution is driven by ‘survival of the fi ttest’ (Darwin, 1859 , p. 54). This does not neces- sarily mean the ‘strongest’ or the ‘smartest’; ‘the fi ttest’ are those who can adapt successfully to an ever-changing world. Over the last 20 years digital technologies have been an ‘extinction event’ for many businesses that failed to adapt (for example, Polaroid, Blockbuster, Encyclopedia Britannica) while they have facilitated the rapid dominance of other new ‘species’ (for example, Instagram, Youtube, and Wikipedia). Schumpeter called this quasi-Darwinian process ‘creative destruction’ (Schumpeter, 1939 ), although the more specifi c and common term these days is ‘digital disruption’ (for example, Kusek & Leonhard, 2005 ; Collins & Young, 2014 , p. 46; Homan, Cloonan, & Cattermole, 2016 , p. 195). Whatever name we choose, it is undeniable that the music industry has been disrupted severely by the last two decades of digital innova-tion. Some players have gone the way of the dinosaurs while others have adapted brilliantly. This book considers these seismic shifts from multiple perspectives. After examining how and why things have changed it focuses primarily on the challenges and opportunities for musicians and music profession-als seeking to build careers in the new digital world. What does it take not just to survive , but to thrive ? Some consideration is also given to the consequences for educators seeking to prepare musicians and others for a future of continued fl ux. The conclusions reached are of importance not just to those within the world of music but also arguably for those in other fi elds seeking to adapt FOREWORD vi FOREWORD to rapidly changing business environments. Music consumers tend to skew toward younger, tech-savvy ‘early adopters’ and a song requires relatively little bandwidth which means it can be distributed online more easily than a movie, television series or book. So in some respects the music industry has actually been a ‘canary down the mine’ for many other fi elds. Its vari- ous adaptation attempts over recent years may provide broader lessons in how—and how not— to operate in a post-industrial economy. To some extent change has always been a constant for the music indus- try. Around a century ago wax cylinders and pianola rolls began to give way to shellac 78’s as the dominant sound carriers of their day. From the 1950s jukeboxes loaded with 7" singles were supplanted by LPs and cas-settes until, by 1995, over $25 billion worth of CDs were being sold glob-ally each year. Nonetheless, the pace , extent and direction of change has increased markedly since that fi nancial high water mark. Rampant online piracy and fl awed supplier-centered MP3 solutions ushered in a period of track download dominance that is already being supplanted in most markets by streaming services like Spotify and Apple Music. After growing constantly for most of the twentieth century, real worldwide recording revenues are now roughly half what they were two decades ago. Not only has music consumption changed, so have the means of music discovery. For most of the last century radio and television exposure were typically the key drivers of hit songs and while traditional media remains important, that discovery process is now vastly more fragmented. In some instances stars can emerge from just one online channel (namely, Shawn Mendes via Vine or Troye Sivan through YouTube), with Facebook and other forms of social media typically playing pivotal roles in exposing all new music. This space has even seen its own recent Darwinian struggles with services such as Napster, Friendster and Myspace roaring from obscu-rity to ubiquity and back again. In summary, change has become even more constant since the Internet began to take hold in the mid-1990s. Of course all of this change has impacted hugely on the artists who make music. For the fi rst half of the last century it was enough ‘just’ to have an evocative singing voice and to look compelling, although once the Beatles came along, ‘real’ artists were usually expected to write their own songs too. From the 1980s onwards the rise of MTV meant ‘wannabe popstars’ also typically had to be able to perform well in music videos, while over the last 20 years the list of ‘job pre-requisites’ has expanded sig-nifi cantly. New artists are now expected to be pithy linguists on Twitter, to have a knack for fascinating still photography (Instagram), and for writing, FOREWORD vii directing and performing in attention-grabbing short fi lms for platforms including VEVO and Snapchat. The bad news is that artists now need to do much more. The good news is that artists can do much more for themselves. This is hugely liberating for motivated, diligent and highly creative peo- ple. In a bygone era of fi nite radio playlists and limited slots on TV variety shows most artists never even got a chance to be heard. A few ‘middle of the road’ performers usually enjoyed the most success precisely because they suited the handful of available channels that all sought to attract mass audiences. In the current era of virtually infi nite bandwidth the opposite is often true—the middle of the road is now typically where artists get run over. Performers and/or their songs now often need to be toward the edges somehow in order to stand out. The work needs to be ‘remarkable’ in the sense of having some highly unusual qualities that move people to share it with friends. As most artists are now ‘broadcasting’ (or narrowcasting) themselves constantly through their various online channels the main challenge is to break through the consequent clutter. This has been exacerbated by the democratization of recording and video production technology and the reduced need for physical distribution. In the twentieth century there were high barriers to entry for any artist seeking to be heard by a mass audience. Signifi cant investment capital was needed to fund six-fi gure album and video budgets, and distribution infrastructure was required to keep LPs or CDs stocked in retailers around the world. Strong relation-ship networks with powerful media gatekeepers were also pivotal. All of these barriers to entry allowed record companies to assume a dominant role in most musical careers and meant that relatively few artists ever had their music heard by the general public. These days, however, virtually every digital device contains recording and video editing software so almost anyone can create sound and vision for a tiny fraction of what it would have cost their parents at the same age. Today’s artists can also immediately share and monetize their creativity with the world through any number of online outlets including Soundcloud, Beatport and YouTube so they often don’t need access to a physical dis-tribution network or to substantial seed capital (and even if they do need funding they may have the option of crowdsourcing it). The contemporary challenge for music makers and those who work with them is thus to create something so striking that it can make itself heard with, or without, early support from mainstream media. It’s as simple, and as diffi cult, as that. viii FOREWORD In short, most artists used to be trees falling in a forest with nobody to hear them. Now there are millions of ‘trees’ falling at once and so they need to create ‘remarkable’ things that allow them to be heard above a forest of digital din. Throw in increased competition from other emerging forms of entertainment—apps, games, video streaming etc—and the best possible advice for any beginner hoping to stand out from their virtually infi nite musical peers is this: ‘Don’t. Be. Boring.’ As the above outline implies, digital disruption has transformed the rela- tionship between artist, industry and consumer. Until quite recently music makers needed to somehow navigate their way past a series of industry gatekeepers—managers, talent scouts, promotion departments, radio pro-grammers etc.—in order to eventually get a chance to be heard by most consumers. Along the way each of these gatekeepers relied largely on per-sonal intuition and/or experience in deciding which artists to ‘let past’. Career building was thus typically a linear process of charming and cajoling these gatekeepers. Consumers were only introduced at the fi nal step when they were invited to choose from the small menu of songs funded by labels, programmed by radio or television stations and stocked by local retailers. These days though the process is typically circular . The artist initially shares their music online with potential consumers. If that fi rst exposure strikes a suffi ciently strong chord then fans will start to share it widely. A blogger might notice that reaction and draw the song to the attention of more people. As a result of the consequent uptick in organic plays, the tune might be included on a widely heard Spotify playlist or receive its fi rst spins on tastemaker radio stations. This upward spiral of artist-consumer- industry interactions can continue to unfold in many ways and at a diz-zying pace where a ‘remarkable’ new song explodes from its fi rst play to millions of plays within days. The key point is that the fi rst steps are usually directly from artist-to-fan; most gatekeepers now typically follow the fans when it used to be the other way around. We thus live in a world of ‘build it and they will come 1 ’, with the still- coveted high rotation radio spins and magazine covers increasingly going to artists who have already proved online that their creations are made of the right stuff. This is bad news for anyone sitting around hoping some Svengali will swoop out of the clouds and make them a star, but it is fan-tastic news for hard-working artists who are keen to engage directly with their audience. It’s also good news for music consumers who have more access to more music, more affordably than ever, but it’s mixed news for the people who used to be gatekeepers. FOREWORD ix This iterative discovery process obviously means that industry interme- diaries no longer have to just back their instincts—instead they can sup-port whatever is already generating an exponential adoption curve within their audience. As a result, garnering the support of such powerful people now typically depends on pointing to proof of early reactivity rather than on appeals to gut feel or longstanding relationships. The gatekeeper role has largely shifted from a seemingly omniscient picking of ‘winners’ to a role of enabling and amplifying audience ‘likes’. Disintermediation has forced adaption. You are either genuinely adding value for artists and/or consumers or you are unfi t to survive. Incidentally this iterative discovery process is having profound impacts on the global spread of music. There are very few borders on the Internet and consequently Australian artists can now compete internationally on a more level playing fi eld—largely free of the serious budgetary, geographi- cal and institutional handicaps that confronted previous generations. Conversely this ‘fl atter’ world presents serious issues for governments seeking to preserve local content quotas and for the nature of nineteenth century copyright laws in the twenty-fi rst century. These are just a few of the many related issues you may wish to contemplate upon reading this book. As this cursory consideration of the contemporary music industry land- scape hopefully suggests, digital change has done lots of good but it has unavoidably created both winners and losers. Per Darwin’s theory, the key in each case has been the willingness and ability to adapt by way of a series of ‘variations’ (Darwin, 1859, p. 54). Those who adapted best embraced the reality that musical careers hinge on the ability to strike a chord directly with an audience and to sustain that connection over time. When viewed in this way it is clear that while the means may have changed over recent decades, the ends really have not. The careers of successful artists, and those who work with them, have always depended on build-ing large fanbases and that remains the ‘main game’. However, artists no longer need to rely solely on powerful intermediaries to reach their audi-ence. They can, and must, also speak authentically to fans directly through online channels. Business school graduates might say that this is all simply about hav- ing a ‘customer oriented mindset’ (Lado, Paulraj, & Chen, 2011) and while that is probably true such a framing is unlikely to appeal to an artis-tic temperament. Thankfully the new ways of building connections with audiences can also be framed as creative opportunities. In fact most young x FOREWORD musicians already do this intuitively for precisely that reason. The ability to express oneself in new ways online—as well as via songs—is now all just part of the appeal of a music career. Older readers seeking to understand these exciting artistic possibilities may like to consider what a young John, Paul, George and Ringo might have concocted with all these new digital tools at their fi ngertips. Finally it’s important to note that ‘the music industry’ is actually a vari- ety of interconnected but largely separate types of businesses including recording, publishing, touring and merchandising. Digital disruption has altered all of them in various ways but it has had much greater impact on copyright-based enterprises (for example, record companies) than it has had on concert promoters, booking agents and suchlike because the live performance experience obviously cannot (yet?) be digitized. Touring therefore actually remains the bedrock of most twenty-fi rst- century musical careers. In a world of declining copyright revenues, live performances increasingly constitute the primary source of income for most artists, and global touring grosses continue to rise nearly every year. Gigging also remains one of the best ways of demonstrating audience reactivity and in this respect too, the more things change, the more things stay the same. In the 1970s and 1980s heyday of Oz Rock one legendary record com- pany mogul liked to say that his job was actually very easy: ‘You just walk into a pub, you look to the left, you look to the right and if you can’t see any walls because of all the sweaty punters then you sign the band’. In that respect, at least, little has changed, although this process is acceler-ated vastly online. Regardless of the means, an artist’s ability to fascinate a sizable audience one way or another is still ultimately all that matters. The ‘fi ttest’ in the digital age will simply be those who adapt best to the new methods of creative self-expression and continue to fi nd remarkable ways to strike a chord with fans. Despite all the digital disruptions, surviving in this new environment is clearly still more about evolution than revolution. John Watson President John Watson Management/Eleven: A Music Company http://elevenmusic.com NOTES 1. A catchphrase from the popular fi lm Field of Dreams (Phil Robinson, 1989). FOREWORD xi REFERENCES Collins, S., & Young, S. (2014). Beyond 2.0: The future of music . Sheffi eld, UK: Equinox Publishing. Darwin, C. (1859). On the origin of species . London: John Murray. Homan, S., Cloonan, M., & Cattermole, J. (2016). Popular music and the state: Policy notes . London/New York: Routledge. Kusek, D., & Leonhard, G. (2005). The future of music: Manifesto for the digital music revolution . Boston, MA: Berklee Press. Lado, A. A., Paulraj, A., & Chen, I. J. (2011). Customer focus, supply‐chain rela- tional capabilities and performance: Evidence from US manufacturing indus-tries. The International Journal of Logistics Management, 22 (2), 202–221. Schumpeter, J. (1939). Business cycles: A theoretical, historical, and statistical anal- ysis of the capitalist process . New York: McGraw Hill. xiii We sincerely thank all our participants for their generosity and contribu- tions to our project, and Dr Denis Crowdy for his contribution to the research. We gratefully thank John Watson for his support in writing the Foreword to this volume. We are also appreciative of the research assistance provided during the various stages of our research. ACKNOWLEDGEMENTS xv 1 The State of Play 1 2 The New Business of Music 17 3 Standing Out in the Crowd 37 4 Creativities, Production Technologies and Song Authorship 63 5 The Realities of Practice 81 6 Popular Music Education 97 7 Conclusion: The ‘New’ Artist 117 Index 133 CONTENTS xvii NOTES ON AUTHORS Mark Evans is Head of the School of Communication at the University of Technology, Sydney, Australia. Professor Evans is Series Editor for Genre, Music and Sound (Equinox Publishing) and is currently Editor for The International Encyclopedia of Film Music and Sound . He holds an Australian Research Council (ARC) grant to design an artistic and environmental map of the Shoalhaven basin in New South Wales, Australia. Diane Hughes is Associate Professor in Vocal Studies and Music at Macquarie University, Australia. Her research areas include the singing voice, popular music pedagogy, fi lm and sound, recording practices, the music industries, song- writing and the popular song. Associate Professor Hughes is currently the National President of the Australian National Association of Teachers of Singing Ltd. Sarah Keith is a lecturer in Music and Media at Macquarie University, Australia. Dr Keith’s research areas include popular music studies, Korean and Japanese pop-ular music, other East Asian popular musics, the music industries, music and cul-tural policy, music and screen media, music and performance technologies, and computer-mediated composition. Guy Morrow is a lecturer in Arts Industries and Management at Macquarie University, Australia. Dr Morrow focuses on understanding how artists are man-aged, both in terms of direct artist management and also through cultural policies. By examining the relationship between artists and managers, Dr Morrow gener-ates core-related insights in the creative industries. He is currently the Secretary of the International Music Business Research Association. xix Fig. 1.1 The creative continuum (Adapted from Madden & Bloom, 2001, pp. 413) 10 Fig. 2.1 360 model showing label intermediation between artists and audiences/fans 22 Fig. 2.2 Entrepreneur model showing the network of potential personnel and roles across the new music industries 24 Fig. 2.3 DIY model, showing that the artist bears the sole responsibility 25 Fig. 2.4 Linear model showing traditional intermediation between artist and fans 29 Fig. 2.5 Circular model encompassing artists, fans and industry 30 Fig. 6.1 An integrated music education model 107 Fig. 6.2 Artistry component 109 Fig. 6.3 Individualisation component 110 Fig. 6.4 Artist-entrepreneur component 112 Fig. 7.1 The new artist and engagement reciprocity 119 LIST OF FIGURES 1 © The Editor(s) (if applicable) and The Author(s) 2016 D. Hughes et al., The New Music Industries , DOI 10.1007/978-3-319-40364-9_1 CHAPTER 1 Abstract The democratisation of music technologies and the digitisation of music practices have resulted in the development and fragmentation of related industries. No longer a label-centric industry, these new music industries facilitate increased opportunities for twenty-fi rst century musi- cians to collaborate, to communicate and to interact with others inter- ested in their music. This chapter introduces and identifi es the new music industries, offers related defi nitions and outlines our research design and method. Keywords Disruption • Discovery • Popular music • Creativities • Streaming INTRODUCTION There is no denying that massive disruption has come to the traditional music industry. From the chaos, and sometimes ashes, we have seen the birth of the new music industries (Williamson & Cloonan, 2007 ). The plurality is important here, for the democratisation of music technologies and the digitisation of music practices have resulted in the development and fragmentation of related industries. These industries offer possibilities for employment, ‘success’ and, most importantly, creativity to fl ourish. No longer a recording-dominated, label-centric industry, these new music industries facilitate increased opportunities for twenty-fi rst century artists to collaborate, to communicate and to interact with others interested in The State of Play their music. This brings with it many challenges for musicians and new ter- rains they must learn to navigate. This volume identifi es aspects of the new music industries (for example, digital aggregators, social media consultants, online streaming sites), and considers how musicians, industry practitioners and audiences are locating themselves in this new landscape. Even traditional notions within the former music industry—performance, liveness, produc-tion, artist, training, success, creativity—have been altered through digital disruption. This book considers these fundamental changes, and seeks to equip participants of the new music industries with ideological and opera-tional models of knowledge that will help them interact with the industries and their component parts. The strength of this volume lies in the ethnogra-phy that underpins it. Throughout the volume we document real narratives, from real people working in various corners of the new music industries. These voices tell the story of what is actually happening for musicians and industry professionals working in the disrupted environment. To highlight this, the volume is prefaced with the thoughts of John Watson. Watson, President of Eleven: A Music Company, is one of the leading industry voices in Australia and someone who has seen hundreds of narratives unfold (and change) before him. Watson provides real-world perspectives that effectively initiate the conversations that unfold throughout the rest of the volume. It is not the purpose of this volume to provide hypothetical theoretical positions, rather we focus on real-world stories from those at the coalface. WHAT IS THE STATE OF PLAY? As Watson notes in the Foreword to this volume, change has been a constant feature of the popular music industry, and that change has almost always been technologically driven. Indeed newness has been at the heart of musical development for centuries. Sometimes that newness has merely revolved around rejection of previous traditions: the roman-tic period’s rejection of the perceived formulaic nature of classical music; bebop’s rejection of the stable swing jazz that preceded it; or punk’s rejec-tion of the aesthetics of rock and pop. Other times newness has come through innovation, through avant-garde expressions of musicality: serial-ism’s mathematical devotion to musical construction; musique concrète ’s embrace of found sounds; or electronic dance music’s commitment to entirely synthetic music composition. Newness and constant evolution are vital parts of music’s history and future. What is different at this point in history is the pace of the change, and the extent of the change (see Watson, Foreword this volume). Change has come to the way music 2 D. HUGHES ET AL.is produced (for example, studio, home, venue), distributed (for example, physical sales, online platforms) and consumed (for example, digital). And fundamental change has come to the business of music, so much so that it is now impossible to speak of a music industry in the singular. And ways into that business, even the manner of what success is (Hughes, Keith, Morrow, Evans, & Crowdy, 2013a ), have changed forever. This has had huge effects on those who made, or sought to make a living through music. It also concerns regulators, advisory groups, government and music educators. The extent of the change is all-encompassing. ‘Music piracy on a global level grew by 16.5% in the second half of 2015’ (Reid, 2016 ). Such headlines have become commonplace in the last few years, as digital distribution creates digital consumption and allows complete circumvention of traditional business models. Reid’s article reports on an anti-piracy study that surveyed 576 websites ‘dedicated to music piracy, or contain[ing] signifi cant music content’ (Reid, 2016 ). The report found these sites had been visited over two billion times, with the top national offenders named (the USA coming in at number one). The extent of musical disrup- tion can be seen in the globalized nature of it. Reid goes on to report that: It’s already been proven in Norway and Sweden that better and more acces- sible streaming options help fi ght against piracy. A survey in December 2014 showed that just 4% of Norwegians under 30 still used illegal plat- forms to download music. Sweden’s anti-piracy law, titled IPRED, resulted in increased music sales by 36% during the fi rst six months of the law’s implementation. (Reid, 2016 ) Such tactics may well work for the developed world, but do nothing to combat the global piracy problem—if indeed one views piracy as a prob- lem to be dealt with. What this shows us, however, is the speed of change and development. As the distribution avenues change and evolve, govern- ments and regulators are forced to scramble for new solutions. Part of that scramble has undoubtedly revolved around online streaming distribution and consumption patterns. While the Swedish and Norwegian examples cited above appear to be working to undermine piracy, how art- ists and their industry partners are remunerated and benefi ted through streaming services continues to be debated. A well- publicised exam- ple was when the band Atoms for Peace removed their music from the streaming site Spotify. The removal was pushed for by band member and long time Radiohead producer Nigel Godrich, who felt that Spotify and streaming sites in general were not going to help the development of new music (Bychawski, 2013 ). He was dubious that smaller producers and art-THE STATE OF PLAY 3ists would receive any signifi cant payments from streaming, but that major labels would still prosper: The way that Spotify works is that the money is divided up by percentage of total streams. Big labels have massive back catalogues so their 40 year old record by a dead artist earns them the same slice of the pie as a brand new track by a new artist. The big labels did secret deals with Spotify and the like in return for favourable royalty rates. The massive amount of catalogue being streamed guarantees that they get the big massive slice of the pie (that $500 million) and the smaller producers and labels get pittance for their compara- tively few streams. This is what’s wrong. (Godrich, cited in Bychawski, 2013 ) Similarly, Taylor Swift pulled her catalogue from Spotify very publicly in 2014. Given her net worth—according to Forbes she made US$80 mil- lion in 2015—it would have been nonsensical to complain about how little money she was receiving from the service. Rather she tied her argu- ment to issues of artistic value. With Beats Music and Rhapsody you have to pay for a premium package in order to access my albums. And that places a perception of value on what I’ve created. On Spotify, they don’t have any settings, or any kind of qualifi cations for who gets what music. I think that people should feel that there is a value to what musicians have created, and that’s that. (Swift cited in Engel, 2014 ) Audiences and fans will increasingly be drawn into this debate of what art, in this case musical product, should cost. And the lines of division are beginning to be demarcated, with huge levels of illegal downloading still occurring, alongside increasing numbers of successful crowdsourcing campaigns, where fans are giving directly to the artist. The business of streaming services will continue to be an added complication within this landscape, but in pure distribution terms they offer artists another avenue to be heard, and heard widely at that. Increasingly, there is no illusion about the take-up from the public: Subscription services, part of an increasingly diverse mix of industry rev- enue streams, are going from strength to strength. Revenues from music subscription services—including free-to-consumer and paid-for tiers—grew by 51.3 per cent in 2013, exceeding US$1 billion for the fi rst time and growing consistently across all major markets. (IFPI, 2014 , p. 7) Record companies and chart compilers are increasingly adapting charts to reliably refl ect the popularity of an artist’s music in the streaming world. 4 D. HUGHES ET AL.It has also become more common to use streaming data to calculate Gold and Platinum awards certifi cations around the world. (IFPI, 2015 , p. 13) Another aspect of the distribution problem is the more basic one of getting your music heard (see also Watson, Foreword this volume). As we will document later, it is not enough to record your song and put it online; more needs to happen to get it ‘heard’ by people. One industrial change that has become a prominent part of solving this is the rise of synchroni- sation (the combination of an audio text with an image text, most nota- bly in fi lm, television or video games). Television synchronisation, while not a new phenomenon, is probably the most notable here. Long the most denigrated media form for audio, the impact of a high-profi le sync (synchronisation) can now break an artist, or resurrect a fl ailing career. Evidence of this can be seen in articles such as ‘Billboard’s First-Ever TV’s Top Music Power Players List Revealed’ (Billboard, 2015 ), which high- lights the audience numbers and earning potential for artists with high- impact syncs. Performance outlets have always been important for musicians, and with the diminishing returns from recorded output, performance is becom- ing the dominant revenue stream for artists. But performance venues are subject to seasonal variances in government policy and other regulatory aspects that can impinge on artist opportunities to perform. In February 2014, the New South Wales government introduced ‘lockout’ laws into some areas of the Sydney CBD. The new laws include a 1.30am lockout (effectively stopping patrons entering venues after this time) and 3am last drinks. The laws were part of the state government’s crackdown on drug and alcohol-fuelled violence. While social benefi ts are evident, there have been some severe side-effects for the city’s performance culture. Between 31 January 2013 and 1 February 2015, collection agency APRA-AMCOS reported a 40% drop in ticket sales to live performance venues, along with a ‘19 per cent decline in attendances across all live venues over the same period and a 15 per cent fall in the amount venues spent on live per- formers’ (Vincent, 2016 ). Live Music Offi ce policy director John Wardle stated: ‘These fi gures demonstrate the actual impacts for musicians, venues, businesses. People are looking at this closely to try and fi nd a way through because they are going out of business’ (cited in Vincent, 2016 ). While this is a localised example, 1 the point here is the sudden change to an established culture. Artists may have prepared their performance strategy around late-night gigs, only to have it wrecked by forces beyond their control. As Wardle pointed out, ‘The music industry had no time to THE STATE OF PLAY 5prepare so the impacts were greater than they might have been’ (cited in Vincent, 2016 ). Such events are hard for artists to plan for—though, as will be seen, the ability to adapt and be fl exible is a key competency in the new music industries. DISRUPTION AND DISCOVERY As noted in the subtitle, this book is concerned with notions of disruption and discovery in the new music industries. There is much written about the disruption side of things (for example, Kusek & Leonhard, 2005 ; Collins & Young, 2014 , p. 46; Homan, Cloonan, & Cattermole, 2016 , p. 195) and it was a key issue for our research participants, but there is plenty of discovery going on as well. Artists are learning how to adapt into the new territories, how to create new roles for themselves and their teams, and most importantly, how to develop new models for creative practices and business management. Thus for all the disruption thrust on the sec- tor, surviving and/or prospering in the new world is more about evolu- tion than revolution (Watson, Foreword this volume). Artists are being required to adapt their involvement with all facets of the music industries, to evolve alongside technological development. As digital access broadens for all participants, so artists must discover new ways of interacting with audiences, producing content, and engaging with industry fi gures. It is an evolution that remains full of promise despite the move away from of record label-centric models. The move to a do-it-yourself (DIY) model necessitates the evolution of new skills. Previously some of these skills had been in the possession of professionals in other industries, but in other cases they are brand-new capabilities evolving alongside the technology that makes them possible. For some, this is still a utopian view of the age of artist-entrepreneurship. They argue that traditional music indus- try intermediaries remain essential for artist survival (Hesmondhalgh & Meier, 2015 ). Our research throughout this volume shines a light on those evolving their creativities for the digital age, and turning their back on traditional models of success and associated revenue. Owing to our focus on discovery and disruption, this is not a book about policy. Our book is grounded in the practice of artists, industry practitioners and, of course, fans. There have been several recent studies providing useful insights into the changing nature, or the need of change, in policy directions within the new musical industries. Most pertinently, Homan, Cloonan and Cattermole’s ( 2015 ) recent volume has broad con- cerns about policy across three nation states:6 D. HUGHES ET AL. We are interested in the effect of policies—their impacts upon musicians, fans, managers, corporations, built environments—and in their histories, rationales and formations… Public funding for pop music has historically stood in the shadow of funding for art music. We will consider here how this is changing and address the shifting nature of state intervention, examining in particular forms of policy other than funding models. (pp. 2–3) Such a volume sits alongside our practice-grounded study, highlighting the external forces that are coming to bear on everyday practitioners and creativities. Certainly there are issues aplenty for governments and regulators as a result of digital disruption. While the economic ramifi cations of the new business fl ows (the loss of sales tax or import tax, for instance) are readily identifi able, other, less tangible implications are becoming more appar- ent. The fl atter world created through digital production and distribu- tion complicates attempts to enforce local content quotas and protect local industries and artists. The whole enforcement of copyright, a largely historical concept and set of laws, is immeasurably more diffi cult in the twenty-fi rst century. Homan et al. ( 2015 ) feel that the broader agenda of copyright reform has been clouded by the jockeying to keep up with contemporary (read digital) infringements: The enormous effort in drafting new laws on copyright infringement has certainly overshadowed other important aspects of copyright law and, more importantly, how it operates more broadly within national contexts. (p. 117) But, as Watson notes in the Foreword to this volume, there are vast oppor- tunities and areas of discovery in all of this. There are no absolute borders on the Internet. Governments might be scrambling to appropriately regulate and get recompensed for artistic endeavor, but there is nothing (in practical terms) to stop a rapper from a small regional area becoming a global phe- nomenon. There is little to stop the music of one region reaching another corner of the Earth. However, as we will detail later in the volume, the power structures behind the new music industries still yield considerable power. The opportunities are there but the battle remains to have your music heard. DEFINITIONS Many of the terms and concepts in this volume are familiar to a wide audi- ence. However, great differences exist in the way terminology is employed. Often in the new music industries terms have been reappropriated and are THE STATE OF PLAY 7used in contexts very different from their original formation. One recurring notion that features throughout the volume is that of the artist. For our pur- poses we have restricted its use to musical artists only, including bands, solo musicians, producers and so forth. We acknowledge that there are many personnel involved in crafting a musical career (for example, stylists, manag- ers, social media strategists), however our defi nition of an artist is restricted to those involved in musical creation. In line with the new musical industries our use recognises the diversity of musical creativities and roles now present. We delineate the other industry practitioner roles, and normally stipulate exactly the participant role/s involved (in brackets) throughout the volume. One longstanding issue with the term artist revolves around profession- alism. At what point is an artist considered a professional? With the new impetus on DIY creation and dissemination in the new music industries, this question is even further clouded. In their 2010 study into the econom- ics of professional artists, Throsby and Zednik (2010) usefully note that: In some fi elds, the defi nition of a professional is straightforward… For art- ists, any single test is inadequate as a comprehensive defi nition of profes- sional standing. Criteria that are used in other occupations may or may not apply; for example, an income test is unsatisfactory since in a given year a professional artist may earn little or no income, while a test based on for- mal qualifi cations will overlook professional artists who are self-taught… a primary concern for our defi nition of professionalism relates to the manner and standards of an artist’s work—is he or she working at a level of work and degree of commitment appropriate to the norms for professional recogni- tion in their particular artform? (p. 14) While useful, where this explanation struggles is in relation to the ‘norms for professionalism’ in the current environment. As will be shown, it could now be normal for an artist to operate outside of any formal industrial apparatus and construct their own career entirely on their own. Yet within Throsby and Zednik’s ( 2010 ) schema this still involves a degree of commitment that is often extraordinary. Other artists may seek to reach a wide audience with their music, but this might occur through traditional performance, or synchronization, or online distribution. To that end, even the concept of success has changed (Hughes et al., 2013a ). Measures of success have broadened from traditional ideas of record sales, peer awards and performance venue sizes to include reach, personal contentment and artistic integrity (see, for example, Letts, 2013 ). Global pop phenomenon Sia (Furler) is an example. Having crafted a solo career since 1997, fi nally 8 D. HUGHES ET AL.achieving global success with hits such as ‘Clap Your Hands’ (written by Furler and Dixon, released 2010) and ‘Chandelier’ (written by Furler and Shatkin, from the chart-topping 1000 Forms of Fear album released through Inertia/Monkey Puzzle/RCA, 2014), her well-publicized attempts at performance anonymity have coupled with a desire to write songs for others, rather than be the focal point herself: ‘I don’t care about commercial success,’ she says. ‘I get to do what I love and communicate whatever I want’ (Sia cited in Gallo, 2013 ). Popular music success has long been concerned with the idea of reach- ing an audience, and preferably having them buy recorded music (Shuker, 1994 ; Longhurst, 1995 ). Yet notions of fandom, or active audiences, have also been developed for many years (Negus, 1996 ). In the current climate we see an even more overt separation between the two descriptors. An audience for your music is viewed as a broad collective, a faceless, num- berless group that will engage with your music at some minor level (per- haps merely by hearing it on a Pandora playlist). Fans in the new music industries are extremely active. They might undertake ‘work’ for you on social media, reposting announcements of new products or video clips, they could circulate information about upcoming gigs, and of course, they provide direct feedback to artists. Fans more than ever are active agents. They are, however, potentially coming from all directions and, in this sense, are unpredictable. They are invested in the work of the artist, and in terms of crowdsourcing, might even be contributing funds to help support the work of the artist. There is no doubt that, in the context of the new music industries, the question of who decides what is novel and creative is dependent on a social system that has been broadened by social media: fans decide at the outset of the artist’s career whether they deem the music to be novel/creative. Moreover, they make judgments about the ethos of the artist, their musical integrity, and their capacity for self- identifi cation. Throughout this volume, the terms audience and fans are used carefully and contextually, referencing the different levels of engagement present. CREATIVITIES We make mention of the (new) creativities unpinning the music industries. Again, we prefer the term creativities (after Burnard, 2012 ) to denote a range of creative options (both musical and business) and refer to creativ- ity in the singular in relation to the creative process. In the new music industries, understanding a continuum of creativities is particularly help- ful in delineating artist endeavour. Madden and Bloom ( 2001 ) posited THE STATE OF PLAY 9‘hard’ and ‘weak’ creativity in order to aid clarity around the way creativity was being deployed (p. 412). For them: ‘Hard’ creativity represents the creation of something that is ‘brand new’ in the sense that it is unprecedented (creation as invention). ‘Weak’ cre- ativity represents something merely being ‘brought into being’ (creation simply as production). Hard and weak creativity are clearly not opposite ends of a spectrum, but have a subset/superset relationship. It is useful, therefore, to introduce a third form to contrast directly with hard creativity. This form will be called ‘soft’ creativity, and taken to represent reproduc- tion, i.e. completely non-inventive production… In practice, creative acts will inevitably involve some mix of hardness and softness, and will there- fore be positioned somewhere inside the limits of the hard–soft continuum. (Madden & Bloom, 2001, pp. 412–413) In terms of our discussion of the new music industries, we address this continuum of creativities by discussing soft creativity, reproduction, stan- dardisation and uniformity in Chapter 2 , and hard creativity, innovation and novelty in Chapter 3 . Undeniably, being able to view the continuum of creativities is essential to artists. At different times they might employ dif- ferent strategies to build audience engagement or creative exposure in dif- ferent continuum contexts. The diagram shows the continuum, and how it pertains to material covered in different chapters of the volume (Fig. 1.1 ). It might appear that the words used in this continuum have a pejorative element; they do not. Standardisation and uniformity might be entirely fi tting for a covers band (see Homan, 2006 ) that is minimising their own hard creative input in order to faithfully replicate a sound or experience for an audience. They might even use this vehicle to help develop some hard Soft creativityHard creativityStandardisation and uniformity, adherence to established forms'Standing out in the crowd', innovation and noveltyCreativity All production Fig. 1.1 The creative continuum (Adapted from Madden & Bloom, 2001 , pp. 413) 10 D. HUGHES ET AL.creativity (see Chapter 4 ). Hence the continuum is quite fl uid. What is important is artists positioning themselves within it, understanding which direction they are taking their craft and for what purpose. Interestingly, both ends of the continuum can yield substantial fi nancial success, so nei- ther should be considered inferior to the other. In terms of success, espe- cially in light of the changing defi nitions of artist success (see Hughes et al., 2013a ), both can produce rewarding levels of success. In light of these observations we have adapted the model to include soft creativity (rather than weak, which has other connotations). As will be shown, this becomes a useful frame for the research presented throughout this volume. RESEARCH RATIONALE AND DESIGN Disruption in industrial practices, changes in accessibility and distribution, and the democratisation of technologies, challenge the traditional career development model associated with the label-centric music industry. While the literature identifi es aspects of the resultant industries afforded by and through digital disruption, there is a paucity of detailed accounts of the impact of resultant changes on career development and lived experiences. Our research is signifi cant, as it addresses this gap and extrapolates new and emerging career pathways in ways that have implications and consid- erations for best practice, career models, the health and wellbeing of sec- tor workers, music education, and the interaction of music industries with government policies and procedures. The research underpinning this volume investigated the contributory factors and infl uences (including technological ones) on career develop- ment in new music industries. With the aim of identifying new and evolv- ing career trajectories, models and strategies, our research targeted music practices and practitioners. We addressed the primary research questions: (1) What are the new music industries? (2) What constitutes career devel- opment within these industries? (3) How do artists manage career devel- opment and/or a sustainable trajectory within the new industries? The research team brought together investigators with a range of exper- tise. Our team was comprised of experienced practitioners in several areas of music including music production, artist development, music education and artist management. At the outset, we had a choice of a broad-based survey design or a more in-depth approach. We choose the latter in order to engage with participants in ways that allowed for meaningful and, at times, lengthy discussion. Our resultant ethnographic design involved THE STATE OF PLAY 11qualitative data collection (focus groups and semi-structured interviews) together with attendance at peak Australian industry conferences including BIGSOUND (Brisbane), 2 Face the Music (Melbourne) and the Electronic Music Conference (Sydney) that added ethnographic context to our research. Our project was funded by a Macquarie University Research Development Grant (2012–2014) and approved as being compliant with the National Statement on Ethical Conduct in Human Research. 3 The research for this volume was necessarily conducted in Australia, however, what we are dealing with are the new global musical industries. The simultaneous individualisation and interconnectedness of the digital industries means that commonalities exist across countries and regions. The following methodological structure outlines Australian-based activi- ties, yet the narratives and examples collected are being replicated around the world. The disruption and discovery documented throughout this volume are not exclusive to Australian markets. The research design was comprised of four stages. Stage 1 4 involved a comprehensive review of the literature covering aspects of industry that included digital disruption, traditional music industry roles and expecta- tions, contemporary music education, and music technologies. Drawing on our analysis of the literature and previous research studies, we devel- oped questions for Stages 2 and 3. Seven focus groups, of approximately 2 hours duration each, were undertaken in Sydney (×3), Melbourne (×2), and Brisbane (×2). These specifi c cities were selected as primary locations of employment within the new music industries in Australia; they respectively represented the three eastern states of New South Wales (NSW), Victoria and Queensland where a substantial amount of work in the music industries is typically negotiated that may be undertaken elsewhere in the country. Furthermore, many artists living and working in other Australian jurisdictions have associated agents, managers, labels and publishers located in these three states. These states are identifi ed areas of musical employment (Australian Bureau of Statistics, 2008 ), with more people employed in the categories of ‘Music Publishing’ and ‘Music and other sound recording activities’ than else- where in Australia. Each focus group represented a diverse range of sector workers from artists through to digital strategists and music publishers. The topics covered in each group included: (1) the new music industries and the ways in which these industries have changed/evolved, (2) career development within these industries, (3) technological developments including production aesthetics and associated skill sets, and (4) con-12 D. HUGHES ET AL.siderations and implications for navigating the new industries. A total of twenty-one participants and fi ve researchers took part in the focus groups. Stage 3 in-depth interviews were undertaken with participants who were purposively sampled to target specifi c areas of investigation that emerged through our analysis of Stage 1 data. Again, interviews were undertaken in Sydney, Melbourne and Brisbane, although interviewees themselves were drawn from across the country. During this stage we engaged primarily with artists, and with industry practitioners associated with artist develop- ment and/or the realities of practice. The areas for investigation included: (1) determining roles and strategies in the new music industries, (2) new and emerging industry practices and/or technologies, (3) developments and changes, (4) considerations and implications, (5) future directions, and (6) real-world advice. A constant comparative method of analysis was used to identify similarities and differences in the participant perspectives. A total of nineteen participants and four researchers took part in these in- depth interviews. Our participant voices (from Stages 2 and 3) are heard and quoted throughout this volume. These participant voices provide rich empiri- cal data refl ective of real-world events and experiences. Participants are denoted by their names and role (in brackets), and are distinguished from other cited quotations as, being previously unpublished, they are not included in our reference list. During the fi nal stage of our project, we consolidated and reported our fi ndings in various formats. We presented our initial fi ndings at an indus- try symposium hosted at Macquarie University, Sydney, Australia. 5 Here, we discussed a detailed framework of the new music industries for stake- holders and our research participants. Further reporting on our fi ndings has included national and international presentations, and peer-reviewed publications (Hughes et al., 2013a ; Hughes, Keith, Morrow, Evans, & Crowdy, 2013b ; Hughes, Evans, Keith, & Morrow, 2014 ). Our cumula- tive fi ndings are presented in this volume. The primary aim of the research that informs our fi ndings was to explore how disruption and discovery have combined to create new opportunities for artists. The next chapter of this volume starts by considering how the relationships between artists, managers and labels have changed in the post-digital music industries. Watson’s observation (see Foreword this volume) that artist careers have shifted from being linear to circular draws attention to the shifting gate- keepers, milestones, and goals in artists’ careers today. Whereas known entities such as labels and broadcasters once constituted the foundation of THE STATE OF PLAY 13music industry, today’s environment is much more opaque and revenue streams are much less certain. The following chapter examines various approaches artists can take to negotiate this terrain, proposing three career models of operation for artists in the new musical industries. These models go on to provide the foundation for subsequent chapters, and their analy- ses of prizes and pitfalls of the new conditions for artists. NOTES 1. Although it is soon to be replicated in Brisbane’s Fortitude Valley, a hub of musical performance venues in the city. 2. BIGSOUND, for example, is a QMusic Project. It is an annual con- ference that hosts keynotes, panels and showcases (BIGSOUND, 2014 ). QMusic is an association in the state of Queensland Australia that focuses on music industry development (QMusic, 2014 ). 3. Ethics approval to conduct the research was secured from Macquarie University Human Research Ethics on 15 October, 2012. 4. Our investigation began in November 2012 and concludes with this volume. 5. The research symposium Trajectories in the New Music Industries featured a range of presentations by each member of the research team, and included invited speakers and performers. The sympo- sium was held on 27 June 2014. REFERENCES Australian Bureau of Statistics. (2008). Employment in culture – Australia – 2006 . Retrieved April 4, 2012, from http://www.ausstats.abs.gov.au/ausstats/ subscriber.nsf/0/6A0842636FC03C4CCA2573FB000BCD2D/$F ile/62730_2006.pdf Billboard. (2015). Billboard’s fi rst-ever TV’s top music power players list revealed . Retrieved March 2, 2016, from http://www.billboard.com/articles/busi- ness/6699790/tv-music-power-players-list-2015 BIGSOUND. (2014). 10–12 Sept 2014/Brisbane Australia. Retrieved on December 10, 2014, from http://www.qmusic.com.au/bigsound/2014/ Burnard, P. (2012). Musical creativities in practice . Oxford: Oxford University Press. Bychawski, A. (2013). Atoms for Peace’s Nigel Godrich: ‘I’m not bitching about not getting paid’. Retrieved March 2, 2016, from http://www.nme.com/news/ atoms-for-peace/71462 14 D. HUGHES ET AL. Collins, S., & Young, S. (2014). Beyond 2.0: The future of music . Sheffi eld, UK: Equinox Publishing. Engel, P. (2014). Taylor Swift explains why she left Spotify . Retrieved March 2, 2016, from http://www.businessinsider.com.au/taylor-swift-explains-why- she-left-spotify-2014-11 Gallo, P. (2013). Sia: The Billboard cover story . Retrieved February 5, 2016, from http://musicinaustralia.org.au/index.php/Survey_of_Successful_ Contemporary_Musicians Hesmondhalgh, D., & Meier, L. (2015). Popular music, independence and the concept of the alternative in contemporary capitalism. In J. Bennett & N. Strange (Eds.), Media independence (pp. 94–116). Abingdon, UK/New York: Routledge. Homan, S. (Ed.). (2006). Access all eras: Tribute bands and global pop culture . Maidenhead, UK: Open University Press. Homan, S., Cloonan, M., & Cattermole, J. (2015). Popular music and cultural policy . Abingdon, UK/New York: Routledge. Homan, S., Cloonan, M., & Cattermole, J. (2016). Popular music and the state: Policy notes . London/New York: Routledge. Hughes, D., Evans, M., Keith, S., & Morrow, G. (2014). A ‘duty of care’ and the professional musician/artist. In G. Carruthers (Ed.), Proceedings of the commis- sion for the education of the professional musician (CEPROM) (pp. 31–41). Brazil: Belo Horizonte. Hughes, D., Keith, S., Morrow, G., Evans, M., & Crowdy, D. (2013a). What constitutes artist success in the Australian music industries? International Journal of Music Business Research (IJMBR), 2 (2), 60–80. Hughes, D., Keith, S., Morrow, G., Evans, M., & Crowdy, D. (2013b). Music education and the contemporary, multi-industry landscape. In Redefi ning the musical landscape: Inspired learning and innovation in music education XIX ASME National Conference Proceedings (pp. 94–100). Brisbane, Australia. IFPI (International Federation of Phonographic Industry). (2014). Digital music report 2014 . Retrieved January 9, 2015, from http://www.ifpi.org/down- loads/Digital-Music-Report-2014.pdf IFPI (International Federation of Phonographic Industry). (2015). Digital music report 2015. Retrieved December 4, 2015, http://www.ifpi.org/downloads/ Digital-Music-Report-2015.pdf Kusek, D., & Leonhard, G. (2005). The future of music: Manifesto for the digital music revolution . Boston, MA: Berklee Press. Letts, R. (2013). Survey of successful contemporary musicians, music in Australia knowledge base . Retrieved March 1, 2016, from http://musicinaustralia.org. au/index.php/Survey_of_Successful_Contemporary_Musicians Longhurst, B. (1995). Popular music and society . Cambridge, UK: Polity Press. Madden, C., & Bloom, T. (2001). Advocating creativity. International Journal of Cultural Policy, 7 (3), 409–436. THE STATE OF PLAY 15 Negus, K. (1996). Popular music in theory: An introduction . Cambridge, UK: Polity Press. QMusic. (2014). About us . Retrieved December 10, 2014, from http://www. qmusic.com.au/?contentID=620 Reid, P. (2016). Music piracy up 16% worldwide. The Music Network. Accessed 4 March, 2016, from https://www.themusicnetwork.com/news/music-piracy- up-16-worldwide Shuker, R. (1994). Understanding popular music . London: Routledge. Throsby, D., & Zednik, A. (2010). Do you really expect to get paid? An economic study of professional artists in Australia . Melbourne: Australia Council for the Arts. Vincent, P. (2016). Sydney lockout laws bite as live music ticket sales crash. Brisbane Times. Retrieved February 29, 2016, from http://www.brisbane- times.com.au/entertainment/music/sydney-lockout-laws-bite-as-live-music- ticket- sales-crash-20160218-gmxgot.html Williamson, J., & Cloonan, M. (2007). Rethinking the music industry. Popular Music, 26 (2), 305–322. 16 D. HUGHES ET AL.17 © The Editor(s) (if applicable) and The Author(s) 2016 D. Hughes et al., The New Music Industries , DOI 10.1007/978-3-319-40364-9_2 CHAPTER 2 Abstract This chapter outlines three career models—360, Entrepreneur and DIY—identifi ed as being signifi cant and viable models within the new industries. The functions and variations of each model are discussed, together with associated revenue streams and risk factors. The chapter discusses traditional linear career development and introduces the con- cept of new circular career development identifi ed within the new music industries. The differences between traditional and non-traditional career models conclude the chapter. Keywords New music industries • 360 • Entrepreneur • DIY • Circular This chapter expands upon the notion that career development has evolved from being linear to circular (see Watson, Foreword this vol- ume). By describing this new circular process, the chapter addresses con- temporary strategies for the business practices of the new music industries, and identifi es pragmatic issues for the new musician. It outlines a vari- ety of career trajectories, and suggests that, through a circular process, major record labels are devolving risk through neoliberal 1 restructuring. In addition, it argues that there is still ‘standardisation and uniformity’ (McGuigan, 2010 , p. 329) in many sectors of the industries 2 . This is because soft artistic creativity is evident within the new business of music The New Business of Music (see Fig. 1.1 ), and in the context of these industries, major record labels have become more reactive. Our argument is that artists are responding to this reactivity with multiple creativities (both soft and hard and various combinations of the two). While the next chapter will focus on hard cre- ativity and innovation, the models we introduce in this chapter inevitably involve a mix of hardness and softness. In terms of soft artistic creativity, our argument in this chapter is that many artists (and their management teams if they have them) are embracing standardisation and uniformity in order to directly attract audiences, to demonstrate exponential growth to potential investors (i.e. major record labels) and to manage the fi nancial risk they themselves must take in order to get their career started. This chapter highlights different models for navigating the new music industries, such as the 360 (label) model, the entrepreneur model, and the do-it-yourself (DIY) model. In particular, our research identifi es that the DIY model is a signifi cant, viable, and even fundamentally necessary model within the new music industries, particularly for emerging artists. However, no one model is offered as an either/or option. For example, an artist may start out by managing their own career (the DIY model), but will then operate in a way that is in line with the entrepreneur model as more service providers become involved. In order to further grow an audience/ fanbase, the artist may then work with a record label under a 360 deal (the 360 model). The artist may also navigate back through these models if a label relationship ceases. While the combination of models and trajectories would evolve and devolve over time, artists may also simultaneously work under a combination of models across different geographic territories. REVENUE STREAM GROUPS There are fi ve main revenue stream groups that allow income to be gener- ated from popular music: live performance, merchandise, song publishing, recorded music and sponsorship deals (Morrow, 2006 ). Other more mar- ginal streams include grants and funding, as well as miscellaneous income streams such as workshops and teaching. The term ‘revenue stream groups’ is used throughout this volume as it enables the alignment of associated income streams. This alignment is highlighted, for example, in relation to song publishing: The music publishing industry earns its money by exploiting the copyright in music and lyrics. There are a number of signifi cant income streams within 18 D. HUGHES ET AL.this revenue stream group that include royalties received from pressing records and CDs (‘mechanical royalties’), public performance, broadcast and cablecast (‘performance royalties’), sale of printed music (‘print royal- ties’), use of music with visual images, e.g. fi lm, TV programs and adverts, ‘synchronisation royalties’), use of music in theatre and ballet (‘grand rights royalties’), ringtones and downloads. (Morrow, 2006 , pp. 93–94) While revenue stream groups are not new concepts, emergent trends in the new industries (for example, the growth in revenue generated through online digital strategies) are seen to shift the relevance of streams within the groups. Globally, the digital revenue stream, for example, now accounts for approximately 39% of recorded music revenues (IFPI, 2014 , p. 6). In Australia, digital revenues overtook the physical sales revenue stream for the fi rst time in 2013 and represented 54.7% of the total revenue in this group (Australian Recording Industry Association, 2014 ). Other markets have shown an even greater shift towards digital formats—for example, Nordgård ( 2016 ) noted that: The market share of on-demand music streaming services in Norway exceeded 75 per cent in 2014, hence placing it together with a handful of countries that can be considered pioneers in this space. (p. 175) Interestingly, in terms of recent developments in the recorded music rev- enue group, countries such as Sweden have embraced the digital transition to online streaming with subscription streaming services accounting for 84% of Swedish digital revenues during the fi rst 10 months of 2011 (IFPI, 2011 ). This level of adaptation is testimony to the evolutionary nature of this particular revenue stream group. As new music consumption habits continue to be adopted in greater numbers, a commercially viable future for this revenue stream group may lie ahead: Music subscription services were a major driver of digital growth, sustaining a sharp upward trend of recent years. Revenues rose 39.0 per cent in 2014 to US$1.57 billion. Revenues from music subscription services now make up 23 per cent of digital revenues globally, up from only 18 per cent in 2013. (IFPI, 2015 , p. 6) Music subscription services have seen the number of users who pay for the service grow steadily in recent years, with an estimation that ‘41 million people worldwide now pay for a music subscription service’ THE NEW BUSINESS OF MUSIC 19(IFPI, 2015 , p. 6). Rather than solely focusing on the recorded music revenue stream, it is important to consider career sustainability and to recognise the different and possible revenue stream groups. In this way, a holistic view of the music business that accounts for the new industries is possible. Although the data relating to increasing revenue from music sub- scription services is promising, the recognition of the fi ve main revenue stream groups has been brought into sharper focus in recent times. This is particularly relevant given that the recording industry lost approximately half of its exchange value 3 over the fi fteen-year period between 1996 and 2011 (IFPI, 2011 ). Therefore, rather than simply focusing on the role of record companies, this chapter outlines the need for a more inclusive view of the music industries incorporating all fi ve key revenue stream groups. The multiplicity of, and developments in, key revenue stream groups has direct relevance to the proliferation of the new music industries as no one singular industry or practice underpins all revenue stream groups. The research of Williamson and Cloonan ( 2007 ) highlights two main prob- lems with the term ‘music industry’ 4 : First, it suggests a homogenous industry, whereas the reality is of disparate industries with some common interests. Secondly, the term is frequently used synonymously with the recording industry. Thus the term ‘the music industry’ is often used in ways that lead to misrepresentation and confusion. It suggests simplicity where there is complexity and homogeneity where there is diversity. (p. 305) Williamson and Cloonan also note that the use of the singular ‘music industry’ term serves vested interests, such as those pertaining to record- ing industry associations (p. 306). Thus, we use the term ‘music indus- tries’. In particular, we consider the different industries that stem from the fi ve key revenue stream groups. CAREER MODELS The three models identifi ed in our research—the 360 model, the Entrepreneur model, and the DIY model—are not offered here as either/ or options as none were identifi ed as being immutably fi xed in any one career trajectory. We provide a series of models for navigating the new music industries that may be representative of different career stages and trajectories. Each model carries a different level of potential risk (fi nancial and artistic) that is discussed below. 20 D. HUGHES ET AL. The 360 Model (Model 1) This model arose as labels sought to gain larger returns drawn from a broader range of potential revenue streams. Its implementation is signif- icant because since the arrival of the Internet and the development of digital music strategies, international recorded music revenues had fallen from over USD $40 billion in 2000 (Leyshon, Webb, French, Thrift, & Crewe, 2005 ) to USD $15 billion in 2013 (IFPI, 2014 ). In response to revenue decline and disruption more broadly, record labels began employ- ing a more holistic view of the artist’s career and the potential product/s associated with it. The 360-degree (or ‘360’) deal emerged and involves a record label participating in all fi ve revenue stream groups. According to Goodman ( 2010 ), in 2007 Warner Music Group (WMG) made 360-degree participation in its artists’ income streams company pol- icy. The 360 deals meant that ‘20 percent of Atlantic and Warner Bros. Records A&R budgets would be spent on 360 deals’ (Goodman, 2010 , p. 257). Under what became known as their Collateral Entertainment Agreement (CEA), Goodman noted: … they were arguing that even as sales fell, records drove a career and made all other opportunities possible, and that in order to continue to underwrite career development, the company would have to participate in nonrecord- ing income. (Goodman, 2010 , p. 257) With revenue from the sale of recorded music shrinking, major labels there- fore sought a return on their investment from other revenue streams. 5 The position of major labels—that it was their risk capital that built the plat- form upon which income could be generated from the other streams— was a convincing one. While many artists and their representatives initially resisted what they termed a ‘rights grab’ (see Morrow, 2006 , p. 136), they clearly saw their best chance of building a sustainable career in signing a 360 deal ‘if you want to sell a million “things”… the probabilities are in being with a global record company’ (Goodman, 2010 , p. 258). Around this time, the major labels’ rosters became younger as established artists had less incentive to sign over additional rights. Our research fi ndings identifi ed that a direct signing to a major label will now, most likely, involve a 360 deal. As Dean Ormston (Head of Member Services Group for collecting society APRA AMCOS) noted, ‘I think that the opportunity for career artists is in understanding their rights and the potential for deriving income from each of their channels THE NEW BUSINESS OF MUSIC 21or revenue streams. Increasingly artists will need to be more sophisti- cated about how they manage or exploit each channel.’ Likewise, Robert Scott (Founder of Source Music Publishing and Licensing and Creative Manager, Embassy Music Publishing and Music Sales) posited: I think that what’s happening is the 360 is [sic] more of a swing to management, I think managers have never been as important as they are now. What are man- agers? They basically manage 360, so sometimes that management is in a label, or a publishing company or wherever it needs to be… I think that 360 deals are just par for the course and they have always existed and if anything they’re not nearly as nasty as they once were back in the day. If you look at Elvis or even The Beatles, their early catalogue, their publishing rights were abandoned. Scott is arguing here that 360 deals are not a new phenomenon. Instead he noted that they are, in some ways, reminiscent of the origins of the recording industry. This is because at the outset of this industry artists tended to assign all of their rights to one entity. Nevertheless, whether the 360 model (see Fig. 2.1 ) is considered to be old or new, it is clearly the dominant model within the new recording business of music. The Entrepreneur Model (Model 2) In contrast to the 360 model, the issue of risk capital is fundamental to understanding the recording industry’s additional response to disrup- tion. This response involved the externalisation of risk onto the artists themselves. Indeed, major labels are faced with a choice between 360 LabelArtistAudienceFans 360 model Fig. 2.1 360 model showing label intermediation between artists and audi- ences/fans 22 D. HUGHES ET AL.deals or a more streamlined approach. Australian artist manager Todd Wagstaff outlined this choice: Labels have a choice now—they can make up for that decline [in physical sales] with either reactionary 360 deals… or they can take the cost out of the part they do really well and then get out there and do that part with some ‘risk free gusto’. (Wagstaff cited in Brandle, 2012 ) The part(s) that major record labels arguably do well are marketing and distribution. A streamlined approach essentially involves labels becoming service providers to artists’ businesses, meaning that artists pay for, create, and own all of their assets. This approach complicates arguments that art- ists can cut out intermediaries by working as self-managed entrepreneurs (see Collins & Young, 2010 ; Scott, 2012 ), because this model (see Fig. 2.2 ) enables artists to stay independent while working with, and through, major label marketing and distribution services. In the new music business environment, several of our participants noted that intermediaries were vital to artist viability and sustainability, particularly as careers developed. As Fig. 2.2 shows, there are many different patterns of relationships between artists and intermediaries in the music industries. These patterns Manage- ment PublisherStylist PublicistAccoun- tantLabel services Digital StrategistRadio PluggerArtistAudienceFans Entrepreneur modelNB: The roles named in this model are indicative only, and may be selectively appointed by the artist. Fig. 2.2 Entrepreneur model showing the network of potential personnel and roles across the new music industries THE NEW BUSINESS OF MUSIC 23can evolve and devolve across an artist’s career; they may also be different in various geographic territories. The complexity of the new music busi- ness therefore necessitates new ways of conceptualising career develop- ment. We do, however, acknowledge that an artist can release a minimum viable product 6 (MVP) (Robinson, 2001 ; Ries, 2011 , p. 93) directly to fans (see also the DIY model). Nonetheless, for a sustainable career, artists often need to engage a number of intermediaries and the pattern of inter- mediary relationships formed should be subject to the developing needs of the artist’s startup partnership or company. The DIY Model (Model 3) Prior to the digitisation of music, DIY self-management was most com- monly associated with the 1980s punk phenomenon. Anderson ( 2012 ) noted that punk bands challenged the status quo within the music business, circumventing the recording, manufacturing, and market- ing services of major record labels (p. 11). Such business practices were connected to an ideology of liberalism, which cast the artist as authentic (Wiseman- Trowse, 2008 ) and free from the demands of the mainstream marketplace. By seizing the means of production, punk musicians were therefore placed at the centre of meanings and values associated with the notion of authenticity. Gracyk noted: The unifying thread… is an assumption that the unique individual is basic to authenticity. In a word, liberalism: there is no essential, common good beyond whatever autonomous individuals seek and choose as most worthy for themselves. (Gracyk cited in Wiseman-Trowse, 2008 , p. 42) The perception that record labels and the industry used to restrict the artist’s true self through an adherence to market fundamentalism is challenged by contemporary DIY artists. DIY artists, themselves operat- ing within the new business of music, have assumed positions within the new music industries where they are directly concerned about the market (see Fig. 2.3 ). Anderson ( 2012 ) noted: In the Web Age, the DIY punk movement’s co-opting of the means of pro- duction turned into regular people using desktop publishing, then websites, then blogs, and now social media. Indie-pressed vinyl became YouTube music videos. Four-track tape recorders became ProTools and iPad music apps. Garage bands became Apple’s GarageBand. (p. 13) 24 D. HUGHES ET AL. The ubiquity of personal media devices, such as the mobile phone, allows artists with suffi cient creative self-effi cacy (see Jaussi and Randel, 2014 ) to write and record their own music, and to release it through digital outlets. Goodman ( 2010 ) explained that ‘the web had decimated CD sales, but it had also made it possible for anyone to post music online—and the result had been a fl ood of new and undifferentiated releases’ (p. 258). This ‘fl ood’ of artist releases means that the DIY artist now needs to take responsibility for not only the creation of new creative material, but also for strategising how to stand out in a crowded marketplace (discussed further in Chapter 3). Our research has shown that DIY approaches have become a neces- sary stage in all career development models, as research participant Dean Ormston noted: Without doubt YouTube provides a massive promotional platform for art- ists—but the economic return for the vast majority of artists is very small. The endless YouTube appetite for both commercial and User Generated Content has meant there’s now a huge onus on the artist and content own- ers generally to monitor how and where their work is exploited. Ormston continued, noting: While a DIY business model for artists sounds sexy on fi rst glance, artists often comment on being inundated in managing the promotion and distri- bution of their work—‘I am drowning in it. I am not actually doing what I wanted to do which is write songs and perform.’ There’s been a mas- sive workload shift to the artist—in the past someone else would have been doing it for the artist. ArtistAudienceFans DIY modelSelf- management Fig. 2.3 DIY model, showing that the artist bears the sole responsibility THE NEW BUSINESS OF MUSIC 25 A massive workload therefore lies with DIY artists because they have to manage their own presence through social media. One solution is for the artist to engage with the entrepreneur model and work with intermedi- aries. Vanessa Picken (Director of digital marketing agency Comes with Fries), posited that ‘there is strength in the market, where independent artists are empowered via companies like Comes With Fries to deliver on their releases through a multitude of label services.’ DIY artists can there- fore transition to being entrepreneurs and appoint intermediaries to assist in career development. Before transitioning to entrepreneur, however, art- ists typically need to demonstrate some traction with an audience before they can attract the intermediaries. A Q UESTION OF RISK A core question that emerged through our research was around risk, and how it is devolved in the new career models. While artists can now drive their own careers and/or build their own team, the fi nancial risk essen- tially lies with the artists. The signifi cance of the team in this approach was highlighted by Vanessa Picken: You really need to fi nd the best team that enhances your work because if you’re an independent artist you have all of the control to fi nd that group. So, a lot of the work I do is helping people fi nd their own independent team that replicates or replaces the old traditional label model. Major labels can thus become more reactive by waiting to see which artists demonstrate signs of effective strategies and exponential growth before assisting in subsequent career development. Major record labels devolving risk relates primarily to our Entrepreneur and DIY models, although in the digital economy, all three models may be relevant particularly if labels function as service providers. This may occur in instances whereby labels devolve the risks pertaining to record production to artists and, in some instances, to their managers. In this context, the label’s traditional 7 power relationship to artists has changed as the artists take on more fi nancial risk. With larger entities in the music business externalising fi nancial risk by making asset generation and marketing spend the artist’s responsibility, artists need to be educated regarding how to manage such risk. As there is now ‘an abundance of distribution outlets, and, as a result, a scarcity of audience attention’ (Morrow, 2011 , p. 106), smaller industry 26 D. HUGHES ET AL.players are able to establish sustainable businesses in the new music indus- tries. Participants discussed the ways in which ‘the music industry’ has changed with the emergence of smaller entities. However, our research also identifi ed that there are now a number of large entities that generate revenue from the aggregate of the many smaller entities or artists. This emerged as an interesting juxtaposition of business types in the new indus- tries. Noting the growth of some organisations, Robert Scott explained: Majors have never been bigger, look at Universal just taking over EMI… there’s a major concentration happening with the labels as well as every- where else. IMPALA have been arguing in Europe that this is really danger- ous, because obviously they’ve got too much market share now. The last thing anyone would want is if they were to walk into iTunes and say, ‘We won’t give you our 65% of the market unless you give us this’, a greater rate or a bigger percentage. Of course, this rivalry between indie and major is very quickly being overtaken by the power of the tech companies now. The music industry is fast becoming an Apple versus Amazon versus Spotify world. The reciprocity between small and large business entities can also be exam- ined through the example of artist management company, Parker + Mr French. According to its founder, Wagstaff (cited in Brandle, 2012 ), the company engineered a deal with Universal Music Australia (UMA) that enabled the artists it manages to stay independent while working with UMA. The concept was that the artists take on the risk of their own career development by investing in themselves. If successful, the artists then receive a greater return than they would if the label had advanced them money in a more traditional way under a 360 deal. A new entity alignment such as this falls within the Entrepreneur model (Fig. 2.2 ). Rather than the artist-entrepreneur being a force of disruptive ‘creative destruction’ (Schumpeter, 1939 ), there is potential for reciprocal revenue generation to emerge through this form of entrepreneurship. This business alignment suits entities that derive economic benefi t from the aggregate of the many artists who are now able to access an audience, as Anderson ( 2006 ) noted: The democratized tools of production are leading to a huge increase in the numbers of producers. Hypereffi cient digital economics are leading to new markets and marketplaces. And fi nally, the ability to tap the distributed intelligence of millions of consumers to match people with the stuff that suits them best is leading to the rise of all sorts of new recommendation and marketing methods, essentially serving as the new tastemakers. (p. 57) THE NEW BUSINESS OF MUSIC 27 By becoming more reactive aggregators, record labels potentially benefi t from distributed intelligence amongst consumers within the marketplace(s) in which they operate. LINEAR TO CIRCULAR CAREER DEVELOPMENT Career development in the new music industries is a complex mix of cre- ative practices, business acumen and maximising opportunities; it is a process centred on discovery of the artist by an audience/fans that has the potential to stimulate interest from and through a range of indus- tries. 8 This represents a paradigm shift in career development and industry engagement and is represented below in the transition from the tradi- tional linear model (see Fig. 2.4 ) to a circular model (see Fig. 2.5 ). Watson ( 2013 ) 9 described the traditional linear process as: The artist would fi nd a manager, and the manager would have relationships with the record company and the booking agent… And those people would get you exposed through the venues, and through the media outlets and the audience would then shop from that menu. Indeed, our research confi rmed that career development is no longer dependent upon fi nding the right gatekeeper. With the notion of artists fi nding someone who will ‘do it all for them’ being passé, a contemporary way to conceptualise the process of career development involves a circular model, as Watson described: The artist is able to communicate directly with the fan, and then when the artist engages enough fans, all these other people go ‘hey, there’s something going on there, I think I can help grow that’ and the journalist thinks that, the TV show thinks that, the promoter thinks that, and everybody starts to come on board. But instead of it going—artist—industry person—industry person—industry person—fan. It now actually goes—artist—fan—indus- try—artist. It’s a circle that begins with that artist-fan communication. As depicted in the circular model (see Fig. 2.5 ), artists can now have a direct relationship with fans in a range of contexts (such as via social media, blogs and through personalised artist generated fan emails). The circular model sheds light on the paradox of the ‘liberal artist’ (Wiseman-Trowse, 2008 , p. 42) in the digital age, and represents the 28 D. HUGHES ET AL.relationships that many artists have with the larger entities such as major record labels. As noted above, a consequence of this is that record labels are able to become more reactive , effectively testing the market before choosing which product to support. In this context, ‘bottom up’ and ‘top down’ are not opposing concepts, but instead work together within the new business of music. As a consequence, both traditional and non- traditional elements function as new gatekeeping components of the industries. The ‘bottom up’ paradigm refers to a certain type of web utopianism that stemmed from the Internet’s (only partly realised) promise to con- nect artists directly to fans, a form of utopianism that has been previously discussed in terms of ‘cutting out the intermediaries’ (Collins & Young, 2010 ; Scott, 2012 ). Prior to this, the record label system dominated because the major companies had unrivalled control over, and access to, distribution, sales and marketing resources. In the new business of music, while access to the more typical methods of distribution, sales and market- ing resources may still be contested, the controlling entities have morphed into new, yet familiar, versions of themselves. In some ways, though, this has seen a levelling of gatekeeping roles in the new music industries that lead to a ‘fl attened structure’ (Hesmondhalgh & Meier, 2015 ) that is facil-Artist Management Label Publisher Agent Fans Fig. 2.4 Linear model showing traditional intermediation between artist and fans THE NEW BUSINESS OF MUSIC 29itated by the new digital platforms and accessibility to a range of technolo- gies. It complements the circular model outlined above by highlighting the changes in roles and associated functions. McGuigan ( 2010 ) argued, however, that the complex changes to the digital environment have not led to greater variety in terms of the content being produced because soft creativity is more often the end product which leads to ‘a great deal of standardisation and uniformity’ (p. 239). With major labels being more reactive and many artists and their teams embracing standardisation, uniformity across products may be viewed as attempts to emulate other successful product/s and strategies. This concept was discussed by Marc Marot and Keith Harris during a panel discussion at the Vienna Music Business Research Days conference in Vienna in October 2014 10 (see also Morrow & Li, 2016 ). Our research fi ndings suggested that there is a signifi cant degree of soft creativity at the starting point of the circular system of the new music industries, as Damian Cunningham (Director of Audience and Sector Development, National Live Music Offi ce) noted: In theory an artist can now produce a track at home in 30 minutes and in a further 15 minutes can effectively be selling the track on a global facing platform… The ability to do it more quickly means that there are a lot more people producing music, and when a lot more people are doing it, it can all look the same. Artists Fans Industry Fig. 2.5 Circular model encompassing artists, fans, and industry 30 D. HUGHES ET AL. Cunningham noted that the speed at which artists can release material sometimes means that they do not allow themselves time to step back and think about how they can produce content that is more unique. Therefore, the speed of releases does not always enable artistic output to exemplify hard creativity. While Madden and Bloom ( 2001 ) note that ‘soft creativity is perhaps the predominant form of artistic creativ- ity’ (p. 414), in the new music industries this softer form of creativ- ity infers that there will be less chance of standing out in a crowded marketplace. CONCLUSION Each of the three career development models (360, Entrepreneur, and DIY) outlined in this chapter require artists to demonstrate exponential growth at the outset (that is, the circular process of career development). This is despite the issue that early growth does not always enable art- ists to establish sustainable careers in either the short or longer term. Within the new business of music, each of these career models features (or potentially features) more risk and responsibility being located with the artist. For this reason, our research identifi ed the DIY artist as a sig- nifi cant, viable and fundamentally necessary model within the new music industries. It is relevant because it potentially leads to subsequent career models. One way to conceptualise the patterns of relationships that art- ists may form with intermediaries in subsequent career mod- els involves a bicycle wheel analogy (Watson, 2002 ). This analogy is relevant in describing the potential career-building process. It is impor- tant to note that we have chosen not to include the manager in the ‘hub’ or centre of the career-building process in either the 360 model or the Entrepreneur model even though we acknowledge that an artist manager is often typical and warranted. We do so for the following reasons: (1) the artist is free to undertake management responsibilities, (2) the artist in the new career models is likely to assume risk, and (3) a label may assume managerial roles and functions. In each of our models, the career-building process (in whatever form or combination of roles is determined) remains pivotal, with more respon- sibility residing with the artist to coordinate and/or decide upon these roles. There are many different patterns of relationships between artists and intermediaries in the music industries, and the pattern of relationships THE NEW BUSINESS OF MUSIC 31formed is subject to the developing needs of the artist’s startup partner- ship or company. NOTES 1. In this context, the word ‘neoliberal’ refers to the atomization of the music industries caused by the increased individualisation of the art- ist (particularly with regard to risk-taking). The argument here is that the record business has been subject to a shift from organised capitalism to neoliberal capitalism, and as a result more fi nancial risk has been externalised onto the artist. 2. This chapter examines the extent to which there is still a great deal of standardisation and uniformity in terms of artistic content (see also McGuigan, 2010 ) in the new music industries. Artists them- selves are now able to control the processes leading to such stan- dardisation in many instances, rather than major record labels. 3. Exchange value refers to the quantitative aspect of value (for exam- ple, in this context, how much money is exchanged for recorded music); use value is the qualitative aspect of value (for example, in this context, the level of enjoyment someone gets from listening to music). 4. Such a critical engagement with the term ‘music industry’ has fea- tured in numerous studies of the music business, such as in Morrow ( 2006 ) and more recently Tschmuck ( 2016 ). 5. According to Goodman ( 2010 ), the band Paramore was the fi rst young band to sign an all-encompassing 360 deal with WMA, while he cites EMI’s landmark 360 deal with Robbie Williams as the fi rst to be agreed with an established artist (p. 255). 6. A Minimum Viable Product (MVP) is defi ned by Robinson ( 2001 ) and Ries ( 2011 ) as being a new product which is literally minimally viable. Rather than waiting to release a product to market when it is deemed to be more viable than minimally so, an MVP allows the person, or group of people, developing it ‘to collect the maximum amount of validated learning about customers with the least effort’. (Ries, 2011 , p. 93). 7. Our use of the term ‘traditional’ refl ects the conventional, popular music industry. Participants typically noted this context as traditional. 32 D. HUGHES ET AL. 8. While we focus on the new music industries, we also discuss some industries in this chapter that are not specifi cally related to music. We therefore acknowledge that some of the new industries are not dedicated music industries but encompass music practices such as crowdfunding sites. 9. All comments attributed to John Watson in this chapter are taken from a keynote question-and-answer session he delivered at the BIGSOUND conference in Brisbane on 12 September, 2013. BIGSOUND is an industry conference that includes presentations, panels and performance showcases (BIGSOUND, 2016 ). 10. This was the Fifth Vienna Music Business Research Days on the Monetization of Music in the Digital Age , held on 3 October, 2014, at the Institute for Cultural Management and Cultural Studies, Vienna, Austria. REFERENCES Anderson, C. (2006). The long tail . New York: Hyperion. Anderson, C. (2012). Makers: The new industrial revolution . New York: Crown Business. Australian Recording Industry Association. (2014). 2013 ARIA wholesale fi gures . Retrieved February 24, 2016, from http://www.aria.com.au/documents/ MediaRelease-2013ARIAWholesaleFigures.pdf. BIGSOUND. (2016). BIGSOUND. Retrieved February 2, 2016, from http:// www.qmusic.com.au/bigsound/2015/index.cfm?contentID=860 Brandle, L. (2012). The hot seat: Todd Wagstaff, Parker + Mr. French. The Music Network . Retrieved February 24, 2016, from http://larsbrandle.com/ the-hot-seat-todd-wagstaff-parker-mr-french Collins, S., & Young, S. (2010). A view from the trenches of music 2.0. Popular Music and Society, 33 (3), 339–355. Goodman, F. (2010). Fortune’s fool: Edgar Bronfman Jr., Warner music, and an industry in crisis . New York: Simon and Schuster. Hesmondhalgh, D., & Meier, L. (2015). Popular music, independence and the concept of the alternative in contemporary capitalism. In J. Bennett & N. Strange (Eds.), Media independence (pp. 94–116). Abingdon, UK/New York: Routledge. IFPI (International Federation of Phonographic Industry). (2011). Recording industry in numbers 2011 . Retrieved June 5, 2011, from http://www.ifpi.org/ recording-industry-in-numbers.php THE NEW BUSINESS OF MUSIC 33 IFPI (International Federation of Phonographic Industry). (2014). Digital music report 2014 . Retrieved January 9, 2015, from http://www.ifpi.org/down- loads/Digital-Music-Report-2014.pdf IFPI (International Federation of Phonographic Industry). (2015). Digital music report 2015. Retrieved December 4, 2015, from http://www.ifpi.org/down- loads/Digital-Music-Report-2015.pdf Jaussi, K., & Randel, A. (2014). Where to look? Creative self-effi cacy, knowledge retrieval, and incremental and radical creativity. Creativity Research Journal, 26 (4), 400–410. Leyshon, A., Webb, P., French, S., Thrift, N., & Crewe, L. (2005). On the pro- duction of the musical economy after the Internet. Media Culture and Society, 27 (2), 177–209. Madden, C., & Bloom, T. (2001). Advocating creativity. International Journal of Cultural Policy, 7 (3), 409–436. McGuigan, J. (2010). Creative labour, cultural work and individualisation. International Journal of Cultural Policy, 16 (3), 323–335. Morrow, G. (2006). Managerial creativity: A study of artist management practices in the Australian popular music industry. Unpublished PhD thesis, Macquarie University, Sydney, Australia. Morrow, G. (2011). Sync agents and artist managers: A scarcity of attention and an abundance of onscreen attention. Screen Sound, 2 , 104–117. Morrow, G., & Li, F. (2016). China’s music industries: Top down in the bottom up age. In P. Wikström & R. Defi llippi (Eds.), Business innovation and disrup- tion in the music industry . Cheltenham, UK: Edward Elgar Publishing. Nordgård, D. (2016). Lessons from the world’s most advanced market for stream- ing services. In P. Wikstrom & R. Defi llippi (Eds.), Business innovation and disruption in the music industry (pp. 175–190). Cheltenham, UK: Edward Elgar Publishing. Ries, E. (2011). The lean startup . New York: Crown Business. Robinson, F. (2001). A proven methodology to maximize return on risk . Retrieved February 24, 2016, from http://www.syncdev.com/ minimum-viable-product/ Schumpeter, J. (1939). Business cycles: A theoretical, historical and statistical analy- sis of the capitalist process . New York: McGraw Hill. Scott, M. (2012). Cultural entrepreneurs, cultural entrepreneurship: Music pro- ducers mobilising and converting Bourdieu’s alternative capitals. Poetics, 40 , 237–255. Tschmuck, P. (2016). From record selling to cultural entrepreneurship: The music economy in the digital paradigm. In P. Wikstrom & R. Defi llippi (Eds.), Business innovation and disruption in the music industry (pp. 13–32). Cheltenham, UK: Edward Elgar Publishing. 34 D. HUGHES ET AL. Watson, J. (2002). What is a manager? In M. McMartin, S. Eliezer, & S. Quintrell (Eds.), The music manager’s manual . Sydney, Australia: The Music Manager’s Forum. Watson, J. (2013). Keynote Q & A with John Watson. Interviewed by N. Megel on 12 September 2013, BigSound , The Judith Wright Centre, Brisbane, Australia. Williamson, J., & Cloonan, M. (2007). Rethinking the music industry. Popular Music, 26 (2), 305–322. Wiseman-Trowse, N. (2008). Performing class in British popular music . Basingstoke, UK: Palgrave Macmillan. THE NEW BUSINESS OF MUSIC 3537 © The Editor(s) (if applicable) and The Author(s) 2016 D. Hughes et al., The New Music Industries , DOI 10.1007/978-3-319-40364-9_3 CHAPTER 3 Standing Out in the Crowd Abstract While the opportunities for accessing and sharing music are now extensive, this chapter addresses the ability to be noticed or heard. This can pose signifi cant challenges for artists. An analysis of career devel- opment within the new music industries suggests that tension between creativity and management roles dissipates when the artist becomes an artist-entrepreneur or is DIY. These options, however, require artists to be strategic in their individuality and branding. The branding options extend to online presentation and access, as well as merchandising and image. This chapter discusses various artist strategies including startups, online direct-to-fan services, and intermediaries, focusing on hard creativities in these areas. Keywords Startups • Direct-to-fan services • Intermediaries • Online This chapter focuses on musical creativity by exploring the innovation, novelty and groundbreaking creativities present within the new music industries. It features artist strategies and online direct artist-to-fan ser- vices as examples of business creativity as invention, and, arguably, inno- vation. 1 Standing out in the new music industries necessitates artistic and business creativities. Within this context, this chapter examines whether an artist’s career can be considered a startup. We argue that due to the ambi guity surrounding the term ‘novel’ in defi nitions of hard artistic cre- ativity, some artists are operating in circumstances of extreme uncertainty. This is evident in attempts to create art and to stand out in a crowded marketplace. Uncertainty stems from the question of whether an audience will favourably receive a creative work, deem it to be novel and innovative, and help business models to succeed. Our analysis of career development within the new music industries suggests that tension between creativity and management (Bilton, 2007 ) dissipates when the artist becomes self-managed (DIY model) or operates as an artist-entrepreneur (Entrepreneur model). This ironically simplifi es the notion of the ‘liberal artist’ (Wiseman-Trowse, 2008 ) and the dis- courses of authenticity associated with it. It also raises interesting questions regarding the suitable application of the lean startup methodology (Ries, 2011 ) to career development in the new music industries. The uncertainty and ambiguity surrounding the novelty of hard artistic creativities, and the question of who decides what is creative in the digital ecology, means that startup methodologies for addressing uncertainty in relation to both hard artistic creativity, and the business/es around it, are applicable. This chapter also addresses questions of whether artists can ‘pivot’ 2 (Ries, 2011 , p. 24) in similar ways to other startups. The new music busi- ness brings with it much countercultural baggage (see Goodman, 1997 , p. 10), adding complications that do not apply to non-music startups; dis- courses of authenticity, nuanced branding signifi cation, subcultural capital (Thornton, 2006 ) and coolness are at play in complex and rapidly evolv- ing ways. How an artist is branded needs to be refl ective of the music and of the individual/s involved, and is often genre-specifi c. This branding extends to online presentation and access, as well as traditional and non- traditional merchandising. ARTIST STARTUPS We propose conceptualising artists’ careers as startups, with particular attention to defi nitions and understandings of artistic creativity in the digital ecology. The circular model of career development means that, to varying degrees, artists are exposed to more fi nancial risk in the new music industries and thus need to know how to manage this risk. We argue therefore that the notion of a minimum viable product (MVP) (Robinson, 2001 ; Ries, 2011 , p. 93) is useful here for managing such risk. This notion can assist artists to discern market exploitation and market-building as two different stages of the processes of marketisation. Our research suggests 38 D. HUGHES ET AL.that many artists spend large amounts of risk capital in their attempts to produce a fully developed product that they can release into the market in order to kick-start their career. For example, in considering attempts by Australian bands to gain an audience by attending and disseminating their product at leading international music festival and conference South by South West (SXSW) in Austin, Texas, USA, Tom Harris (Founder of White Sky Music, a specialist music business management and bookkeep- ing company) warned that Australian artists potentially ‘waste’ signifi cant amounts of money because it is diffi cult to stand out in such a competitive environment. Such mismanagement of funds also happens because some artists wait until they have a fully developed product before they release it, and therefore confuse market exploitation with market-building. In this context, there is often no pre-existing market to exploit because it has not, as yet, been built. The risk capital required to prepare for potential markets is extensive and may incur little initial return. Many defi nitions of startups exist in the literature (Jolly, 2003 ; Ries, 2011 ; Damodaran, 2011 ; Blank & Dorf, 2012 ; Graham, 2012 ; Eisenmann, Ries, & Dillard, 2012 ). Blank and Dorf ( 2012 ) argued that a startup is ‘a temporary organization in search of a scalable, repeatable, profi table busi- ness model’ (p. xvii). The word ‘search’ implies that a startup organisation is breaking new ground in an emerging/immature market, while the word ‘temporary’ alludes to the fact that startups either evolve into established businesses or cease to exist. These words are also used here to differenti- ate startups from new small businesses that are engaging in soft business creativities because they are using pre-existing business models and are not in a temporary phase that involves searching for a business model. Graham ( 2012 ) and Damodaran ( 2011 ) associate startups with growth, while Jolly ( 2003 ) discusses failure as being a necessary pre-condition of success in this area by noting that restarting is often part of the process. Blank ( 2013 ) noted that because ‘75% of all startups fail’ ( p. 1), the lean startup methodology identifi ed by Ries ( 2011 ) has become dominant in the startup fi eld because it theoretically reduces risk. Blank ( 2013 ) stated that this method favours ‘experimentation over elaborate planning, cus- tomer feedback over intuition, and iterative design over traditional ‘big design up front’ development’ (p. 1). We focus on this approach because it potentially enables artists to test assumptions about their music, the organisational structures around their music, and their overall brand in ways that avoid the pitfalls of market-building/market exploitation STANDING OUT IN THE CROWD 39confusion. It therefore limits their exposure to risk. The notion of an MVP (Robinson, 2001 ; Ries, 2011 , p. 93) is key to this process. Compared with other startups, artists can easily release an MVP through social media in order to start the process of market building. Artists’ careers can therefore be considered as startups because they meet Ries’s defi nition of ‘a human institution designed to create a new product or service under conditions of extreme uncertainty’ (Ries, 2011 , p. 27). Ries also argued that ‘suc- cessful startups are full of activities associated with building an institu- tion’ (p. 28). According to Ries, institution-building activities include the securing and coordination of creative employees to facilitate a company culture that ‘delivers results’ (Ries, 2011 , p. 28). Thus, a startup involves building a somewhat bureaucratic enterprise. An artist’s career in the new music industries is an enterprise. The DIY and Entrepreneur models (see Chapter 2 ) detail how the ‘artist’ extends beyond purely artistic endeavours. However, it is important to note that not all artists create a genuinely ‘ new product or service under conditions of extreme uncertainty’ (Ries, 2011 , p. 27, author’s emphasis). ‘Innovation’ is interesting here and is interchangeable with ‘novelty’ in the context of defi ning hard artistic creativity. Ries noted that the exact cloning of another business venture is not considered a startup because ‘its success depends only on execution—so much so that this success can be modelled with high accuracy’ (Ries, 2011 , p. 29). Our argument therefore is that artists attempting to achieve novelty through their work by incorporating hard artistic creativity cannot model their success with high accuracy and may therefore be viewed as startups. ARTISTIC CREATIVITY Defi nitions of artistic creativity 3 are fundamental for conceptualising art- ists’ careers as startups. Creativity is most often defi ned as the process of making useful, novel products (Csikszentmihalyi, 1996 ; Mumford, 2003 ; Kilgour, 2006 ; Weisberg, 2006 , 2010 ). In addition to this, Madden and Bloom ( 2001 ) outline the issues involved in the process of valuing artisti- cally ‘hard’ and ‘soft’ creative outcomes (see Chapter 1 ). They expand on this notion by questioning the direct application of invention–cogni- tion defi nitions of creativity in the arts sphere because such an applica- tion implies that ‘artistic creativity is about generating new artistic ideas’ (Madden & Bloom, 2004 , p. 135) whereas it also typically involves aspects of tradition and affect. 40 D. HUGHES ET AL. The ideas here highlight the ambiguity surrounding novelty within the new music industries. In addition, the concept of creativity within social systems (Csikszentmihalyi, 1996 ) fuels this ambiguity. Negus and Pickering ( 2000 ) also argued that ‘creativity is a socio-culturally constructed concept that requires value judgements by others in order to acknowledge cre- ative outcomes’ (p. 264). In the context of the new music industries, the question of who decides what is novel and creative is now dependent on a social system that has been broadened from music critics and the artist and repertoire (A&R) staff who work at record labels. Primarily through social media and online strategies, fans largely now determine at the outset of an artist’s startup whether the music is novel and/or creative. The cir- cular process of career development in the new music industries accentu- ates this, with social media, for example, crowdsourcing value judgements concerning creativity. The social media economy of shares and likes sub- sequently expands the size of the ‘fi eld’ (Becker, 1982 ; Bourdieu, 1986 ; Csikszentmihalyi, 1996 ) of experts who decide the novelty of an artist’s music and overall brand identity. Traditional intermediaries who constitute the fi eld of popular music (such as artist managers and record label A&R rep- resentatives) are also reliant on the broader ‘crowd’ to provide quantita- tive metrics and data. This data can then be used to assess the potential exponential growth of an artist’s career, and to determine whether to sign or not sign an artist. Hard creativity in the digital environment is a socio-culturally con- structed and located complex concept. Creating valued products increas- ingly hinges on the involvement of fans, which itself is dependent on creating novelty according to defi nitions of hard artistic creativity. As Le, Masse and Paris ( 2013 ) noted: Compared to traditional industries, where objectives are set and pre- defi ned by rationale targets or other activities such as fundamental scientifi c research, the cultural and creative industries present a more open-ended setting. (p. 57) This open-ended setting, where value judgements are crowdsourced via social media, results in continuous uncertainty for artists attempting to generate the novelty required to achieve hard creativities. Furthermore, defi nitions of career success are likewise more open-ended in the new music industries (Hughes, Keith, Morrow, Evans, & Crowdy, 2013 ; Smith, 2013 ). STANDING OUT IN THE CROWD 41 For original-music-producing artists, there is ambiguity surrounding the novelty they can generate through their hard artistic creativity. How or whether these trajectories can be defi ned as being successful attest to conditions of extreme uncertainty. In defi ning success for an artist’s career, Joel Connolly (artist manager) noted: It depends on what [the band] want to achieve so we sit down with the band at the beginning and ask them what they want to achieve… We manage art- ists who want it to be their career and want to make money and have a career and who want it to be their job. Otherwise there is no point. We can’t make money if they can’t make money. For us, all of our artists are interested in earning a living from [music]. Artists’ career development can meet the latter part of Ries’s ( 2011 ) defi nition of a startup in two ways. First, the ambiguity surrounding the novelty they generate through their hard artistic creativity subjects them to extreme uncertainty. Second, the state of fl ux in the new music industries subjects startups to uncertainty in terms of career development opportunities. In this context, career development increasingly requires an innovative approach to be noticed in a crowded marketplace. DEVELOPING A BRAND Standing out in the new music industries involves novel creative devel- opments in both artistic and business endeavours. It involves the organ- isational structure surrounding the artist, and also the various forms of musical and visual media they produce (for example, music videos, gig posters, album art, set designs, merchandise designs and social media). Artists may be able to ‘pivot’ (Ries, 2011 , p. 24) their product in ways similar to those used in non-music startups. The need to generate novelty is constant, and to create novelty artists must carefully position and con- struct their identity and branding. Watson noted: [Artists] have to plan to be constantly remarkable. Not just on day one, but on day ten, twenty, one hundred, and all the way through the life cycle of the project. And the life cycle of the product will be shorter. (Watson, 2013 ) 4 This constant necessity for innovation needs to be balanced with a consistent artist identity or brand. The brand of an artist is essential in strategizing their career and in developing capital among audiences and 42 D. HUGHES ET AL.other stakeholders. The theory concerning cultural, social and economic capital (Bourdieu, 1986 ) is useful here in highlighting the various forms of capital at play. Morrow ( 2006 ) links cultural capital with the notion of a brand in a discussion of artist management practices in the music industries, noting that a brand ‘is the qualitative or cultural experience of the product’ (p. 54); effective branding builds social and cultural capital (Morrow, 2006 , p. 57). The notion of subcultural capital (Thornton, 2006 ) is crucial to the concept of standing out, as it directly relates to con- structs of authenticity 5 and coolness , which form a core element of the mar- keting process within the new music industries. Other kinds of capital are also relevant; for example, social capital today is quantifi ed through social media data, in terms of fan numbers and interaction. Artists therefore need to decide to link their music, their identity, their social structure and the lifestyle that their brand represents. Liz Tripodi (vocal teacher, entrepreneur, and performer) summarised this by noting that ‘the artist needs to think of themselves as a brand’. Joel Connolly (art- ist manager) likewise noted that artists can be reluctant to brand themselves: Artists rarely think about [the brand]. They think about their ‘image’ as they call it—‘We don’t want people to see us this way.’ I think it has always been important. It’s just easier to see now. These considerations raise questions as to the overall development of brands. Leanne de Souza (artist manager) commented that an artist’s branding process begins ‘when they get their fi rst Facebook page at 12’. This suggests that in the age of social media, some artists are, or need to be, cognisant of their personal brand from a very early stage in their artis- tic development. This has implications for parents who may be overseeing the artistic development of their children and the dissemination of prod- uct including YouTube clips. Visual design and strategies within the new music industries are therefore vital, especially given the visually focused nature of social media platforms such as YouTube, Instagram, Twitter, and Facebook. Long before the advent of social media, Negus ( 1992 ) astutely noted the relevance of visual marketing that ‘involves an attempt to articu- late the authenticity and uniqueness of an artist and to communicate this through a concise image which operates as a metonym for an act’s entire identity and music’ (p. 72). Cumulatively, an artist’s brand is amorphous, temporal and subject to development and change; it has symbolic value through its inherent mean ing STANDING OUT IN THE CROWD 43and how it is communicated (Ots & Hartmann, 2015 , pp. 217–218). It is important for an artist’s brand to be, at times, rejuvenated because what it means and communicates may change over time. An artist’s brand may also be generated by its association with a patchwork of other brands that are fused together as part of an overall identity. This typically occurs when the artist works with a song publisher or synchronisation (sync) agent(s) in order to realise further opportunities (see Morrow, 2011 ). Interestingly, Matt Amery (artist) noted that for him the process of brand generation or regeneration occurred through the process of generating income: For us, a lot of our income comes from syncs and proportionately to what people have bought… it’s so much more weighed to publishing and getting sync and ads and branding. That’s where more of the money comes from so that’s what we’re looking for… Not so much focusing on people buying the music and the merch[andise]. Artists’ brands are also created through written text. Artists, therefore, may also need to consider how publishing and/or a publicist may aid the construction/reconstruction of their brand. Stephen Green (publi- cist) noted that experienced publicists ‘have spent 10, 15, whatever years absolutely nailing the idea of the psychology of media’. Publicists play a role in communicating understandings of music and the creative, and often youth-oriented, subculture/scenes surrounding it. This youth focus does, however, pose a challenge for career support and longevity, as Green further noted: triple j 6 is a network aimed at 18–24 year olds, how does a 35 year old song- writer, how are their songs, that they’re writing today when they’re 35, how do they relate to a 19 year old? THE SIGNIFICANCE OF ORIGINALITY AND PRODUCT Despite the perception that many sectors of the music industries are youth-focused, the complexity of and opportunities afforded by the new music industries are such that artistic novelty may be recognised at any career stage. For example, Gotye (Wouter ‘Wally’ De Backer)—a Belgian- Australian, multi-instrumental musician and singer-songwriter—has developed his brand under the name ‘Gotye’. This alias was derived from ‘Gauthier’, the French equivalent of ‘Walter’ or ‘Wouter’ (Pareles, 2011 ). 44 D. HUGHES ET AL.Initially, Gotye fronted a rock band (Downstares) and after it disbanded, he co-formed (in 2002 with Kris Schroeder) the Melbourne- based indie-pop trio The Basics (Alberts, 2016 ). He also released the fi rst Gotye electronic music album, Boardface (Creative Vibes, 2003; Ankeny, 2016 ). After the success of his independently released second album Like Drawing Blood (Independent/Creative Vibes, 2006), Gotye was able to establish a per- manent home in Melbourne’s Southeast (Gotye.com, 2016 ). In 2010, he set up a recording studio in a barn at his parents’ farm and set about recording tracks for his third album Making Mirrors (Gotye.com, 2016 ) which was released through Eleven and Universal Republic Records, and so traversed a combination of record labels. In 2011, Gotye released the song ‘Somebody That I Used to Know’ (written by De Backer) featuring the New Zealand artist Kimbra. It was released as a single on 6 July 2011 and debuted at number 27 on the Australian Recording Industry Association (ARIA) Top 50 Singles Chart (Top40-Charts.com, n.d. ). The song was boosted by endorsements from Ashton Kutcher and Lily Allen via Twitter (Twitter.com, 2011 ), expos- ing Gotye’s music to their millions of followers (Jolly, 2011a , 2011b ). ‘Somebody That I Used To Know’ peaked at number one in 18 countries and has been the number one single on iTunes in 46 countries (ABC, 2013 ). In 2012, it was a breakthrough song and reached number one on the Billboard Hot 100 (Billboard.com, 2012 ). This made Gotye the fi fth Australian-based artist to do so and the second Belgian (after The Singing Nun in 1963) (Billboard.com, 2012 ). Gotye won fi ve Australian Recording Industry Association (ARIA) Awar ds and received a nomina tion for an MTV EMA for Best Asia and Pacifi c Act (ABC, 2013 ). In 2013, Gotye won three Grammy Awards for Record of the Year, Best Pop Duo/ Group Performance and Best Alternative Music Album (ABC, 2013 ). ‘Somebody That I Used to Know’ is an example of hard creativity because it is novel in its composition and production (see also Adams, 2014 ); hard creativity is also evident in the related fi lm clip released in 2011 on YouTube and Vimeo. Directed by Natasha Pincus, the video has now been viewed over 758 million times (as of April, 2016). The video was listed at number 15 of the most-viewed videos on YouTube (as at April, 2013) (YouTube, 2013a ) and the number 4 most-liked video of all time (YouTube, 2013b ). The Gotye example shows that an artist startup needs to feature a holistic MVP that involves music video, visual design, live performance and set designs, merchandise designs and online strategies. This multi- dimensional STANDING OUT IN THE CROWD 45presence is the primary reason why artist startups typically require more input from intermediaries, not less; time, effort and skill are required to generate novelty in all of these areas. Additionally, artists now need to con- nect with many more distribution channels in order to make a number of impressions comparable to what would have occurred during the broad- cast era (had the artist been fortunate enough to access a mainstream distribution outlet). As Watson ( 2013 ) noted: When I worked at Sony our boss had this great line: ‘I loved the 70s, it was Countdown, then 2SM, then lunch.’ He was half joking but he was also making a serious point. In those days if you covered that TV show and that radio station then that basically reached everybody. To reach the same percentage of the population nowadays you would probably have to do 100 different things because the audience is fragmented across all sorts of media. That’s not a bad thing because instead of there being one or two powerful gatekeepers, there are now 100 different people who can make a difference and they’re usually watching their audience and reacting to what they like rather than imposing their tastes on everyone else. Even so, it’s now a lot more work to simultaneously get something into 100 channels—it would have been much easier to visit Countdown and 2SM and then go to lunch. In order to better understand this new reality, a reconceptualization of the relationship between artist startups and various intermediaries is needed. STARTUPS , ONLINE SERVICES AND VALIDATION Many artist startups are faced with income insecurity (Throsby & Zednik, 2011 ) which appears to be exacerbated when artists experience diffi culties in operating their business. The tension between creativity and business acumen endures even in education (see Bridgstock, 2012 , p. 123), as the arts are arguably associated with a certain bohemian idealism. In this con- text, business acumen and artistic management are often framed as dull and bureaucratic concerns. Conversely, the more appealing term ‘artist- entrepreneurship’, as opposed to ‘self-management’, connotes something that is ‘cool, innovative, and exciting’ (Ries, 2011 , p. 3). Ries’s ( 2011 ) lean startup methodology is useful as it helps to guide artist management strategies (whether through the process of self- management or through the service provision provided by a separate manager). Describing his methodology for ‘hypothesis-driven entrepre- neurship’ (Eisenmann et al., 2012 ), Ries notes that ‘the business and 46 D. HUGHES ET AL.marketing functions of a startup should be considered as important as engineering and product development and therefore deserve an equally rigorous methodology to guide them’ (p. 5). The methodology developed by Ries involves the process of validated learning. Validated learning (or validation) is a process that relies on the Build–Measure–Learn feedback loop (Ries, 2011 , p. 228) afforded by launching an initiative/product, measuring its resultant effi cacy and then using the data to inform subse- quent development. Social media is one way through which the process of validation can occur. Its effectiveness can be substantiated by empiri- cal data collected from fans and is ‘a rigorous method for demonstrating progress’ (Ries, 2011 , p. 38). The direct artist-to-fan relationship enabled by social media can help artists address ‘the extreme uncertainty’ (Ries, 2011 , p. 38) caused by the ambiguity surrounding the novelty they gener- ate through hard creative endeavours. Discussing the complexity behind direct artist-to-fan communication, Matt Amery (artist) noted the level of integrity involved: It is more about what you stand for, which doesn’t always come through your music, it might come through what you say online. People are more interested in, they might hear about your music, but then what hooks them is fi nding out about who you are. This process of direct artist-to-fan communication is relevant not only for ‘hooking’ fans into being interested in the artist’s work, but also ‘hook- ing’ intermediaries into being involved. Damian Cunningham 7 (Director of Audience and Sector Development, National Live Music Offi ce) noted that for both emerging and high-profi le artists developing an online pres- ence is key: I think that is led by visual and easy online presences where people from a digital point of view are spreading the word rather than just going ‘I really love that track, did you hear it on the radio?’ It’s like, ‘Here’s a 30 second grab on social media.’ Watson ( 2013 ) also discussed a growth in Facebook friends as a ‘constant process of regular rewards’. This is another example of validation via social media. The iterative process of validated learning can encompass music, design, branding and other para-musical areas in a broad sense. As pre- viously discussed, the circular communication cycle between artist–fan– industries–artist–fan–industries is only partly musical. STANDING OUT IN THE CROWD 47 A number of online services have arisen to assist artists in direct-to- fan sales and marketing, in areas including ticketing, physical merchan- dise, web presence and digital merchandise (i.e. song downloads), as well as more specialised areas such as crowdfunding, gig booking, and email marketing. One of the earliest services, CDBaby, was founded in 1998 as a service enabling independent musicians to sell CDs of their work (Thompson, 1998 ). The service later expanded into digital distribu- tion, offering artists the option of selling music digitally via services such as Apple iTunes (Thompson, 1998 ). CDBaby still exists today, but has adapted by diversifying into a number of other areas, including ‘YouTube monetization, sync licensing, publishing royalty collection, and direct-to- fan tools for your website and Facebook’ (CDBaby.com, 2016 ), as well as website creation (via its subsidiary company HostBaby), vinyl produc- tion, distribution of physical CDs to bricks-and-mortar stores (through partnership with Alliance Entertainment), merchandise production (via subsidiary company Merch.ly) and audio mastering (through partner- ship with Landr.com) (CDBaby.com, 2016 ). The proliferation of distinct services, from which artists can pick and choose according to their own unique requirements, shows the fragmentation of audiences across dif- ferent media, and the need to engage in validated learning in order to develop a viable and sustainable career. Other notable entities include Bandcamp, PledgeMusic, Topspin, Songkick, SonicBids, and Music Glue. Like CDBaby, many of these entities offer several services but are often associated with a primary ser- vice. For example, Bandcamp offers free downloads in exchange for the user’s e-mail address, allowing the artist to build a database of fan e-mail addresses; it also allows artists to sell music downloads at any price point, including ‘pay what you want’ or minimum price. This approach empow- ers artists to manage their own fanbase data and also to decide how to monetise their work. Meanwhile, although Topspin offers a range of ser- vices including physical merchandise, downloads and ticketing, it is pri- marily associated with physical merchandise. In a New York Times profi le of Topspin, Sisario ( 2011 ) noted that: it has developed a specialty of bundling physical goods with downloads. The company encourages bands to give songs away, wagering that curious fans will come back to buy more lucrative products like T-shirts or deluxe editions that can be combined at various price levels. The company’s sales data seem to support that philosophy. Even with plenty of $2 videos and 48 D. HUGHES ET AL.$10 posters for sale, the average transaction on Topspin brings in $26; when tickets are involved, the average is $88. (Sisario, 2011 ) The diversity of services available to artists in today’s marketplace can be confusing for artists or managers who need to choose which ones best suit individual needs. However, as Brenden Mulligan (former strategic devel- opment vice-president at Sonicbids, an online booking service) noted, the proliferation of these services allows artists to employ those that best suit their fans, brand and engagement style, rather than ‘one service that tries to be everything for everyone’ (Mulligan, 2010 ). With offi ces in London, New York and Sydney (Music Glue, 2016 ), Music Glue is an example of a digital marketing ‘solution’ that offers e-commerce tools for ‘artists [and managers], venues, promoters and labels’ (Music Glue, 2016 ). It provides the tools to ‘empower… users to take control, own their data and sell anything, to anyone, anywhere, in any currency, in any language and via any device’ (Music Glue, 2015 ). Music Glue’s business model involves enabling artists, managers, promot- ers, venues, festivals and other participants in the music industries to set up a free online profi le (Music Glue, n.d. ). Each artist profi le has ‘a unique URL’, is ‘customisable’ (with options for individualised branding) and is media/device-compatible (Music Glue, n.d. ). In return for its services, Music Glue takes a 10% commission on sales (Music Glue, 2015 ). This includes ticketing, merchandise and digital sales (Music Glue, n.d. ). In this way, Music Glue generates revenue only when the users of their ser- vice do (Music Glue, n.d. ): Originally founded in 2007 by artists for artists, Music Glue is the only DIY platform that facilitates ticketing, chart eligible record sales, merchan- dise, fulfi lment, crowdfunding, bundles and even more, in one simple to use package. Ultimately, we have created an artist-centric solution for the new global music industry that ensures more money goes back into the pockets of the music creators. (Music Glue, n.d. ) Through Music Glue’s services, artists retain ownership of their fan data (Music Glue, 2015 ) which can be used to inform live performance and touring. Music Glue’s service uses ‘Google analytics to track visits’ (Music Glue, n.d. ) to the artists’ profi les, thereby recording the geographical location of fans, which provides insight to potential touring destinations because artists can ‘know where your fans are; what they buy’ (Music Glue, STANDING OUT IN THE CROWD 49 n.d. ). The founder of Music Glue, Mark Meharry (cited in Robinson, 2009 ) described the benefi ts of determining the location(s) of an artist fanbase: Enter Shikari are a great example. We have a global map set up where you can see all of your fans, you can drill down into particular towns. And for their booking agent, that’s absolutely bang on for what they need to put their tours on around the world. And this year they’ll be out on the road across the globe—based on where their fans are. Once tour destinations are fi nalised, the artist (and/or manager/pro- moter) is able to approach venues/ticketing companies for an allocation of tickets, which is then sold directly to all fans. This cuts out second- ary ticketing (and sales), a concern expressed by Mumford & Sons (see Lindvall, 2012 ; Mumford & Sons, 2015a ) who are now a Music Glue user. Meharry (cited in West, 2015 ) explained the concept behind Music Glue’s direct to fan ticketing and sales: By using Music Glue, artists have the greatest reach into the market and are now able to leverage that reach with retail. Yes, we eliminate secondary ticketing, however the biggest reasons to insist on large ticket allocations from promoters are data capture and upselling of products that the artist will make money from. (Meharry cited in West, 2015 ) Using Music Glue’s ticketing option, the artist (rather than the venue/ ticketing company) is able to collect consumers’ data. Music Glue there- fore addresses the potential confl ict of interests between the artist and the venue and/or ticketing company: an artist typically wants to retain the fan data to sell tickets to their future shows and to advertise the release of future recordings and other products, whereas the venue and/or ticketing company want to retain this data to upsell tickets to other artists’ shows or other types of events. Meharry (cited in LeBlanc, 2015 ) noted the rel- evance of this function to the artist: [Artists] have enormous reach in the market now through all of the social media channels. They can reach a global marketplace, and what that mar- ketplace is interested in is connecting with the artist directly. Our very origi- nal model was using an artist’s music to locate its fans, and building up a database by exchanging music for data, for email addresses and locations. (Meharry cited in LeBlanc, 2015 ) 50 D. HUGHES ET AL. Music Glue users include high-profi le artists such as Public Service Broadcasting, Mumford & Sons, Brian Ferry, Billy Bragg, Enter Shikari, and Boy & Bear (West, 2015 ). A provider such as Music Glue affords an opportunity to validate learn- ing through investigating options and testing those options. Such experi- mentation of business practices may be regarded as hypothesis-driven entrepreneurship. Ries ( 2011 ) explained that this concept ‘begins with a clear hypothesis that makes predictions about what is supposed to happen. It then tests those predictions empirically’ (Ries, 2011 , pp. 56–57). Rather than thinking in reductionist ways that involve either an artist signing to a major label (potentially the 360 model) as the ultimate goal, or cutting out all intermediaries (as per the DIY model), artist and band startups need to develop more-nuanced hypotheses that can be tested through various experiments. Damian Cunningham articulated how services such as Music Glue, Bandcamp and Topspin Media can facilitate hypothesis- driven entrepreneurship. Cunningham posited that the processes and ser- vices offered by Music Glue do not ‘seem to have boundaries’ allowing artists to be ‘as creative as what you want… you want to do a creative event, you want to do a merch sale, whatever you decide, those tools are fl exible enough to work around it’. Therefore, the services provided by Music Glue have added a degree of fl exibility when it comes to career- related hypothesis generation and experimentation. In terms of the fl exibility of entrepreneurial processes, Joe Vesayaporn (global sales director of Music Glue) provided the example of Enter Shikari as a band that has completed successful experiments in relation to ticket and merchandise sales. Enter Shikari control their own website (enter- shikari.com) and drive all traffi c to this website (rather than to a ticket- ing service per se). In order to manage this process, Vesayaporn noted that Enter Shikari ‘sent someone on the road with [their] shows to man- age fans and scan tickets. They really took ownership and managed their ticket allocations at the venues they were playing’. Having educated their fans to purchase concert tickets directly from their website, Enter Shikari set up their own merchandise fulfi lment company with their merchandise being sold directly via their website. In terms of this merchandising ser- vice, Vesayaporn noted that Music Glue ‘are now offering that [option] out to other acts because they have done it right for themselves.’ Through this process of learning how to do ‘do it right for themselves’, artists can gather reliable data that can be used to substantiate claims regard- ing current commercial success and the potential of future commercial STANDING OUT IN THE CROWD 51 success, as Cunningham noted: ‘At any point you can give the equivalent of your fan profi t and loss sheet and it is reliable hard data. I think that has changed things dramatically’. However, in terms of such experimentation, Cunningham also argued that ‘sometimes “wrong” business decisions are the right things to do because of the creative outlet’. Vesayaporn cited other examples of bands such as Ben Howard and Mumford & Sons that began experimenting with direct artist-to-fan relations by using Music Glue’s services. He noted that these bands have since been able to scale up their experiments as they have passed through the startup phase to become fi nancially successful businesses. For instance, although the British band Mumford & Sons are signed to a mixture of independent and major labels such as Universal Music Group’s Island imprint for the UK and Europe, to the large independent label Glassnote Records in North America and to Universal Music Australia’s Dew Process imprint for Australia and New Zealand (Mumford & Sons, 2016 ), Vesayaporn recalled that: [Before they signed] record deals they were selling direct on the ticketing side of things… and from the very early days they were just putting stuff out via their Myspace or their website or via Music Glue, selling direct to fans, and they have continued to do that as they have grown. Vesayaporn argued that this strategy provided them leverage to agree split territories deals across labels (as opposed to signing for the world with a major label out of a home territory). CONCEPTUALISING BRAND AND CAREER DEVELOPMENT Mumford & Sons have long graduated the startup phase of their devel- opment and now offer direct-to-fan solutions. They sell tickets and mer- chandise directly to their fans (Mumford & Sons, 2016 ) and are noted for other entrepreneurial strategies. Vesayaporn, for example, noted that even though Mumford & Sons can draw the audience needed to play arena ven- ues, they have conceptually elaborated on this by converting their arena shows into their own festival, which they headline (Mumford & Sons, 2015b ). Mumford & Sons now sell tickets for their own Gentlemen of the Road and Stopover festivals directly to fans, as Vesayaporn explained: [This] is what they have done in the US and Canada and did in the UK in July where they promoted their own festival and sold 100 % of the tickets themselves. Again, they were doing that 4 years ago on a smaller scale. I 52 D. HUGHES ET AL.would say what they learned via direct-to-fan, and from management and themselves on ticketing, gave them confi dence as they got bigger to do what they do. Mumford & Sons’ close control of their brand is to a large extent made possible through their touring and ticketing strategies. Fans have been ‘educated’ to purchase tickets via www.mumfordandsons.com , enabling the band to pursue some innovative live performance strategies. By using Music Glue as one of the primary ticketing outlets for their one-day fes- tival in London in July 2013—which they claim 60,000 people attended (NME, 2013 )—according to Vesayaporn, Mumford & Sons retained much of their fan data for future use. This meant that, in addition to controlling their own brand of Mumford & Sons, they also own the brand name of the festivals they headline around the world including the Gentlemen of the Road Stopover sub-brand. 8 The examples above suggest that a useful way to conceptualise career development in the new music industries is to acknowledge that bands can release an MVP (Ries, 2011 , p. 93) directly to fans, although to build a sustainable business they often need to engage a number of intermediaries. Determining which intermediaries they employ should be subject to the results of experiments that test various assumptions about the developing needs of their startup. In the specifi c case of Mumford & Sons, it is evident that Entrepreneur and DIY career models are traversed. However, these models are not used by Mumford & Sons as either/or options. Rather, they are used in unique combinations in a longitudinal sense and in terms of geographic territory. The Melbourne artist Matt Walters ( 2015 ) has traversed career mod- els and has launched an online platform for facilitating house concerts (parlour gigs) that is set to ‘transform the live music economy’ (Walters, 2015 ). Walters explained: From being signed to a major label, to touring with some incredible inter- national artists, I’ve certainly experienced all the ups and downs the music business has to offer… Of course, with the traditional music model well and truly behind us, there is more emphasis than ever on playing live… This is what Parlour is all about. We are building a platform that will fi nally connect artists and hosts. (Walters, 2015 ) The examples above illustrate how career development within the new industries has shifted from being linear to circular, and also demonstrate STANDING OUT IN THE CROWD 53how the different career models outlined in Chapter 2 are mobilised in a way that is unique to each artist. Central to career development in the new industries is the way artists engage with fans. Direct-to-fan strategies enable artists and artist startups to collect and retain fan data, instead of the data being collected by the venue(s) or third-party ticketing outlets. This data plays a crucial role in the validated learning that is important for an artist or an artist startup’s ultimate success. As Vesayaporn argued, fan data is a means through which artists and artist startups can test their hypotheses by asking themselves such questions as: Do we have a range of T-shirts when it is actually signed vinyl and cool post- ers that sell? Or do we have a range of $40 posters that no one gives a shit about because they just want to get a nice T-shirt? Through the use of fan data, artist startups can become adaptive organ- isations that automatically adjust their processes and performance to suit current conditions (Ries, 2011 , p. 227). By collecting fan data at the outset, the artist startup’s validated learning process that involves the Build–Measure–Learn feedback loop (Ries, 2011 , p. 228) can become a continuous process. Through a service such as Music Glue, artists can work through a process of continuous iteration to develop their product(s). In this context, for an artist to be ‘dropped’ 9 by a label need not be a career setback. DISRUPTION AND RESISTANCE The music industries are constituted by a complex web of intermediaries (Williamson & Cloonan, 2007 , p. 305) and some benefi t from the entre- preneurial efforts of artist startups, while others do not. In the live music industry, promoters and booking agents typically generate income on aggregate by working with a large number of artists. Conversely, artist and band startups (and artist managers) are more reliant on the revenue their startup and subsequent ongoing concerns generate. By enabling artists and artist startups to sell tickets directly to consumers, online direct-to- fan services may exacerbate tensions between artists who are attempting to stand out in the crowded marketplace and the artist managers, live promoters, and booking agents who would traditionally undertake or over- see the implementation of strategies to engage with audiences. Vesayaporn alluded to this when he stated that there is ‘potential push back from all 54 D. HUGHES ET AL.of the traditional players in their respective bits of the industry’. This dis- ruptive nature is also highlighted in the following quote from company founder Mark Meharry regarding the silent backers behind Music Glue: We have high net worth shareholders. They would prefer not to be men- tioned. They have nothing to do with the music industry, and are silent in the day-to-day operation. They love the idea of extreme disruption. (Meharry cited in LeBlanc, 2015 ) The disruption afforded by direct-to-fan strategies may also be of ben- efi t to a major or independent record label if it has a 360 deal with an art- ist. This is because these entities may benefi t from the artist selling tickets directly because their respective commission of the band’s live income does not fi rst have the promoter’s fee deducted from it. The tension caused by such disruption may not be attributed solely to the disintermediation that the Internet affords; the tension between artists (who are sometimes in partnership with record labels) and live music promoters and agents may also be fed by historical ‘injustice’. Australian promoter Michael Chugg ( 2010 ), claimed that some artists were treated unfairly by agents: In the days before Dirty Pool came along and changed the system, you could do a deal with the club owner or the promoter to sell your act to them for $1500 and then tell your act they were getting $1200. (206) Online ticketing services, such as those provided through Music Glue, therefore enable artists (and managers) to control (at least some of) the ticketing process and avoid the above scenario. Similarly, there are no opportunities for third-party kickbacks as artists are paid commensurate to their drawing power. CONCLUSION The growing complexity of the ‘new’ business of music (see Chapter 2 ) has led to an increased portfolio of responsibilities for artists. The shift from a scarcity of distribution outlets for music to an abundance of out- lets in the digital music economy has made it vital to attract and retain an audience’s attention by standing out in a crowded marketplace. Adding to the complexity of standing out is the evolution of social media which has expanded the fi eld of experts who ultimately decide whether a particular STANDING OUT IN THE CROWD 55artist’s music and overall brand image is novel/creative: fans are there- fore now a much more integral part of the fi eld of music. In this context, artistic music products do not fi t traditional product development models. They are subject to extreme uncertainty, and can be considered within the startup framework. However, artist startups are subject to additional layers of complexity when compared with other startups. These complexi- ties include various discourses of artistic integrity, nuanced branding sig- nifi cation and the politics of subcultural capital/coolness, as well as the notion that artistic creativity involves invention and cognition as well as tradition and affect. Our research suggests that artists can ‘pivot’ (Ries, 2011 , p. 24) like other startups, using entrepreneurial skill to lessen the tension between creativity and management that is sometimes associated with ‘selling out’. This simplifi es the notion of the liberal artist, and the discourses of authenticity associated with it. The lean startup methodol- ogy is applicable for managing the risk associated with career development in the new music industries; risk that is increasingly being placed on the shoulders of artists as they attempt to stand out in a crowded marketplace and attract various intermediaries through the circular career development process. NOTES 1. Madden and Bloom ( 2001 ) note that ‘In the Schumpeterian dis- tinction an invention is new, an innovation is both new and useful’ (p. 419). 2. A ‘pivot’ involves a startup institution changing strategic direction, usually because a particular approach is not working. Ries ( 2011 ) notes that while products change constantly through the process of optimisation, a pivot is comparatively rare and even after a pivot the overarching vision rarely changes (149). 3. The term ‘creativity’ (in the singular) is deliberate in this section. Its use does not negate the existence of multiple artistic ‘creativities’ (Burnard, 2012 ). It is used here to broadly denote the concept rather than the more specifi c types of creative processes or musical creativities that are discussed in the opening paragraphs of this chap- ter and in Chapter 6 . 56 D. HUGHES ET AL. 4. All comments attributed to John Watson are taken from a keynote question and answer session he gave at BIGSOUND conference in Brisbane on 12 September 2013. 5. For more on authenticity see Chapter 4 . 6. triple j is a taxpayer-funded, youth-oriented radio station on the FM band in Australia that broadcasts nationally. It forms part of the Australian Broadcasting Corporation (ABC) and it is one of the most important taste-making outlets for popular music in the coun- try, with its infl uence extending to the sponsorship of festivals, online music outlets and competitions such as ‘triple j unearthed’, and the infl uential annual ‘triple j Hottest 100’ listener poll. 7. At the time of our interview in 2013, Cunningham was helping to launch Music Glue (an online direct artist-to-fan facilitator) in Australia. 8. Stopovers are festivals headlined by Mumford & Sons that focus on local communities. 9. The term ‘dropped by a record label’ can be somewhat misleading. It usually means that contractually the record label has committed to funding, releasing and promoting one album ‘fi rm’, and then they have a number of options for subsequent albums that they can decide to pick up or not. Therefore being ‘dropped’ just means that the label has decided not to trigger the next option in the contrac- tual agreement between them and the artist, which they are legally entitled to do (even if they have triggered more than one of their previous options) because an option is not a fi rm commitment in the fi rst place. REFERENCES ABC. (2013, February 12). Gotye picks up three Grammys . Retrieved February 24, 2016, from http://www.abc.net.au/news/2013-02-11/gotye-picks-up- three-grammys/4511814 Adams, C. (2014, October 20). Producer Styalz Fuego talks about the stories behind his hits with 360 and gives tips to songwriters. News.com.au. Retrieved February 24, 2016, from http://www.news.com.au/entertainment/music/ producer-styalz-fuego-talks-about-the-stories-behind-his-hits-with-360-and- gives- tips-to-songwriters/news-story/268739fe9f1bc1663d922cf55149dd40 Alberts. (2016). The basics. Retrieved April 7, 2016, from http://albertmusic. com/musicians/the-basics STANDING OUT IN THE CROWD 57 Ankeny, J. (2016). Gotye: Biography. iTunes Preview. Retrieved April 7, 2016, from https://itunes.apple.com/us/artist/gotye/id161541223 Becker, H. (1982). Art worlds . Berkeley, CA/Los Angeles, CA: University of California Press. Billboard.com. (2012). Hot 100 songs & new music: 1–10 songs \| Billboard music charts . Retrieved September 16, 2012, from http://www.Billboard.com/ Bilton, C. (2007). Management and creativity: From creative industries to creative management . Oxford, UK: Blackwell Publishing. Blank, S. (2013, May). Why the lean startup changes everything. Harvard Business Review . Retrieved February 25, 2016, from https://hbr.org/2013/05/ why-the-lean-start-up-changes-everything Blank, S., & Dorf, B. (2012). The startup owner’s manual: A step-by-step guide for building a great company . Pescadero, CA: K&S Ranch. Bourdieu, P. (1986). The forms of capital. In J. Richardson (Ed.), Handbook of theory and research for the sociology of education (pp. 241–258). New York: Greenwood Press. Bridgstock, R. (2012). Not a dirty word: Arts entrepreneurship and higher educa- tion. Arts and Humanities in Higher Education, 12 (2–3), 122–137. Burnard, P. (2012). Musical creativities in practice . Oxford: Oxford University Press. CDBaby.com. (2016). CDBaby: Sell your music . Retrieved February 18, 2016, from http://members.cdbaby.com Chugg, M. (2010). Hey, you in the black T-shirt: The real story of touring the world’s biggest acts . Sydney, Australia: Pan Macmillan. Csikszentmihalyi, M. (1996). Creativity: Flow and the psychology of discovery and invention . New York: Harper Perennial. Damodaran, A. (2011). The little book of valuation: How to value a company, pick a stock and profi t . Hoboken, NJ: Wiley. Eisenmann, T., Ries, E., & Dillard, S. (2012). Hypothesis-driven entrepreneur- ship: The lean startup. Harvard Business School Entrepreneurial Management Case No. 812–095 . Retrieved February 25, 2016, from http://ssrn.com/ abstract=2037237 Goodman, F. (1997). The mansion on the hill: Dylan, Young, Geffen, Springsteen, and the head-on collision of rock and commerce . New York: Vintage Books/ Random House. Gotye.com. (2016). Gotye. Retrieved February 24, 2016, from http://www. gotye.com Graham, P. (2012). Startup = Growth . Retrieved February 25, 2016, from http:// paulgraham.com/growth.html Hughes, D., Keith, S., Morrow, G., Evans, M., & Crowdy, D. (2013). What con- stitutes artist success in the Australian music industries? International Journal of Music Business Research, 2 (2), 61–80. 58 D. HUGHES ET AL. Jolly, A. (Ed.). (2003). The European business handbook 2003 . London, UK: Kogan Page. Jolly, N. (2011a, July 21). Ashton Kutcher gets behind Gotye. The Music Network . Retrieved February 9, 2012, from http://www.themusicnetwork.com/ Jolly, N. (2011b, July 25). Lily Allen joins Gotye praise chorus. The Music Network . Retrieved February 9, 2012, from http://www.themusicnetwork.com/ Kilgour, M. (2006). Improving the creative process: Analysis of the effects of divergent thinking techniques and domain specifi c knowledge on creativity. International Journal of Business and Society, 7 (2), 79–107. Le, P., Masse, D., & Paris, T. (2013). Technological change at the heart of the creative process: Insights from the videogame industry. International Journal of Arts Management, 15 (2), 45–59. Leblanc, L. (2015). Industry profi le: Mark Meharry . Retrieved February 20, 2016, from http://celebrityaccess.com/members/profi le.html?id=693&PHPSESSI D=83qno8e9fl 9hmcd1t6g6t8cqd7 Lindvall, H. (2012). How music lovers lose out from fan-to-fan ticket exchanges. The Guardian . Retrieved February 20, 2016, from http://www.theguardian. com/media/2012/nov/28/fan-to-fan-ticket-exchanges Madden, C., & Bloom, T. (2001). Advocating creativity. International Journal of Cultural Policy, 7 (3), 409–436. Madden, C., & Bloom, T. (2004). Creativity, health and arts advocacy. International Journal of Cultural Policy, 10 (2), 133–156. Morrow, G. (2006). Managerial creativity: A study of artist management practices in the Australian popular music industry. Unpublished PhD thesis, Macquarie University, Sydney, Australia. Morrow, G. (2011). Sync agents and artist managers: A scarcity of attention and an abundance of onscreen attention. Screen Sound, 2 , 104–117. Mulligan, B. (2010). Brenden Mulligan: Avoid DIY sites that do too much. Midemblog . Retrieved February 18, 2016, from http://blog.midem. com/2010/11/brenden-mulligan-avoid-diy-sites-that-do-too-much/ Mumford, M. (2003). Where have we been, where are we going? Taking stock in creativity research. Creativity Research Journal, 15 (2–3), 107–120. Mumford & Sons. (2015a). To all our fans around the world: Help us to stop the ticket touts. Mumford & Sons . Retrieved February 20, 2016, from http:// www.mumfordandsons.com/news/to-all-our-fans-around-the-world-help-us-to- stop-the-ticket-touts/ Mumford & Sons. (2015b). Mumford & Sons chat about the 2015 Stopover Festivals. Stopover Festivals . Retrieved February 20, 2016, from http://www. gentlemenoftheroad.com/stopovers/about/ http://www.mumfordandsons. com/news/gentlemen-of-the-road-stopovers-2015/ Mumford & Sons. (2016). Home. Retrieved February 20, 2016, from http:// www.mumfordandsons.com/ STANDING OUT IN THE CROWD 59 Music Glue. (2015) About Music Glue . Retrieved February 20, 2016, from https://www.musicglue.com/about/ Music Glue. (2016). Music Glue [tweets]. Retrieved February 20, 2016, from https://twitter.com/musicglue?lang=en Music Glue. (n.d.). Artist features . Retrieved February 20, 2016, from https:// www.musicglue.com/services/ Negus, K. (1992). Producing pop . London, UK: Edward Arnold. Negus, K., & Pickering, M. (2000). Creativity and cultural production. International Journal of Cultural Policy, 6 (2), 259–282. NME. (2013). Mumford & Sons call Olympic Park gig ‘shitloads better than Glastonbury’. Retrieved August 2, 2016, from, http://www.nme.com/news/ mumford-and-sons/71287 Ots, M., & Hartmann, B. J. (2015). Media brand cultures: Researching and theo- rizing how consumers engage in the social construction of media brands. In G. Siegert, K. Förster, S. Chan-Olmsted, & M. Ots (Eds.), Handbook of media branding . Cham, Switzerland: Springer. Pareles, J. (2011, October 22). Gotye fans turn out to sing along. The New York Times . Retrieved February 9, 2012, from http://artsbeat.blogs.nytimes. com/2011/10/22/gotye-fans-turn-out-to-sing-along/?_r=0 Ries, E. (2011). The lean startup . New York: Crown Business. Robinson, F. (2001). A proven methodology to maximize return on risk . Retrieved February 24, 2016, from http://www.syncdev.com/minimum-viable- product/ Robinson, T. (2009). Mark Meharry from Music Glue [Interview]. BBC Introducing: Fresh On The Net . Retrieved February 20, 2016, from http:// freshonthenet.co.uk/2009/04/mark-meharry-from-music-glue/ Sisario, B. (2011, October 2). Online tools help bands do business. The New York Times . Retrieved February 18, 2016, from http://www.nytimes. com/2011/10/03/business/media/high-tech-tools-help-bands-market- directly-to-fans.html?pagewanted=1&_r=3&sq=topspin%20media&st= cse&scp=1 Smith, G. (2013). Seeking ‘success’ in popular music. Music Education Research International, 6 , 26–37. Thompson, K. (1998). It’s the future, baby: How CD baby helps indie musicians with digital distribution. Future of Music Coalition . Retrieved February 18, 2016, from https://futureofmusic.org/article/its-future-baby Thornton, S. (2006). Understanding hipness: ‘Subcultural Capital’ as feminist tool. In A. Bennett, B. Shank, & J. Toynbee (Eds.), The popular music studies reader (pp. 99–105). New York: Routledge. Throsby, D., & Zednik, A. (2011). Multiple job-holding and artistic careers: Some empirical evidence. Cultural Trends, 20 (1), 9–24. 60 D. HUGHES ET AL. Top40-Charts.com. (n.d.). Gotye & Kimbra . Retrieved February 20, 2016, from http://top40-charts.com/artist.php?aid=12912 Twitter.com. (2011). Twitter / MrsLRCooper : Love this video…. Lily Allen . Retrieved February 9, 2012, from https://twitter.com/lilyrosecooper/ status/94463921272004608 . Walters, M. (2015). How I got here. Retrieved February 6, 2016, from http:// www.parlourgigs.com/blog/2015/2/23/how-i-got-here Watson, J. (2013). Keynote Q & A with John Watson. Interviewed by N. Megel on 12 September 2013, BigSound , The Judith Wright Centre, Brisbane, Australia. Weisberg, R. (2006). Creativity: Understanding innovation in problem solving, sci- ence, invention, and the arts . Hoboken, NJ: Wiley. Weisberg, R. (2010). The study of creativity: From genius to cognitive science. International Journal of Cultural Policy, 16 (3), 235–253. West, A. (2015). Music Glue: Founder Mark Meharry discusses the online service that aims to shake up music industry . Retrieved February 20, 2016, from http:// www.ibtimes.co.uk/music-glue-founder-mark-meharry-discusses-online- service-that-aims-shake- music-industry-1500683 Williamson, J., & Cloonan, M. (2007). Rethinking the music industry. Popular Music, 26 (2), 305–322. Wiseman-Trowse, N. (2008). Performing class in British popular music . Basingstoke, UK: Palgrave Macmillan. Youtube. (2013a). Top 100 most viewed YouTube videos [Apr. 2013]. Retrieved April 7, 2016, from https://www.youtube.com/watch?v=P_YZ_Of6xng&nohtml5=False Youtube. (2013b). Top 25 most liked YouTube videos (Jul. 2013). Retrieved April 7, 2016, from https://www.youtube.com/watch?v=txtu_1Doevk&nohtml5= False STANDING OUT IN THE CROWD 6163 © The Editor(s) (if applicable) and The Author(s) 2016 D. Hughes et al., The New Music Industries , DOI 10.1007/978-3-319-40364-9_4 CHAPTER 4 Abstract This chapter addresses new concepts of musical creativities, col- laborations and contemporary forms of musical authorship. It therefore focuses on diverse creativities and challenges the traditional notion of ‘cre-ativity’. In this context, the crafting of songs, the authorship of songs and the use of technologies that assist in the crafting process are outlined. The ways in which the democratisation of technologies (such as recording software) has resulted in a range of artistic options and practices in music production is also discussed, and new options in networked creativity, co- writing and collaborations are considered. The chapter concludes with discussion of the fusion of narratives. Keywords Song • Songwriting • Musical authorship • Music produc- tion • Collaboration In popular music, the creative process involving the authorship of a song is usually thought of as following one of two possible approaches: top-tier or grass-roots. In top-tier pop music, songwriting teams—consisting of lyri-cists, vocalists, instrumentalists, composers, producers, and so on—create rough demos of a song. A publisher then offers these demos to various art-ists, their labels, or their management teams, and the artists then perform and record the song themselves. A top-tier artist may also be co-opted to co-write songs by labels and/or publishers. The second approach is more commonly found in rock, singer-songwriter and acoustic genres; the Creativities, Production Technologies and Song Authorship artists themselves, often alongside their bandmates, will write the song and lyrics and will perform and/or record it at home, in a studio or some other location and in a variety of formats for multiple platforms. In each of these scenarios the division of labour is fairly well under- stood. There are those who write music, those who play or perform it and those who record it, and the process usually happens in that order. One person may fulfi l multiple roles, but these areas are typically understood to be distinct from each other. These various functions are refl ected in music industries’ and copyright terminology; songwriter, lyricist, arranger, per- former and studio producer, each with its own (partial) claim to author- ship of a song. These roles, however, were developed not because they accurately defi ne the process of artistic creativity, but because they assist in determining intellectual ownership of the song and in dispensing song- writing royalties. The actual artistic creativities are more complex, and involve many factors external to the studio. For example, authors them- selves draw infl uence (consciously or subconsciously) from a wide variety of sources, particularly via the Internet, and might draw on others’ creativ- ity by creating works that are covers of existing works or by incorporating audio samples of existing works. Other areas are also vague, such as the distinction between performers and authors. Performer rights are separate from author rights; in Australia, authors retain copyright over the song itself, while performers retain rights over specifi c recordings (Australian Copyright Council, 2014 ). A person in the role of performer may, however, contribute signifi cantly to the song itself by way of unplanned extemporisations, or by working alongside the songwriter and producer during recording, which may not be recognised in the writing credits. Moreover, the studio producer, and even the mix- ing or mastering engineer, occupies a broad role and may or may not be actively involved in songwriting; simultaneously, songwriters themselves are increasingly using production technology during the writing process. Remixes, covers, versions and sampling, enabled and legitimised through web technologies and social media, further challenge ‘traditional’ notions of authorship and artistic creativity. These scenarios show the limitations of considering artistic creativity, including musical authorship, as a clinical practice where neat boundaries can be drawn around its constituent parts. This chapter addresses contemporary forms of authorship and creativi- ties in popular music, with attention to some of the changes to the music industries and music production in recent years. It focuses on the careers of contemporary musical artists, and will draw on interviews with several 64 D. HUGHES ET AL.artists and those in related sectors of the industries (management, copy- right collection, publishing, and so on) to relate artistic creativity to cur- rent practices. In particular, it outlines some of the complexities of creative practice for musicians in the Internet era. THE CRAFTING OF SONGS Popular music and creativity in general have historically been understood in the Western world as an undertaking that involves the creator artistically expressing a unique persona or perspective through song or other creative media. In popular culture, this results in a tendency to position creative fi gures as individual artists, who produce their works following some kind of ‘mystical’ inspiration, as Sternberg terms it ( 1999 , p. 5). This is despite the concept that many popular singers are the public face of top-tier song- writing processes. The prevailing individualistic view of creativity has been criticised, most notably by Csikzentmihalyi ( 2014 ). Reminiscent of elements of Bourdieu’s cultural theory (Bourdieu, 1993 ), in a collection of his works Csikzentmihalyi ( 2014 ) proposes that creativity arises from the interac- tion of three forces ( domain , fi eld and the individual ), an interaction that recognises that multiple factors are needed in order for creativity to take place (p. 47). The domain consists of skills or knowledge relevant to an area (Csikzenmihalyi, 2014 , p. 47); for popular music songwriting, this may include instrumental ability, musical theory, awareness of genre and style, and various technical skills. Field describes the actors that consume and assess creative works, including other artists, audiences, and institu- tional fi gures (Csikzenmihalyi, 2014 , p. 47). The individual negotiates and responds to the fi eld and domain in order to produce creative works (Csikzenmihalyi, 2014 , p. 47). Similarly, Hennessey and Amabile ( 2010 ) noted that creativity is defi ned on a variety of levels, from the microscopic neurological level, to the individual level, to the holistic systems level pro- posed by Csikzentmihalyi ( 2014 ). However, this more nuanced depiction of creativity does not negate the existence of musical creativity as pro- cess and songwriting as a typically highly personal pursuit. The following quote by Jenny Biddle (singer-songwriter) highlights the interpersonal and audience- focused elements of performance and artistic creative practice: I don’t want to write a song for the sake of a hit song; I want to feel and connect with people, I want to entertain. I really love those gigs where there CREATIVITIES, PRODUCTION TECHNOLOGIES AND SONG AUTHORSHIP 65might be 60 people in a room and you can look at each and every one of them and pull faces and they laugh, and they cry, and they tell stories. I love those gigs. The individual-focused defi nition of the ‘liberal artist’ (Wiseman- Trowse, 2008 , p. 42) endures, particularly in discussions of authenticity. ‘Authentic’ songwriters are driven by self-expression and by the pursuit of music itself as an artform, rather than approaching songwriting as a mechanical process that takes into account the demands or desires of the fi eld, or commercial concerns. As discussed previously, this notion is fundamentally undermined when the artist is income driven or an artist- entrepreneur, and yet this viewpoint is often expressed by musicians them- selves, as shown in Jenny Biddle’s words above. The idea of not ‘writing a song for the sake of a hit song’ points to anxieties around the relation- ship between individual creativity and the domain/fi eld, particularly that between music and commerce, as explored by Negus ( 1999 ). As early as the mid twentieth century, Adorno’s ( 1941 ) zealous criti- cism of popular music focused on the detrimental ‘standardisation’ of music wrought by the industrial nature of pop music production. Yet, as McIntyre ( 2012 , p. 168) pointed out, the valorisation of the individual songwriter-performer is a comparatively recent phenomenon, arising in the 1950s. It occurred largely in response to the growing phenomenon of teen and youth culture, as teenagers were more likely to accept perform- ers who they perceived as being like themselves (McIntyre, 2012 , p. 168). Artists and songwriters, whether consciously or subconsciously, began to embody the required authenticity in their creative work; this occurs to a lesser extent in some pop music, but is a cornerstone of many genres including singer-songwriter, rock, and indie. AUTHORSHIP The concept of authorship is tied to both creativity and authenticity. It defi nes a creator’s ownership of an artefact, and describes the creative pro- cess with regard to larger social systems. Burnard ( 2012 ), drawing on the work of Csikzentmihalyi ( 1999 ) and Bourdieu ( 1993 ), situates authorship as a social process which articulates the creator’s position socially, stating that composers ‘can only exist or be known as such through the social discourses and practices in which they are constituted,’ (Burnard, 2012 , p. 226). She goes on to discern ‘self-social’ and ‘sociocultural’ forms of authorship; the fi rst describes creativity as a personal or interpersonal 66 D. HUGHES ET AL.undertaking, and the second describes creativity in relation to established scenes or traditions (2012, p. 226). As discussed in the previous chapter, ‘branding’ a band or an artist is an idea that has become more prominent in recent years as artists are increas- ingly able (or obliged) to manage their own marketing and promotions through social media. As one digital music specialist (name withheld) explained, ‘From day one, bands are creating their brand without realising it. Their image creates their brand, their music creates their brand, their logo creates their brand.’ Likewise, Joel Connolly (artist manager) stated: ‘As soon as you decide to try and make a living off your music or take it outside of your bedroom and share it with an audience then it becomes a product and a product is a brand.’ By creating a distinct brand, artists clarify their authorship, situating themselves in relation to a particular genre and practice (self-social author- ship), while declaring their position with respect to existing institutions and broader social infl uences such as fans, labels, and promoters (socio- cultural authorship). While many other forms of authorship (see Burnard, 2012 ) exist, branding provides a useful lens to explore artists’ authorial process. Additionally, the currency of social media as a unifi ed platform for promoting, marketing, disseminating and selling music, video and images, reinforces the link between music and product, connecting artistic and commercial aspects of creativity. These brief and broad discussions show the complex creativities that need to be negotiated by current musical artists. Leaving aside the cre- ative process underpinning the actual musical work, artists need to balance broader cultural expectations with commercial concerns, and need to defi ne their identities in order to reach a global and fragmented consumer base. TECHNOLOGIES THAT HAVE CHANGED CREATIVITY / AUTHORSHIP Contemporary music artists negotiate a complex landscape of commer- cial and cultural concerns in their creative practice. Aside from the long- standing tensions surrounding authenticity (see Barker & Taylor, 2007 ; Weisethaunet & Lindberg, 2010 ; McIntyre, 2012 ), technological changes have also signifi cantly changed the fi eld and domain of creativity. Expanding on Burnard’s ( 2012 ) exploration of musical creativities’ technological mediations, a host of technologies for recording, produc- ing, communicating, performing, collaborating and selling music have reshaped contemporary musicians’ practices. CREATIVITIES, PRODUCTION TECHNOLOGIES AND SONG AUTHORSHIP 67 The fracturing of the music industries and development of web tech- nologies that foster DIY musicians has meant that, alongside musical skills, artists are increasingly required to be profi cient in (or, at least, aware of) a range of other areas. One such area is music production technology; digital audio workstations, audio recording, MIDI sequencing, synthesis- ers, and sampling are often used in songwriting, and are becoming more and more accessible and affordable. These are not simply tools required for recording; they can also alter the creative process itself, leading to new workfl ows and creative results. Non-musical technical skills are also important, including use of social media and broader computer skills. A general awareness of trends, the fi eld of popular music and management skills are also necessary, as these allow the musician to effectively interact with an audience. Communicating with the fi eld (after Csikzentmihalyi, 2014 ) has likewise been affected by tech- nology. Musicians are more connected globally, rather than locally, and are (in principle) able to reach signifi cant international audiences with mini- mal outlay. Similarly, musicians are able to draw infl uence from, and con- nect with, a wider variety of other artists. This fundamental shift to online is addressed by Liz Tripodi (vocal teacher, entrepreneur, and performer) who stated: ‘There was no social media 20 years ago. These days if you’re not trying to put your hands in as many different pies as possible, you have no chance of making any sort of career in the industry’. The online space has also radically reconfi gured the music industries; instead of record labels, services such as YouTube, Facebook and Spotify are key curators of content. Moreover, fans and audiences now have con- trol over artists’ online presences. Whereas in the pre-Internet era record labels were held responsible for breaching artists’ moral rights by inter- vening in the work’s integrity, fans today may breach the artist’s moral rights or affect their online presence by uploading videos to sites such as YouTube. As sales revenues from recordings continue to diminish (IFPI, 2015 , p. 7), other revenue streams have become more important, such as those relating to synchronisation, live performance, sponsorship, crowdsourcing and merchandising. Technology has also changed the way music is listened to, with album sales declining in favour of individual songs and user- compiled playlists (Paxson, 2010 , p. 84). Artist marketing strategies have also shifted towards social media and other means; in addition to maintaining a con- stant online presence, artists pursue collaborations (often internationally) and synchronisations in order to sustain their careers. These changes have 68 D. HUGHES ET AL.impacted artists at all levels, from the beginning independent musician to well-established, top-level artists such as Ed Sheeran. For instance, Sheeran is ambivalent about the fi nancial reward of recorded music and streaming services such as Spotify, stating, ‘I’m in the music industry to play live… This album [ x ] (Asylum/Atlantic, 2014 ) was streamed 26 million times in the fi rst week on Spotify… That means a tenth of them might consider buying a ticket or going to a festival, and that’s enough for me to tour very comfortably’ (cited in Dredge, 2014 ); he also distributes a free EP to fans via his website in exchange for their email address (Asylum Records, 2014 ). Sheeran has also partnered with Pepsi and Clear Channel (Hampp, 2014 ) to promote his album x , and Nokia (Hampp, 2013 ) to fi lm a music video using the Nokia Lumia 928 mobile phone. The 2012 video for ‘Give Me Love’ (written by Sheeran, Gosling, and Leonard, 2012) partnered with the social video app Vyclone, combining fans’ video footage of Sheeran in concert into a single offi cial video using hundreds of fans’ perspectives (Asylum Records, 2014 ). Collaboration and synchronisation has also been important throughout Sheeran’s career, including co-writes for UK-based pop group One Direction and solo artist Olly Murs (Lindner, 2015 ), col- laboration with other artists including Taylor Swift, Rudimental and The Weeknd (as well as a 2011 EP titled ‘No. 5 Collaborations’ featuring col- laborations with a number of UK-based grime artists), and synchronization on television shows including The Vampire Diaries and Grey’s Anatomy (IMDB.com, 2016 ). Artists like Sheeran are less likely to be personally involved in activities such as day-to-day management of social media (in fact, Sheeran is taking a year-long personal hiatus from social media in 2016 (Instagram, 2015 )) and to a large extent still rely on the album- tour cycle. However, artists or their management participate in continual engagement with audiences (via traditional or online media); for example, Taylor Swift’s former manager Rick Barker suggested that artists should post on Twitter between fi ve to ten times per day and YouTube once a week (Social Media for Music, 2015 ). The effect of these developments on artists’ creativity is far-reaching. More than ever before, musicians are able to connect with distant audi- ences and peers, listen to a wide variety of music and produce high-qual- ity musical works without needing to fi rst secure substantial funding to hire a studio or additional personnel. Using social media, artists can also be actively involved in their own marketing, management and develop- ment. At the same time, these musicians must maintain, or portray, their own authenticity in line with the expectations of genre and audience. CREATIVITIES, PRODUCTION TECHNOLOGIES AND SONG AUTHORSHIP 69Musical cr eativities (songwriting, producing and recording) and non- musical creativities (branding, audience engagement and image-making) are increasingly overlapping areas. Such a coming together of artistic creativities and managerial or eco- nomic concerns resonates with McGuigan’s ( 2009 ) notion of ‘cool capi- talism’ and the way in which individualist bourgeois values are reinforced by capitalist cultural aspects. The perception that record labels and ‘the industry’ restrict the artist’s ‘true self’ through market fundamentalism is challenged by contemporary DIY artists, who are now directly concerned about the market themselves. This has changed the way in which artists construct their authenticity in relation to, and against, the market. The fol- lowing section explores three areas of note in considering changing musi- cal creativities; production technology, networked creativity and covers. PRODUCTION TECHNOLOGIES AND CREATIVITIES The availability of consumer-oriented music production equipment and computer applications has patently made music more affordable to record and produce. The growth of ‘prosumer’ (Toffl er 1984 ) music producers has been acknowledged for many years, and now is well embedded in everyday practice, with prominent ‘bedroom producers’ such as Flume 1 receiving widespread critical acclaim. As one digital music strategist (name withheld) put it, ‘Anyone with a laptop and the right software can feasi- bly create their own music, and quality music, if they know what they’re doing and they know how to use the software.’ The pre-digital career pro- gression of a band recording a rough demo, approaching a label, record- ing an album, and debuting to a wider audience has to an extent been reversed; today, artists need to distribute and/or perform high-quality music to reach a following, then demonstrate this following (via numerous Facebook ‘likes’, for example) in order to approach a label. This circular model has had several effects on artists’ creative practices. One of these effects is the changing role of the song. As artists are increasingly able to self-produce both audio and video material, and audiences’ consumption habits are becoming more oriented towards indi- vidual songs rather than albums, there is a tendency toward a continuous release of material in order to engage with audiences. Moreover, the song, as a standalone audio recording, is no longer suffi cient, as Matt Amery (artist) noted: ‘If we wanted to get played on [national radio station] triple j now, what we’d need to do is make sure you’re on blogs and on taste- maker sites and to do that you need to have a video clip to show who you 70 D. HUGHES ET AL.are and what you’re all about. Rather than just a song it needs to be a whole package.’ This strategy involves signifi cant fi nancial outlay by the artist as well as commitment to a brand, meaning visual aspects and overall creative direction. Dean Ormston (Head of Member Services Group for collecting society APRA AMCOS) likewise underlines the need for artists to have a high degree of self-awareness early on in their careers, and to consider their overall creative position and career trajectory when songwriting. Production practices have also changed owing to the revenue streams available to artists today. Whereas (physical) album sales were once a signifi cant source of revenue for artists, the digital model of continual engagement favours singles. The single-based digital economy, further- more, uses music as a free tool for engagement and data collection rather than a source of revenue, and this operating model enables fans to stream music in exchange for personal information such as their email address. Likewise, the shift towards video rather than audio-only releases refl ects platforms such as YouTube as potential revenue sources. Another revenue stream from recorded media is commercial music streaming where revenue returns to artists can be viewed as being ‘ridicu- lously low’, as one interviewee described it. Synchronisation, particularly in advertising, is a growing revenue stream and, to an extent, is replacing the role of recorded music; as Matt Amery noted, syncs for his music have ‘outweighed anything that we have sold’. This has led to the writ- ing of songs particularly for synchronisation, a practice that is sometimes criticised when alluding to the confl ict between authenticity and potential profi t-seeking in songwriting. The examples above show the far-reaching effects of technology on musi- cal creativity. Aside from more noticeable technological mediations such as recording music on mobile phones, swapping samples online or using por- table mp3 players, as discussed by Burnard ( 2012 ), technological changes affecting the music industries also have a profound impact on the creative practices of artists. This can be seen in the shift towards video as an impor- tant creative output, the need to claim authorship by actively branding early in one’s career, and orientation towards more diverse revenue streams. NETWORKED CREATIVITY : CO-WRITING AND COLLABORATION Technology has also affected creative practices related to songwriting. Artists themselves can discover new music (and be discovered themselves) through websites and streaming services such as iTunes and Apple Music, CREATIVITIES, PRODUCTION TECHNOLOGIES AND SONG AUTHORSHIP 71Spotify, Facebook, YouTube and so on. This facility, as well as the ability to easily and quickly communicate online, has led to new possibilities for col- laboration between artists; as Dean Ormston noted: ‘There isn’t any sense at all of just thinking about making something just here in Australia—it’s teaming up with the best in the world to do whatever it is that you are doing today.’ This was echoed by statements noting the relevance of inter- national audiences in building sustainable careers. Another way that artists can actively target international audiences is through co-writing songs, as raised by Dean Ormston, who stated: ‘The way to break into a new market might be to collaborate with a local artist, because you’re already in a cer- tain part of Asia or wherever, rather than relying solely on the traditional model of trying to ‘break’ the band.’ The practice of co-writing and collaboration is particularly pronounced in electronic music and DJ releases, where producers will typically for- mulate the underlying beat and arrangement, then pass it on to a top line writer who devises the main melody, vocal line, and lyrics. As Martin Novosel (label manager) explains, ‘Most of the time with publishing, it is shared with co-writers, because in my experience DJ producers rarely write top lines.’ Collaborations are increasingly popular and this approach is particularly important for songwriters and music publishing. Robert Scott (Founder of Source Music Publishing and Licensing and Creative Manager, Embassy Music Publishing Music Sales) used the number of Swedish songwriters in the US music market to illustrate the growing internationalisation of songwriting. He further stated, ‘I have tried to talk to my songwriters and get them to reach out and talk to other songwriters in other territories, because it is all about opening up all the possibilities.’ The Internet has contributed to artists’ practices in several ways, as noted by Burnard ( 2012 , p. 226), including sample-swapping and crowdsourced projects. The sharing and liking economy of social media sites is another Internet-based technological change affecting songwriting and collabora- tion. Social media is most commonly used by artists as a means for commu- nicating with their fans, but also allows artists to fi nd and work with others. Penny Pettigrew (artist) noted the potential of social media for fostering col- laboration and has had other musicians encourage collaborations between herself and other artists, recounting, ‘I have had amazing musicians share my Facebook page… [saying] please, if you need a singer, go to her.’ The above scenarios show how the Internet has changed not only music distribution and consumption practices, but even songwriting itself. As artists increasingly compete in a global marketplace, regularly produce and 72 D. HUGHES ET AL.distribute music online, and have access to other artists via social media, co-writing and collaborating are becoming valuable tools for reaching new audiences and building a sustainable career. MEMETIC CREATIVITY : THE NEW COVERS A further effect of Internet technology on musical creativity is the grow- ing practice of musical cover videos. Like co-writing and collaboration, covering others’ musical works is a way to expand an audience and to participate in current trends and memes. Musical covers, cover bands and tribute artists (who endeavour to exactly replicate other artists’ appearance and mannerisms) are well established in popular music (see Homan, 2006 ; Cusic, 2005 ; Beebe, Fulbrook & Saunders, 2002 ). Homan ( 2006 ) dis- cussed the phenomenon of the cover musician as ‘a single musician, or group of musicians, that perform a range of others’ material, in many instances singling out a particular era or genre for display’ (p. 4), but online and social media have added further dimensions to the practice of covering. In recent years, the phenomenon of YouTube cover videos has been widely acknowledged (Burgess, 2008 ; Vernallis, 2013 , p. 190), and many online music videos have experienced an additional wave of popu- larity through user-created covers. Gotye’s ‘Somebody That I Used To Know’ (written by De Backer, 2011) and Beyonce’s ‘Single Ladies’ (writ- ten by Stewart, Nash, Harrell, and Knowles, 2008) are two prime cases; the 2013 Harlem Shake meme offers a different example, being a user- generated comedy video rather than an original music video for the song ‘Harlem Shake’ (written by Baauer, 2012). The potential of music videos to ‘snowball’ into viral phenomena was remarked on by Robert Scott: ‘The best thing to do is launch something that is so visually striking and so aurally strong that then other people want to cover it. Then it just feeds on itself and goes ballistic.’ In this environment, covering an existing work is no longer solely an artist practice; it is a creative practice that can be par- ticipated in by fans, which has the effect of contributing further to the art- ist’s currency online in terms of views, clicks, or likes. Covers, as a form of creative production, are placed towards the ‘soft’ side of the creativity con- tinuum (see Chapter 1 ), as artists are building on and replicating established successes by other artists. Nonetheless they are a valid creative and business tool that many artists use in various contexts, as discussed below. CREATIVITIES, PRODUCTION TECHNOLOGIES AND SONG AUTHORSHIP 73 Online, artists can use covers strategically to attract new audiences. As Cusic ( 2005 , p. 174) writes, ‘from an artist’s perspective, covers are impor- tant because they (1) provide a song proven to be a hit to the repertoire, (2) show an important infl uence on the artist, and (3) give the audience something familiar when introducing a new act’. An element of novelty is also required to attract viewers; where novelty is substantial or engaging, the act of covering moves further towards the ‘hard’ side of the creativity contin- uum. The covers of musical works online that draw the most views are thus often those which resituate the original work in a different genre. One exam- ple of a viral cover crossover is singer-songwriter and electronica artist Chet Faker’s cover of ‘No Diggity’, originally by R’n’B group Blackstreet (writ- ten by Hannibal, Riley, Stewart, Walters, Young, Vick, and Withers, 1996). The track was later used in a 2013 Superbowl commercial in the USA in a lucrative synchronisation deal (AAP, 2013 ). Similarly, electronica producer Flume’s reversioning of Yolanda Be Cool’s ‘A Baru In New York’ (written by Handley, Stanley, and Yunupingu, 2013), featuring indigenous singer- songwriter Gurrumul, was signifi cantly more popular than the original. Several artists have risen to prominence through the medium of YouTube covers, such as US-based group Boyce Avenue, who specialise in acoustic covers of popular songs, and UK-based singer Birdy, whose cover of Bon Iver’s ‘Skinny Love’ (written by Vernon, 2008) has so far received close to 100 million views on YouTube. Both Boyce Avenue and Birdy now produce original material, but maintain releases of covers on YouTube. By releasing cover versions of existing tracks, artists can ensure a fl ow of listeners who are already familiar with the original track; once a consistent listenership is established, the artist can then release their own original work. This lessens the distinction between original musicians and cover musicians, as outlined by Homan ( 2006 , p. 4), and situates covering as a practice which can be engaged in strategically and sporadically, rather than as a dis- tinct genre in and of itself. YouTube’s revenue model is also worth consid- ering; since content uploaders are paid per view, capitalising on the success of an existing song is a useful way to ensure some views, and therefore income. Additionally, YouTube’s Content ID recognition system identifi es when a song is used in a video, providing artists with performance royal- ties (provided they are registered with a collection agency) and mechanical royalties each time a song is used. This provides another means for generat- ing income for artists whose recordings or songs are used in others’ videos. It is worth noting that offl ine the role of covers is markedly different. Dr Daniel Robinson (artist and educator) has expressed concern about the 74 D. HUGHES ET AL.proliferation of covers on YouTube, where ‘you stand in front of the micro- phone with headphones on and you sing a pop cover’, noting that this does not necessarily equate to live performance ability or a sustainable music career. Performing covers live is done for reasons markedly different from those for videorecording covers to distribute cover performances online (see Homan, 2006 ; Morrow, 2006 ). In the research interviews conducted by the authors, the diffi culty of performing original material live was often noted, and artists reported often performing covers to satisfy risk-averse venues. It was also identifi ed that live performance opportunities have diminished in recent years, particularly for original bands. There appear to be several causes for this, including legislative changes, alternate revenue models (such as poker machines), and changes in leisure culture (Johnson & Homan, 2002 , p. 1). Jenny Biddle (singer- songwriter) explained that covers form a cornerstone of her live performance: ‘I do a lot of cover gigs to pay the bread and butter, but there are original pieces in there as well.’ In regional areas particularly, Leanne de Souza (artist manager) noted, ‘it’s basically covers bands or nothing. [We’re having diffi culty] fi nding a place that will put on an original band and an original emerging band.’ Still, Jenny Biddle noted that she uses cover shows ‘to get my chops up in terms of musicianship and performing skills and interacting with audi- ences’, and also that she intersperses covers with her own original music. Online, covers provide a means for artists to connect with new audi- ences and with other artists. In particular, well-considered cross-genre col- laborations can result in innovative musical works that appeal to a wide listener base. Meanwhile, covers in live performance are often played out of necessity owing to the growing preference for covers by venues that was identifi ed by Leanne de Souza above, yet still offer musicians an oppor- tunity to practice their skills in front of a live audience. Both of these cir- cumstances show how musical creativity is a networked process, as artists need awareness of the current musical landscape in order to successfully produce work that resonates with audiences. A F USION OF NARRATIVES Singer-songwriters typically relate personal narrative (self-social) or they craft a song around the narrative of others (sociocultural). The creative practice of singer-songwriter Passenger 2 (Mike Rosenberg) does both. Passenger traverses continents, incorporates street-to-stage performances and highlights a grass-roots approach to crafting and sharing his songs. CREATIVITIES, PRODUCTION TECHNOLOGIES AND SONG AUTHORSHIP 75His creative practice, banter and audience engagement are grounded in busking traditions. An analysis of Passenger’s body of work including large 3 and small 4 venue performances, interviews and recordings, identifi es that was in and through busking locations and encounters with audiences that Passenger, the artist, emerged along with many of his songs. Within the tradition afforded by socio-spatial interconnectivity, busk- ing provided Passenger with the place in which to develop and perform his music. As a result, he often conveys site-specifi c narratives (for example, ‘All the Little Lights’, written by Rosenberg, 2012), sociocultural experiences (for example, ‘I Hate’, written by Rosenberg, 2012) and audience interac- tions (for example, ‘Holes’, written by Rosenberg, 2012). He also retells the stories of other people whom he met through chance encounters (for example, ‘Riding to New York’, written by Rosenberg, 2014). Passenger creates networks across communities through an integrative narrative that includes online platforms, social media and fundraising efforts that high- light the plight of some communities. In relation to the sale of Whispers Two (Nettwerk/Black Crow, 2015 ), for example, Passenger noted on the accompanying booklet/sleeve (the following excerpt is as written): so i have decided to give all profi ts from every sale of ‘whispers two’ to unicef – more specifi cally their campaign to help and eventually prevent children suffering from chronic malnutrition in liberia. one of the poorest countries on the planet… money raised from these sales will go directly towards food and supplements to help bring severely malnourished kids back to health, facility upgrades and maintenance, education and training for health workers in the region. (Rosenberg, 2015 ) While sociocultural authorship fuses narratives in song, so do fundrais- ing efforts related to a particular song, as the example above highlights. Another recent example is Tim Minchin’s song ‘Come Home (Cardinal Pell)’ (Minchin, 2016a ), which is a satirical response to Cardinal Pell’s inability to return to Australia to give evidence at the Australian Royal Commission on Child Abuse (Minchin, 2016b ). Proceeds from the sale of the single assist victims to fl y to Rome and attend Pell’s otherwise relayed evidence statement: Proceeds from its sale will go into this fund: GoFundMe—Send Ballarat Survivors to Rome. You can buy it worldwide now from iTunes or Google Play and you can stream it on Apple Music or Spotify. GoFundMe—Send Ballarat Survivors To Rome. (Minchin, 2016b ) 76 D. HUGHES ET AL. CONCLUSION The above explorations question the entrenched divide between musical creativity (namely songwriting, including instrumental profi ciency, musi- cianship, lyrical expertise and so on) and what might be termed para- musical creativity (after Tagg, 1986 ). Paramusical creativity involves the musical artist responding to his or her wider circumstances, and is affected by technological developments, economic factors, and broader cultural trends. For example, the development of consumer-level production tech- nology has made it easier for artists to self-produce music, as both audio and music video. But the deeper effect of this development is that artists now release music more frequently, accompanied by video, in order to continuously engage with their audience. The type of music being released to audiences has also changed; instead of a professionally produced album, artists now focus at the song-level and below; they may release impromptu acoustic recordings, covers of other artists’ songs, videos of live perfor- mances or demo versions of songs. Similarly, the economic changes to the music industries (namely, the decline in revenues from recorded work) have compelled artists to focus more on the other income streams that were outlined in Chapter 2 , and to adjust their creative practices accord- ingly, through actively seeking collaboration with other artists, or by pur- suing synchronisation as a revenue stream. Among these wider forces, artists need to actively differentiate themselves and assert their authorship, self-brand, and engage across multiple media types and platforms, produc- ing videos, images and audio to maintain a constant level of communica- tion with their audience. NOTES 1. Flume (Harley Streten) is an Australian producer who in 2013 was nominated for a record eight ARIAs (Australian Recording Industry Awards) for his debut album Flume , which reached #1 on Apple’s iTunes charts. He began producing using free software (FL Studio) and produces in a laptop-based studio (Future Music, 2014 ). 2. See http://passengermusic.com . 3. An example is Passenger’s performance on 23 January 2015, at the Qantas Credit Union Arena, Sydney, Australia. The Qantas Credit Union Arena closed in December 2015, but was capable of accom- modating 12,000 people. See http://www.austadiums.com/stadi- ums/stadiums.php?id=114 . CREATIVITIES, PRODUCTION TECHNOLOGIES AND SONG AUTHORSHIP 77 4. An example is Passenger’s performance on 24 February 2015, at the Enmore Theatre, Sydney, Australia. The theatre is art deco in con- struction. See http://www.enmoretheatre.com.au . REFERENCES AAP. (2013, February 1). Hot Diggity! Melbourne musician gets $4m Super Bowl slot. Sydney Morning Herald . Retrieved February 18, 2016, from http:// www.smh.com.au/entertainment/music/hot-diggity-melbourne-musician- gets- 4m-super-bowl-slot-20130201-2dpeo.html Adorno, T. W. (1941). On popular music. Studies in Philosophy and Social Science, IX , 17–48. Asylum Records. (2014). Ed needs you! Be part of the fi lm crew. EdSheeran.com . Retrieved February 19, 2016, from http://www.edsheeran.com/vyclone Australian Copyright Council. (2014). Music & Copyright. Retrieved January 27, 2016, from http://www.copyright.org.au/acc_prod/ACC/Information_ Sheets/Music___Copyright.aspx Barker, H., & Taylor, Y. (2007). Faking it: The quest for authenticity in popular music . New York: W. W. Norton & Company. Beebe, R., Fulbrook, D., & Saunders, B. (Eds.). (2002). Rock over the edge: Transformations in popular music culture . Durham, NC: Duke University Press. Bourdieu, P. (1993). The fi eld of cultural production: Essays on art and literature , R. Johnson (Ed). Cambridge, UK: Polity Press. Burgess, J. (2008). All your chocolate rain are belong to us? Viral video, YouTube and the dynamics of participatory culture. In G. Lovink (Ed.), Video Vortex reader: Responses to YouTube (pp. 101–109). Amsterdam, The Netherlands: Institute of Network Cultures. Burnard, P. (2012). Musical creativities in practice . Oxford, UK: Oxford University Press. Csikzentmihalyi, M. (1999). Implications of a systems perspective for the study of creativity. In R. Sternberg (Ed.), Handbook of creativity (pp. 313–335). New York: Cambridge University Press. Csikzentmihalyi, M. (2014). The systems model of creativity: The collected works of Mihaly Csikszentmihalyi . Dordrecht, The Netherlands: Springer. Cusic, D. (2005). In defense of cover songs. Popular Music and Society, 28 (2), 171–177. Dredge, S. (2014), Ed Sheeran talks Spotify royalties: ‘I’m in the music industry to play live…’. Guardian News and Media. Retrieved February 19, 2016, from http://www.theguardian.com/technology/2014/sep/30/ed-sheeran- spotify-streaming Future Music. (2014). Flume with a view. MusicRadar.com . Retrieved February 18, 2016, from http://www.musicradar.com/news/tech/in-pictures-fl umes- sydney-studio-597256 78 D. HUGHES ET AL. Hampp, A. (2013). Nokia music expands artist partnerships with Cher Lloyd, Ed Sheeran promotions. Billboard.com . Retrieved February 19, 2016, from http://www.billboard.com/biz/articles/news/branding/1564979/ nokia-music-expands-artist-partnerships-with-cher-lloyd-ed Hampp, A. (2014). Ed Sheeran teams with Clear Channel, Pepsi for “x” album release party, set to play IHeartRadio Fest (Exclusive). Billboard.com . Retrieved February 19, 2016, from http://www.billboard.com/biz/articles/news/ legal-and-management/6099328/ed-sheeran-teams-with-clear-channel- pepsi-for-x-album Hennessey, B. A., & Amabile, T. M. (2010). Creativity. Annual Review of Psychology, 61 , 569–598. Homan, S. (Ed.). (2006). Access all eras: Tribute bands and global pop culture . Maidenhead, UK: Open University Press. IFPI (International Federation of the Phonographic Industry). (2015). IFPI digi- tal music report 2015. Retrieved December 4, 2015, http://www.ifpi.org/ downloads/Digital-Music-Report-2015.pdf IMDB.com. (2016). Ed Sheeran . Retrieved February 19, 2016, from http:// www.imdb.com/name/nm3247828/ Instagram.com. (2015). Teddysphotos . Retrieved February 19, 2016, from https:// www.instagram.com/p/_ONOpUkpDz/ Johnson, B., & Homan, S. (2002). Vanishing acts: An inquiry into the state of live popular music opportunities in New South Wales . Sydney, Australia: Australia Council for the Arts. Lindner, E. (2015). 19 songs you didn’t know Ed Sheeran wrote. MTV.com . Retrieved February 19, 2016, from http://www.mtv.com/news/2084071/ ed-sheeran-songs/ McGuigan, J. (2009). Cool capitalism . London, UK: Pluto. McIntyre, P. (2012). Creativity and cultural production: Issues for media practice . London, UK: Palgrave Macmillan. Minchin, T. (2016a). Come Home (Cardinal Pell) – Tim Minchin [Video]. Retrieved February 20, 2016, from https://www.youtube.com/ watch?v=EtHOmforqxk Minchin, T. (2016b). Come Home – A charity single. Tim Minchin.com . Retrieved February 20, 2016, from http://www.timminchin.com/2016/02/16/ come-home-a-charity-single-2/#more-17691 Morrow, G. (2006). Selling out or buying in? In S. Homan (Ed.), Access all eras: Tribute bands and global pop culture (pp. 182–197). Maidenhead, UK: Open University Press. Negus, K. (1999). Music genres and corporate cultures . New York: Routledge. Paxson, P. (2010). Mass communications and media studies: An introduction . New York: Continuum. Rosenberg, M. (2015). Whispers II [Book accompanying CD]. Black Crow Records. CREATIVITIES, PRODUCTION TECHNOLOGIES AND SONG AUTHORSHIP 79 Social Media for Music. (2015). Social Media for Music . Retrieved February 19, 2016, from http://socialmediaformusic.com/video/ Sternberg, R. (1999). Handbook of creativity . Cambridge: Cambridge University Press. Tagg, P. (1986). Musicology and the semiotics of popular music. Semiotica, 66 (1–3), 279–298. Toffl er, A. (1984). The third wave . New York: Bantam. Vernallis, C. (2013). Unruly media: YouTube, music video, and the new digital cinema . New York: Oxford University Press. Weisethaunet, H., & Lindberg, U. (2010). Authenticity revisited: The Rock Critic and the Changing Real. Popular Music and Society, 22 (4), 465–485. Wiseman-Trowse, N. (2008). Performing class in British popular music . Basingstoke, UK: Palgrave Macmillan. 80 D. HUGHES ET AL.81 © The Editor(s) (if applicable) and The Author(s) 2016 D. Hughes et al., The New Music Industries , DOI 10.1007/978-3-319-40364-9_5 CHAPTER 5 Abstract The realities of practice can prove extremely challenging for some artists and can lead to issues of health, safety and wellbeing. The realities discussed in this chapter include the relevance of image and branding, the signifi cance of a support network, contractual obligations and fi duciary aspects of associated individuals or organisations. It is essen- tial to identify and discuss the realities of practice so that consideration may be given as to how these issues might be addressed in both practice and in education. The chapter concludes with considerations for career sustainability. Keywords Image • Time poor • Wellbeing • Networking • Career sustainability This chapter details the realities of practice identifi ed in our research, spe- cifi cally in relation to their impact on career trajectories, expectations (art- ist and industries), professional practice and lived experiences. As such, this chapter explores the day-to-day practices and concerns of participants (the realities) actively engaged within the industries. While many extant discussions of the music industries focus on issues such as legal aspects and copyright, management and policy (for example, Cloonan, 2011 ; Simpson & Munro, 2012 ; Homan, Cloonan, & Cattermole, 2015 , 2016 ), there is a growing body of literature concerning the realities of practice for cre- ative labourers to which this chapter contributes (for example, McGuigan, The Realities of Practice 2010 ; Hesmondhalgh & Baker, 2011 ; Stahl, 2013 ; Cloonan, 2014 ). In addition to this body of literature, there are organisations such as Support Act 1 in Australia that was ‘established by the music industry to provide a safety net for music professionals facing hardship’ (Support Act, 2016 ). This chapter builds on, and seeks to contribute to, such initiatives. Through the range of industry roles encompassed in our research, we were able to detail a variety of experiences and highlight a number of industry factors for consideration. While there is much to celebrate in the new industries, some of the practices our participants outlined are concerning. For younger artists/musicians, the realities of (often DIY) practices can be challenging; for those more established, such realities may have been negotiated through a series of compromises and/or accepted as being standard practices. These realities include career sustainability, the signifi cance of networking, live performance challenges, recordings, image and branding, managing expectations, and workplace health and safety issues. Some issues and concerns have fi duciary implications for associ- ated individuals or organisations, and can prove extremely challenging for some music sector workers leading to issues of health, safety and wellbeing (Hughes, Evans, Keith, & Morrow, 2014 ). While there are most certainly positive elements ofworking in the music industries, such as the enjoyable psychological state of (creative) fl ow (Csikszentmihalyi, 1996 ), the question of ‘positive emotion’ (for example, Seligman, 2011 ) for the creative artist is an interesting one in considering its fl ipside (see Drus, Kozbelt, & Hughes, 2014 ). There is an undeniably powerful relationship between artistic creativity and emotion or ‘affect’ (see Madden & Bloom, 2004 , p. 135). Therefore, our discus- sion of participants’ affective experiences sits alongside our discussion of the pragmatic realities identifi ed by our participants. CONTEXT The contemporary music industries are constantly evolving, and the high rate of digital disruption (creating possible situations of fi nancial vulner- ability, exploitation and risk) means that wellness considerations for music industries practitioners have immediate relevance. Until recently, much of the research into sector wellbeing has tended to focus on fi nancial or business matters rather than on the physical or mental wellbeing of sec- tor workers. Recent research fi ndings (for example Hughes et al., 2014 ; van den Eynde, Fisher, & Sonn, 2015 ), however, highlight the signifi cance of 82 D. HUGHES ET AL.wellness issues and health concerns in the sector. Hughes et al. ( 2014 ) identifi ed the urgent realities of contemporary music practices, which are compounded by two signifi cant factors. The fi rst is the compensatory mea- sures instigated by sector workers, which may be self-administered and/or informally modelled (such as alcohol and/or drug related use/ abuse). The second is the striking absence of wellbeing and related policies in the new music industries. The latter is signifi cant and does not appear to be limited to an Australian context. In a comparative analysis of health and safety regu- lations at live music events in Finland and the UK, for example, Grönberg ( 2010 ) noted a general absence of related health and safety legislation in the European Union for ‘public events’ (p. 33). Despite the fact that media reports often focus on musicians’ compro- mised health and wellbeing issues, particularly in relation to substance abuse (for example, Bobby Brown cited by Oh, 2002 ), addiction (for example, Amy Winehouse cited by Dunn, 2015 ), and exploitation and fi nancial hardship (for example, the impact of streaming services cited by Resnikoff, 2013 ), the health and wellbeing of sector workers appears to be afforded little emphasis in the reality of the workplace. Hence, there is the growing body of literature concerning creative labour referenced above. In literature specifi cally related to the music industries, Kenny ( 2014a , 2014b , 2015 ) explores health and wellbeing issues in the music industries. Describing the rock scene as ‘a volatile mix of glamour, instant wealth, risk-taking, rebellion and psychological distress’ (Kenny, 2014a ), Kenny identifi ed that over six decades (1950–2010) the lifespan of a pop- ular musician was up to 25 years shorter when compared to the general populace ( 2014a ). She attributes this alarming sector statistic and others, including a two to seven times greater suicide rate, to the music ‘scene’ failing in its provision of models of ‘acceptable behaviour’ and boundaries: It actually does the reverse—it valorises outrageous behaviour and the act- ing out of aggressive, sexual and destructive impulses that most of us dare only live out in fantasy… The music industry needs to consider these fi nd- ings to discover ways of recognising and assisting young musicians in dis- tress. (Kenny, 2014a ) Substance use/abuse and the music industries are inextricably linked in a live performance context. While the World Drug Report 2014 produced by the United Nations ( 2014 ) identifi ed Australians as being amongst the highest users in several categories of recreational drug use per capita , alcohol and THE REALITIES OF PRACTICE 83drug use more broadly in the popular music industries in Australia remains largely undocumented. McMillen ( 2014 ), however, provided a detailed series of interviews with several well-known contemporary Australian musi- cians who candidly discussed prescriptive and illegal drug use. McMillen highlighted perceived relationships between creativity and drug use, which speak to the powerful relationship that artistic creativity has with positive emotion or ‘affect’ (see Madden & Bloom, 2004 , p. 135), and discussed the ways in which professional musicians navigated their way through and out of substance abuse (McMillen, 2014 ). Similarly, Dobson ( 2011 ) conducted a study on the workplace pressures and challenges faced by young musicians in the UK and identifi ed a link between alcohol consumption and sector demands. Undeniably, substance abuse remains a signifi cant issue in the new music industries. Substance use may range from musicians who feel tense on stage and use alcohol beforehand to relax, to high-energy performers who use amphetamines on the days they may be ‘fl at’ or tired. There are also issues of performance anxiety to consider (for example, Papageorgi, Creech, & Welch, 2013 ), the potential isolation of ‘being on the road’, possible self-medication, and the consumption of alcohol provided by venues in rela- tion to contractual riders. 2 A prominent example of substance abuse came to light in early 2016 when rapper 360 disclosed his addiction to over- the-counter codeine medication Nurofen Plus, consuming up to 90 tablets a day before overdosing in early 2015 (Carter, 2016 ). 360 subsequently released a song detailing his drug use explicitly in the song’s lyrics, revealing that the overdose occurred immediately before a scheduled performance (Carter, 2016 ). Additional environmental factors, particularly in relation to hearing loss and musicians (for example, Barlow, 2010 ), form another area of wellbe- ing that warrants further attention. For example, Schink, Kreutz, Busch, Pigeot and Ahrens ( 2014 ) compared the incidence of hearing loss in pro- fessional musicians with the general population in Germany and deter- mined that professional musicians have a high risk of contracting hearing disorders. Clearly, the implementation of preventive measures aimed spe- cifi cally to reduce the likelihood of hearing loss in the new music indus- tries need to be further supported and expanded. Other signifi cant factors, detailed below, have received little attention. The ongoing realities of practice we identifi ed related to contractual obligations, issues relating to health and wellbeing, fi duciary aspects of associated individuals or organisations, and the legalities of copyright and 84 D. HUGHES ET AL.royalty collection. Of primary signifi cance is a perceived lack, from the perspective of some of our participants, of Workplace Health and Safety (WHS) concerns in a range of musical contexts. This perception expressed by some of our participants is signifi cant, particularly when compared to other industries, and may partly account for the physical and mental stresses documented by sector workers (van den Eynde et al., 2015 ). Burrows ( 2016 ) details the ongoing psychological and social toll on musicians caused by precarious employment and fi nancial circumstances, illustrating the lack of correlation between industry success (measured in terms of live performances, critical acclaim, and sales) and actual revenue or career sta- bility. The concept of musical success (see Hughes, Keith, Morrow, Evans, & Crowdy, 2013 ) may also relate to notions of ‘the celebrity performer’ (Smith, 2013 , p. 27). Jenny Biddle (singer-songwriter) summarised sev- eral concerning issues that are, for some artists, also unfortunate realities: The constant rejection, or the body problems, the strain on your body or the instability of money, not having mentorship, not knowing who to turn to and the management crisis, there is just so much… it is really trial and error and you don’t have a place to turn to. The most prominent realities brought out in our study are discussed below under the following six categories: career sustainability, networking, the changing roles of live performance and recorded music, image, managing expectations and WH&S. CAREER SUSTAINABILITY IN AN AUSTRALIAN CONTEXT The music industries in Australia are signifi cant in economic terms. The International Federation of the Phonographic Industry (IFPI, 2014 ) reports that Australia ranks sixth in the world in its total music consump- tion (90), while in terms of digital consumption alone, Australia ranks fi fth. Of all Australian musicians, 67% are freelance or self-employed (Throsby & Zednick, 2010 , p. 53) and of the remaining 33 % who work for salary or wages, it is classical musicians who are more commonly protected as employees within institutional employment structures such as symphony orchestras. The contemporary music industries, meanwhile, include many independent, casual and DIY solo artists/musicians and bands without such institutional protection (Morrow, 2006 , p. 12). There also appear to be THE REALITIES OF PRACTICE 85gendered constraints within the music industries (see Hesmondhalgh & Baker, 2011 ). Hughes et al. ( 2014 ) identifi ed that while the opportunities for those involved in the sector to perform, share and/or distribute their music have never been as great, the challenges to be heard and/or to sustain a consistent revenue stream from music have never been greater. As a consequence, contemporary musicians operating within the new music industries can face signifi cant pressures in relation to both fi nancial and emotional sustainability. Not surprisingly, career longevity and fi nancial hardship were both identifi ed as sector issues. The commodifi cation of artistry and the construct of instant celebrity in relation to television tal- ent competitions were also identifi ed as concerns that were expressed by several participants. Our fi ndings within an Australian context provide a parallel to Stahl’s ( 2013 ) discussion of American Idol. The dedicated work ethic required for career development and sustain- ability was highlighted by Tim Hart (singer-songwriter and member of band Boy & Bear): I think there are more opportunities now than there have ever been. Because it is not a matter of record companies investing into the certain few, it is about who wants it the most and are you prepared to work hard enough to take it on. Artists put themselves on the line, in both a fi duciary and an emotional sense, in their attempts to ‘have a go’. Robert Scott (Founder of Source Music Publishing and licensing and creative manager of Embassy Music Publishing and Music Sales), noted: I think that initially it is about survival. It is really stressing to people that if they want to do music, they have to be, not only 100%, but 110% commit- ted [to it]. It needs to be in every fi bre of their being because it is hard, it is really hard. Little or intermittent remuneration, industry obstacles and long hours were other factors identifi ed that impacted on career sustainability. Described by Tom Harris (Founder of White Sky Music, a specialist music business management and bookkeeping company) as ‘the 30 hours or the 50 hours a week [required] to make [a music career] work’, lengthy work- ing hours were identifi ed as the industry standard for both artist managers and related stakeholders. 86 D. HUGHES ET AL. NETWORKING The signifi cance of networking among friends and fans was stressed by participants as being benefi cial for both career development and sustain- ability. The link between this theme and the issue of alcoholism and drug use/abuse, however, also became evident in a way that parallels with Hesmondalgh and Baker’s fi ndings (see 2011 , p. 153). They identifi ed that in a UK context, networking regularly occurs in pubs and clubs in which there is a ready supply of substances. However, in terms of the desired outcome from such networking, Robert Scott noted: You can tell the people that are really going to be successful, you can tell because they are determined and they have the right people around them. They attract the right people because their sense of determination galvanises people into action. Another participant, Fernando J. Moguel (singer-songwriter and pro- ducer) noted that networking was ‘even more valuable than money’ in its potential for sharing music and workload relief. Participants stressed the importance of building networks to reduce the risk of burnout due to the creative and administrative work required as a DIY artist. This was empha- sised by Dr Daniel Robinson (artist and educator) who noted that some- times career development is ‘all too hard and [artists/bands] burn out because they don’t have the infrastructure around them to be sustainable in their art’. In addition to helping artists avoid burnout, benefi ts of the positive relationships that can be built through networking were identi- fi ed as being key to our participants’ wellbeing. While ‘building resilience’ (Seligman, 2011 , p. 16) is the key to wellbeing within these industries, the issue of how to build positive networking relationships was also stressed by one of our participants. Leanne de Souza (artist manager) highlighted the need to fi nd an appropriate network for the individual: It’s about seeking out the right people, the right culture, the right com- panies that are all actually buying into that artist for whatever reason that might be, to release singles and EPs, or recording, or touring or whatever is the right thing for them. Participants also noted examples of emerging artists/bands making poor networking/collaborative choices. These included signing agreements too THE REALITIES OF PRACTICE 87early, without appropriate advice, with inequitable percentage rights and/ or that proved not to be in the best interests of an emerging career or related image. LIVE VERSUS RECORDED Live performances and/or recordings were identifi ed by participants as both opportunities and challenges, and were context dependent. The impact and scarcity of live performance venues, for example, was noted as a challenge by several participants and is often cited in the literature as being an issue confronting musicians (see Johnson & Homan, 2002 ; Homan et al., 2015 , 2016 ). Traditionally, live performance has been vital to career sustainability. Currently, the necessity to perform live is often aligned to album releases. However, it can also be aligned to the type of music being performed, as Tim Hart explained: It has to be about connection with the people that enjoy our music… Gone are the days of the artists shrouded in mystery. For bands like us, you have got to be down to earth, stay connected, and you have got to play a lot of live shows. You know what it’s like, if you go and see a great live show, you buy the record. You know you can stream it for free, but it’s more than that, you want to get on board with what that artist is doing. Less acknowledged, in relation to live music, is the impact of ‘oversup- ply’ of good musicians, which was a factor reported in relation to the live music scene in Melbourne, Australia. Helen Marcou (Co-founder of Bakehouse Studios) explained: ‘There are so many musicians in this town that they are constantly under-cutting each other for gigs. Working musi- cians lose out when people are prepared to play for free all the time.’ Digital and online music technology offers another opportunity and challenge for recorded outputs. On the one hand, the digitisation of music enables access to DIY recording technologies and online distribution. Conversely, potential production costs are now incurred by the artist- producer, and online streaming potentially impacts the revenue stream for independent artists. Yet, despite the controversy surrounding online streaming (such as Taylor Swift removing her catalogue from Spotify), Jenny Biddle surmised its use in general: Digital, that could be a good thing and a bad thing. Bad for CD sales, good for fusion. I feel like there is more power to the indie musicians now. 88 D. HUGHES ET AL.I would have, 10 years ago, just found it really impossible, living as a muso, it’s good to be able to do it. While the digitisation of music may impact on practice realities in relation to physical sales, the signifi cance of recording as product is highly relevant in gaining exposure for the independent artist. Robert Scott explained: You just don’t know when that success may come. If you’re really good at your art then it is going to come and you need to believe that it is going to come but it is not necessarily around the corner… You need to go and manufacture [a recording] so that you can go and sell it at all of your shows because that is revenue… it’s your business card. Tim Hart agreed with the signifi cance of recording as product, viewing recording as an essential career investment: You need to be prepared to put your money where your mouth is and invest in your career. In that sense, a good sound engineer, and maybe a good producer. Every artist will have a vision of what they want themselves to sound like, so go in and pay the money and record the songs with a great engineer who can hopefully recreate the songs the way you are hearing them in your head. IMAGE The diffi culties surrounding the construction and portrayal of image (visual, artistic, musical) was a theme that emerged in our fi ndings. Liz Tripodi (vocal teacher, entrepreneur and performer) discussed the con-fronting nature of image-related comments such as, ‘Your image does not fi t where the industry is at the moment.’ Several participants viewed a relevant image, together with image-related issues, as being vital to career viability. While managed artists may have the support of an extended net-work in the creation and maintenance of their individual image, the self-managed artist is largely left to his/her own perceptions. This allows artists to maintain artistic control while being able to call on appropriate expertise when and if required, as Jenny Biddle explained. Noting that her stylist did not try ‘to create me into something that I am not’, Biddle commented: I just hired a stylist actually, because image is a very unique point… [I felt that I was] not presenting what [my image] needs to be. I don’t want to get lost in that though, fi reworks and glamour. I don’t think that’s what I am about. THE REALITIES OF PRACTICE 89 While several participants talked about the relevance of appropriate image or the integrity of an image, perhaps most telling in relation to the percep- tion of image is Sinead O’Connor’s open letter to Miley Cyrus. O’Connor warned: I am extremely concerned for you that those around you have led you to believe, or encouraged you in your own belief, that it is in any way ‘cool’ to be naked and licking sledgehammers in your videos. It is in fact the case that you will obscure your talent by allowing yourself to be pimped, whether it’s the music business or yourself doing the pimping. (O’Connor cited in Strang, 2013 ) The public nature of artists’ creative work exacerbates issues relating to image, particularly with regard to perceived appropriateness or self-esteem. MANAGING EXPECTATIONS The realities of practice are often aligned to the realization of expectations and the concept of success (Smith, 2013 ; Hughes et al., 2013 ; Hall, 2014 ). Managing expectations was identifi ed as a recurring theme in participant perspectives. One of the reassuring aspects of artist expectations in relation to success was the notion of self-satisfaction, as Tim Hart explained: If it was fi nancial then it would be a tiny, tiny percentage of musicians that were successful. But if it was aesthetic… then that conjures up images of perception. I think it has to be success that leads to self-satisfaction. That’s the only thing that matters. Versatility and adaptability were two emergent themes that resonated strongly with sustainability and correlate to our discussion in Chapter 3 . Consistent with the evolutionary nature of the new industries, Talia Raso (a music business student at the time of interview and an emerging artist manager) explained that the most important skill for music industry practitioners is: Adaptability, because if we put our head into one scenario and think that is how it is going to be then as soon as something changes we are lost. We might be learning now and trying to get into the industry with all guns blazing on what is happening, but it won’t be like this in a few years time. 90 D. HUGHES ET AL. Building resilience at the coalface was deemed essential for career develop- ment and longevity. Tim Hart advised that emerging artists should have: a thick skin. People are going to tell you that you are no good. People are going to tell you that they have heard what you are doing before. People are going to say they are not hearing a hit. You need vision. You need an idea of where you want to end up otherwise you will be aimless. And you need determination, when you feel like no one is believing in you, then you have to believe in yourself. WORKPLACE HEALTH AND SAFETY In the Western world, health and wellbeing of workers is a concept that underpins government legislation and policies. In Australia, ‘promoting population health and wellbeing’ (Australian Government, 2013 , p. 1) is also a national strategic research priority. Given this emphasis, it was alarm- ing that our research uncovered situations where the health and wellbeing of sector workers was either overlooked or compromised. Reported situ- ations where issues relating to the health and wellbeing of sector workers included a band that continued to play at an outdoor event in torrential rain with puddles of water accumulating under instrument leads, an artist being bitten by an audience member during a performance, children play- ing on stage during a performance through and around what could have been heavy electrical equipment and leads, musicians consuming excess alcohol because of access to free alcohol through contractual riders, gen- eral safety in various contexts including particular venues and in some business practices, and the stress of dealing with perceived unprofessional behaviour by sector workers. For some artists, issues relating to fi nan- cial viability or promoting music were paramount to health and wellbeing considerations. Jenny Biddle explained: There’s no sick leave. I’ve had to weigh up whether it is worth missing a gig for fear of ruining the voice or ruining my arms. I have had to weigh it up in terms of missing a gig and my reputation… often, I put my safety and my health second so I can put on [my] music. At times, I have put it second where it gets to a point where it’s either really dangerous or [diffi cult to] physically play. The irregular hours of sector workers was also cited in relation to health and wellbeing. Compared with regular working hours those of music sector workers are more varied and often transient and erratic. Biddle THE REALITIES OF PRACTICE 91continued: ‘I have really had to learn to just accept that it’s an irregular job and I don’t have to fi t into the mould like everyone else thinks it should be.’ Such irregular hours can have an impact on such an artist’s men- tal health when considering creative energy and the notion of the body’s clock. Crabtree and Crabtree ( 2011 ) noted that: ‘Creative people, partic- ularly performers, live and work to a different rhythm than other people. This has huge implications for their body clock and how they manage their internal world’ (p. 47). This issue is especially nuanced when the artist is touring internationally, particularly if they are alternating between the southern and northern hemispheres, Sydney and London for example, to perform and play tours. Crabtree and Crabtree ( 2011 ) continued: Stress on the body clock, or circadian rhythm, has been associated with trig- gering bipolar disorder… [for] performers, who have a different sleep/wake cycle, deregulation or diffi culties in the internal body clock, may contribute to mood disorders—particularly depression and bipolar disorder. (p. 47) The literature also documents other pragmatic health and safety con- cerns and issues in relation to sector workers. The necessity for adequate safety checks, for example, has been an ongoing concern for perform- ing musicians. This is evident in the safety concerns underpinning the legendary Van Halen covert technical rider 3 clause (Article 126) used in the 1980s (Littlewood, 2013 ). A more recent example is in relation to the electrocution of Emmure singer Frankie Palmeri, who was on stage with his band in Russia in 2013 when he was electrocuted while holding his microphone (Childers, 2013 ). Similarly, guitarist Dominic Zyntek had both hands severely burned when he was electrocuted during a routine sound-check on the P&O Pride of Hull ferry in 2012 (Edmonds, 2014 ). Zyntek was unable to play for several months, and described the inci- dent as ‘like I was being burnt alive for a few minutes’ (Zyntek cited in Edmonds, 2014 ). The sound-check was carried out despite the manager of Zyntek’s band also being electrocuted the previous day. Compensation was awarded to Zyntek, at which time his solicitor, Sally Rissbrook, called for more diligence in relation to sector health and safety: Dominic was informed that it was safe to use the equipment even though a separate incident happened the previous night where Dominic’s manager was taken to hospital as precaution after being electrocuted on the same stage… If the correct health and safety checks are not adhered to then inci- dents like this will continue to happen. (Rissbrook cited in Edmonds, 2014 ) 92 D. HUGHES ET AL. CONCLUSION Of prime signifi cance was our fi nding that some participants noted that there was no exercise of or adherence to the duty of care required under such legislation as the New South Wales WHS Act 2011 in a range of industry contexts. In the new music industries, there is no apprenticeship system and artists are now largely without formal support and learning networks. As such, and as our fi ndings identify, artists may be susceptible to exploitation, manipulation and/or to being in situations in which they are taken advan- tage. There were real concerns raised regarding artist safety. Issues includ- ing misogyny, sexism and gender-based abuse, along with isolation, fear of the unknown and varying levels of security (personal and fi nancial) were identifi ed in participant experiences. Psychological issues included stress, the pressure to succeed, depression and performance anxiety; self-medication and substance abuse often followed. Physical injuries were also noted includ- ing repetitive strain injury, vocal tiredness and hearing-related concerns. Financial hardship was frequently reported, as were the limitations posed by an erratic revenue stream (for example, the preclusive cost of in-ear moni- tors). Although some realities encountered have always existed in popular music practices, in the twenty-fi rst century many of the challenges may be circumvented through established preventative measures and mechanisms: At the very least, those who make their livings from these young people need to learn to recognise early signs of emotional distress, crisis, depres- sion and suicidality and to put some support systems in place to provide the necessary assistance and care. (Kenny, 2014a ) The work of Support Act ( 2016 ) should be commended in this regard and awareness of such initiatives needs to increase. NOTES 1. Support Act’s website stated: ‘The power of music is something we all feel. So many events in life need a soundtrack: a long road trip, a fi rst dance at a wedding, a carefully chosen piece to mark a loved one’s passing. Music makes memories. And yet, as a professional, a career in music can be uncertain and risky. Even the most talented fi nd themselves unable to work when illness, injury or some other problem strikes. Without an income, a setback can quickly become a crisis’ (Support Act, 2016 ). THE REALITIES OF PRACTICE 93 2. In this context, a rider is defi ned as involving the alcohol, food and other items that are provided to musicians by venues as part of their hospitality, sometimes in lieu of monetary payment. 3. The Van Halen rider is notorious for including specifi c and often bizarre requests for refreshments in the band’s backstage area. However according to Littlewood ( 2013 ) this was a test designed to check whether the venue’s management and technicians had prop- erly read and implemented all the band’s technical requirements; if their trifl ing rider requests were not met, this indicated that impor- tant and potentially dangerous oversights had been made regarding preparations for their stage performance. REFERENCES Australian Government. (2013). Strategic research priorities. Canberra: Common- wealth of Australia. Barlow, C. (2010). Potential hazard of hearing damage to students in undergradu- ate popular music courses. Medical Problems of Performing Artists, 25 (4), 175. Burrows, M. (2016). The long, hard road to rock’n’roll success: ‘We’re essentially skint’. Guardian News and Media Limited [Online]. Retrieved February 2, 2016, from http://www.theguardian.com/business/2016/jan/30/rocknroll- stardom-live-music-struggling-bands-slow-club-brawlers Carter, L. (2016). Rapper 360’s codeine addiction admission prompts calls for stricter regulations on over-the-counter medications. ABC News [Online]. Retrieved January 27, 2016, from http://www.abc.net.au/news/2016-01- 11/360- rapper-becomes-face-of-codeine-addiction-calls-regulation/7080192 Childers, C. (2013). Emmure frontman Frankie Palmeri electrocuted during per- formance in Moscow . Loudwire. Retrieved March 1, 2016, from http://loud- wire.com/emmure-frankie-palmeri-electrocuted/ Cloonan, M. (2011). Researching live music: Some thoughts on policy implica- tions. International Journal of Cultural Policy, 17 (4), 405–442. Cloonan, M. (2014). Musicians as workers: Putting the UK musicians’ union in to context. MusiCultures, 41 (1), 10–29. Crabtree, J., & Crabtree, J. (2011). Living with a creative mind . Sydney: Zebra Collective. Csikszentmihalyi, M. (1996). Creativity: Flow and the psychology of discovery and invention . New York: Harper Perennial. Dobson, M. C. (2011). Insecurity, professional sociability, and alcohol: Young freelance musicians. Psychology of Music, 39 (2), 240–260. Drus, M., Kozbelt, A., & Hughes, R. (2014). Creativity, psychopathology, and emo- tion processing: A liberal response bias for remembering negative information is associated with higher creativity. Creativity Research Journal, 26 (3), 251–262. 94 D. HUGHES ET AL. Dunn, J. (2015). ‘I didn’t ruin Amy’: Blake Fielder claims he wasn’t responsible for early death of tragic singer Amy Winehouse. Daily Mail [Online]. Retrieved January 11, 2016, from http://www.dailymail.co.uk/news/article- 3132487/ I-didn-t-ruin-Amy-Drug-addict-former-husband-tragic-singer-Amy- Winehouse-claims-wasn-t-responsible-early-death.html Edmonds, L. (2014). Guitarist who suffered horrifi c burns after he was ELECTROCUTED for two minutes as he sound-checked for ferry gig wins £6,400 compensation. Daily Mail. Retrieved June 13, 2014, from http:// www.dailymail.co.uk/news/article-2557721/Guitarist-suffered…-two- minutes- sound-checked-ferry-gig-wins-6-400-compensation.html Grönberg, R., (2010). Comparing Finnish and British live music event health and safety culture: A perspective to the legislations and prevailing practices. Thesis for degree programme in Music and Media Management, Jamk University of Applied Sciences. Hall, R. (2014). The future of popular music education: What voice can education have? [Paper Presentation]. Association for Popular Music Education [APME] Conference, presentation, 20 June, 2014, University of Southern California, Los Angeles, US. Hesmondhalgh, D., & Baker, S. (2011). Creative labour: Media work in three cul- tural industries . London: Routledge. Homan, S., Cloonan, M., & Cattermole, J. (2015). Popular music and cultural policy . Abingdon, UK/New York: Routledge. Homan, S., Cloonan, M., & Cattermole, J. (2016). Popular music and the state: Policy notes . London, UK/New York: Routledge. Hughes, D., Keith, S., Morrow, G., Evans, M., & Crowdy, D. (2013). What con- stitutes artist success in the Australian music industries? International Journal of Music Business Research, 2 (2), 61–80. Hughes, D., Evans, M., Keith, S., & Morrow, G. (2014). A ‘duty of care’ and the professional musician/artist. In G. Carruthers (Ed.), Proceedings of the commis- sion for the education of the professional musician (CEPROM) (pp. 31–41). Brazil: Belo Horizonte. IFPI (International Federation of Phonographic Industry). (2014). Recording industry numbers: The recorded music market in 2013 . London, UK: Deloitte. Johnson, B., & Homan, S. (2002). Vanishing acts: An inquiry into the state of live popular music opportunities in New South Wales . Sydney: Australia Council and the NSW Ministry for the Arts. Kenny, D. T. (2014a). The 27 club is a myth: 56 is the bum note for musicians. The Conversation. Retrieved January 9, 2016, from https://theconversation. com/the-27-club-is-a-myth-56-is-the-bum-note-for-musicians-33586 Kenny, D. T. (2014b). Stairway to hell: Life and death in the pop music industry. The Conversation. Retrieved January 9, 2016, from http://theconversation. com/stairway-to-hell-life-and-death-in-the-pop-music-industry-32735 Kenny, D. T. (2015). Music to die for: How genre affects popular musicians’ life expectancy. The Conversation. Retrieved January 9, 2016, from http://thecon- versation.com/music-to-die-for-how-genre-affects-popular-musicians- life-expectancy- 36660 THE REALITIES OF PRACTICE 95 Littlewood, M. (2013). The truth about Van Halen’s M&M rider – Just good opera- tions [uploaded August 7, 2013]. Retrieved October 14, 2013, at http://busi- nessofsoftware.org/2013/08/the-truth-about-van-halens-mm-rider-just- good-operations/ Madden, C., & Bloom, T. (2004). Creativity, health and arts advocacy. International Journal of Cultural Policy, 10 (2), 133–156. McGuigan, J. (2010). Creative labour, cultural work and individualisation. International Journal of Cultural Policy, 16 (3), 323–335. McMillen, A. (2014). Talking Smack: Honest Conversations about Drugs . Queensland, Australia: University of Queensland Press. Morrow, G. (2006). Managerial creativity: A study of artist management practices in the Australian popular music industry. Unpublished PhD thesis, Macquarie University, Sydney, Australia. Oh, M. (2002). Bobby Brown arrested For drug possession, speeding. MTV.com. Retrieved January 10, 2016, from http://www.mtv.com/news/1458561/ bobby-brown-arrested-for-drug-possession-speeding/ Papageorgi, I., Creech, A., & Welch, G. (2013). Perceived performance anxiety in advanced musicians specializing in different musical genres. Psychology of Music, 41 , 18–41. Resnikoff, P. (2013). 16 artists that are now speaking out against streaming… Digital Music News. Retrieved January 11, 2016, from http://www.digitalmu- sicnews.com/2013/12/02/artistspiracy/ Schink, T., Kreutz, G., Busch, V., Pigeot, I., & Ahrens, W. (2014). Incidence and relative risk of hearing disorders in professional musicians. Occupational and Environmental Medicine, 71 , 472–476. Seligman, M. (2011). Flourish: A visionary new understanding of happiness and well-being . New York: Free Press. Simpson, S., & Munro, J. (2012). Music business . London, UK: Omnibus Press. Smith, G. (2013). Seeking ‘success’ in popular music. Music Education Research International, 6 , 26–37. Stahl, M. (2013). Unfree masters: Recording artists and the politics of work . Durham, NC/London, UK: Duke University Press. Strang, F. (2013). ‘Don’t let the music business make a prostitute of you’: Sinead O’Connor’s open letter to Miley Cyrus after she’s inspired by her Nothing Compares 2 U video. Daily Mail [Online]. Retrieved January 23, 2016, from http://www.dailymail.co.uk/tvshowbiz/article-2442321/Sinead-OConnor- Miley-Cyrus-Dont-let-music-business-make-prostitute-you.html Support Act. (2016). Retrieved February 26, 2016 from http://supportact.org.au/ Throsby, D., & Zednik, A. (2010). Do you really expect to get paid? An economic study of professional artists in Australia . Melbourne: Australia Council for the Arts. United Nations. (2014). World Drug Report 2014 . Vienna, Austria: United Nations Offi ce on Drugs and Crime. van den Eynde, J., Fisher, A., & Sonn, C. (2015). Working in the Australian enter- tainment industry. Phase 2: Executive summary . Melbourne, Victoria: Victoria University. 96 D. HUGHES ET AL.97 © The Editor(s) (if applicable) and The Author(s) 2016 D. Hughes et al., The New Music Industries , DOI 10.1007/978-3-319-40364-9_6 CHAPTER 6 Abstract Teaching popular music in higher education is multidimen- sional. This chapter considers how best to train students for sustainable career trajectories within the new music industries. To date, business edu- cation, particularly in tertiary settings, has tended to be treated in isolation from the ‘music’ component. This chapter will show how contemporary music education needs to refl ect the convergence between the artist and ‘business’, and address the management of expectations. Multiple creativi- ties underpin the integrated model for popular music education presented in this chapter. The relevance of artistry, individuality and entrepreneur- ship to music education is discussed. The chapter concludes with the ways in which education can address and prepare popular music students for the realities of practice that they may encounter. Keywords Popular music education • Creativities • Student • Tertiary • Artistry • Individuality Teaching popular music in higher education is multidimensional. While curriculum foci are typically centred on musical development in a range of theoretical and practical contexts, it is debatable whether curricular content and delivery also comprehensively cater to students wanting to pursue careers as popular musicians or performers (see Lebler, 2007 , 2008 ; Feichas, 2010 ; Burnard, 2012 , 2014 ; Gaunt & Westerlund, 2013 ; Popular Music Education Smith, 2013 ; Smith & Shafi ghian, 2014 ; Parkinson & Smith, 2015 ; Smith & Gillet, 2015 ). While we acknowledge that much can be learned and modelled informally in popular music (see Green, 2002 ), we discuss below popular music education specifi cally in the context of tertiary studies and preparing students for the new music industries. The primary aim of the research that informs this chapter was to identify career trajectories within the real-world practices of the new music indus- tries. The research identifi ed that multiple creativities form a core com- ponent in this multi-industry landscape. We also identifi ed health, safety and wellbeing concerns within these industries. This chapter now addresses these concerns within the scope of our research themes—the concept of individualisation in artistry and branding, and aspects of and preparation for working in the new music industries. We offer an integrated model for music education that encompasses the new music businesses and places multiple creativities at its core. This acknowledges that creativities are now key in all areas of popular music and business practices. Typically, business education has tended to be treated in isolation from the ‘music’ compo- nent (see Beckman, 2007 ; Daniel, 2010 ; Brindle, 2011 ; Bridgstock, 2012 ) in popular music studies and, as such, music business subjects have tended to be discrete units of study that separate the creative from the managerial. This chapter will show how contemporary music programs need to refl ect the convergence between the artist and business models/opera- tions. It examines the changing relationship between artists and various music business intermediaries and argues that popular music education should comprehensively address notions of multiple creativities. Bilton ( 2010 , p. 255) notes that creativity and management have been histori- cally positioned as opposing concepts, but that they are increasingly con- verging in new models of cultural policy and business management. Our fi ndings identify that the design of music curricula for the new industries also needs to refl ect this convergence; our model of integrated music edu- cation encompasses this convergence. NOTIONS OF MULTIPLE CREATIVITIES Traditional music education models, such as those typically offered in the music conservatoire, often focus on instrumental and/or performance prowess, written notation, and score replication or interpretation. This focus is indeed different in new twenty-fi rst century popular music practices, however, where the process of creativity is at the forefront (for example, 98 D. HUGHES ET AL.songwriting, improvisation, looping technologies). Notions of creativity are not only evident in improvisatory traits and songwriting/composition, but they are central in levels of business acumen underpinning marketing strategies, networking, collaboration, and branding. More broadly, notions of creativity are evident in online and offl ine strategies (Keith, Hughes, Crowdy, Morrow, & Evans, 2014 ), in artistic attributes and intent, and in contemporary performance and production technologies. An integrated music education model that places creativity at its core fi nds its basis within a broader creative industries discourse. When discussing the creative indus- tries and tertiary education, Bridgstock ( 2012 ) noted: While the majority of creative, performing and literary artists are self- employed, relatively few tertiary arts schools attempt to develop capabilities for venture creation and management (and entrepreneurship more broadly) and still fewer do so effectively. (p. 122) Bridgstock addresses the underlying conceptual and philosophical issues encountered by arts educators and argues that while entrepreneurship is essential to career success in the arts, the practice of arts-related entrepre- neurship is signifi cantly different from the practice of entrepreneurship in other businesses. With this in mind, this chapter outlines artistry and what is unique about the practice of entrepreneurship in arts practices (particu- larly in the new music businesses), and suggests strategies for nurturing music business entrepreneurship within tertiary popular music programs. ARTS ENTREPRENEURSHIP Bridgstock ( 2012 ) highlights that entrepreneurship in tertiary arts educa- tion should focus on ‘the application, sharing or distribution of art, as well as [on] its creation or making’ (p. 123). Others, such as Hausmann ( 2010 ), argue that many freelancers in the arts ‘are faced with work and income insecurity while also experiencing diffi culties with their self-image and self-perception as entrepreneurs’ (p. 17) (see also Chapter 3 ). These arguments imply that career sustainability, or even initial startup develop- ment, may be impacted by lack of effective arts entrepreneurship educa- tion. Such arguments can be located within a body of literature that links creative work with economic growth in advanced economies (for example, Florida, 2011 ; Mellander, Florida, & Rentfrow, 2012 ; Gabe, Florida, & Mellander, 2013 ). POPULAR MUSIC EDUCATION 99 However, in contrast to this body of work, there is literature that sug- gests artists have a role to play in challenging social norms (for example, Carey, 2005 ) and that culture and commerce have entered an awkward alliance (for example, McGuigan, 2009a , 2009b , 2010 ). Following these arguments, therefore, arts entrepreneurship education may be making universities (even more) subservient to the market fundamentalism of the neoliberal agenda. As McGuigan ( 2010 ) argues: [I]ndividualisation addresses the paradoxical character of work and every- day life today, freer in some sense yet also harsh and isolating. It is espe- cially pronounced in the ‘creative industries’ enabling a tantalizing sense of expressivity at the cost of exceptional diffi culties in working life—including insecurity, poor pay and conditions. (p. 334) Within the context of potential and ‘exceptional diffi culties in work- ing life’ (McGuigan, 2010 , p. 334), and in light of our fi ndings on the realities of practice, the ability of tertiary students to be ‘employable’ 1 and to maintain sustainable income stream/s while being adaptable and/or versatile is more complex than preparing for a specifi c vocation. The argument informing this chapter is that knowledge about how to facilitate group creativity/creativities, and how to locate oneself within a context from which distributed, and collaboratively emergent ideas can arise, is key to career longevity. Furthermore, educators have a moral imperative (Beckman, 2007 , p. 93) to use their own creativities to design programs of study that are suited to the nature of the industries into which our stu- dents graduate, as highly networked improvisational groups are the norm within the new music industries (Sawyer & DeZutter, 2009 ). A primary issue for the fi eld of the new music industries in Australia relates to the statistic that four in fi ve professional artists maintain their own businesses (Throsby & Zednik, 2011 ). 2 In an international con- text, the incidence of artists self-employed is also high, as was noted in Bridgstock ( 2012 , p. 122). Given this incidence, accountable education must involve teaching arts entrepreneurship for those students undertak- ing tertiary music education. There is also an implication here for students to work towards setting up their own businesses before they graduate. In a case study of similar issues in the United Kingdom, Smith ( 2013 ) noted that, ‘a pedagogy for employability should aim to instil in students the skills for, and a sense of, collaborative entrepreneurialism, because it is widely agreed that a key to achievement in the professional music environment of 100 D. HUGHES ET AL.the future is likely to be an ability to work successfully in teams’ (p. 193). This reality of practice for students within the new music industries exists whether or not popular music educators put a determinate commitment towards employability at the core of their learning and teaching strategies; however, it would be an expectation that student graduate capabilities refl ect the industries in which they aim to work. The career models and realities of practice identifi ed in our research are particularly pertinent given that the democratisation of technologies has facilitated individualisation in the DIY music economy and that the realities of practice are complex. Overwhelmingly, our analysis of career develop- ment within the new music industries identifi ed that the artist is increas- ingly becoming either DIY or an entrepreneur. In both scenarios, artists are free to explore business opportunities or to establish their music as a business. Perhaps musicians have traditionally been ‘artist- entrepreneurs’, treating their music as a business in that companies were often established (albeit by third parties) to manage all of the income streams stemming from their work. As was discussed in Chapter 2 , however, labels may now devolve the risks pertaining to record production onto artists and their managers, leading artists to take on more risks themselves. Under the Entrepreneur model, record labels may increasingly proceed with ‘risk- free gusto’ by focusing their efforts on the marketing and distribution of recordings. In this scenario, all of the fi nancial risk involved with produc- ing the recordings is externalized by the record label and becomes the responsibility of the artist. This in itself suggests that the artists need to be grounded in business acumen and strategies, while being creative in their ability to produce output and image that enables them to stand out in the crowd and receive due artistic and fi nancial rewards. Team Creativity In the DIY economy, the onus is on the artist to initiate, coordinate and manage more aspects of their ‘craft’. Because the artist has to build and coordinate their own team, an understanding of team creativity theory is useful. In this context, it is problematic to separate music education from music business education. By positioning management and artistic creativ- ity as opposing forces, creativity may be hindered. Both musical creativ- ity and managerial creativity/entrepreneurship involve manipulating and exploiting ideas, and intrinsic motivation is key in both (Bilton, 2010 ). POPULAR MUSIC EDUCATION 101However, while it is easy to posit the argument that artists are intrinsically motivated to create music, it is harder to argue that artist managers (and in the new industries, DIY artist management) are also intrinsically motivated (Csikszentmihalyi, 1996 , p. 110). This is because ‘management’ is more commonly associated with extrinsic motivators such as fi nancial reward. However, when the artist and the manager are the same entity, this divide is subsumed. Even if an artist is self-managed or engages a manager, a team typically builds around the artist. An understanding of the role of interpersonal interaction and teams is therefore crucial. Reality Checks In addition to education in the fi elds of musical creativities and manage- rial creativity/entrepreneurship, students also need to be educated as to the realities of practice they may face. The previous chapter detailed the realities of practice often encountered in the new music industries. Such practice realities may impede the wellbeing (physical and/or mental) and career sustainability of artists. In addition to identifying contributing fac- tors that may negatively impact on the wellbeing of artists, an integrated music education model needs to prepare students in ways that ensure that: every individual realizes his or her own potential, can cope with the normal stresses of life, can work productively and fruitfully, and is able to make a contribution to her or his community. (World Health Organisation, 2014 ) As outlined in our integrated model below, an understanding of the reali- ties of practice is integral to the mental and physical wellbeing of artists. EMERGENT THEMES The following themes were identifi ed in the analyses of our focus group and interview data. 3 They are signifi cant; each informs the development on the integrated music education model. Participant quotes are included where relevant to the themes. Theme 1: Artist-Entrepreneur Rather than the artist-entrepreneur being a force of disruptive ‘creative destruction’ (Schumpeter, 1939 ), the value placed on this form of entre- preneurship refl ects the increased workload that has been placed on art-102 D. HUGHES ET AL.ists themselves, as was detailed in Chapters 2 , 3 and 5 . Participants spoke of the creative strategies that come into play through self-management. This was particularly evident in the ways they used social media. They also talked about fi nancial management, merchandise, image and brand- ing, and music dissemination. They discussed being time-poor and the need for time management strategies. Within the new music industries, the functions of artist management/self-management/artist-entrepre- neur are being reconceptualised. As Robert Scott (Founder of Source Music Publishing and Licensing and Creative Manager, Embassy Music Publishing Music Sales) surmised with regard to pursuing a career in music: ‘It’s about looking for opportunity, I don’t know how you encour- age that but I think that music is a degree in entrepreneurialism.’ Tom Harris (Founder of White Sky Music, a specialist music business manage- ment and bookkeeping company) noted the changing emphasis in desired revenue stream options: ‘Once upon a time, giving your song to a TV commercial was a bad thing and there was a backlash. Now, you get high- fi ved, everyone wants to do it, it is gold to have your music in an ad.’ In addition, in a keynote presentation at leading Australian music indus- try conference BIGSOUND, artist manager John Watson ( 2013 ) noted: [T]he majority of artists now are having to bring a lot more innovation into their career, and that’s a good thing. And the pace of change is huge… [it’s] moving really fast and so you have to be mindful of that. In relation to the notion of change and the DIY economy, Joe Vesayaporn (global sales director of Music Glue) noted: What people are expecting has changed. I meet far less people who are ideal- istic and think that they just want to get a record deal and that will solve all of their problems and let someone else take care of everything else for me. That has been happening less and less. Theme 2: Shared Creativity The increased use of the term ‘artist-entrepreneur(ship)’ has in part been caused by the breakdown of the conceptual divide between management and creativity. In terms of research, this shift is accompanied by an exami- nation of team-level creative synergy, in which creative ideas, instead of being generated by one mind, are generated by groups (Kurtzberg & Amabile, 2000 ). A common theme emerging from the focus groups was POPULAR MUSIC EDUCATION 103that artists themselves need to increase their knowledge of management and that if they aim to be professional musicians, they will need, at some stage, to build a broader ‘creative’ team around them. In discussing a business entitled ‘I Manage My Own Music’ (Cloher, 2013 ), which involves running workshops for self-managed artists, Tom Harris explained artist-entrepreneurship in the following way: I think that is great, preparing artists and helping them with where they want to go is really important. I do think that ultimately for long-term career success, that kind of thing is good for the early days, but to be an actual career musician or artist, you need to have the team in place. If we’re talking about artist development then I don’t think that the best thing is for them to be spending 20 hours a week mucking around on social media or spending hours dealing with booking agents. Shared creativity was also seen in the mentoring role of industry repre- sentatives by Clare Cottone (artist): Even though I am self-managed, I have a couple of successful music manag- ers giving me some really good advice. So with their guidance I am doing this album release differently to how I did the last one. Involving industry representatives in an educative and informative way was seen by Lauren Porter (artist) as aiding creative practice: I did the ‘I Manage My Own Music’ [IMMM] course last year… It's dif- fi cult sometimes as an independent musician to even know where to start when you are putting out your fi rst records, but IMMM really helped! They bring different speakers in and you can ask them anything in a really sup- portive environment. You leave feeling so much more knowledgeable and confi dent! While discussing the team-building process in which a self-managed artist engages, Helen Marcou (Co-founder of Bakehouse Studios) noted: By the same token, there’s a point to it, like anything, it is a micro business, there’s a point where you take on a bookkeeper, you take on an accountant and often from Jen Cloher’s advice you surround yourself with the people you need at that point in your business. 104 D. HUGHES ET AL. Discussing multiple creativities, Watson ( 2013 ) also noted: The big opportunity and challenge for artists and those around them, is that artists now have to redefi ne, more broadly, what it means to be a creative human being, and so do all the people around them. Theme 3: Securing Additional Funding Self-managed artist-entrepreneurs still need fi nancial resources, and within the context of a discussion of the rise of the culture of participation (Collins & Young, 2010 ), participants raised the issue of when best to secure government funding to support a self-managed artist-entrepreneur. Participants identifi ed that government funding (and support) is highly competitive alongside the suggestion there will never be enough funding opportunities to service the demand. An up-to-date knowledge of avail- able funding from state, federal, and even philanthropic sources, together with grant application writing skills, are therefore important in ensuring a stable career for the contemporary musician. Kevin Weaver (artist) stated that being more informed about grant opportunities would help in career development and other opportunities: [G]overnment grants, that has been spoken about more, knowing more about how they work and what we can get from that and how we can pro- vide a benefi t for them to see why they would give us a grant, what’s the criteria around that. That could help in going overseas as well. There are initiatives and funding opportunities to assist artists in showcas- ing overseas; Sounds Australia was designed as a specifi c initiative estab- lished ‘to provide a cohesive and strategic platform to assist the Australian music industry to access international business opportunities’ (Sounds Australia, 2016 ). Theme 4: Externalising Financial Risk Larger entities in the music business are externalising fi nancial risk by making asset generation and accounting for marketing spend the artist’s responsibility. Artists therefore need to be educated regarding how to POPULAR MUSIC EDUCATION 105manage such risk. An interesting juxtaposition emerged from our focus groups, with some participants explaining that they believed the industry to be constituted by many more ‘small and nimble’ entities than in the past, while others noted that there has been increased monopolisation. We interpret this contradiction as we expressed in Chapter 2 , in that while many smaller players can establish sustainable businesses in the music industries, there are also a number of very large entities that generate revenue from the aggregate of the many smaller entities or artists and convergent music education needs to refl ect this. Whether artists are deal- ing with small or large entities, they need to develop a range of business and communication skills so as to successfully navigate their own pathway. This has implications for music education to include a range of career models, business strategies and practices in course content. Theme 5: Openness and Divergent Thinking Due to the diffi culties involved in building and sustaining a musical career (Hughes, Keith, Morrow, Evans, & Crowdy, 2013a , 2013b ), it is impor- tant that students are educated to embrace openness and creative think- ing. Openness and creative or divergent thinking are needed because, as Hughes et al. ( 2013a , 2013b ) noted, there is no single model for career development in the music industries. As Joe Vesayaporn also noted: I would say that there is no set right or wrong, you can pick and choose what you need. Whether you’re successful or not is a side issue… I think you can defi nitely choose to go different ways and I would even say that is on a global scale. You could be doing something incredibly traditional in Australia, but as new markets open up elsewhere you could choose to try and do things differently because they are new markets and you are going in separately. In addition, there is a strong connection between openness and divergent thinking and the continuous innovation that is needed: The challenge now is… to keep fi nding new ways to fascinate, new ways to be remarkable; not just that song, but the next song, and the next song and the one after it, and the next album after that and the next tour after that (Watson, 2013 ). 106 D. HUGHES ET AL. AN INTEGRATED MUSIC EDUCATION MODEL The emergent themes identify that the demand for research-led integrated music education is timely. This is because accessibility in and to the music industries has never been so great. The contemporary music industries now present a range of opportunities for emerging artists to share, show- case and develop their music. Alongside the myriad of opportunities are the complex challenges which artists and musicians must face. Undeniably, it is the role of education to address the challenges posed by the increased responsibilities and opportunities. Music education therefore needs to facil- itate comprehensive understanding of the new industries. Furthermore, it needs to encompass the creative core evident in the emergent themes of artist-entrepreneurship, shared creativity (for example, team-building), securing additional funding (for example, procuring funding), externalis- ing fi nancial risk (for example, risk factors) and openness and divergent thinking (for example, refl exivity; offl ine/online strategies). The integrated model we propose (see Fig. 6.1 ) converges the three main components of artistry, individuality and entrepreneurship. Artistry Artist- entrepreneurIndividualityMultiple creativities Fig. 6.1 An integrated music education model POPULAR MUSIC EDUCATION 107 Artistry Contemporary artistry involves more than the traditional concepts of instrumental capability and performance (see Hughes, 2010 , 2014 ). It now encompasses the use of technologies and innovative music produc- tion techniques. Our fi ndings identify that it is no longer suffi cient to confi ne music education to the development of a specifi c ability. Rather, contemporary music education needs to address the complexities of art- istry and the creativity that underpins contemporary musicality in the ways outlined in Chapter 4 . Creative interpretation, creative outputs and cre- ative production aesthetics are prized artistic traits. While popular music has a tradition of continuous evolution, production technologies are also constantly evolving. This has implications for all artists in relation to their resultant aesthetic. Preventative strategies in relation to injuries in instru- mental or context specifi c situations (for example, hearing loss; vocal dam- age), as were outlined in Chapter 5 , should also be included. Education needs to facilitate a comprehensive view of artistry that accounts for these traits in ways that effectively focus on and communicate artistry. In Fig. 6.2 , artistry in education is situated within an awareness of career oppor- tunities and the fi eld. The multifaceted components that underpin artistry are also identifi ed. Individuality Participants were unanimous in the view that while the opportunities for involvement in the new music industries have never been so great, as was outlined in Chapter 3 , the challenge of the ability to be seen or heard in the new digital economy is often diffi cult. More competition (both offl ine and online), engagement in social media and the signifi cance of the ‘song’ were all cited as challenges that impacted on the realised level of artistic exposure. The emphasis on the ‘song’, rather than on an album per se, was viewed as crucial for artist exposure and subsequent interest; as Tim Hart noted, ‘It has to be about the song. We have nothing else. What are you going to look forward to? I need to have that song, I wonder what else they have?’ The need for individuality (used here to encompass both the solo artist and the collective such as a ‘distinctive’ band) was also evident in the participant focus on the development of individualisation, clear artistic intent and the facility for artists to be identifi able. This included the devel- opment of distinctive musical/vocal sound; more signifi cantly though, it was apparent in the context of developing a specifi c individual image and 108 D. HUGHES ET AL.brand that was consistent through various artistic components such as the musical, the visual and the technological. This facility for individualisation was clearly underpinned by multiple creativities and also encompassed the interpersonal or collaborative skills required to realise those creativities. Refl ection was also viewed as being a critical skill that aided individuali- sation. Participants noted that analysis of or refl ection on career approaches including strategies (business and artistic), performances and recordings provided learning opportunities. Opportunities for individual refl ection and refl exivity should therefore be facilitated in music education. As this component focuses on individuality and is also situated within career opportunities and the fi eld (see Fig. 6.3 ), it should also focus on Career awareness Field awarenessAesthetics ArtistryProductionInjury prevention Techno- logiesExpression Perfor- manceInter- pretation Fig. 6.2 Artistry component POPULAR MUSIC EDUCATION 109aspects of health and wellbeing. For example, it would seem imperative to have a focus on vocal demands and singing in popular music given the high incidence of singers who have suffered either vocal injuries or vocal health issues (see Hughes, 2013 ). It should include the development of strategies to deal with the potential impact on lifestyle (for example, sub- stance abuse; anxiety). This includes securing adequate insurance cover- age; Christopher Chow (industry lawyer) noted: Many artists now have all sorts of insurance. They are cottoning on to the fact that there is a risk they might not be able to perform and travel forever, Career awareness Field awarenessArtistic intent IndividualityReflexivity Health and SafetyBrand WellbeingImage Fig. 6.3 Individualisation component 110 D. HUGHES ET AL.as they may get nodules in their throat, or arthritis in their hands, or perhaps just slip over and injure themselves one day. With greater understanding and education regarding these risks, comes the realisation of the requirement to protect against them. Artist-entrepreneur Our research clearly identifi es that notions of creativity are rapidly chang- ing. While artists now have to be artistically creative, they also need to be managerially creative. There are now signifi cant challenges to creative outputs in relation to copyright, copyright regulation and associated artist revenue streams; there are also challenges in fi nancial management. The facility to manage both online and offl ine artistic components are also for- midable. In addition, workplace health and safety issues (WH & S) should be addressed. Through an engagement with team-creativity theory, a number of strat- egies for nurturing music business entrepreneurship within an integrated music education model can be developed. First, because the personality traits that can be best used to predict managerial creativity are openness (or being open-minded) and the ability to think in a divergent way (Scratchley & Hakstian, 2001 , p. 380), the mindset that involves positioning man- agement and creativity as opposing concepts needs to be abandoned; a convergent approach allows for open-mindedness and divergent thinking. Underpinning this approach is a convergent transfer of information. An example of this could be to teach songwriting and production in conjunc- tion with music business entrepreneurship. This would enable students to engage beyond the musical output and explore how their outputs could reach their target audiences. As our research fi ndings identify, such a con- vergent strategy is more refl ective of contemporary practices, whereby the artist-entrepreneur works across multiple areas and in multiple roles. It would also enable the management role, the artistically creative role and other required roles to coexist within units of education with the aim of facilitating the heterogeneity that is required for team creativity. These elements are illustrated in Fig. 6.4 . They are also situated within career opportunities and the fi eld. In addition to the personal insurance noted in the section above, it is relevant for the artist-entrepreneur to investigate a range of business-related insurance options (for example, securing public liability insurance in relation to the hiring of specifi c venues).POPULAR MUSIC EDUCATION 111 CONCLUSION This chapter has examined the research question, ‘How does music educa- tion have relevancy in the contemporary multi-industry musical landscape?’ Subsidiary to this primary question is whether the music business is suited to musicians, business people or both. Our analysis of career development within the contemporary music industries provided earlier in this volume suggests that a perception of tension between creativity and management dissipates when the artist becomes a self-managed artist-entrepreneur. The call for an integrated model in music education is also indicated in other recent research fi ndings. For example, in the Victorian Live Music Census 2012 (Music Victoria and the City of Melbourne, 2012 ), of the Career awareness Field awarenessFan outreach Artist- entrepreneurRisk factorsProcuring funding InsuranceTeam building Revenue streamWorkplace health and safety Fig. 6.4 Artist-entrepreneur component 112 D. HUGHES ET AL.258 participants, 92% were self-managed and 48% of those ‘rate their music industry knowledge as “Below Average” or “Poor”’ (p. 55). This clearly identifi es a need for education to include the multi-industry land- scape or contexts (Hughes et al., 2013b ) in which contemporary per- formances occur or through which music is now accessed and heard. As Robert Scott summarised: [A]rtists can take control of their career more than ever in this era, they can self-release, they can do individual deals with certain territories, they just need to have the wherewithal and the time and the education and the skills to be able to do that. An integrated education model must also address the realities of real- world practices that can be both confronting and challenging. These realities include contractual obligations, issues relating to health and well- being, insurances (for example, public liability; accident cover for specifi c impairment), potential exploitation, fi duciary aspects of associated indi- viduals or organisations and the legalities of copyright and royalty col- lection (for example, live performance royalty returns). Such realities can prove extremely challenging for some and, for others, can lead to issues of health, safety and wellbeing. Contemporary music education can address these realities in ways that best prepare students for the multiple, disrupted industries they will encounter. NOTES 1. We are using this term in the context of sustainable income, not in relation to an ‘employer’ per se . 2. We have included this statistic here although we acknowledge that it would possibly fl uctuate (higher and lower) over time. 3. The primary aim of the research that informs this chapter was to identify career trajectories within the new ‘music industries’ (Williamson & Cloonan, 2007 ). This was contextualised earlier in this volume. The research design specifi cally aimed at documenting the individual voice and the realities of practice through focus groups and interviews. The fi ndings in this chapter were identifi ed from a range of music professionals (for example, artists, artist man- agers, government agency representatives). A constant comparative analysis (Merriam, 1998 ) was utilised in the formulation of this chapter’s emergent themes. POPULAR MUSIC EDUCATION 113 REFERENCES Beckman, G. (2007). “Adventuring” arts entrepreneurship curricula in higher education: An examination of present efforts, obstacles, and best practices. The Journal of Arts Management, Law, and Society, 37 (2), 87–112. doi: 10.3200/ jaml.37.2.87-112 . Bilton, C. (2010). Manageable creativity. International Journal of Cultural Policy, 16 (3), 255–269. Bridgstock, R. (2012). Not a dirty word: Arts entrepreneurship and higher educa- tion. Arts and Humanities in Higher Education, 12 (2–3), 122–137. doi: 10.1177/1474022212465725 . Brindle, M. (2011). Careers and internships in arts management. In M. Brindle & C. DeVereaux (Eds.), The arts management handbook: New directions for stu- dents and practitioners (pp. 185–216). New York: M.E. Sharpe. Burnard, P. (2012). Musical creativities in practice . Oxford: Oxford University Press. Burnard, P. (2014). Developing creativities in higher music education (Kindle for Mac version). Retrieved from Amazon.com . Carey, J. (2005). What good are the arts? London, UK: Faber and Faber. Cloher, J. (2013). The top ten things I learnt (from you) in 2013 about being a self managed indie. Retrieved December 11, 2014, from http://imanagemymusic. com/tag/jen-cloher/ Collins, S., & Young, S. (2010). A view from the trenches of music 2.0. Popular Music and Society, 33 (3), 339–355. Csikszentmihalyi, M. (1996). Creativity: Flow and the psychology of discovery and invention . New York: Harper Perennial. Daniel, R. (2010). Career development and creative arts students: An investiga- tion into the effectiveness of career theory and WIL experiences on practice. Australian Journal of Career Development, 19 (2), 14–22. Feichas, H. (2010). Bridging the gap: Informal learning practices as a pedagogy of integration. British Journal of Music Education, 27 (1), 47–58. Florida, R. (2011). The rise of the creative class revisited . New York: Basic Books. Gabe, T., Florida, R., & Mellander, C. (2013). The creative class and the crisis. Cambridge Journal of Regions Economy and Society, 6 , 7–53. Gaunt, H., & Westerlund, H. (Eds.). (2013). Collaboration in higher music educa- tion (Kindle for Mac version). Retrieved from Amazon.com . Green, L. (2002). How popular musicians learn: A way ahead for music education . Aldershot, UK/Burlington, USA: Ashgate Publishing Limited. Hausmann, A. (2010). German artists between Bohemian idealism and entrepre- neurial dynamics: Refl ections on cultural entrepreneurship and the need for start-up management. International Journal of Arts Management, 12 (2), 17–29. 114 D. HUGHES ET AL. Hughes, D. (2010). Developing vocal artistry in popular culture musics. In S. Harrison (Ed.), Perspectives on teaching singing (pp. 244–258). Queensland, Australia: Australian Academic Press. Hughes, D. (2013). ‘OK, great sound, what are you experiencing as you’re sing- ing that?’ Facilitating or interrupting the fl ow of vocal artistry. In O. Wilson & S. Attfi eld (Eds.), Shifting sounds: musical fl ow. A collection of papers from the 2012 IASPM Australia/New Zealand conference , December 5–7, Hobart, Australia, 80–87. Hughes, D. (2014). Contemporary vocal artistry in popular culture musics: Perceptions, observations and lived experiences. In S. Harrison & O’Bryan J. (Eds.), Teaching singing in the 21st century (pp. 287–302). Dordrecht/ Heidelberg/New York/London: Springer. Hughes, D., Keith, S., Morrow, G., Evans, M., & Crowdy, D. (2013a). What constitutes artist success in the Australian music industries? International Journal of Music Business Research (IJMBR), 2 (2), 60–80. Hughes, D., Keith, S., Morrow, G., Evans, M., & Crowdy, D. (2013b). Music education and the contemporary, multi-industry landscape. In Redefi ning the musical landscape: Inspired learning and innovation in music education XIX ASME National Conference Proceedings (pp. 94–100). Brisbane, Australia. Keith, S., Hughes, D., Crowdy, D., Morrow, G., & Evans, M. (2014). Offl ine and online: liveness in the Australian music industries. In V. Sarafi an and R. Findlay (Eds.). Civilisations: The State of the Music Industries, 13 , 221–241. Kurtzberg, T., & Amabile, T. (2000). From Guilford to creative synergy: Opening the black box of team-level creativity. Creativity Research Journal, 13 (3–4), 285–294. Lebler, D. (2007). Student as master? Refl ections on a learning innovation in popular music pedagogy. International Journal of Music Education, 25 (30), 205–221. Lebler, D. (2008). Popular music pedagogy: Peer learning in practice. Music Education Research, 10 (2), 193–213. McGuigan, J. (2009a). Doing a Florida thing: The creative class thesis and cultural policy. International Journal of Cultural Policy, 15 (3), 291–300. McGuigan, J. (2009b). Cool capitalism . London, UK: Pluto. McGuigan, J. (2010). Creative labour, cultural work and individualisation. International Journal of Cultural Policy, 16 (3), 323–335. Mellandera, C., Florida, R., & Rentfrow, J. (2012). The creative class, post- industrialism and the happiness of nations. Cambridge Journal of Regions, Economy and Society, 5 (1), 31–43. Merriam, S. (1998). Qualitative research and case study applications in education . San Francisco, CA: Jossey-Bass Publishers. Music Victoria and the City of Melbourne. (2012). Victorian live music census 2012. Retrieved July 16, 2013, from http://www.musicvictoria.com.au/ assets/Documents/Victorian_Live_Music_Census_2012.pdf POPULAR MUSIC EDUCATION 115 Parkinson, T., & Smith, G. (2015). Towards an epistemology of authenticity in higher popular music education. Action, Criticism, and Theory for Music Education, 14 (1), 93–127. Sawyer, K., & DeZutter, S. (2009). Distributed creativity: How collective cre- ations emerge from collaboration. Psychology of Aesthetics, Creativity, and the Arts, 3 (2), 81–92. Schumpeter, J. (1939). Business cycles: A theoretical, historical, and statistical anal- ysis of the capitalist process . New York: McGraw Hill. Scratchley, L., & Hakstian, R. (2001). The measurement and prediction of mana- gerial creativity. Creativity Research Journal, 13 (3–4), 367–384. Smith, G. (2013). Pedagogy for employability in a Foundation Degree (Fd.A.) in creative musicianship: Introducing peer collaboration. In H. Gaunt & H. Westerlund (Eds.), Collaborative learning in higher music education . Farnham, UK: Ashgate. Smith, G., & Gillet, A. (2015). Creativities, innovation, and networks in garage punk rock: A case study of the eruptörs. Artivate: A Journal of Entrepreneurship in the Arts, 4 (1), 9–24. Smith, G., & Shafi ghian, A. (2014). Creative space and the ‘silent power of tradi- tions’ in popular music performance education. In P. Burnard (Ed.), Developing creativities in higher music education: International perspectives and practices (pp. 256–267). London, UK: Routledge. Sounds Australia. (2016). About. Sounds Australia . Retrieved December 16, 2015, from http://soundsaustralia.com.au/index.php/about/ Throsby, D., & Zednik, A. (2011). Multiple job-holding and artistic careers: Some empirical evidence. Cultural Trends, 20 (1), 9–24. Watson, J. (2013). Keynote Q & A with John Watson. Interviewed by N. Megel on 12 September 2013, BigSound , The Judith Wright Centre, Brisbane, Australia. Williamson, J., & Cloonan, M. (2007). Rethinking the music industry. Popular Music, 26 (2), 305–322. World Health Organisation. (2014). Mental health: A state of well-being . Retrieved December 7, 2014, from http://www.who.int/features/factfi les/mental_ health/en/ 116 D. HUGHES ET AL.117 © The Editor(s) (if applicable) and The Author(s) 2016 D. Hughes et al., The New Music Industries , DOI 10.1007/978-3-319-40364-9_7 CHAPTER 7 Abstract This chapter outlines possible futures for the music industries in light of what is determined as the ‘new’ artist. Cumulative research fi ndings, the implications of those fi ndings, and a ‘new’ artist defi nition and model are presented which raise considerations for future musical cre-ativities and directions. The cumulative fi ndings also raise considerations for policy-makers, education and advocacy. The chapter concludes with consideration for musical and artistic engagement that leads well beyond disruption. Keywords Technology • Education • Discovery • Advocacy This concluding chapter brings together the essential elements required for the ‘new artist’. Based on our ethnographic research, we highlight those skills and profi ciencies that will be necessary for artists to thrive in the digital industries. While some aspects will be the responsibility of the artist themselves, we also consider the broader infrastructure required to develop artists in the new musical industries. This chapter considers the educational, technological and fi nancial imperatives for new artists, and ultimately highlights the exciting discoveries that can be made. Conclusion: The ‘New’ Artist DEFINING THE ‘NEW’ ARTIST In order to outline what we determine as the ‘new’ artist, it is useful to engage with the artist-versus-business debate, and to link this debate to an argument concerning the multiple creative self-effi cacies (Bandura, 1997 ) or creative confi dence(s) (Kelley & Kelley, 2013 ). We have outlined, in the preceding chapters, the models, creativities and learning that the ‘new’ artist engages in when navigating their chosen pathway within the new music industries. Regarding the role of the artist manager within the tra- ditional record-label-centric music industry, Welch ( 2003 ) noted: Being a manager is probably the worst job, because you are the bridge between the art and the commerce and you’re never going to get into a situ- ation where you are keeping both sides happy. That’s impossible. (p. 236) Embedded here is the assumption that the artistically creative side and the business side of the music industries are not easily reconciled. In relation to the career models showcased in this book, however, it is necessary that the new artist be defi ned as someone who possesses precisely the multiple creativities necessary for straddling the two sides. This is because the cir- cular model for career development and sustainability typically begins with the direct artist-to-fan relationship. In order to further understand the ways the new artist differs from the artist as previously understood, the following quote is useful: The idea of a confl ict between creativity and commerce has also been used to illustrate the power of the music industry and has also informed numer- ous everyday claims about how musicians ‘sell out’ to the system. On one side are the heroes—the musicians, producers and performers (the creative artists); opposing them are the villains—record companies and entertain- ment corporations (the commercial corruptors and manipulators). (Negus, 1996 , p. 46) This rigid binary illustrated here was more appropriate when artists had to follow the linear career development process (see Fig. 2.5, Chapter 2 ). However, in the new music business environment, artists themselves need to develop the confi dence to not only address any tensions between the artistic and the money-making aspects of music, but to fi nd ways in which ‘the generation of economic and cultural value might be harmonized such that they become complementary rather than competitive’ (Throsby, 118 D. HUGHES ET AL. 2002 , p. 1). Our argument here is that for the ‘new artist’ to be able to do this involves multiple creative self-effi cacies. As outlined in Chapter 5 , self-effi cacy (Bandura, 1997 ) is the confi dence one has in their ability to achieve a certain goal, or in terms of the realities of practice, the belief and commitment to task/s that one has to get through a diffi cult time. Building such self-effi cacy and resilience is necessary for the new artist’s attempts to manage the various stresses to which they may be subject in the new music industries. Similarly, creative self-effi cacy, or creative con- fi dence (Kelley & Kelley, 2013 ), is required and takes a number of forms including soft to hard forms of artistic creativity as well as business-related creativities. The model below (Fig. 7.1 ) represents our fi ndings on the ‘new’ artist, including artist capabilities and methods of engagement. In this model, we expand on the circular model (see Fig. 2.5, Chapter 2 ) and orientate the methods of engagement identifi ed in our research. For example, while evidence of a fan-to-artist relationship may be the catalyst for support, interest and reward from the music industries, artists are also free to draw on industries in and for their creative endeavours. The arrows therefore Artist FansNew industriesInformal and formal learning Choice of career model Fig. 7.1 The new artist and engagement reciprocity CONCLUSION: THE ‘NEW’ ARTIST 119represent possible engagement from multiple directions/stimuli and, as such, highlight engagement reciprocity. We also highlight that the new artist is free to choose one or more career models (360, Entrepreneur, DIY), including the potential artist-management-label ‘hub’ variations outlined at the end of Chapter 2. These ‘hub’ variations are underpinned by individual informal and formal learning as outlined in the previous chapter. The evolution of the new artist is crucial to the new industries, and while fans are not a new phenomenon, their potential impact on artist exposure and success is now immediately visible and verifi able. SKILLS AND APTITUDES FOR THE ‘NEW’ ARTIST The new artist in today’s music climate possesses a variety of skills. Of course, artists have always tended to possess skills beyond musical abil- ity, including basic business acumen, self-promotion and so on. However, the signifi cant disruptions of recent years—namely, the diminishing role of major labels, the changing live performance climate, and the advent of digitisation and the Internet—have meant that artists have needed to develop new skills in response to these changes. Of course a skill base may not be commensurate with an artist’s aptitude or timeframe to fulfi l a par- ticular task or role. Skill development therefore also needs to address the prioritising of roles and functions, together with strategies for devolving these to others as appropriate. One notable characteristic of the skills required by new artists is that they are more transferable beyond creative practices to other fi elds and related activities. This is partly due to the characteristics of new media, as discussed by Manovich ( 2001 ): because today’s media are increas- ingly digital, artists can create, edit and distribute audio, video and image with equal facility. Prior to the digital era, these fi elds would have been largely separate pursuits with specialised equipment and training required for each. The increasing accessibility and affordability of technologies for media production has meant that artists are able to engage with multiple forms of media production. Furthermore, the online space has led to a ‘fl attening out’ of outlets for musicians, as discussed in the Foreword of this volume. Whereas promo- tion and distribution may previously have relied on many geographically distinct local networks of television, radio and print, as well as a distinct music press, a smaller number of globalised outlets—YouTube, Twitter, Facebook, Instagram, and others—are now a signifi cant part of the land-120 D. HUGHES ET AL.scape. Crucially, these outlets are not music-specifi c, but are generalised platforms for reaching consumers. Artists in today’s music environment develop skills for engaging through these particular platforms—engaging audiences and communicating, producing high-quality audiovisual con-tent, analysing metrics, leveraging advertising and so on. These skills are not unique to the domain of music; they are highly transferable and valu-able in other fi elds. The industry disruption wrought by the Internet has affected not just the technical skills of today’s artist, but also the economic aspect of music careers. Recorded music revenues are steadily decreasing, and streaming has yet to be proven as a suffi cient income stream for most art- ists. Live performance remains viable, but touring can involve signifi cant energy, risk and cost to the artist. Artists need to develop initiative in looking elsewhere for revenue, such as selling merchandise or applying for grants from organisations. Alternative funding models such as crowd-funding (via Kickstarter, GoFundMe or similar services) and patronage/subscription services (through Patreon, Bandcamp or others) are also increasingly used. Even direct artist-to-fan engagement provides a space in which to develop ideas and to potentially remove some of the artist ‘risk’ as some of the fi nancial risk is devolved. Devolving risk through crowdfunding therefore offers the potential for ‘testing’ creativity both in verifi cation as to the level of funding generated and in the ‘success’ of the resultant artefact/performance. There are the added benefi ts of not recouping production costs or advances as well. Each of these funding strategies, however, requires the artist to possess small business skills such as project management and planning, developing a budget, sustainability and innovation; skills that deserve a place in music education and other career development programs. The new artist is therefore in possession of a wide range of skills beyond musical ability alone. In this context, artists are no longer just music pro-ducers or performers; they are independent media producers, with a diverse set of abilities that can be applied to and beyond the music indus-tries. It would, however, be futile to describe the exact skills that a new artist requires; new profi ciencies will arise in response to the constantly evolving industries. Above all, new artists need to be agile and resilient enough to adapt to ongoing disruptions caused by technological innova-tions or changes. While the organisations and services named above are currently widely used, new competitors and changes to these existing ser-vices will continue to destabilise the landscape into the future. CONCLUSION: THE ‘NEW’ ARTIST 121 TECHNOLOGIES The role of technology in shaping the new music industries is far-reaching. Before considering what the future may hold for technology, however, it is worth recognising that the ‘old’ music industry was likewise formed on a particular combination of technologies and economic conditions. Music publishing and copyright developed alongside mass-produced sheet music, itself the result of mass ownership of household pianos. Recorded music led to the rise of labels, which controlled the capital and subse- quently manufacturing and distribution processes required for profi t gen- eration. The labels’ longstanding infl uence on the industry (and on artists) was contingent on their ownership of capital and the nature of recording technology at the time. Today, technology has refi gured the popular music landscape once again. There are several points about technology and its future impact on the music industries worth making here. First, the accessibility of fans to art- ists (and vice versa) within the new circular model of artist careers is made possible through the new entities—Internet service providers and web ser- vices—which mediate this interaction. Thus, although disintermediation is occurring to an extent, there is always a mediating presence with the poten- tial to affect the fan–artist relationship. Although services such as Facebook offer the impression of a direct connection, it is worth remembering that both artists and fans are subject to Facebook’s terms of service, user inter- face and program algorithms. When using a third-party service, a level of control is ceded; this can be detrimental, as demonstrated when Facebook adjusted its algorithm in 2012, serving up more paid posts to end users (Ogilvy and Mather, 2012 ). Likewise, use of these services entails agreeing to set terms, including remuneration; this issue was behind Taylor Swift’s well-publicised catalogue withdrawal from Spotify in 2014 (Linshi, 2014 ). While the increased closeness between artist and fan permitted by these services has led to new opportunities for artists (such as one-on-one interac- tions, crowdfunding and the like), it is worth recognising that this relation- ship is mediated by third-party entities, and that it is well to be circumspect about the long-term benefi ts of these services. Live performance is another area that has been greatly changed by technology. Prior to the Internet, live performance would correspond to a (usually) paid gig in a live music venue to an audience. Such per- formances are frequently used as an opportunity to sell merchandise, a comparatively profi table area for performing musicians. Today however, 122 D. HUGHES ET AL.live performance—and the defi nition of ‘live’—has changed dramatically (Keith, Hughes, Crowdy, Morrow, & Evans, 2014 ). New performance technologies are becoming more established, and can make certain per- formers stand out (see Hughes, 2014 , 2015a , 2015b ); Ed Sheeran’s use of looping technologies is one example (see also Hughes, 2015a ), while other performers use more complex set-ups involving Ableton Live or other software, merging performance with pre-recorded material. Artists are also able to ‘perform’ to audiences in various non-musical ways through social media, using video, text or image. Music performances can also be recorded and uploaded to a video or music-sharing service, such as Spotify’s Spotify Sessions . In addition, musicians can take advantage of live- streaming technology such as Twitter’s Periscope, UStream or Livestream to broadcast a performance in real time. In the latest development, fans will soon be able to buy merchandise while streaming music via Spotify, in an online simulacrum of the concert experience (Spotify Artists Services, 2016 ). Each of these approaches shows how technology has advanced and changed ‘live performance’ as a concept. A third observation revolves around the way music production technol- ogy has shifted the role of musical skill. Whereas, in the earliest days of recorded music, the recorded artefact consisted of a fairly straightforward recording of a live performance, the recording studio has long been used to create effects and results that are not possible in a live setting—double- tracking, editing, comping and, most recently, pitch and rhythm correc- tion, to name several. A recurring theme in our research was the divide between artists who can perform live, and those who lack performance ability. As technologies for music production and for altering recorded audio become increasingly widespread and accessible for artists, it is worth questioning whether musical ‘skill’ in the traditional sense—that is, tech- nical profi ciency with an instrument or voice—is still relevant in popular music. Certainly, in some instances sample libraries and software plug- ins (such as Antares’ Auto-Tune) allow artists with varying degrees of instrumental skill to produce music (see also Hughes, 2015b ). To achieve seemingly credible results, however, a level of musical profi ciency, per- formativity, carefully applied technology and creative ability would still be necessary. Furthermore, as mentioned above, production technology (such as triggering samples) is now commonly used in live performance. Today’s artists are increasingly able to frame performance in a way that suits their own level of ability, assisted by technology. CONCLUSION: THE ‘NEW’ ARTIST 123 It should also be said that any discussion of the future of technology in regard to artist careers needs to recognise the diversity of genres, sub- cultures and niches across artistry and related industries. Each musical niche will have its own audience, and a particular set of technologies suited to it. Some artists may be able to eschew many online technologies and build an audience primarily through live performances, while others may not perform ‘live’ at all. Nonetheless, by recognising the ever-changing entities and technologies present within the music industries, artists can form educated career pathways. THE FUTURE OF BUSINESS This volume has proposed several models of career development for artists in the music industries. As we have seen, types of artistry can be illustrated on a continuum of creativity (Madden & Bloom, 2001) (see Fig. 1.1, Chapter 1 ) and are free to choose their artistic endeavour. Artists also exist, to some extent, on a continuum of business skills. We have therefore highlighted that for all career models, grounding in business principles (including fi nancial, accounting tax and so on) is benefi cial. Featured along the continuum are ‘advanced’ marketing, audience outreach and digital strategies to varying degrees. What is certain in the digital economy is that artists will be affected by the future of business in the digital age. Even the DIY model, and the way in which it is facilitated by new tech- nologies, has a place within the corporate businesses of the future. While it may be seen to rely on soft business skills (career dependent) that lie out- side the scope and interests of traditional music business entities, the DIY model is attractive to numerous online platforms that are commercialising more and more content. Facebook, Twitter, Youtube, WhatsApp, Google, Soundcloud, Bandcamp, Music Glue and many others are all entities that derive economic benefi t from the aggregate of the artists and many other people who use new technologies to pursue artistic creativities through the DIY model. While the DIY model may or may not be used by people who desire to pursue professional careers as artists, it is reasonable to assume the 360 model and the Entrepreneur model will be used in the future by artists who desire to build professional careers in music that involve both soft and hard creativities. However, the fragility of such careers means that art- ists may well cycle through the DIY model, the Entrepreneur model and the 360 model and then go back to operating via the DIY model. While 124 D. HUGHES ET AL.this may cause issues relating to self-esteem for artists who ‘over-identify’ (Hesmondhalgh & Baker, 2011 , p. 141) with their professional work, it is important to note that there are many benefi ts that can be derived from participating in music which have signifi cant implications for the wellbe- ing and development of future artists. For those who desire to pursue careers as professional, or semi- professional artists, and who seek to break new ground through the innovation and invention stemming from their creative endeavours, many of the old binaries that informed music business discourse (such as inde- pendent versus major labels, creativity versus commerce, selling out or buying in) will arguably continue to lose their rigidity in the future busi- ness of music. This is because we anticipate an increasing fl uidity in terms of artists’ use of the career development Models 1 through 3. An artist may be signed to a record label under the 360 model in one geographic territory, while operating through the Entrepreneur model in another. And while longitudinally an artist may start out by operating under a DIY model, then develop their creative practice and investment opportunities through the Entrepreneur model, they may be able to demonstrate to potential investors that they are achieving exponential growth in some form or fashion. They may then begin working with a record label (major or independent) through the 360 model in order to further build their career. We envisage that startup methodologies and approaches will evolve with alarming speed. The new artist will need to be aware of trends within business cycles, as new formations take root and others are ruled out. Moving to a more extreme position, creative businesses might be further automated if artifi cial intelligence (AI) (see Halal, 2015 , p. 57) is engaged to assist artists in their career development efforts. Therefore the question of the automation of—at least some of—the components of artist manage- ment service provision and music business development through the use of AI may well in future become an area for development and research. EDUCATION AND ADVOCACY In the previous chapter, we posited that multiple creativities (musical and business related) are core to the new artist. We also posited a multidimen- sional approach to popular music education so as to best cater to multi- platform creativities, and the multi-distribution and production channels now proliferating the industries. We have identifi ed that popular music education needs to refl ect the convergence between business operations CONCLUSION: THE ‘NEW’ ARTIST 125and the artist. In light of our research fi ndings, we have carefully con- sidered how best to train students for their individual 1 career trajectories within the new music industries. In research that investigated the ways in which popular musicians learn, Green ( 2002 ) identifi ed that the musi- cians in her study supported popular music education. There was, how- ever, some concern expressed in relation to the potential restriction in formal education of musical ‘spontaneity’ (Green, 2002 , p. 176). Much spontaneity stems from adaptability, a skill that may be explored through the creativities that underpin our discussion in the previous chapter. We have not simply argued that the popular music landscape has changed and is constantly evolving; we have also offered considerations and strategies for navigating through the landscape that is relevant to the artist, to the related practitioner/strategist, to the music educator and/ or to the music manager. We have offered a theoretical and practical dis- cussion of what is new from an education perspective (such as the art- ist–business convergence), highlighted areas for concern (such as duty of care) and have of course identifi ed areas for opportunity (such as the signifi cance of the direct artist-to-fan relationship). We posit that as the popular music landscape continues to change, strategies such as the ‘agile- lean startup’ methodology will be adapted to quickly test market and/or business assumptions. In this way, we have tapped into the ‘agile’ trend in order to further differentiate our research and this volume, and to make the argument that it is this agility (together with multiple creativities and versatility) that ultimately leads to discovery and sustainability within the industries. If the role of tertiary music education is to prepare students for the music industries, then what specifi cally prepares students for entry into tertiary popular music programs? While it was beyond the original scope of our project, it is relevant to discuss music education in Australia more broadly in an attempt to address this question. At the 2015 national con- ferences of both the Australian Society for Music Education 2 and the Australian National Association of Teachers of Singing Limited, 3 advo- cacy for music education in Australian schools was a recurrent theme and concern as music (and singing) have been marginalised to being one of fi ve artforms in school curriculum – Dance, Drama, Media Arts, Music and Visual Arts (Australian Curriculum, Assessment and Reporting Authority, n.d. ). This is despite the fact that neuroscience identifi es that musical learning has the potential to positively affect brain development 126 D. HUGHES ET AL.(see Herholz & Zatorre, 2012 ) and a range of associated skills as Wan and Shlaug ( 2010 ) highlighted: Music training in children, when commenced at a young age, results in improved cognitive performance and possibly the development of excep- tional musical abilities such as absolute pitch. (Wan & Shlaug, 2010 , p. 574) Engagement in the new industries (such as through a range of technolo- gies) has much to offer school curriculum content in terms of accessi- bility, participation and socio-cultural relevance. Over twenty years ago, Negroponte ( 1995 ) was also espousing the potential merits of digital technologies: The use of computers to learn music at a very young age is a perfect exam- ple of the benefi t computers provide by offering a complete range of entry points. The computer does not limit musical access to the gifted child. Musical games, sound data tapes, and the intrinsic manipulability of digital audio are just a few of the many means through which a child can experi- ence music. The visually inclined child may even wish to invent ways to see it. (Negroponte, 1995, pp. 222–223) While we endorse the inclusion of, and access to, music studies throughout school education and are concerned over its marginalisation, it is highly advantageous to also include contemporary content and tech- nologies when teaching music in schools. From a young age, aspects of the new industries (such as looping technologies, 4 Ableton Push 5 ) can be used to foster musical creativities, exploration of, and interest in, musical endeavours as Barr ( 2014 ) noted: Looping is one of the easiest, yet most powerful ways to leverage technology in the music classroom and is a great way to improvise and compose in real time, and share and collaborate in your classroom… There are a number of forms of looping—in this case I am talking about recording some audio, having it play and repeat over and over, allowing you to record additional layers of sound on top. Such strategies can redress the potential hierarchy associated with much traditional musical learning and its potential isolation (such as in lengthy practice hours). We by no means intend to negate the relevance of for- mal instrumental learning and its resultant skill development and prowess. CONCLUSION: THE ‘NEW’ ARTIST 127Rather, we advocate for traditional musical concepts (such as melody, harmony, structure) and skill development (such as aural, compositional, improvisational) to also be explored in collective and less traditional ways. One of the primary challenges facing popular music education is the speed at which the fi eld changes and adapts to meet technological develop- ments, artistic and creative opportunities, business and market demands. Throughout this volume, we have provided an overview of the opportunities and challenges facing artists in the early twenty-fi rst century. While there is relevance to the Australian market, we are also discussing global phenom- ena that transverse geographical boundaries. At the outset, our premise was that digital disruption has changed the music industries and related prac- tices globally, and in correlation with this we have identifi ed new means of musical learning that need to be developed and adopted. The detailed ‘on- the-ground’ analysis, models, considerations and strategies that we provide through this volume are therefore relevant everywhere. THE ‘NEW’ INDUSTRIES This volume has attempted to provide some concrete directions for art- ists in the new music industries to follow. It has developed models that outline the changed landscape within the sector. It has been grounded in practice, in the everyday situation of artists and industry practitioners. And it has shown, that, despite the disruption, there is tremendous discov- ery occurring. Artists have a power now they never knew before, and the industry is scrambling to take stock of the changes. There are numerous industry professionals—with job titles and descriptors that are totally alien to the traditional music industry—ready to assist in the development of promising artistic creativity. Likewise, there are artists willing to take on their own business-related risks and strategies. In relation to the sale of Whispers Two (Rosenberg, 2015 ), for example, Passenger commented on the accompanying booklet/sleeve (the following excerpt is as written): i have no idea if we will raise a lot of money but i have learnt that success comes from making an effort and taking risks and the only way of ensuring failure is not to try Yet all of these opportunities have occurred in response to technology, and future artists need to be aware of this. In 1995 Nicholas Negroponte prophesised that ‘everything that can be digitised, will be digitised’. But 128 D. HUGHES ET AL.what he did not predict was that everything that could be connected would be connected. 6 As we head deeper into the ‘Internet of Things’, where between 50 and 100 billion machines will be connected, huge changes to the fabric of artistic endeavour will no doubt continue to evolve. Artists need to be technologically adept, to be agile and to embrace the possibility that these changes constantly pose. At the same time, as traditional media move online, as video games (both serious and recreational) subsume fi lm and popular music for total value creation, opportunities for musical art- ists continue to arise and develop. The new artist needs to be adept at discovering these opportunities. There will be much to read about disrup- tion and future (as yet unseen) disruptive technologies, but as we have seen, with all such developments there are untold discoveries to be made. Wearable technology is beginning to gain a foothold in consumer con- sciousness; what happens when artists manage to distribute their product via such technologies? At the heart of all such postulations is a strong cre- ative product—music that people would want to wear, for instance—and acute business acumen. The new musical industries present no shortcuts, and no substitute for hard work. Yet there are models of operation, and levels of understanding, that will provide advantage to artists willing to discovery the new territories. Throughout this book, we have highlighted the versatility required of artists in the digital music economy as they navigate their way through the multi-industry landscape. After fi rst outlining the primary reasons why many twentieth-century popular music practices and assumptions are now outdated, the abilities and skills of the new artist are addressed through citing and analysing specifi c practice examples. As such, our research fi nd- ings and the models presented in this volume are crucial to understanding, navigating and succeeding in the new musical industries. We hope that this volume, among others, may help readers understand the current state of the play, as well as prepare for future eventualities as they occur. We have posited our book as a research volume with detailed fi ndings and exciting provocations to expand our understanding of music industries from a confi ned, traditional base to a digitally networked hybrid. Many of our participants were digital content creators and curators, not simply art- ists. This represents an industry-wide study, far broader than music prac- tices. It is, therefore, highly relevant internationally. This is not a ‘how-to’ book, but rather a ‘what’s happening’ account of explorations of the new spaces and practices, both positive and negative, that exist within the popu- lar music industries. It is time to look beyond the disruption; to discover. CONCLUSION: THE ‘NEW’ ARTIST 129 NOTES 1. The use of ‘individual’ in this context relates to the particular trajec- tory undertaken rather than referring to the individual artist per se. 2. ‘Music: Educating for Life’, Australian Society for Music Education (ASME) XXth National Conference, 30 September–2 October, 2015, Adelaide, Australia. 3. ‘Singing Futures: Pedagogies Practices and the Digital Age ’, National Conference of the Australian National Association of Teachers of Singing Limited (ANATS), 24–27 September 2015, Hobart, Australia. 4. Looping technologies include software and/or hardware that enable simultaneous playback and recording. 5. See Push: Music at your fi ngertips , Accessed on 29 January 2016 at https://www.ableton.com/en/push/?gclid=COTrp_ O3nMsCFRYIvAodFmkNYQ . 6. For more see the blogsite inma, http://www.inma.org/blogs/ mobile- tablets/post.cfm/6-quotes-from-digital-leaders-that-point- to-the- digital-revolution-s-future , accessed 29 February 2016. REFERENCES Australian Curriculum, Assessment and Reporting Authority. (n.d.). Introduction. The Arts. Retrieved February 29, 2016 from http://www.australiancurricu- lum.edu.au/the-arts/introduction Bandura, A. (1997). Self-effi cacy: The exercise of control . New York: Worth Publishers. Barr, A. (2014). Introduce technology into your music classroom. Education Technology Solutions. Retrieved February 29, 2016, from http://education- technologysolutions.com.au/2014/10/31/introduce-technology-into- your-music-classroom/ Green, L. (2002). How popular musicians learn: A way ahead for music education . Aldershot, UK/Burlington, USA: Ashgate Publishing Limited. Halal, B. (2015). Forecasting future disruptions – Strategic change is inevitable. In R. Talwar (Ed.), The future of business: Critical insights into a rapidly changing world from 60 future thinkers . London, UK: Fast Future Publishing. Herholz, S. C., & Zatorre, R. J. (2012). Musical training as a framework for brain plasticity: Behavior, function, and structure. Neuron, 76 (2), 486–502. Hesmondhalgh, D., & Baker, S. (2011). Creative labour: Media work in three cul- tural industries . London: Routledge. 130 D. HUGHES ET AL. Hughes, D. (2014). ‘Truthful’ representation in the technological processing of the singing voice. In M. Angelucci & C. Caines (Eds.), Voice / Presence / Absence – Media object 2. Sydney: UTS ePress. Available online: http://epress. lib.uts.edu.au/books/voicepresenceabsence Hughes, D. (2015a). Technological pitch correction: controversy, contexts and considerations. Journal of Singing, 71 (5), 587–594. Hughes, D. (2015b). Technologized and autonomized vocals in cotemporary popular musics. Journal of Music Technology and Education, 8 (2), 163–182. Keith, S., Hughes, D., Crowdy, D., Morrow, G., & Evans, M. (2014). Offl ine and online: Liveness in the Australian music industries. In V. Sarafi an and R. Findlay (Eds.). Civilisations: The State of the Music Industries, 13 , 221–241. Kelley, D., & Kelley, T. (2013). Creative confi dence: Unleashing the creative poten- tial in us all . London, UK: HarperCollins Publishers. Linshi, J. (2014, November 3). Here’s why Taylor Swift pulled her music from spotify. Time.com . Retrieved February 11, 2016, from http://time. com/3554468/why-taylor-swift-spotify/ Madden, C., & Bloom, T. (2001). Advocating creativity. International Journal of Cultural Policy, 7 (3), 409–436. Manovich, L. (2001). The language of new media . Cambridge, MA: MIT Press. Negroponte, N. (1995). Being digital . New York: Alfred A. Knoph. Negus, K. (1996). Popular music in theory: An introduction . Cambridge, UK: Polity Press. Ogilvy and Mather. (2012, September 25). Facebook algorithmic change to decrease reach on brand page posts . Retrieved February 11, 2016, from https://social. ogilvy.com/facebook-algorithmic-change-to-decrease-reach-on- brand-page-posts/ Rosenberg, M. (2015). Whispers II [Book accompanying CD]. Black Crow Records. Spotify Artist Services. (2016). Welcome to spotify for artists! Retrieved February 11, 2016, from http://www.spotifyartists.com/welcome-to-spotify-for-artists/ Throsby, D. (2002). The music industry in the new millennium: Global and local perspectives . Unpublished paper prepared for the Division of Arts and Cultural Enterprise, UNESCO, Paris. Wan, C., & Shlaug, G. (2010). Music making as a tool for promoting brain plastic- ity across the life span. The Neuroscientist, 16 (5), 566–577. Welch, C. (2003). Peter Grant: The man who Led Zeppelin . London, UK: Omnibus Press. CONCLUSION: THE ‘NEW’ ARTIST 131133 © The Editor(s) (if applicable) and The Author(s) 2016 D. Hughes et al., The New Music Industries , DOI 10.1007/978-3-319-40364-9 INDEX A Apple Music , vi, 71, 76 artist entrepreneurship. See entrepreneurship artistry , 86, 98, 99, 108, 109, 124 artist safety , 82, 83, 91–3, 111, 113 artistic creativity. See creativity artist success. See success See also WHS audience , vii, ix–x, 2, 4, 5, 6, 9, 10, 18, 22, 26–7, 28, 38, 48, 65, 68, 69–70, 72, 73, 75–6, 77, 91, 121, 124 authenticity , 24, 38, 43, 56, 66, 67, 69–70, 71 authorship , 63, 64, 66–70, 71, 77 self-social , 66, 67, 75 sociocultural , 66, 75, 76 B Bandcamp , 48, 51, 121, 124 bicycle wheel analogy , 31–2 booking , x, 28, 48, 49, 50, 54, 104 bottom up and top down paradigms , 29 brand, branding , 38, 39, 41, 42–4, 47, 49, 52–3, 56, 67, 70, 71, 82, 98, 99, 103, 109 busking , 75–6 C career models , 14, 20–6, 31–2, 53–4 . See also 360-degree (360) career model, DIY career model, entrepreneur career model career sustainability , 20, 21, 23, 31, 48, 85–6, 88, 99, 102 career trajectories , 11, 17, 20, 71, 81, 98, 113n3, 126 CDBaby , 48 circular career model , 17, 28–30, 31, 38, 41, 70, 118, 119, 122 collaboration , 1, 68, 69, 71–3, 75, 77, 87, 99, 100 competition , viii, 57, 86, 108 Note: Page numbers with ‘n’ denote notes. 134 INDEX copyright , ix, x, 7, 18, 64, 65, 81, 84–5, 111, 113, 122 copyright collection , 65, 84–5, 113 Countdown (TV show) , 46 covers , 10, 64, 73–5, 77 live ,75 online , 73–4, 75 co-writing, co-writes , 63, 69, 71–3 creativities , 9–11, 64, 98–9, 100, 105, 118, 124, 125–6 musical , 8, 37–56n3, 65, 67, 70, 71, 73, 75, 76–7, 101–2, 117, 127 non-musical , 70 creativity hard creativity , 10–11, 18, 31, 37, 38, 40, 41–2, 45, 124 hard versus soft creativity , 10–11 paramusical ,77 in songwriting , 65, 71, 99, 111 in strategies for self-managed artists , 89, 102, 104 strong versus weak creativity , 10–11 Cyrus, Miley , 90 D Darwin, Charles , v, vi, ix digital disruption , iv, viii, x, 2, 7, 11, 12, 82, 128 direct-to-fan , 48, 50, 52, 53, 54, 55 discovery , vi, ix, 6–7, 13, 28, 71, 126, 128, 129 disruption , iv, 1, 3, 6–7, 11, 13, 21, 22, 27, 54–5, 120, 121, 128, 129 . See also digital disruption DIY (Do-It-Yourself) , 8, 49, 68, 70, 82, 85, 87, 88, 101–2, 103 DIY career model , 6, 18, 20, 23–6, 31, 38, 40, 51, 53, 120, 124–5 . See also DIY E employability , 100–1 Enter Shikari , 50, 51 entrepreneur career model , 18, 20, 22–3, 24, 26, 27, 31, 38, 40, 53, 101, 120, 124–5 entrepreneurship , 6, 27, 99–102, 104, 107, 111 hypothesis-driven , 46, 51 F Facebook , vi, 43, 47, 48, 68, 70, 72, 120, 122, 124 . See also social media fanbase , ix, 18, 48, 50 fan data , 49, 50, 53, 54 fans/fandom , viii, ix, 4, 6, 9, 22, 23, 28–30, 41, 47–8, 49–50, 51–3, 54, 56, 68, 69, 71, 72, 73, 87, 120, 122, 123 fi nancial risk. See risk G gatekeepers , vii, viii, ix, 28, 29, 46 Gentlemen of the Road , 52, 53 gig. See live performance Gotye (Wouter “Wally” de Backer) , 44–5, 73 government funding , 105 grants. See government funding group creativity. See shared creativity H health and wellbeing , 11, 84, 91, 110, 113 legislation , 83 house concerts/parlour gigs , 53 INDEX 135 I image , 43, 56, 67, 82, 88, 89–90, 101, 108 . See also brand I Manage My Own Music , 104 innovation in career development , 37, 40, 56n1, 106, 121, 125 insecurity income , 46, 99 work , 99 insurance , 110, 111, 113 Internet , vi, ix, 7, 21, 29, 55, 64, 65, 72–3, 120, 121, 122 label career model. See 360-degree (360) career model L lean startup , 38, 39, 46, 56, 126 liberalism , 23–4 linear career model , 17, 28–31, 53, 118 live performance , x, 5, 49, 53, 75, 83, 85, 121, 122–3, 124 and career sustainability , 82, 88 and covers. See covers, live and oversupply of musicians , 88 lockout laws , 5 M management/managers , 11, 12, 22, 23, 26, 27, 28, 31, 38, 41, 42, 43, 46, 48, 49, 51, 54, 55, 56, 67, 68, 69, 70, 72, 81, 86, 87, 89, 90, 92, 98, 101–2, 103–6, 111–13, 118, 120 media production technologies , 120 methodology. See research methodology merchandise, merch , x, 18, 38, 42, 44, 45, 48, 49, 51, 52, 68, 103, 121, 122–3 Minchin, Tim , 76 Mumford and Sons , 50, 52–3, 57n8 music business in education. See music education, and music business music education and brain development , 126 and music business , 98, 99, 101, 111, 112 in traditional music education , 98, 127 Music Glue , 49–52, 53, 54, 55, 57n7, 103, 124 music production technologies , 68, 108, 123 music subscription services , 4, 19–20 musical creativities. See creativities MVP (minimum viable product) , 23, 32n6, 38, 40, 45, 53 N neo-Fordism and post-Fordism , 17 neoliberalism , 17 in tertiary education , 100 networking , 82, 85, 87–8 new artist, the , 117–30 new media skills , 120 non-musical creativities. See creativities novelty , 10, 37, 38, 40, 41–2, 44, 46, 47, 74 P Passenger , 75–6, 77n3, 78n4 performance. See live performance physical distribution , vii 136 INDEX physical injury , 93 . See also WHS physical media , 48, 71 piracy , vi, 3 pivot , 38, 42, 56, 56n2 popular music education , 97–113, 125–6, 128 professional, professionalism , 6, 8, 82, 84, 100, 104, 113n3, 125, 128 promotion/promoters , x, 25, 28, 49, 50, 52, 54–5, 67, 91, 120 prosumer , 70 publishing , 12, 18–19, 22, 24, 44, 72, 122 R radio , vi, vii, 46, 47, 57n6, 70 recording industry , 20, 22 and reactive business practices , 18, 26, 28, 29, 30 record labels , 6, 17–18, 21, 23, 24, 26, 28, 29, 32n2, 41, 55, 57n9, 68, 70, 101, 118, 125 research methodology , 11–13 revenue streams , 4, 5, 18–20, 21–2, 68, 71, 77, 86, 88, 93, 103, 111 risk devolving/externalising risk , 17, 22, 26, 101, 105–6, 107, 121 fi nancial risk , 18, 26, 32n1, 38, 101, 105–6, 107, 121 royalty collection. See copyright collection S self-employment , 85, 99, 100 self-social authorship. See authorship shared creativity , 103–5 Sia Furler , 8 small and large business entities , 27 social media , vi, 9, 24, 26, 40, 41, 43, 47, 50, 55, 64, 67, 68, 69, 72–3, 76, 103, 108, 123 sharing , 72 sociocultural authorship. See authorship soft creativity. See creativity song , vi, vii, viii, x, 18–19, 45, 63–6, 70–1, 74, 75–6, 77, 108 Spotify , vi, viii, 3–4, 27, 68–9, 72, 76, 88, 122, 123 . See also music subscription services startups , 45–7, 51, 125, 126 and artist careers , 23, 32, 38–40, 41, 42, 52, 53, 54, 56 the lean startup , 38, 39, 46, 56 streaming , vi, 3–4, 5, 18–20, 21, 23, 68–9, 71–2, 77, 83, 86, 88, 93, 103, 111, 121, 123 . See also music subscription services subcultural capital , 38, 43, 56 subscription services. See music subscription services substance use/abuse , 83–4, 93 success , 1, 2, 8–9, 11, 27, 39, 40, 41–2, 51–2, 85, 90, 99, 120, 121 suicide , 83 synchronisation/sync , 5, 8, 19, 44, 68–9, 71, 74, 77 T technology , 1, 6, 11, 64, 67–71, 77, 88, 101, 108, 120, 122–4, 127, 128–9 in artist careers , 122, 124 and live performance , 122–3, 124 and musical skill , 68, 123 360 (rapper) , 84 360-degree (360) career model , 18, 20, 21–3, 27, 31, 32n5, 51, 55, 120, 124–5 ticketing , 48, 49, 50, 52, 53, 54, 55 INDEX 137 Topspin , 48–9 touring , x, 49–50, 53, 87, 92, 121 traditional music education. See music education triple j , 44, 57n6, 70 V validated learning , 32n6, 47, 48, 54 visual design/visual marketing , 43, 45 W weak creativity . See creativity WHS (Workplace Health and Safety) , 85, 91–2 and irregular hours , 91–2 and safety checks , 92 Y YouTube , v, vi, vii, 24, 25, 43, 45, 48, 68, 69, 71, 72, 73, 74, 120, 124	[ "music", "artist", "industry", "new", "creativity", "career", "fi", "model", "business", "also" ]	{ "summary": "THE NEW MUSIC\nINDUSTRIES\nDisruption and Discovery\nDiane Hughes,\nMark Evans,\nGuy Morrow and\nSarah Kei" }
470816735-1-The-Rise-and-Fall-of-Record-Labels.pdf	Claremont Colle ges Scholarship @ C laremont CMC S enior The ses CMC S tude nt Scholarship 2013 The R ise a nd F all of R ecor d Labels Ilan Bielas Claremont McKen na Co llege This Open Ac cess Senior The sis is brought to you b y Scholarship@C laremon t. It has be en accepted for inclusion in thi s collection b y an author ized admini strator. For mor e infor mation, p lease contactscholarship@c uc.claremon t.edu.Recomme nded Citation Bielas, Il an, "The R ise and F all of R ecord Labels" (2013). CMC Sen ior Th eses.Paper 703. http://s cholarship .claremon t.edu/cmc_the ses/7031 CLAREMONT McKENNA COLLEGE THE RISE AND FALL OF RECORD LABELS SUBMITTED TO PROFESSOR GEORGE BATTA AND DEAN GREGORY HESS BY ILAN BIELAS FOR SENIOR THESIS SPRING 2012 4/29/13 2 Table of Contents Abstract .................................................. ................................................... ...................................... 3 Chapter 1: Introduction to the Music Industry .................................................. ............................ 4 Chapter 2: Record Labels: Their Role and Failure to Adapt to Changing Environments ............ 14 Chapter 3: The Internet and Adoption of MP3 Technol ogy ................................................... ...... 2 4 Chapter 4: Piracy and P2P Software Destroy the Reco rd Label Industry .................................... 33 Exhibit 1 .................................................. ................................................... .................................... 50 Chapter 5: Solving the Problem of Record Labels .................................................. ...................... 53 Works Cited .................................................. ................................................... .............................. 62 3 Abstract This thesis studies the music industry as a whole, and delves more specifical ly into how new technologies have disrupted the old business model. Advances in technology such as the Internet, MP3s, and file-sharing software have made it possible to bypass the traditional role of record labels, thus creating a closer link betwe en artists and consumers. As the music industry transformed over time, the role of record labels became less defined. This has left once behemoth labels struggling to find a compet itive advantage in a rapidly devolving industry. Record labels are no longer the most releva nt segment of the music industry, and this work provides an in-depth analysis of the processes that destroyed their relevance. This thesis begins by examining the music industry at a macro level, before tracking record labels from their prominence to their current marginaliz ed role. Advancements in MP3, P2P networks, and other consumer-enabling technologies have transformed the music industry. The lack of a significant response to this shi fting landscape within the industry has left record labels on a slippery slope towards ex tinction. As record labels failed to adapt to shifting demand and changing methods of consumption, private entrepreneurs have intervened to solve inefficiencies in the market. This thesis will leave the reader with an expansive knowledge of how the music industr y has transformed, as well as its future trajectory without record labels. 4 Chapter 1 Introduction to the Music Industry In June of 2006, famous rock band Radiohead, announced that they had completed all of their contractual obligations to its record label EMI . In its announcement, the band announced that it was receiving most of its profit from merchandise and concert tickets, and due to this they would be seeking to release t heir next album independent of any record label 1. This would be the first time that any band bypasses record labels in the creative process, and the beginning of the end for re cord labels. Artists had for a long time complained about the pricing and payout schemes that record labels offered to them. Radiohead was about to test their theory that with t he adoption of new technologies, the need to work with a record label had been minimized. In October of 2007, Radiohead released their new album, In Rainbows , directly to consumers online 2. While releasing albums online was not a new distribution channel, it was the pricing scheme that caught the attention of the entire music world. On Radiohead’s website, when purchasing the new album, after proceeding to checkout, the price of the album had a blank space with a question mark next to it. 1 Welsh, Jared S. "Pay What You Like- No Really: Why Copyright Law Should Make Digital Music Free for Noncommercial Uses." Emory Law Journal 58 (2009) 1495 2Keesan, Joshua. "Let It Be? The Challenge of Using Old Definitions for Online Mus ic Practices." Berkeley Technology Law Journal 23.353 (2008). 5 Anyone who clicked on the question mark would receive a pop up message stating, “It’s Up to You! 3” Most people found themselves questioning whether or not this was possible. Can I really choose the price for this album? Can I really pay whatever I want? Can I get it for free? The answer to all these questions was Yes. Radiohead wa s not creating a controversy but rather responding to the cultural change over the las t few years which was making record labels irrelevant in the music industry. For the last few years, record labels were struggling to catch up to the technol ogy available to consumers in order to prevent “copyright infringement” from downloadi ng free music. Many consumers were downloading their music for free and record la bels were having a difficult time finding a solution to this “problem.” Radiohead’s decis ion to let consumers decide their own price to pay for their album was radical, but from the band’s perspective it was merely accepting what the market had dictated. M ost consumers were no longer willing to pay $10-15 for an album when it was readily available for free online. Radiohead provided a legal option for consumers that woul d be free (if one chose to) or allow consumers to pay a reasonable amount by their sta ndards to support the band. The recording industry responded negatively to Radiohead’s actions. Most professionals did not think that Radiohead’s album would be successful for being independent, and for allowing consumers to pick their price. Initially, it was unclea r if Radiohead’s decision would pay off. Little information was known in the first few days after the online release of the album on the amount of downloads and revenues. The 3 Welsh, Jared, p. 1495 6 release was successful enough for Radiohead to announce that they would also be releasing a physical copy of the album in 2008. The reports finally came out and show ed that downloads numbered in the hundreds of thousands, and had made about $3 million in revenues 4. When the album was finally released in a physical form, it immediately made it to the top of billboards. Radiohead’s In Rainbows album was a huge success but even more importantly it was a huge loss for Record Labels and their position within the music industry. Radiohead proved several things with their new album. First, Record Labels were no longer a necessity for artists. The Internet had become a huge resource and distribution channel for artists that allowed them to individually fulfill the role of recor d labels. Also, the decision to allow people to choose their price was proof that most consumers were willing to pay much less for music than Record Labels were demanding. Regardl ess, Radiohead’s success was the ultimate proof that the music industry had thanks to s ome of the technology advances that had been made. These advances, such as that of the Internet, were changing the music industry and redefining the roles of many of the players in the industry. Record labels are becoming irrelevant, and pretty s oon record labels will no longer exist as a major part of the music industry. For nearly 60 years the recorded music industry has thrived. Since the invention of record players that allowed individuals to consume music on their own instead of going to live performances, the popularity of owning music has risen. Since the 1940’s there have been many advances made to increase the quality and portability of the music 4 Welsh, Jared, p. 1496 7 that is consumed at home. The music industry is a thriving industry that peaked in the 1990s when it was making $40 billion a year. 5 People are consuming more and more music every day and new genres and artists are appearing every day to me et the consumer’s everlasting demand for new and better music. The music industry is highly dependent on the United States for its success. The United States of America consumes about 30% of globally recorded music and the music industry tends to move cyclically with that of the US economy 6. The music industry has grown exponentially over the last 20 years. According to a recent report done by the US Census, the average American spends $50.17 on music annually and listens to three hours of music daily 7. Consumption of music has increased over time, yet the amount that individuals are paying for music has been declining. Technological advances have permitted people to increase their consumption of music at a cheaper price. This has also caused the price to acquire music to decrease. While most people take for grante d their ability to open up their iTunes, pick any song and listen to it, there were many advanc es that were made that lead to the ability of consumers to listen to music on their c omputer without a physical source for the music. The music industry began to take off in the 1940s. With the invention of the commercial phonograph, consumers were able to consume music differently than previously possible. Before the 1940s people would either go see live performances or 5 Vogel, Harold L. "Music." Entertainment Industry Economics: A Guide for Financial Analysis , p. 192 6 Vogel, Harold, p. 196 7 Bender, Mark T., and Yongsheng Wang. "The Impact of Digital Piracy on Music Sa les" International Social Science Review. pp. 157-158 8 would purchase sheet paper in order to recreate music themselves. People would buy t he sheet music for a famous Mozart piece and would then be able to play it themselves on the piano as long as they knew how to read sheet music and could also play an instrument with some expertise. With phonographs gaining popularity in the 1940s, the history of recorded music really begins at this time. In 1948, Columbia Records released t welve different vinyl records that were made available to the public 8. The technology to mass produce records was still very new and therefore few records were being made. The 1950s brought on the next era of innovations. Several different advancements were made in this decade that helped drive down the costs associated w ith producing vinyl records. The decrease in price allowed for a competitive mar ket to be created. The major players in the recording industry today all entered the mar ket in the 1950s when it became cost effective to do so. The 1950s saw Decca Records, RCA, and Columbia all become major players in the recorded music industry 9. Many more record labels entered the scene in the 1950s but eventually the record labels began to merge a nd consolidate to form a few corporate giants. The 1960s were a decade of consolidation in the recorded music industry. Due to economies of scale and the large-scale distribution needed to truly commercial ize the music industry many of the smaller players from the 1950s joined together to crea te some of the media moguls that we still see today. The 1960s witnessed the emergence of companies like RCA, CBS, Warner Communications (soon to be Warner Brothers), and 8 Vogel, Harold, p. 193 9 Vogel, Harold, p. 194 9 Polygram 10 . In order to unite the distribution methods and create the most cost efficient method to mass produce music, these labels bought out and merged with many of the smaller record labels that specialized in one area of the distribution proces s for music. By becoming giant recording corporations, these few labels were able to vert ically integrate the entire recording and distribution process in order to take advantage of the economies of scale. The 1970s were a decade where little technological advancements were made for the music industry. The consolidation of the major record labels in the previous decade were a major advantage and music demand was on the rise during this time. The economic downturn of the 1980s initially hurt the music industry. As the music industry is highly dependent on the US market and therefore the US economy, the financial struggles of the 1980s hurt the music industry as consumption of music initially wav ered. However, several big technological advancements in this decade helped the music industry recover and thrive. The recording and disking process was digitalized in the 1980s, which allowed for cheaper production of recorded music. This in turn lowered the price of music which allowed consumers to demand and purchase more music. The other major innovation of the 1980s was the creation of the Music Television Network in 1981. MTV, as it would go on to be known, became a source for most Americans to consume, listen, and experience new music. By 1984, MTV had gained massive popularity and was able to reach and influence a large audience 11 . MTV’s mass appeal made the network a popular distribution channel for record labels. Record labels would release 10 Vogel, Harold, p. 194 11 Vogel, Harold, p. 199 10 new music through MTV in order to test the popular response to new up and coming artists. By the late 1980s, the music industry was closing in on its peak. Music was being consumed by most Americans, and MTV had become a major source for finding the new and popular music in America. The 1990s were the decade when the most influential advances to the music industry were made. In the early 1990s, vinyl went extinct as Compact Disc technology emerged. CDs became instantly popular due to the quality of the music, portability and size of CDs, and the amount of music that a single CD could hold. CD technology soared as industry sales in the US skyrocketed to $7 billion 12 . By the late 1990s CDs would become obsolete and the music industry would enter an even bigger market. With the Internet growing and becoming more popular, it was only a matter of time before music moved on to a digital space. Due to the incredible suc cess of CDs only a few years earlier, record labels were reluctant to change the technology. It did not take long for consumers to make the shift. By the late 1990s and early 21 st century music had moved to the Internet. File sharing became a very popular method of acquiring music almost instantly. Through file sharing, one person could buy a CD, upload it to the internet and share the files with friends. This permitted friends and eventually anyone to obtain their music for fr ee. The record labels were initially in “denial” over this occurrence claiming that this was a temporary problem and that most people would continue to buy their music in the extremely popular format of CDs. In the four years between 1999 and 2003, US music 12 Vogel, Harold, p. 194 11 sales had already plunged by 1/3 13 . Technology was changing fast and neither the music industry nor record labels could keep up to the changing environment in the world of music. By the beginning of the 21 st century everything that record labels knew about people and their music interests had changed. Consumer preferences in the musi c industry were shifting in a very significant way that would soon inhibit the control and power of record labels. The art of assembling an album or playlist shifted to the hands of the consumer with the adoption of newer technology 14 . Consumers were now able to compile their entire music library on one computer program and choose how to organize their music. The era of having record labels compile a CD and tell consumers how and i n what order to listen to their music was over. Whether or not the rapidly changing landscape of the music industry hurt record labels, it cannot be denied that the music industry as a whole began to decline in the late 90’s. There are several reasons for the decline of the music industry. The economy as a whole began to slow down in the 90s. The economic decline hurt the music industry as discretionary income for consumers decreased which hurt music sales. Another r eason for the music industry decline was the record label practices. The Big 5 in the m usic industry were price fixing their albums and CDs and have countless times been ac cused for overcharging for albums. The price fixing by the Big 5 caused many consume rs to 13 Vogel, Harold, p. 194 14 Hajdu, David. “The iPod Blues.” The New Republic 12 find alternate solutions for acquiring music 15 . Another cause for the decline was the evolution of the Internet and its effect on music distribution. The emergence of the Internet as a distribution channel for music hurt physical sales of CDs. Technology was advancing in many different fields besides the music industry. This growth in technology across the board helped create many other forms of entertainment that began to also hurt the music industry. As technological advances continued to be made, American consumers were introduced to products such as the DVD, the BluRay, Xbox 360, and PlayStation 3 which all competed with music for consumers discretionary spending. As DVDs and video games began growing in popularity, the increased competition to the music industry also hurt CD sales. Consumers were now given many more options and therefore consumers began to spend less on music hurting the record labels’ ability to increase or even maintain the ir revenue levels. Record Labels began to suffer large decreases to their revenues, w hich has lead to the problem the music industry faces today. 2012 was a great year for the musi c industry. Global Digital Revenues in 2012 increased for the first time since 1998 to $5.6 Billi on which is a 9% increase from the previous year 16 . While this increase is great, it does not mean that record labels have recovered from the changing landscape that is the mus ic industry. The major problem the music industry has supposedly faced is a decrease in revenues due to many different factors. While file sharing has eroded digital music sales, 15 Janssens, Jelle, Vandaele, Stijn, and Tom Vander Beken. “The Music Industry on (th e) Line? Surviving Music Piracy in a Digital Era” 16 IFPI Digital Music Report 2013 13 artists have seen their revenues increase drastically in recent yea rs from live performances and merchandise 17 . If artists, who are the ones making the music we listen to, are making more money now than they did in the 90’s, or any decade before that, can one really argue that the music industry is suffering? It seems as if the onl y party hurting from the changing landscape in the music industry are the record labels. Artis ts are making more money and consumers are spending less on money. If it weren’t for the cries and complaints from the record labels that the music industry is sufferi ng, one would seem to think that the music industry is as vibrant as ever. It therefore seem s as if the issue is not the music industry, or even the ability for artists to make money, but rather the problem is that record labels are going extinct and are fighting to remain prevalent in a world that no longer has a need for them. 17 Warr, Richard. “Is the Music Industry Stuck Between Rock and a Hard Place? The Role of the Internet and 3 Possible Scenarios”. Journal of Retailing and Consumer Services. p. 127 14 Chapter 2 Record Labels: Their Role and Failure to Adapt to Changing Environments For as long as the music industry has been around, major record labels have been around to control the entire recording, distribution, and promotion system. Record labels have long been considered to go hand in hand with the music industry. For most people the music industry and the recording industry are one as for a large period of ti me the only music available to the public was that which was released by the major rec ord labels. However, as the gap between record labels and the rest of the music indust ry continued to widen it is important to study record labels and their role within the musi c industry. Over time record labels have become obsolete, and it would seem as if ther e is no longer a place for record labels in the music industry. The Recording Industry has for a long time been a major part of the US Economy. Music records and sales account for a significant portion of the US GDP. In 1920, the recording industry sold 150 million records in the United States. By 1978 that number had skyrocketed to 762 million records 18 . The music industry has grown exponentially as the technology available to the industry has contributed to the rapid development it has experienced. The music industry has many different sources of revenue. As of 2003, the major music industry revenues by level of importance where: recordings, publishing ac tivities, 18 Welsh, Jared. p. 1502 15 and live performances 19 . Recordings are the actual songs that are sold to consumers, while publishing activities correspond to the promotion of music by radio stations both physical and online as well as other major distribution channels such as movies or television. These users pay royalties to the artists and record labels f or the right to play their music. Since 2003, as recordings have started to fail, live performances have become the most prevalent revenue source for artists. The major record labels have been responsible for collecting the majority of the revenues for the music industry until the 21 st century. Therefore record labels have a very significant impact on the US Economy. When looking at record labels that control the copyrights of artists and musicians, it is tough to value the firm, as what they own is a copyright and not a physical tangible good. Record labels have therefore tradi tionally been valued by a going multiple of their projected cash flows “as determined by recent sales of similar properties and subtracting net debt 20 ”. As the Internet and file sharing have gained popularity, so has the uncertainty of cash flow projections for record labe ls. As consumers turn to alternate methods of acquiring their music, it is difficult for analysts to truly value the Recording Industry as cash flows have become ex tremely difficult to project. Publications are a unique revenue stream for the music industry. Any publication source has to pay royalties for using the music of an artist or musician. When a ra dio show, television show, or movie uses a clip of a song during any part of the publication, 19 Vogel, Harold. p. 196 20 Vogel, Harold. pp. 217-218 16 they are required by law to reimburse the artist for their use. Since music copyrights are held by the record labels, they too are the beneficiaries of these royalty payments. Two major firms control the collection of royalty payments. The American Society of Composers, Artists, and Producers as well as Broadcast Music In corporated are in charge of ensuring that any one who commercially uses the music of a n artist pays that artist and the record label the correct amount in royalty payments. These two firms account for 95% of all royalty payments in the United States 21 . The use of the Internet to broadcast music has posed as a major problem when determining the correct amount of royalties that a firm should pay. As the Internet has become a major distribution channel for music, many consumers turn to Internet Radio and other online service providers to discover, find, and listen to new music. A major problem of “double dipping” has emerged when determining the royalty rates that these service providers should pay. The roy alty collection agencies have been seeking royalties for both song reproduction and song performance from these service providers for every single play 22 . These agencies argue that because consumers are using the service as a way to listen to music and not just acquire music that the playing of the song constitutes performance as well as reproduction. These online services feel like they are being taken advantage of by record labels and the collection agencies. Many of these companies are very small and ar e deeply affected by this problem of double dipping. 21 Vogel, Harold. p. 202 22 Keesan, Joshua. “Let it Be? The Challenge of Using Old Definitions for Online M usic Practices”. Berkeley Technology Law Journal. p. 362 17 To add to the problem of double dipping is the fact that royalty rates have been rising every year to compensate the losses from record sales. Royalty r ates have been rising by a small percentage every year, which have significantly aff ected many of the small players in the music industry 23 . Many of the small radio broadcasters as well as other smaller organizations are more affected by the rising royalty r ates than others. These smaller companies operate at much smaller profit margins than maj or radio stations and companies as they have a fairly small user base. The increased ro yalty rates, therefore, are affecting the ability of these companies and stations to rema in profitable. Not only are these royalties hurting small companies and online service provider s, but the artists themselves have been affected adversely by royalty collect ions. When artists sign a contract with a record label, they expect to make a lot of money from the music they create. More often than not, they find themselves losing t heir money to the record labels. Traditionally, record labels have withheld a large a mount of royalties from the artists that created the music. There are many diff erent types of royalties that are withheld from artists. About 5-10% of the total records s hipped are given out for free by record labels to retailers in order to ship a larger amount . Artists never get the royalties from those records. Royalties are also withheld f or all the promotional records that are given out to radio stations. A percentage of royalti es is also withheld from artists as a reserve against any record returns. Record l abels also deduct for the usage of new formats such as digital downloads which are actually less costly to produce, meaning that the record labels keep more money in their pocket. The initial advance that record labels give an artist to produce an album is also repaid fully f rom the 23 Keesan, Joshua. p. 367 18 first few royalty payments as well as any promotional and recording expe nses incurred 24 . Artists have begun to find themselves frustrated by their relationship with r ecord labels as more and more is withheld from them every year. Artists constantly feel as if they are taken advantage of by record lab els. Record labels vertically integrated the entire process of production and distribution of mus ic giving them a lot of leverage against the artists. The dependence of artists on r ecord labels has made them susceptible to the abuse by these major corporations. The typi cal breakdown of revenue payouts from record labels is quite shocking. On an album that gains the prestigious award of going Gold the breakdown is as follows: 500,000 Albums sold at a wholesale price of $12.05 Gross Revenue of $6,025,000 Typical Artist Royalty rate is set at 14% which equates to $845,000 Touring and Recording Expenses of $300,000 withheld Total Payout to artist is only $100,000 Artist receives $0 in first payment due to reserve against returns 25 Artists feel taken advantage of since their album, which is one of the most popular albums of the year, is only making them a fraction of the actual money it is m aking overall. Many of the most famous artists of the 90’s made little money from the ir albums. For example, the world famous boy band of the 90’s, The Backstreet Boys , who sold millions of records throughout the 1990s, received no money from record labels as royalty payments 26 . Artist distrust towards record labels has only been growing year afte r 24 Welsh, Jared. pp. 1507-1508 25 Welsh, Jared. p. 1508 26 Welsh, Jared. pp. 1508-1509 19 year and slowly but surely artists are starting to move away from working with record labels. Musicians and artists constantly find themselves losing more money from the major record labels. In fact, record labels have gotten quite creative in t heir method of making money at the artists’ expense. In recent years, it has become an indus try wide practice to decrease the royalty payouts to artists. For example, recor ding agreements now exclude all digital sales from “normal retail channels,” which is where r oyalty payments are calculated. Digital sales actually decrease costs f or record labels as many of the variable costs for producing physical copies of CDs are eliminated. How ever, the abuse by record labels does not end there. As digital sales have begun to grow and expand internationally, record labels also decided to decrease the royalty pa yments on international sales 27 . There is no difference in expenses between local and international sales due to the effectiveness and ease of the Internet and digital space as the major distribution channel. As costs and artist payouts decrease as well, record labels are able to hold on to a bigger piece of the pie and keep a majority of the profits to themselves. Do record labels deserve a bigger piece of the pie or are they merely taking adva ntage of artists that have no leverage to defend themselves? The role of record labels has not changed much over the many years that record labels have controlled the music industry. Jared Welsh, an important lawyer in the mus ic industry describes the relationship between artists and record labels as very unstable. “Ownership of the intellectual property has always been controlled by the indust ries that 27 Welsh, Jared. pp. 1510-1511 20 exploit it rather than the individuals that create it 28 ”. Record labels are able to exploit artists’ talents and keep a majority of the money for themselves. Traditionally a record label has 3 major functions. The first major function of a record label is to sign a recording contract with an artist. Record labels nee d to find new artists and sign them to a contract to produce a new album. The record label will a gree to provide many resources for the artist to assist in the creative process. The second role of a record label is to advance money to an artist and arrange for the recording of a n album to take place. The record labels provide what is essentially a loan to the artis t to cover the upfront costs of producing an album. Record labels withhold the first royalty payment in order to recover this loan that they gave out to the artist. The third and final role of a record label is to handle the entire distribution, sales, marketing, and prom otion of the album 29 . Essentially a record label has become a one-stop shop for the entire recording process from beginning to end. An artist contributes the creative t alent while the record labels handles the financing, arrangements, marketing, production and distribution. In its traditional form, a record label contributes a very large amount of capit al and resources to produce an album with an artist. It is because of this role that the record label can demand to keep such a large percentage of the revenues from album sales. Record labels were the link between an artist and his fans that buy the music. An a rtist signs a contract with a record label in order to leverage on the core competenci es of the record label such as marketing and distribution. The artist, after signing the cont ract, 28 Welsh, Jared. p. 1505 29 Welsh, Jared. pp. 1502-1503 21 records the album, after which the record label can produce the album onto a CD. Retailers then buy CDs and other media forms directly from the record labels . Consumers receive the end product album directly from the producer 30 . With this business model, artists only receive a very small percentage of sales while the record labels keep the bulk of the revenue. Over the years many record labels have appeared, but over time these companies all merged into and became The Big Five of the music industry. As record labels grew into corporate giants, they needed to increase their resources and therefore ma ny of the older record labels consolidated in order to maximize their economies of scale. The Big 5 in the music industry consist of BMG, Warner, Universal, Sony, and EMI. With the recent Sony and BMG merger, the record label giants are now referred to as the Big 4. Record labels were caught in a price fixing scandal where their albums wer e overpriced in order to maximize their return. From 1999-2001, the average price of a CD rose 7.2% from $13.04 to $14.19 31 . At the same time, new album releases were rapidly decreasing making it extremely difficult for these record labels to match the revenues t hat they had seen in previous years. Record labels need to keep a bulk of the revenues from CD sales in order to remain profitable. Only about 10% of major album releases are profitable f or record labels, and this 10% must be able to offset the losses from the other 90% of releases. 30 Lam, Calvin K.M. and Bernard C.Y. Tan. “The Internet is Changing the Music Industry” Communications of the ACM. 31 Janssens, Jelle, Stijn Vandaele, and Tom Vander Beken. “The Music Industry on (th e) Line? Surviving Music Piracy in a Digital Era.” European Journal of Crime, Crimi nal Law and Justice. P. 80 22 Albums typically have a very small profit margin due to the high cost of distr ibuting and producing many CDs. Record labels have been raising the prices of albums to try to r aise the profit margins on CD sales. In fact, the Federal Trade Commission has founds rec ord labels liable for overcharging consumers in their price fixing scheme 32 . As a result of this pricing, consumer sensitivity to price is eroding as a majority of music fans feel that the record labels are grossly overpricing music 33 . This has made many consumers to adapt their habits and find alternatives to finding new music thus beginning the path that has lead to making record labels a thing of the past. The advancements in technology would eventually lower many of the costs associated with distribution and production as the market began to go digital. This shif t has made the role of record labels shrink. Record Labels have become inefficie nt due to their low profit margin, and the fact that 90% of their releases end up costing them money rather than returning a profit. Record labels have a broken market structure for several reasons. Firstly, record labels have created an inefficient monopoly , as they only benefits a few major corporations at the cost to both the artists and consumers. Rec ord labels have also become very inflexible and conservative to adapting new technolog y, leaving them behind the rest of the music industry as artists and consumers have both adopted newer technologies. With the adoption of new technologies, the music industry has been able to lower many of the costs of distribution and production that had previously limited the industry as a whole. The advancement in Internet and MP3 technology have made it possible for 32 Welsh, Jared. p. 1522 33 Warr, Richard. p. 129 23 artists to distribute their own music just as efficiently as record labels do, at a fraction of the price. Record labels are constantly losing artists due to the new ability and ease for these artists to become independent. Artists are able to make and distribute the ir own albums and music through the use of the Internet. So the question remains: Is there room for Record Labels today? The simple answer is that labels cannot maintain the ir control over the music industry in its traditional role. There is one key role that record label s could continue to hold as technology continues to advance and that is the role of marketing. Record labels still have a lot of experience and resources, and can off er their expertise to artists to help intensely market their new music to wider audienc es. However, the era of record labels holding a monopoly over the entire creative proces s is over thanks to new technology. These new technologies have helped erode the control of the record labels on the music industry. 24 Chapter 3 The Internet and Adoption of MP3 Technology At the beginning of the 21 st century, record labels were caught committing their price fixing scheme. Artists and consumers were being taken advantage of by t hese corporate giants. The adoption of newer technology made it possible for these consume rs and artists to fight back. Through the use of newer technologies, artists were a ble to get a closer link to their fans and circumvent record labels at the same time, thus making them irrelevant in the business process. As the music industry began to move towards the digital market place, it made alternate pricing strategies possibl,e t hat helped artists and consumers gain leverage against the record labels. Artists began utilizing t he Internet to give away free music to their fans in order to grow fan loyalty 34 . The Internet provided artists with alternative means for releasing their music. The Internet not only provides for a closer link between artist and fan but it also allows artists to bypass the traditional recording route that is dependent on re cord labels. “In theory, the technology also makes it possible for an artist to circumvent the distributor, maintain control of the master recording, and capture a significant pa rt of the distributor’s margin 35 ”. The Internet has become a major distribution method for music, which is readily accessible to every consumer and artist, and places a direc t link between the artist and fan that was previously held together by record labels. 34 Vogel, Harold. p. 211 35 Vogel, Harold. p. 211 25 There have also been other major impacts that the Internet has had on the music industry. More artists are able to penetrate the music industry than ever bef ore thanks to newer technology. The new distribution channel made possible by the Internet has lowered the barriers of entry to the music industry and has made it possible for an yone with a computer to distribute music online. New entrants in the music industry are outpacing traditional labels ability to find new artists 36 . This has also made it possible for the music industry to become globalized at the same time as the rest of the world. In 2012, of the top ten singles that were purchased, the artists that created the music w ere from Australia, Brazil, Canada, South Korea, Trinidad, and the United States 37 . The Internet has made it possible for international artists to become global hits in just a short period of time. Digital marketplaces also have been created as a result of the advanceme nts of the Internet. A digital hub has been created, allowing consumers to acquire their music ove r the web, as opposed to buying a physical copy. The digital marketplace has been the fastest growing method for acquiring music since the turn of the 21 st century. By 2008, online music sales accounted for 33% of all music sold in the United States 38 . This number has been growing and by 2012, digital sales of music accounted for nearly 50% of the total revenues for the music industry in the US 39 . 2012 saw a year of major growth in digital sales of music. Total sales were up 12% from the previous year with s ingle- 36 Lam, Calvin K.M. and Bernard C.Y. Tan. “The Internet is Changing the Music Industry” 37 IFPI Digital Music Report 2013 38 Styven, Maria. “The Intangibility of Music in the Internet Age.” Popular Music a nd Society. p. 54 39 IFPI 2012 Let’s Play Report p. 3 26 track sales rising 8% and album sales rising 17% 40 . The digital marketplace for music is overtaking the physical one as consumer have turned to the Internet instead of re tailers for their music needs. Consumers are turning to the Internet as the source for discovering and acquiri ng new music. A recent study on consumer interactions found that 25% of young people aged 15-34, and especially males, tend to discover new music primarily through the us e of the Internet 41 . As record labels began to catch on to the shifting trend towards the web, efforts were made to adopt this technology. In a late response to the digital shift in music, record labels attempted to cr eate a marketplace for purchasing music but it was too little too late. 3 of the 5 major recor d labels provided a service for some time to purchase music directly from them. In December of 2001, MusicNet was set up by Warner, EMI, and BMG as a hub to purchase any of the music released by those three record labels. Sony and Universal followed suit immediately with their release of PressPlay. Due to their late entran ce into the Internet, these services failed to gain much market share. Both of these services were subscription based, which allowed subscribers to stream the music directly from the appli cation. The number of users never grew to a prominent number and eventually these services were shut down. There were several reasons as to why these services failed to gain control of the digital space. The choice of music on these services was extremely limite d as each 40 IFPI Digital Music Report 2013 41 Warr, Richard. p. 127 27 service could only provide music that was owned by the record label. This excluded many independent artists, as well as those of the other record labels. Also, give n the Big 5’s fear of piracy, these services were given many technological restr ictions that limited the amount of downloads and the length of time that downloads were kept. This angered many consumers, as they were unable to truly own and keep the music that they were acquiring through these services. While the restrictions were increasing within the record labels, a new tec hnology began to emerge the eliminated many of the restrictions and eased the process of acquiring music from the consumer point of view. The emergence of MP3 technology allowed for music to be shared instantly with no restrictions or security figure s. MP3s also compressed audio files with no loss in quality making music downloading much faster and more efficient 42 . The emergence of the MP3 made file sharing possible and made the record label’s subscription based services lose their competitive advant age. As MP3s had no security restrictions, they could be transferred between people at mi nimal cost, making it the obvious choice for a consumer over the record labels’ heavily restricted services. MP3 technology allowed for music to be transferred for free amongst consumers. However, the problem arising within the music industry was not with the open standard that MP3 provided, but rather with the Internet, that facilitated a free distri bution center that shifted the control of the industry from record labels to consumers. The technolo gy advancements of the MP3 shook the entire music industry and leveled the playing fiel d 42 Jansens Jelles, Stijn Vandaele and Tom Vander Beken. p. 90-92 28 for all the players. Record labels could no longer hold their competitive advantage and lost their prominent role in the industry. MP3 technology was created in the late 1990s at the Frawnhofer Institute in Germany. Dr. Karlheinz Bradenburg worked within the Institute for Integra ted circuits and was experimenting with different methods of compressing audio and video. In his experimenting, Dr. Bradenburg created this astonishing technology known as MP3 tha t would soon transform the entire music industry. MP3 is short for MPEG 1, Layer 3 compression that is the method discovered by Dr. Bradenburg. The compression proces s begins with computer hardware and an optic driver that will convert physical CDs i nto MP3 files 43 . These MP3 files can then get played on a computer through a 3rd party music player that were available at the time such as Winamp or Windows Media Player. By running uncompressed audio files through an MP3 encoder, a user can shrink a music file to 10% of its original size while maintaining a majority of the qua lity. This is done by getting rid of all the sound waves and frequencies from the file that cannot be recognized by a human ear, thus only leaving behind that which will be useful for a human ear. Through this encoding process, a CD, which could previously only hold 72 minutes of uncompressed audio, could now hold between ten and eleven hours of music 44 . This compression would soon allow consumers to hold larger quantities of music, increasing their demand and consumption of music as a whole. 43 Gunduz, Ugur. “Digital Music Format MP3 as a New Communication Technology and the Future of the Music Industry. The Scientific Journal of Humanistic Studies. p. 202 - 204 44 Gunduz, Ugur. P. 202-204 29 Compressed MP3 files have many benefits to consumers. MP3s allow for music to be transferred between people and computers at a faster and more feasible r ate. This made downloading music online a quick and easy option for consumers as a song could be downloaded in minutes or even seconds. MP3 files can also be copied an infinite amount of times without the degradation in quality that would occur with all previous fil e formats 45 . As is the case with any good that is non-excludable and non-rival in consumption, a free-rider problem began to emerge with the adoption of MP3 technology. Since MP3s could be downloaded an infinite amount of times and the quality would remain the same, consumers could download a song for free and not take it away from anyone else in society. MP3 technology made free music downloading possible and acceptable as consumers came to realize that their consumption of mus ic would not hurt anyone else. Another benefit of MP3s is that it is an open standard, meaning that nearly anyone could gain access to an encoder and create their own MP3. The invention of the MP3 is similar to that of the printing press. The Guttenberg Bible, made possible by t he printing press, allowed for every person to own a bible in the common tongue. Prior to the printing press, only the Catholic Church had a copy of the bible and it was in Latin. The control of the bible and religion shifted from the Catholic Church to individual people as the Guttenberg Bible soon became available to all. The same is the case wit h MP3s and the music industry. Prior to this technology, only record labels could own and control the content that was recorded onto a CD. With the adoption of MP3s, consumers could now own and control a copy of any song that wanted. 45 Welsh, Jared. p. 1513 30 The music industry, and the record labels were bewildered by MP3 technology and sought ways to fight the open source. A number of proprietary audio codes emerged with higher security features such as a2b and Liquid Audio 46 . None of these audio codes were able to gain significant market share as the open code of the MP3 proved to be t oo popular to overcome. Even though record labels fought to change the file format, consumers and artists were not going to change their consumption of MP3s to a more restrictive technology. MP3 technology also allowed newer artists to distribute their music online quickly and efficiently without the use of record labels. Established artists also created a direct link to their fans through the Internet as a result of the increasingly popular MP3 format. The introduction of new products such as the Apple iPod and other MP3 devices began to emerge, allowing consumers to hold thousands of songs on a single device thus further encouraging consumers to download MP3 music files 47 . MP3s also made peer-to-peer file sharing software possible as the compres sed size of an MP3 made the transfer of music that much faster. This allowed program s like Kazaa, Morpheus, I-Mesh, Gnutella, Win-MX, Soulseek, Limewire, and Napster to e xist as the technology allowed consumers to get music for free through this software instead of purchasing overpriced music from record labels. As consumers started turning to these technologies to get free music, it pressured the recording industry to respond. All re cord companies entered the e-commerce world with their streaming services i n order to try to 46 Easley, Robert F. John G. Michel, and Sarv Devaraj. “The MP3 Open Standard and the Music Industry’s Response to Internet Piracy.” Communications of the ACM. 47 Gunduz, Ugur. p. 202 31 monetize the digital market. The record labels were too late to respond and MP3s m ade record labels lose a large portion of the revenues from CD sales. The record labe ls were too little too late to enter the digital world and by the time they got there it w as too late to stop consumers from acquiring their music for free through these file-shari ng programs. The introduction of MP3 technology transformed the music industry and there were many winners and losers from this change. The record labels were the obvi ous losers as they were rapidly losing revenue, as music was being “stolen” and downloaded for free. Record labels were also losing artists who had decided to remain indepe ndent as they could now fulfill many of the roles of the record labels on their own. However, while record labels suffered, it seemed as if consumers and artists were both benefitting from this shift. Artists benefitted in several ways. The barriers of entr y were lowered on the music industry as a whole, as any artist with a computer, encoder, and file sha ring software could distribute their music online without an intermediary such as a re cord label. Artists also were able to gain a closer link to their fans through the us e of MP3 and the Internet through the use of fan loyalty gifts of free music. The other be neficiary of MP3 technology and the increased prevalence of the Internet were the consumers. Consumers gained from these new technologies, as they now were able to access a much larger and greater variety of music as well as access it for free. U sers not only were paying less for their music but were also increasing their consumption of mus ic as a result of MP3s. As record labels looked to combat this trend and save their business model, the buzzwords that began to be thrown around were “piracy” and “stealing”. Record labe ls 32 felt like these newer technologies were allowing consumers to steal from them and deny them their hard earned money. While artists and consumers were clearly benefitt ing from these advances, record labels were being significantly hurt and they were not about to go down without fighting for their cause. 33 Chapter 4 Piracy and P2P Software Destroy the Record Label Industry As the technology in the music industry advanced to a level that allowed consumers to access music for free, online piracy and file sharing emerged a s the biggest issue the music industry would have to face. As consumers and artists were benefit ting from these newer technologies, the record labels were struggling and fight ing to stay relevant. In fact, record labels have recognized piracy as the biggest c ause to their loss in revenues since 1999. The effects of online piracy on the music industry appear to be huge. According to a report released by Forrester, as of 2004, music piracy has denied record labe ls an estimated $700 million in revenues 48 . Music sharing and free downloading has hurt the record labels ability to make money. According to the IFPI, global CD sales droppe d 19.8% from 1999-2002 49 . It is evident that the Internet has had a tremendous affect on the music industry as a whole, as upset consumers have turned to alternative measure s to get music. Online piracy has quickly been becoming the norm in the music industry. Piracy is most popular amongst college students who feel that downloading music is not morally 48 Hajdu, David. “The iPod Blues” 49 Jansens Jelle. Stijn Vandaele, and Tom Vander Beken. P. 79 34 wrong, despite the claims being made by the record labels 50 . Consumers got tired of paying for overpriced albums that record labels were selling, and therefor e acquire their music illegally for free. “Music will be bought legally when the price is worth the differences in ethical consideration, (expected) quality, and (perceived) risks 51 ”. As there seems to be little risk and no downgrade in quality from acquiring music illegally , consumers will continue to download music for free over the web. Since music downloading began to gain popularity in 1999, it has quickly grown as the fastest growing method of acquiring music. According to the IFPI, onl y 37% of music acquired by US consumers is actually paid for. This means that just under two thirds of music is downloaded illegally in the United States. It is estimate d that from 2004 until 2009, thirty billion songs were illegally downloaded 52 . It is unclear how much effect illegal downloads have had on global sales, but it certainly is the case t hat CD sales have dropped since downloading became popular in 1998 when the first file sharing program, Napster, emerged. A look at the top 10 albums of the year before and after file sharing emerged show that CD sales have suffered. In 1999, the top 10 albums of the year sold a combined 54.7 million copies. Ten years later in 2009, the top 10 albums of the year only sold 21.4 million copies, which is less than half of the original amount 53 . Music downloads have only grown in popularity due to the ease and convenience that technology has allowed it to become. File sharing software began to emerge in 1999 wit h the first P2P program called Napster. 50 Warr, Richard. p. 129 51 Jansens Jelle. Stijn Vandaele, and Tom Vander Beken. p. 93 52 IFPI 2012 Lets Play Report. p. 10 53 IFPI 2012 Lets Play Report. p. 11 35 Since 1998, when Shawn Fanning created the program, Napster, file sharing and downloading music have increased exponentially in popularity. Made possible by the new MP3 technology, Napster allowed users to share files through the web at high download speeds. Given the small size of MP3 files, Napster allowed for songs to be shared amongst users in just a couple of minutes. Napster is the first peer-2-pe er network that emerged throughout the 21 st century. Napster operated by using a central indexing server that bookmarked and created a catalog of every user and song title availa ble on the server 54 . At its peak, Napster has 80 million registered users and over 250,000 daily downloads on its server 55 . The average user would be able to access around 220 new songs at any given moment. Napster was the first of many file-sharing networks that would emerge at the beginning of the 2000s. Napster’s downfall came as a result of its technology. The use of their ce ntralized server was enough to deem the company responsible for all of the content that went up on their network. Record labels, therefore, were able to get Napster shut down as the court system found Napster liable for assisting in copyright infringement. In Nap ster’s ashes, a new network, named Grokster, emerged that introduced a new technology that ultimat ely allowed all file sharing networks to survive the court system in the long run. Gr okster developed a completely decentralized system over which it had little supervisor y power 54 Jansens Jelle. Stijn Vandaele, and Tom Vander Beken. p. 91 55 Lam, Calvin K.M and Bernard C.Y. Tan. “The Internet is Changing the Music Industry”. 36 over the content on the network 56 . This decentralized network is what kept these P2P networks alive as no liability could be found on the service’s part. Yet another technological advancement in file sharing software emerged aft er Grokster. This newest advancement is still used to this day as the most complex fi le sharing system available. The next big file sharing software to emerg e was BitTorrent. Torrenting music files is the newest and current method to acquire new music. M any different file sharing software exists that uses the technology introduc ed by BitTorrent. The new technology introduced by BitTorrent was a highly complex system that shar es only pieces of media files from one source but uses many different users and sourc es to download the final copy 57 . This technology also allows for many different forms and sources of software to be used which has allowed programs like UTorrent, Vuze, and Torrentz to emerge. The record labels did not take kindly to the emergence of these file-sharing networks that were hurting their ability to collect revenues from music sal es. There were two major responses taken by the recording industry to combat the rise in P2P networ ks. The first response was to create a strong awareness campaign to dissuade pe ople from “stealing” music. However, most people did not feel that an ethical dilemma exist ed or that they were even stealing when downloading music. The next response by the mus ic industry, once the awareness campaigns were deemed ineffective, was to scare people with legal action. The record labels did this by targeting three main groups. 56 Welsh, Jared S. pp. 1517-1518 57 Welsh, Jared S. pp. 1518-1519 37 Record labels sought legal action against the file sharing platforms for thei r promotion of illegal downloads. The record labels also raised legal action agains t Internet Service Providers to force them to release the names of all the users of their sites to find the individuals downloading music. Finally, the record labels also began to pursue individual P2P users for downloading music, however, this method was the least effective, as the amount of users was growing exponentially daily. The Recording Industry was initially most effective in pursuing legal act ion against the file sharing platforms. In March 2001, the Recording Industry Ass ociation of America (RIAA) won its lawsuit against Napster, forcing it to filter t he items on their server. The court found that Napster has materially contributed to infringing activity by providing the support services through the use of their Central Indexing System, whic h allowed users to search for, find, and distribute content 58 . By April 2001, the swapping of MP3s on Napster’s platform had decreased by 36% as a result of the lawsuit 59 . However, as seen earlier, this did little to dissuade new entrants to the market that was created by Shawn Fanning. Today, more P2P services exist that ever before and a re more difficult to shut down. The progress in technology coupled with the growth in consumer broadband speed only helped promote the shift toward file sharing platforms. All subsequent platforms found ways to limit their liability starting with Grokste r, which had a decentralized server. In September of 2003, the RIAA sued 261 individuals for copyright infringement. By 2005, that number had grown to 9,000, as the RIAA was trying to intimidate the 58 Welsh, Jared S. p. 1516 59 Lam, Calvin K.M. and Bernard C.Y. Tan 38 public in hopes of scaring people into stopping their copyright infringements 60 . It seems strange that the record labels were suing for copyright infringement and not the artists that actually created the songs. Why are the record labels the one suing and a n even better question is why aren’t the artists? It seems peculiar that no outcry ha s really been made from artists regarding copyright infringement for downloading their song. “ The practice of having businesses exploit copyrights was so widespread that the Cop yright Act of 1909 permitted business entities the right to be designated as the author/owner of creative work 61 .” Record labels are the business entities that control the rights of these artists’ music. Artists and musicians agree to transfer the ownership of their music when signi ng a recording contract with a label. When a band or artist makes a song, there are 3 different products that are created. The first is the song itself; the music al composition. This song is what is actually performed by the artist, the notes themselves. T he second is the audio recording, which is the phonorecord or physical medium that the song is attached to. An example of this is a vinyl, tape, or CD. This is owned by the record l abel and sold to retailers who then sell the item directly to consumers. The final piec e is the sound recording itself, which is not held as a tangible good 62 . When someone hears about the copyright infringement lawsuits from the music industry it is referr ing to this third aspect, the sound recording. Copyright Law indicates that the record labels ow n the exclusive right to record and distribute these sound recordings. 60 Welsh, Jared S. p. 1519 61 Welsh, Jared S. p. 1506 62 Welsh, Jared S. p. 1500 39 As issues of piracy began to develop and emerge in the 1970s several revisions of copyright law were made to further protect the record labels. The 1976 revision of copyright law granted copyright owners (the record labels) the exclus ive right to be the first to record and distribute any creative content that they owned 63 . This revision granted the copyright holder with six exclusive rights. Copyright owners had the exclusive right for reproduction, preparation of derivative work, distribution, public performance, public display, and the right to public performance “by means of digi tal audio transmission 64 .” The issue of right to distribution is what has arisen in the case of most of these lawsuits, as piracy results from acquiring the music from someone ot her than the record label themselves. As technology advanced and the music industry moved to a digital space further revisions where required of copyright law. As file sharing and P2P networks started gaining popularity and MP3 technology made it possible to store high quantities on music, record labels again pressured the government to further revise copyright law to protect their content in the digita l space. The Digital Millennium Copyright Act of 1998 extended the rights provisioned in the 1976 revision to sound recordings on the Internet 65 . It is under this provision of Copyright law that allows the record labels to pursue legal action against anyone t hat downloads a song over the web illegally. Many defendants and opponents of copyright argue, however, that copyright law does not protect the artists from getting their work stolen but is rather a syste m put in 63 Vogel, Harold. p. 203 64 Welsh, Jared S. p. 1499 65 Lam, Calvin C.K and Bernard C.Y. Tan 40 place to protect one of the biggest monopolies in the world, and therefore these copyrights should not be enforced. “It is, after all, the purpose of copyright to promote the creation and dissemination of expression in the marketplace, not to protect large, existing industries from new competition. 66 ” It would be premature to think that copyright is totally unnecessary. Copyright laws were important in helping to start and grow the music industry. “In all, copyrights and the protection of intellectual properties from counterfeiting and piracy, have played an important role in the growth of the m usic business. But royalty income losses from piracy remain substantial and widespr ead 67 .” Regardless of what copyright law is, the issue of piracy remains a big one, a nd so far the use of lawsuits has done little to deter consumers from downloading music. The lawsuits by the RIAA did little to stop P2P networks and also hurt the image of the music industry as it was seeking to pursue legal action against its own custom ers. This drove more people to file sharing and P2P networks as they looked to fight against the monopolistic record labels. Since the emergence of Napster, many more prog rams have emerged to allow users to share music and other files over the web. Users of KaZaA, another program similar to Napster, download more than 160 million songs eac h month 68 . Also, as of June 2009, another program, Morpheus, had been downloaded 173 million times and Limewire had been downloaded 181 million times 69 . As file sharing has grown exponentially as the go to source for consumer to get music, the record label s have failed to maintain a presence in the industry. Since the emergence of Na pster in 66 Welsh, Jared S. p. 1497 67 Vogel, Harold. pp. 203-204 68 Hajdu, David. The iPod Blues 69 Bender, Mark T. and Yongsheng Wang. “The Impact of Digital Piracy on Music S ales: A cross-country Analysis” International Social Science Review. p. 158 41 1999, music sales in the US have dropped 47% from $14.6 Billion to about $7.7 Billion. Most consumers find it easier and more efficient to get their music online through th ese services that pay for a CD in a store. File sharing and P2P networks are often looked at in negative light due to its crippling effect on the music industry. However there are several other effect s that result from file sharing and downloading music. The first of these effects is the subs titution effect, which is the main argument for as to why the record labels have been suf fering. The substitution effect is that consumers who download music will no longer buy the CD as they have gotten their product from a different source. However, it seems unl ikely that each music download will displace 1 sale so there are arguments that the substi tution effect has minimal impact on the music industry. The sampling or exposure effec t also plays a major role in response to file sharing. The sampling effect state s that users want to sample or try music that they otherwise wouldn’t listen to 70 . Consumers will download songs that they do not value enough to purchase but are interested enough to listen to. The sampling effect has a positive impact on the music industry as overal l consumption rises, where consumers are able to listen to a higher quantity of music due to their ability to access it at a lower cost. The studies done on the effects of file sharing have been extremely unambiguous. Some research has shown the effects of piracy to be extreme and have many impl ications for the music industry as a whole while other studies have described the effects to be more positive. Market statistics from the International Federation of the P honographic 70 Jansens Jelle. Stijn Vandaele, and Tom Vander Beken. p. 91 42 Industry (IFPI) show that worldwide music sales have fallen with the blame be ing solely placed on P2P software 71 . Whether or not file sharing and P2P networks actually hurt the music industry is a big argument in the music industry, but the effects since the emergence of Napster on the music industry appear to be tremendous. One study f ound that Internet Piracy actually did have a weak effect on CD sales. This study found a casual relationship between the number of P2P networks available and the decline in CD sales 72 . Another study done by Leibowitz found that between 2000 and 2003 online file sharing reduced CD sales by as much as 30% or about $4 billion annually 73 . Many other studies exist that comfirm that P2P networks have decreased CD sales. There have also been several studies that have argued that P2P networks have had very little impact on CD sales. In fact, one study done by Anderson and Frenz found that P2P networks actually increased music sales overall due to the sampling effec t and other factors 74 . Yet another study done by Felix Oberholzer and Koleman Strumpf had some interesting results. Their study attempted to look at the impact of file shari ng on CD sales and collected their dataset from 0.01% of all downloads from 11/23/02 until 12/2/02. Their findings were that file sharing had limited impact on record sal es and suggested that 5,000 music downloads are required to displace 1 CD sale 75 . Another study done by Rafael Rob and Joel Waldfogel examined data on album purchases and music downloads amongst college students in 2003. This research study 71 Bender, Mark T. and Yongsheng Wang. p. 157 72 Jansens Jelle. Stijn Vandaele, and Tom Vander Beken. p. 82 73 Jansens Jelle. Stijn Vandaele, and Tom Vander Beken. p. 82 74 Jansens Jelle. Stijn Vandaele, and Tom Vander Beken. p. 82 75 Bender, Mark T. and Yongsheng Wang. p. 159 43 attempted to assess college students’ habits in music consumption. Their results indicated that downloading music reduced CD purchases by 9% but that downloading music also mitigated the deadweight loss due to monopolistic allocation ineffici ency and price discrimination 76 . The study also contends that the sampling effect is a major factor and that downloading music occurs primarily on low valued CD’s, and that therefore sales displacement is not a prevalent factor because most albums were never a ctually intended for purchase. Most consumers are not willing to pay the high price for an album that they do not value, and since the only alternative to this high price is to download the album, they choose to do that instead. The study by Rob and Waldfogel is one of the most groundbreaking in research done on the music industry. Yet another study was done by Zetner to study the macro effects of file sha ring and piracy on music sales. Zetner’s study found that countries with the highest levels of P2P usage also experience the greatest reductions in music sales. The stud y calculated that a 1% increase in the piracy rate resulted in a 0.6% decrease in music sal es. Zetner also found that a 1% increase in the Internet penetration rate would result in great er than 1% decrease in music sales 77 . This study shows that Internet penetration has 60% higher impact on record sales than the piracy rate. Zetner argues that the incre ased prominence of the Internet was the leading factor in displacing sales, as it was the most efficient distribution channel for music. The Internet heavily lowered the cost of producing m usic and the lack of a price shift made consumers seek their own change rather than pay f or overpriced albums. 76 Bender, Mark T. and Yongsheng Wang. p. 160 77 Bender, Mark T. and Yongsheng Wang. p. 165 44 One final study that had a huge impact on the knowledge of piracy and the music industry was a regression analysis done by Patrick Mooney, Subarna Samanta and A li H.M. Zadeh. This study attempted to run an econometric regression analysis with controls for every variable and factor that has impacted the music industry. The r esults of this study are very interesting. Mooney, Samanta, and Zadeh found that piracy had a minimal effect on CD sales but there were other factors that had a huge impact on the recording industry. According to the study, vinyl singles had the largest negative impact on CD sales and are the main reason for the decrease in CD sales. Medium income w as also found to have a slight positive effect on CD sales. Another factor that had a significant positive impact on CD sales was time. CDs became immensely popular and were heavily purchased for a certain period of time before technology outgrew the m, which caused the heavy decline in CD sales. The study found that time was a huge variable as CD sales numbers from the early 1990s were heavily inflated due to t he widespread movement to update individuals’ multimedia libraries. The final fact or that had any significant impact was the emergence of iTunes and the sale of digital music through their iTunes Store that displaced a large portion of CD sales 78 . The empirical study concludes that the recording industry cannot place the full blame of declini ng CD sales on illegal downloads and that rather it was vinyl single sales that had the largest influence on declining sales as it became the favorite substitute for CDs. The RIAA has shipment numbers on all of the different media formats for the music industry. These numbers show the unit sales and total revenues for the music 78 Mooney, Patrick, Subarna Samanta and Ali H.M. Zadeh. “Napster and its Effects on the Music Industry: An Empirical Analysis”. Journal of Social Science. pp. 307-308. 45 industry broken down by music format. A look at the shipment numbers show the rapid growth of CD sales as a result of the movement to update individuals’ music librari es and then the decrease in CD sales as P2P networks became popular. A look at the graph below shows the total unit sales for the music industry from 1990 until 2012 79 . As you can see, the actual units of CDs sold stays pretty level until 2005 when downloading music really takes off as the biggest method to acquire music. Also, as downloading music and streaming music take off in popularity one can see the sampling effec t as the total consumption of music units rises. In fact in looking at the total units sold in Exhi bit 1, in 1999 when P2P first became available, there was a total of 1.16 billion units of music sold while in 2012 there was 1.819 billion units sold. This change has resulted in a 56% increase in total consumption of music since the introduction of P2P networks. 79 RIAA Shipment database 46 Music Unit Sales by Product Type from 1990-2012 Another interesting thing to note from the RIAA shipment number is the shifting trend towards acquiring music in the digital space. Whether it was due to P2P net works, the introduction of vinyl singles, or digital downloads through iTunes, a movement to download music began in 2003 and has only grown since. As you can see in the graphs below depicting the breakdown of how music was purchased in 2004 and then in 2012, it is interesting to note how CD sales went from being 80.1% of music sales in 2004 to merely 11.6% of 2012 sales. Downloading music took over as the primary method to acquire music and by 2012, 76.5% of music was acquired by a download. The shifting trend to the digital space was further encouraged by the introduction of products l ike MP3 players, iTunes, and the increasing amount of available memory in personal computers, which allowed consumers to hold more songs. 47 2004 Music Unit Sales broken down by media form 2012 Music Unit Sales broken down by media form 48 Whether or not the decrease in CD sales and increase in downloads is a result of piracy or not, the fact remains that the sale of music has shifted from CD to downloads . It has also become clear that music is valued at a lower price per unit since t he introduction of file sharing. After adjusting for inflation there is still a huge de crease in the value per unit of music sales. At its peak, consumers valued their music at $18.72 per unit in 2002, just prior to the introduction of iTunes. In 2012, music was only valued at $3.88 per unit, a 79% decrease since 2002 80 . Consumers will not pay record labels the high amount that they are seeking as over time consumers have valued music at a lowe r amount. Since the price offered by record labels does not correspond with the value consumers have for music, the record labels have been left behind as an irrelevant pa rt of the music industry. The adoption of the Internet and newer technologies lowered the value of music, as consumers were willing to pay less for music or even nothing at all. Despite the revisions to copyright law and the increased attempt by record la bels to pursue legal action against copyright infringers, the music industry did not he sitate to continue to shift towards a digital market. As the record labels refused to init ially move into this new market, entrepreneurs and businesses decided to do so first in order to alleviate the problems with overpriced music. While there are very unambiguous repor ts as to what the actual effects of piracy has been, music has shifted to a digital market and total consumption of music has risen since 1999. 80 Exhibit 1 49 Putting aside the ethical issues of downloading music illegally, P2P networks ar e here to stay and consumers will continue to download music over the web at minimal cost. That being said, there needs to be some sort of revision to copyright law as it is extremely inefficient in its current state and has done nothing to deter people fr om downloading music. Perhaps the problem isn’t from the consumer side, but rather the law must change to better benefit the artists and consumers who are the primary beneficiaries of the music industry. Copyright law as it is, only benefits a fe w giant corporations that wish to continue to hold their monopoly over the music industry. Copyright law should not exist to deter new entrants and competitors in the market and s o far it hasn’t. The problem with the music industry is not the artists or the consumers who have both benefited since the introduction of MP3 technology and file sharing. The only victim of the changing market has been the record labels. It seems as if t he advancements in technology have made the music industry outgrow record labels and some might even question if there is even a role for record labels today in the mus ic industry. There have been many different solutions proposed by both the players in the music industry and independent entrepreneurs to help solve some of the issues in the music industry and better adapt to the new environment. These solutions have further pushed record labels away from playing an active role in the music industry toda y. 50 51 52 53 Chapter 5 Solving the Problem of Record Labels As the recording industry has struggled to recover since the adoption of MP3 technology and the emergence of file sharing, many have questioned the role of r ecord labels moving forward. Many solutions have been proposed to fix or improve the music industry and help get rid of some of the biggest inefficiencies in the market. L aws that were written in the 20 th century, even though they have been updated over the years, cannot dictate the way the music industry is run as it has changed so radically ove r the last 10-15 years. Many different attempts have been made by entrepreneurs to pr ivately solve the problems that the music industry has faced because the record labels fai led to act. It is thanks to some of those innovations that the record labels have even survived this long. There are three major solutions that have been proposed to fix the music industry. The first of these solutions is the Administrative View. Under this approach, a government agency would be created to track, monitor, and administer royalties for music distribution but would incentivize free distribution to consumers who don’t publish or use the content for a profit. Another component of this solution is for the government to tax complementary products for music such as iPods and other MP3 players and 54 distribute the tax revenue amongst the record labels 81 . This solution creates a more efficient way of tracking royalty rates as the current method is very vague and the issue of double dipping still exists. The second major solution proposed for the music industry is called the Free Market View. The Free Market view is that the system will eventually a dapt of its own accord. Consumer friendly technology will slowly emerge that will lure user s away from illegal downloads 82 . This wait approach, believes in the capitalistic model in the United States and the idea of Adam Smith’s invisible hand, as the market will dictate where the music industry goes. This solution also argues for the shift towards free music. T his solution lacks appeal from the recording industry, as it would result in the imminent death of record labels. The free market solution argues that due to the record labe l’s inability to adapt and slow adoption of technologies that it has been left behind the musi c industry and is no longer a necessity. Private entrepreneurs and investors have st epped in to take over where the record labels were slow to enter. These businesses wil l continue to adapt to the market and will overtake the record labels as the major players in the music industry. The third major solution is the Statutory Change View. This solution claims that the system holding the music industry together right now is broken and institutional changes are needed to account for the changes that have occurred since the init ial copyright law was written. This solution contends that copyright law must be updated 81 Welsh, Jared S. p. 1528 82 Welsh, Jared S. p. 1529 55 and changed. Copyright law should be streamlined and weakened 83 . This solution agrees that copyright law is currently only protecting a few large corporations i nstead of the true players in the music industry. This solution will allow for copyright law to actua lly protect the artists from copyright infringement instead of a few corporat ions. This solution also calls for a privately administered tax distribution system si milar to that of the Administrative view to help allocate royalties accurately and effic iently. While all three of these solutions have been proposed ,no action has been taken by the government and record labels to fix the music industry and as such, private solutions have emerged t o mitigate the inefficiencies in the music industry. All of the private solutions to the problems the music industry face. focus on capitalizing in the online market. It is agreed upon that the future of the music indus try is in the digital marketplace, and that online distribution is the best option as it lowers distribution expenses, coordination costs, and production costs. Most private solutions also believe that P2P networks should be allowed due to the positive impact it has on the music industry such as the sampling effect. The value proposition of these new privat e solutions will be large enough to draw most users away from illegal downloads and to their services as it will be more convenient and allow for a better interact ion with the user. The first major private solution for the music industry came in 2003, when Steve Jobs of Apple Inc. announced the introduction of iTunes and the iTunes store. iTunes would allow users to purchase single tracks for $0.99 and would have a large library of 83 Welsh, Jared S. pp. 1530-1531 56 music that was not limited to just a few record labels. Anyone can sell his or her music through the iTunes store. iTunes introduced a new breakthrough in the music industry, as it was the first time that consumers could purchase single songs instead of ent ire albums. iTunes breaks down the continuity of a full album and shifts the control of creating playlists to the consumer instead of the record labels. iTunes was the first innova tion that has lead to the destruction of the control that record labels used to have. iTunes became immediately popular and has since become the fastest growing marketplace i n the music industry. iTunes quickly became the primary marketplace for consumers to download music. An IFPI report of music downloads shows that there were 160 million songs downloaded from iTunes in 2004, its second year of existence. Two years later, in 2006, about 795 million songs were downloaded 84 . iTunes quickly became a market leader in the music industry. Apple realized that digital music sales would most likely nev er offset the decline in CD sales that the industry had experienced. The challenge the music industry faced was not to regain those lost revenues but rather to compete with P2P networks in the digital space for market share. iTunes quickly became the ma in competitor to file sharing as it provided the best alternative to consumers. The introduction of iTunes further accelerated the downfall of the CD. Legal downloads not only compete with P2P networks but they also negatively impact CD sales 85 . Consumers prefer to download music whether legally or illegally to CD sales , and the movement towards downloading music is a result of the shift in technology that 84 Jansens Jelle. Stijn Vandaele, and Tom Vander Beken. p. 92 85 Mooney ,Samanta, Zadeh. p. 3-8 57 has allowed people to hold all their music on their computers. The popularity of iTunes was almost instant, as within a couple of years Apple would control the market for onli ne music purchases. According to PC World, iTunes holds a 70% market share of online music purchases 86 . iTunes is highly considered the best solution and savior of the music industry but many other solutions have emerged in recent years. These solutions l ook to step in where the record labels failed to find ways to capitalize on the digita l marketplace for music. Another major solution that has emerged in the music industry is the idea of streaming music. Recent companies like Pandora Radio, Slacker Radio, and Spotify ha ve emerged that offer streaming services for music. Many consider strea ming to be the savior and future of the music industry. The idea of streaming stems from the thought that music should be thought of as a service rather than a product 87 . These services bank on the idea that people do not need to own their music but rather need to be able to access it and listen to it any point in time. These streaming services allow users to listen to and access music from any and all of their devices but do not transfer ownership of the musi c. Consumers pay a monthly fee to use these services and this money is used to pay the royalty rates for broadcasting and streaming the music that they acc ess. Yet another private solution that has emerged is the Amazon model as an online music retailer. Shortly after Apple announced the release of iTunes, Amazon wor ked hard to create a retail space for music. Amazon music was releases a fe w years after iTunes but provides a different value than Apple. Using the Amazon marketplace to buy 86 Styven, Maria. P. 59 87 Styven, Maria. P. 56 58 music allows Amazon to use cookies and data mining techniques to create customer profiles 88 . Amazon can then use this information for two different purposes. The first of these is to recommend new music to customers and help expand peoples’ libraries. The second use from these customer profiles is that it allows for focused marketing e fforts by the record labels. As Amazon was one of the first services to profile their cus tomers through the use of data mining they were able to provide a lot of information on customer purchase habits that allow marketers to target specific customer groups. This in turn allows for a new revenue source for Amazon that not only makes money from selling music but also has become a growing space for advertising through their introduct ion of customer profiling. The use of social media has also emerged as a major player in the music industry . Every artist has a Facebook page and uses their page to give out free music in retur n for customer loyalty. Social media networks also provide a huge infrastructure for new solutions to emerge in the music industry. It is difficult for new platforms to be built from scratch and attract a lot of users in a short period of time. However, through the use of Facebook’s 3 rd party app ability, new apps can be built and leverage the large user base of social media sites like Facebook and Twitter to attract its customers. I n September of 2012, Facebook has 163 million unique visitors 89 . Leveraging this large user base has made Facebook a popular destination for any entrepreneur who wishes to provide a new service through the use of Facebook apps. For example, market leading ticket vendor, Ticketmaster, has already started using Facebook’s capabilities. Ti cketmaster has been 88 Lam, Calvin K.M. and Bernard C.Y. Tan 89 Bylin Kyle, Louis Hav and Glenn Peoples. “Building Digital Businesses around Music and Rights” 59 utilizing the use of Facebook’s Graph Search to maximize their marketing ef forts and social features to there ticketing services. Ticket companies have also begun us ing social media to sell tickets as the use of word of mouth can greatly increase ticket sa les. The music industry has begun to thrive as the amount of private solutions has grown. The private sector has taken it into their hands to revive the music industry and capitalize on the missed opportunities that led to the demise of the record labels. The globalization movement has also helped spark the music industry, especially for the se private solutions. At the start of 2011, the major digital music services, iTunes and Spotify, were only available in 23 countries. Today these services are available i n more than 100 countries 90 . As the Internet penetration rate has risen in emerging markets, the music industry has been able to quickly expand to parts of the world that had previously remained outside of the music industry. This provides for a growth in opportunities in the music industry. As private solutions have become the source for innovation and entrepreneurship within the music industry the question remains: Is there a role for record la bels in todays music industry? In their current form, there is no way that record labels w ill survive much longer. All record labels have been doing for recent years is to fight and res ist the changes that have occurred. Rather than becoming flexible and adapting to the chang ing environments, record labels decided to stay put and have utilized the legal system to force others to stay within their confines of the music industry. It is the record label ’s inability to act and adapt that ultimately led to its demise. Record labels are no longer t he primary 90 IFPI 2013 Digital Music Report 60 distributors of music and more and more artists are leaving record labels to w ork independently. The use of technology has made it extremely easy for artists to perform all the functions of the record label directly from their own laptops. In the absence of innovation from record labels, businesses were formed in the digital space to ta ke over the digital space and the record label’s late entrance into the digital spac e will be seen as their failure. Record labels have become obsolete and are no longer a necessary par t of the creative process and therefore no longer fulfill a role within the music indust ry. The music industry has transformed as a result of technology and has since become leaner. The age of large production plants and distribution centers are over a s one individual with a computer can do every function of a record label. Artists grew tired of receiving just a small share of the revenues from music sales and th eir unhappiness with the record labels drove them away and led them to becoming independent. This freedom will ultimately support and spark artist creativity as their revenues will grow with the fall of record labels. Artists were forced t o find new ways to make money, and now the major revenue for musicians and artists comes from touring and merchandise. Tracks and an artist’s music help promote these live tours as seei ng live shows has grown in popularity over recent years. Music will continue to shift towards becoming free, as they will be used to promote artists and help bring people to live shows. Very little can be done to stop consumers from seeking to pay a minimal amount for music as technology has made it possible and even probable that they acquir e their music for free. 61 Ultimately it was the failure of record labels to adapt that will lead to t heir demise. While record labels might not disappear altogether, their reign as t he major player in the music industry has come to an end. Record labels might be able to survive if they stay as a consultant service and use their resources and expertise to he lp market music to the right audiences, but record labels will never again be the major producers and distributors of music. As technology has advanced and the music industry has moved forward with innovations that benefitted the artists and consumers, record label s were left behind and are now closer than ever to becoming extinct. 62 Works Cited Bender, Mark T., and Yongsheng Wang. "The Impact of Digital Piracy on Music Sales." International Social Science Review 84.3-4: 157-70. Web. 27 Mar. 2013. Bylin, Kyle, Louis Hau, and Glenn Peoples. "Building Digital Businesses around M usic and Rights." Billboard 123.44 (2011): 16-19. Web. 4 Mar. 2013. Easley, Robert F., John G. Michel, and Sarv Devaraj. "The MP3 Open Standard and the Music Industry's Response to Internet Piracy." Communications of the ACM 46.11 (2003). Web. 5 Mar. 2013. Gunduz, Ugur. "Digital Music Format MP3 as a New Communication Technology and the Future of the Music Industry." The Scientific Journal of Humanistic Studies 4.7: 202-07. Web. 18 Mar. 2013. Hajdu, David. "The IPod Blues." The New Republic . 29 Mar. 2004. Web. 11 Mar. 2013. IFPI Digital Music Report 2013 . Rep. International Federation of the Phonographic Industry, 2013. Print. IFPI Lets Play . Rep. International Federation of the Phonographic Industry, 2012. Print. Janssens, Jelle, Stijn Vandaele, and Tom Vander Beken. "The Music Industry on ( the) Line? Surviving Music Piracy in a Digital Era." European Journal of Crime, Criminal Law and Justice 17.2 (2009): 77-96. Web. 25 Feb. 2013. Keesan, Joshua. "Let It Be? The Challenge of Using Old Definitions for Online Mus ic Practices." Berkeley Technology Law Journal 23.353 (2008). Web. 10 Mar. 2013. 63 Lam, Calvin K.M., and Bernard C.Y. Tan. "The Internet Is Changing the Music Industry." Communications of the ACM 44.8 (2001). Web. 29 Mar. 2013. Mooney, Patrick, Subarna Samanta, and Ali H.M. Zaden. "Napster and Its Effect s on the Music Industry: An Empirical Analysis." Journal of Social Sciences 6.3 (2010): 303- 09. Academic Search Premier . Web. 29 Mar. 2013. Styvén, Maria. "The Intangibility of Music in the Internet Age." Popular Music & Society 30.1 (2007): 53-74. Print. Vogel, Harold L. "Music." Entertainment Industry Economics: A Guide for Financial Analysis . 6th ed. Cambridge: Cambridge UP, 2004. 192-227. Print. Warr, Richard. "Is the Music Industry Stuck Between Rock and a Hard Place? The Rule of the Internet and 3 Possible Scenarios." Journal of Retailing and Consumer Services 18.2 (2011): 126-31. Academic Search Premier . Web. 5 Mar. 2013. Welsh, Jared S. "Pay What You Like- No Really: Why Copyright Law Should M ake Digital Music Free for Noncommercial Uses." Emory Law Journal 58 (2009): 1494-537. Print.	[ "music", "record", "label", "industry", "artist", "consumer", "sale", "technology", "p", "cd" ]	{ "summary": "Claremont Colle ges\nScholarship @ C laremont\nCMC S enior The ses CMC S tude nt Scholarship\n2013\nThe " }
44011175-Major-vs-Indie-Label.pdf	1 David P. Mrs. Finnerty Seminar 12 23 Feb. 2006 EQ: How are independent artists and new technologies dismantling the impact of major record labels? “The band is now 1/4 of the way through its contract, has made the music industry more than 3 million dollars richer, but is in the hole $14,000 on royalties. The band members have each earned about 1/3 as much as they would working at a 7-11, but they got to ride in a tour bus for a month.” Producer Steve Albini discusses this commo n situation in his controversial essay, The Problem With Music (Albini). Bands have historically been eager to sign contracts with major record labels, mostly because corporate-backed record companies have the resources to turn their artists into successful money-making brands. Signing to a major label has been the only reasonable way for an artist to be heard by a broad audience, yet many record deals end up as unfavorable to the artist as the deal Albini discusses. Since the beginning of the record industry in the early 1900s, corporate record companies and their artists have been the most successful (in terms of earnings, fanbase, awards and recognition, etc.), yet much of this success is due to the independent, trend-setting labels that the major labels follow. Independent labels are known for taking risks and developing artists with unique sounds, and many of the world’s top artists (Elvis, The Beatles, Maroon 5 and 50 Cent, for example) were once signed to independent labels. However, partially due to new distribution technologies introduced in the past few years, and an increasing amount of opportunities for exposure to consumers, independent artists have been moving towards the center of the mainstream music market; some are successfully competing with major-label artists, and finally receiving their hard-earned, long-overdue attention and recognition. Artists, labels, and consumers are finding that because of the overall appeal of independent artists- partially due to the growing exposure and resulting popularity of independent artists as well as a historical trend in broadening consumer music tastes- changes benefiting independent artists are taking 2 place in this system that has indisputably favored corporate-sponsored major-label artists in the past. The Record Industry – Background Since the beginning of the recording industry, corporations have been the most controlling forces. In 1940, three record companies controlled the music industry, and two of the three companies (RCA/Victor and Columbia/American Recording Company) were part of major broadcast corporations (Bishop 12). These companies recorded, produced, manufactured, marketed, and owned the rights to each of their artists’ recordings, and they focused on producing mostly big-band jazz and classical recordings. However, as more African Americans moved toward urban areas in the 1940s, blues, jazz, and gospel began to move away from their classification as “race music” and moved toward the mainstream; the corporate labels wanted to capitalize on this growing popularity in major markets (Bishop 12). The popularity of this music grew simply because the music was around and it was something new, and by the 1950s the majority of people had developed an appreciation for more than just one or two musical genres. By the early 1950s there were six major record labels, which had adapted in order to accommo date the diverse music tastes the public was developing. At the same time, teenagers were beginning to look for a style of music they could call their own, since their parents had seen and been a part of the rise in blues, jazz, and gospel music (Bishop 13). By this time the major labels had successfully signed, recorded, and promoted many unknown artists, but the smaller independent labels better understood what the younger generation wanted to hear. In 1954, Sun Records in Memphis, Tennessee signed Elvis Presley, who created an early version of rock ‘n roll by combining country music with R&B (Sun Record Company). Independent labels caught on to the rock ‘n roll sound early, and as more and more labels released rock ‘n roll records, their popularity grew among teens who wanted to hear specifically this style of music. Major labels felt the pressure to shift their artist rosters in order to accommo date this consumer demand, and they gradually did so by the late 1950s (Bishop 13). As rock ‘n roll’s popularity grew, so did record sales for independent labels. From 1955 to 1956, independent labels saw a 44 percent increase in sales. Yet in the mid-1950s genres other than rock ‘n roll 3 still dominated the radio and sales charts, and from 1954 to 1958, four major labels (Columbia, RCA/Victor, Decca, and Capitol) were responsible for 75 percent of the hit records listed in Billboard Magazine. By the end of the decade, however, in 1959 the same four major labels were only responsible for 36 percent of hit records (Bishop 13). In 1960, there were around 3,000 record labels in the United States, and 500 were under the “corporate umbrella” of major labels (Bishop 14), and major labels saw that the smaller independent labels were setting trends and, at the time, had a clearer understanding of what the younger generations wanted to hear. Even after a decade of observing independent labels, and having the opportunity to develop similarly successful artists, those majors who either could not effectively compete with successful independent labels, or did not see a need to risk promoting unproven new artists, simply began to buy, distribute, or co-own independent labels in order share in the success. This led to a cycle that still occurs today: independent, entrepreneurial labels start musical trends, “[identify] a particular market niche in which to specialize” (Bishop 12), and eventually sell their company, catalog, or artist roster to a major label. Major Label Structure Working through a major label is the “mainstream” way to produce and release a record. An artist signs with the label, and the label gives the artist an advance, with which the artist records an album, and then turns the master recording over to the label. The label turns the master into CDs and sends them to the distributor, which in turn wholesales the product to record stores (Passman 81). Once the CD is in the distributor’s hands, the label focuses its efforts and resources on advertising, promoting, and marketing the album. In a major label, the following people have the most important jobs: A&R - “Discovers” and develops new artists, and often helps coordinate the artist’s release (Passman 81). This can include helping choose the songs the artist records, choosing the producer, album artwork designer, and most importantly, coordinating all the departments of the label to make sure that all of the label’s resources work together successfully for the release.4 Marketing – Handles the advertising, publicity, album artwork (sometimes), music videos, in-store displays, and promotional merchandise (Passman 82). This department is responsible for turning the artist into a successful comme rcial brand. Promotion – The promotion department exclusively works to get the artist’s songs on the radio (Passman 82). Most major labels have an in-house promotion department, while some hire independent promoters. Using independent promoters allows for a smaller full-time staff, and can work as an advantage to the label because their artists are getting promoted along with those represented by other labels; this makes radio’s decision to play the song more about the song and artist, and less about the label. Independent Labels The term “independent label” has several meanings, all of which are drastically different. “True independents” are owned independently from a corporation, and distributed through independent distributors (owned independently from a corporation). Some “true” independent labels are owned by major labels, but are still viewed in this way when they are distributed by independent distributors, and the major label owner stays out of most of the label’s affairs (Passman 85-86). “Mini-majors” are complete record labels, without distribution systems of their own. They are often distributed by a major label’s distribution company, and sometimes co-owned by a major label. Examples of “mini-majors” include Jive Records, which is distributed by BMG, and Maverick Records, which is distributed by WEA (Passman 84). A different type of label, which is becoming more popular in recent years, is the major-distributed independent label. This label simply supplies the major label with the recording, and the label does everything else. The independent label essentially acts as a production company, and some even rely on their major label partner to do the promotion (Passman 85). Sometimes the label is owned by the artists themselves, as is the case with Ani Difranco’s “Righteous Babe Records.” Difranco uses the label to promote her own records, and it is now considered one of the most successful independent record labels in the United States (Barnet and Burriss 23).5 Major vs. Independent Labels In order to examine how independent artists are dismantling the impact of major record labels, it is important to understand the real effects of the major and independent label systems, whose operations have been summa rized. Therefore, it is necessary to look at the advantages and disadvantages of major and independent labels, from the perspective of both the artist and the consumer, and determine which system has the greater potential to dominate the music industry in the 21st century. Major Label Advantages Money and power are the most desirable assets of a major record label. In order to successfully release an album nationally and expect it to have widespread appeal and attract the attention of the majority of people who listen to new music, a significant amount of money must be invested in the release. Major record labels often spend a considerable amount of money on promotion in order to make sure that their artists are successfully promoted through outlets like radio, music videos, TV, magazines, newspapers, in-store displays and promotions, etc. These outlets have long been considered the most reputable means for finding and selling new music; they contribute highly to the sales of records whose marketing campaigns rely on and utilize them, and while it takes power and money to access them, that’s not a problem for corporate-backed major record labels. Because of their financial structure, it appears that major labels simply have an advantage over independent labels with limited funding. Michael Jackson, for instance, benefited greatly from the $200,000 his label spent to produce his Thriller video in 1983 (Alderman 62). Thriller sold 20 million records (Alderman 63), and its video was groundbreaking and widely popular. A $200,000 video budget is absolutely out of reach for independent artists and labels, and when it comes to making a promotional music video with no restrictions, exactly as the artist and label want it, major labels certainly have an advantage. Radio airplay has historically been an especially important factor in a record’s release. Consumers of mainstream music listen to the radio to hear their favorite songs, and greatly rely on it to introduce them to new music. Launching a national comme rcial radio campaign takes money, time, 6 effort, and strong relationships with the program directors at radio stations. Many labels, even majors, outsource the job of radio promotion to an independent promoter who can take the time and effort to do the job successfully, and has good relationships with radio stations. A national comme rcial radio campaign through an independent promoter can cost $40,000 just to try to get one single onto national pop radio, and after eight weeks, the promoter is done working for the artist (Farrish). Major labels have the advantage of being able to afford this kind of promotion, whereas $40,000 is sometimes more than an independent label can spend on an artist’s entire album- from the production to the promotion. Major labels also have the advantage of having more money and better distribution networks than independent labels, which gives them a better ability to meet a demand for their product as they see it growing (Barnet and Burriss 23). As Richard Barnet and Larry Burriss, authors of Controversies of the Music Industry, put it, “[l]arge multinational labels have the capital to manufacture larger inventories of CDs than do indies. With their company-owned international distribution systems, majors can quickly move many recordings from their CD manufacturing plants and warehouses to retail stores if a song suddenly gets radio airplay” (23). Major Label Disadvantages One of the main arguments against major labels is that they are set up to promote and reward formulaic, unoriginal music, in order to safely market music that is known to have high consumer appeal. Music Genres and Corporate Cultures author Keith Negus writes “[t]he work of record companies is now based far more on strategic calculation, data management, monitoring and measuring techniques and the explicit applications of forms of management theory. It is based less on gut feeling, hunches, intuition and inspired guesswork” (62). This attempt at formulaic, corporate-created music is also seen in the use of “hit-picking software,” which digitally analyzes a song, compares it with hit songs, and predicts its ability to succeed on the radio and charts (Kusek and Leonhard 157). Music has historically served the purpose of both entertaining listeners and causing them to react to the moments of new, original creativity that truly define a song. With originality thrown aside by software that intentionally promotes predictability, and corporate executives who market “safe” artists with mass appeal and little surprise to 7 listeners, it may become difficult to find music that appeals to those who appreciate originality, within the corporate music industry. Major labels, as Steve Albini mentioned, also have a reputation for giving artists unfavorable deals and rewarding the business team greater than the artist who created the music. Herbie Hancock, a well-known and respected jazz pianist and innovator of technologies, shares his opinion on the major label business model: “I’m not happy about the business model that the record companies have been running until now. They have proven again and again that they are far from angels, far from having even a casual interest in giving artists and songwriters a fair share. They have been ripping off artists, writers, and the public for close to a century, to the point where I can honestly say I don’t trust them at all” (Alderman xvii). Major labels have also been slow to utilize the marketing potential of the internet, and have just recently begun to bring in technology-savvy executives to compete with the independent labels who have been using digital distribution and internet marketing for years (Maney). The traditional, corporate environment of most major record labels often does not foster the same kind of creative, forward-thinking talent from its business people that is embraced at small independent labels, which is why major labels are at a disadvantage when it comes to embracing new technologies and taking advantage of non- traditional marketing opportunities. Without utilizing new digital technologies, major labels are becoming less appealing to music consumers who do use these new technologies, and the major labels are essentially ignoring their opportunity to have an impact on the technologically inclined demographic. In this age of constant technological advancements, this demographic is only growing. Independent Label Disadvantages For the most part, every advantage that major labels have is a disadvantage to independent labels. Independent labels often lack strong, international distribution networks that would help get their products in stores. They often lack the capital of major labels that are part of international media corporations, which affects all of the independent label’s operations, from the production of records to the promotion. Because they are less powerful and often not as established as major labels, independent 8 record labels often do not have the same leverage and access to radio, retail, and the media as major labels do. Ultimately, these disadvantages make it the responsibility of independent labels to seek out or develop new ways of promoting records, simply in order to survive and compete with the corporate- backed labels. Independent Label Advantages and Appeal In 2005, CD sales in the entire music industry were down 8% from 2004– yet independent labels, at 18%, have the largest share of the market that they have held in the last five years (Leeds). This is because independent labels are developing more sustainable business models and artist rosters than major labels, and music consumers are finally recognizing the appeal of independent music in greater numbers. Independent labels are run in a way that is completely different from major labels. While corporate major labels are run by business executives who are often distant from the creators of the music they market, many independent labels are run by just a few people who sign, develop, and work closely with each artist on the roster. This shorter, more direct path from the creation of the music to its promotion helps maintain the artist’s original intended vision, and simply makes for a more authentic, unaffected musical production. On the business side, independent record labels are run as small business, with few employees and lower expenses than major labels. Therefore, they are structured to make more money with fewer record sales (Kusek and Leonhard 111). Lower expectations for record sales allow independent labels to take more chances on the types of artists they sign, produce, and promote, which can only bring greater musical diversity and selection to consumers. Record labels typically do not attract consumers, as music fans are more concerned with the music itself and not the business people behind it. However, independent labels often have a particular sound, and fans of artists signed to a certain label often trust it to deliver music that they like (Kusek and Leonhard 21). Major labels, however, are home to artists of many different styles of music, and therefore if a major label’s roster consists of 40 artists, it would be reasonable to assume that a certain music fan might only like ten or fewer of these artists– whereas an independent label specializing in “indie folk” 9 music might have a 10-artist roster, and an “indie folk” fan might like nearly all 10 of them. This kind of consumer loyalty creates a built-in fanbase for many independent labels, and these labels and artists are able to satisfy their fans by simply maintaining musical integrity and releasing quality music that their discerning fans want to hear. The Impact of Technology More than ever, artists have the ability to succeed without the backing of a major record label. Studios are cheaper (due to the constant advancements in recording technology), marketing can be hired out to powerful and effective agencies, and there are numerous distribution options for independent artists (Kusek and Leonhard 22) in this age of consumer demand for diversity in music and music delivery methods. As consumers move towards internet stores and digital music stores, independent musicians and labels have a better chance of competing with major labels, since independent labels have the same access to these digital stores as major labels (Barnet and Burriss 23). Traditional distribution methods will become less significant (Barnet and Burriss 23), and consumers will have the opportunity to easily access to a huge variety of music, from which they can choose the music that appeals most to them. The long-term impact of digital distribution has yet to be seen, however. Because digital distribution is cheap and accessible for artists, almost anyone can start a record label and release music (Passman 390). This digital pool of music makes it very easy for consumers to discover relatively unknown artists, and leaves the decision of what is “good” and “bad” music up to the consumer. Teenagers often discuss new bands with each other through podcasts and Myspace.com, and within minutes of hearing talk about a new band, can have that band’s album downloaded onto their computer and ready to be played on any audio device they want (Maney). Conclusion The digital music phenomenon, which appears to be leveling the playing field between independent and major artists, affects music consumers as much as it affects those inside the industry. Those who are used to discovering new music on the radio may soon find themselves listening to a podcast, hearing about the next big independent band through the internet. The diversity in music that 10 consumers can discover is now virtually unlimited, and with digital outlets favoring more than simply the five major record labels, consumers are gaining access to a new music market. This new market is one where major-label artists are just as accessible as local garage bands, which means consumers in general are becoming more exposed to quality independent artists than ever before. Though major record labels still dominate the music market, the overall appeal of independent artists, labels, their direct path from artist to consumer, and their musical integrity will ultimately, with the growing popularity of digital distribution and decreasing emphasis on traditional methods of promotion, lead to the dismantling of corporate-driven music.11 Works Cited Albini, Steve. The Problem With Music. Negativland. 11 Dec. 2005 <http://www.negativland.com/albini.html>. Alderman, John. Sonic Boom. Cambridge: Perseus Books Group, 2001. Barnett, Richard D, and Larry L. Burriss. Controversies of the Music Industry. Westport: Greenwood Press, 2001. Bishop, Jack. "Building International Empires of Sound: Concentrations of Power and Property in the ‘Global’ Music Market." Popular Music & Society Oct 2005: 443-471, 29p. Academic Search Premier. EBSCO. 9 Sept. 2005. <http://search.epnet.com/login.aspx?direct=true&db=aph&an=18021487>. Bryan Farrish Radio Promotion. 11 Dec. 2005 <http://www.radio-media.com/>. Kusek, David and Gerd Leonhard. The Future of Music: Manifesto For The Digital Music Revolution. Bonston: Berklee Press, 2005. Leeds, Jeff. "The Net Is a Boon for Indie Labels." New York Times, 27 Dec. 2005. 4 Feb. 2006 <http://www.nytimes.com>. Maney, Kevin. Band’s Net-Inspired Hit Shows How EMI Goes With The Flow. USA Today, 2 Nov. 2005. Academic Search Premeir. 8 Nov. 2005. Negus, Keith. Music Genres and Corporate Cultures. New York: Routledge, 1999. Passman, Donald S. All You Need To Know About The Music Business. New York: Simon & Schuster, 2000. Sun Record Company. 11 Dec. 2005 <http://www.sunrecords.com>	[ "label", "music", "independent", "major", "artist", "record", "consumer", "new", "radio", "company" ]	{ "summary": "1\nDavid P.\nMrs. Finnerty\nSeminar 12\n23 Feb. 2006\nEQ: How are independent artists and new technologie" }
474279484-Record-Deals-Guide.pdf	DISSECTING THE DIGITAL DOLLAR themmf.net/digitaldollarTHE DEALSGUIDE ASSIGN?For the last two years the Music Managers Forum has been educating the artist and management community about the inner workings of the streaming business through the ‘Dissecting The Digital Dollar’ project. This included the series of ‘Digital Dollar’ roundtables involving artists, songwriters, labels, publishers, lawyers, accountants and lots of artist managers. One of the outcomes of these discussions was the consensus that artists and managers needed to be better informed about the various different kinds of label and distribution deals that are now available in streaming age, and to have a fuller understanding of the pros and cons of each different approach. That way managers would be better able to advise their artists DISSECTING THE DIGITAL DOLLAR themmf.net/digitaldollarWELCOME TO THE DEALS GUIDE For the last two years the Music Managers Forum has been educating the artist and management community about the inner workings of the streaming business through the ‘Dissecting The Digital Dollar’ project. This included the series of ‘Digital Dollar’ roundtables involving artists, songwriters, labels, publishers, lawyers, accountants and lots of artist managers. One of the outcomes of those discussions was the consensus that artists and managers needed to be better informed about the various different kinds of label and distribution deals that are now available in the streaming age, and to have a fuller understanding of the pros and cons of each different approach. That way managers will be better able to advise their artists on what deals best suit their objectives. And, by having more options on the table, managers should be able to achieve better terms with key partners. This Deals Guide seeks to do just that by identifying, assessing and explaining ten key deal types. The music business is made up of companies and individuals who work with artists to help them unlock revenue around their music, their performance and their fanbase. Most music companies specialise in a specific revenue stream, meaning an artist will have multiple business partners at any one time. A key job of the artist manager – as the one business partner involved in all aspects of an artist’s career – is to help their clients identify and select the other business partners and to then negotiate specific deals with each of them. And to then manage the relationship between the artist and each business partner on a day-to-day basis. The record company – or record label – is the business partner that works with the artist on creating and exploiting their recorded music. The label has always been seen as a key business partner for the artist – especially with new talent – because as well as helping artists create and distribute recordings, they also provide investment and marketing which can help the artist build their fanbase and therefore their wider business. Over the last ten years the artist/label relationship has started to evolve, partly as a result of changes in the economics of recorded music, partly as a result of the emergence of digital distribution and marketing channels, and partly as a result of the expanded role of the artist manager. Record labels – or companies that provide the services of a record label (which may call themselves labels, distributors or label services companies) – remain key business partners, especially for new talent, but the nature of the partnership has changed. This guide looks at the different ways artists and labels work together, the kinds of deals available to artists today, and the pros and cons of different artist/label models. THE DEALS GUIDE 3Introduction Section One: The Services A Label Partner Might Provide Although primarily focused on the artist’s recorded music, and the revenues associated with those recordings, labels may provide a wide range of services to the artists they work with. These might include all or any of the following: ADVANCE Upfront cash provided to the artist. For new talent, this cash injection may allow an artist to focus on their music full time for the first time. The hope is that, by going full time, an artist can focus on growing their THE DEALS GUIDE 4fanbase and, in turn, boost each of their respective revenue streams. The label isn’t necessarily the only business partner to advance cash, though a label advance would traditionally be the most significant. RECORDING COSTS The label often organises and pays for the recording of the artist’s music. This would involve covering the costs associated with hiring studio space, record producers, sound and mastering engineers, and any session musicians. Under UK copyright law, by organising and paying for the recordings to be made, the label would be the default owner of the sound recording copyright in those tracks. ARTIST DEVELOPMENT The label may support the artist’s creative development. This may be simply through informal feedback, or by funding songwriting and recording sessions, or by organising collaborations with other artists, songwriters and record producers. PRODUCT DEVELOPMENT Once recording sessions are complete, various recorded music products will be created including single, album and EP releases. The label will usually work in liaison with artist and management to decide what form these products will take, and then commission and pay for accompanying visuals such as photography, artwork and videos. DIGITIAL DISTRIBUTION The label arranges for completed tracks to be made available to all relevant download stores and streaming platforms. Some labels have their own infrastructure to deliver this content and deals in place with the digital services, while others will utilise the infrastructure and/or deals of third parties. PHYSICAL MANUFACTURE & DISTRIBUTION If physical products are to be released – ie CD or vinyl – the label will arrange for these products to be both manufactured and delivered to high street and mail-order retailers. Again, labels may have their own physical distribution network or may utilise the infrastructure of third parties. Several logistics partners may be involved to get product from the factory to the high street. CONSUMER MARKETING As a recording is first released a consumer-facing marketing campaign will be staged to promote both the artist and the record. Labels normally lead on this marketing activity, putting together a campaign plan in liaison with artist and management, and then delivering the campaign, either in house or by employing third party agencies. Traditionally most marketing campaigns would be structured around an album release, with about twelve weeks of activity leading up to and after the release date. Though with the shift to streaming - where repeat listening rather than first week sales are the objective - longer campaigns are often necessary. An album marketing campaign will Cash Advance Recording CostsArtist DevelopmentProduct DevelopmentDigital DistributionPhysical ManufacturePhysical DistributionConsumer MarketingB2B MarketingPressPromotionsSocial & DigitalSync WHAT DOES YOUR PARTNER PROVIDE? 4THE DEALS GUIDE 6likely include press and promotions work, social media and email activity, and possibly advertising, events and publicity stunts. For the label, the priority is generating sales and/or streams of the record, though for the artist – especially with new talent – the album campaign is as much about building their brand and fanbase, so to grow their other revenue streams as well. B2B MARKETING In addition to the consumer-facing marketing campaign, the label will also promote the artist and their recordings to an industry audience. This traditionally meant sales activity to persuade retailers to stock the record. In the digital domain, the digital service provider allows any recordings to be pushed into its platform, so the B2B marketing is more about ensuring a track has prominence, which usually means getting it included in playlists on the streaming services. The label may also promote the artist to other decision makers and opinion formers within the industry, usually on a more informal basis. PRESS A key component of a label marketing campaign is getting media coverage for the artist and their release. The label usually takes responsibility for this activity, either utilising in-house publicity teams or hiring the services of external music PR agencies. Although the label is primarily promoting an artist’s new recordings to blogs, websites, magazines and newspapers, it may also promote the artist’s other activity if it believes this will lead to extra coverage which, in turn, further promotes the new record. PROMOTIONS In addition to getting media coverage for an artist’s release, the label will also seek to get the new music – specifically the single releases – played on radio and TV, and in relevant clubs. Labels usually have separate PR teams working on this - usually referring to as the promotions or plugging team – or again may outsource this work to an external promotions agency. SOCIAL MEDIA & DIGITAL CHANNELS Another key component of a label marketing campaign is the use of social media and other digital channels such as email. Most artists will have active social media channels and email lists already, and the label will work with artist and management on creating bespoke content for these channels around the new release. This may also involve the label putting some advertising spend into social media, especially Facebook. The label may also have its own digital channels via which it will promote the release. SYNC Beyond generating revenue through the sale and streaming of the artist’s recordings, the label may also seek opportunities to have tracks synchronised into TV programmes, movies, adverts and games. This work involves pitching tracks to music supervisors and negotiating deals with potential sync clients. WHAT DOES YOUR PARTNER WANT? Exclusivity Copyright OwnershipControl Of RecordingsMajority Cut Of Revenue50/50 Split Of RevenueMinority Cut Of RevenueCut Of Other RevenuesTHE DEALS GUIDE 8All artists need business partners to provide at least some of the services outlined in Section One. An artist may seek to do an all encompassing deal with a single label that provides all of these things. Or they may seek to engage a number of companies that together provide all of these services. Or they may seek to do a deal with a label – or a label services company – to provide some of these services, while the artist’s management company provides the rest. WHAT THE LABEL PARTNER WANTS EXCLUSIVITY A label partner will usually want some sort of exclusivity arrangement with the artist. In the case of a traditional record deal, this would usually mean that the artist is obliged to deliver a certain number of recordings to the label and is not allowed to make or release recordings with any other parties until that obligation has been met (or the label has decided not to exercise its right to receive additional recordings). REVENUE SHARE With a few exceptions, label partners don’t usually expect to charge upfront fees to the artist. Rather the label initially provides its services for free and then shares in any revenue the artist’s recordings generate. How this revenue is shared varies hugely from deal to deal – in a classic record deal the label keeps the majority of the money, in a modern distribution deal the artist keeps the majority of the money. The label will also likely be able to recoup some or all of its costs before the revenue share arrangement kicks in, either from the total income pool or specifically the artist’s share. Section Two: The DealSome labels are more proactive than others when it comes to sync, though most will usually be pitching tracks from across its catalogue to potential sync clients, rather than specifically seeking opportunities for any one artist at any one time. OTHER COMMERCIAL OPPORTUNITIES The label may also be seeking other commercial opportunities that benefit both it and the artist. This includes exploiting the artist’s recordings by placing them on compilation albums and possibly pursuing brand opportunities other than sync. It may also include seeking commercial opportunities beyond the artist’s actual recordings if the label is cut into other any of the artist’s other revenue streams such as merchandise, brand partnerships and direct-to-fan. THE DEALS GUIDE 9COPYRIGHT OWNERSHIP Under a classic record deal the label would own the copyright in any sound recordings generated under the deal. This means that the controls that come with the sound recording copyright belong to the label – not the artist – and therefore it is the label that is empowered to exploit those controls for profit. Under UK law, if the label arranges for the recordings to be made, it would be the default owner of the copyright anyway. Where the recordings have already been made prior to the label’s involvement, those rights would be assigned to the label through contract. The label may own the copyright in the artist’s sound recordings for ‘life of copyright’ – so 70 years after release in the UK – or the label may be the rights owner for a period of time after which the copyright reverts to the artist. Distributor and distribution deals do not usually involve copyright assignment, though the distributor or label will still often be granted an exclusive licence to exploit the artist’s sound recordings for a set period of time, and will likely act as if it was the copyright owner while those deals are still valid. ANCILLARY REVENUES Traditionally a record label was only cut into the artist’s recorded music revenue stream. Other revenue streams – such as publishing (ie the monetisation of the separate song copyright), live, merchandise, direct-to-fan and brand partnerships – were not part of the deal. Artists would usually enter into deals with other business partners to capitalise on these other revenue streams. However, as the value of recorded music slumped in the 2000s, many labels started to demand a cut of some of the other revenue streams too, especially with new talent deals. The labels argued that it was their investment and marketing that unlocked these other revenue streams and that, as the financial return on recordings had declined, they needed a share of other “under a classic record deal the label would own the copyright in any sound recordings generated under the deal. This means that the controls that come with the sound recording copyright belong to the label – not the artist – and therefore it is the label that is empowered to exploit those controls”THE DEALS GUIDE 10revenues to justify their upfront commitment. Which other revenue streams a label might share in, and quite what that means, varies greatly from deal to deal. Labels usually refer to these as ‘ancillary revenues’, which tells you that most labels are still primarily interested in partnering with artists on their recordings, and involvement in other aspects of the artist’s business is seen as secondary, even if those other revenue share arrangements might prove to be as lucrative. WHAT THE LABEL PARTNER PROVIDES INVESTMENT For new artists in particular, the most important aspect of the record deal is the investment the label provides. The label invests both money – in terms of the cash advance and budgets to pay for external suppliers and advertising – and resources. This investment is secured on future revenues generated by the artist’s recordings. In the case of new artists, that can be a risky investment in that the future revenues are not assured. As a result, the label will usually be more demanding in new talent deals. SERVICES The label will provide some or all of the services outlined in Section One. The artist’s deal needs to outline which services in particular will be provided, with as much clarity as possible as to what the label is committing to the artist in terms of budget, time and expertise. A tricky task for management is then ensuring the label delivers on these “artists like to retain ownership of their copyrights, though most new talent deals involve some copyright assignment to the label, and in the case of major label deals that may well be for life of copyright. Artists may be able to negotiate back some of those copyrights in future deals with the label, though that option is not guaranteed ”THE DEALS GUIDE 11commitments once the deal has been signed. ROYALTIES Usually, all monies generated by an artist’s recordings will initially go to the label partner, which will then pay the artist their share. The one exception to this is monies generated via the collective licensing system – so when PPL collects in the UK – where 50% of monies will be paid directly to all the performers who appear on any one recording. This is because when the so called ‘performing rights’ of a sound recording are exploited, statutory Performer Equitable Remuneration is due. But all other income will be paid to the label partner in first instance. The label partner then needs to pay the artist their share, subject to contract. As mentioned above, the way income is shared between label and artist varies greatly from contract to contract. The label will also likely be able to recoup some or all of its costs before the revenue share arrangement kicks in, either from the total income or specifically the artist’s share. Section Three: Negotiation Points An artist’s manager and lawyer will usually negotiate the deal with the label partner. Like any business deal, the negotiations will cover a number of topics, but there are usually four key elements to the deal. COMMITMENTS What is the label committing to the artist in terms of investment and services? And what is the artist committing to the label in terms of number of recordings, time and exclusivity? While these commitments will be outlined in contract and therefore in theory enforceable by law, in reality there needs to be a degree of trust between the artist and label with regard each party’s willingness and ability to deliver. COPYRIGHT OWNERSHIP Who owns the copyright in the sound recordings created under the deal? If the label is the copyright owner, does the artist have any contractual rights over how the recordings are exploited? If the artist is the copyright owner, does the label have an exclusive licence to exploit those rights, and are there any limitations to that licence? Artists like to retain ownership of their copyrights, though most new talent deals involve some copyright assignment to the label, and in the case of major label deals that may well be for life of copyright. Artists may be able to negotiate back some of those copyrights in future deals with the label, though that option is not guaranteed. THE DEALS GUIDE 12ROYALTIES, RECOUPMENT & DISCOUNTS The contract will set out how revenues will be shared. Where the label is the copyright owner, it pays the artist a royalty on revenues generated. Where the artist is the copyright owner, the label charges a commission on revenues generated. In many ways the distinction is merely semantic, though these respective deal types are often viewed quite differently. Either way, the artist will usually receive a percentage of revenues generated. There may be one percentage across the board or the percentages may differ depending on the revenue stream - eg 15% on CD, 20% on stream, 50% on sync. The contract may also provide ‘discounts’ to the label, so that in certain scenarios – such as if income comes in via a non-UK subsidiary of the label – a lower royalty rate applies. The contract also needs to define what the percentages specifically apply to – if the artist is due 20%, it needs to be clear “20% of what”. The contract may allow the label to make ‘deductions’ to income – possibly to cover specific identifiable costs or possibly more generic deductions – before the percentage due is calculated, therefore reducing the overall royalty that is paid. The label will also usually be allowed to recoup some or all of its costs out of the revenue generated before the artist is paid any money at all. The contract needs to set out what costs are recoupable in this way. Also, are these costs recouped out of all the income that comes in or from just the income allocated to the artist? The former arrangement would usually be referred to as a ‘profit share deal’ while the latter would be referred to as a ‘royalties deal’. The ‘royalties deal’ arrangement is actually more common. To illustrate the difference, take this example: the artist and label are on a 50/50 split, there are £100K in recoupable costs, and £250K in income has so far been generated. On a profit share arrangement, the first £100K would go to the label, and the next £150K would be split 50/50, so the artist gets £75K. On a royalties arrangement, half of the money would be allocated to the artist – so £125K – of which £100K would be taken to cover the label’s recoupable costs, so the artist gets £25K. Arguably, many contracts have overly complicated systems in place for royalty payments, especially when it comes to discounts and deductions, many of which came about in the physical era and don’t make sense in the streaming age. Managers support simpler royalty arrangements – with fewer or no discounts and deductions – and some labels and, especially, distributors, already offer such simpler arrangements. REPORTING As most monies generated by the artist’s recordings go through the label at first instance, the artist is reliant on the label to report all income, sums received and royalties due to the artist. THE DEALS GUIDE 13The shift to streaming has created a number of challenges in this regard, because with streaming there is so much more data to report. Though at the same time new technologies should also make the crunching and distribution of this data simpler if the right platforms can be built. The streaming services also provide valuable usage data as well as royalty data which can inform an artist’s wider business. While some streaming services provide this information directly to artists, others only provide data to labels and distributors, so artists rely on their label partners to access this information. Managers recognise that some labels and distributors have invested heavily in building platforms to more efficiently share royalty and usage data, though there is still much room for improvement here across the industry. The MMF Transparency Guide goes into all this in more detail, but ensuring the artist has access to this information is something that now needs to be considered when entering into a deal with a label partner. Section Four: Deal Types There is a range of label partners and deal types for artists to choose from. As mentioned above, some of these label partners are record labels in the traditional sense, while others may call themselves distributors or label services companies. However, all offer at least some of the services described in Section One. Not all these label partners and deal types are available to all artists. The more risk a label partner needs to take, the more selective they will be in choosing which artists to work with. Quite what partners and deal types are available – and which are most desirable – will often depend on where the artist is in their career, and they will likely work with different kinds of partners signing different types of deals as their career progresses. DEAL 01: DIY DISTRIBUTOR – FEE BASED These companies provide basic digital distribution, getting tracks into most digital platforms (download stores and streaming platforms) and providing usage and royalty data back from the services. These companies don’t usually provide proactive marketing services though may provide some digital marketing tools. These services are usually available to all and any artists with a menu of off-the-shelf packages to choose from. They charge the artist a nominal set up fee for each release but then pass on 100% of the income generated. Some DIY distributors actually provide the basic distribution free of charge and then try to upsell premium services. There is usually only a nominal commitment to these services, meaning artists can cancel contracts by providing only minimal notice. DEAL 02: DIY DISTRIBUTOR – COMMISSION BASED These companies also provide basic digital distribution, getting tracks into most digital platforms and providing usage and royalty data back from the services. Likewise, these companies don’t usually provide proactive marketing services though may provide some digital marketing tools. The difference with these companies is that instead of charging a set fee, there are no upfront costs and the distributor instead takes a cut of any income generated. These services are usually available to all and any artists, though some might employ some sort of selection process. There is usually only a nominal commitment to these services, meaning artists can cancel contracts by providing only minimal notice. DEAL 03: DIY DISTRIBUTOR WITH ADVANCE DIY distributors usually provide artists with the tools to get their music into the digital platforms and then pass on any monies as they are generated. However, some DIY distributors have also started offering advances on future income in some scenarios. Such advances are usually made based on past performance, ie where a distributor can see what income an artist has generated in the last year and can advance money based on that information. The idea is that by advancing on future income the artist may be able to fund some marketing that, hopefully, will boost streaming and therefore revenue. The terms of this advanced income varies, and usually locks the artist to the distributor until any advance has been paid back. DEAL 04: DISTRIBUTOR Artists can also seek to do deals with more conventional music distributors, which traditionally worked for independent labels, but which may now work directly with artists too. There is usually more flexibility in these deals, rather than the distributor offering off-the-shelf packages. Conventional distributors will likely want a higher commission than a DIY distributor, but should offer more services in return, in particular B2B marketing, helping to get releases stocked by retailers and playlisted by streaming platforms. Most of these distributors can also assist in physical product distribution, either directly or via third parties, where an artist plans a physical release. Artists can usually negotiate advances from distributors, but again this will primarily be based on past financial performance. The advance will then be recoupable from the artist’s share of subsequent income. More conventional music distributors will usually want a longer commitment from the artist than a DIY distributor, ie a contractual commitment that they will work together for a set period of time. THE DEALS GUIDE 14THE DEALS GUIDE 15DEAL 05: DISTRIBUTOR WITH MARKETING Many distributors now offer consumer marketing as part of the deal. Quite what this means varies greatly from distributor to distributor. Some distributors have in-house marketing teams while others will commit to hire external agencies. At least some of the costs associated with this marketing will likely be recoupable. DEAL 06: DISTRIBUTOR WITH LABEL SERVICES Some distributors offer a range of other label services in addition to distribution and marketing, ie some of the other services outlined in Section One above. The range of services on offer varies from company to company, and which services are included varies from deal to deal, though most distributors assume that the artist has already recorded the album before engaging their services. Distributors of this kind usually offer a lot of flexibility as to what services are part of the deal, so that artists can pick and choose what they require. The deal obviously needs to set out what costs are recoupable. DEAL 07: DISTRIBUTION DEAL WITH A LABEL Many record labels now offer distribution or services deals as well. These may be through separate divisions that are basically distributors as described above, or an artist might be able to sign a distribution deal with a more conventional label. In the latter option, the label may operate more like the label services agency described above. Or the label may actually provide all the services associated with a traditional record deal, but without any copyright assignment. This could be seen as the best of both worlds, though deals of this kind are most commonly offered to more established artists. DEAL 08: ASSIGNMENT DEAL WITH A LABEL (PROFIT SHARE) This is a more traditional record deal, in which most of the services outlined in Section One are provided, including a cash advance, and the “the more risk a label partner needs to take, the more selective they will be in choosing which artists to work with … quite what partners and deal types are available – and which are most desirable – will often depend on where the artist is in their career ”THE DEALS GUIDE 16label is involved in the recording of the album. The copyright in any sound recordings belongs to the label, at least for a time. Under a profit share arrangement, any recoupable costs are recouped out of all the income generated, not just the artist’s share. These deals are traditionally offered by smaller independent labels which would generally commit to invest less money upfront. All of the label’s costs would commonly be recoupable, and the subsequent split would usually be 50/50. DEAL 09: ASSIGNMENT DEAL WITH A LABEL (ROYALTY DEAL – INDIE) This is also a more traditional record deal, in which most of the services outlined in Section One are provided. Indeed, under more conventional record deals of this kind the label may choose to go beyond their contractual commitments in distributing and marketing the release, especially if it feels like the record is gaining momentum. The copyright in any sound recordings belongs to the label, at least for a time. Under the royalty deal arrangement, it is agreed which of the label’s costs are recoupable (this commonly includes the advance, recording costs, videos and TV advertising) and these come out of the artist’s share of income. Although indie labels may be more generous on royalty splits than the majors, these deals would usually still see the label keeping the majority of the income generated. Indie labels generally can’t afford to invest as much upfront as a major, but are usually more flexible on copyright assignment for a set term (rather than life of copyright), are less likely to apply complicated discounts and deductions, are less likely to interfere artistically, and are more likely to continue working an album that doesn’t enjoy immediate success if they believe it still has potential. DEAL 10: ASSIGNMENT DEAL WITH A LABEL (ROYALTY DEAL – MAJOR) This is basically the same as the indie label deal described above. Again, the label provides most of the services described in Section One and may choose to go beyond their contractual commitments in distributing and marketing the release, especially if it feels like the record is gaining momentum. The copyright in any sound recordings belongs to the label, some costs are recoupable out of the artist’s share, and the label likely keeps the majority of the income. Major labels are generally able to invest more money upfront and have access to global infrastructure if the local division can convince divisions in other countries of an artist’s international potential. Major labels are more likely to push for assignment for life of copyright and to apply complicated discounts and deductions to income. They may seek to interfere artistically – though this happens a lot less than it used to – and major labels generally expect more immediate results from releases. WHAT SERVICES DOES EACH DEAL PROVIDE? Cash Advance Recording CostsArtist DvlpmntProduct DvlpmntDigital DistManufacture?Physical DistConsmer MktngB2B MktngPressPromotionsSocial & DigitalSync DIY – FEE DIY – COMMDIY+ADVANCEDISTRIBTORDISTRIBTOR+MDISTRIBTOR+SDISTRIBUTIONPROFIT SHAREINDIE LABELMAJOR LABEL8 888488888888888848888888848884888888884888484848888488848444444848844444444444884444444444444444444444444444444444444444444444444 Remember – every deal is different. This chart simply provides a guide to the kinds of services the different deal types might commonly provide. Section Five: Trends & ChallengesTHE DEALS GUIDE 18Artists have a greater range of label partners and deal types to choose from today than in the past. Traditional deals remain attractive if an artist seeks a single business partner to take on full control of their recorded music and provide all the services outlined in Section One, but the label will likely seek copyright ownership and royalty rates in its favour. For artists who – probably with their management – can handle areas like organising recordings and planning marketing campaigns themselves, the various distributor and distribution deal options are attractive, enabling the artist to pick and choose which services they take and – by reducing the label’s risk – being able to demand more favourable terms when it comes to copyright ownership and royalties. This puts more strain onto management, both in terms of navigating the deals on offer, sourcing alternative finance, and in providing some of the services that were previously handled by the label. Though as more artists pursue distributor and distribution deals, managers may find they can negotiate more favourable deals with more conventional labels in an increasingly competitive market place. More optimistic managers also hope that this market pressure might encourage labels to be more transparent and flexible. However, one key challenge that remains is that, in a recorded music market that continues to evolve rapidly, negotiating future proof deals – ie deals that remain logical and fair as the recorded music business changes – is difficult. This is principally a problem where deals involve assignment for life of copyright because, while an artist may only be actively working on new content with a label for a few years, they will be receiving royalties from their label partner for at least the next 70 years. And the recorded music industry will likely go through several revolutions in that time, making legacy contract terms impractical and inequitable. This is proving problematic today with legacy contracts from the Twentieth Century when assignment for life of copyright was the norm. Managers feel that – in the absence of an industry-wide initiative to bring old contracts into the modern age – legislative change is required to empower artists to bring old deals in line with current standards. “negotiating future proof deals – ie deals that remain logical and fair as the recorded music business changes – is difficult”INTRODUCING THE MMF DIGITAL DEALS COMPARISON CALCULATOR To accompany this guide, the MMF has created a Digital Deals Comparison Calculator to help managers more easily compare the pros and cons of different deal types, in terms of the services a business partner provides and how future streaming income will be approximately shared. You can access the Digital Deals Comparison Calculator at themmf.net/digitaldollar ASSIGN?The Deals Guide identifies, assesses and explains ten key label and distribution deal types available to recording artists in the streaming age. It has been produced by music consultancy CMU Insights for the Music Managers Forum. ABOUT THE MUSIC MANAGERS FORUM \| themmf.net MMF is the world’s largest professional community of music managers in the world. Since our inception in 1992 we have worked hard to educate, inform and represent our managers as well as offering a network through which managers can share experiences, opportunities and information. We are a community of 500 managers based in the UK with global businesses and a wider network of over 2000 managers globally. We engage, advise and lobby industry associates and provide a professional voice for wider industry issues relevant to managers. The MMF runs training programmes, courses and events designed to educate and inform artist managers as well as regular seminars, open meetings, roundtables, discounts, workshops and the Artist & Manager Awards. ABOUT CMU INSIGHTS \| cmuinsights.com CMU is a service provider to the music industry best known for its various media: free daily news bulletin the CMU Daily, weekly podcast Setlist, and premium services CMU Digest and CMU Trends. CMU Insights provides training and consultancy to music companies and companies working with music. We offer training and research services; seminars and masterclasses; and insight sessions at music conferences around the world.CMU DISSECTING THE DIGITAL DOLLAR themmf.net/digitaldollar	[ "label", "artist", "deal", "service", "recording", "may", "copyright", "partner", "distributor", "usually" ]	{ "summary": "DISSECTING THE\nDIGITAL DOLLAR\nthemmf.net/digitaldollarTHE DEALSGUIDE\nASSIGN?For the last two years t" }
241638510-Think-Like-a-Record-Company.pdf	Think Like A Record Company By, Diane Rappaport author of "How To Make And Sell Your Own Recording" and "The Musician's Business And Legal Guide." The books are published by Prentice Hall. Instead of asking the question, "Are 3 points per album a fair royalty," approach a deal from the point of view of a record company. Put yourself in their shoes and try to think like them. It's a valuable way to evaluate whether you should release your music on your own artist-owned label, look for an indie or major record deal, or evaluate the fairness of a contract. Start with these questions. 1. How many records will the artist sell in a year's time? a. You can make some estimates about how many records you, the artist, can sell by totaling your best rough guesses of.... (1) sales to 10% of the total amount of people who will see you perform at gigs during a year; (2) sales to 2% of the total number of people on your mailing list; and (3) sales of 2-5 records a month per local record store. Most stores know (and will tell you) how many records a month are sold by like artists in your genre who regularly perform in your area. (For a recording that is $15.98 list price, a store will buy them from the record company for something near $7.50 each, depending on volume.) b. Most indie labels count on artists to be among their best distributors, because they will sell recordings at gigs and mail order in the amounts estimated above, which is why it is valuable for you to make these estimates. Most indie labels, and some major labels, will sell artists CDs at a price close to what they sell them to distributors for-somewhere between $8.87-10.40 depending on quantity for a $15.98 recording. (My book provides ranges of costs for stores and distributors for vinyl, cassettes and CDs based on retail prices.) Indie labels will ask you what you figure you can sell at gigs; and they will then add some guess on their part (based on the number of distributors they use, the stores they service, your draw and draw potential) about what they will sell to other distributors. They know that if you have consigned your records to some stores, that this will be valuable information to a distributor. Record companies who release more than 5 recordings a year know what the expected rates of sale are for a first time artist and will tell you what you can realistically expect. c. Know up front that there are approximately 50 deals a year available from major labels for first-time artists. Perhaps 2 bands will recoup their costs, make a profit for themselves and their companies, and have a chance to make another record. The others will fail, go into debt with the record company, and become part of the notorious statistic that there is an 85-90% failure rate among first-time signed bands. That means a major label expects to lose money on a percentage of bands that they sign and only 'win' on a few. They will choose to prioritize their 'bets,' and put their best efforts at sales and promotion for the lucky artists selected. And they will have a pretty good idea of how many records they will manufacture for that artist, what regions will be selected for primary exposure, and how many records are likely to be sold. If you know this, then you (and your lawyer) will ask yourself and the major label who may be interested in you these questions: (1) How many new bands (in my genre) did you sign within the last three years? (2) How many of those new bands are making a profit for you? For themselves? (3) What other bands will I be competing with on your label (4) What can we do so that our band doesn't become part of the failure statistic. (5) How many records can we realistically expect to sell if you get behind us the way you did (name of recent first-time artist that was a winner)?2. Sales estimates help set the boundaries of a recording and promotional budget. Every label does this, big or small. Here are some very rough figures to consider for CDs that are going to sell under 20,000 a year and are priced at $15.98 each. (There are lots of variables, but this will give you a starting place for your thinking like a record company.) (In another column, we'll talk about major label recordings.) Example A. You put out the record yourself and manufacture 2500 copies. You plan to give away 500 for promotion; sell 1500 at gigs and mail order for a special price of $14.00 ($21,000); and sell 500 to stores for $7.50 ($3750). That gives you a total budget of $24,750 to work with. How are you (the record company) going to spend this money? Here's one rough allocation: Fixed costs: manufacturing and printing of CD and CD booklets/tray cards @ $1.25 unit ($3125). (Actual cost depends on volume and can vary widely, depending on manufacturer and services desired.) Graphic design of CD cover and booklet; and graphic design and printing of all other promotional materials (logo, letterhead, press kit, photography, fliers): 15% of expected sales or $3712.50 Recording: 25% of expected sales) or $6187.50 Annual sales and on going promotional costs: (postage, phone calls, travel, office, photocopies, etc.):15% of expected sales or $3712.50 (around $300 month). Total Expense $16,737.50 Expected profit: $8012.50 In this budget, 2/3 of estimated income have been budgeted for expenses, leaving l/3 for profits and hedge against unexpected expenses or emergencies). Good work, if you meet your expectations and stay within the budget. An investor would be happy to see the realism here, because it means that even if your projections are somewhat off, you probably will meet your expenses, and there is potential for profit. Example B. Indie label figures it will sell 4500 copies to a distributor (one of which is you and your estimated sales of 1500 copies) at $9.00 each ($40,500) and use 500 for promotion. In this budget, however, the record company is going to reserve 1/3 of this amount ($13,500) up front as a hedge against failure, leaving approximately $27,000 to be realistically allocated between expenses and profit. How will $27,000 be allocated? Every company figures it differently depending on how many records they put out a year; their cash flow; distributor relationships, risk, etc. Here's one projection. The record company will allocate 50% of that $27,000 for recording and manufacturing some of them recoupable from the artist. Fixed manufacturing costs for 5000 CDs: $1.25 each or $6250. (The actual figure may be as little as $.90 for an indie company pressing 50,000 recordings a year (10-15 artists.) Manufacturing costs are not recoupable from the artist. Recording $7250 (which will be charged to you as a loan and recouped from your royalties). Possible, depending on the type of music, readiness of band to be recorded, skill of the recording engineer and producer to stay within budget Some percentage of budget remaining (with lots of variables in this arena) are reserved for sales and promotional costs, which are not recouped from an artist's royalties.	[ "record", "artist", "sell", "company", "recording", "label", "sale", "many", "year", "distributor" ]	{ "summary": "Think Like A Record Company \n By, Diane Rappaport author of \"How To Make And Sell Your Own Recording" }
452500267-OVERALL-ARTIST-CHECKLIST-docx.pdf	MUSIC MARKETING PLAN Table of Contents NUTS AND BOLTS ...................................................................................................... 1 1.Music Distribution .................................................................................................... 1 2.Band/Artist Website & Brand ................................................................................... 2 3.Social Media.............................................................................................................. 2 4.Digital Service Provider – DSPs.............................................................................. 4 5.E-Mail Lists & Newsletter ......................................................................................... 6 PREPARING FOR RELEASE ..................................................................................... 7 6.Timeline – Your 12-Week Music .............................................................................. 7 7.Release Day – Be Ready For It .............................................................................. 12 8.Publicity & Marketing ............................................................................................. 13 9.Playing Live And Streaming .................................................................................. 15 10.Real Life Networking .......................................................................................... 16 KEEPING THE MOMENTUM .................................................................................... 16 11.Keep The Music Coming – This Keeps Momentum Up! ................................... 17 12.Fan Nurturing...................................................................................................... 18 13.Create Consistent Content – Ongoing Social Media ........................................ 19 14.Strengthen VIP/Industry Connections ............................................................... 20 15.Making Money..................................................................................................... 21 NUTS AND BOLTS 1.Music Distribution Digital distribution moves a lot faster than it used to, but you should still choose the right distributor for you. There are different distribution channels you can use that allow you to get your music on digital service providers. We recommend CD Baby because they have customer support that you can call and we like their marketing platform which is called show.co. However, there are others such as Distrokid, ONErpm, and Tunecore. Distributors don’t cover everything, and independently you need to also be aware of additional distribution outlets for increased reach, a list that includes SoundCloud and Pandora. Aggregators like 4-5 weeks to get your music to iTunes, Spotify, Amazon Music, and other digital service providers (DSPs). You should speak with your rep regarding the exact release timing to ensure that they have enough time to speak to the major DSPs about the release. If possible, you should upload the entire album when you upload your first, second, etc. single. Apple likes having full albums available for pre-order and that will open additional placement options for you. TIP: new music used to come out on Tuesdays and now Friday is the official release day so choose a FRIDAY to release your music – even if the release party is on a Saturday or if your astrologer says the best date is a Monday – you will look like a noob if you release on any other day! TIP: If you are ordering physical copies of your music, make sure that you get them in plenty of time, especially if you are running a pre-sale or having a release party and you want to offer physical products at the show. 2.Band/Artist Website & Brand The music industry is built on appearances. To be taken seriously it is very important to have a complete and professional looking online presence built into your marketing plan. This starts with your home – your website. You need a modern, functional site that you can update on your own. Your website should have a section where fans can easily get to your music (not a player that automatically plays, please!), a news section with latest happenings, an EPK, and a newsletter sign-up that offers an incentive. Ariel wrote a detailed guide to help you with the architecture. Please keep in mind that Artist Branding is the starting point and should be well thought out. A brand is an abstract, malleable concept and it maybe difficult to know if you’re heading in the right direction. Your brand starts with your bio/signature story (which we will talk about more in Part 2 of this series and it also incorporates colors, style of copywriting, and fonts. Photos and visuals must be in alignment with your brand and make sure to carry this brand across all of your socials. Use your current single artwork with text on top of the images that promote the release date, new music videos, and tour announcements. We love a tool called Canva for fast and easy banner, graphics and social skin creation. 3.Social Media Time and energy need to be spent building a strong online presence in order to be taken seriously as an artist for when the time comes to start actively promoting. Many artists don’t know the basics and try to skip steps by hiring shady companies to swiftly build audiences. This might not be the best idea. Fake followers and limited knowledge of how to use these channels properly will hurt your promotional efforts. A solid social strategy must focus on themes & narrative and you must plan your consistent content so that it is constantly fan nurturing. Keep in mind that music bloggers and fans will visit your socials to see what kind of existing following you have and they will want to catch a vibe. Stale, overly promotional, or boring profiles will not help your chances of engaging. Your content calendar is a crucial component to your social media success. Don’t leave it up to chance. Download our Social Media Organizer above to properly schedule and plan your posts. Instagram The most popular visual social platform has experienced a meteoric rise. The best way to get great at Instagram is by using it and emulating people who already know how to use it well. When you post photos, choose at least two hashtags, as this is how photos are found. Make sure to take the time to select popular hashtags that people are looking for and also create your very own “owned” hashtags i.e. #CyberPRMusic. In addition to hashtags, you can also add captions to your photos before posting. I caution you to be selective about what you cross-post to socials. You want to tell a separate story on each social channel to get people to join you, and not get fatigued by the same posts across channels. Also, post more Stories than posts as they drive more views. We have created two guides to help you take a deeper dive: The Musician’s Guide to Instagram & Advanced Instagram Tips for Musicians.Twitter Even though a lot of artists are turning their backs on Twitter, we still encourage you to keep an active profile. Journalists and music bloggers still actively use it so if you want to connect to them this is the platform to make that happen. Every single person you interact with in real life should be followed on Twitter (friends, musicians, bloggers, producers, clubs, etc.). Increase your followers by following people and many will follow you back. Target similar sounding artists and follow their Twitter followers, as there is a high probability that they may also like your music. To keep your profile active with Tweets, use Buffer. In as little as one hour you can schedule a few weeks worth of tweets. Vary the topics you tweet about from career news (which should be no more than 20% of your output) to your interests, passions, and hobbies. News, politics, sports, and/or culture are all great topics to share to engage and connect around. Facebook Pay-to-play is the reality on Facebook for a Page to get any real exposure. We suggest you build an ad budget into your marketing plans from time to time but have goals in place before you do, and you should have a complete Page that is active with frequent posts. Make sure your Page has an attractive cover banner (as discussed above) and install apps that work as promotional tools for you and your music. We suggest a store from Bandcamp, a Tunecore or CD Baby Tab, and a mailing list signup form from MailChimp. YouTube YouTube is the first place where millions of people go to search for music. It is a powerful platform where artists are getting discovered. For any artist looking to increase awareness, it is imperative to have a presence on YouTube with a professional looking channel, and a cover image that is linked to your socials so people can connect with you across platforms. Make categories to group your videos for easy viewing, such as “Behind The Scenes”, “Official Music Videos”, and “Live Performances”. Also, highlight an official music video in the featured spot at the top. We often see musicians leaving off their artist name in the title of the video, which is terrible for search engines. Create a list of tags. Make sure to include keywords and place important keywords/ phrases at the start of your tag fields. Use adjectives that describe your music and similar artists also as keywords, the latter of which will show up in the“related videos section” after your videos are viewed. We often see description sections left blank. This is crucial because it tells the viewer what they are watching and provides links to other content you own, such as your website and socials. 4.Digital Service Provider – DSPs Digital Service Provider or DSP is another term for music streaming services. This can also mean music stores. You can not build an effective marketing plan without having a working knowledge of DSPs and of course that includes how to drive your fans and followers to Spotify and get included on playlists. Here are a few to get intimate with but remember there are over 70 DSPs. To take a deep dive into 2 vital DSPS – Spotify & SoundCloud click the image above to get our ultimate guide e-book. Spotify Once your distributor of choice releases your new songs to Spotify, you are able to claim and verify your Spotify profile with Spotify for Artists. That allows you to review listener analytics, check for any new playlist adds, add an “Artist Pick,” make playlists, and keep your photo and bio up to date. It is crucial that you understand the basics of Spotify and know how it can help you. They have created a great series of videos to guide you through. The most important thing to you must know is how to submit your tracks directly to their playlist curators to be considered for inclusion on official Spotify playlists. Apple Music Apple Music For Artists launched in August of 2019. You can now view a quick snapshot of your music’s overall performance, identify milestones and all-time bests at a glance, expand your understanding with details of trends over time, discover which of your songs are getting shazamed (Apple owns Shazam) the most and see how many people are listening to your music over time in over 100 countries. Plus you can now update your profile photo through the very same portal. Find out more and sign up for Apple Music For Artists here. Amazon It’s a big one and you should make sure your Amazon profile online is updated and that you have reviews of your music posted on this platform as it helps with the search. More and more people are using Alexa to stream music and you should be sure you are verbally findable so check your Alexa or a friend to see if you are verbally discoverable!SoundCloud SoundCloud is the go-to platform if you plan to do publicity as this is the main platform music bloggers and many podcasters use to accept tracks for consideration and embeds. Your SoundCloud presence can be a key deciding factor to having your music covered. SoundCloud also allows you to create private links for your music before it is released or select tracks to send to industry folks or anyone you wish to share a preview with. And of course, SoundCloud also has a robust community of music fans and other creators so it’s a great place to connect and give and receive feedback. Bandcamp While Bandcamp is, in essence, a direct-to-fan e-commerce solution, it’s also a vast community of fans who understand that paying artists directly is the best way to support. Discovery features like fan accounts, the music feed, and artist recommendations introduce your music to new fans and can potentially drive sales. Bandcamp also has email collection capabilities and a subscription service (like Patreon) so you can grow your email list and make money. Plus many artists have success showcasing their past releases and selling them as bundles as a great revenue stream. Pandora Pandora has over 74 million active users and an artist marketing platform called AMP – Artist Marketing Platform built-in. AMP allows you to record 15-second messages and attache them to any of your tracks plus you can target specific regions and build stories to share. It also pays you royalties (through Sound Exchange so make sure you are signed up with them). Most digital distributors say that your music will be sent to Pandora, but in our experience, you still will have to send your music through to them using their brand new independent artist submissions portal. Understand DSP Graphics Sizing Make sure you have put your best foot forward on each DSP. Here is a guide that shows you the exact dimensions for images for each DSP.5.E-Mail Lists & Newsletter Your email and your ability to nurture your list is the most important part of the musicians marketing plan release strategy that you will want to skip – DON’T. It’s so important that we have an entire LAB focused on how to improve your email called Level Up Your Email Game. Social media is key to attracting your crowd and building engagement. That said, email is still the most vital asset you will build for generating revenue. You make relationships with fans on socials, but you turn those relationships into customers with email. According to the Direct Marketing Association, email marketing produced an ROI (return on investment) of 4,300% — or $43 for every $1 spent. But it is not just about writing an effective newsletter and contacting your mailing list once a month. You also need to understand the concept of email nurture sequences. Spend money on a mailing list service provider that can help you design a rich looking email and provide analytics and tracking capabilities so you can measure the effectiveness of your newsletters and make adjustments where need be. A premier solution that many of our clients enjoy working with is MailChimp.PREPARING FOR RELEASE 6.Timeline – Your 12-Week Music Release Tasks Planning is everything as you can’t stuff the genie back in the bottle after the release is out! If you struggle with managing your time this will help. Watch this 12-Week timeline come to life in a special video musicians masterclass I gave in New Orleans. Three Months Before Music Releases Register With A Performing Rights Organization. You probably already know this but just in case – to collect your royalties you’ll need to sign with a both a Performing Rights Organization (“PRO” for short) as well as SoundExchange. The three options in the U.S. for PRO’s are ASCAP, SESAC, and BMI. For live royalties, BMI and ASCAP both offer portals to collect royalties from playing live. Once your songs are registered on the PRO database, you log in and enter any dates you have performed those songs, where they were performed, and which songs. The PRO companies payout quarterly so be sure to enter the performances soon after they are through, otherwise, you could miss a deadline! You also have to register with SoundExchange , which focuses on royalties for your recording (mechanical rights), while your Performing Rights Organization focuses on royalties for your song (performance rights). Document the Recording & Creation Journey For Your Fans What may feel mundane to you – writing, recording, mixing, mastering, being in the studio, etc. can be really exciting for your fans. Taking them on a behind-the-scenes journey of this music release is a great way to form a stronger bond with your current and growing base. Send updates on how the recording, mixing and mastering is going using videos and photos via your socials, plus capture longer-form stories for Instagram Stories and for your newsletter. Engage with your following on milestones like artwork and song titles by polling your fans and holding contests to select what cover or title to go with, have your fans weigh in on photos, graphics and get them involvedwith the process. The goal of all this activity is to get people excited so they are engaging and sharing your updates. Choose Your PR & Marketing Plan A big component when releasing new music is getting PR. You can accomplish this by hiring a team or by going the DIY route. When hiring a PR team make sure you do your homework and make sure your music is a good fit for that firm’s approach and philosophy. Be sure that the team talks to you about their well-thought-out plan for your campaign. A PR company should work with you to make sure you are fully prepared before you are introduced to the press. This is the first part of their job when you engage a firm. If you’re going with a do-it-yourself approach here are some tips for an effective music PR campaign: Choose Your Playlisting Plan Submit Your Music Directly to Spotify Simply sign in to your artist account (or Spotify Analytics if you are a label) and choose your best song. When submitting take extra care to give a detailed description of the song supplying any and all relevant information about the song to easily guide editors to the best for place your music. Build Your Own Playlisting Initiatives If you don’t know all the steps to set up a playlist follow this step-by-step guide. Start building and sharing playlists. You need to build up plays as this impacts the current song that you are promoting, as well as any forthcoming singles. Use interesting titles and themes to grab people’s attention to aid with search Find Playlist Curators & Pitch This is, of course, easier said than done! It is not easy to find curators but it is possible with some dedication. Google and all the Socials are great places to start. Reddit has an active Spotify Playlists Page. There are also quite a few on SubmitHub you can access for a small fee. Two Months Before Music Release Get Great Photos Make sure you have at least 3-4 great images and variety is important. Most music blogs feature square or horizontal photos. When getting photos taken think through your brand and think about variety to keep your images fresh as time goes by.Finalize your Single / Album / EP Artwork Your Artwork should be ready and look on brand and amazing! Ask your designer to animate it, break it up into tiles for Instagram and or resize it for all your social posts. Research Which Spotify PreSave / Marketing Platform is Right for You You will need to run a campaign to get that Spotify track presaved! There are 3 great services to choose from. Feature.FM has Action Pages to help build your audience. From The Site: Action Pages are highly engaging pages that reward fans for taking the actions you want in the platforms you want and provide you with deep insight into your audience. Toneden can also facilitate social media follows/likes and/or email addresses for free downloads. You can also optimize Facebook ads via Toneden, and customize those ads. Show.co is owned by CD Baby and is integrated so you can use it as well. Focus on Increasing Your Audience If you have been recording new music you may have taken your eye off of the constant grind it takes to keep your socials and your email list growing. This takes a lot of heavy lifting and your whole band or team should be helping. Use my Social Media Tuneup system to diagnose each one of your sites and socials and get them updated. If you have not kept up consistently find your friends and people you admire (bloggers, other artists, venues, local spots you like to hang out in, etc.) on Twitter, Instagram, and Facebook and friend away! This will increase your audience because as many of the people you follow will follow you back. Also, start reaching out to people in your inbox and outbox and get them on your list (remember it’s illegal to just sign people up, so do this with integrity and ask each person). Your newsletter is the place where you will be able to monetize so, don’t skip this step. Prep Your Content Calendar Your content calendar is outlined with all of the assets that you need for your release with dates for each asset/action needed. Countdowns, art reveals, listening party of live release party announcements, ticket links and calls to action (like Spotify Presaves) are all fodder to add to your content calendar. Use my SMM tracker to organize all of your posts and your VIPS. This will help you keep track of all the content that you will post. You can see there is a tab for each platform. If there are several of you in a team or ina band, assign one platform per person. You will also see a VIP tab here this is where you will add industry people you need to connect with in real life (more on that below). Six Weeks Before Music Release Submit Your Music to Your Distributor If you are leading this music release with a single (or two) make sure to let them know you are releasing a single(s) FIRST before the EP (if this is the case). You must have your single artwork ready at this time! Tunecore, CD Baby, and other aggregators like 4-5 weeks to pitch your music to iTunes, Spotify, Google Play, Amazon Music, and other digital service providers (DSPs). Launch a Facebook Like Campaign to Get More Followers to Your Page Or if you have not done so in a long time go through your personal Facebook Page and ask all of your friends to Like your Page. I know this may seem crazy to do during a time when Facebook is catching a lot of heat but promoters, venues, and music bloggers still look at social numbers so make sure yours are consistently growing (and don’t buy fake fans ever!) One Month Before Music Release Release Your First Single This is a great way to build buzz, get fans excited, and also get some music bloggers interested. Any reviews you can place will help build your overall online profile. On the press side of the house aim for appropriate blog targets. If you are a brand new artist Pitchfork is probably NOT appropriate. Go for smaller, more targeted music blogs! That being said, be sure to reach out to your “within reason” dream targets with your single(s). It’s not the best idea to wait to reach out to these loftier sites with your album. Album reviews take a considerable amount of time and, if you look, most music sites are reserving these full album review slots for the most anticipated albums so don’t feel disappointed if you don’t get full album / EP reviews (they are not en vogue these days) Download and read our Spotify & SoundCloud Guide to make sure both of those platforms are set up correctly and you have done what you need to to get these working for you.Announce a Music Release Event: Live Show or Listening Party If you play live shows, book a release show and do something to make this show more special than the others. Decorate the venue, work with the bar to create a special shot or cocktail, pre-sell a merch pack, hire a party bus, ask a food truck to pull outside the venue, etc. If you don’t play out, create a listening party at a small bar, create an after-work happy hour, or choose a local favorite coffee shop. If you are just starting and don’t think you can draw a large crowd, hold a listening house party with wine tasting, cupcake bake-off, fondue party, etc. Think about your fans and make this special for them. And, of course, the key is to announce that tickets are on sale and share links! Launch Your Music PR or Playlisting Campaign This is a great way to build buzz, If you are hiring a PR team this will be when they will launch. Two Weeks Before Music Release Build the Momentum! Keep the excitement up on your socials by scheduling countdowns across your socials. Write your Day of Newsletter so it is ready to go out. Hold a contest to win the new music or give away tickets to your show or listening party. 7.Release Day – Be Ready For It Prep Your Website: Change the artwork on the landing page to announce the new music Add an announcement to the News section Skin ALL socials with “out now!” Use Canva to size and design Create CTAs for each platform to post as well Instagram: Change your bio to announce the release – add the musical note or an appropriate emoji too! Add streaming link and CTA to listen Create a release tile and post with the album / single art and say “out now” Create an Instagram Story video and postGo to Instagram Live and talk about the fact that the music is available and ask for fan feedback Facebook: Make a fun video about the release – and Boost! Boost or Buy an Ad announcing the release to your fans and a look alike audience Edit the “About” section to include the new release Post a status update announcing your release, and pin it to the top as a timeline feature. Go to Facebook Live and talk about the fact that the music is available and ask for fan feedback Spotify: Header and Profile Photo: Keep these up to date and in line with the rest of your social profiles. Image Gallery: Choose images most aligned with your brand and recent music. Social Media Links: Add links to your socials. Here’s a How To from Spotify on adding those and an image gallery. Spotify Bio : With 1500 characters to share with your fans, you can update this whenever it makes sense for you. Keep your bio updated, include shows, notable press, and new singles. Add an Artist’s Pick: You can designate a song, album, or playlist as the “Artist’s Pick.” This will appear at the top of your profile with a note from you. You can add a custom image to your Pick or share tour dates if preferred. Read more here . Twitter: tweet out your release announcement. Pin the tweet to the top of your profile page Go to Buffer and program the tweets for 1-3 times a day for the next 10 days YouTube: Customize the top banner, profile picture to announce the new music Add your bit.ly link and mention of the release to the “About” section Upload cover art and have track streaming in the backgroundNewsletter: Send out a newsletter announcement to your mailing list. 8.Publicity & Marketing PR takes time and effort to execute well. Sadly, many artists believe that PR = blasting a press release out to the top 100+ music sites that they Googled. This never works, because PR placements start with astute research. Bio / Signature Story The cornerstone of your brand is your bio. You will need a solid story to build your marketing and PR from. We suggest hiring a professional to write your musician bio, which we call a signature story around here. Even if you are a strong writer, it can be challenging to write about yourself. A professional writer will be able to craft a compelling bio that effectively conveys all the important details while keeping the audience in mind, which in this case includes press and music industry. Read our 5 – Steps guide here or We would be delighted to write one for you. If you feel like you still need a boost, listen to the Signature Story Webinar. Music Press Outreach The first people to target should be local press and outlets that have covered you in the past (if applicable). When contacting blogs make it personal. Be sure to research which writer/journalist of the site is the best or most appropriate. Always include a SoundCloud link (set to private until your music is released). Follow our full music PR guide for more detail on how to handle this process. Then as we touched on in Part 1, plan ahead so you will have content for multiple press outreaches such as a new music video, remixes, or tour dates, as you don’t want to repeat the same message about the new music. Build Your Targeted Media List There are many ways to start building a targeted media list. One method – identify a musician or band that is slightly further along and fits into your musical wheelhouse, and take note of the press outlets that they are getting featured on. There is a great chance that those publications may also feature you. Learn how to do your own PR with Ariel in her amazing deep-dive course.Blog Savviness Gets Placements. Start to familiarize yourself with blogs, podcasts, and outlets that are appropriate for your release. If you live in a smaller town (read: Not in NYC, LA, or Chicago) there may be some local press that you can go for. Your big goal might be a review on Pitchfork, but what’s your backup when Pitchfork doesn’t respond to you and then doesn’t respond to your follow-ups? Is Pitchfork even the right outlet for you to showcase your project? Sure, they have a large audience, but is it the right audience for you? It’s OK if the answer is “no.” Research is not the only thing you need before you send your first pitch. To find out what to do come download our Ultimate Guide to Music Publicity. TIP: Keep in mind that a music blog is made up of content written by humans. When it comes time to pitch, you will be pitching to them. Increase your chances that they will be interested in you by first being interested in them. Make a connection by following them on socials. Strike up a conversation on Twitter or Instagram if the opportunity arises. A conversation about literally anything other than your music is recommended. This way when you send an email (or if a publicist does for you), there could be some familiarity and existing relationships that will help in getting your emails opened and help your new music be featured. Drive Friends, Fans & Family With Marketing Platforms You are responsible for driving likes and streams to Facebook, YouTube, Spotify, and all other streaming sites. You also need to drive subscribers to your email list. Marketing platforms are key tools that will help you to get your fans to take powerful actions that will pay off forever like saving your profile/track on Spotify, subscribing to your YouTube channel before watching a video or liking your Facebook Page as they visit. In a saturated, crowded space (approx. 20,000 new tracks are added to Spotify each day according to DMR) these platforms are vital. Read this post to understand Feature.fm, Toneden and Show.co. We use all of them here and they are deeply incorporated in our Total Tuneups.9.Playing Live And Streaming If you are already building through touring or playing live at home, continue. This builds on the momentum that has been made. If you need a helping hand LAB taught by the brilliant Kyle Weber of Indie On The Move (IOTM) who walks you through exactly how to get better gigs in your hometown or in new markets, There are undoubtedly limitations on how often you can tour. More than likely won’t be able to tour every market and for this, we have a solution… No Shows? Try Live Streaming! Streaming a show is also a great way to interact with your fans on a more personal and direct level. A live streaming concert is where the audience is online viewers and can be filmed at your home or any interesting location have access to, a great tool to connect with fans. Artists, big and small, are taking advantage of this to keep engaged and present with their current fanbase, generate revenue and to increase their brand awareness. You can stream on Facebook and Instagram, however more robust platforms offer features geared towards creating “official” shows. The two major players are Stageit and Concert Window. Picking between the two (they are both quite similar) will allow you to either charge a set ticket price. What many artists do, is use the pay what you want model which gives fans a way to pay you more tha what you ask for and can be lucrative. Keeping the shows fresh and different will help with increasing viewership from show-to-show Play a game at the end of the performance or midway through using the chat features. Trivia would be a very easy game, where fans could win merch or other prizes. Play New Cover Songs Each Week Ask your fans what covers you should play. Post the question on Your Facebook Page or on Instagram as a tile. The song suggestion that gets the most likes or comments will be the one(s) you cover. Have Guest Performers Join You This is a great way to add a new element to the live stream while cross- promoting to each other’s fans at the same time. Our LAB 5: Mobilize Your Fan Army teacher and client Eli Lev did this with 2 other musicians and covered Fleetwood Mac.10.Real Life Networking You will not make it in music without mastering the power of live networking. That’s the problem with all of the digital tools available to us: Way too many artists believe they can hide behind a screen and launch the careers of their dreams without ever talking to other humans face to face. Building your IRL networking into your planning is key. Many artists are shy and introverted and this part does not come easily. It is crucial to connect the dots of your digital world to the real world. Even if you only want to be a studio musician and never tour, you still need to be able to meet people and find out about potential work. It can be hard to break out of your comfort zone, and I have met so many artists who struggle with anxiety and a sense that networking means “selling” but the most successful people go out and meet other people who can help them. 3 Reasons Musicians Need to Network 1.Connect with new fans. 2.Gain a sphere of influence, and a source for referrals (more fans) as everyone is connected online and offline. 3.Become a resource for your fans and for yourself. KEEPING THE MOMENTUM 11.Keep The Music Coming – This Keeps Momentum Up! A music marketing plan these days is about consistent releasing. Spotify recommends a new release every 4-6 weeks and we do too. Releasing singles and videos will keep fans engaged consistently. This is what you are striving for. You also want to submit each new track for playlisting consideration. A skill set that you need for this is to understand how to use Spotify. Download my Ultimate Guide to Streaming to brush up on the most effective ways to get the music out there. Remember, you’re not limited to just releasing original new tracks. A best practice for keeping fans engaged with Spotify is the plan to release something every 4 to 6 weeks. This does not mean you have to write new songs although that is always great of course.Create Alternate Versions of Tracks Get a DJ to remix one of your songs. This does not have to be a famous DJ. Choose someone who is familiar with what’s trending on Hype M (if that is a goal), or has worked with an artist you love. If you’re interested in holding a remix contest you should contact the folks over at Indaba Music. They put together some great remix campaigns. Or take a page from Nirvana and release an album of stripped-down “unplugged” versions of your studio tracks. This is a great way to show a different side of the band and appeal to potential new listeners. Lastly release a live album, preferably from the release show, but any show will work as long as the audio is of top quality. Make Videos Video is an integral part of your music marketing plan. Share and upload more videos: official music videos, lyric videos, live videos, vlogs, Facebook Live sessions, Instagram Live, etc. Record Cover Songs Music fans love covers. Recording cover songs is a great strategy for your music marketing plan. This works to gain awareness by tapping into what people already know and provides fun content to share. You can cover artists that inspire you, or similar sounding artists. Covering a song outside of your genre can be a great way to tap into a new fan base. This is what the pianist Scott D. Davis did when he decided to combine his love of heavy metal with the piano pieces he was recording. The result was millions of YouTube hits for his metal covers and new fans from the heavy metal community. Scott has been invited to open for Godsmack, Korn, P.O.D., Sevendust, Vince Neil of Mötley Crüe and Queensrÿche. *Please note, to legally sell a cover song you will need to obtain and pay for a mechanical license. Harry Fox Agency is the foremost mechanical licensing agency in the US. To legally make money from cover songs, work with the company We Are The Hits. 12.Fan Nurturing In their desperate desire to connect with as many fans as possible artists are forget that not everyone “out there” is the same. You need to understand the differences and create a separate way of communicating with each community. Some may be following you simply because they liked your sunglasses or your cat and have no idea you are even a musician, while others are waiting to like and comment on every post. Iwrote a 3-part series that explains how to nurture each one up to the next level of fan. Community #1: Your Super Fans These are fans are primarily your closest friends and your live audience. You know them by name. If you play live, they attend your shows regularly and buy merch. They are the first responders when you post on socials and they follow you on multiple channels. It is important to remember to talk to fans at your live shows and get as much face time in when you can. Community #2 : Engaged Fans These fans are your Active Online Audience. They are newsletter subscribers, blog readers, video watchers, RSS subscribers, active Social Media engagers who frequently comment & engage with you on Facebook, Twitter, etc. Community #3 : Ambient Fans These fans are your Passive Online Audience and they are your social media friends who are aware of you via Twitter, Facebook, Instagram etc. but don’t actively communicate with you and may not have ever even heard your music (yet). Don’t Neglect Your Email List & Study Write Email Nurture Sequences Emails should still be going out once a month, and your socials should never go stale. Just because you may not have a big “news” item (a new release) doesn’t mean you should stop communicating on a regular basis. You should also be consistently be building your list. 13.Create Consistent Content – Ongoing Social Media Update Your Socials Every Day Update daily, respond, and interact. Post about things happening in your life. News, food, parenting, fashion, art, sports, and other musicians are topics to engage and connect around. Follow our Social Media Pyramid for content guidance. Use Hashtags #mcm = man crush Monday / #transformationtuesday / #wcw = woman crush Wednesday / #tbt = throwback Thursday / #NewMusicFridayAdd hashtags to Instagram of course but also to social media channels are alive and active. Visualize All Buzzworthy Moments The more press and social media-worthy moments you can generate the better. Anytime a fan, playlister, or music blog, mentions you share it. Create tiles with CTAs and links to Spotify, SoundCloud, Apple Music, etc. Ideas to visualize and keep your socials fresh: Ask your family, friends, and fans to write reviews of your music on Apple Music, Amazon or CD Baby Submit your music to Pandora for consideration if you get accepted use the Pandora AMP program Make GIFS or boomerangs to keep the visuals fun Check for any new Spotify playlist adds and thank the playlist curator Do Facebook or Instagram Lives consistently ALL PR – blog, newspaper, magazine, show listing, podcasts, etc. PR Quotes – highlights from articles (make a few to share over time to mix it up) Radio Adds – Showcase the station logo and tag the DJ Live Show Announcements Ticket On Sale Dates Film & TV Placements Milestones – Spotify playlist counts, award nominations & wins, etc. Follow CTAs (Follow me on Spotify, Facebook, Twitter, Etc) Focus On Leverage The whole point of having a music release strategy in the first place is to leverage it to get your big picture goals. My client wanted higher profile gigs around his hometown, Denver. He leveraged his PR hits strategically by sharing visuals with the promoters/venues he was targeting. He did this by writing each a personal email saying: “I have retained a PR team to increase my visibility and they will work hard to promote shows I am booked to play.”Every time he was featured in an article, he posted it across social channels, tagged the venues and artists he appeared with. From his efforts, he began to get more gigs because he had something his competition did not – strong PR and proving he would promote. You can use a similar strategy. The moral of this story? Always share successes! 14.Strengthen VIP/Industry Connections I have never met a successful musician who does not rely on at least a few people in the music industry. Even if you never want to sign to a label you will need a team to help you. This could include management, booking agents or service based companies to handle things like play listing, publicity, marketing, production, and the list goes on. Music Conferences An incredible place to meet all of these types of people and more is at music conferences. Conferences give you the opportunity for networking and self-growth. Once you are there you want to be memorable. Music conferences are invaluable when looking to learn and to grow in the industry. There are so many types to choose from – small and intimate, huge and overwhelming, hyper-focused or general. No matter which you decide to attend you will have the opportunity to network, meet established professionals, and make connections with other artists all who can be vital to your growth. Here’s my guide to my favorite conferences. Music Mentors Some artists (I’m looking at you introverts) don’t like conferences. Read Industry newsletters and sites to get inspiration and keep up with people and latest industry news. I highly recommend signing up for – DIY Musician, Water & Music , Platform & Stream, Hypebot , and the Billboard Biz newsletters. And, there are many wonderful mentors you should know about who are working tirelessly to help support artists with free and paid options. I love all of the teachers of my LABS classes and follow Suz The Rock/Star Advocate, Bobby Owsinski, Cheryl B Engelhardt, Eli Lev, Randy Chertkow & Jason Feehan, Brady Sadler, and Kyle Weber from IOTM. I also highly recommend These 19 Rockstars who pitched in with their best advice for marketing including Ari Herstand, Bree Noble, Rick Barker, Bryan Calhoun, Ross Barber-Smith and Ryan Kairilla.15.Making Money You want to be considered an artist and not a hobbyist, right? So making money is key to your music marketing plan as it is your ongoing strategy. I made this the last part of the 15 because a lot of building needs to happen before you can monetize. There are so many ways to make money in the business you may not have thought of many of them. LAB 10: Making Money With Music features Randy Chertkow & Jason Feehan, the authors of The Indie Band Survival Guide & Making Money With Music. They have come up with over 300 ways to make money. Merchandise Merch has become very sophisticated over the last few years, there is no need to order a bunch of XL Mens fruit of the loom T-shirts. Our three favorite Merch ideas are USB Flash Drives Different kind of merch item to sell that you can load up with music, pictures, videos, lyrics, sheet music, etc. Vinyl Is hot right now. According to a recent Guardian article: “sales of vinyl reached a 25-year high as consumers young and old have once again embraced physical formats of music.” Make sure you keep the fact that ordering can take months and make sure you are prepared to mail it out and carry it to shows (it’s heavy!) DIY Craft Items We also love the idea of creating unique DIY items as a vehicle of selling your music, our client Mary Jennings sells bolo ties at her shows and in her Etsy store when she’s not on the road. We loved hanging out with her and watching her fans try on ties after her set. Please avoid this costly music marketing plan mistake: You do NOT need to create merchandise until you have a fanbase who will buy merch and you need to have a sense of what they want. Crowdfunding Crowdfunding is a great way to fund an album, a tour or a big idea. By the time your campaign ends, your contributors are invested in the idea and the journey, increasing their loyalty levels to “super fan” status. However you must keep in mind that the average crowdfunding campaign raises $7,000, according to fundable, and it takes dedication and perseverance to pull off successfully. Also – no crowd, no crowdfunding, so make sure you have a real dedicated fan base before you try this. In order to raise $5,000, you would need around 250 backers who would give an average of $20 each. In order to raise $10,000, you would need around 500 backers, who would, again, give an average of $20 each. My book Crowdstart, will walk you step-by-step through your entire campaign, and it comes with amazing done for you bonuses! Subscription Sites Are another area that artists are moving towards, where people sign up to receive music via Bandcamp or support the creation of videos and content through Patreon. Just because people don’t buy CD’s anymore and even downloads are in a decline, people are willing to support artists, you just need to give them the platform to do so and interesting items and experiences to offer. Patreon Patreon is all about content. This means you want to have consistent content to keep your patrons happy. Make sure to share exclusive content only available through your Patreon page. Ultimately, the success of any kind of crowdfunding strategy will come down to you reaching out to your network through your newsletter, social media and getting them involved with both the funding and by helping to spread the word about your Patreon to their friends and networks. Experiences Backstage meet and greets, private Skype sessions, and dinner with the band before a show are all possibilities and should be built into your music marketing plan. You don’t need to run a crowdfunding campaign to sell experiences. Make Sure Your Fans Know Mention your Patreon on your website and across socials. Mention it in your YouTube videos and include a link to your page in the video descriptions. I don’t want you to finish reading this 3-part guide overwhelmed! When we write Total Tuneups for our clients the intention is that they will take afull year to successfully implement. This requires a mindset which will allow you to stay in it for the long haul. Making the music and playing live are not the parts that are hard to focus on. It’s the 15 elements outlined here that can be challenging. Cyber PR LABS This is why I designed Cyber PR LABS to address each and every part you may not know all about in an effective and targeted fashion. They cost less than 99 bucks each and they will give you access to a great community of like-minded artists as well as to the amazing teachers I hand-picked to run each LAB.	[ "music", "fan", "release", "social", "artist", "make", "get", "new", "also", "need" ]	{ "summary": "MUSIC MARKETING PLAN\nTable of Contents\nNUTS AND BOLTS .............................................." }
409050772-Music-Promotion-Blueprint-pdf.pdf	HOW TO GET MORE EXPOSURE, MORE FANS, AND SELL YOUR MUSIC ONLINE BY JUSTIN SMITH INSIDER SECRETS OF THE NEW MUSIC BUSINESS... In the summer of 1998 I picked up Jeff’s Epiphone E350 hollow body electric guitar. Jeff is my godfather who I was living with in high school. Unbeknownst to me at the time, I never stood a chance of learning to play that thing due to the unbelievably high action caused by the guitar sitting in storage and slowly warping over the course of sev-eral decades. Nonetheless, I still wanted to learn to play the guitar. INTRODUCTION1 1A few months later for my 15th birthday, Jeff and his wife got the guitar fixed and signed me up for lessons. That was my first step step towards a wildly successful career of rock stardom. Spoiler alert: I am not now, never have been, and no longer have any particular desire to become a rockstar. However, rockstar seemed like the only logical career path when I was in high school.My friends and I rehearsed relentlessly to become successful musicians by sitting around in my buddy John’s basement smoking weed and drinking pretty much any kind of booze we could get our hands on. Occasionally we would even pick up our in-struments and jam for a few minutes before rolling another joint.We were dedicated to becoming rockstars and very diligent in our practice. We got high every weekend and Monday through Friday we would regularly skip class to get in some extra practice smoking and drinking at the mall.So that’s why I decided to write this book. I want to help you better understand how to quit your job or drop out of school, smoke a bunch of weed, and practice play-ing an instrument if you feel like it, so that you too can live the life you’ve always wanted.Okay obviously I’m joking.Over the next 20 years my attitude and behaviors changed pretty dramatically. After finishing high school and taking a little time off to party, I decided to go to col-lege to study classical music and jazz. Eventually my interests evolved and I became more interested in the business side of the music industry. I moved to a city just out-side of Nashville, TN called Murfreesboro to attend Middle Tennessee State Univer-sity, which is widely known for having an excellent Recording Industry program. I learned all about the music industry as I completed my Bachelor degree in Re-cording Industry Management at MTSU. While working on that degree, I did about everything I could to learn more about how the music industry works. I took on intern-ships in just about every aspect of the music industry, and I managed the social media presence of a country artist named Josh Thompson who ended up landing a couple hits on Billboard’s Top 10 Country chart.2After finishing my degree at MTSU, I went on to get my MBA at the University of Tennessee, where I had the opportunity to work with AC Entertainment (one of the largest concert promotion companies in the South East, and the company that started the Bonnarroo Music Festival). It also just so happened that while I was working on my MBA, Sony Entertainment asked the UT College of Business for help creating and implementing an online marketing strategy for 14 time Grammy nominee, Martina McBride.Due to my previous experience in the music industry, I was chosen by my peers to lead the project. It was a great experience, and turned out to be quite successful. At that time I considered staying in Tennessee to pursue a career in the Country Music in-dustry, but instead I opted for something a little more exciting.After grad school, with no money and no job, I decided to pack up my car and drive to the west coast. I arrived in San Diego, CA on January 1, 2011. I was completely broke at the time, but through a series of unexpected circumstances ended up connect-ing with some young guys that had recently made millions of dollars online with a very simple business model.The model revolves primarily around email marketing, and it can be applied to any industry and virtually any business. For the past several years, I’ve been helping small business owners and entrepreneurs make millions of dollars by applying a very simple email marketing strategy to their existing businesses.My passion for music has inspired me to adapt the model to the music industry, more specifically independent artists with limited budgets and no record label sup-port.It used to be the case that the only way to really have success in the music indus-try was to get the support of a major record label that could get your album distributed into stores, finance a professional sounding recording, and funnel a bunch of money into promoting you and your music.That’s just not the case anymore.3The Internet has made music infinitely more widely accessible than it was 20 years ago. People aren’t even buying music in stores anymore. Most people are pur-chasing digital downloads online or streaming it directly using Spotify or YouTube.It no longer requires tens of thousands of dollars to produce an album. Independent artist can produce their own recordings on their laptops. And in turn, that’s made booking studio time more affordable than ever.The days of spending hundreds of thousands of dollars to promote new artists are over. While that’s still common practice for major labels, it’s not at all necessary for the average musician.By following the simple, PROVEN formula that I’m sharing in this book, you’ll be able to get more exposure, sell your music online , and grow your fanbase for next to nothing.Now of course, you will have better results if you have some money to put into it, but you can at least get started even if you’re flat broke. Then you can scale up as you start to see some money coming in.Helping independent artists, like yourself, have success in the music industry is something I’m very passionate about. Our world is evolving, and the advent of the Internet has made it so people all over the world can connect with one another with in-credible ease. For musicians, this means that you can easily connect with people that will love and appreciate your music. My number 1 goal with this book is to help as many musicians as possible see how easy it really is to grow a following online, and to show them exactly how to do it.That’s why I’ve made this book free to you. And I highly encourage you to share it with anyone else that you think will appreciate it.It’s much easier to demonstrate certain parts of this strategy in video form than it is to explain them in a book. For that reason, I have put together an in-depth step by 4step video course that you may want to check out. (you can access the course at https://www.musicpromotionmachine.com )Some people won’t need the videos. If you already have some experience with web design, email marketing, online advertising, and any of the other elements of the strategy outlined in this book, you may not need the videos. This book alone might be enough for you. However, the video course is always an option if you find that you need a little bit of additional help.In any case, I’m glad and you made the decision to download this book. I hope you find the music promotion strategy outlined in these pages to be helpful in acceler-ating your success and career as a musician. 5In this book I’m going to cover a simple strategy that you can implement right away to get more exposure, grow your fanbase, and sell more music and merch online. I’m going to show you how to set up a music promotion system that will run 24/7 on autopilot. THE STRATEGY2 6Countless independent artists have already used this exact system to get more fans, sell more music, and even get their music on Billboard charts. And the system will run automatically, even while you sleep.This music promotion strategy revolves primarily around building an email list.Why email? And not Facebook, or YouTube, or Twitter, or Instagram?Because quite simply email is going to be a lot more valuable to you, and you’re going to have a lot more control. When you’re building an email list of fans, you’re building an asset that’s going to allow you to reach your fans any time you want. When you have a new album coming out, you can send out a series of emails to your fans let-ting them know about it.The bigger your email list is, the better. Every time you add someone to your email list, you’re adding one more fan that you can notify about any upcoming shows, album releases, new band t-shirts, etc.So you might be thinking, “I can post that on Facebook and all my fans will see it, right?”Wrong.How many bands do you follow on Facebook? And how many of their new posts do you see?You might see a few, but I can almost guarantee that it’s far less than 10%. The problem with relying on third-party platforms like Facebook and YouTube is that you’re completely at their mercy.First of all, they’re generally going to cater to advertisers first and foremost. That’s completely understandable. It’s how they make money. People that are paying to have their posts boosted on Facebook are going to get precedence in people’s news feeds over your posts.7On top of that, Facebook, YouTube, Instagram and other social platforms change their algorithms all the time. You could be having great results with YouTube. Then they change the way they serve content to their audience and suddenly you lose the majority of your daily views. This type of thing happens all the time.Now that’s not to say that you shouldn’t be promoting your music on Facebook and Youtube. I love Facebook and Youtube. They are tremendously powerful plat-forms for independent artists to promote their music.But your #1 focus shouldn’t be getting more Facebook Likes or YouTube subscrib-ers. Your #1 focus should be getting your fans’ email addresses.When you add a new post to Facebook, you can consider yourself lucky if 10% of your fans see it. When you send an email to your email list, you can rest assured that the vast majority of those fans will at least see the email. They might not open it, but they’ll at least see that they’ve received an email from you. And they’ll see the subject line of the email, which is often all you need.Emails are simply better for staying connected with your fans than Facebook, YouTube or any other social platform. Think about it. When you check your email in-box, do you at least check to see who emailed you? And do you at least read the subject line of the email?You might not open the email and read it, but I bet you at least read the subject line.Keeping in contact with your fans, via email is much more effective than any so-cial platform out there. And you have complete control.The email list that you build is yours. You aren’t at the mercy of the algorithm changes of third party services. Your email list is an asset that you own and that you can use anytime you want to to reach your fans.And just in case you’re thinking, “Yikes! It would take forever to email all of my fans!”8Don’t worry. That’s what your email autoresponder is for. It allows you to email all of your fans at once, and you can also set it to send out emails on autopilot.Using an email autoresponder ensures you’re fans will be hearing from you on a regular basis. This helps you build a connection with them, and keep them updated with album releases and upcoming shows.And that can be happening all while you’re on tour or vacationing in the Ba-hama’s. Those emails can even be going out to fans while you’re sleeping.Parts of The SystemLanding Page - This is the webpage that you’re going to send people to so they can sign up for your email list.This type of page is often referred to as a “squeeze page”, because you’re “squeez-ing” information from someone before sending them on to the next page.That next page is typically referred to as the “thank you page”.Thank You Page - The page where you deliver the offer or incentive that was of-fered in exchange for your fan’s email address.Offer/Incentive - People that are already your fans would likely join your email list simply because they want to receive notifications from you; however, a lot of the people that will be landing on your squeeze page will have never heard of you or your music before.You have to give them a reason to join your email list. You have to offer them some type of incentive in exchange for their email address.This can be accomplished by offering some free downloads.Email Autoresponder - The email autoresponder is simply a software/database that stores all of your fans’ email addresses or other contact information. This way you can easily send out email notifications to your entire list.9The autoresponder can also be set up to send out some automated messages af-ter someone signs up to your email list.Traffic - Targeted visitors to your landing page that are likely to be interested in your music.In this book, I’ll explain how to set up this whole system so that people who will likely enjoy your music, but have never heard of you before, will find their way to your landing page and sign up to your email list.Once someone has joined your email list, you’ll be able to start building a connec-tion and share your music with them. This will lead to a dedicated following of die hard fans that will come to your shows, buy your music, and support your music ca-reer.So that’s a basic overview of what the strategy is. We’ll get into more detail in the next few chapters. 10There are several tools and resources that I recommend for getting best results with this system, which I’ll share with you in this chapter. If you would like a detailed expla-nation of how to set all of this stuff up, I highly recommend that you check out the video course I’ve put together. (you can access the course at https://www.musicpromotionmachine.com ) THE TOOLS3 11Inside the course we’ll take a much deeper dive into this whole system, how it works, and how to get the best results. I demonstrate exactly how to set up the entire system, so you can easily follow along, even if you have no technical knowledge whatso-ever.Alternatively, if you feel pretty comfortable with doing all of this on your own, this book by itself should give you enough guidance to a least get started promoting your music online.Now let’s go over some of the recommend tools for making this system work.Must HaveThe only tool that you absolutely must have for making all of this work is an email autoresponder.An email autoresponder is an online database that will store all of the email ad-dresses that you collect, and it allows you to send out mass emails to your entire email list with the push of a button.The one that I’m recommending is GetResponse. There are several reasons I’ve chosen GetResponse as the email autoresponder that we’ll be using in this course.1.) It’s very inexpensive. It’s only $15/month, and you can click here to get a free 30 day trial2.) It’s incredibly easy to use. Anyone can get started with GetResponse without any technical skills or experience whatsoever.3.) It includes a customizable landing page builder. You will need to have a sim-ple landing page to send your visitors to so they can sign up to your email list.4.) GetResponse includes some very helpful automation tools that will allow you to get this system humming along on autopilot.12Recommended Tools And ResourcesNameCheapNameCheap is a domain registrar. This is where you can purchase a domain for your website or landing page. A domain is the web address that you will send your visitors to. In other words, it’s your .comIf you already have a website for your music, you probably already have a do-main. It’s typically going to be something like www.YOURBANDNAME.comRegistering a domain is very inexpensive. Most domains on NameCheap are only $10 a year. Any landing pages you create within GetResponse can be hosted on your custom domain. If you choose not to register a domain, you can host your GetResponse landing pages on a URL that get response will provide you.It will be something like YOURBANDNAME.getresponse.com rather than simply YourBandName.comHaving your own domain is very inexpensive, it’s more professional, and it’s eas-ier for people to remember than the much longer one that GetResponse provides.So that’s why I recommend registering a domain, but if it is technically optional.DreamHostThe next thing that I recommend is hosting.When I say hosting, I’m referring to a server that hosts your website. A server is simply a computer that is made specifically to store your website files on.13Think about it like this.If you build a website, all of the files that make up your website have to be stored on a server. Your domain will be connected to the server, so that when someone types your domain into their web browser, the web browser will know where to find the files that belong to your website. This will allow your website to be displayed for the visitor.The main benefit of having a hosting account is that it will allow you to create much more customizable landing pages than using GetResponse alone. You will also be able to create many different landing pages. Being able to create multiple landing pages makes it easier to create geo-targeted email lists. By that I mean, you can have different email lists for different cities that you perform in regularly. So if you have a show coming up in Los Angeles. You can send out emails specifically to people that live in Los Angeles informing them about the upcoming show.Creating multiple landing pages also allows you to test different designs and con-cepts to optimize for better results. Testing multiple landing pages against one an-other will ultimately help you get more fans for less money.The basic $15/month plan with GetResponse limits you to only 1 landing page. That’s all you need to make this strategy work, but having the option to create multiple landing pages will help you get better results.You can get a reliable hosting account with DreamHost for only $10 per month. So it’s not going to break the bank, and it’s well worth the investment.WordPressIf you decide that you want to be able to create multiple landing pages and have pretty much limitless customization options, you’ll want to install WordPress on your hosting account.14Wordpress is a user interface software that makes it easy for anyone to build a website without knowing anything about coding. It’s 100% free, so no added expense there. Thrive ArchitectThrive Architect integrates with Wordpress and makes it super easy to create nice looking landing pages that are completely customizable.The landing page builder that comes with GetResponse is certainly adequate for getting this system in place, but Thrive Architect will give you so many more op-tions. In my opinion, the customizable landing pages you can build with Thrive Archi-tect simply look better that the ones you get with GetResponse.Thrive architect can be purchased for a one-time fee, or you can have access to it along with a ton of other cool stuff that Thrive offers for a monthly membership fee.Those are the tools and resources that I recommend for your music promotion strategy. If you would like to see exactly how I set all of this stuff up, click here to check out the video course I’ve put together. 15When you’re trying to promote anything, whether it’s music, a car, or laundry deter-gent, what you’re really trying to do is communicate a message with the goal of per-suading someone to do something.In order to do that effectively, you need to be able to craft your message in a way that will compel someone to take action - to buy something, to subscribe to an email list, to click a link. COPYWRITING4 16The act of crafting this type of message is called copywriting. Copywriting is sim-ply the act of writing text for sales and marketing purposes.Why should you learn about copywriting?In order to get anyone to sign up to your email list, purchase your albums, or even want to read any of the emails you send out, you need to understand at least a lit-tle bit about copywriting. This way you can convey your message in a manner that’s in-teresting to your audience and compels them to take action.A common mistake that many musicians make with email marketing, is that they focus too much on “pushing” their music to fans. You don’t want to come across as being “salesy” or overly-promotional. That will turn people off and you won’t have much success with any of your marketing efforts.Instead of “selling” you should focus on giving value to your fans. That will al-most always result in more sales.So how do you do give value instead of selling? Well, let’s take a look at a couple of short email examples.Bad email example:Dear Fan,I have a new album and I want you to buy it.I would really like to have your money, so buy my album.Also, please tell all of your friends about my album so I can have their money too.The album is really great and everyone who 17listens to it likes it a lot. I’m sure you’re going to love it too!==> Click Here To Buy It NowSincerely,Broke MusicianWhat would you think if you received an email like that?You would probably be turned off immediately. People don’t like to feel like they’re being “sold”.Writing emails like that is not only a waste of time, but it could also lead to a lot of people unsubscribing from your email list. And you’re going to lose out on a lot of potential sales, both now and in the future.So how can you write a better email?Dear Fan,First of all, I really want to say THANK YOU!As my way of saying “Thank You” for all of your support, I want to give you an early bird discount on my new album that’s coming out next month.The album is going to be priced at $9.99 on iTunes, but today I want to let you have it for only $4.99.That’s a 50% discount!And as an added bonus, I’m going to throw in 183 additional exclusive tracks that you can’t findanywhere else...Absolutely FREE!==> Click Here To Download The Album At 50% OffThanks again for all your support.I hope you enjoy the album.Sincerely,Smart MusicianWhat makes that email so much better?Primarily because you’re not coming right out of the gate ASKING for something. Instead you’re OFFERING VALUE. Even though the goal is still to get them to buy your album, you’re framing the message in such a way that you’re GIVING them something (a 50% discount and exclu-sive tracks) rather than ASKING for something.Now instead of being put off by an email that’s selling, the fan is receiving an email that is offering value in the form of a discount and some free exclusive tracks.The result?You’ll sell more albums, get fewer unsubscribes, and you’ll maintain higher open rates on future emails. That all, of course, correlates to more money, more exposure, and more fans.And what did you have to do to improve your results?Simply learn some very basic copywriting.19Write CasuallyWhen you’re sending emails out to your list of fans, it’s important to write in a way that’s engaging and will keep their attention.Remember, you’re not writing a technical manual for how to operate a kitchen ap-pliance. You’re trying to build a connection with your fans and sell your music.Boring and confusing copy is going to put your readers to sleep. You need to add a little personality when you’re writing your emails. Write like you speak. Not like you were taught in English class.The fact is, you really don’t need to worry too much about using grammar and punctuation the way that you were taught in English class. That doesn’t mean it’s okay to misspell words and throw punctuation out the win-dow completely. It simply means that you shouldn’t let rules about grammar get in the way of writing engaging emails that are will keep readers interested.Write casually like you’re talking to a friend.If you were emailing a friend to let them know that you’re band is playing a show this weekend, how would you write?Would it be stuffy and formal? Like…Dearest Charles,You are cordially invited to attend a live performance put on by my band, Homeless Hooker.The performance begins promptly at 8pm Eastern Standard Time on the eve of May 14....20No. You’re not going to write like that. You’re probably more likely to write something more like...Hey dude!My band’s playing at Whiskey a Go Go tomorrow night at 9pm. Come check us out!There’s a bunch of kick ass bands opening for us that Iknow you’re really going to dig...Plus they’ve got a bunch of great drink specials. Jack and Coke’s are super cheap...Now, which of those email snippets do you think would be more engaging to your readers?Probably the second one right?The point is we’re not trying to win any awards for grammar here. We’re simply trying to communicate a message to our fans, and the best way to communicate that message is to make sure it’s interesting.Speak To One PersonAnother important tip that will help you write engaging copy is to write as if you’re speaking to just one person. This will make the reader feel as if you’re speaking directly to them and not to your entire email list.21Of course they know logically that they aren’t the only person reading the email, but the email will still feel a lot more personal.So let’s take a look at that email snippet from the last example, but with a few slight tweaks to make it sound a little less personal.Hey Everyone!My band’s playing at Whiskey a Go Go tomorrow nightat 9pm. You should all come check us out!There’s a bunch of kick ass bands opening for us that I know you’ll all really dig...Plus they’ve got a bunch of great drink specials. Jack and Coke’s are super cheap...It’s a lot less personal, right?When the email feels like it’s written just for you, there’s almost a feeling of obli-gation. Like it’s really up to you to show up and help support the band.That feeling kind of goes away when it’s written for everyone.Don’t you feel a little more like, “Ehh... I really like the band and want to support them, but I’m sure plenty of other people will show up”?Try it out for yourself and I’m sure you’ll see what I’m talking about.Write in a casual manner and speak to one person, like you’re writing an email to a friend.22Your emails will be much more engaging, you’ll be able to sell more music and merch, and you’ll be able to get more of your fans to turn up to your shows. A.I.D.A.Every piece of copy you write should follow this simple 4-part formula.A.I.D.AAttention: Grab their attentionInterest: Create interest, by being interestingDesire: Build desire - make them want what you have to offerAction: Make them take actionHere’s an example of the AIDA formula applied to an email:(NOTE: You can get a more in-depth breakdown of the AIDA formula inside the video course)ATTENTIONSubject: Did Stevie Wonder And Eric Clapton Have A Love Affair?INTEREST: CREATE SOME INTEREST BY PRESENTING INFORMA-TION ABOUT WHAT IT IS THAT YOU HAVE TO OFFER, AND DO IT IN A WAY THAT COMPELS THE READER TO CONTINUE READINGWhat would happen if you took the soulful melodic keyboard of Stevie Wonder and combined that with the rockin’ blues guitar of Eric Clapton?You might get something like “DFJ”That’s one of the tracks off our full length album that’s now available on iTunes, but don’t waste your money!23DESIRE: MORE INFORMATION, BUT THIS HAS INTENT. AT THIS POINT WE’RE GIVING THE READER REASONS WHY THEY SHOULD PURCHASE THE ALBUM.That album’s 10 whole bucks on iTunes...Now we’re not saying that it’s not worth $10 (in fact, we’d estimate that it’s probably worth about a gazillion dollars)But why pay $10 to get the album on iTunes, when youcan get it right here, right now for half that?That’s right!We really appreciate having you as a fan, so we want to give you 50% off on our full length album.This is an exclusive offer that’s only available to our email subscribers.ACTION: A SIMPLE, DIRECT STATEMENT THAT INFORMS THE READER HOW TO TAKE THE NEXT STEP TO GET THE ALBUM==>> Click Here To Get The Album Now For Just $4.99We hope you enjoy it!Talk soon,Dr.B and the EaseAt this point you should at least understand what copywriting is. I’ve introduced you to some basic copywriting principles that you can apply when setting up the sys-tem outlined in this book.24Remember, copywriting is an art form, just like playing an instrument or writing music. You will get better at it with practice, so be sure to do that!Copywriting is an invaluable skill that will help you with all of your promotions. Take the time to learn about it and apply it to all of your marketing efforts. 25Fan Generation FunnelTo build your email list, you’re going to need to set up a “fan generation funnel”. This is called a “funnel” because you’re “funneling” prospective fans through a series of steps that will weed out people that aren’t interested in your music, and capture the email addresses of those who are. YOUR EMAIL LIST5 26The simplest version of this will have 4 main components:1.) Squeeze Page - A simple landing page that has 1 single purpose - get your fans’ email addresses. This is where new fans will be able to sign up to your email list.2.) Autoresponder - An online software that serves 3 primary functions:1. It allows you to capture and store all of your fans’ email addresses. You will integrate your autoresponder with your squeeze page. Whenever a fan enters their email address on your squeeze page, that email will be collected and stored auto-matically in your autoresponder.2. Send out mass emails to your entire list with your autoresponder3. Set up an “autoresponder series” of emails to be sent out to new fans auto-matically when they join your list3.) Incentive - You need to offer fans something in exchange for their email ad-dress. I recommend some free tracks that they can download immediately4.) Thank You Page - A simple page that the fan is redirected to after they en-ter their email address so they A.) know that they’ve successfully completed the proc-ess of signing up and B.) can receive their free downloads, which will typically be deliv-ered on the Thank You PageElements Of A Squeeze PageAll 4 components of the fan generation funnel are essential, but you’ll want to pay particular attention to the squeeze page. The layout, design, and text on your squeeze page are all going to influence a person’s decision as to whether or not they’re going to join your email list. For that reason, you need to understand how to create a landing page that will get fans to take action and sign up to your list.First and foremost, make sure that you don’t give people multiple options. 27One of the most common mistakes people make when creating a squeeze page is that they don’t focus solely on getting the email address. They give an option for the fan to enter their email address, but they also give them the option to listen to music on Spotify, subscribe to a YouTube channel, “Like” on Facebook. Don’t do that!Your squeeze page should have two options:1.) Enter email2.) Leave the pageThat’s it. It’s okay to send people to Spotify, Facebook, or Youtube. But do that after the fan has already signed up to your email list.So you’re squeeze page serves 1 singular purpose, and that’s to collect email ad-dresses.The best squeeze pages are usually very simple. They are clear and concise, and they don’t have a lot of fluff. It is possible to create a good squeeze page that has a lot of information, images, and videos on it, but I don’t recommend that when you’re starting out.Keep it simple.All you need is a Headline, a sub-headline, and an sign up form.Headline - Your headline should be something that grabs the visitors attention and helps them immediately understand what the page is about.Sub-headline - This will give the visitor a little more information. What you’re offering, why they should sign up, and how to do that. Your sub-headline should be clear and concise. It should only be one or two sentences at most.28Sign Up Form - The field where a visitor will submit their email address. This integrates with your email autoresponderSales FunnelGetting your fans’ email addresses is great, and that’s our primary goal with this strategy. Once you have a fans email address, you can stay connected and generate revenue with future promotions.But just because you can email a fan in the future, doesn’t mean you should waste this opportunity to promote something right away.Take advantage of the fact that your fans are seeing your Thank You Page as soon as they sign up to your list. This is a great place to offer your album at a discount, so you can actually make a few sales when people first join your email list.In the video course I’ll demonstrate exactly how to set up your sales funnel us-ing PayPal, so you can sell your music as soon as someone signs up to your email list.Click Here To Follow Along As I Set Up This Entire Funnel Step By Step 29There are 2 basic types of emails that you’ll send out to your fans.There’s your autoresponder series, which is a series of emails that are sent out automatically when a fan signs up to your email list.And there are broadcast emails, which are one-off emails that you send out to your fans at a specific day and time. SENDING EMAILS6 30The emails that you add to your autoresponder series should be “evergreen”, meaning that it shouldn’t matter if a fan receives them now or six months from now. Those emails should be equally relevant to a fan regardless of when they sign up to your email list.Time-sensitive emails, on the other hand, should be sent out as broadcasts. Some examples of time-sensitive emails would include: upcoming shows, album releases, limited-time promotions, etc.“How Frequently Should I Mail?”One of the most common questions I get is, “How often should I mail my fans?”The answer is that there really is no set mailing frequency that’s right for every-one.Remember that your primary goal is to build a relationship with your fans. This means that you want to be sure that they are continuing to open your emails, that they’re engaging with your emails, and that they’re getting value from the emails.Your emails should be interesting and engaging to your fans. At the very least, your emails should be informing them of things they want to hear about, like upcom-ing shows and album releases.If you can’t send out emails every single day and keep them interesting and en-gaging, then you don’t need to be sending out emails every day. If on the other hand, you can write creative and interesting emails every single day, and your fans are enjoying receiving those emails, keep up the good work.You want to send out emails just often enough that your fans are getting value from them and enjoy receiving them from you.31But don’t go too long without sending emails either. This is especially important when a fan has just discovered you and your music. You don’t want to let them forget about after they discover your music for the first time. That’s a big reason why you want to have an email autoresponder series in place. So in terms of frequency, I would say as a general guideline, try to mail at least once a week. Mail as frequently as once a day if you want, but only if you can keep your emails interesting and engaging.Initial 7 Day AutoresponderYou can build out your autoresponder series to send emails every day, every other day, once a week, whatever you like.You can set it up to send for the first 7 days after someone sings up to your list, or you can set it up to send emails out for 500 days.It’s really up to you, but I recommend at least setting your autoresponder to send out emails for the first 7 days after someone joins your email list.Why?Because this is a critical time, when fans are most likely discovering your music for the first time. If you don’t capitalize on that, many of those people will forget about you.There are 2 general types of emails that will go out to your fans. There are promo-tional emails, and there are strictly “value” emails.Promotional emails are the ones where you’re clearly selling something. You may be promoting an album, merch, whatever.32On the other hand, sometimes you’ll send “value” emails. These emails can still have major benefits to you, like new Facebook fans, YouTube subscribers, followers on Spotify, etc., but they aren’t asking your fans to buy anything.If you email your fans about a new music video that you’ve just uploaded to You-Tube, that would still be considered a “value” email. Even though you’re technically promoting your video, you aren’t asking for any money, so I wouldn’t consider it a “promotional” email.When emailing your fans, you want to alternate between promotional emails and value emails. That doesn’t necessarily mean that you can’t send promotional emails out for 2 or 3 days in a row. It just means that you shouldn’t send out only promo-tional emails for weeks at a time.You may have a number of things in mind already that you would like to promote to new fans. The most common thing would be an album download of course.Not only is the first 7 days a critical time to make sure your subscribers don’t for-get about you, it’s also the time where your new fans will engage with your emails the most. You’ll want to capitalize on that by promoting something that you can generate some revenue from. I recommend that you continue to promote whatever album you were selling in your initial sales funnel. Most people aren’t going to buy it when they first sign up to your list, so you’ll want to remind them about it and continue offering it at a discount.In the video training I’ll show you how to segment your email lists, so that only people who do not purchase your album will continue to receive emails promot-ing it. That way fans don’t continue to receive emails about albums that they’ve al-ready purchased.In addition to promotional emails and value emails, there is one other type of email. Your welcome email.Your welcome email will just go out to your fans one time, welcome them to your email list.33This is a great opportunity to provide some value, as well as to promote you’re al-bum(s).Most of your emails should have one singular focus. If you’re selling an album, don’t link to a YouTube video or Facebook, just link to a page where they can purchase the album.In the case of the welcome email, I recommend promoting your album. But it’s also a good time to link to all of your social platforms and blog if you have one. And you should also let them know a little bit about what kind of emails they will be receiv-ing from you, so they know what to expect.There’s no steadfast rule about what your first 7 day autoresponder series should look like, but here’s what I recommend:DAY 0 (IMMEDIATELY ON SIGNUP) - WELCOME EMAILDAY 1 (24 HRS LATER) - VALUE EMAILDAY 2 - VALUE EMAILDAY 3 - PROMOTIONAL EMAILDAY 4 - PROMOTIONAL EMAILDAY 5 - VALUE EMAILDAY 6 - PROMOTIONAL EMAILThat’s a quick rundown of some things to consider when sending emails to your fans. If you want a more detailed explanation, check out the video training. 34Once you have your fan generation funnel and autoresponder set up, it’s time to start getting new fans to your squeeze page.But first before you do that, it’s a good idea to test your funnel to make sure eve-rything is working correctly. TRAFFIC7 35Be sure that when you enter your email address in the email field on your squeeze page, your email address is being added to the appropriate list that you set up in GetResponse.Make sure that you’re being directed to the correct thank you page after you’ve entered your email. If you’re selling an album on that page, go ahead and go through the process of purchasing it to make sure that’s all working correctly as well.Once you’ve tested out your funnel and you’re sure it’s working the way it’s sup-posed to, you’re ready to start sending traffic to your squeeze page.There are a lot of ways to do this. Some of which you can do right away without spending a dime on advertising.For example, you should be collecting email addresses at all your shows.People attending your live shows are the most targeted audience that you’re ever going to get. Not only are these people that are interested in your music, they are also clearly the type of person that’s going to get out of the house and come see you live. Even if they didn’t initially come to see you, you know that they’re the type of per-son that enjoys live music as a form of entertainment. If they’re willing to sign up to your email list at your show, you know they obviously like your music too.Getting people to join your email list at your shows doesn’t have to be compli-cated. Simply let the crowd know that you’ll be hanging out at your merch booth after the show, and they can sign up to your email list to get some freebies and to be noti-fied next time you’re are playing in the area.You can simply use a good old fashioned notepad and manually enter those email addresses into get response later.Alternatively, if you want to get fancy, you can pull your squeeze page up on an iPad and have them sign up right there on the spot.36It’s up to you how you do it. Just be sure that you’re getting fans to sign up to your email list at all you’re shows. Now as far as promoting your squeeze page online, there are many ways to do that, but easily one of the best ways that I’ve found is using Facebook ads.There are a lot of benefits to using Facebook ads. First of all, you can start with a really small budget. You can get great results with just $5 or $10 a day. There are hun-dreds of millions of people on Facebook, so scaling is easy once you start getting good results.Facebook has a lot of great data about the people on their social network, includ-ing music interests, and demographics like the area that they live in. Using the Face-book ad platform makes it easy to get your squeeze page in front of the people that are most likely to be interested in your musicInside the video training, I demonstrate step by step how I’m using Facebook ads to generate new fans for a band for less than $1 per new subscriber. Seriously, less than $1 per subscriber. Think about that. Once someone’s on your email list, how diffi-cult do you think it will be to earn that $1 back?You could have a flash sale of your latest album and charge just $2 and you would have doubled your money on what it cost you to get that subscriber. How much do you charge at the door of your shows? $5 per person? $10? How much merch are you selling?My point is, it’s probably easy to see that getting new fans for under a buck each can be very profitable.Click here to get access to the video training and follow along as I set up a Facebook Ad campaign. 37So that’s the simple system that you can use to get more exposure, grow your fanbase, and sell your music online. Start by creating your squeeze page using GetResponse or Thrive Architect. Be sure to create a Thank You page as well, so you’re fans will know when they’ve suc-cessfully entered their email address. WRAP UP8 38I recommend that you also take the opportunity to promote your latest album at a discount. That way you can generate a little revenue that you can put back into adver-tising. If you’re using Thrive Architect, you will need to be sure to integrate it with the appropriate list in GetResponse. If you’re using GetResponse to build your land-ing pages, then the you are already integrated, you just need to select the appropriate list when prompted.Collect fan email addresses at live shows and promote your squeeze page using Facebook ads to start building your email list.Then you can use your email autoresponder to connect with fans and build rela-tionships with those fans. By cultivating your following, you will build a fanbase of diehard super fans that will spend a lot of money to see you perform live, buy exclusive merch, and download your albums. Those diehard superfans are also likely to share your music with all of their friends, which will grow your following even more.At the beginning of this book, I told you that I would outline this proven-effective, music promotion strategy for you. I also mentioned that this would be enough for some people to follow along with an implement on their own.However, I realize that you may not have much experience with marketing and you may not have a lot of experience with some of the more technical stuff involved.That’s why I’ve created this step by step video course that you can get access to right now, so you can follow along with me as I set this entire system up for a real band.Not only will you see how I set everything up, you’ll also:• See how I get new fans for less than $1 using Facebook Ads• Learn how to build an army of diehard superfans that will support your career and share your music with friends39• Create geo-targeted email lists to build followings in the cities you perform the most• Craft the perfect squeeze page to get more people to join your email list• Automate the whole process• And much more!So if you’d like to build an automated fan generating machine that will help you get more exposure and sell more music 24/7, even while you sleep, click here to get access to the full step by step video training.If you decide to get access to the course, I’m sure you’re going to love it!In any case, I hope you’ve found the information in this book helpful. Be sure to put it into action right away, and I have no doubt that you’ll have a much larger follow-ing in no time!Thanks for taking the time to check out the book.I wish you the best of luck in your music career! 40Copyright © 2018 by JMS Digital Media Inc.All rights reserved. No part of this publication may be reproduced, distributed, or transmitted in any form or by any means, including photocopying, recording, or other elec-tronic or mechanical methods, without the prior written permission of the publisher, except in the case of brief quotations embodied in critical reviews and certain other noncommer-cial uses permitted by copyright law. For permission requests, write to the publisher, ad-dressed “Attention: Permissions Coordinator,” at the address below.JMS Digital Media302 Enterprise Dr. Ste. A38655 Oxford, MSUnited States 41	[ "email", "fan", "get", "music", "page", "youre", "list", "like", "album", "people" ]	{ "summary": "HOW TO GET MORE EXPOSURE, \nMORE FANS, AND SELL YOUR \nMUSIC ONLINE BY JUSTIN SMITH\nINSIDER SECRETS OF" }
614756980-5-Pillars-of-a-Great-Release.pdf	A PRACTICAL REVIEW OF ELECTRONIC MUSIC MARKETINGTHE 5 PILLARS OF A GREAT RELEASECHOOSE YOUR RELEASE PLATFORM FOR EVERY RELEASE, YOU HAVE THE OPTION TO RELEASE 1) ON A RECORD LABEL, OR 2) INDEPENDENTLY (INDIE). BOTH REQUIRE UNIQUE APPROACHES IN ORDER TO BE SUCCESSFUL. A main advantage of releasing on a record label is access to their distributor — distribution is how your music gets onto streaming platforms and music stores. Labels work closely with distributors to handle this for you; however, if you release independently, you’ll have to work with the distribution company of your choice directly, and often pay for their services. Labels often produce greater stream counts and sales due to a larger marketing reach, but this comes with a price. Labels regularly take up to (and sometimes greater than) 80% of a song’s revenue. By releasing independently, you can retain up to 100% of the song’s revenue (depending on which distributor you choose), but you’ll need to do your marketing yourself.LEVERAGE YOUR MARKETING DATABASE TAKE THE TIME TO BUILD A DATABASE OF VALUABLE CONTACTS TO USE FOR YOUR RELEASE MARKETING (EVEN IF YOU PLAN TO RELEASE ON A LABEL) — YOUR DATABASE SHOULD INCLUDE EVERYONE FROM INDUSTRY TASTEMAKERS IN DIFFERENT VERTICALS, TO DEDICATED FANS/FRIENDS, TO OTHER ARTISTS. Identify and ﬁnd contact information for curators of Spotify playlists and owners of large Soundcloud channels. Send emails to these contacts before a song release to have them include your song on a playlist or repost it to their followers. The number of Spotify/Soundcloud contacts should be well into the hundreds — this list can be reused for future releases. Build a network of similar artists to help you market your music — from playing other artists’ music during live performances or in radio shows, to Soundcloud reposts, tweets, and Instagram stories, artists can co-market music to their fan bases. But, be sure to be equally supportive — seek to give support as much as you ask for it.DESIGN A RELEASE STRATEGY IT ISN’T ENOUGH TO WHIMSICALLY POST ON YOUR SOCIAL MEDIA PAGES WHENEVER YOU FEEL LIKE IT. IT’S EXTREMELY USEFUL TO CREATE AN ORGANIZED AND DETAILED PLAN FOR EVERY RELEASE — AND, THIS ONLY GETS EASIER WITH EACH RELEASE! For every song, create a document (we like to use Excel) to house all song information, links, a calendar for social media posts, and database contacts who require personal outreach (because of past support, a stronger personal relationship, etc.). Be sure to plan a release relative to other releases, too — we recommend releasing a song every 1-2 months. Create at least 2-3 pieces of ancillary content per release. DJ mixes, in-the-studio tutorials, quirky social media videos, Instagram story takeovers, etc. — these are all effective ways to market your release to your audience without repeatedly posting Spotify links. It’s important to maintain constant contact with your audience to create a buzz around a release.ASSETS AND ARTWORK THE VISUAL ELEMENTS OF YOUR SONG AND ALL THE WRITTEN COPY SHOULD BE PREPARED IN ADVANCE OF RELEASE DAY. TO ACHIEVE A TRULY VIRAL RELEASE, THIS NEEDS TO GO BEYOND A SIMPLE ALBUM ARTWORK. “Copy” is an important term to understand — it is the exact text that will be used in marketing materials. Write all social media posts and emails in advance of the release, and pre-schedule as many of them as you can. This allows you to strategize on the collective language that will be used, and it will save you precious time during the release cycle. Artwork: do it yourself, or pay for a visual artist? First, this depends on your budget. If you have a budget for artwork, working with a visual artist can be a great way to professionally build out your own visual ideas, or leverage someone else’s creative vision. If it’s not in your budget, no worries — keep it simple and clean, you can’t go wrong there.THE KEYS TO SPOTIFY WE’VE ALREADY TOUCHED ON THIS, BUT WE’RE GOING TO REITERATE — SPOTIFY IS THE DOMINATING FORCE IN MUSIC STREAMING. IN MOST CASES, WITHOUT A ROBUST SPOTIFY PRESENCE, IT’S VERY HARD TO GROW YOUR BRAND AS AN ARTIST. Focus on playlists. Spotify’s playlists snowball on each other — the more playlists a song is in, and the fewer times listeners skip a song in a playlist, the more new playlists Spotify’s algorithms will place it in (speciﬁcally the Discover Weekly playlists). In order to avoid skips, make sure you submit your song only to playlists curated for your speciﬁc genre. A NEW Spotify playlist system is just around the corner. Currently in beta, this artists-only platform will allow for direct submissions to playlist curators from a single submission page. Start using this as soon as it is available — but remember, even though this will be convenient, nothing beats a personal contact with a playlister built upon individual, direct contact.HYPERBITS HYPERBITS HYPERBITS HYPERBITS HYPERBITS www.hyperbitsmusic.com	[ "release", "song", "playlist", "music", "contact", "artist", "label", "spotify", "marketing", "every" ]	{ "summary": "A PRACTICAL REVIEW OF\nELECTRONIC MUSIC MARKETINGTHE 5 PILLARS\nOF A GREAT RELEASECHOOSE YOUR RELEASE " }
540674759-26-Things-Before-You-Release-a-Song-or-Album.pdf	26 THINGS TO DO BEFORE YOU RELEASE A SONG OR ALBUM• ARI'S TAKE PRESENTS •1. MARKET RESEARCH H o w d o y o u k n o w i f y o u s u c k o r n o t ? Y o u ’ r e b i a s e d . S o a r e y o u r m o m a n d y o u r b o y f r i e n d . Y o u r f r i e n d s a r e n ’ t g o i n g t o t e l l y o u i f t h e y h a t e y o u r m u s i c . T h e y w i l l c o m e t o y o u r s h o w s t o s u p p o r t y o u . T o m a k e s u r e y o u r m u s i c i s r e a d y f o r p r i m e t i m e , y o u n e e d s o m e u n b i a s e d o p i n i o n s . Y o u c a n s u b m i t t o i n d u s t r y e x p e r t s , i n f l u e n c e r s a n d c u r a t o r s o n F l u e n c e ( F l u e n c e . i o ) . F l u e n c e a l l o w s y o u t o p a y p e o p l e w h o a r e d i f f i c u l t t o r e a c h t o l i s t e n t o y o u r s o n g o r w a t c h y o u r v i d e o . M o s t ‘ c u r a t o r s ’ ( a s t h e y ’ r e c a l l e d o n t h e p l a t f o r m ) c h a r g e a f e w d o l l a r s a m i n u t e . I f y o u ’ r e a s k i n g f o r f e e d b a c k , p r e p a r e f o r i t t o b e b r u t a l l y h o n e s t . W h e n I w a s a c u r a t o r o n F l u e n c e I t y p i c a l l y w r o t e f i v e t o t e n p a r a g r a p h c r i t i q u e s o f s o n g s s u b m i t t e d t o m e . 8 0 % o f t h e s t u f f I r e c e i v e d w a s n o t v e r y g o o d ; 1 5 % w a s d e c e n t , b u t n o t g r e a t ; a n d 5 % w a s s o g r e a t t h a t I h a d t o s h a r e i t ( i f i t w a s r e l e a s e d ) a n d h e l p t h e a r t i s t m a k e c o n n e c t i o n s . B u t F l u e n c e c a n g e t p r i c e y . T o h i t t h e g e n e r a l p u b l i c , y o u c a n u s e T u n e c o r e ’ s F a n R e v i e w s . Y o u d o n ’ t a c t u a l l y h a v e t o d i s t r i b u t e y o u r m u s i c t o g e t i t r e v i e w e d . T o g e t 1 0 0 r e v i e w s b y t h e s e ‘ m u s i c f a n s a n d c o n s u m e r s ’ ( p e o p l e w h o g e t p a i d t o t a k e s u r v e y s ) i t ’ l l r u n y o u a b o u t $ 4 0 . O t h e r w i s e , i f y o u h a v e a s t r o n g c o m m u n i t y a r o u n d y o u , e n l i s t s o m e t r u s t e d e a r s t o t a k e a s u r v e y a n o n y m o u s l y . Y o u c a n u s e S u r v e y m o n k e y o r G o o g l e F o r m s a n d t h e y c a n r a n k t h e s o n g s i n t h e o r d e r o f t h e i r f a v o r i t e s , r a t e e a c h o n a 1 - 1 0 s c a l e , a n d o f f e r o t h e r k i n d s o f f e e d b a c k . I f y o u ' r e n o t s u p e r e s t a b l i s h e d , I r e c o m m e n d d o i n g s o m e k i n d o f m a r k e t r e s e a r c h b e f o r e r e l e a s i n g y o u r m u s i c . I t c a n a l s o j u s t h e l p t o k n o w t h e o r d e r t o r e l e a s e y o u r s i n g l e s . 2. MAKE A TIMELINE This should include all the elements below. A great song needs a great strategy. The most important thing you can do is know exactly what you have to do each day and each week leading up to your release and what to do after. Be specific and thorough. At the top of each week, you should already know exactly what you need to accomplish. Which photos and videos are you posting? What emails are you sending? What stories are you telling? Once you have it written out, make sure to use a system that will work for you so you execute with precision. Maybe it's the calendar on your phone, maybe it's post-it notes on your wall, maybe it’s a fancy project management software. Whatever it is, stick to it. This is your roadmap to a successful release. 26 THINGS TO DO BEFORE YOU RELEASE A SONG OR ALBUM4. SIGNUP FOR A PRO I n A m e r i c a , t h e m o s t w e l l - k n o w n P e r f o r m i n g R i g h t s O r g a n i z a t i o n s ( P R O s ) a r e A S C A P , B M I a n d S E S A C . I n C a n a d a t h e s o l e P R O i s S O C A N . I n t h e U K i t ’ s P R S . Y o u m u s t b e s i g n e d u p w i t h a P R O t o g e t y o u r p e r f o r m a n c e r o y a l t i e s f o r s o n g s y o u w r i t e . M o s t a d m i n p u b l i s h i n g c o m p a n i e s w i l l r e g i s t e r y o u r s o n g s w i t h e v e r y P R O i n t h e w o r l d ( i n c l u d i n g y o u r h o m e t o w n o n e ) , s o y o u d o n ’ t n e e d t o w o r r y a b o u t r e g i s t e r i n g e a c h s o n g w i t h y o u r l o c a l P R O a s l o n g a s y o u r e g i s t e r t h o s e s o n g s w i t h y o u r a d m i n p u b l i s h i n g c o m p a n y . I f y o u d o n ’ t h a v e a n a d m i n p u b l i s h i n g c o m p a n y ( u h , s e e # 2 ) , t h e n y o u ’ l l n e e d t o m a k e s u r e y o u r e g i s t e r e v e r y o n e o f y o u r s o n g s w i t h y o u r P R O . 6. REGISTER YOUR COPYRIGHTS You can currently register 20 of your unreleased songs for $85 with the US Copyright office. You can do everything at Copyright.gov. Make sure you’re protected so when the future Pharell and Robin Thicke steal your song in 30 years, your kids will be able to sue for their retirement! If you don’t register the copyright, you can’t bring a suit.5. REGISTER WITH A SOUND RECORDING PRO SoundExchange is how you get paid for Pandora and SiriusXM (and all other digitalradio) plays in the US. Other countries have their own "Neighboring Rights Organizations." Find the one in your country and register for it. 26 THINGS TO DO BEFORE YOU RELEASE A SONG OR ALBUM 3. REGISTER YOUR PUBLISHING If you want to make sure you’re collecting all of your publishing royalties wherever they exist in the world, you’re going to need an admin publishing company to help you collect these (if you don’t have a publishing deal). Songtrust, Tunecore Publishing, CD Baby Publishing or Sentric are some admin publishing companies that any songwriter at any level can sign up for and get 100% of their publishing royalties collected. DID YOU KNOW You can get paid for playing your original music live? Your admin publishing company can help you collect this money!9. CREATE THE FOLDER OF ASSETS W a v s o f e v e r y s o n g ( i n c l u d i n g i n s t r u m e n t a l s ) . 3 2 0 k b p s ( m e t a d a t a t a g g e d ) m p 3 s o f e v e r y s o n g ( i n c l u d i n g i n s t r u m e n t a l s ) . H i g h - r e s a l b u m c o v e r ( a t l e a s t 3 0 0 0 p i x e l s x 3 0 0 0 p i x e l s ) . S t e m s ( f o r r e m i x e s ) . T h e s e a r e i s o l a t e d v o c a l s , d r u m s , b a s s , g u i t a r t r a c k s . H i - r e s p r o m o p h o t o s ( n o b i g g e r t h a n 1 0 m b p e r i m a g e ) M e r c h d e s i g n s P r e s s r e l e a s e S p r e a d s h e e t o f p l a y l i s t s , i n f l u e n c e r s a n d p r e s s o u t l e t s t o t a r g e t T e x t d o c w i t h c r e d i t s ( b r e a k t h e s e d o w n b y s o n g ) S h o r t a n d l o n g b i o s A l l p r o m o m a t e r i a l s ( w i t h o r i g i n a l f i l e s t o b e a b l e t o u p d a t e a n d e d i t ) D e m o s A l l v i d e o s ( m u s i c v i d e o , B T S , a d s , u p c o m i n g p o s t s ) T e x t d o c c o n t a i n i n g l i n k s t o a l l s h a r e a b l e a s s e t s t h a t y o u ’ l l n e e d t o r e f e r e n c e q u i c k l y .C r e a t e a f o l d e r i n y o u r p r e f e r r e d c l o u d - b a s e d d r i v e ( D r o p b o x , G o o g l e D r i v e , B o x ) w h i c h c a n b e s h a r e d w i t h y o u r t e a m t h a t c o n t a i n s : 26 THINGS TO DO BEFORE YOU RELEASE A SONG OR ALBUM 8. GET A SYNC AGENT If you’re interested in getting your music in TV shows, commercials, movies, video games and trailers, you’ll want to work with a sync agent. Some call these sync licensing companies. You can find a list of the top 25 sync agencies in the world in How To Make it in the New Music Business. You can also learn all about sync licensing in Ari’s Take Academy’s Advanced Sync Strategies course.7. PICK YOUR DISTRIBUTION COMPANY To get your songs on Spotify, Apple Music, Spotify, Amazon, TikTok and 100+ other DSPs (digital service providers) worldwide, you need a distribution company. There are many distribution companies out there who you can use. I keep an updated comparison article on many of these companies on aristake.com.11. WRITE A NEW BIO AND PRESS RELEASE Y o u r b i o i s y o u r s t o r y . I t i s t h e s i n g l e m o s t i m p o r t a n t p i e c e o f y o u r r e l e a s e — n e x t t o t h e m u s i c , o f c o u r s e . I t s h o u l d r e v e a l w h y p e o p l e s h o u l d c a r e a b o u t y o u . W h a t s e t s y o u a p a r t ? W h y a r e y o u u n i q u e ? A n d m o r e s p e c i f i c a l l y , w h a t i s t h e a l b u m ’ s s t o r y ? W i t h t h i s i n m i n d , y o u c a n c r a f t y o u r b i o . M a n y o u t l e t s w i l l c o p y a n d p a s t e y o u r b i o f o r t h e i r n e e d s . M a k e s u r e y o u h a v e t h r e e b i o s , a l o n g o n e , a s h o r t o n e ( 1 o r 2 p a r a g r a p h s , d e f i n i t e l y u n d e r 5 0 0 w o r d s ) a n d a n e l e v a t o r p i t c h ( t h i s i s j u s t f o r y o u a n d y o u r t e a m w h e n d i s c u s s i n g t h e a l b u m ) . T h e p r e s s r e l e a s e i s d i f f e r e n t f r o m y o u r b i o a n d d o e s n ’ t n e e d t o b e p o s t e d a n y w h e r e o n l i n e . Y o u w i l l s e n d t h i s d i r e c t l y t o m e d i a o u t l e t s . Y o u r p r e s s r e l e a s e s h o u l d i n c l u d e r e c e n t m e d i a c o v e r a g e , t h e r e l e a s e y o u ’ r e c u r r e n t l y p r o m o t i n g , a n y n o t a b l e s h o w s a n d t o u r d a t e s ( p a s t o r f u t u r e ) , a n d a s n a p s h o t o f y o u r b i g g e r p i c t u r e p l a n . 12. CLEAR ALL LICENSES I f y o u a r e r e l e a s i n g a c o v e r s o n g o r h a v e s a m p l e s i n t h e t r a c k t h a t y o u d i d n ’ t c r e a t e , y o u h a v e t o c l e a r t h e l i c e n s e s . F o r c o v e r s o n g s , m o s t d i s t r i b u t o r s w i l l g i v e y o u g u i d a n c e o n h o w t o g e t t h e m e c h a n i c a l l i c e n s e ( s o m e d i s t r o s d o t h i s f o r y o u - f o r a f e e ) . I f y o u u s e d a p i e c e o f r e c o r d e d m u s i c i n y o u r t r a c k t h a t y o u d i d n ’ t c r e a t e f r o m s c r a t c h , y o u h a v e t o m a k e s u r e y o u ’ r e l e g a l l y a l l o w e d t o u s e i t . M a n y r e c o r d i n g p r o g r a m s ( D A W s ) a l l o w y o u t o u s e t h e i r s o u n d s a n d l o o p s , b u t i f y o u t o o k e v e n a s p l i t s e c o n d o f a p i e c e o f s o m e o n e e l s e ’ s r e c o r d i n g , y o u n e e d t h e i r p e r m i s s i o n . D o n ’ t t h i n k y o u ’ l l g e t c a u g h t ? A u d i o r e c o g n i t i o n s o f t w a r e t h e s e d a y s a r e i n c r e d i b l y p o w e r f u l . D o n ’ t r i s k i t . 26 THINGS TO DO BEFORE YOU RELEASE A SONG OR ALBUM 10. GET NEW PHOTOS Y o u s h o u l d b u i l d u p a n e t w o r k o f p h o t o g r a p h e r s i n y o u r c i t y . Y o u c a n n e v e r h a v e e n o u g h h i g h - q u a l i t y p h o t o s . E v e r y r e l e a s e i s a n e w b e g i n n i n g . I t ’ s a t i m e t o u p d a t e a n d e n h a n c e y o u r i m a g e . T o r e b r a n d i f n e c e s s a r y . P h o t o s g i v e y o u r a u d i e n c e t h e f i r s t i m p r e s s i o n o f t h e m u s i c . P e o p l e w i l l j u d g e y o u r p r o j e c t b a s e d o n t h e a r t w o r k a n d p h o t o g r a p h y b e f o r e t h e y c h o o s e t o l i s t e n t o t h e m u s i c . S o y o u r p h o t o s s h o u l d h a v e t h e s a m e v i b e a n d e n e r g y o f y o u r r e l e a s e . M a k e s u r e y o u r p h o t o g r a p h e r l i s t e n s t o t h e n e w m u s i c . A n d m a k e s u r e t h e p h o t o s y o u r e l e a s e a l o n g s i d e t h e n e w m u s i c m a k e s e n s e . Y o u n e e d t o w e a r a n o u t f i t c o n d u c i v e t o t h e n e w s o u n d . Y o u r n e w a l b u m n e e d s a s t o r y . A n d t h o s e p h o t o s n e e d t o m a t c h t h e s t o r y . P u t a l l t h e e d i t e d p h o t o s i n y o u r F o l d e r o f A s s e t s . C r e a t e a s e p a r a t e f o l d e r f o r e a c h s i n g l e r e l e a s e w i t h t h e a c c o m p a n y i n g p h o t o s f o r t h a t r e l e a s e .14. MAKE A LIST OF PLAYLISTS TO CONTACT M a k e a l i s t o f u s e r g e n e r a t e d p l a y l i s t s t h a t y o u r m u s i c w o u l d f i t o n . I l i k e d o i n g t h i s i n G o o g l e S h e e t s a n d i n c l u d e a s m u c h i n f o o n t h e p l a y l i s t a s p o s s i b l e . C h a r t m e r t r i c c a n h e l p w i t h t h i s . R e s e a r c h w h o t h e p l a y l i s t c r e a t o r i s a n d c o n t a c t t h e m w h e n y o u r s o n g i s r e l e a s e d a n d a s k t o b e i n c l u d e d . S t a r t y o u r m e s s a g e w i t h t h e i r n a m e a n d a c o m p l i m e n t a b o u t t h e p l a y l i s t . 15. PRIVATE SONG SHARING AND STORING Y o u n e e d a p r i v a t e w a y t o s h a r e n e w m u s i c w i t h m u s i c s u p e r v i s o r s , l a b e l s , a g e n t s , m a n a g e r s a n d b l o g s . S o m e o f t h e m o s t p o p u l a r o p t i o n s t o d o t h i s a r e D r o p b o x , D I S C O , G o o g l e D r i v e a n d B o x . P u t b o t h w a v s a n d m p 3 s i n t h e r e a l o n g w i t h l y r i c s a n d a n y n o t e s o n t h e s o n g . T h i s w i l l b e t h e i n t r o d u c t i o n o f t h i s p r o j e c t , s o m a k e s u r e w h o e v e r g e t s t h i s l i n k c a n u n d e r s t a n d t h e f u l l p i c t u r e . Y o u o n l y g e t o n e s h o t a t a f i r s t i m p r e s s i o n ! G e t l i n k s f o r e v e r y s o n g ( m a k e s u r e y o u c l i c k t h e S h a r e b u t t o n - d o n ’ t c o p y t h e U R L b e c a u s e i t w i l l m a k e t h e m l o g i n ) a n d p o p t h e s e l i n k s i n t o y o u r t e x t d o c i n t h e F o l d e r o f A s s e t s . 26 THINGS TO DO BEFORE YOU RELEASE A SONG OR ALBUM 13. CUE UP SPOTIFY FOR ARTISTS Y o u w a n t t o m a k e s u r e t o d i s t r i b u t e y o u r s o n g a t l e a s t 5 w e e k s b e f o r e t h e r e l e a s e d a t e . O n c e i t i s o f f i c i a l l y c u e d u p f o r d i s t r i b u t i o n , a c o u p l e d a y s l a t e r i t s h o u l d b e l i s t e d i n y o u r S p o t i f y f o r A r t i s t s b a c k e n d a s a n u p c o m i n g r e l e a s e . T h e r e i s a n o p t i o n t h e r e t o s u b m i t t o t h e S p o t i f y p l a y l i s t e d i t o r s . A n d t h i s i s h o w y o u m a k e s u r e y o u r s o n g s h o w s u p i n y o u r f o l l o w e r s ’ R e l e a s e R a d a r a n d h i t s o t h e r a l g o r i t h m i c p l a y l i s t s o n S p o t i f y . T o h a v e s u c c e s s h e r e y o u n e e d t o b e c l e a r a b o u t y o u r l o n g t a i l s t r a t e g y . W h a t s u p p o r t h a v e y o u h a d ? W h a t p r e s s i s c o m i n g ? W h a t c a n p e o p l e e x p e c t f r o m y o u f o r t h e n e x t 6 m o n t h s t o a y e a r ? H o w o f t e n a r e y o u r e l e a s i n g m u s i c ? W h a t ' s y o u r s h o w h i s t o r y a l o n g w i t h u p c o m i n g s h o w s ? W h a t a r e s o m e h i g h l i g h t s t h a t m a k e y o u s t a n d o u t f r o m t h e n o i s e ? S p o t i f y w a n t s t o k n o w t h a t y o u a r e a n a r t i s t w o r t h s u p p o r t i n g . S p o t i f y a s k s f o r t h i s s t u f f a n d t h e y w i l l h e l p a r t i s t s t h e y k n o w h a v e t h e i r s t u f f t o g e t h e r . Y o u ’ r e a l s o g o i n g t o w a n t t o c u e u p t h e . C a n v a s ( 8 s e c o n d s i l e n t v i d e o l o o p s ) f o r e a c h s o n g ( w h i c h p l a y s w h e n s o m e o n e s t r e a m s y o u r s o n g o n S p o t i f y m o b i l e ) . M a k e s u r e t o a l s o s e t u p C o n t r i b u t i o n s s o y o u r f a n s a r e a b l e t o d o n a t e t o y o u d i r e c t l y w h e n t h e y ’ r e o n y o u r S p o t i f y p r o f i l e - y o u g e t 1 0 0 % o f t h i s m o n e y .26 THINGS TO DO BEFORE YOU RELEASE A SONG OR ALBUM 19. REBRAND YOUR SOCIALS & WEBSITE N o w t h a t y o u h a v e n e w p h o t o s , a l b u m c o v e r a n d b i o , u s e t h e s e a s s e t s t o r e b r a n d a l l y o u r s o c i a l s i t e s a n d w e b s i t e . Y o u a r e b r i n g i n g a n e n t i r e l y n e w p a c k a g e t o t h e w o r l d . M a k e i t s h i n y , s p a r k l y a n d t a s t y . A n d p u t a b o w o n i t ! I t ’ s a g o o d i d e a t o r e b r a n d y o u r w e b s i t e e v e r y c o u p l e y e a r s r e g a r d l e s s i f y o u h a v e a n e w a l b u m o r n o t . T h e r e a r e p l e n t y o f w e b s i t e b u i l d e r s t h a t r e q u i r e n o d e s i g n o r c o d i n g k n o w l e d g e . T h e y h a v e b e a u t i f u l t e m p l a t e s t o c h o o s e f r o m a n d a r e v e r y s i m p l e t o u s e . I k e e p a n u p d a t e d c o m p a r i s o n o n a r i s t a k e . c o m o f s o m e o f t h e b i g g e s t w e b s i t e b u i l d e r s .18. PUT THE RELEASE ON BANDCAMP B a n d c a m p i s t h e # 1 i n d e p e n d e n t m u s i c s t o r e . I t i s s e l f - m a n a g e d b y y o u . Y o u d o n ’ t n e e d t o u s e a d i s t r i b u t o r t o g e t o n B a n d c a m p . Y o u c a n g o t o B a n d c a m p . c o m a n d s i g n u p f o r f r e e . Y o u c a n o f f e r “ n a m e y o u r p r i c e ” d o w n l o a d s ( t h e y a l s o h a v e a s t r e a m i n g l i b r a r y ) . A f a n o n c e p a i d m e $ 2 0 0 f o r m y a l b u m ( s e t a t $ 5 m i n i m u m ) . B a n d c a m p n o w o f f e r s s u b s c r i p t i o n s a n d a p h y s i c a l m e r c h s t o r e a s w e l l . T h i s i s a n e a s y w a y t o e n c o u r a g e y o u r f a n s t o p a y y o u m o n e y f o r y o u r m u s i c . Y o u a i n ’ t g o i n g t o b e m a k i n g m u c h f r o m s t r e a m s , s o e n c o u r a g e y o u r f a n s t o e n j o y y o u r m u s i c o n B a n d c a m p . 17. CREATE THE VIDEOS E v e r y s o n g y o u r e l e a s e s h o u l d h a v e a n a c c o m p a n y i n g v i d e o . I t d o e s n ’ t n e e d t o b e a h i g h p r i c e d m u s i c v i d e o , b u t i t s h o u l d h a v e a v i d e o c o m p o n e n t . T h e r e a r e e v e n i n e x p e n s i v e a p p s o u t t h e r e t h a t c a n e a s i l y c r e a t e l y r i c v i d e o s f o r y o u . Y o u ’ r e g o i n g t o w a n t v i d e o s o f d i f f e r e n t l e n g t h a n d a s p e c t r a t i o f o r S p o t i f y ’ s C a n v a s , I n s t a g r a m S t o r i e s a n d o t h e r o u t l e t s y o u w a n t t o c u s t o m i z e t h e v i d e o s f o r i n a d v a n c e . M a k e s u r e t h e v i d e o s f i t t h e v i b e o f t h e s o n g a n d t h e p r o j e c t .16. MAKE A LIST OF PRESS OUTLETS TO CONTACT S e n d o u t y o u r p r e s s r e l e a s e t o a n y o u t l e t y o u t h i n k w o u l d r e s p o n d w e l l t o y o u r s t o r y a n d y o u r m u s i c . B u t m a k e s u r e t h e e m a i l i s p e r s o n a l i z e d t o t h e w r i t e r . O p e n t h e e m a i l w i t h a c o m p l i m e n t a b o u t a p r e v i o u s a r t i c l e t h e y w r o t e . T h e s e w r i t e r s a r e m u s i c f a n s w h o a r e w o r k i n g o n t h e i r o w n c r e a t i v e m e d i u m . C o m p l i m e n t s t o t h e i r w o r k c o m e f e w a n d f a r b e t w e e n . Y o u w a n t t o h a v e p i t c h e s o u t a t l e a s t a m o n t h i n a d v a n c e w i t h r e g u l a r f o l l o w u p s ( e v e r y 4 d a y s o r s o ) . B o o m e r a n g i s a g r e a t G m a i l p l u g - i n t h a t c a n a u t o m a t e t h i s . C o m p l e t e w i t h a n o p t i o n t o o n l y s e n d i f t h e r e i s n o r e p l y s o y o u c a n s e t i t a n d f o r g e t i t . I f y o u h a v e a b u d g e t f o r a p u b l i c i s t , t h e y w i l l d o t h i s f o r y o u .26 THINGS TO DO BEFORE YOU RELEASE A SONG OR ALBUM 22. CUE UP THE ADS D i g i t a l m a r k e t i n g i s n o w a m u s t f o r e v e r y r e l e a s e . R u n n i n g s o c i a l m e d i a a d s ( f o r a r o u n d $ 5 - 1 0 / d a y ) i s s i n g l e - h a n d e d l y h o w L u c i d i o u s w e n t f r o m 1 0 0 m o n t h l y l i s t e n e r s t o 5 0 0 , 0 0 0 m o n t h l y l i s t e n e r s i n 3 y e a r s . C u e u p t h o s e F a c e b o o k , I n s t a g r a m , Y o u T u b e a d s . Y o u c a n l e a r n h o w t o d o t h i s i n t h e A r i ’ s T a k e A c a d e m y c o u r s e : S t r e a m i n g a n d I n s t a g r a m G r o w t h21. CREATE NEW MERCH A n e w r e l e a s e d e m a n d s n e w m e r c h . Y o u c a n c r e a t e p r i n t - o n - d e m a n d m e r c h s o y o u d o n ’ t n e e d t o b u y ( o r s t o r e ) u p f r o n t i n v e n t o r y . T h e m e r c h c o m p a n y w i l l p r i n t a n d s h i p t h e i t e m d i r e c t l y t o y o u r f a n . W e k e e p a n u p d a t e d c o m p a r i s o n o f p r i n t o n d e m a n d c o m p a n i e s o n a r i s t a k e . c o m . A l s o m a k e s u r e t h a t y o u r m e r c h i s l i n k e d t o S p o t i f y a n d y o u r o t h e r p r o f i l e s o n l i n e t h a t s h o w c a s e m e r c h . C u r r e n t l y , M e r c h b a r i s t h e o n l y w a y t o g e t y o u r m e r c h o n t o S p o t i f y . Y o u c a n s i g n u p h e r e .20. GET A MAILING LIST I f y o u d o n ’ t h a v e a m a i l i n g l i s t y e t , s t a r t o n e . T h i s i s t h e m o s t i m p o r t a n t f a n e n g a g e m e n t t o o l y o u h a v e . A M c K i n s e y & C o m p a n y s t u d y r e c e n t l y c o n c l u d e d t h a t e m a i l m a r k e t i n g i s f o r t y t i m e s m o r e e f f e c t i v e t h a n F a c e b o o k a n d T w i t t e r c o m b i n e d . O f c o u r s e e m a i l i s i m p o r t a n t , b u t t e x t m e s s a g e m a r k e t i n g i s b e c o m i n g m o r e w i d e l y u s e d a n d i n c r e a s i n g l y a m u s t - h a v e . M a i l c h i m p i s g r e a t f o r e m a i l . 23. WIKIPEDIA PAGE E v e n a l l t h e s e y e a r s l a t e r W i k i p e d i a i s s t i l l o n e o f t h e f i r s t p l a c e s p e o p l e g o t o g e t a q u i c k g l a n c e a t y o u r b i o . A n d i t ’ s a l m o s t a l w a y s t o p o f t h e l i s t i n G o o g l e s e a r c h r e s u l t s . I t v a l i d a t e s y o u a n d h e l p s t h e i n t e r n e t l e a r n a b o u t y o u . I f y o u d o n ’ t h a v e a W i k i p e d i a p a g e y e t , t h e r e a r e p l e n t y o f p e o p l e a n d c o m p a n i e s o u t t h e r e y o u c a n h i r e t o m a k e y o u o n e . Y o u j u s t n e e d a g o o d a m o u n t o f p r e s s u n d e r y o u r b e l t . I f y o u h a v e o n e a l r e a d y , t i m e t o g e t i t u p d a t e d . W i k i p e d i a d o e s n ’ t l i k e w h e n t h e s u b j e c t e d i t s t h e i r o w n p a g e ( a n d i t c a n ’ t r e a d l i k e a p r o m o t i o n a l b i o ) , s o e i t h e r d i s g u i s e y o u r e d i t i n g , o r a s k y o u r n e t w o r k t o h e l p w i t h t h i s .24. TRACKABLE LINKS S m a r t u r l , F e a t u r e . f m , S h o w . c o a l l h a v e w a y s f o r y o u t o c r e a t e c u s t o m l i n k s t h a t y o u c a n u s e t o t r a c k c l i c k s o n w h a t e v e r y o u ’ r e p r o m o t i n g . T h e y a l s o e n a b l e y o u t o c r e a t e S p o t i f y p r e - s a v e c a m p a i g n s a n d a l i n k t r e e s t y l e a l b u m l a n d i n g p a g e w h e r e t h e f a n c a n c h o o s e t h e i r p r e f e r r e d D S P . R e a d a c o m p a r i s o n o f t h e s e r v i c e s o n a r i s t a k e . c o m A l s o , a d d a o n e c l i c k , l a n d i n g p a g e l i n k , l i k e l i n k t r . e e , t o y o u r I n s t a g r a m , T w i t t e r , T i k T o k a n d o t h e r s o c i a l p l a t f o r m s ’ b i o s e c t i o n w h e r e y o u w a n t t o s e n d p e o p l e t o l e a r n m o r e a b o u t y o u . 25. GET ON ALLMUSIC.COM AND DISCOGS A l l M u s i c i s t h e m o s t i n c l u s i v e c r e d i t s d a t a b a s e i n e x i s t e n c e . D i s c o g s i s a c l o s e s e c o n d . E v e n t h o u g h m a n y o f t h e D S P s a r e s t a r t i n g t o d i s p l a y c r e d i t s i n t h e i r p l a t f o r m , t h e y ’ r e n o t f u l l y i n c l u s i v e o f e v e r y o n e y e t . Y o u r m u s i c s h o u l d b e r e g i s t e r e d o n A l l M u s i c . c o m a n d D i s c o g s s o p e o p l e c a n f i n d o u t w h o p l a y e d t h e v i o l i n o n t r a c k 3 a n d w h o c o w r o t e t r a c k 7 , b e c a u s e m o s t p e o p l e w o n ’ t e v e r s e e y o u r p h y s i c a l l i n e r n o t e s . T o g e t r e g i s t e r e d o n A l l M u s i c , y o u g o t o h t t p : / / a l l m u s i c . c o m / p r o d u c t - s u b m i s s i o n s a n d f o l l o w t h e i n s t r u c t i o n s . F o r D i s c o g s , y o u c a n s u b m i t t h e i n f o d i r e c t l y t h r o u g h t h e s i t e ( D i s c o g s . c o m ) . 26. FORM A CORPORATE ENTITY (LIKE AN LLC) T h i s g i v e s y o u s o m e l e g a l p r o t e c t i o n s , t a x b r e a k s a n d e n a b l e s y o u t o o p e n a b a n d b a n k a c c o u n t ( a n d g e t p a i d ) . Y o u s h o u l d c o n s u l t a n a t t o r n e y a n d a c c o u n t a n t t o m a k e s u r e y o u s e t t h i s u p p r o p e r l y . O r i f y o u ’ r e o n a b u d g e t , L e g a l z o o m c a n h e l p y o u g e t t h i s s e t u p c h e a p l y .26 THINGS TO DO BEFORE YOU RELEASE A SONG OR ALBUM	[ "e", "r", "n", "u", "l", "h", "c", "p", "g", "f" ]	{ "summary": "26 THINGS TO DO\nBEFORE YOU RELEASE A SONG \nOR ALBUM• ARI'S TAKE PRESENTS •1. MARKET RESEARCH\nH o w " }
404181045-An-Introduction-To-Music-Marketing-By-Shaun-Letang-miht-pdf.pdf	Page 1 Page 2 Contents Hi! - Page 3 What Is Music Marketing? – Page 5 Why Do You Need To Market Your Music? – Page 6 How Much You Should Market Your Music If You Want To Be A Professional Musician – Page 8 How Much To Market Yourself If You're NOT Aiming To Be A Pro Musician – Page 12 Creating Your Unique Selling Point – Page 14 Top Secret: Leverage Your Music Marketing Efforts (And A Common Mistake) – Page 17 Getting Fans Involved With Marketing Your Music - Page 20 Ideas For Marketing Your Music Online - Page 22 Ideas For Marketing Your Music Offline – Page 25 Don't Spread Your Music Marketing Efforts Too Thin - Page 27 Conclusion – Page 29 The Next Steps - Page 30 Page 3 Hi! Well hello there, and thank you for joining me. My name's Shaun Letang, and I'm the owner of music advice w ebsite Music Industry How To. While that site advises on a variety of issues that musicians face on a daily basis, this ebook focuses on one of the most important things every musician needs to learn: How to market your music ! I wanted to create this ebo ok as there are lots of talented musicians out there, that never get where they could be. This is often because of one of two thing; they don't fully understand what music marketing is, or they don't put in enough effort to market their music. In this ebo ok, I aim to give you an understanding of how important Page 4 music marketing is in your music career, and get you some much needed information to get up and running with this side of things. It will not only show you why you need to market your music, but let you know how you can get your music marketing campaign up and running. It'll also show you some of the best practices you should be putting into affect and much more. If you find it useful, please share it with your fellow musicians by sending them to this page . Page 5 What Is Music Marketing? So, what is music marketing? Well, music marketing, also know as music p romotion, is the process of raising awareness of your music. By marketing your music, you are getting people to know it exists. Without properly promoting yourself or your music, no one would know you even make music. There are a number of ways in which y ou can market your music. It can be as simple as talking to people and letting them know you make songs, to bigger marketing efforts such as performing gigs, getting on TV, or letting people on social networking websites know what you're all a bout (And let ting them listen). Further examples of ways you can promote your music will be given as this guide goes on. Page 6 Why Do You Need To Market Your Music? Simple: If you don't market your music, no one will know it exists! How many sales or fans do you think y ou'll get if people don't know you make music? That's right, none! You can record 1000 songs and have the best album in the world, but if you don't effectively communicate this message to people, it won't be worth anything. Proper marketing can make or br eak your music career, so make sure you learn how to do so properly. “But wait...” I hear some of you thinking, “... I just want to make music and not worry about the marketing side of things. Can't someone else do it for me?” Page 7 Well... probably not. While it used to be the case record labels would do all the marketing for you and you just focus on projecting your talent, this is no longer an option for most new musicians. Record labels generally won't sign you unless you already have a proven fan base, and have shown you have the potential to make money. The only way you can do this is by building up your fan base and income levels yourself. The only way you can get those things in place is by making good quality songs AND properly marketing your music. While you could always hire people to do the marketing for you, this can get costly and often isn't a good idea unless you're at a good level with your talent. If you're paying someone to promote your music for you, it's hard to get honest feedback from them . They will tell you you're ready to get your music out there, even if you're not. After all, they're trying to secure a contract with you and earn a living themselves. You will sooner or later find out if the fans don't take well to you, but by then you will have wasted a lot of time and money on music promotion. If however you had started out promoting yourself, you would have got this vibe a lot earlier, and improved your talent before you took the marketing of your music any further. So, we should sta rt out our music marketing campaign ourselves. With this in mind, today we're going to look at some of the ways you can do just that. Read on to the end to get a good idea of how you can get going. Page 8 How Much You Should Market Your Music If You Want To Be A Professional Musician So now you know what music marketing is, and you know that it's important if you want to increase your fanbase and the amount of money you make from your talent. But how much time should you dedicate to promoting your music? Well, that will depend on where you currently are in your music career. Depending on your current talent levels, you should take one of these two paths: 1. Your Talent Is At A Good Level Already If you're already talented and you've made good songs people will Page 9 love, then you're at the stage of your music career where you should be marketing your music more than making it ! That's right; the making of new music should now take a back seat, and the majority of your efforts should go into promotions and raising awa reness of your sounds. The reason for this is simple. From here on you can make a load more good songs if you want to, but it won't help you achieve your dreams of becoming a full time musicians if you don't get enough people hearing and buying it! Good music without promotion won't benefit anyone's ears other than your own, so MARKET YOUR MUSIC! I've seen people 'release' a good song and video, get under 150 people viewing it on Youtube. They then think the answer is to release another song and video wh ich will hopefully take off better than their first one. So they release another song and video a few months later, and what do you know; it gets around the same amount of views as the first video! This is a vicious circle that musicians need to break ou t of. Simply putting stuff out there isn't a good idea if you want to take your music career to the next level, you need to promote it so it gets in front of new people . If you only get a few views on your first video, don't leave it to die out in the Yout ube graveyard. Promote it to new people and get more people seeing it! There's no reason you couldn't get at least 2000 - 3000 views on your first video if you really wanted to, you simply have to keep pushing it. And if you went through the effort to mak e a music video and want to see how well it'll do, this should be your aim. And don't you think fans of your genre deserve to be shown your good music? Yes, they do. So be sure to reach out to them and give everyone a chance of hearing your work of art! Page 10 Don't work on another song until you've given the previous song a fair chance to take off . The aim is to pick up new fans along the way, as well as giving something existing fans will love as well. I'd go as far as to say you should spend 70% of your time marketing your music if you want to have a financially successful music career, maybe even more if you can. Making music is fun and the reason you became a musician, but if you want to make a living from your talent, you're going to have to start treating things more like a business. If however: 2. Your Talent Isn't Quite At The Level You Need To Make It Big If you want to make it as a earning musician, the only reason you shouldn't be dedicating more time to marketing over making music is because you sti ll need to improve your talent or song recording skills. In fact, if you can't yet create a good enough product to match the top 20% of talented people in your genre, then you shouldn't be marketing your music at all!! The thing is, first impressions coun t for a lot. It's a hard job to get people to listen to your music, even if you give it away free. The last thing you want to do is get people to listen, but not impress them with your song. If it's bad, the next time that person is given the chance to lis ten to your music, most likely they won't take it. Your new song could be 100 times better than your old song, but they won't know that because they simply won't listen. It's hard to shake off a bad image, so be sure to only start fully promoting your mus ic when your music's good enough. And when it is, after you've made a few promotional songs along with ones to sell and perform, spend the majority of time getting those songs out there as mentioned above! So that's how much you should market your music i f you want to increase your fanbase, increase the money you make from music , and generally take steps towards being a professional musician. But Page 11 what if you don't want to achieve any of these things? Page 12 How Much To Market Yourself If You're NOT Aiming To Be A Pro Musician So, you're just making music for fun and have no desire to increase the amount of fans or make money from your music. So how much should you market yourself? Simple, as much or as little as you require! Marketing is only needed if you wa nt to be more than a bedroom musician. If you're happy playing to you and your friends, then marketing isn't needed. That said, if you're reading this ebook, my guess is you want to be more than a bedroom musician. If that's the case, the above 'no Page 13 market ing' statement doesn't apply to you. Get your music marketing game on! Page 14 Creating Your Unique Selling Point Ok, so marketing your music is vitally important if you want to be more than just a bedroom musician. That said, just because you market yourself to people, it doesn't mean that they are all of a sudden going to become your fan. Yes it will give people the opportunity to hear you and make that choice, but unless you're offering something that people really want, all the music marketing in the world wo n't help your music career take off. So what other things do you need in place before you start your promotional campaign? Well firstly, you need talent. You should all already be aiming to make the best music you possibly can, so I'm not going to talk about that here today. Just know that if you market yourself and Page 15 you're not very musically talented, this can actually do more harm than good. Secondly, you need a unique selling point, or USP for short. A USP is something that helps you stand out from th e crowd, and makes what you're offering only obtainable by going to you over your competition. Sometimes you will already have a USP by simply being yourself, while other times you will have to consciously create a USP to add more value to yourself as a br and. An example of a natural unique selling point is a singer with a distinctive voice. They don't have to put this on or do anything to make this happen, it just part of who they are. Yet this voice can help them stand out from the crowd, and make people buy into them over someone with a much plainer voice. An example of a created USP on the other hand is your dress sense. If you haven't got a stand out voice, as in it's not majorly different from what's already out there, you could always dress differe ntly than other people in your genre do. For example, a big part of Nikki Minaj's image is her colored hair (Not to say she doesn't have any other unique selling points, but that's not the point I'm trying to make). This makes her stand out, and adds to th e package that her fans by into. You don't have to go as extreme as colored hair though, you could always just have a set style which is different from what everyone else in your niche is doing. A final example of a created USP is the way you deliver you r songs. You could have a certain saying that fans will come to know you by, or you could deliver your lyrics faster or slower than others do in your genre. It doesn't matter what it is and it doesn't have to be something Page 16 huge, BUT you should try and offe r something different to people that they're not already getting to a high level else where. Adding a unique selling point to good music will help potential fans choose to follow you over others. It'll also help people relate to you, and hopefully buy into your brand for the long -term. Page 17 Top Secret: Leverage Your Music Marketing Efforts (And A Common Mistake) Ok, so let's get into the good stuff. If you follow this one tip, you will give yourself a better chance than the majority of independent musicians out there! A common mistake when promoting their music, is many people try and reach their fans in the wrong places. Further more, they try and gain potential fans on too much of a small scale. An example of this is Facebook and Twitter marketing. While I encourage all musicians to use these tools as they can be very handy for getting yourself out there, when used wrong they can be Page 18 more of a hindrance than anything else. Forget adding people on Facebook and Twitter one by one, there are two big problems with doing this: 1. It's Time Consuming. Adding fans one by one is a long process. This will take a lot of time out of your day, and get in the way of other more beneficial things you should be doing. 2. You're Not Reaching Your Core Audience. If you're adding a load of random people on Facebook, there's a good chance that the majority of them aren't going to be interested in what you're offering. This means you're wasting a load of time and effort in adding people that will never be a fan of your music, and you 'll probably get marked as spam a lot too. This can, and probably will, lead to Facebook deleting your account. So, if you shouldn't be sitting on your computer adding people on social sites all day, what should you be doing instead? Let me tell you: Finding out where your audience hang out, and reach them all there at the same time! Makes sense right? Why try and turn people into fans one by one when you can reach a load of people that are already fans of your music all at the same time? Doing it any ot her way is an uphill struggle, and won't give you as much results in the long run. Yes you may get a few fans by reaching people using the 1 by 1 method, but it's a constant grind. Making it in music is always going to be a grind anyway, but you don't wa nt to make it more of one than it needs to be. Further more, you'll find it nearly impossible to build up any real traction. On the other hand, if you can reach a load of Page 19 very targeted people in a short space of time, you will be more likely to get a much better reaction. Not only will you be able to see people instantly enjoying your music, but as there is more people finding out about you at the same time, the chances of 'word of mouth marketing' are much higher as well. People will start talking about y ou, and as other people interested in your genre also just heard about you, they will be able to relate and carry on the conversation. Now two questions remain: 1. Where does your audience hang out? And: 2. How can you reach a load of potential fans at once? Well with regard to where they hang out, this can vary. It will of course differ based on what genre of music you make, but if we're looking at things in broad terms, there are two main places; Online, and offline. We will look at these places more specifi cally below, and look into some of the most popular places you will find a load of people who are into the types of music you make. Now to the second question. Once you find out where your audience hang out, how can you reach them all at the same time? That one has a answer I can give a lot quicker: By using established outlets to get yourself heard! This can be in the form of a community radio station, a popular website, a popular Youtube channel, and the like. Once again, we'll look at this more below in the 'Marketing Your Music Online' and 'Marketing Your Music Offline' sections. So with this in mind, read on for some cool ways to both market your music on and offline. Page 20 Getting Fans Involved With Marketing Your Music Before we look at some ways to p romote your music both on and offline, I wanted to quickly talk about getting fans involved in the marketing of your music. All to often I see musicians treating fans to a one way relationship. They simply put out music and post a couple of random updates on Facebook, but don't interact with fans outside of that. Now I know some like to keep a boundary between them and their fans so they appear as something 'harder to reach so worth having', and I totally understand this tactic. BUT, it makes it a whole l ot harder to get new dedicated fans when your fan base is still small to medium in size. Page 21 Instead of distancing yourself from personal interaction with your fans, it might be time you think about embracing this interaction instead. After all, a happy fan i s often a loyal fan. And a loyal fan will talk about how great you are to their friends. This is how word of mouth marketing works, and is as easy to implement as having a good two way relationship with your fans. Now I'm not saying you should reply to ev ery one of your fans individually about every little thing, when you start to get more fans this will become virtually impossible. That said, you should still make the effort to address your social fans (Rather than just post messages to buy things), and t hanks them in status updates and the like. You should also get them involved by building up a 'street team', whether this is an online one, or a street team in the traditional sense of things. Often fans will love the opportunity to get to work with you on a project, so not only will you be getting your music heard in places it may not have been heard before, you're also building up a stronger relationship with your street team members and turning them into long -term loyal fans. Don't underestimate the p ower of getting fans involved in your music career, especially when you haven't got the budget to hire anyone else to help with promotion. As you get more of a budget to invest in things, consider hiring a part or full time team of professionals to help yo u out. Page 22 Ideas For Marketing Your Music Online Online music marketing is probably the path most independent musicians take when it comes to getting their sound out there. This is partly because the ease of it (You can promote your music from the comfort of your own home) and partly because of the potential reach. With the internet you can access people in nearly any country of the world. That said, just because all these people can potentially hear you, making them WANT to hear you is a whole other chall enge all together. So using our leveraging tactics, what kind of online music marketing can you do to get in front of more people? We look at some below... Page 23 Baring in mind you'll want to leverage established platforms rather than building up a fanbase slow ly yourself, we're going to want to initially build connections with other media outlets, rather than with fans one by one. Yes you should reply to fans when they reach out to you, but you shouldn't initially be trying to reach out to them in this manner. Instead, put the majority of your time and effort building up relationships with people that can get you out there on a much wider scale. Types of people and places online you want to build up relationships with include: • Big Websites In Your Genre. • Onlin e Radio Shows That Cater To Your Type Of Music. • Music Forums In Your Genre. • Youtube Channels In Your Genre. • Facebook And Twitter Groups And Pages That Cater To Your Type Of Music. All of these places have two things in common: 1. They have people who like y our type of music watching them. 2. They have a much bigger reach and influence than you. People that listen to these channels and read these websites respect what their owners have to say. Therefore, if a owner of any one of these mediums tells it's followe rs you're the next best thing since sliced bread, you are bound to get an influx of people visiting your website and taking notice of you. From this point it's down to you to give people a good impression of your self and get these people on your mailing list, but you'll have a much easier sale on your hands than if you was just another random musician blowing their own trumpet. A neutral and respected third party bigging you up is always more effective than you doing it yourself, so bare this in mind. While these big platforms may take longer to cover you and it may feel like you'll start seeing quicker results from Twitter adding, Page 24 when you do get a break through, the results will be a lot bigger. The great thing about this style of doing things, is you can leverage your first success and use it in your musical CV. When you tell other big forum owners and radio stations that you've been featured on a well respected Youtube channel, many will be a lot more likely to listen to you and in turn give you a sl ot on their outlet. After all, if 'That person' featured you, they can't miss the opportunity of also covering potentially the next big thing. Leveraging previous successes is important if you want to keep up momentum and grow as a musician, and something I will talk a lot more about in future. Page 25 Ideas For Marketing Your Music Offline A big mistake many musicians make, is they only ever promote their music online. Why is this a big mistake? Well, mainly because all the extra exposure they leave on the ta ble! There are a lot of established offline mediums you can use to get your music out there, so you should put as much effort into getting on them as you would getting on the online promotion sources. Some of the ways you can promote your music offline in clude: • Performing Live Gigs In Venues Where Your Target Audience Will Be. • Making Music Videos And Getting Them On Relevant Music TV Channels. Page 26 • Getting Your Music On Local Radio Stations. • Appearing In Radio And TV Adverts. • Having Your Flyers And CDs In Indu stry Related Shops. • Using Street Teams To Spread Your Message. • Doing Your Own Street Selling And Promotion (You're not leveraging anything here, but we'll look at why this method of offline promotion can still be useful below). Even just missing out the f irst of these things will mean you'll reach a lot less of your target audience than you would otherwise. Performing gigs gives you a chance to get an instant reaction from your music, and connect with potential fans on a much more personal level. It's poss ible to plant seeds a this stage, and do the early relationship building needed to make life long fans. Music videos on genre specific TV channels (Or general ones), appearances in other people's projects, street selling and the like are all other ways t o get your face seen and your music heard. While street selling doesn't keep in line with our leveraging method, it is still good for starting to understand what makes people buy from you. Once you learn the factors that will make people make a purchase fr om you, you can use this throughout your music career to greatly increase the amount of sales you end up making. I'd suggest a healthy mix between both online and offline music promotion. Both have their uses, and should be used together rather than have it a 'one or the other' type situation. Page 27 Don't Spread Your Music Marketing Efforts Too Thin The last real point I want to make today is this: While it may seem like doing as many different promotional activities as possible is the way to go, often it is n't. If you've got a big marketing budget and a load of people working for you, then of course promoting your music in as many ways as possible is a good idea. That said, if you're a solo act who's balancing making music and marketing themselves, often th ere will be a limit to what you can do in terms of daily promotion. While I strongly encourage you learn to promote yourself, you don't want to dedicate so much time to it that you don't get time to make music anymore. After all, I'm guessing that's where your real Page 28 passion lies? Not only this, but if you try to have your 'hands in all pies', you won't have enough time to dedicate to making any one or two methods really work. My advice to you is this: Initially, try out a few methods of promotion that you feel may work for you. At this stage don't be afraid of trying out more than you normally would, you won't be doing them all long -term. After a while, you will start seeing a few marketing strategies that work for you better than the others. At this stag e, ditch all the methods that aren't working, and focus more heavily on the ones that are. This is running with your winners, and will help you stay motivated as you will start seeing results sooner rather than later. Once you've got these methods down an d you've rinsed them for all they're worth, you can start to incorporate new strategies if you have the time and man power. Page 29 Conclusion I've said it before, and I'll say it again: Making good music alone isn't enough to make you a well known and paid mu sician. People won't find out about you simply by you being able to make music, you need to do everything you can to get your music out there. This is the process of music marketing, and a process you have to undertake if you want to be more than just a 'b edroom musician'. Using other people's established platforms is one of the best ways to do this, and one of the fastest routes to success as a musician. Now, if you signed up to get this guide for free, you'll be emailed parts 2 and 3 over the next few d ays. If you stumbled across this randomly on the internet however, you won't get those emails and other helpful ebooks. :( Page 30 That said, you can click here to t o sign up and get them ! :D The Next Step So now you've got a good base knowledge on music marketing and what it entails. But how do you r eally get your music out there? How do you take full advantage of memorable gig performances, high converting web sites, big Youtube channels, other big musician's audiences and more? How do you create a product launch strategy? Should you provide singles or albums? And how do you get these all pressed and if needed and distributed? Most importantly, how do you increase your fanbase and make more money?! Stay tuned to our emails and we ’ll sho w you next steps each and every week. :)	[ "music", "people", "marketing", "get", "page", "fan", "make", "one", "musician", "want" ]	{ "summary": " \nPage 1 \n \n \n \nPage 2 \n \n Contents \n \nHi! - Page 3 \n \nWhat Is Music Marketing? – Page 5 \n \nWhy Do" }
430827755-AWAL-2018-ULTIMATE-RELEASE-GUIDE-pdf.pdf	1 2018 ULTIMATE RELEASE GUIDE 2018 ULTIMATE RELEASE GUIDE2 2018 ULTIMATE RELEASE GUIDE Times have changed for independent artists. Today, success isn’t just about making great music, it’s about understanding the fundamentals of marketing and release planning to get your music out there and find the right audiences. That said, we still see artists making the same mistake – devoting all their time and energy into creating music (that’s the fun part), only to rush through their release. That’s why we created the Ultimate Release Guide for 2018.3 INTRODUCTION This best-practice guide will keep you organized, help you focus on what matters most, and give you industry tips from our artist marketing team with years of experience releasing music. We’ve also included some real case studies from AWAL artists on how they approach the release process. The guide breaks down the release process into three stages: Pre-Release Release DayPost-ReleaseTo really get the best results from this guide, you need to start planning early. Running out of time is one of the most common mistakes we see artists make. So, start planning at least two months before Release Day to make sure you’re covered.4 PRE-RELEASE PLANNING PRE-RELEASE PLANNING5 PRE-RELEASE PLANNING As we said at the start of this journey — organization is key. There are a million things for you to keep track of, so before you start anything, begin with making a clean, easy-to-follow timeline. This will be your guide during your entire release process, highlighting all major milestones and important dates. Organize your timeline in three major buckets: Pre-release Release dayPost-release1 Make a Release Timeline PRO TIP Keep in mind that your personal timeline might include some, all, or a completely different set of milestones. Customize your plans to your release.1 TIMELINE6 PRE-RELEASE PLANNING Then, break those three into specific events you can use to not only earmark as goals to work towards (or backwards from) but also use in all of your planning and strategizing. These might include: Single and/or album release date Live show dates and release partiesVideo premieres or teaser releasesStreaming sessions Press release servicing date1 TIMELINE7 PRE-RELEASE PLANNING Before you make any major decisions about your release plans, make sure you have the budget to cover all of your expenses — including a cushion for any unforeseen charges or last-minute opportunities. Depending on your particular strategy, and what responsibilities your team has, you may need to pay for: Social media promotion Digital advertisingPublicity (including hiring a publicist)Show/release partyPromotional materials PRO TIP Always be realistic with how much you can do yourself. Even if you’re currently handling all of your marketing and promotion yourself, will you feasibly be able to maintain social media while prepping and promoting your release? Though hiring someone to help out might require spending a bit of money, the benefit of being able to properly spread the word about your music while focusing on big-picture release execution might be worth it.2 Set a Budget2 BUDGET8 PRE-RELEASE PLANNING A stream or MP3 is great, but obviously not the only way to share your music. Depending on what works best for your brand and budget, you could consider releasing a music video, lyric video, or even a live video of you playing the song in a venue as a post-release strategy. The reason why we’re mentioning this in your pre-release plan is because the time to think about creating any kind of visual content is well before your music ever comes out. In some cases, more elaborate videos may take a few weeks or months to finish, so get any plans in this arena rolling well before your release happens.3 Plan to Create Music Videos, Lyric Videos, and More3 VIDEOS9 PRE-RELEASE PLANNING Visuals are everything. You need to make sure you’ve got visuals that are compelling and really grab an onlooker’s attention. So, make sure you’re planning and preparing your photo and video content well beyond your release date. It can be extremely useful to create a downloadable folder to make it easy for industry contacts, your publicist, and/or team to help lock in any premieres, shows, or partnerships. Here are just a few of the digital assets you’ll want to have on hand for your release: Artist bio Any album liner notesHi-res press photosTrack or album artworkAudio/visual teasers Music or lyric videosAnimated GIFs 4 Organize Your Creative Assets4 CREATIVE ASSETS10 PRE-RELEASE PLANNING Depending on your budget, build out some ideas of marketing and promotion that might be effective for your new release. Would local radio be a logical vehicle for your music? What about an interview or premiere on a small, niche blog? Pretend social media doesn’t exist for a hot second (difficult, we know), and think about how you’d spread the word in the before-times. Social media, however, does exist, as we all know, so don’t neglect it when you’re thinking about marketing and promotion. Platforms like Facebook, Twitter, Instagram, YouTube, Tumblr, and more are your direct channels to engage and communicate with your fans to share music and build loyalty. Even if you’re deep in the throes of promoting your latest release, make sure to keep 80% of your posts “personal” and 20% (or less, ideally) “salesy” pushes for your music. When digitally advertising or sponsoring posts on social media, make sure to check in with native analytics tools (like Facebook and Twitter Insights) that can help you better target whatever ads you decide to run. Also, use trackable links from Linkfire or SmartURL to point to your music on DSPs (i.e., Apple Music, Spotify, etc.). You can use these links not only on social media, but also for tracking clicks to your music, mailing list, and more. PRO TIP Don’t forget about social media — keep yourself on track and organized by creating a comprehensive social media calendar to plan your posts across Twitter, Facebook, Instagram, and other platforms.5 Create a Marketing and Promotion Strategy5 MARKETING / PROMOTION STRATEGY11 PRE-RELEASE PLANNING As we’ve mentioned before, your website is your central hub for any big news . It’s where many of your existing and prospective fans will be looking to for any new releases. So, it’s important to plan ahead with that in mind. Before a new release, you want to make sure your website is looking its best or create one if you don’t already have one. Make it easy for people to learn more about you, and ensure your fans can get the key info in one place, including: Tour dates StoreContactsBioSocialsListening links 6 Create or Update Your Website6 YOUR WEBSITE12 PRE-RELEASE PLANNING More importantly, make sure news about your upcoming release is front and center, with pre-order call to actions taking precedence. Beyond that, think about matching the aesthetics of your website to that of your upcoming release. Updating hero visuals across your digital channels with the artwork and information about your arriving music is definitely a good idea. See how AWAL artist Tom Misch updated the aesthetics of his website to highlight his upcoming album release and tour.6 YOUR WEBSITE13 PRE-RELEASE PLANNING Your website isn’t the only digital real estate you want to update in advance of your release. Consider updating your social media headers and profile images with release information. This is something you may want to plan having both pre- and post-launch. Additionally, finesse your biography and contact information to work in the date of your release. If you have a Wikipedia page, make sure that’s current also.7 Update Your Social Media Pages7 SOCIAL MEDIA Tom Misch also updated the heroe images of all his social pages to help promote the news of Geography’s arrival.14 PRE-RELEASE PLANNING Maintenance is only half the battle. Think about creating a content plan and teaser campaigns. It’s a great way to build hype around a release. Release images from the studio, promo shots, video clips, tracklists, GIFs, etc. throughout your release cycle. Tag partners and the people involved on social media. As your release campaign rolls out, you’ll be able to see which channels are growing faster than others; this can really help you decide where to spend that marketing budget. AWAL artist Emma McGann gets extra social engagement by tagging all those involved in her release.7 SOCIAL MEDIA 15 PRE-RELEASE PLANNING First, put some effort into your mailing list. You want to make it as easy as possible to sign up. Consider putting email captures on all your digital real estate like your website and social pages. You can even have a physical mailing list at shows for people to sign up. It’s also a good idea to include some kind of incentive, like sending a free MP3 or a ticket giveaway in exchange for email addresses. VÉRITÉ added a subscribe option on her website so she can start capturing fans’ email addresses to stay in contact with them.8 Work on Your Mailing List8 MAILING LIST16 PRE-RELEASE PLANNING Second, for your upcoming release, build out a flow of comms to send to your list that will keep them in the know about any important details. Email is a bit more invasive as a means of communication, so be cautious about the frequency that you contact your fanbase. You want to keep people engaged, but you don’t want to be annoying. There’s a balance to maintain. As anyone will tell you, owning your audience is extremely important. It’s not only beneficial to “own your audience” for comms around your release, but it’s just a best practice, overall.8 MAILING LIST17 PRE-RELEASE PLANNING Influencer marketing is a huge aspect to start thinking about before your release. Think about the key people to involve ahead of time who might share your music or your news. Consider press, industry contacts, or even just peers, fans, and/or any partners. Ideally, you want to shoot for individuals and/or organizations who have a substantial following. It’s best to approach them in advance and onboard them within your timeline; that way, you can benefit from their following.9 Think SocialInfluencers PRO TIP Consider partnering with music companies that not only distribute your music but promote its success to their followers as well! 9 INFLUENCES18 PRE-RELEASE PLANNING If you decide that radio will be part of your release strategy, start approaching stations, hosts, or shows with your release before its street date. Common collabs with radio include pre- or post-release interviews and airplay, day-of premieres, or even live, in-studio acoustic performances. Regardless of what your ideal radio situation looks like, it’s another element that requires thought and planning as far out as possible to maximize time to make it happen.10 Hit Up Local Radio Shows10 LOCAL RADIO19 PRE-RELEASE PLANNING How are you getting your music to major services? There are tons of music distributors that will take that burden off your shoulders and can really maximize your exposure. For example, AWAL distributes to different stores and services covering 190 territories across the world such as Spotify, Apple Music, Amazon, and YouTube Red. Due to its curated roster, AWAL has formed strong relationships with DSPs, getting artists on more popular playlists more frequently.11 Partner with a Music Distributor Newly welcomed singer/songwriter Rupert Stroud knew it was time to find a partner in preparation of a big 2018 release.11 MUSIC DISTRIBUTORS PRO TIP Need help finding the best digital music distribution service for you and your music? Here are the major considerations to evaluate before coming to a final decision, including the right time to start looking for one and the qualifications that really matter.20 PRE-RELEASE PLANNING Just like with your websites and social pages, your streaming profiles should reflect and champion your upcoming music as well. Two of the biggest you absolutely want to prepare are your Spotify and Apple Music profiles. Make sure all your hero and profile images are updated to reflect your song art, your bio with release info is updated, and that you’re posting content on your Apple Music Connect profile about the news with teaser content.12 Prep with Digital Services12 DIGITAL SERVICES PRO TIP If you’re looking for some tips to get the most out of your Spotify or Apple Music profile in preparation of your release, we’ve got you covered with everything you need to know to update your profiles and get yourself noticed on these crucial platforms.21 PRE-RELEASE PLANNING Selling merch is a great way to generate some extra buzz around your release. Think hats, shirts, backpacks — whatever seems reasonable within your budget. Regardless of what you end up going with, just make sure it accentuates the aesthetic of your new release.You not only need to contemplate inventory, but it’s also important for you to plan out how you’re going to sell everything. An easy solution is to use a platform like Music Glue . They’re a specialist e-commerce platform specifically for artists, where you can create a free website and store to sell merchandise, experiences, tickets, music, and more direct to fans in one simple transaction. If your budget is limited, their print-on-demand T-shirt feature is an easy way to stock your store for free; it’s money in your pocket when you make a sale.13 Create Custom Merch AWAL artists Sea Girls know how to showcase and sell their customized merch from their website! 13 MUSIC DISTRIBUTORS22 PRE-RELEASE PLANNING Part promotional strategy, part rallying cry for your new music, live shows are a great way to not only premiere new tracks but also generate buzz around upcoming releases. Get creative with these shows, whether that means playing the entire album start to finish (while bookending with songs your fans love to sing along to, of course), creating a custom takeaway item for every person in the audience or even giving them a free download when your music is officially unleashed. 14 Use Live Shows to Create Buzz14 DIGITAL SERVICES23 PRE-RELEASE PLANNING 15 RELEASE DAY Think of release day like your birthday. If you want it to be a success, you’ve got to do it big. There are tons of fun and creative ways for you to capture as much attention as possible around your release during the big day.15 Plan Something Special for Release Day24 RELEASE DAY RELEASE DAY25 RELEASE DAY Contests are a great way to drive organic engagement and draw attention to your new release. They can be as simple or as elaborate as you want; you know your fanbase better than anyone, so make sure you tailor your strategy specifically to what you think they’d interact with. Starting early in the day, post across every channel encouraging fans to share their favorite tracks from your new release with a specific hashtag and to tag you in their posts. Your custom hashtag should relate directly back to your new album or single; try keeping it simple by transforming your release title into an easy-to-remember tag. Alternatively, create your own promotional post and encourage followers to share it on their own profiles along with your custom hashtag.1 Throw a Social Media Contest1 SOCIAL MEDIA CONTEST26 RELEASE DAY Don’t be afraid to think outside the box when brainstorming contest ideas. For example, if your band has a rocking, guitar-heavy sound, invite fans to record and share videos of themselves jamming out air-guitar style. Anything fun and engaging will capture your fans’ imaginations and get them excited about participating — and about your new record. Like the contest concepts themselves, prizes really run the gamut. Something as simple as a retweet, follow, or direct message from you is probably enough to motivate some fans to share, but giving away signed CDs, concert tickets, or merch isn’t a bad idea either. Whatever you do, make sure to clearly indicate the stakes at the beginning of the contest so there’s no disagreement about who won later on. PRO TIP Wondering which social media platform is right for your release-day contest? Here are some important factors to consider in general when choosing where to spend your time and place importance when it comes to your socials. Use this evaluation to help determine where fans will most likely flock to your contest.1 SOCIAL MEDIA CONTEST AWAL artist Grabbitz promoted the release of his single “Things Changed” by launching an official hashtag and social contest to complement his release day. 27 RELEASE DAY As you brainstorm your release-day marketing tactics, which may very well center on social media, make sure you’re also thinking of ways to make sure people actually see your posts and promotions. Consider methods that come with a notification for friends and followers in real time, like livestreaming on Facebook and Instagram. Otherwise, create a specific budget to promote your posts and ensure they’ll escape algorithmic traps , which plague artists at every level from DIY to mega-superstar.2 Set Up Real-Time Notifications for Your Fans2 REAL-TIME NOTIFICATIONS28 RELEASE DAY Chances are, you’ve got friends in similar-sounding bands or within your particular genre and scene. You might even share pockets of fans with these artists. Give your fellow musicians a heads up that your release day is approaching, and ask if they’d be willing to share a link and/or a track with their fans and followers via social media. (Bonus: Offer to do the same for them when they release new music.) Sometimes it’s really that easy. You just have to ask! On release day, shoot them a DM with the link to your album or lead track. You can even draft a line or two of “suggested text” for a post; make sure to switch it up a bit for each person you’re tweeting so their fans aren’t seeing the exact same post from multiple bands. Think about asking your friend to tag you in their posts so you can share or retweet. Likewise, you’re probably a member of at least one or two genre-related groups on Facebook or via forums, independent mailing lists, etc. Make sure to share a link with these folks on release day and encourage them to pass it along to their listeners and followers. Just be sure the group applies to your music; if a metal artist pops into a folk-music group and posts a link to his or her new screamo EP , it probably won’t gain any traction (and will probably be deleted). A group catering to metalheads, however, will probably run with it and help increase your exposure.3 Ask for Support From Friends3 SUPPORT FROM FRIENDS29 RELEASE DAY If you’re working with a publicist, you may already have a press strategy in place for your release, but if not, try to secure an exclusive premiere with a music blog on release day by contacting them directly. Not only will a public premiere help attract that blog’s readers to your tunes, but it’ll also give your release a bit of media cred; after all, you’ll be kind of a big deal if your lead single warrants a write-up and earns the respect of a hip blog. If you manage to wrangle a premiere, make sure you parcel out your other promotional efforts so that outlet has a true exclusive for a set amount of time. Also, remember to share your write-up multiple times across your various channels including via your website. Not only will it remind your followers you’ve got a new release and maximize your reach (i.e., if someone missed your first post, they’ll see it the second time you share it), but any extra promotion will also ingratiate you with the publication.4 Maximize Exposure From Blog and Media Outlets4 MEDIA EXPOSURE30 RELEASE DAY AWAL artists Now, Now received great publicity from NPR Music around their latest release “Yours” and made sure to pin it to the top of their social channels for maximum exposure. PRO TIP When reaching out to press for any reason, make sure to include everything they might need for a review or feature, including a current bio, one-sheet, hi-res photos, and streaming links and/or downloadable tracks. Try sending everything together via a virtual EPK or even a Dropbox folder.4 MEDIA EXPOSURE31 RELEASE DAY It’s your release day, so that’s reason enough to celebrate, right? Consider giving your music some love by planning a special release show or other event to promote your new music. Many artists opt to throw a release bash complete with a live set at a venue they’ve frequented in the past (such as one that served as their “home base” in the early days) or jump on a bill with friends and keep the party rolling all night. If you’re playing live, especially if you’re performing with other acts, it’s a great opportunity to earn new listeners and move some copies. Chances are, you’re going to be pretty stoked anyway (who wouldn’t be?), so be sure to shake some hands between sets, let everyone there know it’s your big release day, and personally invite them to hear your new release. Take selfies, and ask fans to post photos with your release’s custom hashtag. Even better: Consider sending attendees home with free, custom merchandise promoting your album. Attempt to theme your merch to the title of your album or single to jog their memories later.5 Plan a Special Release Show or Party AWAL artists Glassio threw an epic release party to celebrate the release of their summer hit Papaya.5 RELEASE PARTY 32 RELEASE DAY What if the bulk of your fanbase is elsewhere (for example, if you just moved from Los Angeles to New York City and aren’t able to travel back for your release day) or the type of music you make isn’t exactly conducive to playing live? Hold a virtual release party via one of these platforms: Google Hangouts Concert WindowStageitDaCastSharkStreamIBM Cloud Video (formerly Ustream) LivestreamGigee (currently in the process of re-launching)Also consider simply going live on your Facebook, Instagram, Twitter (via Periscope), or YouTube channel. If anyone purchases your album during the party (which you may or may not be able to see depending on which platforms you’re using for distribution), make sure to thank them. For an added bonus, you can even think about telling anyone who buys a song or full album you’ll make up a tune using their name live during the party. Get fun and get creative! Any incentive to engage your audience will help you achieve your ultimate release-day goals.6 Livestream a Release Party or Live Set6 LIVESTREAM A SET33 RELEASE DAY Even if you’re also planning a show in real life, invite your hardcore listeners, friends, family, and fellow artists to join you from the comfort of their own living rooms earlier in the day via Facebook Live or a Twitter chat. Shake up the traditional release-party format and consider holding a Q&A session where you can share some of the stories behind the songs on your album. Believe it or not, they might be a little intimidated, but by showing your goofy side, you’ll put them at ease. If they’re still radio-silent, go with it and shift into concert mode by playing acoustic versions of your tunes. By bringing people who love your music into your world in such an intimate way, as opposed to a straight-up concert experience, you’re deepening the already existing bond there and breaking down walls. You’re also creating a connection between your listeners and your new material; they’re getting to know the heart and soul behind your album and forge a relationship with it the very first time they hear it. Even in a virtual arena, having a direct conversation with fans about what your music means and the intention behind it adds gravitas to your efforts and makes it resonate. Okay, you’ve successfully put out your album and had a killer release day. Congrats! The hard work is over now, right? Not quite. Once you’ve put something out there into the world, you want it to remain relevant and fresh for as long as possible. It’d be a tragedy to share something you’ve worked so hard on to only have it be forgotten over the course of a week. That’s why an artist’s work is never really done, and it’s important to keep engagement with your listeners alive well past your actual release day. Here are some of the best ways to do just that.7 Hold a Real-Time Q&A PRO TIP If you’re feeling ambitious or want to turn your release day into an online marathon, consider combining a full live set with a Q&A session for the ultimate virtual bash!7 Q&A34 POST-RELEASE DAY POST-RELEASE DAY35 POST-RELEASE DAY In the previous section, we mentioned the importance of having paid ads. This is a surefire way to make sure your fans realize when you’ll be releasing a new track or album. Of course, there’s a chance they’ve seen your ad, but forgotten to actually stream your music. Changing up your paid advertisements to share different content surrounding the release is a gentle way to remind your fans to listen to your music. For example, you could throw some advertising dollars behind a link to some great press like a review to make sure your share gets noticed. Having a post-release day timeline and content plan is just as important as having a pre-release plan.1 Change Up Your Ad Content PRO TIP Ensure that you’re not wasting your advertising dollars by creating ads that speak to the people who matter most (and who are most likely to engage with your ads)! Follow these tips for ads that connect with fans on Facebook and Instagram.1 AD CONTENT36 POST-RELEASE DAY AWAL members Coasts did a fantastic job putting a little promotional backing behind the release of their summer album This Life to grab some extra listeners. 1 AD CONTENT37 POST-RELEASE DAY If you planned for these elements in your pre-release strategy, now’s the time to unveil them to the world. Videos are a great way to essentially reintroduce your music to the world after it’s already been released. It gives music you may have released two weeks ago a fresh, new feel. You could also try sharing other people playing your track, whether as a cover or as played by a DJ at a club. Covers and remixes are another great way to resurface music which has already been released.2 Post and Promote Your Video Content AWAL member Madison Beer released the audio to her newest release on Nov. 2 but dropped the official music video two weeks later on Nov. 15, keeping the track “fresh” longer. 2 POSTING VIDEO CONTENT 38 POST-RELEASE DAY Just as we recommended you to do a social media contest encouraging users to share feedback on your song or release via a custom hashtag, you could also encourage your followers to share their own personal covers, edits, or remixes of your song in exchange for retweets and support on your end. It’s a way to garner support for both you and lesser known artists.3 Encourage Fans to Share Their Own Covers or Remixes3 FAN COVERS / REMIXES39 POST-RELEASE DAY We can’t say enough how important it is to thank everyone who supports you every step along the way. Shoutout all the publications, writers, photographers, die-hard fans, and anyone else who you feel is seriously backing you up throughout your career. This shows humility and gratitude, and the fans will notice. It also works as an excuse to bring good news to the surface again. 4 Say “Thanks” for the Press4 THANK THE PRESS AWAL artists Aly and AJ did a spectacular job thanking Nylon magazine for the press coverage on the release of their latest EP , Ten Years. 40 POST-RELEASE DAY Now that you have a new release and are (hopefully) getting tons of attention, the time is right to pitch yourself to talent bookers, promoters, agents, other bands, and more to showcase your talent in a live space. It doesn’t matter if you’re playing music at a large venue, coffee shop, art show, music festival, or in your local subway station — you’re still getting noticed and have a reason to be there, which is to promote your newest release. As we’ve said before, performing live shows is a great way to bring music which you have already released back to the forefront of everyone’s mind. Your release plan doesn’t have to stop there; your new release is now an important part of your catalogue and story. For the foreseeable future, you’ll still be promoting it as your latest music, so keep brainstorming new and exciting ways to promote it using the above tips and techniques.5 Use Your Spotlight to Book Shows5 BOOKING SHOWS41 P.S. FROM AWAL P .S. FROM AWAL42 P.S. FROM AWAL If you’re releasing new music in the next few months, use this comprehensive plan to start preparing now! With some of these action items, lead time is key (especially for things like press and booking a release show at a venue), so don’t delay in at least making a timeline of what you need to have accomplished when. Then, your best bet is staying as far ahead of that timeline as you possibly can. Above all, have fun! This is a super exciting time, and you should make the time to simply enjoy sharing your music with the world. You’ve not only recorded (what we’re sure is) great, new music, but if you follow the steps in this guide you’ll also be ready to thoroughly plan your campaigns leading up to release, conquer the actual big day, and keep the momentum moving long afterwards! Apply to AWAL today see how we can help you to better release your music in the new year! APPLY NOW	[ "release", "music", "day", "make", "planning", "social", "prerelease", "sure", "new", "fan" ]	{ "summary": "1 2018 ULTIMATE RELEASE GUIDE\n2018 ULTIMATE \nRELEASE GUIDE2 2018 ULTIMATE RELEASE GUIDE\nTimes hav" }
614756983-Release-Strategy-2-0-Mark-Eckert.pdf	RELEASE STRATEGY HOW TO RELEASE YOUR SONG, RUN A PR CAMPAIGN, GET WRITE-UPS, GET ON PLAYLISTS, AND BUILD A CAREER AS AN ARTIST. MARK ECKERT MARK-ECKERT.COMVERSION 2.0 This ebook has been downloaded by nearly 4,000 independent artists around the world now. Holy fuck. I can't even believe how many people this helped. Really has been such a rewarding thing seeing this methodology help artists near and far get closer to their goals. I was inspired to write this because an artist I've worked with for years called me up crying her eyes out because she spent thousands of dollars on a PR Campaign (from someone that I did not know) that truly shit the bed. I swore to myself, I wouldn't let that happen again. That's why I took off time from production to focus on writing this. From writing this up, starting as a simple 'guide' for the artists I produce and develop, to becoming a full fledged 'movement' of people tagging me left and right on IG with new Write- ups, Spotify official playlists, Shows, Tours, Radio, (and even international festivals. again, holy fuck.) they landed directly or indirectly because of this ebook. It's been unbelievably cool to see how many of you this truly helped. Anyways, just wanted to thank everyone for the kind words. It truly means a lot. Just trying to help everyone out. Really proud of everyone's hard work.We've approached a new era of the music industry, specifically for independents, and the results people are getting prove it. Ultimately, the harder you work, and the more persistently you work, the more results you get. Proud of ya' for downloading this and taking the steps that are needed to share your music with those who need to hear it most. I am truly excited to hear what you achieve with the words and insight that follow... Grab some coffee, sit down, get comfy, take some notes, take action - and have a kick-ass day. - MarkCREDITS FIRST: We need to put credit where credit is due. To put some perspective in the credibility of what you're going to learn in this ebook, these methods have been used time and time again to get the artists I work with into earmilk, kick kick snare, noisey, spotify playlists, radio, store playlists (Hollister, H&M, Urban Outfitters) to name a few, and has also helped me get more connections for pitching songs to ads/film for my publishing & licensing companies, and . The advice in this particular ebook is a collection of best practices from 2 of the most badass PR agents I know/have worked with, as well as a few Producers / Label Owners who fuckin' slay. A huge shout out to Lynn Banks of in Toronto. As well as a huge shout out to Nicole Riolo of in NYC. Thank you for all of your advice, and willingness to give back to independent artists all throughout the world. Links are provided to their sites up above. Should you need additional help for a larger campaign, I highly suggest putting your investment in with either of these agents. You'd be in the right hands working with either. They are wonderful.ICON ISLAND THAT NINETIES KID THAT PITCH THEY CALL ME RIOLOSO YOU KICK ASS... This book is divided into 3 Parts. The first part is called "Mentality" - which covers the overall process and mentality needed to have yourself a successful release strategy, and PR campaign. By "Release Strategy and PR Campaign," I mean so a shit ton of people listen to your song(s) and you get further along in your artist career. The second part is called "What You Need" which covers everything you need (press release, photos, software) etc. It also includes details of each of the materials so that all of things you send off to a music journalist or playlister etc is at an industry standard level and you don't embarrass yourself. The third, and final part of the ebook is called "The Playbook" which gives you actionable steps to position yourself as an artist, and then run a proper PR Campaign for your upcoming song release. To get the most value out of this book, it is best that you read it page by page, in order - so you're not confused as fuck. Let's jump in. - MarkMENTALITY THE MINDSET, AND OVERALL STRATEGY NEEDED TO HAVE A SUCCESSFUL RELEASE STRATEGY AND PR CAMPAIGN.So, I'm just going to be straight up as hell. You worked a year and a half on a song, hired a producer, got your live show together, got all the groupie homies to rep your merch at that trashy dive bar that you still can't remember the name of - and you still have no idea how to release your song, get it premiered on a cool blog, and get it on playlists. Subsequently, you just keep telling everyone "I'm getting my release strategy together" - but deep down... you literally have no fucking clue what that means. You just heard the term "Release Strategy" before, so now you're repeating that. You've become a parrot. Well, my dude/dudet, I'm here to remind you, you're not a parrot - you're an artist. Listen. I get it. Seems crazy as hayullll because the last thing you want to do is put this track out you slaved over, just to get that dreaded " <1,000" caption on your song on Spotify. A really shit thought, and for sure something we all try to avoid. So, you want to do it right... This process is the biggest stressor, over- thinking time-period, & overall waste of energy artists I work with deal with. After producing well over 50 artists around the world, drumming for them, developing them - I have decided, we are done with the "What. The. Fuck. Do. I. Do. Now." mentality. So... let's get this explained. Right. Now. The reason I made this book, is #1 - I want to stop explaining this constantly. Because it's a lot to go through, and I just don't consider myself an educator at all. I just like hooking everyone up who's going for it. It's really that simple. #2 is more important though. When I work with an artist on their record - I want to provide them actual results. Not just make a track, then leave and not talk until we're in the studio together again. My passion is developing the artists I produce & drum for. Meaning, I help them get to the vision they have created for themselves - no matter what that means. If writing this ebook, and offering more resources for the artists I produce & develop helps them get further in their career even by a little bit - then I'm going to do it. Period. Just how I roll. I want you to know, the problem of "release strategy" is an age old problem. A problem that every single artist I've worked with has gone through. But year after year of being in this industry - I'm reminded over and over, there aren't many secrets in the music business. There's just people with knowledge, acting mysterious and inaccessible. Here's the thing though: its really not that mysterious - and fuck it, I'll be accessible. I want to make very clear - providing you follow these directions to a T - this ebook will change the direction of your career, save you 10's of thousands of dollars on PR campaigns because you'll be able to run your own, will give you actionable results AFTER running your PR campaign so you can continue to build relationships to the 'gatekeepers,' and without doubt, can finally prove to your old man - YES your song IS worthy of being in Rolling Stone AND the Victoria Secret in-store playlist (his childhood dream that he will now vicariously live through you.) When I first decided to write this, the idea was to provide this strictly for the artists I produce. But after literally 1-minute of thought - I decided, fuck it. I'm going to give this ebook out to everyone for free. Why? Because frankly, I think this industry needs a little less "how can you help me" and a little more "how can I help you." There is plenty of "success" to go around, and plenty of good people that need guidance. So here is some guidance, my good people of the earth. An offering to all the homies, a massive hookup to running your own PR campaign so you can have a badass release that you're proud of. So, if you know of any artists who need help, tell them about this ebook, it will always be free af.WHO THIS IS FOR AND WHO THIS IS NOT FOR. This book is for independent artists who are building their careers, or artists on labels that want to rely less on someone else and take on more personal responsibility for their career (for whatever reason.) This is for people who don’t blame their surroundings for their lack of success. This is for people who take on full ownership, responsibility, and control over their own career and future. This book is NOT for people who aren’t willing to hustle and make it happen by any means necessary. This is not for people who make excuses. This book is not for people who “wait for the right time.” Essentially this book, (and me personally) is not for people who wait to get all their ducks in a row. This is for people who find a duck, and work with that. Ultimately to build a career in anything - you need to create hype for yourself to propel forward, be your own salesman/saleswoman, and have chutzpah. If you don’t fall into ‘who this is for’ - this book will not apply to you in the slightest. HYPE: WHAT IS IT? Perception is Reality. If someone says you’re doing something cool, and people trust that person - that means you are doing something cool. Whether or not you’re actually unbiasedly doing something cool. Remember, it’s not who you are - it’s how you are presented, and who is doing the presenting. That’s why everyone in this industry pushes their ‘credits.’ I know people that are making close to a million a year independently, and I also know people who have a major label deal and can barely get by every month. Yet the label represented person is treated differently by peers - because they are associated with the establishment that is perceived as ‘higher’ over decades and decades of societal training. Now, the industry is changing fast, but it’s like if you see someone who is verified on instagram. At first glance, they can sometimes be treated differently - like they are higher tiered than someone else. Without doing anything other than the establishment (Instagram in this case) declaring them as someone legitimate. This is all psychological, and the music industry , (and entertainment industry as a whole) have designed it as such for the very reason I am about to state: Hype is essentially our product to the masses. Music itself is enjoyable, but there are plenty of enjoyable free things. Hype though, is what people buy into. Let me continue...The more respected and established the publication that puts you out first is, will ultimately give you the credibility needed to move to other publications (relative to the status of your first write-up.) Popular kids in high school started the trends. Then the average kid followed it. Everyone is a follower to a certain degree. I'm wearing joggers right now (I don't jog.) These things look fucking ridiculous and lazy, but I (to some degree) bought into them because people with hype, or "perceptual value" changed my perception about them. Music is not a product like something in technology where we are fixing a problem. Medicine cures tangible diseases. Cars tangibly move us from point A to B. Music does incredibly beautiful things in this world, saves lives, cures depression, brings together communities, gives us identity - but there is nothing tangible you can see at face value. Our value is convinced, or perceived through feeling (much of which feeling is determined by perception.) Thus, the music that is heard most by the masses is not the hardest music to play / perform - it is the one best packaged to attain a higher perception of value to a potential audience, or 'consumer.' It is not just the music. It is not just the brand. It is not just the live shows. It is 'everything, packaged' that counts. So, let's talk about some people who give you hype, or 'perceived value' in the next chapter. MUSIC JOURNALISTS AND PLAYLISTERS WHO THEY ARE AND HOW TO APPEAL TO THEM Music Journalists are curators, skilled writers, and exceptionally hard working people - just as you are with your craft in music. They are a majority-hold gate-keeper between you and an audience that you have never met in person. (This discounts the importance of Social Media of course.) They deserve respect, and admiration from you. Do not treat them as a servant. They have worked their asses off to be where they are, and you need to be aware of that. They have their own goals in their own career and you need to be empathetic with their time. Because usually - they are exceptionally busy. You are never the only one reaching out to them. Professional Journalists for notable publications (typically) are paid for each article they write that is approved by the editor. Now, typically, if a journalist is on staff, it means that 90% or so of what they write is approved. However, the reason why they have a high approval rate, are well respected, and are doing this full time - is because they write great stories for an audience that resonates with them. A good story drives traffic to their site/publication, builds their brand awareness and respect, gives them potential for more quality stories, attracts advertising dollars and brand partnerships, which will give them an ability to grow the publication. There are many stories of publications that literally blew up, because of one exclusive story they covered first. Example: Average consumers did not give a flying shit about Wikileaks before the Edward Snowden story they covered. Point made. Keep reading.. You are pitching them a story of value - about you, and your music. That story needs to help the writer and publication’s brand, which in turn will help their business in the long run. In order for you to provide value to them, you need to be interesting, you need a good relationship with them, and you need a story their target audience will enjoy and resonate with. If you are first starting out - this takes time AND self awareness to understand how to position yourself/story. Do not think you’re going to get a write-up for your new indie group in Billboard tomorrow when it’s your first song with this project. I have a friend who’s done that (and it seemed like they randomly got hooked up) but we ran into each other at a show and talked in more detail. Turns out, they became tight with that journalist over a 10 year period from pitching / eventually getting write-ups with their previous band. That journalist was very familiar with their story and took a genuine interest in their new single. Building your relationships takes real time. Providing value to a publication takes time and proper positioning. If you’re not willing to commit yourself to this long term, then you’re not willing to commit yourself to your career, because a career in this IS long term. It will be exhausting at times, a bummer at others - and the best feeling ever on occasion. This is what you’re signing up for. So, don’t complain to people if you chose this path. Because this ebook will give a play by play of how to do this and continue doing it so you can build yourself up. You can always hire a proper PR agent later on (who have these trusted connections,) but starting out? - like we said earlier... you got a duck, homie. This ebook is a duck. Work with it. Speaking of building relationships, let's talk about that in more detail... RELATIONSHIPS Relationships are everything. We all know this - but I am telling you factually, since this is a how-to book so-to-speak, that there is no way around having solid relationships. It is just as true in the music industry as any other industry - your network is your net worth. Having said that, if you are living in the middle of nowhere, there are plenty of ways to still connect with people in high places via the internet. No matter what though, ultimately, you need people behind you that believe in what you’re doing. They need to like your music, and they need to like you. If they don’t like your music, they don’t like your story, and they don’t like you - you will not get any write-ups and you won’t get into playlists. It should be of no surprise, if you’re an anti- social, miserable, boring douchebag with terrible songs, nobody will pay much attention to you and your 5th re-released remix of ‘Hungry Like The Wolf by Duran Duran.’I know people who had incredible records, and had no process for marketing it, had no personal connections, and didn’t hustle it. Subsequently, the record went nowhere. I also know people with pretty great music (arguably not life-changing though) that are now touring internationally with Tier A artists. All because they were able to build their hype, craft a story of themselves, their music, and their life with perceived value so journalists found them valuable to their readers. The music ABSOLUTELY needs to pass a certain threshold of badassery. I want to make that INCREDIBLY clear... You DO need an incredible song, and an incredible production. 10000%. This book will work providing you ALREADY have that. But once that is there (non-objectively) - it's all about your packaging, and the perceptual value or "Hype" you can obtain for it. It is NOT like the old days where if you don’t live in NYC, LA, or London you’re fucked and not taken seriously. You don't need to hire a producer that costs 250k for a record (yes that was a normal thing), to get connected to specific people, and then at chance maybe get in a b-rate radio station. Or just be shelved for the next 7 years on contract. Here is what I am saying... You. Can. Meet. Anyone. Now. You. Can. Do. Anything. Now. There are no real rules anymore, and the market / fanbase is open for you to take if you can position yourself strategically. Most people get scared when there are no rules. But I thrive in it, and the artists I choose to work with also do. The internet is INCREDIBLY dope, and you are capable of just about anything now. So embrace it. Realize when you 'find a duck,' and ignite your chutzpah when you do. Now that your mentality is put together to run your own PR campaign / form a proper release strategy, let's move forward to the actionable steps. The remaining portion of the ebook is 'What You Need' and 'The Playbook.' Covering materials needed for a release strategy, and the step by step actions to run your very own PR campaign.WHAT YOU NEED WHAT YOU NEED, AND WHAT THE HELL THESE THINGS ARE.1. 6 WEEKS TIME - You need 3 Weeks before your Release Date, and 3 Weeks after. 2. PRESS RELEASE - A bio on single / album (1 Paragraph MAX) Craft a good story and tell it. Quickly. - A brief bio on artist/band. 3 Sentences Max. (you have one shot to get through to them, don’t bore them with too many words - they’re busy, they simply won’t read it. - Album / Single Artwork Image (1400px1400px) - Promo Picture (Often, writers want to include a promo shot of the artist or band, along with the album/single art. 1 HD Promo Photo, no more. - Your email Subject should be a very convincing, head-turning headline that says “Who, What, and 1 Interesting Detail." Example: “Asap Rocky announces NJ Generation Tour” Respect Magazine Example: “Montreal’s Golden Child releases new single My Slime” Complex Essentially, write what you think their headline should be, in the publication when they publish the story. 4. Links to Socials, and Website. Yes, you need a website. - If you're new to web design, I suggest using Squarespace and buying your site domain through there. The templates are great, and a simple design is fine. 5. Private Soundcloud Link. You will need a private Soundcloud link to share with the journalist for a premiere. You will need a public Soundcloud Link for additional write-ups after your release. (Private can be converted to Public.) DO NOT send an MP3. They won't open it. Make it as simple as possible for them to listen to you. INSIDER TIP: If someone does asks for an MP3, be weary because typically they’re trying to get quick licensing rights for their youtube channel. You would most likely not be getting paid for it. This is called getting "fucked over." We are trying to avoid that. 6. "Representation." (A false email) Remember - Perception is key. On Squarespace, you can get a custom domain name with Google Apps. There, you can get an email for yourself with your site in it. Do not email someone with [email protected] - You'll look like shit. If you email with a yahoo or askjeeves... just fucking give up. [email protected] or [email protected] is much more convincing that you're someone legit. It sounds like you have it together, and you're taking this seriously. More than anything - It doesn't sound like you're alone. It sounds like there are people who already believe in you. You can be yourself when emailing if you want to (or, if you're moderately good at bullshitting) you can create a 'fake agent' so to speak. "Hi, I'm Janet with SOSO Agency and we are interested in a premiere for an artist on our roster." There is no right or wrong, people do both all the time. If this is controversial to you, please read back to who this is for and not for. <3 7. Have both a "press" and a "fan" email. Again, perception. Make an 'alias' email in google (look it up,) and this will give you the ability to send from different 'departments' so to speak. You can email journalists from [email protected] etc and you can contact a booking agency at [email protected] etc. It will all go to your same inbox - and it'll look very good to everyone else. 8. Mailtrack.io Mailtrack.io (that's the site) is a free software you can install with your gmail. It will tell you when someone opened your email, or if they haven't yet. This is a game changer for following up. EXTRA CREDIT: 9. Create a mailing list with Mailchimp. Mailchimp is an incredibly easy software to use for mailing lists. It also syncs perfectly with Squarespace. You can get your fans, friends, and grandma on your mailing list - so you can let them know when a new song is out, or to push your new song and post it. You can also give them the ability to 'pre-save' your song (if you distribute with distrokid) so it notifies them when the song drops. #marketing #sexytime BUT HERES WHERE IT GETS REAL FUCKIN TECH SEXY.You can ALSO upload those emails into an ad campaign for Facebook / Instagram audience targeting and you can advertise to them for pennies on the dollar. EXTRA EXTRA credit, you can make a "look alike" audience on facebook ads and facebook will generate an audience with similar likes to your email list - so you can market yourself to strangers who will probably dig ya'. Thx Zuckahboothang.THE PLAYBOOK ACTIONABLE STEPS TO RUNNING YOUR OWN PR CAMPAIGN FOR YOUR RELEASE.6 WEEKS *CAMPAIGN TIMELINE 3 WEEKS BEFORE RELEASE DATE3 WEEKS AFTER RELEASE DATERELEASE DATE (SPOTIFY APPLE ETC) HUSTLE A PREMIEREPREMIERE 1 DAY BEFORE RELEASE HUSTLE PLAYLISTS AND ADDITIONAL WRITE-UPSSTEP 1 SET YOUR RELEASE DATE & DISTRIBUTE. CHOOSING YOUR DISTRIBUTOR If you’re a nobody. Distrokid / Ditto / Landr is great. Just understand, since they are making money up front for distribution, they will not be actively hustling your material to playlists - because they have already been paid. If you’re a somebody. Leverage your existing streams / monthly listeners to get on something like Symphonic, United Masters, or AWAL etc. Since they make money on the backend (they take a percentage of your streaming royalties in exchange for their distribution service) they will do their best to get you as many streams as possible - because if you make money, they make money. They charge nothing upfront - but they require a following already, to minimize risk. WHEN TO RELEASE You need at minimum 3 weeks time to give enough notice for a premiere. So anytime works, so long as you give yourself 3 weeks to hustle (look at diagram earlier.) Check out so you can see releases from bigger artists coming out soon so your release isn't overshadowed that day. Set it on a Friday for New Music Friday (Spotify.) If you want less competition, New Music Wednesday and New Music Monday exist as well. Significantly less listeners, but great cred builder for long term, and less competition. Set your release at 12AM if the option is given.this siteSTEP 2 PITCH TO WRITE-UPS AND HOW TO LAND A PREMIERE To start, you want to get an “Exclusive Premiere.” Make sure to mention that in the email. Premiering a song on a site, gives them the ability to be the first showcase of your new work. Since you will be offering it to them exclusively, this incentivizes the journalist - because it’ll be the only place someone can listen to the new song. If you have a following, this will increase traffic to their site, and can potentially add tremendous taste and respect to the writer, should you blow up. Think of why Tiffany’s is worth more than somebody buying a ring at Costco. They’re the same fucking diamond, but you can onlyyyy get that diamond at Tiffany’s. It’s all brand. Help them increase their brand with your work. You are a Tiffany Diamond, bb. Once you get a premiere, that's when things start moving- because more people want to write about you - because now, you are perceived as worth something. You've gained some Hype! Mazel Tov. Exclusivity is how you get a premiere, period. Offer this to every journalist initially. Whoever responds first (and is decent) gets it. Once you land it, update every other journalist you reached out to about the premiere. They will then think they missed out. They can feature it once the song is out. there is your perceived value, your hype. Point is, you really gotta hustle a premiere. A solid premiere, will give way for a solid PR Campaign.STEP 2 EMAIL FOMULAS & EXAMPLE INITIAL COLD-CALL EMAIL FORMULA: SUBJECT - Imagine what you believe the subject of the write-up would be. If your goal is a premiere, say "EXCLUSIVE:" followed by your ideal head- turning subject of the write-up. BODY - First Paragraph on Song - Second Paragraph on Artist - Maybe some (quick) additional info afterwords to help sell it to them / mention creds. - Links to induldge (socials, past write-ups etc.) FOLLOW UP EMAIL FORMULA: SUBJECT - Literally just let them know you're following up. BODY - A few sentences asking whether they saw your previous email, and restating you think it would be valuable to their audience. You can alter your email depending on if mailtrack lets you know they read your email or not. FOLLOW UP A MAX OF 3 TIMES OVER 10 DAYS. IF THEY DON'T RESPOND. STOP. THEY CAN (AND MAY) BLACKLIST YOU.CLICK HERE FOR EXAMPLESTEP 3 RELEASE DAY ON THE RELEASE DATE - send a follow up to press, letting them know its released to the public, and provide the public link to the song instead of the private. The people who haven’t responded, try to get the public soundcloud or spotify link sent over to them so they can write a story on it after the release if they want to (one final time.) Include details of your press release within the email obviously. Send press writeups to fans (premiere and additional write-ups,) post them on your instagram, facebook, twitter, (tinder?) and feel free to run those ads I talked about earlier (go back to the extra credit section of WHAT YOU NEED if you feel inclined to do so.) To fans who already exist, these perceived successes will in turn, increase their engagement with you and make them more avid listeners. They'll consider themselves OG's now, and some pride/community is built with that. To strangers, it'll give more incentive to become a listener of yours. Always remember, a lot of people haven't listened to you NOT because your music sucks - but because they simply don't even know its out! A release strategy and proper PR Campaign just lets people know its out, and gives them a reason to listen. After all of this - START PITCHING TO PLAYLISTS...STEP 4 PITCH TO PLAYLISTS Firstly, it's very difficult to get into a major playlist unless you have an established connection. The only other way in (to my knowledge) is if the Spotify AI algorithm sees your song organically doing extremely well through independent playlists. So, if you don't have an established connection, focus on Independent playlists initially. You can find playlisters all over the net, but an easy way of doing so is just going on Spotify (or other streaming platforms) and find independent playlists, and looking up the person who made it. Easy as pie. Email / contact them - and do the same schpeel that you did to music journalists. Just with playlists in mind. Do this with any playlist that fits your style of music. There are MANY. NOTE: Now, as you saw on my site - I have a proprietary master sheet of around 1,000 playlister's, nearly 5,000 journalists, and contact infos for everyone in Spotify, Apple, Deezer, Pandora, Amazon, Major Labels HQ's etc. I give these contacts info, additional insight and industry know-how to artists I am producing & developing free of charge. However, if we don't work together, these 6,000+ contacts and a bonus insight series is available for purchase on my site. Quite literally, people have gotten coverage / cross platform marketed in MTV, Earmilk, H&M, and have played pretty massive festivals because of it. If we don't work together, it is available for purchase on my site here: Mark-Eckert.com/indieprbundleSTEP 5 FOLLOW UP FOR WRITEUPS AND PLAYLISTS For the remaining 3 weeks of your campaign, follow up, and continuously reach out to literally everyone you can. Now, as far as the 3 week campaign goes after release... you can continue to push on Spotify forever. But the reason you should start winding down after 3 weeks for write-ups is simply because, you're old news after 3 weeks. Can't pitch old news. You're not able to add much value to a publication at that point. Simple as that. (Unless there's a sex tape or you're arrested / get caught for racketeering. Yeye.)NURTURE RELATIONSHIPS So the vast majority of artists I work with, I have on a monthly retainer that is affordable so they can have (on average) an EP's worth of music out a year, on a consistent basis. The reason for this, is because you need consistent material out, consistent relationships being built, and consistent advancement in what you're trying to achieve. It's cyclical. It all goes together. You need to nurture your career in general. You should follow journalists, spotify playlisters, and anyone in the industry on IG. Be tight with them, on a personal level. Keep building the relationship. If you're in the same city (living or touring through,) offer to take them out for coffee. Your treat. After someone writes up about you, send an email, text, or something THANKING THEM for doing that. Keep building relationships. If someone that gave you a write up is in a small publication - they're most likely hustling their career as much as you are. They may move on to a bigger publication later on. And when they're there - you'll still be tight with them. Don't overlook becoming tight with these people. Being a good person, having friends, and checking up on people is great for your mental health AND career.ARTIST RESOURCES: So, this has given you the basics of what you need to do to create a proper Release Strategy and PR Campaign for your upcoming release. Along with this book, I have MANY additional resources for artists I work with, along with artists I don't. All I want is to help you as an independent artist get further along. From production, to shows, to getting your song placed on a commercial, to building a fanbase. That's my job as a producer and artist developer. If you'd like to make your PR Campaign a helluva lot more effective, you can have access to over 6 , 0 0 0 Bloggers, Playlisters, Spotify, Apple Music, Amazon Music (and more) contacts, with a really badass additional insight series I made covering everything you need to know about the ins and outs of running your campaign. This is the exact framework I give to the artists I produce and develop. If you want to start pitching your music to advertisements and major motion film for sync licensing, I am the owner and founder of THAT PITCH. We send you all the opportunities for these ads. You send us a song. We pitch it to our contact. If you land it, you keep 100% of everything. We don't take a dime. If you want me to produce and develop you 1-on-1, If you want more free artist resources, you can go back to my site you can hit me up here.Click here to start pitching your music. here. It's called the INDIE PR BUNDLE, and it's available on my site here.This ebook is the intellectual property of me. If you copy it and distribute it / try to sell it, I'll sue yo ass and give all the $ to all the downloaders. Because, this ebook will be free 4evr & alwyzzzzz. - MarkWE DONE NOW. HERE'S MY "LEGAL:"	[ "get", "people", "release", "artist", "need", "music", "youre", "song", "give", "email" ]	{ "summary": "RELEASE STRATEGY\nHOW TO RELEASE YOUR SONG, RUN A\nPR CAMPAIGN, GET WRITE-UPS, GET\nON PLAYLISTS, AND B" }
508512102-The-Fan-Building-Formula.pdf	FAN-BUILDING FORMULAFAN-BUILDING FORMULATHE THE 7 STEPS YOU NEED TO MASTER TO CREATE SUPERFANS & MAKE A LIVING FROM YOUR MUSICTHE 7 STEPS YOU NEED TO MASTER TO CREATE SUPERFANS & MAKE A LIVING FROM YOUR MUSICDespite what a lot of people think, this is the best time to be in the music industry. There are endless ways to find and connect with your ideal audience of fans who love your music. No longer are you at the mercy of corporate gate-keepers. There is nothing standing between you and reaching the people who are waiting to fall in love with YOUR music. When you get this right, your music can bring you financial freedom that allows you to keep making music! With that being said, let's dive into the Fan-Building Formula... 1.Quality Music This is probably pretty obvious, but it must be said. The first thing you need to start building a fanbase and making an income from your music is QUALITY MUSIC. If your music isn't good, nothing else will matter. You and I don't have the budget to launch a massive international advertising campaign to make people think our music is good. It has to actually be good. That's why a lot of the content on OAA is dedicated toward helping you create your own high quality music from home! How Do You Know If Your music Is Good Enough?Here are some ways you can test to see if your music is good enough to start promoting: 2. Micro-GenreListen to your music in a playlist with other songs in your genre. How does it stack up? Does it distract? Get feedback. Ask people for their honest feedback on your song! Get your song reviewed on AudioKite.com. The second step to creating superfans is choosing a micro-genre for your music. You don't need to write massive hit pop songs in order to make a living from your music. You just have to write songs that are hits inside a particular micro-genre of music. When you niche down, and pick a micro-genre to create your music inside of, then you suddenly become a big fish in a small pond...which is much better than trying to compete with giant artists who have a lot more resources than you. With a "Micro-genre", you have to ask yourself.... "What Is My Twist?" Your "twist" is whatever it is that sets you apart. Example: My top genre is Electronic, then Synthpop digs deeper, and then Synthwave digs even deeper. Then it's Futuristic Popwave. Futuristic Popwave is my micro- genre.3. Culture Next, it's key that you learn how to build a culture around your micro-genre. This can take some time and experimentation, but once you build a strong culture, you have the potential to really grow your income. You build your culture by working on your brand and image, and by what you post on social media. BRANDING: Branding is simply who you are and your music. It's what other people think and feel about you and your music. You want your music, micro-genre, social media posts, album art, and so on, to all be congruent. This will help your audience know that everything comes from the same person or band. Make sure there is a theme going on between everything that makes up the experience for your audience. When you post on social media, make sure that it either entertains, inspires, or educates your audience. It's the culture and brand surrounding your music that can turn listeners from fans into SUPERFANS! And a superfan is someone who spends at least $100/year on you and your brand. Get 1,000 of these super fans, and you are making $100,000/year from your music! 4.Email Marketing Your email list should be the foundation of your music marketing. Email marketing is how you can really start to build a relationship with your fans. Social media is not something you own or control. In fact, increasingly, social media platforms are making it so that you have to PAY to reach your fans. Plus, you can get your account shutdown for no good reason. You don't want to lose all your fans overnight if that happens. When you have an email list, you have an asset that is worth real money! Your email list is something you DO own and control, and it's the best way to get a message to your fans. Plus, you even even upload your email contacts to Facebook and show ads to those people! Now, to grow your email list, you're going to need professional email marketing software. You can't just send mass emails from your gmail as that violates anti- spam laws. The best email marketing tool for Music Artists is ConvertKit, and it's what I use. You can get started for free by clicking here. (This is an affiliate link so if you decide to upgrade to the paid version I'll earn a small commission at no extra cost to you.) Once you have your email list software, you can start offering a free song in exchange for an email address to begin building your list!At this point, fans are finding you as you're attracting them with your high quality music, enticing culture, and engaging social media posts. You've started to grow your email list by giving away a free song, and now it's time to LAUNCH. Most indie artists rely on "hope" marketing, where they simply upload their music to the internet hoping people will find them. I've been guilty of this. But real marketing is predictable, repeatable, and scalable. So you want to put an automated system in place that allows you sell your music or other products in a way that is predictable, repeatable, and scalable. In the marketing world, this called building a "sales funnel". It's where you take someone who doesn't know you, and you have them receive content which eventually turns them into a buyer. This probably sounds a little overwhelming and confusing right now, but I'll be putting out more content on OrpheusAudioAcademy.com that goes into how to do this. 5.Online LaunchingPaid traffic, specifically Facebook Ads, is how you can really explode your fanbase. Since you've already done the heavy lifting of figuring out your micro-genre, culture, and you've started to build your email list...it becomes pretty easy to locate pockets of people on Facebook whom you KNOW would love your music! Then it's just a matter of creating an effective ad that attracts them to you and your brand. This is the first piece of creating an automatic "machine" that sells your music for you on autopilot. You need to get traffic, meaning, people seeing your offer. Once you've mastered the steps above, you can start building a giant list of engaged superfans for just a few dollars a day. And eventually, you can even start to use Facebook's advanced "Retargeting" tools. It's like when you're looking at an item on Amazon, and then you see the same item show up on your Facebook feed. You can post a video for your fans on Facebook, and Facebook will automatically track who watches more than 3 seconds of the video. You can then show a different ad to that audience of video viewers which allows them the further engage with, or even buy, your music. 6. Paid TrafficThe final step is to master copywriting. Copywriting is the art and science of using the written word to motivate people to take an action. It's the headline you use in your press release, the text in an ad, or any of the words you post in a social media post. It's everywhere! This is a skill that most people don't know how to do. Copywriting is a skill that can be learned and developed though. You are going to learn how to communicate best with your fans and your audience in a way that increases engagement and develop superfans. I want to help you take the next step in your journey, regardless of where you're starting. Shoot me an email at: [email protected] And let me know how I can best help you on your artist journey. Adventure On! Reagan Ramm, OrpheusAuidoAcademy.com 7. Copywriting Next Steps	[ "music", "email", "people", "fan", "get", "marketing", "step", "make", "song", "microgenre" ]	{ "summary": "FAN-BUILDING\nFORMULAFAN-BUILDING\nFORMULATHE\nTHE 7 STEPS YOU NEED TO MASTER TO\nCREATE SUPERFANS & MAK" }
261875613-SoundCloud-Guide.pdf	How to promote your music on SoundCloud Build your fanbase using the world’s most popular audio-sharing platform.CD BABY PRESENTS: 2 HOW TO PROMOTE YOUR MUSIC ON SOUNDCLOUD Promoting your music on SoundCloud Build your fanbase using the world’s most popular audio-sharing platform. By Budi Voogt, author of The SoundCloud Bible Introduction Both up-and-comers and music legends alike are using SoundCloud as a central part of their music promotion repertoire. If you’re not using SoundCloud to promote your music, you’re missing out. The platform is a great way to build a community, get feedback on your tracks, and interact with lis - teners who are into your style of music. SoundCloud is easy to use and it’s essentially free too! As an artist, manager, and founder of a label, I’ve been using the platform intensively for years. In fact, SoundCloud has actually been the primary marketing tool for many of my releases. In this guide, we’re going to talk about how to use SoundCloud successfully — from setting up your account proper - ly to promotional tips. Setting up your SoundCloud account First impressions always last. You want to make sure everyone that visits your SC profile immediately gets a good impression of you. Therefore, it’s crucial you make sure that all the account details are set correctly. Your URL The URL extension for your SoundCloud profile should be identical to the ones you have on other social media platforms. If you’re running with www.facebook.com/thebestbandever, then you want the same ‘/thebestbandever’ extension on your SoundCloud account. You can edit this in your account settings, under ‘Basic Profile.’ 3 HOW TO PROMOTE YOUR MUSIC ON SOUNDCLOUD Social Links Increasingly, social media profiles have become the standard for the younger generation of music fans, particularly the 15-25 demographic. We immediately look to social-media profiles when we want to investigate a new artist. I’m sure you’ve come across a band you liked on Facebook, went to their ‘about’ section and discovered there weren’t any links to their other social-media profiles there. Annoying, right? SoundCloud has integrated the ability to add social media links to your profile, and even adds the correct thumbnail images to the links of the larger sites (Facebook, Twitter, etc.). You can edit these under your ‘Advanced Profile’ settings. Description and details SoundCloud is a community platform heavily focused on allowing you to discover what’s trending and what the people you’ve already connected with on SC are listening to. It’s VERY easy to discover new acts on SoundCloud. A common mistake I see bands making is not providing a succinct biography and contact information on their profile. Ideally, you should place your contact email address on top, or that of your booker/manager, followed with a short bio (about 50-250 words) written in the third person. Include info about who you are, what you do, any labels you’re associated with, and any notable achievements. 4 HOW TO PROMOTE YOUR MUSIC ON SOUNDCLOUD The Content People go to your SoundCloud profile to listen to your music. When they do, they’ll either listen to the first track that’s on top of your feed or to the one with the most plays and comments. You want to make sure that these people hear some of your best material. You also want them to be able to easily identify the tracks, who made them, what type of mixes and recordings they are, and any specific information about sub-genres or influences. Don’t upload everything For people who are new to your band and music, you only have one shot at impressing them. You know how it goes: if you discover a new artist, you’ll give one track-maybe two-a shot, and if those aren’t to your liking, you’ll move on. It’s essential that you don’t place everything you make on your SoundCloud account. Sure, a Sound - Cloud upload is less definitive than a track distributed to iTunes or Spotify, but it’s still out there for public consumption, and fans you win on SoundCloud can certainly become paying customers for gigs and actual releases. Ideally, your profile should showcase your best finished work. When considering an upload, ask yourself these questions: Is this ready for release? Do I consider this a finished track? If so, then go for it—put it up! Some bands argue that SoundCloud is the best platform for sharing works in progress and getting feedback from friends and fans, but I’d counter that with the fact that majority of the biggest acts out there don’t do it, and the benefit of that feedback doesn’t outweigh the prospect of a great first im - pression. Integrate these steps, and get your profile looking right.5 HOW TO PROMOTE YOUR MUSIC ON SOUNDCLOUD Track Details Your music should be instantly findable based on the track title, your artist name, and the keywords and genres associated with it. That’s why it’s important that you label everything correctly. With the new SoundCloud update, the platform now suggests that adding your artist name in a track upload is no longer essential. I say that’s wrong. Why? Because with the new repost feature, people can now repost your tracks to their own feed, and the only way to then trace the name of the original artist is by looking at the minuscule reference to the original uploader. Not the way to go. For track titles, stick to the following format: “Artistname - Track Title (Mix Type).” In terms of genre, always make sure to place the correct genre as the first ‘keyword’ to the track. It’s important to do this because SoundCloud has an explore function which indexes all the ‘trending’ tracks within a particular genre. The only way to define the genre is through the keywords, and the first one that’s embedded in the player is often the most valuable in determining the genre. Alterna - tively, the platform’s search function browses through keywords as well, so if you search for ‘electro.’ it’ll find tracks that have that word embedded in its title, keywords and lastly description. Other keywords that are important to include: are the original artist, associated artists, record label, and possibly the place where you’re from or any notable clubs you’ve played. Code of Conduct Apart from the music, the most essential element of SoundCloud is it’s community aspect. If you interact within this community properly, you’ll be able to establish new relationships and develop true fans. There’s a few basic rules of conduct on SoundCloud: Actually use your account This is the most common mistake I see artists making on SoundCloud. The majority of them use the platform daily, but don’t bother to log into their accounts. They don’t interact with the stuff they like. An artist who stays engaged and maintains a lively account is much more likely to foster a community. It will also force you to get a true feel of the intricacies of the platform. So, every time you use it, log in, like the tracks you love, and keep it buzzing. Never spam The whole idea behind the comment system and the waveform players is that people should be able to leave precise and constructive feedback on the tracks. It’s supposed to add value, to help artists make better music, and to allow fans to praise what they think is great. There’s always been a group of people on SoundCloud that make comments along the lines of “Great track! If you like this, I just made a new EP. Check it out!” Never EVER be that guy. When you comment on an artist’s tracks, make sure you’re adding something of value to the conversation. A simple “Nice” or “Great drop” works, but doesn’t hold as much value as actually giving intricate feedback. 6 HOW TO PROMOTE YOUR MUSIC ON SOUNDCLOUD Don’t be hesitant to be critical either. Usually, the more honest and critical the feedback, the more likely you are to get a dialogue started. Elaborative and constructive comments can be conversation starters and will also lead people to check out your profile. Reply to all comments This is one of the most overlooked yet most powerful ways to harness the community aspect of SoundCloud. Reply to EVERY comment someone makes on one of your tracks. It’s by far the best way to get people to come back to your profile, and they’ll likely proceed beyond that (by checking your website or other social-media platforms) because it shows genuine interest in your community and fans. Doing this is simple: go to one of your tracks and click on the little comment bubble indicator (the thing that shows how many comments a track has). That’ll take you to a list of the comments where you can click on each of them to reply. When you do, place comments that actually make sense. A genuine “thank you” works, but prevent yourself from typing the same thank-you responses to nu - merous comments, personalize them. Promo Tips In addition to a smart content strategy and harnessing the power of the SoundCloud community, there are many other promotional tricks you can use to get your music heard. Next, we’ll discuss GROUPS and how to share to them, embedding your content on other websites and platforms, using your spot - light tab, and leveraging free downloads. These are essential basics that you should integrate into the way you work with SoundCloud daily. Implement these consistently and you will see cumulative results. Your fanbase will get bigger and they’ll be more engaged. 7 HOW TO PROMOTE YOUR MUSIC ON SOUNDCLOUD Groups In SoundCloud, a group is a collection of people who share music. Only members of a group can share music amongst the group, and they’re also the only ones who can hear all the music that’s been shared to the group. Usually, groups are focused on one specific genre or subject. You might see a genre-related group based on ‘Dark Dubstep’ or ‘Melodic Techno.’ As for subjects, groups can be used to catalog music for a specific purpose, such as a remix contest or a record-label submission pool. There are two types of groups: unmoderated and moderated. A moderated group has a moderator (usually the creator) who has to approve the track submissions before they become available to the group and its members. Once a track is approved, the account holder submitting that track becomes a contributor. Moderation of a group is a good way to reduce spam and to curate content. Unmoderated groups allow people to post tracks to groups without any restrictions. Accessing Groups In the old version of SoundCloud, groups were accessible from the main menu. With the newer ver - sion, you have to access groups from the search bar. To do so, you just type in a search query such as a specific genre or subject, and go to the “groups” tab. You can also view the groups you are a member of by clicking on your profile thumbnail in the top menu and then selecting “groups.” All groups you are a member of will be displayed here and you’re also able to perform a search from here. 8 HOW TO PROMOTE YOUR MUSIC ON SOUNDCLOUD How to use groups You can discover music you like by joining the groups focused on your genre. But more importantly, you can only share tracks to the groups you’re a member of. If you have a free SoundCloud account, you can share a track to a single group, whereas Pro and Pro Unlimited account-holders can share with up to 75 groups within 24 hours. After those 24 hours, you can simply submit it to more. You’ll make the biggest impact when you share tracks with large groups that are organized around your style of music. You should look for groups with more than 15,000 members. Particularly interest - ing are the groups with relatively few uploads and a lot of members, as it’ll then take longer for your track to get snowed under by newer material. To add a track to a group, click the ‘add to group’ button on the sound. Pay attention when doing this with private tracks though, as these will automatically become public once submitted. Once you make your track public, try sharing it to a group to attract a quick surge of traffic to the upload. Spotlight Tab The spotlight tab is an option that’s only available for paid accounts. Both Pro and Pro Unlimited accounts have access to it. The spotlight tab allows you to select up to five tracks or sets that you can showcase at the top of your profile in any order you like. This helps you put emphasis on your best tracks and can also give your profile a cleaner look. The tracks below the spotlight on your stream are shown in a reversed chronological order (so the newest uploads are visible first). To access and edit your spotlight, go to your public page (click the thumbnail on the top menu and go to profile); then you’ll see it immediately at the top of your stream. Click ‘Edit Spotlight’ on the right-hand side and add whatever track or set you’ve uploaded. 9 HOW TO PROMOTE YOUR MUSIC ON SOUNDCLOUD Embedding Embedding is a way to place a SC track somewhere else on the web, whilst still linking back to the original source. For example, you could embed your latest track on your website and all the plays from your website will be tallied to that track on SoundCloud. The embedded players are also called ‘widgets’. How to embed You can embed a song by clicking on the ‘share’ button for the track. The ‘widget code’ can be pasted into the HTML of your website or blog. You can customize this play - er by clicking the pencil icon beside the code. The ‘wordpress code’ is a shortened code that works with Wordpress as long as you have a SoundCloud shortcode plugin installed. Free accounts are able to access the HTML5 and Flash players. Paid accounts get access to the mini player (which is just a tiny stretched bar) and the artwork player (which is a square player with the track’s artwork). 10 HOW TO PROMOTE YOUR MUSIC ON SOUNDCLOUD On all of the available players, I suggest that you display the artwork as it gives you a chance to do some visual branding. Also, I recommend you disable the ‘play automatically’ function. People tend to get annoyed when sounds are triggered immediately when they access a website. Best uses Embedding is a great tool to make your SoundCloud tracks available on your website and other social platforms. I suggest using the embed function to integrate your entire SC account with your website, so that it automatically displays everything on your stream (including the new stuff). Use the ‘share’ button below your profile picture to do this. I also suggest you integrate your SoundCloud account with your band’s Facebook page, as it allows fans to listen to your music from within Facebook. For more details, check out ‘SoundCloud Page Tab’ by topdeejays.com (https://topdeejays.com/apps/). Free Downloads Giving away free downloads is one of the best ways to get exposure and encourage fan engagement on SoundCloud. SoundCloud Downloads SoundCloud gives you the ability to enable downloads on a track. Note that it will provide the identi - cal file that you have uploaded, so make sure to upload at least a 320kbps MP3 or 16bit+ 44.1hz .WAV file. I recommend you stick with MP3’s as the majority of people don’t care about the added value of a lossless file. The number of times your track is downloaded also contributes to the popularity of that track on SoundCloud, thus making it more likely to appear in other SoundCloud users’ streams and on the SC ‘explore’ page. If you are not a Pro user, the total number of downloads per track is limited to 100. A Pro account is capped at 1000 downloads per track and a Pro Unlimited account has no download restrictions. You can enable your track for download by going to its settings and enabling ‘download.’ 11 HOW TO PROMOTE YOUR MUSIC ON SOUNDCLOUD Once enabled, the download button will appear at the bottom of your track. When making your track available for download, it is wise to note this in your track title. Common formats include: Artist - Title (Free DL) Artist - Title (Free Download) Artist - Title [Free Download] SoundCloud unfortunately doesn’t offer a simple way to link people directly to the download of your track. There is a way you can get around this though… You can link people to the download by adding ‘/download’ to the end of the track’s url. For example: http://www.soundcloud.com/artist/track_title/download When sharing this link, it’s smart to use a link shortener and to track how often (and from where) it’s getting clicked. This can be done using services like: www.goo.gl, www.bit.ly, or tinyurl.com . I recom - mend using bit.ly for all your shortening services. Set up an account there. It’s an awesome site. 12 HOW TO PROMOTE YOUR MUSIC ON SOUNDCLOUD Last Thoughts The tips and strategies outlined in this guide should help you successfully promote your music on SoundCloud. The key is to stay diligent and disciplined about maintaining your account and, of course, to upload great content in the first place. If you liked this guide, you’re in luck! I’ve compiled all my SoundCloud knowledge into a book contain - ing even more insider tricks and tips than the ones we’ve discussed here. It’s called ‘The SoundCloud Bible’ and is available here. Budi Voogt, author of The SoundCloud Bible , is a music lover and founder of Heroic Recordings, a record label and artist management agency. For more information, visit http://www.BudiVoogt.com . Hopefully this guide has given you a framework from which to start marketing your music to new fans. For more advice on social media marketing, PR for musicians, and independent music distribution, check out CD Baby’s DIY Musician Blog — updated daily with tips from the experts. Sell, promote, and license your music worldwide with CD Baby. Get started at http://members.cdbaby.com	[ "soundcloud", "track", "music", "group", "account", "profile", "artist", "promote", "people", "get" ]	{ "summary": "How to promote your music \non SoundCloud \nBuild your fanbase using the world’s most popular audio-" }
631904304-Submit-to-Indie-Music-Blogs-and-music-review-sites.pdf	22/10/2019 Submit to Indie Music Blogs and music review sites https://fortheloveofbands.com/2019/10/20/submit-to-indie-music-blogs-and-music-review-sites/ 1/23Home Industry Tips Submit to Indie Music Blogs and music review sites and promote your … SUBMIT TO INDIE MUSIC BLOGS AND MUSIC REVIEW SITES AND PROMOTE YOUR MUSIC FOR FREEINDUSTRY TIPS posted on Oct. 20, 2019 at 11:12 am Roel Wensink20 October 2019Industry Tips Free,Free Promotion,Music Blogs,Music Blogs Directory,Music Promo HOME REVIEWS INDUSTRY TIPS PLAYLISTS INTERVIEWS PODCAST SUBMIT DONATE [email protected] About Us  Join Our Team Privacy Policy  Blogroll Advertise           22/10/2019 Submit to Indie Music Blogs and music review sites https://fortheloveofbands.com/2019/10/20/submit-to-indie-music-blogs-and-music-review-sites/ 2/23 If you have an upcoming release or have just released new music, you want to make the most out of it. Making music is like showing your most precious possession to the world. It’s really about expressing yourself. Submit your music to indie music blogs and use the following tips and list of music review sites in this article. A great way to get your music heard is to get a review on music blogs. Sure, a positive review on a blog like Pitchfork will boost your career, but there are many other smaller blogs out there that are worth checking out. In this blog post, we have gathered valuable tips on how to promote your music for free on blogs, dos and don’ts of music promo, a 130 + list of indie music blogs and review sites and a few paid services (not in our music blog directory) worth checking out if you don’t want to do all the hard work yourself. Getting featured on one or more of these indie music blogs will surely open new doors, get you new fans and can be the starting point of a musician’s career. If you’re an independent artist you’ll most likely do all the hard work22/10/2019 Submit to Indie Music Blogs and music review sites https://fortheloveofbands.com/2019/10/20/submit-to-indie-music-blogs-and-music-review-sites/ 3/23yourself but how do you do that? Find out in this blog post. First of all, congrats on yournew release and all the best ofluck getting it out there! How to submit to Indie Music Blogs What is a music blog? Tips how to submit to a music blogger Electronic Press Kit (EPK) for musicians How to create an EPK Tips for your EPK What to include in your EPK How to get music reviews (and how not to) Select blogs within your niche Follow the indie music blog’s guidelines Don’t use BCC Engage with the music review sites you’re submitting to Keep your e-mails short and relevant Make sure your music is easily accessible and playable Have patience Music promo e-mail etiquette Paid services worth checking out Submithub22/10/2019 Submit to Indie Music Blogs and music review sites https://fortheloveofbands.com/2019/10/20/submit-to-indie-music-blogs-and-music-review-sites/ 4/23 What is a music blog? Music blogs have been around for quite some time. In the early zeros, before streaming platforms existed, these (indie) music sites were the go-to place to discover new music. Can you imagine a world without Spotify now? Spotify wasn’t founded until 2006 so music blogs were the place to go when you wanted to discover music. Music blogs are great for exposure and to help artists build their fanbase and visitors to discover not only new music but also the stories behind the music. Most music blogs not only publish music reviews, but also feature artist interviews, music industry tips, and showcase videos. The exciting recent introduction of popular music podcasts elaborate on the stories behind the songs, provide in-depth interviews with the artists and much more.Subtub HumanHuman Groover List of music review sites22/10/2019 Submit to Indie Music Blogs and music review sites https://fortheloveofbands.com/2019/10/20/submit-to-indie-music-blogs-and-music-review-sites/ 5/23Another big advantage of getting featured on music blogs is that the content will stay on the website indenitely. This means whenever people Google your genre/mood or adjectives describing your music, they could nd the music review about you, start reading and become a fan! Tips how to submit to a music blogger Electronic Press Kit (EPK) for musicians Your rst impression is the most important one. Make an awesome impression with music media using an up-to-date EPK (electronic press kit). An EPK is a CV for DJs, bands, artists and musicians and shows your portfolio. A good and well- structured EPK includes everything a potential blogger will need in order to write a blog post about you without having to look up all in the information themselves. Music bloggers, like musicians, don’t have all the time in the world and are most often doing everything in their own free time. Having a profession al EPK at the ready, will most denitely help you get music reviews. It shows bloggers you actually care about your music career. Credit Reverbnation How to create an EPK22/10/2019 Submit to Indie Music Blogs and music review sites https://fortheloveofbands.com/2019/10/20/submit-to-indie-music-blogs-and-music-review-sites/ 6/23There are various free tools out there that will enable you to make an EPK yourself. Check out Adobe Spark, Wix, SonicBids, ReverbNation, Drooble, Canva, Epresskitz, ArtistEcards for free options. Websites like Bandzoogle offer a premium option that are also worth checking out. If you already have a website, you can easily create your own and make sure to include the information listed below. Tips for your EPK Want to get on more Spotify playlists? Make sure to check this blog post as well, with valuable tips how to contact curators and a list of curators to submit your music to.1. Make your EPK eye-catching and unique so it really stands out. Music bloggers and industry professionals see many EPKs daily and an outdated shoddy looking EPK will make them look away and move to the next one. 2. Keep your EPK simple. This sounds easy because you want to stand out but remember, as mentioned before, industry folks like music bloggers don’t have all the time in the world to lter out the relevant information. Always make sure a quick glance will show them everything they need. 3. Only include your best stuff. 4. Keep your EPK up-to-date. Have a new track? Include it. Have new press photos? Include them. Have a new music video? Include it. Have new gigs or a tour coming up? Include it. Have a … well, you get the point. 5. Don’t add very large les. If you want to add high-quality, large PNGs, videos or tracks, include a link to e.g. Dropbox in case a music outlet needs it.22/10/2019 Submit to Indie Music Blogs and music review sites https://fortheloveofbands.com/2019/10/20/submit-to-indie-music-blogs-and-music-review-sites/ 7/23Check it out What to include in your EPK Music Make sure to have your best three tracks on top. Most people mostly will only play the rst tracks in your EPK. Ask friends, fans and family what your best track is if you’re unsure yourself. Band photos and album art Combine band photos (press) and live photos here. Live photos are cool, but only if they are really awesome and striking. Make sure to also include your band photos here. Logos and branding Add your logo and other branding material for e.g. venues and clubs to use in their advertising and posters. Embedded audio and video It’s easy to embed YouTube, Soundcloud, Spotify and other music and videos in your EPK. Find out how to do that here. Biography This is a very important part of your EPK. Your bio should be well written and well structured. Make it short and concise. Start with the present, a bit about your history and end with the future. Find more info on how to write an effective musician bio (with examples) on Bandzoogle. Videos Links To social media, your website and where to purchase music Past press and or testimonials Add a few positive words from music review sites that already featured your music. Always add a link to the original article for people to read the entire story.22/10/2019 Submit to Indie Music Blogs and music review sites https://fortheloveofbands.com/2019/10/20/submit-to-indie-music-blogs-and-music-review-sites/ 8/23How to get music reviews (and how not to) Use the directory with a list of music review sites below this article to nd useful contact information on how to submit to music bloggers. But the most important thing here is to really stand out and have the blogger want to write about you. How do you do that? And also, how not to submit to an indie music blog… At For The Love Of Bands, we have seen submissions in all forms and shapes and more often than not they don’t follow our guidelines and or don’t match our niche. That brings us to the rst tip. Select blogs within your niche Simply put: do your research. Don’t just send your music in BCC to hundreds of irrelevant media outlets at once. Demonstrate to the music blogger that you actually care and are a frequent visitor of their website by reading their reviews. Or, at least pretend you do. If you’re an alternative rock artist don’t submit music to a hip hop blog. If you’re an indie-pop artist don’t submit to punk, garage or noise bloggers. It makes you look bad and not serious about your music career. Follow the indie music blog’s guidelinesGigs or tour dates Apps like BandsInTown are great for showing your past and current tour dates and connect with fans. Sign up if you haven’t already. BandsInTown lets you promote events, talk to fans, have an events widget and a tour trailer to showcase your band. It will encourage more fans to see you live. It’s also easy to share on your socials (automatically) so you only have one place to manage your gigs. Alternatively, add your tour dates manually. Contact info Add a contact form, e-mail address or other ways to contact you.22/10/2019 Submit to Indie Music Blogs and music review sites https://fortheloveofbands.com/2019/10/20/submit-to-indie-music-blogs-and-music-review-sites/ 9/23Most blogs have a preferred way of receiving reviews. Some only accept submission s on e.g. Submithub. If they do, only submit on Submithub. Most music blogs, however, also accept submission s via their own system. Most even have their guidelines spelt out for you. E.g. if they want you to contact them via a submission system on their website use that option and don’t send them e-mails. We at For The Love Of Bands often get e-mails (mostly via mailing lists) about new releases asking about music reviews. These are not personalized and don’t show the submitter knows he or she submitted music specically to us. Long story short: follow the music blogger’s guidelines. If you can’t nd instructions on the website, send an e-mail to the blogger keeping in mind the information shared below. Tip: Check if you can nd contact details of the writers on the blog. If so, see what kind of music they’re into. If they like your genre, try to connect with them and e.g. refer to a few articles you read. Don’t use BCC This sounds harsh, but receiving a bulk e-mail is really off- putting. You’re right, receiving a BCC’d message is still better than seeing hundreds of bloggers in the CC but BCC is bad. If you don’t care about the blogger, why should the blogger care about you? If you don’t take the time to get to know the blogger, why should they? If you’re sending an e-mail (more about that below), address the blogger personally. Maybe even look up some writers on the blog and address them. It makes your e-mail so much more personal. Engage with the music review sites you’re submitting to Prior to sending your music, establish a (virtual) relationship with the blog. Follow their socials, start liking their content and maybe even share a publication. Refer to the content you liked in your rst contact with the blogger.22/10/2019 Submit to Indie Music Blogs and music review sites https://fortheloveofbands.com/2019/10/20/submit-to-indie-music-blogs-and-music-review-sites/ 10/23Keep your e-mails short and relevant Many e-mails we get start with “I know you must be really busy…”, “Hey, check out this new release…”, “You must be getting hundreds of these a week…” etc. Start with something nice, engaging and compelling. E.g. by mentioning what you like about the blog, which artists you discovered, that you added music discovered via their blog to your road trip playlist etc. Don’t add lots of images and design to your e-mails. It really clutters your message and makes it hard to read. In short: keep it fresh, nice and simple. If you really knock your socks off, it almost looks like a mailing list subscription the blogger didn’t sign up for. Make sure your music is easily accessible and playable Use an EPK (see above) or structure your e-mail or contact form nicely to make sure the blogger has easy access to your music. Always actually add your music to the e-mail. You can also use Dropbox (2 GB free) to host your MP3s, WAVs or (unreleased) videos. When you’re sharing cloud-hosted les, make sure to properly ID3 tag your MP3s. Find 5 free MP3 tag editors here. Another big plus of Dropbox is that you can also use it as an alternative to a web-based EPK. Simply include your bio, audio, press photos etc. here, easily sharable and easily accessible for bloggers of music review sites. Want to get on more Spotify playlists but don’t want to do all the hard work yourself? Run a campaign with PlaylistPush using our afliate link or use coupon code AGD5MHW for a 7.5% discount! Have patience Many bloggers get hundreds of e-mails per day. Follow up e- mails really clutter blogger’s inboxes and in fact, most will simply ignore follow up e-mails. Remember that writing a cool article about music takes time. Bloggers are human beings, not22/10/2019 Submit to Indie Music Blogs and music review sites https://fortheloveofbands.com/2019/10/20/submit-to-indie-music-blogs-and-music-review-sites/ 11/23machines. Take a look at the website, see how many articles they post weekly and do the math. It’s not strange if they only write about less than 0,25% of all submissions, so if you’re not hear something back, don’t stalk the blogger. It won’t do you any good. You can, of course, ask for a follow up if the indie music blog answered your initial e-mail and told you they are writing about your music. Music promo e-mail etiquette E-mails sent to nobody in particular starting with “Hello!” or “Hi there” or are sent via mailing lists or other automated services, are mostly not read or followed up. Mostly they also end up in the blogger’s spam inbox. Ask yourself: do I reply to all the junk mail I receive? Imagine getting hundreds per day … 🙂 A few tips for e-mail etiquette: Do your research Address the blog you’re contacting personally. If you found out who writes for the blog, address them personally. Share something nice about the blog you’re submitting to Why does your music t the blog? Follow the outlet on their socials Maybe even share a blog article or playlist you liked on your socials? Mention what it is you want from the one you’re sending the e-mail to Write what you have to offer for the outlet (e.g. social share?) Avoid stupid subject lines Don’t use CAPS-LOCKED subject lines (or CAPS-LOCKED e- mail body…) Don’t be rude or overly friendly calling the blogger dude, guy, brah, bro, friend.22/10/2019 Submit to Indie Music Blogs and music review sites https://fortheloveofbands.com/2019/10/20/submit-to-indie-music-blogs-and-music-review-sites/ 12/23Paid services worth checking out As you can read above, getting your music heard and contacting all the different blogs individually takes a lot of time, practise and, most probably, stupid mistakes. The music promotion services listed below, are services we at For The Love Of Bands use or have used in the past. The biggest blogger outlet is Submithub and you’ll either love it or hate it. Submithub There are 784 active blogs and labels using Submithub at the time of writing this blog post with a combined reach of 103.6 million fans. Submithub is a website started by Jason Grishkoff in 2015 that makes it easy for musicians (or their representatives) to send their songs to blogs, record labels, radio stations and playlisters. Find all the pros and cons listed here. Submithub is has a premium option ($1 per credit) or a free option. With premium credits your submission lters to the top of each outlet’s dashboard and the blog has to respond within 48 hours and listen to your track for at least 20 seconds and provide feedback. With free credits a blog can choose whether to provide feedback or not. HumanHuman HumanHuman is a platform where you can discover new music and can conversely be discovered. More than 75,000 artists have already been discovered and added by HumanHuman users. Music bloggers, A&R representatives, managers, radio makers and all-round music professionals are on HumanHuman sharing their expertise. They all set their own price (ranging €1 – €10) and you pay a fee to benet from their expertise. Submit music via this link. GrooverNever attach MP3s or videos to an e-mail. If you want to attach an unreleased track, use a private Soundcloud link or share a Dropbox folder with all the relevant information.22/10/2019 Submit to Indie Music Blogs and music review sites https://fortheloveofbands.com/2019/10/20/submit-to-indie-music-blogs-and-music-review-sites/ 13/23With Groover you can, like Submithub, send music to relevant media and labels. Feedback is guaranteed, as media and labels have 7 days to listen to your song, write feedback and decide if they will share your tune. You can send your music for 2 Grooviz credits (€2 per credit) per contact. If you don’t get feedback, you’ll get your credits back. Use our discount code FORTHELOVEOFGROOV to get a 10% discount on our next Groover campaign. List of music review sites So, now that we’re 2500 words in, it’s time to share our Indie Music Blog directory with the list of music review sites. Surely at least one of them will want to write about your piece of art, right? The list below shows everything you need to get started submitting your music to these media outlets. Remember to always check the website before submitting, read a few posts, see if your music is a good t. You can search the list by entering your genre, or search a specic blog. Many outlets cover most genres, these are simply listed here as ‘All’ or ‘Multiple’, although they might not feature your style. Make sure to always check the ‘about’ page, as the blog mostly outlines their submission guidelines there so you won’t go wrong there. Good luck! This is a dynamic directory and we’ll add more blogs all the time. Do you have a blog and want to be listed here as well? Send us an email. If your blog is listed here and you want us to change anything, email us as well. Feel free to download the table below as xlsx and add an extra column to keep track when you submitted music (and what) and another column when you received a reply. Save as xlsx22/10/2019 Submit to Indie Music Blogs and music review sites https://fortheloveofbands.com/2019/10/20/submit-to-indie-music-blogs-and-music-review-sites/ 14/23Show 25 entries Enter your search word here. E.g. blog name, genre etc. Pitchfork Name Blog Type All Niche / genre(s) Submit to Pitchfork Submit Pigeons And Planes Name Blog Type All Niche / genre(s) Submit to Pigions And Plans via mailSubmit Pop Justice Name Blog Type Pop Niche / genre(s) Submit to Pop Justice Submit Louder Than War Name Blog Type Punk, Rock, Alternative, IndependentNiche / genre(s) Submit to Louder Than War Submit Indie Band Guru Name Blog Type22/10/2019 Submit to Indie Music Blogs and music review sites https://fortheloveofbands.com/2019/10/20/submit-to-indie-music-blogs-and-music-review-sites/ 15/23All Niche / genre(s) Submit to Indie Band Guru Submit alexrainbirdMusic Name YouTube channel Type Pop, Folk, Rock, Alternative Niche / genre(s) Submit to alexrainbirdMusic via mailSubmit All Things Go Music Name Blog Type All Niche / genre(s) Submit to All Things Go Music via mailSubmit Fresh On The Net Name Blog Type All Niche / genre(s) Submit to Fresh On The Net Submit Solid Muse Name Blog Type Pop, Alt Pop, Electronic, Rap, Hip Hop, RockNiche / genre(s) Submit to Solid Muse Submit Hillydilly Name Blog Type All Niche / genre(s)22/10/2019 Submit to Indie Music Blogs and music review sites https://fortheloveofbands.com/2019/10/20/submit-to-indie-music-blogs-and-music-review-sites/ 16/23Submit to Hillydilly Submit Crack In The Road Name Blog Type Pop, Independent, Electronic Niche / genre(s) Submit to Crack In The Road via mailSubmit Dancing Astronaut Name Blog Type Dance, Electronic Niche / genre(s) Submit to Dancing Astronaut via mailSubmit dynmk. Name YouTube channel Type dynmk Niche / genre(s) Submit to dynmk. Submit Little Indie Blogs Name Blog Type Indie Niche / genre(s) Submit to Little Indie Blogs Submit Mix It All Up Name Blog Type Indie Rock, Indie Pop, Alternative, ShoegazeNiche / genre(s) Submit to Mix It All Up via mailSubmit22/10/2019 Submit to Indie Music Blogs and music review sites https://fortheloveofbands.com/2019/10/20/submit-to-indie-music-blogs-and-music-review-sites/ 17/23Wave Music Name YouTube channel Type Indie electro, Chill, Trap Niche / genre(s) Submit to Wave Music via mailSubmit We The Beat Name Blog Type Indie Niche / genre(s) Submit to We The Beat via mailSubmit Indiespot Name Blog Type Indie Niche / genre(s) Submit to Indiespot via mail Submit Altpress Name Blog Type underground, alternative, punkNiche / genre(s) Submit to Altpress via mail Submit Gorilla VS Bear Name Blog Type All Niche / genre(s) Submit to Gorilla VS Bear via mailSubmit For The Love Of Bands Name22/10/2019 Submit to Indie Music Blogs and music review sites https://fortheloveofbands.com/2019/10/20/submit-to-indie-music-blogs-and-music-review-sites/ 18/23Blog Type Indie, Alternative, Rock, Punk, Punk Rock, Pop Punk, Indie Rock, Ska, ReggaeNiche / genre(s) Submit to For The Love Of BandsSubmit Puna Name Blog Type Hip Hop Niche / genre(s) Submit to Puna via mail Submit We Are Going Solo Name Blog Type All Niche / genre(s) Submit to We Are Going Solo via mailSubmit House Music With Love Name Blog/label Type House Niche / genre(s) Submit to House Music With LoveSubmit Stereogum Name Blog Type All Niche / genre(s) Submit to Stereogum via mail Submit Previous 1 2 3 4 5 6 Next22/10/2019 Submit to Indie Music Blogs and music review sites https://fortheloveofbands.com/2019/10/20/submit-to-indie-music-blogs-and-music-review-sites/ 19/23TAGS:FREEFREE PROMOTIONMUSIC BLOGSMUSIC BLOGS DIRECTORYMUSIC PROMO ROEL WENSINK Roel started ForTheLoveOfBands to provide bands and artists with a platform to get their music heard and provide tips gathered along the way. Being a musician himself, he knows how hard it is and how much time it takes to promote your newly recorded gems.BEST SITES FOR YOUR MUSIC SUBMISSIONS PREVIOUS ARTICLE The Author Owner  ROEL WENSINK All posts by LEAVE A REPLY  YOU MIGHT ALSO LIKE BLOG22/10/2019 Submit to Indie Music Blogs and music review sites https://fortheloveofbands.com/2019/10/20/submit-to-indie-music-blogs-and-music-review-sites/ 20/23BEST SITES FOR YOUR MUSIC SUBMISSIONS 8 October 2019BlogGuest WriterMusic Blogs,Promotion Newsletter signup Receive our editor's picks weekly Thank you for sign up! LATEST REVIEWS & INTERVIEWS22/10/2019 Submit to Indie Music Blogs and music review sites https://fortheloveofbands.com/2019/10/20/submit-to-indie-music-blogs-and-music-review-sites/ 21/23 INTERVIEW WITH MEIKO – STATE OF INDEPENDENCE 4 October 2019 FROM SKA-PUNK BASSIST TO RAISING MONEY FOR THE HOMELESS TO CRAZY CYCLE RIDES TO PROMOTE MENTAL HEALTH CHARITIES – MEET ANDY BAKER 2 October 2019MUNKY – MEGATON \| A DARK, SLEAZY DISCO TRACK THAT IS MUNKY – MEGATON \| A DARK, SLEAZY DISCO TRACK THAT IS UNNERVING, YET ODDLY IRRESISTIBLE UNNERVING, YET ODDLY IRRESISTIBLEREVIEWS 7 October 2019ReviewsAmy HeatherAlternative,Disco,Rock22/10/2019 Submit to Indie Music Blogs and music review sites https://fortheloveofbands.com/2019/10/20/submit-to-indie-music-blogs-and-music-review-sites/ 22/23SILENT FEATURE – ON YOUR HANDS \| CHUGGING GUITAR, FILTHY VOCALS AND INDUSTRIAL PERCUSSION COMBINE TO CREATE A PUNCHY, PROGRESSIVE TRACK 1 October 2019   ForTheLoveOfBands is your go-to indie music blog to discover awesome new independent and emerging talent.          Newsletter signup Receive our editor's picks weekly Email Name Last name S U B S C R I B E POPULAR POSTS HOW TO GET YOUR MUSIC ON MORE SPOTIFY PLAYLISTS22/10/2019 Submit to Indie Music Blogs and music review sites https://fortheloveofbands.com/2019/10/20/submit-to-indie-music-blogs-and-music-review-sites/ 23/23 9 January 2019 SUBMIT TO SPOTIFY PLAYLISTS FOR FREE 2019 13 September 2018 HOW TO USE HASHTAGS TO PUSH YOUR MUSIC ON TWITTER 6 June 2017 THE BRIDGE CITY SINNERS – WITCHES’ WRATH 2 November 2018 © Copyright 2019 For The Love Of Bands About us . Join our team . Privacy Policy . Blogroll . Advertise	[ "music", "blog", "submit", "indie", "review", "site", "blogger", "genre", "name", "email" ]	{ "summary": "22/10/2019 Submit to Indie Music Blogs and music review sites\nhttps://fortheloveofbands.com/2019/10/" }
507777096-Artist-Management-Marketing.pdf	1WRITTEN BY AMY THOMSONARTIST MANAGEMENT & MARKETING A BEGINNERS GUIDE In early 2020 I decided to close my Management Company after about 17 years. An odd decision for some to understand but sometimes you just get to a point where you need to stretch into something new which can be terrifying and exhilarating all at the same time. I was an Agent before I was a Manager and a Promoter before that so my whole working life, I have seen so many cases of what I list in this book. I dropped out of school at 16, had my own company by 21, and have had a happy career where I’ve watched clients grow up, get married, have kids, have hits, have flops, have global firsts and each one comes with its own set of memories and lessons. In 2018 I ran a school which donated all it’s proceeds to Climate Change, which saw 152 young people come from 17 countries as far away as China to come and hear me speak. This was not I am certain down to my prowess, it was down to the sheer lack of any documentation available to teach what is essentially a self governed industry. With the exception of a few contracts and copyright laws, many of which are so dated, clinging to an age of physical product as streaming changes the face of everything we knew. We are all on catch up and it’s the next generation who will have never known any differently who will now take the reins and lead us into the future. We read about labels hitting a million dollars an hour in streaming and our job is now to protect the songs which have generated that, get the Artists paid not only now, but for their children who inherit the songs. In my opinion the money getting Artists is completely disproportionate to the money being made by their craft. This generation is not prepared for the minefields of terminology which we all invented, and are often too shy to ask for fear they will look stupid. And as the value of a song grows and grows these are portfolios you are managing now. Managers can be let down by experts they hired and realize too late. Hopefully some of this advice will help this, and these fine young minds will fight for all of us. They are the greatest source of ideas and evolution we have. The same way new Artists bring new sounds and visions, so do the industry who will be standing behind them.Artists AND Managers have often come from uneducated backgrounds. Tough childhoods often being the very inspiration as to why they can create at the level that they do. Often feels like it’s us against the Corporations despite their contracted role to get us paid. The lack of education here is part of the problem. The expense of specialists in the early days preventing the protection of their work and the fame later causing so many distractions that protecting yourself can be your last thought. That has to change. That has been my biggest lesson in the last 3 years and the one I would hope the reader takes away from this the most. It was the inspiration for my new business and the importance of protecting the business side can be as satisfying now as the creative side which I never thought I would hear myself say. Management has always been about protecting and nurturing Artists and now this has a new layer and it can be fun and extremely rewarding if you adapt your mindset that an organized and safe Artist is a more creative one. The confusion of Royalties and paperwork expelled. Their estates in order. Trust me when I tell you its a buzz equal to selling out a stadium when you know how. What is essential here is that whenever I say ‘I’ in this book, I mean WE. Absolutely nothing is done without a team, without the Artist who’s craft you are protecting and promoting, the inspiration of those who came before you, without their fans, without every single person who got you to those places so this book is not about what I did, but about what we did and what so many others taught me. I also included incredible examples of Artist’s I did not work on and therefore of course take no credit for that, only admire it from afar. Due to the Corona Virus outbreak my students, who still keep in touch with me, are sat at home. Hundreds of people in this industry are isolated, lost their jobs for the summer and beyond, and so I decided to write this to keep busy and share knowledge, so we can all be creative at this unprecedented time. I stress I did this in 5 days because of the isolation we all sit in, I could have gone on for weeks but this is what I think is good for Beginners. It is said that Isaac Newton discovered gravity whilst sat home isolated by the Black Plague in London so using this time as a positive is all we can hope for. FOREWORDI’ve got so many crazy stories of crossing the border from Beirut into Syria with the Gorillaz for a concert in the Citadel, to getting chased by gangsters across Delhi, a kidnapping right in front of me, tear gas bombs, finding a man in a deep freeze to standing behind one of the my best friends on the side of Glastonbury main stage while her band headlined with tears of pride in my eyes… it’s been one hell of a ride. But those stories are just for me, this book is to help sketch out as much as I could put down in 5 days and to hope someone somewhere spots one line that makes a difference and carries on the protection and innovation around the love of my life, music. Stay home and stay safe, Amy ThomsonCONTENTS Foreword Artists have one career • What’s Changed? Let’s get started • Equipment you need • Practical items • Brand Pyramid • Runways Who’s around here? • Contracts • Artist • Manager Record companies • Deal types • Approvals • Your team & the things you need to know • Featured Artist processes Agencies Lawyers Business Managers (includes Withholding Tax information) Publishers Collection Societies Stores Television Marketing companies Promotional companies PR Radio PromotersVideo Directors & Videos Creative Directors Show Directors, Graphic Designers Photographers Mood boards Merch Deals & Merch P&L Domain Names & Trademarks Press Management • Strategy • Layers • Timing is everything • Cross marketing • Story telling • Who are your fans • Shop windows • Consumer journey • Be ready: one sheets & assets • Bringing the vision to life Timed releases Record bundles International roll outs Release day Power Touring • Hard tickets • A run • Ticket Bundles • Tour marketing • Multiple nights • Tour contract • Your team • Tour budget • Cheap touring Brand deals Royalties9 10 17 18 19 20 24 30 31 33 34 44 45 54 58 62 71 75 79 89 94 96 100 102 104 106 109 112113 118 121 123 124 125 129 132 138 142 145 152 156 158 160 162 165 167 169 175 178 180 183 201 208 217 222 224 227 231 236 238 245 249 250 2599ARTISTS HAVE ONE CAREER. An Artist once said this to me and it stuck in my head. Artists are often not like us. They have been through things which got them here, they are gifted in ways we don’t understand. We can’t write hits (or at least I can’t) and they can’t necessarily read contracts. That’s why you need each other and why your differences are to be celebrated. They do however have one thing in common. They have one career. As a manager, you may work on multiple people at once or in your lifetime, but their career is the only one they have. Their worst nightmare is to become famous, and then be the guy in the bar where someone says ‘ didn’t you used to be…’ Whilst this is a hazard of the job and indeed not all Artist’s want to be active their whole lives and in today’s world there is no way of avoiding getting older and what it means to be recognizable and less active, but… they want this to be their choice. Not because mishandling of their affairs caused an abrupt end to their chances to see their work reach their goals. This is of course as much up to them as it is to you, but the number one rule is if you cannot dedicate the time needed to get someones dream to become a reality, don’t do it.264 268 275 279 281 284 292 298 299 300 302 303• Writers share & Publishing share • Record sale income Business Plan – you Business Plan – them Social media Mental health Filing Being A Woman Recommendations • Films • Books Final word10 11WHAT’S CHANGED? Spotify changed everything. Daniel Ek should be sainted. Once streaming was born, you no longer needed your record label to keep pressing your CD and stocking it in Tower Records to see royalties. Streaming meant for life, you can now see income from your work. When the Artist dies, the publishing income continues for 70 years after the last person who wrote on the record died. This is not just a single coming anymore. This is the management of their asset portfolio, and their estate in death. Which may seem (hopefully) like a long way off now, but that’s as much of the job as anything else. Changing your mindset to understand this is vital for you to move in this business now. Long term ownership planning, protection and filing of assets is one of the more central elements of your business trust me. The ‘catalogue’ you build which is the list of songs you make, are worth in many cases more than a car or even a house EACH over the length of the time you can claim. You would not leave your family a load of cars with no registration receipts right? So why would you build a catalogue of songs of epic value for your pension and your family after death, and not have your s* in order? The game has changed. Change your mindset. Daniel Ek, Creator of SpotifyTHE IMPORTANCE OF TECH Just because you work in the music business and your mate works in tech, does not mean the two of you are not the greatest of allies. Music was saved by technology. I could be wrong, but to my knowledge, no record company has ever invented a method in which we mass consume music. Not from the Gramophone to the plates of glass etched with sound they played, to the walkman, to iTunes, to the iPod, the streaming, to social media platforms which magnify it. Go beyond musical people to see a new vision. A few years ago streaming was a new thing, now downloads are as old fashioned as the VHS. But there will be new ways we push music and the right for music to earn into the everyday lives of billions of people, and there is no reason why you and your friends cannot invent it. Steve Jobs, the legend of even how I am typing out this book on my Mac, started in his garage. One of you has a garage, trust me. Use it. Steve Jobs, Apple12 13You my friend? You signed up to spin plates. You are the central point, the strategy maker, the strategy enforcer, the information pusher, the calendar holder, the emotional supporter, the social media director, the team leader, the gig chooser, the A&R and so much more. Obviously every Artist is different. They may never want your help with music for example. But trust me when I tell you will wear 10 hats and you need to be able to cope with that. What is important when you are spinning these plates is that you remember to push all the information to those who need it. You confirm shows, tell your label. How else will they work on press around it? Tell your tour manager, your crew if you run the calendar. So many mistakes come from people simply not knowing what’s going on. You confirm a deal, tell your business manager. How else will they know when Royalties are missing or payments are due? You get the drift here…. be open to those internally about movements, ideas can come from this, efficiency comes from this, maximizing the opportunity comes from this. There is nothing worse than a dog in the manger. Obviously some things are private. But know when they are, and beyond that, information is key, it’s hype, its progress. Don’t bombard people….Perhaps do a gig update once a week for the label …business manager once a month…decide what’s right and stick to it. Set reminders in your calendar if you need to. In the case of delivering deals to people who then have a responsibility to work on it, always ask them to confirm receipt of your email. If it’s big, or complex, call them and follow it up with the email. Email has lost us so much of the detail, how it fits into your plan, what could come next… what you are now looking for. The Law Of Attraction if you believe in that is just dead in emails. USE YOUR VOICE.SPINNING PLATESBUT IN A NUTSHELL YOUR JOB IS... To take the Artist’s vision and get to the right consumers who will appreciate it. To explain it to everyone you need to to magnify it, to manage those who you task to work with you, and to plan out the journey of a career in a way which creates a long term strategy. You...are a catalyst. Sometimes it feels like you wake up and draw your sword all day to fight for your artist. Fight to be heard, fight to stand out, fight for their rights, fight for everything, nothing seems to come easy to you but it seems to fall in others laps.‘I’ve learned that people will forget what you said, forget what you did, but they will never forget how you made them feel.’ Indeed music is exactly this, the shows are exactly this, an Artist speaking out to their fans and sharing how tough life can be, is this. These are the raw ingredients your Artist gives you to make this quote come true. Don’t underestimate your value in making that message get to people and how much you can enjoy how that makes you feel. You can literally change lives. You may well be forgotten in the history books, but if you are doing this to be in the history books you’re in the wrong job. You will know, and that has to be enough.- Maya Angelou. 14 15WHAT IT IS NOT You do not have to know absolutely everything and do absolutely everything until you break under panic attacks by not knowing the law of copyright off by heart and 52 tax treaties between countries. Use experts, ask questions, learn. You are not a self taught expert in 250 subjects. And when you are just starting out, anyone can intimidate you with fancy terms or just their experience. But you have a genuine passion for music, a genuine protective nature which will protect and support your client. If this is you, you’re going to be fine. 16 17LET’S GET STARTED...18 19EQUIPMENT YOU NEED 1. TRUST: Between you and the Artist. Never to be abused. Tell the truth including saying sorry when you make a mistake. Nothing makes a mistake fade away like admitting you made one, which basically tells the other person you’ll learn from it and won’t do it again. 2. INSTINCT : Not to be confused with your ego… and they are easily confused. Your first thought is often completely right, but if your first thought is how this will make you look or if you will win an award for it, look more powerful or generally just flex at your mates, that’s your ego. Instinct is killer. Ego is death. The older you get the more you see this but if you’re young, try and learn this lesson early. 3. PASSION: This road is going to be long and tiring. Passion can help you get that one extra hour you needed done and enjoy it. Nothing like having job satisfaction. Doesn’t feel like a job when you love it. 4. BALLS: Yes, for men and women alike Management is for the brave of heart and the fearless. You’re going to ask the Artist to hold your hand and jump off cliffs and they will ask the same of you. 5. FAITH: If you stay true to what you believe in, you can’t go wrong. Win or lose, your moral compass and belief in your art will always means when you look in the mirror - you’re all good. 6. FINANCIAL SENSE: Don’t blow your first commission check on a car, save before you buy watches, know the rate of tax you have to pay and save it each month. Like actually for real guys…. not all of us can stockpile money to last us when times like now are happening. We will all pull together to work on that, but the tax man is an annual worry for some, and not one who thinks you’re so cool because you know famous people that you won’t get your house taken off you for not paying tax. You are not exempt from everyday life’s rules because you went to the Grammys this year. Mobile phone WhatsApp But this has no real back up and is for fast communication and groups only not storage.Computer Microsoft Office Excel is your friend, and all of this is also online in Google alternative products called Sheets, Docs and Slides. This allows you to share and allows editing rights for teams. Excel type set ups allow you to lay out timelines and those squares allow add up functions for easy to create budgets. Learn how to use EXCEL formulas, they are your best friend.Dropbox Filing is everything trust me and for now, this is what you use but I do have a surprise for you this summer. A way to be contacted If you don’t want your own social media, list your contact info on their Facebook ‘About’ page, LinkedIn or on their WebSite. People from big companies do reach out to you this way - you’d be surprised.AND SOME PRACTICAL ITEMS! For Teams For some teams software like SLACK helps keep everything organized.Drawing your plans and sitting and looking at them, wiping them off and moving them is far better than a screen. Plus you can leave them on your wall. The number of times I’ve been on a call, and remembered a plan we had and been able to adjust the call agenda to get me pieces I needed are limitless. When you have a team there’s no better way than a timeline to check together in the morning on what has to be done, or to remind them con- stantly of the overall status of where you are and where you are going. You can buy whiteboard paint and do one whole wall in your office…. Its FAB! A Whiteboard20 21BRAND PYRAMID The Brand Pyramid is a marketing legend, who know’s if it’s true but who cares, the theory is correct. The legend is that in its early days, Calvin Klein set up a model of business. Their 5th Avenue Stores showing off it’s Couture lines which graced catwalks and red carpets alike, were funded by their other products. Think about it. We all went out and bought underwear, jeans, socks and so on, branded Calvin Klein. Why? Partly of course because of Marky Mark and his incredibly photogenic face (!) but also because we understood from the press and media that Calvin Klein was high end. Legend has it that every perfume bottle and every pair of underwear sold paid a ‘tax’ to fund losses of the 5th Avenue store and the one off couture gowns given away to celebrities to wear. We paid a premium for the products we had access to because we bought into the brand and all it stood for. Whether that’s true or not, most high end brands will openly admit it’s their make up / perfume lines which make the most money. People opting for their red lipstick to really treat themselves. Or a bag being the 22 23next step up in spend to show proudly to their fellow humans that they love that brand and what it means. Rarely do these people cross over into Couture purchases. But a walk around the shop on 5th Avenue bathing in the fairy tale smelling like the brand is close enough for now. As such, your brand pyramid fits your Artist. There will be some moments where you make no money or even lose money, to increase the profile of who you are. Coachella is a good example of this. You know the prestige of the booking. Your record label understands it and is impressed. You know it will look amazing on your socials, that the press will be there, you know other promoters are watching that line up whilst finalizing their summer festivals. Your bio will glow with it on there. It’s at the top of the brand pyramid for shows for many, so you may well lose money on your show nailing the production, bringing special guests to own the moment, or indeed even just flying to get there. Having these moments in your planner as a brand moment should be highlighted so everyone around you also knows this is when they have to deliver. Your publicist, your record label, your crew, your merch team - all of them KNOW this one is a priority for the Artist. Plan then where this loss comes from. Do you just swallow it, or perhaps you do another show on the way to fund it. I’ve seen cases where a brand deal that was not perfect got closed. One funded the other, and the brand deal fell into the shadows as Coachella roared through their social media. In the case of Swedish House Mafia these moments were their first Miami party in a tattoo studio called Ink. Then it was KOKO in London with a live orchestra, then it was Brixton, then their first film, then Madison Square Garden and so on. Each one moved us down a runway we had mapped out and got us there faster. Looking back, each one might look small, but it was a huge brand moment at the current top of the Brand Pyramid. The Pyramid just grew and it was onto the next top of that triangle! Brand pyramids grow. Every evolving at the top. So you don’t need to play at the Taj Mahal on your first year. But each one you achieve you can use to help explain who you are, even if it’s selling out a cool 100 cap venue. People understand it and more importantly, if you tell them clearly, they repeat it. Which is promotion in itself. This is why I have put this in the planning section, but I will keep repeating it over and over again. You can apply it in multiple ways and areas of your business. These are moments you cannot force but you will know them when you see them… you will have a dream that explains who the Artist is… and you should put it in your planner. 24 25RUNWAYS Runways are the way I describe the 3 years ahead. Not just take off but a steady rise, and sometimes steady flight at an even level which carry - not ram you - through 3 years. It’s so easy to get big, grab everything and burn your way through a long career in a short space of time. It’s an old saying but it’s not a sprint guys… For example, you cannot play Coachella 2 years running. You cannot play many festivals 2 years running. Which year do you want to play? Do you need it to kickstart something this time, or do you feel confident enough to wait a year for a better slot? Do you play at the beginning of the album to launch it, or the end when everyone knows the songs? There’s no right answer, but debating the question with those around you is vital. Ask yourself - with each thing of consequence you agree to, what does this do for us, and what would be next? ALWAYS know the next move. Sometimes it changes, you play the show and you trended worldwide and you skip the next move for the one af- ter that. That’s GREAT but… going and having no plan for afterwards, no strategy to chat to someone about who can help you on the side of that stage is a classic mistake in my opinion. Plans make Artists feel good, so for them, when they walk off the stage… exhausted, emotionally spent… you know what the next move is, there is a plan. Plans can change, but plans mean calm, they are not fixed - you are in charge of them. But have them…‘Ask more questions, get more answers.’ 26 27Blinders on. This is my favourite quote of all time and one to remember before we get into all the details. There you are scratching at your phone and potentially so is your artist, competitors seeming to be doing better (IG is all true right?!) and you get distracted. You react. This only EVER takes you off your path. This is not smart. You have plans, you are aware of the competition and that’s great, but stay on your path. “When you’re a race horse, the reason they put blinders on these things is because if you look at the horse on the left or the right, you’re going to miss a step. That’s why the horses have blinders on. And that’s what people should have. When you’re running after something, you should not look left or right — what does this person think, what does that person think? NO. GO.” - Jimmy Iovine Don’t sweat the small stuff. Every single fight you have is energy. Fight when you need to, and the older you get the more you realize sometimes losing on purpose is also a way to gain trust and good favor to win bigger battles. “You will never reach your destination if you stop and throw stones at every dog that barks.” - Winston ChurchillASK. It can never hurt to ask. I once asked Martin Scorcese to direct a video for me. And you know what? His team took the call. And even though it wasn’t possible I stayed in touch and we did something else together with another of their clients. If you have a GOOD idea, ask. I once emailed Jimmy Iovine who I had not seen for 3 years and said I had a great song for his new Beats campaign, I sent it, was in his house the next day and confirmed for the Christmas campaign. It was a good song, I wasn’t wasting his time, and it worked. ASK. They can only say no. But also ASK when you don’t understand. If someone on a conference call says a phrase you don’t know what it means - ask. Yes you can feel they will think you are inexperienced, and you can feel embarrassed. But what is more embarrassing? Asking on a call…. Or making the mistake in front of the world because you didn’t know… and the label say - we told you this… Questions are strength. Period. The End. Don’t let anyone tell you differently. And if someone asks you a question remember how you felt when you had to ask. Don’t patronize or make them feel small. We all start somewhere and there is a shockingly low amount of ways to learn this stuff online or in a book. Maya Angelou (can you tell she is my favourite poet) was mute as a child after something horrific happened to her. A lady read poetry to her and eventually after 5 years or so, she said Maya you will not truly love poetry until it rolls off your tongue. She started to recite poetry under her house after that. Using your voice rather than email and messages will serve you well. People are tired. They are scan reading hundreds of emails. You will lose the fun, the passion, the expression in your voice. Trust me they will remember a conversation 100 times more and they will understand you more. Also how many times have you spoken to someone weeks after a message and they took it the wrong way because your words can be taken in two ways? Your voice will be your greatest method of clarity, speed and enthusiasm. It’s an old fashioned method but it remains the greatest.YOUR VOICE28 29BEFORE WE START. BEWARE THE PAST.I touch on this again when it comes to the contract, but i cannot say strongly enough now that rules do NOT apply to you. There are laws for sure, but even laws can be changed. You need only look at the battles over Copyright to see this. When you look at the past, do so only for inspiration. These are not rules. These are rarely laws. If you approach this like you have lived on a desert island and you know none of the previous ways done before you, you will think big. You will think with a free mind. Don’t take pride necessarily in that you did it a LITTLE differently. Do it entirely YOUR way. If that’s the same way and it was your choice… OK. But think before you repeat someone else’s work. When we decided to do Madison Square Garden in 2013 our record label chief said we had to take on the entire risk. They were a shareholder in our live income and refused to underwrite it. You cannot do a rock venue that size they said (well one person said, most of the younger people said HELL YEAH - shout out Tony Barnes here) What they meant to say was not ‘You can’t do that’ they meant ‘that’s never been done before’. LOOK for the difference with your instinct as your guide. When Sebastian Ingrosso and I watched the Foo Fighter documentary in Stockholm, Dave Grohl was in the audience and we were in awe, I mean this guy was in Nirvana for heaven’s sake, we watched the band play Milton Keynes Bowl on the big screen. We sat in a hotel having a glass of wine afterwards almost silent, thinking about what we just saw. THAT is inspiration. We confirmed the venue 48 hours later. Everyone said it was impossible to do and not to do it. It sold out, and remains to this day the largest DJ Headline Show of all time. This is the difference between Precedent and Inspiration. Rules and Rule Breaking. The past can set a layer of fear on your decisions. I promised I would not curse in this book but this is the one time I will. F* THAT. F* FEAR. F* THE PAST. WHAT’S THE CONTRACT? 30 31WHO’S WHO AROUND HERE?“I knew all the rules but the rules did not know me, guaranteed.” - Eddie Vedder, Pearl Jam. Contracts are the past. The moment they are written they are old. They are a bunch of precedents set by people before you. They are not ‘the rules’. Do NOT think about the contract AT ALL when doing your deal. The second you talk in terms set before you by other people, you stop innovating and imagining a new future. I mean… the whole world changed with streaming and the contracts changed how? They added the word streaming into the revenue section when the entire business changed? What’s a royalty?! These are terms where those before have found a way to be paid for creating. Think what your business is. What you want to do. Read NO agreements. Draft out how it works. Then go from there. Do NOT try and fit your ideas into a framework created for you by people you don’t know. Steve Jobs did for sure not consider the clam shell when he invented the iPhone. Someone changed owning for life to Licensing (thank you whoever you were) There is NO reason why you will not be that change. Draw the deal on your whiteboard. Consider the flow of your work and how it needs to move around and where it touches… should you be paid? For me, labels promise they will try and they will pay at agreed rates. Is that enough now? Can you change the game? The answer is yes. Maybe not overnight, but you can do this. PLEASE try.First of all...32 33CONTRACTS They are documents outlined to confirm the promises you make to each other, and how long you keep them. Most of what they contains is not government law. Therefore there can be no two ever the same. Obviously there are laws to prevent stealing your work but is a Royalty Rate Law? No. Is a structure of a deal Law? No. Is an agency you hire only able to charge you a certain fee? No. Is the way you are confined to sell music limited to streaming, downloads and physical? No. These rules are simply what happened before you. Evolving as Managers like you over time pushed one inch at a time. Yes you may have to be massive to create an entire new deal structure, or to get paid every day by your label. Everyone has learned what is cost efficient and have huge machines slow to change around that, but change CAN happen. Push Push Push. Can Contracts change? Yes. If you drop your first single and it goes worldwide number one, marketing minimums will fade away. If you suddenly get offered a crazy collaboration and you were given a small advance, then yes you can make decisions together to increase it. Contracts are to set minimums, a framework for your working deal. But they can change, they can even be re-negotiated on either side when extreme success or failure happens. Don’t be afraid to ask, but do so with logic. Whilst the contents of the contract may not be governed by government law a contract is legally binding. Once signed you can and they can be held to it, and trust me, breaking it never ends well. Irving Azoff pulled together a group of superstars to leave ASCAP and BMI, a long standing pair of performance rights collection agencies, by threatening to pull huge catalogues off the air which they relied on and increased their rates of pay. This is someone knowing the rules are not set, and forcing change through collective power. But it took someone to lead it, and he did. Global Music Rights as a company is an example of change being perfectly possible.ARTIST The Artist is the person everyone works for, and that’s the bottom line. They hire their manager, and often the manager is then trusted to build the rest of the team. It’s important you get the expectations clear from day one. You will be available pretty much 24/7 to the client. If the Artist wants to approve elements of your work, like who you hire and how much you pay them, have that conversation early.34 35MANAGER Hired by the Artist the Manager oversees the world of the Artist and is the go between on everyone else involved. Their roles can vary. Some are heavily involved in creative, some are not. But the overall role of the manager is sort of the CEO of the company. The company being the Artist and all the service companies and contracts you take on. Contracts are not necessary but most prefer them. They tend to vary from 3-5 year periods, with clauses for both to be able to leave, or should misconduct occur, they can be fired. A Manager is responsible to work with your business manager (we’ll get to that later) but not for the personal finances of the Artist. Once the Artist has their money, their own business manager (or sometimes it’s the same guy) will do their personal taxes. You’re not responsible for paying their mortgage on time, but you are responsible to make sure the Business Manager is getting every penny they are owed.Commission for Managers vary. The general rule is 20%. If the Artist is already huge they may choose a lower level. There’s no set length, you can have a trial period, average however is 3 years. I’ve seen some at 5 years and I’ve seen some which are simply “we end it when we end it” and you get a notice period. TERM (HOW LONG THE CONTRACT LASTS)There are 2 important things to note when agreeing commission rates: 1. Is it Net or Gross? Net means the 20% comes after costs, gross means off the top. Examples of Net & Gross commissioning on live and records are featured on the following pages. 2. Sunset Clauses. This is when the relationship is over for whatever reason and they will receive some income for a period of time afterwards. Normally this is 3 years at 20% and 3 more years at 10% on songs released during their time with the Artist. On Live Shows it’s normally confirmed shows. There can be extra wording around these. For example, the Manager may want to specify that songs recorded and pretty much ready to go are also included. They may have secured the sessions on these songs and feel entitled to it. Same with shows, if shows are not contracted but were at verbal confirmation stage. This is a personal choice between the Artist and the Manager both who have separate lawyers for this process. For the Manager, remember songs can be unrecouped, and income can take some time to get to you, so Managers may have worked super hard at the beginning of the songs, and if fired or leave, do not see the long term income. As streaming now brings money in for years, you may see longer Sunset Term requests. For the Artist Sunset clauses, if they have to pay on songs not yet released, and hire a new manager, they may have to pay twice or hope the new manager will compromise. Work for free on these songs and wait to commission on the new songs you create together. So there is an argument on both sides here.WHAT DO THEY GET PAID?WHO PAYS FOR WHO? LIVE GROSS COMMISSION LIVE NET COMMISSION 36 37 38 39Artist Pays for: • Their assistant • Their studio • The business manager • Their personal accounts if they have more than one (not normal) • Their own home & living expenses • Their own travel to your meetings • The lawyer • Audits • Design of their assets made for their own platforms (IE not single artwork if the label pays, but general content for their platforms) • Their work permits • Touring costs • Publicist when not provided by the label • Photographer & Videographer for day to day use • Recording costs depending on their record deal Manager pays for: • Their own lawyer • Their own accountant for their personal taxes • Their team • Their office and costs associated to. These cost types you agree if the manager charges commission before or after they are deducted.NO RULES HERE EITHER BUT THIS SEEMS TO BE THE NORM: GREY AREAS Managers travel to shows and meetings. If the manager charges on Net, it is likely they do get their travel paid for by the Artist but the trips are pre agreed and the class of travel confirmed. Often this is highlighted in the Management Agreement.In older times, you may hire a social media company, or a graphic designer. More and more now the management companies have one full time in house. However if the manager only does one client, and you need all these full time staff, there may be a discussion around who pays for it. There are no rules for this. If the Artist does pay, the manager has to agree if they charge commission after this cost, or not. 3rd Party deals. So a brand agency has brought in a deal. And they charged you 10% to do so. The manager can either charge 20% also, or charge 20% after the 10% is taken off the top, making it around 18%, or only charge 10% so the Artist pays a total of 20% Arguments for and against: The manager hired the agent and had the foresight to see that an expert was needed. The manager will then handle all the roll out and the delivery of the campaign and feels 20% is fair. The campaign would never have happened with only the manager and the fee is good so 10% is fair. There’s no right answer, but it’s wise to cover 3rd party income in your deal. The Artist receives an advance. The manager has agreed to commission after Legal fees for example (or not, depending on your deal) and then works the records using their in house team. But the Artist owns the songs, licensing them for example for ten years to the record label and then full ownership after that. Same with Publishing deals. But they spent all the advance making the record. Does the manager charge zero commission because you’re all in this together BUT he or she only has a 3 year term with a Sunset Clause of 3 years? OR does the manager charge the full 20% knowing they do not own any of the copyrights created? Or do you compromise? This is a debate to be had now. You can change, make exceptions, but don’t get there and then feel its too awkward to bring it up.RECORD DEAL GREY AREAS40 41Questions: • If you decide to ask the manager to commission only on the profit, how are they covered to profit from the record long term? • Is your sunset in place, and does it reflect you asking this? • If you decide to do this, when do you pay the manager? At the end when the record is out? If they were planning to use some commission to add staff to their team to work on the record, perhaps discuss this early. • If you are going to allow the manager to commission on the gross versions of this, have you left enough money to record the record if you pay them now? Perhaps agree to pay half now, half later. • If your manager has no sunset clause or a short sunset clause, they are likely to ask for gross in one form or another. • Is the artist paying the lawyer, or the manager? Be clear. “Pick someone who sees and engages in your vision and will be there for you when you need time.”WHO DO YOU HIRE?42 43Well first of all, you are not likely to be trained in finance or law, so you are trusting people to do a good job. I have always said in the first meeting that I need to be able to ask questions. If you find yourself feeling like you look stupid for asking questions, even basic ones, you’re hiring the wrong person. A great expert will not patronize you and will respect your honesty when you don’t know the meaning of basic terms or deals. You’re learning, we all are, no matter what our level of experience. And you NEVER stop. Rules evolve, your size evolves and new rules apply. I have learned the hard way not to ask because I felt stupid. Hires often come via recommendation. The hotter you are or the more established you are, the easier it is to get the top experts to work with you, but there are many younger professionals out there who will be as good as you will be. Don’t choose the one with the biggest rep, who potentially also has the biggest roster. Pick someone who sees and engages in your vision and will be there for you when you need time. The reputations of terrifying lawyers with huge power used to mean bigger advances, but the more the market changes, the length of time you actually nurture your assets is now getting longer and longer. I always think it’s better to have someone who is strong, but known as fair. Who will get you what you want but not be so hated in the label you choose that people dread dealing with them. Balance of power, firmness, forward thinking and fairness is the key here I think. For your Business Manager you need someone diligent. I find some can be reactive. Royalty Statement comes in, invoice goes out. Sometimes without ever asking you for a copy of the deal. So I’ve wondered how do they know the royalty rate was right? I’ve seen some miss Royalty Statements completely. No matter what, I’m afraid it is your job to check these come in. But half the battle is someone who takes an interest in where the money is coming from and what you are owed. Someone who keeps you informed in a simple and regular manner. I’ve also had clients who think they don’t need to pay tax. As in.. AT ALL. I was sent off to another country to meet a finance guy who was going to run the tax free set up. He was pretty patronizing and I didn’t trust him and thank goodness, because I then googled experts in their field, asked a couple of other Managers I trusted and ended up with someone who absolutely showed me why the other tax structure was illegal. My client would have ended up in jail. Now, I have no legal expertise at all, but I used my instinct, and I was right. I’ve always joked that if your Business Manager has a tan, run. And what I mean by that is, if these people who look like they live in St Barts promising this scheme and that scheme. They don’t go to jail, you do. They are not likely to answer when you call them from jail with your one phone call! Your money is a serious matter. The transparency and planning of it is vital to keep you and the Artist calm. There’s nothing more guaranteed to kill creativity than money worries and confusion. Ask your Artist what they want to know. Do they want to know Royalty amounts when they come in, or be able to see the amount coming in for shows, and the costs for shows? Some do, some don’t. But ask, and have that narative open and flexible to change as your business grows. Artist’s may not want to ask after a while and you may feel not trusted if they do. This is not the case. Money is a number, it’s there to be discussed, costs to be challenged, it’s all part of evolution. Whoever you hire, be clear on their financial terms before you begin.44 45RECORD COMPANIES THE PEOPLE WHO SELL YOUR RECORDS. WORK FOR HIRE This is where you will not own the music you record. Do not do these unless the money is so insane you have no choice. In some cases like movies, or adverts, this can come into play. Discuss with your lawyer. LICENSE DEAL More often now the norm, this means they sort of borrow owning it for a period of time. During that time they can make money. When it’s over, the record is returned to you. They never legally own it, they own the rights to make money from it for the agreed period of time. This is why i will keep banging on throughout this book about filing. You are not the Artist now, you are the owner of works and these works can include contributions from others. When it comes to owning your own music in full later on, you will still need to pay any producers and collaborators so have your paperwork in check. Just because you handed in all of this paperwork at the time, it doesn’t mean the label filed it. You own it, you keep it. You would not buy cars or houses and not keep the paperwork. Your options with the catalogue over the rest of your life will continue to evolve. Including the option to sell the songs. To do that you need your paperwork in place to make any sale easy. Songs are assets.PERPETUITY If you see this term it means for life. Do NOT sign it unless the value of the deal is next level! There is however a law passing slowly through the USA system allowing this to be overturned for records made after 1978 where at 35 years you have a 2 year window to get your Masters back. And there is a strict guideline as to how. Most are not winning purely because no-one wants to go the whole way and pay out legal fees to be the one who wins, but they ARE getting better royalties and terms with their labels. A student asked me recently if he should sign a lifelong deal for one song. It was his first release, the label was good, it was his chance to break. In this case, I said yes. But then you limit the amount of product you deliver here. Use it as a springboard and then as you grow, keep your rights away from this type of deal.DEAL TYPES46 47ADVANCE I hate to tell you this but the Advance seems to be the golden word thrown around. I got this much, I got that much. But an Advance is literally like an advance on your paycheck, which when used in that context normally is associated to people struggling financially. An Advance is not money, it’s a loan, and if your royalty rate is 20% it’s a loan with an 80% interest rate. Unless you have a non recoupable advance which I have never seen. So why would you sign that? Well, Record Companies say the 80% they get for the agreed period of time is what they will invest in you, put huge teams around you, give you global distribution of your music and offer you expertise you cannot get anywhere else including helping to make your records through A&R. They feel that they have huge overheads, and if you tried to do it yourself 1) you could not afford their experts and 2) those experts enjoy working for them and working on multiple campaigns so even if you could afford them, would they leave these good jobs and work for you full time? This is only the case when they do deliver and it is also down to you to deliver a product that they can work. There’s no right answer and right now there’s not a huge amount of choices. Personally, with established Artists, if you were a normal business, the buyer would have to value your business and buy shares and then earn after that. But… right now you’d have to be massive to even discuss it. This is the formula for now in many cases. So be sure when you take it, to make it last. Recouping take’s years and is achieved by very few. RECORDING FUNDS Sometimes this is what the Advance is called and for me I always think that means the label assumes you will be spending all of it on making the record. How do you live then we ask ourselves! Sometimes you see an Advance (which is the fee for you, your name, your time) on the profits of the records you plan to sell together AND a Recording Fund which is the amount on top to make the record. Generally both are fully recoupable (which means both are loans). The rates of recouping could vary but normally they are both 100% recoupable.IS IT OVER WHEN THE TERM IS OVER? Often no. They have a retention period. A retention period is where the label contract is over but they have the right to keep collecting. This is justified by the fact that they did all the hard work at the start. The record is now making money with little investment, and they continue to get paid, and pay you the agreed royalty TERM (LENGTH OF DEAL) This can be a number of years and a minimum commitment you need to release in that time. This can be determined by the number of records you have to make before you can leave. When albums were king, this was generally the number of albums. This can include a period after the final product is released where you cannot release elsewhere. This was to allow the record company a clear lane to work your music. It also often outlines if you create a Live Album and a Best Of. RECOUPABLE ITEMS These are amounts the label spend on you which they ask to get back BEFORE they pay you royalties. Sometimes you will see 50% Recoupable (or any percentage) and that means that some they pay themselves and you don’t, and some they ‘recoup’ before they pay you. Always ask for one list of recoupable items to be ON ONE SUMMARY PAGE IN YOUR AGREEMENT. They can be scattered. This is your money! Also be clear how recouping works. Is it all coming in, but only recouping from your share… meaning all those costs sit in the 20% you get, or off the top. I’ve seen both! Ask them to draw it for you if you get stuck with long complicated text. It’s not your fault you don’t speak contract Latin.48 49NEW ADVICE ALERT From what I have seen with the relevance of owning your records now, we are yet to really see many deals return the records now in this streaming era purely as so many License Deals are new, and their terms are not yet up, but more and more will now come. ADD a clause to your agreement that 1. 120 days pre end of Term the Record Company will present you with a file in a mutually agreed software format, which contains all Audio Files, Art Files and Assets. Without this you could be going somewhere else with your music and not have the files and if you didn’t follow my magic filing advice, you will have a dead period 2. If the software of your new service allows it, the streaming links will simply be transferred to you without losing the stream count. Essentially they will do their best to allow you to pick up where they left off, and all those lovely streams stay yours, and will prevent messing with any algorithms and playlists where the songs sit. As i said, this hasn’t really happened yet but it will, and people need to be ready.for that time. Retention Periods are normally around 10 years. I’ve seen shorter and longer. Sell Off. This is normally an extra 6 months. This was designed for them to be able to sell off the CD’s still in the market in their final months. This is ancient now and I believe should be removed from agreements. Agree a Retention Period and that’s the end would be my advice. CAN YOU RELEASE FOR FREE DURING THE TERM? No, without their permission and without agreeing with all the people involved in the record, a promotion free record is not an option without permission. This also applies to pricing. Unless you have agreed in your contract that you approve pricing they can set the pricing. In reality they will be competitive to drive sales, but if you suddenly want to drop iTunes to 59p to drive you to number one, that’s a corporate decision and can take time, not your decision. INTERNATIONAL RATES At source. CLEAR wording. At Source with no other deductions. I’ve seen an agreement recently where the rate was 25% at source, but on another page it allowed the At Source to be defined by the rate the USA got from the international markets which was 60%. This left the Artist with 15%. Don’t worry about what all that means just insist that it’s at SOURCE with NO possible loopholes.BONUS TRACKS Personally I think this is nonsense and you should just remove it. But if you do agree, make sure you deliver. When you leave no one wants to remind you that you owe them 3 tracks from 3 years ago. Record companies do not want you to leave so whatever you agree to, deliver it. Bonus Tracks are also almost always after thoughts. You forgot to do it, or you love all your records and they all made the album. So the quality can feel lower but were stuck on a Deluxe Version to up the price by 3 dollars? Fans may love anything you make so it may be ok, but maybe not. This is why I think you do not put them in your deal and only deliver when you feel it’s a smart move and the record you plan to add is worth it. IF you get to release and you don’t get asked for bonus tracks for the campaign, ask in writing that the need is waived and you will not be asked to give them. This should not come from your A&R guy unless it’s been cc’d to someone from Legal Affairs for the label. Make sure you are covered with any change in your agreement.TYPE OF MUSIC YOU MAKE The label may ask that X amount of the tracks you deliver have vocals. This is to try and ensure you deliver a radio hit. Be aware of what that is and ensure you deliver. Can they refuse to accept records if you follow the agreement because they wanted something else? In Geffen VS Neil Young, David Geffen sued Neil Young for making a record which didn’t sound Neil Young enough as he experimented in a new sound. He lost.50 51OPTIONS This section is where it is determined if you do well, what the terms are for them to keep working with you. This does not mean both of you have the option to choose if you stay, only the Record Company may extend, or drop you. You don’t have the ‘option’ to leave so it can be misleading. The Options will tell you: 1. When they have to tell you if they want to continue. And sometimes they ask you to remind them! Be clear on how this works and follow procedure exactly including if the letter has to be recorded delivery. If it does, keep and scan in the ticket. 2. How much you get for the next commitment and what that commitment is. This can sometimes be based on how well the first part did. They agree to pay you a percentage of what you already made again. 3. It may require them to hit targets to be able to get the Option. IE they have to sell X amount of records to get you to stay. This can be calculated by how many streams or single downloads count as 1 record or 1 album. Be careful to understand this section. 4. They may have more than one option. You go into the first option period, then they can keep picking you up. Personally I don’t like Options but most will say it incentivizes them to work hard on you as they have a chance to stay in business and I can see that logic. But years and years of Options are not healthy. Keep the money high for new Options. Not just a percentage of turnover. Maybe ask for a minimum of X amount OR a percentage - and the greater amount is the amount they owe. TERRITORY Global is normal. Very few cases now allocate your deal to a country. This normally means you have a ‘Repertoire Owner’. This means the local label you sign to, gets the lions share of the profits, the international offices normally receive less. Local labels will normally therefore prioritize acts they get a bigger piece of. When signing its always worth asking how this works. You traditionally sign Global Deals but in fact you may get very little access to global offices unless you are classed as a Global Priority by the label - a decision you have no part in. If you know and have history of strong sales in more than one market, it’s worth asking for joint Repertoire Ownership so more than one office feel fully incentivized. If you are signing multiple territories you will want one song upload or you will split the stream counts and not do as well as you can, how will you tackle that? Think early on.360 DEALS This is a phrase, rarely used, for when someone goes completely into business with you taking a piece of all revenue. Live, Merch, Brand Deals, if you produce or remix or work with other poeple in whatever capacity. It requires a bigger advance, guarantees of investment and I do not advise you to do them. It does not cover personal income, like profits from stocks and shares, or selling your house! It’s called this because imagine your business as a pie, they take a slice of the whole thing, of the whole 360. ANXILLARY RIGHTS Fancy term for extra stuff you can sell. This section of your agreement may give the label profit shares in Merch for example. This can however be limited to not kick in until you have made X amount of profit, OR it can be only on what they bring in. Brand Deals for example are now a serious level of business for labels but more often than not they only charge you IF they bring it in. This can also include movies, TV shows and books.AUDITS This is your friend. Your contract must have a right to fully Audit every 3 years, set a reminder for 6 months prior. You are often required to notify the label in writing (and be careful if they insist on it as a paper letter not an email and keep your recorded delivery receipt on your filing system). This means you can check every 3 years for the 3 years gone by. Did they recoup everything right, did they pay you correctly? Audits cost money, but you can do a ‘desktop audit’ for around 5k and if you have achieved over 100k in revenue I would recommend it. Any money found goes into your account with them. If you are unrecouped, your unrecouped balance gets smaller, if you are recouped, you get the money either now, or on the next statement. I once found for a large Artist MORE MONEY THAN THEY HAD EVER MADE ON RECORDS. DO NOT EVER WAIVE THIS RIGHT.52 53LICENCE DEAL NOTE: If you are on a license deal, everything created in that time with your money (even when they are spending it) belongs to you. Therefore agreements for your music videos, photoshoots and assets in general should be between the company where the Copyright is held, like The Band LLC, and the supplier. Tell the person involved to ensure this is the case - they will normally just drop your name in rather than make you do a whole agreement, often the contract is coming from the supplier anyway. Ask for your copy of everyone, and file it in your song folder. You will need it when you come to own the records again. In a band? Your deal will contract you in your own name, so changing Artist name does not get you out. However if you are in a band, you can limit the contract for only this activity and exclude your solo work. But be clear. Some are smart and include it and you don’t notice until it’s too late. 50 / 50 DEALS This tends to mean all of the costs come off the top and then 50 / 50 split on profits. Sounds good right? 50% Royalty Rate going to sound great to your mates. BUT you need to study what the label were going to cover on your regular deal. If they were going to cover marketing costs, radio costs, 50% of video costs - you may well end up paying more costs than before. Speak to your Business Manager, they will have examples about other Artists who have done both. My auditor warned me these are not as gold as you think. Advances do apply here so may be included plus Recording Costs. Remember you still have to pay to make the record. These usually include a distribution fee for them. Lowest I have seen is 12% and they normally ask for a lot more. Negotiate. This is to cover their ‘services’. NEIGHBOURING RIGHTS This income goes partly to the label and partly to you depending on your role (see Royalty Section). Insist this is included in income streams on their side. There has been mass confusion on this issue to date.BEWARE THE BIDDING WAR So … you’re red hot and everyone is after you. No matter what, the people you turn down will have ego’s. You will publically have said no to them because everyone is talking about you. You think these guys won’t turn on you? WRONG ‘Well I didn’t want it anyway… it’s all hype’ etc etc - watch them all turn. In a bidding war, do not act like Billy Big Balls. This time will be short and then the hard work of delivering comes. The less you make of the hype the better your chances of proving to them that all the hype was justified. Be polite, take all their calls, don’t lie to them, don’t tell them other deals were so huge you can’t even tell them the number. Yes…you can use the hype to get what you want. A higher advance, a larger marketing spend, better terms on the time until you get your music back, guaranteed video budgets and transparent marketing spends. But lying excessively will not serve you well. Choose who you want, get them to a place you feel good, shut it down. Do NOT do some big press release…. Saying you signed for X amount of million. 99% of those cause backlash. The Artist can’t live up to the hype. The press stay poised with their pen to write about this billion dollar album and you deliver a masterpiece but feel underwhelming to the hype. Let the music speak. Gather respect, but not envy. Gather goodwill. Your ego can have a knock on effect on how your Artist feels plus pressure to deliver. Bear that in mind! Let’s also remember as a manager, this may not the be the last client you have and you may end up needing to sign to one of the guys you passed on, and your current artist may need a featured artist on their label. See now why you needed to be nice?54 55APPROVALS OTHER APPROVALS Ask for sync approvals and approvals on Compilations. This is to keep a track of sync income which is normally a 50% royalty (different rate to your average Artist royalty which is 18-25%). Track your Publisher is also approving if you have writing on the track and the income comes in on both sides. Again, cc yourself on approvals, file in a SYNC APPROVAL file in your email. This is also to ensure syncs are suitable to your brand. Approve same day if you can, never let the Artist hear someone was chasing you, this is easy revenue. If you see the terms MFN on the sync, it means Most Favoured Nations which is a fancy phrase for - no one got more than you. This is often seen on TV show for example. Read it carefully. Is the brand suitable for your Artist? If you won’t endorse some things like political broadcasts, alcohol etc - tell your label to minimize wasting anyone’s time. If you see a sync you didn’t approve, tell your label. It may be the TV show has a ‘blanket license’ or someone has been naughty and must be chased. A sync creates income on ‘both sides’ of the record (see Royalty Section). Publishing and Master Rights and both charge the same. So you should see one from your label - and you get the Royalty you agreed on this (going into your pot COST APPROVALS This is where you may approve costs you have to recoup. They will not like this. They will say it slows them down so offer 24 hour approval on weekdays. They also won’t like having to disclose the marketing budgets. This is so you don’t tell other people what you got if it was good, and don’t complain if it’s small. Remember - recoupable monies is just a loan. You pay it back so be wise when you demand more, and be aware it’s your money when you think they are over spending. Push to get approval but on new Artist’s it won’t always be granted. Keep a record of approvals, maybe cc yourself on the emails then file them all in one folder if you don’t have time to set up a sheet.56 57NEW ADVICE ALERT Try and agree that no Gratis License (free) requests for media partners using 30 seconds or less, for a period of 2 weeks can be blocked. This is to stop labels blocking you from a SnapChat or IG filter for example. Which they do when they are battling those platforms. Now this can be because they are busy battling to get everyone paid for these profitable platforms using their music, and all power to them, but when you badly need the promotion of a global look on these platforms, it’s every man to themselves. I’ve almost lost huge looks fighting labels to allow me to have a lense on IG or SnapChat. Happily I’ve always won but it was a waste of time fighting it. Also that the label may not disapprove of a sync - IE if you want to sync to Nike at 1000 USD, you can. They will not like it as Nike perhaps took advantage of you by knowing you want it, but… there’s no time sometimes to worry about precedents you set. (Nike of course don’t take advantage but you see my point… when you need the look, nothing should hold you back).until you recoup) and on the Publishing side the same but remember you only get your share. You have a 10k sync, you percentage of writing is 25%, you get 2,500 to your pot to either help you recoup or be paid to you, from which your Publisher will take their agreed rate of commission. If it’s a cover version you will only see it on the Publishing Side (see Royalty Section) and ensure you have the right to approve the version before this is deemed approved. MARKETING AND VIDEO BUDGETS You can in some cases agree a minimum commitment to what they will spend on Marketing and Videos. But unless you’re massive it’s normally to be spent in a mutually agreed way. So all they have to do is say no and you’re stuck. Ask for data. Did the spend on YouTube ads work, how many click throughs did you get….what Ad words worked (See Marketing Terms page). Learn with them they will respect you for it and learn where the dollars go. If you are recouping that’s your Artist’s money you are spending.NEW ADVICE ALERT Add marketing spends being triggered to release more money if you do well. IE at 10 million streams they release 50k in marketing additional to the original budget. Add video budgets will be increased to include ALL Featured Artist costs. You add a featured artist you add a bucket load of costs but the label got an Artist they didn’t sign on a track. Let them front the money. Ideally non-recoupable but you may have a fight on your hands there. Featured Artists won’t do bad and cheap videos. So you are stuck if you cannot get the budget from your label. EXTRA NEW ADVICE So you have done well. You kept your word and delivered 2 Albums and you are on your last one. I’m afraid to say this is when the games can begin. They want you to stay and start renegotiations now. You want to finish your deal and see what else is on offer. Doesn’t mean you are leaving but I’m pretty certain your Artist will want you to shop around. Well this is when I have seen real bully tactics start. Spending starts getting cut. Say what? Yep… you’ve done great work and you’ve both made a tonne of money so they would be super nice to you right? Wrong. You may only sense it and not be able to prove it but they will not want to invest more than ever to watch you leave. The way to protect yourself here is to put that marketing contributions rise per album. Guaranteed. And are released at the start for mutual approval. If you want to be really fancy and you worry these 3 albums will take a lot of time, you can put percentages that rise for every year you are there. This also tackles the inflation of rising video costs and featured artists who can double year on year. Discuss with your lawyer but don’t get all up in the Advance section growing per album with bonuses triggered by the amount you sold… think also what you need to release in a way which is constant. 58 59YOUR TEAM AT THE LABELPRODUCT MANAGER This person is your go to for all things. They coordinate all the other people around releases. They also know things like chart rules, if you can or cannot have guns in videos and still get broadcast on TV and other rules to help you not make mistakes. Unless you’re a total rebel and don’t care in which case all power to you my friend. A&R Stands for Artist & Repertoire (the records) They help you find demo’s, vocals, producers, song writers, book sessions, find remixes, advise on radio edit lengths, possible re-arrangements for radio etc. If you do this all yourself just be nice to them anyway, you will need them at some point and good ones are a dying breed. Also the first person you tell when you used a sample. They can help source where it came from, who owns it, and even replay it to help ease the clearances. MARKETING MANAGER This person will work with you on digital marketing including advice on new platforms, how to improve yours, and along with the product manager will also often work on promotions with the stores. They will buy the marketing from agreed budgets set by the label, and can report to you on the effectiveness of the campaigns. These guys have the data you need! In times when you need external help, like a developer to build an app, they are the ones with the contacts. VIDEO COMMISSIONER Often report to the Product Manager for you but have the rolodex of directors to fit all budgets. 60 61INTERNATIONAL MANAGER This person will be repping you and countless others sending your product out to other markets to get them excited and engaged. Now… think about this for a moment. They are repping you and their team is repping the whole label. They are pitching let’s say Germany who has a huge market of their own, and so are ALL the other International Managers for all the other labels in the group. (Majors have lots of labels) If you signed to a label outside your home country, or outside a country you are massive in, it’s wise to insist you meet and speak to the label in that market to get their commitment in writing to your project. The labels are swamped. They won’t care you got 50 likes from Poland and need to hike up the charge. But also use the rule I explain later to use data to precision target where you push. Don’t burn the label to attack 50 countries. Pick some, focus. See example later in the book. STORE / DIGITAL DEPARTMENT This is the person in charge of plugging your records to stores. They ‘pitch’ your record to the stores for as much good placement as they can and work on a plan so you start strong, but have somewhere to go afterwards. They also give you the good and bad news and outline to you social media commitment required if you are lucky enough to get a billboard, or a commitment of placement which warrants it. They are also the bible on how not to offend stores. They are dealing with multiple Artists and know the do’s and don’ts. They would always rather you check with them. You misbehaving can reflect equally badly on them so they are your friend! RADIO PLUGGER This is who takes your record to Radio. They have the relationships, they have the power to hire external specialists when you need them and will work with the product manager on when to go for what types of radio.PUBLICIST The label normally provides them in-house and these tend to be only around campaigns but they can blast out Tour Announcements etc around a release period as it’s all layers anyway. Rarely do they engage all year round. If you want that, you may want to ask for a budget for a publicist in your deal and hire externally and see how they react. Be clear with them what you do and do not want, what you will and will not do. Notice here: when doing your press shots, if you arrange yourself, speak to them. They have good knowledge on how many you need to give them the content they need for possible exclusives and useful tips like most magazines do not like black and white images. SOCIAL MEDIA Strategy is covered with your Marketing Manager, but… don’t expect them to post for your run the day to day, that’s you. DESIGN They can do basic ad assets in-house but the design of cover art etc is either sourced by them out of house (and you recoup it unless your deal says you don’t) or you do it. If you can, agree a fee per cover / product in your deal so you don’t have to approve every time. As always non recoupable would be nice but rare. ROYALTY & LEGAL These guys will do your deal with you and then give you log-ins to the portal to register for Royalties. If you are on a License Deal you do the paperwork for Featured Artists, Producers and Writers yourself with your lawyer and need to hand them in, signed, for them to be logged into the system. Always ask them to confirm receipt when emailing. If these guys are eligible for any sales royalties they then pay them and deduct from your share. Keep them in the loop. If you don’t hand it in, records can be stopped. They cannot release a Featured Artist without paperwork or they open themselves up to being sued for it. 62 63WELL HERE’S THE LOVELY TWIST FEATURED ARTISTS PROCESSES! You have a song, and the session has an Artist on it. It’s at demo stage. You hit the manager of the Artist while your Artist finishes the song. You start to discuss if this is even possible (some Artist’s get ahead of themselves, jump on a record and forget they have an album coming out and it’s not a good time). You agree a fee and you get looped into their Lawyer. You then loop in your Lawyer. In my opinion you stay involved, some don’t but I stay and often lead it all the way home. Terms are agreed. Fee - and if that’s recoupable or not. CHECK POINT 1 Is the fee from your Advance (or as some call it your Recording Budget)? Have you spent it all? If you need more - you have to go and ask your label and they have no obligation to say yes. Let’s say you got Beyonce, and she was 20k because she loves the record and wants to do you a good deal. You’ve spent all your Advance / Recording Budget but damn - it’s Beyonce - this is a no brainer. Can you agree this? No you cannot. You have to go and ask for an additional 20k for your fund. They probably will but this is a Contract Amendment and must be documented to keep your royalites straight. Emails are ok if you keep them somewhere safe. Start a folder for the contract and anything which adds to it, file it in the same place.In the case of a Featured Artist who is also on a major label a ‘waiver’ is required. This is where the label who has the Featured Artist says - it’s cool they are on your track but you need to pay us X amount of royalties. More often than not the fee you pay the Featured Artist goes to them, royalties go to their label. But this is a case by case basis and be CLEAR with your lawyer. The Waiver can have catches on. Like holding you back with radio so you don’t interfere with another record they have out. Either way the Waiver is done by the label with the other label. You don’t do it BUT you need a copy of it and you need to approve it Why? POINTS (FANCY NAME FOR ROYALTIES). The ‘points’ let’s say they say 4%. They do not mean 4% of your share which is let’s say you get a 20% royalty. So you now know you get 16 and they get 4. Keep a note of this. I keep one spreadsheet of all the records I have helped make. Publishing splits, royalty splits and what my Artist should get. An online copy goes to my business manager who should check the statements reflect this. Later on, my auditor gets a copy. It takes 5 mins if you do it at the time, 5 hours if you forget and go over emails. Especially in a dispute.How to avoid this: You can do a deal where a fund of X amount is available to be drawn down for Features on top of the fund you had. If you are a DJ or a Hip Hop Artist they often signed you expecting this and had already accounted for that in the Advance offered, so it’s a negotiation. If it’s a fund to be mutually agreed. This means they can say no, and you can’t do anything. Think about these possibilities. You can also ask any royalties agreed to the Featured Artists come from their share. Again, rare, but think about this in your business plan when you sign. “FROM RECORD ONE” This means they recoup absolutely nothing. And from the first record sold they get 4%. But you’re unrecouped. So the label isn’t set to pay a penny out for a while. You do have to check this is OK with them first or be prepared to pay that yourself! RECOUPABLE ITEMS Ok, so they’re being nice and will agree to Recoup. But maybe not everything and some things you cannot grant because of your deal. Remember they don’t own this record, you do if you are on a License Deal so they want a good deal too. 64 65Ask your Lawyer if what they want to not recoup mirrors your deal and if not, discuss the differences. Ok so they’ve agreed to recoup everything. Wow nice people and you are SUPER happy because it’s a famous pop star and her hair bill alone for the video will be 20k. And they have agreed by some miracle to only take a fee and no royalty. Now … here’s the catch You’ve now got your paperwork in place… and you start budgeting the video out based on exactly this. You have other people to pay on the record, maybe more than one feature, or samples, writers, producers… and you have balanced your budget perfectly. Then you are told by the label that the WAIVER is going to cost you. Major labels lend artist’s to each other but it costs you. This can be in different formats • Set company rate. This is when they charge a set royalty for most of their Artists. Let’s say 4%. • This can be a Percentage of the Artist Rate. So they want 25%. You’re on 20%. So the Featured Artist’s label gets 5%. 25% of the 20%. • They can also set recoupable items before they get their payment. And guess what…These recoupable items can be COMPLETELY different to the ones you agreed. Suddenly you cannot pay for the video before paying them their share!!!! And often these Waivers come in days before the record comes out. And guess what some more? You agreed a swap. You get them for 4% and they get you for 4%. But their label only does percentage deals. You’re sitting on a 20% Royalty and they get 5% as their label charges a 25% rate. If your label does the same, which may be ALL that label may allow - and they only have a 16% Royalty, you get 4%. 25% of their Royalty. DAMN! Your swap just cost you 1%. Fair? Probably not. But if you want these guys on your record for now…. This is the daily battle. There is also nothing in your contract that regulates this, and the rates between the majors changes weekly as they are waking up to the revenue being generated by their Artist’s sitting on other people’s records. I saw one change where I cleared one Artist on a major for 4% then did another a week later and it changed to 33%.CHECK POINT 2 NEW ADVICE ALERT For now, to protect yourself put in your agreement as follows: 1. Waivers will be applied for within 48 hours of your alerting the label of the collaboration. 2. Waivers will be in your name, and if the receiving label does not allow that it must state ‘on behalf of’ your company. 3. Waiver terms must be approved by you. 4. Waivers for Artists on the same label as you must still be clearly documented, in your company name, and must be applicable for the life of the record not the length of the agreement with the label. File all waivers immediately in your song folder. 5. Create a spreadsheet of records you have made and list anyone taking royalties from your share, and their recoupable items. Trust me here, it’s way easier than looking back for the info. Share this with your business manager and when you audit, with the auditor. Remember - major labels have different sub labels. If you think you can get a better deal because Bieber is on Def Jam and you are on Interscope and they are both Universal, think again. A waiver is still required. How will you know when to stop paying the major and start paying the Featured Artist direct? Well hopefully the manager of the Featured Artist will tell you, but watch the press for updates. Remember when they leave they may still be in a retention period where that label may collect for some years to come.You are pretty powerless here. Your label has some leverage. They all need each other. But your one song won’t overturn an ever changing system and the Featured Artist is signed to them and cannot override it. So why on earth do the Featured Artist agreement in the first place? Well - remember…. You OWN this record if you are on a License Deal. So in ten years or so when you get the record back you will take over paying these Artists and contributors to the record. You can see now why i am saying file EVERYTHING.66 67I’m going to stress one more time to keep and file the waivers. If you pay for an audit, and he looks at your statements only based on the agreements you did with the Featured Artists and you’re paying an hourly rate, you will kick yourself when he comes back puzzled as to why the agreements don’t match the deductions. And you have to admit you knew there was a waiver, and you had neither saved it not shared it with him or her. Build a relationship with the person who clears these features at the label. The ones I have dealt with are SO nice and are on your side. Shout out Todd at Interscope here who is a living legend. He made the craziness of juggling 24 Featured Artists in a year bearable. You’re in this together, they keep it calm. They get it done. Be nice. They are often hidden behind your A&R guy or product manager but a thank you when it’s done is a thank you WELL SAID. They are very much on catch up on this unregulated set of rules set by major labels see their Artists bounce from one song to another. Term you don’t need to worry about is Market Share. This is where major labels report how big they are in the marketplace. For example the one with the most record sales and streams is the biggest Market Share. They are protective of this and it looks super fancy to their shareholders. When they lend an Artist to another label they will contract the label to give them up to 50% of the label share to their own reporting. This also helps keep their big bosses happy on results, while they keep their Artists happy by not blocking collaborations. If your Waiver doesn’t look like its happening, well it’s all balls to the wall here. Call the Artist, call their manager, call whoever you need to put pressure on. But… do that LAST. these labels have processes and indeed when you hop on someone else’s record they are there for you too. Don’t push them while they deal with you. They are dealing with hundreds at a time. You will annoy them and that’s not smart.THE LICENSE DEAL AND THE RE-LICENSE DEAL This is when the labels will have to give back your songs and will want to keep you. Back Catalogue streaming is a HUGE part of the label’s revenue and now Licensing Deals have replaced ownership, these are just loans. They will want to keep earning. Whilst for many they may want to stay and simply take new advances, improved royalties and pitches that state how they will keep pushing the records on classic playlists - for some they want the control back. In this case I see no historic reason why Record Companies won’t play hard ball here and they are powerful. Waivers will be one way. They did the deal with the other major, not you. They own the Featured Artist if they were on their label..and now won’t allow them on your records. They won’t allow you to keep the play count on the songs even though Spotify are saying you can (who knows here!) pulling you down from thousands of playlists by having to re upload the record. It’s coming trust me. So… THINK about this when you are doing all these deals. If you are a Featured Artist on a record TELL YOUR BUSINESS MANAGER. This revenue from your percentage will appear on your royalty statement…..CHECK IT MADE IT ON. Tired yet? LOL! Ok here’s the easier things Featured Artist’s ask for: APPROVALS SAVE THEM. Learn them off by heart. There’s no greater offence to an Artist when you post something they didn’t approve and it ruins relationships. Give them limits of time, like you have 48 hours to approve (on weekdays) or it’s seen as approved. This keeps up you work flow time at busy times. Video costs. They may charge you a fee to appear, but will also list items like travel and the class of travel and how many people, rider on set, need for a Trailer (this can add 20k so be careful), stylist budget (can be 40k for a big star), glam (hair, make up - again can be pricey).There will be 2 types of record deal in the future in my opinion…68 69PRIMARY ARTIST OR FEATURED ARTIST This applies to stores. If you want them to be a Primary Artist this is how it looks on Spotify when it is in Bold Type and appears on their page. You would prefer this normally as their fan base see it more clearly. You may not want this for some reason. Be clear. You can only have 3 Primary Artist’s on Spotify for example so if you have 4 you can’t even offer it to all anyway. On Apple Music I am sure you can have 4. Check before you ask Artist’s to commit. MEDIA COMMITMENT This is where you outline if you expect social media posts of interview time. Most push back here and post what they want which is sort of fair enough to be honest. MFN Most Favoured Nations. Which means no one gets more than them. This applies to records with more than one Feature OR they could ask for MFN across a whole album which means you need to watch other deals on your record. They could say MFN on only certain terms, so they don’t care if someone got more hairdressing than they do, but they do care if someone gets more of an advance than they do. BILLING This is how they appear on Artwork and in the title of the song. Now… if they cannot be a Primary Artist because they have another single out, they cannot go ahead of any other Primary Artists that’s just how the software works on songs. BUT… they can insist on the Artwork they go first ahead of the others. It’s a negotiation. Stay calm!VIDEO COSTS They may charge you a fee to appear. But will also list items like travel and the class of travel and how many people, rider on set, need for a trailer (this can add 20k so be careful), stylist budget (can be 40k for a big star), glam (hair, make up - again can be pricey). WHAT THEY NEED TO SIGN? Within the agreement, they state they ‘indemnify’ which means they promise that no one they worked with on the record used a sample or stole anyone’s music or if they did they declare it and you have to clear it. If they get caught, you can pass the lawsuit over to them. But… this means you had to have this signed and you had to keep the sessions at all stages. Emails they sent, what app’s they sent. Showing clearly it was them who added that part. PRODUCER DEALS A producer normally asks for royalties (from record sales). They can also ask for Publishing. If you are managing a Producer and you want them to be known you can contract, the Artist tags them on social media. It’s rare you can ask they are listed as an Artist. However you do see some who plan to go on and be Artists insist on this and be a featured artist. They can ask for a fee upfront. This fee will then be stated as Recoupable or Non Recoupable. It will list what they will or will not recoup. This fee would come from your Advance or Recording Budget and is normally payable at the time they engage. If you want to see how they do, like trying out a new producer they would do the work ‘on spec’ which means you buy it if you like it. REMIXER DEALS Remixers generally receive a fee. Many now ask for Royalties on sales. Some ask for income on the Performing Rights income generated on the Master side. Speak to your lawyer about what you are giving away and ensure you have the rights to do so. Like producers you can insist on social media support from the Artist, approval on Artwork where their name is listed. More often than not their name is on this product. You can request Primary Artist status which means it will show on their Artist page on stores. The Artist is likely to be fine with this as they want your fans to see it, that’s why they picked you. Your sound and your following. Their agreement includes a Sample Waiver to say their work was all their own, their terms, what they will recoup, and goes to your Record Company who will pay them and deduct that from your income. If you have a Featured Artist on your record they may have approval rights over Remixers so be sure to follow agreements when you add new versions of songs.70 71This confirms they used all their own ideas and the share of writing income they receive. I have seen these not done and a share be agreed on email but covering yourself they didn’t copy anyone is smart. Again, you can insist they get social media support which inevitably may get them more work, be included in press releases. You will not get Featured Artist or Primary Artist status on stores. Or at least I have never seen it (so far!) A hit song has demand. You can ask to ‘hold’ it meaning only you can work on it for a period of time. There may be a fee for this. There may also be a fee to buy the song ensuring the writer gets paid. Remember, they have no control later on. If this song doesn’t work because you or your label messed it up, they get no income so some are now asking for fees. I think that’s fair enough to be honest. They can insist it’s a single. Not sure how you guarantee that once it’s on an album, is there such a thing as a single anymore at this point? But it can be defined by if you invest in taking it to daytime radio and making a video for it. The fee can also apply for them to even do a writing session although it’s less common. Writers are crucial and in my opinion underpaid, so look after who you work with. You will want more from them. Also keep them in touch with when songs come out and how they do. It’s their work too. SONGWRITING DEALSAGENCIES An Agent is who gets you live work including DJ shows and private performances (cash!)72 73Yes, but the bigger ones will only take you on if exclusive in their territory.CAN YOU HAVE MORE THAN ONE? Yes. You can normally split the world with North America, Rest of World. But I have seen Asia and LATAM go to Agents totalling 4 worldwide.CAN YOU HAVE MORE THAN ONE WORLDWIDE? 10% of the GROSS normally but some will negotiate. So that’s straight off the top, not after Withhold Tax (coming to that) or any of your costs so be sure you put this into your budget.WHAT DO THEY CHARGE? Normally monthly but most will issue payments when asked. Ask in your meeting early how it works. If you need cash show by show, discuss with them how it works.HOW OFTEN DO THEY PAY YOU? The larger agencies now have active brand, film, gaming, influencer and music scoring departments to name just some of the ever expanding service. This can seem amazing but unless you fit the bill for these types of deals (which they normally decide more than you do) you will not see a huge amount of action here. You have to feed them the info on your Artist, suggestions for brand targets and be realistic that these departments service hundreds of clients. These services are normally on a non exclusive basis. So you can get these deals from anywhere and only pay them if they bring it in.WHAT ELSE DO THEY DO?If you’re lucky enough to have options don’t go with commission rates as the way to chose. You can work on that part last. Who LOVES you, who gets you, who will fight for you? It can be wise to be on a roster with other similar agents who are successful, this gives the agent bargaining power. Allowing you some of the slipstream from the other bookings he or she handles. But big agents can also grab new talent to stay in control and you end up with an Assistant booking your shows. To be fair I’ve seen some Assistants do better jobs, but for now lets stay on the topic., You don’t want someone who comes to the show to sign you and you never see them again. Think back to all the shows you have been to. Which agents were there? Until the end! Who can name your songs and not from a cue sheet their assistant handed them. Who will answer your call when you ring them without an appointment? Ask promoters. They don’t like agents but they respect the good ones and they will have good feedback. Look at other Artists you like. Who did great runs of shows where the travel looked decent and planned out well, where perhaps there was also a special show where the agent had sought out a special venue for a one off? These are all tell tale signs this was done with care. Your live income is your bread and butter so there is an argument this is the most crucial relationship. If you have more than one agent especially, but no matter what, keep your agent updated. When songs are to come out. When you need to be somewhere (for example you are playing an Award show and you know 3 months in advance, maybe you need a show to help with travel costs nearby) Keep them in touch with where the songs are reacting globally to allow them to share this news with promoters who can then book you for the region or improve your shows. COMMUNICATE or they cannot do their job. Go over the touring periods you want to give to each market. I set up an online WHO DO I CHOOSE?74 75calendar so everyone could layer in their targets at beginning of the year, and as a manager I would decide which festivals, shows and public holidays were better for the strategy and give them the green light to go hard after those targets. The others still worked on options so if we failed we were OK but not wasting their time working on a whole year when there are multiple agents, is vital to keep them engaged and enthusiastic. They need to show you their plan is long term. If they say you will play everything this summer… well that’s awesome but what about next year as none of the festivals allow 2 years running? Good agents say… first we do this…. Then next year we do this…. If they plan to move you to Hard Tickets (your own shows) do they have experience at this? This is an expensive move. Not for the faint hearted but we will get there later.DOES YOUR AGENT HAVE A PLAN?Traditionally there is no signed agreement with your Agency. I have never signed one. If you need to move on, be nice, explain why but not in an aggressive way. They will commission all shows they confirmed or 99% confirmed. The new agent starts and commissions all new revenue.FIRING YOUR AGENTLAWYERS76 77You use a lawyer to sign deals. Most deals have a clause which ask you to confirm you sought legal advice, this is to cover their ass so that you can never claim you didn’t know what you were signing. Lawyers charge in different ways. 1. By the hour. 2. A Percentage of gross revenue. 3. A percentage of some gross revenue (IE take our touring). There’s no right answer here. I’ve had clients where I have needed a constant lawyer due to the sheer volume of songs being created. I’ve had clients where I needed a lawyer once a year when someone claims against one of my songs for example. Does the Artist pay the 5% on top of your commission? That’s between you and the Artist. I paid the lawyer in my case, so I took my share and paid the lawyer from my income. Essentially we were partners. Others I have seen charge on top. Discuss it with your Artist and do what’s right. Obviously the Artist won’t want any more costs but as they will own the catalogue you create for life and 70 years post death, perhaps you can argue your income is shorter term and they need to pay it. Either way an open conversation is needed. Do you have one lawyer or more? Lawyers tend to be experts in the country they operate in, and the copyright laws there. They can also only really defend you in a case brought in their territory. But most have good global knowledge and can handle the day to day, or call on local experts when needed. I always used a lawyer from the country where the record deal is based, but that’s not essential. The lawyer may want to be exclusive, so if a lawyer becomes essential in another country and you are paying 5% perhaps you want to insist that comes from their fees. Negotiation of live contracts - that’s your agent. Basic deals - I must admit I have done myself as I gained confidence over the years. Sample Waivers, I used a template given to me by a lawyer and issued it and sent it to them once signed. This template can also come from your label who want to know they covered themselves and so decide the terms they will accept. NDA’s. Ask them for a template for your staff and touring staff, then issue yourself. Litigation - well that big day has come and someone is taking you to court all the way for stealing their song or at least claiming you did. Then you need a Litigator. Normally your lawyer will recommend one and stay involved during the process. I will go over what paperwork you issue per deal you create later on.WHEN DO YOU NOT NEED A LAWYER? Some lawyers will actively go find you deals. They have good relationships with brands and bring deals in. This is quite rare in my opinion but some do, and it’s always worth the conversation if this is a service they provide, so expectations are correct AND you remember to tell them what you are looking on a regular basis if they do. They can’t help you if they have no idea what you want. Legal Fees can sometimes be contributed to by the Record Company who want to sign you. They give you a budget in the agreement. Remember to look for this and invoice them for it.WHAT ELSE DO THEY DO? As I mentioned earlier, lawyers with terrifying reputations are amazing at getting huge advances but more and more now they stay involved for longer so a balance of getting you the dream deal with being someone your label respects is worth considering.HOW DO I CHOOSE?78 79• Do they understand your goals? • Have they done other work you admire? • Do they have a good working relationship with the label or labels you are considering? • Do they allow you to ask questions and answer them without patronizing you and in a way you understand? • Do they charge rates you can afford? Your agreement with them will have the termination terms on there. Check this before you sign and know how you get out and what that costs the Artist if you do. Ironically the agreement they send you to sign also says ‘I confirm I got legal council on this deal’ which means you need a lawyer to check your deal with your lawyer. I rarely see people do this, so be careful here what you sign. WHAT IF I WANT TO CHANGE?I THINK YOU ASK YOURSELF THESE QUESTIONS: BUSINESS MANAGERS80 81Like I said earlier, for your Business Manager you need someone diligent. I find some can be reactive. Royalty Statement comes in, invoice goes out. Sometimes without ever asking you for a copy of the deal. So I’ve wondered how do they know the royalty rate was right? I’ve seen some miss Royalty Statements completely. No matter what, I’m afraid it is your job to check these come in. But half the battle is someone who takes an interest in where the money is coming from and what you are owed. Someone who keeps you informed in a simple and regular manner. I’ve also had clients who think they don’t need to pay tax. As in.. AT ALL. I was sent off to another country to meet a finance guy who was going to run the tax free set up. He was pretty patronizing and I didn’t trust him and thank goodness, because I then googled experts in their field, asked a couple of other managers I trusted and ended up with someone who absolutely showed me why the other tax structure was illegal. My client would have ended up in jail. Now I have no legal expertise at all, but I used my instinct, and I was right. Ask your Artist what they want to know. Do they want to know Royalty amounts when they come in, or be able to see the amount coming in for shows, and the costs for shows? Some do, some don’t. But ask, and have that narative open and flexible to change as your business grows. Artists can not want to ask after a while and you can feel not trusted if they do. This is not the case. Money is a number, it’s there to be discussed, costs to be challenged, it’s all part of evolution. Whoever you hire, be clear on their financial terms before you begin.Within the Artist’s business you will need to do the following : • Raise invoices for income due to them. This can include show invoices, advances, royalties and brand deals • Insure your shows • Pay Bills • VAT and Tax Returns • Trademarks • Foreign Tax Reduction Applications • Tax and Salaries on Employees • Secure things like credit cards and mobile phones Business Manager’s can do all of this and more. I was at a school once where a millionaires’ Business Manager was doing the scouting for schools for a client who was moving there! But the reality is you have to get the costs and choose what you want them to do. If you are happy to raise invoices I would really recommend the accounts software XERO. This is online, accessible by your Business Manager and allows you to code income and costs. It also shows you your bank balances all the time so you can see who owes you, what you owe and what you have in easy reports. If you raise invoices, your Business Manager will need copies so they can ‘reconcile’ your accounts which means… putting them in a format the tax man understands. You can pay your own bills online, XERO allows you to store the receipts from your phone to match (i told you about filing right? This includes receipts!) For example you can give your tour a code on XERO, and it will then tell you the profit you made. You can give income a code, like Live Touring, or Royalties, or even Royalties from a certain company, and it will tell you the totals. I doubt you can do a tax return so I really would advise they do them for you if you cannot afford them to do the rest.SO WHAT DO THEY DO?82 83Well that’s a tricky one. If you are not a USA Citizen, but you tour there a lot, you may well need to open a USA Company or bank account. The USA, like all countries worldwide, take ‘Withholding Tax’ or WHT from your gigs at the source. It will be deducted by the promoter or the agent by law, plus the State Taxes. The current rate of this is 30% for WHT. To do a CWA you need someone who is authorized to speak with the IRS on the applicant’s behalf via Form 2848 Power or Attorney or Form 8821 Tax Information Authorization. This can cripple you when touring - remember your agent is also taking 10% off the top. So you get under 60% to play with plus the cost of your crew getting there. You can reduce this to 30% of your PROFIT which is often a lot less if you apply for a CWA. This is a Central Withholding Agreement. Basically you say to the IRS ‘hey I may be earning 10,000 USD but I’m only making 4,000 USD so please only charge me 30% of that’. You have to apply 45 days in advance with a budget and a signed copy of the contract. You can apply for multiple shows per CWA so a whole tour or if you know all your shows for a period of time, do them all. When you apply you guess your costs, and be realistic, don’t over do the costs or the IRS will not like you. But you don’t need to know your flight and hotel costs exactly. Put in solid estimates. You submit a true return via your business manager after the show, with receipts. ALL of them. So that meal you got in an airport where you left the receipt on the tray - KEEP THE RECEIPT. To do a CWA you need a USA Business Manager in my experience, and you need to own a USA company. Normally called an LLC. You do need to do the maths here. If you pay Withholding Tax, you get it back about a year later… but you get it back as a credit against your own tax bill. If the IRS agree you may be required to pay the lower amount of tax upfront. In this case, if you have no cash, the Agent can ask the promoter if he will allow DO YOU NEED MORE THAN ONE?the deposit to be released to you. It’s not a service all Agencies offer and it’s not something the Promoter has to do and you have to sign paperwork to be responsible to return the money if you cancel etc. So the Math is… • What is the cost of the business manager / accountant to process the tax application? • You need a USA Bank Account what are the costs associated with this? • If you don’t do a CWA and you have a massive tax credit in the USA at the end of the year, is your tax bill back home the same size or bigger? If you don’t have a big tax bill at home to credit it against, you don’t get the difference back often. I’ve seen this happen, where an Artist is not American, but their touring revenue was 90% USA. If the cost of these services are worth it for the cash flow you will gain by paying less tax while you tour through the year, do it. I always do it. WARNING: The simple act of performing in the USA triggers the need to file a tax return. Say what? Yes. Speak to your business manager about which countries this applies to for you, you need to set reminders, ensure you have the people in place to do it, and follow it up for copies which you sign and FILE. General notes if you are still in this chapter? If you left… well that’s a common mistake and you need to know this! In general most countries in the world apply a rate of Withholding Tax to shows. They take it from the promoter, not you. You never see the cash. Rates vary from 12% to 30% normally. Sometimes you don’t see any, well that’s the promoter not deducting, it does exist I assure you in 99% of cases. I tell my agents to ALWAYS present an offer to be with the tax clear.WITHHOLDING TAX84 85IE the show is $10,000 USD and tax is 13%, which it is in China for example, Net Amount = 8,700 USD. Do State Taxes or any other formal legal tax deductions occur? You need to know what you get NOW. Or how can you cash flow? Make them SPELL IT OUT. Remember they take 10% off the top, so actually you get 7,700 USD which is a huge difference from telling yourself it’s 10k. It’s not. Some countries allow split contracts. A legally agreed percentage you can charge for production (your crew and kit) and a Performance Fee. For example: $10 000 Fee 30% Production, 70% Performance Fee. So you get $10,000 Fee broken into.. $3,000 Production Fee (not subject to tax) $7,000 Performance Fee (subject to 13% tax) So you would get 910 USD in tax removed. (13% of the $7,000 Performance Fee) So this means you get $10,000 Gross $9,090 After Tax on the Production Fee $1,000 Agency Fee (charged on the gross remember) $8,090 to you. So what happens to that $ 910? Well you get it back… You know that nightmare time when your tax bill comes in… you have receipts in the form of Withhold Tax Certificates (receipts) for what you paid globally. Most countries worldwide have a Treaty. They all withhold to make sure all you pesky rock stars pay your taxes then they all pay each other back so they all get their taxes. So you have a Tax Bill of $50,000 USD. But over the year you have paid $25,000 in Withholding Tax. You will show the tax man (or woman) your receipts and its deducted, technically leaving you $25,000 to pay. If you don’t have the certificates, you only have your agency statements showing the tax deducted this is NOT enough to claim. Sometimes they accept it… But sometimes…the promoter didn’t pay the tax, they went bankrupt or just didn’t pay it. And this , is your problem sadly. It is your job to make sure these certificates come in. Your agent needs to chase them and they don’t normally offer to do that. But it is their job. They commissioned on the gross, and they need to make sure the total money be it in actual funds or in tax certificates come in. I run a column in the Artist diary, and on the fee’s column, next to it I note the WHT amount, and then another column which confirms I have filed the tax certificate and I keep the whole year in one place. This also allows you to keep a tally of what was deducted, and what you SHOULD get back from your tax bill. But never count on it. Like I said, in the rare case your tax bill back home is SMALLER than the tax you paid overseas, at the time of writing this I have never seen a refund happen. One exception is that in some countries you can move the tax credit to a later year. Speak to your business manager to be sure you know the status of Withholding Tax balances at the end of the year before you start. Know your countries rules. And remember, it’s not YOUR personal country, it is the country where the Artist is a tax resident (pays tax). This can be different from where they live! Be clear here. It sounds more complicated than it is. Where are they tax resident… what are the rules. Ask that and you will be fine However I have never seen a tax bill lower than the WHT paid either BUT if you had a year of heavy investment, maybe you bought all your touring kit, or you bought a new studio, you may have a very low tax bill, and in that case the tax you paid overseas stays… overseas. 1. On all shows, ask your agent to show you the tax amount as a number, not just as a percentage, from the very first time a show is mentioned. Awareness is everything 2. Ask your agent and business manager if there is a split contract possibility for the region. They will have experience of other shows there and will tell you if a Production / Performance split is possibleHOW CAN I MINIMIZE MY TOURING TAX?86 873. With smaller independent agencies I always asked they bill their commission direct. So the 10% they charge isn’t included in my fee, on which I pay tax. Every dollar helps and once you get to 100k fee’s this can be 1,300 USD in savings on an Asia show for example. Which is someone’s flight there. Large agencies are not keen on this, but can when asked nicely oblige you. 4. Log all WHT you pay for the year and tick them off as you receive the tax certs. These can not be issued for a time after the show to the promoter, sometimes several months, so make a note of the date they say they will get it and put it in your diary to remember to chase and make a note on the sheet you’re logging tax on. 5. If you have a large tour you may need a local tax agent to apply for the reduction like a CWA. Australia is a good example of this. I use Michael Roseby. He charges by the tour, and asks for his fee upfront. He will then do a process like the CWA. Submits signed agreements and your budget, reducing the tax to only on the profit predicted to be made, a large saving for me. In this case, for me also, the Client had a tax structure which saved him global tax in many ways and he could not claim back WHT certs under this structure (this is rare and not for beginners so don’t stress about it) but for me, WHT certs were worthless so reduction of tax upfront was the name of the game. 6. When do you hire a local tax person? When their cost is worth the cash flow to you instead of waiting to get it back later. Get a quote, do the math, decide. And then of course save EVERY receipt you can. Always ask what is a valid cost. Food on the road is often classed as subsistence, perhaps also your Personal Assistant who works remotely but didn’t come on the road, their salary for the tour period may apply. Visuals you bought for the year can be applied at a fair percentage for the show using them… etc. Get creative but do NOT take advantage or lie. I’ve seen it come back to haunt people. 7. Your business manager is always a good person to ask if it’s worth it and will have a local tax agency they use - I’ve only ever done it in Canada, Australia and America.1. With the fee offer, ask your agent to tell you with the fee offer, what the rate of any taxes deducted is and confirm the net amount 2. Ask your agent to be clear if you can split the fee into Production and Fee portions, and do you need to justify the splits with any forecasts and if so, by what date? 3. Get ahead on asking your Business Manager if you can claim more WHT back if your tax bill is smaller at the end of the year and how long these refunds take to come. 4. Keep a running list of tax you paid. 5. Set a reminder to chase tax certificates and file them. 6. Ask how much WHT reduction agent fees are before you start and what you need. 7. Ask your Business Manager which tax returns you have to do. They can only tell you this if you tell them where you are touring, which, if you are doing your own invoicing, you may not be doing. Share a calendar with them of shows. Set reminders for when these are due, and file all copies.WITHHOLDING TAX SUMMARY They can set an hourly rate, set a retainer or charge you a percentage normally never exceeding 5%. I prefer hourly rates and I cap the amount they can go up to.BUSINESS MANAGER FEES With a hourly rate company, set a maximum per month or per job they can go to and they have to alert you first before going over that.CAPPING FEES88 89A&R DEALS If you do the job of A&R independently, it generally means you are focusing on the part of the job which finds the songs. In these cases you can charge people as follows: • Retainer. This may have exclusivity within the genre of music if it’s high. • Points. A royalty of varying size for the song. This lasts for the life of the song and you need a ‘Letter of Direction’ from the Artist for the label to direct and then claim from the Artist when they own the song after their License Deal is up. • Publishing. Very very rare but some do get it if they truly put the entire thing together. • Expenses. Cars to sessions, flights to sessions, living expenses and hotels when on the road for you.PUBLISHERS This is who collects money created by the composition of a record. The lyrics, the music etc. Some of my students get confused here and think you need a label OR a Publisher. This is not the case. IF you wrote on the records, you need both services. But...you don’t NEED a Publishing Company. You need someone to collect the revenue. Read on my friends!90 91As I said in the Record Company section try and agree that no Gratis License (free usage) requests for media partners using 30 seconds or less, for a period of 2 weeks can be blocked. This is to stop publishers blocking you from a SnapChat or IG filter for example, which they do when they are battling those platforms. Remember you don’t own the whole song unless you have 100% of the writing so someone else may block it but don’t let it be you. Also add that the Publisher may not disapprove of a sync - IE if you want to sync to Nike at 1,000 USD, you can. They will not like it as Nike perhaps took advantage of you by knowing you want it, but… there’s no time sometimes to worry about precedents you set. (Nike of course don’t take advantage but you see my point… when you need the look, nothing should hold you back). Your Publisher is who you have to go to and collect your Publishing Share. Technically you don’t need one. You can do the syncs yourself, and your Society can collect that share for you. I must admit I had to sync for an artist for 18 months and it was a living hell. All the TV shows with tiny amounts when you have to agree, then check back 2 months later if it was used, then register on their invoice system, then invoice, then chase the invoice. It was a NIGHTMARE. I had to do it as we were in a legal battle with our prior publisher. It’s a long story, but I would not recommend it unless your Artist is big enough to have someone full time in your office doing it. What I will say is that the money we generated was 5 times what we had seen in syncs prior. Which I thought was strange. I obviously assumed it would be less as we were less experienced but I do believe we got back to everyone, and did every deal (where suitable). I do think the big publishers possibly focus on the bigger revenue syncs and the little ones, which really add up, don’t get done, but that’s just a theory.NEW ADVICE ALERTSo what else does your Publisher do? • They register the song. Their number ONE responsibility. Make sure your contract clearly says they do it. You can get out of your deal if they do not (it will take time and a good lawyer but I have actually seen it done). Ensure you know and follow their registration procedures • They do your syncing, which includes handling incoming enquiries • Pitching to people to use the music - movies, brands and TV shows • Help secure writers or producers for you by listening to your needs, from their own roster or going to other Publishing companies (they all swap so they can go to others) to secure songs for you • Help change laws and protect your music An ‘Admin’ Deal is normally cheaper and means you get less services. Less outgoing pitches and is more about going out and collecting. Essentially doing your ‘Admin’. A Publishing Deal means they promise, but cannot be held accountable, if they do not deliver, to the items on the previous page. Either deal can receive an advance although Publishing Deals are more likely to do so. Again, like your record deal you recoup this BEFORE you get any more money. Admin Deals can be as low as 5% commission. Publishing Deals can be 25% commission. I’ve seen however superstars secure 4% Publishing Deals. Be sure to ask if Sub Publisher rates are included in your deals. This is when they use Publishers across the world to service their global business, and those Sub Publishers take commission. Is that on top, deducted before it gets to your Publisher and they also take their commission? Or included? Be clear here. Ask for approvals on all syncs. Again, get back to them same day, it takes 15 mins a day to stay on top of this and you will become known as someone who is fast which can mean you get more opportunities. Tell them what you are doing, what you are looking for. The types of brands you love, movies you love and want to be a part of. DEAL TERMS92 93Send them new releases or how will they sync? Tell them if you are willing to write the brief for commercials or movies. If you are ingesting a larger catalogue to a Publisher I make them Spotify playlists of tracks and name them. ‘Suitable for Gaming’, ‘Love Songs’, ‘Cinematic Music’ if you think globally these offices will listen to 200 songs when they sign you, you are dreaming. Make it EASY for them to engage with you. They will appreciate you for it. Your deal is typically 3 years. But there’s no rules. It could also be for a set number of songs delivered but that is less usual in this space. The Retention Period is how long they can keep collecting on the songs you delivered. It can be 5 years - 15 years or none at all. Depends how big you are. The shorter the better. Set reminders as to: 1. When your deal ends with 6 months notice so you can take meetings on where to go next. 2. On Retention, so you know when those songs return to you, again with 6 months notice so you can plan ahead.RETENTION PERIOD Once again your friend and you must have the right to Audit every 3 years. Set a reminder for 6 months before so you can decide if you want to, hire an Auditor (your business manager or peers will recommend) and notify the Publishing Company - the process for which is outlined in your agreement.AUDIT SPILTS This is how you ‘split’ the Publishing between all the writers. No legal formula exists. You have to negotiate. Start with what you feel is fair and get everyone to agree. Your record can’t come out if you don’t. A sample can also take a percentage which goes to all the writers who made the sample in the same proportion as they wrote what you used. So if they all split their record evenly, getting 25% each, and you agree they get 20% of yours, each writer there gets 25% of the 20%. Getting 5% each on your record and all of them are listed as writers on your ‘label copy’ (the big list of people involved) Who gets Publishing? Just writers? Nope. Anyone can demand a slice of Publishing - its your call if you give it. REGISTERING YOUR SONGS Be clear with them what they register. Do they register with your Collection Society for your writing share or do you have to? The norm is they do it. I saw one HUGE issue here where they were supposed to and didn’t! So check the process but then check your statements which show your songs on all services and that they made it on. Do not assume sending your label all the info makes it there. Ask how your Publisher wants to be notified of new work. What does this require. This can include length of song, lyrics etc. Also it can include you handing in the instrumental and the stems or at least having them on file. Why? Because some TV shows and movies etc will not want the whole file or to adapt it. Don’t lose a movie sync because your Artist didn’t give you the stems. Get them when the song comes out before laptops get lost and back ups don’t happen. When registering, how do you confirm they got it? What’s your ‘receipt’ it’s in? CHECK.Superstars who do not write can demand a piece (and the money they get from it) can still demand a piece of publishing. This is because they feel they made it massive and want to share in all the revenue it generates. Producers can do the same. And to be honest I think that’s fair enough. If a record is covered, generally the writing splits stay the same. But let’s say you have a song that’s not done well, and someone massive wants to cover it, they may say they need a Publishing share. If they do, you may choose to grant it but every writer has to agree. Same with syncs. It’s your song, and you have a massive Coca Cola ad, and you’re mad excited because it means HUGE exposure. Every single writer has to agree and you may never have met some of them. You need a free usage for an Instagram Lense…? Same. Every single writer has to agree. Now you can put in their agreements that every single sync is pre cleared, but do they even have those rights to give away? I’ve never seen it, plus writers want control of their work - you would for sure! But if they do say that’s ok and their Publishing Deal doesn’t allow them this freedom, you will hit a wall. In general stay in touch with the writers, and when you do a deal, get their phone numbers and publishers phone numbers for emergency clearances and file it with the song.94 95COLLECTION SOCIETIESYou don’t actually NEED a Publisher. What you do need however, is a Collection Society. These can have various names (confusion sets in… I feel you) If you have a Publisher you STILL NEED THIS. • Society of Authors, Composers and Publishers: it is the most standard name like in CISAC = International Confederation of Authors and Composers. Also known as... • Copyright Collecting Societies • Authors and Publishers of Music = Societe des Auteurs Compositeurs et Editeurs de Musique = SACEM • Performing Rights Organisations = PRO • Performing Rights for Music (PRS) • Collecting Societies for Music You do not necessarily have to register in the country where you were born / hold a passport. Ask your business manager for advice and always speak to them. They are actually VERY friendly. You cannot however, that I have seen, audit them. Registrations have sell by dates. It’s around 5 years. No registration? The money is redistributed to lower their operating costs or between other artists - the rules vary.96 97STORES Digital stores are referred to in meetings with your label as DSPs.Pretty self explanatory, this is where you sell music. Digital or Physical. Later on I will show you how to know where to focus but the world does not revolve around Spotify, Apple and YouTube. There are many amazing stores globally, capable of delivering millions of streams, revenue and boosting your profile in the region. When you determine your markets to focus on (explained later) make sure you know ALL stores in the region and check how your profile looks. You think the label ensures your nice fancy new profile picture goes up worldwide? They do not. Google, and make a list for your International Rep to fix it, and then check back and make sure you are all good. Stores generally now all need you at the same time and require ‘Parity’. This means they all get the same. Some people do buck this and deliver extras to their favourite store but this can result in less action on other stores in terms of playlisting and profiling. Warning here: streaming platforms consider themselves Radio Stations. If you ‘premiere’ on radio, and indeed I have been shot down for even mentioning the word Premiere on my socials, they consider you put it there first and will pull back on support in many cases. Radio will tell you they won’t give you the love if you don’t go with them first. Debate what is best. You can time a release within reason to go when the radio play goes live. It’s not easy and not everyone will help you but it can be done. Liners (video and audio) for these platforms do get used. If the label asks you for them, do them, but make them look nice. They can spread like wildfire and if you spit them out walking down the street that’s ok, but be ready for them to be shared by fans. Your Smart URL (the link where you send fans and it lists all the places to consume) link can be made yourself, or link in your Bio in IG etc. Be sure here to tell your label who to include. They will do the obvious ones but for me I always wanted to include Gaana and JioSaavn in India, BoomPlay in Africa, Melon in Korea, NetEase for China and so on. There’s no point hammering home a link that your fan bases don’t subscribe to. Use your Top Ten Markets exercise I’ll give you later, to determine which stores go into your Smart URL.98 99I miss this. Building up a record before release so kids were waiting for it… but streaming changed the rules. HOWEVER - you can get around it. Stores tend not to mind the following pre-promotion: • 60 second clips in your socials especially if linked to a pre-save • Live Performance - you played it out live… and it’s shared by you and your fans… with crowd noise. So far, no one has complained about that to me. And this is a great organic way to build anticipation • You can drop records to DJ’s and they can play them out BUT they cannot play on radio before it’s in stores. So controlling that can be tough. Send to those you trust or the promo company (covered later) can say NO RADIO on drops but it doesn’t always work, so be mindful. But a few cool DJ’s playing the track is good. Old fashioned and I love that!PROMO BEFORE RELEASE Stores will tell you they base their entire business on algorithm and to some extent that is more and more true. However as you build contacts, you can pitch tracks to editors. Keep it brief, include the URI (the label will give it to you) to help editors find it in their system if it’s not out yet. A short pitch - like ‘Hey, I think you will like this one for XXX playlist. FYI we will be heading to Coachella this year, full European festival run in the summer, hope to see you there, it’s looking like a big year for us. The last record did XXX streams and performed amazing in this one, Shazam’s were mental! Send link to previous song etc etc’. Be short, factual, be nice.CAN YOU PLUG STORES? If Spotify offers you a ticket pre sale, or someone else offers a feature like a lyric video or video interview, YES, you can do that. As long as the track is in all stores, extra promo you are offered can be taken without offending other stores. If they CAN YOU DO EXCLUSIVES WITH STORES?First of all go to similar Artists and it will show you on their page playlists they appeared in. Go there. Heavy records can work well on workout playlists, some bands love making an acoustic version and dropping it later and there are whole playlists for this etc. Go to these lists, write down the name. Look on Instagram, are they on there? Can you DM them your track? Building a database of who to send records to is vital. There are various services, decently priced, who will push for you. PlayList Push App is one. But the reality is, this is a grind. Look at others, find the editors, target them. This is a task for all year round. Not a panic pre release.PERSONALIZED PLAYLISTS They take a percentage for selling on their platform. If you want to be really fancy and you have a spare day, you can work out from your statement how much you got per million streams. This varies per store and per country. This is because your streams are broken into freemium (in the free part of a store supported by ads) and all kinds of other rules they apply. Why would you do this crazy thing? Well - I found some CRAZY results. I found one store, in the Philippines (one of the biggest markets for this Artist) paid 13 times more than the one I thought paid me the most! This meant my label had been nagging me to promote this store and I thought I’d done enough promo and suddenly my respect for this store shot through the roof and I did a local campaign for them and I posted them more. It also helps you plan. How much did your YouTube video generate? Can you afford the video? It’s a process with so many TBC’s. This science has so many variables. But it’s a guide and who doesn’t want to be able to tell the Artist how much you made per million streams.MONEYwant you they do need to come forward and ask for you, so if they missed it, that’s not your fault. But sometimes I drop the others a note, and tell them I’m doing a show with one store, and hope that’s cool. They appreciate sometimes not being blindsided and able to come with their own looks for you. Invite editors to shows, be careful about sending gifts, bribery is frowned upon.100 101TELEVISIONTV is a good way when your record is popping to help take it all the way home. Generally they want records with heat on them unless you are a superstar and then they will allow new music. It’s expensive. TV shows rarely pay costs, and remember if you have a Featured Artist on the track you are paying all their costs too plus ensuring they are available, ideally before you try and pitch. The label pitches for you, or your independent Publicist who will tell you if they do TV early on, this is more common in the USA where they do both. Costs for you will include whatever show you need to build, your equipment, travel, hair and make-up, styling, travel and ground transport. Same for your Featured Artist. If you do do it, this cost is sometimes recoupable (your money) or non recoupable - make this clear in your contract. Don’t let Marketing not be defined to explain TV performances. If it’s non recoupable you may find your label hesitant to pitch because it’s all their cost. Push hard if you feel it’s right. LOOK at the TV show first. Is the stage big enough, is it more designed for songs with vocalists and you will look stupid DJ’ing by yourself? Is there an audience to add vibe? Don’t grab it, then look like an idiot. Look at the viewer ratings for the show and previous performances when deciding if you spend. TV Plugger independent agencies rates vary. Ask before you start.102 103MARKETING COMPANIES These come in various forms. First of all your label should provide these services so if you have a good Marketing Manager on your team hopefully you don’t need one for records. They tend to come in these formats.SOCIAL MEDIA COMPANIES DIGITAL MARKETING TRADITIONAL MARKETINGThese guys will help you create a content plan, advice on posting strategy and times, come up with digital ideas to make you stand out. Personally I think most Artists and Managers and often your interns are a great place to start and use a good graphic designer who is flexible to make different types of content like animations, short videos through to IG Gif stickers. Fees here range from monthly retainers to per project - like a launch. Can be $1k per month can be $10k for a project. Depends, negotiate and insist you get reporting, how often and what day of the week. In my opinion reporting means they are ON IT. And not just at the end of the project. Week 1 reports mean they have checked results and you can tailor make the remaining 3 weeks to fit how you are doing. PLUS you get data to dive into and share with others who can use it. This goes beyond social and can work on entire plans online including stunts and global strategies, hiding things online, hosting specialist websites that do crazy things, building games, app’s etc. Again, hopefully your label can do this plan with you, and then you just find the developer for the build. Fees: normally these guys are on a project by project basis. Same rules on reporting apply. They will also need a ‘spend’ which is a budget to buy the marketing the project requires and this is normally on top. Physical marketing is my favourite and due for a come back I think. Touching and feeling marketing is so much more engaging. But it’s expensive. But… you can blend the two. Create a physical piece of marketing as one layer of your campaign and post about it in a way for people to join in online. For things as simple as booking poster, sticker, stencil, billboard type campaigns, ask your label who they use and what rates they get. For records, it’s their cost. For touring if they don’t earn on it it’s still good to get advice from them on who to use and rates. ALWAYS ask for photos of posters etc going up. You can post them but you also know it actually happened! Fees: if they designed the campaign, that’s a services fee. There is a fee for the space they bought to put up the marketing. Or you can take the idea and then buy the space yourself which may be cheaper. Reporting = same rules apply.104 105PROMOTIONAL COMPANIESVarious types here. You may have a company who can help plug to their database of playlists on stores. Companies who will plug to specialist radio shows or drop records to DJ’s. Some companies do both. There are also Record Pools like DJ City which offer more mass lists to drop records to. Be careful if you drop records before release. If it ends up on the radio, you may annoy stores if it’s not yet available with them. As I said earlier, they can label the promo drops NO RADIO but can have no liability if a DJ doesn’t respect that. That’s a risk so be careful. Larger radio promotion companies are covered in the Radio Section. Fees: to work a record for a 4 week period I have found is around $1,000 USD for regular records. Bonuses can apply if they achieve certain targets featuring your song. Reporting is weekly and VITAL. Radio & Streaming combined is around $1,500. Do you need both? How many radio shows are likely to feature you? Decide with the Artist.106 107 PRPR stands for Public Relations. This is pieces written in the press ranging from reviews of your work to interviews or getting you snapped on red carpets etc. In the old days you had one for print media (physical magazines and newspapers) and one for digital. This is now rarely the case and one agency will do it all. Questions to ask are... 1. Who else do you rep? 2. What do you charge? (your label should provide PR but perhaps you feel you want a bigger rep, or you want tours covered. However again, as a tour is to promote records, the label should step in here to help with announcements and reviews) 3. What countries do you cover? While press online is global, agencies will tell you where their priorities are which is normally determined by where the website is based. However for example The Daily Mail you could argue is the UK, but it’s a global site and most USA press agencies cover it and they have reporters and editors in the USA. I’ve run campaigns with a USA, India, French and Latam indie press agency before - 2 paid by the label, 2 paid by me. Plus the local label offices all received the same press pack. Keep your publicist updated at all times, they need time, they need the vision, even if they are not getting press for all of it yet they engage writers by sharing the plan. They keep them engaged that way. They get them to buy in early. They need to know your plans, your updates, your shows, your release dates in AMPLE time and need constant new images and an updated biog. So you’ve done a brand deal, or a movie soundtrack… and they want to do press with you. Cool you say...Well intro them to your rep. What you don’t want is multiple people selling you OR you had no idea your rep was close to a Rolling Stone cover refusing a 8 page feature for 6 months and kept it quiet, and your brand rep goes in and takes the 8 page feature LOSING you the cover. This is bad. Co-ordinate. Publicists are strategists too. They have runways for you to get larger pieces, turning down and making you unavailable to look hard to get, to get you bigger looks. They may not explain all of this to you, so discuss it and keep them in the loop.108 109Fees range from retainers for constantly supporting the vision, to one off fees. If you have a month off you still pay them knowing some months you do more, some months you do less. This ranges from $1,000 to $5,000 a month. Remember you may need more than one. They do need to communicate. Fees can be per project like a single. This means they will work the record and your presence around it, then stop. They will not continue when the single period is over and that period is not when you think the record has stopped, it’s when the agreed period of time ends. Be clear. Reporting: same rules apply and keep scans of the links they send for your portfolio as you go along.RADIO110 111Radio is a mystery to many of us. It’s a format now competing with streaming in a big way. You will want to go go go go go at the start of a single, and the label may want to hold back. Why? Well, first of all it might be their cost and huge pop records can cost up to 200,000 USD in marketing costs to deliver a chart topper. Is this cost recoupable? ASK this when you do your deal as this will help you understand whose money you are spending and their mindset when it comes to committing. You will start to have radio shows that love you and you can go to them from day 1. They know their audience wants anything you have, and it’s a solid start. However, IF you choose to go to pop radio or any mainstream format (in America you have Rhythm, Latin, Hip Hop, Pop and so on) be ready. Radio shows do ‘research’. This is based on how many Shazams you generated when they played you, which they can easily see in their region, what time you were played, how many tweets, texts they got and so on. They ask for the story when you go in, which can be you are streaming well in their city / country, you are touring, you are massive on social media in their market so have what information the label needs from you ready. You can come out swinging, the song is new and people don’t recognize it (and people want songs they know in their 30 min car journey), research badly and be dropped. Be prepared to build a relationship with the Radio Plugger at the label. Listen to their advice BUT question it. Can you go now? What’s the story? What is the early reaction? What other good news week on week is happening on the record to update the pitch...COMMUNICATE. Track Shazams. Support the stations that play you on social media, re-tweet, post their stories and if asked for Liners do them if you can (there can be hundreds). Radio do live shows, like Jingle Bell Ball in the USA, I Heart Awards, Radio One One Big Weekend (UK), NRJ Awards (France) and so on. Being a part of these can include the unwritten agreement of support on a song or Artist for the period of time up to the show, and some time afterwards.You won’t get paid for these, so it’s back to the questions 1) who pays for this and 2) how much does it cost. Radio hosts are generally nice and when you know them, invite them to shows and drop them an email with the link to the track with the release date and say ‘hey, this once is BIG! Don’t play until XXX date but…. Wanted you to have now’ This will mean they feel informed, can leave space, may ask for liners or offer you an interview. If you are in their town offer to go in if the timing is right for more promotion. If they say no, that’s fine. FEES: specialist records will need a smaller handful of shows. Large USA pop records will require a wide campaign. Specialist can be 1-5k, a full Pop attack on USA radio can be 40k in fees and 160k in marketing. Some will ask for bonuses like if you go Billboard Top Ten or certain stations go into Power Rotation. Your Radio Plugger may also pitch you for live radio show performances and interviews. Be clear on what they do. COMPETING STATIONS Well it’s like stores, Radio Stations do not like if it you do something special with a rival. Think before you commit, how does this affect the other stations and talk it through with your label what the best thing is for the Artist now, and long term.112 113PROMOTERSThese guys are a dying and undervalued breed and put on the shows we all rely on to earn money and to reach mass audiences. They take all the risk normally for festivals offering you a fee, no matter how many people turn up. Support them. List their shows when they go on sale, on all your portals, and post their shows if you can. They will ask you to stream your show, and to be honest, I always say no. Or allow them to film and then I decide when and for how long it goes up (also helps to see quality of film before it goes up). Some will insist and your agent does need to tell you this from the start. If you don’t like streaming then you can do a one-time, and one repeat broadcast. This allows them to be live, and then for 24 hours fans who missed it on another timezone can see it, then its down and do check! They also often want you to do press. A lot of this is not always great press. Ask your press agent or label for advice but some blogger shoving an iPhone in your face before a show is not good. Be supportive but be selective. An old rule was also that you only allow shots from the first three songs for camera’s from the press. For some artists this means the best shots are missing. Allow longer time, but also issue a guide. IE - 45 mins in, Track Name - Antidote - HUGE fire moment. So the photographer is not off shooting someone else when you need them there. You rarely if ever get shot approval. If you are so powerful you can ban all photographers, issue 2 or 3 approved shots to an agreed rep of the festival 1 hour after the show to ensure fan photos don’t become ‘the’ press shot. BE NICE Be nice to promoters, they take a lot of risk and we need them. Ensure your friends who come don’t tear up the dressing room, say thank you when you leave and treat them like you want to come back. Because even when you think you won’t you often do….114 115VIDEO DIRECTORS & VIDEOS THE TYPES OF VIDEO PEOPLE YOU NEED Tour video and daily life videos - usually this person is called a Videographer. Recap videos from your tour through to daily life Behind the Scenes type videos are done by a videographer. They may be on day rates (300-750 a day, more if they are amazing) and include rates for days between shows on the road and editing days. Good things to look for are fast editing, so content can go up fast, and the ability to do engaging pieces from 7 seconds to 3 mins long. For the various platforms. They should sign an NDA (non disclosure agreement) and you should have paperwork which means you own (outright) what they film. If you do not, they can hike up prices to give you footage for documentaries and other uses, or come to a fair way to handle that. They can also publish later footage you don’t want the rest of the world to see. Use them on the road to also do your video liners and to deliver them to you on individual links for you to throw out to all your partners. Also take them to music videos to do Behind the Scenes for you. You pay for their travel, per diems and hotels on the road, and so always remember to agree the travel types you can afford to early on. Ask them nicely to wear all black so they don’t stand out on stage and move around easily, and remember to always check if they need a video pass at the show issued by the promoter. And never ever post before the Artist does (it happens, trust me) and share with the management any links the Artist has posted so you can go around posting on all the other platforms. MUSIC VIDEOS Follow as many as you can online including their production companies who often rep multiple directors. Agree your budget with the label and be aware now… directors quote the cost, without insurance. Insurance is on top and the label will remove it from your budget so get that clear. Ask the label’s video commissioner to help you. Normally insist on doing so when an investment in a video is to be made.116 117They will help you - and as always, explain the vision for the Artist. Videos are one chapter of your story, so them understanding where you want to go with all of this helps them a lot. They will select a shortlist, and invite you to add to it. Based on vision and budget. You then go out to these directors, with the Artist’s info, past work where relevant, the song you want a video for, deadline etc. To brief or not to brief? To brief the director means you give them some tips on what you are looking for. There’s no right answer to this. I’ve seen the best treatments in the world come in when no brief has been issued and the directors had free reign. And I’ve seen equally good ones come in and nail it based on what the Artist wanted. A ‘treatment’ is a PDF moodboard of images with the written storyline, image references and sometimes video references. Look at the directors past work and ask how much approval you have on edits. Some allow none, some allow a lot. What will you accept? The bigger the director, the less control you tend to have. If you feel you will want beauty work - improving skin for example in a video it will be on top so discuss it with your commissioner from the offset. Ensure you order 3 trailers - 3 main feed IG up to 60 seconds and versions of those cut into 15 seconds in story shape. If they cannot or will not do that, can your video guy have the files and do them for you? If he or she is talented enough? That’s a cheaper way sometimes. BRAND PLACEMENTS These can come in before or after the treatment. Some brands will just want to give you money because they know you always deliver and will get good views to their target market. It’s then your job to try and make one of the scenes work to include the brand. Maybe a car is in it, maybe the Artist is holding a drink etc. The director needs to agree to honor the conditions of the brand (or brands) in the edit. They have to work it into the script and that’s a conversation not a demand on set. This normally includes who is holding the product (you rarely get away with extras), how long a close up of the product is needed etc. If you don’t show them the treatment or adapt it and lets say add a shooting scene in it, the brand has the right to pull out.The brand has the right of approval before the video goes live. Save yourself a lot of trouble and follow the brief or you will end up in an edit which cost you more than you made. Brands may also ask for a social media post from another Artist tagging them in the post. Be clear on this commitment. You may want the brand to also post, and get the reach of their socials if suitable. Check if you want that and be clear. Check the brand in the video does not clash with any existing brand deals you have. Eg you have a deal with Samsung - but the phone in the video is an Apple Phone. You may breech your deal. Brand deals typically offer about 25k for 5 seconds of time on screen but it can go up way past this depending on your size. This can be valuable for all the extra costs you forgot which can include: Overages: the fancy word for costs that went over budget, you shot late, you went over time, needed extra edits, needed extra special FX. Insurance: is on top and paid by the label and recouped from you at the rate your agreement states (under video recoupability). Featured Artists: their travel, glam, styling and some charge for appearing. This is normally listed in their Featured Artist agreement with you when you contract them to the record. They may also need their own trailer which was not in the budget. Check with your commissioner what you do get, and what else you need. The Featured Artist may also ban you from product placement or from products which negate their own brand deals. Ask from day one what the status is. Or remove their right to do so in their agreement when you sign them to the song. But don’t ask them to hold the brand item if you do. Your Artists and your travel their trailer, travel, styling, glam. Rarely included in a video budget. BTS film and photography is rarely included. BAN SOCIAL MEDIA AND PHOTOS OF ANY KIND EXCEPT YOUR OWN ON SET . STOP LEAKS.CREATIVE DIRECTORS 118 119NEW ADVICE ALERT If your record deal includes that if they bring in a brand deal they charge you commission be CLEAR if this applies to videos. If they get Doritos to be in your video for 50k and you finally make the numbers work but they didn’t make it clear that 20% of that is commission you are 10k under budget and that will be YOUR BILL. Now they may insist to do the service to give you some fancy video they need but KNOW YOUR FACTS HERE. Keep notes on what they bought in and check your statements. I have found 50% of the time income like this has been missed from my statement.SHOW DIRECTORS, GRAPHIC DESIGNERS & PHOTOGRAPHERS 120 121A Creative Director is someone who comes in and overseas (normally with the Artist) that creatively all the layers tie together and applies a creative vision to the project. It never works unless the Artist loves them, or often chooses them. They work with the Artist (and you) to hear the vision, select graphic designs, video creators and show designers to help bring the vision to life. They can be involved as much as the Artist and can sign off anything from the logo, to the font you use, to how you use language in social media copy to marketing campaigns. Drawing an invisible line through the content to create a feeling of continuity. This can be literally the logo is everywhere, to a gentler narrative turning up and turning down its volume. They can insist on approval on assets, and you can insist they do so within a time limit. They can oversee magazine shoots and press shots to video edits and treatments. In some cases they also direct the videos and shows and you see them in more than one roll. Sometimes it’s someone who you have known your whole life with a good eye, sometimes it’s someone you hire, sometimes you don’t have one. Few do to be honest. Their fees can be per project, or a retainer with bonuses based on sales or the number of projects which end up happening. Can be 2k a month can be 20k a month. It depends and labels do not like paying for them. So its more often than not your own cost. They can be free when you start as they see the vision and want to get in early. 122 123A show designer may also be a show director. A show designer works to create the show you see on stage at gigs and TV performances. Designing the stage, visuals, lights, FX and so on. They work with people under them like your light designer. They don’t know everything about what’s on stage but they design the outline and the ‘look and feel’ of it. They create moments in shows which highlight a mood or song, epic solo moments, crowd moments etc. They take the set from the Artist and work it to become a story engaging the Audience fully. Once this is done remember as a Manager to give the show schedule to your photographer, videographer and press so they know when to get the best snaps. A show director (if they did not design the actual stage) simply works with Artist on the musical journey of the set and all the triggers. Which visuals where…. Which FX where…. The visual journey, tempo and pace. More often than not the Show Director also designed the show or worked with others to do so. Sometimes the Creative Director IS the Show Designer and Director. An amazing documentary to watch on Show Designers is Abstract on NetFlix - the Es Devlin episode, one of the greatest alive. Show Designers charge from tiny amounts for younger ones to 20k for good ones to 150k for the top ones. But… be careful to know how many shows they plan to come to and their class of travel - these are all your costs. And be clear on budget. They can’t create something you cannot afford to build. Set regular dates way in advance for moodboards for drawings to be costed up, and then you need to go back to the drawing board when it’s over budget with no panic. Set these times in the contract and be aware of the level of rehearsals needed especially with moving equipment. Rehearsals cost money so that’s your job to know. GRAPHIC DESIGNERS Hired either per job, full time or on retainer. It’s always good to have a good all rounder. Capable of graphic design, basic animation of images, GIFs, and basic video editing. The longer you work with someone the better they get. Be sure they sign an NDA, they know your vision and you own their work outright created under the term they work for you. This is vital. Be sure they understand if a record comes out on a Friday, you may need them that weekend. Assets can pop up you need to create, adapting fan footage etc. If they refuse from day 1, you have to account for that or hire someone else!SHOW DIRECTORS PHOTOGRAPHERS Again, an NDA is signed, and you own their work OUTRIGHT or you do a ‘Full Buy Out’. If they refuse, bigger ones who do one off shoots do, read the restrictions. This may be a date when you have to stop using the images (you cannot control others sharing older uses but you may not issue these shots to partners to use past this date. So set the date in your diary. If there is a fee for extended use, pay it). This may also be that you can use it for promotional use - and lay this out. Tour Posters, Store profiles, Press shots etc. But they may not allow you to use your show with brands. Like if you did a deal with Coca Cola and they want your image on the billboard. ENSURE you AND your staff know this. I’ve been sued successfully only once and it was over a photo where a staff member didn’t know an image could not be used in a certain place and it cost me 6 figures! Ensure their work belongs to you, and they cannot use it without permission (you would grant them to have it in their portfolio or possibly a book once you see and approve it for example). Choose someone who will edit late night so your socials care reactive after shows. Nice to have on the road. Ask them to wear all black on stage, again to move invisibly wherever possible. Tag them when you can, but as this often leads to more work for them be clear. If you want them to be exclusive to you either completely or within your genre and this is often reflected in their rates. Ensure they know they may only post approved images on their own socials. Rates are 300 a day for every day on the road, or up to 1500 a day - anything more on tour you are moving into the big time! Editing days at home where justified. Be clear on the class of travel you offer, if you give per diems and ensure you get them photo passes for all shows. Ask them to carry their camera in hand baggage to prevent losses of equipment on the road. If you cannot afford biz class or do not feel it’s warranted perhaps compromise when pushed to premium or biz on long haul flights and define the number of hours that define a long haul. They cannot be in 2 places at the same time and running from stage to front of house to catch that big fire moment takes time. If you have a big show, get someone else - often locally recommended by the promoter, to just stay front of house and snap snap snap. Again, they sign an NDA and a Full Buy Out of their socials. Photo Credits: Most will want a credit when you post on your socials normally in the form of their own social media handle. This is frankly so they get more work - but it’s a free world so always follow that when it’s agreed.MOOD BOARDSMERCH DEALS & MERCH P&L 124 125This is a PDF or Word Document which shows inspirations, lists your Mission Statement (your plan in 2 sentences). It can include buildings you admire, sneakers your love, logos and campaigns you resonate with. It can be totally irrelevant to their job. It’s a document of your TASTE.126 127MERCH DEALS ARE THE RANGE OF MERCHANDISE YOU CREATE YOURSELF, AND SELL. VIA FANS, STORE PARTNERS, TOURING. Not to be confused with a clothing deal or a collaboration, which is where you tend to work with a brand to design a piece or pieces for them and they tend to control the roll out. Merch (short for merchandise) comes in all shapes and sizes. You need only look at Travis Scott to see the possibilities. He is surely one of the best examples of selling Merch in a bundle with the album to grab the number one slot. There are many companies who can do this for you, here is what to look for: 1. Who else they do. This means they potentially know how to reach your audience. It may be amazing they do merch for Metallica, but do they know how to get to your fans? 2. Some pay for your manufacturing, and to do so generally charge a higher rate of commission and may have some say in quantity and product. If you need your cash flow tight, this is a safe way to start. 3. If you buy the product, you are responsible for getting the orders as right as possible. This means analyzing what sizes sell well, how many male / female customers you have, if the products are specific and where they live. 4. If your fan base is mainly buying in the UK for example and you have a USA company, your fans will get stuck with heavier shipping costs and possibly that annoying sticker through their door telling them they have duty to pay. 5. You can have more than one merch company, normally by territory. Ensure the links on swipe ups and marketing work to direct the fan based on where they live to the right store, the merch company or even your label can help you. 6. Always work out the profit per unit, your break even and remember to include costs like Tax, Merch Company commission and free give away items and samples.7. Start small, don’t get stuck with 7,000 lighters that didn’t sell and stay in your store, plus marking up items as SOLD OUT and then BACK IN STOCK only creates hype for you. 8. Use a company that incorporates Shopify OR ensure they can do product tagging on IG. Not all can, and its a vital tool when starting out and beyond (Kylie Cosmetics for example…) 9. Remember you may need to have a merch store which can handle different currencies, and have different languages via the website. Don’t alienate customers assuming everyone speaks your language or underestimate how many people are put off not knowing the exchange rate. 10. PayPal is always amazing to have and saves customers having to enter credit card information, and of course the lovely ApplePay. 11. Promote. Wear it on tour, have fans see it on the Artist where possible, and use your own socials. Don’t forget to use stores like Spotify and Facebook. This may mean needing MerchBar for Spotify - ask your merch firm. Your label can also help you there with advise. I’ve sold more vinyl on Spotify than anywhere else! 12. Pop Ups are great and Artists can visit them. Be sure to stock amounts that can sell out and ensure you include costs like Rental, Staff, PayMachines, some losses for shoplifters (!), Carrier Bags (paper of course please) and security for the Artist’s visit plus a Step and Repeat (backdrop) for photos and a lovely sound system in your costs. They can get pricey so be aware when you commit. Otherwise work with a local store you love to give you an area, possibly even for money, to sell your pieces and do a meet & greet. 13. Merch deals can be exclusive, if so it’s normally for a period of time. If it is, put in targets that you generate X amount of revenue their commission goes down to push you to work harder. 14. Exclude Brand Partnerships and One Off Collaborations with brands from their deal. But… if they get you one perhaps offer them more of a cut to go get it. You don’t want that you cannot do a Nike deal because you gave up all your rights to a T Shirt company for touring. 15. If you record deal gave them rights to merch you will need to set reminders to send your label statements on the agreed dates of their share which may be of profits (advisable) or gross turnover (please don’t do that!!).DOMAIN NAMES & TRADEMARKS 128 129MERCH P&L There are many variable but here you go on a basic. Remember you may have designer percentages, designs you paid for which you never sold, staff members in house, extra marketing costs, costs to get to meetings with potential buyers to include in the overall business P&L but here is a basic P&L. Determine your breakeven per piece so you know what you have to sell. ITEM TOUR HOODY PRICE 30 CURRENCY POUNDS MANUFACTURING COST 1200 SIZES XXS 10 XS 20 M 30 L 40 XL 50 XXL 40 XXXL 10 TOTAL ORDER 200 FREE GIVE AWAYS 10 FOR SALE 190 SELL PRICE 30 GROSS REVENUE 5700 SALES TAX AT 20% 6 Per Unit SALES COMMISSION @ 20% 6 Per Unit UNIT PRICE per hoody 6 INCLUDES SALE TAGS AND BAR CODES AND DELIVERY - IF THESE ARE NOT INCLUDED ADD THEM balance after costs 12 REMEMBER THIS ONLY APPLIES IF YOU SELL ENOUGH TO BREAK EVEN, IF YOU HAVE NOT COVERED MANUFACTURING, YOU DON'T MAKE A PROFIT PER ITEM UNTIL YOU DO PROFIT PER ITEM 12 FIXED COSTS PHOTO SHOOT & ITEM DESIGN 200 REMEMBER YOU NEED TO OWN THE DESIGN OR YOU NEED TO KNOW IF YOU HAVE TO PAY THE DESIGNER A PERCENTAGE. MARKETING 0 THIS IS WHEN YOU ARE ONLY USING YOUR OWN PLATFORMS TO PROMOTE. BREAKEVEN 77.77777778 TOTAL COST TO MAKE THEM ALL + FIXED COSTS = 1400. TAKE SALES INCOME MINUS COMMISSION AND TAX (22 POUNDS) AND DIVIDE130 131DOMAIN NAMES Grab it when you first think of your name. But also grab it when you do anything with heavy importance. Album title, big song title etc. They are cheap when you are looking for non famous names. GoDaddy is a good service but there are many. Always get a lot of options. .Com, .Co.Uk, .Net, .FR (always take your home country at least) but also get one which could lead to exploitation. For example .porn and .xxx so no one sets up a false account. Set reminders for expirations! Do not rely on email updates that end up in your spam. Same goes for socials. If you have an album title, you will know it before anyone else. Go grab the domains on socials. You don’t want someone else grabbing it. You may not use it, but it prevents others setting up the channels and using in ways you don’t like. You can also open these channels for fans to run for you which can be nice. TRADEMARKS ARE EXPENSIVE! First of all in some countries you are protected simply by using the name first so this is not some huge expense you go after when you start. However, if you do a brand deal, let’s say you design some sunglasses, make sure you have this category, so the brand is protected in case they run off and trademark it preventing you from doing other Glasses deals with others. You have to apply per country sadly. I use a company called KNIFF in Holland who are great and remind me when they are up for renewal BUT always set reminds in your diary for 3 months out from renewal so you stay on it, applications take time. I have never seen an Artist lose their name over a Trademark but I have seen some prevented from making equipment, but to be fair that’s because they were using a name which already existed in that market. I did however have a Gangster type dude threaten me by trademarking Swedish House Mafia in the UK and I did indeed need to pay to sort it. Not what he wanted but it was a headache no one needed and the legal fees involved to prove I’d used it for years and sold in that market was a waste of my time.Keep records of what you sell. For every merch piece you sell, take a screen grab of the item being in your store. This is often enough proof to shut it down. I keep one scan per item in Dropbox. On a side note when you do a deal, Record, Brand etc - add a clause - the Purchaser may not attempt to Trademark anything connected with the Artist. This does give you some protection from dodgy dealings. Ask your lawyer to add a phrase with words that work. Mine are a little amateur and are what I would tell my lawyer. FAKE MERCH It will happen. It means you are doing well but it’s really annoying. Quality, undercutting your prices etc. Amazon is the worst offender for this where anyone can sell. You fill out a form to pull it down, and you need to prove you own the Trademark but…. I hate to say this, but Amazon are TERRIBLE for enforcing take downs. Sorry Amazon I love you but please…improve on this. Run a sheet where once a month you go in, get all the links for Fake Merch, issue your take down and go back later to check if it went down. It’s painful but it often does work. And you look proactive to your Artist about the issue. Can you stop entirely, no I don’t think you can so don’t spend time on it with a view that it’s all your fault it’s online.PRESS 132 133PRESS Decide what you want to do. If you roll into every interview you are asked to do, you will put off the bigger journalists who are looking for a more exclusive story. The power of you saying no gets around. You become a more desirable interview. However when you are starting out, of course get your name out there but try and pick stuff you know will come across well. The ‘I take this in my suitcase’ pieces done on an iPhone don’t necessarily help. Aim at blogs you have read and admired. Reviews of your single through to Interviews all count as ‘Press’. Press Releases should be short. Don’t tell them your life story. But… get across your vision in a cool way. Tease them a little and tell them your story. ‘Coming straight from Ultra Festival Miami where he played the main stage (now you play at 2pm but they don’t know that). EDIT. Tell them what you know turns them on. Always add links to your socials, your tour dates, links to the record or tour you are promoting and an up to date press shot. If you see a blog post an old photo, do ask them nicely to switch it. Try and control the way you look online whilst being polite. Ahead of any interview, send the journo or radio host notes. If you think they sat at home googling you last night, you are wrong. I have sent notes to massive show hosts and literally heard them read them out. We controlled the narrative. Why are you on the show, what are you promoting, what have you been doing and maybe one or two fun facts. ‘I heard you just raised money for charity in Africa…. I hear you were a pro at Basketball at school, is that true?’ That kind of thing. Help them! BIO Your biography is who you are, where you came from, often including some of your childhood background. It lists key moments of how you got where you are. They are generally quite long and when you become big, people can write them for you. This is not everything that ends up in a press release, it’s like a back up for journalists to read your background in a couple of pages.REMIND THE ARTIST WHY THEY ARE THERE!PRESS TRAINING & APPROVALS 134 135You think the Artist, jet lagged and angry at a recent IG comment, remembers why they are doing interviews? Think again. A quick chat in the car or a WhatsApp or a little paper of notes are your job. You think they remember their release date or their tour dates? NOPE. That’s your job. So… quick note to them is GOLD. Example... So today is Zane Lowe, Facetime (ALWAYS tell them if they are on camera or Audio Only). If they’re in bed in a hotel room that’s really embarrassing. It’s 5 mins, about the the new release (name of song), remember it’s out This Friday and if he asks about Tour Dates just say Next Week bro… we don’t wanna announce yet, and move on, but lets plug the news is coming if we can. Remind them the day before, 1 hour and 15 mins ahead of the interview. Do NOT assume they remember and whenever possible connect the call, don’t give their number out. Don’t stay on the call with good journalists… they won’t like it. As you can see this means you need to know what the interview is about, who the interviewer is, and is it audio or video. Always google the prior pieces to know what type of interview this is before you approve it and let it get to the Artist.136 137PRESS TRAINING The best piece of advice here, beyond turn up sober and don’t be rude, is this… When you have answered the question STOP SPEAKING. Silence forces the other person to carry on. Journalists when asking sensitive questions are trained to not ask another question. So you keep going. When you keep going this is normally when you start saying too much. Journalist: ‘So what do you think of Diplo (and he knows you have had some online beef … sorry Diplo I needed an example)?’ You: ‘You know, we fight, but we have love. I respect other Artists we all have our role.’ Journalist: …. Silence…. You: 2 choices. Keep going and end up getting into the beef to be quoted on 50 blogs in 15 minutes, or you stay SILENT Journalist has to move on. If he / she does not, you just say - “dude I just answered that, let’s move on.” APPROVALS Depending on your size you can approve cover images and interviews. To prevent people lifting quotes and twisting your words. You have to stay on top of that, they can say ‘you didn’t get back to us’ so set a reminder to approve on the date they stated. The bigger publications won’t allow it. For example you cannot approve your Billboard cover. But I have never seen a bad one. Don’t demand it on small pieces and look like an idiot. But don’t serve them controversial soundbites on a plate if you don’t want to. But be honest. Whitewashed interviews are not interesting. If you have something to say, say it.I personally don’t like haters though. There’s always ways to attack people you think are hurting your scene without naming and shaming. Through positivity, highlight what you are doing well. This in turn reflects on how they are not trust me. Don’t think all magazines are English. They are not. Press worldwide is valuable. Listen to your label, the promoter and your fans about where else to speak globally. Sounds simple but did you send your latest press shot? DO NOT DO INTERVIEWS FOR THE SAKE OF IT , YOU WILL LOOK LIKE YOU LIKE THE SOUND OF YOUR OWN VOICE. TIME THEM TO PROMOTE. HAVE SOMETHING TO SAY. OR BE QUIET . LET YOUR MUSIC AND THE REVIEWS DO THE TALKING. SING WHEN YOU’RE WINNING Don’t do interviews, like I said, about ‘I just signed to a label for 5 million dollars’, or ‘I am going to do this or that’. No one cares and you overhype. Do the interview when you did it. A story of success, of rags to riches, of fighting all odds is AMAZING and everyone loves it. Everyone wishes you well even if they don’t tell you that. They respect the hustle. Do the interview when you have done it. Not saying you are going to do it. No one likes a big head, and if you don’t do it you look like a MORON.MANAGEMENT 138 139WHO WORKS FOR WHO?Artists PressPR Touring Companies Promoters Publishers Business ManagersAgenciesStores Show DesignersMarketing CompaniesAgencies Radio TelevisionArt Directors SIMPLE ANSWER: Everyone works for the artist. Period.140 141VISION: BACK TO THE RUNWAY & BRAND PYRAMIDWHAT’S THE GOAL? So you’re a manager now, and it’s back to the Runway and the Brand Pyramid we go. Always back to there. And you’re ready to make a plan. You and the Artist have agreed the vision. You have been bold but realistic, no one likes an unachievable plan, but no one likes a plan for wimps either. You have a 3 year goal in place. So now what? PLAN….MANAGEMENT STRATEGY 142 1433 YEAR PLANNER This is a 3 year planner. You JUST put the headlines in. Do NOT panic. You can change this anytime. But you have to start somewhere…. This can then be enlarged into year by year and add some more detail. Don’t go mad you will also use a daily diary for that, even one per department if you have a lot of staff. This is an easy eagle eye view. Good to have on the office wall. Remind you of your plans when its chaos. Keeps you grounded :-)LAYERS 144 145So you have your plan but now you need to think hard on your strategy to get there. People you need to explain your vision to, people you need to meet and build relationships with, social media targets, where you need to tour. As you list the strategy that gets you there, go back to your plan and ‘massage it’ which is my way of saying tweak it, add to it, perhaps you need to perform at a festival earlier than planned to put you in a market you need to be at for an Awards show the same week, perhaps you need to launch your social media in China earlier than planned…. Massage and then massage some more and move between plan, strategy and actual confirmed items all the time REMEMBER: If you know your mission in one easy paragraph, and you tell people. People tell other people. Your team all say the same. The people your team speak to say the same. A message gets out. Control that message. Stay on target. And sure enough, the law of attraction kicks in and people resonate to the message and come forward if they can help achieve it for you and achieve something for themselves at the same time. YOUR MISSION STATEMENT Is the plan, in one or two statements which is a summary of the goal and who you are. This is what you share, learn, repeat.146 147 TELLING THE STORY IN DIFFERENT LANGUAGES TO DIFFERENT PEOPLE • Live Touring • Record Releases • Press • Radio • Merch • Story Telling Here’s a few examples, now when do you turn them on? Blasting them all out on day one, is a lot of noise and that’s great. But then what? Repetitive marketing is dull. Turn the volumes up at varying levels to keep the content fresh, the news rolling and people engaged.Layers are what I call the different approaches to reaching who you want to reach. Having layers of different types of activity achieves so much • It stops fans getting bored, you appear to be doing more than one thing but actually you are constantly promoting yourself. • It allows you to talk to different types of fans. • Some things mean you can use it more than one way. For example, when Swedish House Mafia made their first film Take One, we used it for fans to approach film online in a better way and engage them in a bigger way. As a Manager I used it for record company execs and journalists who were not quite taking us seriously and would not commit to coming to a show at 1am, to come to a cool cinema and experience us there. I also used it to get film press, a press and set of readers I had been unable to access. And those readers included brand managers who loved a good film review in their Sunday papers. One brand deal we did did indeed come from this. LAYERS my friends, LAYERS. • Another example is the Swedish House Mafia book. Itunes was massive, removing that wonderful feeling of vinyl and physical product. So we did a book, which contained a vinyl, the DVD of the movie, the CD of the album and some beautiful photos of stories of the band. We worked out the break even and ensured we sold more than we needed (which wasn’t much at the time) and it was a great product to send to brand directors, movie directors to keep the momentum going for the business, whilst giving super fans a real momento to hold onto. • A brand campaign when done well is a layer, opening you up to fashion or lifestyle press and the brand’s customers eyeballs and their lovely marketing dollars. • A tour going on sale is a layer • A tour happening is a layer • A record coming out is a layer • A music video coming out is a layer • A Merch Drop is a layer You see my point? Layers, well timed and spaced out can continually create noise around a campaign whilst not boring the fans. With Swedish House Mafia I wanted the respect of the rock journalists who 148 149dominated high end media by playing Brixton, but the core fan needed a rave, intimacy, some fantasy and so Masquerade Motel at Pacha and the rather famous rave on Miami Beach showed fans we knew who we were and who had made us. With DJ Snake, when you first meet him the first thing you see is his intense pride of France. Of Paris. His home. No matter how tough it was to grow up in the poorer areas of Paris, his love and gratitude for the City was huge. At the time Beats were making incredible commercials about the rise and backgrounds of stars like LeBron James. I asked them (see …ASK) if they could film the show on the roof of the Arc De Triomphe which for me would achieve a few things. First of all no-one knew the guy behind the glasses. His name was William. His voice was powerful. Many thought he was American which was where he had seen huge radio success with English speaking records. He was about to play a monument in Paris which stood for victory and survival. It stood for France. This commercial would deliver this all in an iconic way. In the voice over edit, I clipped him saying ‘my name is William’ at the start, and he had said ‘Impossible is not French’ in a whole other sentence, but I clipped the audio and added it to the end. He spoke of Paris, his home, where he came from. And in one move, people started to move closer to the story of who he was and where he came from. This triggered multiple times we used this over 3 years. With Kanye West, his New Slaves video lyrics highlighted the prejudice of major fashion houses, so when we selected the 66 buildings on which to project the video - I looked at Prada on 5th Avenue and Chanel on Rodeo Drive conveniently were huge white buildings which offered rather perfect projection surfaces, and so we ended the New York projections, which Kanye attended on the Prada Building just as LA was beginning which went from walls of diners ending on Chanel. My name is William. DJ Snake, Beats By DreKanye West, Yeezus projections marketingSwedish House Mafia Masquerade Motel150 151Layers are also using everyone around you to create them. For example, Virgil Abloh was involved in the design for Swedish House Mafia’s return to Miami Ultra Music Festival in 2018. The night before we asked him to tease it (the show was not announced it was only ‘Special Guest’) And he did. In his own rather magical way. We didn’t know then he was about to be announced as the head of Louis Vuitton men, which he did on the Monday after our show, forever putting his post about the band, right next to the announcement of that. But regardless, one of the worlds biggest tastemakers posted the night before, giving a 3rd party confirmation that the band would indeed perform without the band saying a word. Shortly after that day Francesco Ragazzi of Palm Angels, who worked on creative and marketing, posted the pocket of the denim jacket he had made as part of the campaign. Layers… layers and more layers…. And of course in the case of both of these the reach went beyond those fans attending Ultra or SHM fans, it went to the heart of fashion and cool hype press who don’t necessarily attend Ultra. The stage was set, eyeballs were open all over the place... In the case of Francesco it also nicely teased the design of the Merch we dropped one week later for 48 hours, breaking global online merch records. All of these things had a time, a date, a moment in the plan. Which of course was not all my doing! But you can see how the layers move together, and if some news drops… GREAT… go back to your plan, massage the new piece and time other things now to reflect off it. Telling the story one layer at a time. Virgil Abloh Instagram Palm Angels Instagram‘Layers allow a story to live and live and live. Touching different people in different ways. Reaching new people in a way they will feel good to enter your story. It’s like a lot of different doors on one corridor.’152 153TIMING IS EVERTHINGThe greatest example of timing, of course, belongs to the Queen…Beyonce. After knocking our socks off at Coachella 2018, she waited to drop her documentary of the show until between the two weekends of Coachella 2019. Having taken a lesser fee than the 2019 headliner she retained her rights to release the film selling it to NetFlix for a sum larger than the difference in Fee. Boss move part 1. She dropped it just after weekend 1, silencing reviews and chatter of weekend 1 performances and leaving headliners of the main stage the following weekend just pretty much feeling they should go home. She headlined for 2 years dropping that doc not only when the world was Coachella crazy, but when she would yet again dominate the world’s biggest festival, without even being there. Genius. She raised the pay debate for Artists of color, she debated the power of women, she owned the festival for 2 years without saying a word. Timing is like a pin in your calendar. Don’t stick them all in one date. Events are not the only thing to think of, neither are release dates. It’s the announcement date, the pre-sale, the launch of a pre-save link, the launch of the merch for the tour or the release, the date of the video trailer, the date of video trailer 2, the premiere of a video, the Behind the Scenes video launch of the video, the remixes, the pop up store, the pop up store announcement, the social media partnerships, the fan content, the magazine cover date. 154 155There are plenty of things to talk about if you strip back everything you have into layers, and apply gently. The world has got a 9 second memory, no one even watches entire IG stories anymore, so the idea of a long tease campaign doesn’t really have a place now unless it’s genius. Allow enough time between announcements, launches and products to let each piece breathe to tie a nice line through the campaign, but don’t do over-tease or leave and huge gaps and assume people can follow. People get hit with 200-500 pieces of content a day. Hold their hand and walk them through your campaign slowly enough they enjoy it, but not so slowly they get sick of you. Learn your consumer and the pace at which they move and go with it. And NEVER EVER be afraid to take a break. There is no greater noise than an announcement or piece of content after some silence. The natural gift of a break allowing you and the Artist some time to come offline, reboot, refresh AND give the public a break… let them wonder…. Let them forget… it’s fine. If you know you are coming back with something DOPE… a break is as strategic as a content plan. Each item you add to your calendar, will stimulate dates. Log them on your calendar. A show will stimulate an announcement date if it’s a festival which means you need to add it to your show calendar at the very least, or promote it on your socials if you feel it warrants it… it will also stimulate an on-sale date. The two are not always the same. A show of your own, will stimulate an announcement date, pre-sale date (there can be more than one, one for fan club or a media partner, and one general one) and an On-Sale. A record release can stimulate so many dates • Release date • Pre-Save date • Lyric video date • Video Trailer date (Sometimes more than one) • Video Launch Date • Radio and Store partnership dates • Behind the Scenes video and photo launch • Merch for the single launch • Partnerships with social platforms like aTikTok campaign, Instagram filter or SnapChat Filter • Remix dates • TV performances • Radio performances • Magazine Covers • Digital promotions like launching a game or app you can play withAll of these need to be in your mind when you are planning. Don’t put them all on one day. Or where will you go? So now you’re back to your runway. A runway just for this task - putting a record in the air and it needs a steady climb with a massive lift off to go go go go go. Be aware of the dates, allow them to move, but put them on your calendar, so when you move one thing, you may decide you also move another. And now you’re back to your layers. The record release you have timed so the tour is announced shortly afterwards. Making more waves, and all the radio plays on the single gave your tour a plug.. Layers in full effect. All your artwork nicely fits into a series, and you’re looking pretty slick. But the release goes back …. You were offered a huge campaign with one store if you can go back a week… and you didn’t have all your dates on your diary, and you accidentally announce the tour before the single. OR you decided the tour came first. You sell tickets like hot cakes, and you have bundled an album in with the ticket to all count on chart day and WHOOPS you moved your album back and forgot. Plus your album leaked as you just sent 10 000 people the CD by mistake. Diaries matter, dates matter, strategy matters. You think you will remember, but you don’t always. Be safe, have it on your wall, have your team all work from the same file, Google Sheets are AMAZING for this. All on line in one place, all of you can view, you can limit who can edit so people don’t make changes and forget to tell you, you can use it as part of the agenda in your team meeting, and the Artist can see it…Think of each layer as a layer in a track, or as a volume button. You’ve turned your campaign on…. And soon the volume starts to sound quiet, so you add, and you add and you add….The perfect symphony.CROSS MARKETING 156 157This is how you pull all the messaging across your campaign and target it. For example, your album name and packshot is likely to need to be on your tour art. Your tour dates should be on your press release about the song. But also think beyond this. If you used someone in your campaign, let’s take Virgil and Francesco from the last example. Do you send a press release written differently to the media you know love them. In this case it was dope blogs and fashion media. The title of this press release is more likely to be ‘Virgil Abloh and Francesco Ragazzi tease Swedish House Mafia reunion show. Catering to their audience and gaining you more eyeballs. Another example if you used an amazing photographer or film director. Do they have their own media fans who would not normally care about you? I mean… if Quentin Tarantino directed your video, you are likely to get as much, if not more film and creative media than you are music press.. If Jeremy Scott made all the costumes for your video, you are likely to get a large amount of fashion press. Look who follows them, look at their press on google, where else can you go here? If you have a close relationship with them perhaps their PR sends out the press release, not your PR, who’s roladex is more limited to music media. If you used a famous skateboarder in your video… have you targeted the blogs who cover him or her? Create different press releases for these media types. Start with the thing they will like.STORY TELLING It can be in a video, the narrative of your so - cials but it can also be dropped nicely into artwork. This vinyl is one of my favorite exam - ples of this. See DJ Snake before it all kicked off, and several years later at a sold out arena show. Subtle but so powerful. 158 159Well what is this? So you and the Artist have agreed on the vision. You can tell this story through interviews, through copy on social media posts and not like spell it out, that’s a bit corny, but imply it. People will get it trust me. If a journalist really gets it and uses an amazing quote, re-post it, it endorses the vision. And you didn’t need to say it, you showed someone else did. And I hate to tell you this but StoryTelling also means sometimes being a little flexible with the truth… Maybe you put up a pre sale and you want to super flex this is a hot ticket, you put it on sale and you pull it off sale 5 mins later. SOLD OUT you say on your socials. Well little do they know you sold 10 tickets. Just flex a bit. I must confess now I have told some white lies in a lot of my marketing. I’ve photoshopped that we have had billboards in Tokyo, I’ve lied about capacities of venues or how fast it sold out, heck I’ve even lied about it being sold out when actually there’s 3000 ticket left …. But the sold out sent people flying to the store and they soon went. I’ve tagged brands like I had an endorsement deal to make us look super pro, and sure enough brands came (be careful not to tag one which removes your chances of working with the one you actually want!), I’ve said a merch drop sold out, when actually I just took the orders for 5 hours, and then made the exact amount which got ordered and had never made any items in the first place… but technically it was sold out I guess! I’ve even changed festival artwork when I posted it to move us up some spaces on the bill! But hopefully none of you were injured in the process and we all got to a happy place. I hyped it, you guys seemed to love it, and the Artists delivered to the hype. Obviously be careful how far you take this advice. Fans don’t want to be lied to. But also remember if you are flexing a bit, so are your rivals so when you see their IG post and want to throw up because you feel 100 miles behind… its back to the earlier quote. BLINDERS ON. There’s room for everyone, so focus, deliver, deliver again, and you will be fine.WHO ARE YOUR FANS? 160 161DATA IS A FRIEND BUT NOT AN OBSESSION The nice people at the stores give you app’s to help understand who’s listening. Make sure you set up your Artist App access. In the case of Apple you also get your Shazam results. Social Media platforms give you nice analytics also. DETERMINING YOUR INTERNATIONAL PRIORITIES THROUGH DATA Create one spreadsheet and take all of these platforms… and list the top ten markets side by side across the sheet. Normally you will spot many countries in common. This helps to focus you. You CANNOT focus on every country in the world and I’m telling you now the labels don’t and if you burn them demanding 52 marketing plans for every country you will not do yourself any favors. You may see top ten markets like India or China appear in some social media charts but not in streaming. This is because the big stores where you have the data, are not open there, or are small there. ASK what stores matter in the markets, and how many streams you have. The labels do need to tell you. And while you’re there, have a google and check your profile looks good. If it includes people following you on the platform, make a note of the followers, go back once a month and track growth. This all helps in forcing a label to take you seriously there But why maybe would you see high streams in China once you dig in, but not in your top ten IG followers. Well IG doesn’t exist there (people can get it with VPNS but…) so be aware this method is to help raise questions…I always have 10 markets to focus on, and 2 wild cards. These are the 2 I don’t care how we are doing, I need to get better. That might be the home country of the Artist or a market I just know we need to conquer, the USA for example. Some of what you create is an illusion. You can pull together the layers, explain them in a new order, pull it together and create an illusion. I can’t go to into that much but I have created some and you all loved it so…. Some of the storytelling is actually every now and again, pulling the layers together and telling that story. Mapping it out. Perhaps in a video you make, a book you write but also in press releases and social media. Draw the lines for fans sometimes and let the layers come together after months of careful planning into a huge crescendo.SHOP WINDOWS 162 163 • Instagram • iTunes • Tik Tok • Listings: • Website/Songkick/BandsinTown • Merch Stores • Apple Music • Soundcloud • Spotify (profile and bio)• Twitter • VK • Website • Weibo • YouTube Community and TV channel • Your WebSite • Global storesCONSUMER JOURNEY 164 165Well what am I talking about now?! I call them shop windows. This is all the places where you control how you look. I list examples below the picture. This is all the places you communicate a message. I call it this because, like the picture above, see how one window doesn’t have the Sale sign in? So imagine your customer walked past your store and it has many windows and you forgot to put the sale sign in one. And one customer who had shopped with you for YEARS missed it. How do they feel? Yes Facebook is less cool than IG, yes Chinese social media is a pain in the ass, yes your website is not really busy…. Who CARES. If a fan has chosen to follow or visit you they deserve an equal amount of information. Don’t be a platform snob and forget the rest. Set a time per day and replicate what your Artist has posted on all of them. Yes there can be exceptions. Where you place something exclusively in one place and promote it, perhaps you are pushing the followers on there to go up. But in general treat all followers with respect. How would you feel if you actively signed up, that golden moment when they click follow, and I didn’t keep you updated because I didn’t think you are cool enough Facebook has a huge reach, it owns IG, it owns WhatsApp, it has a store and show listings facility. Your website has a sign up for your newsletter. Treat them ALL well, all fans have chosen how they will follow you, don’t treat them less than one another when it comes to vital information.BE READY: ONE SHEETS & ASSETS 166 167Ok the golden rule…. You listening? FANS HAVE NO IDEA WHAT YOU’RE TALKING ABOUT! You’re deep into the planning phase of a project and you’re about to start. It is SO easy to assume fans know what on earth you are talking about. They do not. Now that’s not to say you launch saying a single is out, and a single is a 3 minute audio file! But do NOT EVER assume they know what you are talking about. They are weeks behind you and totally in the dark. Their consumer journey is how they move around the messaging. Swipe ups need to work. Links need to work. Don’t send them to your website, to not have what they are looking for on the home page or CLEARLY marked. People will just leave the journey. Be CLEAR. Be EASY. You think people are sitting around wondering how to engage with you more? Think again. Be mindful of global reach. State timezones. State countries not just cities. Apply subtitles when relevant. Reward their attention with clear easy to manoeuvre instructions around the world you have created for them. If you want them to do something tell them what in short sentences. And I like to keep it to 2 things. Post this, hashtag this. Etc. “GENTLEMEN, THIS IS A FOOTBALL. ” - Vince Lombardi In five words, Vince Lombardi, the new coach of the Green Bay Packers stood before 36 proffesional athletes and communicated his point: if you want to be successful, we’re going to remember the basics and make sure we’re executing the fundamentals first. Six months later they celebrated their NFL championship and their 37–0 victory over the NY Giants.BRINGING THE VISION TO LIFE 168 169One Sheets for the Artist, update them monthly. It lists key stats, achievements, audience size and stats, examples of brand collabs etc. Have it READY. I have been called before when someone dropped out of an amazing opportunity, I had the deck the brand needed in my phone, sent, got the job. These jobs added reach at short notice to my campaigns. BE READY: ASSETS A perfect marketing plan is useless without assets. Have you booked a fair amount of time with your graphic designer alerting all of the variations of Art you needed? These should be created by looking at your calendar and creating one list of deadlines for Art including allowing time for approvals where you owe them and it also gives them names. By naming them you get less confused when you file them. Better filing means better, more accurate, sharing of assets. And walk the consumer journey. If you change your website to say ‘Out Next Week’ come Monday …. It’s out of date. And it has to be changed to Out This Week (or the day) and once it’s out, to OUT NOW. Walk the consumer journey.BE READY: ONE SHEET170 171A roll out is the time from when you start to when you launch the record / tour and the short period afterwards. Labels call it a Roll Out. It’s a runway of its own.THE ROLL OUT If you are able to, start with something which catches attention but says very little. I made these directors chairs for the Taki Taki video shoot and laid them out, took a pic and sent to the Artist’s on their way to the shoot. I knew if one of them posted, the media would go mad, but did not ask them to do so. I included a chair for Kulture who had not yet been seen by the media to add the extra reach to mass media. I did not however ask them to do it, or pushed them to do it. I made some effort and it worked. I also did robes on one wardrobe rack and coffee mugs with their names on. I hedged my bets someone would like one of them. Sure enough Cardi B posted, the others followed. And the announcement of the song was out. This was Aug 28. One month prior to the song. That’s a long time TO START… but the record was big enough to warrant it. It told nothing of the audio. No shots from the video were released. Still had lots of room to unfold the story. The picture went viral and the Artist’s were excited by the hype on set and started to do their own social media on set which we had previously said we would not do to keep them all calm as they are all (quite rightly) very protective of their social media. Phones on set were taped so no photos could leak. DJ Snake added a little volcano emoji to his post which of course was a huge part of the video, and it stuck… and became THE emoji to say Taki Taki. FROM THE DAY YOU START, DECIDE THE HASHTAG You can follow the hashtag and search on it to find engaging and vital fan content you will want to use later. I KNEW WHAT THEY LOOKED LIKE ON SET. So I was able to get ahead on the marketing. I knew Selena Gomez and Cardi had crazy internet followings, so IG Gifs were key. A pack of Taki Taki stickers were created and used for phase one. Animated them…aren’t they cute? 172 173 DO YOUR LINERS ON SET If you have all your Artist’s there (and even if you don’t) do liners on set. They are ‘camera ready’ IE they look good and are styled… and you can capture banter between them. Pick a reasonable amount of liners. Ask your international key markets BEFORE the shoot. Have time to see which ones you do, including any for key media partners and generics like ‘Taki Taki is out now, Swipe UP’, The Taki Taki video is out now, swipe up’. Now you can watch it all back and cut them up to adapt them if you are smart. Do not ask artists to do more than 20 and even that’s a push. Print them on large paper so they can read to the camera and see you behind the camera. Insert their names. Do NOT present them as you get them which is ‘Hi This is (Insert Artists’ Name).’ Type them again and insert their names. It must read as they are to say them. Ask them extra stuff for extra IG, media and YouTube and Tik Tok content. Interaction - how the record came about, what they think of each other, funny questions if they are game WORK. Go through it all. Save all the clips separately and name them. You can have hundreds! Shoot your Behind the Scene pieces on side of the set. You will get great stuff if LYRIC ANIMATIONthe Artist is up for it. If they are not, leave them alone. Your contract will almost certainly say you need to approve all footage and images. If it doesn’t, do it anyway. The more in control they feel the more they will post for you. Go back to your top ten markets. Which subtitles do you need? Taki Taki needed Spanish of course, but we also did French and Chinese. Portuguese for Brazil and other regions in LATAM where this was the primary language. Tell your label in ADVANCE you need this. Hopefully they were the ones telling you this but…. No comment there lol. Do you need more than one press shot? Maybe one retailer will give you a billboard for an exclusive. I’d say 3 is a safe number. STYLING On a complicated video connect the stylists. They work to ensure people look somewhat coordinated. Look after them. Welcome the glam, hair and stylist teams. They work hard and can be your ally when you are trying to get an Artist on set, on time. Look after the assistants and make the Manager feel welcome, you need all these people. APPROVALS You’ve been great, you’ve approved every single asset with the artists. But… you didn’t take the unapproved ones out of the folder and your staff share it. DO NOT DO THIS. Clear all non approved images OUT. Clear all old audio versions of the track OUT. Allow only approved assets of all kinds in your office space. Artists can be aware of issues on their image you don’t know about. A tiny difference in skin they are paranoid of. Respect that. PRESS SHOT LINERS TIME!TIMED RELEASES 174 175WHAT’S NEXT Your internal planning with your label is happening daily. You are telling them all the assets they will have to play with, the promo shots and video you got at the shoot. Artwork, Gifs, quotes from the artists for the press release, animations of the artwork etc. You agree the priority markets and you go heavy with them. Local media partners, local radio you need to support when they play, influencers or journalists who will post, and of course their marketing plan which includes digital marketing and physical (in this case the record got outdoor billboards) You are massaging this list daily. And you are CAREFUL to list all the things you promised. You got the Spotify billboard? That comes with a social media commitment. You got the biggest influencer in Brazil confirmed to run an exclusive clip from the interviews… that means 1) deliver the clip! and 2) get their socials to repost if that is the commitment. An hour by hour calendar starts to build. STICK TO IT. Make it clear. If you are lucky enough to have a team, use Google Sheets, set a schedule, and allocate a name next to it. Remember, the world is not 3 stores. It’s multiple and they all deserve your love when you have a big record coming. They do remember… You want a list of ALL playlist targets from all your key markets. Put them in a spreadsheet. Tick off the ones you got. This creates a list of targets you still need one a weekly basis. And who attacks the task is split, between the label and you, depending on who has the best contacts.176 177Well this can be confusing. Because when the label said to me a timed release meant it went live at midnight in each market, Spotify told me it meant it went at the same time worldwide. Or the other way around, I can’t remember, but there was mass confusion and it didn’t help on one record I put out. Traditionally you release as the store turns on your release date. So New Zealand first, and then Hawaii last. But… if you have a massive record or indeed your local partner wants it (this happens to me a lot) you may decide it comes out when it turns midnight in New Zealand Worldwide. This technically means the release date is the day BEFORE you have been banging on about to fans. But if that’s what you need to do - do it. You just handle it in how you speak to fans - don’t stress it, they will forgive you. Why would you do this? Well if the record is hot, the radio stations in markets after New Zealand will simply go to their contacts, buy it on itunes, have it sent to them and play it. Meaning radio has it BEFORE streaming services and it was not your fault. Maybe they promised your label they won’t…. But when their rival breaks the curfew - its all to themselves. We talked about how streaming services feel about this, and whilst you can get away with it, if they have asked you not to and it still happens, watch your playlist support fall. I’ve had billboards from stores taken off me for it. Be clear when you start but LISTEN for the warning signs. Ask your store rep if you have gotten close to them, their advice will often be polar opposite to your label. I generally go with the store advice and force it at the label. PRE-SAVE Pre Save links means it saved already by fans and can provide vital streams the first day when you are pushing for the best position you can. It also then helps the algorithm to work in your favor. You can get the link from your label or distributor but they are not automatic, you do need to request them. Create the asset with a swipe up. Ensure all stores that can offer it are included. Not all do.ARTISTS PACKS Your Artist and the featured Artist’s should all receive a pack from you. I would start a new WhatsApp Group with the name of the song for my Artist so all the links were in one easy place. This includes : • Pre Save Link • Buy Link • Key store links (you need to swipe up their specific promotions and when you send those to the artist, give them the right link again) • Assets : story shape, main feed shape, state one line of the content type EG Animated pack show / main feed, and the link • Keep it brief. • If you have uploaded IG gifs (do not underestimate their power) tell them what hashtag to search on • Give them the tags of the featured artists (they will know but be safe) • When you send a playlist to post give them the store or editors tag, or both if available and the link. You keep in your phone • Audio file (people will be calling you late night for a copy for a radio show) • All assets • Smart URL • All store links • Press release (you can ping it from your phone to lazy journalists if needed) • Approved press shot links Follow everyone involved in the record. Journalists, Editors, Stores, Featured Artists. Then you will see when they post and determine if reposts are relevant.GOOGLE ALERTS Hopefully I didn’t need to tell you to set up Google alert on your Artist’s name but now you need to add other key words like the name of the single and associated artists to stay on top of news pieces flying in. RECORD BUNDLES 178 179This is when you sell a product, normally a merch piece or a tour ticket, with the record. There are rules for this. For example you can add a download link, but it only counts if the fan downloads it. It can be that the week you sell, applies to the charts only that week, so you have to time it. Speak to your label for advice. They can be VERY clever tools for higher chart positions. But there are rules. And you have to pay everyone involved. All the people to pay for the album, including your label, and of course the cost of the item you sell with it. Be mindful also what territory is applies to. If you want to achieve a chart position in America, is the sale counted to everyone you mail to from your warehouse or only those in the USA? Does the point of shipping need to be USA or can you ship from China to America and the sale counts? These rules are complex so be sure when you start. There are rules here to stop you jumping into the charts, by saying you are offering a million dollar check with one of the packages. Be clear on the rules with your label before you start. UNLESS you don’t want to chart and reach was the name of the game I guess!INTERNATIONAL ROLL OUTS 180 181We went over how you prioritize your International Markets earlier. You have your ten and your 2 wild cards. When would this change? Well your records are different shapes and sizes. So it’s always worth looking at songs you have done before with a similar vibe. For electronic music for example, big banging loud club records can perform completely differently to vocal radio records. Look closely at your list before you start. What else might influence a change? Your Featured Artist is one. Ask to see their stats or use your instinct if they don’t want to share it. This could mean that you need to add these and give up some of yours. This does not mean you don’t work every single market in the world but let’s be real for a second here. A few years ago there was no public Global Chart. Now there is a Top 50 on Spotify watched like a hawk and to add to the pressure, it refreshes daily. You used to care about local chart positions. Now you have all of those AND your global position. Now lets not complain, it is what it is, but the pressure on you is huge from day one. Look at this way before you start, and insist then 2 weeks out your priority markets have sent in their strategy including radio targets, and most importantly perhaps, playlist targets. Now… this can be a copy and paste job on their part so look back at your research from before, google what you can, and ask questions. Create one document called International Plan. List all of these playlists, tick them off as you get them like I said on this earlier section. What are the stores in those markets. Which will you support? Influencers in these markets can be in all different shapes and sizes, spend some time on IG and Tik Tok. You can Google the top ten in many markets. Do they look like they work with new music? Are they the type of people you want to do business with? If you are announcing shows in this market, this is a good time to map that out. If you have already added and announced festivals in this market, ask the promoter to re-post the news of the song. Can extra press now be gained by linking one large news outlet who will feature the song, with a VIP ticket competition to the festival? They are usually very helpful here. When you are working all year round, your International Database will build. Promoters, mega fans with decent reach, press, influencers. If your label is being cagey about letting you have direct access to a local office look back at old International Reports. SOMEONE will have forgotten to BCC the database. RELEASE DAY 182 183AMAZING. Blast the list. Have an email folder of your international contacts and promoters who love you all year round. All of them have reach and will likely post your asset / link. For priority markets I do a call with each of them. Using my voice to get them excited and you will get one or two more ideas per call, trust me. You would never get that on email. International is a year round task to nurture and grow. If your Artist is at a show, go grab the cards of everyone in the press tent! International Social Media can vary as much as the stores. China being the biggest difference in approach and sites. Don’t hire a company to do your socials, and then when the record is over, not be sending them content. This can be the same content as the rest of the world so it takes no time to do. Don’t just wake up the socials around release and expect a result. DO however work with them on holidays around the year where you celebrate with local fans. In China for example Instagram does not exist. BUT some access it with a VPN. But wording a global campaign as only on IG will mean no Chinese real reach. Do you replicate the contest there? Discuss. Be aware of the rules also. If you describe Taiwan not as Taiwan, China on your global tour ad, but you listed Shanghai as Shanghai, China, you are basically saying you agree Taiwan is independent in the eyes of the Chinese government. You may be banned from touring there. Now, if your political beliefs are willing to take that hit all power to you, but that’s your Artists choice, not yours. Once you identify key platforms check your song is in there. You’d be surprised. Ask for data on a regular basis. Listen to advice on tour dates. You think you know good months to tour, did you stumble into trying to go to the Middle East in Ramadan? And then you wonder why no one wants you! Be mindful of time zones. Not just on your marketing. If your label is in America, and you hand the final assets into them on Thursday, they will put it into their global systems on Friday Asian time. Which is not only late, its disrespectful. Don’t do it. Personally when I make the final asset pack I also blast all markets with a cute little menu. I mean… if you think they will go into that system and have time to look at all your lovely GIF packs… think again. Geo Targeting. This is posts where you can target only one country. The content almost certainly leaks if you are a hot act, but it’s a way to post local stores for example. Be mindful the USA lists months and dates the other way around when using numbers, use months spelt out on global marketing where possible.184 185WELL HOLY COW IT’S HERE! You’re nervous, tired, stressed, your Artist is somewhere between hyperactive, depressed and full of joy. All the planning in the world can be done, but once that beast is out the game changes. Now it’s about holding your nerve. You go hard at the start. IF you can get into the Top 50 on day one, it’s a home run. If indeed you can stay there all weekend and many Artist’s streams go down on weekends. You’ve posted it’s out. Change the link on all your social media biogs to the link. Change all social media channel headers to the artwork with links where the banners allow. You’ve checked your swipe up links WORK! You’d be surprised. Everyone has their assets and your calender of commitments is done and delegated (which you still check lol) You anxiously wait to see what support you got on stores. How? I use a site called Kworb, and ChartMetric (this one is a subscription) You’ve got 5 ones you really feel are worth posting (don’t spam it) have you checked all stores. You post 5 Spotify and no Apple how will they feel? Tips to post these are to take the screengrab, have your designed 1) move your record to the top it looks better on the art 2) if someone else is on the cover, when you post it wack your IG sticker over the top (or change it to yours .. sorry but…) 3) add audio. No one wants to see loads of pics of playlists. But you add audio and the song is just hammering home over and over again. EASY PROMO Repost fans doing amazing things to the record, radio show hosts playing it… add the swipe up link. Every post then becomes a possible stream. People leaving stories to go back to your feed to find the link in your biog. NOPE. Beware of chart rules. Do NOT say ‘stream this and win a chance to win a million dollars’. There are rules. You can be knocked out of the chart for breaking them. If you want to do something like that check with your label AND your international rep at the label. Rules are not the same globally. An easy one for reach though which breaks no rules is something like ‘Repost the clip of Taki Taki to your main IG feed, hashtag #takitakioutnow and be entered to win the directors chairs from the video set!!’ and re-post the chairs. If 5,000 fans share, average 500 followers (often way more) you are reaching 2,500,000 people. Not bad! IG Live for Artist’s who just wanna connect on the release day… is always good and keeps the Artist feeling engaged while the world judges their work. It can be a VERY long day. Ask the featured Artists to post but also to add as Artist’s Pick on their platforms. Remember all your juicy clips you got when you interviewed the artists. YouTube can be used as social media, so post them in your channel too. I’ve posted clips 9 seconds long and with steady drip of content engaged and sharing, we gained 9 million subscribers. YouTube is not for 3 min videos trust me. It’s a platform like any other plus use their Community Page to post all photos and artwork you do on other platforms. VIDEO NOW OR LATER? There is no right answer to this. Its hit and miss. I have had records where the video 2 weeks later gave us a welcome boost. And records like Loco Contigo by DJ Snake and J Balvin having the video on the same day we saw helped get us top 50 on day 1. With Taki Taki, we knew the hype was massive, and that the video was fire. The problem there can be.. What if YouTube (the largest streaming platform in the world) took all the streams and it hurt the global chart position. I also think at the time YouTube streams didn’t count towards the main chart. Your choice is upload the artwork with audio day of release. Or a lyric video. And then set the video date (and their Premiere feature is super dope). You may decide, and then change, and then pull up the dates. In the case of Taki Taki we had the chance to be on the American Music Awards ten days later, at the show on the screens and in the commercial break which was sponsored by YouTube. And drop online at the same time. This gave us a big media push on TV AND on YouTube. The song was at number 2 at the time. The video dropped and whilst I think we were on 3 million streams a day on Spotify at this point, we saw the video drop AND drive traffic back to overall listening not only on YouTube doubling it to 7 million and then well… who knows. It went bananas, I don’t remember the numbers. We went number 1 the following day. So in short there’s no right answer and the debate rages. Choose, and plan your assets.186 187VIDEO ASSETS We’ve talked about this already but you need: • 4 - 8 story IG clips with SWIPE UP written at the bottom and don’t burn them all day one • YouTube and Twitter clips for stories (cannot have SWIPE UP on as they don’t have it) • Tik Tok shaped clips • IG gifs - for Loco Contigo for example we did the pink car and all the animated animals. • Banners for your social media if you want to change format to this • Press release - who directed it, influences behind the storyline • A list of any commitments you made to brands who paid for coverage • Directors social media tags if you want to thank them • 2 main feed IG trailers (2 days before, day before) • One release day main feed trailer (the big one you love the most!) • Media commitments, if you activated a premiere have your Artist online to answer fans, if you got given billboards there’s a commitment to post them. With tags. • And some nice stuff - make a movie post for example. • Still images for later to keep content moving. • Making of / BTS video ready to go • Press Shots from the video (approved by artists) Issue a NEW Asset pack to all. Be careful to be mindful the other Artists want dope clips of themselves. So do a ‘Cardi pack, Ozuna pack, Selena pack not all of DJ Snake..!’ STORE CHECK It sounds insane but check your song is actually in stores! and check the credits, did all your writers and producers make it on. It’s one more way to check registrations are flowing well. AFTER THE VIDEO Well by now you know how you’re doing, who loves it, which countries are leading the drive to the global chart. Data once again is your friend here. Identify weak and strong areas with your label and work on them together. You’ve seen fans make their own content. Re-post or make a montage of clips. In the case of Taki Taki YouTube Kids (a VITAL platform but utterly censored for good reason) would not put my video in, it had too much boob!) so…. We made an animated one of the characters we had done for IG GIFS.188 189We made a game online with the characters with signed merch prizes. We pushed the success of the video ( we were on crazy numbers by this time) to press to keep renewing features and continued to push stores. Have you gone to radio yet? In some cases your featured Artists had another record at radio and their label can enforce you to hold back so the week you go, for all the reasons we talked about earlier you need to some LOVE. SnapChat lenses are connected to Shazam so a jump on there helps so it’s a good time to do a lense then but they take time so agree this date weeks in advance if you can. Gone to radio? Great. Watch Shazam per city like a hawk. You see it move, divert some of your marketing dollars there. Don’t see it move but you think it could. Same. By this time you probably have live clips of your artist performing or playing the song, same from the featured Artists. you have possible usages where they played it at half time on a basketball court… save them all. Stagger the posting, but it gives you content for days if you do it well. You can of course add another layer and drop vinyl (requires 12 weeks notice), Merch items etc. LAYERS LAYERS LAYERS lol. HAVE A ONE SHEET A one sheet might come from your label but it’s all the fab stats on the record to send to people fast who you need to support from. • Streams • Shazam position • A bit about your artist that sounds super fire. • Artwork • Link to master file • Approved press shot link • Approved asset link • Chart positions and key playlists where relevant. • Radio stations on board if relevant. • Key quotes from the media where relevant Update weekly.CAN YOU MAKE A SINGLE WORK AFTER YOUR ALBUM IS OUT? The million dollar question. You used to drop 1 or 2 singles, one of them the day of the album, then 2 or 3 more. Name me the last Artist which achieved this? Radio is less and less relevant so once your album is on streaming, you will have asked for focus from fans on a lead single from that day, maybe with a video or heavy social content. Fans will also surprise you and stream tracks you perhaps overlooked. However, I have tracked this over and over again. Artists just dropping a video later to bring a song new life, increases streams by 2-5%. Unless your video is literally game changing, it does add a new layer and it does increase streams via YouTube but I have not seen any really achieve huge chart leaps if that’s what you were going for. So what does this do? Well it means you now need to release all singles pre album or save only ones where the video are killer and perhaps also linked to a huge sync, or in a movie. You can activate radio to pick up on one song if you are a big artist on a major label with radio stations who love you and they will agree to go with it. However is the album the last thing you do? Nope. You are putting up tours and at the end of the day you are SUPER proud of the album. This is where I think what I would called ‘brand’ pieces come out. This is where you take a track you love, which literally says who you are… and make a self indulgent video which literally just lets you flex about who you are. Expensive maybe, but it’s my dream to do this and I have rarely been allowed. This is going to be the LAST memory of this record. Make it ART. Make it the thing you send to Kendrick Lamar because you want him on your next album and he is blown away by your vision. This is like a door closing and you opening up the door to the next phase. Make it count. Kendrick is not going to look back and see if that video put you into the Global Top 50. He won’t even look at how many views it has. He’s looking at YOU. He is going to watch what you stand for, what your vision is and if he fs with it.190 191INFLUENCERS YES OR NO? YES. But what is an influencer? In short it’s someone you want to post about your project. The way it’s sold to you is X person has X amount of followers and they will charge you X amount to post. Well, fuck that quite frankly. If you just whack out content via people you don’t know, to people who follow them you don’t know 2 things can happen. 1. It can make absolutely zero difference. 2. It can make it into fan groups that put off your original, core and loyal fan base. You can partner with someone who has 500 followers but people you really admire. I’d call this more of a tastemaker than an influencer, but both terms apply. Which ones do you want? Tastemakers are harder to get. They have to feel genuine love and often you don’t know they will post. Now yes of course, if an AMAZING dancer or performer does your song, it’s great, but be mindful when you use them, and certainly be mindful of how much you pay. Remember they post most days, how much impact will you have? I have gone through IG by hand, to collate smaller, dope people - messaged them direct, paid by PayPal and got better content than these agencies offer. Who also charge a fee by the way. Just be careful here to balance what you pay, who you reach and how your main fans feel about that. Great content by these guys also give your Artist new content to repost, but if your original fans don’t like it… be aware. At least perhaps use these guys later and keep true to core fans early on. Fans will forgive you for having a global smash when they felt special for spotting you early, but being hammered on day one of their legend posting people falling over on banana skins in an obviously paid for post, will start to make them doubt you, and they will be here for the next record, these casual fans, or ‘tourists’ as I like to call them don’t stay. They engage in the influencers channel and then it’s on to the next. As always, if you do deals it may require a re-post. Be careful to commit to a minimum here in case it’s wack, and never main feed. But do do it. If you say you will do something do it. Rip the content, send to the artist to post with the tag. Or do it for them. Log the costs and commitments as you go. It adds up….WHAT IF IT DOESN’T WORK? Move on. No one died. Learn if you made any mistakes, and never ever take for granted the people who DID engage. These are fans and deserve your love and appreciation. Build on it, move onwards, move upwards. Do not dwell on it. The world has a 24 hour memory. Every single day is a new beginning for you and the Artist. I can’t stand people who were like ‘that didn’t work’ when over a million people listened. Do you remember when no one listened? Those 1 million people liked what you did, or at least took the time to hear you out. NEVER EVER EVER FORGET THAT. OR THEY WILL SENSE IT AND FORGET YOU RIGHT BACK! See success in small records. Something worked trust me. Even if it was only you successfully had the team not send out the wrong files for the first time. Acknowledge these and smile. MY RECORD IS NOT A CROSS OVER SMASH. COOL. Not many records are. Take the bits you need and suit to fit! Underground campaigns are equally important. Especially at the start. But also throughout. Had a hit? Great. But your core fans loved you early. Don’t stop feeding them what they loved and become a slave to popularity.192 193Pack Shot: The artwork / Single / album cover PSD: The file from the designer which is adaptable and people can use it to shape to the sizes and move text around. UGC: User Generated Content. Content made by other people and loaded to the internet. All those crazy fan videos, holiday recaps and pretty much the entire content of Tik Tok. Skip Rate: Urgh chills down my spine. This is how many people start listening to your song, and then press NEXT! They skipped your record, Hot damn that’s painful to hear. Unless you are being told its low or zero then its champagne all round. Engagement: No you’re not getting married. This means people getting involved., Responding to your marketing. Engaging with the campaign. This is also used a lot in social media. A lot of likes, means good engagement. You could double your likes on a post and you’re label will say ‘we saw a 100% increase in engagement’ Fancy way of saying - WELL DONE. CTR: Click Through Rate. How many people clicked the link you advertized. Always good to learn. Ad Words or Key Words: These are words you give to the people buying your ads to target when looking for who to advertise through. This can be the names of you, the featured Artists, you competitors as kids are also searching on them (sorry its true), musical type and they will have insight on what else is working for others in your field / sound.MARKETING PHRASES Vertical: Fancy word for content you shot which fits into story shape or portrait style shapes on stores and media outlets. Call to Action / CTA: This is the phrase used for when you are asking the fan to do something. Normally however though not a purchase. This is a ‘sale’. This is ‘click here and download the free map’, or ‘share this and use the hashtag to enter’. Conversion Rate: The number of people (normally a percentage) that did the Call to Action. You asked them to do something - and the number of people you asked - lets say 100 000 people, turned into 20 000 people doing it. Thats a 20% Conversion Rate Conversion Rate Optimization: This is improving the rate and how you do that . That’s as simple as improving copy, to advertising driving more conversions etc.Pre-Roll: The annoying ads in front of your YouTube (or other video platform) videos. Lean In: Describes fans actively searching for your records / products / you Lean Back: Those who listened through playlists they already listen to or read about you from websites they already read.194 195AXWELL & INGROSSO Fresh off Swedish House Mafia we wanted people to engage in our new journey and the song was called On My Way which was all about exactly that... BEFORE WE RELEASED Remember we had some of the most loyal fans in the world, we had just been on a tour which sold 1 million tickets in one day. But… the fans had been marketed to for months so we wanted to do something lovely…We asked for their addresses, and went against digital marketing and sent them the sheet music. Most framed it, but some actually managed to perform the song premiering it before it came out. Truly leading the journey.Copy: A fancy word for what you say! You post , you write a sentence to go with it. That’s called Copy. What’s the copy - means - what do you wanna write here. It can also be ‘can i have the copy for the press release’... means give me the damn press release please! Give me the info! Credit: What’s the credit for this photo? Means who shot it please…? Impact date: This is the day you go to radio in the USA. I’ve heard the UK say this means when the record is at it’s peak so there can be various uses of it. But Radio Stations in the USA don’t like to act alone but go with what’s popular or about to be popular so setting an Impact Date tells stations when everyone is potentially going to run with the record. LET’S TAKE SOME OTHER EXAMPLES Zane Lowe (then on Radio 1) did the first interview. We wanted to stay off dance radio for a moment. Again, this is a choice. You have a strategy and you make choices from there. WE CHOSE COOL INDIE FESTIVALS STARTING AT GOVERNORS BALL NYC. The boys were named top act there by Billboard and the risk paid off. We didn’t go back to Ultra straight after SHM, straight back to EDM, we took a different path, some different eyeballs. So by the time we went back into that festival circuit we had achieved other goals, stood out. The song was not out yet still at this point, and we laid a map leading to lyrics across NYC. We used metallic posters which kids tore down and kept but first they took a picture of themselves mirrored in the artwork truly becoming part of the new journey. 196 197 CONTINUITY Yeah great you’ve got a logo. You’re SO fancy. But what about the secondary layers, the use of words and shapes? With Swedish House Mafia, we used the word ONE. Shout out to Christian Larson here. • First single - One featuring Pharrell. • Take One the movie • Until One (the album) • Until One (the book) • Until Now (we used Until to keep continuity here) • One Night Only (first hard ticketed tour) • One Last Tour (final tour) • One Last Tour (the live album) • Leave The World Behind (the movie, which didn’t use ONE but was the last piece, and the name of a single everyone knew so indeed was familiar as a layer title) One Feat. Pharrell Take OneUntil One (the album) Until One (the book) Until Now One Night Only One Last Tour One Last Tour (the live album) Masquerade Motel & The Dark Forest. These could also apply to you for example for a Tour Name or an Album Name where you have a ‘sub brand’. Masquerade Motel logos included a mask and a key. ‘Masks On Please’ and ‘You are the key’. These came with lots of lovely art and copy which explained the deeper connection to us to be experienced at clubs where we played nearer you, and longer for you. Less ‘brand’ more ‘story’.198 199 SHAPES SHAPES POWER 200 201SYMBOLS Are not just logos. You could argue Virgil Abloh made his use of “words” more powerful than his logo. 202 203I was asked to work on the launch of Yeezus straight after the SHM final tour with his manager Izzy and his team who were Virgil Abloh and Matthew Williams. I mean.. looking back now it’s surreal. I hasten to add here I learned more from Kanye than I have learned from anyone. Photographers, directors, playwrights , sculptors, inspiration after inspiration poured from him and his team. He’s a genius and the most involved Artist with their creative I have ever worked with. He was also open to ideas. There was no idea too small. He listened. Encouraged debate. And asked that you applied what you knew beyond your comfort zone. If you could design an event poster you could design a better version of a hotel. He saw no lines between genres of applying creativity. Eventually between the team it was decided projections of New Slaves would occur. This would mean fans posted the video rather than a glossy YouTube upload. A real underground movement, fitting to the lyrics and feeling of the song. He would allow one tweet. So we did a map with the times of the projection on his website. He simply tweeted kanyewest.com and he was so powerful, so respected, we did the tweet one hour before launch. Kids followed the map and history was made. 66 buildings - all pre vetted for their smooth surfaces and visual look, plus their meaning behind the building (fashion houses and I think we did the CIA!) and all done by matt black trucks so all of the aesthetic was perfect if you took photos of the whole thing, broadcast the Nick Knight video of Kanye’s epic and iconic face hearing him speak to you from the walls of the world. The next day we were told we had reached 1 billion people. Via shares, news pieces on TV stations and radio, newspaper and blog articles, re tweets and uploads which still to this day is the most successful video launch of all time. It was a military operation but possibly the team I was most proud to be part of, because learning and being inspired is pure life.KANYE WEST - YEEZUS WATCH ‘I have always thought New Slaves, looking back this felt like more of a speech than a record and this felt like a broadcast you would see if someone invaded the world and spoke to the people from the streets.’204 205 ARROGANCE Let’s be real here. Fans don’t want you to be one of them. They want to aspire to be you a lot of the time. A little lashing of arrogance every now and again is amazing. At the end of the Madison Square Garden Trailer which essentially outlined how could a band who no-one we stopped on the streets of NYC had ever heard of, be playing the venue?! Well.. it was because COOL people knew. We played on the fact you needed to be cool to know them and ended the video with this. Fans loved it. They were in the inner sanctum now, they knew something others did not and it brought us closer, while we behaved like arrogant rock stars :-) Please note the 3 dots after the first sentence (see what we did there?) CHANGING SOUND 206 207My students asked me to include this. How do you be in more than once band, be more than one name or have more than one sound? Well tough one. If you are Pharrell Williams or Mark Ronson, you’re a cool cat, so it’s likely your fans will not mind one bit and you use your one social media handle to promote them all. Does anyone mind when Pharrell says NERD is back? NOPE. Dave Grohl, Josh Homme….Diplo… Eric Prydz… the list goes on. If you are putting out some more commercial sounding music do you do it? By this time you have learned your fan base. Will they smell a cash grab? Will they like it? If even a sliver of your instinct says they won’t…. Start a new profile and test it over there. Then own it if your original fan base will not leave you because of it. Do you have to please fans? No. But you’ve spent a long time saying one thing, if you switch, either do so smartly or be ready for the consequences no matter what they are.TOURING 208 209STRATEGY We touched on this earlier but you have your 3 year plan, and the year ahead needs booking for shows. Shows are often how Artist’s earn the majority of their money. Shows do not book 3 years ahead, but the importance here is to remember your goals. Things to consider: • When is your Album or big single or EP dropping? • Do you want to tour when it’s out? Before? Wait a second and then tour? • Things to consider here is do you want to play material out to fans beforehand to build hype for your album • Do you want to wait and tour when the songs are hopefully huge? • Or blend a mixture of the two? • Do you want a launch event and which markets would you do that / them in? • Festivals or Hard Tickets? ROUTING Routing means the geography between show. How do you get one from the other. Smart routing creates cost savings. DOWN SIDES You don’t design and own the marketing roll out You cannot access the data of the ticket buyers You may not get a good slot meaning even the best shows can be missed as you’re on early You cannot do ticket bundles You are limited by your slot, the changeover time or the stage you are on to bring your own show.BENEFITS Festivals provide a larger marketing spend but you share that spend with multiple other Artists’ on bill. Festivals offer fans who would not normally come and see you to come to your show. A chance to convert new people who may come and see you later at your own show. They pay you a fee. Guaranteed. Normally larger than a Hard Ticket show. You have costs to pay from this determined by the contract, and in electronic music pretty much everything is provided as you play a built stage. You tend to have less costs than a Hard Ticket Show.Hard Tickets is the name for when you move into venues of your own.210 211BILLING This is where you sit on the marketing. Headline means at the top. This may also state if you sit on your own line of the ad. So it’s you at the glorious top and no one else on the same line. TopLine means more than one act is at the top of the ad, and you need to know where you sit. First on top line, second, third? ABC - means all acts in ABC order. Be clear from day one if you have more than one word in your name which one you use for this purpose. If you are DJ Zinc for example are you a D or a Z. Always push for the D. Bands tend not to get this luxury taking only the first letter from the first part of the name. ABC can also be in sections. Headliner section which means first chunk of names, ABC mid level section and so on. Ask for clarity. If you want to be fancy you can get into font size, but if you’re there you’re a massive headliner and you don’t need my advice. Promoters have power here. A lot of people wanna play their show - you don’t just list demands and they happen. Well unless you’re Daft Punk maybe…! CHANGEOVER TIME. If you are a DJ and you want fans to have a little break so you can make a big entrance you need 10 mins changeover time. This is the time when there is no music and equipment can be reset or changed. If you use vinyl or any equipment not on a stage normally - same - you need time to change it over, ensure you have told your agent and they guarantee you that time. If you are a band the time is longer while whole bands are removed and you are installed. 30 mins - 1 hour is sometimes necessary. Do not forget this. FX Their basic package is not enough? You want more. You can state with your booking what will be in your ‘Rider’ to be provided at their cost, and then you can fight over it. You also need to ask if you don’t get it all, if you can provide it at your own cost. This will mean normally you have to place an order with their production office as they hold the fire license and will only allow safe products managed by them. If you want an overhead firework display - again - you need to say. This is sometimes reserved only for the headliner.FESTIVAL BOOKINGS: WHAT TO LOOK FOR Fee. This fee is gross normally, so remember you have Withholding Tax and possibly State Taxes to pay before you see your money. What you get on top and what you pay for? • Generally Festivals offer you ‘Sound and Lights’ • This does not mean you suddenly can demand loads of money on the world’s largest light show. • It means the lights they already put on their stage. Many also won’t have designed their stage yet but if you google their pictures from the last 3 years, checking you are looking at the right stage, you will get an idea of the quality • They may offer you a basic FX package (FX are pyro / c02 etc). Ask what that includes • Ground Transport - meaning they will collect a reasonable amount of people from the airport. • Hotels - depends. Some do, some don’t. Negotiate. • Access to their screens for your Visual Artist. This does not mean you design the screens. This means you use theirs. Designs again, often not set yet, you need to google past looks to get a feel for what to expect. Which stage the offer is on (don’t ever assume you’re on main stage and if the stage has a name ask for the capacity of it and all other stages. Set Time & Length. Ask when the stage opens and closes and you will see if you really are closing out the stage. WHAT TO ASK Who is on before and after you. Position yourself where you will shine, don’t always try and grab the headline. That’s an illusion that the headline is the last slot. In some festivals that means 6AM. Your agent will have knowledge of great slots to take.212 213WHAT ELSE DO YOU ASK? • Who did that slot last year, it helps bring a picture and google references • Who else is on the other stages at the same time. I mean...YAY you’re headlining one stage and it’s your dream but Daft Punk’s comeback is on the other stage at the same time. Nightmare. • Is it streamed and if it is, is it optional. The time of the booking is the time to lay out if you will not be part of a stream. • Announcement Date (not always known when booked but this date means by this time you should have seen and approved artwork so you sent a reminder for 2 weeks beforehand to chase chase chase. Don’t assume you will be offered it… ) Things to watch out for: GUEST LIST This includes guest passes and AAA. Guest Passes cannot get on stage often. Be clear on what you get. These can be very strict. RADIUS CLAUSE This is when the venue protects themselves from you playing a rival or close by at your own show. This is normally a number of miles from their show, and a period of time. Remember this they are serious about it. SUNSET If you are not in a tent, sunset is key. If your visuals or FX require darkness, these slots are fewer and harder to get. Check. It’s not the same time in all markets. For example Sweden summer has almost no full darkness so you think 9pm will be fine,. Maybe not! Check if you want, Google will tell you. Live headliners (ABC order) DJ headliners (ABC order)Live headliners (ABC order) DJ headliners (ABC order) Tier 2 Support (ABC order) HEADLINE. FRIDAY. FIRST. TOPLINESECOND HEADLINE. TOPLINE. Day by Day ad Weekend Ad. Or ‘generic’ adSecond headliner. Topline. Second position.Overall headliner. Top Line. First position. 5th headline. Line 2. First position. IMPORTANT NOTE Think here. Are you announcing your own show close to a festiival? Which one strategically comes first? Normally I would say your own show. Sell it out, then announce the festival. Take time to consider this. You don’t control the festival announcement so this requires planning on your part, not theirs. Also take time to check the market can sustain ticket sales and success for both shows.214 215Set Up Time. our production crew have to programme. This is plugging their light boards and VJ equipment into the festivals system. They need time to do this. What are your restrictions. For example if you need a different light board you may only be allowed to install the night before… but you have another show then. Do you change board? Do you have 2 light directors? Do you leave straight after the other show and drop your light guy off at the next show at 5AM. Some of this just cannot be agreed on confirmation. But get as much done as you can early to protect you later when everyone is crazy busy. Your agent will have good advice what you can and can’t do now. You will want a Production Manager contact from them for your Tour Manager and you will want their Marketing Office so you can supply them with information nearer the time. Updated press shots, ask them nicely if they will do a piece on your album or re-tweet your news… which they have no obligation to do… You might want to ask how you buy ad space in the programme or on the festival site. Your agent will get you the Artwork for approval but once that’s done they pretty much step out so a nice relationship with marketing means you can join in with PR opportunities on site and thank them for their help after the show. Go drop them a T Shirt off on site! They work hard, appreciate them.SET UP TIME This is Front of House and that’s that nice hut you see out in the crowd which is where most sound guys, Visual guys, light guys work from etc.FOH Can you cue the Pyro shots, or fire regulations mean they have to? In which case you guys stands with their guy and tell them when. If you are allowed to bring your own, or ordering extra from them, a deadline will be set for this. Do NOT miss it. Fire regulations do not allow you to just roll up with a bunch of fire to set off. Period.PYROUSEFUL PHRASES CLOSED STAGE This means the headline Artist has closed the sides of the stages down and no- one can stand on the side except those they authorize. It does not mean their stage is closed! If you are the headliner you can confirm Closed Stage with your show. But don’t do it for the sake of it. No one likes a flex when everyone was having a good time. Ego’s have their place. DRESSING ROOM Want your own? It might be something to check when you confirm for large festivals. Otherwise cover off this issue in your rider. IMAGS (PRONOUNCED EYE MAGS) These are the two screens either side of the stage where you often see the crowd or the Artist. This is run by a camera which is often controlled by the festival. These screens are perfect for you to control. They offer 2 extra screens for free, a wider look and a way for you to control the look of the whole place not have your show looking fire in the middle, and some drunk fan wearing your rival band’s T Shirt on the side screens! Always ask for the ‘feed’ to these screens to be controlled by your team. You can then also run your visuals on this screen giving an easy super wide stage effect for free. PIXEL MAPS These are the shape of the screens you will be given to put your visuals and cameras onto. They come in so many different shapes and sizes. Get them early. You’ve made amazing visuals but you need a large rectangle screen for them to work. And now you’re seeing a stage with 52 circle screens…. WHOOPS! Have a plan for broken LED screens which can often be more simple shapes and colors. LED just blasted white, on beat, is the cheapest form of adding a tonne of lights by the way!HARD TICKETS (APTLY NAMED AS THEY ARE HARD TO DO) 216 217Need a license. They can burn eyes and have to be checked before installed and limits put on. For example none at eye line or lower, none in the sky when you are in a flight path.LASERS This is the term where they can insist or you do, that your crew wear all black. And that includes you. That was you are less likely to show up on stage in photos. This is the Artist’s moment but it goes deeper. You have a Nike deal and that KILLER moment your photographer captures the moment… except one of your crew has a massive Adidas hoody on. WHOOPS!STAGE BLACKS Is the agreed time you roll all your kit in, Load Out is when you have to be out. This is important because if these slots are limited that’s when you have to be there. So if you tell your Artist - you’re fine, you just leave one venue and drive an hour and get there ten mins before so you can sleep LOADS. Wrong, you have to be there for Load In unless the Artist has their own transport and you have remembered those transport costs for both them and the Tour Manager going separately.LOAD IN If your Artist requires a soundcheck at festivals it can be the night before, know before you plan.SOUND CHECK IMPORTANT NOTE You may not as a manager ever contract a show directly in the USA. It is a sackable offence and I have seen some people get absolutely fed for it. Have someone else do the agreement if someone came to you for the booking in the.218 219Hard Tickets is the phrase for when you go into Touring on your own. Into venues where you rent them, and sell the tickets. I guess you call this a ‘Concert’. In 99% of cases you don’t actually rent the venue. You have a Promoter, and they ‘buy the show’. They offer you a fee - which is called a Guarantee and a Verses deal which appears as ‘VS’ and a percentage. So how is this fee and deal decided? Well the promoter will first take a look at how confident they feel you will sell tickets. If you are a no brainer sell out they will offer you more. If you’re a risk they will offer you less. The guarantee you get no matter what - of course - Withholding Tax applies if you are not from that country. So first of all they set up a Costings Sheet. This is a fancy name for a Budget. On it you will see: • Venue • Date • Capacity • Ticket Price Then you will see a whole terrifying list of costs. Venue Rental, Marketing through to Catering and Crowd Control Barriers through to Venue Cleaning. You rented an empty venue. More often than not - not even sound is in there. Anyone who thinks Madison Square Garden comes with those big speakers - think again. It includes crew and rigger costs. Great you think they pay for your crew. Nope. Wrong again. This is the crew you generate the need for by bringing your show. Your show is put up by your crew, with their crew, and both crews are your costs. Catering is included? Nope. This Catering is more often than not for their own workers. But it’s still your cost. So this deal you have gives you a guarantee. From that you will pay all your crew, all your equipment, sound, lights (if sound is included in their Costing sheet is it enough?) and then if you ‘break percentage’ it means you recouped the guarantee at the agreed rate. So if you are on a 80 / 20 deal. You get 80, Promoter gets 20. If the tickets generate enough profit after all the costs in their Costings sheet that your 80% has made more than the guarantee, you have ‘broken’. Which is a good thing!After that, all profit after Breaking Your Guarantee you get 80% of the profits on top. Again, subject to WHT. Ticket Income The promoter may list a few lines here This is to cover ticket levels and put next to them how many tickets this applies to. The types can include: 1. Complimentary tickets (this is your guest list) 2. Fan Club Pre Sale (small amount at potentially lower price) 3. Good seats (or in the case of a high energy concert, the floor, where people can rage is normally higher) and how many people can have that 4. Bad seats (cheaper) There is no limit to how many you can have. You could be really fancy and every single ticket is a difference price but good luck on the marketing. You can include ticket bundles here (see later section) but only the ticket element of that bundle will show up here. As you have to ‘break’ the guarantee you can see why if you are not a guaranteed sell out the promoter will keep your guarantee low. If you are a guaranteed sell out you can push for a higher Guarantee AND a higher This is the accounting you do after the show (often in the venue right afterwards) to agree if you broke guarantee and if you are owed money. If you did earn more your agent gets their commission on this also. You can query costs. Did they spend that on cleaning and barriers? You didn’t use any marketing etc. But warn them what you want to see there. Some costs are fixed and based on average annuals and not up for negotiation so it’s better to know that. Broke guarantee? CONGRATS. Remember any new profits are subject to Withholding Tax.SETTLEMENT220 221The costings sheet is a starting point. You can go over it and say I want to see it with cheaper tickets, or cheaper tickets for the first two weeks and really play with it to suit. How do you decide? You may know your market, or you may choose to ask to see other’s prices in your genre and same consumer base, to see what works, especially in a market you have never been to.TICKET PRICEYou’re used to a promoter going all out on Marketing at Festivals. Now they will only go as far as the budget allows in the Costings Sheet. Check their plan. I saw recently on an Arena that they were doing very old fashioned spends and we moved the spend to Tik Tok and IG with amazing results.RED FLAGS Again recently we managed to do a Spotify presale. Everyone said not to bother. It was the largest presale ticket seller of the presale with over 30% of tickets sold via their platform. These take time to arrange. 3-4, weeks so don’t ask the day before like I did pretty much (thank you Spotify but we killed it no? LOL) Pre-sales can also be with venue partners, credit cards like AMEX, sometimes they are not your choice but a condition of the venue and their own sponsorship arrangements.RETAIL STORE PRE- SALES. There are laws when people buy tickets as to who owns the data and if you can message them later to sell them additional items. Know these rules beforehand to avoid disappointment when a vital part of your plan was needed. Facebook events are a good way to get around this, encouraging people to ‘Check In’ so you can get to them. Easy way to sell out an After Party… and advertise Merch available etc and communicate set times and travel advice.TICKET DATAAre they on top? What is the final cost you are asking a customer to pay. For many they will accept them but when you are looking at some just can’t afford it, true fans, be mindful. If Booking Fees are included what are you REALLY making from the ticket after sales tax and this deducted? Have your budgeted correctly? Do the booking fees on all sites work the same. I had one recently where Ticket Master was operating differently to other sites meaning all the work I’d done to keep ticket prices at one point was lost. Thankfully my agent spotted it and we fixed it but it meant a complete re budget with one day left to go. You almost never see any of the revenue from booking fee’s come into your show income stream, even if the venue owns the ticket site.. (I know right?!)BOOKING FEES Have they given you enough? Or if you are genuinely sure you will be able to sell it out through your own socials tell them to take it out and put it onto the guarantee. If you are using various promoters across one tour, you may want each of them to give you some of the budget to one large ‘look’ which might be a tour video trailer etc. So they all contribute.MARKETING You have to pay to play music in live venues. It’s on average 3% of the GROSS REVENUE. This is shown on the Costings Sheet as a Cost. This is then paid to the Collection Societies (see Royalty section) of the writers who wrote the music. You hand in the tracklist and they do the rest so technically you get it back IF you wrote the songs. If you didn’t you don’t. If you wrote some, you get some back. It varies per country but generally more goes to the headline slot. So you get more than the support Artist. If you are smart, hand in a 2 hour tracklist AND write the music for walk in time and changeovers and collect as much as you can. You can hand these in at the venue but I always hand in to the Collection Society. There is normally a nice page on their website for you to do it. Your Business Manager is the one here to get you sorted. ASK! Also ensure your agent states in your agreement that ALL Performing Rights income must go to the Society with no Promoter Deductions. This is some naughty venues have a quiet deal where they only passed through 80%. NOPE. PRS / PRO’SA RUN 222 223A run of dates is a cluster of dates put together. Routing is everything here. You ping yourself east to west of a country back and forth you will tire your crew and waste money. Same with a world tour. Do it geographically. Don’t be foolish here. Not least because the mental health of everyone on the road is pushed so hard from travel. Don’t look like you don’t care about this and if it was unavoidable, explain why. Don’t assume they know you tried your hardest and it just could not be done in a better way. National and Global Promoters like Live Nation, AEG and SJM Concerts (UK) can buy multiple dates off you, offering you one lump sum for X number of shows and tickets, again with a VS deal, or they can offer you a deal per venue and add it up to get your totals. This CAN include Festival appearances if they own the festivals. So you do 20 dates, and 5 of their festivals. If this is the case - all the deal details like fee, billing and what you do and don’t get on site has to be broken out. These are generally exclusive deal and you may not do other shows during this time and sometime afterwards. Private shows may be exclusive apart from Private unadvertised events or a launch party. So if you have a brand deal where you agreed you had to do an event in April, and that’s when the tour is…. Exclude this from your deal. Depending on the type of show you could then avoid it on that run, or put the date you need to be there right next to that date to save costs but only if you know both will be successful. Why are multiple dates good? Well you can lump all the dates onto one set of marketing for National or International campaigns. But… you still need to go hard in the regions. Don’t think just because you bought some IG ads with all the dates on that local news sites are not valid. They are. TOURING PERIODS This is when you sketch out when you will tour. AVAILS When your agent says I’ll get the ‘avails’ it means they will get all the available dates of the venues you want. This is to start the Routing Process.TICKET BUNDLES 224 225Do you want to be able to ‘bundle’ your tickets? This is when you do your own shows - take over a venue - and you can sell the ticket as a package or ‘bundle’. This could be a: • Ticket + an album download. Depending on your countries chart rules these downloads only count if the fan actually downloads them. • Ticket + a physical album (sometimes signed) • Ticket + a piece of merch • Ticket + piece of merch + an album • Ticket + a meet & greet There are no limits to a bundle but always check the chart rules. They do however affect the price of the ticket, and price is often the number one determining factor in how many tickets you sell beyond your own popularity, and even then it has an impact. When you decide your ticket price remember just like your Merch, there is sales tax. Make sure your agent or promoter has been clear what you get. For example: 50 GBP Ticket 20% sales tax 40 GBP to you. You want to add an album… and you think who cares, a CD is a dollar to make. WRONG. If you are in a Record Deal the label owns this part of the product and you have to agree a price with them. They may have internal rules on minimums, they may want to also achieve a chart position and go full pelt with you. But no matter what, you may have people to pay on the record, and these percentages have to be accounted for before a label will agree a price. This relates back to all those Featured Artist and Producer Deals you did. Check with your label and / or lawyer what this will cost you. TOUR MARKETING 226 227If your agent is on gross commission at ten percent, do they take 10% of the bundle, or only the ticket part? Be clear on this before you start.COMMISSION So you’ve done well. You have done the budget of what the ticket price, minus sales tax, minus commission, minus the cost of the CD or download is…. But hot damn, you forgot you had to ship the package which is no longer a digital ticket but a parcel, potentially to other countries. You can add shipping to the ticket price, but remember the fan cares about the final cost coming from their bank account, so you fought hard to keep this all under 50 bucks, but then the shipping adds $15! Your fan only see’s 65 USD in their basket at the end. Some don’t mind, to some it’s a deal breaker.SHIPPING If you do a bundle and lets say it’s announced 3 months prior to your album… you won’t be shipping that album element until day of release unless you want to annoy every digital store and have your album leak. State this clearly. Protect your consumer journey with clarity - or expect a tonne of comments on your IG where everyone can see them that you suck. Maybe you said it in the small print - but your fans deserve LARGE print.BE CLEAR The Costing Sheet should show you, or have the agent confirm, the venue rate for Merch. They will charge you a percentage of GROSS profits from Merch to sell it in their venue and may not provide staff or credit card machines, just the booth. So if you are doing tour merch you may have to 1) deduct their commission before even sales tax comes off and 2) have someone on your tour bus who manages the Merch and is in the shop. These are HUGE costs to forget when making a decision.MERCH SALES228 229If you are doing this type of tour you likely have an album or number of singles out. You will want to consider the artwork reflecting the same as these products and potentially name them on all artwork. You will want to enforce your brand core values on it, logo, font type etc. It’s always best to issue the promoter with a pack of these including a recent press shot to service with local press releases. You will want to create one tour advert template and this will be one with all dates on, one with only one date on - which goes to each city, and one per country which is for country wide but not international marketing. Create IG Gifs and all the normal social media banner artworks and website home page artwork. Make the ticket price clear but most importantly make the date they are on-sale clear. Pre-Sale? Great, good for you. Do it before school opens or half your market just missed out and they will actively diss you on socials for it, plus that’s just dumb so…. When is it? Where is it online? Need a code? Where will you put it? PART 1 IE. Yo...the pre-sale for Madison Square Garden, June 20th show, will be at 8AM EST, Friday March 13th, 2020. The code will be given right here on Instagram tomorrow at 6pm. Link for Pre-Sale in Bio (or Swipe Up) If you have decided only to put the code on IG all your other ‘shop windows’ say ‘Follow Instagram (with the handle) for the code. If it was me I would put the code on all socials and your website. PART 2 The Pre-Sale Code for the Madison Square Garden show on June 10th, will be YEAHBABY, Pre-Sale opens at 8AM on March 13th 2020. Link in Bio (or swipe up). Remember your Shop Windows here and message every single one accurately please. And don’t forget your mailing list! PART 3 The PreSale for MSG, June 20th, is live in ten minutes guys! Code YEAHBABY - Swipe UP! (reminders are normally better in tweets and stories) PART 4 The PreSale for Madison Square Garden, June 20th is NOW LIVE. Link in Biog. (or Swipe UP_)). Code : YEAHBABYPART 5 The PreSale is now SOLD OUT! General On-Sale is Saturday March 14th, 8AM. Ticket Link in Biog. Now - can you see how you needed 5 pieces of artwork here? They can be all fancy and match your artwork or simple text blocks but have them done. You will have enough to do with fans who, no matter how clear you are, always seem to get muddled. THE GOLDEN RULES • Age Limit. There is no point you complaining, after the fact, that kids could not buy tickets if you did not check the age limit. You may not choose to advertise the age limit as your choices can be controversial and you would prefer to let them discover it at the ticket site, but… KNOW IT. • Agree the amounts of tickets per section. You need to allocate what goes into the PreSale. This is a fan experience. You may want to service as many that wish to buy now. In which case you allocate a large percentage. You may want a hot ticket and have less and announce SOLD OUT. You may want to choose live. You are online when the presale happens and your Agent and Promoter should be online too. They should report the opening 5 minutes and then every 20 mins after that - more regularly if its a super hot ticket. You can decide to pull it down whenever you like, and move the unsold tickets to the General OnSale. If they are cheaper tickets and move into a sale which is more expensive, change your budget to increase your revenue when you have finished the Pre Sale. If you pull some from the General OnSale into your PreSale to meet demand and that decreased the income, change your costings and be sure you can afford that before you do. • Can you increase ticket prices while you’re on sale? No. You could technically say sold out then release 1000 more at the end at a higher price, but it’s not received well. You cannot do this live. It takes time to programme the ticket sites. • Check your link the second you have it. • Watch your socials to see issues and use your socials to help fans with live messaging. Be Patient… or offer a link that actually works (hopefully not!) • Ticket group limits. This is to stop ticket sellers to buy 50 at a time. Decide MULTIPLE NIGHTS 230 231BEFORE the online sale what the limits will be. • So you’ve announced the tour, this means all ticket sites that promised to stock you, should have the link up (not yet working until the on-sale but will tell fans when it is). Check them ALL. Check the photo is right, the info is right and that you are present. Before you get here, it’s always wise to look at every site before you go up. Do they offer a better placement for some like banners or ‘gig of the week’ type features? DEMAND THEM! Look at the venue’s socials, did they list and promote you, look at local new sites… did they? Make one list and send it to your agent and promoter and say ….WHATS UP!! LETS GO!!!!!! • List the show on all your own portals and I like to add a PreSale and the OnSale as an event. Yes yes it’s not a show but it creates a reminder for those who have switched on notifications, so who cares. It’s free. Use it! Add in Pre Sale Codes to the event sections when you have them so your Shop Window is just as shiny as can be! CANCELLING A SHOW. Nightmare! First of all it happens, so get over it. Always show the promoter respect and agree the approach to the announcement together. Never announce before they can, that’s just disrespectful. Agree a strategy. Personally I don’t like to put it on social media. Your entire fanbase does not need to know. Use Geo Targeted social media platforms and if fans DM you, answer them. Ensure refund policies or a rescheduled date plan is clear.232 233AH THE DREAM COMES TRUE! Not only are you playing the dream venue but you think you can do more than one night. To do this you have to have both dates held from day 1. There may be a fee to pay for the second date if you don’t use it. But hopefully you and your agent have judged it right. This can also mean savings as you are not trucking from one venue to another, you only had to pay crew for one load in and one load out, etc. Do you put both up (on sale) at the same time? There’s no right answer. If you are not sure you will sell out both, no. You put one up, sell it out, put up the second. Or put up the second when you have done the bulk of the tickets on night one. Discuss before the show what you will feel confident about. This is when your instinct is KEY. For example, you thought it would blow out fast. And you have done 80% of the tickets but it took 3 days. Well then maybe you cannot do the second night. Don’t ever do it for the sake of it. Multiple nights are also good for when you THINK you will do 10 000 tickets and you have 2 choices. Take the 10k cap arena or 2 nights of a 5k venue. You can do 10k tickets like that, with a bit more confidence. But… this may be a more expensive production as you have more wages. But the arena could be more expensive to produce. Do the maths with your agent and your tour manager. Which night do you put up first? Agents will tell you to put the less desirable date up first. IE a weeknight verses a weekend night. This is your call. What if you don’t sell both? But also consider how your core fans feel that you said there was one date, they buy it, then announce a better night of the week? Think of these things. If you sell out the less desirable and then add a more desirable you are more likely that new fans will come. They’d always liked you, never been to a gig and now it was on a Saturday night near them… its an easier first commitment from a new fan. Debate it. Either way your Artist will see how their fans feel straight away and if you didn’t discuss it they will not be happy. The absolute best time to put the next night up is when you are sold out, people on the line needing tickets. You can have the ticket link ready with the promoter and your SOLD OUT artwork for night 1 and NOW ADDED artwork for night 2. Sitting poised to add it to your Facebook Events. Using your socials to communicate. GRAB THEM WHILE THEY ARE THERE, COMMITTED TO COMING!!!!!! See how you needed art in advance…. NEW DATE ADDED and SOLD OUT and an amended tour poster of the whole run. Your graphic designer being sat with you or online for new needs also is always wise. There are just so many variables. You need your promoter and agent on the phone for these and make the decisions live. In the case of Swedish House Mafia, ‘One Last Tour’, I slept on the floor at William Morris with Michelle Berstein from Live Marketing in the office and our Agent Sam Kirby on the phone from NYC and we joined calls per timezone with every market adding shows we had held as they sold out. We didn’t realize we would do so many so in some cases Live Nation had to find me more dates live, I had to ask the band and communicate live to fans. But we did it… and what a memory that is to have. There is no better buzz than watching tickets fly and being able to be prepared to keep going and going. HOLDS Before you go on sale and sell out, have your held the tickets you need? This includes your guest list for you and the Artist and who you need to invite. This can include tickets for labels which they should normally buy. This is called a ‘Label Buy’ and they can often be looped into the promoter direct for this. If you are recouping this cost, it’s still your money so be mindful of this before they buy 200! If your guestlist free tickets was not on the Costings Sheet, go back and have it added in. It affects the profit and every $ can count.SUPPORT ARTISTSSEATING PLANS 234 235If you want to be a support artist on a tour, tell your agent. Agents send lists around of tours they have for headline artists (the main act) which offers a slot to people with examples of who they are looking for. Why would they do this?! Well they are offering pennies for the slot. You are likely to make a loss early on, to get on the road and get on their adverts. What do you ask for? 1. Fee 2. Can you share any of their kit? Like the light desk / sound desk and are your two riders compatible? 3. What time do you go on? If you go on when doors open and 2 hours after you stop the headliner goes on, is it worth it? 4. Will you be featured on their adverts? From what date, how big will the font be, and can you add your logo and any sales messages? 5. Can you be tagged on their social media? 6. Are any catering and any facilities like dressing rooms provided? 7. Can you go on their bus?! (often that’s a big fat no) If you are doing a Hard Ticket show, the Support Artist normally has a budget sat next to it on the Costings Sheet. Spent more? That’s your cost. Spent less, the balance goes back in as profit split according to the profit percentage deal you did.When SHM played nightclubs in Miami I would go in the day time and ‘walk the floor’ with Carlos Correal (legend). We agreed where VIP tables which were in mega demand, and helped pay my fee, could go. We would not allow them too close and blocking the rave feeling we needed on the dancefloor. VIPs are vital to revenue, but no Artist wants to be facing a load of champagne popping assholes who have no idea why they are there except to pick up girls and flash their watches. Nor do they want their fans to stand behind that. In festivals and larger Hard Ticket venues, this is called the Golden Circle. Again can be vital and often a nicer crowd, but the lower energy often caused by simply allowing them to have more space, so it feels less packed, and the crowd generally a little older can mean the Artist just loses all connection to the energy they feed off. Always check if it applies to you with your agent, and at events of high priority which Miami was to us, go before doors open.TOUR CONTRACT WHAT’S IN IT 236 237IT’S PAGES LONG BUT HERE IS WHAT IT NEEDS TO HAVE IN IT. • Fee • Rate of Tax. Please note if the government change the tax laws you will pay the new rate I’m afraid to say, but you can state here a rate change requires you to be notified. • Additional items you receive, such as hotels & ground transport. • Your rider should be in the agreement. Have your agents add it as pages, not say ‘Rider attached’. Make it legally binding. • Work Permits - you require clear notification of any permits needed and cost to be reimbursed • Catering • Load In time or prep time required • Number of passes for crew • Number of guest list passes and the category of list you expect • Are you demanding a Closed Stage • Are you allowing streaming? • Are you allowing their own photographers and videographers on stage? (I say no)? • Will you allow yourself to be included in after movies or only if you get approval • Set Time • Set Length • Name the Artist’s before and after you if you can here to save any surprises • Changeover time they want or you want • Billing Position • Approval of all artwork requirements • Insurance requirements for you and them • Cancellation Rules - when can they cancel, what they have to pay if they do. This can include a difference between in advance or when the Artist is actually in town ‘ready to perform’ • Force Majeure - what happens if an Act of God cancels the show - a flood, winds or nowadays a virus! • The level of Public Liability Insurance you are expected to have.YOUR TEAM 238 239Well at first it can be you… driving them to shows and collecting the money! But now you are doing well and you are going to hire a team. TOUR MANAGER • Co-ordinates the booking of crew and runs the online crew calendar • ‘Advances’ the shows. This means he goes ahead of you into the future (!) and contacts the Production Managers of the shows to co-ordinate what you need. From airport cars to sound equipment. • Creates the itinerary and circulates it. • Books hotels and flights. • Secures work permits. If you do not share bookings with them way in advance they cannot do this, it’s always best to ask you agent to flag if permits are needed. But your tour manager needs to know. For example some countries only need permits for some nationalities, or special permits apply. Your agent may not know this so always tell them when a show is confirmed so they have time to raise the red flag. • You may agree to tell them before the show is confirmed, so he can check all crew are available. • Always discuss routings with them. You want to be in Holland one day, Belgium the next. They will probably agree. You want to be in Holland one day, and India the next, probably not. Go fully armed with the facts. Set Times can make the difference between making a flight to make it work, and not making a flight. The city - means they know what airport you are talking about. Etc. • Helps create the rider with you for your show and the needs of your Artist • Reports back to you on how shows were if you were not there • Assists with getting agreed interviewers to the dressing room if you are not there • Hands in your guest list if you agree this is their role, and sorts the production passes for the crew and if you ask, and the photographer and videographer passes. • Creates the budgets! Set the rules now. IE don’t book flights until I have seen the budget. Don’t buy extra pyro until I have seen the budget. But that means being on hand to read them when needed or your prices just went up while you ignore their email.240 241PRODUCTION MANAGER (PM) • If you are a starting out, your likely don’t need this yet. This person handles the production - which is stuff like your sound equipment, screens, staging, your booth if you are a DJ, special FX etc. Most Tour Managers can do the basics for now. • He or she is likely to also need to speak to the Production Manager at the Festival or Venue and often the tour manager can hand over this to them, and they stick to other logistical details. VJ (Visual Jockey) • The person operating your visuals and often any cameras involved in the show. Light Director or LD • Operates the lights and can often also design how lights are used. Sound Manager / Director (this can also be called FOH which is also the name for the area they work in) • Even at festivals where you share a stage design with many, great sound guys can improve how you sound by adapting the sound deck to maximize its output to the type of sound you make. At venues for Hard Tickets you may have rented in the sound and need one. They are less common on small artists. Techs • These are specialists in your field. A guitar tech for example may have a band with 4 guitars in, and band members who switch between guitars all of which have to feed into the sound board. Larger bands will have one on the road with them. If you have a string section, same. Drum kit, same. The larger you get the more you need.Driver • If you are touring by bus you will need a driver. Driver shifts are legally limited to a set number of hours so sometimes you need two or account for stops Now this is all very basic, if you are Taylor Swift you have hundreds of crew on the road. People to do the screens, riggers to install it all, security, specialists in FX of each kind and so on, but if you are Taylor Swift you are not likely to be reading this book so… Backline: This is for DJs your CDJs, Serato, decks and mixer. For a band, its drum kits, guitar amps, keyboards etc. TERMS YOU MAY HEAR Rider: Ah the bible. This document is issued with your contract and likely again by the Tour Manager. But at contract stage is vital to protect your needs. This outlines a set of contacts, from the manager to the publicist to the tour manager and crew. It then lists what you need. Your set up on stage, how long you need to set up, how many hotel rooms you need where the contract allows, the type of car you will accept to collect you and so on. It also lists you need a clean dressing room, refreshments, and any security detail. There can be some fun stuff like a football or a disposable camera but don’t go over the top. I use 3. A, B and C. This category is agreed with my agent so they send the right rider and my tour manager is told and its listed on the show diary. For category C shows for example I also need less crew, so people know when they are needed. A = Full show - where we bring all the whistles and bells and have agreed with the promoter we can. This is pretty much a venue show onto a festival stage. B = Semi full show - I know I am using their stage, their booth and so I outline here what I need in the booth, that I need access to their IMAG screen feeds, the light desk I need, the PYRO I need etc. C = Club show where I can have none of the above and I am playing in a club so its mainly what I need in the booth.242 243Wages You can pay day rates. This will normally include full pay on travel days and often includes if they fly over night and land back home the following morning, a full day for that also. Retainer An agreed monthly amount, you are more liekly here to agree exclusivity of their services. This can include that it covers a maximum of X amount of days and you pay more if you go over it. But normally a retainer is a one off fee like a salary and that’s that. Payments I always ask crew to invoice after a show or run of shows, and pay them on Mondays. This reminds me on that day to clear the invoices down and if your Business Manager does your payments, gets it all done in one day. Per Diems (means Per Day) This is an amount granted on top of the day rates which cover food / phone bills and general expenses. Its normally around 75 bucks but can be more of course. Insurance Crew are generally self employed and should have their own insurance and show you copies. Public Liability Insurance In addition to the promoter having their own insurance you will need your own policy and can be asked to show the certificate at any time. Vegas is especially tight on this. It will state in the contract how much you need to have, I’ve seen $1 000 000 to 10 million. A 5 million policy for the year is about 750 USD. It is vital so don’t skimp on it. Work Permits. Your tour manager will do them and the cost is generally the promoters. However just waking up one day and saying you need 10 passport photos and for them to go to an embassy is rarely successful. So keep them informedPassport Work Permits, ESTA visas and travel in general is restricted once your passport comes to 6 months before expiration. The Crew should be told a valid passport is their responsibility and the Tour Manager will have a scan of the Artists but be smart here. Set a reminder when the passport is 9 months out. You need the Artist to be home to get a new one and if your Tour Manager forgets… then at the end of the day it’s your responsibility. Tour Insurance If you have a lot of outgoings, its wise to insure your show and your business manager will have good companies and can also purchase it for you. Ask questions. What creates an Act of God which wipes out your cover? This is called a Force Majeure. Are there rules like if you land 30 mins before and miss the show, you’re not covered because they want you in the country 5 hours before the show. Insurance can be adapted to suit so be clear. For example most will not cover the current virus issues. You can insure a portion of your income. It is normally around 2% of your gross income, so if you costs are low and you just have not had issues with cancellations and the routing looks pretty solid, you may want to only insure the percentage of the fee which is costs. This is why understanding your budgets is so good. You will know your rough average profit percentage for different types of shows and can get a feel for the cover you would need. If its high, insure all of it. You can insure a part of your show. So you could for example know your costs are 50%, and insure 50% of the fee. Do you have to insure your show? No you do not. Does your agent charge you on cancelled shows even if you insured it? No I have never seen this. If you have been diligently paying insurance on all your shows and they took the gross. Now your insurance kicks in it’s unlikely they can claim a piece. If you have a show cancel on the road, tell your insurance company IMMEDIATELY. Your Tour Manager should send you notes. Pictures of screens where the flight cancelled, a note from the airline desk, screen grabs of texts you got from the airline etc. Keep it ALL and make your claim straight away.TOUR BUDGET 244 245RULES Set the rules when you hire. From Stage Blacks, to can you or can you not drink pre-show. It’s way more difficult to do it later. And yes, perhaps having one beer before the show was not the reason all your pyro didn’t go off but the Artist will be devastated and any excuse to pick at will be there. Set the rules on what they may and may not post on their own socials. Tell them how to get paid, invoice address, payment dates and how you want them to work with you on work permits and being responsible for a passport which is less than 6 months away for expiration at all times. Issue these verbally and in writing and then say WELCOME TO THE TEAM AND IF YOU SEE SOMETHING THAT INSPIRES YOU OR YOU HAVE AN IDEA, WE WANT TO KNOW ABOUT IT!’ Follow the same rules. If they cannot drink pre show, don’t do it yourself.246 247SHOW BUDGET - NO TAX APPLICATION PLEASE NOTE IF YOU COPY AND PASTE THIS THE FORMULAS IN THE SQUARES MAY BE LOST. ON THIS BUDGET : ARTIST IS A DJ, SO NO BAND MEMBERS APPLY. COULD ALSO WORK FOR A SOLO VOCALIST IF THE PRODUCTION MANAGER IS SWITCHED TO SOUND GUY. DEPENDS ON LEVEL. WE ARE NOT A USA CITIZEN AND WE HAVE NOT APPLIED FOR A CWA WE HAVE 3 DAYS, THE GUYS FLY AND MAKE LOAD IN ON TIME ON THE SAME DAY AS THE SHOW, FLY HOME THE FOLLOWING DAY, LAND THE DAY AFTER THAT WE HAVE 2 NIGHTS HOTEL, NOT 3 AS ONE OF THE TOUR DAYS WE ARE IN THE AIR COMING HOME PER DIEMS DO NOT ALWAYS APPLY FOR THE DAY YOU LAND, BUT IN THIS CASE THIS WAS MY WAGES DEAL AND I HAVE INCLUDED IT I HAVE CONTRACTED THE PRODUCER TO PROVIDE ALL PRODUCTION ON MY RIDER AND SHE AGREED I HAVE ALREADY GOT MY WORK PERMITS AND THEY WERE ON A PREVIOUS CWA CLAIM AS A COST IN FULL SO THERE'S NO COST ON THIS BUDGET SOME HOTELS ARE INCLUDED IN MY DEAL BUT NOT ALL. DRIVER FROM AIRPORT TO AND FROM WERE INCLUDED. MY DAY RATE IS 500 EUROS, SO I HAD TO CHANGE IT TO DOLLARS. PER DIEMS I ALREADY AGREED IN THE USA ITS 75 USD. THIS IS ONE SHOW. IF WE HAD MORE YOU CAN SEE WE WOULD SAVE MONEY SHARING FLIGHT COSTS ACROSS MORE SHOWS, BUT WE ADD DAILY COSTS DOING SO. DATE June 1 2020 NAME OF SHOW F* THE VIRUS FESTIVAL CITY CITY OF NO ISOLATION COUNTRY USA FEE 50000 CURRENCY USD FLIGHT CLASS HOTEL NIGHTS TOTAL DAY RATE DAYS TOTAL PER DIEMS DAYS TOTAL ARTIST 3000 BIZ 0 2 0 0 0 0 0 0 0 TOUR MANAGER 1000 ECON 0 2 0 540 3 1620 75 3 225 PRODUCTION MANAGER 1000 ECON 0 2 0 540 3 1620 75 3 225 LIGHT DIRECTOR 1000 ECON 0 2 0 540 3 1620 75 3 225 VJ 1000 ECON 0 2 0 540 3 1620 75 3 225 PHOTOGRAPHER 1000 ECON 300 2 600 540 3 1620 75 3 225 VIDEOGRAPHER 1000 ECON 300 2 600 540 3 1620 75 3 225 TOTALS 9000 1200 9720 1350 ARTIST PARTY TOTAL COSTS 21270 (the sum of all the totals above) PRODUCTION LIGHTS 0 PROMOTER SCREENS 0 PROMOTER FX 0 PROMOTER BACKLINE 0 PROMOTER PRODUCTION TOTALS 0 EXTRAS BELLMAN / TIPS 0 INSURANCE @ 2% 0 WORK PERMITS 0 LAMINATES 0 EXTRAS TOTALS 0 SUMMARY always use excel or google sheets to link these squares to the totals above, you make a change it will carry through INCOME FEE 50000 OUTGOINGS AGENCY COMMISSION 10% 5000 WITHOLDING TAX 15000 30% STATE TAXES 500 1% IN THIS STATE ARTIST PARTY COSTS 21270 PRODUCTION COSTS 0 EXTRA COSTS 0 TOTAL COSTS 41770 PROFIT / LOSS 8230 MANAGEMENT COMMISSION 4646 This 20% rate manager does not take WHT into account as it's a tax credit but commissions after all other reasonable tour costs This sum is done by doing Profit / Loss, add back the 15000 taken for WHT and taking 20% of that ARTIST 3584 (PLUS TAX CREDIT OF 15000 USD WHT) PROFIT PERCENTAGE AFTER WHT 7.17% (TO DO THIS TAKE PROFIT / DIVIDED BY THE FEE AND THEN GO TO EXCEL 'FORMAT' TAB - NUMBER - CLICK 'PERCENTAGE) (TO DO THIS TAKE PROFIT + WHT AMOUNT (NOT STATE TAXES YOU DO NOT GET THEM BACK NORMALLY) DIVIDE THIS BY THE FEE, GO TO FORMAT ON EXCEL - NUMBER - PERCENT - CLICK) REMEMBER, YOU ARE GETTING THE $15000 BACK AT HOME END OF THE YEAR IF YOU TAX BILL AT HOME IS MORE THAN 15000 If you do not process this tax form, you will still have to pay tax on the profit in the USA at the time of the show (see WITH CWA worksheet) WHY DO THIS 1. AFTER A WHILE YOU WILL GET A FEEL FOR BUDGETS AND CAN PREDICT INCOME, HELPING YOU TO DECIDE IF YOU TAKE ON SHOWS 2. SHARE IT WITH YOUR ARTIST SO THEY DON'T GET ALL EXCITED ABOUT EARNING MORE THAN THEY THINK THEY ARE 3. JUDGE IS A TAX APPLICATION TO REDUCE IS WORTH IT.SAME SHOW WITH A CWA APPLICATION IN PLACE 45 DAYS PRE SHOW ARTIST IS A DJ, SO NO BAND MEMBERS APPLY. COULD ALSO WORK FOR A SOLO VOCALIST IF THE PRODUCTION MANAGER IS SWITCHED TO SOUND GUY. DEPENDS ON LEVEL. WE ARE NOT A USA CITIZEN AND WE HAVE APPLIED FOR A CWA WE HAVE 3 DAYS, THE GUYS FLY AND MAKE LOAD IN ON TIME ON THE SAME DAY AS THE SHOW, FLY HOME THE FOLLOWING DAY, LAND THE DAY AFTER THAT WE HAVE 2 NIGHTS HOTEL, NOT 3 AS ONE OF THE TOUR DAYS WE ARE IN THE AIR COMING HOME PER DIEMS DO NOT ALWAYS APPLY FOR THE DAY YOU LAND, BUT IN THIS CASE THIS WAS MY WAGES DEAL AND I HAVE INCLUDED IT I HAVE CONTRACTED THE PRODUCER TO PROVIDE ALL PRODUCTION ON MY RIDER AND SHE AGREED I HAVE ALREADY GOT MY WORK PERMITS AND THEY WERE ON A PREVIOUS CWA CLAIM AS A COST IN FULL SO THERE'S NO COST ON THIS BUDGET SOME HOTELS ARE INCLUDED IN MY DEAL BUT NOT ALL. DRIVER FROM AIRPORT TO AND FROM WERE INCLUDED. MY DAY RATE IS 500 EUROS, SO I HAD TO CHANGE IT TO DOLLARS. PER DIEMS I ALREADY AGREED IN THE USA ITS 75 USD. DATE June 1 2020 NAME OF SHOW F* THE VIRUS FESTIVAL CITY CITY OF NO ISOLATION COUNTRY USA FEE 50000 CURRENCY USD FLIGHT CLASS HOTEL NIGHTS TOTAL DAY RATE DAYS TOTAL PER DIEMS DAYS TOTAL ARTIST 3000 BIZ 0 2 0 0 0 0 0 0 0 TOUR MANAGER 1000 ECON 0 2 0 540 3 1620 75 3 225 PRODUCTION MANAGER 1000 ECON 0 2 0 540 3 1620 75 3 225 LIGHT DIRECTOR 1000 ECON 0 2 0 540 3 1620 75 3 225 VJ 1000 ECON 0 2 0 540 3 1620 75 3 225 PHOTOGRAPHER 1000 ECON 300 2 600 540 3 1620 75 3 225 VIDEOGRAPHER 1000 ECON 300 2 600 540 3 1620 75 3 225 TOTALS 9000 1200 9720 1350 ARTIST PARTY TOTAL COSTS 21270 PRODUCTION LIGHTS 0PROMOTER SCREENS 0PROMOTER FX 0PROMOTER BACKLINE 0PROMOTER PRODUCTION TOTALS 0 EXTRAS BELLMAN / TIPS 0 INSURANCE @ 2% 0 WORK PERMITS 0 LAMINATES 0 EXTRAS TOTALS 0 SUMMARY INCOME FEE 50000 OUTGOINGS AGENCY COMMISSION 10% 5000 WITHOLDING TAX 0 STATE TAXES 500 1% IN THIS STATE ARTIST PARTY COSTS 21270 PRODUCTION COSTS 0 EXTRA COSTS 0 TOTAL COSTS 26770 PROFIT / LOSS 23230 MANAGEMENT COMMISSION 4646 This 20% rate manager take from the profit made by the show ARTIST 18584 PROFIT PERCENTAGE 37.17% WHY DO THIS 1. AFTER A WHILE YOU WILL GET A FEEL FOR BUDGETS AND CAN PREDICT INCOME, HELPING YOU TO DECIDE IF YOU TAKE ON SHOWS 2. SHARE IT WITH YOUR ARTIST SO THEY DON'T GET ALL EXCITED ABOUT EARNING MORE THAN THEY THINK THEY ARE DIFFERENCE BETWEEN APPLYING AND NOT APPLYING FOR THE CWA WAS 15000 USD!! IN MOST CASES HOWEVER THE USA GOVT ASK FOR THE TAX ON PROFIT NOW.... SO THATS 30% OF THE PROFIT YOU DELCARE YOUR MANAGEMENT COMMISSION IS A COST THE CWA ACCEPT AS A COST SO THIS NOW LOOKS LIKE THIS IN THIS CASE ARTIST PROFIT AFTER MGMT 18584 TAX AT 30% 5575.2 (TAX CREDIT ROLLS INTO YOUR END OF YEAR TAX RETURN AT HOME IF YOU SAVED THE PAPERWORK) ARTIST ACTUAL PROFIT 13008.8 PROFIT %AGE POST TAX 26.02%CHEAP TOURING If you use a good graphic designer, you can use ShutterStock, StoryBlocks and VideoBlocks - you need 4K resolution. Some are free, some cost money but basic loops are available. 248 249BAND BUDGET (STARTING OUT EXAMPLE) In the early days, you beg, borrow and steal to make it work. this barely breaks even. Can you borrow a van? Can the Tour Manager Ddrive and not be so tired he falls asleep on the way home Will anyone charge you if you cancel so you can avoid Tour Insurance You have gotten good day rates and no per diems (for now they will rise) You need a session guitarist as the band themselves don't have it but need it live. Most small venues constantly used for live will have sound and lights in there but have you checked? You would need to add rentals if so. Do they have mics?? I mean if you forget that.... Normally you take your own also but do you own them??? You could cut costs by using in house sound and lights. But then you need to be there in time to soundcheck, the local guy won't know what you need. There's 4 band members getting an even split before mgmt commission. DATE June 1 VENUE THE ROCK BAR, MANCHESTER CAPACITY 300 FEE 900 CURRENCY GBP VAN HIRE 100 VAN INSURANCE 20 PETROL 75 DRIVER 50 TOUR MANAGER 150 TOUR MANAGER PER DIEM 0 SOUND 150 SOUND PER DIEM 0 LIGHTS 150 LIGHTS PER DIEM 0 SESSION GUITARIST 75 770 COMMISSION 90 TOTAL COSTS 860 PROFIT 40 BAND PROFIT SHARE 10EACH • Look at using festival crew if your slot is not major. They may have VJ’s and LD’s on site. • Ask the promoter for local photographer costs and check their IG profile portfolio. You may still pay a small fee but it’s less than a flight, hotel and wages. • Can you have a small level of live footage from the promoter to remove Videography? Or if it’s streamed, to be honest you can rip that, film walking to stage on your phone and make a VHS style edit.• Use wireless calling and keep data roaming to an absolute minimum. • Use a company credit card for flight purchases which give you points which can be turned into Air Miles and register with every Airline for points. Upgrades or free flights will save your budget. • Share costs with other Artists. If you know others use similar kit, like lasers or light packages, hit up the other manager and see if they want to share the rental.BRAND DEALS 250 251WHY WOULD YOU DO ONE? The fee. The brand is one you love, let’s be real here most people would do a Nike collab for free or pay them! Their customers are your customers, or you want them to be. Their marketing spend is one you could never afford and in places where your marketing budget just does not stretch to (this can be across a whole campaign or one offs like the Super Bowl Commercial Break). Or a combination of all of the above. When would you just take the fee? Perhaps with a brand you didn’t think suited you? Well perhaps you were going to use the money to fund a Brand Pyramid moment so you grit your teeth and take the cash. Or you just straight up can’t pay your tax bill. Not every brand deal is perfect and sometimes they are necessary. But many are genius, and some of the best campaigns I have ever seen come from a collision of a brand and all their creative teams and history and an Artist. WHAT DOES THE DEAL LOOK LIKE? Normally it’s a fee for a period of time and a set of commitments. This can include your ‘name and likeness’ which means they use your name and a picture of you or drawing of you in an agreed set of items. Photography, TV commercials, voice overs on radio ads etc. Extras like appearances at a press conference, press event or small shows they put on with you for fans who they may invite through specific promotions. Attending a fashion show or red carpet event. Social Media posts and Interview commitments. WHAT IF YOU MAKE A PRODUCT WITH THEM? If you make a product for sale with the brand, normally you get a percentage of the profits for those also. This can be limited to a number of products or for a period of time. All deals generally have a start and end date and thats good so it stays current, your pictures don’t date and in the case of products you make if they don’t 252 253sell out they don’t end up in a sale bin somewhere or look old fashioned. IF they want your music in a commercial, remember you have to pay the label for the use of the Master and the Writers on the Publishing side. So you need to get that on top of pre-agree what that cost will be before you sign. It’s always best you ask the label to be kind and put the sync request in yourself here. Often checking BEFORE you get into the deal. If you are owed royalty’s tell your business manager and be clear who will be sending you the statements and if the royalty is before or after costs like manufacturing and agree what you are comfortable with. Competition for these deals is fierce. But if they really want you, you have good leverage. Deliver on time, deliver everything you said you would. Follow hashtags and posting agreements to the LETTER. If you get a good reputation on brand deals more tend to come. Agencies are paid huge sums to deliver to these brands and they will not tolerate people making them look bad. Extra Tip: Beyonce , rumor has it, did a private show for UBER once and instead of taking a fee took shares… and well you can guess the rest. You could argue this was a private booking and not a brand deal and you would be right but the concept applies. If a new company approaches you to promote, you BILLIE EILISH & CALVIN KLEIN “I never want anyone to know everything about me. I mean, that’s why I wear big, baggy clothes.” “Nobody can have an opinion, because they haven’t seen what’s under- neath.” In a second video, she says “You can’t fake authenticity.” Genius. What she did here was not only appear in well shot ads that looked iconic, she explained in one phrase something she stood for. I read interviews with her, I was already a huge fan, but just had never had the time to read an interview, and this took me there. She owned it. CALVIN HARRIS & ARMANI Well, which woman didn’t want to just send Armani a thank you card when this appeared on Sunset Blvd on a building 100 storeys high. He’s famously bashful, and there he was. Images of this shot around the world. Not sure what it sold more of, Armani underwear or 6 packs in 6 weeks machines. 254 255SWEDISH HOUSE MAFIA: GREYHOUND Greyhound - a cocktail of grapefruit and Absolut vodka which they wanted to promote. They needed a track and we had one. We just changed the name. Why? Well how often do you get Carl Rinsch as the confirmed director of a huge video budget. This would also form the TV ad. The video was designed with them, showing a 3 dog race with a photo finish win where they all cross the line at the same time. It was a video we could never afford on our own for an instrumental track. It was a director we would never get. The marketing budget was huge. Added to that the brand’s marketing tagline was Made in Sweden. PERFECT. So off we went. The partnership let them have a chart topping record with the title as the the name of their cocktail, their video had made the name cool, the guys got a killer video moment. Win win. The partnership then evolved to their involvement on the One Last Tour. MARSHMELLO FORTNITE Brand connection The Artist had already openly played the game online, with his fans. His fans were using the game on a regular basis, in their thousands. Perfect combo... What happened? On Feb 2, 2019 Marshmello gave a 10-minute mini-live-concert inside the popular online game Fortnite, which made it basically the biggest moment in Fortnites history How it worked • All gamers were transported to a virtual stage at the in-game location, Pleasant Park when the concert began. • Ability to use weapons was disabled for the event, which ensured that everyone could enjoy the concert. • Stage - The stage had building-sized holograms of Fortnite characters and custom graphics played behind Marshmello’s avatar. • Epic released a Marshmello skin, glider, and emote, alongside a special three- challenge quest for players to earn a matching pickaxe and other items. • No gaming stats were recorded so that everybody could just enjoy the concert without having to worry about their statistics 256 257MARKETING CAMPAIGN PRIOR TO THE CONCERT How it worked • The event was teased for several days on social media • Marshmello listed Pleasant Park (event location inside Fortnite) on his touring schedule • The stage was being assembled in the game days before the event • Event advertised via posters within Fortnite itself • You could win some of the virtual merch by solving challenges leading up to the event: The Marsh Walk emote is rare. Solving one of the challenges the day before the event got you the Keep it Mello emote for free. There was a third challenge that round out the entire Marshmello set with a pickaxe featuring Marshmello’s iconic head. Truly, this was a good time for Marshmello fans. Merch • Non-virtual: Marshmello released a special edition Fortnite merchandise collection, with hoodies & shirts • Virtual: Gamers could buy a Marshmello skin (character design - apparently the skin lights lit up when you used musical emotes) for 1,500 V-Bucks – for your reference, 1,000 V-Bucks costs $9.99 in Fortnite – as well as a related glider accessory and dance emotes: The Marsh Walk and Bobbin’. (S14 & S15) —> total revenue unknown, but around 70% of gamers make in-game- purchases at one point in Fortnite. The Album • The new Apple format which allowed DJ mixes to be on the platform (the delay caused by streaming platforms simply baffled at how to pay publishers and sales when DJ’s play bootlegs) was live, the album went in and stayed on the top of the charts for weeks. The campaign was genius. Perfectly taking a demographic who related to the Artist, with music they liked, a character who was easily recognizable and applicable to Virtual Merch and a music release at the same time. AIR DRAKE According to reports, Drake didn’t actually pay for his private Air Drake airplane from Cargojet. Instead, perhaps unsurprisingly, the $200 million Boeing 767 jet was provided for free as part of a partnership between the rapper and Canadian airliner. Linked his country of origin, a free plane and boss images together in a legendary way.ROYALTIES This one is tough, and the amount of confusion around this topic is huge. 258 259PHARRELL WILLIAMS & ADIDAS Pharrell’s ongoing relationship with the brand has included a trip to India for Holi Festival and sneakers beyond Adidas with Chanel which broke records for secondary pricing. The Adidas Originals by Pharrell Williams ‘Now Is Her Time’ pack is a new unisex collection of apparel and shoes for adults, juniors, kids and infants that stand for women’s rights. The photography included iconic and inspirational women, including the beautiful Isabella Grutman and Vida, and went one layer deeper into who Pharrell was. Pharrell’s own clothing line, Human Made, removed the commonly used phrase ‘man made’ with a less gender based feel. This summed up amazing design, inspirational advertising, dope sneakers and clothes and how Pharrell is globally known to be pro-women in one go. BEAUTIFUL. 260 261COPYRIGHT Used in so many ways, this basically means you created this piece of work, or Intellectual Property, or IP. You own it, and you will grant the rights for people to copy it to sell. Sell meaning broadcast, use, profit from etc. You grant the RIGHT to COPY. Copyright. Boom! So.. don’t be worrying you haven’t claimed Copyright, only Royalties. The Royalties are the profit types you get for allowing the license to even happen. No, this isn’t an explanation of a vinyl, it is the phrase used to explain the side of the income connected to writing it… (commonly known as publishing) and the side to the record connected with the sale of it. (Commonly known as the master or original sound recording. This is the recording of the performance of the record). HOW TO VIEW THE WORLD It’s a broad statement as this is for beginners. But the rules tend to be different on applications and definition rates and what generates income. This is a beginners guide, there are so many variables. 1. USA 2. United Kingdom 3. Rest of world Ask your business manager for the differences if you are heavily doing business in any of these areas.THERE’S 2 SIDES TO A RECORD262 263WRITING SIDE (Commonly called the Publishing Side) MECHANICALS This is the income generated by sales of physical product, downloads and streams.Writers Share goes to your Collection Society. This appears on your statement from them. Publishing Share goes to your Publishing Company and appears on your Publishing Statement. SYNCS Income generated by the use of your work to TV Shows, adverts, movies etc, the fee for the Publishing Side.Goes to your Publisher and appears on your Publishing Statement. If you are self published and do not have a Publisher, you collect directly from the source of the sync. PERFORMING RIGHTS Income from public performance on radio, tv, pubs, bars, clubs, live venues etcThey send 50% (Publishers Share) to the Publisher if you have one.Appears on your Publishing Statement. If you have no Publisher this all comes to you on your Collection Society Statement.RECORD SALES (Can be referred to as the Record Side or Master Side) Collected by your record company or your distributor if you are not in a recording agreement for the product. 4 Things for beginners to look for here. Record income lasts for approximately 70 years from release. RECORD SALES Of downloads, physical product like CDs, Vinyl, streaming. SYNCS This was licensing the Master side of the music to TV shows, Adverts, movies etc. NEIGHBOURING RIGHTS Part 1. The label share. Paid to the labels by people using your music in public. Radio, TV, bars, clubs etc. Rates and what counts vary globally. NEIGHBOURING RIGHTS Part 2. The Artist Share. Same type of income as the label share, but it has been split into their share and your share. Appears on your record statements. Dates for this and the percentage you receive and permitted deductions are all outlined in your Agreement. Appears on the same statement from your label as Sales. Often in a different section. The rate of sync income is often greater than your Sales Royalty and will be reflected on the statement. If you are independant and have a distributor, you will have invoiced syncs directly and the income will come from who you did the deal with. Make sure this income is included in your deal with your label and the percentage you receive agreed. This has been an area of confusion especially on American record deals. The norm seems to be 50/50 but it varies and your Recording Agreement will confirm the amount you are due. It appears on your Royalty Statement, with sales and syncs. Comes direct to the Artist. Rates vary depending on your role on the record and territory applications of the law.You need to register with a Collection Society Agency who will collect this for you. EG. / PPL / Sound Exchange. 264 265FROM THIS CHART Make a running list as follows: 1. How many royalty statements should you be getting? If you have a Publisher, it’s more than if you do not. Make the list and don’t be scared to ask your Business Manager to check it. They can be JUST as confused as you, trust me. In date order of when they are due in, have a calendar for the year. Date due, from who, for what? 2. Does a new deal create a new statement? For example, you have a record deal, and a load of songs all fall into that, but you also did a remix which gave you royalties. This means you are due to receive another statement from that company. Keep a list of who it’s from, with their contact info, the dates due, the percentage owed. Share it with your Business Manager. I keep a sheet with the balances of the statement in one place. This way, when I get asked at 11pm ‘am I recouped on my XXX deal’ I can answer. Nothing better than knowing financial answers to questions. 3. Keep a list of songs registered and which statements they appear on. Tick them off as you see income start to come in (which can take 6 months). This is the final test that the song was successfully registered. 4. If you were a Featured Artist on someone else’s record and your label did a waiver so they ‘lent; you to someone else, remember this will come in on THEIR record statement for the sale sides. Yep - you’re going to see Sony and Warner income on your Universal statement. This is because they claim the royalty you got, and it flows into your income with them. This depends on your deal with them, and the fee advance for the feature may well have gone to you but on your royalty list - put the songs you are due sales on under the right deal. Ask your lawyer who will have been involved 99% of the time what income it generates and where each type goes. PUBLISHING This covers musical composition. The Music and the Lyrics. Basically who the f*** made those beats, those words and the notes those the instruments are playing. Why is it called that? I thought Publishing Houses printed Magazines and Newspapers? Well indeed that’s where it came from.Johannes Gutenberg invented the Printing Press in the 15th Century, and in 1529 the first sheet of music was printed. Previously hand written with ink, this allowed the symphonies of composers to be printed for multiple people to gain copies. You can hear the violins squeaking all over Europe belting out their best Beethoven. When they used the composers music, they agreed to pay a sum of money per sheet sold to the writer…AH HA - now you get it. The work was literally PUBLISHED onto paper. So… let’s imagine you are a composer, and a few of these guys have come to you to get your hot violin concerto’s and you need help collecting all the money. Like all needs, someone stepped in and created a business to do exactly that. Enter SACEM, the French collection society who were the first in the world to offer the service. The UK followed in 1914 (rumour has it they didn’t want to use Sacem as Bonapart’s nephew was involved and had beef with them - apparently!) and so PRS (Performing Rights Society) was formed. In 1915 America followed with ASCAP. To be a member you do need to follow the rules of the Society and this is still true today. The by-laws do evolve all the time, none of them are scary, and you renew your membership annually simply by not terminating it. WRITERS SHARE & PUBLISHING SHARE 266 267The composer / creator of the work, is split into two sections. The Writers Share & The Publishing Share. You own both, but mainly when you talk about the writing side, you just call it Publishing when you are a beginner. You don’t have to type both names all the time. You can transfer the Publishing Share to a Publishing Company with a Publishing Deal (we talked about this earlier) and grant them permission to work on your behalf. Like issue licenses for syncs and of course collect royalties for the Publishing Share, but most importantly they have to register the song. This is the number one most important thing they do. Knowing and understanding what they need to do so, is the most important thing to determine when you have done your deal. WHAT DO THEY DO? Well, aside from getting your money, both Collection Societies and Publishers try and get better rates for you from everyone. So people using your music from radio stations to streaming platforms, to new emerging platforms like Facebook, all need to pay the composers for the song being used, not just the label they sit on. This includes fan content using your music to social media platforms. These guys go fight for you, but you also have to play along. You may want Facebook to get free access to music, but… you’re in a big game now, and if everyone wins through unity - fronted by these guys, you should give yourself a little pat on the back.DO YOU HAVE TO HAVE A PUBLISHER? No you do not. Both shares can be collected by the Collection Society, but they will not do the syncs for you, I referenced this earlier. WHAT DO THEY CHARGE? Collection Societies have different rates for different types of music. So it varies and is listed on your statement. Publishing Companies agree the rate they charge in your Publishing Deal. Discussed earlier. From 4 % upwards to 30% but there are no rules here, but your contract covers this.RECORD SALE INCOME 268 269Well due to fancy tax moves and people putting their shares into company names, and then those companies into offshore bank accounts, you now have to register them in a human name. You don’t have to use your real name however, you can make one up. But obviously that only works if your collectors are in on it. If your name is John Smith which is a more common name, don’t worry. You get a songwriter ID number to ensure you get what you are owed. If you want to have more than one name out there, speak to your Business Manager and Publisher about it, but don’t expect them to know!WHAT NAME DO YOU USE? You keep your composition income for 70 years from the time the last person who was listed as a writer on the record dies. So you can see why I keep saying to file everything. Your family get this after you.HOW LONG DO I GET THE INCOME? This is when you perform a piece of music in a venue, or now we all have sound systems and radios, if you play a recording of it. Anything beyond a normal gathering of friends & family - IE at home. So… pubs, bars, restaurants, malls, shops, nightclubs all pay. They get a license for Public Performance from the collection societies, and they pay their fee, and the Societies pay the writers. This includes Radio, TV and live performances in venues. Definitions of what is included varies globally so ask your Business Manager if you want true definitions.PERFORMING RIGHTS270 271LET’S GO BACK A SECOND. So the printing business running off all the scores from Mozart is super busy, and in 1877 Thomas Edison, the same dude who invented the lightbulb, invented the Phonograph. Alexander Bell (who invented the telephone) improved it, but each cylinder of record had to be made separately which limited the success. In 1887 Emile Berliner patented the first successful sound recorder and called it the Gramophone. Unlike the previous two attempts, the gramophone did not record on cylinders, and instead used flat records made of glass. When recording, a small groove was etched into the disks’ round surface. These grooves could then be placed underneath the arm on the gramophone, where a needle would read and transmit the sound vibrations to the speaker. Finally, mass-production of records was possible through the use of a Gramophone, and numerous disks were made from each recording. By 1894, Berliner had created the United States Gramophone Company, which recorded and manufactured hundreds of records each year. See how we got here? He made Recordings, soon to be named RECORDS. Then we had the need for companies to use the design to release what they wanted to hear on these marvellous flat inventions which boomed out your favourite tunes. RECORD COMPANIES. In fact you can see where Label came from. The central sticker in the center soon showed the name of the Record Company. The ‘Label’. These companies had to pay 2 people now. Not just the guy who wrote it, like the printers, but also the guy, girl or band who performed it. The Artist. And so… record sale income was born as this was the first time you HEARD the performance, not just read it and performed it yourself. So… there are 2 sides to a record, this may even have come from someone linking it to a vinyl having 2 sides, but they meant, there are 2 people to pay here. The Writer, and the Artist. To pay the Artist they generally didn’t have to find his mailing address and send each one a cheque, they had a Record Company - listed on the ‘Label’ , who did all the dealings. They sent the cheque to them, and the other ‘side’, the Publishing, to the Society. Maybe if we could find original vinyl’s, we could see if the Label was indeed on the other side of the vinyl on a different sticker. If anyone knows - I’m fascinated to know if that’s true. It’s an easy way to remember it anyway! 272 273Yes. If you are part of the group, or are the Artist on the Record Contract, you get the income streams generated by Record Sales. If you are also a writer on the song, you get the income generated on the composition side If you wrote AND performed, you can claim on both.CAN I CLAIM ON BOTH SIDES? This depends. Traditional Producer Deals only allowed your ‘points’ to royalty shares to come from the income on Record Sales. But the bigger you are, or indeed the firmer you are, if you feel you wrote on the song, you also negotiate a piece of the other income streams.I’M A PRODUCER CAN I CLAIM BOTH SIDES? Traditionally you get a fee, and royalties. The amount of points of royalties you get, is determined in your agreement. Even though you essentially wrote new pieces, publishing is rare on remixes, but.. negotiate. Sometimes you are not offered royalty shares at all but most do now, so push for it. Imagine how Jason Nevins felt when his remix of ‘It’s Like That’ by Run DMC went number 1 worldwide - the rumor is he got a one off fee! Some remixers will ask for a share of Sound Exchange. This company collects income from Satellite and Digital Radio Stations as Neighbouring Rights in the USA has completely different laws, hence the confusion by American Record Labels who took time to understand how to contract the income created here by the International revenue which differed totally to their own. Paperwork is needed to allocate this share to them, its not a simple note on registration of the song. If an Artist hands in an album, and your split on your song is not clear, Societies can freeze all income until everyone proves their share.I DID A REMIX, WHAT DO I GET?COVER VERSIONS. So it’s back to the Two Sides. Someone else is singing the song now. So who do you pay? Same rules. The writers who wrote it, and the person performing it, which is the new person singing the ‘cover’. Yes it’s true. If you did NOT write the record you get ZERO from a cover versions sales. They covered what was written, not who performed it. The law in most countries prevents cover versions of a song being released before the first version, however if you release in one place, its free game. So in the olden days when you released on one date in the UK, one day in the USA… once your dropped it.. The cover versions can come globally. SYNCS Sync’s is the term for when you allow someone else to ‘synchronize’ your music to another visual or purpose. Basically you’re allowing it into a TV show, a movie or on a radio ad for Coca Cola. This is normally a one off fee. The company approach you and quote you for your ‘side’. So the label is asked to clear the sales side, and exactly the same amount is offered to the Publisher for the writing side. Or to you directly if you don’t have a Publisher. Collection Societies, like we said do not issue sync licenses. The fee tells you what it will be used for (number of seconds, the type of visual it will be accompanied by), can grant you the right to approval on ads, it often tells you the media spend behind the ad (to try and tempt you to say yes), where the ad will be shown (TV, digital (which means on the internet), Cinema’s and if it will generate revenue in other ways. For example a movie, will also be made into a movie download, DVD and so on. If it’s an ad, or a TV show, it can be limited to a period of time. At the point they want to do re-runs, they have to come back to you to extend. and These terms can ideed all be his can indeed all be pre-agreed on what those terms will be when you agree it. and included in your initial agreement. If the sync uses a cover version, or in some cases they actually make the cover version, they only agree with the Publishers and do not have to license the original BUSINESS PLAN - YOU Map it out, you will make less than you think… and remember that’s how you plan for your tax bill! 274 275ACCOUNTING PERIODS Remember when you see any statement is it never accurate up to the day you receive it. Most major labels report in March for the sales of July - December for the year prior, and in September for January to June of the current year. If you see a song missing, it could be you released in June, and the stores have not yet paid the label. Check.recording the labels own (back to the 2 sides we go!) If they are The Voice, they may pre-approve the terms with you but they don’t know if your song will be used. They then send reports out on what did get used, and your invoice is sent off by your Publisher, or by you if you self-publish (nightmare). These are called Cue Sheets. If you do self publish, always ask when to check back in when you pre-approve or you forget or don’t know when to start chasing, ask, note the date, set a reminder.YOUR BUDGET JAN FEB MARCH APRIL MAY JUNE JULY AUGUST SEPT OCT NOV DEC TOTALS INCOME LIVE SHOW PROFIT 0 8000 11000 4000 0 15000 15000 20000 10000 0 14000 30000 127000 ADVANCES PROFIT, RECORDS 0 20000 0 0 0 0 0 0 0 0 0 0 20000 ADVANCES PROFIT PUBLISHING 0 0 0 0 0 0 0 0 0 0 0 0 0 RECORD ROYALTY COMMISSION 0 0 0 0 0 0 0 0 0 0 0 0 0 PUBLISHING ROYALTY COMMISSION 1500 3000 4500 BRAND DEALS COMMISSION 0 0 0 0 0 0 0 0 20000 0 0 0 20000 MERCH COMMISSION 1000 1000 2000 TOTAL 0 28000 11000 6500 0 15000 15000 21000 30000 3000 14000 30000 173500 OUTGOINGS MOBILE PHONE 300 300 500 500 300 500 500 500 500 300 300 300 4800 TRAVEL 200 200 4000 4000 200 1000 2000 2000 2000 2000 2000 2000 21600 ENTERTAINING 500 500 500 500 500 500 500 500 500 500 500 500 6000 STATIONARY 250 250 250 250 250 250 250 250 250 250 250 250 3000 SUBSCRIPTIONS 400 400 400 400 400 400 400 400 400 400 400 400 4800 ASSISTANT SALARY 2500 2500 2500 2500 2500 2500 2500 2500 2500 2500 2500 2500 30000 ASSISTANT SALARY TAX 500 500 500 500 500 500 500 500 500 500 500 500 6000 ASSISTANT PHONE 150 150 150 150 150 150 150 150 150 150 150 150 1800 OFFICE RENT 1000 1000 1000 1000 1000 1000 1000 1000 1000 1000 1000 1000 12000 OFFICE GOVT TAX 100 100 100 100 100 100 100 100 100 100 100 100 1200 POWER 50 50 50 50 50 50 50 50 50 50 50 50 600 COMPUTERS / HARDWARE 200 200 200 200 200 200 200 200 200 200 200 200 2400 COFFEE / TEA 50 50 50 50 50 50 50 50 50 50 50 50 600 OFFICE CLEANING 300 300 300 300 300 300 300 300 300 300 300 300 3600 OFFICE PHONE 300 300 300 300 300 300 300 300 300 300 300 300 3600 COPIER RENTAL 250 250 250 250 250 250 250 250 250 250 250 250 3000 POSTAGE 100 100 100 100 100 100 100 100 100 100 100 100 1200 COURIERS 200 200 200 200 200 200 200 200 200 200 200 200 2400 0 ACCOUNTANCY 500 500 500 500 500 500 500 500 500 500 500 500 6000 LEGAL FEES 0 0 0 0 5000 0 0 0 0 0 0 4000 9000 CONTINGENCY 500 500 500 500 500 500 500 500 500 500 500 500 6000 8350 8350 12350 12350 13350 9350 10350 10350 10350 10150 10150 14150 129600 PROFIT -8350 19650 -1350 -5850 -13350 5650 4650 10650 19650 -7150 3850 15850 43900 CASH FLOW -8350 11300 9950 4100 -9250 -3600 1050 11700 31350 24200 28050 43900 276 277NOTES ON YOUR BUDGET 1. Remember budgets are a place to start, to spot where you simply cannot afford certain things 2. They change, this is a forecast. Look each month how you actually did, these are called ACTUALS 3. It is possible to forecast a loss, and still be proud. If you KNEW your business would behave this way, you have been smart. If you plan how to cashflow it… well then I’m not sure you needed to read this book! INCOME SECTION See how I have remembered my Artist always wants January off for the studio. February they are going back on the road with a larger set of shows - normally happening in March. May – off for studio especially as you can see we signed our deal in April, by then, I am charging commission. The summer is busier. October they are exhausted and need time off. November and December is touring plus a nice bump from New Years Eve. Record profits - we got our deal in April and we will not see royalties again all year. We will not recoup in that time, and even if we had had a hit, it won’t show up until the following year. Publishing - we did our deal the year before, we have recouped because we took a small advance and a large percentage and had a big hit, so royalties are coming in March and September, but I get them in April and October by the time I invoice for them. Brand deals - I feel confident enough that by September I will have done a 100k deal, and if I do it earlier I will just move it up. Merch - I have tracked past sales, run some numbers and done a forecast of the profit from two drops, March and July. I’ll be getting my share one month later. How do you know what’s coming in? Well if you have done it for a while you will know roughly what you feel you can confirm in shows. Plus, you have been diligently doing your show budgets, so you know rough profit, and you know what your percentage deal is with your Artist because you have done a contract or a clear deal outline. You have a feel for when the record deal will close… and feel confident enough to put it in. Never over forecast. Go UNDER what you think will happen, and don’t panic. This is to help you avoid disaster - do you need an office? Maybe grab a cheaper We Work Space or even work from home and your assistant works remotely. Do you need to stay in a certain type of hotel? BUSINESS PLAN - THEM 278 279OUTGOINGS NOTES I have my phone and I’ve added more for when I travel due to roaming costs. My travel varies, from taxi and Uber bills to flights and hotels in Miami in March, Coachella in April and various summer festivals, and some extra at the end of year for all those meetings I need to fly to for 2021. I’ve put the average I spent the last year and increased it a little to give me an average for this year. I’ve remembered I need various office bits and pieces and subscriptions to various magazine and data sites. I have hired an Assistant and their salary also adds govt taxes on and a mobile phone allowance. I have rent, tax on the rent (!) and various office costs. I have an accountant on capped fees per month and I have allocated a chunk for legal fees as I renegotiate my management contract in May. I then popped 4k in for the end of the year just in case extra annual costs pop up. Contingency is a little buffer for things I forgot.. Your profit means you can judge with your accountant amounts to save for tax, BUT see how some months you made a loss, especially January – you need to have that amount in your bank account, or you will be overdrawn and unable to pay costs (and yourself). This is when cash flow is important. You run one extra line at the bottom. This tells you how much cash will be (or not be) in your bank account per month if all the income and costs are correct. This shows you how much you need to keep in your business to stop overdrafts and non payments of bills.SOCIAL MEDIA 280 281Do you have to make one? I have done a business plan for some and not for others. What’s most important here, I think, is that you are honest about true profits that come from your touring budgets. An Artist can think … I’m making a million dollars in fees this summer, but actually the profit is 400,000. Be honest now. Don’t let them think they can buy a bigger house. If they find out later it won’t be pretty. So if a business plan for them helps, build one in the same way we did yours, showing Touring Income and approximate profit. If their business account is the same one they live from, they need to keep enough money to pay you, the lawyer, business manager and crew. Don’t let them get into a sticky spot, and see yourself unpaid. This is equally down to you to help them. It’s not their fault if you told them the fee’s and didn’t remind them that’s not all their money.282 283Ah the nightmare begins… A direct line from fans straight to you. A double edged sword. You will love it, you will hate it. But you run it, the moment it runs you, its over. Most platforms offer good analytic back end services. This will help you see what engages best, the best times to post and the best days to post. It will also give your fan bases according to where they are in the world (we talked about this - this goes into your International Planner to determine priority markets) Personally I like accounts which have some personality. If you sell all the time people feel they are watching QVC! I also think varying content is key. Now I’m about to conflict my own advice here… We talked about continuity and that is important but … when you have posted the song 5 times even you are bored. I have often thought that when you hear audio and you SEE something different, your eyes tell your ears it’s something new. I always notice this at shows. When you hear a song at a show and the visual is new, you hear it sort of fresh. Know what I mean? My DREAM was I always wanted to do a song which once a week had a new music video. So every week you dropped a new visual for people to get into the record. Yeah it’s probably got to be super well mapped out or it will look desperate but my view was… you drop a video… and yes people use YouTube to listen not just to watch, and yes we all love the high stream count, but just how do you keep promoting it. People take time to discover a record and do so in so many ways. Radio, TV, in a Mall, in a nightclub, see it on someone else’s socials. How do you keep dropping content for newcomers without boring the pants off the early fans? It’s a mystery I would love to crack but budget wise not as easy as I just suggested. Think of ways to keep creating fresh looks which engage. Same goes for posting. Do you switch color? Switch content type? Do you allow multiple posts of the video into various YouTube channels and treat socials like radio… the more stations who post the more you reach? It’s a debate and there’s no right answer but switching it up a bit can be a good thing. Look at all extras you can do in each platform. Have you checked your song is in the library on Instagram? Have you uploaded your GIFS and added popular hashtags not just your name? Have you made a filter yet? Have you used YouTube Community and Stories. Have you used their premiere service? Can you ask Social Media platforms to do more? YES. Make friends with them OR ask your Marketing Manager at the label to help you. Oh...and Ask Alexa and all your home ‘we promise we don’t spy on you devices’ to tell you who your Artist is and play your song and make sure it’s correct. Can you trick Alexa into announcing your Tour? Can you put up enough Google stories without fans noticing but that Alexa picks up on it and then just post ‘Ask Alexa when our tour is…’ HAVE SOME FUN!MENTAL HEALTH 284 285In my humble opinion, travelling and jet lag are one of the worst triggers for anxiety. It’s also the hardest to appreciate when you are not there. Hitting your Artist as soon as they land with a million questions is not smart. They do need to rest, and the more they travel the more their demands may seem crazy. Putting things into their schedule which allow sanity to remain is smart. This means taking their requests seriously. First of all, when you ask them to do something be clear on the timings. Present a gig with the approximate day of travel, length of flight, how long they have at the hotel. Decide together and be patient when it seemed harder to do in reality than it does on paper for them. I’ve had artists want rooms not near an elevator as in their jet lag state that little elevator bell kept them awake all night. Others need baths in their room not just a shower as they find it helps. Others needed simply wifi to be at a hotel - you assumed there was, and there wasn’t. No NetFlix, not being able to hand in your song via dropbox...WHOOPS! Some need to only tour for X number of days in a row, especially vocalists where there are limits to the physical demands they can achieve. Some will not perform when they land from a long haul flight. Humor these needs. You’re not having to do what they are doing. Little things like vitamins and meditation apps (I like HeadSpace), and just checking in on them to say hi rather than about to discuss work is good for their mental wellbeing. Recommend a movie or box set, a book, a place to visit on the road. Show you understand travel is work. Not just the show. Be wary of when you put in promo. Be aware of timezones and ensure your Tour Manager has given you the itinerary so you can plan without asking them to do something. This way you will know their schedule rather than annoy them when you didn’t realise they were at the airport.ON THE ROAD286 287For me, I always take lavender oil, a candle and my cashmere blanket for the plane, oh and my own socks and eye mask! ! Somehow the smells and comfort always bring me back to reality. I also made a rule to never take a long haul flight to the UK from America when I had to be in the office the next day. I knew I couldn’t do it and my team knew I was off limits (or almost). This is a luxury for sure, but one I realized was necessary to survive. So I always flew home on Fridays, landed Saturday and didn’t have to be in the office until Monday. In reality I was online but not in the office where I felt more tense. I do wish Apple would invent a Work / Family phone where you can switch modes. Taking your phone to the pub on Sunday so you know when your friends are arriving and you wanna take pics of a reunion and order your cab home. Then you get WhatsApp’s that could wait, flip you back to work mode and can leave you constantly on edge. So Tim Cook, I’d like to formally request this please. Can you PLEASE make a ‘Mode’ phone where you set the tone of what mental state you need to be in and Mark Z at Facebook - you own WhatsApp, can you please adapt it! Install an Out Of Office setting where people can see you are offline and pause groups and you pick messages up when you go back into work mode… or simply select groups which can be offline without leaving groups? THANK YOU SO MUCH IN ADVANCE, YOU’RE KILLING US WITH YOUR TECH BY NOT HAVING FILTERS THAT MATCH OUR NEED TO REST OUR MINDS!!! Well what to say here? It’s toxic. A necessary evil some would say. Can you tell Artists not to take nasty comments to heart? No. Could you read 2,000 comments about yourself every day and not take them to heart? I doubt that. It’s hard to give advice here, but limiting screen time is smart. Most won’t but it’s going to be tough unless you do. Remember also when you wake up, you grab your phone and go straight to IG. You can feel 200 emotions before you make a coffee. Happiness, FOMO, rage, jealousy, fear…Remember, social media is a glossy, highly edited version of the truth. Your competitors are playing the game just as much as you are… and you fell for their over-hyped version of the truth - it affected your decision on something you were doing. Back to my favourite quote at the start of the book. BLINDERS ON!!!! Do not let other people rule your personal journey. PERIOD. Small tweaks you can make: you can turn comments off, you can run their socials for them or you can put breaks on, where you delete the app from your phone for a few days, especially studio days. Socials can be where they discover new art, speak to other Artists and of course speak to their fans, but what are you? Customer Services or the boss? Find balance and keep installing it. I read an amazing article once where a scientist actually showed on the brain an idea forming. Environments like driving your car, walking your dog or exercise all worked for this (no one on their phone). The idea grew. A chemical reaction. One scratch of the phone, the dopamine releases, a highly addictive chemical, and the idea literally shrank. Now… you can think you remember the idea but it’s the detail as to how you got there that was going to give it all the gold. GONE. If you read things like this, share it with your Artist, and beyond that, support them - you have no idea what it feels like to be one, so don’t dismiss it just saying - “why do you care?”SOCIAL MEDIA288 289What I like to call what it feels like when you get home. You assume they are happy to be home and ready to work. The reality is, they have been used to routine and travel for weeks on end and can feel completely wiped out, anxious and disoriented at being home.POST TOUR SYNDROME As success kicks in, your fee goes from 500, to 5,000, to 50,000 to 500,000! Adding a zero. As it does, your value of money can do the same. You no longer scrutinize low costs and buying larger items gets easier and easier. McDonalds becomes Nobu, economy becomes first class, Casio becomes Rolex. Then it becomes 2 Rolex’s. You can see the same also applies to success, now we see the results so easily. 1,000 streams used to feel good, then 10,000, then 100,000 then 1 million and so on. 6 months later 1 million is a failure. TRY and remember where you came from. Fame is addictive. No one wants to get somewhere and just stay at that level feeling there is always more of a place to go. It’s easy to shoot to stardom - easier than you think, but maintaining it is tough, mentally and strategically. Someone new will always grab the headlines. When it was you, you loved it. Now it seems there’s a new you… grabbing all those spots. It will happen to them too so BLINDERS ON. Stay focused on maintaining the quality of your work, that’s the number one way to stay there. If you dip, but your quality did not, the level of respect for you will not lessen and this will stand you in good stead to still be here in years to come. Don’t throw your toys out of your pram because you ‘only got’ 10 million streams. Yes, it wasn’t 100 million, but 10 million people listened to you! Remember how many stadiums that is! Don’t come across like its a failure, those 10 million people will be offended.THE ZERO THEORYMaintaining popularity can be a grind, getting it all for the first time, that’s a buzz, but… once you start to ground yourself in the established phase, it’s an incredible feeling. Like a marriage working I guess. You and your fame coming to a place where it becomes really comfortable Scarcity Fear is a psychological term for those who tend to grab at buying things caused by a lack of physical or emotional things when they were young. If you can clearly see your Artist spending 99% of their advance on diamonds, say something. The buzz of the purchase making them feel good has to be replaced with a feeling that savings in the bank will feel better later. So you’re checking in on your Artist. Have you checked in on you? I’d be a bit of a hypocrite not to admit I have suffered with panic attacks. For about 3 years I suffered terribly with them. The worst ones were in my sleep. I was dreaming about work. Waking up unable to breathe, freezing cold, often needing to throw up. Then crawling to my desk at home. You can get to a stage when you feel if you don’t answer all your emails the world will just fall down. It won’t. I started Kundalini Yoga and it was a life saver. But in general, by the time I admitted the issue to one of my best friends about 18 months in, it got easier to handle. Admitting it was the first step for sure. I will say however, when I told some people I thought needed to know, they sort of looked at me like… “yeah yeah you’re so strong you’re using the wrong words to describe you’re a bit stressed.” I felt it was not something people who didn’t suffer could understand. The effect it had on my day was enormous, my ability to sleep, to focus...Talking to people who are also suffering, changing my nutrition, choosing who I spent my time with, walking my dog in the countryside (I actually moved house to help me cope with it). It all helped, but it was a slog to control my anxieties. Anyone telling you that no-one powerful has these issues, can make you feel you will never make it, because you are feeling this way - they are wrong. It’s something to learn from.YOUR MENTAL HEALTH290 291At my MYOB school, the mental health class had student after student coming down to the front to share stories exactly like mine or worse. The bond we created by saying our words out loud has stayed with me to this day. The tears flowed and the respect grew. Medication can help, but it’s not always the answer. I tried it, and for me personally, it made me feel worse. What was more hurtful, was finding out years later that some of my ‘friends’ had discussed my need for medication and the effects they could see my work was having on me mentally. They actually said ‘yeah she’s falling behind, dropping the ball with a client’. I thought wow… you could see it and your first concern was I was dropping the ball? I AM the ball you idiots! Again, another cliche, but you really do learn who your friends are. Those who see you need to change some parts of your environment, are true keepers. Zone in on how you can work more with them, even if it takes you slightly off the path you thought you were on. Your body is telling you something, listen. The friends who check in on you, again, keepers. Change the frequencies you listen to and watch what happens! Poaching was a category my students asked me to include. As an agent it happened to me and I was heartbroken, as a Manager I don’t think it has ever happened to me. Either way, when it happens, it hurts. But looking back, the poaching when I was an Agent forced me to make decisions that got me where I am today, so I’m grateful. Poaching is when another Manager approaches your client and takes them. If you have a contract, legalities have to be worked out, but can you make them stay? No. Can you financially be compensated? Yes. But at the time the money isn’t what you are thinking about, it’s the client you loved, the job, and it’s gone. Ask yourself, why did they leave? Was there more you could have done? Trust me, it won’t be all rosy over there, even though Instagram will have you convinced otherwise. Before this happens, you may perhaps have accepted you need help. You cannot afford staff as you’re still looking after a low income Artist but you know they have huge potential. You need the relationships, the resources. Do you spend the next year stalking them on IG and posting pictures of your own new success purely to annoy them? No. Move on. Every energy moment spent on that is energy wasted. It didn’t work. Move on.POACHING AND PARTNERINGTo Partner with someone can come in different forms. 1. You become the larger firms employee. This can mean a salary and bonus and gives you full access to their central team which can include accountants, digital marketers and graphic designers. At even larger firms it may include International Release managers and Radio Pluggers. You can get a contract which is a base rate of pay and a large percentage - the percentage takes into account your contribution towards the costs of central services. You get a large percentage, no salary, access to all services. 2. You take no salary and give them a small percentage. 1. What support you want. If you want to go with them to meetings, say now. 2. What central services are vital and are a priority for you. 3. You will NOT sign the Artist to them, that contract stays with you, but you will work for them 4. How long you do it for. - this varies from a trial period (rare) to 3 years or permanent 5. Payment dates of your bonuses and how they are calculated.Be clear on:292 293FILINGEach song creates the need for a folder. Each song is an asset remember that.SONGS This demonstrates the basic filing system you will need - you can add whatever else you require. The Song Information Sheet is a Word doc you set up. Release date, ISRC code, all the info on featured artist teams, managers, lawyers, publishers, emails, cell phone numbers, notes on how you got there, you won’t know why you need this…. until it’s too late. Your song folder will clearly label each version so people share correctly in your team and you can grab information fast. Once you get into mastered versions, remove all non mastered files into a seperate folder for archiving. But In no way should these files be available to anyone you share with.294 295If your collection societies or any of your partners issue a receipt for registering the song, add a folder for this. With SACEM you get a stamped ‘docket’. FILE them all. In the featured artist folder, you need the Artists agreement and sample waiver, plus the WAIVER between their label and your label as discussed earlier. This is VERY important. AGENT RECORD COMPANY LEGAL RECORD COMPANY SYNC APPROVALS COST APPROVALS RECEIPTS INTERNATIONAL CONTACTS STORE AND PRESS CONTACTS Plus all the other ones you want to have.EMAIL FOLDERS GOOGLE SHEETS 1. Your catalogue with splits and paperwork ticked off, I add the royalty statement calender here and note new songs which should appear and log balances. This can be shared with my Business Manager, and my Artist. 2. Show a diary for your Artist with fees and WHT listed. Access should be available for your tour manager who will run a seperate crew calendar Set yourself a list of reminders. These will include: • Delivery dates of records • Deliver dates of assets • Audit dates • Registration reminders - every time you release a song • Release dates • Dates the song ownership returns to you • Dates you need to notify options • Tax returns, your own country and countries you toured in which require them • Withholding Tax - Application deadlines • Song files being completed • Agency statements due in • Royalty statement due in • ‘Shop Window’ checks - even when you are not in a campaign cycle, you should check your spotify biog, for example, is up to date. Do this once a month.REMINDER CALENDARfrom your diary but without any fees listed. On your diary, include budget and tax application deadlines that your tour manager will need to know. 3. A Master Diary is for agents to log into and block out dates as you sketch out the year. Do not list fee’s on in this diary. 4. Marketing / Release schedule with Artwork needs on - all staff can access this. This lists shows as pins in campaigns but no fees. 5. Log ins - filing all usernames and passwords for socials, emails, royalty portals, domain names etc - you think you will remember them, you won’t. 6. Renewables / Important Dates - audit dates, returning catalogue, trademark and domain name renewals, insurance renewals, passport renewals, option notices, invoice reminders such as advance dates, royalty statements due dates, including reminders in advance. I also add these to my own diary on my laptop. This is quite excessive I guess, but my Artists had large turnovers and huge assets to manage.296 297• Passport renewals for you and your Artist • Trademark or domain name renewals • Grammy Deadline, Sept 30th • Your Artists birthday and their key family birthdays so you can flag missing any when setting a commitment • Award shows you care about and hope to attend or perform at Some of these will be triggered by new business. You confirm an American tour, which creates a 45 deadline for the CWA, which means getting it to your agent 50 days before. Confirm the show, add the reminders. Just stick post it’s on your computers or on the wall of your office to remind you which business creates which checklists of dates. Put them in your diary, I set a 2 days alert beforehand so I’m not stuck on a long haul flight when something urgent needs to be done.. Never set reminders for weekends, give yourself a BREAK. Set them for the Friday before the weekend. Subscribe to musicbusinessworldwide.com newsletter. I literally did the biggest deal I have ever done by reading an article on it, and approaching the company. Also does an AMAZING weekly job section. Billboard online service is FAB and worth paying for, also follow your local Collection Society and global Collection Societies social media. You get loads of legal updates and tips on ownership and your rights which do evolve all the time because people just like you are winning battles and creating change. Marketing industry and social media accounts all give good updates and tips. I also follow designs I love and dive into who they tag. We have hired several from this method.SUBSCRIPTIONSIS THE DEBATE THAT YOU WANT TO BE TREATED THE SAME, OR TREATED LIKE A WOMAN? It’s not necessarily the same. Equal rights perhaps refer to what you are allowed to receive or do, not how you wish to be treated at work. Being a woman is a beautiful thing so behaving like a lad can send off the wrong signals about how you want to be treated, but man, it can be HARD! I wasn’t going to include this section, but a lot of people asked me to, so I will say the same as I said in my school. Being a woman is like the ultimate Harry Potter cloak. They just don’t see you coming. You can sense which men have no issue with dealing with a woman the first moment you meet them. Shout out to Doug Davis, Ted Cockle, John Jannick, Irving Azoff, Jon Platt, David Levy, Jonathon Dickins, Peter Mensch and Michael Rapino to name a few here. Men at the TOP of their game so there is hope Ladies. It’s natural for you to resonate with them. Stay graceful. Keep your femininity. Please note I have failed dismally at both of these multiple times. It’s easy to try and combat it by behaving and even dressing like a man! I have seen smart men create a meeting specifically with women in it because they know we are different and our point of view is vital to create a balanced approach. This does include women treating women well. And women valuing the male opinion. Treat everyone how you wish to be treated. The older I got, the more I realised that other women in the business were like my wolf pack. I could confide in them, I found support in them and I value them all. If you are a successful woman you can doubt new women - wondering why they are there, did they deserve it? You’ve fought so hard to be there, did they have to do that? At the end of the day, hard working innovators are exactly that. They are not men, they are not women. They are people. It’s possible women are more passionate...Yes there will be bro jokes in trailers when you tour with all guys, but if you were all girls, would you not make any man jokes? Don’t let it go too far but BEING A WOMAN298 299you will need thick skin. The ‘Me Too’ movement saw the treatment of women by some men in the business exposed. Has it happened to me? I honestly can’t remember. Yes I am sure I got my ass pinched by a big radio show host in Miami one year… but I was a pretty terrifying chick when I was younger so I doubt I was a target. I had a big mouth so I would have told everyone what had happened. These predators are clever, they tend to prey on quieter women, those who will feel they cannot tell anyone. If it happens to you, tell someone. Do not keep this to yourself and let it fester or it will turn you away from your goals. There are plenty of amazing men in the business who see only talent, only strength.Your ability to nurture and multi task as a woman, is a vital asset in their team. You will meet women like Michelle Anthony at Universal, Sam Kirby at William Morris, Emma Banks at CAA (who terrified me for years) Hannah Gianoullis - Manager to Florence & The Machine, Jody Gerson at UMPG, Michelle Jubelier at Capitol Records, Rebecca Leon, manager to Rosalia and Ozuna, Cary Jones, COS for Jimmy Iovine and hundreds more who are ball breakers but are also nurturers of other women who come after them. They are tigers, but they are also mothers, teachers, and full of inspiration. You can feel that if you get emotional, you’re crazy. Men getting emotional are ‘wow he got so mad’. You can make a BOSS move… and you can have eyes rolling at you. At the end of the day.. WHO CARES. Go WIN. If they don’t like it, they are nicely showing you who is your ally, and who is not. So read their behaviour and turn it into a map to identify who you will go to with more opportunities. At the end of the day, if they miss out on you, it’s their loss. You’re not going ANYWHERE. Stay strong, do not accept inappropriate behaviour and if someone confides in you that it’s happening to them, ACT. It’s your job to play a role in the standards set for ALL women, not just you. Maya Angelou, And So I Still Rise This film will show not only pure female strength but her ability to admit her lack of perfection and yet to be graceful - almost celebrating them to younger women. The story is littered with lovers and marriages celebrated rather than airbrushed. She installs a sense of true royalty in the way she handles herself in a country where she had experienced such oppression. Her poetry will calm you, her story will inspire you and her grace will wash over you. RGB: This will highlight to you not only her sheer determination, but also how she fought for EQUAL rights, not just women’s rights. She defended men penalised for their sex in landmark cases and this is how people should be. Stunning.RECOMMENDED VIEWING FOR THIS CHAPTER300 301RECOMMENDATIONS FILMS Daft Punk: Unchained Bruno Mars: The Finest Quincy Avicii: True Stories Swedish House Mafia: Leave The World BehindJohn Mayer: Someday I’ll Fly Jay-Z: Fade to Black What we Started Soundbreaking Sound it out Beyonce: HomecomingNick Cave: 2000 days on earth The Defiant Ones I mean… what can you say about these two. History has been made by them and they tell you all about it. Inspiring and real at the same time. If they can do it, so can you. They would be the first to say it... Inventing David Geffen Clive Davis: The Soundtrack of our lives Pump up the volume: A history of House MusicFINAL WORDRESPECT YOUR ELDERS You’re crazy big on Tik Tok, they released on vinyl. They are not relevant. INCORRECT. Ever looked back and thought ‘wow’ I know what my Mother meant now I am older. People before you broke rules for you. They pushed the boundaries. Yes you can evolve them all, prove them wrong but you are only in this debate because of what they did. Their insight into staying sane for life, long term careers, maintaining a balance between work and family will be invaluable to you. Treat them with respect. 302 303Everything is going to work out. You can gain Artists, lose Artists, you can be popular, you can be hated.You can lose staff. You can think some people were your friends and it turned out they were not at all. Keep your real friends close both in work and out of work, and remember why you are doing this. Enjoy the music of others with an equal level of passion to the music you work on. Appreciate the art of others with a big smile, even when it’s better than yours! Inspiration is a wonderful thing. Care. Share. Learn. Love. Smile. Cry. But always TRY. It will always be enough...YOU will always be enough.RECOMMENDATIONS BOOKS This book is AMAZING. Loads of legal advice (way above the level I cover), royalty methods and in general just an amazing book and new editions come all the time. This book makes you write out creative thoughts every morning and can be a real way to unlock a lot of good ideas.All you need to know about the music business Donald S. PassmanThe Artist’s Way Julia CameronCREDITSCREDITS 304 Written by Amy Thomson Graphic Design by Jac Harris Additional Editing by Nicki Barber & Carry Wagner Dedictated to the students of Mind Your Own Business School #WAGE (they will know what this means) © 2020 WebSite www.myobschool.com Instagram @myobschool / @amyhesterthomson Thanks to Max Weinberg. Maximilien Jazani. Christophe Piot. Charlie Torrible. Adrienne Willen. Jac Harries. All the school students. Carla Sacks. Dan Rys. Tim Ingham. Glenne Christiaansen. Simon Winters. Sean Granat.	[ "one", "artist", "get", "need", "show", "time", "dont", "record", "want", "like" ]	{ "summary": "1WRITTEN BY AMY THOMSONARTIST \nMANAGEMENT\n& MARKETING\nA BEGINNERS \nGUIDE\nIn early 2020 I decided to " }
strategic_brand_management_Heritage_Brand_Rejuvenation 2.pdf	Strategic Brand Management: Master Paper The Strategic Brand Management: Master Papers is essential reading for brand strategist in both private and public sector organisations, and academics in universities and business schools. The papers are wri tten by master student groups and follow an international journal format. The student groups select ed the topics of their papers and provided updated and relevant insights into the strategic management of brands. The mission of Strategic Brand Management : Master Papers is to “ present and develop useful tools and theories for the application in practice of managing brands, and to forward the academic field of strategic brand management.” The intent of the series is to bridges the gap between academic tea ching and research. The series is a result of co -creation between students and teachers in the course Strategic Brand Management (BUSN21 – 7.5 University Credit Points; 8 weeks 50% study time ), part of the master program International Marketing and Brand Management at Lund School of Economics and Management, Sweden. The published papers represent the result of the intellectual work of students under supervision of the heads of cours e. The content of the papers is to be read as student reports albeit the j ournal format. The papers are free to download and should be cited following international conventions. Editors Mats Urde Frans Melin Associate Professor Assistant Professor Heads of master course Strategic Brand Management (BUSN21), part of maste r program International Marketing and Brand Management. Lund School of Economics and Management The struggle of staying young: How heritage brands can utilize co- branding as a way to rejuvenate. Guillaume Decombe, Oskar Hoff, Lovisa Idberg & Veronik a Lindner Abstract Purpose: The purpose of this paper is to investigate how co -branding can be utilized by heritage brands to rejuvenate. The aim is to develop the current understanding of how heritage brands engage in co -branding and the motives for rejuvenating the brand. Design/Methodology/Approach: This conceptual paper adopts a theory about th e five elements to identify heritage brands as first introduced by Urde, Balmer & Greyser (2007) , and relates it to the brand rejuvenation process through co -branding. Additionally, this paper takes on a multiple case studies design as well as an inductive approach to clarify and contextualize the theoretical framework into four co -branding cases. Findings: The findings of this paper explain how and why heritage brands engage in co - branded activities with certain brands without a heritage, so -called novelty brands in order to rejuvenate. The analysis shows that brand he ritage serves as a key factor in promoting engagement from customers and thus enhances the implications of co -branding. The findings also identify how co -branding as a rejuvenation activity for heritage brands potentially involve inconsistency with certain elements in their Heritage Quota. Practical implications: The practical implications of this paper are threefold. First, the suggested co -branding framework in this paper can support heritage brands by accurately evaluating co -branding as a strategic deci sion to rejuvenate. Secondly, as this research has taken on the perspective of heritage brands, it also helps heritage brands to identify suitable novelty brands to engage in co -branded activities with - hence supporting managers in their strategic decisio n making to maximize the outcome of such collaborations. Third and lastly, by enabling heritage brands to understand how and why to engage in co -branding, the potential outcomes can be enhanced as well as identifying the involved risks and avoiding potenti al negative responses. Originality/Value: Taking the perspective of heritage brands, this conceptual paper is the first to investigate how brands can rejuvenate their brand identity through co -branding. Furthermore, by identifying heritage brands within m ultiple industries, this paper creates a deeper understanding into why true heritage brands use co -branding as a strategic decision for rejuvenation. Keywords: Brand Heritage, Heritage Brands, Rejuvenation, Co-branding, Brand Stewardship, Novelty Brands Introduction Change is an inevitable element in our world and society that must be considered . This holds true for brands as well since organizations cannot expect to grow and prosper if they do not invest in new markets and segments. Technol ogical developments and changes in consumers’ preferences consequently lead to new emerging trends – hence one of the biggest challenges for brands in our modern society is to stay relevant and up to date with these changes (Kapferer, 2012). A brand’s iden tity and its ability to adapt to change are two familiar concepts in previous brand management literature where scholars have stressed that brands need to be both timeless, yet innovative (See e.g., Kapferer, 2012; Cooper et al., 2015). Additionally, brand s must stay ahead of consumer trends and create desirable product offerings that meet consumer needs even through change. However, in pursuit of adaptation and innovation, brands are faced with a major challenge in staying consistent with their identity. E ven more so when a brand has a strong and persistent identity as it can easily lose grasp to the very core of their competitive advantage (Kapferer, 2012). This can especially be the case for heritage brands. Urde, Balmer & Greyser (2007) emphasize that he ritage brands are not simply brands with a heritage or a history. True heritage brands instead identify themselves with their heritage and create value from it as an intangible asset. Furthermore, heritage brands are persistent with their values and ensure consistency in what they represent over time. Brands in many cases utilize their heritage to create a point of dominance over other competitors, as heritage reflects a valuable asset (Urde, Balmer & Greyser, 2007). Through brand heritage, organizations ca n experience an increase in consumption growth, a higher level of trust, and can become more successful in expressing their brand identity (Rose et al., 2016). Brand heritage can in many cases be understood as leverage for companies to use to attract consu mers. However, some organizations experience difficulties in finding the right balance between brand heritage and rejuvenation (Urde, Balmer & Greyser, 2007; Rose et al., 2016). To some, brand heritage and brand rejuvenation are falsely understood as compe ting concepts rather than a potential interrelationship, causing failure to the revitalization of the brand. Therefore, companies may fail or miss out on the opportunity to rejuvenate due to fear or lack of knowledge about the potential value that brand he ritage can contain (Urde, Balmer & Greyser, 2007; Rose et al., 2016). Rejuvenating a brand can be a risky business, but there are ways in which brands can rejuvenate without taking on the full risk themselves. Whether it is to create a new product extensio n, implement a new strategy or reach new target groups, brands can seek support in collaboration with another brand (Kapferer, 2012). Whilst brand heritage and rejuvenation has been of interest by previous scholars, relatively few heritage brands have bee n studied across different industries. For instance, Orth et al. (2019) have focused on heritage brands’ packaging in relation to rejuvenation. Other scholars, like Netek and Carbone (2020) have investigated the rejuvenation process of luxury heritage brands in the fashion industry. Hence, a prominent gap in brand management literature exists in how co -branding can serve as a tool to rejuvenate the brand heritage in such organizations. Therefore, the authors of this paper build on the current literature by investigating how co -branded activities can be utilized by heritage brands to rejuvenate their brand identity as visualized in figure 1. Hence, the purpose of this paper is to understand how heritage brands are using co -branding to rejuvenate and further to identify the potential reasons for why heritage brands engage in co - branding. Consequently, two research questions have been formulated to guide the subsequent parts in this paper: (1) how do heritage bran ds rejuvenate through co -branding? And (2) why do heritage brands want to rejuvenate? Next, a literature review will build on the introduction of the three concepts presented above followed by the method and design of this research. The empirical data will then be presented as well as the conducted analysis. Lastly, a concluding discussion will cover the implications of this study as well as prospects for future research. Figure 1: The three dimensions of this paper and visualization of research topic Literature Review Brand heritage Brand building is a time -consuming process especially if the brand is to gain a strong identity and position in the market. A strong brand is suggested by Kapferer (2012) to be achieved in one of two ways: (1) from produc t innovation to associated values, or (2) from creating intangible values into a competitive product. The former implies that a great product idea or innovation can develop over time and strengthen its competitiveness with the addition of associated intang ible values – thus strengthening the benefits of the value proposition towards its customers. The latter instead takes a reverse route in the brand -building process by creating a set of values that needs to be encapsulated into a great product offering to provide a functional and tangible element for the brand identity to be perceived with (Kapferer, 2012). In this process, brand heritage serves as a relatively intangible asset that involves the history and roots of the brand (Kapferer, 2012). However, wh ilst all brands can have a history, not all brands possess a heritage and even fewer do communicate it as a valuable asset (Urde, Balmer & Greyser, 2007). Brand heritage can therefore be a potential way of highlighting the past and present to strengthen th e future of a brand (Urde, Balmer & Greyser, 2007; Orth et al., 2019). A value proposition and position based on these elements – the heritage of a brand – can therefore be called a heritage brand. It should be emphasized however, that a brand does not nee d a strong brand heritage to be successful but merely an added value to the brand identity. Similarly, brands with a heritage can choose not to communicate it which implies that brand heritage is not only an intangible asset for the brand but also becomes a strategic decision whether to activate or not in the communication (Urde, Balmer & Greyser, 2007). Despite its great potential as an asset for enhancing the brand equity of a brand, brand heritage is also at risk of hindering innovation by restricting th e freedom of action for the brand in terms of the propositions they offer to the market. Hence, a heritage brand may not be able to offer an adapted product that meets the needs of the market in favour of staying consistent with its brand identity (Kapfere r, 2012). Brand stewardship (HQ) To separate brands with a history with true heritage brands, it is crucial to understand the elements affecting the heritage, let alone, understand how to unlock these values. Urde, Balmer & Greyser (2007) propose a model for defining and measuring the contributing elements and assist in evaluating the role of heritage for the brand identity. Furthermore, brand heritage be a specific dimension of the brand identity which consist of five elements: track record, longevity, core values, the usage of symbols as well as a brand’s beliefs. The five elements are evaluated in relation to its individual importance to the brand and determine what the authors call Heritage Quotient (HQ). The more these elements are present in a brand, the more important is the heritage to the brand from both an internal and external perspective (Urde, Balmer & Greyser, 2007). In other words, the higher the HQ is, the greater value is derived from the brand heritage in the value proposition. The five elements of brand HQ as shown in Figure 2 is described as follows: 1. Track record This characteristic analyses the brand’s ability to deliver value and to fulfil the promises made over a time period. This characteristic allows for a build of trust and credibility if the company continuously meets the expectations of their consumers, created by the company (Urde, Balmer & Greyser, 2007). 2. Longevity It is one of t he key elements within heritage quotient as it can be used to assess the performance of the other elements present (Urde, Greyser and Balmer, 2007). It is the element that reflects a coherence of the heritage brand over the time period of its existence. Ev en though a heritage brand has been present for an extensive time, it is required of it to reflect other aspects of it (Urde, Balmer & Greyser, 2007). 3. Core values The core values of a company are essential to the identity and in defining the brand heritage . Core values of a heritage brand can be seen as the guidance points for the company and what is to be expected of the brand. If the company succeeds in fulfilling the core values, the brand identity will be built upon further and brand loyalty will increa se (Urde, Balmer & Greyser, 2007). 4. Use of symbols Through the usage of symbols, heritage brands can express their identity, but it also creates a connection between the consumer and the brand. The symbols become cues for the consumers allowing them to rec all and recognize the brand. In addition, the symbols are a representation of the brand itself and can be used to express the core values. When a heritage brand has a symbol that is deeply connected to it, it acquires meaning (Urde, Balmer & Greyser, 2007) . 5. History important to its identity Companies can either have their history present internally and/or externally depending on what they want to communicate. The history in itself can help decipher what a brand is and who the brand is. If a company communi cates the history of the brand externally, it can be done through emphasizing the year the company was founded or advertising products as something to be passed on for generations. In addition, if a company emphasizes their history internally, it is used t o build upon the brand further and seen as variable in the decision -making process (Urde, Balmer & Greyser, 2007). Figure 2: Brand Stewardship (HQ) by Urde, Balmer & Greyser, (2007 ) Ageing and Rejuvenation of Brands Brands and their identity, with time, grow older and can be perceived as ageing by several stakeholders, for example, customers, suppliers, dealers, or the employees (Kapferer, 2012). This can be viewed from two angles: either the brand itself is collectin g dust over a longer period, as it is not impacting the market as it used to and is therefore perceived as less up to date; or the average customer that has an interest in the brand grows older and the brand’s image, therefore, is perceived as older too (Kapferer, 2012). If a brand grows old, it can be revitalized through several measures like reinventing the essence of the brand, segmentation of product lines, a new business model, or innovative products (Kapferer, 2012). Ideally, the brand should howev er not need these measures by staying relevant and not aging. Therefore, it is important for managers and companies to know when signs are presenting a decline in the brand or that it is moving towards an aging outlook. The companies can assess the brand k nowledge, how the customers are viewing the brand and how the brand is differing from the competitors within the market (Thomas and Kohli, 2009). To prevent the brand from becoming less relevant when it grows older, i.e., growing older but not ag eing, Kap ferer (2012) suggests that a brand needs to make use of facelifting, reinventing, and innovating its products. Especially when innovating, the brand needs to show that it understands the current trends and wishes that younger consumers have . Furthermore, c ompanies should constantly engage themselves in the process of analysing their brand and the modern perception of it. Depending on the perception of modernity, companies should then act accordingly and reinvent aspects of it, either through updating intern al strategies, changing the outward appearance of logos, advertisements or through other strategies (Müller et al., 2013). Consumers today want renewed offers through innovative products or services from brands more than ever. And brands should always kee p their customers at the core of their actions and try to deliver satisfaction and joy with their offers to the consumer (Kapferer, 2012). This makes innovation more crucial than ever before for brands to stay relevant (Kapferer, 2012). When looking past c onsumer satisfaction, innovation contributes in many other factors to the success of an organization. Kapferer (2012) argues that brands can benefit from innovation as it helps them to progress forward by continuously setting new targets internally, by cre ating change regarding leadership, or by forcing them to stay competitive by bringing additional value to their products and services. Furthermore, innovation is a factor that influences the brand value of a company, as well as having an effect on the econ omy (Janošková et al., 2018). To stay relevant for a company, innovation, therefore, is of utmost importance and should be a priority within the company. Innovation and brand are two concepts that have an interrelationship (Brexendorf et al., 2015). Howeve r, these innovations do not have to be ground -breaking or disruptive all the time (Kapferer, 2012). Innovation can be incremental as long as it brings a relevant improvement, even if only in a small detail of the product or service, for the consumer (Kapfe rer, 2012). Co-branding According to Kenton (2020), “Co -branding is a marketing strategy that utilizes multiple brand names on a good or service as part of a strategic alliance." On one hand, this strategy, also known as a brand partnership, involves a mi nimum of two companies each eager to create their own identity with a view to a newly merged brand. The advantage of co -branding is that it can be a win-win for the associated brands since it can allow them to increase their respective notoriety, profitabi lity, the market shares of the different parties, and customer loyalty. On the other hand, this marketing strategy also makes it possible to improve or restore the brand image, the perceived value of the products or services offered as well as attracting b oth new consumers and the partner company's pre -existing customers. Furthermore, the association of several brands wishes to adopt such a strategy to make the product or service resulting from their partnership less likely to be imitated by the competition . Finally, co -branding can be broken down into four different strategies: market penetration, global branding, brand building, and brand extension strategy (Kenton, 2020). According to Kapferer (2012), different typical situations lead to co -branding: • Co-branding is necessary to increase the chances of success for a brand’s extension beyond the original market. • Co-branding is necessary when the brand’s image makes it difficult to communicate with a particular target. • Co-branding makes it possible to develop a product line that is often sold in a separate distribution channel. • Co-branding makes it possible to move up a level in product quality/image. • Ingredient brands are a way to send a message about the product’s superior quality and to lift it above the mo re ordinary copies. • Co-branding is also a response to the fragmentation of the market and the emergence of communities (also on the internet). • Co-branding as licenses to boost sales for car models at the end of their life cycle when the product itself no l onger has the value of technical novelty. • Co-branding aims to provide a buzz around the brand among opinion leaders to create an image. • Co-branding is the visible – confidence -inspiring – sign of a brand union Method ology In this study, a literature review presents the relevant theories explaining brand heritage, brand stewardship framework, brand rejuvenation, and co -branding, covering the different aspects of each concept. In addition, a case study design was applied to accurately answer the research aim, using four cases regarding heritage brands co - branding, IKEA x Virgil Abloh (Off - White), Barbour x Noah, Goldman Sachs x Apple, Louis Vuitton x Supreme, which is a collective case study. The investigated cases were identi fied using the Brand Stewardship model (Urde et al., 2007) where one of the involved brands in the co - branding have been evaluated through the model’s five elements of heritage brands - hence identifying one true heritage brand in each of the collaboration s. Furthermore, as co-branding is not a new concept, a greater number of co -branding cases did match these criteria . This paper therefore added another criteria in selecting as diverse a sample of cases as possible given the time frame and available inform ation. Hence, this paper has identified four cases where exactly one in each collaboration is considered a heritage brand as well as covering three industries: Fashion (Louis Vuitton), Home furnishings ( IKEA) and banking (Goldman Sachs). This enables the paper’s analysis to cover a greater variety of examples to contextualize theories on. Case studies is furthermore an appropriate approach for our cause for multiple reasons. Firstly, the presented literature review has shown that brand heritage is consider ed an intangible and complex phenomenon within the brand -building process (Urde, Balmer & Greyser, 2007; Kapferer, 2012). To explore complex and dynamic phenomena, Bryman and Bell (2012) suggest that case studies can be a useful tool to concretize and contextualize theories onto live cases - thus creating a deeper understanding of the phenomena. It allows the researchers to obtain information on how co -branding affected the rejuvenation of heritage brands. Secondly, relatively few scholars have previously i nvestigated the direct role of co - branding and heritage brands in relation to rejuvenation. There is previous research analysing the effect of rejuvenation and heritage brands packaging (Orth et al., 2019) and brand rejuvenation on luxury fashion brands (N etek and Carbone, 2020). However, there is no research covering the topic of heritage brands and the reason for rejuvenation, through co -branding. The empirical information was gathered from secondary sources; hence, evaluation of each source is important. Therefore, the researchers would look at the author of the source, the year of publication and the credibility of the sources used (Bryman and Bell, 2011). Empirical Study Cases Goldman Sachs x Apple - the Apple Card Goldman -Sachs was founded in 1869 and has a rich heritage as one of the top global financial institutions. Goldman -Sachs delivers a wide range of financial services in investment banking, securities, investment management, and recently consumer banking. Its customer base includes corporations, fin ancial institutions, governments, and individuals (Goldman Sachs, 2021). In 2019 Goldman Sachs and Apple, together with Mastercard, launched the Apple Card in the United States (Apple, 2019). To create a credit card for Apple, Goldman Sachs, as the bank be hind the Apple Card, issued the credit card and Mastercard is serving as the global payment network (Apple, 2021). Apple Card is “an innovative, new kind of credit card”, according to the Apple announcement (Apple, 2021), as it is designed to support custo mers lead a healthier financial life through “simplicity, transparency, and privacy”. This is achieved through several innovative features (Apple, 2021), for example: • Easy application and approval within minutes for Apple users • No fees whatsoever – no cred it card fee, no transaction fee, and no late fees • Seamless and categorized display of purchases in real -time in the Apple wallet • Secure purchases through authorization with Face or Touch ID over the Apple device • Daily Cashback when spending directly with a pple or through Apple Pay Goldman Sachs, as the bank behind Apple Card, issued its first -ever credit card (Goldman Sachs, 2021). In 2015, Goldman Sachs decided to enter the consumer finance sector and as a result, acquired GE Capital Bank’s US online depos it platform that allowed it to serve as an online bank (Goldman Sachs, 2021). Goldman Sachs Chairman and CEO David Solomon put these ambitions into the following words: “We have the ambition to build a large, differentiated, highly profitable digital consu mer platform.” Through the Apple Card launch, Goldman Sachs entered new territory in the consumer finance area (Goldman Sachs, 2021). By working with the brand Apple, Goldman Sachs was able to reach the big and very loyal customer base of Apple, which woul d have been difficult to reach when creating a new credit card by themselves. This year the card was ranked highest in customer satisfaction in the mid -size issuer segment with a score of 864, which lies 47 points ahead of the second -placed issuer. Goldma n Sachs was the top performer in several categories, amongst others communication, credit card terms, interaction, key moments, and rewards according to J.D. Power’s U.S. National Banking Study (JDPower, 2021). Another project between the two brands is cur rently being developed: The Apple Pay Later - a Buy Now, Pay Later (BNPL) service, which relies on Goldman Sachs as the lender for instalment loans for Apple Pay users (Shevlin, 2021). Louis Vuitton x Supreme Louis Vuitton (LV) is a French fashion and luxury house founded in 1854 by Louis Vuitton, a French trunk maker, later leatherworker. Through the years, it has become one of the most influential fashion brands in the world. According to Forbes's annual ranking, in 2020, Loui s Vuitton is the 9th most valuable brand, all categories combined and is the world’s most valuable luxury brand (Forbes, 2021). According to the company, Louis Vuitton is a true heritage brand: “Our house is more than a name. It’s a state of mind. Louis. Y esterday. Tomorrow. Timeless. A legacy in the making.” (Louis Vuitton, 2021). In comparison, Supreme is a streetwear, skateboarding lifestyle, and fashion accessory brand founded in 1994 by James Jebbia, in New York City. Supreme releases new products (“dr ops”) through their retail locations around the world as well as their website on Thursday mornings in Europe and America, and Saturday mornings in Japan (Supreme, 2021). This strategy maintains the aura of “media bea st” that the brand creates. Through the years, the brand has gained in reputation thanks to its collaborations and co -branded product lines, making it highly popular with high demand and small supply. There have been various noticeable benefits during the collaboration between Louis Vuitton an d Supreme. In its first half of 2017, the LVMH group, owner of Louis Vuitton, achieved a turnover of € 23B (Saguez, 2017) and above all, a notable increase of 23% in its profits (Estiler, 2017). A strong correlation exists between this performance, unmatch ed to date by the luxury group, and the collaboration with the brand of James Jebbia. Indeed, by joining the two worlds of luxury and streetwear, the collaboration has aroused an almost disproportionate media enthusiasm, allowing the two brands to benefit from international media coverage and to create the interest of consumers of each brand in the other brand. Beyond that, it is also a collaboration that Clique (2017) describes as culturally important. This is not the first time that Louis Vuitton has supp orted street artists as well as innovation Thus, by creating this partnership with Supreme, the luxury giant is showing itself alongside a symbolically cool brand, creator of rarity, and which in a few years has become a global phenomenon (Clique, 2017). A s a result, this co -branding between the two brands initially allowed LV to restore its image to a young audience by showing itself close to a globalized popular culture, and, on the other hand, Supreme draws its benefits from this partnership by attractin g the luxury sphere’s consumers and showing how streetwear brands challenge the dominance of luxury brands “in the hearts and minds of younger consumers” (Diderich, 2017). Barbour x Noah Barbour is a British outdoor apparel brand founded in 1894 by John Barbour. Until today, it is still a family -owned business in the 5th generation that is true to its heritage and core values. The brand is generally known for its durable and high -quality outdoor jackets but offers a whole range of products designed f or a full wardrobe (Barbour, 2021). The brand has strong ties to tradition but has struggled to reach a younger target audience in the past. (Bottomley, 2018) Barbour’s Design Director, Ian Bergin, reveals that the brand had issues reaching the younger end of the market: “We thought we were targeting a younger consumer with our ‘heritage’ collection but, because it had a high design focus and was more expensive, it was just distributed to accounts we already dealt with. So, it seems, we were just targeting a more astute customer who was younger in the head.” (Bottomley, 2018). In Autumn 2020, Barbour, for the first time, co-branded a capsule collection with the New York City -based streetstyle brand Noah, which was founded by Supreme’s former creative directo r Brendon Babenzien in 2015. Noah (2021) identifies themselves as streetwear that incorporates the “rebellious vitality of skate, surf, and music cultures”. As a result of the first co -branded collection selling out extremely quickly due to the popularity and uniqueness of the co - branded products, a second co -branded collection was launched and again sold out quickly in Spring/Summer 2021. The result of both co -branded collections was reworked, and more youthful designs of Barbour’s signature products throu gh Noah’s rebellious street and surf aesthetic: a lightweight Bedale jacket rejuvenated with a bold sunflower yellow or an all -over zebra print, for instance (Davey, 2021). Barbour (2021) puts the collaboration into the following words: “This collaboration blends Noah’s rebellious aesthetic with Barbour’s iconic British style, to create a range full of innovation and quality.” The co-branded collections brought together two skill sets and created products that were difficult to achieve for both brands witho ut the help of another. The focus, for example, on print -centric jackets is not something Barbour typically offers in its jackets as it does not go with their quintessentially British design of products (Maoui, 2021). IKEA x Virgil Abloh (Off -White) IKEA is a well -known heritage brand that was founded in 1943 by Ingvar Kamprad. IKEA specializes in producing furniture “to create a better everyday life for the many people” (IKEA, 2021). The brand offers a variety of products to their consumers at the lowest prices possible to be affordable to them all, which is the business idea of IKEA. It is a brand that can be considered by many as the market leader of home furnishing, having 461 stores worldwide. Furthermore, one of the key values for IKEA as a herit age brand is to “renew and improve” (IKEA, 2021) their brand and their offering, to find solutions to problems. Another key value is “different with a meaning” (IKEA, 2021) relating to IKEAs willingness to take risks and test unconventional ways. A way IKE A lives up to these key values is through past collaborations that they have previously had in the past. One of these collaborations is IKEA x Virgil Abloh (Off -White), the founder and designer of the clothing brand “Off -White”. It is a company and brand that was founded in 2013 by Virgil Abloh, creating a combination of streetwear and luxury clothing. In 2017, IKEA and Virgil Abloh collaborated to create furniture that was designed to fit millennials. According to IKEA, Virgil Abloh has a sense of style a nd knowledge when it comes to the current trends of millennials and what it is, they are seeking. In addition, IKEA felt that there was no need for them to only focus within one field of creative discipline, they should work within all of them. The collabo ration was a combination of one of the largest furniture companies in the world with a fashion brand having one of the highest influences. The idea behind the collaboration was to create furniture that would be appreciated by millennials and would give the m the feeling of a home in their current living environment (IKEA Today, 2017). The collaboration between the two brands was a clever and well - planned strategy to target young consumers and plugging the products of IKEA (Frame, 2020). On the contrary, cert ain aspects of the collaboration were seen as not following the initiatives and values that IKEA possesses and portrays (Frame, 2020). It was said that due to the plugging of the collaboration and the limited availability of it, not being accessible to eve ryone and forcing some to have to buy the products on the secondary market for five times the price, reflects poorly on the sustainability values of IKEA. In addition, it was considered not to follow the environmental stewardship and competitive shopping products were seen as a contribution to the issue of ecological footprint, which is something that IKEA consistently works against, a wrong step taken by IKEA where consumers are prioritizing the brand over the function (Frame, 2020). Analysis Heritage Br ands When examining the above cases with the Heritage Quotient (HQ) framework developed by Urde, Balmer & Greyser (2007), it is discovered that the co -branding activities involve a heritage brand and brands without a heritage. As discussed by Urde, Balmer & Greyser (2007), the HQ is an integral part of heritage brands and it is through the framework a brand can be established as having heritage or not. Brand heritage is a time -consuming process, and it takes time in order to gain a strong identity and posit ioning in the market, therefore the brands IKEA, Louis Vuitton, Barbour, and Goldman Sachs are heritage brands as they are, to this day, still market leaders. These brands have all been present for a long period of time, hence they have a history (Goldman Sachs, 2021; Barbour, 2021; Louis Vuitton, 2021; IKEA, 2021). However, history is not the only element present in heritage brands. In the case of IKEA, their track record is a prominent element, their slogan “to create a better everyday life for the many p eople” (IKEA, 2021), is a promise they still fulfil to this day (Urde, Balmer & Greyser, 2007). Additionally, IKEA combines their longevity with their core values and successfully expresses their identity through their blue and yellow logo, a part of their use of symbols, as well as delivering affordable furniture to consumers (Urde, Balmer & Greyser, 2007; IKEA, 2021). These elements are clearly present in Barbour, Louis Vuitton, and Goldman Sachs as well. Through the HQ framework, it is clear that for the given cases, their heritage is a valuable asset and is part of their success as they continuously work on emphasizing the heritage. Brands without a heritage When looking into why those heritage brands might have chosen the specific co - brands without a heritage, several specifications they have in common become visible: 1. Youngness At the heart of the co -brands is their young age, i.e. the short time they all have existed and their young or young at heart leadership team and workforce. For example, the median employee age at Apple is 31 years old (Pelisson and Hartmans, 2017), Virgil Abloh ( Off-White founder), born in 1980, is touring as a DJ regularly (Yotka, 2018) and is the former Supreme Creative Director, and Noah founder, Brandon Babenzien, is deepl y rooted in surf and skate culture (Highsnobiety 2021). This youngness gives the brands a certain ability to try out new ways that heritage brands might not be able to go themselves. It enables them to connect with subcultures like Noah, Supreme and Virgil Abloh (Off -White) do, or with a young and tech -savvy demographic like Apple’s customer base. 2. Trend Setter/ Innovativeness All four cases feature co -brands to heritage brands that have a certain ability to deliver new and innovative products that can be seen as setting the trend and influencing the market they are in. Supreme, Virgil Abloh (Off-White), Noah and Apple are highly sought after and trendy brands, as discovered in the cases, and they all have a certain style and a distinct knowledge when it com es to trends and what the market wants. For that reason, collections of Virgil Abloh (Off -White), Supreme and Noah sell out in record time regularly and Apple fans camp in front of stores to be the first ones to receive new products (Newsflare, 2014). Thro ugh this, the brands are able to build a base of customers who enjoy setting trends themselves and who like to try out products that the less trend -savvy have not even heard of. 3. Modernness important to identity All co -brands portrayed in the cases are known for their modern and up -to-date presence. The companies presented are proud to not have existed for a long time and to bring some freshness to the market they are in. They communicate this internally, external ly, or both. As an example, Apple’s stores are known for their modern design that revolutionized retail architecture and design with their open spaces and glass walled fronts (Baldwin, 2021). 4. Use of symbols In this point the portrayed heritage brands and their co -brands are very similar. Both parties like to express their identity through certain symbols with which their followers can identify and connect with each other and the brand. Supreme for example has a very distinct logo that itself has reached cult-status and is being copied and put on clothes by other brands, like the company IBF that puts the Supreme Logo on their own pieces of clothing illegally (García & Gestal, 2019). Noah and Virgil Abloh (Off - White) too have very distinct logos t hat connect and unite fans. And, Apple’s logo, the iconic and simplistic image of an Apple that has a bite taken out, is just as famous as the company’s name (Eisingerich et al., 2009). 5. Core values Also in this point heritage brands and the co-brands portr ayed are very similar in that both have strong core values that are highly important to their identity and in defining the brand. The core values of the co -brand can be regarded as their internal compass that gives away where the brand is going and what its purpose and goal is. Just like with heritage brands, if the company can fulfil the core values it will build trust and increase its brand loyalty (Urde, Balmer & Greyser, 2007). As an example Noah has very strong core values towards sustainability and et hical production (Noah, 2021) and so does Barbour (2021). As a result the partnership works well as both brands share these integral values in their brand’s identity. In contrast Virgil Abloh (Off-White) as a luxury street style brand does not share IKEA’s core values of bringing affordable products to the people (IKEA, 2021) - therefore the co -branding activities received its fair share of criticism as aforementioned. With these insights a continued framework that is based on the HQ framework by Urde, Balm er & Greyser (2007) is proposed in figure 3 . Just as there are significant elements to heritage brands, we suggest the term ‘Novelty Brand’ for those brands without a heritage, that differentiate Figure 3: Effect of Rejuvenated Brand Identity through Co -Branding of Novelty Brands with Heritage Brands themselves with above mentioned characteristics. These novelty brands bring aforementioned qualities to the table which are highly beneficial for a rejuvenation process of a heritage brand. With the combined strengths th rough co -branding, the attributes of a heritage brand and the attributes of a novelty brand can benefit each other by adding dimensions into the respective brand identity which the brands would struggle to achieve on their own. Valuable assets Hence, heritage brands co -brand with novelty brands when wanting to rejuvenate since novelty brands add complementing values like young ness and innovative ness. On the other hand, heritage brands can become old and covered in dust in some cases, opposite characteristics of novelty brands. Novelty brands bring a valuable asset as they are often trend setters and advocates of change, they are constantly adapting to the current trends on the market. Therefore, allowing heritage brands to combat the signs of having an aging and outdated brand (Thomas and Kohli, 2009). The collaboration between a heritage brand and a novelty brand can cause an increase in turnover for the heritage brand (Saguez, 2017) as well as an increase in profits (Estiler, 2017) . It can a lso be seen that co - branding can cause an increase in media coverage for the brands that are involved and a spill -over effect in consumers taking an interest in the other brand, through the co-branding process (Saguez, 2017). The co-branding of a heritage brand with novelty brands allows it to develop the brand image that may otherwise prove difficult to target and allows for new segments (Kapferer, 2012) since novelty brands are considered trendsetters and young. This creates an innovation and develops the brand value for the heritage brand, which is seen as an essential aspect (Janošková et al., 2018). In addition, the heritage brands can reach a new group of loyal customers, where the novelty brand customer base become users of the heritage brand (Goldman Sachs, 2021). The co - branding creates an ability for heritage brands to develop their products and extend their brand. This contributes to the constant necessary building of brand and innovation relationships (Brexendorf et al., 2015). The capacity to al ter certain core features of their products is made possible through the co-branding (Maoui, 2021) and to alter aspects of the brand to encourage modernity (Müller et al., 2013). However, it is not only the brands without a heritage that offer an asset to the heritage brands, but the opposite as well. Heritage brands, due to their longevity and track record (Urde, Balmer & Greyser, 2007) can be seen as an anchor for other brands to lean on as they are well established within the market. Through co - branding, brands without a heritage can attract new customers that the heritage brand has achieved through longevity and build upon their core values. It allows for the brands without a heritage to achieve goals in a shorter period of time and to become a part of a new brand segment (Diderich, 2017). Although, there are negative situations and outcomes that heritage brands may find themselves in after co -branding. Even though heritage brands utilize co -branding as a way to increase relevance and as a facelift, bran ds may sometimes forget to keep their core values at the forefront of the collaboration. If the novelty brand does not align with some of the core values of heritage brands, it can be damaging to the track record as well as the core values of the heritage brand. The misalignment of the two brands can cause a negative backlash (Frame, 2020) and damage the view on the collaboration itself. Furthermore, the aim of the collaboration may be questioned when the heritage brand does not prioritize its values and th e process of rejuvenation, but instead prioritizing the novelty brand that they are collaborating with (Frame, 2020). Hence, it is important for heritage brands to not lose track of their core values and their HQ (Urde, Balmer & Greyser, 2007). Discussio n and conclusion This paper analysed how co -branding with a brand without a heritage can be utilized by heritage brands to rejuvenate. Through an inductive approach based on four case studies, this paper shows how and why heritage brands can engage in co -branded activities in order to rejuvenate. Indeed, brand identity represents vast aspects of an actual brand and the corporation since it for instance covers the vision, the missions, the values, and the legitimacy. Thus, heritage brands that engage in co -branding activitie s must be aware of all challenges brought by brand identity to make it become a successful strategic decision and minimize the risk of damaging it. The literature points out that brands can sometimes be forced to innovate if they want to stay relevant and reach the market’s leader position. Carrying a heritage, brands tend to be reluctant to innovate, thus, rejuvenate. Indeed, since they have a strong brand identity, almost carved in a rock, it may be intricate for them to take the risk of tarnishing it if negative outcomes had to happen with a co -branding partnership for example. However, the rejuvenation process is made possible by co-branding with novelty brands as proposed by the created framework. Hence, heritage brands can highly benefit from a co -branding partnership with novelty brands in order to rejuvenate since they are often trend setters and can bring youngness, modernness and convey strong symbols in regard to the brand image. Nevertheless, a co-branding strategy must be carefully considered beforehand and all the variables allowing to respect the brand stewardship must be imperatively respected in order not to create damage to the brand heritage. Implications and future research This concep tual paper presents a framework that can serve as a valuable tool for brand managers and the practical implications are threefold. First, the suggested co -branding framework can support heritage brands by accurately evaluating co -branding as a strategic de cision to rejuvenate. Secondly, as this research has taken on the perspective of heritage brands, it also helps to identify suitable novelty brands to engage in co - branding with - hence supporting managers in their strategic decision making to maximize the outcome of such collaborations. Third and lastly, by enabling heritage brands to understand how and why to engage in co -branding, the potential outcomes can be enhanced as well as identifying the involved risks and steer away from them. This paper also ad ds implications to the existing brand management literature by developing the understanding of how heritage brands more successfully can utilize their heritage values as well as the reasons for why rejuvenation and co -branding takes place. As there are ce rtain limitations to the study, there are aspects of it that should be researched in the future. First of all, it is advocated to look into whether the given framework developed, and the outcome of co-branding has the same effect when there are two heritag e brands involved in the process. Specifically, if it will have the same outcome or if there will be differences. Secondly, future research should investigate the effect of more than two companies co -branding and whether it is possible to do so. Moreover, the given framework developed from the research should be tested using a quantitative approach to accurately measure the potential benefits of co -branding. Lastly, as the research briefly touches upon potential benefits for the novelty brand, it would be interesting to further develop this understanding and particularly how novelty brands can benefit from co -branding with a heritage brand. Reference List Apple Newsroom. 2019. Press Release: Introducing Apple Card, a new kind of credit card created by Apple [online] Available at: <https://www.apple.com/newsr oom/2019/03 /introducing -apple -card -a-new -kind -of-credit -card -created -by-apple/ > [Accessed 8 October 2021]. Baldwin, E. (2021). The Immaculate Architectural Details of Apple Stores, Available online: https://architizer.com/blog/inspiration/colle ctions/apple -architecture/ [Accessed 14 October 2021 ] Barbour. (2021). Our History , Available online: https://www.barbour.com/ou r- history [Accessed 13 October 2021 ] Barbour. (2021). Noah , available online: https://www.barbour.com/noah [Accessed 13 October 2021 ] Bottomley, T. (2018). How Barbour is targeting a new generation of consumer with sub -brand Beacon, Available online: https://www.theindustry.fashion/how - barbour -is-targeting -a-new-generation -of- consumer -with-sub-brand -beacon/ [Accessed 14 October 2021] Brexendorf, T., Bayus, B. and Keller, K., 2015. Understanding the interplay between brand and innovation management: findings and future research direction s. Journal of the Academy of Marketing Science, 43(5), pp.548 -557. Clique. (2017). Supreme et Louis Vuitton : pourquoi cette collaboration est culturellement importante, Clique. Available online: https://www.clique.tv/collaboration -entre - supreme -louis -vuitton -importante/ [Accessed 13 October 2021] Cooper, H., Merrilees, B. & Miller, D. Corporate heritage brand management: Corporate heritage brands versus contemporary corporate brands . J Brand Manag 22, 412 –430 (2015). https://doi - org.ludwig.lub.lu.se/10.1057/bm.2015.17 Davey, J. (2021), Barbour Reunite with Noah for Youthful Spring/Summer ’21 Collection. Available online: https://www.complex.com/style/ba rbour -noah -2021 [Accessed 13 October 2021] Diderich, Joelle. (2017). Louis Vuitton to Unveil Supreme Collaboration at Men’s Show , Women’s Wear Daily. Available online: https://wwd.com/menswear - news/mens -fashion/louis -vuitton-supreme - collaboration -10754981/ [Accessed 13 October 2021] Estiler, Keith. (2017). Supreme x Louis Vuitton Collab "Highlighted" as a Reason for LVMH Sales Growth , Hypebeast. Available online: https://hypebeast.com/2017/7/lvmh -sales - up-2017 -supreme -louis -vuitton [Accessed 13 October 2021] Forbes. (2021). The World’s Most Valuable Brands . Available online: https://www.forbes.com/the -worlds -most - valuable -brands/#1f72a541119c [Accessed 14 October 2021] Eisingerich, A. et al. (2009). What makes brands achieve iconic status? [pdf],Available at: http://citeseerx.ist.psu.edu/viewdoc/downlo ad?doi=10.1.1.989.4814&rep=rep1&type= pdf [Accessed 16 October 2021] García, D., Gestal I. (2019) Supreme vs. Suprem e: the story of the streetwear king’s (legal?) fake. Available online: https://www.themds.com/companies/supre me-vs-supreme -the-story -of-the-legal - fake-of-the-streetwear -cult-brand.html [Accessed 13 October 2021] Ghauri, P., Cateora, P. (2022). International Marketing, 5th ed. London: McGraw Hill. Goldman Sachs. (2021). About Goldman Sachs. [online] goldmansachs.com. Available at : https://www.goldmansachs.com/about - us/index.html [Accessed 10 October 2021] Goldman Sachs. 2021. Marcus by Goldman Sachs Leverages Technology and Legacy of Financial Expertise in Dynamic Co nsumer Finance Platform. Available at: https://www.goldmansachs.com/our - firm/history/moments/2016 -marcus.html [Accessed 10 October 2021]: Highsnobiety. (2021). BRENDON BABENZIEN . Available at: https://www.highsnobiety.com/tag/brendon -babenzien/ [Accessed 13 October 2021] Ikea.com. 2021. IKEA . [online] Available at: https://www.ikea.com/us/en/?ref=gwp - start [Accessed 17 October 2021]. IKEA today, 2017. Tailor -made for Millennials by IKEA and Virgil Abloh . [online] About.ikea.com. Available at: https://about.ikea.com/en/life -at- home/behind -the- scenes/2017/11/10/tailormade -for- millennials -by-ikea-and-virgil - abloh [Accessed 14 Octob er 2021]. Janošková, K., Kral, P. and Krizanova, A., 2018. The Impact of Business Innovations on Brand Value. Mednarodno inovativno poslovanje = Journal of Innovative Business and Management , 10(2), pp.1 -7. JDPower. (2021). While Many U.S. Credit Card Issu ers Struggle to Meet Evolving Customer Expectations, Some Bright Spots Exist, J.D. Power Finds. Available at: <https://www.jdpower.com/business/press - releases/2021 -us-credit -card-satisfaction - study > [Accessed 12 October 2021]. Kapferer, J., 2012. The new strategic brand management . 5th ed. London: Kogan Page. Kenton, Will. (2020). Co-Branding , Investopedia. Available online: https://www.investopedia.com/terms/c/cob randing.asp [Accessed 09 October 2021] Louis Vuitton. (2021). Notre état d’esprit . Available online: https://jobs.louisvuitton.com/fra - fr/careers/patrimonial/notre -etat-desprit [Accessed 14 October 2021] Louis Vuitton. (2021). Nos audaces . Available online: https://jobs.louisvuitton.com/fra - fr/careers/patrimonial/nos - audaces [Accessed 14 October 2021] Maoui, Z. (2021). Presenting Noah and Barbour’s wet -weather -beating collection. Available online: https://www.gq - magazine.co.uk/fashion/article/barbour - noah -brendon -babenzien -interview [Accessed 14 October 2021] Müller, B., Kocher, B. and Crettaz, A., 2013. The effects of visual rejuvenation through brand logos. Journal of Business Research , 66(1), pp.82 -88. Netek, K. and Carbone, F., 2020. Drinking from the Fountain of Youth? Brand rejuvenation in the case of heritage luxury fashion brands . Master's Degree. Lund University. Newsflare. (2014). Apple fans camp outside London store. Available online: https://www.newsflare.com/video/22823/a pple-fans-camp -outside -london - store/apple -fans-camp -outside -london - store [Accessed 14 October 2021] Noah. (2021). About Noah. Available online: https://noahny.com/pages/about [Accessed 14 October 2021] Pelisson, A., Hartmans, A. (2017). The average age of employees at all the top tech companies, in one chart. Available online: https://www.businessinsider.com/median - tech-employee -age-chart -2017 - 8?r=US&IR=T [Accessed 14 October 2021] Orth, U., Rose, G. and Merchant, A., 2019. Preservation, rejuvenation, or confusion? Changing package designs for heritage brands. Psychology & Marketing , 36(9), pp.831 -843. Rose, G., Merchant, A., Orth, U. and Horstmann, F., 2016. Emphasizing brand heritage: Does it work? And how?. Journal of Business Research , 69(2), pp.936 -943. Saguez, Corentin. (2017). La collaboration Louis Vuitton x Supreme a fait exploser les ventes de LVMH, Views. Available online: https://views.fr/2017/07/27/collaboration - louis -vuitton -x-supreme -a-exploser -ventes - de-lvmh/ [Accessed 13 October 20 21] Shevlin, R. (2021). Apple And Goldman Sachs To Launch Apple Pay Later, A Buy Now Pay Later Service. Available online: https://www.forbes.com/sites/ronshevlin/2 021/07/13/apple -and-goldman -sachs -to- launch -apple -pay-later-a-buy-now-pay- later-service/?sh=b209f5560e52 [Accessed 13 October 2021] Supreme. (2021). About. Available online: https://www.supremenewyork.com/about [Accessed 14 October 2021] Thomas, S. and Kohli, C., 2009. A brand is forever! A framework for revitalizing declining and dead brands. Business Horizons , 52(4), pp.377 -386. Urde, M. and Greyser, S., 2016. The Corporate Brand Identity and Reputation Matrix – The case of the Nobel Prize. Journal of Brand Management , 23(1), pp.89 -117. Urde, M., Greyser, S. and Balmer, J., 2007. Corporate brands with a heritage. Journal of Brand Management , 15(1), pp.4 -19. ‘Was the Ikea x Virgil Abloh collection an exercise in hype -ocrisy?’ (2020) Frame , (132), pp. 20 –21. Available at: https://search -ebscohost - com.ludwig.lub.lu.se/login.aspx?direct=tru e&db=asu&AN=140307317&site=eds - live&scope=site (Accessed: 14 October 2021). Yotka, S. (2018). A Brief History of Virgil Abloh’s Meteoric Rise. Available at: https://www.vogue.com/article/virgil - abloh -biography -career -timeline [Accessed 14 October 2021]	[ "brand", "heritage", "co", "branding", "value", "apple", "product", "ikea", "urde", "available" ]	{ "summary": " \n \n \n \n \nStrategic Brand Management: Master Paper \n \n \nThe Strategic Brand Management: Master Pape" }
Introduction to Brand Colors in Theme Development.pdf	Introduction to Brand Colors in Theme Development0:03everyone this is Nick over at HubSpot0:04and today I wanted to talk to you about0:06how brand colors impact the athetics of0:08your theme when you're developing it for0:10the template marketplace now you're0:13probably asking yourself Nick why is0:15that even important well number one it's0:18important because it's a0:20requirement number two it's important0:22because it directly impacts the0:25usability of your theme when it comes to0:28customers building pages0:30interacting with the theme settings or0:33just interacting with your theme0:35overall let's take a look at theUnderstanding the Requirement for Brand Colors0:38requirement currently to be accepted0:40into the template Marketplace as a theme0:43you have to at a minimum have two color0:45fields that must inherit colors from the0:48account's brand settings now what does0:50that mean brand settings meaning0:52settings that are within your brand kit0:55now for those of you who are unfamiliarExploring the Brand Kit and Its Impact0:57with what a brand kit is or how it works1:01what I have here is my test portal1:03inside of the test portal let's assume1:06I'm a customer what I have here is I1:08have a brand kit set up for my company1:12let's say I sell widgets and this is my1:14company's brand kit now you'll find the1:17brand kits under the account setup1:20Account Details and then you'll see up1:22at the top here You've Got The Branding1:24tab that's where your brand kits will1:26live now for mine I have my HS test kit1:29which which again is my test kit for my1:33fictitious company so within that I'm1:37going to specifically focus on the1:38colors because brand kits are used1:42throughout HubSpot but I want to focus1:44in on the colors and how inheriting1:46those colors into your theme affect the1:49Aesthetics which then affect how the1:51customer interacts with the theme so1:55under the colors tab here what I have is1:57I have a primary color selected I'm1:59magenta color so for my widget company2:02its primary color is magenta now you can2:06always add more colors to this brand kit2:08and you can take them away but you have2:09to have a primary color2:11here so with that set let me show you2:15how this particular color when it's2:17inherited into the theme affects the2:21Aesthetics and affects how the user2:23interacts with your theme so what I haveEditing Theme Colors: A Practical Example2:27here is I have my test developer2:30portal what I've done is I've made a2:33copy of the boiler2:34plate and I've renamed it super awesome2:37and I'm looking currently right now at2:39the fields Json file so what I've done2:42is I've made one edit to this file on2:45line 738 here what I've done is I've2:47changed the forms title background to2:52the brand settings primary color so that2:54is the magenta that I showed you in the2:56previous tab so now at this point you're2:59probably saying okay Nick cool you know3:01how to edit a text that's really great3:04what does this do and why is this a3:06potential problem well let me show youThe Problem with Color Overlap in Themes3:10what changing this setting actually does3:13to your theme now it's important to note3:16too that in this example in the3:20forms the background color is now set to3:22the magenta but if you go a little bit3:24further down you'll notice the text3:26color is set to my themes set secondary3:30font color right that's this line here3:32761 that's going to be important in a3:34second and I'm going to show you why3:36let's take a look at what this looks3:38like in the actual theme settings when3:42you go to edit3:44them so what I've done is I've taken a3:48common module the form and I've dragged3:51it onto a page that I've created with3:54the homepage template in my theme as you3:57can see that background color4:00comes through perfectly right there's4:02the magenta but what you're also going4:04to see is the title that sits on top of4:07that background color is also4:09magenta now this is where that where I4:12showed you on the the title font why4:15this is important because what happens4:17right now in my particular theme is that4:21secondary color for the global fonts4:24pulls from the primary and my4:28primary pulls from the brand settings4:31primary color so again that magenta that4:33I referenced in the previous tab so what4:36that does is for the end user creates4:39magenta text on top of magenta4:41background which creates a poor user4:44experience when someone drags this in4:46for the first time as a form let's4:48say it looks like something's missing it4:52looks like there is no title it just4:53looks like one Big Blob of4:56magenta now this doesn't just Supply to5:00themes when you're developing individual5:02modules you can fall into the same5:04problem so the reason I bring this up isThe Importance of Planning Color Inheritance5:07because it it really is important a as a5:10both a module or theme developer to5:12really take the time and plan out where5:15you're going to inherit these brand5:17colors because it does have a direct5:21impact on the end user when they go to5:23use your theme whether that's dragging5:26the modules in like in this case if5:28you're dragging in a common form module5:30you're going to get this magenta on5:32magenta or when it comes to just editing5:35the theme settings alone because what5:37happens is let's say I overuse the5:41primary color within my theme and I5:43start applying it to multiple multiple5:46color options what you'll end up getting5:49at a certain5:50point is you a page of just full5:53magenta and as default content for when5:57a user first makes a page from your5:58template you want to give them a really6:01good example of what that template can6:03do or what that template is and the6:05Aesthetics that that template can6:07provide if you set everything to one6:10solid color like that it really does6:12take away from the work that you've done6:15so I do suggest that when you're6:19developing a theme for the template6:21Marketplace that inheriting the brand6:24colors to that theme plan it out just a6:27little bit test it out create a brand6:29kit within your developer portal so you6:32can see the6:33impact that those colors and where6:36they're being inherited from what6:39they'll do for the end user at the end6:40of the day so I hope this helps and bestConcluding Advice for Theme Developers6:43of luck in theme developing6:47thanks bye-bye	[ "color", "theme", "brand", "ive", "kit", "setting", "template", "test", "set", "magenta" ]	{ "summary": "Introduction to Brand Colors in Theme Development0:03everyone this is Nick over at HubSpot0:04and to" }
Glossary of Terms \| Berklee College of Music.pdf	Glossary of T ermsTerms Used in Writing SkillsTerms Used in Arranging 1Terms Used in Arranging 2Terms Used in Chord Scale VoicingsTerms Used in Ear TrainingTerms Used in Harmony 1Terms Used in Harmony 2Terms Used in Harmony 3Terms Used in Harmony 4Terms Used in Introduction to Music TechnologyTe r m s U s e d i n Wr i t i n g S k i l l s• beam: In music notation, the horizontal or near-horizontal line (orlines) that connects the stems of two or more notes, each less than aquarter note in value, occuring consecutively within a beat. In somecases, primarily with eighth notes, beams may encompass more thanone beat and up to two beats. There are two basic types of beams:primary beams and secondary beams.• Primary beams link entire note groups together. •Secondary beams define further subdivisions of a note-group beamedtogether by a primary beam. 8/13/24, 12:29 PMPage 1 of 15• Binary Form - Music which is divided into two parts.• Imaginary (invisible) Barline - Showing the beginning of a beatthrough the beaming of groups of eighth notes, sixteenth notes, ortriplets in certain time signatures, the most common of which are 4/4,6/8, 12/8, cut-time. In 4/4 and cut-time, the grouping of eighth notesshould show the start of beat three and the grouping of 16th notes andtriplets must show the start of all four beats. In 6/8, the fourth eighthnote must be visible. In 12/8, the seventh eighth note must be visible.Beams on eighth notes, sixteenth notes, or triplets should not crossover the imaginary barline.T erms Used in Arranging 1Also see Terms Used in Writing Skills• Anticipation - A technique of melodic or rhythmic alteration whichchanges a note that occurs on-the-beat to be played early resulting insyncopation. The most common anticipations occur one-half beat early(an 8th note anticipation), a quarter-of-a-beat early (a 16th noteanticipation), or one-third of a beat early (a triplet anticipation). Whenthe anticipation occurs in the melody, it is a melodic anticipation.Anticipations are sometimes also called "pushed notes" or "pushes."• Chord Tone - the pitches in a chord that determine its basic soundquality. Chord tones are the following:a. root, 3rd and 5th of a triad (major, minor, augmented or diminished).b. root, 4th and 5th of a triad (sus 4 triad).c. root, 3rd, 5th and 7th of seventh chords.d. root, 4th, 5th and flat 7th of a dominant 7th sus 4 chord.8/13/24, 12:29 PMPage 2 of 15e. root, 3rd, 5th and 6th of a sixth chord (major, minor).• Delayed Attack - A technique of melodic or rhythmic alteration whichchanges a note that occurs on-the-beat to be played one-half beat late(an 8th note delayed attack or hesitation), a quarter-of-a-beat late (a16th note delayed attack), one-third of a beat late (a triplet delayedattack), or one full beat late. The opposite of an anticipation. Delayedattacks are also commonly called "hesitations." As with anticipations,the result is syncopation.• Tension - a note (or notes) added to a major triad, minor triad, or sixthchord which represent the logical upper extensions of the triad (usingintervals of a 3rd). The following notes in a chord are consideredtensions: 7, b7, 9, b9, #9, 11, #11, 13, b13. These upper extension notes create "tense" musical and intervallicrelationships with the pitches of the major or minor triad in the chord.The chords that contain tension notes sound somewhat more unstablethan a 7th chord does. This is because the tensions "rub" against theother notes in the chord. Tensions create intervals of a richer or denserquality within the chord structure than those resulting from only thebasic chord functions (root, 3rd and 5th). The 7th of a chord is oftenconsidered a chord tone, rather than a tension.Tensions are considered non-chord tones (also called nonharmonictones), rather than chord tones, even when they are part of a chord.Tensions enhance or enrich the sound of the chord, and modifies the8/13/24, 12:29 PMPage 3 of 15basic quality of the chord sound. While a major chord with tensions stillhas a major quality as part of its sound, tension notes can mask thequality of the overall sound. Adding a sharp nine tension to a dominant7th chord is an example of such a mixture.See also Available Tensions in Terms Used in Harmony 1T erms Used in Arranging 2Also see Terms Used in Writing Skills and Terms Used in Arranging 1• Guide Tone Line - a unison background line which leads stepwise orthrough common tones of the harmonic progression, providing aneffective counterline accompaniment to the melody.• Low Interval Limit - The lowest point of an interval (from minor secondto major 10th) below which the interval begins to sound muddy orindistinct. The limits are not absolutes, but represent areas below whichthere is a real risk that the resultant sound will not work well within anormal harmonic context.• Spread Voicing - Open voicings of chords with the root of the chordon the bottom; sometimes referred to as "pads".Terms Used in Chord Scale VoicingsAlso see Terms Used in Writing Skills, Terms Used in Arranging 1, andTerms Used in Arranging 2• Chord Scale - A specific set of scalewise pitches that include thechord tones and available tensions of a given chord, along with anypassing tones that help definre the tonal or modal context of the chord.8/13/24, 12:29 PMPage 4 of 15• Modal Interchange - Using chord structures and their chord scalesfrom a parallel (having the same pitch axis) mode or scale.Terms Used in Ear Training•Ear Training: Music training that improves the skill of music translation.That skill is utilized in almost all aspects of music: music recognition,music reading, performing and composing. The training consists ofrhythmic, melodic (Solfege), and harmonic (chords and progressions)study, as well as performance and dictation.• Solfege: A system of melodic organization that uses syllables (DO REMI FA SOL LA TI DO) to designate pitches. Two common systems areMoveable-DO Solfege and Fixed-DO Solfege. • Moveable-Do Solfege: A method of solfege in which the root or tonicof the key is always "DO." This method focuses on understanding themelodic functions common to each key. This is the method used in theBerklee Ear Training courses.• Fixed-DO Solfege: A method of solfege in which the note "C" isalways DO, regardless of the key. This system focuses on intervallichearing.• Dictation: The process of translating music that is heard. Dictation isdone either by performing (sing-back or play-back), and/or by notatingthe music.8/13/24, 12:29 PMPage 5 of 15Te r m s U s e d i n H a r m o n y 1• Modes: Refers to the scales that are displacements of the majorscale. • Triad: A chord containing three notes, usually consisting of a root, athird above the root and a fifth above the root. • Seventh Chord: A chord containing four notes, usually consisting of atriad with a seventh above the root. • Available Tensions: Tensions are notes added to a seventh chord by8/13/24, 12:29 PMPage 6 of 15extending the chord upwards in thirds. Tensions are measuredintervallically above the root of the chord, and can consist of a minor,major or augmented ninth, a perfect or augmented eleventh and/or aminor or major thirteenth. Not every tension will work with every chordtype. The ones that do work with a specific chord type are said to be"available". See also Tension in Terms Used in Arranging 1• Diatonic Progression: Harmony made up exclusively of notes from thescale of the key. Te r m s U s e d i n H a r m o n y 2Also see Terms Used in Harmony 1• Secondary Dominants: Dominant chords that are expected to resolvedown a perfect fifth to a diatonic chord other than I. For example: V7/II(V7 of II), V7/III (V7 of III)8/13/24, 12:29 PMPage 7 of 15• Extended Dominants: A series of dominants without a direct keyrelationship, each one resolving down a fifth to the next. •Modal Interchange: Borrowing chords from a parallel mode. InHarmony 2, borrowing chords from natural minor to use in the parallelmajor. • Harmonic Continuity: Moving the notes of one chord as smoothly aspossible to the notes of the next chord (root motion is independent). Te r m s U s e d i n H a r m o n y 3Also see Terms Used in Harmony 1 and Terms Used in Harmony 28/13/24, 12:29 PMPage 8 of 15• Substitute Dominants: Also known as tritone substitutes, dominantseventh chords that contain the same tritone as the dominant chord forwhich they are substituting. (ex. G7 and Db7, Eb7 and A7, B7 and F7,etc.) Their expected resolution is down a minor second. •Diminished Chord: Diminished triad: a chord consisting of a root,minor third and diminished fifth. Diminished seventh chord: a chordconsisting of a root, minor third, diminished fifth and diminishedseventh. • Modulation: Within a piece of music, a change of tonal center (key) asperceived by the listener. Te r m s U s e d i n H a r m o n y 4Also see Terms Used in Harmony 1, Terms Used in Harmony 2, andTerms Used in Harmony 38/13/24, 12:29 PMPage 9 of 15• Compound Chord: A chord whose chord symbol consists of morethan one element. Also known as a slash chord. For example: G/B(inversion) , Fmaj7/G (hybrid), D (polychord), C7• Hybrid: A compound chord consisting of upper chord tones (exceptthe third) and tensions above the indicated root. Also known asincomplete chords or chords without thirds. • Inversion: A chord that is voiced with a chord tone other than the rootin the bass.For example: F/A, Gmaj7/D, Eb7/G •Polychord: A compound chord consisting of an upper chord over alower chord. • Constant Structure Progression: A chord progression consisting ofthree or more chords of the same quality.8/13/24, 12:29 PMPage 10 of 15Te r m s U s e d i n I n t ro d u c t i o n t o M u s i cTe c h n o l o g yStudents who wish to test out of MTEC-111: Introduction to MusicTechnology should know the meaning of the following terms andunderstand their application to music technology in cases whereeveryday usage is common:1/4" tapeA/DADBADCAdditive synthesisADSRAES/EBUAftertouchAliasingALUAMAmplitudeAnalogAnalog/Digital HybridAperiodicApple printer portsApplicationsASCIIAttenuationAttenuatorAuxiliary inputAverage levelBalanced and UnbalancedConnectionsNear fieldNetworksNoise ReductionNon-harmonicNon-normalledNormalledNyquistNyquist FrequencyOctaveOmni-directionalOperating systemsOpticalOscillatorOutputOvertonesOxidePan8/13/24, 12:29 PMPage 11 of 15Band Pass FilterBandwidthBaud RateBi-amplificationBinaryBitBit depthBits and BytesBits of resolutionBPMBuffersBussByteCardioidCD-ROMCD-ROM drivesCentsChannelChorusCircuitClangorousClippingClockClose boxCMOSCoincident pairCompressionCompression/rarefactionCompressorCondenser MicrophoneControllerController NumberCPUCrossoverCRTD/A,DACDaisy ChainParallelParallel communicationsParallel interfaceParametric EQPartialPC printer portsPeak levelPeriodicPeripherals,Permanent magnetPhantom powerPickup PatternsPitchPitch BendPitch ShiftingPlotterPolar PatternPolyphonicPolyphonyPortPost-faderPower BandwidthPre-delayPre-FaderPre-faderPreampPreamplifiersPrecedence effectPresetPrinterPrinthroughProgramProgram changeProtocolsProximity effectPull-Down MenusPZMQ8/13/24, 12:29 PMPage 12 of 15DASHDatabasesdBDecayDecibelDecimalDesktopDiaphragmDigitalDigitizing padDiskDisk DriveDisk storageDistortionDocumentsDOSDoublingDVDDynamic MicrophoneDynamic RangeEarly ReflectionEmailEnvelopeEPROMEqEqualizersExpansionFaderFar fieldFileFiltersFinderFirst ReflectionFlagsFlangingFloppiesFloppy DiskFM SynthesisQuantizationRAMRatioRCA jackReal-timeReleaseRemovable hard disksResolutionResonanceReturnReverbReverberation and DelayRibbon MicrophoneROMRotating headS/PDIFSample playbackSample RateSample rateSamplersSaveSCSISendSequencerSequencingSerialSerial communicationsSerial InterfaceShelving EQSignal ProcessingSignal-to-Noise RatioSineSizingSlapbackSnakeSoloSong position pointerSound design8/13/24, 12:29 PMPage 13 of 15FolderFormantFormatFrequencyFrequency ResponseFundamentalGainGain-stagingGateGigaGraphic EQGraphic EqualizerHalf StepHard DiskHard disksHarmonicHarmonic SpectrumHeadroomHertzHexadecimalHigh-pass FilterHzImpedenceInches Per SecondInputInsertInternetIPSJoystickKeyboard ControllerKiloLANLayeringLEDLevel to tapeLFOLibrarianLimiterSound engineSound ModuleSound SystemSoundfileSpaced pairSpectrumSPLSplitter TransformerSpreadsheetsStackStage BoxStar network?Ring network?NodesStep inputStereoStorageSubtractive SynthesisSummingSustain PedalSynchronizationSynthesizerSynthesizer VoiceSystem ExclusiveSystem FolderSystem real-timeTape HissTape storageTape WidthThresholdTimbreTouch screensTouch sensitiveTrackTrack WidthTransducerTransient responseTransientsTrash can8/13/24, 12:29 PMPage 14 of 15LimitingLoudnessLow-pass FilterMacOSMacrosMagnetic FluxMagneto-opticalMale/femaleMaster FadersMDMMegaMemoryMenuMIDIMIDI controllersMIDI InterfaceMillivoltMini plugMixing board (console, desk)ModeModemMonitor LoudspeakerMonitor/cue mixMonoMouseMovingMulti-effectsMulti-samplingMulti-taskingMulti-timbralMuteTri-amplificationTrimTRS (Tip-Ring-Sleeve)TweeterUnbalancedUnixVCA/DCAVCO/DCOVelocityVoiceVoice coilVoltVon Neumann architectureVUWaveformWavetable SynthesisWebWheelWindowsWindows 3.1, 95, and 98WooferWord processingWow & FlutterXLR8/13/24, 12:29 PMPage 15 of 15	[ "chord", "note", "used", "term", "th", "root", "pmpage", "tension", "n", "also" ]	{ "summary": "Glossary of T ermsTerms Used in Writing SkillsTerms Used in Arranging 1Terms Used in Arranging 2Term" }
Music Technology Core \| Berklee College of Music.pdf	IN THIS SECTIONMusic Technology CoreThe music technology core, in combination with arranging, ear training, conducting, harmony, and tonal harmony andcounterpoint courses, will provide you with a broad-based musical vocabulary, important skills for your major studies, anda well-rounded musical background. For those who feel that they already have a strong background in music technology,we provide an opportunity to test out of MTEC-111: Introduction to Music Technology.View a glossary of terms used in Introduction to Music Technology.Entrance RequirementsRequired of all students.Learning OutcomesUpon completion of this program, students will:1. Use their laptop, the wireless network, and an online learning management system to manage their course work;2. Conﬁgure and troubleshoot the basic MIDI and audio capabilities in a laptop music system;3. Identify and use different types of software electronic instruments;4. Record and edit audio using their laptop computer;5. Produce instrumental, electronic arrangements using music production software;6. Distribute their music productions using standard formats;7. Understand and use basic music technology terminology; and8. Recognize and discuss basic music production techniques.Curriculum and CoursesMTEC-111: Introduction to Music TechnologyNEXT STEPSHOW TO APPLYREQUEST INFORMATION !8/13/24, 12:34 PMPage 1 of 3BERKLEENOWThe latest sounds, stories, ideas, and events.Email AddressSUBSCRIBESUBSCRIBESUBSCRIBESUBSCRIBEGet more informationFirst Name Last Name Email Address What level are you interested in? What do you want to study? High School Graduation Year Who are you? * SubmitUndergraduatePlease select...Please select...Please select...By submitting this form you are agreeing to receive communications from Berklee and to have your information processed in accordance with the terms of our Privacy Policy. Berklee will not sell or rent your information to third parties and you may unsubscribe at any time.8/13/24, 12:34 PMPage 2 of 3LibrariesBookstoreAlumni MagazineJobs at BerkleeBerklee PressHire Berklee TalentDirectionsSchedule a TourCampus MapContact Us PoliciesAccreditationNotices and DisclosuresAccessibilityPrivacy PreferencesCopyright © 2024 Berklee College of Music8/13/24, 12:34 PMPage 3 of 3	[ "music", "berklee", "technology", "introduction", "use", "laptop", "basic", "using", "production", "information" ]	{ "summary": "IN THIS SECTIONMusic Technology CoreThe music technology core, in combination with arranging, ear t" }
tL-mark:pr:managemtn:ar.pdf	DIGI WETPROOFDesigner Prod Controller Pub MonthCHRIS SARA 1/21 Format Trim Page Size Print Size Spine WidthROYAL TPB 153 X 234 MM 153 X 234 MM 43.5 MM Finish Special Colours Inside Cov Printing Endpapers Case Stock Case Foil H&T BandsMATT LAM - - - - - - EDITOR ED2 EDITOR ED2IMAGES PRODUCTION XSPECIAL INSTRUCTIONSCOVER SIGN OFF FINAL PRINT SIGN OFFNOT FOR EXTERNAL USE NOT FOR EXTERNAL USE FINISHES £0.00 From Apple to YouTube, Google Play to Spotify, the music industry has changed more in the last few years than ever in its entire history. For the ﬁ rst time, music is now monetized by listening, not by selling something. What does this mean to aspiring and established artists and songwriters? How does the new world work? How do you protect yourself? Donald Passman is one of the most trusted music lawyers in the world. In this easy-to-use manual, he draws upon his unparalleled experience to provide a clear-eyed explanation of how to create, sell, share and protect your music. Chris Organ is a leading UK music industry lawyer with forty years of experience and a worldwide reputation. He contributes his extensive expertise to provide the UK-based perspective for artists operating in this new world. Whether you’re a musician or songwriter, an agent or a manager, this is the essential guide to everything you need to know about the music business. ISBN 978-0-241-30206- 4 9780241 30206490000ALL YOU NEED TO KNOW ABOUT THE MUSIC BUSINESS DONALD S. PASSMAN WITH CHRIS ORGAN 9780241302064_MusicBusiness_COV.indd All Pages 19/10/2020 12:13 Copyrighted MaterialAll You Need to Know About the Music Business TenTh ediTion Donald S. Passman Illustrations by Randy Glass Copyrighted Materialalso by donald s. passman The Amazing Harvey The Visionary MirageAll You Need to Know About the Music Business TenTh ediTion Donald S. Passman Illustrations by Randy GlassAll You Need to Know About the Music Business TenTh ediTion Donald S. Passman Illustrations by Randy Glass Copyrighted MaterialRevised and UpdatedAll You Need to Know About the Music Business TenTh ediTion Donald S. Passman Illustrations by Randy Glass PENGUIN BOOKSwith Chris OrganAll You Need to Know About the Music Business TenTh ediTion Donald S. Passman Illustrations by Randy Glass Copyrighted MaterialPENGUIN BOOKS UK \| USA \| Canada \| Ireland \| Australia India \| New Zealand \| South Africa Penguin Books is part of the Penguin Random House group of companies whose addresses can be found at global.penguinrandomhouse.com. First published in the United States of America by Simon & Schuster 1991 UK edition first published in Penguin Books 1995 Revised editions published 1994 , 1998 , 2002 , 2004 , 2008 , 2011 , 2014 This revised and updated tenth edition first published in the UK by Penguin Books 2021 001 Copyright © Donald S. Passman, 1991 , 1995 , 1998 , 2000 , 2002 , 2003, 2004 , 2007 , 2008 , 2009 , 2011 , 2014 , 2021 The moral right of the author has been asserted Set in 11 /13 pt ITC Galliard Typeset by Jouve (UK), Milton Keynes Printed and bound in Great Britain by Clays Ltd, Elcograf S.p.A. The authorized representative in the EEA is Penguin Random House Ireland, Morrison Chambers, 3 2 Nassau Street, Dublin d02 yh68 A CIP catalogue record for this book is available from the British Library ISBN: 978 –0–241–30206 –4 www .greenpenguin.co.uk Penguin Random Hous e is commi tted to a sustainable futu re for our business , our re aders and our planet. /T_his book is made fr om Fo rest Stewardship Council® cer tiﬁed pa per. Copyrighted MaterialDid You Know That . . . • Most record deals don’t require the record company even to make a record, much less to release it? • You don’t have to register in Washington to get a copyright? • If we write a song together, and you write only the lyrics and I write only the music, each of us owns a piece of the music and each of us owns a piece of the lyrics? And that neither of us can use just the music, or just the lyrics, without paying the other? • Prior to 1972, the United States had no copyright law prohibit- ing the unauthorized reproduction of records? • Some film music composers can’t even write music, much less create the arrangements for each instrument of an orchestra? • A brain surgeon and a rock star have something in common? Copyrighted MaterialCopyrighted MaterialTo my precious Shana, and our growing family: Danny, Soundis, David, Rona, Josh, Lindsey, Jordan, Dorianne, Benjamin, Talia, Billy, Noa, Leo and Helen. Copyrighted MaterialCopyrighted MaterialAcknowledgments PLEASE READ MY THANK- YOUS. I KNOW IT’S A BUNCH OF PEOPLE YOU’VE PROBABLY NEVER HEARD OF, BUT THINK HOW MUCH YOU’D WANT OTHER PEOPLE TO READ IT IF YOUR NAME WAS HERE. No creative work is ever the product of one person alone (no matter how tempting it is to believe my own hype), so I want to acknowledge and thank all the following people for their inspiration and help: Payson Wolff and Bruce Ramer, my mentors and spiritual brothers. Bea Shaw, my mommy, who helped edit the first edition, and who paid for my first soft- drink stand. Snuff Garrett, for believing in me early on. Mike Gorfaine and R. Diane McKain, for their invaluable advice on film and TV music. Gene Salomon, for his invaluable input and strategic thinking (“always study the endgame”). Ethan Schiffres, the rock star lawyer. Rob Light, for help with the touring section. Ed Ritvo, for the confidence to do all sorts of things. Larry Apolzon and Steve Bigger, for help with protecting the rights in names. Peter Anderson, for the copy-right infringement section. Dave Dunton (in the very beginning) and Stephanie Frerich, for getting this book into the hands of readers. Alan Garner, for his extraordinary communication skills and advice on con- versation, books, and salesmanship. Kim Mitchell, my incredibly indis-pensable assistant. Jules Levine and Corky, for having bulldogs. Michael Cannon Jr., for his cleverness in updating the royalty chart. In addition, the following people (in alphabetical order) generously shared their expertise: David Altschul, Jill Berliner, Don Biederman, Kevin Breen, Nancy Chapman, David Cohen, Gary Cohen, Glenn Del- gado, Bruce Eisenberg, Steven Fabrizio, Gary Ford, Russell Frackman, Dell Furano, Steve Gawley, Neil Gillis, Mark Goldstein, Lauren Gor - don, Trudy Green, Jeff Hill, Zach Horowitz, Cathy Jacobson, Howard Kaufman, Larry Kenswil, Steve Lyon, Jay Morgenstern, Jay Murray, Michael Ostroff, Ed Pierson, Peter Reichardt, Bruce Resnikoff, Jack Rosner, Tom Ross, Joe Salvo, Rose Schwartz, Joel Sill, Patricia Smith, Lon Sobel, Mike Steinberg, Sandy Tanaka, Lance Tendler, Ray Tisdale, Tracie Verlinde, Wayne Volat, Lenny Waronker, and Ron Wilcox. FOR THIS TENTH EDITION: special thanks to (alphabetic- ally): Olivia Barton, Lenny Beer, Ken Bunt, Tom Cavanaugh, Gary Copyrighted Materialx Acknowledgments Cohen, Patti Coleman, Peter Edge, Paula Erickson, Richard Feld- stein, Marc Geiger, Lee Goforth, Wendy Goldstein, David Israelite, Joe Kluger, Albrecht Klutmann, David Kokakis, Dennis Kooker, Mi- chael Kushner, Tom MacDougall, Alli Macgregor, Brian Meath, John Meglen, Irwin Nachimson, Brad Prendergast, Bobby Rosenbloum, Andrew Ross, Steve Schnur, Sarah Scott, Cary Sherman, Mike Stein-berg, Helen Stotler, Scott Swift, Lisa Thomas, Jake Udell, Mat Vlasic, Emily White, Ron Wilcox, Pat Woods, Simon Woods, and Matt Young. FOR THE UK EDITION: Thanks enormously to Chris Organ, and to his colleagues on this project Sam Willmott, Mark Walker, Alex Cole, Lewis Lawrence, Steven Tregear, Jo Brittain, Sarah McIntosh, Liam Alt, and Bina Mistry for their extraordinary work in this substan-tial revision. The lot of you made Chris look even more brilliant. For prior UK editions, which still form a chunk of this edition, thanks to James Ware, Rupert Sprawson, Joanna Stephenson and Gillian Baxter for their extensive help, as well as (alphabetically) Tim Allen, Ed Bic k - nell, Michelle Brown, Steve Cooke, Terry Foster- Key, David Gore, John Kennedy, Bill Ladas, Roger La- Haye, Craig Logan, Michael Smith, and Stuart Souter. Copyrighted MaterialIMPORTANT The materials in this book represent the opinions of the author and may not be applicable to all situations. Many circumstances appear similar, but differ in respects that may be legally significant. In add- ition, laws and customs change over time, and by necessity of the lapse in time between the writing and printing of this book, some aspects may be out of date even upon first publication. Accordingly, the author and publisher assume no responsibility for actions taken by readers based upon the advice offered in this book. Each reader should use caution in applying any material contained in this book to his or her specific circumstance, and should seek the advice of an appropriate professional. (Author’s note: Use your common sense and be careful!) Copyrighted MaterialCopyrighted MaterialContents 1. First Steps 1 State of the Union 1 Open Up and Say “Ahhh” 3How I Got Started 3Brain Surgery 5Jungle Maps 6Details 7Some Results 7Staple, Spindle, and Mutilate 7Choose Y our Own Adventure 10 PART I Y our T eam of Advisors 2. How to Pick a Team 15 Getting Y our T eam T ogether 15Business Philosophy 15Hiring a T eam 17Changing a T eam Member 32Cocktail Party Talk 34 3. Personal Managers 36 Role 36Commission Overview 37Negotiating the Manager’s Deal 38Picking the Right Manager 52 Copyrighted Materialxiv Contents 4. Business Managers 55 Role 55 How to Pick a Business Manager 56Business Manager Checklist 57Fees 60Y our Half of the Job 61 5. Attorneys 63 Picking a Lawyer 63Fees 66Conflicts of Interest 67Attorney Checklist 69 6. Agents 71 Role 71Fees 71Deal Points 72Picking an Agent 75 PART II Record Deals 7. Broad- Strokes Overview of the Record Business 79 Industry Structure 79A Word About Retailers 83Do Y ou Need a Record Label? 85What’s a Record? 88Masters 89Royalty Computation 90 8. Advances and Recoupment 97 Advances: The Basic Concept 97Other Goodies 99 Cross- Collateralization 100 9. Real- Life Numbers 103 Overview 103Royalties 106Advances 112360 Rights 119 Copyrighted Material Contents xv 10. Other Major Deal Points 127 Amount of Product 127 How Long? 132Delivery Requirements 137Guaranteed Release 139Controlled Compositions 141Greatest Hits 142Live Albums 142Independents Day 143 11. Producer and Mixer Deals 146 What’s a Producer? 146Royalties 147Advances 150Other Royalty Computations 151Who Hires the Producer? 153Mixers 158 12. Advanced Royalty Computations 160 Royalties for the United States 160Foreign Royalties 160Electronic Transmissions 162 On- Demand Streaming 163Downloads 171 Non- Interactive Streaming and Satellite Radio 172Streaming 172Master Licenses 174Samples 174Guest Artists, Featured Artists, and Joint Recordings 174Apps 176Ringtones and Ringbacks 178Video Games 178Bundles 179T elevision Advertising 179Podcasts 180Multiple Albums/Box Sets 180Dearly Departing Contract Clauses 181DVDs 186Accounting 187 Copyrighted Materialxvi Contents 13. Advanced Record Deal Points 189 Exclusivity 189 Websites 195 Single- Song Videos 196Independent Promotion and Radio Concerts 198Merchandising Rights 200T our Support 203T erritory 206Creative, Marketing, and Other Controls 207Artwork 208Union Exploitation Charges 210 14. Loan- out, Independent Production, Label, and Distribution Deals 213 Loan- out Deals 213Independent Production Agreements 217Joint Ventures/Profit Share 227Distribution Deals 231Upstream Deals 233 PART III Songwriting and Music Publishing 15. Copyright Basics 237 Basic Copyright Concepts 238What Are All These Rights Y ou Get? 239Exceptions to the Copyright Monopoly 241Compulsory Mechanical Licenses 242 16. Publishing Companies and Major Income Sources 249 Publishing Overview 249Sources of Income 254Public Performance Royalties 254More About Mechanical Royalties 262Streaming and Downloads 263Music Modernization Act 272 17. Even More Publishing Income 276 Synchronization and Transcription Licenses 276 Copyrighted Material Contents xvii Samples 284 Foreign Subpublishing 286Printed Music 294Controlled Composition Clauses 298Maximum Rate per Song 300Maximum Rate per Album, EP, and Single 303 Bonus Section! How to Set Up a Publishing Company 307 18. Songwriter, Co- Publishing, and Administration Deals 311 Songwriter Agreements 311What’s In the Pot? 313Charges Against Royalties 317Not So “Off The T op” Charges 318Copyright Ownership 319 Single- Song Contracts 320T erm Songwriter Agreements 320Pop Quiz 328 Co- writes (Songs Written by T wo or More Writers) 328Creative Control 330Reversion of Copyright 332Administration Agreements 334 Co- Administration Agreements 336Writing T eams 337Now Look Where Y ou Are! 340 19. Advanced Copyright Concepts 342 Who Owns the Copyright? 342Works for Hire 345Duration of Copyright 348Right of T ermination 352Public Performance of Masters 353What Happens When Someone Rips Off Y our Copyright? 363 20. Even More Advanced Copyright Concepts 376 Sound Recording Copyrights 376How to T erminate a Copyright Transfer in Y our Spare Time, for Fun and Profit 378 Extension Rights 380The Copyright Notice 384Registration and Deposit 385Moral Rights 387 Copyrighted Materialxviii Contents PART IV Group Issues 21. Groups 393 Group Provisions in Record Deals 393 Trivia Quiz 395Internal Group Deals 397 22. What’s in a Name? 408 Rights in a Name 408 PART V T ouring 23. Personal Appearances— Touring 423 Roles of T eam Members 423Marketing 430Personal Appearance Deals 431New Artists 432Midlevel Artists 434Heritage Acts 435Superstar T ouring 436VIP Ticketing 441Sponsorship 441Hall Fees 442Riders 442I’ll Take the Whole Thing . . . 445 Multi- Show Deals 446Lining Y our Pockets with More Gold 448 PART VI Merchandising 24. Tour Merchandising 455 T our Merchandisers 456Royalties 456Hall Fees 457 Copyrighted Material Contents xix Advances 459 T erm 460Advance Repayment 461Exclusivity 462Creative Control 462 Sell- off Rights 464Bootleggers 465 25. Retail, Direct to Consumer (D2C) Merchandising, and Fan Clubs 466 Retail Merchandising 466 Royalties 467Other Deal Points 468Direct to Consumer (D2C) (E- commerce/Internet Sales) 469 Fan Clubs 470Caution 471 PART VII Classical Music 26. Classical Music 475 T erm and Product 477Royalties 478Advances 479Mechanical Royalties 479Marketing Tie- ins 480 PART VIII Motion Picture Music 27. Overview of Motion Picture Music 485 Introduction 485One Song— Eight Deals 485 The Rights Involved 486 Copyrighted Materialxx Contents 28. Performer Deals 488 Overview 488 Rights Granted 490Performance in the Film (No Record Rights) 488Record Rights to Film Performances 493 29. Film Songwriter Deals 500 T erminology 500Deal Points 500 30. Composer Agreements 507 Deal Points 507Package Deals 516Creative Financing 520T elevision Composers 521Video Game Composers 525 31. Licensing Existing Recordings and Existing Songs for Motion Pictures 527 Master Licenses 527 Licensing Existing Musical Compositions for Films 531Film Music Quiz 531 32. Music Supervisors 533 Role 533Motion Picture Supervisor Fees and Royalties 534T elevision Supervisors 535 33. Soundtrack Record Deals 536 Score Albums 536Song Albums 537Other Issues 537 Appendix: Ye Olde Royalty Calculations 541 Phony Free Goods 542 “90%” of Net Sales 544 Conclusion 545 Index 547 Copyrighted Material1 First Steps STATE OF THE UNION This tenth edition is the most extensive rewrite of my book since the first edition. That’s because the music industry has changed more radi-cally in the last few years than at any other time in its history. Let me explain. Since the 1890s, music has been monetized by selling something: wax cylinders, piano rolls, shellac records, vinyl records, cassettes, CDs, and cheesy merchandise (well, I guess we’re still doing that). But the business is no longer based primarily on sales. Spotify, Apple Music, Amazon Music, YouTube, and similar services have revolu- tionized how people consume music, so that streaming is now the dominant revenue source for recorded music. And this change is WAY more drastic than you might think. Consider this: 1. In the past, when record sales were the mainstay of the recorded music business, you could go to a record store and buy two or three records at a time. Today, you can only stream one song at a time. That may not seem like a big deal, but . . . 2. In the days of sales, an artist was paid the same money for each record sold, regardless of whether a buyer listened to it a thou- sand times or never took it out of the shrink wrap and used it as a doorstop. But today, the more listens you have, the more money you make. However . . . 3. In the old days, if my records sold big numbers, it didn’t make any difference to the number of sales you had. Your fans would buy your albums, and my fans would buy mine. In fact, if you had a big seller, it would bring a lot of people into record stores, and that increased the chances of selling my records. But in the Copyrighted Material2 ALL YOU NEED TO KNOW ABOUT THE MUSIC BUSINESS streaming world, that’s no longer true. For reasons we’ll discuss later, the more listens you get, the less money I make. A truly radical change. The good news is that, after fifteen years of music revenue falling like buckets of rocks, we had our first earnings increase in 2016. And every year after that, we’ve had double- digit growth. All because of streaming. We still have a way to go— at the time of this writing, the recorded music business is a little over 60% of what it was at its peak in 1999. But I predict it’s going to be bigger than it’s ever been in history. Why? In 1999, the historical peak of the music biz, an average CD buyer spent about $40 to $50 per year on CDs; let’s call it $45. Today, with subscriptions priced at $10 per month, the average per- subscriber fee is about $7 (because of student and family discounts). So let’s use $7 per month, which means a music fan spends about $84 per year. That’s almost double the $45 of CD purchases we got from each fan in the good ol’ days. On top of that, the number of subscribers is growing all over the world. But wait . . . there’s more! In the heyday of the music biz, the aver - age CD buyer stopped going to record stores (or even listening to much music) in their early twenties. Today, people of all ages sub- scribe to streaming services (oldsters listen to Lawrence Welk, and youngsters want stuff like “Baby Shark,” a song that can mercilessly eat your brain). Which means streaming is not only generating more money per user (the $84 vs. $45 in the above example), but it’s also bringing in a wider range of consumers than ever before. How can the industry not be bigger than ever? Another radical shift in the last few years is how the concept of an “album” is being challenged. What does an “album” mean in the streaming age, when you can listen to just the tracks you like? Why should artists even bother to make albums when they can release indi-vidual songs as soon as they’re ready? And if albums go away, what does that mean for recording contracts that have always been based on the delivery and release of albums? For example, if your contract re-quires you to deliver three albums, but nobody wants albums any-more, how do you ever finish the deal? And that’s just a taste of what’s new in this edition. There’s also an update of all the current industry figures, a new section on the recent copyright infringement cases, an overview of the Music Moderniza-tion Act, updated sections, and much, much more. All waiting for you just inside the tent. Copyrighted Material First Steps 3 So step right up, folks, and lemme show you how the music busi- ness is shifting around like a Rubik’s cube. OPEN UP AND SAY “AHHH” For many years I taught a class on the music business at the University of Southern California Law School’s Advanced Professional Program. The class was for lawyers, accountants, record and film company ex- ecutives, managers, agents, and bartenders who wanted to manage groups. Anyway, at the beginning of one of these courses a friend of mine came up to me. She was an executive at a film studio and was tak-ing the class to understand the music biz as it relates to films. She said, “I’m here to open up the top of my head and have you pour in the music business.” I loved that mental picture (because there’s a lot of stuff I’d love to absorb that way), and it spurred me to develop a pain- less way of infusing you with the extensive materials in this book. So if you’ll sit back, relax, and open up your mind, I’ll pour in all you need to know about the music business (and a little more for good measure). HOW I GOT STARTED I really love what I do. I’ve been practicing music law for over thirty years, and I represent recording artists, songwriters, producers, music publishers, film music composers, industry executives, record compa- nies, film companies, managers, agents, business managers, and other assorted mutants that populate the biz. I got into this gig on purpose, because I’ve always loved creative arts. My first showbiz experience was in grade school, performing magic tricks for assemblies. I also started playing accordion in grade school. (I used to play a mean accordion; everyone applauded when I shook the bellows on “Lady of Spain.” I gave it up because I found it impossible to romance a girl while wearing an accordion.) In high school, I graduated from accordion to guitar, and in college at the University of Texas, I played lead guitar in a band called Oedipus and the Mothers. While I was with Oedipus, we recorded a demo that I tried to sell to our family friend Snuff Garrett (more about him later). Snuff, a powerful record producer, very kindly took the time to meet with me. That meeting was a major turning point in my life. Copyrighted Material4 ALL YOU NEED TO KNOW ABOUT THE MUSIC BUSINESS Snuff listened to the record, smiled, and said, “Don . . . go to law school.” So I took Snuff’s advice and went to Harvard Law School. While I was there, I played lead guitar with a band called the Rhythm Method. But it was quickly becoming clear that my ability to be in the music business and eat regularly lay along the business path. When I graduated, I first did tax planning for entertainers. Tax law, like intricate puzzles, was a lot of fun, but when I discovered there was such a thing as music law, the electricity really turned on. In fact, I took the USC class that I later taught, and it got me so excited that I left the tax practice for my current firm. Doing music law was so much fun that it wasn’t even like working (I’m still not over that feeling), and I enjoyed it so much that I felt guilty getting paid (I got over that). My first entertainment law experience was representing a gorgeous, six- foot model, referred to me by my dentist. (I promised him I would return the favor, since most of my clients had teeth.) The model was being pursued (I suspect in every way) by a manager who wanted a contract for 50% of her gross earnings for ten years. (You’ll see how absurd this is when you get to Chapter 3.) Even then, I knew this wasn’t right, so I nervously called up the guy to negotiate. I still re- member my voice cracking as I said his proposal was over the industry standard, since most managers took only 15% (which was true). He retorted with “Oh yeah? Who?” Well, he had me. I wasn’t really sure what managers did, much less who they were. So I learned my first lesson in the art of humility. As I began to really understand how the music business worked, I found that my love of both creative arts and business allowed me to move between the two worlds and help them relate to each other. The marriage of art and commerce has always fascinated me— they can’t exist without each other— yet the concept of creative freedom, and the need to control costs in order to have a business, are eternally locked in a Vulcan death match. Which means the music business will always need lawyers. Anyway, I now channel my creative energies into innovative busi- ness deals, and I satisfy my need to perform by teaching, lecturing, and playing guitar. Just to be sure I don’t get too straight, however, I cycle through my weird assortment of hobbies: magic, ham radio, weight lifting, guitar, dog training, five- string banjo, karate, chess, poker, backgammon, and real estate investment. I also write novels, which you are all required to buy. Copyrighted Material First Steps 5 BRAIN SURGERY Speaking of marrying creativity and business, I’ve discovered that a rock star and a brain surgeon have something in common. It’s not that either one would be particularly good at the other’s job (and I’m not sure which crossover would produce the more disastrous results), but rather that each one is capable of performing their craft brilliantly, and generating huge sums of money, without the need for any financial skills. In most businesses, before you can start earning big bucks, you have to be pretty well schooled in how the business works. For ex-ample, if you open up a shoe store, you have to work up a budget, ne- gotiate a lease, bargain for the price of the shoes, and so forth— all before you smell that first foot. But in entertainment, as in surgery, you can soar to the top without any business expertise. Making a living from a business you don’t understand is risky. Yet a large number of artists, including major ones, have never learned such basics as how record royalties are computed, what a copyright is, how music publishing works, and a number of other things that directly affect their lives. They don’t know this stuff because (a) their time was better spent making music; (b) they weren’t interested; (c) it sounded too complicated; and/or (d) learning it was too much like being in school. But without knowing these basics, it’s impossible for them to understand the different aspects of their professional lives. And as their success grows, and their lives get more complex, they get even more lost. While it’s true that some artists refuse to even listen to business talk (I’ve watched them go into sensory shutdown if you so much as men- tion the topic), others get very interested and study every detail of their business lives. The vast majority, however, are somewhere in the middle. They don’t really enjoy business, but they want to participate intelligently in their career decisions. These artists are smart enough to know one simple thing: No one ever takes as good care of your business as you do. It was for my moderately to seriously interested clients that I devel- oped a way to explain the basics in simple, everyday language. With only a small investment of time, these clients understood the essential concepts, and everyone enjoyed the process (including me). It also made an enormous difference in the artist’s self- confidence about his or her business life, and allowed them to make valuable contributions to the process. Because the results of these learning sessions were so positive, Copyrighted Material6 ALL YOU NEED TO KNOW ABOUT THE MUSIC BUSINESS several clients asked if we could explore the subjects more deeply. Thus the conception of this book. I had just finished teaching my class on the music biz at USC and realized that my class notes were the outline of a book. So after some more research to flesh it out, I sat down and knocked out the first edition. The book is designed to give you a general overview of the music industry. You can read it as casually or intensely as suits your interest level, attention span, and pain tolerance. It’s not written for lawyers or technicians, so it doesn’t include the minutiae you’ll find in a textbook for professionals. Instead, it gives you a broad overview of each seg- ment of the industry, then goes into enough detail for you to under - stand the major issues you’re likely to confront. JUNGLE MAPS When I was in high school, a policeman named Officer Sparks spoke at an assembly. Mr. Sparks hyped us on the life of a crime fighter, seeming sure we all secretly wanted to be cops. In the process, he showed us something I’ll never forget. Officer Sparks ran a film in which the camera moved down a street. It was a grainy black- and- white movie, only about thirty seconds long, filmed by a camera bobbing along a sidewalk. When it was finished, he asked if we’d seen anything unusual. No one had. Apart from a couple of people bouncing in and out of the doorways, it looked pretty much like pictures taken by a camera walking past a row of boring shops. Mr. Sparks then said that a “trained observer” who watched the film could spot six crimes being committed. He showed the film again and pointed out each of the incidents (there was a quiet exchange of drugs, a pickpocket, etc.). This time, the crimes were obvious. And I felt like a doofus for missing them. Any time I learn a new skill, I go through a similar process. At first, things either look deceptively simple, or like a bewildering blur of chaos. But as I learn what to look for, I see a world I never knew was there. From my experience, the best way to become a “trained observer” is to have a guide to the basics— a framework in which to organize the bits and pieces. So that’s the purpose of this book— to be a map through the jungle, and show you where the crimes are. (Officer Sparks, if you’re out there somewhere, I hope you’re proud.) Copyrighted Material First Steps 7 DETAILS There is no way one book (even one filling several volumes) could poke into every nook and cranny of a business as complicated as the music business. So the purpose here is to give you the big picture, not all the details. (Besides, for some of those details, I charge serious money.) Also, even if I tried to lay out all the little pieces, as fast as everything moves in this biz, it would be obsolete within a few months. So the goal is to give you a broad overview (which doesn’t change nearly as quickly, or at least it didn’t until this edition). The idea is to give you a bare tree on which to hang the leaves of your own experience. Oddly, it’s easier to pick up details (from the Internet, gossip at cocktail par - ties, etc.) than it is to learn the structural overview, because few people have the time or patience to sit down and give it to you. In fact, giving you the overall view turned out to be a much bigger job than I thought when I started. But you’re worth it. SOME RESULTS Since this is the tenth edition, I now have feedback from experiments using this book on actual human subjects. Of all the responses I got, I thought you might enjoy hearing about two in particular: First, I received an irate call from a music lawyer, who was upset because he charged thousands of dollars to give clients the advice I had put in the book. Second, I received an equally irate call from a manager, who said that most of the artists he’d approached kept pushing my book in his face. Way to go! Keep shoving.And if you’ll permit me a momentary lapse of modesty, my favorite compliment was from someone who said this was the first book he’d ever finished in his life. STAPLE, SPINDLE, AND MUTILATE When you go through this book, forget everything you learned as a kid about taking good care of books, treating them as sacred works of art. Read this book with a pencil or highlighter in your hand. Circle or star passages you think you’ll need, fold over pages, mark them with Copyrighted Material8 ALL YOU NEED TO KNOW ABOUT THE MUSIC BUSINESS Post- its, paper clips, or bong water— whatever helps (unless you’re read- ing an electronic edition, in which case you might want to lose the bong water). This is an action book— a set of directions on how to jog through the music biz without getting mugged. So treat it like a comfortable old pair of shoes that you don’t mind getting dirty. It doesn’t matter what they look like, as long as they get you where you’re going. Hello, UK chaps. (That’s what you like to call each other, right?) This is the United Kingdom version of the book, and a number of the practices and customs are different from those in the United States (for example, did you know we drive on the right side of the road in the US?). To keep the book’s flow, I’ve added sections that point out the differences between US and UK industry practices and laws. That way, you can get an in- depth understanding of how it works in the United States, which still accounts for a nice chunk of the world’s music sales and which is important even if you’re signing to a UK- based record company. At the same time, I’ll go into how the UK scene works, so you can have the best of both worlds. To make it easy (particularly if your attention span is somewhere near mine), I’ve asked the publisher to put a snappy little Union Jack in the margin next to each section that deals specifically with a UK concept. That way you can bounce through the book and find them easily. After years of doing this across the pond, with a lot of help from UK folks, I’ve now forged an alliance with my pal Chris Organ, who’s tak- en the laboring (labouring) oar on the UK side of things. Even though we’ve both written the UK sections, I’ve kept it as “I” because “we” sounds a bit too royal. So if a joke is funny, I wrote it; if not, Chris did. One more thing: I’ve taken the liberty of rewriting some of Chris’s language to sound a little more American. You’re welcome, Chris. Chris, introduce yourself to the folks: When I turned up to the offices of WEA Records in Broadwick Street, Soho, London in April 1980 for an interview for a job as an articled clerk with Russells Solicitors I thought my nascent career as a solicitor ended right there. How could I have been so stupid to get the address wrong— especially as I had not exactly been inundated with offers to that point? In the pre- Internet/mobile phone days there was no way of check- ing, but as luck would have it I had brought with me the letter inviting me for an interview, and sure enough there was the address— 20 Broadwick Street. I then noticed a name plate on the side of the en- trance: “Russells Solicitors.” Copyrighted Material First Steps 9 I entered through a reception hung with gold and platinum discs of artists, many of whom featured in my own record collection. Even as I made my way to whatever floor Russells was located on, it still didn’t occur to me that lawyers might specialize in the music industry— that would be too much luck. Anyway, as soon as I found out that not only did Russells at that time specialize almost exclusively in the music industry, it was con- sidered to be one of the leading practitioners, I decided that this was what I wanted to do and would have paid them for the chance to show them what I could do. (Come to think of it I practically did!) I started work on 1 August 1980 as one of two articled clerks in a three- partner firm located in WEA’s building, as they were one of our main clients at the time. Nearly forty years later, I am still here and am now the senior partner in a thirteen- partner firm with three consultants, six senior associates, thirteen further solicitors, four trainee solicitors, two paralegals, fourteen other members of staff, still located in central London (although not in the WEA building), and Russells is still re-garded as one of the leading firms of entertainment lawyers, having ex-panded now into many areas of the entertainment business as well as providing most of the legal services that our clients require (from house purchasing, to prenups through to the buying and selling of companies and dealing with privacy issues and claims). And in the shameless plug department, feel free to look us up at www.russells.co.uk. I have had and continue to have a blast, having been lucky enough to represent some of the finest artists and executives of their gener - ation as well as sportsmen and sportswomen, managers, authors, la-bels, publishing companies and other companies and entities within the entertainment business. I have helped Don with the UK edition of his book for a number of years and was chuffed when he asked me to co- author this tenth edi- tion, which pleased me greatly, because Don doesn’t know what “chuff” means. In truth the book is essentially his, and the humorous slant is uniquely his. I was under firm instructions to leave the snark to him. I am proud to be associated with what I believe is a very accessible introduction to a business which has given me the best career I could have wished for but also complements other related activities with which I am also now involved such as The Young Vic and the music industry charity Nordoff Robbins. In signing off I would like to thank all of my colleagues at Russells who helped me compile and check the UK insertions. Copyrighted Material10 ALL YOU NEED TO KNOW ABOUT THE MUSIC BUSINESS CHOOSE YOUR OWN ADVENTURE When my sons, David, Josh, and Jordan were little, their favorite books were from a series called Choose Your Own Adventure. They work like this: You start reading the book on page one and, after a few pages, the author gives you a choice. For example, if you want Pinocchio to go down the alley, you turn to page fourteen, but if you want him to go to school, you turn to page nineteen (my boys never picked school). From there, every few pages you have more choices, and there are several dif-ferent endings to the book. (The boys liked the ending where everyone gets killed, but that’s another story.) These books are not meant to be read straight through; if you tried, you’d find yourself crashing into different plots and stories. Instead, you’re supposed to skip around, following a new path each time. This concept gave me the idea of how to organize this book. You have a choice of reading for a broad overview or reading in depth, and the book tells you where to skip ahead if you want to do this. However, unlike the Choose Your Own Adventure books, you can read straight through with little or no damage to the central nervous system. Here’s how it’s organized: Part I deals with how to put together a team to guide your career, consisting of a personal manager, business manager, agent, and attorney. Part II looks at record deals, including the concepts of royalties, advances, and other deal points. Part III talks about songwriting and publishing, including copy - rights and the structure of the publishing industry, as well as a section on protecting your name from people who want to pirate it. Part IV explores things you’ll need to know if you’re a group. Part V deals with concerts and touring, including agreements for personal appearances, and the role of your various team members in the process. Part VI, on merchandising, tells you how to profit from plastering your face on posters, T- shirts, and other junk. Parts VII and VIII explore classical music and motion pictures. They’re the last sections because you need to understand all the other concepts before we can tackle them. Copyrighted Material First Steps 11 Now, to choosing your adventure. You have four mouth- watering ways to go through this book: 1. EXTREMELY FAST TRACK If you really want a quick trip, then: (a) read Part I, on how to pick a team of advisors; (b) get people who know what they’re doing;(c) let them do it;(d) put this book on your shelf to impress your friends; and (e) say “Hi” to me backstage at one of your concerts. 2. FAST TRACK Short of this radical approach, if you want a broad- strokes over - view of the business, without much detail, skip ahead each time you see the FAST TRACK directions. 3. ADVANCED OVERVIEW If you want a more in- depth look, but less than the full shot, then follow the ADVANCED OVERVIEW directions. This will give you a solid overview, plus some detail on each topic. 4. EXPERT TRACK For you high achievers who want an in- depth discussion, simp- ly read straight through. Feel free to mix and match any of these tracks. If a particular topic grabs your interest, keep reading and check out the details. (Amaz-ingly, topics that grab your interest tend to be things currently happen-ing in your life.) If another topic is a yawn, Fast Track through it. So let’s get going. Everybody starts with Part I. Copyrighted MaterialCopyrighted MaterialPART I Y our T eam of Advisors Copyrighted MaterialCopyrighted Material2 How to Pick a Team GETTING YOUR TEAM TOGETHER Let’s talk about the professionals you’ll need to maximize your career and net worth. The main players are your: 1. Personal manager. 2. Attorney. 3. Business manager. 4. Agency. 5. Groupies. With respect to number 5, you’re pretty much on your own. As to the others, let’s take a look: As we’ll discuss later, UK, lawyers come in two flavors: “solicitors,” who are transactional lawyers, and “barristers,” who take people to court (or serve coffee at Starbucks). So when you see “solicitor” used in the UK portions, it doesn’t mean people standing on street corners. Hopefully you’ll never need a barrister, so we’re ignoring them for the most part. And as we’ll also discuss later, business managers are not as common in the UK (except for those who handle the other kinds of solicitors on the street corners). BUSINESS PHILOSOPHY Before we talk about the specific players, let me share a bit of personal philosophy. (If “share” is too California for you, try “Let me tell you some of my personal philosophy,” or the New York equivalent, “Yo, listen up, I’m talkin’ to you.”) Copyrighted Material16 ALL YOU NEED TO KNOW ABOUT THE MUSIC BUSINESS Take a hard look at some facts: 1. You are a business. Even though your skills are creative, you’re capable of generating multimillions of dollars, so you have to think of yourself as a business. 2. Most artists don’t like business. This is not to say you aren’t good at it. Some artists are unbelievably astute in business. How - ever, those folks are the minority, and whatever their love and skill for business, their love and skill for creating and performing are much bigger. So even if you’ve got the chops to handle your own business, it’s not the best use of your time. 3. Success hides a multitude of sins. This is true in any business, from making widgets to making music. If you’re successful, you can get away with sloppy operations that would bankrupt you if times were bad. For example, putting all your pals on the payroll, buying lots of non- income- producing assets (such as houses, jets, and other things that cost you money to maintain), as well as an overindulgence in various legal and illegal goodies, can easily result in a crash and burn if your income takes even a small dip, much less a nosedive. You can make more money by cutting costs than you can by earning more income (see page 448 for proof of this), so the time to operate efficiently is NOW, not later. 4. Your career is going to have a limited run. Don’t take of- fense at this—“limited” can mean anything from a year to fifty years, but it’s going to be limited. In most other careers, you can expect to have a professional life of forty- years plus, but as an entertainer in the music business, this rarely happens. And the road is strewn with carcasses of aging rock stars who work for rent money on nostalgia tours. So take the concentrated earnings of a few years and spread them over a forty- year peri- od, and you’ll find that two things happen: (a) the earnings don’t look quite as impressive; and (b) this money may have to last you the rest of your life. It’s certainly possible to have a long, healthy career, and to the extent you do, the need for caution diminishes radically. However, even the best entertainers have slumps, and very few have really long careers. So it’s best to plan as if your career isn’t going to last, then be pleasantly surprised if it does. Setting yourself up so that you never have to work doesn’t stop you from working all you like— it just becomes an option, not an obligation. Copyrighted Material How to Pick a Team 17 HIRING A TEAM The way you pick your professional team will either set up your career and finances for life, or assure you a place on the next Electric Prunes tour. So be very careful and pay attention personally to the process of assembling them. I know you don’t like to deal with this stuff, but it’s your career and your money, and you have to do it every now and then. If you pick the right people, you can set your life on automatic pilot and just check up on it periodically. If you pick the wrong people and set it on automatic pilot, you’ll smash into a mountain before you know what happened. Pre- team Strategies Since you wouldn’t open a store without something to sell, before you start assembling a team, you want to be sure your music is ready for the big time. And how do you know when it’s ready? You ask your tummy. Do you believe, in your gut, that your music has matured to the point that you’re ready for a professional career? If the answer is yes, then you’re ready. (Tummies are reliable indicators once we learn how to listen to them and dismiss the goblins that yell, “You’re a phony and nobody wants you.” Even the superstars have these goblins; they’ve just learned to ignore them.) The first thing is to record your music. The recording doesn’t have to be expensive or elaborate— with the advent of relatively inexpensive computer software, you can get a very professional sound in your bed-room. The important thing is to capture your energy, enthusiasm, and drive. You know what I mean. A word about what kind of music to make. It’s simple— you make the music that moves your soul. No one has ever had a serious career by imitating others, or trying to guess what the public wants. And I’ll tell you a secret: What the public wants is someone whose music res-onates from their heart. Doesn’t matter whether you’re the commer - cial flavor of the month or an obscure blend of reggae and Buddhist chants. All the superstars I’ve known have a clear vision of who they are and what their music is. Okay, you got your music. How do you get a fan base (besides your mom)? A lot of artists start by playing whatever local gigs they can get. This is not only to attract fans, but also to tighten up your musical chops and get experience playing live. When you do this, get your fans to Copyrighted Material18 ALL YOU NEED TO KNOW ABOUT THE MUSIC BUSINESS sign up for your email list at every show. It’s crucial to build a database (as we’ll discuss in a minute), and a lot of artists give away something as an incentive to build one. For example, everyone who signs up gets a pin or sticker. Even if you only add a few new folks at each gig, you can eventually build a following that helps spread the word about your music and grow itself virally (assuming your music doesn’t suck). You can then organize the list using FanBridge, MailChimp, or a similar service. Another way to add to your database is by giving a free song to anyone who signs on to your email list for the first time. There’s soft-ware to capture email addresses in exchange for songs at places like CASH Music (www.cashmusic.org), FanBridge (www.fanbridge.com), and Bandcamp (https://bandcamp.com). Of the three, CASH Music has the advantage of being open source (and free), as it’s based on the principle that everyone donates resources and uses the platform to help other artists. You can also offer a song in exchange for a fan post on Twitter, using “Tweet for a Track” (www.tweetforatrack.com). And check out blogs like Hypebot for the latest and greatest DIY marketing and promotional tools in real time. The idea is to build a fan list that you own. The lists of fans who follow you on Facebook, Twitter, Instagram, etc. are owned and con-trolled by Silicon Valley folks, not by you, which means they control if and how you can reach them. Once you have a list, stay in touch with your fans on a regular basis. Direct them to your sites on YouTube, Facebook, Twitter, Sound- Cloud, Medium, Bandcamp, Instagram, etc., as well as your own web- site. Promote yourself through email or texting (I’m told there are some services that manage mass texting, though I don’t have any ex-perience with them). When you contact fans, have something interesting to say, and the more personal you make it, the better. Which of these would hit you harder? 1. “We’re playing in Schenectady tonight” or 2. “Hey, Clarence, did you know we’re in town tonight? Come see us.” (Assuming your name is Clarence and you live in Sche- nectady, otherwise, it’s not quite as effective . . . ) Another way that artists engage fans is to run a contest. For exam- ple, if fans re- tweet or share a post about one of your shows, they can Copyrighted Material How to Pick a Team 19 enter a drawing for free tickets. That makes your promotion easily shareable and viral by nature. (Technically, there could be some issues with the laws that govern sweepstakes, lotteries, and things like that, but artists do quite a lot of this, and I’m not aware of anyone getting hassled for small- scale stuff. Note: the key word in the prior sentence is “aware.” Sweepstake laws are way outside my wheelhouse, so don’t take my word on it. You should talk to your lawyer if you’re going to do this.) I’m told Patreon (https://www.patreon.com) can be useful in cre- ating a relationship with your most hard- core fans (and developing revenue opportunities with those folks). The key is (a) to create unique opportunities for your fans (maybe they get a free ticket if they buy one, a chance to meet you after a gig, or you volunteer to help clean their garage— well, maybe not the last one), and (b) to create unique content, such as exclusive video chats, access to new recordings, or exclusive videos of you in the studio. However you handle it, make sure you’re giving as much as you’re getting, so the fans don’t feel ripped off. Also, it’s important that what you give away or sell them is consistent with your image, so you don’t come off like Chuck E. Cheese. When you send out blasts to your database, don’t be afraid to tell your fans what you want them to do. For example, tell them to come to a show with a friend. Ask fans to tweet at clubs saying they want to see you. Encourage fans to listen to you on Spotify to increase your play count numbers. Ask them to tell their friends about your music. Write to bloggers and Spotify playlist curators and offer them an ex- clusive premiere of an unreleased track. And speaking of bloggers, it’s important for you to personally write them. A lot of bloggers love to hear from artists who genuinely like their blog (insincere kissing- up doesn’t work, unless you’re really good at it). If you can connect, try to cultivate a genuine relationship. Send music early, offer to put them on your guest list at shows, help clean their garage (still kidding about that one). I’ve been told (but have no experience with this) that SubmitHub (www.submithub.com) is another way to get music to the bloggers, though there’s a charge for it. If you’re big enough to have a publicist, they can sometimes help with bloggers, but tastemakers usually know that those folks are getting paid to pitch your music. While blogs might be a bit less relevant than they were a few years ago, because fans are looking more to playlists to find new music, the Copyrighted Material20 ALL YOU NEED TO KNOW ABOUT THE MUSIC BUSINESS blogs are still important. And if you’re featured on one, you can add that to your press kit, which you can send to promoters (the people who book live gigs), streaming services, record companies, garage cleaners, and so forth. You can get free, basic data from Facebook Insights, Google Ana- lytics, and Spotify Artist Insights. And when you get that data, it can put your booking strategy on steroids— for example, you’ll be able to see where your fans are clustered, so you can strategically target those markets rather than just booking gigs in East Bumbleton and hoping the farmers show up. Another great way to build visibility is by getting your songs placed on TV shows or in commercials. Sites like Music Dealers (www.music- dealers.com), Pump Audio (www.pumpaudio.com), Jingle Punks (www.jinglepunks.com), Secret Road (www.secretroad.com), and Zync (www.zyncmusic.com) can help with that. A sincere email to these folks is a great way to start, and it’s worth some homework to find out who’s the key person at each organization. Since they get a lot of these emails, try to differentiate yourself from the masses by pointing out something you’ve got going (“I’ve got 100,000 follow-ers on Instagram”), or if there isn’t much happening, mention some- thing about the person you’re writing to (“I saw you recently got an award for your sponge collection. Congrats!”). If they do bite, you won’t likely get much money for the use of your recording, but you’ll spread your music to a wider base. If by some fluke you land a really big use, you still may not get much money up front, but you can earn some decent songwriter monies from airplay of the TV show or com- mercial (these are called performance royalties, which we’ll discuss on page 254). If you’re a writer, this kind of activity can also get you noticed by a music publisher, who may give you money for your songs. (We’ll talk about publishers in Chapter 16, but essentially they handle the busi- ness of songwriters, as opposed to the business of recording artists.) In the meantime, sign up for an organization like SongTrust, who will collect music publishing income on your behalf. This is critical to have in place when you land such placements. You’ll also need to affiliate with a performing rights organization, which we’ll talk about on page 255. If you get noticed by a “tastemaker” (an important blogger, jour - nalist, radio station, etc.), be sure to say thanks. You can do it on social media, but try something else to make your “thanks” unique. For example, instead of email, call them on the phone (that’s what people Copyrighted Material How to Pick a Team 21 did in the old days before texting). Or send a handwritten card. Or mail them a piece of Tupperware with the word “Thanks” written on the lid. This kind of follow- up not only builds goodwill with the tas- temaker, but it hopefully also spreads your name to their audience. And keep the tastemaker’s info on file for future use, to let them know what you’re up to. Similarly, it can help expand your base if you’re able to connect with other artists on Instagram or Twitter and start a tweety love fest. Fans love to eavesdrop on artists talking shop, and you can also get exposed to their fans. Similarly, if you can get support for your videos and music via chan- nels with large followings on YouTube and SoundCloud, you’ll ex- pose your music to an even wider audience that was handpicked by that channel. Reach out to these channels and try to start relation- ships. Offer them premieres and exclusive content. Or to clean their garage. When you’re more established, give your database fans a chance to hear your music ahead of everyone else. Tell them about a secret show or webcast. Let them have first crack at your tickets. Some bands do lifecasting, where they communicate with fans a number of times each day. For example, they might get on Facebook Live while headed to a gig; blast out backstage updates through Instagram or Twitter; send pictures and video teasers of themselves onstage through Instagram; forward videos of themselves in the bathtub with rubber duckies, etc. It’s great if you can post every day on your social media (primarily Facebook, Twitter, and Instagram, plus Snapchat if your fans are there). Mix up your posts and don’t use auto- share or posting pro- grams because those put the same content everywhere. You want to engage your fans, not spam them with the exact same posts on all networks. There are obviously tons of additional ways to market yourself, so let your imagination take flight and go for it. A number of websites can help with marketing, both in terms of specific tools and general advice, but because I don’t use them myself, I can’t really recommend any particular one. Some of my friends have suggested CASH Music, BandPage, Bandcamp, Hypebot, Digital Music News, and Midem’s blog. Of course, with all these techniques, be sure to stay on the right side of the line between keeping people intrigued and becoming the pushy egomaniac at the party. Back to a forty- thousand- foot view: Make sure you stay focused on Copyrighted Material22 ALL YOU NEED TO KNOW ABOUT THE MUSIC BUSINESS creating your music as the first priority, with marketing as the second. Some people recommend that you spend no more than an hour a day on social networking/promotion, so that you don’t use up all that creativity and have none of it left for your music. Others prefer going in streaks of posting, and then holing up in the studio when they need to create. Or mix and match. Okay, so you’ve got a killer recording and you’re ready to boogie. Next question is whether you want to sign to a record company or do it yourself. We’ll discuss later, on page 85, whether you actually want to sign or not, but for now, let’s assume you do. In this day and age, before a label will sign you, they expect you to have a decent- size fan base and hopefully one or two other goodies in your story, like high streaming numbers on SoundCloud, Spotify, Apple Music, or YouTube with a low skip rate (meaning people don’t move to the next song a few seconds after yours starts), or positive words from an important tastemaker. And even after you’ve done that, and even though most labels have scouts monitoring the Internet for hot new artists, unless a lot of people are going nuts over you, it’s not likely anyone will call out of the blue. As with most things in life, you gotta make it happen yourself. And now, ladies and gentlemen, a bit of a bummer: The major re- cord companies (not so much the independents) don’t listen to new artists’ material unless they’re submitted by someone in the business. It’s usually a manager or attorney, though it could be an agent or a respected tastemaker. (I hate delivering bad news, but look at the bright side: I just saved you two months of waiting for a form email that says they won’t consider your stuff because it didn’t come from someone in the biz.) The reason is that record companies can get more than a thousand submissions per week, so restricting who can send in material is one way to regulate the floodgates. However, it’s also a Catch- 22: How can you get your music heard if you’re not al- ready connected in the business, and how do you get connected in the business if you can’t get heard? Don’t despair; I’m going to give you the key to the door. Namely: The key is to get yourself a lawyer or manager to shop your music, which leads nicely into our next topic. Who’s On First? The first person on your team is almost always a manager or a lawyer. In your baby stages, the manager is not likely to be someone in the busi- Copyrighted Material How to Pick a Team 23 ness; it’s more likely a friend or relative with a lot of enthusiasm. While this can be a major plus (as we’ll discuss in more detail when we talk about managers on page 36), it may or may not get your music to the record companies. So if you have an inexperienced manager, or if you have no manager at all, a music industry lawyer can really help. Record companies prefer to deal with people they know, meaning your music will get heard much faster, and by more important people, if it’s sub-mitted by an industry lawyer. It’s much easier to get a music lawyer than a manager. Why? Because the time required of a lawyer is minimal compared to the time a man-ager has to devote. The manager is expected to help you with songs, image, bookings, babysitting (you, not the kiddies), etc., but the law- yer only has to spend a few hours getting people to check out your music. It’s the lawyer’s relationships— not their time— that count. A word of caution about hiring a lawyer to shop your music. Most of the lawyers consider it important to maintain their credibility with the record companies, so they’ll only shop artists they really believe in. Unfortunately, there are a few who will shop anything that walks in the door as long as they get paid a fee. Being shopped by one of these slimebags is no better than sending the music yourself, and maybe worse, because the record companies know these lawyers don’t screen out any of the garbage. So their clients’ music goes to the bottom of the pile. To prevent your music from being thrown out with the tuna cans, you should carefully check out the references of any lawyer you’re considering. Ask them for the names of people whose music they’ve shopped (both successfully and unsuccessfully, so they don’t just give you the few success stories that slipped through the cracks), then con- tact the references and find out how it went. You can also check around other industry sources to see who’s legit. (We’ll talk more about checking references later on.) In the UK, solicitors (lawyers) rarely submit material to record com- panies. Apparently the UK companies don’t think much of solicitors’ taste. Most often, the shopping is done by a manager who can hype you up— no one particularly wants to hear a lawyer tell them how great your music is going down in Lithuania. You’ll of course need a lawyer and manager even if you don’t go the record- company route, and the criteria for hiring them (which we’ll discuss in the next chapters) is exactly the same. Copyrighted Material24 ALL YOU NEED TO KNOW ABOUT THE MUSIC BUSINESS A business manager (the person who collects your money, writes your checks, oversees investments, etc.) is usually the last on board for the opposite reason of why the lawyer is first: It’s expensive (in terms of staffing and labor) for a business manager to take you on, and new artists need a lot of work just to keep financially afloat. Another reason they come on last is that very few business managers are willing to “take a flyer” with a totally unproven, unsigned artist; the business manager’s potential upside is not nearly as great as a personal manag-er’s or agent’s, but they have to run up substantial expenses from the beginning. (As you’ll see in Chapter 4, business managers aren’t paid as much as agents or personal managers.) But don’t sweat it. Until you have some decent money coming in, you don’t need a full- fledged business manager. A good accountant can take care of your tax returns and answer basic questions. As we’ll discuss in the business management chapter, the concept of a business manager is nowhere near as common in the UK. Artists more often use specialist accountants with music industry experience. The Search Where do you find warm bodies to begin assembling your team? Well, start with the age- old ploy of asking every human being you know for a recommendation. Talk to people involved in music, even if it’s only your high- school choir’s piano accompanist. You can lead yourself into any unknown area by diligently following your nose, and the music business is no exception. You’ll be amazed how many things fall into your life when you open yourself up to the possibilities. The only frus-trating part is that the people you really want don’t have time for you in the beginning. (Be assured, as soon as you’re successful, they’ll fall all over you and say they “knew it all along.”) The major players are almost all in Los Angeles and New York, with a good number in Nashville, though of course that leans heavily to country. I don’t mean to say there aren’t qualified people in other places— there most certainly are— but the music industry is centered in these three towns, and the people who live there usually have more experience. On the other hand, major managers are increasingly popping up in other places. For example, I’ve dealt with managers of world- class artists who live in Atlanta, Austin, Vancouver, Copyrighted Material How to Pick a Team 25 Philadelphia, and Boston. However, the better ones spend a lot of time on airplanes visiting Los Angeles, New York, and/or Nashville. In the UK, most managers are in London, with a few scattered around in Manchester, Leeds, Liverpool and Chipping Sodbury (just kidding about the last one, though there is a pub there with an amazing jukebox). Here are some specific suggestions for building your list: 1. AllAccess. There’s a website called www.AllAccess.com that has a pretty comprehensive online directory of people in the music biz. I’m told it’s updated often, and it has the major advantage of being free. You’ll need to register for the site (don’t be in- timidated by the radio station questions— anybody can regis- ter), then click on Industry Directory. 2. Hits Magazine. Hits is the MAD magazine of the music biz. It’s full of current news and gossip, reported with a college- humor- magazine style, and is very funny reading (www.hitsdai- lydouble.com). 3. Billboard Magazine. Billboard is an industry trade magazine, with lots of news, interviews, charts, and other goodies. (www. billboard.biz). Note the .biz ending. Billboard.com is consum- er oriented, while .biz is for the industry. By no means are these three an exhaustive list of sources; they just happened to be the ones that first came to mind. Frankly, I’ve been doing this long enough to know everybody I need to get to, and I don’t use references on a routine basis. So don’t take my suggestions as gospel. Check the Internet for more sources. Here are some more ideas for developing your list of potential team members: 1. Read interviews with industry figures online and in music publications, and note the names. In addition to the industry sources above, here are some major consumer publications (meaning they’re geared to fans, as opposed to trade publica-tions that are geared to business people), in alphabetical order: (a) Music Connection, www.musicconnection.com. Copyrighted Material26 ALL YOU NEED TO KNOW ABOUT THE MUSIC BUSINESS (b) Spin, www.spin.com. (c) Pitchfork, www.pitchfork.com.(d) Rolling Stone, www.rollingstone.com. (e) Vibe, www.vibe.com. 2. Watch for quotes, stories, or blurbs about music industry people online, on radio, and on TV. 3. Try these online places: TAXI (www.taxi.com), Music Busi - ness Registry (www.musicregistry.com), RecordXpress (www. recordxpress.net), and Songwriter 101 (www.songwriter101. com). 4. Some artists list the names of their professionals, together with their jobs, on their websites, on the info page of Facebook, or in tour programs. 5. Or simply Google artists you respect, together with “manager” or “agent,” to find out who’s behind the magic. Here are some UK publications: Music Week, c/o Future Publishing Limited, 1– 10 Praed Mews, Paddington, London W2 1QY, www.musicweek.com. PR Week, via email; www.prweek.com.Music Business UK, 27 Old Gloucester Road, London WC1N 3AX, [email protected]. When looking for lawyers you can look at the legal 500, https:// www.legal500.com/c/london/ tmt- technology- media- and- telecoms/ media- and- entertainment- including- media- finance#table_3547. This is a well- respected and known publication in the legal industry. Cham- bers.com is also a good and respected website. Using the above and anything else you can think of, write down the names and develop a “hit list.” Just keep moving forward— follow any lead that seems promising. Once you assemble a bunch of names, prioritize who you want to contact first. If you’ve heard any names from two or more sources, the odds are you are on to a person who is “somebody,” and he or she should move up in priority. Also look for the professionals surround-ing people whose music you admire and whose style is similar to yours. While this is less critical with lawyers and business managers, it’s im-portant to make sure that agencies, and especially personal managers, handle your kind of music. For example, the agent who books Wayne Copyrighted Material How to Pick a Team 27 Newton is not likely to book Lil Wayne, and I guarantee you they have different managers. On the other hand, you may be surprised to find that acts just as diverse are represented by the same agency (with very different individual agents). And the legal and business management lives of different artists are a lot alike. Rock ’n’ rollers (like Green Day, the Rolling Stones, etc.), rappers (like Kanye, Jay- Z, Kendrick Lamar, etc.), and divas (like Adele, Beyoncé, Barbra Streisand, etc.) all have similar needs in music publishing, record royalties, touring, merchan-dising, sponsorship, etc. Once you’ve prioritized your list, start trying to contact the people on it. It’s always better to come in through a recommendation, friend of the family, etc., even if it’s only the person’s dry cleaner. But if you can’t find any contact, start cold. You can try calling people on the phone, but expect a lot of unreturned phone calls, or at best to be shuffled off to an underling. That’s okay— talk to the underling. If you get someone on the phone, be brief and to the point because these folks are always in a hurry. It’s a good idea to rehearse your rap with a friend in advance. You can try emailing folks, with a story about yourself and a link to your music, or maybe attach an MP3 file. Again, be short and straightforward— good people are always busy, and you’ll be lucky to get five seconds of their attention. If you can’t grab ’em fast, you’re off to the digital trash bin. Repeated emails to the same person help get their attention, and may even have the subliminal effect of making your name sound familiar if anyone ever asks. But it can also be annoy- ing and get your name into their spam filter, so don’t overdo it. You could also use that old- fashioned thing you may remember, the “US Mail.” Since so few people do that anymore, a physical letter might even get more attention. In this case, include a CD or a USB stick, pictures, hundred- dollar bills, and anything else to distinguish yourself. (I once had someone send me a recording stuffed inside a rubber chicken. For real.) If you’ve gotten any local press, that’s a good thing to add. Use a yellow highlighter so they don’t have to search the page for where you are. And just like the emails, be short and sweet, or you’re off to the round file. However you approach it, expect a lot of unanswered emails and unacknowledged letters. Don’t get discouraged. If you successfully snag someone’s attention and they politely (or not so politely) blow you off, ask who they would recommend. This is valuable for two reasons: First, you’ve got a lead from someone who’s actually in the industry. Second, when you reach out to the Copyrighted Material28 ALL YOU NEED TO KNOW ABOUT THE MUSIC BUSINESS recommended person, you can tell them “So- and- so” told you to con- tact them. If “So- and- so” is a big enough name, it should at least get your email or phone call returned. (Maybe.) Someone, somewhere will nibble, and you can parlay it into real interest by being persistent. All the superstars I’ve known have heap- ing helpings of drive and they’ll continually hound people to further their careers. So hang in there and keep following up, despite the discouragements thrown in front of you. Virtually every record com-pany in America passed on Taylor Swift, the Beatles, and Elton John, so don’t expect people to be any smarter about your music. And don’t get discouraged— it only takes one enthusiastic person to get the ball rolling. Screening the Sharks So you’ve honed your list, run up hours of chasing people, and hope- fully found two or three nibbles on your line. At this point, you should fly, drive, bus, or hitchhike to meet these people in their natural habi- tat. You can’t tell everything from a phone call; you want to see their body language, meet their associates, see if they work out of a dog ken-nel, etc. Basically, use your instincts to feel how they vibe you, and don’t be afraid to trust your gut. If you think you’re meeting with a piece of slime, you probably are. But if they dazzle you, be even more cautious— charming crooks are the most dangerous! The fact that someone works with a lot of big names is helpful, but not a final determination. There have been a lot of big names associ-ated with disasters over the years. Here’s a bit of personal history to illustrate: When we first got married, my wife and I decided to buy a vacuum cleaner. For reasons I still don’t understand, we called a door- to- door salesman. This buzz- cut, square- jawed man bounced into the house and showed us how the vacuum’s suction could pick up a seven- pound metal ball. Then Buzz poured some blue gunk on our carpet and used the vacuum nozzle to slurp it up. Finally, he started brag-ging about how he’d sold vacuum cleaners to the wives of several celebrities and started rattling off a list of big names. At that point, I said, “Excuse me, but do these people know anything about vacuum cleaners?” The point, as I’m sure you see, is that a big- name celebrity isn’t nec- essarily a good recommendation. It may just mean the celebrity pays no attention to his or her business, or that the celebrity is an imbecile. Copyrighted Material How to Pick a Team 29 So how do you protect yourself? Like this: References. Have the potential team member give you references. And check them out carefully. In asking for references, it’s important to get people at your level of success. The fact that someone takes good care of their biggest client doesn’t mean he or she will give you the same attention, or even have the time to take care of you. Odd as it seems, some people don’t even pay much attention to their big- name clients, usually be- cause they’re too busy. There’s an old joke (based on truth) about a major artist who couldn’t get his lawyer on the phone to fire him. Also, try to get the reference from someone who’s been using this professional for a while, so you don’t just get a report on their hon-eymoon period. Although it may seem obvious, be sure the professional’s expertise is in music. There are brilliant real estate accountants who would be lost in the music business, just as the opposite is true. In fact, even people with extensive film, television, or book expertise may not understand music. So be sure you’re talking to someone who does. Use Your Other Team Members . You should consult the other members of your team anytime you hire someone. First, you want their input and suggestions, and second, these people have to work together, so you want to be sure you’re hiring someone who can get along with the team. But beware of this: Benjamin Franklin once said (and I’m too lazy to look up the exact quote, so I’ll paraphrase it) that when you gather a group of people for their collective wisdom, you also gather their collective prejudices and hidden agendas. In other words, there will almost always be a political reason why your other team members want something, and this may or may not coincide with your best interests. For example, a business manager may have just referred a very important client to a personal manager. The per - sonal manager may therefore be pushing you toward this particular business manager in order to pay back the favor, regardless of whether the business manager is right for your situation. (I don’t mean to make you paranoid; most people are ethical and won’t recommend someone unless they genuinely believe he or she would be the best person for the job, even if it’s a payback. But a great deal of politicking goes on in the music business, just like any other business, and you should be aware of it— particularly because we’re a small business and deal with each other so much.) So, always ask people why they’re Copyrighted Material30 ALL YOU NEED TO KNOW ABOUT THE MUSIC BUSINESS making a recommendation, rather than just the bottom line of who you should use. Make them give you specific, factual reasons. Facts are something you can evaluate yourself, and you should make the final decision. Look Beyond the Sales Pitch . Everybody looks great when they’re selling. When you interview someone, all the seller’s attention is fo- cused on you, and you are absolutely the most important creature on the planet. That’s almost never the case when you actually get down to business; the realities of other people’s needs take their toll. It’s extremely difficult to know this in your first meeting, as “giving good interview” can take people very far in their professions. So how do you protect yourself from this? Once again, you have to check their references very carefully. Ask the references about their experience of working with this person, such as whether they quickly return phone calls and emails, how fast he or she gets work done, what’s their zodiac sign, etc. It’s a good idea to make a list of ques-tions in advance, so you don’t forget anything. Don’t be lulled by promises that sound unbelievably fantastic. If they sound too good to be true, they probably are. Some people will promise things they can’t possibly deliver, just to get the job. They figure you won’t fire them when they don’t come through, because they know most artists don’t like to make changes in their lives. (These are the same people who will stop returning calls if your star fades.) They also figure they have to lie just to ace out the next guy, who they assume is also lying to you. The truth is that there are no real miracle workers. The secret of success in the music business is no different from that in any other business— intelligent planning and hard work. Promises of “short- cuts” usually don’t come through. Who Does the Work? Ask exactly who is going to be involved in your day- to- day work. It may not be the person you’re meeting with. This isn’t necessarily bad, but you should be aware of it from the start, and you should meet the people who will be involved. All professionals use staff people, some to a greater degree than others. In some firms, the staff people divide and multiply like paramecia, so the people you’re meeting today may be gone in six months. Other places are more sta-ble. So ask, and also ask your references. When you’re starting out you sometimes get a first meeting with a Copyrighted Material How to Pick a Team 31 senior person, then get quickly shuffled down to a young’un. This is common, and likely better because the senior person won’t have much time for you once they’re done selling, whereas you’ll be a big fish to Junior. Also, the young’uns are also more likely to be clued up on the new artist scene and what is hot and what is not. So don’t be put off by this; rather than pretend that’s not happening, ask to meet the younger person from the get- go and make sure you like them. They’ll be able to call on the Big Person as and when needed. Fees. Never hesitate to ask what someone is going to charge you. I know it’s an uncomfortable subject, but bring it up anyway— you can be in for a seriously rude surprise if you don’t. And when you do raise the topic, be wary of someone who gives you a vague answer. (If you really can’t stomach a fee discussion, have another team member do it for you.) In the UK lawyers are required to tell you their charge- out rates/fees up front and keep you regularly informed. So make sure they do! Personality . It’s a myth to think any one personality style is more effective than any other (assuming you don’t hire a wimp). Screamers and table pounders, if they’re smart and knowledgeable, can get a lot out of a deal, but no more than those who speak quietly, if they’re smart and knowledgeable. Some people work with a foil, and some with a sabre. Both styles can be effective. Remember, you’re hiring people to guide your professional life, not to hang out on the tour bus. It’s nice if you strike up a friendship with your professionals, but it’s not essential. (However, with your person- al manager, I think you need at least a solid rapport, if not a true friendship.) I’m not suggesting you hire someone you really dislike, or someone who has the personality of a salamander, but I am saying these folks don’t have to be your pals. In fact, some amount of distance is often helpful. Just as doctors can’t operate on their own relatives, one of the main things a professional does is bring some objectivity to your life. There is a wonderful story about Genghis Khan, the great warrior. In the midst of a pivotal battle for his empire, involving thousands of troops on both sides, an aide went into Ghengis’s tent and was sur - prised to find Genghis himself sitting there. The aide said, “How can you be in your tent? The battle is at a critical point and the troops need your command.” Ghengis replied, “I found myself getting angry Copyrighted Material32 ALL YOU NEED TO KNOW ABOUT THE MUSIC BUSINESS over a turn in the battle, and I can’t think straight when I’m angry. I came in here to cool off before deciding the next move.” Think about that. If even ol’ Genghis had to detach from his emo- tions to do the best job, who are you and I to do any better? When I have legal problems, I hire a lawyer. This may sound strange to you, but I get emotional about my own problems, and I don’t trust my judgment when I’m too close to the situation. So I hire someone who isn’t. In sum, a bit of distance from your professionals is not a concern, but you should feel comfortable enough to have an easy communica-tion with your team. If you think you’ll dread talking to one of them, look for someone else. Decide Now— Confirm Later . Make a decision reasonably quickly, but confirm it slowly. In other words, once you’ve hired somebody, continue to watch them carefully (to the extent you can stand to do it). The fact that someone came in with rave reviews doesn’t mean they’ll be right for you, so consider them “on probation” until you’ve seen enough to merit your trust. And don’t just take another team member’s word that it’s working. Force yourself to follow their moves in the beginning, and you’ll earn the right to relax later. Remember: no one pays as good attention to your business as you do. CHANGING A TEAM MEMBER Here’s what to do if something goes wrong on your team: Even if they never pay much attention to business, I’ve never met an artist who doesn’t have a built- in radar that tells them when some- thing is wrong. So if you’re feeling weird, then, “Houston, we have a problem.” It may be that things aren’t being handled right. Or maybe you just don’t feel comfortable talking to one of the team members. Ignoring the issue doesn’t help any more than turning up the car radio to drown out a rattle in the engine. It’s like a quote I once heard attributed to Dick Gregory: “I read so much about the bad effects of smoking that I got scared and gave up reading.” So deal with problems head- on. Copyrighted Material How to Pick a Team 33 T alk About Y our Problems I know confrontation is difficult. I have never known an artist (or any- one else, for that matter, other than a few ornery jerks who’ve been divorced five times) who enjoys confrontation. But for your team members to do an effective job, you must have an open communica- tion with them. If you can’t bring yourself to talk directly to the person who is bugging you, talk to another team member and make sure they carry the message. Fast. Nothing is worse than letting small things snowball to the point that they build into a major drama. If you discuss them when they’re small, they can usually stay small. Often they’re just innocent misunderstandings. If you talk frankly about your problems, and they still aren’t getting solved, make a change. No one has the right to expect a lifetime con-tract with you. People and circumstances change over the years; those who were spectacular for you at one point in your life may no longer be interested in you (for example, if they’ve lost interest in their job, or your career has taken a nosedive, etc.). Or they may no longer be capable of handling you (for example, they were unable to grow with you and your career is soaring, or you’ve changed careers and their expertise is in the wrong area, etc.). I respect and admire loyalty, but blind loyalty does no one a favor. To me, loyalty means you don’t turn your head and run off with every pretty face that walks by (and as you get more successful, pretty faces come out of the woodwork to try to seduce you, literally and figuratively). But loyalty is a two- way street, meaning you’re entitled to the same commitment from your profes- sionals. You’re only obligated to stick with someone as long as they’re doing a good job for you. If you’re not getting the service you want, then loyalty means you discuss it with them and tell them what needs to be changed. (Again, if you don’t want to do it directly, do it through another team member.) If things still aren’t being done right, and you’re sure your complaints were clearly communicated, make a change. But do it for the right reasons, not the wrong ones. Lost Confidence It pains me a bit to give you this next piece of advice, but you should have it. Once you’ve lost confidence in someone, it’s almost impossible to continue with them. It’s like falling out of love— it isn’t easy to fall in again. I say this sadly, because many times we lose confidence in people for the wrong reasons. It may be that someone with a political Copyrighted Material34 ALL YOU NEED TO KNOW ABOUT THE MUSIC BUSINESS ax has buried them unjustly; it may be that they’re doing a terrific job, but they have the personality of a stop sign and treat you rudely or bore you to death; it may be they have just delivered bad news to you (firing such a person is known as “shooting the messenger,” from ancient Greek times, when a messenger bringing bad news was killed); it may be they’ve done a terrific job on everything important in your life, but screwed up paying your bills one month, so you had no electricity and your spouse refuses ever to see their face again; or it just may be an un-easy feeling in your stomach that you don’t trust them. When you find yourself in this situation, again, I urge you to talk to the person openly (directly or through another team member) and tell them how you feel. (I know this is easy for me to say, and I admit it’s difficult for me to do as well. But I force myself, and most of the time I find that the prob-lem is a simple mistake that’s easily fixed. And even if it isn’t, I always feel better just from processing it.) If you talk things out, and the situ- ation doesn’t get any better, split. COCKTAIL PARTY TALK Let me say a word about cocktail party talk. In college, we used to play a kind of poker called “roll your own.” In this game you get five cards, then draw additional cards (like in regular five- card draw). Finally, you arrange your cards in any order you want before flipping them over one at a time and betting on each card. After flipping the first three cards, everybody at the table looks like they have a spectacular hand. There appear to be straights, flushes, straight flushes, three of a kind, high pairs, and every other imaginable configuration to make you want to drop out and give up the pot. However, when it comes to flipping over the last couple of cards, most of the hands are mediocre. I’ve always thought cocktail party talk is the same as flipping only the first three cards. Everyone sounds like a genius; everyone has just pulled off the greatest deal since the Louisiana Purchase. The truth, however, is in the last two cards, which you never see. The million- dollar deal turns out to be a hundred- thousand- dollar deal, with the other nine hundred thousand being there only if the artist achieves massive success (not that a hundred thousand isn’t a decent amount of money, but it ain’t a million). Nobody talks about their screwups, because self- aggrandizement is part of the Hollywood dance of the sand crabs. The whole point of this is to say that you shouldn’t take casual talk Copyrighted Material How to Pick a Team 35 at face value. Especially if someone has an editorial point of view, like a manager trying to convince you to leave your current manager for the terrific things he or she can do for you. (Lawyers, of course, would never do such a thing. And if you buy that, I have some land in Flori- da that would be perfect for you.) So make your own evaluations in the realistic light of day. Copyrighted Material3 Personal Managers ROLE The personal manager is the single most important person in your pro- fessional life. A good personal manager can expand your career to its maximum potential, and a bad one can rocket you into oblivion. When the job is done properly, a personal manager is the general manager and chief operating officer of your enterprise. (There are, of course, some artists without managers, but they are very much the exception, and they usually have one or more other team members filling this role.) The most important aspects of the manager’s job are: 1. Helping you with major business decisions, such as deciding whether to do a record deal, and if so, which record company to sign with; deciding whether to make a publishing deal (we’ll talk about what those are on page 311); figuring out how much to ask for; etc. 2. Helping you with the creative process, such as deciding which songs to record, selecting a producer (we’ll talk about who pro-ducers are on page 146), hiring band members, selecting pho-tographers, etc. 3. Promoting your career by managing social media, coordinating your marketing and publicity, and otherwise hyping you to everyone the manager meets. 4. Assembling your professional team by introducing you to law- yers, business managers, and agents, and overseeing these people’s work. 5. Coordinating your concert tours by working with your agent to make the best deals with promoters, routing the tour, work-ing with your business manager to develop a budget, assem- Copyrighted Material Personal Managers 37 bling your road crew, supervising the tour personnel to make sure everything runs smoothly, etc. 6. Pounding your record company to maximize the advertising and marketing campaigns for your records, making sure your records are treated as priorities, screaming at them when they do wrong, praising them when they do right, etc. 7. Generally being a buffer between you and the outside world, such as fielding inquiries for commercial endorsements, person-al appearances, charitable requests (both for money and for your smiling face), taking the rap for tough decisions that you make but don’t want anyone to think you did, etc. Let’s first take a look at the structure of your deal with the personal manager, and then we’ll talk about picking one. For a long time, it was not unusual to have “split management” in the UK, which doesn’t mean the manager disappears at the first sign of trouble (though sometimes it does . . . ). By “split management,” I mean that artists had a main manager in the UK who covered the world excluding the US, and a US manager to cover the US and may- be also Canada. However, this has dropped off, and it’s now more typical for the UK manager to handle the world (or for a US manager to do the world). I think this is healthy, and, frankly, I’ve never seen the split management work out very well. The two managers end up squabbling over control, and if something goes wrong, they each point the finger at the other one. Still, with the US being its own pe- culiar market, some UK managers get a US consultant or co- manager and usually agree to split their commission for North America. COMMISSION OVERVIEW Managers typically get from 15% to 20% of earnings from new artists. Established artists can sometimes knock them lower, as we’ll discuss in a minute. These percentages are generally applied to your gross earn- ings, meaning your earnings before deducting any expenses. That means: 1. If you’re an individual artist, the fee is pretty much what it sounds like for songwriting, publishing, records, etc. We’ll discuss some of the finer points later, but basically, if the manager’s Copyrighted Material38 ALL YOU NEED TO KNOW ABOUT THE MUSIC BUSINESS deal is 15%, they get 15% of what you take home. However, when it comes to touring, the 15% means much more than you might think. You’ll learn, when we discuss concert appearances (on page 34), that you’re lucky to take home 40% to 50% of your gross income. That means a manager’s 15% of gross can take a big bite out of your net. For example, if you earn $100,000 and net $45,000, your manager gets 15% of gross ($15,000). Since you’re only taking home $45,000, the man-ager’s 15% is one third of your money. Not so good if you’re the artist (though awesome if you’re the manager). 2. If you’re a group and you have more than five members, 15% of gross equals almost the same as, or more than, any one of you earns (assuming you’re dividing equally). For example, if there are seven of you, everybody gets one- seventh; that’s 14.28%, which is less than the manager’s 15%. In fact, since the manager’s percent-age comes “off the top” before you divide up any monies, you only get one- seventh of the 85% left after the manager’s 15%, which is 12.14%. And for touring monies, a manager’s 15% of gross can be many times your individual share of net. Because artists have found it, shall we say, “uncomfortable” to pay managers more than the artist makes, the classic “15% to 20% of gross” has softened over the last few years. Here’s what’s going down: Good news, Brits! Managers in the UK are usually paid on “net” rather than gross, meaning artists can deduct expenses before applying the management percentage. In other words, they get a piece of what the artist puts in their pocket. We’ll talk about what “net” means in a minute. NEGOTIATING THE MANAGER’S DEAL Despite the powerful personality of many managers (carefully designed to keep you in your place), it is possible to negotiate with your man-ager. However, just like any other negotiation, the result depends on bargaining power. If you’re a major artist, bringing in $10 million plus per year, the managers will follow you like floppy- eared puppies, de- lighted to take whatever treats you care to drop in front of them. On the other hand, if you’re a brand- new band negotiating with a power - ful manager, you’re the doggy. Copyrighted Material	[ "music", "business", "manager", "get", "people", "dont", "youre", "one", "artist", "copyrighted" ]	{ "summary": "DIGI WETPROOFDesigner\nProd Controller\nPub MonthCHRIS\nSARA\n1/21\nFormat\nTrim Page Size\nPrint Size\nSpin" }
manage ar mark Presents Start Up Guide Music Business.pdf	START-UP GUIDE TO MUSIC BUSINESS1THE ASSOCIATION OF INDEPENDENT MUSIC AIM.ORG.UKSTART-UP GUIDE TO MUSIC BUSINESSPRESENTS ££ # £ ?START-UP GUIDE TO MUSIC BUSINESS2CONTENTS ABOUT AIM ......................................................................................................... 3 ABOUT THE AUTHORS ......................................................................................... 4 FOREWORD .......................................................................................................... 5 INTRODUCTION ................................................................................................... 6 1. A BRIEF HISTORY OF THE MUSIC BUSINESS .................................................... 7 2. A STRATEGY FOR YOUR BUSINESS ................................................................. 13 3. START-UP FUNDAMENTALS ............................................................................. 15 4. THE BUSINESS OF COPYRIGHT ...................................................................... 17 5. RECORDING AND PUBLISHING CONTRACTS ................................................. 20 6. COLLECTION SOCIETIES ............................................................................... 23 7. FUNDING: COVERING THE INITIAL OUTGOINGS ........................................... 26 8. CORE BUSINESS SKILLS ................................................................................ 28 9. THE TEAM AROUND THE ARTIST .................................................................... 30 10. LAUNCH COUNTDOWN ................................................................................ 32 11. PHYSICAL RELEASE ....................................................................................... 35 12. MARKETING PRINCIPLES .............................................................................. 39 13. A NEW MODEL OF OWNERSHIP: DATA .......................................................... 42 14. PROMOTION ................................................................................................. 44 15. LIVE PERFORMANCE ..................................................................................... 48 16. SYNCHRONISATION AND THIRD PARTY COMMERCIAL DEALS .................... 52 17. INTERNATIONAL EXPANSION ........................................................................ 56 18. THE FUTURE .................................................................................................. 59 19. WELLBEING IN THE MUSIC INDUSTRY .......................................................... 62 FURTHER INFORMATION & READING ................................................................. 63START-UP GUIDE TO MUSIC BUSINESS3ABOUT AIM AIM (The Association of Independent Music) is the not-for-profit trade body exclusively representing the UK’s independent music sector, which now makes up a quarter of the recorded music market. Now in its 20th year, AIM’s members range from the largest, most respected record labels and associated music businesses in the world to self-releasing artists and the next generation of entrepreneurs in music. AIM promotes and supports this exciting and diverse sector globally and provides a range of services, commercial opportunities and practical help to members; enabling them to innovate, grow and break into new markets. At the larger end, AIM member businesses include companies such as Beggars Group, Domino Records, Warp Records, Mute Records, Ninja Tune and [PIAS]. They release music from artists including AJ Tracey, Arctic Monkeys, Aphex Twin, Blood Orange, Bonobo, Danny Brown, Hot Chip, High Contrast, Little Simz, New Order, Radiohead and many, many more. aim.org.uk This guide © 2019 The Association of Independent Music Limited. All rights reserved. No part of this guide may be reproduced or copied in any manner whatsoever without the prior written permission, except in the case of brief quotation embodied in articles, reviews or academic papers and in such instance a full credit must be provided prominently alongside.START-UP GUIDE TO MUSIC BUSINESS4ABOUT THE AUTHORS TIM FERRONE Tim Ferrone is the founder and owner of Wrapped Up Music, effectively a ‘pay as you go’ label for hire for the UK independent music sector. A campaign management service available to domestic and overseas artists, managers and labels, Wrapped Up Music is the culmination of Tim’s nineteen years in the recorded music business, having worked for various major and independent labels, and in artist management. Y ou can reach out to say hello, and find more details here; www.wrappedupmusic.comGEE DAVY - HEAD OF LEGAL AND BUSINESS AFFAIRS, AIM Gee Davy joined AIM in April 2017 to oversee Legal & Business Affairs both for AIM itself and as an advisor to AIM Members on all aspects of the impact of law on running an independent music business. Previously Gee spent over seven years with prestigious independent record label and publisher Cooking Vinyl and its group of companies, including distribution company Essential Music and partner label FatCat Records, looking across all business activity and working with artists as diverse as The Prodigy, Billy Bragg, Underworld, Amanda Palmer, Honeyblood and 65DaysofStatic. Gee started out in technology, studying Electronic Engineering, and working briefly in the telecoms sector before following her passion into the music industry and music law running a successful music events and promotion business with her brother for a number of years in between. Gee is an ardent supporter of facilitating the independent music industry’s continued innovation and success and supporting its evolution in the digital age. She is a regular speaker at conferences and music industry events on the interface between music and technology, copyrights and other legal, business, and industry issues.PAUL PACIFICO - CEO, AIM Paul Pacifico is a musician, music entrepreneur, educator and CEO of AIM. Paul worked in finance and strategy consulting for nearly a decade before moving on to concentrate on building his business, Specific Music. Over the last 15 years in music, Paul has worked as an artist, session musician and creative director with a diverse range of artists such as Quincy Jones, Nile Rodgers and High Contrast. Prior to joining AIM, Paul was CEO of the UK’s Featured Artists Coalition (FAC), the organisation in the music industry that represents the interests and rights of artists. Paul was also the founding President of the International Artist Organisation (IAO), which unites artist organisations from different countries to speak with one voice. Paul continues to perform and record as a musician, and is the Visiting Professor in the ‘Artist as a Startup’ at Berklee College of Music’s Global Masters campus in Valencia, Spain. Paul is passionate about the meeting point between creativity and commerce and to helping people START-UP GUIDE TO MUSIC BUSINESS5FOREWORD It can be daunting to start a business and just as daunting to figure out how to grow; where to expand, or diversify, or when to specialise on what you do well. This guide is intended to be practical in nature. It deliberately remains focussed on what things are, and how things work, rather than the more strategic questions. It is also not academic and doesn’t dwell on why things work in a particular way, or whether they should. We took this approach because it is AIM’s belief that there is no fixed starting point for a music business. Some start out by performing at gigs, others in putting them on; others by writing, recording or producing music, or publicising and promoting it. The music business landscape is a patchwork of inter-related specialist areas; the majority of music businesses are active across a number of business areas, making them a ‘virtuous circle’ where each activity reinforces the others. The uniting thread here is that as soon as you start to make, distribute, or try to sell recorded music, you need to know how the business works and how the money flows. Everyone has to start somewhere and the more you know about the business and how it works, the better your chances of success. As each business grows, it needs its own vision and strategy - what might work for one, might not be right for another. There is therefore no clear strategic pathway. Instead walk your own path and access specialist knowledge you need at each turn, for example at conferences, through expert tips, and networking with peers and potential business partners, all of which you may access as a member of AIM. This start-up guide is to help you cut through the noise and distil the essential information you need to understand the various parts of the business of releasing music: how they work, how they fit together and what you need to know to make them work for you, as you take your business from start up to scale. If you read this book from cover to cover before you start your business, I hope you find it easier to figure out how to get it going. Once you are up and running, you can dip into various chapters as they become relevant to you, to diversify activities, or to review the basics and make sure you are not missing any of the essentials. Ultimately, this book should make everything a little quicker, a little cheaper and that bit easier to understand opportunities and challenges. Regardless of the size of the business, these challenges remain the same, and part of AIM’s role is to help share knowledge to ensure a broad and diverse music market, levelling the playing field between big established businesses and the start- ups that challenge them. If asked to sum up what it takes to start and build a successful music business, I would say: work hard – there is no substitute for this; play hard – love what you do and enjoy it, learn as much as you can and find trusted sources of information to help inform you on your way; but find balance as, without this, burnout can be all too common. Paul Pacifico CEO, AIM START-UP GUIDE TO MUSIC BUSINESS6INTRODUCTION TO THE GUIDE Welcome to the new edition of AIM’s Start-Up Guide To Music Business. The essential ‘How To’ guide to get started and grow a business working with music in the 21st Century. The intention of this guide is to help you understand the basics of the business side of music from the outset, or to improve the way you run your existing music business. It is not intended as a definitive guide. The music industry does not operate in an ordered way, with one process naturally following another. More realistically, it is a combination of activities or processes that can occur in a number of different orders, often over-lapping. In compiling the guide, we have assumed a certain order of events to outline what these processes could look like, but please do not interpret this as a ‘one size fits all’ solution – for no such thing exists. It might be helpful to think of the sections of this guide as pieces of a music industry jigsaw, that every business fits together in their own, unique way. Our suggestion is that you read this book in full once to get an overall view, and then you can refer back to specific chapters as and when needed. There are tips and references along the way for digging deeper into each topic and finding more detailed information for when you need it. AIM also runs conferences and training sessions throughout the year on various aspects covered in this guide, looking into the detail, new developments and case studies. AIM’s website also hosts a number of other guides on specific business topics, plus tip sheets, explainers, and videos of sessions from various AIM conferences and training workshops. START-UP GUIDE TO MUSIC BUSINESS71. A BRIEF HISTORY OF THE MUSIC INDUSTRY, AND WHY YOU NEED TO KNOW IT In order to fully appreciate the workings of the contemporary music landscape, and how you can make money from it, it is particularly useful to understand how we arrived at the current model. Whilst that might not seem very exciting or relevant, please stay the course; understanding how the business has developed will really help you to know what to negotiate for and who to negotiate with. So, for the sake of a quick modern music history recap, reading the next few paragraphs will be time well spent. THE 20TH CENTURY MUSIC BUSINESS The 20th century saw the rapid development of the music industry as we now know it. In that time, the recording of music on to a purchasable physical product, and the development of the recording artist as the star, became well and truly established. That model became the norm; with the record company being the entity that chose what to record and who got to record it, financing that process, and then making the end result available to the general public to purchase. Behold, the record business was born, staying much the same for several decades. It resulted in a well-established business framework; recording was an expensive process that required lots of studio equipment, musicians and production personnel. Manufacture and distribution required vast amounts of factory space and machinery to reproduce records, and then a means of supplying those to the wider retail environment. Marketing and promotion required know-how, a network of relationships and a series of, sometimes dubious, processes to incentivise media support. Getting records on to the shelves in shops required a similar breadth of contacts and some often equally unspoken means of ensuring you got that all- important window display space. In short, the artist, recognised as the undoubted star of the show, needed the record company to pay for and perform all of these functions on their behalf. Their reliance on this model (and the almost complete absence of an alternative route to market), meant that it was the record companies, and not the artists, who held the balance of power. It was usually the record companies who chose who to sign, often what would be recorded, how the artist would look and be presented, and even the means by which the general public would commercially engage with that artist as the formats evolved over the years, whether on shellac disc, vinyl record, cassette and finally onto digital CD. A key point here is that the record company, through its fundamental role in the process of funding and enabling the artist to reach an audience, often chose exactly what music that audience was allowed to hear. As a result, the record companies exerted a rare power not dissimilar to that of the early movie business, where star actors were exclusively contracted to single studios, not allowed to pick and choose which movies they made and were compelled to release whatever output that company deemed suitable. That creative control loosened somewhat over the years as artists flexed their collective muscles and some were able to take greater control over their recorded output, but the necessity of operating through and with one recording company for the bulk of their career remained throughout. The bottom line was that if an artist wanted to record and release music, their only option was to do a deal with a record label. No record company meant no career. In the physical era, there was certainly a high cost and therefore financial risk required to launch a new artist into the market along with all of the necessary relationships and resources. The artist/ label contracts were therefore unsurprisingly and overwhelmingly stacked in favour of the record companies. Not only would they own and retain the rights to release any recordings, (generally without those rights ever reverting back to the artist), but they would also claim the lion’s share of the sales income to recoup their outlay and generate more income to fund their profits as well as the release of more music. Complex deals made up of recoupable advances offset against artist royalties (more of START-UP GUIDE TO MUSIC BUSINESS8which later) meant that the artist’s income was often low and kept under the control of record labels until such time as the record company had not only broken even, but made a substantial profit. Back in the early days, there was really only one type of record deal for an artist and that was on what’s known as a ‘work for hire’ basis, where the record label signed the artist’s exclusive recording services and had complete ownership of the copyrights for any recordings made by that artist during the period they were signed, usually for the whole period or ‘life’ of copyright. Many independent record companies started making different deals, some because they wanted to create a different relationship with the artist, or do business differently, and some in order to attract artists when they weren’t able to compete on up-front fees or ‘advances’. None of this is to demonise the record companies who, after all, existed in a commercial environment. The fact that any individual artist needed a record company more than any record company needed any individual artist was just a result of the way the system worked at that time. Also, someone had to take the risk and front the costs of taking that artist to market. It is not surprising that as the market started to evolve the smaller record companies with more market pressure, i.e. the independents, were quickest to change or use new models for their artist agreements and relationships and are generally acknowledged to operate on a more balanced and transparent basis with their artists. The whole process of making money from recorded music was under-pinned by two primary elements: writer writes song and their publishing company collects income, and artist records music and their record company collects income (and pays some to the publisher for the use of their songwriter’s song). It’s worth noting that the rest of the music business, and the many ways of making money from it (live performance, for example), were virtually the exclusive domain of the artist and their manager. The record industry was making so much money that record companies were often disinterested in those artists’ other channels of monetisation even though they played an important role in the process of making and breaking star performers. For instance, record companies did not get directly involved in merchandise or gig ticket sales. Recording income alone was more than enough, and as the turn of the new millennium approached, it seemed like it always would be. However, there were some rumblings from a dissenting few, who had foreseen the disruptive potential of the internet, and had begun to express concern about its potential influence on an industry that had become very set in its ways. DIGITAL DISRUPTION = DEMOCRATISATION It is hardly a revelation now to observe that the digitisation of the music industry changed it forever. The boom years of the £15 CD were gone virtually overnight, the record business reacted far too slowly to recognise or respond to both the threat and the opportunity the online market presented and fell into a decade and a half of year-on-year decline. At first piracy, then eventually legitimate download services, and finally streaming, harnessed the potential of small digital music files that could be shared via computer and accessed within seconds. Digital files were eventually and begrudgingly welcomed as new formats, and internet replacements for the ‘record’. Whilst downloads still exist, the market for vinyl is growing and the CD remains a viable product in many major markets, the perceived ‘industry saviour’ appeared in the form of the streaming model, whereby music was not accessed on a product level, but as an over-arching subscription to the world’s music library. For the customer, music was to be paid for on a monthly basis. For the artist, their share of the income was paid through in small micro-payments for each ‘listen’, which started as a smaller revenue stream than that to which their predecessors might have been accustomed. However, with market saturation still many years away and increasing mainstream adoption of streaming subscriptions, the current market for recorded music is fired up START-UP GUIDE TO MUSIC BUSINESS9with an optimism that has been absent for the best part of two decades. The changes brought about by the transition from the old world to the new have far-reaching consequences that shape how business is being done today and the expectations of both artists and their commercial partners such as labels, managers and publishers. First of all the cost of technology has massively reduced, meaning almost everyone can access what they need to record music without it being necessary to use an expensive studio like Abbey Road – home studios, or even being able to record via a handheld device, may not always be ideal but they work and are often good enough. Also, the distribution market has opened up with online services available that anyone can sign up to and use to get their music into digital stores all over the world. The media also experienced a revolution with the advent of social media and the millions of blogs, vlogs and podcasts, offering a way for artists to connect with fans that would have been impossible in the old world without media industry contacts. Over the years, and as artists were offered many more ways of recording and distributing their own music directly, the profit margins of the record business were increasingly squeezed. Labels consolidated and reduced employee numbers. In short, a process of democratisation has occurred, whereby the handful of key decision makers who traditionally decided what music to release, how and to whom, have been overtaken by a whole world of options with which the creative talent can, at least theoretically, choose to engage at every single step of the process.AND THIS IS RELEVANT WHY...? Over the decades since the 40s and 50s, artists gained increasing involvement in the creative side of their careers – at first they were told what to do, what songs to sing and how to look. Over the years, artists fought successfully for increasing creative control of their careers with most artists today expecting to have significant input into their repertoire, image and their voices – both literally and metaphorically. However, artists were still largely removed from the commercial side of ‘the business’. That feels like a far cry from where we are today, with artists able to pursue their careers in any number of ways and to build a team around them that best suits their vision. The sense of increased freedom in the modern landscape though, can also be a double-edged sword. Choice can be incredibly liberating but it can also lead to indecision and confusion over what might be the best or right way to go. Making choices means taking responsibility for those choices, and that adds pressure to have to know more about an increasing number of aspects of the business – this guide and other tools are out there though, to try to help make sense of things whether you are are starting out as an artist, label, manager or mix of all of those roles and more. So wherever you are starting out from, in the modern music market, you have options – and options are a game-changer. KNOW YOUR RIGHTS Consider for example that one fundamental aspect of the traditional recording industry model was the ownership of copyright in recordings, by the label, and in the underlying songs, by the publisher. This was a prerequisite of the traditional deals, and the artist had to accept those rules if they wanted to be in the game. In the old world, artists had to sell, or ‘assign’ their rights to their label and publisher. In the new world, START-UP GUIDE TO MUSIC BUSINESS10the artist doesn’t have to do any such thing but has the power to sell their rights if they wish to. They can also lease those rights through license deals which can be for a longer or shorter period of time depending on the deal. An artist might choose to do none of those things and instead release their music directly. Each of these options has pros and cons associated with them. It is most likely that over the course of a long career an artist these days will do a number of deals and probably a mix of all of the above. Y ou need to understand those rights and how they work if you are to build a business that creates them and / or trades them. MAJOR VS INDEPENDENT Traditionally, doing a deal with one of the so-called ‘Major Labels’ is thought to require the artist to give up more creative control and more of their future earnings in exchange for a bigger financial investment and access to the Major Label’s global reach and infrastructure. The advantage of doing a deal with a Major is clearly that you are in business with a very powerful organisation. The flip-side is that you are in business with a very powerful organisation, and therefore your own negotiating power is probably much reduced. Meanwhile, the independent sector tends to be made up of smaller, more niche businesses who may have less upfront cash but can have greater specialist knowledge of particular scenes and which offer the artist a higher degree of creative control. Independents also tend to be less corporate than the Majors and so often offer contracts whose terms are much more favourable to the artist. CONCLUSION The democratisation of the market has meant that the traditional record company functions of A&R, recording, marketing, manufacturing, distribution, accounting, etc. can be owned and controlled as much or as little by the artist as they want (as long as their finance, knowledge and business skills allow them to). THAT is why it is so useful to know the history of the recorded music business; because each of those processes has its own contractual arrangements (often based upon the old model), and it’s become the job of the artist, and those around them, to recognise each and every opportunity and, moreover, now that the balance of power is constantly shifting, that every deal should reflect that. That said, operating outside of a traditional label structure comes with risks of its own; from sourcing cost-effective and sufficient knowledge, skills, experience and networks to the core financing of what can be an expensive business environment to enter. Clearly then, there is no ‘one size fits all’ model for every artist, and the traditional record company signing route remains a hugely viable proposition, and the only option to work with some often powerful players. However, of increasing importance to artists is the greater opportunity to choose the nature of the agreements and relationships and the level of commitment required at each stage. LONG LIVE THE RECORD COMPANY Those predicting that the DIY opportunity marked the death of the record company (and there were many) were wide of the mark too. Record companies are still key commercial partners for artists and continue to maintain their position at the heart of the industry. The survival of the modern record company at small music enterprise and indie level, is in large part due to the passion, adaptability and expertise of those leading the charge in the independent recording sector. For the Majors, international reach, leverage in the market and the scale of their back-catalogues have been key factors. Taking an artist to market can still be an expensive process which requires a degree of funding proportionate to the artist’s ambitions, but here too the options have opened up. Investment in recordings used to come only from the record company, but now a host of alternative funding sources have opened up, from grant funding, private investment, direct to consumer, crowdfunding and a whole host more.START-UP GUIDE TO MUSIC BUSINESS11Y et major labels continue to dominate the global market, whilst independent labels are seeing growth in market share and exist as a thriving source of talent and new lifeblood into the industry. How is that? Clearly record companies have a vested interest to ensure that they remain relevant, but that only reveals part of the story. It’s the combination of their scale, leverage, relationships and skillset that make the contemporary record company as relevant now as they ever were. The nature of the relationships with artists has changed, but the importance of those relationships remains undiminished. The independent record company sector has led the charge in respecting, valuing and harnessing its affiliation with the artist community, ensuring not just a more even balance of power, but a healthier, more long-term view to an artist’s career. Clearly, it is not just expensive taking a record to market, but making it both a profitable exercise and a positive experience is also an extremely difficult, and infinitely nuanced process. The need for a more strategic, holistic approach and to get all of this right, has led us to a contemporary music business landscape which embraces the capacity to adapt, and spreads skillsets and income generation across as many revenue streams as possible, completely breaking open the old world idea of what it was to be a record company. Many record labels no longer identify with this title, as they are likely to offer a mix of services from across the industry to artists, seeking to be the artist’s primary commercial partner more than just the company that funds and exploits their recordings. Conversely majors have spent years buying up distributors, labels or catalogues as well as being the targets of consolidation in the wider media landscape, often now being part of a group of companies that includes, for example, TV channels. They also actively invest in digital services and stores hoping to gain a long term strategic advantage in the market and ensure that their music is prioritised over anyone else’s. So, while in theory the potential of a completely democratised DIY industry might sound wholly liberating, the reality is that this process is more evolution than revolution, and that it is difficult to know everything and do everything yourself all the time. This makes the potential of the record company (or commercial music partner) as important an option as ever for artists starting out today. THE UK MUSIC MARKET IN CONTEXT The UK has consistently remained in the top three or four recorded music markets in the world, competing with Germany as the largest within Europe. The UK undoubtedly benefits from the global strength of the English language in popular music and the legacy of ground-breaking acts from the UK that dominated global charts in the 60s and 70s. UK Music is recognised around the world and we are one of the few countries to regularly produce artists that succeed on the global stage. The UK’s diverse population and our openness to absorbing influence from cultures all around the world has kept UK music fresh and relevant from generation to generation. For all of these reasons, and more, the UK is recognised as a musical standard bearer, which brings a wealth of positive cultural and export opportunities; a fact now being recognised at governmental levels. Current data suggests that the download market is shrinking rapidly, and the physical market refuses to fall away at the rate that many had predicted. Recovering vinyl sales value rose to roughly one fifth of that of the CD market in 2018 and it is thought that sales of vinyl will overtake CDs by next year. However, both downloads and physical releases are dwarfed by the continuing influence of streaming, which is undeniably the true driver of the record industry’s current growth in the UK and overseas. Growth in the market and the potential continued evolution in streaming help make the big picture look very positive, but for the individual artist just starting out, it is important to remember that for streaming to earn you even the minimum wage, you would have to generate several million streams every year, even if you still own all of your own rights. Nevertheless, after a decade and a half of uncertainty and decline, sustained market growth clearly comes as a very welcome development. START-UP GUIDE TO MUSIC BUSINESS12It is essential to recognise that building a successful professional career in music that you can make a living from is hard to do – but by no means impossible with talent, application and a good team around you.So – now we have gone through the history and come up to date, let’s turn our attention to how the bigger picture relates to you. WHAT TO DO NOW: UNDERSTAND HOW THE MUSIC BUSINESS LANDSCAPE CAME ABOUT TO HELP GUIDE YOUR UNDERSTANDING OF WHERE AND HOW YOU CAN WORK WITH IT. RECOGNISE THE VALUE OF HAVING MORE OPTIONS NOW THAN EVER, AS BOTH CREATOR AND ENTREPRENEUR, AND THE POTENTIAL OPPORTUNITIES AND FREEDOMS THAT THIS ALLOWS FOR YOUR POTENTIAL BUSINESS. CONSIDER THE REALITIES OF WHAT OPTIONS ARE AVAILABLE TO YOU ON A PRACTICAL LEVEL, GIVEN THE WIDER LANDSCAPE, TO HELP YOU PLAN AND FOCUS ACCORDINGL Y AND TRY TO SET REALISTIC EXPECTATIONS AT EACH STAGE.1 2 3START-UP GUIDE TO MUSIC BUSINESS132. A STRATEGY FOR YOUR BUSINESS Many people starting businesses in the creative industries have no deliberate roadmap at the outset. The business begins by the founder simply being active. This has two distinct advantages in terms of innovation. First, it allows you to evolve and try different approaches before figuring out what works for you. Second, it allows your business to pressure test the viability of micro niches, new roles or services that hadn’t been previously identified or tested out. Many such ‘lifestyle businesses’ are common in the music industry and the majority of labels, management companies, publicists and others thrive on this basis. When working on projects, they cluster with other specialist lifestyle businesses to form a multi-disciplinary team of experts that can deliver precisely what is needed for the job in hand without the large overheads of a big corporation. This is known as a ‘niche-network’ or boutique approach to delivery. The advantage of ‘niche-network’ is that the delivery team remains a cost-effective hand-picked bespoke option for a particular project. The downside can be the potential lack of coordination, as there are fewer fixed structures in place and poor leadership and communication can make or break the efficiency of delivery. The opposite of ‘niche-network’ is known as ‘bulge bracket,’ which adopts an approach of looking to mop up all of the opportunities in the market, requiring a full-time staff of generalists as well as some specialists who can take on anything at any time. They work at bigger scale than niche-networks, and carry higher central costs. The upside of bulge-bracket operators is that they can potentially take on more, bigger projects and create economies of scale that each client should take advantage of. The downside, other than higher running costs, is that they will most often be more generalist in their delivery, driven by processes and a ‘way we do things’, rather than specialism and focus around a particular project or outcome. When developing your own business it is important to think about where you sit between the two models – are you building a boutique, lifestyle business that has an optimum operating size to maintain the quality / profit balance, or are you going for scale over the personal touch? Try to identify whether you are building a business that is highly personalised in the service it delivers and whether that business can grow 100 times the size and still genuinely deliver to the same standard or better. If the answer is ‘yes’ then consider carefully how you are planning to achieve that scale and what you need to get there. Any choices you then make should be limited by that roadmap to scale and will drastically reduce the likelihood of experiencing so- called ‘choice anxiety’. Equally, if your answer is ‘no’ and you feel the business you are building needs that personal touch in what you do, then again you should consider any services you subscribe to, or systems that you implement, should prioritise what you need to assist you in delivering your vision. VISION Any business should be built on a vision. Y ou should ideally be able to describe your vision to anyone you meet within 30 seconds – if not, it is an indicator that your thinking still needs some refinement. The key benefit of a clear vision is that it unlocks your decision making confidence, power and speed. If you are considering expanding your business into a new area, you should ask yourself whether it fits the vision – if it does, it could be part of a virtuous circle, adding value to the whole. If not, it could be a money / time / energy sink that distracts and detracts from what you should be doing and even if you could make a quick buck, it may be worth saying no from a strategic point of view. Every decision you take can be tested against your vision and if it is, it will help you stay on track to build an effective, efficient and more successful enterprise. This is not to say that everything you do will succeed if you have a vision for the business. Often that vision itself can be flawed and need refinement or adjustment which is why it will need revisiting and challenging periodically. START-UP GUIDE TO MUSIC BUSINESS14WHAT TO DO NOW: 1 2CONSIDER THE TYPE OF BUSINESS YOU WANT TO RUN – ARE YOU GOING FOR ‘NICHE-NETWORK’ OR ‘BULGE BRACKET’? ARE YOU BUILDING A BOUTIQUE BUSINESS WITH A PERSONAL TOUCH OR A SYSTEMS-BASED OPERATION THAT HAS THE POTENTIAL TO SCALE UP? TAKE THE TIME TO CONSCIOUSL Y WORK ON YOUR VISION. WRITING IT DOWN CAN HELP YOU FOCUS IN ON THE CORE ELEMENTS. MAKE IT CLEAR AND SIMPLE SO THAT YOU CAN USE IT AS AN ‘ELEVATOR PITCH’ TO EXPLAIN IT TO ANYONE YOU MEET IN LESS THAN 30 SECONDS.START-UP GUIDE TO MUSIC BUSINESS153. START-UP FUNDAMENTALS There are a number of fundamentals that a business should have in place in order to commence trading in the music industry. Without a robust framework in which to function, a business runs all sorts of risks, from trading illegally, to operating in a way that is financially problematic or inefficient. Clearly then, starting off with the right foundations is vital. These fundamentals include; Legal structure – By law, you will be required to specify whether you are operating as a sole trader, partnership or limited company, or as some form of social enterprise. The nature of your business will likely dictate this, but each has its own implications and repercussions. Tax – The UK government department responsible for collecting tax (HMRC) will need to be informed that you’re starting/running a business, what type of business it is that you’re running and its legal structure. It will also be necessary to find out if you’re likely to start to have to charge VAT. This is determined by whether income is over a pre- specified level. Y ou can find out more about the HMRC guidance to starting a business on their website, which is very helpful. Alternatively, you should consult an accountant, small business advisor or other qualified specialist. Accounting – The practice of accounting (at its simplest, keeping a record of all transactions) is essential not only for managing your own cash flow, but also making sure you know what tax you need to pay, how to deal with income & expenses, VAT and all the other aspects of managing your money as a business. If you are well organised and understand the rules, of course you can keep track of all of these things yourself. Often however, this is an important area for which to seek outside help. Employing an accountant can be expensive, but specialist bookkeepers can help you keep track of your money through the year and help you keep on top of things whilst keeping costs lower. An accountant can then review the bookkeeper’s work and help you with your end of year accounts if required. Regulations – The government provides a guide for businesses in order to ensure that you are compliant with various regulatory issues, from health and safety to data protection. These are mostly straightforward, but are designed to help you avoid pitfalls, and provide a safe and legal framework within which to operate. Business name – When setting up a company, or registering as a sole trader, you should think about the name you will trading under. This name can be used to open a bank account or register with a company at Companies House. Y ou should always keep your business money separate from your personal finances. When choosing a Trading Name – whether as a sole trader or company, it is advisable to research and purchase relevant corresponding web domain names and social handles at the same time and consider appropriate website content accordingly. Business bank account – A separate business account is necessary to clearly separate your business and personal finances. Insurance – This will depend on the nature of the business, but as well as the obvious (relating to property, equipment or accidents in the workplace for example), it is also necessary to have insurance in place to safeguard your responsibilities as an employer as well as any public liability and professional liability cover, to ensure that you’re protected against any potential claims of negligence.START-UP GUIDE TO MUSIC BUSINESS16WHAT TO DO NOW: UNDERSTAND WHAT TYPE OF BUSINESS YOU ARE SETTING UP (ARE YOU CREATING, PROMOTING, MANUFACTURING, DISTRIBUTING, PROVIDING A SERVICE, ETC.) AND THINK ABOUT HOW THAT IMPACTS EACH OF THE ABOVE FUNDAMENTALS. ENSURE THAT EACH OF THE ABOVE FUNDAMENTALS IS ADDRESSED PRIOR TO COMMENCING COMMERCIAL ACTIVITIES. WRITING THIS DOWN WILL HELP SHAPE YOUR BUSINESS PLAN. RESEARCH SOURCES OF FREE SMALL BUSINESS ADVICE FROM CENTRAL GOVERNMENT, YOUR LOCAL AUTHORITY, BANKS, TRADE ASSOCIATIONS AND OTHER SOURCES. THERE ARE GOVERNMENT- FUNDED LOCAL ORGANISATIONS THAT OFFER ADVICE AND HELPLINES. 1 2 3START-UP GUIDE TO MUSIC BUSINESS174. THE BUSINESS OF COPYRIGHT If you are in the business of releasing music, you are actually in the business of copyright. If you want to succeed, it is worth spending a few minutes understanding what copyright actually is and how it works, as it underpins the majority of what you’re likely to do, and how you’re likely to earn income. INTELLECTUAL PROPERTY Copyright is a form of intellectual property. In many ways intellectual property is similar to physical property in the way that it can be traded, except you are dealing with an intellectual creation as opposed to a physical object. Some rights attached to songs cannot be traded and these are designed specifically to protect their original creators (more on those later). For the most part, the record business is focused on two copyrights. 1. The underlying song, which is often known as the ‘musical work’ (technically music AND lyrics separately, but very often, these tend to be amalgamated into the solitary song copyright) 2. The sound recording, ‘master recording’ or just ‘master’ When a song is written, a copyright is created; when it is recorded, another type of copyright is created. Imagine two lads from Liverpool writing a song together, which they decide to call ‘Hey Jude.’ They then head into a famous London studio and record that song. Two copyrights have been created; one to protect the rights of the song (composition and lyrics) for the songwriters (and hence the writers, Messrs Lennon and McCartney), and one to protect the rights of that specific recording for the artist (in this case, The Beatles). If another artist wants to record a version of that song after the Beatles release, then they can do so, and a portion of the money made from that new recording will go back to the original writers because of the the song copyright. Note that because they have not used the Beatles’ recording of the song, nothing is due back to the artists, via the recording copyright – there is in fact a new recording copyright that is credited to the new artist who has covered the Beatles’ original version but both the original and the new version share the same song copyright These two fundamental copyright streams have created two distinct business models, designed to remunerate the two types of core creators in the business; the songwriters, and the artists. These models are: MUSIC PUBLISHERS Song writers can sell (‘assign’) or lease (‘license’) their copyrights to music publishers . It is then the publisher’s job to try to monetise those rights, collect the associated income (retaining a portion for themselves), and pay onward to the songwriter. Obviously the better known the song or the songwriter, the more value there will be attached to the works and therefore the deals. It is possible to administer your own revenues from songwriting, but it takes time and knowledge to do the admin and go out and get those songs used, so there can be advantages to finding the right partner. Songwriters should also join their relevant Collective Management Organisation. In the UK, the songwriter and publisher CMO is PRS for Music (see below for more info) who collect income for public performance and for creating copies (physical or digital) of the song (PRS act on behalf of MCPS for this second use). RECORD COMPANIES In the same way that songwriters can trade their rights in their songs, artists can also either sell (‘assign’) or lease (‘license’) their rights to record companies. This can happen after the recording has been made or the record company could fund the process of making those recordings. It is the record company’s job to try to find ways to make money from those rights (‘monetise’ them), collect the associated income (retaining a portion for themselves), and pay onward to the artist. This is why most record companies have expertise in project managing releases including promotion and marketing, design and manufacturing and all the other elements needed to have the best possible chance of a successful release.START-UP GUIDE TO MUSIC BUSINESS18HOW CREATORS MAKE MONEY FROM THESE RIGHTS Put simply, a songwriter writes songs, which benefit from the protections of copyright. They then earn money from the exploitation of those copyrights. The performing artist who doesn’t write their own material is focussed on deriving an income from the exploitation of their recording of tracks, monetising the associated sound recording copyright and driving revenues through the other areas of their business (live performance, merchandise etc). If a creator happens to be both the artist and the songwriter, then they receive both parallel streams of income from the publishing and the recording copyrights. WHEN DOES COPYRIGHT ACTUALL Y START? In the UK, copyright is said to commence once a work is created and documented or recorded in writing or by other physical means (for example, making a demo recording or video, or even writing out a musical score). Be aware that this can be different in different countries, for example in the US, where copyright must be formally registered with the US Copyright Office. WHO IS THE OWNER OF THE COPYRIGHT? The song is nearly always owned by its creator, at least initially. The only exception occurs when someone is specifically employed to create a song on behalf of another (e.g. a piece of commissioned music for an advert), in which case, whoever paid for the process will be the owner. The sound recording is owned by whoever arranged and PAID (payment being the crucial element) for the recording to take place. So for artists signed under traditional recording agreements (more on this later), that would normally be the record company. Unsigned and even signed artists should own the sound recording copyright IF they paid for the related studio hire. There is a catch here, if they arranged a deal with a studio on a free basis, then technically the sound recordings belong to the studio owner. In the case of home studios, ownership could theoretically come down to whoever paid for the equipment or even the electricity supply. This is a complex area and uncertainty over who owns a particular copyright is the root cause of many of the lawsuits in the music industry. Whenever you write or record with other people, it is really important to set out your understanding in writing, if not in a contract, then at least in an email or other written form to establish your expectations and to have the others sign or repost to confirm their agreement. Legal advice should always be sought to make sure you understand all the consequences of any agreement you enter into (whether formal or informal). The Musicians Union publishes a series of simple agreements that can act as useful starting points if you don’t have a lot of experience or the support of a legal advisor, and most law firms can help you with template agreements, often at low or no cost if they see a long term benefit of working in this way with an artist or their team. HOW LONG DOES COPYRIGHT LAST? The copyright in a song (i.e for the songwriters) in the UK lasts for 70 years after the death of the last remaining writer. The copyright in the sound recording in the UK is different and lasts for 70 years from the end of the year in which it was first released. For both copyright types, take care when working internationally as these durations vary from country to country. Again, it is important to properly understand the consequences, which could affect you legally and financially, so legal advice should be sought. WHAT ABOUT COVER SONGS? The moment a song is commercially released, anyone can play that song live or record it themselves, without having to seek the permission of the copyright owner so long as it is a ‘straight cover’ START-UP GUIDE TO MUSIC BUSINESS19with no changes to the lyrics or other substantive elements of the underlying song. To release a cover you may need to get a ‘mechanical licence’ from the collection society MCPS, on in fact in practice from PRS For Music. The PRS For Music website has lots of information and a helpline for more information. If the song is used in a way where any change is made to the composition (structure) or lyrics, this will require additional prior approval from the songwriters / publishers. It’s worth noting that they don’t have to give permission and in some cases even if they do it can take a long time but you must have permission in order to use a song in this way and can’t make it available publicly until or unless you have it. There is often a royalty to pay in return for this permission, which could be significant. This is a complex area and you should get good legal advice from a specialist music lawyer before going ahead. WHAT ABOUT SAMPLING? The procedure for clearing the use of any third party sample is to seek approval both from the songwriter/ publisher (for the song) and from the label/artist (for the sound recording) in advance of release. An approval is required from all parties in order to proceed. If only the recording portion is denied, then it can be possible to re-record and utilise a newly recorded version of the sampled work instead, as long as the song structure remains intact – see above for more on this. WHAT TO DO NOW: 1 2KNOW WHICH COPYRIGHTS YOUR BUSINESS IS LIKEL Y TO BE INVOL VED WITH, AND TO WHAT EXTENT YOU WILL OR WON’T HAVE OWNERSHIP OR PERMISSIONS. THIS IS CRUCIAL; WHILST MUCH OF THE VALUE IN THE RECORDED MUSIC BUSINESS LIES IN THE OWNERSHIP OF THE RECORDINGS, IT IS ALSO POSSIBLE TO DERIVE INCOME FROM COPYRIGHT CREATION, EXPLOITATION, CURATION AND PROMOTION. THINK AHEAD TO MAKE SURE YOU HAVE ALL THE RIGHT PERMISSIONS IN PLACE AND A PLAN FOR HOW TO GET THEM. IF YOU NEED LEGAL ADVICE, THERE ARE A NUMBER OF GOOD MUSIC SPECIALIST LAW FIRMS LISTED ON THE AIM WEBSITE’S ‘FRIENDS OF AIM’ DIRECTORY, MANY OF WHICH OFFER DISCOUNTS AND LOW RATES TO AIM MEMBERS. ADDITIONALL Y SOME UNIVERSITIES, SUCH AS QUEEN MARY UNIVERSITY IN LONDON, OFFER LEGAL CLINICS AT NO COST. THE MUSICIANS’ UNION IS ALSO A SOURCE OF VALUABLE ADVICE AND GUIDANCE FOR MUSICIANS.3START-UP GUIDE TO MUSIC BUSINESS205. RECORDING AND PUBLISHING CONTRACTS RECORDING CONTRACTS If you are interested in releasing music, it is important that you understand the basis of recording or record deals. TYPES OF RECORDING DEAL There are various types of agreement that can be arranged between label and artist. These can be broadly split into two types: The exclusive recording deal sees the label become the sole rights owner in entirety, often for the life of the recordings’ copyrights. A license entails the label having a more limited set of rights, to release and exploit recordings exclusively, usually for a given period only, after which ownership reverts back to the artist. Licenses are a little like leasing your recordings to a label – or renting them to the label. Many contemporary label deals cover more than just the recording itself – they capture any songwriting / publishing and even live, merchandise and other aspects of the artist’s business. These tend to be called ‘360 deals’. When signing any deal, it is important to assess what rights and responsibilities attach to the transfer of any rights. If you are an artist, ask yourself if the business you are signing to has expertise in the areas captured by the deal. If you are signing an artist, ask yourself if you have the expertise, investment capital and capacity to deliver on what you are promising in the contract. As this contract can have significant impact on the artist, it is always advisable that everyone involved gets expert legal advice from music specialist lawyers. KEY CLAUSES There are two clauses in the record deal that are of greater importance than any other, primarily because they set the baseline income levels due to the artist.The advance is the amount of money due to the artist as a lump sum (and usually paid up front) and is intended to cover the artist’s subsistence as well as the recording of the new material. As the record company is paying for the creation of new recordings, they are owned by that company, not the artist. The royalty rate is the percentage of income from sales due to be paid back to the artist. All contracts will specify a base royalty payable to the artist from every sale. A substantial part of the rest of the agreement is likely to outline ways in which deductions will be made from the base royalty rate payable to the artist. Major label recording agreements in particular have become ever more complicated and lengthy, usually requiring many more rights and restrictions than independent deals. Independent deals tend to be more straightforward and increasingly geared towards transparency and the easiest way to work out the various split of any revenue. The record company is usually not obliged to pay through artist royalties on sales until such time as the amount of royalties accrued is in excess of the value of the advance; a notion known as recoupment. Even once the artist has recouped, the record company still owns the sound recordings on the basis that at the time of recording, it was they who funded the process. After they have recouped the advance, any royalties will be paid through to the artist according to the terms of their recording agreement. The territory clause outlines where the deal is limited to geographically speaking. This can be the UK, Europe, the world – and in some cases it is defined as the solar system or known universe! The minimum commitment can be used to specify both the minimum content deliverable by the artist for the contract and to specify the very least release obligations of the label to make recordings commercially available whilst still fulfilling their obligations. The release commitment is specific to how soon after delivery a recording must be released, and usually relates to the main territory. Such clauses are intended to ensure an obligation to the commercial release of material, and in timely fashion. START-UP GUIDE TO MUSIC BUSINESS21Options refer to a maximum number of tracks, albums or album cycles (otherwise known as option periods) a label is entitled to pick up, if they choose to do so. The artist may not offer recordings to another label until the current label has used up all its options or has released the artist. It is sometimes possible, with the current label’s permission and usually at a cost, to be released earlier. The tour support commitment relates to a minimum financial commitment by the record company to fund an otherwise loss-making touring artist. Once again, when offering or signing any legal agreement, make sure you take INDEPENDENT legal advice from a music specialist lawyer, and remember that if you are not paying the lawyer, you are not the client. Agreements may offer seemingly attractive rates which then get lower and lower once you get to the small print. Equally, as a new ‘label’, take care not to over-commit to an artist and find yourself in a position where you cannot afford to deliver on promises you have made, even with the best of intentions. Don’t rely on generic templates without understanding all of the legal and financial implications. This agreement will bind you, sometimes for a long time, and will be part of your financial considerations and impact on your relationships with artists as well as your reputation, so it is extremely important to get them right. PUBLISHING CONTRACTS If you have involvement in the writing of songs, it is important that you understand the basis of publishing deals. The number of different types of publishing agreement tends to increase as the songwriter gains in reputation. Those at the top of the scale might attract so-called ‘admin deal’ offers (administration only, with the lowest possible royalty due to the publisher), through to a full publishing agreement which will have a more favourable income split in favour of the publishing company. The advance and the royalty rate dictate the basis of the agreement (the advance once again being recoupable via the writer’s royalty rate, similar to the recording agreement described above), although in this instance the royalty will be substantially weighted in favour of the writer, and not the publishing company (the opposite is historically true when it comes to record deals, reflecting the greater financial risk taken and the broader range of services generally offered by the record company). The clauses regarding royalty rate may vary in order to incentivise the procurement of ‘cuts’ (i.e. songs commercially released), or sync deals (music placements in TV, film, adverts or video games etc). Advances can be spread across a term, perhaps being triggered at intervals or on delivery of a specified quantity of cuts or option extensions (see below). Due to there being many fewer recoupable costs lodged against a writer, they are likely to recoup far more quickly than the recording artist. The below elements are all worth noting; The exclusivity will determine which type of deal a writer is signing, whether on an exclusive basis (all of their works over a given period), single-song assignment (a one-off basis for a specific song), admin only or sub-published (whereby an existing publishing entity assigns all of its rights to a third party). The territory clause determines whether the deal is to be administered overseas either by a publisher’s local country affiliate, or via a sub-publishing agreement with another company. The rights period is the duration for which the publishing company will be able to exploit the relevant songs. Though subject to variation, this can often be for a set period (perhaps ten or fifteen years), whilst some deals endure for the entire life of copyright term (i.e. 70 years after death of songwriter). Whilst the rights period is specific to the songs, the term relates to the actual writer, and determines the length of time for which the songwriter is exclusively signed to the publishing company. These are normally for a period of up to three years, with additional option periods. In assessing these options, the company will consider the degree to which the START-UP GUIDE TO MUSIC BUSINESS22writer has recouped their advance, as well as the minimum commitment. This is a clause designed to incentivise the writer not just to maintain high standards creatively and deliver a high quantity of songs, but also to actively seek out as many commercial release opportunities as possible. So for example, a minimum commitment of five songs in a twelve month period would necessitate that writer having to have written 100% of five songs which have been commercially released within the year. Finally, the rights granted specifically detail exactly what has been assigned to the publishing company, and might usually be expected to encompass performance and mechanical income (i.e. income due from recorded music sales), as well as sheet music and sync fees. WHAT TO DO NOW: 1 2 3UNDERSTAND AND BE ABLE TO UTILISE KEY CONTRACTUAL CLAUSES IN RECORDING AND PUBLISHING AGREEMENTS, IN PARTICULAR RELATING TO THE ADVANCE, ROY AL TIES AND THE NOTION OF RECOUPABILITY. READ AS MUCH AS YOU CAN ON DEAL TYPES AND STRUCTURES (SEE RECOMMENDED READING SECTION AT THE END), TALK TO AS MANY PEOPLE AS YOU CAN ABOUT THE PROS AND CONS OF DIFFERENT APPROACHES AND THEIR EXPERIENCES, FOR EXAMPLE, BY ATTENDING NETWORKING EVENTS. ACCEPT THAT THERE IS NO ‘PERFECT’ CONTRACT AS EVERY DEAL IS A COMPROMISE, BE CLEAR ON YOUR PRIORITIES AND ABILITIES WHENEVER YOU ARE IN A NEGOTIATION AND DON’T PROMISE ANYTHING YOU CAN’T DELIVER OR DON’T UNDERSTAND FULL Y.START-UP GUIDE TO MUSIC BUSINESS236. COLLECTION SOCIETIES It is important to understand the ways in which the exploitation of your copyright will result in income coming back to you. Of course record and publishing companies can handle some of the royalty flow- through due from sales relatively directly and in straightforward fashion; a record is downloaded, and the artist is paid a royalty. Y et what of the writers who contributed to the song that was recorded, or the session musicians responsible for recording its string section? How does the industry support the notion that every writer or artist is compensated when their work is exploited via sale or broadcast (whether via media, or live performance)? And how does this apply to the multitude of creative entities which make up the modern music business aside from artist and writer, such as producers, performers, musicians and arrangers? Step forward the performing rights organisations, PROs for short, also known as collection societies or Collective Management Organisations (CMOs). COLLECTIVE LICENCING The Performing Rights Organisations were created for reasons of cost saving and simplification of procedure, with the UK music industry applying a system known as collective licensing. This occurs when the majority of rights owners collate all of their rights into one pot, and appoint a central organisation to handle licensing on their behalf. The resultant performing rights organisation can then strike one deal for all rights owners with an entire groups of licensees (so in this instance, licensees could be radio stations, TV channels, venues, cafes, bars etc, or indeed any public or commercial entity likely to want to use music). Clearly this is far simpler than coming to an arrangement for every single use of music with every single potential licensee. Equally the licensee does not have to come to an enormous amount of agreements with every party involved in the ownership of every single track they’re hoping to use. In order to ensure that all relevant creatives are fairly compensated for the public performance of their work, several different organisations were created, each tasked with overseeing a specific use of copyright; a) PRS For Music – (short for the Performing Rights Society) the principle role of PRS For Music is to collect royalties from users of music in the UK who perform or broadcast music to the public. They collect only on behalf of songwriters, composers and publishers, and hence are in no way concerned with artists. Their principle means of income are derived from: - issuing annual licenses to businesses and organisations who utilise music on their premises - the agreement and pay-through of set rates payable for the use of songs broadcast on radio or television - live performance venues b) MCPS – (Mechanical Copyright & Protection Society) Whilst the MCPS operates on behalf of the very same creatives as the PRS (i.e. for songwriters and publishers), their sole purpose is the collection of a specific amount every time a record is either pressed or sold, downloaded or streamed. The majority of the resultant income is then paid back to the songwriter and their respective publishing company. These two independent entities merged in 1997, and now operate under the name PRS For Music. c) PPL - (Phonographic Performance Ltd) In effect, PPL performs the same role as the PRS, but in relation to sound recording copyright (not the song). So those same public performance scenarios, from radio, TV, or at any space where music is exposed to a number of people will also collectively licence to PPL. In this instance though, the royalties collected will be paid through to the relevant record companies and performers, on an equally split basis. Note that both PPL and PRS for Music can collect royalties not just from the UK but also from around the world through a series of bilateral agreements with their equivalent organisations in each territory. d) VPL (Video Performance Ltd) VPL perform a very similar function to the sister PPL organisation, but in respect of music videos, hence this extends to anyone featuring in a music video, be they artist, band member, backing dancer, featured actor, etc.START-UP GUIDE TO MUSIC BUSINESS24THE PPL PRS MUSIC LICENCE In 2018, PPL and PRS For Music formed a joint venture in order to further simplify the process of licensing music for public performance. In providing a single point of contact for any entity requiring the above mentioned licenses, the joint venture now allows this to occur via just one application for the newly termed ‘TheMusicLicence’; once collected, royalties are then distributed to the two parent companies. HOW DO THE P.R.O.s WORK WITH BROADCASTERS? PRS for Music and PPL will issue a so-called ‘blanket licence’ to the main domestic broadcasters that entitles them to use any track administered by the respective PRO without having to seek permission on an individual song-by-song basis. In turn, the broadcasters must provide detailed lists of all music utilised so the PROs can pay out the correct rightsholders. Note that these blanket licenses are not issued to all UK broadcasters, meaning that Sky for one is still required to procure licences on a case by case basis. More prominently (and for the lucky chosen ones, often more profitably) the US TV and film industries are themselves obliged to seek individual agreements for the use of music in their productions (a process known as synchronisation, more of which later). PUBLIC PERFORMANCE & BROADCAST - ‘NEIGHBOURING RIGHTS’ OR ‘PERFORMANCE RIGHTS’ Neighbouring rights is a term used to describe the performance in public, broadcast (TV, radio) and some other ‘secondary’ rights attaching to the recording copyright, or Master Right. The international collection of Neighbouring Rights has become an ever more important source of income for the industry, and it is worth spending a moment learning a little more about it if your music is being played on the radio in the UK or overseas. There is a lot of good general information on both the PPL and the PRS websites. For some more advanced information AIM has two guides to this area, as well as video and other resources on its website for members. START-UP GUIDE TO MUSIC BUSINESS25WHAT TO DO NOW: 1 2 3UNDERSTAND THE PRINCIPLE OF COLLECTIVE LICENCING, WHERE IT APPLIES, AND HOW THE PA Y THROUGH OF ROY AL TIES FOR EACH COPYRIGHT TYPE FIND THEIR WA Y THROUGH TO THE RELEVANT BUSINESSES AND CREATORS ENSURE THAT YOUR WORKS AND RECORDINGS ARE REGISTERED WITH THE RELEVANT COLLECTION SOCIETIES. START TO KEEP A DATABASE OF ALL OF YOUR WORKS AND RECORDINGS WITH ALL THE METADATA ABOUT THEM. DON’T REL Y ON A DISTRIBUTOR OR COLLECTION SOCIETY TO DO THIS FOR YOU. THERE ARE TOOLS, SYSTEMS AND COMPANIES WHO CAN HELP YOU DO THIS, CHECK THE FRIENDS OF AIM DIRECTORY ON AIM’S WEBSITE, COME TO RELEVANT AIM EVENTS TO LEARN MORE ABOUT THIS.START-UP GUIDE TO MUSIC BUSINESS267. FUNDING: COVERING THE INITIAL OUTGOINGS The process of maximising an artist’s reach requires substantial investment. This can make the business model a challenging one for many developing artists and small labels who face the difficulties of having no set route to market, whilst requiring substantial funding in order to break through. Historically, much of the funding for both the development and promotion of the artist came via the record company. Whilst this still occurs, it does so now much later in the process than it once did. Using the plethora of tools and data available, record companies are incentivised to wait and observe an artist’s market potential as they develop, rather than commit too early and back a less likely winner. In this way, the cost of early-stage development has swung away from the record companies, and places responsibility with the artist to develop themselves to such a level that they attract substantial investment. Whilst artists these days are likely to have to get further on their own before they get signed than in the old world, the availability of social media and other free or low cost tools makes the process feasible and achievable. Getting a music career off the ground was always said to be about ‘creating a buzz’ – in many ways, it still is. There are typically a number of different options for generating early stage investment. GRANTS The contemporary music industry benefits from some Government backed and other grant funding. Funding, in the form of grants, is available for application from a number of different sources, for example the PRS Foundation, Arts Council England, devolved national governments, regional / local funding, Help Musicians UK, and the Music Export Growth Scheme (MEGS) from the Department for International Trade which is administered by the BPI. CROWDFUNDING As artists have increasingly taken direct control of their early release activity, so the options for funding this process have opened up, and crowdfunding remains a popular option, in spite of the high profile failure this year of Pledge Music, which collapsed for particular reasons, but proves the rule that it’s essential to read the small print. Crowdfunding by its nature encourages members of the public to contribute towards a project, by offering incentives or products that they can purchase, often in advance of their creation. As a result, it is a process that lends itself to the direct artist-fan relationship, many of whom are early adopters, eager to liaise direct with the creative talent, and support their career. Crowdfunding has allowed artists with no other viable means of raising funding, to do so in a way that is engaging and directly relevant. LOANS Though loans remain an option for music as with any business, the reality is that artists will often struggle to get a traditional business loan from a bank. Of course other investors can also be found (more of which below), and though the lenders charge interest, it may not involve an exchange of copyright ownership, which at least ensures that the intellectual property remains within the control of the borrower. PRIVATE INVESTMENT Trying to identify and then speak the language of business investment tends not to be a strength of most creatives or start-up music businesses. Nevertheless, third party investment has become an increasingly viable means of funding projects whether an artist or entrepreneur simply knows someone that might want to invest in them, or via more formal investment programmes looking to target music. In such instances, the programme can help package the artist as an investment opportunity, seek interested parties and set the terms of any resultant deal. In return for their initial investment, an investor may well expect a percentage stake in a forthcoming release, or to get a share of a portion of the artist’s income across multiple streams over a given number of years.START-UP GUIDE TO MUSIC BUSINESS27BRAND DEALS Music remains an attractive and glamorous business, and one which other industries are hugely keen to associate with, in order to promote their products and services, underscore their brand values and energise their offering. Artists create a cachet which third party brands recognise, and are willing to pay for the association, as the resultant promotional value can be substantial. A brand owner’s principle ambition is often to reinforce their brand identity by association, which can by definition mean partnering with newer developing artists considered to be a better fit for their target audience. The notion of early adoption applies just as much in commercial partnerships as in media.WELL CONSIDERED, FRUGAL BUDGETING Whilst it is true that the upfront costs of music promotion can be expensive, it is worth asking how much of those outgoings are actually essential, and what the expenditure will likely add to the bottom line. In this day and age, there is a lot you can do for free. Think about everything you can do yourself; be creative! Simply by considering what the essentials for any given piece of activity might be, it can be easy to ascertain which elements could be considered necessities, and which are luxuries. All of which is not to say that a business should not benefit from investment, merely that due consideration should be given to where that investment is made. WHAT TO DO NOW: 1 2CONSIDER YOUR INVESTMENT NEEDS AND THE RANGE OF POTENTIAL FUNDING OPTIONS OPEN TO YOU, AND REACH OUT ACCORDINGL Y. ALWA YS READ THE SMALL PRINT AND BE FULL Y AWARE OF ANY OBLIGATIONS OF REPA YMENT, HOW YOUR MONEY IS KEPT AND PROVIDED AND SO ON. IF YOU ARE NOT CLEAR ON THE DEAL ALWA YS SEEK SPECIALIST LEGAL ADVICE.START-UP GUIDE TO MUSIC BUSINESS288. CORE BUSINESS SKILLS It is worth examining in greater depth some of the core principles that underpin running a business. YOUR BRAND VALUES Allocate plenty of thought as to what constitutes your brand values; which business principles are of most importance to you, and how you want your product or service (and yourself, in a business context) to be perceived. This will determine everything from what type of service you’re offering, to how you should market yourself, and who your ultimate audience is. By considering who you want to reach and who can help you reach them, it will be possible to identify not just your target audience, but your whole business community, from suppliers, to advisors, to investors and beyond. SEPARATING PERSONAL AND BUSINESS FINANCES It is essential that you separate out any business finances from any of your own personal money. This will dramatically simplify the processes of accounting and tax preparation. It could also help you in the event that things go wrong. This means having a separate business bank account whether or not you set up a company or operate as a sole trader. BUDGETING It is advisable to make some effort at budgeting likely expenses and consider these against potential income when setting up any new venture. Y ou can research a lot of the likely costs you will incur by looking online, consulting contacts in the industry, or through trial and error with smaller scale experiments or pilot projects. Think about whether you will require premises, a website build, what types of insurance, staffing or transport costs are you likely to accrue? Will they be one-time expenses, or regularly incurred costs? Y our expenses will also help define at which price point you should make your product or service available (i.e. in order to start to try to generate revenue). Any costs associated with making any goods, labour, packaging and shipping, processing, marketing and relevant taxes must be considered. SALES PROJECTIONS Many coming into the music business have already been involved in a degree of commercial or entrepreneurial activity with their music, which is as good a basis for ascertaining sales projections as any. Ideally this can be combined with research (whether anecdotal, or literal) into similar businesses. Consider who you know who might be prepared to provide some ballpark numbers. Research artists you admire or identify with them at different levels within the industry – see what they are doing and how they are making money. What can you learn from them? BOOKKEEPING AND ACCOUNTING Bookkeeping is the process of tracking and recording daily transactions, whether sales or expenses, and recording their impact on financial status. In other words, it helps track and show the health of your business at any given moment. CASH FLOW Cash flow is the single most important indicator of whether your business will survive. 82% of small businesses (across the wider economy – not just in music) fail due to cash flow problems. Poor cash flow management is the biggest single risk to your business no matter how good your music is. If you can’t afford to pay your debts when they fall due, you risk going bust. Maintaining good cash flow is all about making sure you get paid when you are due to get paid and being able to deliver on your obligations when your bills fall due. Remember that the cash flow position of the company can vary enormously from the the accounting position, for any number of reasons (perhaps the most common of which is late payment of an invoice) so if there is one business process you need to prioritise, it is keeping on top of your cash flow. The golden rules are to make sure you send out any invoice you can as soon as you can and that you work actively to make sure people pay you on timeSTART-UP GUIDE TO MUSIC BUSINESS29TAX FOR YOUR BUSINESS It is essential to recall any business will need to pay tax on its profits. As a guide, it is worth assuming that approximately twenty percent of annual profits will need to be set aside in a separate deposit account in order to allocate towards any tax obligations as and when they are due. ACCOUNTING TO THE ARTIST Accounting royalties due to the artist is an extremely complex task, and one which even experienced industry veterans tend to out-source to a third party platform. These days, many platforms are available and several work on a commission basis and so cost nothing up front. It is well worth using a proper third party system for helping run your administration – particularly when it comes to royalty accounting as being late or getting it wrong can fundamentally damage any relationships between artist and their commercial partner. WRITING A BUSINESS PLAN Writing a business plan will not only allow you to road test your proposal, and identify gaps in your existing knowledge base, but also it will be essential in circumstances where you are seeking to attract third party investment. A business plan should be an overview document that not only describes what a business is and how it intends to generate profit, but also core elements you might want to think about such as staffing levels, premises, managerial leadership, the operating model, and of course, financing. In other words, it should be the comprehensive blueprint for you to relay your business intentions to any given third party. WHAT TO DO NOW: 1 2 3IDENTIFY AND COMMIT TO YOUR BRAND VALUES, COMMUNITY AND VISION. LOOK AFTER YOUR NUMBERS. SEPARATE PERSONAL AND BUSINESS TRANSACTIONS, RESEARCH AND EMPLOY A BUSINESS FORECAST PROCESS, IDENTIFY AND EMPLOY A SUITABLE ACCOUNTANT AND UTILISE ROBUST ACCOUNTING PROCEDURES. CONSIDER OUTSOURCING ROY AL TY ACCOUNTING TO A SPECIALIST COMPANY. YOU CAN FIND DETAILS OF SOME COMPANIES AND TOOLS ON THE FRIENDS OF AIM DIRECTORY ON THE AIM WEBSITE AND BY ATTENDING AIM EVENTS LOOKING AT THIS AREA. WRITE A ROBUST MARKETING PLAN AND STICK TO IT!4START-UP GUIDE TO MUSIC BUSINESS309. THE TEAM AROUND THE ARTIST It is important to understand the core team that might exist around an artist, and how they support their business needs. The boundaries between each role have become increasingly blurred over recent times, but nevertheless the principles remain the same and understanding the roles and functions of the team can help in in formulating a strategy for an artist career or campaign. THE MANAGER The manager should maintain a strategic overview across every aspect of the artist’s career. Broadly speaking that entails enabling the artist to be as free as possible to focus on the creative element of their role, whilst the management oversees the business elements. Their role can therefore include involvement in aspects as far reaching as A&R, logistics and legal matters, marketing, promotion and the artist’s health and wellbeing. The most important clauses in any management agreement stipulate the basic rate of commission due, what happens to that rate if the parties go their separate ways, and then a legal notion which attempts to ensure that the manager always acts in the artist’s best interests even when it may prejudice the interests of the manager themselves. This is the highest legal duty of care and is known as a ‘fiduciary duty’. THE LAWYER As a guiding rule, if a business collaboration or substantial exchange of money is to be undertaken, or an issue regarding ownership exists, then it is wise to consult a lawyer. Whilst it is generally suggested that such guidance tends not to come cheaply, anyone first encountering a legal document, and the ‘legalease’ language which they utilise, will understand exactly why a trustworthy, experienced and legally trained eye can add substantial value (and prevent a multitude of later issues) if employed from the outset. The money a lawyer could save you in the long run is almost certainly worth any initial outlay. Music industry lawyers also tend to be well networked at senior levels within industry organisations, making them valuable allies and connectors at the earliest stages of the artist’s career, when external input and assistance is often so beneficial. THE BOOKING AGENT A booking agent’s responsibility is to procure live performance opportunities for the artist, most likely in the form of headline shows, support slots or festivals. As few artists have a reach beyond their immediate locality, the agent’s extensive network of contacts and capacity to understand where the most suitable opportunities exist makes them a potentially valuable addition to any team. They tend to work exclusively, and on a commission basis of the gross fees of all live income. THE ACCOUNTANT Often paid on an annual basis, or via set fees for specific tasks, accountants can not only optimise a business in terms of the corresponding tax obligations, but also contribute in areas such as optimal business set-up, self-assessment, book- keeping, VAT returns, tour accounting and even auditing. If you are unsure about anything financial, a recommendation for a decent accountant can be worth its weight in gold. THE BLURRING OF ROLE BOUNDARIES Whilst each of the above roles is arguably a specialist position, sometimes out of necessity, but often-times out of choice, some or all of these roles end up getting combined. An experienced manager will be well versed in legalease, key contractual clauses and negotiation tactics for example, which might mean you rely less on a lawyer for day-to-day issues. Equally, it is also not uncommon these days for lawyers and accountants to make the move into management, combining their technical training with commercial skills and entrepreneurial nouse to the benefit of their clients. As ever in business, necessity remains the driver of invention, and if a problem needs solving, a solution can most often be found in consultation with the right team.START-UP GUIDE TO MUSIC BUSINESS31WHAT TO DO NOW: UNDERSTAND THE ROLES, RESPONSIBILITIES AND VALUE OF THE MANAGER, LAWYER, BOOKING AGENT AND ACCOUNTANT, AND TO CONSIDER THEIR RESPECTIVE IMPORTANCE RELATIVE TO YOUR BUSINESS MODEL. CONSIDER WHICH OF THESE ROLES YOU ARE UNDERTAKING OR WHO YOU HAVE IN THOSE ROLES IF YOU ARE THE MUSICIAN. MAKE SURE YOU HAVE CLEAR WRITTEN AGREEMENTS SETTING OUT WHO DOES WHAT AND HOW THAT IS PAID FOR FROM THE OUTSET. GET SPECIALIST LEGAL ADVICE FOR THIS. 1 2START-UP GUIDE TO MUSIC BUSINESS3210. LAUNCH COUNTDOWN WHY TIMELINE? A timeline is a simple document that outlines the key elements of a campaign, in sequential order. It allows you, and anyone else involved in the process, to see what it is you are intending to do, and when. It helps teams coordinate and it makes it possible to more readily highlight unrealistic deadlines, gaps in the process, oversights, sequencing issues, missed opportunities, possible synergies and areas for improvement. In addition, it becomes the ‘core’ document around which everything else relates, and to which every other ‘moving part’ (i.e. each person) in the team should refer. HOW TO TIMELINE Most campaigns will encompass a specific moment in time around which to build the principle focus of attention. Normally, you would start with that moment and work backwards to identify when deadlines need to be, and whether you have enough time to hit them. The first process in creating the timeline therefore lies in ascertaining what those key moments are likely to be rather than initially focussing on when they are going to be. Work out what you want to do – then work out when it is likely to be achievable. The purpose of the document, likely to be separated into key areas of activity, is to outline exactly when a campaign begins, when core elements need to be created and delivered, the scheduling of promotional activities (offline and digital) and clearly highlighting key impact points. The aim is to focus on the most important elements of the campaign, in order to allow for a ‘quick glance’ understanding of ambitions, as well as the associated sequencing and responsibilities. DIGITAL RELEASE One of the perceptions of the digital age is that of being able to distribute information instantaneously. The reality of digital music distribution is that established processes have developed that require more time than you might at first imagine. The processes and timing of the procedure will depend on the nature of your distribution set- up (whether with a label for example, or an independent third party aggregator). The services available to the artist will vary accordingly, but may include elements of promotional or marketing support, synchronisation leads, data analytics, asset creation and retail sell-in. Playlist pitching has very much come to the fore in recent times as streaming consumption has increased in terms of importance. It is worth sometimes taking a step back and making sure you have a good plan in place before rushing to release a track or album, just because it is finished. Also, whilst everyone wants to get on playlists, don’t forget that highly engaged fans who build a relationship with an artist are worth significantly more revenue over time, whether through sales of music, tickets or merchandise, than almost any number of passive listeners who hear some music on a playlist and may never even know the artist’s name. OFFICIAL CHARTS Most major territories have longstanding and officially recognised chart systems to log sales, and provide a weekly update in the form of a chart. The basic process of releasing new material does not automatically make it known to the relevant chart entity and it is important to confirm that your label or distributor is doing this on your behalf if you feel your release may have a chance of featuring.START-UP GUIDE TO MUSIC BUSINESS33WHAT DO I NEED IN ORDER TO DISTRIBUTE DIGITALL Y? There are three key elements to delivering music to a distributor, which include; The music itself – delivered to a pre-specified audio quality standard and format. Accompanying artwork – for every release format that you upload, a piece of artwork must accompany it, again to a particular specification in terms of size and resolution. Metadata - on the delivery of every finished master recording, the producer is responsible for also delivering the accompanying ‘label copy’, which details who owns the copyrights and each person to be credited with an involvement in the recording process. By doing this, each track can be identified, and every person correctly remunerated. THE TIMESCALE OF DIGITAL DISTRIBUTION It is possible to make tracks available within a matter of days, but aiming for the optimum scenario, it is wise to allow up to four weeks ahead of release for delivering all of the elements into the distribution system. DIGITAL RELEASE INCOME For every digital download it is fair to assume that approximately half of the value of every single track sale will make its way back to the owner (after mechanicals, VAT / sales taxes and the retailer’s cut). For streaming, inevitably the income due back is far less for each individual transaction, and varies by platform and country; the amount paid through per stream is quantified to the third decimal place of a penny, which somewhat supports much of the early criticism around streaming, that it simply doesn’t pay through sufficiently. The reality is that streaming can and does provide not just a promotional channel, but a vital source of income for many. When starting out, these revenues can be tiny, but look to build them over time and they can really start to add up and deliver constant monthly income to your business. It is clear that to make decent money from streaming requires large quantities of streams for the individual artist, or better still, the combined number of streams across a number of successful artists for the repertoire owner. Whilst the average pay through per user is a much lower rate than that for downloads, the likes of Apple Music, Deezer and Spotify remain far more profitable for artists and their commercial partners per listen than the most populated streaming platform of all, namely Y ouTube.START-UP GUIDE TO MUSIC BUSINESS34WHAT TO DO NOW: UNDERSTAND THE USE OF, AND BEGIN TO EMPLOY, THE TIME-LINING PROCESS TO MAP OUT CORE ELEMENTS OF THE CAMPAIGN IN SEQUENTIAL ORDER. IDENTIFY AND CHOOSE A SUITABLE DIGITAL DISTRIBUTOR BASED UPON THEIR FINANCIAL MODEL AND POTENTIAL TO PROCURE PLA YLIST SUPPORT. ENSURE THAT RELEASE ARTWORK, MUSIC AND METADATA ARE SUPPLIED IN THE CORRECT SPECIFICATION TO YOUR DISTRIBUTOR UP TO FOUR WEEKS IN ADVANCE OF RELEASE, IN ORDER TO ALLOW FOR RETAIL SELL IN. APPRECIATE THAT DIGITAL EARNINGS ALONE MA Y NOT BE ENOUGH TO SUPPORT AN INDIVIDUAL ARTIST – CERTAINL Y IN THE EARL Y STAGES – AND UNDERSTAND THAT A SUCCESSFUL ARTIST OFTEN RELIES ON A COMBINATION OF INCOME STREAMS WHEREAS A SUCCESSFUL LABEL OR PUBLISHER OFTEN RELIES ON THE INCOME THAT COMES FROM HAVING A BROAD CATALOGUE OF MUSIC.1 2 3 4START-UP GUIDE TO MUSIC BUSINESS3511. PHYSICAL RELEASE IS PHYSICAL PRODUCT STILL RELEVANT? The contemporary reality for many major territories is that physical sales still account for a sizeable portion of the marketplace. Whilst sales are undoubtedly on the decline, many (typically older demographic) consumers have yet to adopt the subscription based streaming model, preferring the notion of owning something that they can touch and see, over a harder to grasp concept of cloud-based ‘access to all.’ Whilst it appears inevitable that sales may well continue to decline, as long as CDs and vinyl (and somewhat remarkably, even the return of the cassette tape) account for reasonable volumes in markets as diverse but prominent as the UK, USA, Germany and Japan, then clearly their relevance to the consumer will remain important. IS PHYSICAL PRODUCT RIGHT FOR YOUR ARTIST? Whilst it is difficult to paint broad brushstrokes as to the typical music fan by genre, it is clear that consumers of certain types of music appear more likely to purchase physical stock than others; dance artists, operating in a rapidly moving and technology embracing environment, might well overlook physicals for example, whilst a heavy metal band could well base their income model on the sale of physical product of one form or another. It is therefore well worth researching similar artists or releases to give at least some indication of potential uptake. That said, much relies upon the type and quality of product, and the means via which it is communicated. Typically, a highly engaged audience is more likely to make a purchase, and even moreso if they are doing so direct from the artist. The uber fan seeks out the opportunity to actively engage and support, making them not just more likely to purchase, but to do so with higher spec and more expensive product. CHOOSING A PHYSICAL DISTRIBUTION PARTNER Some distributors simply do not cater for the physical market, and those that do are typically choosy as to which artists they take on; they have limited stock capacity after all, and need to allocate space and inventory to items most likely to sell. Equally, some physical distributors will not consider a deal if digital rights cannot be factored into the proposition. Such a decision may well boil down to whether there is intent to service physical retail, or whether the artist is looking to conduct all of their physical sales via their own direct to consumer/merch space. DIRECT TO CONSUMER SALES In regards to direct to consumer (abbreviated to D2C, literally meaning selling straight from artist to consumer without doing so via a third party retailer), self fulfilling is clearly a simpler proposition, allowing the artist or their team to take direct responsibility for all matters after taking receipt of manufactured goods. Whilst this facilitates the retention of ownership of both process and all income, it does come with the associated logistical issues; from space to keep potentially large quantities of stock, to packing and shipping each and every order, and then dealing with all subsequent customer queries. It also requires the investment of capital upfront in stock that may or may not sell – see the section on cash flow. A fulfilment partner could handle all of the process of shipping from warehouse to customer, and any subsequent customer queries in exchange for a percentage of income accrued (typically around 10%) or sometimes as a flat monthly fee. There are also services that print / press to order or will not require payments for stock up front. These alternatives may pay a much reduced margin on each sale, but the beneficial impact on your cash flow might make that drop in margin worthwhile. DISTRIBUTION INTO RETAIL For those artists who will realistically be able to place their merch in high street shops, it is necessary to secure a distribution deal. In the UK, likely retail outlets broadly break down into supermarkets (mostly chart product only), major specialists (of which HMV is really the sole country-wide survivor) independent specialists such as the network of independent record stores, and online (the likes of Amazon). Not only will the distributor take on the logistics and customer liaison responsibilities, but START-UP GUIDE TO MUSIC BUSINESS36perhaps the true value lies in their retail relationships, their capacity to procure more favourable retail space or rates, and indeed simply to sell in more stock into physical retail in the first instance; after all, presence and profile in the physical environment will almost certainly lead to more sales. RETAIL SELL-IN The process of selling in to retail is invariably deal dependant; whilst a retailer simply won’t take stock of a product they believe won’t sell, even for those that they do, it will be necessary to strike a deal. Retailers will expect a discount, which works on the premise of increasing in proportion with the quantity of stock which they are prepared to take. In return, the distributor might barter for a better quality of racking (shelf space / position); after all whilst some purchases are pre-meditated, many remain impulse buys, reliant upon entering the consumer’s consciousness. Therefore the distribution partner will require promotional bullet points and information just as much as the promo team. In a limited space environment it is necessary to fight hard for placement, making for a particular importance on the relaying of up to date and accurate promotional momentum to the sales team in order to justify the sales push. RETAIL IN-STORES Many retailers, and frequently independent stores, recognise the value of artist performance within their retail space as a driver of sales. So called ‘in- stores’ (in store performances) act as a potential ‘call to arms’ for customers to effectively attend a free live performance conducted within their local music retail space. The opportunity to see the artist perform in an intimate setting, as well as meet and greet and sign merchandise, can be a highly effective stimulator of sales at otherwise quiet times of the day. AIM publishes for its members a list of independent record stores around the UK who invite artists to perform in-stores, as well as their tech specs, requirements, and other information that would help incorporate this tool into a release schedule and marketing plan.LIKEL Y DEAL TERMS Procuring a distribution partner will certainly entail the signing of an associated deal, in order to outline the core elements of the relationship. Principle amongst these will be the term (the duration for which the agreement will last), the type of rights (whether physical only or inclusive of digital, with whether the repertoire owner needs to provide finished goods) and territories (outlining the geographical reach). In terms of the royalty split itself, the digital split would be expected to be lower for the distributor than the physical (acknowledging the reduced logistical effort of digital distribution), which may have a base starting place around 20% (due to the distributor, with the remainder going to the repertoire owner). THE COSTS AND TIMESCALE OF PHYSICAL DISTRIBUTION Selling physical product invariably starts with its manufacture, and there are many options available to the independent artist. An ‘economies of scale’ principle applies to the process of manufacture; the more produced, the lower the cost per unit. That cost is also determined by the relative complexity of the product type being manufactured. In terms of timing, manufacturer turnaround for a standard CD ought to be around four weeks from receipt of all elements to delivery of finished stock into the warehouse, allowing for potential stock issues, and for priming the distributor for retail sell- in. For vinyl, the timings are much greater, often running to up to twelve weeks in instances where the repertoire owner requests a test pressing (effectively a sample listening copy to check for quality prior to mass manufacture). OTHER PHYSICAL ITEMS The above processes can also apply to the broad range of merchandise items that can be sold into retail or via D2C, in that the artist or repertoire owner will generally be required to provide the finished stock, and hence bear the cost of manufacture upfront. There are also merchandisers who work on a print-on-demand type basis, reacting to orders in real time, albeit with the inevitable downside that the unit cost is more expensive. START-UP GUIDE TO MUSIC BUSINESS37WHAT DO I NEED IN ORDER TO DISTRIBUTE PHYSICALL Y? Music – for audio CD most manufacturers now request that music is delivered in a DDP file format or alternatively as a Red Book CD-R with tracklisting. This is also the time to embed ISRCs into the manufacturing process if so desired; this is the international standard system for the identification of recorded music and allows for individual track numbers to be permanently encoded into a track to help ensure the correct remuneration of its creators. These can be issued by PPL or your label/distributor in the UK. For vinyl, files can generally be provided in WAV format, with a standard bit rate of 24 bit/44.1KHz. Artwork - Any physical product will require the delivery of artwork for every element of the product, from front and back cover, booklet inserts and CD or vinyl label/on body print. Each will need to be designed and delivered onto pre-specified manufacturer grids in order to ensure that any margin for design, print or manufacture error is reduced. Metadata – this is ostensibly comprised of the same information as for digital release, but with the addition of any physical product specific information, such as vinyl side splits, differing catalogue numbers etc. PHYSICAL RELEASE INCOME Commercial terms on physical sales in the UK are based not upon the retail price but on PPD (published price to dealer, or the price per unit paid by the retailer to the repertoire owner), which vary according to prescribed price points. These price points are used to make product available at what might be considered a full price, a reduced mid price, and then a budget price, which is sometimes employed to shift old stock. There are numerous additional intermediate price levels which vary according to strategic aims, product format or content etc. Pay through back to the repertoire owner therefore is based on a percentage of the PPD, which may typically be around half of the value of the retail price (albeit being subject to whatever pricing the retailer chooses to make available to the customer, clearly this is very much a rough approximation).START-UP GUIDE TO MUSIC BUSINESS38WHAT TO DO NOW: 1 2 3 4DECIDE IF SELLING PHYSICAL PRODUCT IS RIGHT FOR YOU / YOUR ARTIST. DECIDE WHETHER A RETAIL PRESENCE IS NECESSARY. IF NOT, SOURCE MANUFACTURING QUOTES AND EITHER SET-UP WITH A FULFILMENT PARTNER, OR PREPARE TO SELF-FULFIL. FOR THOSE SEEKING A RETAIL PRESENCE, LOCATE AND CHOOSE A SUITABLE PHYSICAL DISTRIBUTION PARTNER, AND NEGOTIATE TERMS ACCORDINGL Y. ENSURE THAT ARTWORK, MUSIC AND METADATA ARE SUPPLIED IN THE CORRECT SPECIFICATION TO THE MANUFACTURER NO LESS THAN FOUR WEEKS IN ADVANCE OF RELEASE DATE FOR CD, AND UP TO TWEL VE WEEKS IN ADVANCE FOR VINYL. KEEP YOUR DISTRIBUTION SALES TEAM UP TO SPEED WITH THE PROMOTIONAL ACTIVITY IN ORDER TO AID THE SELL-IN PROCESS AT RETAIL.5START-UP GUIDE TO MUSIC BUSINESS3912. MARKETING PRINCIPLES If marketing is the process of generating maximum possible awareness via the most efficient timeframe and expenditure, then that marketing message is most effectively amplified via tastemakers and influencers. Not only does the buy-in of these tastemakers more rapidly facilitate the growth of a fanbase, but the reality of the music business is that a handful of key gatekeepers carry even greater influence. Their support is so significant that a negative reaction can severely obstruct the progress of an artist’s career, or in more extreme circumstances, effectively finish it off. The industry relies on these few people in order to magnify the marketing message, and so to reach the mass market. THE MARKETING PLAN The marketing plan is mainly focussed on the means to get the buy-in of these tastemakers, and remains a key document in the campaign armoury. The plan should outline the likely demographics of the target audience, artist USP (unique selling points), campaign sequencing, impact points, retail support, core messaging, as well as key content and assets. In doing that it also outlines which media, ideally right down to specific individuals, make up the targeting for magnifying the message to the target audience.. THE THREE PILLARS OF MUSIC MARKETING A central element of the marketing plan is that of giving the campaign team tools to work with that help make the artist sufficiently distinctive amongst the backdrop of an incredibly crowded marketplace. With many thousands of tracks uploaded on any given day, the artistic message becomes a vital part in the fight for media and consumer attention, and is usually relayed via a combination of three separate, but inter-relating elements. The music – the music should be at the core of the campaign – it should be both sufficiently distinctive and of outstanding quality, in order to justify the effort involved in bringing it to market.The visuals – the imagery and video content associated with an artist are often the first and most important component in capturing a given target’s attention. Ideally they should be at once sufficiently striking as to be instantly engaging, and also a logical visual reference to the music. This applies to an increasing array of elements, from press shots, artwork, music videos, social media content, live backdrops and much more. The message – the message is often the key contrast between artists. This can be a combination of many elements but is often based around the artist’s own narrative. It too should be a logical extension of both the music, and any accompanying visuals, in expressing a coherent and simple narrative, so that both media and consumer can easily pick up on it. OWNED CHANNELS VERSUS THIRD PARTY CHANNELS ‘Owned channels’ in this sense refer to the artist’s own website as well as their social media channels and on the basis that they are controlled by the artist, who can be safe in the knowledge that it is they and their immediate team deciding exactly what should or should not be posted on them. This is very different from ‘third party’ owned channels (controlled by someone else e.g. media, retail etc), which the artist might hope to use to gain access to a following, but doing so requires the owner’s buy- in and support. Owned channels are the one space whereby the artist should have 100% control over the messaging and content posted, and as a result they remain the most fundamental part of their promotional arsenal. This makes the artist’s social channels, and above all else, the artist homepage/ digital web presence, the definitive place through which to communicate with the outside world. START-UP GUIDE TO MUSIC BUSINESS40CONTENT PLANNING AND CONSUMER TARGETING With social media allowing so much direct engagement with the consumer, the use of a suitable CTA (call to action – i.e. the action that you want fans and other users to take when they engage with that content) is arguably the most important element. If the marketing plan is conceived early enough in the process around a release, then it can be used as a means to communicate what sort of content needs to be created during the creative process, in order to facilitate the desired CTA. DIGITAL TARGETING A professional plan should also contain a plan for and some degree of detail for digital advertising targeting (and, perhaps, advertising on offline platforms too e.g. print, TV, radio), in order to find other routes to the target audience, communicate useful information as to similar or related artists, for context, and to support key moments throughout the campaign period. Most digital platforms now contain relatively sophisticated ways to advertise to specifically segmented audiences (whether reaching existing fans or expanding the fanbase), e.g. geographical or lifestyle based segmentation. IMPACT POINTS Campaigns tend to be built around key impact points, or moments at which all activity is boosted for maximum impact. Identifying and communicating when these points occur is fundamental in the planning process, as they are the hooks on which the rest of the campaign is built, giving clear direction as to when certain activities are needed, whether led by media promotions, or marketing or advertising. CONTENT, CONTENT AND MORE CONTENT The reality for the contemporary musician is that when it comes to social media; love it or hate it, you’d better be on it. The impact of an ‘always on’ audience places an enormous strain on the artist to maintain a dialogue or presence, regardless of which point the campaign has reached. The answer is nearly always the creation of yet more quality content to share and often quickly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he business of music is as based on copyrights. It is the exclusive rights to do things with the music that generates income. Whether that’s the song, or the recording, it is preferable to be the outright owner of either, preferably both, for as long as possible. The use of the music or, more technically, the exploitation of those copyrights as owners is just the beginning though; there is an additional layer of ownership, which is that of audience or customer data. Although marketing is very effective, it has more impact when combined with the capacity for the copyright owner to reach out directly to the artist’s audience. Unlike some other commercial sectors, in the music business the product (content) owner doesn’t usually own or control the ways of getting the product to the market. This presents a dilemma; how effective can your marketing and promotion be if you don’t truly understand the composition and behaviour of your audience? Though social media has opened up the capacity for the artist to engage directly with the fan, the associated data is not owned by the artist, but by the platform on which it exists. The content owner then has distance and potential barriers between them and the audience, whilst also being at the mercy and controls of the social media platform. As a result, the emphasis has switched to the so- called D2C (direct to consumer) model, because by selling music direct to the fan (and in effect acting as both artist AND retailer), the content owner owns the fan data as well. For the first time, this allows for a direct artist-to-fan relationship that is both controllable and fully transparent. This also creates the ability to ‘re-market’ - the principle that it is a lot more efficient to sell more music to those who you have already engaged than it is to attempt to reach new potential fans). By owning the data from any one purchase, it is therefore possible not only to see what a consumer purchased and when, but to then pro-actively re- engage with them. By merging this with the capacity to track buying habits in real time, it is possible to enhance and optimise the sales and marketing process at every further stage, making marketing more and more efficient and potentially saving you cost and effort. DATA ANAL YSIS Alongside a growing understanding of the importance of data ownership is the recognition that there is an increased amount of data returning from the digital platforms which can be inspected. However, often the most useful learnings from data are hidden and need greater and more complex analysis to be revealed. It is also worth recognising that data often reveals ‘when’ and ‘how’, but only rarely ‘why,’ and this final question is arguably the most significant in the decision making mix. The result is an ever greater emphasis placed upon highly skilled data analysts to recognise the significant in amongst the insignificant, and to interpret said data in increasingly meaningful ways and build platforms and tools to present the results. For advanced campaigns, a combination of insightful data analysis and meaningful market research tends to give the best results in terms of optimising the marketing processes.START-UP GUIDE TO MUSIC BUSINESS43WHAT TO DO NOW: 1 2 3ACKNOWLEDGE THE BENEFIT OF OWNING CONSUMER DATA AND MAKE STEPS TOWARDS DOING SO, IF NOT ALREADY IN PLACE. APPL Y THE PROCESS OF RE-MARKETING IN ORDER TO MAXIMISE OWNED DATA AND INCREASE SALES. LOOK FOR SOURCES AND SERVICES FOR DATA ANAL YTICS SO THAT YOU CAN APPL Y A COMBINATION OF DATA ANAL YSIS AND MARKET RESEARCH TO FURTHER OPTIMISE UNDERSTANDING OF CONSUMER BEHAVIOUR.START-UP GUIDE TO MUSIC BUSINESS4414. PROMOTION Promotion in the music industry amplifies the marketing message, usually through a series of well established relationships. Traditionally the practice of promotion has involved drilling down onto various types and areas of media, based around the ambition of getting tastemaker support, by working with individuals with relevant networks and expert knowledge in each of those types and areas of media. THE IMPORTANCE OF RELATIONSHIPS The field of promotion, perhaps more than any other in the music business, and even in this digital age, exists on the strength of relationships. Access to a PR’s network of contacts is usually much of the reason they are hired. Invariably this comes at a cost, but the on-going need for curation in an increasingly over-populated market means that the higher up a tastemaker or influencer exists in the food chain, the more their attention is sought. This increases the likelihood of such tastemakers and influencers relying on a small group of trusted promotions contacts for their time, in order to filter the otherwise enormous volume of music they are confronted with on a daily basis. KNOW YOUR TARGETS One key theme resonates regardless of the campaign; namely the need for well-considered targeting of tastemakers and influencers. Doing so both ensures the highest possible uptake, but also avoids the unnecessary practice of ‘carpet-bombing’ people regardless of their stated preferences or fields of interest, which can earn you a bad reputation and in some cases make the very tastemakers you are trying to reach avoid other campaigns you run, even if those following campaigns are more appropriate for them. RADIO Radio, and in the UK, national radio, still often sits at the top of the promotional tree. Of all the promotional wins that can occur, it is a substantial national radio playlist that will reverberate most around the campaign team, though influencer podcasts and playlists are increasingly become as relevant and, in some genres, have already overtaken radio. We are fortunate in the UK in having the national BBC stations and the commercial radio network as means of offering country-wide radio exposure. Each station generally has a (mostly) democratically agreed playlisting policy, whereby key personnel are required to meet on a regular basis to decide which tracks should be added to the list and which should be removed as well as having quotas for ‘new music’, diversity policies and so on. The station will predominantly base its broadcasting output upon the content of its playlists. Each major show on the major national networks tends to have a producer and DJ whose responsibility it is to contribute opinion to the playlisting process, or to select tracks for spot plays, depending on their individual remit. The role of the radio plugger (a specialist promoter to radio) is to identify suitable radio targets, deliver the music to them and most importantly, to actually ‘plug.’ The plugging portion is the make-or-break element, whereby the plugger would be expected to use their experience and knowledge of radio policy and personnel, and ‘work’ their network of relationships, in order to sell in a given track and increase the chances of getting radio airplay and, where possible, playlist places. Initiatives such as BBC Introducing (which allows artists the capacity to upload music direct for the consideration of their local BBC radio station, with the potential to move higher up the food chain to national level radio exposure), have democratised the process of procuring radio support away from simply relying only upon radio plugging. REGIONAL RADIO The UK radio network is also made up of a large quantity of smaller, regional radio stations delivering more localised output to a smaller geographical audience. A significant proportion of the regional radio stations are owned by a handful of companies, allowing them to create centralised content that is rolled out across the network at certain times of day. This also means that the process of plugging START-UP GUIDE TO MUSIC BUSINESS45regionally is not always done in a particularly localised fashion, but through getting support from the central company, which then rolls out across the rest of that company’s network. It is therefore possible to gain near national levels of airplay through a handful of key regional radio players. Regional radio support is not just about scale though, but can also be essential in terms of procuring early adopter or influencer support in the form of local specialist radio stations or shows rather than trying to get to the national influencers who are likely to receive more attention. TV TV performance openings for contemporary artists have dwindled in the last few decades as broadcasters have moved away from specialised music-only programming, leaving just a handful of good opportunities. Those that do exist tend to lean towards major international artists who are considered to be likely to deliver higher audience figures than those further down the pecking order. UK TV plugging therefore tends to focus on a small number of prime time performance slots (mostly within the format of televised awards ceremonies, variety shows, reality TV shows or presenter-led chat shows and occasional cameo spots on soaps), or a minimal number of music specialists. Music video channels remain an important part of the mix for those artists delivering official music video content of sufficient quality though the number of mainly music-video channels is also shrinking in line with the growth of digital video platforms. Strangely the audience numbers have remained fairly consistent, after an initial drop-off following the global embracing of Y ouTube and other video- based platforms, with channels opening in new countries and with the expansion of digital TV. Such channels do tend to deliver well targeted audiences for specific music genres and certain shows also make provision to feature clips of video content as segueways into or out of advert breaks, which can also be an impactful way of finding new audience. Feature interviews can also offer a valuable televised promotional outlet for artists, with opportunities leaning towards topical broadcasts. As they tend to be narrative-led, such slots can be a particularly impactful way of communicating part of the artist’s broader message, back story or their support of a cause particular to their interest. A good TV plugger or often a PR should have access to these types of opportunities. PRINT AND ONLINE PRESS The capacity to reach out to large amounts of readers is no longer the exclusive domain of a handful of longstanding print institutions. Many of these do still exist and have successfully added an online offering, but digital publications, both formal and informal, have created a transformation in printed word media and blurred the lines between professional journalism and amateur blogging, dramatically increasing the amount of content and places to find it, whilst at the same time reducing the audience of any one publication. There are some clear promotional benefits to these developments, as the ability to cater to what were once considered niche markets (smaller pockets of interest that could never be fully serviced through traditional print media) are now much more reachable via digital means. The shared interests for such groupings often makes them a more targeted audience, resulting in a higher rate of conversion from reader to fan. These targets are generally the domain of the music PR, who again will likely have spent a great deal of time and effort building relationships in order to maintain a direct line of communication with the most significant journalists. WRITTEN ASSETS The PR will compile individual press releases for each significant moment of a campaign, be it individual single track releases, albums, tours, major content release or announcements, etc. The press release is a specific overview, normally of no more than one page in length, detailing the most pertinent information for journalists to absorb in deciding if they will want to feature it. In part, it will often also contain a reference to the broader narrative as previously mentioned. START-UP GUIDE TO MUSIC BUSINESS46The campaign message should itself have been written into and communicated in much greater length and detail in the artist bio(graphy). The bio isn’t necessarily a detailed history or timeline of the artist’s life up until that point, but an opportunity to identify and communicate a particular in-depth campaign story. This is the main opportunity to communicate the message that has been discussed and identified in advance as being relevant not just to the artist, but also their main musical content at that moment. CRISIS MANAGEMENT The PR is also the person to turn to in the event of unexpectedly unpleasant messaging relating to the artist leaking out into media circles. Inevitably as situations develop or new information comes to light, so-called crisis management PR can be crucial in the effort at taking back an element of control as to the nature of the surrounding messaging. As the press-facing person around the artist, it is the PR who will field queries at such times, and who must attempt to steer the most positive outcome possible, in close coordination with the artist, their management, and others working on the campaign. SOCIAL MEDIA INFLUENCERS & THE POWER OF RECOMMENDATION As social media and digital channels expand and become more and more significant, the need for curation has also spread to them. However, there is a key difference in the nature of these influencers, whose voices tend to come less from the traditional fields of journalism, but instead from out of the pubic domain. By its nature, social media provides a platform for anyone with a voice to steer opinion, enabling some individuals to gain enormous followings in a short space of time. The net result is an environment populated with a large quantity of so-called social media influencers specialising in particular fields, whose audiences buy in to their tone of voice, branding and messaging. As a result, they carry enormous influence over younger demographics in particular, whose opinion is likely to be swayed by the power of recommendation over straight advertising.Such influencers are as a result in high demand for their potential to support a given message and get it to their audience. Influencer marketing most effectively takes place when the coming together of the tastemaker with the product and/or service is entirely authentic and seamless; if that product is not consistent with the influencer’s established brand values, then the lack of authenticity is likely to be immediately apparent, resulting in limited commercial gain, and a weakening of perception for brand and product alike. PODCASTS Podcasting (the delivery of a specific audio file via digital means as part of wider programme – for the uninitiated), has begun to become an increasingly important part of the promotional mix. Along with the growth of influencers and their movement from traditional media to social media, many have turned to podcasting as a means of communicating passions, opinions and entertainment. By their nature, podcasts tend to deliver loyal followers to highly specialised content, which can make targeting particularly impactful when authentically linked to a music campaign. STREAMING PROMOTIONS The major streaming platforms receive an enormous quantity of new music in any given week, and as a result they too need help in applying some sort of sorting process to the tracks they choose to support. Whilst several (Spotify included) have now opened up the capacity for artists and their teams to pitch directly utilising online forms, there is also the capacity to pitch directly through trusted distribution channels, or to the sizeable playlist community. CLUB, SPECIALIST AND DJ PROMO The field of club promotion remains a core part of the process of building local and regional support for, particularly dance, music across the country. As with other specialist PRs, club promoters have long standing relationships with great quantities of DJs and clubs across the UK, and largely control the means of relaying new material to them. Generally done in advance of release, tracks are dispersed START-UP GUIDE TO MUSIC BUSINESS47across the network (frequently across numerous different genre mixes so as to maximise potential uptake) for DJs to play, and to provide subsequent feedback. The better performing tracks feature in the top sections of the associated club charts, indicating evidence of broader specialist interest and likely audience interest. WHAT TO DO NOW: 1 2USE EXISTING RELATIONSHIPS AND CREATE NEW ONES WITH KEY PROMOTIONAL TASTEMAKER TARGETS. DIRECT MEDIA RELATIONS ARE ALWA YS MORE LIKEL Y TO PROVE BENEFICIAL THAN OPERATING VIA A THIRD PARTY. IDENTIFY KEY PROMOTIONAL TASTEMAKER TARGETS AND CONSIDER HIRING PROMOTIONS PERSONNEL IN THE PARTICULAR FIELDS OUTLINED IN THIS CHAPTER IN ORDER TO ENLIST SUPPORT FOR YOUR ARTIST.START-UP GUIDE TO MUSIC BUSINESS4815. LIVE PERFORMANCE LIVE PERFORMANCE AS AN INCOME STREAM Live performance, always a fundamental income source for artists and the wider music business, took on an increased importance during the digital downturn which followed the turn of the millennium. This can partially be put down to core music fans placing an increased value on experiences and the subsequent process of sharing those over the social media boom. With research indicating that peer group ‘word of mouth’ influence (most frequently through friends’ social media posts) accounts for roughly one-third of consumer discovery of events, it would seem logical to assume that live performance attendance is also well placed to benefit from the so-called FOMO (‘fear of missing out’) factor that has seemingly had increasing influence on us all in recent years. Some record labels have (and it is common practice among the major labels), as other income sources have reduced, included this income stream in recording agreements (as in so-called ‘360 deals’). The argument for including this is that the label is spending a lot of money and resource, particularly early in an artist’s career, in raising the artist’s profile and fronting tour costs and should therefore benefit from all live activity, which may well not have been an opportunity without the label’s efforts. The opposite argument, particularly for more established artists, is that the label is not significantly contributing to the fees the artist can gain already for live shows and therefore shouldn’t benefit. Independent labels have a broad range of deals available, as previously discussed in this guide, but many have avoided including a share live income in their recording agreements, leaving this income stream to the artist to help with artist’s cash flow and sometimes to avoid potential areas of conflict. Some independents have always included live, some don’t agree with the practice and see it as a point of principle not to take a share in this income. Each is different, and it is good to inspect how you as a business feel about this aspect from the outset and re-assess as you go.TOURING AN ALBUM It is standard industry practice to ensure that any significant live performances are planned to correspond with a record release. The combination of both ‘impact points’ occurring concurrently makes for numerous promotional advantages; not least with combined promotional activity causing the artist’s profile to be at its peak, the opportunities for the consumer to be aware of the artist and any content are maximised, regardless of whether that impact point is as a live event or the recording. In addition there is also the possibility of co- ordinating the marketing and advertising messaging, right through from fundamentals such as consistency of branding and visuals to including tour dates on posters and adverts. From the PR perspective, live shows also offer the added value of being able to invite and host key tastemakers or influencers, in order to help spread the word ever further. THE AGENT Once the artist has reached a certain profile, it is the booking agent’s (often shortened to just ‘agent’) role to procure live performance opportunities on behalf of the artists on the agent’s roster. They most commonly work on an exclusive basis, earning a commission of between five and fifteen percent of gross live earnings. In the early stages of any artist’s career, they invariably attract low fees, and this can make procuring an agent somewhat difficult. The agent’s commitment requires absolute belief in the artist’s long term potential in order to justify the early efforts which will bring little income to them in the form of commission. As with any industry role with a promotional element, they will be required to have an extensive network of reliable contacts in the relevant territories in which they book, at regional, national or international levels. A broad range of contacts will allow the greatest opportunity for securing the right kinds of performances, whether as headliner, support slots or the many festival propositions that are relevant to the individual artist.START-UP GUIDE TO MUSIC BUSINESS49This should never stop the artist and their immediate team from finding other opportunities through their own contacts as the activities of artist, team and agent will reinforce each other to raise the profile of the artist. It is not the agent’s role, particularly in the early stages of at artist’s career, to replace the artist and their team’s own activities, but to add to them by bringing their own contacts into play. SUPPORT SLOTS Whilst most artists start their careers booking their own gigs, the reality is that their reach is difficult to spread beyond their own locality. An agent’s first role then is often to help spread the artist’s geographical reach and expand live fanbase. By getting support slots (playing second or third on the bill, in support of a headlining artist or as part of a bigger event), the risk of performing further afield to empty rooms is mitigated somewhat by relying on the draw of the main artist to attract a crowd and bring their own following. Again, it is still crucial for the artist and their immediate team to continue to promote these gigs in order that the artist can show they have a loyal fanbase, be recommended by the promoter to others and to get repeat bookings. HEADLINE SHOWS AND TYPES OF DEAL OFFER For those seeking to grow an audience in their own right, or with a more established following outside of their immediate locality, the next opportunities are headline tours. Here the agent’s role is to book and route a headline tour based not just on logistics (i.e. sensible geographical reach, in order to minimise travel time and reduce tour costs), venue suitability and population density, but also upon any customer location data available to them, which typically comes from whatever digital platforms the artist is already using. There are various types of deal that the agent can strike for headline performances, each reflecting the negotiating position of either the promoter or artist, and their relative confidence in their capacity to sell tickets. These are typically based upon so- called ‘door deals,’ meaning income collected on the night ‘from the door’ (in reality also from advance ticket sales). These are sometimes referred to as ‘hard ticket sales,’ and are used to calculate the percentage of gross (i.e. before costs) box office receipts to be split between the artist and the promoter, less the relevant expenses. Costs / expenses typically include things such as venue hire, security, insurance, sound engineer fee, advertising, etc. and are broken down in detail after the event’s completion. The income is then split between artist and promoter in a variety of ways. ‘Flat deals’ guarantee the artist a set fee, regardless of ticket sales. A ‘versus deal’ will offer whichever is higher (for the artist) between a specified flat fee, and a percentage of ticket sales. A ‘plus deal’ will offer a guarantee plus a percentage of ticket sales. Alternatively, a straight percentage split is offered based on a percentage of ticket sales with no guarantee. All shows and promoters and scenarios will be different, but it is worth asking for the basis of the calculation if it is unclear. FESTIVALS An offer to be added to the bill at a particular festival can also be an important part of an artist’s profile build, giving valuable credibility, not to mention exposure to perhaps large new audiences, and promotional opportunities that might not otherwise be available to them. Of even more importance to the artist, festivals are typically in a position to pay higher fees than the artist might otherwise attract as a headline proposition for their own shows, not to mention that the artist does not have to pay the associated costs of putting on the show. Festival offers are typically of the flat fee nature as, among other reasons, ticket sales can’t be attributed to any single artist. THE PROMOTER The promoter is the individual or company whose principle role is to put on a live event, and most importantly, to bear the financial risk of doing so. This means that even if the event undersells and runs at a loss then the promoter still has to pay through on whatever costs they have already agreed to, START-UP GUIDE TO MUSIC BUSINESS50including the artist’s fee. The promoter will pocket whatever is left after expenses and the artist fee, meaning that the risk is considered justifiable because the financial upside for successfully selling out large venue shows can be enormous. Their promotional activities will typically take the form of mailouts to their existing customer databases, flyering and postering both at the venue itself and elsewhere, the placement of press adverts in relevant publications and listings in gig programmes, as well as contributing towards the costs and activity of social media and advertising campaigns. LIVE PROMOTION As previously mentioned, gig promotion is not only the responsibility of the promoter, as in reality much of the promotional momentum for live shows is as likely to come from the artist themselves. In that sense, there are some fundamental principles that the artist should adhere to. This includes putting on a great show, prominent posts on social media profiles, targets ad campaigns and advance PR and promotion, which all fall within the direct responsibility of the artist themselves and the team around the artist. THE TOUR MANAGER The principle role of the tour manager is to ensure that any live event takes place as planned, and to take overall responsibility for the well-being of the artist and crew. In effect, they are also the eyes and ears of the manager ‘on the ground’ without the manager having to be in attendance of every event alongside the artist. They will have a key role to play in the pre-planning and pre-production elements of any tour activity, helping budget and book resources accordingly, and then to ensure that every logistical element likely to be encountered has been considered in advance, and is dealt with as speedily and cost effectively as possible. TOUR SUPPORT If the artist’s live fees are not sufficient to cover the projected expenses of performance (allowing for deductions such as agent and manager commission), then a signed artist will likely look to their record label to help cover the resultant shortfall. The principle here is that the rights owner is just as likely to want their artist to have a live performance profile, and will benefit from the activity also. Therefore as the party in the (hopefully) most cash-rich position, it should be the record company’s responsibility to fund any shortfall, in the form of a so-called ‘tour support’ advance. Inevitably if approved, this is considered a recoupable cost to be offset against artist income and, as previously discussed, the label may feel it justifiable to take a share of all the artist’s live income as a result. MERCHANDISE There are substantial opportunities for generating either income or promotional mileage from touring beyond just the core element of a good performance. Traditionally the most significant is merchandising, which works on the basic premise that those who are already interested in the artist (i.e. gig attendees) are highly likely to make a further purchase (i.e. at the merch stand). If the artist makes it clear whilst on-stage that they will also come front of house after the gig to sign merchandise and meet and greet fans, then the likely merchandise income takings will increase considerably. Many venues would expect to take a split (often around ten percent) of merchandising earnings in return for providing the facility, and this is often written into the performance agreement, and this does not always involve the promoter providing personnel to attend to the merch desk itself. PUTTING ON LIVE EVENTS As the concept of curation develops for those within the recorded music side of the industry, so the idea expands out into the world of live music. Putting on a live event relies mostly on a combination of the strength of the performing artists, and the corresponding lifestyle branding communicated to the potential target audience. The handling of both factors will have a substantial impact on the likely success of the event. Entrepreneurs have been quick to recognise the transferability of curational skills between live and recorded music, so the START-UP GUIDE TO MUSIC BUSINESS51opportunities to become involved in live events promotion have expanded. In a crowded live market it is important to make an event distinctive and appealing. Whilst the musical choices made should send a very clear message to the as to the type of event and audience, the branding is communicated through a combination of elements, including everything from choice of visual assets (including logo), the media partners used for promotion, venue or location, who is being encouraged to attend (or not), any non-musical activities, facilities or entertainment, food and drink options and where relevant, the type and range of accommodation. To some degree, an event narrative is also just as important as for artist campaigns, as it relays a sense of identity about the artist to which the consumer relate. WHAT TO DO NOW: 1 2 3 4 5UNDERSTAND THE ROLES, RESPONSIBILITIES AND VALUE OF THE BOOKING AGENT, PROMOTER AND TOUR MANAGEMENT ROLES. BE ABLE TO DIFFERENTIATE BETWEEN, HEADLINE, SUPPORT SLOTS AND FESTIVALS, THE ASSOCIATED MONETARY AND PROMOTIONAL VALUE, AND THE DIFFERING TYPES OF DEAL THEY LIKEL Y ENTAIL. TO USE THIS KNOWLEDGE TO PUT IN PLACE A SUITABLE LIVE STRATEGY TO DRIVE YOUR ARTIST’S CAREER FORWARD, AND TO ENSURE THAT THE PROMOTION OF LIVE EVENTS AND CORRESPONDING RECORD CAMPAIGN ARE OF MUTUAL BENEFIT. UTILISE SUITABLE PROMOTIONAL MEANS TO SUPPORT YOUR / YOUR ARTIST’S EVENTS. TO UNDERSTAND AND ENGAGE WITH ADDITIONAL FINANCIAL OR PROMOTIONAL OPPORTUNITIES AT LIVE EVENTS, FROM MERCHANDISE AND BEYOND. TO CONSIDER WHETHER ANY EXISTING CURATIONAL EXPERTISE COULD BE APPLIED OR EXPANDED UPON WITHIN A LIVE EVENTS CONTEXT.6START-UP GUIDE TO MUSIC BUSINESS5216. SYNC AND OTHER COMMERCIAL DEALS THE DEFINITION OF SYNC A ‘sync’ is the use of music to accompany (or synchronise with) moving image or visual production, so typically film, advert or television use, plus gaming, and sometimes even live events. A sync in practical terms refers to a one-off licence agreement to use a piece of music in conjunction with another media, in instances where a blanket collective license (e.g. from PPL and PRS) is not already in place. WHY DO THIRD PARTIES NEED MUSIC? The established terrestrial television networks in the UK (BBC and ITV for example) have ‘blanket licences’ (that is a licence available under the law from PPL and PRS that covers effectively all UK music) in place to use the music of those represented across their output, but the same is not true of others, such as Sky TV, or particularly North American television broadcast or film. Syncs are desirable by the visual media industry primarily because of the emotional connection that music provides; music evokes a high emotional connection with people, with the potential to substantially enhance a feeling or message. For syncs, music is used to help convey a story that already exists in the pictures, adding impact and depth. Music also carries an element of credibility to which brands and other media are often excited to be associated with. THE VALUE OF SYNC The financial value of any given sync deal varies enormously depending on any number of elements, from the type of media (film, TV programme, etc.), the duration and frequency of the music used, the artist’s notoriety, production budget, and so on. The value is not purely financial though, for whilst syncs are a clear source of both recording and publishing income, they also exist as a highly valuable promotional opportunity; many syncs in the right film, for example, have kick-started or helped boost artist’s careers at crucial moments. As with any area of the business, procuring a sync relies substantially on luck, not just in terms of having the right music for the particular opportunity, but doing so at the right time, and in a capacity that is licensable within an often short timescale. MUSIC SUPERVISORS The role of the music supervisor is to match music to a particular visual production and clear its usage. Ideally the supervisor is chosen not just because of their extensive network of contacts across the music business, but also because of an equally extensive knowledge of musical styles and genres, and current musical trends. They are generally already part of an existing production entity, or hired on a flat fee basis. Supervisors are the contact point between visual industry and music industry, and hence play a vital role in the process of musical placement. INCREASING YOUR CHANCES FOR GETTING A SYNC Many record companies and publishing companies and increasingly distributors have their own sync and licensing departments who work hard to procure such opportunities. There are also specialist stand- alone sync agencies. Working in close co-ordination with labels and campaign teams for forthcoming releases, they form close relationships with music supervisors, agencies and brands. There is a PR-able element to synchronisation, and with an associated network of supervisors and agencies that are too many to be practical for a copyright owner to generate and cultivate on their own. Therefore it will usually be preferable to employ a company to operate as a sync agency working on behalf of the repertoire owner. SYNC-READY HOUSEKEEPING The ease with which a track can be licensed can often be the difference between finalising a deal or not and the independent labels have made a USP out of clearing a sync quickly and painlessly. There are therefore some underlying good practices that copyright owners can put in place in order to START-UP GUIDE TO MUSIC BUSINESS53maximise the visibility and possibility for their music to be synced. The ideal scenario is that all the copyrights for a track (for the recording AND for the song) are owned by one party, allowing the music supervisor to negotiate only with one copyright owner (or their representative), which means a more straightforward and rapid clearance process. When this is not possible (which is usually the case), it is at least preferable that all parties are open to sync deals in principle, and ready to respond in a short time frame. All musical content of potential sync relevance should also have ready the most comprehensive and detailed metadata possible. As well as track title, artist name and a licensing contact, this should ideally include all performers and elements such as artwork, ISRC, a reference to the relevant musical genre as well as a description of key moods or themes to which the music might prove relevant, songwriter information, promotional and tastemaker uptake (this is always useful to relay to help convince that an artist/track is worthy of attention). It is also advisable to have instrumental versions of all material ready to deliver on request for audio clashes, which are often required alongside the main sync use. CAPITALISING UPON A SYNC It is necessary also for the artist to take a pro-active approach to their promotion around sync activity. As the majority of newly-exposed listeners will not know the name of the artist or track they have heard, this starts with making the track easy to find for audiences, and easy to associate with the sync; the music should generally be available on DSPs at the time of broadcast or other availability of the sync (e.g. on release of the game). It is also sensible to capture the actual sync visuals and share them on the artist’s socials, which will allow the further spread out to other consumers who may have missed an initial broadcast or not be fans of a particular show or video game. COPYRIGHT CLEARANCE Music licensing and clearance is a famously messy affair as it can involve a number of people or companies, each with their own ambitions and perspectives as to what represents a good deal. At the very least, those wanting to use a track in a sync must seek licences for the rights in both the sound recording, and the song (composition). It is not possible to use a particular track without both rights being signed off. Typically, the sum offered to the publishing and recording entities will be of equal value, if only because offering one a higher provision than the other is almost certain to invite denial from the side being offered less. SYNC DEAL TERMS There are many points to consider when negotiating synchronisation terms, which will be equally relevant from both a sound recording and song/publishing rights owner perspective. These will include the actual product itself (so whether specific to a film, TV programme or video game for example), the context of the use (ideally relayed via a synopsis or scene overview), the duration of time for which the music will be featured, the media type (whether placed within the framework of perhaps a cinema, online or TV online advert, or mid movie or at the end credits for example), the term (how long the song can be exploited for in the context of the above), the relevant territories in which the sync will be made available (or indeed, any geographical restrictions) and of course the fee payable to each copyright owner.START-UP GUIDE TO MUSIC BUSINESS54GAMING The use of music in the context of gaming has exploded in recent times, fuelled by technology. The increased quantities of time users spend gaming and the more engrossing nature of many games require a similarly immersive use of musical content. The timelines for creating video games are much longer than those of the music business; it is not uncommon for developers to be embedding music into a game between eighteen and twenty four months in advance of its release. Fees for gaming can be structured somewhat differently to other syncs, either as a straight ‘buy- out’ (flat fee for lots of rights), on a royalty basis (per copy of the game sold, though increasingly online gaming is monetised through advertising more than selling copies of the game), or with lump sums payable on hitting given quantities of games bought. ADVERTISING Television adverts are probably the most frequent and most likely opportunity for sync income for copyright owners. For the artist and their team, part of the decision-making process regarding any advertising approach is whether an association with a particular brand or the relevant advertorial treatment is any way damaging to the artist’s message, reputation or brand, and whether the broader connection between artist and sync has sufficient integrity. Adverts tend mainly to be overseen by advertising agencies with highly specific briefs as to the musical feel, lyrical relevance and budget for a given ad. THIRD PARTY COMMERCIAL DEALS: WHY DO BRANDS NEED MUSIC? Usually, a brand owner will use music as a way of reinforcing their brand’s identity, turning to artists whose brand meet with their own brand values. Even more so than in film or television syncs, brands can use the excitement and ‘showbiz’ value of music to energise their product, using it for promotional mileage in a way that would otherwise be much harder to without the association. For the artist, a brand association means an opportunity to connect the artist with a particular set of (hopefully shared) values, a chance to broaden the audience, but first and foremost a potential for sometimes significant income. For brand partnerships to be maximised then, they ideally need to be mutually beneficial, to add value and connect with both audiences. COMMERCIAL DEAL TERMS There are various points to consider in commercial deals, mostly based around notions of control, and to some extent, how to sever terms in event of the association turning sour. These will include details of the specific service that the artist is required to provide (in essence, what is being done, by who, when and where), the accompanying exclusivity (most brands will seek to restrict the artist’s similar association with a competitor), the geographical reach of the deal, the extent to which either party has creative control (to prevent mis-use of association from either’s perspective), the agreement duration, the terms and conditions in respect of severance (particularly any illegal activity, but arguably more likely, in the advent of any adverse publicity), and lastly the fee, including any specific points or activities that will trigger corresponding payment. START-UP GUIDE TO MUSIC BUSINESS55WHAT TO DO NOW: 1 2 3 4CREATE RELEVANT SYNC RELATIONSHIPS WITH MUSIC SUPERVISORS, AGENCIES AND THIRD PARTY BRAND OWNERS, ALSO POSSIBLE AT AIM’S SYNC EVENTS AND OTHER NETWORKING EVENTS THROUGH THE YEAR. ENSURE THAT FILING AND SYNC HOUSE-KEEPING IS DONE IN FULL IN ORDER TO MAXIMISE THE CAPACITY TO HARNESS SYNC OPPORTUNITY AT POTENTIALL Y SHORT NOTICE. CONSIDER EMPLOYING A THIRD PARTY SYNC AGENCY WITH THE AIM OF PRO-ACTIVEL Y GETTING MORE OR BETTER OPPORTUNITIES FOR YOU / YOUR ARTISTS. IMPROVE YOUR KNOWLEDGE BY REFERRING TO THE AIM SYNC GUIDE AND OTHER RESOURCES AVAILABLE, ATTEND AIM’S ‘SYNC 101’ SESSION FOR THOSE STARTING OUT OR LOOKING TO START OUT IN APPROACHING SYNCS AND PERHAPS AIM’S ANNUAL SYNC CONFERENCE.START-UP GUIDE TO MUSIC BUSINESS5617. INTERNATIONAL EXPANSION As digital platforms allow for the spread of content between countries without distinction, music operates in an increasingly borderless music environment, creating the potential for all artists to find new audiences outside of their domestic territory. This potential dramatically increases though, with the employment of local ‘in market’ expertise, to help make connections, opportunities and represent the artist at a local level. WHEN AND WHERE TO GO OVERSEAS The decision as to when to make any sustained overseas efforts is a complex one. Often the decision is a chicken and egg situation; an existing overseas label or other partner may want to see some evidence of market interest in their territory ahead of committing their time and effort, but likewise that interest is most likely to be the element you are seeking from the overseas partner. The keys to determining overseas activity are research, opportunity and passion. Research - At first a copyright owner should be certain of the existence of a relevant audience. An analysis into the success of similar artists ought to provide some insight, certainly if combined with any naturally occurring overseas fanbase as evidenced on the artist’s own social media channels. Opportunity - It is not uncommon for opportunities to present themselves to an artist in particular overseas markets in which they have little evidence of support or fanbase. This might be in the form of a tour support offer for a successful international artist, a creative relationship with an overseas artist online, a sync or festival offer or the artist or a band member being able to speak a particular language. Passion - It is perfectly possible for a local partner, whether through their own discovery, a recommendation or direct approach, to express enthusiasm for an artist, so that their interest alone is sufficient to generate momentum. In this situation, there may be no existing evidence of local uptake, or obvious opportunity to capitalise upon, but simply a degree of excitement that justifies putting in the effort. THE ROUTE TO MARKET Whilst any digital distribution arrangement allows for an artist to cross borders, there are a number of alternative routes to market that can add additional interest and reach. ROLLOUT VIA LABEL SUBSIDIARY OR NETWORKS Many UK-based independent labels and distributors have a network of subsidiary companies or partner labels and distributors in the major recorded music markets – particularly so in the US and Germany. These networks allow the domestic rights owner the capacity to preserve copyright ownership and the benefits of the independent approach, while maintaining a high degree of centralized control over the campaign process. ASSIGNING RIGHTS TO AN OVERSEAS LABEL In instances where worldwide rights are self-owned, or where a recording agreement is limited to the UK or single territory only, it is common practice to seek out some sort of overseas recording agreement. It can be lucrative to sign deals on a territory- by-territory basis, but this is time consuming and requires considerable knowledge of each territory. There are also advantages to assigning rights to one label (likely a major record label but not always), or fewer labels that work in groups of territory (often on a share language or legal system basis), where efforts are more co-ordinated and straightforward to organise. LICENSING Limited licensing tends to occur when an artist has a more proven track record (or substantial industry buzz) in their own country, and are in a position of strength when it comes to entering a license, rather than assigning all recording rights outright. While a license allows the copyright owner to give the right to release a record in a given market to a local label, the ultimate ownership of the copyright is retained or will be returned after a period of time. START-UP GUIDE TO MUSIC BUSINESS57THE PA YGO (PA Y AS YOU GO) LABEL An increasingly viable option for those with proven pedigree, enough funding and a solid team around them, can be to hire people direct to represent you on a local or regional level. The copyright owner bears the costs and they or their team must have the know-how for hiring an experienced local team on the ground in key markets, whilst retaining complete control over the process and direct communication with everyone involved. With this model, you are likely to keep a higher share of the available revenues, but you will need to have the cash available to hire people and the expertise to run the team effectively and remotely, as you could be in a different part of the world. JOINT VENTURES Joint venture partnerships tend to be an option for well-established artists or labels with a proven pedigree who are seeking a greater degree of control in overseas markets, yet without incurring the expense or having to have the knowledge for hiring some form of in-market set-up themselves. Partnering with an existing company in a given territory can allow for greater control of the process and a potentially higher degree of financial reward than a straight licensing option. The compromise comes in the form of both parties contributing towards costs, though dividing the resultant income on an equally split ‘net of receipts’ basis. EXPORT The practice of selling domestically-manufactured product overseas is known as exporting, which can be a viable option for repertoire owners looking to ‘dip their toe’ into a given overseas market. Doing so requires a local distribution agreement, and allows the owner to claim all net income (after costs of distributing) due from sales. This is a complicated option and beyond the realm of this guide.LOCATING OVERSEAS PARTNERS Aside from reaching out to the likes of AIM, there is no shortcut to identifying the right international team, no matter what capacity the relationship takes. As with any association in the music business, it is impossible to undervalue the significance of networking and keeping the resulting relationships live and healthy. UNDERSTANDING THE LOCAL LANDSCAPE One of the key advantages of having an overseas team in place is that of gaining in-depth knowledge and direct access to the local media and retail landscape. The make-up and relative importance of key partners varies enormously at both a regional and individual territory to territory level, making such information fundamental to any campaign. Direct media relations are all important when it comes to procuring the most desired promotional opportunities; doing so from afar, in the absence of longer-term relationships and the cultural and technical knowledge these bring, is fraught with room for misunderstanding. THE VALUE OF BEING ‘IN MARKET’ Even allowing for intelligent planning, modern technology and generic asset creation, there is simply no substitute for having an artist present ‘in market’ in any given territory. It is a fundamental reality that a campaign team, the artist themselves and even local media become substantially more engaged the instant the artist spends time in a particular territory. Moreover, more prominent media will demand the presence of the artist in person, hence time ‘in market’ will almost certainly help procure more and better quality coverage. BESPOKE CONTENT Some key potential supporters (whether media or retail) will be of such value to the campaign that they justify the creation of their own exclusive content. Also, some countries have traditional models that required exclusive content in order to build and START-UP GUIDE TO MUSIC BUSINESS58maintain audiences. The nature of that content will vary from the relatively straightforward and delivered upfront (a written Q&A or streaming playlist for example), to that which can only be created whilst the artist is present in the marketplace, such as an exclusive performance or interview. GENERIC CONTENT The value of having the artist ‘in market’ presents the immediate problem that they simply cannot be in more than one place at a time. Conversely, it is still an over-arching aim of every campaign to feed as many media outlets (and their consumers) as possible in order to generate coverage. However, it is possible to service an ever-increasing quantity of media despite limited artist access by servicing media with EPKs, or electronic press kits. These files contain a broad spectrum of digitally delivered materials that can be seamlessly adapted for local use, giving the media outlet the appearance of having direct access to the artist. WHAT TO DO NOW: 1 2 3DECIDE WHEN IS THE RIGHT TIME TO BECOME ACTIVE IN OVERSEAS MARKETS, WITH WHICH PARTNERS AND IN WHAT FORM SUCH ACTIVITY SHOULD TAKE PLACE. START TO BUILD NETWORKS, ATTEND CONFERENCES AND NETWORKING EVENTS WHERE POTENTIAL INTERNATIONAL SERVICES AND PARTNERS TEND TO GO. AIM RUNS A NUMBER OF CONFERENCES, SUCH AS AIM CONNECTED, AND AIM HOUSE @ THE GREAT ESCAPE, BOTH OF WHICH ATTRACT THESE PEOPLE. AIM MEMBERSHIP ALSO OFFERS DISCOUNTS TO MANY UK AND OVERSEES CONFERENCES AND EVENTS. ONCE COMMITTED, ALLOCATE SUFFICIENT TIME IN MARKET, RESOURCE AND CONTENT CREATION EFFORT IN ORDER TO MAXIMISE IMPACT IN KEY TERRITORIES.START-UP GUIDE TO MUSIC BUSINESS5918. THE FUTURE WHAT DO YOU NEED TO KNOW? Predicting the future of any business is a difficult thing to do. Y et in order to survive, we must be aware of the need to adapt. It stands to reason that those who adjust best not only allow themselves to maintain their business, but also to steal a competitive advantage. The current environment provides clues as to the likely directions that the music business might take, the vast majority being driven by technological developments, and the associated cultures which arise as a result. It is also worth realising that the music business seems to function in cycles; often re- inventing itself, but equally often referring back to earlier patterns and trends, allowing us to recognise that the past can give us valuable clues as to the direction of the future. CONVERGING DIGITAL MEDIA Digital media seldom operate entirely in isolation, and whilst music synchronisation has long allowed the placement of musical audio as an accompaniment to visual media, the potential of interactive media is far greater than just the occasional hit film soundtrack. The focus is moving from focussing on the listener’s attention to the ability to accompany other activities, with gaming leading the way in this area. For those of us consumed by music, it is important to know that the total value of the global music business is utterly dwarfed by that of the gaming industry. The reality is that gaming has long since taken over from music as the go to sub-culture for youth, and whilst this could be seen to lessen music, music is still an essential part of the mix. In fact, music retains a value that makes it a highly desirable addition to gaming, and the more interactive, the better. In recognition of the soundtracking element to gaming, and the nature of the users who will frequently play for several hours at a time, streaming platforms now have specifically curated gaming playlists. This gives enormous potential for discovery of new music; as more gaming consumers prefer to heighten their user experience with the addition of music, so there are ever increasing opportunities to target otherwise difficult-to-reach audiences. DATA ANAL YSIS The collection and subsequent use and understanding of data remains an ever-expanding area of focus for virtually all modern businesses, music and otherwise, as digital environments allow us to attempt to understand those we engage with more than ever. The key is in the dissemination of the information into useful learnings that can then be applied for commercial benefit. Data analysis therefore becomes the differentiator between those who are truly harnessing their data, and those who are not. VIRTUAL AND AUGMENTED REALITY The notion of using technology to create virtual environments, or to add to real world experience is as exciting as it is potentially limitless. Clearly we are on the cusp of a dramatic expansion into such arenas, and we might reasonably consider that music will play its part in that process. The key surely lies in understanding that the technology must substantially add to the experience in order to create a situation whereby the user can do something virtually that they simply cannot otherwise do in the real world environment. This area has great potential to harness, for example, music-lovers who are unable, physically or otherwise, to attend gigs and there are many more potential opportunities from enhanced storytelling to super-immersive experiences. ARTIFICIAL INTELLIGENCE For most of the history of the music business, the industry has curated its business through genre-based sorting. However a combination of smartphone technology and streaming consumption is changing this towards either mood or activity based models. We are as likely to discover an artist or song via a revision, chill, concentration or workout playlist. Whilst we still require an element of curation to direct our focus, what we are doing and where START-UP GUIDE TO MUSIC BUSINESS60we are doing it now dictates what we want to listen to. Every single listening experience is logged, and used to create a highly detailed and individual ‘fingerprint’ of user preferences, likes and dislikes. The result is a unique musical DNA for every single user of any given digital platform. To be clear, this is not a human-curated experience that we are subject to, but one made by AI (artificial intelligence, being defined as the usage of computer systems performing the kinds of tasks usually associated with human beings, and for our purposes particularly related to decision-making and perception). Track choices fed into a streaming platform’s algorithm-based playlists are built on the collection of vast amounts of data that recognise and match the preferences of similar users, and then reflect those tastes back in the form of alternative track suggestions. Further use of AI is inevitable, as experience is acquired and systems becomes ever more complex. The future then, is not just about the collection and analysis of data, but how it is harnessed in conjunction with the application of ever more finessed AI systems. EMERGING MARKETS The recorded music business has been dominated by certain territories for many decades, from the US, via Japan, Germany and the UK downwards. These markets had effective legal and technological systems that allowed them to grow and flourish. Equally, potentially enormous markets such as China, Russia and India, with far greater population sizes, didn’t have these systems and as a result represented opportunities for piracy far more than their legitimate commercial counterparts. One of the effects of this was the dominance of western music and culture in the broader global picture; global superstars were invariably American, and occasionally British. Though the reasons vary from country to country (but generally being a combination of technological, ideological, governmental and commercial developments), the historical borders to musical expansion are being broken down, which introduces the tantalising proposition of music from so-called non-traditional markets having a greatly improved platform to break through globally. When considering that the population of India alone is greater than that of North America and Europe combined, the potential impact of such a development becomes obvious. FULL STACK MEDIA COMPANIES As music income becomes ever more spread across different sources, and as workers within the business adopt ever more entrepreneurial approaches, so companies become less single-focussed in their mentality. The result is what is commonly known within the business as ‘full stack’. The principle is that, rather than departments or subsidiaries operating independently of one another, by combining across the breadth of the business (at its most extreme, right the way from content creation, through distribution and into promotion or even retail) it becomes feasible to control or have input into each stage of the process, and hence to benefit from those processes in multiple ways. START-UP GUIDE TO MUSIC BUSINESS61WHAT TO DO NOW: 1 2 3 4 5DON’T FEAR PROGRESS AND INNOVATION. CHANGE IS INEVITABLE. LEARN TO RECOGNISE, AND HARNESS IT. DON’T JUMP ONTO EVERY NEW APP OR PIECE OF SOFTWARE THAT LANDS ON YOUR DESK. MORE FAIL THAN SURVIVE, MAKING YOUR CAPACITY TO SELECT THROUGH INFORMED DECISION ALL IMPORTANT. STA Y UP TO DATE OF DEVELOPMENTS AND CURRENT INDUSTRY AFFAIRS. THIS IS YOUR DUE DILIGENCE ON THE FUTURE. AIM RUNS QUARTERL Y MUSIC-MEETS-TECH MIXERS AND COVERS TECHNOLOGY SUBJECTS AT ITS CONFERENCE PROGRAMME AND TRAINING SESSIONS THROUGH THE YEAR. MAKE TIME TO PROJECT FORWARD. CONSIDER WHAT WILL YOUR BUSINESS LOOK LIKE IN TWO, FIVE AND TEN YEARS TIME. HOW WILL INNOVATION HELP AND HINDER THAT, AND HOW MUCH WILL YOU NEED TO BE PREPARED TO AL TER YOUR APPROACH AND OR/ BUSINESS MODEL? GO AND MAKE A TREMENDOUS SUCCESS OF YOUR BUSINESS…START-UP GUIDE TO MUSIC BUSINESS6220. WELLBEING IN THE MUSIC INDUSTRY In the modern business world, it would be failure not to address the well-being of those who make their career in music, whether musicians or people working to support their careers. There is now greatly increased cultural awareness that mental health is a real and widespread occurrence. There are now thankfully many establishments, charities and organisations offering support and advice, but what better way to sign off than to turn to the input of longstanding British charity Help Musicians UK, who have kindly relayed the below message for this publication: For nearly 100 years Help Musicians UK has been providing help, support and opportunities to empower musicians at all stages of their lives. It is an independent charity whose wide spectrum of work includes; an integrated programme combining Health & Welfare services with Creative development funding, ground breaking research, a mental health helpline for the entire music industry and a hearing health scheme which aims to prevent hearing problems that would otherwise bring musicians’ careers to an untimely end. Y ou can find out more here: helpmusicians.org.uk If a musician is in a crisis (e.g. an unexpected event, illness or accident that means that he/she cannot work, or work as much as before), subject to eligibility criteria, Help Musicians UK offer: - financial support (including paying for therapy or medical treatment as well as making payments towards household bills and other living costs to help cope with not working), - medical help via the British Association of Performing Arts Medicine (including an assessment, specialist health advice, and if further treatment is required, information about appropriate health care practitioners taking into account your needs as a musician), - a visiting service to understand need, - signposting to other sources of support, such as Step Change, Business Debt Line or medical specialists. Y ou can contact them on 020 7239 9103 . HMUK also runs a mental health helpline called Music Minds Matter. This is a dedicated service for anyone in the music industry with trained advisors, who understand the complexity of working in music and are there to listen, support and help at any time, day or night. They offer emotional support, advice and information, signposting to other specialist services, debt and legal advice as well as access to Help Musicians UK grants. It’s free and confidential and available across the UK. Y ou can contact Music Minds Matter on 0808 802 8008 or email MMM@ helpmusicians.org.uk There are also other organisations that can be of help and AIM can help signpost them to you. Y ou should never suffer alone and it is best to seek help as early as possible. Finally, we all know the power of friends and networks of peers who can help support us and pass on useful experience and information. Again AIM encourages these through its networking and other related activities. WHAT TO DO NOW: 1IF YOU, OR ANYONE YOU KNOW IS VULNERABLE OR IN NEED OF EMOTIONAL OR PSYCHOLOGICAL SUPPORT, THEN KNOW THAT HELP IS AT HAND, AND PLEASE DO REACH OUT AS APPROPRIATE.START-UP GUIDE TO MUSIC BUSINESS63FURTHER INFORMATION SOME INFORMATION SOURCES: AIM’s Website – aim.org.uk AIM’s Online Resources – there is some publicly available information and a wealth of exclusive content for AIM members: guides, tipsheets, explainers, articles and video content from AIM’s conferences and training events. AIM Events – conferences, training events, networking, socials, and the annual the AIM Independent Music Awards. Further opportunities and substantial discounts available to AIM members. ‘Friends of AIM’ Directory – an ever-growing number of companies who offer services to people who are releasing music, from PR and plugging, legal, accounting, data services, venues, DSPs and more... UK Government’s small business support services - gov.uk/business-support-helpline Queen Mary University’s ‘Law for the Arts’ Service – free legal advice for the creative industries - lac. qmul.ac.uk/advice/arts/ Musicians’ Union – advice, guidance and legal support for musicians - musiciansunion.org.uk/ Help Musicians UK - Music Minds Matter - Mental health helpline - 0808 802 8008 or email: MMM@ helpmusicians.org.uk There are a number of other groups, organisations and trade bodies in the music ecosystem which focus on specific activities, genres and areas of business and may also be good sources of information and support. Some of the principle ones can be found listed on the website for UK Music, which was set up to provide a collective voice across recorded, published and live arms of the British music industry in lobbying government and policy-makers and promoting the shared interests of the UK music sector. Go to ukmusic.org for more information. RECOMMENDED FOLLOW-UP READING: All Y ou Need to Know About the Music Business (UK Edition) - Don Passman Slackers Guide to the Music Industry - Phil Taggart Getting to Y es - Roger Fisher, William Ury, Bruce Patton Music - the Business: The Essential Guide to the Law and the Deals – Ann Harrison Secrets of Negotiating a Record Contract – Moses Avalon Music Licensing – Bob Kohn (note, US centric) Dissecting the Digital Dollar – CMU Insights DIY Access Guide - Attitude is Everything Traction – How Any Startup Can Achieve Explosive Customer Growth – Gabriel Weinberg Touring & Mental Health Manual – Tamsin Embleton AND… FOR FUN: Kill Y our Friends – John Niven Black Vinyl White Powder – Simon Napier-Bell Big Life – Jazz Summers Another Planet: A Teenager In Suburbia – Tracey Thorn Close to the Edge: In Search of the Global Hip Hop Generation - Sujatha Fernandes START-UP GUIDE TO MUSIC BUSINESS64	[ "music", "artist", "business", "record", "guide", "company", "also", "recording", "right", "deal" ]	{ "summary": "START-UP GUIDE TO\nMUSIC BUSINESS1THE ASSOCIATION OF INDEPENDENT MUSIC\nAIM.ORG.UKSTART-UP GUIDE TO\nMU" }
tL-manager-training.pdf	8 International Journal of Music Business Research , October 2013, vol. 2 no. 2 Regulating artist managers: An insider 's perspective Guy Morrow1 Abstract It is problematic that artist managers in the international popular music industry are not currently subject to consistent regulatory frameworks, particularly given the increasing centralisation of responsibility with this role. This article examines the following research question: Can artist management practices be consistently reg u- lated? In addition, it will address the following sub -research questions: What are the pitfalls that belie attempts to regulate for the betterment of musicians and the music industry? Is self -regulation a viable alternative? Keywords: Artist management, regulation, code of conduct Acknowledgement Many individuals have assisted and encouraged me throughout my research and work in artist management. I gratefully acknowledge the assistance of my co - manager, Rowan Brand, as well as the Boy & Bear band members: Killian Gavin, J a- cob Tarasenko, David Hosking, Jon Hart and Tim Hart; without their support co m- pletion of this article would not have been possible. Dr . Catherine Moore at New York University and Michael McMartin of Melody Management also provided val u- able advice and feed bac k. Furthermore, I received a Macquarie University New Staff Grant in 2009 that enabled me to travel and conduct research interviews and New York University graciously hosted me as a visiting scholar in 2010. 1 Guy Morrow was a visiting scholar at New York University where he studied artist management practices in the global economy with the International Music Managers' Forum and he currently has a Macquarie University Research Development Grant to resear ch career development strategies within the new music industries . He also manages several Australian bands and won 5 Austral ian Recording Industry Association (ARIA) awards with 'Boy & Bears' in November 2011. ([email protected] ). Regulating Artist Managers 9 1 Introduction It is problematic that artist ma nagers in the international popular music industry are not currently subject to consistent regulatory frameworks, particularly given the increasing centralisation of responsibility with this role. This article examines the following research question: Can artist management practices be consistently regulated? In addition, it will address the following sub -research questions: What are the pitfalls that belie attempts to regulate for the betterment of musicians and the m u- sic industry? Is self -regulation a via ble alternative? This article has four parts. The first addresses these research questions through the use of a participant observer methodology that will feature a case study of the Australian band Boy & Bear. Boy & Bear have been chosen as the case study band here because a) I co -managed Boy & Bear with Rowan Brand from September 2008 until December 2011 and therefore I have first hand knowledge of the regulatory frameworks that impacted (or did not impact) on the development of this project, and b) becau se this band won 5 Australian Recording Industry Association (ARIA) awards in N o- vember 2011 including: 'Album of the Year ', 'Best Group ', 'Breakthrough Artist (Album) ', 'Breakthrough Artist (Single) ' and 'Best Adult Alternative Album ' and therefore this ba nd was granted a position at the centre of the Australian music business. The second part makes use of qualitative research interviews with other managers in a comparative study, while the third and fourth sections offer some solutions to the issue of a la ck of artist manag ement regulation. This study concerning whether artist managers can be consistently regulated is significant because the amount of artist management rela t- ed entrepreneurship and innovation in the new music industries has increased dramat ically due to the abundance of distribution outlets for music (Peltz 2011: 6). The scope for artist entrepreneurship/self m an- agement has also increased as the management role becomes even more central ( ibid. : 7). Due to the impact that new technologies hav e had on the music business, without artist management (self manage-10 International Journal of Music Business Research , October 2013, vol. 2 no. 2 ment included) the music industry could not function; however, it could function without record companies due to the substantial number of altern ative revenue streams and distribution outle ts for content. Fur- thermore, the artist manager is the only other individual, besides the artist, who gets to see and touch all the jigsaw puzzle pieces that fit to- gether to create the artist 's career, and therefore they have immense influence over every a spect of an artist 's career. It is therefore important that r esearch into the regulation of artist managers be conducted while also considering the following question: What are the pitfalls that belie attempts to regulate for the betterment of musicians an d the music industry? This article will therefore provide an overview of the regulatory frameworks to which artist management practices in the new music industries are subject, and it will offer a sustained focus on 'understan d- ing' the processes that have driven, and continue to drive, the develo p- ment of regulation for artist managers in the music industries. 2 Background As Sydney -based artist managers, Brand and I were subject to the Ente r- tainment Industry Act 1989 (the Act), which is legislation that exi sts in the Australian state of New South Wales (NSW).2 This regulation is a useful starting point here and it forms the background for this study. This form of governmental regulation of the entertainment industry is unique in that it does not exist in the other Australian states, nor is there an equivalent in the UK, Canada or the US to the same extent (Hertz, 1988). The Act provides a suite of laws aimed at protecting performers in their dealings with agents, managers and venue consultants (co m- monly known as booking agents) and it therefore locates artist man a- gers within a broader industrial context. The Better Regulation Office (BRO) in NSW argues that the Act was introduced because performers are often in a poor bargaining position with regard to their c ommercial 2 The Entertainment Industry Act 1989 is accessible via the following URL: http://www.legislation.nsw.gov.au/fullhtml/inforce/act+230+1989+FIRS T+0+N/ Regulating Artist Managers 11 relationships with agents, managers and venue consultants and theref o- re they should be protected from unfair practices. A key feature of the Act is that agents, managers and venue co n- sultants must obtain a license from the Office of Industrial Re lations (OIR) to work in the state of NSW. This license requires compliance with a set of laws governing operations, including the maximum fees that can be charged and how money held on behalf of performers must be han d- led. If an artist manager has money i n trust on behalf of an artist then they have to pay a $2000 bond for a period of one year to the Office of Industrial Relations (OIR) for a provisional license and then have the trust account audited by an accountant at the end of this period. NSW is the only state of Australia to specifically license entertai n- ment industry representatives, although Western Australia (Perth) and the Australian Capital Territory (Canberra) require employment agents, which includes those operating in the entertainment indust ry, to be licensed, and South Australia (Adelaide) requires such representatives to be registered. The BRO in NSW completed a review of a range of occ u- pational licensing, including entertainment industry licenses, in April 2009.3 In response to the final r eport that this review produced , the NSW Government conceded that the licensing scheme is not protecting performers effectively and should be removed. However at this stage this is just a recommendation that needs to be enacted in legislation; the licensin g requir ements for artist managers operating in NSW still apply. In October 2010 the Better Regulation Office, which is part of the Office of Industrial Relations in NSW, produced a final report outlining their review of the Entertainment Industry Act 1989 .4 This article specif i- cally concerns Recommendation 14 "Code of Conduct " which states that: 3 The Entertainment Industry Act Review is located at the following URL: http://www.betterregulation.nsw.gov.au/targeted_reviews/entertainment _industry_act_review 4 The Entertainment Industry Act Review is located at the following URL: http://www.dpc.nsw.go v.au/__data/assets/pdf_file/0020/104807/Final_Report_Review_of_the_En tertainment_Industry_Act_1989.pdf 12 International Journal of Music Business Research , October 2013, vol. 2 no. 2 "A code of conduct should be developed which covers ethical beh a- viour and minimum competency requirements. Any person operating as a performer representative shou ld be required to comply with the code and there should be penalties for misconduct. The code should be easy to understand, targeted at particular risks and consistent with the existing common law obligations." The results of the comparative study concerni ng this issue are pr o- vided below in part two. 3 Literature review and methodology Watson (2002) offers this definition of artist management: "A manager is a person who earns a living from helping artists build and maximise their musical careers " (2), while Woodruff (2002 : 1) states: "A manager 's job is to create the perception that the band is successful ". It is also ev i- dent that there is no such thing as a manager and this complicates a t- tempts to regulate the profession (Watson 2002; Rogan 1988). In order to illustrate this point, Watson notes that managers wear many different 'hats ' in order to build and maximise the careers of their artists. Man a- gers can be organisers, negotiators, motivators, counsellors, ed itors, designers, manipulators, strategists and much more. Watson 's argument is that every manager combines these different 'hats ' in different co m- binations, thus creating their own unique and complex style (Watson 2002: 2). Rogan (1988) argues that since management is more a question of personality th an policy (or anything else), what defines a perfect ma n- agement candidate inevitably remains elusive and ambivalent. The ideal candidate must be cautious yet innovative, intuitive yet empirical, forc e- ful but sensitive to artists ' feelings, aggressive in ba ttle and reflective in victory, and wise but not intellectually i ntimidating. They must also be a sympathetic listener. Rogan claims that the mythical 'perfect ' artist manager lies som e- where between the hard businessperson, the medical doctor and the dedi cated schoolteacher ( ibid.: 382). The notion that one could develop Regulating Artist Managers 13 a framework of best practice for artist management is challenging be- cause the various ways in which managers operate are not only depend- ent on the individual manager 's personality. The met hodologies artist managers employ need to be analysed within specific contexts. The dis- tinct se ctions of the music industry in which individual managers oper- ate const itute these contexts. Every artist is different and therefore individual managers differ from one anot her. Watson (2002) notes that to understand a manager you have to first unde rstand the artist they are managing. Therefore an artist manager 's behaviour is somewhat dictated by the decision making process of the artist they manage. The dynamics between the artist and the manager should form the basis of any study of artist management; the managerial role is intricately connected to the artist and their work. No manager can be fully understood out of the context in which he/she and their artist(s ) operate. In contrast to the common argument that a strong artist -manager relationship is analogous to a good marriage, or that the personal ma n- ager is th e alter ego of the artist ( ibid. : 34), it is evident that the dynamic is in fact quite different to a stereotypical 'good marriage '. A strong ar t- ist-manager relationship is unbalanced as each personal manager is ne c- essarily a function of their artist 's unique combin ation of needs (and not necessarily vice versa) – therefore if the manager is the 'alter -ego', this alter ego is necessarily subservient and because the power ba lance shifts with success, this relationship can become an abusive one. If a mandat o- ry code of conduct were to be established artist managers face the risk that their clients could use t he code against them once the power ba l- ance has shifted in their favour. As Peter Jenner (2002 : 1) notes: "Nothing is forever, it 's just a business relationship and not a marriage, and you should see losing an act as part of your development as a m a- nager ." Although it is just another business relationship the artist may form, Frascogna and Hetherington (1997 : 34) note that more than any other person, the full -service personal manager is the most influential force behind an artist 's career. His or her effort s are often critical to the 14 International Journal of Music Business Research , October 2013, vol. 2 no. 2 artist 's ultimate level of success or failure. They assert that given the critical role the manager plays in planning, execution, and day -to-day career control, it is essential that the artist and manager be on the same waveleng th both per sonally and professionally. Therefore there is a need to consider artist managers ' interests when examining regulatory options rather than just focusing on the needs of the artist. An analytical approach is needed here. In addition to this body of literature that concerns artist manag e- ment, a number of researchers have examined artist management reg u- lation specifically. These researchers include Gilenson (1990), Hertz (1988), O'Brien (1992) and Frith (1988). Gilenson (1990) examined artist and p ersonal manager conflicts of interest in the music industry, Hertz (1988) examined the regulation of artist representation in the ente r- tainment industry and O'Brien (1992) specifically examined the regulat i- on of attorneys under California's Talent Agencies Act and presented a tautological approach for protecting artists. The work of these authors has informed this study. Frith (1988) provides a broader analysis of p o- pular music and the entertainment industry and his work concerning the industrial process pr ovides the theoretical framework for this article. Frith (2001) argues that the music industry operates in the reverse direction to that articulated by the 'colonisation ' argument. He (1988 : 12) notes that the argument co ncerning music making being an ess ential human activity that has been colonised by commerce is flawed as it i n- volves "the suggestion that music is the starting point of the industrial process – the raw material over which everyone fights – when it is, in fact, the final product. " Popular music is often located at the end of the industrial process and attempts to regulate do affect musicians ' artistic processes and output. Therefore regulation can have both a negative and positive impact on artists ' career development for this reason. This study into a Code of Conduct for artist managers in the intern a- tional pop ular music industry will involve a case study of Australian band Boy & Bear, in addition to ethnographic interviews that were conducted with artist managers who were approached via th e International Music Managers ' Forum (IMMF). Between September 2009 and November Regulating Artist Managers 15 2010, a total of 18 artist managers were interviewed for this study. However, due to the scope of this article, not all of this material will be utilised here. I co-managed B oy & Bear with Rowan Brand from Septe m- ber 2008 until December 2011 and therefore this article uses a partic i- pant -observer method of research, a tradition that is well established in qual itative research practices. Boy & Bear were chosen because they are an award wi nning band that was allocated a position at the centre of the Australian music business and because as their co -manager I have a unique perspective on their career development. As the artist manager is "the only other individual, besides the artis t, who gets to see and touch all the jigsaw puzzle pieces that fit together to create the artist 's career " (Frascogna and Hetherington, 1997: 6), in terms of participant observ a- tion, the artist manager is therefore in a useful position for acquiring in - depth knowledge of the dynamics and texture of artists ' career deve l- opment. Case studies provide the ability to deal with a wide variety of ev i- dence within a real -life, contemporary context and an opportunity to gain access to an explan ation of causal links that are too complex for a survey (Eisenhardt, 1989; Mitchell, 1983; Walton, 1972; Yin, 1984). Therefore in this case study, as an artist manager, I observed the broa d- er interactions between regulatory bodies to which artist managers are subject, in additi on to interviewing 18 other artists managers from Au s- tralia, Canada, the UK and the US who are members of the IMMF. It must be noted that in terms of the discussion of the broader regulatory frameworks to which I was subject as manager of Boy & Bear, I am bi- ased toward the mana ger's point of view. 4 Case Study: Managing Boy & Bear Boy & Bear 's5 album Moonfire was released in Australia via Universal Music Australia 's Island Records imprint on August 5, 2011 and it 5 Boy & Bear consists of 5 band members: David Hosking (lead vocals, guitar), Tim Hart (drums, banjo, guitars, backing vocals), Jacob Tarasenko (bass gu itar and backing vocals), Killian Gavin (lead guitar and backing vocals) and Jonathan Hart (keys and backing vocals). 16 International Journal of Music Business Research , October 2013, vol. 2 no. 2 reached Gold sales status (35,000) within 3 weeks. It achieved Platinum sales status (70,000) in December 2011. It was released in the UK via Co - op/V2 on January 16, 2012. The album was released digitally in the US via Universal Republic on August 9, 2011 but it is yet to be released physically the re. Boy & Bear won 5 Australian Recording Industry Assoc i- ation (ARIA) awards in November 2011 including: 'Album of the Year ', 'Best Group ', 'Breakthrough Artist (Album) ', 'Breakthrough Artist (Si ngle)' and 'Best Adult Alternative Album '. There were a numbe r of regul atory frameworks that Brand and I, as the band 's managers, had to nav igate before we could help the band achieve these results. As stated previously, if an artist manager has money in trust on b e- half of an artist then they have to pay a $2000 bo nd for a period of one year to the Office of Industrial Relations (OIR) for a provisional license and then have the trust a ccount audited by an accountant at the end of this period. If the audit is positive, the bond is returned, and the mana g- er is issued with a license. I went through this process and was issued with a license prior to the commencement of my relatio nship with Boy & Bear. I then set up a co -management agreement with Brand. Because Brand was 20 years old at the time, he could not afford to p ut forth a $2000 bond and because I was doing the band 's accounting as a signat o- ry to the band 's partnership account, he did not have money in trust on behalf of the band. During the start -up phase of an Australian artist 's business it is common for the a rtist manager to also be their business manager. If the band becomes established and can afford business management se r- vices, the artist manager will often reli nquish the business management responsibilities to a professional music business manager. The ar tist manager then focuses on the core areas of touring, marketing and the production of recordings. This was the case with Boy & Bear. One issue with the requirement of paying a $2000 bond for a provisional license is that if I had not done a co -management agreement with Brand, he would not technically have been able to work as an artist manager b e- cause he could not afford to pay the bond. Regulating Artist Managers 17 However, many Australian artist managers do practice without a l i- cense, partic ularly if they are based in a state othe r than NSW where this form of licensing is not a requirement. This may be because artist managers are not aware of the licensing requirement in NSW, or b e- cause they have the perception that the r equirement is not enforceable in any meaningful way. While I do have a license, it is my perception that the Entertainment Industry Act 1989 does not have much influence on how artist managers operate. While Brand and I are both members of the Association of Artist Managers (AAM) in Australia, which is a me m- ber orga nization of the IMMF, our membership of this organization does not curren tly require adherence to a code of conduct.6 5 Comparative study: Research interviews In order to examine the question of how artist management practices can, or should, be regulated , my work with Boy & Bear will now be l o- cated in a broader context that includes the perspectives of other artist managers who operate internationally. All quotations from the research participants are taken from interview transcripts. There has been much debate amongst the members of the IMMF concerning the establishment of a code of conduct for artist managers. While some interviewees argued that it is necessary and that membe r- ship of the IMMF should be tied to it, others argued that a looser set of guid elines woul d be more suitable/appropriate. One Canadian artist manager, Brian Hetherman7, commented: 6 The other association for artist managers in Australia is MMF Australia which is also a member organiz ation of the IMMF. Membership of the MMF in Australia does require a dherence to a code of co nduct. 7 In 1995, after a number of years at Canadian indie label Duke Street Records and MCA Records, Brian Hetherman became the youngest Director of A&R (Artist and Repertoire) for MCA Re cords and head of MCA Music Publishing. In 2001 Brian was o ffered the inaugural position as Executive Director of the Radio Starmaker Fund. After helming Radio Starmaker through its first cou ple of years, an opportunity presented itself for Brian to make his plann ed moved into Artist Management and Indie label owner. Shortly thereafter Brian started Cerberus Artist Management and affiliated label Curve Music, representing such artists over the years as Garth Hudson (The Band), Holly McNarland, Suzie McNeil, Wide Mo uth Mason, Andy Stochansky, Derek Miller and Peter Katz. Brian is also the President of the Music Managers F orum in Canada, and Vice Chair on the IMMF Board as 18 International Journal of Music Business Research , October 2013, vol. 2 no. 2 "When I came on board as heading up the MMF in Canada, we had a code of conduct and we would make people sign a very short form agreement stating that as m embers they would operate under this part i- cular guise. I think that the problem with this is that you are sticking people with a certain position, or a particular way to do their business and I think that in particular cases it 's not necessarily fair." The general consensus was that there definitely needs to be an a t- tempt made by artist managers to increase the level of professionalism and the level of accoun tability and responsibility, but quite how you word this, and would enforce it, is challenging. In my experience of managing Boy & Bear, it became evident that lawyers often make refe r- ence to industry standards when negotiating on behalf of clients though it became clear through this study that such standards do not exist. A number of the artist manager s interviewed said that they felt threa t- ened by the idea of establishing standards because they believed la w- yers would use these again st them in an unwarranted way. Another point that was made by multiple interviewees was that there is more fiscal responsi bility in being a manager now than there was before and that this is occurring during a time of industry transfo r- mation. This increases the need for a solution regarding a regulatory framework, and it also has ramifications for the way in which the indus t- ry is theorized. Frith (1983) argues that artist managers are largely su b- ordinate to the demands of record companies though this is now cha n- ging. Frith traces some changes to the ma nagerial role but argues that record companies are the central ingredient wi thin the mix of entities needed for a pop ular music act to be successful. He states that: "The show -biz recipe for rock success is sufficient talent, efficient management and an enterprising record company, and the central i n- gredient in this recipe is inde ed the company." (Frith 1983: 109) Frith asserts that because record companies are the legal owners of the master copyright within the finished recorded product, they expect well as a consultant to Canadian Music Week, Gibson. In addition Brian sits on the Board of Dire c- tors for FACTOR. ( www.cimamusic.ca , accessed August 21, 20 12) Regulating Artist Managers 19 to exercise the rights of their ownership and this is why artists and artist mana gers are subordinate to their demands. However this is changing with organizations such as the Featured Artists ' Coalition (FAC) encou r- aging artists to only license the master copyright in their recordings to record labels, rather than assigning the master copyright to them. In addition, the notion of 'collapsed copyright ' challenges definitions of copyright, asserting that the different copyrights no longer make se n- se when music is consumed online. This is because when a song is streamed online or is down loaded, a copy of the song is generated and the performance copyright in the song and the mechanical copyrig ht are one and the same (Morrow 2011). Such online use also involves the c o- pyright in the actual recording as well. Collapsed copyright therefore includes the performance copyright, the mechanical copyright and the copyright in the actual recording merging into the one 'creator right ' (ibid. ). This centralisation of copyrights (if it is realised) has important ramifications for the structure of the mu sic industry. It would involve the royalty collecting societies, song publishing companies and record co m- panies merging into one. However an issue arising from this concerns the increased workload that surrounds the 'creator right ' if all functions of the aforementioned entities were rolled into one, and how the manager of this 'creator right ' would be regulated. This is one of the reasons why theorists such as Williamson, Cloonan and Frith (2011) have reconceptualised the music industry, shifting the emph asis away from record companies toward a more holistic view of the industry that considers all five key income stream groups (live performance, song publishing, record sales, me r- chandise, and sponsorship). One British artist manager, Tim Prior8, noted that: 8 Tim Prior has been in the entertainment industry for more than 30 years, a former Director of Arista Records, a Bertelsmann Group Company and an Arti st and Rights manager. He has worked alongside many major artists and their ma nagers, helping to redefine and develop the international entertainment industry 's constantly evolving business models. Tim is also Chairman of UK ticket comparison site, Tixdaq. com, music consultant to Peter Gabriel 's digital streaming service, We7.com, European "quarterback " for US based RedLight Management and is a board member of the MMF, Music Managers F orum. (www.qmusic. com.au/bigsound2009/ , accessed August 21, 2012). 20 International Journal of Music Business Research , October 2013, vol. 2 no. 2 "All of the rules of engagement have changed and continue to cha n- ge very dramatically and very quickly. So the need for a code I think is central to a community of people who are fast becoming the gateke e- pers of the relationship that I would call a creat or, or a creative client, will have." Prior noted that in the UK artist managers were often discouraged from forming agreements with clients that were deeper than a straight service prov ision/commission generating relationship, but that this has now chang ed. Artist management involves building the systems, co n- texts and environments from which artistic creativity emerges and the music business is experiencing such fundamental change that an analyt i- cal reconceptualization of the possibilities for artist mana gement agreements needs to take place: "For example, if a manager, who will have invested heavily with cash as well as time, put a proposal together to put to his client to become his publisher or his record label, there was a lot of mistrust. Frankly I th ink it was stirred up inappropriately by professional advisors – meaning lawyers." According to Prior, this mistrust is subsiding as the need for innov a- tive management solutions increases. By allowing artist managers m a- ximum possibilities for deal making by questioning the divisions that traditionally exist between record labels, song publishers and artist m a- nagers, more innovative artist management solutions can be achieved. The commerce versus creativity dichotomy that has informed a number of music indu stry studies needs to be reconceptualized in this context. Frith (2001) and Negus (1996) have both commented on the 'colon i- sation ' argument, Frith noting that music is located at the end point of the industrial process, and Negus positing that while the c reativity ve r- sus commerce dichotomy may be clichéd, it is still one of the ways in which musicians make sense of what is happening to them. These arg u- ments form part of an established debate in the popular music studies canon concerning the rock genre 's struggle for authentic ity in relation to the commodity form (see Frith 1996, and Adorno 1989). Pop ular music is Regulating Artist Managers 21 often considered to be unique in the extent to which the makers of this form of art struggle with their role as commodity producers. Ho wever, Radi ohead, being the epitome of the (post)modern art rock band, is i m- portant here because with the release of their 2007 album In Rai nbows they brought their own artistic sensibility to the organization of their own commodification (Morrow, 2009). Assuming oth er artists fo llow their lead, there will arguably be less perceived tension between creati v- ity and commerce as artists (and their managers) increasingly organise their own commodification. During the research interviews, statements outlining the need for a code of co nduct that would enable the IMMF to become a self - regulating body often accompanied arguments such as this one, co n- cerning the centralisation of responsibil ities with the artist and the artist manager. Though these statements were often qualifi ed with the ma n- agers saying that a mandatory code would be impossible to enforce. Some general comments supporting the establishment of a mandatory code of conduct were as follows. British artist manager, Dan Me dland9, noted: "Yes definitely for me, I mean I've been in the industry for six or so years, and I guess I 've seen many different incarnations of managers and horror stories that have occurred. I actually think that it is probably becoming less so the more professional the business becomes." While Ca nadian artist manager, Rob Lanni10, stated: "I think that it is necessary. I 'm hoping that you would never have to refer to it, but just so that people know from the outset that these are things that we like to see our peers adhere to as a profession … beca use historically there haven 't been any rules for managers. Until the IMMF or 9 Dan Medland works for global artist management firm ie:music and recently moved to Australia from the UK to manage Ladyhawke and Passenger. Medland is also overseeing a new full service artist management venture between leading Australian music sales and marketing comp a- ny, Inertia , and ie:music . In addition to his role with ie:inertia, Dan continues to work with the existing ie:music ro ster. ( www.inertia -music. com , accessed August 21, 20 12). 10 Rob Lanni is co -founder of Toronto based full service artist management co mpany Coalition Music. Coalition Music manage s artists such as Our Lady Peace, Finger Eleven and Simple Plan. 22 International Journal of Music Business Research , October 2013, vol. 2 no. 2 the MMF came into existence, managers came in all forms and did things in their own way. I 'm not as familiar with the rest of the world, but in the US in particular, there have b een some shady individuals over the years." A diversity of opinions regarding artist management practices can lead to more novel solutions (Sawyer, 2007) and therefore while the interviewees commonly agreed that there should be a code of conduct, another c ommonality between respondents was that it would be pro b- lematic to enforce a mandatory code of conduct. Because artist ma n- agement services encompass an increasingly diverse range of economic activities, it is difficult, if not impossible, to develop a un iform method of regulation, within the territories concerned, that could lead to the esta b- lishment of one consistent international code (Johnson and Turner, 2010: 174). The MMF in the UK has attempted to establish a mandatory code of conduct in the past and according to one British interviewee, Keith Ha r- ris11: 11 Keith Harris began work in the rec ord industry in 1974. The first record company for which he worked was a small independent UK label called Transatlantic Records. The label represented mainly British folk musicians but also distributed the Blue Note and Mil estone Jazz labels. In 1976 he joined EMI Records where he initially worked for several in -house EMI labels in the promotions department. These labels included Rocket where he worked on the Elton John album 'Blue Moves', Fantasy, Ariola and EMI Intern ational. He then joined Motown which was an EMI licensed label. He worked for Motown for two years ending up as General Ma nager for the label. During this period at the label he worked with artists such as Marvin Gaye, Diana Ross, Smokey Robinson, The Comm o- dores, Rick James, The Supremes, T helma Houston and Stevie Wonder. He left Motown in 1978 and moved to Los Angeles to work with Stevie Wonder and became operations manager for St evie's companies. On his return to the UK in 1982 he formed his own management company and has been involved in the manag ement of various UK based artists since. He has managed Junior Giscombe, Junior Tucker, Paul Johnson, & Omar. Keith managed Lynden David Hall until his recent death, and still represents Stevie Wonder. He is a Senior Fellow of the University of We stminster School of Music Film and Fashion. He is a former Chairman of the MMF, the Chairman of Musictank and he is also the chairman of the African and Caribbean Music Circuit, a music touring organis ation funded by the Arts Council of England. He is also a Fellow of the Royal Society for the encouragement of Arts (FRSA). Keith is now Director of Performer Affairs at PPL. (Source: https://www.musictank.co.uk/resources/speaker -biographies/keith -harris -keith -harris -music -ltd- musictank -chairman -ppl-director ) Regulating Artist Managers 23 "One of the things that came the closest to splitting the general co n- sensus between managers was the different ways in which managers operate … in the coming marketplace it is very difficult to develop a mandatory code of conduct because all managers are looking at diff e- rent business models. " Brand and I managed Boy & Bear in a traditional way. As managers we had a service provision agreement with the band and we organised for the band to license their master recordings to Universal Music Au s- tralia for Australia and New Zealand, and then for them to assign the copyright in their master recor dings to Universal Republic in New York for the rest of the world. We signed the song writing me mbers ' song publish ing to SonyATV for the world and we then engaged separate booking agents in Australia, the UK and in the US. While a conflict of interest clause in a code of co nduct could arguably be applied to this way of working because the different roles (and copyrigh ts) were trea t- ed separately and therefore the interests were not confli cted, it would be very difficult to have a code of conduct that is going to specif ically cover all of the different business models that are now available to artist managers. Harris not ed: "There are still some people who are using the traditional manag e- ment model and there are others who are effectively going out to bus i- ness angels to get the money in to effectively act as the record label. There are other people who are assuming the ro le of the record company on behalf of the artist without going out to a third party investor, they are instead just growing the business that way and so they are perfo r- ming the record company functions but without the private investor, or without the priva te equity stake holder." Given these three different scenarios it is difficult for there to be a mandatory regulation because, according to Harris, people will say: "what I 'm doing differs so much from what he 's doing. " Therefore if the code of conduct com partmenta lizes the profession too much it may discourage innovation and may undermine attempts to unify artist ma n- agers. As Canadian artist manager Brian Hetherman put it: 24 International Journal of Music Business Research , October 2013, vol. 2 no. 2 "In any situation the more stipulations you put on something the harder it is for a group to be in unison. Less a code of conduct and more a common sense outline of how to do business and how to operate and how to treat your artists." In response to a question concerning how such a broad code could be enforce able, Hetherman noted: "I thi nk that it is socially enforceable for sure. And to be honest in some respects that has more of a bite to it than a legal one. You know I mean even though there are laws that need to be followed and laws of business, and while there 's less now over the yea rs there have been all kinds of shady managers out there. If you 're more open and share stories about your experiences as a manager with other managers … then peo p- le advise each other that 'you may want to avoid that person ' or 'don't sign an agreement tha t looks like that ', or 'don't fall into this trap '. I think what that really does is that it empowers the artist and it empowers the good managers." My experience of managing Boy & Bear however led me to conclude that such perceptions of 'good ' or 'bad' managers are often subjective. Some managers commission on net profits, others have adjusted gross structures. While obviou sly artists will often argue that managers should commission on net profits, the agreement has to be sustainable for the manager(s) ot herwise they won 't be able to provide their service and the artist 's career will suffer. 6 Solutions: Guidelines In addition to a socially enforceable and broad code of conduct, a com- mon su ggestion made by interview respondents concerned the esta b- lishment of a set of guidelines. The artist management handbooks that have been produced in both the UK and Australia have provided extracts from management contracts as examples of best practice, and this could be expanded upon. British artist ma nager Keith Harri s noted that while: Regulating Artist Managers 25 "You couldn 't say: 'well there is a standard management contract' because a lot of very senior managers had never done a contract with their artists. They did it on verbal agreement … So for the IMMF to set out a range of guidelines and key pointers of 'Dos and Don 'ts' for the artist and so they basically understand what the various options are and what the options mean to them, s o for instance … if they are talking about 50/50 splits then make sure that they understand 'is it 50/50 of gross, or is it 50/50 of profits' and what is commissionable, and what expenses management is going to pay and all that kind of stuff … And what I like about doing it that way is that it allows flexibility in order to have addendums as the new business mode ls come on stream." A common point made by interview respondents was that a mand a- tory code of conduct would be impossible to enforce but that a solution to the issue involves education. 7 Solutions: Education The proposed solution put forth by Harris inv olves publishing very clea r- ly exac tly what the guidelines mean and then allowing the artist to make decisions as to what they want to enter into. The artists would also be encouraged to be guided by the advice of lawyers and other co nsultants. As previousl y discussed, rock music is often considered to be unique in the extent to which the makers of this form of art struggle with their role as commodity producers. It is different to other industries because the product (artists) sometimes actively resist thei r own commercialis a- tion and, in the case of Boy & Bear for example, they do not want to think about the business side of music until there is money flowing through their business and this can lead to rifts between such artists and the service pr oviders who helped them to achieve success later on. Frith (1988 : 12) notes that in terms of the 'colonisation ' argument: "Songs and singers are fetishized, made magical, and we can only reclaim them through possession, via a cash transaction in the market place. In the language of rock criticism, what is at stake here is the truth 26 International Journal of Music Business Research , October 2013, vol. 2 no. 2 of music … the flaw in this argument is the suggestion that music is the starting point of the industrial process – the raw material over which everyone fights – when it is, in fact, the f inal product. The industrialisat i- on of music cannot be understood as something which happens to music, since it describes a process in which music itself is made." Therefore education is needed throughout this process in order to counteract the effect that the commerce versus creativity dichotomy (or the 'colonisation ' argument) has on the psyche of some artists. This set of guidelines could also be used to educate artist managers as well. Ar t- ists are often managed by a friend or rel ative and it is difficul t to ask a new manager to comply with a code of conduct, or a set of guidelines, when the manager themself may not understand them. As British artist manager Dan Medland put it: "I turned up into the industry and said 'right, well I 've sort of booked a few tours before, but what really is management?' and no one could really tell me. It 's largely a case of learning on your feet and I think that this would be massively helped if there were certain guidelines to take a young manager, he or she, through the pr ocess a little bit, because it all depends on what acts you 've got, be it an R&B act or a rock act, it co m- pletely depends." The artist and artist manager relationship is commonly a very pe r- sonal one and often artist managers do not come through a program of education first and then get into management. Some artist managers are resistant to the notion of a 'code of conduct ' that would force them to operate in a certain way because they have not been subject to any qualifying process and therefore there is a n issue of 'buy-in' from ma n- agers within the field of artist management. Medland noted: "I'd certainly be happy to go with a code of conduct and to sign up to something because I 've been in the industry and that wouldn 't scare me because I know the general areas of responsibility whereas for new managers this may not be the case. Unless it is embedded in the curric u- lum that they have studied … But coming from a non -educational bac k- ground that might be quite difficult to take. Maybe it 's two things, ma y-Regulating Artist Managers 27 be yo u call it a code of conduct for your educational purposes and then it's a set of guidelines for people outside of educational institutions p o- tentially." Rather than letting the clichés and stereotypes inform how the i n- dustrial process should operate, a nu mber of British artist managers noted that a solution would be for a set of guidelines produced by the IMMF for artist managers to be linked to the Featured Artistes ' Coalition (FAC).12 With regard to the FAC, Harris noted that: "It's basically a good idea, to actually have an artist 's voice, but th e- re was always a problem with the IMMF, and I speak as a former chai r- man here, insomuch as 90% of the time, artists ' rights and managers ' rights co -align, but then there is 10% of the time when they don 't. And it's that 10% that does need to be addressed and the Featured Artistes ' Coalition can kind of address that. " Therefore Harris argued that while a solution would be for the IMMF or another similar body to put guidelines as to what the agre e- ments mean up on a website, it actually might be more appropriate for the Featured Artistes ' Coalition to be interpreting what these guidelines mean to the artist: 12 The Featured Artist s' Coalition is an organization formed in the UK constituted by artists who produce origina l music and therefore have copyrights that they can license or assign. Their manife s- to for 'fair play ' in the digital age states that all music artists "should control their destiny because ultimately it is their art and endeavours that create the pleasure and emotion enjoyed by so many. " They believe that:  artist s should always retain ultimate ownership of their music  all agreements should be conducted in a fair and transparent manner  rights ' holders should have a fiduciary duty of care to the originator o f those rights and should consult and accurately report to creators on all agreements that affect how their work is exploited. The FAC is attempting to achieve this by:  changing artistes' approach to agreements  changing the music and technology companies ' treatment of artistes  changing the law and its administration. Therefore the FAC is campaigning for laws, regulations, business practices and pol icies that protect artistes ' rights. They note that: "Together, we will stand up for all artistes by engaging with gover n- ment, music and technology companies, and colle ction societies, arguing for fair play and, where necessary, exposing unfair practices. " 28 International Journal of Music Business Research , October 2013, vol. 2 no. 2 "It is incumbent on the artists to go to the FAC to get the artists ' point of view, and the managers to go to the IMMF to get the managers ' viewpoint and then their independent advisors can actually negotiate and pick a suitable model. It 's got an important role to play. And the good thing about the FAC is that it encourages artists to feel that they need to know, in the new environment, exactly what the business side means. There is no longer that attitude of 'OK, I 'll leave that to my m a- nager. '" Therefore rather than becoming a regulatory body, the IMMF could work with the FAC to fulfil an educational role. 8 Stereotype of the artist manager Although Rogan (1988) and Morrow (2006) have attempted to deco n- struct the most prevalent stereotype of an artist manager – the familiar caricature of a c igar-smoking hustler who takes advantage of star -struck adolescents – this stereotype is still in existence. Furthermore, it stron g- ly affects governmental policy and discussions concerning the establis h- ment of a code of conduct and/or a set of guidelines for artist managers. There is a need to critically and analytically e ngage with this stereotype here. Negus (1996 : 46) couches such an analysis in the follo wing terms: "The idea of a conflict between creativity and commerce has also been used to illustrate the power of the music industry and has informed numerous everyday claim s about how musicians 'sell out ' to the system. On one side are the heroes – the musicians, producers and performers (the creative artists); opposing them are the villains – record companies and entertainment corporations (the commercial corrupters and man ipu- lators)." Negus argues that this opposition is implicit in many music industry studies and it is a problem when such studies inform legislation that is then based on erron eous stereotypes . British artist manager Keith Harris noted that: Regulating Artist Managers 29 "One of the thi ngs that has always bothered me is that there is a l- ways an assumption that the manager rips off the artist. It happens equally well the other way around. It is not unusual for the artist to rip off the manager. So you 're going to enter into a working relat ionship whereby you have agreed that things will be split 50/50 after profits and all of that kind of stuff, and then the artist suddenly realises that 'well actually if I claim conflicts of interest here then I can get the manager back to 20% and I can ge t 80%' and it wasn 't necessarily the original agreement." Harris argued that artists are smart people, that "they 're not gen e- rally dummies, especially when it comes to getting their share of the money. " While some artists do have problems because they do not u n- derstand the business at the outset, there are also a very large number of artists who are at the opposite end of this spectrum. These artists are now quite successful, well financed, well resourced in terms of legal advice, and so if rigid rules are put in place such artists can actua lly use these rules against the manager in an unwarranted way. However, the relationship is more complex than this. T he balance of power in the relationship between artist and manager is unique as the artist manager work s for the artist while at the same time the artist fo l- lows the manager 's lead. Throughout an artist 's career trajectory, this balance of power tends to shift as success – both creative and comme r- cial – accumulates. A rise in the level of success will see t he power ba l- ance shift in the artist 's favour. However, in the period before and after peaks of success the power balance will be in the artist manager 's favour (Morrow 2006: 4). This power balance is constantly evolving, and differs across genres; it must therefore be considered on a case -by-case basis (ibid. ). The irony of the artist manager 's position in the business is that the better they are at fulfilling their role in increasing the artist 's commercial success, the worse bargaining position they the mselves end up being in. This is certainly what Brand and I experienced in our relationship with Boy & Bear. This means that there is a built in disincentive for artist managers who are service providers. This in part explains artist mana g-30 International Journal of Music Business Research , October 2013, vol. 2 no. 2 ers' common desir e to own and control artists ' assets/copyrights. R e- garding the NSW government 's engagement with the afor ementioned stereotype, Keith Harris argued: "First of all you say that they are in a weak bargaining position, but I would argue that this is not necess arily the case. Because usually artists get management that is on a commensurate level to their standing, so if they are starting out and they are offered a deal by a very big manag e- ment company, then yes you can say that they have got lower barga i- ning pow er. However, the influence that the management company can exert on their career is also disproportionate to their current achiev e- ments if you like, so yes they have lower bargaining power but the effects of the management are going to be disproportionatel y great." Furthermore the management contract is actually a management 'service ' agreement. This means that artists are always able to fire the manager, despite the term of the agreement, and all that will happen is that the courts will decree the level o f compensation that they, the m a- nagement, get if they are fired. This means that the artist and manager effectively end up with an adjudication process anyway. Artist manag e- ment service agreements commonly feature sunset clauses that outline the post term commission. These clauses are built into management agreements to protect the manager. The artist management agreement is different to the agreement b e- tween an artist and their record company because the agreement b e- tween the artist and the re cord company is a commercial agreement, as opposed to a service agreement. Harris noted: "A commercial agreement is enforceable by law and you can 't walk away from it as an artist. Whereas you can effectively walk away from a service agreement and all that will happen is that the courts will dete r- mine what compensation the artist has to pay. And when it comes to a situation where the artist is highly successful then the bargaining power is completely reversed and you end up with management companies working for virtual ly nothing." Regulating Artist Managers 31 When external regulators become involved there is a need to be careful with regard to problematic preconceptions. Harris argued: "This is driven by television and movies where the manager is always the bad guy. But it 's not necessarily always the case. Particularly at the starting out level, where a young manager will get the artist as far as a record deal and then the record company encourages the artist to take on a more experienced manager and the young manager has done all the hard graft a nd is then left with nothing." This is one of the reasons why, according to Harris, there is a shor t- age of entry -level managers in the industry. Furthermore, government attempts to regulate the industry can also gravitate against entry -level managers. As n oted above, in the state of NSW in Australia there is legi s- lation that requires artist managers to be licensed, and as an artist ma n- ager who had money in trust on behalf of an artist I paid a $2000 bond to the Office of Industrial Relations (OIR) and then had the trust account audited by an accountant, after which the bond was returned. Ho wever, Brand, as an entry -level co -manager, could not afford to adhere to these requirements and our co -management agreement provided a solution to this i ssue. Some Austra lian artist managers get around this by setting up an account in the artist 's name. They then become signatories to such accounts so that they are not technically trust accounts. With r e- gard to this legislation, Harris argued: "That 's fine, but it does ten d to gravitate against the entry -level m a- nager, who can 't afford to put up a $2000 bond to start out. And this is something that you see in other countries as well, because France has a similar kind of system, which is that if you are managing two artists then you can commission 20% but as soon as you sign a third then you 're not allowed to commission any of them more than 10%. " While such regulation is obviously put in place in an attempt to pr o- tect the artist, a shortage of good entry -level managers is a problem for the industry. The Harris continued: 32 International Journal of Music Business Research , October 2013, vol. 2 no. 2 "You end up with a situation where you have half a dozen very po w- erful, very senior managers and that to some extent tends to gravitate against the artists. I 'm not saying that the managers aren 't going to work in the artists ' best interests, but what I am saying is that it is much harder for artists to get managers who will give them the attention, b e- cause the bigger the management company the bigger their clients will be and if you 're a new artist then you are always going to be down the bottom of the pecking order. Whereas a new manager with a new artist tends to work that much harder in order to get them to that first base." While from a theoretical perspective legislation may be valid, it can have more of a detrimental effect on artists than a positive one: "The theory 's great and I understand that they are trying to protect the artist from people stealing their money and so on and so forth but you just have to be careful that you 're not putting the entry level too high for new managers. " 9 Conclusions While it is problematic that artist managers in the international popular music industry are not currently subject to consistent regulatory fram e- works, particula rly given the increasing centralisation of res ponsibility with this role, governmental regulation would potentially restrict inn o- vation and at times it would do more harm than good. This article exa m- ined the following research question: Can artist management practices be consistently regulated? The an swer to this question is 'no', artist management cannot be regulated in a uniform way. In addition, this article addressed the following sub -research questions: What are the pitfalls that belie attempts to regulate for the betterment of musicians and the m usic industry? Is self -regulation a viable alternative? There are a number of pitfalls that belie attempts to regulate for the betterment of musicians and the industry and these have been outlined. Self - regulation is a viable alternative. Perhaps unsurpris ingly, the interviews revealed that regulation can have both a positive and negative impact on artist 's career development. This is because music is located at the Regulating Artist Managers 33 end point of the industrial process and therefore attempts to reg ulate do affect musicians ' artistic processes and output. The task therefore is to find the balance between the artists ' position and the managers ' posi- tion. Education and guidelines would help to establish this middle ground and are therefore a major part of the solution here by fo rming the core of an attempt to self -regulate. Regulatory attempts that are informed by the assumption that ar tist's are always in a poor bargaining position are one dimensional and do not consider the fact that managers are often put in a poor bargaining position. Cl ichés and stereotypes of artist managers have too often informed how the music industry should operate and this can have a negative effect on the industry, pa rticularly in the extent to which it decreases the amount of artist management service prov ision available. Popular music is not raw material that is then colonized by stere otypical villains, rather it is a form of art that is more often than not nurtured through an industrial process by passionate practitioners who deserve to be trea ted fa irly. 10 References Adorno, T. (1989 ) [1936] "On Jazz ", Discourse vol. 12(1). Eisenhardt, K. (1989 ) "Building Theories from Case Study Research ", The Acade my of Management Review, vol. 14 , no. 4, pp. 532 -550. Frascogna, X & Hetherington, L. (1997 ) This Bu siness of Artist Management: A Practical Guide to Successful Strategies for Career Development in the Music Business for Mus i- cians, Managers, Music Publishers and Record Companies , 3rd edition . New York: Bil l- board Books. Frith, S. (1983 ) Sound Effects: Yo uth, Leisure and the Politics of Rock 'n' Roll, London: Constable. Frith, S. (1988) Music for Pleasure, Cambridge: Polity Press. Frith, S. (1996 ) Performing Rites: On the Value of Popular Music, Oxford and New York: Oxford University Press. Frith, S. (2001) "The Popular Music Industry ", in The Cambridge Guide To Rock and Pop , eds S. Frith, W . Straw & P. Street . Cambridge Un iversi ty Press, Cambridge, pp. 26-52. 34 International Journal of Music Business Research , October 2013, vol. 2 no. 2 Gilenson, H. I. (1990 ) "Badlands: Artist -Personal Manage r Conflicts of Interest in the Music Indu stry", C ardozo Arts & Entertainment Law Journal , vol. 9, p. 501. Hertz, B. W. (1988 ) "Regulation of Artist Representation in the Entertainment Industry ", The Loyola Entertainment Law Journal , vol. 8, p. 55. Jenner, P (2002) "What is an Artist Manager? " in The Music Ma nager 's Manual , eds M. McMartin, C. Eliezer & S. Quintrell. The Music Manager 's Forum , Sydney (Austra lia). Johnson, D and Turner, C. (2010 ) International Busi ness: Themes and Issues in the Mod- ern Global Economy , 2nd edition . Routledge , New York . Mitchell, J. (1983 ) "Case and Situation Analysis", Sociological Review , vol. 31 , no., pp. 187-211. Morrow, G. (2006 ) Managerial Creativity: A study of Artist Management Pra ctices in the Australian Popular Music Industry . Macquarie University, Sydney: Ph D thesis (awar ded). Morrow, G. (2009) "Radiohead 's Managerial Creativity ", Convergence: The Interna tional Journal of Research into New Media Technologies , vol. 15, no. 2, pp . 161-176. Morrow, G. (2011) "Sync Agents and Artist Managers: A Scarcity of Atten tion and an Abundance of Onscreen Distribution ", Screen Sound Journal , no. 2, pp. 104-117. Negus, K. (1996 ) Popular Music in Theory, Polity Press/Blackwell Publishers , Cambridge . New South Wales Entertainment Industry Act 1989, n o. 230. O'Brien, J. M. (199 2) "Regulation of Attorneys Under California's Talent Age ncies Act: A Tautological Approach to Protecting Artists ", California Law R eview, vol. 80, vol. 2, pp. 471-511. Peltz, P. (201 1) "'The Scope of Artist Entrepreneurship', Instruments of Change ", IASPM Australia -New Zealan d Conference Proceedings, November 24-26, 2010, Monash Unive r- sity, Melbourne. Rogan, J. (1988 ) Starmakers and Svengalis , Futura , London and Sydney . Sawyer, K. (2007) Group Genius: The Creative Power of Collaboration , Basic Books , New York . Walton, R. (1972 ) "Advantages and Attributes of the Case Study ", Journal of Applied Behavioural Science , vol. 8 , no. 1, pp. 73–78. Watson, J . (2002) "What is a Manager? " in The Music Manager 's Manual, eds M. McMa r- tin, S . Eliezer & S. Quintrell, The Music Manager 's Forum, Sydney (Australia). Regulating Artist Managers 35 Williamson, J., Cloonan, M. & Frith S. (2011 ) "Having an impact? Academ ics, the music indust ries and the problem of knowledge ", International Journal of Cultural Policy , vol. 17 no. 5, pp. 459 -474. Woodruff, J . (2002) Unpublished and untitled paper concerning music ma nagement presented at the Australian branch of the Music Manager 's Forum's annu al conference. Sydney, Novetel Hotel. Yin, R. K. (1984 ) Case Study Research: Design and Methods . Sage , Beverly Hills, CA .	[ "artist", "manager", "music", "management", "industry", "business", "research", "code", "r", "therefore" ]	{ "summary": "8 International Journal of Music Business Research , October 2013, vol. 2 no. 2 \nRegulating artist " }
mmf-aiguide.pdf	SONGWRITER DISSECTING THE DIGITAL DOLLAR themmf.net/digitaldollarTHE MUSIC MANAGER’S GUIDE TO AIINTERIMThis is a guide for music managers on how artificial intelligence is impacting on the music industry, helping them to navigate and understand the opportunities and challenges posed by AI, and offering guidance on how they might advise their clients. It looks at how the music community is using – and will use – AI tools, and also considers some of the potential threats, alongside how music-makers can safeguard their rights as ever more sophisticated AI models are developed and employed. We have called it an ‘interim guide’ because both the technology and the regulatory framework are evolving so fast it is going to need regular updating. Please check back on the MMF website to ensure you are reading the most recent version. THE MUSIC MANAGER’S (INTERIM) GUIDE TO AI was written by Chris Cooke and Sam Taylor from CMU, with input and expertise from Simkins, Russells, Level, Redburn Atlantic, Blackstar, and the MMF board, team and membership. Published September 2023. Artificial intelligence – while not new – has clearly become a much bigger talking point in the last year. Partly because of developments in the evolution of AI technologies. And partly because governments and law-makers around the world have been giving more consideration as to how they might regulate different AI models and platforms. AI is also starting to have a much bigger impact on the music industry, with AI tools increasingly being used as part of the music-making process, and to assist with music marketing and other music business activities. Meanwhile, rights-holders like record labels and music publishers are starting to enter into deals with AI companies. In terms of defining ‘artificial intelligence’, a term coined by a Stanford University professor in 1955, here is what Stanford’s Institute For Human-Centered AI has to say… “Intelligence might be defined as the ability to learn and perform suitable techniques to solve problems and achieve goals, appropriate to the context in an uncertain, ever-varying world … a fully pre-programmed factory robot is flexible, accurate and consistent, but not intelligent. Much research has humans program machines to behave in a clever way, like playing chess, but, today, we emphasise machines that can learn, at least somewhat like human beings do”. Depending on how you define artificial intelligence, certain technologies commonly referred to as AI may or may not fit that definition. Some technologies – while employing clever algorithms and a certain level of machine learning – may not be truly AI. But whatever definitions we employ, what is certain is that AI technologies will be able to perform ever more sophisticated tasks that involve something very similar to human intelligence, and that this will have a big impact on the economy and society at large, way beyond the music industry. It is anticipated that certain jobs – including creative and administrative roles – could ultimately be replaced by AI. And there are also concerns about how AI models might be used, and the impact that could have on privacy, security and democracy. At the same time, AI creates significant economic, commercial and creative opportunities, though there is general agreement that competent regulation will be required to ensure that the positives outweigh the negatives in the short and longer term. Section One: What is AI? 3 THE MUSIC MANAGER’S (INTERIM) GUIDE TO AIGENERATIVE AI In the context of the music industry – and the wider creative industries – of particular interest is generative AI, a specific kind of artificial intelligence. This term refers to AI models that are able to generate original content, whether that is text, image, audio or video, and, of course, music Again, generative AI is not particularly new, but it has become a much bigger talking point this year because certain generative AI models have become a lot more sophisticated, especially in the text and image domain. Meanwhile, a number of high- profile generative AI platforms have become widely and easily accessible, meaning many more people are now interacting with generative AI models and seeing what they can achieve. As with artificial intelligence at large, how you choose to define generative AI will have an impact on what tools and platforms fall under that banner. There may be some tools and platforms commonly referred to as generative AI which don’t strictly meet the definition.In terms of generative AI and music, it is also worth distinguishing between… n Those AI tools that can assist human beings in the music-making process. n Those AI tools – or similar – that generate music by stitching together pre-existing musical segments or stems based on criteria set by a user. n Those AI tools – or similar – which help people to generate tracks that imitate the style, sound or voice of specific artists. n Those AI models that actually compose and produce original music. As of summer 2023, the latter group of AI models – which would include Meta’s MusicGen and Google’s Music LM – are still quite restricted in terms of the length and quality of the music they can generate. It’s not yet clear how long it will take to overcome these restrictions. Though given the speed with which image generation AI has evolved in the last year, it could happen relatively quickly.THE MUSIC MANAGER’S (INTERIM) GUIDE TO AI 4music sound time pitch energy rhythm frequency temperature volume timbre duration alternation Generating music with AI often involves using machine learning algorithms to analyse large datasets of existing music – the algorithm examines patterns and structures in the music, breaking down each track into its constituent parts, and using this information to generate new music.Section Two: Using AI There are many ways in which the music industry is already employing AI – including generative AI – as part of the music- making process; to help generate and distribute marketing content; to better manage rights and royalties; to handle basic legal and admin tasks; and to more effectively run music businesses. And artists and managers operating at all levels are now starting to make use of AI tools. That includes… Songwriting and recording Music-makers are increasingly using generative AI tools – or similar – to assist in the music-making process, either to help with ideas, or to generate some elements of a new work. Production and mastering AI tools can be used to help with the production process, and especially the mastering process, when creating new recordings. There is much debate regarding the ability of AI to master recordings compared to hiring a mastering engineer, although where independent artists are working on very tight budgets, AI tools can be very helpful. Marketing and visual content Music-makers now need to generate a huge amount of content around their releases and marketing campaigns, and to keep fans engaged on social media platforms, including written content, as well as visuals and video. An assortment of AI tools are now available to help with this process, sometimes generating content from scratch, sometimes reformatting and repurposing content for different channels and uses. Data management AI is increasingly being used in the music industry to help with data management, both the rights and metadata that is a key part of music distribution and rights and royalty management, and the huge amount of consumption and fan data that flows back into the music industry from digital platforms. AI can be used to identify issues in rights data that are impacting on payments and can also help the industry identify learnings from fan data. Document creation All companies, including music companies, are starting to use AI to generate first drafts of business documents, including marketing materials, but also logistical and even legal documents. AI can also be used to edit down or pull key information out of documents, or to compare the content of different documents. Although some generative AI tools are very impressive, you should always be aware of the limitations and generally use these tools to create initial drafts and always read THE MUSIC MANAGER’S (INTERIM) GUIDE TO AI 6through carefully before publishing or sending on. Translation AI tools that translate copy from one language to another are becoming ever more sophisticated. There are various potential uses for this in music. That might include automatically creating versions of tracks in other languages, or allowing fans to automatically access social media posts and other marketing content in their language of choice. Again you should probably check automated translations before publication to make sure there are no glaring translation errors which could embarrass your client. Initial research and ideas Generative AI can also be used to help with research and ideas as part of projects, including ideas for marketing campaigns and general business development. AI TOOLS TO CONSIDER We surveyed a few music managers and marketeers about the AI tools they are currently using, and here are ten that they suggested that managers might want to check out... ChatGPT: A lot of managers and marketers have been using ChatGPT to generate initial drafts of marketing or other copy. It has many other uses too, especially if you make use of ChatGPT plugins. Bard: The generative AI tool from Google that can also be used to generate text from prompts. Grammarly: A popular tool that uses an AI-enabled algorithm to review the spelling, grammar, punctuation and clarity of text. Otter.ai: An AI-powered transcription tool, which is very good at generating transcriptions of recordings of meetings and conversations, particularly where there are multiple speakers. DreamStudio from Stability AI: This is good and straight forward prompt- based image generation tool. After some practice, you can generate great images with very little effort. Midjourney: Another popular AI tool for generating images from user- prompts. Kaiber: This is a creative platform that uses AI to generate videos and images based on user-prompts. Gen 1 / Gen 2 by Runway: More useful AI tools for video creation. Voice-Swap: An AI tool designed by DJ Fresh and Nico Pellerin that can be used to transform vocals so that they sound like one of a number of featured artists who have partnered with the company. Elevenlabs: This a great tool for AI- generated voice and voice cloning. These are, of course, just a small number of the AI tools now available. MMF will be compiling and maintaining a fuller list, so please do let us know about any that you have found useful. And do also read our guidance on things to consider before using AI tools on page 17. 7 THE MUSIC MANAGER’S (INTERIM) GUIDE TO AISection Three: Licensing AI TRAINING GENERATIVE AI Music-making generative AI is ‘trained’ by being exposed to human-created music. This may be music specifically created for training purposes, or from production music libraries, or commercially released recordings and songs. Where a tech company trains a generative AI model with existing music owned by third parties, it will make a copy of that music onto its servers. This poses a number of important copyright questions for the whole music community. Does the company need a licence to make those copies from the relevant copyright owners and, assuming it does, how will that licence work and how will any income generated be shared between the different stakeholders in the music industry? RIGHTS-HOLDER CONSENT Does an AI company need to secure consent and negotiate a licence with whoever owns the copyright in the music used to train its model? The music industry says a firm “yes”. However, some AI companies have argued that the training of AI models is covered by a copyright exception, usually an exception relating to data mining or possibly the more generic concept in US law of ‘fair use’. Each copyright system does provide a number of copyright exceptions, scenarios where people can make use of copyright protected works without securing a licence. That commonly includes things like private copying, critical analysis, parody and so on. In most countries there are no exceptions that seem to apply to the training of a commercial AI model, although that is possibly still to be tested in court, for example regarding fair use in the US. And some tech companies argue that if there is a relevant exception in just one jurisdiction, providing they base their servers there, they do not require a licence. The music industry – and other copyright industries – are now lobbying law-makers in many countries seeking clarity regarding the copyright obligations of AI companies. If it does transpire that the training of AI can be undertaken without licence in a small number of jurisdictions, the copyright industries will lobby policy-makers in all other countries to interpret or amend copyright law in a way that counters that fact. That would mean that models trained with unlicensed works relying on a copyright exception could not be commercially exploited in countries where no such exception exists. In practical terms, that would mean THE MUSIC MANAGER’S (INTERIM) GUIDE TO AI 8that platforms using those unlicensed AI models would have to be geo- blocked in those countries. Internet service providers could also be asked or forced to block access to these services and search engines to de-list them. TRANSPARENCY + LABELLING Assuming it is agreed that the training of generative AI with copyright protected works requires a licence, how do copyright owners know if their works have been used? In theory it should be possible for an AI company to keep a detailed record of every work used to train any one AI model, and to identify which specific works provided learning for and/or influence over any subsequently generated content. Whether this is happening is another matter. Some AI companies may not store this data, either for efficiency reasons or to avoid future liabilities. Some AI models will also build upon learnings from other AI models, and while in theory a complete record of all works used for training should still be possible, data is more likely to be lost in that scenario. The music industry – and other copyright industries – are also lobbying for AI companies to have wide-ranging transparency obligations in law. There would be two elements to this: First, that content generated using generative AI should be clearly labelled. This would allow consumers to distinguish AI-generated works from human-created works, and would also allow rights-holders to identify which works have been generated by any one AI model. Second, each AI company should clearly declare what material was used to train its models, with an obligation to keep and make available a complete record of all works that were used as part of the training process. LABEL AND PUBLISHER- LED DEAL-MAKING Certain players in the music industry – ie labels, distributors and publishers, and especially the major music rights companies – are already negotiating deals with certain AI companies, which will allow those AI firms to train their models using some or all of the existing music owned or controlled by the music businesses. It is not yet clear how those deals will work. Obviously, the nature of each deal will depend on how an AI company plans to specifically make use of the existing music, and how their AI tools will subsequently be employed and monetised. As with the licensing deals that have been negotiated in the streaming market, music-makers can be at a disadvantage here. They and their managers are one step removed from the deal-making process, deals being negotiated by rights-holders and platforms. And they are not usually allowed to see the specific terms of any 9 THE MUSIC MANAGER’S (INTERIM) GUIDE TO AIone deal, making it hard for them to evaluate if it is broadly fair and if payments are correct. However, there are a number of questions music-makers and their managers might want to ask any labels, distributors or publishers that they work with. n Will rights-holders license their full catalogues – or large portions of their catalogues – for the training of generative AI, or will they work with AI companies on an artist-by-artist, writer-by-writer, work-by-work basis? n Will deals involve an upfront and/or ongoing training fee, and/or a share of any revenue generated by the AI platform? n How will a rights-holder allocate income to specific recordings or songs – will an AI platform be able and/or willing to provide data to assist in this process? If not, how will money be allocated so that income can be shared with music-makers? n What share of income allocated to any one recording or song will be paid through to the artist or songwriter – ie what royalty rate will be applied? THE ROLE OF COLLECTING SOCIETIES It is not yet clear what role, if any, the music industry’s collecting societies will play. With UK repertoire, PRS would have to be involved if, at any point in the process, the ‘performing rights’ of the song copyright were exploited. PPL would have to be involved if there was a case for arguing that a performer’s right to equitable remuneration applied. However, the collecting societies may have a wider role to play than this, depending on the technicalities of how each AI model works and the complexities noted above around identifying how any income should be allocated to any one recording or song. If the music industry is sharing in any income associated with each new track generated by AI, how is that income allocated to individual works and rights-holders? How easy is it to identify which existing works had a generic or direct influence on the new work? And how is revenue sharing managed if thousands or millions of existing tracks had an influence? One way to address these complexities is to have a blanket licensing system – or even a levy system similar to the private copy levy that exists in some countries – which is managed by the collecting societies, with monies distributed directly to writers and performers according to rules set by each society. There are pros and cons to this approach – and labels and publishers are likely to oppose going this route – but it may be something music- makers want to consider. THE MUSIC MANAGER’S (INTERIM) GUIDE TO AI 10MUSIC-MAKER CONSENT It is common in the music industry for artists and songwriters to assign or license the rights in their recordings or songs to business partners. Under conventional record and publishing deals, the label or publisher owns the copyrights in the music (with songs, technically the publisher only owns those elements of the copyright not assigned by the writer to their collecting society). Even where artists and writers have retained ownership of their rights, if they have entered into distribution or administration agreements with a label, distributor or publisher, they may have granted their business partner wide-ranging control over their music. Where this is the case, the label, distributor or publisher might be empowered to license any music that it controls to an AI company without seeking the specific consent of the music-maker, providing they pay any royalties the music-maker is due under contract. However, most music-makers and their managers would argue that – given the novelty and potential impact of generative AI – specific consent should be sought from each individual music-maker before their music is used to train an AI model. The music industry at large has talked a lot about the need for AI companies to seek consent before exploiting existing works as part of the training process. But do labels, distributors and publishers intend to seek the specific consent of music-makers? Some independent music companies have explicitly stated that they will. Others have implied that they will, including Universal Music when announcing its involvement in the YouTube Music AI Incubator in August 2023. But it remains unclear what the general industry position is on this. However – oblivious of what position any one label, distributor or publisher might take – is there a legal requirement for music-maker consent to be sought? Contractual Veto rights Where artists and songwriters assign the copyrights in their works to business partners, such as labels and publishers, they will usually retain some contractual rights. This often includes the right to be consulted about and/or veto certain uses of their music, such as synchronisation, samples, or adaptations that will result in the creation of a ‘derivative work’. While these rights will vary from contract to contract – and conventions are different for record deals and publishing deals – are commonly included consultation or veto rights relevant to the use of music by AI companies? Moral rights The moral rights provided for creators by copyright law vary greatly from country to country, but usually include the right to attribution and the right to 11THE MUSIC MANAGER’S (INTERIM) GUIDE TO AIobject to the derogatory treatment of any one work. Are any moral rights being impacted upon by the training of generative AI and, if so, does that mean the specific consent of the creator is required? It is worth noting that moral rights are relatively weak under UK law and can be waived in record and publishing contracts. Performer rights Copyright law provides performers with certain rights over recordings on which they appear even when they are not the copyright owner. The performer’s approval is required to make a recording of their performance and to exploit the resulting copyright. Performers are also due equitable remuneration via the collective licensing system whenever the performance or communication controls of the sound recording copyright are exploited. Have performers granted the necessary approvals to train an AI with a recording of their performance and could any uses of AI necessitate the payment of equitable remuneration? Under the current system, the necessary approvals have probably been provided under most industry standard record contracts and session musician agreements. However, copyright law could be amended to grant performers specific approval or remuneration rights in this domain. Publicity rights Publicity rights are a legal concept that allow individuals to control the commercial use of their image or personality – indeed they are sometimes called image or personality rights. Quite how these work differs greatly around the world, and – as these rights have become more commercialised in recent decades – different sectors within the wider entertainment and sports industries have developed different conventions for how they are managed and licensed. In football, where the publicity rights of players are routinely exploited by things like video games and brand partnerships, consideration has been given to how a player’s deal with a club handles these rights. Players might establish a separate company to control their publicity rights, and their club would enter into a separate deal with that company if they wanted to pursue commercial opportunities that exploit those rights. In music, artists would usually manage their publicity rights in partnership with management. Under a basic record deal, a label would have permission to exploit the artist’s image in order to market the records it is releasing, but would not usually be involved in any other commercialisation of these rights. However, some labels have started to seek wider involvement in an artist’s publicity rights, usually as a result THE MUSIC MANAGER’S (INTERIM) GUIDE TO AI 12of new digital opportunities, such as an artist having a representation on gaming platforms like Fortnite or Roblox. In the context of generative AI, publicity rights are most relevant when an AI model imitates the voice of a specific artist. But do publicity rights come into play in other uses of generative AI? And how will publicity rights be managed and licensed in this domain, and to what extent will an artist’s business partners want a greater involvement in these rights? It is important to note that in the UK publicity rights do not currently exist in law. The tort of passing off can sometimes be employed to stop people commercially exploiting an artist’s image or personality, though that only usually applies when the entity doing the exploiting is misleading the consumer into thinking they have the endorsement of the artist. Given publicity rights could become important in the context of generative AI – and other areas like the metaverse – the concept probably should be introduced in UK law. Data protection rights Data protection rights – and/or other privacy rights – may well give an individual control over the storage, distribution and exploitation of recordings of their voice or image. Therefore, arguably an artist would need to provide specific consent if a recording of their voice is stored, distributed or exploited, for example by an AI company. A label would likely infer that that consent has been provided through an artist’s record deal when it comes to the standard storage and distribution of recordings. However, it’s a stretch to assume such an inference in the context of using an artist’s voice to train an AI model. Why this matters The legal requirement for specific music-maker consent – if it exists – is important for a number of reasons… n For the industry at large, it could provide additional control over recordings and songs even if AI companies are able to find and exploit copyright exceptions for some of their uses of music. n It would allow music-makers who have assigned the copyright in their music to business partners to still opt- out of AI licensing deals on a case- by-case basis, and/or to negotiate specific terms with their label, distributor or publisher regarding how income from AI deals will be shared. n Some of these rights – for example publicity rights – may also allow music-makers to negotiate their own deals directly with AI companies alongside any licensing deals struck by labels and publishers, providing new revenue opportunities for the artist. 13THE MUSIC MANAGER’S (INTERIM) GUIDE TO AISection Four: Campaigns and consultations on music and AI There a number of forums where the questions and issues raised above are currently being discussed and considered, some instigated by governments and law-makers, some by the music industry, and some by organisations in other creative sectors. They include… GOVERNMENT-LED EU AI Act: The European Union is in the final stages of agreeing new regulations for artificial intelligence that will go into effect across all member states. Although the act is not specifically focused on generative AI, it does have some measures regulating it, including on transparency and labelling. IPO AI Working Group: The UK’s Intellectual Property Office has convened a working group of AI companies and organisations from across the creator and copyright sectors to inform the UK government’s position on AI and copyright. UK Music and the Council Of Music Makers sit on this group and MMF is involved with the debate. CMS Select Committee Inquiry: The Culture, Media & Sport Select Committee in the UK Parliament has been reviewing the impact of new technologies on the creative sectors, including AI. It published a report in August 2023. Congressional Hearings: Committees in US Congress have staged a number of hearings on AI, including sessions specifically focused on AI and copyright. US Copyright Office Consultation: The US Copyright Office has opened a consultation seeking input on various copyright issues and questions posed by AI. MUSIC INDUSTRY-LED The Human Artistry Campaign: is a global campaign bringing together creators and copyright owners from multiple creative disciplines. It was initially spearheaded by the US record industry but has since been embraced globally and by multiple creative sectors. The UK Music AI Policy Paper: sets out key objectives and concerns about generative AI on behalf of various UK music industry trade organisations, including those that represent labels, publishers, artists, musicians, songwriters, studio producers and managers. The Council Of Music Makers AI Agenda: the Featured Artists Coalition, Musicians’ Union, Ivors THE MUSIC MANAGER’S (INTERIM) GUIDE TO AI 14Academy, Music Producers Guild and Music Managers Forum – which are all members of UK Music – have also identified and communicated a number of questions for labels and publishers to ensure that music- makers are fully informed about and properly consulted on generative AI business and licensing models as they are developed. OTHER CREATIVE SECTORS Creators’ Rights Alliance AI Policy Paper: The UK Creators’ Rights Alliance – which brings together organisations representing creators from many different artforms – has published a policy paper on AI. Like the UK Music policy paper, it sets out key objectives and concerns about generative AI, and calls on the UK government to clarify and, where necessary, extend the copyright and transparency obligations of AI companies. UK Society Of Authors AI Policy Paper + Practical Guidance: The UK Society Of Authors has published a policy position on AI as well as practical guidance for its members. It recommends that authors include explicit terms in new agreements to the effect that a publisher “may not use, or allow access to, the work in any manner which could help the learning/training of artificial intelligence technologies”. It added that: “You might want to prevent AI technologies being used in connection with the creation or exploitation of your work – for instance, forbidding AI-rendered translation, editing, cover design, indexing, and audio recordings”. The society also recommends that authors should “check the terms and privacy settings of cloud services you use to store or develop your work. Some services by default reserve the right to analyse your text and images for development purposes. While not always explicitly stated, this could include using your work to train AI systems”. US Authors Guild AI Model Contract Clause: In March 2023, the US Authors Guild published a new AI-specific model clause which it recommended be inserted into publishing and distribution agreements within the American books sector. It explicitly states that no consent has been granted for the use of an author’s work for the purposes of training AI. The Guild also advised authors and their agents to check existing agreements for any terms that grant a publisher the right to use their work in relation to the training of AI, or more generally for things like ‘internal purposes’, ‘research’ or ‘data mining’. Where such terms are in an agreement, it said authors and agents should seek to have them removed. Equity AI Vision Statement: UK performers union Equity has published an AI Vision Statement which outlines eight principles that it believes the industry should adopt in relation to AI. It includes 15THE MUSIC MANAGER’S (INTERIM) GUIDE TO AIa commitment around performer consent. It said that artists should “have the right to consent (and not consent) when their performance, voice or likeness is recorded, used or reproduced by machine learning systems and equivalent technology. This right cannot be assigned or waived, and applies in perpetuity for past, current and future performances or likenesses”. SAG-AFTRA AI Policy Position: In June 2023, the US performers union set out its position on AI in a letter. It stated that: “The use of performer’s voice, likeness or performance to train an artificial intelligence system designed to generate new visual, audio, or audiovisual content is a mandatory subject of bargaining”. “You cannot unilaterally impose terms in individual contracts that purport to grant these rights. We are entitled to bargain over the compensation and terms under which these rights are granted and used”. “It is our position that language in a performer’s contract which attempts to acquire the rights noted above are void and unenforceable until terms have been negotiated with SAG- AFTRA. The rights have not been conveyed”. One of the demands in the ongoing SAG-AFTRA strike is that US studios and production companies must provide guarantees about how they intend to use AI and how the rights of performers will be protected. LITIGATION In addition to these campaigns and consultations, a number of lawsuits have been filed in multiple countries which will test the copyright obligations of AI companies. To date these have mainly been pursued by the book publishing and photography sectors, with key cases including those filed by various authors against OpenAI’s Chat GPT and those filed by Getty Images against image-based generative AI platform StabilityAI. THE MUSIC MANAGER’S (INTERIM) GUIDE TO AI 16Section Five: Advice for managers USING AI When music-makers and managers are making use of AI tools as part of the music-making process, or to create marketing content, or otherwise, there are a number of things to consider… Reliability Although some generative AI tools are already very impressive, they are not without limitations, and these need to be factored in. For example, if you use generative AI to create marketing copy, you should always see the AI-generated content as a first draft and, when checking that content, be aware that sometimes an AI can generate factually incorrect statements. So, a certain amount of fact-checking is always advisable. Granting of training rights When making use of AI tools, be wary of what rights you are granting the AI company via its terms of service. The AI model is likely being further trained by the prompts you provide when using the tool and any existing content you upload as part of the prompting process. Make sure you are aware of any rights you are granting to the AI company and – if you are working with content where you are not the copyright owner – that you are in a position to grant those rights. Copyright liabilities Remember the ambiguities outlined above regarding the copyright obligations of AI companies and the current lack of transparency regarding what materials have been used to train any one AI model. There is likely a lot of litigation ahead in this domain and some copyright owners might target the users as well as the owners of allegedly infringing AI tools and platforms. And this may discourage some companies – especially bigger companies and brands – from making use of these AI tools in the short term. For example, there have been reports that the big marketing agencies are not yet using AI-powered image generation tools for fears of future liabilities, instead waiting for the copyright obligations of those AI tools to be clarified by law-makers or in the courts. Copyright status of generated works There has been much debate regarding the copyright status of AI-generated works – ie does AI generated content enjoy copyright protection? UK copyright law provides ownership rules for ‘computer-generated works’, which suggests that those works enjoy copyright protection. However, most copyright systems are silent on this and it is assumed 17THE MUSIC MANAGER’S (INTERIM) GUIDE TO AIthat AI-generated works do not enjoy copyright protection. This means if you use generative AI to create – for example – artwork, that artwork may not be protected by copyright, which would limit your ability to monetise the content. Because, if the artwork was considered ‘public domain’ in copyright terms, anybody could make use of that artwork, including commercially, without getting your permission. In the US, the Copyright Office has stated that AI-generated works do not enjoy copyright protection but AI-assisted works do. This obviously poses a big question about how much creative input a human being must have when using AI tools for a work to be considered AI-assisted rather than AI-generated. LICENSING AI – MUSIC-MAKERS LOCKED INTO EXISTING DEALS Where music-makers are locked into existing record or publishing deals via which a label or publisher owns the copyright in the artist or writer’s music, or has wide-ranging control over the music, what should the music-maker and their manager be doing? n It is worth reviewing any existing contracts and identifying what specific rights have been granted to each business partner, what exclusions and veto rights are included, and whether that means the business partner can license the music-maker’s recordings or songs to an AI company without getting specific consent. n Irrespective of what any one contract says, the MMF advises music-makers and their managers to formally inform all and any business partners that no consent has been granted for the use of each music- maker’s music for the training of AI. Even where consent is arguably not required under contract, some of the other rights outlined above may be relevant, and the industry may as yet more widely adopt the position that music-maker consent is always required. The UK’s Council Of Music Makers has published a template letter that music-makers and managers can use to confirm to business partners that consent has not been granted and should not be assumed. That template is on the next page and also available via the CMM website. LICENSING AI – NEW DEALS When music-makers are negotiating new deals with labels, distributors or publishers, consideration should be given to the future use of music in the AI domain. n Be very careful of granting business partners any rights beyond copyright, for example publicity, image and personality rights. Where labels seek involvement in these rights, be very clear and specific on what that involvement is. n Seek specific AI approval rights in contract – so that any use of the THE MUSIC MANAGER’S (INTERIM) GUIDE TO AI 18This is a template letter provided by Council Of Music Makers that music-makers and their managers can tailor and send to any labels, distributors and publishers they work with, making it clear that advance permissions must be sought before any of their music is used to train an AI model. Dear X I am currently reading about the potential impact of artificial intelligence – and especially generative AI – on the music community and the wider creative industries. It’s good to see that so many UK music companies and organisations are embracing the Human Artistry Campaign. I agree that “copyright protection exists to help incentivise and reward human creativity, skill, labour and judgement”, and that “creators and copyright owners must retain exclusive control over determining how their content is used” to ensure “that human creators are paid for their work”. It is important we acknowledge the potential positive impact of AI on the music business, while also stressing that AI companies and their business partners must respect copyright, and other creator and personality rights, and secure consent from music-makers before making use of their music. For this to occur it is essential that tech companies are fully transparent about how they train and utilise any AI models for music and, in turn, that rights-holders are transparent about licensing deals covering these models and the income generated from them. For the record, I do not currently consent for any [recordings that I performed on / songs I wrote or co-wrote] (delete as appropriate) to be used to train any AI models. I also consider that the use of my works in the context of the production of any derivative works to be an unauthorised adaptation and an infringement of my moral rights. I look forward to hearing about any opportunities in the music AI domain that you identify and discussing how we might collaborate on pursuing those opportunities together. Many thanks [INSERT NAME] You can also access this template at councilmusicmakers.org/ai-letter19THE MUSIC MANAGER’S (INTERIM) GUIDE TO AIartist’s music in the training of AI requires explicit consent on a project- by-project basis. n Seek specific AI transparency obligations in contract – so that the rights-holder is obliged to disclose to the music-maker when their work has been used for AI training or for AI purposes more generally. That includes if the artist’s music or image is being uploaded into an AI platform in order to create marketing content. n Ensure that any AI transparency obligations extend to the AI companies themselves – so the rights-holder commits in the artist’s contract to ensure that transparency obligations are included in any licensing deals with AI companies. These kinds of deal terms are not yet standard in label, distributor and publishing contracts, but they are starting to be discussed as part of the deal-making process. Therefore managers and lawyers should always ensure that these things are considered in any deal- making and covered in any new contracts. MMF has drafted a sample contract term to provide guidance on some of the protections managers might seek to include in new contracts in this domain. This is intended to simply inform contract negotiations, and managers should consult the artist’s lawyer for further guidance. The sample contract term is as follows: “Explicit artist consent must be secured before any music or other content produced or created under this contract is used or licensed for the training of generative AI models. The artist retains control over their professional name, image, brand, logo, face, likeness, voice, signature and other identification attributes – and any publicity, personality, image or similar rights provided in law. Explicit artist consent must be secured before any of these rights are exploited in connection with any AI model or platform. As the debate around music and AI is rapidly evolving, MMF will likely update its advice and guidance on a regular basis, so check the MMF website for the latest updates. THE MUSIC MANAGER’S (INTERIM) GUIDE TO AI 20Section Six: Next steps Campaign with the music industry for clarity on rights-holder consent and transparency Music-makers and their managers should work with the wider music industry – and the wider copyright industries – for example via the Human Artistry Campaign, to ensure that: n copyright obligations of AI companies are clarified and that no new copyright exceptions are introduced that can be exploited to circumvent these obligations. n clear transparency obligations are applied to generative AI models, so that AI-generated works are clearly labelled, and a detailed record is kept and made available on what works have been used to train any one model. Campaign within the music industry on music-maker consent and deal transparency Music-makers and their managers should campaign within the music industry – via organisations like the Council Of Music Makers – in order to seek: n A commitment from rights-holders that specific consent should be sought from each music-maker before any music is licensed to and used by AI companies. n Clarity on how AI licensing deals will be structured, how monies will be allocated to individual works, and what royalty rates will be applied to AI income. n A discussion on the role of collecting societies, including where complexities around licensing and royalty distribution might be best dealt with via a collective licensing approach. Review and campaign for stronger music-maker rights The music-maker and management communities should review the general legal requirements regarding music-maker consent – including in copyright law, but also as a result of publicity rights and data protection law. This may require more clarity in law and/or an extension of rights, including the introduction of publicity rights in UK law. Confirm position with existing business partners Music-makers and their managers should confirm to any labels and publishers they work with that they have not provided their consent for their music to be used to train generative AI models. While there may remain some debate as to what consent is required – if any – by a label or publisher, it is good to be clear that no consent should be assumed or implied. Consider AI in all new deals When music-makers and their managers are negotiating new deals with labels and publishers, they 21THE MUSIC MANAGER’S (INTERIM) GUIDE TO AIMusic-makers and managers should consider how AI tools can enhance and assist their businesses Music-makers and managers should be aware of what rights they are granting when they use AI tools Music-makers, managers and the wider music industry should campaign for clarity on AI company obligations AI companies must seek consent from rights-holders and be fully transparent about training datasets AI companies and rights-holders must seek explicit music-maker consent Rights-holders should involve music-makers and managers in the development of AI business models Rights-holders should be fully transparency about their AI deals and revenues Managers should review existing music-maker record and publishing contracts in the context of AI Managers should ensure that AI considerations are included in new music-maker contracts AI CHECKLISTshould ensure that music-maker consent is required before their music is licensed for the purposes of training AI models, and also seek transparency obligations from each rights-holder regarding any use of the music-maker’s music by AI. They should also be careful when granting business partners any rights beyond copyright, such as publicity rights, and by very clear what the business partner’s involvement will be in these areas. 23THE MUSIC MANAGER’S (INTERIM) GUIDE TO AIABOUT THE MMF MMF is the world’s largest professional community of music managers in the world. Since our inception in 1992 we have worked hard to educate, inform and represent our managers as well as offering a network through which managers can share experiences, opportunities and information. We are a community of over 1500 managers based in the UK with global businesses and a wider network of over 2700 managers globally. We engage, advise and lobby industry associates and provide a professional voice for wider industry issues relevant to managers. The MMF runs training programmes, courses and events designed to educate and inform artist managers as well as regular seminars, open meetings, roundtables, discounts, workshops and the Artist & Manager Awards. themmf.netABOUT CMU CMU helps people navigate and understand the music business through media, training, consultancy and events. Our media includes the CMU Daily bulletin, Setlist podcast and online CMU Library. We offer our own music business training programme and deliver training courses for music companies and organisations. Our consultancy work sees us provide strategic support, intelligence and expertise to a wide range of clients in the UK, EU and around the world. We also regularly produce and publish research reports and white papers on the very latest trends in the music business. completemusicupdate.comThis is an interim guide for music managers on how artificial intelligence is impacting on the music industry. It has been produced by music consultancy CMU for the Music Managers Forum.	[ "ai", "music", "right", "copyright", "manager", "work", "company", "industry", "model", "tool" ]	{ "summary": "SONGWRITER\nDISSECTING THE\nDIGITAL DOLLAR\nthemmf.net/digitaldollarTHE MUSIC MANAGER’S\nGUIDE TO AIINTE" }
tL-manage-mrkt-ar.pdf	1 STUDYING THE MUSIC INDUSTRIES This chapter explores several ways of unpicking and analysing t he complex web of practices, strategies and narratives that characterize the m usic industries, from political economy and the culture industry to sociological a n d h i s t o r i c a l approaches. It also highlights the transformations that digital technologies have brought to all areas of the music industries. KEY FINDINGS •The music industries may be explored from a variety of research perspectives. •Technological developments have had, and continue to have, VLJQLÀFDQWLPSDFWVRQWKHVWUXFWXUHDQGZRUNRIWKHPXVLFLQGXV WULHV •,QWHUGLVFLSOLQDU\DSSURDFKHVPD\RIIHUQHZLQVLJKWVLQWRWKHPX VLF industries. GETTING STARTED The study of the music industries is not a uniform endeavour. T here are many and varied approaches that yield valid, interesting and important u nderstandings about those industries, their cultural and economic impacts, an d their effects on the lives of those who work in and interact with them. These st udies can happen at a macro level, in which scholars examine the effects, econom ic impacts and practices of the music business as a whole, and their inter-rel ationships with other businesses, laws and social forces. They can also happen at a micro level, where they centre on the activities of individual businesses or , indeed, individuals. Some research focuses on areas between these two extremes or ex amines ϐǤ ϐ 02-Anderton-Ch 01.indd 4 03/11/2012 5:19:09 PM5 Studying the Music Industries than, or entirely separate from, all of the others, and a round ed understanding of the music industries as a whole demands a grasp of the vario us ways that these approaches may reveal insights into the business of music . This chapter begins this process by introducing a range of research approach es, starting with organizational structure. ORGANIZATIONAL STRUCTURE ǡ Ǧ to-medium enterprise (SME) or a multinational corporation, is t o examine its organizational structure. In the music industries, there wi ll be areas of ȋȌǡϐǡ ǡ general organizational planning, operational and administrative staff, sales and marketing personnel and so on. In larger businesses, each of th ese areas will have people or entire departments who specialize in just one aspect of the business. In contrast, smaller companies may give responsibility for seve ral, many, or even all of those roles to just one person. And of course, the roles that exist within a music organization will depend to a large extent on what partic ular task that organization is performing, or which sectors of the music indus try that business represents and connects with. A music business, just like any other business, does not operat e in a vacuum, but has suppliers and industry partners that allow it to functi on without having to perform every specialist role. What is important to examine when considering a music organization is not merely the roles and responsibiliti es within that organization, but crucially, the relationships that that busine ss has with outside agencies. Drawing and mapping those internal and external conne ctions helps us gain a better understanding of the workings of these organiz ations and their place within the broader political economy and creative industr ies context. When investigating the music industries, understanding the orga nizational structure of a particular business (or of more than one) can of fer critical insights into how that business works, and provide useful knowledge in t erms of practical applications. For example, discovering repeatable procedures fo r music business success (or systems and approaches to be avoided), identifying problems within the structure and linkages of an organization, or simply generating new knowledge about the ways that music organizations can and do wo rk, can provide ϐǤ POLITICAL ECONOMY ϐ between music organizations and the political and economic fram eworks within which they operate. In other words, political economy is intere sted in power ϐǤǡ to policy, this is generally understood at the level of the nat ion-state, and the political infrastructure into which the larger industry as a wh ole plays a role. 02-Anderton-Ch 01.indd 5 03/11/2012 5:19:09 PM6 Chapter 1 Political economy studies are primarily interested in macro-lev el examinations of industries and how their goods and services, production prac tices and management relate to and are informed by the legal and economic c l i m a t e i n which they operate. Accordingly, a political economy approach t o analysing the music industries will be concerned with how music businesses ma ke money, how ǡ ϐ of activities in which music businesses engage. Exploring and u nderstanding ϐ industries may have to a nation’s economy. The industries not only contribute to the economic well-being o f a nation and employ a great many people, but are also strongly linked to the wider ǡϐ Ǥ corporate record industry, for instance, relies upon a system o f capitalism as a political framework for its activities. The division of labou r, distribution of ǡϐ ǡǡ particular interest to political economic analysis. Economic infrastructure Political economy approaches may examine the ways that the econ omic infrastructure of a business sector or organization is structur e d a n d w o r k s i n practice. For instance, record labels have tended to work in a particular way over the past decades – with a few hits providing the revenue requir ed to prop up the business, which often takes losses elsewhere on many more u nsuccessful releases. Indeed it is a commonly held belief that eight out of ten releases fail to recoup costs. This is, in part, because the recorded mu sic business has ϐ Ǥ ǡȋǡȌ ȋϐȌǡ relatively cheap to manufacture each individual copy (marginal costs). Hence, ǡ ϐ on each sale made. From a record company’s perspective, it is p referable to make one album that sells a million copies than to make 100 albums t hat sell only 10,000 copies each. The same overall number of records would be sold in both ǡϐͻͻ ϐ ϐǤ and hit-makers to the recorded music industry: an artist who ca n sell 20 million copies of a record (as Michael Jackson did with his ThrillerͳͻͺͲȌ a far more valuable asset to a major recording company than an entire catalogue of artists that may collectively sell more copies between them. Oligopoly and the star system The political economy approach is also interested in the form t hat the industry takes as a whole. The recorded music business is, arguably, an oligopoly: an industry in which very few players dominate the market. This is certainly true 02-Anderton-Ch 01.indd 6 03/11/2012 5:19:09 PM7 Studying the Music Industries ϐǡ ȋ the ‘majors’) command the majority of revenues within the globa lized music industry, whether under their own label names, or as owners of many of the larger, so-called independent labels (see Chapter 2). This olig opolistic market ϐǡ the organization of capital and political impact of the majors, b u t a l s o a f f e c t s how culture is produced and disseminated. That is to say, the p olitical and economic structure and organization of the major recording comp anies can have a direct bearing on the kind of music that gets made and heard. F o r i n s t a n c e , the predominant economic model of the recording industries is b ased on the ‘star’ system, in which a relatively small number of artists pr ovide the vast majority of revenue. This model guides the strategy and thinkin g of the major record companies, so affecting the choices that record company personnel make regarding which artists should be released and promoted to the buying public. The political economy approach may, then, reveal how and why un equal power relations can have an effect on the music that gets creat ed, promoted and released. Not only do patterns of corporate ownership affec t the selection and availability of music that gets broadcast and sold in store s, but similarly , commercial pressures can impede and suppress oppositional force s. The purpose of multinational corporations is not to distribute work s of art, but ϐ ȋ Ǯ ǯȌ Ȃ stress that it is the maintenance of control over the means of production and distribution that is paramount to the interests of the corporat e music business world. The music industries as copyright industries The political economy approach revolves around an understanding of the n u m e r o u s w a y s t h a t m o n e y c a n b e m a d e f r o m m u s i c , a n d h o w t h a t m oney is then distributed. The central mechanism for revenue generation in the music industries (at both a macro and a micro level) has been copyrig ht, which is a form ǤǡÚȋʹͲͲͻȌ that the music business is fundamentally a copyright industry, which marks it out as distinct from other kinds of industries that deal in goo ds and services. Copyright ownership, and control over intellectual property ass ets, serve to create wealth in different ways to that seen when, for example, buying and selling ȋǡǡȌ ȋϐǡ legal, personal and so on). Copyright is so central to the musi c industries that it ͻǡ here that copyright exploitation is central to the political ec onomy approach to understanding the music industries. Perhaps most importantly, it is crucial to remember that the po litical economy of the music industry is always changing, and that this is affe cted by a wide range of forces. Changes in public policy brought about by a change i n government or the changing of hands of a portfolio between different politica l representatives 02-Anderton-Ch 01.indd 7 03/11/2012 5:19:09 PM8 Chapter 1 ǦϐǤ by other organizations can affect the whole of the music busine ss. Changes in public taste can also impact the fortunes of whole sectors of t he music industries. Even changes in other, related industries can have a huge impac t, for instance, radio station formats change over time and the consumer electro nics industry continually experiments with new devices and ideas. Technology can, of course, have a major role in the changing fortunes of the music industr ies, and this will be examined in more detail in later chapters. CULTURE INDUSTRY The music business is commonly referred to in the literature an d in public policy as one of the ‘cultural industries’ or ‘culture industries’. These are usually described as those industries that create, produce and distribute goods a nd services ǡϐ copyright as a primary means of control over the economic funct ions of those industries. In one sense, to study the music business as a cult ure industry is little different to the study of the music business in terms of its po litical economy, but the critical focus as well as the key thinkers and core texts t end to have some ϐǤ Commodification and standardization Ǯ ǯ ϐ Horkheimer in Dialectic of Enlightenment (2002, originally published in German in ͳͻͶͶȌǤ culture are in essence no different from factories producing st andardized goods, ϐ the net political effect of calming and appeasing the public at large. Their critique ϐ popular culture creates a single marketplace in which the most popular works succeed, regardless of their ‘artistic merit’ or ‘cultural wort h’ (both entirely problematic terms that require some unpacking when working in t his area of critical theory). In addition, Adorno and Horkheimer suggest that the vast majori ty of this standardized fare is owned and controlled by a very small numbe r of major corporations that claim to serve consumer needs by supplying wh at audiences want – and that point to the popularity of their successes as e vidence that they are serving this need. However, by both creating and meeti ng demand for standardized products, the culture industries are described as manipulating the public, so that the identities and individual tastes of consume rs are minimized. In this way, the music business can perpetuate the ‘star’ system t hat, as noted earlier, ϐǦ ǣ producing more copies of fewer and fewer items. 02-Anderton-Ch 01.indd 8 03/11/2012 5:19:09 PM9 Studying the Music Industries Creative work and everyday practice In The Cultural Industries (2007) David Hesmondhalgh suggests that cultural and Ǯ ϐ understanding of the world’ (2007: 3). As such, these industrie s help shape and ϐǤǡ ǡ an understanding of how these texts are arrived at and selected , and how these ϐ but to maximize it. A culture industries analysis of the music industries will also pay attention to the ‘work’ that is done in that context, and h ow cultural workers spend their time. Hesmondhalgh’s more recent book with Sarah Ba ker, Creative Labour: Media Work in Three Cultural Industries (2011), goes into some depth on the work that employees of the cultural (or creative) indust ries, including the music business, actually do, the extent to which it can be cons idered creative work, and what it is that constitutes ‘good work’ in that conte xt. Similarly, Keith Negus offers a more nuanced examination of the recorded music industries in Music Genres and Corporate Cultures ȋͳͻͻͻȌǤ ϐǯ ǣϐ ȋȌ ϐǤ relationship between industry and ‘creativity’ – that is to say the tension between what artists want to create and what their record companies wis h to produce, promote and release. Furthermore, Negus explores the idea that not only does industry produce culture, but culture produces industry. In oth er words, music businesses capitalize on and exploit existing cultural practice s and scenes as much as they seek to create them. As with Hesmondhalgh’s later work, Negus is concerned with understanding the role of workers within recordi ng companies. ϐǡ context, record companies can be discussed in terms of an inter nal ‘culture’ that informs and shapes practices and decisions made by personn el working ȋǡͳͻͻͻǢǡͳͻͻʹȌǤǡ analysing what people do within the music industries is an impo rtant approach to the scholarly study of the music industries and offers insig hts that may not be gained with an abstract political economy approach to that s ame business or sector. SOCIOLOGY The study of the music industries as a function of culture and society is another popular approach to understanding the music industries. Music i s culture, and industries are formed from aspects of cultural engagement. It is too easy when studying music as an industry to fall into the logical tra p that suggests that people are simply consumers that are marketed to, and who purchase undifferentiated products from footwear to chocolate bars to po p music. In fact, 02-Anderton-Ch 01.indd 9 03/11/2012 5:19:09 PM10 Chapter 1 people are complex, diverse and interesting – and their engagem ents with the music industries are rich, nuanced and complicated. Symbolic meaning In short – music creates symbolic meaning for people, and that meaning is expressed in all sorts of different ways. People do not simply discover, buy and listen to music. They dance to it, they gather with others who enjoy the same music, they collect and organize music, and they create new kno wledge around that music. Subgenres form, and scenes are created that support and reinforce Ǥ ϐ with different kinds of music (note, for instance, the differen ces between emo attire, hip hop fashion, skater punk clothing and club wear for house music fans) and identity is formed and expressed through music, particularl y – though hardly Ȃȋ ǡͳͻͻ͸ȌǤ Moreover, the culture of music is expressed in many varied ways , all of which are worthy of study. Examples include the venues attended by mu sic fans, and how those venues form the basis for social cohesion and the for mation of scenes, the musical heritage of cities and nations and their impact on cultural identity, and the broadcast of local music and its effect on both civic pride and the development of local music industries. There is also the relationship betwe en music, race and gender, and the ways that our personal daily routines are integ rated with music listening in supermarkets, shopping malls, health clubs and oth er places where people perform social and cultural activities. The study of music as culture and as a social force allows for a deeper understanding of how musical meanings are created and communica ted. It also sheds light on how these meanings form the basis of the music i ndustries and the opportunities that exist for businesses to engage with subc ultures, scenes, and daily activities. As such, what people do with music in a b roader sense, other than simply listening to it, can reveal fascinating insights an d great potential for research. For a deeper understanding of the study of popular mu sic culture, see Tim Wall’s (2003) Studying Popular Music Culture . MUSICOLOGY Musicology is the study of musical works as texts for critical analysis. Arguably, there is very little overlap between the world of the musicolog ist and the student of the music industries. Yet, there is considerable scope for i nterdisciplinary ǡϐ ǡ performance and reception of musical works. Knowledge of the sp ecialist language of musicology (or the musicological study of musical t exts) is not strictly essential for studying the music industries, but an awareness o f the terminology and an appreciation of how the musical ‘text’ (whether on paper , on record or in performance) works will offer a broader and more grounded under standing of ǡϐǤ ǡ 02-Anderton-Ch 01.indd 10 03/11/2012 5:19:09 PM11 Studying the Music Industries a wide range of listening, an understanding of a variety of mus ical genres, and the ability to talk about music in a way that communicates with musicians and music professionals is a good basis for professional conduct wi thin the music industries. In other words, while it is not necessary to be abl e to compose a song, write an arrangement, transpose a work to another key or be abl e to play the ͸Ȁͺǡ ϐǤ Taking popular music seriously The serious study of popular music works as texts has been a fa irly recent development, in part because many musicologists have been slow to accept popular music forms as worthy of scholarly attention. It has be en pointed out, for ȋͳͻͻͺȌǡ and rock critics lack the specialist vocabulary and techniques of musical analysis that academic critics of ‘serious’ music forms command. However , popular music forms are increasingly garnering the attention of musicologists . For instance, the International Association for the Study of Popular Music (I ASPM) is an ͳͻͺͳ ǡ ͸ͲͲ members worldwide. At an IASPM conference, you are as likely to hear people talk about polyrhythm in jazz or the relationship between Frank Zappa and Third Stream music as you are to discuss the marketing strategies of major record labels or electronic ticketing at music festivals. When understanding and analysing the music industries, it is a good idea to bear in mind that there are other things at stake than just the commercial infrastructure and political economies of labels and distributo rs. To many people within both academia and the broader music industries, the artw orks at the centre of those industries are of paramount interest. Musicolog y provides the language by which those works can be discussed with clarity and an agreed set of terms. Fundamental concepts and modes of analysis can be fou nd in Allan Moore’s Rock: the Primary Text (2001) and David Machin’s Analysing Popular Music (2010). METANARRATIVE A metanarrative is ‘a global or totalizing cultural narrative s chema which orders ǯȋǡ ͳͻͻͺȌǤ a grand, unifying story that makes sense of all of the little s tories that happen along the way – by making them part of a bigger, universal pict ure. The term was originally introduced and critiqued by the French philosoph er Jean-François ȋͳͻͺͶȌ and religious doctrine, where the unifying story is understood as embodying universal truth. It has since been used more narrowly within li terary criticism ϐϐ ȋǡ 02-Anderton-Ch 01.indd 11 03/11/2012 5:19:10 PM12 Chapter 1 ǡʹͲͲͶȌǡ here. By examining metanarratives we can unpick the simplistic cause and effect Ǧ ϐǡ investigate the purposes to which they are used. Two examples o f metanarratives are given here, each of which offers an all encompassing way to think about historical change within the music industries. Music industry responses to socio-technological change ǡ ϐǦ sharers and digital pirates as part of a bigger story about the ways in which large, incumbent organizations who have been doing well for a long per iod of time react defensively when they perceive that their way of life and means of income generation are under threat from a changing environment. As a c ommon thread through the larger narrative of the music industries, this is a recurring theme. For example, broadcast radio was perceived as a major threat to the recording ͳͻ͵Ͳǣ music for free on the radio, why would they buy it? A parallel with the current situation regarding illegal downloads and streaming services is clear, with the metanarrative of an industry under threat being used to lobby f or stronger copyright legislation and enforcement. ‘Read–write’ vs ‘read-only’ culture A second example of a music industry metanarrative is the tensi on between what is often referred to as ‘read–write’ culture versus ‘read- only’ culture. The professionalized, broadcast-centric, one-to-many infrastructure of the recorded music business changed people from being active participants (p urchasing a score in order to play it on an instrument at home) to passiv e recipients whose relationship to the music was merely as listeners. It can be argued that this narrative is seeing a long-overdue return to a read–write culture in which digital technology facilitates active engagement with musical c ontent: passive consumers are once again becoming active participants in the mu sic creation ȋͺȌǤ hands of music users rather than music producers and is related to the wider metanarrative of the freedom of information on the internet, an d those seeking either the relaxation of copyright laws or the enhancement of f air dealing ȋͻȌǤ HISTORICAL ANALYSIS Historical analysis allows researchers to offer detailed examin ations of very ϐ 02-Anderton-Ch 01.indd 12 03/11/2012 5:19:10 PM13 Studying the Music Industries otherwise. Here, metanarratives are replaced by small, local na rratives (Lyotard, ͳͻͺͶȌǡǡ ϐǡ recording studio, record label, promoter, city scene or genre c an reveal details and subtleties that explain or e xpress aspects of the music ind ustries that would otherwise be invisible. Examples of these popular music histori es abound, and ϐ ǡ shelves of popular bookstores in the form of biographies and ot her works aimed at a general readership. Popular music history is also increasingly found in the form of radio and television programmes. National Public Radio (NPR) and the Publ ic Broadcasting Service (PBS) in the United States have many popular and acclai med series that explore the origins and the events that have shaped the busines s, while the BBC and other broadcasters offer similar coverage in the United Kin gdom. Many of these shows are demarcated by musical genre, such as the BBC ‘B ritannia’ series of documentary programmes (including Jazz Britannia , Pop Britannia , and Folk Britannia ȌǤϐ companies or on the production of particular popular music arte facts or events, most notably the Classic Albums television series where each episode examines a ϐϐǤ It may be argued that the history of popular music industry and culture is, in and of itself, a music industry form. The publication and produ ction of popular music history books and documentaries meets a consumer desire f or a closer connection with and understanding of music and musicians. There a r e , f o r instance, hundreds if not thousands of books about The Beatles alone, and this not only provides an incredible wealth of material for someone investigating that ϐǡ phenomenon worthy of study. Historiography The music industries are, at the simplest level, people being i ndustrious with music, and stories about people and their work contribute great ly to the knowledge we have about how the industries operate. Furthermore , through the critical practice of historiography, we are able to study h ow and why those histories are told in the ways that they are: to examine their discourses, reliability and methods of enquiry, as well as to understand the critical ( and political) frameworks and biases that underlie them. What guides the choic es of important dates? What information is included or excluded? Which albums a nd artists are ǫȋͳͻͻͲǣͺͻȌ Ǯϐ ǯ ǮȀǥ ǯǤǡ history is ‘written by the victors’ and so a great deal of hist ory is ignored. The ϐ into discrete cultural narratives that serve to exclude the cul tural experiences of people whose music tastes do not match those of cultural and me dia critics. Such 02-Anderton-Ch 01.indd 13 03/11/2012 5:19:10 PM14 Chapter 1 canons should be examined and critiqued through historiography (for example, ¡¡ǡʹͲͲͻȌ they come to form, or to offer alternative voices and stories. TECHNOLOGICAL DEVELOPMENT ǡϐȂ Ȃ ϐ Ǥ to chart the progress of the sector in direct relationship to t he development and dissemination of different technologies of music compositio n, production, distribution, promotion and consumption. In fact, it is possibl e to argue that the emergence and widespread acceptance of different technologies ( within the recording industries and in the hands of consumers) have driven change in both the music business and in popular music culture. It goes without saying that musical instruments – from the viol in and the harpsichord to the synthesizer and the electric guitar – ar e themselves technologies. That is, they are tools created and fashioned by human beings to perform specialist tasks. Different types of musical instrument have allowed for different types of music to be created, different genres of mus ic to be established and new types of musical creation to emerge. Through the develo pment of ϐϐǡ Ǥϐ Ǧǡ Dylan discovered when he switched from the acoustic to the elec tric guitar only Ǯ ǨǯǦͳͻ͸ ͲȋǡʹͲͲ͵ȌǤ Technologies of production ϐ we know them today is audio recording. Thomas Edison’s ‘talking machine’ was ϐǡ Ȃϐǡ Ȃ audio recordings of music became a mass-produced phenomenon. Th e impact upon the dominant form of music business at the time – the prin ted sheet music industry – was understandably devastating. In fact, at the time of that change, many musicians and members of what was then ‘The Music Business ’ (in the same way that the record companies are considered ‘The Music Bu siness’ today) resisted the new technology strenuously. The notion of s ingular idealized performances of popular songs recorded by international artists that could be played over and over again without the involvement of live musi cians must have seemed a major threat to the success of the mainstream industry of the time, though of course that industry soon adapted. ǡ͹ǳϐ popular song. As a physical disc of a particular size that revo lved at a certain ȂͶͷȋͶͷȌȂ 02-Anderton-Ch 01.indd 14 03/11/2012 5:19:10 PM15 Studying the Music Industries songs up to a maximum running time of around four minutes. Cons equently, what we know today as the ‘perfect 3-minute pop song’ has its r oots in the physical characteristics of a recorded medium, rather than in s ome abstract ideal of what music should sound like. Similarly, the widely understo od concept of the ‘album’ – a collection of songs b y an artist that represents a single body of work – also has certain characteristics based on the physical attribut es of the recorded Ȃͳʹǳ͵͵ͳȀ͵ȋȌ ǡ compact disc format. In fact, certain genres of music, such as progressive rock (which included longer, more ambitious tracks and the idea of t he ‘concept album’), grew in part from the artistic and creative exploratio n of the physical characteristics of the LP . More recently, technologies such as the Apple iPad have allowed musicians to experiment with and expand the potential o f the album even further using apps (which are computer programs that run o n tablets, smartphones and similar devices) (see Box 1.1). Box 1.1 Björk’s Biophilia (2011) Biophilia ZDV%M\|UN·VVHYHQWKVWXGLRDOEXPUHOHDVHDVDVRORDUWL VW,WZDVSUHVHQWHG as a multimedia experience across a range of technologies including CD, vinyl, digital GRZQORDGGLJLWDOERRNOLYHSHUIRUPDQFHVDQGWKH$SSOHL3DGL3 KRQH'HVFULEHGDVWKH ÀUVWSURSHU¶DSSDOEXP·IRUWKHL3DGLWIHDWXUHVDIUHH¶DSSE R[·WKDWGLVSOD\VDVHULHVRI constellations in a three dimensional universe. Each constellation represents one of the DOEXP·VWHQVRQJVDQGHDFKVRQJLVSXUFKDVDEOHVHSDUDWHO\DVDQ DSSWKDWRIIHUVDXGLR visual experiences (essays, animations and so on) and opportunities for user interaction. )RULQVWDQFHWKHWUDFN¶&U\VWDOOLQH·LQFOXGHVDQLQWHUDFWLYHD QLPDWHGJDPHLQZKLFKXVHUV QDYLJDWHWXQQHOVDQGFROOHFWFU\VWDOVZLWKWKHLUJDPHSOD\DIIH FWLQJWKHVWUXFWXUHRIWKH PXVLFDVLWSOD\V7KHSXEOLFLW\WKDWVXUURXQGHGWKHDOEXPDQG LWVFODLPWREH¶WKHÀUVW· RILWVNLQGZDVKHOSIXOIRULWVSURPRWLRQDQGPDUNHWLQJFDPSDLJ QEXWZHPLJKWTXHVWLRQ KRZPDQ\RWKHUPXVLFDUWLVWVZLOOIROORZVXLW)HZKDYHWKHÀQD QFLDOEDFNLQJWRFUHDWHDQ HODERUDWHSDFNDJHRIWKLVVRUWZKLOHPDQ\PRUHPLJKWSUHIHUWR IRFXVRQPDNLQJPXVLF WKDQZRUNLQJZLWKLQWHUDFWLYHDUWLVWVDQGDSSGHYHORSHUV ϐ production and potential of recorded music as a creative form ( see Katz, 2010). These include: magnetic tape and multi-track recording, which a llowed editing, splicing and overdubbing of musical recordings, electronic effe cts, effects pedals and samplers, which added new and previously unheard sounds to the palette of musical performance, and the computerization of recording an d composition. This latter example allowed for non-destructive editing, ‘step programming’ ǡȂϐȂ 02-Anderton-Ch 01.indd 15 03/11/2012 5:19:10 PM16 Chapter 1 professional-sounding works in non-professional situations such as ‘bedroom ǯȋͶȌǤ Technologies of consumption Consumer technologies have also revolutionized the experience o f music. Numerous recorded music formats have been introduced – some mor e successfully than others – such as quarter-inch reel-to-reel tapes, compact audio-cassettes, ͺǦǡǦǡȋȌǡ ȋȌǡ ǦǡϐȋȌǤ ϐ Ǥϐ ǡ recorded media, the ability to rewind and fast-forward tracks o r have instant access to them, and the size, shape and content of the packagin g and artwork. Such characteristics impacted upon the success or otherwise of each medium, as did marketing, timing and pricing. Yet, when we read about reco rded media, it is only usually the successful formats that are mentioned – as if the record industry moved smoothly from records and cassettes to CDs, and now from CDs to MP3s – when in fact the transitions were far more complex, problematic and worthy of ϐǤ MEDIA ECOLOGY Media ecology examines the far-reaching impact of a changing te chnological environment, and regards technologies as environmental forces t hat exert ϐǤǡ technological ages, and how the activities, industry, communica t i o n a n d w a y s ϐ Ǥ this approach to the study of the music industries helps us to understand the changing fortunes of the sector in relation to the rapid an d accelerating technological change seen over the past 100 years. These change s can be studied at a paradigmatic level – large-scale developments such as the shift from print culture (sheet music) to electric culture (recorded music and b roadcasting) – and ϐǡ and the development of transistor radios or MP3 players for por table and individual listening. From the electric to the digital age Arguably, the music industries are experiencing a paradigmatic change in the ǦϐǤ irrevocably changed in the shift from the print age to the elec tric age, so too ϐ from the electric age to the digital age. Digital technologies have continued to 02-Anderton-Ch 01.indd 16 03/11/2012 5:19:10 PM17 Studying the Music Industries transform every aspect of the music business from composition r ight through to consumption. Consequently, the predominant (electric) music ind ustries of the late twentieth century appear to be under threat in much the sa me way as the print music industries were a century ago. And this is where th e media ecology approach is so important and timely: because if that is the cas e, then the shift to digital and online music is not merely a change in format (as w as the shift from vinyl records to CDs) but a complete change in the media enviro nment and a radical restructuring of the whole industry. In other words, th e sale of recordings, like the sale of sheet music, may well become a proportionately minor aspect of popular music consumption, and industries that fail to adapt run the risk of becoming an increasingly niche proposition. Technological determinism I t i s i m p o r t a n t t o r a i s e o n e p a r t i c u l a r w a r n i n g a b o u t t h e m e d i a e c o l o g y approach – and that is the ease with which it is possible to fa ll into a position of technological determinism. Technological determinism is the notion that technology is the driving force of a society’s history and cult ure. That is, the idea that technology is something that happens to culture and busine ss, and that we are powerless to control or choose our reactions to it. And whi le it may seem that a media ecology approach demands that conclusion, in fact the ecological framework offers a more subtle relationship than mere cause and e f f e c t . A s with any environmental shift, it is necessary to adapt in order to survive and thrive when the technological environment shifts. However, adap tations are not caused by environmental change, but are developed in response t o them. That is to say, we choose our responses and so our uses of technolog y are socially negotiated. ǡ ϐ purposes by Marconi, it was intended as point-to-point communic ation over ȂǡǦǦǤ ϐ into the home, the imagined consumer use was to pick up the rec eiver at a particular time (and to this day we still call it a receiver, a nd not a transmitter) and listen to a public performance from the concert hall at the end of the street. In fact, users and entrepreneurs of the media decided to use th e telephone for two-way point-to-point communication, and conversely, wireless telegraphy (or radio, as it became known) as a means of disseminating musical performances to geographically dispersed audiences. So while it is true that a refusal or inability to adapt and ch ange to a transformed media and technological environment is analogous to the dinosau rs’ inability to adapt to a changed physical environment, the environment itself doesn’t force a single and predictable change: we can select and negotiate our responses to that change. In other words, the technology ‘affords’ a certain rang e of possibilities, and we have agency in choosing our responses within that proces s. For more on media ecology, Marshall McLuhan’s seminal work Understanding Media ȋͳͻ͸ͶȌ is an ideal place to start. 02-Anderton-Ch 01.indd 17 03/11/2012 5:19:10 PM18 Chapter 1 DIGITAL TECHNOLOGIES It is fair to say that digital technologies have already transf ormed or are in the process of transforming the entirety of the music industrie s, and there are dozens, if not hundreds of ways that digital technologies have affected the music industries: from their impacts on copyright and distribution to those upon composition, production, distribution, promotion and consumptio n. There is ϐ music business activities, and great scope for future study. ͳͻ͹Ͳǡ them as ‘new technologies’ or ‘new media’ can be somewhat misle ading. Digital media are different in many ways from physical media, and the d ifferences are of considerable consequence for the future of the music ind ustries. There are a number of different approaches and areas of investigation that can, and should, be given serious critical analysis, though we must cont inue to be wary Ǥ need to consider those characteristics and aspects of digital m edia that mark them out as different from analogue and physical media (though it must be remembered that some technologies, such as the CD, are actually a combination of physical format and digital content). Digital is discrete ϐ capture and reproduce sound as a continuous wave, digital recor dings sample sound in discrete audio ‘snapshots’, where each snapshot is des cribed by digital information in the form of binary digits (1s and 0s). In the ca se of the CD, the ͶͶǡͳͲͲǤ ϐ ǡ the CD player can convert the captured sound back into waveform s, but even at this very accurate level, this is merely an approximation of th e original analogue data. Digital is perfectly replicable The second thing to know about digital media is that the relati onship between original and copy, as seen in the physical world, does not appl y in the same way to the digital world. A physical copy of an artefact is always imp erfect in comparison to a physical original, as anyone who has taped from cassette t o cassette can tell you. In contrast, a digital copy of a digital ‘original’ is fun damentally the same as that original, and does not deviate in any observable way from it. Digital media ϐ ǡ ϐ as well be the original. Put another way, the original is simpl y another copy. They ǡ ȋͳͻͻͶȌǡ ǣ 02-Anderton-Ch 01.indd 18 03/11/2012 5:19:10 PM19 Studying the Music Industries Ǥǡ͵ǡϐǦ ȋǮǯȌϐ information, but once converted, each MP3 copy is perfectly rep licable without further loss of quality. Copying could, in fact, be said to be the natural state of digi tal media. When ϐȋȀȌ nothing physically moves, so when you download a song from an o nline retailer that song never actually leaves the store. Instead, your comput er is issued with instructions as to how to make a perfect copy of it. The implic ations of this for copyright and the music industries in general are profound, and the philosophical, ϐϐǤ ϐ an item, how can pricing be agreed? If no loss incurred when un authorized duplication takes place, can there be theft? While the answers to these questions ϐǡ than one ‘obvious’ answer, and these answers have been central to debates within the music industries since the advent of digital media – and ce rtainly since the ϐǤ Digital transformations: production ϐ ʹͷ and production of music has been made more accessible. Not only has the creation of recorded music become ‘democratized’ (quotation marks includ ed to signify the deeply problematic nature of that term), practices such as sampling, remixing and the production of music videos have become affordable and a chievable for much wider participation. In a way, the de-professionalization of certain areas of music production – due to massive reductions in the cost of entry and the ease with which quality results can be achieved without years o f training and the ϐȂ ǡϐǤ Digital transformations: consumption Digital media have also affected the ways that people consume m usic. Examples include the rise of portable MP3 players for personal music pla yback, the development of video games such as Guitar Hero a n d Rock Band , and the emergence of streaming ‘cloud’ music services such as Spotify, Last.fm and Pandora that challenge the traditional (at least for the last c entury) system of purchasing or owning recordings. Likewise, collecting, organizi ng and creating knowledge about music has transformed through the use of online fora and community discussion groups centred on specialist interests and niche music. Deleted and out-of-print recordings are shared amongst fans, an d recordings of concerts and demos can be centrally stored but accessed globall y. 02-Anderton-Ch 01.indd 19 03/11/2012 5:19:10 PM20 Chapter 1 Digital transformations: distribution The impact of digital technology upon the distribution of music – t h r o u g h ǮǯǡǦǦϐ ǦȂ worthy of ongoing investigation, as is digital’s role in the de cline of the independent and chain retail music store. The long-tail effect observed by Chris Anderson ȋʹͲͲ͸Ȍϐ environment, as it challenges the notion of the ‘hit’ as the ce ntral mechanism for revenue generation, or as the only framework for business succe ss at a mainstream ȋͷȌǤ than simply the sale of recordings to consumers. For instance, major record labels have made considerable inroads into business-to-business (B2B) strategies and markets with respect to mobile handset manufacturers, soft drin k companies, and other corporate entities wishing to supply music as a value added feature to attract their own prospective customers. Digital transformations: promotion Promotion of music is also affected by digital technologies. Ra ther than relying on opinion leaders and taste-makers authorized by the mainstrea m press and electronic media, digital technology affords the potential for publishing and distribution of opinion through social media sites and blogs. I ndependent companies and so-called ‘unsigned’ artists have taken to giving their recordings away as a method of removing barriers and developing a fan base . Author Kevin Kelly wrote on his blog that the independent artist could make a decent and ǮͳǡͲͲͲǯȋʹͲͲͺȌ Ǥ artists should focus on increasing the annual spend of their mo st enthusiastic fans, rather than attempting to increase the number of individu al sales to an anonymous and transient audience. ISSUES As we have seen throughout this chapter, the study of the music industries can take on many and varied forms and may emerge from a range of cr itical positions. As a result, it lends itself to cross-disciplinary approaches. Sociologists, business scholars, musicologists, psychologists, engineers, media academ ics and scholars from many other disciplines besides all have good cause to stud y the music ϐǤǡ ȋϐ ȌǤ The problem of specialism For a start, each specialism has its own language. Musicologist s freely use terms that are often obscure to sociologists, and vice versa. This ca n have the effect of 02-Anderton-Ch 01.indd 20 03/11/2012 5:19:10 PM21 Studying the Music Industries ϐǡ ϐ - ϐ of decades. At academic conferences, such as those of IASPM, it is possible to attend presentations that explore the technological, social, textual, historical, cultural, or business aspects of music, based on research and studies carrie d out by scholars ϐǤ - guage barriers can be problematic in such contexts, yet interdi sciplinary study and new, integrated and ‘joined-up’ avenues of research can emerge that offer cross- pollination and collaboration, and new insights into the music industries. The problem of fandom Ȃ immediately fall into when commencing their studies – is the te mptation to focus one’s scholarly attention on some variation of the topic: ‘Why my favourite band is so great.’ There is, of course, a difference between researc h and advocacy, and between scholarly activity and fandom, though that is not to sa y that one should not shine an academic light on something you are enthusiastic a bout. In fact, for many scholars, the relationship between academic and fan, or Ac a-Fan as scholar, ȋʹͲͲ͸ȌȂ ȋ ǡͳͻͻʹȌǤ about a subject can be a very good starting point, and involvem ent in a scene or aspect of the business can be a very useful entry point into th e study of that scene or organization. Nevertheless, it is important to separate the enthusiasm of a fan who wishes to convert prospective readers to the wonders of the ir favourite type of music or artist, and scholarly research that analyses and sh eds light on the meanings and implications of that object of study. CONCLUSION This chapter has provided a number of theoretical frameworks th rough which students of the music industries can approach the analysis of t heir chosen subject. We have demonstrated that there are multiple ways of e xamining and ϐǤǡ has been to highlight the complex and discursive nature of the music industries and to show that describing ‘The Music Industry’ as if it is a simple, coherent or indeed explainable object of analysis with commonly held and u n i v e r s a l l y Ǧ ϐǤ music industries exist within a wide range of geographic, tempo ral, legislative, ǡǡϐ operate, and the cultural meanings that they contribute. Finall y, the chapter has suggested that an approach which brings together a range of dif ferent academic disciplines has the potential to reveal more nuanced and integr ated insights about the different sectors of, and issues within, the broad-based mu sic industries. 02-Anderton-Ch 01.indd 21 03/11/2012 5:19:11 PM22 Chapter 1 FURTHER READING David Hesmondhalgh’s The Cultural Industries (2007) and Tim Wall’s Studying Popular Music Culture (2003) are each highly recommended for thinking further about how industries work with cultural artefacts such as music . Keith Negus’ Popular Music in Theory ȋͳͻͻ͸Ȍ on reading popular music histories critically, while Tim Wall a nd Paul Long’s Ǯ ǣǯ ǯȋʹͲͲͻȌ offers a useful example of how music history is presented and i nterpreted through television. Discussions about the impact on the music i ndustries of digital technologies and the internet may be found in Andrew Le yshon’s ‘Time- space (and digital) compression: software formats, musical netw orks, and the reorganisation of the music industry’ (2001), Chris Anderson’s The Long Tail ȋʹͲͲ͸ȌÚǯ The Music Industry ȋʹͲͲͻȌǤ 02-Anderton-Ch 01.indd 22 03/11/2012 5:19:11 PM	[ "music", "industry", "e", "business", "digital", "culture", "way", "technology", "medium", "n" ]	{ "summary": "1\nSTUDYING THE MUSIC \nINDUSTRIES\nThis chapter explores several ways of unpicking and analysing t he " }
The-Music-Industry-in-an-Age-of-Digital-Distribution-Patrik-Wikstrom.pdf.pdf	The Music Industry in an Age of Digital DistributionThe Music Industry in an Age of Digital Distribution Patrik Wikström Patrik Wikström bbvaopenmind.comCH@NGE19 Key Essays on How Internet Is Changing Our Lives Patrik Wikström The Music Industry in an Age of Digital Distributionbbvaopenmind.comThe Music Industry in an Age of Digital Distribution ––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––– Patrik Wikström Principal Research Fellow at the ARC Centre of Excellence of Creative Industries and Innovation, Queensland University of Technologybbvaopenmind.com bbvaopenmind.com Communication and Culture The Music Industry in an Age of Digital Distribution Patrik Wikström 5bbvaopenmind.comPatrik Wikström patrikwikstrom.com Illustration Emiliano Ponzibbvaopenmind.com Communication and Culture The Music Industry in an Age of Digital Distribution Patrik Wikström Communication and Culture 7 Patrik Wikström is Principal Research Fellow at the ARC Centre of Excellence of Creative Industries and Innovation, Queensland University of Technology, Australia. Dr. Wikström’s research is primarily focused on innovation and learning in the creative industries. He is the author of The Music Industry: Music in the Cloud (Polity Press, 2009) and has published his research in journals such as Technovation, International Journal of Media Management, Journal of Media Business Studies, Journal of Music Business Studies, and Popular Music and Society. Dr. Wikström has served as a faculty member at Northeastern University in Boston and at Jönköping International Business School and Karlstad University in Sweden. Dr. Wikström received his PhD in Media and Communication Studies from Karlstad University and he is a graduate from Chalmers University of Technology, Gothenburg, where he received a master’s degree from the School of Technology Management and Economics. Before his academic career, Dr. Wikström worked in the European media and telecom industry where he held positions as business development manager and strategy consultant. The Music Industry in an Age of Digital Distribution Patrik Wikström Sites and services that have changed my life wikipedia.org amazon.com google.com coursera.org napster.combbvaopenmind.combbvaopenmind.com Communication and Culture The Music Industry in an Age of Digital Distribution Patrik Wikström 9 The Music Industry in an Age of Digital Distribution In 1999 the global recorded music industry had experienced a period of growth that had lasted for almost a quarter of a century. Approximately one billion records were sold worldwide in 1974, and by the end of the century, the number of records sold was more than three times as high. At the end of the nineties, spirits among record label executives were high and few music industry executives at this time expected that a team of teenage Internet hackers, led by Shawn Fanning (at the time a student at Northeastern University in Boston) would ignite the turbulent process that eventually would undermine the foundations of the industry. Shawn Fanning created and launched a file sharing service called Napster that allowed users to download and share music without com-pensating the recognized rights holders. Napster was fairly quickly sued by the music industry establishment and was eventually forced to shut down the service. However, a string of other, increasingly sophisticated services immediately followed suit. Even though the traditional music industry used very aggressive methods, both legal and technical, to stop the explosion of online-piracy services such as Napster, Kazaa, Limewire, Grokster, DC++, and The Pirate Bay, it was to no avail. As soon as one file sharing service was brought to justice and required to cease its operations, new services emerged and took its place. By the end of 2013, the sales of physically distributed recorded music (e.g., cassettes, CD, vinyl) measured in unit sales, were back at the same relatively low levels of the early 1970s. During the 15 years that has passed since Napster was launched, the music industry has been completely transformed and the model that ruled the industry during most of the past century has been largely abandoned. This rapid transformation of the music industry is a classic example of how an innovation is able to disrupt an entire industry and make existing The Music Industry in an Age of Digital Distribution Patrik Wikströmbbvaopenmind.com 10 Communication and Culture The Music Industry in an Age of Digital Distribution Patrik Wikström industry competencies obsolete. The power and influence of the pre-In - ternet music industry was largely based on the ability to control physical distribution. Internet makes physical music distribution increasingly ir - relevant and the incumbent major music companies have been required to redefine themselves in order to survive. This chapter will examine the impact of the Internet on the music industry and present the state of the music industry in an age of digital distribution. Three Music Industries In order to understand the dynamics of the music industry, it is first of all necessary to recognize that the music industry is not one, but a number of different industries that are all closely related but which at the same time are based on different logics and structures. The overall music industry is based on the creation and exploitation of music-based intellectual proper - ties. Composers and songwriters create songs, lyrics, and arrangements that are performed live on stage; recorded and distributed to consumers; or licensed for some other kind of use, for instance sheet music or as background music for other media (advertising, television, etc.). This ba - sic structure has given rise to three core music industries: the recorded music industry—focused on recording and distribution of music to con - sumers; the music licensing industry—primarily licensing compositions and arrangements to businesses; and live music—focused on producing and promoting live entertainment, such as concerts, tours, etc. There are other companies that sometimes are recognized as members of the music industrial family, such as makers of music instruments, software, stage equipment, music merchandise, etc. However, while these are important industry sectors they are traditionally not considered to be integral parts of the industry’s core. In the pre-Internet music industry, recorded music was the biggest of the three and the one that generated the most revenues. Most aspiring artists and bands in the traditional music industry dreamed about being able to sign a contract with a record label. A contract meant that the record label bankrolled a professional studio recording and allowed the artist entry into the record labels’ international distribution system, something which bbvaopenmind.com10 Communication and CultureCommunication and Culture The Music Industry in an Age of Digital Distribution The Music Industry in an Age of Digital Distribution Patrik Wikström Patrik Wikström 11 otherwise was beyond reach of most unsigned bands. The second music industry sector—music licensing—was much smaller and more mundane than the recorded music industry sector. Music publishers, who were oper - ating in this business, were largely a business-to-business industry without any direct interaction with the audience. Their main responsibility was to ensure that license fees were collected when a song was used in whatever context and that these fees subsequently were fairly distributed among the composers and lyricists. The third music industry sector—live music—gen- erated its revenues from sales of concert tickets. Although live music has a long and proud history, it came to play second fiddle to the recording indus-try during the twentieth century. Record sales was undoubtedly the most important revenue stream and record labels generally considered concert tours as a way to promote a studio album, and were not really concerned whether the tour was profitable or not. Sometimes the record label even paid tour support , which would enable bands to go on tour and promote the album even though the actual tour was running with a loss. This music industry structure, including the relationships between the three industries, was developed during the mid-twentieth century and was deeply cemented when the Internet emerged to challenge the entire system. The short-term impact of the Internet on the music industries primarily concerned the distribution of recorded music to consumers. This means that while the recorded music industry was severely affected by the loss of distribution control and rampant online piracy, the other two music industry sectors were initially left more or less unaffected. As a matter of fact, while the recorded music industry has suffered during the past 15 years, the other two industries have gained in strength and prominence. There are several reasons why this shift in balance has happened. One of the primarily reasons is simply that as one revenue stream is diminishing, the music industry is required to reevaluate its other busi - nesses and try to compensate for the lost revenues from recorded music by increasing revenues from music licensing and live music. For instance, revenues from music licensing have more than doubled dur - ing the past 15 years due to new and more active licensing practices, but also due to the fact that the media industries have changed in a similar way as the music industry. There are now considerably more television channels, The Music Industry in an Age of Digital Distribution Patrik Wikströmbbvaopenmind.com 12 Communication and Culture The Music Industry in an Age of Digital Distribution Patrik Wikström radio channels, videogames, Internet websites, and other outlets than only two decades ago, and most of these outlets need music as their primary or secondary content. Music publishers have also in general been more nimble than the record labels to address the demand from new media outlets. A clear example of how music publishers changed their business practices is how they strive to establish themselves as a one-stop shop for musical in - tellectual properties, where media outlets can clear all their music licenses with a single contract. That may sound like an obvious service, but in the traditional music industry it was not always the case. Rather, there was one legal entity holding the rights to the composition and another legal entity controlling the rights of the recording of the musical work (the master). Music publishers in the age of digital distribution increasingly control both the master and the composition, which makes the licensing process more efficient. The music licensing industry has during the past 15 years evolved into the most profitable music industry sector and is often also considered as the most innovative and agile sector of the three. While music licensing is the most profitable music industry sector, live music has developed into the largest music sector. There is a fairly straightforward explanation why live music has experienced a surge dur - ing the past 15 years. Live music is simply easier to control than recorded music. A musical band that is in demand can grow their revenues from live music by increasing the number of concerts and raising the ticket prices. Even though the financial crisis of 2007–08 put a dent in the growth of the live music industry, it has nevertheless surpassed the recorded music industry in size. During most of the second half of the previous century, the largest music company was a record company, but after the Internet transformation of the music industry the world’s largest music company is Live Nation, a U.S.-based live music company spun off from Clear Channel in 2005. This is a further marker of the changing power relationships in the music industry. It should be noted, though, that the boundaries between the three industries are not as clear as they were during the pre-Internet era. Music companies, including Live Nation, serve as a general business partner to artists and composers and support their activities regardless of whether they concern live concerts, merchandise, licensing, or distribution and promotion of recorded music to consumers. This means that it is no longer entirely easy to categorize a music com - pany into one of the three industries, but, nevertheless, in the case of bbvaopenmind.com12 Communication and CultureCommunication and Culture The Music Industry in an Age of Digital Distribution The Music Industry in an Age of Digital Distribution Patrik Wikström Patrik Wikström 13 Live Nation its revenues are still mainly generated via live concerts, which still makes it relevant to refer to them as primarily a live music company. This section has presented how the three main music industry sectors have been affected by the introduction of the Internet and how the size, strength, routines, and relationships between the industry sectors have been transformed. The next section will turn its attention specifically to recorded music and examine how new business models for music distribution may be able to lead the recorded music industry on a path toward recovery. A Growing Digital Music Market The music industry went to great lengths at the beginning of the century to put a stop to online piracy; however, they were not equally ambitious and innovative in developing new models for legal online distribution. Certainly, there were a few feeble attempts from the major record labels at the time, but the most important criterion in the development of these services seemed to be that they should not in any way threaten the existing revenue streams but should only add additional revenue to the companies. The majors did succeed with one of their goals, which is that the new services should not compete with the existing physical sales. However, unfortunately the services could not compete with anything, especially not with online piracy. The first company that was able to create a successful online service for legal sales and distribution of music was not a music industry player at all—it was Apple Computer (as it was called at the time). In 2003, Apple was able to convince the major labels that music consumers would buy music legally if they were offered an extremely simple service that allowed them to buy and download music for less than a dollar per track. The service was called iTunes Music Store. In one sense, iTunes was a radical change for the music industry. It was the first online retailer that was able to offer the music catalogs from all the major music companies, it used an entirely novel The Music Industry in an Age of Digital Distribution Patrik Wikströmbbvaopenmind.com 14 Communication and Culture The Music Industry in an Age of Digital Distribution Patrik Wikström pricing model, and it allowed consumers to de-bundle the music album and only buy the tracks that they actually liked. On the other hand, iTunes can also be considered as a very careful and incremental innovation, as the major labels’ positions and power struc- tures remained largely unscathed. The rights holders still controlled their properties and the structures that guided the royalties paid per every track that was sold was predictable and transparent. Apple were correct in their prediction of consumer behavior and the iTunes Music Store can not be considered as anything but an enormous success. In 2013, iTunes Music Store is the world’s largest music retailer (offline and online) and it has sold more than 25 billion songs since its launch in 2003. The ser - vice has evolved substantially during its decade-long existence, and a Fig. 1 Recorded Music Volume, 1973–2012.Note: Digital includes full-length albums and singles split by 4. Vinyl includes LPs and EPs split by 4. Music DVDs are not included. Source: IFPI 2013Digital Music Cassette Compact Disc Vinyl4000 3500 3000 2500 2000 15001000 500 1975 1980 1985 1990 1995 2000 2005 2010bbvaopenmind.com14 Communication and CultureCommunication and Culture The Music Industry in an Age of Digital Distribution The Music Industry in an Age of Digital Distribution Patrik Wikström Patrik Wikström 15 number of competitors using more or less the same business model have entered the digital download music market. Even though the competition has increased, iTunes remains on top with a market share of more than 50 percent of the global digital music market. Figure 1 indicates how the global recorded music market has evolved since 1973, and shows that while the digital music market has been able to partially compensate for the decline of physical sales, the total recorded music market still has lost more than 50 percent of its sales since the peak in 1999. While digital download services, such as iTunes Music Store, introduce a gradual change to the music business logic, there are other legal music services that are far more radical and thereby also far more controversial. These services do not offer individual tracks for purchase at a set price— they rather offer the users access to a large music library that they are able to listen to at their leisure. The users normally pay a monthly subscription fee that allows them to listen to as many songs in the library as they want, how often as they want. This may sound like an appealing proposition, but these legal access- based music services have struggled both to convince record labels to license their catalogs to the services as well as to convince users that it is possible to enjoy music without actually buying and owning a copy of the track or album. There is a considerable entrepreneurial activity in this segment of the music business, and services go live and bust on a weekly basis. Many service providers are still desperately looking for the business model that can attract music listeners and satisfy rights holders. The challenges are certainly considerable but the music service that so far has received the most attention of the international music industry and the one that could possibly have found the right path is a service called Spotify. Spotify is a useful vehicle for explaining the logic of the music industry in the age of digital distribution, and this section will present how service drives the music industrial transformation forward. Even if it eventually turns out that Spotify is unable to create a business model that is sustainable in the long term, it has already been able to transform the mindsets of both users and rights holders and will most likely be a music technological milestone on the magnitude of the Walkman, the Compact Disc, and Apple iTunes. The Music Industry in an Age of Digital Distribution Patrik Wikströmbbvaopenmind.com 16 Communication and Culture The Music Industry in an Age of Digital Distribution Patrik Wikström The Emergence of Access-Based Music Services Spotify was founded in 2006 by Daniel Ek and Martin Lorentzon with the ambition to create a legal ad-supported music service that was free for the music listener but that generated licensing revenues to copyright holders. Spotify was by no means the first attempt to create a legal service that could compete with illegal file sharing. Most predecessors had for various reasons failed miserably with their projects, which may be one reasonable explanation why the rights holders that Spotify was negotiating with were not particularly enthusiastic about engaging in another risky online music project. Despite all their initial skepticism, on October 7 , 2008, the com - pany announced that after two years of discussions and negotiations, they had signed agreements with the music industry’s leading rights holders to distribute their music to audiences in a handful of European countries. In order to succeed where many others had failed, Spotify had been forced to make a number of concessions. In addition to offering the major rights holders shares in the company, they were also required to implement a fundamental change in their business model. Instead of offering a service that was solely funded by ads, they also developed a more advanced ver - sion of the service, which was funded by subscription fees. Spotify’s model with two or more different service versions where the most basic version is free and the more advanced versions are offered on a subscription basis is usually called freemium—a play on the words free and premium. Often, the profit margin for the free version is very low, or even negative, and it is expected that it is the subscription fees that will generate enough revenues to make the service profitable. The logic behind a freemium service model is that users shall be willing to use the service for free and that they while using the service gradually will make behavioral and emotional investments in the service that will increase the costs and efforts to switch to another service. The goal is to make as many of the users of the free version to convert to the subscription version. In order to achieve that goal, the free version has to have a number of increasingly annoying features (such as advertising) or lack a few key features (such as the ability to use the service on certain devices) that are removed/available on the premium versions of the service. The challenge for Spotify and other freemium services is to balance the different versions in a way bbvaopenmind.com16 Communication and CultureCommunication and Culture The Music Industry in an Age of Digital Distribution The Music Industry in an Age of Digital Distribution Patrik Wikström Patrik Wikström 17 that stimulates the right customer behavior and entices users to become paying subscribers. To date, few music services manage this feat. Either the free version has been too good to motivate customers to upgrade their service or it has been too deprived of features to attract customers at all. In Spotify’s case they have achieved a conversion rate of approximately 20 percent, which means that 20 percent of the total user base is using the premium version and pay a monthly subscription fee. Spotify has received a considerable amount of attention from the mu - sic industry across the world, but some of this attention has been largely based on suspicion and criticism toward their business model and meth - ods. The criticism has to some extent focused on whether the freemium model presented above is long-term sustainable or not, but even stronger criticism has been focused on how the revenues have been shared with rights holders on different levels in the value chain. There are at least two reasons why this criticism has emerged. First of all, music companies have since decades back been used to a royalty model where a licensee pays a fixed amount per song sold, played, or used in whatever way. That model is very difficult to apply to an access-based service since the revenues that are generated by the service is not based on songs sold, played, or used, but based on the number of users of the service. Providers of access-based music services—regardless if the services are funded by subscriptions or advertising—have argued that rather than paying a fixed amount per track that is listened to, they should simply share whatever revenues are gener - ated with the rights holders. Without getting too deep into the accounting detail, such a scheme is very beneficial to the service provider but transfer a considerable part of the business risk to rights holders. Rights holders argue that their revenues should not depend on the skills of the service’s advertising sales team, but they should simply get paid for the music distributed to customers. In the past, a number of access-based service providers have been required to sign contracts that have generated fixed royalties per track to rights holders. However, such agreements make it very difficult to get an access-based music service off the ground, and several pioneers in the access-based music service market have not been able to survive for very long. One of the reasons why Spotify is considered as a milestone in the shaping of the new music economy is that the com - pany seems to have successfully convinced the major music companies in The Music Industry in an Age of Digital Distribution Patrik Wikströmbbvaopenmind.com 18 Communication and Culture The Music Industry in an Age of Digital Distribution Patrik Wikström certain markets that they should indeed share Spotify’s business risk and instead of taking a fixed license fee per track, they should take a share of Spotify’s revenue, regardless of how high or low it is. Spotify succeeded by making a number of concessions in their negotiations, for instance by of - fering the major music companies the opportunity to buy a minority share of Spotify’s shares. Spotify has reported that 70 percent of their revenues from ads and subscriptions has been paid in royalties to rights holders. At the end of 2013, the company has generated more than a billion dollars for rights holders around the world, which according to Spotify is proof that their model does work. However, even though it seems possible to generate revenues from ac - cess-based music services, the new contract structure is a radical change in the music business attitude toward distributors, and it is by no means uncontroversial. Some of the criticisms expressed by artists and com- posers are caused by the fact that the royalties are primarily paid by the service providers to music companies and not directly to the composers, musicians, or artists. The creatives argue that they are not given a fair share of the revenues and some of them even actively choose not to license their music to the services such as Spotify because the revenues that end up in their pockets is almost ridiculously low and that they do not want to sup - port a corrupt and unsustainable system. One reason why this problem has occurred is a debate about the clas - sification of the royalties generated by access-based music services. Music companies (i.e., in this case the old record companies) claim that the royalties shall be considered as unit-based music sales, which in that case would mean that the musicians receive between 10 and 20 percent of the royalties paid by Spotify to the music companies. The musicians claim on the other hand that Spotify cannot be compared to traditional record sales at all but should rather be categorized as a performance, which in that case would mean that the musicians are entitled to 50 percent of the revenues rather than 20. The conflict concerns to a great extent the inter - pretation of agreements between record companies and artists that were established before Spotify and even the Internet existed. The debate about what type of royalty a particular Internet-based music service should bbvaopenmind.com18 Communication and CultureCommunication and Culture The Music Industry in an Age of Digital Distribution The Music Industry in an Age of Digital Distribution Patrik Wikström Patrik Wikström 19 generate may seem like a legal issue with minor real-world implication, but it is an absolutely crucial question that will determine the structure of the future of the music industry. Much is at stake and it is unlikely that the music industry players will easily agree on a model that is perceived as fair to all parties. This section has discussed the emergence of access-based music ser - vices and the challenges they have encountered as they try to enter the digital music economy. The next section takes this discussion one step forward by reflecting on how these services change the audiences’ relation-ships with music. The section argues that access-based music is merely a transitional phase in the evolution of a new music economy and points at indications of how the industry increases its reliance on so-called context- based features and services. The Real-Time Listening Experience While revenues from recorded music have fallen dramatically during the past 15 years, people across the world do not listen less to music—rather they listen to more recorded music than ever before. Recorded music permeates every aspect of our daily lives and legal access-based music services combined with illegal online file sharing services means that more or less every song is available everywhere, all the time. This access explosion transforms the way people use and relate to recorded music. For instance, in the pre-Internet days recorded music was expensive and scarce. Music listeners chose what record to buy with care and the growing record collection in their living room cabinets served as a diary of their lives told via a number of record purchases. Music listeners owned their physical records in the same way as they had a strong sense of ownership about other physical objects, such as books, souvenirs, or furniture, and these objects served as tools for both identity formation and communication. The Music Industry in an Age of Digital Distribution Patrik Wikströmbbvaopenmind.com 20 Communication and Culture The Music Industry in an Age of Digital Distribution Patrik Wikström Institutions, such as collection and ownership, become increasingly ir - relevant in the age of digital distribution and ubiquitous access to music. In the light of this observation, a relevant question is what the new role of recorded music as an identity marker in the age of digital distribution may be. The retrospective record collection served as such an identity marker in the pre-Internet age, but as music listeners abandon their physical collec-tions they are required to search for new ways to use recorded music as a tool for communication of their identities to their friends and the world. The scenes that are increasingly used for that purpose are online-based social networks such as Facebook, Twitter, etc. Access-based music services are commonly interconnected with such social network services, and thereby allow music listeners to constantly announce to the world what track they are currently listening to. This stream of information is primarily of interest to advertising platforms and their clients since it allows them to profile the audience based on their listening habits and send them advertising messages that are adapted to their demographics and interests. The shift from the retrospective collection to the real-time listening experience is a radical shift in music listeners’ relationship to music. It diminishes the significance of the memory of past music experiences and moves the focus to the here and the now. It is interesting to note the kind of structures and behaviors that emerge as music consumption shifts from ownership to access and from the collection to the now playing. Amaral et al. (2009) have, for instance, shown that music listeners actively curate their music-listening feed in order to make sure that it does not reveal a track that does not fit with the image they want to exhibit. Some access- based music services have even created a “private-listening feature” in order to enable users to listen to music without sharing the experience with the world. The access-based services are still in their early days and they still actively search for the optimal service and pricing structure that will al - low them to compete and survive. Currently, the competition between the services is largely based on the size of their music catalogs, availability in different territories and different mobile platforms, etc. However, it is reasonable to assume that eventually all these services will asymptoti- cally converge toward a similar music offering and will be available on all platforms and include more or less every song that has ever been recorded. bbvaopenmind.com20 Communication and CultureCommunication and Culture The Music Industry in an Age of Digital Distribution The Music Industry in an Age of Digital Distribution Patrik Wikström Patrik Wikström 21 According to basic economic theory, the competition between similar ser - vices or products will be based on price, profit margins will eventually shrink, and a few large players will eventually survive and compete in an oligopolistic market. Access-based music services will in other words become a commodity market and behave in a similar way as the markets for sugar or oil. When the market has reached this gloomy state and the room for in - novation and differentiation based on the pure access model is more or less exhausted, online music service providers will most likely look for other ways to differentiate their services and to keep up their profitability. One way of doing this is to go beyond the pure access model and to create services and features that provide a context to the songs in their catalog. The context may for instance enable music listeners a way to search and easily find the song they are looking for at a particular moment, it may al - low users to share their music experiences with their friends, to organize their favorite music experiences in convenient ways, etc. Such context- based services provide a less deterministic and far more expansive space for innovation than those services that are based on a pure access model. While innovation within the access-model framework leads toward the same ultimate goal (universal access to all songs ever recorded), innova - tion within the context-model framework lacks such a knowable outcome. A provider of a context-based music service has a greater possibility to create a competitive advantage based on unique, innovative features than what is possible within the access-model framework. Today the number of context-based services grows alongside access- based music services and most often a music service offers both access to music as well as a range of features that allow users to do things with music. The customer problem that needs to be solved is not that the cus - tomer needs access to music but rather how to navigate and do things with that music. In other words, customer value is increasingly created by providing the audience with tools that allow them to do things with music rather than by providing the audience with basic access to music. This shift from providing access to music to providing services and features that are based on the assumption that access to music is already provided is part of a similar general transformation of the music industry. The discussion has up until now been focused on the distribution of music, but the shift from The Music Industry in an Age of Digital Distribution Patrik Wikströmbbvaopenmind.com 22 Communication and Culture The Music Industry in an Age of Digital Distribution Patrik Wikström content to context can be also observed in other segments of the music industry value chain. A number of artists and composers have during recent years implement- ed the context-focused model in the creative production of their musical works. Rather than only making polished recordings for the audience to experience and enjoy, they have created services and practices that involve the audience in the creative process and allow the fans to do things with music. The British singer-songwriter Imogen Heap is one example of this trend. Heap actively encouraged her fans to upload sounds, images, and videos during the production of her latest album. She used this material in her work both as inspiration and as actual building blocks to her songs. As a consequence, Heap’s fans felt they were collaborating with their idol and were part of a communal, creative experience. Billy Bragg is also a singer-songwriter from Britain, but from a different generation and in a different genre than Heap. Bragg has also established a context-oriented experi - ence for his fans, albeit perhaps primarily driven by his fans than by Bragg himself. Bragg reflects on his relationship with his fans and explains that he provides a “social framework” for his fans and that some of his fans don’t even like his music but they enjoy being part of a social community (Baym 2012). Other musical artists and producers go way beyond the traditional for - mat of the song and create mobile applications that allow the users to play with music in different ways. London-based RjDj and San Francisco-based Smule are two examples of organizations that have developed such ap - plications that challenge the boundaries between music and interactive videogames. These tendencies raise fundamental questions about the definitions of the music industry and music organizations. Will tools and software for playing with music become recognized as a vital part of the music industry and a fourth core sector of the industry, next to live music, music licensing. and recorded music? If so, what will this mean for estab - lished music companies, artists, and composers? When live music and music publishing became increasingly important industry sectors in the first years of this millennium, traditional record labels reinvented them - selves, built new capabilities that allowed them to serve as record labels, music publishers, management companies, live music companies, etc. They turned into 360-degree music companies, which placed equal emphasis on bbvaopenmind.com22 Communication and CultureCommunication and Culture The Music Industry in an Age of Digital Distribution The Music Industry in an Age of Digital Distribution Patrik Wikström Patrik Wikström 23 all three music industry segments. If context-based services and software will continue to grow in importance, music companies will need to add yet another new competency and perhaps new business areas to their orga - nizations that will enable them to capture the increasing value created by context-based music services. The Music Industrial Transformation Continues The recorded music industry has been radically transformed during the past 15 years, but much remains before the industry takes the definitive step and leaves the physical world behind. This chapter has discussed some aspects of how this transformation continues, and how access-based music services play a substantial role in this process. The chapter has also touched upon how the recorded music becomes increasingly marginalized as a revenue source and how other industry segments such as live music and music licensing become increasingly significant. Finally, it has also presented how the audiences’ relationships with music change as a part of this transformation and how services and features that allow users to play with music rather than merely to play music move into center stage of the music industry in the digital age. The Music Industry in an Age of Digital Distribution Patrik Wikström24 Communication and Culture The Music Industry in an Age of Digital Distribution Patrik Wikström References Amaral, Adriana, Simone Pereira de Sá, and Marjorie Kibby. “Friendship, Recommendation and Consumption on a Music-Based Social Network Site. ” Presented at the AOIR Conference, Milwaukee, Wisconsin, 2009. Baym, Nancy K. “Friends or Fans?: Seeing Social Media Audiences as Musicians Do. ” Participations 9, no. 2 (2012): 286–316. Wikström, Patrik. The Music Industry: Music in the Cloud. 2nd ed. Cambridge, UK: Polity Press, 2013.24 Communication and Culture The Music Industry in an Age of Digital Distribution Patrik Wikström About us Open Mind ChannelShare Article About the Author Patrik Wikström Related Articles - Games and the Internet: Fertile Ground for Cultural Change -Future Opera for Robots and People Too - Frontiers and Knowledge in Music? A Few Notes Read the full book Other Books bbvaopenmind.com/en/what-is-openmind youtube.com/user/bbvaopenmind bbvaopenmind.com/en/author/patrik-wikstrom-en/OpenMind bbvaopenmind.com/en/article/the-music-industry-in-an-age-of-digital-distribution/ The Music Industry in an Age of Digital Distribution - There’s a Future: Visions for a Better World - Values and Ethics for the 21st Century - Innovation. Perspectives for the 21st Century - The Multiple Faces of Globalization- Frontiers of Knowledge youtu.be/hiaUrC71OvU	[ "music", "industry", "service", "digital", "distribution", "age", "patrik", "wikstrm", "recorded", "company" ]	{ "summary": "The Music Industry in an Age of Digital DistributionThe Music Industry in an Age of Digital Distribu" }
fundingtool_BusinessPlansArtist.pdf	Creating a Successful Business Plan (for the Artist) The following document was created strictly for those interested in understanding the different aspects of a business plan. There are several models for creating business plans and as such, this is only one possible model. Make sure that you are writing a business plan which best refl ects you as an artist and your music. Just a reminder: Your business is your music, your band and all of the promotion and marketing that you do for yourself so that you are successful in this industry. What is a Business Plan? The business plan outlines your professional goals, how you will achieve those goals and the resources that you have and need to get in order to achieve those goals. It is basically the story of your career and your business. The business plan takes you from the “idea stage” to the “action stage.” Why Write a Business Plan? At the very basic level (and perhaps the most important level), the business plan will allow you to focus your thinking, set a realistic plan with realistic goals, and get you moving forward with your career. Additionally, the business plan can be used to bring in key players whom you woul d like to have as a part of your team. These key players might include prospec tive managers, agents, labels. The business plan shows these people that you have thought about your career, planned how you want to achieve your goals and treat your career seriously. Finally, the business plans are often us ed to obtain financing from investors, banks, venture capitalists, government, etc. The business plan might be included in applications for FACTOR or SRIA’s new funding programs. Preparation for Writing the Business Plan: • Consider the reader and objectives • Research all elements of the business plan • Write the business plan yourself • Develop an outline of key sections • Use realistic financial projections • Gain feedback 1. Executive Summary • Although at the beginning of your actual business plan, the Executive Summary is always written last! • It is normally 10% in size of your business plan or one page • It should, at the very least, introduce the band, describe the project briefly, make the request, overview the goals, and prov ide a synopsis of the marketing plan. 2. Introduction • Briefly introduce the band/artist – it should be a mini bio • Briefly introduce the project if this busi ness plan is being submitted for a specific project • In some instances, this area is also used to make the request and state why you are making the request (see first two points) 3. Mission Statement • What do you offer to your audience? What is the essence of why you exist? Basically, who, what and why? • This is normally a single statement (or s hort series of statements) that would explain the essence of your existence as a band/artist. 4. Vision Statement • What is the ultimate end goal that you are working towards? This should always be a goal that you can work towards. • This is normally a single statement as well. 5. Music Industry Overview • This is really only necessary when you are seeking outside funding or investment with a party who may have no or very little knowledge of the music industry. • If you wish to include something like this for a person in the music industry, it should be brief and just establish t hat you have researched the industry. • Suggested format: Paragraphs 6. Band/Artist Bio, History, and Functions • You should be including a more detailed bio of the band and, if not present within the bio itself, a history of the band. • This history and bio should be professional and read like a resume. It’s not necessary to have every date/event in t he band’s history in this area – just the key points. If you want to give a really detailed history (make sure that there is good reason and you have been around for a long time), include it in the Appendices. • If you want to introduce the individual play ers within a band, give very brief bios and then you can refer the reader to a more detailed bio of each player in the appendix. If you choose to leave out the bios of individual band members, reference to it in the business plan and just put them in the appendix (basically, leave out the “mini bios” in the actual document • When you are introducing the other band members, you should also include the functions that each of these people carry out in additional to the actual artistic endeavor. For example, if your bass player also books all of the shows, then that should be indicated. This allows y our reader to get a better understanding of who is going to carry out all of the other activities that make an artist successful. • You also have the option of indicating in the respective areas below who will carry out the actual duties. For example, you could indicate that your bass player books all of the shows under the Tour Plans section and reduce the amount of information in this section. • Suggested format: Charts for Bios/Func tion and Paragraphs or Timelines for history 7. Other Key Players (Optional) • For any of you working with other key players who are necessary and/or important to your success, this section would allow you to introduce them and indicate their role. For example, you should introduce your manager, agent, accountant, booker, etc. • This section is especially important if you are working with someone who isn’t well known and you are trying to establish t heir credibility. Or, this gives you a chance to celebrate someone who is well known and working on your project. • If you want to include longer bios of these people, I would recommend placing that in the Appendix and referencing to it. • Also, you should be getting letters of refe rence from these people, referencing to those letters in this section and placing them in the appendices. • Suggested format: Charts 8. Your Audience • This area is becoming one of the most im portant aspect of any artists marketing plan – knowing your audience. Those w ho really know their audience really stand out above other marketing/business plans. • Your audience isn’t everyone – you s hould be tracking who comes to your shows. What is the gender breakdown, age, income levels (optional). What other artists do they listen to? How do they purchase CDs? From where? How big is your audience? Don’t just gue ss – use statistics Canada, research and then make a really good estimate. What other events do they attend? Where else do they shop and could you work wi th those retail outlets to promote yourself? Are they internet saavy? Etc. • What is their geographical location? • Suggested format: Charts for st atistics and Paragraphs for details 9. Graphics and Branding (Optional) • Some groups spend a lot of time developing a specific logo, font, writing style, colour schemes, etc. This is all a part of branding. If you are working with other bands, retail outlets or supporters to build a particular image, then that should be discussed as well. • If a logo and branding is important to your group, then you may want to include your logo and an explanation around your use of this logo. • You could also submit the graphics and logo as part of an appendix and just reference to it in your business plan. • Suggested format: Paragraphs and graphics 10. Recording Project • Who is the producer and what studio are y ou working with? This is also a good place to put the bio of your producer and the history of the studio. If you are working with a key engineer, you may want to also put that in this section. If you are an artist using key session players, you may also want to provide mini bios or reference to a bio page in appendices. • What are the timelines to this project? • Is this a full-length, demo, EP, etc? • Is this a unique project that needs further explanation about the material? Does your audience need a better understanding of the material or recording process? • Suggested format: Combination of Paragraphs and Charts 11. Press Kit • What is your press package comprised of? • Is there anything different about your pre ss kit (outside of the standard press kit)? • Will your press kit have an electronic component? • What is the press kit going to be used for? – Details not necessary • Key Players not already addressed? • Option: Attach a press kit as an appendix if its not already required with the application. • Suggested format: Paragraphs 12. Additional Merchandise (Optional) • Are you selling other merchandise besides the recording project? I.e. T-shirts, hats, tank tops, etc. • Are you selling previously released CDs – Basically, how else are you making money? • You should be able to justify the reason to get additional merchandise (i.e. there is a demand from your fan base and it will sell well) and the price that you are charging. • A lot of artists do not spend enough time understanding their costs and pricing. • I saw a great marketing plan that in cluded graphics of the merchandise to be printed. You could submit that in an appendix. • Suggested format: Charts for the list of merchandise items. Paragraphs for introduction and justification. 13. Pre-release Promotions (Optional) • Artists may decide to include this under a di fferent topic such as media relations, or fan base management. • Have you created a pre-ordered list of fans wanting the new CD before it is even out? • What radio stations will you contact to make them aware of the upcoming recording project? Are there t.v. or print interviews that you have lined up? • Are there any special events or gigs that are you using as a pre-release promotional event? Are there any conferenc es that you are planning to attend to hype up the project? • Are you doing direct emails or web site press releases to your fan base to get them pumped up? • Have you already identified t he key player(s) doing the work? • Suggested Format: Paragraphs/Charts 14. CD Release Party • When and where will the CD release party be held – this should be confirmed or very close to confirmed (at least the venue)? Are there going to be multiple release parties? Why did you choose that location? Remember people may not know why Regina, SK is the best place fo r you to release your CD – you must explain that! • Are there any unique pricing schemes that you are using? For Example, a CD may cost $15.00 and cover may cost $5.00. But if someone purchases both, they get both for $18.00 and if they purc hase before the event, they get both for $15.00? • Are there any retail outlets where people c an pre-purchase tickets for the show? Where can people buy tickets ahead of time or can they even buy tickets ahead of time? • Are there any events leading up to the CD release party that you are using to promote the upcoming release and ticket sales to that event? • Are there any contests that you can set up? For example, you could get a sponsor to cover dinner at a local rest aurant, throw in an artist prize package and free cover to the event. Be creative! This would allow you to go to the radio stations with a contest that they c ould promote which could also lead to increased coverage. • What radio, t.v. and print mediums are you using to promote the event and will they be most effective? • Are you postering? Where? Is there a method to your postering? • Are there contests that you can set up for your web site and/or email base for your fans? What are you doing to promot e the show to your fan base? Can you work in a discount on the CD for the first 25 guests? • Are you going to have any other musical guests at this event? Why did you choose those artists and what is the benefit to having these guests there!? • As appendices, you could include any press releases that you are going to use, promotional materials to fans, details on prize packages you are putting together, bios on guest performers, etc. • Have you already identified t he key player(s) doing the work? • Suggested format: combination of charts and paragraphs 15. Touring Plans • A word of caution: A lot of artists think that its good enough to say we are going to tour Saskatchewan, then Western Canada and then Eastern Canada because there are a lot of venues to play. This is not good enough! Sorry. • A lot of research must go into developing your touring plans. • First, a history on where the band has played in the past indicates that they have a rapport with certain venues. That should be included. For a detailed list with timeline, include in the appendices. You need to establish yourself as a touring artist. If you haven’t done a lot of touring, that’s okay but you better get ready to work your butt off on the next part of this section! • People want to a touring strategy that is almost confirmed. What I mean by that is that you have called the Pyramid in Winnipeg, sent them a press package and that they have stated that they would be interested in hiring you once the new release is done. It would be even better if y ou could get some letters of intent to include in an appendix. At the very l east, you should know contact names and specific locations. • You should be able to show that you hav e identified venues which embrace your style of music…don’t get into the game of listing any and every venue that you can think of. You can include these identified venues but try to keep it in a chart form that’s concise and please, please indicate if you have established a relationship with them. • Are you working with a booker/agent? • I will say it again – you need prove that you have a relationship with the venue and that touring is a reality – otherwise, your touring plans become “too airy.” • You should show your geographic strategy. Basically, do you plan to start in Saskatchewan, expand to the prairie prov inces and then go East. Or, are you starting in Saskatchewan and Alberta and moving down into the Northern United States. You need to show why you hav e chosen the geographic strategy that you have. I.E. there is a strong Christi an market in the lower mainland and that is why you are touring to Saska tchewan, and Lower mainland, BC. • If you are planning to tour internationally, do you understand the rules, restrictions, regulations and benefits to traveling to a particular country? • Are you touring with any other artists? How do they fit with your strategy? Is it a shared bill? Are you headlining? Are you opening for a well-established act? • Are you postering? Is there any strategy to your postering? Are you using street teams? Basically, how are you getting the promotion done for the tour in each area? • You can include your media relations (see section below) for the tour in this section or cover that in the media relations section below. • Appendix: Tour details if your touring se ction is becoming extremely long? Bios for the artists that you are working with? • Have you identified the key player(s)? • Suggested format: Charts and paragraphs 16. Media Strategy • Do you understand the radio stations that y ou are targeting? Caution: Do not just include a list of radio stations…if you still want to do that, then it should be referenced to in an appendix. More importantly, do you understand the play formats and needs of those radio stations? • What are your press release and promot ional plans for radio? Do you have a database? Are there contests or promoti onal giveaways for the radio d.j.s or their audiences? • Are there any special events that you can team up with a radio station on? • Have you received any support already for t he single or know that there are radio stations who are interested in promoting a single once you are done? Those letters of intent/emails should be included in an appendix. • Are you able to secure an on-air interview for the promotion of the single or any tour dates that you may have in that area? • Do you have a radio tracker? How will you keep track of your success? • What have been your past successes with radio, if any? • What are your plans for any televisi on media? Are you doing a video? Are there interviews/live performances that you hav e lined up? Again, get those letters of intent or interest in there! Do you have an understanding of which t.v. programs are supporting local live performances and have you started conversations with them? Why did you choose the programs t hat you chose? This is important for lesser-known programs because you need to show the benefit. • What are your plans for print media? Who are the newspapers, periodicals and interviewers that you are targeting? Are there any interesting stories or promotional ideas that you are using for the print media? Have you received any confirmed support letters and are there si gnificant relationships from the past, which will serve to benefit you? Why di d you choose newspapers, periodicals or magazines that you chose? This is important if you are dealing with lesser- known publications and need to spell out the benefits for your reader. • Are you making use of any of the online m edias? For example, MP3.com. Make sure you show the benefit of working with this company. • Appendix: background information on any lesser known t.v., print, or online medias. This way, you don’t make this section too large. • Suggested format: Combination of charts, graphs and paragraphs 17. Fan Base Development • In today’s industry, a fan base is considered the most important element to the success of an artist and the interest that the general industry will take. • Do you have an email list or mailing list to keep in contact with your fans? Do you have a database that allows you to target by region? • How do you get news out to them about your career? • What services do you offer on your web site? I.e. message boards, a daily artist journal, contests/promotions, updated news section • Is there an email address or some kind of customer service measure so that fans can get their questions/concerns addressed. • Have you been able to make use of key f ans to head of street teams in certain areas? Street teams do a great job of postering, promoting the show word-of- mouth, etc. • Do you offer a newsletter or discounts on merchandise or a fan party? • Caution on all of these things: You should not offer everything! You need to offer what is going to work best for your fan base. • Are you able to conduct online surveys or in-venue surveys? What have you learned from those surveys (just a synops is, not details – save that for an appendix). • Basically, how do you get your fans to feel as though they have enough of a connection to you to buy your CDs and go to your shows? • Appendix: Samples of your fan base development tools (Optional – ie surveys, newsletters, postcards, press rel eases), survey result details • Suggested format: Paragraphs, charts and graphs 18. Web site/Technology • Some of this information may have alr eady been covered in other areas of your business plan – that’s fine. • A web site is becoming a key strategy point for a lot of independent artists. • What sections are you offering on the web site and what is the benefit? Is there an electronic press kit area with your bio and photos, gig listing history and contact information. Do you have separ ate areas for the industry professionals and the general public? • What do you offer in your fan base devel opment area? Should be brief if already covered above or you can just reference to the above section. • Do you have a general news area? Is there a section for people to sample your music? Is there an area for people to email you, do you offer a link to join and email list? Do you have a general info area that provides a bio/history on the band, band photos, tour dates, etc • Is your genre/audience well-suited to a w eb site? Will the talent buyers you need to work with enjoy moving around this site? • Is there an e-commerce area? Are you se lling CDs through your site? How will that process work and who is going to manage it? • How are you promoting the web site and how does that fit into the rest of your strategy? Will you have any contests/p romotions for the general public on the web site? What are your online sources to promote the web site? Are there key links, partnerships, and/or sponsors t hat will be attached to the web site. • Appendix: If you want to include samples of the web site, please only reference and include in an appendix. • Suggested Format: Paragraphs and Charts 19. Distribution/Retail Strategy • How is your CDs and merchandise getting to the end consumer? • If you have already covered e-commerce on the web site and touring sales, then just mention it briefly. • If you plan to get your album distributed or into the stores, then you need to show that you have made the contacts and done the research, • It isn’t enough to say you are going to try and get a distribution deal. It’s very hard work to get distributed and that i ndicates you haven’t done your homework. You should be able to identify distributi on companies that would work well and show that you have established a relations hip with them. You must be able to show you have generated some in terest in your project. • As far as retail goes, you should be able to identify independent stores that will take product (if you do not have a distributor or distribution deal). It’s important to identify those retail outlets that will suppor t your project and its even better if you have started discussions with them. If y ou are using lesser known retail stores, you may want to describe the store if your reader may be unfamiliar with them. • Identify any promotional activities that you have planned for the retail stores that you are working with and if the retail store is not a standard music store, make sure that you identify the fit with that company. • Appendix: Any letters of intent or interest • Suggested Format: Combination of charts and paragraphs 20. Special Events (Optional) • If you are performing at any special events or working for any special causes (i.e. working for a charitable event or perfo rming at a unique opportunity), you may want to list it. Working with a charity or for a cause is also some really positive good will. Being presented a unique perfo rmance opportunity shows that the community is interested in you and that you are able to give back to the community. • Appendix: You may want to include fu rther information about the event, opportunity or cause. • Suggested format: Paragraphs 21. Partnerships with Ot her Artists (Optional) • Some artists may be working closely with other artists/bands to cut costs, cross promote, etc. This section should be the place where you highlight those relationships and the benefits that you w ill receive by it. A community that supports one another can be a really strong selling point. • Appendix: You could include bios of the ot her artists if they are a key component to your operations. • Suggested format: Paragraphs 22. Video Production (Optional) • Video production really has a timeline and marketing plan all unto itself. • You should introduce the production co mpany, producer, and any other key players. • You can put the concept in this area to give you reader a better idea of the finished product and which single the video is supporting. • You should indicate what media companies have expressed interest in promoting a video from you – if you have no interest right now, why go through the expenditures of creating a video that will become dated. • You should be justifying who you have chosen to spend money on a video – does it make sense with the rest of your business plan. • What promotional plans do you have in place for the video once it is completed. • Are you making any use of special, we ll-known guests or have a unique spin on the video? • You should indicate if there are additional investors supporting this video or how you plan to finance it. • A time line can be included – just a basic one to determine when production, editing and release will occur. • Appendix: You could also include a detailed timeline as an appendix. Any letters of support for the video as well as a letter of intent from the production company, producer and investors can be included. Storyboards may also be included in the appendix. • Suggested format: Combination of charts and paragraphs 23. Songwriting (Optional) • For some artists, songwriting is a key component of their activities and should be highlighted in the business plan. There are a lot of industry professionals who place a higher value on an artist that can write their own really good songs. • You should indicate whether the songs written will be used strictly by you or whether you will be pitching thes e songs to other artists. • If you are planning to pitch songs to ot her artists, you need to show a well- developed strategy for tackling that. Are you planning to solicit a publishing company? If so, you should be able to s how that you have researched who you are going to target and that you will be maki ng a contact. A letter of interest from a publisher can definitely strengthen your business plan. Again, the reader wants to ensure that you have done y our homework. Are you planning to promote your songs directly to other artists in your community and what is your strategy for doing that? • If you have no publisher, then you should indi cate who will be taking care of your publishing and how that will be managed internally. • If you are working with a lesser-known publishing company, then you should provide some background information on the success of this publishing company. You also have the option of giving a quick introduction to the company and providing a longer background in an appendix. • Appendix: Any letters of interest or int ent from publishers or artists should be put in the appendix. • Suggested format: Paragraphs 24. Additional Revenue • This also gives you the opportunity to highlight any other sources of revenue that you may be tapping into. • This may include management fees, day jobs, booking shows for other bands – anything that you may have not already covered. • Suggested format: Paragraphs 25. Sponsors/Investors (Optional) • Most investors would like to know if there are other sponsors and investors involved in the project. They seem to feel more assured if there are other investors involved. This also gives y ou a chance to highlight any sponsorship deals that you have been able to secure. • You don’t need to get into the details of how much investors have put in (this will show up in your financial statem ents) but you should list them. • Appendix: Any sponsor or investor letters of support. You may also wish to provide background information on your sponsors and investors which should be referenced in the business plan. • Suggested format: Charts 26. Strengths/Past Successes • This is really your chance to get out there and strut your stuff. • Let the reader know what the st rong points about the band/artists are. • This also gives you a chance to list key past successes and milestones that you have already surpassed. • You definitely want the reader to be excited about the project, the band and where you have already been. • This gives you a chance to show your tr ack record – you could show past sales (if they have been strong), successful t ours, key gigs, awards and honours, etc • Suggested format: Chart 27. Challenges • You should also make the reader aware of any challenges that you are currently facing. This may include financial c oncerns, band member relations, weak business skill areas. • More importantly, you should show how you are working to address and solve those particular problems and challenges. • Suggested format: Charts 28. Goals • You should be indicating in this area your goals for the next 6 months, 1 year, 3 years and five years. • For each goal, you should be stating what y ou want to achieve, when you want to achieve and how you will measure your success. • This is a great tool for you as well to see if you are on track. • A detailed timeline should also be included in the appendix. Make sure you reference to it in the business plan. T he best format for this is a calendar or a chart where you can plot all your dat es and what you need to have achieved by then. 29. Assumptions/Scenarios • This area is especially impor tant for traditional investor s. You should be stating what you assumptions you are basing your success and financial statements on. • How did you estimate your sales? What formula did you use? How did you estimate your costs? • What key people are necessary to your success? What events/actions are key in your marketing plan to be successful? • As importantly, you should indicate what alternatives you have considered if your assumptions fall through in order to ensure success. 30. Financial • This is the key point in most business plans. • Although your sales and costs are estimates, you should be basing it on past successes or a really thought out formula. Really look at what other artists are selling and ask yourself if you are really being realistic? Call to ensure that the costs that you have set out for yourself actually make sense. • If you have been around for awhile and have kept track of your past financial information, you should be including it in this section. • You should be presenting your current financial situation. • As well, you should be making future projections on this project. You can also do a high, low and medium sales scenario for your self in this area. You may want to present this to your reader if its still positive overall. • The most common forms of financial reports are Balance Sheet, Income Statement and Cash Flow/Budget. These do not need to be included specifically in the business plan (they can be put in the appendices); however, they should be summarized in your financial section. What are your costs, sales and do you know when you will need the most money? What is your act ual financial request. • Finally, some institutions/investors will require that you provide a list of collateral that will go towards the loan. • Appendix: A detailed formula/explanation on how you arrived at your figures. The actual financial statements. • Suggested format: Paragraphs/Charts 31. Conclusions • Your conclusion should summarize the band, the project, your request, and why this is a successful project and y our reader should invest in it. • Suggested length: half page to a full page. • Suggested format: Paragraph 32. Appendices • All your appendices come at the end of the document, • They should be used to provide supplement al information but the business plan should be able to stand alone. • They take care of the nice to k now but not the necessary to know. • They should be neat, professional and well-organized. Just some final thoughts: • Make sure the business plan is professional and the tone is professional • Try to be positive and upbeat • Always be honest and show how you arrived to your conclusions • Always check spelling and grammar • Get someone to read it over and provide feedback • Remember this is a business! • Always use third person, never first person (I, we) • Once the full business plan is done, you can cut and paste to customize marketing plans for t he different funders and investors. • Please remember that you do not need to include all of the sections outlined in this document. It was created to cover a variety of genres, situations and career levels. Choose sections and develop your marketing plan to fit your needs. Good luck!	[ "plan", "business", "appendix", "artist", "format", "suggested", "show", "key", "may", "get" ]	{ "summary": "Creating a Successful Business Plan (for the Artist) \n \n \nThe following document was created strictl" }
tL-managerDirectory_Managers_Booking Agents_2019.pdf	52Music-makers tap into this directory to connect with indie labels, marketing & promo experts and indie publicists. Plus loads of contact information to aid you in promoting your music career, DIY style: T -shirt and CD development, blog sites and social media tools. June 2019 musicconnection.com June 2019 musicconnection.comUpdated for 2019, MC’s exclusive, national list of professionals will help connect you to those who can handle your career interests and arrange live bookings. (For MC’s list of Music Attorneys, please visit musicconnection.com/industry-contacts.) MANAGERS5B ARTIST MANAGEMENT 220 36th St., Ste. B442Brooklyn, NY 11232310-450-7132Email: [email protected]: 5bam.comStyles: Metal, Rock, Alt.No unsolicited materialAdditional location:12021 W. Jefferson Blvd.Culver City, CA 90066310-450-7132AAM270 Lafayette St., Ste 605New Y ork, NY 10012212-924-2929 Email: [email protected]: aaminc.comContact: Matthew Clayman Styles: Alt., Rock, Pop, IndieClients: Call for rosterNo unsolicited material, represents producers onlyAdditional locations:5979 W. 3rd St., Ste. 204Los Angeles, CA 90036310-271-93501600 17th Ave., S.Nashville, TN 37212615-742-1234ABBA-TUDE ENTERTAINMENT311 N. Robertson Ave., Ste. 505Beverly Hills, CA 90211 818-991-7399 Email: [email protected]: Mark “ Abba” Abbattista Styles: AllServices: Personal management, legalAccepts unsolicited materialAFRICAN MUSIC SOURCE1225 Everett St.El Cerrito, CA 94530510-778-1885 Email: [email protected]: africanmusicsource.comContact: Baba Ken OkuloloStyles: AfricanClients: Baba Ken and Kotoja, Baba Ken and Afro-Groove Connection, West African Highlife Band, Baba Ken Okulolo and the Nigerian BrothersAccepts unsolicited materialAMERICAN ARTISTS ENTERTAINMENT GROUP29 Royal Palm Pointe, Ste. 5Vero Beach, FL 32960772-226-7201Email: [email protected]: aaeg.comStyles: pop, rock, R&B, country, s/sClients: Jenny Galiardi, Mike Guerriero, Lyrical Eye, Baha Men, Frank StalloneAccepts unsolicited material, but not seeking new clientsANGELICA ARTS & ENTERTAINMENTNashville, TN615-794-0485 Fax 615-591-1463Email: [email protected]: angelica.orgContact: Jules DelgadoStyles: ambient, lounge, new age, pop, world, Film/TVClients: Seay, Pat ThomiNo unsolicited materialARSLANIAN & ASSOCIATES 6671 Sunset Blvd., Ste. 1502Hollywood, CA 90028323-465-0533 Email: [email protected]: arslanianassociates.com/who.htmlContact: Oscar ArslanianClients: Fabian, Chris Montez, Little Peggy March, Kathy Y oung, Johnny Tillotson, Merrilee Rush, Brian HylandStyles: Classic RockServices: personal managementNo unsolicited materialARTIST IN MIND14100 Dickens St., Ste. 1Sherman Oaks, CA 91423-4236818-906-8020 Fax 818-924-1000Email: [email protected]: Doug ButtlemanClients: Sanders Bohlke, Jeffrey Cain, The Verve Pipe, Brian Vander ArkStyles: rock, modern rock, pop, adultNo unsolicited materialAZOFF MUSIC MANAGEMENT 1100 Glendon Ave., Ste. 2000Los Angeles, CA 90024310-209-3100 Styles: AllNo unsolicited materialELLEN AZORIN, MANAGER, PEDRO GIRAUDO JAZZ ORCHESTRA157 W. 79th St., Ste. 4A New Y ork, NY 10024212-724-2400Email: [email protected]: pedrogiraudo.com, cantaloupeproductions.comStyles: JazzClient: Pedro Giraudo Jazz OrchestraAccepts unsolicited materialTHE BABBLE BOUTIQUEEmail: [email protected]: TheBabbleBoutique.comContact: Azalee Maslow Styles: AllServices: Social and digital media consulting and management agency. We specialize in converting your followers into paying fans. No unsolicited materialBACKER ENTERTAINMENT LLC87 Plymouth Ave.Y onkers, NY 10710914-779-6087Email: [email protected]: backerentertainment.comContact: David BackerBACKSTAGE ENTERTAINMENT5018 Franklin PikeNashville, TN 37220310-325-9997 Email: [email protected] Web: backstageentertainment.netContact: Paul Loggins, John Stevens, Laurent StoeckliStyles: AllServices: full-service radio promotion, publicity and PR, radio programming/consulting, personal management, entertainment consulting/marketingAccepts unsolicited materialBANDGURU MANAGEMENTP .O. Box 11192Denver, CO 80211303-477-6987 Email: [email protected]: bandguru.comContact: Mark BliesenerStyles: All StylesClients: the Third Degree, Baxter Black, Ronny Cox, Highway 101, Nitty Gritty Dirt BandNo unsolicited materialBBA MANAGEMENT & BOOKING12400 Hwy. 71 W., Ste. 350-177Austin, TX 78738512-477-7777 Email: [email protected]: bbabooking.comContact: Laura MordecaiStyles: rock, jazzClients: Matt Wilson, Beto and the Fairlanes, Javier ChapparoServices: specializes in placing musicians for recording sessions and back up for touring acts, must read sheet musicNo unsolicited materialBEAR CREEK PRODUCER MANAGEMENT6313 Maltby Rd.Woodinville, WA 98072425-481-4100 Email: [email protected]: bearcreekstudio.comContact: Manny HadlockStyles: intelligent rock, indie rock, rock nervous, folk, renaissance, rock, jazzClients: Gordon Raphael, Ryan Hadlock, Holy Ghost Revival, Sony Records, Sub Pop, Vertigo, Warner, TransgressiveNo unsolicited materialBEDLAM MUSIC MANAGEMENT290 Gerrard St. EastToronto, ON M5A 2G4416-585-7885 Fax 905-248-3195Email: [email protected]: bedlammusicmgt.comClients: The Sheepdogs, Moors, JuD, City and Colour, Monster TruckAdditional locations:4525 Russell Ave. #1Los Angeles, CA 900271300 Clinton St., Ste 205Nashville, TN 37203BIG HASSLE MANAGEMENT40 Exchange Place, Ste. 1900New Y ork, NY 10005212-619-1360Web: bighassle.comStyles: alt., indie, rock, popClients: Ben Kweller, A Fragile Tomorro, Absofacto, Alice Phoebo Lou, All Them WitchesAccepts unsolicited materialAdditional Location:3685 Motor Ave., Ste 240Los Angeles, CA 90034424-603-4655BIG NOISE11 S. Angell St., Ste. 336Providence, RI 02906401-274-4770Email: [email protected]: bignoisenow.comContact: Al GomesStyles: pop, rock, R&B, metal, jazz, acoustic, blues, punk, technoClients: Christina Aguilera, Katharine McPhee, Alice Cooper, Little Anthony and the Imperials, Jay Geils, Jim Brickman, Melba MooreAccepts unsolicited material--please call or email first. BITCHIN ENTERTAINMENT1750 Collard Valley Rd.Cedartown, GA 30125678-901-0162Email: [email protected]: bitchinentertainment.comStyles: rock, pop, hip-hop, Americana, country, R&B, jazz, punk, metal, rap, folk, s/sClients: Blackhawk, Blue Oyster Cult, Charlie Allen, Gary Campbell, Kansas, Judas Priest, Nickel Creek, Steve Miller BandAccepts unsolicited materialBLACK DOT MANAGEMENT 6820 La Tijera Blvd., Ste. 117Los Angeles, CA 90045310-568-9091 Fax 323-777-8169Email: [email protected]: blkdot.comContact: Raymond A. Shields, Pat ShieldsClients: producers, engineers, marketing, productionStyles: R&B, jazz, urban adult contemporaryServices: personal management, marketingNo unsolicited materialBLACK ROSE409 Rte. 112Port Jefferson Station, NY 11776631-367-8544Email: [email protected]: blackrosemusicpub.comStyles: jazz, rock, R&B, gospel, hip-hop, country, blues, popClients: Conan Horn Section, Black Rose Band, Organic Sound Project, Chris Patti of Modern Voices, IndiMusicTV, John Pandalfo, Roger Evans, Tito Batista featured on vocals with Conan Horn Section and Black Rose BandNo unsolicited materialAdditional location:15 Gloria Ln.Fairfield, NJ 07004631-367-8544, 973-575-7460BRICK WALL MANAGEMENT39 W. 32nd St., Ste. 1403New Y ork, NY 10001212-501-0748 Email: [email protected] Web: brickwallmgmt.comContact: Michael Solomon, Rishon BlumbergStyles: pop, rock, country, singer-songwriterClients: Adam Landry, Cherry Poppin Daddies, The Clarks, Eddie Berman, Jarett Bellucci, Lonesome Animals, Marshall Altman, Michael Counts, Nevada Color, Vanessa Carlton, William Fitzsimmons, 10X ManagementNo unsolicited materialBRILLIANT PRODUCTIONSDecatur, GA 30030404-312-6237Email: [email protected]: brilliant-productions.comContact: Nancy Lewis-PegelStyles: roots, rock, jam, Americana, bluesClients: Webb Wilder, Geoff Achison, Y onrico Scott, Randall Bramblett, Peter Karp, Glenn Phillips/Cindy Wilson of B-52’sServices: A boutique agency that gives personal attention to musiciansNo unsolicited materialBROKAW COMPANY, THE 10736 Jefferson Blvd. #462Culver City, CA 90230Los Angeles, CA 90069 310-273-2060 Email: [email protected], [email protected] Web: brokawcompany.com Contact: David Brokaw, Joel Brokaw, Sanford Brokaw Styles: All Services: Full service No unsolicited material BULLETPROOF ARTIST MANAGEMENT & BOOKING241 Main St.Easthampton, MA 01027413-527-9393Email: [email protected]: bulletproofartists.comContact: Patty RomanoffDirectory of Managers & Booking Agents53Download at musicconnection.com/industry-contacts June 2019 musicconnection.com June 2019 musicconnection.comUpdated for 2019, MC’s exclusive, national list of professionals will help connect you to those who can handle your career interests and arrange live bookings. (For MC’s list of Music Attorneys, please visit musicconnection.com/industry-contacts.) Styles: folk, pop, rock, countryClients: Dar Williams, The Nields, Susan Werner, Cry, Cry, CryNo unsolicited materialBURGESS WORLD CO.P .O. Box 646Mayo, MD 21106410-798-7798 Email: [email protected]: burgessworldco.comContact: Richard James BurgessStyles: rock, alt., singer-songwriter, blues, jazzClients: Jimmie’s Chicken Shack, Ace Elijah, the Electrofied Blues BandNo unsolicited materialBUSYBOY PRODUCTIONS77 13th Ave. NE, Ste. 112Minneapolis, MN651-230-4362, 818-561-6000Email: [email protected]: busyboyproductions.comContact: Ella ReidStyles: rock, pop, country, alt. Clients: Michelle Ella Reid, Lorenzo, Lizzy Borden, White Lion, Gin Blossoms, Anita BakerAccepts unsolicited materialCASE ENTERTAINMENT GROUP, INC.102 E. Pikes Peak Ave., Ste. 200Colorado Springs, CO719-632-0227 Fax 719-634-2274Email: [email protected]: newpants.com, oldpants.comContact: Robert CaseClients: Silence, Lisa Bigwood, C. Lee Clarke, Kathy Watson, Todd Harris, Sherwen Greenwood, Chad Steele, James Becker, Stephanie Aramburo, Rocky Shaw, John Ellis Styles: pop, rock, countryServices: personal management, record promotionNo unsolicited materialCELEBRITY ENTERPRISESNew Mexico800-700-3898, 505-281-1149 Email: [email protected] Web: ent123.comContact: Lisa de Wolf Styles: VarietyClients: the Pink Flamingos, the 3 Painters, Art Explosion, ARTRAGEOUS!No unsolicited materialCHAPMAN MANAGEMENT14011 Ventura Blvd., #405Sherman Oaks, CA 91423818-788-9577 Fax 818-788-9525Email: [email protected]: chapmanmanagement.comStyles: contemporary smooth jazzClients: Rick Braun, Richard Elliot, David Benoit, Jeff Golub, Euge Groove, Jeff Lorber, Al Stewart, Peter White, Lindsey Webster, Jane Monheit, Eric Marienthal, Vincent Ingala, Keiko Matsui, Sara Gazarekno unsolicited materialCIRCLE CITY RECORDS USA Artist Management 1831 12th Ave. Ste 186Nashville, TN 37203 Contact: Lincoln Plowman Telephone: 615-600-2266 Email: [email protected]: circlecityrecordsusa.com Genre: Country MusicComments: It all starts with a song! We welcome unsolicited material submitted by email. Please review our website so that you know what we are seeking and what we can do for you. Include links to your Social Media and Music. Tell us about yourself and what you want to do. Go into detail!CLC ARTISTS MANAGEMENTBurbank, CAEmail: [email protected]: Personal management, artists branding, personal consultation, music productionAccepts unsolicited materialCOAST TO COAST MUSIC/MUSICBIZ MENTORSArtist Development, Music Biz Education & TouringEncino, CA 818-376-1380 (Please email us first) Email: [email protected] Web: MusicBizMentors.com Contact: Chris FletcherClients: Harold Payne, Gravity 180, Anna Beatriz, Darious Lux Styles: All Services: Management, Promotions and Booking expert Email for permission to send your materialsCOLLIN ARTISTSPasadena, CA, CA 91104323-467-4702 Email: [email protected]: collinartists.comContact: Barbara Collin, Robert Sax, Goh KurosawaClients: see website for rosterStyles: jazz, blues, world, Latin, R&B, doo wop/classics and beyondServices: Management, promotion, consulting, booking, workshopsNo unsolicited materialCOLUMBIA ARTIST MANAGEMENT, LLC5 Columbus Cir.1790 BroadwayNew Y ork, NY 10019212-841-9500Email: [email protected]: cami.comContact: Tim FoxStyles: instrumental, classical, jazz, world, celtic, vocalistsServices: one of the world’s largest Classical music management firmsAccepts unsolicited materialCORNERSTONE MANAGEMENT6121 Sunset Blvd,Los Angeles, CA 90028213-217-4500Email: [email protected]: cornerstonepromotion.comNo unsolicited materialAdditional locations:London3 Perseverance Works, 1st Fl.38 Kingland Rd.London, E2 8DD+44 207-729-2637New York71 W. 23rd St., 13th Fl.New Y ork, NY 10010212-741-7100COUNTDOWN ENTERTAINMENT110 W. 26th St., 3rd Fl.New Y ork, NY 10001212-645-3068Email: [email protected]: countdownentertainment.com, facebook.com/CountdownEntertainmentStyles: urban, hip-hop, pop, rock, country, alt., dance, club, DJAccepts unsolicited material, see site for submission detailsTHE COZZA COMPANY651 Holiday Dr.Foster Plaza 5, St. 300Pittsburg, PA 15220412-928-3292Email: [email protected]: hecozzacompany.comContact: Rocco CozzaStyles: hip-hop, alt., indie, rock, popAccepts unsolicited materialCRUSH MANAGEMENT60 11th St., 7th Fl.New Y ork, NY 10003212-334-4446 Email: [email protected]: crushmusic.com Styles: rock, pop, indie, hip-hop, s/s, punkClients: See website for rosterNo unsolicited material DAS COMMUNICATIONS 83 Riverside Dr.New Y ork, NY 10024212-877-0400Styles: rock, pop, hip-hopClients: Black Eyed Peas, Fergie, Jim Steinman, Carney, Spin Doctors, Toby Gad, the Veronicas, Taylor Momsen and the Pretty Reckless, Sean Paul, Prince Royce, Katy Tiz, the Lone BellowNo unsolicited materialDAVE KAPLAN MANAGEMENT1126 S. Coast Hwy. 101Encinitas, CA 92024760-944-8800 Fax 760-944-7808Email: [email protected]: surfdog.comContact: Nola SchoderStyle: RockClients: Brian Setzer, Stray Cats, Dave Stewart, Glen Campbell, Joss Stone, Gary Hoey, Dan Hicks, Rusty Slightly Stoopid, Dan Hicks, the Burning of Rome, Butthole Surfers, Pato Banton, Richard Cheese, MomWe accept all unsolicited materialsDAWN ELDER MANAGEMENT303 Loma Alta Dr., Ste. 31Santa Barbara, CA 93109(global) 805-963-2415, 805-637-1178Email: [email protected]: demgmt.comContact: Dawn ElderStyles: world, rock, pop, jazz, roots, traditional, classical, international, Central-South Asian underground, Middle Eastern, North African, MediterraneanClients: Souad Massi, Mayssa Karraa, Simon Shaheen and Arab Orchestra, Simon Shaheen and Near Eastern Ensemble, Simon Shaheen and Qantara, Bassam Saba, Kadim Al Sahir, Cheb, Sabbah and 1002 Nights and many more.Services: specializing in Middle Eastern, Central and South Asian, North African, West African and MediterraneanNo unsolicited materialDCA PRODUCTIONS 675A 9th Ave., #252New Y ork, NY 10036800-659-2063, 212-245-2063Email: [email protected]: dcaproductions.comContact: Daniel C. AbrahamsenStyles: pop, folk, rockClients: Andjam Band, Backbeat A Tribute, Alison Fraser, Fiesta, Rockspolsion, Lisa Bouchelle, Vladimir & Nadia Zaitsev, Acrobats of Cirquetacular Services: variety performers, comedians, musical performers, theater productions and producing live eventsAccepts unsolicited materialDEEP SOUTH ENTERTAINMENTP .O. Box 17737Raleigh, NC 27619919-844-1515 , 615-953-4800Email: [email protected]: deepsouthentertainment.comStyles: pop, rock, alt., country, AC, ChristianClients: Marcy Playground, Vienna Teng, Tres Chicas, Parmalee, I Was Totally Destroying It, Michael Sweet, LanCo, Katie GarfieldAccepts unsolicited material. Please NO CALLSDIRECT MANAGEMENT GROUP 8332 Melrose Ave., Top Fl.Los Angeles, CA 90069310-854-3535 Email: [email protected]: directmanagement.comClients: Ferras, Maddei Simpson, K.D. Lang, Katy Perry, Au/Ra, Steve PerryStyles: AllServices: Personal managementNo unsolicited materialDREAMCATCHER ENTERTAINMENT 2910 Poston Ave.Nashville, TN 37203615-210-2270Email: [email protected] Web: dreamcatchermgmt.comContact: Jim MazzaStyles: Country No unsolicited materialEAST END MANAGEMENTP .O. Box 41389Pasadena, CA 91114818-784-9002Contact: Tony DimitriadesStyles: rock, popClients: Tom Petty and the HeartbreakersELLIOT CAHN MANAGEMENT 44 N. San Pedro Rd.San Rafael, CA 94903510-652-1615 Email: [email protected]: elliotcahn.comContact: Elliot CahnClients: Goapele, Luce, Daisy Grace Vardell, Kevin JorgesonStyles: All stylesServices: Personal managementNo unsolicited materialEMCEE ARTIST MANAGEMENT189 Franklin St., Ste. 294New Y ork, NY 10013212-925-6458Email: [email protected]: emceeartist.comStyles: jazz, rock, bluesClients: Medeskim Martin and Wood, the Wood Brothers, Nels Cline, John Medeski, Jenny Scheinman, Gill Landry, Kate DavisNo unsolicited materialEMPIRE ARTIST MANAGEMENT 235 W. 23rd St., 6th Fl.New Y ork, NY 10011212-343-2200Email: [email protected]: empireartistmanagement.comClients: Above & Beyond, Ron Reeser, Dan Saenz, Adam K, EDX, SOHA, Dresden & JohnstonNo unsolicited materialENTERTAINMENT SERVICES INT’L1819 S. Harlan Cir.Lakewood, CO 80232303-727-1111Email: [email protected]: esientertainment.com Contact: Randy ErwinStyles: Rock, Classic RockClients: the Nylons, Brewer and Shipley, Carl Dixon, the Guess Who, Humble Pie, Iron Butterfly, Mitch Ryder and the Detroit Wheels, the Ozark Mountain Daredevils, Powder Mill, Rare Earth, the Creek RocksERIC NORWITZ ARTIST MANAGEMENT3333 W. 2nd St., Ste. 52-214Los Angeles, CA 90004-6149213-389-3477Email: [email protected]: Eric NorwitzStyles: alt., dance, pop, R&B, rockServices: management & legalAccepts unsolicited materialFIRST ACCESS ENTERTAINMENT6725 Sunset Blvd. Ste. 420Los Angeles, CA 90028323 454 1162Email: [email protected], [email protected], [email protected]: firstaccessent.comPublished: see webHow to Submit: no unsolicited materialFIRST ARTISTS MANAGEMENT4764 Park Granada, Ste. 110Calabasas, CA 91302818-377-7750 Fax 818-377-7760Email: [email protected]: firstartistsmgmt.comStyles: film, singer-songwriterClients: film composers, music supervisors, music editorsNo unsolicited materialFLEMING ARTISTS, INC. PO Box 1568Ann Arbor, MI 48104734-995-9066 Fax 734-662-6502Email: [email protected]: flemingartists.comContact: Jim FlemingStyles: rock, pop, singer-songwriter, contemporary roots rock, folk, bluegrass, improv comedyClients: Jeff Daniels, Judy Collins, the Kruger Brothers, Shane Koyczan, Ariel Horowitz, Holly NearFRESH FLAVA ENTERTAINMENT2705 12th St. N.E.Washington, DC 20018202-832-7979June 2019 musicconnection.com June 2019 musicconnection.com 54Directory of Managers & Booking AgentsEmail: [email protected]: freshflava.com Contact: Emanuel Maurice “Moe” Y eomanStyles: hip-hop, R&B, jazz, gospel, rockClients: Elliot Lavine, Tabbo, DJ Sir JammAccepts unsolicited materialGARY STAMLER MANAGEMENTP .O. Box 34575Los Angeles, CA 90034310-838-1995Email: [email protected]: gsmgmt.netContacts: Gary Stamler, Nancy SeftonClients: Pete Molinari, Tchad Blake, Daniel Powter, Dave Alvin, Styles: AllServices: personal managementNo unsolicited materialGARVAN MEDIA MANAGEMENT & MARKETINGP .O. Box 737Sandpoint, ID 83864208-265-1718Email: [email protected]: immf.comContact: Stephen Bond Garvan (formerly of NYC, Colorado, New England, MMF-US Board, Funding Council AMA, IMMF Global Director of Folk/Roots/Americana)Styles: rock, s/s, roots, country, Americana Clients: Chris Daniels and the Kings, Ryan Shupe, Lenou (US/Canada) Big Wide Grin, Tom Roznowski, Michael KelshHALFPIPE ENTERTAINMENTP .O. Box 10534Hollywood, CA 90213310-651-6233Email: [email protected]: halfpipe-entertainment.comContact: Lee ScheinbaumStyles: alt., rock, indie, singer-songwriter, surf pop, electronic, lounge, remixes, psychedelic, hip-hop, R&B, nu soul, jazz, underscoresClients: Jeff Martin, Greg Camp, Aidan Lavelle, Ceiri Torjussen, Erik Godal, Tommy Coster, Kiran Shahani, Scott Thomas, Jaymay, Mark Tschanz, Trevor Shand, Mike Semple, Nina GordonAccepts unsolicited material--web streaming audio submissions only, prefer SoundCloud or similar.HARDKNOCKLIFE ENTERTAINMENT2201 N. Lakewood Blvd., Ste. D236 Long Beach, CA 90815 562-354-1058 Email: [email protected] Web: hardknocklifeent.com Contact: Ayana Cobb Styles: pop, rap, hip-hop, acoustic, r&b, Services: Management Accepts unsolicited material No phone calls HEADLINE TALENT AGENCY250 Greenwich St.New Y ork, NY 10007212-257-6110Email: [email protected]: Actors for theatre, film and TVContact: Erica Bines, OwnerHEART & SOUL ARTIST MANAGEMENT, LLCMiki MulvehillMinnesota Office1885 Shady Beach Ave.Roseville, MN 55113651-755-7944Email: [email protected]: UTRMusicGroup.comClients: Otis Clay, Syl Johnson, David Z, Lisa WengerHOFFMAN ENTERTAINMENTBrooklyn, NY212-765-2525 Contact: Randy HoffmanStyles: R&B, rock, pop, countryClients: John Mellencamp, Hugo, Carlene CarterNo unsolicited material acceptedIMC ENTERTAINMENT GROUP, INC.19360 Rinaldi St., Ste. 217Porter Ranch, CA 91326818-700-9655 Email: [email protected]: imcentertainment.comContact: Sylvester RiversClients: Paul Riser, T. ReneeStyles: pop, R&BServices: full serviceNo unsolicited materialIMPACT ARTIST MANAGEMENT293 Tinker St.Woodstock, NY 12498212-280-0800 Ext. 22 Email: [email protected] Web: impactartist.comStyles: jazz, world, rock, pop, blues, R&B, folk, alt. countryClients: Gipsy Kings, Jon Cleary, Amy Helm, Eef BarzelayNo unsolicited materialIN DE GOOT ENTERTAINMENT119 W. 23rd St., Ste. 609New Y ork, NY 10011212-924-7775 Fax 212-924-3242Web: indegoot.comContact: Michael IuratoStyles: rock, popClients: Audiodamni, Bel Heir, Black Stone Cherry, Chevelle, Highly Suspect, Halestrom, In This Moment, Kyng, Neon Trees, Robert Fenn, Story of the Y ear, Theory Of A DeadmanAccepts unsolicited material--Attn: Michael IuratoAdditional locations:900 South St., Ste. 101Nashville, TN 3720310 Greenland St., 4th Fl.Camden, London, NW1 0NDEngland+44 77 84110102INDIE MUSIC CONSULTING GROUPIndie Artist & Label Publicity, Marketing & Consulting888-242-9331Web: indiemusicconsultant.com“Voting Member the Recording Academy”INTERNATIONAL CREATIVE MANAGEMENT (ICM)10250 Constellation Blvd.Los Angeles, CA 90067310-550-4000 Web: icmtalent.comContact: Carol GollStyles: dance, classical, jazz, folk, world, contemporary, R&B, hip-hopNo unsolicited materialAdditional locations:65 E. 55th St.New Y ork, NY 10022212-556-5600WeWork3rd Fl.Marlborough House10 Earlham St.London, WC2H 9LN, England+044 0208 004 5315IN TOUCH ENTERTAINMENT5 Columbus Cir., 8th Fl.New Y ork, NY 10019212-235-7015Email: [email protected]: intouchhome.com Contact: Charles CarliniStyles: All StylesClients: Irene Cara, Michael Carvin, David Chesky, Suzanne Ciani, Elisha Abas, Equie Castrillo, Larry Coryell, Mamma Freedom, George Garzone, Eumir Deodato, Keith Emerson, Kenia, Craig Handy, Paulette McWilliams, Captain BeyondAccepts unsolicited material. See website for instructions.INTRIGUE MUSIC MANAGEMENT24 Preble St., 3rd Fl.Portland, ME 04101 203-349-9000Web: intriguemusic.comStyles: rock, popClients: Waterson, Artem Korolve, Shana Farr, Old Man Canyon, Rene FrisNo unsolicited materialINVASION GROUP1133 Broadway, Ste. 919New Y ork, NY 10010212-414-0505 Fax 212-414-0525Email: [email protected] Web: invasiongroup.comStyles: rock, world, folk, singer-songwriterClients: Gail Ann Dorsey, Caravan of Thieves, David Krakauer, Jennifer Knap, Jai Uttal, Bill Laswell, Maiysha, Ryan Dahle, Accepts unsolicited materialJAMPOL ARTIST MANAGEMENT8899 Beverly Blvd., Ste. 812West Hollywood, CA 90048310-654-1900Email: [email protected]: wemanagelegends.comContact: Jeff JampolClients: The Estates of the following: the Doors, Janis Joplin, Peter Tosh, Jim Morrison, Ramones, Michael Jackson, Rick James, Johnny Ramone, Henry ManciniDoes not accept unsolicited materialJONATHAN KLEIN ARTIST MANAGEMENTJonathan Klein455 Market St., Ste. 1480San Francisco, CA 94105(office) 415-438-3730, (mobile) 415-310-2571Clients: Jeffrey Foucault, Michelle Lewis, Tom RhodesKAHN POWER PICTURES433 N. Camden Dr., Ste. 600Beverly Hills, CA 90210310-550-0770Email: [email protected]: artists4film.comStyles: Film/TV scores, composer/performer/director representationClients: Eva Babic, Nancy Bishop, Stewart Copeland, Robert Domheim, J.P . Dutilleux, Claudio Faeh, Jiri Madi, Eric Neveux, J. Peter Robinson, Peter Golub No unsolicited materialKARI ESTRIN MANAGEMENT & CONSULTINGP .O. Box 60232Nashville, TN 37206615-262-0883Email: [email protected]: kariestrin.com Contact: Kari EstrinStyles: folk, Americana, AAA, rootsClients: David Llewellyn, Janis Ian, Tony Rice, Bluegrass/Newgrass legend, Suzanne Vega, Kanda Bonga Man, Papa Wemba, Kevin Brown, 3 Mustaphas 3Accepts unsolicited materialKBH ENTERTAINMENT GROUPLos Angeles, CA818-786-5994Web: kbhentertainment.comContact: Brent HarveyStyles/Specialties: All styles, entertainment consulting, publicity, music placement/licensing and live event productionNo unsolicited materialKBM310-228-8172 Email: [email protected]: Brent HarrisClients: Tony! Toni! Tone’!, Sounds of BlacknessNo unsolicited materialKRAFT ENGEL MANAGEMENT15233 Ventura Blvd., Ste. 200Sherman Oaks, CA 91403818-380-1918Email: [email protected]: kraft-engel.comContact: Richard KraftStyles: Film Composers No unsolicited materialKRAGEN & COMPANYEmail: [email protected]: kenkragen.comContact: Ken KragenClients: Suzanne Whang, Ronn Lucas, the Smothers Brothers, J. Geils Band, Travis Tritt, Burt Reynolds, Trisha Y earwoodStyles: Comedy, Country, Adult ContemporaryServices: personal management, TV production No unsolicited materialKUPER PERSONAL MANAGEMENT/RECOVERY RECORDINGS515 Bomar St.Houston, TX 77006 713-520-5791Email: [email protected]: recoveryrecordings.com Contact: Koop KuperStyles: folk, roots rock, AmericanaClients: the Very Girls, David RodriguezAccepts unsolicited materialLAKE TRANSFER ARTIST & TOUR MANAGEMENTStudio City, CA818-508-7158 Web: laketransfermgmt.comContact: Steven B. Cohen, Mgr.Clients: Candyboy, Friends of Distinction, Evelyn Champagne King, Rose Royce, DJ Asi VidalLAMONT PATTERSON409 N. Pacific Coast Hwy., #417Redondo Beach, CA323-957-7322Email: [email protected]: worldmovement.comContact: Olivia ShannonClients: Drew Raber, Rogon & Co, Kanya, Comedian Dewayne Dukes, Wylde Bunch, Beko, Coast Ridas, Michelle, Ghetto HippieLEN WEISMAN PERSONAL MANAGEMENT357 S. Fairfax Ave., Ste. 430Los Angeles, CA 90036323-653-0693, 323-653-7670Email: [email protected]: parliamentrecords.com Contact: Len WeismanStyles: R&B, soul, blues, gospel, rap, soul, popClients: Jewel With Love, Chosen Gospel Recovery Singers, Winds Of Fate, Rapture 7 , Chosen Gospel Singers, L ’Nee, Sister Maxine West, TooMiraqulas (rapper), Winds of FateAccepts unsolicited materialLEONARD BUSINESS MANAGEMENT11900 West Olympic Blvd., Ste. 410Los Angeles, CA 90064310-458-8860Email: [email protected]: leonardbusinessmanagement.comContact: Jerry LeonardClients: Call for roster Styles: AllServices: Business management onlyNo unsolicited materialLIPPMAN ENTERTAINMENTBeverly Hills, CA 90210805-686-1163Email: [email protected]: lippmanent.comContact: Michael Lippman, Nick LippmanClients: producers, artists, songwritersStyles: AllServices: Full-serviceNo unsolicited materialLLOYD SAX MANAGEMENT3021 Airport Ave.Santa Monica, CA 90405310-572-0023 Contact: Lloyd SaxClients: Troy BurgessStyles: AllServices: personal and business managementAccepts unsolicited materialLOGGINS PROMOTION310-325-2800Email: [email protected]: logginspromotion.com, facebook.com/logginspromotionContact: Paul LogginsServices: Represents both major and independent artists. All genres.LOYALT MANAGEMENTBrooklyn, N.Y .Contact: [email protected]: loyaltmgmt.comClients: Lord Huron, Animal Collective, Panda Bear, The Gaslight AnthemDownload at musicconnection.com/industry-contacts June 2019 musicconnection.com June 2019 musicconnection.com55LUPO ENTERTAINMENT 725 River Rd., Ste. 32-288Edgewater, NJ 07020Email: [email protected] Web: lupomusic.comContact: Steve Corbin, Nick LoPiccolo, Brooke BloomquistStyles: rock, pop, R&B, country, hip-hop Clients: Melinsa Colaizzi, Megan McCallon, Lo-Star, Lauren MayhewContact prior to sending material MAINE ROAD MANAGEMENTP .O. Box 1412Woodstock, NY 12498212-979-9004 Email: [email protected]: maineroadmanagement.comContact: David WhiteheadStyles: rock, singer-songwriter, popClients: The Antlers, Tyondai Braxton, Lloyd Cole, Mimi Goese, Helmet, Joe Henry, Joe Jackson, Hugh Laurie,Natalie Merchant, Elvis PerkinsNo unsolicited materialMAJOR BOB MUSIC Nashville, TN 37212615-329-4150 Web: majorbob.comContact: Bob DoyleStyles: Country, PopClients: Garth Brooks, the Features, Brett Kissel, FarroNo unsolicited materialMANAGEMENT ARK116 Village Blvd., Ste. 200Princeton, NJ 08540609-734-7403, Vernon H. Hammond III301-859-4050, Edward C. Arrendell, IIEmail: [email protected]: managementark.comContact: Vernon Hammond III, Edward C. Arrendell, IIStyles: jazzClients: Wynton Marsalis, Herlin Riley, Joey Alexander, Cecile McLorin SalvantNo unsolicited materialMASCIOLI ENTERTAINMENT CORPORATION319 Dillon Cir.Orlando, FL 32822 407-897-8824 Web: masciolientertainment.comContact: Paul A. MascoliStyles: country, jazz, R&B, orchestras, swing, tropical, rockClients: See website for rosterAccepts unsolicited materialMCGHEE ENTERTAINMENT615-327-325521 Music Sq. W.Nashville, TN 37203615-327-3255 Email: [email protected]: mcgheela.comClients: Kiss, Paul Stanley, Ted Nugent, Down, Vintage Trouble, Caleb JohnsonTHE MGMT COMPANY6906 Hollywood Blvd., 2nd Fl.Hollywood, CA 90028323-946-7700Email: [email protected]: themgmtcompany.comContact: Marc PollackM. HITCHCOCK MANAGEMENTNashville, TN 37220615-333-0015 Email: [email protected]: mhmgmt.com Contact: Monty HitchcockStyles: alt. country, contemporary folk, rock, countryClients: John Starling and Carolina Star, Ben Cyllus, Danny Flowers, Dylan LeBlanc, Sweethearts of the RodeoNo unsolicited materialMICHAEL HAUSMAN ARTIST MANAGEMENT17A Stuyvesant OvalNew Y ork, NY 10009212-505-1943 Fax 212-505-1127Email: [email protected]: michaelhausman.comContact: Michael HausmanStyles: rock, pop, singer-songwriterClients: Aimee Mann, Suzanne Vega, the BothNo unsolicited materialMIKE’S ARTIST MANAGEMENTFunzalo RecordsP .O. Box 571567Tarzana, CA 91357Email: [email protected]: funzalorecords.comContact: Mike LemboStyles: rock, pop, AmericanaClients: Tony Furtado, Mostly Bears, Luca, Brian LopezNo unsolicited materialMIKE GORMLEYL.A. Personal Development (LAPD)818-795-2834Email: [email protected]: lapersdev.com/history“ Activity Breeds Activity”MILLION DOLLAR ARTISTS12 Lake Forest Court WestSt. Charles, MO 63301636-925-1703, 888-521-8146Email: [email protected]: americaneaglerecordings.com/welcomeContact: Dr. Charles “Max” E. MillionStyles: All StylesClients: Well Hungarians, Sable, Spanky and Our Gang, KLLR SmiLe, Jim Carrick Accepts unsolicited material. See website for instructions.MONOTONE INC.820 Seward St.Hollywood, CA 90038323-308-1818 Web: vampireweekend.com/?s=contactClients: Amason, Amber Coffman, Andrew Wyatt, Autolux, Baio, Banks, Bella Thorne, Benjamin Booker, Broken Bells, Cathedrals, Cold War Kids, Danger Mouse, David Longstreth, the Dead Weather, Devendra Banhart, Dirty Projectors, Discovery, Electric Guest, EL-P , Empress of, Ezra Koenig, Flake Music, Flo Morrissey, Foster The People, French Style Furs, Isom Innis, Jack White, Jamie Foxx, James Murphy, Kasabian, Kid Wave, the Kills, LCD Soundsystem, Margo Price, Mark Foster, Miike Snow, Nuns, Oscar, the Olms, Pete Y orn, Pontus Winnberg, the Raconteurs, Ratatat, Rome feat. Danger Mouse & Jack White, Rostam, Run the Jewels, Saol Alainn, Sir Sly, the Shins, Smims & Belle, Toy, Vampire Weekend, Wet, the White Stripes.MORRIS HIGHAM MANAGEMENT, LLC2001 Blair Blvd.Nashville, TN 37212615-321-5025Email: morrisartistsmanagement.comWeb: morrisartistsmanagement.comStyles: CountryClients: Kenny Chesney, Brandon Lay, MamaDear, Old Dominion, Ryan GriffinNo unsolicited materialMSH MANAGEMENTStudio City, CA 213-200-4255Email: [email protected] Web: mshmgmt.wix.com/music-managementContact: Marney HansenClients: Nancy Luca, Evil Nancy, Git’erDone, Josie CuttingServices: personal managementNo unsolicited materialMUSIC & ART MANAGEMENTAsheville, NC 28801828-225-5658Web: musicandart.net Contact: Steve CohenStyles: Jazz, Electronic, Experimental, MultimediaClients: Theo Bleckmann, Carl Hancock Rux, David Wilcox, Vijay IyerDoes not accept unsolicited materialMYRIAD ARTISTSP .O. Box 550Carrboro, NC 27510919-967-8655 Email: [email protected]: myriadartists.comContact: Trish GalfanoStyles: folk, bluegrass, jazz, AmericanaClients: A.J.Croce, Mike Marshall, Leahy, Sugar and the Mint, Seamus Egan,No unsolicited materialNETTWERK PRODUCER MANAGEMENT3900 W. Alameda Ave., Ste. 850Burbank, CA 91505747-241-8619Email: [email protected]: nettwerk.comNo unsolicited materialAdditional locations:Head Office:575 W. 8th Ave.Vancouver, BC V5Z 0C4604-654-292933 Irving Pl.New Y ork, NY 10003212-760-971915 Richdale Ave., Unit 203Cambridge, MA 02140617-497-820015 Adeline Place, Ground FlLondon, WC1B 3AJ011-44-207-456-9500Neuer Kamp 3220357 Hamburg, Germany49-40-431-846-50Rear of 44 Chiswick Ln.London, W4 2JQ011 .44.207 456 9000NEW HEIGHTS ENTERTAINMENTCalabasas, CA 91372323-802-1650Email: [email protected]: newheightsent.comContact: Alan MelinaStyles: All StylesClients: See websiteNo unsolicited materialNOCTURNAL MOVEMENTS MUSIC RESOURCESP .O. Box 5583Vancouver, WA 98668360-513-9121Email: [email protected]: nocturnalmovements.netContact: Jett BlackStyles: All StylesClients: Deathwatch Beetle Repairman, Tri-State Killing Spree, Collilde, Tone CasualtiesAccepts unsolicited materialONCE 11 ENTERTAINMENT310-906-9800Email: [email protected]: once11ent.comContact: Javier WillisStyles: all types of Latin and world musicClients: Espinoza Paz, Vazquez Sounds, Annette Moreno, Sergio Arau, Agina Alvarez, Jerry DemaraConsulting and Personal Management Call for approval before sending material.OPEN MIND MEDIA (Record Label)252-269-4799Email: [email protected]: openmindmediallc.comContact: Sean SherrodManagement/A&ROwner: Brehon FordStyle: Hip Hop, R&B, Pop, World, OtherOPULENT VISION MANAGEMENT14747 N. Northsight Blvd., Suite 111-142Scottsdale, Arizona 85260480-788-0161Email: [email protected]: opulentvisionmgt.comStyles: Urban R&B, Indie, Pop, Gospel, Hip-Hop, JazzClients: T.Wong, RONNiEAccepts unsolicited material and seeking new clients PANACEA ENTERTAINMENT2021 Vista Alcedo Camarillo, CA 93012805-491-9400 Email: [email protected]: Eric Gardner, Paul MaloneyStyles: rockClients: Donny Osmond, Todd Rundgren, Utopia, Paul Shaffer, Cassandra “Elvira” PetersonServices: Personal managementNo unsolicited materialPATRICK RAINS & ASSOCIATES1255 5th Ave., Ste. 7KNew Y ork, NY 10029212-860-3233 Email: [email protected]: prarecords.com Contact: Patrick RainsStyles: jazz, pop, rockClients: Jonatha Brooke, Curtis Stigers & the Estate Joe Sample, Randy Crawford, David Sanborn, No unsolicited materialPERFORMINGBIZ.COM10 Chestnut Ct.Palmyra, VA 22963 Email: [email protected]: performingbiz.com Contact: Jeri GoldsteinStyles: All Styles/Coaching and Consulting Only Accepts Unsolicited materialPERSISTENT MANAGEMENTP .O. Box 88456Los Angeles, CA 90009Email: [email protected]: persistentmanagement.comContact: Eric KnightStyles: AllClients: Disciples of Babylon--Eric Knight, Blake Nix, Keith ShawServices: Personal ManagementAccepts Unsolicited material, email links only, see website for informationPRIMARY WAVE MUSIC116 E. 16th St. #9New Y ork, NY 10003212-661-8890Contact: Steven GreenerEmail: [email protected]: Primarywave.comClients: Cee Lo Green, Fantasia, Melissa Etheridge, Brandy, Cypress Hill, Eric Benet, Toots & The Maytals.Additional location:10850 Wilshire Blvd, Suite #600Los Angeles, CA 90024424-239-1200PRODIGAL SON ENTERTAINMENTBrentwood, TN 37027615-377-0057 Email: [email protected]: prodigalson-entertainment.comContact: Scott WilliamsStyles: rock, alt., hard rock, country, Christian, instrumentalClients: Skyhawk Drive, 7 Bridges, Jason Lee McKinney, iShine Live, KISS Mania, Voices of Rock Radio, Liquid Blue, Submission Red, llia, Joanna Beasley, August Rain, Air FiveNo unsolicited materialPRODUCTIONS / PETER KIMMEL ’S MUSIC CATALOGP .O. Box 55252Sherman Oaks, CA 91413-0252818-980-1039 Cell/Text 818-903-6518Email: [email protected]: Peter KimmelStyles: AllServices: Professional Music Licensing; Publishing, Personal Management Call for approval before sending materialQ PRIME MANAGEMENTNew Y ork, London, Nashville212-302-9790Email: [email protected] (NY), [email protected] (Nashville), [email protected] (London)Web: qprime.com Styles: rock, PopClients: Bear Hands, Silversun Pickups, Red Hot Chili Peppers, Eric Church, Brothers OsborneNo unsolicited materialJune 2019 musicconnection.com June 2019 musicconnection.com 56Directory of Managers & Booking AgentsRAINMAKER ARTISTSP .O. Box 342229Austin, TX 78734512-843-7500Email: [email protected]: rainmakerartists.comContact: Paul NugentStyles: rock, popClients: Blue October, Bowling For Soup, IAMDYNAMITE, Danny MaloneAccepts unsolicited materialRAM TALENT GROUPFort Lee, NJ 07024201-363-1461 Ext. 201 Email: [email protected]: RAMTalentGroup.com Contact: Ruben RodriguezStyles: urban, gospel, urban AC, Latin musicREBEL WALTZ MANAGEMENTLaguna Beach, CA 92651949-499-4497Email: [email protected]: Jim GuerinotStyles: punk, rockClients: the Offspring, Josh Freese, Gwen Stefani, Robbie RobertsonNo unsolicited materialRED LIGHT MANAGEMENT5800 Bristol Pwky, Suite 400Culver City, CA 90230310-273-2266Email: [email protected]: redlightmanagement.com Styles: All stylesClients: Phish, Luke Bryan, Alabama Shakes, Lady Antebellum and many more.Accepts unsolicited materialAdditional locations:VirginiaNew Y orkNashvilleLondonAtlantaSeattleCharlottesvilleREGIME MANAGEMENT105 W. Alameda Ave., #230Burbank, CA 91502Email: [email protected]: regime72.comClients: Amigo the Devil, Analea Brown, Between Kings, Common Kings, Diego’s Umbrella, Dilated Peoples, Dirtwire, DJ Babu, DJ Muggs, Dustbowl Revival, DJ Westafa, Everlast, Evidence, Fiji, House of Pain, Landon McNamara, Lettuce, Long Beach Dub Allstars, Matisyahu, MorganHeritage, Nattali Rize, Pancho Sanchez, Rakaa, Sammy Johnson, Save Ferris, Wailing Souls, Warporn IndustriesRIOT ARTISTSWeb: riotartists.comStyles: World, JazzServices: Personal management and agentsClients: Hermeto Pascoal, Huun Huur Tu, Le Mystere Des Voix Bulgares, Les Y eux Noirs, Paris Combo, Quetzal. See website for complete roster.No unsolicited materialRON RAINEY MANAGEMENT, INC.8500 Wilshire Blvd., Ste. 525Beverly Hills, CA 90211310-277-4050 Fax 310-557-8421Email: [email protected]: ronrainey.comContact: Ron RaineyClients: John Kay and Steppenwolf, Kid Creole and the Coconuts, Estate of Alvin Lee, Estate of Blue CheerStyles: rockServices: managementNo unsolicited materialROSEN MUSICP .O. Box 1308Pacific Palisades, CA 90272310-447-4704Email: [email protected]: rosenmusiccorp.comContact: Steven RosenStyles: all stylesClients: Eden, Juliana Buhring, DJ Rhiannon, Gloria Loring, Edwin Aquilar and Jose Zelaya, A Night With Janis Joplin, Orianthi, Jumaane Smith, Three Graces, Naria, Kelley Levesque, Bonnie Walker EventsNo unsolicited materialRPM MUSIC PRODUCTIONS420 W. 14th St., Ste. 6NWNew Y ork, NY 10014212-246-8126Email: [email protected]: Danny BennettStyles: rock, pop, jazzClients: Tony BennettNo unsolicited materialRPS RECORDING AND ENTERTAINMENT GROUP4212 E. Los Angeles Ave.Simi Valley, CA 93063805-551-2342 Email: [email protected]: Gary BrightStyles: Various genres along with Gospel and ChristianNo unsolicited material pleaseRUSSELL CARTER ARTIST MANAGEMENT567 Ralph McGill Blvd.Atlanta, GA 30312404-377-9900 Email: [email protected]: Russell CarterStyles: singer-songwriter, alt., Americana, pop, rockClients: Indigo Girls, Matthew Sweet, the Bangles, Shawn Mullins, Chely Wright, the Shadowboxers, Larkin PoeSEMAPHORE MGMT AND CONSULTING 1707 S. Racine, Ste, RB-3N Chicago, IL 60608 773-733-1838 Email: [email protected] Web: semaphoremgmt.com Contact: Taylor Brode, Maggie Vail Styles: alternative - synth, rock, experimental, punkServices: General Management, Project Based Short Term Consultancy Clients: Debby Friday, Orville Peck, Roseblood, Shamir, Summer CannibalsSAMSilva Artist Management722 Seward St.Los Angeles, CA 90038323-856-8222Email: [email protected]: sammusicbiz.comContact: John SilvaClients: Foo Fighters, Band of Horses, Ryan Adams, Jimmy Eat World, Beastie Boys, Beck,Sonic Y outh, Queens Of The Stone AgeStyles: alt., rockNo unsolicited material SHARPE ENTERTAINMENT SERVICES, INC.683 Palmera Ave. Pacific Palisades, CA 90272310-230-2100 Email: [email protected]: ses-la.com, Contacts: Seven Design Works, Styles: alt., pop, singer-songwriter, rockClients: Sarah Bettens, K’s Choice, Twinkle TimeServices: Personal managementNo unsolicited materialSIREN MUSICP .O. Box 12110Portland, OR 97212503-238-4771 Email: [email protected]: sirenmusiccompany.comContact: December CarsonStyles: roots, Americana, rock, folk, singer-songwriter, alt. country, Irish, pop, bluegrassClients: Sara Jackson-HolmanAccepts unsolicited materialSKH MUSIC540 President St.Brooklyn, NY 11215Email: [email protected], [email protected]: skhmusic.comContact: Steve Karas, Keith HaganClients: The Afghan Whigs, Arthur Buck, Joseph Arthur, Davina and the Vagabonds, Greg Dulli, Robert Finley, The Gutter Twins, Jonny Lang, Lily & Madeleine, The Magpie Salute, Squirrel Nut Zippers, TOTO, The Twilight SingersSOLSTICE ARTIST MANAGEMENT 623 Sheelin Rd.Xenia, Ohio 45385615-557-5003Email: [email protected]: Solsticeartistmanagement.comContact: Skip Mattan and David OrlikStyle: Rock and CountryClients: Mick Blankenship, Trevor Ohlsenunsolicited material OK via snail mailSOUNDTRACK MUSIC ASSOCIATES4133 Redwood Ave., Ste. 3030Los Angeles, CA 90066310-260-1023Email: [email protected]: soundtrk.comContact: John TempereauStyles: All StylesClients: Composers: Cliff Martinez, Rod Abernethey, Evan Lurie, (se website for roster)No unsolicited materialSO WHAT MEDIA & MANAGEMENT890 W. End Ave., Ste. 1-ANew Y ork, NY 10025212-877-9631 Email: [email protected] Contact: Lisa Barbaris, Nikki ViannaStyles: rock, popClients: Cyndi LauperNo unsolicited material acceptedSPARKS ENTERTAINMENT, LLCP .O. Box 82510Tampa, FL 33682734-394-9945Email: [email protected]: BSparksEnt.comContact: BrianStyles: ALL, hip-hop, R&B, country, rock, acting, modelingClients: Gary, LyrixServices: Talent Management, Career, Development, Booking, Promoting, NetworkingSTARKRAVIN’ MANAGEMENTMcLane & Wong 11135 Weddington St., Ste. 424 North Hollywood, CA 91601 818-587-6801 Fax 818-587-6802Email: [email protected]: benmclane.comContact: Ben McLane, Esq.Styles: pop, rock, alt.Services: Personal management, legal servicesAccepts unsolicited materialSTERLING ARTIST MANAGEMENT, INC.Studio City, CA 91604818-907-5556 Email: [email protected] Web: sterlingartist.com/Home.htmlContact: Mark SterlingClients: Pete Miser, Plake, Math The Band, MesserStyles: singer-songwriter, Americana, bluesServices: Personal managementInquiry letters acceptedSTEVEN SCHARF ENTERTAINMENT126 E. 38th St.New Y ork, NY 10016212-779-7977 Web: stevenscharf.com Contact: Steven ScharfStyles: rock, alt., singer-songwriter, hip-hop, world, producers, film & TV composersClients: Mackenzie, The Kickback, Leah Siegel, Liquid, Mike-ENo unsolicited materialSTEVE STEWART MANAGEMENT12400 Ventura Blvd., #900Studio City, CA 91604Email: [email protected]: stevestewart.comContact: Steve StewartStyles: alt., rock, pop producers, film & TV composersNo unsolicited materialSTIEFEL ENTERTAINMENT 21731 Ventura Blvd, #300Woodland Hills, CA 91364310-275-3377 Contact: Arnold StiefelClients: Rod StewartStyles: rock, popServices: personal managementNo unsolicited materialSUNCOAST MUSIC MANAGEMENT9215 Jminez Dr.Hudson, FL 34669 888-727-1698, 727-237-7971, (Ohio) 330-730-1615Email: [email protected]: suncoastentertainment.bizContact: Al SpohnStyles: disco, rock, classic rock, varietyClients: Poison’d and Red White and Crue (tributes to Poison and Mötley Crüe package), Hells/Bells (AC/DC Tribute), Battery (Metallica) Paradise City (GNR), Live Bait (Jimmy Buffett and Party Band), Stayin Alive (Bee Gees and 70s Disco), Space Cowboy (Steve Miller Band), Higher Ground (Red Hot Chili Peppers Tribute)Accepts unsolicited materialTAKEOUT MANAGEMENT1129 Maricopa Hwy., #238Ojai, CA 93023805-382-2200 Fax 805-201-7816Email: [email protected]: howiewood.comContact: Howard RosenClients: Simple Plan, Kanye West, Paula Abdul, CeeLo Green, Norah JonesStyles: AllServices: Personal management, shop for distribution and record deals. Production and remix with major producers.TED KURLAND ASSOCIATES173 Brighton Ave.Boston, MA 02134617-254-0007 Fax 617-782-3577Email: [email protected]: tedkurland.comContact: Ted KurlandStyles: jazz, blues, vocalsClients: Pat Metheny, Chick Corea, Ellis Marsalis, Ramsey Lewis, Bill Charlap, Ellis Marsalis, Ann Hampton Callaway, Stacey Kent, John Pizzarelli, Lisa Fischer, Pat Martino, Pancho Sanchez and moreNo unsolicited materialTENTH STREET ENTERTAINMENT38 W. 21st St., Ste. 300New Y ork, NY 10010212-334-3160 Email: [email protected]: 10thst.comClients: Mötley Crüe, Sixx AM, Drowning Pool, Papa Roach, Blondie, Deborah Harry, Crossfade, Eve, Hellyeah, Deuce, Oh No Fiasco, Nico Vega, Five Finger Death PunchStyles: AllServices: personal managementNo unsolicited materialAdditional location:6420 Wilshire Blvd., #950Los Angeles, CA 90048310-385-4700Email: [email protected]’S ENTERTAINMENT INTERNATIONAL, INC.(T.E.I.)3820 E. La Palma Ave.Anaheim, CA 92807714-693-9300 Email: [email protected]: teientertainment.comContact: John McEnteeStyles: AllServices: Entertainment broker for corporate/concert events, personal managementNo unsolicited materialTHREEEErik Eger Entertainment, Inc.918 N. Western Ave., Ste. ALos Angeles, CA 90029213-381-5100 Fax 213-381-5115Email: [email protected] at musicconnection.com/industry-contacts June 2019 musicconnection.com June 2019 musicconnection.com57Web: threee.comContact: Erik EgerStyles: All stylesClients: Rich Costey, Chris Carmouche, Michael H. Brauer, Dan Carey, Stuart Matthewman, John Hill, Johnny McDaid, Jordan Palmer, Lewinsky, Mark Rankin, Robin Hannibal, Stint, Jordan PalmerWe do not accept unsolicited materialTHUNDERBIRD MANAGEMENT GROUP133 Industrial Park Rd.Larose, LA 70373985-798-5665Email: [email protected]: thethunderbirdmanagementgroup.comContact: Rueben WilliamsStyles: all stylesAccepts unsolicited materialTKO ARTIST MANAGEMENT Nashville, TN615-383-5017 Web: tkoartistmanagement.comContact: T.K. KimbrellStyles: CountryClients: The Bacon Brothers, Ashley Campbell, Colt Ford, Krystal Keith, Toby Keith No unsolicited material TOM CALLAHAN & ASSOCIATESBoulder, CO310-418-1384Email: [email protected]: tomcallahan.comContact: Tom CallahanStyles: AllServices: full-service consulting company, including record promotion, legal services, Internet marketing, web design, retail promotion and publicity.No unsolicited materialTOWER MANAGEMENT 106 Shirley Dr.Hendersonville, TN 37205615-430-0244Email: [email protected]: castlerecords.comContact: Ed RussellStyles: country, rock, AC, bluegrass, bluesClients: Carl Butler, Bridgette Elise, the Hoods, Edd Greer, Eddie Ray, Eddie Ray II, Shane Keane, Jimmy Velvet, Abby, Cody Dooley, Jerry Presley, Mike GarnettAccepts unsolicited material, see website for instructionsTRUE TALENT MANAGEMENT 9663 Santa Monica Blvd., #320 Dept WEBBeverly Hills, CA 90210 310-560-1290 Email: [email protected]: truetalentmgmt.com Contact: Jennifer Y ekoClients: Specializing in film/TV placement, radio promotion, music publicity and managing pop/rock/singer-songwritersAccepts unsolicited materialTUSCAN SUN MUSICNashville, TN615-794-0485Email: [email protected]: angelica.org, tuscansunmusic.comContact: Jules DelgadoStyles: ambient, new age, inspirational, pop, film/TVClients: Seay, Pat ThomiNo unsolicited materialUNION ENTERTAINMENT GROUP, INC.Huntington Beach, CA714-840-5800Email: [email protected]: ueginc.comContact: Tim Heyne, Bryan ColemanClients: Nickelback, Kevin Costner and Modern West, DMC, High Valley, Mr. Big, Tom Kelfer, (see website for more)Styles: RockServices: personal managementNo unsolicited materialVARRASSO MANAGEMENTP .O. Box 387Fremont, CA 94537510-792-8910Email: [email protected]: varrasso.comContact: Richard VarrassoStyles: rock, covers, countryAccepts unsolicited materialVECTOR MANAGEMENTP .O. Box 120479Nashville, TN 37212615-269-6600Email: [email protected]: vectormgmt.comContact: Ken LevitanStyles: country, pop, singer-songwriterNo unsolicited materialAdditional locations:276 5th Ave., Suite 604New Y ork, NY 100019350 Civic Center Dr.Beverly Hills, Ca 9021057B St. Dionnis Rd.London, SW6 4UBVELVET HAMMER MANAGEMENT 9014 Melrose Ave., W.Hollywood, CA 90069310-657-6161Email: [email protected]: velvethammer.net Clients: System of a Down, Alice in Chains, the Deftones, Code of Orange, Night RiotsSpecialties: AllAccepts unsolicited materialWANTED MANAGEMENT Email: [email protected]: facebook.com/WantedMgmtStyles: rock, pop, punk, soulServices: personal management No unsolicited materialWAYWARD GOOSE ENTERTAINMENT GROUP1269 Hadaway Ct.Lawrenceville, GA 30043888-824-1152Email: [email protected]: wwgentertainment.comClients: Twisted Royalty, Jacques Lesure, Jazz Guitarist and ClinicianStyles: jazz, performing arts, other ONL YNo unsolicited material, No Phone CallsWHIPLASH PR & MANAGEMENT 398 Columbus Ave PMB #183 Boston, MA 02116617-445-4383Email: [email protected]: whiplashprandmanagement.comClients: Venus Theory, The Ormewoods,The LumineersWOLFSON ENTERTAINMENT, INC.805-494-9600Email: [email protected] Contact: Jonathan Wolfson, Dillon BarbosaWeb: wolfsonent.comStyles: All Clients: Daryl Hall and John Oates, Loverboy, Huey Lewis & The News, Live From Daryl’s House, The Tubes,Fox Wilde, Down NorthServices: Personal management. Also offers full-service media relations for management clients.WORLDSOUND 17837 1st Ave., S.Seattle, WA 98148-1728 206-444-0300, 800-470-1270Email: [email protected]: worldsound.comContact: Warren WyattStyles: rock, world, Celtic, folk, popClients: Na Leo, Keith Olsen, AnuheaServices: personal management, consultingSee website for submission informationBOOKING AGENTS1ST TOTAL MUSIC POWERLos Angeles, CA323-650-9400Email: [email protected] Web: totalmusicpower.comContact: Aaron Styles: rock, jazz, alt, film, allClients: Aaron Wolfson, Mercedes, the BroadcastersServices: Corporate events, concerts, private parties, recording sessions, producers, film/TV music (all). 25 LIVE 25 Music Sq. W.Nashville, TN 37203615-777-2227Email: [email protected]: 25ccm.comContact: David BreenStyles: ChristianNo unsolicited materialACA MUSIC & ENTERTAINMENT21005 Watertown Rd., Ste. AWaukesha, WI 53186800-279-7909, 262-790-0060 Fax 262-790-9149Web: acaentertainment.comContact: Louie HigginsStyles: variety, bluegrass, bands, lounge acts, nostalgia, DJ’s, club, festival bands, ceremony, dinner hour, cocktailServices: Represents nightclub and acts for private functions, not currently seeking new clientsAccepts unsolicited materialACT 1 ENTERTAINMENTP .O. Box 1079New Haven, CT 06504631-758-3505Email: [email protected]: act1entertainment.netContact: Martha MartinStyles: rock & roll, blues, acoustic, swing, folk, CaribbeanServices: mostly books acts for parties/eventsClients: info upon requestAccepts unsolicited materialAdditional locations:Stonington, CT 860-535-0052Contact: Carmela CongdonNewington, CT732-690-4437Contact: Michael DonagheyBoca Raton, FL / Charlotte, NCEmail: act2ent.com/florida561-251-7338Contact: Dave CovielloWestport, CT203-376-2636Contact: John PaolilloACTS NASHVILLE1103 Bell Grimes Ln.Nashville, TN 37207615-254-8600Email: [email protected]: facebook.com/actstalentagency/Contact: Lee ShieldsStyles: country, rock, nostalgia and variety onlyClients: info upon requestNo unsolicited materialAGENCY FOR THE PERFORMING ARTS (APA)405 S. Beverly Dr.Beverly Hills, CA 90212310-888-4200Web: apa-agency.comStyles: AllCall before submitting materialAdditional locations:135 W. 50th St., 17th Fl.New Y ork, NY 10020212-205-4320150 Fourth Ave., N., Ste. 2300Nashville, TN 37203615-297-0100 3060 Peachtree Rd. NW, Ste. 1580Atlanta, GA 30305404-254-5876AMW GROUP337 Garden Oaks Blvd., #8295Houston, TX 77018713-970-1015Web: amworldgroup.comStyles: All StylesClients: info upon requestNo unsolicited materialAdditional locations: Los Angeles8605 Santa Monica Blvd.West Hollywood, CA 90069310-295-4150New York City228 Park Ave., S.New Y ork, NY 10003212-461-4796AMERICAN ARTISTS8500 Wilshire Blvd., Ste. 525Beverly Hills, CA 90212310-277-7877Email: [email protected]: americanartists.net Contact: Michael WeinsteinStyles: rock, classic rock, country, R&B, swingClients: info upon requestNo unsolicited materialARTIST REPRESENTATION & MANAGEMENT1257 Arcade St.St. Paul, MN 55106651-483-8754 Fax 651-776-6338Email: [email protected]: armentertainment.comContact: John DomagallStyles: specializes in ‘80s-early ‘90s rock, country, blues, metalClients: info upon requestNo unsolicited materialBACKSTREET BOOKING700 W. Pete Rose Way, Ste. 390P .O. Box 18Cincinnati, OH 45203513-442-4405Email: [email protected]: backstreetbooking.comStyles: progressive fusion, jazz, rock, jam, metalClients: info upon requestNo unsolicited materialBBA MANAGEMENT & BOOKING512-477-7777Email: [email protected]: bbabooking.comStyles: jazz, Latin, rock, classical singer-songwriterNo unsolicited materialBIG BEAT1515 University Dr., Ste. 102Coral Springs, FL 33071954-755-7759 Email: [email protected]: bigbeatproductions.comContact: Richard LloydStyles: all stylesClients: info upon requestAccepts unsolicited materialBILL HOLLINGSHEAD PRODUCTIONS, INC.1010 Anderson Rd.Davis, CA 95616530-758-9779 Fax 530-758-9777Email: [email protected]: bhptalent.comContact: Bill HollingsheadStyles: California surf music, classic ‘50s/‘60s rockNo unsolicited materialBOOKING ENTERTAINMENT275 Madison Ave., 6th Fl.New Y ork, NY 100161-800-4ENTERTAINMENT212-645-0555Email: [email protected]: bookingentertainment.comContact: Steve EinzigStyles: rock, pop, jazz, adult contemporary, pop, R&BClients: info on website.No unsolicited materialCANTALOUPE MUSIC PRODUCTIONS157 W. 79th St., Ste. 4ANew Y ork, NY 10024June 2019 musicconnection.com June 2019 musicconnection.com 58Directory of Managers & Booking Agents212-724-2400Email: [email protected]: cantaloupeproductions.comContact: Ellen Azorin, PresidentClients: see websiteStyles: Booking agent specializing in Brazilian, Argentine, Cuban and other Latin music, as well as other world music and top level jazz ensembles.Does not accept unsolicited materialCELEBRITY TALENT AGENCY INC.111 E. 14th St., Ste. 249New Y ork, NY 10003212-539-6039, 201-837-9000Email: [email protected]: celebritytalentagency.comContact: Mark GreenStyles: jazz, R&B, hip-hop, comedians, gospelClients: info upon requestNo unsolicited materialCIRCLE TALENT AGENCY5900 Wilshire Blvd., Ste. 2200Los Angeles, CA 90036323-424-4970 Fax 323-424-4976Email: [email protected]: circletalentagency.comContact: Kevin Gimble, Owner/Agent, Various, see webBRUCE COLFIN LAW, PC1178 Broadway, Ste. 312New Y ork, NY 10001212-691-5630Email: [email protected]: thefirm.comContact: Bruce E. ColfinStyles: rock, blues, world, reggaeClients: Dark Star Orchestra, Mick Taylor, Sly and Robbie, Marty Balin, Freddie McGregor, Niney the Observer, Bernard PurdieAccepts unsolicited material--Submit material with a S.A.S.E. and proper postage for returnCOLLIN ARTISTSPasadena, CA 91104323-467-4702Email: [email protected]: collinartists.comContact: Barbara Collin, Robert Sax, Goh KurosawaStyles: jazz, blues, world, Latin, R&B, doo wop/classics and beyondClients: Mary Stallings, Jeri Brown, Kevin Mahogany, Andy Bey, Alan Paul, Latin Jazz Masters, Bobbi Humphrey, Kathy Kosins and moreServices: management, promotion, consulting, booking, workshops No unsolicited materialCONCERTED EFFORTS, INC.P .O. Box 440326Somerville, MA 02144617-969-0810 Fax 617-209-1300Email: [email protected]: concertedefforts.com Contact: Paul KahnStyles: blues, soul, jazz, gospel, zydeco, Cajun, folk, singer-songwriter, rock, worldClients: info upon requestNo unsolicited materialCREATIVE ARTISTS AGENCY 2000 Ave. of the StarsLos Angeles, CA 90067424-288-2000 Fax 424-288-2900 Web: caatouring.comStyles: AllNo unsolicited material - No phone callsAdditional locations:405 Lexington Ave., 19th Fl.New Y ork, NY 10174212-277-9000401 Commerce St., PenthouseNashville, TN 37219615-383-87876075 Poplar Ave., Site 410Memphis, TN 38119901-763-4900420 Lincoln Rd, Suite 347Miami Beach, FL 33139305-538-75353560 Lenox Road, Suite 1525Atlanta, GA 30326404-816-2722444 N. Michigan Ave., Suite 3540Chicago, IL 60611312-242-27003652 South Third St., Suite 200Jacksonville Beach, FL 32250904-339-0435London12 Hammersmith GroveHammersmith, London W6 7APU.K.D. BAILEY MANAGEMENT6607 Gunn Hwy.Tampa, FL 33625 813-960-4660 Fax 813-960-4662Email: [email protected], [email protected]: dbaileymanagement.comContact: Dennis Bailey or Liza SaturdayStyles: pop, R&B, top 40, rock, varietyClients: info upon requestNo unsolicited materialEAST COAST ENTERTAINMENT855-323-4386Email: [email protected]: bookece.comStyles: rock, acoustic, classical, latin, jazz, pop, R&B, funkNo unsolicited material*See website for additional locationsELECTRIC EVENTS CORPORATIONP .O. Box 280848Lakewood, CO 80228303-989-0001 Fax 303-989-0037Email: [email protected]: electricevents.comContact: Michael A. TolericoStyles: pop cover bands onlyClients: info upon requestNo unsolicited materialENTERTAINMENT SERVICES INTERNATIONAL1819 S. Harlan Cir.Lakewood, CO 80232303-727-1111Email: [email protected]: esientertainment.comContact: Randy ErwinStyles: mostly classic rockClients: info upon requestNo unsolicited materialENTOURAGE TALENT ASSOCIATES150 W. 28th St., Ste. 1503New Y ork, NY 10001212-633-2600 Email: [email protected]: entouragetalent.comContact: Wayne ForteStyles: rock, pop, singer-songwriter, jazzClients: info upon requestNo unsolicited materialFAT CITY ARTISTS 1906 Chet Atkins Pl., Ste. 502Nashville, TN 37212615-320-7678 Fax 615-321-5382Web: fatcityartists.comStyles: nostalgia, country, big band, bluegrass, blues, R&B, Cajun, world, folk, funk, gospel, jazz No rap or operaClients: info upon requestNo unsolicited materialFLEET TEAM BOOKINGChicago, IL 60608312-455-1350 Fax 773-442-0224Email: [email protected]: fleetteambooking.wordpress.comContact: Scott ComeauStyles: punk, indie rock, hip-hopClients: info upon requestNo unsolicited materialGIGSALAD2733 E. Battlefield Rd.Box 105Springfield, MO 65804866-788-GIGSWeb: gigsalad.comContact: Mark Steiner, Steve TetraultServices: A marketplace for booking bands, musicians, entertainers, speakers and services for parties, productions and events.Additional locations:225 S. Water St.Chandler’s WharfWilmington, NC312 E. Olive St.Springfield, MOGORFAINE-SCHWARTZ AGENCY4111 W. Alameda Ave., Ste. 509Burbank, CA 91505818-260-8500Web: gsamusic.comClients: see our website for client listNo unsolicited materialGREAT AMERICAN TALENTP .O. Box 2476Hendersonville, TN 37077615-368-7433, 615-957-3444Email: [email protected]: eddyraven.comStyles: country, CajunClients: info upon requestNo unsolicited materialHARMONY ARTISTS INC.3575 Cahuenga Blvd., W., #560Los Angeles, CA 90068323-655-5007 Email: [email protected]: harmonyartists.comContact: Adrienne Crane-RossStyles: tribute, nostalgia, R&B, Latin, blues, bluegrass, jazz, swingNo unsolicited materialHELLO! BOOKINGP .O. Box 18717Minneapolis, MN 55418651-647-4464Web: hellobooking.comContact: Eric RobertsStyles: bluegrass, country, rock, folk, pop, jazz, indie, hip-hop, acoustic, rockabillyClients: info upon requestAccepts unsolicited materialINA DITTKE & ASSOCIATES770 N.E. 69th St., Ste. 7CMiami, FL 33138305-762-4309Email: [email protected]: inadittke.comContact: Ina DittkeStyles: jazz, Latin, worldClients: info upon requestINDIE MUSIC CONSULTING GROUPIndie Artist & Label Publicity, Marketing & Consulting888-242-9331Web: indiemusicconsultant.com“Voting Member the Recording Academy”INTERNATIONAL CREATIVE MANAGEMENT (ICM)10250 Constellation Blvd.Los Angeles, CA 90067310-550-4000Web: icmtalent.comStyles: AllNo unsolicited materialAdditional locations:65 E 55th St.New Y ork, NY 10022212-556-5600Marlborough House10 Earlham St., 3rd FL.London, WC2H, 9LN England+44.208 004 5315IN TOUCH ENTERTAINMENT5 Columbus Cir., 8th Fl.New Y ork, NY 10019212-235-7015Email: [email protected]: intouchent.com Contact: Charles CarliniStyles: All StylesClients: Irene Cara, Michael Carvin, David Chesky, Suzanne Ciani, Eumir Deodato, Michael Sembello, Ron Sunshine, Tito Rodriguez, jr., George Mraz, Airto Moreira, Kenia, Paulette McWilliams, Tony Middleton, Toninho Horta & Ronnie Cuber Project, Elisha Abas, Captain Beyond, Sarah Hayes, Guinga, Larry Coryell, Brian Auger, Mamma Freedom, Eddie Jobson, Melissa Zenago, ToquinhoAccepts unsolicited material - via SonicBids onlyJAM ENTERTAINMENT AND EVENTS2900 Bristol St., Ste. A - 208Costa Mesa, CA 92626714-556-6000Email: [email protected]: jamentertainment.comAccepts unsolicited COVER materialJEFF ROBERTS & ASSOCIATES174 Saundersville Rd., Ste. 702Hendersonville, TN 37075615-859-7040 Web: jeffroberts.comContact: Jeff RobertsClients: info upon requestNo unsolicited materialKEITH CASE & ASSOCIATES1025 17th Ave. S., 2nd Fl.Nashville, TN 37212615-327-4646 Fax 615-327-4949Email: [email protected]: keithcase.comStyles: bluegrass, roots, folk, singer-songwriterClients: info upon requestNo unsolicited material LIVE NATION Beverly Hills, CA800-653-8000Web: livenation.comStyles: All StylesServices: producing, marketing and selling live concerts for artistsLUTHER WOLF, LLCP .O. Box 162078Austin, TX 78716-2078512-448-3065 Email: [email protected]: Wayne Nagel Styles: rock, bluesClients: info upon requestNo unsolicited materialMARSJAZZ BOOKING AGENCY1006 Ashby Pl.Charlottesville, VA 22901434-979-6374Email: [email protected]: marsjazz.comContact: Reggie MarshallStyles: jazzClients: info upon requestNo unsolicited materialMAULDIN BRAND AGENCY1280 W. Peachtree St., Ste. 300Atlanta, GA 30309404-733-5511 Email: [email protected]: facebook.com/mauldinbrandStyles: urban, pop, hip-hop, R&BClients: info upon requestNo unsolicited materialMAURICE MONTOYA MUSIC AGENCY11 Island Ave., Ste. 1711Miami, FL 33139305-763-8961, 212-229-9160Email: [email protected]: mmmusicagency.comContact: Maurice Orlando MontoyaStyles: jazz, Afro-Cuban, Brazilian, contemporary/popClients: info upon requestNo unsolicited materialMICHAEL KLINE ARTISTS, LLC 714 Beach Ave.Cape May, New Jersey609-849-9202 Email: [email protected]: michaelklineartists.comClients: info on request M.O.B. AGENCY6404 Wilshire Blvd., Ste. 505Los Angeles, CA 90048323-653-0427Email: [email protected]: mobagency.comContact: Mitch OkminStyles: rock, alt.Clients: info upon requestNo unsolicited materialDownload at musicconnection.com/industry-contacts June 2019 musicconnection.com June 2019 musicconnection.com59MONQUI EVENTSP .O. Box 5908Portland, OR 97228503-223-5960Email: [email protected]: monqui.comStyles: alt., rock, indie rock, pop, countryNo unsolicited materialMUSIC CITY ARTISTS7104 Peach Ct.Brentwood, TN 37027615-915-2641Email: [email protected]: musiccityartists.comContact: Charles Ray, President/AgentStyles: AC, country, oldies, musicals, tribute, comedy, musicClients: info upon requestNo unsolicited materialMUSIC GROUP ENTERTAINMENT, LLC Las Vegas, NVCelebrity Booking Agency 300 Available Acts404-822-4138, 877-472-4399Email: [email protected]: facebook.com/musicgroupworldwideContact: Mya RichardsonStyles: neo soul, R&B, pop, rock, country, jazz, alt, dance, reggae, calypso, dance hall, comedy actorsNo unsolicited material, not accepting hip-hop demosMUSICIANS CONTACT29684 Masters Dr.Murrieta, CA 92563818-888-7879Email: [email protected]: musicianscontact.comContact: Sterling HowardStyles: All, originals or coversServices: Established 40 years as a referral service between musicians and employersMUSTANG AGENCY6119 Greenville Ave., Ste. 361Dallas, TX 75206214-257-0971, 888-480-3650Email: [email protected]: facebook.com/MustangAgencyContact: Don BrooksStyles: rock, country, pop, metal, pop/punk, alt., classic rockClients: info upon requestNo unsolicited materialNIGHTSIDE ENTERTAINMENT10 Crabapple Ln.Greenville, RI 02828401-949-2004Email: [email protected]: nightsideentertainment.comContact: Al SalzilloStyles: All StylesClients: info upon requestNo unsolicited materialOLYMPIC PRODUCTIONS ED HARTMAN MUSIC4501 Interlake Ave. N., Ste. 7Seattle, WA 98103206-634-1142Email: [email protected]: edhartmanmusic.com/bioContact: Ed HartmanStyles: rock, pop, urban, jazz, Latin, Caribbean, worldClients: info upon requestDoes not accept unsolicited materialOZARK TALENT718 Schwarz Rd.Lawrence, KS 66049913-841-2800Email: [email protected]: savoybrown.com, wishboneash.com, wcclark.com, jacksemple.com, bluescaravan/facebook, mrmojotribute.comContact: Steve OzarkStyles: All StylesClients: Savoy Brown, Wishbone Ash, W.C. Clark, Jack Semple, Blues Caravan, Mr. Mojo Rinsin’Accepts unsolicited material PACIFIC TALENTP .O. Box 19145Portland, OR 97280503-228-3620Email: [email protected]: pacifictalent.comContact: Andy GilbertStyles: jazz, blues, R&B, rock, funk, disco, everythingClients: info upon requestAccepts unsolicited materialPARADIGM TALENT AGENCY8942 Wilshire Blvd,Beverly Hills, CA 90211310-288-8000Email: [email protected]: paradigmagency.comContact: Paul MorrisStyles: rock, hip-hop, electronica, industrialClients: info upon requestNo unsolicited materialAdditional Locations: New Y ork, Nashville, San Diego, Monterey, Austin, London, Berkeley, ChicagoTorontoPARADISE ARTISTS108 E. Matilija St.Ojai, CA 93023805-646-8433Web: paradiseartists.comContact: Howie SilvermanStyles: rock, pop, alt., legendsClients: info upon requestNo unsolicited materialAdditional location:5 Penn Plaza, #2382New Y ork, NY 10001646-378-2204PIEDMONT TALENT704-399-2210Email: [email protected]: piedmonttalent, facebook.com/PiedmontTalentContact: [email protected]: blues, roots, rock, alt. country, folkClients: Matt Schofield (Europe, U.K., Asia, S.America), Debbie Davies, Gene Cornish of The Rascals, Jack Mack & The Heart Attack, Trudy Lynn Alastair Greene, Sean Chambers, Slam Allen, Mark Telesca, Kent Burnside, Murali Coryell, Chris Beard, Veronica Martell, Baby Dynamite and The Jay Stollman Band.No unsolicited material PROGRESSIVE GLOBAL AGENCYP .O. Box 50294Nashville, TN 37205615-354-9100Email: [email protected]: pgamusic.comContact: Jennifer FowlerStyles: rock, pop, worldClients: info upon requestNo unsolicited materialPYRAMID ENTERTAINMENT GROUP377 Rector Pl., Ste. 21-ANew Y ork, NY 10280212-242-7274Email: [email protected]: pyramid-ent.comContact: Sal MichaelsStyles: urban, jazz, gospel, classic and contemporary R&B, funk, hip-hopClients: info upon requestNo unsolicited materialRED ENTERTAINMENT AGENCY505 8th Ave., Ste. 1004New Y ork, NY 100018212-563-7575Email: [email protected]: redentertainment.comContact: Carlos KeyesStyles: rock, funk, jazz, gospel, R&B, pop, Latin, hip-hopClients: Dionne Warwick, Village People, Elliott Y amin, Cameo, Jodeci, Steven Seagal, Gloria Gaynor, Ready For The World, Surface, Erasure’s Andy Bell, Tito Jackson, Bell Biv DeVoe, Case, Baha Men, Hi-Five, DMX, the Brides of Funkenstein, Dwele, Keith Sweat, Mario Winans, Tyrese, Meek Mill, Johnny Gill, Chic Feat. Nile Rodgers, Kathy Sledge, Slum Village, Twista, Jon B, Kenny Lattimore, CeCe Winans, Carl ThomasNo unsolicited materialSELAK ENTERTAINMENT466 Foothill Blvd., #184La Canada, CA 91011626-584-8110, 213-709-4909 Email: [email protected]: selakentertainment.comContact: Steve SelakStyles: tribute bands, blues, country, dance, disco, ethnic, hip-hop, party band, jazz, soul, solo, swing, pop, R&B, bluesno unsolicited materialSELF GROUP, LLC, THEP .O. Box 14721Portland, OR 97293Email: [email protected]: selfgroup.orgContact: Krist Krueger Styles: indie, rock, folk, acoustic, experimental, popClients: info upon requestNo unsolicited materialSMC ARTISTS1525 Aviation Blvd., Ste. 1000Redondo Beach, CA 90278818-505-9600Email: [email protected]: smcartists.com Contact: Otto Vavrin IIStyles: Film & TV composersClients: info upon requestNo unsolicited materialSPARKS ENTERTAINMENT, LLCP .O. Box 82510Tampa, FL 33682734-394-9945Email: [email protected]: BSparksEnt.comContact: GaryStyles: ALL, hip-hop, R&B, country, rock, acting, modelingServices: Talent Management, Career, Development, Booking, Promoting, NetworkingSPECTRUM TALENT AGENCY212-268-0404 Fax 212-268-1114Email: [email protected]: spectrumtalentagency.comContact: Marc KatzStyles: pop, R&B, dance, hip-hop, theatricalClients: info upon requestNo unsolicited materialTHIRD COAST TALENTP .O. Box170Chapmansboro, TN 37035615-685-3331Email: [email protected]: thirdcoasttalent.comStyles: CountryClients: see website for complete rosterNo unsolicited materialUNITED TALENT AGENCY9336 Civic Center Dr.Beverly Hills, CA 90210310-273-6700Web: theagencygroup.comClients: See site for a listNo unsolicited materialAdditional locations:New York, NY888 7th Ave., Seventh FL.New Y ork, NY 10106212-659-2600Nashville, TN209 10th Ave. S., Ste. 511Nashville, TN 37203615-564-2580 Miami, FL1101 Brickell Ave.South Tower, Fl. 8Miami, FL 33131786-574-5210U.K.361-373 City Rd.London, EC1V 1PQUnited Kingdom+44-207-278-3331SwedenNorra Vallgatan 68214 22 Malmo, Sweden+46-40-0976250UNCLE BOOKING5438 Winding Way Dr.Houston, TX 77091510-917-1610Email: [email protected]: unclebooking.comClients: Kevin Barnes, Bottomless Pit, CEX, Citay, the Coke Dares, Danielson, Deerhoof, Southeast Engine, Trans Am, etc.No unsolicited materialUNIVERSAL ATTRACTIONS AGENCY 15 W. 36th St., 8th Fl. New Y ork, NY 10018 NY: 212-582-7575 Fax 212-333-4508Additional Location:22025 Ventura Boulevard, #305 Los Angeles, CA 91364 LA: 818-225-0444 Email: [email protected] Web: universalattractions.com Styles: All Clients: info upon request Accepts unsolicited material to [email protected] ARTISTS INTERNATIONAL1924 Spring St.Paso Robles, CA 93446805-545-5550 Fax 805-545-5559 Email: [email protected], [email protected], [email protected], [email protected] Web: varietyart.comContact: Bob Engel, John Harrington, Lloyd St. Martin, Zach Mullinax Styles: rock, folk, pop, rap, jazz, oldiesClients: info upon requestNo unsolicited materialWALKER ENTERTAINMENT GROUP P .O. Box 7827Houston, TX 77270281-431-9393 Email: [email protected]: walkerentertainmentgroup.comContact: Ernest Walker, President/CEO No unsolicited materialWILLIAM MORRIS AGENCY 9601 Wilshire Blvd.Beverly Hills, CA 90210310-285-9000 Web: wma.comStyles: AllNo unsolicited material **No phone callsAdditional locations:131 S. Rodeo Dr., 2nd Fl.Beverly Hills, CA 9021211 Madison Ave.New Y ork, NY 10010212-586-51001500 S. Douglas Rd. Ste 230Coral Gables, FL 33134305-938-20001201 DemonbreunNashville, TN 37203615-963-3000100 New Oxford St.London, WC1A 1HB+44 (0) 20 8929 8400MLC Centre, Level 2519 Martin PlaceSydney, NSW 2000+ 61 (2) 8046 0300For hundreds more contacts from Music Connection’s directories (A&R, music attorneys, producers, engineers, video production, video gear rental, vocal coaches, music schools, recording studios, everything indie, promotion, publicity, rehearsal studios, audio gear rental, film/TV, mastering studios, music publishers, college radio and more), visit: musicconnection.com/industry-contacts.	[ "unsolicited", "email", "rock", "ca", "management", "ste", "pop", "ny", "ork", "entertainment" ]	{ "summary": "52Music-makers tap into this directory to connect with indie labels, marketing & promo experts and i" }
THE POWER OF MUSIC.pdf	OBPTHE POWER OF MUSICSUSAN HALLAM AND EVANGELOS HIMONIDESTHE POWER OF MUSIC Building on her earlier work, The Power of Music: A Research Synthesis of the Impact of Acti vely Making Music on the Intellectual, Social and Personal Development of Children and Young People , this volume by Susan Hallam and Evangelos Himonides is an important new resource in the ﬁ eld of music educa� on, prac� ce, and psychology. A well signposted text with helpful subheadings, The Power of Music gathers and synthesises research in neuroscience, psychology, and educa� on to develop our understanding of the eﬀ ects of listening to and ac� vely making music. Its chapters address music’s rela� onship with literacy and numeracy, transferable skills, its impact on social cohesion and personal wellbeing, as well as the roles that music plays in our everyday lives. Considering evidence from large popula� on samples to individual case studies and across age groups, the authors also pose important methodological ques� ons to the research community. The Power of Music defends qualita� ve research against a requirement for randomised control trials that can obscure the diverse and o� en fraught contexts in which people of all ages and backgrounds are exposed to, and engage with, music. This magniﬁ cent and comprehensive volume allows the evidence about the power of music to speak for itself, thus providing an essen� al directory for those researching music educa� on and its social, personal, and cogni� ve impact across human ages and experiences. This is the author-approved edi� on of this Open Access � tle. As with all Open Book publica� ons, this en� re book is available to download for free on the publisher’s website. Printed and digital edi� ons, together with supplementary digital material, can also be found at h� p://www. openbookpublishers.com Cover image by Tabitha Lincoln, all rights reserved Cover design by Anna Gatti SUSAN HALLAM AND EVANGELOS HIMONIDESAn Exploration of the EvidenceHALLAM AND HIMONIDES THE POWER OF MUSIC An Exploration of the Evidenceebook ebook and OA edi� ons also available OPEN ACCESS www.openbookpublishers.comTHE POWER OF MUSICThe Power of Music An Exploration of the Evidence Susan Hallam and Evangelos Himonides https://www.openbookpublishers.com © 2022 Susan Hallam and Evangelos Himonides This work is licensed under an Attribution-NonCommercial-NoDerivs 4.0 International license (CC BY NC ND 4.0). This license allows reusers to copy and distribute the material in any medium or format in unadapted form only, for noncommercial purposes only, and only so long as attribution is given to the creator. Attribution should include the following information: Susan Hallam and Evangelos Himonides, The Power of Music: An Exploration of the Evidence . Cambridge, UK: Open Book Publishers, 2022, https://doi.org/10.11647/OBP .0292 In order to access detailed and updated information on the license, please visit https:// doi.org/10.11647/OBP .0292#copyright Further details about CC BY-NC-ND licenses are available at http://creativecommons. org/licenses/by-nc-nd/4.0/ All external links were active at the time of publication unless otherwise stated and have been archived via the Internet Archive Wayback Machine at https://archive.org/web Digital material and resources associated with this volume are available at https://doi. org/10.11647/OBP .0292#resources Every effort has been made to identify and contact copyright holders and any omission or error will be corrected if notification is made to the publisher. ISBN Paperback: 9781800644168 ISBN Hardback: 9781800644175 ISBN Digital (PDF): 9781800644182 ISBN Digital ebook (EPUB): 9781800644199 ISBN Digital ebook (azw3): 9781800644205 ISBN Digital ebook (XML): 9781800644212 ISBN Digital (HTML): 9781800646766 DOI: 10.11647/OBP .0292 Cover image by Tabitha Lincoln, all rights reserved. Cover design by Anna Gatti. Contents Author Biographies xiii Susan Hallam xiii Evangelos Himonides xiv Preface xvii 1. Introduction 1 Music, Its Functions and Origins 2 Transfer of Learning 7 Methodological Issues 9 Ways of Engaging with Music and Varying Levels of Commitment 11 Music Therapy 13 Interpreting the Research Findings 13 2. Music and Neuroscience 15 Neuroscientific Methods 17 Changes in the Brain following Musical Activity 18 Comparisons between Musicians’ and Non-Musicians’ Expertise 19 The Automation of Skills as Expertise Increases 25 Bimanual Motor Coordination 26 Multisensory Learning 29 Neurological Differences Relating to Genre and the Instrument Played 30 Studies with Child Musicians and Non-Musicians 33 Genetic and Maturational Effects versus Training Effects 37 Intervention Studies 38 Overview 42vi The Power of Music 3. Aural Perception and Language Skills 43 Explanations of the Relationships between Music and Language 46 Comparisons between Musicians and Non-Musicians 55 Research with Children 62 Research with those with Auditory or Language Impairments 72 Overview 77 4. Literacy and Related Language Skills 79 Correlation Studies and Comparisons between Musicians and Non-Musicians 80 Intervention Studies 83 Children Facing Challenges with Literacy Skills 90 Are Pitch or Rhythm Programmes More Effective in Enhancing Literacy? 96 Reviews, Meta-Analyses and Conclusions 101 Spelling 102 Writing 103 Overview 105 5. Music, Spatial Reasoning and Mathematical Performance 107 Comparisons between Musicians and Non-Musicians, and Correlation Studies 110 Musical Interventions and Spatial-Temporal Reasoning 114 The Relationships between Spatial Skills and Mathematics 119 The Relationships between Music, Spatial Skills and Mathematics 122 Musical Engagement and Mathematical Performance 123 Overview 130 6. The Impact of Musical Engagement on Memory 133 Visual Memory 134 Research with Children 140 Verbal Memory 141 Research with Children 145 Working Memory 148 Research with Adults 149 vii Contents Research with Children and Young People 154 Older Adults 159 Reviews and Meta-Analyses 167 Overview 169 7. Executive Functioning and Self-Regulation 171 Research with Adults 175 Research with Children 181 Research with Older People 190 Reviews of the Literature 194 Overview 197 8. Intellectual Development 199 Nature or Nurture 201 Correlational and Comparative Research with Adults 202 Correlation and Comparative Research with Children 206 Intervention Studies 210 Music and Emotional Intelligence 215 Studies with Older Adults 217 Reviews and Meta-Analyses 219 Overview 221 9. Musicians and Creativity 223 Neurological Studies of Creativity 225 Correlational and Comparative Research on Musicians 227 The Personality of Musicians and Creativity 230 Intervention Studies 232 Creativity in Later Life 234 Reviews and Meta-Analyses 235 Overview 235 10. General Attainment 237 Correlation and Comparative Studies 237 Large-Scale Research 241 Research with Disadvantaged Populations 247 Intervention Research 248 Reviews and Meta-Analyses 251viii The Power of Music Explanations for the Research Findings 253 Neurological Studies 254 Length of Engagement with Music 255 Type, Nature and Quality of Musical Training 256 The Role of Executive Functions in Attainment 257 Personality Factors 257 Motivation 258 Overview 259 11. Music and Studying 261 Listening to Music prior to Completing a Task 261 Background Music 269 The Nature of the Music 270 Preferred Music, Familiarity and Liking 276 Preference for Music of One’s Own Culture 279 The Nature of the Task To Be Completed 279 Background Music and Memory 279 Background Music and Attention 284 Reading Comprehension 286 Second-Language Learning 288 Background Music and English as a Second Language 289 Individual Differences 290 Musical Expertise 290 Gender 292 Personality 292 Background Music and Metacognition 294 The Impact of Background Music on Children’s Behaviour and Task Performance 296 Background Music and Primary-School Children 297 Background Music and Older Students 300 Research with Children with Emotional and Behavioural Difficulties, ADHD and Developmental Difficulties 301 Children with Attention Deficit Hyperactivity Disorder and Attention Deficit Disorder 301 Emotional and Behavioural Difficulties 303 ix Contents Older Adults and those with Cognitive Impairment 304 Reviews and Meta-Analyses 307 Explaining the Impact of Background Music on Cognitive Performance 309 An Explanatory Framework 316 Overview 317 12. Re-Engagement and Motivation 319 Motivation 319 Motivation Developed through Engagement with Music 322 Children and Young People Facing Challenging Life Circumstances 325 El Sistema and Sistema -inspired Programmes 326 Raised Aspirations and Motivation for Learning 326 Self-Beliefs 331 School Attendance and Positive Attitudes towards School 332 Emotional and Behavioural Difficulties 333 Transferable Skills 334 Music Interventions Unrelated to El Sistema 334 School Attendance and Attitudes towards School 339 The Integration of Young People with Special Educational Needs into Mainstream Education 340 School-Based Music Therapy Interventions for Children with Emotional and Behavioural Difficulties 342 The Role of Rap and Hip Hop in Therapy in School Contexts 347 Music Programmes for Young Offenders 353 Music Programmes for Adult Offenders 361 Choirs 362 Projects Using Gamelan 363 Assorted Music Therapies 365 Overview 372 13. Personal, Social and Physical Development 375 Personal Development 375 Music and Identity 375 Music and Personality 377x The Power of Music Self-Beliefs 384 Self-Beliefs, Deprivation and Disaffection 387 Children with Special Educational Needs and Disabilities 389 Ensemble Participation 390 Musical Preferences and Self-Esteem 391 Social Development 392 Musical Ensembles and Teamwork 397 School Climate 400 Sistema Programmes 401 Prosocial Skills and Empathy 403 Interventions for Children with Special Educational Needs and Disabilities 405 Physical Development 406 Music, Locomotor Performance and Coordinated Motor Skills 408 Overview 410 14. Psychological Wellbeing 413 The Use of Music to Support Emotional Stability and Manage Moods 418 Singing 425 Wellbeing in Young Children 430 Music and Wellbeing in School-Aged Participants 432 Music and Wellbeing in Adolescents and Young People 437 Actively Making Music 444 Music and Wellbeing in Adults 447 Participation in Musical Activities 449 Attendance at Music Festivals 451 Music and Wellbeing in the Older Generation 453 Music, Wellbeing and the COVID-19 Pandemic 465 The Impact of the Pandemic on Music Professionals 475 Overview 477 15. Music and Physical and Mental Health 479 The Role of Music in Psychological and Physical Health 480 Music, Stress and the Immune System 484 xi Contents Active Music-Making and the Promotion of General Good Health 486 Music, Health and the Older Generation 488 Music, Dementia and Care in the Home 497 Reviews of the Relationship between Music Therapy and Dementia 499 Music, Public Health and Music on Prescription 501 The Role of Community Music and Creative Workshops 503 Music, Brain Plasticity and Movement 505 Breathing 509 Speech Impairment 510 Music in Hospital Settings 511 Music and Mental Health: Stress, Anxiety and Depression 519 Mental Health Care in Children, Adolescents and Young People 523 Insomnia 525 Music, Trauma and Abuse 527 Severe Mental Ill-Health 538 Overview 549 16. Music, Inclusion and Social Cohesion 551 Music and Conflict 555 Music and Refugees 560 Social Inclusion 566 Overview 571 17. Music in Everyday Life 573 Music and Leisure 574 Listening to Music 576 Attending Live Musical Events 577 Actively Making Music 578 Socioeconomic Status 579 Music in the Arts 581 Listening to Support Everyday Activities 581 Music and Driving 582 Music at Work and to Accompany Mental Activity 583xii The Power of Music Music and Exercise 584 Music, Commerce and Consumption 585 The Economics of Music 588 Music and Non-Human Species 589 Overview 591 Reflections on an Exploration of the Evidence for the Power of Music 593 Bibliography 597 Index 805Author Biographies Susan Hallam Professor Susan Hallam (MBE) studied the violin at the Royal Academy of Music prior to becoming Principal 2nd violin in the BBC Midland Light Orchestra and Deputy Leader of Orchestra da Camera. She studied for her BA in psychology externally with London University and for her MSc in the Psychology of Education and her PhD at the Institute of Education, University of London. She is currently Emerita Professor of Education and Music Psychology at University College London, Institute of Education. She is a past editor of the Psychology of Music and Music Performance Research. She has been Chair of the Education Section of the British Psychological three times and is an Academician of the Learned Societies for the Social Sciences. She has been awarded lifelong honorary membership of the British Psychological Society and the International Society for Music Education. In 2020 she was awarded a Music & Drama Education Lifetime Achievement Award. Her research interests in music include practising, performing, musical ability, musical understanding and the wider impact of engagement with music. She is the author of numerous books related to music including: Instrumental Teaching: A Practical Guide to Better Teaching and Learning (1998); The Power of Music (2001); Music Psychology in Education (2005); Preparing for Success: A Practical Guide for Young Musicians (2012) (with Helena Gaunt); Active Ageing with Music (2014) (with Andrea Creech, Maria Varvarigou and Hilary McQueen); The Impact of Actively Making Music on the Intellectual, Social and Personal Development of Children and Young People: A Research Synthesis (2015); The Psychology of Music (2018); and Contexts for Music Learning and Participation: Developing and Sustaining Musical Possible Selves ( with Andrea Creech and Maria xiv The Power of Music Varvarigou). She is editor of The Oxford Handbook of Psychology of Music (2009, 2016) (with Ian Cross and Michael Thaut); Music Education in the 21st Century in the United Kingdom: Achievements, Analysis and Aspirations (2010) (with Andrea Creech); and The Routledge International Handbook of Music Psychology in Education and the Community (2021) (with Andrea Creech and Donald Hodges). Evangelos Himonides Dr Evangelos Himonides held the University of London’s first ever lectureship in music technology education and now holds the country’s first ever Chair in Technology, Education, and Music. Evangelos works at University College London, where he leads a number of courses and supervises doctoral and post-doctoral research. At postgraduate level, he has led and now serves the MA in Music Education programme at UCL, with courses in ‘Music Technology in Education’ and ‘Choral Conducting, Leadership and Communication’. At undergraduate level, Evangelos developed UCL ’s first ever music-related course in the Institution’s near two-century history, which is called ‘Interactions of Music & Science’ and offered under the innovative Bachelors of Arts and Sciences (BASc) programme. He is fellow of the RSA and Chartered Fellow (FBCS CITP) of the British Computer Society. As a musician, technologist and educator, Evangelos has had an ongoing career in experimental research in the fields of Psychoacoustics, Music Perception, Music Cognition, IT, Human-Computer Interaction, Special Needs, the Singing Voice & Singing Development. Publications currently number over two hundred in high-profile international journals, such as Frontiers of Psychology and Cognitive Science, Psychology of Music, IJME, RSME, Journal of Voice, Logopedics Phoniatrics Vocology. Evangelos has been working on numerous funded research projects for leading UK Research Councils such as the AHRC, ESRC, EPSRC, grant-making foundations/charities such as The Paul Hamlyn Foundation, RNIB, the AmberTrust and the Esmée Fairbairn Foundation, government agencies/departments (such as DfES, QCA) and also the European Union. Evangelos is associate editor for the Journal of Music, Technology and Education (Intellect), associate editor of Frontiers in Psychology, past associate editor for the Journal Logopedics Phoniatrics Vocology xv Author Biographies (Informa Healthcare), reviews editor for Psychology of Music (SAGE), editor of the Society for Education and Music Psychology Research (SEMPRE) Conference Series, and section editor for ‘technology’ for the Oxford Handbook of Music Education. Evangelos has co-edited, with Andrew King, two key volumes in Technology, Music and Education, published by Routledge. As a sound engineer and researcher, Evangelos has recorded in numerous venues (including York Minster, St.Paul’s, RCM), with various artists such as Derek Lee Ragin (Farinelli), Vanessa Mae (SONY BMG) and Jarvis Cocker (Pulp) and for numerous media productions (for the BBC, Ch5, Discovery Channel, RTL, CBS, PBS, History Channel). Evangelos has developed the free online technologies for Sounds of Intent, Inspire-Music and the Online Afghan Rubab Tutor. In his spare time, Evangelos likes to record music, play guitar, and handcraft musical instruments in order to raise funds for his charitable work.Preface This book was written to provide an update to The Power of Music: A Research Synthesis of the Impact of Actively Making Music on the Intellectual, Social and Personal Development of Children and Young People (2015). As the evidence was collated, it became clear that much more research had been undertaken since the original book was produced and that that research was focused on a much wider age range with particular expansion in work with older age groups. It was therefore decided to expand the book to include research across the lifespan covering a wider range of issues, particularly those relating to health and wellbeing as these have become more important in the research agenda in recent years. The title referring to an exploration of the research was selected to make it possible to take account of all kinds of research, from large- scale population studies to single case studies, correlation studies, experiments and evaluations of interventions with a focus on both listening to and actively making or creating music. Some interventions that have several different outcomes are mentioned in more than one chapter. As there has been much controversy recently as to whether music can have any impact, particularly on cognition, it was felt to be important to include examples of individual research projects for the reader to be able to draw their own conclusions about the impact of music rather than relying on a summary, although an overview is provided at the end of each chapter. This means that the book is not always an easy read. Some of the research is extremely complex and takes time to understand. It is hoped that, despite this, the reader will be enabled to make an informed decision about the power of music in a range of areas across the lifespan.© 2022 S. Hallam & E. Himonides, CC BY-NC-ND 4.0 https://doi.org/10.11647/ OBP .0292.011. Introduction The speed of change in electronic media in the latter part of the 20th century revolutionised access to and the use of music in people’s lives. Music can be accessed in many ways, through radio, CDs, DVDs, TV , tablets, SMART technologies, computers and phones, and can be downloaded to enable the creation of personal playlists. This can be achieved with very little effort, but this was not always the case. Historically, people could only access music through participating in religious or other social events. These changes have made it possible for individuals to use music to manipulate their moods, arousal levels and feelings, and create environments which may change the way that other people feel and behave. Music can be used to aid relaxation, overcome powerful emotions, generate moods appropriate for carrying out routine activities, prepare for social activities or stimulate concentration. In short, music can be used to promote wellbeing. In young people, it supports the development of identity and self-presentation. Alongside this, technological advances in research techniques have increased our understanding of the way that music can benefit the intellectual, social and personal development of children and young people. The chapters in this book explore the ways that music can benefit children and young people, as well as the wellbeing and health of the general population. This introductory section sets out what we know about the functions and origins of music; the transfer of learning; methodological issues; ways of engaging with music with varying levels of commitment; music therapy; and issues related to the interpretation of research findings.2 The Power of Music Music, Its Functions and Origins There is evidence for engagement with music pre-homo-sapiens (Turk, 1997). A bone flute estimated to be about 50,000 years old has been found in a Neanderthal burial site and this may have been predated by singing. In China, bone flutes have been found dating back to 6000 BCE, stone flutes from 1200 BCE, and a system of classification of instruments according to the materials that they were made of from 500 BCE (Zhenxiong et al., 1995). Such evidence of the early use of instruments has been found in several cultures (Carterette and Kendall, 1999). Despite the evidence of musical activity in early humans, there is no consensus as to whether music has evolutionary significance, although the arguments for its evolutionary role are strong. For instance, Miller (2000) has argued that music exemplifies many of the classic criteria for a complex human evolutionary adaptation, pointing out that no culture has ever been without music (universality); musical development in children is orderly; musicality is widespread, all adults can appreciate music and remember tunes; we have a specialist memory for music; specialised cortical mechanisms are involved; there are parallels in the signals of other species—for example, birds, gibbons and whales—so evolution may be convergent; and music can evoke strong emotions which implies receptive as well as productive adaptations. Considering the possible functions of music, Huron (2003) set out the following theoretical positions: • mate selection—music performance may have arisen as a courtship behaviour; • social cohesion—music may create or maintain social cohesion through the promotion of group solidarity and altruism; • group effort—music may contribute to the coordination of group work; • perceptual development—music may contribute towards the more general development of sound perception; • motor skill development—singing with movement and other music-making provides opportunities to refine motor skills; 3 1. Introduction • conflict reduction—music may reduce interpersonal conflict within groups through shared activities unlikely to provoke argument or dispute; • safe time passing—music may provide a way of passing time which avoids engagement with possible dangerous situations; • transgenerational communication—music may have originated as a useful mnemonic device for passing on information from generation to generation. Those supporting a sexual selection theory—for example, Miller (2000)—argue that male musical performance influences female choice of mate. This might also apply to males’ choice of mate and could explain why music becomes so important in adolescence. Other theories propose that music has evolved from emotional or impassioned speech, or indeed was an imitation of bird song (Cross, 2003, 2009, 2016; Huron, 2003). Some have suggested that music evolved through the mother- child relationship—in particular, soothing and comforting behaviour, which developed into lullabies. This is supported by evidence that systems for processing sound develop while the foetus is still in the womb and are fully operational for processing music at birth (Gaston, 1968; Parncutt, 2009). Dissanayake (1988) further suggests that the musicality of mother- infant interaction might lay the foundations for a grammar of the emotions. There is considerable support for the role of music in promoting social cohesion. For instance, Sloboda (1985) speculates that music- making is rewarding because participating in it generates social bonding and cultural coherence. This is supported by the role of music in a wide range of ceremonies (Roederer, 1984). It has survival value in that synchronising the moods of many individuals can support them in collectively taking action to strengthen their means of defending themselves from attack (Dowling and Harwood, 1986). Moving together rhythmically may reinforce this process (Kogan, 1997). This approach suggests that music reinforces groupishness—the formation and maintenance of group identity—as well as collective thinking, synchronisation and catharsis (the collective expression and experience of emotion; Brown, 1991). This is supported by Weinstein and colleagues (2016), who demonstrated that small- and large-scale bonding could 4 The Power of Music occur in choirs of 20 to 80 people and larger groups of over 200. These findings corroborate evolutionary accounts which emphasise the role of music in the social bonding of large groups which other primates are not able to manage. Cross (2003), drawing on the work of Smith and Szathmary (1995) and Mithen (1996), suggests that the appearance of homo sapiens is marked by the emergence of a flexible cross-domain cognitive capacity which: ‘is uniquely fitted to have played a significant role in facilitating the acquisition and maintenance of the skill of being a member of a culture— of interacting socially with others—as well as providing a vehicle for integrating our domain-specific competences so as to endow us with the multi-purpose and adaptive cognitive capacities which make us human’ (2003: 52). This intrinsically transposable aboutness of music (2003: 51) allows its many meanings to change from situation to situation. This may be exploited in infancy and childhood as a means of forming connections and interrelations between different domains—social, biological and mechanical. Musical activity may simultaneously be about movement, mood, emotion and mastery embodied in sound, affording the opportunity to explore cross–domain mappings. Not all authors agree that music has evolutionary purpose. Some suggest that music, along with the other arts, has no evolutionary significance and no practical function (Barrow, 1995; Pinker, 1997; Sperber, 1996). Music is condemned as an evolutionary parasite. Pinker (1997) argues that music is bound to the domain of language, auditory scene analysis, habitat selection, emotion and motor control, and merely exploits the capacities that have evolved to subserve these areas. Music is an evolutionary by-product of the emergence of other capacities that have direct adaptive value. It exists simply because of the pleasure that it affords; its basis is purely hedonic. In the 21st century, music has a multiplicity of functions which operate at several levels: that of the individual, the social group and society in general (Radocy and Boyle, 1988; Gregory, 1997). Merriam (1964) recognises ten major musical functions: emotional expression, aesthetic enjoyment, entertainment, communication, symbolic representation, physical response, enforcing conformity to social norms, validation of 5 1. Introduction social institutions and religious rituals, contributions to the continuity and stability of culture, and contributions to the integration of society. There is extensive evidence of the key role that music plays in the lives of individuals (Sloboda et al., 2009). Music can generate feelings of wellbeing, can facilitate working through difficult emotions, and is frequently linked to spirituality (Juslin and Sloboda, 2001). It is widely used for exploring and regulating emotions and moods (Juslin and Laukka, 2004; North et al., 2004; Saarikallio, 2011; Shifriss & Bodner, 2014) and can be effective in inducing positive affective states (North et al., 2004), achieving desirable moods (Vastfjall, 2002) and also for coping with negative moods and emotions (Miranda and Claes, 2009; Shifriss & Bodner, 2014). The most common activity for mood regulation is listening to music (Saarikallio and Erkkilä, 2007). Even adolescents who play an instrument report that the best activity for mood regulation is listening to music alone (Saarikallio, 2006). In adolescence, music makes a major contribution to the development of self-identity. It plays an important role in teenagers’ lives and they spend many hours listening to it (Bonneville-Roussy et al., 2013; Bosacki and O’Neill, 2013; Greasley and Lamont, 2011). Teenagers listen to music to pass time, alleviate boredom, relieve tension and distract themselves from worries (North et al., 2000; Tarrant et al., 2000; Zillman and Gan, 1997). Music is seen as a source of support when they are feeling troubled or lonely, acting as a mood regulator and helping to maintain a sense of belonging and community (Schwartz and Fouts, 2003; Zillman and Gan, 1997). It is also used in relation to impression management needs. By engaging in social comparisons, adolescents are able to portray their own peer groups more positively than other groups in their network and are thus able to sustain positive self-evaluations. Music facilitates this process (Tarrant et al., 2000). At the individual level, music has also been seen as a vehicle for emotional expression, conveying ideas and emotions which might be difficult to communicate in ordinary verbal interchanges. Music elicits physical responses, can aid relaxation or stimulate activity, and is particularly effective in changing moods (Thayer, 1996). Listening to music provides opportunities to experience aesthetic enjoyment and be entertained, while making music can be seen as a source of reward and intellectual stimulation, providing interesting and challenging activities 6 The Power of Music at the rehearsal stage, and opportunities to demonstrate expertise and musicianship in performance which, if successful, can lead to enhanced self-esteem. In small groups, music is a means of communication. Making music is a social activity in that creating, interpreting, performing and hearing music all depend on shared social meanings. Music can serve to provide shared experiences and understandings which assist in binding together social groups, supporting their identities. This is apparent in its use in children’s games and also in adolescence, where music becomes one of the central aspects of young people’s chosen youth culture. Music is also used in work contexts. It can facilitate the appropriate level of stimulation for mental or physical activity and may also serve to ensure that individuals literally work in time together. Emotional expression can also be important at the group level, for instance, in protest songs. It provides a means of expressing feelings towards subjects which are taboo or where there are inhibitions regarding the expression of emotions—for example, love, and not only romantic love but the love of God or a country, school or institution. Music fosters prosocial behaviour, a shared sense of success, physical coordination, shared attention, shared motivation and group identity (Weinstein et al., 2016). It creates and strengthens social bonds amongst interacting group members through endorphins, which are released during synchronised exertive movements in singing or playing together and are involved in social bonding across primate species (Tarr, Launay and Dunbar, 2014). In society as a whole, music provides a means of symbolic representation for ideas and behaviours. It can represent the state, patriotism, religion, bravery, heroism or rebellion. It can encourage conformity to social norms through songs or alternatively may incite challenges to those social norms. It provides validation of social institutions and religious rituals and plays a major part in ceremonial occasions including weddings, military functions, funerals and sporting events. Music also contributes towards the continuity and stability of culture, as individuals respond in similar ways to the music of their own culture, while the social nature of musical activity invites and encourages individuals to participate in group activities, reducing social isolation. 7 1. Introduction The power of music is reflected in the way that there have been—and continue to be—attempts to exert control over it. In Nazi Germany, music was carefully selected for use at mass rallies to generate appropriate patriotic emotions. In the USSR, the music of Shostakovich was censored by the Soviet government. During the Cultural Revolution in China, Western music was denounced as decadent and forbidden. In Iran, when Ayatollah Khomeini was in power, tight restrictions were placed on particular types of music. In white-dominated South Africa, centres of African music were demolished, while musicians living in exile continued to influence the attitudes of the world against the prevailing political system through their music. In the Western world, criticism of hard rock music by the establishment and its purported effects have been well documented (Martin and Segrave, 1988). Music also reflects the values, attitudes and characteristics of a society. For instance, Weber (1958) suggests that the Western classical tradition reflects a drive to rationalise and understand the environment. Technological advances impact on the way that music-making develops, as does the extent of contact with—and influence of—other musical cultures (Nettl, 1975), and the development of musical literacy. The latter extends what can be passed onto future generations, while oral cultures restrict what can be remembered (Sloboda, 1985). Transfer of Learning The transfer of learning from one domain to another depends on similarities between the processes involved. Transfer between tasks is a function of the degree to which the tasks share cognitive processes. Transfer can be near or far, and is stronger and more likely to occur if it is near. Salomon and Perkins (1989) refer to low and high road transfer. Low road transfer depends on automated skills and is relatively spontaneous and automatic—for instance, in processing music and language, or using the same skills to read different pieces of music or text. High road transfer requires reflection and conscious processing—for instance, adopting similar skills in solving different kinds of problems.8 The Power of Music Some musical skills, near and low road, are more likely to transfer than others—for instance, those relating to the perceptual processing of sound, timing, pitch, timbre and rule-governed grouping information, fine motor skills, emotional sensitivity, conceptions of relationships between written materials and sound, reading music and text, and memorisation of extended information, music and text (Norton et al., 2005; Schellenberg, 2003). Far transfer may occur in relation to the impact of making music on intelligence and attainment. High road transfer may also occur in relation to the skills acquired through learning to play a musical instrument—for instance, being able to recognise personal strengths and weaknesses, being aware of a range of possible strategies (task-related and personal) relating to motivation, concentration, monitoring progress and evaluating outcomes. Throughout this book, the ways that transfer can occur in relation to skills developed through active engagement with music—and the ways these skills may impact on intellectual, social and personal skills— will be explored. The impact of music on wellbeing and health will also be considered, with particular reference to the impact of music on emotions. Consideration will be given to the extent to which learning to control emotions through music can support the development of more general change in behaviour. Research exploring the impact of music on cognitive skills has a long history, going back to the 1970s. However, there was a surge of interest following the discovery of the so-called Mozart effect, where 20 minutes of listening to Mozart was claimed to enhance intelligence (Rauscher et al. 1993; 1995). This was later discredited by a range of studies (Cabanac et al., 2013; Hallam, 2001; Schellenberg and Hallam, 2005), which suggested that music could change arousal levels which, in turn, affected performance on cognitive tests. Since then, much research has been undertaken to explore whether active engagement with music can enhance cognitive ability. For reviews, see (for example) Benz et al. (2016); Bugos (2019); Hallam (2015); Holmes (in press); Jaschke et al. (2013); Miendlarzewska and Trost (2014); Moreno (2009); Rauscher (2009); and Schellenberg (2016). This research will be explored in detail later in this book. 9 1. Introduction Methodological Issues Research exploring the ways in which active engagement with music has an impact beyond the development of musical skills has been undertaken within a number of disciplines adopting different research paradigms. The designs and methods adopted vary widely, as do the sample sizes. Much early research considering the impact of engaging with music on other skills was based on correlation studies undertaken with professional or young musicians with varying levels of expertise. This has been criticised on the basis that showing a relationship between musical skills and other skills does not demonstrate causality. This is particularly the case with neuroscientific studies (Schellenberg, 2019). Some research has compared the performance of groups identified as musicians or non-musicians. This research has been—and continues to be—useful in highlighting possible areas of transfer. What it is unable to do is identify the direction of causality, although studies using multiple regression analyses are able to take into account possible confounding factors. Experimental studies, where the outcomes of musical interventions are compared with those where there is no musical intervention or an alternative intervention, offer the possibility of establishing causality. Such studies vary in the length of the intervention, the range of measures adopted to measure outcomes, the age of the participants, and the nature of the activity of the control or alternative intervention group. In an ideal scientific study, participants are randomly assigned to intervention and control groups. In longitudinal research, where follow-up may be weeks or months later, it can be difficult to sustain participation and there is a high likelihood of dropout. This is reduced if participants self-select the activity that they wish to undertake, but this then constitutes a confounding factor, as those selecting a musical activity may share particular characteristics—for instance, high levels of intelligence or particular personality characteristics. The context of musical interventions and their natures are also critical in determining impact. Different outcomes might be expected in relation to whole-class general music lessons or individual instrumental lessons. The quality of the teaching and the relationships between learners and teachers are 10 The Power of Music also likely to be important. The extent of variability in research design and implementation tends to produce conflicting evidence. Qualitative research, including interviews, focus groups, and ethnographic/case studies, is able to provide insights into the perceptions of participants and the contexts within which music may have a wider impact. However, it has been criticised as being too subjective. All of these methods of undertaking research have the potential to enhance our understanding of the nature of transfer of musical expertise to other domains and skills—albeit in different ways. Systematic reviews are typically used to appraise, summarise, and communicate the results and implications of large bodies of research, such as that relating to the transfer of musical skills to other domains. They can help in overcoming bias, which may be associated with single research projects and the lack of generalisability in studies conducted with one type of population. Systematic reviews aim to rigorously identify and evaluate research, and provide objective interpretation and replicable conclusions. Systematic reviews may include a meta- analysis—a specific statistical strategy for assembling the results of several studies to provide a single estimate of the size of impact. Meta-analyses draw on existing experimental research, using complex statistical analysis to reanalyse data to assess the impact of interventions across many studies. They adopt different criteria for the studies selected for inclusion. Greater numbers of criteria which studies need to meet in order to be included lead to the exclusion of more research. Perhaps because of this, meta-analyses frequently produce conflicting outcomes. Those adopting meta-analytic approaches are very critical of research which does not adopt the strict methodological requirements of randomised controlled trials, where individuals are randomly allocated to groups. They also argue that control groups should participate in alternative interventions rather than no intervention. Meta-analyses have been severely criticised. For instance, Ansdell and DeNora (2014) argue that too much important information is lost when music is forced into before–after, yes–no grids of variables and outcome assessments. An inclusive research strategy was adopted in accessing the literature to be included in this book. Academic databases relevant to neuroscience, psychology, education and music were searched, in addition to web- based searches to locate relevant grey literature. Analysis of located 11 1. Introduction documents frequently led to further relevant material. The following chapters will synthesise the findings from a wide range of studies, to further develop our understanding of whether the skills gained through actively participating in making music can transfer to other skills and, if so, what circumstances might support this. The book also examines the evidence relating to listening and making music, and its impact on wellbeing and health. Each chapter synthesises the research findings from all of the studies, focusing on one aspect of transfer or impact, and drawing conclusions as appropriate. Ways of Engaging with Music and Varying Levels of Commitment People can actively make music or listen to it, although both means of engagement require listening. Listening to music or speech requires the processing of an enormous amount of information rapidly without conscious awareness (Blakemore and Frith, 2000). An idealised view of musical listening is that it is a focused activity undertaken solely for the purpose of deepening understanding and appreciation of the music. In practice, most listening takes place alongside other activities, including those relating to travel, studying and physical activity, including relaxation and taking exercise (Sloboda et al., 2009). Like these activities, listening does not necessarily preclude listening with full attention (Herbert, 2012). Listening can have benefits in terms of its impact on mood, emotions and arousal levels. Actively making music can take many forms, from informal interactions in the home between children and parents to formal instrumental lessons. Recently, there has been greater recognition of the importance of informal learning, both for the acquisition of musical skills and creativity and for the personal and social benefits which may emerge (Hallam et al., 2016; 2017). Formal music tuition in schools may include whole-class teaching of instruments, ensemble work, or focus on singing, the theory of music, listening or the history of music. Those singing or learning to play an instrument through individual tuition may also join ensembles out of school, which increases their time commitment to music alongside any individual practice that they may undertake. Any intellectual, personal or social benefits emerging from 12 The Power of Music active engagement with music will depend on the type of activity, the level of commitment of the learner and the quality of the teaching, both musically and in terms of the rapport between teachers and learners. The role of individual preferences, context and the diversity in how different people interact with music need to be taken into account when carrying out research and interpreting findings. This is frequently not the case. Many studies do not assess whether the participants have actually learned any musical skills. It is frequently assumed that participation alone will ensure that musical skills have been acquired. If they have not, then there is no reasonable prospect of transfer to other skill areas. The level of commitment to music is another important factor in the possible impact of music in people’s lives. Music constitutes a leisure activity for many people, either through listening to or making music. For some, singing or playing is a serious leisure activity, while for others it is merely recreational. Similarly, listening is (for some) a hobby to which they devote considerable time and energy, while for others it constitutes casual engagement. Those who attend live music performances tend to have a higher level of musical experience and rate music as more important in their lives than non-attenders. Attending a live music event suggests a greater level of commitment than listening to recorded music. The main reasons for attending live events include hearing a particular artist or style, learning about new music, affirming or challenging existing musical tastes, and personal and social reasons, such as engaging in social interaction and being part of a community (Pitts and Burland, 2013; Pitts and Spencer, 2008). For some amateur musicians, music shares many characteristics with the work of professional musicians—it can be seen as an extremely serious leisure activity, while others see it merely as a hobby they engage with for personal amusement (Gates, 1991). Reported reasons for participation in active music-making include a love of music, the desire to develop skills and respond to challenges, and opportunities to meet with like-minded others. Musical activities also provide pleasure, relaxation and an opportunity for self-expression (Cooper, 2001; Taylor and Hallam, 2008). Taylor (2010) argues that amateur musicians seek affirmation, validation and verification of their musical selves as part of a community of practice in a similar manner to their professional counterparts. However, for amateurs this is less well defined and they 13 1. Introduction strive to attain a group affiliation based on a cultural ideal of musical competence (Taylor, 2010). Rewarding membership of a community of practice can develop through group lessons (Wristen, 2006), where mastering new repertoire in the company of others can facilitate the enhancement of self-confidence (Coffman and Adamek, 1999; 2001). Despite the many differences in forms and levels of engagement, music can have a considerable impact on subjective wellbeing. Wellbeing can be enhanced through listening while undertaking other tasks, or through using music to change moods and emotions. However, music does not always have positive effects. It can cause distress when it is not to the liking of a listener and is out of their control. Music Therapy In addition to the listening to and making of music undertaken by the population as a whole, music has been used therapeutically. The role of music in health and healing has been recognised for more than 30,000 years. It is referred to in the Bible and the historical writings of ancient civilisations in Egypt, China, India, Greece and Rome. Music therapy can provide positive psychological, physiological, cognitive and emotional benefits to patients, and has done since its development as a profession in the United States following the two world wars. Music was used to relieve the perception of pain of those with severe injuries, and medical staff noted the benefits to health and wellbeing. Since then, it has developed considerably to encompass music-making with individuals and groups, work in hospitals and planned listening to support those with mental health issues. Since the increased availability of music, individuals have been able to use music therapeutically to manage their own moods and emotions (DeNora, 2000; 2007). Interpreting the Research Findings There is now an extensive body of research exploring the wider benefits of music. In interpreting these findings, it is important to be judicious in suggesting what they may mean for policy and practice (Linnavalli et al., 2018). Currently it is not possible to say with any great confidence that any particular musical intervention will lead to any specific outcome—be 14 The Power of Music it intellectual, personal or social—although it is clear that making music can support the development of a wide range of skills and have an impact on creativity. Making music is generally pleasurable, providing a rewarding experience and a sense of achievement for participants, although there are exceptions to this. Its frequent social context also leads to a sense of belonging and it can be engaged with throughout the lifespan. It is clearly worth continuing to try to understand the circumstances under which music is beneficial, and for whom.2. Music and Neuroscience Music has played an important role in neuroscience, enhancing our understanding of the brain and how it functions. The human brain contains approximately 100 billion neurons, many of which are active simultaneously as we process information. Neurons communicate with each other through nerve impulses, which allow information to be processed and analysed. Each neuron has axons and dendrites, both of which transmit nerve impulses. Axons pass nerve impulses away from the cell body, dendrites towards the cell body. Each neuron has approximately a thousand connections with other neurons. When we learn, there are changes in the growth of axons, dendrites and the number of synapses connecting neurons—a process known as ‘synaptogenesis’. When an event is important enough or is repeated sufficiently often, synapses and neurons fire repeatedly, indicating that this event is worth remembering (Fields, 2005). In this way, changes in the efficacy of existing connections are made. As learning continues and particular activities are engaged with over time, myelination takes place. This involves an increase in the coating of the axon of each neuron, which improves insulation and makes the established connections more efficient. Effectively, the neurons become wired together. This enables better connections within specific brain regions, and also improves the functioning of broader neuronal pathways connecting separate brain regions, which are needed for many human activities ( sensory, cognitive and motor). Pruning also occurs, a process which reduces the number of synaptic connections, enabling fine-tuning of functioning. Through combinations of these processes, which occur over different timescales, the cerebral cortex self-organises in response to external stimuli and the individual’s learning activities (Pantev et al., 2003). Overall, the evidence from neuroscience suggests that each individual has a specific © 2022 S. Hallam & E. Himonides, CC BY-NC-ND 4.0 https://doi.org/10.11647/ OBP .0292.0216 The Power of Music learning biography, which is reflected in the way the brain processes information (Altenmuller, 2003: 349). The brain has three main parts: the cerebrum, cerebellum and brainstem. The cerebrum is the largest part of the brain; the cerebellum is located under the cerebrum, while the brain stem acts as a relay centre, connecting the cerebrum and cerebellum to the spinal cord. The cerebrum is divided into two halves: the right and left hemispheres. They are connected by the corpus callosum, which transmits messages from one side of the brain to the other. Each hemisphere controls the opposite side of the body, but not all functions of the hemispheres are shared. Generally, the left hemisphere controls speech, comprehension, and mathematical and literacy functions, while the right hemisphere controls creativity, spatial ability, artistic and musical skills. For most people, the left hemisphere is dominant for hand use and language. The brain is also separated into the frontal, temporal, occipital and parietal lobes. The frontal lobe is associated with executive functions and motor performance, while the temporal lobe is associated with the retention of short- and long-term memories and processing sensory input, including auditory information and language comprehension. The visual processing centre is the occipital lobe, while the parietal lobe is associated with sensory skills. Music has played an important role in neuroscience, facilitating the study of neural plasticity, as training in music is complex and multimodal, and musicians and those aspiring to become musicians spend many hours practising and are committed to engagement with music over long periods of time (Pantev and Herholz, 2011). Making music draws on many brain functions, including those related to perception, action, cognition, emotion, learning and memory. It has therefore been an ideal tool to show how the human brain works and how different brain functions interact. The findings from the neuroscientific study of musicians have led to greater understanding of cortical plasticity (Barrett et al., 2013; Dalla Bella, 2016; Habib and Besson, 2009; Herholz and Zatorre, 2012; Jäncke, 2009; Merrett et al., 2013; Münte et al., 2002; Rauschecker, 2001; Strait and Kraus, 2014; Wan and Schlaug, 2010; Zatorre and McGill, 2005). 17 2. Music and Neuroscience Neuroscientific Methods Recently, technology has changed the way that neuroscience has been able to study the brain. Previously it largely relied on studying individuals suffering from damage to the brain, exploring how the damage affected particular behaviours. Common assessment techniques which are adopted now include: Electroencephalography ( EEG), which measures electrical activity generated by the synchronised activity of thousands of neurons, allowing the detection of activity within particular cortical areas, even at subsecond timescales. EEG measures event-related potential ( ERP). An event-related potential ( ERP) is the measured brain response that is the direct result of a specific sensory, cognitive or motor event. It is any stereotyped electrophysiological response to a stimulus. Evoked potentials and induced potentials are subtypes of ERPs. Other types of ERP include: • Frequency-following response (FFR) is an evoked potential generated by periodic or nearly periodic auditory stimuli. As part of the auditory brainstem response, the FFR reflects sustained neural activity integrated over a population of neural elements. • Gamma-band activity ( GBA) comprises an EEG frequency range, from 30 to 200 Hz, and is distributed widely throughout cerebral structures. GBA participates in various cerebral functions, such as perception, attention, memory, consciousness, synaptic plasticity and motor control. • Early left anterior negativity (ELAN) is an event-related potential in electroencephalography ( EEG), or a component of brain activity that occurs in response to certain kinds of stimuli. It is characterised by a negative wave that peaks at around 200 milliseconds or less after the onset of a stimulus, and most often occurs in response to linguistic stimuli that violate word category or phrase structure rules. • Early right anterior negativity (ERAN) is a potential in electroencephalography, or a component of brain activity that occurs in response to a certain kind of stimulus.18 The Power of Music • Mismatch negativity (MMN) is an element of an event- related potential to an odd stimulus in a sequence of stimuli. It is most frequently studied in relation to auditory or visual stimuli. In the case of auditory stimuli, the MMN occurs after an infrequent change in a repetitive sequence of sounds. It is usually evoked by either a change in frequency, intensity, duration, or real or apparent spatial locus of origin. • Magnetic resonance imaging (MRI) is a type of scan that uses strong magnetic fields and radio waves to produce detailed images of the inside of the brain. • Voxel based morphometry (VBM) is a technique using MRI that allows investigation of focal differences in brain anatomy, using parametric mapping. The brain images are smoothed so that each voxel represents the average of itself and its surrounding areas. • Functional magnetic resonance imaging ( fMRI) is a brain- scanning technique that measures blood flow in the brain when a person performs a task. fMRI works on the premise that neurons in the brain which are the most active during a task use the most energy. A haemodynamic response allows the rapid delivery of blood to active neuronal tissues. • Magnetoencephalography ( MEG) is a functional neuroimaging technique for mapping brain activity by recording magnetic fields produced by electrical currents occurring naturally in the brain, using very sensitive magnetometers. • Transcranial magnetic stimulation is a non-invasive procedure that uses magnetic fields to stimulate nerve cells in the brain. Changes in the Brain following Musical Activity As individuals engage with different musical activities over long periods of time, permanent changes occur in the brain. These changes reflect what has been learned and how it has been learned. They also influence the extent to which developed skills transfer elsewhere. Extensive active engagement with music induces cortical reorganisation, producing 19 2. Music and Neuroscience functional changes in how the brain processes information. If this occurs early in development, the alterations may become hardwired and produce permanent changes in the way information is processed (Schlaug et al., 1995a; 1995b). Indeed, there is evidence that Western classical musicians have increased neuronal representation specific for the processing of the tones of the musical scale (Pantev et al., 2003). The largest cortical representations are in musicians who have been playing their instruments for the longest period of time. Overall, the evidence suggests that active engagement with music has a significant impact on brain structure and function (Merrett et al., 2013; Norton et al., 2005). Playing a musical instrument also seems to speed up brain maturation. For instance, Hudziak and colleagues (2014) found more rapid cortical thickness maturation in areas implicated in motor planning and coordination, visuospatial ability, and emotion and impulse regulation following musical training. Comparisons between Musicians’ and Non-Musicians’ Expertise A long-standing strand of research has explored the differences between the brains of musicians and non-musicians and those with different levels of musical expertise. The first (now seminal) studies provided evidence of larger auditory and somatosensory cortical areas in adult musicians compared with non-musicians (Pantev et al., 1998; Elbert et al., 1995). Recent criticism of this approach has drawn attention to the lack of clarity in classifying musicians and non-musicians. Musicians vary widely in their areas of expertise and the levels that they achieve, while so-called non-musicians may be very experienced listeners. Despite these issues, this strand of research has enhanced our understanding of the differences which emerge in the brain related to musical training, starting in childhood or adulthood through to professional levels of expertise (Herholz and Zatorre, 2012; Huotilainen and Tervaniemi, 2018; Munte et al., 2002; Tervaniemi, 2009). Certain pieces of research exploring the differences between musicians and non-musicians, or the functional changes due to musical training, have highlighted the differences in very basic cortical and subcortical processing—for instance, the response latencies and 20 The Power of Music amplitudes of responses to random, musical or language sounds. Musicians demonstrate higher fidelity of brain stem responses in conveying temporal and frequency information present in the sounds that they are exposed to (Wong et al., 2007). This fidelity increases quickly over a period of a year when children are actively engaged in making music (Skoe and Kraus, 2013). The differences between musicians and non-musicians are in evidence at different levels of the auditory pathway, from the brainstem (Kraus and Chandrasekaran, 2010; Strait and Kraus, 2014) through to the primary auditory regions (Bermudez et al., 2009; Gaser and Schlaug, 2003) and subsequently to higher levels of auditory processing. Low‐ level neural enhancements are likely to have a considerable impact on higher-level processing because the ability of the cochlea and the brain stem to replicate the content of a sound, and to deliver it accurately to higher-level cortical processes, forms the basis of all sound processing. This, in turn, leads to better performance in listening to speech embedded in noise or hearing masked sounds (Strait et al., 2010; Strait and Kraus, 2011a; 2011b; Slater et al., 2015). Overall, trained musicians have greater volume and cortical thickness in the auditory cortex regions, which are most likely to be responsible for fine pitch categorisation, discrimination and temporal processing. There are structural differences at the level of the primary auditory cortex and auditory association areas (Schlaug, 2009). For example, Gaab and Schlaug (2003) compared brain activation patterns between musicians and non-musicians while they performed a pitch memory task. Both groups showed bilateral activation of the superior temporal, supramarginal, posterior middle and inferior frontal gyrus, and superior parietal lobe. However, the musicians showed more right temporal and supramarginal gyrus activation, while the non- musicians had more right primary and left secondary auditory cortex activation. Since the performance of both groups was matched, these results suggest that the processing differences are related to musical training. Non-musicians may rely more on brain regions important for pitch discrimination, while musicians may prefer to use brain regions specialising in short-term memory and recall to approach pitch memory tasks. Schneider and colleagues (2002) used magnetoencephalography to compare the processing of pure tones in the auditory cortex of 12 21 2. Music and Neuroscience non-musicians, 12 professional musicians and 13 amateur musicians. They found neurophysiological and anatomical differences between the groups. The activity evoked in the primary auditory cortex after stimulus onset in the professional musicians was 102% larger than in the non-musicians, and the grey-matter volume of the anteromedial portion of Heschl’s gyrus was 130% larger. Koelsch and colleagues (2002) compared event-related brain potentials in response to harmonically inappropriate chords in musical experts and novices. Such chords elicited an early right anterior negativity (ERAN), which was larger for musical experts than for novices, probably because the experts had more specific musical expectancies than the novices. When chords were presented with a deviant timbre, they elicited a mismatch negativity. This did not differ across the groups, indicating that the larger ERAN in the expert musicians was not due to a general enhanced auditory sensitivity, but to specific changes in the brain related to the processing of harmony, learned through experience with music. Also focusing on aural processing, Shahin and colleagues (2003) investigated whether the neuroplastic components of auditory evoked potentials were enhanced in musicians in relation to their musical training histories. Highly skilled violinists and pianists and non- musicians listened to violin tones, piano tones and pure tones, the latter of which was matched in fundamental frequency to the musical tones. Compared with non-musicians, both musician groups evidenced larger responses to the three types of tonal stimuli. These results suggest that the tuning properties of neurons are modified in the auditory cortex in relation to the extent of acoustic musical training. Similarly, Tervaniemi and colleagues (2006) compared the neural and behavioural sound encoding of non-musicians and amateur band musicians. They explored auditory event-related potentials to changes in basic acoustic features, frequency, duration, location, intensity, gap and abstract features, melodic contour and interval size. There were statistically significant differences in response to location changes but not to other feature changes. This suggests that, when compared with non-musicians, even amateur musicians have neural sound processing advantages if the acoustic information is relevant to their musical genre.22 The Power of Music Non-musicians seem to need more neuronal resources for processing auditory information, relative to musicians. This is evidenced by stronger activation of primary auditory regions. For instance, Besson, Faïta and Requin (1994) presented musicians and non-musicians with short musical phrases that were either selected from the classical musical repertoire or composed for the experiment. The phrases terminated either in a congruous or harmonically, melodically or rhythmically incongruous note. The brain waves produced by these endnotes differed greatly between musicians and non-musicians, and also as a function of the participant’s familiarity with the melodies and the type of incongruity. The findings additionally showed that the musicians were faster than the non-musicians in detecting the incongruities. Functional magnetic resonance imaging scans ( fMRI scans) have been used to study grey and white matter in the brain. Grey matter contains most of the brain’s neuronal cell bodies and includes regions of the brain involving muscle control and sensory perception—for instance, sight, hearing, memory, emotions, speech, decision-making and self- control. Structural differences in the grey matter of several cortical areas, including the motor, somatosensory and auditory areas, have been observed between musicians and non-musicians. Luders, Gaser, Jancke and Schlaug (2004), using a voxel-by- voxel morphometric technique, found grey-matter volume differences in motor, auditory and visual- spatial brain regions when comparing professional keyboard players with a matched group of amateur musicians and non-musicians. These differences are related to cortical folding, indicating a greater cortical surface or longer distances between the cortical areas of, for example, fingers. This suggests that a larger patch of cortical surface is reserved for finger control in musicians than in non-musicians. Similarly, Groussard and colleagues (2014) compared the brains of non-musicians and amateur musicians, the latter playing an instrument for up to 26 years. Musical training led to greater grey-matter volume in different brain areas in the musicians. The changes appeared gradually in the left hippocampus and right middle and superior frontal regions, but later included the right insula, supplementary motor area, left superior temporal and posterior cingulate area. Together, these regions are implicated in many functions including verbal memories, bodily awareness, emotional experiences, control of movement, language, 23 2. Music and Neuroscience memory and impulse control. To ensure that the findings were linked with musical training and not normal brain maturation, the researchers controlled for age and educational level. There are indications that musicians exhibit increased grey-matter volume in the inferior frontal gyrus when compared to non-musicians (Sluming et al., 2002). Voxel-based morphometry and stereological analyses were applied to high-resolution three-dimensional magnetic resonance images in 26 male orchestral musicians and 26 non-musicians who were matched for sex, handedness and intelligence. The wide age range of the participants, from 26 to 66, enabled the researchers to undertake a secondary analysis of age-related effects. The findings revealed increased grey matter in Broca’s area in the left inferior frontal gyrus in the musicians. Overall, there was a significant age-related volume reduction for only the non-musicians in the cerebral hemispheres and dorsolateral prefrontal cortex subfields bilaterally, as well as in the grey-matter density in the left inferior frontal gyrus. There was a positive relationship between years of playing and the volume of grey matter in musicians who were under 50 years old. The authors suggested that orchestral musical performance promoted user-dependent retention, and possibly the expansion of grey matter involving Broca’s area. Similarly, James and colleagues (2014) used optimised voxel-based morphometry to perform grey-matter density analyses on 59 age-, sex- and intelligence-matched young adults with three distinct, progressive levels of musical training intensity or expertise. The findings showed a functional difference between areas exhibiting increase versus decrease of grey matter as a function of musical expertise. Grey-matter density increased with expertise in areas known for their involvement in higher order cognitive processing, such as those concerned with executive function, working memory and auditory processing. In contrast, grey- matter density decreased with expertise in areas related to sensorimotor function. This decrease may have reflected high levels of automatisation of motor skills in those with greater expertise. A multiple regression analysis showed that grey-matter density predicted accuracy in detecting fine-grained incongruities in tonal music. Changes in white matter have also been observed in the brains of musicians. White matter is composed of the nerve fibres, axons, which connect nerve cells and which are covered by myelin, an insulating layer 24 The Power of Music that forms around nerves, consisting of protein and fatty substances. It is this which gives the white matter its colour. Myelin speeds up the communication between cells. Musicians have greater anisotropy, a phenomenon varying in magnitude according to the direction of measurement, which suggests that they either have a larger number of fibres or greater myelination or both. Such findings have been observed in corticocortical connections, where neurons in one cortical area communicate with neurons in other cortical areas, but also in corticomuscular connections, where neurons communicate with muscles (Bengtsson, Nagy and Skare et al., 2005). Some research has shown that musicians have greater amounts of substances in their brains related to neuronal metabolism. The brain relies almost entirely on circulating glucose rather than storing energy as glycogen. The majority of this glucose is used to maintain synaptic function and the resting potential of neurons. When there is an increase in these substances, it suggests more active use of, for example, auditory cortical areas (Aydin et al., 2005). Musicians have a larger corpus callosum than non-musicians (Schlaug et al., 1995a). This phenomenon is particularly evident in male musicians (Lee et al., 2003). Greater midsagittal size of the corpus callosum has also been found (Lee et al., 2003; Oztürk et al., 2002; Schlaug et al., 1995). Musicians have more and/or thicker neuronal tracts between the left and right motor and somatosensory areas. These structural differences may relate to a range of functional differences between musicians and non-musicians (Fauvel et al., 2014). The amount of musical practice is also associated with greater integrity of the corticospinal pathway (Bengtsson et al., 2005). Individuals with absolute pitch—the ability to categorise tones into pitch classes without reference to other sounds—have been the focus of some pieces of research. For instance, Loui and colleagues (2012) showed that those possessing absolute pitch had increased functional activation during music listening, as well as increased degrees, clustering and local efficiency of functional correlations, with the difference being highest around the left superior temporal gyrus. Similarly, Loui and colleagues (2011) observed hyperconnectivity in bilateral superior temporal lobe structures linked to having absolute pitch. Furthermore, the volume of tracts connecting the left superior 25 2. Music and Neuroscience temporal gyrus to the left middle temporal gyrus predicted absolute pitch performance. Using in vivo magnetic resonance morphometry, Schlaug and colleagues (1995a) measured the anatomical asymmetry of the planum temporale. Musicians with absolute pitch revealed stronger leftward planum temporale asymmetry than non-musicians or musicians without absolute pitch. These results indicate that having absolute pitch is associated with increased leftward asymmetry of the cortex subserving music-related functions. Similarly, Bermudez and colleagues (2009) used multiple methods to compare 71 musicians, 27 with absolute pitch, with 64 non-musicians. They found functional evidence which indicated the importance of a frontotemporal network of areas, which were heavily relied upon in the performance of musical tasks. There was a difference between the musicians and those with absolute pitch in that there was a significantly thinner cortex in a number of areas—including the posterior dorsal frontal cortices—that have been previously implicated in the performance of tasks involving absolute pitch. The Automation of Skills as Expertise Increases As musicians’ expertise develops, many of their skills become automated. This means that neurological differences between musicians and non-musicians become harder to interpret, since some tasks reveal less neural activity in musicians because of their automatisation (Jancke et al., 2000), while others show more brain activity (Kleber et al., 2010; Nikjeh et al., 2008; 2009). Simple motor tasks tend to become automated while complex tasks, even those related to auditory processing, may require more neurological resources (Gaab and Schlaug, 2003). In a review, Zatorre and colleagues (2012) pointed out that, while brain imaging had identified structural changes in grey and white matter that occurred with learning, ascribing imaging measures to underlying cellular and molecular events was challenging. Perceptual or motor systems with extended representation in the brain as a result of musical training may process information more efficiently, using fewer neuronal resources, than less specialised systems. Enhanced efficiency might be manifest in lower blood flow demands in skilled musicians as compared to non-musicians when performing complex 26 The Power of Music motor sequences. Functional neuroimaging studies do not always present findings consistent with observed anatomical differences. Musicians can exhibit either lower or more localised activation in the primary motor cortex than non-musicians, and more variable levels of activation in motor association regions (such as the premotor and supplementary motor areas). Such inconsistencies may reflect higher order cognitive processes—for example, tonal processing, working memory and syntax—that are required for performance. This may lead to increased density in associated brain regions. Other processes (for instance, sensorimotor functions and basic motor control) are likely to be automated, requiring fewer resources and less brain volume (James et al., 2014). This may also explain inconsistencies between visible structural changes and increased or decreased activation in musicians in primary auditory and motor regions. Using event-related potentials, Trainor and colleagues (1999) compared the responses of adult musicians and non- musicians to infrequent changes to the last note of a five-note melody, which either altered the contour or the interval. The findings suggested that contour processing was more basic, while interval processing was more affected by experience. This, again, indicates that it is not always obvious whether training is associated with increased or decreased activation in underlying brain regions. Bimanual Motor Coordination Pianists have provided a particular focus for research exploring bimanual motor coordination. Automatisation of these processes means that training is not systematically associated with increased brain volume. For example, a decrease in striatal volume is observed in skilled pianists as a function of greater efficiency in motor performance (Granert et al., 2011). Haslinger and colleagues (2004) compared professional pianists with musically naïve participants as they carried out in‐phase , mirror and anti‐phase, parallel bimanual sequential finger movements during functional magnetic resonance imaging. The tasks included the performance of two different kinds of externally paced bimanual finger tapping, involving the index to little finger of both hands. In one condition, participants had to carry out parallel finger movements starting either with the index finger of the right and the 27 2. Music and Neuroscience little finger of the left hand, or vice versa. The task then consisted of continuous, bidirectional finger movements sequentially involving the index, middle, ring and little finger of one hand versus little, ring, middle and index finger of the other hand. The second task demanded the performance of mirror-like finger tapping. The corresponding fingers of both hands, index–index, middle–middle, ring–ring, little–little always had to be moved simultaneously in bidirectional, sequential order. A resting condition without finger movements served as a control. These tasks correspond to bimanually playing scales, which constitutes part of pianists’ regular practice routines. Musicians and non-musicians showed significantly different functional activation patterns, suggesting increased efficiency of cortical and subcortical systems for bimanual movement control. This may be fundamental to achieving high‐level motor skills, allowing the musician to focus on the artistic aspects of musical performance. Similarly, Krings and colleagues (2000) performed functional magnetic resonance imaging with professional piano players and non- musicians during an overtrained complex finger movement task, using a blood oxygenation level dependent echo-planar gradient echo sequence. Participants performed a complex finger opposition paradigm using the right hand, with self-paced light touches of a thumb pad to a finger pad without looking at the hand. The order of tapping was 5-4-3-5-4- 2-5-3-2-4-3-2, omitting one subsequent finger in each run. The pattern was repeated. During rest periods, participants were asked to relax. The task was practised before the scanning session to avoid learning effects during the scan. Activation clusters were seen in the primary motor cortex, supplementary motor area, premotor cortex and superior parietal lobule. There were significant differences in the extent of cerebral activation between the groups, with pianists having a smaller number of activated voxels. This suggested that long-term motor practice led to a different cortical activation pattern in pianists. They needed to recruit fewer neurons to complete the same movements. Using self-paced bimanual and unimanual tapping tasks which reflect typical movements made in playing the piano, Jäncke and colleagues (2000) measured haemodynamic responses, applying functional magnetic resonance imaging in two professional piano players and two carefully matched non-musician participants. The 28 The Power of Music primary and secondary motor areas were activated to a much lesser degree in professional pianists than in non-musicians, suggesting that the long-lasting extensive hand-skill training of the pianists led to greater efficiency. This was reflected in the smaller number of active neurons needed to perform given finger movements. Similarly, Meister and colleagues (2005) compared pianists and non-musicians as they performed simple and complex movement sequences on a keyboard with the right hand. In non-musicians, complex motor sequences showed higher fMRI activations of the presupplementary motor area and the rostral part of the dorsal premotor cortex compared to simple motor sequences, whereas the musicians showed no differential activations. This suggested that a higher level of visuomotor integration was required in a complex task in non-musicians, whereas the musicians employed the rostral premotor network during both tasks. Neural plasticity, as a result of long-term practice, mainly occurs in caudal motor areas, but the slowly evolving changes during motor-skill learning may extend to adjacent areas, leading to more effective motor representations in pianists. Also focusing on a complex right-handed finger tapping task, Hund- Georgiadis and von Cramon (1999) investigated blood-flow-related magnetic resonance signal changes and the time course underlying short-term motor learning in ten piano players and 23 non-musicians. A functional learning profile, based on regional blood oxygenation level, was assessed. All participants achieved significant increases in tapping frequency during the 35-minute training session while in the scanner, but the pianists performed significantly better than the non-musicians and showed increasing activation in the contralateral primary motor cortex throughout motor learning. Concurrently, involvement of secondary motor areas—such as the bilateral supplementary motor, premotor and cerebellar areas—diminished relative to the non-musicians throughout the training session. Extended activation of primary and secondary motor areas in the initial training stage during the first seven to 14 minutes, as well as rapid attenuation, were the main functional patterns underlying short-term learning in the non-musician group. Attenuation was particularly marked in the primary motor cortices as compared with the pianists. When the tapping sequence was performed with the left hand, transfer effects of motor learning were evident in both groups. 29 2. Music and Neuroscience Involvement of all relevant motor components was smaller than after initial training with the right hand. This suggests that the involvement of primary and secondary motor cortices in motor learning is dependent on experience. Using similarly complex unimanual and bimanual finger tasks, Koeneke and colleagues (2004) studied cerebellar hemodynamic responses in highly skilled keyboard players and non-musician participants. Both groups showed strong haemodynamic responses in the cerebellum during task conditions. However, non-musicians showed generally stronger haemodynamic responses in the cerebellum than the keyboard players, suggesting that long-term motor practice leads to different cortical activation patterns. The same movements required less neuronal activity. Palomar-García and colleagues (2017) found reduced connectivity between the motor areas that control both hands in musicians compared with non-musicians. This was particularly evident in those whose instruments required bimanual coordination. The effects were mediated by the number of hours of practice. Multisensory Learning Structural differences in the brains of musicians and non-musicians extend beyond the auditory pathway and motor circuitries to the parietal regions. These regions seem to be involved in multisensory encoding and integration. Music performance is one of the most complex and demanding cognitive challenges that human beings undertake. It requires precise timing of a number of hierarchically organised actions, as well as precise control over pitch interval production, implemented variably depending on the instrument involved (Zatorre et al., 2007). Structural differences due to musical training extend to motor and sensorimotor cortices, to premotor and supplementary motor regions, and involve subcortical structures such as the basal ganglia and the cerebellum. This neuronal circuitry is engaged in motor control and fine motor planning—for example, finger movement—during musical engagement, as well as in motor learning (Schmidt and Lee, 2011). Musicians have stronger connectivity between the right auditory cortex and the right ventral premotor cortex than non-musicians. The longer the period of time playing an instrument, the stronger the connection 30 The Power of Music (Palomar-Garcia et al., 2017). Lahav and colleagues (2007) used functional magnetic resonance imaging to explore whether the human action-recognition system responded to sounds found in a complex sequence of newly acquired actions. They chose a piece of music as a model set of acoustically presentable actions and trained non-musicians to play it by ear. They then monitored brain activity in participants while they listened to the newly learned piece. Although they listened to the music without making any movements, activation was found bilaterally in the frontoparietal motor-related network, consistent with neural circuits which have been associated with action observations and may constitute a human mirror neuron system. Presentation of the practised notes in a different order activated the network to a much lesser degree, whereas listening to equally familiar but motorically unknown music did not activate this network. These findings suggest that there is a hearing–doing system that is highly dependent on the individual’s motor repertoire and that this network is established rapidly, with Broca’s area as its hub. Neurological Differences Relating to Genre and the Instrument Played Neural changes are specific to the particular musical activities undertaken (Munte et al., 2003). Functional auditory responses are strongest in the areas reflecting each musician’s instrument, demonstrating timbral specificity related to their training (Pantev et al., 2001). The processing of pitch in classical string players, who have to create different pitches with no guidance from frets, is characterised by longer surveillance and more frontally distributed event-related brain potentials attention. Drummers whose focus is rhythm generate more complex memory traces of the temporal organisation of musical sequences, while conductors demonstrate greater surveillance of auditory space as they listen to and balance the sounds of the various instruments in the ensemble that they are conducting (Munte et al., 2003). Compared with non-musicians, string players have greater somatosensory representations of finger activity, the amount of increase depending on the age of starting to play (Pantev et al., 2003). Pianists, violinists and non-musicians are differentiated by the particular form 31 2. Music and Neuroscience and shape of the motor cortex, violinists and pianists both needing to be able to move their fingers quickly (Bangert and Schlaug, 2006), while trumpet players have greater functional activation in the cerebellum (which coordinates voluntary movements), the dominant sensorimotor cortex and the left auditory cortex (Gebel et al., 2013). This may be because trumpet players need to be sensitive to the relationship between their embouchure and minute sequential differences in sound. In relation to players of wind instruments, Choi and colleagues (2015) found significant changes in cortical thickness in lip-tongue related areas and resting-state neuronal networks, and differential activation in the precentral gyrus and supplementary motor areas in comparison with non-musicians. The functional reorganisation of the motor cortex reflects differential usage between instrumentalists. When comparing the regions containing the hand representations of pianists and violinists, large anatomical differences in the precentral gyrus have been revealed (Bangert and Schlaug, 2006). String players require highly developed fine motor skills, particularly in the left hand, while keyboard players require highly trained fine motor skills in both hands, but particularly the right hand, which frequently supports melody and has more challenging technical passages than the left-hand accompaniment. Most keyboard performers exhibit a configuration known as the ‘Omega sign’ in the left more than the right hemisphere, whilst most string players show this only on the right. The prominence of this sign is related to the age at which musicians began to play an instrument and the cumulative amount of time they spent practising. Greater cortical representations of fingers in violinists’ left hands, as compared with right hands, have been found using magnetoencephalography (Elbert et al., 1995). Instrument-specific neuroplasticity extends to perception. Timbre- specific neuronal responses are observable in different groups of instrumentalists. For example, string and trumpet players reveal stronger evoked cortical responses when presented with the sound of their respective instrument (Pantev et al., 2001). This is particularly evident in the right auditory cortex (Shahin et al., 2003). Musicians also display increased gamma-band activity induced by the sound of their own instrument as compared to other instruments (Shahin et al., 2008). These findings are supported by functional imaging evidence 32 The Power of Music from violinists and flautists (Margulis et al., 2009), which suggests that instrument-specific plasticity is not restricted to the primary auditory cortex but forms a network including association and auditory-motor integration areas. Such experience-specific plasticity has been shown at the level of the brainstem (Strait et al., 2012). Some research has explored whether the style or genre of music might shape auditory processing. Tervaniemi and colleagues (2016) studied the auditory profiles of classical, jazz and rock musicians, with particular reference to genre-specific sensitivity to musical sound features. The participants watched a silent video and were instructed to ignore the sounds. The researchers recorded the accuracy of neural encoding of the melody. All groups showed a cortical index of deviance discrimination, but the strength of the responses varied. Automatic brain responses were selectively enhanced to deviance in tuning in classical musicians, timing in classical and jazz musicians, transposition in jazz musicians, and melody contour in jazz and rock musicians. The jazz players had larger mismatch negativity (MMN) amplitude than all other experimental groups across the six different sound examples, indicating a greater overall sensitivity to auditory outliers. Enhanced processing of pitch and the sliding up to pitches were only found in jazz musicians. A more frontal MMN to pitch and location (compared to the other deviations) was observed in jazz musicians, and left lateralization of the MMN to timbre in classical musicians. Overall, the characteristics of the particular styles or genres of music learned influence a musician’s perceptual skills and the brain’s processing of them. Training, listening experiences, musical styles and genre all shape musicians’ brains (Vuust et al., 2012). Folk musicians exhibit early right anterior negativity in inferofrontal brain regions in response to chords which deviate from the conventions of Western music, indicating differences in their expertise compared with non-musicians (Brattico et al., 2013). Musical expertise in more than one music culture can modify chord processing by enhancing responses to ambivalent or incongruous chords. Focusing on communication between musicians, Vuust and colleagues (2005) explored how jazz musicians exchanged non- verbal cues when they played together. The musicians received and interpreted cues when performance departed from a regular pattern 33 2. Music and Neuroscience of rhythm, suggesting that they enjoyed a highly developed sensitivity to subtle rhythmic deviations. Pre-attentive brain responses—recorded with magnetoencephalography to rhythmic incongruence—were left-lateralized in expert jazz musicians and right-lateralized in non- musicians, suggesting functional adaptation of the brain to a task of communication, similar to that required for learning language. Studies with Child Musicians and Non-Musicians There has been considerable research focusing on the structural and functional changes which occur in children’s brains as a result of engagement with music. Enhancement of brain responses to musical sounds can occur early in development. Four-month-old infants exposed to melodies played on either guitar or marimba for just over two hours over the course of a week exhibited MMN selectively to the sound to which they had been exposed (Trainor et al., 2011). The effects of musical training during development extended to brainstem responses when processing speech in noise (Strait et al., 2013). Trainor and colleagues (2012) studied six-month-old Western infants, who were randomly assigned to six months of either an active participatory music class or a class in which they experienced music passively while playing. Active music participation resulted in earlier enculturation to Western tonal pitch structure, larger and/or earlier brain responses to musical tones, and a more positive social trajectory. Neural‐level changes also occur in children participating in musical playschool activities designed to develop a love for music through active engagement with making music, singing and musical instruments. Putkinen and colleagues (2013) explored the relationship between informal musical activities at home and electrophysiological indices of neural auditory change detection in two- to three-year‐old children. Auditory event‐related potentials were recorded in a multi‐feature paradigm that included frequency, duration, intensity, direction, gap deviants and attention‐catching novel sounds. Correlations were calculated between these responses and the amount of musical activity at home reported by the parents. The neurological findings implied that there was heightened sensitivity to temporal acoustic changes, more mature auditory change detection and 34 The Power of Music less distractibility in children when there were more informal musical activities in their home environment. One strand of research has focused on the effects of training with the Suzuki method, where children learn to play by ear and through imitation. The method is implemented rigorously wherever it is adopted, which makes it easier to make comparisons between studies. One study with four- to six-year-old children revealed changes in auditory evoked responses to a violin and a noise stimulus. The musically trained group showed faster responses to violin sounds than the non-musician group (Fujioka et al., 2006). These changes were accompanied by enhanced performance on a musical task and improved working memory in a non-musical task. Another study adopting the Suzuki method tracked and recorded brainwave patterns. The research included adult professional violinists, amateur pianists and four- and five-year-old children studying the piano. Measures were taken before the children commenced music lessons and one year later. The adult musicians showed robust enhancement of induced gamma-band activity specific to their musical instrument, with the strongest effects in the professional violinists. Induced gamma-band responses are associated with attention, expectation, memory retrieval and the integration of top-down, bottom-up and multisensory processes. The children receiving piano lessons exhibited increased power of induced gamma-band activity for piano tones with one year of training, while children not taking lessons showed no effect (Shahin et al., 2004; 2008). In a similar study, Trainor and colleagues (2009) found larger induced gamma-band responses in five-year-old children learning to play instruments. Responses to musical sounds were larger in adult musicians than in non-musicians, and developed in children after one year of musical training (but not in children of the same age who were not engaged in music lessons). Trainor and colleagues concluded that musical training affected oscillatory networks in the brain which are associated with executive functions, which in turn can enhance learning and performance in several cognitive domains. Standard musical training has been linked to greater mismatch negativity responses to melodic and rhythmic modulations in children between 11 and 13 years of age who have received musical training (Putkinen et al., 2014), while structural changes in the brain have been 35 2. Music and Neuroscience found in relation to reading musical notation. Bergman and colleagues (2014) undertook a longitudinal study with 352 children and young people between the ages of six and 25, carrying out neuroimaging investigations with 64 participants on two or three occasions, two years apart. Those playing an instrument had larger grey-matter volume in the temporo- occipital and insular cortex areas, previously reported to be related to reading musical notation. Structural differences in grey and white matter have also been found in children who engage in music, particularly during early childhood, compared with those who do not (Groussard et al., 2014; Habibi et al., 2018; Huotilainen and Tervaniemi, 2018; Pantev and Herholz, 2011). Schlaug and colleagues (2009) found that after just over two years of musical training, five- to seven-year-old children who were committed to music practice showed increased size of the anterior part of the corpus callosum. Similarly, Hudziak and colleagues (2014) assessed the extent to which playing a musical instrument was associated with cortical thickness development among healthy children and young people. Over a two-year period, 232 young people aged six to 18 underwent MRI scanning and behavioural testing. While there was no association between cortical thickness and years playing a musical instrument, a later follow-up showed that music training was associated with an increased rate of cortical thickness maturation in areas implicated in motor planning and coordination. Similarly, Habibi and colleagues (2018) investigated the effects of music training on children’s brains, comparing children engaged with musical training and others involved in either sport or no regular after-school activity. Two years after training, the children in the music group showed brain changes related to enhanced auditory processing skills. A different approach was adopted by Hyde and colleagues (2009). They tested two groups of children who had no prior formal musical training. The instrumental group consisted of 15 children aged six years old who had weekly half-hour private keyboard lessons and who continued lessons for 15 months. The comparison group consisted of 16 children who were almost six years old, who did not receive any instrumental music training but participated in a weekly 40-minute group music class in school consisting of singing and playing with drums and bells. The children underwent a magnetic resonance 36 The Power of Music imaging (MRI) scan twice, at the beginning of the research and again 15 months later. The second scan showed that the children learning to play instruments had areas of greater relative voxel size, within the motor areas, the corpus callosum and the right primary auditory region (in contrast to the comparison group). Overall, the study demonstrated regional structural brain plasticity in the developing brain that occurred with only 15 months of instrumental musical training in early childhood. The study demonstrated that the type of musical training is important in the transfer of musical skills (Hyde et al., 2009). In a cross-sectional study, Ellis and colleagues (2012) explored the impact of age-related maturation and training using functional magnetic resonance imaging ( fMRI) and linear regression techniques. The participants, aged five to 33, had a range of hours of musical practice from none to 21,000. Age-related effects common to melodic and rhythmic discrimination were present in three left hemisphere regions: the temporofrontal junction, the ventral premotor cortex, and the inferior part of the intraparietal sulcus—regions involved in actively attending to auditory rhythms, sensorimotor integration, and working memory transformations of pitch and rhythmic patterns. In contrast, training-related effects were localised to the posterior portion of the left superior temporal gyrus/ planum temporale, an area implicated in spectrotemporal pattern-matching and auditory–motor coordinating transformations. A single cluster in the right superior temporal gyrus showed significantly greater activation during melodic as opposed to rhythmic discrimination. In a second study (Ellis et al., 2013) using the same sample, an fMRI study explored how relative hemispheric asymmetries in music processing, making same or different discriminations, were shaped by musical training as assessed by cumulative hours of instrumental practice. A peak in the supramarginal gyrus was characterised by a leftward asymmetry in partial correlation with participants’ cumulative hours of practice, controlling for age and task performance. The findings suggested a direct link between the amount of time spent practising an instrument and the importance of this region in auditory working memory. Starting musical training before seven years of age seems to have a particularly strong effect in stimulating brain changes (Barrett et al., 2013; Penhune, 2011; Zatorre, 2013). Structural differences in the corpus 37 2. Music and Neuroscience callosum between musicians and non-musicians—and the extent of hand representations in the motor cortex—are greater for musicians who begin training before seven years of age (Amunts et al., 1997; Elbert et al., 1995; Schlaug et al., 1995a; 1995b). Early training is also associated with greater auditory cortex and brain-stem responses to tones (Pantev et al., 1998; Wong et al., 2007). This is confirmed even when the amount of training is controlled for (Bailey and Penhune, 2010; Watanabe et al., 2007). Musicians who begin their training when they are very young display better sensorimotor synchronisation skills when compared with those starting at ages older than seven. This difference is underpinned by brain connectivity in terms of white matter and structural differences in terms of grey matter (Bailey and Penhune, 2012; Bailey et al., 2014; Steele et al., 2013). Genetic and Maturational Effects versus Training Effects Overall, cross-sectional studies suggest that there are structural and functional differences in the brains of musicians and non-musicians, and that engagement with music leads to behavioural changes which are underpinned by changes in the primary and secondary auditory and motor cortices, as well as in sensorimotor and multimodal integration areas. The age of starting engagement with music and the intensity or duration of that engagement may account for the extent of brain differences, suggesting that there may be a causal link between musical training and changes in the brain. However, the observed differences could be caused by existing predispositions or genetic factors. At the extreme end, these include those with difficulties in processing sound (for instance, those who are tone deaf or suffer from congenital amusia);Dalla Bella et al., 2011; Kirnarskaya, 2009; Peretz and Hyde, 2003; Williamson and Stewart, 2013) and at the other extreme those who exhibit exceptional skills—for instance, prodigies or musical savants (McPherson and Lehmann, 2018; Simonton, 2017). Individual anatomical and functional properties of the brain, or genetic predispositions for learning, might impact on the learning of musical skills (Zatorre, 2013). These might explain discrepant findings in neuroplasticity and have implications for research, which needs to take account of individual 38 The Power of Music differences (Foster and Zatorre, 2010; Golestani et al., 2011; Merrett et al., 2013). There are also issues relating to maturational effects which are not always addressed, although there are exceptions to this (Ellis et al., 2012; 2013). To summarise, studies which compare the brains of musicians and non-musicians can show neurological differences structurally and functionally between the two groups. The age at which musical engagement begins and its intensity or duration can account for some differences, but cannot demonstrate a causal link. Differences might be accounted for by genetic factors or predispositions. Longitudinal or short-term intervention studies can address these issues. Intervention Studies Short-term intervention studies can demonstrate causality. For instance, Chen and colleagues (2012) used fMRI to investigate the formation of auditory-motor associations while participants with no previous musical training learned to play a melody. Listening to melodies before and after training activated the superior temporal gyrus bilaterally, but neural activity in this region was significantly reduced on the right when participants listened to the trained melody. Learning to play a melody involves acquiring conditional associations between key presses and their corresponding musical pitches, and is related to activity in the dorsal premotor area of the superior frontal gyrus. When playing melodies and random sequences, activity in the left dorsal premotor cortex was reduced in the latter compared to the early phase of training. Learning to play the melody was also associated with reduced neural activity in the left ventral premotor cortex. Participants with the highest performance scores for learning the melody showed more reduced neural activity in the left dorsal premotor area and the ventral premotor cortex. Overall, these findings demonstrated that auditory-motor learning is related to a reduction in neural activity in the brain regions of the dorsal auditory action stream, which suggests increased efficiency in the neural processing of a learned stimulus. There is evidence that the brain responds relatively quickly to new activities. Measuring event-related potentials ( ERPs), Bangert and colleagues (2001) found that audio-motor coupling occurred following 39 2. Music and Neuroscience a 20-minute piano lesson. In another study, eight-year-old children with just eight weeks of musical training differed from controls in cortical ERPs (Moreno and Besson, 2006), while music training for 25 minutes over a seven-week period led to changes in electroencephalogram ( EEG) frequencies associated with enhanced cognitive processing (Flohr et al., 2000). Transcranial magnetic stimulation ( TMS) has also revealed changes in hand cortical representation resulting from short-term training of novel fine motor skills (Pascual-Leone et al., 1995). Cortical motor areas were tracked targeting the contralateral long finger flexor and extensor muscles in participants learning a one-handed, five-finger exercise on the piano. In a second experiment, the researchers studied the different effects of mental and physical practice of the same five-finger exercise on the modulation of the cortical motor areas, targeting the muscles involved in the task. Over the course of five days, as participants learned the one-handed exercise in two-hour daily practice sessions, the cortical motor areas targeting the long finger flexor and extensor muscles enlarged, and their activation threshold decreased. Such changes were limited to the cortical representation of the hand used in the exercise. The research also studied the effect of increased hand use, without the requirement to learn the five-finger exercise, in participants who played the piano for two hours each day using only the right hand. In these participants, the changes in cortical motor outputs were similar but significantly less prominent than for those who learned the new skill. Similarly, Lappe and colleagues (2008) reported ERP changes in young adults after two weeks of music training. Later, Lappe and colleagues (2011) divided non-musicians into two groups and provided them with two weeks of musical training. In the sensorimotor group, training consisted of learning to play a musical sequence on the piano. In the other group, the non-musicians detected errors in performances after listening to the stimuli played by other participants. Following the sensorimotor training, participants showed enhanced detection of incorrect pitch or timing, as compared to listening. This difference was accompanied by a larger brain response to pitch and duration deviations, indicating greater enhancement of musical representation in the auditory cortex fostered by sensorimotor training. Similar results showing greater benefits of auditory-visual multimodal 40 The Power of Music training (as compared to unimodal training) have also been reported (Paraskevopoulos et al., 2012). To summarise, short-term changes in behaviour and brain activity can be observed as a result of a brief period of musically related training. Sensorimotor and multimodal training, typical of learning to play a musical instrument, are more efficient in engendering neuroplastic changes than unimodal training. This effect is likely to be underpinned by brain changes occurring between auditory, motor and sensorimotor integration regions involving both feed-forward mechanisms capable of predicting the outcome of motor activity and feedback mechanisms for monitoring performance (Herholz and Zatorre, 2012). Practice can lead to dramatic improvements in the discrimination of auditory stimuli. Carcagno and Plack (2011) investigated changes in the frequency following response (FFR) after a period of pitch discrimination training. Twenty-seven adult listeners were trained for ten hours on a pitch discrimination task using one of three complex tone stimuli: a static pitch contour, a rising pitch contour or a falling pitch contour. Behavioural measures of pitch discrimination and FFRs for all the stimuli were taken before and after the training phase for participants, as well as for an untrained comparison group. Those receiving training showed significant improvements in pitch discrimination as compared to the comparison group for all trained stimuli. These findings indicate that even relatively low-level processes in the mature auditory system are subject to experience-related change. Similarly, Bosnyak and colleagues (2004) found change in the functional brain attributes used for discriminating small changes in pure tones, measured by EEG in non-musicians after training over 15 sessions. Menning and colleagues (2000) used sequences of pure and deviant tones to train participants’ discrimination skills over a three-week period. Participants had to detect deviant tones, differing by progressively smaller frequency shifts from the standard stimulus. Frequency discrimination improved rapidly in the first week and was followed by small but constant improvements thereafter. The results suggested a reorganisation of the cortical representation for the trained frequencies. Schulte and colleagues (2002) designed a melody perception experiment—involving eight harmonic complex tones of missing fundamental frequencies—to study short-term neuronal plasticity of 41 2. Music and Neuroscience the auditory cortex. The fundamental frequencies of the complex tones followed the beginning of the virtual melody of the tune Frère Jacques. The harmonics of the complex tones were chosen so that the spectral melody had an inverse contour when compared with the virtual one. After a baseline measurement, participants were exposed repeatedly to the experimental stimuli for one hour a day. All reported a sudden change in the perceived melody, indicating possible reorganisation of the cortical processes involved in the virtual pitch formation. After this switch in perception, a second measurement was taken. Cortical sources of the evoked gamma-band activity were significantly stronger and located more medially after the switch in perception. The results revealed that the primary auditory cortices were involved in the process of virtual pitch perception, and that their function was modifiable by laboratory manipulation. Adopting a different approach, Loui and colleagues (2009) explored brain activity occurring when participants learned a new musical system. Participants listened to different combinations of tones from a previously unheard system of pitches based on the Bohlen-Pierce scale, with chord progressions that form 3:1 ratios in frequency, which is different from the 2:1 frequency ratios found in existing musical systems. Event- related brain potentials elicited by improbable sounds in the new music system emerged over a one-hour period. The findings demonstrated that humans use a generalised probability-based perceptual learning mechanism to process novel sound patterns in music. Functional neuroimaging yields results which are less consistent and more difficult to interpret. Pitch-related learning tasks are associated with either decreased (Jäncke et al., 2001; Zatorre et al., 2012) or increased activation (Gaab et al., 2006) of the auditory regions. Similar discrepancies are observed following short-term sensorimotor training: for instance, piano-like instrumental learning. Here, listening to melodies before and after training was associated with either increased activation of action observation regions (for instance, the premotor region, Broca’s area and the inferior parietal region; Lahav et al., 2007), or decreased activation of the dorsal auditory action pathway (Chen et al., 2012). These findings reflect those encountered in cross-sectional studies, where musical training manifests itself in increased or decreased activation. In certain circumstances, learning seems to improve efficiency in encoding or processing information, thus requiring less neuronal resources. 42 The Power of Music The ways that we learn are reflected in specific brain activity. In an intervention study, students aged 13 to 15 were taught to judge symmetrically structured musical phrases as balanced or unbalanced using traditional instructions about the differences, including verbal explanations, visual aids, notation, verbal rules and playing of musical examples, or participating in musical experiences including singing, playing, improvising or performing examples from the musical literature. Comparisons between the two groups revealed activity in different brain areas (Altenmuller et al., 1997). Similarly, Tervaniemi and colleagues (2001) have shown that musicians who play by ear and improvise may learn to process complex musical information differently to and more accurately than classically trained musicians, leading to corresponding differences in auditory neural responses. It seems that the way musical skills are acquired has a direct influence on brain development. Overview The evidence from neurological studies relating to engagement with music suggests that the human brain has remarkable plasticity and changes in response to training or the demands of the environment. Active engagement with making music provides a rich aural and sensorimotor experience which can shape the structure and functions of the human brain. As the skills needed to become an expert musician are acquired, an association between fine motor movements and specific sound patterns is developed, which is based on real-time multisensory feedback. This creates changes in the brain which are in evidence when comparisons are made between non-musicians and musicians involved in different musical activities. These changes are found in children and adults after a few months of musical training. As musicians become more expert, interpreting the findings from neurological studies becomes more complex, because of the way that many aural and motor skills become automated, thus requiring less neural activity. Despite these challenges, it is clear that music has made a major contribution to our understanding of plasticity in the brain, as well as demonstrating the role of learning in developing expertise (albeit in interaction with existing genetic predispositions).3. Aural Perception and Language Skills Language and music are unique human forms of communication. In everyday life, we utilise complex linguistic systems to process sound in the environment (Kraus and Slater, 2016). The environment is full of events where it is necessary to segregate sounds into streams where several sound sources are present at the same time (Bregman, 1994) and it is necessary to differentiate between those which are relevant and those which are irrelevant. Being able to process sound has high survival value, and hearing is the first sense to develop. The foetus in the womb can respond to sound as early as 19 weeks into pregnancy (Moon and Fifer, 2000; Graven and Browne, 2016). Learning the melodies, timbres and rhythms of the music and language of an individual’s culture begins in the mother’s womb during the third trimester of development. At this point, the foetus can discriminate the speech of their mother from that of a stranger, and the speech of their native language from a non-native language (Kisilevsky et al., 2003; Kisilevsky and Hains, 2009). Foetuses also respond differently to music and speech (Kisilevsky et al., 2004; Granier-Deferre et al., 2011). The impact of prenatal auditory experience can be observed among newborns when infants show a strong preference for their mother’s voice over the voice of another female (DeCasper and Fifer, 1980; Cooper and Aslin, 1989), their mother’s language over a foreign language (Moon et al., 1993; 2012), and specific passages of speech (DeCasper and Spence, 1986) or music (Hepper, 1991) which were presented to them during the final weeks of pregnancy. Some have proposed that this early recognition of music and speech has evolved as a cross-cultural adaptation to support mother- infant interactions (Huron, 2001; Tarr et al., 2014; Freeman, 2000; Fritz et al., 2009; Gregory and Varney, 1996). © 2022 S. Hallam & E. Himonides, CC BY-NC-ND 4.0 https://doi.org/10.11647/ OBP .0292.0344 The Power of Music Advances in technology—for instance, magnetoencephalography— have been used to record foetal and neonatal cognitive functions by non- invasively recording the magnetic fields produced by active neurons in the brain. During the later weeks of pregnancy and the first months of life, the cognitive capabilities related to the recognition of emotion and language acquisition develop rapidly. The newborn can process emotional information and speech sounds which form the basis of the child’s development in relation to social tasks and native language (Huotilainen, 2010). Early interactions between adults and infants include the use of infant-directed forms of language and music which are preferred by infants; Trainor (1996; 1989) refers to this infant-directed speech as a type of musical speech, while Koelsc and Masataka (1999) and Fernand and Siebel (2005) suggest that the early developing brain processes language as a type of music. It has been proposed that singing develops directly out of motherese ( infant-directed speech consisting of exaggerations, elevated pitch, slow repetitions and melodic elaborations of ordinary vocal communication; Dissanayake, 2004; Falk, 2004; Mahdhaoui et al., 2009; Saint-Georges et al., 2013). Motherese and singing have simple melodic arches which are cognitively easier to process than words. Both are therefore able to support mother- infant communication and language development while newborns are at a relatively early stage of neurological development (Bouissac, 2004). Infants prefer singing to speech. For instance, Nakata and Trehub (2004) studied six-month-old infants who were presented with extended audio-visual recordings of their mother’s infant-directed speech or singing. Cumulative visual fixation and initial fixation on the mother’s image lasted longer for maternal singing than for maternal speech. Furthermore, movement reduction, which tends to indicate intense engagement, accompanied visual fixation more frequently for maternal singing than for maternal speech. The repetitiveness of maternal singing may promote moderate arousal levels which sustain infant attention, in contrast to the greater variability of speech, which may result in cycles of heightened arousal, gaze aversion and re-engagement. The regular pulse of music may also enhance emotional coordination between mother and infant. Bosseler and colleagues (2016) found that the exaggerated pitch contours of infant-directed speech resulted in differences in brain 45 3. Aural Perception and Language Skills activity linked to online statistical learning in sleeping newborns. Karzon (1985) found that young infants could discriminate three- syllable sequences when the suprasegmental characteristics typical of infant-directed speech emphasised the middle syllable. This pattern of results suggests that the exaggerated suprasegmentals of infant-directed speech may function as a perceptual catalyst, facilitating discrimination by focusing the infant’s attention on a distinctive syllable within a series of polysyllabic sequences. Learning to comprehend and communicate through language places heavy demands on the auditory system. Understanding the stress patterns of a child’s native language helps him or her to segregate continuous streams of syllables into words. This ability is present from birth (Mampe et al., 2009). The neonatal brain stores auditory experiences of speech and music as memory traces (Partanen et al., 2013a; 2013b). Exposure to music before birth has an impact on the brain, which helps the newborn to make sense of a range of sounds and auditory scenes immediately after birth. The newborn needs to learn the phonemes of his or her native language quickly and effectively so that he or she can construct a map of them in the first year of life (Kuhl, 2004). This is crucial for the development of language skills. To function effectively, the auditory system requires high- and low- level cognitive skills. In humans, the process begins in the cochlea, where information about the acoustic characteristics of particular sounds is presented. This information is then subject to time and frequency processes, subsequently progressing to higher levels in the auditory system. High-level cognitive skills are required to make sense of auditory information. These skills include memory, attention and predictive processes. Such processes are vital in speech perception; for instance, being able to segregate sounds into streams when listening to speech within noise, the perception of music, and learning native and other languages. As we saw in Chapter 2 , there is a large body of evidence that active engagement with music in childhood produces structural changes in the brain and its functioning—changes which are related to the processing of sound (Elbert et al., 1995; Huotilainen and Tervaniemi, 2018; Hutchinson et al., 2003; Pantev et al., 2001; 2003; Pascual-Leone, 2001; Schlaug et al., 1995a; 1995b). How easily individuals are able to process sound depends on their prior experiences with it (Krishnan et 46 The Power of Music al., 2005; Krizman et al., 2012; White-Schwoch et al., 2013). Knowledge related to auditory processing is acquired through exposure to particular environments and is applied automatically whenever an individual listens to music or speech (Bigand and Poulin-Carronnat, 2006). This process begins in the womb and continues throughout infancy. Research on aural processing and its relationship with language has taken several forms beyond that undertaken in neuroscience. Some has considered the relationships between language and music in terms of processing but also skill levels. Another strand of research has focused on aural perception—including comparisons of musicians with non- musicians, adults and children—while some research has considered how music might help those with difficulties in processing sound. The following sections will consider these issues. Explanations of the Relationships between Music and Language Language and music share many characteristics, including the use of the auditory domain as the input path and the organisation of perceptual elements into structured sequences (Patel, 2003). Understanding the relationship between musical training and speech perception has proved challenging. Early work focused on hemispheric specialisation. For example, Bever and Chiarello (1974) suggested that language was based in the left hemisphere and music in the right. In the 1990s, technological developments in neuroimaging revealed partial neural overlap between the two domains (Patel, 2008), although clinical studies of those with brain damage revealed separate deficits in music and language (Peretz and Coltheart, 2003). Despite this, there is evidence of common brain regions for processing music and language (Herdener et al., 2014; Koelsch et al., 2002) but this does not necessarily imply that there is shared processing circuitry, as the findings of such research are open to different interpretations (Kunert and Slevc, 2015). However, research focusing specifically on shared neural circuitry has indicated neural overlap for the processing of speech and music (Besson et al., 2011; Bidelman et al., 2013; Bugaj and Brenner, 2011; Chandrasekaran et al., 2009; Degé and Schwarzer, 2011; Gordon et al., 2014; Kraus and Chandrasekaran, 2010; Kraus and White-Schwoch, 2016; Overy, 2003; Patel and Iversen, 47 3. Aural Perception and Language Skills 2007; Rogalsky et al., 2011; Sammler et al., 2007; Schulze et al., 2011; Tallal and Gaab, 2006; Wong et al., 2007). Despite this, the extent and nature of the overlap continues to be hotly debated (Norman-Haignere et al., 2015; Patel, 2016; Peretz et al., 2015). One area of controversy is whether the brain networks involved are separate or whether the neural resources are shared (Kunert and Slevc, 2015; Norman-Haignere et al., 2015; Peretz et al., 2015). A further issue is that the ease with which shared processes operate depends on the individual’s prior experiences with sound, including music (Bigand and Poulin-Carronnat, 2006; Elmer et al., 2014; Krishnan et al., 2005; Krizman et al., 2012; Patel, 2016; White-Schwoch et al., 2013). The strongest evidence for neural overlap and cross-domain experience-dependent plasticity is in the brainstem, followed by the auditory cortex. The evidence and the potential for overlap becomes less apparent as the mechanisms involved in music and speech perception become more specialised and distinct at higher levels of processing (Ogg and Slevc, 2019). The relationship between language and musical abilities might be explained in terms of signal processing in the dorsal auditory stream, which is domain-general. This suggests that there is overlap between the perceptual processing of linguistic (Kotz and Schmidt-Kassow, 2015; Kotz and Schwartze, 2010), musical, affective and prosodic sensory information (Fruhholz, Trost and Kotz, 2016). The dorsal circuit integrates auditory and motor processes, providing a neural mechanism for speech development, articulation, articulatory sequences and the encoding of new vocabulary, phonological short-term memory and the feed-forward function (Buchsbaum et al., 2005; Hickok and Poeppel, 2007). The putamen also plays a pivotal role in human motor cortico- basal ganglia thalamo-cortical circuitry, but is also involved in the perception of beats involving local gamma-band oscillations (Merchant et al., 2015). This circuit is involved not only in sequential and temporal processing, but also in rhythmic behaviours such as music and dance, where audition plays a crucial role. The circuit is usually involved in the control of voluntary skeletomotor movements, and includes the supplementary motor cortex and the putamen as the fundamental cortical and neostriatal nodes, respectively. Two theoretical positions—Hickok and Poeppel’s (2000; 2007) neuroanatomical model and Patel’s OPERA hypothesis—have 48 The Power of Music underpinned much research. Hickok and Poeppel (2000; 2007) argue that progress in understanding the nature and extent of overlap has been limited because of the failure to consider the effects of different tasks when mapping speech-related processing systems. They outline a dual-stream model of speech processing in which a ventral stream processes speech signals for comprehension, and a dorsal stream maps acoustic speech signals to frontal- lobe articulatory networks. The model assumes that the ventral stream is largely bilaterally organised, while the dorsal stream is strongly left- hemisphere dominant. The OPERA model proposed by Patel (2011) includes overlap in subcortical and cortical networks but adds precision (the music must place higher demands on the networks than language); emotions (the music must elicit strong positive emotions); repetition (the musical activity must be repeated frequently); and must be associated with attention. The model suggests that there is anatomical overlap of the neural areas that process acoustic features in both speech and music, but that music requires greater precision than speech and places higher demands on overlapping neural areas. It also suggests that musical training requires repetition so that the neural areas are continually activated which, in turn, leads to enhanced attention. In early life, speech and music processing have been shown to rely on overlapping neural substrates (Kotilahti et al., 2010; McMullen and Saffran, 2004; Perani et al., 2011). Brandt and colleagues (2012) have argued that, without the ability to hear musically, it would not be possible to acquire language. They suggest that music serves as a scaffold to learn speech, supported by the mother’s use of motherese as she interacts with her child (Fernald, 1989). Musical and language processes might have similar developmental underpinnings in infants and children but be modularised in adults. As newborns do not understand syntax and the meaning of words, they focus on the acoustic features of voices and the prosodic features of language ( rhythm, speed, pitch and relative emphasis). The processing systems may become differentiated as they become more familiar with speech and cognitive maturation occurs (Koelsch and Siebel, 2005). Koelsch (2011) suggests that there is an emergent modularity. Speech and music processing both depend on perceptual categorisation. In speech, the focus is primarily on timbral contrasts, while in music the 49 3. Aural Perception and Language Skills focus is on distinguishing differences in pitch. The sounds of vowels and sound frequencies are spread along continua. Acquiring musical and language skills requires individuals to learn to separate the sounds in each continuum into separate vowels or pitches. In addition, it must also be possible to separate variation within a category—for instance, sound variation produced by different speakers from variation that constitutes a change of category. Patel (2008) suggests that these challenges are likely solved by a shared system. If there is a shared sound-category learning mechanism, it would suggest comparable individual differences in language and musical abilities. Some support for this comes from research with individuals classed as ‘tune deaf which has shown that poor musical performance tends to be associated with deficits in processing speech sounds’ (Jones et al., 2009). There may be a sensitive period for musical training. Support for this comes from findings that musicians who begin training early show better task performance and greater changes in auditory and motor regions of the brain than those who start later in childhood (Bengtsson et al., 2005; Elbert et al., 1995; Gaser and Schlaug, 2003a; Koeneke et al., 2004; Penhune, 2011; Schneider et al., 2002). Those who have absolute pitch— the ability to identify or produce musical pitch without recourse to any reference tones—offer further support as, typically, those with absolute pitch begin training before the age of six, with almost no examples of absolute pitch in those commencing musical activity after nine years of age (Baharloo et al., 1998). However, auditory learning and plasticity remain possible after sensitive periods (Strait et al., 2010). During a sensitive period, learning is largely a bottom-up process that is triggered by exposure to auditory input, and is optimised because underlying neural circuits are still developing and are extremely sensitive to input received. Following a sensitive period, learning is largely a top-down process that depends on attention to enhance the salience of features in order to encode them. The process involves changing the structure and efficiency of pre-existing circuits to optimise processing. Music training may support the developmental trajectory of top-down control over speech processing (Strait et al., 2014; White et al., 2013). The most recent research approaches draw on the clinical evidence of music-related deficits in neurologically impaired individuals, while also exploring the processing of music in healthy people, 50 The Power of Music using neurocomparative music and language research (Sammell and Elmer, 2020). Particular areas of interest have been the role of general attention (Perruchet and Poulin-Charronnat, 2013), rhythm, neuronal entrainment, predictive coding and cognitive control (Slevc and Okada, 2015). For instance, Sammell and Elmer (2020) suggest that temporal attention can be influenced by external rhythmic auditory stimulation and that this benefits language processing, including the processing of syntax and speech production. Such research starts from the proposition that speech and music have similar acoustic (Reybrouck and Podlipniak, 2019; Tsai and Li, 2019) structural features (Boll-Avetisyan et al., 2020; Daikoku, 2018; Fotidzis et al., 2018; Lagrois et al., 2019; Lee et al, 2019; Myers et al., 2019; Silva et al., 2019; Snijders et al, 2020). Processing systems for language and music share the challenge of extracting a small number of categories that are meaningful from a flow of acoustically variable signals. The analysis skills used in language processing, phonological distinctions, blending and segmentation of sounds are similar to the skills necessary for the perception of rhythmic (Lamb and Gregory 1993; Lipscomb et al., 2008), harmonic and melodic discrimination (Anvari et al., 2002; Barwick et al., 1989; Lamb and Gregory, 1993). The processing of timing cues is emerging as particularly important in leading to better segmenting of the sounds of speech and quicker recognition of distinctive units of spoken language (Kraus and Chandrasekaran, 2010; Overy, 2003; Tallal and Gaab, 2006). Reybrouck and Podlipniak (2019) argue that some sound features and their common preconceptual affective meanings may reflect joint evolutionary roots of music and language that continue to the present day—for instance, musical expressivity and speech prosody. Recent neurophysiological models assume that speech and music processing, as well as the role of rhythm in language development, are based on the synchronisation of internal neuronal oscillations with temporally regular stimuli (Goswami, 2019; Lakatos, et al., 2019; Large et al., 2015; Poeppel and Assaneo, 2020). For instance, Lakatos and colleagues (2019) argue that rhythms are a fundamental and defining feature of neuronal activity in humans. Rhythmic brain activity interacts in complex ways with rhythms in the internal and external environment, through the phenomenon of neuronal entrainment. This has been proposed as having a role in many sensory and cognitive processes. Auditory senses 51 3. Aural Perception and Language Skills are faced with many rhythmic inputs. Entrainment couples rhythmic brain activity to external and internal rhythmic events, serving fine- grained routing and modulation of external and internal signals across multiple spatial and temporal hierarchies. Lakatos and colleagues (2019) propose a theoretical framework, explaining how neuronal entrainment dynamically structures information from incoming neuronal, bodily and environmental sources. For instance, Doelling and Poeppel, (2015) suggest that the brain exploits the temporal regularities in music to accurately parse individual notes from the sound stream using lower frequencies or entrainment, and in higher frequencies to generate temporal and content-based predictions of subsequent musical events associated with predictive models. One strand of research has focused on the patterning of strong and weak syllables or beats that make up rhythm, pulse and prosodic stress (Breen et al., 2019; Frey et al., 2019; Myers et al., 2019; Richards and Goswami, 2019; Snijders et al., 2020). The rhythmic patterning of both speech and music has been proposed to draw on domain-general abilities which are required to perceive and process the temporal features of sound (Jones, 2019; Kotz et al., 2018). Richards and Goswami (2019) explain that prosody, particularly the hierarchical structuring of stressed and unstressed syllables, provides reliable cues to the syntactic structure of speech (Selkirk, 1984) and may therefore facilitate the acquisition of syntactic language organisation (Cumming et al., 2015). Early disturbances of this rhythm-syntax interface may hinder normal language acquisition, leading to developmental language disorders. Richards and Goswami suggest that basic processing of rhythmic prosodic cues may provide a key foundation for the scaffolding of higher aspects of language during development. A further strand of research has focused on the common auditory processing of temporal regularities (Boll-Avetisyan et al., 2020; Fotidzia et al., 2018; Lagrois et al, 2019; Reybrouck and Podlipniak, 2019). These are thought to promote higher-level linguistic functions (Breen et al., 2019; Frey et al., 2019; Fotidzis et al., 2018: Richards and Goswami, 2019; Rossi et al., 2020; Snijders et al., 2020), possibly through neuronal entrainment (Myers et al., 2019). For instance, Lagrois and colleagues (2019) found that so-called ‘beat deaf individuals’, those who have beat-finding deficits in music, showed deficits in synchronising tapping 52 The Power of Music with speech rhythm, and more generally, in regular tapping without external rhythms. This pattern of deficits may arise from a basic deficiency in timekeeping mechanisms that affects rhythm perception across domains. Similarly, Boll-Avetisyan and colleagues (2020) used multiple regression analyses and found that musical rhythm perception abilities predicted rhythmic grouping preferences in speech in adults with and without dyslexia, while Fotidzis and colleagues (2018) found that musical rhythmic skills predicted children’s neural sensitivity to mismatches between the speech rhythm of a written word and an auditory rhythm. A further strand of research has explored top-down modulations of common auditory processes by domain-general cognitive and motor functions in both perception and production (Christiner and Reiterer, 2018; Daikoku, 2018; Lee et al., 2019). For instance, Jung and colleagues (2015) demonstrated that rhythmic expectancy is crucial to the interaction of processing musical and linguistic syntax, while Silva and colleagues (2019) demonstrated top-down adjustment of music and language perception through behavioural modelling. They found that listeners placed break patterns in ambiguous speech-song stimuli differently, depending on whether they believed that they were listening to speech prosody or contemporary music. Similarly, Tsai and Li (2019) found that the strength with which an ambiguous stimulus was perceived as song rather than speech depended not only on the acoustics of the stimulus itself, but also on the sound category of the preceding stimulus, while Mathias and colleagues (2019) showed that pianists gradually anticipated the sounds of their actions during music production, similar to the mechanisms of auditory feedback control during speech production (Hickok, 2012; Palmer and Pfordresher, 2003). Overall, this research suggests that the listening context, the listener’s own motor plans and statistical and domain-specific expectations may influence the top-down anticipation and perception of acoustic features in speech and music. Myers and colleagues (2019) summarise the current state of knowledge about neuronal entrainment in speech envelope tracking, reflecting quasi-regular amplitude fluctuations over time. Speech envelope tracking is neural and occurs simultaneously at multiple time scales corresponding to the rates of phonemes, syllables and phrases (Giraud and Poeppel, 2012; Gross et al., 2013). They argue that the 53 3. Aural Perception and Language Skills slowest rate, corresponding to prosodic stress and rhythmic pacing in the delta range, constitutes a particularly strong source of neuronal entrainment which is crucial for normal language development. Jung and colleagues (2015) demonstrated that rhythmic expectancy is crucial to the interaction of processing musical and linguistic syntax, supporting the incorporation of dynamic models of attentional entrainment into existing theories, which have proposed a sharing of neural resources between syntax processing in music and language (Patel, 2003), and a dynamic attention network that governs general temporal processing (Large and Jones, 1999). Their findings suggest that the interaction of music and language syntax processing depends on rhythmic expectancy, supporting emerging theories of music and language syntax processing with dynamic models of attentional entrainment. Some research has examined domain-general top-down modulations of music and language from the perspective of perception and production, focusing on the continuous interaction between bottom-up and top-down processes in line with significant trends in predictive coding (Erickson and Thiessen, 2015). For instance, Koelsch and colleagues (2019) suggest that music perception is an active act of listening. When listening to music, we constantly generate plausible hypotheses about what could happen next. Actively attending to music resolves uncertainty. Within the predictive coding framework, Koelsch and colleagues (2019) present a formulation of precision filtering and attentional selection, which explains why some lower-level auditory— and even higher-level syntactic—music processes elicited by irregular events are relatively exempt from top-down predictive processes. They provide evidence for the attentional selection of salient auditory features, which suggests that listening is a more active process than traditionally conceived in models of perception. To examine predictive mechanisms in music, Fogel and colleagues (2015) presented listeners with the beginning of a novel tonal melody of five to nine notes and asked them to sing the note they expected to come next. Half of the melodies had an underlying harmonic structure designed to constrain expectations for the next note, based on an implied authentic cadence within the melody. Each authentic cadence melody was matched to a non-cadential melody in terms of length, rhythm and melodic contour, 54 The Power of Music but differing in implied harmonic structure. On average, participants showed much greater consistency in the notes sung following authentic versus non-cadential melodies, although there was significant variation in consistency for both melodies, suggesting that individual differences were important. Examining perceived relationships between perceptions of speech and song through the speech-to-song illusion, Margulis and colleagues (2015) presented native-English-speaking participants with brief spoken utterances that were repeated ten times. The speech-to-song illusion occurs when a brief phrase is repeated several times and then begins to be perceived as song. The illusion exposes a border between the perception of language and the perception of music. The phrases used were either drawn from languages that were relatively difficult for a native English speaker to pronounce, or languages that were relatively easy for a native English speaker to pronounce. Participants rated the utterances before and after the repetitions on a five-point Likert-like scale as ranging from sounds exactly like speech to sounds exactly like singing. The speech-to-song illusion occurred more readily if the utterance was spoken in a language difficult for a native English speaker to pronounce. This suggests that speech circuitry was more likely to capture native and easy-to-pronounce languages, and more reluctant to relinquish them to perceived songs across repetitions. Some research has explored the processing benefits of rhythmically highly regular stimuli such as songs. For instance, Rossi and colleagues (2020) investigated whether meaning was extracted from spoken and sung sentences in a similar way. Participants listened to semantically correct and incorrect sentences while performing a correctness judgement task. Neural mechanisms were assessed with several methods. The combined results indicated similar semantic processing in speech and song. The findings of the effects of general rhythmic processing skills on higher-order linguistic abilities are currently being investigated in the context of first language acquisition (Ladányi et al., 2020). Christiner and Reiterer (2018) found that links between musical aptitude, phonetic language abilities, and imitation of foreign speech in pre-school children were mediated by domain-general working memory resources. While this does not preclude auditory perceptual connections between music 55 3. Aural Perception and Language Skills and language, the findings suggest that there may be more complex interactions which have not yet been identified. Miles and colleagues (2016) suggest that two different aspects of music and language depend on the same two memory systems. One brain system, based in the temporal lobes, helps humans memorise information in both language and music—for example, words and meanings in language, and familiar melodies in music. The other system, based in the frontal lobes, helps humans unconsciously learn and use the rules that underlie both language and music, such as the rules of syntax in sentences, and the rules of harmony in music. The findings suggest that one set of brain structures underlies rules in both language and music, but also that a different brain system underlies memorised information in both domains. Over time, the research exploring the relationship between music and language has progressed from exploring the mapping of music and language functions in the brain to trying to understand the mechanisms involved. Much further investigation is required before there is a clear understanding of this. Future research needs to take account of individual differences and the nature of the tasks studied, as neural overlap might be task-dependent. Differences in listening tasks may limit the extent to which any clear conclusions can be drawn about the underlying neurobiology of music and speech. Comparisons between Musicians and Non-Musicians Altenmüller (2003) proposed that cortical activation during music processing reflects the individual’s auditory learning biography (their personal musical experiences accumulated over time). He suggests that the complexity of neural networks is enhanced depending on the complexity of auditory information experienced. Musical training leads to the development of mental representations of music, which may involve different cerebral substrates to those required for other types of aural processing. These representations can take several forms, including auditory, sensory motor, symbolic or visual. This means that, to process the same level of auditory information, professional musicians use larger and more complex neural networks when compared with non-musicians.56 The Power of Music A considerable body of research has developed which has focused on making comparisons between sound processing in musicians and non- musicians. In such research, musicians tend to be identified in terms of playing an instrument or being involved in formal singing activities. Non-musicians are defined as not engaging in music-making in these ways, although they may engage with music in other ways. Despite the crudity of this distinction, much research has been undertaken on this basis, with participants of all ages, from children to seniors. This research has demonstrated that musicians have enhanced abilities to process pitch and temporal sound information (Chobert et al., 2011; 2014; Kishon-Rabin et al., 2001; Kraus and Chandrasekaran, 2010; Magne et al., 2006; Marques et al, 2007; Micheyl et al., 2006; Moreno et al., 2009; Schon et al., 2004; Strait et al., 2010; Tervaniemi et al, 1997; van Zuijen et al., 2005; Zendel and Alain, 2009). They have improved performance on a range of listening skills (Hyde et al., 2009; Pantev et al., 2001; Patel and Iverson, 2007; Tallal and Gaab, 2006). They have enhanced auditory attention (Strait and Kraus, 2011; Strait et al., 2014), better processing of the metric structure of words when they are presented in sentences (Marie et al., 2011b) and better discrimination and identification of moraic units of timing and other language features (Sadakata and Sekiayama, 2011). Musicians can classify voiced sounds, vowels, more easily and quickly than non-musicians (Bidelman et al., 2014), and have advantages in relation to the processing of linguistic syntax (Fiveash and Pammer, 2014) and in making judgements about grammar (Patston and Tippett, 2011). They are better able to distinguish rapidly changing sounds (Gaab et al., 2005), harmonic differences (Corrigall and Trainor, 2009; Musacchia et al., 2008; Zendel and Alain, 2009), temporal novelty (Herdener et al., 2014) and tonal variations in non-native speech sounds (Chandrasekaran et al., 2009; Cooper and Wang, 2010; Kühnis et al., 2013; Marques et al, 2007; Martinez-Montes et al., 2013; Perfors and Ong, 2012; Wong et al., 2007; Wong and Perrachione, 2007; Yang et al., 2014). They can perceive speech better than those without training when it is accompanied by noise (Parbery-Clark et al., 2009a; 2009b; 2011), and can identify syllables presented when spectral information is degraded (Elmer et al., 2012), identify whether sentences in a foreign language which is tone based are the same or different (Marie et al., 2011a; 2011b) and predict the ability to perceive and produce subtle phonetic contrasts 57 3. Aural Perception and Language Skills in a second language (Slevc & Miyake, 2006). They are also better than non-musicians at the perception and processing of vocally expressed emotion (Bhatara et al., 2011; Lima & Castro, 2011; Strait et al., 2009; Thompson et al., 2004). At the subcortical level musicians demonstrate more robust and quicker auditory brainstem responses to music (Lee et al., 2009) and speech (Bidelman et al., 2009; Bidelman & Krishnan 2010). For instance, Musacchia and colleagues (2007) demonstrated that musicians, compared to non-musicians, had earlier and larger auditory and audiovisual brainstem responses to speech and music stimuli. The strength of the brainstem response was related to the number of years of musical practice. Similarly, Wong and colleagues (2007) examined brainstem encoding of linguistic pitch and found that musicians show more robust and faithful encoding compared with non-musicians. The extent of subcortical consonant discrimination in noise perception is also enhanced in musicians (Parbery-Clark et al., 2012). Finally, musicians have an increased neural capacity for the perception and processing of vocally expressed emotion (Strait et al., 2009a; 2009b) and have high- functioning peripheral auditory systems. The quality of aural encoding is related to the amount of musical training (Wong et al., 2007) and also the nature of instrumental requirements. As was demonstrated in Chapter 2 , there are subtle differences between musicians in their aural processing, depending on the instrument that they play. For instance, Rauscher and Hinton (2011) used four discrimination tasks with adults aged 16 –63—musicians and non- musicians—and found that auditory discrimination was better in the musicians. This was particularly true of the string players as compared with percussionists, probably as a consequence of the many years of subtle tonal discrimination required to play a stringed instrument. The findings demonstrated that expertise in playing a musical instrument selectively improved discrimination thresholds corresponding to the skills emphasised by training on that instrument. Similarly, Brattico and colleagues (2013) established that responses to sound are modulated by expertise in more than one music culture, as is typical of Finnish folk musicians, while Tervaniemi and colleagues (2006) found that amateur musicians still had advantages over non-musicians in their neural and behavioural sound encoding accuracy. In a later study, Tervaniemi 58 The Power of Music and colleagues (2016) found that classical, jazz, and rock musicians exhibited automatic brain responses which were selectively enhanced to deviants in tuning, classical musicians, timing, classical and jazz musicians, transposition, jazz musicians, and melody contour, jazz and rock musicians. Another study found different brain responses to six types of music featured by classical, jazz, rock and pop musicians and non-musicians. Jazz and classical musicians scored higher in a musical aptitude test than band musicians and non-musicians, especially with regards to tonal abilities. Jazz musicians had a greater overall sensitivity to auditory outliers, processing of pitch and sliding up to pitches (Vuust et al., 2012). Greater left- hemisphere lateralisation has been shown in musicians in comparison with non-musicians when they are presented with musical stimuli (Bever and Chiarello, 1974; Hirshkowitz et al., 1978; Besson et al., 1994; Schlaug et al., 1995a). This is consistent with more efficient verbal processes. This asymmetry has been proposed to potentially be related to language and pitch processing skills. Ohnishi and colleagues (2001) assessed cortical activation during a passive listening task and also found greater activation of the planum temporale and the left dorso-lateral prefrontal cortex in musicians than in non-musicians. The authors also found a negative correlation between the degree of activation in the left planum temporale and the age of commencement of musical training. Non-musicians demonstrated right dominant secondary auditory areas during the same task. Further, the degree of activation in the left posterior dorsolateral prefrontal cortex and the left planum temporale correlated significantly with absolute pitch ability. Fujioka and colleagues (2006) also observed a greater left- hemisphere lateralisation in four- to six-year-old children who received music lessons over the period of a year when listening to violin tones, as compared with children receiving no music lessons. The auditory expertise gained over years of music training finetunes the auditory system (Strait and Kraus, 2011a; 2011b) strengthening the neurobiological and cognitive underpinnings of speech and music processing including enhancing neural responses to changes in pitch, duration, intensity and voice onset time. Musicians’ enhanced perceptual skills play a role in enhancing language skills (Bever and Chiarello, 2009; Gaab et al., 2005; Hutka et al., 2015; Jakobsob et al., 2003; 59 3. Aural Perception and Language Skills Strait et al., 2014; Tallal and Gaab, 2006; Zatorre and Belin, 2001; Zattore et al., 2002). This increased sensitivity and attention to speech seems to be supported, in part, by right- hemisphere processing (Jantzen et al., 2014). Musicians’ pitch expertise appears to extend from music to the language context with no significant differences between domains (Alexander et al., 2005; Bidelman et al., 2011; Delogu et al., 2010; Lee and Hung, 2008; Marie et al., 2011; Mom and Zuo, 2012; Weidema et al., 2016). Musicians are also better at recognising vocally expressed emotion. For instance, Pinheiro and colleagues (2015) investigated the effects of musical training on event-related potential correlates of emotional prosody processing. Fourteen musicians and fourteen non- musicians listened to 228 sentences with neutral semantic content, differing in prosody: one third with neutral, one third with happy and one third with angry intonation, with intelligible semantic content and unintelligible semantic content. The findings suggested that auditory expertise can have an impact on different stages of vocal emotional processing. Fujioka and colleagues (2004) found that people with no formal music education processed both contour and interval information in the auditory cortex automatically. They designed stimuli to examine contour and interval information separately. In the contour condition, there were eight different standard melodies, each consisting of five notes, all ascending in pitch. The corresponding deviant melodies were altered to descend on their final note. The interval condition used one five-note standard melody transposed to eight keys from trial to trial, and on deviant trials the last note was raised by one whole tone without changing the pitch contour. There was also a control condition, in which a standard tone and a deviant tone were presented. The results suggested that musical training enhanced the ability to automatically register abstract changes in the relative pitch structure of melodies. Language and music depend on rules and memorised representations. Miranda and Ullman (2007) examined the neural bases of these aspects of music with an event-related potential study of note violations in melodies. Rule-only violations consisted of out-of-key deviant notes that violated tonal harmony rules in unfamiliar melodies. Memory- only violations consisted of in-key deviant notes in familiar well-known melodies. These notes followed musical rules but deviated from the 60 The Power of Music actual melodies. Finally, out-of-key notes in familiar well-known melodies constituted violations of both rules and memory. All three conditions were presented to healthy young adults: half were musicians and half non-musicians. The results revealed a double dissociation, independent of musical training, between rules and memory. Both rule violation conditions, but not the memory-only violations, elicited an early, somewhat right- lateralised anterior central negativity consistent with previous studies of rule violations in music, and analogous to the early left- lateralised anterior negativities elicited by rule violations in language. In contrast, both memory violation conditions, but not the rule-only violation, elicited a posterior negativity, a component that depends, at least in part, on the processing of representations stored in long-term memory, both in language and in other domains. The results suggest that the neurocognitive rule memory dissociation extends from language to music, further strengthening the similarities between the two domains. Harding and colleagues (2019) recorded the EEG of 28 participants with a range of musical training, who listened to melodies and sentences with identical rhythmic structure. The results showed that participants with only a few years of musical training had a comparable cortical response to music and speech rhythm. However, the cortical response to music rhythm increased with years of musical training, while the response to speech rhythm did not, leading to an overall greater cortical response to music rhythm across all participants. It seems as if task demands shape asymmetric cortical tracking across domains. Focusing on sound discrimination, Parbery-Clark and colleagues (2012) established that musicians have an increased ability to detect small differences between sounds. They showed that this conferred advantages in the subcortical differentiation of closely related speech sounds (for example, /ba/ and /ga/), distinguishable only by their harmonic spectra. By measuring the degree to which subcortical response timing differed for the speech syllables /ba/, /da/ and /ga/ in adult musicians and non-musicians, they showed that musicians demonstrated enhanced subcortical discrimination of closely related speech sounds. Further, the extent of subcortical consonant discrimination correlated with speech in noise perception. Similarly, Ott and colleagues (2011) determined whether musical expertise led to an altered neurophysiological 61 3. Aural Perception and Language Skills processing of subsegmental information available in speech signals. They analysed neurophysiological responses to voiced and unvoiced consonant- vowel syllables and noise-analogues in 26 German-speaking adult musicians and non-musicians. The findings showed that musicians processed unvoiced stimuli, irrespective of whether these were speech or non-speech stimuli, differently to non-musicians. Zuk and colleagues (2013) examined the perceptual acuity of musicians to the acoustic components of speech necessary for intra-phonemic discrimination of synthetic syllables. Musicians and non-musicians were compared on discrimination thresholds of three synthetic speech syllable continua that varied in their spectral and temporal discrimination demands. Musicians demonstrated superior discrimination only for syllables that required resolution of temporal cues. In addition, performance on the temporal syllable continua positively correlated with the length and intensity of musical training. Musicians are also better at processing intervals than non-musicians. Comparisons between eleven musicians aged 21-33 and ten non- musicians aged 19-29 years who were required to detect infrequent changes to the last note of a five-note melody—which either altered the contour or the interval up or down—showed that contour processing was more basic and less affected by musical experience (Trainor et al., 1999). The benefits of musical training have been shown to continue throughout the lifespan. Bidelman and Alain (2015) showed that musical training can offset the decline in auditory brain processing that frequently accompanies normal ageing. They recorded brainstem and cortical neuroelectric responses in older adults as they classified speech sound along an acoustic phonetic continuum. Those who had only had modest musical training had higher temporal precision in speech- evoked responses and were better at differentiating phonetic categories. Even limited musical training can preserve robust speech recognition late in life. As considered in Chapter 2 , comparisons between musicians and non- musicians cannot demonstrate causality. Differences in aural processing could be present at birth or appear at any stage of development due to genetic programming, while differences in language skills could have 62 The Power of Music developed through diversity in educational opportunities or home circumstances. However, the fact that most enhancements are greater the longer the period of training suggests that musical experience is the cause (Ho et al., 2003; Lee and Noppeney, 2015; Musacchia et al., 2008; Norton et al., 2005; Pantev et al., 1998; Seither-Preisler et al., 2014; Strait and Kraus, 2014; Wong et al., 2007), although the nature of the particular musical activities may be important, as may the intensity and commitment to engagement with music. The issue of causality can best be resolved by intervention studies. These usually take place in research with children. Research with Children There have been reports of the benefits of music for language development, extending from early years through childhood (Tierney and Kraus, 2013; White et al., 2013) in addition to benefits for auditory skill development, including auditory discrimination and attention (Putkinen et al., 2013) and language skills including pitch perception (Linnavalli et al., 2018; Nan et al., 2018; Yang et al., 2014). One strand of research has focused on infants and preschool children. For instance, Zhao and colleagues (2016) examined the effects of a laboratory-based intervention on music and speech processing in nine- month-old infants who were exposed to music in triple time (a waltz) in a social context. Infants, with the aid of caregivers, tapped out the musical beats with maracas, or their feet, and were bounced in synchronisation to the musical beats. The intervention incorporated key characteristics of typical infant music classes to maximise learning. It was multimodal, social, and offered repetitive experiences. A control group experienced similar multimodal, social, repetitive play, but without music. Following the intervention, the infants’ neural processing of temporal structure was tested using tones in triple time and speech with foreign syllable structures. After 12 sessions, the infants’ neural responses to temporal structure violations in music and speech were assessed. Compared with infants in the control group, the infants exposed to the music intervention improved their detection and prediction of auditory patterns, demonstrating enhanced temporal structure processing in music and speech, musical pitch and the processing of timing. The intervention enhanced the infants’ ability to extract temporal structure 63 3. Aural Perception and Language Skills information and to predict future events in time, a skill affecting both music and speech processing. Similarly, Trainor and colleagues (2012) reported neural‐level changes in six-month-old infants randomised to engage in active participatory music classes for six months or a class in which they experienced music passively while playing. Active music participation resulted in earlier enculturation to Western tonal pitch structure, larger and/or earlier brain responses to musical tones, and a more positive social trajectory. Also working with six-month-old infants, Gerry and colleagues (2012) found that random assignment to six months of active participatory musical experience accelerated the acquisition of culture-specific knowledge of Western tonality, in comparison to a similar level of passive exposure to music. The infants assigned to the active musical experience showed superior development of prelinguistic communicative gestures and social behaviour compared to infants assigned to the passive musical experience. The findings showed that infants can engage in meaningful musical training when appropriate pedagogical approaches are used, and that active musical participation in infancy both enhances culture- specific musical acquisition and impacts the development of social and communication skills. Another comparable study is that of Snijders and colleagues (2020), who investigated whether infants could learn words from ecologically valid children’s songs. Forty Dutch-learning ten-month-olds participated in the research to explore whether infants could segment repeated target words embedded in songs during familiarisation, and subsequently recognise those words in continuous speech in a test phase. The infants participated in both song and speech sessions. The findings showed that 10-month-old infants could indeed segment words embedded in songs. Working with children participating in Head Start provision, Yazejian and colleagues (2009) evaluated the effects of a supplementary preschool classroom music and movement curriculum on language skills. The participating children made greater gains in communication skills than children in a comparison group, although there were no differences in receptive language or phonological awareness. A study with children aged two to three by Putkinen and colleagues (2013) found a relationship between informal musical activities with parents at home and auditory event-related potentials linked to sound 64 The Power of Music discrimination and attention. They showed that children with higher levels of musical activity had heightened sensitivity to temporal acoustic changes, more mature auditory change detection, and less distractibility. The children in the research who also attended a music- focused playschool until the age of four or six displayed more rapid development of neural responses than those who gave up the activity. A related cross-sectional study showed enhanced control over auditory novelty processing in musically trained school-aged children and adolescents (Putkinen et al., 2015). Similarly, the Soundplay project in the UK worked with children aged two to four years old, using a combination of methods including observation, music, language tracker tools, interviews and written reports compiled by early years practitioners, parents and workshop leaders. They found that, after participating in the project, children who had been identified as being at risk of developmental delay achieved higher than average development in language skills (Pitts, 2016). In Australia, Williams and colleagues (2015) investigated parent- child home music activities in a sample of 3031 Australian children participating in a national longitudinal study. The frequency of shared home music activities was reported by parents when children were two to three years old and a range of social, emotional and cognitive outcomes were measured by parent and teacher report and direct testing two years later (when the children were four to five years old). A series of regression analyses found that the frequency of shared home music activities had a small significant association with children’s vocabulary, numeracy, attentional and emotional regulation, and prosocial skills. Taken together, these studies provide causal evidence of the role of music training and less formal musical activities in shaping the development of important neural auditory skills in young children. We can also consider studies looking at older children: Trainor and colleagues (2003) found that four-year-olds who had received Suzuki training had a better developed auditory cortex and were better able to discriminate between sounds. Fujioka and colleagues (2006) recorded auditory evoked responses to a violin tone and a noise-burst stimulus in four- to six-year-old children in four repeated measurements over a one-year period using magnetoencephalography, and found that the children who had participated in music lessons throughout the year 65 3. Aural Perception and Language Skills showed a clear musical training effect in response to the violin stimuli, when compared with the untrained children. Similarly, Shahin and colleagues (2004) measured auditory evoked potentials in response to piano, violin and pure tones twice in a group of four- to five-year-old children enrolled in either Suzuki music lessons or non-music controls. Where children were learning to play an instrument—piano or violin— auditory evoked potentials observed for the instrument played were comparable to those of children who were not musically trained and approximately three years older in chronological age, suggesting that the neocortical synaptic matrix is shaped by an accumulation of specific auditory experiences, and that this process is accelerated in those who have musical training. The children playing the piano also exhibited increased power of induced timbre-specific gamma-band activity for piano tones with one year of training in comparison with non-musicians (Shahin et al., 2008). Using event-related potential and behavioural measures in a longitudinal design, Nan and colleagues (2018) showed that musical training conferred advantages in speech-sound processing in 74 Mandarin-speaking children aged four to five years old, who were pseudo-randomly assigned to piano training, reading training or a no-contact control group. Six months of piano training improved general auditory word discrimination, as well as word discrimination based on vowels, compared with a control group. Although the reading group yielded similar trends, the piano group demonstrated unique advantages in comparison with the reading and control groups in consonant-based word discrimination and in enhanced positive mismatch responses to lexical tone and musical pitch changes. The improved word discrimination based on consonants correlated with enhancements in musical pitch among the children in the piano group. The results suggested strengthened common sound processing across domains as an important mechanism underlying the beneficial impact of musical training on language processing. Some research has focused on the development of musical skills and auditory discrimination in school-aged children (Elbert et al., 1995; Hutchinson et al., 2003; Pantev et al., 2001; 2003; Pascual-Leone, 2001; Schlaug et al., 1995a; 1995b). This has provided evidence that musical training enhances auditory processing in children who, prior to training, 66 The Power of Music exhibited no pre-existing differences (Chobert et al., 2014; François et al., 2013; Kraus et al., 2014b; Moreno et al., 2009; 2011; Norton et al., 2005; Tierney et al., 2013). Making music has been shown to strengthen children’s auditory encoding of speech (Chobert et al., 2014; Magne et al., 2006; Strait et al., 2011a; 2011b; 2013; Tierney et al., 2013) and auditory discrimination and attention (Chobert et al., 2011; Koelsch et al., 2003; Moreno et al., 2009; Putkinen et al., 2013), as well as leading to structural changes in auditory cortical areas in the brain (Hyde et al., 2009; Seither-Preisler et al., 2014). For instance, Hyde and colleagues (2009) tested two groups of children who had no prior formal musical training. The instrumental group consisted of 15 children aged six years old who had weekly half-hour private keyboard lessons over a period of 15 months. The control group of 16 children, who were almost six years old, did not receive any instrumental music training, but participated in a weekly 40-minute group music class in school, consisting of singing and playing with drums and bells. Structural brain changes in motor and auditory areas, of critical importance for instrumental music training, were correlated with behavioural improvements on motor and auditory musical tests. Children who played and practised a musical instrument showed greater improvements in motor ability and in auditory melodic and rhythmic discrimination skills. Changes in the right auditory area underlay improved melodic and rhythmic discrimination. Similarly, Putkinen and colleagues (2014) conducted a longitudinal study of more than 120 school-aged children and showed that children who received formal musical training displayed enhanced development in neural responses related to pre-attentive neural sound discrimination and auditory attention. The musically trained children also showed superior performance in tests of executive functions. Huotilainen and Tervaniemi (2018) investigated longitudinal brain development in children starting a musical hobby. At age seven, when most of the children in the music group had just started their training or were about to start, there were no group differences in the brain responses compared with children of the same age starting other hobbies. Two years later and beyond, enhanced auditory brain responses had developed in the music group, while no such development was observed in the brain responses of the control group. In a later study, Putkinen 67 3. Aural Perception and Language Skills and colleagues (2020) studied nine- to fifteen-year-old children who had or had not participated in musical training. Using auditory event- related potentials, they showed that the musically trained children demonstrated enhanced sound encoding. Not all of the intervention studies with music have shown positive outcomes. For instance, working with seven- and eight-year-old Spanish children who were learning to speak English as a second language, Fonseca-Mora and colleagues (2015) showed that all of those participating in a phonological training program benefited from that training, but additional musical support had no clear benefits. Strait and colleagues (2012) explored the encoding of speech in quiet and noisy backgrounds in musically trained and non-trained children. Thirty-one children with normal hearing between the ages of seven and thirteen participated. Those classified as musicians had received private instrumental training from at least the age of five, and had practised consistently for at least four years. The musically trained children outperformed the non-musicians on speech-in- noise perception overall and demonstrated less auditory brainstem response degradation with the addition of background noise than non-musicians. Perceptual, speech-in- noise, cognitive, auditory working memory and attention performance correlated with the extent of the musicians’ musical training. Similarly, Slater and colleagues (2015) followed a cohort of eight- to nine-year-old school children for two years, assessing their ability to perceive speech in noise before and after musical training. After an initial assessment, participants were randomly assigned to one of two groups. One group began music training immediately and completed two years of training, while the second group waited a year and then received one year of music training. The research showed that speech-in- noise perception improved after two years of group music training. Several studies have compared the impact of music versus painting or equivalent visual stimulation. In an early study, Moreno and Besson (2006) tested whether eight weeks of musical training affected the ability of eight-year-old children to detect pitch changes in language. Twenty non-musician children listened to linguistic phrases that ended with prosodically congruous words, or with weak or strong pitch incongruities. Reaction times, error rates and event-related brain 68 The Power of Music potentials were recorded for the final words. For both groups, the weak incongruity was the most difficult to detect, but performance was not significantly different between groups. However, the amplitude of a late positive component was largest in response to strong incongruities, and was reduced after training only in the music group. These results suggest that a relatively short exposure to pitch processing in music exerted some influence on pitch processing in language. In a later longitudinal study, Moreno and colleagues (2008; 2009) studied event-related potentials in 32 eight-year-old non-musician children over nine months, while they performed tasks designed to test the hypothesis that musical training improves pitch processing in music and speech. Following initial testing, the children were pseudo- randomly assigned to music or to painting training for six months, and were tested again after training using the same tests. After musical—but not painting—training, children showed enhanced reading and pitch discrimination abilities in speech. The results revealed positive transfer from music to speech, showing that short periods of training can have strong consequences on the functional organisation of children’s brains. A further study (Moreno et al., 2011a) researched 64 children, half of whom received visual art training and the other half music training. To undertake the training, two computerised training programmes were developed and administered. The training programmes had the same learning goals, graphics and design, duration, number of breaks and number of teaching staff. The only difference was the content of the training. The music curriculum was based on a combination of motor, perceptual and cognitive tasks, and included training in rhythm, pitch, melody, voice and basic musical concepts. The training relied primarily on listening activities. The curriculum in visual art emphasised the development of visuospatial skills relating to concepts such as shape, colour, line, dimension and perspective. The children engaged in the training programmes in two daily sessions of one hour each, five days a week, for four weeks. The programmes were projected onto a classroom wall and conducted in groups, led by a teacher. The findings showed that training in music listening skills transferred to verbal ability. After the music training, the children exhibited enhanced performance on vocabulary knowledge. There was no significant increase in verbal or 69 3. Aural Perception and Language Skills spatial skills following visual art training, although there was a trend towards improvement in spatial skills. Similarly, Chobert and colleagues (2014) randomly assigned non- musician children to music or painting training and recorded neural responses to syllables that differed in vowel frequency, vowel duration and voice onset time. This was done three times: before training, after six months and after twelve months. While no cross-group differences were found before training, enhanced pre-attentive processing of syllabic duration and voice onset time was found after twelve months of training in the music group only. These results suggest that active musical training can lead to improvements in aural processing. Similarly, over a period of two years, François and colleagues (2013) assigned eight-year-old children, matched for cognitive abilities, sex, age, grade at school and socioeconomic status, to music or painting lessons. Prior to the study, the two groups of children performed similarly on a test where they had to identify whether three syllable nonsense words were present within a five-minute-long string of syllables. After one year of training, the music group performed better than the painting group in speech segmentation skills, with the difference increasing over the two- year period. Another strand of research has considered the impact of second language training versus music training in enhancing aural processing. For instance, in a comparative study of the impact of second language learning ( French) and musical training, Moreno and colleagues (2015) recorded event-related potentials for French vowels and musical notes in 36 four- to six-year-old children. The children demonstrated improved processing of relevant trained sounds, and an increased capacity to suppress irrelevant, untrained sounds. After one year, training-induced brain changes persisted, hemispheric changes appeared and there was increased EEG complexity at coarse temporal scales during music and French vowel tasks in widely distributed cortical regions. These findings showed that musical training increased diversity of brain network states, which supported domain-specific music skill acquisition and music-to-language transfer effects. Similarly, Carpentier and colleagues (2016) conducted a 28-day longitudinal study of monolingual English speaking four- to six-year-old children randomly selected to receive daily music or French language training. Children completed passive 70 The Power of Music EEG music-note and French- vowel auditory detection tasks before and after training. Comparison of pre-training with post-training showed that musical training was associated with increased EEG complexity at coarse temporal scales during music and French vowel tasks in widely distributed cortical regions. The findings demonstrated that musical training increased the diversity of brain network states to support domain-specific music skill acquisition and music-to-language transfer effects. Further evidence for the benefits of musical training on language comes from Yang and colleagues (2014), who examined whether children’s experience of music training related to language skills in Chinese (their first language), English (their second language) and their performance on a musical achievement test. Seventy-seven children who had received formal musical training out of school, beginning in semester three, were categorised as musicians, and the remaining 173 children were classed as non-musicians. The children’s musical skills over the 11 semesters of the study improved when they received training, and their performance in their second language (English) was also enhanced, although performance in their first language was not. In a correlational study, Milovanov and colleagues (2008) explored the relationship between musical aptitude and second-language pronunciation skills in school-aged children. Children with good linguistic skills had better musical skills than children with less accurate linguistic skills. ERP data showed that children with good linguistic skills showed more pronounced sound-change evoked activation with music stimuli than children with less accurate linguistic skills. These findings implied that musical and linguistic skills could partly be based on shared neural mechanisms. In a regression study, Swaminathan and Schellenberg (2020) used a sample of six- to nine-year-old children to test the links between musical expertise and language ability, speech perception and grammar. The analyses revealed that language abilities had significant partial associations with musical ability but not with music training. Further, rhythm discrimination was a better predictor of language skills than melody discrimination. The authors concluded that links between music and language arise primarily from pre-existing factors and not from formal training in music. 71 3. Aural Perception and Language Skills Music training can alter the course of auditory development as late as adolescence. Tierney and colleagues (2015) investigated the effects of in-school music training versus another in-school training programme not focusing on the development of auditory skills. They tested adolescents on neural responses to sound and language skills before they entered high school, pre-training, and again three years later. They showed that in-school music training begun in high school prolonged the stability of subcortical sound processing and accelerated the maturation of cortical auditory responses. Phonological processing improved in both the music training and active control groups, but the enhancement was greater in adolescents who underwent music training. Not all of the research supports the proposition that singing supports speech development. For example, Snijders and colleagues (2020) found that ten-month-old infants were able to segment words in children’s songs—but they performed equally well at segmenting infant-directed speech. Similarly, Rossi and colleagues (2020) found no differences between speech and songs in a study on semantic processing in healthy adults. Taken together, these data suggest that the presentation of verbal material as song may not be sufficient to enhance vocabulary learning or language comprehension in healthy individuals. Children from Deprived Backgrounds Some research has focused on children who have been perceived as ‘at risk’ because of their deprived backgrounds. For instance, Kraus and colleagues (2014) used a randomised controlled trial to investigate whether community music participation could induce a change in auditory processing in children from deprived backgrounds. The programme provided free music instruction to children who were considered to be at risk. The participants were 44 children with a mean age of eight years, living in gang reduction zones in Los Angeles. The children were randomly assigned to participate in or defer musical participation for one year. Participants attended music classes twice weekly for three to ten months. Students began in music appreciation classes, where they learned pitch-matching and rhythm skills, musical styles and notation, and basic vocal performance and recorder playing. 72 The Power of Music Students then progressed to instrumental instruction. Students were given their own instruments and participated in group-based instrumental classes for four hours per week. The children who were more committed to the music intervention, who attended more and participated to a greater extent in the classroom activities, developed stronger brain encoding of speech than those who were less engaged. The children who completed two years of music training had a stronger neurophysiological distinction of stop consonants and neural mechanisms linked to reading and language skills. One year of training was sufficient to elicit changes in nervous system functions. Greater amounts of instrumental music training were associated with larger gains in neural processing. The research showed that participation reinforced literacy skills and enhanced the neural encoding of speech cues—important for reading—and the perception of speech in noisy backgrounds (Kraus et al., 2014a; 2014b; Kraus and Strait, 2015; Slater et al., 2014). Similarly, in an El-Sistema- inspired project, Habibi and colleagues (2016), as part of an ongoing five-year longitudinal study, investigated the effects of a music training programme on the auditory development of children, over the course of two years, beginning at age six to seven. The children in the music group were compared with two groups of children from the same socioeconomic background, one involved in sports training and the other not involved in any systematic training. Prior to participating, children who began training in music did not differ from those in the comparison groups in any of the assessed measures. After two years, the children in the music group, but not in the comparison groups, showed an enhanced ability to detect changes in tonal environment, and an accelerated maturity of auditory processing as measured by cortical auditory evoked potentials to musical notes. Research with those with Auditory or Language Impairments When the auditory system does not have full acoustic input, as in the case of hearing deficits or congenital deafness, the development of skills related to audition is damaged. Working with deaf children, Rochette and colleagues (2014) compared the auditory perception, auditory 73 3. Aural Perception and Language Skills cognition and phonetic discrimination of 14 profoundly deaf children who completed weekly music lessons between the ages of eighteen months and four years, and 14 deaf children who did not receive musical instruction. The trained children showed better performance in auditory scene analysis, auditory working memory and phonetic discrimination tasks. Multiple regression analysis showed that success on these tasks was at least partly driven by music lessons. While cochlear implants can support hearing, they cannot deliver complete auditory information to the cochlea. The input is small and distorted, and has an impact on communication skills. However, children who receive a cochlear implant by 12 months of age demonstrate normal language growth rates and achieve age-appropriate receptive language scores three years after the implant. Later implants lead to significant language delay, evident three years after the implant. The development of speech follows a similar pattern to that of normal hearing children, but is delayed (Leigh et al., 2013). Some research has explored whether musical interventions can help these children. For instance, Torppa and colleagues (2014a) assessed word and sentence stress perception, discrimination of fundamental frequency, intensity and duration, and forward digit-span twice over a period of 16 months. Twenty-one early- implanted children and age-matched normal-hearing children aged four to 13 years participated. Children with cochlear implants who had been exposed to music improved with age in word stress perception, intensity discrimination and digit-span. Their performance was equivalent to the natural-hearing children, while later-implanted children performed less well. Overall, the findings suggested that music was a valuable tool for the rehabilitation of implanted children. A further study (Torppa et al., 2014b) researched the interplay between singing and cortical processing of music in children with cochlear implants. The findings showed an augmented development of neural networks for attention, and more accurate neural discrimination associated with singing. In addition, Torppa and colleagues concluded that musical playschool also supported learning with other children, as it offered more efficient use of mirror neurons, especially as the children with cochlear implants participated alongside their normal- hearing peers. The emotional and social aspects of the group in musical 74 The Power of Music playschool may also impact on learning outcomes, through the provision of a positive and inspiring environment. Similarly, Good and colleagues (2017) studied 18 children with cochlear implants aged six to 15, who received either six months of individualised piano lessons or six months of individualised painting lessons. Measures of music perception and emotional speech prosody perception were obtained pre-, mid- and post-training. Music training led to improved performance on tasks requiring the discrimination of melodic contour and rhythm, incidental memory for melodies and emotional speech prosody perception. Art training did not lead to the same improvements. Good and colleagues concluded that music training may be an effective supplementary technique for supporting auditory rehabilitation following cochlear implantation. Children born very premature have an increased likelihood of sensory, cognitive and motor deficits. Mikkola and colleagues (2007) used neurocognitive tests with very pre-term children at one and five years old and suggested that they may have altered primary auditory processing. They suggested that the early auditory environment within the intensive care unit and during later hospitalisation might play a role in the decreased auditory, attention and learning skills of prematurely born infants. To ameliorate such deficits, Virtala and Partanen (2018) developed interventions focusing on music. They found that music- making and parental singing promoted infants’ early language development and auditory neural processing. There is some evidence that aphasia can be rehabilitated through music. Sparks and colleagues (1974) used melodic intonation therapy, which involves sung intonation of propositional sentences in such a way that the intoned pattern is similar to the natural prosodic pattern of the sentence when it is spoken. Eight severely, but not globally, impaired right-handed aphasic subjects with left hemisphere damage (resulting from cerebrovascular accidents) participated. Each patient acted as their own control. The participants had shown no improvement in verbal expression for at least six months, during which time they had received other language therapy. Recovery of some appropriate propositional language occurred for six of the eight patients as a result of melodic intonation therapy. 75 3. Aural Perception and Language Skills It has also been argued that music may aid the development of listening skills and support children with learning difficulties (Hirt- Mannheimer, 1995; Humpal and Wolf, 2007; Wolf, 1992). Music has helped children with developmental disabilities (Mendelson et al., 2016) and those with particularly low reading levels (Cogo-Moreira et al, 2013). Infants of dyslexic parents show some minor differences in auditory processing compared with infants of parents without dyslexia. These can be observed in infancy using neurological measures. In a review of research on auditory processing deficits in individuals with dyslexia, Hämäläinen and colleagues (2013) showed that measures of frequency, rise time and duration discrimination, as well as amplitude modulation and frequency modulation detection, are most often impaired. It may be that infants with dyslexic parents and children with symptoms of dyslexia might benefit from training of their auditory systems to overcome the possible differences in auditory processing early in life. Indeed, musical interventions have been found to be successful in helping children with dyslexia overcome some of these difficulties (Flaugnacco et al., 2015). Children who show delayed language development at three and four years of age are at risk of dyslexia, although many children who eventually are diagnosed as dyslexic have perfectly normal language development. However, early language difficulties and a diagnosis of language impairment in childhood is predictive of reading disabilities in the later school years, and during adolescence and adulthood. Atypical entrainment to rhythmic prosodic cues due to deficits in fine-grained auditory perception may constitute a risk for the development of speech and language disorders (Goswami, 2011; Ladányi, et al., 2020). If this is the case, then increasing the regularity of stimuli, or strengthening individual rhythmic abilities with the aim of improving neuronal entrainment, may enhance development. Some research has suggested that song could be used for improving speech processing in individuals with language processing deficits, including dyslexia (Vanden Bosch et al., 2020) as music-based training effects in dyslexia have already been demonstrated. Enhancing the auditory skills of children with dyslexia can be achieved by attendance at musical play school (Overy, 2000; Overy, 2003).76 The Power of Music Children with developmental language disorders have been shown to be impaired not only in language processing (including syntax), but also in rhythm and metre perception. Sammler and Elmer (2020) suggest that there may be a role for rhythm-based processing in language processing and acquisition. Frey and colleagues, in a longitudinal study using EEG, demonstrated that six months of music training positively influenced the pre-attentive processing of voice onset time in speech in children with developmental difficulties, while Przybylski and colleagues (2013) tested the influence of external rhythmic auditory stimulation on syntax processing in children with specific language impairment and dyslexia. Children listened to either regular or irregular musical prime sequences, followed by blocks of grammatically correct and incorrect sentences. They were required to perform grammar judgements for each auditorily presented sentence. Performance of all children, including controls, was better after regular prime sequences than after irregular prime sequences. The benefit of the regular prime was stronger for children with specific language impairment than for dyslexic children. The results suggest that rhythmic structures, even in non-verbal materials, may boost linguistic structure processing. Regular music therapy can also help children with Rett syndrome, a genetic brain disorder associated with problems with language and coordination. It can improve receptive language, and verbal and nonverbal communication (Chou et al., 2019). Music-making—whether playing an instrument or singing—is a multimodal activity that involves the integration of auditory and sensorimotor processes. The ability to sing in humans is evident from infancy and does not depend on formal vocal training, although it can be enhanced by training. Wan and colleagues (2010) reviewed the evidence on the therapeutic effects of singing, and how it might potentially ameliorate some of the speech deficits associated with conditions such as stuttering, Parkinson’s disease, acquired brain lesions and autism. Singing may help children who stutter by reducing stress and using melodic architecture to help in the formation of longer verbal phrases (Clements-Cortès, 2012; Wan et al., 2010). 77 3. Aural Perception and Language Skills Overview The previous sections and recent reviews (Benz et al., 2016; Engel et al., 2019; Hallam, 2015; 2017; Hämäläinen et al., 2013; Jäncke, 2012; Patel, 2008; Sammler and Elmer, 2020; Wan et al., 2010; White et al., 2013) provide considerable and compelling evidence that musical training sharpens the brain’s early encoding of sound, leading to enhanced performance on a range of listening and aural processing skills. Active engagement with music in childhood produces structural changes in the brain related to the processing of sound, which can develop over quite short periods of time. Making music supports the development of aural processing systems, which facilitate the encoding and identification of speech sounds and patterns which, in turn, enhance language skills. The earlier that active participation takes place, the greater the length of participation, the level of commitment and its intensity, and the greater the impact. Musical experience and training also enhance emotional perception and a range of cognitive skills. The benefits of musical engagement occur without the conscious awareness of the participants and have been demonstrated with a range of different groups across the lifespan. Despite this, it is not possible to say with any certainty which musical activities are the most beneficial. For young children, informal music-making in the home and more formal activities in playschools have both been found to be effective. Later, school music education can have an impact, as can instrumental tuition. The particular instrument played and the genre engaged with lead to very specific neural and behavioural changes. Overall, enhancing auditory cognition requires sufficient training, high levels of personal motivation, rewarding musical experiences, supportive learning environments and a range of high-quality formal and informal learning experiences. The most effective learning approaches will depend on the age and individual characteristics of the learner. The identification of optimal musical interventions is important to enable the further development of conceptual understanding and the enhancement of aural processing, as well as the amelioration of problems with aural processing and language.4. Literacy and Related Language Skills Literacy is generally defined as the ability to read and write, but more broadly has been considered as the ability to identify, understand, interpret, create, communicate and compute, using printed and written materials in a variety of contexts. This chapter will focus on how active engagement with music may support literacy, with a particular emphasis on reading and the skills required to become a competent reader. It will also consider research on writing and spelling. The evidence for an association between music training, musical skills and reading skills is typically explained by near-transfer theories. Reading requires the development of decoding and comprehension skills. Comprehension requires basic word- decoding skills, as well as higher-level cognitive processes such as memory and attention (Sesma et al., 2009). Active engagement with making music may have a differential impact on decoding and comprehension. Decoding is the ability to apply knowledge of letter-sound relationships, including knowledge of letter patterns, to enable the correct pronunciation of unfamiliar words. It is strongly associated with auditory skills (Ahissar et al., 2000). In order to be able to decode written material, readers have to be aware of the sounds related to the written word, i.e. phonics. Phonological awareness is an important precursor to early reading (Bradley and Bryant, 1983). Children need to develop phonological awareness to begin to be able to translate written text into sound. Phonological awareness is the ability to analyse and manipulate language on two levels. At the word level, phonological awareness refers to the ability to manipulate and analyse larger phonological units (for instance, rhyming and blending words). At the phoneme level, phonological ability refers to the ability to analyse and manipulate individual sound units ( phonemes) within a word. It © 2022 S. Hallam & E. Himonides, CC BY-NC-ND 4.0 https://doi.org/10.11647/ OBP .0292.0480 The Power of Music has repeatedly been shown that phonological awareness is an important predictor of later reading ability (Pratt and Brady, 1988; Bruck, 1992). Successful decoding occurs when a learner uses knowledge of letter- sound relationships to accurately read a word. Correlation Studies and Comparisons between Musicians and Non-Musicians One strand of research on the role of music in the development of literacy skills has focused on comparing musicians with non-musicians. A second strand has examined the relationship between musical skills and literacy. Comparisons between musicians and non-musicians have revealed that musicians exhibit advantages in making judgements about grammar (Patston and Tippett, 2011), are better at correctly pronouncing irregularly spelled words (Jakobson et al., 2008; Stoesz et al., 2007), and remembering lyrics (Kilgour et al., 2000), novel words (Dittinger et al., 2016) and short excerpts of speech (Cohen et al., 2011). They have a larger vocabulary (Forgeard et al., 2008a) and in one study showed enhanced comprehension of complicated passages of text (Thompson et al., 2012). Those who have had musical training demonstrate enhanced speech perception on a wide range of different tasks. For instance, they can perceive speech better than those without training when it is accompanied by noise (Parbery- Clark et al., 2009a; 2009b; 2011), can identify syllables presented when spectral information is degraded (Elmer et al., 2012), identify whether sentences in a foreign tone-based language are the same or different (Marie et al., 2011a; 2011b), and predict the ability to perceive and produce subtle phonetic contrasts in a second language (Slevc and Miyake, 2006). They are also better at phoneme perception (Kuhnis et al., 2013). Children with four years of music lessons, aged nine, have been found to be more accurate and fast in accurately discriminating syllables that varied in duration and frequency than those not having lessons (Chobert et al., 2011). Cross-sectional studies have shown that preschool and school-aged children and adults with musical experience are able to make stronger distinctions between speech syllables than non-music students (Kraus and Nicol, 2014; Parberry-Clark et al., 2012; 81 4. Literacy and Related Language Skills Strait and Kraus, 2014; Zuk et al., 2013). Having musical skills also enhances the ability to interpret affective speech rhythms (Thompson et al., 2004); eight-year-olds with musical training outperform those with no training on music and language tasks (Magne et al., 2006). In research with 250 Chinese elementary-school children, Yang and colleagues (2014) examined the relationship between long-term music training and students’ development of first language, second language and mathematics. The musician children outperformed non- musicians on musical achievement and second language development. Although music training appeared to be correlated with the children’s final academic development of first and second languages and mathematics, it did not independently contribute to the development of first language or mathematical skills. Correlation studies are able to identify if there are relationships between musical skills and various skills related to literacy, including verbal and auditory working memory. Studies with preschool children, aged four to five years, have found relationships between musical skills, phonological awareness and reading development (Anvari et al., 2002). There is a positive relationship between phonological awareness and musical ability in preschoolers, children aged five to six, and older children (Lamb & Gregory, 1993; Milovanov et al., 2008; Milovanov and Tervaniemi, 2011; Peynircioğlu et al., 2002), while Loui and colleagues (2011) worked with children aged seven to nine years old and showed a significant positive correlation between pitch perception and production, and phonemic awareness. There are also relationships between the development of auditory skills in early childhood and informal musical activities (Putkinen et al., 2013a). Moderate relationships have also been found between tonal memory and reading age (Barwick et al., 1989), while the magnitude of neural responses to speech harmonics is correlated with reading ability (Banai et al., 2009). Schellenberg (2006) found that length of music training predicted measures of reading even after controlling for intelligence, while Chandrasekaran and Kraus (2010) linked poor reading ability with deficiencies in processing essential sound elements. Corrigall and Trainor (2011), examining the association between length of music training and reading ability in 46 six to nine-year-old children enrolled in music lessons, found that length 82 The Power of Music of training correlated significantly with reading comprehension but was not associated with word decoding scores. The length of music training was robustly associated with reading comprehension, even after age, socioeconomic status, auditory perception, word decoding, general intelligence and the number of hours spent reading each week were taken into account. There is a relationship between individuals who are tone deaf and phonological processing, word discrimination and syllable segmentation (Jones et al., 2009). Swaminathan and colleagues in a series of studies (2017; 2018; 2019) explored a range of relationships between music and other skills. In 2017, they reported that the relationship between music training and reading in adults was facilitated by general cognitive—rather than auditory— skills. In 2018, also working with adults, they assessed reading ability, comprehension and speed, music-perception skills, melody and rhythm, general cognitive ability, non-verbal intelligence, short-term memory, working memory, family income and parents’ education, and found that reading ability was associated positively with music training, English as a native language and general cognitive ability. The association between reading and music training was significant after socioeconomic status, native language and music perception skills were controlled for, but when general cognitive abilities were held constant, there was no longer an association between reading and music training. These findings suggest that the association between reading ability and music training is a consequence of general cognitive abilities. In 2019, an association between rhythm aptitude and speech perception was found in a sample of six- to nine-year-old children. Musical training was associated positively with performance on a grammar test, musical ability, IQ, openness and age. Regression analyses revealed that language abilities had significant partial associations with musical ability and IQ but not with music training. Rhythm discrimination was a better predictor of language skills than melody discrimination. Musical ability predicted language ability independently of IQ. Not all correlational studies have shown a positive relationship between music and literacy skills. Establishing the main and subsidiary beats in a musical selection has not been found to be a significant predictor of reading in third- and fourth-grade students (Chamberlain, 2003), while Hartas (2011) found no relationship between parent-reported 83 4. Literacy and Related Language Skills frequency of singing songs and rhymes or playing music at three years and teacher-rated performance on literacy. The strongest relationships with children’s learning outcomes were between family income and mother’s educational level. Intervention Studies Learning to read requires word decoding skills These skills are strongly associated with auditory skills. The auditory analysis skills used in language processing, phonological distinctions, blending and segmentation of sounds are similar to the skills necessary for the perception of rhythmic (Lamb and Gregory, 1993; Lipscomb et al., 2008), harmonic and melodic discrimination (Anvari et al., 2002; Barwick et al., 1989; Lamb and Gregory, 1993). Learning to become an expert reader involves dynamic cross-modal processes, beginning with the mapping of letters and sounds, culminating in skilled reading, which involves the simultaneous processing of phrases, sentences and larger multiple sources of information from the text and their integration with contextually relevant background information from the reader’s own experiences (Gellert and Elbro, 2017; Perfetti and Stafura, 2014). The dynamic and multiplex process of reading has been argued to be similar to the entrainment seen in musical ensembles, where individuals segregate and integrate concurrent streams of information (Ragert et al., 2014). Reading requires integrative attending and activates an amodal interface, where internal and external goals and experiences intersect. A range of intervention studies have explored the impact of active engagement with music on phonological awareness and reading skills. Research findings, which attempts to demonstrate causality between musical engagement, phonological awareness and reading, have been mixed. Arts-enriched programmes that include music have led to improvements in school readiness in relation to receptive vocabulary (Brown et al., 2010) and literacy (Phillips et al., 2010) when compared to non-arts programmes. In a school-based arts programme which included music, Gardiner and colleagues (1996) showed that children with a lower score on literacy at baseline achieved similar scores on reading tests after one year of visual arts and music training, as compared to controls. 84 The Power of Music Some research has focused on the impact of music on sound processing, as it relates to phonemic awareness. In a study of preschool children’s informal musical activities at home, Politimou and colleagues (2020) found systematic associations between rhythm perception/ production and phonological awareness, while melody perception was related to the acquisition of grammar. Similarly, Eccles and colleagues (2020) evaluated the effect of varying durations of music instruction over a single academic year on the phonological awareness and early literacy of young children aged five to seven, compared with children who only received class music. The children with greater exposure to music showed greater improvement in phonological awareness. Douglas and Willats (1994) found that group training involving singing and the use of percussive instruments improved decoding. Good and colleagues (2002) worked with kindergarten children who participated in a weekly music intervention lasting 30 minutes which consisted of singing, body percussion activity, movement, instrument playing, singing and the use of graphic notation. On completion of the programme, the music group exhibited significantly higher phoneme segmentation fluency as compared with controls. Similarly, Degé and Schwarzer (2011) showed that preschool children who were randomly assigned to intensive training in music (ten minutes each day for five days each week, for twenty weeks) showed improvements in phonological awareness that were identical to changes in other children who received lessons in perceiving and segmenting speech sounds. A control group who received sports training showed no improvement. Also working with kindergarten children, Moritz and colleagues (2013) explored whether musical activity could support the acquisition of reading skills before formal reading instruction began. They found that rhythm skill was related to phonological segmentation skills at the beginning of kindergarten, and that children who received more music training during kindergarten showed a wider range of phonological awareness skills at the end of kindergarten than children with less training. Furthermore, kindergartners’ rhythmic ability was strongly related to their phonological awareness and basic word identification skills in second grade. Schon (2014) has also shown that phonological awareness can be influenced by several months of rhythmic training which, in turn, improves reading skills. In a preschool setting, Elliot 85 4. Literacy and Related Language Skills and Mikulas (2014) investigated the effectiveness of an integrated music curriculum on language and literacy skills in a year-long study, which employed a pre- and post-treatment design with a control group. Students in the treatment group received instruction using an integrated music curriculum as part of their preschool instruction. The findings showed that the students in the treatment group had significantly greater gains in language and literacy, with an effect size of 0.24. In a similar study, Vidal and colleagues (2020) tested 44 children aged three to four years old with a phonological awareness test, prior to and after an intervention period lasting a full school year with weekly music or visual arts classes. Following the interventions, both groups improved, but the music class students outperformed those in the visual art classes, showing larger differences before and after the intervention. Working in a community setting, Linnavalli and colleagues (2018) studied whether a low-cost, weekly music playschool provided for five- to six-year-old children would have an impact on linguistic abilities. Sixty-six children were tested four times over two school years on phonemic processing, vocabulary, perceptual reasoning and inhibitory control. The children attending music playschool were compared to their peers who were attending dance lessons or not attending either activity. Attendance at music playschool significantly improved the development of children’s phoneme processing and vocabulary skills. In a series of studies, Rauscher and colleagues (Rauscher, 2009; Rauscher & Hinton, 2011) explored whether children receiving Suzuki violin instruction performed better on phonemic awareness tasks than control groups. Seventy-five musically naive five-year-olds participated. Lessons were provided for 45 minutes per week for 16 weeks. Prior to instruction, there were no differences in the children’s performance on a reading test, but following the intervention the children receiving music lessons scored significantly higher on letter-word calling and phonemic awareness than the other groups. Adopting a training programme which included a range of activities, Gromko (2005) studied five- to seven-year-old children who received four months of music instruction for 30 minutes once a week. The instruction included active music-making with movement emphasising a steady beat, rhythm and pitch, as well as the association of sounds with symbols. The children who received the music instruction showed 86 The Power of Music significantly greater gains in phonemic awareness when compared to a control group. Learning to discriminate differences between tonal and rhythmic patterns and to associate their perceptions with visual symbols seemed to transfer to improved phonemic awareness. Similarly, Welch and colleagues (2012) evaluated the impact of a music programme which linked literacy activities with a range of musical activities including chanting, clapping, copying and composing rhythms, and improvising using rhymes and alliterative or unusual vocabulary. Children participating in the musical activities showed on average 8.4 months of reading improvement compared with 1.8 months for those in the control group. In a later study, Welch and colleagues (2020) evaluated a six-month specialist singing project undertaken with young disadvantaged children in London, where professional singers provided focused mentoring—relating to a specialised programme of singing and vocal activities—to generalist primary-school teachers. The mentored classroom-based singing activities resulted in significant improvements in children’s singing, changes in reading and aspects of executive function related to inhibition and phonological working memory. Using painting as a comparison activity, Moreno and colleagues (2009) conducted a longitudinal study with 32 non-musician children over nine months. Following the first testing sessions, non-musician children were pseudo-randomly assigned to music or to painting training for six months and were tested again after training using the same tests. After musical—but not painting—training, children showed enhanced performance in reading. In a further study of eight-year-old- who were assigned pseudo randomly to six months of music or painting tuition, the children in the music group showed larger pre- to post-test improvement in reading irregularly spelled words (Moreno et al., 2009). A further study with pseudo-random assignment of four- to six-year- olds to four weeks of daily, computer-controlled lessons in listening to music or visual arts, children in the music group had larger pre- to post- test increases in vocabulary (Moreno et al., 2011a; 2011b). The music group also showed greater improvement on a task that required them to match arbitrary symbols with words, a skill that is a prerequisite for learning to read (Moreno et al., 2011b). Similarly, Chobert and colleagues (2011; 2014) conducted a longitudinal study over two school years 87 4. Literacy and Related Language Skills with non-musician children randomly assigned to music or painting training. Neurological responses to syllables that differed in vowel frequency, vowel duration and voice onset time were recorded three times over the course of the study. The results highlighted the influence of musical training on the development of phonological representations in normally developing children. Also using painting as a comparison activity, François and colleagues (2013) assigned children, matched in terms of cognitive abilities, sex, age, grade at school and socioeconomic status, to music or painting lessons for a two-year period. Before the start of the study, the two groups of children performed similarly on a test where they had to identify whether three- syllable nonsense words were present in a five-minute string of syllables. After one year of training, the music group performed better than the painting group, with the difference increasing over the two-year period. Nan and colleagues (2018) studied 74 Mandarin-speaking children aged four to five years old who were pseudo-randomly assigned to piano training, reading training or a no-contact control group. Six months of piano training improved behavioural auditory word discrimination in general, as well as word discrimination based on vowels, when compared with controls. The group receiving reading training yielded similar trends; however, the piano group demonstrated unique advantages over the reading and control groups in consonant-based word discrimination. All three groups improved on general cognitive measures, including tests of IQ, working memory and attention. Focusing on adolescents, Tierney and colleagues (2015) investigated the effects of in-school music training, versus a school training programme that did not focus on the development of auditory skills. Participants were tested on neural responses to sound and language skills before they entered high school, before the training and again three years later. In-school music training begun at secondary school prolonged the stability of subcortical sound processing and accelerated maturation of cortical auditory responses. Phonological processing improved in the music training and control groups, but the impact was greater in the adolescents who underwent music training. In an interesting study which directly related rhythm to reading, Lipscomb and colleagues (2008) provided a form of reading rhythm training to children in third grade who participated in four sessions 88 The Power of Music each week for 12 weeks, where they read lists of words at varying tempi . This led to a dramatic improvement in reading fluency. Children from low socioeconomic backgrounds tend to fall progressively further behind their higher income peers over the course of their academic careers. Music interventions have been proposed as a way to help low-income children to improve their academic attainment. Some research has pursued this line of enquiry. For instance, Register and colleagues (2004) examined the effects of a music therapy programme designed to teach reading skills versus a television programme designed to support literacy skills on the early literacy of kindergarten children aged five to seven years from low socioeconomic backgrounds. Each class was assigned to one of four treatment conditions: music only, video only, music and video or a control group with no activity. Children’s literacy was assessed using standardised tests and teacher assessment. The ‘music and video’ and ‘music only’ groups achieved the highest increase in the mean scores of four out of seven literacy subtests. The ‘video’ group scored significantly better on phonemic segmentation than the other groups. Strong correlations were found between letter- naming and initial sound-fluency tests. However, children were more off-task in the video condition than the music condition. Children in the ‘music’ and ‘video’ enrichment groups showed gains in four out of the eight tests used to measure progress. Slater and colleagues (2014) used a controlled, longitudinal design to assess the impact of group music instruction on English reading ability in 42 low-income Spanish-English bilingual children aged six to nine in Los Angeles. After one year, children who received music training retained their age-normal level of reading performance, while a matched control group’s performance deteriorated, consistent with expected declines in this population. While the extent of change was modest, the outcomes nonetheless showed that music can help to counteract the negative effects of low socioeconomic status on children’s literacy development. In a similar study, Barbaroux and colleagues (2019) studied the impact of a classical music training programme, Démos, on the cognitive development of children from low socioeconomic backgrounds. The children were presented with standardised tests before the start of the programme, and again after 18 months of music training. The findings showed that the Démos music training improved reading precision. 89 4. Literacy and Related Language Skills Not all of the research has found a positive impact of musical training on literacy (Bowles, 2003; Kemmerer, 2003; Lu, 1986; Montgomery, 1997). Some findings have been difficult to interpret. For instance, Rauscher (2014) provided at-risk preschool children with weekly piano instruction, computer instruction or no instruction for two years. No effects were found in relation to verbal, memory or reading tests. Similarly, Piro and Ortiz (2009) focused on the way that learning the piano might impact on the development of vocabulary and verbal sequencing in second-grade children. Forty-six children who had studied the piano for three consecutive years participated, with 57 children acting as controls. At the end of the study, the music learning group had significantly better vocabulary and verbal sequencing scores. However, they had already been playing the piano for two years with no initial differences in reading between their skills and those of the control group. These findings are difficult to interpret. The authors suggested that no enhancement had occurred because effects may take a long time to appear, because the age of tuition was important, or because the summer holidays immediately prior to testing may have lowered initial scores. The tuition itself may also have changed over time. Lukács and Honbolygó (2019) evaluated the transfer effect of general elementary-school music education on the development of linguistic abilities. The relationship between specific musical auditory skills, phonological awareness and reading was investigated in 30 second-grade children who either attended a class with an intensive music curriculum or a class with a regular curriculum. The findings indicated no significant differences between the children experiencing intensive music education or the normal curriculum. Overall, one year of Kodály-based classroom music education was not sufficient to yield improvement in musical and linguistic abilities, although phoneme deletion accuracy was associated with tonal memory, suggested by a similar quasi-experimental pre- and post-test design with measurements taken across a period of two years. Kempert and colleagues (2016) tested the effects of two interventions: a consecutive combination of musical and phonological training, and phonological training alone. The participants were 424 German-speaking children aged four to five years old. The findings demonstrated a positive relationship between musical abilities and phonological awareness. While the phonological training 90 The Power of Music produced positive effects, adding musical training did not contribute significantly to the development of phonological awareness. This may have been because of differences in the initial level of phonological awareness of the participants. Overall, there may be a range of reasons for the differences in the research findings. The types of training adopted differ and there may be differences in the quality of their delivery. There is a large age range in the participating children’s ages and they are likely to be at different stages in their developing literacy, although experimental designs are able to take account of this to some extent. The development of phonological skills may be important early on in the process of developing literacy skills and these may be enhanced with shorter periods of musical engagement, whereas longer training may be needed to influence decoding and ultimately understanding. Children Facing Challenges with Literacy Skills One strand of research has focused on children with difficulties in reading. The evidence for the importance of rhythmic training is especially strong for poor or dyslexic readers (Overy, 2000; 2003; Tallal et al., 1993; Thomson, 1993). Huss and colleagues (2011) have shown that dyslexics have lower performance than normal-achieving readers on tasks involving musical metrical structure. This is supported by a range of studies showing that children with dyslexia have difficulties with keeping a beat (Corriveau et al., 2007; Corriveau and Goswami, 2009; Goswami et al., 2002; Tierney & Kraus, 2013b; Wolff et al., 1990). While children with dyslexia have impaired rhythmic processing skills, especially for rhythm production, they have normal pitch-processing skills (Overy, 2000; 2003; Overy et al., 2003). Musical interventions emphasising the development of rhythmic skills seem to have the greatest impact for children facing challenges with literacy. For instance, working with children in kindergarten, Bolduc (2009) compared the effects of two music programmes. One programme employed musical activities to increase interest in reading and writing in those with special educational needs, while the other was primarily designed to enhance musical abilities. The programme that focused on enhancing reading and writing was more effective in 91 4. Literacy and Related Language Skills enhancing phonological awareness than the one designed to enhance musical abilities. Similarly, Standley and Hughes (1997) evaluated the effects of music sessions designed to enhance the pre-reading and writing skills of 24 children, aged four to five, who were enrolled in early intervention programmes or programmes for children with particular needs. The intervention lasted for just over seven weeks and included two 30-minute music lessons per week for a total of fifteen lessons. In the autumn, musical activities were designed to teach writing skills and, in the spring, reading skills. Children receiving the normal kindergarten curriculum without music involvement acted as controls. All participants were tested before and after the intervention. The findings demonstrated that music significantly enhanced print concepts and the pre-writing skills of the children. Replicating this work, Register and colleagues (2001) studied 50 children aged four to five years old enrolled in early intervention programmes or programmes for children with particular needs. The intervention and control group both received two 30-minute music sessions each week for an entire school year. The differentiating factors were the structure and components of the musical activities. The autumn sessions for the experimental group were focused on writing skills while the sessions in the spring taught reading and literacy concepts. Music sessions for the control group were based purely on thematic material, which was determined by the classroom teacher with the purposeful exclusion of all pre-literacy concepts. All participants were tested at the beginning and end of the programme. The findings demonstrated that the music sessions significantly enhanced both groups’ abilities to learn pre-writing and print concepts, but the experimental group showed significantly higher results on logo identification and a word recognition test after the intervention. Working with older children, aged six to eight, Nicholson (1972) studied the impact of a music intervention on children categorised as slow learners. After music training, the experimental group exhibited significantly higher reading performance, scoring in the 88th percentile versus the 72nd percentile. After an additional year of musical training, the reading scores of the experimental group were still superior to those of the control group. 92 The Power of Music Drawing on a theoretical framework which emphasised pulse as the underlying organisational feature common to music and language, Long and Hallam (2012) investigated the impact of an intervention on children aged eight to ten years old. The rhythm-based music intervention involved an entrainment strategy in which groups of children rapidly developed music-notation reading skills while synchronising stamping, clapping and chanting actions in time with a musical accompaniment for ten minutes each week. The intervention groups received the rhythm-based music intervention for ten minutes each week for six weeks. The effects of the rhythmic training were assessed before and after the intervention, and measured reading behaviour and rhythmic performance. A control group was matched on reading comprehension and rhythmic performance. There were statistically significant effects on reading comprehension scores for those children with lower attainment in reading, but not for normal-attaining children. This research demonstrated that children with reading difficulties can benefit from specific rhythmic musical training which was carried out alongside their normal-attaining classmates. In a similar study, Long (2014) recruited 15 children aged nine to ten who had been identified as weak readers by their school. The intervention consisted of ten minutes of rhythm-based exercises and was administered at the start of the children’s usual weekly curriculum music lessons. The children’s school music teacher was trained to deliver the intervention in two sessions, with a gap of one week between them. Following participation in the intervention, statistically significant gains occurred in the children’s reading comprehension, reading accuracy and reading rate. An analysis of reading fluency revealed significant gains in the prosodic features of reading behaviour, including syllable division, grammatical structure and phrase contours. The rhythmic training emphasised group interaction, which also led to the children reporting positive changes in their sense of wellbeing. This research showed that interventions can be effective when delivered to a whole class by a class teacher. The intervention required mental anticipation and inhibitory control by participants, in order to lift one foot while striking the other against the floor in synchrony with the strong beat of the musical accompaniment and the actions of the other children. The entrainment activity applied the theoretical modelling of normal anti- synchrony—as one foot comes 93 4. Literacy and Related Language Skills up, the other goes down (Clayton et al., 2005)—and a stable hierarchical distribution of cognitive attention (Clayton et al., 2005; Jones, 1976; Jones and Boltz, 1989; Jones and Yee, 1997). Overall, the children were required to plan ahead, synchronise, monitor and integrate multi- level physical coordination, which in turn required anticipatory and inhibitory control, while keeping time with the musical accompaniment and the other children. The teacher also modelled reading simple staff notation and chanting the alphabet letter names of music notation in a monotone, which was synchronised in time with stamping and clapping actions. During the training, in addition to reading pitch, the note durations were varied and rests were added. Following the intervention, the children demonstrated statistically significant gains in reading comprehension, accuracy and rate of reading. Comprehension and rate of reading had large effect sizes, with a moderate effect size for accuracy. The mean change in reading accuracy for the intervention group was 1.83 in standardised scores and, for the control group, 0.45 in standardised scores. The mean change in reading comprehension for the intervention group was 5.82 in standardised scores and, for the control group, 3.49 in standardised scores. There was no statistically significant difference in rate of reading. Using the same music programme for ten minutes each week over a ten-week period with groups of ten children, 354 in total, who had lower-than-average reading scores in the first year of secondary school (eleven- to twelve-years-old), Hallam (2018) found that those randomly allocated to intervention groups showed statistically greater improvement in reading accuracy and comprehension than controls, but not in reading rate. The differences in reading accuracy were equivalent to 1.38 in standardised scores and, for reading comprehension, 2.33 in standardised scores. Similarly, Bonacina and colleagues (2015) developed computer-assisted training, called rhythmic reading training, where reading exercises were combined with a rhythmic background. Participants took part in nine bi-weekly individual sessions of 30 minutes. The intervention had a positive effect on reading speed and accuracy, and significant effects were also found for the reading speed of short and long pseudo-words, high-frequency long words, and text reading accuracy. Not all of the research has demonstrated overwhelmingly positive effects of music interventions for those who find literacy challenging. 94 The Power of Music For instance, Bhide and colleagues (2013) compared the effects of a musical intervention for poor readers with a software intervention based on rhyme training and phoneme-grapheme learning, and found that both interventions had similar benefits for literacy, with large effect sizes. Some music interventions have had very small effects. For instance, working in Brazilian schools in an attempt to improve reading skills, Cogo-Moreira and colleagues (2013) studied children aged eight to ten with reading difficulties. Two hundred and thirty-five children with reading difficulties in ten schools participated in a five-month, randomised controlled trial in an impoverished zone within the city of São Paulo, to test the effects of a music education intervention while assessing reading skills and academic achievement during the school year. Five schools were chosen randomly to incorporate music classes, while five served as controls. Two different methods of analysis revealed mixed results. Positive results were found for the rate of correct real words read per minute and phonological awareness. There were also improvements in Portuguese and mathematics throughout the school year but, overall, the effects were relatively small. Children with dyslexia have been studied over a number of years. The core deficit underlying developmental dyslexia has been identified as difficulties in dynamic and rapidly changing auditory information processing, which contributes to the development of impaired phonological representations for words. Overy (2003) argued that the underlying causes of the language and literacy difficulties experienced by dyslexic children are linked to deficits in timing, as they exhibit timing difficulties in language, music, perception and cognition, as well as motor control. Based on these ideas, Overy and colleagues (2003) designed a programme which was administered to 15 dyslexic children aged seven to eleven, and 11 control children, aged seven to ten. The children were tested on musical aptitude and their scores were compared. The results showed that the dyslexic group scored higher than the control group on three tests of pitch skills, but lower than the control group on seven out of nine tests of timing skills. Particular difficulties were noted on one of the tests involving rapid temporal processing, in which a subgroup of five of the dyslexic children was found to account for all of the significant errors. There was also a correlation between spelling ability and the skill of tapping out the rhythm of a song, both of which involve the skill 95 4. Literacy and Related Language Skills of syllable segmentation. These results suggest that timing presents a particular difficulty for dyslexic children and that they may be helped using targeted interventions. Since this early research, a range of studies have considered issues relating to dyslexia. Even short-term rhythm instruction has brought about positive effects (Habibi et al, 2014). Seven—month-long training has been shown to lead to an increase in phonological awareness and reading skills (Flaugnacco et al., 2015). Habibi and colleagues (2016) tested the efficacy of a specially designed cognitive music training method which included a series of musical exercises involving (jointly and simultaneously) the sensory, visual, auditory, somatosensory and motor systems, with special emphasis on rhythmic perception and production, in addition to intensive training on various features of musical audition. Two separate studies were carried out—one in which children with dyslexia received intensive musical exercises concentrated over 18 hours during three consecutive days, and the other in which the 18 hours of musical training were spread over six weeks. Both studies showed significant improvements in several untrained, linguistic and non-linguistic variables. The first study yielded significant improvement in categorical perception and the auditory perception of the temporal components of speech. The second study revealed improvements in auditory attention, phonological awareness, reading abilities and repetition of pseudo-words. These benefits persisted for six weeks after training. Flaugnacco and colleagues (2015) carried out a prospective, multi-centre, open randomised controlled trial with children with dyslexia aged eight to eleven, consisting of test, intervention and re-test. After the intervention, the music group performed better than the control group in tasks assessing rhythmic abilities, phonological awareness and reading skills. The findings showed that music training can modify reading and phonological abilities even when they are severely impaired. Thomson (2014) explored the perception of amplitude envelopes in speech and non-speech, and the necessity of this skill for parsing the sounds represented as letters in literacy in a group of school children with dyslexia. A six-week rhythm-based intervention had positive effects on phonological awareness and literacy equal to those of a control intervention on phonemic awareness, while Frey and colleagues (2019) 96 The Power of Music investigated whether six months of active music training was more efficient than painting training in improving the pre-attentive processing of phonological parameters based on durations that are often impaired in children with developmental dyslexia. Comparisons were made with a typically developing group of children matched on reading age. The results showed a normalisation of the pre-attentive processing of voice onset time in children with developmental dyslexia after music training, but not after painting training. Working with adults, Boll-Avetisyan and colleagues (2020) assessed the reading and musical abilities of dyslexics and age-matched controls, and presented them with a rhythmic grouping task. They listened to speech streams with syllables alternating in intensity, duration or neither, and indicated whether they perceived a strong-weak or weak-strong rhythm pattern. The findings showed that the adults with dyslexia had lower musical rhythm abilities than those without dyslexia. Lower musical rhythm ability was associated with lower reading ability. However, speech grouping by adults with dyslexia was not impaired when musical rhythm perception ability was controlled for. Rhythmic grouping was predicted by musical rhythm perception ability, irrespective of dyslexia. Overall, the results suggested associations among musical rhythm perception ability, speech rhythm perception and reading ability in adults with dyslexia. Cogo-Moreira and colleagues (2012), in a review of research on dyslexia and music, found no randomised controlled studies and argued that it was therefore impossible to draw any conclusions. Are Pitch or Rhythm Programmes More Effective in Enhancing Literacy? As researchers have explored the extent to which active engagement with music may support the development of literacy skills, there has been ongoing debate about the kind of interventions which may be the most successful. Most musical programmes include pitch and rhythm activities, but some research has focused on trying to assess whether rhythm or melody is more important in supporting literacy skills. One approach to considering this has been to examine the relative skills of those with poor musical or literacy skills. For instance, Sun and colleagues (2017) examined whether phonological impairments were evident in 97 4. Literacy and Related Language Skills individuals with poor music abilities. Twenty individuals with congenital amusia and 20 matched controls were assessed on a pure tone- pitch discrimination task, a rhythm discrimination task, and four phonological tests. The amusic participants showed deficits in discriminating pitch and rhythmic patterns that involved a regular beat. As a group, these individuals performed similarly to controls on all of the phonological tests but eight. Amusics with severe pitch impairment, as identified by the pitch discrimination task, exhibited significantly worse performance than other participants in phonological awareness. A regression analysis indicated that pitch discrimination thresholds predicted phonological awareness beyond that predicted by phonological short-term memory and rhythm discrimination. In contrast, the rhythm discrimination task did not predict phonological awareness beyond that predicted by pitch discrimination thresholds, suggesting that accurate pitch discrimination is critical for phonological processing. Patscheke and colleagues (2019) also investigated the separate effects of training in rhythm and pitch on phonological awareness in preschool children aged between four and six years old. Participants were randomly assigned to either a non-music training condition, a sports programme or a music training condition which was either based on rhythm or pitch. All groups were trained three times a week for twenty minutes per session over a period of 16 weeks. Phonological awareness was tested before and after the training phase. Following training, only the pitch programme showed a positive effect on phonological awareness concerning rhyming, blending and segmenting. Lamb and Gregory (1993) also found that pitch perception was associated with reading ability in five-year-olds after controlling for non-verbal ability, while Barwick and colleagues found that pitch perception was associated with reading ability in seven- to ten-year- old reading-disabled children after controlling for general intelligence. Similarly, Besson and colleagues (2007) examined pitch processing in dyslexic children and found that they had difficulties discriminating strong pitch changes that were easily discriminated by non-dyslexic readers. Rautenberg (2013) studied the effects of musical training on decoding skills in German-speaking primary school children and found that rhythmical abilities were significantly correlated with decoding skills, reading accuracy and reading prosody, while tonal skills were not related to reading skills.98 The Power of Music As the research with children experiencing difficulties with literacy has shown, programmes with a focus on rhythm have been particularly effective in enhancing reading skills (Boll-Avetisyan et al., 2020; Fotidzis et al., 2018; Hallam 2018; Long, 2014; Long and Hallam, 2012; Overy, 2003; Overy et al., 2003). There is a relationship between tests of auditory-visual rhythmic pattern-matching and reading ability in eight- and nine-year-olds (Rudnick et al., 1967; Sterrit and Rudnick, 1967), while rhythmic skills may be a better predictor of reading ability than pitch-based skills (Douglas and Willatts, 1994; Huss et al., 2011; Strait, et al., 2011a; 2011b; Swaminathan and Schellenberg, 2020), although not all of the research supports this. Cultural factors play a role in how individuals perceive metrical structure, including beat perception (Tierney and Kraus, 2013b) and the perception of complex rhythms (Hannon and Trehub, 2005). The human ability to perceive and entrain to a beat flexibly and accurately is spontaneous and universal across cultures (Savage et al., 2015; Bégel et al., 2017), although there is individual variability in sensorimotor synchronisation, including the phenomenon known as beat deafness (Nozaradan et al., 2016)—an individual’s inability to distinguish musical rhythm or move in time to it. By nine months of age, the coordination of rhythm and syllable structure is usually sufficiently supportive for the infant to segment speech streams into syllables (Morgan and Saffran, 1995). Rhythmic movement may play a role in this process. While many children naturally move in time to a beat, enculturation plays a major role in this process (Repp and Su, 2013; Manning and Schutz, 2013). Jones and colleagues (2006) propose the pitch-time entrainment theory, which argues that timing in the brain can be understood as a response to regular or irregular rhythmical events. Children display entertainment—the patterning of body processes and movements to the rhythm of music—typically by four years of age (Trainor and Cirelli, 2015) but it takes longer to adjust to tempo. This does not usually occur until seven to eight years of age (Kurgansky and Shupikova, 2011). Reading ability and phonological awareness are related to a variety of rhythmic abilities, including reproduction of rhythmic patterns (Rautenberg, 2015), tempo reproduction (Moritz et al., 2013), tapping to the beat of music (David et al., 2007), discrimination of stimuli based on amplitude rise times (Goswami et al., 2011; Leong et al., 2011) 99 4. Literacy and Related Language Skills and temporal patterns (Overy, 2003; Strait et al., 2011). Furthermore, children who have language-learning impairment tap more variably to a beat (Corriveau and Goswami, 2009). Musical training improves verbal ability (Moreno et al., 2011), speech segmentation (François et al., 2013), sentence processing (Moreno et al., 2009) and syllable processing (Chobert et al., 2014), while training in beat synchronisation has been shown to improve reading fluency (Taub and Lazarus, 2012). Overall, it seems that rhythmic training may enhance learning to read. Neurological evidence revealing a direct link between cortical and behavioural measures of rhythmic entrainment supports this (Nozaradan et al., 2016). Tracking rhythm patterns seems to play a vital role in both music and speech perception, both of which are important for acquiring reading skills. Beat induction, where humans can derive a pulse from most music even when it is not explicit, has been suggested to serve the development of auditory scene analysis and language (Patel, 2008). In particular, the supplementary motor area known to be involved in the articulation of speech and the preparation of movement, is engaged when performing music, imagining listening to music or imagining performing to music (Herholz and Zatorre, 2012; Brown et al., 2015). It also plays an important role in planning music during performance, in terms of rhythm and melody sequencing (de Manzanö and Ullén, 2012). The link between the basal ganglia and the supplementary motor area along the dorsal route supports the finding that the ability to synchronise with a beat is positively correlated with better pre-reading skills, such as the segmenting of speech streams and better neural encoding of speech and language (Carr et al., 2014; Tierney and Kraus, 2014; Kraus and Slater, 2016), better subcortical neural timing in adolescents (Tierney and Kraus, 2013a) as well as better cognitive and linguistic skills (Tierney and Kraus, 2013b). The integration of sensory and motor information may provide a mechanism for predicting sequence timing (Large et al., 2015), such as the processes that ensure smooth flow in a conversation. Tierney and Kraus (2013c) propose that two theories—the temporal sampling hypothesis and dynamic attending theory—suggest that rhythm in music and the envelope of speech may be tracked biologically through the same mechanism. The temporal sampling hypothesis proposes a neural mechanism for the tracking of speech amplitude 100 The Power of Music over time (Goswami, 2011) suggesting phase-locking of slow neural oscillations in the delta and theta range. The mechanism selectively samples low-frequency information in the amplitude envelope which is crucial for the segmentation of speech sounds. Dynamic attending theory proposes a similar set of neural oscillators that phase-lock and resonate to the temporal structure of music, leading to an attentional focus that changes in relation to the rhythmic structure of a piece of music (Velasco and Large, 2011). Speech is inherently temporal, with boundary lengthening and pauses enhancing the experience of language as a temporal phenomenon (Moberget and Ivry, 2016). The metrical, intonational and pitch components of grammar are experienced as prosody (Ferreira and Karimi, 2015). Some studies have reported the importance of both rhythmic and pitch perception in the development of reading skills (Atterbury, 1985; Forgeard et al., 2008). Atterbury (1985) found that reading-disabled children aged seven to nine could discriminate rhythm patterns as well as controls, but were poorer in rhythm performance and tonal memory than normal-achieving readers. Anvari and colleagues (2002) studied 50 four- and 50 five-year-olds and found that both rhythm- and pitch- perception skills predicted early reading performance in four-year-olds, even after taking account of variance due to phonological awareness. In five-year-olds, only pitch perception predicted early reading performance, after accounting for phonological awareness. Tsang and Conrad (2011) studied 69 children with and without formal music training. The trained children out-performed the untrained children on pitch discrimination, rhythm discrimination and phonological skills, although the two groups performed the same on tests of word identification, timbre discrimination and receptive vocabulary. Jones and colleagues (2006) have shown that pattern structure, particularly initial patterns of pitch and time, involving small pitch intervals is important and that listeners rely heavily on global pitch structure and rhythm for language processing. There are a range of possible reasons for the differing outcomes of the research, including the different methods used to assess reading, the nature of the musical interventions, whether they support the development of pitch, melodic or rhythmic skills, and the prior musical and literacy experiences of the participants. Where musical activities 101 4. Literacy and Related Language Skills involve learning to read notation, there may be direct transfer to reading text. Singing has also been proposed as one possible way in which musical activity improves literacy, as it involves reading predictable text, segmenting words into syllables so that lyrics can be matched to music, or recognising patterns (Butzlaff, 2000; Forgeard et al., 2008). Other possible explanations for the impact of musical training on reading performance relate to changes in concentration and motivation that aid children in focusing for long periods of time, helping them to persevere (Butzlaff, 2000). Reviews, Meta-Analyses and Conclusions There have been a number of reviews of the research considering the relationship between musical engagement and literacy. Taken together, they indicate that there are a number of similarities between learning to read text and music. The auditory analysis skills used in language processing, phonological distinctions, and the blending and segmentation of sounds are similar to the skills necessary for music perception of rhythmic and melodic discrimination. The five sub-skills underlying reading acquisition—phonological awareness, speech in noise perception, rhythm perception, auditory working memory and the ability to learn sound patterns—are linked to music experience. Temporal attention can be influenced by rhythm, which benefits syntax processing and speech production. Music and written text both require the reading of notation from left to right, and the conversion of notation into specific sounds. The reviews agree that music education can contribute to literacy development in all children, including those who find the development of literacy skills challenging (Bolduc, 2008; Bugaj and Brenner, 2011; Sammler and Elmer, 2020; Schön and Tillman, 2015; Tierney and Kraus, 2013a). Rolka and Silverman (2015) carried out a systematic review analysing research on music and dyslexia. Twenty-three studies were included. Some focused on the challenges of studying music—in particular, problems with reading notation—although most explored how music could be used to improve literacy skills, or to test for neural processing of auditory information, offering the potential to inform early diagnosis. The findings from the review revealed that music training was seen as 102 The Power of Music a remediation tool to improve literacy skills for children with dyslexia, although the specific type of music support to achieve predictable outcomes require further investigation. Meta-analyses have had mixed results. Butzlaff (2000) carried out two meta-analyses; the first included 29 studies examining the correlation between music instruction and reading performance, and the second six intervention studies. The first demonstrated a significant, positive relationship between music instruction and performance on reading tests; the second yielded no reliable effects. In contrast, Standley (2008) in an analysis of 30 experimental studies found a strong overall effect, while the meta-analysis of Gordon and colleagues (2015), based on 13 studies, found that music training led to gains in phonological awareness skills, while transfer effects for rhyming skills became stronger with increased hours of training. No significant transfer effect emerged for reading fluency measures. To conclude, taken together, the evidence set out in this chapter, along with research reviews and meta-analyses, suggests that active engagement with music can have a positive effect on children’s literacy. A variety of musical activities appears to contribute to these benefits, although the exact nature of those which are most effective remains to be established. Differences in the outcomes of the research may depend on its rigour, the age and general life experiences of the participants, the assessment measures used and their reliability and validity, and the nature and quality of the musical instruction. Spelling There has been much less focus on the impact of active engagement with music on spelling compared with reading. In an early study, Douglas and Willatts (1994), working with seven- and eight-year-olds, found positive correlations among tests of pitch and rhythmic aptitude, and vocabulary, reading and spelling. When vocabulary scores were taken into account, the association between rhythm and spelling abilities remained, but those between pitch aptitude and spelling disappeared, suggesting the importance of rhythm in relation to spelling. Overy (2003) found a positive effect of music lessons on spelling performance, with children with poor spelling skills benefiting the most, while Hille 103 4. Literacy and Related Language Skills and colleagues (2011) tested 194 boys who were in Grade 3 (aged eight to nine) in Germany, just over half of whom had learned to play a musical instrument. The boys who played an instrument showed better performance in spelling, an effect which occurred independently of intelligence test scores (there being only a weak correlation between spelling mistakes and non-verbal measures of intelligence). Examination of data from those who performed poorly on spelling showed that those who played an instrument were under-represented. Only 27 percent of boys in the lowest quartile played an instrument, whereas 61 percent of boys in the highest quartiles were active musicians. Singing in a choir or taking part in a course entitled First Experiences With Music was not associated with spelling performance, suggesting that it was the skills developed through playing an instrument which had the potential for transfer. Currently, there is insufficient research on the relationship between actively engaging in musical activities and spelling skills for us to draw any firm conclusions. Writing As with spelling, little attention has been paid to the influence of active engagement with music on writing. An exception was a study where children from economically disadvantaged homes participated in instruction which focused on the concepts of print, singing activities and writing. The children in the experimental group showed enhanced print concepts and pre-writing skills (Standley and Hughes, 1997). Register and colleagues (2001) replicated the study of Standley and Hughes (1997), evaluating the effects of a music intervention using a curriculum designed to enhance the pre-reading and writing skills of 25 children aged four to five who were enrolled in early intervention programmes and a programme for children with exceptional needs. Intervention and control groups received two 30-minute music sessions each week for an entire school year. The autumn sessions for the experimental group were focused on writing skills, while the spring sessions taught reading and book concepts. Music sessions for the control group were based on thematic material, as determined by the classroom teacher, with purposeful exclusion of all pre-literacy concepts. All participants were pre-tested at the beginning of the school year and post-tested 104 The Power of Music before the school year ended. The findings showed that music sessions significantly enhanced both groups’ abilities to learn pre-writing and print concepts, although the experimental group showed statistically significantly higher results on logo identification and word recognition following the intervention. Some research has focused on whether learning to play a musical instrument can enhance the development of fine motor skills, which may contribute towards the development of handwriting. Neuroscientific studies have shown changes in the cortical representation of fingers during intensive keyboard practice sessions over periods as short as five days and as long as two weeks (Pascual-Leone, 2001). Orsmond and Miller (1999) compared the fine motor abilities of children who participated in two years of piano instruction and those who had never received formal music training. A significant improvement in fine motor skills was found only for the children who received the piano lessons, and a significant difference in the speed of response was found between the two groups at the end of the two years of instruction. The innumerable opportunities to assess, refine and time their motor responses to specific stimuli during musical practice, and the availability of constant evaluative feedback (sound) may allow musicians to improve the accuracy and speed of perceiving and responding to relevant stimuli. Similarly, Costa-Giomi (2005a) compared the fine motor abilities of children from low-income families who participated in two years of piano instruction and those who had not received formal music training. A significant improvement in fine motor skills was found for the children receiving the lessons. The children in the experimental group were supplied with acoustic pianos and practised, on average, for up to three-and-a-half hours weekly (Costa-Giomi, 2005b). The motor proficiency of the two groups was comparable at the start of the project (Costa-Giomi, 1999). The findings suggested that the improvement in motor proficiency was mainly caused by differences in a speed subtest which required children to react quickly to catch a rod that was sliding down against a wall. Scores in tasks that measured hand-eye coordination and dexterity were not affected by the lessons. Costa-Giomi concluded that music performance requires accurate and quick motor reaction to visual, aural and kinesthetic stimuli, which improves accuracy and speed in perceiving and responding to stimuli. 105 4. Literacy and Related Language Skills To conclude, while there is relatively little evidence, it appears that learning to play a musical instrument contributes to the development of fine motor skills, which may support the development of handwriting. Overview Taken together, the evidence suggests that active engagement with music can have a positive effect on children’s literacy. The enhancement of aural skills improves phonological awareness, which supports the decoding of written material into sound, while rhythmic activities, in particular, seem to support reading skills—particularly for those who are experiencing difficulties with literacy. There is too little evidence to draw any conclusions relating to the role of learning to play a musical instrument on spelling or handwriting.5. Music, Spatial Reasoning and Mathematical Performance Historically, there has long been interest in the relationship between acquired musical skills and performance in mathematics. It has been assumed that there is a strong connection between music and mathematics, as many musicians play from notation and are constantly required to adopt quasi-mathematical processes to subdivide beats and turn rhythmic notation into sound. More recently, there has been interest in the relationship between music and spatial-temporal reasoning, which contributes to some areas of mathematical understanding. Spatial-temporal reasoning is the ability to transform mental images in the absence of a physical model (Rauscher et al., 1997; Shaw, 2000). It involves the ability to manipulate and understand complex shapes through mental imagery, as the individual develops and evaluates patterns which change in space and time. Cooper (2000) viewed spatial- temporal reasoning as an abstract model of cognition consisting of several elements, including pattern-seeking, recognition, retention and recall; visualising imagery; perceiving figures as wholes; generating a whole image from a fragment; grasping the whole of a problem; understanding spatial relationships from multi-perspectives and among internal movement of parts; maintaining orientation within space; and mentally manipulating shapes within two- or three-dimensional space. The key features used in spatial-temporal reasoning include the transforming and relating of mental images in space and time, the use of symmetries to compare physical and mental images, and temporal sequencing (Grandin et al., 1998). These skills are high-level mathematical abilities which are useful in learning proportional reasoning (Grandin et al., 1998; Shaw, 2000) and induce advanced understanding of mathematical concepts such as fractions, proportions, symmetry and other arithmetic © 2022 S. Hallam & E. Himonides, CC BY-NC-ND 4.0 https://doi.org/10.11647/ OBP .0292.05108 The Power of Music operations (Tran et al., 2012). Developing spatial-temporal thinking may also be related to geometrical skills. Early mathematical skills tend to be one of two types: number knowledge or number operation (Griffin, 2004). The latter is linked with the formulation of mental number lines, which enable children to understand magnitudes, relations between them and arithmetic operations (Jordan et al., 2008; Gunderson, 2012). Mental number lines are linked with spatial-temporal reasoning. The development of a mental number line is fundamental for mathematical understanding and facilitates performance, especially in arithmetic (Ramani and Siegler, 2008; Booth and Siegler, 2008; Van Nes and Doorman, 2011; Gunderson et al., 2012). Spatial skills have also been linked with spatial structuring, which is important in determining quantities, as well as comparing and calculating them (Butterworth, 1999; Mulligan and Mitchelmore, 2009). Undertaking such tasks early in development occurs unitarily. This takes time and can also lead to errors. Most children gradually learn to organise objects in ways that enable them to count more accurately and efficiently. This helps them to understand the decimal system. Spatial awareness contributes to the development of patterning, while the temporal element might be used in structuring and strategy choice. Explanations for the relationship between music and spatial-temporal reasoning have been sought in neuroscience. Two main approaches have developed. The first concerns connectivity, and proposes that the processing of music and spatial tasks is underpinned by overlap in brain functions (Fiske, 1996). In contrast, near-transfer theory suggests that music and spatial-temporal reasoning share some processes, and the development of one leads to the development of the other (Rauscher, 2009; Schellenberg, 2004). Explanations for the links between music and spatial-temporal reasoning relate to connectionism—the development of neural connections (Sporns, 2011)—and modular theory, which is related to near-transfer (Jordan-DeCarbo and Nelson, 2002). The connectivity proposal has been supported by Shaw (2000), who suggested that musical and spatial processing overlap in the brain and, as a result of these cortical connections, the development of certain kinds of musical and spatial abilities (especially spatial-temporal abilities) is intertwined. Near-transfer suggests that several kinds of thinking are required in order to learn and make music. Both are multi-dimensional 109 5. Music, Spatial Reasoning and Mathematical Performance processes. A range of spatial skills might be improved because of the practice required in making music (Jordan-DeCarbo and Nelson, 2002). Particular interest in the relationship between music and spatial reasoning skills developed following a study by Rauscher and colleagues (1993), who claimed that after listening to Mozart’s ‘ Sonata for Two Pianos (K448)’ for ten minutes, adult participants showed significantly better spatial reasoning skills than after periods of listening to relaxation instructions designed to lower blood pressure, or listening to silence. The mean spatial reasoning scores were eight and nine points higher after listening to the music than in the other two conditions. However, the effect only lasted for ten to fifteen minutes. Early attempts to replicate the phenomenon were unsuccessful (Chabris, 1999; Steele et al., 1999). Using a logical rather than spatial reasoning task, Newman and colleagues (1995) tested 114 students before and after listening to either eight minutes of Mozart’s music, relaxation instructions or silence, and found that all participants showed a practice effect with no particular enhancement in the music group. Similarly, Rideout and Laubach (1996) tested four female and four male undergraduates on two equivalent spatial tests, following either the presentation of Mozart’s ‘ Sonata for Two Pianos in D Major’ or a non-musical activity. EEG was recorded during, at baseline and at two task performance periods. Correlations were generated between task performance and EEG variables. Performance improved significantly following the presentation of the music. In a later study, Rideout and colleagues (1998) studied 16 participants who showed reliable improvement on a paper-folding and cutting task after listening to Mozart’s ‘ Sonata for Two Pianos in D Major’. The enhanced performance was also noted for 16 other participants after listening to a contemporary musical selection with similar musical characteristics. In both cases, the control procedure included ten minutes of listening to a relaxation tape. Similarly, Wilson and Brown (1997) examined the effect of Mozart’s music on 22 college undergraduates who had listened to a selection of Mozart’s music. Each participant performed a pencil and paper maze task after a ten-minute presentation of each of three listening conditions: a piano concerto by Mozart, repetitive relaxation music and silence. Limited support for the previously obtained enhancing effect of listening to Mozart’s music was revealed in measures of performance accuracy on this spatial task, whereas no effect was found for either the 110 The Power of Music number of maze recursions or the overall quality of maze solutions. Hetland (2000b) carried out two meta-analyses and found that music significantly enhanced performance on a variety of spatial tasks, but that music other than Mozart also enhanced spatial-temporal performance over a short period of time. Some research has explored the so-called Mozart effect on children. For instance, as part of the BBC programme Tomorrow’s World , a replication of Rauscher’s study was undertaken with over 6,000 ten- and eleven-year-old children (Hallam, 2001). They were tested after they listened simultaneously to either contemporary pop music by Blur or Oasis, the same piece of music by Mozart that was used in Raucher’s study, or a talk given about experiments. After being assigned at random to one of the three listening experiences, each child completed two tests of spatial abilities. No statistically significant differences were found between the performance of the three groups on the two tests of spatial reasoning. A reanalysis of the data using a different statistical approach by Schellenberg and Hallam (2006) showed that performance on one of the tests—square completion—did not differ as a function of the listening experience, but performance on the paper-folding test was superior for children who listened to the popular music compared to the other two groups. This was interpreted in terms of the arousing effects of the popular music, which the children also enjoyed, leading to an increase in their motivation. This mixed, although mainly negative, evidence relating to the Mozart effect led to research focusing on the role of music when it was played alongside the completion of a range of different intellectual tasks. The impact of background music is considered in more depth in Chapter 11 . Comparisons between Musicians and Non-Musicians, and Correlation Studies One strand of research has compared the performance of musicians with non-musicians on spatial-temporal reasoning tasks, while a further strand has compared performance on mathematical tasks. Neuroscientific research into brain structures has confirmed that the areas of the brain where spatial reasoning occurs are more pronounced in 111 5. Music, Spatial Reasoning and Mathematical Performance adult musicians, and that the processing of music and spatial-temporal tasks activates similar neural structures. Sluming and colleagues (2002) found that musicians achieved better results than controls on a line orientation test and were better in finding the middle of a line (Patston et al., 2006). Skills used in these two tasks may be related to the ability to manipulate the mental number line. Taking account of the importance of the concept of mental number line for the development of mathematical thinking, it is possible that active engagement with music enhances this process (Siegler and Booth, 2005; Ramani and Siegler, 2008). There is considerable evidence from research with professional musicians or those training to become professional musicians that they have better spatial-temporal reasoning abilities than non-musicians, including mental rotation. Pietsch and Jansen (2012) compared students of music, sports and education, and demonstrated better performance on mental rotation tasks among the first two groups, while Sluming and colleagues (2007) found that members of orchestras outperformed controls in mental rotation tasks. They suggested that this was linked with more pronounced development of Broca’s area in the brains of the musicians, while Mark (2002) showed that the areas of the brain which are activated whilst performing music and spatial-temporal tasks are proximate. Musicians are better at a range of visuospatial search tasks. Patston and Tippett (2011) administered a language comprehension task and a visuospatial search task to 36 expert musicians and 36 matched non- musicians in conditions of silence and correct or incorrect piano music playing in the background. Musicians performed more poorly on the language comprehension task in the presence of the background music compared to silence, but there was no effect of background music on the musicians’ performance on the visuospatial task. In contrast, the performance of non-musicians was not affected by the music on either task. This suggests that, when musicians process music, they recruit a network that overlaps with the network used in language processing. Musicians have better reaction times to selective and divided visual attention tasks (Rodrigues et al., 2013). They are better at matching a set of coloured blocks to a visual image (Stoesz et al., 2007), have better memory for line drawings (Jakobson et al., 2008), and are more accurate when asked to mark the centre of a horizontal line (Patston 112 The Power of Music et al., 2006) and when asked to judge the orientation of a line (Patston et al., 2007). These findings might be particularly important in linking music with mathematics, as the ability to visualise a horizontal line and localise a middle and proportional distance on it is closely related to the notion of the mental line used for a variety of mathematical operations (Gunderson et al., 2012). However, Helmbold and colleagues (2005) compared 70 adult musicians and 70 non-musicians matched for age, sex and level of education on their performance on different aspects of primary mental abilities including verbal comprehension, word fluency, space, flexibility of closure, perceptual speed, reasoning, number and memory—they found no significant differences except for flexibility of closure and perceptual speed, where the musicians performed reliably better than non-musicians. Pannenborg and Pannenborg (1915) compared individuals with varying degrees of musical talent and found only a slightly higher level of mathematical ability in those with high levels of musical ability. In contrast, Haecker and Ziehen (1922) administered a self- report questionnaire via the internet to 227 musical and 72 unmusical male participants, who were doctoral-level members of the American Mathematical Association or the Modern Language Association. The questionnaire assessed musicality, music perception, music memory and musicianship, music performance and music creation. The mathematics group did not exhibit higher levels of either musicality or musicianship. The mathematicians reporting high-level music performance ability did not report significantly greater musicality than did the literature or language scholars. Similarly, Haimson and colleagues (2011a; 2011b) recruited participants from the online membership of the American Mathematical Society and the Modern Language Association and presented them with a questionnaire assessing skills in musicality and musicianship. Members of both groups reported relatively low levels of musicality with no statistically significant differences between them. Revesz (1954) also found that reported levels of interest or aptitude for mathematics in musicians were low. Vaughn (2000) meta-analysed studies comparing mathematics achievement in students with and without self-selected music study, and only reported a very small positive association between mathematics and musical engagement. Working with fourth-grade children, Haley 113 5. Music, Spatial Reasoning and Mathematical Performance (2001) investigated the effects of participating in an instrumental music programme, band or orchestra on their academic achievement. The children were placed into three groups. The first consisted of children who had studied an instrument prior to the introduction of band and orchestra in fourth grade, the second consisted of children just beginning to study an instrument and the third consisted of children with no experience of instrumental instruction. The findings showed that students who had studied an instrument prior to fourth grade had higher scores in mathematics achievement than did students in the other groups. Comparing performance in reading and mathematics in two schools with different levels of music education, one with an outstanding music programme and the other with no music programme, Deere (2010) carried out a survey. Students experiencing high-quality music education had higher Tennessee Comprehensive Assessment Program (TCAP) reading and mathematics scores in the fourth grade. There was also a high correlation between music education and TCAP scores in reading and mathematics. In the eighth grade, where musical education was of high quality, students also reported higher TCAP reading and mathematics scores. In a study with young children, Williams and colleagues (2015) investigated parent-child home music activities in a sample of 3031 Australian children participating in Growing Up in Australia: The Longitudinal Study of Australian Children . Frequency of shared home music activities was reported by parents when children were two to three years old. A range of social, emotional and cognitive outcomes were assessed by parent and teacher report and direct testing two years later, when the children were four to five years old. A series of regression analyses found that frequency of shared home music activities had a small significant partial association with measures of children’s numeracy. The findings suggested that there may be a role for parent-child home music activities in supporting children’s mathematical development. Catterall and colleagues (2000), using the NELS:88 data, studied low socioeconomic status students who exhibited high mathematics proficiency in twelfth grade and found that 33 percent were involved in instrumental music compared with 15 percent who were not involved. Miksza (2010) extended this research, examining the potential 114 The Power of Music relationship between participation in high-school music ensembles and extra musical educational outcomes, including achievement in mathematics, using data from the Education Longitudinal Study of 2002. The sample of 12,160 students was representative of white and minority high-school students from 603 rural, suburban and urban schools across the United States. The students who belonged to school music ensembles had higher scores in standardised mathematics tests. The study controlled for socioeconomic status but not mathematical performance prior to any music training. Similarly, Bergee and Weingarten (2020) used multi-level mixed modelling to test the extent to which students’ music achievement scores were related to their reading and mathematics achievement scores. Of the four levels examined—individual students, classrooms, schools and districts— only individuals and districts accounted for a significant portion of the total variance in achievement scores. There was a strong relationship between music scores and reading/mathematics achievement. In higher education, Barroso and colleagues (2019) aimed to identify the cognitive and affective factors related to mathematics and music theory that best explained undergraduate music theory achievement. The findings suggested that mathematic scores and music theory confidence were important predictors of grades in undergraduate music theory examinations. Musical Interventions and Spatial-Temporal Reasoning While the research comparing musicians and non-musicians, and that showing relationships between music, spatial-temporal reasoning and mathematics is important, it is not able to demonstrate causality. To demonstrate causality, it is necessary to carry out experimental intervention studies where the impact of musical engagement is compared with the impact of other activities or no activity. Rhythm may be particularly important, as infants engage in significantly more rhythmic movement to music and other rhythmically regular sounds than to speech, and also to some extent exhibit tempo flexibility (Zentner and Eerola, 2010). General music instruction—including singing, movement and playing percussion instruments—has been shown to assist four- to 115 5. Music, Spatial Reasoning and Mathematical Performance six-year-old children in the development of spatial ability (Bilhartz et al., 1999). Zafranas (2004) studied 61 kindergarten children who received two piano or keyboard lessons weekly during one school year. Following piano or keyboard instruction, participants improved significantly in hand movement, gestalt closure, triangles, spatial memory and arithmetic, but not in matrix analogies. Similarly, Gromko and Poorman (1998) investigated the effect of music training on 15 preschoolers’ performance on subtests of the Wechsler Preschool and Primary Intelligence Scale. For the three-year-olds in the study, this musically intellectually stimulating environment resulted in an increase in the ability to perform spatial-temporal tasks. Rauscher and colleagues (1997) assigned 78 students from three preschools to music, computer or no instruction groups. The instruction groups received training in one of the following: piano or keyboard (either individually or coupled with group singing lessons), group singing lessons only or computer instruction. The children were pre- and post-tested using one spatial-temporal reasoning task, object assembly, and three spatial recognition tasks (geometric design, block design and animal pegs). There were no differences between groups in pre- test scores, but after instruction the children in the piano group scored significantly higher on the spatial reasoning task compared to children in the other conditions. There were no differences amongst the groups on the spatial recognition tasks. The computer group, singing and no-instruction groups did not improve significantly over time on any of the tests. Later studies (Rauscher, 2002; Rauscher and Zupan, 2000)— which were undertaken over three years with upper-middle-income children who were provided with eight months of weekly 40-minute keyboard instruction in groups of eight to ten beginning in either kindergarten, aged five, or first grade, aged six—scored higher on two spatial-temporal tasks, puzzle-solving and block-building compared to children who did not receive music instruction. No enhancement was found for a pictorial memory task. However, these effects were not maintained when music instruction was terminated, although when lessons resumed in second grade the same children’s scores increased again, surpassing the levels that they had reached before the lessons were terminated. The children who received instruction over a period of three years scored higher on the spatial-temporal tasks compared 116 The Power of Music to children who had not received instruction. While the scores of the keyboard group improved every year, although not significantly, after kindergarten the scores of children who began instruction in the second grade did not improve, suggesting that it was important that the training began early. Rauscher and La Mieux (2003) also reported that children who received keyboard lessons, singing training or rhythmic instruction scored higher than controls on spatial reasoning tasks. Further studies examined the effects of musical instruction on spatial-temporal reasoning in middle-income elementary-school children (Rauscher and Hinton, 2011). Two groups—a music group and an animated reading group—received 40 minutes of lessons in groups of eight to ten for nine months. At the end of the study, the children who received the keyboard lessons scored significantly higher on spatial-temporal reasoning tasks than those who received the animated reading lessons, although the improvement for the keyboard group was only for the girls. Working with elementary-school students, Johnson and Davis (2016) investigated the effects of a programme combining musical ensembles in residence with regular classroom music instruction on students’ auditory discrimination and spatial intelligence. In combination with regular, sequential general music classes, participants in the programme received two half-hour lessons each week from musical ensembles in residence, lasting for four consecutive years. The chamber ensembles provided aural models for reinforcing fundamental concepts. Data were collected from a stratified, random sample of students in grades two and four to five receiving the experimental programme, and from demographically similar comparison schools which did not receive any regular music instruction. A total of 684 elementary students participated in the study. Children participating in the programme with the chamber music ensembles showed consistent and statistically significantly greater scores in both auditory discrimination and spatial intelligence measures. Holmes and Hallam (2017) examined the potential of active music- making to improve mathematics achievement in primary-school pupils. In a quasi-experimental design, 60 children aged five or six participated in the music programme, while the same number of pupils from parallel classes made up two control groups. Lessons contained a variety of musical, predominantly rhythmical activities, based on popular nursery 117 5. Music, Spatial Reasoning and Mathematical Performance rhymes. Spatial-temporal skills were tested at the beginning and the end of the study. Throughout the intervention, pupils were assessed on musical skills, as well as general and specific mathematical skills. A strong relationship between musical and spatial-temporal skills was found in both age groups. The younger group scored higher than their peers on a picture test and a puzzle test. The results for the older children were also higher for the music group in both spatial-temporal tests. Some enhancement in mathematics in the intervention group was found, although there was no significant contribution of spatial- temporal abilities to general mathematics achievement. One strand of research has focused on preschool children from deprived backgrounds participating in Head Start programmes (Rauscher, 2003, Rauscher et al., 2005). In the first study, 87 Head Start children were randomly assigned to one of three groups—piano, computer or no instruction—for 48 weeks over two years. At the end of the intervention, the children who received music instruction scored significantly higher than control groups on visual and auditory tasks that required spatial and temporal skills. Performance on an arithmetic task also improved following music instruction. A second study focused on whether different types of music instruction had different effects. Over 100 Head Start children of mixed ethnicity were assigned randomly to one of four conditions: piano, singing, rhythm or no instruction. All of the children in the music groups received weekly individual instruction for a period of 48 weeks over two years. The data from the three music groups replicated the data from the first study. The children in the music groups scored significantly higher at post-test on tasks requiring spatial and temporal skills. The rhythm group scored significantly higher than the piano and singing groups on temporal and arithmetic tasks. A third study was conducted to determine whether the effects endured after instruction stopped. The scores of the Head Start children who received lessons in the first and second studies were compared with three groups of grade-matched children participating in Head Start who did not receive music instruction, at-risk children not involved in Head Start, and middle- income children who did not receive music instruction. The children who had received music instruction in the first study continued to score higher than all of the other groups of children, with the exception 118 The Power of Music of the age-matched middle-income children, on three of the four tests two years after instruction had ended. The data from the children who participated in the second study when they progressed to kindergarten showed that the singing, piano and rhythm groups scored higher than the Head Start and at-risk children on five of the tests. In addition, the rhythm group scored higher than the singing and piano groups on an arithmetic subtest, and scored significantly higher than the middle- income children on the temporal, arithmetic, mathematical reasoning and numeracy tasks. These findings suggest that rhythm instruction has the strongest impact on a range of mathematically related tasks. Rauscher and Hinton (2011) summarised the results from several of these studies and showed that music groups had higher scores on arithmetic and spatial abilities following musical interventions, although they were equivalent initially (Rauscher, 2014). Several research projects have been undertaken within the context of the El Sistema approach to musical engagement, a structured extracurricular orchestral programme. For instance, Osborne and colleagues (2015) studied pupils from a low-income neighbourhood participating in El Sistema and showed that they had greater improvement in spatial reasoning, verbal and mathematical skills than comparison groups. Further evidence for music being responsible for enhanced spatial reasoning in at-risk children comes from an Israeli study, in which a two-year music training intervention of two to three hours per week was introduced in some after-school centres for at-risk children, but not in other centres (Portowitz et al., 2007). Children participating in the intervention showed larger improvements in remembering and reproducing a complex line drawing. The most effective music interventions for enhancing spatial temporal reasoning in all children seem to be based on rhythm (Hetland, 2000a; Holmes, 2017; Holmes and Hallam, 2017; Rauscher and Le Mieux, 2003). Children in the early years of primary school seem to benefit the most from such interventions (Costa-Giomi, 2004; 2013; Graziano et al., 1999; Holmes, 2017; Holmes and Hallam, 2017; Rauscher, 2002, Rauscher and La Mieux, 2003; Rauscher and Zupan, 2000; Schellenberg, 2004). The optimal length of interventions that is required for there to be a sustainable impact has not been conclusively established. Rauscher and Zupan (2002) showed improvement in 119 5. Music, Spatial Reasoning and Mathematical Performance spatial-temporal skills which continued throughout a four-year programme, whilst Rauscher (2000) suggested that there was a need for programmes to last for at least two years to achieve lasting change. The underpinnings of such accelerated progression in disadvantaged and other pupils are not yet clear, and these enhancements might be mediated by the development of general cognitive abilities. It is also possible that these programmes raise participants’ motivation, self-efficacy, and perseverance. Overall, the majority of studies have shown that spatial-temporal skills can be improved by musical training. Interestingly, when other related cognitive abilities have been assessed—for instance, pictorial memory (Rauscher and Zupan, 2000), spatial recognition (Rauscher 1994; 1997), and number recall (Rauscher and La Mieux, 2003)—there has been no significant improvement related to musical engagement. Not all of the research has shown an impact of music on spatial reasoning. For instance, Hanson (2003) investigated the effects of a sequenced Kodály literacy-based music programme on the spatial reasoning skills of kindergarten students. Fifty-four kindergarten children participated. One group of children received Kodály music instruction, a second group computer instruction and a third group no intervention. The programme lasted for seven months. Spatial-temporal reasoning, spatial reasoning and a nonspatial measure were assessed. The analysis revealed no statistically significant differences in pre-, post- or gain scores for any of the measures. The Relationships between Spatial Skills and Mathematics Children engage with arithmetic long before they experience formal mathematics education. Some number processing is present prior to the development of language. Preschool children understand estimation and comparison of quantities often before they can count or use number terminology. They have a sense of ordinality (Kaufmann, 2008) and use and develop strategies and procedures in solving problems (Bisanz et al., 2005). Very young children can discriminate between small groups of items containing different numbers of objects. Understanding increasing quantity by adding objects and decreasing quantity by removing them 120 The Power of Music depends on observing ordinal relations among numbers (Bisanz et al., 2005). This skill is related to addition and develops earlier than subtraction. Children gradually develop greater accuracy until they can provide exact solutions to arithmetic problems. This is usually achieved by four to five years old. They also begin to develop rules and concepts that inform and constrain their growing ability to manipulate numbers (Bisanz et al., 2005). Krajewski and Schneider (2009) developed a three- phase model of this process: basic numeric skills, quantity number concepts and number relationships. At the third level, visual-spatial skills play a vital role, while non-verbal representations of magnitudes are essential for problem-solving (Rasmussen and Bisanz, 2005). This model supports a strong relationship between spatial skills (Cheng and Mix, 2014), the visual–spatial components of working memory and the development of mathematical abilities. Alternatively, Spelke (2008) proposes a broader model which outlines three main systems which support young children’s mathematical learning: a system for representing small exact numbers of objects, up to three; a system for representing large approximate numerical magnitudes—for example, about 20—and a system for representing geometric properties and relationships. Each system is malleable and relatively independent in young children, but as basic concepts and mathematical operations develop, children learn to connect the three systems. Linking representations of numbers with representations of space helps in creating mental number lines, which are central to understanding relationships between numbers and calculations. Spatial structuring is essential for many mathematical activities of a numerical or geometrical nature. Van Nes and de Lange (2007) propose that the ability to imagine a spatial structure relates to a specific magnitude, and to mentally manipulate it helps in understanding quantities and the process of counting and also speeds up that process. Van Nes and Dorman (2011) describe the mathematical skills which rely on spatial structures as composing and decomposing of quantities; counting and grouping; part-whole knowledge in addition, multiplication and division; comparing a number of objects; patterning; building a construction of blocks; ordering, generalising and classifying; 121 5. Music, Spatial Reasoning and Mathematical Performance and more sophisticated mathematical operations; for instance, algebra, proving, predicting, and mental rotation of structures. Booth and Siegler (2008) examined whether the quality of numerical magnitude representations of first-grade children with a mean age of 7.2 years was correlated with, predictive of and causally related to their learning of arithmetic. The children’s pre-test numerical magnitude representations were correlated with their pre-test arithmetic knowledge, and were predictive of their learning of answers to unfamiliar arithmetic problems. The relation to learning to solve unfamiliar problems remained after controlling for prior arithmetic knowledge, short-term memory for numbers and mathematics achievement test scores. In addition, presenting randomly chosen children with accurate visual representations of the magnitudes of addends and sums improved their learning of the answers to problems. Representations of numerical magnitude are both correlationally and causally related to arithmetic learning. These abilities are engaged not only in geometry, but also in number sense, comparing and calculating quantities, and effectively using strategies to solve problems. Similarly, Gunderson and colleagues (2012), using two longitudinal data sets, found that children’s spatial skills and mental transformation ability, at the beginning of first and second grades, were a predictor of improvement in linear number-line knowledge over the course of the school year. Spatial skill at age five predicted performance on an approximate symbolic calculation task at age eight. This relationship was mediated by children’s linear number-line knowledge at age six. Similarly, working with 760 preadolescent college students and high- and low-ability college bound youths, Casey and colleagues (1995) found that spatial skill (as measured by the Vandenberg Mental Rotation Test) was highly related to success in mathematics. For all of the female samples, mental rotation predicted mathematics aptitude even when verbal aptitude scores were entered into the regression first. For the male samples, the relationship varied as a function of the ability of the sample. Overall, spatial skills are widely used in many levels of mathematical thinking and their development is considered a strong predictor of achievement in mathematics at primary school and other stages of education.122 The Power of Music The Relationships between Music, Spatial Skills and Mathematics Another strand of research has studied the relationships between music, spatial skills and mathematics. Understanding ratio enables children to calculate fractions, divisions and proportions, while pattern recognition is used in spatial-temporal tasks and in a broad variety of mathematical tasks. Schlaug and colleagues (2005) suggested a link between these skills and using rhythmic notation, while Gordon (1993) saw the link as being through the processing of structures of sound. Geist and colleagues (2012) argue that music is children’s first patterning experience and helps engage them in mathematics even though they do not recognise this. Research has provided evidence for the relationships between music, spatial-temporal reasoning and mathematics. For instance, McDonel (2015) found strong correlations between musical aptitude, rhythm achievement and scores in numeracy tests. However, the sample size was very small, so the findings have to be interpreted cautiously. Spelke (2008) compared performance in tasks measuring performance on the three main systems supporting young children’s mathematical learning: representing small exact numbers of objects, large approximate numerical magnitudes, and representing geometric properties and relationships in students aged five to seventeen with no music training, with sports training, with training in other art forms and with music training which was considered on three levels of intensity: moderate, intense and highly intense. The first experiment, with children who had low levels of music training, did not show that such instruction enhanced any core mathematical skills. The second experiment included students with mixed levels of music training. Here, the children with intense music instruction outperformed the others in all tests related to spatial awareness. In the third experiment, students with extensive music training achieved higher scores in tests of sensitivity to geometry, including a task which assessed children’s ability to relate numerical and spatial magnitudes, and involved operations on a mental number line. Researching these relationships is complex, because musical training may be associated with some aspects of mathematics but not others. For instance, Bahna-James (1991) found that high-school students’ music 123 5. Music, Spatial Reasoning and Mathematical Performance theory grades correlated with their grades in algebra, geometry and pre- calculus, but not with grades on an advanced mathematics course on logic. Similarly, Bahr and Christensen (2000) reported that performance on a mathematics test and a musicianship rating scale correlated in areas where music and mathematics shared structural overlap in pattern recognition and symbol usage, but not for other areas of mathematics, where there was no overlap. However, not all of the research supports this. For instance, Helmbold and colleagues (2005) failed to demonstrate any advantage for musicians in pattern recognition. Holmes and Hallam (2017), working with primary-school children showed correlations between music and only some, rather than all, mathematical skills related to spatial reasoning, while changes in mathematical skills reliant on memory were much smaller. This finding suggests that the development of spatial skills may act as a moderator between rhythmic instruction and attainment in mathematics. There were correlations between spatial reasoning scores and music performance. These were high for a picture test and a puzzle test score. Correlations between music score, the two puzzle tests and various mathematical performances showed strong correlations with some but not all mathematical tests. The strongest correlations were with two- and three-dimensional shapes. There were lower or no correlations with addition, subtraction, counting and number recognition. Cranmore and Tunks (2015) adopted a qualitative approach asking 24 high school students to share their direct experiences with music and mathematics, as well as their perceptions of how the two fields were related. Participants were divided into four groups based on school music participation and level of achievement in mathematics. Most of the students saw mathematics as a foundation for musical ability, suggesting a different direction to most previous studies. Rhythm was perceived to have the most connections with mathematics. Musical Engagement and Mathematical Performance Some studies have concentrated on the impact that learning music might have on the development of specific cognitive skills which are considered useful in acquiring mathematical understanding; for instance, notions of proportions, fractions and patterns. Gardiner and colleagues (1996) 124 The Power of Music showed that children participating in an arts programme—which included seven months of supplementary music lessons with a lower score on mathematics at baseline—outperformed controls in terms of mathematics achievement. Those participating for the longest period of time had the highest scores overall. As all of the groups participated in music and other arts, it was not possible to conclude that it was the music element that produced the effect. Whitehead (2001) examined the effect of Orff Schulwerk music instruction on the mathematical scores of middle- and high-school students. Subjects were randomly placed into three groups: a full treatment group which received music instruction for 50 minutes five times each week, a limited treatment group which received 50 minutes of instruction once a week and a no treatment group which received no music instruction. After 20 weeks, the full treatment group showed higher significant gains in mathematics than the other two groups. The limited treatment group showed limited mathematics improvement and the no treatment group showed the lowest gain. Ribeiro and Santos (2017) aimed to verify the efficacy of non- instrumental musical training on numerical cognition in children with low achievement in mathematics. Using cluster analysis, they examined whether children with low scores on numerical cognition would be grouped in the same cluster pre- and post-musical training. Primary- school children were divided into two groups according to their scores on an arithmetic test. Testing with a battery of numerical cognition tests revealed improvements for the children with low achievement in mathematics, especially for number production capacity, compared to normative data. The number of children with low scores in numerical cognition decreased after the intervention. Neville and colleagues (2008) examined the differences in results between four groups of preschoolers who received music training; attention training; no training and general teaching delivered in a small group; and no training and general teaching in a large class. Music instruction was delivered daily and included listening to music, making music, moving to music and singing. The intervention lasted for eight weeks. A statistically significant change was recorded in numeracy and visual cognition for the music group and the attention group. Children from the music group performed especially well in verbal counting and 125 5. Music, Spatial Reasoning and Mathematical Performance estimating magnitudes. Similarly, Geoghegan and Mitchelmore (1996) investigated the impact of a weekly early-childhood music programme on the mathematics achievement of preschool children aged four to five. The group of children involved in musical activities scored higher on a mathematics achievement test than the control group, although home musical background may have been a confounding factor. The children who listened more frequently to adults singing and to their own music collection at home performed better than other children. Cheek and Smith (1999) examined whether the type of music training was related to the mathematics achievement levels of eighth-grade students. Data were collected from the Iowa Academic Achievement Tests of Basic Skills and through a survey on participants’ music background, including type of musical instrument, number of years of school music lessons, number of years of private lessons and demographics. No significant difference was found between the mathematics scores of students who did and did not receive private music lessons. However, students with two or more years of private lessons had a significantly higher mean mathematics score than students with no private lessons. Furthermore, students who had keyboard lessons had significantly higher mathematics scores than students who had music lessons on other instruments. In an innovative study, Kvet (1985) investigated whether significant differences existed in sixth-grade reading, language and mathematics achievement between students who were excused from regular classroom activities for the study of instrumental music and students not studying instrumental music. Over 2000 sixth-grade students participated. The analyses showed that there was no significant difference in sixth- grade reading, language and mathematics achievement between those who were excused from regular classroom activities for the study of instrumental music and those not studying instrumental music. Focusing on emotions related to mathematics as well as achievement, An and colleagues (2014) studied 56 third-grade elementary students in a pre-post-test control group design, which was utilised to examine changes between two groups of participating students in mathematics achievement and dispositions, including beliefs about success, attitude, confidence, motivation and usefulness. The students in the music group received music-mathematics integrated lessons, while the students 126 The Power of Music in the control group received traditional lecture- and textbook-based mathematics instruction. Analysis of the results demonstrated that, despite statistically equivalent pre-test scores prior to the intervention, after the intervention the music group students had statistically significantly higher positive mathematics disposition scores than their non-music-group peers. This suggests that there are advantages for teachers in utilising music-themed activities as a context for offering students the opportunity to learn mathematics in a challenging yet enjoyable learning environment. While the evidence for the impact of musical activity on mathematics performance is mixed, some authors have proposed that there may be a link between the use of fractions and proportions in rhythm, and point out that the processing of these requires mathematic specific skills (Shaw, 2000; Schlaug et al., 2005; Jones, 2011). For instance, Courey and colleagues (2012) examined the effects of an academic music intervention on conceptual understanding of music notation, fraction symbols, fraction size and equivalency in third-graders from a multicultural, mixed socioeconomic public-school setting. Sixty- seven students were assigned in their class to their general education mathematics programme or to academic music instruction for 45 minutes, twice a week for six weeks. The academic music students used their conceptual understanding of music and fraction concepts to inform their solutions to fraction computation problems. Statistical analysis revealed significant differences between experimental and comparison students’ music and fraction concepts, and fraction computation following the intervention, with large effect sizes. Students who began instruction with less fraction knowledge responded well to the intervention and produced post-test scores similar to their higher achieving peers. Similarly, Azaryahu and colleagues (2019) examined the effect of two integrated intervention programs representing holistic versus acoustic approaches to teaching fraction knowledge. Three classes of fourth-grade children attended 12 lessons on fractions. One class attended the MusiMath holistic programme focusing on rhythm within the melody, while the second class attended the academic music acoustic programme (Courey et al., 2012) which used rhythm only. The third class of children received regular mathematical lessons on fractions. Students in both music programmes learned to write musical notation 127 5. Music, Spatial Reasoning and Mathematical Performance and perform rhythmic patterns through clapping and drumming as part of their fraction lessons. They worked toward adding musical notes to produce a number fraction, and created addition–subtraction problems with musical notes. The music programme used a 4/4 time signature with crotchets, quavers and semiquavers. In the mathematics lessons, the students learned the analogy between musical durations and half, quarter and eighth fractions, but also practised other fractions. Music and mathematics skills were assessed before, immediately following, and three and six months after the intervention. The analysis indicated that only the MusiMath group showed greater transfer to intervention trained and untrained fractions than the comparison group. The academic music group showed a positive trend on trained fractions. Despite this, both music groups outperformed the comparison group three and six months after the intervention on the trained fractions. Only the MusiMath group demonstrated greater gains in untrained fractions. Similarly, Hamilton and colleagues (2018) describe a pilot study which aimed to determine whether understanding in mathematics, and specifically, fractions, equivalence, ordinance and division improved when music and musical rhythm were used in lessons. The preliminary data suggested that students responded positively to this novel method of teaching in terms of engagement but also test performance. Focusing on piano keyboard skills, Johnson and Edelson (2003) developed an activity for teaching children aspects of mathematics through musical concepts, including the use of musical instruments and musical symbols, to expand the concepts of serial order, fractions, sorting, classification and ratios. They concluded that music had the potential to assist in developing mathematical skills. Also using piano keyboard lessons but combined with a video game, Graziano and colleagues (1999) demonstrated that preschool children given six months of piano keyboard lessons improved dramatically on spatial- temporal reasoning, while children in appropriate control groups did not improve. The researchers also developed a Spatia1 maths video game which was designed to teach fractions and proportional mathematics. It was extremely successful in a study involving 237 second-grade children, aged six to eight years old. The children participating in the piano keyboard training as well as the maths video game scored significantly higher on proportional mathematics and fractions than children who 128 The Power of Music experienced non-musical training along with the maths video game. Lim and colleagues (2018) investigated future teachers’ experiences and perceptions of using a virtual reality game for elementary maths education. The virtual reality game was designed and developed to integrate a musical activity, beat-making, into the learning of fractions. The mathematics education students who participated perceived that the concept of fractions was effectively represented via beat-making in the virtual reality game. Wentworth (2019) explored the effectiveness of an integrated approach to music and mathematics in high school. Four lessons were taught to an intervention and control class to determine how mathematically motivated music instruction affected students’ understanding of operations of functions, composition of functions, inverse functions, domain and range. A pre-post-test design was used to determine the effect on achievement of the integrated lessons; a questionnaire was also given out, to identify differences in students’ mathematical perceptions, self-efficacy and determination. The intervention group demonstrated significantly greater gains overall. Three major differences were identified between the groups—the intervention group used function notation more frequently than the control group; the control group demonstrated confusion between composition of functions and inverse functions, while the intervention group did not; and the intervention group showed more mathematical work for the applications portion of the test than the control group. The integrated instruction led to comparable and, in some cases, significantly better mathematics outcomes than the control group, giving students an increased willingness to work with mathematical applications both on the post-test and moving forward. Not all of the research has shown that music has a positive effect on learning mathematics. For instance, Costa-Giomi (2004) worked with nine- to ten-year-old children from low-income families, who were involved over three years with weekly individual piano lessons. All of the children who participated in the study were given an instrument so that they could practise at home. Self-esteem and musical understanding were enhanced for the music group, but their academic achievement in mathematics and English was no different from a control group. The quality of the musical input is crucial in any transfer of skills. This was illustrated in a three-year study to explore whether group music 129 5. Music, Spatial Reasoning and Mathematical Performance instruction could improve the test scores of economically disadvantaged elementary-school children (including almost 600 kindergarten to fifth- grade students from four elementary schools). One school provided 30 minutes of keyboard lessons per week, another a 40-minute lesson every six days, while the remaining two schools acted as controls. All lessons were in groups of 20 to 25 pupils. Participants were pre-tested with two subtests measuring verbal abilities, two measuring quantitative abilities and one measuring spatial-temporal abilities. Tests were then repeated at 9, 18 and 27 months. During the first two years of the study, there were difficulties in the implementation of the music programme, and it was only at the end of the study when the children had received one year of high-quality tuition that there were any gains (Rauscher, 2005). Similarly, Yang and colleagues (2014) examined the relationship between long-term music training and child development based on 250 Chinese elementary-school students’ academic development of first language, second language and mathematics. They found that the musician children outperformed the non-musician children only on musical achievement and second language development. Although music training appeared to be correlated with children’s final academic development of first- and second-language learning and mathematics, it did not independently contribute to the development of the first language, nor all mathematical skills. The authors argued that other variables might be important; for example parents’ level of education. Two experiments by Rickard and colleagues (2012) also revealed inconclusive results. The first was based on an already existing music programme for ten- to thirteen-year-olds. Comparing participation in drama, art or music groups, there was some improvement in the music group on a non-verbal IQ test but not in academic achievement. A second musical intervention, provided externally over six months, included playing music with percussion instruments, composing, improvising, playing in a group, singing, active listening and analysis of a wide range of styles. As the programme was introduced in a private school, all of the students were of middle or high economic status. Three groups participated in music, drama or an additional activity. Students from the music group achieved better results in mathematics but this result was also in evidence in the drama group. The authors argued that the age of the children may have been a factor in the outcomes of the research.130 The Power of Music Cox and Stephens (2006) compared high-school students with different numbers of music credits in relation to their mean mathematics grade point averages, or their mean cumulative grade point averages. Students were then separated into two groups based on the number of music credits. Those who had earned at least two music credits per grade level were placed into Group A. This included ninth-graders with two or more music credits, tenth graders with four or more music credits, eleventh graders with six or more music credits, and twelfth graders with eight or more music credits. The remaining students were placed into Group B. The group A students performed better than the group B students but the differences were not statistically significant, although there was a slight upward trend in grade point average as the number of music credits increased. Lower grade point averages were non-existent as music credits increased. Overview There have been a number of reviews of the impact of music on cognitive skills, including spatial reasoning and mathematics. In relation to spatial reasoning, Hetland (2000a) reviewed 15 studies and found a strong and reliable relationship and concluded that music instruction led to dramatic improvement in performance on spatial temporal measures. She commented on the consistency of the effects and likened them to differences of one inch in height or about 84 points on the SAT (p. 221). She showed that the effects were likely to be stronger among younger children, three to five years than those aged six to twelve years. Similarly, Črnčec and colleagues (2006) reviewed the evidence on the impact of music teaching on spatio-temporal reasoning skills and found that there was a consistent effect, although improvements in associated academic domains, such as arithmetic, had not been reliably shown. More recent research( as reviewed above) generally supports a positive role for music in developing spatial temporal reasoning skills, the consistency of the findings suggesting a near transfer, automated effect. Where spatial temporal skills are well developed the wider and more appropriate the choice of strategies and the more efficient and less erroneous mathematical operations. Rhythm-based instruction seems to be the most conducive for the improvement of spatial temporal 131 5. Music, Spatial Reasoning and Mathematical Performance reasoning skills, followed by learning to play the piano. Singing leads to smaller changes. Focusing on the impact of engaging with music on a broader range of academic skills and educational attainment, including mathematics, Hodges and O’Connell (2007) suggest that a moderate position needs to be taken. At one extreme, the data support the contention that music improves academic performance, but at the other extreme there is no basis for saying that music instruction has no effect on academic achievement. Hodges and O’Connell argue that human learning is so complex that any simplistic explanations must be rejected. They suggest that some music experiences have a positive impact on academic performance under certain circumstances. What is neglected is the impact that an individual teacher can have. Excellent teachers who are enthusiastic and who relate well to students may make a greater difference to educational outcomes than particular methods used, although if the overall quality of tuition is poor it can have a negative impact. A more recent systematic review also suggests that the findings are inconclusive and contradictory (Jaschke et al., 2013). Jaschke and colleagues attribute this to differences in research design, the analytical methods used, the nature of the musical interventions and differences in neural activation during the processing of these tasks. Recent meta- analyses have come to similar conclusions about the challenges faced by research and some have concluded that overall, music does not have an impact on children’s cognitive skills including mathematics (Sala and Gobet, 2020). To conclude, the evidence suggests that active engagement in musical activities enhances a range of spatial processing skills, particularly in young children. These skills may support the development of some simple mathematical skills, mediated by line number knowledge, but do not transfer to all mathematical skills. There remain many questions about the type of training that may be effective, that involving rhythm seems a likely candidate; how long training needs to be sustained, the type of mathematical activities which may be most influenced by musical activity, and the overall quality of the training on offer.6. The Impact of Musical Engagement on Memory Memory is the faculty of the brain by which data or information is encoded, stored and retrieved when needed. There are several different types of memory, which broadly fall into three groups: sensory memory, short-term memory and long-term memory. Sensory memory is very short, typically acting for less than half a second, and accurately retains material for that time, acting as a buffer for stimuli received through the five senses. Iconic memory refers to immediate visual memories, echoic memory to auditory memories and haptic memory to the sense of touch, while olfactory memories relate to smell and gustatory memories to taste. Short-term memories are slightly longer than sensory memories but still disappear after a few minutes. Short-term memory holds information briefly until it is needed. The term ‘short-term memory’ is often used interchangeably with the term ‘ working memory’. Short- term memory is temporary and has limited capacity, as the information being processed is either lost or entered into long-term memory. Long-term memory is the brain’s system for storing, managing and recalling information. It is complex and serves different functions. Long-term memories include anything from an event that occurred five minutes ago to something from 50 years ago. There are many different forms of long-term memories. Sometimes they are conscious, requiring us to actively think in order to recall them. Other memories are unconscious and appear without an active attempt at recollection. The most common forms of long-term memory are explicit memory (the intentional recall of information), declarative memory (the retention and recall of important facts, dates and information), episodic memory (enabling memory of first-hand experiences in one’s life), semantic memory (the storage of vocabulary, names and general knowledge), © 2022 S. Hallam & E. Himonides, CC BY-NC-ND 4.0 https://doi.org/10.11647/ OBP .0292.06134 The Power of Music implicit memory (sometimes referred to as unconscious memory where information from a moment in time cannot be specifically recalled), procedural memory (memory for how to do things), auditory memory (which helps to retain information based on the sounds an individual has heard), visual spatial memory (which enables memory for spatial objects and their manipulation), and working memory. The latter has been more controversial than other forms of memory. Cowan (2014), after reviewing the evidence, suggests that it is the retention of a small amount of information in a readily accessible form which facilitates planning, comprehension, reasoning and problem-solving. In the research on the impact of making music on working memory, mention is often made of executive control skills that are used to manage information in working memory, and the cognitive processing of that information. Overall, there continues to be debate about the actual nature of working memory, although there is agreement that similar research findings are obtained when specific test methods are adopted. This chapter reports the findings from research on the impact of music on visual memory, verbal memory and working memory, although, as will be seen, much of the research explores several different aspects of memory simultaneously. Visual Memory One strand of research has explored the impact of musical training on visual cognition. Early work focused on memory for musical notation. For instance, Sloboda (1976) demonstrated that musically trained adults showed significantly greater capacity to maintain musical notation in short-term memory than non-musicians. George and Coch (2011) investigated the neural and behavioural aspects of visual memory in college-aged, non-professional musicians and non-musicians. Behaviourally, the musicians outperformed the non-musicians on standardised subtests of visual memory. Event-related potentials were recorded in standard visual paradigms, where participants responded to infrequent deviant stimuli embedded in lists of standard stimuli. Electrophysiologically, the musicians demonstrated faster updating of working memory in the visual domain. These findings demonstrated that long-term music training was related to improvements in visual 135 6. The Impact of Musical Engagement on Memory working memory. Similarly, Brochard and colleagues (2004) used a neuropsychological task in which participants had to detect the position of a target dot relative to vertical or horizontal reference lines which flashed onto a screen. In the perception condition, the reference line remained on the screen until the dot was displayed, while in the imagery condition, the line disappeared before the target dot was presented, requiring participants to keep a mental image of the reference line. In both conditions, musicians had shorter reaction times compared to non- musicians, suggesting that the musicians had enhanced visuospatial abilities. The authors concluded that the enhanced performance of the musicians resulted from their long-term reading of musical notation, which requires fine-grained recognition of the positions of notes on the stave and also efficient attentional processes. This explanation is supported by Kopiez and Galley (2002), who suggested that patterns of saccadic eye movements can be used as an indicator of mental processing speed. The specific demands of reading musical notation, particularly if it is begun at an early age, may modify the way visual information is processed by the nervous system. Kopiez and Galley (2002) and Gruhn and colleagues (2006) compared saccadic eye movements during oculomotor tasks in adult musicians and non-musicians, and reported more efficient oculomotor strategies in the musicians, which they argued may be associated with complex visual processes involved in the long-term practice of reading musical notation, alongside more efficient attentional processes. Gruhn and colleagues (2006) point out that there is some evidence (Biscaldi et al., 2000; Currie et al., 1991; Kinsler and Carpenter, 1995; Sereno et al., 1995) that there is a strong association between attention and saccadic eye movements. The control of eye movements requires highly complex mental processes, involving many cerebral areas (Tatler and Wade, 2003). All modalities of attention have an impact on the oculomotor system (Kimmig, 1986). Rodrigues and colleagues (2007) compared the performance of musicians who were members of a symphony orchestra or symphonic band with non-musicians, in tasks involving visual attention. They used a multiple-choice reaction-time test which consisted of specific motor responses to various luminous stimuli. The test was applied twice in order to assess divided visual attention ability. The second time, it was used alongside other continuously and randomly changing visual 136 The Power of Music stimuli presented in video form. The participants were asked to respond verbally to each change. The musicians showed a higher percentage of correct responses when the test was applied alone, but not when the test was applied together with other changing visual stimuli, although the musicians showed shorter reaction times for verbal responses to stimuli changes. The authors suggested that musicians may have augmented divided visual attention ability compared to non-musicians, which they ascribed to ensemble rehearsal. They argued that the professional activities of musicians are characterised by constant demands of divided visual attention, including dealing with several kinds of visual stimuli simultaneously—for instance, the musical score, the conductor’s gestural instructions and the body movements of other musicians—while also playing their own instrument. Patston and colleagues (2006) compared right-handed musicians and non-musicians in a line bisection task, which entailed marking the centre of 17 horizontal lines, varying in length from 10 to 26 cm, displayed randomly on a page. Neurologically intact right-handers showed a slight but reliable tendency to bisect about two percent to the left of the centre on this task (Hausmann et al., 2002) a phenomenon attributed to dominance of the right hemisphere for visuospatial attention (Oliveri et al., 2004). In contrast, Patston and colleagues (2006) demonstrated that musicians showed a slight rightward bias, while non-musicians showed greater deviation to the left. The musicians also bisected the lines more accurately and with fewer intermanual differences than the non-musicians. The researchers suggested that musicians may develop an increased ability for the left hemisphere to perform cognitive functions that are typically right- hemisphere dominant, resulting in more balanced spatial attention. In a later study, Patston and colleagues (2007a) compared reaction times and accuracy between musicians and non-musicians in response to stimuli presented to the left and right of a vertical line. Both groups performed more accurately with the left-sided stimuli, but the musicians were significantly more accurate than non-musicians for the right-sided stimuli, and overall had faster reaction times. This suggested a more balanced attentional capacity in musicians, as well as enhanced visuomotor ability. They may also have an advantage on line and dot tasks of the type used in this study and that of Brochard and colleagues (2004), because they are familiar 137 6. The Impact of Musical Engagement on Memory with these components—they are similar to those required for reading musical notation, although the placement of the lines vertically rather than horizontally means that the tasks are not truly equivalent. Patston and colleagues (2007b) also studied the lateralisation of visuospatial attention using interhemispheric transfer time. Musicians and non- musicians responded to stimuli presented to the left and right visual fields while being submitted to electroencephalography. Non-musicians showed significantly faster responses in the right to left direction than in the opposite direction and a shorter latency in the left than in the right hemisphere. In contrast, musicians exhibited no directional difference between hemispheres and no hemispheric difference in latency, indicating more bilateral neural connectivity. Patston and colleagues concluded that the bimanual training of musicians facilitates additional myelination that results in more balanced connections between the hemispheres than normally found in those without musical training. Stoesz and colleagues (2007) investigated visual processing of local details in musicians and non-musicians, utilising disembedding and constructional tasks. They used the group embedded figures test, where a series of 25 complex figures is presented, each containing one of nine targets hidden in the design. The task is to examine each test figure and outline the hidden target as soon as it is identified. In a second study, two tests were used: a block design subtest, which requires the participant to replicate a geometric pattern presented on a card using the top surfaces of several coloured blocks, and secondly a task involving copying possible and impossible drawings of objects. The musicians outperformed the non-musicians on the embedded figures test, the block design subtest and the task of copying drawings of physically impossible objects. These findings suggest enhanced visual processing of local details. There was a correlation between the block design scores and the accuracy scores for the impossible figures, but not for the possible figures. Local processing ability did not correlate with drawing ability per se. Stoesz and colleagues concluded that a relative strength in local processing contributed to the superior performance of the musicians on the drawing task. They suggested that the enhanced visual processing of local details may reflect training-induced changes in the frontoparietal system involved in controlling exploratory eye movements and shifts in visual attention—skills that are important for 138 The Power of Music reading musical notation (which requires the detailed analysis of visual details). Suárez and colleagues (2016) carried out a cross-sectional study exploring the relationship between music training and visual working memory in adult musicians and non-musicians. Twenty‐four musicians and 30 non-musicians matched for age, gender, years of formal education and verbal intelligence performed several working memory tasks. The musicians outperformed the non-musicians in tasks related to visual motor coordination, visual scanning ability, visual processing speed and spatial memory. Similarly, Jakobson and colleagues (2008) studied visual memory in pianists and non-musicians using a visual design learning test, which required participants to try to learn and remember a sequentially presented set of 15-line drawings of simple geometric figures, each containing two elements (for example, a circle and a line). Participants were asked to draw all the figures that they could remember, after each of the five learning trials and after a delay. A test of delayed recognition was also administered. The results suggested superior visual memory in musicians, since they outperformed non-musicians on the fourth and fifth learning trials and on the delayed recall and delayed recognition tasks. After controlling for general intelligence, the group difference on the delayed recall tasks persisted. The researchers suggested that the observed relationship between visual memory and musical training may be related to improvement in processes supporting attention to visual details, to the increased skill of musicians at holding and manipulating visual images in working memory—which confers an advantage during the encoding process—or to superior use of high- level, strategic memory processes. Some research has focused on processing speed—for instance, Bugos and Mostafa (2011) examined the effects of music instruction on information processing speed. Using neuropsychological tests, the paced auditory serial addition task and the trail-making test, they examined the role of music on information processing speed in 14 musicians and 16 non-musicians. The musicians performed better on both tests, suggesting that musical training has the capacity to enhance the processing speed of auditory and visual content. Brain- imaging studies have also suggested more efficient visual processes in musicians. For instance, Platel and colleagues (1997) showed activation of an 139 6. The Impact of Musical Engagement on Memory associative visual area in musicians during a pitch-discrimination task, while Schmithorst and Holland (2003) investigated the relationship between musical practice and cerebral processing relating to melody and harmony. The findings showed that musicians and non-musicians used different neural networks to process these elements. In the musicians, the inferior parietal areas were activated only during melody and harmony perception. These have been identified as involved in general visuospatial processing. In a study comparing male symphony orchestra musicians with non-musicians, there was increased density of grey matter in Broca’s area in the musicians—an area important for spoken language and visuospatial localisation (Sluming et al., 2002). More recently, Sluming and colleagues (2007) showed enhanced performance on a visuospatial task by orchestral musicians, compared to non-musicians. This was also associated with increased activation in Broca’s area. Not all of the research with adults has shown enhanced visual memory in musicians. For instance, Cohen and colleagues (2011) showed that, while musicians had superior auditory recognition memory for musical and non-musical stimuli compared to non-musicians, this was not the case for the visual domain. For both groups, memory for auditory stimuli was inferior to memory for visual objects. Although considerable musical training is associated with better musical and non-musical auditory memory, this does not increase the ability to remember sounds to the levels found with visual stimuli. This suggests a fundamental capacity difference between auditory and visual recognition memory, with a persistent advantage for the visual domain. Using a very different task, Brandler and Rammsayer (2003) asked 35 adult musicians and non-musicians to indicate, from memory, the location of buildings on a city map that they had previously studied. There were no statistically significant differences between the performance of the musicians and non-musicians on this task. Chan and colleagues (1998) also found no benefit of musical training in relation to a visual task where the participants—60 female college students from the Chinese University of Hong Kong—had to draw from memory ten simple figures that they had been asked to memorise. Thirty of the participants had had at least six years of training with a Western musical instrument before the age of 12, while 30 had received no musical training. The participants were 140 The Power of Music matched in terms of age, grade point average and years of education. There were no statistically significant differences between the musicians and non-musicians in the proportion of drawings that they were able to create. Research with Children Another strand of research has focused on visual memory in children. For instance, Degé and colleagues (2011b) tested the effect of a two- year extended music curriculum on secondary school children’s visual and auditory memory. The curriculum consisted of learning to play a musical instrument, participating in an orchestra, auditory perception and music theory training. Ten-year-old children who had just started the programme and children without training were tested on visual and aural memory at the start of the programme and two years later. Prior to the training, there were no differences between the groups, but the children participating in the musical training improved significantly from time one to time two in visual and auditory memory, while the children not receiving training did not. These effects were apparent even when a range of confounding variables was taken into account, including intelligence, socioeconomic status, extra-curricular schooling, motivation to avoid work and musical aptitude. It seems that musical training generally has a positive impact on aural memory in children but this is not necessarily the case for visual memory. Ho and colleagues (2003), working with a group of Chinese children, showed that those with music training did not demonstrate better visual memory than their non-musician counterparts. When the performance of these children was followed up after a year, changes in visual memory were not significantly different between the groups. Similarly, Roden and colleagues (2012; 2014a) examined the effects of a school-based instrumental training programme on the development of visual memory skills in primary-school children. Participants either took part in a music programme with weekly 45-minutef instrumental lessons in small groups at school, or received extended natural science training. A third group of children did not receive any additional training. Each child completed visual memory tests three times over a period of 18 months. No differences between groups were found in the 141 6. The Impact of Musical Engagement on Memory visual memory tests. Similarly, Rickard and colleagues (2010) explored the effect of increasing the frequency and intensity of a classroom-based instrumental training programme on visual memory across a two-year period. Data from 142 participants aged eight to nine were analysed. Eighty-two children were allocated to the intensive string-music training programme; 68 acted as a control group and participated in their usual music classes. The intensive music training had no effect on visual memory, although an improvement in visual perceptual ability was observed in the first year. To conclude, there are a number of reasons why the evidence relating to visual memory is inconsistent. First, there is no reason why music, which essentially requires enhanced aural skills, should have any impact on visual skills. Only if musicians are required to read musical notation is it likely that there would be any impact on visual skills. As some musicians play by ear, this is not always the case. Second, in the research, visual memory has been assessed using different methods, including reaction times and recall accuracy. Third, participants in some studies (Chan et al., 1998; Ho et al., 2003) were Chinese. The Chinese language is written in symbols rather than letters, which may have led to experimental and control groups already being skilled in processing complex visual signs. Fourth, the participants in the research were of very different ages. Fifth, the levels of musical experience in those classified as musicians varied, and sixth, the nature of the musical training itself was different, particularly the extent to which it involved learning to read musical notation. Verbal Memory Research has compared the performance of musicians with non- musicians on a variety of verbal tasks. For instance, Parbery-Clark and colleagues (2009a) investigated the effect of musical training on identifying speech in noise, which is a complex task requiring the integration of working memory and stream segregation, as well as the detection of time-varying perceptual cues. Sixteen musicians and 15 non-musicians aged 19 to 31, all with normal hearing, participated. The musicians outperformed the non-musicians on hearing speech in challenging listening environments. In a second study, Parbery-Clark 142 The Power of Music and colleagues (2009b) compared subcortical neurophysiological responses to speech in quiet conditions and in noisy conditions, for a group of highly trained musicians and non-musician controls. Musicians were found to have a more robust subcortical representation of the acoustic stimulus in the presence of noise. They demonstrated faster neural timing, enhanced representation of speech harmonics and less degraded response morphology in noise. Neural measures were associated with better behavioural performance on a hearing-in- noise test, in which musicians outperformed the non-musician controls. These findings suggest that musical experience limits the negative effects of competing background noise, thereby providing biological evidence for musicians’ perceptual advantage for speech in noise. Other studies have found similar results. For instance, Strait and Kraus (2011b) assessed the impact of selective auditory attention on cortical auditory evoked response variability in musicians and non- musicians. The outcomes indicated strengthened brain networks for selective auditory attention in musicians. Strait and colleagues (2010) administered a standardised battery of perceptual and cognitive tests to adult musicians and non-musicians. Tasks included those which were either more or less susceptible to cognitive control—for instance, backward versus simultaneous masking—and more or less dependent on auditory or visual processing: for instance, auditory versus visual attention. The findings indicated lower perceptual thresholds in musicians specifically for auditory tasks that related to cognitive abilities, such as backward masking and auditory attention. The results suggested that long-term musical practice strengthens cognitive functions and that these functions benefit auditory skills. Further, the intensity of the enhancement of verbal memory and auditory attention was related to the start of musical training and how long it lasted (Kraus and Chandrasekaran, 2010). Cohen and colleagues (2011) compared professional musicians and music students with non-musicians on their verbal and visual memory. The musicians were significantly better than non-musicians at remembering familiar music, unfamiliar music, speech and environmental sound clips, but there was no difference between the two groups on their performance on tests of visual memory. Also working with music students, Kilgour and colleagues (2000) studied whether 143 6. The Impact of Musical Engagement on Memory music training acted as a mediator for the recall of spoken and sung lyrics, and whether the presentation rate of materials was important rather than the inclusion of melody. In the first experiment, 78 undergraduates, half with music training and half without, heard spoken or sung lyrics. Recall for sung lyrics was superior to that for spoken lyrics for both groups. In the second and third experiments, presentation rate was manipulated so that the durations of the spoken and the sung materials were equal. With presentation rate equated, there was no advantage for sung over spoken lyrics. In all of the experiments, those participants with music training outperformed those without training. Overall, the results suggested that music training leads to enhanced memory for verbal material. Similarly, working with 15 highly trained pianists and 21 non musicians, Jakobson and colleagues (2008) studied non-musical perceptual and cognitive abilities. The musicians showed superior immediate and delayed recall of word lists and greater use of a semantic clustering strategy during initial list-learning than non-musicians. The group differences in delayed free recall of words persisted even when IQ was controlled for. Brandler and Rammsayer (2003) tested the psychometric performance of 35 adult musicians and non-musicians on different aspects of primary mental abilities, verbal comprehension, word fluency, space, closure, perceptual speed, reasoning, number and memory. The only statistically significant differences were found in relation to verbal memory and reasoning. Performance on verbal memory was reliably higher for the musicians than for the non-musicians, but the non-musicians performed significantly better on subscales of a culture-free intelligence test. This supports the notion that long-term musical training exerts beneficial effects on verbal memory. This is probably because it leads to changes in cortical organisation. In research exploring attention, Puschmann and colleagues (2019) required participants with varying amounts of musical training to attend to one of two speech streams while detecting rare target words. The findings showed that the duration of musical training was associated with a reduced distracting effect of competing speech on target detection accuracy. More musical training was related to robust neural tracking of both the speech stream to be attended to and the speech stream to be ignored, up until the late cortical processing stages. The findings 144 The Power of Music suggested that musically trained persons were able to use additional information about a distracting verbal stream to limit interference by competing speech. One strand of research has compared musicians’ performance as opposed to non-musicians’ performance in detecting pitch change in spoken sentences in both native, French (Schön et al., 2004) and unfamiliar (Portuguese—Marques et al., 2007) languages. Similarly, Deguchi and colleagues (2012) studied the effects of familiarity of intonational contour and the presence of meaningful context, using behavioural and electrophysiological data from Italian musicians and non-musicians. Performance was compared in a pitch incongruity detection task using sentences in native, Italian and foreign ( French) languages and in jabberwocky, meaningless sentences formed by pseudo-words. To examine whether these differences depended on enhanced auditory sensitivity to pitch, the frequency discrimination threshold for tones was obtained using a psychophysical procedure. Musicians were more accurate than non-musicians at detecting small pitch changes in all languages, showing a smaller response bias. Overall, the findings confirmed musicians’ advantage in the detection of subtle pitch changes, not only with tones but also with speech sentences, in both native and unfamiliar languages. Such effects seemed to emerge from more efficient pitch analysis acquired through musical training. Enhancements of short-term memory related to music may also support linguistic functions. Ludke and colleagues (2014) randomly assigned 60 adult participants to one of three listen-and- repeat learning conditions: speaking, rhythmic speaking or singing. Participants in the singing condition showed superior overall performance on a collection of Hungarian language tests after a 15-minute learning period, as compared with participants in the speaking and rhythmic-speaking conditions. These differences were not explained by age, gender, mood, phonological working memory ability, or musical ability and training. The researchers suggested that a ‘listen and sing’ learning method could facilitate verbatim memory for phrases spoken in a foreign language. The relationship between musical expertise and language processing is well documented, but there is less evidence of language-to-music effects. Bidelman and colleagues (2013) used a cross-sectional design to compare the performance of musicians to that of tonal language 145 6. The Impact of Musical Engagement on Memory (Cantonese) speakers on tasks of auditory pitch acuity, music perception and general cognitive ability, including fluid intelligence and working memory. While musicians demonstrated superior performance on all auditory measures, comparable perceptual enhancements were observed for Cantonese participants, relative to English-speaking non- musicians. These results suggest that tone language background is associated with higher auditory perceptual performance for listening to music. Musicians and Cantonese speakers also showed superior working memory capacity relative to non-musician controls, suggesting that in addition to basic perceptual enhancements, a background of tonal languages and music training might also be associated with enhanced general cognitive abilities. The findings support the notion that tonal language speakers and musically trained individuals have higher performance than English-speaking listeners in the perceptual cognitive processing necessary for basic auditory—as well as complex music—perception. These results illustrate bidirectional influences between the domains of music and language. Research with Children Early work exploring the relationship between musical training and verbal memory was carried out with Asian participants. For instance, Chan and colleagues (1998) showed that learning to play a musical instrument before the age of 12 enhanced the ability to remember words. Participants with musical training could remember 17 percent more verbal information than those without musical training. Music training in childhood may therefore have long-term positive effects on verbal memory. Ho and colleagues (2003) supported these findings in a later study of 90 boys aged six to fifteen. Those with musical training had significantly better verbal learning and retention abilities. Duration of music training, learning to play an instrument and verbal learning performance correlated positively, even after controlling for age and education level. Those with musical training learned approximately 20 percent more words from a 16-word list. Their retention was also better after 10- and 30-minute delays. A follow-up study compared children from the same cohort who had just begun or continued their music training for one year, and those who had given up playing. Children 146 The Power of Music in the beginner and advanced training groups significantly increased verbal learning and retention performance. This was not the case for those who had discontinued training, although their verbal memory performance remained stable at least nine months after ceasing to play an instrument. Ho and colleagues concluded that music training seemed to have long-term enhancing effects on verbal memory. While these studies demonstrate a relationship between musical training and verbal memory, they do not demonstrate causality. For this, intervention studies are required. In further work with Chinese participants, which focused on children aged four to five years old, Nan and colleagues (2018) studied 74 Mandarin-speaking children who were pseudo-randomly assigned to piano training, reading training or a no-contact control group. Six months of piano training improved behavioural auditory- word discrimination in general, as well as word discrimination based on vowels, compared with controls. The reading group yielded similar trends. However, the piano group demonstrated unique advantages over the reading and control groups in consonant- based word discrimination. All three groups improved on general cognitive measures, including tests of IQ, working memory and attention. In a typical intervention study, working with kindergarten children, Hallberg and colleagues (2017) investigated the effects of instrumental music instruction as opposed to no tuition. The children received five hours of instrumental instruction for five weeks using the Suzuki method and were tested on working memory efficiency, visuospatial processing and controlled attention. The only statistically significant difference between the two groups related to attentional control, which was enhanced in those having instrumental music instruction. Rickard and colleagues (2010) researched 142 children from nine primary schools, 82 of whom (aged eight to nine) participated in an enhanced school-based music programme. The remainder of the children acted as controls and received standard class music lessons. The children were tested three times within the first two years of the study, and in the third year a subset of the control sample was tested again. Verbal learning and immediate recall scores significantly increased after one year of enhanced school-based music training. No such increase was found in the control group. However, these advantages disappeared in the second year, although in the second year of the study there was 147 6. The Impact of Musical Engagement on Memory significantly enhanced visual perception for the music training group. Similarly, Roden and colleagues (2012) examined the effects of a school- based instrumental training programme on the development of verbal memory skills in primary-school children aged seven to eight years old. Participants either took part in a music programme with weekly 45-minute sessions of instrumental lessons in small groups at school, or received extended natural science training. A third group of children did not receive any additional training. Each child completed verbal memory tests three times over a period of 18 months. Children in the music group showed greater improvements than children in the control groups after controlling for their socioeconomic background, age and IQ. Overall, the evidence suggested that children who have musical training develop efficient memory strategies for verbal materials. This is likely to be because playing music requires continued monitoring of meaningful chunks of information. Individual notes are combined into meaningful melodic phrases which have a quasi- syllabic structure, and are based on temporal frameworks that have metric structures which are parallel to stresses on syllables in language (Patel and Daniele, 2003). This is supported by evidence that the auditory cortex is structurally and functionally shaped through the individual’s experiences with sound (Fritz et al., 2007). Fujioka and colleagues (2006) recorded auditory evoked responses to a violin tone and a noise-burst stimulus from four- to six-year-old children on four occasions over a one-year period, using magnetoencephalography. Half of the children participated in music lessons throughout the year, while the other half had no music lessons. A clear musical training effect was expressed in a larger and earlier peak in the left hemisphere in response to the violin sound in musically trained children compared with untrained children. This transition could be related to establishing a neural network associated with sound categorisation and/or involuntary attention, which can be altered by musical learning experiences. Also working with primary-aged children, Piro and Ortiz (2009) adopted a quasi-experimental approach to examining the effects of a scaffolded music instruction programme on the vocabulary and verbal sequencing skills of two cohorts of second-grade students. One group of 46 children studied piano formally for a period of three consecutive years as part of a comprehensive instructional intervention programme. 148 The Power of Music The second group of 57 children had no exposure to music lessons, either at school or through private study. The findings showed that the experimental group had significantly better vocabulary and verbal sequencing scores following the intervention than the control group. In an interesting study, Brodsky and Sulkin (2011) focused on children’s hand clapping and reported positive effects of a classroom hand- clapping intervention on verbal memory. They examined whether children who spontaneously engaged in hand- clapping song activity demonstrated improved motor or cognitive abilities. The study also investigated the outcome of a two-group, eight-week classroom intervention. The study found that children who were more skilful at performing hand- clapping songs were more efficient in first grade, while those in second grade who spontaneously engaged in hand- clapping songs were advantaged in bimanual coupling patterns, verbal memory and handwriting. Classroom hand- clapping song training was more efficient than music appreciation classes in developing non-musical skills among participating children. Adopting an experimental design, Martens and colleagues (2011) focused on the effect of musical experience on verbal memory in 38 individuals with Williams syndrome, aged 6 to 59. Participants who had engaged in formal music lessons scored significantly better on a verbal long-term memory task when the stimuli were sung than when they were spoken in comparison to those who did not have formal lessons, who showed no benefit for either the sung or spoken conditions. Working Memory Working memory is the time- and capacity-limited storage of task- relevant information, which generally requires mental manipulation, flexible use or inhibition of distractors, or all of these. It is different to short-term memory, as it requires mental manipulation of encoded information or the inhibition of goal-irrelevant stimuli. From a neuroscientific perspective, working memory also requires the integrity of the medial-temporal lobe regions, whereas short-term memory does not. In addition, there is strong evidence linking behavioural measures of working memory to both localised and distributed patterns of neural oscillations (Yurgil et al., 2020). Working memory is typically studied using behavioural tasks that require the implementation of a 149 6. The Impact of Musical Engagement on Memory combination of stored information, manipulation of that information and interference including the N-back (Ding et al., 2018), backward digit-span (Clayton et al., 2016; George and Coch, 2011; Zuk et al., 2014), reading span (D’Souza et al., 2018; Franklin et al., 2008) and operation span tasks (D’Souza et al., 2018; Franklin et al., 2008). The N-back task presents participants with a sequence of visual or auditory stimuli. The participant then maintains the information while deciding whether each subsequent stimulus item matches the stimulus that came a specific number of letters previously (Owen et al., 2005). In the backward digit span task, participants are presented with a series of digits, then asked to report the sequence of digits in reverse order (Hester et al., 2004). The central executive component of working memory has been argued to play an important role in the performance of span tasks, particularly backward span. Both forward and backward span tasks recruit the central executive resources necessary for successful task performance (Hester et al., 2004). For the reading span task, a number of sentences are presented one sentence at a time. As the number of sentences increases, so does the memory load required to perform the task. Where two sentences are presented sequentially, after each sentence, the participant writes the sentence verbatim and the last word of each sentence in order (Daneman and Carpenter, 1980). Finally, the operation span task requires participants to memorise a sequence of unrelated words while simultaneously performing a series of mathematical operations. After all of the operation word strings are presented, the participant writes all of the words that were displayed in the order of presentation (Turner and Engle, 1989). The reading span and the operation span require participants to hold information while working on a secondary task, which can cause interference. Each of these tasks fulfils the criteria of maintenance and manipulation of information, which may occur with differing levels of interference (Aben et al., 2012). Research with Adults Oechslin and colleagues (2013) used functional magnetic resonance imaging with non-musicians and amateur and expert musicians, who listened to a comprehensive set of specifically composed string quartets with hierarchically manipulated endings. Two irregularities at musical 150 The Power of Music closure were implemented, differing in salience but within the tonality of the piece. Behavioural sensitivity scores of both transgressions perfectly separated participants according to their level of musical expertise. The functional brain imaging data showed compelling evidence for stepwise modulation of brain responses by expertise level in a fronto-temporal network hosting universal functions of working memory and attention. Additional independent testing evidenced an advantage in visual working memory for the professionals, which was predicted by musical training intensity. Similarly, George and Coch (2011), using event-related potentials and a standardised test of working memory, investigated neural and behavioural aspects of working memory in college-aged, non-professional musicians and non-musicians. Behaviourally, the musicians outperformed the non-musicians on standardised subtests of phonological and executive memory. Event-related potentials were recorded in standard auditory oddball paradigms, where participants responded to infrequent deviant stimuli embedded in lists of standard stimuli. Electrophysiologically, the musicians demonstrated faster updating of working memory in the auditory domain and allocated more neural resources to auditory stimuli, showing increased sensitivity to the auditory standard deviant difference and less effortful updating of auditory working memory. Halpern and Bower (1982), in a pilot study with 12 musicians and 12 non-musicians, briefly presented visually similar melodies that had been rated as good or bad, followed by a 15-second retention interval and then recall. The musicians remembered good melodies better than bad ones while the non-musicians did not distinguish between them. In one study, six musicians and six non-musicians were briefly presented with good, bad and random melodies, followed by immediate recall. The advantage of the musicians over the non-musicians decreased as the melody type progressed from good to bad to random. In a second study, seven students and professional musicians divided the stimulus melodies into groups. For each melody, the consistency of grouping was correlated with the memory performance found in the first two experiments. The findings showed that the musicians used musical groupings, while a simple visual strategy was used by the non-musicians. Talamini and colleagues (2016) requested musicians and non- musicians to perform a digit-span task that was presented aurally, 151 6. The Impact of Musical Engagement on Memory visually or audiovisually. The task was performed with or without a concurrent task in order to explore the role of rehearsal strategies, but also to manipulate task complexity. The musical abilities of all participants were also assessed. The musicians had larger digit-spans than non-musicians, regardless of the sensory modality and the concurrent task. In addition, the auditory and audiovisual spans, but not the visual alone, were correlated with one subscale of the music test. The findings suggested a general advantage of musicians over non-musicians in verbal working memory tasks, with a possible role of sensory modality and task complexity. Similarly, Hansen and colleagues (2013) administered a digit-span test, a spatial span test and a musical ear test to non-musicians, amateur musicians and expert musicians. The expert musicians significantly outperformed the non-musicians on the digit-span test. These scores were also correlated with musical scores and those on a rhythm subtest. No cross-group differences were found on the spatial span test. Fennell and colleagues (2020), in a complex experimental study with 22 non-musicians and 30 musicians, presented participants with a memory element, three nouns, a melody or a dot matrix, followed by a sentence and then a comprehension question on each trial. After participants answered the comprehension question, they had to judge whether a second memory element was the same as the first one. The musicians performed more accurately on working memory tasks, particularly those related to verbal and musical working memory. D’Souza and colleagues (2018) compared musicians, bilinguals and individuals who had expertise in both skills, or neither. One hundred and fifty-three young adults were categorised into one of four groups: monolingual musician, bilingual musician, bilingual non-musician and monolingual non-musician. Multiple tasks relating to cognitive ability were used to examine the coherence of any training effects. The findings revealed that musically trained individuals, but not bilinguals, had enhanced working memory. Neither musical or language skill led to enhanced inhibitory control. Okhrei and colleagues (2016) explored the performance of the working memory of musicians and non-musicians in tests with letters, digits and geometrical shapes. The participants were students who, for ten to fifteen years, had been engaged in regular musical practice (classed 152 The Power of Music as musicians), and their peers, who had no previous musical experience (classed as non-musicians). A computerised working memory test for letters, digits and shapes, with successive presentation of stimuli, was applied. The musicians and non-musicians did not differ in the overall number of mistakes and latency of responses in all subtests for letters, digits and shapes. The left hand made significantly more mistakes than the right in both groups, but this regularity was more typical in non-musicians. The righthand responded faster than the left while carrying out all subtests in both groups, but such a motor asymmetry was more evident for non-musicians. In the main, musicians did not demonstrate an increase in latency of responses with task complexity, while non-musicians did. Overall, the efficiency of working memory test performance did not differ among musicians and non-musicians, but the musicians had tighter interhemispheric cooperation during the memory test, indicated by less motor asymmetry. Musicians had almost equal latency of responses regardless of task complexity, while non- musicians required more time for responding to stimuli during growing task complexity. Investigating specific aspects of working memory that differed between adult musicians and non-musicians, Suárez and colleagues (2015) compared the performance of 24 musicians and 30 non-musicians matched for age, gender, years of formal education and verbal intelligence on several working memory tasks. The musicians outperformed non- musicians in tasks related to visual motor coordination, visual scanning ability, visual processing speed and spatial memory, although no significant differences were found in phonological and visual memory capacity. The findings support the view that musical training is associated with specific and not general working memory skills. Ding and colleagues (2018) investigated to what degree the number and duration of notes in a sequence influenced the tonal working memory of participants with or without professional musical training. A forward tonal discrimination task tested the maintenance of tonal information, while a backward N-back tonal task probed the running memory span of tonal information. The findings showed that the number of notes, but not the duration of notes, in a tone sequence significantly affected tonal working memory performance for musicians and non-musicians. In addition, within a minimum musical context, musicians outperformed 153 6. The Impact of Musical Engagement on Memory non-musicians on a N-back tonal task but not a forward- tone sequence- discrimination task. These findings indicate that the capacity of tonal working memory is determined by the number of notes, but not the duration of notes, in a sequence to be memorised, suggesting a different mechanism underlying tonal working memory from verbal working memory. Musicians held more items in memory for both tonal and atonal auditory stimuli, but retained items longer than non-musicians only for tonal stimuli. Focusing on the role of attention, Pallesen and colleagues (2010) measured activation responses dependent on blood oxygenation level in musicians and non-musicians during working memory performance relating to musical sounds, to determine the relationship between performance, musical competence and generally enhanced cognition. All participants easily distinguished the stimuli. The musicians performed better, as reflected in reaction times and error rates. They also had larger activation responses dependent on blood oxygenation level than non- musicians in the neuronal networks that sustain attention and cognitive control, including regions of the lateral prefrontal cortex, lateral parietal cortex, insula and putamen in the right hemisphere, and bilaterally in the posterior dorsal prefrontal cortex and anterior cingulate gyrus. The relationship between task performance and the magnitude of the response was more positive in the musicians than in the non-musicians, particularly during the most difficult working memory task. The results confirm previous findings that neural activity increases during enhanced working memory performance. The results also suggest that superior working memory task performance in musicians relies on an enhanced ability to exert sustained cognitive control. This cognitive benefit in musicians may be a consequence of focused musical training. Similarly, Strait and colleagues (2011b) assessed the impact of selective auditory attention on cortical auditory evoked response variability in musicians and non-musicians. The outcomes indicated strengthened brain networks for selective auditory attention in musicians in that they, but not non-musicians, demonstrated decreased pre- frontal response variability with auditory attention. Musicians’ neural proficiency for selectively engaging and sustaining auditory attention to language indicates a potential benefit of music for auditory training.154 The Power of Music Research with Children and Young People Not all of the research has been with professional or expert musicians. One strand of research has focused on children. Behavioural investigations of children have shown that music training and musical aptitude are associated with enhanced auditory working memory. For example, in a longitudinal study of six- to eight-year-old children, half of the sample was randomly assigned to biweekly keyboard training for six weeks, while the other half received no training. Following the intervention, only the training group demonstrated a significant improvement in working memory capacity, measured with the backward digit-span task (Guo et al., 2018). Christiner and Reiterer (2018) tested preschool children’s abilities to imitate unknown languages, to remember strings of digits, to sing and to discriminate musical statements. Their intrinsic, spontaneous singing behaviour was also assessed. The findings showed that working memory capacity and phonetic aptitude were linked to high musical perception and production ability as early as age five, suggesting that music and foreign language learning capacity may be linked from childhood. Early developed abilities may be responsible for individual differences in both linguistic and musical performances. Working with kindergarten children, Hallberg and colleagues (2017) studied the impact of instrumental music instruction on cognitive processes in children who were taught the violin using the Suzuki method for five weeks, with a total of 15 hours of instruction. This group was compared with a control group. Assessments were made using the Stanford-Binet five working memory and visuospatial subscales and the Kiddie Connor’s Continuous Performance Test attention subscales. There were no statistically significant differences in the means of pre- and post-change scores between the groups on the Stanford-Binet five subscales, but there was an effect for the combined Kiddie Connor’s Continuous Performance Test measures and one effect for a specific subtest, hit response time. These findings demonstrate that attentional control, a psychological process necessary in academic learning, may be enhanced with instrumental music instruction when engaged within early childhood. In a longitudinal study, Bergman and colleagues (2014) analysed the association between musical practice and performance on reasoning, 155 6. The Impact of Musical Engagement on Memory processing speed and working memory. Three hundred and fifty- two children and young people between the ages of six and twenty- five years old participated in neuropsychological assessments and neuroimaging investigations on two or three occasions, two years apart. Multiple regression analysis revealed that playing an instrument had an overall positive association with working memory capacity, visuospatial working memory, verbal working memory, processing speed and logical reasoning across all three time points, after correcting for the effect of parental education and other after-school activities. Those playing an instrument also had larger grey-matter volume in the temporo- occipital and insular cortex areas previously reported to be related to musical notation reading. The change in working memory between the time points was proportional to the weekly hours spent on music practice for both of the working memory tests but not for reasoning ability. These effects remained when controlling for parental education and other after-school activities. Similarly, Lee and colleagues (2007) examined the effects of music training in children aged 12 and young adults on a forward digit-span, a backward digit-span, a simple spatial span and complex spatial span tasks. The young adults performed better than the control group with respect to the digit-span and non-word span tests, while the children performed better than the control group in all of the span tests. In a similar study, Roden and colleagues (2014a) investigated the influence of group instrumental training on the working memory of children learning instruments through a German Sistema -inspired programme. A quasi-experimental design was used with children receiving musical training, compared with those receiving natural science training or no training. The music group received weekly lessons for 45 minutes on musical instruments of their choice. The maximum group size was five and the children could undertake practice at home. The children were tested at three points over the course of 18 months with a battery of tests, including seven subtests which addressed the central executive, the phonological loop and the visuospatial sketchpad components of Baddeley’s working memory model. The music group showed a greater increase on every measure of verbal memory, verbal learning, delayed recall and recognition than the science and control groups. There were large effect sizes. These differences remained when the statistical modelling took into account age and measured intelligence.156 The Power of Music Working with 42 school-aged children, Strait and colleagues (2011) assessed auditory working memory and attention, musical aptitude, reading ability and neural sensitivity to acoustic regularities. Neural sensitivity to acoustic regularities was assessed by recording brainstem responses to the same speech sound presented in predictable and variable speech streams. The research revealed that musical aptitude and literacy both related to the extent of subcortical adaptation to regularities in ongoing speech, as well as to auditory working memory and attention. Relationships between music and speech processing were specifically driven by performance on a musical rhythm task, highlighting the importance of rhythmic regularity for both language and music. These data suggest common brain mechanisms underlying reading and music abilities, which relate to how the nervous system responds to regularities in auditory input. In a longitudinal study, Saarikivi and colleagues (2019) investigated the development of working memory in musically trained and untrained children and adolescents, aged nine to twenty. Working memory was assessed in 106 participants using digit-span forwards and backwards tests and two trail-making tests. The tests were administered three times—in 2011, 2013 and 2016. The findings showed that the younger musically trained participants, in particular, outperformed their untrained peers in the trail-making tests and the digit-span forwards tests. These all require active maintenance of a rule in memory or immediate recall. In contrast, there were no group differences in the backwards test (which requires manipulation and the updating of information in working memory). These results suggest that musical training is more strongly associated with heightened working memory capacity and maintenance than enhanced working memory updating, especially in late childhood and early adolescence. Ireland and colleagues (2018) developed age-equivalent scores for two measures of musical ability, a rhythm synchronisation task and a melody discrimination task, that could be reliably used with schoolchildren aged seven to thirteen, with and without musical training. These tasks were administered to children attending music or science camps. Children’s paced tapping, non-paced tapping and phonemic discrimination were measured as baseline motor and auditory abilities. The musically trained children outperformed those without music 157 6. The Impact of Musical Engagement on Memory lessons, although the scores decreased as difficulty increased. Older children performed the best. Years of lessons significantly predicted performance on both music tasks, over and above the effect of age. Degé and Schwarzer (2017) aimed to investigate whether an enhanced articulatory rehearsal mechanism might explain higher verbal memory scores in musically trained children compared with untrained children. They tested 39 ten- to twelve-year-old children, 19 of whom were musically trained and 20 untrained. Verbal memory was assessed with two-word lists. Children memorised one word list under normal conditions and the other word list when they had to repeat an irrelevant word over and over again ( articulatory suppression). Gender, socioeconomic status, intelligence, motivation, musical aptitude and personality were controlled for. There was a significant difference between musically trained and untrained children in favour of the musically trained children in verbal memory in the normal condition. However, in the articulatory suppression condition, the advantage of musically trained children disappeared. The authors concluded that an enhanced verbal rehearsal mechanism might be responsible for the better verbal memory in musically trained children. James and colleagues (2019) undertook a cluster randomised controlled trial focused on musical instrumental practice, in comparison to traditional sensitisation to music. Over the last two years of primary school, 69 children aged 10 to 12 received group music instruction by professional musicians twice a week as part of the regular school curriculum. The intervention group learned to play stringed instruments, whereas the control group was sensitised to music via listening, theory and some practice. Broad benefits manifested in the intervention group as compared to the control group for working memory, attention, processing speed, cognitive flexibility, matrix reasoning, sensorimotor hand function and bimanual coordination. Learning to play a complex instrument in a dynamic group setting impacted development more strongly than classical sensitisation to music. The results highlighted the added value of intensive musical instrumental training in a group setting within the school curriculum. Escobar and colleagues (2020) investigated the perception of speech in noise in 49 young musicians and non-musicians, who were assigned to subgroups with high or low assessed working memory based on 158 The Power of Music performance on the backward digit-span task. The effects of music training and working memory on speech-in- noise performance were assessed on clinical tests of speech perception in background noise. Listening effort was assessed in a dual task paradigm and through self-report. There was no statistically significant difference between musicians and non-musicians, and no significant interaction between music training and working memory on any of the outcome measures. However, a significant effect of working memory on speech-in- noise ability was found. This suggests that music training does not provide an advantage in adverse listening situations, either in terms of improved speech understanding or reduced listening effort. While musicians have been shown to have heightened basic auditory abilities, the effect of this on speech in noise and listening effort may be more subtle. Regardless of prior music training, listeners with high working memory capacity were able to perform significantly better on speech-in- noise tasks. Some research has shown no effect of music training on working memory. For instance, Banai and Ahissar (2013) researched whether the pattern of correlations between auditory- and reading-related skills differed between children with different amounts of musical experience. Children in the third grade with various degrees of musical experience were tested on a battery of auditory- and reading-related tasks. Very poor auditory thresholds and poor memory skills were abundant among children with no musical education. For these children, indices of auditory processing were significantly correlated with and accounted for up to 13 percent of the variance in reading-related skills. Among children with more than one year of musical training, auditory processing indices were better, but reading-related skills were not correlated with them. Very poor auditory and memory skills are rare among children with even a short period of musical training, suggesting that musical training could have an impact on both. The lack of correlation in the musically trained population suggests that a short period of musical training does not enhance reading-related skills of individuals with normal auditory processing skills. Overall, as outlined in the previous section, cross-sectional studies have shown that higher working memory capacity is associated with better scores on rhythmic subtests of musical aptitude in children as young as five. Where children were randomly assigned to music 159 6. The Impact of Musical Engagement on Memory training or control conditions, there was a causal effect of training on working memory capacity. The evidence for a close relationship between musical practice and working memory suggests that training, rather than any predisposition, produces changes in working memory capacity, although associations between working memory capacity and measures of musical aptitude suggest that training-related advantages are not independent of existing abilities. Musical training and musical aptitude may both affect memory performance among children. Older Adults The experiences that individuals have throughout their lifetime influence the quality of their cognitive ageing. In older individuals, former and current musical practices are associated with enhanced verbal skills, visual memory, processing speed and planning functions. Participating in making music does not have an age limit (Thaut and Hodges, 2019). Adults can take up musical activities, or resume or continue activities pursued earlier in life in their older years. This can have several benefits: supporting further learning, assisting in slowing cognitive decline and supporting rehabilitation. For instance, taking piano lessons for six months has been shown to enhance levels of concentration, attention and planning in 60- to 85-year-old adults, compared to a control group. The piano lessons were individualised, and consisted of motor dexterity exercises and learning music theory. Participants were tested on cognitive and working memory measures at three points in time: pre-training, post-training and following a delay of three months. The experimental group obtained significantly higher scores post-training on a trail-making test and digit symbols than the untrained controls, indicating an improvement in visual scanning, perceptual speed, and working memory (Bugos et al., 2007). Similarly, Bugos (2010) examined the effects of active piano-playing instruction compared with music- listening instruction on executive function in healthy older adults, aged 60 to 85. Seventy adults were matched by age, education and estimated intelligence in two 16-week training groups (group piano instruction or music-listening instruction). Participants completed a battery of cognitive assessment tests pre- and post-instruction to assess processing speed, verbal fluency, planning and cognitive control. 160 The Power of Music Forty-six participants completed the study. There were no statistically significant differences between the groups on measures of executive function. Both groups demonstrated an increase in scores, although those learning to play the piano had significantly enhanced processing speed, verbal fluency and cognitive control. In a later study, Bugos (2019) focused on motor skills. Participants were randomly allocated to piano, percussion or music-listening groups, and undertook 16 weeks of training with three hours of practice per week. The groups were matched for age, education, intelligence and musical aptitude. In the piano and percussion groups, improvements in processing speed, visual scanning and working memory were recorded. All three music conditions led to improved rhythmic accuracy and hand synchronisation. Similar results have been reported after older adults have sung in a choir, engaged in group music-making or played percussion instruments (Hallam et al., 2014; Hallam and Creech, 2016). Fauvel (2014) compared the performance of musicians and non- musicians in middle and late adulthood on long-term memory, auditory verbal short-term memory, processing speed, non-verbal reasoning and verbal fluency. The musicians performed significantly better than non-musicians on measures of processing speed and verbal short-term memory. Both groups displayed the same age-related differences. In relation to verbal fluency, musicians scored higher than controls and displayed different age effects. A second study showed that when musical training started in childhood or adulthood, it was associated with phonemic, but not semantic, fluency performance. Musicians who had started to play in adulthood did not perform better on phonemic fluency than non-musicians. The current frequency of training did not account for musicians’ scores on either of these measures. Overall, the findings yielded little evidence of reduced age-related changes owing to musical training. Phonemic fluency was the only variable that exemplified a positive effect in ageing. The influence of music on memory applies to listening to music as well as participating in musical activities (Varvarigou et al., 2012; Hallam and Creech, 2016). For instance, Degé and Kerkovius (2018) investigated the effect of a music training programme on working memory, verbal and visual, and as part of central executive processing in older adults. The experimental group was trained in drumming and 161 6. The Impact of Musical Engagement on Memory singing, while one control group participated in a literature training programme and a second group was untrained. Twenty-four female participants, aged 70 years old on average, were randomly assigned to either a music, literature or untrained group. The training lasted for 15 weeks. At the start of the programme, the three groups did not differ significantly in age, socioeconomic status, music education, musical aptitude, cognitive abilities or depressive symptoms. Following the programme, there were no differences between the groups on central executive function but there was a potential effect of music training on verbal memory and an impact of music training on visual memory. Musically trained participants remembered more words from a word list and more symbol sequences correctly than both control groups. Musical improvisation was used by Diaz Abraham and colleagues (2020) to study its impact on verbal memory in older adults. Two types of verbal memory were evaluated prior to the intervention: one neutral, the other emotional. The participants were exposed to musical improvisation in the experimental condition, while two control groups carried out rhythmic reproduction or experienced a rest condition. Memory performance was evaluated through immediate and deferred free recall and recognition tests. The memory performance of those with five or more years of training (defined as musicians) and non-musicians was compared. There was a significant improvement in neutral verbal memory among participants involved in musical improvisation. They remembered more words than those in the control conditions. Differences were also found according to the musical experience of the sample, with musicians outperforming non-musicians. Parbery-Clark and colleagues (2011) compared older musicians and non-musicians on auditory and visual working memory, and the ability to perceive speech in noise. They found that the musicians were significantly better at perceiving speech in noise and performed better in auditory, but not visuospatial, working memory capacity tasks. The research also revealed a linear relationship between auditory working memory and speech-in- noise performance, suggesting that these two functions were related. Similarly, Grassi and colleagues (2018) reported that older adult musicians outperformed older adult non-musicians on auditory and visuospatial working memory tasks, as well as auditory discrimination, although the groups did not differ on tests of short-term 162 The Power of Music memory. Amer and colleagues (2013) also reported that older adult musicians outperformed older adult non-musicians on several tests of executive function, including visuospatial working memory. One strand of research has explored the impact of different levels of long-term engagement with music on cognition. For instance, Hanna-Pladdy and MacKay (2011) evaluated the association between musical instrumental participation and cognitive ageing. Seventy older healthy adults, aged 60 to 83, participated in varied musical activities and completed a comprehensive neuropsychological battery. Three groups —non-musicians, those with low musical activity(one to nine years through the lifespan) and those with high musical activity over ten years —were compared. Participants were matched on age, education and history of physical exercise. Those with at least ten years of musical experience had better performance on non-verbal memory, naming and executive processes in advanced age relative to non-musicians. Years of musical activity, the age of commencement of that activity and type of musical training predicted cognitive performance. In a later study Hanna-Pladdy and Gajewski (2012) researched 70 older adults aged 59 to 80, musicians and non-musicians, who were assessed on neuropsychological tests and general lifestyle activities. The musicians scored higher on tests of visuospatial judgment. Another strand of research has tested the potential of music intervention programmes to reduce the deleterious effects of ageing on cognition. For instance, Hars and colleagues (2013) investigated whether six months of music-based multi-task training had beneficial effects on cognitive functioning and mood in 134 older adults aged over 65 who were at increased risk of falling. The intervention group consisted of 66 older people who attended once-weekly hourly supervised group classes of multi-task exercises, executed to the rhythm of piano music, or a control group of 68 individuals with delayed intervention who maintained usual lifestyle habits for six months. A short neuropsychological test battery was administered at the start of the intervention and after six months. It included the mini mental state examination, a clock-drawing test, a frontal assessment battery, and anxiety and depression scales. For those participating in the musical activities, there was an improvement in sensitivity to the interference subtest of the frontal assessment battery, a reduction in anxiety level, 163 6. The Impact of Musical Engagement on Memory an increase in the mini mental state assessment score and a reduction in the number of participants with impaired global cognitive performance. Overall, six months of once-weekly music-based multi-task training was associated with improved cognitive function and decreased anxiety in community-dwelling older adults. Engagement with music has also been found to reduce the risk of dementia. For instance, Verghese and colleagues (2003) examined the relationship between leisure activities and the risk of dementia in a cohort of 469 participants aged 75 years of age and over, who resided in the community and did not have dementia at the beginning of the research. They examined the frequency of participation in leisure activities at enrolment, and measured cognitive activity and physical activity in terms of the number of days of the week when activity took place. A range of possible confounding factors were controlled for including age, sex, educational level, presence or absence of chronic medical illnesses, and baseline cognitive status. Over a follow-up period of five years, dementia developed in 124 participants, Alzheimer’s disease in 61, vascular dementia in 30, mixed dementia in 25 and other types of dementia in 8. Among leisure activities, reading, playing board games, playing musical instruments and dancing were associated with a reduced risk of dementia. A one-point increment in the cognitive activity score was significantly associated with a reduced risk of dementia but a one-point increment on the physical activity score was not. The association with the cognitive activity score persisted after the exclusion of participants with possible pre-clinical dementia at the start of the research. The findings were similar for Alzheimer’s disease and vascular dementia. Increased participation in cognitive activities at the start of the research was associated with reduced rates of decline in memory. Overall, participation in leisure activities was associated with a reduced risk of dementia. In a co- twin study, Balbag and colleagues (2014) showed that twins who played an instrument were 64 percent less likely to develop dementia than their co- twins. The research examined the association between self-reported playing of a musical instrument and whether or not both twins developed dementia or cognitive impairment. Controlling for sex, education and physical activity, playing a musical instrument was significantly associated with less likelihood of dementia and cognitive impairment. In a review, Schneider and colleagues (2018) 164 The Power of Music concluded that playing a musical instrument was a potential protective mechanism against cognitive decline among older adults. Some studies have shown improvements in cognition and working memory in patients with dementia after active singing interventions (Maguire et al., 2015). Singing groups engaged in three vocal music sessions each week including familiar, nostalgic and nonfamiliar, novel, vocal music selections in four 50-minute singing sessions. The programme progressively exercised individual vocal ranges, vowel placements respiratory patterns and recruited cognitive engagement through melodic structures, musical architecture and story development. Participants were predominantly Caucasian, aged 70 to 99 years old, and from two groups: one living in assisted accommodation, the other in secure-ward dementia accommodation. Each group was divided into singers and listeners. Participation in the singing groups was voluntary. Levels of participation were assessed throughout the programme from no attention to dozing off, through to brief periods of attention but not singing. The category participation included singing for most of the time, singing all of the time and singing with enthusiasm. The music was varied each month and focused on four separate musical genres: Valentine’s day, patriotic, musical theatre and folk patriotic. The music was selected and arranged to incorporate relaxing, rhythmical elements, rich harmonies, increased vocal range and exercise along vocal lines and word articulation. Deep breaths, appropriate posture and vocal resonance were consistently coached and promoted throughout all sessions. Two of the weekly vocal music sessions were live music sessions with a vocal music leader who sang and played piano accompaniment. The other session consisted of a 50-minute taped DVD recordings. A norovirus outbreak in the assisted living group led to a quarantine period of one month in the middle of the study, resulting in no access to any participants during this time. Analysis of the data showed that the independent residents had significantly higher scores than those with dementia. Singers with dementia had significantly higher scores than listeners by the end of the study. There was no significant difference between the clock-drawing ability of singers and listeners with dementia initially, but singers scored significantly higher after engaging with the singing. Overall, the findings for those living independently and the dementia groups showed that 165 6. The Impact of Musical Engagement on Memory singers had significantly higher satisfaction with life scores than those listening to music. The norovirus outbreak may have affected the scores of the independent-living participants, as they had lower scores on the mental state examination and the clock design test score. The findings showed that an active singing programme, using an innovative approach, led to significant improvement in cognitive ability in individuals with dementia. Similarly, Pongan and colleagues (2017) aimed to determine the efficacy of choral singing versus painting sessions on chronic pain, mood, quality of life and cognition in patients with Alzheimer’s disease. Fifty-nine patients with mild Alzheimer’s disease were randomised to a 12-week singing or painting group. Chronic pain, anxiety, depression and quality of life were assessed before, immediately after and one month after the sessions. Both singing and painting interventions led to significant pain reduction, reduced anxiety, improved quality of life, improved digit-span and inhibitory processes. However, depression was reduced only in the painting group, while verbal memory performance remained stable over time in the singing group but decreased in the painting group. Overall, the findings suggest that singing and painting interventions may reduce pain and improve mood, quality of life, and cognition in patients with mild Alzheimer’s disease, with differential effects of painting for depression and singing for memory performance. Also focusing on singing, Camic and colleagues (2013) worked with ten people with dementia and their family carers in a singing-together group for ten weeks. Measures of mood, quality of life, dementia, behavioural and psychological problems, activities of daily living and cognitive status were measured at pre-, post- and ten-week follow-up. Engagement levels were monitored during the sessions and care partners were asked to rate each session. Additional qualitative information was obtained through interviews pre- and post-intervention and at follow-up. The results showed that the dementia sufferers were deteriorating slowly over the course of the study on all measures, but that they and their carers’ quality of life remained relatively stable. Engagement levels during the programme were very high, and attendance excellent. The interviews provided strong support for the intervention, having promoted the wellbeing of all participants. In a randomised controlled study, Särkämö and colleagues (2014) compared the effects of three different interventions on working 166 The Power of Music memory on a group of patients with dementia. Each participant was assigned to one of three 10-week group-based interventions: singing, listening to music or usual care. The findings showed that participants in the singing group showed a temporary improvement in working memory, as measured by backward digit-span. Also using a randomised controlled study, Narme and colleagues (2014) studied 48 patients with Alzheimer’s disease or mixed dementia, and compared the effects of music versus cooking interventions on their emotions, cognition and behaviour, as well as on their professional caregivers. Each intervention lasted for one hour, twice a week for four weeks. The findings showed that music and cooking interventions led to positive changes in emotional state and decreased the severity of behavioural disorders, as well as reducing the stress levels of the caregivers, but there was no benefit to the participants’ cognitive status. Mansky and colleagues (2020) carried out a post-hoc observational analysis of the Zurich disability prevention trial. Past and present musical- instrument playing was correlated with mini mental state assessment and a visual analogue scale using linear regression at baseline and mixed model linear regression over one year. Two hundred community- dwelling adults were included. Just over 48 percent of participants had played a musical instrument, 35 percent had played in the past and 13.5 percent continued to play. At the start of the programme, those currently playing an instrument had a higher adjusted mini mental state assessment score than those who had never played. Over a 12-month period, those who had continued to play showed significantly more improvement from baseline in the mini mental state assessment than those who had never played. This association remained significant even after restricting the analysis to those participants who had not undertaken higher education. Over time, no differences were observed for the visual analogue scale, although past players had the largest decline in health-related quality of life at 12 months. Overall, present and past musical-instrument playing was able to assist in preserving cognitive function in community-dwelling older adults. An ongoing study is being undertaken by James and colleagues (2020) in Hannover and Geneva over a 12-month period with elderly people receiving either piano instruction or musical listening awareness. Testing is being carried out at four time points: prior to the research, and after 6, 12 and 18 167 6. The Impact of Musical Engagement on Memory months, following training on cognitive and perceptual motor aptitudes, as well as wide-ranging functional and structural neuroimaging and blood sampling. The researchers hope to show that musical activities can diminish cognitive and perceptual motor decline. Overall, the research to date suggests that music training may protect against age-related decline in working memory and can improve performance among older adults who show decline in working memory. Importantly, music training may be useful in the prevention and treatment of dementia, although the benefits may be more related to general wellbeing rather than cognitive enhancement. Not all the research shows that engaging with music can help to stave off dementia. Kuusi and colleagues (2019) examined the causes of death of Finnish professional classical musicians, performing artists and church musicians between 1981 and 2016 and showed that overall, there appeared to be a protective effect of music for health, although there was increased mortality in alcohol-related disease among female performing artists and in neurodegenerative diseases among male performing artists. Reviews and Meta-Analyses Reviews of the role of active music-making on visual, verbal and working memory have had mixed findings. On the basis of their review, Franklin and colleagues (2008) concluded that the benefits of music training on working memory were not limited to the auditory domain but could lead to enhanced verbal working memory. Strait and Kraus (2011a) suggested that the auditory expertise gained over years of consistent music practice fine-tuned the human auditory system, strengthening the neurobiological and cognitive underpinnings of both music and speech processing, subsequently bolstering the neural mechanisms that underpin language related skills, such as reading and hearing speech in background noise. In a later review, Kraus and colleagues (2012) examined the biological underpinnings of musicians’ auditory advantages and the mediating role of auditory working memory. They reported associations between working memory performance, music training or aptitude, and neural encoding of speech. Moreno and Bidelman (2014) argued that some programmes that aimed to impact on the non-auditory functions necessary for higher order aspects of 168 The Power of Music cognition, including working memory (for instance, visual arts), may not yield widespread enhancement. They suggested that musical expertise uniquely taps and refines a hierarchy of brain networks, which subserve a variety of auditory, as well as domain-general, cognitive mechanisms. From this, they inferred that transfer from specific music experience to broad cognitive benefit might be mediated by the degree to which a listener’s musical training fine-tuned lower and higher order executive functions, and the coordination between these processes. Dumont and colleagues (2017), in a review of five studies, reported mixed results. One experimental study showed improved performance in those who had participated in formal music lessons, but the remaining four studies, although reporting positive or partially positive results, were limited in the rigour of their methodology. Overall, there did seem to be potential benefits of active engagement with music, but methodological limitations did not allow clear conclusions to be drawn. On the basis of their review, Benz and colleagues (2016) argued that music training could have positive effects, but that these were frequently restricted to the auditory domain. In a meta-analysis examining the effects of music training on a range of cognitive skills, Sala and Gobet (2017b), using random effects models, showed a small overall effect size but slightly greater effect sizes with regard to memory-related outcomes, although overall there was an inverse relationship between the size of the effects and the methodological quality of the design of the studies. In a later meta-analysis, Sala and Gobet (2020) reanalysed data from 54 previous studies including a total of 6,984 children. They found that music training appeared to be ineffective at enhancing cognitive or academic skills, regardless of the type of skill—verbal, non-verbal, speed-related, participants’ age or duration of music training. Studies with high-quality designs showed no effect of music education on cognitive performance. Three meta-analyses were carried out by Talamini and colleagues (2017), who focused on short-, long-term and working memory. The studies involved young adult musicians and non-musicians using tonal, verbal or visuospatial stimuli. The 29 studies in the analyses included 53 memory tasks. The results showed that musicians performed better than non-musicians on tasks involving long-term memory, short-term memory and working memory. A further analysis included a moderator: the type of stimulus presented (tonal, verbal or visuospatial). This was 169 6. The Impact of Musical Engagement on Memory found to influence the effect size for short-term and working memory, but not for long-term memory. The musicians’ advantage in terms of short-term and working memory was large with tonal stimuli, moderate with verbal stimuli, and small or null with visuospatial stimuli. The three meta-analyses revealed a small effect size for long-term memory, and a medium effect size for short-term and working memory, suggesting that musicians perform better than non-musicians in memory tasks— although this advantage was moderated by the type of stimuli. Baird and Samson (2015) reviewed the literature on music cognition in dementia, pointing out that different types of memory are not impaired in the same ways in dementia. They argued that little rigorous scientific investigation had been undertaken, and that large-scale randomised control studies had questioned the specificity of the effect of music and found that it was no more beneficial than other pleasant activities. However, they acknowledged that music was unique in its power to elicit memories and emotions, which could provide an important link to an individual’s past and a means of non-verbal communication with carers. Walsh and colleagues (2019)—in a meta-analyse which focused on cognitive impairment or dementia as the outcome, and included studies with learning to play a musical instrument as the main intervention— found a 59 percent reduction in the risk of developing dementia for those playing a musical instrument. However, they advised caution in interpreting the findings, as the evidence base was limited by its size and methodological issues. Overview The evidence presented in this chapter suggests that active engagement with making music can have positive effects on some aspects of memory. The effects are strongest when they relate to the aural skills which active engagement with music is acknowledged to enhance: memory for music and stimuli presented verbally. The evidence for the impact on visual skills is less strong and is likely to depend on the extent to which musicians’ skills include reading musical notation. Musicians tend to have greater working memory capacity than non-musicians, but measures of musical expertise suggest that training-related advantages are not independent of existing abilities. Musical training and musical aptitude may both affect memory performance among children.7. Executive Functioning and Self-Regulation Executive functions enable individuals to optimise performance on a range of tasks. They improve concentration, facilitate planning, help with the prioritisation of information, and promote flexibility in changing strategies, switching between tasks, and adapting to change (Diamond, 2013). Most models of executive functions postulate three related but separable components: inhibition or inhibitory control; shifting, cognitive flexibility or switching; and updating or working memory updating (Diamond, 2013; Gould, 2014; Lehto et al., 2003; Logue et al., 2012; Miyake et al., 2000). Inhibition or inhibitory control requires the control of thoughts or behaviour to override a response which has priority over other possible responses. Cognitive flexibility requires an individual to change perspective or switch between task demands, while updating requires individuals to maintain, add, delete and manipulate items within memory. These executive functions develop through childhood and adolescence and can be improved with practice (Diamond, 2013; Diamond et al., 2007; Miyake et al., 2000). Overall, executive functions include the activities of working memory and involve the control of actions, thoughts, emotions and general abilities including planning, solving problems, and being able to adjust to novel or changing task demands (Diamond, 1990; 2002; Lezak, 2004; Zelazo, 2004). Because of the plasticity of the brain, they continue to develop over the lifespan, although Friedman and colleagues (2008) argue that they are influenced by a highly heritable (99%) common factor and that there are additional genetic influences unique to particular executive functions. Supporting this, they presented data from a multivariate twin study examining why participants varied in each of the three elements of executive functioning and why these abilities were correlated but separable. Other research has © 2022 S. Hallam & E. Himonides, CC BY-NC-ND 4.0 https://doi.org/10.11647/ OBP .0292.07172 The Power of Music shown that the development of executive function is complex, as neural changes are affected by synaptic proliferation, pruning, myelination, neurofilament and neurotransmitter levels. Each of these has its own developmental trajectory until, over time, the neural networks settle into more stable states. Performance on three complex executive functioning tasks has been shown to improve until at least age 15, although the pace of improvement slowed with increasing age and varied across tasks (Best et al., 2011). Understanding executive functions is important, as they impact on the quality of life and performance in school and in the workplace, and have been shown to improve with practice (Diamond, 2013; Diamond et al., 2007). This means that there is the possibility that they can be trained. Executive functions can be measured in several different ways. Inhibition control can be assessed by a range of tests, including the Stroop test and the stop-signal task. The Stroop test requires participants to read colour words—for example, red, blue or green—presented on a screen, and then to say the colour of the font aloud. In congruent trials, the colour of the font is the same as the word, while in incongruent trials, the colour of the font does not match the word. In neutral trials, a string of asterisks appears. The Stroop effect is the difference in the average of correct responses between incongruent and neutral trials. In the stop-signal task, participants are required to fixate on a cross in the centre of a screen, which is replaced by either a square or a circle. They are instructed to push left as quickly as possible if they see a square, and to push right as quickly as possible if they see a circle. On a quarter of the trials, participants are presented with the shape, then hear a stop signal (a beep from the computer), and are instructed to withhold any response when they hear that signal. On each trial where there is a stop signal, the onset of the stop signal is adjusted until participants can correctly inhibit it for half of the responses. Performance is measured as the stop-signal reaction time—an estimate of how long it takes to inhibit an already initiated response. Cognitive flexibility, or set-shifting, assesses the ability to shift from one task to another. Participants are shown a set of five cards each with a different figure on it. The figures switch around with each element. For example, in one problem the figures on the cards might be three green stars, one red circle, two yellow blocks, four yellow crosses and two red 173 7. Executive Functioning and Self-Regulation crosses. The participant sees four of the cards lined up in a row, and one by itself below. He or she is told to match that card to one of the four above, but not told the rule for matching. The participant does not know whether to match by shape, colour or number. Feedback is only given on whether the participant is right or wrong in the match made. Through trial and error, the participant needs to work out the rule. The score is how many correct sorts are made. The updating or working memory element of executive function tends to be assessed using various digit-span tests. For instance, in the forward test the participant repeats a series of numbers in the order that they are given. In the reverse digit-span, the numbers have to be repeated backwards. In spatial spans, the assessor touches a series of blocks in a particular order. The participants have to copy that order or reverse it. The Tower of Hanoi test can also be used to assess working memory. It requires the participant to rearrange disks to match a model while following specific rules; for instance, not putting a large disk on top of a smaller one. The goal is to complete the task in as few moves as possible. These various tests have been used in research with adults and children—both young and older people. There has been great interest in whether making music might enhance executive functions. When musicians engage in making music, they read and decipher musical notation, recall music from memory and may improvise new material. They produce musical sounds while also planning ahead, keeping notation and rhythms in mind until they are performed. They must monitor their performance but also attend to the auditory streams produced by other performers so that they can flexibly coordinate and adjust the sounds that they are producing to match those of the group (Okada and Slevel, 2018). Managing this complexity may enable individuals to become more effective in managing equally complex tasks in other situations (Cabanac et al., 2013). Musical activities, formal and informal, promote analytical thinking, planning and prioritising, attention, problem-solving and other executive functions (Serpell and Esposito, 2016). Each of the three components of executive functioning has been linked to musical activity. For instance, overriding expectations and unexpected resolutions of musical ambiguity may draw on general inhibitory control mechanisms (Slevc and Okada, 2015). Shifting is implicated in ensemble-playing, 174 The Power of Music where musicians must coordinate their own playing with others in the group (Jentzsch et al., 2014; Palmer, 2013). Playing with others requires being able to flexibly shift between auditory streams (Loehr et al., 2013) and also adjust dynamically to the other members of the ensemble (Loehr and Palmer, 2011; Moore and Chen, 2010). Updating is crucial in reading musical notation, particularly in sight-reading, as musicians need to look ahead in the score to prepare for what to play next. Expert sight-readers typically look at least four notes ahead of where they are playing (Drake and Palmer, 2000; Furneaux and Land, 1999; Goolsby, 1994). This requires constant updating of the contents of working memory, holding in memory what is being played and what is still to be played. Indeed, there is evidence that being able to sight-read well is related to non-musical measures of working memory capacity (Meinz and Hambrick, 2010). Music has been used to enhance executive functions, as it is a multifaceted activity. Learning to play an instrument usually, although not always, requires the learner to read music, translate printed notation into planned motor sequences, develop fine motor coordination and hold a great deal of information in memory (Peretz and Zatorre, 2005). Formal music practice involves controlled attention for long periods of time, keeping musical passages in working memory, encoding them into long-term memory, decoding musical scores and translating them into motor programmes. These activities draw on complex cognitive functions which have been illustrated in brain- imaging research (Stewart et al., 2003). Schon and colleagues (2002) investigated the brain areas involved in reading musical notation using functional magnetic resonance imaging. They compared reading musical notation to reading verbal and numerical notation. Professional musicians were required to play musical notation, read verbal information and read the numbers displayed on a five-key keyboard. The three tasks revealed a similar pattern of activated brain areas. Playing an instrument is also related to an increased rate of cortical thickness maturation in the dorsolateral prefrontal cortex and orbitofrontal cortex, areas often involved in executive functions (Hudziak et al., 2014). Musically trained children also show greater blood- oxygenation-level-dependent responses in a task-switching paradigm in the bilateral ventrolateral prefrontal cortex and supplementary motor area (Zuk et al., 2014)—regions linked to executive functioning (Nachev et al., 2008; Nee et al., 2013). 175 7. Executive Functioning and Self-Regulation Listening to or tapping complex polyrhythms—for instance, tapping four against three—requires inhibitory control and is associated with activation in Broadmann Area 47, an area of the brain which is implicated in the processing of syntax in oral and sign languages, musical syntax, and the semantic aspects of language. It is also associated with activity in the anterior cingulate cortex, which is implicated in empathy, impulse control, emotion and decision-making (Vuust et al., 2006; 2011). Stewart and colleagues (2003) scanned musically naïve subjects using functional magnetic resonance imaging before and after they had been taught to read music and play a keyboard. When participants played melodies from musical notation after training, activation was seen in a cluster of voxels within the right superior parietal cortex, consistent with the view that music-reading involves spatial sensorimotor mapping. Research with Adults Much of the research with adults has been based on correlations examining the relationship between levels of musical expertise and performance on various tests of executive function. Some of this research has used continuous measures of musical expertise, while other research has compared the performance of musicians with that of non-musicians. As seen in Chapter 6 , a range of studies have demonstrated that musicians may have advantages in performance in working memory compared with non-musicians. This has been demonstrated on measures of auditory and visual working memory (Franklin et al., 2008; Fujioka et al., 2006; George and Coch, 2011; Lee et al., 2007; Pallensen et al., 2010; Parbery-Clark et al., 2011). Other research has explored other elements of executive functioning. For instance, Hansen and colleagues (2012) administered digit- and spatial- span tests and a musical ear test to non-musicians and amateur and expert musicians. The expert musicians significantly outperformed the non-musicians on the digit-span test. Digit-span forward scores were also found to be correlated with musical ear test scores and scores on a rhythm subtest. However, there were no differences between the groups on the spatial-span task. Similarly, Strait and colleagues (2010) administered a standardised battery of perceptual and cognitive tests to adult musicians and non-musicians, including tasks which were more 176 The Power of Music or less susceptible to cognitive control and more or less dependent on auditory or visual processing. The outcomes indicated lower perceptual thresholds in musicians, specifically for auditory tasks, including auditory attention. There were no group differences for simultaneous masking and visual attention tasks. Overall, long-term musical practice strengthened those cognitive functions which benefited auditory skills. Also focusing on auditory skills, Clayton and colleagues (2016) investigated whether musicians would outperform non-musicians in recognising a speech target in a multi-talker, cocktail-party-like environment. Executive function assessment included measures of cognitive flexibility, inhibition control and auditory working memory. The musicians performed significantly better than the non-musicians in spatial hearing and measures of auditory working memory. A multiple regression analysis revealed that musicianship and performance on a multiple-object tracking task significantly predicted performance on the spatial hearing task, confirming the relationship between musicianship, domain-general selective attention and working memory in solving the cocktail party problem. Some research has focused on the role that music might play in enhancing attention. For instance, Medina and Barraza (2019) explored the relationship between long-term musical training and the efficiency of the attentional system. They compared performance on the alerting, orienting and executive attentional networks of professional pianists compared with a matched group of non-musician adults. The executive attentional network was more efficient in musicians than non-musicians, although there were no differences in the efficiency of alerting and orienting networks between the groups. The findings showed that the efficiency of the executive system improved with years of musical training, even when controlling for age. The three attentional networks of the non-musicians were functionally independent, while for the musicians the efficiency of the alerting and orienting systems were associated. Similarly, Pallensen and colleagues (2010) examined working memory for musical sounds and found that, in comparisons between musicians and non-musicians, the musicians had heightened activity in neuronal networks that sustained attention and cognitive control, including the prefrontal regions and the supplementary motor area. The relationship between task performance and activation 177 7. Executive Functioning and Self-Regulation patterns was strongest in the musicians during the periods when the load on working memory was the heaviest. Also focusing on attention, Román-Caballero and colleagues (2020) investigated attentional and vigilance abilities in expert musicians with a measure which allowed the assessment of the functioning of the three networks that are concerned with alerting, orienting, and executive control—along with two different components of vigilance (executive and arousal vigilance). Forty-nine adult musicians, from 18 to 35 years old, were matched on an extensive set of confounding variables with a control group of 49 non-musicians. The musicians showed advantages in processing speed and the two components of vigilance, with some specific aspects of musicianship (such as years of practice or years of lessons) correlating with these measures. Another strand of research has considered the relationship between executive functions, music training and bilingualism. For instance, Moradzadeh and colleagues (2015) investigated whether musical training and bilingualism were associated with enhancements in specific components of executive function: namely task-switching and dual task performance. One hundred and fifty-three participants belonged to one of four groups: monolingual musician, bilingual musician, bilingual non-musician or monolingual non-musician. The findings demonstrated reduced global and local switch costs in musicians compared with non-musicians, suggesting that musical training can contribute to increased efficiency in the ability to shift flexibly between mental sets. The musicians also outperformed the non-musicians on dual task performance, but there was no cognitive advantage for bilinguals relative to monolinguals, nor an interaction between music and language. The findings demonstrated that long-term musical training, but not language training, was associated with improvements in task-switching and dual task performance. Similarly, Moreno and colleagues (2014) explored executive functions in musicians, bilinguals and controls. Participants completed a visual go/no go task that involved the withholding of key presses to rare targets. Participants in each group achieved similar accuracy rates and response times, but the analysis of cortical responses revealed significant differences. Success in withholding a prepotent response was associated with enhanced stimulus-locked neural activity. This was particularly the case for the 178 The Power of Music musicians when compared with the bilinguals. The findings showed that bilingualism and music training have different effects on the brain networks supporting executive control over behaviour. A small amount of research has examined the differences in executive functioning between different types of musicians. For instance, percussionists have been found to outperform vocalists and non-musician controls on an integrated visual and auditory—plus continuous performance—test of inhibition (Slater et al., 2017). Much of the research has revealed inconsistency in terms of the impact of musical activity on the different elements of executive functioning. For instance, Zuk and colleagues (2014) carried out an experiment with 30 adults with and without musical training using a standardised battery of executive function tests. Compared to the non-musicians, the musicians showed enhanced performance on some measures of executive function, cognitive flexibility, working memory and verbal fluency, but not on inhibition or shifting. Similarly, Helmbold and colleagues (2005) studied the psychometric performance of 70 musicians and 70 non-musicians on different aspects of primary mental abilities: verbal comprehension, word fluency, space, flexibility of closure, perceptual speed, reasoning, number and memory. No significant differences were found between the musicians and non- musicians except for flexibility of closure and perceptual speed, where the musicians performed reliably better than non-musicians. In research with older adults, Amer and colleagues (2013) also found inconsistency. They investigated whether long-term music training and practice were associated with enhancement of general cognitive abilities in late- middle-aged to older adults. Professional musicians and non- musicians matched on age, education, vocabulary and general health were compared on a near-transfer task involving auditory processing, and on far-transfer tasks that measured spatial span and aspects of cognitive control. The musicians outperformed the non-musicians on the near-transfer task, on most but not all of the far-transfer tasks, and on a composite measure of cognitive control. The results suggested that sustained music training or involvement was associated with improved aspects of some elements of cognitive functioning in middle-aged to older adults, but not all. Using a continuous assessment of musical expertise, Slevc and colleagues (2016) investigated the relationship between musical ability 179 7. Executive Functioning and Self-Regulation and executive functions by evaluating the musical experience and ability of a large group of participants, and exploring whether this predicted individual differences on inhibition, updating and switching in both auditory and visual modalities. Musical ability predicted better performance on both auditory and visual updating tasks, even when controlling for a variety of potential confounds, but musical ability was not clearly related to inhibitory control and was unrelated to switching performance. Similarly, Okada and Slevc (2018a) used a large test battery of tasks related to working memory, inhibitory control, and cognitive flexibility, as well as an assessment of musical training. One hundred and fifty participants completed the tests. Overall, the data showed a positive relationship between individual differences in musical training and working memory updating ability, but no relationship with inhibition or shifting. The authors suggested that the inclusion of intelligence as a covariate may have eliminated any positive association between musical training and tasks assessing inhibition. Similarly, Brooke and colleagues (2018) administered an executive function battery of tests containing multiple tasks assessing inhibition, shifting and working memory updating, as well as a comprehensive, continuous measure of musical training and sophistication to 150 undergraduates. Overall, these data showed a positive relationship between individual differences in musical training and working memory updating ability, but no relationship with inhibition or shifting. The differences in the tasks used to assess shifting—or the use of comparisons between musicians with non-musicians rather than the use of continuous musical measures— may account for some of the inconsistencies in findings. In relation to inhibition, measures of intelligence may have acted as mediators. Working with Chinese participants, Chen and colleagues (2020) examined the relationship between musical training and inhibitory control through the go/no go response inhibition and Stroop tasks by using event-related potentials. In the go/no go task, participants had to press a keyboard button in response to white shapes, while they had to inhibit responding to purple shapes. In the Stroop task, participants were presented with Chinese colour words, printed in different colours. The behavioural results showed that the music group had enhanced performance compared with the control group in the Stroop task, while the groups performed similarly in the go/no go task. The results 180 The Power of Music showed that individuals that received music training had stronger conflict-monitoring and motor-inhibition abilities when completing the interference control task. As musical training appeared to enhance inhibitory control, it was suggested that it might support those with psychiatric disorders such as addictions, attention deficit hyperactivity disorder and obsessive-compulsive disorder, all of which have been shown to involve deficits in inhibitory control. Some research has highlighted differences in performance depending on the nature of the tasks. For instance, Fischer and colleagues (2013) tested 16 healthy adults on performed magnitude and pitch comparisons on numbers sung at variable pitch. The stimuli and response alternatives were identical, but the relevant stimulus attribute, pitch or number differed between tasks. Concomitant tasks required retention of either colour or location. The findings showed that the spatial association for pitch was more powerful than that for magnitude. There appeared to be no automaticity of spatial mappings in either stimulus dimension. Travis and colleagues (2011) expanded the area of investigation beyond executive functioning to develop a unified theory of performance. They compared professional and amateur classical musicians matched for age, gender and education on reaction times during the Stroop colour-word test, brain waves during an auditory event-related potential task, paired reaction-time tasks, responses on a sociomoral reflection questionnaire, and self-reported frequencies of peak experiences. Professional musicians were characterised by lower colour-word interference effects, faster categorisation of rare expected stimuli, a trend for faster processing of rare unexpected stimuli, higher scores on the sociomoral reflection questionnaire, and more frequent peak experiences during rest, tasks and sleep. The authors suggested that the findings could be interpreted as effectiveness being influenced by the level of mind-brain development and emotional, cognitive, moral, ego and cortical development, with higher mind-brain development supporting greater effectiveness in any domain. Working in a health context, Siponkoskhifors and colleagues (2020) explored the use of musical activity for those with traumatic brain injuries, particularly where there were impairments of executive functioning. Forty patients with moderate or severe traumatic brain injuries were randomly allocated to receive a three-month neurological 181 7. Executive Functioning and Self-Regulation music therapy intervention, either during the first or second half of a six-month follow-up period. Neuropsychological testing, motor testing and magnetic resonance imaging were performed at baseline, and at three and six months. The findings showed that general executive functioning and set-shifting improved more in the first group than the second over the first three-month period, and the effect on general executive functioning was maintained in the six-month follow-up. Voxel-based morphometry analysis of the structural magnetic resonance imaging data indicated that grey-matter volume in the right inferior frontal gyrus increased significantly in both groups during the intervention versus control periods, which also correlated with cognitive improvement in set-shifting. These findings suggest that neurological music therapy can enhance executive functioning and induce fine- grained neuroanatomical changes in prefrontal areas in those with traumatic brain injuries. Furthermore, Kuriansky and Nemeth (2020) have developed a musical intervention for work with children who have experienced environmental trauma, which can lead to deficits in executive functioning. Research with Children Some research has indicated that participation in formal early music education classes is linked with better self-regulation skills. Winsler and colleagues (2011) compared a group of three- to four-year-old children receiving weekly music and movement classes (Kindermusik) with a group who had not experienced any structured early childhood music classes. Those enrolled in the music classes showed better self-regulation than those not enrolled, as measured by a battery of tests that required children to wait, slow down and initiate or suppress a response. The Kindermusik children were also more likely to use a range of positive self-regulatory strategies, including private speech, during an attention task, and singing or humming during a waiting task. Parent-child music therapy efficacy studies have also indicated that joint active music participation supports improved child- parent interactions, and enhances impulse control and self-regulation skills (Malloch et al., 2012; Pasiali, 2012). Galarce and colleagues (2012) reported enhanced self- regulation in terms of speaking inappropriately to others, while Brown 182 The Power of Music and Sax (2013) found that an arts-enriched programme, including music, helped emotional regulation skills in low-income children when compared to non-arts programmes. Several studies have explored the relationships between active engagement with music and executive functions in preschool children. For instance, Bugos and DeMarie (2017) studied the effects of a short-term music programme including creative activities, bimanual gross motor training and vocal development on preschool children’s inhibition. Thirty-six preschool children were randomly assigned to musical activities or Lego training. Results pre- and post-programme on a matching familiar-figures test—requiring inhibition and visual discrimination—indicated fewer errors post-training by the music group compared to controls. Overall, the findings showed that music interventions involving vocal activity and improvisation on pitched and non-pitched instruments enhanced inhibition on a matching familiar- figures test, but not on the day-night Stroop test, after a six-week-long intervention with 90 minutes of weekly musical training, compared to children who undertook Lego training. Similarly, the development of inhibition was observed in a study of Finnish children who, after undertaking musical activities at home, showed greater attention to other tasks, while their brains responded less strongly to auditory distractors compared to their peers (Putkinen et al., 2013). Working with 120 school-aged children, Putkinen and colleagues (2014) conducted a longitudinal study and showed that children who received formal musical training showed superior performance in tests of executive functions, while Putkinen and colleagues (2015) found that musically trained preschool and school-aged children attending a musical playschool showed more rapid maturation of neural sound discrimination than a comparison group. In China, Shen and colleagues (2019) examined whether musical training enhanced executive function in preschool children who had not undergone previous systematic music learning. Participants were 61 preschool children from a university-affiliated kindergarten in North China. The experimental group underwent 12 weeks of integrated musical training including music theory, singing, dancing and roleplay, while the control group performed typical daily classroom activities. The three components of executive function— inhibitory control, working memory and cognitive 183 7. Executive Functioning and Self-Regulation flexibility—were assessed. Executive functions were tested before and after musical training. The results showed that the children’s executive functions could be promoted by music training. In further tests undertaken 12 weeks later, the effects were sustained. In a highly controlled study, Moreno and colleagues (2011a) assigned 71 four- to six-year-old children to either a computerised music training programme or a computerised visual arts training programme. The two programmes had the same learning goals, graphics, design, duration, number of breaks and number of teaching staff. The music curriculum was based on a combination of motor, perceptual and cognitive tasks, relying primarily on listening tasks, and included training in rhythm, pitch, melody, voice and basic musical concepts. The visual art curriculum focused on the development of visuospatial skills. The children engaged in the training programme in two daily sessions of one hour each for five days per week. After four weeks of daily training, the children who received the music training showed greater gains in inhibitory control than the children who received visual arts training, as well as a greater index of brain plasticity on no go trials in a go/no go task. The children in the music group also showed greater improvements in the ability to identify geometric figures on the basis of colour while ignoring irrelevant variation in shape. These changes were positively correlated with changes in functional brain plasticity during an executive function task. However, there was no difference in reaction times between the music and visual arts groups. In a similar, longitudinal study in the Netherlands, Jaschke and colleagues (2018) examined cognitive skills in 147 primary-school children aged six to seven, randomly allocated to music, visual art or passive control groups. The music group significantly outperformed the other groups in planning, inhibition and verbal intelligence. Neuropsychological tests assessed verbal intelligence and executive functions. The findings showed that the children in the visual arts group performed better on visuospatial memory tasks as compared to the three other conditions. However, the test scores on inhibition, planning and verbal intelligence increased significantly in the two music groups over time as compared to the other groups. In a quasi-experimental study where children were able to self- select to take music lessons, Roden and colleagues (2014a) worked 184 The Power of Music with children aged seven to eight years old over an 18-month period. Those who self-selected to take music lessons on an instrument of their own choosing outperformed children who received science lessons on two tasks assessing updating ability: a counting-span test and a complex-span test. Working with older children aged nine to twelve, with different lengths of time spent having music lessons, Degé and colleagues (2011) assessed five different executive functions: set- shifting, selective attention, planning, inhibition and fluency. Significant associations emerged between the months of having music lessons and all the measures of executive function. Adopting an approach where no musical notation was used, Guo and colleagues (2018) investigated the effect of a six-week instrumental practice programme playing the keyboard harmonica. Forty children aged six to eight years old were randomly assigned to either the experimental group or an untrained control group. Cognitive measurements included verbal ability, processing speed, working memory and inhibitory control. After the six-week training, only the experimental group showed a significant improvement in the digit-span test, especially the digit-span backward test that measures working memory. No significant influences were found on the other cognitive tests. Saarikivi and colleagues (2016) investigated whether individual differences in executive functions predicted training-related changes in neural sound discrimination. They measured event-related potentials induced by sound changes, coupled with tests for executive functions in musically trained and non-trained children in two age groups (9 to 11 and 13 to 15). High performance in a set-shifting task, indicating cognitive flexibility, was linked to enhanced maturation of neural sound discrimination in both musically trained and non-trained children. Musically trained children with good performance showed large neural responses to sound in both age ranges, indicating accurate sound discrimination. In contrast, musically trained low-performing children showed an increase in sound responses with age, suggesting that they were behind their high-performing peers in the development of sound discrimination. In the non-trained group, only the high-performing children showed evidence of an age-related increase in neural responses, while the low-performing children showed a small increase 185 7. Executive Functioning and Self-Regulation with no age-related change. These findings suggest an advantage in neural development for high-performing non-trained individuals. There was an age-related increase in response only in the children who performed well in the set-shifting task, irrespective of music training, indicating enhanced attention-related processes in these children. This research provided evidence that, in children, cognitive flexibility may influence age-related and training-related plasticity of neural sound discrimination. Also studying primary-aged children, James and colleagues (2019) performed research on 69 children aged ten to twelve. The children received group music instruction by professional musicians twice a week as part of the regular school curriculum. They learned to play stringed instruments. In contrast, a control group was sensitised to music through listening, theory and some practice. There were benefits for the intervention group as compared to the control group for working memory, attention, processing speed, cognitive flexibility, matrix reasoning, sensorimotor hand function and bimanual coordination. The findings highlighted the added value of intensive musical instrument training in a group setting within the school curriculum. Working with 27 musically trained and untrained children aged nine to twelve, Zuk and colleagues (2014) found that the musically trained children were better at shifting but not at inhibition or updating. They showed enhanced performance on measures of verbal fluency and processing speed, and significantly greater neural activation during rule representation and task-switching in regions of the brain known to be involved in executive functions (compared to musically untrained children). Focusing on older children aged 10 to 13, with or without musical training, Kausal and colleagues (2020) assessed attention and working memory, while brain activity was measured with functional magnetic resonance imaging. Participants were presented with a pair of bimodal stimuli, auditory and visual, and were asked to pay attention only to the auditory, only to the visual, or to both at the same time. Both groups had higher accuracy on items that they were instructed to attend to, but the musicians had overall better performance on both memory tasks across attention conditions. The musicians showed higher activation than controls in cognitive control regions, such as the frontoparietal control network, during all encoding phases. In addition, facilitated encoding 186 The Power of Music of auditory stimuli in musicians was positively correlated with years of training and higher activity in the left inferior frontal gyrus and the left supramarginal gyrus, structures that support the phonological loop. Working with adolescents, Gonzalez and colleagues (2020) examined whether there was a relationship between time spent in musical training and executive function. Adolescents between the ages of 14 and 18 completed three tests of executive function: the Tower of Hanoi test to assess working memory, the Wisconsin Card Sort test to assess cognitive flexibility, and the Stroop task to assess inhibition. They also completed a musical experience questionnaire, which included their lifetime musical practice hours. The adolescent musicians were found to have improved inhibitory control relative to non-musicians, while inhibition scores correlated with music practice time. No other elements of executive function were found to be associated with musical training. These findings suggest that the impact of musical training may not be the same for all executive functions and that there may be unique associations between certain types of training and inhibitory control. A few studies have worked with mixed age groups. For instance, Holochwost and colleagues (2017) examined whether music education was associated with improved performance on measures of executive functions. Participants were 265 school-aged children from first to eighth grade. They were selected by lottery to participate in an out- of-school programme offering individual and large ensemble training on orchestral instruments. Executive functions were assessed through students’ performance on a computerised battery of common executive function tasks. The findings showed that, relative to controls, students in the music education programme exhibited superior performance on multiple tasks of inhibitory control and short-term performance. The largest differences in performance were observed between students in the control group and those who had participated in the music programme for two to three years, although conditional effects were also observed on three of the executive function tasks for students who had been in the programme for one year. Similarly, Hudziak and colleagues (2014) assessed the extent to which playing a musical instrument was associated with cortical thickness development among 232 healthy youths aged six to eighteen over a two-year period. While there was no association between cortical thickness and years playing 187 7. Executive Functioning and Self-Regulation a musical instrument, follow-up analysis revealed that music training was associated with an increased rate of cortical thickness maturation within areas implicated in motor planning and coordination, emotion and impulse regulation. In another mixed-age study, Nutley and colleagues (2013) focused on children and young people aged between 6 and 25. In a longitudinal study with testing two years apart, they demonstrated that musical practice had a positive association with working memory capacity, and visuospatial and verbal processing speed and reasoning skills at all time points, after taking into account parental education and participation in other school activities. Those participating in musical activities had larger grey-matter volume in the temporo- occipital and insular cortex—areas which are known to be associated with the reading of musical notation. Changes in working memory were proportional to the number of hours spent in weekly practice, but this did not apply to measures of verbal reasoning. It may be that reading notation is important in the development of at least some executive functions as it requires visuospatial working memory, rapid information processing, visuospatial decoding and a constant updating of musical notation. In some research where comparisons have been made between music training and other interventions, similar effects have been found. For instance, using second-language learning as a control, Janus and colleagues (2016) compared the effects of short-term music training and tuition in French on executive control. They pseudo-randomly assigned 57 four- to six-year-old children matched on age, maternal education and cognitive scores to a 20-day training programme offering instruction in either music or conversational French. The children were tested on verbal and non-verbal tasks requiring executive control. All of the children improved on these tasks following training. Children in both groups had better scores on the most challenging condition of a judgement task about the correct grammar of a sentence, where it was necessary to ignore conflict introduced through misleading semantic content. Children in both training groups also showed better accuracy on an easier condition of a non-verbal visual search task at post-test, but the children in the French training group showed significant improvement on the more challenging condition of this task. This research showed that, while music may be able to enhance executive 188 The Power of Music functioning, it is not alone in being able to do so. Similarly, Habibi and colleagues (2018) compared children receiving music training with those receiving sports training or those not enrolled in any systematic after-school training. The children with music training showed stronger neural activation in regions involved in response inhibition during a cognitive inhibition task, compared with those in the no-activity control group, despite no differences in performance on behavioural measures of executive function. However, no such differences were found between music and sports groups. Also using sport as a comparison group, Sachs and colleagues (2017) investigated the effects of music training on executive function with functional magnetic resonance imaging and several behavioural tasks, including the colour-word Stroop task. The 14 children involved in the ongoing music training, aged eight to nine years old, were compared with two groups of children with comparable general cognitive abilities and socioeconomic status: one involved in sporting activities, the other not involved in music or sports. During the Stroop task, the children with music training showed significantly greater bilateral activation in trials that required cognitive control compared to the control group, despite no differences in performance on behavioural measures of executive function. No significant differences in brain activation or in task performance were found between the music and sports groups. The results suggest that systematic extracurricular training is associated with changes in the cognitive control network in the brain, even in the absence of changes in behavioural performance, whether the intervention is music- or sports-based. Taken together, these studies indicate that, while music may be able to support the development of executive functions in children, it is not alone in being able to do so. Not all of the research has found positive relationships between musical training, executive functions and self-regulation. For instance, Schellenberg (2011) found no link between music lessons and most of the measures of executive function, which were assessed in trained and untrained musicians aged nine to twelve years old. The musically trained children had higher digit-span scores, which remained when a range of socioeconomic factors were taken into account, but there were no differences on any other measures. Overall, the association between musical training and executive function was negligible. Similarly, 189 7. Executive Functioning and Self-Regulation Mehr and colleagues (2013) conducted two randomly controlled trials with preschool children investigating the cognitive effects of a brief series of music classes, as compared to a similar visual arts class or to a no-treatment control. Parents attended classes with their children, participating in a variety of developmentally appropriate arts activities. After six weeks, the children’s skills were assessed on four cognitive areas: spatial navigational reasoning, visual form analysis, numerical discrimination and receptive vocabulary. Initially, the children from the music class showed greater spatial navigational ability than children from the visual arts class, while children from the visual arts class showed greater visual form analysis ability than children from the music class. However, a partial replication attempt comparing music training to a no-treatment control failed to confirm these findings, and the combined results of the two studies were negative. Overall, children provided with music classes performed no better than those with visual arts or no classes on any assessment. Similarly, Grinspun and colleagues (2020) conducted an empirical study, in which a sample of 61 second-grade school students from two elementary schools— one from Ghent, Belgium and the other from Santiago, Chile—were administered a musical aptitude test and an attention and inhibitory control test. There was no statistically significant effect of musical experience on sustained attention, cognitive flexibility or audiation. In a study which explored the impact of different musical activities, Norgaard and colleagues (2019) studied 155 seventh- and eighth- grade middle-school band students, who were divided into groups based on the type of musical training that they received. The key area of interest for the researchers was whether the students learned to improvise. Both groups received two months of instruction in jazz phrasing, scales and vocabulary, but only the experimental group was taught to improvise. All instruction was part of the warm-up routine in regular band classes. All students were tested before and after instruction on cognitive flexibility and inhibitory control. The findings showed that improvisation training had different effects on executive function depending on the students’ grade levels. In seventh grade, the results showed that improvisation training enhanced the students’ abilities to inhibit irrelevant information, although this change was only marginally significant. There was no effect of inhibition with 190 The Power of Music eighth-grade students but there was a significant change in cognitive flexibility. It may have been that their advanced technique allowed them to be more engaged directly with tonal jazz improvisation compared to the seventh-graders. The real-time evaluation of their musical output according to tonal convention may have resulted in them making quick adjustments to their performance. This may have contributed to enhanced cognitive flexibility. In a study of similar complexity, Bowmer and colleagues (2018) investigated the effect of weekly musicianship training on the executive function abilities of three- to four-year-old children in a London preschool, using a two- phase experimental design. In Phase One, 14 children took part in eight- weekly musicianship classes, provided by a specialist music teacher, while 25 children engaged in nursery free-play. The children receiving the musicianship training improved on measures relating to planning and inhibition skills. In Phase Two, the musicianship group continued with music classes, while a second group began music classes for the first time and a third group took part in an art intervention. There were no significant differences in performance improvement between the three groups during Phase Two, although performance differences between groups were nearing statistical significance for a peg-tapping task. Research with Older People Some research has supported the beneficial effects of music training on executive functions in older musicians. For instance, Hanna-Pladdy and MacKay (2011) studied 70 older healthy adults—aged 60 to 83—varying in musical ability who completed a comprehensive neuropsychological battery. The groups ( non-musicians and low- and high-activity musicians) were matched on age, education and history of physical exercise, while the musicians were matched on their age of starting to play an instrument and formal years of musical training. The musicians were classified in a low-level musical group with one to nine years of experience, or a high-level musical group with more than ten years of musical activity, based on their years of musical experience throughout their lifespan. The findings showed that participants with at least ten years of musical experience performed better on non-verbal memory, 191 7. Executive Functioning and Self-Regulation naming and executive processes in advanced age relative to non- musicians. Several regression analyses evaluated how years of musical activity, age of commencing musical training, type of training and other variables predicted cognitive performance. Similarly, Hanna-Pladdy and Gajewski (2012) researched 70 age- and education-matched older musicians and non-musicians, aged 59 to 80. They were assessed on neuropsychological tests and general lifestyle activities. The musicians scored higher on tests of phonemic fluency, verbal working memory, verbal immediate recall, visuospatial judgement and motor dexterity, although they did not differ in the level of other general leisure activities from the non-musicians. Level of education best predicted visuospatial functions in the musicians, followed by recent musical engagement which offset low levels of education. Early age of engaging with musical activity, less than nine years old, predicted enhanced verbal working memory in musicians, while the analyses for other measures were not predictive. Recent and past musical activity predicted variability across both verbal and visuospatial domains in ageing, implying that early age of musical engagement, sustained and maintained during advanced age, may enhance cognitive functions and act as a buffer to age and education influences. Similarly, Strong and Mast (2019) examined similarities and differences in the cognitive profiles of older-adult instrumental musicians and non-musicians. They compared neuropsychological test scores among older adult non-musicians, low-activity musicians (those with less than ten years of lessons), and high-activity musicians (over ten years of lessons), controlling for self-reported physical and social activity, years of education and overall health. Significant differences among groups were found on tasks of visuospatial ability, naming and executive functioning. No significant differences were found on tests of attention, processing speed or episodic memory. The findings support the late-life cognitive benefits of early musical training, but only in some cognitive domains, including language, executive functioning and visuospatial ability. Some research has adopted self-report methods to study the impact of making music in older age. For instance, Gembris (2008) carried out a questionnaire study with members of senior amateur orchestras with an average age of 71 years old, and found music was seen as helping them to cope and deal with difficult situations. Participants in singing 192 The Power of Music activities (Clift et al., 2008) and a wide range of other musical activities (Creech et al., 2014) have reported that making music stimulates cognitive capacity, including improving their attention, concentration, memory and learning. Executive functions, such as attention, inhibition, planning, monitoring and meeting new challenges have also been self-reported as improved in relation to musical activity (Hallam and Creech, 2016; Varvarigou et al., 2012). An intervention study with older adults aged 60 to 85 (Bugos et al., 2007) who were randomly assigned to six months of individual piano lessons or a non-lesson control group found that the music group outperformed the control group on a test that assessed processing speed in matching symbols with digits. There were significant improvements in attention, concentration, planning, cognitive flexibility and working memory. For these benefits to be maintained, regular practice and tuition were needed, as decline followed when the activities ceased. Another study further supported the benefit of group piano lessons on executive functions such as verbal flexibility and inhibition control in 24 older adults (Bugos, 2010). The improvement in executive function was significantly greater in those receiving music tuition compared to a music appreciation group consisting of 22 older adults who learned about musical elements while listening to music. However, both groups demonstrated significantly improved executive performance. In a similar study, Bugos and Kochar (2017) found that older adults who had short- term piano lessons improved on category-switching in a verbal fluency task. The research aimed to evaluate the efficacy of a short-term music programme on executive functions in healthy older adults. Thirty-four adult participants with little to no formal music training were recruited, and completed a battery of standardised cognitive measures at three time points: before training, after completion of a control time period and after training. The piano training programme included 30 hours of focused music theory, finger dexterity exercises, bimanual coordination exercises, technical exercises, performance duets and standard piano repertoire. The findings showed significantly enhanced verbal fluency and processing speed following training, although no difference was found in verbal memory performance. In a further study, Bugos (2019) examined the effects of bimanual coordination in music interventions on cognitive performance in healthy older adults aged 60 to 80. One 193 7. Executive Functioning and Self-Regulation hundred and thirty-five participants completed motor measures and a battery of standardised cognitive measures, before and after a 16-week music training programme with a three-hour practice requirement. All participants were matched by age, education and estimate of intelligence, and allocated to one of three training programmes: piano training, fine motor, percussion instruction, gross motor and music- listening instruction. The findings revealed significant enhancements in bimanual synchronisation and visual scanning and working memory abilities for fine and gross motor training groups as compared to the listening group. Pairwise comparisons revealed that piano training significantly improved motor synchronisation skills as compared to percussion instruction or music listening. These findings suggest that active music performance may benefit working memory and that the extent of the benefits may depend upon coordination demands. In another study using piano lessons, a four-month weekly group piano lesson designed and implemented by a professional music teacher and pianist resulted in improved performance on a Stroop test in 13 older adults. This cognitive improvement was not observed in 16 older adults in the control group (Seinfeld, 2013). Also focusing on the type of activity, Biasutti and Mangiacotti (2017) investigated whether cognitive training based on rhythmic musical activities and music improvisation exercises could have positive effects on executive functions in older participants. Thirty‐five residents in a residential home with mild to moderate cognitive impairment and healthy ageing were randomly assigned to an experimental group which participated in cognitive music training composed of 12 biweekly 70-minute sessions, and a control group which attended 12 biweekly 45-minute sessions of gymnastic activities. A neuropsychological test battery was administered at baseline and at the end of the programme. There was significant improvement for the experimental group on a mental state examination, a verbal fluency test and a clock-drawing test, while the control group did not show any significant improvements. No improvement was found in performance on an attentional matrices test for the music group, although those participating in the gymnastics activities showed a significant reduction in performance. Evidence from neuroscience has shown that there are differences in the frontal cortex of musicians and non-musicians (the area of the 194 The Power of Music brain which is implicated in the regulation of attention; Gaser and Schlaug, 2003; Sluming et al., 2002). Musical engagement increases grey-matter density in the frontal brain areas which are involved in controlling musical tasks (Hyde et al., 2009), while musicians who continue to engage in music-making beyond 60 years old show less or no degeneration of grey-matter density in the frontal cortex. Practising a musical instrument seems to help to prevent deterioration of executive functions involving monitoring and planning (Sluming et al., 2002). Alain and colleagues (2019), using an electroencephalogram, investigated the effects of music-making on inhibition control and interference in 60 healthy older non-musicians, who received three months of musical, visual art, or no training. The music-based intervention included the use of body percussion, voice and non-pitched musical instruments, as well as learning basic music theory and melody and harmony concepts by singing simple songs. The training was provided by a professional music teacher. Transient differential neural activities were observed in frontocentral sites in both intervention groups, but there was no improvement on task performance. Using electroencephalography, Moussard and colleagues (2016) used a visual go/no go task and demonstrated that a group of 17 older musicians exhibited a neural response, indicating a conflict-detect signal or inhibition of a prepotent response in the central midline sites between go and no go conditions, compared to a group of 17 older non-musicians. Reviews of the Literature Reviews of the literature have drawn different conclusions relating to the role of music in enhancing executive functions. Moreno and Bidelman (2014) concluded that research has demonstrated the robust, long-lasting biological benefits of music training to auditory function— the behavioural advantages conferred by musical experience extend beyond enhancements to perceptual abilities and impact non-auditory functions necessary for higher-order aspects of cognition (for instance, working memory). They suggest that findings indicate that alternative forms of arts engagement—for instance, visual arts training may not yield such enhancements, suggesting that musical expertise uniquely 195 7. Executive Functioning and Self-Regulation refines a hierarchy of brain networks, subserving auditory as well as domain-general cognitive mechanisms. They argue that transfer from specific music experience to broad cognitive benefit might be mediated by the degree to which a listener’s musical training enhances lower- and higher-order executive functions, and the coordination between them. They argued that understanding the impact of music on the brain will provide a more holistic picture of auditory processing and plasticity, and may also help inform and tailor remediation and training programmes designed to improve perceptual and cognitive benefits. Whether these structural changes lead to higher intelligence, better memory or stronger cognitive processing in childhood continues to be debated. In a later review, Moreno and Farzan (2015) concluded that music training leads to robust and long-lasting benefits to behaviour which extend to inhibitory control and its neural correlates. Other forms of art engagement or brain training do not appear to yield such enhancements. They suggest that music uniquely taps into brain networks which are concerned with inhibitory control. Miendlarewska and Trost (2014) go further and suggest that rhythmic entrainment is the essential mechanism supporting the learning and development of executive functions which, in turn, may underlie enhancements in reading and verbal memory. In their review, Loui and Guetta (2019) point out that music, as an intrinsically creative art form, requires bottom-up and top- down perceptual processing, attention and integration of executive functions. Attention is a subset of executive functioning and underpins goal-directed processes including conflict-monitoring, task-switching, and working memory. Considerable research has addressed the effects of musical training on these executive functions, but Loui and Guetta argue that the findings from this research have been mixed and inconclusive. Similarly, Okada and Slevc (2018b) argue that, as the relationships between musical ability and executive functions have mostly been demonstrated by correlational studies, the relationships could have a range of different explanations. Musical experience could draw on some or all aspects of existing executive functions, while musical training could improve executive functions more broadly, or the observed relationships could merely reflect selection bias, where individuals with pre-existing skills that are useful for music-learning 196 The Power of Music are more likely to pursue and persist in continued music lessons. Alternatively, both explanations might be relevant, as music lessons may exaggerate pre-existing differences. While these issues continue to be debated, there is agreement that musical experience draws on particular cognitive abilities, so that the relationships between musical experience and cognitive abilities should reflect the specific abilities that are critical to musical experience. However, it is difficult to know exactly which, if any, executive functions are reliably related to musical experience. Focusing on issues relating to ageing, Sutcliffe and colleagues (2020) note a lack of intervention studies with random assignment of participants to conditions and a lack of well-matched control conditions. These factors make it difficult to draw firm conclusions. They argue that, while music training might be a valuable tool for supporting healthy neuropsychological ageing and mental wellbeing, well-controlled intervention studies are necessary to provide clear evidence. Similarly, in their review focusing on older adults, Koshimori and Thaut (2019) suggest that the cross-sectional and correlational studies undertaken with musicians have shed light on the potential benefit of formal musical training on executive functioning and brain changes in the prefrontal area. Task-based studies have consistently demonstrated that individuals with formal musical training have differential brain activity during executive function tasks relative to those without musical training. However, these studies do not allow any direct and causal effects of music training on executive functioning or brain changes to be demonstrated. Furthermore, the specific effects of different types of musical training on executive function, brain structure and function in the prefrontal area are still unclear. Examining the evidence related to playing the piano, they concluded that this activity may have beneficial effects on executive functions in healthy older non-musicians because it is a complex process, requiring the coordination of multiple sensory modalities, motor control, monitoring, working memory, inhibition and attentional shifting. However, the sample sizes of some of the studies were frequently small and there were often additional methodological limitations. This meant that the findings had to be interpreted with caution. 197 7. Executive Functioning and Self-Regulation Overview Drawing firm conclusions about the impact of musical activity on executive functioning is challenging for a range of reasons. Some studies only investigate one cognitive process. Different assessment tasks are used to measure the same executive function, which makes comparisons difficult. While correlation studies are useful in identifying areas for further research, they tend to use different ways of categorising individuals into groups of musicians and non-musicians, or assessing different levels of musical expertise. Research has been undertaken with infants through to the elderly, sometimes with mixed-age groups, leading to the possibility of a wide range of confounding factors. The evidence also shows that musical interventions can have different effects on the three elements of executive functioning. Different research projects have shown benefits for working memory, inhibition or cognitive flexibility, although it is clear that some elements of executive functioning can be enhanced by musical training. It might be that the beneficial effects of musical experience would be more pronounced in populations with relatively lower executive functions, such as young children, elderly adults or patients with neuropsychological issues. Overall, the evidence from studies of children, adults and older adults relating to the impact of actively making music on executive functions is inconclusive. For more definite conclusions to be drawn, more attention needs to be given to the type of programme adopted, the nature of its musical content and the quality of its delivery to the participants. Ideally music lessons should incorporate skills that build on one another with gradual increases in complexity. To enhance executive functions, activities might usefully include reading musical notation, sight-reading, playing in an ensemble and practice with complex polyrhythms. They should also start when children are young and continue over many years, ideally throughout the lifespan. Generally, the jury is still out on the possible impact of music training on executive functions. Future research needs to attempt to establish more clearly which executive functions may be implicated in transfer and whether these relate to skills which have become automated or are related to those requiring conscious cognitive processing or a combination of these. Chapter 9 will consider the relationship between 198 The Power of Music executive functions and measured intelligence. Music has an advantage over many other possible interventions for enhancing executive functioning, as it is generally an intrinsically motivating activity, frequently offering opportunities for enjoyable social interactions. Many aspects of music training—reading music, practising and playing in ensembles—are likely to engage executive functions and because many people enjoy music lessons for their intrinsic value, music training may provide a relatively easy to implement naturalistic executive training programme.8. Intellectual Development The term intelligence is used in everyday life to identify differences between individuals in the way that they are able to learn and carry out particular tasks. Beyond this general everyday usage, there is no clear agreement amongst the scientific community regarding the nature of intelligence. The first test of intelligence was developed in France by Binet and Simon (1916), to differentiate children’s ability to learn in order to subsequently help teachers tailor instruction to meet children’s needs. This test included the ability to name objects, define words, draw pictures, complete sentences, compare items and construct sentences. Statistical analysis of data from use of the test revealed that responses were highly correlated, leading Spearman (1938) to suggest that there was a single underlying general intelligence factor which became known as ‘g’. This factor is generally accepted to relate to abstract thinking, including the ability to acquire knowledge, adapt to novel situations, and to benefit from instruction and experience. Terman (1916) developed an American version of Binet’s test, the Stanford-Binet Intelligence Test, which is similarly made up of tests of vocabulary, memory of pictures, naming of familiar objects, repeating sentences and following commands. There is also evidence for specific intelligences. One such distinction is between fluid intelligence—which refers to the capacity to learn new ways of solving problems and learning— and crystallised intelligence, which refers to accumulated knowledge. Crystallised intelligence increases with age, while fluid intelligence tends to decrease with age. Since these initial conceptualisations, many types of intelligence have been proposed. For instance, Thurstone (1938) proposed seven clusters of primary mental abilities, word fluency, verbal comprehension, spatial ability, perceptual speed, numerical ability, inductive reasoning and memory. More recently, Sternberg (1985) proposed a triarchic theory of intelligence which includes analytical, © 2022 S. Hallam & E. Himonides, CC BY-NC-ND 4.0 https://doi.org/10.11647/ OBP .0292.08200 The Power of Music creative and practical intelligence. In contrast, Gardner (1983) proposed eight intelligences: linguistic, logico-mathematical, spatial, musical, kinaesthetic (related to movement), intrapersonal (personal insights), interpersonal (interacting with others), and naturalistic (relating to plants and nature). Research exploring the impact of musical activities on intelligence has tended to focus on general intelligence, although there are exceptions to this. One of the most commonly used tests in this research is the Wechsler Adult Intelligence Scale ( WAIS). This consists of 15 different tasks, including working memory, arithmetic ability, spatial ability and general knowledge about the world. The WAIS-IV yields scores in four domains: verbal, perceptual, working memory and processing speed. Tests of non-verbal reasoning, which do not rely on literacy skills, have also been developed. Raven’s Progressive Matrices (1981) is one of the most commonly used. Each element requires the testee to identify a missing element that will complete a pattern. More recently, the concept of emotional intelligence has emerged. This can be traced back to the work of Thorndike (1920), who referred to the concept of social intelligence, which was described as the ability to understand and manage people. Gardner (1983), within the framework of multiple intelligences, elaborated the concept to include intrapersonal and interpersonal intelligence, the former relating to the capacity to understand oneself and to use such information to regulate one’s own life, and the latter to the capacity to understand the intentions, motivation and desires of others. Currently there are two constructs of emotional intelligence. Ability emotional intelligence focuses on the ability to process emotional information and use it to navigate the social environment (Mayer et al., 2001), although it has further evolved to include the abilities to accurately perceive emotions, to access and generate emotions so as to assist thought and understand emotions and emotional knowledge, and to reflectively regulate emotions so as to promote emotional and intellectual growth (Mayer et al., 2004). In contrast, trait emotional intelligence, or trait emotional self-efficacy, concerns emotion-related self-perceptions. Trait emotional intelligence was proposed by Petrides and Furnham in 2001 and is conceptualised as an aspect of personality measured through self-report. Daniel Goleman’s book (1996) popularised the concept of emotional intelligence, with the 201 8. Intellectual Development model he proposed being seen as combining ability and trait emotional intelligence. Empathy is typically associated with emotional intelligence, because it relates to an individual being able to connect their personal experiences with those of others. The role of music in the development of empathy is discussed in Chapter 12 . Nature or Nurture An ongoing and contentious debate about intelligence is whether it is determined by genetic or environmental factors. Clearly, if intelligence is determined by genetic factors alone then musical interventions will have no impact. Nowadays, it is increasingly recognised that measured intelligence (IQ) is determined by both genetic predisposition and environmental factors, although whether these operate additively or interact with each other continues to be fiercely debated. Considerable research has been undertaken to attempt to identify a gene or genes responsible for intelligence. This research has shown that intelligence within the normal range is a polygenic trait—in other words, influenced by more than one gene, and in the case of intelligence, at least 500 genes. Traditional additive genetic models have shown intelligence to have extremely high heritability levels, while other research has shown that it is extremely malleable. Sauce and Matzel (2018) suggest that intelligence has unusual properties that create a large number of hidden gene environment networks which allow for the contribution of high genetic and environmental influences on individual differences in IQ. They argue that current research methods underestimate gene environment interplay and inflate estimates of genetic effects, which in turn deflate estimates of the impact of the environment. They provide evidence which shows cognitive gains in children through adoption and immigration, and changes in heritability across the life span. They also present evidence for gains in population IQ over time relating to societal development, for a slowdown in age-related cognitive decline and for gains in intelligence from early education. They acknowledge that the high heritability of intelligence could have emerged from independent genetic effects, while high malleability could have arisen from independent environmental effects, but suggest that these cannot account for individual differences and conclude that gene environment 202 The Power of Music interplay is key to understanding intelligence given the present state of evidence. Brain imaging has provided the basis for research on the neurobiology of intelligence by highlighting the important functional and structural anatomical regions implicated, grey-matter volume and thickness, and white-matter integrity and function in the temporal, frontal and parietal cortices (Goriounova and Mansvelder, 2019). Genome-wide association studies have made it possible to show that 98 percent of associated genetic variants are not coded into functional protein and are likely to have a regulatory function at different stages of neural development. Those genes that do produce functional proteins are implicated in a range of neuronal functions, including synaptic function and plasticity, cell interactions and the metabolism of energy. Recent research in cellular neuroscience has shown positive correlations between dendritic size, action potential speed and IQ, but there is much that is still not understood about what underpins individual differences in intelligence. Considering the relationship between music, language and intelligence, Jung and Haier (2007) developed a model parietofrontal integration theory, which highlights the structural links common to these areas specifically in shared neural structures, such as the prefrontal cortex, the anterior cingandulate and a region within the temporal lobes. This research, along with that indicating the malleability of intelligence, suggests that music interventions may be able to enhance intelligence. Also exploring genetic and environmental influences between music and IQ, Mosing and colleagues (2016) undertook a co- twin study based on more than 10,500 twins. Phenotypic associations were moderate, although the relationship disappeared when controlling for genetic and shared environmental influence. A twin highly trained in music did not have a higher IQ than an untrained twin. The findings strongly suggested that the associations between musical training and IQ were not causal. Correlational and Comparative Research with Adults Correlational studies have shown that engagement with music can enhance some skills which contribute to scores on intelligence tests. The evidence suggests that the longer the training, the greater the 203 8. Intellectual Development impact (Corrigall et al., 2013; Degé et al., 2011a; Schellenberg, 2006), and that the relationships between musical training and intelligence remain when a range of confounding variables related to family background are taken into account (Corrigall et al., 2013; Degé et al., 2011a; Schellenberg, 2006; 2011a; 2011b; Schellenberg and Mankarious, 2012). For example, Schellenberg (2011b) studied 196 undergraduates ranging in age from 17-26 years old, either with at least eight years of extracurricular private music lessons or with no lessons. The musically trained participants had higher scores than their untrained counterparts on the IQ composite score, and on its verbal and non-verbal subtests. These advantages were evident even when gender, parents’ education, family income and first language were held constant. Similarly, Corrigal and Schellenberg (2013) studied the relationships between cognition, personality, participation in music lessons and length of participation. One hundred and eighteen adults and 167 children aged ten to twelve completed personality and cognitive ability tests. Cognitive ability was associated with duration of musical involvement, even when demographic variables were controlled for. Swaminathan and colleagues (2017) examined whether the link between intelligence and musical expertise was better explained by formal music lessons or musical aptitude. Musically trained and untrained adults completed tests of non-verbal intelligence, Raven’s Advanced Progressive Matrices and musical aptitude. They also provided information about their music lessons and socioeconomic status. Duration of music training was associated positively with socioeconomic status, non-verbal intelligence, and melodic and rhythmic aptitude. Intelligence and music aptitude were also positively associated. The association between musical training and intelligence remained after controlling for socioeconomic status but disappeared after controlling for musical aptitude, although musical aptitude had a strong correlation with intelligence, even after accounting for music training and socioeconomic status. The association between music training and intelligence may arise because high-functioning individuals are more likely than other individuals to have a strong aptitude for music, and therefore to take music lessons. Some research has focused on particular aspects of intelligence. For instance, Anaya and colleagues (2017) assessed the visuospatial 204 The Power of Music sequence learning and memory abilities of long-term musicians. They recruited 24 highly trained musicians and 24 non-musicians, who completed a visuospatial sequence learning task and receptive vocabulary, non-verbal reasoning, and short-term memory tasks. The findings showed that the musicians had enhanced visuospatial sequence learning abilities relative to non-musicians. They also performed better on the vocabulary and non-verbal reasoning measures. The large difference observed on the visuospatial sequencing task remained even after controlling for vocabulary, non-verbal reasoning, and short- term memory abilities. Criscuolo and colleagues (2019) explored the relationships between general intelligence, executive functions and musical expertise. One hundred and one Finnish healthy adults grouped as musicians, amateur musicians and non-musicians were administered the Wechsler Adult Intelligence Scale III, the Weschler Memory Scale III and the Stroop test. After being matched on a range of variables, the musicians exhibited higher cognitive performance than non-musicians on all of the tests. Linear regression showed significant positive relationships between executive functions, working memory and attention, and the duration of musical engagement, after controlling for possible confounding variables. Focusing on fluid intelligence, Meyer and colleagues (2018) administered a test battery including measures of episodic memory, working memory, attention, executive function and processing speed to 72 undergraduate students with a range of musical expertise. Three groups of students were identified: • an expert group who had begun musical training at age ten or younger and had engaged with music for ten years or longer. They self-rated between three to five on two Likert scales relating to sight-reading skills and improvisation skill; • musical amateurs, who included those with more than one year of musical training; • non-musicians, who had less than one year of musical training and typically no training at all. The findings showed that the musicians with extensive experience scored significantly higher in fluid cognition, attention and working memory tests of executive functions and processing speed than did 205 8. Intellectual Development the non-musicians and the less well-trained musicians. There was no statistically significant difference between amateur and non-musicians on these subtests with one exception, the executive function test, where the amateur musicians performed better than the non-musicians. A regression analysis using age of onset of training and length of music training in relation to fluid intelligence showed that these two factors accounted for almost 30 percent of the variance. Age of onset predicted fluid intelligence but the relationship with length of music education was not significant. As for sub-scores, these two factors accounted for almost 37 percent of the variance for the sub-score speed of processing. Age of starting musical training predicted speed of processing, while the relationship with length of music education was not significant. Regression analyses for the other sub-scores yielded non-significant results. Silvia and colleagues (2016) adopted a bifactor modelling approach to study data from a sample of 237 young adults who varied substantially in musical expertise. Participants completed a range of tasks that measured several lower-order abilities: fluid intelligence, crystallised intelligence, verbal fluency and auditory discrimination ability. Simple correlations showed that music training correlated with all four lower- order abilities. A bifactor model, however, found that music training had general, a strong association with general intelligence (g), and specific, a moderate association with auditory ability, relationships. Some research with adults has focused on the relationship between musical and reading skills. For instance, Swaminathan and colleagues (2018) sought to clarify whether the positive association between music lessons and reading ability found in adults was explained better by shared resources for processing pitch and temporal information, or by general cognitive abilities. Participants had varying levels of musical training and were native and non-native speakers of English. The research assessed reading ability, music perception skills, general cognitive ability including non-verbal intelligence, short-term and working memory, and socioeconomic status. The association between reading and music training was significant after socioeconomic status, native language and music perception skills were controlled for. After general cognitive abilities were held constant, there was no longer an association between reading and music training. This suggested 206 The Power of Music that the association between reading ability and music training was a consequence of general cognitive abilities. Not all of the research has shown positive relationships between musical training and intelligence. For instance, Schellenberg and Moreno (2010) recruited 40 undergraduates on the basis of their musical background. Half had extensive training in music, at least eight years of lessons, and had played regularly up until three years or less before participating. The remaining 20 participants had little or no musical training. The participants responded to tests of pitch processing and completed the Raven’s Progressive Matrices to assess non-verbal reasoning. The musicians exhibited superior performance on the musical tests but not on the measure of general intelligence. Similarly, Helmbold and colleagues (2005) compared 70 adult musicians with 70 non-musicians on psychometric performance on verbal comprehension, word fluency, space, flexibility of closure, perceptual speed, reasoning, number and memory. No significant differences were found for either mean full-scale scores or for specific aspects of mental abilities, except flexibility of closure and perceptual speed. In both these subtests, musicians performed reliably better than non-musicians. Also comparing musicians and non-musicians, Brandler and Rammsayer (2003) studied differences in a range of cognitive tasks including verbal comprehension, word fluency, space, closure, perceptual speed, reasoning, number and memory. Significant differences were not found for either mean full- scale scores or for specific aspects of intelligence, except verbal memory and reasoning. While performance on verbal memory was reliably higher for the musicians than for the non-musicians, the non-musicians performed significantly better on all four subscales of Cattell’s culture- free intelligence test. Correlation and Comparative Research with Children There has long been an interest in the relationship between musical training and intellectual development. Many early studies focused on how general intelligence might underpin musical ability (Beckham, 1942; Fracker and Howard, 1928; Hollingworth, 1926). Later studies explored the nature of the relationships (Antrim, 1945; Bienstock, 1942; Ross, 1936) but did not address issues of causality, which 207 8. Intellectual Development led to some arguing that the reason for the relationships was because more intelligent children were drawn to participate in musical activities (Farnsworth, 1946; Ross, 1936). Since these early studies, there has been evidence that children who take up a musical instrument frequently have higher-level academic skills prior to participating in musical activities (Feldman and Matjasko, 2005; Fitzpatrick, 2006; Gibson et al., 2009; Hille et al., 2011; Kinney, 2008; 2010; Ruthsatz et al., 2008; Schellenberg, 2011a; Schellenberg and Mankarious, 2012). However, this is not always the case (Habibi et al., 2014). Learning to play a musical instrument is often related to the socioeconomic status of families and family make-up, both of which support opportunities for musical engagement (Bugaj and Brenner, 2011; Costa-Giomi, 2012; Elpus and Abril, 2011; Kinney, 2010; Schellenberg and Weiss, 2013). Only intervention studies can establish the direction of causality. Overall, there have been a number of correlational and comparative studies with children. Adopting a cross-sectional approach, Schlaug and colleagues (2005) compared nine- to eleven-year-old instrumentalists with an average of four years’ training with a control group. The findings showed that the instrumental group performed significantly better than the control group on musical audiation, left-hand index finger tapping rate, and the vocabulary subtest of the WISC-III intelligence test. However, there were non-significant trends in a phonemic awareness test, Raven’s Progressive Matrices and a mathematics test. Similarly, Loui and colleagues (2019) showed that children who played a musical instrument for more than half an hour each week had higher scores on verbal ability and intellectual ability, as well as higher axial diffusivity in the left superior longitudinal fasciculus than those who did not play. A correlation between the number of hours of practice each week and axial diffusivity in the left superior longitudinal fasciculus suggested that the relationship between musical practice and intellectual ability was related to the maturation of white-matter pathways in the auditory- motor system. Some research has focused on multiple intelligences. For instance, Singh and colleagues (2017) studied performance on multiple intelligences in Indian children, comparing them with IQ scores. They recruited 1065 school children between the ages of 12 and 16 from 2 government and 13 private schools in 5 towns, 6 cities and 2 villages across 208 The Power of Music India. All of the children were administered a multiple-intelligences questionnaire consisting of 30 true-false questions, to assess intelligences in seven domains, including linguistic skills, logical mathematical abilities, musical skills, spatial intelligence, bodily kinaesthetic skills, intrapersonal intelligence and interpersonal intelligence. IQ scores were assessed by Ravens Standard Progressive Matrices. The findings showed that different students possessed different forms of intelligences, and that most students had more than one form of intelligence. Of the seven forms of intelligence, only three—logico-mathematical, musical and spatial—were positively correlated with IQ scores. Swaminathan and Schellenberg (2020) focused on the links between musical expertise and language ability in a sample of six- to nine-year-old children. Language ability was measured with tests of speech perception and grammar, while musical expertise was assessed with a range of tests of musical ability. Musical training was associated positively with performance on a grammar test, musical ability, IQ, openness and age. Overall, the findings showed that musical ability predicted language ability independent of IQ and other confounding variables, but the links between music and language seemed to arise primarily from pre- existing factors and not from formal training in music. Schellenberg and colleagues undertook a series of studies exploring the relationships between musical engagement and intelligence in children. For instance, Schellenberg (2006) administered standardised tests of intelligence to approximately 300 children and adults who varied widely in the extent of their musical experiences outside school. The findings showed that, among the children, cognitive performance was positively associated with months of music lessons, even after holding constant parents’ education, family income and duration of involvement. Associations were strongest for an aggregate measure of intelligence, with no association between musical activity and particular subtests when general intelligence was held constant. In a later study, Schellenberg (2011a) compared 106 musically trained and untrained nine- to twelve-year-olds on a measure of IQ and five measures of executive function. The musically trained children outperformed the untrained children across the four subtests and three IQ scores of the test used. These findings replicated those reported earlier by Schellenberg (2004; 2006b). However, the association between musical training and 209 8. Intellectual Development executive function was negligible. Further, Corrigal and Schellenberg (2013) collected data from 167 ten- to twelve-year-old children, including demographic information and measured cognitive ability. The duration of music lessons was associated positively with age, socioeconomic status, duration of non-musical extracurricular activities, IQ and school performance. They concluded that the observed associations between musical involvement and cognition were highly unlikely to be solely a consequence of music training. In a comparative study, Hille and colleagues (2011) explored the impact of different types of musical activities on intelligence. They tested 194 boys aged eight to nine years old, just over half of whom had learned to play a musical instrument. Non-verbal measures of intelligence were higher for boys playing an instrument, with a moderate effect size, but no difference in non-verbal measures of intelligence was found for boys who sang in a choir and those who did not. Overall, active participation in a choir or lessons called ‘First Experiences with Music’ did not show the benefits associated with learning to play an instrument. Degé and colleagues (2011a) investigated whether the association between music lessons and intelligence was mediated by executive functions. Intelligence and five different executive functions— set- shifting, selective attention, planning, inhibition and fluency—were assessed in nine- to twelve-year-old children with varying amounts of music lessons. Significant associations emerged between music lessons and all of the measures of executive function. Executive functions mediated the association between music lessons and intelligence, with the measures of selective attention and inhibition being the strongest contributors to the effect. The results suggested that at least part of the association between music lessons and intelligence was explained by the positive influence that music lessons had on executive functions, which in turn improved performance on the intelligence tests. Also focusing on executive functions, Schellenberg (2011) compared musically trained and untrained nine- to twelve-year-olds on a measure of IQ and five measures of executive function. The findings showed that IQ and executive function were correlated. The musically trained group had higher IQs than their untrained counterparts and this advantage extended across the IQ subtests. However, the association between music training and executive function was negligible. These results do 210 The Power of Music not support the hypothesis that the association between music training and IQ is mediated by executive function. Jaschke and colleagues (2018a) adopted a different approach, assessing exposure to a musically enriched environment, including listening to music at home, during play or when attending concerts. A questionnaire was administered to a sample of 176 primary-school children who also completed the verbal intelligence section of the Wechsler Intelligence Scale (WISC III) and performed executive sub- function tasks such as planning, working memory, inhibition and a short- term memory task. Linear and multiple regression analyses showed no significant relationship between exposure to a musically enriched environment, executive sub-functions, planning, inhibition, working memory and short-term memory. Experiencing a musically enriched environment does not serve as a predictor for higher performance on executive sub functions, although it can influence verbal intelligence. Intervention Studies Research which has adopted a retrospective approach to studying the relationship between active engagement with music and intelligence— while showing enhanced performance from musicians on a range of intellectual skills—is not able to address the issue of causality. Those who take up playing musical instruments may have higher IQ scores in the first place, although the evidence regarding this is mixed. Intervention studies can address this issue but have also served to demonstrate the complexity of the issues involved in establishing the relationship between musical engagement and intelligence. In an early study, Hurwitz and colleagues (1975) assigned first-grade children to two groups, one receiving Kodaly music lessons for five days each week for seven months, and one a control group which did not receive musical tuition. At the end of the study, the experimental group scored significantly higher than the control group on three of five sequencing tasks and four of five spatial tasks. No statistically significant differences were found for verbal measures, although the children in the experimental group had higher reading achievement scores than those in the control group. These were maintained after two academic years. Following this early study, Gromko and Poorman (1998) compared preschool children in a group engaging in weekly musical activities with 211 8. Intellectual Development a control group and found that, for the three-year-olds participating in the study, an intellectually stimulating environment resulted in a gain in the ability to perform the spatial-temporal task element of an intelligence test. Similarly, Bilhartz and colleagues (1999) studied the relationship between participation in a structured music curriculum and cognitive development in four- to six-year-olds. Half of the children participated in a 30-week 75-minute weekly music curriculum with parent involvement. Following this, the children were tested with six subtests of the Stanford-Binet intelligence test and the Young Child Music Skills Assessment test. There were significant gains for the music group on the music test and the Stanford-Binet Bead Memory subtest. In a series of studies, Costa-Giomi and colleagues (1999; 2004; Costa- Giomi and Ryan, 2007) completed a longitudinal study on the effects of piano instruction on children’s cognitive abilities. Children were randomly assigned to an experimental or control group. Each child received free instruction. The two groups of children were comparable at the start of the study in terms of musical ability, cognitive abilities and academic achievement in mathematics, language and motor skills. After two years of instruction, the children in the experimental group obtained significantly higher scores on the cognitive ability tests and spatial scores. However, no differences were found after three years. Additionally, no differences in the quantitative and verbal cognitive abilities of the two groups were found after two years of the study. A follow-up study conducted seven years after the completion of the lessons showed no differences between groups. Similarly, analysis at a ten-year follow-up (Costa-Giomi and Ryan, 2007) showed no differences in IQ or memory. The initial gains became negligible over time. The improvements were small and temporary, and seem to have depended on the level of the children’s commitment and effort. After three years, 22 percent of the variance in cognitive improvement was explained by the children’s attendance at lessons and time spent practising. Those who were more committed gained more (Costa-Giomi, 1999). In a carefully controlled study, Schellenberg (2004) randomly assigned a large sample of children to four different groups—two of which received music lessons, standard keyboard or Kodaly voice lessons for a year, while the control groups received instruction in a non- musical artistic activity, drama or no lessons. All four groups exhibited increases in IQ, as would be expected over the time period, but the music 212 The Power of Music groups had reliably larger increases in full-scale IQ, with an effect size of .35. Children in the control groups had average increases of 4.3 points while the music groups had increases of 7 points. On all but two of the 12 subtests, the music group had larger increases than control groups. Notably, the music groups had larger increases on the four indexes that measured specific abilities, verbal ability, spatial ability, processing speed and attention. Catterall and Rauscher (2008), in a review of the literature and a reanalysis of Schellenberg’s (2004) data, argue that the gains seen in more general IQ were likely to be the result of specific gains in visuospatial intelligence, although there may also be effects related to the enhanced development of language and literacy skills. In a more recent study, Moreno and colleagues (2011a; 2011b) devised two interactive computerised training programmes with a focus on music or art. After only 20 days of training, the children in the music group exhibited enhanced performance on a measure of verbal intelligence. These changes were positively correlated with changes in functional brain plasticity during an executive function task, which the authors suggested indicated that the impact of musical engagement on intelligence could be related to executive functions. Similarly, Jaschke and colleagues (2018b) studied 147 primary-school children, aged six to seven years old, who were followed for 2.5 years. Participants were randomised into four groups: two music intervention groups, one active visual arts group, and a no-arts control group. Neuropsychological tests assessed verbal intelligence and executive functions. Additionally, national data on academic performance was available. Children in the visual arts group performed better on visuospatial memory tasks as compared to the three other conditions. However, the test scores on inhibition, planning and verbal intelligence increased significantly in the two music groups over time as compared to the visual art and no-arts controls. Mediation analysis with executive functions and verbal IQ as mediators for academic performance showed a possible far-transfer effect from executive sub-function to academic performance scores. In Tehran, Iran, Kaviani and colleagues (2014) worked with 154 preschool children from kindergarten. Sixty children aged between five and six years old were randomly assigned to two groups, one receiving twelve 75-minute music lessons and the other—matched for sex, age and mother’s educational level—not receiving any music classes. The 213 8. Intellectual Development children were tested before the start of the music lessons and at the end, with four subtests of an intelligence scale. The findings showed a statistically significant increase in IQ in participants receiving music lessons, specifically on verbal reasoning and short-term memory subtests, although there were no differences in numerical and visual abstract reasoning abilities. In Israel, research with children aged six to twelve also found a causal effect of music training on intelligence. Children who were assigned to a two-year music training programme had larger increases in general intelligence compared to a control group with no intervention (Portowitz and Klein, 2007; Portowitz et al., 2009). Working in Spain, Carioti and colleagues (2019) tested 128 students in a middle school at the beginning of the first class and the beginning of the second class. Seventy-two students were able to access a music curriculum, 30 with previous music experience, 42 without, while 56 accessed a standard curriculum. 44 with prior music experience and 12 without. The longitudinal comparison of the four groups of students revealed that students experiencing the music curriculum had better performance in tests of general cognitive abilities, visuospatial skills and memory tests. Studying children from low socioeconomic backgrounds, Barbaroux et al. (2019) evaluated the impact of a classical music training programme with particular reference to general intelligence, auditory and visual attention, and working and short-term memory. The findings showed that music training improved total IQ and symbol-search scores, as well as concentration abilities. Rose and colleagues (2019) investigated the effects of musical instrument learning on the development of cognitive skills in 38 seven- to nine-year-old children. Pre- and post-test measures of intelligence and memory were compared in children who received either extracurricular musical training or statutory school music lessons. The results showed a significant association between musical aptitude and intelligence overall. The children receiving extracurricular lessons showed a significant increase in IQ—7 points—in comparison to 4.3 points for those receiving standard school music lessons. No significant differences were found for memory. In a comparison of two different music interventions, James and colleagues (2019) undertook a cluster randomised controlled trial which showed that musical instrumental practice, in comparison to traditional 214 The Power of Music sensitisation to music, led to multiple transfer effects in cognition. Sixty-nine children aged ten to twelve received group music instruction by professional musicians twice a week as part of the regular school curriculum. The intervention group learned to play string instruments, whereas the control group was sensitised to music through listening, theory and some practice. Broad benefits manifested in the intervention group as compared to the control group for working memory, attention, processing speed, cognitive flexibility and matrix reasoning. Not all of the research has shown increases in IQ relating to active participation in musical activities. For instance, Mehr and colleagues (2013) conducted two randomised controlled trials with American preschool children, on average aged four years old. They compared participation in music classes with participation in visual arts classes. The parents attended classes with their children. The classes ran for six weeks, with a total of 4.5 hours of relatively unstructured musical activity which involved singing, some work with percussion instruments and movement. The children were tested on spatial navigational reasoning, visual form analysis, numerical discrimination and receptive vocabulary. In the first experiment, the children from the music group showed greater spatial navigational ability, while children from the visual arts class showed greater visual form analysis. However, a partial replication with another group of children did not confirm these findings. Working with secondary- and primary-aged students in two studies, Rickard and colleagues (2012) reported on the impact of an increase in school-based music training on a range of cognitive and psychosocial measures for ten- to thirteen-year-olds. In the first study, the benefits of increased frequency of classroom-based music classes were compared with drama and art lessons. The second study compared the effects of introducing a new classroom-based music programme with a new drama programme for 100 primary-school students. Assessments were obtained at baseline and approximately six months after implementation of each programme. No benefits for school music classes were apparent, although trends of interest were observed in non-verbal intelligence and verbal memory. 215 8. Intellectual Development Music and Emotional Intelligence There is evidence that group music-making can support the development of emotional intelligence. For instance, Petrides and colleagues (2006) investigated trait emotional intelligence in a study of 37 music students. They found a positive relationship between trait emotional intelligence scores and length of musical training. The research supported the conceptualisation of trait emotional intelligence as a construct of general emotionality. In contrast, in research assessing ability emotional intelligence, Resnicow and colleagues (2004) worked with 24 undergraduate students. They found that there was a relationship between the ability to recognise emotions in performances of classical piano music and measures of emotional intelligence, which required individuals to identify, understand, reason with and manage emotions using hypothetical scenarios. Emotional intelligence and emotion recognition in the music task were significantly correlated, which suggests that identification of emotion in music performance draws on some of the same sensibilities that make up everyday emotional intelligence. There is also evidence that music training enhances sensitivity to emotions in speech. Thompson and colleagues (2004) revealed that music lessons promoted sensitivity to emotions conveyed by speech prosody. Musically trained adults outperformed untrained adults at identifying sadness, fear or neutral emotion, while six-year- olds randomly assigned to one year of keyboard lessons performed equivalently to a drama group and better than a no-lessons group at identifying anger or fear. Adopting a different approach, Theorell and colleagues (2014) explored whether musical activities contributed to the prevention of alexithymia, the inability to describe one’s own emotions. Eight thousand Swedish twins aged 27 to 54 were studied. They completed the Toronto Alexithymia Scale—a musical achievement scale—and estimated the number of hours of musical practice during different periods of their life. The findings showed that alexithymia was negatively associated with musical creative achievement, having played a musical instrument, total hours of musical training and ensemble-playing. The associations between musical training and alexithymia remained significant when controlling for education, depression and intelligence. 216 The Power of Music Musical achievement and musical practice were both associated with lower levels of alexithymia. They concluded that musical engagement was associated with higher emotional competence, although the effect sizes were small. Not all of the research exploring the relationships between music- making and emotional intelligence has found positive relationships. This seems to depend on whether emotional intelligence is measured as a trait, a behavioural disposition or an ability—a skill in processing emotional information and using it in everyday life. Music training seems to be more related to emotional intelligence as a trait (Petrides et al., 2006) rather than as an ability. Trimmer and Cuddy (2008), working with 100 undergraduates, found that emotional intelligence, not music training or music perception abilities, successfully predicted identification of intended emotion in speech and melodic analogues. The ability to recognise cues of emotion accurately and efficiently across domains may reflect the operation of a cross-modal processor that does not rely on gains in perceptual sensitivity, such as those related to music training. Similarly, Schellenberg (2011b) studied 196 undergraduates ranging in age from 17 to 26 years old with at least eight years of extracurricular private music lessons or no lessons. The musically trained participants scored no higher than their untrained counterparts on a test of emotional intelligence. Despite this, some research with children has found positive relationships between understanding emotions and music training. For instance, Schellenberg and Mankarious (2012) found that seven- to eight-year-olds with at least eight months of formal musical training, mainly through private individual lessons, showed a positive association between music training and emotional ability, although this seemed to be mediated by higher levels of general intelligence. There is also some evidence that music can enhance emotional competence among children, which then supports their engagement with learning (Adushkina, 2015). In Korea, two studies—Shin (2006) and Lee (2010)—examined the effect of music therapy on low-income elementary-school children’s emotional intelligence. The music programme consisted of singing, listening to music and song-writing. The findings showed that there were 217 8. Intellectual Development statistically significant increases in emotional intelligence compared with a control group. Also in Korea, Kim and Kim (2018) adopted a quasi-experimental design in which 30 children received a weekly group musical instrument performance class with a regular music class, while a control group of 30 children received only a regular music class that was part of the elementary-school curriculum. Emotional intelligence, anxiety and aggression were assessed at the beginning and end of the 24-week intervention. The musical instrument performance programme improved the ability to perceive emotions, and reduced physical and verbal aggression, but had no statistically significant effect on the level of total emotional intelligence, anxiety or aggression. Studies with Older Adults Some research has focused on general cognitive functions with older adults. As we saw in Chapters 6 and 7, there is evidence of the impact of music on cognition in older people; for instance, on executive functions, including various aspects of memory, attention, processing speed and planning (Amer et al., 2013; Bugos et al., 2007; Bugos, 2010; Bugos, 2019; Degé and Kerkovius, 2018; Diaz Abrahan et al., 2020; Grassi et al., 2018; Hanna-Pladdy and Gajewski, 2012; Hanna-Pladdy and MacKay, 2011; Hars et al., 2013; Strong and Mast, 2019). There have also been improvements in cognition and working memory in patients with dementia, and evidence that musical activity can prevent cognitive decline (Camic et al., 2013; Maguire et al., 2015; Mansky et al., 2020; Pongan et al., 2017; Särkämö et al., 2014). In a pilot study with socioeconomically diverse older adults, MacAulay and colleagues (2019) presented interim data on the effect of music training. Thirty-five socioeconomically diverse older adults with a mean age of 70 completed the programme. Participants took part in 12 weekly one-hour recorder lessons and underwent comprehensive pre- and post-intervention neuropsychological assessments. The results indicated improved executive function, global cognition, verbal fluency and visual memory performance following the intervention. The research suggested that music training is a cognitively stimulating activity that has real-life applications for older people. In a retrospective study, Fancourt and colleagues (2020) examined whether lifetime musical training was associated with 218 The Power of Music neuropsychological performance in a memory-clinic population of older patients. A total of 478 patients, with an average age of almost 74 years old, were included in a cross-sectional analysis. All of the participating patients had been referred to the memory clinic due to cognitive impairments. Participants were assessed using a neuropsychological assessment battery. They also provided information on whether they had played a musical instrument for at least five years during their lives. The outcomes of the neuropsychological test results differed based on the extent of musical training. Overall, there were no differences in any domains of cognitive functioning, other than that patients with musical training performed worse on word-list memory tasks. However, this relationship varied based on the extent of cognitive impairment. Patients who were cognitively unimpaired and had musical training showed better word-list learning, whereas patients with cognitive impairments and musical training performed worse in word-list learning and word- list recall. Overall, there was little evidence of associations between specific neuropsychological test results and musical training. Only in cognitively unimpaired patients was there evidence that musical training had beneficial associations. In patients with cognitive impairment, there were suggestions of negative associations with verbal memory. In a very large-scale study, Mansens and colleagues (2018) used data from 1101 participants aged 64 and older from the Longitudinal Aging Study Amsterdam. Multivariable linear regression analyses were performed to test the association between time spent making music and cognitive functioning. Making music was significantly positively associated with letter fluency, learning, attention and short-term memory, although time spent making music yielded no significant results. Participants who only played an instrument compared to participants who had not made music performed better on learning, working memory and processing speed. For processing speed, the instrument-only group also had a higher score than participants who only sang. Making music at least once every two weeks—and especially playing a musical instrument—was associated with better attention, episodic memory and executive functions. Overall, the research to date suggests that music training may protect against age-related decline in working memory and may improve performance among older adults who show some decline in working 219 8. Intellectual Development memory. Music training may also be useful in the prevention and treatment of dementia. Reviews and Meta-Analyses Reviews and meta-analyses relating to the role of music in general cognition are inconsistent in their findings. Črnčec and colleagues (2006) concluded that music instruction conferred consistent benefits for spatial-temporal reasoning skills; however, improvements in associated academic domains, such as arithmetic, had not been reliably shown. Similarly, Jaschke and colleagues (2013), in review of research on children aged four to thirteen, suggested that the results of research exploring the effects of active engagement with music on cognitive development were either inconclusive or contradictory, because of the differences in methods adopted and the different types of music education studied. Dumont and colleagues (2017) focused on the role of music in child development. Based on a detailed examination of 46 studies, they argued that research on the impact of music interventions indicated positive effects on a variety of skills which may support educational processes and children’s development, although it was not possible to draw definitive conclusions. Seven studies did not have sufficient evidence and the results of a random controlled trial showed no effects, while two experimental studies yielded mixed results. Three quasi-experimental longitudinal studies and a longitudinal development study suggested a partial positive impact of music. Evidence from five experimental longitudinal studies suggested benefits for memory, although there were methodological limitations. Of six quasi-experimental studies exploring the impact on attention and executive functions, only two reported positive outcomes. Five studies focusing on working memory seemed to suggest a positive influence of music. Protzko and colleagues (2017) reviewed five meta-analyses and 36 randomised controlled trials on the raising of IQ in children. They found that supplementing a deficient child with multivitamins raised IQ, as did providing iodine supplements. Learning to play a musical instrument also enhanced IQ, although the role of iron supplements and executive function training were unreliable. Papageorgi (2021) also concluded that active engagement with music-making, particularly 220 The Power of Music playing a musical instrument, had benefits for cognitive development, while Kraus and Chandrasekaran (2010) argued that, although there is convincing evidence for the overall benefits of engagement with music, many questions remain unanswered. The evidence suggests that music training facilitates cognitive development, but it is not clear whether the improvements are an effect of the music training itself or the cognitive load involved in the process of learning and playing a musical instrument (which facilitates the development of a range of cognitive skills). Sala and Gobet (2017; 2020) carried out two meta-analyses to establish whether the available data supported an association between music and cognitive skills. The first analysis (2017) examined 38 studies. The results of the random effect models showed a small overall effect size, but with slightly greater effect sizes with regard to intelligence and memory-related outcomes. There was also an inverse relationship between the size of the effects and the methodological quality of the study design. The results suggested that music training does not reliably enhance children and young adolescents’ cognitive or academic skills. The later meta-analyses (Sala and Gobet, 2020) reanalysed data from 54 previous studies conducted between 1986 and 2019, and included a total of 6,984 children. The analysis revealed that music training appeared to be ineffective at enhancing cognitive or academic skills, regardless of the type of skill (verbal, non-verbal or speed-related), participants’ age or duration of music training. The authors found that studies with high-quality design, such as those which used a group of active controls—like children who learned a different skill, such as dance or sports—showed no effect of music education on cognitive or academic performance. Small effects were found in studies that did not include controls, or where participants were not randomly assigned to intervention or control groups. Similarly, Cooper (2020) conducted a random effect meta-analysis to measure the overall mean effects of music training on cognitive measures in schoolchildren. The results showed small to medium overall effects. When compared to active control groups, music training yielded more improvement on a range of cognitive measurements. While some studies did result in large effect sizes, significant moderators related to methodological quality rendered the overall findings to non- significant. Additional moderator analysis showed no clear advantage 221 8. Intellectual Development in cognitive function. The findings did not differ in relation to type of music intervention. Overall, they suggested that music training may have a positive impact on cognition in schoolchildren, but may not have advantages when compared with other interventions. Overview Overall, taking the findings together, it would appear that active engagement with making music can have an impact on intelligence and cognitive development, although it frequently does not. However, the research highlights a great many issues. Firstly, the nature of intelligence itself is problematic from a research point of view, as it includes many different subskills. Some of these are more likely to benefit from musical interventions than others, as has been demonstrated in this and previous chapters. The nature and relative importance of the relationship between executive functions and measured intelligence is also a problematic area. The type of musical interventions, their duration, intensity and quality continue to be possible confounding factors. There is also an issue in relation to the role of active control groups—for instance, sport, drama, dance and visual art. If there is no difference between the outcomes of musical training and these other activities, or indeed taking dietary supplements, there seems to be an assumption that there is no impact of musical activities where in fact it may be that all of these activities can make a contribution to cognitive development. Just because music has no greater impact on cognition than sport, this does not necessarily mean that music has no impact. Indeed, the preference that an individual has for any of these activities will contribute to their motivation and subsequent propensity to maintain the activity over a long period of time, at high levels of intensity with great commitment, all factors which are important in determining impact on cognition. It might be expected that active engagement with music would support the development of emotional intelligence. There is no question that music has a profound impact on our moods, emotions and arousal levels, and that, as understanding of music develops, it may support the development of understanding of emotions more generally. The research to date does not entirely support this, although the evidence for the impact of musical training on trait emotional intelligence is 222 The Power of Music stronger than for ability intelligence. Trait emotional intelligence is conceptualised as being aware of one’s own emotions. In musicians, how this relates to the performance of music—a key element of which is to convey emotion—is not clear.9. Musicians and Creativity Understanding and researching creativity presents many challenges. Several different approaches have been adopted. One strand of research has focused on the characteristics of creative people; a second has considered the process of creativity and its various stages, while some research has been concerned with the outcomes of creativity (in other words, its products). Another strand has considered the environment emphasising social and cultural influences in the development and expression of creativity. Hennessey and Amabile (1988) describe creativity as the process of being original to suit a particular purpose, while others have viewed creativity as the process by which normal cognitive processes lead to a moment of insight in order to discover or produce something new (Perkins, 1981). Torrance (1988) argues that a key component of creativity is the ability to generate something novel or unique, while Guilford (1967) proposed that at the heart of creativity is divergent thinking—the ability to generate new information or solutions from given information. The goal of divergent thinking is to generate as many associations or solutions as possible without relying on guidelines or constraints (Gibson et al., 2009). There have been many approaches to assessing creativity. For example, Csíkszentmihályi (1996) studied the characteristics of individuals judged to have made significant creative contributions to society. Simonton (1997) differentiated between Big C creativity, which is said to occur when a person solves a problem or creates an object that has a major impact on society, while Little C creativity is seen on a daily basis when someone adapts to change or comes up with new ways of understanding a problem. A measure of Little C divergent thinking is Guilford’s (1967) alternative uses task, in which participants list several possible creative uses for common household items, such as a newspaper, a brick or a paperclip. There are no correct © 2022 S. Hallam & E. Himonides, CC BY-NC-ND 4.0 https://doi.org/10.11647/ OBP .0292.09224 The Power of Music answers and participants have to produce as many unique and creative uses as they can. Domain-specific theories of creativity emphasise the non- transferability of expertise from one creative domain to another (Baer, 2015). These theories are supported by findings that creative individuals are rarely creative in more than a few domains—for instance, an individual known for their creativity in physics is rarely also renowned for their creativity as a musician (Kaufman and Baer, 2004; Baer, 2012). There are also low correlations between an individuals’ creative output in different domains (Baer, 1991). Domain-specific theories are consistent with evidence that Big C creativity—ideas that represent a huge leap forward in a field—require specific knowledge and skills in a domain, which in turn requires extensive practice and learning. In contrast, domain-general theories emphasise the generalisability of creative thinking across different domains (Hong and Milgram, 2020). The domain-general view is supported by personality studies, which suggest that there is a creative personality type (Martindale and Daily, 1996; Feist, 1998; Batey and Furnham, 2006) and evidence that when people express themselves in different creative domains, these outputs bear a recognisable style (Gabora et al., 2012). Attempting to address this issue, Root-Bernstein (2001) focused on scientists who had been musicians and on the ways that they had used their musical knowledge to inform their scientific work. Root-Bernstein argued that music and science are two ways of using a common set of tools for thinking that unify all disciplines. He explored the notion that creative individuals are usually polymaths who think in ways which cross disciplines. Increasingly, scholars are taking a less dichotomous view of creativity, which incorporates both domain-specific and domain-general elements (Kaufman and Baer, 2004b; Gabora, 2017). Some mechanisms for this cross-domain creativity have been suggested and tested in empirical studies: for instance, Palmiero and colleagues (2016; 2019). Even if creative individuals tend to express themselves in one domain, this does not necessarily mean that prior phases of their creative process are domain-specific. For instance, Root-Bernstein (2001) demonstrated how artistic ideas can stimulate creativity in scientists, while Scotney and colleagues (2019) demonstrated how influences for creativity can come from diverse sources. They conducted 225 9. Musicians and Creativity two studies—one with 151 creative experts recruited over the internet, the other with 463 undergraduate students from diverse academic backgrounds. Participants listed their creative outputs, the things that had influenced them and the sources of inspiration associated with each of these outputs. These were then categorised into groups: within subject domain and outside subject domain. In both studies, cross- domain influences on creativity were found to be widespread, and indeed more frequent than within domain sources of inspiration. These results demonstrate that, even if individuals primarily express their creativity in a single domain, they are often employing cross-domain thinking when they are engaged in creative activities. Neurological Studies of Creativity One strand of research has explored the neurological basis of creativity; for instance, Limb and Braun (2008) studied the neural substrates of spontaneous musical performance in jazz improvisation using functional MRI. They found that improvisation, compared to the production of over-learned musical sequences, was consistently characterised by a dissociated pattern of activity in the prefrontal cortex, and extensive deactivation of dorsolateral prefrontal and lateral orbital regions with focal activation of the medial prefrontal cortex. This may reflect a combination of the psychological processes required for spontaneous improvisation, in which internally motivated, stimulus-independent behaviours unfold in the absence of central processes that typically mediate self-monitoring and conscious volitional control of ongoing performance. Changes in prefrontal activity during improvisation were accompanied by widespread activation of neocortical sensorimotor areas that mediate the organisation and execution of musical performance, as well as deactivation of limbic structures that regulate motivation and emotional tone. This distributed neural pattern may provide a cognitive context that enables the emergence of spontaneous creative activity. Similarly, Liu and colleagues (2012) used functional MRI to study the neural correlates of creativity using freestyle rap, a multidimensional form of creativity at the interface of music and language. Participants were scanned while they performed two tasks, each of which used an identical 226 The Power of Music eight-bar musical background track, a spontaneous, improvised freestyle rap and a conventional performance of an overlearned, well-rehearsed set of lyrics. Task contrast analyses indicated that improvised performance was characterised by dissociated activity in medial and dorsolateral prefrontal cortices, providing a context in which stimulus-independent behaviours may unfold in the absence of conscious monitoring and volitional control. Connectivity analyses revealed widespread improvisation-related correlations between the medial prefrontal, cingulate motor and perisylvian cortices, and the amygdala, suggesting the emergence of a network linking motivation, language, affect and movement. Lyrical improvisation appeared to be characterised by altered relationships between regions coupling intention and action, in which conventional executive control may be bypassed and motor control directed by cingulate motor mechanisms. These functional reorganisations may facilitate the initial improvisatory phase of creative behaviour. Freestyle rap was compared to conventional rehearsed performance, using functional magnetic resonance imaging. The results showed activation of medial and deactivation of dorsolateral cortices, which may provide a context in which self-generated action is freed from the conventional constraints of supervisory attention and executive control, facilitating the generation of novel ideas. Altered relationships within the prefrontal cortex appeared to have widespread functional consequences, affecting motivation, emotion, language as well as motor control. These may generalise to other forms of spontaneous creative behaviour. Gibson and colleagues (2009) compared classical music students with other similar students on behavioural tasks using near infrared spectroscopy, which uses the near infrared region of the electromagnetic spectrum from 780 nm to 2500 nm. The findings showed that the musicians had increased convergent and divergent thinking compared with non-musicians, while the infrared spectroscopy revealed that they had greater bilateral frontal activity. It may be that non-musicians rely more on the left hemisphere when undertaking divergent thinking than musicians. Using fMRI de Aquino and colleagues (2019) found that there was a different role for the supplementary motor area and the insula between musicians and non-musicians in a controlled musical creativity task. During a rhythmic improvisation task, musicians 227 9. Musicians and Creativity showed greater activation of the motor supplementary area, the anterior cingulate cortex, the dorsolateral prefrontal cortex and the insula, along with greater deactivation of the default mode network in comparison with non-musicians. There was also a positive correlation between time improvising and the activation of the supplementary motor area in the musicians, while in the non-musicians improvisation time correlated with the activation of the insula. It appears that for musicians the supplementary motor area plays a role in the representation and execution of musical behaviour, while for non-musicians the insula plays a role in the processing of novel musical information. The findings also showed that there were no correlations between a general creativity score, brain activity and performance on the magnetic resonance task. The absence of these correlations suggests that musical creativity, both from a cerebral and behavioural point of view, is specific to the musical field, and not related to creativity capacities in more general domains. Correlational and Comparative Research on Musicians One strand of research has compared the performance of musicians and non-musicians on tests of creativity. For instance, in research with higher education musicians and engineers, Charyton and Snelbecker (2007) found that the musicians scored higher on general and artistic creativity, but that there were no significant differences in scientific creativity. The musicians had statistically higher levels of measured general creativity, creative attributes, creative temperament, and cognitive risk tolerance. Similarly, Gibson and colleagues (2009) compared classical music students with other similar students. The musicians scored higher on creativity tasks, including a version of Guilford’s (1967) alternative uses task, than non-musicians, while infrared spectroscopy revealed greater bilateral frontal activity in the musicians. Palmiero and colleagues (2019) studied the relationship between musical expertise which did not involve improvisation training, and divergent thinking. Expert and self-taught musicians were tested in musical, verbal and visual divergent thinking, and were compared with a group of non-musicians in verbal and visual divergent thinking. The musical task required participants to generate different pieces of music, using Happy Birthday as a starting point. The verbal task 228 The Power of Music required participants to list unusual uses for a cardboard box, while the visual task asked them to complete drawings, adding details to basic stimuli. Fluency, flexibility and originality scores were measured for each task. Overall, the expert musicians showed higher creative scores in musical and verbal domains than self-taught musicians. On verbal creative tests, they performed better than non-musicians. No group difference was found in relation to the visual creative task. Musical expertise enhanced not only musical divergent thinking but also verbal divergent thinking. This effect seemed to be specifically supported by formal musical training. Similarly, Sovansky and colleagues (2014) investigated how level of musical expertise and engagement in the creation of music related to divergent thinking in musically trained adults. Sixty participants of varying musical expertise were tested for divergent thinking using a modified version of the alternative uses task, in which participants listed creative uses for two music items and two non-music items. The findings showed that the musicians who created music listed more creative uses for music items than non-musicians, and musicians who did not create music. For non-music items, there were no differences in divergent thinking. Kleinmintz and colleagues (2014) adopted a different approach, comparing the performance on divergent thinking tasks of three groups of musicians—36 trained in improvisation, 40 not trained in improvisation and a group of non-musicians. Participants were shown a list of five common objects—shoe, button, stapler, drinking glass and cardboard box—and were asked to list as many alternative uses as possible for each object within a period of ten minutes, while trying to think of original uses. Participants were also instructed to evaluate deviance by rating each item on a five-point rating scale, ranging from not at all deviant to highly deviant. The improvisation group scored higher on fluency and originality compared to the other two groups. The authors concluded that deliberate practice of improvisation enhanced creativity. In the non- improvisation group, all of the participants reported playing classical music as well as other styles. The improvisation group was much more diverse in the styles they played, with more than a quarter reporting playing jazz. The findings of this study suggested that musicians who are trained in improvisation are more creative than both musicians without improvisation training and non-musicians. 229 9. Musicians and Creativity High school and university music students have been shown to score higher on tests of creativity than non-music majors, this being particularly marked in those with more than ten years of music education (Hamann et al., 1990). Hamann and colleagues (1991) assessed creativity among 144 high-school students to determine whether any significant differences existed between creativity scores, taking account of gender, grade point average and varying degrees of participation in the arts. No significant differences were found among the creativity scores of participants by gender, jazz experience, visual art experience or combined arts experience. Almost all of the variation could be attributed to the influence of grade point average. Significant creative mean score differences, however, were found in relation to participants’ musical experience and theatre experience after the influence of grade point average as a covariate was considered. There were no differences between music students and those working in other areas of the arts. However, the greater the musical expertise as assessed by the number of units of music classes taken, the greater the creativity. Students with more than ten years of music education had higher creativity scores than those with fewer than ten years of experience (Hamann et al., 1991). Working with 173 high-school music students and 45 non-music students, Simpson (1969) found that the music students scored higher on several elements of the Guildford tests of creativity. Working with younger children in Grades Two, Four and Six, Kiehn (2003) compared music improvisation. Eighty-nine randomly selected participants were given two measures of creativity: the Vaughan Test of Musical Creativity and the Torrance Test of Creative Thinking. Two independent judges scored responses on the Vaughan test to determine music improvisational creativity. A significant grade-level difference emerged for music creativity scores, with Grade Two students scoring significantly lower than Grade Four and Six students. This suggests that there may be a musical creativity growth stage between Grades Two to Four, followed by a levelling off, as there were no significant changes in test scores between Grade Four and Six. A weak but statistically significant correlation was found between music creativity and figural creativity.230 The Power of Music The Personality of Musicians and Creativity Domain-general theories of creativity emphasise the generalisability of creative thinking across different domains, suggesting that creativity can transfer across domains (Hong and Milgram, 2010). Personality research supports this, suggesting that there may be a creative personality type (Batey and Furnham, 2006; Feist, 1998; Martindale and Daily, 1996). Additionally, when individuals express themselves in different creative domains, the outputs often have a recognisable style (Gabora et al., 2012). Hughes and colleagues (2013) studied the relationship between personality and self-rated creativity in 222 participants who completed a multidimensional measure of self-estimated creativity, a self-rated personal characteristics questionnaire and a Big Five personality measure. Trait openness predicted all measures of self-estimated creativity. Similarly, Dollinger and colleagues (2004) studied the relationship between personality measures and creativity in 150 college students who completed a test of creative thinking, an inventory of past creative accomplishments and the Big Five personality test. A creative personality adjective check list related to most creativity measures, as did the Big Five ‘ openness to experience’ measure. The findings from the latter were particularly compelling. Together, these studies suggest that there is a general personality characteristic which is related to creativity. Some research has shown that musicians tend to have personalities with high levels of openness to experience, which means that they have the potential to be creative. Supporting this, Corrigall and colleagues (2013), in a study of 118 adults and 167 ten- to twelve-year- old children, collected demographic information, measured aspects of cognitive ability and administered the Big Five personality test. The findings showed that the personality characteristic ‘ openness’ was associated with duration of musical involvement. Exploring this issue with different types of musicians, Benedek and colleagues (2014) researched 120 college students studying jazz, classical or folk music. They collected data about their musical practice and attainment, and their personalities. The jazz musicians showed higher levels of divergent thinking, were engaged in more creative musical activities and had higher levels of achievement in those activities. The classical musicians spent a great deal of time practising and won more competitions, while 231 9. Musicians and Creativity the folk musicians were more extroverted. The jazz musicians showed higher ideational creativity as measured by divergent thinking tasks, and tended to be more open to new experiences than the classical musicians. Overall, the jazz musicians showed particularly high creativity with respect to domain-specific musical accomplishments and also in terms of domain-general indicators of divergent thinking ability. This may be related to differences in the formal and informal ways of practising and learning adopted by different musical groups, with jazz musicians attaching more importance to informal practice while placing a lower value on technical perfection and competitions. It may be that individual differences in creative potential may be relevant for the realisation of domain-specific creative activities and achievements (in this case, musical improvisation). As well as researching personality differences between sub-groups of musicians according to types of employment and instrument group, Vaag and colleagues (2018) investigated differences in personality traits between professional musicians and the general workforce. In 2013, 1,600 members of the Norwegian Musicians’ Union answered a questionnaire regarding type of employment, instrument group and a shortened version of the Big Five personality inventory. Their responses were compared to a sample of 6,372 of the general Norwegian workforce, who answered the same personality questionnaire in the Norwegian Generation and Gender Survey of 2007. The findings showed that the musicians displayed higher degrees of ‘ openness to experience’ than the general workforce. This was especially evident among freelance musicians and those who combined freelance work with employment. Within instrument groups, the vocalists scored highest on ‘ openness to experience’. Similarly, Gjermunds and colleagues (2020) investigated the Big Five personality traits in 509 musicians and 201 non-musicians, and found that the musicians had significantly higher scores on ‘ openness’ than the non-musicians. This was the most typical personality trait for musicians. Focusing on rock and popular musicians, Gillespie and Myors (2000) examined the personality characteristics of 100 rock and popular musicians aged 17 to 49 years old who completed self-report versions of a personality inventory and questionnaires about their musical background. The group as a whole scored significantly above the norm on ‘ openness’. No background factors—such as instrument played, 232 The Power of Music type of music performed, time spent playing, level of musicianship or commercial success—moderated these findings. Yondem and colleagues (2017) compared music and art students, and found no differences between the groups in ‘ openness’, while Sandgren (2018) found that musicians did not score more highly on measures of ‘ openness’ than non-musicians. Intervention Studies Major national reports on the arts have emphasised their importance in developing a range of transferable skills, including those related to creativity and critical thinking (NACCCE, 1999). This evidence, while demonstrating a relationship between musical skills and creativity, does not address the issue of causality. This requires intervention research, where controls are compared with those participating in musical activities before and after the intervention. There are few intervention studies focusing on the impact of active music-making on general measured creativity. In an early study, Wolff (1979) studied the effects of 30 minutes of daily music instruction for an entire year on first-graders. Those participating exhibited significant increases in creativity and in perceptual motor skills, compared with controls. Similarly, Kalmar (1982) studied the effects of singing and musical-group play twice weekly for three years on preschool children of three to four years of age, and found that these children scored higher than controls on creativity, had higher levels of abstraction and showed greater creativity in improvised puppet play. Passanisia and colleagues (2014) conducted a study to determine whether participation in a group musical activity would enhance interpersonal relationships and creativity in nine-year-old students to a significantly greater degree than no participation in musical activities. Performances on the Williams Creative Thinking Test (WCTT) and a test of interpersonal relationships in two class groups—a musical group of 36 and a non-musical group of 32—were compared by measuring changes in pre- and post-test data. The results indicated that the experimental group, compared with the control group, made significant gains in scores for imagination and in interpersonal relationships, particularly with peers. Focusing on improvisation, Lewis and Lovatt 233 9. Musicians and Creativity (2013) carried out two experiments and showed that 20 minutes of verbal or musical improvisation significantly improved scores of divergent thinking, as assessed by the alternative uses task. They also showed that novel generation of music increased scores more than playing learned melodies. The development of creative skills seems to be particularly dependent on the type of musical engagement. This is supported by Koutsoupidou and Hargreaves (2009,) who compared two matched groups of six-year-olds over a period of six months. The music lessons for the experimental group were enriched with a variety of improvisatory activities, while those in the control group did not include any improvisation, but were didactic and teacher-centred. Children in the experimental group were offered opportunities to experience improvisation through their voices, their bodies and musical instruments. Webster’s Measure of Creative Thinking in Music was administered before and after the six-month teaching programme, to assess children’s creative thinking in terms of four musical parameters: extensiveness, flexibility, originality and syntax. The analysis revealed that improvisation significantly improved the development of creative thinking. In particular, it promoted musical flexibility, originality and syntax in children’s music-making. Similarly, Sowden and colleagues (2015) focused on the potential for simple, arts-based improvisation activities to enhance divergent thinking skills and creativity in primary- school-aged children. They undertook two experiments. In the first, they compared the effect of children taking part in an improvised versus non- improvised dance class on their subsequent performance on the instances task and on a creative toy design task. In the second experiment, children took part in verbal and acting improvisation games or in matched control games before completing a figural activity. In both experiments, children who took part in the improvisation interventions showed better divergent thinking and creativity. Fritz and colleagues (2020) attempted to see if making music and physical exercise combined would be beneficial for divergent thinking. They investigated the relationship of physical exertion and being in control of music on divergent thinking, wondering whether there was an interaction effect. Seventy-seven young German participants were tested with measurements of divergent thinking, collected after either physical exercise with music listening, making music without 234 The Power of Music physical effort or undertaking physical exercise with musical feedback. In the music feedback exercise condition, each exercise machine was modified with a movement sensor, which continually transmitted its position to a computer that modified musical material to create musical feedback (Fritz et al., 2013b) based on the current position of the sensor. This effectively transformed each machine into an analogue for a musical instrument. The music produced included harmonically and rhythmically complex components and was described as experimental electronic music. Participants completed three questionnaires assessing demographic information: an alternative uses task, perceived musical control, mood and feelings of being in touch with the music, and perceived creativity. The experiment demonstrated that the music feedback exercise condition significantly increased the participants’ scores in the alternative uses task. No effects on divergent thinking were observed for the physical exercise with music listening and music control-only conditions. Investigating whether background music would have an impact on creative performance, Ritter and Ferguson (2017) tested whether listening to specific pieces of music (four classical music excerpts systematically varying on valence and arousal), as compared to a silence control condition would facilitate divergent and convergent creativity. Creativity was higher for participants who listened to classical music which was high on arousal and positive mood while performing a divergent creativity task, than for participants who performed the task in silence. No effect of music was found for convergent creativity. Creativity in Later Life There is much research considering the impact of creative musical activity on wellbeing in later life. Despite this, there is relatively little research considering whether engaging with musical activities specifically enhances creativity more generally. An exception to this is research which has studied song-writing activities. Such studies have reported a range of positive findings relating to wellbeing (Creech et al., 2020). Baker and Ballantyne (2013) found that group song-writing among older adult retirees not only promoted happiness, meaningfulness and engagement, but was perceived to enhance their creativity more broadly. 235 9. Musicians and Creativity Although musical creativity can continue throughout the lifespan, it can also develop for the first time in later life. For instance, Varvarigou and colleagues (2013) reported that a 90-year-old with no previous musical training participating in a community music project wrote a song with support from a musical expert, which was subsequently performed publicly. Reviews and Meta-Analyses Compared with other areas of research, there have been relatively few reviews relating to the role of music in enhancing creativity. Running (2008) drew no firm conclusions, concluding that more research was needed, while Loui and Guetta (2019) argued that music performance requires perceptual processing ( bottom-up and top-down), attention and the integration of executive functions, while creativity entails unconstrained thought processes that yield novel output. They argued that considering these seemingly disparate aspects of cognitive function in tandem might promote a more cohesive conceptualisation of music within cognitive science more generally. Overview The evidence shows that musicians as a whole tend to score higher than non-musicians on tests of creativity and on the personality characteristic of ‘openness’, which is related to creativity. Those whose musical activities are creative, for instance improvisation or composition, tend to respond most positively. However, this does not mean that actively engaging with music enhances creativity. It may be that those who tend towards openness are drawn to those musical activities which require creativity. There is little evidence from intervention research suggesting that making music improves creativity, unless the musical activities themselves are creative in nature. This has implications for music education.10. General Attainment There has been considerable research exploring the relationship between actively making music and academic attainment. Most has been correlational in nature, although there are some intervention studies. Researching the impact of musical activity on academic attainment is extremely challenging for a range of reasons. For instance, it may be that not all areas of academic achievement are affected equally by the various ways that music may impact on learning in children and young people. Interactive models are needed to begin to unravel the complexity. One such is Bronfenbrenner’s bio-ecological model (Bronfenbrenner and Morris, 2006). This takes account of the interactions between process, person, context and time. In the case of music, this means considering the length of time engaged with music learning, the demands of the musical training, the characteristics of the individual, the immediate learning environment and the broader social environment which the individual inhabits. Research must also take account of the different types of attainment outcomes, general attainment or attainment in particular, subject domains and the nature of the musical activities engaged with and their quality. This implies the need for complex statistical analysis, which can take account of the interactions between these. Earlier chapters have explored the impact on literacy and numeracy and visual and auditory competence. This chapter mainly focuses on attainment across several subjects. Correlation and Comparative Studies Kinney (2008) examined sixth- and eighth-grade urban middle-school students’ achievement test scores in fourth grade and during sixth- or eighth-grade enrolment in a performing group. Ensemble participation, band, choir or none, as well as socioeconomic status and home © 2022 S. Hallam & E. Himonides, CC BY-NC-ND 4.0 https://doi.org/10.11647/ OBP .0292.10238 The Power of Music environment, were included. Fourth- and sixth-grade achievement tests consisted of reading, mathematics, citizenship and science, while eighth- grade tests included reading, mathematics, social studies, science, and language arts (reading, writing, listening, speaking, viewing and visual representation). Analyses indicated significant differences for socioeconomic status and ensemble participation. Higher socioeconomic status students scored significantly higher on all subtests except fourth-, sixth- and eighth-grade reading. Sixth-grade band students scored significantly higher than choir students and non-participants on every subtest of sixth- and fourth-grade achievement tests. Eighth-grade band students scored significantly higher than non-participants on fourth- grade reading and mathematics and every subtest of the eighth-grade achievement test except social studies. Similar results for both cohorts suggested that playing in a band may attract higher achieving students from the outset, and that test score differences remained stable over time rather than being enhanced by musical activities. In India, Swaminathan and Gopinath (2013) examined the English second-language abilities of musically trained and untrained primary- school children. Participants were tested on the verbal subscales of an intelligence test designed for Indian children and an English word reading test. The musically trained participants performed significantly better on tests of comprehension and vocabulary. This persisted when comparisons were made with an untrained group. Taking account of more academic subjects, in Hong Kong, Tai and colleagues (2018) investigated the relationship between the extent and outcome of Hong Kong students’ musical training, their perceptions of the value of the subjects they studied and their academic achievement. A total of 286 students in Primary Grades Four, Five and Six from a single school reported the extent and outcome of their musical training, including the number of instruments they studied, the number of years spent training and the highest grade and level achieved. The findings showed that music training positively predicted academic achievement in Chinese, English and mathematics. Similarly, Yang and colleagues (2014) examined the relationship between long-term music training and child development based on 250 Chinese elementary school students’ academic development of first and second language and mathematics. The findings showed that musician children outperformed non-musician children only on musical 239 10. General Attainment achievement and second-language development. Although music training was correlated with children’s final academic development of first and second language and mathematics, it did not independently contribute to the development of first language or mathematical skills. Focusing on attainment across all school subjects, Wetter and colleagues (2009), in a retrospective study, compared the school performance of 53 children engaged in active music-making with 67 controls not engaged in music-making. Overall average marks, as well as the average marks of all school subjects except sport, were significantly higher in children who actively engaged in making music than those who did not. In a multiple regression analysis, musical training, parents’ income, and educational level correlated significantly with overall average marks. A slight decrease in overall average marks over four years from Grades Three to Six was found in the control group, while musical training appeared to help maintain school performance at a high level over time. Schellenberg (2006) studied the relationship between music lessons, intelligence and academic performance in two studies. The first examined the relationship of music lessons to intelligence, academic achievement and social adjustment in six- to eleven-year-olds, while the second examined the association between childhood music lessons and academic achievement in 150 undergraduates. The findings showed music lessons were associated with academic achievement in both studies. Greater exposure to music lessons in childhood was associated with higher scores on a measure of academic achievement, higher elementary school and high school grade point average. These associations held even after taking into account parental education, family income and study participants’ involvement in non-musical out- of-school activities. In England, Hallam and Rogers (2016) drew on nationally available data on attainment at age 11 and 16 relating to 608 students, 115 of whom played a musical instrument to explore the impact of music training on academic progress between ages 11 and 16. The findings showed that the young people playing an instrument showed greater progress and better academic outcomes than those who did not. The impact was greater the longer a young person had been engaged in playing an instrument. The instrumentalists performed at nearly one standard 240 The Power of Music deviation better on almost all measures than those who did not play an instrument at age 16, despite there being negligible differences at age 11. Those who had been learning for four or five years had the best results. When multiple regression analyses were undertaken, length of time playing an instrument was a better predictor than attainment in English at age 11 to a total points score calculated across all examination subjects and the total number of points scored from performance in the best eight examinations at age 16. Playing an instrument made a statistically significant contribution to performance at age 16 across all measures. The musicians showed greater progress between the two examinations than non-musicians. Those who had been learning for the longest period of time made the greatest progress. Also considering the influence of music on progression over time, dos Santos and colleagues (2015) analysed the academic performance of music and non music students from seventh to ninth grade controlling for socioeconomic status, intelligence, motivation and prior academic achievement. Data were collected from 110 adolescents at two time points, once when the students were between eleven and fourteen years old in the seventh grade, and again three years later. The findings showed that music students performed better academically than non music students in the seventh grade and in the ninth grade. This difference was particularly evident in scores in Portuguese language and natural science. The difference was weaker in history and geography and least pronounced in mathematics and English. A longitudinal analysis revealed better academic performance by music students after controlling for prior academic achievement indicating greater progress between the two assessment points. This change remained when intelligence, socioeconomic status and motivation were controlled for. Not all of the research has had such clear cut results. For instance, Schneider and Klotz (2000) compared the impact of enrolment in music performance classes, band or choir, athletic extracurricular activities or no such activities on the academic achievement of 346 students in grades five through nine. The participating schools adopted a cross section of different types of music programmes. The results showed that although the mean scores for the musicians were higher than the non musicians and non athletes, participation in music was not a conclusive factor in predicting statistically higher academic scores than the other 241 10. General Attainment groups, although the musicians did score higher than the athletes and over time this gap widened. The findings indicated that factors other than enrolment in a performing music class affected the outcomes. The findings also indicated an overall drop in standardized test scores in the ninth grade for most students that was not seen for student musicians. Large-Scale Research A considerable amount of research has been based on large statewide or national datasets. The evidence from correlation studies in the USA has shown that students who participate in music education do better than their peers on many measures of academic achievement. For instance, using statewide data, Abeles (2007) reported that groups of second grade children who participated in a weekly violin programme having three lessons every two weeks outperformed non violin group controls in performance on mathematics and language arts tests. Morrison (1994) using data from the National Centre for Educational Statistics representing over 13,000 students showed that high school students who participated in music reported higher grades in English, mathematics, history, and science than those who did not participate. Similar outcomes have been reported by Cardarelli (2003), Fitzpatrick (2006) and Trent (1996). A number of doctoral theses have also supported these findings (Cobb, 1997; Gregory. 1988; Miranda, 2001; Schneider, 2000; Underwood, 2000; Zanutto, 1997). In China, Yang (2015) investigated whether music participation related to academic achievement within the context of representative population level data that adjusted for an array of socio demographic factors as well as early academic achievement. The impact of music practice on educational outcomes was analysed using multivariate regression and individual fixed effects. The findings suggested that childhood musical activity, either playing an instrument or singing, related positively to educational achievements in adolescence. The magnitude and significance of the estimated music coefficients for different music indicators was robust when increasing the amount of individual and family control variables but the size of the music estimates decreased when the effect of parental education, other leisure activities and previous educational achievements were held constant. 242 The Power of Music In the USA, Fitzpatrick (2006) studied 15,431 students attending Columbus public schools in Ohio and compared the performance on a statewide test of academic attainment of instrumental music students and their non instrumental classmates. The students were in fourth, sixth and ninth grades. Students of like socioeconomic status were compared on their performance on tests of citizenship, mathematics, science and reading. The findings showed that instrumental students outperformed non-instrumental students in every subject and at every grade level. Instrumental students at both levels of socioeconomic status had higher scores than their non-instrumental classmates from the fourth grade, suggesting that instrumental music programmes attracted higher scorers from the outset of instruction. However, the findings also showed a pattern of increased achievement by lower socioeconomic status instrumental students, who surpassed their higher socioeconomic status non-instrumental classmates by the ninth grade in all subjects. Similarly, Thorton (2013) conducted a statewide comparison of test scores for students involved in voluntary music classes or ensembles, and students not involved in such activities. Scores from almost 7,000 students in the three grades tested by the state (Grades Five, Eight and Eleven) were included. Significantly higher scores were found for students involved in music compared with students not involved. It would seem that the additional time spent in music activities did not disadvantage students academically. Also using statewide data, some research has focused on students who participate in statewide ensembles. For instance, Henry and Braucht (2007) found that the most successful young musicians in the USA who participated in statewide ensembles also had higher SAT scores than state averages. Southgate and Roscigno (2009), using two national data sets (ECLS-K (20,000 US kindergarten students) and NELS:88 (25,000 adolescents)) and three measures of music participation—in school, outside school and parental involvement in the form of concert attendance—found that music involvement varied systematically by class and gender. Involvement had implications for both mathematics and reading achievement for young children and adolescents, and associations between music and achievement persisted even when prior achievement was taken into account. There was evidence of social class variation within school music involvement in adolescents but not in early 243 10. General Attainment childhood, while the effects of class on parental music involvement were strong and consistent in both samples. As a mediator of educational outcomes, music involvement was significant for both mathematics and reading achievement. It generally increased achievement levels, although the gains were not distributed equally among all students: a white student advantage existed. This may relate to the type of musical activity engaged in and the opportunities afforded to the students for performance, which may contribute to enhanced self-esteem and increased motivation. Working with young children and their families in Australia, Williams and colleagues (2015) investigated parent-child home music activities in a sample of 3031 children participating in the programme Growing Up in Australia: The Longitudinal Study of Australian Children. Frequency of shared home music activities was reported by parents when children were two to three years old, and outcomes were measured by parent and teacher report and direct testing two years later (when children were four to five years old). A series of regression analyses controlling for sociodemographic variables found frequency of shared home music activities to have a small significant partial association with measures of children’s vocabulary, numeracy, book-reading and shared home music activities. Frequency of shared home music activities maintained small partial associations with measures of attention and numeracy. Not all of the evidence from large-scale studies has shown positive outcomes for music tuition; for instance, Elpus (2013) examined the college entrance examination scores of music and non-music students in the United States, drawing data from the Education Longitudinal Study of 2002 (a nationally representative education study). Analyses of high-school transcript data showed that 1.127 million students graduated high school having earned at least one course credit in music. Fixed effects regression procedures were used to compare standardised test scores of these music students with their non-music peers, while controlling for demography, prior academic achievement, time use and attitudes toward school. The findings indicated that music students did not outperform non-music students on standard assessment tests once systematic differences had been controlled for statistically. This pattern of results remained consistent and robust through internal replications with another standardised mathematics test, and when disaggregating 244 The Power of Music music students by the type of music studied. Similarly, Miksza (2007)— using data from National Education Longitudinal Study of 1988 and a sample of 5,335—created a composite item which assessed student participation in music for the entire duration of the study from eighth to twelfth grade, and measured academic achievement in mathematics, reading comprehension, science and social studies. There were significant differences for all subtests in the initial testing in favour of those who had participated in a band, choir or orchestra, but rates of change in mathematics, science or social studies were no greater for the music participants, and in reading achievement the music participants increased more slowly than non-participants. In a later study, Miszka (2010), using data from the Educational Longitudinal Study of 2002 and multilevel modelling, was able to take account of a wide range of individual factors including socioeconomic status, minority status, peer influence and music participation and school level factors, including the number of music teachers. Outcome variables were standardised mathematics scores, a composite community ethics score which included strong friendships, helping people in the community and working to correct social and economic inequalities, and a composite school commitment variable including late arrival, skipping class and absence from school. Music participation was related to all outcome variables after controlling for all individual and school-level factors. Students in high-school music ensembles were more likely to have higher standardised mathematics achievement scores, be more concerned about community ethics and be more committed to school. A study in Germany by Hille and Schupp (2013) used the German socioeconomic panel study longitudinal data to establish the impact of musical training on attainment. The database included a detailed assessment of the intensity and duration of music activities for representative youth cohorts, school results and allowed consideration of a wide range of parental characteristics. The findings on attainment at age 17, taking account of a wide range of individual and family characteristics, showed that children playing an instrument from age eight to seventeen who had taken lessons outside school scored one- sixth of a standard deviation higher than children not playing an instrument. Similarly, in Canada, Gouzouasis and colleagues (2007) found a positive relationship between music achievement in Grade 11 245 10. General Attainment and academic achievement in Grade 12 courses among a representative dataset comprising over 50,000 secondary school students in British Columbia. Taking account of prior attainment, and thus able to focus on progress, Guhn and colleagues (2020) carried out a multilevel mixed model analysis in British Columbia, Canada of 112,916 students in Grades Seven to Twelve. They compared the mean examination grades of 15,483 students who took school music courses, with 97,433 who took none. Across all courses, English, science and mathematics students who took school music courses had significantly higher raw mean examination grades than students who took no music courses. Mean differences ranged from 4.69 in English to 6.41 in science. Results from the multilevel model, after adjusting for previous academic achievement and socio demographic covariates, cultural background, and neighbourhood showed that exam grade means across all academic subjects were significantly higher for those who took music relative to students who took no music. The adjusted mean differences in grades ranged from 2.47 for English, to 3.76 for science. Comparisons were made between the type of music engagement, instrumental or vocal and academic achievement. Throughout secondary school, Grades ten to twelve the results indicated that differences between the examination means of students who took no school music and those who took school music significantly differed by the type of school music. A significant interaction for music participation, type of music, was observed for all outcomes, English in Grades 10 and 12, science in Grade 10, and mathematics in Grade 10. The students who took instrumental music courses had significantly higher examination mean scores than students who took vocal music courses, across all academic subjects. The instrumental versus vocal music differences in mean examination grades were particularly pronounced for mathematics and science in Grade 10, compared with English in Grades 10 and 12. Additionally, compared with students who took no music classes, students who took vocal music as well as students who took instrumental music had, on average, significantly higher examination means. The vocal music students had examination means that were between 0.80 and 1.40 higher than students who took no music. Students who took instrumental music had examination means that were between 3.10 in Grade 10 246 The Power of Music English and 5.11 in Grade 10 mathematics, higher than students who took no music. Grades in vocal and instrumental school music classes predicted academic achievement regression results, indicating significant and positive linear associations between grades in vocal, instrumental school music classes and academic grades, adjusting for covariates. The results indicated that associations of music grades with academic achievement examination scores significantly varied by type of school music (solely vocal or solely instrumental) as the interaction between music, grades and type of music was significant for all subjects, English at Grades 10 and 12, science at Grade 10 and mathematics at Grade 10. For vocal music, each one-unit increase in overall mean music vocal grade was associated with predicted increases in examination means in all subjects, ranging from 0.19 for English Grade 10 to 0.38 for mathematics Grade 10. Such associations between music grades and academic examination scores were significantly higher for overall mean instrumental music grades, with coefficients ranging from 0.26 for English Grade 10 to 0.50 for mathematics Grade 10. Higher levels of music engagement, as assessed by the number of courses taken, was related to higher examination scores in all subjects. This pattern was more pronounced for very high engagement in instrumental music, with medium effect sizes compared with vocal music where there were small effect sizes. The effect sizes of these group differences were greater than the effect sizes corresponding to average annual gains in students’ academic achievement during high school. In other words, highly engaged instrumental music students were, on average, academically over one year ahead of their peers. The positive relationships between music engagement and academic achievement were independent of students’ previous, Grade 7 achievement, sex, cultural background and neighbourhood socioeconomic status, and were of considerable magnitude. The findings suggest that multi-year engagement in music, especially instrumental music, may benefit high school academic achievement. Although the quality of the music teaching is clearly important in whether music has an impact on academic attainment, relatively little research has taken account of this. An exception is the work of Johnson and Memmott (2006), who studied 4,739 elementary and middle-school students from four states in the USA and showed a strong relationship 247 10. General Attainment between third- and fourth-grade students’ academic achievement and their participation in music programmes. Analysis of elementary school data indicated that students in exemplary music education programmes scored higher on both English and mathematics standardised tests than their counterparts who did not have this high-quality instruction, although the effect sizes were very small. Analysis of middle-school data indicated that for both English and mathematics, students in exceptional music programmes and deficient instrumental programmes scored better than those who had no music classes or poor-quality choral programmes. The effect sizes were moderate. Overall, the higher the quality of the programme, the higher the academic attainment. In the USA, exploring issues related to college entrance, Kaufman and Gabler (2004) assessed cultural capital and the extracurricular activities of girls and boys in the college attainment process using data from the National Education Longitudinal Survey. They aimed to assess the specific causal role these activities played in the college attainment process. The research examined extracurricular activities in relation to two different levels of college attainment: enrolment in any four-year college or university, and enrolment in one of the nation’s elite, or most selective universities. They found that, at the general college level, hands-on training in the arts appeared to improve students’ chances of going to college by enhancing their human capital but not their cultural capital. In contrast, direct exposure to the arts did not appear to improve students’ chances of going to an elite college, although having parents who were interested in the arts did. Research with Disadvantaged Populations Evidence from El Sistema and Sistema -inspired projects has indicated a positive impact of participating in musical activities on attainment. In the UK, where the programme is based in schools in deprived areas, Smithhurst (2011) reported that after one year of participation in the programme, children in Years One to Four in one school were achieving better scores in mathematics, reading and writing compared with their peers who were not involved. Ninety percent of the children were reaching target grades in maths compared with 68 percent not involved in the programme. Similar trends were evident in reading, with 85 248 The Power of Music percent of programme children reaching target grades compared with 62 percent not in the programme, and in writing, 65 percent compared with 45 percent. Burns and Bewick (2011) reported that after two years of participating in the programme where children engaged with music for 4.5 hours per week, 43 percent of the children had progressed more than four levels in maths, 53 percent in reading and 42 percent in writing compared with a national average of three levels, despite the fact that the participants included a high proportion of children with special educational needs. However, the rate of improvement slowed as participation continued. In a programme in Chile, Egaña de Sol (2008) showed a positive effect on academic attainment in verbal and mathematics skills. This was attributed in part to participants holding higher expectations of their academic achievements, although evaluations of other programmes in Chile had mixed results, with some programmes having positive results and others no impact (Evaluación de impacto programa prequestas juveniles e infantiles, 2010). Programmes in the USA have indicated increased academic attainment as an outcome of participation, with more children achieving roll of honour status, particularly where children participated for an extended period of time (Creech et al., 2013). Creech and colleagues (2013), in their review of El Sistema and Sistema -inspired programmes, concluded that, with few exceptions, the studies demonstrate significant and steady improvement in academic attainment and achieving targets and, in some cases, outperforming comparison groups in maths, reading and writing. There is some evidence that these effects may be cumulative, related to prolonged engagement in the programmes (page 67). Intervention Research Most of the research exploring the links between participation in musical activities and attainment has been based on correlation analysis, which precludes the demonstration of causality, particularly as there are many possible confounding factors. There is also the possibility that music programmes may attract students who are already amongst the highest attaining (Arnett-Gary, 1998; Costa-Giomi, 2012; Harrison, 1990; Hodges and O’Connell, 2007; Klinedinst, 1991; Schellenberg, 249 10. General Attainment 2014; Shobo, 2001; Yoon, 2000). Overall, the evidence from correlation studies has shown that students who participate in music education tend to do better than their peers on many measures of academic achievement, although there are exceptions. To demonstrate causality requires intervention studies. There have been a small number of experimental studies on the effects of participation in music on general attainment. The findings have been mixed. Several small-scale doctoral theses have focused on this issue, including Hoffman (1995). Legette (1993) found no effect of music instruction, while Hines (2000), studying students with learning difficulties from kindergarten through to ninth grade, found neither reading nor mathematics achievement was affected by type of music instruction, motoric or non- motoric. In another small-scale study, Cabanac and colleagues (2013) compared the performance of students who participated in a music programme in a single school in Canada with those who did not and found that the music students had consistently higher attainment in all subjects. Merh and colleagues (2013) conducted two random controlled trials with preschool children investigating the cognitive effects of a brief series of music classes, as compared to a similar but non-musical form of arts instruction, visual arts classes or a no-treatment control. Consistent with typical preschool arts enrichment programmes, parents attended classes with their children, participating in a variety of developmentally appropriate arts activities. After six weeks of classes, children’s skills in four distinct cognitive areas were assessed, in which older arts trained students had been reported to excel, spatial navigational reasoning, visual form analysis, numerical discrimination and receptive vocabulary. The findings showed initially that children from the music class showed greater spatial navigational ability than children from the visual arts class, while children from the visual arts class showed greater visual form analysis ability than children from the music class. However, a partial replication attempt comparing music training to a no-treatment control failed to confirm these findings, while the combined results of the two comparisons were negative. Overall, children provided with music classes performed no better than those with visual arts or no classes on any assessment. Holochwost and colleagues (2017) examined whether music education was associated with improved performance on measures 250 The Power of Music of academic achievement and executive functions with 265 school aged children in Grades 1 through 8. Fifty-eight percent were female, and 86 percent African-American. They were selected by lottery to participate in an out-of-school programme offering individual and large ensemble training on orchestral instruments. Measures of academic achievement, standardised test scores and grades in English language arts and mathematics were taken from participants’ academic records. Executive functions were assessed through students’ performance on a computerised battery of common executive function tasks. The findings indicated that, relative to controls, students in the music education programme scored higher on standardised tests, earned better grades in English language arts and mathematics, and exhibited superior performance on selected executive function tasks and short-term memory. Further analyses revealed that, although the largest differences in performance were observed between students in the control group and those who had received the music programme for two to three years, conditional effects were also observed on three executive function tasks for students who had been in the programme for one year. Wallick (1998) examined the effects of a pullout string programme on student achievement in the writing, reading, mathematics, and citizenship sections of the Ohio Proficiency Test. One hundred and forty-eight fourth-grade string students and 148 fourth-grade non- string students from a southwestern Ohio city school district were ability-matched according to their performance on the verbal section of a cognitive abilities test. Scores on the Ohio Proficiency Test were then recorded and compared. The results revealed a significant difference in favour of the string students’ achievement in reading and citizenship, although there were no significant differences between the two matched groups in writing or mathematics. Also in the USA, Barr and colleagues (2002) described a programme for the improvement of listening skills in order to increase academic performance. The sample consisted of elementary students in a middle-class community. The problem of ineffective listening skills was documented through data, revealing the number of students whose lowered academic performance was thought to be because of a deficiency in listening skills. Staff reported that students’ weaknesses in effective listening skills negatively impacted on their academic performance. Three major categories of intervention 251 10. General Attainment were adopted: the direct teaching of effective listening skills, student ownership of self-monitoring, and the effects of using music in the classroom. Over the 16-week period of the interventions, the students showed a notable improvement in academic achievement. Adopting drama as a comparison group, Haywood and colleagues (2015) evaluated the Act, Sing, Play programme which offered music and drama tuition to Year Two pupils. The aim of the programme was to evaluate whether music workshops had a greater impact than drama workshops in terms of pupils’ mathematics and literacy attainment. The programme ran for one academic year; 909 pupils participated in 19 schools in England. In each participating Year Two class, pupils were randomly allocated to one of three groups: violin or cello workshops, singing lessons or drama workshops. Workshops were held once a week over 32 weeks. The findings provided no evidence that the music workshops had a greater impact on maths or literacy attainment than the drama workshops. This also applied to children from disadvantaged families. An unusual study was undertaken by Schiltz (2016), who researched 93 highly gifted children and adolescents suffering from school failure at the beginning of adolescence. They were treated with an integrated form of music psychotherapy and verbal psychotherapy in five separate groups. The treatment combined active musical improvisation with the writing of stories, or the production of drawings induced by music, followed by verbal elaboration in the cognitive psychodynamic psychotherapeutic tradition. A meta-analysis of the confirmatory results in five subgroups showed a significant increase in concentration and in school marks. Reviews and Meta-Analyses Over the years, there have been several reviews of the impact of engagement with music on academic attainment (Arnett-Gary, 1998; Costa-Giomi, 2012; Hodges and O’Connell, 2007; Schellenberg, 2014; Shobo, 2001; Yoon, 2000). These and those undertaken more recently (Benz et al., 2016; Dumont et al., 2017; Sala and Gobet, 2017) have discussed the challenges and limitations of the research and offered explanations for the variability of the empirical findings. The complexity 252 The Power of Music of musical activities and their potential to affect children’s social, emotional and cognitive experiences together have made it challenging to formulate theoretical frameworks that account for the wide range of empirical findings. Miendlarzewska and Trost (2014) synthesised a large body of studies, demonstrating that the benefits of musical training extended beyond the skills which music aims to train, which then last into adulthood. They argued that children who undergo musical training have better verbal memory, second language pronunciation accuracy, reading ability and executive functions. Learning to play an instrument as a child may even predict academic performance and IQ in young adulthood. In addition, the degree of observed structural and functional adaptation in the brain correlates with the intensity and duration of practice. The effects on cognitive development depend on the timing of musical initiation as well as other moderating variables. They suggest that motivation, reward and the social context of musical education are important yet neglected factors which affect the long-term benefits of musical training. They propose the notion of rhythmic entrainment as a mechanism which may support learning, the development of executive functions and temporal processing/orienting of attention in time, which may underlie enhancements observed in reading and verbal memory. Overall, they conclude that musical training uniquely engenders near- and far-transfer effects, preparing a foundation for a range of skills thus fostering cognitive development. Winner and Cooper (2000) quantified the results of existing research from 1950 to 1998, conducting five meta-analyses of studies assessing the effects of arts education on academic achievement. The studies examined the effects of the arts in general rather than specific art forms (for instance, music or dance). The researchers found evidence for a positive relationship between arts education and academic achievement, but found no increase in verbal or mathematics achievement. Sala and Gobet (2017) undertook two meta-analyses assessing the effect of chess and music instruction on children’s cognitive and academic skills. A third meta-analysis evaluated the effects of working memory training. The findings showed that the effect sizes from the studies were inversely related to the quality of the experimental design. This pattern of results cast serious doubts on the effectiveness of chess, 253 10. General Attainment music and working memory training. In a later review, Sala and Gobet (2018) presented a meta-analysis of music intervention studies with 3,780 children and found only a small overall effect size. When active controls were implemented, the effect was practically null. An even later review revealed similar findings (Sala and Gobet (2020). The analysis of data from 6,984 children showed that once the quality of study design was controlled for, the overall effect of music training programmes was null and highly consistent across studies. Small statistically significant overall effects were obtained only in those studies implementing no random allocation of participants and employing non-active controls. They concluded that music training was ineffective regardless of the type of outcome measure (verbal, non-verbal, speed-related, the participants’ age, or the duration of training). They concluded that researchers’ optimism about the benefits of music training was empirically unjustified and stemmed from misinterpretation of the empirical data and, possibly, confirmation bias. Also adopting a meta-analytic approach, Gordon and colleagues (2015) considered the impact of music engagement on reading with studies that included music training and control groups, pre- and post-comparison measures, and an indication that reading instruction was constant across groups. Thirteen studies were identified including 901 children. Two classes of outcome measures emerged with sufficient overlap to support meta-analysis: phonological awareness and reading fluency. Hours of training, age and type of control intervention were examined as potential moderators. The results supported the hypothesis that music training led to gains in phonological awareness skills. The analyses revealed that transfer effects for rhyming skills tended to grow stronger with increased hours of training. In contrast, no significant aggregate transfer effect emerged for reading fluency measures, although some studies reported large training effects. Explanations for the Research Findings Many different explanations for the mixed research findings have been proposed. Some have suggested that the changes that music participation has on the brain are responsible for a range of cognitive and academic benefits. Other explanations relate to enhanced executive functions, the length and types of programme and their quality, and the 254 The Power of Music personality characteristics and motivation of participating children and young people. Neurological Studies The kinds of skills gained through learning to play an instrument— including auditory, audiation, reading and executive skills on different instruments (for example, keyboard, string, percussion and wind instruments) have been shown to impact on the auditory and motor regions of the brain (Hyde et al., 2009). As discussed in earlier chapters, music processing and playing instruments are related to activity in many different areas of the brain (Gaser and Schlaug, 2003; Koelsch et al., 2005; Koelsch and Siebel, 2005). Musicians, compared to non-musicians, tend to have enlarged structures in parts of the brain, for instance the left planum temporale and the cerebellum (Gaser and Schlaug, 2003; Hutchinson et al., 2003; Schlaug et al., 1995a; 1995b). These changes have been suggested to have implications for cognitive functions (Chan et al., 1998; Ho et al., 2003). A number of studies have shown structural differences in grey matter and white matter in children who engage in music, particularly in early childhood compared with those who do not (Fernandez, 2018; Groussard et al., 2014; Habibi et al., 2018; Huotilainen and Tervaniemi, 2018; Pantev and Herholz, 2011). Benner and colleagues (2017) found that Heschl’s gyrus multiplications occurred much more frequently in musicians than in the general population and constituted a functional unit with Heschl’s gyrus, while Schneider and colleagues (2002, 2005) observed that increases in grey-matter volume in the Heschl’s gyrus (HG) of musicians, as compared with non-musicians, were linked with greater musical aptitude and audiation (Gordon, 1979; Gouzouasis, 1993). Audiation involves complex internal musical processing, memory and anticipation; and these cognitive processes overlap with executive functions. Some research has reported neural changes alongside significant differences in associated reading skills, sound processing skills and speech (Chobert et al., 2014; Moreno et al., 2009; Trainor et al., 2012). While the structural changes observed in the brain may impact on enhanced cognitive processes which lead to enhanced academic attainment, not all of the evidence supports this. The research findings are mixed (Dumont et al., 2017; Gordon et al., 2015; Jaschke et al., 2013; Sala and Gobet, 2017; 2020). 255 10. General Attainment Adding to the complexity of understanding the findings from the research on the impact of music on attainment, Schlaug (2001) and Tervaniemi (2009) point out that, in the research, musicians have been treated as a unified group, as if the demands of their musical activities are equal in terms of perceptual, cognitive and motor functions. This is clearly not the case. They are differentiated in terms of the instrument that they play, the musical genre that they engage with, as well as their approach to practice. As we saw in Chapter 1 , the neuroscientific evidence has shown differences between musicians in the parts of the brain which develop in response to their musical activities. This diversity has generally not been taken into account in the research on general attainment. Length of Engagement with Music Several studies have shown that, the longer the engagement with music, the greater the impact on attainment—for instance, Catterall (2000), Corrigal and colleagues (2013), Hallam and Rogers (2016) and Schellenberg (2006; 2019). Despite this, some authors have described changes observed in participants after only one month. In several studies, the effects were largest after two to three years (Holochwost et al., 2017) or only observed after two or more years of learning music (Holmes and Hallam, 2017; Schneider and Klotz, 2000). Overall, most of the evidence suggests that the longer the programme, the greater the impact (Corrigall et al., 2013; Degé et al., 2011a; Hetland, 2000). The time and intensity of programmes have also been pointed out as important (Habibi et al., (2014). Learning to play an orchestral or band instrument to a high level of expertise involves cumulative learning, with students typically beginning to learn at an early age and putting in many hours of practice. To become a professional musician takes years of dedicated work. During this process, perceptual, cognitive and motor skills are refined to enable musicians to undertake the complex tasks required for solo and ensemble work. Intervention studies cannot mirror this level of engagement, and the subsequent impact on music-related skills or possible transfer to other areas. It is only in comparisons between expert musicians and non-musicians that this is revealed.256 The Power of Music Type, Nature and Quality of Musical Training The type of musical training and its quality are important in determining any impact on academic attainment. There has been significant variation in the quality of training and instruction between studies (Dumont et al., 2017; Foster and Jenkins, 2017; Sala and Gobet, 2017). Musical activities take many forms: composition, improvisation, theory, vocal and instrumental music. These require different forms of learning and practice. For instance, learning to play a musical instrument usually entails reading musical notation, and hand-eye and spatial coordination for physically playing the instrument. These skills are distinct from those involved in vocal training, particularly choral singing. These differences impact on neurological change and may impact on executive functions and other factors such as motivation. Typically, research has not taken account of these differences. However, there are exceptions—for instance, Kinney (2008) considered multiple forms of music education in elementary school and found positive associations between instrumental music participation and academic achievement tests, but no association for choral students. Habibi and colleagues (2014) suggested that playing with others was associated with greater development of auditory skills and executive functioning because of the need to overcome and organise more auditory information, as well as improve attention and concentration. Guhn and colleagues (2020) took into account many of these variables, as well as level of commitment and the interactions between them. They found that higher levels of musical achievement may indicate higher levels of commitment, which may lead to greater exposure to the various cognitive, social, emotional and motivation-related experiences which, in turn, may support academic achievement. The quality of music interventions has also been raised. For example, Johnson and Memmott (2006) examined the relationship between academic achievement and participation in music activities across nearly 5000 participants and concluded that the higher the quality of the programme, the stronger the relationship. Similarly, Rauscher (2005) experienced difficulties with implementation during the first two years of a music programme and it was only at the end of the study, when the children had received one year of high-quality tuition, that there were any gains for the students. 257 10. General Attainment The Role of Executive Functions in Attainment One possible explanation for the impact of actively engaging in music- making and enhanced academic attainment is the mediating role of executive functions (Degé et al., 2011; Jaschkeet al., 2018; Slevc et al., 2016). The core competencies of executive functioning include self- regulation, information-monitoring, working memory and flexibility of changing between tasks (Diamond, 2013). These are all required in music-making, particularly in ensembles. Musicians have been shown to outperform non-musicians on various executive functions (Moradzadeh et al., 2015; Zuk et al., 2014). Benefits for memory, particularly aural and verbal memory, have also been demonstrated (Bergman et al., 2014; Oechslin et al., 2013; Roden et al., 2014). The frontal lobe is hypothesised to be particularly salient in executive functions (Miyake et al., 2000; Stuss and Alexander, 2000) and music training in childhood and early adolescence has been found to be related to lasting changes in the corpus callosum, superior temporal gyrus, and middle temporal gyrus (Schlaug et al., 2005; Steele et al., 2013). Executive functions, as we saw in Chapter 8 , have been shown to be linked to academic performance (Best et al., 2011; Cortés Pascual et al., 2019; Slevc et al., 2016; Visu-Petra et al., 2011). Cognitive flexibility, working memory, processing speed and planning (Zuk et al., 2014) may all support academic attainment. Audiation may represent an underlying mechanism through which differences in executive function abilities, as well as various facets of instrumental music learning, are connected. Music learning may enhance executive functions and audiation, which in turn may benefit learning capacity more broadly. Previous research suggests that even though music-related cognitive gains may, to some extent, be domain-specific—for instance, verbal but not visual memory (Ho et al., 2003)—they commonly relate to a range of cognitive domains (Forgeard et al., 2008; Schellenberg, 2004). Personality Factors Music students may also be more conscientious than non-music students, which may explain why they are more successful at school than would be indicated by their IQ scores. One personality factor of particular 258 The Power of Music interest in relation to attainment is conscientiousness, as this may be a mediating factor in explaining differences between young musicians and non-musicians. There is certainly evidence that undergraduate music students exhibit conscientious-like traits (Kemp, 1996; Marchant- Haycox and Wilson, 1992), although composers and rock musicians are less conscientious than the general population (Gillespie and Myors, 2000; Kemp, 1996). Corrigall and colleagues (2013) pointed out that participation in music might influence changes in personality and, in this way, interact with better achievement in school. They found that individual differences in conscientiousness helped to explain school grades. It may be that those who are more self-disciplined are more likely to persevere in learning a musical instrument. Costa-Giomi (2006) observed children for three years as they began, continued and discontinued lessons. Those who completed three years of lessons were more responsible, disciplined and able to concentrate. However, these traits characterised the students before they started to learn an instrument and did not change as a result of music instruction. Another explanation comes from research by Butkovic and colleagues (2015), who found that music-specific flow proneness was the best predictor of time spent practising when openness to experience, motivation and intelligence were taken into account. Motivation Motivation is clearly a key factor in the development of high-level musical expertise and also in enhancing academic attainment. Motivation will be discussed in depth in Chapter 12 . However, the process of music training—which frequently includes hours of practice, typically in solitude, and a lengthy time commitment—might develop the habit of self-discipline and the desire to achieve, both of which are likely to support enhanced academic attainment. Students who learn that hard work can lead to the mastery of complex skills and to desired learning outcomes may develop a sense of self-efficacy and self-belief which will impact on other areas of study. Music-based intervention programmes have shown improvements in self-esteem, confidence, discipline and motivation among young people (Hallam et al., 2017). Students involved in music appear to show high levels of intrinsic motivation 259 10. General Attainment (Diaz, 2010). Higher levels of musical engagement relate to stronger academic self-concept (Degé et al., 2014). Students engaging in musical activities as part of a group may experience a sense of team bonding and accomplishment (Adderley et al., 2003) which can contribute to a positive learning climate. These various elements may interact with each other over time. The context of learning itself is also important in both music and academic work and, if supportive, can enhance attainment. Being rewarded for success, musically and academically, also promotes motivation. Motivational and socioemotional pathways may underlie the associations between music learning and learning in other subjects. A complex interplay of internal and external factors is likely to influence a learner’s motivation to participate in and continue long-term engagement with school music-making (Eccles and Wigfield, 2002) and shape an adolescent’s conception of their musical ability and the value they place on music (Sichivitsa, 2007). In a large-scale study, McPherson and O’Neill (2010) found that learning to play an instrument or to sing seemed to contribute to higher motivation in other subjects, language, mathematics and science. Participating in musical activities can also affect aspirations, which enhance motivation and subsequently attainment. This is particularly the case with children from deprived areas (Devroop, 2009): for instance, those engaging in El Sistema and Sistema -inspired programmes (Creech et al., 2013). Participating in musical activities may enhance attainment through providing opportunities to explore and develop different ways of learning, including focused perception, making connections and imagining new possibilities (Burton et al.,, 1999). Overview Overall, the evidence regarding the impact of engaging with music on academic attainment is mixed. While the evidence from intervention studies is limited, correlational and comparative studies identify some clear links. While these have been criticised as not demonstrating causality, research which has adopted a retrospective or longitudinal approach has been able to demonstrate that those actively engaged in making music make greater progress academically over time compared with those not actively engaged in making music. What underpins 260 The Power of Music this greater improvement in attainment over time is less clear. The relationship may be mediated by neurological changes relating to aural, phonemic, spatial or memory skills, executive functions, length, type or quality of training, or personality or motivational factors. Only research which is able to take account of all these factors will be able to develop credible explanatory models.11. Music and Studying There has been a great deal of research on the impact of music on cognitive activities related to studying. Many different factors can contribute to the outcomes, including the type of music, the nature of the task being undertaken, individual differences and the relationship of the individual to the particular music involved. Each of these will be considered in this chapter. As many studies address several of these issues simultaneously, each study will be considered in relation to its main focus. The theories attempting to explain the various findings will also be outlined. There has been some confusion in the reporting of the research between studies where music is presented prior to the task being undertaken (what has become known as the Mozart effect) and research where music is played in the background while the task is being undertaken. These different approaches are frequently considered as equivalent. Here they are considered separately. Listening to Music prior to Completing a Task The positive effect of listening to music prior to undertaking a cognitive task was first associated with the music of Mozart. A group of college students performed a spatial-temporal task after they listened to Mozart’s sonata for two pianos in D major, KV 448. Their performance was compared to groups who either listened to a relaxation recording or sat in silence before completing the task. The group listening to Mozart performed significantly better than the other groups (Rauscher et al., 1993). A second study, using the same Mozart composition, repetitive music or a short story, replicated these findings (Rauscher et al., 1995). Since this research, there have been many studies attempting replication. The findings from these have been mixed. Some examples are set out below. © 2022 S. Hallam & E. Himonides, CC BY-NC-ND 4.0 https://doi.org/10.11647/ OBP .0292.11262 The Power of Music Rideout and Taylor (1997) studied 32 undergraduates who completed two equivalent spatial reasoning tests: one following a control procedure and one following the presentation of Mozart’s Sonata for two pianos in D major. Their performance showed a small but significant improvement immediately following presentation of the music. Similarly, Wilson and Brown (1997) studied spatial reasoning in 22 college undergraduates who were exposed to ten minutes of a Mozart piano concerto, repetitive relaxation music or silence prior to undertaking a pencil and paper maze task. The mazes varied in complexity and size. Limited support for the Mozart effect was obtained for the number of maze recursions and the overall quality of maze solutions. Adopting a neurological perspective, Jaušovec and colleagues (2006), in two experiments, investigated the influence that Mozart’s sonata, K. 448, had on brain activity in the process of learning. In the first experiment, individuals were trained in how to solve spatial rotation tasks, and then were required to solve similar tasks. Fifty-six students were divided into four groups: a control group which prior to and after training relaxed, and three experimental groups—one group who prior to and after training listened to Mozart, one who prior to training listened to Mozart and subsequently relaxed, and a fourth group who prior to training relaxed and afterwards listened to Mozart. In the second experiment, 36 respondents were divided into three groups: a control group, a second group who listened to Mozart prior to and after training, and a third group who prior to and after training listened to Brahms’ Hungarian Dance No. 5. In both experiments, EEG data were collected during problem-solving. In the first experiment, all of the respondents in the various music groups showed better task performance than the control group, although those experiencing music before and after the task displayed less complex EEG patterns and more alpha-band synchronisation than did respondents in the other three groups. In the second experiment, individuals who listened to Mozart showed better task performance than did the respondents in the other groups. They also displayed less complex EEG patterns and more lower alpha-band synchronisation than did the respondents in the Brahm’s music group. The authors argued that Mozart’s music, by activating task-relevant brain areas, enhanced the learning of spatial-temporal rotation tasks. The results supported Rauscher and colleagues’ (1993) priming explanation of the Mozart effect. 263 11. Music and Studying Working with children, Hallam (2001) and Schellenberg and Hallam (2005) replicated Rauscher’s study with over 6,000 children in the final year of primary school. The children were randomly allocated within their school to one of three groups: a group listening to the same Mozart piano sonata as in the Rauscher study, one to pop music performed by the pop groups Blur and Oasis, and the third to a talk about experiments. Each of these sessions lasted for ten minutes. Following this, the children completed two spatial reasoning tasks: a paper folding task and a rotational task. The initial analysis (Hallam, 2001) showed no statistically significant difference between the groups on either task. A second analysis by Schellenberg and Hallam (2005) showed a slight statistical advantage for the children listening to popular music. This was interpreted in terms of raised arousal levels and higher motivation because the children liked the popular music. Schellenberg (2005) argued that such short-term effects resulted from the impact of music on changes in arousal level and mood. Following this, Schellenberg and colleagues (2007) undertook two further experiments. In the first, Canadian undergraduates performed better on a symbol-search test after listening to an up- tempo piece of music composed by Mozart in comparison to a slow piece by Albinoni. However, the effect was evident only when the two pieces of music induced reliable differences in arousal and mood. Performance on other intellectual tasks was not affected. In the second experiment, Japanese five-year-olds drew for longer periods of time after singing or hearing familiar children’s songs than after hearing Mozart or Albinoni. After hearing the children’s songs, their drawings were judged by adults to be more creative, energetic and technically proficient. These findings illustrate that prior exposure to different types of music can enhance performance on a variety of tasks; the effects are mediated by changes in emotional state and can generalise across cultures and age groups. Exploring whether arousal and mood were responsible for Rauscher’s original findings, Thompson and colleagues (2001) studied 24 college students, aged 20 to 60 years old, who completed a test of spatial abilities after either listening to a pleasant and energetic sonata by Mozart, sitting in silence or listening to Albinoni’s adagio, a slow reflective piece. Enjoyment, arousal and mood were also assessed. Performance on the spatial task was better following exposure to the 264 The Power of Music composition by Mozart. The two pieces of music induced differential responding to measures of enjoyment, arousal and mood. When these were controlled for, the Mozart effect disappeared. Focusing on the role of mood, Smith and colleagues (2010) carried out two studies. The first explored the effects of prior exposure to office noise on working memory, while the second was a replication of Rauscher and colleagues’ (1993) study. The first study showed that mental arithmetic tasks were initially impaired by office noise, but that the effects of the noise disappeared following ten minutes of exposure to office noise between tasks. The second experiment successfully replicated Rauscher and colleagues’ (1993) study showing enhanced spatial reasoning following listening to Mozart for 24 young adults, although assessment of the mood of participants demonstrated that the effect was not caused by mood change. Also focusing on the impact of mood and arousal on spatial reasoning, Hussain and colleagues (2002) examined the effects of tempo and mode. A Mozart sonata performed by a skilled pianist was recorded and edited to produce four versions that varied in tempo (fast or slow) and mode (major or minor). Participants listened to a single version and completed measures of spatial ability, arousal and mood. Performance on the spatial task was superior after listening to music at a fast rather than a slow tempo, and when the music was presented in major rather than minor mode. Tempo manipulations affected arousal but not mood, whereas mode manipulations affected mood but not arousal. Nantais and Schellenberg (1999) found that performance on a spatial-temporal task was better after participants listened to a piece composed by Mozart or by Schubert than after they sat in silence. In a second study, the advantage for the music condition disappeared when the control condition consisted of a narrated story instead of silence. The participants’ performance was a function of their preference for either the music or the story, with better performance following the preferred condition. Similarly, Perham and Withey (2012) found that preferred music increased spatial rotation performance regardless of the tempo of the music. Participants listened to both liked and disliked music, in either a fast or slow tempo, prior to completing a series of spatial rotation tasks. At both tempos, liked music was associated with significantly better spatial rotation performance than disliked music. Some research has focused on music acting as a primer for memory tasks with participants of varied ages. For instance, Hirokawa (2004) 265 11. Music and Studying examined the effects of preferred music and relaxation instructions on older adults’ arousal and working memory. Fifteen female older adults participated in ten minutes of three experimental conditions: participants’ preferred music, relaxation instructions or silence. Four subcategories of arousal level, energy, tiredness, tension and calmness were measured before and after experimental treatment using an adjective checklist. After each experimental condition, participants completed a working memory test. The findings showed that music increased participants’ energy levels, while relaxation and silence significantly decreased them. Relaxation and silence interventions also increased tiredness and calmness. All experimental conditions decreased tension levels, although working memory performance was not significantly different between the groups. Also focusing on working memory, Steele and colleagues (1997) studied 36 undergraduate students who completed a backwards digit-span task followed by exposure to ten minutes of music composed by Mozart, a recording of rain, or silence and a repetition of the task. No significant differences among treatment conditions were found, although there was a significant effect of practice. In a later study, Steele and colleagues (1999) followed the detailed procedural guidance offered by Rauscher and colleagues needed to produce the Mozart effect. Despite this, Steele and colleagues were unable to produce either a statistically significant Mozart effect or an effect size suggesting practical significance. They concluded that there was little evidence to support the existence of the Mozart effect. Also offering limited support to the Mozart effect, Twomey and Esgate (2002) compared the performance of 20 musicians and 20 non- musicians on spatial-temporal reasoning tasks following exposure to Mozart’s Sonata K. 448. They based their research on the trion model of neural functioning, which is highly structured in time and spatial connections and predicts increased synchrony between musical and spatial temporal centres in the right cerebral hemisphere. Since increased left- hemispheric involvement in music processing occurs as a result of musical training, the possibility of increased synchrony with left- hemispheric areas in the musicians was tested. The results were improved performance on language as well as spatial-temporal tasks. In addition to spatial-temporal tasks, synonym generation and rhyming-word generation tasks were employed. A Mozart effect was demonstrated on the spatial-temporal task, although this was greater 266 The Power of Music for the non-musicians. There was no effect of musical priming for either group on verbal tasks, although the musicians scored higher on rhyming-word generation. No systematic link was found between performance on any task and the number of years spent in musical training. The failure to induce a Mozart effect in the musicians on verbal tasks, as well as the limited impact on their performance on the spatial- temporal tasks, may have been associated with a ceiling effect due to the long-term effects of music training. Working with 448 younger and older adults with mean ages of 28 and 72 respectively, Giannouli and colleagues (2019) provided participants with novel excerpts by Mozart, Vivaldi and Glass, or silence—after which they completed a forward digit-span test and a word-fluency test to assess verbal working memory and phonologically cued semantic retrieval. Individual preference for each condition was also assessed. Brief exposure to music had no beneficial effect on verbal working memory and there was transient impairment after listening to Vivaldi, although the Vivaldi excerpt did induce a marked enhancement in word fluency, but only in the young adults. In contrast, listening to Mozart’s music was followed by decreased word-fluency test scores in both age groups. These findings suggest that, depending on specific musical features, listening to music can selectively facilitate or inhibit ongoing verbal functions. Similarly, Borella and colleagues (2019) examined whether short- and long-term working memory training in older adults could be enhanced by listening to music. Mozart’s Sonata K. 448 and Albinoni’s Adagio in G minor were played to participants aged 65 to 75 years old before they started working-memory training activities. One group of 19 participants listened to Mozart, another to Albinoni and one to white noise, while eighteen participants served as controls and engaged in other activities. Specific training gains on a task similar to the one used in training and transfer effects to visuo-spatial abilities, executive functioning and reasoning were assessed. Irrespective of the specific listening condition, the trained groups generally outperformed the control group. The white- noise group did not differ in performance from the two music groups, although the group listening to the Albinoni composition showed larger specific training gains in the criterion task in the short-term and on transfer effects in the reasoning task in the short- and long-term compared to the group listening to the composition by Mozart. 267 11. Music and Studying Also working with older adults, but in this case with those with mild cognitive impairment, Lake and Goldstein (2011) exposed participants to a music and a silence condition, following which they performed digit-span and coding tasks, both of which require attention for maximal performance. Listening to music did not enhance performance for either group. Researching a wider age range, Carr and Rickard (2016) tested whether listening to emotionally arousing music enhanced memory in 37 participants aged 18 to 50, who listened to two of their own highly enjoyed music tracks, two self-rated neutral tracks from other participants’ selections, and a five-minute radio interview. After each listening episode, participants memorised a unique array of 24 images. Subjective and physiological emotional arousal was monitored throughout the experiment and free recall of all images within the five image arrays was tested at the end. Compared to the music and non- music controls, self-selected enjoyed music elicited greater subjective and physiological changes consistent with changes in emotion. More details from images presented were recalled after enjoyed music than after listening to the radio interview. The physiological changes consistent with an emotional arousal response to enjoyed music reliably predicted memory performance. In a study exploring the impact of music from different cultures, Giroux and colleagues (2020) examined whether listening to pleasant, stimulating or familiar music prior to completing a task improved working- memory performance. One hundred and nineteen Rwandan participants were randomly assigned to a control group, who read a short story prior to completing the task, or to one of four different musical conditions varying on two dimensions: arousing or relaxing music, or Western or Rwandan music. Working memory was measured using the n-back paradigm, where participants are presented with a sequence of stimuli one by one and need to decide if the current stimulus is the same as one presented previously. The gap between current and previous stimuli can be varied. The greater the distance, the harder the task. The findings showed that there were no positive effects of familiar, pleasant or stimulating music on working memory. Performance on the n-back task tended to improve from before and after listening to music across all conditions, but the improvement was less in participants who listened to familiar Rwandan music compared to those who listened to unfamiliar Western music or to a short story. 268 The Power of Music In contrast, Silva and colleagues (2020) investigated the impact of music on episodic memory. Two potential enhancers of music effects— stopping music before task performance to eliminate music-related distraction, and using preferred music to maximise reward—were adopted. The main study included a sample of 51 healthy younger adults, while a pilot study was conducted with 12 older adults, divided into those classified as low- versus high-functioning according to cognitive performance on a screening test. There was strong evidence that music had no advantage in relation to episodic memory over silence or environmental sounds in younger adults. Preferred music had no advantage either. Among the older adults, low- but not high-functioning participants’ item memory was improved by music, particularly by non-preferred music compared to silence. The findings suggest that, in healthy adults, music played prior to a task may be less effective than background music in episodic memory enhancement despite decreased distraction, possibly because reward becomes irrelevant when music is stopped before the task begins. Low-functioning older participants may relate to prior-to-task auditory stimulation in deviant ways when it comes to episodic memory enhancement. Overall, for episodic memory, the arousal, mood or reward effects usually afforded by music played in the background (Blood and Zatorre, 2001; Ferreri and Verga, 2016; Salimpoor et al., 2013; Schellenberg, 2005) may be lost or attenuated when music is stopped before the task begins. Given that preference also had null effects, and preference is strongly linked to reward, it is possible that reward may be a key factor. Music-related reward may no longer favour episodic memory if music is stopped before the task begins. Gilleta and colleagues (2003) studied gender differences working with 26 females and 26 males, who completed a paper folding and cutting task and a mental rotation task following a listening condition (in which a Mozart piano sonata was played or participants sat in silence). A statistically significant three-way interaction among gender, listening condition and task indicated that an effect was present only for female participants on the mental rotations task. Exploring the differential effects of breaks filled with diverse activities, as is common in everyday life, Kuschpel and colleagues (2015) exposed young adults to breaks involving eyes-open resting, listening to music or playing the video game Angry Birds before performing 269 11. Music and Studying an n-back working memory task. Playing the Angry Birds video game during a short learning break led to a decline in task performance over the course of the task, as compared to eyes-open resting and listening to music, although overall task performance was not impaired. This effect was associated with high levels of daily mind-wandering and low self- reported ability to concentrate. Working with children with learning difficulties, Gregoire (1984) focused on the impact of prior listening to music on concentration in subsequent performance on a matching-numbers classroom task with 17 six- to eleven-year-old children. The intervention condition consisted of a brief taped story illustrated on a felt board, a rest period with relaxing music, and five minutes of individual number-matching. The control condition was identical but without the music. There were no significant differences overall, although the older participants exhibited significantly fewer behavioural issues during the music period than during the rest phase. Overall, the evidence for the priming benefits of music on cognitive tasks is inconclusive. There is some evidence that musical neurological priming can directly enhance performance on spatial reasoning tasks, as proposed by Rauscher and colleagues, although the evidence for this is not consistent. Music can also have priming effects relating to arousal or mood, which may affect performance on a variety of tasks in a range of different ways. To begin to understand these mixed findings, there needs to be a greater focus on the underlying neural priming processes. Background Music There is now a substantial body of research which has examined the impact of background music on performance on a range of cognitive tasks in individuals across the lifespan. Music has also been used as a stimulus for creative writing, but this practice needs to be distinguished from music being played as a background to studying (Donlan, 1976). During the 1950s, as radio became more commonplace, concerns were raised as it was feared that listening to the radio while completing homework would negatively affect children’s learning. Early studies addressing these issues were not always well controlled, and many did not specify the type of music being played or the nature of the task being 270 The Power of Music undertaken. This made interpreting the findings extremely difficult. The remainder of the chapter is divided into sections which will outline the research, providing more detailed evidence relating to: • the nature of the music played, including preferred music, familiarity, liking and preference for music of one’s own culture; • the nature of the task to be completed, including memory, attention, reading comprehension, second-language learning and English as a second language; • individual differences, including musical expertise, gender, personality and metacognition; • children’s behaviour and task performance, including primary-school children and older students; • children with emotional and behavioural difficulties, ADHD and developmental difficulties; • older adults and those with cognitive impairment; • reviews and meta-analyses; and • explaining the impact of background music on cognitive performance, including an explanatory framework. The research has been categorised in relation to its main focus, although any single research project may have outcomes related to more than one outcome. The Nature of the Music Some research has ignored the characteristics of the music being played, assuming that all music would have a similar impact. For instance, Cockerton and colleagues (1997) simply compared music with no music in a repeated measures design with 30 undergraduates who completed two cognitive tests: one in silence and the other with background music. The students completed more questions and answered more questions correctly when music was playing, although there was no difference in the heart rate of those participating in each condition. Some attempts have been made to address issues relating to the nature of the music 271 11. Music and Studying by differentiating music on the basis of genre, its perceived potential to stimulate or relax, whether it is vocal or instrumental, and its cognitive complexity. Despite this, such categorisations do not always capture the complexity of music as it is listened to. This particularly applies to Western classical music with its frequent changes of mood, tempo, timbre and volume. To examine the issues further, some research has investigated how exposing participants to different types of music affected their performance on various cognitive tasks. Control groups have listened to music from other genres or spoken text rather than sitting in silence. In an early detailed study in the USA, Henderson and colleagues (1945) explored the effect of music on the reading efficiency of 50 first-year female undergraduates. Participants were divided into three equally matched groups on the basis of psychological examination and reading test scores. One group listened to popular music while completing reading tasks, another classical music, while the third worked in silence. The participants completed a questionnaire which determined whether they were accustomed to studying with the radio on, whether or not they thought that the radio reduced their study efficiency, the amount of studying done with the radio on and the type of programme that they usually listened to when studying. The popular music used was ‘Two O’Clock Jump’, Harry James; ‘That’s What You Think’, Krupa; ‘Sunday, Monday, or Always’, Frank Sinatra; ‘Mr. Five by Five’, Harry James; ‘Prince Charming’, Harry James; ‘Tuxedo Junction’, Glenn Miller; ‘Idaho’, Benny Goodman; ‘Crosstown’, Glenn Miller; and ‘Close to You’, Frank Sinatra. The classical music was ‘Symphony in D Minor’ by Cesar Franck. The tests were administered on three successive afternoons. The participants were asked to assume that they were in their own rooms studying with the radio on. The differences between the averages of the pre-test scores and the final test scores of each group were calculated and the significance of the averages analysed. The findings showed that the popular music acted to distract the students on paragraph comprehension but not on the vocabulary test. The classical music had no negative impact on either test. The authors explained the results in terms of the simpler rhythms and melodies of popular music being easily understood, and therefore listened to, by the participants, diverting their attention from the task in hand. They argued that the classical music was likely to be perceived as vague and not listened 272 The Power of Music to, just providing a background against which the assigned task was accomplished without interference. The popular music may have had a greater impact on the comprehension task, as this task was more complex and required sustained effort, while the vocabulary materials were intermittent and unrelated. Overall, the authors concluded that whether or not music is a real distraction depends on the complexity of the music and the complexity of the test materials. There were no significant differences depending on whether students were accustomed to studying with the radio playing. Also using reading comprehension as the outcome measure, Thompson and colleagues (2012) manipulated changes in tempo and intensity to create four conditions: slow low- intensity, slow high-intensity, fast low-intensity, and fast high-intensity. In each condition, 25 participants were given four minutes to read a passage, followed by three minutes to answer six multiple-choice questions. Baseline performance was established by having control participants complete the reading task in silence. A significant tempo- by-intensity interaction was observed, with comprehension in the fast high-intensity condition falling significantly below baseline. These findings demonstrated that listening to background instrumental music was most likely to disrupt reading comprehension when the music was fast and loud. Similarly, Chou and colleagues (2010), working with 133 Taiwanese college students, studied whether light classical music was more or less distracting than hip-hop music or silence during a comprehension task. The findings showed that music with higher intensity was more distracting and had a greater effect on task performance and concentration. Yang and colleagues (2016) conducted two experiments: the first tested for differences in perception of distractibility between tonal and atonal music, while the second tested how tonal music and atonal music affected visual working memory by comparing musicians and non-musicians who were placed in contexts with background tonal music, atonal music or silence. Participants were instructed to complete a delayed matching memory task. The results showed that musicians and non-musicians had different evaluations of the distractibility of tonal and atonal music, possibly indicating that long-term training may lead to a higher auditory-perception threshold among musicians. For the working memory task, musicians reacted faster than non-musicians 273 11. Music and Studying in all background music cases, although the musicians took more time to respond in the tonal background music condition than in the other conditions. The results suggest that, for a visual memory task, background tonal music may occupy more cognitive resources than atonal music or silence for musicians, leaving few resources left for the memory task. Despite this, the musicians outperformed the non-musicians. Similarly, Tze and Chou (2010) explored whether different types of background music affected the performance of a reading comprehension task in 133 Taiwanese college students. The study explored whether listening to music affected the learners’ concentration on a reading task and also whether light classical music was more or less distracting than hip-hop music or silence. The findings showed that music with higher intensity was more distracting, and had a greater effect on task performance and concentration. Using two contrasting tasks, Angel and colleagues (2010) assessed the effects of fast- tempo music on cognitive performance among 56 male and female university students. A linguistic processing task and a spatial processing task were selected to assess verbal and non-verbal performance. Ten excerpts from Mozart’s compositions, matched for tempo, were selected to be played in the background. The music increased the speed of spatial processing and the accuracy of linguistic processing. Focusing on performance on arithmetic tasks, Dolegui (2013) used different genres of music, played at different volumes. Thirty-two undergraduate students, ranging in age from 20 to 41 years old, participated on a voluntary basis. Five different arithmetic tests were used, consisting of 20 different operations of similar difficulty: five multiplication, five division, five addition and five subtraction problems. Loud music was defined as heavy rock metal music represented by the song ‘Not Ready to Die’, Demon Hunters. Soft music was defined as classical piano music, ‘Morning Light’, Beeson. All participants were exposed to all five conditions. The first test was conducted with soft music at low intensity, the second with loud music at low intensity, the third in complete silence. The fourth and fifth tests were conducted with soft and loud music. The tests were graded for accuracy. Performance scores were significantly higher in silence than in all four music conditions, intensity levels and types of music combined, although overall, performance was significantly worse in the presence 274 The Power of Music of loud music at high intensity. Similarly, Cassidy and MacDonald (2007) investigated the effects of music with high arousal potential and negative affect, music with low arousal potential and positive affect, and everyday noise on the cognitive task performance of introverts and extroverts. Forty participants completed five cognitive tasks: immediate recall, free recall, numerical and delayed recall, and the Stroop test. Ten participants completed each of these tasks in one of the four sound conditions: high arousal and negative affect, low arousal and positive affect, everyday noise, and silence. Participants were also assessed for levels of introversion and extroversion, and reported their preferences for music versus noise while studying. Performance was lessened across all cognitive tasks in the presence of background sound, music or noise, compared to silence. The two music conditions produced differential distraction effects, with performance on all tasks being poorer in the presence of high-arousal, negative-affect music as compared with low- arousal, positive-affect music and silence. Performance was moderated by internal arousal, with introverts performing better overall on each task except the Stroop test, and appearing to be more detrimentally affected by the presence of high arousal negative affect music and noise. Some research has focused on the differential impact of vocal and instrumental music. For instance, Jäncke and colleagues (2014) studied 226 participants who were randomly assigned to one of five groups, who all completed a verbal learning task. One group served as a control group, working in silence, while four further groups were exposed to vocal or instrumental music during learning, with different subjective intensity and valence. The four music listening conditions were vocal or instrumental music, each with high or low intensity. As the high and low intensity groups did not differ in terms of their rated intensity during the main experiment, these groups were put together. This reduced the sample to three groups: a control group, one listening to vocal music and one listening to instrumental music. Recall of the number of learned words was assessed immediately, after 15 minutes and 14 days later. Verbal learning improved across the recall sessions without any strong differences between the control and experimental groups. Exposure to vocal or instrumental background music during encoding did not influence verbal learning. Adopting a neuroscientific approach, Nemati and colleagues (2019) investigated the neural correlates of pleasure induced by 275 11. Music and Studying listening to highly pleasant and neutral musical excerpts using electroencephalography. Analysis of the data showed a distinct gradual change in the power of low-frequency oscillations in response to highly pleasant, but not neutral, musical excerpts. Correlation analysis between behavioural and electrophysiological data revealed that theta power was correlated with subjective assessment of pleasantness. To study the link between attention and positive valence, volunteers performed a delayed match-to-sample memory task while listening to the musical excerpts. Performance was significantly lower under highly pleasant conditions compared to neutral conditions. Listening to pleasant music required high degrees of attention, leading to an observed decline in memory performance. Gradual development of low-frequency oscillations in the frontal and posterior areas may be at least partly due to gradual recruitment of higher levels of attention over time in response to pleasurable music. Exploring the impact of music on a simple perceptual motor task, Nittono and colleagues (2000) compared the performance of 24 undergraduates on a self-paced line-tracing task with fast or slow classical music or metronome tones in the background. The findings showed that fast music accelerated performance compared with slow music, whereas the tempo of the metronome tones did not affect performance. Similarly, Bottiroli and colleagues (2014) measured how different types of music affected performance on a processing-speed task using no music, white noise, music with positive emotion and high arousal levels ( Mozart), or music with negative mood and lower arousal (Mahler). Performance on the processing-speed task improved when listening to Mozart. However, when participants were faced with free-recall and phonemic-fluency tasks, Mahler’s music provided the most beneficial conditions. Both types of music were advantageous over white noise or silence for both types of task. In a real-life simulation, Kallinen (2002) studied the effects of the tempo of background music on reading business news in a crowded cafeteria environment. There were three conditions: no music, or fast or slow music. The findings suggested that the type of music (or silence) significantly affected reading performance and the emotional evaluation of the news content. Men evaluated the news most positively in the slow-music condition, whereas women evaluated the news most positively in the no-music 276 The Power of Music condition. Reading rate and efficiency were significantly lower in the slow-music group than in the fast-music group. Also simulating a real-life situation, Mayfield and Moss (1989) undertook two studies to evaluate the effect of music tempo on task performance. In the first study, 44 undergraduate business students were asked to be workers in a stock-market project by collecting closing stock prices and calculating the percentage of change in the price from week to week. Participants were randomly divided into groups, such that they either listened to fast or slow-paced music while they worked, or to no music. The quantity and quality of work was assessed using music-listening habits as a covariate. There were no statistically significant differences between the performance of the two groups. In the second study, the students completed the same task under the same conditions. In this study, the women performed significantly better than the men and performance was significantly higher in a rock-music condition than in a heartbeat condition, although participants in the rock-music condition perceived a higher level of distraction. Preferred Music, Familiarity and Liking One strand of research has explored whether participants’ familiarity, preference or liking for background music has an impact on task outcomes. For instance, Hilliard and Tolin (1979) studied the effect of familiarity with background music on the performance of 64 undergraduates on simple and difficult reading comprehension tasks. Unsurprisingly, scores on easier sections were higher than on difficult sections, while overall scores were higher when familiar music was playing. In a series of studies, Perham and colleagues explored issues relating to preferred and different types of music. Perham and Vizard (2011) tested serial recall under quiet, liked and disliked music conditions, as well as steady-state and changing-state speech. The findings showed that performance was poorer for both music conditions and the changing-state speech, compared to quiet and steady-state speech conditions. The findings suggested that musical preference did not affect serial recall performance. Similarly, Perham and Sykora (2012) asked participants to serially recall eight item lists in either quiet, liked or disliked music conditions. Performance was poorer when music 277 11. Music and Studying was played compared with quiet, and in the liked as opposed to the disliked music condition. In addition, participants were inaccurate in perceiving their performance to be roughly equivalent in each of the music conditions when liked music exhibited more task impairment than disliked music. Changing the task to reading comprehension, Perham and Currie (2014) studied 30 undergraduate students, ranging in age from 19 to 65. The background music adopted included disliked lyrical music, thrash metal, liked lyrical music, non- lyrical music, and quiet. The thrash metal music selected were Death’s Angel’s ‘Seemingly Endless Time’ and ‘The Ultra Violence’. Students who reported liking this genre were omitted from the study. Liked music was selected by the students themselves and included music by One Direction, Frank Ocean and Katy Perry. In the study, participants were told not to attend to the music which they listened to on headphones. A short questionnaire was administered to participants upon completion, which comprised Likert-scale questions that asked participants to rate how likeable, familiar and distracting each sound condition was, as well as how well they thought that they performed in each condition. Students read four passages of text and then answered six multiple-choice questions on each. Reading comprehension performance was greatest for the quiet and non- lyrical music conditions and poorest for the two lyrical music conditions. Participants perceived themselves to have performed best in the liked lyrical, the quiet and the non- lyrical conditions, as well as feeling that they were the most familiar experiences for them. They felt that the liked and disliked lyrical conditions were most distracting to performance, with quiet being much less distracting. It seems that, in the case of reading comprehension and category recall, there is a conflict in processing, as participants attempt to process task-related information and background sound simultaneously. Chew and colleagues (2016) recruited 165 undergraduate students with a mean age of almost 22 years old who completed arithmetic, reading comprehension and word-memory tasks while exposed to familiar or unfamiliar, foreign or first-language music, or no music. There was a significant impact on the word-memory task for the familiarity of the music, but not in relation to whether it was in a foreign or first language. Overall, depending on the task, familiarity but not the language of the music affected learning and task performance when compared to 278 The Power of Music a no-music condition. Similarly, Sutton and Lowis (2008) studied the effect of musical mode on verbal and spatial task performance. Forty- eight participants completed written verbal and spatial reasoning tests while a piece of music in a major key by Handel was played, and again when the same piece was digitally manipulated to create a version in the minor mode. The findings showed that the music in the major mode was rated more emotionally positive by both sexes than that in the minor mode. Females scored higher than males in performance on the verbal tasks when this was significantly enhanced with the major-mode music, while males scored higher than the females on spatial reasoning when the music was in the major mode. Smith and Morris (1977) studied the effects of sedative and stimulative music on memory performance, anxiety and concentration. Sixty undergraduate students were exposed to one of five types of music: classical, jazz and blues, country bluegrass, easy listening and rock music. Participants indicated their preferred genre and were requested to repeat a set of numbers backwards while listening to either stimulative, sedative or no music. They were asked about their concerns about the test, their emotionality or physiological affective arousal, their ability to concentrate, their expectations of their performance, and whether they liked or disliked the music. Compared with sedative music, stimulative music increased worry scores, interfered with concentration and resulted in lower performance expectancies. Participants performed best in the no-music condition and worst while listening to their preferred music, with performance to sedative music being between these extremes. The authors argued that preferred music may serve to distract when trying to complete a demanding task, perhaps because fewer cognitive resources are available when attention is drawn to the lyrics, emotions and memories that music can evoke. Complex interactive effects on task performance were reported, suggesting that the effects of music need to be understood in terms of cognitive processes rather than primarily on the basis of physiological affective responses to musical stimuli. Another explanation for the advantage of preferred music is that it is rewarding (Blood and Zatorre, 2001; Ferreri and Verga, 2016). Reward may be one additional mechanism underpinning the positive effects of music on cognition (Ferreri and Verga, 2016). 279 11. Music and Studying Preference for Music of One’s Own Culture Preference for music is predominantly determined by an individual’s cultural background. For instance, a preference for Indian classical music over Western classical music is seen in Indians from an average socioeconomic background (Schafer et al., 2012). Each individual’s way of responding to music is influenced by their liking and preference for that music. For instance, Mohan and Thomas (2020) explored the effect of background music on the performance of 34 Indian adolescents aged 13 to 14 on their comprehension of words and sentences in English. Participants with average verbal ability and a preference for the Indian music comprised the final sample. Two types of music were used: Indian classical music (Raga Shanmukhapriya)—which is said to induce a sense of calm and increase concentration—and Mozart’s Symphony No. 35. The findings revealed that playing music in the background resulted in a significant increase in adolescents’ performance on the reading comprehension task. The effect was greater when Indian classical music was played, highlighting the importance of culture. Similarly, Kasiri, (2015) studied the impact of non- lyrical Iranian traditional music on the reading comprehension performance of Iranians learning to speak English. Sixty English-as-a-foreign-language learners completed two 50-itemed reading comprehension tests in no-music as well as background-music condition. The results revealed a negative influence of music on reading comprehension. The Nature of the Task To Be Completed In addition to research focusing on different types of music, a variety of different tasks have been used—for instance, those related to various different kinds of memory, tasks requiring high levels of attention, reading comprehension and learning a second language. Background Music and Memory In research relating to memorisation, the findings have differed when music is played concurrently with material which is to be remembered aurally (Furman, 1978), when the task involves paired associate recall 280 The Power of Music (Myers, 1979) or phonological short-term memory (Salame & Baddeley, 1989), or when recall is of written sentences presented visually (Hallam et al., 2002). Where background music is vocal in nature, it may have a greater negative impact on reading comprehension and other literacy tasks (Martin et al., 1988). Some research has focused on visual memory, where it might be expected that there would be less interference from the music. For instance, Chraif and colleagues (2014) studied the influence of relaxing music on an abstract visual short-term memory retrieval task. Sixty-eight undergraduate students, aged between 19 and 23 years old, participated. The findings showed that listening to relaxing music had a significant positive effect in increasing the number of correct abstract forms recognised. Nguyen and Grahn (2017) examined the effect of background music on different types of memory. One hypothesis for the impact of background music on memory is that it modulates mood and arousal, creating optimal levels to enhance memory performance. Another hypothesis is that background music establishes a context that, when reinstated, cues memory performance. The researchers presented music during study time only, test only and both. They also assessed how mood, arousal and context affected performance on recall, recognition and associative memory tasks. Participants recalled more words when they listened to low-arousal music than high-arousal music, regardless of mood or whether context was consistent between study and test. For recognition memory, participants also recognised more words when they listened to low-arousal music than high-arousal music, but only when the music was negative. For associative memory, no significant effects of mood, arousal or context were found on recognition of previously studied word pairs. Across all elements of the research, background music (compared with silence) did not significantly improve verbal memory performance. While mood and arousal affected recall and recognition memory, overall background music did not enhance memory. Jäncke and Sandmann (2010) used musical excerpts which were specifically composed for the research to ensure that they were unknown to the participants. They were designed to vary in tempo (fast versus slow) and consonance (in tune versus out of tune). Noise was used as a control stimulus. Seventy-five participants were randomly assigned 281 11. Music and Studying to one of five groups and learned verbal material (non-words with and without semantic connotation, and with and without background music). Each group was exposed to one of five different background stimuli: in-tune fast music, in-tune slow, out-of-tune fast, out-of-tune slow and noise. There was no substantial or consistent influence of background music on verbal learning. However, there were differences in EEG measurements after word presentation for the group exposed to in-tune fast music while they learned the verbal material, and for the group exposed to out-of-tune fast music after word presentation. Although there were different cortical activations in response to the music, these did not relate to behavioural outcomes. In an unusual study, Liu and colleagues (2012) studied the recognition processes of Chinese characters in background music. Real Chinese characters, upright or rotated, were used as target stimuli, while pseudowords were used as background stimuli. Participants were required to detect real characters while listening to Mozart’s Sonata K. 448 or in silence. The findings showed that the music mainly served as a distracter in the recognition processes of real Chinese characters. The impact was greater for the real than the rotated characters. Some research has focused on episodic memory for verbal materials. Generally, the effects of music are positive (Ferreri et al., 2013; 2014; 2015) and tend to be consistent across younger and older adults (Ferreri et al., 2015). Music facilitates the encoding of printed verbal materials not only when music is compared to a silent context, but also when compared to non-musical auditory contexts, such as environmental sounds or noise. Music has a specific effect rather than a general advantage related to sound. Other research has extended the range of tasks explored. For instance, Fassbender (2012) explored the use of background music on game technology and its effect on learning. A virtual history lesson was presented to participants with different background stimuli—music or no music—to test the effect of music on memory. To test the role of immersion on memory and its possible relationship to the music, two different display systems (a three-monitor display system or an immersive reality centre) were used. Overall, participants remembered a significantly higher number of facts using the three-monitor display system, particularly if no background music was played. Similarly, 282 The Power of Music Richards and colleagues (2008) studied the benefits of immersive virtual worlds as a learning environment, and the role that music plays within these environments. They investigated whether background music of the genre typically found in computer-based roleplaying games had an effect on learning in a computer-animated history lesson about the Macquarie Lighthouse within an immersive virtual world. In the first experiment, musical stimuli were created from four different computer- game soundtracks. Seventy-two undergraduate students watched the presentation and completed a survey including biographical details, questions on the historical material presented and questions relating to their perceived level of immersion. While the tempo and pitch of the music was unrelated to learning, music conditions resulted in a higher number of accurately remembered facts than the no-music condition. One soundtrack, in particular, showed a statistically significant improvement in memorisation of facts over the other music conditions. There was also an interaction between the levels of perceived immersion and ability to accurately remember facts. The second experiment involved 48 undergraduate students. The soundtrack that had been most successful in Experiment One (Oblivion) was used again with a silent condition. In this experiment, the participants completed the tasks under both conditions. Only one version of the tempo and pitch manipulations was used: slow tempo, low pitch. The effect of different display systems on feelings of immersion was tested. Half the participants watched the computer-animated history lesson in a cone display system and the other half was allocated to a three-monitor display system on a computer desk. There were no statistically significant differences between the music and no-music conditions. However, the three-monitor display system led to enhanced memory performance. Similarly, Linek and colleagues (2011) investigated the influence of background music within an educational adventure game on motivational and cognitive variables. The results suggested that the music had a high motivational potential. As neither positive nor negative effects on learning were detected, background music may be considered as a motivating design element of educational games. Using piped music, Langan and Sachs (2013) explored the impact of piping music into an information literacy classroom on student engagement and retention of information literacy concepts. The findings 283 11. Music and Studying from this study indicated positive relationships between background music and student comfort, confidence and retention. Similarly, Musliu and colleagues (2017) researched whether music could help in the memorisation of different materials, for instance, nonsense syllables, numbers and poems with rhyme. Seventy-four students aged between 17 and 22 years participated. The experiment included four different tests. The first included 50 nonsense syllables. Following this, students were separated into three groups, each with similar outcomes on performance in the first test. The first group took subsequent tests in silence, the second while listening to music with lyrics and the third listening to relaxing music. The students were given five minutes to memorise 50 different nonsense syllables,12 lines from poems and 50 different orders of numbers. They then wrote down what they could remember. The music was the same during the memorising and writing phases. There were significant differences in memorising between students with or without music, in favour of those learning in silence. Adopting a neuroscientific approach, Ferreri and colleagues (2013) addressed the debate about the link between music and memory for words—in particular, whether music specifically benefits the encoding element of verbal memory tasks by providing a richer context for encoding and, therefore, less demand on the dorsolateral prefrontal cortex. Twenty-two healthy young adults were subjected to functional near- infrared spectroscopy imaging of their bilateral dorsolateral prefrontal cortex while encoding words in the presence of either a musical or silent background. Behavioural data confirmed the facilitating effect of background music during encoding on subsequent item recognition. Functional near- infrared spectroscopy imaging results revealed significantly greater activation of the left hemisphere during encoding and a sustained, bilateral decrease of activity in the dorsolateral prefrontal cortex in the music condition compared to silence. These findings suggest that music modulates the role played by the dorsolateral prefrontal cortex during dorsolateral prefrontal cortex verbal encoding and opens up the possibility for applications in clinical populations with prefrontal impairments, such as elderly adults or Alzheimer’s patients. In a later study, Ferreri and colleagues (2015) investigated whether verbal episodic memory could be improved by background instrumental music. Twenty young adults were asked 284 The Power of Music to memorise different lists of words presented against a background of music, environmental sounds or silence. Their episodic memory performance was then tested in terms of item and source-memory scores. The findings revealed better memory performance under the music condition than with environmental sounds or silence in retrieval. These findings indicate that music can specifically act as a facilitating encoding context for verbal episodic memory, which may have implications for music as a rehabilitation tool for episodic memory deficits. Further, Ferreri and colleagues (2015)—based on functional near- infrared spectroscopy imaging studies on music, episodic encoding and the dorsolateral prefrontal cortex—monitored the entire lateral prefrontal cortex during both encoding and retrieval of verbal material. Nineteen participants were asked to encode lists of words presented with either background music or silence, and were subsequently tested during a free-recall task. Meanwhile, their prefrontal cortex was monitored using a 48-channel functional near- infrared spectroscopy system. Behavioural results showed greater chunking of words under the music condition, suggesting the employment of associative strategies for items encoded with music. The functional near- infrared spectroscopy results showed that music provided a less demanding way of modulating both episodic encoding and retrieval, with general prefrontal decreased activity under the music versus silence condition. This suggests that music-related memory processes rely on specific neural mechanisms, and that music can positively influence both episodic encoding and retrieval of verbal information. Background Music and Attention There has been considerable research on the impact of music on attention. For instance, Jiang and colleagues (2011) investigated the influence of mood on attentional networks in a normal population. Participants performed an attention-network test, which provided functional measures of alerting, orienting and executive attention. Positive or negative mood was induced by listening to music with a positive or negative valence; neutral mood was induced by reading a collection of basic facts about China. The results revealed that negative mood led to a significantly higher alerting efficiency relative to other 285 11. Music and Studying moods, while there were no significant mood effects on orienting or executive attention efficiency. Specifically, the increase in the alerting function during negative mood states may be due to the modulation effect of negative mood on the noradrenergic system, and/or to the survival benefit resulting from an increase in automatic vigilance towards negative information. Another strand of work has been concerned with the impact of music on attentional control—an executive function that allows an individual to focus attention on a specific stimulus, while inhibiting distractors from the environment. For instance, Fernandez and colleagues (2020) reported improved perceptual judgment in young adults on a flanker task (where individuals have to respond to one letter in a group and ignore others) when joyful and arousing or sad and tender music was playing, or they sat in silence. There was no overall effect of background music on attentional control performance per se. Similarly, Burkhard and colleagues (2018) studied the influence of background music on executive functions, particularly inhibitory functions. Participants completed a standardised go/no go task during three conditions: no background music or relaxing or exciting background music. EEG was recorded along with reaction times, omissions and commissions. Event- related potentials revealed no differences between the three conditions in reaction times, omissions or commissions. The findings suggested that background music had no detrimental effects on the performance of a go/no go task and its neural underpinnings. Using a visuo-spatial flanker task, Cloutier and colleagues (2020) studied 19 older and 21 younger adults during three auditory conditions: stimulating music, relaxing music and silence. Participants had to indicate as fast and as accurately as possible the direction of a central arrow, which was flanked by congruent or incongruent arrows. As expected, reaction times were slower for the incongruent compared to congruent trials. This difference was significantly greater under the relaxing-music condition compared to other auditory conditions, for both age groups. Focusing on the impact of mood on attention, Shih and colleagues (2012) studied 102 participants, aged 20 to 24, on concentration and attention with music, with and without lyrics. The findings revealed that background music with lyrics had significant negative effects on concentration and attention. In a later study, Shih and colleagues (2016) studied 75 adults, 286 The Power of Music ranging in age from 20 to 24, who completed an attention test and emotion questionnaire. The findings showed that background music with lyrics adversely impacted attention performance more than that without lyrics. The listeners also self-reported feeling loved while music was playing. Adopting a neuroscientific approach, using Vivaldi’s Four Seasons, Leigh (2013) explored the consequence of music exposure on cognitive event-related potentials. Seventeen participants performed a three- stimulus visual oddball task, where a set of the same stimuli were presented with one different stimulus at various points, the oddball, while event-related potentials were recorded. Participants were required to differentiate between a rare target stimulus, a rare novel stimulus and a frequent non-target stimulus. During task performance, participants listened to the four Vivaldi concertos—‘Spring’, ‘Summer’, ‘ Autumn’ and ‘Winter’—and experienced a silent control condition. The research also examined the impact of different tempi . The data revealed that ‘Spring’, particularly the first movement, enhanced mental alertness and brain measures of attention and memory. Similarly, Du and colleagues (2020) used event-related potentials to examine the effects of background music on neural responses during reading comprehension and their modulation by musical arousal. Thirty-nine postgraduates judged the correctness of sentences about world knowledge without or with high or low arousal background music. The results showed that the effect elicited by world knowledge violations versus correct controls, was significantly smaller for silence than for high and low arousal-music backgrounds, with no significant difference between the two musical backgrounds. Reading Comprehension As reading plays such an important role in the lives of many people, considerable research has used reading comprehension as a task in studies of the impact of background music. For instance, DeMers (1996) compared two classes on their reading prior to the onset of the study to establish equity of performance. The experimental group also practised prior to the study, with Mozart’s Concerto No. 21 in C Major, K. 467 playing in the background for several weeks prior to the study to 287 11. Music and Studying familiarise themselves with working to music. Both groups also practiced undertaking a test prior to the experiment. The findings showed that the group with background music performed significantly better on the reading comprehension test. Similarly, Cooper and colleagues (2008) gave participants three different reading comprehension tests in three different conditions: no music, classical music and lyrical music. The results showed slightly better performance on the reading comprehension test in the no-music condition, but this difference was not statistically significant. In a similar study, Liapis and colleagues (2008) tested the impact of lyrical and non- lyrical music on reading comprehension. Participants in the non- lyrical condition performed better than the other group, although this difference was not statistically significant. Drowns (2002) focused on the effect of classical background music on silent reading comprehension and found an improvement with music in the background, while Harmon and colleagues (2008) showed that there was no significant difference among the three groups who either listened to rock music, Mozart or worked in silence on a reading comprehension test. Martin and colleagues (1988) carried out a series of studies, the first of which demonstrated that speech but not music interfered with reading comprehension, while music had a greater interfering effect than speech on a music identification task. Two further experiments showed that the detrimental effect of the speech background on reading was due to their semantic rather than their phonological properties. Adopting a different approach Zhang, and colleagues (2018) examined how listening to music affected eye movements when college students read for comprehension. Two studies found that the effects of music depended on word frequency and musical dynamics. The first showed that lexical and linguistic features of the text remained highly robust predictors of looking times, even when listening to music. However, when exposed to music, readers spent more time rereading, and gaze duration on words with very low frequency was less predicted by word length, suggesting disrupted sub-lexical processing. A second study showed that these effects were exacerbated for a short time as soon as a new song was played. The results showed that word recognition was generally unaffected despite music exposure and that extensive rereading could, to some extent, compensate for any disruption.288 The Power of Music Second-Language Learning A further area of interest has been second-language learning. Kang and Williamson (2014) examined the effect of background music on participants taking a beginners’ course on a CD in either Mandarin Chinese or Arabic. Groups matched on age, gender, verbal intelligence, musical training and working memory ability were randomly assigned to a CD that contained accompanying music or no music. Individuals who chose to learn Chinese performed better on all outcome tests compared to those who learned Arabic. Within the Chinese learners, those who received music CDs performed significantly better on tests of recall and translation compared to those who received no music CDs. No music effects were observed in the Arabic learners or on pronunciation ability in Chinese. Küssner and Hillen (2016) investigated individual differences in the effects of background music on foreign-vocabulary learning. They predicted that individuals with a high level of cortical arousal should perform worse when learning with background music compared to silence, whereas individuals with a low level of cortical arousal would be unaffected by background music or may even benefit from it. Participants were tested on a paired associate learning paradigm consisting of three immediate word recall tasks, as well as a delayed recall task one week later. Baseline cortical arousal assessed with spontaneous EEG measurement in silence prior to the learning sessions was used for the analysis. The findings revealed no interaction between cortical arousal and the learning condition with background music versus silence. However, there was a main effect of cortical arousal in the beta band on recall, indicating that individuals with high beta power learned more vocabulary than those with low beta power. To substantiate this finding the study was replicated. A combined analysis of data from both experiments suggested that beta power predicted the performance in the word recall task, but that there was no effect of background music on foreign vocabulary learning. De Groot and Smedinga (2014) studied participants learning foreign- language vocabulary by means of the paired associates method in silence, with vocal music with lyrics in a familiar language playing in the background, or with vocal music with lyrics in an unfamiliar language 289 11. Music and Studying playing in the background. The vocabulary to be learned varied in concreteness and phonological typicality of the foreign words. When tested during and immediately after training, learning outcomes were poorer in the familiar language music condition than in the unfamiliar language music and silence conditions. This effect was short-lived, as shown in a delayed test one week after training. Learning outcomes were better for concrete words than for abstract words and better for typical foreign forms than for atypical ones. Studying the impact of background music on writing rather than learning a second language, Cho (2015) also took account of the writer’s-second language proficiency. Twenty-eight students wrote an argumentative essay in music and non-music conditions respectively. The findings were analysed in terms of fluency and writing quality, and showed significant differences in pause frequency between the music and no music conditions. The comparison of high- and low- proficiency groups showed a significant group by condition interaction, indicating marginally different effects of music depending on the writers’ proficiency level. Background Music and English as a Second Language In Iran, Khaghaninejad and colleagues (2016) evaluated the effect of classical music (a Mozart sonata) on the reading comprehension performance of Iranian students having had four months of tuition in a private college teaching English. The participants were required to learn reading passages and then take two tests of reading comprehension, either in a music ( Mozart) condition or a no-music quiet condition. The music group outperformed those with no background music. Also in Iran, Rashidi and Faham, (2011) studied the effect of classical music on students’ reading comprehension. A standardised text was used and students answered 20 multiple-choice items. Two groups of students, 60 in total, over a period of three months, were taught reading comprehension with a music background or no music. The group taught with a music background outperformed those taught with no music. Similarly, Sahebdel and Khodadust (2014) studied the effect of background music on reading comprehension in Iranian English for foreign-language learners. The participants were 57 Iranian learners 290 The Power of Music between the ages of 14 and 16 in two third-grade high-school classes at pre-intermediate proficiency level. Before the research, experimental and control groups took a reading comprehension. The researchers played Mozart sonatas as background music to the experimental group and asked them to read the passage silently and then answer the reading comprehension questions. The procedure was the same for the control group but with no music. After ten sessions, the students of both groups were asked to take a parallel form of the same reading comprehension test. The findings showed that the experimental group outperformed the control group in reading comprehension. Listening to background music while reading silently had a significantly positive effect on the reading comprehension of Iranian learners for whom English was a foreign language. Individual Differences Research taking account of individual differences has taken account of personality, musical expertise, gender and metacognition. Musical Expertise Some research has considered whether having musical expertise makes a difference to the possible enhancing or detrimental effects of music. For instance, Darrow and colleagues (2006) explored whether music compromised selective attention differently in those who were majoring in music to non-music majors. Eighty-seven undergraduate and graduate students participated. They were required to bring to the study music that they typically listened to while driving, studying or engaged in other activities. The music brought represented all musical periods and styles. Participants completed a test of attention under alternating music and no music conditions. There were no significant effects for non-music majors; however, music majors who heard the music first completed significantly fewer total items in the following non-music condition, and music majors who listened to instrumental music completed significantly more total items than those who listened to music with vocals. Overall, the findings showed that participants processed significantly more items under the music condition, and music 291 11. Music and Studying majors processed significantly more items than non-music majors. There were no significant differences based on music or no music in relation to the number of errors made, the number of items processed minus errors, or concentration performance. However, there were differences for the three measures based on musical training. Music majors made significantly fewer errors than the non-music majors, processed significantly more items correctly and their concentration performance scores were significantly higher than the non-music majors’ scores. Similarly, Yang and colleagues (2016) investigated how background music with different instruments affected trained musicians’ performance on cognitive tasks. Participants completed three sets of cognitively demanding intelligence tests in a design where each group listened to a different piece of music, involving their own and other musical instruments. The results showed that musicians’ performance on cognitive tasks was more impaired when listening to music featuring their own instruments than when listening to other instruments. Patston and Tippett (2011) administered a language comprehension task and a visuospatial search task to 36 expert musicians and 36 matched non-musicians in conditions of silence and piano music played correctly or incorrectly. Musicians performed more poorly on the language comprehension task in the presence of background music compared to silence, but there was no effect of background music on the musicians’ performance on the visuospatial task. In contrast, the performance of the non-musicians was not affected by music on either task. Additionally, the musicians outperformed the non-musicians on both tasks, reflecting either a general cognitive advantage in musicians or enhancement of more specific cognitive abilities (such as processing speed or executive functioning). Similarly, Haning (2016) studied whether background music impaired language comprehension scores in musicians but not in non-musicians. Thirty-five participants with musical training and 15 without musical training completed a 30-item reading comprehension test. Participants completed the test instrument in silence or in the presence of background music. The findings indicated that there was no significant main effect for either music training or the presence of background music, and no significant interaction between the two conditions. Gold and colleagues (2013) studied dopamine release in the ventral striatum, as this plays a major role in the rewarding aspect of music 292 The Power of Music listening. Striatal dopamine also influences reinforcement learning, such that people with greater dopamine efficacy better learn to approach rewards, while those with lesser dopamine efficacy better learn to avoid punishments. This research explored the practical implications of musical pleasure through its ability to facilitate reinforcement learning via non- pharmacological dopamine elicitation. Participants from a wide variety of musical backgrounds chose a pleasurable and a neutral piece of music from an experimenter-compiled database, and then listened to one or both of these pieces according to pseudo-random group assignment as they performed a reinforcement learning task dependent on dopamine transmission. Participants’ musical backgrounds, as well as typical listening patterns, were assessed. Behaviour for the training and test phases of the learning task was assessed separately. Participants with more musical experience trained better with neutral music and tested better with pleasurable music, while those with less musical experience exhibited the opposite effect. Assessment of results regarding listening behaviours and subjective music ratings indicated that these effects arose from different listening styles: namely, more affective listening in non-musicians and more analytical listening in musicians. In conclusion, musical pleasure was able to influence task performance, and the shape of this effect depended on group and individual factors. Gender Palmiero and colleagues (2016) studied gender differences in visuospatial and navigational working memory when background music which was designed to induce positive or negative moods was playing. The findings showed that the positive music group scored significantly higher than other groups and that male participants outperformed females on one task when negative background music was playing. Personality Personality factors are implicated in creating optimal arousal levels for completing cognitive tasks. Introverts have higher resting levels of arousal than extroverts and are more susceptible to over-arousal, which impacts on their task performance when there are certain types of background 293 11. Music and Studying music (Cassidy and MacDonald, 2007). Furnham and colleagues (1999) examined the effects of vocal and instrumental music upon the performance of introverts and extroverts on three cognitive tasks. One hundred and forty-four sixth-form pupils— introverts and extroverts— completed a reading comprehension task, a logic problem and a coding task. An interaction was predicted such that instrumental music would impair and enhance the test performance of introverts and extroverts respectively, and that these effects would be magnified in the vocal music condition. No significant interactions were found, although there was a trend for the introverts to be impaired by the introduction of music to the environment, and extroverts to be enhanced by it, particularly on the reading and coding tasks. A main effect of extroversion was found in the reading comprehension task. There was a condition effect on the logic task, with participants doing best in the presence of instrumental music. Similarly, MacDonald (2013) examined the relationship between music preference and extroversion on complex task performance in a sample of 34 college students. The students were separated into two groups of high and low extroversion. Each participant experienced three different music conditions (preferred, preset and silence) while performing a complex reading comprehension task. The results revealed a significant interaction effect between level of extroversion and music condition. Individuals with higher levels of extroversion performed significantly better listening to preferred music during the complex task compared to silence and a preset music selection. There were no other statistically significant outcomes. Avila and colleagues (2011) investigated the effect of familiar musical distractors on the cognitive performance of introverts and extroverts. Participants completed a verbal, numerical and logic test in three music conditions: vocal music, instrumental music and silence. The findings showed that, during the verbal test, overall performance for all participants was significantly better in silence, suggesting that lyrics interfere with the processing of verbal information. However, no significant music and personality interactions were found. Dobbs and colleagues (2011) studied the cognitive test performance of introverts and extroverts in the presence of silence, UK garage music and background noise. One hundred and eighteen female secondary- school students carried out three cognitive tests. It was predicted that introverts would perform more badly on all of the tasks than extroverts 294 The Power of Music in the presence of music and noise but, in silence, performance would be the same. A significant interaction was found for all three tasks. It was also predicted that there would be a main effect of background sound. Performance would be worse in the presence of music and noise than silence. The findings confirmed this prediction with one exception. Furnham and Strbac (2002) extended previous work by examining whether background noise would be as distracting as music. In the presence of silence, background garage music and office noise, 38 introverts and 38 extroverts carried out a reading comprehension task, a prose-recall task and a mental arithmetic task. It was predicted that there would be an interaction between personality and background sound on all three tasks. Introverts would do more badly on all of the tasks than extroverts in the presence of music and noise but, in silence, performance would be the same. A significant interaction was found on the reading comprehension task only, although a trend for this effect was clearly present on the other two tasks. It was also predicted that there would be a main effect for background sound. Performance would be worse in the presence of music and noise than silence. The results confirmed this prediction. These findings support the hypothesis that there is a difference in optimum cortical arousal in introverts and extroverts. Adopting a different approach, Doyle and Furnham (2012) explored the distracting effects of music on the reading comprehension of creative and non-creative individuals. In the presence of musical distraction and silence, 54 individuals participated. No significant interactions were found, although trends indicated that creative individuals performed better than non-creative individuals in the music distraction condition. The creative individuals tended to listen to more music while studying and reported lower distraction levels. Background Music and Metacognition The extent to which learners are used to working with music playing in the background may be important in the extent to which it disrupts or enhances their task performance. For instance, Etaugh and Michal, (1975) gave 16 male and 16 female college students tests of reading comprehension which they completed in quiet surroundings or while listening to preferred music. The more frequently students reported 295 11. Music and Studying studying with music, the less the music impaired their performance. Similarly, Su and Wang (2010) studied the relationship between cognitive memory and background music. According to whether or not the testees were used to listening to background music, the author divided them into two groups. When the participants were exposed to three different music scenes, the impact of different background music on testees’ cognitive memory differed. The results showed that pure pop music disturbed both groups and pure soft music improved the performance of those who were used to background music but hindered those who were not. There were no statistically significant differences between groups under no music conditions. Also taking account of familiarity of working with background music, Crawford and Strapp (1994) used three timed visuospatial and verbal tests undertaken while vocal or instrumental music was playing. Vocal music disrupted performance significantly more than instrumental music on maze-tracing speed and logical reasoning tests. Both vocal music and instrumental music disturbed performance more than no music on an object-number test which assessed associative learning and long-term memory but this was moderated by studying preference. On this test, those who typically did not study with music showed deterioration across conditions from no music, through instrumental music to vocal music, while those who typically studied with music performed no better in the no-music condition than either music condition. Although extroversion was not a significant covariate of performance, those who typically studied with music were more extroverted and reported greater skills in focusing attention during distracting situations and reported less sensitivity to noise in general on a test of noise sensitivity. Some students may be able to control their responses to music better than others. For instance, Christopher and Shelton (2017) explored whether existing differences in working memory might impact on the outcomes of research looking at the effect of music on working- memory performance. Undergraduate students worked on reading comprehension and mathematics tasks under music and silence conditions, before completing a battery of working-memory capacity assessments. Although music led to a significant decline in performance overall, working-memory capacity moderated this effect in the reading comprehension tasks. This suggests that individuals who are better able 296 The Power of Music to control their attention, as indicated by working-memory capacity, may be protected from music-related distraction when completing certain kinds of academically relevant tasks. In addition to this, performance may be influenced by metacognition (the extent to which participants are aware that the music is interfering with task performance and consciously adopt strategies to prevent this). Kotsopoulou and Hallam (2010) administered rating-scale questionnaires to 600 students in three age groups—12 to 13, 15 to 16 and 20 to 21—from Japan, the UK, Greece and the USA. The questionnaires explored the extent of playing music while studying, the kinds of tasks undertaken when music was played, the perceived effects of music on studying, the characteristics and types of music played, and the factors that influenced the decision to play music. Statistical analysis revealed both commonality and differences in playing music while studying, related to both age and culture. Some tasks were more frequently accompanied by music than others, while students reported being able to make decisions about the impact of background music on their performance on various tasks and taking action to arrange music to support their learning. Competence in managing the use of music so it did not interfere with task performance increased with age. The Impact of Background Music on Children’s Behaviour and Task Performance Historically, research on background music in educational contexts has explored the impact on children at different ages, with special educational needs and undertaking a range of different tasks. For instance, in young children there is evidence that arousing music increases activity. For instance, Rieber (1965) studied the activity of five- and six-year-old children in a specially designed playroom under conditions of silence and two types of music (fast and slow). Activity rates were higher during the intervals when music was played, with fast music having the more marked effect. Music did not affect the variability of activity, which showed a steady decline during the time spent in the room. There is also evidence that the type of play may change. For instance, Gunsberg (1991) found that there was an increase in interactive play when arousing music was playing. Ziv and Goshen (2006) explored 297 11. Music and Studying the effect of sad and happy background music on the interpretation of a story in five- to six-year-old children. The children heard a story with a background of happy, sad or no melody. The findings showed that background music affected children’s interpretation of the story. Happy background music led to positive interpretations, whereas sad background music led to more negative interpretations. The effect of the happy music was stronger than that of sad music. Koolidge and Holmes (2018) explored the effects of background music on puzzle-assembly task performance in young children. Participants were 87 primarily European-American children aged four to five years old enrolled in early childhood classes. Children were given one minute to complete a 12-piece puzzle task in one of three background music conditions: music with lyrics, music without lyrics and no music. The music selection was ‘You’re Welcome’ from the Disney movie Moana . The findings revealed that children who heard the music without lyrics completed more puzzle pieces than children in either the music-with-lyrics or no-music condition. Background music without distracting lyrics may be beneficial and superior to background music with lyrics for young children’s cognitive performance, even when they are engaged independently in a non-verbal task. Focusing on drawing, Gur (2009) investigated the effect of classical music on the cognitive content of children’s drawings. The sample consisted of 84 six- year-old children from private kindergartens in higher socioeconomic status areas in Ankara in Turkey. The sample was divided into three groups. The first engaged in free drawing while listening to classical music, the second engaged in free drawing with no music and the third group acted as a control. The results showed that there was a positive effect of classical music on the cognitive content of the drawings. Background Music and Primary-School Children Mitchell (1949) was interested in the effect of radio programmes on the silent reading achievement of 91 sixth-grade students. At the time of the study, radio had become an integral part of American culture. It seemed pertinent, therefore, to determine whether radio broadcasts had any effect on the ability of pupils to concentrate sufficiently on their studies in order to acquire knowledge and information. Ninety-one 298 The Power of Music students carried out silent reading tests with either a music or a variety radio programme playing in the background, or they worked in silence. Overall, the variety programme disrupted performance more strongly for the boys than the girls. Performance during listening to the music programme was unaffected. In fact, the boys performed slightly better with the music playing. Working in Taiwan, Su and colleagues (2017) tested whether the Mozart Sonata for Two Pianos (K. 448) playing in the background impacted on the learning anxiety, reading rates and reading comprehension of students reading e-books. Sixty-two elementary students participated. The findings showed that, when compared with reading without music, the music had a positive effect in reducing learning anxiety and improved the students’ reading rates, reading comprehension and direct process performance. However, the music had a negative effect on the students’ attention when they had to interpret what they had read. This was explained in terms of the music taking up attentional resources which were required for the task. Working in a school setting, Ivanov and Geake (2003) found some evidence of an impact related to playing Mozart in the background with upper-primary-school-aged children. Scores on a paper-folding task for a class which listened to Mozart during testing were significantly higher than the scores of a control class. A similar result was obtained for another class which listened to Bach during testing. The musical educational experience of the children did not significantly contribute to the variance in scores. Koppelman and Scott (1995) explored the impact of different kinds of music on children’s writing content. Nineteen students from a second- grade class participated in ten 15-minute writing sessions, accompanied in each session by one type of background music: classical, jazz, popular, country or silence. The writing was analysed for tone, consistency and number of words. The findings showed that students wrote more words under the classical music condition and there were fewer inconsistencies in writing when listening to jazz. Popular music from the top 40 had a significant negative effect on writing, perhaps because the students were familiar with it. Hallam and Godwin (2015) explored the impact of music on creative writing in primary-school children. Children aged ten to eleven were asked to write an exciting story while listening to arousing, calming or no music. They then completed a questionnaire 299 11. Music and Studying to establish their awareness of the music and its effects. The music appeared to have little effect on basic literacy skills in the children but stories were rated as more exciting when the calming music was playing. The children had little conception of the detrimental effects of the exciting music on their writing. Mowsesian and Heyer (1973) studied whether music would distract performance in a testing situation. Four groups of participants were randomly assigned to one of four music conditions. The control group experienced optimal testing conditions as defined by accepted standards. Results on arithmetic, spelling and self-concept measures indicated no differences in mean test scores across groups, regardless of the test condition. The authors suggested that, since a variety of noises is a normal part of the environment, music as a distractor was not an issue. Hallam and colleagues (2002), working with primary-school children aged ten to twelve, undertook two studies exploring the effects of music perceived to be calming and relaxing on performance in arithmetic and on a memory task. They found that calming music led to an improvement in children’s performance on memory and mathematics tasks, compared with a no-music condition. Music perceived as arousing, aggressive and unpleasant disrupted performance on the memory task and led to a lower level of reported altruistic behaviour by the children. This suggests that the effects of music on task performance are mediated by arousal and mood rather than directly affecting cognition. Also in the UK, Bloor (2009) administered four tests to three classes in different primary schools, two with music and two with silence, to see if the music had an impact on the behaviour and attainment of the children during testing. The results were then cross-referenced with the children’s self- evaluation of their own musicality, to ascertain if those children who experienced disruption of attainment and behaviour were musicians. The findings suggested that the music may have supported performance on reading tests but conversely disrupted mathematics tests. Batur (2016) formed experimental and control groups of students in the fifth and sixth grades on the basis of scores on Turkish language exams. Overall, 80 students participated (40 from each grade), with half participating in the intervention and half acting as controls. The students were given 20 minutes to write about any subject that they wished. Those in the intervention groups worked with background music playing, while the 300 The Power of Music others worked in silence. The findings showed that those who wrote with music in the background used more words in their essays than the control group and wrote more fluently. Focusing on task behaviour, Davidson and colleagues (1986) determined the effect of background music on 26 pupils in a fifth- grade science class. The children were observed for 42 class sessions over a period of four months. Observational data were recorded every three minutes. Time series analyses were performed to determine the effects. There was a significant increase in task performance for the male students and for the total class when music was playing, although there was a ceiling effect for females. Background Music and Older Students There has been considerable research with high-school students, as this is the age when music is often played while homework is completed. Kiger (1989) studied the effects of music information load on a reading comprehension task. Twenty-seven male and 27 female high-school students read a passage of literature in the presence of silence, or low- or high-information-load music. Comprehension was best in the low- information-load music condition and worst when the high-information- load music was playing. Similarly, Fogelson (1973) explored whether music acted as a distracter on reading. Playing popular instrumental music during a test proved to be distracting and lowered the reading test performance of 14 eighth-grade students. The less able students were more adversely affected than those who were of higher levels of competence. Hall (1952) studied the effect of background music on the reading comprehension of 278 eighth- and ninth-grade students in study-hall conditions. Almost 58 percent of the 245 students tested, exclusive of the control group, showed an increase in score when the test was administered with background music. The difference in means showed a substantial gain with background music during the first lesson in the morning and during the first and second afternoon lessons. Over 67 percent of the students in these periods showed an increase in score with music background. Also studying reading comprehension, Anderson and Fuller (2010) investigated the effect of lyrical music on 301 11. Music and Studying the performance of adolescents. A reading comprehension test was administered to 334 seventh- and eighth-grade students in a non-music environment or with accompanying music comprising top hit singles from 2006. Following the music portion of the test, students completed a survey to assess their preference for or against listening to music while studying. The findings showed that performance declined significantly when background music was playing. For students exhibiting a strong preference for listening to music while studying, there was a pronounced detrimental effect on comprehension. At college level, Taylor and Rowe (2010) focused on assessment in mathematics, specifically trigonometry. During six major tests of trigonometry, 69 students were played music by Mozart. The results were compared to the performance of 59 students who took the same tests with no background music. The results indicated that the students performed significantly better when Mozart was being played as background music during the assessment. Research with Children with Emotional and Behavioural Difficulties, ADHD and Developmental Difficulties Calming music has a positive impact on the behaviour of children with emotional and behavioural difficulties, reducing their stress and anxiety in a variety of settings, although for some children with learning difficulties—for instance with Attention Deficit Disorder (ADD) or Attention Deficit Hyperactivity Disorder ( ADHD)—stimulating music is more effective in improving their behaviour, replacing the children’s need for activity and self- stimulation. These differences in response mean that music interventions aimed at changing behaviour need to be tailored to the requirements of specific groups of children. Children with Attention Deficit Hyperactivity Disorder and Attention Deficit Disorder Music has been used to help reduce hyperactivity in children with Attention Deficit Disorder (ADD) or Attention Deficit Hyperactivity 302 The Power of Music Disorder ( ADHD) (Scott, 1970). Cripe (1986) proposed that rock music could be used as an adjunctive therapy to other more conventional treatments— rock music has the advantage that it can be ‘administered’ without the need for training staff. It was hypothesised that rock music would decrease activity level in children with ADD and increase their attention span. Eight males with ADD, aged six to eight years old, were introduced to rock music in a playroom. Activity level, number of activities, attention span and length of time attending to one task were assessed. The results indicated a statistically significant reduction in the number of motor activities during the music periods within the test sessions, although there were no significant differences regarding attention span. Pelham and colleagues (2011) examined the effects of music and video on the classroom behaviour, and performance of boys with and without ADHD, as well as the effects of the drug methylphenidate. Forty-one boys with ADHD and 26 controls worked in the presence of no distraction, music or video. Video produced significant distraction, particularly for the boys with ADHD, while music improved their performance. There were individual differences in response to the music such that some boys were adversely affected and others benefited relative to no distractor. In a second study, music and methylphenidate were assessed in an additional 86 boys with ADHD to further examine the music results. In the presence or absence of music, methylphenidate improved performance relative to placebo. Similar individual differences were found as in the first experiment. Similarly, Abikoff and colleagues (1996) evaluated the impact of extra task stimulation on the academic performance of children with ADHD. Twenty boys with ADHD and 20 boys without ADHD worked on an arithmetic task during high stimulation, music, low stimulation, speech, and no stimulation (silence). The music distractors were individualised for each child, and the arithmetic problems were set at each child’s ability level. The non- ADHD young people performed similarly under all three auditory conditions, while the children with ADHD did significantly better under the music condition than speech or silence conditions. However, arithmetic performance was enhanced only for those children with ADHD who were exposed to music as the first condition. Maloy and Peterson (2014) undertook a meta-analysis of the effectiveness 303 11. Music and Studying of music interventions for children and adolescents with ADHD. The analysis revealed that music interventions were minimally effective as an intervention for increasing task performance. Emotional and Behavioural Difficulties Savan (1989; 1999) observed children with behavioural difficulties during science lessons. She suggested that the behaviour of pupils with special educational needs was, in part, resulting from frustration due to lack of physical coordination and the consequent inability to perform manual tasks effectively and efficiently. She investigated the possibility that specific properties of certain Mozart orchestral compositions might, in combination, improve the coordination skills of pupils with emotional and behavioural difficulties. Audio tapes of Mozart orchestral compositions provided a sound stimulus for ten boys aged twelve and over, identified as having special educational needs and emotional and behavioural difficulties. The tapes were then edited in an attempt to establish which musical qualities produced the effects. Measurements of blood pressure, body temperature and pulse rate were taken to establish which sound stimulus had an effect on the physiology and metabolism of the participants. In each case, an improvement in coordination was observed, accompanied by a corresponding drop in physiological measures and an observed improvement in behaviour. Improvements were also observed in cooperation, aggression was reduced during the lessons immediately following the science lessons. Hallam and Price (1998) studied the effects of providing background music in the classroom on the behaviour and performance on mathematical tasks of ten children aged nine to ten attending a school for children with emotional and behavioural difficulties, who exhibited a high frequency of disruptive behaviour. The music consisted of songs from children’s films and other music which was popular and well known to the children—the music had been previously identified by other children in the school as calming and relaxing. There was a significant improvement in behaviour and mathematics performance for all of the children. The effects were particularly marked for those whose problems were related to constant stimulus-seeking and overactivity. Reardon and Bell (1970) tested three predictions of the effects of musical stimulation on the activity level of 11 six- to seventeen-year-old 304 The Power of Music institutionalised boys with severe developmental delay. Participants’ activity scores during sedative and stimulating music were compared with levels during silent baseline and non-musical, spoken recording conditions. Fourteen behavioural categories were rated by trained observers during eight hours of observations under each of the four conditions. Activity level varied significantly on the day of the experimental work, suggesting that the novelty of the recordings was a significant factor. Differences in activity due to the conditions tended to confirm the prediction of lower activity levels during the more stimulating music. Older Adults and those with Cognitive Impairment There has been increasing interest in the ways in which actively making music and listening to it may help older people, and particularly those with dementia. This section focuses on issues related to background music and learning. For instance, Foster and Valentine (2001) studied elderly individuals with mild to moderate, high-ability or moderate low- ability dementia who answered autobiographical memory questions drawn from three life eras (remote, medium-remote and recent) with backgrounds of familiar music, novel music, cafeteria noise or quiet. Recall was significantly better in the high-ability than the low-ability group, in sound than in quiet, and in music than in noise. Recall was significantly related to life era, declining from remote to recent memory. The superiority of recall with music compared with noise was apparent for recall from remote and medium-remote but not recent eras. The findings may be interpreted in terms of enhanced arousal or attention deployment, and a possible subsidiary role for associative facilitation from the particular music. Thompson and colleagues (2005) investigated the effect of listening to an excerpt of Vivaldi’s Four Seasons on category fluency in healthy older-adult controls and Alzheimer’s disease patients. Participants completed two one-minute category-fluency tasks whilst listening to an excerpt of Vivaldi and two one-minute category-fluency tasks without music. The findings showed a positive effect of music on category fluency, with performance in the music condition exceeding performance without music in both the healthy older-adult control 305 11. Music and Studying participants and the Alzheimer’s disease patients. The findings suggested that music enhanced attentional processes in healthy adults and those with Alzheimer’s disease. Irish and colleagues (2006) studied the enhancing effect of music on autobiographical memory recall in ten individuals with mild Alzheimer’s disease and ten healthy elderly matched individuals. Each participant was assessed on two occasions: once in the music condition (listening to ‘Spring’ from Vivaldi’s ‘The Four Seasons’) and once in silence. Considerable improvement was found for Alzheimer individuals’ recall on an autobiographical memory in the music condition. There were no differences in terms of overall arousal using galvanic skin response recordings or attentional errors during a sustained attention to response task. A significant reduction in state anxiety was found in the music condition, suggesting that anxiety reduction may be a potential mechanism underlying the enhancing effect of music on autobiographical memory recall. Also using Vivaldi’s ‘Four Seasons’, Mammarella and colleagues (2007) examined whether listening to music had a positive effect on older adults’ cognitive performance on two working-memory tasks. Participants were presented with the forward version of the digit-span task and phonemic-fluency tests accompanied by classical music, white noise or no music. The classical music significantly increased working- memory performance compared with the no-music condition. The effect did not occur with white noise. It is particularly important to study the effect of background music in older adults, since attentional control can be impaired in normal cognitive ageing. Older adults tend to be more sensitive to distractions in the environment (Darowski et al., 2008), although they also tend to be more accurate in cognitive tasks than their younger counterparts, but slower (Hsieh and Lin, 2014). Reaves and colleagues (2016) investigated the impact of background music on a concurrent paired-associate learning task in healthy young and older adults. Young and older adults listened to music or sat in silence while simultaneously studying face-name pairs. Participants’ memory for the pairs was then tested while listening to either the same or different music. Participants also made subjective ratings about how distracting they found each song to be. Despite the fact that all participants rated music as more distracting than silence, only older adults’ associative memory performance was impaired by 306 The Power of Music music. These findings are consistent with theories that older adults may fail to inhibit the processing of distracting task-irrelevant information. Alain and Woods (1999) and Andrés and colleagues (2006) demonstrated that adding irrelevant sounds to a visual discrimination task impaired the reaction times of older adults more than young adults, as well as the amplitude of the event-related potential linked to the processing of distraction. Fernandez and colleagues (2020) demonstrated that, compared to silence or sad and tender music, joyful and highly arousing background music enhanced perceptual judgements in a flanker task in both older and young adults, although no background music effect was found on older adults’ attentional control performance. However, this study used a modified version of the flanker task, which measured several components of attention and included cues before the trials. A more challenging task measuring attentional control specifically might have produced different results. Music has also been found to have an impact on arousal in older people. For instance, Hirokawa (2004) examined the effects of participants’ preferred music and relaxation instructions on older adults’ arousal and working memory. Fifteen female older adults participated in ten minutes of three experimental conditions: participant preferred music, relaxation instructions and silence. Four subcategories of arousal level,—energy, tiredness, tension and calmness—were measured before and after the experimental treatment. After each condition, participants completed a working-memory test. The findings indicated that music increased participants’ energy levels, while relaxation and silence significantly decreased energy levels, and increased tiredness and calmness. All experimental conditions decreased tension. Scores on the working-memory test were not significantly different among the conditions. There were no clear relationships between the four arousal levels and working-memory scores. Overall, the findings indicated that preferred music had the potential to increase older adults’ energetic arousal and reduce tension. The literature on episodic memory suggests that background music may have positive effects on younger and healthy older adults (Bottiroli et al., 2014; Ferreri et al., 2015), although it may be particularly beneficial among older adults with cognitive impairment, contributing to arousal, mood and reward systems. Music may also recruit brain 307 11. Music and Studying areas spared after degeneration, and elicit compensatory mechanisms (Ferreri and Verga, 2016) which are not activated in healthy participants under the same music stimulation. Alternatively, music may reduce task-related anxiety, which is expected to be higher in cognitively impaired participants. For instance, Ferreri and colleagues (2014) investigated whether music could improve episodic memory in older adults while decreasing prefrontal cortex activity. Sixteen healthy older adults aged 64 to 65 encoded lists of words presented with or without a musical background, while dorsolateral prefrontal cortex activity was monitored using an eight-channel continuous wave near infrared spectroscopy system. Behavioural results indicated a better source- memory performance for words encoded with music compared to words encoded with silence. There was a bilateral decrease of oxyhaemoglobin values in the music-encoding condition compared to the silence condition, suggesting that music modulated the activity of the dorsolateral prefrontal cortex during encoding in a less demanding direction. Overall, the results indicated that music can help older adults in memory performance by decreasing their prefrontal cortex activity. Reviews and Meta-Analyses The number of reviews and meta-analyses on the impact of background music on cognitive tasks is relatively limited compared with other areas of research. In a review of studies adopting a priming condition before performance on a cognitive task, Pietschnig and colleagues (2010) observed that the Mozart effect (as first researched by Rauscher and colleagues (1993)) had been difficult to replicate, leading to an abundance of conflicting results. They conducted a meta-analysis of nearly 40 studies involving over 3000 participants, and found a small overall estimated effect for samples exposed to the Mozart sonata K. 448 and samples that had been exposed to a non-musical stimulus or no stimulus at all preceding spatial-task performance. Calculation of effect sizes for samples exposed to other musical stimuli and samples exposed to non-musical stimuli or no stimuli at all yielded effects similar in strength. There was also evidence for confounding publication bias, requiring downward correction of effects. Overall, Pietschnig and colleagues concluded that there were noticeably higher overall effects 308 The Power of Music in studies performed by Rauscher and colleagues than in studies performed by other researchers. Overall, they found little evidence for a specific, performance-enhancing Mozart effect. In a meta-analysis undertaken by Kämpfe and colleagues (2011), the overall effect of listening to background music was established as null. Further examination led the authors to the conclusion that this finding was most likely caused by the averaging-out of specific effects, such as improved arousal positively influencing achievement in sports, or detrimental effects on reading or memory. Not all of the reviews have come to quite such negative conclusions, in part because their focus was different. For instance, Schwartz and colleagues (2017) undertook a systematic literature review and identified 20 studies between 1970 and 2014 focusing on the role of contingent and noncontingent background music to facilitate task engagement, enhance performance and alter behaviour. They concluded that, although the research addressing background music had mixed results, there was evidence suggesting that this could be an effective strategy for increasing task engagement and performance, and decreasing stimulatory behaviour for individuals with developmental disabilities. As providing musical stimuli is relatively inexpensive and may be less intrusive in comparison to other strategies, they argued that its use merited additional study to explore how and to what extent music could affect behaviour. Similarly, Peck and colleagues (2016) reviewed existing anecdotal and empirical evidence related to the enhancing effects of music exposure on cognitive function and provided a discussion of the potential underlying mechanisms that might explain music’s effects. Specifically, they outlined the potential role of the dopaminergic system, the autonomic nervous system and the default network in explaining how music may enhance memory functions in persons with Alzheimer’s disease. De la Mora Velasco and Hirumi (2020) synthesised the findings from 30 studies that examined the effects of background music on learning from 2008 to 2018. Frequencies and percentages were used to describe background music’s effects on learning across studies, the methods used and the background music characteristics manipulated. They concluded that the results were inconclusive and the findings from the research were inconsistent. Drawing similar conclusions, Ferreri and Verga (2016) reviewed the evidence for the role of background music 309 11. Music and Studying on verbal learning and memory. They argued that the existing research provided conflicting findings. Although several studies had shown a positive effect of music on the encoding and retrieval of verbal stimuli, music had also been suggested to hinder mnemonic performance by dividing attention. They argued that the extent to which music boosted cognitive functions relied on the relative complexity of the musical and verbal stimuli employed. Overall, background music has been found to have beneficial, detrimental or no effect on a variety of behavioural and psychological outcome measures. The reasons why this might be the case are discussed below. Explaining the Impact of Background Music on Cognitive Performance There are several theories which have attempted to explain how listening to music prior to undertaking a cognitive task may enhance performance. The first is a neural priming effect, associated specifically with spatial- temporal reasoning. The second is the arousal and mood hypothesis (Thompson et al., 2001), which suggests that music enhances arousal and promotes a positive mood, consequently affecting and benefiting attentional processes (Husain et al., 2002). This theory postulates that introducing a preferred auditory background prior to a task makes the task increasingly interesting, thereby enhancing the learner’s levels of arousal, and that this level of heightened and increased arousal leads to an increase in attention, thus enhancing performance. The explanations of the effects of background music in terms of arousal and mood also apply to music played in the background. Research has demonstrated this effect when music is presented simultaneously with a variety of executive tasks, such as cognitive flexibility, working memory and attentional control (Fernandez et al., 2020; Jiang et al., 2011; Shih et al., 2016; Thompson et al., 2005). However, not all of the available research findings fit well within this theoretical relationship between music and cognitive performance. For example, some research suggests that highly pleasant music requires more attentional resources and thus may impair cognitive performance in the context of attentional tasks (Nemati et al., 2019). For instance, music can positively affect working memory (Revelle and Loftus, 1989) which results in more material being 310 The Power of Music processed by the learner consecutively, enhancing their performance, while mood improvement enhances cognitive performance through increased dopamine levels in the brain (Ashby et al., 1999). Explanations relating to arousal also need to take account of anxiety, as some studies have shown that high anxiety is associated with lower task efficiency (Tanaka et al., 2006). Byrne and Eysenck (1995) also found that the task efficiency of participants with high anxiety was lower than that of low- anxiety participants. Where individuals select background music themselves, there may be a rewarding effect in terms of the enjoyment it may bring (Arnett, 1995). Music may also interfere with cognitive processes. Concentrated listening to music requires cognitive effort for processing, analysis and extracting meaning (Berlyne, 1971). Listening to complex, arousal- evoking music may therefore reduce the attentional space available for task performance. When individuals play music while carrying out a cognitive task, they do not attend to both the music and the task simultaneously; attention switches between the two (Madsen, 1987). Depending on their interest, their focus may be greater on the task or the music. Another explanation for the impact of music comes from its ability to provide rewards. Salimpoor and colleagues (2013) point out that listening to music is amongst the most rewarding experiences for humans. Music has no functional resemblance to other rewarding stimuli, and has no demonstrated biological value, yet individuals continue listening to music for pleasure. It has been suggested that the pleasurable aspects of music listening are related to changes in emotional arousal, although this link has not been directly investigated. Salimpoor and colleagues (2013), using methods of high temporal sensitivity, investigated whether there was a systematic relationship between dynamic increases in pleasure states and physiological indicators of emotional arousal, including changes in heart rate, respiration, electrodermal activity, body temperature and blood volume pulse. Twenty-six participants listened to self-selected intensely pleasurable music and neutral music that was individually selected for them based on low pleasure ratings they provided based on other participants’ music. The ‘ chills phenomenon’ was used to index intensely pleasurable responses to music. During music listening, continuous real-time recordings of subjective pleasure states 311 11. Music and Studying and simultaneous recordings of sympathetic nervous system activity, an objective measure of emotional arousal, were obtained. The findings revealed a strong positive correlation between ratings of pleasure and emotional arousal. Importantly, a dissociation was revealed, as individuals who did not experience pleasure also showed no significant increases in emotional arousal. There are broader implications for these findings in that strongly felt emotions can be rewarding in the absence of a physically tangible reward or specific functional goal. Neuroscientific studies have established a relationship between music, emotion and changed brain activity. For instance, Blood and colleagues (1999) used positron emission tomography to examine cerebral blood-flow changes related to affective responses to music. Ten volunteers were scanned while listening to six versions of a novel musical passage varying systematically in degree of dissonance. Reciprocal cerebral blood-flow covariations were observed in several distinct paralimbic and neocortical regions as a function of dissonance and of perceived pleasantness versus unpleasantness. The findings suggested that music may recruit neural mechanisms similar to those previously associated with pleasant or unpleasant emotional states, but different from those underlying other components of music perception, and other emotions such as fear. In a later study, Blood and Zatorre (2001) showed that intensely pleasurable responses to music correlated with activity in the brain regions implicated in reward and emotion. Positron emission tomography was used to study neural mechanisms underlying intensely pleasant emotional responses to music in ten university students aged between 20 and 30, each with at least eight years of music training. Each participant selected one piece of music that consistently elicited intensely pleasant emotional responses, including chills. The music was all in the classical genre, and included pieces such as Rachmaninov’s ‘Piano Concerto No. 3 in D Minor’, ‘Opus 30’ and ‘Intermezzo Adagio’ and Barber’s ‘ Adagio for Strings’. These are instrumental works with no lyrics. Participants reported that their emotional responses were intrinsic to the music itself, producing minimal personal associations or memories. Cerebral blood-flow changes were measured in response to participant-selected music that elicited the highly pleasurable experience of shivers down the spine or chills. Subjective reports of chills were accompanied by 312 The Power of Music changes in heart rate, electromyogram measures and respiration. As intensity of chills increased, cerebral blood flow increases and decreases were observed in brain regions thought to be involved in reward and motivation, emotion, and arousal, including the ventral striatum, midbrain, amygdala, orbitofrontal cortex and ventral medial prefrontal cortex. These brain structures are known to be active in response to other euphoria-inducing stimuli, such as food, sex and recreational drugs. This finding links music with biologically relevant, survival-related stimuli via their common recruitment of brain circuitry involved in pleasure and reward. Activity in these regions in relation to reward processes is known to involve dopamine and opioid systems, as well as other neurotransmitters. Dopaminergic activity appears to be the common mechanism underlying reward response to all naturally rewarding stimuli. Support for involvement of opioid systems specifically in response to music comes from a preliminary study that demonstrated that blocking opioid receptors with naloxone decreased or inhibited the chills response in some participants. The possibility of a direct functional interaction between the hippocampus amygdala and midbrain is supported by the exactly opposite correlation of dorsomedial midbrain and left hippocampus amygdala with chills intensity. Thus, activation of the reward system by music may maximise pleasure, not only by activating the reward system but also by simultaneously decreasing activity in brain structures associated with negative emotions. The amygdala and hippocampus both receive inhibitory presynaptic input from cholinergic neurons, suggesting a possible mechanism for decreased activity in these regions as a consequence of activity increases in ventral striatum. Brain structures correlating with intensely pleasant emotion differed considerably from those observed during unpleasant or pleasant responses to musical dissonance or consonance in an earlier study (Blood, 1999). In particular, right parahippocampal activity—previously observed to correlate with unpleasant responses to dissonance—did not correlate with chills intensity, supporting the notion that parahippocampal activity may be specifically related to negative emotion. In addition, regions associated with reward- motivation circuitry, such as the ventral striatum, dorsomedial midbrain, amygdala and hippocampus, were found to correlate with chills intensity but not with the more mildly 313 11. Music and Studying pleasant emotion associated with consonance. These discrepancies provide further evidence that different emotions are associated with activity in different groups of brain structures. Nemati and colleagues (2019) also investigated the neural correlates of pleasure induced by listening to highly pleasant and neutral musical excerpts, using electroencephalography. Power-spectrum analysis of the data showed a distinct gradual change in the power of low-frequency oscillations in response to highly pleasant, but not neutral, musical excerpts. Specifically, listening to highly pleasant music was associated with relatively higher oscillatory activity in the theta band over the frontocentral area and in the alpha band over the parieto- occipital area, and a gradual increase in the oscillatory power over time. Correlation analysis between behavioural and electrophysiological data revealed that theta power over the frontocentral electrodes was correlated with subjective assessment of pleasantness while listening to music. To study the link between attention and positive valence, volunteers performed a delayed match-to-sample memory task while listening to the musical excerpts. Their performances were significantly lower under highly pleasant conditions compared to neutral conditions. Listening to pleasant music requires higher degrees of attention, leading to the observed decline in memory performance. Gradual development of low-frequency oscillations in the frontal and posterior areas may be (at least partly) due to gradual recruitment of higher levels of attention over time in response to pleasurable music. As demonstrated in the earlier sections of this chapter, any single research project generally has a limited focus, and cannot take account of the complexity underlying the impact of background music on task performance. There are also methodological issues relating to the types of task considered. These have included reading comprehension, the completion of mathematical tasks, a range of memory tasks and those relating to attention. There is also an issue relating to how the impact on performance of those tasks is assessed—for instance, physiologically, neurologically, by task performance, observation or rating scales. This is particularly important, as the relationships between these different measures are frequently inconsistent. There are challenges in systematically categorising the nature of the music used in terms of its potential to arouse or generate different moods 314 The Power of Music and the extent to which it is liked or disliked. The music can vary in genre, tempo, timbre, intensity, type (instrumental or vocal), and use of consonance versus dissonance. The relationships between these are complex (Salimpoor et al., 2009), although generally music influences physiological arousal in the expected direction: that is, exciting music leads to increased arousal, calming music the reverse (Abeles and Chung, 1996). These responses are based on pre-wired connections related to the primitive elements of music—for example, loudness, timbre, pitch, and tempo (Peretz, 2010). Favourite music, whether stimulating or relaxing, tends to lower the experience of tension, although not necessarily having a similar impact on physiological responses (Iwanaga and Moroki, 1999). It may also act as a distraction to completion of the task. Finally, there are the subjective aspects of music perception. Individuals respond to the same music in very different ways depending on their musical preferences and their individual characteristics. The structural features of the music ( tempo, modality, instrumentation, genre), cultural factors (aspects of the environment including tonality and the way that musical associations are culturally shaped and learned) and associative factors (for example, the personal and subjective meanings placed on a particular piece of music depending on musical experiences) all play a part in responses to music. Where associative factors come into play, the structural and cultural aspects of the music are superseded by personal and associative aspects (see Figure 11.1). Preference may therefore render very different types of music as functionally equivalent. For example, the music which young people may choose to play while studying may differ widely but lead to similar physiological effects. Music may be linked with particular experiences in an individual’s life, evoking pleasant or distressing memories (Robazza et al., 1994). It is also related to identity (MacDonald et al., 2009). Quite different music can thus change mood in the same direction (Field et al., 1998). Formal music training, perhaps because of its impact on identity, affects responses but there are no clear patterns relating to gender, age or social class (Abeles and Chung, 1996). The complex and interacting nature of the factors which influence responses mean that it is difficult to predict the exact effects of any particular piece of music on any individual. 315 11. Music and Studying Figure 11.1 There are, of course, interactions between these various factors. In relation to the undertaking of cognitive tasks, a key one is the relationship between the difficulty of the task and the optimal level of arousal needed to undertake it. The Yerkes–Dodson law provides one explanation, stating that arousal levels increase performance up to an optimal level, beyond which overarousal leads to deterioration. Arousal is known to act according to an inverted U shape, where both extremely low and extremely high arousal damages performance, while moderate levels benefit it. This occurs more quickly when the task to be performed is complex or underlearned. Completing a simple task requires a higher level of arousal for concentration to be maintained, while complex tasks require lower arousal levels. Evidence of the way that loud and fast music disrupts reading comprehension (a complex task) supports this explanation (Thompson et al., 2012). Personality factors are also implicated in optimal arousal levels. Introverts have higher resting levels of arousal than extroverts, and are more susceptible to overarousal, which impacts on their task performance when there is background music (Cassidy and MacDonald, 2007; Dobbs et al., 2011). Related to this is the attention drainage effect, which describes attention as a reservoir of mental energy from which resources are drawn to meet situational attentional demands for task processing (Kahneman, 1973; Chou, 2010). Music may, in some circumstances, draw attention away from the task, as it is only possible to pay attention to one thing at a time (Madsen, 1987). For instance, music with lyrics is more likely to interfere with a reading comprehension task than instrumental music if the music is played concurrently with task completion, but this may not apply if the music is used to prime the activity. Music with lyrics may not interfere with task completion if the task is non-verbal. In 316 The Power of Music general, shared attentional resources are involved when processing stimuli from different modalities, including music, and this can lead to impairment in the processing of one or both modalities. Recently, there has been particular interest in the impact of music on the elderly. This has shown that different factors may come into play for this age group, particularly if they are experiencing cognitive impairment. Music played concurrently may distract from task completion, while music played prior to the task may act to enhance motivation and arousal, thus enhancing task performance. Addressing some of these issues, Gonzalez and Aiello (2019) considered the interactions between music-based, task-based, and performer-based characteristics. They hypothesised that music, along with its complexity and volume, would facilitate simple task performance and impair complex task performance, and that an individual’s preference for external stimulation (a dimension of boredom proneness) would moderate these effects. To test this, participants completed cognitive tasks either in silence or with music of varying complexity and volume. The findings showed that music generally impaired complex task performance, complex music facilitated simple task performance, and preference for external stimulation moderated these effects. An Explanatory Framework Hallam and MacDonald (2016) discussed the subjective aspects of music perception and how individuals benefited from music or not. They considered how this varied and could even fluctuate within the same listener, because individuals respond differently to the same music depending on the features of the music itself, the individual’s cultural context and additional experience-driven, associative aspects. Individual preferences and ways of responding to music determine whether music influences mood, level of arousal and the capacity to perform better because of these physiological effects. Overall, the impact of background music on performance on any particular task depends on many interacting factors. Figure 11.2 sets out a model of possible contributory factors including the nature of the music itself: its genre, whether it is stimulating or relaxing, its complexity, whether it is familiar, liked, vocal or instrumental, and has been selected by the individual listening to it or 317 11. Music and Studying imposed on them by others. The model suggests that the effects of music are mediated by the characteristics of the individual: their age, ability, personality, metacognitive skills, musical expertise, familiarity with the music being played and the frequency with which they normally listen to music when they are studying. The current emotional arousal and mood state of the individual may also be influenced by individual characteristics and recent life events. Individual characteristics also have a direct effect on learning outcomes, and a further indirect effect through metacognitive activity. The environment within which the activity is taking place may also be important—for instance, whether the individual is alone or in a familiar place, and whether there are other distractions. The characteristics of the task (for instance, the nature of the processing required, its difficulty, and whether it is perceived as interesting or boring) will also play a part. Currently, little research takes account of all of these factors. Individuals need to be aware of the impact of music on their task performance and adjust their behaviour accordingly. As a general rule, background music which creates high levels of arousal will disrupt work on complex tasks, although it may prevent boredom if a task is repetitive or boring. Working in silence or with relaxing music may enhance performance on a difficult task. Preferred music is likely to have advantages over disliked music. Music with lyrics may be disruptive, particularly if the task is verbal in nature (see Figure 11.2). Overview It is clear that understanding how music can affect task performance is complex and requires many factors to be taken into account. Each individual needs to assess their own situation and the task facing them at any given time, and make a decision as to whether music will assist or disrupt their performance, then act accordingly. In the classroom, unless calming music is used to simply lessen general exuberant behaviour, working in silence is likely to be most beneficial to the majority of students, unless they have particular behavioural difficulties or problems with attention (for instance, ADHD or ADD).318 The Power of Music Figure 11.2: A model of the effects of background music on behaviour and learning (derived from Hallam and MacDonald, 2016)12. Re-Engagement and Motivation Active engagement with music has been shown to support the positive development of young people who are from areas of high deprivation and may be at risk of disaffection, not fully engaged with education, exhibiting poor behaviour or involved in the criminal justice system. Music has also been found to help with the rehabilitation of prisoners and their successful reintegration into society. This chapter begins by setting out the various influences on an individual’s motivation, followed by an exploration of evidence as to how active engagement with music may contribute to bringing about change. Motivation Lack of motivation is a problem in formal education across much of the developed world. There is concern about high levels of student boredom and disaffection, high dropout rates, poor attendance and poor behaviour leading to exclusions from school, particularly in urban areas. Some students report viewing school as boring, or as a game where they try to do as well as they can with as little effort as possible. Disaffection increases as students progress through school, particularly in the final years of compulsory education. These issues are particularly acute in boys, some ethnic minorities and those with special educational needs. Young people from lower socioeconomic groups are underrepresented in higher education, and those who take up opportunities to participate in formal education as mature adults tend to be those who have already been relatively successful. There is a substantial group of individuals whose motivation is insufficient to sustain engagement with formal learning in the short-, medium- and long-term. © 2022 S. Hallam & E. Himonides, CC BY-NC-ND 4.0 https://doi.org/10.11647/ OBP .0292.12320 The Power of Music The complex interactions which occur between the environment and the individual which influence self-development, motivation and ultimately behaviour are set out in Figure 12.1. An individual’s identity or self-concept represents the way he or she thinks about him or herself and his or her relationships with others (Mead, 1934; Rogers, 1961; Sullivan, 1964). Identity is developed in response to feedback received from the environment. The desire for social approval, particularly from those we admire and respect, leads us to behave in particular ways. Over time, values and beliefs leading to behaviour associated with praise are internalised. Positive feedback from others raises self-esteem and enhances confidence. Identity develops as a result of these processes. The family has a crucial role to play in this process in the early years but as the child’s social contacts broaden, others (including teachers and peers) become important. Individuals set themselves goals, which determine their behaviour. Goals are influenced by identity, ideal and possible selves, as well as environmental factors. Behaviour is the end link in the chain, but at the time of enactment, it too can be influenced and changed by environmental factors. There is interaction between the environment and the individual at every level in the long- and short- term. Individuals can also act upon the environment to change it or seek out new environments more conducive to their needs. Behaviour is influenced by the individual’s interpretation of situations and events, their expectations and the goals that they have, which mediate and regulate behaviour (Mischel, 1973). While each individual has needs and desires, these are tempered by consideration of the consequences of actions prior to attempts to satisfy them. Cognition plays a role in the ways in which we attempt to enhance our self-esteem, leading us to attribute our success or failure to causes which will allow us to maintain a consistent view of ourselves. When a learner has completed a learning task successfully, this will have an impact on self-esteem and motivation which will be carried forward to subsequent learning tasks. Conversely, when learning outcomes are negative, motivation is usually (but not always) impaired. There are complex interactions between learning and motivation. The more successful and enjoyable our learning in a domain, the more likely we are to be motivated to continue engaging with it. At the same time, the more interested and motivated we are in a domain, the more 321 12. Re-Engagement and Motivation likely we are to persist when we fail or face difficulties, particularly if we believe that, ultimately, we can be successful. If early engagement with learning in a particular domain is enjoyable and positively rewarded, self- efficacy beliefs are supported and learning continues. This brings further rewards and a positive possible self develops in that domain-enhancing motivation and increasing persistence for the future. Motivation to learn is related to identity and the goals individuals set for themselves in the short-, medium- and long-term. The value attached to learning tasks is related to the extent to which they support this developing identity and the goals derived from it. Throughout life, an individual will engage with learning across several domains and it is inevitable that they will be more successful and interested in some domains than others, and that some will be more closely linked with their personal goals. From time to time, personal goals may be in conflict and individuals may have to make choices based on their relative importance. The difficulty during the years of compulsory schooling, and on occasion after that (when individuals may be required to undertake further training), is that in these circumstances the individual’s freedom to choose what and how to learn is removed. If there is little relationship between personal goals and those determined by the educational system and teachers working within it, then motivation is likely to be poor and learners are likely to become disaffected. The more closely the goals of learners, teachers and educational systems are matched, the more likely that effective learning will occur. Motivation is crucial in how well children perform at school and is closely linked to self-perceptions of ability, self-efficacy and aspirations (Hallam, 2005). Actively engaging with music can help enhance motivation and change behaviour through changing self- beliefs and aspirations, and through the transferable skills that it can develop. A study by the Norwegian Research Council for Science and Humanities supported this, finding a connection between having musical competence and high motivation, which led to a greater likelihood of success in school (Lillemyr, 1983). There were high correlations between positive self-perception, cognitive competence, self-esteem, and interest and involvement in school music.322 The Power of Music Motivation Developed through Engagement with Music The process of learning to play an instrument or sing frequently requires hours of practice, typically in solitude, and a commitment to music even when there are competing curricular and extracurricular activities. This may foster motivation-related characteristics (Evans, 2015; Evans and Liu, 2019). Students who learn that repeated music practice can lead to the mastery of complex skills and the achievement of desired outcomes (such as positive examination outcomes or successful performances) develop a mastery-focused learning approach (Degé and Schwarzer, 2017). This may lead to the internalisation of a sense of self-efficacy, which may then be applied to learning in non-musical domains. Bandura (2005) suggests that efficacy beliefs are multifaceted, although they may covary across distinct domains of functioning. Self-efficacy developed in one area of learning may generalise to other areas. For instance, self-efficacy developed through learning in music may generalise to other areas of learning, particularly when similar subskills are involved. Similarly, self-regulation acquired through music may generalise to other areas. Such transfer of self-efficacy or other motivation-related characteristics is plausible given the parallels between music education and traditional academic subjects. Instruction and feedback are required for both, and there are tangible outcomes in relation to examinations or performance. Self-efficacy is associated with achievement (Caprara et al., 2011), while mastery-learning and self-efficacy develop in an iterative, mutually reinforcing manner (McPherson and Renwich, 2011). Some research has demonstrated how recognition for achievement in music, leading to high levels of self- efficacy, can enhance self-efficacy and self-esteem, which then transfers to motivation for other schoolwork. For instance, McPherson and O’Neill (2010) found that students who were engaged in learning music reported higher competence beliefs and values and lower task difficulty across all school subjects in comparison with those not engaged in making music. Overall, having experience of learning to play an instrument or sing enhanced motivation for other school subjects. Burnard (2008) explored the attempts of three secondary-school music teachers to re-engage disaffected young people through music 323 12. Re-Engagement and Motivation lessons. They reported that they democratised music-learning, emphasised creative projects and used digital resources. Similarly, the Musical Futures project was designed to devise new ways of engaging young people (aged 11 to 19) in music activities. Initially, this entailed young people working in small groups, learning to copy recordings of popular music by ear. A large-scale evaluation of the project showed that the music teachers perceived students to be more motivated, better behaved and demonstrating higher levels of participation, greater focus, enhanced musical skills, more confidence, improved small-group and independent-learning skills, and enhanced leadership skills. Those who benefited the most were lower- and middle-ability students (Hallam et al., 2017). The pupils themselves reported improved listening skills and an impact on other schoolwork, including less reliance on the teacher, enhanced concentration and using music to help with other subjects (for instance, making up songs to help with remembering facts). Team- working skills also transferred to other lessons (Hallam et al., 2018). Non- music staff in the participating schools also reported that the Musical Futures approach had had a positive impact on student motivation, wellbeing, self-esteem, concentration, organisation, attitudes towards learning, progression and team-working (Hallam et al., 2016). Similarly, students randomly assigned to weekly piano lessons over the course of three years demonstrated gains in self-esteem, particularly its academic dimension, whereas a control group showed no such gains (Costa-Giomi, 2004). A quasi-experimental study revealed that students who received a higher number of music lessons over several years reported gains in academic self-concept that were unmatched by those in a comparison group (Rickard et al., 2013). Positive relationships have also been reported between the number of music lessons taken and academic self-concept (Degé et al., 2014) and higher levels of musical engagement (Degé et al., 2014; Degé and Schwarzer, 2017). The experiences of students in musical groups may also contribute to a general sense of accomplishment and collaboration, which may support enhanced interactions in school, leading to a more positive school climate, greater academic achievement and decreased disaffection (Rumberger and Lim, 2008).324 The Power of Music Figure 12.1: Model of motivation 325 12. Re-Engagement and Motivation Children and Young People Facing Challenging Life Circumstances Children born into areas of high deprivation face considerable life challenges. Typically, they only acquire low-level skills and qualifications, and in adulthood they are less likely to be employed and more likely to have lower earnings than those from more affluent areas (Blanden et al., 2008). Other long-term consequences include those relating to health (mental and physical) and involvement in criminal activity (Feinstein and Sabates, 2006). Parental involvement in their child’s education, lack of cultural and social capital, negative experiences at school, low aspirations and exposure to multiple risk factors are all implicated in the relationship between deprivation and poor educational outcomes. In relation to music, there is some evidence that children from deprived areas are less likely to have played a musical instrument (Scharff, 2015) and are more likely to have negative experiences with instrumental teachers, interpreting this as their own failure and feeling less comfortable and confident learning classical music (Bull, 2015). Group music-making offers the opportunity to engage in wider cultural experiences, explore new ideas, places and perspectives, and support social cohesion through broadening experience (Israel, 2012). This not only benefits participants but also increases parents’ attendance at cultural events and their exposure to culture more generally (Creech et al., 2016). A range of musical projects have focused on the role that music can play in enhancing the lives of vulnerable children, providing them with a range of transferable skills. Some of these programmes will be discussed here, while others will be addressed in detail in Chapter 16 , which addresses issues of social inclusion (for instance, the inclusion of refugee children), while Chapter 14 considers programmes supporting the psychological wellbeing of children from war zones. Music can be a vehicle for re-engaging young people in education and supporting those who are at risk in making changes in their lives. The context within which projects operate is important for their success, as are the musical genres adopted and the quality of the musical facilitators. Deane and colleagues (2011) found that, whilst music-making acted as a hook in terms of initial project engagement, it was frequently the 326 The Power of Music building of a trusting and a non- judgemental relationship between a young person and their mentor that supported change. El Sistema and Sistema -inspired Programmes Internationally, the largest group of programmes supporting children living in deprived areas and at risk of disaffection are El Sistema programmes and those inspired by El Sistema . El Sistema was founded in 1975 as social action for music by Jean Antonio Abreu. It was premised on a utopian dream in which an orchestra represented the ideal society— and the idea was that, if a child was nurtured in that environment, it would be better for society. El Sistema has survived through many different administrations and has a large network of youth and children’s orchestras. In addition, there are many programmes around the world which have been inspired by El Sistema and share its values. The goal of El Sistema is to use music for the protection of childhood through training, rehabilitation and the prevention of criminal behaviour. Evaluations of El Sistema or Sistema -inspired programmes show that they offer a safe and structured environment which ensures that children are occupied and at reduced risk of participating in less desirable activities (Creech et al., 2013; 2016). Evaluations of individual programmes report that children’s sense of individual and group identity is enhanced and that children take pride in their accomplishments. They show increased determination and persistence, and become better able to cope with anger and express their emotions more effectively (Creech et al., 2013; 2016). Raised Aspirations and Motivation for Learning In England, Lewis and colleagues (2011) showed that participants in a Sistema-inspired programme, In Harmony , exhibited more positive attitudes and improved behaviour. Parents and teachers indicated that the pupils had a greater sense of purpose and self-confidence, and their aspirations were raised. This was, in part, attributed to contact with role models in the form of the In Harmony teachers and other visiting artists (Lewis et al., 2011). A prominent theme reported in the evaluation of Big Noise , Scotland (GCPH, 2015) was the raised aspirations of participants. 327 12. Re-Engagement and Motivation The researchers reported qualitative evidence demonstrating enhanced motivation, determination, willingness to be challenged, and the ability to imagine and achieve goals, particularly amongst the secondary- school participants. In particular, the aspirations of the 15- to 16-year- olds were raised (GCPH, 2015). Qualitative interviews with 35 parents of children involved in Big Noise , Scotland (Gen, 2011a) provided strong evidence that they considered the programme to have enriched their children’s lives. Twenty-nine parents took part in a quantitative survey, which revealed a positive impact attributed to Big Noise with regard to confidence, friendships, hope for the future, happiness, concentration and behaviour. Not all of the research on Sistema -inspired projects has been positive. For instance, Rimmer (2018) explored children’s reflections on the value of their participation in the English programme, In Harmony . Interviews were undertaken with 111 primary-school children aged six to eleven, from three programmes in Newcastle, Telford and Norwich. Parents, siblings and the school environment were all important in the way participating children viewed the programme. The value of engaging with music in the family was particularly important in influencing the children. Challenges in handling or holding instruments—and perceptions of the sounds created as somehow lacking in desirable qualities—emerged. The absence within the programme of some of the valued visual, representational and kinetic aspects of popular music emerged in many accounts. The compulsory nature of In Harmony participation contrasted with the valued dimensions of popular music- related activities which were associated with freedom, choice, self- directedness and play. Raised aspirations were noted by Uy (2010) in the Chicago núcleo of Chacao, where all of the students were enrolled in high school, university or conservatoires, with 40 percent of those studying music while others pursued careers in engineering, medicine or other subjects. In comparison with other underprivileged communities, Uy described this as astounding. Other programmes reported similar raised aspirations and self-beliefs, including The Boston Conservatory Lab Charter School (2012), El Sistema Colorado (2013), In Harmony Stockton , Kalamazoo Kids in Tune , KidZNotes , OrchKids, The San Diego Community Opus Project , YOLA , The People’s Music School Youth Orchestras and El Sistema Chicago . Numerous 328 The Power of Music USA programmes have included measures in their evaluations which demonstrate the successes they have achieved in realising motivational goals (Case, 2013; Duckworth, 2013; In Harmony Stockton, 2013; Orchestrating Diversity, 2013; Silk et al., 2008; and Smith, 2013—for a review, see Creech et al., 2013; 2016). Other programmes report similar findings. For instance, Devroop (2009) explored the effects of music tuition on the career plans of disadvantaged South-African youth and found positive outcomes, while Galarce and colleagues (2012) reported that academic aspirations had improved as a result of engagement in the programme and that students were less likely to procrastinate in their schoolwork. Similarly, Cuesta (2008) found that 63 percent of participants achieved better outcomes in school compared with 50 percent of non-participants, while Wald (2011) researched two Sistema - inspired programmes in Argentina and found evidence of enhanced motivation and commitment. Programmes in Scotland and Ireland also showed enhanced aspirations, engagement with learning and improved behaviour (Kenny and Moore, 2011). In their review, overall, Creech and colleagues (2013; 2016) concluded that raised aspirations were one of the most frequently cited positive outcomes of El Sistema and Sistema - inspired programmes. In some programmes (for instance, In Harmony Liverpool ) changes in aspirations were not restricted to the children participating in the programme but extended across the community. Burns (2016) showed progress in academic attainment at age 11, enhanced musical attainment, and enhanced perceptions of children’s social and emotional wellbeing. Parents and carers noted changes in musical ability, communication, confidence, focus, concentration and behaviour. As families engaged with the musical activities and the children took home new skills and shared them with other family members, there was a direct impact on family life. Individual aspiration and community pride changed, creating a virtuous cycle of change. In what was perceived as a severely deprived area, residents now saw some hope. Also working in Liverpool, Robinson (2015) found that parents participating in the research were actively supporting their children and felt that their lives had been transformed, as their children developed new skills and had greater opportunities, experiences of other places and a greater appreciation of music. 329 12. Re-Engagement and Motivation In an evaluation of all of the English Sistema -inspired programmes, Lord and colleagues (2013) collected evidence through pupil surveys, including a matched-comparison sample drawn from schools not participating in In Harmony , as well as case study interviews. The findings showed improvements in pupils’ attitudes to learning, self- confidence, self-esteem, wellbeing and aspirations to improve. This was borne out by the national inspection agency for schools, Ofsted, whose reports highlighted pupils’ social, emotional and spiritual wellbeing. They attributed this (at least in part) to participation in In Harmony . These positive wellbeing outcomes were thought to be influenced by the group work ethic which involved discipline, focus and teamwork. Comparison between the well-established In Harmony programmes in England (Liverpool and Lambeth) with more recently established programmes revealed statistically significant differences with regard to children’s application of self to learning and their view of their future prospects. Children from the more established In Harmony schools who had participated in the programme for longer had more positive scores, suggesting that the programme had had a positive impact with regards to dispositions towards learning and future aspirations. When the established In Harmony schools were compared with matched- comparison schools not accessing In Harmony , statistically significant differences were also found in relation to application of self to learning and children’s views of their future prospects, as well as self-assurance, security and happiness. It seemed that, over time, the programme impacted on children’s wellbeing, leading them to become young, confident learners with clear future aspirations. An evaluation of a summer residential orchestral programme also demonstrated the impact on personal wellbeing amongst participants (NPC, 2012; Hay, 2013). Thirty-five young people aged nine to eighteen, including some with special educational needs, completed a survey of wellbeing before and after the course. While caution must be exercised in interpreting the data—as the sample size was small—there were indications of enhancement in self-esteem, emotional wellbeing, resilience and life satisfaction. A large effect size was reported for each of these measures, although the girls seemed to benefit more than the boys. Compared with national baseline scores for these measures, boys’ post course scores for self-esteem and resilience were in the top quartile of what might be expected in a national sample. 330 The Power of Music Uy (2010) carried out a cross-cultural comparison of El Sistema in Venezuela and the USA, and reported consistency with regard to positive outcomes relating to personal development. Overall, parents and students from both contexts reported improvements in focus and discipline, time management, relaxation and coping, communication, ability to work with others, academic performance and aspirations, creative thinking, and self-esteem. In South America, considering the impact of the Batuta, Colombia programmes, which offer strategies for social, educational and cultural development, and support the national system of youth orchestras in Colombia, Cuéllar (2010) drew on key findings from the CreCe report (Matijasevic et al., 2008). Qualitative data provided examples of personal development similar to those reported elsewhere. Students reported positive changes in respect, tolerance, honesty, solidarity, teamwork, sense of responsibility and emotional regulation which helped control aggressiveness, intolerance and impatience. Self-esteem was enhanced, particularly self-efficacy, through feeling competent. Students also reported greater self-care, resilience, happiness and enhanced aspirations. Their social networks were greater and there were enhanced family interactions. Many USA programmes identified elevated aspirations and goals as key to bringing about change. They included in their evaluations measures to assess these, which demonstrated their success (Case, 2013; Conservatory Lab Charter school, 2012; Duckworth, 2013; In Harmony Stockton, 2013; Orchestrating Diversity, 2013; Renaissance Arts Academy, 2012a; 2012b; 2013; Silk et al., 2008; Smith, 2013; The People’s Music School Youth Orchestras - El Sistema Chicago, 2013). For instance, the Renaissance Arts Academy in Los Angeles demonstrated elevated academic and professional aspirations in their students as a result of participating in an academically and musically rigorous intense programme. Their high graduation rate of 100 percent, coupled with the percentage of students who continued their education at university, 95 percent exemplified the huge transformations that occurred, in terms of not only what students believed they could accomplish, but also the goals and expectations that they set for themselves as a result of this realisation. Accomplishments in music and the arts transferred to their beliefs about their academic capabilities, and their elevated goals and achievements in both these areas showed the shifts that can take place 331 12. Re-Engagement and Motivation in possibilities as a result. Many other programmes have measured and reported raised aspirations and greater self-esteem amongst students. In the Caribbean, OASIS —a Sistema -inspired orchestral programme established for youth at risk—showed that, after a six-month period of participation, students were significantly less likely to be provoked to anger and display aggressive behaviours including teasing, shoving, hitting, kicking or fighting, or to be involved with delinquent peers. They also had higher educational aspirations. After 18 months, the findings showed positive overall outcomes (Galarce et al., 2012). In terms of academic aspirations, 62 percent of the OASIS group, as compared with 41 percent of a control group, expressed hopes to be able to obtain a doctoral degree. Increases in self-regulation were also seen. Seven percent of the OASIS group, as compared to 21 percent of the non- OASIS students, reported speaking inappropriately to others. They were also less likely to report that pleasurable activities prevented them from achieving their work goals and were less likely to procrastinate in their schoolwork, be involved in fights, or use alcohol or marijuana. After the six-month stage, the results from the Haitian programme were similar to those of Jamaica, with OASIS students being significantly less likely to be angered easily, less likely to be involved in aggressive behaviours and to have delinquent peer relationships. Within 18 months, the results for Haitian OASIS students mirrored those of Jamaica in terms of academic aspirations, with 80 percent as opposed to 61 percent hoping to attain a doctoral degree. They were also less likely to have disagreements with parents or caregivers, and were more likely to be involved in sports. Self-Beliefs Positive self-beliefs regarding what can be achieved ( self-efficacy) and what is possible (possible selves) are crucial to motivation. El Sistema and Sistema -inspired programmes have prioritised the personal and social development of participants, and many evaluations point to the positive impact of the programme on self-beliefs (Esquaea Torres, 2001; 2004; Galarce et al., 2012; Israel, 2012; Uy, 2010). Participation in two Argentinean Sistema -inspired orchestras was explored by Wald (2011b) who found that students, parents, coordinators and directors perceived participation in the orchestras as being related to self-esteem, 332 The Power of Music self-worth, self-confidence, and pride about achievements, motivation and commitment. Frequent opportunities for performance helped to raise aspirations (Billaux, 2011) and created safe opportunities for risk-taking (Uy, 2012) which allowed children to experience success on many occasions, enhancing their self-efficacy and self-esteem. School Attendance and Positive Attitudes towards School Creech and colleagues (2013; 2016), in their review of El Sistema and Sistema -inspired programmes, showed that a major area of focus for many American programmes was the impact on students’ rates of attendance and punctuality at school. Several programmes documented positive evidence regarding school attendance, including Austin Soundwaves (2011-2012), In Harmony Stockton (2013), Kalamazoo Kids in Tune (2013), KidZNotes (2012), OrchKids (Potter, 2013), The Renaissance Arts Academy (2012a; 2012b; 2013), The San Diego Community Opus Project (Smith, 2013), and the YOURS programme (2013). Evaluation findings in America showed that Sistema participants generally increased their attendance at school. The B Sharp Programme (Schurgin, 2012) reported a decrease in absenteeism between 2012 and 2013, from an average of 6.5 days to 4.5 days per child. Many Sistema participants attended schools where the majority of students qualified for free or reduced-price school meals. Attendance rates at schools attended by Sistema students had higher than state or local average evaluation results in the USA, and showed that Sistema students generally had improved attendance at a higher rate than the average for their schools. In England, the primary school at which In Harmony Liverpool is based saw a drop in absence from almost eight percent in 2009 to six percent in 2012 (Burns and Bewick, 2012). This compared with a sector average of five percent. Although absenteeism rose in 2010, an analysis of attendance rates between 2009 and 2013 showed an overall significant improvement, with a school average rate of absence of 6.5 percent by 2013 (Burns and Bewick, 2013). In contrast, in Scotland there was no evidence showing that involvement in Big Noise improved attendance (Gen, 2011a), although qualitative data did suggest that the programme was making a difference in this regard. More recently, the 2015 report 333 12. Re-Engagement and Motivation suggested that the programme was associated with improved school attendance. In Raploch, school attendance was 93 percent among Big Noise participants, four percent higher than the eligible population. Govanhill school data showed attendance among Big Noise participants to be almost 93 percent—nearly two percent higher than the eligible population ( Glasgow Centre for Population Health, 2015). In Canada, Morin (2014) found no improvements in school attendance, although in New Zealand, Wilson and colleagues (2012)—reporting on Sistema Aorearoa—indicated that there was a reasonable improvement in overall attainment, engagement and social skills in school, but insufficient data to comment on attendance. Overall, although the data relating to attendance is mixed, there is some evidence of enhanced achievement. Emotional and Behavioural Difficulties Alemán and colleagues (2017) assessed the effects of a Sistema -inspired music programme on children’s developmental functioning in the context of high rates of exposure to violence. The trial was conducted in 16 music centres during 2012 and 2013. In total, 2,914 children aged six to fourteen participated, with approximately half receiving an offer of admission to the programme in September 2012 and half in September 2013. The children in the treatment group participated for one semester more than the control-group children. After one year, there was evidence of improved self-control and reduced behavioural difficulties. The effects were larger among boys and children with less educated mothers, especially those exposed to violence. Following participation in the programme this group exhibited lower levels of aggressive behaviour. The programme improved self-control and reduced behavioural difficulties, with the effects concentrated among subgroups of vulnerable children. In Columbia, Castaneda-Castaneda (2009) explored the impact of intensive guitar workshops offered as part of a rehabilitation programme on young people in a youth detention centre. The findings showed improvements in musical and citizenship skills.334 The Power of Music Transferable Skills Parents and teachers of children participating in some of the El Sistema or Sistema -inspired programmes referred to the way that the programme developed transferable skills, including concentration (Hallam and Burns. 2018). One parent commented: ‘The impact on the kids is enormous, the concentration. I’ve got nephews in other schools and the difference is huge. Our kids can sit there in a massive big place listening to classical music without coughing or fidgeting and sit there and be well behaved for that length of time. There’s not many primary kids who can do that. We’ve got special education kids as well and they can do that.’ Another parent emphasised the impact on learning more generally. ‘These children are dedicated to this. Other areas of her learning have come on in leaps and bounds because of this. Without a doubt it is the music.’ Some parents recognised the impact on confidence . ‘Their confidence has gone up sky high. She says she’s really nervous but she seems calm.’ Another parent commented: ‘The music brought my daughter out of her shell into a confident young lady.’ Some of the older students were able to self-reflect on the wider benefits of participation: ‘You learn things from it that you don’t learn at school. You learn lots of skills for life and you make links with people, like being able to talk to new people, like being able to work on things, so like, team work, listening to others. So even if you don’t want to do music for a career, in five years’ time you’ll have those skills and you’ll be able to say I learnt this in orchestra and it will have paid off.’ The young people were also able to develop leadership skills from the mentoring that they were engaged with. This was recognised by staff and parents. Music Interventions Unrelated to El Sistema There are several music interventions in addition to El Sistema or Sistema -inspired programmes which have been designed to support disadvantaged children. For instance, Pasiali and Clark (2018) worked with 20 children aged five to eleven years old on a programme that 335 12. Re-Engagement and Motivation consisted of eight 50-minute music sessions, where teaching social skills through song lyrics and improvisation were central. Social competence, antisocial behaviour and academic competence were assessed, and the outcomes showed that the number of low-performance, high-risk skills decreased significantly, while teacher assessment indicated significant improvement in communication and a decrease in hyperactivity, autistic behavioural tendencies, overall problem behaviours and internalisation. Parent ratings generally mirrored those of teachers. Similarly, Millar and colleagues (2020) reported positive outcomes for the COOL project, a 12-month intervention which involved 16 sessions of participatory music-making with 32 hard-to-reach young people aged 12 to 17. The programme aimed to increase confidence and self-esteem, and improve social skills through music that resonated with the young people’s lived experience. One study examined the impact of a singing programme, Sing Up , on 48 children and young people (Hampshire and Matthijsse, 2010). The findings indicated that participants’ self-confidence and aspirations were enhanced, and that they developed new friendships and better connections with parents. However, Hampshire and Matthijsse cautioned that children and young people from privileged backgrounds benefited more than those from disadvantaged backgrounds, as the latter risked rejection by their existing friends due to the programme being perceived as cheesy or gay. This emphasises the importance of any musical intervention being seen as relevant to the participants. School music lessons themselves can be therapeutic. For instance, in a case study of a general music class in a Spanish public secondary school, undertaken with disaffected learners who had received a total of 130 reprimands throughout the school year for poor behaviour and systematically rejecting school rules, Rusinek (2008) established that they enjoyed their music lessons. This may have been because the music teacher generated enthusiasm through an inclusive pedagogy in which the principle of ‘music for all’ was adopted. Arrangements for percussion instruments, in four to twelve parts, of pop, classical and film music were played by each class. The goal of performance was shared by the children and the teacher, and was widely accepted as an important part of school culture. Similarly, an Australian study showed that a group of boys who were identified with behavioural issues who engaged in a 336 The Power of Music proactive music-making activity showed notable improvements in both classroom cooperation and self-esteem. The drumming exercises in the programme were among the most popular and connected closely to the participants’ sense of maleness. The activities were fun and provided opportunities for students to enhance positive values such as group cohesion and self-esteem, along with their behavioural and social competence (Smith, 2001). Drumming seems to be a particularly effective form of musical intervention when children are disaffected. It can support anger management, team-building and substance-abuse recovery, leading to an increase in self-esteem and the development of leadership skills (Mikenas, 2003). Group drumming can foster a sense of cohesion, as it teaches coordination and teamwork, with participants having to assume different roles and work together (Drake, 2003). Faulkner and colleagues (2012) developed a drumming programme as a way of engaging at risk youth, while simultaneously incorporating themes and discussions relating to healthy relationships with others. The evaluation of the programme with a sample of 60 participants in Western Australia’s wheatbelt region used quantitative and qualitative methods, including informal discussions with staff and participants, observation, participant and teacher questionnaires, and school attendance and behavioural incident records. The findings showed an increase in scores on a range of social indicators that demonstrated increased connection with the school community. Also in Australia, O’Brien and Donelan (2007) reported on the effectiveness of the creative arts as a diversionary intervention for young people at risk. In this three-year government- funded study, ten arts programmes were conducted across urban and rural areas. The findings demonstrated that arts programmes could have a significant and positive impact on marginalised young people, offering opportunities for skill development and social inclusion, while in Canada, Wright (2012) argued that music education in schools could lead to social transformation Research on the impact of music-making on children living in care (looked-after children) in the UK has shown that engagement in high- quality music-making projects can support the development of resilience in dealing with challenges. Salmon and Rickaby (2014) researched how developing a musical play could facilitate skills development, improve 337 12. Re-Engagement and Motivation mental health and strengthen resilience in young people in care. Participants were able to develop new skills, confidence and resilience, and felt more socially connected. In a review, Dillon (2010) showed that music-making could contribute to improved negotiation skills and cooperative working; learning to trust peers; developing the capacity for self-expression and a stronger sense of self-awareness; increased self-discipline and responsibility; a sense of achievement; feelings of belonging and shared identity; and the opportunity to make friends and develop positive relationships with adults. Music-making provided respite from problems and opportunities to have fun. In addition, there was evidence of increased confidence and the acquisition of a wide range of skills. In Norway, Waaktaar and colleagues (2004), in a study of young people who had experienced serious and or multiple life stresses leading to behaviour difficulties, found that a music programme was able to enhance resilience. Positive peer relationships and self-efficacy also improved when the young men demonstrated coherence and creativity as they produced a music video for public viewing. Zanders (2015) also showed how music therapy could support young people in foster care, helping to create stability and find resources and meaning in their lives to promote healing, addressing the displacements, abuse, grief and loss that many had experienced. In England, the evaluation of the Youth Music mentoring programme, which included a total of 419 mentees, showed that participants were aware of the musical opportunities available to them and had increased their agency (as assessed by feeling respected, capable and in control). Mentees indicated enhanced ability to work with others, express themselves, respect other people’s views and be punctual (Lonie, 2011). Similarly, Brown and Nicklin (2019) explored the impact of a global youth-work project that aimed to engage young people in social issues through the medium of hip hop. Most participants—who were from a range of British ethnic backgrounds—were not in education, employment or training, or were otherwise identified as marginalised, due to having a criminal record or being excluded from mainstream education. The project aimed to challenge the exclusion implied by labels such as ‘ marginalised’, and value participants’ experiences, aiming to engage them with global and social issues. The sessions ran over three years and considered financial independence, political identity and mental health, with an overarching 338 The Power of Music focus on money, power and respect. Activities were creative, including lyric-writing, art, interviews and developing tracks to build self- esteem. The outcomes showed that the project built self-esteem and positive attitudes to learning. Participant perceptions suggested that the programme provided them with positive experiences of learning and skills development, thus enhancing self-esteem and reducing risk factors for antisocial behaviour. Hip hop was used to connect young people to social issues and engage them in learning, developing their transferable skills and building confidence, as well as increasing their employability, prosocial behaviour and engagement with social issues. Sessions were interactive, facilitating dialogue and providing peer mentoring. Studio facilities with recording equipment were available. Data included project reports, interviews, field notes, session plans and feedback. The findings suggested that opening informal spaces with opportunities for creative experiential learning (such as hip hop) had positive outcomes for young people and facilitated engagement with prosocial behaviours. A review of 15 projects funded by Youth Music (Qa Research, 2012) showed a range of positive outcomes associated with engaging those not in education, employment or training, or those at risk, in music- making activity. Outcomes included increased motivation to engage in education, employment or voluntary activity, including gaining qualifications, heightened aspirations and a more positive attitude towards learning. Participants also developed a range of transferable skills, including basic academic skills, listening, reasoning and decision- making, concentration, focus, team-working, time-keeping, goal-setting and meeting deadlines. There was also evidence of enhanced wellbeing including increased self-esteem, self- respect, pride, empowerment, sense of achievement and confidence, and an expansion of friendships, trust and improved relationships with adults. Aggression, hyperactivity and impulsivity decreased as participants learned to control their emotions. The projects also broadened horizons, including increased awareness of different cultures and traditions. An evaluation of the European Social Fund project, Engaging Disaffected Young People (Lancashire Learning Skills Council, 2003), found that music and sport activities could encourage participants back into learning by changing negative attitudes and perceptions towards education. Following completion of the project, 85 percent of the 173 339 12. Re-Engagement and Motivation project participants were working towards a qualification. Alvaro and colleagues (2010) evaluated the pilot phase of the European Union’s E-motion project, which was designed to utilise youth-friendly music software in order to engage 14- to 17-year-olds who had dropped out of school, or who were at risk of dropping out. Three experimental pilot programmes were delivered to groups containing between 19 and 26 students in single schools in three different countries: Italy, Romania and the UK. Teachers completed a scorecard for each student at the beginning and end of each programme. Overall, there were improvements in a range of basic academic skills and personal skills including listening, speaking and alcohol avoidance. Interviews also indicated a reduction in offending, antisocial behaviour and substance abuse and, for some participants, enhanced interest in schoolwork, improved school attendance, attention, self-confidence, self-belief, motivation, cultural awareness and communication skills. School Attendance and Attitudes towards School Taetle (1999) investigated the relationship between daily school attendance and enrolment in fine arts electives. Three secondary schools participated. Students were divided into three groups according to their elective participation: fine arts courses only, non-fine arts courses only, and a combination of fine arts and non-fine arts courses. Students were then stratified according to grade point average (low or at risk, medium and high). Attendance rates were computed as a percentage of days absent. The findings showed that students with lower absence rates had a higher grade point average, students not enrolled in fine arts electives had significantly higher absence rates than those students with at least one fine arts elective, and students with a low grade point average (at risk) who were not enrolled in fine arts electives had significantly higher absence rates than those students who were enrolled in at least one fine arts elective. Similarly, Oreck and colleagues (1999) reported that participants in an arts-based programme stated that their involvement enabled them to make friends, establish support networks, and feel accepted and valued. Davalos and colleagues (1999) examined extracurricular activity, perception of school, ethnic identification, and the association with school retention rates among Mexican American 340 The Power of Music and white non-Hispanics. Participants engaging in extracurricular activities were considerably more likely to be enrolled in school than were those not participating. Similarly, Lashua (2005) and Lashua and Fox (2007) studied a recreation project that taught young people aged 14 to 20, mainly from Aboriginal backgrounds, to make their own music using computers and studio production software. They showed how participants with literacy problems were able to create complex, spontaneous rhymes through the medium of rap. The participants reported that the programme was meaningful and made school more enjoyable, helping them to stay out of trouble. Activities such as rap battles provided an acceptable outlet for aggression and enabled participants to demonstrate their skills, gain respect and learn humility. The Integration of Young People with Special Educational Needs into Mainstream Education Increasingly in Europe, young people with social, emotional and behavioural difficulties are taught in mainstream schools. This presents particular challenges for teachers. Many of these children have difficulties in learning, which may or may not be related to their behaviour. As a result, a prominent area of work in music therapy has become the integration of children with special educational needs. This is particularly the case in Germany and Italy, where government strategies have focused on the integration of children with special educational needs into mainstream schools. In Germany, Hippel and Laabs (2006), Kartz (2000), Koch-Temming (1999), Kok (2006), Mahns (2002), Neels and colleagues (1998) and Palmowski (1979) have explored how music therapy could help children with special educational needs integrate into mainstream classrooms. Similarly, in Italy, Pecoraro (2006) reviewed how music therapy could help young children, some with special educational needs, to learn in mainstream classes, while D’Ulisse and colleagues (2001) also considered how music therapy could be applied in schools. In the UK, some student music therapists have focused on the role of music therapy in supporting children with special educational needs in mainstream schools (Carson, 2007; Crookes, 2012; Hitch, 2010). Historically, improvisation with individuals has been the principal method adopted in music therapy (Darnley-Smith and Patey, 2003) 341 12. Re-Engagement and Motivation but increasingly music therapists work in a range of different contexts, including in child and adolescent mental health services, with social services, and in educational settings. Working in schools is a developing area. Carr (2008) undertook a review of 57 relevant papers, 12 of which included outcomes. Although successive governments in the UK have been concerned with the wellbeing of children, in schools music therapy has played a limited role. In a review, Carr and Wigram (2009) found only ten papers which specifically addressed work within mainstream schools. The main recipients were children with mild emotional, behavioural or social problems. Different therapeutic approaches were adopted. For instance, Jenkins (2006) advocated a flexible approach, while Strange (1999; 2012) adopted client-centred music therapy for emotionally disturbed teenagers who had moderate language disabilities. Butterton (1993) used music in the pastoral care of emotionally disturbed children aged 13 to 18 using psychotherapy with music improvisation and drawing, while Nöcker-Ribaupierre and Wölfl (2010) described a preventative approach, introducing music therapy into two secondary boarding schools in Germany with the aim of helping students to express their emotional state and release aggressive tension. The project proved particularly successful in classes with migrant students from diverse cultures, who were able to communicate effectively through shared improvisation. Pethybridge and Robertson (2010) suggested that music lessons in schools should consist of improvisation, which they believed had the potential to guide the student into areas of learning as a result of experiences acquired through musical interaction. Students from a language and communication unit attached to a mainstream school participated in their study, which involved child-led creative music- making and structured activities to enhance social skills. The findings showed that working in small groups led to greater ability to address educational objectives, both musical and non-musical. Further, Pethybridge (2013) evaluated ways in which music therapists might support teachers to offer interactive group music-making to children with additional support needs. Working with a nursery teacher, Pethybridge planned and delivered an 11-week intervention for three children on the autistic spectrum. The findings showed that experiential music therapy groups offered some level of transferable learning for 342 The Power of Music teaching and support staff, and the potential for developing more indirect approaches. Derrington, in a series of papers (2004; 2005; 2010; 2011, 2012; Derrington and Neale, 2012) also argued for the need to offer music therapy in mainstream schools and pupil referral units to disaffected young people, with an emphasis on creative activities including song-writing, while McFerran (2020) reviewed the research literature in education, mental health and community music, suggesting that grouping knowledge in this way offered new perspectives on the types of programmes offered and the way that they were evaluated. School-Based Music Therapy Interventions for Children with Emotional and Behavioural Difficulties There are examples of the use of music therapy with young children. For instance, Brackley (2012) describes the increasingly common need for music therapy work in behavioural support programmes in pupil referral units for children aged between five and nine, who have been excluded from mainstream education. She referred to music therapy’s potential to recreate the conditions of the early mother- infant relationship, allowing the music therapist to revisit problematic stages of the pupil’s early development and aid their ego development. Similarly, De Silva (2006) also illustrated how music therapy could bring about radical transformation in the behaviour and emotional interaction of younger children, while Thomas (2014) undertook a qualitative case study of two primary-school children with social, emotional and behavioural difficulties, one who exhibited withdrawn behaviour, the other poor behaviour. Music lesson interventions over a period of one year benefited the children in terms of personal competence, self-regulation, self- confidence and self-esteem; task competence, enjoyment, engagement, motivation, social competence, collaboration and social connectedness. Montello and Coon (1999) also studied the impact of active and passive group music therapy with pre-adolescents with emotional, learning and behavioural disorders. Teachers were asked to rate and confirm changes in the students’ attention and motivation. After a period of four months, there were significant changes in aggression, brought about by the facilitation of self-expression, which provided a channel for frustration, anger and aggression. Similarly, Horton (2005) showed 343 12. Re-Engagement and Motivation that group music therapy with female adolescents in an educational treatment centre—involving stepping, a series of body percussive movements such as foot-stamping and hand- clapping, and chanting or singing—significantly increased group cohesion. The participating adolescents were identified as being at risk of dropping out of school, and were engaged in violent and risky sexual behaviours. The stepping procedure promoted positive social behaviour. Gold and colleagues (2001) assessed the benefits of music therapy for those with emotional and behavioural difficulties, and showed that children’s needs for relationships and opportunities for emotional expression were met by the therapy. In a review, Gold and colleagues (2004) analysed music therapy studies, comprising a total of 188 children and adolescents, and found that the benefits were greater for those who had behavioural problems. Similarly, McIntyre (2007) showed that nine weeks of music therapy with adolescent boys with behavioural and or emotional disorders helped them to develop new skills, enjoy music, experience group cohesion and increase self-esteem. Hirst and Robertshaw (2003) investigated the impact of the Otherwise Creative project, an intervention which involved a wide range of arts activities (including music production and song-writing), targeting young people in pupil referral units with a range of emotional and behavioural difficulties. Following engagement in the project, the participants demonstrated growth in confidence and self-esteem, and an enhanced ability to communicate with staff and to resist negative peer pressure. Chong and Kim (2010) examined how an after-school education-oriented music therapy programme impacted on students. The intervention lasted for 16 weeks and used musical activities to promote academic, social and emotional skills. A rating system completed by teachers assessed change and showed that social skills and problem behaviour improved significantly, although there were no improvements in academic competency. Using drumming to promote self-expression, Ho and colleagues (2011) compared the effects of 12 weeks of school-counsellor-led drumming on social and emotional behaviour in two fifth-grade intervention classes, with two standard control classes. The children in the intervention classes improved significantly compared with controls on multiple areas of social and emotional behaviour, as assessed by their 344 The Power of Music teachers. Thompson and Tawell (2017) studied the effects of an arts- based intervention on young people deemed at risk of school exclusion because of social, emotional and behavioural difficulties. Eleven young people aged 11 to 16 were studied using observations and interviews. The interventions offered to the young people provided alternatives to their personal, cultural and historical ways of experiencing the world. Experimenting with different arts media and trying out ideas enabled them to develop a new identity for themselves. The findings suggested that imagination, invoked through the intervention, helped the disengaged young people to change their perceptions of their future. Sausser and Waller (2006) showed that, with proper planning of musical activities, students could benefit from a music therapy programme structured for the success of each individual. They reviewed how music therapy had been used with students with emotional and behavioural difficulties, and proposed a model of music therapy for students in a psychoeducational setting. The model was designed to combine the music therapy process with the nine-week grading period of the school setting. It suggested ways for music therapy and other therapeutic modalities to work collaboratively with students with emotional and behavioural difficulties. Krüger (2000) set up work in a contemporary secondary school in Norway as part of a new strategy for helping secondary-aged students with emotional and behavioural problems. The students had been labelled as the ‘bad guys’ and were living up to this name. By gaining attention because of their challenging behaviour, they were able to maintain this role within the school. Krüger found the computer to be a source of new meaning for those who had not learned to play an instrument. Technology led to broad possibilities of exploring, mastering, arranging, creating and improvising music. Participants quickly became confident at using it and being in control. Krüger showed how one child who had threatened other pupils, had very low respect for authority and was difficult to talk to was able to engage in the therapy. Through the shared use of information technology, the process of developing a trusting and communicative relationship was enabled. Krüger reported how he encouraged the boy to master recording techniques but also allowed the child to express anger and shout at him to show that he would always be there. This helped to create a bond and the opportunity 345 12. Re-Engagement and Motivation to talk about what was wrong in the child’s life. Ultimately, the process of using information technology led to a product, and the child became very involved in music-making, burning CDs and creating covers for the CD cases, selling his work and even publishing his music on school radio. Some research has focused on interventions with children exhibiting highly aggressive behaviour. For instance, Choi and colleagues (2010) investigated 48 such children, who were allocated to either a music intervention or a control group. The music intervention group engaged in 50 minutes of musical activities twice weekly for 15 consecutive weeks. After 15 weeks, the music intervention group showed a significant reduction in aggression and improvement in self-esteem compared with the control group. These findings suggested that music could reduce aggressive behaviour and improve self-esteem in children with highly aggressive behaviours. Similarly, Hashemian and colleagues (2015) studied whether 12 90-minute music therapy sessions could reduce aggression in visually impaired Iranian adolescents compared with a control group matched in relation to age, socioeconomic status and the education level of parents. Two behaviour questionnaires showed a significant decline in aggression in the intervention group. Ye and colleagues (2021) carried out a meta-analysis of research, exploring whether music therapy could reduce aggressive behaviour in children and adolescents. Ten studies were included. The research showed a significant decrease in aggressive behaviour and a significant increase in self-control compared with control groups, whereas there were no differences in a music medicine group and the control group. Music interventions with durations of less than 12 weeks and more sessions per week were more efficient in reducing aggressive behaviour. Some work has been undertaken with refugee students. For instance, Baker and Jones (2005; 2006) studied the effects of a music therapy programme in stabilising the behaviours of newly arrived refugee students. The research examined the effects of a short-term music therapy programme on changes to behaviour of 31 refugee youths attending an English-language reception centre in Brisbane. Two five- week intervention periods were employed, with group music therapy sessions conducted once or twice a week. The findings indicated that music therapy led to a significant decrease in externalising behaviours, with particular reference to hyperactivity and aggression. 346 The Power of Music One of the main aims of music therapy for children with emotional and behavioural difficulties is to address behaviour within the classroom. This is particularly prevalent in research in the USA. For instance, Eidson (1989) studied the effect of behavioural music therapy on the generalisation of interpersonal skills from therapy sessions to the classroom by middle-school students with emotional difficulties. Also in the USA, Haines (1989) studied the effects of music therapy on the self-esteem of emotionally disturbed adolescents and showed that music therapy enhanced group cohesion and cooperation. Krout and Mason (1988,) using computers and electronic music resources, worked with behaviourally disordered students aged 12 to 18, either in a self- contained or integrated classroom. Students had the option of enrolling in a music elective class which met three times each week, or of receiving individual music therapy services that focused on learning a musical instrument. Both programmes emphasised targeted social behaviours or skills while learning about music. Kivland (1986) noted the effect of individual music therapy sessions on self-esteem in an adolescent boy with a diagnosis of conduct disorder. Self-esteem was measured by frequency of both positive and negative self-statements, and by his ability to accept positive comments appropriately. By the twelfth week of therapy, he was able to list independently what he had done well at each session, and was able to accept positive comments from others appropriately. In addition, his ability to list what he had done well and what he needed to improve transferred to other disciplines. In Canada, Buchanan (2000), working in mainstream services, studied the effects of music therapy interventions with adolescents aged 15 to 19 who were designated as ‘at risk’. The intervention gave them an opportunity for self-expression in a group setting. Similarly, Cheong-Clinch (2009) studied the use of music as a tool to engage young people with English as a second language in a high school and a residential care facility, in particular newly arrived immigrant and refugee students. Carr and Wigram (2009) identified existing research and clinical activity utilising music therapy with mainstream children, as well as a potential need for music therapy with this group of children. They undertook a systematic review relating to work with children in mainstream schools. Sixty papers were identified, 12 of which were outcome studies. There was evidence that music therapy was used with 347 12. Re-Engagement and Motivation children in mainstream schools, both in the UK and abroad. They showed that the literature at the time of the review suggested that music therapy was effective in addressing the needs of mainstream schoolchildren — several therapists had documented the benefits of music therapy as a way to increase student’s self-esteem, address challenging behaviour, motivate learning and help develop interpersonal relationships (Procter, 2006), although more evidence was needed. Derrington (2012) studied whether music therapy could improve the emotional wellbeing of adolescents who were at risk of exclusion or underachievement. The research took place in a mainstream secondary school and its federated special school for students with emotional and behavioural difficulties. Over 19 months, the intervention group received 20 weekly individual music sessions, while a waiting-list comparison group received the same treatment later. Quantitative data were collected four times during the research from students, teaching staff and school records, while the students were also interviewed. Very few pupils dropped out and the majority of teachers reported improvement in students’ social development and overall attitude. The Role of Rap and Hip Hop in Therapy in School Contexts The cultural significance of music for youth populations has long been recognised, both in terms of the performance and production of music itself, and the stylised identities surrounding its consumption. Perhaps it is not surprising, therefore, that music-based interventions have been particularly effective at positively impacting the mental health and wellbeing of young people. The kind of music which adolescents prefer is related to their experience of emotional and behavioural difficulties (Took and Weiss, 1994), including expressions of anger (Epstein et al., 1990). Armstrong and Ricard (2016) suggest that rap, hip hop, and rhythm and blues provide a cultural lens, through which many urban adolescents forge identity and express themselves. The music therefore has the potential to combat emotional and interpersonal distress. Creative techniques that incorporate these genres of music can be used to help adolescents understand and regulate coping responses to difficult and emotionally sensitive situations. Schwartz and Fouts 348 The Power of Music (2003), studying 164 adolescents who preferred light or heavy qualities in music or had eclectic preferences, found that each of the three music preference groups was inclined to demonstrate a unique profile of personality dimensions and developmental issues. Those preferring heavy or light music qualities indicated at least moderate difficulty in negotiating some aspects of personality and/or developmental issues, while those with more eclectic music preferences did not indicate similar difficulties. Despite this, when Gardstrom (1999) examined offenders’ perceptions of the relationship between exposure to music and their criminal behaviour, only four percent perceived a connection between their musical preferences and their deviant behaviour, although 72 percent did believe that the music influenced the way that they felt at least some of the time. Most believed that music mirrored their lives rather than being a causative factor in their behaviour. Music was perceived by some as being cathartic, and by some as only harmful when applied to pre-existing states of negative arousal. In 2000, Elligan introduced rap therapy as a psychotherapeutic intervention for working with at-risk youths, primarily African- American males whose identities were highly influenced by rap music. Rap is able to engage a population of youth who often enter counselling apprehensively (Elligan, 2000; 2004; Allen, 2005). Gonzalez and Grant Hayes (2009) reviewed rap culture, its relationship to inner city youth and the benefits of Elligan’s rap therapy with at-risk youth. Kobin and Tyson (2006) also used rap lyrics as the impetus for therapeutic dialogue and the facilitation of empathic connections between clients and therapists. This aided in breaking the ice, encouraging participants to engage in projective narration, and helped the therapist to establish relevant, client-centred treatment goals. In Australia, de Roeper and Savelsberg (2009) showed that taking part in a community-based hip- hop culture project helped at-risk young people to develop confidence, skills, ambition and a stronger sense of identity, although they urged caution in interpreting the findings, as the data were limited. Cobbett (2007) illustrated an integrative approach to working therapeutically with individual children experiencing emotional and behavioural difficulties, which combined music therapy with other creative therapies, particularly play therapy and drama therapy. In 2009, Cobbett developed the approach, suggesting that such interventions would be more effective if they were available in schools and utilised 349 12. Re-Engagement and Motivation materials which were relevant to the young people concerned (e.g. rap music or electronic music). In 2016, Cobbett compared 52 young people receiving arts therapy—including music, drama or visual arts—and a control sample of 29 young people on a waiting list over a year-long period in two schools for children with emotional and behavioural difficulties. Two outcome measures were used: a staff-rated Goodman’s Strengths and Difficulties Questionnaire and a self-rated scoring system. The Strengths and Difficulties Questionnaire outcomes showed a significant difference in improvement for those in the therapy group compared to the control group for all measures related to emotional and conduct difficulties. The effect sizes were large. Three out of four self-rated categories also showed significant differences in improvement between the groups. Interviews with six young participants suggested that the young people felt that the arts brought benefits that augmented verbal interventions. Examples from the interviews are set out in Box 12.1. In a further paper (2016b), Cobbett outlined a systemic approach which would further support young people. Box 12.1: Teenagers’ comments about music therapy (derived from Cobbett, 2016) It helped me find music and I like music a lot now and I can play some instruments. It made me discover a lot of stuff and things I was able to do. It (music therapy) was easy because I know how to use Fruity Loops (a music software programme) and I can make stick beats. Sometimes the music helped me get stuff out of my head but sometimes it was just calm too, it helped me cool down. Get myself away from the rest of the world for a bit. It was a good session because you wouldn’t only get to speak about any problems you had in the day. You could also put it into some music. It made me realize what I wanted to do and then I had to focus more on my future. If it was just blatant therapy it would put me off, like you need to speak about things that you don’t want to talk about maybe, but when you’re doing music or something you just feel yourself, it’s just expression of yourself. When we’re jamming away, while we’re doing it, we could speak about what’s kind of bothering me or whatever and it kind of leads on from that.350 The Power of Music Parker and colleagues (2018) undertook a small-scale, qualitative interview study in a secondary school over ten weeks with marginalised and at-risk children. The programme was delivered by a team of young people aged 18 to 25, the majority of whom had previous experience of the criminal justice system. They facilitated a single, two-hour music session once a week for approximately 15 pupils. All sessions took place during the course of the normal school day and consisted of a series of activities which involved lyric-writing, usually rap and composing beats, mostly using Logic Pro software on Mac computers, although those pupils who could play musical instruments also did so. The music they composed was recorded and performed. The 32 students aged 13 to 16 were selected to participate because their general behaviour had been disruptive and they had demonstrated defiant, angry, aggressive behaviour towards other pupils and teachers. To remain on the programme, they had to maintain positive interactions with other students and teachers. Some were considered ‘at risk’ because of previous involvement with the criminal justice system or involvement with gangs. The students revealed in the interviews that music-making increased their confidence, improved their attitudes towards teachers and peers, induced feelings of calm, and improved their communication skills. Parker and colleagues concluded that music-making activities could provide significant psychosocial benefits for young people, particularly when combined with mentoring support. In a series of papers, Uhlig (2011a; 2011b; 2013; 2015) considered how the voice could be used as a primary therapeutic instrument. Initially, Uhlig worked with children with special educational needs in a public-school setting in New York. She showed that at-risk children demonstrated honesty in expressing their most personal desires and fears through vocal music therapy. Cursing, shouting, singing, rapping, chanting and song-writing helped them to survive their personal and familiar environments, and increased their learning potential. Together with the therapeutic relationship based on sharing rap, behavioural changes occurred. In later research, Uhlig and colleagues (2013) carried out a systematic review and reported that many studies had demonstrated the effects of music on emotion and emotionally evoked processes. In 2015, Uhlig and colleagues investigated the performance of rap-music therapy in a non-clinical, school-based programme to support 351 12. Re-Engagement and Motivation the development of self-regulative abilities to promote wellbeing and to reduce the risk of low academic performance attributable to troubled mental health. All adolescents in Grade 8 of a public school were invited to participate, and randomly assigned to either rap-music therapy or to regular classes. The rap-music classes took place once a week over a period of four months. Measures of change were taken at four monthly intervals. Primary outcome data included measures of psychological wellbeing, emotion regulation, self-esteem, self-description, language development and executive functioning. Secondary outcome data consisted of the subjective experiences of participants collected in follow-up interviews with members of the experimental group. In 2016, Uhlig and colleagues carried out a survey in the Netherlands of the use of rap and singing by 336 qualified music therapists. The results indicated that rapping and singing applications in music therapy could enhance self-regulative skills during the process of emotional expression. Rapping occurred considerably less frequently than singing but was considered to decrease aggressive behaviour. Singing was applied daily and was associated with the support of deeper emotional involvement. However, the findings suggested the need for more consistent descriptions of therapeutic interventions using rap styles in music therapy practice, and the development of specialised protocols for research studying its effects. In 2018, Uhlig and colleagues investigated ‘ rap and sing’ music therapy in a school-based programme designed to support self- regulative abilities. One-hundred and ninety adolescents in Grade 8 of a public school in the Netherlands were randomly assigned to participate or act as a control group. The intervention took place once a week over a period of four months. Significant differences between groups were found on the teacher Strength and Difficulties Questionnaire, indicating stabilisation in the ‘ rap and sing’ music group as opposed to increased problems in the control group. Porter (2012) also planned a trial to determine if improvised music therapy could lead to clinically significant improvement in communication and interaction skills in young people experiencing social, emotional or behavioural problems. In 2017, Porter and colleagues studied 251 children aged eight to sixteen with social, emotional, behavioural and developmental difficulties from six child and adolescent mental health service community-care facilities in 352 The Power of Music Northern Ireland. The children were randomly allocated to 12 weekly sessions of music therapy in addition to their usual care, or acted as a control group. Follow-up occurred at 13 and 26 weeks. For participants aged 13 and over in the intervention group, communication was significantly improved, although this was not the case for their carers. Overall, self-esteem was significantly improved and depression scores were significantly lower at Week 13, although there was no significant difference in family or social functioning at this time point. While the findings provided some evidence for the benefits of the integration of music therapy into clinical practice, differences between subgroups and secondary outcomes indicated that further research was needed. Olson-McBride and Page (2012) described the implementation of a specialised poetry therapy intervention, which incorporated hip-hop and rap music, with high-risk youths. The programme supported the young people’s use of self-disclosure. The intervention involved creative writing and the use of popular music, primarily from the rap and rhythm and blues genres, during the receptive prescriptive component of the session. In some sessions, the facilitator chose the music, but in others group members did so. Group members created a collaborative poem, a structured individual poem or an unstructured individual poem. The symbolic ceremonial component of the session involved group members reading the poems created during the session aloud to the group and soliciting appropriate feedback. Each poetry-therapy group intervention was ten sessions in length, lasting 45 to 60 minutes. Three interventions were conducted with participants selected from two facilities—an alternative school and a transitional living program designed to meet the needs of individuals between the ages of 12 and 21 who were deemed ‘at risk’ due to problems such as family poverty, family instability, academic problems and behaviour problems. The majority of group participants had histories of serious externalising behaviour problems. Some participants were in state custody as a result of involvement with the juvenile justice system. Data were collected for each group session via video camera. Overall, the intervention fostered a group environment in which guarded, difficult-to-engage, at-risk adolescents felt comfortable and connected enough to engage in surprisingly honest and bold self-disclosure, an initial step in addressing their problems. 353 12. Re-Engagement and Motivation Zarobe and Bungay (2017) undertook a rapid review exploring the role of arts activities in promoting the mental wellbeing and resilience of children and young people aged between 11 and 18. Only studies related to activities that took place within community settings, and those related to extracurricular activities based within schools, were included. Eight papers covering a wide range of interventions were included. It was found that participating in arts activities could have a positive effect on self-confidence, self-esteem, relationships and sense of belonging: qualities which are associated with resilience. Music Programmes for Young Offenders Adolescents who are in secure residential accommodation are frequently angry, detached, frustrated and in conflict with their peers. They may have experienced trauma, abuse, drug or alcohol use, peer pressure, or gang-related activities. They often lack a structured home environment and may also have learning difficulties or mental health problems. This presents challenges to those attempting to rehabilitate them. Music has been suggested as one possible means of engaging them. McKay (1956) argued that music could benefit young people in juvenile institutions, helping with teamwork and providing a means of letting off steam. In South Africa, Lotter (2006) developed a music programme for adolescents who had been referred by the courts as a means of social rehabilitation. The programme was based on the Circle of Courage which includes four components: belonging, mastery, independence and generosity. The research explored how the Circle of Courage might be integrated into music therapy. Thompson (2016) studied the role of rap music composition in the experience of the incarceration of African- American youth, while Nelson (1997) focused on high-risk adolescent males’ self-efficacy in relation to choral performance. A systematic review of research on the impact of active music-making on young people at risk within the criminal justice system in the UK, Australia, the USA, Canada and South Africa—undertaken by Daykin and colleagues (2011)—showed that music offered the potential for improvement in self- efficacy, self-esteem and self-concept. Overall, the review concluded that music projects could help in positive- identity construction, providing a safe means for young offenders to express difficult emotions and anger, 354 The Power of Music although very short projects where participants were unable to meet their goals could lead to frustration (de Roeper and Savelsberg, 2009). Fouché and Torrance (2005), in South Africa, successfully worked with rival gang members. The young people were brought to the venue by police escort, having volunteered to join the project which met each week. The participants shared their stories and improvised music together. Within the gangs, music was perceived as a cool activity, and rap and hip-hop culture made any musicians heroes. This supported the process. Rapp-Paglicci and colleagues (2012) evaluated the Prodigy cultural arts programme, an early prevention programme for at-risk young people aged five to eighteen. The programme used visual and performing arts to help young people develop life skills including communication, leadership, problem-solving, anger management, career aspirations and goal-setting. Each class was conducted by a professional artist who served as teacher and mentor. Through art, the young people built confidence, learned how to showcase their skills and developed lifelong habits for future success. Over 95 percent of those enrolled did not have contact with law enforcement, and those who did only committed minor offences. Over 89 percent did not reoffend. Prodigy students showed improvement in their ability to control behaviour, affective responsiveness and academic self-efficacy. There was a significant decrease in anger, depression, anxiety, suicidal thoughts, somatic problems, risk behaviours and mental health symptoms, and improved behavioural regulation in addition to increases in academic performance. Yun (2014) investigated how a music therapy programme was experienced by violent juvenile offenders. Six adolescents participated in 12 consecutive weeks of group music therapy sessions, and were interviewed individually based on open-ended questions which addressed their autonomy, competence and relatedness. The analysis also investigated how the change brought about through the music therapy transferred to their everyday life. Autonomy was promoted by making choices about songs and instruments, deciding how to play, and expressing opinions about music. Competence was associated with developing skills on musical instruments, creating their own music, concentrating on their own project and demonstrating their abilities, while relatedness concerned collaborating, exchanging opinions and 355 12. Re-Engagement and Motivation playing a part in musical projects. In addition, participants’ behaviour changed. They became more self-aware and there was greater mutual exchange and group support. Changes were evident in their school life. In the UK, De Viggiani and colleagues (2013; 2014) reported on a three-year music project with 118 young people from 19 youth justice programmes. Each music programme had up to ten participants and ran for six half-days, each lasting from one-and-a-half to three hours. The approach was active and participatory including singing, word association, lyrics, artwork, instrumental work, music composition, and the production of a CD or the giving of a live performance. Most participants identified the music as being familiar and safe. For some it brought credibility and celebrity success with peers, but also the expression of criminal identity, genres associated with drugs, guns, gangs and misogyny. There were a great many challenges for the tutors in implementing the programme, including the highly varied demographics of participants, their transience, drop-outs, lack of opportunities for follow-up, dependence on gatekeepers, difficult group dynamics, a lack of decision-making skills in participants, and passivity or resistance as a self-preservation strategy. Despite this, the programme showed the potential to support young people in coping with difficult circumstances and, for some, delivering life-changing benefits. Also in the UK, Anderson and Overy (2010) examined whether music and art classes could engage young offenders in ongoing education. Fourteen young offenders in Scotland voluntarily participated in the ten-week study. Participants were divided into three groups: music, art and a control education group. They completed pre- and post-interviews and measures that examined their emotions, self-esteem, self-control and literacy skills. Behavioural reports and enrolment in education courses were reviewed for three months before and after the project. The findings indicated increased engagement with education during and after the project for individuals in the music and art groups but, overall, the findings were mixed. There were increases in self-esteem for the music intervention and control groups, but not for the art group. All participants felt that they had less control over their behaviour following the project, although emotion scores showed improvement in the music and art groups, but not in the control group. Those in the music and art group indicated that they found the sessions engaging 356 The Power of Music and meaningful. There was a decrease in behaviour-related incidents— for instance, breaking prison rules for the music group—as well as increased engagement with education during and after the project for the music and art groups, with the largest increase in the music group. In South Africa, Mathiti (2002) and Woodward and colleagues (2008) evaluated a programme that provided instruction in African marimba and djembe ensemble performance on the behaviour of young juvenile offenders. The programme integrated music-teaching, mentoring and intercultural exchanges aimed at the acquisition of musical skills that offered opportunities for diversion from crime and successful reintegration into society. Participants were matched with mentors and reported enjoying the sessions, stating that music-making helped them to stay away from crime, providing them with a sense of purpose and alternative ways to spend their time. Having someone listen to them and to confide in was also important. The programme allowed participants to take on new identities as a result of sharing their skills with others and having them respond positively. The researchers observed that music-making had a therapeutic effect on participants by triggering positive emotions and by giving them a chance for self-expression. In turn, learning a new skill gave mentees a sense of achievement and increased their self-esteem. Interviews with parents revealed that family relationships improved and that the students were more cooperative and helpful, demonstrating respect and acting responsibly. There were also positive outcomes in terms of attitudes towards school. The reoffending rate for the pilot group in the six months post-programme was nine percent, while in the second six months, this dropped to zero, with no repeat offences committed. The programme was successful in aiding the young people to connect with their families, communities and culture. In the USA, Kennedy (1998) assessed the effects of music activities on the self-esteem and self-efficacy of 45 participants in two homes for at-risk youth and a juvenile detention centre. Musical performance, supported by instrumental coaching, was compared with other interventions, including cognitive behaviour strategies and vicarious experience in the form of observation of videotaped performance by others. The self-efficacy scores, for those involved in musical performance alone and for those with whom this was combined with cognitive behaviour 357 12. Re-Engagement and Motivation interventions, were significantly higher than for those receiving cognitive behaviour interventions alone or vicarious experience alone. The self-esteem scores for those involved in musical performance also improved significantly following the intervention, although the results did not differ significantly when compared with alternative interventions. Those involved in either the vicarious experience or cognitive intervention alone scored lower than the control group with no intervention, suggesting that these two intervention groups were better without treatment. Some participants showed improvements in mood, reduced anger, increased motivation and improved behaviour. Similarly, Baker and Homan (2007) studied the implementation of a music programme including piano, guitar, rapping, computer-based music sequencing and composition for a group of predominantly black youths within a detention centre, offering a highly practical and direct means of allowing youth offenders to express a particular form of creativity in connection with their existing music and cultural interests. The treatment centre where the programme was based dealt primarily with anger-management and substance-abuse problems. Young people remained in the facility for an average of 90 days, and only those with good behaviour were allowed to participate in the musical activities. Lessons were conducted with individuals or in small groups. While there were many benefits of the programme, there were also considerable challenges, including time pressure, access to lessons which depended on the accumulation of privileges, lack of opportunities for practice and lack of opportunities for continuation on release. The process of writing music can help young people to redefine themselves, especially where projects promote positive expression and seek to challenge lyrics that glorify criminal lifestyles or contain profane, sexist or discriminatory language. The findings showed that such censorship was often met with resistance from young people, who felt that this served to diminish the truth of their feelings and experiences. Lyric-writing allowed those in custody to explore and express thoughts and emotions which may otherwise be repressed—for instance, forgiveness, healing, overcoming and regret. Also in the USA, Tyson (2002) studied the effects of hip-hop therapy on self-concept and peer relations in a residential setting for at-risk youth. The programme comprised hip hop, bibliotherapy and music 358 The Power of Music therapy that involved discussion of rap lyrics, emphasising positive themes including positive racial identity, group identity, peace and unity. Participants spoke highly of the project, although there were no statistically significant changes in quantitative measures of outcomes. Similar findings were reported by Gann (2010), who assessed the effects of rap therapy on self-concept and peer support in a small sample of 13 at-risk pupils from two urban schools. The results were mixed, with anticipated improvements in self-concept and social support not confirmed in statistical analysis. Bittman and colleagues (2009) evaluated the effectiveness of a novel creative musical expression protocol with young people in the juvenile justice system. Participants were randomly assigned to participate in an adolescent health RHYTHMS drumming protocol and normal structured routines that included therapeutic and educational programmes focusing on current events, independent living, housing, social skills, grief and loss, health, drug and alcohol use, employment, sexual abuse, sexuality, anger management and conflict resolution. Instruments included hand drums, a variety of auxiliary percussion instruments, bells, maracas, a clavinova and a computerised electronic keyboard. The first session began with a brief welcome, a discussion of expectations and an overview, followed immediately by a five- to ten-minute nonstructured jam session. A total of 52 African-American, Asian, Caucasian and Puerto-Rican participants, ranging in age from 12 to 18, participated. Statistically significant differences between intervention versus control groups emerged, with improvements in schoolwork, role performance, depression, negative self-evaluations and anger. In addition, extended impact was characterised by statistically significant improvements six weeks after completion of the protocol. Other reported benefits included improved social skills, attention span, stress management, anger management, emotional expression, anxiety, depression, coping skills and self-esteem in young people and adults, with a reduction in rates of reoffending. Skills development and employment were further supported by employing people from marginalised groups, such as ex-offenders, to deliver the arts activities to the groups. Clennon (2013) examined music workshops mainly consisting of group composition through the process of learning to play in a rock 359 12. Re-Engagement and Motivation band, bass, keys, guitar, vocals, drums and electronic composition, using the software Logic . The transformative effect of participating in community music sessions on young people’s attitudes towards offending behaviour was assessed. The results suggested that there was a small but measurable improvement in the attitudes towards offending that the young people who participated in the music workshops had, especially relating to their perceptions of their life problems and how these problems could contribute to potential offending behaviour. Similarly, Hickey (2018) undertook a long-term qualitative study to assess the impact of a music composition programme at an urban youth detention centre. Over a period of five years, more than 700 youths participated in the programme and created primarily rap-music compositions. Comments from their feedback, as well as interviews, showed that they enjoyed the programme; it gave them positive feelings and a sense of competence. Creativity emerged as a key element in enhancing competence and autonomy. Chong and Yun (2020) introduced a music therapy project for young offenders through community collaboration. The project was carried out with collaboration between the educational institution, the district prosecutor’s office and a corporate sponsor, forming a tripartite networking system. Project implementation was evaluated with 178 adolescents involved with the juvenile justice system. The music therapy programme was developed with 15 sessions of music-making and song-writing. Three scales, self-concept, resilience and stress coping skills were used, and there was improvement on all following the music intervention. On the basis of 20 interviews, the intervention was reported as helpful in gaining new perspectives, providing courage to challenge and persevere, and self-knowledge. Ezell and Levy (2003) evaluated the impact of a programme of integrated arts therapy on young female delinquents who experienced emotional and behavioural problems in a correctional institution. The intervention was introduced as part of a curriculum involving art therapy, drama therapy, music therapy and dance movement therapy sessions that were facilitated twice a week during a five-week period. Participants aged 14 to 17 either participated in the intervention or acted as controls. Self-report questionnaires were administered prior to and after the intervention to screen for conduct, emotional and peer 360 The Power of Music problems, hyperactivity, and prosocial behaviour—and to investigate the frequencies of aggressive, withdrawn and prosocial behaviour. There were statistically significant reductions in three of the five emotional and behavioural problems measured by the Strengths and Difficulties Questionnaire including conduct and emotional problems, an increase in prosocial behaviour, and significant differences in the frequency of aggressive behaviour. Rio and Tenney (2002) developed a programme for juvenile offenders in a residential treatment setting. Many of the clients had difficulty establishing positive relationships, having had severely dysfunctional relationships throughout their lives. The music therapy process was designed to improve social interaction and relatedness, increase self-expression and self-esteem, and decrease hostile and disruptive behaviour. The programme also emphasised the development of empathy and appropriate channels for energy release. The client groups evolved somewhat differently, illustrating how individual personalities and abilities affected the group dynamic and relationships between group members and therapists. In Australia, Barrett and Baker (2012), along with the Australian Children’s Music Foundation, implemented a number of music programmes in juvenile detention centres as a means to assist young people to develop their sense of self-worth, build skills in self-discipline and communication, foster resilience, and re-engage with life and the community. In a qualitative case study, participants’ perceptions of the learning outcomes were sought—musical and extra- musical—that emerged from participation, the learning and teaching practices, and contextual factors that supported the outcomes. Findings indicated that the programme generated significant musical and extra- musical learning outcomes: in particular, a learning identity. Skaggs (1997) reported on a music-centred creative arts therapy programme in a residential treatment programme for male juvenile sex offenders, while in Seoul, Korea, the district attorney provided arts programmes instead of social labour hours for youths with conditional suspension. After one year, it was reported that the recidivism rate decreased from 54 percent to 14 percent (Ewha Music Wellness Research Center, 2015). 361 12. Re-Engagement and Motivation Music Programmes for Adult Offenders Music education in prisons has existed since the mid-nineteenth century, but research in the field has been sparse (Lee, 2010). However, recently there has been a surge in activity. Positive outcomes for music interventions have been reported with adult offenders. Participants enhanced their communication and social skills, increased their confidence, became better able to reflect on their situation, and believed that they could change and attain their goals. Early studies were undertaken by Baron (1955) and Benedict (1953). There is evidence that, after participation in such projects, prisoners sought out opportunities for further education and training (Daykin et al., 2012). A number of Master’s and doctoral theses have explored these issues—for instance, Apicella (1952)—aimed to establish which music activities were used as part of correctional education in prisons. Similarly, Hodson (1951) carried out a survey of music education programmes in state prisons, as did Littell (1961). Sporny (1941) explored the value of music in correctional settings, while Hess (1956) appraised the music programme in a single institution. In a retrospective study, Richmiller (1992) studied the residual effects of the music education experiences of being in a prison choir 29 years after participation in it. In a doctoral thesis, Cohen (2007) studied choral singing in prison contexts, while Elliot (1981) studied a way of teaching instrumental music to adult offenders. Cohen and Duncan (2015) explored the relationship between restorative and transformative justice and music education in prison and other contexts, while Cohen and Henley (2018) examined music-making in USA and UK prison contexts, pointing out the wide variations in practice and how inmates’ opportunities for self-expression could be restricted. However, community music approaches within prisons have improved self-esteem, social support and a sense of accomplishment, and reduced reoffending. The complex power dynamics of prison contexts have emphasised the importance of the welcome and hospitality offered by community music.362 The Power of Music Choirs Many of the interventions and evaluations in prison have focused on choirs. For instance, in the USA Weber (2018) evaluated the Voice of Hope women’s prison choir, while Cohen (2007), in Australia, explored inmate and volunteer experiences of singing in a prison-based choir. Similarly, Cohen (2009) carried out two experiments, the first with a choir of ten inmates which only performed within the prison, the second with a larger choir of 48, which included inmates and volunteers and performed externally. There were no significant differences in wellbeing between the two groups overall, but the group who were able to perform externally scored higher on measures of emotional stability, sociability, happiness and joviality. Later, Cohen and Trachsel (2010) discussed voice as the intersection between music and language in the context of the writing component of a prison choir, while Cohen (2010) considered music programmes and restorative practices in prisons across the USA and the UK. Cohen and Wilson (2017) examined pedagogical strategies for facilitating and developing song-writing skills with 17 males incarcerated in a USA medium-security prison. They investigated the participants’ sense of self-worth, purpose and social adjustment related to their participation in a songwriters’ workshop. The song-writing sessions spanned two 13-week, 60-minute workshops and one 9-week 90-minute workshop, totalling 35 weeks. The researchers analysed 42 sets of original lyrics, written reflections from three instructors, transcriptions of four workshop sessions and narrative data from participants. The findings showed that the collaborative and social nature of the song-writing workshops provided a supportive atmosphere where participants generated new songs for enjoyment and expression. They wrote about struggles and hardships, especially relationship problems, and the data suggested that the discussions about song topics helped them cope with their incarceration. Cohen (2019) showed that choral singing in prisons could help incarcerated individuals identify as returning citizens instead of felons. Maruna (2010) argued that, while many legal and penal rituals exist to convince individuals to identify as offenders, few such rituals are in place to reconnect formerly incarcerated people to identify as community members outside of prison. Maruna described 363 12. Re-Engagement and Motivation successful reintegration rituals as symbolic and emotive, repetitive, community-based, and infused with challenge and achievement, while choral singing models are positive reintegration rituals that promote prosocial connections between returning citizens and the societies to which they are restored. Messerschmidt (2017) explored the effects of singing with incarcerated choir members and the effects of listening to a live prison choir perform on non- incarcerated people—in particular, their attitudes towards prisoners. Forty-one singers from four choirs who sang with prison choirs, a control group of 19 who had no experience of prison choirs, and 78 audience members at a prison choir concert completed an attitude-towards- prisoners scale and answered open-ended questions. The findings showed that it was possible for people to change their attitudes towards prisoners through experiences with a prison choir. Almost 70 percent of those volunteering said that their attitudes towards prisoners were more positive since joining the choir. Audience members were also more positive after attending a concert. Roma (2010) examined a men’s prison chorus in a high-security Ohio prison. The research aimed to understand how a men’s prison choral community impacted on inmate self-perception, intragroup relationships and external connections. The CD recordings made of the choir were sold and the sales benefited charities of the inmates’ choosing. This helped the prisoners connect with the larger society outside prison. The researchers explored how musical performance, especially of inmate- composed choral repertoire, affected the choir as a community. Projects Using Gamelan Several programmes have used gamelan for prison interventions, as they do not have affiliations that may alienate anyone and they are generally easy to learn, requiring no previous experience. Groups can learn quickly: in one two-hour session, players can master a composition. There is no leader or conductor and players can swap instruments, and changes in dynamics or tempo are decided as a group. The Good Vibrations programme was set up with the aim of trying out gamelan workshops in prisons. Eastburn (2003) evaluated a gamelan Indonesian percussion programme in a prison setting. Data were collected on the 364 The Power of Music participants’ self-esteem, basic and key skills. There were questionnaires for prison contacts and workshop leaders. One hundred and twenty- four prisoners participated in taster sessions and 64 completed in-depth workshops. The project helped prisoners to develop basic and key skills, and enhanced their self-esteem. At the start of the programme, about a quarter of the prisoners had very low literacy and numeracy skills. Half had never engaged in any musical activity and nearly 40 percent had never participated in any kind of prison workshop. Prison education staff rated the taster sessions as providing good opportunities for people to deploy basic and key skills including teamwork, communication, listening, concentrating, numeracy and motor skills. They agreed that prisoner self-confidence had grown, as had their teamwork skills. Most agreed that the programme was more effective than other short arts projects. Eighty-nine percent of participants indicated that they felt better about themselves, and had a sense of achievement, pride and increased confidence, while 57 percent of adult respondents and 71 percent of young offenders spontaneously mentioned enjoying and learning from the experience of working in a team. Two prison education managers reported improved behaviour or performance in education, and one reported participants signing up for further prison education activities. Henley and colleagues (2012) investigated the short-, medium- and long-term impact of a gamelan project and found that participation in a Good Vibrations project acted as a catalyst for positive change. The research found that, not only did participants feel more able to communicate with other offenders within the project, they found confidence in their own voice so as to continue to develop their communication and coping skills within prison and as ex-offenders in the community. Furthermore, the project contributed to the development of anger management skills and provided an outlet for self-expression, leading to a feeling of being normal. Henley (2015) investigated the learning processes occurring within a Javanese gamelan project in a young offenders’ institution and highlighted the parallels between musical learning processes and the development of certain attributes linked to desistance from crime. The desistance paradigm centres on changing a criminal identity through the development of social and personal attributes. This resonates with recent research on the transformative effects of music and how musical identity can be changed positively through active and successful 365 12. Re-Engagement and Motivation music-making. The research was carried out in a UK Young Offender’s Institution and involved 19 young people between the ages of 18 and 24 over a period of eight weeks. Observation revealed how personal and social development occurred through participation. Mendonça (2010) also focused on the Good Vibrations programme, examining the approach from the perspectives of prisoners, administrators and teachers. Assorted Music Therapies Wilson and colleagues (2009) argued that there was growing awareness amongst policymakers and those working in the criminal justice system of the contribution that could be made by the arts in prisons—in particular, by innovative projects that offer participants a creative outlet and have a positive impact on offenders, not least by encouraging them to engage with further learning and education. Tuastad and O’Grady (2013) explored the concept of music as a freedom practice in and outside prisons in two studies. Most of the prisoners and ex-prisoners participating reported that music helped them to feel momentarily free from the harsh realities of both prison life and the world outside. The findings described how, through music, prisoners found a free space in an authoritative, suppressing and institutionalised environment, and how music activities helped them in building ties to the world outside prison while connecting to personal emotions and becoming humanised in a dehumanising setting. Chen and colleagues (2015) investigated the effects of group music therapy on improving anxiety, depression and self-esteem in Chinese prisoners. Two-hundred male prisoners were randomly assigned to music therapy or standard care. The music therapy consisted of 20 sessions of group therapy compared with standard care. Anxiety, depression and self-esteem were measured by standardised scales at baseline, mid- and post-programme. Anxiety and depression in the music therapy condition decreased significantly at mid- and post- test; self-esteem improved significantly at mid-test and at post-test. Improvements were greater in younger participants and in those with a lower level of education. Overall, group music therapy was effective in improving anxiety, depression and self-esteem, particularly for younger and lower educated prisoners. Some programmes employed 366 The Power of Music people from marginalised groups, such as ex-offenders, to deliver the activities, thus supporting skills development and employment. Other reported benefits included improved social skills, attention span, stress management, anger management, emotional expression, anxiety, depression, coping skills and self-esteem, and a reduction in rates of re-offending. Gold and colleagues (2014) also showed how music therapy reduced mental health problems and could be beneficial in the rehabilitation of prisoners. They compared group music therapy with standard care for prisoners in a randomised controlled trial that started with the establishment of music therapy services in a prison near Bergen in Norway in 2008. One hundred and thirteen prisoners agreed to participate. Anxiety, depression and social relationships were assessed at baseline and every two weeks in the intervention group, and after one, three and six months in the control group, then at release. No restrictions were placed on the frequency, duration or contents of the music therapy. Duration of stay in the institution was short, typically less than one month. Only a minority of participants reached clinical cutoffs for anxiety and depression at baseline, but music therapy was well accepted and attractive for prisoners, and there was a reduction in anxiety after two weeks of music therapy. Positive outcomes for music interventions have also been reported in relation to self-harm among women prisoners (Digard et al., 2007). Participants enhanced their communication and social skills, increased their confidence, were better able to reflect on their situation, and believed that they could change and attain their goals. Hakvoort and colleagues (2015) studied the effect of music therapy on anger management, coping skills and dysfunctional behaviour. A pre- and post-test design was used with random assignment of fourteen patients to either treatment or control conditions. All participants received treatment as usual, while nine received a standardised music therapy anger management programme. Five controls received an unplanned aggression management programme. The findings suggested that anger management skills improved for all participants. The improvement of positive coping skills and the diminishing of avoidance as a coping skill were measured, and showed greater changes in music therapy participants. When controlling for the exact number of treatment hours, the outcomes suggested that music therapy might accelerate the process of behavioural change. 367 12. Re-Engagement and Motivation Maruna (2010) showed how music teaching, rehearsing, recording, performance, improvisation and composition could aid the rehabilitation of prisoners and ex-prisoners. Participants almost uniformly expressed passionate support for the organisation providing the music intervention, and many insisted that music had changed their lives. The changing tunes logic model developed a sense of collective ownership, responsibility, emotional energy, increased confidence and therapeutic alliance with the facilitator, and led to the management of depression. The programme also led participants to find their own voice and developed creativity, group bonding, mutual support, anger management and an identity separate from being an offender. It provided a way for participants to test their limits, a drug-free way of escape or coping with imprisonment and increased employability. Public performance and acknowledgement led to a calmer prison environment, and praise fostered a sense of achievement. Participants reported that the programme provided them with a form of escape from the cycle of punishment, shame, anger and defiance that prisoners and ex-prisoners found themselves trapped in. Maruna (2010) discovered that increased confidence was the most commonly cited long-term benefit of participation in the Changing Tunes project. As a result, many participants felt more optimistic about their futures. A small number of participants reported that taking part in music sessions had improved their symptoms of depression and Post-Traumatic Stress Disorder. Respondents often spoke of the respectful way that they were treated by project leaders and the humanising effect that this had. Participation in arts programmes appears to provide prisoners with new ways of thinking about themselves, allowing them to move away from previously entrenched offender identities by assigning more prosocial labels such as ‘musician’, which often brought with them new aspirations. Ascenso (2017) reported the outcomes of The Lullaby Project , where the Royal Philharmonic Orchestra worked with refugees, migrant mothers and fathers from a London prison. The programme paired expectant and new mothers with professional musicians to create a lullaby for their children. The programme developed wellbeing through enabling a strong sense of accomplishment, meaning and connectedness, along with the experience of positive emotions. It encouraged proactivity through promoting initiative, both musical and 368 The Power of Music relational, and reflection through stimulating a richer perspective on life and positive coping mechanisms. The project was motivating, offering challenge and a highly valued goal. It was geared towards connecting at a very human level, placing centrality on individuality, a positive agenda, and maintaining two universals at its core: music and parental love. Similarly, Rodrigues and colleagues (2010) studied the BbBb project that combined education and artistic performance in a process that was centred on music, babies and their parents. The findings showed that a very strong bonding developed among parents, babies, families and the community. In Alaska, Warfield (2010) reported a study of a 400-bed facility for multi-level adult female offenders which offered a unique educational programme, an orchestra. This was founded in 2003 by a volunteer, and membership grew from eight to twenty-two female offenders between 2003 and 2009. Bilby and colleagues (2013) considered the possible relationships between the process of abstaining from crime and the influence that taking part in some form of art-based enrichment activity might have on participants. The research specifically explored how arts interventions contributed towards enabling people to form positive identities, build new narratives and build positive relationships with peers, staff and family. It also began to investigate how arts interventions enabled people to make significant behavioural changes. The research team investigated five arts projects in four criminal justice settings, including practising visual arts in a high-security adult male prison; music and DJ-ing skills with young offenders in the community; a music-making project in a resettlement open prison; and creative writing and bookbinding in a closed female prison. The research team spent at least four sessions with each of the projects, observing the activities and interviewing participants, arts practitioners and prison staff. Evidence included participants’ written work and evaluations, and examples of the work produced in the arts activities. The findings demonstrated a clear link between taking part in art-based activities and movement towards secondary desistance. Analysis of the data across all five projects showed that participation in arts activities enabled individuals to begin to redefine themselves. Arts projects facilitated high levels of engagement, led to greater participation in education and work-related activities, and could have a positive impact on how people managed themselves during their sentence, 369 12. Re-Engagement and Motivation particularly on their ability to cooperate with others, including other participants and staff. This was related to increased self-control and better problem-solving skills. Engagement with arts projects facilitated increased compliance with criminal justice orders and regimes, while arts projects could be responsive to participants’ individual needs. Overall, art provided a safe space to explore challenging questions and to create, which allowed prisoners to discover what they could do, thus enhancing their confidence. Cox and Gelsthorpe (2008) evaluated eight Beats and Bars projects, including 71 participants. The research showed a reduction in adjudications for rule-breaking during and after the project, an increase in confidence to participate in other educational programmes, and confirmation that music projects can play a role in fulfilling the seven pathways to reducing re- offending. The men’s experiences of the project, particularly their feelings of encouragement to try things without judgement and to work together, clearly facilitated the development of their individual competencies and self-esteem. The participants learned to cooperate, relate to others, negotiate and share. These can all lead to improved outcomes following release from prison. Following on from this, Cartwright (2013) evaluated the first phase of the Sounding Out ex-prisoner programme, tracking participants over a nine-month period. The research showed that Sounding Out was successful in offering a programme of multi-dimensional support to participants. This took the form of financial support, making new friends and contacts, ongoing help to access other training and performing opportunities, a lift in motivation, hope and self-esteem, a clear sense of achievement and a positive use of time. It was found that being paid appropriately for their time and commitment acted as an incentive not to reoffend, and a support in the face of financial hardship. Additionally, being paid engendered a sense of professionalism and pride. Taking part also contributed to rebuilding positive family relationships and being seen in a more positive light by others. Conceived as a year-long intervention, the programme was structured around an initial rehearsal period and concert, followed by two more high-profile performances. Within this period and afterwards, participants were given support to access additional opportunities such as further music training and employment. The Sounding Out participants were paid at a rate of £90 370 The Power of Music per day for all rehearsals and performances. In the case of shorter time periods, this sum was adjusted to an hourly rate of £15. Additionally, travel and food expenses were provided. Built into the programme was the opportunity for a number of the participants to undertake roles as supporting musicians on Making Tracks , a programme to support young people at risk of coming into contact with the criminal justice system. Making Tracks focused on an intense music-writing and rehearsal period, followed by a performance, but additionally offered weekly sessions to the young people after the intensive project, allowing them to further hone their musical skills. In total, seven former prisoners were recruited for the project. Two had both been out of prison for a number of years. Since their release, they had been involved with various projects and one was on the board of trustees as an advisor. They took on a supporting role as excellent musicians, proven team members and ex-prisoners who had successfully made the challenging transition from prison to release. The remaining five participant members were all recruited within a year of release. They ranged in age from mid-twenties to fifties. The offending histories of the participants were varied. However, all the participants were on licence and had served custodial sentences of a minimum of three years; they had been convicted of relatively serious crimes. Two had spent the previous 20 years periodically offending and returning to prison at regular and frequent intervals. At the time of the Sounding Out project, none of the group was in employment or undertaking training or education, and all five were receiving state benefits. Four members were in accommodation regulated by the probation service. Sounding Out made a significant impact on reducing participant reoffending levels. Music was found to be a primary motivation, given that the participants were all passionate about playing and performing. The process of creative music-making and preparing for performances fostered participants’ teamworking and negotiation skills, self-confidence, achievement and sense of pride. Participants reported that one of the most striking aspects of the programme was the level of trust placed in them from the outset. Being treated in this way led participants to foster a strong sense of responsibility to the organisation and staff. Additionally, this sense of responsibility was a strong motivation not to reoffend, at the risk of letting others down. A later evaluation (Massie et al., 2019) showed similar outcomes. 371 12. Re-Engagement and Motivation There have been a number of reviews of the research on music therapy with adult offenders. For instance, Hughes (2005) examined the application and impact of arts practice in the three key areas of criminal justice service provision: • prevention: arts practice with young people up to 21 years old who are at risk of offending or escalation of existing offending; • custodial and community sentencing: arts as interventions in sentencing, both in prison and community contexts and resettlement; and • arts as an intervention made to assist reintegration into society. The findings showed that, at the time of the review, there was a paucity of high-quality research and evaluation in the field, but the survey findings showed very clearly that the arts had the capacity and potential to offer a range of innovative and practical approaches that could enhance and extend provision of educational, developmental and therapeutic programmes across the criminal justice sector. The review showed that the arts are associated with positive outcomes and can play an important part in changing individual, institutional and social circumstances which sponsor criminal behaviour. The grey literature highlighted the depth and breadth of arts provision, with many examples of interesting, challenging and creative projects in a range of settings. Analysis of the variety of practice identified a series of common effective programme and practice models and features. However, flexibility and responsiveness were key indicators of success. The quantity and consistency of findings from the key areas suggested that there was a strong case to be made for the effectiveness of arts practice across a range of areas. Arts interventions in criminal justice contexts are successful because they offer a non-traditional, non-institutional, social and emotional environment; a non- judgemental and non-authoritarian model of engagement; and an opportunity to participate in a creative process that involves both structure and freedom. At the same time, engagement in the participatory arts requires respect, responsibility, cooperation and collaboration. Coutinho and colleagues (2015a; 2015b) reviewed 28 articles, mainly qualitative and narrative reports of group music therapy, educational music-making, choir interventions, individual music therapy sessions, 372 The Power of Music and a range of musical projects and case studies. Cohen and Henley (2018) examined music-making in prisons in the UK and USA, contrasting the different approaches and practices of imprisonment and their impact on music therapy, but pointing out that community music within prisons provided a means toward desistance, improved self- esteem, social support and a sense of accomplishment. Cheliotis and Jordanoska (2016) critically reviewed the empirical research literature on the contributions that arts-based programmes make to the process of desistance from crime. They focused on evaluations of programmes run by practitioners inside prisons, and the effects of arts-based prison programmes after participants are released into the community. Kougiali and colleagues (2017) carried out qualitative meta-analyses of 12 articles published worldwide. The findings suggested that music programmes in prison are perceived by participating prisoners as liberating, which encourages participation and allows for noncoercive personal development. The therapeutic potential of music programmes is located in the combination of the benefits emanating from the effect and practice of music and the creation of mental, spatial and temporal zones of free expression, as well as those that derive from the egalitarian and nonauthoritative approach employed by the facilitators. Chen and colleagues (2016) in a meta-analysis assessed the effectiveness of music therapy on improving the mental health of offenders in correctional settings. Five studies with 409 predominantly male participants were included and showed that music therapy was effective for promoting offenders’ self-esteem and social functioning. Effects on anxiety and depression depended on the number of sessions. For both outcomes, the studies with 20 or more sessions had larger effects. No significant effects were found for behaviour management or between different music therapy approaches. Overview A great deal has been written about the role of music in supporting young people from disadvantaged backgrounds and helping those who are disengaged back into education or employment, as well as supporting those in the criminal justice system to successfully reintegrate into the community and not reoffend. Across each of these areas, much 373 12. Re-Engagement and Motivation of the literature is descriptive. Some sets out the details of particular interventions and advocates their use while other papers argue more generally that music therapy has an important role to play and set out a theoretical stance. Some research has assessed the outcomes of interventions, but frequently this is based on single case studies or small group interventions. Nevertheless, it is possible to draw some conclusions. It is clear that making music can have positive benefits: for instance, generating positive attitudes towards school, improving attendance, enhancing motivation for academic schoolwork and helping to improve basic and key skills. Across a range of environments, music offers the potential for enhanced self-efficacy, self-esteem and self- concept, improvements in mood, reduced anger, reduced aggression and improved behaviour. Music programmes can reduce rule-breaking and levels of disruption in institutions, as well as improving relationships. Programmes aimed at resettlement have had some success in supporting ex-offenders into training and employment by helping them to develop a range of personal and social skills which increase employability, as well as facilitating the acquisition of formally accredited educational skills and qualifications. Some participants make a career out of music, becoming mentors or workshop leaders. This means that participants are less likely to reoffend. Some programmes have changed the wider community’s views of those in the criminal justice system. The common elements for success, whatever the nature of the programme, seem to be: • creating a safe space; • providing a high-quality musical experience; • providing highly interactive and enjoyable musical activities; • using music with which participants can relate and engage; • having a facilitator who acts as a role model and treats participants with respect; • enabling trusting and non- judgemental relationships to develop with music facilitators and mentors; • engendering feelings of belonging in a group; • encouraging learning to work with others;374 The Power of Music • supporting the development of interpersonal bonds and shared goals; • creating opportunities for developing new skills; • enabling musical progression; • providing opportunities to perform; • maintaining regular and frequent contact; • recognising and rewarding excellence; • facilitating positive affirmation from others relating to musical activities, particularly performance; • providing opportunities to reflect on and articulate emotions; • providing opportunities to feel a sense of pride; • providing opportunities for creativity to develop self-efficacy and express feelings; • facilitating opportunities for participants to gain respect as musicians; • providing opportunities to learn transferable skills; • providing opportunities to develop communication skills; • promoting the giving and receiving of criticism; • supporting the development of confidence and resilience; and • allowing time for developing an understanding of self. There are issues related to how long interventions need to be. Ten mentoring sessions, usually at weekly or fortnightly intervals, seem to be a minimum, although some suggest that a mentoring relationship needs to last for a year to be effective.13. Personal, Social and Physical Development This chapter focuses on the way that active engagement with music and listening preferences can affect the way that individuals develop personally, socially and physically. Personal Development This section on personal development includes the way that an individual’s identity, personality and self-beliefs are shaped by their interactions with the environment, including activities related to music. Music and Identity At any point in time, an individual may hold multiple identities depending on their current social context. Identities constantly evolve as they are challenged and reconstructed, based on the feedback that is received from interactions with others. This may be complementary or contradictory. DeNora (2017) identified several properties of personal identity, including status. This infers that identity can be raised or lowered in relation to others. The malleable nature of identities means that they can be combined to form new ones through a form of hybridisation. Music can play an important role in this process. Individuals use music to express themselves and explore their identities (Macdonald et al., 2017). Active listening to music supports this exploration and the integration of identities (Larson, 1995), helping individuals to decide who they are and what they aspire to be. In addition, music assists in sending a message about those decisions to others. Music is used © 2022 S. Hallam & E. Himonides, CC BY-NC-ND 4.0 https://doi.org/10.11647/ OBP .0292.13376 The Power of Music consciously and unconsciously, to demonstrate attitudes, values and beliefs (Larson, 1995; Lull, 1987; North and Hargreaves, 1999). It is also used to gain knowledge about others (Macdonald et al., 2017). Expression of identity is connected with young people’s lifestyle, language, personality development and the music that they listen to (Schwartz and Fouts, 2003). Adolescents’ musical identity may be context-specific, and can be different at school and in out-of-school contexts (Rideout et al., 2010). It can be defined through attending concerts, actively making music or listening to specific musical genres. Engagement in musical activities develops several aspects of identity in relation to the family and the school environment, and contributes to physical, cognitive, social, emotional and affective development (Hargreaves and Lamont, 2017). Musical preferences are used for self- identifying as a member of a specific peer group and musical subculture (Miranda and Claes, 2009; North and Hargreaves, 2008), creating social identities and membership of an in-group (Bakagiannis and Tarrant, 2006; Hargreaves et al., 2006; Rentfrow et al., 2009). Adolescents also use musical preferences to acquire valid and reliable information about others (Rentfrow and Gosling, 2006). Young people spend a great deal of time listening to music (Keen, 2004; North and Hargreaves, 2000). This can be beneficial (Tarrant et al., 2000). It can help them to regulate emotions (North et al., 2000), act as a support when they face problems, help to alleviate loneliness and increase emotional sensitivity (Cook, 2013). Music also helps adolescents to develop a sense of connection and belonging, as they make friends with those with similar musical tastes (Lewis et al., 2012; Selfhout et al., 2009). Adolescents who belong to minority ethnic groups use music as a means of developing their ethnic identity and resilience (Buffam, 2011; Lundström, 2009; Schweigman et al., 2011). Travis and Bowman (2012) found that having a positive ethnic identity was associated with music, in that music could be empowering. For example, rap music can inspire young people to connect with others, consider the experiences of others, think critically about their environment and want to change their communities. To bring about change requires agency—the ability to act regardless of barriers. This is key to achieving positive outcomes. Dedman (2011) argues that those who actively engage in hip-hop 377 13. Personal, Social and Physical Development culture are responding to, and continuously resisting, mainstream images and messages from which they feel disconnected. The way that identities can change explains the findings of many studies of the effects of music in migrant communities (Baily and Collyer, 2006; Lenette et al., 2016; Marsh, 2013). Ilari (2017) discusses the role of ethnic identity in the perceptions and interactions of minority groups living among other ethnic and racial groups, such as Mexicans in the USA and South-Eastern Asians and Eastern Europeans in the UK, and how this affects their developing self-perceptions. Ilari argues that an important aspect of the ability to deal with the experience of being an immigrant or refugee is to be able to negotiate multiple identities. Hybrid identities can provide a wider family in which they can feel welcome. One of the main ways this can be achieved is through music. Children’s cultural musical heritage cannot be removed as a result of external circumstances (Ilari, 2017). Cultural diversity impacts the development and construction of social and musical identities across the lifespan in a wide range of contexts, including educational settings. Musical identity, part of the self-system, refers to the self that listens to and creates music (MacDonald et al., 2002). It can support the building of a positive self-identity and effective learning routines (Hallam et al., 2016), As discussed in Chapter 12 , disaffected young people and those engaged with juvenile or adult justice systems can develop new identities as musicians, leading to positive changes in their behaviour. Creating possible positive musical selves in this way can lead to broader changes in self-beliefs (Oleś, 2005), aspirations and subsequent career plans (Taylor and Hallam, 2011). Developing a positive possible musical self can occur at any point in the lifespan (Creech et al., 2014). Music and Personality There has been considerable research exploring the personalities of musicians. Some has compared musicians with non-musicians, while some has examined differences between musicians playing different instruments or engaging with different genres. The difficulty of interpreting this research in terms of personal development is that it is not possible to determine whether individuals with certain personality types are drawn to playing particular instruments or engaging with 378 The Power of Music particular genres, or whether playing particular instruments or engaging with specific genres develops certain personality characteristics. It may be that elements of both apply and that there are interactions between them. Musicians require a great many skills to be able to perform: imagination, flexibility, discipline, concentrated attention, emotional expression and intellectual, communication and motor skills (Juslin, 2003; Palmer, 1997). Some of these skills may be related to personality. The evidence from a range of studies shows that, as a group, musicians tend to be open to new experiences. Overall, they are more creative, imaginative and interested in change than the general population (Gibson et al., 2009; Kemp, 1996). Research with ten- to twelve-year- old children by Corrigal and colleagues (2013) showed that duration of music training was associated with openness to experience. It was also associated with conscientiousness. At seven to eight years old, when children frequently begin to take formal music lessons, the best predictors of participating in music training were parents’ openness to experiences and the child’s agreeableness (Corrigall and Schellenberg, 2014). This may indicate a tendency in very young musicians to comply with parental wishes. Beyond the evidence regarding openness to experiences, as we saw in Chapter 10 , there are differences between musicians on other aspects of personality. In a seminal study, Kemp (1996) identified common personality traits among Western classical musicians. He showed that they were bold introverts who directed energy inwards and appeared outwardly reserved. He argued that the nature of solitary practice may encourage autonomy and independence of thought. String players tended to be introverted, imaginative and radical, while brass players were more extroverted and had lower levels of self-discipline in comparison to other performing groups. Percussionists also tended towards extroversion. These findings suggested that the extent of practice required for these different instruments—typically more for string players, brass, wind and percussion players—either attracted people with personality characteristics suited to these roles or caused these characteristics to develop in response to the particular demands made of them by their chosen roles in the music profession (Kemp, 1996; Wills and Cooper, 1988). 379 13. Personal, Social and Physical Development Cribb and Gregory (1999) studied folk fiddle players and Salvation Army brass band members who completed a personality inventory and a questionnaire concerning their opinions about the personality characteristics of orchestral violinists, orchestral brass players, folk fiddlers, and Salvation Army brass band members. The findings showed greater neuroticism among string players but not greater extroversion in brass players (which had been found in previous research). Participants’ views about the personality characteristics of orchestral brass players and orchestral violinists echoed those found in previous research, but their views on the Salvation Army brass players and on folk fiddlers did not. The findings showed that personality differences or stereotypes of musicians are probably determined more by the history and traditions of the group in which they are perceived to belong than by the instruments that they play. Since Kemp’s research, many other studies have been undertaken. For instance, Bell and Cresswell (1984) assessed personality traits in a sample of secondary-school musical instrumentalists and student instrumentalists attending a college of music. In both samples, significant differences were found between the musical sample and the normative population from which they were drawn. In the college sample, further differences were found between students whose main instrument of study was strings, woodwind or brass. The authors suggested that some personality characteristics predisposed individuals to pursue instrumental performance studies, whilst others reflected habitual performance on different types of musical instrument. Also studying music students, Shuter-Dyson (2000) found that they scored higher on extroversion than non-musicians, and that female music students were more neurotic and tender-minded than female non- musicians. Undergraduate music students also exhibit conscientious- like traits (Kemp, 1996; Marchant-Haycox and Wilson, 1992), although composers and rock musicians tend to be less conscientious than the general population (Gillespie and Myors, 2000; Kemp, 1996). Buttsworth and Smith (1995), comparing the personality profiles of performing musicians aged 17 to 41 years old with non-musicians, found that the musicians were less intelligent but more emotionally stable, sensitive and conservative. The male musicians were more sensitive and shrewd than their female counterparts, while brass 380 The Power of Music players were more suspicious, imaginative, apprehensive and radical when compared with singers, and more extroverted (but less anxious and creative) when compared with string players. Keyboard players were more warm-hearted, emotionally stable and shrewd than those in the other instrumental groups. MacLellan (2011) explored personality differences among high-school band, string orchestra and choir students according to ensemble membership. The participants were 355 high- school students who had participated in a musical group for one or more years. There were personality differences between the members of the different ensembles, indicating that choir students were more likely to be extroverted when compared to orchestral students. There were no significant differences among the ensembles on the sensing intuition, thinking, feeling or judging/perceiving scales. Compared to high-school norms, the students in each ensemble were significantly more likely to be intuitive and feeling, while the band students were more likely to be perceiving, and the choir students to be extroverted. Hille and Schupp (2015), using a large data set from the German Socioeconomic Panel (SOEP), found that 17-year-old adolescents with music training were more conscientious, open and ambitious than non-musicians. These effects were stronger among adolescents from families with lower socioeconomic status. Comparing musicians to a representative sample of the general workforce, Vaag and colleagues (2018) found lower levels of conscientiousness but higher levels of neuroticism and openness. There were no significant differences in extroversion or agreeableness. Gjermunds and colleagues (2020) compared the responses of 509 musicians and 201 non-musicians on the Big Five personality traits. The findings confirmed the higher levels of openness for musicians frequently found in previous research. The musicians scored lower on conscientiousness and there were no significant differences between the groups in extroversion, agreeableness, emotional stability or neuroticism. Similarly, Kuckelkorn and colleagues (2021) gathered data from 7,000 respondents: professional, amateur and non-musicians playing different instruments. The findings showed that the professional musicians scored higher than the amateurs, who in turn scored higher than non-musicians on openness to experience. The singers scored higher on extroversion than instrumentalists, while the professional 381 13. Personal, Social and Physical Development musicians scored higher on neuroticism, lower on agreeableness, and lower on conscientiousness than the amateurs. Although there were personality differences between those playing different instruments, no consistent patterns emerged, which suggested that the differences were not related to instrument choice per se, but were perhaps moderated by musical genre and the social context of music-making in each group. Langendörfer (2008) examined personality differences among 122 professional orchestral groups of six top-level professional orchestras in Germany. The three instrumental groups—strings, woodwind, and brass players—displayed fewer differences in their personality traits than the stereotyped view of them had suggested. Apart from the finding that the string players were more conscientious than the other musicians, differences found in other studies were not replicated. Butkovic and Modrusan (2019) examined whether differences in personality attributed to musicians were based on actual differences or stereotypical views. One hundred and eighty-two string, brass and woodwind students, singers, pianists and music pedagogy students evaluated their own personality traits and the personality traits of the other groups. Comparison of self-reports with in-group and out-group peer reports showed that there were stereotypes of different groups of musicians. The most pronounced differences between self-reports and peer reports were in relation to openness and agreeableness. Similarly, Sandgren (2018) investigated whether there were differences in the personality traits of vocalists and instrumentalists. The findings from the 108 participants indicated that vocalists had significantly higher levels of extroversion, agreeableness and openness than a control group—but the instrumentalists did not. Exploring motivational intensity and self-esteem, MacIntyre and Potter (2013), in an online survey recruiting an international sample of 599 musicians, examined differences between guitar and piano players and those who composed music, those who planned to compose in the future, and those who did not compose and did not intend to compose. The findings revealed instrument-based differences between pianists’ and guitarists’ levels of motivational intensity, desire to learn, introjected regulation, perceived competence and willingness to play. The group who composed music also had significantly higher levels of musical self-esteem, willingness to play, motivational intensity, desire 382 The Power of Music to learn and perceived competence. Overall, the findings suggested that pianists and guitarists were both intrinsically motivated, but for different reasons. The authors concluded that the underlying motivational needs that are met by the instrument’s culture appear to focus on competence for pianists, and on autonomy and relatedness for guitarists. Examining differences in genre, Butkovic and Rancic Dopudj (2017) compared 249 musicians playing either classical or heavy- metal music, and found that there were no significant differences in personality traits between the groups, although they differed significantly in personality from population norms, having higher scores on extroversion, agreeableness and intellect. Similarly, comparisons of classical and pop/ rock musicians on measures of sensation-seeking found higher levels in the pop/ rock musicians (Vuust et al., 2010). Benedek and colleagues (2014) compared students of classical, jazz and folk music with respect to their musical activities, creativity and personality. The jazz musicians were more frequently engaged in extracurricular musical activities, had completed a higher number of creative musical achievements, demonstrated higher ideational creativity and tended to be more open to new experiences than the classical musicians. Overall, on the basis of the existing evidence it is not possible to say with any certainty that there are systematic personality differences between musicians playing different instruments, although as a group they appear to be more open to new experiences than members of the general population. Emerging differences may be related to the genre within which musicians work—for instance, jazz, pop, rock, or classical music. The research sheds no light on whether the observed differences are influenced by the different environments the musicians play in, or whether they existed prior to choice of instrument or genre. Kemp (1996) studying young classical musicians found that they were motivated almost to the point of obsession. A high degree of perfectionism and intrinsic motivation seemed to be associated with being a classical musician. This may have indicated greater conscientiousness, although there are mixed findings relating to this. Stoeber and Eismann (2007) found elevated scores for conscientiousness among young musicians, whereas Yöndem and colleagues (2017) found lower scores. In a meta-analysis of studies in the general population, Smith and colleagues (2018) showed that there was a relationship 383 13. Personal, Social and Physical Development between perfectionistic concerns and conscientiousness, although these were moderated by gender, age and the perfectionism subscale used. There is considerable evidence that many musicians experience performance anxiety and distress across a variety of musical genres including classical, jazz and popular music (Papageorgi et al., 2013). Vaag and colleagues (2016) also showed that symptoms of anxiety and depression were highly prevalent among professional musicians. These findings have been related to perfectionism. There can be adverse health-related consequences of perfectionistic over-involvement in work. However, Stoeber and Eismann (2007) have shown that only some facets of perfectionism are associated with anxiety and distress, whereas other facets are associated with positive characteristics and outcomes such as motivation and achievement. To investigate how different facets of perfectionism were related to motivation, effort, achievement and distress in musicians, 146 young musicians completed measures of perfectionism: striving for perfection, negative reactions to imperfection, perceived pressure to be perfect, intrinsic and extrinsic motivation, effort, achievement and distress. The findings showed that striving for perfection was associated with intrinsic motivation, higher effort and higher achievement. Perceived pressure from music teachers was also associated with intrinsic motivation, while negative reactions to imperfection were associated with extrinsic motivation and higher distress. The findings demonstrated that perfectionism in musicians can have positive and negative aspects. While negative reactions to imperfection are clearly unhealthy, striving for perfection can be regarded as a healthy pursuit of excellence. Similarly, working with 132 students in music academies in Poland, Lawendowski and colleagues (2020) investigated study addiction. Seven core addiction symptoms related to studying were assessed, along with measures of personality and wellbeing. Study addiction was positively related to learning engagement but also to low extroversion, high social anxiety, longer learning time, lower academic performance and indicators of decreased wellbeing. Overall, the evidence suggests that being a professional musician or preparing for a career as a professional musician can have a negative impact on some aspects of personality.384 The Power of Music Self-Beliefs Historically, the term self-concept has been used to refer to how individuals perceive and evaluate themselves in different areas of their lives. In the same way that an individual can hold multiple identities, the self-system is made up of a number of self-images, including those relating to self-esteem, self-efficacy, ideal selves and possible selves. These are often context- or situation-specific and develop in interaction with the environment (Hallam, 2009; 2016). Active engagement with music can support the development of musical and other identities, and can also impact on self-beliefs. Depending on the feedback received from others, the impact may be positive or negative. Much of the evidence supports the positive impact of music on self-esteem and self- confidence but there are exceptions, typically when feedback is negative. Performance and receiving feedback from it are crucial in this process and can lead to positive or negative responses. Maintaining positive self- esteem is argued to help to maintain positive emotions, which motivates individuals to act and shields them against anxiety (Pyszczynski et al., 1999). Positive self-esteem is essential for individuals to have agency to act, rather than feeling powerless and depressed (Kuhl, 2000). Bae and Kyungsuk (2020) examined the effects of the creation of a musical play on the self-esteem, self-expression, and social skills of 14 children between first and third grade, and 14 from fourth to sixth grade. Half of the children acted as controls. The activity involved making a script, composing song lyrics and music, and performing the completed musical play. Self-esteem and social-skill scales were administered before and after the intervention. The experimental group exhibited significantly higher scores than the control group on all of the scales except those of self-expression and social skills. The results showed that group music therapy could facilitate children’s engagement in groupwork, and that playing an important role in the group could positively impact on self- perceptions. In the UK, Harland (2000) showed that the most frequent overall influences on pupils derived from engagement with the arts in school were related to personal and social development. In music, those who played instruments referred to an increase in self-esteem and sense of identity. Research on the benefits of playing an instrument and participating in extracurricular music groups has been shown to impact 385 13. Personal, Social and Physical Development on participants’ self-confidence and self-esteem. Tolfree and Hallam (2016), in a qualitative study of children in the latter years of primary education and the early years of secondary education, showed that the children had a sense of achievement from playing an instrument. This was most prevalent amongst the younger boys and the older girls, who also expressed having pride in playing well more frequently than the other groups. All age groups reported frustration when they did not achieve. This was mentioned least by the older boys. University music students reflecting on their previous musical experiences at school highlighted the contribution of making music to the development of a strong sense of self-esteem and satisfaction. They reported enhanced personal skills, encouraging the development of self-achievement, self-confidence and intrinsic motivation. A further study with non-music students who had previously participated in musical groups established similar benefits, with a particular preoccupation with the impact of group music-making on self and personal development (Kokotsaki and Hallam, 2007; 2011). Some early studies exploring the role of music education on self- esteem showed positive relationships between participation in choir, band or formal music instruction and self-esteem (Amchin et al., 1991; Nolin and Vander Ark, 1977; Wood, 1973). Wig and Boyle (1982) studied the effects of a keyboard learning approach and a traditional general music approach on sixth-grade general music students’ music achievement, and self-concept regarding music ability. Those in the keyboard group made significantly greater gains in musical attainment and musical self-concept than the control group. Duke and colleagues (1997) administered questionnaires to a large number of children studying piano in various regions of the USA, their parents and their piano teachers, and found that the children, their parents and their piano teachers believed that piano instruction improved the students’ lives in many ways, including enhanced self-esteem. Similarly, Austin (1990) found a relationship between music, self-esteem and degree of participation in school and out-of-school music activities among upper elementary students. In England, the evaluation of a national singing programme involving approximately 6000 children found that those participating had more positive self-concepts than non-participating children (Welch, 2010). There was a positive linear relationship between singing development 386 The Power of Music and self-concept. Similarly, Welch and colleagues (2014), using data from 6087 participants, showed that the higher the normalised singing development rating, the more positive the child’s self-concept and sense of being socially included, irrespective of singer age, sex and ethnicity. Also in England, an evaluation of the Musical Futures approach— where young people work in the classroom in small groups, copying a popular song and ultimately creating their own—showed that non- music teachers and senior staff in participating schools reported that the approach had a positive impact on students’ self-esteem, confidence, motivation and independent learning (Hallam et al., 2015; 2017; 2018). A study by the Norwegian Research Council for Science and Humanities found high correlations between positive self-perception, cognitive competence scores, self-esteem, interest and involvement in school music (Lillemyr, 1983), while Whitwell (1977) argued that creative participation in music improved self-image and self-awareness, and created positive self- attitudes. Similar findings have been found with urban black middle-school students (Marshall, 1978). Dege and colleagues (2014) showed that the number of music lessons experienced by 12- to 14-year-olds contributed significantly to the prediction of academic self-concept and also motivational characteristics (for instance, perseverance), while Degé and Schwarzer (2018) investigated the influence of an extended music curriculum at school on academic self- concept. They compared the academic self-concept of children between 9 and 11 years old before they started the extended music curriculum and after one year of participation, and compared it with non-participation. Thirty children were assessed in relation to their academic self-concept, with the amount of non-musical out-of-school activities controlled for. The extended music curriculum had a positive influence on academic self-concept following a year of engagement. Rickard and colleagues (2013) studied the impact on over 350 young children in Grades 1 and 3 of Kodaly music classes (for the youngest children in Grade 1) and instrumental classes, predominantly string- based, for the children in Grade 3, in comparison with control groups. The findings showed that these school-based music classes prevented the decline in global self-esteem measures experienced by the control group in both the younger and older cohorts, and in both general and academic self-esteem for the older cohort. The data suggested that 387 13. Personal, Social and Physical Development increasing the frequency and quality of arts-based activities can be beneficial for the self-esteem of primary-school-aged children. Clements- Cortes and Chow (2018) also showed that music could prevent a decline in self-esteem. Music interventions have proven to be a protective factor, as positive social experiences instil confidence. Active engagement with music can improve emotional regulation and resilience, and foster identity and self-image, while facilitating social acceptance and a sense of belonging in a nurturing community. Not all of the research has shown positive outcomes. Several doctoral dissertations have failed to find any impact of engagement with music on self-esteem (Linch, 1994). Legette (1994) compared the effects of two types of music instruction on first- and third-graders’ self-concepts, and found no difference in the two types of musical activity or their impact on self-concept. Some research has shown different outcomes for boys and girls. For instance, Lomen (1970) found an increase in one element of self-concept in boys only, while Wamhoff (1972) noticed a decrease in one element of self-concept for girls taking instrumental lessons, as compared to non-participants and girls who dropped out of the lessons. Self-Beliefs, Deprivation and Disaffection In Chapter 12 , a range of evidence was presented which showed that engagement with musical activities enhanced the self-beliefs, self- esteem and positive possible selves of young people and adults involved with a range of criminal justice systems. It also set out how music could enhance the self-beliefs of those from communities suffering deprivation. For instance, most evaluations of the outcomes of young people participating in El Sistema or Sistema -inspired programmes have pointed to a positive impact on self-beliefs. El Sistema and Sistema- inspired programmes have prioritised the personal and social development of participants, and many of the evaluations point to the positive impact on self-beliefs (Esqueda Torres, 2001; 2004; Galarce et al., 2012; Israel, 2012; Uy, 2010). However, Lewis and colleagues (2011) found no significant changes in self-esteem over time, although comparisons of the self-esteem of children in the two participating schools where there were differences at the beginning of the project had disappeared by the time of the second survey. Children 388 The Power of Music with low self-esteem at the start of the programme benefited the most. Lopez and Berrios (2007) showed that El Sistema orchestras were perceived as providing a positive space for self-affirmation and identity formation. Participation was perceived to show openness to new realities and values, tolerance to diversity, the development of personal identity and self-affirmation. Provenzano and colleagues (2020) studied the effects of an El-Sistema- inspired university-partnered after-school music programme on developmental health, social and educational outcomes. The participants were 93 fifth-grade students in a racially and ethnically diverse, low-income elementary school. Over a period of four years, outcomes were assessed with surveys, interviews with music instructors and the school principal, and parent and participant focus groups. There were significant changes in students’ perceptions of their music-making ability, their connection to other students and an enhanced sense of school pride. Creech and colleagues (2013; 2016) attributed the impact of El Sistema and Sistema- inspired programmes on self-esteem to recognition by participants of their own abilities and of these being acknowledged by families and friends. Shin (2011) investigated how participation in weekly music workshops affected the academic self-concept and self-esteem of middle-school students in low-income communities. The programme lasted for seven weeks and consisted of playing percussion instruments, singing, improvisation, jamming, group dancing, and dynamic and rhythmic exploration. The assessment included a self-description questionnaire, a parent survey and student interviews. The findings demonstrated that there were significant differences in general school self-concept and mathematics self-concept from pre- to post-test. Both parents and students indicated that participation in the programme had positively influenced students’ self-esteem. Similarly, Zapata and Hargreaves (2017) researched the impact of a project undertaken in a school located in a deprived neighbourhood of Bogotá, the capital of Colombia. Two groups of 52 six- to eight-year-old children participated. The experimental group followed an 18-week programme of singing workshops of Colombian traditional songs and musical improvisation, whereas the control group had no such experience. Children, teachers and parents were involved in assessing the outcomes. A perceived competence scale for children was administered before and after the 389 13. Personal, Social and Physical Development singing programme. Analysis revealed that musical activities had a significant impact on children’s self-esteem, especially its cognitive component. Wood and colleagues (2013), in a ten-week intervention that included group drumming, showed that 180 at-risk twelve-year-olds in 19 schools had a ten percent increase in self-esteem scores and improved relationships with peers, as evaluated by teachers. School data showed a decrease in reported behaviour incidents for 29 percent of participants. Overall, the evaluation indicated that the DRUMBEAT programme provided a creative medium for working with at-risk young people and helped develop self-esteem and social relationship skills. Some research found no differences. For instance, Costa-Giomi (2004) randomly assigned nine-year-olds to three years of individual piano lessons or a no-lesson control group. The two groups did not differ in self-esteem at any point in time. Similarly, children who received a two-year music intervention did not differ from control groups at the beginning or end of the study (Portowitz et al., 2009). In these studies, the children received individual music instruction and were not engaged in group music-making. In contrast, Devroop (2012) investigated the social-emotional impact of group instrumental music instruction on 84 disadvantaged South-African students over a period of two years. The findings showed that there were generally increased levels of self- esteem, optimism, happiness and perseverance after participation in an instrumental music programme. It seems that an important element in enhancing self-esteem through music-making may be participation in ensembles. Children with Special Educational Needs and Disabilities Some early research with children with low self-esteem or behavioural difficulties showed no impact of musical engagement on self-esteem. For instance, Michel (1971) researched black disadvantaged students with low self-concept who learned to play rhythm guitar through automated instruction. There was no effect on their self-esteem. A second study with students with special educational needs also showed no impact. Similarly, Michel and Farrell (1973) worked with disadvantaged boys 390 The Power of Music aged ten to twelve with a range of problems in an all-black elementary school, and found that the boys—who were taught to play and perform simple chords on a ukulele—showed no enhancement of self-esteem. Choi and colleagues (2010), working with children exhibiting aggressive behaviour, showed that after participation in a music programme, children showed enhanced self-esteem compared with controls. In a qualitative study with two children with social and behavioural difficulties, Thomas (2014) showed that, after experiencing music lessons for a period of a year, the children demonstrated enhanced self-confidence and self-esteem. Broh (2002) showed that students who participated in musical activities talked more with their parents and teachers, and concluded that these social activities were likely to lead to higher self-esteem and self-efficacy. Keen (2004) worked with troubled adolescents who often have low self-esteem and found that music therapy was successful in raising self-esteem. Various techniques were adopted including song discussion, listening, writing lyrics, composing music and performing. MacDonald and Miell (2002) demonstrated that educational programmes in music composition and learning to play an instrument could increase self-esteem in children with learning disabilities and developmental disorders. These children face particular challenges as they struggle with intellectual or motor issues, which physically differentiate them from their peers and lead to them being shunned by those around them. Participating in public performances highlighted healthy elements which may have gone unnoticed because of the children being assigned a label of disability. Engaging in music as a rightful member of a musical group can change how disabled people see themselves, enhancing self-esteem and improving relationships with others. Ensemble Participation One strand of research has focused on the impact of ensemble participation on self-esteem. In the USA, research has explored the impact of being a member of a school band. For instance, Brown (1980; 1985) found that 91 percent of non-band parents, 79 percent of non- band students, 90 percent of drop-out band parents and 82 percent 391 13. Personal, Social and Physical Development of drop-out band students agreed that participating in a band built self-esteem, self-confidence and a sense of accomplishment. A study with students who participated in band festivals (Gouzouasis and Henderson, 2012) found that students valued instrumental music and participation in band festivals as a positive, rich educational experience, and experienced a sense of accomplishment after a good performance. Evans and Liu (2019) examined the impact of psychological need satisfaction and frustration in a high-school orchestra programme. Seven hundred and four participants were surveyed in orchestra programmes in three schools in the midwestern United States. The influence of psychological need satisfaction and frustration were assessed as predictors of time spent practising, intentions to continue participation and self-esteem. Psychological need satisfaction predicted all three outcomes, although psychological need frustration , in contrast, showed mixed results and predicted self-esteem negatively. Musical Preferences and Self-Esteem Some research has focused on the relationship between self-esteem and musical preferences. Rentfrow and Gosling (2003) failed to uncover significant relationships between self-esteem and musical preferences, suggesting that perceived self-worth had no effect on musical preference, or vice versa. In contrast, Shepherd and Sigg (2015) assessed differences in music preferences and self-esteem in 199 university students and found that music preference scores for clusters of music genres were found to significantly correlate with self-esteem. In a review including 14 studies, Lawendowski and Bieleninik (2017) examined the evidence regarding music therapy participation and self-esteem. They argued that participation offered opportunities to engage in identity work, defining, developing and reflecting on personal understanding, and cultivating new expressions of self- identity. They suggested that self-understanding developed and led to self-acceptance and personal growth. They also drew attention to the marked variation in research depending on the type of music therapy used, the participants, settings, outcomes and measurement tools. A qualitative analysis showed that expression of emotion and a sense of agency were valuable for both participants and those around them as 392 The Power of Music a way of providing damaged selves with ways to heal, thus improving self-esteem. Social Development Music and Early Social Development In a review, Creighton (2011) argued that early experiences of emotional communication contribute to mother- infant attachment and impact upon an infant’s neurological, social and emotional development. Similar conclusions were drawn by Ilari (2016) in a review which examined young children’s musical engagement from a social perspective, integrating research from a wide range of fields and theoretical orientations. Children begin to develop social skills with their caregivers from birth. Music can play a role in this development and in the way that mothers bond with their newborn children. For instance, Cevasko (2008) examined the effects of mothers’ singing on their adjustment to and bonding with their newborn infants, as well as the use of music in the home environment in the first two weeks after their infants’ birth. Fifty-four full-term infants and mothers and 20 premature infants (alongside 16 of their mothers) were randomly assigned to experimental or control conditions. Mothers in both groups were recorded singing songs of their choice for use at home. Recordings of each pre-term mother’s voice were played for 20 minutes, three to five times each week, at a time when the mother was not able to visit her infant in hospital. All full-term and pre-term mothers in experimental and control groups completed a post-test survey two weeks after the infants were discharged. There was a significant difference between the mothers’ perceived value of music, with the pre-term experimental group valuing music more. They also sang to infants more than the control group. Pre-term mothers more strongly agreed that knowing that their child was listening to their singing helped them to cope with their infants’ stay in hospital. In addition, pre-term infants who listened to the CD recording of their mother’s singing left the hospital an average of two days earlier than those in the control group, although this difference was not statistically significant. 393 13. Personal, Social and Physical Development There is considerable evidence that mother- infant singing leads to increased perceived emotional closeness and strengthening of the mother- infant bond (Fancourt and Perkins; 2018). Fancourt and Perkins (2017) compared the effects of singing to babies with listening to music. Singing to babies on a daily basis was associated with enhanced wellbeing, self-esteem and self-reported mother- infant bonding. Persico and colleagues (2017) compared groups of women who had or had not engaged in singing lullabies at antenatal classes in the 24th week of pregnancy with a follow-up at three months after birth. Postnatal bonding was significantly greater in the singing group three months after birth. Gerry and colleagues (2012) found that six-month-old infants exposed to active music lessons where they were encouraged to repeat the songs and rhymes every day at home led to superior development of prelinguistic communicative gestures and social behaviour, compared to infants assigned to a passive musical experience. Similarly, Pitt and Hargreaves (2017) investigated the role of and rationale for parent and child, up to three years old, group music-making activities in children’s centres. The perceptions of parents and practitioners were sought through a questionnaire which was completed by 49 practitioners and 91 parents. The questionnaire was based on a previous qualitative study which had revealed seven thematic categories of the perceived benefits of music: social, emotional, learning, teaching, links to home, parenting and organisational. Statistical analyses revealed significant differences between the expressed views of parent and practitioner groups, as well as between parents in different broad age groups. Practitioners expressed more positive views about the perceived benefits of music for parents than were expressed by the parents themselves. Parents in the majority age group, 27 to 35 years, expressed significantly more positive opinions on a variety of questionnaire items than did parents in both younger and older age groups. Researching older children, Williams and colleagues (2015) investigated parent-child home music activities in a sample of 3031 Australian children aged two to five years old, and found that shared home music activities had a small significant partial association with measures of children’s prosocial skills. However, Hartas (2011) found no relationship between parents’ reported frequency of singing songs 394 The Power of Music and rhymes or playing music at three years old and teacher-rated performance of social emotional development at five years old. Kawase and colleagues (2018) focused on the age of onset of group music lessons at a music school on children’s levels of sociability. A preliminary survey of the association between age of onset and extracurricular musical training or activity in non-music majors implied that musical experience from a very early age positively influenced social skills during adulthood. In the main study, Kawase and colleagues conducted a survey of 276 children aged four to five and six to seven years old who commenced music lessons at ages one, two, four and six. The findings showed that the empathy scores of children aged six to seven who began lessons when they were one year old were greater than those who began lessons at four years old. The communication scores of children aged four to five who began lessons at one year old were greater than those who began lessons when older than one year old. The empathy and extroversion scores were high in those aged six to seven who began lessons in that age range. In the lessons for the very young children, simultaneous parent-child musical activities were also likely to lead to enhanced attachment. Overall, the findings suggested that participation in group music lessons two to four times a month can be effective social training for very young children and foster their later sociability. Research with disadvantaged children and their parents has also demonstrated the benefits of participation in musical activities. For instance, Nicholson and colleagues (2008) explored the effectiveness of a ten-week group music therapy programme on 358 parents who were socially disadvantaged, young or had a child with a disability. The children were under five years of age. Musical activities were used to promote positive parent-child relationships and children’s behavioural, communicative and social development. Significant improvements were found for therapist-observed parent and child behaviours, parent- reported irritable parenting, educational activities in the home, parent mental health, child communication and social play skills. Other research has shown that group music lessons for children can improve accompanying parents’ mood (Kawase and Ogawa, 2018). 395 13. Personal, Social and Physical Development The Role of Synchronisation Synchronisation of movement plays an important role in social development. Engagement with musical rhythms at a young age supports synchrony and more altruistic behaviour between children and adults (Trainor and Cirelli, 2015). Parent-child attachment induced by synchronisation increases children’s social cognitive skills (Thompson, 2008). Behrends and colleagues (2012), on the basis of the literature, argued that coordinated movement fosters empathy and prosocial behaviour, and synchronous and imitated movement is associated with liking and prosocial behaviour. Supporting this, Cirelli and colleagues (2014) arranged that each of 48 14-month-old infants were held by an assistant and gently bounced to music while facing the experimenter, who bounced either in or out of synchrony with the way that the infant was bounced. The infants were then observed and placed in a situation in which they had the opportunity to help the experimenter by handing to her objects that she had accidentally dropped. The infants were more likely to engage in altruistic behaviour and help the experimenter to pick up the objects after having been bounced to music in synchrony, compared with infants who were bounced asynchronously. A further experiment, using anti-phase bouncing, suggested that this was due to the contingency of the synchronous movements as opposed to movement symmetry. These findings supported the hypothesis that interpersonal motor synchrony might be a key component of musical engagement that encourages social bonds among group members, but also that motor synchrony to music may promote the very early development of altruistic behaviour. Kirschner and Tomasello (2009) hypothesised that children would spontaneously synchronise their body movements to an external beat at earlier ages and with higher accuracy if the stimulus was presented in a social context. A total of 36 children in three age groups—2.5, 3.5, and 4.5 years old—were invited to drum along with either a human partner, a drumming machine or a drum sound coming from a speaker. When drumming with a social partner, children as young as 2.5 years old were able to adjust their drumming tempo to a beat outside the range of their spontaneous motor tempo. Children of all ages synchronised their drumming with higher accuracy in the social condition. Similarly, 396 The Power of Music Kirschner and Tomasello (2010) examined the relationship between collaborative music activity and helping behaviour in four-year-old children who engaged in three minutes of musical collaboration, and suggested that the children who synchronised with peers showed more spontaneous cooperative and helpful behaviour, relative to a carefully matched control condition with the same level of social and linguistic interaction but no music. The ability to synchronise with other children in group music lessons also predicts attentional behaviour (Khalil et al., 2013). Parent-child coordination during musical activity has been shown to be beneficial for good relationships. For instance, Wallace and Harwood (2018) assessed parent-child musical engagement in childhood and adolescence as a predictor of relational quality in emerging adulthood. These findings persisted when controlling for other forms of positive parent-child activity. Since younger children require more support from their parents, attachment might increase through musical engagement in younger classes as compared to older classes. Synchronising movements with others encourages a collective social identity, leading to increased cooperation within a group. For instance, Good and colleagues (2017) investigated whether movement synchrony impacted on social categorisation and cooperation across intergroup boundaries. Two three-person groups were brought together under movement synchrony conditions designed to emphasise different social categorisations. All individuals moved to the same beat while each minimal group moved to a different beat, or each individual moved to a different beat. The findings demonstrated that movement synchrony influenced social categorisation and cooperation across intergroup boundaries. Valdesolo and colleagues (2010) showed that rocking in synchrony enhanced individuals’ perceptual sensitivity to the motion of others and increased their success in a subsequent joint-action task that required the ability to dynamically detect and respond appropriately to a partner’s movements. These findings support the view that in addition to fostering social cohesion, synchrony enhances the abilities that allow individuals to functionally direct their cooperative motives. Similarly, Valdesolo and DeSteno (2011) manipulated rhythmic synchrony and showed that synchronous others were not only perceived to be more similar to the participating individual, but also evoked more compassion 397 13. Personal, Social and Physical Development and altruistic behaviour than asynchronous others having the same experience. These findings support the view that a primary function of synchrony is to mark others as similar to the self and that synchrony- induced affiliation modulates emotional responding and altruism. Keller and colleagues (2013) reviewed the psychological processes and brain mechanisms that enable rhythmic interpersonal coordination, including an overview of research on the cognitive motor processes that enable individuals to represent joint-action goals and to anticipate, attend and adapt to other’s actions in real time. They concluded that music supports social cognitive tendencies including empathy and affects coordination, which affects interpersonal affiliation, trust and prosocial behaviour. Musical Ensembles and Teamwork Making music with others in small and large groups requires teamwork, particularly when music is to be performed. Teamwork relies on participating individuals supporting each other and developing trust and respect. Group music-making provides an ideal vehicle for developing prosocial, teamworking skills. Musical ensemble performance constitutes a refined form of joint action that involves the non-verbal communication of information about musical structure and expressive intentions through co- performers’ sounds and body movements. From a psychological perspective, ensemble performance necessitates precise yet flexible interpersonal coordination of sensorimotor, cognitive, emotional and social processes. Such interpersonal coordination is facilitated by representations of shared performance goals, which are consolidated during rehearsal. During actual performance, these shared goal representations interact with sensorimotor and cognitive processes that allow co- performers to anticipate, attend to and adapt to each other’s actions in real time. Shared representations involve the integration of information related to one’s own part, others’ parts and the joint-action outcome. Shared musical representations facilitate real- time interpersonal coordination by dynamically embodying intended action outcomes related to the self, others and the ensemble as a whole (Keller, 2014).398 The Power of Music Small ensembles, such as string quartets, are argued to be significant examples of self-managed teams, where all members contribute equally to a task. In larger ensembles, such as orchestras, the relationship between conductor and orchestra clearly emerges as they come to know each other (Volpe et al., 2016). Within small musical groups, social relationships and the development of trust and respect are crucial for their functioning (Davidson and Good, 2002; Davidson and King, 2004; Goodman, 2000; Young and Colman, 1979). For long-term success, rehearsals have to be underpinned by strong social frameworks, as interactions are typically characterised by conflict and compromise related mainly to musical content and its coordination, although some interactions are of a more personal nature (for instance, approval; Murninghan and Conlon, 1991; Young and Colman, 1979). The smaller the group, the more important personal friendship seems to be. Kawase (2015; 2016) studied the relationship between daily social skills, styles of handling interpersonal conflict, non-verbal behaviour and leadership. They requested 68 female music majors to complete questionnaires assessing these different skills and behaviours, and showed that a performer’s daily social skills, an integrating style of handling interpersonal conflict, and leadership in daily communication affected the evaluation of ensemble performance through social behaviours during ensemble practice. Overall, daily social skills were correlated with behaviours during ensemble practice. Performers with a high evaluation of their ensemble performance tended to employ two types of social behaviours: an integrating style of handling interpersonal conflict and leadership in daily communication. No correlation was observed between non-verbal skills in daily communication and the evaluation of ensemble performance. The impact of making music with others has been studied in children. For instance, Pasiali and colleagues (2018) examined the potential benefit of a music therapy social skills development programme to improve the social skills of school-aged children with limited resources in an after-school programme. Twenty students aged five to eleven years old participated. The programme consisted of eight 50-minute sessions. The results showed that music therapy had the potential to promote social competence in school-aged children with limited resources, particularly in the areas of communication and low-performance, high- risk behaviours. 399 13. Personal, Social and Physical Development In the UK, peripatetic instrumental teachers working in schools have reported considerable benefits of learning to play an instrument, including the development of social skills, teamwork and a sense of achievement, and enhanced confidence, self-discipline and physical coordination (Hallam and Prince, 2000). Also in the UK, an evaluation of informal music learning where students work in small groups to copy popular songs by ear and ultimately create their own songs showed a positive impact on listening skills and collaborative, peer and teamworking as reported by music and non-music teachers and senior staff in the schools (Hallam et al., 2016; 2017; 2018). Being involved in the extracurricular rehearsal and performance of a school show has been shown to facilitate the development of friendships with like-minded individuals and make a contribution to social life through a widespread awareness of the show by non-participants (Pitts, 2007). Such participation increased pupils’ confidence, social networks and sense of belonging, despite the time commitment which inevitably impinged on other activities. Similarly, Cuadrado and colleagues (2017) researched Musicalizatech , a collaborative music production project for secondary and high-school students. Forty-six participants from secondary education and high schools in Seville and Cordoba, grouped in 15 preformed bands, joined the project. The research used questionnaires, a focus group, online diaries and interactions in an online chatroom. The results showed impact on participants’ development of social and emotional skills, ability to problem-solve and work in teams, development of technological skills and clear improvements in the process of musical creation. Research in the USA has shown that involvement in group music activities in high school helped individuals to learn to support each other, maintain commitment and bond together for group goals (Sward, 1989). The benefits of band participation have been reported to include maturing relationships. For instance, band directors talked in general terms about the benefits of teamwork, cooperation, sense of belonging, companionship and social development (Brown, 1980). Adderley and colleagues (2003) investigated the meaning and value that music ensembles engendered for their participants, and the social climate of the music classroom. Structured interviews were conducted with 60 students, 20 each from band, choir and orchestra. Ensemble participation 400 The Power of Music yielded musical, academic, psychological and social benefits. The social climate emerged as an important element, as students noted the importance of relationships for their wellbeing and growth. In the UK, reflecting on previous and current group music-making activities, university music students reported benefits in terms of pride in being an active contributor to a group outcome, developing a strong sense of belonging, gaining popularity, making friends with like-minded people and the enhancement of social skills (Kokosaki and Hallam, 2007; 2011). Similarly, a study of 84 members of a college choral society showed that 87 percent believed that they had benefited socially, 75 percent emotionally, and 49 percent spiritually from participation. Meeting new people, feeling more positive and being uplifted spiritually were all referred to (Clift and Hancox, 2001). School Climate Some research has focused on the way that the collaborative and non- competitive elements of ensemble music-making can enhance school climate and social interactions within school contexts (Bastian, 2000; Gouzouasis and Henderson, 2012). In Finland, Eerola and Eerola (2014) explored whether music education could create social benefits in the school environment in ten schools which had an extended music curricular class. The quality of school life was assessed by a representative sample of 735 pupils aged nine to twelve years old. The results showed that extended music education enhanced the quality of school life, particularly in areas related to general satisfaction about the school, and sense of achievement and opportunities for students. A follow-up study examined whether the increase in critical quality of school-life variables was related to music. This analysis utilised data from other classes, with an extended curriculum in sports or visual arts. These classes did not confer similar benefits. Overall, the results suggested that extended music education had a positive effect on the social aspects of schooling. In a major study in Switzerland, Spychiger and colleagues 1993) found that increasing the amount of classroom music within the curriculum increased social cohesion within class and led to greater self-reliance, better social adjustment and more positive attitudes, particularly in low- ability, disaffected pupils. 401 13. Personal, Social and Physical Development Sistema Programmes Evaluations of individual El Sistema or Sistema- inspired programmes, where children experience intensive and prolonged engagement in an orchestral community, have reported the strengthening of children’s sense of individual and group identity, of children taking pride in their accomplishments, and of enhancement in determination and persistence. Children valued their participation as a social activity, a way to enjoy music with others and strengthen friendships with peers, working in teams and acquiring musical skills. Many of the evaluations of Sistema - inspired programmes in the USA refer to enhanced peer relationships, demonstrating respect and having consideration for others. Because of their experiences in orchestras and ensembles, participants understood the importance of working cooperatively (Creech et al., 2013; 2016). Intensive ensemble activities are seen as a rich opportunity for nurturing positive citizenship skills, including respect, equality, sharing, cohesion, teamwork and the enhancement of listening as a major constituent of understanding and cooperation (Majno, 2012). Slevin and Slevin (2013) suggested that the programmes offered a safe and nurturing space where children learned what it meant to pursue an ideal. They argued that this type of teamwork, where the goal depended on individual effort, enabled personal development. Similarly, Lewis and colleagues (2011) revealed improvements in social skills and the development of positive group identity in an ElSistema -inspired programme. Pupil surveys administered two years apart indicated statistically significant change in relation to social skills and relationships. Children reported how they tried to help others and take turns. Interviews with parents and teachers reinforced these findings. The parents suggested that this was because the children were proud of their musical achievements and because the programme offered opportunities for developing social skills and discipline. Teachers also indicated that pupils had a greater sense of purpose and self-confidence. Smithhurst (2011) and Burns and Berwick (2012) found enhanced confidence and social skills to be outcomes, while programmes in Scotland showed enhanced confidence, happiness and teamworking skills (GEN, 2011a; 2011b). In Ireland, after three years, a Sistema- inspired programme was found to foster a strong positive group identity. When asked to design a new school crest, every child produced 402 The Power of Music a design that included a musical symbol (Kenny and Moore, 2011). Parents and others in evaluations by Campe and Kaufman (2013) and Savoie (2012) indicated that playing in Sistema -inspired musical groups supported students in their social development, providing an important scaffold for developing collaborative skills. These skills transferred to other school and home settings. Galarce and colleagues (2012), based on findings from focus group data, found that students participating in a Sistema -inspired programme in the Caribbean demonstrated improved social skills, cooperation, teamwork, communication and a protective social network after only six months of participation. Quantitative data showed that students were significantly less likely to get angry and be aggressive, and be less involved in teasing, shoving, hitting, kicking or fighting. Similarly, Bergerson and Motto (2013) found that students experienced greater empathy for others who shared their interests. In Argentina, Wald (2011a; 2011b), researching two Sistema -inspired programmes, found evidence of enhanced self-esteem, self-worth, self- confidence, pride, motivation, commitment, social responsibility and socialisation. Comparing programmes in Venezuela and the USA, Uy (2010) reported improvements in relaxation and coping, communication, the ability to work with others and self-esteem. Osborne and colleagues (2015) explored the academic and psychosocial impact of El-Sistema- inspired music programmes in two low socioeconomic schools, where students experienced generational poverty or had current or first- generation immigrant or refugee status. Ninety-two students in Years 3 to 6 completed audiovisual assessments of psychosocial wellbeing. Comparisons by school and programme participation over a period of 12 months indicated improved psychosocial wellbeing for students in one school. Overall, many positive social outcomes of Sistema programmes have been reported internationally (Creech et al., 2013; 2016), although there are exceptions: for instance, Villalba (2010) found that some students did not feel completely integrated and others were bored. This suggests that the nature of the musical activities in these programmes plays an important role in mediating any wider non-musical outcomes. 403 13. Personal, Social and Physical Development Prosocial Skills and Empathy One of the most frequently cited benefits of group music-making is its impact on prosocial behaviour. From an evolutionary perspective, Hagen and Bryant (2003) have argued that group music-making and dancing evolved as ways of demonstrating internal stability in the group and the ability to act collectively in establishing meaningful relationships with other groups. Music and dance can also act as effective tools to maintain bonds within social groups, increasing cooperation and prosocial behaviour (Huron, 2001; 2003). Members of musical groups have to pay attention to the actions and intentions of the other players, and their physical and emotional states (Cross et al., 2012). This promotes states of togetherness (Huron, 2001; 2003; Cross, 2009). Understanding the emotional state of others is key to developing empathy—the ability to produce appropriate responses to the situation of others that approximate their responses and experiences, as well as an awareness and identification of their emotions (Lieberman, 2007). Cross and colleagues (2012) suggest that music has empathy-promoting components which can lead to shared intentionality, understanding of the intentions of others, the adoption of a common object of attention (Tomasello et al., 2005) and intersubjectivity (Rabinowitch et al., 2012). There is evidence that engagement in making music can enhance children’s prosocial behaviour and empathy. Ritblatt and colleagues (2013) examined the effects of a school readiness music programme on preschool children’s socioemotional readiness to transition to kindergarten. They found that those participating in musical activities improved on a range of social skills, including social cooperation, social interaction and social independence. In other research, preschool and primary-school children who participated in a special music empathy programme—which highlighted the importance of empathy through singing and composing songs about empathy, as well as discussing how children empathise—also demonstrated high empathy levels (Kalliopuska and Ruokonen, 1986; 1993; Kalliopuska and Tiitinen, 1991). Schellenberg and Corrigall (2015) investigated whether group music training in childhood was associated with prosocial skills. Children in third and fourth grade who attended ten months of music lessons taught in groups were compared to a control 404 The Power of Music group of children matched for socioeconomic status. All children were administered tests of prosocial skills near the beginning and end of the ten-month period. Compared to the control group, children in the music group had larger increases in sympathy and prosocial behaviour, but this effect was limited to children who had poor prosocial skills before the lessons began. The effect was evident even when the lessons were compulsory, which minimised the role of self-selection. Rabinowitch and colleagues (2013) studied 52 children aged eight to eleven years old who were randomly assigned to musical activities, games or acted as a control group. The musical intervention consisted of a range of musical games which were designed to encourage musical interactions and working together creatively. Entrainment games were designed to encourage rhythmic coordination, and imitation games to highlight imitative and gestural encounters, shared intentionality and intersubjectivity. The children took a battery of tests at the beginning and end of the study, which included three measures of emotional empathy. Two out of three of the empathy measures increased in the children in the music group. Similarly, Hietolahtiansten and Kalliopuska (1991) surveyed 12-year-old children who had been musically active for about six years and same-age control children with no musical activity, and found that the musically trained children scored significantly higher on scores of empathy. Related to empathy is the concept of emotional sensitivity. As music is closely linked with the emotions, it is possible that active music- making has the capacity to increase emotional sensitivity (Hunter and Schellenberg, 2010). For instance, Resnicow and colleagues (2004) found that there was a relationship between the ability to recognise emotions in performances of classical piano music and measures of emotional intelligence, which required individuals to identify, understand, reason with and manage emotions using hypothetical scenarios. The two were significantly correlated, which suggests that identification of emotion in music performance draws on some of the same skills that make up everyday emotional intelligence. There is also evidence that music training enhances sensitivity to emotions in speech (Thompson et al., 2004). Similarly, Schellenberg and Mankarious (2012) studied the relationship between understanding emotions and music training in 60 seven- to eight-year-olds. The musically trained children had at least 405 13. Personal, Social and Physical Development eight months of formal musical training out of school, mainly through private individual lessons. The findings showed a positive association between music training and emotional ability. Comparing the effects of different musical interventions, Rose and Colleagues (2019) investigated the effects of musical instrument learning on the development of 38 seven- to nine-year-old children. Pre- and post-test measures of socioemotional behaviour were compared in children who received either extracurricular musical training or statutory school music lessons. There were no statistically significant differences in socioemotional behaviour between the groups. In a retrospective study, Theorell and colleagues (2014) assessed whether musical creative achievement and musical practice were associated with emotional competence. Eight thousand Swedish twins aged 27 to 54 were studied. Musical achievement and musical practice were related to higher emotional competence, although the effect sizes were small. Focusing on the impact of listening and observation, Haner and colleagues (2010) studied the effects of a children’s opera about bullying presented to five classrooms in three schools. Data were available for 104 children in Grades four and five. Knowledge of bullying increased significantly after participation and there was a significant decrease in self-reported victimisation. Interventions for Children with Special Educational Needs and Disabilities One strand of research has focused on children with a range of special educational needs and disabilities. For instance, music therapy studies with young autistic children have shown enhanced social, verbal and communication skills and emotional development (Oldfield, 2006). Dezfoolian and colleagues (2013) studied five children with autism who had no previous experience in music or play therapy. Social interaction, verbal communication and repetitive behaviour of the participants were scored before and after the Orff music therapy. All participants improved significantly in their social interactions and verbal communication. Similarly, Kim and colleagues (2009) studied improvisational music therapy and toy-playing sessions using DVD analysis of sessions with children on the autistic spectrum. Improvisational music therapy 406 The Power of Music produced markedly more and longer events of emotional synchronicity and initiation of engagement behaviours in the children than toy- playing sessions. In response to the therapist’s interpersonal demands, compliant positive responses were observed more in music therapy than in toy-playing sessions. No responses were twice as frequent in toy-playing sessions as in music therapy. The findings supported the value of music therapy in promoting social, emotional and motivational development in children on the autistic spectrum. Hillier and colleagues (2012) reported the findings of a pilot music programme for adolescents and young adults with Autism Spectrum Disorder. Evaluation of the programme focused on self-esteem, anxiety and attitudes toward/ relationships with peers. Pre- and post-outcome measures showed a significant increase in self-esteem, reduced self-reported anxiety and more positive attitudes toward peers. Zyga and colleagues (2017) focused on children with intellectual disabilities, as these can cause a child to have significant deficits in social skills and emotional regulation abilities. They investigated the feasibility of delivering a school-based musical theatre programme to students with intellectual disability across a range of school settings. Video recordings were coded for socioemotional ability across each of the 47 participants. The findings showed significant gains across all domains, although these gains related to school- and individual-level student factors such as grade level, severity of disability and baseline social-skill level. One project explored the impact of musical engagement as part of the National Orchestra for All on 35 young people with special educational needs following a summer residential programme. There were statistically significant increases with a large effect size for self-esteem, emotional wellbeing, resilience and life satisfaction. Participating girls seemed to benefit more than boys (Hay, 2013; NPC, 2012). Physical Development As we saw in Chapter 2 , research in the field of neuroscience has shown that intensive instrumental music training affects the anatomy of the brain, with greater grey-matter volume seen in motor-related areas (Elbert et al., 1995; Hyde et al., 2009; Pascual-Leone, 2001) and 407 13. Personal, Social and Physical Development greater white-matter volume in motor tracts (Bengtsson et al., 2005), with differences emerging after one year of music training (Hyde et al., 2009; Schlaug et al., 2005). There are also very specific differences in relation to the instruments played (Bangert and Schlaug, 2006). Despite this, there is relatively little research exploring the impact of active engagement with making music on physical development, although children and adults frequently respond to music with movement. For instance, Overy (2014) studied the impact of beat on children’s natural responses to music and showed that four-year-old children showed spontaneous, energetic movement responses which were highly periodic and repetitive—such as jumping, swaying and twisting—often in close synchrony with the auditory beat pattern, although not always in time. She concluded that the human motor system responds powerfully to an auditory beat pattern, but that there are large individual differences in preferred movements. Also, individuals frequently use music as a motivator when they are exercising. Research related to this will be discussed fully in Chapter 17 . There is evidence that learning to play an instrument improves fine motor skills (Schlaug et al., 2005). Early training may be important, as Watanabe and colleagues (2007) showed that musicians who trained before the age of seven had better performance in a timed motor sequence task than musicians who began training later. Early- and late-trained musicians were matched for years of musical experience, years of formal training and hours of current practice. The early-trained musicians performed better than the late-trained musicians. This advantage persisted after five days of practice. Performance differences were greatest for a measure of response synchronisation, suggesting that early training has its greatest effect on neural systems involved in sensorimotor integration and timing. Some research has focused on fine motor abilities. For instance, Costa-Giomi (2005a) compared the fine motor abilities of children who participated in two years of piano instruction and those who had never received formal music training. A significant improvement in fine motor skills was found only for the children who received the music lessons. There was also a significant difference in the speed of response between the two groups at the end of the two years of instruction. Similarly, James and colleagues (2019) carried out a cluster randomised controlled trial 408 The Power of Music which provided evidence that focused musical instrumental practice, in comparison to traditional sensitisation to music, provoked multiple transfer effects in the sensorimotor domain. Over the last two years of primary school, 69 ten- to twelve-year-old children received group music instruction by professional musicians twice a week as part of the regular school curriculum. The intervention group learned to play string instruments, whereas the control group (peers in parallel classes) were sensitised to music through listening, theory and some practice. There were benefits for the intervention group as compared to the control group for sensorimotor hand function and bimanual coordination. Learning to play a complex instrument in a dynamic group setting appears to impact development more strongly than classical sensitisation to music. Martins and colleagues (2018) conducted a longitudinal training study to examine if collective, Orff-based music training enhanced fine motor abilities when compared to a homogeneous training programme in basketball, or to no specific training. The training programmes in music and sport had the same duration, 24 weeks, and were homogeneous in structure. A design including tests prior to training, post-training and a follow-up was adopted. Seventy-four children attending the third grade, aged eight years old, were pseudo-randomly divided into three groups—music, sport and control—that were matched on demographic and intellectual characteristics. Fine motor abilities relating to hand- eye coordination and motor speed subsumed under manual dexterity, bimanual coordination and manipulative dexterity were tested. All groups improved in manipulative dexterity but the children engaged in the music programme showed an advantage in relation to bimanual coordination and manual dexterity. This persisted for four months after the programme ended. Music, Locomotor Performance and Coordinated Motor Skills Some research has explored whether rhythmic accompaniment can improve performance in physical education programmes. In early research, Anshel and Marisi (1978) observed positive results in performance accuracy and endurance when music was rhythmically synchronised with motor performance. Painter (1966) found similar 409 13. Personal, Social and Physical Development results. Beisman (1967) showed that throwing, catching, jumping and leaping improved when children participated in a programme involving rhythm. Brown and colleagues (1981) studied two approaches to facilitating perceptual motor development in children, aged four to six years old. The experimental group, with 15 children, received 24 sessions of integrated physical education and music instruction, based on the methods developed by Kodaly and Dalcroze. The control group of 15 children received 24 sessions of movement exploration and self-testing instruction. The experimental group showed significant improvement, with changes in motor, auditory, and language aspects of perceptual motor performance, as well as a total score. Derri and colleagues (2001) investigated the effect of a ten-week music and movement programme on the quality of locomotor performance in 68 four- to six-year-old children. The children were assessed on running, skipping, galloping, hopping, leaping, sliding and horizontal jumping. Thirty-five children participated in the exercise programme twice a week, while the control group did not participate in any organised physical activity programme. The findings showed that the experimental group improved on galloping, leaping, horizontal jumping and skipping. A later study showed that the programme compared favourably with free-play activities (Deli et al., 2006). Similarly, Zachopoupou and colleagues (2004) compared the effect of a developmentally appropriate music and movement programme and a developmentally appropriate physical education programme on the development of jumping and dynamic balance in children aged four to six years old. Ninety children participated. Fifty followed the music and movement programme which lasted for two months. The remainder served as the control group and followed a physical education programme for the same period of time. The results showed that the experimental group improved significantly in jumping and dynamic balance. Rose and Colleagues (2019) investigated the effects of musical instrument learning on the development of 38 seven- to nine-year-old children. Pre- and post-test measures of motor ability and visual motor integration were compared in children who received either extracurricular musical training or statutory school music lessons. The children receiving extracurricular lessons showed a significant increase in visual motor integration and in gross motor ability for aiming and catching measures. It seems 410 The Power of Music that musical activities may support development in a child’s ability to judge distance, consider velocity, focus, and use their proprioceptive, interoceptive and exteroceptive nervous system. Overview There is clear evidence that music plays an important role in the development and maintenance of identity, although the extent to which this applies may vary among individuals depending on their hobbies and interests. Musicians as a group have been shown to be more open to new experiences than the general population. Beyond this, there are no clear personality differences between musicians and the general population, or between those playing different instruments. However, differences have emerged with more clarity in relation to the genre of music with which musicians are engaged. This suggests that the context in which music is rehearsed and performed influences personality development. There is strong evidence across genres that professional musicians and those training to become professional musicians experience performance anxiety and may experience perfectionistic work tendencies. The latter can have positive benefits in terms of motivation and conscientiousness but may be detrimental when the musician becomes focused on imperfect performances. Music can have a positive impact on self-esteem in children and young people, providing that feedback from peers, teachers and families is positive. This is particularly evident in those from disadvantaged backgrounds or those with special educational needs or disabilities. If feedback on performance, even practising at home, is negative rather than constructive, the impact on self-esteem can be detrimental. In children and young people, group music-making in large and small groups generally promotes the development of social skills, teamwork and empathy, although there may be exceptions to this (for instance, if a group member does not contribute equitably). Issues can arise in the working of small groups of professional musicians, although the need to prepare for public performance may support the development of skills which help to resolve any challenges—for instance, compromise and leadership skills—in order that the group can perform well. Synchronisation of movement plays a role in supporting group working and may have evolved in order to enhance group cohesion. 411 13. Personal, Social and Physical Development Learning to play a musical instrument which requires coordinated complex movements enhances fine motor skills in young children. When children are able to engage in movement to music, this impacts positively on a range of athletic skills including jumping, skipping, throwing and catching.14. Psychological Wellbeing Psychological wellbeing is typically viewed as comprising hedonic (feeling good) and eudaimonic (functioning well) components. The emphasis given to each of these varies between conceptualisations. Seligman (2002) proposed the concept of ‘authentic happiness’, which consists of pleasure, engagement and meaning. More recently, the concepts of relationships and accomplishment have been added (Forgeard et al., 2011; Seligman, 2010; 2011,) leading to the acronym ‘PERMA’, which stands for positive emotion, engagement, relationships, meaning and accomplishment. Others have argued that positive human experience is only related to hedonic wellbeing, positive emotion, the absence of negative emotions and an evaluative component termed ‘ life satisfaction’ (Diener et al., 1999). More recently, Diener and colleagues (2010) added the concept of ‘flourishing’, which includes purpose in life, positive relationships, engagement, competence, self-esteem, optimism and contribution to the wellbeing of others. Despite these different conceptualisations, there is agreement that wellbeing is multi- dimensional. Approaching the conceptualisation of wellbeing from a different perspective, Huppert and So (2013) equated high levels of wellbeing with positive mental health. They argue that wellbeing lies at the opposite end of the spectrum to common mental disorders, depression and anxiety. By examining internationally agreed criteria for depression and anxiety and defining the opposite of each symptom, they identified features of positive wellbeing which combined feeling and functioning. The elements that emerged were: • competence, concentration, attention, decision-making, general competence; • emotional stability, feeling calm, relaxed, even-tempered; • engagement, interest, pleasure, enjoyment; © 2022 S. Hallam & E. Himonides, CC BY-NC-ND 4.0 https://doi.org/10.11647/ OBP .0292.14414 The Power of Music • meaning, purpose, worth, value in life; • positive relationships, social relationships, positive affirmation; • optimism, hopeful for the future; • positive emotion, positive mood, happy, cheerful and contented; • resilience, managing anxiety and worry, emotional resilience; • Self-esteem, feelings of self-worth, confidence; • vitality, feeling energetic, not fatigued or lethargic; • life satisfaction, positive appraisal of life in general. Previous chapters have set out the role that music can play in relation to many of these elements, including competence, engagement, positive relationships, self-esteem and (to a lesser extent) resilience and optimism. Some elements can be met by active engagement with music, and others through listening to music, although there is overlap between these. Actively making music offers the most opportunities for supporting competence, self-esteem and resilience, while listening to music is more likely to support emotional stability and positive emotions. Both can support engagement, meaning, optimism, positive relationships and vitality. There is an ever-increasing body of research on the benefits of engaging with music in relation to psychological wellbeing. This chapter will consider the impact of listening to and actively engaging with music through the different phases of the lifespan. Positive associations between engaging with music and wellbeing have been demonstrated in early childhood (Linnavalli et al., 2018; Trainor et al., 2012), in terms of children’s educational outcomes (Guhn et al., 2019), sense of social inclusion (Welch et al., 2014) and social cohesion (Elvers et al., 2016), in adolescence (McFerran et al., 2019), adulthood (Greasley and Lamont, 2006), older age (Laukka, 2007; Lindblad and de Boise, 2020) and overall development (Biasutti et al., 2020). Drawing conclusions about the research is not without its difficulties. For instance, in a recent review, Daykin and colleagues (2018) pointed out that there was a lack of consistency in how wellbeing was assessed and in the range of musical interventions implemented. Overall, they reported that music was associated with reduced anxiety in young adults, enhanced 415 14. Psychological Wellbeing mood and purpose in adults, and mental wellbeing, quality of life, self-awareness and coping in people with diagnosed health conditions. Music listening and singing were shown to be effective in enhancing morale and reducing risk of depression in older people, while a few studies addressed wellbeing in individuals with dementia. Sheppard and Broughton (2020) also reviewed the literature and showed that music and dance were related to key social determinants of health from social, cultural, physical and mental health perspectives. Similarly, O’Donnell and colleagues (2021), in a systematic review which included 32 studies with 1,058 participants focusing on wellbeing in adults over 18 years of age, showed that participatory arts interventions benefited mental health through improved connectedness, emotional regulation, meaning-making and redefining identity, personal growth and empowerment. Benefits relating to wellbeing have been found, whether individuals volunteer to participate or are referred by health or social care professionals. Music has been recognised for its beneficial effects on physical health (Fancourt and Finn, 2019; Hanser, 2010; Jones et al., 2013; MacDonald et al., 2012; Pelletier, 2004; van den Elzen et al., 2019). Research focusing on the way that music has been used in medical contexts will be discussed in Chapter 15 . The remainder of this chapter will set out the way in which music can enhance wellbeing and consider its role across the lifespan from infancy, through the school years, adolescence, young adulthood, the adult years and into older age, concluding with a section on music and wellbeing in the COVID-19 pandemic. The impact of music on psychological wellbeing and good health is largely, although not exclusively, through the emotions it evokes. Music elicits emotions and changes moods through its stimulation of the autonomic nervous system and limbic and related biological systems, including endocrine and hormonal responses (Krout, 2007). Bodily responses linked with emotion include changes in dopamine, serotonin, cortisol, endorphin and oxytocin levels (Kreutz et al., 2012) and cardiovascular indicators, blood pressure and pulse (Lee et al., 2016). Some changes in response to music can occur without an individual’s conscious awareness. In two multilevel meta-analyses of 104 studies with 9,617 participants, de Witte and colleagues (2019) showed that interventions using music had an overall significant positive effect on 416 The Power of Music stress reduction, physiologically and psychologically, although greater effects were found for heart rate when compared to blood pressure. Overall, music can reduce stress and increase relaxation (Fukui and Yamashita, 2003; Kreutz et al., 2004) but the outcomes depend on the nature of the music (Kimberley et al., 1995). For instance, Gerra and colleagues (1998) investigated emotional and endocrine changes in response to listening to techno music. Sixteen young people were exposed to techno or classical music for 30 minutes each. Concentrations of plasma norepinephrine , epinephrine, growth hormone , prolactin, adrenocorticotropic hormone , cortisol and β endorphin were assessed before and after the listening activity. Techno music significantly increased heart rate and systolic blood pressure , and led to changes in the assessed neurotransmitters, peptides and hormones related to mental state and emotional involvement. Classical music also enhanced emotional state, but did not lead to significant changes in hormonal concentrations. Similarly, Evers and Suhr (2000), working with adults, investigated the short-term effects of listening to different musical excerpts on serum concentrations of prolactin, adrenocorticotropic hormone and serotonin, the latter contributing to feelings of wellbeing. Some excerpts were characterised as pleasant—for instance, Brahms’ ‘Symphony No. 3, Opus 90’—while others were perceived as unpleasant (for instance, Penderecki’s ‘Threnos’, which is in part composed in quarter tones to exaggerate the dissonance of the music). Listening to Threnos led to a reduction in concentrations of serotonin, suggesting a negative impact on wellbeing. The most comprehensive attempt to outline the mechanisms that may underpin music’s impact on the emotions is the BRECVEMA framework (Juslin, 2013). This features eight mechanisms through which music affects emotions: • Brain stem reflex: a hard-wired attention response to simple acoustic features such as extreme or increasing loudness or speed (Juslin et al., 2014); • Rhythmic entrainment: a gradual adjustment of an internal body rhythm—for instance, heart rate—towards an external rhythm in the music (Harrer & Harrer, 1977); 417 14. Psychological Wellbeing • Evaluative conditioning: a regular pairing of a piece of music and other positive or negative stimuli leading to a conditioned association (Blair and Shimp, 1992); • Emotional contagion: perception of emotionally relevant expressions in the music which is then copied (Juslin, 2000; Lundqvist et al., 2009); • Visual imagery: images with emotional qualities evoked by the music (Osborne, 1981); • Episodic memory: a conscious recollection of a particular event from the listener’s past triggered by the music (Baumgartner, 1992); • Musical expectancy: a reaction to the gradual unfolding of the musical structure and its expected or unexpected continuation (Meyer, 1956); and • Aesthetic judgment: a subjective evaluation of the aesthetic value of the music based on an individual set of weighted criteria (Juslin and Sloboda, 2010). The specific way in which emotions are invoked depends on complex interactions between the nature of the music, the individual and the context. Individual preferences play a major role. The more that the individual is familiar with particular genres or pieces of music, the more they are preferred (North and Hargreaves, 2008). This process begins in early childhood. This explains why music that is pleasurable for some individuals may be unpleasant for others. The greatest positive benefits of music on wellbeing and health occur when individuals are able to select the music that they are to listen to (Krause et al., 2015; Mitchell et al. 2006a; 2006b). This is particularly important when music is being used to reduce anxiety or pain (Bernatzky et al., 2012; Mitchell and MacDonald, 2012). If individuals are exposed to music that they do not like in contexts where they have no control, they may remove themselves from the situation, but if that is not possible, the music can cause extreme distress. Although individuals react to music in different ways, there are some musical characteristics which tend to have a relatively consistent effect on arousal levels (which are implicated in emotional responses). 418 The Power of Music Quiet, slow music tends to lead to a lowering of arousal levels, while fast and loud music tends to increase arousal (North and Hargreaves, 2008). Music can engender intense, strong emotional experiences. These generally occur when listening to music rather than performing (Gabrielsson, 2001, 2002, 2011; Gabrielsson and Lindström Wik, 2003). Such experiences have overall general characteristics including physical reactions and behaviours; perceptual and cognitive responses; changes in feelings and emotions; existential and transcendental aspects; and personal and social aspects. Individuals report sensations of joy, happiness, rapture, euphoria, calm and peace which have high significance and can lead to long-term benefits, with lives becoming more fulfilling, spiritual and increasingly harmonious (Schäfer et al., 2014) with a positive impact on wellbeing (Lamont, 2011; 2012). Memories of such experiences can be used as sources for self-therapy, inspiration and motivation, and provide insights into alternative ways of being (Gabrielsson, 2011; Gabrielsson and Lindström, 1995). Most occur in adolescence and early adulthood (Gabrielsson and Lindström Wik, 2003). The Use of Music to Support Emotional Stability and Manage Moods A key human ability is the capacity to regulate emotion, modifying positive or negative aspects, intensity and time course (Barrett and Gross, 2001; Cole et al., 2004), physiological processes, and emotion- related behaviour (Eisenberg, 2004; Eisenberg and Spinrad, 2004; Gross, 1998). Emotional self-regulation also includes the management of moods which are generally differentiated from emotions in terms of their longer duration, lack of specific cause and greater focus on internal experiences rather than overt behaviour (Gross, 2015). Mood regulation refers to the processes involved in modifying or maintaining the occurrence, duration, and intensity of moods (Cole et al., 2004; Eisenberg and Spinrad, 2004; Gross, 1998). Music can promote subjective feelings of wellbeing, provide a means of working through difficult emotions, and is often linked to spirituality (Juslin and Sloboda, 2001). It is frequently used as a regulatory strategy for maintaining or changing moods, emotions, arousal levels and to 419 14. Psychological Wellbeing reminisce (DeNora, 1999; Juslin and Laukka, 2004; Parker and Brown, 1982; Rippere, 1977; Schäfer et al., 2013; Silk, 2003; Thayer et al., 1994). It can induce positive affective states (North et al., 2004), help to achieve desired moods—whatever they may be (Vastfjall, 2002) and act as a supporting strategy when coping with negative moods and emotions (Miranda and Claes, 2009; Shifriss and Bodner, 2015). It may be that this is one of the reasons why music plays such an important role in the lives of most people (Sloboda et al., 2009). Certainly, mood regulation is reported to be one of the most important reasons why people listen to music (Christenson and Roberts, 1998; North et al., 2000; Sloboda and O’Neill, 2001; Wells & Hakanen, 1991). Even adolescents who play an instrument report that the best activity for mood regulation is listening to music alone (Saarikallio, 2006). Music is used for self-regulation by adolescents (Behne, 1997; Laiho, 2004; Roe, 1985), adults (Greasley and Lamont, 2006), and the elderly (Davidson et al., 2008). It can be used to maintain positive moods, for revival and energising, to create strong sensations, as a diversion, as discharge, for mental work, for solace and for psyching up (Saarikallio, 2011). The extent to which music relates to wellbeing has been demonstrated in several reviews. For instance, Schäfer and colleagues (2013) identified 129 functions of listening to music. Ratings by 834 respondents led to the emergence of three underlying dimensions: listening to music to regulate arousal and mood, achieving self-awareness, and as an expression of social relatedness. Similarly, Krause and colleagues (2018) identified 2,075 benefits of music based on a review of 97 published articles. These were reduced to 562 benefits to wellbeing which were perceived to be associated with musical participation. From these, five dimensions were identified: mood and coping, self-esteem and worth, socialisation, cognition and self-actualisation. Saarikallio and colleagues (2018) collected data from 464 online participants and established that the pleasure derived from music was based in part on sensations of relaxation, power and passion, but also feelings of kinship relating to social values and mental contemplation. Reminiscence is also a frequent function of self-chosen music listening. This is particularly prevalent in older adults (Hays and Minichiello, 2005; Juslin and Laukka, 2004), although it is also found in young people (Tolfree and Hallam, 2016). Overall, music is one form of attending to and reappraising emotional 420 The Power of Music experiences (Ruud, 1998; Sloboda and O’Neill, 2001). Van Goethem and Sloboda (2011) carried out diary studies alongside interviews and established that music helped individuals through the use of several regulation strategies. For instance, it could help to distract someone from an emotion or a situation, or help to consider either in a rational way. It plays a major role in assisting relaxation and promoting happiness. Cognitive reappraisal seems to play an important role in the way that music impacts on wellbeing. If listening to music, making music and social engagement are coupled with a tendency to regulate emotions and thoughts by suppressing emotion, there may be negative outcomes. Suppressing outward expressions of emotions does not decrease negative feelings and emotional arousal. High levels of engagement with music through listening or participating have been associated with a greater use of cognitive reappraisal. This may be because music provides a safe platform for exploring and expressing emotions, positive and negative (Huron, 2006). In this way, the process of emotion regulation may act to mediate the relationship between musical engagement and wellbeing (Chin and Rickard, 2012). Thoma and colleagues (2012) demonstrated a clear preference for music congruent with the specific emotional situation of the individual at the time, while Randall and colleagues (2014) suggested that listeners adopted particular regulation strategies based on their initial mood, emotional wellbeing and health which would enable them to reach their desired emotional goal. Similarly, Randall and Rickard (2017b), in research with 327 young adults, concluded that music listening was determined by initial mood and emotional health with the aim of fulfilling specific emotional needs. Randall and Rickard (2017a), based on data from research with 195 participants, demonstrated that generally music returned moods to a neutral state, although sometimes music was selected which was congruent with a current mood. Where music was used to cope with very difficult situations or forget problems, it tended to be associated with overall negative affective states and poor emotional health and wellbeing. In a critical analysis, McFerran (2016) suggested that the use of music to maintain negative moods by seriously distressed individuals could lead to increasingly negative outcomes. As research has developed over time, inconsistencies in terms of conceptualisation and terminology have emerged (Baltazar and 421 14. Psychological Wellbeing Saarikallio, 2016). It has become clear that the impact of music on wellbeing is not straightforward. For instance, Kantor-Martynuska (2015) suggested that the way that individuals respond to music depends on an interaction between the properties of the music, the relatively stable traits of the listener, his or her current emotional state and their current situation. A considerable body of research has focused on why individuals choose to listen to sad music (Huron and Vuoskoski, 2020; Tahlier et al., 2013; Van den Tol and Edwards, 2015). For instance, Sachs and colleagues (2015) suggest that listening to sad music can bring about positive change by correcting an ongoing homeostatic imbalance. They argue that sadness evoked by music is pleasurable when it is perceived as non- threatening, is aesthetically pleasing and produces psychological benefits such as mood regulation and empathic feelings caused, for instance, by recollection of and reflection on past events. Garrido and colleagues, in several studies, also explored why people listen to sad music (Garrido, 2017; Garrido and Schubert, 2013). Garrido and Schubert (2015a) studied 335 participants who listened to a self- selected piece of sad music. They found that participants’ depression increased after listening. Similarly, Garrido and Schubert (2015b), studying 175 university students who listened to a self-selected piece of music on YouTube, found that listening could significantly increase depressive feelings in those with depressive tendencies. In an online survey of 137 participants, Garrido and Schubert (2013) showed that listening to sad music could have adaptive or maladaptive uses. They explained this by the dissociation theory of aesthetic enjoyment, where participants with the capacity to enter states of absorption are able to deactivate displeasure circuits and hence enjoy negative emotions in music. Garrido and colleagues (2017) explored these issues further, investigating whether listening to sad music in group settings provided social benefits for emotionally vulnerable listeners, or whether it further exaggerated depressive tendencies. Six hundred and ninety-seven participants aged 16 to 74 years of age were recruited through online depression groups and mental health websites in the USA, Australia, the UK, South America, Africa, Asia and Europe. A survey of listening habits revealed that participants with depression were more likely to engage in group rumination (the process of continuously thinking the same thoughts, usually sad and dark). Those with depressive tendencies 422 The Power of Music seem to struggle to regulate their emotional responses in musical contexts (McFerran, 2016) and group interactions focusing on sad music exacerbated these difficulties (Miranda et al., 2012). Rose (2002) described this extensive discussion and revisiting of problems among friends as co-rumination. Conversely, the sharing of emotions through music listening may provide individuals with depressive tendencies with social support and thus increase their sense of connection with others. Reflection as opposed to rumination can, it seems, be a useful tool for processing negative emotions (Trapnell and Campbell, 1999). Individuals who have already acquired adaptive coping strategies— for instance, seeking social support—may use group music listening positively to provide support and help them process negative feelings. These findings are important for the use of music in healthcare settings and wellbeing in everyday life (Garrido, 2017). One strand of research has explored differences between individuals in the ways that music impacts on wellbeing. For instance, Leipold and Loepthien (2015), drawing on data from 521 participants aged 18 to 86 years old and 152 adolescents and young people aged 12 to 23 years old, studied the differences between attentive analytical listening (which was defined as reflective and complex) and emotional listening, and the relationships of these with coping with stress or rumination. They showed that attentive analytical listening to music showed positive relationships to accommodative coping, whereas emotional listening had a positive relationship with rumination. No age differences were found in the nature of listening in adulthood or for the younger age group, although the transition from adolescence to adulthood was important. A comparison between adolescents and young adults revealed that attentive analytical listening was negatively associated with age up to approximately 17 years old, after which the relationship became positive, while adolescents demonstrated age increments in emotional listening. Similarly, Groarke and Hogan (2016) asked 24 younger people and 19 older adults why they listened to music. The younger adults emphasised affect regulation and social connection, whereas older adults emphasised more eudaimonic (well-functioning) uses of music: for instance, transcendence and personal growth. Saarikallio (2011) found that older people were more aware of how music fitted particular 423 14. Psychological Wellbeing moods and situations. Women have been found to be more likely to use music to regulate emotions and moods than men (Sloboda, 1999). There is evidence that girls are more likely to engage with music to cope with personal problems and interpersonal conflicts, whereas for boys, music is a way of increasing energy levels and positive moods, and creating an impression of being cool (Behne, 1997; Christenson and Roberts, 1998; Larson, 1995; Larson et al., 1989. Music can be effective in decreasing arousal due to stress, particularly for adolescents, females and musicians (Pelletier, 2004). For instance, Lehmann (1997) reported that music majors responded more strongly emotionally to their preferred music than non-music majors, although some studies have reported that the music-related emotional experiences of non-musicians and musicians are broadly similar (Schubert, 2001). The use of music to regulate moods is related to musical preferences. Diversity in musical preference has been shown to be related to emotionality in listening (Behne, 1997; Schwartz and Fouts, 2003). Preference for harder forms of music has been found to be positively related to emotional problems, including psychological turmoil and behavioural problems (Took and Weiss, 1994) expression of anger (Epstein et al., 1990), feelings of loneliness (Davis and Kraus, 1989) and moodiness, pessimism and impulsiveness (Schwartz and Fouts, 2003). Ter Bogt and colleagues (2020) addressed the potential link between liking goth music and depressive symptoms in a four-year study of 10- to 15 –year-olds. They showed that goth music was liked by a small minority of adolescents, who reported increased levels of depressive symptoms as they grew older. In contrast, preference for upbeat and conventional pop music has been found to be negatively related to depression (Rentfrow and Gosling, 2003). Scheel and Westefeld (1999) investigated the relationship between a preference for heavy- metal music and vulnerability to suicide among 121 tenth- and twelfth-grade high-school students. Participants completed a questionnaire relating to reasons for living, risk of suicide and musical preferences. Heavy- metal fans had less strong reasons for living, especially male fans, and had more thoughts of suicide, especially female fans. For most, listening to all types of music had a positive effect on mood. While preference for heavy- metal music among adolescents may be an indication of increased suicidal vulnerability, the research suggested that the source of the 424 The Power of Music problem was more likely to lie in personal and familial characteristics than in any direct effects of the music. However, group music therapy can support young people at risk of mental health problems and can reduce unhealthy uses of music (Gold et al., 2017). Saarikallio and Erkkilä (2007), in a large study of 1515 participants with an average age of 15 years old, found that the most preferred musical styles for boys and girls across all age groups were rock, pop, heavy metal and rap. Boys preferred heavy metal and techno music, whereas girls preferred classical music, pop and gospel. Preferences for classical, rock, jazz, folk and gospel music increased with age, while the preference for pop music gradually decreased. Eclectic musical preferences were related to the extent of the use of music to regulate moods. Overall, Saarikallio and Erkkilä demonstrated how personal factors were linked to differences in adolescents’ use of music. Those preferring rock and heavy- metal music made greater use of music to regulate their moods. Perhaps the intensity, volume and roughness of these genres reflects the intense emotional experiences which are characteristic of adolescence. In contrast, listening to pop, rap and techno music tended to create positive, feel-good experiences For many years now it has been possible to use a range of devices to listen to music anywhere and at any time. Skånland (2011; 2013) researching the use of the MP3 player suggested that such availability could be valuable in supporting listeners in coping with crowded and noisy environments, and promoting wellbeing and mental health. Further developments in music technology have meant that people can find expression through creating playlists. These can support the maintenance of mood and recall of memories (Bull, 2005), while Hagen (2015) observing students’ use of the playlist function concluded that playlists based on moods, feelings, memories, or biographical, relational representations helped users experience mastery over themselves. Playlists may also support social cohesion as some of the pleasure of creating them may come from owning, customising and trading them (McCourt, 2005). There are differences in the extent to which listeners are aware of how music affects them. More engaged listeners are acutely aware of how music can change or fit their moods (Greasley and Lamont, 2011). Squirrel listeners (Lamont and Webb, 2010) are better able to access 425 14. Psychological Wellbeing and implement strategies to regulate their moods choosing music to fit any given situation and their own physical, psychological and social needs. Batt-Rawden and DeNora (2005) describe this as ‘lay therapeutic practice’. Singing One strand of research examining the relationship between wellbeing and music has focused on singing. Reviews of the research on participation in choirs have identified many benefits, including: • physical relaxation and release of physical tension; • emotional release and reduction of feelings of stress; • a sense of happiness, positive mood, joy, elation and feeling high; • a sense of greater personal, emotional and physical wellbeing; • an increased sense of arousal and energy; • stimulation of cognitive capacities, attention, concentration, memory and learning; • an increased sense of self-confidence and self-esteem; • a sense of therapeutic benefit in relation to long-standing psychological and social problems; • a sense of exercising systems of the body through the physical exertion involved, especially the lungs; • a sense of disciplining of the skeletal-muscular system through the adoption of good posture; • being engaged in a valued, meaningful worthwhile activity that gives a sense of purpose and motivation (Clift et al., 2008; Clift, 2012; Stacey et al., 2002). Group singing has been found to reduce anxiety and depression (Houston et al., 1998; Lally, 2009; Wise et al., 1992; Zanini and Leao, 2006), as well as providing opportunities for developing social networks. Singing has a variety of positive effects on both mental and physical health (Fancourt et al., 2019; Irons et al., 2020; Kreutz et al., 2004; Moss and O’Donoghue, 2020).426 The Power of Music Kreutz (2014) studied the psychobiological effects of amateur choral singing with a mixed group of 21 novice and experienced singers who completed questionnaires about their psychological wellbeing and gave samples of saliva for measuring levels of salivary oxytocin, cortisol and dehydroepiandrosterone at the beginning of two rehearsal sessions and 30 minutes later. The singing condition included warm-up vocal exercises and repertoire pieces. In a control condition, dyads of participants talked to each other about recent positive life experiences. The findings showed patterns of change favouring singing over chatting. There were no significant interactions for cortisol, dehydroepiandrosterone or the cortisol dehydroepiandrosterone ratio. Overall, the findings suggested that singing enhances individual psychological wellbeing, as well as inducing a sociobiological bonding response. Grape and colleagues (2003) also used a range of physical markers to explore the possible beneficial effects of singing on wellbeing during a singing lesson. Eight amateur singers aged 28 to 53 years old, and eight professional singers aged 26 to 49 years who had been attending singing lessons for at least six months, participated. Electrocardiogram measures were recorded and computerised spectral analysis was performed. Serum concentrations of TNF alpha, linked to autoimmune systems, prolactin, cortisol and oxytocin were measured before and 30 minutes after the lesson. Five visual scales— sad joyful, anxious calm, worried elated, listless energetic, and tense relaxed—were scored before and after the lesson alongside a semi-structured interview. Heart rate variability analyses showed significant changes over time in the two groups. Power increased during singing for the professionals, whereas there were no changes in the amateurs. This indicated an ability to retain more heart-brain connection, more cardiophysiological fitness for singing in professional singers, compared to amateur singers. Serum concentration of TNF alpha increased in professionals after the singing lesson, whereas the concentration in amateurs decreased. Serum concentrations of prolactin and cortisol increased after the lesson in the group of men and vice versa for women. Oxytocin concentrations increased significantly in both groups after the singing lesson. Amateurs reported increasing joy and elatedness, whereas professionals did not. However, both groups felt more energetic and relaxed. The interviews showed that the professionals were clearly achievement oriented, with a 427 14. Psychological Wellbeing focus on singing technique, vocal apparatus and body during the lesson. In contrast, the amateurs used the singing lessons as a means of self- actualisation and self-expression, as a way to release emotional tensions. Overall, singing lessons seemed to promote wellbeing and reduce arousal for amateurs compared to professional singers, who seemed to experience the reverse. In a study of young people who were members of a university choir, Clift and Hancox (2001) identified six elements associated with the benefits of singing: wellbeing and relaxation; enhanced breathing and posture; social benefits; spiritual benefits; emotional benefits; and benefits for the heart and immune system. In a later study, Clift and Hancox (2010) surveyed 1124 choral singers drawn from choirs in Australia, England and Germany. Participants completed a questionnaire which measured physical, psychological, social and environmental wellbeing, and a measure of the effects of choral singing. Open questions provided more in-depth understanding. There was a high level of agreement about the positive benefits of choral singing, with women significantly more likely to endorse its value for wellbeing and health compared with men. There was a small significant relationship between psychological wellbeing and the effects of choral singing for women, but not for men. Eighty-five participants with relatively low psychological wellbeing had high scores on the singing scale. Four categories of significant personal and health challenges were disclosed by members of this group: enduring mental health problems; family and relationship problems; physical health challenges and recent bereavement. Their accounts suggested six ways that singing might impact on wellbeing and health: positive affect; focused attention; deep breathing; social support; cognitive stimulation and regular commitment. In a further study Clift and colleagues (2017) studied four community singing groups which met weekly for people with mental health issues. Evaluation took place over a six-month period using two questionnaires. Twenty-six participants completed baseline and follow-up questionnaires. The findings showed that clinical scores reduced, and wellbeing scores increased significantly. In a comparison of gender differences, Sandgren (2009) examined how emotional states varied on measurements pre- and post- a regular choral rehearsal in 212 participants from eleven choirs. Women reported significantly more positive emotional states than men relating to 428 The Power of Music participation in regular choir rehearsals, although the differences were small. Men and women reported similar levels of negative emotions, but varied more in the extent of positive change after the choir rehearsal. Some research has focused on the impact of participation in a choir on very specific groups of people. For instance, Bailey and Davidson (2002; 2003) studied whether positive life transformations could occur when homeless men joined a choir. Using semi-structured interviews they found that group singing positively influenced emotional, social and cognitive processes. They concluded that active participation in singing may alleviate depression, increase self-esteem, improve social interaction skills and induce cognitive stimulation. In a later study, Baily and Davidson (2005) explored the effects of group singing and performance with a second choir formed for homeless and other marginalised individuals who had little or no music training or group singing experience, and middle-class singers with low to high levels of music training and choral singing experience. The findings showed that the emotional effects of participation in group singing were similar regardless of training or socioeconomic status, but the interpersonal and cognitive components of the choral experience had different meanings for the two groups. The marginalised individuals appeared to embrace all aspects of the group singing experience, while the middle-class choir members were inhibited by social expectations of musicianship. Also working with a distinctive group, Southcott and Nethsinghe (2019) explored the understandings and meanings of shared music-making held by members of the Young Hearts Russian choir in Melbourne, Australia and its impact on their quality of life. The elderly participants were first-generation migrants who spoke most strongly in their first language, Russian. Individual semi-structured interviews were undertaken with nine choir members, while focus group discussion included all 28 members. The interviews revealed two broad themes: maintaining independence and resilience and learning, rehearsing and performing music. Sub-themes included the importance of participation, maintaining face, overcoming illness and disability, and becoming a family. Singing together enhanced quality of life, combatted social isolation, fostered resilience and sense of autonomy, and allowed participants to access inner resources to face life challenges. Considering issues relating to a range of disabilities, Dingle and colleagues (2012) explored the personal experiences of choir members, 429 14. Psychological Wellbeing 89 percent of whom experienced chronic mental health problems, 28 percent physical disabilities and 11 per cent intellectual disability. Semi- structured interviews were carried out with twenty-one members of the choir at three time points in the choir’s inaugural year, at the inception of the choir, after six months, and after twelve months. Three themes emerged: • personal impact in terms of positive emotions, emotional regulation, spiritual experience, self-perception, finding a voice; • social impact including connectedness within the choir, connection with audience, social functioning; and • functional outcomes including health benefits, employment capacity and routine. Overall, forming a new and valued group identity as a choir member was associated with emotional and health benefits for participants. Fancourt and colleagues (2019) focused on those who were recently bereaved. Fifty-eight adults bereaved in the last five years who had not received treatment of any kind for anxiety or depression in the last month were recruited. Half participated in a choir or acted as a non- intervention control group. Those joining the choir were engaged in 90-minute weekly singing and social sessions for 12 weeks, with a post- intervention assessment after 24 weeks. Those who sang in a choir had more stable symptoms of depression and levels of wellbeing, as well as gradual improvements in their sense of self-efficacy and self-esteem. In contrast, those in the control group showed gradual increases in depressive symptoms, reductions in levels of wellbeing and self-esteem and no improvement in their self-efficacy. It is not only singing that can have positive benefits for wellbeing. In a review, Perkins and colleagues (2020) identified 46 qualitative studies reporting on participants’ subjective views of how participatory music engagement supported their mental wellbeing. Thematic coding revealed four themes: managing and expressing emotions, facilitating self-development, providing respite and facilitating connections. The outcomes of choral singing have also been compared with listening to music. Boyd and colleagues (2020) examined the short-term effects on mood and self-esteem of a novel group singing model that relied 430 The Power of Music exclusively on oral methods of teaching songs to 59 community-recruited adults and compared the effects with group listening. The findings showed that participants’ positive emotions and mood improved after singing but declined after listening. Self-esteem increased throughout the sessions regardless of the activity, indicating the importance of the social nature of the singing activities. Wellbeing in Young Children Much of the evidence relating to wellbeing in babies, infants and children has been set out in previous chapters. In infancy and early childhood, musical activity largely takes place through interactions with caregivers. Ruud (1997) suggests that the first musical memories often include feelings of being held by parents. Songs are frequently more important than speech in bonding (Nakata and Trehub, 2004; Shenfield et al., 2003). Cirelli and Trehub (2020a) examined the relative efficacy of parents’ speech, and singing familiar and unfamiliar songs, in alleviating the distress of 68 eight- and 68 ten-month-old infants. Parent- infant dyads participated in three trials of a still-face procedure, featuring a two-minute play phase, a still-face phase (where parents were immobile and unresponsive for one minute or until infants became visibly distressed), and a two-minute reunion phase in which caregivers attempted to reverse infant distress by singing a highly familiar song, an unfamiliar song, or talking expressively. In the reunion phase, talking led to increased negative affect in both age groups, in contrast to singing familiar or unfamiliar songs, which increased infant attention to parents and decreased negative affect. The favourable consequences were greatest for familiar songs, which also generated increased smiling. Skin conductance recorded from a subset of infants revealed that arousal levels were highest for the talking reunion, lowest for unfamiliar songs, and intermediate for familiar songs. The arousal effects, considered in conjunction with the behavioural effects, confirmed that songs were more effective than speech at mitigating infant distress. Krueger (2011) argued that, from birth, music is perceived as a structure that offers the possibility of constructing and regulating emotions, expressing and communicating, and shaping relationships and situations. In children’s play, symbols, drawings and music can 431 14. Psychological Wellbeing be used thoughtfully but activities are mainly participatory, engaged and active (Bonsdorff, 2017; Karlsen, 2011; Kuuse, 2018). From an early age, using these resources, children develop a sense of agency and self-efficacy. Informal learning of music is frequent in everyday life (Batt-Rawden and DeNora, 2005). This creates memories, patterns, meanings and opportunities for interaction between individuals and their social surroundings. Learning how music can be used empowers the individual to act on their own moods and emotions, wellbeing, health and agency (DeNora, 2000; 2001; Skånland, 2013). Musicality has been argued to be intrinsic to communication between parents and infants (Malloch and Tervarthen, 2009). Parents use music to support other activities and to create a calm and soothing environment prior to sleep times, in addition to participating in child-centred musical activities (Lamont, 2008). Child- parent interactions can be enhanced by music therapy, as can impulse control and self-regulation skills (Pasiali, 2012) and social and communication skills (Mackenzie and Hamlett, 2005; Nicholson et al., 2010; Walworth, 2009). For instance, de Gratzer (1999) showed in a ten-month action research project of group music- making between parents and toddlers that non-verbal communication between parent and child was enhanced. Williams and colleagues (2012) examined the effectiveness of a short-term group music therapy intervention for 201 parents of children with disabilities and found that there were significant improvements for parental mental health, child communication and social skills, parenting sensitivity, parental engagement with and acceptance of their child, child responsiveness to parent, and child interest and participation in programme activities. As we saw in Chapter 13 , moving in time together promotes social bonding. This is important for the social development of infants, as it promotes positive interactions with caregivers. Young infants seem to enjoy listening to and moving to music. For instance, Cirelli and Trehub (2020b) studied an infant who began moving rhythmically to music at six months of age. Across nine sessions, beginning when she was almost 19 months of age and ending eight weeks later, she was video-recorded by her mother during the presentation of 60-second excerpts from two familiar and two unfamiliar songs presented at three tempos: the original tempo and faster and slower versions. The child exhibited a number of repeated dance movements such as head-bobbing, arm-pumping, torso 432 The Power of Music twists and bouncing. She danced most to Metallica’s ‘Now that We’re Dead’, a recording that her father played daily in her presence, often dancing with her while it played. Its high pulse clarity, in conjunction with familiarity, may have increased her propensity to dance, as reflected in lesser dancing to familiar music with low pulse clarity and to unfamiliar music with high pulse clarity. She moved faster to faster music but only for unfamiliar music, perhaps because arousal drove her movement to familiar music. Her movement to music was positively correlated with smiling, highlighting the pleasurable nature of the experience. Rhythmic movement to music may have enhanced her pleasure, although the joy of listening may have promoted her movement. More formal engagement with music may begin in early years education. Certainly, early years educators have positive attitudes towards music and value it, even if they have no formal qualifications in music (Barrett et al., 2019). Parents, grandparents and former child participants of early learning music programmes acknowledge that such programmes enhance musical knowledge and skills (Barrett and Welch, 2020). Active group music-making also enhances pro-social behaviour in young children. For instance, Kirschner and Tomasello (2009; 2010) studied four-year-olds in tasks requiring identical skills in musical and non-musical conditions. Joint music-making enhanced cooperation and helpful behaviour. Music and Wellbeing in School-Aged Participants Previous chapters have shown that active engagement with music can enhance intellectual functioning, spatial reasoning, mathematical performance, phonological awareness, literacy, educational attainment and personal, social and physical development. The extent to which these benefits are realised depends on a wide range of factors, not least the nature and quality of the musical education experienced, and the level of commitment and engagement of the child. As musical skills are acquired, a greater sense of purpose and self-confidence can develop (Creech et al., 2013; 2016; Hallam et al., 2017). In this way, music education can have an impact on wellbeing. For instance, Lage-Gómez and Cremades-Andreu (2019) presented the results of a collaborative action research study in Spanish secondary education. Data collected 433 14. Psychological Wellbeing included observations, interviews, classroom diaries, assessments, questionnaires, and video and audio recordings. The findings showed how group improvisation was influenced by: • active student involvement and wellbeing; • the students’ identification with the music; • the emergence of group flow and positive emotions, including a high level of motivation; and • the musical experiences from the students’ roles as musicians. Similarly, informal learning in small groups in the music classroom can benefit wellbeing, leading to enhanced self-esteem, positive relationships, competence and optimism (Hallam et al., 2016; 2017; 2018). Overall, group music-making supports children in improving their social and communication skills, cooperation and teamwork (Creech et al., 2013; 2016). One strand of research has focused on children perceived as ‘at risk’. The El Sistema programme and projects inspired by it—where children experience intensive and prolonged engagement in an orchestral community—facilitate pro-social behaviour, and the psychological and physical wellbeing of their students. Evaluations of individual programmes report strengthening children’s sense of individual and group identity, causing children to take pride in their accomplishments, enhancing determination and persistence, and making children better able to cope with anger and express their emotions effectively. Children value their participation as a social activity, a way to enjoy music with others, to strengthen friendships with peers, work in teams and acquire musical skills (Creech et al., 2013; 2016). Some research has focused on children who are marginalised or at risk. For instance, Cain and colleagues (2016) carried out a review of the impact of participatory music programmes, which aimed to promote positive mental and physical health, and wellbeing outcomes for young people from culturally and linguistically diverse communities. The majority of music participation programmes targeted toward young people characterised as ‘at risk’ have had positive outcomes, including a reduction in anxiety, depression, emotional alienation, truancy and aggression. Participants showed an increase in attendance 434 The Power of Music at school, enhanced self-esteem, cultural empathy, confidence, personal empowerment and healthier nutrition. Similarly, Brown and colleagues (2017) investigated the influence of the arts on cortisol levels in economically disadvantaged children. Three hundred and ten children, aged three to five years old, who attended a Head Start preschool were randomly assigned to participate in different schedules of arts and homeroom classes on different days of the week. Cortisol was sampled at morning baseline and after arts and homeroom classes on two different days at the start, middle and end of the year. For music, dance and visual arts, grouped and separately, the findings showed that cortisol was lower after an arts versus homeroom class at the middle and end of the year, but not at the start of the year. A similar project, where professional musicians worked with school-aged children (Ward et al., 2020) showed through interviews with teachers, musicians, parents and observations that pupils experiencing socioeconomic deprivation enjoyed the benefits of fellowship through group-based music activities. Previously shy pupils began to contribute more in class, and anxious children overcame their fear of performing on stage. Teachers commented that the project had developed pupils’ self-confidence. One strand of research has focused on children’s wellbeing in terms of the role that music can play in improving overt behaviour. For instance, Fasano and colleagues (2020) explored whether short orchestral music training could reduce impulsive behaviour. One hundred and thirteen Italian children aged eight to ten years of age participated. Fifty-five attended three months of orchestral training, which included a two- hour lesson each week at school and a final concert. The 58 children in the control group had no orchestral training. The children were assessed in relation to inhibitory control and hyperactivity at the beginning and end of the three-month training period. Children in the music group showed a significant improvement in inhibitory control, while the control group showed an increase in self-reported hyperactivity. This suggests that even an intense and brief period of orchestral training can facilitate the development of inhibitory control by modulating levels of self-reported hyperactivity. Large-scale community-based music programmes for children exposed to violence have also been found to improve self-control and reduce behavioural difficulties. For instance, Alemán and colleagues (2017) assessed the effects of an El Sistema music 435 14. Psychological Wellbeing programme on children’s developmental functioning in the context of high rates of exposure to violence. The programme emphasised social interactions through group instruction and performance. The research was conducted in 16 music centres and included 2914 children aged six to fourteen years old. Half were admitted to the programme earlier than the remainder. Data collected at the end of the programme indicated improved self-control and reduced behavioural problems. This was particularly the case for children with less educated mothers, and for boys, especially those exposed to violence. Overall, the programme improved self-control and reduced behavioural difficulties. English and colleagues (2021) explored the viability and effects of a six-week digitally based music outreach programme using GarageBand for children in a small rural town who were experiencing difficulties in the upper-primary- and lower-secondary-school years. Focus groups, observations and daily notes showed a significant positive impact on the teachers and children involved. Similarly, Chao-Fernández and colleagues (2020) analysed the benefits of music therapy for six students with disruptive behaviours. A series of activities were designed based on the use of the music video game Musichao . There were significant improvements in the development of self- motivation, self-awareness, self-control and social skills. Ye and colleagues (2021) undertook a meta- analysis including ten studies on the effect of music-based interventions on aggressive behaviour in children and adolescents. There was a significant decrease in aggressive behaviour and a significant increase in self-control in the music-based intervention group compared with the control group. Some research has focused on children experiencing internalised problems. In South Korea, Kim (2017) investigated the effects of community-based group music therapy in children aged seven to twelve who were exposed to ongoing child maltreatment and poverty. Fourteen children experienced music therapy, while twelve acted as controls. Those in the music therapy group received twelve consecutive group music therapy sessions once a week, whereas the control children had no such opportunities. Teacher and child reports assessed behavioural change and showed that children in the music therapy group were less depressed, anxious and withdrawn, and had fewer attention problems than those acting as controls.436 The Power of Music In New Zealand, since the 2010-2011 earthquakes, staff and learners at Waitakiri School have participated in daily singing specifically to promote wellbeing. Facilitation of the singing involved no pressure, but rather democratic and participatory conditions, with teachers avoiding judging learners’ progress and achievement, and a focus on being together and having fun. Although some teachers lacked confidence about leading singing and the focus was on having fun, learners still developed key competencies and learned musical concepts (Rickson and colleagues, 2018). In England, Chernaik (2021) reported the impact on wellbeing in primary-school children aged eight to ten years old who were exposed to live music provided by professional classical musicians over the period of a school year. The project began with six classroom workshops in each school, progressed to a chamber orchestra workshop for groups of three or four schools in a local venue, and culminated in a symphony orchestra concert. Questionnaires completed following the concerts showed that a range of positive emotions were experienced by the children including excitement, happiness, feeling calm, relaxed, impressed and amazed. Focusing exclusively on extracurricular group percussion activities, Burnard and Dragovic (2015) analysed data from 14 rehearsals, 13 semi-structured interviews and 41 teachers’ and pupils’ reflective diary entries. The findings showed the potential for such activities to enhance pupil wellbeing by empowering them and enhancing support and decision-making. Croom (2015) reviewed studies on engagement with music within the PERMA framework to support the claim that music practice and participation could positively contribute to living a flourishing life through positively influencing emotions, engagement, relationships, meaning and accomplishment. Similarly, Lee and colleagues (2017) identified 17 case studies that described successful music programmes in schools in Australia. Content from these case studies was aligned with the five categories of the PERMA wellbeing model. The findings showed that the relationship element of the model was most frequently mentioned. Collaboration and partnership between students, teachers, staff in schools and local people in the community including parents, local entrepreneurs and musicians were repeatedly identified as a highly significant contributing factor to the success of music programmes. Overall, the findings indicated that tailored 437 14. Psychological Wellbeing music and relationship-centred music programmes in schools not only increased the skills and abilities of the students, but also improved their psychosocial wellbeing and that of the community. Music and Wellbeing in Adolescents and Young People A great deal of research has been carried out with reference to music and adolescence. As we saw earlier, music plays an important role in teenagers’ lives (Bonneville-Roussy et al., 2013; Bosacki and O’Neill, 2013; Greasley and Lamont, 2011). Of all age groups, music seems to be most important for young people (Christenson et al., 1985; Christenson and Roberts, 1998; Gabrielsson and Lindström Wik, 2003; Roe, 1985; Zillmann and Gan, 1997). Music—as it is engaged with in leisure time— contributes to how an individual defines themselves (Hargreaves et al., 2002; Hense and McFerran, 2017; North and Hargreaves, 1999). It is seen to represent personality and is used in impression management, as well as to judge the characteristics of others (Krause and Hargreaves, 2013). In the digital world, this is achieved by controlling what music is shared with others and what is uploaded into personal collections (Voida et al., 2006). By engaging in social comparisons, adolescents are able to portray their own peer groups more positively than other groups in their network, and are thus able to sustain positive self- evaluations. Music facilitates this process (Tarrant et al., 2000). Tarrant and colleagues (2001) investigated English male adolescents aged 14 to 15 years old’s perceptions of in-group and out-group. Participants reported greater liking for the in-group and associated it more positively with stereotyped music compared with the out-group. The in-group was viewed as more fun, masculine and sporty and less boring, snobbish and weird. Participants with lower levels of self-esteem showed greater differentiation between groups and greater derogation of the out-group. Van Zalk and colleagues (2009) examined the role of similarity in music preferences in the formation and discontinuation of friendships over a one-year period. Questionnaire data were gathered from 283 Dutch same- sex mutual best friends of almost 13 years of age. The findings showed consistent evidence for high similarity in specific music dimensions among friends at the beginning and end of the year. Moderate similarity was found in the overall patterning of preferences for 438 The Power of Music music genres at both points in time, even after controlling for similarity in social background. Specific music similarity in more non-mainstream music dimensions, and overall music similarity at the beginning were related to selecting a new friend at the end of the time period. However, similarity in music preferences was not related to the discontinuation of existing friendships. Similarity in music preferences seemed to be related to friendship formation but not discontinuation. Music plays a role in developing and retaining a sense of agency (Saarikallio, 2019). Seeking and exploring a sense of agency through music is particularly relevant for young people but also for those experiencing a reduction in their ability to control their actions and/ or their environment due to illness or challenging personal situations (Magee et al., 2017). Sense of agency is important for social-emotional health and can be supported through musical engagement (Saarikallio, 2017; 2019; Saarikallio and Baltazar, 2018). Evaluating the impact of a short music intervention with adolescents, McFerran and colleagues (2018) observed that sense of agency was key. After participation, young people reported an increased awareness of how they could utilise music to reduce distress and promote their own development. Similarly, Saarikallio and colleagues (2020) collected self-reports of personal music listening and their impact on agency from 44 adolescents with an average age of 14 who had received musical training. While there was no general increase in agency over time, there were fluctuations. These were determined by specific contextual factors: for instance, a change in environment, or changes in moods and reasons for listening to music. Elvers (2016; 2018) developed a framework which suggested that increases in feelings of power and control were related to enhanced self-esteem, which could be induced through musical experiences that promoted positive affect, empathy, pleasure and social cohesion. Similarly, music students’ wellbeing has been found to improve when their teachers adopt autonomy-supporting strategies (Bonneville- Roussy et al., 2020). The emotional use of music may not differ according to the type of musical activity, since adolescents’ reasons for listening and playing have been shown to be quite similar to one another (North et al., 2000, Saarikallio and Erkkilä, 2007). In a study of 38 adolescents divided into two age groups—9 to 12 and 13 to 17, Tolfree and Hallam (2016) 439 14. Psychological Wellbeing established that, of the four main themes emerging from the data, music in relation to emotions and moods was the strongest. Older girls used music to express anger, stating that it provided a means of acceptable rebelliousness when they were angry with their parents or others in their family. Playing an instrument was not used in relation to managing emotions. Indeed, for most people of any age, listening is the preferred activity for regulating moods, mainly because music is so readily available in the modern world. Lincoln (2005) explored the dynamic relationship between young people, bedroom space and music. Using the concept of zoning, she established that music was used by teenagers spontaneously to create particular atmospheres in their bedrooms, which depended on their age, mood, the time of day, other concurrent activities and other occupants of the space (for instance, friends or siblings). Music blurred the boundaries of public and private space. Music played at a high volume spilled out of the bedroom zone into other rooms in the house. Music was also used as a prequel and a sequel, facilitating getting ready for nights out, setting the right tone and atmosphere. Teenagers report listening to music to pass time, alleviate boredom, relieve tension and distract themselves from worries. Music is seen as a source of support when they are feeling troubled or lonely, acting as a mood regulator, helping them to maintain a sense of belonging and community (Schwartz and Fouts, 2003; Zillman and Gan, 1997). Music fosters their ability to cope with the challenges that they face, including positive relationships with peers (Papinczak et al., 2015; Selfhout et al., 2009; Ter Bogt et al., 2017), managing emotions (McFerran and Saarikallio, 2014; Saarikallio and Erkkilä, 2007) and developing self-determination (Laiho, 2004). Some have suggested that it is because music plays an important part in these developments that it is so important in adolescents’ lives (Laiho 2004; Miranda, 2013; Schwartz and Fouts, 2003). Saarikallio (2019) argued that music is the adolescent’s world, their playground and kingdom. They express themselves through it, discover themselves and make their own choices. Studying young adults, Gupta and Kumar (2020) examined the effects of listening to instrumental music over a 20-day period and showed that music listening significantly increased resilience, self-efficacy, optimism, meaning in life and psychosocial flourishing. They concluded that 440 The Power of Music music had the potential for generating positive schemas which could enhance wellbeing and serve as a buffer against increasing negativity in the modern world. Even quite young adolescents use music to manage their moods. For instance, Behne (1997) carried out a longitudinal study of 155 adolescents aged 11 to 17 years old and identified nine listening styles including compensating, concentrated, emotional, distancing, vegetative, sentimental, associative, stimulative and diffused. At ages 11 to 13, the most pronounced listening style was compensating, demonstrating that even young adolescents know how to use music for mood regulation. In general, different strategies for coping with emotions are acquired with age (Seiffge-Krenke, 1995; Mullis and Chapman, 2000). In a series of studies, Saarikallio and colleagues (Saarikallio, 2006; Saarikallio and Erkkilä, 2007) developed a theoretical model consisting of seven regulatory strategies relating to music: entertainment, revival, strong sensation, diversion, discharge, mental work and solace. They surveyed 1515 adolescents, 652 boys and 820 girls, with an average age of 15. The strategies used most often by boys and girls in all age groups were the same: entertainment, revival and strong sensation. Overall, girls used music for mood regulation more than boys. The use of music for mood regulation increased with age for both sexes but the change occurred later for boys. Singing or playing an instrument as a hobby, valuing music and listening to it were positively related to using music to regulate mood. Composing songs also led to increased regulatory use of music, as did having a family member who sang or played an instrument. Listening alone was chosen by over half of the respondents in all age groups as an influencer of mood. The ways that music was used to regulate mood involved elements that adolescents were often not conscious of in their daily engagement with music (Saarikallio, 2006; Saarikallio and Erkkilä, 2007). Ongoing cognitive development and an increased ability for abstract comprehension may help older adolescents to be more conscious of how they use music to regulate mood. Saarikallio and colleagues (2017) studied 55 adolescents with an average age of 15 who listened to self-selected relaxation music for 20 minutes, once in a laboratory and once at home, and provided written descriptions of their experience. Three major strategies—processing, distraction and induction—and two mechanisms (musical and mental) 441 14. Psychological Wellbeing were identified. Processing was supported by both mechanisms, while distraction and induction were supported predominantly by music. Change from negative to positive mood was generally realised through musical distraction, while the induction of positive emotion was supported by all strategies and mechanisms. In a later study, Baltazar and Saarikallio (2019) studied 571 participants and identified six contrasting strategic uses of music: cognitive work, entertainment, affective work, distraction, revival and focus on the situation. Clear associations between strategies and mechanisms emerged, laying the foundations for a model that integrated regulatory strategies and mechanisms as intrinsic and interrelated components of behaviour (Baltazar, 2019). In an experimental study, Baltazar and colleagues (2019) manipulated the benefits of music and strategy use in reducing stress. Overall, music had a greater impact on short-term outcomes of self-regulation in comparison to strategy use, suggesting that successful affective regulation depends on the adequacy of the chosen strategies and the music, but that the music itself is key in the short term. An increasing body of research has indicated that listening to music can have very different purposes and outcomes. For instance, McFerran and colleagues (2014) reported an investigation examining how 111 Australian adolescents reported perceived changes in their mood before and after listening to self-selected music. Most reported using music to improve their mood, particularly when their initial state was already positive. However, when feeling sad or stressed, some reported a worsening mood. Those young people who were distressed tended to prefer listening to heavy- metal music but did not report more negative effects on mood for this than for any other genre. They concluded that interpreting such findings was complex, and overly simplistic interpretations needed to be avoided. Miranda (2013; 2019), in two reviews, proposed that music could be both a protective factor and a risk factor in relation to coping in adolescence. McFerran and Saarikallio (2014) explored with 40 Australians aged 13 to 20 years old the beliefs that they held about the power of music to support them during challenging times. They were asked to recall times when music had supported them and times when it had been unhelpful. They considered why young people’s beliefs about the positive consequences of music were so strong, even though for those with mental health 442 The Power of Music problems this was not always the case. Miranda and Gaudreau (2011) considered emotional reactions following listening to music, depending on different levels of emotional wellbeing, and also the relationships between social congruence in music tastes with friends or parents and emotional wellbeing. Three hundred and sixteen adolescents with a mean age of 15 years old participated. Three profiles were identified: emotionally negative, limited or positive listeners. These were related to emotional wellbeing, as was social congruence in musical tastes with friends and parents. Also exploring differences between individuals, Gibson and colleagues (2000) divided high-school students into high and low loneliness groups in relation to romantic deprivation, and rated their enjoyment of love-lamenting and love-celebrating videos of popular romantic music. Loneliness proved inconsequential for the enjoyment of love-lamenting songs, although highly lonely males enjoyed love-celebrating songs markedly less than less lonely males. In contrast, highly lonely females enjoyed love-celebrating songs more than less lonely females. Not all the effects of listening to music are positive. Adolescents may use music as a distraction to avoid thinking about problems (Saarikallio and Erkkilä, 2007). This can have a negative impact on their psychological adjustment (Hutchinson et al., 2006). Listening to music which explores negative themes—for instance, distress, suicide or death—can increase depressive symptoms and suicidal thoughts (Martin et al., 1993; Scheel and Westefeld, 1999). These negative outcomes can be exacerbated through interactions with like-minded peers through music subcultures. For instance, Stewart and colleagues (2020) studied seven Australian young people with a tendency towards depression, exploring their listening habits and their level of awareness of the impact of their music-listening on mood and wellbeing. The findings showed that, while music can have a positive effect on mood, it can also intensify negative moods. They suggested that the relationship between intentions and outcomes is mediated by differing levels of self-awareness and insight into the mood regulation processes which occur during listening to music. Some musical subcultures, such as goth or emo, are focused on music with dark and depressing themes. The blame for some suicides has been laid at the door of such music (Young et al., 2014). In Australia, music therapy carried out over eight 443 14. Psychological Wellbeing weeks was compared with self-directed music-listening in a group of 100 students with self-reported unhealthy music use. There were no differences in outcomes. Both groups showed small improvements over time, although younger participants benefited more from the therapy, and older participants from self-directed listening (Gold et al., 2017). Specific aspects of music listening can impact on wellbeing. In a small-scale study, Papinczak and colleagues (2015) analysed transcripts from focus groups with 11 participants aged 15 to 25 years old. Four ways in which listening to music linked with wellbeing were revealed: relationship-building, modifying emotions, modifying cognition and emotional immersion. A follow-up questionnaire study with 107 young people showed that music-listening was significantly related to each of these but not directly related to wellbeing. Ter Bogt and colleagues (2017) studied whether adolescents and young adults used music as an agent of consolation when dealing with sorrow and stress, and whether the music itself, its lyrics or experiences of closeness to artists and fans were experienced as comforting. Overall, 1,040 respondents (aged 13 to 30 years old) responded to items assessing listening hours, the importance of music, music preferences, positive and negative effects elicited by music, internalised and externalised problems, and consolation through music. Slightly over 69 percent of respondents reported that they used music as a source of consolation, particularly females and those with higher levels of anxiety and depression. Music’s consoling effects were reported as resulting mainly from the sound and texture of the music itself, from attribution of personal meaning to the lyrics, and to a lesser extent from perceptions of closeness to artists and other listeners. Young people in the Western world spend a great deal of their time listening to music but there is less research globally. Miranda and colleagues (2015), focusing on cultural differences, argued that music can be meaningful in similar and different ways for adolescents living in diverse sociocultural contexts, in which local and global cultures mix and hybridise (Larson et al., 2009). Boer and colleagues (Boer and Fischer, 2012; Boer et al., 2012) proposed two overarching dimensions of music: a contemplative or affective dimension, an individual dimension, and an intrapersonal, interpersonal, a social dimension (collectivism). Adolescents in more collectivist societies used music to convey cultural identity more than those in individualistic societies. Research in six 444 The Power of Music countries ( Germany, Kenya, Mexico, New Zealand, the Philippines and Turkey) revealed ten functions of listening to music in late adolescence: as background, focused listening, for venting, related to emotions, for dancing, related to friendship, family, politics, values and cultural identity (Boer et al., 2012). Research in seven countries revealed seven functions: music in the background, memories through music, music as diversion, emotional experiences from music, self-regulation through music, music as a reflection of the self and social bonding (Boer and Fischer, 2012). Actively Making Music In addition to listening to music, actively making music can impact on the wellbeing of young people. For instance, in the Netherlands, Uhlig and colleagues (2018) worked with 139 adolescents in schools and showed that engaging in rap and singing music therapy six times a week for four months led to enhanced psychological wellbeing, self- esteem and emotion regulation. Evaluating a similar rap and sing music therapy with 52 adolescents, Uhlig and colleagues (2019) showed a range of benefits for sleep compared with a control group. In the North East of England, Mogro-Wilson and Tredinnick (2020) evaluated the use of visual arts and music on 340 teenagers in a programme designed to enhance social and emotional skill-building. The programme was successful in meeting its aims, and demonstrated that art and music could become a powerful presence in the lives of young people. Underlying the complexity of the relationship between music and wellbeing, Leung and Cheung (2020) used a process-oriented approach to establish the association between listening to music, playing a musical instrument, musical training and adolescents’ wellbeing. One thousand, three hundred and eighteen Chinese adolescents between 12 to 15 years of age from secondary schools in Hong Kong completed questionnaires. Awareness of emotions and emotions themselves were found to mediate between musical training and wellbeing. Positive and negative emotions also mediated between listening to music and wellbeing, although playing an instrument was not associated with emotional awareness, positive or negative emotions, or wellbeing. The findings further reinforce the problems of making direct links between music and 445 14. Psychological Wellbeing wellbeing. Similarly, Clarke and Basillo (2018) investigated the role of the performing arts in 275 secondary-school pupils and demonstrated that the opportunities for playfulness and developing interpersonal relationships afforded by the activities predicted students’ wellbeing. The importance of musical context in impacting on wellbeing emerged from research by Baker and colleagues (2018), who studied an artist- led group song-writing programme with 85 young people. They found that contextual factors helped shape the song-writing environment. The young people felt safe, had fun and pushed boundaries, and there was direct and honest feedback, high energy rituals and an emphasis on artistic excellence. Anthony and colleagues (2018), studying the implementation of a music education programme with young people in remote Aboriginal communities, found that the informal learning frameworks (which incorporated music-making shared between educators and community members) provided constructive ways of engaging young people and empowering them in the management of their health and wellbeing. Similarly, in research in Nigeria, Ojukwu (2017) suggested that active engagement in music could promote positive youth development. Working with at-risk students, Van Rooyen and dos Santos (2020) studied the experiences of teenagers in a children’s home who participated in a choir in South Africa. Sixteen weekly choir sessions were held, which included a variety of interactive vocal techniques. A performance marked the end of the process, where songs selected by the teenagers were performed. Qualitative data were collected through 14 semi-structured individual interviews at the end of the process. The findings showed that participation in the choir offered teenagers meaningful intra- and interpersonal experiences. At an intrapersonal level, participants discovered their musical voices, increased their self- awareness, self-esteem and self-confidence, and were able to express and regulate emotions. In terms of interpersonal experiences, the teenagers experienced growth in relationships, improved social skills and greater connection with the broader community. Also working with at-risk young people, Wilson and MacDonald (2020) reported on a ten- week group music programme for young Scottish adults with learning difficulties. Participants enjoyed the programme and participation was generally maintained, with benefits evidenced in increased social 446 The Power of Music engagement, interaction and communication. As we saw in Chapter 12, young people who are disaffected can be re-engaged with their education through music. It can also enhance wellbeing in looked-after children and those in the criminal justice system. One strand of research has focused on young people presenting issues with academic work. For instance, Sharma and Jagdev (2012) studied 30 adolescents with low self-esteem and high academic stress who engaged with music therapy for a period of 15 days. This reduced anxiety and enhanced self-esteem. Similarly, Schiltz (2016) studied 93 highly gifted adolescents suffering from school failure. They engaged with an integrated form of musical and verbal psychotherapy, musical improvisation with story-writing or the production of drawings with music, followed by verbal elaboration. Participants showed a significant increase in concentration, the capacity for imaginary and symbolic elaboration, pictorial and literary creativity, self-esteem and the quality of coping strategies. There was a significant decrease in defensive functioning and in embitterment and resignation. Music therapy can clearly be beneficial in these circumstances. Some research has focused on extracurricular school activities. For instance, participating in a school production has been shown to promote friendship groups and support musical, personal and social development (Pitts, 2007; 2008). Kinnunen and colleagues (2020) focused on the social sustainability of music events in adolescents’ lives, through their perceptions and own words as they described live music experiences. A web survey of over 1000 adolescents aged 15 to 18 years old demonstrated that cultural content per se was not as meaningful to them as the social networks at such events. Bonding and bridging, as well as the sense of community, produced a range of benefits to wellbeing. Similarly, a thematic analysis by Caleon (2019), including 13 studies aimed at fostering wellbeing in adolescents, identified that music-based activities acted as catalysts for relationship-building, as a means of self-expression and self-regulation, and as a resource for self-transformation. Considering a heritage and related music project, Clennon and Boehm (2014) examined how creative activities that were embedded in a community could serve to enhance the cohesion and wellbeing of the community through the work of its youth groups. In a review, Zarobe and Bungay (2017) concluded that participating in arts 447 14. Psychological Wellbeing activities could have a positive effect on wellbeing through enhancing self-confidence, self-esteem, relationship-building and a sense of belonging. Music and Wellbeing in Adults For most people, adulthood is characterised by relative stability and an increase in independence and responsibility, although there are transitions in relation to choices concerning work and family (Levinson, 1986; Levinson et al., 1978). Ageing and retirement bring new challenges, including acceptance of the decline in physical and psychological abilities and the loss of loved ones, while attempting to maintain control over life and sustain interest and motivation (Atchley, 1975; Erikson, 1982). In general, older people report fewer negative emotional experiences (Gross et al., 1997) and retain the ability to regulate their emotions, alongside a desire to derive emotional meaning from their lives (Carstensen et al., 2003). In relation to music, Sloboda and colleagues (2009) have shown that most of music’s functions in the everyday lives of adults are related to memories, moods and emotions. Similarly, Greasley and Lamont (2006) reported that adults’ use of music included a stress on personal choices, using music for emotional self-regulation and reflection on internal experiences and memories, while Van Goethem (2010) showed that the emotions most typically regulated through music were happiness and calmness. Saarikallio (2011) undertook a qualitative study with 21 participants aged 21 to 70 years old, and revealed that various regulatory goals and strategies were similar throughout adulthood, but that there were also changes related to age, particular events and retirement transition. All participants used music to generate and maintain happy moods, for pleasure and enjoyment. Moods were enhanced by listening to loud music, singing along, starting to play an instrument or even dancing. In addition to using music as a leisure activity, it was used to accompany all kinds of activities, to relax after a working day but also energise to prepare for an activity. When individuals are actively engaged with making music, its effects are greater (Greasley and Lamont, 2006). In adult life, there are many competing demands which affect participation and continuation 448 The Power of Music with music-making. Personal determination and circumstances are key to understanding this (Pitts and Robinson, (2016). In a very large-scale study in Sweden, Bygren and colleagues (1996) studied 15,198 individuals aged 16 to 74 years old. Of these, 85 percent were interviewed by trained non-medical interviewers about their cultural activities. Eight confounding variables—age, sex, education level, income, long-term disease, social networks, smoking and physical exercise—were controlled for. These influenced survival in the expected direction, except for social networks for men. Taking these into account, the research revealed an influence on mortality in people who rarely attended events compared with those attending most frequently. In another large-scale population study, Cuypers and colleagues (2011) analysed the association between cultural activity and perceived health, anxiety, depression and life satisfaction based on data from the third Nord-Trøndelag Health Study, which included 50,797 adult participants. The findings showed that participation in receptive and creative cultural activities was significantly associated with good health, positive satisfaction with life, and low anxiety and depression scores, especially in men attending the receptive, rather than creative, cultural activities. Similarly, Węziak-Białowolska and Białowolski (2016) investigated the causative impact of attendance at cultural events on self- reported and physical health in the Polish population. Four waves of the biennial longitudinal Polish household panel study representative of the Polish population aged over 16 were used. The findings confirmed that there was a positive association between cultural attendance and self-reported health, although it was not possible to establish a causal link. In another large-scale study, Weinberg and Joseph (2017) explored the connection between habitual music engagement and subjective wellbeing. Data were gathered as part of the 31st survey of the Australian Unity Wellbeing Index, to provide insight into the relationship between music engagement and wellbeing. A sample of 1000 participants were interviewed by telephone. The findings revealed that engaging with music by dancing or attending musical events was associated with higher wellbeing in comparison to those who did not engage with music. The findings also emphasised the importance of engaging with music in the company of others with regard to wellbeing, thus highlighting the interpersonal features of music-making. 449 14. Psychological Wellbeing In the UK, Tymoszuk and colleagues (2021) explored trends in participatory and receptive engagement with a broad range of arts in 5,338 adults. Over 97 percent of respondents reported engagement in arts activities during 2018 and 2019, with reading and listening to music being the most popular activities. Arts engagement was grouped into three distinct clusters. Almost 20 percent constituted low engagers whose main source of engagement was occasional reading; 44 percent constituted receptive consumers who read and listened to music frequently and engaged with popular receptive arts activities such as going to the cinema, live music, theatre, exhibitions and museums; while almost 36 percent constituted cultural omnivores who frequently engaged in almost all arts activities. Greater engagement with the arts was associated with higher levels of wellbeing, social connectedness and a lower possibility of intense social loneliness, although there was a positive association between greater arts engagement, depression and intense emotional loneliness in the most highly engaged omnivores. Participation in Musical Activities Pitts (2005) found that musical participation was a potential source of confirmation and confidence, providing opportunities to demonstrate existing skills and acquire new ones. Music can also give a structure to life and offer opportunities to perform with others, develop friendships, engage in social interaction, get relief from family and work pressures and provide spiritual fulfilment and pleasure. It can promote prosocial behaviour, leading to feelings of belonging, social adjustment, trust and cooperation (Anshel and Kipper, 1988; Odena, 2010). People from a range of different backgrounds can experience benefits to their emotional and physical wellbeing from making music, developing an increased sense of self-worth, enhanced social skills and wider social networks (Judd and Pooley, 2014). Lamont and Ranaweera (2020) compared happiness and wellbeing in adults involved in knitting or making music. Eight hundred and thirty-five amateur knitters and 122 amateur musicians completed a measure of happiness and questions about past and current involvement. The knitters scored significantly higher on happiness than the musicians, although no differences were found in relation to subjective wellbeing. Older participants scored more 450 The Power of Music highly on all wellbeing measures, with no effect of time participating in the activity. Despite differences between the activities, participants experienced broadly similar physical, psychological and social benefits. In Australia, Krause and colleagues (2020 administered a questionnaire to 192 residents aged 17 to 85 years old who were participating in a musical activity at the time. The importance of music in individual’s lives was positively related to perceived wellbeing including competency, relatedness, autonomous motivation and the social, cognitive and esteem dimensions of wellbeing. These findings were particularly strong for female participants. Overall, there were positive associations between musical activity and psychosocial wellbeing. As we saw in earlier chapters, positive outcomes have been reported from music interventions with adult offenders (Eastburn, 2003; Digard et al., 2007; Henley et al., 2012). In these studies, participants enhanced their communication and social skills, increased their confidence, were better able to reflect on their situation, and believed that they could change and attain their goals. Overall, their wellbeing was enhanced. While there can be benefits to participating in music, it can also be stressful. Pitts (2020) studied membership of leisure-time music groups through an online survey of 559 participants in such groups. While there were many benefits to wellbeing through being a member of such groups, there were pressures for some groups as they struggled to maintain their survival in the face of dwindling membership and lack of funding. There can also be a negative impact on wellbeing for those for whom music is a career or potential career. For instance, 126 college students and amateur musicians in a joint Swiss-UK study were assessed in relation to their wellbeing, quality of life and general health (Philippe et al., 2019). Scores were high on general measures of quality of life for both groups and on environment, social relationships, physical health and psychological health. Differences between groups of musicians emerged in terms of overall quality of life and general health, as well as the physical health dimension, where college music students scored lower than the amateur musicians, although the college music students scored higher than the amateurs on social relationships. While music- making can offer some health-protective effects, this may not be the case among those aspiring to become professional musicians. Similarly, MacRitchie and Garrido (2019) studied professional and amateur 451 14. Psychological Wellbeing orchestral musicians using questionnaires and interviews, and found that intellectual stimulation was high for these groups and that there was a balance between perceived challenge, effort and reward of the musical tasks. Emotional engagement increased with age for amateur players but decreased for professionals. Overall, social engagement was high, with players reporting feeling connected as a group whilst making music. Some research has considered flow experiences in musical participation and their relationship with wellbeing. For instance, Baker and MacDonald (2013) studied flow in non-music-major university students and retirees and their sense of self, achievement, identity, satisfaction and ownership during the creation of personally meaningful songs. There were strong experiences of flow during song-creation when compared with sporting activities, dancing, yoga and performing music. Habe and colleagues (2020) studied 452 elite musicians and top athletes in their early twenties and found that flow was more often experienced in group than individual performance settings, and that life satisfaction was positively related to flow, particularly the challenge- versus-skill balance. Attendance at Music Festivals Music festivals offer unique opportunities for engagement with music. The excitement of physical proximity to the performers, social interaction with other attendees and the music itself all contribute to the experience (Oakes, 2003; Paleo and Wijnberg, 2006; Pitts, 2005). Engagement with music in a festival context can contribute to the creation of a sense of community, as it provides opportunities to engage in social activities (Frith, 1996; Gibson and Connell, 2005). It also contributes to the development of identity (Karlsen and Brändström, 2008; Matheson, 2005), although there can be negative outcomes and risks relating to the use of alcohol or drugs, overcrowding, mob behaviour and other public health issues (Earl et al., 2004). Pitts (2005) investigated audience experiences at a chamber music festival, and showed that social and musical enjoyment interacted to generate commitment and a sense of involvement in the event. Similarly, Burland and Pitts (2010) studied the roles that music played in the lives of jazz audiences at the Edinburgh 452 The Power of Music festival. Analysis of a large-scale survey and in-depth interviews revealed a sense of community and atmosphere, within which audience members valued the opportunity to be amongst like-minded jazz enthusiasts. Similarly, Pitts and Burland (2013) drew on evidence from nearly 800 jazz listeners, surveyed at the Edinburgh Jazz and Blues Festival and in the Spin jazz club, Oxford. Questionnaires, diaries and interviews were used to understand the experiences of listening for a wide range of audience members. The findings illustrated how listening to live jazz had a strongly social element, whereby listeners derived pleasure from attending with others or meeting like-minded enthusiasts in the audience, and welcomed opportunities for conversation and relaxation within venues that helped to facilitate this. Within this social context, live listening was (for some audience members) an intense, sometimes draining experience, while for others it offered a source of relaxation and absorption, through the opportunity to focus on good playing and preferred repertoire. Overall, live listening constituted an individual and social act which varied between listeners, venues and occasions. Packer and Ballantyne (2010) established that a sense of connection between participants and a separation from everyday life distinguished festivals from other musical experiences, providing a sense of disconnection that prompted festival attendees to reflect on their lives and their understanding of themselves. They reported benefits in terms of enhanced interpersonal relationships, a greater sense of belonging, being valued, a deeper understanding of self and emotions, enhanced self-perceptions, confidence, mastery, purpose in life, a greater sense of agency, better strategies for coping with stress, a sense of making a contribution, and being more hopeful. These benefits reflect those reported by those engaged in making music. Strong experiences of music most commonly occur in live settings (Gabrielsson, 2011; Lamont, 2011). Experiences are enhanced if the performers appear to be enjoying the experience and if they interact with the audience (Brand et al., 2012; Pitts and Burland, 2013; Pitts and Spencer, 2008; Radbourne et al., 2013). Physical proximity between performers and audience can support this (Brand et al., 2012). The quality of the experience is influenced by interactions between audience members and the performers, which transform the experience from being passive to active (Dobson and Sloboda, 2014). Technology has 453 14. Psychological Wellbeing enabled communities of fans to upload set lists and photos to online forums and also use Twitter, which helps non-attending fans to feel involved (Bennett, 2012). Music and Wellbeing in the Older Generation Across the world, life expectancy is increasing and there are growing numbers of older people. Many live alone and are vulnerable to experiencing depression. In recent years, there has been an increase in research on the role of music in the lives of the older generation. Overall, music becomes more important for the elderly (Gembris, 2008; Laukka, 2007). Participation in a wide range of musical activities provides a source of enhanced social inclusion, enjoyment, personal development and empowerment supporting group identity, collaborative learning, friendship, social support, a sense of belonging, enhanced wellbeing, and access to new social roles and relationships (Allison, 2008; Coffman, 2002; Coffman and Adamek, 2001; Langston, 2011; Sixsmith and Gibson, 2007; Wood, 2010). It is clear that older people gain cognitive, emotional and social benefits from learning to play a musical instrument in a range of different learning environments (Drummond, 2012; Veblen, 2012), even over short periods of time (Bugos et al., 2016). Music-making contributes to psychological wellbeing. It can alleviate loneliness and offer support in coping with the challenges of ageing, providing opportunities for musical progression and enjoyment, and thus adding meaning to life (Forssen, 2007; Lehmberg and Fung, 2010; Saarikallio, 2011). It can provide contentment, satisfaction and feelings of peace, and reduce anxiety and depression. It can reduce the decline in wellbeing so often experienced by the older generation, and foster positive moods and emotions (Lally, 2009; Livesey et al., 2012; Sandgren, 2009). There are a number of large-scale studies examining the relationship between wellbeing and musical activity in older people. For instance, Jenkins (2011) derived data from the English Longitudinal Study of Ageing—a large-scale, nationally representative survey of those aged 50 and above which contains several wellbeing measures and information on three types of learning: formal courses, music/arts/evening classes and gym/exercise classes. The key finding from this research was that music, arts and evening classes were significantly associated 454 The Power of Music with positive changes in wellbeing. There was no similar relationship between formal courses, gym or exercise classes, and wellbeing. More recently, also using the English Longitudinal Study of Ageing, Fancourt and Steptoe (2018) analysed data from 2,548 adults aged over 55 during a ten-year period, to explore whether membership of different kinds of community groups was associated with wellbeing. Membership of education, arts or music classes was longitudinally associated with lower negative affect and more life satisfaction, while slightly different positive outcomes were associated with membership of religious groups. In a ten-day diary study of 1,042 people aged 13 to 82 years old with music as a hobby, Koehler and Neubauer (2020) showed that need satisfaction and positive affect were higher when participants reported music-making. The satisfaction of basic psychological needs seemed to act as a mediating mechanism between musical activities and wellbeing. Since the 1980s, a considerable body of research has demonstrated the relationship between actively making music and subjective wellbeing (Lehmberg and Fung, 2010). Adults who participate in active music- making report that it provides valued and worthwhile experiences, while for those in older age it can provide structure and purpose to daily living, enhancing motivation and providing meaning in life (Hallam et al., 2012). It can reduce depression, promote positive emotions and emotional regulation, and provide spiritual experiences (Creech et al., 2014; Dingle et al., 2012). Those working with the older generation in leading music-making have recognised that the older generation are not a homogenous group. Even those who consider themselves to be novice musicians bring to musical activities a mixture of skills, preferences and cultural backgrounds. While they may have reduced capacity in some areas, as musical groups they have a rich knowledge base, and considerable experience and motivation (Dabback and Smith, 2012). Older people tend to be independent learners who want to control their learning, although the extent to which this applies to musical activities varies across groups and the nature of the activities. Group dynamics are important, as they are frequently key to sustaining motivation (Veblen, 2012). Internationally, music educators are increasingly recognising that the social aspects of music-making are important to older adults (Krause and Davidson, 2018) and that there needs to be a change from pedagogy based on expertise training to pedagogy promoting cultural connectedness and sharing. 455 14. Psychological Wellbeing Exploring a range of issues, Hays and Minichiello (2005) carried out interviews with 52 older Australians to determine the role of music in their lives. Participants were involved with music for much of the time: for instance, listening to music, actively making music, or volunteering (including working in community radio as broadcasters and programmers, in music administration and concert development, or teaching). Listening, performing or composing enabled expression of their individuality and ways of defining themselves. Listening to specific pieces of music led to the recall of events and experiences in their life, along with the emotions associated with them. Music provided a way for them to maintain positive self-esteem, to feel competent and independent, avoid feelings of isolation or loneliness, be distracted from health problems, feel uplifted physically and psychologically, and feel rejuvenated. They used music as an accompaniment to their daily activities, and reported that music helped them feel more competent and motivated. When they were faced with challenging tasks, music provided support and distraction. It reduced anxiety and stress levels, and increased the threshold for pain endurance. Some indicated that music provided them with inner happiness, contentment and peace. It was therapeutic and made them feel more positive about life, as well as more cheerful, hopeful, contented, relaxed and peaceful. Some were moved to tears by music, and listened for the sheer joy and beauty of the experience. Music was able to calm, excite, thrill and entertain them in ways that other things were not able to. For some it became addictive, a way of escaping reality and stimulating their imagination, while the sense of beauty was spiritual in its effect. While this was associated with specific religious beliefs for some, for others it was a personal feeling of being at one with the world. Music provided many benefits which all contributed to their wellbeing. Similarly, participants in the Music for Life project reported engaging in a wide range of musical activities. Questionnaire responses revealed that 96 percent reported listening to recorded music, 81 percent to live music, 80 percent to playing music in the background when they were completing other tasks, 79 percent singing at home, and 49 percent practising at home. They played a wide range of instruments and had a wide range of musical preferences (Creech et al., 2014; Hallam et al., 2012). Laukka (2007) sent a questionnaire to a random sample of 500 community-living older 456 The Power of Music adults aged 65 to 75 years of age in Sweden, to assess their use of music in everyday life including frequency of listening, situations where music was encountered, emotional responses to music and their motives for listening. Different facets of psychological wellbeing were also assessed. The findings showed that listening to music was a common leisure activity and a frequent source of positive emotions. Participants reported using a variety of listening strategies related to emotional functions including pleasure, mood-regulation, and relaxation as well as issues of identity, belonging and agency. Although health status and personality were the most important predictors of wellbeing, some listening strategies were significantly associated with psychological wellbeing. One strand of research has considered the role of choral singing in promoting wellbeing in older people. For instance, Lamont and colleagues (2018) reported a case study of an older people’s choir over a four-year period, using interviews, focus groups, observations and participatory discussion. Choir members highlighted the individual and interpersonal benefits of being part of the choir. They particularly emphasised the importance of developing social relationships within a supportive community, although musical achievement was also central to the ongoing development of the choir. Five main themes emerged from the data: personal investment and reward, an inclusive community, an always evolving yet fundamentally unchanged environment, a desire to connect, and leadership and organisation. Considering these with reference to Seligman’s (2010; 2011) PERMA framework from positive psychology, it was apparent that social relationships, meaning and accomplishment were particularly important reasons for older people finding singing in a community choir beneficial for wellbeing. In Tasmania, Langston and Barrett (2008) explored how social capital was manifested in a community choir. Interviews with 27 choir members revealed that the choir provided shared norms and values, trust, civic and community involvement, networks, knowledge resources, and contact with families and friends. Fellowship was identified as a key component in fostering group cohesion and social capital development. Similarly, in England, Coulton and colleagues (2015) evaluated the effectiveness of community-group-singing for a population of 258 older people aged 60 years old or over who either participated in singing or other activities. After three months, significant differences were observed in relation to 457 14. Psychological Wellbeing the mental health components of quality of life, anxiety and depression. After six months, significant differences were observed in mental health in favour of the group-singing. Similarly, Fung and Lehmberg (2016) found that there was a positive impact on quality of life for people in a retirement community who sang together. Joining a group with singing activities as a new musical hobby in later life can provide mental and physical stimulation, positive benefits to mood and increased social interactions. Davidson and colleagues (2014) developed and evaluated an eight-week singing programme with 26 participants aged 70 years or older. There was little impact on health and wellbeing, although the quality of the programme facilitators was an important factor in how the programme was experienced. Pearce and colleagues (2015) followed newly-formed singing and non-singing (crafts or creative writing) adult education classes over seven months. Participants rated their closeness to their group and their affect, and were given a proxy measure of endorphin release, before and after classes at three timepoints: one, three and seven months. The findings showed that, although singers and non-singers felt equally connected by timepoint three, singers experienced much faster bonding in the form of a significantly greater increase in closeness at timepoint one. It seems that singing can have an icebreaker effect in promoting fast social cohesion between unfamiliar individuals. In a single case study, Southcott (2009) focused on a small choir, the Happy Wanderers, formed by a group of older people to perform to residents in care facilities and to sufferers of dementia. Participation in the group enhanced the lives of the members and those of their audiences. Costa and Ockelford (2019) specifically considered the impact of music on audiences. They evaluated a programme of regular concerts and teas for older people. Interview findings showed that the concerts were effective in evoking positive emotions including happiness, relaxation, inspiration, awe and gratitude, whilst negative emotions (such as anxiety and worry) were lessened. These responses were enhanced by the interaction between performers and audience, the high standard of performance and an appropriate repertoire. The opportunity for social contact and interaction relieved loneliness and contributed to participants’ enjoyment. In a series of studies in the UK, Creech and colleagues (2013; 2014), Hallam and colleagues (2014; Hallam and Creech, 2016) and Varvarigou 458 The Power of Music and colleagues (2012; 2013) researched the relationship between active music-making and subjective wellbeing in older people’s lives. The research comprised three UK case-study sites, each offering a wide variety of musical activities including singing, ensemble participation and song composition. At each site, a sample of people aged over 50, a total of 398, some of whom had recently begun musical activities and others who were more experienced, were recruited to complete questionnaires that assessed quality of life. A control group of 100 completed the same measures. In-depth interviews were carried out with a representative sample, followed by observations of musical activities, focus groups and interviews with the music facilitators. Comparisons were made between older people participating in a wide range of musical and other activities in relation to their questionnaire responses and psychological needs, as well as those participating in the musical activities who were in the third and fourth age groups. The factors that emerged from the analysis of the data were: purpose (having a positive outlook on life), autonomy and control, social affirmation, positive social relationships, competence and a sense of recognised accomplishment. Those participating in the music activities responded more positively than those engaged in other activities. There was also no deterioration in responses in the music groups between those in the third and fourth age groups, as might have been expected with the exception of purpose in life. The interviews revealed cognitive benefits including challenge, the acquisition of new skills, a sense of achievement, and improvements in concentration and memory. Health benefits included increased vitality, improved mental health and mobility, and feelings of rejuvenation, while emotional benefits included protection against stress and depression, support following bereavement, a sense of purpose, positive feelings, confidence and opportunities for creativity. There is considerable evidence that older adults experience a myriad of psychosocial benefits from learning to play a musical instrument, even when starting to play as novices and when receiving training over relatively short-term periods (Jutras, 2006; Roulston et al., 2015). Older adults frequently cite the ensemble nature of musical activities as a motivating factor to continuing engagement in learning to play an instrument (Roulston et al., 2015). The social aspects of ensembles offer wellbeing benefits through the development of new relationships 459 14. Psychological Wellbeing and decreasing isolation. Singing and playing seem to be important to the elderly as they can enhance emotional self-regulation, emotional expression and relaxation. They help to reduce loneliness and provide experiences of togetherness, company and belonging, help to strengthen self-concept and self-understanding, and provide enjoyment, beauty, challenge and meaningful content to life. Focusing on the learning of keyboard, guitar, recorder or djembe drums—taught individually or in small groups—or creative musical activities over a ten-week period with 98 individuals over the age of 50 with no or very little prior musical experience, Perkins and Williamon (2014) concluded that engaging in such activities offered significant wellbeing benefits, particularly enhancing behaviours which promoted good health. Interviews with a subgroup of 21 participants revealed that engaging with the musical activities enhanced wellbeing through subjective experiences of pleasure, enhanced social interactions, musically nuanced engagement in day-to-day life, fulfilment of musical ambition, the ability to make music, and self-satisfaction through making musical progress. Learning to play a musical instrument may also be effective for improving fine motor skills. Sensorimotor function generally declines with age, and performance of the upper limbs in visuomotor tasks is also subject to this decrease. The tasks required in musical instrument training—employing sensory, motor and multimodal brain regions— have been shown to stimulate brain plasticity (see Chapter 3 ; Altenmuller and Schlaug, 2015; Rogenmoser et al., 2018). Piano-playing, in particular, trains both coupled movements across the fingers and individuated finger movement (Furuya and Altenmuller, 2013) but it is unclear if this type of training is useful for maintenance or improvement in the context of ageing. Preservation of domain-general fine motor skills may also benefit healthy older adults, supporting the maintenance of the skills required for numerous daily tasks involved in independent living. In a series of studies, Bugos and colleagues (2007; 2016; Bugos and Kochar, 2017) demonstrated that healthy older adults experienced significant improvements in cognitive measures, particularly trail- making tasks and digit-span tests, as a result of piano training programmes. They also showed that the intense piano training of 17 healthy community-dwelling adults aged 60 to 85 years old enhanced musical self-efficacy, although not general self-efficacy or cortisol levels. 460 The Power of Music Bugos and Cooper (2019) examined the effects of music interventions on bimanual coordination and cognitive performance in healthy older adults aged 60 to 80 years old. One hundred and thirty-five participants completed motor measures and a battery of standardised cognitive measures, before and after a 16-week music training programme with a three-hour practice requirement. Participants were allocated to either piano, fine motor training or percussion instruction, gross motor training, or music listening. There were significant enhancements in bimanual synchronisation and visual scanning working memory abilities for fine- and gross-motor training groups, as compared to listening to music. Piano training significantly improved motor synchronisation skills as compared to percussion instruction or music-listening. Reflecting on the existing research, Bugos (2014) developed a model suggesting how community music programmes and musical training could be integrated to lead to successful ageing. Similarly, Seinfeld and colleagues (2013) showed significant improvement in cognitive measures for a group of older adults involved in piano training programmes as compared to other leisure activities (for instance, exercise or painting). Thirteen participants received piano lessons and undertook daily training for four months, compared to 16 age-matched participants who acted as a control group and participated in other types of leisure activities (physical exercise, computer lessons or painting lessons). There was a significant improvement in the piano training group in relation to executive functions, inhibitory control and divided attention. There was also a trend indicating an enhancement in visual scanning and motor ability. Piano lessons also decreased depression, induced positive mood states, and improved the psychological and physical quality of life. Overall, playing the piano and learning to read music can be a useful intervention in older adults to promote cognitive reserve and improve subjective wellbeing. In an ongoing study, James and colleagues (2020) explored the outcomes of piano instruction or musical listening awareness on two sites in Hannover and Geneva with 155 retired healthy adults aged 64 to 78 years old. Participants receive weekly training for one hour over a 12-month period. The outcomes being assessed relate to cognitive and perceptual motor aptitudes, as well as structural neuroimaging and blood-sampling. MacRitchie and colleagues (2020) examined the effects of a ten-week piano training programme on healthy 461 14. Psychological Wellbeing older adult novices’ cognitive and motor skills, in comparison to an inactive waiting-list control group. Fifteen participants completed piano training, led by a music facilitator in small groups. Quantitative data from a battery of cognitive and motor tests was collected before and after training, with further post-test data from the control group. Qualitative data included weekly facilitator observations, participant practice diaries, and an individual, semi-structured, post-experiment interview. The findings demonstrated evidence of a strong positive impact of training on a trail-making test, indicating improved visuomotor skills. Moderate evidence for the negative impact of training on a different section of the trail-making test was also found, suggesting no benefit of cognitive switching. Qualitative results revealed that the group learning environment motivated participants to play in musical ensembles and to socialise. Motivation was optimal when all participants were happy with the chosen repertoire. Participants reported that they were motivated by learning to play familiar music and when the facilitator observed that groups had formed cohesive bonds. As we saw in Chapter 2 , brain plasticity is possible in adulthood and in the elderly, following relatively short-term musical training (Herdener et al., 2010; Lappe et al., 2008; 2011). Training programmes requiring intensive multisensory, cognitive and motor activities (for instance, piano lessons) can improve working memory, perceptual and motor skills, and delay age-related decline in speech perception (Parbery-Clark et al., 2011; 2012), non-verbal memory, executive processes (Hanna-Pladdy and MacKay, 2011) and dementia (Verghese et al., 2003). Supporting this, comparisons of 42 professional, 45 amateur and 38 non-musicians by Rogenmoser and colleagues (2018), using brain imaging to calculate a brain age for each participant, found that being a musician had a positive impact on brain-age scores. Musicians in general exhibited lower brain-age scores than non-musicians, suggesting a general age-decelerating effect of music-making on the brain. Further, there was a stronger age-decelerating effect in the amateur musicians, perhaps because the multisensory, motor and socioaffective experiences of musical activity enriched their lives in addition to other activities. For the professional musicians, brain plasticity may be maladaptive. The extensively rehearsed and highly specialised repetitive sensorimotor activities and stressful public performances may result in a less enriched environment and lead to negative health effects. 462 The Power of Music There has been a focus in some research on creative activities, usually song composition. For instance, Waddington-Jones and colleagues (2019) analysed video-recall interviews and questionnaires, to evaluate the impact of participation in collaborative composition workshops on the subjective and psychological wellbeing of older adults. The analysis revealed that all of the dimensions of the PERMA framework for subjective and psychological wellbeing were met. For older adults, collaborative composition encouraged social interaction with others with shared interests, increased positive affect, enhanced self-esteem and allowed older people to express themselves. Similarly, Baker and Ballantyne (2013) investigated whether group song-writing and performing affected perceptions of quality of life and feelings of connectedness in a community of retirees. Thematic analysis of data transcripts from focus groups and written questionnaires from participants and the students involved in the project indicated that the programme stimulated enjoyment, positively affected emotions and improved wellbeing. Participants experienced enhanced connection with one another, as well as with others in the broader community, and a sense of accomplishment, meaning and engagement in creating and performing their own songs. In a similar project, where professional musicians worked with a small group of older people to compose individual pieces of music, Habron and colleagues (2013) demonstrated enhanced wellbeing through facilitated control over musical materials, opportunities for creativity and the development of identity, the validation of life experiences, and social engagement with other participants and the professional musicians. The results emphasised the importance of occupation as essential to health and wellbeing in the later stages of life. Creech and colleagues (2020) focused on the role of creativity in promoting wellbeing. In a review of 23 articles, they concluded that creativity in participatory music-making was underpinned by social engagement, collaboration and inclusivity. Opportunities for creative expression offered a range of benefits relating to quality of life, including positive emotions, engagement, relationships, a sense of meaning and accomplishment. An innovative programme in rural Ontario was designed to address social isolation among older people through matching participants with trained volunteers. Both then worked together over ten sessions in their home setting to create expressive art, which may have involved 463 14. Psychological Wellbeing music. Evaluating the programme using interviews, MacLeod and colleagues (2016) found enhanced wellbeing in the older adults and the volunteers, particularly in terms of relationships, personal development and creating meaning. The impact of the intervention extended beyond the programme’s duration. In an exclusively musical programme which used similar methods, Dassa (2018) analysed 43 interviewers’ essays, documenting meetings between an interviewer and an elderly person written over four years. The mutual musicking elicited remote memories from childhood, adolescence and adulthood, and emotionally impacted both parties. Mutual musicking revealed new and unfamiliar facets of the participants. The findings suggested that creating a musical autobiography interview through a process of music and reminiscence strengthened the older person’s sense of self-identity, illuminated hidden aspects and also changed attitudes toward the elderly. Also studying the concept of reminiscence, Kruse (2021) explored the ways that older adults reminisced about music participation over the course of their lives. Six community musicians participated in the interviews and worked with a life-review tool. Two hundred and twenty-five reminiscences reflected healthy ageing and satisfaction, including self-acceptance, valuable life lessons and the reconciliation of life events, although some participants were troubled by strained parental relationships and bittersweet associations with music. Some research has focused more broadly on music-related activities: for instance, dancing. Focusing on depression in the elderly, Rummy and colleagues (2020) carried out a systematic review of 13 articles. Some studies used individual therapy, while others combined music therapy with other activities such as singing, dancing and lyric-writing. The time spent varied from two weeks to six months, with one or two sessions weekly, each with a duration of 30 to 60 minutes. They concluded that music therapy was effective in reducing depression. Also studying the impact of music indirectly through dance, Murrock and Graor (2016) found that the 16 disadvantaged adult participants who completed a 12-week dance intervention developed a sense of belonging and group identity, which may have maintained group involvement and contributed to reducing depression and social isolation. There has been some interest in the way that music technology might support wellbeing in the older generation. For instance, Engelbrecht 464 The Power of Music and Shoemark (2015) carried out a mixed-method feasibility study investigating the acceptability and efficacy of using iPads compared to traditional musical instruments with older adults living privately in the community. Five women aged 71 to 96 years of age were recruited from a community-based day-respite centre in Brisbane, Australia. Participants were randomly assigned to either a traditional musical instrument or an iPad group, and engaged in five sessions of activity- based music therapy. Participants completed journal entries following each session to detail their experiences, and were assessed for levels of perceived social isolation and global self-esteem before and after the intervention. The use of iPads was acceptable to the group. Learning was central to all sessions, but there were differences in mood outcomes and emotional communications. Playing on an iPad resulted in greater creativity and freedom. There were no significant differences in social isolation or self-esteem between groups or over time. Both iPad and traditional instrument interventions developed social cohesion group identity and positive self-concept. Overall, the findings showed that technology can be an acceptable and potentially successful tool for use in music therapy with older people living in the community. Creech (2019) supported these findings in a literature review of the intersection between music, technology and ageing. Of the 144 papers screened, 18 were retained. Ten focused on using technology to support musicking in the form of listening, reflecting and interpreting, while five explored the utility of technology in promoting singing or playing instruments, and a further three were focused on music and movement. Overall, the literature suggested that older people, even those with complex needs, were capable of and interested in using music technologies to access and create personally meaningful music. Similarly, Poscia and colleagues (2018) reviewed the effectiveness of existing interventions for alleviating loneliness and social isolation among older people. The findings from 15 quantitative and five qualitative studies suggested that new technologies and community-engaged arts might be able to tackle social isolation and loneliness among older individuals. While the wellbeing of older people is important, it is also important to consider the wellbeing of those caring for them. Considering the role of carers and their patients, Ascenso and colleagues (2018) studied 39 participants in a series of community drumming programmes. The 465 14. Psychological Wellbeing outcomes were assessed through semi-structured interviews and focus groups at the end of each programme. Emotional, psychological and social dimensions of wellbeing emerged for both patients and carers. Music, Wellbeing and the COVID-19 Pandemic There have been a number of research projects which have considered the role of music in offering support to people during the COVID-19 pandemic. One strand of research has explored the use of music in families during lockdowns. For instance, in the USA, Cho and Ilari (2021) studied how parents with young children used recorded music in their everyday lives during the pandemic. Nineteen mothers of children aged 18 months to five years strategically managed the sonic home environment over a period of one week, based on resources provided by the researchers in response to their children’s mood and state. A total of 197 episodes were collected of children’s engagement with recorded music. The findings showed that, while mothers utilised music to fulfil various emotional needs, they tended to use it most to maintain or reinforce their child’s positive mood, rather than to improve a negative mood. Mothers reported various ways that their young children engaged with music and stated that their strategic approaches to using recorded music seemed to help their children feel less distressed and more happy, thus reducing the stresses of parenting. Similarly, in the USA and Canada, Steinberg and colleagues (2021) utilised an online questionnaire to assess the use of music in the homes of young children and their parents, and its relationship with parents’ attachment to their child. Musical activity was high for both parents and children. Parents reported using music for emotional regulation and to socially connect with their children. The extent of parent-child musical engagement was associated with attachment. Overall, music may be an effective tool for building and maintaining parent-child relationships during a period of uncertainty and change. In Brazil, Ribeiro and colleagues (2021) explored how social distancing during the COVID-19 pandemic altered families’ music-related behaviours with children aged three to six years old, as well as caregivers’ levels of wellbeing and stress. One hundred and eighty-eight caregivers participated in an online survey which showed significant changes in families’ dynamics: parents, 466 The Power of Music especially mothers, spent more time in childcare, with a substantial decrease in caregivers’ wellbeing. There were changes in caregivers’ and children’s musical activities at home during social distancing, including an increase in child-only and shared caregiver-child musical activities. Sociodemographic factors and the child’s disability status significantly influenced musical engagement. Through a transhistorical comparison of the musical activities of the Milanese during an outbreak of plague in 1576 and the musical activities observed during the COVID lockdowns in 2020 (including balcony- singing and playlist-making), Chiu (2020) discussed how music fulfils its functions of mood regulation and social cohesion in times of pandemic and social isolation. There is much evidence from the internet and news outlets of the important role that music, communicated through social media, has played in supporting people during the COVID-19 pandemic. A number of research projects have also been undertaken, typically through the use of online questionnaires. For instance, Granot and colleagues (2021) administered an online questionnaire in 11 countries: Argentina, Brazil, China, Colombia, Italy, Mexico, the Netherlands, Norway, Spain, the UK and the USA. They received 5,619 responses. Participants rated the relevance of wellbeing goals during the pandemic, and the effectiveness of different activities in obtaining these goals: enjoyment, venting negative emotions and self-connection. For diversion, music was as effective as entertainment, while it was second best in creating a sense of togetherness, after socialisation. This was evident across different countries and genders, with minor effects of age on specific goals, and a clear effect of the importance of music in people’s lives. Cultural effects were generally small and occurred mainly in the use of music to obtain a sense of togetherness. Culture moderated the use of negatively-valenced and nostalgic music for those with higher levels of distress. Carlson and colleagues (2021) also used an online survey with a Likert scale and free-text responses, to establish how participants were engaging with music during the first wave of the pandemic. The findings showed that the extent of music-listening behaviours were either unaffected or increased. This was especially true of listening to self-selected music and watching live-streamed concerts. There was a relationship between participants’ use of music for mood regulation, 467 14. Psychological Wellbeing their musical engagement, and their levels of anxiety and worry. A small number of participants described having negative emotional responses to music, the majority of whom also reported severe levels of anxiety. In Spain, also using an online survey disseminated to the general population and groups of musicians, Martinez-Castilla and colleagues (2021) analysed the impact of personal and contextual factors on the perceived efficacy of musical behaviours in fulfilling wellbeing-related goals during lockdown. Responses were received from 507 people. Personal factors had an impact on music’s efficacy, but not contextual variables related to COVID-19 itself. The youngest respondents and those with musical training reported the highest efficacy of music for enhancing wellbeing, but overall, music’s importance was the main predictor of its perceived efficacy. People who were emotionally more vulnerable during lockdown, due to either a strong impact on their daily lives or lower resilience, perceived greater benefits from engagement with music. In Brazil, also using an online questionnaire, Ribeiro and colleagues (2021) explored how music was used during lockdowns and whether it helped individuals, especially those with severe depression. Nearly 500 people aged 18 and over responded. Four types of music-listening functions were identified: negative mood management, cognitive functioning, positive mood management and physical involvement. Those with severe depression were more likely to use music for each of these functions—in particular, to manage negative moods. Most respondents used music-listening to cope with and regulate their moods. Again, using an online questionnaire, Gibbs and Egermann (2021) explored the nature of music-induced nostalgia. Five hundred and seventy participants listened to a self-selected piece of music designed to induce nostalgia, which they had listened to three months prior to lockdown. They reported the emotions and the memories induced. There were significant differences in the affective and narrative content of nostalgic music-listening in relation to which emotional regulation strategy was used. Employing nostalgic music- listening as a form of approaching difficult emotions was shown to have a positive impact on wellbeing. In Italy, Corvo and De Caro (2020) studied spontaneous singing during the COVID-19 pandemic. Overall the Italians spent a great deal of time in lockdown. From a mental wellbeing point of view, it 468 The Power of Music was difficult to adapt to internment and movement controls. The lack of freedom and opportunities to meet with friends and relatives had a serious impact on wellbeing. Almost immediately after the first lockdown began, the silence in Italian cities was broken by singing. It was carried out in various ways. In some places, quite recent songs with a strong emotional impact were sung, while in others, old songs strongly connected to Italian culture (such as the national anthem) were chosen. The balconies and windows in the streets of the cities were animated with people of all ages enjoying these moments of social cohesion and emotional exchange. Videos were made instinctively and shared through social media by individuals, showing moments of strong union, in which the sense of loneliness was (to some extent) forgotten. These singing networks were completely spontaneous and showed singing used as a coping strategy and to improve the sense of cohesion. The songs chosen reflected individuals’ identities and helped avoid feelings of loneliness and enhance mood. After two or three weeks, the number of people singing reduced, but revived later. Music clearly provided a means of demonstrating social solidarity which helped communities in a time of crisis. Similarly, Calvo and Bejarano (2020) reported on music in Spain during the crisis, where during the first weekend of confinement, a growing number of individuals started to play music after the collective applause to express gratitude towards health workers and doctors. This involved professional musicians but also many amateurs. Performances were posted on social media. Singalongs, balcony to balcony, classical music duos or serenading with traditional instruments expressed a social message that transcended the quality of the music performed. They set up a database of 150 individuals who had played or sung on their balconies at least twice. They identified performers in places with strong regional identities, such as Galicia or the Basque Country, and also with strong traditions of band music, such as Valencia. They also undertook 51 telephone interviews. They asked about confinement, why people played, the selection of repertoire and how neighbours reacted. In many cases, performers reacted to informal or formal petitions to sing or play by close relatives, next-door neighbours, or even by brass bands and orchestras. A professional association of music teachers set up an online challenge which invited music teachers to simultaneously play a different score each day. Music teachers spoke about these challenges 469 14. Psychological Wellbeing as a very persuasive reason to keep on playing, perhaps through fear of breaking relationships of trust and respect with peers in their profession. Despite differences in professional background, respondents quoted personal reasons for playing from balconies. They talked about the need to provide a break to the tedious life of confinement. Musicking provided children with activities and gave students a reason to continue practising. Local media reported that a music teacher organised balcony-to-balcony study sessions of txistu—a traditional instrument popular in the Basque Country that resembles a flute—with students who happened to live nearby. The dominant theme emerging from the data was the need to create bonds with neighbours and also to help others. Professional musicians saw this as their duty as artists. In other cases, performers simply wanted to do something for other people. A further theme was the presentation of music as a stress reliever, a way to cope with anxiety, loneliness and the pain associated with not being able to meet loved ones. Many musicians started playing on March 19th, Father’s Day in Spain, as a way to express love and affection. Musicking helped with the celebration of birthdays in an interesting process where private rituals became a vehicle to connect with neighbours. Helping others was the most common expression. Performers wanted to cheer up people hospitalised in nearby mental health centres, to remind senior neighbours that there was someone out there and to cheer children up. The realisation that music had the potential to do good transformed what was meant as a one-off act into a daily routine. Also in Spain, Cabedo-Mas and colleagues (2021) carried out a survey on the use of music during the pandemic. A total of 1868 Spanish citizens responded. The findings indicated that, during lockdown, respondents perceived an increase in the time they devoted to musical activities such as listening, singing, dancing or playing an instrument. They also reported using music to cope with the lockdown, finding that it helped them to relax, escape, raise their mood or keep them company. The findings suggested an improvement in their perception of the value of music in personal and social wellbeing during the lockdown, although there were significant differences in the use and perceptions of music according to respondents’ personal situations. Age and feelings of vulnerability may have led to more conservative uses of musical practice and to more moderate perceptions of the positive values of music. 470 The Power of Music Cabedo-Mas and colleagues also pointed out the importance of playlists during isolation because of their social functions. As more and more countries entered lockdown, Spotify reported on March 30th an increase in collaborative playlist-making, which allowed people to connect over shared music and have virtual jam sessions together. In the same media release, Spotify also noted that their users were sharing more content on their social networks than usual, so friends and followers would know what they were doing. One group of songs that saw spikes in streaming figures were those used in balcony performances, the recordings of which circulated widely on social media. According to the March 20th report by Spotify, streams of two of the songs sung by Italian flash mobs Abbracciame and Azzurro had increased over 700 percent. In Spain, streams of the song Resistiré increased by over 400 percent. ‘ Abbracciame’ (‘Embrace Me’) by Andrea Sannino first released in 2015, has since earned the gold certification by Federazione Industria Musicale Italiana in 2020, with 35,000 copies sold. At that time, it had received over 41 million views on YouTube and seven million streams on Spotify. Undoubtedly, balcony-singing had an immense impact on musical culture during the lockdowns and will remain, for many, one of the musical practices indelibly associated with that period. During lockdowns, participants in musical activities such as flash mobs or online ensembles, as well as their spectators, frequently reported the alleviation of stress and the feeling of connectedness as a result of their musical engagement. Erica Marino was a participant in one of the earliest balcony flash mobs in Benevento, the video of which went viral in early March (Cozzolino, 2020). When asked about the messages flooding in from all over Italy after the video of the music- making was widely shared on social media, Marino reported that viewers expressed gratitude because they perceived a message of hope and positivity from viewing it, as most social networks only contained devastating news. Balcony-singing has deep roots in Italy. In 1576, when the Milanese plague grew more deadly and public processions came to an end, Borromeo relocated the ritual inside private homes, decreeing that church bells across the city were to be rung seven times a day and, while the bell was rung, litanies or supplications were to be sung or recited at the direction of the bishop. This was to be performed in such a way that one group sang from the windows or the doors of their homes, 471 14. Psychological Wellbeing and then another group sang and responded in turn. COVID-19 seems to have revived this tradition. Mak and colleagues (2021) collected data from 19,384 participants participating in the UK COVID-19 social study at University College London to investigate who engaged with the arts at home during lockdown, how this engagement differed from patterns of arts engagement prior to COVID-19, and whether home- based arts engagement was related to people’s ability to cope with their emotions during lockdown. Demographic factors, socioeconomic status, psychosocial wellbeing, health conditions, adverse events, worries and coping styles were considered. Four types of home-based arts engagement were identified: digital arts and writing, musical activities, crafts and reading for pleasure. The strongest predictors of engagement were age, educational attainment, social support, and emotion-focused or supportive coping styles. Younger adults aged 18 to 29, non-key workers, people with greater social support, people who had lost work, those who were worried about catching the virus, and those with an emotion-focused, problem-focused or supportive coping style were more likely to have increased arts engagement during lockdown. Arts activities were used as approach and avoidance strategies to help cope with emotions, as well as to help improve self-development. Overall, the findings suggested that, while some people who engaged in the arts during the pandemic were those who typically engaged under normal circumstances, the pandemic created new incentives and opportunities for others to engage virtually. The research also highlighted the value of the arts as coping tools during stressful situations. Some research has explored how online music-making has developed as a result of the lack of opportunities for live music-making during the pandemic. For instance, MacDonald and colleagues (2021) studied the Glasgow Improvisers Orchestra’s virtual, synchronous improvisation sessions through interviews with 29 participants. Sessions included an international, gender-balanced and cross-generational group of over 70 musicians, all of whom were living under conditions of social distancing. The sessions were recorded using Zoom. The findings showed that the sessions provided opportunities for artistic development, enhanced mood, reduced feelings of isolation, and sustained and developed community. Improvisation facilitated interaction and also allowed the technological affordances of software and hardware to become part 472 The Power of Music of the artistic collaboration. The domestic environment merged with the technology to create what the authors described as ‘The Theatre of Home’. Similarly, Daffern and colleagues (2021) studied virtual choirs in the UK through an online survey of 3,948 choir members and facilitators. The findings showed that three virtual choir models were employed: multi-track, whereby individuals recorded a solo which was mixed into a choral soundtrack; live-streamed, where individuals took part in sessions streamed live over social media; and live teleconferencing, for spoken interaction and or singing using teleconferencing software. Responses to open questions revealed several issues, including the practicalities of participation, the continuation of the choir, the responsibility of maintaining the choir, how the choir contributed to a sense of wellbeing, and social aspects reflecting a sense of community and social identity. Musical elements were also reported, particularly how the value of the musical experience changed with the virtual models, the possibility of co-creation through singing, but also a sense of loss of singing together in real time. Sacred Harp singers from all over the world gather weekly to sing a collection of shape-note songs first published in 1844, The Sacred Harp (Morgan-Ellis, 2021). This tradition is highly ritualised, and plays an important role in the lives of participants. As lockdowns were implemented, groups of Sacred Harp singers independently devised a variety of means by which they could sing together online using Zoom, zinging, Jamulus, jamzinging, and Facebook Live stringing. These developments were undertaken rapidly and creatively, indicating the importance participants attached to singing. Twenty-two interviews were conducted with participants and revealed that online singing practices had reshaped the Sacred Harp community. Many singers who previously did not have the opportunity to participate now did so, while others lost access. As geographical barriers disintegrated, singing organisers had to find ways to maintain local identity. The online community of singers in the digital realm was stable but not identical to the community that predated the pandemic. Online singing was meaningful to participants, and provided continuity in their personal and communal practice. It allowed participants to access and celebrate their collective memories of the Sacred Harp community, carry out significant rituals and continue to grow as singers. No single modality replicated the complete Sacred 473 14. Psychological Wellbeing Harp singing experience, but each allowed individual participants to access many aspects that were most meaningful to them. Also focusing on communal singing, Dowson and colleagues (2021) studied the impact of the pandemic on existing dementia singing groups and choirs. Over 50 examples of online musical activities were identified. Sessions had to be adapted to the limitations of the technology rather than technological difficulties being overcome. Accessibility, digital safety and the wellbeing of participants were important considerations, but overall the pandemic prompted innovative approaches to delivering activities and interventions. People with dementia and their carers adapted rapidly to the changes. Online music met a clear need for social connection and cognitive stimulation. It also offered some advantages which will remain even when COVID-19 restrictions are relaxed. In a cross-sectional survey of 257 adults who participated in instrumental, singing or dance groups, Draper and Dingle (2021) explored the impact of face-to-face versus virtual music-making during the pandemic. Participants rated the extent of their group identification and the extent to which their psychological need satisfaction was met retrospectively for their music group in face-to-face mode, and then in adapted online mode, along with their mental health. The findings showed that instrumental groups were less commonly adapted to virtual mode than singing and dance groups. Group identification and average psychological need satisfaction scores were significantly lower for groups in virtual mode than in face-to-face mode. However, group identification and psychological need satisfaction remained high, which suggests that virtual music groups may be beneficial when face-to-face music-making is not possible. As concerts have been recorded rather than live during the pandemic, Belfi and Colleagues (2021) investigated differences in aesthetic judgments of live as opposed to recorded concerts, and whether these responses varied based on congruence between the musical artist and the piece. Thirty-two individuals made continuous ratings of the pleasure that they experienced during a live concert or while viewing an audiovisual recorded version of the same concert given by a university band and a United States army band. Each band played two pieces: a United States patriotic composition and a non- patriotic one. The findings showed that, on average, participants reported more pleasure 474 The Power of Music while listening to pieces that were congruent with the band playing them ( patriotic for the army band and non- patriotic for the university band). These findings did not change whether the performance was live or recorded. It seems that virtual concerts are a reasonable way to elicit pleasure from audiences when live performances are not possible. Focusing on the use of collaborative playlists, during the pandemic Harris and Cross (2021) developed an experimental procedure to study whether the perceived presence of a partner during playlist-making could elicit the observable correlates of social processing. Preliminary findings suggested that, for younger individuals, some of the social processes involved in joint music-making were elicited even by an assumption of a virtual co-presence. One strand of research has focused on the way that undergraduates used music during the pandemic. Hurwitz and Krumhansi (2021) discussed the concept of listening-niche referrals to the contexts in which people listen to music, including the music they are listening to, with whom, when, where and with what media. They investigated undergraduate students’ music-listening niches in the initial COVID- 19 lockdown period, four weeks immediately after the campus shut down, and then when returning for a hybrid semester. Participants provided a list of their most frequently listened to songs and identified one that seemed most associated with that time period and why it was relevant. Three clusters of themes emerged from the data: emotional responses, memory associations and discovery of new music. Overall, the pandemic led to more frequent listening in general and on Spotify, with no differences between lockdown and the new normal. Listening companions shifted from family members to significant others, and finally to other friends and roommates. Overall, the implementation of strategies to manage COVID-19 increased listening and changed its context. Vidas and colleagues (2021) surveyed 402 first-year Australian university students, domestic and international, to examine the effectiveness of music-listening during COVID-19. Songs that participants were asked to nominate as helping them to cope with pandemic stress tended to be negative in mood. Listening to music was among the most effective coping strategies, and was as effective as exercise, sleep and changing location. Its effectiveness was related to enhanced wellbeing 475 14. Psychological Wellbeing but not specifically to the level of stress caused by the pandemic. International students experienced higher pandemic stress levels, but similar levels of wellbeing to domestic students. Overall, listening to music remained an effective strategy for maintaining wellbeing. Also in Australia, Krause and colleagues (2021) assessed students’ media use throughout the early stages of the COVID-19 pandemic and determined whether media use was related to changes in life satisfaction. One hundred and twenty-seven participants were asked to complete online questionnaires, capturing pre- and during-pandemic experiences. The findings indicated that media use varied substantially throughout the study period, and at the within-person level. Life satisfaction was positively associated with listening to music and negatively with watching TV , videos or movies. The findings highlighted the potential benefits of listening to music during periods of social isolation. The Impact of the Pandemic on Music Professionals A further strand of research has focused on the ways that musicians have coped during the pandemic. For instance, Onderdijk and colleagues (2021) collected responses from 234 musicians in Belgium or the Netherlands. The findings showed a decrease of 79 percent of live music-making in social settings during lockdown and an increase of 264 percent for online joint music-making. Respondents depending on music-making as their main source of income explored online methods significantly more than those relying on other income sources. Most respondents were largely or even completely unaccustomed to using specialised platforms for online joint music-making, and mainly used video conferencing platforms such as Zoom and Skype when playing together virtually. These were not often employed for synchronised playing and were generally reported to be unable to deal with latency issues. There was an increase of 93 percent in the use of alternative remote joint music-making methods—for instance, recording parts separately and subsequently circulating these digital recordings. In the UK, Spiro and colleagues (2021) collected data from 385 performing-arts professionals. The pandemic led to a substantial reduction in work and income, leading 53 percent to report financial hardship. Eighty-five percent reported increased anxiety and 63 percent 476 The Power of Music being lonelier than before the crisis. While 61 percent sought financial support, only 45 percent asked for support for health and wellbeing. Perceived financial hardship was associated with lower wellbeing and higher depression and loneliness scores. There were positive associations between self-rated health and wellbeing and lower depression scores. Responses to open questions identified several overarching themes characterising the effects of lockdown: • loss of work and income, financial concerns, and uncertainties for the future; • the constraints of lockdown working, including challenges of working at home, struggles with online work and skill maintenance, and caring responsibilities; • loss and vulnerability, including reduced social connections, lack of support, feelings of loss and grief, and concern for others; • detrimental effects on health and wellbeing, including anxiety, low or unstable mood, poorer physical health and lack of motivation; and • professional and personal opportunities, including coping well or living more healthily, more time and less pressure, new possibilities and activities, enhanced social connections and new skills. Overall, lockdown had profound negative effects on performing-arts professionals, but also presented some opportunities. Also in the UK, Cohen and Ginsborg (2021) studied the impact of COVID-19 on professional freelance musicians, comparing those in the middle of their performing careers (aged 35 to 45) with older players (aged 53 and over). Semi-structured interviews were carried out over Zoom with 24 freelance, self-employed orchestral musicians. Thematic analysis identified common issues: the loss of a much-loved performing career, missing music-making and colleagues, and anxiety about the future of the music profession —although there were differences in relation to identity as a musician, the extent of anxiety about finance, the extent of emotional distress, attitudes toward practising and engaging in collaborative music-making, and confusion over future career 477 14. Psychological Wellbeing plans. Music students seemed to be less affected by the pandemic than professional musicians and showed no significant differences in satisfaction with life, studying or the impact of the pandemic when compared with students studying sports (Habe and colleagues, 2021). Focusing on music teachers in Australia, De Bruin (2021) studied how COVID-19 impacted on the way they taught, engaged and interacted with students across online platforms. The findings from interviews showed that the adopted teaching approaches fostered connection, empathy and relationship-building, guiding students in slower and deeper learner-centred approaches, using pedagogical practices that reinforced and promoted interpersonal connectedness in and through musical experience and discovery. The COVID-19 pandemic has impacted on the way that music therapists across the world have undertaken their work, particularly in relation to the use of technology (Agres et al., 2021). Cole and colleagues (2021) investigated the transition of neurological music therapy services from in-person to telehealth. An online survey was distributed to neurological music therapy affiliates worldwide. Sixty-nine therapists fully participated in the survey. The findings showed that there was no change in the overall number of clinical hours retained over telehealth, and there was an association between more frequent telehealth usage and the perceived likelihood of using telehealth in the future. All types of therapy transferred to telehealth, although there were some specific implementation changes. Overall, therapists spent fewer hours working with telehealth compared to in-person therapy, regardless of the employment setting. Technological challenges were drawbacks, but major benefits included the ability to continue providing therapy when in-person sessions were not possible, increased accessibility for remote clients, and positive outcomes relating to increased caregiver involvement. Overview The evidence set out in this and previous chapters shows clearly that music can benefit the hedonic (feeling good) and eudaimonic (functioning well) components of wellbeing throughout the lifespan, although it has particular impact in adolescence and older age. Overall, 478 The Power of Music there are many possible benefits to wellbeing and physical health from engaging with music, either through listening to or actively making music. These benefits occur through the impact of music on arousal levels, moods and emotions, the social aspects of group music-making, its role in personal development, and in some cases, directly through music therapy. For the benefits of listening to be realised, the listener needs to like the music. Music imposed by others, if not to an individuals’ taste, can create tension and distress. For those prone to depression, engaging deeply with music which is sad or focuses on negative life experiences, particularly when shared with others, can have negative effects. For the social and personal benefits of making music to be realised, the quality of the interpersonal interactions between participants and those facilitating the musical activities is crucial. The quality of the teaching, the extent to which individuals are successful, and whether overall it is a positive experience contribute to whether there are positive outcomes. If the musical experience is negative in any respect, any possible positive effects will be marginal or non-existent. The way that music has been used in the COVID-19 pandemic illustrates clearly how important it is in people’s lives and the extent to which it can support wellbeing in a myriad of ways in stressful situations. Ongoing technological advances continue to make listening to or making music more accessible to a greater number of people, providing more opportunities for promoting wellbeing.15. Music and Physical and Mental Health There is increasing evidence suggesting that mind-body interactions play an important role in good physical health. Psychological factors play a causal role in the onset, course and speed of recovery in many illnesses, and non-medical interventions can sometimes be as effective as medical ones (Pelletier, 1992). Emotions impact on health and can play a role in clinical outcomes (Yael et al., 2000). They may also indirectly influence health-related behaviours (Diefenbach et al., 2008). Trudel-Fitzgerald and colleagues (2019) suggest that psychological wellbeing is associated with lower disease and mortality risk, while Diržytė and Perminas (2021) studied 1001 healthy and unhealthy Lithuanian adults, and showed that those who were physically healthy had significantly higher scores on measures of wellbeing. This does not unequivocally demonstrate causality, although overall, there is strong evidence that positive emotions are associated with better health and health behaviours. The role of stress in ill health has increasingly been acknowledged. From an evolutionary perspective, the capacity to respond to environmental threats is important for survival. In mammals, responses to threats include changes in the delivery of oxygen and glucose to the heart and the large skeletal muscles, providing physiological support for fight or flight. Each of these carries the risk of injury and subsequent infection, so immune system responses may also be included in adaptive responses to help prevent infections from taking hold. While such threats are rare in the modern world, the human physiological system continues to respond in the same way. Threats that do not require physical action (for instance, work pressures) can still have physical consequences, including changes in the immune system. Segerstrom and Miller (2004) © 2022 S. Hallam & E. Himonides, CC BY-NC-ND 4.0 https://doi.org/10.11647/ OBP .0292.15480 The Power of Music reviewed hundreds of studies and demonstrated that psychological challenges could modify immune responses. They found that acute stressors lasting for minutes were associated with changes in immunity. Brief naturalistic stressors (for instance, taking an examination) tended to suppress cellular immunity while preserving humoral immunity, while chronic stressors are associated with the suppression of cellular and humoral immunity. Picard and McEwen (2018) proposed that chronic psychological stress induces metabolic and neuroendocrine mediators that cause structural and functional changes in mitochondria, leading to mitochondrial allostatic load which, in turn, affects the brain, endocrine and immune systems. These play a role in psychosomatic processes, suggesting shared underlying mechanisms. Many health problems occur as a result of long-term stress, including depression, cancer, anger and cardiovascular disease (Davidson et al., 2003, Steptoe et al., 2001). Mroczek and colleagues (2015), in a diary study with 181 men aged 58 to 88 years old, showed that a decrease in positive emotions in response to daily stressors increased the risk of mortality. The Role of Music in Psychological and Physical Health For many years, research has focused on trying to understand how and to what extent music can impact physical health (MacDonald et al., 2012). As we saw in Chapter 14 , the impact of music on psychological wellbeing and subsequently good health is largely, although not exclusively, through the emotions it evokes (Juslin and Sloboda, 2010). Music stimulates the cortical and subcortical neural networks in the brain which are associated with activity in the autonomic nervous system (Panksepp and Bernatzky, 2002). Responses related to emotion include changes in dopamine, serotonin, cortisol, endorphin and oxytocin levels (van Eck et al., 1996). These can all affect physical health. Evidence from observational and experimental animal studies supports this (Kubzansky, 2009). The physiological effects of music include changes in heart rate, respiration, blood pressure, skin conductivity, skin temperature, muscle tension and various biochemical responses (Kreutz and Lotze, 2008). Finn and Fancourt (2018), in a review, found that listening to music mainly displayed effects through stress responses, irrespective of musical genre, self-selection of music or duration of 481 15. Music and Physical and Mental Health listening. Also in a review, Chanda and Levitin (2013) showed that music improved health and wellbeing through the engagement of the neurochemical systems for reward, motivation, pleasure, stress and arousal, immunity and social affiliation. Neuroscientific and clinical studies of music in the recent past have substantially increased our understanding of how music supports therapy. Music is able to influence complex neurobiological processes in the brain and, through this, can play an important role in therapy (Lin et al., 2011). Altenmüller and Schlaug (2015) argue that the power of music to support mental and physical health lies in its potential to support and facilitate neurorehabilitation. They point out that music provides emotional, sensorimotor and cognitive experiences involving listening, watching, feeling, moving, coordinating, remembering and expecting musical elements. It is frequently accompanied by strong emotions which in themselves can lead to physical reactions: for instance, tears in the eyes or shivers down the spine. A large number of cortical and subcortical regions of the brain are involved in all musical activities (Altenmüller and McPherson, 2007; Tramo, 2001). Primary and secondary regions in the cerebral cortex are involved in all sensory perception including music, but music also impacts on multisensory and motor integration in the frontal, parietal and temporo- occipital brain regions. The frontal lobe is involved in controlling attention, planning and motor preparation, in integrating auditory and motor information, and in imitation and empathy. The multisensory integration regions in the parietal lobe and temporo- occipital areas integrate sensory inputs from auditory, visual and somatosensory systems into a combined sensory impression. The multisensory brain activation of these different systems is typical when we engage with music through listening to it or actively making it. The cerebellum is important in motor coordination and tasks which require timing. It is activated during the processing of rhythm or keeping time rhythmically—for instance, in tapping in time with an external stimulus. In addition, the emotional network in the brain (which includes the cingulate gyrus and the older parts of the brain such as the amygdala, hippocampus and midbrain) is crucial to the way that music is perceived emotionally and, subsequently, leading to motivation to engage with music. As we have seen in earlier chapters, engaging in musical activities changes the brain. This has 482 The Power of Music contributed to demonstrating the extent of neural plasticity (Bangert and Altenmuller, 2003; Hyde et al., 2009; Wan and Schlaug, 2010). As a result of this plasticity, music can assist in restoring damaged sensorimotor brain networks, and have an impact on neurohormonal status and cognitive and emotional processes. Overall, a wide range of sensorimotor, coordination and emotional problems can be improved with therapy that includes music. Overall, music has many functions, roles, and psychological and physical applications. Participating in making music can help to overcome issues relating to lung function, language, mobility and fine motor coordination. Music can help to decrease anxiety, enhance the immune system and alleviate depression (Schäfer and colleagues, 2013). It can offer support to those with a range of clinical problems, from Alzheimer’s disease to those on the autism spectrum. Yap and colleagues (2017), in a review of 4,198 studies on the impact of drumming and percussion music in promoting personal and interpersonal wellbeing, found benefits for physical, psychological and social health. Perceived health benefits identified by those singing in choirs include stress reduction, therapeutic benefit in relation to long- standing psychological and social problems, and the exercising of the body through the physical exertion involved (especially the lungs) and the disciplining of the skeletal-muscular system through the adoption of good posture (Clift, 2012). Although the healing powers of music have been acknowledged for centuries, it was only after the 2nd World War that the American Services recognised the power of music as capable of helping those with physical and psychological injuries. This represented a major shift in the relationship between music and medicine, and led to the development of modern music therapy (Rorke, 1996). Since then, music therapists have worked with a wide range of people across the lifespan, and have developed many different strategies to support health and wellbeing. As we have seen, listening to and making music engages multisensory and motor networks in the brain, inducing change and fostering links between them. These functions, alongside the ability of music to tap into human emotion and reward systems, can be used to facilitate and enhance therapeutic approaches which support the rehabilitation and restoration of neurological functions and other neurological disorders (Altenmüller and Schlaug, 2015). Music therapy contributes to the 483 15. Music and Physical and Mental Health treatment of a range of long-term psychiatric conditions including anxiety, schizophrenia, sleep disorders, depression and dementia (Boss et al., 2015; Wang and Agius, 2018). Kamioka and colleagues (2014) summarised evidence from 21 studies, including those focused on mental and behavioural disorders and diseases of the nervous, respiratory, endocrine, nutritional, metabolic and circulatory systems, as well as pregnancy, childbirth and the puerperium, while Stige and colleagues (2010) focused on how music helped those struggling with illness, disability, social and cultural disadvantage, or injustice. Clinical studies have shown that music therapy can be used to treat depression, autism, schizophrenia and dementia, as well as problems of agitation, anxiety, sleeplessness and substance misuse. It can also delay age- related decline in speech perception (Parbery-Clark et al., 2011), non- verbal memory and executive processes (Hanna-Pladdy and MacKay, 2011). Detailed examples of music therapy research will be presented later in the chapter. Recently, there have been developments in what has become known as ‘music medicine’, where music is used to promote good health and support patients, particularly in reducing anxiety and pain. Performing- arts medicine has a similar focus, with musicians going into hospitals to entertain and engage patients of all ages in music-making to promote their recovery and psychological wellbeing following treatment. As we saw in Chapter 14 , there has been considerable interest in the way that music can promote wellbeing in everyday life, through listening to or actively making music. The boundaries between these different areas of work have become blurred and continue to change over time. For instance, work with Alzheimer sufferers in care homes was initiated by music therapists, but as its effectiveness was demonstrated and its practice spread, it has tended to be delivered by community musicians. They differ in the way that they apply music in therapy, perhaps including musical composition, discussion of song lyrics or participation in joint singing or musical games. There is no consensus as to which specific approaches are more effective. Listening is the one constant among all applications. This suggests that music itself is therapeutic. Music has been used in a range of medical contexts (Le Roux et al., 2007; Spintge, 2012). Listening to music can reduce the amount of sedative drugs required in hospital (Conrad et al., 2007) and support 484 The Power of Music recovery after surgery, in particular reducing the need for pain medication (Nelson et al., 2017; Vollert et al., 2003), in some cases by up to 50 percent (Spintge 2012; Spintge and Droh, 1992). This is particularly the case when patients select the music themselves (Mitchell and McDonald, 2006a; 2006b; 2012). Music can support improvement in speech impairment following strokes (Kaser et al., 2017), support the rehabilitation of motor movements in a range of conditions, and improve the quality, range and speed of movement. There are benefits for stroke patients (Särkämö et al., 2008) and those with neurodegenerative disorders, such as Parkinson’s disease and dementia (Spaulding et al., 2013; Verghese et al., 2003). Detailed examples of research in medical contexts will be presented later in this chapter. Music, Stress and the Immune System Stress is a major worldwide health issue leading to exhaustion, burnout, anxiety, a weak immune system and possibly organ damage. Creative- arts interventions, including those based on musical activities, have been suggested as ways to prevent stress and improve its management. In a review of 37 studies on creative-arts interventions, Martin and colleagues (2018) concluded that they were relatively effective in reducing stress. Kreutz and colleagues (2012) developed a psychoneuroendocrine approach to explore how musical activity was related to psychological and physical health, using cortisol levels as a psychophysiological measure of stress. Listening to particular types of music has been shown to lead to significant reductions in cortisol, including classical choral (Kreutz et al., 2004), meditative (Möckel, 1994) and folk music (Fukui and Yamashita, 2003). However, not all music has this effect. Significant increases in cortisol have been noted in listeners exposed to technomusic, along with increased heart rate, systolic blood pressure and emotional state (Gerra et al., 1998). Increases in cortisol have also been found in those listening to upbeat pop and rock music (Brownley et al., 1995). Singing and other participatory musical activities can bring about positive changes in cortisol levels. Beck and colleagues (2000) observed decreases of cortisol of 30 percent on average in members of a professional choir during a rehearsal, although there was a 37 percent increase during a performance. In an experimental study, Bittman and 485 15. Music and Physical and Mental Health colleagues (2005) exposed participants to a one-hour stress-induced protocol, followed by a novel recreational music-making programme which successfully modulated stress. Music also has an effect on cortisol levels in the context of tango dancing. Murcia and colleagues (2009) observed that the presence of music during dance led to decreases in cortisol levels, although there was no impact on the presence or absence of a dance partner. Keeler (2015) explored the neurochemistry and social flow of group singing in four participants from a vocal jazz ensemble, who sang together in two separate performances: one pre- composed, the other improvised. Group singing reduced stress and arousal, and induced social flow in both conditions. Some research has focused on the impact of music on the immune system. Making and listening to music can have a positive impact on the immune system (Chida et al., 2008; Wilkinson and Marmot, 2003). To assess immunity, samples of secretory immunoglobulin A in saliva are measured. This is used as an indicator of the local immune system in the upper respiratory tract, the first line of defence against bacterial and viral infections. There have been reported increases in secretory immunoglobulin A, suggesting enhanced immune system activity, after singing (Beck et al., 2000; 2006; Kuhn, 2002; Kreutz et al., 2004). No such increases have been found in those listening to choral music (Kuhn, 2002). A study exploring active drumming or singing compared with watching a live performance also found a more pronounced effect on the immune system in those actively participating in making music. In contrast, McCraty and colleagues (1996) found that listening to relaxing music that created a positive emotional state led to increases in secretory immunoglobulin A concentrations, while rock or new-age music had no effect. Similarly, Hirokawa and Ohira (2003) examined the impact of listening to more or less relaxing music on immune functions, neuroendocrine responses and the emotional state of eighteen Japanese college students after they had carried out a stressful task. The findings were inconclusive in relation to the impact on the immune system. In a review of 63 studies on the effects of music on neurotransmitters, hormones, cytokines, lymphocytes, vital signs and immunoglobulins, as well as psychological assessments, Fancourt and colleagues (2014) indicated that there was a pivotal role for stress pathways in linking music and immune responses, although there were a range of methodological difficulties in the existing research.486 The Power of Music Active Music-Making and the Promotion of General Good Health There has been relatively little research focusing on the general physical- health benefits of participation in musical activities. Early reviews of research with adult singers concluded that there could be health and wellbeing benefits of participating in a choir (Clift et al., 2008; Stacey et al., 2002), although subsequent reviews have been more cautious (Clift, 2012). Perceived benefits include: • physical relaxation and release of physical tension; • emotional release and reduction of feelings of stress; • a sense of happiness, positive mood, joy, elation and feeling high; • a sense of greater personal, emotional and physical wellbeing; • an increased sense of arousal and energy; • stimulation of cognitive capacities, attention, concentration, memory and learning; • an increased sense of self-confidence and self-esteem; • a sense of therapeutic benefit in relation to long-standing psychological and social problems; • a sense of exercising systems of the body through the physical exertion involved, especially the lungs; • a sense of disciplining the skeletomuscular system through the adoption of good posture; and • being engaged in a valued, meaningful, worthwhile activity that gives a sense of purpose and motivation. In the UK, Hillman (2002) surveyed 75 participants who had participated in a community singing project since reaching the statutory retirement age. The long-term benefit attributed to participation in music was a lack of deterioration in physical health. Reagon and colleagues (2016) reviewed 18 papers studying the effect of group singing on health- related quality of life. The patients included were suffering from chronic respiratory disease, neurological conditions or mental ill-health. The findings showed some evidence for improved quality of life, while 487 15. Music and Physical and Mental Health participants reported directly on their enhanced confidence, mood and levels of social support. Also focusing on choral singing, Więch and colleagues (2020) assessed the nutritional status and quality of life of 200 healthy adults aged 19 to 70 years old. Those involved in singing had significantly lower body weight and body mass index in comparison with a control group. They also had significantly lower basal metabolic rate and metabolic age, and reported greater life quality. Drumming has been the focus of some research. For instance, Smith and colleagues (2014) examined the impact of djembe- drumming in a comparison of middle-aged experienced drummers and a younger novice group who each participated in 40-minute sessions, preceded and followed by measurements of blood pressure, blood lactate, stress, anxiety and ongoing measures of heart rate. Drumming decreased stress and anxiety in both age groups, and blood pressure in the older participants. Assessment of lactate and heart rate suggested that drumming can be considered as low- to moderate-intensity exercise. One strand of research has investigated the impact of creative song- writing. For instance, Baker and MacDonald (2014) studied 13 students and 13 retirees who engaged in song-writing activities. Each participant created a song parody, original lyrics and an original song describing a positive, negative or neutral experience. Positive outcomes included listening to personal creations, exploring self, the relationship with the therapist, the way that being fully immersed altered perception of time, and the experience of balancing ability and effort. The younger participants were more likely to continue to use their songs for further therapeutic benefit. The role of attendance at cultural events on health and wellbeing has been studied. For instance, in Poland, Węziak-Białowolska and Białowolski (2016) used data from the biennial longitudinal Polish household study which represented the Polish population over the age of 18, and found a positive association between cultural attendance and self-reported health, although no causal link was established. In Norway, Cuypers and colleagues (2011) examined the association between cultural activity and perceived health, anxiety, depression and satisfaction with life in 50,797 adult participants. Data on cultural activities ( receptive and creative), perceived health, anxiety, depression and satisfaction with life were collected. The findings showed that participation in receptive and creative cultural activities was significantly 488 The Power of Music associated with good health, life satisfaction, and low anxiety and depression. For men, attending receptive, rather than creative, cultural activities was more strongly associated with all health-related outcomes. Similarly, in the UK, Fancourt and Steptoe (2018) compared data from 2,548 adults aged over 55 years old—drawn from the English longitudinal study of ag[i]ng modelling change over a ten-year period—in relation to membership of different community groups, while controlling for potential confounding variables. Membership of two types of community groups was associated with enhanced wellbeing: attending education, arts or music classes, and church or religious group membership. Music, Health and the Older Generation There are general health benefits of participating in making music for older people, including lower mortality rates (Johansson et al., 2001). Music-making contributes to perceived good health, quality of life and mental wellbeing (Coffman and Adamek, 1999; 2001; Kahn, 1998; Wise et al., 1992), while playing the piano exercises the heart as much as a brisk walk (Parr, 1985), although studies on the impact of lung function have had mixed outcomes (Clift, 2012). In the USA, Cohen and colleagues (2006; 2007) carried out studies with 166 participants with an average age of 80 who participated in 30 singing workshops and ten performances over a one-year period. The choir group reported a higher overall rating of physical health, fewer visits to the doctor, less medication use, fewer falls, and fewer other health problems in comparison with a control group, who had carried on with their usual activities and did not participate in the choir. There was evidence of higher morale, a reduction in loneliness and increased activity, while the comparison group experienced a significant decline in activities. Cohen and colleagues argued that sense of control, as well as social engagement, were the most likely mechanisms responsible for the positive outcomes. Coulton and colleagues (2015) studied the value of community singing on the mental-health-related quality of life of older people with 258 participants in five centres in the UK. Group singing was compared with usual activities in those aged 60 years or over. Significant differences were observed in mental-health-related quality of life, anxiety and depression in favour of group singing. Similarly, 489 15. Music and Physical and Mental Health Zanini and Leao (2006) studied a therapeutic choir for the elderly and found that singing provided a means of self-expression and fulfilment, and instilled self-confidence in the participants’ expectations about the future. Depression in older adults has increased recently, and will continue to rise as the number and proportion of older adults in the population rises worldwide. Dunphy and colleagues (2019) carried out a review of how art, dance movement, drama and music could help to alleviate depression in the elderly, and established common mechanisms of change. These included: • physical changes, such as muscle strength; • neurochemical effects, such as endorphin release; • intrapersonal change, such as enhanced self-concept, sense of agency and mastery; • improved processing and communication of emotions; • the provision of opportunities for creative expression and aesthetic pleasure; • cognitive stimulation, including memory; and • social benefits, such as increased social skills and connection. Each of these were considered to contribute to a reduction in depression. Alzheimer’s patients can benefit from engagement with music, as it encourages reminiscence and improves moods and behaviour, although it does not have any long-term impact on underlying cognitive deterioration (Creech et al., 2014). Despite this, some activities are preserved and are relatively resistant to decline. One such activity is engagement with music (Sacks, 2007). Baird and Thompson (2019) point out that musical skills can be preserved in some people with Alzheimer’s and dementia, including memory for familiar music and the ability to produce music by singing or playing an instrument. They studied a 77-year-old woman with severe Alzheimer’s disease and her husband’s use of music in her care. Her behaviour and verbal communication were observed when she read a newspaper article or familiar song lyrics, or sang familiar song lyrics, or listened to the original version of the familiar song. Over time, there was a gradual 490 The Power of Music deterioration in her expressive language abilities, whereas her musical skills were comparatively preserved. Residents in Care Homes Care homes support people with a range of difficulties who cannot live independently. With the increase in the older population, many care homes cater for those who need support or who may need additional care following a stroke or other serious illness. Many residents in such homes have dementia, a group of symptoms that typically includes problems with memory, thinking, problem-solving, language and perception. Dementia has a number of different causes, including Alzheimer’s disease, vascular dementia and dementia with Lewy Body. Anyone with dementia, whatever its underpinnings, can benefit from engaging with music, as it encourages reminiscence and can improve moods and behaviour. Much of the research on the impact of music in relation to dementia has occurred in residential care or nursing homes (Elliott and Gardner, 2018). Active participation in making music has been found to have broadly positive effects. For instance, Biasutti and Mangiacotti (2018) compared outcomes for older people with mild to moderate cognitive impairment, who were either assigned to a group receiving cognitive music training for 12 twice-weekly 70-minute music sessions or acted as a control group who attended a similar number of gymnastic sessions. A neuropsychological test battery, administered at the beginning and end of treatment, showed a significant improvement for the music group in relation to general mental state, verbal fluency and a clock-drawing test, while the control group showed no significant improvements. In a later study, Biasutti and Mangiacotti (2021) studied the effectiveness of musical improvisation on depressed mood and general cognitive function in 45 elderly care residents. The findings revealed a significant improvement in cognition and a reduction in depression and cognition for the music group, while the control group showed no change in relation to depression and a deterioration in cognition. Also focusing on depression, Werner and colleagues (2017) examined the effect of interactive group music therapy, as opposed to recreational group singing, on symptoms in elderly nursing-home residents. A total of 117 participants from two German nursing 491 15. Music and Physical and Mental Health homes were allocated to 20 interactive group music therapy sessions of 40 minutes each twice a week, or recreational group singing on ten occasions for 90 minutes weekly. Levels of depressive symptoms were assessed at baseline and follow-up in the sixth and twelfth weeks. The level of depressive symptoms improved significantly more in those assigned to music therapy than recreational singing. In Australia, Brancatisano and colleagues (2020) reported the outcomes of a music, mind and movement programme for 20 people in their eighties with mild to moderate dementia. The programme involved seven 45-minute weekly group sessions, and individual 15-minute booster sessions. Assessments of global cognition, mood, identity and fine motor skills were conducted at the start of the programme, immediately following the intervention and one month after its close. The majority of participants in the programme showed an improvement in overall cognition, attention and verbal fluency, while the majority of those in the control group showed a decline. Hämäläinen and colleagues (2021) focused on the impact of yoik, a traditional vocal music of the indigenous Sami people of Fennoscandia, with elderly and dementia residents in a care home. In-depth interviews with close relatives of participants and healthcare professionals revealed that they had observed positive effects when yoik was introduced, even in persons unfamiliar with the genre. Improvements in memory, orientation, depression and anxiety in both mild and moderate cases of Alzheimer’s disease, and hallucinations, agitation, irritability and language disorders in those with moderate Alzheimer’s disease have been found in patients after six weeks of music therapy. The effect on cognitive aspects was notable after only four music therapy sessions (Gallego and García, 2017) Focusing on agitation and anxiety in older people with dementia, Cooke and colleagues (2010) investigated the impact of participation in a 40-minute group music-making programme involving facilitated engagement with singing songs and listening three times a week for eight weeks. Forty-seven participants with mild to moderate dementia from two care facilities in Australia participated. A sub-analysis of 24 participants who attended less than half of the music sessions found a significant increase in the frequency of verbal aggression over time. Participation in the music programme did not significantly reduce agitation and anxiety, although music and reading group activities gave 492 The Power of Music some participants a voice and increased their level of verbalisation. Also focusing on agitation and anxiety, Sung and colleagues (2012) set up a group music intervention using percussion instruments with familiar music to reduce the anxiety and agitation of 60 institutionalised older adults with dementia. The experimental group received a 30-minute music intervention using percussion instruments with familiar music in a group setting twice weekly for six weeks. In comparison with a normal-care control group, those in the music group had significantly lower levels of anxiety following the intervention, although there was no difference between the groups in the reduction of agitation. Aiming to reduce agitation, Vink and colleagues (2013) undertook a study of 94 residents with dementia who were allocated to either music therapy or recreational activities twice weekly for four months. Data from 77 residents showed a decrease in agitated behaviours from one hour before to four hours after each session. This decrease was greater in the music therapy group but disappeared completely after adjustment for general level of deterioration. There were no other reported benefits. Castillejos and Godoy-Izquierdo (2021) explored the outcomes of a music intervention which was integrated into the therapeutic activities of institutionalised elderly people. Fifty residents in a care home were studied at baseline, postintervention, and after two weeks. The music intervention had a positive impact on physical health, cognitive functioning, emotional wellbeing, pain and happiness compared with stability in controls, although the benefits decreased progressively after the discontinuation of the music programme. Similarly, Paolantonio and colleagues (2020) examined the effects of group music-making on the health and wellbeing of 22 nursing-home residents aged 72 to 95 years of age in Switzerland. Professional and student musicians delivered ten weekly music sessions in four nursing homes, focusing on singing, rhythm-based activities with percussion instruments and listening to short, live performances. Being involved in musical activities offered engagement and novelty, providing learning opportunities and facilitating interpersonal relationships. Residents particularly appreciated the opportunity to listen to live performances. McDermott and colleagues (2014) undertook a qualitative study to explore how care-home residents with dementia and their families, day- hospital clients with dementia, care-home staff, and music therapists 493 15. Music and Physical and Mental Health perceived the role of music therapy. Music was viewed as being accessible for people at all stages of dementia. There were perceived to be close links between music, personal identity and life events, while music was seen as being useful for building relationships. The effects of music were viewed as going beyond the reduction of behavioural and psychological symptoms, in part because individual preferences for music were preserved in spite of dementia. This helped others to value the dementia sufferer as a person and to support and maintain the quality of their life. In a case study, Giovagnoli and colleagues (2014) described the effects of active music therapy on cognition and behaviour in one individual with chronic vascular encephalopathy who suffered with memory, attention and verbal fluency deficits. A four-month programme of 16 sessions was implemented based on creative and interactive music- making, in addition to pharmacological therapy. At baseline, the patient reported a tendency to feel tense, nervous and angry, and had difficulties with memory and visuospatial performance, frequently accompanied by loss of attention. Following music therapy, there were improvements in attention, visuomotor coordination, verbal and spatial memory, an increase in interpersonal interactions and a reduction in anxiety. In an acute hospital setting, Cheong et al. (2016) evaluated the impact of a creative music therapy programme on mood and engagement in older patients with delirium and or dementia. Twenty-five patients of approximately 80 years of age were observed before and after music therapy, which included improvisation and playing songs of the patient’s choice. There was a significant positive change in patients in relation to constructive and passive engagement, pleasure and general alertness. Also focusing on hospital stays for people with dementia, Daykin and colleagues (2018) examined the effects of ten weeks of music sessions on patients’ wellbeing and the environment in an acute elderly care service in a UK hospital. Observational data, semi-structured interviews and focus groups with patients, visitors, musicians and staff showed that patients generally enjoyed the activity and that there was a reduction in the prescription of antipsychotic drugs, enhanced patient and staff experiences, and an improvement in care. Feeding difficulties can be a problem as dementia progresses, resulting in malnutrition which, in turn, can compromise physical and cognitive functioning. Fifteen 494 The Power of Music participants in a care facility, who were not malnourished at the start, participated in 12 music sessions lasting for 25 minutes just before lunch, with songs likely to be known by residents. Unfortunately, there were too many confounding variables for any conclusions to be drawn (McHugh et al., 2012). Some research has attempted to identify the most effective type of music. For instance, Lem (2015) studied the levels of engagement with music of 12 people with dementia who participated in 20 weekly music therapy sessions, and found that engagement increased midway through the programme when a more intuitive approach was adopted, with more challenging musical experiences and less structure. An evaluation of an intervention based on group singing activities—developed by the Alzheimer’s Society for people with dementia and their carers—showed that social inclusiveness and improvements in relationships, memory and mood were particularly important to participants, who enjoyed the sessions and found that they helped in accepting and coping with dementia (Osman and colleagues, 2016). Pavlicevic and colleagues (2015) explored music therapists’ strategies for creating musical communities in dementia care settings. Six experienced music therapists identified a ripple effect of music from person-to-person music-making to that which continued beyond session time, within the care home and beyond. Ongoing qualitative research by Skinner and colleagues (2018) is examining the potential for dance to improve social inclusion for people living with dementia in care facilities. Some programmes have focused on training care-home staff to deliver music sessions. For instance, Tapson and colleagues (2018) evaluated an intervention comprising an 11-session interactive weekly music programme in five care homes in the UK, which included training for staff. The programme focused on singing and the use of voice, and was led by pairs of trained professional musicians for 45 minutes each week. The programme provided positive social experiences, creative engagement, fun and a sense of achievement, and enhanced the working and living environment for care-home residents and staff, playing a crucial role in developing a sense of identity and empowerment for residents, facilitated by musicians and care teams working together. The role of those delivering such programmes cannot be overestimated. Tuckett and colleagues (2015), in evaluating the effectiveness of a 495 15. Music and Physical and Mental Health group music therapy intervention, concluded that the impact was mediated by the older person’s dementia state, its psychosomatic effect on the participants and the nature of the session. The therapy evoked memories and facilitated reminiscence, and acted as a diversion, but the independent effects of the music and the therapist could not be determined. While most research has focused on active engagement with making music, some has concentrated on the impact of listening to music. For instance, Costa and colleagues (2018a) assessed the effect of listening to preferred music on pain, depression and anxiety in older care-home residents. One hundred and thirteen participants either continued with their usual routine or listened to a daily 30-minute programme of preferred music over a three-week period. Levels of pain, depression and anxiety were assessed and showed decreases, although these were less for pain. Those who regarded music as important listened most, and those whose preferences were accommodated benefited most. In a similar study, Costa and colleagues (2018b) studied the effects of listening to preferred music on 117 participants from nine care homes. In addition to their usual routine, each participant listened to a daily 30-minute programme of their preferred music for three weeks. Findings showed that listening to preferred music resulted in relaxation, positive reminiscence, reduced depression and boredom, and a range of physical reactions including chills, tears or emotional arousal. Some reactions, such as foot-tapping, were beneficial to the most disabled participants. The use of preferred and favourite music was the principal factor in the intervention’s effectiveness. Some interventions have combined active music-making with listening activities. For instance, Särkämö and colleagues (2014) determined the efficacy of a novel music intervention based on coaching the caregivers of patients with dementia to use either singing or music- listening regularly as a part of everyday care. Eighty-nine patient caregiver dyads were randomised to a ten-week singing coaching group, a ten-week music-listening coaching group or a usual-care control group. The coaching sessions consisted mainly of singing or listening to familiar songs, with some vocal exercises and rhythmic movements for the singing group, and reminiscence and discussions for the music- listening group. The intervention also included regular musical exercises 496 The Power of Music at home. The findings showed that, compared with usual care, singing and music listening improved mood, orientation and remote episodic memory, and to a lesser extent attention, executive function and general cognition. Singing also enhanced short-term and working memory, and caregiver wellbeing, whereas music-listening had a positive effect on quality of life. Särkämö and colleagues (2014) concluded that regular musical leisure activities could have long-term cognitive, emotional and social benefits in those with mild to moderate dementia. Although music can be considered as a leisure activity enjoyed for its own sake, there is some evidence which highlights the benefits of prescribed therapy that can be personalised to meet the needs and skill level of each individual (Genoe and Dupuis, 2012). Menne and colleagues (2012) also point out that, when designing interventions for people with dementia, it is important to ensure that they enjoy the activities. Live music performances have been shown to have a positive effect on human contact, care relationships, positive emotions and negative emotions in people with dementia in nursing homes (van der Vleuten et al., 2012). Shibazaki and Marshall (2017) explored the effects of live music concerts on dementia sufferers, their families, nursing staff and caregivers. Interviews and researcher attendance at concerts in care facilities showed that concerts were beneficial to patients and staff, even when they did not attend the concerts. Those with mild to mid- stage dementia showed increased levels of cooperation, interaction and conversation, while those with more advanced forms exhibited decreased levels of agitation and anti-social behaviour. Staff members reported increased cooperation and opportunities for assessment, while family members noted an increase in levels of wellbeing. The concerts revealed that knowledge of music and its rules (as well as musical preferences) remained when other cognitive skills and abilities had disappeared. De Wit (2020) also explored the impact of live music-making on hospital nurses and nursing-home caregivers working with vulnerable elderly patients. The healthcare professionals collaborated with the musicians to connect with residents, taking time to become engaged with them in musical situations. This enabled new understandings to develop, supporting the delivery of person-centred care. 497 15. Music and Physical and Mental Health Music, Dementia and Care in the Home Most of the research relating to music and dementia has been undertaken in residential, nursing and hospital settings despite estimates that, in the UK, two thirds of those living with dementia continue to live in their own homes (Wittenberg et al., 2019), a practice known as ‘ ageing in place’ (Wiles et al., 2012). Those with Alzheimer’s and related dementias who live at home have unique advantages in terms of being in a familiar place with people they are close to, but carers and those cared for are at risk of depression, isolation and decreased contact with peers and the networks that normally help to maintain social, intellectual, physical, sensory and spiritual needs. As memory declines, the person with dementia loses life skills and sense of self, while their caregiver is increasingly burdened physically and emotionally. Services are now developing to support those who are ageing in place (Dawson et al., 2015). For instance, the BUDI Orchestra was created as a music-based initiative for people with dementia and their family carers living in the community. The initiative comprised ten weekly sessions, facilitated by professional musicians and supported by university students. At the end of the programme, participants showcased their achievements at a public performance. There were a range of positive outcomes, including enjoyment for participants, a sense of social inclusion for musicians and participants alike, and (for the dementia sufferers) increased engagement, a sense of achievement, confidence and enhanced mood. Carers reported improved mood, feelings of relaxation and improvements in their relationships with the cared-for. Musicians’ preconceptions of musical learning were challenged and they learnt more about themselves through facilitating the sessions. In addition, the performance positively impacted audience members’ perceptions of dementia. The findings challenged assumptions of the capacity of people with dementia to learn new skills and play instruments, and highlighted the power of performance to challenge negative perceptions of dementia (BUDI Orchestra, 2015). Similarly, Lee and colleagues (2020) explored how a community-based group singing intervention impacted the wellbeing of people with early- stage dementia and their family carers. Participants engaged in a six- week group singing intervention facilitated by a music therapist in a community arts centre. Semi-structured interviews revealed enhanced 498 The Power of Music social connection, happiness and rejuvenation, reconnection with the self and support for the relationship between carer and cared-for. Overall, community-based music therapy can be effective in supporting carers and those they care for (Rio, 2018). Prattini (2016) examined music’s effects on levels of agitation in people with Alzheimer’s disease or other dementias. The research focused on those living at home who were cared for by an informal caregiver. The participants either participated in active music-making or listened to music. Only active participation had an impact on agitation. Smith and colleagues (2021) arranged ten music-making sessions for community-dwelling people living with dementia and their care partners, once a month over a period of seven months. Eighteen participants consented to take part, including seven people living with dementia, five care partners and six former care partners. Baseline semi-structured interviews explored the lived experience of music, and expectations of the upcoming music-making cafés. Self- report questionnaires captured the experiences of each music-making café, while follow-up semi-structured interviews explored the impact of music-making on participants’ self-reported wellbeing. The findings demonstrated that participating in a music-making cafe benefited the wellbeing of participants, providing a sense of camaraderie that facilitated connections with others, creating opportunities to level the playing field, drawing on a person’s strengths and abilities, and providing meaningful musical experiences. Participating in music- making promoted the wellbeing of community-dwelling people living with dementia and their care partners, offering opportunities for peer support and a reduction in feelings of isolation through a shared love of music, as well as providing meaningful musical experiences in a supportive, enabling environment. In a home-based programme, participants with major or minor depressive disorder learned how to use music to reduce stress. They either received a weekly home visit by a music therapist, participated in a self-administered programme where they applied the same techniques with moderate therapist intervention, received a weekly telephone call, or were part of a wait-list control group. Participants in the music conditions performed significantly better than controls on standardised tests of depression, distress, self-esteem and mood. These 499 15. Music and Physical and Mental Health improvements were maintained nine months after the end of the project (Hanser and Thompson, 1994). In a community-based arts programme in Canada, Moody and Phinney (2012) found that participating older adults experienced enhanced capacity to connect to the community and a stronger sense of community through collaboration as a group, as they worked together on the project towards a final demonstration to the larger community. Reviews of the Relationship between Music Therapy and Dementia There has been little agreement between reviews of the literature pertaining to the role of music therapy with the older generation and its effectiveness. Some reviews have drawn relatively positive conclusions, although sometimes with caveats. For instance, Abraha and colleagues (2017) provided an overview of 142 non- pharmacological interventions for behavioural and psychological symptoms in dementia, including music therapy, and concluded that overall, music therapy and behavioural management techniques were effective for reducing the behavioural and psychological symptoms of dementia. Zeilig and colleagues (2014) also reviewed a range of interventions and reported that music could generate feelings of peace for patients with dementia. A range of arts projects have been identified as promoting social engagement, but it has been difficult to establish if the effects related to the role of the arts specifically or could have been attained by any form of social engagement, although the emphasis in the arts on creation and play may have supported patients with dementia, as may the emphasis in the arts on emotion. Istvandity (2017) reviewed intervention studies that utilised music and reminiscence activities in elderly adult populations, and found positive effects in four out of five studies, while Zhao and colleagues (2016) (in a meta-analysis of 19 articles) suggested that music therapy plus standard treatment reduced depressive symptoms to some extent. Dowlen and colleagues (2018), in a review of 18 studies, identified benefits in terms of taking part, being connected, affirming identity and immersion in the moment, while Zhang and colleagues (2017)— in a review of 34 studies with 1575 participants—showed that disease subtype, intervention method, nature of the control or comparison 500 The Power of Music group, participant location, trial design, trial period and outcome measure instruments made little difference to outcomes. Overall, there was positive evidence to support the use of music therapy to treat disruptive behaviour and anxiety, and positive trends supporting the use of music therapy for the treatment of cognitive function, depression and quality of life. Raglio and colleagues (2012), reviewing clinically controlled trials focusing on the use of music and music therapy in the context of dementia, found that (with some limitations) the findings were consistent in showing the efficacy of music therapy in impacting positively on the behavioural and psychological symptoms of dementia. However, the ability of the music therapist to directly interact with the participants appeared to be crucial for success. No difference was found in cognitive function between dementia sufferers receiving interactive or receptive music therapy or usual care in one review of 38 trials involving 1418 participants aged 75 to 90 years old. Those receiving receptive therapy showed a significant decrease in agitation and behavioural problems, although there was no significant difference between those engaged in interactive music therapy and usual care in relation to behavioural and psychiatric problems (Tsoi et al., 2018). McDermott and colleagues (2012) found consistent improvement in behavioural disturbance in the short term, in a review of 18 studies adopting a diverse range of active music-making activities, with singing often being used as a medium of change. However, the review did not find any high-quality longitudinal studies that demonstrated long-term benefits. Focusing on the impact of music therapy on anxiety in a review of studies where the severity of dementia varied from mild to severe, Ing-Randolph and colleagues (2015) found variation in the nature of the interventions and the group sizes. While the findings seemed promising, the small number of studies and the variability in methods made it impossible to draw firm conclusions. Also taking account of variations in the quality of the research and how it was reported, van der Steen and colleagues (2018) reviewed 22 studies with 1097 dementia patients in nursing homes or hospitals, and concluded that people with dementia in institutional care participating in at least five sessions of a music-based therapeutic intervention probably experienced reduced depression and anxiety, improved overall behaviour and possible enhanced emotional wellbeing and quality of life, although there was no impact on agitation, 501 15. Music and Physical and Mental Health aggression or cognition. The effect on social behaviour and the long- term impact of the interventions was unclear. In a scoping review, Elliott and Gardner (2018) summarised what was known about the role and impact of music in the lives of community-dwelling older adults with dementia, and reported that music could reduce agitation, improve cognition and enhance social wellbeing, while Bamford and Bowell (2018) also concluded that music could promote a range of benefits for people with dementia when used appropriately and in a meaningful way. In contrast, Vink and colleagues (2003) reviewed ten music therapy interventions designed to treat the behavioural, social, cognitive and emotional problems of older people with dementia, criticised the methodological quality of the research and reported that it was not possible to draw any firm conclusions. In a later review, Vink and Hanser (2018) reported that most descriptions of music therapy interventions lacked sufficient detail to enable researchers to compare and replicate studies, or for clinicians to apply the techniques. Definitions of music therapy and music-based interventions were inconsistent, and practitioners varied in the extent of their professional training and preparation for implementing music- based clinical strategies. Fusar-Poli and colleagues (2018) carried out a meta-analysis of six studies including 330 participants with an age range of 79 to 86 years old, and found no significant effects of music therapy on any outcomes. Similarly, Hui-Chi and colleagues (2015) conducted a review of music therapy interventions with older people in nursing homes, hospitals or communities, and indicated that (in the short-term) music therapy did not improve the cognitive function of older people. Considering the role of the arts in relation to dementia more broadly, Schneider and colleagues (2018) included 11 relevant studies and concluded that there was insufficient evidence demonstrating causality to draw any firm conclusions. Music, Public Health and Music on Prescription Music has been used to communicate public health messages. For instance, Cournoyer Lemaire (2020) report how the Quebec government promoted adherence to COVID-19 measures through the use of music, taking advantage of its capacity to reach a large population, capture the 502 The Power of Music population’s attention quickly regardless of age, language or cultural barriers, effectively communicate messages and thus change behaviour. Clift and Camic (2016) provided an evidence base supporting the role of the creative arts in public health, bringing together contributions from practitioners and researchers to provide a comprehensive account of the field and the approaches that had successfully led to improvements. They showed that several countries had moved towards offering a range of arts interventions on prescription. Similarly, Jensen and colleagues (2016) reviewed current practice relating to arts and culture on prescription in Sweden, Norway, Denmark and the UK, considering the evidence supporting social prescription and potential barriers to its implementation. In a later article, Jensen and Bonde (2018) illustrated the variety and multitude of studies, showing that participation in arts activities could be beneficial for those with mental and physical health problems, and demonstrating the possible impact on reducing physical symptoms and improving mental health. Some research has focused on showing how arts on prescription can be effective. For instance, Batt-Rawden and Tellnes (2011) explored the role and significance of making music in the lives of men and women with long-term illnesses in different life phases, facing different challenges. In a longitudinal study that included eight interviews with each of the 22 participants, aged between 35 and 65, they found that music could promote movement, release anger or aggression, and transcend pain. Personal listening preferences were important. Crone and colleagues (2018) presented findings from a longitudinal follow-up study of an arts-on-referral programme in UK general practice over a seven-year period, including 1,297 patients who were referred to an eight- or ten- week intervention. Of all referrals, just over half completed their course of prescribed art. Of those that attended, 75 percent were observed to be engaged with the intervention. A significant increase in wellbeing was observed from pre- to post-intervention for those that engaged with or completed their programme. Some had multiple health issues. In the main, this group completed the programme, were rated as engaged and showed a significant increase in wellbeing. Poulos and colleagues (2019) targeted community-dwelling older people with a wide range of health and wellness needs who were referred to a programme by their healthcare practitioner. The courses, led by professional artists in 503 15. Music and Physical and Mental Health a range of artistic activities, included dance, singing and music. Classes were held weekly for eight to ten weeks with six to eight participants in each group, culminating with a showing of work or a performance. Data from 127 participants aged 65 years old and over showed that Arts on Prescription had a positive impact on wellbeing, self-reported creativity and the frequency of undertaking creative activities. The activities on offer were challenging, created a sense of purpose and direction, enabled personal growth and achievement, and empowered participants in an environment which fostered the development of meaningful relationships with others. Similarly, Murabayashi and colleagues (2019) studied 115 frail elderly individuals aged between 65 and 89 years of age, who were divided into two groups. The music therapy group participated in group sessions of 45 to 50 minutes conducted by a music therapist for 12 weeks. A control group waited for 12 weeks before participation. Cognitive, physical and psychophysical functions were assessed. Improvements were observed in physical function, depressive mood and quality of life. Overall, there is evidence that art interventions can be effective in the promotion of wellbeing, whether individuals choose to participate or are referred through social prescribing (Bungay and Clift, 2010; Jones et al., 2013). Engaging with the arts can reduce loneliness and social isolation (Poscia et al., 2017), particularly for those living in rural or disadvantaged areas (MacLeod et al., 2016; Murrock and Graor, 2016; Pearce and Lillyman, 2015). The Role of Community Music and Creative Workshops In developed countries, there are high levels of mental and physical illness associated with long-term health conditions, unhealthy lifestyles and an ageing population. Community music activities can address these issues (Jones et al., 2013). Increasing numbers of mental health organisations are developing music-making interventions for patients. To demonstrate whether such programmes could be effective, Fancourt and colleagues (2016) studied a ten-week group drumming programme and found significant decreases in depression and increases in social resilience, anxiety and wellbeing. These changes were maintained three 504 The Power of Music months later. Participants also provided saliva samples to test for immune responses. These showed underlying biological effects, supporting the programme’s potential for enhancing mental health. Similarly, Ascenso and colleagues (2018) studied 39 participants engaged in a community drumming programme. There were a range of benefits for patients and carers, including enhanced emotions, initiative and sense of control, accomplishment, redefinition of self and social wellbeing. Perkins and colleagues (2016) researched group djembe- drumming and found that the drumming itself was important as a form of non-verbal communication, providing a connection with life through rhythm, and generating and liberating energy. The group setting facilitated feelings of acceptance, safety and care, and enabled new social interactions. Inclusivity, musical freedom and the acceptance of making mistakes supported by the music facilitator were important for learning. Solli and colleagues (2013), in a review, explored service users’ experiences of music therapy in the development of recovery-oriented provision. Key factors were having a good time, being together, exploring feelings and self-concept. Music therapy supported the development of strengths and resources that contributed to the growth of positive identity and hope. Stickley and colleagues (2018) established that a range of arts activities could support recovery through enhancing connectedness and improving hope. Van Lith and colleagues (2013), in a review, concluded that arts could play a substantial role in mental health recovery, while Stevens and colleagues (2018) reported significant increases in self- reported mental wellbeing, social inclusion and the ongoing use of skills learned for some, but not all participants, depending on the in-course experience of artistic growth. Community-based creative workshops have supported those experiencing severe and persistent mental illness. Workshops typically aim to build the skills and capacities of participants, providing alternative ways to communicate identity and recovery stories through visual arts, writing, dance and music, facilitated by practising artists. Participants typically enjoy the workshops and being involved in creative activities with others, which improves their confidence and understanding of their illness (Stewart et al., 2018; Slatterly et al., 2020). Bolger (2015) investigated the process of collaboration between a music therapist and community participants in three music projects in 505 15. Music and Physical and Mental Health Australia. The projects were undertaken with three separate communities which supported groups of marginalised young people. The findings provided an understanding of the conditions required to optimise the potential for positive growth in collaborators in participatory music projects. MacGlone and colleagues (2020) investigated a community music intervention for a population with varied disabilities—physical, learning or both—who took part in weekly music workshops. Although the findings showed improvements in individuals’ self-expression, confidence, mood and social skills, there were differences in outcomes in different centres. Participants in one centre improved their musical skills; in another, some participated with enthusiasm but others chose other art activities over music; while in another there was a lasting positive impact. Despite this, all groups showed improvement in communication, interaction with others and joint attention. Music, Brain Plasticity and Movement Motor skills tend to deteriorate with age. Activities which support lifelong neuroplasticity, such as making music, can counteract these processes and allow for the reacquisition of motor and cognitive skills in the elderly following brain-tissue damage (for instance, after a stroke). Playing a keyboard can improve fine motor functions through neurophysiological changes in audiomotor networks. Rhythmic cueing has a positive effect on gait disorders, improving stride length, speed and overall mobility. Melodic intonation therapy can improve recovery from non-fluent aphasia through the activation of right- hemisphere networks. Importantly, the rewarding effects of music-making and listening provoke neurochemical effects which, in combination with music-induced brain plasticity, can facilitate neurorehabilitation (Altenmüller and James, 2020). Much of the research on mobility has focused on rhythm. Clinical evidence has shown that the use of external rhythmic auditory cueing can aid in the rehabilitation of motor movements such as gait in patients with Parkinson’s disease, traumatic brain injury, spinal cord injury and Huntington’s disease (Thaut et al., 2015). Neurological music therapy techniques can promote sensorimotor rehabilitation (Mainka et al., 2016). Music can support improvement in movement in a range of conditions, improving individuals’ quality, 506 The Power of Music range and speed of movement. In acute medical settings or neurological rehabilitation, music can facilitate and target specific therapeutic goals. Making music can be beneficial for those who have partial paralysis following a stroke (LaGasse and Thaut, 2012). While the motivational aspects of music may account for some gains made, there is evidence of increased activation of the motor cortex and improved cortical connectivity (Altenmuller et al., 2009). Särkämö and colleagues (2014) carried out a voxel-based morphometry analysis on acute and six-month post- stroke patients. Structural magnetic resonance imaging data from 49 patients who listened to either their favourite music, verbal material or no listening material during the six-month recovery period showed that listening to music enhanced behavioural recovery and also induced fine-grained neuroanatomical changes in the recovering brain. Also working with stroke patients, Schneider and colleagues (2007) evaluated a music-supported training programme designed to induce an auditory sensorimotor co-representation of movements. Patients without any previous musical experience participated in intensive step-by-step training, first of the paretic extremity, followed by training of both extremities. Training was given 15 times over three weeks in addition to conventional treatment. Fine as well as gross motor skills were addressed by using either a MIDI piano or electronic drum pads. Pre- and post-treatment motor functions were monitored using a computerised movement analysis system and established motor tests. Patients showed significant improvement after treatment with respect to speed, precision and smoothness of movement and motor control in everyday activities. Similarly, Villeneuve and colleagues (2014) engaged 13 stroke patients in three weeks of piano training comprising nine 60-minute supervised sessions and home practice. Fine and gross manual dexterity, movement coordination and functional use of the upper extremity were assessed pre- and post-intervention at a three-week follow-up. Significant improvements were observed for all outcomes, particularly in those with a higher initial level of motor recovery at the beginning of the intervention. Also working with stroke patients, Särkämö and colleagues (2008) studied 60patients in the acute recovery phase who were either assigned to a music, language or control group. During the following two months, the music and language groups listened daily to self-selected music or audiobooks respectively, while the control group received no listening material. All patients 507 15. Music and Physical and Mental Health received standard medical care and rehabilitation. The findings showed that recovery in the domains of verbal memory and focused attention improved significantly more in the music group than the other groups. The music group also experienced a less depressed and confused mood. Working with patients with Parkinson’s disease, Pantelyat and colleagues (2016) assessed the feasibility and effects of twice-weekly group West African drum-circle classes for six weeks. Compared with controls, those in the drumming group showed significantly improved walking performance and quality of life. Studying patients with cerebral palsy, Ghai and colleagues (2017) reviewed 547 records of the effects of rhythmic auditory cueing on spatiotemporal and kinematic parameters of gait in people with cerebral palsy, and concluded that there was converging evidence towards the application of rhythmic auditory cueing to enhance gait performance and stability. Alves- Pinto and colleagues (2016) also reviewed the evidence supporting the use of musical-instrument-playing for rehabilitation in cerebral palsy. They proposed that active musical-instrument-playing could be an efficient way of triggering the neuroplastic processes necessary for the development of sensorimotor skills in patients with early brain damage. In a later study, Alves-Pinto and colleagues (2017) studied adolescents and adult patients with cerebral palsy, as well as a group of typically developing children, who learned to play the piano for four consecutive weeks, completing a total of eight hours of training. For ten of the participants, learning was supported by a special technical system aimed at helping people with sensorimotor deficits to better discriminate fingers and orient themselves along the piano keyboard. The potential effects of piano training were assessed with tests of finger-tapping at the piano and perception of vibratory stimulation of fingers, as well as neuronal correlates of motor learning in the absence of and after piano training. Although the findings were highly variable, there were significant effects of training on the ability to perceive the localisation of vibrations over fingers, but there was no effect of training on the performance of simple finger-tapping sequences at the piano or on motor-associated brain responses. Some work has focused on children. For instance, Marrades-Caballero and colleagues (2018) studied 18 children between 4 and 16 years of age with severe bilateral cerebral palsy, who received music therapy for 16 508 The Power of Music weeks. Significant improvements were observed in overall and specific arm and hand position, as well as activities from standard locomotor stages. The improvements persisted at a four-month follow-up. Also working with children, Peng and colleagues (2011) explored the effects of patterned sensory enhancement music on muscle power and movement control in children with spastic diplegia during loaded sit-to- stands. Twenty-three children with spastic diplegia, aged five to twelve years old, participated. Individual patterned sensory-enhanced music was composed by a music therapist based on each participant’s sit-to- stand movement, with 50 percent one repetition maximum load. Each participant performed sit-to-stands continuously for eight repetitions under randomly assigned music or no music conditions, while kinematic and kinetic data were measured simultaneously. In the music condition, the music was played only during the first five repetitions. The following three repetitions were referred to as the ‘continuation condition’. Compared to the control condition, greater peak knee extensor power, greater total extensor power and better centre of mass smoothness, but less movement time was found in the music condition. Significant effects of the music were also found for the continuation condition. Auditory stimulation has been shown to improve upper-extremity skills. Ben-Pazi and colleagues (2018) studied nine matched pairs of children aged 7.5 years old. The children listened to auditory stimulation embedded in music or music alone for at least ten minutes, four times a week for four weeks. The children with auditory stimulation achieved more goals than children who listened to music alone. Parents reported improved care and comfort in the children in the intervention group, compared to a slight deterioration in the control group. Bringas and colleagues (2015) tested the effectiveness of a music therapy intervention for children with severe neurological disorders. The control group received only a standard neurorestoration programme, while the experimental group received an additional music therapy auditory attention plus communication protocol immediately before the usual occupational and speech therapy. Overall, the findings showed improved attention and communication, as well as changes in brain plasticity, in children with severe neurological impairments who experienced adjunct music therapy. 509 15. Music and Physical and Mental Health Another strand of research has focused on individuals with Huntingdon’s disease, a neurodegenerative condition that leads to progressive loss of motor and cognitive functions. Metzler-Baddley and colleagues (2014) devised an intervention involving drumming and rhythm exercises to target early executive problems, such as difficulties in sequence and reversal learning, response speed, timing and dual- tasking. Five people completed the two-month music intervention. The effects of rhythm exercises on executive function, basal ganglia volume and white-matter microstructure in the anterior corpus callosum, the anterior thalamic radiation and the corticospinal tract were assessed. After two months of training, there were improvements in executive function and white-matter microstructure, notably in the genus of the corpus callosum (which connects the prefrontal cortices of both hemispheres). There were no changes in basal ganglia volume. Some research has focused on whether music therapy can support those suffering from multiple sclerosis. Aldridge and colleagues (2005) aimed to see which components of multiple sclerosis would respond to music therapy. Twenty adult multiple sclerosis patients participated, half receiving music therapy, over the course of one year. Measurements were taken before therapy began and subsequently every three months, then at a six-month follow-up without music therapy. Tests included indicators of clinical depression and anxiety, a self-acceptance scale and a life-quality assessment. Data were also collected on cognitive and functional measures. Significant improvements were found for the therapy group over time in relation to self-esteem, depression and anxiety but these worsened when the therapy stopped. Breathing Several studies have investigated whether singing has a beneficial effect on aspects of breathing. Overall, the findings are mixed (Clift, 2012). For instance, Schorr-Lesnick and colleagues (1985) compared singers with instrumentalists and reported no difference between participants aged 25 to 83 in choir, string, percussion or wind ensembles in pulmonary function. Studies of patients with chronic pulmonary disease have also had mixed results, with some research on singing showing improvements compared with controls (Bonilha et al., 2009), 510 The Power of Music while some has shown limited impact (Lord et al., 2010). Despite this, those participating in singing activities frequently report that singing has exercised body systems through the physical exertion involved, especially the lungs (Clift et al., 2008; Stacey et al., 2002). Skingley and colleagues (2018) established the views of participants with chronic obstructive pulmonary disease who took part in a ten-month ‘singing for better breathing’ programme. The findings showed that participants learned about breath control, relaxation, exercises for breathing and using singing as a means to deflect attention away from breathing problems. The programme led to increased activity levels, was seen as fun, provided friendship, increased motivation to participate in further activities and offered support. For some, it was the highlight of the week. The majority of participants reported improvements in respiratory symptoms and mental and social wellbeing. Speech Impairment Music can play a therapeutic role in supporting improvement in speech impairments. Rhythmic cueing has been used to reduce speech rate and increase speech intelligibility in patients with severe dysarthria and problems with the muscles that support speech due to traumatic brain injury (for instance, as the result of a stroke; Pilon et al., 1998). Similar results have been found for increasing the intelligibility of the speech of patients with Parkinson’s disease (Thaut et al., 2001). Hays and Minichiello (2005) found that music provided a means of communication with spouses, friends or others, where language-based communication was restricted due to Parkinson’s disease, dementia or other illnesses affecting verbal communication. Matthews (2018) compared two groups of people with Parkinson’s disease who participated in voice and choral singing or a music appreciation activity. Both groups attended once a week for nine weeks. There was significant improvement for those in the choir for voice volume and quality, maximum sustained phonation time and functional symptom severity. At the end of the intervention, significant group differences were observed in average and maximum voice volume, voice quality and glottal function. Attendance for both groups was over 96 percent, suggesting that both groups found the nature and format of the activities enjoyable and worthwhile. Quinn and colleagues (2021) 511 15. Music and Physical and Mental Health worked with post-verbal people with strokes, learning difficulties, acquired brain injury, dementia or autism. The findings showed how post-verbal people could use music to communicate and demonstrate their capacities, and how those working with them used music to foster a sense of inclusion and belonging. The surgical removal of the larynx (i.e. the voice box) has a profound psychosocial impact, often leading to depression and social isolation. After laryngectomy, breathing, voicing, articulation and tongue movement are important in restoring communication, and require exercises which can be challenging motivationally. Moors and colleagues (2020) explored the use of basic beatboxing techniques to create a wide variety of fun and interactive exercises that maximised the use of the structures important in alaryngeal phonation to maintain motivation. An instructional online video was created to support patients working on their own or with support from speech therapists. For patients, the approach was engaging, useful, informative and motivating. O’Donoghue and colleagues (2021) studied whether music therapy—including song-writing, improvisation and singing—could help adolescents who stuttered. The findings revealed participants’ experiences of living with stuttering, the importance of music in their everyday lives and how music could help them. Music in Hospital Settings Music and Hospitalised Babies, Infants and Children Babies born premature or underweight can benefit from the stimulation of music in neonatal intensive care units. Music can enhance heart rate, respiration, oxygen saturation, mean arterial pressure, sucking, feeding ability and behavioural state. It has also been linked with overall reductions in the length of stay in intensive care (Caine, 1991; Cassidy and Standley, 1995; Keith et al., 2009; Standley, 2002; 2011; 2012). Music can significantly reduce the frequency and duration of episodes of inconsolable crying (Keith et al., 2009; Loewy, 2014) and have longer- term benefits, reducing reactions to fear and anger at 12 and 24 months (LeJeune et al., 2019). Some research has found reductions in the number of negative critical events (Filippa et al., 2013) and the regulation of 512 The Power of Music salivary cortisol levels (Shenfield et al., 2003). In a meta-analysis of 14 studies involving 964 infants and 266 parents, Bieleninik and colleagues (2016) found significant large effects, indicating the positive effects of music therapy on infant respiratory rate and maternal anxiety. There was insufficient evidence to confirm or refute other effects. Walworth (2009) examined the effect of music therapy on premature and full-term infants’ developmental responses and the responsiveness of parents. Sixty-five parent- infant dyads either attended music groups or a control group. Infants participating in musical activities with their parents demonstrated significantly more social toy-play than the control group. Music therapy with hospitalised infants has shown positive effects on infants’ capacity to self-regulate and engage in social interaction with adults compared to controls (Malloch et al., 2012). Music has been effective in promoting the wellbeing of young patients, enhancing relaxation, providing distraction and helping them to cope with their hospital experiences. In some cases, music-making can reduce or remove the need for sedation. Listening to music can increase oxygenation levels in the blood of long-term paediatric patients and have a positive psychological impact on the chronically ill (Longhi and Pickett, 2008). Patients react better to music therapy than other therapies (Hendon and Bohon, 2008; Longhi and Pickett, 2008; Longhi et al., 2015), perhaps because it is frequently perceived as fun (O’Callaghan et al., 2013). Music is used in paediatric settings to enhance the wellbeing of young patients (Klassen et al., 2008; Preti, 2013; Preti and McFerran, 2016). It can help children and young people relax (Daveson, 2001; Longhi and Pickett, 2008; Malone, 1996), be used as a distraction (Caprilli et al., 2007; Hendon and Bohon, 2008) and help children and young people to talk about their hospital experiences and develop coping strategies (Brodsky, 1989; Froehlich, 1984; Robb, 2000). Familiar music can reduce anxiety associated with the hospital environment (Preti and Welch, 2011) and can reduce children’s stress during painful procedures (Caprilli et al., 2007; Klassen et al., 2008; Nguyen et al., 2010; Vohra and Nilsson, 2011; Whitehead-Pleaux et al., 2006;). In some cases, music-making can reduce or remove the need for sedation (DeLoach Walworth, 2005). In a recent review of research with participants aged 0 to 21 years old, Johnson and colleagues (2021) showed consistent and significant evidence that music could reduce anxiety before and during medical procedures, although the findings relating to pain and 513 15. Music and Physical and Mental Health vital signs were mixed. Several studies have highlighted the importance of patient preference in selecting music. This can be achieved easily through the use of headphones. Group music-making can also benefit teenagers in hospital (Bittman et al., 2001; Burns et al., 2005; Nicholson et al., 2008). Nguyen and colleagues (2010) studied whether music interventions could influence pain and anxiety in children undergoing lumbar punctures. Forty children aged seven to twelve years of age with leukaemia participated, half experiencing a music intervention and half acting as controls. Measures were taken before, during and after the procedure. The findings showed lower anxiety, pain scores and heart and respiratory rate in the music group during and after the procedure. Similarly, Giordano and colleagues (2020) found that music therapy reduced preoperative anxiety in children affected by leukaemia when undergoing invasive diagnostic procedures. Barrera and colleagues (2002) studied the impact of music therapy on paediatric haematology and oncology patients. Data from 65 children and parents showed a significant improvement in children’s emotions and wellbeing, while parents perceived improved play performance in preschoolers and adolescents but not school-aged children. In a review of 19 music therapy studies with 596 participants, Facchini and Ruini (2020) noted a significant reduction in psychological distress and an increase in wellbeing. Eight articles evaluated the effects on pain and other biological parameters, but the findings were inconclusive. Patients undergoing haematopoietic stem cell transplants are at risk of developing post- traumatic stress disorder (PTSD). This may explain the extent of music therapy research in this area. For instance, Uggla and colleagues (2016) examined the effect of expressive and receptive music therapy delivered twice weekly on 24 patients up to the age of 16 undergoing haematopoietic stem cell transplants. The music therapy significantly reduced evening heart rate compared to controls, indicating reduced stress, although there were no significant differences in saturation or blood pressure between the groups. In a later study (Uggla et al., 2018), 29 patients aged 0 to 17 years of age were studied, 14 of whom received music therapy twice a week for four to six weeks during hospitalisation. Those experiencing music therapy had higher estimated physical function at the time of discharge and improved quality of life. 514 The Power of Music In a further study, Uggla and colleagues (2019) explored six families’ experiences of music therapy and found that it became a significant and helpful experience, an important element in coping with and managing treatment. In 2020, Uggla and Bond studied 38 patients, aged from two months to 17 years old, who were receiving haematopoietic stem cell transplantation and who participated in expressive and receptive music therapy. The sessions took place in the child’s hospital room, and the child was invited to play different musical instruments, sing and listen to music with the music therapist. Parents and siblings could also participate. The increasing physical functioning reported by the children at discharge and the overall increased quality of life at the six- -month follow-up suggested that the music therapy intervention was effective. Similarly, Robb and colleagues (2014) examined the efficacy of a therapeutic music video intervention on adolescents and young adults who were in the acute phase of having a haematopoietic stem cell transplant. Participants were allocated to the video intervention or an audiobook group for six sessions over a three-week period. After the intervention, the music video group reported significantly better social integration and family environment. Haase and colleagues (2020) also reported adolescents’ and young adults’ experiences of a therapeutic music video intervention during hospitalisation for haematopoietic stem cell transplants. Fourteen participants were interviewed and revealed that the video provided an opportunity for reflection, self-expression and meaning-making: it helped them to tell their story and to overcome the negative aspects of cancer. It supported participants in overcoming distress and challenges by providing opportunities to reflect on what was meaningful, connect with others, and explore and identify personal strengths. Other research has focused on the effect of listening to music in the recovery period following a range of surgery. Preethy and Gurunathan (2020) studied the effects on the vital signs and behaviour of 62 children, and showed that those listening to music demonstrated more positive behaviour, significantly lower pulse rate and diastolic and systolic blood pressure, and significantly higher oxygen saturation. Focusing on burn injuries, Eid and colleagues (2020) evaluated the effect of a physical therapy rehabilitation programme combined with music therapy on children with lower limb burns, compared with controls. Both groups 515 15. Music and Physical and Mental Health improved, but the music therapy group showed greater improvement in terms of pain, range of motion and gait parameters. There are benefits of music therapy for the families of children in hospital (Preti and McFerran, 2016). Parents value being able to participate in musical activities with their child. Music can open up communication between family members (Lindenfelser et al., 2012). In addition to supporting children during stressful procedures, parents are indirectly supported by music, creating a more relaxed environment (Preti and Welch, 2004; 2011). Music can also contribute to the overall hospital environment, modulating patient and staff mood (Rossetti, 2020). Music Therapy and Cancer There are an increasing number of music interventions focused on supporting those with cancer. For instance, Boldt (1996) assessed the effects of music therapy on bone-marrow- transplant patients who needed to exercise to prevent muscle atrophy (although this was difficult due to treatment effects). The long-term findings indicated that music was effective in increasing participants’ self-reported relaxation and comfort. Endurance increased, as did cooperative behaviour and participation levels. Robb and colleagues (2003) examined the impact of music therapy on anxiety and depression following bone-marrow transplants. Three patients experienced music therapy for one hour a week over six weeks, while three did not. Analysis of the content of patient-generated songs revealed hope, positive coping, control and appreciation. The findings provided insight into the individualised experience of each patient and their coping strategies. Focusing on Chinese female patients with breast cancer, Zhou and colleagues (2015) examined the effects of music therapy and progressive muscle relaxation on depression, anxiety and length of hospital stay following radical mastectomy. A group of 170 patients either received music therapy and muscle- relaxation training, or acted as controls who only received nursing care. The 30-minute intervention was implemented twice a day within 48 hours of surgery. Those participating showed significant improvement in depression and anxiety, and spent less time in hospital. A single session of patient-preferred live music has been shown to have 516 The Power of Music a significantly positive impact on pain following surgery in patients in a post-surgical oncology ward (Merry and Silverman, 2021). Fancourt and colleagues (2016) carried out a multicentre study to assess the impact of singing on mood, stress and immune response in three groups affected by cancer: carers, bereaved carers and patients. Participants sang regularly in five choirs across South Wales. Before and after singing, mood and stress were assessed, and saliva samples were taken to test for cortisol, beta- endorphin, oxytocin and cytokines. All participants associated singing with reductions in negative affect and increases in positive affect, alongside significant increases in cytokines. Singing was associated with reductions in cortisol, beta- endorphin and oxytocin levels. Overall, it improved mood and modulated elements of the immune system. Köhler and colleagues (2020) synthesised the evidence for the effectiveness of music therapy in different oncological treatment phases with adult cancer patients. The narrative synthesis included 30 studies and showed that, overall, music therapy had positive effects on a broad range of outcomes, with techniques and effects varying in different phases. During curative treatment, the results were most promising with regard to anxiety, depression and pain- medication intake, while in palliative settings, improvements with regard to quality of life, spiritual wellbeing, pain and stress were reported. Twenty-one studies were included in a meta-analysis, which showed small but significant effects of music therapy on psychological wellbeing, physical symptom distress and quality of life. In contrast, Daykin and colleagues (2007) drew attention to the challenges and complexity of using music with cancer patients because of the wide variation in responses. They suggested that identity and creativity were key to understanding the impact of music interventions. Music and Surgery Music has been used in a range of ways to support people who are having surgery. Exposure to music has been shown to reduce cortisol levels during medical treatment (Le Roux et al., 2007). For instance, in pre-operative settings in hospitals, where patients are often experiencing pain, anxiety, distress and even aggressive non- compliance, meta-analytic analyses have demonstrated that music can 517 15. Music and Physical and Mental Health help to reduce anxiety (Spintge, 2012). Conrad and colleagues (2007) played critically ill patients slow movements of Mozart’s piano sonatas and found that the use of music significantly reduced the amount of sedative drugs needed to achieve the degree of sedation, comparable to controls who received standard treatment. In the music group, plasma concentrations of growth hormone increased, whereas concentrations of interleukin-6 (a component of the immune system) and adrenaline decreased. Significantly lower levels of blood pressure and heart rate also indicated reductions in stress. Overall, calming music activated neurohumoral pathways associated with psychophysiological sedation. In Sweden, Nilsson (2009) found that patients who had undergone heart surgery and were allocated on the following day to 30 minutes of uninterrupted bed rest with music, followed by 30 minutes of bed rest——or alternatively 60 minutes of uninterrupted bed rest—— showed a difference in cortisol levels after the initial 3030 minutes but not after 6060 minutes. The music was presented through a music pillow connected to an MP3 player. There was no difference in heart rate, respiratory rate, mean arterial pressure, arterial oxygen tension or saturation, pain or anxiety levels. Music and Pain There has been considerable interest in the use of music to reduce pain. Stress and anxiety exacerbate the experience of pain. Music therapy or musical stimulation can reduce the perception of pain in post-surgical patients, alone or as part of a pain management programme. Music chosen by the patient is usually more effective than music chosen by others. Patients also need to be able to control the volume at which the music is played, when and for how long (Bernatzky et al., 2011; 2012). Hole and colleagues (2015), in a review, reinforced these findings, showing that music was effective in reducing pain and anxiety, even when patients were under general anaesthetic. Pothoulaki and colleagues (2008) investigated the effects of preferred-music-listening on anxiety and pain perception in patients undergoing haemodialysis. Sixty people diagnosed with end-stage renal failure and undergoing haemodialysis treatment participated. Anxiety and pain were measured pre- and post-intervention. The control group scored significantly 518 The Power of Music higher on state anxiety than the experimental group and experienced significantly higher pain intensity. In a study where pain was induced experimentally, Basiński and colleagues (2018) showed that average pain ratings were significantly lower when any music was played, but increasingly so when the music selected was arousing or complex. Focusing on pain and stress management in everyday life, Linnemann and colleagues (2015) studied 30 women with fibromyalgia syndrome, a condition characterised by chronic pain. Participants rated their pain intensity, perceived control over pain, perceived stress level and music- listening behaviour five times a day for 14 consecutive days. At each assessment, participants provided a saliva sample for the analysis of cortisol and alpha amylase, as biomarkers of stress response systems. The findings showed that music-listening increased perceived control over pain. Listening to music in combination with guided imagery has also been found to lead to significant reductions of the β-endorphin, which the body uses to numb or dull pain (McKinney et al., 1997), although music-listening or guided imagery alone did not have this effect. Vollert and colleagues (2003) used relaxing music with coronary patients during rehabilitation and found significant decreases of β-endorphin during physical exercise, suggesting that the music compensated for the need for natural pain relief. In addition, systolic blood pressure, anxiety and worry were reduced. These decreases were not found in patients who performed the exercises without music. Gerra and colleagues (1998) extended these observations, showing that listening to upbeat techno music led to increases in β- endorphins, demonstrating that upbeat music led to different outcomes. Some research has focused on pain reduction in terms of active engagement with music. For instance, Irons and colleagues (2020) carried out a systematic review of 13 studies on the impact of group singing on pain. There were psychological, physical and social benefits. Most interventions reduced pain intensity. Overall, music does seem to be able to contribute to the management of pain. This is gradually being recognised and the processes involved more fully understood so that treatment techniques can be refined to meet patients’ needs more effectively (Mainka et al., 2016). 519 15. Music and Physical and Mental Health Music and Palliative Care Coelho and colleagues (2017) carried out a scoping review to examine and map non- pharmacological interventions implemented to provide comfort in palliative care in home care, hospices and palliative care units. Eighteen studies were included, covering ten non- pharmacological interventions implemented in one to fourteen sessions which lasted for five to sixty minutes. The most common were music and massage therapy. The characteristics of these differed significantly across and within interventions. They were mostly implemented in palliative care units and hospices, and for patients with a cancer diagnosis. The use of music as therapy in multidisciplinary end-of-life care dates back to the 1970s. Music therapy is now one of the most frequently used complementary therapies in palliative care in the USA. Schmid and colleagues (2018) provided an overview of users’ and providers’ perspectives, and showed that music therapy was viewed positively. Similarly, Nyashanu and colleagues (2020) undertook a scoping review to explore the efficacy of music interventions in palliative care. Music therapy supported the management of pain, anxiety and depression, and promoted relaxation, happiness and hope, enhanced spirituality and quality of life. Leow and colleagues (2010) also reviewed terminally ill patients’ experiences of using music therapy in a hospital, an inpatient hospice, a nursing home or their own homes. They concluded that music therapy could promote social interaction and communication with family, friends, other patients and healthcare workers, and provide support for patients’ holistic needs. McConnell and Porter (2017), in a review of 51 articles of music therapy in palliative care, found that music had a therapeutic effect on the physical, psychological, emotional and spiritual suffering of palliative-care patients and that group music therapy might be an effective way to support staff caring for palliative-care patients. Music and Mental Health: Stress, Anxiety and Depression Current levels of psychosocial distress in society are significant, as evidenced by the number of prescribed antidepressants and working days lost as a result of stress and anxiety. There is a growing body 520 The Power of Music of evidence that active involvement in creative activities promotes wellbeing, quality of life and health. In adults with a mental illness, activities such as singing in a choir, creating art, expressive writing and group drumming can reduce mental distress, depression and anxiety, while simultaneously enhancing individual and social wellbeing. In the UK, there are currently a number of projects that offer creative-arts activities on prescription for those experiencing mental health issues or social isolation. The projects adopt different approaches but all take place in the community, are facilitated by professional artists and have a referral process (Bungay and Clift, 2010). Engaging with music can promote relaxation and reduce stress. Using a representative sample of the Swedish population, Juslin and colleagues (2011) found that 78 percent reported that they listened to music at least once every day and that one of the reasons for doing so was that it helped them to relax (Juslin et al., 2011). Using music was reported as beneficial because it was easily available at any time or place, and could be tailored to personal taste. Linnemann and colleagues (2016) assessed whether the presence of others while listening enhanced music’s stress-reducing effect. Participants responded to questions on stress, the presence of others and music-listening five times each day, 30 minutes after waking and at 1100, 1400, 1800 and 2100 hours for seven consecutive days. They also collected a saliva sample after each data collection to enable a biological assessment of stress. Music had the greatest impact on stress reduction when listening took place with others or when it was deliberately listened to for relaxation. In a later study, Linnemann and colleagues (2018) studied 60 participants aged eight to 34 years old, who answered questions on music-listening and stress six times each day for a week using an electronic diary device, which reported the time and duration of listening. Self-reports of music-listening were associated with lower reported stress levels but this was not corroborated by the objective data. Participants had to listen for 20 minutes before stress was reduced. In an experimental study, Jiang and colleagues (2013) examined the effects of sedative and stimulative music and music preference on stress reduction, following induced stress. One hundred and forty-four female music-education students performed a stressful mental arithmetic test, and were then assigned to listen to preferred or non-preferred sedative 521 15. Music and Physical and Mental Health or stimulative music. Sedative music lowered tension and anxiety, but there was no difference between preferred and non-preferred music. Gold and colleagues (2013) researched the effectiveness of three months of biweekly individual resource-oriented music therapy with 144 adults with non-organic mental disorders in Norway, Austria and Australia. The findings showed that music therapy was an effective addition to usual care for those who were not motivated to engage with other therapies. Reviews relating to music and stress have had broadly positive outcomes. For instance, Panteleeva and colleagues (2017) conducted a meta-analysis of 19 trials on the effects of music on anxiety and showed an overall decrease in self-reported anxiety, while music also had an impact on blood pressure, cortisol level and heart rate. De Witte and colleagues (2019), in a review of 104 trials with 9,617 participants, showed that music interventions had a positive effect on stress reduction, with larger effects for heart rate compared to blood pressure and hormone levels. Also in a meta-analysis, Pelletier (2004) reviewed 22 articles which used music to decrease arousal due to stress. Music alone and music-assisted relaxation techniques significantly decreased arousal, but the extent of reduction was mediated by age, type of stress, the relaxation technique adopted, musical preference, previous musical experience and the type of intervention. Leckey (2011), reviewing 11 studies, suggested that creative activities could have a healing and protective effect on mental wellbeing through promoting relaxation, providing a means of self- expression and reducing blood pressure, while boosting the immune system and reducing stress. Overall, however, the evidence was weak. Williams and colleagues (2018) systematically reviewed 13 articles with 667 participants. The findings of seven longitudinal studies showed that,, when people with mental health conditions participated in choral singing, their mental health and wellbeing significantly improved,, with moderate to large effect sizes. Qualitative studies showed that group singing provided enjoyment, enhanced emotional states, a a developed sense of belonging and enhanced self-confidence. In the modern world, depression is common, leading to a loss of social function, reduced quality of life and increased mortality. Music interventions have been used as an alternative to therapy or antidepressant drugs. Leubner and Hinterberger (2017) reviewed 28 522 The Power of Music studies with 1,810 participants distinguishing between passive listening to music and active singing, playing, or improvising with instruments. In almost all studies, there was a significant reduction in depression levels over time in response to musical activities, particularly in the elderly. Group settings had slightly better outcomes than individual sessions. There were improvements in participants’ confidence, self- esteem and motivation. In a meta-analysis, Aalbers and colleagues (2017) found that music therapy, in addition to usual treatment, reduced depressive symptoms and anxiety, and helped to improve functioning, including maintaining employment, activities and relationships. They concluded that music therapy was likely to be effective for people by decreasing symptoms of depression and anxiety and helping them to function in everyday life, although they were reluctant to draw firm conclusions because of the small number of studies and the lack of detailed descriptions of the nature of the interventions. Fancourt and colleagues (2016) studied the reaction of pro-inflammatory cytokines to music interventions, as these decrease in individuals with depression as they recover. The impact of group drumming on a broad array of inflammatory measures was assessed over a six-week intervention. Thirty-one participants with mild or moderate depression completed psychological scales related to depression, anxiety, wellbeing, social resilience and social inclusion before and after participation. The drumming sessions lasted for 90 minutes over a period of six weeks, with groups of 15 to 20 playing together. The sessions consisted of call- and-response exercises and the learning of drumming patterns that were built up into larger pieces. Significant improvements were found for depression, wellbeing and social resilience. Stress and tiredness levels decreased from the beginning to the end of each session, while happiness, relaxation and energy levels increased. There was no impact on blood pressure, but a decrease in heart rate. Overall, the drumming had a positive impact on mental and physical health. Postnatal depression can be reduced when mothers sing to their babies on a daily basis or listen to music (Fancourt and Perkins, 2017). In comparison with other mother- infant interactions, singing is associated with greater increases in emotional closeness, positive emotions and decreases in psychological and biological markers of anxiety (Fancourt and Perkins, 2018). Music therapy can also be used to support those who are grieving. Smeijsters and van den Hurk (1999) described a single case 523 15. Music and Physical and Mental Health study of the treatment of a woman experiencing grief after the death of her husband. They described how she was able to express a part of her personality which she had been suppressing since childhood through playing the piano and vocalising during improvisational music therapy. People with depression are more likely to engage in group rumination related to music, which can amplify negative emotions (Garrido et al., 2017), although Sakka and Juslin (2018)—in a comparison of the everyday use of music for mood regulation in depressed and non- depressed individuals aged 19 to 65 years of age—found few differences between depressed and non- depressed participants. Mental Health Care in Children, Adolescents and Young People Children and young people can experience mental illness, and music can sometimes act to support them. McFerran and colleagues (2018) studied whether involvement in a brief music-based intervention engaged young people, was appropriate, decreased distress and increased their understanding of ways to use music positively. The findings showed that at least some of the measurable decreases in distress were related to participation in the music sessions. Similarly, arts engagement, including music therapy and dance, can reduce internalising symptoms such as anxiety and depression in children and adolescents (Geipel et al., 2018). Henderson (1983) studied 13 hospitalised young people, diagnosed with adjustment reactions to adolescence, who either received 18 one-hour sessions of music therapy or acted as controls. The music sessions involved discussion about emotions in music, expression, the identification of body language, story composition to recorded music and drawing to music. Participants showed greater emotional awareness and felt a greater sense of inclusion. In Hong Kong, Kwok (2019) examined the effectiveness of an intervention integrating positive psychology and elements of music therapy in increasing sense of hope, emotional competence and happiness, and decreasing anxiety in 106 students in Grades Eight to Nine who were suffering from anxiety. There was an improvement, with changes in hope acting as a significant mediator in the relationship between the intervention, a decrease in anxiety and an increase in subjective happiness.524 The Power of Music In Northern Ireland, Porter and colleagues (2017) examined the efficacy of active music therapy with 251 children aged eight to sixteen years old—who had social, emotional, behavioural and developmental difficulties—and their parents. They either participated in usual care or had an additional 12 sessions of music therapy delivered weekly. Those in the music group showed improvements in communication, social skills, social functioning, self-esteem, depression and family- functioning. In Austria, Grebosz-Haring and Thun-Hohenstein (2018) assessed the potential neuroendocrine, immune and psychological efficacy of group singing and group music-listening in children and adolescents with mental disorders. Seventeen patients aged 11 to 18 in a department for child and adolescent psychiatry participated in a singing or music-listening programme in five daily, 45-minute sessions in one week. Saliva samples were taken to assess cortisol. Mood was also measured before and after the music activities. Singing led to a significantly higher reduction in cortisol than music-listening, while listening led to significantly higher positive change in feelings of calmness and wellbeing. Group music therapy also positively affected the mood states of 352 adolescents aged 12 to 21 who were inpatients in a psychiatric hospital (Shuman et al., 2016). Individual music therapy has also been found to slightly improve the quality of life for some children with psychopathology in an outpatient department, although the impact on symptoms depended on the severity of comorbid medical conditions (Gold et al., 2007b). Promoting positive identities and social participation has been shown to help recovery from mental illness in a range of studies (Hense and McFerran, 2017). Some interventions have used music through the medium of dance. For instance, Jeong and colleagues (2005) assessed psychological health and changes in the neurohormones of adolescents with mild depression after 12 weeks of dance movement therapy. Forty middle-school seniors participated and were randomly assigned to a dance movement group or acted as controls. Following treatment there was a reduction in psychological distress. Plasma serotonin concentration increased and dopamine concentration decreased. It seems that dance movement therapy can stabilise the sympathetic nervous system. Similarly, Gandhi and colleagues (2021) are studying 36 institutionalised adolescents with depression who will either engage in a therapeutic listening programme 525 15. Music and Physical and Mental Health or traditional music therapy for 30 minutes a day, two days each week for eight weeks, while participants in a dance group will perform for 30 minutes a day, three days each week for six weeks. Music has been found to help alleviate depression in university students. For instance, Wu (2002) studied the effect of 20 hours of music therapy on the anxiety, depression and self-esteem of 24 Taiwanese undergraduates. There were positive outcomes in relation to anxiety immediately following music therapy and after a two-month follow-up. The effects on depression were less positive, although the music therapy did lead to enhanced confidence, ability to relax and decreased negative emotions. Also studying university students, Thomson and colleagues (2014) explored how the use of music to regulate moods was associated with depression, anxiety and stress. One hundred and forty- six university students aged between 17 and 24 years of age completed an online questionnaire addressing levels of psychopathology, music- related mood regulation behaviours, and personal music-related information. Overall, music-related mood regulation predicted levels of psychopathology. High use of music for the venting of negative emotions predicted high levels of depression, anxiety and stress. Diversion ( distraction from worries and stress) predicted high levels of anxiety and stress, while music for entertainment or maintaining or enhancing a happy mood predicted low levels of depression. For some individuals, using music to regulate mood may be maladaptive, although it may be that young people experiencing psychopathology are more likely to use music to help to reduce their symptoms. Indeed, Miranda and colleagues (2012) suggested that music-listening might influence internalising psychopathology because of its role in emotion regulation and coping. Insomnia Losing sleep is a widespread problem which can have serious physical and economic consequences. Music’s impact on physical, psychological and emotional states may explain why it has helped people with sleeping disorders. Music can improve sleep quality, sleep efficiency and time-to- sleep onset, with greater effectiveness than a range of other interventions, including acupuncture and medication. Trahan and 526 The Power of Music colleagues (2018) investigated music as a sleep aid amongst the general public using an online survey that assessed musicality, sleep habits and which music helped sleep (and why). Of the 651 responses, 62 percent of respondents stated that they used music to help them sleep. Fourteen musical genres and 545 different artists were reported to be used as sleep aids. Stress, age and music use were significant predictors of sleep quality. Younger people with higher musical engagement were significantly more likely to use music to aid sleep. Respondents reported that music helped them sleep because of its unique sleep-inducing properties, its role as part of their normal sleep routine, and the way it blocked internal or external stimuli that would otherwise disrupt sleep. Jespersen and Vuust (2012) studied the use of relaxing music at bedtime with 15 traumatised refugees experiencing difficulties in sleeping. The intervention group heard relaxing music played at night through a music player nested in a pillow. There was a significant improvement in sleep quality and wellbeing but no changes in trauma symptoms. In a later study, Jespersen and colleagues (2019) studied 57 people with insomnia who either listened to music or were given audiobooks to listen to. The severity of insomnia decreased and participants perceived an improvement in sleep and quality of life, but there were no changes in objective measures of sleep. Reviews of the role of music in supporting sleep have had broadly positive results. Feng and colleagues (2018) reviewed 20 studies involving 1339 patients and 12 interventions. All interventions were statistically more effective than usual care, but patients ranked listening to music as the best method for overall sleep quality. In terms of sleep onset latency, music-associated relaxation and listening to music had significant advantages. Listening to music and music with exercise also tended to improve sleep efficiency. Wang and colleagues (2014) reviewed ten studies involving 557 participants, and showed that sleep quality was improved significantly by music and that there was a cumulative effect for chronic sleep disorders. Jespersen and colleagues (2015) reviewed six publications involving 314 participants across a variety of settings including the participant’s own home, a sleep laboratory and an inpatient rehabilitation facility. Sample sizes varied between 15 to 65 participants aged from 19 to 83 years of age. Some trials used music only, others music with relaxation. The music included 527 15. Music and Physical and Mental Health Eastern and Chinese classical music, new age, electric, popular oldies, and jazz. The music was played for 25 to 60 minutes once a day over three to 35 days. Sleep quality improved with music-listening in almost all studies. Similarly, De Niet and colleagues (2009) conducted a meta- analysis with data from 170 adults, including older people, to evaluate the efficacy of music-assisted relaxation to improve sleep quality. Music had a moderate effect. In ongoing research, Lund and colleagues (2020) are trialling how music might help people with depression who suffer from insomnia by asking them to listen to music for a minimum of 30 minutes at bedtime for four weeks. Music, Trauma and Abuse Music therapists around the world work in a wide range of settings with those who are traumatised or abused (Pavlicevic and Ansdell, 2004). Music has been shown to be cost-effective and powerful in supporting sustainable community development, mental and physical health, and peace initiatives (Hesser and Heinemann, 2010). It can help to reduce symptoms and improve general functioning among those exposed to trauma (McFerran et al., 2020), acting as an adjunct to conventional therapy and promoting emotional regulation, increased pleasure and anxiety reduction. It can be particularly helpful when individuals struggle with the stigma associated with asking for professional help (Landis-Shack et al., 2017), or when cognitive behavioural therapy has had limited success. Rhythm may be particularly important in supporting recovery. Research in neurobiology has shown that rhythmic music has a specific impact on the brain. Therapy models using rhythm have been used since 2003 in centres for young people at risk, in refugee trauma centres, forensic psychiatric wards in prisons, and child and adult mental health services. Its benefits include increased levels of social integration, improvements in affect and mood stabilisation, reductions in anxiety and depression, and increases in self-esteem (Faulkner, 2017). Post-Traumatic Stress Disorder Post- traumatic stress disorder can be caused by a wide range of incidents, the most common following engagement in severe combat-related 528 The Power of Music emotional trauma. Symptoms include distressing memory intrusions, avoidance, emotional disturbance and hyperarousal, and lead to a significantly reduced quality of life. In recent years, there has been increasing demand for music therapy services within military treatment facilities, partly due to the increased research output, but also the increased prevalence of injuries—including traumatic brain injury and post- traumatic stress disorder—for which interdisciplinary patient- centred care is required. The complexity of traumatic brain injury and post- traumatic stress in the context of military service presents particular challenges for music therapists as they try to develop effective interventions (Bronson et al., 2018). Pezzin and colleagues (2018) examined the feasibility and potential effectiveness of an active music-instruction intervention in improving psychological health and social functioning among veterans suffering from moderate to severe post- traumatic stress disorder. Sixty-eight veterans were self- or provider-referred to the programme. Participants were aged 22 to 76 years old, mainly male, African- American or black. Almost a third were in employment, while almost half were retired due to disability. The research assessed symptomatology, depression, perceptions of cognitive failure, social functioning, isolation and health-related quality of life. Participation led to a significant reduction in post- traumatic stress symptoms and depression, with a trend towards improvement in the other assessed areas. Carr and colleagues (2012) assessed whether group music therapy had an effect on post- traumatic stress disorder symptoms and depression in 17 patients who had already participated in cognitive behavioural therapy. Participants received ten weeks of group music therapy, following which there was a significant reduction in the severity of symptoms and a reduction in depression. Participants reported the group music therapy as helpful. Vaudreuil and colleagues (2020) used public performance to support the social transformation and reintegration of US military service members. Two case studies of service members who received music therapy as part of their treatment for post- traumatic stress disorder, brain injury and other psychological health concerns were presented. The participants wrote, learned and refined songs over a number of sessions, and created songs to perform to audiences. Interviews showed evidence of beneficial psychological effects of this procedure. Similarly, Bensimon and colleagues (2012) 529 15. Music and Physical and Mental Health studied six soldiers who had been diagnosed as suffering from combat- or terror-related post- traumatic stress disorder, who participated in a series of 90-minute weekly sessions of music therapy. The sessions were filmed and in-depth interviews were undertaken with participants. Analysis of musical and verbal content revealed the importance of group engagement with issues related to trauma and non- trauma matters, decreasing reflection on traumatic emotions and increasing expressions of non- traumatic feelings. In a single case study of a 36-year-old army veteran, Wellman and Pinkerton (2015) described how a ten-week music therapy intervention enhanced motivation, decreased stress, anxiety and depression, and led to reported feelings of wholeness. Medication was reduced, which led to increased reengagement with previously enjoyed activities and enhanced quality of life following four years of medical disability and significant social phobias. The use of music for therapeutic purposes can also occur in more informal ways. For instance, one US soldier rapped about his experiences in Iraq to cope with the aftermath of his deployment there, while in Uganda, one young man constantly played a stringed instrument but was too traumatised to talk about his role as a resistance army commander (Bergh and Sloboda, 2010). Military sexual trauma is an issue for some returning veterans. Story and Beck (2017) studied five veteran women who participated in up to ten music and imagery sessions and a post-session focus group over the course of three months. Participants reported using music and imagery to manage and reduce their symptoms. Civilians can also experience post- traumatic stress after being subject to combat events. Following the 2014 Israel Gaza conflict, Bensimon and colleagues (2017) examined the emotional effects of listening to happy and sad national songs on young and older adults and the relationship to exposure to missile attacks, post- traumatic stress symptoms and negative emotions. In young adults with low post- traumatic stress symptoms, sad national songs were related to higher negative emotions, whereas in older adults it was those with higher post- traumatic stress disorder symptoms that exhibited higher negative emotions in response to sad national songs.530 The Power of Music Music, Asylum Seekers, Refugees and Survivors Music therapists have become increasingly interested in the role of music in relation to war, peace, refugees and trauma (Akombo,, 2000; Edwards,, 2005; Hunt,, 2005; Kennedy,, 2001; Lopez,, 2008; Ng,, 2005). Following the attack on the USA in September 2001, many have been— and continue to be— traumatised by war, acts of terrorism and violence worldwide. Some music therapists have sought to respond actively to these events and the resulting trauma, by reaching out to trauma survivors. Refugees have to move involuntarily from their country of residence, often having witnessed disasters, wars and the deaths of immediate family members prior to leaving. These traumatic situations provoke strong reactions and emotions. often exacerbated by challenging refugee-processing system,—for instance, detention and waiting in refugee camps—which make migration and resettlement processes for refugees and asylum-seekers much more challenging than for other migrants. The psychological effects of trauma experienced by refugees tend to be long-lasting. Multicultural arts programmes can allow for sensitivity to different identities, heritage and experience, and can be important in healing and promoting wellbeing (Gopalkrishnan, 2016). In refugee camps, the arts can support the preservation of religious identity through the celebration of festivals and events, help to alleviate psychosocial distress and trauma, and reduce stigmatisation. Among children who have experienced trauma, including sexual abuse, terrorism, war and domestic violence, there have been promising findings for the value of the arts in supporting grief, depression and post- traumatic stress disorder, as well as supporting the communication of experiences (Andemicael, 2011). Clini and colleagues (2019) assessed the impact of arts interventions on forcibly displaced people, and identified several key issues concerning the perceived benefits of such programmes. The findings showed that participants reported the impact of creative activities in relation to skills, social engagement and personal emotions. Artistic and cultural activities impacted positively by helping participants to find a voice, creating support networks and providing opportunities to learn practical skills which were useful in gaining employment. In a review, Lenette and Sunderland (2016) 531 15. Music and Physical and Mental Health mapped the potential for participatory music practices to support the health and wellbeing of asylum-seekers and refugees in three contexts: conflict settings, refugee camps and resettlement settings. The review highlighted the different roles that music could have in people’s lives as they moved away from their home countries towards resettlement. Overall, they found that the growing body of research on music and wellbeing for asylum-seekers provided a strong foundation for investment in music as a key positive social and cultural determinant of health for this group of people. Music can reduce the symptoms of post- traumatic stress disorder through reducing anxiety and depressive symptoms, increasing pleasure, helping with emotional regulation, and supporting the building of communities and support networks, thus enhancing resilience, reducing stigma and improving general functioning (Sutton, 2002). This has been demonstrated in community arts projects in Sri Lanka following the civil war and the tsunami. The arts can help people to regain control of their lives (Huss et al., 2016). Beck and colleagues (2018) researched the impact of guided imagery with music alongside standard medication with 16 adult refugees who completed 16 one-hour individual sessions. Pre- and post-measures of post- traumatic stress symptoms, sleep quality, wellbeing and social function demonstrated significant positive changes with large effect sizes. Evaluation of single sessions showed that participants found the therapy acceptable and helpful. All of the participants used music- listening for self-care in their homes between sessions and responded positively to the intervention overall. In Australia, Lenette and colleagues (2016) studied music facilitators who regularly attended an immigration transit accommodation facility to share music and singing activities with detained asylum-seekers, to ameliorate significant mental and emotional distress resulting from indefinite detention. Drawing on the facilitators’ monthly written observations, a number of key themes emerged which linked music and singing to the health and wellbeing of detained asylum-seekers. Overall, it was clear that there was the potential for participatory music-making to counter the impact of traumatic experiences and detention on asylum-seekers’ health and wellbeing. Similarly, Hesser and Heinemann (2010) provided examples of music projects which supported the social inclusion of refugees and others who had experienced severe trauma. The Rwandan Genocide of 532 The Power of Music 1994 killed over a million people and led to enormous distress for those who survived. D’ Ardenne and Kiyendeye (2015) used focus-group interviews with 13 survivors who participated in a music programme and found that the music had changed their past, given them a safe place in the present, fellowship and prayer, and provided them with the personal resources to face the future. Research looking at the lasting impact of trauma (for example, in Holocaust survivors after 70 years) has found higher levels of resilience among those who have engaged in the arts over the course of their lives relative to those who have not, suggesting the value of the arts both in the immediate aftermath of trauma and in the decades that follow (Diamond and Shrira, 2018). There is also evidence that music can support victims of torture. Alanne (2010) studied three traumatised men from Central Africa, South Asia and the Middle East who lived as asylum-seekers or refugees in Finland. They received weekly or bimonthly music therapy sessions over one to two years as part of their rehabilitation, using projective listening, guided imagery and free association within a psychoanalytic frame of reference. Analysis of data from the sessions revealed that music therapy approaches were effective in promoting verbalisation as well as the regulation and expression of emotions. Participants responded positively and demonstrated some improvement, although with varying degrees of satisfaction. The therapy increased the consciousness of patients regarding their traumatic experiences, and was perceived as supporting calm and relaxation. The findings suggested that music psychotherapy methods may be effective in treating patients who are survivors of torture and related traumatic experiences. Music can support the healing of children who have been traumatised through war, those forced to fight, serve as spies, soldier wives or camp followers, and who are now refugees. Using their own cultural music and creative compositions can help young people to overcome their fears and challenges, promote healing and the development of self-esteem, trust and identity. Osborne (2012) provided examples of the way that music neuroscience can provide a means of evaluating the success of music therapy with traumatised children in post- conflict societies including North Uganda, Palestine and South Thailand. Felsenstein (2013) studied the impact of a short-term music therapy intervention on three groups of preschool children in the aftermath of a forced evacuation 533 15. Music and Physical and Mental Health from their homes during the unilateral Israeli disengagement from the Gaza Strip in 2005, and the post- trauma treatment of the evacuees. The findings suggested that music could build post- trauma resilience and reduce the vulnerability of preschoolers to traumatic events, although community and family could also strengthen the way that individual children coped. Several authors have documented the benefits of creative musical activity for children who have experienced war (Bergmann, 2002; Heidenrich, 2005; Osborne, 2009; Sutton, 2002) as a means of developing self-esteem, trust, identity and social cohesion in a range of countries including Bosnia-Herzegovina, Georgia, Sierra Leone, Rwanda and Palestine. These projects have enabled reflection and the expression of feelings. Some programmes supporting refugees or displaced young people in Sierra Leone, Ghana and Slovenia have included dance. These programmes supported the development of communication, empowered young people, gave them a sense of belonging and relief, and supported identity development (Harris, 2007; Jones et al., 2004; Lederach and Lederach, 2010; Pesek, 2009). Zharinova-Sanderson (2004) reported work with traumatised refugees in Berlin at the Centre for the Treatment of Torture Victims. Music therapy in this context helped young people to use their own cultural music to adjust to their new culture, while performance opportunities allowed audience members to see beyond traumatised refugees to real people. In Sierra Leone, Gonsalves (2010) worked with traumatised young girls who had been forced to fight and serve as spies, soldier wives and camp followers. Through song, the girls communicated their emotional and material needs, histories, fears and current difficulties. Creative musical interaction supported increased understanding, reengagement and connections with others, and promoted healing, thus empowering the participants. In post- conflict Kosovo, Gerber and colleagues (2014) evaluated the work of a charity which aimed to promote a culture of peace and unity, as well as the development and recovery of children. Groups of non-participating students were compared with new programme participants, those participating for twelve months and those who had graduated from the programme. Overall, children who participated in the programme for at least one year had fewer emotional and cognitive problems than recently 534 The Power of Music enrolled children. In Ireland, Kenny (2018) examined the musical lives of the children of asylum-seekers living in a state system of communal housing while they waited for their refugee applications to be processed. Data were collected through six participatory music workshops, video observations, a reflective log and focus-group interviews. Eleven children aged seven to twelve years old, of six different nationalities, participated. The findings revealed the importance and relevance of the contexts of music-making in temporary accommodation settings, as well as the broader national and international contexts for children living in asylum-seeking systems. A review of 21 school- and community-based interventions for approximately 1800 refugee and asylum-seeking children, carried out in high-income countries or refugee camps, with a focus on verbal processing of past experiences or a range of creative arts activities, suggested that interventions delivered within the school setting could be successful in helping children overcome difficulties associated with forced migration. Feelings of powerlessness, humiliation and anger were reduced and social inclusion, mental health, social acceptance and belonging were enhanced (Tyrer and Fazel, 2014). Music and Victims of Abuse Child sexual exploitation is a major international problem and victims need to be rehabilitated and reintegrated into society. They can be supported through the creative arts. Schrader and Wendland (2012) described how music therapists working in Phnom Penh, Cambodia—in a centre that provided care for young girls rescued from sexual violence or commercial sexual exploitation—trained staff in the centre, teaching them to play instruments, participate in ensembles and lead large group music activities so that they could support the girls. Rogers (1992) highlighted a number of factors that appear to be common to sexually abused individuals, including the participants’ manipulation of music therapy, the symbolic use of instruments, the preoccupation with mess and containers, the use of boundaries, and the power of secrets. Material from case studies illuminated these points. In the USA, there are over five million crimes involving violence to partners annually. Victims experience a lifetime of increased risk for 535 15. Music and Physical and Mental Health depression, anxiety, addiction, suicide attempts and post- traumatic stress disorder. Additionally, women’s experience of abuse is a risk factor for incarceration. Palidofsky and Stolbach (2012) describe the therapeutic benefits to incarcerated adolescent girls of working collaboratively with theatre professionals to create, develop and perform musicals based on their own traumatic experiences. Similarly, Neupane and Taylor (2011) described how a gender-sensitive music intervention was able to facilitate healing and recovery in incarcerated abused women. Also working with victims of abuse, Slotoroff (1994) developed a technique in an inpatient short-term psychiatric setting using improvisational drumming and cognitive behavioural methods to address issues of power. A middle-aged woman and an eleven-year-old boy participated, and increased their sense of power and self-control, leading to long- term positive behavioural, cognitive and emotional changes. Flores and colleagues (2016) used African drumming to enhance the emotional and social wellbeing of 16 children in residential care, most of whom had been exposed to some form of neglect or abuse and displayed high levels of anger, anxiety, depression or disruptive behaviour. Participants attended weekly sessions of African djembe- drumming over a period of four months. The intervention did not appear to significantly impact the participants’ long-term self-concept or levels of depression, anger or disruptive behaviour, while anxiety increased. Despite this, findings from interviews and observations suggested that the workshops did enhance the children’s emotional and social functioning in terms of their self-esteem and self-confidence, prosocial behaviour, enjoyment, concentration and manifestation of musical capacity, even though these did not transfer to the children’s everyday functioning. This may have been because of the severity of their socioemotional difficulties, as well as the limitations of the intervention itself. Hannigan and McBride (2011) investigated therapists’ perspectives on the value of using drumming, along with other percussion instruments, as therapeutic tools in family violence treatment groups. Overall, drumming was perceived as useful in fostering group cohesion and cooperation, helping clients with a passive communication style become more involved in groupwork, facilitating emotional expression and offering participants a way to experience active relaxation and engagement in the group process. 536 The Power of Music Another approach to supporting trauma victims has been through song-writing. For instance, Fairchild and McFerran (2019) studied 15 children aged eight to fourteen years old who had experienced homelessness and family violence. Participants collaborated in writing a song about what music meant to them. Throughout the process of song- writing, the children described how music provided an escape from what was happening in their lives and offered hope for a better future. Similarly, Clendenon-Wallen (1991) studied 11 adolescents who had been sexually abused who participated in a music group where activities included song- or rap-writing, rhythm-playing, improvisation, lyric analysis and creative movement. The adolescents also designed record- album covers. The music-based activities increased participants’ sense of self-worth and self-confidence. Not only did the music ease their anxiety, but it was also useful in the process of socialisation and verbalisation, and served as a starting point for discussing personal matters. Group improvisation also enhanced group cohesion and cooperation. Christenbury (2017) combined song-writing and art to promote healing in a child who had been traumatised. The child controlled the process, as the therapist composed songs in response to the child’s drawings. Both related to the emotions that the child chose as being important for her healing. This increased self-esteem and provided a healthy emotional outlet. Also using song-writing, along with improvisational instrument- playing, lyric analysis and musical games where participants were asked to encode and decode various emotions, Graham (2011) determined the effects of music on the emotional expressivity of children and adolescents who had experienced abuse or neglect. All 22 participants had been removed from their homes and placed in group foster homes. The findings showed an increase in emotional expressivity and in the degree and appropriateness of the emotions expressed by participants. Rudstam and colleagues (2017) employed group music and imagery with ten women who had been exposed to physical, psychological or sexual abuse—often with a history of childhood abuse and neglect— who were suffering from post- traumatic stress disorder. All participants completed the treatment, indicated that it was helpful and showed a decrease in post- traumatic stress and dissociative symptoms, alongside an increase in quality of life. These changes were maintained when the programme ended. Adopting a different approach, Strehlow (2009) 537 15. Music and Physical and Mental Health focused on the use of analytical music therapy to treat sexually abused children, showing how an eight-year-old rebellious girl who had suppressed her feelings after being sexually abused by her mother’s partner responded positively. Similarly, Sutton and De Backer (2009) drew on case material from work with a young boy and an adult attending a psychiatric outpatient department, to show how a form of musical listening and thinking could help to understand the issues faced by those who are traumatised. Fairchild (2018) highlighted the creative resources that children experiencing homelessness and family violence can bring to research, as well as the range of resources that they can draw upon in the face of adversity. The research challenged the view of such children as being at risk, and explored their resources and what helped them to do well. Fairchild and colleagues (2017) used song-writing and interviews to collaborate with children, focusing on what music meant to them. Music offered an escape from the outside world and provided hope that the future would be better. The children described a range of support from friends, family, sport, pets, writing a journal and creativity. They wanted to feel safe and cared for, and protect themselves and others, and exhibited considerable self-determination. A collaborative article written with one 11-year-old revealed that he believed that learning to play the drums through music therapy had changed his life. Music therapy has been used to support parenting. For instance, Day and colleagues (2009) reported the reflections of five women who had experienced childhood abuse as they participated in a group parenting programme that incorporated song-writing. Three years after completion of the programme, all participants reflected positively on the process of creating their songs, and most reported that they continued to engage with their song creations. Parents who have experienced childhood trauma often experience challenges when parenting an adolescent as this can trigger memories of abuse, which can intensify conflict, resulting in negative relationship cycles. Colegrove and colleagues (2018) devised a dyadic music therapy for parents and adolescents which increased responsive parent-adolescent interactions and parental emotion coaching, while reducing conflict and adolescent mental health difficulties.538 The Power of Music Children who have been exposed to ongoing maltreatment and poverty frequently experience behaviour problems. In South Korea, Kim (2013) used music therapy for 15 weeks with four such children. There was a reduction in externalising and internalising behavioural problems overall, although there was considerable individual variation. In a later study, Kim (2017) showed that, although children in the music therapy group were less depressed, anxious and withdrawn, and had less attention problems than children in standard-care waiting groups, there were many confounding factors. The El Sistema programme, a large-scale community-based music programme which includes children exposed to violence, showed in research conducted in 16 music centres with 2914 children aged six to fourteen years old that participating children had improved self-control and reduced behavioural difficulties (Alemán et al., 2017). Severe Mental Ill-Health The following sections provide examples of the way that music can be used to support recovery from severe mental ill-health, providing supplementary support to traditional pharmacological and psychological approaches. For patients with psychosis, music therapy and music-listening have both been reported to improve symptoms of general psychopathology, psychoticism, aggressiveness and interpersonal hostility, paranoid ideation, phobic anxiety, somatisation, anxiety and depression, as well as catatonic symptoms such as lack of participation, cooperation, relaxation, interaction and psychosocial functioning (Silverman, 2003). However, not all of the research has confirmed these findings (Attard and Larkin, 2016). An interesting line of enquiry has focused on the use of music individually tailored to match patients’ brain rhythms. For instance, Müller and colleagues (2014) examined whether long-term exposure of psychiatric patients to music that was individually adapted to brain rhythm disorders associated with psychoticism could act to ameliorate symptoms. A total of 50 patients with various psychiatric diagnoses were randomised to listen to CDs either containing music adapted to brain- rhythm anomalies associated with psychoticism as measured by specific spectral analysis, or standard classical music. Participants were instructed to 539 15. Music and Physical and Mental Health listen to the CDs for 18 months. Psychiatric symptoms were assessed at the start of the intervention and at four, eight and eighteen months. Patients in the experimental group showed significantly decreased symptoms compared to control patients for psychoticism, paranoia, anxiety, phobic anxiety and somatisation. These changes may have resulted from the modulation of neurochemical interactions which improved brain function and enhanced neuroplasticity. Feng and colleagues (2019) explored whether music therapy could improve the brain function of patients with major depressive disorder using near- infrared spectroscopy. Fifteen mild or moderate major depressive disorder patients were compared with healthy controls, who were all treated with continuous music therapy for ten days. Verbal fluency task performance of the participants yielded significantly higher scores after music therapy. The near- infrared spectroscopy data showed increases in some channels which were significant for both groups. The major depressive disorder group showed significant activation in the dorsolateral prefrontal cortex, orbitofrontal cortex and ventromedial prefrontal cortex after music therapy, suggesting that the music therapy had been effective. One strand of research has considered the impact of music on acute mental health. For instance, Silverman (2017) explored the effects of different levels of structure within educational music therapy interventions on knowledge of illness management, and recovery and affect in adult acute-care mental health inpatients. One hundred and fifteen participants were randomly assigned to either high- or low-structured educational music therapy or a waiting-list control. There were significant differences in relation to knowledge of illness management and recovery between the high-structure condition and the other groups. Overall, highly structured music therapy seemed to be best for efficiently and effectively imparting knowledge concerning illness management and recovery in acute mental health settings. Stefani and Biasutti (2016) studied the impact of group music therapy alongside drug care in comparison with drug care alone, in addition to other non-expressive group activities in the treatment of psychiatric outpatients. Twenty-seven patients with diagnoses of schizophrenia, schizoaffective disorders, bipolar affective disorder, depressive episode and specific personality disorders were allocated to receive group music therapy and standard care in 48 weekly sessions of two hours, 540 The Power of Music or standard care only. Those participating in the group music therapy demonstrated improvement in neuroleptic drug dosage. Although antidepressant drug usage increased for both groups, the difference was only significant for the control group. Benzodiazepines and mood stabilisers showed no significant change in either group. Overall, group music therapy combined with standard drug care was effective for controlling neuroleptic drug dosage in adult psychiatric outpatients Grocke and colleagues (2014) studied 99 individuals with severe mental illness who experienced weekly group music therapy, including singing familiar songs and composing original songs in a professional studio. Focus group interviews and lyric analyses, along with quantitative data, were collected at 13, 26 and 39 weeks. Music therapy improved the quality of life and self-esteem of participants, with those participating in a greater number of sessions experiencing the greatest benefits. Focusing on singing, Williams and colleagues (2018) reviewed 13 articles including 667 participants on the efficacy of group singing as a mental health intervention for individuals living with a mental health condition in a community setting. The findings showed that, when people with mental health conditions participated in a choir, their mental health and wellbeing significantly improved, with moderate to large effect sizes. Group singing provided enjoyment, improved emotional states, developed a sense of belonging and enhanced self- confidence. Working with young people in a youth mental health service in Australia, Hense and McFerran (2017) showed that promoting young people’s musical identities could facilitate their recovery from mental illness. Reviews of the evidence for the effectiveness of music therapy for those with psychopathology across a range of different age groups have had mixed findings. Silverman (2003) carried out a meta-analysis including 19 studies, and showed that music could effectively suppress and combat psychotic symptoms. There were no differences between live and recorded music, structured music therapy and passive listening, or between preferred versus therapist-selected music. However, classical music was less effective than popular music. Gold and colleagues (2004) reviewed the overall efficacy of music therapy for children and adolescents with psychopathology, and examined how the size of the effect of music therapy was influenced by the nature of the pathology, 541 15. Music and Physical and Mental Health the client’s age, the music therapy approach adopted, and the way that outcomes were assessed. Of the 11 studies included, with a total of 188 participants, music therapy had a medium to large positive effect on clinically relevant outcomes. The effects tended to be greater for behavioural and developmental disorders than for emotional disorders, social skills or self-concept, particularly when eclectic, psychodynamic or humanistic approaches, rather than behavioural models, were adopted. In a later review focusing on adults, Gold and colleagues (2009) found that music therapy, when supplementing standard care, had a strong and significant effect on global state, general and negative symptoms, depression, anxiety and general functioning. Small effect sizes were achieved after three to ten sessions, while 16 to 51 sessions were needed to achieve large effects. Overall, the findings suggested that music therapy was an effective treatment which could help people with psychotic and non- psychotic severe mental disorders to improve their functioning. In a review of 35 studies focusing on acute psychiatric disorders, Carr and colleagues (2013) found that drawing firm conclusions was limited by methodological shortcomings and small sample sizes. Studies with significant positive effects used active, structured musical participation and were delivered in four or more sessions. No clearly defined effective model emerged but greater frequency of therapy, actively structured music-making with verbal discussion, consistency of contact, clear boundaries and an emphasis on building a therapeutic relationship and building patient resources seemed to be of particular importance. Yinger and Gooding (2014) summarised the research on music therapy for children and adolescents, including disorders usually diagnosed in childhood (for instance, substance abuse, mood and anxiety difficulties, and eating disorders). They outlined a range of music therapy techniques and their strengths and weaknesses. Some research has considered how music might support those having electroconvulsive therapy. Graff and colleagues (2016) examined 30 patients’ preferences for music prior to treatment. Most enjoyed listening to music through speakers or headphones, although 17 percent preferred no music. Gleadhill and Ferris (2010) developed a framework for evaluating the impact of music therapy on people with dissociative identity disorder. This debilitating disorder, acquired due to severe ongoing neglect or abuse, is characterised by the presence of two or more identities that frequently 542 The Power of Music control the individual’s behaviour. The framework suggested that symptom relief, destigmatisation, increased self-esteem and prevention of future abuse were important outcomes. Eating Disorders The role of music in ameliorating eating disorders has been examined in a number of studies and reviews. Free and structured improvisation, song-writing and listening to pre- composed music can all be used to help sufferers to address specific aspects of their eating disorder, including being able to recognise and tolerate their feelings, connect with others, and make links between thoughts, feelings and their body. Music can support the development of a sense of self and facilitate understanding of the symbolic functions of the illness. Robarts and Sloboda (1994) explored the process of music therapy in the treatment of people suffering from anorexia nervosa. Individual cases have illustrated the ways in which music therapy can support the individual while addressing frequently deeply rooted problems: for instance, issues with identity, negative self-image, distorted body image, autonomy, control, avoiding facing difficult emotions and difficulty in relationships. There is a relationship between listening to music for cathartic purposes and emotional eating. Van den Tol and colleagues (2018) argued that enjoyment of food and music share similar neural activations in the brain and are both used to regulate feelings. They investigated the associations between emotional eating, disordered mood and music-related mood regulation, and found associations with depression, anxiety and stress. Music-listening for releasing anger or sadness and emotional eating were positively associated. Other music-listening strategies—including entertainment, diversion or mental work—were associated in people who had low levels of disordered mood. High levels of disordered mood were associated with high levels of emotional eating but not with music- listening strategies. This suggests that some music-listening strategies might be able to be used as healthier alternatives to emotional eating. In a retrospective analysis of songs written by adolescents with anorexia nervosa, McFerran and colleagues (2006) revealed identity as the most common theme. Mealtime is an anxious time for people with anorexia, 543 15. Music and Physical and Mental Health and music therapy has been used successfully to significantly reduce post-meal-related anxiety (Bibb et al., 2015). Addiction Chronic drug abuse leads to a dopamine-deficient state in the mesolimbic system, causing dysphoria in abstinence, leading to craving and, subsequently, a return to drug use. Functional imaging studies have shown that listening to personally pleasing music activates the mesolimbic reward system in a fashion similar to that of drug abuse. Such activation could therefore ameliorate dysphoria and the craving of the hypodopaminergic state. Mathis and Han (2017) found that listening to personally pleasing or moving music could reduce craving in abstinent alcoholics. Twelve participants with alcohol-use disorder in a residential substance rehabilitation unit reported on their level of craving before and after listening to either a participant-selected song or white noise. The music intervention had a significant advantage in reducing craving compared to noise. Other studies on addiction have reported that music therapy can improve perceived control, thus reducing cravings. Silverman (2011) researched the effect of music therapy on readiness to change and craving in patients in a detoxification unit. One hundred and forty-one participants were allocated to a rockumentary music therapy intervention, verbal therapy or a recreational music therapy condition. There were significant differences between groups in readiness to change, contemplation and action, with participants in both music conditions having higher scores than those in the verbal therapy condition. They also tended to have lower mean craving scores, and perceived the intervention as helpful and enjoyable. Group music-making activities such as choirs can enhance social connections and provide a positive diversion for people overcoming addiction. For instance, Liebowitz and colleagues (2015) investigated how participation in a music-based performance and instruction programme influenced the sense of engagement experienced by participants in a residential setting for at-risk veterans. Participants had opportunities to connect with others through shared interests, and the connections forged with other residents extended beyond relationships established in the choir through increased recognition associated with performances. The choir provided a diversion from other concerns and 544 The Power of Music may have served as a means of facilitating adjustment to change at a measured speed. Reviews of the impact of music therapy in relation to addiction report a lack of consistency in research outcomes (Hohmann et al., 2017; Mays et al., 2008). A scoping review of 3697 articles on the impact of music in the lives of young adult drug users found that they valued music for meeting emotional, psychological and social needs, particularly when they were homeless. However, the research included in the review was limited to considering the harmful consequences of music rather than considering potential benefits (Lemaire et al., 2021). Obsessive-Compulsive Disorder and Social Anxiety Disorder Music can play a role in ameliorating the symptoms of obsessive- compulsive disorder alongside pharmacotherapy and cognitive behavioural therapy. In Iraq, Abdulah and colleagues (2018) evaluated the impact of passive music-listening as an adjunct therapy with 36 patients aged from 19 to 65 years old. The experimental group received seven 50-minute relaxing music tracks to listen to daily, in addition to regular pharmacological treatment for a three-month period. Controls received regular treatment only. The findings showed improvement in the severity of the behaviours for the experimental group. Similarly, Shiranibidabadi and Mehryar (2015) randomly assigned 30 patients with obsessive-compulsive disorder to standard treatment, pharmacotherapy and cognitive behaviour therapy, in addition to 12 sessions of individual music therapy or standard treatment for one month. Music therapy resulted in a greater decrease in checking and slowness but not for washing or responsibility. Overall, music therapy as an adjunct to standard care was effective in reducing obsessions, as well as comorbid anxiety and depressive symptoms. Listening to music has been found to reduce time spent dwelling on threats in people experiencing social anxiety disorder. Lazarov and colleagues (2017) examined the efficacy of a gaze-contingent music reward therapy for social anxiety disorder, designed to reduce the extent of dwelling on threats. Forty patients were randomly assigned to eight sessions of either gaze-contingent music reward therapy (designed to divert patients’ gaze toward neutral stimuli rather than threat stimuli) 545 15. Music and Physical and Mental Health or to a control condition. The music therapy yielded greater reductions in symptoms than the control condition. These effects were maintained after the intervention, which also revealed reduced time spent dwelling on threats and socially threatening faces which had not been used in training, suggesting that the outcomes transferred to other situations. Schizophrenia Music therapy can reduce some of the symptoms of mild schizophrenia, including hostility, hallucinations, suspiciousness, emotional withdrawal, poor rapport and difficulty in abstract thinking. Compared with controls, those with schizophrenia receiving adjunct music therapy have shown improvement regardless of the duration, frequency or number of therapy sessions (Tseng et al., 2016). In a review of 18 studies with a total of 1,215 participants, undertaken during 7 to 240 sessions, Geretsegger and colleagues (2017) showed that in the medium term, there were positive effects for adjunct music therapy on a range of negative symptoms, social functioning and quality of life, although the effects were inconsistent across studies and depended on the number of sessions and the quality of the therapy. Working in a hospital emergency psychiatric ward with 61 patients with psychosis, Volpe and colleagues (2018) found that structured music therapy led to a decrease in anxiety, depression and affective symptoms. Liao and colleagues (2020) explored the factors which were important for the effectiveness of group singing when social robots interacted with individuals with schizophrenia. Nine participants aged 28 to 62 years old participated in four group singing therapy sessions provided by a social robot and an occupational therapist. Group cohesiveness, universality and altruism were the most important factors related to the efficacy of the programme. Similarly, Odell-Miller (2016) considered how music therapists could use the music created by patients to better understand their emotions and how they interacted with others.546 The Power of Music Music Therapy for Those with Autistic Spectrum Disorder or Severe Learning Difficulties Music therapists have worked with children on the autistic spectrum disorder for many years, typically as a means to improve verbal and non-verbal communication. Music can be particularly effective in supporting the development of communication, as in itself it is a kind of language (Ockelford, 2012). Using functional magnetic resonance imaging, Sharda and colleagues (2015) showed that those with autistic spectrum disorder had alternate mechanisms for speech and music processing, and established that song could overcome the structural deficit for speech. In a later study, Sharda and colleagues (2018) evaluated the neurobehavioural outcomes of an eight- to twelve-week music intervention with 51 autistic children aged six to twelve years old. Song and rhythm improvisation improved communication and the resting state brain functional connectivity between auditory and subcortical regions and auditory and frontomotor regions, although connectivity was lower between the auditory and visual regions, areas known to be overconnected in those with autistic spectrum disorder. Some children with autistic spectrum disorder excel at creative activities, particularly music, having superior memory for pitch and timbre and a high-level capacity for processing melodic and rhythmic complexity (Janzen and Thaut, 2018). A survey of adults with autistic spectrum disorder studied their special interests, the intensity of and motivation for those interests, and their impact on quality of life. Approximately two thirds of the sample reported having a special interest, including computers, music, nature and gardening. Most engaged with more than one. Having such interests was associated with enhanced wellbeing, including social contact and leisure. However, very high intensity of engagement with special interests was negatively related to wellbeing (Grove et al., 2018). Even those on the autistic spectrum without special musical skills can benefit from music therapy as a means of enhancing social interaction, sensory perception, language and eye contact (LaGasse, 2017). Musically enriched interactions can reduce anxiety and aggressive behaviour and improve listening, attention span and social interaction (Campbell, 2010), while auditory motor rhythmic training can improve language acquisition and processing, as well as 547 15. Music and Physical and Mental Health speech control (Janzen and Thaut, 2018). However, not all interventions have successful long-term outcomes. For instance, Dvir and colleagues (2020) videoed the synchrony of body rhythms between four-to-six-year- old children with autistic spectrum disorder and their music therapists over a 20-week period. Higher levels of synchrony were found when repetitive rhythmicity that occurred twice or more times per second was used, but there was no long-term impact. Although individuals with autistic spectrum disorder commonly have deficits in processing complex emotional cues, the ability to identify the emotional content of music is generally preserved. In Sweden, Theorell and colleagues (2014) established that playing a musical instrument, particularly in an ensemble, was associated with higher emotional competence. There is further support for this from a review conducted by Molnar‐Szakacs and Heaton (2012), who pointed out that many individuals with autistic spectrum disorder showed an early preference for music and were able to understand simple and complex musical emotions in childhood and adulthood, despite the difficulties that they experienced with communication and understanding of emotions within the social domain. One study has even suggested that antenatal music training and maternal talk could reduce the risk of children developing autistic-like behaviours. In China, a study of 34,749 parents of kindergarten children completed questionnaires which revealed that antenatal music training and maternal talk to the foetus was associated with a reduction in autistic-like behaviours (Ruan et al., 2018). Parent- child integrated music activities can support the relationships between children with autistic spectrum disorder and their parents or caregivers (Lense et al., 2020), as can music-based parent coaching (Hernandez- Ruiz, 2020), while musical activities which include children with autistic spectrum disorder can reduce their being victimised by neurotypical peers (Cook et al., 2018). Some research has considered how music might help children with learning difficulties more broadly. For instance, Mendelson and colleagues (2016) studied a classroom-based music intervention for improving communication skills in children with autistic spectrum disorder or other intellectual disabilities in four elementary school special education classrooms. The findings showed that 45-minute weekly music therapy sessions promoted improvements in verbal responsiveness. Working with young adults with severe learning 548 The Power of Music difficulties, Pavlicevic and colleagues (2014) found that long-term music-making provided them with ongoing opportunities for gaining confidence and enhancing self-esteem, with feelings of shared acceptance and success. In a case study of an individual with profound learning difficulties, McFerran and Shoemark (2013) found that the success of the therapy lay in a combination of attentive, responsive and creative behaviour over time, with the music therapist listening and taking responsibility for the structure of the activities, and the young person spontaneously initiating activities—withboth participants building a relationship over time. Biological markers of stress have also shown a reduction following music therapy in individuals with intellectual disabilities and autistic spectrum disorder (Poquérusse et al., 2018). Community music activities can also benefit those with mild to profound learning difficulties, increasing their self-confidence and enabling wider recognition of their musicality (Wilson and MacDonald, 2019). Reviews of the impact of music on individuals with autistic spectrum disorder have generally shown positive outcomes, including improved non-verbal and verbal communication, motor development, coordination, body awareness, sensory perception, social emotional reciprocity and a wide range of social skills (Geretsegger et al., 2014; Janzen and Thaut, 2018; Shi et al., 2016; Srinivasan and Bhat, 2013; Vaiouli and Andreou, 2018). In addition to the impact on these functions, De Vries and colleagues (2015) showed that music reduced anxiety and improved cognitive skills, attention to task, enhanced body awareness, self-care skills, and the expression, recognition, understanding and processing of emotions. Ragone and colleagues (2021), focusing on the use of technology with children with autistic spectrum disorder, showed a relationship between sound-based activities and improvement of motor and social skills. The reviews all point out the limitations of the research, particularly in terms of the small sample sizes and variation in the kinds of therapy and outcome measures, while still acknowledging the benefits. In contrast, Simpson and Keen (2011) gave limited support for the use of song-writing or improvisational therapy to facilitate social, communicative and behavioural skills in young children with autism spectrum disorder. Music has been successful in increasing exercise intensity and important in reducing the risk of obesity, sleep disorders 549 15. Music and Physical and Mental Health and stereotypical behaviours common in children with autism spectrum disorder, although the effects are mediated by the extent to which the exercise is structured, the nature of the music and the characteristics of the child (Woodman et al., 2018). Some research has focused on the nature of effective music teaching for children with a range of learning difficulties and autism. Gerrity and colleagues (2013) showed that the use of repetition, giving students choice and allowing for longer response time were important teaching strategies, while children themselves found it important to have clear directions and expectations, a behaviour plan, and fostering a positive atmosphere that was free of distractions. Thompson and colleagues (2020) gathered the perspectives of autistic individuals aged 18 to 25 years old to inform the design of music-making workshops using an online survey and structured interviews, and showed that participants expected a welcoming atmosphere and an acceptance of diversity. Overview Psychological wellbeing and physical health are closely linked. The former can enhance recovery from illness and limit its occurrence, while stress and anxiety can contribute to ill health. Music can enhance wellbeing, but equally it can contribute negatively to psychological health (if depressing or aggressive music is listened to constantly, particularly in the presence of others). Music-making in ensembles activates many regions of the brain, enhancing the connections between them, while listening to music—which constitutes an aspect of making music— impacts on brain regions associated with arousal, the emotions, reward and pleasure. The rhythmic aspects of music impact on movement, while whether music is slow, fast, quiet or loud affects arousal, mood and emotion. Musical preferences have a major influence on whether music therapy is effective. In these different ways, music can influence mental and physical health positively or negatively. In addition to the direct effects of music, therapy interventions typically involve interactions with other people, the therapist and other participants. The social interactions involved in music-making and listening with others are important in the impact of music on mental and physical health, and can be more or less positive. The therapist or facilitator and the approaches that they adopt 550 The Power of Music are also important mediators. It is not possible for research to untangle the differential impact of music itself and the social interactions with others that may accompany it. Overall, predicting the outcome of any musical intervention on mental or physical health is complex because of the interaction of these factors. This complexity can also account for the different research outcomes.© 2022 S. Hallam & E. Himonides, CC BY-NC-ND 4.0 https://doi.org/10.11647/ OBP .0292.1616. Music, Inclusion and Social Cohesion Music has a wide range of functions. These were set out in detail in Chapter 1 . One of the most important functions is the role of actively making music in encouraging social bonding. This function has been argued to have an evolutionary basis (Huron, 2001). Harvey (2018) suggests that music and music-related behaviours, along with language and speech, were important for early evolution in helping to promote emotional synergy and social bonding, and foster group-level cooperation and coordination. Savage and colleagues (2020) argue that the evolution of musicality involved gene and cultural coevolution, where proto-musical behaviours that began as cultural inventions had effects on biological evolution through their impact on social bonding. Repetition, synchronisation and the combination of harmony, rhythm and pitch provided social rewards through linking brain networks, physiological systems and behaviours. Cross (2003) argues that music may be particularly suited for supporting social bonding, as it is generally free of risk and its meaning can be interpreted in different ways, allowing humans to interact and share experiences, even though each participating individual may have different perspectives, goals and relationships. Music can promote survival through the way it synchronises the moods of many individuals, who can then collectively take action to protect and defend themselves from attack (Dowling and Harwood, 1986). Moving together rhythmically seems to reinforce this process (Hove and Risen, 2009; Kogan, 1997; Trainor, 2014). Further support for the role of music in social bonding is the fact that music occurs in every human culture and subculture, unless it is deliberately suppressed. It is the most universal human behaviour on record (Merker et al., 2015). Mehr and colleagues (2020) support the evolutionary role 552 The Power of Music of music in relation to coalitional interactions, but also emphasise its importance in infant care. Humans, as a species, face considerable challenges compared with primates as to how to maintain social bonds with groups much larger than those of primates. Music might provide a way of achieving this (Freeman, 2000). Rhythmic activities induced by drum beats or music can lead to altered states of consciousness, through which mutual trust among members of societies can be engendered. This proposition has been supported by empirical research. For instance, Weinstein and colleagues (2016) recruited individuals from a community choir that met in small groups (20 to 80 people) and large groups (232 people). Feelings of inclusion, connectivity and positive affect increased after each 90-minute singing rehearsal in the small choir, but greater increases were reported for those in the large choir, suggesting that singing together fosters social closeness—even in large group contexts where individuals are not known to each other. Similarly, Pearce and colleagues (2015) followed newly-formed singing and non-singing adult education classes over a period of seven months. Participants rated their closeness to their group before and after classes at three timepoints: one, three and seven months. Singers and non-singers felt equally connected after seven months, but much faster bonding occurred in the singing group after only one month. Singing may have evolved specifically to bond together large human groups of relative strangers quickly, their willingness to coordinate with others supported by the way that music generates positive emotions. All group music-making involves a strong element of sociability (Finnegan, 1989). The links between music, social bonding (Cross, 2009; Hagen and Bryant, 2003) and emotion (Juslin and Sloboda, 2001) may explain why group music-making enhances wellbeing. Sloboda (1985) suggests that music-making is rewarding, in part because it generates social bonding and cultural coherence. Its role in a range of ceremonies supports this (Roederer, 1984). Social networks developed through music-making support group identity, collective thinking, collaborative learning, friendship, social support, a sense of belonging, synchronisation, catharsis, and the collective expression and experience of emotion (Brown, 1991; Faulkner and Davidson, 2004; Coffman, 2002; Creech et al., 2013a; Lehmberg and Fung, 2010). In a 553 16. Music, Inclusion and Social Cohesion recent example, Arditi (2020) suggests that when musicians in popular bands perceive their performance identity as linked to the identity of the band, the group has greater solidarity and is more likely to remain together. While music can support the formation and maintenance of group identity, and promote cooperative behaviour, conversely it can create the potential for hostility towards outgroups. For children and young people, group music-making offers the opportunity to engage in wide cultural experiences, explore new ideas, places and perspectives, and support social cohesion (Israel, 2012). This not only benefits participants but also increases the involvement of parents and carers, and their attendance at cultural events and exposure to culture more generally (Creech et al., 2013). The biological underpinnings of social bonding in primates involve endorphins and the endogenous opioid system. These are released during synchronised exertion (Tarr et al, 2014) and are associated with several human behaviours, including laughing and synchronised sports, as well as singing and dancing. Passively listening to music also engages the endogenous opioid system. Identifying self as part of a group, combined with the activity of the endogenous opioid system, may be important in the way that music promotes social bonding. Endorphins are released during synchronised movements which also have an effect on social bonding, social behaviours and oxytocin levels (Weinstein et al., 2016). Kreutz (2014), studying the psychobiological effects of amateur choral singing in comparison with dyads chatting to each other, showed patterns of change favouring singing over chatting, suggesting that singing enhanced individual psychological wellbeing, as well as inducing a sociobiological response. Similarly, Grape and colleagues (2003) observed significant increases of oxytocin—which plays a fundamental role in social behaviours—in both professional and amateur singers after a singing lesson. Participating in musical groups requires attention to be paid to the actions and intentions of other group members and their physical and emotional states, in addition to being able to communicate emotions and respond to those of others (Cross et al., 2012). Group music-making promotes the activity of neural networks that connect areas of the brain associated with social cognition and music production (Sanger et al., 2012). This is key to the development of empathy. Musical participation 554 The Power of Music can enhance empathy in children (Rabinowitch et al., 2013) and may also increase emotional sensitivity (Resnicow et al., 2004). In young people, music preferences can indicate similar or different values, with similarity contributing to social attraction, explaining how musical bonding can occur in a range of different cultures (Boer et al., 2011). Human interactions sometimes require that behaviour is coordinated (Keller et al., 2014). Such synchrony promotes positive social behaviour. For instance, infants who were bounced in synchrony with an experimenter were subsequently more likely to help the experimenter when they dropped objects which were needed to complete a task than those bounced out of synchrony (Trainor and Cirelli, 2015). The pleasure of performing in temporal synchrony with others may also have wide- ranging consequences for wellbeing and overall functioning (McNeill, 1995). For instance, Hove and Risen (2009) showed that degree of synchrony in tapping tasks predicted subsequent affiliation ratings. One of the most frequently cited benefits of group music-making is its impact on prosocial behaviour. Young children have shown enhanced cooperation and helpful behaviour in musical as opposed to non-musical conditions (Kirschner and Tomasello, 2009; 2010). The El Sistema programme and projects inspired by it facilitate prosocial behaviour (Creech et al., 2013; 2016). Intensive ensemble activities are seen as providing opportunities for nurturing positive citizenship, including respect, equality, sharing, cohesion, teamwork, and the enhancement of listening skills as an important element in promoting understanding and cooperation (Majno, 2012). Research in the USA has shown that involvement in group music activities in high school helps individuals learn to support each other, maintain commitment and bond together to achieve group goals (Sward, 1989). Band participation has positive benefits on maturing relationships, teamwork, cooperation, sense of belonging, companionship and social development (Brown, 1980). In adolescence and young adulthood, music-listening in families and peer groups contributes to family and peer cohesion. This applies across a range of cultures including Kenya, the Philippines, New Zealand and Germany (Boer and Abubakar, 2014). In a large study of 30,476 people in the UK, Van de Vyver and Abrams (2018) found that greater engagement with the arts, including musical activities, predicted greater prosociality, volunteering and charitable giving. 555 16. Music, Inclusion and Social Cohesion Joint music-making provides opportunities for developing skills relating to citizenship. It can encourage tolerance and the development of social ethics, increase acceptance of children with intellectual impairments (Humpal, 1991; Jellison et al., 1984) and enhance concern with wider community issues (Miksza, 2010). Wiltermutt and Heath (2009) showed that students in the USA scored higher on a coordination exercise and a public-good game after singing along with a song played on headphones compared to no singing or forced asynchronous singing. Music-making can also be used to teach leadership skills to children in primary and secondary schools (Hallam, 2017), where they learn to communicate verbally and musically with other children. Music and Conflict There can be no greater illustration of the power of music than its role in conflict situations. The relationship between music and conflict is complex. Music has not always been used to promote peace. It can be— and has been used by—those who desire to create or maintain conflict. Bergh and Sloboda (2010), in a review of the literature, outlined the ways in which music can support conflict. They give examples of how music has been used to support preparations for war. For instance, in Nazi Germany, music was used to accompany large rallies, with the purpose of developing a sense of cohesion (Reinert, 1997). In Croatia, music was used to develop nationalist feelings before the start of the war (Pettan, 1998), while Serbians used folk music to bolster the concept of Serbian uniqueness (Hudson, 2003; Bohlman, 2003). Similarly, Albanians used music videos to attempt to create a national identity in preparation for war (Sugarman, 2006). For centuries, music has been used to support militia as they face battle, drums offering rhythm to support marching together, while drums, bugles and bagpipes have been used to bolster courage (McNeill, 1995). More recently, in Iraq, American soldiers played loud, aggressive music while engaging in dangerous activities (Gittoes, 2006). In some countries, music has been used to promote revolution. Songs can be used as calls for action. For instance, congregational music represents solidarity and a sense of collective identity in the civil rights movement (Ward, 1998). Boulanger Martel (2020), drawing on data relating to the production of music between 1988 to 2019 of the Fuerzas 556 The Power of Music Armadas Revolucionarias de Colombia, argued that cultural production was employed to bolster rebel-group legitimacy: internally by justifying the existing hierarchical relationships between leaders and fighters, and externally by identifying the rebel group as a legitimate alternative to the existing establishment and a rightful representative of the people. Typically, in conflict situations, music is employed with multiple purposes. For instance, in the 2nd World War, in the ghettos and concentration camps, music played a complex role in daily life. It was used to help to alleviate distress among those who were incarcerated (Gilbert, 2005) but at the same time to intimidate and demonstrate power (Pettan, 1998). Moreno (1999) reviewed the meaning and sometimes therapeutic role of music for victims and perpetrators during the Holocaust, demonstrating the importance of music in times of stress. Music was used for humiliation and torment. Musical censorship was applied and music was used for deception, distraction and masking. The prisoner orchestras demonstrate how musically induced humane feelings were separated out, with sentiment and nostalgia coexisting alongside denial and indifference to the way that others were suffering. Recently, loud noise and music have been used as a means of torture, to challenge beliefs (Cloonan and Johnson, 2002), or to torment and humiliate prisoners of war (Cusick, 2006). Bayoumi (2005) reported how detainees have been subjected to music at high volume which has been designed to destroy their minds. In Guantánamo Bay, Eminem, Britney Spears, Limp Bizkit, Rage Against the Machine, Metallica and Bruce Springsteen have been played at excessive volume for long periods of time. Detainees indicated that music was used as a weapon designed to deprive them of sleep, cause overstimulation and be psychologically intolerable. In contrast to promoting conflict and causing distress, music has been used over many years in attempts to resolve conflict and support peace. For instance, the Buwaya Kalingga people established peace pacts that were consolidated through feasts and the use of specific songs (Prudente, 1984). Bergh and Sloboda (2010), in a review, point out that since the early 1990s there has been increasing use of music and arts to reduce conflict. In the Balkans and between Israel and Palestine, music and the arts have frequently been used in mediation efforts. In the Sudan, music was used as a meeting place between 29 different 557 16. Music, Inclusion and Social Cohesion ethnic groups who had been displaced as a result of the 22-year civil war (Bergh, 2007). Other initiatives have included the recording of joint Israeli-Palestinian CDs, music therapy with children (Ng, 2005) and brass-band performances for children from different ethnic groups (Veledar, 2008). Bornstein (2008) has researched artistic and religious contributions to peace building in Indonesia, while music and poetry have been used to attempt to resolve conflict in Cyprus (Ungerleider, 1999) and elsewhere (Epskamp, 1999). Bang (2016), in a review of the literature, investigated how artistic engagement could facilitate transformative learning and the development of skills and capacities for more constructive engagement with conflict, fostering new perspectives and, ultimately, cooperative relationships. Zelizer (2003; 2004), working in Bosnia, Herzegovina, focused on the process of artistic interventions, suggesting that conflict could be resolved by expanding the identity of participants beyond current group identities. Also focusing on process, Weaver (2001) argued that reconciliation between parties in conflict should be viewed as a creative process, while Zelizer (2003; 2004) suggested that changing emotions, not rational thought, was necessary to achieve reconciliation after civil war. Much of the research on conflict reduction has been criticised because outcomes have been based on the perceptions of those organising the programmes and the musicians delivering them, rather than the participants (Cohen, 2005a). This may have distorted the reported effectiveness of programmes. For instance, Fock (2004) found that teachers in a Danish multicultural music project were more cautious when reporting change in pupils than they were in responses given in questionnaires which had to be returned to the organisers. Cohen (2005a) suggested that, to be effective, projects should connect with other conflict resolution interventions and take greater account of the context. Lederach (2005) also considered how artists could contribute to peace- building, while in a review (but also using empirical data collected from conflict transformation projects in Sudan and Norway—Bergh, 2007; Bergh, 2008; Bergh, 2011), Bergh and Sloboda (2010) concluded that most interventions were ineffective in the long term because they did not relate to participants’ daily lives. It seems that, to be effective and make sustainable changes, programmes need to take place over many years. Some multicultural projects, where music from other cultures 558 The Power of Music is shared, can emphasise differences between groups rather than the similarities. This can exacerbate the issues which the programme intended to address. The imbalance in power between organisers, those delivering the programme and participants can also be a problem in establishing efficacy (Zelizer, 2004). Haskell (2005) suggests that issues of power and control need to be taken into account in all interventions, as weaker parties may agree to avoid future negative consequences. Academic research in this area has been criticised for sometimes having too great an emphasis on theory rather than practice (Robertson, 2006). Despite these difficulties, there continue to be discussions about how music might help in supporting the resolution of conflict (Lopez, 2008; Urbain, 2007). As considered in Chapter 15 , there has been increasing interest from music therapists in developing interventions to support those traumatised by conflict (Edwards, 2005; Ng, 2005). Some research has focused on the relationship between social cohesion and patriotism. Hamzah and colleagues (2021) studied the impact of music in Malaysia, which became independent in 1957. The national anthem and patriotic songs were mobilised by the state to foster a sense of national cohesion and collective identity. These songs were popular and accepted by Malaysian citizens from diverse backgrounds as a part of their national identity. This was supported by their repetition on national radio, television and social media platforms. Group discussions were conducted and revealed that patriotic songs, rather than commercial popular songs, were more popular and wide- reaching in appeal across different professions, ethnicities, religions and geographic locations. Patriotic music provided a means for social cohesion through the personal, intimate and affective associations that such songs solicited from individual citizens. Johan (2020)—drawing on cases of intercultural intimacy found in the production, performance and studio recordings of Malaysian artists and groups—revealed how Malaysian popular music, specifically from the stage of maturing nationhood during the 1970s and 1980s, provided an important means of intercultural cohesion among citizens from a range of ethnicities, religions and social classes. It offered intimate, creative expression that facilitated the process of everyday social cohesion. In the same way that music can be used to promote conflict, it can also be used to increase prejudice. For instance, Corte and Edwards 559 16. Music, Inclusion and Social Cohesion (2008) researched the use of punk music by white power activists. At the end of the 1970s, a racist rock music movement known as White Power music emerged in Great Britain connected to political parties of the extreme right. Throughout the 1990s, it expanded significantly into a multi-million-dollar international enterprise, promoting White Power musicians performing in a wide range of musical genres. The music had a particular role in recruiting new adherents, especially young people. The authors concluded that White Power music continued to play a significant role in the mobilisation of racist political and social movements by drawing in new recruits, cultivating a racist collective identity, and generating substantial sums of money to finance a range of racist endeavours. In contrast, Roberts (2009) provided examples of punk involvement in left-wing social movements, including the Rock Against Racism movement in the UK and the Peace movement in the US. The punk ethic of independent media construction at the centre of the punk movement made it possible for punks to make connections to various social movements, in addition to altering the dynamics of those social movements. Eyerman (2002), drawing on research on the Civil Rights movement in the United States, the memory of slavery in the formation of African-American identity and the place of white-power music in contemporary neo-fascist movements, outlined how music can act as a political mediator. Some research has focused specifically on using music to reduce prejudice. For instance, in Northern Ireland, Odena (2010) studied the perceptions of 14 practitioners engaged in musical activities in cross- community settings, working with Protestant and Catholic groups. Interview data showed that cross-community music education projects were an effective means of addressing prejudice amongst young people, but the specific contexts of each setting put limits on what could be achieved. Similarly, folk songs have been used in Israel to bring Palestinian and Jewish children and their families together during cross- community school visits (Lichman, 2006; Lichman and Sullivan, 2000). Songs promoting social inclusion can reduce prejudice, discrimination and aggression between groups and promote cultural understanding. For instance, Greitemeyer and Schwab (2014), in a series of experiments, showed that participants who had listened to songs with pro-integration relative to neutral lyrics expressed less prejudice and were less aggressive 560 The Power of Music and more helpful towards an outgroup member. These effects were unaffected by liking the song or the mood and arousal properties of the songs employed, suggesting that it was the pro-integration content of the lyrics that achieved the effects. Clarke and colleagues (2015) reported the outcome of an empirical study demonstrating that passive listening to music of an unfamiliar culture could significantly change the cultural attitudes of listeners who had high levels of empathy. Research in other areas relating to the way that music can bring about change has shown that sustainable change tends to occur where participation is active and involves participants in the regular use of musical skills over a period of months as opposed to days (Spychiger et al., 1993; Harland et al., 2000). Music and Refugees For many years, Australia has been one of the most multicultural countries in the world, although globalisation increased the number of people arriving from countries with vastly different backgrounds, experiences, ideologies, values and belief systems. Gifford and colleagues (2009) carried out a longitudinal study to explore the experiences of 120 newly arrived young people with refugee backgrounds. In their first year at a school focused on developing their English language skills, with the exception of instances of teasing and bullying, their experience was positive, but on transition to mainstream school they felt that they had inadequate English language skills to engage fully with educational requirements. They felt less supported by teachers, their academic work declined, as did their feelings of belonging and safety, and there was a significant increase in experiences of discrimination. Most did not complete secondary education, instead seeking further technical training or employment. Many were not part of an intact family, and family instability was a feature of their lives, with family support weakening over time. This may be why they valued their wider ethnic community. Most experienced discrimination or violence because of their ethnicity, religion or colour. Despite their often traumatic lives prior to arrival, they exhibited considerable personal strengths, but nevertheless faced many challenges. This, coupled with the burdens shouldered by their families, had an impact on their ability to reach their full potential in the early years of settlement in Australia. Perhaps because of the large number 561 16. Music, Inclusion and Social Cohesion of immigrants, there has been considerable research in Australia about the possible impact of music in supporting their integration. For young children, playground games provide a mechanism through which they can be included in the school environment while retaining connections with their home cultures (Marsh and Dieckmann, 2016; 2017). Marsh (2016) explored how music participation, specifically participation in musical play, could contribute to the wellbeing of newly-arrived refugee and migrant children, providing new musical and social beginnings. Specific reference was made to children from Iraq, South Sudan and Sierra Leone in Australia, Punjabi children in the UK and newly arrived Central and South American immigrants in the USA. In a school catering for newly-arrived immigrants, music was used to support acculturation and integration (Marsh, 2012a; 2012b). Young people aged 12 to 18 years old participated in musical activities designed to provide opportunities for cultural maintenance, cross-cultural transmission and verbal and non-verbal communication, with a view to developing interpersonal connections, social cohesion and empowerment through varied learning, teaching and performance opportunities. Participation in performance in a major school concert was important in achieving these aims. The key outcomes for students included feelings of belonging to the school community, the wider Australian community, as well as to a global music community, reached through various technological media (Marsh, 2012a; 2012b). Marsh (2015) focused on the collaborative music and dance activities of a Sierra Leone youth group attending an intensive English language centre for newly arrived students. For these marginalised young people, the music and dance activities, conceived within a socially just framework, provided opportunities for participatory parity, cultural justice and social inclusion within communities from both the home and host cultures. Also in Australia, Crawford (2017; 2019) reported the findings of a case study that investigated the impact of music education on students in a school in Victoria. Music education was used as a vehicle to engage young people with a refugee background. The findings indicated that classroom music which fostered socially inclusive practices resulted in a positive transcultural learning space, which supported young refugees, fostering a sense of wellbeing and belonging and an enhanced engagement with learning. While some of these benefits were not always 562 The Power of Music clearly distinguished from the more general experience of school, the students did identify some elements of music-learning and teaching that they linked to these outcomes. In a multiple case study of three schools in Victoria, Crawford (2020) explored the perceptions, experiences and practices of teachers directly or indirectly involved with music education in schools that had a high percentage of young people with a refugee background. Intercultural competence and socially inclusive behaviours were seamlessly embedded in the music learning activities on offer. These were student-centred, active, practical, experiential and authentic. Also in Australia, Lenette and colleagues studied a group of music facilitators who regularly attended an immigration transit accommodation facility to share music and singing activities with detained asylum seekers. The monthly written observations of the facilitators were analysed and revealed links between music and singing and the health and wellbeing of detained asylum-seekers related to humanisation, community, resilience and agency. Sunderland and colleagues (2015) reported the outcomes of an exploratory narrative study on the impact of participatory music-making on the social determinants of health and wellbeing of refugees in Brisbane. They mapped reported outcomes for five refugee and asylum-seeker members of a participatory Brisbane- based music initiative, the Scattered People. Three key aspects were critical for wellbeing: cultural expression, music-making, and the consolidation of personal and social identity. Cain and colleagues (2020), using qualitative methods, explored how participatory music- making within immigrant communities could influence wellbeing. Three broadly defined cultural groups living in the region participated: people of Baltic origin, from Latin American and Caribbean backgrounds, and newly arrived immigrants and refugees. Individual interviews were analysed and showed how musical involvement affected mental, social and emotional wellbeing. Focusing on the staff of a refugee and asylum- seeker music programme, Sunderland and colleagues (2016) showed that they shared a common concern for promoting social justice using music participation, creation and dissemination. Some research in Australia has been concerned with the experiences of migrant musicians. Mani (2020) investigated the multiple and often marginalised ways of being, knowing, educating and performing 563 16. Music, Inclusion and Social Cohesion in migrant musicians in South East Queensland. The wide range of activities that they undertook in their new homes not only built their capacity but also added culturally derived value to their lives and the lives of those that they encountered. Three key features were central to their lives and livelihoods: connectedness, self-identity, and wellbeing. Magowan (2019) considered how complex emotional dynamics emerged between music facilitators, music producers and asylum- seekers as they variously navigated experiences of dislocation and replacement. The recounting of painful journeys immersed singers and music producers in reciprocal recognition and reimagining of events in an empathic process, empowering asylum-seekers and Aboriginal Australians through their songs. As in Australia, a considerable body of research has been undertaken in Norway. In 2020 just over four percent (238,291) of the Norwegian population had a refugee background. In the region of 21,000 of these refugees were children between six and fifteen years of age (Statistics Norway, 2020). In 1989, the Norwegian concert agency initiated a three-year programme of introducing multicultural music-teaching in Norwegian primary schools. Eighteen schools in and around the capital took part in a research project to determine the effects of immigrant musicians introducing the music of their countries of origin to fourth- grade children. Positive results emerged, particularly with regard to reduced harassment and ethnic tension. Multicultural music is now regularly on the school concert agenda, with a total of 3,000 such concerts having been presented to more than a quarter of the total Norwegian school population (Skyllstad (1995; 1997). Skyllstad (2000) initiated a three-year research project aimed at understanding the cultural traditions of immigrant communities in Oslo, and preventing discriminatory attitudes. The project also aimed at releasing and promoting the artistic talents and resources in immigrant communities through cooperation with leading artists from countries of origin in the fields of music and dance. Participating schools benefited from the programme through improved interethnic relationships, a reduction in incidents of harassment and the enhanced self-image of immigrant children, who were more easily accepted. Other intercultural initiatives followed. A multicultural music centre was founded, which arranged a yearly world music festival. Similar projects have been established—for 564 The Power of Music instance, Einarsen (1998) and Fock (2004)—but have generally had less positive outcomes than those reported by Skyllstad (1995; 1997). Bergh (2007) followed up the performances of traditional folk and classical music by musicians from the home countries of immigrant groups 13 years later and found that, although participants recalled the programme and enjoyed it at the time, it had had little impact on their daily lives and their relationships with other groups as they did not see any connections between the musical performances, the musicians or the populations of these countries. In contrast, Enge and Stige (2021) explored music therapy in a public primary school in a rural area of Western Norway which focused on refugee children’s social wellbeing, with an emphasis on their peer community. The children who were offered music therapy faced various challenges, including living in difficult home situations or struggling academically or socially. The music therapy had a participatory and exploratory character, and successfully nurtured the children’s capacity to regulate their emotions and engage in social participation. Studying a refugee camp in Greece where people from Iraq and Syria had been living for up to a year, Millar and Warwick (2018) aimed to improve understanding of the relationship between music and the wellbeing of young refugees aged 11 to 18. Data were collected over a five-week period through observation of individual music lessons and group music workshops involving between three to twelve participants and semi-structured interviews. The findings showed that actively making music could impact positively on young people’s wellbeing, enabling the development of emotional expression, improved social relations, self-knowledge, positive self-identification and a sense of agency. In London, Clini and colleagues (2019) undertook a collaborative study using focus groups and in-depth semi-structured interviews with asylum-seekers and refugees, and showed that participants articulated the impact of creative activities around three main themes: skills, social engagement and personal emotions. The activities helped participants to find a voice, create support networks and learn practical skills useful in the labour market. In Wales, Vougioukalou and colleagues (2019), using observations and interviews, explored the effect of participating in weekly structured musical activities and improvisation, as well as at public performances. 565 16. Music, Inclusion and Social Cohesion They observed that improvisation encouraged individual unscripted performances, instilled confidence in solo performance, gave individuals who had experienced displacement and marginalisation a chance to lead in a safe, performative space, gave other participants a chance to follow and accompany these compositions instrumentally or vocally (drawing on their own cultural traditions, thus creating innovative cross-cultural pieces), and provided participants and audience members with a unique and irreplicable experience that triggered their imaginations, prompting questions and further discussion between participants. These findings suggest that the combination of structured and improvisational musical activity can help to foster a sense of wellbeing and social inclusion, change power dynamics, create opportunities for cross-cultural dialogue and create a community out of people from different locations and situations. The Welsh choral tradition and arts in the local community provided a receptive environment for this diverse group of performers, connecting them to the wider local community arts scene that led to individual, collective and wider societal benefits. In the USA, Muriithi (2020), using interviews and observations of performances, explored the lived experience of six refugee musicians who had been involved in music prior to entering the USA. Traumatic experiences resulted in their fleeing from their homes to seek refuge elsewhere. After being resettled in the United States, they continued to suffer from the experience of loss, the need to adapt and change, and the struggle with trauma and negative emotions. Music was their method of healing trauma and facilitating integration. It supported healing, enabling them to forget problems, communicate a message of hope and integrate, thus reducing isolation and loneliness. In a review, Henderson and colleagues (2017) identified the possible positive health and wellbeing outcomes of participatory music activities for culturally and linguistically diverse people who could be described as vulnerable or at risk in particular migrant populations. They concluded that there was insufficient evidence from the existing research to draw clear conclusions. Similarly, Lennette and Sunderland (2016) mapped the potential for participatory music practices to support health and wellbeing outcomes for asylum-seekers and refugees in conflict settings, refugee camps and resettlement contexts. The findings highlighted the different roles that music had in people’s lives as they moved towards 566 The Power of Music resettlement, and how music might support health and wellbeing in this population. Social Inclusion There have been several approaches to defining social inclusion. An overarching approach considers it in terms of the interaction between psychological and sociological factors, including: • motivation; • loneliness; • self-efficacy; • anxiety; • self-esteem; • self-regulation; • identity; • development; • feelings of contentment and belonging; • social relationships and networks; • group coherence and dynamics; • marginalisation; • integration; • interaction; • social sharing; and • enabling social relations (Baumeister et al., 2005). As considered in earlier chapters, music can play a role in enhancing social inclusion in many everyday situations rather than being limited to those relating to large-scale conflict. Music-making has been used to support children and young people who are at risk through poverty, prejudice, disaffection or involvement with the judicial system. For instance, Ho and colleagues (2011) reported positive changes in wellbeing and mental health following a drumming intervention with low-income children, while Barrett and Bond (2015) found that 567 16. Music, Inclusion and Social Cohesion participation in a music programme enhanced the musical, academic and social competence and confidence, connection, character and caring of students in four socioeconomically disadvantaged school settings. Similarly, Fanian and colleagues (2015) evaluated a creative arts workshop for Tłįch ǫ youth in circumpolar, arctic and subarctic regions which enabled young people perceived as ‘at risk’ to explore critical community issues and find solutions together using the arts. Observations, focus groups, questionnaires and reflective practice were adopted. Participating young people reported gaining confidence and new skills, artistic and personal. Many found the workshops to be engaging, enjoyable and culturally relevant, and they expressed an interest in continuing their involvement with the arts and spreading their messages through art to other young people and others in their communities. However, the short-term nature of some programmes makes drawing conclusions about their efficacy difficult. For instance, Millar and colleagues (2020) reported on a project involving 16 sessions of participatory music-making with 32 hard-to-reach young people aged 12 to 17, which aimed to engage them on their own terms through music that resonated with their lived experience, but their need for stability required more long-term engagement. In the UK, positive benefits for self-efficacy and self-esteem have been found for looked-after children (Dillon, 2010) and those in the criminal justice system (Daykin et al., 2012). Programmes for juvenile offenders have successfully addressed complex mental health symptoms and behavioural regulation difficulties, and increased academic performance and family functioning (Bittman et al., 2009; Rapp-Paglicci et al., 2012) Coutinho and colleagues (2015a; 2015b), in two reviews, showed the possible benefits of a range of music interventions with adult offenders, while in Norway, Waakter and colleagues (2004) researched the impact of music on young people who had experienced serious and multiple life stresses. Cain and colleagues (2016) carried out a review to explore whether participatory music activities could promote positive outcomes for young people from culturally and linguistically diverse communities characterised as ‘at risk’, and reported a range of positive wellbeing and health outcomes, in addition to enhanced cultural empathy. Delgado (2018) argued that the performing arts can be implemented effectively to attract young people in schools, out-of-school settings, or 568 The Power of Music what has been referred to as the ‘third area’ between school and family. The latter are non-stigmatising, community-based venues that can supplement or enhance formal education, providing a counter-narrative for young people to enable them to resist the labels placed on them, serving as a vehicle for reactivity and self-expression. The performing arts can support creative expression that can be transformative for individuals and communities. Group music-making offers the opportunity to engage in wider cultural experiences and explore new ideas, places and perspectives; it supports social cohesion through broadening experiences (Israel, 2012). Benefits can extend beyond those for participants to include families and whole communities (Creech et al., 2016) Some research has been undertaken in the context of school music education. Early research in Switzerland showed that increasing the amount of class music within the curriculum did not have a detrimental effect on language and reading skills, despite a reduction in time in these lessons (Spychiger, et al., 1993; Zulauf, 1993), but led to increased social cohesion within class, greater self-reliance, better social adjustment and more positive attitudes. These effects were particularly marked in low-ability, disaffected pupils (Spychiger et al., 1993). In Finland, Eerola and Eerola (2013) studied 735 children, some of whom participated in extended music education classes from age nine for four hours each week, compared with just over 80 minutes for the remaining children. By the end of the programme, the children receiving additional classes reported a more positive classroom climate and more satisfaction with school life. However, those attending the additional classes were selected because of their strong musical skills. This may have influenced the outcomes, although other factors may have been important, including shared musical interests, positive feedback from public performance, intense emotional experiences, feelings of affiliation and the prosocial effects of joint musical activities. In a national study of 2000 children in the UK, Sing Up , those who were relatively more musically skilled were more likely to report themselves as being more socially included (Welch et al., 2010). Later analysis (Welch et al., 2014) matched data from 6087 participants following three years of the Sing Up project, and suggested that engagement in musical activities impacted on sense of self and sense 569 16. Music, Inclusion and Social Cohesion of social integration irrespective of age, sex and ethnicity. Similarly, Rinta and colleagues (2011) explored the connections between children’s musical backgrounds and their feelings of social inclusion. Data were gathered from 110 eight- to eleven-year-old children in the UK and Finland. The findings showed that those children who played a musical instrument or sang with their family or friends regularly felt more socially included. In Spain, Almau (2005) found that extracurricular musical activities contributed towards increased school attendance and social inclusion in Roma children. Also in Spain, Musicalizatech (a project that promoted musical creativity in secondary and high-school students) showed a clear impact on participants in relation to the development of social and emotional skills, problem-solving and teamwork, the development of technological skills, and creative processes (Cuadrado et al., 2017). In contrast, in the USA, Gerrard (2021) found through interviews with students, band leaders, teachers, parents and administrators that a middle-school band programme with Latinx students did not meet their needs as they were uncomfortable with the band model and wanted more creative work with music that was familiar to them. Music teachers face a range of challenges related to social inclusion. They have to decide whether it is part of their role to address such issues. For instance, Evron (2007), working as an art educator in Israel, considered whether teachers of the arts should ignore the violent experiences of their students, relate the curriculum to address such problems, or simply expect creative activities to enable students to express their fears and life experiences, avoiding political issues. A further issue is whether teachers of the arts should respond to the challenges of re-engaging disaffected young people through inclusive teaching practices or go beyond this in some way (Burnard, 2008). In a review, Karlsen and Westerlund (2010) argued that the musical education of immigrant students could be seen as a healthy test for any educational context in terms of how democracy is enacted. Bates (2012) considered issues relating to social class in school music, and concluded that there is a need to provide free and equitable music education for all students, understand and respect their cultural backgrounds, and also recognise the social forces that perpetuate poverty. Several authors have commented on the lack of equity in opportunities for different groups. 570 The Power of Music In England, Griffiths (2020) found that female, black and minority- ethnic students were well represented in elite music education, but were very poorly represented in the professional repertoire, where 99 percent of performed pieces were by white composers and 98 percent by men. Treacy (2020) found that the challenges female musician teachers encountered in pursuit of their careers in Nepal were not addressed in shared visions of music education. In the USA, Palmer (2017) considered how music educators could address issues of discrimination that appeared to be beyond their control. Also in the USA, Baird (2001) interviewed nine teachers to investigate how they engaged preschool- and elementary-aged children in singing and talking about social justice issues, the barriers that they perceived to this practice in schools and society, and how parents, educators and song-makers could bring about changes that would improve the ability of children to sing for social justice in American schools and the wider society. In the relatively recent past, the arts in general have been used to attempt to address social inequality, the uneven distribution of wealth or resources and inequity, unfair differences in society, and the environment in wealthy and poor countries around the world (Parkinson et al., 2013). For instance, in Ireland, a study in a deprived area of Cork explored the impact of a wide music education project on the feelings of social inclusion exhibited by local residents. The findings indicated that music could be used as a tool to tackle social exclusion and educational disadvantage (Minguella and Buchanan, 2009). In Tasmania, Langston and Barrett (2008) examined social capital in a community choir using a survey, field notes and semi-structured interviews. Many social capital indicators were evident in the choir: shared norms and values, trust, civic and community involvement, networks, knowledge resources, and contact with families and friends. Fellowship was identified as a key component in fostering group cohesion and the development of social capital. Laing and Mair (2015) studied the role of music festivals in helping to build strong and cohesive communities and found that the organisation of festivals might contribute to social inclusion through providing opportunities for local participation, learning new skills, and access to education about social justice, although organisers tended to direct their social inclusion efforts towards attendees rather than reaching out to local residents, limiting the impact on the local community and social inclusion more generally. 571 16. Music, Inclusion and Social Cohesion Overview The evidence relating to the role of music in social cohesion demonstrates only too clearly the power of music. It has been successfully used to promote prejudice and enhance national identities for political purposes. It has been used to bolster the morale of those engaged in warfare and to humiliate and terrorise opponents. Attempts to use music positively to promote social cohesion in those already or previously engaged in conflict have had limited success and, in some cases, have highlighted differences between groups, exacerbating problems. Active music- making may offer some support in breaking down barriers between different ethnic or religious groups, but its effectiveness in any given situation depends on the depth and strength of existing prejudices and the current political climate. As we have seen in Chapters 14 and 15, music therapy can offer support to those traumatised by conflict and can enhance the self-beliefs of members of marginalised groups. Those engaged in music education are faced with challenges in deciding whether they should overtly address issues relating to prejudice in their classes, consistently adopt inclusive teaching strategies, or narrowly focus their teaching on musical issues.17. Music in Everyday Life The development of the electronic media in the latter part of the 20th century revolutionised access to and the use of music in our everyday lives. In the Western world, music pervades every aspect of our lives (Clarke et al., 2010). Music is played in supermarkets, shopping precincts, restaurants, places of worship, schools, on the radio and television, and through the medium of recordings. Music plays an important role in the theatre, TV , films, video and advertising. Music is now available in a wide variety of formats, not only through radio and recordings but through smartphones and computers, which can stream music on demand. These new technologies have changed the way that people are able to interact with music (Nill and Geipel, 2010) making music easily accessible at any time and in a wide variety of contexts (Heye and Lamont, 2010; Juslin et al., 2008). Individuals are able to control what, when and how they listen to music. This has led to complex patterns of everyday music usage and storage, leading to the highly personalised categorisation of music (Greasley and Lamont, 2006). Users adopt different ways of managing playlists which fuse new ways of collecting music with practices from pre-digital collecting (Hagen, 2015). Digital music has facilitated greater interactivity between user, device, and music (Kibby, 2009) and moved from collecting music being a tangible experience to a more ephemeral one (McCourt, 2005). A reflection of the extent to which people engage with music is the size of the music industry. In the UK and the USA, it is amongst the top generators of income. Prior to these developments, music was only accessible for most people if they made it themselves or attended religious or social events. Alongside the increased availability of music for listening, there are also greater opportunities for actively making music. Many more people of all ages now learn to play instruments or sing and participate in musical groups, although the degree of © 2022 S. Hallam & E. Himonides, CC BY-NC-ND 4.0 https://doi.org/10.11647/ OBP .0292.17574 The Power of Music participation to some extent depends on financial resources ( ABRSM, 2014). Music and Leisure Listening to music is a top leisure activity for many people (Rentfrow and Gosling, 2003). Engaging in leisure activities has a long history, going back to at least the fourth century BCE, when Aristotle referred to it as constituting an important element in the life of the citizens of Athens (including the experience of melody, drama, poetry and dance). These were perceived as important in supporting happiness (Hallam et al., 2017). More recently, Stebbins (1992) has distinguished between casual leisure—which mainly includes enjoyable social interactions and self-gratification behaviours—and serious leisure, which requires significant effort. Those participating in serious leisure fall into three groups: amateurs, hobbyists and volunteers. Amateurs share similar expectations with professionals and rely on the general public to appreciate and support their activities. Hobbyists are dedicated, but to a lesser extent. Their activities are frequently undertaken alone. Volunteers provide help, formally or informally, while dabblers or dilettantes only participate in any specific leisure activity for a brief period of time or to a limited extent. Amateur musicians can engage in musical activities for personal amusement or as a serious leisure activity. Many of the activities that they engage with are indistinguishable from those undertaken by professional musicians. Music constitutes a key part of their identity, and they invest much time and energy in it. At the start of active engagement with music, motivations may vary. Dabblers or dilettantes have no great commitment and spend little time practising, which limits their musical development and the benefits that they may derive from it, while others may be totally committed and aspire to amateur or professional status. Hobbyists (Stebbins, 1992) or enthusiasts (Keown, 2015) tend to focus on listening, have large music collections and high-quality equipment, and invest considerable time in learning about and adding to their collections. Regular attenders at concerts or festivals tend to have higher levels of musical experience and rate music as important in their lives. Less committed listeners, dabblers, dilettantes and recreationists enjoy music, but it is not a major focus in their lives, although it is important to them. 575 17. Music in Everyday Life Relatively little research attention has been given to understanding the behaviours of music enthusiasts and sound-recording collectors (Keown, 2015). They, mainly men, may actively participate in collecting sound-recording albums to fulfil multiple motivational desires including love of music, obsessive-compulsive behaviour, accumulation and completism, selectivity and discrimination or self- education and scholarship (Shuker, 2004). Lacher and Mizerski (1994) describe their behaviour in terms of affective responses, experiential responses, the ability to be swept up in the music, and the need to re-experience the music. Other influential factors include perceived knowledge (an illusion of knowing), objective knowledge (knowing based on data-supported information), opinion leadership (allowing other individuals’ opinions to influence purchasing behaviours), and enduring involvement (relating to a product in support of self-image). These are better predictors of motivation to purchase particular recordings than demographic variables such as age, social class and marital status (Flynn et al., 1995), although record-collecting in general has been identified as a male characteristic (Straw, 1997). Technological developments have led to further distinctions in terms of technology users and technology consumers, and different downloading profiles: occasional downloaders, online listeners, explorer pioneers, curious and duplicators (Molteni and Ordanini, 2003). Related to the concept of enthusiasts is that of fandom, which has been conceptualised as a psychological symptom of a presumed social dysfunction (Jenson, 1992) although also as a logical consumer strategy focusing on pleasure and identity development in association with an identifiable capital (Stevens, 2010). Fandom is also related to seeking out interpersonal relationships with other music fans (Duffett, 2013). Whatever the musical activity, the level of commitment and time spent engaging with music impacts on the benefits which can be derived from it. To be a dedicated fan requires having sufficient finance to attend concerts and pay for recordings and, for the really dedicated, travel to distant performances. Higher incomes are required for this (Bennett et al., 2009).576 The Power of Music Listening to Music Listening to music is a key leisure activity for many people (Rentfrow and Gosling, 2003). The easy availability of music nowadays means that people are able to interact with music at any time and in a variety of contexts. Listening can be motivated by the desire for aesthetic experience, the regulation of moods and emotions (Groake and Hogan, 2018), to promote wellbeing in those with long-term illness (Batt- Rawden et al., 2005) or to help in accessing new ways of being (Krueger, 2018). As considered in depth in Chapter 14 , music is frequently used as a regulatory strategy for maintaining or changing moods (Silk, 2003; Thayer et al., 1994). This is one of the most common reasons for listening to music. While people generally use music to enhance positive emotions, it can be used to explore negative themes: for instance, distress, suicide and death. This can subsequently increase depressive symptoms and suicidal thoughts (Scheel and Westefeld, 1999). These negative outcomes can be exacerbated through interactions with like- minded others. Music can also have a negative impact when individuals are exposed to music that they dislike in contexts where they have no control and are unable to remove themselves from the situation. This can cause extreme distress. There is variation in the extent to which listeners are aware of the impact of music on their moods. Typically, older people and women are more aware while, amongst young people, girls are more likely to use music to cope with personal problems as a kind of lay- therapeutic practice (Batt-Rawden and DeNora, 2005), while boys tend to use it to increase energy and promote their image (North et al., 2000; Wells and Hakanen, 1991). Open and intellectually engaged individuals and those with higher levels of intelligence tend to use music in a rational cognitive way, while neurotic, introverted and non-conscientious individuals are more likely to use music for emotional regulation. Extroverts tend to adopt an emotional approach to listening and to use it as a background to other activities (Chamorro-Premuzic and Furnham, 2007; Chamorro-Premuzic et al., 2009). The use of music to regulate moods may be related to musical preferences. For instance, eclectic preferences have been shown to correlate with emotionality in listening (Behne, 1997; Wells and Hakanen, 1991) and flexibility in using music 577 17. Music in Everyday Life for mood-related needs (Schwartz and Fouts, 2003). Arnett (1995) discusses how individuals set about selecting and using music to serve their needs, wants and purposes. For many years now there has been controversy over the extent to which engaging with depictions of violence in a range of media—or listening to music which has violent lyrics—impacts on behaviour. Violent media exposure is a risk factor for aggression and there are short- and long-term harmful effects, including increases in aggressive thoughts and behaviour, desensitisation to violence, and a decrease in prosocial behaviour and empathy. However, it is the accumulation of risk factors and the relative lack of protective factors which leads to violence rather than one single factor (Anderson et al., 2017; Bender et al., 2018; Browne and Hamilton-Giachritsis, 2005). In the case of music, there are relationships between certain types of music (for instance, hard rock, heavy metal, hip hop, rap and punk) and alcohol and substance abuse, violent behaviour and delinquency (Lozon and Bensimon, 2014). An experimental study has shown that when misogynous aggressive song lyrics are played, male and females respond more negatively to the opposite sex and recall more of their negative attributes than when neutral lyrics are played (Fischer and Greitmeyer, 2006). Teenage sexual attitudes, norms, desires and intentions are impacted by the kind of music that they prefer to listen to (Agbo-Quaye, 2006), while sexual and violent slang and expressions of Nigerian hip hop are reflected in Nigerian higher-education students’ linguistic expressions of sexuality and violence (Onanuga and Onanuga, 2020). Appreciation of the rhythmic flow, melodic structure and particular artists of some genres, but revulsion at the misogynistic and sexist messages can lead to internal conflict in young women (Zichermann, 2009). Overall, the lyrics of some music may be a risk factor for violent or misogynistic behaviour, but other factors determine whether this translates into actual behaviour, although it is clear that its influence on language and attitudes has a more subtle effect, which may impact on behaviour in everyday life. Attending Live Musical Events Attendance at a live music event indicates a greater level of commitment to music than listening to recorded music and typically is motivated 578 The Power of Music by hearing a particular artist or style of music, learning about new music, or personal and social reasons (for example, going with friends or being part of a community; Pitts and Burland, 2013). Strong experiences of music most commonly occur in live settings. These tend to be enhanced if the performers interact with the audience and appear to be enjoying the experience. This transforms the experience from being passive to active. Music festivals offer unique opportunities for intense musical experiences, the physical proximity to the performers, social interactions and the music itself all making a contribution. The festival context can provide a sense of community and help support the development of identity, although there can be risks associated with alcohol or drug abuse, and other negative behaviours. The sense of separation from everyday life distinguishes festivals from other musical experiences, leading participants to reflect on their lives. Clubbing also creates a distinctive musical environment where mobile phones play an important role in managing the experience, helping to develop clubbing friendships and supporting the friendly vibe of club culture (Bull, 2006). Actively Making Music Many more people of all ages learn to play instruments, sing and participate in musical groups than in the past, although the extent and types of opportunity vary and participation frequently depends on financial resources ( ABRSM, 2014). In some cultures, music-making is a central activity. The Mekranoti Indians, primarily hunter-gatherers, living in the Amazon rainforest in Brazil spend up to two hours each day making music. The women sing for up to two hours in the morning and evening, while the men sing very early each day and frequently for half an hour before sunset. Historically this activity related to the need for vigilance in case of attack but nowadays it continues probably because it is intrinsically rewarding (Werner, 1984). In Western cultures, music-making does not play a central role in everyday life for most people. Listening to music is the most common way of engaging with music. The reasons for adults’ participation in music have been grouped into three broad categories: music-making as a musical act, deepening musical knowledge and understanding; as a social act, developing a sense of belonging, making friends with like-minded people; and 579 17. Music in Everyday Life for personal reasons, skill development, self-esteem and satisfaction (Kokotsaki and Hallam, 2007). Music-making is generally pleasurable and relaxing, and provides opportunities for self-expression and the opportunity to demonstrate musical skills. It can give structure to life and offer opportunities to develop friendships, get relief from family and work pressures, and provide spiritual fulfilment. Being a member of a musical group can also lead to feelings of belonging, trust and cooperation. Adult participation in music-making is frequently an extension of engagement with active music-making in childhood in the home or at school. The pattern of engagement generally changes over the course of life, diminishing in the middle years and increasing in retirement. Life-changing events sometimes provide an impetus for re-engagement. Socioeconomic Status Bennett and colleagues (2009) examined the relationships between class, gender and ethnicity and a range of activities including music, film, television, literary and arts consumption. They also considered the organisation of sporting and culinary practices and self-maintenance. They found that social class was the most powerful indicator of the nature of cultural consumption, but other factors such as age and gender were important. The primary distinction was not between high or popular, legitimate or ordinary cultural forms but rather between participation and non-participation, although there were some very subtle differences related to class: for instance, the distinction between jazz and Dixieland jazz, and Radio Three and Classic FM. North and Hargreaves (2007a; b; c), in an examination of the relationships between musical preferences and factors relating to the lifestyles of different social groups, found numerous associations showing that fans of high- or low-art musical styles demonstrated a preference for other high- or low-art media (for instance, in reading, TV , radio and leisure activities). In relation to interpersonal relationships, living arrangements, moral and political beliefs, and criminal behaviour there tended to be an association between a commonly accepted liberal conservative divide and musical preferences. Social class aspects of lifestyle (for instance, travel, personal finances, education, employment, health, drinking and 580 The Power of Music smoking) indicated that liking for high-art music was indicative of the upper-middle and upper classes, whereas liking for low-art music was indicative of a lifestyle of the lower-middle and lower classes. The Audience Agency (2013) studied the impact of socioeconomic status and geographical location on engagement with cultural activities, and identified ten distinct groups based on cultural values: • metroculturals—prosperous, liberal, urbanites interested in a very wide cultural spectrum; • commuterland culture buffs—affluent and professional consumers of culture; • experience seekers—highly active, diverse, social and ambitious, engaging with arts on a regular basis; • dormitory dependables—from suburban and small towns with an interest in heritage activities and mainstream arts; • trips and treats— enjoy mainstream arts and popular culture influenced by children, family and friends; • home and heritage—from rural areas and small towns, engaging in daytime activities and historic events; • up our street—modest in habits and means with occasional engagement in popular arts, entertainment and museums; • Facebook families—younger suburban and semi- urban who enjoy live music, eating out and popular entertainment such as pantomime; • Kaleidoscope creativity—mix of backgrounds and ages, occasional visitors or participants, particularly in community- based events and festivals; • Heydays—older, often limited by mobility to engage with arts and cultural events. These categorisations highlight the issues that people face in accessing live music related to finance and geographical location. 581 17. Music in Everyday Life Music in the Arts Music plays a major role in film and other media. Without it, drama would be much less interesting. For instance, the shower scene in Psycho, which is disturbing without music, is much more terrifying with it. Music contributes to our enjoyment of films or TV programmes in many ways. Most film music is designed to influence our emotions subconsciously. If the action is ambiguous, the music can provide clues as to what is going on. When there is no other information, music can help to define characters, sometimes with a character being given a theme. It is frequently more effective than dialogue in providing information to the audience: for instance, indicating the time when the action is taking place. It can indicate urgency, building up tension when something frightening is going to happen, while increasing volume creates the impression of fast-moving sequences. Music can give certain passages continuity or divide a film into segments. If music accompanies actions, the mood of the event will be better remembered, as the music deepens the emotional experience. Some messages are culturally specific: for instance, the music that indicates bravery in one culture might indicate evil in another (Cohen, 2016). Listening to Support Everyday Activities People rarely listen to music as a specific activity. It more usually accompanies other activities, although at the same time it can induce feelings of being more alert, positive and focused, particularly when the music is self-selected (Sloboda et al., 2001). Although in everyday life much music-listening takes place alongside other activities, this does not mean that it is not listened to with full attention (Lamont et al., 2016). People listen to music when travelling, carrying out boring tasks (for instance, housework) or routine intellectual tasks, or when engaged in physical activity. Music can distract, energise, facilitate moving in time and enhance meaning. It has the greatest impact on behaviour when it is selected for a particular purpose (Lamont et al., 2016). The most common use of music is when travelling, where it helps the individual to isolate themselves from other travellers, pass the time and make preparation for whatever activity is to be engaged with on arrival at the destination (Bull, 2005; Lamont et al., 2016).582 The Power of Music Music and Driving The effects of music on driving vary depending on the type of music, the context and the characteristics of the driver. A survey of 1,780 British drivers revealed that approximately two thirds listened to recorded music or music on the radio while driving. Reasons for listening included relaxation and concentration. Music was seen as less distracting than conversation. There were associations between possession of a motor insurance no-claims bonus and a preference for silence, although the genre of music affected driving performance. Driver age may have been a mediating factor, as older drivers who listened to classical music may have been less likely to be involved in a road accident, simply because they were safer drivers with lower levels of sensation-seeking, risk- taking or drink- driving. For the youngest age group, house and dance music were associated with a higher incidence of accidents, but this may have been associated with times when groups of friends were travelling together and driving at night, introducing other potential distractions and challenges (for instance, poor visibility, driver drowsiness, distractions from passengers, or the influence of drugs or alcohol— Dibben and Williamson, 2007). However, it is possible that different genres may affect driving safety because of their musical characteristics. Dance and house music tend to be characterised by fast tempo, high volume, complex rhythmic patterns and layered textures. These are highly arousing and can increase alertness or, alternatively, divert attention away from driving (Brodsky, 2002; Recarte and Nunes, 2002). They may also result in greater aggression at the wheel (Wiesenthal et al., 2003). Using a driving simulator, Catalina and colleagues (2020) investigated the extent to which listening to music could affect young drivers’ emotions and their driving performance. They found that driving with music increased the tendency to increase speed level, particularly if happy music was playing. Relaxing music or no music reduced the probability of speeding. Also using simulated driving, Navarro and colleagues (2018) manipulated musical background using preferred and researcher-selected music played at different tempi . Listening to music influenced drivers’ performance but its tempo did not. Arousing music improved drivers’ responsiveness to changes in the speed of the vehicle that they were following, but this was cancelled out 583 17. Music in Everyday Life by a reduction in intervehicle safety margin. Also simulating driving, Arafat and colleagues (2017) investigated the effects of natural sounds, classical music and hard rock on driving performance. Driving was most efficient with natural sounds and most inaccurate with hard rock. Participants’ perceptions of the impact of the music on their driving reflected these findings. Studying young adults in a broader travelling context, Heye and Lamont (2008) showed that listeners consciously chose their music, depending on current goals which may have been linked to their destination. Listeners created an auditory bubble which enhanced their awareness of their surroundings, although it was partly permeable. DeNora (2013) also suggested that personal listening created an environment of asylum which provided space to explore inner reality, but at the same time removed connection with other human beings. Music at Work and to Accompany Mental Activity Music has always played a major part in work activities and continues to do so. It has been used to coordinate movement, alleviate boredom, develop team spirit and speed up the pace of work. Nowadays, singing to accompany work is uncommon in the developed world, but in the office environment, those who listen to recorded music report improved mood, providing that they are able to select the music themselves. When tasks are routine and solitary music can improve concentration and focus, relieve boredom, reduce stress and block out unwanted noise (Lamont et al., 2016). Increasing access to music has contributed to changes in listening to music in offices, where employees can listen to music through personal listening devices. A survey of music-listening in office settings in the UK found that employees listened to music for a third of their working week. They listened to a wide variety of styles and artists. Music helped them to both engage in and escape from work, and they often used it to seal themselves off from the office environment. They managed listening so that they did not disturb colleagues or appear unprofessional in front of clients (Haake, 2011). Companies have come to recognise that music can support job performance and foster ethical conduct (Meyer, 2019). Generally, cognitive work is enhanced with the playing of calming, relaxing music, although if a task is very boring, more stimulating music 584 The Power of Music may be required to maintain concentration. However, tasks involving rote memorisation tend to be disrupted by music, although it can act as a mnemonic to support memory for factual information (Hallam and MacDonald, 2016; Hallam and Rogers, 2016). As we saw in Chapter 11 , schoolchildren and students frequently play music when completing academic work. As with driving, the effect of the music depends on a range of factors which interact together, including the complexity of the task and the nature of the music. Children with behavioural difficulties who may have particular difficulties with concentration can be helped by calming music playing in the background (Hallam and MacDonald, 2016). Music and Exercise Regular physical activity has benefits for physical and mental health. Music is a common accompaniment to exercise, whether in the gym or outside in the park or on the streets. Music played before exercise has been shown to optimise arousal, facilitate task-relevant imagery and improve performance in simple motoric tasks. During repetitive endurance activities, preferred motivational, stimulative music reduces levels of perceived exertion, improves energy efficiency and leads to increased work output. In high-intensity exercise, carefully selected music can promote ergogenic and psychological benefits, although it does not appear to help in reducing perceptions of exertion beyond the anaerobic threshold. Medium- tempo music can enhance positive feelings during high-intensity exercise and in recovery periods, while medium and fast music can increase zoning out, enjoyment and remembered pleasure (Karageorghis et al., 2021). In high humidity and high temperature conditions, time to exhaustion when music is playing is longer and perceived exhaustion lower (Nikol et al., 2019). Music is most effective when it accompanies self-paced exercise or when it is selected as being motivational (Karageorghis and Priest, 2012). Schneider and colleagues (2010) also showed that an adequate choice of music during exercise- enhanced performance output and mood, while Potteiger and colleagues (2000) found that different types of music acted as distractors during exercise and were associated with lower ratings of perceived exertion. Differences in musical preferences while exercising are most influenced 585 17. Music in Everyday Life by age. When working out in gyms, older people prefer quieter, slower and less stimulative motivational music (Priest et al., 2004). In a review, Terry and colleagues (2020) concluded that music was associated with significant beneficial effects on affect, physical performance, perceived exertion and oxygen consumption, but not heart rate. The effects were moderated by context, exercise as opposed to sport, and the tempo of the music. Music, Commerce and Consumption Recorded music is played extensively in workplaces, shops, airports, restaurants and hotels. The commercial and industrial uses of music constitute major industries. As a general rule, people tend to avoid music that they do not like, and are attracted to places where they find the music appealing. This has led various authorities to use music to persuade people they consider undesirable to relocate from specific public places. Typically, opera or other classical music is used for this purpose. The police have also used music to try to reduce aggressive behaviour in groups of people who have been drinking heavily by playing children’s songs or other calming, pleasant music. In everyday life, music is used to manipulate what is purchased through advertising and create an appropriate ambience in retail settings. Music achieves this through its capacity to change arousal and emotions, and the way that it is associated with particular events or items. One strand of research has focused on the role of music in store ambience. For instance, Ishar and colleagues (2017) studied consumer purchasing behaviour at self-service convenience stores in Sri Lanka and found that music was one of several factors that influenced purchasing, along with scent and light. Singh and colleagues (2014) found that appropriate background music helped retailers to create a desirable store atmosphere, which contributed to the image of the store and allied with consumer preferences. Playing the right kind of music has a direct impact on consumer behaviour within a store (Farias et al., 2014). When preferred music is played, customers stay longer, are more comfortable and relaxed, and likely to purchase more. If background music is fast, loud and causing discomfort, less time is spent shopping. An appropriate level of arousal induced by music increases pleasure, 586 The Power of Music which positively influences satisfaction with the shopping experience (Moran et al., 2013). Music can also affect perceptions of the atmosphere in banks and bars (North et al., 2000). The speed at which people shop is positively related to the tempo and volume of background music. Milliman (1982) found that slow music led to supermarket customers shopping more slowly and spending more money, perhaps because they took more time to browse available products, while Smith and Curnow (1966) found that customers spent less time in store when loud music was playing, although there was no difference in the amount of money spent. The type of music can influence what is bought. In one study, stereotypical French or German music was played in a store and influenced whether French or German wine was purchased, although customers were unaware of the influence of the music (North et al., 1997; 1999a). Similarly, a soundtrack depicting nature-influenced perceptions of the country of origin of orange juice, its cost, whether the oranges were genetically modified and beliefs about the health benefits of drinking it (North et al., 2016). Lacher and Mizerski (1994) examined the purchasing of new rock music and found that sensorial, emotional, imaginal and analytical responses to the music all had direct effects on responses to it, which in turn influenced purchase intention. The strongest indicator of purchase intention was the need to re-experience the music. The COVID-19 pandemic has led to a major increase in online purchasing. Within this context, Hwang and colleagues (2020) found that interactive (as opposed to static) background or no music enhanced the experiential value of e-commerce for consumers. Music is used to entice people into retail establishments. North and Hargreaves (1996a) demonstrated this by setting up an advice stall in a café on a university campus, which offered leaflets with advice to students on a range of issues. Pop music was played at three levels of complexity. Moderately complex music positively influenced approach towards the stall, although not actually visiting it. Preferred music was better at attracting students to the stall than no music, although disliked music acted as a deterrent. Different kinds of music not only have an impact on perceptions of ambience but can also affect the amount of money spent. For instance, North and Hargreaves (1998) played pop, classical, easy listening or no 587 17. Music in Everyday Life music in a café for four days. Customers rated the ambience of the café and also indicated how much they were prepared to spend on typical items: for instance, a slice of pizza or a canned drink. When popular music was playing, the café was seen as lively and youthful; classical music led to perceptions of it being upmarket and sophisticated, while stereotypical piped music led to perceptions of it being downmarket. Customers were prepared to pay more money when any kind of music was playing in contrast to silence, but classical music led to customers being prepared to pay the most. Areni and Kim (1993) played classical or pop music in a wine cellar and found that, although the two different types of music did not lead to customers buying any more wine, classical music led to customers buying more expensive wine. They suggested that the classical music primed customers to feel more affluent and to act accordingly. In a restaurant setting, North and colleagues (2003) also found that customers spent more money when classical music was played as opposed to pop or no music. The positive effects of classical music on spending were particularly marked for non-essential items, such as a starter or coffee afterwards. The sounds made in consuming food can affect how it is perceived. For instance, potato crisps are perceived as tasting fresher when the sound of biting into them is louder (Zampini and Spence, 2004), while discontinuous or uneven sounds influence perceptions of how crispy they are (Vickers and Wasserman, 1979). Music can influence perceptions of flavour. Music selected to reflect the descriptors often used to describe wine (for instance, heavy, subtle and refined, zingy and refreshing, or mellow and soft) influenced the perceived taste of the wine in the direction of the emotions symbolised by the music (North, 2012). Some research has focused on the impact of music on the speed of the consumption of food and drink. For instance, Milliman (1986) studied restaurant customers and found that slow music led to customers eating more slowly, completing their meal in just under an hour on average, compared with three quarters of an hour when fast music was played. In a café setting, Roballey and colleagues (1985) found that fast music led to customers eating at more bites per minute than when slow music was playing. Spending may also be affected, with slow music leading to greater spending on drinks (Milliman, 1986). In a student cafe, 588 The Power of Music diners were asked to say how much they liked the music (North and Hargreaves, 1996b), with data showing that moderately complex music was most popular. It was also clear that the more music was disliked, the more noticeable it became. Music plays a key role in advertising. To persuade customers to buy particular products, the music needs to be appropriate. Customers need to understand the advertising message but also be able to relate to the emotional elements of the music. The most successful advertisements are those that provide information and have emotional power. The attitudes of potential customers can be changed if music conforms to their conception of the nature of the product: for instance, exciting classical music might be used to advertise an expensive sports car. Food adverts tend to be accompanied by cheerful songs, which may include the product name in their lyrics. North and colleagues (2004) prepared radio adverts for five brands: an online bank, a people carrier, a bathroom cleaner, a chocolate bar and a high sugar drink. In addition to the voiceover, music was played that did or did not fit with the characteristics of the brand. Recall of the product was higher when the adverts featured music that fitted the advertised product. When music is well-matched with the product, it is better remembered. Audio branding in the form of jingles or signature tunes can support memory for a brand. Overall, music is effective in helping to enhance the appeal of products and promote memory for them (Çupi and Morma, 2020; Deaville et al., 2020; North et al., 2016; Rathee and Pallavi, 2020). The Economics of Music Music makes a major contribution to economies locally, nationally and internationally, including recordings, radio, live-music venues, production and distribution, applications including ringtones, computer games, films, children’s toys, as background in business environments and through the employment of musicians. The music economy is spread across most categories of economic activity: construction, manufacturing, wholesaling, retailing, consumer services, and the public sector. Musicians work as employees and in self-employment, the largest groups in music and dance, education, broadcasting, software and computer services (Beyers et al., 2008; UK Music, 2020). The 589 17. Music in Everyday Life introduction of streaming services presented particular challenges to the industry (Molteni and Ordanini, 2003). Musicians and the music industries are generally concentrated in a relatively small number of large regional centres (or at least this is the case in the USA and the UK;Florida et al., 2010), although music festivals of all kinds can have a major impact on local economies. Even when entrance to events is free, there are considerable benefits to the local economy more generally (Bracalente et al., 2011; Tohmo, 2005). In the USA, the music industry recently accounted for $514 billion (Music Market Research, 2021), while in the UK it accounted for £5.8 billion, employed almost 200,000 people and accounted for £2.9 billion of exports and £4.7 billion in music tourism (UK Music, 2020). Music and Non-Human Species Music can have an impact on animals and plants. Music as part of an enriched environment has been shown to have a positive impact on many non-human species, including domestic animals, those reared on farms and those in captivity in zoos and wildlife parks. The aim of playing music is generally to enhance wellbeing, although there has been some research exploring the benefits to cognition. For instance, music has been shown to have a positive effect on rats’ maze-learning capacity. Rauscher (1998) reported that, when rats were exposed to Mozart’s sonata K448 they completed a maze faster and with fewer errors than if minimalist music, white noise or silence was in the background, suggesting that repeated exposure to complex music improved spatial- temporal reasoning. Similarly, Tonon do Amaral and colleagues (2020) assessed the effect of both classical and heavy- metal music on short- and long-term memory of rats exposed to music for eight hours a day for 61 days. After exposure, the rats were familiarised with two objects, and their memory for them was tested after ninety minutes and 28 days. Rats exposed to either type of music performed better than controls with regard to short-term memory, although there was no impact on long-term memory, suggesting a temporary effect. Within an agricultural context, one strand of research has focused on the impact of playing music to cows when they are being milked. For instance, North and MacKenzie (2001) found that dairy cows 590 The Power of Music increased their milk production by three quarters of a litre a day when listening to slow rather than fast or no music over a nine-week period. Exposure to a pleasant auditory environment alleviated stress and encouraged relaxation, which resulted in greater milk yields. Similarly, Mallick and colleagues (2020) studied the amount of milk produced by aged crossbred cows following instrumental music playing in the background during milking. Milk production increased particularly in the evening, which may have been a more stressful time for the cows prior to exposure to the music. Also in an agricultural context, Jiafang and colleagues (2021) found that repeated sound stimulation, Mozart, a mechanical noise or natural sound background affected the behaviour, physiology and immunity of 72 hybrid piglets who were exposed to six hours of sound stimulation per day. In the short term, the music reduced stress responses and, in the long term, enhanced immune responses, while noise increased aggressive behaviour and reduced immunity. Music can also benefit domestic animals, particularly dogs and cats, when they are hospitalised, receiving veterinary care or in a rescue centre. Wells and colleagues (2002) explored the influence of five types of auditory stimulation—human conversation, classical, heavy metal, pop or no music—on the behaviour of 50 dogs living in a rescue shelter. The dogs were exposed to each type of auditory stimulation for four hours, with one day between conditions. Classical music led to more time spent resting, while heavy metal encouraged barking. The other stimuli had no effects. In a review, McDonald and Zaki (2020) showed that classical music could influence behaviour and physiological measures associated with canine stress responses such as heart rate variability, level of vocalisation and time spent resting in animal hospital settings, while Boone and Quelch (2003) showed that harp therapy decreased restless behaviour, anxiety and respiration rate in hospitalised dogs or those in post-surgical care. In research focusing on domestic cats, Hampton and colleagues (2020) found that music reduced stress in a veterinary context. The most effective music was that designed specifically for cats, not classical music. In relation to music and plants, Retallack (1973) claimed that plants exposed to soothing music showed better growth and were healthier than those without music, while Ramekar and Gurjar (2016) showed that vedic chanting had a positive effect on plant growth, leaf size and 591 17. Music in Everyday Life internodes (the parts of the plant carrying water, hormones and food between nodes). Chowdhury and Gupta (2015) studied the effects of different types of sound on the health and growth of marigolds using light Indian and meditative music, as well as noise. They also monitored the germination of chickpea exposed to light Indian music. Music promoted the growth and development of the plants, including germination, whereas noise hindered it. Focusing on the role of sound on the germination of okra and zucchini seeds, Creath and Schwartz (2004) used musical sound, pink noise and healing energy. Musical sound had a highly significant effect on the number of seeds which germinated, compared to an untreated control. This effect was independent of temperature, seed type, position in room, specific petri dish and the person doing the scoring. Overview Music plays a major role in everyday life. It is a major leisure activity but also supports the undertaking of many everyday tasks, including travelling, exercise and intellectual work. People listen to music for pleasure but also to manipulate or consolidate their moods. In some cases, this can have negative effects. There are individual differences in the extent to which people are aware of the effects of music. Fewer people are actively engaged in making music or attending live events, perhaps because of lack of opportunity or financial constraints. The types of music listened to and the musical activities engaged with depend broadly on economic factors, age and individual dispositions. Music plays a crucial role in all of the arts and in commerce, purchasing and advertising. It also makes a major contribution to local and national economies. The benefits of music can also be seen in non-human species, including the growth and productivity of animals in the agricultural sector, and the growth and germination process in plants.Reflections on an Exploration of the Evidence for the Power of Music Perhaps the most surprising aspect of this exploration of the evidence relating to the power of music is the fact that there is so much research. Related to this, a very wide range of methods have been adopted to study the impact of many different musical activities. Most people do not need scientific evidence to demonstrate the power of music. They recognise its power in their everyday activities and use it to manage their moods and emotions, although they may not be consciously aware of the extent of its power—for instance, in influencing what they buy, their consumption of food and drink, or the way it is used in advertising, drama and films. Certainly, those engaged in commerce are aware of music’s impact as they use it to manipulate our behaviour, as are some who hold political power, who have deliberately used music to generate prejudice or violence, or approved its application in torture. At the other extreme, some have recognised the power of music by controlling or banning it. The possible benefits of listening to and making music for health and wellbeing have broadly been recognised, although often in conjunction with other more conventional treatments and, even then, not for all conditions. It can be particularly helpful in reducing stress, anxiety and pain through the way it directly affects opioid systems in the brain. However, at the individual level, we should not only think of the power of music in terms of its benefits to health and wellbeing, as for some individuals it may reinforce existing negative emotions, exacerbating mental ill health. This is not a reflection of its lack of power: quite the reverse. It demonstrates that it can have powerful negative effects. © 2022 S. Hallam & E. Himonides, CC BY-NC-ND 4.0 https://doi.org/10.11647/ OBP .0292.18594 The Power of Music Assessing the impact of actively making music or music therapy is challenging, because the effects of the music itself cannot easily be disentangled from its social elements. This does not necessarily mean that the music itself does not make a contribution, as clearly in many cases it does, but there may be exceptions; for instance, if individuals do not like particular musical genres or specific musical activities. Relationships with those facilitating musical activities play a key role in bringing about change, as does the quality of the facilitation. In some cases, such relationships and the quality of the musical experience may be more important than the actual musical activities. Making or creating music with others is a social event, and its social nature is an important factor in its success or failure. The impact of any activity on self-efficacy, self-esteem and overall self-beliefs depends on feedback from others. Musical activity leads to feedback being given, but it may not always be positive. If feedback is negative, it is likely to have negative effects and lead to the individual looking for more rewarding ways to spend their time. The major controversies in relation to the research, which have not lessened but escalated over time, concern the impact of music on various aspects of cognition, particularly in children and young people, but also in older age. The evidence from neuroscience has clearly shown that learning to play a musical instrument leads to changes in the brain. The extent to which these changes transfer to other activities is hotly debated, although the evidence for the impact on a range of aural skills is strong, as might be expected from activities which require high levels of aural perception and the analysis of sound. These skills in turn are important for the development of language. The evidence for transfer to other skills—for instance, spatiotemporal reasoning, executive functioning, literacy, mathematics, intelligence, aspects of memory and academic attainment—is mixed. Some of the possible causes for this have been outlined above. Some have argued that the gold standard in research requires the random allocation of participants to intervention and control groups, the latter being an alternative activity rather than no activity. This paradigm has gained its credibility from its routine use in medical research. However, medical research does not typically take account of individual differences or involve human interaction at any level, which is likely to affect the outcomes. This is not the case 595 Reflections on an Exploration of the Evidence for the Power of Music with research involving musical activity. The outcomes of listening to music depend on many individual differences including personality, gender, musical preferences and musical experience, and also vary depending on whether listening is undertaken alone or with others. When considering actively making music, the possible confounding factors are even greater. While the research evidence might be stronger when control groups participate in alternative activities, there is no reason why other activities should not be equally successful in bringing about positive change. The fact that sport or visual art (for instance) may generate positive change does not undermine the possible impact of music. Some types of musical engagement may have advantages over other interventions because of the complex demands that they make on participating individuals aurally, emotionally, intellectually, physically and socially. As the evidence stands at the moment, it is not clear which musical activities might be beneficial for promoting any particular outcome. Currently, much of the evidence is mixed, to some extent explicable in terms of the different musical activities studied and the research methods used. As research into the wider benefits of music is not a high priority for research funders, it may be many years before it is possible to provide clear guidance on which musical interventions might lead to particular outcomes, and what qualities in the delivery of those interventions are key to success.Bibliography Aalbers, S., Fusar-Poli, L., Freeman, R. E., Spreen, M., Ket, J. C., Vink, A. C., Maratos, A., Crawford, M., Chen, X.-J., & Gold, C. (2017). Music therapy for depression. Cochrane Database of Systematic Reviews , 2017 (11). https://doi. org/10.1002/14651858.cd004517.pub3 Abdulah, D. M., Alhakem, S. S. M., & Piro, R. S. (2018). Effects of music as an adjunctive therapy on severity of symptoms in patients with obsessive- compulsive disorder: Randomized controlled trial. Nordic Journal of Music Therapy , 28(1), 27–40. https://doi.org/10.1080/08098131.2018.1546222 Abeles, H. F. (2007). The effect of string instruction on students’ performance on state-mandated achievement tests in mathematics and language arts. Eastern Division MENC Meeting . Abeles, H. F., & Chung, J. W. (1996). Responses to music. In D. A. Hodges (Ed.), Handbook of music psychology (pp. 285–342). IMR Press. Aben, B., Stapert, S., & Blokland, A. (2012). About the Distinction between Working Memory and Short-Term Memory. Frontiers in Psychology , 3. https:// doi.org/10.3389/fpsyg.2012.00301 Abikoff, H., Courtney, M. E., Szeibel, P . J., & Koplewicz, H. S. (1996). The Effects of Auditory Stimulation on the Arithmetic Performance of Children with ADHD and Nondisabled Children. Journal of Learning Disabilities , 29(3), 238–246. https://doi.org/10.1177/002221949602900302 Abraha, I., Rimland, J. M., Trotta, F. M., Dell’ Aquila, G., Cruz-Jentoft, A., Petrovic, M., Gudmundsson, A., Soiza, R., O’Mahony, D., Guaita, A., & Cherubini, A. (2017). Systematic review of systematic reviews of non-pharmacological interventions to treat behavioural disturbances in older patients with dementia. The SENATOR-OnTop series. BMJ Open , 7(3), e012759. https:// doi.org/10.1136/bmjopen-2016-012759 A.B.R.S.M. (2014). Making music: Teaching, learning and playing in the UK . Associated Board of the Royal Schools of Music. Academy, R. A. (2013). Final Report for 2012 National Endowment for the Arts (NEA) Grant .598 The Power of Music Adderley, C., Kennedy, M., & Berz, W. (2003). “ A Home away from Home”: The World of the High School Music Classroom. Journal of Research in Music Education , 51(3), 190–205. https://doi.org/10.2307/3345373 Adushkina, K. V. (2015). Development of emotional intelligence of adolescents in institutions of additional education by means of music therapy. Pedagog Educ Russia[MP1 , 9, 47–51. Agbo-Quaye, S. (2006). Teenage sexual attitudes, norms, desires and intentions: The impact of preferred musical genres. Unpublished doctoral dissertation . Brunel University. Agency, A. (2013). Audience Spectrum . https://www.theaudienceagency.org/ audience-spectrum . Agres, K. R., Foubert, K., & Sridhar, S. (2021). Music Therapy During COVID-19: Changes to the Practice, Use of Technology, and What to Carry Forward in the Future. Frontiers in Psychology , 12. https://doi.org/10.3389/fpsyg.2021.647790 Ahissar, M., Protopapas, A., Reid, M., & Merzenich, M. M. (2000). Auditory processing parallels reading abilities in adults. Proceedings of the National Academy of Sciences , 97(12), 6832–6837. https://doi.org/10.1073/ pnas.97.12.6832 Akombo, D. O. (2001). Reporting on Music Therapy in Kenya. Voices: A World Forum for Music Therapy , 1(1). https://doi.org/10.15845/voices.v1i1.45 Alain, C., Moussard, A., Singer, J., Lee, Y., Bidelman, G. M., & Moreno, S. (2019). Music and Visual Art Training Modulate Brain Activity in Older Adults. Frontiers in Neuroscience , 13. https://doi.org/10.3389/fnins.2019.00182 Alain, C., & Woods, D. L. (1999). Age-related changes in processing auditory stimuli during visual attention: Evidence for deficits in inhibitory control and sensory memory. Psychology and Aging , 14(3), 507–519. https://doi. org/10.1037/0882-7974.14.3.507 Alanne, S. (2010). Music Psychotherapy with Refugee Survivors of Torture: Interpretations of three Clinical Case Studies . University of the Arts Helsinki. Aldridge, D., Schmid, W., Kaeder, M., Schmidt, C., & Ostermann, T. (2005). Functionality or aesthetics?A pilot study of music therapy in the treatment of multiple sclerosis patients. Complementary Therapies in Medicine , 13(1), 25–33. https://doi.org/10.1016/j.ctim.2005.01.004 Aleman, A., Nieuwenstein, M. R., Böcker, K. B. E., & Haan, E. H. F. de. (2000). Music training and mental imagery ability. Neuropsychologia , 38(12), 1664– 1668. https://doi.org/10.1016/s0028-3932(00)00079-8 Alemán, X., Duryea, S., Guerra, N. G., McEwan, P . J., Muñoz, R., Stampini, M., & Williamson, A. A. (2016). The Effects of Musical Training on Child Development: A Randomized Trial of El Sistema in Venezuela. Prevention Science , 18(7), 865–878. https://doi.org/10.1007/s11121-016-0727-3 599 Bibliography Alexander, J. A., Wong, P . C. M., & Bradlow, A. R. (2005, September). Lexical tone perception in musicians and non-musicians. Interspeech 2005 . https:// doi.org/10.21437/interspeech.2005-271 Allen, T. N. M. (2005). Exploring hip-hop therapy with high-risk youth. Praxis , 5, 30–36. Allison, T. A. (2011). Songwriting and Transcending Institutional Boundaries in the Nursing Home . Oxford University Press. https://doi.org/10.1093/ oxfordhb/9780199756261.013.0010 Almau, A. (2005). Music is why we come to school. Improving Schools , 8(2), 193–197. https://doi.org/10.1177/1365480205057707 Altenmüller, E., & James, C. E. (2020). The impact of music interventions on motor rehabilitation following stroke in elderly. In Music and the Aging Brain (pp. 407–432). Elsevier. https://doi.org/10.1016/b978-0-12-817422-7.00016-x Altenmüller, E., Marco-Pallares, J., Münte, T. F., & Schneider, S. (2009). Neural Reorganization Underlies Improvement in Stroke-induced Motor Dysfunction by Music-supported Therapy. Annals of the New York Academy of Sciences , 1169 (1), 395–405. https://doi.org/10.1111/j.1749-6632.2009.04580.x Altenmüller, E. O. (2001). How Many Music Centers Are in the Brain? Annals of the New York Academy of Sciences , 930(1), 273–280. https://doi. org/10.1111/j.1749-6632.2001.tb05738.x Altenmüller, E. O. (2003). How many Music Centres are in the Brain? In The Cognitive Neuroscience of Music (pp. 346–353). Oxford University Press. https://doi.org/10.1093/acprof :oso/9780198525202.003.0022 Altenmuller, E. O., Gruhn, W., & Parlitz, D. (1997). Music learning produces changes in brain activation patterns: A longitudinal DC-EEG-study unit. International Journal of Arts Medicine , 5, 28–34. Altenmüller, E., O., & McPherson, G. (2007). Motor learning and instrumental training. In F. R. Gruhn (Ed.), Neurosciences in Music Pedagogy (pp. 145–155). Nova Science Publisher. Altenmüller, E., & Schlaug, G. (2015). Apollo’s gift. In Progress in Brain Research (pp. 237–252). Elsevier. https://doi.org/10.1016/bs.pbr.2014.11.029 Alvaro, F., A.F., S., Viti, A., Simone, R., Miranda, E., Kirke, A., Badia, T., Helling, G., & Istrate, O. (2010). E-motion Project: Electronic Music and use of ICT for young at risk of exclusion. In Final Report of Classroom Testing. Lifelong Learning Programme, Education and Culture DG . Alves-Pinto, A., Ehrlich, S., Cheng, G., Turova, V., Blumenstein, T., & Lampe, R. (2017). Effects of short-term piano training on measures of finger tapping, somatosensory perception and motor-related brain activity in patients with cerebral palsy. Neuropsychiatric Disease and Treatment , Volume 13 , 2705–2718. https://doi.org/10.2147/ndt.s145104600 The Power of Music Alves-Pinto, A., Turova, V., Blumenstein, T., & Lampe, R. (2016). The Case for Musical Instrument Training in Cerebral Palsy for Neurorehabilitation. Neural Plasticity , 2016 , 1–9. https://doi.org/10.1155/2016/1072301 Amaral, J. A., Souza Faria, R., Faraco, A., Coli, A. C. M., & Los Rios Leal, L. (2020). Auditory stimulation with Mozart sonata k-448 and heavy metal music improves short term memory in rats. Open Science Journal , 5(4). Amchin, R., Kopf, T., & Weaver, M. (1991). Effects of arts education on high school student self-concept. In Convention of the Ohio Music Education Association . Amer, T., Kalender, B., Hasher, L., Trehub, S. E., & Wong, Y. (2013). Do Older Professional Musicians Have Cognitive Advantages? PLoS ONE , 8(8), e71630. https://doi.org/10.1371/journal.pone.0071630 Amunts, K., Schlaug, G., Jäncke, L., Steinmetz, H., Schleicher, A., Dabringhaus, A., & Zilles, K. (1997). Motor cortex and hand motor skills: Structural compliance in the human brain. Human Brain Mapping , 5(3), 206–215. https:// doi.org/10.1002/(sici)1097-0193(1997)5:3<206::aid-hbm5>3.0.co;2-7 An, S. A., Tillman, D. A., Boren, R., & Wang, J. (2014). Fostering Elementary Students’ Mathematics Disposition through Music Mathematics Integrated Lessons. International Journal for Mathematics Teaching and Learning , 15(3), 1–18 3. Anaya, E. M., Pisoni, D. B., & Kronenberger, W. G. (2016). Visual-spatial sequence learning and memory in trained musicians. Psychology of Music , 45(1), 5–21. https://doi.org/10.1177/0305735616638942 Andemicael, A. (2011). Positive energy: A review of the role of artistic activities in refugee camps . Office of the United Nations High Commissioner for Refugees. Anderson, C. A., Bushman, B. J., & Bartholow, B. D. (2017). Screen violence and youth behaviour. Paediatrics , 140(2), 142–147. Anderson, K., & Overy, K. (2010). Engaging Scottish young offenders in education through music and art. International Journal of Community Music , 3(1), 47–64. https://doi.org/10.1386/ijcm.3.1.47/1 Anderson, P . J. (2014). Neuropsychological outcomes of children born very preterm. Seminars in Fetal and Neonatal Medicine , 19(2), 90–96. https://doi. org/10.1016/j.siny.2013.11.012 Anderson, S. A., & Fuller, G. B. (2010). Effect of music on reading comprehension of junior high school students. School Psychology Quarterly , 25(3), 178–187. https://doi.org/10.1037/a0021213 Anderson, S., Fast, J., Keating, N., Eales, J., Chivers, S., & Barnet, D. (2016). Translating Knowledge. Health Promotion Practice , 18(1), 15–25. https://doi. org/10.1177/1524839915625037 Andrés, P ., Parmentier, F. B. R., & Escera, C. (2006). The effect of age on involuntary capture of attention by irrelevant sounds: A test of the frontal 601 Bibliography hypothesis of aging. Neuropsychologia , 44(12), 2564–2568. https://doi. org/10.1016/j.neuropsychologia.2006.05.005 Angel, L. A., Polzella, D. J., & Elvers, G. C. (2010). Background Music and Cognitive Performance. Perceptual and Motor Skills , 110(3_suppl), 1059–1064. https://doi.org/10.2466/pms.110.c.1059-1064 Anshel, A., & Kipper, D. A. (1988). The Influence of Group Singing on Trust and Cooperation. Journal of Music Therapy , 25(3), 145–155. https://doi. org/10.1093/jmt/25.3.145 Anshel, M. H., & Marisi, D. Q. (1978). Effect of Music and Rhythm on Physical Performance. Research Quarterly. American Alliance for Health, Physical Education and Recreation , 49(2), 109–113. https://doi.org/10.1080/10671315. 1978.10615514 Anthony, B., Weston, D., & Vallen, S. (2018). Thumbs Up: The effective use of music in health and well-being education for Australian Aboriginal youth in remote communities. International Journal of Community Music , 11(1), 71–89. https://doi.org/10.1386/ijcm.11.1.71_1 Antrim, D. K. (1945). Do musical talents have higher intelligence? Etude , 63, 127–128. Anvari, S. H., Trainor, L. J., Woodside, J., & Levy, B. A. (2002). Relations among musical skills, phonological processing, and early reading ability in preschool children. Journal of Experimental Child Psychology , 83(2), 111–130. https://doi.org/10.1016/s0022-0965(02)00124-8 Apicella, A. (1952). Survey of music activities in the penal institutions of the Northeastern United States [PhD Thesis]. Boston University. Aquino, M. P . B. de, Verdejo-Román, J., Pérez-García, M., & Pérez-García, P . (2019). Different role of the supplementary motor area and the insula between musicians and non-musicians in a controlled musical creativity task. Scientific Reports , 9(1). https://doi.org/10.1038/s41598-019-49405-5 Arafat, F., Wu, C., Zhong, M., Hu., Z., & Zhang, H. (2017). The Effect of Natural Sounds and Music on Driving Performance and Physiological. Engineering Letters , 25(4), 13. Arditi, D. (2020). We’re Getting the Band Back Together: Social Cohesion and Solidarity in Bands. In D. Arditi (Ed.), Getting Signed: Record Contracts, Musicians, and Power in Society (pp. 151–178 ,). Palgrave Macmillan. https:// doi.org/10.1007/978-3-030-44587-4_6 . Areni, C. S., & Kim, D. (1993). The influence of background music on shopping behaviour: Classical versus top-forty music in a wine store. Advances in Consumer Research , 20, 336–340. Armstrong, S. N., & Ricard, R. J. (2016). Integrating Rap Music Into Counseling With Adolescents in a Disciplinary Alternative Education Program. Journal 602 The Power of Music of Creativity in Mental Health , 11(3–4), 423–435. https://doi.org/10.1080/154 01383.2016.1214656 Arnaud.Cabanac, Perlovsky, L., Bonniot-Cabanac, M.-C., & Cabanac, M. (2013). Music and academic performance. Behavioural Brain Research , 256, 257–260. https://doi.org/10.1016/j.bbr.2013.08.023 Arnett, J. J. (1995). Adolescents’ uses of media for self-socialization. Journal of Youth and Adolescence , 24(5), 519–533. https://doi.org/10.1007/bf01537054 Arnett-Gary, D. (1998). The effects of the arts on academic achievement. Masters Abstracts International , 42(1), 22. Ascenso, S. (2017a). The Lullaby Project: Areas of Change and Mechanisms of Impact . Ascenso, S. (2017b). The Lullaby Project: Areas of Change and Mechanisms of Impact . The Irene Taylor Trust. https://irenetaylortrust.files.wordpress. com/2018/06/the-lullaby-project_areas-of-change-and-mechanisms-of- impact-_research-by-sara-ascenso.pdf . Ascenso, S., Perkins, R., Atkins, L., Fancourt, D., & Williamon, A. (2018). Promoting well-being through group drumming with mental health service users and their carers. International Journal of Qualitative Studies on Health and Well-Being , 13(1), 1484219. https://doi.org/10.1080/17482631.2018.1484219 Ashby, F. G., Isen, A. M., & Turken, A. U. (1999). A neuropsychological theory of positive affect and its influence on cognition. Psychological Review , 106(3), 529–550. https://doi.org/10.1037/0033-295x.106.3.529 Atchley, R. C. (1975). Adjustment to loss of job or retirement. International Journal of Ageing and Development , 5(1), 17–27. https://doi.org/10.2190/ EHU3-VCRVJ-04NU . Attard, A., & Larkin, M. (2016). Art therapy for people with psychosis: A narrative review of the literature. The Lancet Psychiatry , 3(11), 1067–1078. https://doi.org/10.1016/s2215-0366(16)30146-8 Atterbury, B. W. (1985). Musical Differences in Learning-Disabled and Normal- Achieving Readers, Aged Seven, Eight and Nine. Psychology of Music , 13(2), 114–123. https://doi.org/10.1177/0305735685132005 Austin, J. R. (1990). The relationship of music self-esteem to degree of participation in school and out-of-school music activities among upper- elementary students. Contributions to Music Education , 17, 20–31. Avila, C., Furnham, A., & McClelland, A. (2011). The influence of distracting familiar vocal music on cognitive performance of introverts and extraverts. Psychology of Music , 40(1), 84–93. https://doi.org/10.1177/0305735611422672 Aydin, K. K. C., & Terzibasioglu, E. (2005). Quantitative proton MR spectroscopic findings of cortical reorganization in the auditory cortex of musicians. American Journal of Neuroradiology , 26, 128–136. 603 Bibliography Azaryahu, L., Courey, S. J., Elkoshi, R., & Adi-Japha, E. (2019). `MusiMath’ and `Academic Music’ – Two music-based intervention programs for fractions learning in fourth grade students. Developmental Science , 23(4). https://doi. org/10.1111/desc.12882 Bae, S., & Kyungsuk, K. (2020). Group music therapy involving the creation of a musical play to improve self esteem. Journal of Music and Human Behaviour , 17(1), 51–70. Baer, J. (1991). Generality of creativity across performance domains. Creativity Research Journal , 4(1), 23–39. https://doi.org/10.1080/10400419109534371 Baer, J. (2012). Domain Specificity and the Limits of Creativity Theory. The Journal of Creative Behavior , 46(1), 16–29. https://doi.org/10.1002/jocb.002 Baer, J. (2015). The Importance of Domain-Specific Expertise in Creativity. Roeper Review , 37(3), 165–178. https://doi.org/10.1080/02783193.2015.1047 480 Baharloo, S., Johnston, P . A., Service, S. K., Gitschier, J., & Freimer, N. B. (1998). Absolute Pitch: An Approach for Identification of Genetic and Nongenetic Components. The American Journal of Human Genetics , 62(2), 224–231. https:// doi.org/10.1086/301704 Bahna-James, T. (1991). The Relationship Between Mathematics and Music: Secondary School Student Perspectives. The Journal of Negro Education , 60(3), 477. https://doi.org/10.2307/2295499 Bahr, N., & Christensen, C. (2000). Inter-domain transfer between mathematical skill and musicianship. Journal of Structural Learning and Intelligent Systems , 14, 187–197. Bailey, B. A., & Davidson, J. W. (2002). Adaptive Characteristics of Group Singing: Perceptions from Members of a Choir Forhomeless Men. Musicae Scientiae , 6(2), 221–256. https://doi.org/10.1177/102986490200600206 Bailey, B. A., & Davidson, J. W. (2003). Amateur Group Singing as a Therapeutic Instrument. Nordic Journal of Music Therapy , 12(1), 18–32. https://doi. org/10.1080/08098130309478070 Bailey, B. A., & Davidson, J. W. (2005). Effects of group singing and performance for marginalized and middle-class singers. Psychology of Music , 33(3), 269– 303. https://doi.org/10.1177/0305735605053734 Bailey, J. A., & Penhune, V. B. (2010). Rhythm synchronization performance and auditory working memory in early- and late-trained musicians. Experimental Brain Research , 204(1), 91–101. https://doi.org/10.1007/s00221-010-2299-y Bailey, J. A., Zatorre, R. J., & Penhune, V. B. (2014). Early Musical Training Is Linked to Gray Matter Structure in the Ventral Premotor Cortex and Auditory–Motor Rhythm Synchronization Performance. Journal of Cognitive Neuroscience , 26(4), 755–767. https://doi.org/10.1162/jocn_a_00527604 The Power of Music Bailey, J., & Penhune, V. B. (2012). A sensitive period for musical training: Contributions of age of onset and cognitive abilities. Annals of the New York Academy of Sciences , 1252 (1), 163–170. https://doi. org/10.1111/j.1749-6632.2011.06434.x Baily, J., & Collyer, M. (2006). Introduction: Music and Migration. Journal of Ethnic and Migration Studies , 32(2), 167–182. https://doi. org/10.1080/13691830500487266 Baird, A., & Samson, S. (2015). Music and dementia. Progress in Brain Research , 217, 207–235. https://doi.org/10.1016/bs.pbr.2014.11.028Get . Baird, A., & Thompson, W. F. (2018). When music compensates language: A case study of severe aphasia in dementia and the use of music by a spousal caregiver. Aphasiology , 33(4), 449–465. https://doi.org/10.1080/02687038.20 18.1471657 Baird, P . J. (2001). Children’s song-makers as messengers of hope: Participatory research with implications for teacher educators. Unpublished doctoral dissertation . University of San Francisco. Bakagiannis, S., & Tarrant, M. (2006). Can music bring people together? Effects of shared musical preference on intergroup bias in adolescence. Scandinavian Journal of Psychology , 47(2), 129–136. https://doi. org/10.1111/j.1467-9450.2006.00500.x Baker, F. A., & Ballantyne, J. (2013). “You’ve got to accentuate the positive”: Group songwriting to promote a life of enjoyment, engagement and meaning in aging Australians. Nordic Journal of Music Therapy , 22(1), 7–24. https://doi. org/10.1080/08098131.2012.678372 Baker, F. A., Jeanneret, N., & Clarkson, A. (2017). Contextual factors and wellbeing outcomes: Ethnographic analysis of an artist-led group songwriting program with young people. Psychology of Music , 46(2), 266–280. https:// doi.org/10.1177/0305735617709520 Baker, F. A., & MacDonald, R. A. R. (2013a). Flow, identity, achievement, satisfaction and ownership during therapeutic songwriting experiences with university students and retirees. Musicae Scientiae , 17(2), 131–146. https:// doi.org/10.1177/1029864913476287 Baker, F. A., & MacDonald, R. A. R. (2013b). Experiences of creating personally meaningful songs within a therapeutic context. Arts & Health , 6(2), 143–161. https://doi.org/10.1080/17533015.2013.808254 Baker, F., & Jones, C. (2005). Holding a Steady Beat: The Effects of a Music Therapy Program on Stabilising Behaviours of Newly Arrived Refugee Students. British Journal of Music Therapy , 19(2), 67–74. https://doi. org/10.1177/135945750501900205 Baker, F., & Jones, C. (2006). The effect of music therapy services on classroom behaviours of newly arrived refugee students in Australia—A pilot 605 Bibliography study. Emotional and Behavioural Difficulties , 11(4), 249–260. https://doi. org/10.1080/13632750601022170 Baker, S., & Homan, S. (2007). Rap, Recidivism and the Creative Self: A Popular Music Programme for Young Offenders in Detention. Journal of Youth Studies , 10(4), 459–476. https://doi.org/10.1080/13676260701262566 Balbag, M. A., Pedersen, N. L., & Gatz, M. (2014). Playing a Musical Instrument as a Protective Factor against Dementia and Cognitive Impairment: A Population-Based Twin Study. International Journal of Alzheimer’s Disease , 2014 , 1–6. https://doi.org/10.1155/2014/836748 Baltazar, M. (2019). Musical affect regulation in adolescents: A conceptual model. In Handbook of Music, Adolescents, and Wellbeing (pp. 65–74). Oxford University Press. https://doi.org/10.1093/oso/9780198808992.003.0006 Baltazar, M., & Saarikallio, S. (2016). Toward a better understanding and conceptualization of affect self-regulation through music: A critical, integrative literature review. Psychology of Music , 44(6), 1500–1521. https:// doi.org/10.1177/0305735616663313 Baltazar, M., & Saarikallio, S. (2017). Strategies and mechanisms in musical affect self-regulation: A new model. Musicae Scientiae , 23(2), 177–195. https://doi. org/10.1177/1029864917715061 Baltazar, M., Västfjäll, D., Asutay, E., Koppel, L., & Saarikallio, S. (2019). Is it me or the music? Stress reduction and the role of regulation strategies and music. Music & Science , 2, 205920431984416. https://doi. org/10.1177/2059204319844161 Bamford, S. M., & Bowell, S. (2018). What would life be—Without a song or a dance, what are we? In Report from the commission on dementia and music, International Longevity Centre—UK (ILC-UK . https://ilcuk.org.uk/ wp-content/uploads/2018/10/ Banai, K., & Ahissar, M. (2013). Musical Experience, Auditory Perception and Reading-Related Skills in Children. PLoS ONE , 8(9), e75876. https://doi. org/10.1371/journal.pone.0075876 Banai, K., Hornickel, J., Skoe, E., Nicol, T., Zecker, S., & Kraus, N. (2009). Reading and Subcortical Auditory Function. Cerebral Cortex , 19(11), 2699–2707. https://doi.org/10.1093/cercor/bhp024 Bandura, A. (2005). Guide for creating self-efficacy scales . Information Age Publishing. Bang, A. H. (2016). The Restorative and Transformative Power of the Arts in Conflict Resolution. Journal of Transformative Education , 14(4), 355–376. https://doi.org/10.1177/1541344616655886 Bangert, M., & Altenmüller, E. O. (2003). Mapping perception to action in piano practice: A longitudinal DC-EEG study. BMC Neuroscience , 4(1), 26. https:// doi.org/10.1186/1471-2202-4-26606 The Power of Music Bangert, M., Haeusler, U., & Altenmüller, E. (2001). On Practice: How the Brain Connects Piano Keys and Piano Sounds. Annals of the New York Academy of Sciences , 930(1), 425–428. https://doi.org/10.1111/j.1749-6632.2001.tb05760.x Bangert, M., & Schlaug, G. (2006). Specialization of the specialized in features of external human brain morphology. European Journal of Neuroscience , 24(6), 1832–1834. https://doi.org/10.1111/j.1460-9568.2006.05031.x Barbaroux, M., Dittinger, E., & Besson, M. (2019). Music training with Démos program positively influences cognitive functions in children from low socio-economic backgrounds. PLOS ONE , 14(5), e0216874. https://doi. org/10.1371/journal.pone.0216874 Baron, R. (1955). Music in penal institutions. Bulletin of the National Association for Music Therapy , 4, 5–6. Barr, L., Dittmar, M., Roberts, E., & Sheraden, M. (2002). Enhancing student achievement through the improvement of listening skills . Barrera, M. E., Rykov, M. H., & Doyle, S. L. (2002). The effects of interactive music therapy on hospitalized children with cancer: A pilot study. Psycho- Oncology , 11(5), 379–388. https://doi.org/10.1002/pon.589 Barrett, K. C., Ashley, R., Strait, D. L., & Kraus, N. (2013). Art and science: How musical training shapes the brain. Frontiers in Psychology , 4. https://doi. org/10.3389/fpsyg.2013.00713 Barrett, L. F., & Gross, J. J. (2001). Emotional intelligence: A process model of emotion representation and regulation. In T. J. Mayne & G. A. Bonanno (Eds), Emotions and social behavior. Emotions: Current issues and future directions (pp. 286–310). Guilford Press. Barrett, M. S., & Baker, J. S. (2012). Developing learning identities in and through music: A case study of the outcomes of a music programme in an Australian juvenile detention centre. International Journal of Music Education , 30(3), 244–259. https://doi.org/10.1177/0255761411433721 Barrett, M. S., & Bond, N. (2014). Connecting through music: The contribution of a music programme to fostering positive youth development. Research Studies in Music Education , 37(1), 37–54. https://doi.org/10.1177/1321103x14560320 Barrett, M. S., Flynn, L. M., Brown, J. E., & Welch, G. F. (2019). Beliefs and Values About Music in Early Childhood Education and Care: Perspectives From Practitioners. Frontiers in Psychology , 10. https://doi.org/10.3389/ fpsyg.2019.00724 Barrett, M. S., & Welch, G. F. (2020). Music early learning programs: Enduring outcomes for children and their families. Psychology of Music , 49(5), 1226– 1241. https://doi.org/10.1177/0305735620944232 Barroso, C., Ganley, C. M., Hart, S. A., Rogers, N., & Clendinning, J. P . (2019). The relative importance of math- and music-related cognitive and affective 607 Bibliography factors in predicting undergraduate music theory achievement. Applied Cognitive Psychology , 33(5), 771–783. https://doi.org/10.1002/acp.3518 Barrow, J. D. (1995). The Artful Universe . Clarendon Press. Barwick, J., Valentine, E., West, R., & Wilding, J. (1989). Relations between reading and musical abilities. British Journal of Educational Psychology , 59(2), 253–257. https://doi.org/10.1111/j.2044-8279.1989.tb03097.x Basiński, K., Zdun-Ry\textbackslash.zewska, A., & Majkowicz, M. (2018). The Role of Musical Attributes in Music-Induced Analgesia: A Preliminary Brief Report. Frontiers in Psychology , 9. https://doi.org/10.3389/fpsyg.2018.01761 Bastian, H. G. (Ed.). (2002). Musik(erziehung) und ihre Wirkung. Eine Langzeitstudie an Berliner Grundschulen [Music education and its effects. A long-term study in elementary schools in . Schott. Bates, V. C. (2012). Social Class and School Music. Music Educators Journal , 98(4), 33–37. https://doi.org/10.1177/0027432112442944 Batey, M., & Furnham, A. (2006). Creativity, Intelligence, and Personality: A Critical Review of the Scattered Literature. Genetic, Social, and General Psychology Monographs , 132(4), 355–429. https://doi.org/10.3200/ mono.132.4.355-430 Batt-Rawden, K. B., DeNora, T., & Ruud, E. (2005). Music Listening and Empowerment in Health Promotion: A Study of the Role and Significance of Music in Everyday Life of the Long-term Ill. Nordic Journal of Music Therapy , 14(2), 120–136. https://doi.org/10.1080/08098130509478134 Batt-Rawden, K., & Denora, T. (2005). Music and informal learning in everyday life. Music Education Research , 7(3), 289–304. https://doi. org/10.1080/14613800500324507 Batt-Rawden, K., & Tellnes, G. (2011). How music may promote healthy behaviour. Scandinavian Journal of Public Health , 39(2), 113–120. https://doi. org/10.1177/1403494810393555 Batur, Z. (2016). The contribution of music to the fluent writing skills: MAYAZ technique. Education , 137(1), 82–92. Baumeister, R. F., DeWall, C. N., Ciarocco, N. J., & Twenge, J. M. (2005). Social exclusion impairs self-regulation. Journal of Personality and Social Psychology , 88(4), 589–604. https://doi.org/10.1037/0022-3514.88.4.589 Baumgartner, H. (1992). Remembrance of things past: Music, autobiographical memory, and emotion. Advances in Consumer Research , 19, 613–620. Bayoumi, M. (2005). Disco Inferno. The Nation , 26. http://www.thenation.com/ doc/20051226/bayoumi . Beck, B. D., Messel, C., Meyer, S. L., Cordtz, T. O., Søgaard, U., Simonsen, E., & Moe, T. (2017). Feasibility of trauma-focused Guided Imagery and Music 608 The Power of Music with adult refugees diagnosed with PTSD: A pilot study. Nordic Journal of Music Therapy , 27(1), 67–86. https://doi.org/10.1080/08098131.2017.1286368 Beck, R. J., Cesario, T. C., Yousefi, A., & Enamoto, H. (2000). Choral Singing, Performance Perception, and Immune System Changes in Salivary Immunoglobulin A and Cortisol. Music Perception , 18(1), 87–106. https:// doi.org/10.2307/40285902 Beckham, A. S. (1942). A study of social background and music ability of superior Negro children. Journal of Applied Psychology , 26(2), 210–217. https://doi.org/10.1037/h0054822 Behne, K. (1997). The development of “musicerleben” in adolescence: How and why young people listen to music. In I. Deliége & J. A. Sloboda (Eds), Perception and cognition of music (pp. 143–159). Psychology Press. Behrends, A., Müller, S., & Dziobek, I. (2012). Moving in and out of synchrony: A concept for a new intervention fostering empathy through interactional movement and dance. The Arts in Psychotherapy , 39(2), 107–116. https://doi. org/10.1016/j.aip.2012.02.003 Beisman, G. L. (1967). Effect of Rhythmic Accompaniment upon Learning of Fundamental Motor Skills. Research Quarterly. American Association for Health, Physical Education and Recreation , 38(2), 172–176. https://doi.org/10.1080/10 671188.1967.10613376 Belfi, A. M., Samson, D. W., Crane, J., & Schmidt, N. L. (2021). Aesthetic Judgments of Live and Recorded Music: Effects of Congruence Between Musical Artist and Piece. Frontiers in Psychology , 12. https://doi.org/10.3389/ fpsyg.2021.618025 Bell, C. R., & Cresswell, A. (1984). Personality Differences among Musical Instrumentalists. Psychology of Music , 12(2), 83–93. https://doi. org/10.1177/0305735684122002 Bella, S. D., Berkowska, M., & Sowiński, J. (2011). Disorders of Pitch Production in Tone Deafness. Frontiers in Psychology , 2. https://doi.org/10.3389/ fpsyg.2011.00164 Benasich, A. A., & Tallal, P . (2002). Infant discrimination of rapid auditory cues predicts later language impairment. Behavioural Brain Research , 136(1), 31–49. https://doi.org/10.1016/s0166-4328(02)00098-0 Bender, P . K., Plante, C., & Gentile, D. A. (2018). The effects of violent media content on aggression. Current Opinion in Psychology , 19, 104–108. https:// doi.org/10.1016/j.copsyc.2017.04.003 Benedek, M., Borovnjak, B., Neubauer, A. C., & Kruse-Weber, S. (2014). Creativity and personality in classical, jazz and folk musicians. Personality and Individual Differences , 63, 117–121. https://doi.org/10.1016/j.paid.2014.01.064 Benedict, L. (1953). Survey of music in correctional institutions for adults. In E. G. Gilliland (Ed.), Music Therapy 1952: Second book of Proceedings of the 609 Bibliography National Association for Music Therapy: Papers from the Third Annual Convention (pp. 119–121). National Association for Music Therapy. Bengtsson, S. L., Nagy, Z., Skare, S., Forsman, L., Forssberg, H., & Ullén, F. (2005). Extensive piano practicing has regionally specific effects on white matter development. Nature Neuroscience , 8(9), 1148–1150. https://doi. org/10.1038/nn1516 Benner, J., Wengenroth, M., Reinhardt, J., Stippich, C., Schneider, P ., & Blatow, M. (2017). Prevalence and function of Heschl’s gyrus morphotypes in musicians. Brain Structure and Function , 222(8), 3587–3603. https://doi. org/10.1007/s00429-017-1419-x Bennett, L. (2012). Patterns of listening through social media: Online fan engagement with the live music experience. Social Semiotics , 22(5), 545–557. https://doi.org/10.1080/10350330.2012.731897 Bennett, T., Savage, M., Silva, E. B., Warde, A., Gayo-Cal, M., & Wright, D. (2009). Culture, Class, Distinction . Routledge. https://doi.org/10.4324/9780203930571 Ben-Pazi, H., Aran, A., Pandyan, A., Gelkop, N., Ginsberg, G., Pollak, Y., & Elnatan, D. (2018). Auditory stimulation improves motor function and caretaker burden in children with cerebral palsy- A randomized double blind study. PLOS ONE , 13(12), e0208792. https://doi.org/10.1371/journal. pone.0208792 Bensimon, M., Amir, D., & Wolf, Y. (2012). A pendulum between trauma and life: Group music therapy with post-traumatized soldiers. The Arts in Psychotherapy , 39(4), 223–233. https://doi.org/10.1016/j.aip.2012.03.005 Bensimon, M., Bodner, E., & Shrira, A. (2016). The emotional impact of national music on young and older adults differing in posttraumatic stress disorder symptoms. Aging & Mental Health , 21(10), 1090–1098. https://doi.org/10.10 80/13607863.2016.1196338 Benyamini, Y., Leventhal, E. A., & Leventhal, H. (2000). Gender Differences in Processing Information for Making Self-Assessments of Health. Psychosomatic Medicine , 62(3), 354–364. https://doi.org/10.1097/00006842-200005000-00009 Benz, S., Sellaro, R., Hommel, B., & Colzato, L. S. (2016). Music Makes the World Go Round: The Impact of Musical Training on Non-musical Cognitive Functions—A Review. Frontiers in Psychology , 6. https://doi.org/10.3389/ fpsyg.2015.02023 Bergee, M. J., & Weingarten, K. M. (2020). Multilevel Models of the Relationship Between Music Achievement and Reading and Math Achievement. Journal of Research in Music Education , 68(4), 398–418. https://doi. org/10.1177/0022429420941432 Bergerson, D., & Motto, E. (2013). Assessing the power of music . Advocates for Community through Musical Excellence and Breck School’s Advanced Mathematics Research.610 The Power of Music Bergh, A. (2007). I’d like to Teach the World to Sing: Music and Conflict Transformation. Musicae Scientiae , 11(2_suppl), 141–157. https://doi. org/10.1177/10298649070110s207 Bergh, A. (2008). Everlasting love: The sustainability of top-down vs bottom-up approaches to music and conflict transformation (S. Kagan & V. Kirchberg, Eds.). Higher Education for Sustainability. Bergh, A. (2011). Emotions in motion: Transforming conflict and music. In Music and the Mind (pp. 363–378). Oxford University Press. https://doi. org/10.1093/acprof :osobl/9780199581566.003.0018 Bergmann, K. (2002). The sound of trauma: Music therapy in a post-war environment. Australian Journal of Music Therapy , 13, 3–16. Berlyne, D. E. (1971). Aesthetics and Psychobiology . Appleton-Century–Crofts. Bermudez, P ., Lerch, J. P ., Evans, A. C., & Zatorre, R. J. (2008). Neuroanatomical Correlates of Musicianship as Revealed by Cortical Thickness and Voxel- Based Morphometry. Cerebral Cortex , 19(7), 1583–1596. https://doi. org/10.1093/cercor/bhn196 Bernatzky, G., Presch, M., Anderson, M., & Panksepp, J. (2011). Emotional foundations of music as a non-pharmacological pain management tool in modern medicine. Neuroscience & Biobehavioral Reviews , 35(9), 1989–1999. https://doi.org/10.1016/j.neubiorev.2011.06.005 Bernatzky, G., Strickner, S., Presch, M., Wendtner, F., & Kullich, W. (2012). Music as Non-Pharmacological Pain Management in Clinics\textbackslashast. In Music, Health, and Wellbeing (pp. 258–275). Oxford University Press. https:// doi.org/10.1093/acprof :oso/9780199586974.003.0019 Besson, M., Chobert, J., & Marie, C. (2011). Transfer of Training between Music and Speech: Common Processing, Attention, and Memory. Frontiers in Psychology , 2. https://doi.org/10.3389/fpsyg.2011.00094 Besson, M., Faïta, F., & Requin, J. (1994). Brain waves associated with musical incongruities differ for musicians and non-musicians. Neuroscience Letters , 168(1–2), 101–105. https://doi.org/10.1016/0304-3940(94)90426-x Best, J. R., Miller, P . H., & Naglieri, J. A. (2011). Relations between executive function and academic achievement from ages 5 to 17 in a large, representative national sample. Learning and Individual Differences , 21(4), 327–336. https:// doi.org/10.1016/j.lindif.2011.01.007 Bever, T. G., & Chiarello, R. J. (1974a). Cerebral Dominance in Musicians and Nonmusicians. Science , 185(4150), 537–539. https://doi.org/10.1126/ science.185.4150.537 Bever, T. G., & Chiarello, R. J. (1974b). Cerebral Dominance in Musicians and Nonmusicians. Science , 185(4150), 537–539. https://doi.org/10.1126/ science.185.4150.537 611 Bibliography Beyers, W. B., Fowler, C., & Andreoli, D. (2008). The economic impact of Seattle’s music industry: A report for the Mayor’s Office of Economic Development . City of Seattle Office of Economic Development. Bhat, A. N., & Srinivasan, S. (2013). A review of “music and movement” therapies for children with autism: Embodied interventions for multisystem development. Frontiers in Integrated Neuroscience , 7, 22. Bhatara, A., Tirovolas, A. K., Duan, L. M., Levy, B., & Levitin, D. J. (2011). Perception of emotional expression in musical performance. Journal of Experimental Psychology: Human Perception and Performance , 37(3), 921–934. https://doi.org/10.1037/a0021922 Bhide, A., Power, A., & Goswami, U. (2013). A Rhythmic Musical Intervention for Poor Readers: A Comparison of Efficacy With a Letter-Based Intervention. Mind, Brain, and Education , 7(2), 113–123. https://doi.org/10.1111/mbe.12016 Bialystok, E., & DePape, A.-M. (2009). Musical expertise, bilingualism, and executive functioning. Journal of Experimental Psychology: Human Perception and Performance , 35(2), 565–574. https://doi.org/10.1037/a0012735 Biasutti, M., & Mangiacotti, A. (2017a). Assessing a cognitive music training for older participants: A randomised controlled trial. International Journal of Geriatric Psychiatry , 33(2), 271–278. https://doi.org/10.1002/gps.4721 Biasutti, M., & Mangiacotti, A. (2017b). Assessing a cognitive music training for older participants: A randomised controlled trial. International Journal of Geriatric Psychiatry , 33(2), 271–278. https://doi.org/10.1002/gps.4721 Biasutti, M., & Mangiacotti, A. (2019). Music Training Improves Depressed Mood Symptoms in Elderly People: A Randomized Controlled Trial. The International Journal of Aging and Human Development , 92(1), 115–133. https:// doi.org/10.1177/0091415019893988 Bibb, J., Castle, D., & Newton, R. (2015). The role of music therapy in reducing post meal related anxiety for patients with anorexia nervosa. Journal of Eating Disorders , 3(1). https://doi.org/10.1186/s40337-015-0088-5 BibTeX generic citation style . (n.d.). Bidabadi, S. S., & Mehryar, A. (2015). Music therapy as an adjunct to standard treatment for obsessive compulsive disorder and co-morbid anxiety and depression: A randomized clinical trial. Journal of Affective Disorders , 184, 13–17. https://doi.org/10.1016/j.jad.2015.04.011 Bidelman, G. M., & Alain, C. (2015). Musical Training Orchestrates Coordinated Neuroplasticity in Auditory Brainstem and Cortex to Counteract Age- Related Declines in Categorical Vowel Perception. Journal of Neuroscience , 35(3), 1240–1249. https://doi.org/10.1523/jneurosci.3292-14.2015 Bidelman, G. M., Gandour, J. T., & Krishnan, A. (2011a). Cross-domain Effects of Music and Language Experience on the Representation of Pitch in the 612 The Power of Music Human Auditory Brainstem. Journal of Cognitive Neuroscience , 23(2), 425–434. https://doi.org/10.1162/jocn.2009.21362 Bidelman, G. M., Gandour, J. T., & Krishnan, A. (2011b). Cross-domain Effects of Music and Language Experience on the Representation of Pitch in the Human Auditory Brainstem. Journal of Cognitive Neuroscience , 23(2), 425–434. https://doi.org/10.1162/jocn.2009.21362 Bidelman, G. M., Hutka, S., & Moreno, S. (2013). Tone Language Speakers and Musicians Share Enhanced Perceptual and Cognitive Abilities for Musical Pitch: Evidence for Bidirectionality between the Domains of Language and Music. PLoS ONE , 8(4), e60676. https://doi.org/10.1371/journal. pone.0060676 Bidelman, G. M., & Krishnan, A. (2010). Effects of reverberation on brainstem representation of speech in musicians and non-musicians. Brain Research , 1355 , 112–125. https://doi.org/10.1016/j.brainres.2010.07.100 Bidelman, G. M., Weiss, M. W., Moreno, S., & Alain, C. (2014). Coordinated plasticity in brainstem and auditory cortex contributes to enhanced categorical speech perception in musicians. European Journal of Neuroscience , 40(4), 2662–2673. https://doi.org/10.1111/ejn.12627 Bieleninik, Ł., Ghetti, C., & Gold, C. (2016). Music therapy for preterm infants and their parents: A meta-analysis. Pediatrics , 138(3). https://doi. org/10.1542/peds2016-0971 . Bienstock, S. F. (1942). A Predictive Study of Musical Achievement. The Pedagogical Seminary and Journal of Genetic Psychology , 61(1), 135–145. https:// doi.org/10.1080/08856559.1942.10534660 Bigand, E., & Poulin-Charronnat, B. (2006). Are we “experienced listeners”? A review of the musical capacities that do not depend on formal musical training. Cognition , 100(1), 100–130. https://doi.org/10.1016/j.cognition.2005.11.007 Bilby, C., Caufield, L., & Ridley, L. (2013). Re-imagining futures: Exploring arts interventions and the process of desistance . The Arts Alliance. Bilhartz, T. D., Bruhn, R. A., & Olson, J. E. (1999). The Effect of Early Music Training on Child Cognitive Development. Journal of Applied Developmental Psychology , 20(4), 615–636. https://doi.org/10.1016/s0193-3973(99)00033-7 Billaux, N. (2011). New directions for classical music in Venezuela . Hochschulefür Musik. Binet, A., & Simon, T. (1916). The development of intelligence in children . Williams & Wilkins. Bisanz, J., Sherman, J. L., Rasmussen, C., & Ho, E. (2005). Development of arithmetic skills and knowledge in preschool children. In J. I. D. Campbell (Ed.), Handbook of Mathematical Cognition (p. 14). Psychology Press Ltd. Biscaldi, M., Fischer, B., & Hartnegg, K. (2000). Voluntary Saccadic Control in Dyslexia. Perception , 29(5), 509–521. https://doi.org/10.1068/p2666a 613 Bibliography Bittman, B. B., Berk, L. S., Felten, D. L. W., J., S., O.C., P ., J., & Ninehouser, M. (2001). Composite effects of group drumming music therapy on modulation of neuroendocrine-immune parameters in normal subjects. Alternative Therapies in Health and Medicine , 7(1), 38–47. Bittman, B., Berk, L., Shannon, M., Sharaf, M., Westengard, J., & Guegler, K. J. (2005). Recreational music-making modulates the human stress response: A preliminary individualized gene expression strategy. Medical Science Monitor , 11(2), 31–40. Bittman, B., Dickson, L., & Coddington, K. (2009). Creative musical expression as a catalyst for quality-of-life improvement in inner-city adolescents placed in a court-referred residential treatment program. Advances in Mind-Body Medicine , 24(1), 8–19. Blair, M. E., & Shimp, T. A. (1992). Consequences of an Unpleasant Experience with Music: A Second-Order Negative Conditioning Perspective. Journal of Advertising , 21(1), 35–43. https://doi.org/10.1080/00913367.1992.10673358 Blakemore, S. J., & Frith, U. (2000). The implications of recent developments in neuroscience for research on teaching and learning . Institute of Cognitive Neuroscience. Blanden, J., Hansen, K., & Machin, S. (2008a). The GDP cost of the lost earning potential of adults who grew up in poverty . Blanden, J., Hansen, K., & Machin, S. (2008b). The GDP cost of the lost earning potential of adults who grew up in poverty . Blood, A. J., & Zatorre, R. J. (2001). Intensely pleasurable responses to music correlate with activity in brain regions implicated in reward and emotion. Proceedings of the National Academy of Sciences , 98(20), 11818–11823. https:// doi.org/10.1073/pnas.191355898 Blood, A. J., Zatorre, R. J., Bermudez, P ., & Evans, A. C. (1999). Emotional responses to pleasant and unpleasant music correlate with activity in paralimbic brain regions. Nature Neuroscience , 2(4), 382–387. https://doi. org/10.1038/7299 Bloor, A. J. (2009). The rhythm’s gonna get ya’ – background music in primary classrooms and its effect on behaviour and attainment. Emotional and Behavioural Difficulties , 14(4), 261–274. https://doi.org/10.1080/13632750903303070 Boer, D., & Abubakar, A. (2014). Music listening in families and peer groups: Benefits for young people’s social cohesion and emotional well-being across four cultures. Frontiers in Psychology , 5. https://doi.org/10.3389/ fpsyg.2014.00392 Boer, D., & Fischer, R. (2011). Towards a holistic model of functions of music listening across cultures: A culturally decentred qualitative approach. Psychology of Music , 40(2), 179–200. https://doi.org/10.1177/0305735610381885614 The Power of Music Boer, D., Fischer, R., Strack, M., Bond, M. H., Lo, E., & Lam, J. (2011). How Shared Preferences in Music Create Bonds Between People. Personality and Social Psychology Bulletin , 37(9), 1159–1171. https://doi. org/10.1177/0146167211407521 Boer, D., Fischer, R., Tekman, H. G., Abubakar, A., Njenga, J., & Zenger, M. (2012). Young people’s topography of musical functions: Personal, social and cultural experiences with music across genders and six societies. International Journal of Psychology , 47(5), 355–369. https://doi.org/10.1080/ 00207594.2012.656128 Bogt, T., Hale, W. W., & Canale, N. (2020). Goth Music and Depressive Symptoms among Adolescents: A Longitudinal Study. Journal of Youth and Adolescence . Bogt, T. F. M. ter, Vieno, A., Doornwaard, S. M., Pastore, M., & Eijnden, R. J. J. M. van den. (2016). “You’re not alone”: Music as a source of consolation among adolescents and young adults. Psychology of Music , 45(2), 155–171. https:// doi.org/10.1177/0305735616650029 Bohlman, P . (2003). The music of European nationalism: Cultural identity and modern history . ABC-CLIO.[MP15. Boldt, S. (1996). The Effects of Music Therapy on Motivation, Psychological Well-Being, Physical Comfort, and Exercise Endurance of Bone Marrow Transplant Patients. Journal of Music Therapy , 33(3), 164–188. https://doi. org/10.1093/jmt/33.3.164 Bolduc, J. (2008). The Effects of Music Instruction on Emergent Literacy Capacities among Preschool Children: A Literature Review. Early Childhood Research & Practice , 10(1), 16. Bolger, L. (2015). Being a player: Understanding collaboration in participatory music projects with communities supporting marginalised young people. Qualitative Inquiries in Music Therapy , 10, 77–126. Boll-Avetisyan, N., Bhatara, A., & Höhle, B. (2020). Processing of Rhythm in Speech and Music in Adult Dyslexia. Brain Sciences , 10(5), 261. https://doi. org/10.3390/brainsci10050261 Bonacina, S., Cancer, A., Lanzi, P . L., Lorusso, M. L., & Antonietti, A. (2015). Improving reading skills in students with dyslexia: The efficacy of a sublexical training with rhythmic background. Frontiers in Psychology , 6. https://doi.org/10.3389/fpsyg.2015.01510 Bonneville-Roussy, A., Hruska, E., & Trower, H. (2020). Teaching Music to Support Students: How Autonomy-Supportive Music Teachers Increase Students’ Well-Being. Journal of Research in Music Education , 68(1), 97–119. https://doi.org/10.1177/0022429419897611 Bonneville-Roussy, A., Rentfrow, P . J., Xu, M. K., & Potter, J. (2013). Music through the ages: Trends in musical engagement and preferences from adolescence through middle adulthood. Journal of Personality and Social Psychology , 105(4), 703–717. https://doi.org/10.1037/a0033770 615 Bibliography Bonsdorff, P . V. (2017). Transformations of the everyday: The social aesthetics of childhood. In S. Schinkel & I. Herrmann (Eds), Ästhetiken in Kindheit und Jugend: Sozialisationim Spannungsfeld von Kreativität, Konsum und Distinktion Edition Kulturwissenschaft, Transcript Verlag[MP17 (pp. 319–334 ,). https:// doi.org/10.14361/9783839434833-018 . Boone, A., & Quelch, V. (2003). Effects of harp music therapy on canine patients in the veterinary hospital setting. The Harp Therapy Journal , 8(2), 4–5, 15. Booth, J. L., & Siegler, R. S. (2008). Numerical Magnitude Representations Influence Arithmetic Learning. Child Development , 79(4), 1016–1031. https:// doi.org/10.1111/j.1467-8624.2008.01173.x Borella, E., Carretti, B., Meneghetti, C., Carbone, E., Vincenzi, M., Madonna, J. C., Grassi, M., Fairfield, B., & Mammarella, N. (2017). Is working memory training in older adults sensitive to music? Psychological Research , 83(6), 1107–1123. https://doi.org/10.1007/s00426-017-0961-8 Bornstein, J. L. (2008). Religion and Art as Peacebuilding Tools, A Case Study Of The Education of Arts Appreciation Program . Bosacki, S. L., & O’Neill, S. A. (2013). Early adolescents’ emotional perceptions and engagement with popular music activities in everyday life. International Journal of Adolescence and Youth , 20(2), 228–244. https://doi.org/10.1080/026 73843.2013.785438 Bosnyak, D. J. (2004). Distributed Auditory Cortical Representations Are Modified When Non-musicians Are Trained at Pitch Discrimination with 40 Hz Amplitude Modulated Tones. Cerebral Cortex , 14(10), 1088–1099. https:// doi.org/10.1093/cercor/bhh068 Boss, L., Kang, D.-H., & Branson, S. (2015). Loneliness and cognitive function in the older adult: A systematic review. International Psychogeriatrics , 27(4), 541–553. https://doi.org/10.1017/s1041610214002749 Bosseler, A. N., Teinonen, T., Tervaniemi, M., & Huotilainen, M. (2016). Infant Directed Speech Enhances Statistical Learning in Newborn Infants: An ERP Study. PLOS ONE , 11(9), e0162177. https://doi.org/10.1371/journal. pone.0162177 Bottiroli, S., Rosi, A., Russo, R., Vecchi, T., & Cavallini, E. (2014). The cognitive effects of listening to background music on older adults: Processing speed improves with upbeat music, while memory seems to benefit from both upbeat and downbeat music. Frontiers in Aging Neuroscience , 6. https://doi. org/10.3389/fnagi.2014.00284 Bouissac, P . (2004). How plausible is the motherese hypothesis? Behav Brain Sci. [MP20 . https://doi.org/10.1017/S0140525X04250117 . Bowles, S. A. (2003). Tune up the mind: The effect of orchestrating music as a reading intervention [Doctoral dissertation.]. Indiana University of Pennsylvania.616 The Power of Music Bowmer, A., Mason, K., Knight, J., & Welch, G. (2018). Investigating the impact of a musical intervention on preschool children’s executive function. Front . Boyd, M., Ranson, K. M. von, Whidden, C., & Frampton, N. M. A. (2020). Short-term effects of group singing versus listening on mood and state self- esteem. Psychomusicology: Music, Mind, and Brain , 30(4), 178–188. https:// doi.org/10.1037/pmu0000266 Bracalente, B., Chirieleison, C., Cossignani, M., Ferrucci, L., Gigliotti, M., & Ranalli, M. G. (2011). The Economic Impact of Cultural Events: The Umbria Jazz Music Festival. Tourism Economics , 17(6), 1235–1255. https://doi. org/10.5367/te.2011.0096 Brackley, J. (2012). Music Therapy and The Expression of Anger and Aggression: Working with aggressive behaviour in children aged five to nine who risk mainstream exclusion. In J. Tomlinson, P . Derrington, & A. Oldfield (Eds), Music Therapy in Schools. Working with children of all ages in mainstream and special education (p. 23). Jessica Kingsley. Bradley, L., & Bryant, P . E. (1983). Categorizing sounds and learning to read—A causal connection. Nature , 301(5899), 419–421. https://doi. org/10.1038/301419a0 Brancatisano, O., Baird, A., & Thompson, W. F. (2019). A `Music, Mind and Movement’ Program for People With Dementia: Initial Evidence of Improved Cognition. Frontiers in Psychology , 10. https://doi.org/10.3389/ fpsyg.2019.01435 Brand, G., Sloboda, J., Saul, B., & Hathaway, M. (2012). The reciprocal relationship between jazz musicians and audiences in live performances: A pilot qualitative study. Psychology of Music , 40(5), 634–651. https://doi. org/10.1177/0305735612448509 Brandler, S., & Rammsayer, T. H. (2003). Differences in Mental Abilities between Musicians and Non-Musicians. Psychology of Music , 31(2), 123–138. https:// doi.org/10.1177/0305735603031002290 Brandt, A., Gebrian, M., & Slevc, L. R. (2012). Music and Early Language Acquisition. Frontiers in Psychology , 3. https://doi.org/10.3389/ fpsyg.2012.00327 Brattico, E., Tupala, T., Glerean, E., & Tervaniemi, M. (2013). Modulated neural processing of Western harmony in folk musicians. Psychophysiology , 50(7), 653–663. https://doi.org/10.1111/psyp.12049 Breen, M., Fitzroy, A. B., & Ali, M. O. (2019). Event-Related Potential Evidence of Implicit Metric Structure during Silent Reading. Brain Sciences , 9(8), 192. https://doi.org/10.3390/brainsci9080192 Bregman, A. S. (1990). Auditory Scene Analysis . The MIT Press. https://doi. org/10.7551/mitpress/1486.001.0001 617 Bibliography Bringas, M. L., Zaldivar, M., Rojas, P . A., Martinez-Montes, K., Chongo, D. M., Ortega, M. A., Galvizu, R., Perez, A. E., Morales, L. M., Maragoto, C., Vera, H., Galan, L., Besson, M., & Valdes-Sosa, P . A. (2015). Effectiveness of music therapy as an aid to neurorestoration of children with severe neurological disorders. Frontiers in Neuroscience , 9. https://doi.org/10.3389/ fnins.2015.00427 Brochard, R., Dufour, A., & Després, O. (2004). Effect of musical expertise on visuospatial abilities: Evidence from reaction times and mental imagery. Brain and Cognition , 54(2), 103–109. https://doi.org/10.1016/ s0278-2626(03)00264-1 Brodsky, W. (1989). Music Therapy as an Intervention for Children with Cancer in Isolation Rooms. Music Therapy , 8(1), 17–34. https://doi.org/10.1093/ mt/8.1.17 Brodsky, W. (2001). The effects of music tempo on simulated driving performance and vehicular control. Transportation Research Part F: Traffic Psychology and Behaviour , 4(4), 219–241. https://doi.org/10.1016/s1369-8478(01)00025-0 Brodsky, W., & Sulkin, I. (2011). Handclapping songs: A spontaneous platform for child development among 5–10-year-old children. Early Child Development and Care , 181(8), 1111–1136. https://doi.org/10.1080/03004430.2010.517837 Broh, B. A. (2002). Linking Extracurricular Programming to Academic Achievement: Who Benefits and Why? Sociology of Education , 75(1), 69. https://doi.org/10.2307/3090254 Bronfenbrenner, U., & Morris, P . A. (2007). The Bioecological Model of Human Development . John Wiley & Sons, Inc. https://doi.org/10.1002/9780470147658. chpsy0114 Bronson, H., Vaudreuil, R., & Bradt, J. (2018). Music Therapy Treatment of Active Duty Military: An Overview of Intensive Outpatient and Longitudinal Care Programs. Music Therapy Perspectives , 36(2), 195–206. https://doi. org/10.1093/mtp/miy006 Brown, D. (1991). Human Universals . McGraw-Hill. Brown, E. D., Benedett, B., & Armistead, M. E. (2010). Arts enrichment and school readiness for children at risk. Early Childhood Research Quarterly , 25(1), 112–124. https://doi.org/10.1016/j.ecresq.2009.07.008 Brown, E. D., Garnett, M. L., Anderson, K. E., & Laurenceau, J.-P . (2016). Can the Arts Get Under the Skin? Arts and Cortisol for Economically Disadvantaged Children. Child Development , 88(4), 1368–1381. https://doi.org/10.1111/ cdev.12652 Brown, E. D., & Sax, K. L. (2013). Arts enrichment and preschool emotions for low-income children at risk. Early Childhood Research Quarterly , 28(2), 337– 346. https://doi.org/10.1016/j.ecresq.2012.08.002618 The Power of Music Brown, E. J., & Nicklin, L. L. (2019). Spitting rhymes and changing minds: Global youth work through hip-hop. International Journal of Development Education and Global Learning , 11(2), 159–174, https://doi.org/10.18546/IJDEGL.11.2 . Brown, J. D. (1980). Identifying problems facing the school band movement . Gemeinhardt Co. Ltd. Brown, J. D. (1985). Strategic marketing for music educators . Gemeinhardt Co. Ltd. Brown, J., Sherrill, C., & Gench, B. (1981). Effects of an Integrated Physical Education/Music Program in Changing Early Childhood Perceptual- Motor Performance. Perceptual and Motor Skills , 53(1), 151–154. https://doi. org/10.2466/pms.1981.53.1.151 Browne, K. D., & Hamilton-Giachritsis, C. (2005). The influence of violent media on children and adolescents: A public-health approach. The Lancet , 365(9460), 702–710. https://doi.org/10.1016/s0140-6736(05)17952-5 Brownley, K. A., McMurray, R. G., & Hackney, A. C. (1995). Effects of music on physiological and affective responses to graded treadmill exercise in trained and untrained runners. International Journal of Psychophysiology , 19(3), 193– 201. https://doi.org/10.1016/0167-8760(95)00007-f Bruck, M. (1992). Persistence of dyslexics’ phonological awareness deficits. Developmental Psychology , 28(5), 874–886. https://doi. org/10.1037/0012-1649.28.5.874 Bruin, L. R. de. (2021). Instrumental Music Educators in a COVID Landscape: A Reassertion of Relationality and Connection in Teaching Practice. Frontiers in Psychology , 11. https://doi.org/10.3389/fpsyg.2020.624717 Buchsbaum, B., Pickell, B., Love, T., Hatrak, M., Bellugi, U., & Hickok, G. (2005). Neural substrates for verbal working memory in deaf signers: FMRI study and lesion case report. Brain and Language , 95(2), 265–272. https://doi. org/10.1016/j.bandl.2005.01.009 Buckner, R. L. (2004). Memory and Executive Function in Aging and AD. Neuron , 44(1), 195–208. https://doi.org/10.1016/j.neuron.2004.09.006 Buffam, B. (2011). Can’t hold us back! Hip-hop and the racial motility of aboriginal bodies in urban spaces. Social Identities , 17(3), 337–350. https:// doi.org/10.1080/13504630.2011.570973 Bugaj, K., & Brenner, B. (2011). The Effects of Music Instruction on Cognitive Development and Reading Skills—An Overview. Bulletin of the Council for Research in Music Education , 189, 89–104. https://doi.org/10.5406/ bulcouresmusedu.189.0089 Bugos, J. A. (2010). The benefits of music instruction on processing speed, verbal fluency, and cognitive control in aging. Music Education Research International , 4, 1–9. 619 Bibliography Bugos, J. A. (2014). Community music as a cognitive training program for successful ageing. Int. J. Commun. Music[MP29 , 7, 319–331, https://doi. org/10.1386/ijcm.7.3.319_1 . Bugos, J. A. (2019). The Effects of Bimanual Coordination in Music Interventions on Executive Functions in Aging Adults. Frontiers in Integrative Neuroscience , 13. https://doi.org/10.3389/fnint.2019.00068 Bugos, J. A., & Cooper, P . (2019). The effects of mallet training on self-efficacy and processing speed in beginning adult musicians. Res. Perspect. Music Educ[MP30 , 20, 21–32. Bugos, J. A., & DeMarie, D. (2017). The effects of a short-term music program on preschool children’s executive functions. Psychology of Music , 45(6), 855–867. https://doi.org/10.1177/0305735617692666 Bugos, J. A., & Jacobs, E. (2012). Composition instruction and cognitive performance: Results of a pilot study. Res. Issues Music Educ.[MP31 , 10(2). http://ir.stthomas.edu/rime/vol10/iss1/2 . Bugos, J. A., Kochar, S., & Maxfield, N. (2015). Intense piano training on self- efficacy and physiological stress in aging. Psychology of Music , 44(4), 611–624. https://doi.org/10.1177/0305735615577250 Bugos, J. A., & Mostafa, W. (2011). Musical training enhances information processing speed. Bulletin of the Council for Research in Music Education , 187, 7–18. Bugos, J. A., Perlstein, W. M., McCrae, C. S., Brophy, T. S., & Bedenbaugh, P . H. (2007). Individualized Piano Instruction enhances executive functioning and working memory in older adults. Aging & Mental Health , 11(4), 464–471. https://doi.org/10.1080/13607860601086504 Bugos, J., & Kochar, S. (2017). Efficacy of a short-term intense piano training program for cognitive aging: A pilot study. Musicae Scientiae , 21(2), 137–150. https://doi.org/10.1177/1029864917690020 Bull, A. (2015). The musical body: How gender and class are reproduced among young people playing classical music in England. Unpublished doctoral dissertation . Goldsmiths College. Bull, M. (2005). No Dead Air! The iPod and the Culture of Mobile Listening. Leisure Studies , 24(4), 343–355. https://doi.org/10.1080/0261436052000330447 Bull, M. (2006). Investigating the culture of mobile listening: From Walkman to iPod. In K. O’Hara & B. Brown (Eds), Consuming Music Together: Social and Collaborative Aspects of Music Consumption Technologies (pp. 131–149 ,). Springer. https://doi.org/10.1007/1-4020-4097-0_7 . Bungay, H., & Clift, S. (2010). Arts on Prescription: A review of practice in the UK. Perspectives in Public Health , 130(6), 277–281. https://doi. org/10.1177/1757913910384050620 The Power of Music Burkhard, A., Elmer, S., Kara, D., Brauchli, C., & Jäncke, L. (2018). The Effect of Background Music on Inhibitory Functions: An ERP Study. Frontiers in Human Neuroscience , 12. https://doi.org/10.3389/fnhum.2018.00293 Burland, K., & Pitts, S. E. (2010). Understanding Jazz Audiences: Listening and Learning at the Edinburgh Jazz and Blues Festival. Journal of New Music Research , 39(2), 125–134. https://doi.org/10.1080/09298215.2010.493613 Burnard, P . (2008). A phenomenological study of music teachers’ approaches to inclusive education practices among disaffected youth. Research Studies in Music Education , 30(1), 59–75. https://doi.org/10.1177/1321103x08089890 Burnard, P ., & Dragovic, T. (2014). Collaborative creativity in instrumental group music learning as a site for enhancing pupil wellbeing. Cambridge Journal of Education , 45(3), 371–392. https://doi.org/10.1080/0305764x.2014.934204 Burns, D. S., Sledge, R. B., Fuller, L. A., Daggy, J. K., & Monahan, P . O. (2005). Cancer Patients’ Interest and Preferences for Music Therapy. Journal of Music Therapy , 42(3), 185–199. https://doi.org/10.1093/jmt/42.3.185 Burns, S. (2016). In Harmony Liverpool Special Report: Impact on Early Years Education . In Harmony Liverpool. Burns, S., & Bewick, P . (2011). In Harmony Liverpool: Interim Report Year Two . Royal Liverpool Philharmonic; Department for Education; In Harmony Sistema England. Burns, S., & Bewick, P . (2012). In Harmony Liverpool Interim Report: Year Three . In Harmony Liverpool. Burns, S., & Bewick, P . (2014). In Harmony Liverpool Interim Report: Year Four . In Harmony Liverpool.[MP36. Burton, J., Horowitz, R., & Abeles, H. (1999). Learning in and through the arts. In E. Fiske (Ed.), Partnership and The President’s Committee on the Arts and the Humanities (p. 37). The Arts Education. Butkovic, A., & Dopudj, D. R. (2016). Personality traits and alcohol consumption of classical and heavy metal musicians. Psychology of Music , 45(2), 246–256. https://doi.org/10.1177/0305735616659128 Butkovic, A., & Modrusan, I. (2019). Personality differences among musicians: Real differences or stereotypes? Psychology of Music , 49(2), 216–226. https:// doi.org/10.1177/0305735619849625 Butkovic, A., Ullén, F., & Mosing, M. A. (2015). Personality related traits as predictors of music practice: Underlying environmental and genetic influences. Personality and Individual Differences , 74, 133–138. https://doi. org/10.1016/j.paid.2014.10.006 Butterton, M. (1993). Music in the Pastoral Care of Emotionally Disturbed Children. Journal of British Music Therapy , 7(2), 12–22. https://doi. org/10.1177/135945759300700203 621 Bibliography Buttsworth, L. M., & Smith, G. A. (1995). Personality of australian performing musicians by gender and by instrument. Personality and Individual Differences , 18(5), 595–603. https://doi.org/10.1016/0191-8869(94)00201-3 Butzlaff, R. (2000). Can Music Be Used to Teach Reading? Journal of Aesthetic Education , 34(3/4), 167. https://doi.org/10.2307/3333642 Bygren, L. O., Konlaan, B. B., & Johansson, S.-E. (1996). Attendance at cultural events, reading books or periodicals, and making music or singing in a choir as determinants for survival: Swedish interview survey of living conditions. BMJ , 313(7072), 1577–1580. https://doi.org/10.1136/bmj.313.7072.1577 Byrne, A., & Eysenck, M. W. (1995). Trait anxiety, anxious mood, and threat detection. Cognition & Emotion , 9(6), 549–562. https://doi. org/10.1080/02699939508408982 Cabedo, A. (2008). La educación musical comomodelo para una cultura de paz. In Catorzenes Jornades de Foment de la investigació, Universitá Jaumei, Castellón . Cabedo-Mas, A., Arriaga-Sanz, C., & Moliner-Miravet, L. (2021). Uses and Perceptions of Music in Times of COVID-19: A Spanish Population Survey. Frontiers in Psychology , 11. https://doi.org/10.3389/fpsyg.2020.606180 Cain, M., Istvandity, L., & Lakhani, A. (2019). Participatory music-making and well-being within immigrant cultural practice: Exploratory case studies in South East Queensland, Australia. Leisure Studies , 39(1), 68–82. https://doi. org/10.1080/02614367.2019.1581248 Cain, M., Lakhani, A., & Istvandity, L. (2015). Short and long term outcomes for culturally and linguistically diverse (CALD) and$\textbackslashless$i$\ textbackslashgreater$at-risk$\textbackslashless$/i$\textbackslashgreater$c ommunities in participatory music programs: A systematic review. Arts & Health , 8(2), 105–124. https://doi.org/10.1080/17533015.2015.1027934 Caine, J. (1991). The Effects of Music on the Selected Stress Behaviors, Weight, Caloric and Formula Intake, and Length of Hospital Stay of Premature and Low Birth Weight Neonates in a Newborn Intensive Care Unit. Journal of Music Therapy , 28(4), 180–192. https://doi.org/10.1093/jmt/28.4.180 Caleon, I. S. (2019). The Role of Music-Based Activities in Fostering Well-Being of Adolescents: Insights from a Decade of Research (2008–2018. In P . Costes- Onishi (Ed.), Artistic Thinking in the Schools (p. ,). Springer. Calvo, K., & Bejarano, E. (2020). Music, solidarities and balconies in Spain. Interface: A journal for and about social movements Sharing stories of struggles . https:// www.interfacejournal.net/wp-content/uploads/2020/05/Calvo-and- Hernandez.pdf . Camic, P . M., Williams, C. M., & Meeten, F. (2011). Does a `Singing Together Group’ improve the quality of life of people with a dementia and their carers? A pilot evaluation study. Dementia , 12(2), 157–176. https://doi. org/10.1177/1471301211422761622 The Power of Music Campbell, P . S. (2010). Songs in their heads: Music and its meaning in children’s lives . Oxford University Press. Campe, K., & Kaufman, B. (2013). El Sistema: Development Beyond the Orchestra . El Sistema at Conservatory Lab. Caprara, G. V., Vecchione, M., Alessandri, G., Gerbino, M., & Barbaranelli, C. (2011). The contribution of personality traits and self-efficacy beliefs to academic achievement: A longitudinal study. British Journal of Educational Psychology , 81(1), 78–96. https://doi.org/10.1348/2044-8279.002004 Caprilli, S., Anastasi, F., Grotto, R. P . L., Abeti, M. S., & Messeri, A. (2007). Interactive Music as a Treatment for Pain and Stress in Children During Venipuncture: A Randomized Prospective Study. Journal of Developmental & Behavioral Pediatrics , 28(5), 399–403. https://doi.org/10.1097/ dbp.0b013e31811ff8a7 Carbo, N., Fiese, R., & Boyle, D. (1990). A profile of all-state instrumentalists. Research Perspectives in Music Education , 1, 32–40. Carcagno, S., & Plack, C. J. (2010). Subcortical Plasticity Following Perceptual Learning in a Pitch Discrimination Task. Journal of the Association for Research in Otolaryngology , 12(1), 89–100. https://doi.org/10.1007/s10162-010-0236-1 Cardarelli, D. M. (2003). The effects of music instrumental training on performance on the reading and mathematics portions of the Florida Comprehensive Achievement Test for 3rd grade students [Doctoral dissertation.]. University of Central Florida. Carioti, D., Danelli, L., Guasti, M. T., Gallucci, M., Perugini, M., Steca, P ., Stucchi, N. A., Maffezzoli, A., Majno, M., Berlingeri, M., & Paulesu, E. (2019). Music Education at School: Too Little and Too Late? Evidence From a Longitudinal Study on Music Training in Preadolescents. Frontiers in Psychology , 10. https://doi.org/10.3389/fpsyg.2019.02704 Carlisle, R. C. (1975). Women Singers in Darfur, Sudan Republic. The Black Perspective in Music , 3(3), 253. https://doi.org/10.2307/1214011 Carlson, E., Wilson, J., Baltazar, M., Duman, D., Peltola, H.-R., Toiviainen, P ., & Saarkallio, S. H. (2021). The role of music in everyday life during the first wave of the COVID-19 pandemic: A mixed methods exploratory study. Front. Psychol , P41(ttps://doi.org/10.3389/fpsyg.2021.647756 ). Carpentier, S. M., Moreno, S., & McIntosh, A. R. (2016). Short-term Music Training Enhances Complex, Distributed Neural Communication during Music and Linguistic Tasks. Journal of Cognitive Neuroscience , 28(10), 1603– 1612. https://doi.org/10.1162/jocn_a_00988 Carr, C. (2008). Music Therapy with Children and Adolescents within mainstream schools. Literature Review . Carr, C., d’ Ardenne, P ., Sloboda, A., Scott, C., Wang, D., & Priebe, S. (2011). Group music therapy for patients with persistent post-traumatic stress 623 Bibliography disorder—An exploratory randomized controlled trial with mixed methods evaluation. Psychology and Psychotherapy: Theory, Research and Practice , 85(2), 179–202. https://doi.org/10.1111/j.2044-8341.2011.02026.x Carr, C., Odell-Miller, H., & Priebe, S. (2013). A Systematic Review of Music Therapy Practice and Outcomes with Acute Adult Psychiatric In-Patients. PLoS ONE , 8(8), e70252. https://doi.org/10.1371/journal.pone.0070252 Carr, C., & Wigram, T. (2009). Music Therapy with Children and Adolescents in Mainstream Schools: A Systematic Review. British Journal of Music Therapy , 23(1), 3–18. https://doi.org/10.1177/135945750902300102 Carr, S. M., & Rickard, N. S. (2016). The use of emotionally arousing music to enhance memory for subsequently presented images. Psychology of Music , 44(5), 1145–1157. https://doi.org/10.1177/0305735615613846 Carson, K. (2007). Fank u for da musik... 4 givin it 2 me: How successful is music therapy as a supporting intervention for increased inclusion within British mainstream secondary education? Unpublished Master’s dissertation . City University. Carstensen, L. L., Fung, H. H., & Charles, S. T. (2003). Socioemotional Selectivity Theory and the Regulation of Emotion in the Second Half of Life. Motivation and Emotion , 27(2), 103–123. https://doi.org/10.1023/a :1024569803230 Carterette, E. C., & Kendall, R. A. (1999). Comparative Music Perception and Cognition. In The Psychology of Music (pp. 725–791). Elsevier. https://doi. org/10.1016/b978-012213564-4/50019-6 Case, A. (2013). Valley vibes orchestras participant evaluation form (questionnaire for teachers): Valley Vibes Orchestras, Sonoma Valley Education Foundation . Cassidy, G., & MacDonald, R. A. R. (2007). The effect of background music and background noise on the task performance of introverts and extraverts. Psychology of Music , 35(3), 517–537. https://doi. org/10.1177/0305735607076444 Cassidy, J. W., & Standley, J. M. (1995). The Effect of Music Listening on Physiological Responses of Premature Infants in the NICU. Journal of Music Therapy , 32(4), 208–227. https://doi.org/10.1093/jmt/32.4.208 Castañeda-Castañeda, J. C. (2009). Percepciónsobre un taller de educación musical, de jóvenesenreclusiónen el Marceliano Ossa Lázaro Nicholls ‘Créeme’ . Universidad Tecnológica de Pereira. Castillejos, C., & Godoy-Izquierdo, D. (2020). “Music Makes My Old Heart Beat”: A Randomised Controlled Study on the Benefits of the Use of Music in Comprehensive Care for Institutionalised Older Adults. Applied Psychology: Health and Well-Being , 13(1), 84–108. https://doi.org/10.1111/aphw.12217 Catalina, C. A., García-Herrero, S., Cabrerizo, E., Herrera, S., García-Pineda, S., Mohamadi, F., & Mariscal, M. A. (2020). Music Distraction among Young Drivers: Analysis by Gender and Experience. Journal of Advanced Transportation , 2020 , 1–12. https://doi.org/10.1155/2020/6039762624 The Power of Music Catanzaro, S., & Mearns, J. (1990). Measuring Generalized Expectancies for Negative Mood Regulation: Initial Scale Development and Implications. Journal of Personality Assessment , 54(3), 546–563. https://doi.org/10.1207/ s15327752jpa5403&4_11 Catterall, J., Chapleau, R., & Iwanaga, J. (2000). Involvement in the arts and human development: General involvement and intensive involvement in music and theater arts. In MENC, National Association for Music Education (ed.), Music makes a difference: Music, brain development and learning (pp. 74–100). MENC. Catterall, J. S. (1998). Involvement in the arts and success in secondary school. America for the Arts , 9([MP47). Catterall, J. S., & Rauscher, F. H. (2008). Unpacking the impact of music on intelligence. In W. Gruhn & F. H. Rauscher (Eds), Neurosciences in music pedagogy (pp. 171–201). Nova Science Publishers. Center, E. M. W. R. (2015). Young & Great Music Project Annual Report . Ewha Music Wellness Research Center. Ceretti, A., & Cornelli, R. (2013). Cinque riflessioni su criminalità, societ à e politica . Feltrinelli. Cevasco, A. M. (2008). The Effects of Mothers’ Singing on Full-term and Preterm Infants and Maternal Emotional Responses. Journal of Music Therapy , 45(3), 273–306. https://doi.org/10.1093/jmt/45.3.273 Chamberlain, J. R. (2003). The relationship between beat competency and reading abilities of third and fifth grade students [Doctoral dissertation.]. The University of North Carolina at Greensboro. Chamorro-Premuzic, T., & Furnham, A. (2007). Personality and music: Can traits explain how people use music in everyday life? British Journal of Psychology , 98(2), 175–185. https://doi.org/10.1348/000712606x111177 Chamorro-Premuzic, T., Gomà-i-Freixanet, M., Furnham, A., & Muro, A. (2009). Personality, self-estimated intelligence, and uses of music: A Spanish replication and extension using structural equation modeling. Psychology of Aesthetics, Creativity, and the Arts , 3(3), 149–155. https://doi.org/10.1037/ a0015342 Chan, A. S., Ho, Y.-C., & Cheung, M.-C. (1998). Music training improves verbal memory. Nature , 396(6707), 128–128. https://doi.org/10.1038/24075 Chanda, M. L., & Levitin, D. J. (2013). The neurochemistry of music. Trends in Cognitive Sciences , 17(4), 179–193. https://doi.org/10.1016/j.tics.2013.02.007 Chandrasekaran, B., & Kraus, N. (2010). Music, Noise-Exclusion, and Learning. Music Perception , 27(4), 297–306. https://doi.org/10.1525/mp.2010.27.4.297 Chandrasekaran, B., Krishnan, A., & Gandour, J. (2009). Relative influence of musical and linguistic experience on early cortical processing of pitch 625 Bibliography contours. Brain and Language , 108(1), 1–9. https://doi.org/10.1016/j. bandl.2008.02.001 Chao-Fernández, R., Gisbert-Caudeli, V., & Vázquez-Sánchez, R. (2020). Emotional Training and Modification of Disruptive Behaviors through Computer-Game-Based Music Therapy in Secondary Education. Applied Sciences , 10(5), 1796. https://doi.org/10.3390/app10051796 Charyton, C., & Snelbecker, G. E. (2007). General, Artistic and Scientific Creativity Attributes of Engineering and Music Students. Creativity Research Journal , 19(2–3), 213–225. https://doi.org/10.1080/10400410701397271 Cheek, J. M., & L.R, S. (1999). Music training and mathematics achievement. Adolescence , 34, 759–761. Cheliotis, L., & Jordanoska, A. (2015). The Arts of Desistance: Assessing the Role of Arts-based Programmes in Reducing Reoffending. The Howard Journal of Crime and Justice , 55(1–2), 25–41. https://doi.org/10.1111/hojo.12154 Chen, J. L., Rae, C., & Watkins, K. E. (2012). Learning to play a melody: An fMRI study examining the formation of auditory-motor associations. NeuroImage , 59(2), 1200–1208. https://doi.org/10.1016/j.neuroimage.2011.08.012 Chen, J., Zhou, Y., & Chen, J. (2020). The relationship between musical training and inhibitory control: An ERPs study. Acta Psychologica Sinica , 52(12), 1365. https://doi.org/10.3724/sp.j.1041.2020.01365 Chen, X. J., Leith, H., Aarø, L. E., Manger, T., & Gold, C. (2016). Music therapy for improving mental health problems of offenders in correctional settings: Systematic review and meta-analysis. Journal of Experimental Criminology , 12(2), 209–228. https://doi.org/10.1007/s11292-015-9250-y Chen, X.-J., Hannibal, N., & Gold, C. (2015). Randomized Trial of Group Music Therapy With Chinese Prisoners. International Journal of Offender Therapy and Comparative Criminology , 60(9), 1064–1081. https://doi. org/10.1177/0306624x15572795 Cheng, Y.-L., & Mix, K. S. (2013). Spatial Training Improves Children’s Mathematics Ability. Journal of Cognition and Development , 15(1), 2–11. https://doi.org/10.1080/15248372.2012.725186 Cheong, C. Y., Tan, J. A. Q., Foong, Y.-L., Koh, H. M., Chen, D. Z. Y., Tan, J. J. C., Ng, C. J., & Yap, P . (2016). Creative Music Therapy in an Acute Care Setting for Older Patients with Delirium and Dementia. Dementia and Geriatric Cognitive Disorders Extra , 6(2), 268–275. https://doi.org/10.1159/000445883 Cheong-Clinch, C. (2009). Music for engaging young people in education. Youth Studies Australia , 28(2), 50–57. Chernaik, D. (2021). Apollo music projects . Apollo Music. Chew, A. S.-Q., Yu, Y.-T., Chua, S.-W., & Gan, S. K.-E. (2016). The effects of familiarity and language of background music on working memory and 626 The Power of Music language tasks in Singapore. Psychology of Music , 44(6), 1431–1438. https:// doi.org/10.1177/0305735616636209 Chida, Y., Hamer, M., Wardle, J., & Steptoe, A. (2008). Do stress-related psychosocial factors contribute to cancer incidence and survival? Nature Clinical Practice Oncology , 5(8), 466–475. https://doi.org/10.1038/ncponc1134 Chin, T., & Rickard, N. S. (2013). Emotion regulation strategy mediates both positive and negative relationships between music uses and well-being. Psychology of Music , 42(5), 692–713. https://doi.org/10.1177/0305735613489916 Chiu, R. (2020). Functions of Music Making Under Lockdown: A Trans- Historical Perspective Across Two Pandemics. Frontiers in Psychology , 11. https://doi.org/10.3389/fpsyg.2020.616499 Cho, E., & Ilari, B. S. (2021). Mothers as Home DJs: Recorded Music and Young Children’s Well-Being During the COVID-19 Pandemic. Frontiers in Psychology , 12. https://doi.org/10.3389/fpsyg.2021.637569 Cho, H. (2015). Is Background Music a Distraction or Facilitator?: An Investigation on the Influence of Background Music in L2 Writing. Multimedia-Assisted Language Learning , 18(2), 37–58. https://doi.org/10.15702/mall.2015.18.2.37 Chobert, J., Francois, C., Velay, J.-L., & Besson, M. (2012). Twelve Months of Active Musical Training in 8- to 10-Year-Old Children Enhances the Preattentive Processing of Syllabic Duration and Voice Onset Time. Cerebral Cortex , 24(4), 956–967. https://doi.org/10.1093/cercor/bhs377 Chobert, J., Marie, C., François, C., Schön, D., & Besson, M. (2011). Enhanced Passive and Active Processing of Syllables in Musician Children. Journal of Cognitive Neuroscience , 23(12), 3874–3887. https://doi.org/10.1162/ jocn_a_00088 Choi, A.-N., Lee, M. S., & Lee, J.-S. (2010). Group Music Intervention Reduces Aggression and Improves Self-Esteem in Children with Highly Aggressive Behavior: A Pilot Controlled Trial. Evidence-Based Complementary and Alternative Medicine , 7(2), 213–217. https://doi.org/10.1093/ecam/nem182 Choi, U.-S., Sung, Y.-W., Hong, S., Chung, J.-Y., & Ogawa, S. (2015). Structural and functional plasticity specific to musical training with wind instruments. Frontiers in Human Neuroscience , 9. https://doi.org/10.3389/fnhum.2015.00597 Chong, H. J., & Kim, S. J. (2010). Education-oriented Music Therapy as an after-school program for students with emotional and behavioral problems. The Arts in Psychotherapy , 37(3), 190–196. https://doi.org/10.1016/j. aip.2010.03.004 Chong, H. J., & Yun, J. (2020). Music Therapy for Delinquency Involved Juveniles Through Tripartite Collaboration: A Mixed Method Study. Frontiers in Psychology , 11. https://doi.org/10.3389/fpsyg.2020.589431 Chou, M.-Y., Chang, N.-W., Chen, C., Lee, W.-T., Hsin, Y.-J., Siu, K.-K., Chen, C.-J., Wang, L.-J., & Hung, P .-L. (2019). The effectiveness of music therapy 627 Bibliography for individuals with Rett syndrome and their families. Journal of the Formosan Medical Association , 118(12), 1633–1643. https://doi.org/10.1016/j. jfma.2019.01.001 Chou, P . T. (2010). Attention drainage effect: How background music affects concentration in Taiwanese college students. Journal Scholar. Teach , Learn[MP52], 10 , 36–46. Chowdhury, A. R., & Gupta, A. (2015). Effect of Music on Plants – An Overview. International Journal of Integrative Sciences, Innovation and Technology , 4(6), 30–34. Chraif, M., Mitrofan, L., Golu, F., & Gâtej, E. (2014). The Influence of Relaxation Music on Abstract Visual Short Term Memory Retrieval Task at Young Students at Psychology. Procedia - Social and Behavioral Sciences , 127, 852–857. https://doi.org/10.1016/j.sbspro.2014.03.367 Christenbury, K. R. (2015). I Will Follow You: The Combined Use of Songwriting and Art to Promote Healing in a Child Who Has Been Traumatized. Music Therapy Perspectives , 35(1), 1–12. https://doi.org/10.1093/mtp/miv005 Christenson, P . G., DeBenedittis, P ., & Lindlof, T. R. (1985). CHILDREN’S USE OF AUDIO MEDIA. Communication Research , 12(3), 327–343. https://doi. org/10.1177/009365085012003005 Christenson, P . G., & Roberts, D. F. (1998). It’s not only rock & roll: Popular music in the lives of adolescents . Hampton Press. Christiner, M., & Reiterer, S. (2018). Early Influence of Musical Abilities and Working Memory on Speech Imitation Abilities: Study with Pre-School Children. Brain Sciences , 8(9), 169. https://doi.org/10.3390/brainsci8090169 Christopher, E. A., & Shelton, J. T. (2017). Individual differences in working memory predict the effect of music on student performance. Journal of Applied Research in Memory and Cognition , 6(2), 167–173. https://doi.org/10.1016/j. jarmac.2017.01.012 Chung, H. L., Monday, A., & Perry, A. (2017). Promoting the Well-being of Urban Youth through Drama-based Peer Education. American Journal of Health Behavior , 41(6), 728–739. https://doi.org/10.5993/ajhb.41.6.7 Cirelli, L. K., Einarson, K. M., & Trainor, L. J. (2014). Interpersonal synchrony increases prosocial behavior in infants. Developmental Science , 17(6), 1003– 1011. https://doi.org/10.1111/desc.12193 Cirelli, L. K., & Trehub, S. E. (2019). Dancing to Metallica and Dora: Case Study of a 19-Month-Old. Frontiers in Psychology , 10. https://doi.org/10.3389/ fpsyg.2019.01073 Cirelli, L. K., & Trehub, S. E. (2020). Familiar songs reduce infant distress. Developmental Psychology , 56(5), 861–868. https://doi.org/10.1037/ dev0000917628 The Power of Music Clarke, E., DeNora, T., & Vuoskoski, J. (2015). Music, empathy and cultural understanding. Physics of Life Reviews , 15, 61–88. https://doi.org/10.1016/j. plrev.2015.09.001 Clarke, E., Dibben, N., & Pitts, S. (2009). Music and mind in everyday life. Oxford University Press. https://doi.org/10.1093/acprof : oso/9780198525578.001.0001 Clarke, T., & Basilio, M. (2018). Do arts subjects matter for secondary school students wellbeing? The role of creative engagement and playfulness. Thinking Skills and Creativity , 29, 97–114, https://doi.org/10.1016/j.tsc.10 Clayton, K. K., Swaminathan, J., Yazdanbakhsh, A., Zuk, J., Patel, A. D., & Kidd, G. (2016). Executive Function, Visual Attention and the Cocktail Party Problem in Musicians and Non-Musicians. PLOS ONE , 11(7), e0157638. https://doi.org/10.1371/journal.pone.0157638 Clements-Cortès, A. (2012). Can music be used to help a person who stutters? Canadian Music Educator , 53(4), 45–48. Clements-Cortes, A., & Chow, S. (2018). Enhancing self-esteem in the music classroom. The Canadian Music Educator; Edmonton , 59(2), 23–26. Clendenon-Wallen, J. (1991). The Use of Music Therapy to influence the Self- Confidence and Self-Esteem of Adolescents Who Are Sexually Abused. Music Therapy Perspectives , 9(1), 73–81. https://doi.org/10.1093/mtp/9.1.73 Clennon, O., & Boehm, C. (2014). Young Musicians for Heritage Project: Can a music-based heritage project have a positive effect on well-being? Music Education Research , 16(3), 307–329. https://doi.org/10.1080/14613808.2014.9 09395 Clennon, O. D. (2013). How effective are music interventions in the criminal youth justice sector? Community music making and its potential for community and social transformation: A pilot study. Journal of Music, Technology and Education , 6(1), 103–130. https://doi.org/10.1386/jmte.6.1.103_1 Clift, S. (2012). Singing, Wellbeing, and Health. In Music, Health, and Wellbeing (pp. 114–124). Oxford University Press. https://doi.org/10.1093/acprof : oso/9780199586974.003.0009 Clift, S., & Camic, P . M. (Eds). (2015). Oxford Textbook of Creative Arts, Health, and Wellbeing . Oxford University Press. https://doi.org/10.1093/ med/9780199688074.001.0001 Clift, S., & Hancox, G. (2010). The significance of choral singing for sustaining psychological wellbeing: Findings from a survey of choristers in England, Australia and Germany. Music Performance Research , 3, 79–96. Clift, S., Hancox, G., Staricoff, R., & Whitmore, C. (2008). Singing and Health: A systematic mapping and review of non-clinical research . Sidney de Haan Research Centre for Arts and Health: Canterbury Christ Church University. 629 Bibliography Clift, S. M., & Hancox, G. (2001). The perceived benefits of singing. Journal of the Royal Society for the Promotion of Health , 121(4), 248–256. https://doi. org/10.1177/146642400112100409 Clift, S., Manship, S., & Stephens, L. (2017). Further evidence that singing fosters mental health and wellbeing: The West Kent and Medway project. Mental Health and Social Inclusion , 21(1), 53–62. https://doi.org/10.1108/ mhsi-11-2016-0034 Clini, C., Thomson, L. J. M., & Chatterjee, H. J. (2019). Assessing the impact of artistic and cultural activities on the health and well-being of forcibly displaced people using participatory action research. BMJ Open , 9(2), e025465. https://doi.org/10.1136/bmjopen-2018-025465 Cloonan, M., & Johnson, B. (2002). Killing me softly with his song: An initial investigation into the use of popular music as a tool of oppression. Popular Music , 21(1), 27–39. https://doi.org/10.1017/s0261143002002027 Cloutier, A., Fernandez, N. B., Houde-Archambault, C., & Gosselin, N. (2020). Effect of Background Music on Attentional Control in Older and Young Adults. Frontiers in Psychology , 11. https://doi.org/10.3389/fpsyg.2020.557225 Cobb, T. A. (1997). A comparison of the academic achievement of students who have a musical background versus students who do not have a musical background [PhD Thesis]. University: The University of Mississippi. Cobbett, S. (2007). Playing at the Boundaries. British Journal of Music Therapy , 21(1), 3–11. https://doi.org/10.1177/135945750702100102 Cobbett, S. (2009). Including the Excluded. British Journal of Music Therapy , 23(2), 15–24. https://doi.org/10.1177/135945750902300203 Cobbett, S. (2016a). Context and relationships: Using the systemic approach with music therapy in work with children, adolescents and their families. British Journal of Music Therapy , 30(2), 65–73. https://doi. org/10.1177/1359457516662474 Cobbett, S. (2016b). Reaching the hard to reach: Quantitative and qualitative evaluation of school-based arts therapies with young people with social, emotional and behavioural difficulties. Emotional and Behavioural Difficulties , 1–13. https://doi.org/10.1080/13632752.2016.1215119 Cockerton, T., Moore, S., & Norman, D. (1997). Cognitive Test Performance and Background Music. Perceptual and Motor Skills , 85(3_suppl), 1435–1438. https://doi.org/10.2466/pms.1997.85.3f.1435 Coelho, A., Parola, V., Cardoso, D., Bravo, M. E., & Apóstolo, J. (2017). Use of non-pharmacological interventions for comforting patients in palliative care: A scoping review. JBI Database of Systematic Reviews and Implementation Reports , 15(7), 1867–1904. https://doi.org/10.11124/jbisrir-2016-003204630 The Power of Music Coffman, D. D. (2002). Music and quality of life in older adults. Psychomusicology: A Journal of Research in Music Cognition , 18(1–2), 76–88. https://doi. org/10.1037/h0094050 Coffman, D. D., & Adamek, M. S. (1999). The contribution of wind band participation to quality of life of senior adult band members. Dialogue in Instrumental Music Education , 20(1), 25–34. Coffman, D. D., & Adamek, M. S. (2001). Perceived social support of New Horizons Band participants. Contributions to Music Education , 28(1), 27–40. Cogo-Moreira, H., Andriolo, R. B., Yazigi, L., Ploubidis, G. B., Ávila, C. R. B. de, & Mari, J. J. (2012). Music education for improving reading skills in children and adolescents with dyslexia. Cochrane Database of Systematic Reviews . https://doi.org/10.1002/14651858.cd009133.pub2 Cogo-Moreira, H., Ávila, C. R. B. de, Ploubidis, G. B., & Mari, J. de J. (2013). Effectiveness of Music Education for the Improvement of Reading Skills and Academic Achievement in Young Poor Readers: A Pragmatic Cluster- Randomized, Controlled Clinical Trial. PLoS ONE , 8(3), e59984. https://doi. org/10.1371/journal.pone.0059984 Cohen, A. J. (2016). Music in performance arts: Film, theatre and dance. In S. Hallam, I. Cross, & M. Thaut (Eds), The Oxford handbook of music psychology (pp. 725–743). Oxford University Press. Cohen, G. D., Perlstein, S., Chapline, J., Kelly, J., Firth, K. M., & Simmens, S. (n.d.). The impact of professionally conducted cultural programs on the physical health, mental health and social functioning of older adults–2–year results. Journal of Aging, Humanities and the Arts , 1(1), 5–22. Cohen, G. D., Perlstein, S., Chapline, J., Kelly, J., Firth, K. M., & Simmens, S. (2006). The Impact of Professionally Conducted Cultural Programs on the Physical Health, Mental Health, and Social Functioning of Older Adults. The Gerontologist , 46(6), 726–734. https://doi.org/10.1093/geront/46.6.726 Cohen, M. A., Evans, K. K., Horowitz, T. S., & Wolfe, J. M. (2011). Auditory and visual memory in musicians and nonmusicians. Psychonomic Bulletin & Review , 18(3), 586–591. https://doi.org/10.3758/s13423-011-0074-0 Cohen, M. L. (2007a). Christopher Small’s concept of musicking: Toward a theory of choral singing pedagogy in prison contexts [PhD Thesis]. https://doi. org/10.13140/RG.2.1.5098.2643 . Cohen, M. L. (2007b). Explorations of inmate and volunteer choral experiences in a prison-based choir. Australian Journal of Music Education , 1, 61–72. Cohen, M. L. (2009). Choral singing and prison inmates: Influences of singing in a prison choir. Journal of Correctional Education , 60(1), 52–65. Cohen, M. L. (2010). Select musical programs and restorative practices in prisons across the US and the UK. Community Music Activity Commission of the International Society for Music Education Conference . 631 Bibliography Cohen, M. L. (2012). Harmony within the walls: Perceptions of worthiness and competence in a community prison choir. International Journal of Music Education , 30(1), 46–56. https://doi.org/10.1177/0255761411431394 Cohen, M. L. (2019). Choral Singing in Prisons: Evidence-Based Activities to Support Returning Citizens. The Prison Journal , 99(4_suppl), 106S-117S. https://doi.org/10.1177/0032885519861082 Cohen, M. L., & Duncan, S. P . (2015). Restorative and transformative justice and its relationship to music education within and beyond prison contexts. In C. Benedict, P . Schmidt, G. Spruce, & P . Woodford (Eds), Oxford Handbook of Social Justice in Music Education (pp. 554–566). Oxford University Press. Cohen, M. L., & Henley, J. (2018). Music-making behind bars: The many dimensions of community music in prisons. In B. Bartleet & L. Higgins (Eds), The Oxford Handbook of Community Music (pp. 153–171). Oxford University Press. Cohen, M. L., & Trachsel, M. (2010). Voice as intersection between music and language: The writing component of the Oakdale Prison Community Choir. International Society for Music Education Conference . Cohen, M. L., & Wilson, C. M. (2017). Inside the fences: Pedagogical practices and purposes of songwriting in an adult male U.S. state prison. International Journal of Music Education , 35(4), 541–553. https://doi. org/10.1177/0255761416689841 Cohen, S., & Ginsborg, J. (2021). The Experiences of Mid-career and Seasoned Orchestral Musicians in the UK During the First COVID-19 Lockdown. Frontiers in Psychology , 12. https://doi.org/10.3389/fpsyg.2021.645967 Cole, L. P ., Henechowicz, T. L., Kang, K., Pranjić, M., Richard, N. M., Tian, G. L. J., & Hurt-Thaut, C. (2021). Neurologic Music Therapy via Telehealth: A Survey of Clinician Experiences, Trends, and Recommendations During the COVID-19 Pandemic. Frontiers in Neuroscience , 15. https://doi.org/10.3389/ fnins.2021.648489 Cole, P . M., Martin, S. E., & Dennis, T. A. (2004). Emotion Regulation as a Scientific Construct: Methodological Challenges and Directions for Child Development Research. Child Development , 75(2), 317–333. https://doi. org/10.1111/j.1467-8624.2004.00673.x Colegrove, V. M., Havighurst, S. S., Kehoe, C. E., & Jacobsen, S. L. (2018). Pilot randomized controlled trial of Tuning Relationships with Music: Intervention for parents with a trauma history and their adolescent. Child Abuse & Neglect , 79, 259–268. https://doi.org/10.1016/j.chiabu.2018.02.017 Colorado. (2013). Boulder, Colorado . Conrad, C., Niess, H., Jauch, K.-W., Bruns, C. J., Hartl, W. H., & Welker, L. (2007). Overture for growth hormone: Requiem for interleukin-6?\textbackslashast. Critical Care Medicine , 35(12), 2709–2713. https://doi.org/10.1097/01. ccm.0000291648.99043.b9632 The Power of Music Conservatory Lab Charter School: A Public School for Learning Through Music . (2012). [Annual Report 2012.]. Cook, A., Ogden, J., & Winstone, N. (2018). The impact of a school-based musical contact intervention on prosocial attitudes, emotions and behaviours: A pilot trial with autistic and neurotypical children. Autism , 23(4), 933–942. https:// doi.org/10.1177/1362361318787793 Cook, N. (2013). Improving the therapeutic alliance with adolescents using music [PhD Thesis]. Pacific University[MP64. Cooke, M. L., Moyle, W., Shum, D. H. K., Harrison, S. D., & Murfield, J. E. (2010). A randomized controlled trial exploring the effect of music on agitated behaviours and anxiety in older people with dementia. Aging & Mental Health , 14(8), 905–916. https://doi.org/10.1080/13607861003713190 Cooper, A., M., C., & Goss, S. (2008). The effect of music on reading comprehension . Hanover College. Cooper, A., & Wang, Y. (2010). Can musical aptitude and experience predict success in non-native tone word learning? The Journal of the Acoustical Society of America , 128(4), 2478–2478. https://doi.org/10.1121/1.3508890 Cooper, P . K. (2019a). It’s all in your head: A meta-analysis on the effects of music training on cognitive measures in schoolchildren. International Journal of Music Education , 38(3), 321–336. https://doi.org/10.1177/0255761419881495 Cooper, P . K. (2019b). It’s all in your head: A meta-analysis on the effects of music training on cognitive measures in schoolchildren. International Journal of Music Education , 38(3), 321–336. https://doi.org/10.1177/0255761419881495 Cooper, R. P ., & Aslin, R. N. (1989). The language environment of the young infant: Implications for early perceptual development. Canadian Journal of Psychology/Revue Canadienne de Psychologie , 43(2), 247–265. https://doi. org/10.1037/h0084216 Cooper, T. L. (2001). Adults’ Perceptions of Piano Study: Achievements and Experiences. Journal of Research in Music Education , 49(2), 156–168. https:// doi.org/10.2307/3345867 Corrigall, K. A., & Schellenberg, E. G. (2013). Music: The language of emotion. In C. Mohiyeddini, M. Eysenck, & S. Bauer (Eds), Handbook of psychology of emotions: Recent theoretical perspectives and novel empirical findings (pp. 299–325). Nova. Corrigall, K. A., & Schellenberg, E. G. (2015). Predicting who takes music lessons: Parent and child characteristics. Frontiers in Psychology , 6. https:// doi.org/10.3389/fpsyg.2015.00282 Corrigall, K. A., Schellenberg, E. G., & Misura, N. M. (2013). Music Training, Cognition, and Personality. Frontiers in Psychology , 4. https://doi.org/10.3389/ fpsyg.2013.00222 633 Bibliography Corrigall, K. A., & Trainor, L. J. (2009). Effects of Musical Training on Key and Harmony Perception. Annals of the New York Academy of Sciences , 1169 (1), 164–168. https://doi.org/10.1111/j.1749-6632.2009.04769.x Corrigall, K. A., & Trainor, L. J. (2011). Associations Between Length of Music Training and Reading Skills in Children. Music Perception , 29(2), 147–155. https://doi.org/10.1525/mp.2011.29.2.147 Corriveau, K. H., & Goswami, U. (2009). Rhythmic motor entrainment in children with speech and language impairments: Tapping to the beat. Cortex , 45(1), 119–130. https://doi.org/10.1016/j.cortex.2007.09.008 Corriveau, K., Pasquini, E., & Goswami, U. (2007). Basic Auditory Processing Skills and Specific Language Impairment: A New Look at an Old Hypothesis. Journal of Speech, Language, and Hearing Research , 50(3), 647–666. https://doi. org/10.1044/1092-4388(2007/046 ) Corte, U., & Edwards, B. (2008). White Power music and the mobilization of racist social movements. Music and Arts in Action , 1(1), 4–20. Corvo, E., & Caro, W. D. (2020). COVID-19 and spontaneous singing to decrease loneliness, improve cohesion, and mental well-being: An Italian experience. Psychological Trauma: Theory, Research, Practice, and Policy , 12(S1), S247–S248. https://doi.org/10.1037/tra0000838 Costa, F., & Ockelford, A. (2018). Why Music? An Evaluation of a Music Programme for Older People in the Community. INTERNATIONAL JOURNAL OF MUSIC AND PERFORMING ARTS , 6(2). https://doi. org/10.15640/ijmpa.v6n2a4 Costa, F., Ockelford, A., & Hargreaves, D. J. (2017). The effect of regular listening to preferred music on pain, depression and anxiety in older care home residents. Psychology of Music , 46(2), 174–191. https://doi. org/10.1177/0305735617703811 Costa, F., Ockelford, A., & Hargreaves, D. J. (2018). Does regular listening to preferred music have a beneficial effect on symptoms of depression and anxiety amongst older people in residential care? The qualitative findings of a mixed methods study. Music and Medicine , 10(2), 54. https://doi. org/10.47513/mmd.v10i2.567 Costa-Giomi, E. (1999). The Effects of Three Years of Piano Instruction on Children’s Cognitive Development. Journal of Research in Music Education , 47(3), 198–212. https://doi.org/10.2307/3345779 Costa-Giomi, E. (2000). The relationship between absolute pitch and spatial abilities. In C. Woods, G. Luck, R. Brochard, F. Seddon, & J. A. Sloboda (Eds), Proceedings of the Sixth International Conference on Music Perception and Cognition (p. 67). Keele University, Department of Psychology. Costa-Giomi, E. (2004). Effects of Three Years of Piano Instruction on Children’s Academic Achievement, School Performance and Self-Esteem. Psychology of Music , 32(2), 139–152. https://doi.org/10.1177/0305735604041491634 The Power of Music Costa-Giomi, E. (2005a). Does Music Instruction Improve Fine Motor Abilities? Annals of the New York Academy of Sciences,[MP68 . Costa-Giomi, E. (2005b). I do not want to study piano! Early predictors of student dropout behavior. Bulletin of the Council for Research in Music Education , 161(162), 57–64. Costa-Giomi, E. (2006). The personality of children who study piano, drop out of piano lessons or never play a note: A longitudinal study. Meeting of the Texas Music Educators Association . Costa-Giomi, E. (2012). Music instruction and children’s intellectual development: The educational context of music participation. In R. MacDonald, G. Kreutz, & L. Mitchell (Eds), Music, health and well-being (pp. 337–355). Oxford University Press. Costa-Giomi, E. (2013). Music instruction and children’s intellectual development: The educational context of music participation. In R. A. R. MacDonald, G. Kreutz, & L. Mitchell (Eds), Music, Health, and Wellbeing (pp. 339–355 69). Oxford University Press. Costa-Giomi, E., & Ryan, C. (2007). The benefits of music instruction: What remains years later. Symposium for Research in Music Behaviour . Coulton, S., Clift, S., Skingley, A., & Rodriguez, J. (2015). Effectiveness and cost- effectiveness of community singing on mental health-related quality of life of older people: Randomised controlled trial. British Journal of Psychiatry , 207(3), 250–255. https://doi.org/10.1192/bjp.bp.113.129908 Council, L. L. S. (2003). Evaluation of European Social Fund Project, Engaging Disaffected Young People . Lancashire County Council. Courey, S. J., Balogh, E., Siker, J. R., & Paik, J. (2012). Academic music: Music instruction to engage third-grade students in learning basic fraction concepts. Educational Studies in Mathematics , 81(2), 251–278. https://doi.org/10.1007/ s10649-012-9395-9 Cowan, N. (2013). Working Memory Underpins Cognitive Development, Learning, and Education. Educational Psychology Review , 26(2), 197–223. https://doi.org/10.1007/s10648-013-9246-y Cox, A., & Gelsthorpe, L. (2008). Beats and Bars, Music in Prisons: An Evaluation . The Irene Taylor Trust. Cox, H. A., & Stephens, L. J. (2006). The effect of music participation on mathematical achievement and overall academic achievement of high school students. International Journal of Mathematical Education in Science and Technology , 37(7), 757–763. https://doi.org/10.1080/002077390500137811 Cozzolino, G. (2020). A Benevento una Tammurriata sui Balconi per Uscire Dall’isolamento . Napoli Fanpage. 635 Bibliography Cranmore, J., & Tunks, J. (2015). High School Students’ Perceptions of the Relationship between Music and Math. Mid-Western Educational Researcher , 27(1), 51–69. Crawford, R. (2017). Creating unity through celebrating diversity: A case study that explores the impact of music education on refugee background students. International Journal of Music Education , 35(3), 343–356, https://doi. org/10.1177/02557614 Crawford, R. (2019). Socially inclusive practices in the music classroom: The impact of music education used as a vehicle to engage refugee background students. Research Studies in Music Education , 42(2), 248–269. https://doi. org/10.1177/1321103x19843001 Crawford, R. (2020). Beyond the dots on the page: Harnessing transculturation and music education to address intercultural competence and social inclusion. International Journal of Music Education , 38(4), 537–562. https:// doi.org/10.1177/0255761420921585 Creath, K., & Schwartz, G. E. (2004). Measuring Effects of Music, Noise, and Healing Energy Using a Seed Germination Bioassay. The Journal of Alternative and Complementary Medicine , 10(1), 113–122. https://doi. org/10.1089/107555304322849039 Creech, A. (2019). Using Music Technology Creatively to Enrich Later-Life: A Literature Review. Frontiers in Psychology , 10. https://doi.org/10.3389/ fpsyg.2019.00117 Creech, A. G.-M., P ., L., L., W., G., S., E., & S, F. (2016). El Sistema and Sistema inspired programmes: A literature review of research, evaluation and critical debates (2nd ed.). Sistema Global. Creech, A., Gonzalez-Moreno, P ., Lorenzino, L., & Waitman, G. (2013). El Sistema and Sistema-Inspired Programmes: A literature review of research, evaluation and critical debates . Sistema Global. Creech, A., Hallam, S., McQueen, H., & Varvarigou, M. (2013). The power of music in the lives of older adults. Research Studies in Music Education , 35(1), 87–102. https://doi.org/10.1177/1321103x13478862 Creech, A., Hallam, S., Varvarigou, M., & McQueen, H. (2014). Active Ageing with Music: Supporting Wellbeing in the Third and Fourth Ages . Institute of Education Press. Creech, A., Larouche, K., Generale, M., & Fortier, D. (2020). Creativity, music, and quality of later life: A systematic review. Psychology of Music , 030573562094811. https://doi.org/10.1177/0305735620948114 Creighton, A. (2011). Mother-infant musical interaction and emotional communication: A literature review. Australian Journal of Music Therapy , 22, 37–56.636 The Power of Music Cribb, C., & Gregory, A. H. (1999). Stereotypes and Personalities of Musicians. The Journal of Psychology , 133(1), 104–114. https://doi. org/10.1080/00223989909599725 Cripe, F. F. (1986). Rock Music as Therapy for Children with Attention Deficit Disorder: An Exploratory Study. Journal of Music Therapy , 23(1), 30–37. https://doi.org/10.1093/jmt/23.1.30 Criscuolo, A. B., L., S., Kliuchko, T., M., & Brattico, E. (2019). On the Association Between Musical Training. Intelligence and Executive Functions in Adulthood, Frontiers in Psychology , 10, 1704, https://doi.org/10.3389/ fpsyg.2019.01704DOI Črnčec, A. W., S.J., & Prior, M. (2006). The Cognitive and Academic Benefits of Music to Children: Facts and fiction. Educational Psychology: An International Journal of Experimental Educational Psychology , 26(4), 579–594. Crone, D. M., Sumner, R. C., Baker, C. M., Loughren, E. A., Hughes, S., & James, D. V. B. (2018). `Artlift’ arts-on-referral intervention in UK primary care: Updated findings from an ongoing observational study. European Journal of Public Health , 28(3), 404–409. https://doi.org/10.1093/eurpub/cky021 Crookes, L. (2012). What are the key features of music therapy work with mainstream adolescents in mainstream secondary schools? Unpublished Master’s dissertation . Guildhall School of Music and Drama. Croom, A. M. (2014). Music practice and participation for psychological well- being: A review of how music influences positive emotion, engagement, relationships, meaning, and accomplishment. Musicae Scientiae , 19(1), 44–64. https://doi.org/10.1177/1029864914561709 Cross, I. (2001). Music, Cognition, Culture, and Evolution. Annals of the New York Academy of Sciences , 930(1), 28–42. https://doi.org/10.1111/j.1749-6632.2001. tb05723.x Cross, I. (2003). Music and Evolution: Consequences and Causes. Contemporary Music Review , 22(3), 79–89. https://doi.org/10.1080/0749446032000150906 Cross, I. (2009). The evolutionary nature of musical meaning. Musicae Scientiae , 13(2_suppl), 179–200. https://doi.org/10.1177/1029864909013002091 Cross, I. (2016). The nature of music and its evolution. In S. Hallam, I. Cross, & M. Thaut (Eds), The Oxford Handbook of Music Psychology (pp. 3–18). Oxford University Press. Cross, I. L., F., & Rabinowitch, T.-C. (2012). Empathetic creativity in music group practices. In G. McPherson & G. Welch (Eds), The Oxford Handbook of Music Education (pp. 337–353). Oxford University Press. Csíkszentmihályi, M. (1996). Creativity: Flow and the psychology of discovery and invention . Harper Collins. Cuadrado, F., Lopez-Cobo, I., Valverde, B., & Varona, D. (2017). Musicalizatech: A collaborative music production project for secondary and high-school 637 Bibliography students. Journal of Music, Technology and Education , 10(1), 93–116. https:// doi.org/10.1386/jmte.10.1.93_1 CUDDY, L. L. (2005). Musical Difficulties Are Rare: A Study of ‘Tone Deafness’ among University Students. Annals of the New York Academy of Sciences , 1060 (1), 311–324. https://doi.org/10.1196/annals.1360.026 Cuéllar, J. A. (2010). Fundación nacional Batuta: El impacto de la práctica musical educativa. EGOBRevista de Asuntos Públicos , 6, 61–64. Cuesta, J. (2011). Music to my ears: The (many) socioeconomic benefits of music training programmes. Applied Economics Letters , 18(10), 915–918. https://doi. org/10.1080/13504851.2010.517187 Cumming, R., Wilson, A., & Goswami, U. (2015). Basic auditory processing and sensitivity to prosodic structure in children with specific language impairments: A new look at a perceptual hypothesis. Frontiers in Psychology , 6. https://doi.org/10.3389/fpsyg.2015.00972 Currie, J., Ramsden, B., McArthur, C., & Maruff, P . (1991). Validation of a Clinical Antisaccadic Eye Movement Test in the Assessment of Dementia. Archives of Neurology , 48(6), 644–648. https://doi.org/10.1001/ archneur.1991.00530180102024 Cusick, S. G. (2006). Music as Torture. Music as Weapon. Transcultural Music Review , 10([MP80). Cuypers, K., Krokstad, S., Holmen, T. L., Knudtsen, M. S., Bygren, L. O., & Holmen, J. (2011). Patterns of receptive and creative cultural activities and their association with perceived health, anxiety, depression and satisfaction with life among adults: The HUNT study, Norway. Journal of Epidemiology and Community Health , 66(8), 698–703. https://doi.org/10.1136/jech.2010.113571 d’ Ardenne, P ., & Kiyendeye, M. (2014). An initial exploration of the therapeutic impact of music on genocide orphans in Rwanda. British Journal of Guidance & Counselling , 43(5), 559–569. https://doi.org/10.1080/03069885.2014.9542 37 Dabback, W. M., & Smith, D. S. (2012). Elders and music: Empowering, learning, valuing life experience and considering the needs of aging adult learners. In G. E. McPherson & G. F. Welch (Eds), The Oxford Handbook of Music Education (pp. 229–242). Oxford University Press. Daffern, H., Balmer, K., & Brereton, J. (2021). Singing Together, Yet Apart: The Experience of UK Choir Members and Facilitators During the Covid-19 Pandemic. Frontiers in Psychology , 12. https://doi.org/10.3389/ fpsyg.2021.624474 Daikoku, T. (2018). Neurophysiological Markers of Statistical Learning in Music and Language: Hierarchy, Entropy, and Uncertainty. Brain Sciences , 8(6), 114. https://doi.org/10.3390/brainsci8060114638 The Power of Music Dalla Bella, S. (2016). Music and Brain Plasticity. In S. Hallam, I. Cross, & M. Thaut (Eds), The Oxford Handbook of Music Psychology (pp. 325–342). Oxford University Press. Daneman, M., & Carpenter, P . A. (1980). Individual differences in working memory and reading. Journal of Verbal Learning and Verbal Behavior , 19(4), 450–466. https://doi.org/10.1016/s0022-5371(80)90312-6 Darnley-Smith, R., & Patey, H. (2003). Music Therapy . SAGE Publications Ltd. https://doi.org/10.4135/9781446218006 Darowski, E. S., Helder, E., Zacks, R. T., Hasher, L., & Hambrick, D. Z. (2008). Age-related differences in cognition: The role of distraction control. Neuropsychology , 22(5), 638–644. https://doi.org/10.1037/0894-4105.22.5.638 Darrow, A.-A., Johnson, C., Agnew, S., Fuller, E. R., & Uchisaka, M. (2006). Effect of preferred music as a distraction on music majors’ and nonmusic majors’ selective attention. Bull. Counc. Res. Music. Educ , MP83]170 , 21–31. Dassa, A. (2018). Musical Auto-Biography Interview (MABI) as promoting self-identity and well-being in the elderly through music and reminiscence. Nordic Journal of Music Therapy , 27(5), 419–430. https://doi.org/10.1080/080 98131.2018.1490921 Davalos, D. B., Chavez, E. L., & Guardiola, R. J. (1999). The Effects of Extracurricular Activity, Ethnic Identification, and Perception of School on Student Dropout Rates. Hispanic Journal of Behavioral Sciences , 21(1), 61–77. https://doi.org/10.1177/0739986399211005 Daveson, B. A. (2001). Music Therapy and Childhood Cancer: Goals, Methods, Patient Choice and Control During Diagnosis, Intensive Treatment, Transplant and Palliative Care. Music Therapy Perspectives , 19(2), 114–120. https://doi.org/10.1093/mtp/19.2.114 Davidson, C. W., & Powell, L. A. (1986). The Effects of Easy-Listening Background Music on the On-Task-Performance of Fifth-Grade Children. The Journal of Educational Research , 80(1), 29–33. https://doi.org/10.1080/002 20671.1986.10885717 Davidson, J. R. T., Weisler, R. H., Butterfield, M. I., Casat, C. D., Connor, K. M., Barnett, S., & Meter, S. van. (2003). Mirtazapine vs. Placebo in posttraumatic stress disorder: A pilot trial. Biological Psychiatry , 53(2), 188–191. https://doi. org/10.1016/s0006-3223(02)01411-7 Davidson, J. W., & Good, J. M. M. (2002). Social and Musical Co-Ordination between Members of a String Quartet: An Exploratory Study. Psychology of Music , 30(2), 186–201. https://doi.org/10.1177/0305735602302005 Davidson, J. W., & King, E. C. (2004). Strategies for ensemble practice. In A. Williamon (Ed.), Musical Excellence (pp. 105–122). Oxford University Press. Davidson, J. W., McNamara, B., Rosenwax, L., Lange, A., Jenkins, S., & Lewin, G. (2013). Evaluating the potential of group singing to enhance the well-being 639 Bibliography of older people. Australasian Journal on Ageing , 33(2), 99–104. https://doi. org/10.1111/j.1741-6612.2012.00645.x Davis, M. H., & Kraus, L. A. (1989). Social Contact, Loneliness, and Mass Media Use: A Test of Two Hypotheses1. Journal of Applied Social Psychology , 19(13), 1100–1124. https://doi.org/10.1111/j.1559-1816.1989.tb01242.x Dawson, A., Bowes, A., Kelly, F., Velzke, K., & Ward, R. (2015). Evidence of what works to support and sustain care at home for people with dementia: A literature review with a systematic approach. BMC Geriatrics , 15(1). https:// doi.org/10.1186/s12877-015-0053-9 Day, T., Baker, F., & Darlington, Y. (2009). Experiences of song writing in a group programme for mothers who had experienced childhood abuse. Nordic Journal of Music Therapy , 18(2), 133–149. https://doi.org/10.1080/08098130903062405 Daykin, N., Mansfield, L., Meads, C., Julier, G., Tomlinson, A., Payne, A., Duffy, L. G., Lane, J., D’Innocenzo, G., Burnett, A., Kay, T., Dolan, P ., Testoni, S., & Victor, C. (2017). What works for wellbeing? A systematic review of wellbeing outcomes for music and singing in adults. Perspectives in Public Health , 138(1), 39–46. https://doi.org/10.1177/1757913917740391 Daykin, N., McClean, S., & Bunt, L. (2007). Creativity, identity and healing: Participants’ accounts of music therapy in cancer care. Health: An Interdisciplinary Journal for the Social Study of Health, Illness and Medicine , 11(3), 349–370. https://doi.org/10.1177/1363459307077548 Daykin, N., Moriarty, Y., Viggiani, N., & Pilkington, P . (2011). Evidence review: Music making with young offenders and young people at risk of offending . University of West of England/Youth Music. Daykin, N., Parry, B., Ball, K., Walters, D., Henry, A., Platten, B., & Hayden, R. (2017). The role of participatory music making in supporting people with dementia in hospital environments. Dementia , 17(6), 686–701. https://doi. org/10.1177/1471301217739722 Daykin, N., Viggiani, N. de, Pilkington, P ., & Moriarty, Y. (2012). Music making for health, well-being and behaviour change in youth justice settings: A systematic review. Health Promotion International , 28(2), 197–210. https://doi. org/10.1093/heapro/das005 Deane, K., Hunter, R., & Mullen, P . (2011). Move On Up—An evaluation of Youth Music Mentors . Youth Music. Deaville, J., Tan, S.-L., & Rodman, R. (Eds). (2021). The Oxford Handbook of Music and Advertising . Oxford University Press. https://doi.org/10.1093/ oxfordhb/9780190691240.001.0001 DeCasper, A. J., & Fifer, W. P . (1980). Of Human Bonding: Newborns Prefer Their Mothers’ Voices. Science , 208(4448), 1174–1176. https://doi.org/10.1126/ science.7375928640 The Power of Music DeCasper, A. J., & Sigafoos, A. D. (1983). The intrauterine heartbeat: A potent reinforcer for newborns. Infant Behavior and Development , 6(1), 19–25. https:// doi.org/10.1016/s0163-6383(83)80004-6 DeCasper, A. J., & Spence, M. J. (1986). Prenatal maternal speech influences newborns’ perception of speech sounds. Infant Behavior and Development , 9(2), 133–150. https://doi.org/10.1016/0163-6383(86)90025-1 Dedman, T. (2011). Agency in UK hip-hop and grime youth subcultures – peripherals and purists. Journal of Youth Studies , 14(5), 507–522. https://doi. org/10.1080/13676261.2010.549820 Deere, K. B. (2010). The Impact of Music Education on Academic Achievement in Reading and Math [PhD Thesis]. Union University. Degé, F., & Kerkovius, K. (2018). The effects of drumming on working memory in older adults. Annals of the New York Academy of Sciences , 1423 (1), 242–250. https://doi.org/10.1111/nyas.13685 Degé, F., Kubicek, C., & Schwarzer, G. (2011). Music Lessons and Intelligence: A Relation Mediated by Executive Functions. Music Perception , 29(2), 195–201. https://doi.org/10.1525/mp.2011.29.2.195 Degé, F., & Schwarzer, G. (2011). The Effect of a Music Program on Phonological Awareness in Preschoolers. Frontiers in Psychology , 2. https://doi.org/10.3389/ fpsyg.2011.00124 Degé, F., & Schwarzer, G. (2017a). The influence of an extended music curriculum at school on academic self-concept in 9- to 11-year-old children. Musicae Scientiae , 22(3), 305–321. https://doi.org/10.1177/1029864916688508 Degé, F., & Schwarzer, G. (2017b). Music lessons and verbal memory in 10- to 12-year-old children: Investigating articulatory rehearsal as mechanism underlying this association. Psychomusicology: Music, Mind, and Brain , 27(4), 256–266. https://doi.org/10.1037/pmu0000201 Degé, F., Wehrum, S., Stark, R., & Schwarzer, G. (2011). The influence of two years of school music training in secondary school on visual and auditory memory. European Journal of Developmental Psychology , 8(5), 608–623. https:// doi.org/10.1080/17405629.2011.590668 Degé, F., Wehrum, S., Stark, R., & Schwarzer, G. (2014). Music lessons and academic self-concept in 12- to 14-year-old children. Musicae Scientiae , 18(2), 203–215. https://doi.org/10.1177/1029864914523283 Deguchi, C., Boureux, M., Sarlo, M., Besson, M., Grassi, M., Schön, D., & Colombo, L. (2012). Sentence pitch change detection in the native and unfamiliar language in musicians and nonmusicians. Behavioral, Electrophysiological and Psychoacoustic Study. Brain Research , 1455 , 75–89. Delgado, M. (2018). Music, song, dance, and theatre: Broadway meets social justice youth community practice . Oxford University Press. 641 Bibliography Deli, E., Bakle, I., & Zachopoulou, E. (2006). Implementing intervention movement programs for kindergarten children. Journal of Early Childhood Research , 4(1), 5–18. https://doi.org/10.1177/1476718x06059785 Delogu, F., Lampis, G., & Belardinelli, M. O. (2010). From melody to lexical tone: Musical ability enhances specific aspects of foreign language perception. European Journal of Cognitive Psychology , 22(1), 46–61. https:// doi.org/10.1080/09541440802708136 DeMers, A. S. (1996). The Effect of Background Music on Reading Comprehension Test Scores [PhD Thesis]. https://digitalcommons.brockport.edu/ ehd_theses/111 . Demorest, S. M., & Morrison, S. J. (2000). Does Music Make You Smarter? Music Educators Journal , 87(2), 33–58. https://doi.org/10.2307/3399646 DeNora, T. (2000). Music in Everyday Life . Cambridge University Press. https:// doi.org/10.1017/cbo9780511489433 DeNora, T. (2001). Aesthetic agency and musical practice: New directions in the sociology of music and emotion. In P . N. Juslin & J. A. Sloboda (Eds), Music and Emotion: Theory and Research (pp. 161–180). Oxford University Press. DeNora, T. (2016). Music Asylums: Wellbeing Through Music in Everyday Life . Routledge. https://doi.org/10.4324/9781315596730 DeNora, T. (2017). Music-ecology and everyday action: Creating, changing and contesting identities. In R. A. R. MacDonald, D. J. Hargreaves, & D. E. Miell (Eds), Handbook of musical identities (pp. 46–62). Oxford University Press. DeNora, T., & Ansdell, G. (2014). What can’t music do? Psychology of Well-Being , 4(1). https://doi.org/10.1186/s13612-014-0023-6 Derri, V., Tsapakidou, A., Zachopoulou, E., & Kioumourtzoglou, E. (2001). Effect of a Music and Movement Programme on Development of Locomotor Skills by Children 4 to 6 Years of Age. European Journal of Physical Education , 6(1), 16–25. https://doi.org/10.1080/1740898010060103 Derrington, P . (2004). Music therapy on the time-table. Working with students in mainstream secondary schools. In Paper given at the 6th European Music Therapy Congress . Derrington, P . (2005). Teenagers and songwriting: Supporting students in a mainstream secondary school (F. Baker & T. Wigram, Eds.). Jessica Kingsley. Derrington, P . (2006). Music therapy in a mainstream secondary school: A study of its role. Unpublished Master’s dissertation . Anglia Ruskin University. Derrington, P . (2010). Yeah I’ll do music! Looking at ways to engage with teenage hoodies and X-factor hopefuls. Paper given at the 8th European Conference . Derrington, P . (2011). Improvisation—Exploring the art and science of clinical practice .642 The Power of Music Derrington, P . (2012a). Music Therapy for youth at risk: An exploration of clinical practice through research. Unpublished doctoral dissertation . Anglia Ruskin University. Derrington, P . (2012b). Yeah I’ll do music! Working with secondary-aged students who have complex emotional and behavioural difficulties. In J. Tomlinson, P . Derrington, & A. Oldfield (Eds), Music Therapy in Schools. Working with children of all ages in mainstream and special education (p. 91). Jessica Kingsley. Derrington, P ., & Neale, L. (2012). Music therapy for youth at risk. Key Changes Annual Conference: Music Therapy - Proving the Case . Deshmukh, A. D., Sarvaiya, A. A., Seethalakshmi, R., & Nayak, A. S. (2009). Effect of Indian classical music on quality of sleep in depressed patients: A randomized controlled trial. Nordic Journal of Music Therapy , 18(1), 70–78. https://doi.org/10.1080/08098130802697269 Devroop, K. (2009). The effect of instrumental music instruction on disadvantaged South African student’s career plans. Musicus , 37(2), 7–12. Devroop, K. (2012). The social-emotional impact of instrumental music performance on economically disadvantaged South African students. Music Education Research , 14(4), 407–416. https://doi.org/10.1080/14613808.2012.6 85456 Dezfoolian, L., Zarei, M., Ashayeri, H., & Looyeh, M. Y. (2013). A Pilot Study on the Effects of Orff-Based Therapeutic Music in Children With Autism Spectrum Disorder. Music and Medicine , 5(3), 162–168. https://doi. org/10.1177/1943862113491502 Diamond, A. (1990). The development and neural bases of higher cognitive functions. Introduction. Annals of the New York Academy of Sciences , 608, https://doi.org/10.1111/j.1749-6632.1990.tb48888 . Diamond, A. (2002). Normal Development of Prefrontal Cortex from Birth to Young Adulthood: Cognitive Functions, Anatomy, and Biochemistry. In Principles of Frontal Lobe Function (pp. 466–503). Oxford University Press. https://doi.org/10.1093/acprof :oso/9780195134971.003.0029 Diamond, A. (2013). Executive Functions. Annual Review of Psychology , 64(1), 135–168. https://doi.org/10.1146/annurev-psych-113011-143750 Diamond, A., Barnett, W. S., Thomas, J., & Munro, S. (2007). Preschool Program Improves Cognitive Control. Science , 318(5855), 1387–1388. https://doi. org/10.1126/science.1151148 Diaz, A. V., Shifres, F., & Justel, N. (2020). Impact of music-based intervention on verbal memory: An experimental behavioral study with older adults . Diaz, F. M. (2010). Intrinsic and extrinsic motivation among collegiate instrumentalists. Contributions to Music Education , 37, 23–35. 643 Bibliography Dibben, N., & Williamson, V. J. (2007). An exploratory survey of in-vehicle music listening. Psychology of Music , 35(4), 571–589. https://doi. org/10.1177/0305735607079725 Diefenbach, M. A., Miller, S. M., Porter, M., Peters, E., Stefanek, M., & Leventhal, H. (2008). Emotions and health behaviour: A self-regulation perspective. In M. Lewis, J. M. Haviland-Jones, & L. F. Barrett (Eds), The Handbook of Emotions (pp. 645–660). Guilford Press. Diener, E., Suh, E. M., Lucas, R. E., & Smith, H. L. (1999). Subjective well-being: Three decades of progress. Psychological Bulletin , 125(2), 276–302. https:// doi.org/10.1037/0033-2909.125.2.276 Diener, E., Wirtz, D., Tov, W., Kim-Prieto, C., Choi, D., Oishi, S., & Biswas-Diener, R. (2009). New Well-being Measures: Short Scales to Assess Flourishing and Positive and Negative Feelings. Social Indicators Research , 97(2), 143–156. https://doi.org/10.1007/s11205-009-9493-y Dieringer, S. T., & Porretta, D. L. (2013). Using music to decrease off-task behaviors in young children with Autism Spectrum Disorders. Palaestra , 27(1), 7–9. Digard, L., Sponeck, A. G., & Liebling, A. G. (2007). All together now: The therapeutic potential of a prison-based music programme. Prison Service Journal , 170, 3–14. Dillon, L. (2010). Looked after children and music making: An evidence review . Youth Music. Ding, Y., Gray, K., Forrence, A., Wang, X., & Huang, J. (2018). A behavioral study on tonal working memory in musicians and non-musicians. PLOS ONE , 13(8), e0201765. https://doi.org/10.1371/journal.pone.0201765 Dingle, G. A., Brander, C., Ballantyne, J., & Baker, F. A. (2012). `To be heard’: The social and mental health benefits of choir singing for disadvantaged adults. Psychology of Music , 41(4), 405–421. https://doi. org/10.1177/0305735611430081 Diržytė, A. e, & Perminas, A. (2021). Self-reported health-related experiences, psychological capital, and psychological wellbeing in Lithuanian adults sample. Health Psychology Open , 8(1), 205510292199616. https://doi. org/10.1177/2055102921996164 Dissanayake, E. (1988). What is art for? University of Washington Press. Dissanayake, E. (2004). Motherese is but one part of a ritualized, multimodal, temporally organized, affiliative interaction. Behavioral and Brain Sciences , 27(4), 512–513. https://doi.org/10.1017/s0140525x0432011x Dittinger, E., Barbaroux, M., D’Imperio, M., Jäncke, L., Elmer, S., & Besson, M. (2016). Professional Music Training and Novel Word Learning: From Faster Semantic Encoding to Longer-lasting Word Representations. Journal 644 The Power of Music of Cognitive Neuroscience , 28(10), 1584–1602. https://doi.org/10.1162/ jocn_a_00997 Dobbs, S., Furnham, A., & McClelland, A. (2011). The effect of background music and noise on the cognitive test performance of introverts and extraverts. Applied Cognitive Psychology , 25(2), 307–313. https://doi.org/10.1002/ acp.1692 Dobson, M., & Sloboda, J. (2014). Staying Behind: Explorations in Post- performance Musician–Audience Dialogue. In K. Burland & S. Pitts (Eds), Coughing and clapping: Investigating audience experience (p. 95). Routledge. Doelling, K. B., & Poeppel, D. (2015). Cortical entrainment to music and its modulation by expertise. Proceedings of the National Academy of Sciences , 112(45). https://doi.org/10.1073/pnas.1508431112 Dolegui, A. S. (2013). The impact of listening to music on cognitive performance. Inquiries Journal , 5(1), 1 1 97. Dollinger, S. J., Urban, K. K., & James, T. A. (2004). Creativity and Openness: Further Validation of Two Creative Product Measures. Creativity Research Journal , 16(1), 35–47. https://doi.org/10.1207/s15326934crj1601_4 Donlan, D. (1976). The Effect of Four Types of Music on Spontaneous Writings of High School Students. Research in the Teaching of English , 10(2), 116–126. Douglas, S., & Willatts, P . (1994). The relationship between musical ability and literacy skills. Journal of Research in Reading , 17(2), 99–107. https://doi. org/10.1111/j.1467-9817.1994.tb00057.x Dowlen, R., Keady, J., Milligan, C., Swarbrick, C., Ponsillo, N., Geddes, L., & Riley, B. (2017). The personal benefits of musicking for people living with dementia: A thematic synthesis of the qualitative literature. Arts & Health , 1–16. https://doi.org/10.1080/17533015.2017.1370718 Dowling, W. J., & Harwood, D. (1986). Music Cognition . Academic Press. Dowson, B., Atkinson, R., Barnes, J., Barone, C., Cutts, N., Donnebaum, E., Hsu, M. H., Coco, I. L., John, G., Meadows, G., O’Neill, A., Noble, D., Norman, G., Pfende, F., Quinn, P ., Warren, A., Watkins, C., & Schneider, J. (2021). Digital Approaches to Music-Making for People With Dementia in Response to the COVID-19 Pandemic: Current Practice and Recommendations. Frontiers in Psychology , 12. https://doi.org/10.3389/fpsyg.2021.625258 Doyle, M., & Furnham, A. (2012). The distracting effects of music on the cognitive test performance of creative and non-creative individuals. Thinking Skills and Creativity , 7(1), 1–7. https://doi.org/10.1016/j.tsc.2011.09.002 Drake, C., & Palmer, C. (2000). Skill acquisition in music performance: Relations between planning and temporal control. Cognition , 74(1), 1–32. https://doi. org/10.1016/s0010-0277(99)00061-x Drake, M. (2003). Drum therapy: Excerpt from the book The Shamanic Drum . http:// 645 Bibliography Draper, G., & Dingle, G. A. (2021). “It’s Not the Same”: A Comparison of the Psychological Needs Satisfied by Musical Group Activities in Face to Face and Virtual Modes. Frontiers in Psychology , 12. https://doi.org/10.3389/ fpsyg.2021.646292 Drayna, D., Manichaikul, A., Lange, M. de, Snieder, H., & Spector, T. (2001). Genetic Correlates of Musical Pitch Recognition in Humans. Science , 291(5510), 1969–1972. https://doi.org/10.1126/science.291.5510.1969 Drew, T. W., McCollough, A. W., & Vogel, E. K. (2006). Event-Related Potential Measures of Visual Working Memory. Clinical EEG and Neuroscience , 37(4), 286–291. https://doi.org/10.1177/155005940603700405 Drowns, M. R. (2002). The effect of classical background music on fourth-grade silent reading comprehension [PhD Thesis]. Truman State University. Drummond, J. (2012). An international perspective on music education for adults. In G. E. McPherson & G. F. Welch (Eds), Oxford Handbook of Music Education (pp. 303–315). Oxford University Press. D’Souza, A. A., Moradzadeh, L., & Wiseheart, M. (2018). Musical training, bilingualism, and executive function: Working memory and inhibitory control. Cognitive Research: Principles and Implications , 3(1). https://doi. org/10.1186/s41235-018-0095-6 Duffett, M. (2013). Understanding Fandom: An Introduction to the Study of Media Fan Culture . Bloomsbury. D’Ulisse, M., Ferrara, C., Walter, D., & Valentina, M. V. (2001). Music therapy and integration: Application within schools. In 5th European Music Therapy Congress . Dunphy, K., Baker, F. A., Dumaresq, E., Carroll-Haskins, K., Eickholt, J., Ercole, M., Kaimal, G., Meyer, K., Sajnani, N., Shamir, O. Y., & Wosch, T. (2019). Creative Arts Interventions to Address Depression in Older Adults: A Systematic Review of Outcomes, Processes, and Mechanisms. Frontiers in Psychology , 9. https://doi.org/10.3389/fpsyg.2018.02655 Dvir, T., Lotan, N., Viderman, R., & Elefant, C. (2020). The body communicates: Movement synchrony during music therapy with children diagnosed with ASD. The Arts in Psychotherapy , 69, 101658. https://doi.org/10.1016/j. aip.2020.101658 Eccles, J. S., & Wigfield, A. (2002). Motivational Beliefs, Values, and Goals. Annual Review of Psychology , 53(1), 109–132. https://doi.org/10.1146/ annurev.psych.53.100901.135153 Eccles, R., Linde, J. van der, Roux, M. le, Holloway, J., MacCutcheon, D., Ljung, R., & Swanepoel, D. W. (2020). Effect of music instruction on phonological awareness and early literacy skills of five- to seven-year-old children. Early Child Development and Care , 191(12), 1896–1910. https://doi.org/10.1080/03 004430.2020.1803852646 The Power of Music Eck, M. van, Berkhof, H., Nicolson, N., & Sulon, J. (1996). The Effects of Perceived Stress, Traits, Mood States, and Stressful Daily Events on Salivary Cortisol. Psychosomatic Medicine , 58(5), 447–458. https://doi. org/10.1097/00006842-199609000-00007 Edwards, B. M., Smart, E., King, G., Curran, C. J., & Kingsnorth, S. (2018). Performance and visual arts-based programs for children with disabilities: A scoping review focusing on psychosocial outcomes. Disability and Rehabilitation , 42(4), 574–585. https://doi.org/10.1080/09638288.2018.15037 34 Edwards, J. (2005). War and Music . A World Forum for Music Therapy.[MP105. Eerola, P .-S., & Eerola, T. (2013). Extended music education enhances the quality of school life. Music Education Research , 16(1), 88–104. https://doi.org/10.10 80/14613808.2013.829428 Eid, M. M., Abdelbasset, W. K., Abdelaty, F. M., & Ali, Z. A. (2021). Effect of physical therapy rehabilitation program combined with music on children with lower limb burns: A twelve-week randomized controlled study. Burns , 47(5), 1146–1152. https://doi.org/10.1016/j.burns.2020.11.006 Eidson, C. E. (1989). The Effect of Behavioral Music Therapy on the Generalization of Interpersonal Skills From Sessions to the Classroom by Emotionally Handicapped Middle School Students. Journal of Music Therapy , 26(4), 206–221. https://doi.org/10.1093/jmt/26.4.206 Einarsen, H. P . (1998). Møtet Som Ikke Tok Sted. Unpublished doctoral dissertation . University of Oslo. Einarsen, H. P . (2002). Musikkens roller ikulturmøtet. Nord Nytt , 83, 17–34. Eisenberg, N., Champion, C., & Ma, Y. (2004). Emotion-Related Regulation: An Emerging Construct. Merrill-Palmer Quarterly , 50(3), 236–259. https://doi. org/10.1353/mpq.2004.0016 Eisenberg, N., & Spinrad, T. L. (2004). Emotion-Related Regulation: Sharpening the Definition. Child Development , 75(2), 334–339. https://doi. org/10.1111/j.1467-8624.2004.00674.x Elbert, T., Pantev, C., Wienbruch, C., Rockstroh, B., & Taub, E. (1995). Increased Cortical Representation of the Fingers of the Left Hand in String Players. Science , 270(5234), 305–307. https://doi.org/10.1126/science.270.5234.305 Elligan, D. (2000). Rap therapy: A culturally sensitive approach to psychotherapy with young african american men. Journal of African American Men , 5(3), 27–36. https://doi.org/10.1007/s12111-000-1002-y Elligan, D. (2004). Rap Therapy: A Practical Guide to Communicating with Youth and Young Adults through Rap Music . Kensington Publishing. Elliot, S., & Mikulas, C. (2014). A Study of the Effectiveness of Music Technology Integration on the Development of Language and Literacy Skills. In M. 647 Bibliography Searson & M. Ochoa (Eds), Proceedings of Society for Information Technology & Teacher Education International Conference 2014 (pp. 1883–1890). AACE. Elliot, T. G. (1981). A study of the psychology of a non-verbal methodology in the teaching of instrumental music as observed in a program for adult offenders. Doctoral Dissertation. [MP107]Dissertation Abstracts International , 42(06), 2352. Elliott, M., & Gardner, P . (2016). The role of music in the lives of older adults with dementia ageing in place: A scoping review. Dementia , 17(2), 199–213. https://doi.org/10.1177/1471301216639424 Ellis, R. J., Bruijn, B., Norton, A. C., Winner, E., & Schlaug, G. (2013). Training- mediated leftward asymmetries during music processing: A cross-sectional and longitudinal fMRI analysis. NeuroImage , 75, 97–107. https://doi. org/10.1016/j.neuroimage.2013.02.045 Ellis, R. J., Norton, A. C., Overy, K., Winner, E., Alsop, D. C., & Schlaug, G. (2012). Differentiating maturational and training influences on fMRI activation during music processing. NeuroImage , 60(3), 1902–1912. https:// doi.org/10.1016/j.neuroimage.2012.01.138 Elmer, S., Dittinger, E., & Besson, M. (2019). One Step Beyond: Musical Expertise and Word Learning. In S. Frühholz & P . Belin (Eds), The Oxford Handbook of Voice Perception (pp. 209–234). Oxford University Press. Elmer, S., Klein, C., Kühnis, J., Liem, F., Meyer, M., & Jäncke, L. (2014). Music and Language Expertise Influence the Categorization of Speech and Musical Sounds: Behavioral and Electrophysiological Measurements. Journal of Cognitive Neuroscience , 26(10), 2356–2369. https://doi.org/10.1162/ jocn_a_00632 Elmer, S., Meyer, M., & Jancke, L. (2011). Neurofunctional and Behavioral Correlates of Phonetic and Temporal Categorization in Musically Trained and Untrained Subjects. Cerebral Cortex , 22(3), 650–658. https://doi. org/10.1093/cercor/bhr142 Elpus, K. (2013). Is It the Music or Is It Selection Bias? A Nationwide Analysis of Music and Non-Music Students’ SAT Scores. Journal of Research in Music Education , 61(2), 175–194. https://doi.org/10.1177/0022429413485601 Elpus, K., & Abril, C. R. (2011). High School Music Ensemble Students in the United States. Journal of Research in Music Education , 59(2), 128–145. https:// doi.org/10.1177/0022429411405207 Elvers, P . (2016). Songs for the Ego: Theorizing Musical Self-Enhancement. Frontiers in Psychology , 7. https://doi.org/10.3389/fpsyg.2016.00002 Elvers, P ., Fischinger, T., & Steffens, J. (2017). Music listening as self- enhancement: Effects of empowering music on momentary explicit and implicit self-esteem. Psychology of Music , 46(3), 307–325. https://doi. org/10.1177/0305735617707354648 The Power of Music Elzen, N. van den, Daman, V., Duijkers, M., Otte, K., Wijnhoven, E., Timmerman, H., & Rikkert, M. O. (2019). The Power of Music: Enhancing Muscle Strength in Older People. Healthcare , 7(3), 82. https://doi.org/10.3390/ healthcare7030082 Enge, K. E. A., & Stige, B. (2021a). Musical pathways to the peer community: A collective case study of refugee children’s use of music therapy. Nordic Journal of Music Therapy , 31(1), 7–24. https://doi.org/10.1080/08098131.202 1.1891130 Enge, K. E. A., & Stige, B. (2021b). Musical pathways to the peer community: A collective case study of refugee children’s use of music therapy. Nordic Journal of Music Therapy , 31(1), 7–24. https://doi.org/10.1080/08098131.202 1.1891130 Engel, C., Bueno, C. D., & Sleifer, P . (2019). Music training and auditory processing skills in children: A systematic review. Audiology Communication Research , 24. Engelbrecht, R., & Shoemark, H. (2015). The acceptability and efficacy of using iPads in music therapy to support wellbeing with older adults: A pilot study. Australian Journal of Music Therapy , 26, 52–73. English, H. J., Lumb, M., & Davidson, J. W. (2021). What are the affordances of the digital music space in alternative education? A reflection on an exploratory music outreach project in rural Australia. International Journal of Music Education , 39(3), 275–288. https://doi.org/10.1177/0255761421999731 Epskamp, K. (1999). Introduction—Healing Divided Societies. In European Centre for Conflict Prevention (ed.), People building peace: 35 inspiring stories from around the world, Utrecht: European Centre for Conflict Prevention (p. 112). Epstein, J. S., Pratto, D. J., & Skipper, J. K. (1990). Teenagers, behavioral problems, and preferences for heavy metal and rap music: A case study of a southern middle school. Deviant Behavior , 11(4), 381–394. https://doi.org/10.1080/01 639625.1990.9967860 Erickson, L. C., & Thiessen, E. D. (2015). Statistical learning of language: Theory, validity, and predictions of a statistical learning account of language acquisition. Developmental Review , 37, 66–108. https://doi.org/10.1016/j. dr.2015.05.002 Erikson, E. (1982). The Life Cycle Completed . Norton. Escobar, J., Mussoi, B. S., & Silberer, A. B. (2019). The Effect of Musical Training and Working Memory in Adverse Listening Situations. Ear & Hearing , 41(2), 278–288. https://doi.org/10.1097/aud.0000000000000754 Esqueda Torres, L. (2001). Execution of phase 1 of the monitoring and evaluation plan of the impact of the orchestras national system: Final report . Los Andes University, Médicine Faculty, Centre of Psychological Research. 649 Bibliography Esqueda Torres, L. (2004). Ejecución de la Fase 3 del Plan de Seguimiento y Evaluación de Impacto del Sistema Nacional de Orquestas de Venezuela: Informe final . Centro de Investigaciones Psicológicas, Universidad de Los Andes. Etaugh, C., & Michals, D. (1975). Effects on Reading Comprehension of Preferred Music and Frequency of Studying to Music. Perceptual and Motor Skills , 41(2), 553–554. https://doi.org/10.2466/pms.1975.41.2.553 Europe, S. (2019). Sistema Europe. https://www.sistemaeurope . Evaluación de impacto Programa Orquestas Juveniles e Infantiles: Informe de Resultados . (2010). Observatorio Social, Universidad Alberto Hurtado. Evans, P ., & Liu, M. Y. (2018). Psychological Needs and Motivational Outcomes in a High School Orchestra Program. Journal of Research in Music Education , 67(1), 83–105. https://doi.org/10.1177/0022429418812769 Evans, P ., McPherson, G. E., & Davidson, J. W. (2012). The role of psychological needs in ceasing music and music learning activities. Psychology of Music , 41(5), 600–619. https://doi.org/10.1177/0305735612441736 Evans, S. E., Beauchamp, G., & John, V. (2014). Learners’ experience and perceptions of informal learning in Key Stage 3 music: A collective case study, exploring the implementation of$\textbackslashless$i$\textbackslashgreater$Musical Futures$\textbackslashless$/i$\textbackslashgreater$in three secondary schools in Wales. Music Education Research , 17(1), 1–16. https://doi.org/10.1 080/14613808.2014.950212 Evers, S., & Suhr, B. (2000). Changes of the neurotransmitter serotonin but not of hormones during short time music perception. European Archives of Psychiatry and Clinical Neuroscience , 250(3), 144–147. https://doi.org/10.1007/ s004060070031 Evron, N. C. (n.d.). Conflict and Peace: Challenges for Arts Educators. In International Handbook of Research in Arts Education (pp. 1031–1054). Springer Netherlands. https://doi.org/10.1007/978-1-4020-3052-9_71 Eyerman, R. (2002). Music in Movement: Cultural Politics and Old and New Social Movements. Qualitative Sociology , 25(3), 443–458. https://doi. org/10.1023/a :1016042215533 Ezell, M., & Levy, M. (2003). An evaluation of an arts program for incarcerated juvenile offenders. Journal of Correct , MP115]Education, 54 , 108–114. Facchini, M., & Ruini, C. (2021). The role of music therapy in the treatment of children with cancer: A systematic review of literature. Complementary Therapies in Clinical Practice , 42, 101289. https://doi.org/10.1016/j. ctcp.2020.101289 Fairchild, R. E. (2018). Collaborative Songwriting with Children Experiencing Homelessness and Family Violence to Understand Their Resources . The University of Melbourne.650 The Power of Music Fairchild, R., & McFerran, K. S. (2018). “Music is everything”: Using collaborative group songwriting as an arts-based method with children experiencing homelessness and family violence. Nordic Journal of Music Therapy , 28(2), 88–107. https://doi.org/10.1080/08098131.2018.1509106 Fairchild, R., Thompson, G., & McFerran, K. S. (2016). Exploring the Meaning of a Performance in Music Therapy for Children and Their Families Experiencing Homelessness and Family Violence. Music Therapy Perspectives , miw004. https://doi.org/10.1093/mtp/miw004 Falk, D. (2004). Prelinguistic evolution in early hominins: Whence motherese? Behavioral and Brain Sciences , 27(4), 491–503. https://doi.org/10.1017/ s0140525x04000111 Fancourt, D., & Finn, S. (2019). What is the Evidence on the Role of the Arts in Improving Health and Well-being? A Scoping Review. Health Evidence Network Synthesis Report , 67. Fancourt, D., Finn, S., Warran, K., & Wiseman, T. (2019). Group singing in bereavement: Effects on mental health, self-efficacy, self-esteem and well- being. In BMJ Supportive and Palliative Care[MP118 . https://doi.org/10.1136/ bmjspcare-2018-001642 . Fancourt, D., Geschke, K., Fellgiebel, A., & Wuttke-Linnemann, A. (2020). Lifetime musical training and cognitive performance in a memory clinic population: A cross-sectional study. Musicae Scientiae , 26(1), 71–83. https:// doi.org/10.1177/1029864920918636 Fancourt, D., Ockelford, A., & Belai, A. (2014). The psychoneuroimmunological effects of music: A systematic review and a new model. Brain, Behavior, and Immunity , 36, 15–26. https://doi.org/10.1016/j.bbi.2013.10.014 Fancourt, D., & Perkins, R. (2017). Associations between singing to babies and symptoms of postnatal depression, wellbeing, self-esteem and mother-infant bond. Public Health , 145, 149–152. https://doi.org/10.1016/j.puhe.2017.01.016 Fancourt, D., & Perkins, R. (2018). The effects of mother–infant singing on emotional closeness, affect, anxiety, and stress hormones. Music & Science , 1, 205920431774574. https://doi.org/10.1177/2059204317745746 Fancourt, D., Perkins, R., Ascenso, S., Atkins, L., Kilfeather, S., Carvalho, L., Steptoe, A., & Williamon, A. (2015). Group Drumming Modulates Cytokine Response in Mental Health Services Users: A Preliminary Study. Psychotherapy and Psychosomatics , 85(1), 53–55. https://doi.org/10.1159/000431257 Fancourt, D., Perkins, R., Ascenso, S., Carvalho, L. A., Steptoe, A., & Williamon, A. (2016). Effects of Group Drumming Interventions on Anxiety, Depression, Social Resilience and Inflammatory Immune Response among Mental Health Service Users. PLOS ONE , 11(3), e0151136. https://doi.org/10.1371/ journal.pone.0151136 Fancourt, D., & Steptoe, A. (2018). Community group membership and multidimensional subjective well-being in older age. Journal of Epidemiology 651 Bibliography and Community Health , 72(5), 376–382. https://doi.org/10.1136/ jech-2017-210260 Fancourt, D., Williamon, A., Carvalho, L. A., Steptoe, A., Dow, R., & Lewis, I. (2016). Singing modulates mood, stress, cortisol, cytokine and neuropeptide activity in cancer patients and carers. Ecancermedicalscience , 10. https://doi. org/10.3332/ecancer.2016.631 Fanian, S., Young, S. K., Mantla, M., Daniels, A., & Chatwood, S. (2015). Evaluation of the Kts’iìht\textbackslashla (“We Light the Fire”) Project: Building resiliency and connections through strengths-based creative arts programming for Indigenous youth. International Journal of Circumpolar Health , 74(1), 27672. https://doi.org/10.3402/ijch.v74.27672 Farias, S. A. de, Aguiar, E. C., & Melo, F. V. S. (2014). Store Atmospherics and Experiential Marketing: A Conceptual Framework and Research Propositions for An Extraordinary Customer Experience. International Business Research , 7(2). https://doi.org/10.5539/ibr.v7n2p87 Farnsworth, P . R. (1946). School Instruction in Music. Review of Educational Research , 16(2), 182. https://doi.org/10.2307/1168501 Fasano, M. C., Semeraro, C., Cassibba, R., Kringelbach, M. L., Monacis, L., Palo, V. de, Vuust, P ., & Brattico, E. (2019). Short-Term Orchestral Music Training Modulates Hyperactivity and Inhibitory Control in School-Age Children: A Longitudinal Behavioural Study. Frontiers in Psychology , 10. https://doi. org/10.3389/fpsyg.2019.00750 Fassbender, E., Richards, D., Bilgin, A., Thompson, W. F., & Heiden, W. (2012). VirSchool: The effect of background music and immersive display systems on memory for facts learned in an educational virtual environment. Computers & Education , 58(1), 490–500. https://doi.org/10.1016/j.compedu.2011.09.002 Faulkner, R., & Davidson, J. (2004). Men’s Vocal Behaviour and the Construction of Self. Musicae Scientiae , 8(2), 231–255. https://doi. org/10.1177/102986490400800206 Faulkner, S. (2017). Rhythm2Recovery: A Model of Practice Combining Rhythmic Music with Cognitive Reflection for Social and Emotional Health within Trauma Recovery. Australian and New Zealand Journal of Family Therapy , 38(4), 627–636. https://doi.org/10.1002/anzf.1268 Faulkner, S., Wood, L., Ivery, P ., & Donovan, R. (2012). It Is Not Just Music and Rhythm. . . Evaluation of a Drumming-Based Intervention to Improve the Social Wellbeing of Alienated Youth. Children Australia , 37(1), 31–39. https:// doi.org/10.1017/cha.2012.5 Fauvel, B., Groussard, M., Chételat, G., Fouquet, M., Landeau, B., Eustache, F., Desgranges, B., & Platel, H. (2014). Morphological brain plasticity induced by musical expertise is accompanied by modulation of functional connectivity at rest. NeuroImage , 90, 179–188. https://doi.org/10.1016/j. neuroimage.2013.12.065652 The Power of Music Fauvel, B., Groussard, M., Mutlu, J., Arenaza-Urquijo, E. M., Eustache, F., Desgranges, B., & Platel, H. (2014). Musical practice and cognitive aging: Two cross-sectional studies point to phonemic fluency as a potential candidate for a use-dependent adaptation. Frontiers in Aging Neuroscience , 6. https://doi.org/10.3389/fnagi.2014.00227 Feinstein, L., & Sabates, R. (2006). The prevalence of multiple deprivation for children in the UK: analysis of the Millennium Cohort and Longitudinal Survey of Young People in England . Institute of Education, University of London. Feist, G. J. (1998). A Meta-Analysis of Personality in Scientific and Artistic Creativity. Personality and Social Psychology Review , 2(4), 290–309. https:// doi.org/10.1207/s15327957pspr0204_5 Feldman, A. F., & Matjasko, J. L. (2005). The Role of School-Based Extracurricular Activities in Adolescent Development: A Comprehensive Review and Future Directions. Review of Educational Research , 75(2), 159–210. https://doi. org/10.3102/00346543075002159 Feldman, A. F., & Matjasko, J. L. (2007). Profiles and portfolios of adolescent school-based extracurricular activity participation. Journal of Adolescence , 30(2), 313–332. https://doi.org/10.1016/j.adolescence.2006.03.004 Felsenstein, R. (2013). From uprooting to replanting: On post-trauma group music therapy for pre-school children. Nordic Journal of Music Therapy , 22(1), 69–85. https://doi.org/10.1080/08098131.2012.667824 Feng, F., Zhang, Y., Hou, J., Cai, J., Jiang, Q., Li, X., Zhao, Q., & Li, B. (2018). Can music improve sleep quality in adults with primary insomnia? A systematic review and network meta-analysis. International Journal of Nursing Studies , 77, 189–196. https://doi.org/10.1016/j.ijnurstu.2017.10.011 Feng, K., Shen, C.-Y., Ma, X.-Y., Chen, G.-F., Zhang, M.-L., Xu, B., Liu, X.-M., Sun, J.-J., Zhang, X.-Q., Liu, P .-Z., & Ju, Y. (2019). Effects of music therapy on major depressive disorder: A study of prefrontal hemodynamic functions using fNIRS. Psychiatry Research , 275, 86–93. https://doi.org/10.1016/j. psychres.2019.03.015 Fennell, A. M., Bugos, J. A., Payne, B. R., & Schotter, E. R. (2020). Music is similar to language in terms of working memory interference. Psychonomic Bulletin & Review , 28(2), 512–525. https://doi.org/10.3758/s13423-020-01833-5 Fernald, A. (1989). Intonation and Communicative Intent in Mothers’ Speech to Infants: Is the Melody the Message? Child Development , 60(6), 1497. https:// doi.org/10.2307/1130938 Fernandez, N. B., Trost, W. J., & Vuilleumier, P . (2019). Brain networks mediating the influence of background music on selective attention. Social Cognitive and Affective Neuroscience , 14(12), 1441–1452. https://doi.org/10.1093/scan/ nsaa004 Fernandez, S. (2018). Music and Brain Development. Pediatric Annals , 47(8). https://doi.org/10.3928/19382359-20180710-01 653 Bibliography Ferreri, L., Aucouturier, J.-J., Muthalib, M., Bigand, E., & Bugaiska, A. (2013). Music improves verbal memory encoding while decreasing prefrontal cortex activity: An fNIRS study. Frontiers in Microbiology , 7. https://doi.org/10.3389/ fnhum.2013.00779 Ferreri, L., Bigand, E., Bard, P ., & Bugaiska, A. (2015). The Influence of Music on Prefrontal Cortex during Episodic Encoding and Retrieval of Verbal Information: A Multichannel fNIRS Study. Behavioural Neurology , 2015 , 1–11. https://doi.org/10.1155/2015/707625 Ferreri, L., Bigand, E., & Bugaiska, A. (2015). The positive effect of music on source memory. Musicae Scientiae , 19(4), 402–411. https://doi. org/10.1177/1029864915604684 Ferreri, L., Bigand, E., Perrey, S., Muthalib, M., Bard, P ., & Bugaiska, A. (2014). Less Effort, Better Results: How Does Music Act on Prefrontal Cortex in Older Adults during Verbal Encoding? An fNIRS Study. Frontiers in Human Neuroscience , 8. https://doi.org/10.3389/fnhum.2014.00301 Ferreri, L., & Verga, L. (2016). Benefits of Music on Verbal Learning and Memory. Music Perception , 34(2), 167–182. https://doi.org/10.1525/mp.2016.34.2.167 Field, T., Martinez, A., Nawrocki, T., Pickens, J., Fox, N. A., & Schanberg, S. (1998). Music shifts frontal EEG in depressed adolescents. Adolescence , 33(129), 109–116. Fields, R. D. (2005). Making Memories Stick. Scientific American , 292(2), 74–81. https://doi.org/10.1038/scientificamerican0205-74 Filippa, M., Devouche, E., Arioni, C., Imberty, M., & Gratier, M. (2013). Live maternal speech and singing have beneficial effects on hospitalized preterm infants. Acta Paediatrica , 102(10), 1017–1020. https://doi.org/10.1111/ apa.12356 Finn, S., & Fancourt, D. (2018). The biological impact of listening to music in clinical and nonclinical settings: A systematic review. In Progress in Brain Research (pp. 173–200). Elsevier. https://doi.org/10.1016/bs.pbr.2018.03.007 Finnegan, R. (1989). The Hidden Musicians: Music-Making in an English Town . Cambridge University Press. Fischer, M. H., Riello, M., Giordano, B. L., & Rusconi, E. (2013). Singing Numbers\textbackslashldots in Cognitive Space—A Dual-Task Study of the Link Between Pitch, Space, and Numbers. Topics in Cognitive Science , 5(2), 354–366. https://doi.org/10.1111/tops.12017 Fischer, P ., & Greitemeyer, T. (2006). Music and Aggression: The Impact of Sexual-Aggressive Song Lyrics on Aggression-Related Thoughts, Emotions, and Behavior Toward the Same and the Opposite Sex. Personality and Social Psychology Bulletin , 32(9), 1165–1176. https://doi. org/10.1177/0146167206288670654 The Power of Music Fitzpatrick, K. R. (2006). The Effect of Instrumental Music Participation and Socioeconomic Status on Ohio Fourth-, Sixth-, and Ninth-Grade Proficiency Test Performance. Journal of Research in Music Education , 54(1), 73–84. https:// doi.org/10.1177/002242940605400106 Fiveash, A., & Pammer, K. (2012). Music and language: Do they draw on similar syntactic working memory resources? Psychology of Music , 42(2), 190–209. https://doi.org/10.1177/0305735612463949 Flaugnacco, E., Lopez, L., Terribili, C., Montico, M., Zoia, S., & Schön, D. (2015). Music Training Increases Phonological Awareness and Reading Skills in Developmental Dyslexia: A Randomized Control Trial. PLOS ONE , 10(9), e0138715. https://doi.org/10.1371/journal.pone.0138715 Flohr, J. W., Miller, D. C., & deBeus, R. (2000). EEG Studies with Young Children. Music Educators Journal , 87(2), 28–54. https://doi.org/10.2307/3399645 Flores, K., Niekerk, C. van, & Roux, L. le. (2015). Drumming as a medium to promote emotional and social functioning of children in middle childhood in residential care. Music Education Research , 18(3), 254–268. https://doi.org /10.1080/14613808.2015.1077798 Florida, R., Mellander, C., & Stolarick, K. (2010). Music Scenes to Music Clusters: The Economic Geography of Music in the US, 1970–2000. Environment and Planning A: Economy and Space , 42(4), 785–804. https://doi.org/10.1068/ a4253 Flynn, L. R., Eastman, J. K., & Newell, S. J. (1995). An Exploratory Study of the Application of Neural Networks to Marketing: Predicting Rock Music Shopping Behavior. Journal of Marketing Theory and Practice , 3(2), 75–85. https://doi.org/10.1080/10696679.1995.11501686 Fock, E. (2004). World.dk -erfaringerfraverdensmusikprojekteriskolerogpåspillesteder . Center for Kulturpolitiske Studier, Danmarks Biblioteksskole. Fogel, A. R., Rosenberg, J. C., Lehman, F. M., Kuperberg, G. R., & Patel, A. D. (2015). Studying Musical and Linguistic Prediction in Comparable Ways: The Melodic Cloze Probability Method. Frontiers in Psychology , 6. https:// doi.org/10.3389/fpsyg.2015.01718 Fogelson, S. (1973). Music as a Distractor on Reading-Test Performance of Eighth Grade Students. Perceptual and Motor Skills , 36(3_suppl), 1265–1266. https:// doi.org/10.2466/pms.1973.36.3c.1265 Fonseca-Mora, M. C., Jara-JimÃ©nez, P ., & GÃˆ3mez-DomÃ\textbackslash- nguez, M. (2015). Musical plus phonological input for young foreign language readers. Frontiers in Psychology , 6. https://doi.org/10.3389/ fpsyg.2015.00286 Forgeard, M., Schlaug, G., Norton, A., Rosam, C., Iyengar, U., & Winner, E. (2008). The relation between music and phonological processing in normal- reading children and children with dyslexia. Music Perception , 25(4), 383– 390. https://doi.org/10.1525/mp.2008.25.4.383 655 Bibliography Forgeard, M., Winner, E., Norton, A., & Schlaug, G. (2008). Practicing a Musical Instrument in Childhood is Associated with Enhanced Verbal Ability and Nonverbal Reasoning. PLoS ONE , 3(10), e3566. https://doi.org/10.1371/ journal.pone.0003566 Forssén, A. S. K. (2007). Humour, beauty, and culture as personal health resources: Experiences of elderly Swedish women. Scandinavian Journal of Public Health , 35(3), 228–234. https://doi.org/10.1080/14034940601160680 Francois, C., Chobert, J., Besson, M., & Schon, D. (2012). Music Training for the Development of Speech Segmentation. Cerebral Cortex , 23(9), 2038–2043. https://doi.org/10.1093/cercor/bhs180 Freeman, W. J. (2000). A neurobiological role of music in social bonding. In N. Wallin, B. Merkur, & S. Brown (Eds), The Origins of Music (pp. 411–424). MIT Press. Frith, S. (1996). Performing rites: On the value of popular music . Oxford University Press. Froehlich, M. A. R. (1984). A Comparison of the Effect of Music Therapy and Medical Play Therapy on the Verbalization Behavior of Pediatric Patients. Journal of Music Therapy , 21(1), 2–15. https://doi.org/10.1093/jmt/21.1.2 Fukui, H., & Yamashita, M. (2003). The effects of music and visual stress on testosterone and cortisol in men and women. Neuro Endocrinology Letters , 24(3–4), 173–180. Fung, C. V., & Lehmberg, L. J. (2016). Music for Life . Oxford University Press. https://doi.org/10.1093/acprof :oso/9780199371686.001.0001 Furuya, S., & Altenmuller, E. (2013). Flexibility of movement organization in piano performance, Front. Hum . Fusar-Poli, L., Bieleninik, \textbackslashLucja, Brondino, N., Chen, X.-J., & Gold, C. (2017). The effect of music therapy on cognitive functions in patients with dementia: A systematic review and meta-analysis. Aging & Mental Health , 22(9), 1103–1112. https://doi.org/10.1080/13607863.2017.1348474 Gaab, N., & Schlaug, G. (2003). The effect of musicianship on pitch memory in performance matched groups. Neuroreport , 14(18), 2291–2295. https://doi. org/10.1097/00001756-200312190-00001 Gabrielsson, A. (2001a). Emotions in strong experiences with music. In P . N. Juslin & J. A. Sloboda (Eds), Music and emotion: Theory and research (pp. 431–449). Oxford University Press. Gabrielsson, A. (2001b). Emotion perceived and emotion felt: Same or different? Musicae Scientiae , 5(1_suppl), 123–147. https://doi. org/10.1177/10298649020050s105 Gabrielsson, A. (2011). Strong Experiences with MusicMusic is much more than just music . Oxford University Press. https://doi.org/10.1093/acprof : oso/9780199695225.001.0001656 The Power of Music Gabrielsson, A., & Lindström, E. (1995). Emotional expression in synthesizer and sentograph performance. Psychomusicology: A Journal of Research in Music Cognition , 14(1–2), 94–116. https://doi.org/10.1037/h0094089 Gabrielsson, A., & Wik, S. L. (2003). Strong Experiences Related to Music: Adescriptive System. Musicae Scientiae , 7(2), 157–217. https://doi. org/10.1177/102986490300700201 Gallego, G. M., & García, G. J. (2017). Music therapy in Alzheimer’s disease: Cognitive, psychological and behavioural effects. Neurology , 32(5), 300–308. Gandhi, K., B., P ., J., & Gokulakannan, K. (2021). A Single-center, Single Blinded, Randomized Controlled Trial Protocol of Therapeutic Listening Programme Versus Traditional Music Therapy on Depression and Quality of Life in Institutionalized Adolescents. Medico-Legal Update , 21. Garlin, F. V., & Owen, K. (2006). Setting the tone with the tune: A meta-analytic review of the effects of background music in retail settings. Journal of Business Research , 59(6), 755–764. https://doi.org/10.1016/j.jbusres.2006.01.013 Garrido, S. (2017). Why Are We Attracted to Sad Music? Springer International Publishing. https://doi.org/10.1007/978-3-319-39666-8 Garrido, S., Eerola, T., & McFerran, K. (2017). Group Rumination: Social Interactions Around Music in People with Depression. Frontiers in Psychology , 8. https://doi.org/10.3389/fpsyg.2017.00490 Garrido, S., & Schubert, E. (2013a). Adaptive and maladaptive attraction to negative emotions in music. Musicae Scientiae , 17(2), 147–166. https://doi. org/10.1177/1029864913478305 Garrido, S., & Schubert, E. (2013b). Moody melodies: Do they cheer us up? A study of the effect of sad music on mood. Psychology of Music , 43(2), 244–261. https://doi.org/10.1177/0305735613501938 Garrido, S., & Schubert, E. (2015). Music and People with Tendencies to Depression. Music Perception , 32(4), 313–321. https://doi.org/10.1525/ mp.2015.32.4.313 Geipel, J., Koenig, J., Hillecke, T. K., Resch, F., & Kaess, M. (2018). Music-based interventions to reduce internalizing symptoms in children and adolescents: A meta-analysis. Journal of Affective Disorders , 225, 647–656. https://doi. org/10.1016/j.jad.2017.08.035 Gembris, H. (2008). Musical activities in the third age: An empirical study with amateur musicians. Second European Conference on Developmental Psychology of Music . Genoe, M. R., & Dupuis, S. L. (2012). The role of leisure within the dementia context. Dementia , 13(1), 33–58. https://doi.org/10.1177/1471301212447028 Gerber, M. M., Hogan, L. R., Maxwell, K., Callahan, J. L., Ruggero, C. J., & Sundberg, T. (2014). Children after war: A novel approach to promoting 657 Bibliography resilience through music. Traumatology: An International Journal , 20(2), 112– 118. https://doi.org/10.1037/h0099396 Geretsegger, M., Elefant, C., Mössler, K. A., & Gold, C. (2014). Music therapy for people with autism spectrum disorder. Cochrane Database of Systematic Reviews , 2016 (3). https://doi.org/10.1002/14651858.cd004381.pub3 Geretsegger, M., Mossler, K. A., Bieleninik, L., Chen, X.-J., Heldal, T. O., & Gold., C. (2017). Music therapy for people with schizophrenia and schizophrenia- like symptoms. Cochrane Database Systemic Reviews , 29(5), 004025. Gerra, G., Zaimovic, A., Franchini, D., Palladino, M., Giucastro, G., Reali, N., Maestri, D., Caccavari, R., Delsignore, R., & Brambilla, F. (1998). Neuroendocrine responses of healthy volunteers to \textbackslashtextasci igravetechno-music’: Relationships with personality traits and emotional state. International Journal of Psychophysiology , 28(1), 99–111. https://doi. org/10.1016/s0167-8760(97)00071-8 Gerrard, C. L. (2021). It’s more than playing music: Exploring band in a predominantly Latinx community. Bulletin of the Council for Research in Music Education , 227([MP153). Gerrity, K. W., Hourigan, R. M., & Horton, P . W. (2013). Conditions That Facilitate Music Learning Among Students With Special Needs. Journal of Research in Music Education , 61(2), 144–159. https://doi.org/10.1177/0022429413485428 Ghai, S., Ghai, I., & Effenberg, A. O. (2017). Effect of rhythmic auditory cueing on gait in cerebral palsy: A systematic review and meta-analysis. Neuropsychiatric Disease and Treatment , Volume 14 , 43–59. https://doi.org/10.2147/ndt.s148053 Gibbs, H., & Egermann, H. (2021). Music-Evoked Nostalgia and Wellbeing During the United Kingdom COVID-19 Pandemic: Content, Subjective Effects, and Function. Frontiers in Psychology , 12. https://doi.org/10.3389/ fpsyg.2021.647891 Gibson, C., & Connell, J. (2005). Music and Tourism . Multilingual Matters. https://doi.org/10.21832/9781873150948 Gibson, R., Aust, C. F., & Zillmann, D. (2000). Loneliness of Adolescents and Their Choice and Enjoyment of Love-Celebrating versus Love-Lamenting Popular Music. Empirical Studies of the Arts , 18(1), 43–48. https://doi. org/10.2190/b51g-8u0w-n0eq-mjuu Gilbert, S. (2005). Music in the Holocaust: Confronting Life in the Nazi Ghettos and Camps . Oxford University Press. Giordano, F., Zanchi, B., Leonardis, F. D., Rutigliano, C., Esposito, F., Brienza, N., & Santoro, N. (2020). The influence of music therapy on preoperative anxiety in pediatric oncology patients undergoing invasive procedures. The Arts in Psychotherapy , 68, 101649. https://doi.org/10.1016/j.aip.2020.101649 Giovagnoli, A. R., Oliveri, S., Schifano, L., & Raglio, A. (2014). Active music therapy improves cognition and behaviour in chronic vascular 658 The Power of Music encephalopathy: A case report. Complementary Therapies in Medicine , 22(1), 57–62. https://doi.org/10.1016/j.ctim.2013.11.001 Glasgow Centre for Population Health (GCPH . (2015). Education Scotland; Glasgow Caledonian University. Gleadhill, L., & Ferris, K. (2010). A theoretical music therapy framework for working with people with dissociative identity disorder. Australian Journal of Music Therapy , 21, 42–55. Goethem, A. (2010). Affect regulation in everyday life: Strategies, tactics, and the role of music [PhD Thesis]. Goethem, A. van, & Sloboda, J. (2011). The functions of music for affect regulation. Musicae Scientiae , 15(2), 208–228. https://doi.org/10.1177/1029864911401174 Gold, C., Saarikallio, S., Crooke, A. H. D., & McFerran, K. S. (2017). Group Music Therapy as a Preventive Intervention for Young People at Risk: Cluster-Randomized Trial. Journal of Music Therapy , 54(2), 133–160. https:// doi.org/10.1093/jmt/thx002 Gold, C., Solli, H. P ., Krüger, V., & Lie, S. A. (2009). Dose–response relationship in music therapy for people with serious mental disorders: Systematic review and meta-analysis. Clinical Psychology Review , 29(3), 193–207. https://doi. org/10.1016/j.cpr.2009.01.001 Gold, C., Voracek, M., & Wigram, T. (2004). Effects of music therapy for children and adolescents with psychopathology: A meta-analysis. Journal of Child Psychology and Psychiatry , 45(6), 1054–1063. https://doi. org/10.1111/j.1469-7610.2004.t01-1-00298.x Gold, C., Wigram, T., & Voracek, M. (2007). Effectiveness of music therapy for children and adolescents with psychopathology: A quasi- experimental study. Psychotherapy Research , 17(3), 289–296. https://doi. org/10.1080/10503300600607886 Gonsalves, M. (2010). Restoring connection and personal capacities for healing music therapy in Sierra Leone (M. E. N. Ouedraogo, M. Meyer, & J. Atiri, Eds.). Africa World Press. Gonzalez, M. F., & Aiello, J. R. (2019). More than meets the ear: Investigating how music affects cognitive task performance. Journal of Experimental Psychology: Applied , 25(3), 431. https://doi.org/10.1037/xap0000202 Good starts for recently arrived youth with refugee backgrounds: Promoting wellbeing in the first three years of settlement in Melbourne, Australia . (2009). La Trobe Refugee Research Centre, La Trobe University. Gopalkrishnan, N. (2016). Multicultural Arts and Integrative Medicine: Empowering Refugees in the Healing Process. ETropic electronic journal of studies in the Tropics, 12(2. Special Issue: Refereed Proceedings of the Tropics of the Imagination Conference . 659 Bibliography Goriounova, N. A., & Mansvelder, H. D. (2019). Genes, Cells and Brain Areas of Intelligence. Frontiers in Human Neuroscience , 13. https://doi.org/10.3389/ fnhum.2019.00044 Goswami, U. (2011). A temporal sampling framework for developmental dyslexia. Trends in Cognitive Sciences , 15(1), 3–10. https://doi.org/10.1016/j. tics.2010.10.001 Goswami, U. (2019). A neural oscillations perspective on phonological development and phonological processing in developmental dyslexia. Language and Linguistics Compass , 13(5), e12328. https://doi.org/10.1111/ lnc3.12328 Goswami, U., Thomson, J., Richardson, U., Stainthorp, R., Hughes, D., Rosen, S., & Scott, S. K. (2002). Amplitude envelope onsets and developmental dyslexia: A new hypothesis. Proceedings of the National Academy of Sciences , 99(16), 10911–10916. https://doi.org/10.1073/pnas.122368599 Gouzouasis, P . (1993). Music audiation: A comparison of the music abilities of kindergarten children of various ethnic backgrounds. The Quarterly Journal of Music Teaching and Learning , 4, 70–76. Gouzouasis, P . (2014). What matters most: Using contemporary research to support music education policies in schools (a performative autoethnography. In P . Gouzouasis (Ed.), Proceedings of the commission on music policy: Culture, education, and media of the International Society for Music Education . Gouzouasis, P ., Guhn, M., & Kishor, N. (2007). The predictive relationship between achievement and participation in music and achievement in core Grade 12 academic subjects. Music Education Research , 9(1), 81–92. https:// doi.org/10.1080/14613800601127569 Gouzouasis, P ., & Henderson, A. (2012). Secondary student perspectives on musical and educational outcomes from participation in band festivals. Music Education Research , 14(4), 479–498. https://doi.org/10.1080/14613808 .2012.714361 Gouzouasis, P ., Henrey, J., & Belliveau, G. (2008). Turning points: A transitional story of grade seven music students’ participation in high school band programmes. Music Education Research , 10(1), 75–90. https://doi. org/10.1080/14613800701871397 Graff, V., Wingfield, P ., Adams, D., & Rabinowitz, T. (2016). An Investigation of Patient Preferences for Music Played Before Electroconvulsive Therapy. The Journal of ECT , 32(3), 192–196. https://doi.org/10.1097/yct.0000000000000315 Graham, S. (2011). Effect of Music Therapy on the Emotional Expressivity of Children and Adolescents Who Have Experienced Abuse or Neglect . Florida State University. Granert, O., Peller, M., Gaser, C., Groppa, S., Hallett, M., Knutzen, A., Deuschl, G., Zeuner, K. E., & Siebner, H. R. (2011). Manual activity shapes structure 660 The Power of Music and function in contralateral human motor hand area. NeuroImage , 54(1), 32–41. https://doi.org/10.1016/j.neuroimage.2010.08.013 Granier-Deferre, C., Ribeiro, A., Jacquet, A.-Y., & Bassereau, S. (2011). Near-term fetuses process temporal features of speech. Developmental Science , 14(2), 336–352. https://doi.org/10.1111/j.1467-7687.2010.00978.x Granot, R., Spitz, D. H., Cherki, B. R., Loui, P ., Timmers, R., Schaefer, R. S., Vuoskoski, J. K., Cárdenas-Soler, R.-N., Soares-Quadros, J. F., Li, S., Lega, C., Rocca, S. L., Martínez, I. C., Tanco, M., Marchiano, M., Martínez-Castilla, P ., Pérez-Acosta, G., Martínez-Ezquerro, J. D., Gutiérrez-Blasco, I. M., … Israel, S. (2021). “Help! I Need Somebody”: Music as a Global Resource for Obtaining Wellbeing Goals in Times of Crisis. Frontiers in Psychology , 12. https://doi.org/10.3389/fpsyg.2021.648013 Grape, C., Sandgren, M., Hansson, L.-O., Ericson, M., & Theorell, T. (2002). Does singing promote well-being?: An empirical study of professional and amateur singers during a singing lesson. Integrative Physiological & Behavioral Science , 38(1), 65–74. https://doi.org/10.1007/bf02734261 Grassi, M., Meneghetti, C., Toffalini, E., & Borella, E. (2018). Correction: Auditory and cognitive performance in elderly musicians and nonmusicians. PLOS ONE , 13(2), e0192918. https://doi.org/10.1371/journal.pone.0192918 Grätzer, D. P . D. (1999). Can music help to improve parent-child communication? Learning music with parents – an Argentine experience. International Journal of Music Education , os-34 (1), 47–56. https://doi. org/10.1177/025576149903400105 Graven, S. N., & Browne, J. V. (2008). Auditory development in the fetus and infant. Newborn Infant Nurs Review , 8(4), 187–93, https://doi.org/10.1016/j. jpeds2016.12.072 . Graziano, A. B., Peterson, M., & Shaw, G. L. (1999). Enhanced learning of proportional math through music training and spatial-temporal training. Neurological Research , 21(2), 139–152. https://doi.org/10.1080/01616412.199 9.11740910 Greasley, A. E., & Lamont, A. (2006). Music preference in adulthood: Why do we like the music we do? In M. Baroni, A. R. Adessi, R. Caterina, & M. Costa (Eds), Proceedings of the 9th International Conference on Music Perception and Cognition (pp. 960–966). University of Bologna. Greasley, A. E., & Lamont, A. (2011). Exploring engagement with music in everyday life using experience sampling methodology. Musicae Scientiae , 15(1), 45–71. https://doi.org/10.1177/1029864910393417 Grebosz-Haring, K., & Thun-Hohenstein, L. (2018). Effects of group singing versus group music listening on hospitalized children and adolescents with mental disorders: A pilot study. Heliyon , 4(12), e01014. https://doi. org/10.1016/j.heliyon.2018.e01014 661 Bibliography Gregory, A. H. (1997). The Roles of Music in Society. In D. J. Hargreaves & A. C. North (Eds), The Social Psychology of Music (pp. 123–140). Oxford University Press. Gregory, A. H., & Varney, N. (1996). Cross-Cultural Comparisons in the Affective Response to Music. Psychology of Music , 24(1), 47–52. https://doi. org/10.1177/0305735696241005 Greitemeyer, T., & Schwab, A. (2014). Employing music exposure to reduce prejudice and discrimination. Aggressive Behavior , 40(6), 542–551. https:// doi.org/10.1002/ab.21531 Griffiths, A. (2019). Playing the white man’s tune: Inclusion in elite classical music education. British Journal of Music Education , 37(1), 55–70. https://doi. org/10.1017/s0265051719000391 Grinspun, N., Nijs, L., Kausel, L., Onderdijk, K., Sepúlveda, N., & Rivera- Hutinel, A. (2020). Selective Attention and Inhibitory Control of Attention Are Correlated With Music Audiation. Frontiers in Psychology , 11. https:// doi.org/10.3389/fpsyg.2020.01109 Groarke, J. M., & Hogan, M. J. (2015). Enhancing wellbeing: An emerging model of the adaptive functions of music listening. Psychology of Music , 44(4), 769– 791. https://doi.org/10.1177/0305735615591844 Grocke, D., Bloch, S., Castle, D., Thompson, G., Newton, R., Stewart, S., & Gold, C. (2013). Group music therapy for severe mental illness: A randomized embedded-experimental mixed methods study. Acta Psychiatrica Scandinavica , 130(2), 144–153. https://doi.org/10.1111/acps.12224 Gromko, J. E. (2005). The Effect of Music Instruction on Phonemic Awareness in Beginning Readers. Journal of Research in Music Education , 53(3), 199–209. https://doi.org/10.1177/002242940505300302 Gromko, J. E., & Poorman, A. S. (1998). The Effect of Music Training on Preschoolers’ Spatial-Temporal Task Performance. Journal of Research in Music Education , 46(2), 173–181. https://doi.org/10.2307/3345621 Groot, A. M. B. de, & Smedinga, H. E. (2014). LET THE MUSIC PLAY! Studies in Second Language Acquisition , 36(4), 681–707. https://doi.org/10.1017/ s0272263114000059 Gross, J., Hoogenboom, N., Thut, G., Schyns, P ., Panzeri, S., Belin, P ., & Garrod, S. (2013). Speech Rhythms and Multiplexed Oscillatory Sensory Coding in the Human Brain. PLoS Biology , 11(12), e1001752. https://doi.org/10.1371/ journal.pbio.1001752 Gross, J. J. (1998). Sharpening the Focus: Emotion Regulation, Arousal, and Social Competence. Psychological Inquiry , 9(4), 287–290. https://doi. org/10.1207/s15327965pli0904_8662 The Power of Music Gross, J. J. (2015). Emotion Regulation: Current Status and Future Prospects. Psychological Inquiry , 26(1), 1–26. https://doi.org/10.1080/10478 40x.2014.940781 Gross, J. J., Carstensen, L. L., Pasupathi, M., Tsai, J., Skorpen, C. G., & Hsu, A. Y. C. (1997). Emotion and aging: Experience, expression, and control. Psychology and Aging , 12(4), 590–599. https://doi.org/10.1037/0882-7974.12.4.590 Gross, J. J., & John, O. P . (2003). Individual differences in two emotion regulation processes: Implications for affect, relationships, and well-being. Journal of Personality and Social Psychology , 85(2), 348–362. https://doi. org/10.1037/0022-3514.85.2.348 Groussard, M., Viader, F., Landeau, B., Desgranges, B., Eustache, F., & Platel, H. (2014). The effects of musical practice on structural plasticity: The dynamics of grey matter changes. Brain and Cognition , 90, 174–180. https:// doi.org/10.1016/j.bandc.2014.06.013 Grove, R., Hoekstra, R. A., Wierda, M., & Begeer, S. (2018). Special interests and subjective wellbeing in autistic adults. Autism Research , 11(5), 766–775. https://doi.org/10.1002/aur.1931 Gruhn, W., Litt, F., Scherer, A., Schumann, T., Weiß, E. M., & Gebhardt, C. (2006). Suppressing reflexive behaviour: Saccadic eye movements in musicians and non-musicians. Musicae Scientiae , 10(1), 19–32. https://doi. org/10.1177/102986490601000102 Guhn, M., Emerson, S. D., & Gouzouasis, P . (2020). A population-level analysis of associations between school music participation and academic achievement. Journal of Educational Psychology , 112(2), 308–328. https://doi.org/10.1037/ edu0000376 Gunderson, E. A., Ramirez, G., Beilock, S. L., & Levine, S. C. (2012). The relation between spatial skill and early number knowledge: The role of the linear number line. Developmental Psychology , 48(5), 1229–1241. https://doi. org/10.1037/a0027433 Gunsberg, A. S. (1991). Play as improvisation: The benefits of music for developmentally delayed young children’s social play. Early Child Development and Care , 66(1), 85–91. https://doi.org/10.1080/0300443910660108 Guo, X., Ohsawa, C., Suzuki, A., & Sekiyama, K. (2018). Improved Digit Span in Children after a 6-Week Intervention of Playing a Musical Instrument: An Exploratory Randomized Controlled Trial. Frontiers in Psychology , 8. https:// doi.org/10.3389/fpsyg.2017.02303 Gupta, U., & and, and V. K. S. (2020). Effects of Music Listening on Resilience, Self-Efficacy and Positivity in Healthy Young Adults. Journal of Psychosocial Research , 15(1), 1–24. https://doi.org/10.32381/jpr.2020.15.01.1 Gur, C. (2009). Is there any positive effect of classical music on cognitive content of six year-old children in Turkey? European Journal of Scientific Research , 36(2), 251–259. 663 Bibliography Haake, A. B. (2011). Individual music listening in workplace settings. Musicae Scientiae , 15(1), 107–129. https://doi.org/10.1177/1029864911398065 Haase, J. E., Robb, S. L., Burns, D. S., Stegenga, K., Cherven, B., Hendricks- Ferguson, V., Roll, L., Docherty, S. L., & Phillips, C. (2019). Adolescent/ Young Adult Perspectives of a Therapeutic Music Video Intervention to Improve Resilience During Hematopoietic Stem Cell Transplant for Cancer\textbackslashast. Journal of Music Therapy , 57(1), 3–33. https://doi. org/10.1093/jmt/thz014 Habe, K., Biasutti, M., & Kajtna, T. (2019). Flow and Satisfaction With Life in Elite Musicians and Top Athletes. Frontiers in Psychology , 10. https://doi. org/10.3389/fpsyg.2019.00698 Habe, K., Biasutti, M., & Kajtna, T. (2021). Wellbeing and flow in sports and music students during the COVID-19 pandemic. Thinking Skills and Creativity , 39, 100798. https://doi.org/10.1016/j.tsc.2021.100798 Habib, M., & Besson, M. (2009). What do Music Training and Musical Experience Teach Us About Brain Plasticity? Music Perception , 26(3), 279–285. https:// doi.org/10.1525/mp.2009.26.3.279 Habib, M., Lardy, C., Desiles, T., Commeiras, C., Chobert, J., & Besson, M. (2016). Music and Dyslexia: A New Musical Training Method to Improve Reading and Related Disorders. Frontiers in Psychology , 7. https://doi.org/10.3389/ fpsyg.2016.00026 Habibi, A., Cahn, B. R., Damasio, A., & Damasio, H. (2016). Neural correlates of accelerated auditory processing in children engaged in music training. Developmental Cognitive Neuroscience , 21, 1–14. https://doi.org/10.1016/j. dcn.2016.04.003 Habibi, A., Damasio, A., Ilari, B., Sachs, M. E., & Damasio, H. (2018). Music training and child development: A review of recent findings from a longitudinal study. Annals of the New York Academy of Sciences , 1423 (1), 73–81. https://doi.org/10.1111/nyas.13606 Habibi, A., Ilari, B., Crimi, K., Metke, M., Kaplan, J. T., Joshi, A. A., Leahy, R. M., Shattuck, D. W., Choi, S. Y., Haldar, J. P ., Ficek, B., Damasio, A., & Damasio, H. (2014). An equal start: Absence of group differences in cognitive, social, and neural measures prior to music or sports training in children. Frontiers in Human Neuroscience , 8. https://doi.org/10.3389/fnhum.2014.00690 Habron, J., Butterly, F., Gordon, I., & Roebuck, A. (2013). Being Well, Being Musical: Music Composition as a Resource and Occupation for Older People. British Journal of Occupational Therapy , 76(7), 308–316. https://doi.org/10.427 6/030802213x13729279114933 Haecker, V., & Ziehen, T. (1922). ZurVererbung und Entwicklung der musikalischen Begabung. In Inheritance and development of musical talent . J.A. Barth.664 The Power of Music Hagen, A. N. (2015). The Playlist Experience: Personal Playlists in Music Streaming Services. Popular Music and Society , 38(5), 625–645. https://doi. org/10.1080/03007766.2015.1021174 Hagen, E. H., & Bryant, G. A. (2003). Music and dance as a coalition signaling system. Human Nature , 14(1), 21–51. https://doi.org/10.1007/ s12110-003-1015-z Haimson, J., Swain, D., & Winner, E. (2011a). Do Mathematicians Have Above Average Musical Skill? Music Perception , 29(2), 203–213. https://doi. org/10.1525/mp.2011.29.2.203 Haimson, J., Swain, D., & Winner, E. (2011b). Do Mathematicians Have Above Average Musical Skill? Music Perception , 29(2), 203–213. https://doi. org/10.1525/mp.2011.29.2.203 Haines, J. H. (1989). The Effects of Music Therapy on the Self-Esteem of Emotionally-Disturbed Adolescents. Music Therapy , 8(1), 78–91. https://doi. org/10.1093/mt/8.1.78 Hakvoort, L., Bogaerts, S., Thaut, M. H., & Spreen, M. (2013). Influence of Music Therapy on Coping Skills and Anger Management in Forensic Psychiatric Patients. International Journal of Offender Therapy and Comparative Criminology , 59(8), 810–836. https://doi.org/10.1177/0306624x13516787 Haley, J. A. (2001). The relationship between instrumental music instruction and academic achievement in fourth grade students [Doctoral dissertation.]. Pace University. Hall, J. C. (1952). The Effect of Background Music on the Reading Comprehension of 278 Eighth and Ninth Grade Students. The Journal of Educational Research , 45(6), 451–458. https://doi.org/10.1080/00220671.1952.10881962 Hallam, S. (2000). The effects of listening to music on children’s spatial task performance. British Psychological Society Education Review , 25(2), 22–26. Hallam, S. (2001). The Effects of Listening to Music on Children’s Spatial Task Performance. Psychology of Education Review , 25(2), 22–26 175. Hallam, S. (2005). Enhancing learning and motivation through the lifespan . Institute of Education, University of London. Hallam, S. (2010). The power of music: Its impact on the intellectual, social and personal development of children and young people. International Journal of Music Education , 28(3), 269–289. https://doi.org/10.1177/0255761410370658 Hallam, S. (2012a). Motivation to learn (S. Hallam, I. Cross, & M. Thaut, Eds.). Oxford University Press. https://doi.org/10.1093/ oxfordhb/9780199298457.013.0027 Hallam, S. (2012b). Motivation to learn (S. Hallam, I. Cross, & M. Thaut, Eds.). Oxford University Press. https://doi.org/10.1093/ oxfordhb/9780199298457.013.0027 665 Bibliography Hallam, S. (2015). The power of music: A research synthesis of the impact of actively making music on intellectual, social and personal development of children and young people . International Music Education Research Centre; Institute of Education. Hallam, S. (2017a). Evaluation of Young Music Leader Programme . VCM Foundation. Hallam, S. (2017b). Musical Identity, Learning, and Teaching. In Handbook of Musical Identities (pp. 475–492). Oxford University Press. https://doi. org/10.1093/acprof :oso/9780199679485.003.0026 Hallam, S. (2017c). The impact of making music on aural perception and language skills: A research synthesis. London Review of Education . https:// doi.org/10.18546/lre.15.3.05 Hallam, S. (2018). Can a rhythmic intervention support reading development in poor readers? Psychology of Music , 47(5), 722–735. https://doi. org/10.1177/0305735618771491 Hallam, S., Burnard, P ., Robertson, A., Saleh, C., Davies, V., Rogers, L., & Kokatsaki, D. (2009). Trainee primary-school teachers’ perceptions of their effectiveness in teaching music. Music Education Research , 11(2), 221–240. https://doi.org/10.1080/14613800902924508 Hallam, S., & Burns, S. (2018a). Progression in instrumental music making for learners from disadvantaged communities: A literature review . Opera North/Arts Council England. Hallam, S., & Burns, S. (2018b). Research into support for musical progression for young people from In Harmony programmes and other disadvantaged communities . Opera North/Arts Council England. Hallam, S., & Creech, A. (2016). Can active music making promote health and well-being in older citizens? Findings of the music for life project. London Journal of Primary Care , 8(2), 21–25. https://doi.org/10.1080/17571472.2016 .1152099 Hallam, S., Creech, A., & McQueen, H. (2015). Teachers’ perceptions of the impact on students of the Musical Futures approach. Music Education Research , 19(3), 263–275. https://doi.org/10.1080/14613808.2015.1108299 Hallam, S., Creech, A., & McQueen, H. (2016a). The perceptions of non music staff and senior management of the impact of the implementation of the Musical Futures approach on the whole school. British Journal of Music Education , 33(2), 133–157. https://doi.org/10.1017/s0265051716000139 Hallam, S., Creech, A., & McQueen, H. (2016b). Pupils’ perceptions of informal learning in school music lessons. Music Education Research , 20(2), 213–230. https://doi.org/10.1080/14613808.2016.1249358 Hallam, S., Creech, A., & Papageorgi, I. (2009). EMI Music Sound Foundation: Evaluation of the Impact of Additional Training in the Delivery of Music at Key Stage 1. Institute of Education. https://discovery.ucl.ac.uk/id/eprint/10002299/ .666 The Power of Music Hallam, S., Creech, A., & Varvarigou, M. (2017). Well-being and music leisure activity through the lifespan: A psychological perspective. In R. Mantie & G. D. Smith (Eds), Oxford Handbook of Music Making and Leisure (pp. 31–60). Oxford University Press. Hallam, S., Creech, A., Varvarigou, M., & McQueen, H. (2012). Perceived benefits of active engagement with making music in community settings. International Journal of Community Music , 5(2), 155–174. https://doi. org/10.1386/ijcm.5.2.155_1 Hallam, S., Creech, A., Varvarigou, M., McQueen, H., & Gaunt, H. (2013). Does active engagement in community music support the well-being of older people? Arts & Health , 6(2), 101–116. https://doi.org/10.1080/17533015.20 13.809369 Hallam, S., Cross, I., & Thaut, M. (Eds). (2012). Oxford Handbook of Music Psychology . Oxford University Press. https://doi.org/10.1093/ oxfordhb/9780199298457.001.0001 Hallam, S., & Godwin, C. (2015). Actual and perceived effects of background music on creative writing in the primary classroom. Psychology of Education Review , 39(2), 15–21. Hallam, S., & MacDonald, R. (2012). The effects of music in community and educational settings (S. Hallam, I. Cross, & M. Thaut, Eds.). Oxford University Press. https://doi.org/10.1093/oxfordhb/9780199298457.013.0044 Hallam, S., & Price, J. (2003). Research Section: Can the use of background music improve the behaviour and academic performance of children with emotional and behavioural difficulties? British Journal of Special Education , 25(2), 88–91. https://doi.org/10.1111/1467-8527.t01-1-00063 Hallam, S., Price, J., & Katsarou, G. (2002). The Effects of Background Music on Primary School Pupils’ Task Performance. Educational Studies , 28(2), 111–122. https://doi.org/10.1080/03055690220124551 Hallam, S., & Prince, V. (2000). Research into instrumental music services . Department for Education and Employment. Hallam, S., & Rogers, K. (2016). The impact of instrumental music learning on attainment at age 16: A pilot study. British Journal of Music Education , 33(3), 247–261, https://doi.org/10.1017/S0265051716000371.155 . Hallberg, K. A., Martin, W. E., & McClure, J. R. (2017). The impact of music instruction on attention in kindergarten children. Psychomusicology: Music, Mind, and Brain , 27(2), 113–121. https://doi.org/10.1037/pmu0000177 Halpern, A. R., & Bower, G. H. (1982). Musical Expertise and Melodic Structure in Memory for Musical Notation. The American Journal of Psychology , 95(1), 31. https://doi.org/10.2307/1422658 667 Bibliography Hämäläinen, J. A., Salminen, H. K., & Leppänen, P . H. T. (2012). Basic Auditory Processing Deficits in Dyslexia. Journal of Learning Disabilities , 46(5), 413–427. https://doi.org/10.1177/0022219411436213 Hämäläinen, S., Salamonsen, A., Mehus, G., Schirmer, H., Graff, O., & Musial, F. (2021). Yoik in Sami elderly and dementia care – a potential for culturally sensitive music therapy? Nordic Journal of Music Therapy , 30(5), 404–423. https://doi.org/10.1080/08098131.2020.1849364 Hamann, D., & Aderman, M. (1991). Arts experiences and creativity scores of high school students. Contributions to Music Education , 18, 36–47. Hamann, D., Bourassa, R., & Aderman, M. (1991). Arts experiences and creativity scores of high school students. Contribution to Music Education , 14, 35–47. Hamann, D. L., Bourassa, R., & Aderman, M. (1990). Creativity and the arts. Dialogue in Instrumental Music. Music[MP179] Education , 14(2), 59–68. Hamilton, T. J., Doai, J., Milne, A., Saisanas, V., Calilhanna, A., Hilton, C., Goldwater, M., & Cohn, R. (2018, December). Teaching Mathematics with Music: A Pilot Study. 2018 IEEE International Conference on Teaching, Assessment, and Learning for Engineering (TALE) . https://doi.org/10.1109/ tale.2018.8615262 Hampshire, K. R., & Matthijsse, M. (2010). Can arts projects improve young people’s wellbeing? A social capital approach. Social Science & Medicine , 71(4), 708–716. https://doi.org/10.1016/j.socscimed.2010.05.015 Hampton, A., Ford, A., Cox, R. E., Liu, C., & Koh, R. (2019). Effects of music on behavior and physiological stress response of domestic cats in a veterinary clinic. Journal of Feline Medicine and Surgery , 22(2), 122–128. https://doi. org/10.1177/1098612x19828131 Hamza, S. A., & Johan, A. (2020). MALAYSIAN MUSIC AND SOCIAL COHESION: CONTEMPORARY RESPONSES TO POPULAR P ATRIOTIC SONGS FROM THE 1950s – 1990s. Journal of Southeast Asian Studies , 25(1), 191–209. https://doi.org/10.22452/jati.vol25no1.10 Han, Y., Yang, H., Lv, Y.-T., Zhu, C.-Z., He, Y., Tang, H.-H., Gong, Q.-Y., Luo, Y.-J., Zang, Y.-F., & Dong, Q. (2009). Gray matter density and white matter integrity in pianists’ brain: A combined structural and diffusion tensor MRI study. Neuroscience Letters , 459(1), 3–6. https://doi.org/10.1016/j. neulet.2008.07.056 Haner, D., Pepler, D., Cummings, J., & Rubin-Vaughan, A. (2009). The Role of Arts-Based Curricula in Bullying Prevention: Elijah’s Kite—A Children’s Opera. Canadian Journal of School Psychology , 25(1), 55–69. https://doi. org/10.1177/0829573509349031 Haning, M. (2016). The association between music training, background music, and adult reading comprehension. Contributions to Music Education , 41, 131–143.668 The Power of Music Hanna-Pladdy, B., & Gajewski, B. (2012). Recent and Past Musical Activity Predicts Cognitive Aging Variability: Direct Comparison with General Lifestyle Activities. Frontiers in Human Neuroscience , 6. https://doi. org/10.3389/fnhum.2012.00198 Hanna-Pladdy, B., & MacKay, A. (2011). The relation between instrumental musical activity and cognitive aging. Neuropsychology , 25(3), 378–386. https://doi.org/10.1037/a0021895 Hannigan, P . D., & McBride, D. L. (2011). Drumming with Intimate Partner Violence Clients: Getting into the Beat$\textbackslashmathsemicolon$ Therapists’ Views on the Use of Drumming in Family Violence Treatment Groups. Canadian Art Therapy Association Journal , 24(1), 2–9. https://doi.org /10.1080/08322473.2011.11434787 Hannon, E. E., & Trainor, L. J. (2007). Music acquisition: Effects of enculturation and formal training on development. Trends in Cognitive Sciences , 11(11), 466–472. https://doi.org/10.1016/j.tics.2007.08.008 Hansen, M., Wallentin, M., & Vuust, P . (2012). Working memory and musical competence of musicians and non-musicians. Psychology of Music , 41(6), 779–793. https://doi.org/10.1177/0305735612452186 Hanser, S. B. (1993). Music, Health, and Well-Being. In Handbook of Music and Emotion: Theory, Research, Applications (pp. 849–877). Oxford University Press. https://doi.org/10.1093/acprof :oso/9780199230143.003.0030 Hanser, S. B., & Thompson, L. W. (1994). Effects of a Music Therapy Strategy on Depressed Older Adults. Journal of Gerontology , 49(6), P265–P269. https:// doi.org/10.1093/geronj/49.6.p265 Hanson, M. (2003). Effects of sequenced Kodaly literary based music instructions on the spatial reasoning skills of kindergarten students. Research and Issues in Music Education , 1(1), 4. Harding, E. E., Sammler, D., Henry, M. J., Large, E. W., & Kotz, S. A. (2019). Cortical tracking of rhythm in music and speech. NeuroImage , 185, 96–101. https://doi.org/10.1016/j.neuroimage.2018.10.037 Hargreaves, D. J., MacDonald, R. A. R., & Miell, D. E. (2002). What are musical identities, and why are they important? In R. A. R. MacDonald, D. J. Hargreaves, & D. E. Miell (Eds), Musical Identities (pp. 1–20). Oxford University Press. Hargreaves, D. J., North, A. C., & Tarrant, M. (2006). Musical Preference and Taste in Childhood and Adolescence. In The Child as Musician (pp. 135–154). Oxford University Press. https://doi.org/10.1093/acprof : oso/9780198530329.003.0007 Hargreaves, D., & Lamont, A. (2017). The Psychology of Musical Development . Cambridge University Press. https://doi.org/10.1017/9781107281868 669 Bibliography Harland, J., Kinder, K., Lord, P ., Stott, A., Schagen, I., & Haynes, J. (2000). Arts education in secondary schools: Effects and effectiveness . The Arts Council of. Harmon, L., Pelosi, G., Pickwick, T., & Troester, K. (2008). The effects of different types of music on cognitive abilities. Journal of Undergraduate Psychological Research , 3, 41–46. Harrer, G., & Harrer, H. (1977). Music, emotion and autonomous function. In M. Critchley & R. A. Henson (Eds), Music and the brain: Studies in the neurology of music (pp. 202–216). William Heinemann. Harris, D. A. (2007). Dance/movement therapy approaches to fostering resilience and recovery among African adolescent torture survivors. Torture , 17(2), 134–155. Harris, I., & Cross, I. (2021). Investigating Everyday Musical Interaction During COVID-19: An Experimental Procedure for Exploring Collaborative Playlist Engagement. Frontiers in Psychology , 12. https://doi.org/10.3389/ fpsyg.2021.647967 Harrison, C. S. (1990). Predicting Music Theory Grades: The Relative Efficiency of Academic Ability, Music Experience, and Musical Aptitude. Journal of Research in Music Education , 38(2), 124–137. https://doi.org/10.2307/3344932 Hars, M., Herrmann, F. R., Gold, G., Rizzoli, R., & Trombetti, A. (2013). Effect of music-based multitask training on cognition and mood in older adults. Age and Ageing , 43(2), 196–200. https://doi.org/10.1093/ageing/aft163 Harvey, A. R. (2018). Music and the Meeting of Human Minds. Frontiers in Psychology , 9. https://doi.org/10.3389/fpsyg.2018.00762 Hashemian, P ., Mashoogh, N., & Jarahi, L. (2015). Effectiveness of Music Therapy on Aggressive Behavior of Visually Impaired Adolescents. Journal of Behavioral and Brain Science , 05(03), 96–100. https://doi.org/10.4236/ jbbs.2015.53009 Haskell, E. (2005). International Cultural Aid and the Case of Guca Gora, Bosnia. ICTM World Conference 2005 . Haslinger, B., Erhard, P ., Altenmüller, E., Hennenlotter, A., Schwaiger, M., Einsiedel, H. G. von, Rummeny, E., Conrad, B., & Ceballos-Baumann, A. O. (2004). Reduced recruitment of motor association areas during bimanual coordination in concert pianists. Human Brain Mapping , 22(3), 206–215. https://doi.org/10.1002/hbm.20028 Hausmann, M., Ergun, G., Yazgan, Y., & Güntürkün, O. (2002). Sex differences in line bisection as a function of hand. Neuropsychologia , 40(3), 235–240. https://doi.org/10.1016/s0028-3932(01)00112-9 Hay, M. (2013). Summary of nPC/noFA research findings. In Unpublished Personal notes. New Philanthropy Capital (NPC) with National Orchestra for All (NOFA .670 The Power of Music Hays, T., & Minichiello, V. (2005). The meaning of music in the lives of older people: A qualitative study. Psychology of Music , 33(4), 437–451. https://doi. org/10.1177/0305735605056160 Haywood, S., Griggs, J., Lloyd, C., Morris, S., Kiss, Z., & Skipp, A. (2015). Creative futures: Act, sing, play. Evaluation report and executive summary . Educational Endowment Foundation. Heidenrich, V. (2005). Music therapy in war-affected areas. Intervention , 3(2), 129–134. Helmbold, N., Rammsayer, T., & Altenmüller, E. (2005). Differences in Primary Mental Abilities Between Musicians and Nonmusicians. Journal of Individual Differences , 26(2), 74–85. https://doi.org/10.1027/1614-0001.26.2.74 Henderson, M. T., Crews, A., & Barlow, J. (1945). A study of the effect of music distraction on reading efficiency. Journal of Applied Psychology , 29(4), 313– 317. https://doi.org/10.1037/h0056128 Henderson, S., Cain, M., Istvandity, L., & Lakhani, A. (2016). The role of music participation in positive health and wellbeing outcomes for migrant populations: A systematic review. Psychology of Music , 45(4), 459–478. https://doi.org/10.1177/0305735616665910 Henderson, S. M. (1983). Effects of a Music Therapy Program Upon Awareness of Mood in Music, Group Cohesion, and Self-Esteem Among Hospitalized Adolescent Patients. Journal of Music Therapy , 20(1), 14–20. https://doi. org/10.1093/jmt/20.1.14 Hendon, C., & Bohon, L. M. (2008). Hospitalized children’s mood differences during play and music therapy. Child: Care, Health and Development , 34(2), 141–144. https://doi.org/10.1111/j.1365-2214.2007.00746.x Henley, D. (2011). Importance of Music: The National Plan for Music Education . Department for Education Publications. https://www.gov.uk/government/ uploads/system/uploads/attachment_data/file/180973/DFE-00086-2011. pdf. Henley, J. (2014). Musical learning and desistance from crime: The case of a `Good Vibrations’ Javanese gamelan project with young offenders. Music Education Research , 17(1), 103–120. https://doi.org/10.1080/14613808.2014. 933791 Henley, J., Caulfield, L. S., Wilson, D., & Wilkinson, D. J. (2012). Good Vibrations: Positive change through social music-making. Music Education Research , 14(4), 499–520. https://doi.org/10.1080/14613808.2012.714765 Henley, J., & Parks, J. (2020). The pedagogy of a prison and community music programme: Spaces for conflict and safety. International Journal of Community Music , 13(1), 7–27. https://doi.org/10.1386/ijcm_00008_1 671 Bibliography HENNESSEY, B. A., & AMABILE, T. M. (1988). Story-telling: A Method For Assessing Children’s Creativity. The Journal of Creative Behavior , 22(4), 235– 246. https://doi.org/10.1002/j.2162-6057.1988.tb00502.x Henry, M., & Braucht, M. (2007). Are all-state musicians our future music educators? Southwestern Musician , 186 36-37. Hense, C., & McFerran, K. S. (2017). Promoting young people’s musical identities to facilitate recovery from mental illness. Journal of Youth Studies , 20(8), 997–1012. https://doi.org/10.1080/13676261.2017.1287888 Hepper, P . G. (1991). An Examination of Fetal Learning Before and After Birth. The Irish Journal of Psychology , 12(2), 95–107. https://doi.org/10.1080/03033 910.1991.10557830 Herbert, R. (2011). Musical and non-musical involvement in daily life: The case of absorption. Musicae Scientiae , 16(1), 41–66. https://doi. org/10.1177/1029864911423161 Herdener, M., Esposito, F., Salle, F. di, Boller, C., Hilti, C. C., Habermeyer, B., Scheffler, K., Wetzel, S., Seifritz, E., & Cattapan-Ludewig, K. (2010). Musical Training Induces Functional Plasticity in Human Hippocampus. Journal of Neuroscience , 30(4), 1377–1384. https://doi.org/10.1523/ jneurosci.4513-09.2010 Herdener, M., Humbel, T., Esposito, F., Habermeyer, B., Cattapan-Ludewig, K., & Seifritz, E. (2012). Jazz Drummers Recruit Language-Specific Areas for the Processing of Rhythmic Structure. Cerebral Cortex , 24(3), 836–843. https://doi.org/10.1093/cercor/bhs367 Herholz, S. C., & Zatorre, R. J. (2012). Musical Training as a Framework for Brain Plasticity: Behavior, Function, and Structure. Neuron , 76(3), 486–502. https:// doi.org/10.1016/j.neuron.2012.10.011 Hernandez-Ruiz, E. (2019). Feasibility of Parent Coaching of Music Interventions for Children With Autism Spectrum Disorder. Music Therapy Perspectives , 38(2), 195–204. https://doi.org/10.1093/mtp/miz016 Hess, C. D. (1956). An appraisal of the program of music education at the California Institute for Men [PhD Thesis]. Claremont College. Hesser, B., & Heinemann, H. (Eds). (2010). Music as a natural resource: Solutions for social and economic issues . United Nations. HESTER, R. L., KINSELLA, G. J., & ONG, B. (2004). Effect of age on forward and backward span tasks. Journal of the International Neuropsychological Society , 10(4), 475–481. https://doi.org/10.1017/s1355617704104037 Hetland, L. (2000a). Learning to make music enhances spatial reasoning. Journal of Aesthetic Education , 34(3/4). Hetland, L. (2000b). Listening to Music Enhances Spatial-Temporal Reasoning: Evidence for the ‘Mozart Effect’. Journal of Aesthetic Education , 34(3/4), 105. https://doi.org/10.2307/3333640672 The Power of Music Heye, A., & Lamont, A. (2010). Mobile listening situations in everyday life: The use of MP3 players while travelling. Musicae Scientiae , 14(1), 95–120. https:// doi.org/10.1177/102986491001400104 Hickey, M. (2018). “We all Come Together to Learn About Music”: A Qualitative Analysis of a 5-Year Music Program in a Juvenile Detention Facility. International Journal of Offender Therapy and Comparative Criminology , 62(13), 4046–4066. https://doi.org/10.1177/0306624x18765367 Hickok, G. (2012). Computational neuroanatomy of speech production. Nature Reviews Neuroscience , 13(2), 135–145. https://doi.org/10.1038/nrn3158 Hickok, G., & Poeppel, D. (2000). Towards a functional neuroanatomy of speech perception. Trends in Cognitive Sciences , 4(4), 131–138. https://doi. org/10.1016/s1364-6613(00)01463-7 Hickok, G., & Poeppel, D. (2007). The cortical organization of speech processing. Nature Reviews Neuroscience , 8(5), 393–402. https://doi.org/10.1038/nrn2113 Hietolahti-Ansten, M., & Kalliopuska, M. (1990). Self-Esteem and Empathy among Children Actively Involved in Music. Perceptual and Motor Skills , 71(3_suppl), 1364–1366. https://doi.org/10.2466/pms.1990.71.3f.1364 Higgins, W. (1972). A study of the effect of participation in a high school band on academic achievement and social adjustment. Journal of Band Research , 9, 12–16. Hille, A., & Schupp, J. (2015). How learning a musical instrument affects the development of skills. Economics of Education Review , 44, 56–82. https://doi. org/10.1016/j.econedurev.2014.10.007 Hille, K., Gust, K., Bitz, U., & Kammer, T. (2011a). Associations between music education, intelligence, and spelling ability in elementary school. Advances in Cognitive Psychology , 7(1), 1–6. https://doi.org/10.2478/v10053-008-0082-4 Hille, K., Gust, K., Bitz, U., & Kammer, T. (2011b). Associations between music education, intelligence, and spelling ability in elementary school. Advances in Cognitive Psychology , 7(1), 1–6. https://doi.org/10.2478/v10053-008-0082-4 Hilliard, O. M., & Tolin, P . (1979). Effect of Familiarity with Background Music on Performance of Simple and Difficult Reading Comprehension Tasks. Perceptual and Motor Skills , 49(3), 713–714. https://doi.org/10.2466/ pms.1979.49.3.713 Hillier, A., Greher, G., Poto, N., & Dougherty, M. (2011). Positive outcomes following participation in a music intervention for adolescents and young adults on the autism spectrum. Psychology of Music , 40(2), 201–215. https:// doi.org/10.1177/0305735610386837 Hillman, S. (2002). Participatory singing for older people: A perception of benefit. Health Education , 102(4), 163–171. https://doi. org/10.1108/09654280210434237 673 Bibliography Hines, S. W. (2000). The effects of motoric and non-motoric music instruction on reading and mathematics achievements of learning disabled students in kindergarten through ninth grade [Doctoral dissertation.]. The University of North Carolina at Greensboro. Hippel, N., & Laabs, F. (2006). Musiktherapie in der Schule – ein neues Arbeitsfeld Für Musiktherapeuten? Musiktherapeutische Umschau , 27(3), 280–289. Hirokawa, E. (2004). Effects of Music Listening and Relaxation Instructions on Arousal Changes and the Working Memory Task in Older Adults. Journal of Music Therapy , 41(2), 107–127. https://doi.org/10.1093/jmt/41.2.107 Hirokawa, E., & Ohira, H. (2003). The Effects of Music Listening after a Stressful Task on Immune Functions, Neuroendocrine Responses, and Emotional States in College Students. Journal of Music Therapy , 40(3), 189–211. https:// doi.org/10.1093/jmt/40.3.189 Hirshkowitz, M., Earle, J., & Paley, B. (1978). EEG alpha asymmetry in musicians and non-musicians: A study of hemispheric specialization. Neuropsychologia , 16(1), 125–128. https://doi.org/10.1016/0028-3932(78)90052-0 Hirst, E., & Robertshaw, D. (2003). Breaking the Cycle of Failure: Examining the Impact of Arts Activity on Young People Attending Pupil Referral Units in Doncaster . Darts. Hirt-Mannheimer, J. (1995). Making Music Big for Little Folks. Teaching Music , 3(2), 38–39, 62. Hitch, R. (2010). Removing ‘Roadblocks’: What is the role of music therapy in mainstream schools in promoting inclusion of children with special educational needs? And does this environment impact practice? Unpublished Master’s dissertation . Roehampton University. Ho, P ., Tsao, J. C. I., Bloch, L., & Zeltzer, L. K. (2011). The impact of group drumming on social-emotional behavior in low-income children . https://doi.org/10.1093/ ecam/neq072 . Ho, Y.-C., Cheung, M.-C., & Chan, A. S. (2003a). Music training improves verbal but not visual memory: Cross-sectional and longitudinal explorations in children. Neuropsychology , 17(3), 439–450. https://doi. org/10.1037/0894-4105.17.3.439 Ho, Y.-C., Cheung, M.-C., & Chan, A. S. (2003b). Music training improves verbal but not visual memory: Cross-sectional and longitudinal explorations in children. Neuropsychology , 17(3), 439–450. https://doi. org/10.1037/0894-4105.17.3.439 Ho, Y.-C., Cheung, M.-C., & Chan, A. S. (2003c). Music training improves verbal but not visual memory: Cross-sectional and longitudinal explorations in children. Neuropsychology , 17(3), 439–450. https://doi. org/10.1037/0894-4105.17.3.439674 The Power of Music Ho, Y.-C., Cheung, M.-C., & Chan, A. S. (2003d). Music training improves verbal but not visual memory: Cross-sectional and longitudinal explorations in children. Neuropsychology , 17(3), 439–450. https://doi. org/10.1037/0894-4105.17.3.439 Hodges, D. A., & O’Connell, D. S. (2007). The impact of music education on academic achievement. In Sounds of Learning Report . NAMM Foundation Sounds of Learning.[MP193. Hodson, R. G. (1951). A survey of music education programs in state prisons [PhD Thesis]. University of Denver. Hoffman, D. S. (1995). Relationships between Academic Achievement and Participation in a comprehensive and sequential keyboard-based public school music education programme [Doctoral dissertation.]. University of South Carolina. Hohmann, L., Bradt, J., Stegemann, T., & Koelsch, S. (2017). Effects of music therapy and music-based interventions in the treatment of substance use disorders: A systematic review. PLOS ONE , 12(11), e0187363. https://doi. org/10.1371/journal.pone.0187363 Hole, J., Hirsch, M., Ball, E., & Meads, C. (2015). Music as an aid for postoperative recovery in adults: A systematic review and meta-analysis. The Lancet , 386(10004), 1659–1671. https://doi.org/10.1016/s0140-6736(15)60169-6 Hollingworth, L. (1926). Musical sensitivity of children who test above 135 IQ (Standford Binet. Journal of Educational Psychology , 17, 95–105. Holmes, S. (2017). The impact of participation in music on learning mathematics. Unpublished doctoral dissertation . University College London. Holmes, S. (2021). The wider cognitive benefits of engagement with music. In Routledge International Handbook of Music Psychology in Education and the Community (pp. 38–51). Routledge. https://doi.org/10.4324/9780429295362-5 Holmes, S., & Hallam, S. (2017). The impact of participation in music on learning mathematics. London Review of Education . https://doi.org/10.18546/ lre.15.3.07 Holochwost, S. J., Propper, C. B., Wolf, D. P ., Willoughby, M. T., Fisher, K. R., Kolacz, J., Volpe, V. V., & Jaffee, S. R. (2017). Music education, academic achievement, and executive functions. Psychology of Aesthetics, Creativity, and the Arts , 11(2), 147–166. https://doi.org/10.1037/aca0000112 Hong, E., & Milgram, R. M. (2010). Creative Thinking Ability: Domain Generality and Specificity. Creativity Research Journal , 22(3), 272–287. https://doi.org/1 0.1080/10400419.2010.503535 Horton, M. M. (2005). The Effect of Stepping as a Group Music Therapy Intervention on Group Cohesion and Positive Oral Statements of African-American Female Adolescents Attending an Educational Treatment Center [PhD Thesis]. Florida State University. 675 Bibliography HOUSTON, D. M., MCKEE, K. J., CARROLL, L., & MARSH, H. (1998). Using humour to promote psychological wellbeing in residential homes for older people. Aging & Mental Health , 2(4), 328–332. https://doi. org/10.1080/13607869856588 Hove, M. J., & Risen, J. L. (2009). It’s All in the Timing: Interpersonal Synchrony Increases Affiliation. Social Cognition , 27(6), 949–960. https://doi. org/10.1521/soco.2009.27.6.949 Hsieh, S., & Lin, Y.-C. (2014). The boundary condition for observing compensatory responses by the elderly in a flanker-task paradigm. Biological Psychology , 103, 69–82. https://doi.org/10.1016/j.biopsycho.2014.08.008 Hudson, R. (2003). Songs of seduction: Popular music and Serbian nationalism. Patterns of Prejudice , 37(2), 157–176. https://doi. org/10.1080/0031322032000084688 Hudziak, J. J., Albaugh, M. D., Ducharme, S., Karama, S., Spottswood, M., Crehan, E., Evans, A. C., & Botteron, K. N. (2014). Cortical Thickness Maturation and Duration of Music Training: Health-Promoting Activities Shape Brain Development. Journal of the American Academy of Child & Adolescent Psychiatry , 53(11), 1153–1161.e2. https://doi.org/10.1016/j.jaac.2014.06.015 Hughes, D. J., Furnham, A., & Batey, M. (2013). The structure and personality predictors of self-rated creativity. Thinking Skills and Creativity , 9, 76–84. https://doi.org/10.1016/j.tsc.2012.10.001 Hughes, J. (2005). Doing the Arts Justice: A Review of Research Literature, Practice and Theory . http://webarchive.nationalarchives.gov.uk/+/ Humpal, M. (1991). The Effects of an Integrated Early Childhood Music Program on Social Interaction Among Children with Handicaps and Their Typical Peers. Journal of Music Therapy , 28(3), 161–177. https://doi.org/10.1093/ jmt/28.3.161 Humpal, M. E., & Wolf, J. (2007). Music in the inclusive classroom. Young Children , 58(2), 103–107. Hund-Georgiadis, M., & Cramon, D. Y. von. (1999). Motor-learning-related changes in piano players and non-musicians revealed by functional magnetic-resonance signals. Experimental Brain Research , 125(4), 417–425. https://doi.org/10.1007/s002210050698 Hunt, M. (2005). Action Research and Music Therapy: Group Music Therapy with Young Refugees in a School Community. Voices: A World Forum for Music Therapy , 5(2). https://doi.org/10.15845/voices.v5i2.223 Hunter, P . G., & Schellenberg, E. G. (2010). Music and Emotion. In Music Perception (pp. 129–164). Springer New York. https://doi. org/10.1007/978-1-4419-6114-3_5 Huotilainen, M. (2010). Building blocks of fetal cognition: Emotion and language. Infant and Child Development , 19(1), 94–98. https://doi.org/10.1002/icd.658676 The Power of Music Huotilainen, M., & Tervaniemi, M. (2018). Planning music-based amelioration and training in infancy and childhood based on neural evidence. Annals of the New York Academy of Sciences , 1423 (1), 146–154. https://doi.org/10.1111/ nyas.13655 Huppert, F. A., & So, T. T. C. (2011). Flourishing Across Europe: Application of a New Conceptual Framework for Defining Well-Being. Social Indicators Research , 110(3), 837–861. https://doi.org/10.1007/s11205-011-9966-7 HURON, D. (2001a). Is Music an Evolutionary Adaptation? Annals of the New York Academy of Sciences , 930(1), 43–61. https://doi.org/10.1111/j.1749-6632.2001. tb05724.x HURON, D. (2001b). Is Music an Evolutionary Adaptation? Annals of the New York Academy of Sciences , 930(1), 43–61. https://doi.org/10.1111/j.1749-6632.2001. tb05724.x Huron, D. (2006). Sweet Anticipation . The MIT Press. https://doi.org/10.7551/ mitpress/6575.001.0001 Huron, D., & Vuoskoski, J. K. (2020). On the Enjoyment of Sad Music: Pleasurable Compassion Theory and the Role of Trait Empathy. Frontiers in Psychology , 11. https://doi.org/10.3389/fpsyg.2020.01060 Hurwitz, E. R., & Krumhansl, C. L. (2021). Shifting Listening Niches: Effects of the COVID-19 Pandemic. Frontiers in Psychology , 12. https://doi.org/10.3389/ fpsyg.2021.648413 Hurwitz, I., Wolff, P . H., Bortnick, B. D., & Kokas, K. (1975). Nonmusicol Effects of the Kodaly Music Curriculum in Primary Grade Children. Journal of Learning Disabilities , 8(3), 167–174. https://doi.org/10.1177/002221947500800310 Husain, G., Thompson, W. F., & Schellenberg, E. G. (2002). Effects of Musical Tempo and Mode on Arousal, Mood, and Spatial Abilities. Music Perception , 20(2), 151–171. https://doi.org/10.1525/mp.2002.20.2.151 Huss, E., Kaufman, R., Avgar, A., & Shuker, E. (2015). Arts as a vehicle for community building and post-disaster development. Disasters , 40(2), 284– 303. https://doi.org/10.1111/disa.12143 Huss, M., Verney, J. P ., Fosker, T., Mead, N., & Goswami, U. (2011). Music, rhythm, rise time perception and developmental dyslexia: Perception of musical meter predicts reading and phonology. Cortex , 47(6), 674–689. https://doi.org/10.1016/j.cortex.2010.07.010 Hutchinson, S. (2003). Cerebellar Volume of Musicians. Cerebral Cortex , 13(9), 943–949. https://doi.org/10.1093/cercor/13.9.943 Hutchinson, S. L., Baldwin, C. K., & Oh, S.-S. (2006). Adolescent Coping: Exploring Adolescents’ Leisure-Based Responses to Stress. Leisure Sciences , 28(2), 115–131. https://doi.org/10.1080/01490400500483984 Hutka, S., Bidelman, G. M., & Moreno, S. (2015). Pitch expertise is not created equal: Cross-domain effects of musicianship and tone language experience on 677 Bibliography neural and behavioural discrimination of speech and music. Neuropsychologia , 71, 52–63. https://doi.org/10.1016/j.neuropsychologia.2015.03.019 Hwang, A. H.-C., Oh, J., & Scheinbaum, A. C. (2020). Interactive music for multisensory e-commerce: The moderating role of online consumer involvement in experiential value, cognitive value, and purchase intention. Psychology & Marketing , 37(8), 1031–1056. https://doi.org/10.1002/mar.21338 Hyde, K. L., Lerch, J., Norton, A., Forgeard, M., Winner, E., Evans, A. C., & Schlaug, G. (2009). Musical Training Shapes Structural Brain Development. Journal of Neuroscience , 29(10), 3019–3025. https://doi.org/10.1523/ jneurosci.5118-08.2009 Hyyppä, M. T., & Mäki, J. (2001). Individual-Level Relationships between Social Capital and Self-Rated Health in a Bilingual Community. Preventive Medicine , 32(2), 148–155. https://doi.org/10.1006/pmed.2000.0782 Ilari, B. (2016). Music in the early years: Pathways into the social world. Research Studies in Music Education , 38(1), 23–39. https://doi. org/10.1177/1321103x16642631 Ilari, B. (2017). Children’s ethnic identity, cultural diversity, and music education. In R. A. R. MacDonald, D. J. Hargreaves, & D. E. Miell (Eds), Handbook of Musical Identities (pp. 527–542). Oxford University Press. Ing-Randolph, A. R., Phillips, L. R., & Williams, A. B. (2015). Group music interventions for dementia-associated anxiety: A systematic review. International Journal of Nursing Studies , 52(11), 1775–1784. https://doi. org/10.1016/j.ijnurstu.2015.06.014 Ireland, K., Parker, A., Foster, N., & Penhune, V. (2018). Rhythm and Melody Tasks for School-Aged Children With and Without Musical Training: Age- Equivalent Scores and Reliability. Frontiers in Psychology , 9. https://doi. org/10.3389/fpsyg.2018.00426 Irish, M., Cunningham, C. J., Walsh, J. B., Coakley, D., Lawlor, B. A., Robertson, I. H., & Coen, R. F. (2006). Investigating the Enhancing Effect of Music on Autobiographical Memory in Mild Alzheimer’s Disease. Dementia and Geriatric Cognitive Disorders , 22(1), 108–120. https://doi.org/10.1159/000093487 Irons, J. Y., Sheffield, D., Ballington, F., & Stewart, D. E. (2019). A systematic review on the effects of group singing on persistent pain in people with long-term health conditions. European Journal of Pain , 24(1), 71–90. https:// doi.org/10.1002/ejp.1485 Ishar, M. S., Mubarak, K. M., & Shameem, A. (2017). Interior atmosphere: Does it really have an impact on consumer purchasing behaviour at self-serving convenience stores. Journal of Marketing and Consumer Research , 31, 28 205. Israel, E. P . (2012). Instructor perception of El Sistema-based programs in the United States [Unpublished Master’s thesis.]. Faculty of the College of the Arts and Sciences, American University.678 The Power of Music Istvandity, L. (2017). Combining music and reminiscence therapy interventions for wellbeing in elderly populations: A systematic review. Complementary Therapies in Clinical Practice , 28, 18–25. https://doi.org/10.1016/j. ctcp.2017.03.003 Ivanov, V. K., & Geake, J. G. (2003). The Mozart Effect and Primary School Children. Psychology of Music , 31(4), 405–413. https://doi. org/10.1177/03057356030314005 Iwanaga, M., & Moroki, Y. (1999). Subjective and Physiological Responses to Music Stimuli Controlled Over Activity and Preference. Journal of Music Therapy , 36(1), 26–38. https://doi.org/10.1093/jmt/36.1.26 J., C. H., & M, S. C. (1994). Effects of vocal and instrumental music on visuospatial and verbal performance as moderated by studying preference and personality. Personality and Individual Differences , 16, 237–245, https:// doi.org/10.1016/0191-8869(94)90162- . Jakobson, L. S., Cuddy, L. L., & Kilgour, A. R. (2003). Time Tagging: A Key to Musicians’ Superior Memory. Music Perception , 20(3), 307–313. https://doi. org/10.1525/mp.2003.20.3.307 Jakobson, L. S., Lewycky, S. T., Kilgour, A. R., & Stoesz, B. M. (2008). Memory for Verbal and Visual Material in Highly Trained Musicians. Music Perception , 26(1), 41–55. https://doi.org/10.1525/mp.2008.26.1.41 James, C. E., Altenmüller, E., Kliegel, M., Krüger, T. H. C., Ville, D. V. D., Worschech, F., Abdili, L., Scholz, D. S., Jünemann, K., Hering, A., Grouiller, F., Sinke, C., & Marie, D. (2020). Train the brain with music (TBM): Brain plasticity and cognitive benefits induced by musical training in elderly people in Germany and Switzerland, a study protocol for an RCT comparing musical instrumental practice to sensitization to music. BMC Geriatrics , 20(1). https://doi.org/10.1186/s12877-020-01761-y James, C. E., Oechslin, M. S., Ville, D. V. D., Hauert, C.-A., Descloux, C., & Lazeyras, F. (2013). Musical training intensity yields opposite effects on grey matter density in cognitive versus sensorimotor networks. Brain Structure and Function , 219(1), 353–366. https://doi.org/10.1007/s00429-013-0504-z James, C. E., Zuber, S., Dupuis-Lozeron, E., Abdili, L., Gervaise, D., & Kliegel, M. (2020). Formal String Instrument Training in a Class Setting Enhances Cognitive and Sensorimotor Development of Primary School Children. Frontiers in Neuroscience , 14. https://doi.org/10.3389/fnins.2020.00567 Jäncke, L. (2009). The plastic human brain. Restorative Neurology and Neuroscience , 27(5), 521–538. https://doi.org/10.3233/rnn-2009-0519 Jäncke, L. (2012). The Relationship between Music and Language. Frontiers in Psychology , 3. https://doi.org/10.3389/fpsyg.2012.00123 Jäncke, L., Brügger, E., Brummer, M., Scherrer, S., & Alahmadi, N. (2014). Verbal learning in the context of background music: No influence of vocals and 679 Bibliography instrumentals on verbal learning. Behavioral and Brain Functions , 10(1), 10. https://doi.org/10.1186/1744-9081-10-10 Jäncke, L., Gaab, N., Wüstenberg, T., Scheich, H., & Heinze, H.-J. (2001). Short-term functional plasticity in the human auditory cortex: An fMRI study. Cognitive Brain Research , 12(3), 479–485. https://doi.org/10.1016/ s0926-6410(01)00092-1 Jäncke, L., & Sandmann, P . (2010). Music listening while you learn: No influence of background music on verbal learning. Behavioral and Brain Functions , 6(1), 3. https://doi.org/10.1186/1744-9081-6-3 Jäncke, L., Shah, N. J., & Peters, M. (2000). Cortical activations in primary and secondary motor areas for complex bimanual movements in professional pianists. Cognitive Brain Research , 10(1–2), 177–183. https://doi.org/10.1016/ s0926-6410(00)00028-8 Jantzen, M. G., Howe, B. M., & Jantzen, K. J. (2014). Neurophysiological evidence that musical training influences the recruitment of right hemispheric homologues for speech perception. Frontiers in Psychology , 5. https://doi. org/10.3389/fpsyg.2014.00171 Jantzen, M. G., Large, E. W., & Magne, C. (2016a). Editorial: Overlap of Neural Systems for Processing Language and Music. Frontiers in Psychology , 7. https://doi.org/10.3389/fpsyg.2016.00876 Jantzen, M. G., Large, E. W., & Magne, C. (2016b). Editorial: Overlap of Neural Systems for Processing Language and Music. Frontiers in Psychology , 7. https://doi.org/10.3389/fpsyg.2016.00876 Janus, M., Lee, Y., Moreno, S., & Bialystok, E. (2016). Effects of short-term music and second-language training on executive control. Journal of Experimental Child Psychology , 144, 84–97. https://doi.org/10.1016/j.jecp.2015.11.009 Janzen, T. B., & Thaut, M. H. (2018). Rethinking the role of music in the neurodevelopment of autism spectrum disorder . Music Science. Jaschke, A. C., Eggermont, L. H. P ., Honing, H., & Scherder, E. J. A. (2013). Music education and its effect on intellectual abilities in children: A systematic review. Reviews in the Neurosciences , 24(6). https://doi.org/10.1515/ revneuro-2013-0023 Jaschke, A. C., Honing, H., & Scherder, E. J. A. (2018a). Longitudinal Analysis of Music Education on Executive Functions in Primary School Children. Frontiers in Neuroscience , 12. https://doi.org/10.3389/fnins.2018.00103 Jaschke, A. C., Honing, H., & Scherder, E. J. A. (2018b). Exposure to a musically- enriched environment; Its relationship with executive functions, short-term memory and verbal IQ in primary school children. PLOS ONE , 13(11), e0207265. https://doi.org/10.1371/journal.pone.0207265680 The Power of Music JAUSOVEC, N., JAUSOVEC, K., & GERLIC, I. (2006). The influence of Mozart’s music on brain activity in the process of learning. Clinical Neurophysiology , 117(12), 2703–2714. https://doi.org/10.1016/j.clinph.2006.08.010 Jefferies, L. N., Smilek, D., Eich, E., & Enns, J. T. (2008). Emotional Valence and Arousal Interact in Attentional Control. Psychological Science , 19(3), 290–295. https://doi.org/10.1111/j.1467-9280.2008.02082.x Jellison, J. A., Brooks, B. H., & Huck, A. M. (1984). Structuring Small Groups and Music Reinforcement to Facilitate Positive Interactions and Acceptance of Severely Handicapped Students in the Regular Music Classroom. Journal of Research in Music Education , 32(4), 243–264. https://doi.org/10.2307/3344923 Jenkins, A. (2011). Participation in learning and wellbeing among older adults. International Journal of Lifelong Education , 30(3), 403–420. https://doi.org/10. 1080/02601370.2011.570876 Jenkins, C. (2006). Music therapy with adolescents with emotional and behavioural difficulties: A flexible approach. Unpublished postgraduate diploma dissertation . Guildhall School of Music and Drama. Jensen, A., & Bonde, L. O. (2018). The use of arts interventions for mental health and wellbeing in health settings. Perspectives in Public Health , 138(4), 209–214. https://doi.org/10.1177/1757913918772602 Jensen, A., Stickley, T., Torrissen, W., & Stigmar, K. (2016). Arts on prescription in Scandinavia: A review of current practice and future possibilities. Perspectives in Public Health , 137(5), 268–274. https://doi.org/10.1177/1757913916676853 Jensen, J. (1992). Fandom as pathology: The consequences of characterization (L. A. Lewis, Ed.). Routledge. Jentschke, S. (2016). The relationship between music and language. In I. S. Hallam, I. Cross, & M. Thaut (Eds), The Oxford Handbook of music psychology (pp. 343–355). Oxford University Press. Jentschke, S., & Koelsch, S. (2009). Musical training modulates the development of syntax processing in children. NeuroImage , 47(2), 735–744. https://doi. org/10.1016/j.neuroimage.2009.04.090 Jentzsch, I., Mkrtchian, A., & Kansal, N. (2014). Improved effectiveness of performance monitoring in amateur instrumental musicians. Neuropsychologia , 52, 117–124. https://doi.org/10.1016/j.neuropsychologia.2013.09.025 Jeong, Y.-J., Hong, S.-C., Lee, M. S., Park, M.-C., Kim, Y.-K., & Suh, C.-M. (2005). Dance movement therapy improves emotional responses and modulates neurohormones in adolescents with mild depression. International Journal of Neuroscience , 115(12), 1711–1720. https://doi. org/10.1080/00207450590958574 Jespersen, K. V., Koenig, J., Jennum, P ., & Vuust, P . (2015). Music for insomnia in adults. Cochrane Database of Systematic Reviews . https://doi. org/10.1002/14651858.cd010459.pub2 681 Bibliography Jespersen, K. V., Otto, M., Kringelbach, M., Someren, E. V., & Vuust, P . (2019). A randomized controlled trial of bedtime music for insomnia disorder. Journal of Sleep Research , 28(4), e12817. https://doi.org/10.1111/jsr.12817 Jespersen, K. V., & Vuust, P . (2012). The Effect of Relaxation Music Listening on Sleep Quality in Traumatized Refugees: A Pilot Study. Journal of Music Therapy , 49(2), 205–229. https://doi.org/10.1093/jmt/49.2.205 Jiang, J., Scolaro, A. J., Bailey, K., & Chen, A. (2011). The effect of music-induced mood on attentional networks. International Journal of Psychology , 46(3), 214–222. https://doi.org/10.1080/00207594.2010.541255 Jiang, J., Zhou, L., Rickson, D., & Jiang, C. (2013). The effects of sedative and stimulative music on stress reduction depend on music preference. The Arts in Psychotherapy , 40(2), 201–205. https://doi.org/10.1016/j.aip.2013.02.002 Johan, A. (2020). Intercultural Intimacy: Malaysian Popular Music as an Expression of Social Cohesion (1970s and 1980s. Malaysian Journal of History, Politics and Strategic Studies , 47(3). Johansson, R., Holmqvist, K., Mossberg, F., & Lindgren, M. (2011). Eye movements and reading comprehension while listening to preferred and non-preferred study music. Psychology of Music , 40(3), 339–356. https://doi. org/10.1177/0305735610387777 Johansson, S. E. (2001). Sustaining habits of attending cultural events and maintenance of health: A longitudinal study. Health Promotion International , 16(3), 229–234. https://doi.org/10.1093/heapro/16.3.229 John, O. P ., Naumann, L. P ., & Soto, C. J. (2008). Paradigm shift to the integrative big-five trait taxonomy: History, measurement, and conceptual Issues. In O. P . John, R. W. Robins, & L. A. Pervin (Eds), Handbook of personality: Theory and research (pp. 114–158). Guilford. Johnson, A. A., Berry, A., Bradley, M., Daniell, J. A., Lugo, C., Schaum-Comegys, K., Villamero, C., Williams, K., Yi, H., Scala, E., & Whalen, M. (2021). Examining the Effects of Music-Based Interventions on Pain and Anxiety in Hospitalized Children: An Integrative Review. Journal of Pediatric Nursing , 60, 71–76. https://doi.org/10.1016/j.pedn.2021.02.007 Johnson, C. M., & Memmott, J. E. (2006). Examination of Relationships between Participation in School Music Programs of Differing Quality and Standardized Test Results. Journal of Research in Music Education , 54(4), 293–307. https://doi.org/10.1177/002242940605400403 Johnson, D. C., & Davis, V. W. (2016). The effects of musical ensembles-in- residence on elementary students’ auditory discrimination and spatial reasoning skills: A longitudinal study. Visions of Research in Music Education , 28. http://www.rider.edu/~vrme Johnson, G. L., & Edelson, R. J. (2003). Integrating Music and Mathematics in the Elementary Classroom. Teaching Children Mathematics , 9(8), 474–479. https://doi.org/10.5951/tcm.9.8.0474682 The Power of Music Jones, C. (2004). From healing rituals to music therapy: Bridging the cultural divide between therapist and young Sudanese refugees. The Arts in Psychotherapy . https://doi.org/10.1016/s0197-4556(04)00024-3 Jones, J. L., Lucker, J., Zalewski, C., Brewer, C., & Drayna, D. (2009). Phonological processing in adults with deficits in musical pitch recognition. Journal of Communication Disorders , 42(3), 226–234. https://doi.org/10.1016/j. jcomdis.2009.01.001 Jones, M., Kimberlee, R., Deave, T., & Evans, S. (2013). The Role of Community Centre-based Arts, Leisure and Social Activities in Promoting Adult Well- being and Healthy Lifestyles. International Journal of Environmental Research and Public Health , 10(5), 1948–1962. https://doi.org/10.3390/ijerph10051948 Jones, M. R. (2009). Musical time. In S. Hallam, I. Cross, & M. Thaut (Eds), The Oxford Handbook of Music Psychology (pp. 125–142). Oxford University Press. Jones, M. R. (2019). Time Will Tell: A Theory of Dynamic Attending . Oxford University Press. Jones, M. R., Johnston, H. M., & Puente, J. (2006). Effects of auditory pattern structure on anticipatory and reactive attending. Cognitive Psychology , 53(1), 59–96. https://doi.org/10.1016/j.cogpsych.2006.01.003 Jordan, N. C., Glutting, J., & Ramineni, C. (2008). A Number Sense Assessment Tool for Identifying Children at Risk for Mathematical Difficulties. In Mathematical Difficulties (pp. 45–58). Elsevier. https://doi.org/10.1016/ b978-012373629-1.50005-8 Judd, M., & Pooley, J. A. (2013). The psychological benefits of participating in group singing for members of the general public. Psychology of Music , 42(2), 269–283. https://doi.org/10.1177/0305735612471237 Jung, H., Sontag, S., Park, Y. S., & Loui, P . (2015). Rhythmic Effects of Syntax Processing in Music and Language. Frontiers in Psychology , 6. https://doi. org/10.3389/fpsyg.2015.01762 Jung, R. E., & Haier, R. J. (2007). The Parieto-Frontal Integration Theory (P-FIT) of intelligence: Converging neuroimaging evidence. Behavioral and Brain Sciences , 30(2), 135–154. https://doi.org/10.1017/s0140525x07001185 Juslin, P . N. (1993). Handbook of Music and Emotion: Theory, Research, Applications . Oxford University Press. https://doi.org/10.1093/acprof : oso/9780199230143.001.0001 Juslin, P . N. (2000). Vocal expression and musical expression: Parallels and contrasts. In A. Kappas (Ed.), Proceedings of the 16th Conference of the International Society for Research on Emotions (pp. 281–284). ISRE Publications. Juslin, P . N. (2003). Five Facets of Musical Expression: A Psychologist’s Perspective on Music Performance. Psychology of Music , 31(3), 273–302. https://doi.org/10.1177/03057356030313003 683 Bibliography Juslin, P . N. (2013). From everyday emotions to aesthetic emotions: Towards a unified theory of musical emotions. Physics of Life Reviews , 10(3), 235–266. https://doi.org/10.1016/j.plrev.2013.05.008 Juslin, P . N., Harmat, L., & Eerola, T. (2013). What makes music emotionally significant? Exploring the underlying mechanisms. Psychology of Music , 42(4), 599–623. https://doi.org/10.1177/0305735613484548 Juslin, P . N., & Laukka, P . (2004). Expression, Perception, and Induction of Musical Emotions: A Review and a Questionnaire Study of Everyday Listening. Journal of New Music Research , 33(3), 217–238. https://doi. org/10.1080/0929821042000317813 Juslin, P . N., Liljeström, S., Laukka, P ., Västfjäll, D., & Lundqvist, L.-O. (2011). Emotional reactions to music in a nationally representative sample of Swedish adults. Musicae Scientiae , 15(2), 174–207. https://doi. org/10.1177/1029864911401169 Juslin, P . N., Liljeström, S., Västfjäll, D., Barradas, G., & Silva, A. (2008). An experience sampling study of emotional reactions to music: Listener, music, and situation. Emotion , 8(5), 668–683. https://doi.org/10.1037/a0013505 Juslin, P . N., Liljeström, S., Västfjäll, D., & Lundqvist, L.-O. (2010). How does music evoke emotions? Exploring the underlying mechanisms. In P . N. Juslin & J. A. Sloboda (Eds), Handbook of music and emotion: Theory, research, applications (pp. 605–642). Oxford University Press. Juslin, P . N., & Sloboda, J. A. (Eds). (2001). Music and Emotion: Theory and Research . Oxford University Press. Jutras, P . J. (2006). The Benefits of Adult Piano Study as Self-Reported by Selected Adult Piano Students. Journal of Research in Music Education , 54(2), 97–110. https://doi.org/10.1177/002242940605400202 Kahn, A. P . (1998). Healthy aging: A study of self-perceptions of well-being. Doctoral dissertation. Dissertation[MP224] Abstracts International , 58, 4740. Kahneman, D. (1973). Attention and effort . Prentice Hall Inc. Kallinen, K. (2002). Reading news from a pocket computer in a distracting environment: Effects of the tempo of background music. Computers in Human Behavior , 18(5), 537–551. https://doi.org/10.1016/s0747-5632(02)00005-5 Kalliopuska, M., & Ruókonen, I. (1986). Effects of Music Education on Development of Holistic Empathy. Perceptual and Motor Skills , 62(1), 187–191. https://doi.org/10.2466/pms.1986.62.1.187 Kalliopuska, M., & Ruokonen, I. (1993). A Study with a Follow-up of the Effects of Music Education on Holistic Development of Empathy. Perceptual and Motor Skills , 76(1), 131–137. https://doi.org/10.2466/pms.1993.76.1.131 Kalliopuska, M., & Tiitinen, U. (1991). Influence of Two Developmental Programmes on the Empathy and Prosociability of Preschool Children. 684 The Power of Music Perceptual and Motor Skills , 72(1), 323–328. https://doi.org/10.2466/ pms.1991.72.1.323 Kalmar, M. (1982). The effects of music education based on Kodaly’s directives in nursery school children. Psychology of Music . Kamioka, H., Mutoh, Y., Tsutani, K., Yamada, M., Park, H., Okuizumi, H., Tsuruoka, K., Honda, T., Okada, S., Park, S.-J., Kityuguchi, J., Abe, T., Handa, S., & Oshio, T. (2014). Effectiveness of music therapy: A summary of systematic reviews based on randomized controlled trials of music interventions. Patient Preference and Adherence , 727. https://doi.org/10.2147/ ppa.s61340 Kämpfe, J., Sedlmeier, P ., & Renkewitz, F. (2010). The impact of background music on adult listeners: A meta-analysis. Psychology of Music , 39(4), 424– 448. https://doi.org/10.1177/0305735610376261 Kang, H. J., & Williamson, V. J. (2013). Background music can aid second language learning. Psychology of Music , 42(5), 728–747. https://doi. org/10.1177/0305735613485152 Kantor-Martynuska, J. (2015). Emotional responses to music and their musical, individual, and situational factors: An integrative approach. Psychological Studies , 53, 30–45, https://doi.org/10.2478/V10167-010- Karageorghis, C. I. (2020). Music-related interventions in sport and exercise. In G. Tenenbaum & R. C. Eklund (Eds), Handbook of sport psychology (pp. 929–949). Wiley. Karageorghis, C. I., Jones, L., Howard, L. W., Thomas, R. M., Moulashis, P ., & Santich, S. J. (2021). When It HIITs, You Feel No Pain: Psychological and Psychophysiological Effects of Respite–Active Music in High-Intensity Interval Training. Journal of Sport & Exercise Psychology , 43(1), 41–52. https:// doi.org/10.1123/jsep.2019-0335 Karageorghis, C. I., & Priest, D.-L. (2012). Music in the exercise domain: A review and synthesis (Part I). International Review of Sport and Exercise Psychology , 5(1), 44–66. https://doi.org/10.1080/1750984x.2011.631026 Karlsen, S. (2011). Using musical agency as a lens: Researching music education from the angle of experience. Research Studies in Music Education , 33(2), 107–121. https://doi.org/10.1177/1321103x11422005 Karlsen, S., & Brändström, S. (2008). Exploring the music festival as a music educational project. International Journal of Music Education , 26(4), 363–373. https://doi.org/10.1177/0255761408096077 Karlsen, S., & Westerlund, H. (2010). Immigrant students’ development of musical agency – Exploring democracy in music education. British Journal of Music Education , 27(3), 225–239, https://doi.org/10.1017/s026505170000203 . Kartz, B. (2000). Grenzen. Heilpädagogische Musiktherapie an einer Schule für Erziehungshilfe. Unpublished diploma . Conservatorium Saxion Hogeschool. 685 Bibliography Karzon, R. G. (1985). Discrimination of polysyllabic sequences by one- to four- month-old infants. Journal of Experimental Child Psychology , 39(2), 326–342. https://doi.org/10.1016/0022-0965(85)90044-x Kaser, M., Zaman, R., & Sahakian, B. J. (2016). Cognition as a treatment target in depression. Psychological Medicine , 47(6), 987–989. https://doi.org/10.1017/ s0033291716003123 Kasiri, F. (2015). The Impact of Non-lyrical Iranian Traditional Music on Reading Comprehension Performance of Iranian EFL Learners: The Case of Gender, Attitude, and Familiarity. Procedia - Social and Behavioral Sciences , 199, 157–162. https://doi.org/10.1016/j.sbspro.2015.07.500 Kaufman, J. C., & Baer, J. (2004). The amusement park theoretical (APT) model of creativity. Int. J. Creat. Probl , Solving[MP232], 14 , 15–25. Kaufman, J., & Gabler, J. (2004). Cultural capital and the extracurricular activities of girls and boys in the college attainment process. Poetics , 32(2), 145–168. https://doi.org/10.1016/j.poetic.2004.02.001 Kaufmann, L. (2008). Neural correlates of number processing and calculation: Developmental trajectories and educational implications. In A. Dowker (Ed.), Mathematical Difficulties: Psychology and Intervention (p. 233). Elsevier. Kausel, L., Zamorano, F., Billeke, P ., Sutherland, M. E., Larrain-Valenzuela, J., Stecher, X., Schlaug, G., & Aboitiz, F. (2020). Neural Dynamics of Improved Bimodal Attention and Working Memory in Musically Trained Children. Frontiers in Neuroscience , 14. https://doi.org/10.3389/fnins.2020.554731 Kaviani, H., Mirbaha, H., Pournaseh, M., & Sagan, O. (2013). Can music lessons increase the performance of preschool children in IQ tests? Cognitive Processing , 15(1), 77–84. https://doi.org/10.1007/s10339-013-0574-0 Kawase, S. (2015a). Associations among music majors’ personality traits, empathy, and aptitude for ensemble performance. Psychology of Music , 44(2), 293–302. https://doi.org/10.1177/0305735614568697 Kawase, S. (2015b). Relationships between performers’ daily social skills, social behaviors in ensemble practice, and evaluations of ensemble performance. Musicae Scientiae , 19(4), 350–365. https://doi.org/10.1177/1029864915590171 Kawase, S., & Ogawa, J. (2018). Group music lessons for children aged 1–3 improve accompanying parents’ moods∗ . Psychology of Music. Kawase, S., Ogawa, J., Obata, S., & Hirano, T. (2018). An Investigation Into the Relationship Between Onset Age of Musical Lessons and Levels of Sociability in Childhood. Frontiers in Psychology , 9. https://doi.org/10.3389/ fpsyg.2018.02244 Keeler, J. R., Roth, E. A., Neuser, B. L., Spitsbergen, J. M., Waters, D. J. M., & Vianney, J.-M. (2015). The neurochemistry and social flow of singing: Bonding and oxytocin. Frontiers in Human Neuroscience , 9. https://doi. org/10.3389/fnhum.2015.00518686 The Power of Music Keen, A. W. (2005). Using Music as a Therapy Tool to Motivate Troubled Adolescents. Social Work in Health Care , 39(3–4), 361–373. https://doi. org/10.1300/j010v39n03_09 Keenan, J. P ., Thangaraj, V., Halpern, A. R., & Schlaug, G. (2001). Absolute Pitch and Planum Temporale. NeuroImage , 14(6), 1402–1408. https://doi. org/10.1006/nimg.2001.0925 Keith, D. R., Russell, K., & Weaver, B. S. (2009). The Effects of Music Listening on Inconsolable Crying in Premature Infants. Journal of Music Therapy , 46(3), 191–203. https://doi.org/10.1093/jmt/46.3.191 Keller, P . (2014). Ensemble Performance. In Expressiveness in music performance (pp. 260–282). Oxford University Press. https://doi.org/10.1093/acprof : oso/9780199659647.003.0015 Keller, P . E., Novembre, G., & Hove, M. J. (2014). Rhythm in joint action: Psychological and neurophysiological mechanisms for real-time interpersonal coordination. Philosophical Transactions of the Royal Society B: Biological Sciences , 369(1658), 20130394. https://doi.org/10.1098/ rstb.2013.0394 Kemmerer, K. P . (2003). Relationship between the number of hours spent in general music class and reading skills in kindergarten through grade 3. Doctoral dissertation . Lehigh University. Kemp, A. E. (1996). The Musical temperament: Psychology and Personality of Musicians . Oxford University Press. Kempert, S., Gotz, R., Blatter, K., Tibken, C., Artelt, C., Schneider, W., & Stanat, P . (2016). Training early literacy related skills: To which degree does musical training contribute to phonological awareness development? https://doi.org/10.3389/ fpsyg.2016.01803 . Kennedy, J. R. (1998). The effects of musical performance, rational emotive therapy and vicarious experience on the self-efficacy and self-esteem of juvenile delinquents and disadvantaged children [PhD Thesis]. University of Kansas. Kennedy, P . (2001). Working with survivors of torture in Sarajevo with Reiki. Complementary Therapies in Nursing and Midwifery , 7(1), 4–7. https://doi. org/10.1054/ctnm.2000.0516 Kenny, A. (2018). Voice of Ireland? Children and music within asylum seeker accommodation. Research Studies in Music Education , 40(2), 211–225. https:// doi.org/10.1177/1321103x18794197 Kenny, A., & Moore, G. (2011). Sing Out with Strings Evaluation Report . Irish Chamber Orchestra, University of Limerick. Keown, D. J. (2015). A descriptive analysis of film music enthusiasts’ purchasing and consumption behaviours of soundtrack albums: An exploratory study . Psychology of Music. 687 Bibliography Khaghaninejad, M. S., Motlagh, H. S., & Chamacham, R. (2016). How does Mozart’s music affect the reading comprehension of Iranian EFL learners of both genders. International Journal of Human Cultural Studies , 238 489–499. Khalil, A. K., Minces, V., McLoughlin, G., & Chiba, A. (2013). Group rhythmic synchrony and attention in children. Frontiers in Psychology , 4. https://doi. org/10.3389/fpsyg.2013.00564 Kibby, M. (2009). COLLECT YOURSELF. Information, Communication & Society , 12(3), 428–443. https://doi.org/10.1080/13691180802660644 KidZNotes. (2012). El Sistema in Durham: Progress and Possibilities . Kidznotes. Kiehn, M. T. (2003). Development of Music Creativity among Elementary School Students. Journal of Research in Music Education , 51(4), 278–288. https://doi. org/10.2307/3345655 Kiger, D. M. (1989). Effects of Music Information Load on a Reading Comprehension Task. Perceptual and Motor Skills , 69(2), 531–534. https://doi. org/10.2466/pms.1989.69.2.531 Kilgour, A. R., Jakobson, L. S., & Cuddy, L. L. (2000). Music training and rate of presentation as mediators of text and song recall. Memory & Cognition , 28(5), 700–710. https://doi.org/10.3758/bf03198404 Kim, H.-S., & Kim, H.-S. (2017). Effect of a musical instrument performance program on emotional intelligence, anxiety, and aggression in Korean elementary school children. Psychology of Music , 46(3), 440–453. https://doi. org/10.1177/0305735617729028 Kim, J. (2013). Music therapy with children who have been exposed to ongoing child abuse and poverty: A pilot study. Nordic Journal of Music Therapy , 24(1), 27–43. https://doi.org/10.1080/08098131.2013.872696 Kim, J. (2017). Effects of community-based group music therapy for children exposed to ongoing child maltreatment & poverty in South Korea: A block randomized controlled trial. The Arts in Psychotherapy , 54, 69–77. https://doi. org/10.1016/j.aip.2017.01.001 Kim, J., Wigram, T., & Gold, C. (2009). Emotional, motivational and interpersonal responsiveness of children with autism in improvisational music therapy. Autism , 13(4), 389–409. https://doi.org/10.1177/1362361309105660 Kim, K. H., Chong, H. J., & Yun, J. (2015). Use of arts as the strategic medium for restorative justice: Restorative function of music. Korean Journal of Youth Studies , 22, 275–300. Kimmig, H. (1986). Express-sakkadenbeim menschen: Die rolle der aufmerksamkeit in der vorbereitungsphase zielgerichteter blicksprünge [PhD Thesis]. Universität Freiburg. Kinney, D. W. (2008). Selected Demographic Variables, School Music Participation, and Achievement Test Scores of Urban Middle School 688 The Power of Music Students. Journal of Research in Music Education , 56(2), 145–161. https://doi. org/10.1177/0022429408322530 Kinney, D. W. (2009). Selected Nonmusic Predictors of Urban Students’ Decisions to Enroll and Persist in Middle School Band Programs. Journal of Research in Music Education , 57(4), 334–350. https://doi.org/10.1177/0022429409350086 Kinnunen, M., Homi, H., & Honkanen, A. (2020). Social Sustainability in Adolescents’ Music Event Attendance. Sustainability , 12(22), 9419. https:// doi.org/10.3390/su12229419 Kinsler, V., & Carpenter, R. H. S. (1995). Saccadic eye movements while reading music. Vision Research , 35(10), 1447–1458. https://doi. org/10.1016/0042-6989(95)98724-n Kirnarskaya, D., & Teeter, M. H. (2009). The Natural Musician . Oxford University Press. https://doi.org/10.1093/acprof :oso/9780199560134.001.0001 Kirschner, S., & Tomasello, M. (2009). Joint drumming: Social context facilitates synchronization in preschool children. Journal of Experimental Child Psychology , 102(3), 299–314. https://doi.org/10.1016/j.jecp.2008.07.005 Kirschner, S., & Tomasello, M. (2010). Joint music making promotes prosocial behavior in 4-year-old children\textbackslashding73\textbackslashding73\ textbackslashding73. Evolution and Human Behavior , 31(5), 354–364. https:// doi.org/10.1016/j.evolhumbehav.2010.04.004 Kishon-Rabin, L., Amir, O., Vexler, Y., & Zaltz, Y. (2001). Pitch Discrimination: Are Professional Musicians Better than Non-Musicians? Journal of Basic and Clinical Physiology and Pharmacology , 12(2). https://doi.org/10.1515/ jbcpp.2001.12.2.125 Kisilevsky, B. S., & Hains, S. M. (2009). Onset and maturation of fetal heart rate response to the mother’s voice over late gestation. Dev. Science[MP240 , 14, 214–223. Kisilevsky, B. S., Hains, S. M. J., Jacquet, A.-Y., Granier-Deferre, C., & Lecanuet, J. P . (2004). Maturation of fetal responses to music. Developmental Science , 7(5), 550–559. https://doi.org/10.1111/j.1467-7687.2004.00379.x Kisilevsky, B. S., Hains, S. M. J., Lee, K., Xie, X., Huang, H., Ye, H. H., Zhang, K., & Wang, Z. (2003). Effects of Experience on Fetal Voice Recognition. Psychological Science , 14(3), 220–224. https://doi.org/10.1111/1467-9280.02435 Kivland, M. J. (1986). The Use of Music to Increase Self-Esteem in a Conduct Disordered Adolescent. Journal of Music Therapy , 23(1), 25–29. https://doi. org/10.1093/jmt/23.1.25 Klassen, J. A., Liang, Y., Tjosvold, L., Klassen, T. P ., & Hartling, L. (2008). Music for pain and anxiety in children undergoing medical procedures: A systematic review of randomized controlled trials. Acute Pain , 10(2), 106. https://doi.org/10.1016/j.acpain.2008.05.038 689 Bibliography Kleber, B., Veit, R., Birbaumer, N., Gruzelier, J., & Lotze, M. (2009). The Brain of Opera Singers: Experience-Dependent Changes in Functional Activation. Cerebral Cortex , 20(5), 1144–1152. https://doi.org/10.1093/cercor/bhp177 Kleinmintz, O. M., Goldstein, P ., Mayseless, N., Abecasis, D., & Shamay-Tsoory, S. G. (2014). Expertise in Musical Improvisation and Creativity: The Mediation of Idea Evaluation. PLoS ONE , 9(7), e101568. https://doi.org/10.1371/ journal.pone.0101568 Klinedinst, R. E. (1991). Predicting Performance Achievement and Retention of Fifth-Grade Instrumental Students. Journal of Research in Music Education , 39(3), 225–238. https://doi.org/10.2307/3344722 Kobin, C., & Tyson, E. (2006). Thematic analysis of hip-hop music: Can hip- hop in therapy facilitate empathic connections when working with clients in urban settings? The Arts in Psychotherapy , 33(4), 343–356. https://doi. org/10.1016/j.aip.2006.05.001 Koch-Temming, H. (1999). Von der Behandlung der Krankheitzur Sorge um die Gesundheit. Musiktherapie in integrativen Kindergärten. Musiktherapeutische Umschau , 20(1), 5–13. Koehler, F., & Neubauer, A. B. (2020). From music making to affective well- being in everyday life: The mediating role of need satisfaction. Psychology of Aesthetics, Creativity, and the Arts , 14(4), 493–505. https://doi.org/10.1037/ aca0000261 Koelsch, S. (2011). Toward a Neural Basis of Music Perception – A Review and Updated Model. Frontier in Psychology , 2. https://doi.org/10.3389/ fpsyg.2011.00110 Koelsch, S., Grossmann, T., Gunter, T. C., Hahne, A., Schröger, E., & Friederici, A. D. (2003). Children Processing Music: Electric Brain Responses Reveal Musical Competence and Gender Differences. Journal of Cognitive Neuroscience , 15(5), 683–693. https://doi.org/10.1162/jocn.2003.15.5.683 Koelsch, S., Gunter, T. C., Cramon, D. Y. v, Zysset, S., Lohmann, G., & Friederici, A. D. (2002). Bach Speaks: A Cortical “Language-Network” Serves the Processing of Music. NeuroImage , 17(2), 956–966. https://doi.org/10.1006/ nimg.2002.1154 Koelsch, S., Gunter, T. C., Wittfoth, M., & Sammler, D. (2005). Interaction between Syntax Processing in Language and in Music: An ERP Study. Journal of Cognitive Neuroscience , 17(10), 1565–1577. https://doi. org/10.1162/089892905774597290 Koelsch, S., Schmidt, B., & Kansok, J. (2002). Effects of musical expertise on the early right anterior negativity: An event-related brain potential study. Psychophysiology , 39(5), 657–663. https://doi.org/10.1111/1469-8986.3950657 Koelsch, S., Schröger, E., & Tervaniemi, M. (1999). Superior pre-attentive auditory processing in musicians. NeuroReport , 10(6), 1309–1313. https:// doi.org/10.1097/00001756-199904260-00029690 The Power of Music Koelsch, S., & Siebel, W. A. (2005). Towards a neural basis of music perception. Trends in Cognitive Sciences , 9(12), 578–584. https://doi.org/10.1016/j. tics.2005.10.001 Koelsch, S., Vuust, P ., & Friston, K. (2019). Predictive Processes and the Peculiar Case of Music. Trends in Cognitive Sciences , 23(1), 63–77. https://doi. org/10.1016/j.tics.2018.10.006 Koeneke, S., Lutz, K., Wüstenberg, T., & Jäncke, L. (2004). Long-term training affects cerebellar processing in skilled keyboard players. NeuroReport , 15(8), 1279–1282. https://doi.org/10.1097/01.wnr.0000127463.10147.e7 Kogan, N. (1997). Reflections on aesthetics and evolution. Critical Review , 11(2), 193–210. https://doi.org/10.1080/08913819708443453 Köhler, F., Martin, Z.-S., Hertrampf, R.-S., Gäbel, C., Kessler, J., Ditzen, B., & Warth, M. (2020). Music Therapy in the Psychosocial Treatment of Adult Cancer Patients: A Systematic Review and Meta-Analysis. Frontiers in Psychology , 11. https://doi.org/10.3389/fpsyg.2020.00651 Kok, M. (2006). Neue Wege der Musiktherapie an der Musikschule–Kooperation Allgemeinbildenden Schulen. Musiktherapeutische Umschau , 27(3), 269–274. Kokotsaki, D., & Hallam, S. (2007). Higher education music students’ perceptions of the benefits of participative music making. Music Education Research , 9(1), 93–109. https://doi.org/10.1080/14613800601127577 Kokotsaki, D., & Hallam, S. (2011). The perceived benefits of participative music making for non-music university students: A comparison with music students. Music Education Research , 13(2), 149–172. https://doi.org/10.1080/ 14613808.2011.577768 Konlaan, B. B., Bygren, L. O., & Johansson, S.-E. (2000). Visiting the cinema, concerts, museums or art exhibitions as determinant of survival: A Swedish fourteen-year cohort follow-up. Scandinavian Journal of Public Health , 28(3), 174–178. https://doi.org/10.1177/14034948000280030501 Koolidge, L., & Holmes, R. M. (2018). Piecing It Together: The Effect of Background Music on Children’s Puzzle Assembly. Perceptual and Motor Skills , 125(2), 387–399. https://doi.org/10.1177/0031512517752817 Kopiez, R., & Galley, N. (2002). The musicians’ glance: A pilot study comparing eye movement parameters in musicians and non-musicians. In C. Stevens, D. Burnham, G. McPherson, E. Schubert, & J. Renwick (Eds), Proceedings of the 7th International Conference on Music Perception and Cognition (pp. 683–686). Causal Productions. Koppelman, D., & Scott, I. (1995). The effect of music on children’s writing content . Koshimori, Y., & Thaut, M. H. (2019). New Perspectives on Music in Rehabilitation of Executive and Attention Functions. Frontiers in Neuroscience , 13. https:// doi.org/10.3389/fnins.2019.01245 691 Bibliography Kotilahti, K., Nissilä, I., Näsi, T., Lipiäinen, L., Noponen, T., Meriläinen, P ., Huotilainen, M., & Fellman, V. (2009). Hemodynamic responses to speech and music in newborn infants. Human Brain Mapping , NA-NA. https://doi. org/10.1002/hbm.20890 Kotsopoulou, A., & Hallam, S. (2010). The perceived impact of playing music while studying: Age and cultural differences. Educational Studies , 36(4), 431–440. https://doi.org/10.1080/03055690903424774 Kotz, S. A., Ravignani, A., & Fitch, W. T. (2018). The Evolution of Rhythm Processing. Trends in Cognitive Sciences , 22(10), 896–910. https://doi. org/10.1016/j.tics.2018.08.002 Kotz, S. A., & Schmidt-Kassow, M. (2015). Basal ganglia contribution to rule expectancy and temporal predictability in speech. Cortex , 68, 48–60. https:// doi.org/10.1016/j.cortex.2015.02.021 Kotz, S. A., & Schwartze, M. (2010). Cortical speech processing unplugged: A timely subcortico-cortical framework. Trends in Cognitive Sciences , 14(9), 392–399. https://doi.org/10.1016/j.tics.2010.06.005 Kougiali, Z., Einat, T., & Liebling, A. (2017). Rhizomatic affective spaces and the therapeutic potential of music in prison: A qualitative meta-synthesis. Qualitative Research in Psychology , 15(1), 1–28. https://doi.org/10.1080/1478 0887.2017.1359710 Koutsoupidou, T., & Hargreaves, D. J. (2009). An experimental study of the effects of improvisation on the development of children’s creative thinking in music. Psychology of Music , 37(3), 251–278. https://doi. org/10.1177/0305735608097246 Krajewski, K., & Schneider, W. (2009). Exploring the impact of phonological awareness, visual–spatial working memory, and preschool quantity–number competencies on mathematics achievement in elementary school: Findings from a 3-year longitudinal study. Journal of Experimental Child Psychology , 103(4), 516–531. https://doi.org/10.1016/j.jecp.2009.03.009 Kraus, N., & Chandrasekaran, B. (2010). Music training for the development of auditory skills. Nature Reviews Neuroscience , 11(8), 599–605. https://doi. org/10.1038/nrn2882 Kraus, N., Hornickel, J., Strait, D. L., Slater, J., & Thompson, E. (2014). Engagement in community music classes sparks neuroplasticity and language development in children from disadvantaged backgrounds. Frontiers in Psychology , 5. https://doi.org/10.3389/fpsyg.2014.01403 Kraus, N., & Nicol, T. (2014). The cognitive auditory system. In R. Fay & A. Popper (Eds), Perspectives on auditory research (pp. 299–319). Springer. Kraus, N., & Slater, J. (2016). Beyond Words: How Humans Communicate Through Sound. Annual Review of Psychology , 67(1), 83–103. https://doi. org/10.1146/annurev-psych-122414-033318692 The Power of Music Kraus, N., Slater, J., Thompson, E. C., Hornickel, J., Strait, D. L., Nicol, T., & White-Schwoch, T. (2014). Music Enrichment Programs Improve the Neural Encoding of Speech in At-Risk Children. Journal of Neuroscience , 34(36), 11913–11918. https://doi.org/10.1523/jneurosci.1881-14.2014 Kraus, N., & Strait, D. L. (2015). Emergence of biological markers of musicianship with school-based music instruction. Annals of the New York Academy of Sciences , 1337 (1), 163–169. https://doi.org/10.1111/nyas.12631 Kraus, N., Strait, D. L., & Parbery-Clark, A. (2012). Cognitive factors shape brain networks for auditory skills: Spotlight on auditory working memory. Annals of the New York Academy of Sciences , 1252 (1), 100–107. https://doi. org/10.1111/j.1749-6632.2012.06463.x Kraus, N., & White-Schwoch, T. (2016). Neurobiology of Everyday Communication: What Have We Learned From Music? The Neuroscientist , 23(3), 287–298. https://doi.org/10.1177/1073858416653593 Krause, A. E., & Davidson, J. W. (2018). Effective Educational Strategies to Promote Life-Long Musical Investment: Perceptions of Educators. Frontiers in Psychology , 9. https://doi.org/10.3389/fpsyg.2018.01977 Krause, A. E., Davidson, J. W., & North, A. C. (2018). Musical Activity and Well-being. Music Perception , 35(4), 454–474. https://doi.org/10.1525/ mp.2018.35.4.454 Krause, A. E., Dimmock, J., Rebar, A. L., & Jackson, B. (2021). Music Listening Predicted Improved Life Satisfaction in University Students During Early Stages of the COVID-19 Pandemic. Frontiers in Psychology , 11. https://doi. org/10.3389/fpsyg.2020.631033 Krause, A. E., & Hargreaves, D. J. (2012). myTunes: Digital music library users and their self-images. Psychology of Music , 41(5), 531–544. https://doi. org/10.1177/0305735612440612 Krause, A. E., Kirby, M. L., Dieckmann, S., & Davidson, J. W. (2020). From dropping out to dropping in: Exploring why individuals cease participation in musical activities and the support needed to reengage them. Psychology of Aesthetics, Creativity, and the Arts , 14(4), 401–414. https://doi.org/10.1037/ aca0000268 Krause, A. E., North, A. C., & Hewitt, L. Y. (2013). Music-listening in everyday life: Devices and choice. Psychology of Music , 43(2), 155–170. https://doi. org/10.1177/0305735613496860 Kreutz, G. (2014). Does Singing Facilitate Social Bonding? Music and Medicine , 6(2), 51. https://doi.org/10.47513/mmd.v6i2.180 Kreutz, G., Bongard, S., Rohrmann, S., Hodapp, V., & Grebe, D. (2004). Effects of Choir Singing or Listening on Secretory Immunoglobulin A, Cortisol, and Emotional State. Journal of Behavioral Medicine , 27(6), 623–635. https://doi. org/10.1007/s10865-004-0006-9 693 Bibliography Kreutz, G., & Lotze, M. (2008). Neuroscience of music and emotion. In W. Gruhn & R. Rauscher (Eds), The Neuroscience of Music Education (pp. 145–169). Nova Publishers. Kreutz, G., Quiroga Murcia, C., & Bongard, S. (2012). Psychoneuroendocrine research on music and health. In R. MacDonald, G. Kreutz, & L. Mitchell (Eds), Music, health and wellbeing (pp. 457–490). Oxford University Press. Krings, T., Töpper, R., Foltys, H., Erberich, S., Sparing, R., Willmes, K., & Thron, A. (2000a). Cortical activation patterns during complex motor tasks in piano players and control subjects. A functional magnetic resonance imaging study. Neuroscience Letters , 278(3), 189–193. https://doi.org/10.1016/ s0304-3940(99)00930-1 Krings, T., Töpper, R., Foltys, H., Erberich, S., Sparing, R., Willmes, K., & Thron, A. (2000b). Cortical activation patterns during complex motor tasks in piano players and control subjects. A functional magnetic resonance imaging study. Neuroscience Letters , 278(3), 189–193. https://doi.org/10.1016/ s0304-3940(99)00930-1 Krishnan, A., Xu, Y., Gandour, J., & Cariani, P . (2005). Encoding of pitch in the human brainstem is sensitive to language experience. Cognitive Brain Research , 25(1), 161–168. https://doi.org/10.1016/j.cogbrainres.2005.05.004 Krizman, J., Marian, V., Shook, A., Skoe, E., & Kraus, N. (2012). Subcortical encoding of sound is enhanced in bilinguals and relates to executive function advantages. Proceedings of the National Academy of Sciences , 109(20), 7877–7881. https://doi.org/10.1073/pnas.1201575109 Krout, R. E. (2007). Music listening to facilitate relaxation and promote wellness: Integrated aspects of our neurophysiological responses to music. The Arts in Psychotherapy , 34(2), 134–141. https://doi.org/10.1016/j.aip.2006.11.001 Krout, R. E., & Mason, M. (1988a). Using Computer and Electronic Music Resources in Clinical Music Therapy with Behaviorally Disordered Students, 12 to 78 Years Old. Music Therapy Perspectives , 5(1), 114–118. https://doi. org/10.1093/mtp/5.1.114 Krout, R. E., & Mason, M. (1988b). Using Computer and Electronic Music Resources in Clinical Music Therapy with Behaviorally Disordered Students, 12 to 78 Years Old. Music Therapy Perspectives , 5(1), 114–118. https://doi. org/10.1093/mtp/5.1.114 Krueger, J. (2019). Music as affective scaffolding. In Music and Consciousness 2 (pp. 55–70). Oxford University Press. https://doi.org/10.1093/ oso/9780198804352.003.0004 Krüger, V. (2000). The use of information technology in music therapy: Behavioural problems in contemporary schools. Nordic Journal of Music Therapy , 9(2), 77–83.694 The Power of Music Kruse, N. B. (2021). Reminiscence and Music Participation Among Older Adults. Bulletin of the Council for Research in Music Education , 228, 40–58. https://doi. org/10.5406/bulcouresmusedu.228.0040 Kruse, N. B., & Veblen, K. K. (2012). Music teaching and learning online: Considering YouTube instructional videos. Journal of Music, Technology and Education , 5(1), 77–87. https://doi.org/10.1386/jmte.5.1.77_1 Kubzansky, L. D. (2009). Health and emotion. In D. Sander & K. R. Scherer (Eds), Oxford companion to emotion and the affective sciences (pp. 204–205). Oxford University Press. Kuckelkorn, K. L., Manzano, Ö. de, & Ullén, F. (2021). Musical expertise and personality – differences related to occupational choice and instrument categories. Personality and Individual Differences , 173, 110573. https://doi. org/10.1016/j.paid.2020.110573 Kuhl, J. (2000). A Functional-design approach to motivation and self-regulation: The dynamics of personality systems Interactions. In M. Boekaerts, P . R. Pintrich, & M. Zeidner (Eds), Handbook of Self-Regulation (pp. 111–169). Academic Press. https://doi.org/10.1016/B978-012109890-2/50034-2 . Kuhl, P . K. (2004). Early language acquisition: Cracking the speech code. Nature Reviews Neuroscience , 5(11), 831–843. https://doi.org/10.1038/nrn1533 Kuhn, D. (2002). The Effects of Active and Passive Participation in Musical Activity on the Immune System as Measured by Salivary Immunoglobulin A (SlgA). Journal of Music Therapy , 39(1), 30–39. https://doi.org/10.1093/ jmt/39.1.30 Kühnis, J., Elmer, S., Meyer, M., & Jäncke, L. (2013). The encoding of vowels and temporal speech cues in the auditory cortex of professional musicians: An EEG study. Neuropsychologia , 51(8), 1608–1618. https://doi.org/10.1016/j. neuropsychologia.2013.04.007 Kujala, T. (2007). The Role of Early Auditory Discrimination Deficits in Language Disorders. Journal of Psychophysiology , 21(3–4), 239–250. https:// doi.org/10.1027/0269-8803.21.34.239 Kujala, T., LepistÃķ, T., & NÃĪÃĪtÃĪnen, R. (2013). The neural basis of aberrant speech and audition in autism spectrum disorders. Neuroscience & Biobehavioral Reviews , 37(4), 697–704. https://doi.org/10.1016/j.neubiorev.2013.01.006 Kunert, R., & Slevc, L. R. (2015). A Commentary on: “Neural overlap in processing music and speech”. Frontiers in Human Neuroscience , 9. https:// doi.org/10.3389/fnhum.2015.00330 Kuriansky, J., & Nemeth, D. G. (2020). Rebuilding executive functions in environmentally traumatized children and adolescents. In G. Darlyne, D. G. Nemeth, & J. Glozman (Eds), Evaluation and treatment of neuropsychologically compromised children (pp. 221–247). Academic Press. https://doi.org/10.1016/ B978-0-12-819545-1.00012-6 . 695 Bibliography Kuschpel, M. S., Liu, S., Schad, D. J., Heinzel, S., Heinz, A., & Rapp, M. A. (2015). Differential effects of wakeful rest, music and video game playing on working memory performance in the n-back task. Frontiers in Psychology , 6. https://doi.org/10.3389/fpsyg.2015.01683 Küssner, M. B., Groot, A. M. B. de, Hofman, W. F., & Hillen, M. A. (2016). EEG Beta Power but Not Background Music Predicts the Recall Scores in a Foreign-Vocabulary Learning Task. PLOS ONE , 11(8), e0161387. https://doi. org/10.1371/journal.pone.0161387 Kuuse, A.-K. (2018). “We will fight Goliath”: Negotiation of space for musical agency in children’s music education. Research Studies in Music Education , 40(2), 140–156. https://doi.org/10.1177/1321103x18771796 Kuusi, T., Haukka, J., Myllykangas, L., & Järvelä, I. (2019). Causes of Death of Professional Musicians in the Classical Genre. Medical Problems of Performing Artists , 34(2), 92–97. https://doi.org/10.21091/mppa.2019.2016 Kvet, E. J. (1985). Excusing Elementary School Students from Regular Classroom Activities for the Study of Instrumental Music: The Effect on Sixth-Grade Reading, Language, and Mathematics Achievement. Journal of Research in Music Education , 33(1), 45–54. https://doi.org/10.2307/3344757 Kwok, S. Y. C. L. (2018). Integrating Positive Psychology and Elements of Music Therapy to Alleviate Adolescent Anxiety. Research on Social Work Practice , 29(6), 663–676. https://doi.org/10.1177/1049731518773423 Lacey, M. (2004). Nyala Journal; Singers of Sudan Study War No More. New York Times . http://www.nytimes.com/2004/07/12/world/nyala-journal-singers- of-sudan-study-war-no-more.html . Lacher, K. T., & Mizerski, R. (1994). An Exploratory Study of the Responses and Relationships Involved in the Evaluation of, and in the Intention to Purchase New Rock Music. Journal of Consumer Research , 21(2), 366. https:// doi.org/10.1086/209404 LaCroix, A. N., Diaz, A. F., & Rogalsky, C. (2015). The relationship between the neural computations for speech and music perception is context-dependent: An activation likelihood estimate study. Frontiers in Psychology , 6. https:// doi.org/10.3389/fpsyg.2015.01138 Ladányi, E., Persici, V., Fiveash, A., Tillmann, B., & Gordon, R. L. (2020). Is atypical rhythm a risk factor for developmental speech and language disorders? WIREs Cognitive Science , 11(5). https://doi.org/10.1002/wcs.1528 LaGasse, A. B., & Thaut, M. H. (2012). Music and Rehabilitation: Neurological Approaches. In Music, Health, and Wellbeing (pp. 153–163). Oxford University Press. https://doi.org/10.1093/acprof :oso/9780199586974.003.0012 LaGasse, B. (2017). Social outcomes in children with autism spectrum disorder: A review of music therapy outcomes. Patient Related Outcome Measures , Volume 8 , 23–32. https://doi.org/10.2147/prom.s106267696 The Power of Music Lage-Gómez, C., & Cremades-Andreu, R. (2019). Group improvisation as dialogue: Opening creative spaces in secondary music education. Thinking Skills and Creativity , 31, 232–242. https://doi.org/10.1016/j.tsc.2018.12.007 Lagrois, M.-É., Palmer, C., & Peretz, I. (2019). Poor Synchronization to Musical Beat Generalizes to Speech. Brain Sciences , 9(7), 157. https://doi.org/10.3390/ brainsci9070157 Lahav, A., Saltzman, E., & Schlaug, G. (2007). Action Representation of Sound: Audiomotor Recognition Network While Listening to Newly Acquired Actions. Journal of Neuroscience , 27(2), 308–314. https://doi.org/10.1523/ jneurosci.4822-06.2007 Laiho, S. (2004). The Psychological Functions of Music in Adolescence. Nordic Journal of Music Therapy , 13(1), 47–63. https://doi. org/10.1080/08098130409478097 Laing, J., & Mair, J. (2015). Music Festivals and Social Inclusion – The Festival Organizers’ Perspective. Leisure Sciences , 37(3), 252–268. https://doi.org/10. 1080/01490400.2014.991009 Lakatos, P ., Gross, J., & Thut, G. (2019). A New Unifying Account of the Roles of Neuronal Entrainment. Current Biology , 29(18), R890–R905. https://doi. org/10.1016/j.cub.2019.07.075 Lake, J. I., & Goldstein, F. C. (2011). An Examination of an Enhancing Effect of Music on Attentional Abilities in Older Persons with Mild Cognitive Impairment. Perceptual and Motor Skills , 112(1), 267–278. https://doi. org/10.2466/04.10.15.pms.112.1.267-278 Lally, E. (2009). The power to heal us with a smile and a song: Senior Well-being, Music-based Participatory Arts and the Value of Qualitative Evidence. Journal of Arts and Communities , 1(1), 25–44. https://doi.org/10.1386/jaac.1.1.25_1 Lamb, S. J., & Gregory, A. H. (1993). The Relationship between Music and Reading in Beginning Readers. Educational Psychology , 13(1), 19–27. https:// doi.org/10.1080/0144341930130103 Lamont, A. (2008). Young children’s musical worlds. Journal of Early Childhood Research , 6(3), 247–261. https://doi.org/10.1177/1476718x08094449 Lamont, A. (2011a). University students’ strong experiences of music. Musicae Scientiae , 15(2), 229–249. https://doi.org/10.1177/1029864911403368 Lamont, A. (2011b). The beat goes on: Music education, identity and lifelong learning. Music Education Research , 13(4), 369–388. https://doi.org/10.1080/ 14613808.2011.638505 Lamont, A. (2012). Emotion, engagement and meaning in strong experiences of music performance. Psychology of Music , 40(5), 574–594. https://doi. org/10.1177/0305735612448510 697 Bibliography Lamont, A., Greasley, A., & Sloboda, J. (2016). Choosing to hear music: Motivation, process and effect. In S. Hallam, I. Cross, & M. Thaut (Eds), The Oxford handbook of music psychology (pp. 711–724). Oxford University Press. Lamont, A., Murray, M., Hale, R., & Wright-Bevans, K. (2017). Singing in later life: The anatomy of a community choir. Psychology of Music , 46(3), 424–439. https://doi.org/10.1177/0305735617715514 Lamont, A., & Ranaweera, N. A. (2019). Knit One, Play One: Comparing the Effects of Amateur Knitting and Amateur Music Participation on Happiness and Wellbeing. Applied Research in Quality of Life , 15(5), 1353–1374. https:// doi.org/10.1007/s11482-019-09734-z Lamont, A., & Webb, R. (2009). Short- and long-term musical preferences: What makes a favourite piece of music? Psychology of Music , 38(2), 222–241. https://doi.org/10.1177/0305735609339471 Landis-Shack, N., Heinz, A. J., & Bonn-Miller, M. O. (2017). Music therapy for posttraumatic stress in adults: A theoretical review. Psychomusicology: Music, Mind, and Brain , 27(4), 334–342. https://doi.org/10.1037/pmu0000192 Langan, K. A., & Sachs, D. E. (2013). Opening Pandora’s Stream: Piping Music into the Information Literacy Classroom. Public Services Quarterly , 9(2), 89–109. https://doi.org/10.1080/15228959.2013.785876 Langendörfer, F. (2008). Personality differences among orchestra instrumental groups: Just a stereotype? Personality and Individual Differences , 44(3), 610– 620. https://doi.org/10.1016/j.paid.2007.09.027 Langston, T. (2011). It is a life support, isn’t it? Social capital in a community choir. International Journal of Community Music , 4(2), 163–184. https://doi. org/10.1386/ijcm.4.2.163_1 Langston, T. W., & Barrett, M. S. (2008). Capitalizing on community music: A case study of the manifestation of social capital in a community choir. Research Studies in Music Education , 30(2), 118–138. https://doi. org/10.1177/1321103x08097503 Lappe, C., Herholz, S. C., Trainor, L. J., & Pantev, C. (2008). Cortical Plasticity Induced by Short-Term Unimodal and Multimodal Musical Training. Journal of Neuroscience , 28(39), 9632–9639. https://doi.org/10.1523/ jneurosci.2254-08.2008 Lappe, C., Trainor, L. J., Herholz, S. C., & Pantev, C. (2011). Cortical Plasticity Induced by Short-Term Multimodal Musical Rhythm Training. PLoS ONE , 6(6), e21493. https://doi.org/10.1371/journal.pone.0021493 Large, E. W., Herrera, J. A., & Velasco, M. J. (2015). Neural Networks for Beat Perception in Musical Rhythm. Frontiers in Systems Neuroscience , 9. https:// doi.org/10.3389/fnsys.2015.00159698 The Power of Music Large, E. W., & Jones, M. R. (1999). The dynamics of attending: How people track time-varying events. Psychological Review , 106(1), 119–159. https://doi. org/10.1037/0033-295x.106.1.119 Larson, R. (1995). Secrets in the bedroom: Adolescents’ private use of media. Journal of Youth and Adolescence , 24(5), 535–550. https://doi.org/10.1007/ bf01537055 Larson, R., Kubey, R., & Colletti, J. (1989). Changing channels: Early adolescent media choices and shifting investments in family and friends. Journal of Youth and Adolescence , 18(6), 583–599. https://doi.org/10.1007/bf02139075 Larson, R. W., Wilson, S., & Rickman, A. (2009). Globalization, Societal Change, and Adolescence Across the World . John Wiley & Sons, Inc. https://doi. org/10.1002/9780470479193.adlpsy002018 Lashua, B. (2005). Making music, remaking leisure in the Beat of Boyle St [PhD Thesis]. University of Alberta. Lashua, B. D., & Fox, K. (2007). Defining the Groove: From Remix to Research in The Beat of Boyle Street. Leisure Sciences , 29(2), 143–158. https://doi. org/10.1080/01490400601160796 Laukka, P . (2006). Uses of music and psychological well-being among the elderly. Journal of Happiness Studies , 8(2), 215–241. https://doi.org/10.1007/ s10902-006-9024-3 Lawendowski, R., Bereznowski, P ., Wróbel, W. K., Kierzkowski, M., & Atroszko, P . A. (2019). Study addiction among musicians: Measurement, and relationship with personality, social anxiety, performance, and psychosocial functioning. Musicae Scientiae , 24(4), 449–474. https://doi.org/10.1177/1029864918822138 Lawendowski, R., & Bieleninik, \textbackslashLucja. (2017). Identity and self- esteem in the context of music and music therapy: A review. Health Psychology Report , 2, 85–99. https://doi.org/10.5114/hpr.2017.64785 Lazarov, A., Pine, D. S., & Bar-Haim, Y. (2017). Gaze-Contingent Music Reward Therapy for Social Anxiety Disorder: A Randomized Controlled Trial. American Journal of Psychiatry , 174(7), 649–656. https://doi.org/10.1176/ appi.ajp.2016.16080894 L.E., P ., Larson, E. R., Lorber, W., McGinley, E. L., & Dillingham, T. R. (2018). Music-instruction intervention for treatment of post-traumatic stress disorder: A randomized pilot study. BMC Psychology , 6(1), 60 360. Leamy, M., Bird, V., Boutillier, C. L., Williams, J., & Slade, M. (2011). Conceptual framework for personal recovery in mental health: Systematic review and narrative synthesis. British Journal of Psychiatry , 199(6), 445–452. https://doi. org/10.1192/bjp.bp.110.083733 LECKEY, J. (2011). The therapeutic effectiveness of creative activities on mental well-being: A systematic review of the literature. Journal 699 Bibliography of Psychiatric and Mental Health Nursing , 18(6), 501–509. https://doi. org/10.1111/j.1365-2850.2011.01693.x Lederach, J. P . (2005). The moral imagination: The art and soul of building peace . Oxford University Press. https://doi.org/10.1093/0195174542.001.0001 . Lederach, J. P ., & Lederach, A. J. (2010). When blood and bones cry out: Journeys through the soundscape of healing and reconciliation . St Lucia. Lee, C.-Y., & Hung, T.-H. (2008). Identification of Mandarin tones by English- speaking musicians and nonmusicians. The Journal of the Acoustical Society of America , 124(5), 3235–3248. https://doi.org/10.1121/1.2990713 Lee, D. J., Chen, Y., & Schlaug, G. (2003). Corpus callosum: Musician and gender effects. NeuroReport , 14(2), 205–209. https://doi. org/10.1097/00001756-200302100-00009 Lee, H., & Noppeney, U. (2014). Music expertise shapes audiovisual temporal integration windows for speech, sinewave speech, and music. Frontiers in Psychology , 5. https://doi.org/10.3389/fpsyg.2014.00868 Lee, J., Krause, A. E., & Davidson, J. W. (2017). The PERMA well-being model and music facilitation practice: Preliminary documentation for well-being through music provision in Australian schools. Research Studies in Music Education , 39(1), 73–89. https://doi.org/10.1177/1321103x17703131 Lee, Jung, & Loui. (2019). Attention Modulates Electrophysiological Responses to Simultaneous Music and Language Syntax Processing. Brain Sciences , 9(11), 305. https://doi.org/10.3390/brainsci9110305 Lee, K. M., Skoe, E., Kraus, N., & Ashley, R. (2009a). Selective Subcortical Enhancement of Musical Intervals in Musicians. Journal of Neuroscience , 29(18), 5832–5840. https://doi.org/10.1523/jneurosci.6133-08.2009 Lee, K. M., Skoe, E., Kraus, N., & Ashley, R. (2009b). Selective Subcortical Enhancement of Musical Intervals in Musicians. Journal of Neuroscience , 29(18), 5832–5840. https://doi.org/10.1523/jneurosci.6133-08.2009 Lee, K. S., Jeong, H. C., Yim, J. E., & Jeon, M. Y. (2016). Effects of Music Therapy on the Cardiovascular and Autonomic Nervous System in Stress- Induced University Students: A Randomized Controlled Trial. The Journal of Alternative and Complementary Medicine , 22(1), 59–65. https://doi. org/10.1089/acm.2015.0079 Lee, L., & Lin, S.-C. (2015). The impact of music activities on foreign language, English learning for young children. Journal of the European Teacher Education Network , 10, 13–23. Lee, R. (2010). Music education in prisons: A historical overview. International Journal of Community Music , 3(1), 7–18. https://doi.org/10.1386/ijcm.3.1.7/1 Lee, S. H. (2010). The effects of group music therapy for emotional intelligence and sociability of the lower grades in lower-income groups [PhD Thesis]. Chungnam.700 The Power of Music Lee, S., O’Neill, D., & Moss, H. (2020). Promoting well-being among people with early-stage dementia and their family carers through community-based group singing: A phenomenological study. Arts & Health , 14(1), 85–101. https://doi.org/10.1080/17533015.2020.1839776 Lee, Y., Lu, M., & Ko, H. (2007). Effects of skill training on working memory capacity. Learning and Instruction , 17(3), 336–344. https://doi.org/10.1016/j. learninstruc.2007.02.010 Legette, R. M. (1994). The effect of a selected use of music instruction on the self- concept and academic achievement to the musical problem solving abilities of high school students [PhD Thesis]. Case Western Reserve University. Lehmann, A. C. (1997). Research Note: Affective Responses to Everyday Life Events and Music Listening. Psychology of Music , 25(1), 84–90. https://doi. org/10.1177/0305735697251007 Lehmberg, L. J., & Fung, V. C. (2010). Benefits of music participation for senior citizens: A review of the literature. Music Education Research International , 4, 19–30. Lehto, J. E., Juujärvi, P ., Kooistra, L., & Pulkkinen, L. (2003). Dimensions of executive functioning: Evidence from children. British Journal of Developmental Psychology , 21(1), 59–80. https://doi.org/10.1348/026151003321164627 Leigh, J., Dettman, S., Dowell, R., & Briggs, R. (2013). Communication Development in Children Who Receive a Cochlear Implant by 12 Months of Age. Otology & Neurotology , 34(3), 443–450. https://doi.org/10.1097/ mao.0b013e3182814d2c Leipold, B., & Loepthien, T. (2015). Music reception and emotional regulation in adolescence and adulthood. Musicae Scientiae , 19(1), 111–128. https://doi. org/10.1177/1029864915570354 Lejeune, F., Lordier, L., Pittet, M. P ., Schoenhals, L., Grandjean, D., Hüppi, P . S., Filippa, M., & Tolsa, C. B. (2019). Effects of an Early Postnatal Music Intervention on Cognitive and Emotional Development in Preterm Children at 12 and 24 Months: Preliminary Findings. Frontiers in Psychology , 10. https://doi.org/10.3389/fpsyg.2019.00494 Lem, A. (2015). The evaluation of musical engagement in dementia: Implications for self-reported quality of life. Australian Journal of Music Therapy , 26, 30–51. Lemaire, E. C. (2020). Extraordinary times call for extraordinary measures: The use of music to communicate public health recommendations against the spread of COVID-19. Canadian Journal of Public Health , 111(4), 477–479. https://doi.org/10.17269/s41997-020-00379-2 Lemaire, E. C., Loignon, C., & Bertrand, K. (2020). A critical scoping review about the impact of music in the lives of young adults who use drugs. Drug and Alcohol Review , 40(1), 135–154. https://doi.org/10.1111/dar.13136 701 Bibliography Lenette, C., & Sunderland, N. (2014). “Will there be music for us?” Mapping the health and well-being potential of participatory music practice with asylum seekers and refugees across contexts of conflict and refuge. Arts & Health , 8(1), 32–49. https://doi.org/10.1080/17533015.2014.961943 Lenette, C., Weston, D., Wise, P ., Sunderland, N., & Bristed, H. (2015a). Where words fail, music speaks: The impact of participatory music on the mental health and wellbeing of asylum. Arts & Health , 8(2), 125–139. https://doi.org /10.1080/17533015.2015.1037317 Lenette, C., Weston, D., Wise, P ., Sunderland, N., & Bristed, H. (2015b). Where words fail, music speaks: The impact of participatory music on the mental health and wellbeing of asylum seekers. Arts & Health , 8(2), 125–139. https:// doi.org/10.1080/17533015.2015.1037317 Lense, M. D., Beck, S., Liu, C., Pfeiffer, R., Diaz, N., Lynch, M., Goodman, N., Summers, A., & Fisher, M. H. (2020). Parents, Peers, and Musical Play: Integrated Parent-Child Music Class Program Supports Community Participation and Well-Being for Families of Children With and Without Autism Spectrum Disorder. Frontiers in Psychology , 11. https://doi. org/10.3389/fpsyg.2020.555717 Lepistö, T., Kujala, T., Vanhala, R., Alku, P ., Huotilainen, M., & Näätänen, R. (2005). The discrimination of and orienting to speech and non-speech sounds in children with autism. Brain Research , 1066 (1–2), 147–157. https:// doi.org/10.1016/j.brainres.2005.10.052 Leubner, D., & Hinterberger, T. (2017). Reviewing the Effectiveness of Music Interventions in Treating Depression. Frontiers in Psychology , 8. https://doi. org/10.3389/fpsyg.2017.01109 Leung, M. C., & Cheung, R. Y. M. (2020). Music engagement and well-being in Chinese adolescents: Emotional awareness, positive emotions, and negative emotions as mediating processes. Psychology of Music , 48(1), 105–119, https://doi.org/10.1177/03057356 Levinson, D. J. (1986). A conception of adult development. American Psychologist , 41(1), 3–13. https://doi.org/10.1037/0003-066x.41.1.3 Levinson, D. J., Darrow, C. N., Klein, E. B., Levinson, M. H., & McKee, B. (1978). The Seasons of a Man’s Life . Alfred A. Knopf. Levitin, D. J., & Rogers, S. E. (2005). Absolute pitch: Perception, coding, and controversies. Trends in Cognitive Sciences , 9(1), 26–33. https://doi. org/10.1016/j.tics.2004.11.007 Lewis, C., & Lovatt, P . J. (2013). Breaking away from set patterns of thinking: Improvisation and divergent thinking. Thinking Skills and Creativity , 9, 46–58. https://doi.org/10.1016/j.tsc.2013.03.001 Lewis, K., Demie, F., & Rogers, L. (2011). In Harmony Lambeth: An Evaluation . Lambeth Children and Young People’s Service with the Institute of Education, University of London.702 The Power of Music Lewis, K., Gonzalez, M., & Kaufman, J. (2011). Social selection and peer influence in an online social network. Proceedings of the National Academy of Sciences , 109(1), 68–72. https://doi.org/10.1073/pnas.1109739109 Lezak, M. D. (Ed.). (2004). Neuropsychological assessment . Oxford University Press. Li, H.-C., Wang, H.-H., Chou, F.-H., & Chen, K.-M. (2015). The Effect of Music Therapy on Cognitive Functioning Among Older Adults: A Systematic Review and Meta-Analysis. Journal of the American Medical Directors Association , 16(1), 71–77. https://doi.org/10.1016/j.jamda.2014.10.004 Li, J., Li, X., Liu, H., Li, J., Han, Q., Wang, C., Zeng, X., Li, Y., Ji, W., Zhang, R., & Bao, J. (2021). Effects of music stimulus on behavior response, cortisol level, and horizontal immunity of growing pigs. Journal of Animal Science , 99(5). https://doi.org/10.1093/jas/skab043 Li, S., Han, Y., Wang, D., Yang, H., Fan, Y., Lv, Y., Tang, H., Gong, Q., Zang, Y., & He, Y. (2009). Mapping Surface Variability of the Central Sulcus in Musicians. Cerebral Cortex , 20(1), 25–33. https://doi.org/10.1093/cercor/ bhp074 Liapis, Z., Giddens, Z., & Uhlenbrock, M. (2008). Effects of lyrical music on reading comprehension . Hanover College. Lichman, S. (2006). Perception and Experience: The Application of Folklore to Coexistence Education in Israeli and Palestinian School-Communities . Queen’s University Belfast. Lichman, S., & Sullivan, K. (2000). Harnessing folklore and traditional creativity to promote better understanding between Jewish and Arab children in Israel. In M. Leicester, S. Modgil, & C. Modgil (Eds), Education, Culture and Values (Vol. 6, pp. 66–77). The Falmer Press. Lieberman, M. D. (2007). Social Cognitive Neuroscience: A Review of Core Processes. Annual Review of Psychology , 58(1), 259–289. https://doi. org/10.1146/annurev.psych.58.110405.085654 Liebowitz, M., Tucker, M. S., Frontz, M., & Mulholland, S. (2015a). Participatory choral music as a means of engagement in a veterans’ mental health and addiction treatment setting. Arts & Health , 7(2), 137–150. https://doi.org/10 .1080/17533015.2014.999246 Liebowitz, M., Tucker, M. S., Frontz, M., & Mulholland, S. (2015b). Participatory choral music as a means of engagement in a veterans’ mental health and addiction treatment setting. Arts & Health , 7(2), 137–150. https://doi.org/10 .1080/17533015.2014.999246 Lillemyr, O. F. (1983). Achievement motivation as a factor in self-perception. In Norwegian Research Council for Science and the Humanities (p. 274 245–248). 703 Bibliography Lim, T., Lee, S., & Ke, F. (2017). Integrating Music into Math in a Virtual Reality Game. International Journal of Game-Based Learning , 7(1), 57–73. https://doi. org/10.4018/ijgbl.2017010104 Lima, C. F., & Castro, S. L. (2011). Speaking to the trained ear: Musical expertise enhances the recognition of emotions in speech prosody. Emotion , 11(5), 1021–1031. https://doi.org/10.1037/a0024521 Limb, C. J., & Braun, A. R. (2008). Neural Substrates of Spontaneous Musical Performance: An fMRI Study of Jazz Improvisation. PLoS ONE , 3(2), e1679. https://doi.org/10.1371/journal.pone.0001679 Lin, S.-T., Yang, P ., Lai, C.-Y., Su, Y.-Y., Yeh, Y.-C., Huang, M.-F., & Chen, C.-C. (2011). Mental Health Implications of Music: Insight from Neuroscientific and Clinical Studies. Harvard Review of Psychiatry , 19(1), 34–46. https://doi. org/10.3109/10673229.2011.549769 Linch, S. A. (1994). Differences in Academic Achievement and Level of Self- Esteem among High School Participants in Instrumental Music, Non- Participants, and Students Who Discontinue Instrumental Music Education. Doctoral Dissertation. Dissertation[MP276] Abstracts International , 54(9), 3362. Lincoln, S. (2005). Feeling the Noise: Teenagers, Bedrooms and Music. Leisure Studies , 24(4), 399–414. https://doi.org/10.1080/02614360500199544 Lindblad, K., & Boise, S. de. (2019). Musical engagement and subjective wellbeing amongst men in the third age. Nordic Journal of Music Therapy , 29(1), 20–38. https://doi.org/10.1080/08098131.2019.1646791 Lindenfelser, K. J., Hense, C., & McFerran, K. (2011). Music Therapy in Pediatric Palliative Care. American Journal of Hospice and Palliative Medicine® , 29(3), 219–226. https://doi.org/10.1177/1049909111429327 Linnakyla, P ., & Malin, A. (1997). Oppilaidenprofiloituminenkouluviihtyvyyde narvuiubbussa(Student profiles in the light of school engagement. Kasvatus , 28(2), 583–602. Linnavalli, T., Putkinen, V., Lipsanen, J., Huotilainen, M., & Tervaniemi, M. (2018). Music playschool enhances children’s linguistic skills. Scientific Reports , 8(1). https://doi.org/10.1038/s41598-018-27126-5 Linnemann, A., Kappert, M. B., Fischer, S., Doerr, J. M., Strahler, J., & Nater, U. M. (2015). The effects of music listening on pain and stress in the daily life of patients with fibromyalgia syndrome. Frontiers in Human Neuroscience , 9. https://doi.org/10.3389/fnhum.2015.00434 Linnemann, A., Strahler, J., & Nater, U. M. (2016). The stress-reducing effect of music listening varies depending on the social context. Psychoneuroendocrinology , 72, 97–105. https://doi.org/10.1016/j.psyneuen.2016.06.003 Linnemann, A., Wenzel, M., Grammes, J., Kubiak, T., & Nater, U. M. (2017). Music Listening and Stress in Daily Life—A Matter of Timing. International 704 The Power of Music Journal of Behavioral Medicine , 25(2), 223–230. https://doi.org/10.1007/ s12529-017-9697-5 Lipscomb, S. D., Lundell, D., Sevett, C., & Scripp, L. (2008). Rhythm and reading: Improvement of reading fluency using a rhythm based pedagogical technique. Presentation at the 10th International Conference on Music Perception and Cognition . Lischetzke, T., & Eid, M. (2003). Is Attention to Feelings Beneficial or Detrimental to Affective Well-Being? Mood Regulation as a Moderator Variable. Emotion , 3(4), 361–377. https://doi.org/10.1037/1528-3542.3.4.361 Lith, T. V., Schofield, M. J., & Fenner, P . (2012). Identifying the evidence-base for art-based practices and their potential benefit for mental health recovery: A critical review. Disability and Rehabilitation , 35(16), 1309–1323. https://doi. org/10.3109/09638288.2012.732188 Littell, W. J. (1961). A survey of the uses of music in correctional institutions in the United States [PhD Thesis]. University of Kansas. Liu, B., Huang, Y., Wang, Z., & Wu, G. (2012). The influence of background music on recognition processes of Chinese characters: An ERP study. Neuroscience Letters , 518(2), 80–85. https://doi.org/10.1016/j.neulet.2012.04.055 Liu, S., Chow, H. M., Xu, Y., Erkkinen, M. G., Swett, K. E., Eagle, M. W., Rizik-Baer, D. A., & Braun, A. R. (2012). Neural Correlates of Lyrical Improvisation: An fMRI Study of Freestyle Rap. Scientific Reports , 2(1). https://doi.org/10.1038/ srep00834 Livesey, L., Morrison, I., Clift, S., & Camic, P . (2012). Benefits of choral singing for social and mental wellbeing: Qualitative findings from a cross‐national survey of choir members. Journal of Public Mental Health , 11(1), 10–26, https://doi.org/10.1108/1746572121120275 . Lloyd, B. T., & Mendez, J. L. (2001). Batswana 1 Adolescents’ Interpretation of American Music Videos: So that’s What that Means! Journal of Black Psychology , 27(4), 464–476. https://doi.org/10.1177/0095798401027004005 Loehr, J. D., Kourtis, D., Vesper, C., Sebanz, N., & Knoblich, G. (2013). Monitoring Individual and Joint Action Outcomes in Duet Music Performance. Journal of Cognitive Neuroscience , 25(7), 1049–1061. https://doi.org/10.1162/ jocn_a_00388 Loehr, J. D., & Palmer, C. (2011). Temporal Coordination between Performing Musicians. Quarterly Journal of Experimental Psychology , 64(11), 2153–2167. https://doi.org/10.1080/17470218.2011.603427 Loewy, J. (2014). First sounds: NICU Rhythm, breath and lullaby research and practice. Neurosciences and Music V: Cognitive Stimulation and Rehabilitation Conference . Logue, S. F., & Gould, T. J. (2014). The neural and genetic basis of executive function: Attention, cognitive flexibility, and response inhibition. 705 Bibliography Pharmacology Biochemistry and Behavior , 123, 45–54. https://doi.org/10.1016/j. pbb.2013.08.007 Lolli, S. L., Lewenstein, A. D., Basurto, J., Winnik, S., & Loui, P . (2015). Sound frequency affects speech emotion perception. Front . Lomen, D. O. (1970). Changes in Self-Concept Factors: A Comparison of Fifth- Grade Instrumental Music Participants and Nonparticipants in Target and Nontarget Schools in Des Moines, Iowa. Doctoral Dissertation. [MP281] Dissertation Abstracts International , 31, 3962. Long, M. (2014). `I can read further and there’s more meaning while I read’: An exploratory study investigating the impact of a rhythm-based music intervention on children’s reading. Research Studies in Music Education , 36(1), 107–124. https://doi.org/10.1177/1321103x14528453 Long, M., & Hallam, S. (2012). Rhythm for reading: A rhythm-based approach to reading intervention. [MP282]Proceedings of Music Paedeia, 30th ISME World Conference on Music Education , MP283](pp , 221–232. Longhi, E., & Pickett, N. (2007). Music and well-being in long-term hospitalized children. Psychology of Music , 36(2), 247–256. https://doi. org/10.1177/0305735607082622 Longhi, E., Pickett, N., & Hargreaves, D. J. (2013). Wellbeing and hospitalized children: Can music help? Psychology of Music , 43(2), 188–196. https://doi. org/10.1177/0305735613499781 Lonie, D. (2011). Attuned to Engagement: The Effects of a Music Mentoring Programme on the Agency and Musical Ability of Children and Young People . Youth Music. López, G. L., & Berríos, E. R. (2007). Impacto de las orquestas en la formación de escolares chilenos . Fundación de Orquestas Juveniles e Infantiles de Chile Universidad de Chile. Lopez, M. E. (2008). Music Therapy: Healing, Growth, Creating a Culture of Peace. In O. Urbain (Ed.), Music and Conflict Transformation: Harmonies and Dissonances in Geopolitics (pp. 147–171). I.B. Lord, P ., Sharp, C., Dawson, A., Mehta, P ., White, R., & Jeffes, J. (2013). Evaluation of In Harmony: Year 1 Interim Report . National Foundation for Educational Research. Lord, V. M., Cave, P ., Hume, V. J., Flude, E. J., Evans, A., Kelly, J. L., Polkey, M. I., & Hopkinson, N. S. (2010). Singing teaching as a therapy for chronic respiratory disease—A randomised controlled trial and qualitative evaluation. BMC Pulmonary Medicine , 10(1). https://doi.org/10.1186/1471-2466-10-41 Loth, H. (2016). Music therapy with people who have eating disorders. In J. Edwards (Ed.), The Oxford handbook of music therapy (p. 285). Oxford University Press.706 The Power of Music Lotter, C. B. (2003). Circles of Courage: Music therapy with adolescents in conflict with the law at a community-based setting [PhD Thesis]. University of Pretoria. Loui, P ., & Guetta, R. (2019). Music and attention, executive function, and creativity. In M. H. Thaut & D. A. Hodges (Eds), The Oxford Handbook of Music and Neuroscience . Oxford University Press. https://doi.org/0.1093/ oxfordhb/9780198804123.013.12 Loui, P ., Kroog, K., Zuk, J., Winner, E., & Schlaug, G. (2011). Relating Pitch Awareness to Phonemic Awareness in Children: Implications for Tone- Deafness and Dyslexia. Frontiers in Psychology , 2. https://doi.org/10.3389/ fpsyg.2011.00111 Loui, P ., Li, H. C., Hohmann, A., & Schlaug, G. (2011). Enhanced Cortical Connectivity in Absolute Pitch Musicians: A Model for Local Hyperconnectivity. Journal of Cognitive Neuroscience , 23(4), 1015–1026. https://doi.org/10.1162/jocn.2010.21500 Loui, P ., Raine, L. B., Chaddock-Heyman, L., Kramer, A. F., & Hillman, C. H. (2019). Musical Instrument Practice Predicts White Matter Microstructure and Cognitive Abilities in Childhood. Frontiers in Psychology , 10. https://doi. org/10.3389/fpsyg.2019.01198 Loui, P ., Wu, E. H., Wessel, D. L., & Knight, R. T. (2009). A Generalized Mechanism for Perception of Pitch Patterns. Journal of Neuroscience , 29(2), 454–459. https://doi.org/10.1523/jneurosci.4503-08.2009 Loui, P ., Zamm, A., & Schlaug, G. (2012). Enhanced functional networks in absolute pitch. NeuroImage , 63(2), 632–640. https://doi.org/10.1016/j. neuroimage.2012.07.030 Lozon, J., & Bensimon, M. (2014). Music misuse: A review of the personal and collective roles of “problem music”. Aggression and Violent Behavior , 19(3), 207–218. https://doi.org/10.1016/j.avb.2014.04.003 Lu, D. T. (1986). The effects of teaching music skills on the development of reading skills among first graders: An experimental study [Doctoral dissertation.]. University Washington. Luders, E., Gaser, C., Jancke, L., & Schlaug, G. (2004). A voxel-based approach to gray matter asymmetries. NeuroImage , 22(2), 656–664. https://doi. org/10.1016/j.neuroimage.2004.01.032 Ludke, K. M., Ferreira, F., & Overy, K. (2013). Singing can facilitate foreign language learning. Memory & Cognition , 42(1), 41–52. https://doi. org/10.3758/s13421-013-0342-5 Lukács, B., & Honbolygó, F. (2019). Task-Dependent Mechanisms in the Perception of Music and Speech: Domain-Specific Transfer Effects of Elementary School Music Education. Journal of Research in Music Education , 67(2), 153–170. https://doi.org/10.1177/0022429419836422 707 Bibliography Lull, J. (1987). Listeners’ communicative properties of music (J. Lull, Ed.). Sage Publications. Lund, H. N., Pedersen, I. N., Johnsen, S. P ., Heymann-Szlachcinska, A. M., Tuszewska, M., Bizik, G., Larsen, J. I., Kulhay, E., Larsen, A., Grønbech, B., Østermark, H., Borup, H., Valentin, J. B., & Mainz, J. (2020). Music to improve sleep quality in adults with depression-related insomnia (MUSTAFI): Study protocol for a randomized controlled trial. Trials , 21(1). https://doi. org/10.1186/s13063-020-04247-9 Lundqvist, L.-O., Carlsson, F., Hilmersson, P ., & Juslin, P . N. (2008). Emotional responses to music: Experience, expression, and physiology. Psychology of Music , 37(1), 61–90. https://doi.org/10.1177/0305735607086048 Lundström, C. (2009). `People take for granted that you know how to dance Salsa and Merengue’: Transnational diasporas, visual discourses and racialized knowledge in Sweden’s contemporary Latin music boom. Social Identities , 15(5), 707–723. https://doi.org/10.1080/13504630903205340 M., B., D., S., S., M., A., S., & C, M. (2007). Influence of musical expertise and musical training on pitch processing in music and language. Restorative Neurology and Neurosciences , 25, 399–410. Mabel, L. Q. H., Drury, V. B., & Hong, P . W. (2010). The experience and expectations of terminally ill patients receiving music therapy in the palliative setting: A systematic review. JBI Library of Systematic Reviews , 8(27), 1088–1111. https://doi.org/10.11124/jbisrir-2010-155 MacAulay, R. K., Edelman, P ., Boeve, A., Sprangers, N., & Halpin, A. (2019). Group music training as a multimodal cognitive intervention for older adults. Psychomusicology: Music, Mind, and Brain , 29(4), 180–187. https://doi. org/10.1037/pmu0000239 MacDonald, R. A. R., Hargreaves, D. J., & Miell, D. (2009). Musical identities. In S. Hallam, I. Cross, & M. Thaut (Eds), Oxford Handbook of Music Psychology (pp. 462–470). Oxford University Press. MacDonald, R. A. R., & Miell, D. J. (2002). Music for individuals with special needs: A catalyst for developments in identity, communication, and musical ability. In R. A. R. MacDonald, D. J. Hargreaves, & D. Miell (Eds), Musical Identities (pp. 163–178). Oxford University Press. MacDonald, R., Burke, R., Nora, T. D., Donohue, M. S., & Birrell, R. (2021). Our Virtual Tribe: Sustaining and Enhancing Community via Online Music Improvisation. Frontiers in Psychology , 11. https://doi.org/10.3389/ fpsyg.2020.623640 MacDonald, R., Hargreaves, D. J., & Miell, D. (Eds). (2017). Handbook of Musical Identities . Oxford University Press. https://doi.org/10.1093/acprof : oso/9780199679485.001.0001708 The Power of Music MacDonald, R., Kreutz, G., & Mitchell, L. (Eds). (2012). Music, Health, and Wellbeing . Oxford University Press. https://doi.org/10.1093/acprof : oso/9780199586974.001.0001 MacGlone, U. M., Vamvakaris, J., Wilson, G. B., & MacDonald, R. A. R. (2020). Understanding the Wellbeing Effects of a Community Music Program for People With Disabilities: A Mixed Methods, Person-Centered Study. Frontiers in Psychology , 11. https://doi.org/10.3389/fpsyg.2020.588734 MacIntyre, P . D., & Potter, G. K. (2013). Music motivation and the effect of writing music: A comparison of pianists and guitarists. Psychology of Music , 42(3), 403–419. https://doi.org/10.1177/0305735613477180 Mackenzie, J., & Hamlett, K. (2005). The Music Together Programme: Addressing the needs of well families with young children. Australian Journal of Music Therapy , 16, 43–59. MacLellan, C. R. (2011). Differences in Myers-Briggs Personality Types Among High School Band, Orchestra, and Choir Members. Journal of Research in Music Education , 59(1), 85–100. https://doi.org/10.1177/0022429410395579 MacLeod, A., Skinner, M. W., Wilkinson, F., & Reid, H. (2016). Connecting Socially Isolated Older Rural Adults with Older Volunteers through Expressive Arts. Canadian Journal on Aging / La Revue Canadienne Du Vieillissement , 35(1), 14–27. https://doi.org/10.1017/s071498081500063x MacRitchie, J., Breaden, M., Milne, A. J., & McIntyre, S. (2020). Cognitive, Motor and Social Factors of Music Instrument Training Programs for Older Adults’ Improved Wellbeing. Frontiers in Psychology , 10, 2868, https://doi. org/10.3389/fpsyg.2019 . MacRitchie, J., & Garrido, S. (2019). Ageing and the orchestra: Self-efficacy and engagement in community music-making. Psychology of Music , 47(6), 902–916. https://doi.org/10.1177/0305735619854531 Madsen, C. K. (1987). Background music: Competition for focus of attention. In C. K. Madsen & C. A. Prickett (Eds), Applications of research in music behaviour (p. 288). The University of Alabama Press. Magee, W. L., Clark, I., Tamplin, J., & Bradt, J. (2017). Music interventions for acquired brain injury. Cochrane Database of Systematic Reviews , 2017 (1). https://doi.org/10.1002/14651858.cd006787.pub3 Magne, C., Schön, D., & Besson, M. (2006). Musician Children Detect Pitch Violations in Both Music and Language Better than Nonmusician Children: Behavioral and Electrophysiological Approaches. Journal of Cognitive Neuroscience , 18(2), 199–211. https://doi.org/10.1162/jocn.2006.18.2.199 Magowan, F. (2019). Resonance, Resilience and Empathy in Music Production with Asylum Seekers in Australia. Music and Arts in Action , 7(1). Maguire, L. E., Wanschura, P . B., Battaglia, M. M., Howell, S. N., & Flinn, J. M. (2015). Participation in Active Singing Leads to Cognitive Improvements in 709 Bibliography Individuals with Dementia. Journal of the American Geriatrics Society , 63(4), 815–816. https://doi.org/10.1111/jgs.13366 Mahdhaoui, A., Chetouani, M., Cassel, R. S., & Cohen, D. (2011). Computerized home video detection for motherese may help to study impaired interaction between infants who become autistic and their parents.[MP291 . https://doi.org/10.1002/ mpr.332 . Mahdhaoui, A., Chetouani, M., Zong, C., Cassel, R. S., Saint-Georges, C., Laznik, M.-C., Maestro, S., Apicella, F., Muratori, F., & Cohen, D. (2009). Automatic Motherese Detection for Face-to-Face Interaction Analysis. In Multimodal Signals: Cognitive and Algorithmic Issues (pp. 248–255). Springer Berlin Heidelberg. https://doi.org/10.1007/978-3-642-00525-1_25 Mahns, W. (2002). The psychodynamic function of music in analytical music therapy with children. In T. J. Eschen (Ed.), Analytical Music Therapy (p. 292). Jessica Kingsley Publishers. Mainka, S., Spintge, R., & Thaut, M. (2016). Music therapy in medical and neurological rehabilitation settings. In S. Hallam, I. Cross, & M. Thaut (Eds), Oxford Handbook of Music Psychology (pp. 857–873). Oxford University Press. Majno, M. (2012). From the model of El Sistema in Venezuela to current applications: Learning and integration through collective music education. Annals of the New York Academy of Sciences , 1252 (1), 56–64. https://doi. org/10.1111/j.1749-6632.2012.06498.x Mak, H. W., Fluharty, M., & Fancourt, D. (2021). Predictors and Impact of Arts Engagement During the COVID-19 Pandemic: Analyses of Data From 19,384 Adults in the COVID-19 Social Study. Frontiers in Psychology , 12. https://doi. org/10.3389/fpsyg.2021.626263 Mallick, K. A. D., N., K., A.K., M., A.P .K., P ., N., & Mohanty, G. P . (2020). Music helps in inducing more milk yield. International Journal of Current Science and Multidisciplinary Research , 3(7), 293. Malloch, S., Shoemark, H., Črnčec, R., Newnham, C., Paul, C., Prior, M., Coward, S., & Burnham, D. (2012). Music therapy with hospitalized infants-the art and science of communicative musicality. Infant Mental Health Journal , 33(4), 386–399. https://doi.org/10.1002/imhj.21346 Malloch, S., & Trevarthen, C. (2009). Musicality: Communicating the Vitality and Interests of life. In S. Malloch & C. Trevarthen (Eds), Communicative Musicality: Exploring the basis of human companionship (Vol. 1, pp. 1–10). Oxford University Press. Malone, A. B. (1996). The Effects of Live Music on the Distress of Pediatric Patients Receiving Intravenous Starts, Venipunctures, Injections, and Heel Sticks. Journal of Music Therapy , 33(1), 19–33. https://doi.org/10.1093/ jmt/33.1.19 Maloy, M., & Peterson, R. (2014). A meta-analysis of the effectiveness of music interventions for children and adolescents with attention-deficit/710 The Power of Music hyperactivity disorder. Psychomusicology: Music, Mind, and Brain , 24(4), 328–339. https://doi.org/10.1037/pmu0000083 Mammarella, N., Fairfield, B., & Cornoldi, C. (2007). Does music enhance cognitive performance in healthy older adults? The Vivaldi effect. Aging Clinical and Experimental Research , 19(5), 394–399. https://doi.org/10.1007/ bf03324720 Mampe, B., Friederici, A. D., Christophe, A., & Wermke, K. (2009). Newborns’ Cry Melody Is Shaped by Their Native Language. Current Biology , 19(23), 1994–1997. https://doi.org/10.1016/j.cub.2009.09.064 Mani, C. (2020). Livelihoods as a kaleidoscope of distributed lifeworlds: Towards a nuanced understanding of music-making and identity in migrants in South-East Queensland. Music Education Research , 22(5), 581–595. https:// doi.org/10.1080/14613808.2020.1840536 Mansens, D., Deeg, D. J. H., & Comijs, H. C. (2017). The association between singing and/or playing a musical instrument and cognitive functions in older adults. Aging & Mental Health , 22(8), 970–977. https://doi.org/10.1080 /13607863.2017.1328481 Mansky, R., Marzel, A., Orav, E. J., Chocano-Bedoya, P . O., Grünheid, P ., Mattle, M., Freystätter, G., Stähelin, H. B., Egli, A., & Bischoff-Ferrari, H. A. (2020). Playing a musical instrument is associated with slower cognitive decline in community-dwelling older adults. Aging Clinical and Experimental Research , 32(8), 1577–1584. https://doi.org/10.1007/s40520-020-01472-9 Marchant-Haycox, S. E., & Wilson, G. D. (1992). Personality and stress in performing artists. Personality and Individual Differences , 13(10), 1061–1068. https://doi.org/10.1016/0191-8869(92)90021-g Margulis, E. H., Mlsna, L. M., Uppunda, A. K., Parrish, T. B., & Wong, P . C. M. (2009). Selective neurophysiologic responses to music in instrumentalists with different listening biographies. Human Brain Mapping , 30(1), 267–275. https://doi.org/10.1002/hbm.20503 Marie, C., Delogu, F., Lampis, G., Belardinelli, M. O., & Besson, M. (2011). Influence of Musical Expertise on Segmental and Tonal Processing in Mandarin Chinese. Journal of Cognitive Neuroscience , 23(10), 2701–2715. https://doi.org/10.1162/jocn.2010.21585 Marie, C., Magne, C., & Besson, M. (2011). Musicians and the Metric Structure of Words. Journal of Cognitive Neuroscience , 23(2), 294–305. https://doi. org/10.1162/jocn.2010.21413 Marques, C., Moreno, S., Castro, S. L., & Besson, M. (2007). Musicians Detect Pitch Violation in a Foreign Language Better Than Nonmusicians: Behavioral and Electrophysiological Evidence. Journal of Cognitive Neuroscience , 19(9), 1453–1463. https://doi.org/10.1162/jocn.2007.19.9.1453 Marrades-Caballero, E., Santonja-Medina, C. S., Sanz-Mengibar, J. M., & Santonja-Medina, F. (2019). Neurologic music therapy in upper-limb 711 Bibliography rehabilitation in children with severe bilateral cerebral palsy: A randomized controlled trial. European Journal of Physical and Rehabilitation Medicine , 54(6). https://doi.org/10.23736/s1973-9087.18.04996-1 Marsh, K. (2012a). “The beat will make you be courage”: The role of a secondary school music program in supporting young refugees and newly arrived immigrants in Australia. Research Studies in Music Education , 34(2), 93–111. https://doi.org/10.1177/1321103x12466138 Marsh, K. (2012b). Music in the Lives of Refugee and Newly Arrived Immigrant Children in Sydney, Australia . Oxford University Press. https://doi. org/10.1093/oxfordhb/9780199737635.013.0030 Marsh, K. (2012c). Music in the Lives of Refugee and Newly Arrived Immigrant Children in Sydney, Australia . Oxford University Press. https://doi. org/10.1093/oxfordhb/9780199737635.013.0030 Marsh, K. (2015). Music, social justice, and social inclusion: The role of collaborative music activities in supporting young refugees and newly arrived immigrants in Australia. In C. Benedict, P . Schmidt, G. Spruce, & P . Woodford (Eds), The Oxford handbook of social justice in music education (pp. 173–189). Oxford University Press. Marsh, K. (2016). Creating bridges: Music, play and well-being in the lives of refugee and immigrant children and young people. Music Education Research , 19(1), 60–73. https://doi.org/10.1080/14613808.2016.1189525 Marsh, K., & Dieckmann, S. (2016). Interculturality in the playground and playgroup: Music as shared space for young immigrant children and their mothers. In P . Burnard, E. Mackinlay, & K. Powell (Eds), The Routledge International Handbook of Intercultural Arts Research (pp. 358–368). Routledge. Marsh, K., & Dieckmann, S. (2017). Contributions of playground singing games to the social inclusion of refugee and newly arrived immigrant children in Australia. Education 3–13 , 45(6), 710–719. https://doi.org/10.1080/03004279 .2017.1347128 Marshall, A. T. (1978). An analysis of music curricula and its relationship to the self image of urban black middle school age children. Doctoral Dissertation. [MP295]Dissertation Abstracts International, A , 38, 6594–6595. Martel, S. P . B. (2020). Cultural Production, Music and the Politics of Legitimacy: The Case of the FARC in Colombia. Civil Wars , 23(1), 104–126. https://doi. org/10.1080/13698249.2021.1846351 Martens, M. A., Jungers, M. K., & Steele, A. L. (2011). Effect of musical experience on verbal memory in Williams syndrome: Evidence from a novel word learning task. Neuropsychologia , 49(11), 3093–3102. https://doi. org/10.1016/j.neuropsychologia.2011.07.016 Martens, M. A., Wilson, S. J., & Reutens, D. C. (2008). Research Review: Williams syndrome: A critical review of the cognitive, behavioral, and 712 The Power of Music neuroanatomical phenotype. Journal of Child Psychology and Psychiatry , 49(6), 576–608. https://doi.org/10.1111/j.1469-7610.2008.01887.x Martens, S., Wierda, S. M., Dun, M., Vries, M. de, & Smid, H. G. O. M. (2015). Musical Minds: Attentional Blink Reveals Modality-Specific Restrictions. PLOS ONE , 10(2), e0118294. https://doi.org/10.1371/journal.pone.0118294 MARTIN, G., CLARKE, M., & PEARCE, C. (1993). Adolescent Suicide: Music Preference as an Indicator of Vulnerability. Journal of the American Academy of Child & Adolescent Psychiatry , 32(3), 530–535. https://doi. org/10.1097/00004583-199305000-00007 Martin, L., Oepen, R., Bauer, K., Nottensteiner, A., Mergheim, K., & Gruber, H. (2018). Creative arts interventions for stress management and prevention–A systematic review. Behaviour Science (Basel , 8(2), 28 296. Martin, L., & Segrave, K. (1988). Anti-Rock: The opposition to Rock ‘n’ Roll . Archon. Martin, R. C., Wogalter, M. S., & Forlano, J. G. (1988). Reading comprehension in the presence of unattended speech and music. Journal of Memory and Language , 27(4), 382–398. https://doi.org/10.1016/0749-596x(88)90063-0 Martindale, C., & Dailey, A. (1996). Creativity, primary process cognition and personality. Personality and Individual Differences , 20(4), 409–414. https://doi. org/10.1016/0191-8869(95)00202-2 Martinez, J. (2008). Effects of singing classes on pulmonary function and quality of life of COPD patients. International Journal of Chronic Obstructive Pulmonary Disease , 1. https://doi.org/10.2147/copd.s4077 Martínez-Castilla, P ., Gutiérrez-Blasco, I. M., Spitz, D. H., & Granot, R. (2021). The Efficacy of Music for Emotional Wellbeing During the COVID-19 Lockdown in Spain: An Analysis of Personal and Context-Related Variables. Frontiers in Psychology , 12. https://doi.org/10.3389/fpsyg.2021.647837 Martínez-Montes, E., Hernández-Pérez, H., Chobert, J., Morgado-Rodríguez, L., Suárez-Murias, C., Valdés-Sosa, P . A., & Besson, M. (2013). Musical expertise and foreign speech perception. Frontiers in Systems Neuroscience , 7. https:// doi.org/10.3389/fnsys.2013.00084 Martins, M., Neves, L., Rodrigues, P ., Vasconcelos, O., & Castro, S. L. (2018). Orff-Based Music Training Enhances Children’s Manual Dexterity and Bimanual Coordination. Frontiers in Psychology , 9. https://doi.org/10.3389/ fpsyg.2018.02616 Maruna, S. (2010). The Great Escape: Exploring the Rehabilitative Dynamics Involved in Changing Tunes . http://www.changingtunes.org.uk . Masataka, N. (1999). Preference for infant-directed singing in 2-day-old hearing infants of deaf parents. Developmental Psychology , 35(4), 1001–1005. https:// doi.org/10.1037/0012-1649.35.4.1001 713 Bibliography Massie, R., Jolly, A., & Caulfield, L. (2019). An Evaluation of the Irene Taylor Trust’s ‘Sounding Out’ Programme 2016–2019 . Institute for Community Research & Development, University of Wolverhampton. Matheson, C. M. (2005). Festivity and sociability: A study of a Celtic music festival. Tourism Culture & Communication , 5(3), 149–163. https://doi. org/10.3727/109830405774545035 Mathias, B., Gehring, W., & Palmer, C. (2019). Electrical Brain Responses Reveal Sequential Constraints on Planning during Music Performance. Brain Sciences , 9(2), 25. https://doi.org/10.3390/brainsci9020025 Mathis, W. S., & Han, X. (2017). The acute effect of pleasurable music on craving for alcohol: A pilot crossover study. Journal of Psychiatric Research , 90, 143–147. https://doi.org/10.1016/j.jpsychires.2017.04.008 Mathiti, V. (2002). An evaluation of a diversion into music education (DIME) programme for at-risk youth: Implications for programme development. In 14th International congress on Child Abuse and Neglect.[MP299 . Matijasevic, M. T. C., Buitrago, G. E., Ramírez, M., & Villada, C. (2008). Evaluación Cualitativa de resultados del proyecto ‘Educación musical para niños y jóvenes: Déjate Tocar por la música’. In Realizado por la Fundación Batuta y Acción Social. Colombia[MP300]: Centro de estudios regionales, Cafeteros y empresariales CreCe . Matthews, R. (2018). Acoustic, respiratory, cognitive and wellbeing comparisons of two groups of people with Parkinson’s disease participating in voice and choral singing group therapy versus a music appreciation activity [PhD Thesis]. University of Auckland. Mayberry, R. I., Lock, E., & Kazmi, H. (2002). Linguistic ability and early language exposure. Nature , 417(6884), 38–38. https://doi.org/10.1038/417038a Mayer, J. D., Salovey, P ., & Caruso, D. R. (2004a). TARGET ARTICLES: ‘Emotional Intelligence: Theory, Findings, and Implications’. Psychological Inquiry , 15(3), 197–215. https://doi.org/10.1207/s15327965pli1503_02 Mayer, J. D., Salovey, P ., & Caruso, D. R. (2004b). TARGET ARTICLES: ‘Emotional Intelligence: Theory, Findings, and Implications’. Psychological Inquiry , 15(3), 197–215. https://doi.org/10.1207/s15327965pli1503_02 Mayer, J. D., Salovey, P ., Caruso, D. R., & Sitarenios, G. (2001). Emotional intelligence as a standard intelligence. Emotion , 1(3), 232–242. https://doi. org/10.1037/1528-3542.1.3.232 Mayfield, C., & Moss, S. (1989). Effect of Music Tempo on Task Performance. Psychological Reports , 65(3_suppl2), 1283–1290. https://doi.org/10.2466/ pr0.1989.65.3f.1283 Mays, K. L., Clark, D. L., & Gordon, A. J. (2008). Treating Addiction with Tunes: A Systematic Review of Music Therapy for the Treatment of 714 The Power of Music Patients with Addictions. Substance Abuse , 29(4), 51–59. https://doi. org/10.1080/08897070802418485 McConnell, T., & Porter, S. (2016). Music therapy for palliative care: A realist review. Palliative and Supportive Care , 15(4), 454–464. https://doi.org/10.1017/ s1478951516000663 McCourt, T. (2005). Collecting music in the digital realm. Popular Music Soc , 28, 249–252. McCraty, R., Atkinson, M., Rein, G., & Watkins, A. D. (1996). Music enhances the effect of positive emotional states on salivaryIgA. Stress Medicine , 12(3), 167–175. https://doi.org/10.1002/ (sici)1099-1700(199607)12:3<167::aid-smi697>3.0.co;2-2 McDermott, O., Crellin, N., Ridder, H. M., & Orrell, M. (2012). Music therapy in dementia: A narrative synthesis systematic review. International Journal of Geriatric Psychiatry , 28(8), 781–794. https://doi.org/10.1002/gps.3895 McDermott, O., Orrell, M., & Ridder, H. M. (2014). The importance of music for people with dementia: The perspectives of people with dementia, family carers, staff and music therapists. Aging & Mental Health , 18(6), 706–716. https://doi.org/10.1080/13607863.2013.875124 McDonald, C. I., & Zaki, S. (2020). A role for classical music in veterinary practice: Does exposure to classical music reduce stress in hospitalised dogs? Australian Veterinary Journal , 98(1–2), 31–36. https://doi.org/10.1111/ avj.12905 McDonald, J. (2013). The Effect of Music Preference on Complex Task Performance. Global Tides , 7, 10 303. McFerran, K., Baker, F., Patton, G. C., & Sawyer, S. M. (2006). A Retrospective lyrical analysis of songs written by adolescents with anorexia nervosa. European Eating Disorders Review , 14(6), 397–403. https://doi.org/10.1002/ erv.746 McFerran, K., Derrington, P ., & Saarikallio, S. (Eds). (2019). Handbook of Music, Adolescents, and Wellbeing . Oxford University Press. https://doi.org/10.1093/ oso/9780198808992.001.0001 McFerran, K. S. (2016). Contextualising the relationship between music, emotions and the well-being of young people: A critical interpretive synthesis. Musicae Scientiae , 20(1), 103–121. https://doi.org/10.1177/1029864915626968 McFerran, K. S. (2019). Adolescents and Music Therapy: Contextualized Recommendations for Research and Practice. Music Therapy Perspectives , 38(1), 80–88. https://doi.org/10.1093/mtp/miz014 McFerran, K. S., Garrido, S., O’Grady, L., Grocke, D., & Sawyer, S. M. (2014). Examining the relationship between self-reported mood management and music preferences of Australian teenagers. Nordic Journal of Music Therapy , 24(3), 187–203. https://doi.org/10.1080/08098131.2014.908942 715 Bibliography McFerran, K. S., Hense, C., Koike, A., & Rickwood, D. (2018). Intentional music use to reduce psychological distress in adolescents accessing primary mental health care. Clinical Child Psychology and Psychiatry , 23(4), 567–581. https:// doi.org/10.1177/1359104518767231 McFerran, K. S., Lai, H. I. C., Chang, W.-H., Acquaro, D., Chin, T. C., Stokes, H., & Crooke, A. H. D. (2020a). Music, Rhythm and Trauma: A Critical Interpretive Synthesis of Research Literature. Frontiers in Psychology , 11. https://doi.org/10.3389/fpsyg.2020.00324 McFerran, K. S., Lai, H. I. C., Chang, W.-H., Acquaro, D., Chin, T. C., Stokes, H., & Crooke, A. H. D. (2020b). Music, Rhythm and Trauma: A Critical Interpretive Synthesis of Research Literature. Frontiers in Psychology , 11. https://doi.org/10.3389/fpsyg.2020.00324 McFerran, K. S., Rickard, N. S., & McFerran, K. S. (2011). Music and adolescents (eds, Ed.). Nova Science Publishers. McFerran, K. S., & Saarikallio, S. (2014). Depending on music to feel better: Being conscious of responsibility when appropriating the power of music. The Arts in Psychotherapy , 41(1), 89–97. https://doi.org/10.1016/j.aip.2013.11.007 McFerran, K. S., & Shoemark, H. (2013). How musical engagement promotes well-being in education contexts: The case of a young man with profound and multiple disabilities. International Journal of Qualitative Studies on Health and Well-Being , 8(1), 20570. https://doi.org/10.3402/qhw.v8i0.20570 McHugh, L., Gardstrom, S., Hiller, J., Brewer, M., & Diestelkamp, W. S. (2012). The Effect of Pre-Meal, Vocal Re-Creative Music Therapy on Nutritional Intake of Residents with Alzheimer’s Disease and Related Dementias: A Pilot Study. Music Therapy Perspectives , 30(1), 32–42. https://doi.org/10.1093/ mtp/30.1.32 McIntyre, J. (2007). Creating order out of chaos: Music therapy with adolescent boys diagnosed with a behaviour disorder and / or emotional disorder. Music Therapy Today , VIII(1), 308. McKAY, F. R. (2009). Music in the Correction of Juvenile Delinquency. Juvenile Court Judges Journal , 7(4), 24–30. https://doi.org/10.1111/j.1755-6988.1956. tb00139.x McKinney, C. H., Tims, F. C., Kumar, A. M., & Kumar, M. (1997). The Effect of Selected Classical Music and Spontaneous Imagery on Plasma β-Endorphin. Journal of Behavioral Medicine , 20(1), 85–99. https://doi. org/10.1023/a :1025543330939 MCMullen, E., & Saffran, J. R. (2004). Music and Language: A Developmental Comparison. Music Perception , 21(3), 289–311. https://doi.org/10.1525/ mp.2004.21.3.289 McNeill, W. H. (1997). Keeping Together in Time . Harvard University Press. https://doi.org/10.4159/9780674040878716 The Power of Music McPherson, G. E., & Lehmann, A. C. (2012). Exceptional musical abilities: Musical Prodigies. In G. E. McPherson & G. F. Welch (Eds), The Oxford Handbook of Music Education (Vol. 2, pp. 31–50 ,). Oxford University Press. https://doi.org/10.1093/oxfordhb/9780199928019.013.0003_update_001 . McPherson, G. E., & O’Neill, S. A. (2010). Students’ motivation to study music as compared to other school subjects: A comparison of eight countries. Research Studies in Music Education , 32(2), 101–137. https://doi. org/10.1177/1321103x10384202 McPherson, G. E., & Renwick, J. M. (2001). A Longitudinal Study of Self- regulation in Children’s Musical Practice. Music Education Research , 3(2), 169–186. https://doi.org/10.1080/14613800120089232 Mead, G. H., Joas, H., Huebner, D. R., & Morris, C. W. (2015). Mind, Self, and Society . University of Chicago Press. https://doi.org/10.7208/ chicago/9780226112879.001.0001 Medina, D., & Barraza, P . (2019). Efficiency of attentional networks in musicians and non-musicians. Heliyon , 5(3), e01315. https://doi.org/10.1016/j. heliyon.2019.e01315 Mehr, S. A., Krasnow, M. M., Bryant, G. A., & Hagen, E. H. (2020). Origins of music in credible signaling. Behavioral and Brain Sciences , 44. https://doi. org/10.1017/s0140525x20000345 Mehr, S. A., Schachner, A., Katz, R. C., & Spelke, E. S. (2013a). Two Randomized Trials Provide No Consistent Evidence for Nonmusical Cognitive Benefits of Brief Preschool Music Enrichment. PLoS ONE , 8(12), e82007. https://doi. org/10.1371/journal.pone.0082007 Mehr, S. A., Schachner, A., Katz, R. C., & Spelke, E. S. (2013b). Two Randomized Trials Provide No Consistent Evidence for Nonmusical Cognitive Benefits of Brief Preschool Music Enrichment. PLoS ONE , 8(12), e82007. https://doi. org/10.1371/journal.pone.0082007 Meinz, E. J., & Hambrick, D. Z. (2010). Deliberate Practice Is Necessary but Not Sufficient to Explain Individual Differences in Piano Sight- Reading Skill. Psychological Science , 21(7), 914–919. https://doi. org/10.1177/0956797610373933 Meister, I., Krings, T., Foltys, H., Boroojerdi, B., Müller, M., Töpper, R., & Thron, A. (2005). Effects of long-term practice and task complexity in musicians and nonmusicians performing simple and complex motor tasks: Implications for cortical motor organization. Human Brain Mapping , 25(3), 345–352. https:// doi.org/10.1002/hbm.20112 Mendelson, J., White, Y., Hans, L., Adebari, R., Schmid, L., Riggsbee, J., Goldsmith, A., Ozler, B., Buehne, K., Jones, S., Shapleton, J., & Dawson, G. (2016). A Preliminary Investigation of a Specialized Music Therapy Model for Children with Disabilities Delivered in a Classroom Setting. Autism Research and Treatment , 2016 , 1–8. https://doi.org/10.1155/2016/1284790 717 Bibliography Mendona, M. (2010). Prison, music and the rehabilitation revolution: The case of Good Vibrations. Journal of Applied Arts & Health , 1(3), 295–307. https:// doi.org/10.1386/jaah.1.3.295_1 Menne, H. L., Johnson, J. D., Whitlatch, C. J., & Schwartz, S. M. (2012). Activity Preferences of Persons With Dementia. Activities, Adaptation & Aging , 36(3), 195–213. https://doi.org/10.1080/01924788.2012.696234 Menning, H., Roberts, L. E., & Pantev, C. (2000). Plastic changes in the auditory cortex induced by intensive frequency discrimination training. NeuroReport , 11(4), 817–822. https://doi.org/10.1097/00001756-200003200-00032 Merchant, H., Grahn, J., Trainor, L., Rohrmeier, M., & Fitch, W. T. (2015). Finding the beat: A neural perspective across humans and non-human primates. Philosophical Transactions of the Royal Society B: Biological Sciences , 370(1664), 20140093. https://doi.org/10.1098/rstb.2014.0093 Merker, B., Morley, I., & Zuidema, W. (2015). Five fundamental constraints on theories of the origins of music. Philosophical Transactions of the Royal Society B: Biological Sciences , 370(1664), 20140095. https://doi.org/10.1098/ rstb.2014.0095 Merrett, D. L., Peretz, I., & Wilson, S. J. (2013). Moderating variables of music training-induced neuroplasticity: A review and discussion. Frontiers in Psychology , 4. https://doi.org/10.3389/fpsyg.2013.00606 Merriam, A. P . (1964). The anthropology of music . Northwestern University Press. Merry, M., & Silverman, M. J. (2021). Effects of patient-preferred live music on positive and negative affect and pain with adults on a post-surgical oncology unit: A randomized study. The Arts in Psychotherapy , 72, 101739. https://doi. org/10.1016/j.aip.2020.101739 Messerschmidt, T. (2017). Change is gonna come: A mixed methods examination of people’s attitudes toward prisoners after experiences with a prison choir . Boston University. Metzler-Baddeley, C., Cantera, J., Coulthard, E., Rosser, A., Jones, D. K., & Baddeley, R. J. (2014). Improved Executive Function and Callosal White Matter Microstructure after Rhythm Exercise in Huntington’s Disease. Journal of Huntington’s Disease , 3(3), 273–283. https://doi.org/10.3233/ jhd-140113 Meyer, J., Oguz, P . G., & Moore, K. S. (2018). Superior fluid cognition in trained musicians. Psychology of Music , 48(3), 434–447. https://doi. org/10.1177/0305735618808089 Meyer, L. B. (1961). Emotion and Meaning in Music . University of Chicago Press. https://doi.org/10.7208/chicago/9780226521374.001.0001 Meyer, M. (2019). The Power of Music: Can Music at Work Help to Create more Ethical Organizations? Humanistic Management Journal , 4(1), 95–99. https:// doi.org/10.1007/s41463-019-00053-x718 The Power of Music Michel, D. E. (1971). Self-Esteem and Academic Achievement in Black Junior High School Students: Effects of Automated Guitar Instruction. Council for Research in Music Education , 24, 15–23. Michel, D. E., & Farrell, D. M. (1973). Music and Self-Esteem: Disadvantaged Problem Boys in an All-Black Elementary School. Journal of Research in Music Education , 21(1), 80–84. https://doi.org/10.2307/3343983 Micheyl, C., Delhommeau, K., Perrot, X., & Oxenham, A. J. (2006). Influence of musical and psychoacoustical training on pitch discrimination. Hearing Research , 219(1–2), 36–47. https://doi.org/10.1016/j.heares.2006.05.004 Miendlarzewska, E. A., & Trost, W. J. (2014). How musical training affects cognitive development: Rhythm, reward and other modulating variables. Frontiers in Neuroscience , 7. https://doi.org/10.3389/fnins.2013.00279 Mikenas, E. (2003). Drumming on the edge of leadership: Hand drumming and leadership skills for the new millennium. Percussive Notes , 41(1), 42–45. Mikkola, K., Kushnerenko, E., Partanen, E., Serenius-Sirve, S., Leipälä, J., Huotilainen, M., & Fellman, V. (2007). Auditory event-related potentials and cognitive function of preterm children at five years of age. Clinical Neurophysiology , 118(7), 1494–1502. https://doi.org/10.1016/j. clinph.2007.04.012 Miksza, P . (2007a). Music participation and socioeconomic status on correlates of change: A longitudinal analysis of academic achievement. Bulletin of the Council for Research in Music Education , 172, 41–57. Miksza, P . (2007b). Effective Practice. Journal of Research in Music Education , 55(4), 359–375. https://doi.org/10.1177/0022429408317513 Miksza, P . (2010). Investigating relationships between participation in high school music ensembles and extra-musical outcomes: An analysis of the Education Longitudinal Study of 2002 using bio-ecological development models. Bulletin of the Council for Research in Music Education , 186, 7–25. Miles, S. A., Miranda, R. A., & Ullman, M. T. (2016). Sex Differences in Music: A Female Advantage at Recognizing Familiar Melodies. Frontiers in Psychology , 7. https://doi.org/10.3389/fpsyg.2016.00278 Millar, O., & Warwick, I. (2018). Music and refugees’ wellbeing in contexts of protracted displacement. Health Education Journal , 78(1), 67–80. https://doi. org/10.1177/0017896918785991 Millar, S., Stiner, A., Calo, F., & Teasdate, S. (2020). COOL music: A bottom up music intervention for hard to reach young people in Scotland. British Journal of Music Education , 37(1), 87-98, https://doi.org/10.1017/S02851719000226 . Miller, G. (2000). Evolution of human music through sexual selection. In N. L. Wallin, B. Merker, & S. Brown (Eds), The Origins of Music (pp. 329–360). MIT Press. 719 Bibliography Milliman, R. E. (1982). Using background music to affect the behaviour of supermarket shoppers. Journal of Marketing , 46, 86–91. Milliman, R. E. (1986). The Influence of Background Music on the Behavior of Restaurant Patrons. Journal of Consumer Research , 13(2), 286. https://doi. org/10.1086/209068 Milovanov, R., Huotilainen, M., Välimäki, V., Esquef, P . A. A., & Tervaniemi, M. (2008). Musical aptitude and second language pronunciation skills in school-aged children: Neural and behavioral evidence. Brain Research , 1194 , 81–89. https://doi.org/10.1016/j.brainres.2007.11.042 Milovanov, R., & Tervaniemi, M. (2011). The Interplay between Musical and Linguistic Aptitudes: A Review. Frontiers in Psychology , 2. https://doi. org/10.3389/fpsyg.2011.00321 Minguella, M., & Buchanan, C. (2009). The use of music as a tool for social inclusion . Research Report for Cork City Council. Miranda, D. (2013). The role of music in adolescent development: Much more than the same old song. International Journal of Adolescence and Youth , 18(1), 5–22. https://doi.org/10.1080/02673843.2011.650182 Miranda, D. (2019). A review of research on music and coping in adolescence. Psychomusicology: Music, Mind, and Brain , 29(1), 1–9. https://doi.org/10.1037/ pmu0000229 Miranda, D., Blais-Rochette, C., Vaugon, K., Osman, M., & Arias-Valenzuela, M. (2013). Towards a cultural-developmental psychology of music in adolescence. Psychology of Music , 43(2), 197–218. https://doi. org/10.1177/0305735613500700 Miranda, D., & Claes, M. (2009). Music listening, coping, peer affiliation and depression in adolescence. Psychology of Music , 37(2), 215–233. https://doi. org/10.1177/0305735608097245 Miranda, D., & Gaudreau, P . (2011). Music listening and emotional well-being in adolescence: A person- and variable-oriented study. European Review of Applied Psychology , 61(1), 1–11. https://doi.org/10.1016/j.erap.2010.10.002 Miranda, D., Gaudreau, P ., Debrosse, R., Morizot, J., & Kirmayer, L. (2012). Music listening and mental health: Variations on internalizing psychopathology. In R. A. R. MacDonald, G. Kreutz, & L. Mitchell (Eds), Music, Health and Wellbeing (pp. 513–530). Oxford University Press. Miranda, J. Y. (2001). A study of the effect of school-sponsored, extra-curricular activities on high school students’ cumulative grade point average, SAT score, ACT score, and core curriculum subject grade point average [PhD Thesis]. University of North Texas. Miranda, R. A., & Ullman, M. T. (2007). Double dissociation between rules and memory in music: An event-related potential study\720 The Power of Music textbackslashding73. NeuroImage , 38(2), 331–345. https://doi.org/10.1016/j. neuroimage.2007.07.034 Mischel, W. (1973). Toward a cognitive social learning reconceptualization of personality. Psychological Review , 80(4), 252–283. https://doi.org/10.1037/ h0035002 Mitchell, A. H. (1949). The Effect of Radio Programs on Silent Reading Achievement of Ninety-One Sixth Grade Students. The Journal of Educational Research , 42(6), 460–470. https://doi.org/10.1080/00220671.1949.10881709 Mitchell, L. A., & MacDonald, R. A. R. (2006). An Experimental Investigation of the Effects of Preferred and Relaxing Music Listening on Pain Perception. Journal of Music Therapy , 43(4), 295–316. https://doi.org/10.1093/jmt/43.4.295 Mitchell, L. A., MacDonald, R. A. R., & Brodie, E. E. (2006). A comparison of the effects of preferred music, arithmetic and humour on cold pressor pain. European Journal of Pain , 10(4), 343–343. https://doi.org/10.1016/j. ejpain.2005.03.005 Mitchell, L., & MacDonald, R. (2012). Music and Pain: Evidence from Experimental Perspectives. In Music, Health, and Wellbeing (pp. 231–238). Oxford University Press. https://doi.org/10.1093/acprof :oso/9780199586974.003.0017 Mithen, S. (1996). The Prehistory of the mind . Thames and Hudson. Miyake, A., & Friedman, N. P . (2012). The Nature and Organization of Individual Differences in Executive Functions. Current Directions in Psychological Science , 21(1), 8–14. https://doi.org/10.1177/0963721411429458 Miyake, A., Friedman, N. P ., Emerson, M. J., Witzki, A. H., Howerter, A., & Wager, T. D. (2000). The Unity and Diversity of Executive Functions and Their Contributions to Complex “Frontal Lobe” Tasks: A Latent Variable Analysis. Cognitive Psychology , 41(1), 49–100. https://doi.org/10.1006/cogp.1999.0734 Möckel, M., Röcker, L., Störk, T., Vollert, J., Danne, O., Eichstädt, H., Müller, R., & Hochrein, H. (1994). Immediate physiological responses of healthy volunteers to different types of music: Cardiovascular, hormonal and mental changes. European Journal of Applied Physiology and Occupational Physiology , 68(6), 451–459. https://doi.org/10.1007/bf00599512 Mogro-Wilson, C., & Tredinnick, L. (2020). Influencing Social and Emotional Awareness and Empathy with a Visual Arts and Music Intervention for Adolescents. Children & Schools , 42(2), 111–119. https://doi.org/10.1093/cs/ cdaa008 Mohan, A., & Thomas, E. (2019). Effect of background music and the cultural preference to music on adolescents’ task performance. International Journal of Adolescence and Youth , 25(1), 562–573. https://doi.org/10.1080/02673843. 2019.1689368 721 Bibliography Mohan, G., Sivakumaran, B., & Sharma, P . (2013). Impact of store environment on impulse buying behavior. European Journal of Marketing , 47(10), 1711– 1732. https://doi.org/10.1108/ejm-03-2011-0110 Molnar‐Szakacs, I., & Heaton, P . (2012). Music: A unique window into the world of autism. Annals of the New York Academy of Sciences: The Neurosciences and Music IV. Learning and Memory , 318, 318–324. Molteni, L., & Ordanini, A. (2003). Consumption Patterns, Digital Technology and Music Downloading. Long Range Planning , 36(4), 389–406. https://doi. org/10.1016/s0024-6301(03)00073-6 Mom, P ., & Zu, O. D. (2012). Effects of Tone Merging and Musical Training on Cantonese Tone Perception in Speech Prosody. Sixth International Conference . Montello, L., & Coons, E. E. (1998). Effects of Active Versus Passive Group Music Therapy on Preadolescents with Emotional, Learning, and Behavioral Disorders. Journal of Music Therapy , 35(1), 49–67. https://doi.org/10.1093/ jmt/35.1.49 Montgomery, A. J. (1997). The influence of movement activities on achievement in melodic pitch discrimination and language arts reading readiness skills of selected kindergarten music classes [Doctoral dissertation.]. University of Southern Mississippi. Moody, E., & Phinney, A. (2012). A Community-Engaged Art Program for Older People: Fostering Social Inclusion. Canadian Journal on Aging / La Revue Canadienne Du Vieillissement , 31(1), 55–64. https://doi.org/10.1017/ s0714980811000596 Moon, C., Cooper, R. P ., & Fifer, W. P . (1993). Two-day-olds prefer their native language. Infant Behavior and Development , 16(4), 495–500. https://doi. org/10.1016/0163-6383(93)80007-u Moon, C., Lagercrantz, H., & Kuhl, P . K. (2013). Language experienced$\ textbackslashless$i$\textbackslashgreater$in utero$\textbackslashless$/i$\ textbackslashgreater$affects vowel perception after birth: A two-country study. Acta Paediatrica , 102(2), 156–160. https://doi.org/10.1111/apa.12098 Moon, C. M., & Fifer, W. P . (2000). Evidence of Transnatal Auditory Learning. Journal of Perinatology , 20(S1), S37–S44. https://doi.org/10.1038/sj.jp.7200448 Moore, G. P ., & Chen, J. (2010). Timings and interactions of skilled musicians. Biological Cybernetics , 103(5), 401–414. https://doi.org/10.1007/ s00422-010-0407-5 Moors, T., Silva, S., Maraschin, D., Young, D., Quinn, J. M., Carpentier, J. de, Allouche, J., & Himonides, E. (2020). Using Beatboxing for Creative Rehabilitation After Laryngectomy: Experiences From a Public Engagement Project. Frontiers in Psychology , 10. https://doi.org/10.3389/fpsyg.2019.02854 Moradzadeh, L., Blumenthal, G., & Wiseheart, M. (2014). Musical Training, Bilingualism, and Executive Function: A Closer Look at Task Switching 722 The Power of Music and Dual-Task Performance. Cognitive Science , 39(5), 992–1020. https://doi. org/10.1111/cogs.12183 Moreno, J. (1999). Orpheus in hell: Music and therapy in the Holocaust. The Arts in Psychotherapy , 26(1), 3–14. https://doi.org/10.1016/s0197-4556(98)00040-9 Moreno, S., & Besson, M. (2006). Musical training and language-related brain electrical activity in children. Psychophysiology , 43(3), 287–291. https://doi. org/10.1111/j.1469-8986.2006.00401.x Moreno, S., Bialystok, E., Barac, R., Schellenberg, E. G., Cepeda, N. J., & Chau, T. (2011). Short-Term Music Training Enhances Verbal Intelligence and Executive Function. Psychological Science , 22(11), 1425–1433. https://doi. org/10.1177/0956797611416999 Moreno, S., & Bidelman, G. M. (2014). Examining neural plasticity and cognitive benefit through the unique lens of musical training. Hearing Research , 308, 84–97. https://doi.org/10.1016/j.heares.2013.09.012 Moreno, S., & Farzan, F. (2015). Music training and inhibitory control: A multidimensional model. Annals of the New York Academy of Sciences , 1337 (1), 147–152. https://doi.org/10.1111/nyas.12674 Moreno, S., Lee, Y., Janus, M., & Bialystok, E. (2014). Short-Term Second Language and Music Training Induces Lasting Functional Brain Changes in Early Childhood. Child Development , 86(2), 394–406. https://doi.org/10.1111/ cdev.12297 Moreno, S., Marques, C., Santos, A., Santos, M., Castro, S. L., & Besson, M. (2008). Musical Training Influences Linguistic Abilities in 8-Year-Old Children: More Evidence for Brain Plasticity. Cerebral Cortex , 19(3), 712–723. https://doi.org/10.1093/cercor/bhn120 Moreno, S., Wodniecka, Z., Tays, W., Alain, C., & Bialystok, E. (2014). Inhibitory Control in Bilinguals and Musicians: Event Related Potential (ERP) Evidence for Experience-Specific Effects. PLoS ONE , 9(4), e94169. https:// doi.org/10.1371/journal.pone.0094169 Morgan-Ellis, E. M. (2021). “Like Pieces in a Puzzle”: Online Sacred Harp Singing During the COVID-19 Pandemic. Frontiers in Psychology , 12. https:// doi.org/10.3389/fpsyg.2021.627038 Morin, F. (2014). From Caracas to the Canadian prairies: Executive summary of the pilot evaluation of an el sistema-inspired after-school orchestral program. Canadian Music Educator / Musicien Educateur Au Canada , 56(1). Moritz, C., Yampolsky, S., Papadelis, G., Thomson, J., & Wolf, M. (2012). Links between early rhythm skills, musical training, and phonological awareness. Reading and Writing , 26(5), 739–769. https://doi.org/10.1007/ s11145-012-9389-0 Morrison, S. J. (1994). Music Students and Academic Growth. Music Educators Journal , 81(2), 33–36. https://doi.org/10.2307/3398812 723 Bibliography Moser, D. K., Chung, M. L., McKinley, S., Riegel, B., An, K., Cherrington, C. C., Blakely, W., Biddle, M., Frazier, S. K., & Garvin, B. J. (2003). Critical care nursing practice regarding patient anxiety assessment and management. Intensive and Critical Care Nursing , 19(5), 276–288. https://doi.org/10.1016/ s0964-3397(03)00061-2 Mosing, M. A., Madison, G., Pedersen, N. L., & Ullén, F. (2015). Investigating cognitive transfer within the framework of music practice: Genetic pleiotropy rather than causality. Developmental Science , 19(3), 504–512. https://doi. org/10.1111/desc.12306 Moss, H., & O’Donoghue, J. (2019). An evaluation of workplace choir singing amongst Health Service staff in Ireland. Health Promotion International , 35(3), 527–534. https://doi.org/10.1093/heapro/daz044 Moussard, A., Bermudez, P ., Alain, C., Tays, W., & Moreno, S. (2016). Life- long music practice and executive control in older adults: An event-related potential study. Brain Research , 1642 , 146–153. https://doi.org/10.1016/j. brainres.2016.03.028 Moussard, A., Bigand, E., Belleville, S., & Peretz, I. (2012). Music as an Aid to Learn New Verbal Information in Alzheimer’s Disease. Music Perception , 29(5), 521–531. https://doi.org/10.1525/mp.2012.29.5.521 Mroczek, D. K., Stawski, R. S., Turiano, N. A., Chan, W., Almeida, D. M., Neupert, S. D., & Spiro, A. (2013). Emotional Reactivity and Mortality: Longitudinal Findings From the V A Normative Aging Study. The Journals of Gerontology Series B: Psychological Sciences and Social Sciences , 70(3), 398–406. https://doi. org/10.1093/geronb/gbt107 Müllensiefen, D., Gingras, B., Musil, J., & Stewart, L. (2014). The Musicality of Non-Musicians: An Index for Assessing Musical Sophistication in the General Population. PLoS ONE , 9(2), e89642. https://doi.org/10.1371/ journal.pone.0089642 Müller, W., Haffelder, G., Schlotmann, A., Schaefers, A. T. U., & Teuchert-Noodt, G. (2014). Amelioration of psychiatric symptoms through exposure to music individually adapted to brain rhythm disorders – a randomised clinical trial on the basis of fundamental research. Cognitive Neuropsychiatry , 19(5), 399–413. https://doi.org/10.1080/13546805.2013.879054 Mullis, R. L., & Chapman, P . (2000). Age, Gender, and Self-Esteem Differences in Adolescent Coping Styles. The Journal of Social Psychology , 140(4), 539–541. https://doi.org/10.1080/00224540009600494 Murabayashi, N., Akahoshi, T., Ishimine, R., Saji, N., Takeda, C., Nakayama, H., Noro, M., Fujimoto, H., Misaki, M., Miyamoto, K., Yamada, Y., Kohya, I., Kondo, M., Yamaguchi, H., Sasaki, D., & Murai, Y. (2019). Effects of Music Therapy in Frail Elderlies: Controlled Crossover Study. Dementia and Geriatric Cognitive Disorders Extra , 9(1), 87–99. https://doi.org/10.1159/000496456724 The Power of Music Murcia, C. Q., Bongard, S., & Kreutz, G. (2009). Emotional and Neurohumoral Responses to Dancing Tango Argentino: The Effects of Music and Partner. Music and Medicine , 1(1), 14–21. https://doi.org/10.1177/1943862109335064 Muriithi, B. A. K. (2020). Music as the Medicine of Trauma among Refugees in Arizona. Voices: A World Forum for Music Therapy , 20(2). https://doi. org/10.15845/voices.v20i2.2891 Murnighan, J. K., & Conlon, D. E. (1991). The Dynamics of Intense Work Groups: A Study of British String Quartets. Administrative Science Quarterly , 36(2), 165. https://doi.org/10.2307/2393352 Murrock, C. J., & Graor, C. H. (2016). Depression, Social Isolation, and the Lived Experience of Dancing in Disadvantaged Adults. Archives of Psychiatric Nursing , 30(1), 27–34. https://doi.org/10.1016/j.apnu.2015.10.010 Musacchia, G., Sams, M., Skoe, E., & Kraus, N. (2007). Musicians have enhanced subcortical auditory and audiovisual processing of speech and music. Proceedings of the National Academy of Sciences , 104(40), 15894–15898. https:// doi.org/10.1073/pnas.0701498104 Musacchia, G., Strait, D., & Kraus, N. (2008). Relationships between behavior, brainstem and cortical encoding of seen and heard speech in musicians and non-musicians. Hearing Research , 241(1–2), 34–42. https://doi.org/10.1016/j. heares.2008.04.013 Music as a technology of self. (2000). In Music in Everyday Life (pp. 46–74). Cambridge University Press. https://doi.org/10.1017/cbo9780511489433.004 Music, U. K. (2013). The Economic Contribution of the Core UK Music Industry . UK Music. Music, U. K. (2020). Music by Numbers 2020 . UK Music. Musik als begleitende Therapie bei koronarer Herzkrankheit. (2003). DMW - Deutsche Medizinische Wochenschrift , 128(51/52), 2712–2716. https://doi. org/10.1055/s-2003-812546 Musliu, A., Berisha, B., & Latifi, D. (2017). The Impact of Music in Memory. European Journal of Social Sciences Education and Research , 10(2), 222. https:// doi.org/10.26417/ejser.v10i2.p222-227 Myers, B., Lense, M., & Gordon, R. (2019). Pushing the Envelope: Developments in Neural Entrainment to Speech and the Biological Underpinnings of Prosody Perception. Brain Sciences , 9(3), 70. https://doi.org/10.3390/ brainsci9030070 Myers, E. G. (1979). The Effect of Music on Retention in a Paired-Associate Task with EMR Children. Journal of Music Therapy , 16(4), 190–198. https://doi. org/10.1093/jmt/16.4.190 Nachev, P ., Kennard, C., & Husain, M. (2008). Functional role of the supplementary and pre-supplementary motor areas. Nature Reviews Neuroscience , 9(11), 856–869. https://doi.org/10.1038/nrn2478 725 Bibliography Nakata, T., & Trehub, S. E. (2004). Infants’ responsiveness to maternal speech and singing. Infant Behavior and Development , 27(4), 455–464. https://doi. org/10.1016/j.infbeh.2004.03.002 Nan, Y., Liu, L., Geiser, E., Shu, H., Gong, C. C., Dong, Q., Gabrieli, J. D. E., & Desimone, R. (2018). Piano training enhances the neural processing of pitch and improves speech perception in Mandarin-speaking children. Proceedings of the National Academy of Sciences , 115(28). https://doi.org/10.1073/ pnas.1808412115 Nantais, K. M., & Schellenberg, E. G. (1999). The Mozart Effect: An Artifact of Preference. Psychological Science , 10(4), 370–373. https://doi. org/10.1111/1467-9280.00170 Narme, P ., Clément, S., Ehrlé, N., Schiaratura, L., Vachez, S., Courtaigne, B., Munsch, F., & Samson, S. (2013). Efficacy of Musical Interventions in Dementia: Evidence from a Randomized Controlled Trial. Journal of Alzheimer’s Disease , 38(2), 359–369. https://doi.org/10.3233/jad-130893 Navarro, J., Osiurak, F., & Reynaud, E. (2018). Does the Tempo of Music Impact Human Behavior Behind the Wheel? Human Factors: The Journal of the Human Factors and Ergonomics Society , 60(4), 556–574. https://doi. org/10.1177/0018720818760901 Nederlanden, C. M., Joanisse, M. F., & Grahn, J. A. (2020). Music as a Scaffold for Listening to Speech: Better Neural Phase-Locking to Song than Speech. Neuroimage , 214, 116767 473. Nee, D. E., Brown, J. W., Askren, M. K., Berman, M. G., Demiralp, E., Krawitz, A., & Jonides, J. (2012). A Meta-analysis of Executive Components of Working Memory. Cerebral Cortex , 23(2), 264–282. https://doi.org/10.1093/cercor/ bhs007 Neels, M., Lang, S., & Wegener, W. (1998). Therapeutisches Musizieren an der Musikschule. Musiktherapeutische Umschau , 19(3), 216–217. Nelson, D. L. (1997). High-risk adolescent males, self-efficacy, and choral performance: An investigation of affective intervention. Doctoral dissertation. MP328]Dissertation Abstracts International , 58(3A), 0791. Nelson, K., Adamek, M., & Kleiber, C. (2017). Relaxation Training and Postoperative Music Therapy for Adolescents Undergoing Spinal Fusion Surgery. Pain Management Nursing , 18(1), 16–23. https://doi.org/10.1016/j. pmn.2016.10.005 Nemati, S., Akrami, H., Salehi, S., Esteky, H., & Moghimi, S. (2019). Lost in music: Neural signature of pleasure and its role in modulating attentional resources. Brain Research , 1711 , 7–15. https://doi.org/10.1016/j.brainres.2019.01.011 Nes, F. van, & Doorman, M. (2011). Fostering Young Children’s Spatial Structuring Ability. International Electronic Journal of Mathematics Education , 6(1), 27–39. https://doi.org/10.29333/iejme/259726 The Power of Music Nes, F. van, & Lange, J. de. (2007). Mathematics Education and Neurosciences: Relating Spatial Structures to the Development of Spatial Sense and Number Sense. The Mathematics Enthusiast , 4(2), 210–229. https://doi. org/10.54870/1551-3440.1072 Neupane, S., & Taylor, J. Y. (2011). Music Therapy for Incarcerated Women Recovering from Trauma and Abuse . The University of Iowa. Ng, W. F. (2005). Music Therapy, War Trauma, and Peace: A Singaporean Perspective. Voices: A World Forum for Music Therapy , 5(3). https://doi. org/10.15845/voices.v5i3.231 Nguyen, T., & Grahn, J. A. (2017). Mind your music: The effects of music- induced mood and arousal across different memory tasks. Psychomusicology: Music, Mind, and Brain , 27(2), 81–94. https://doi.org/10.1037/pmu0000178 Nguyen, T. N., Nilsson, S., Hellström, A.-L., & Bengtson, A. (2010). Music Therapy to Reduce Pain and Anxiety in Children With Cancer Undergoing Lumbar Puncture: A Randomized Clinical Trial. Journal of Pediatric Oncology Nursing , 27(3), 146–155. https://doi.org/10.1177/1043454209355983 Nicholson, J., & Davies, L. (2013). Patients’ experiences of the PICC insertion procedure. British Journal of Nursing , 22(Sup9), S16–S23. https://doi. org/10.12968/bjon.2013.22.sup9.s16 Nicholson, J. M., Berthelsen, D., Abad, V., Williams, K., & Bradley, J. (2008). Impact of Music Therapy to Promote Positive Parenting and Child Development. Journal of Health Psychology , 13(2), 226–238. https://doi. org/10.1177/1359105307086705 Nicholson, J. M., Berthelsen, D., Williams, K. E., & Abad, V. (2010). National Study of an Early Parenting Intervention: Implementation Differences on Parent and Child Outcomes. Prevention Science , 11(4), 360–370. https://doi. org/10.1007/s11121-010-0181-6 Niet, G., Tiemens, B., Lendemeijer, B., & Hutschenaekers, G. (2009). Music assisted relaxation to improve sleep. Database of Abstracts of Reviews of Effects (DARE) Quality-Assessed Reviews , 65(7), 1356–1364. Nikol, L., Kuan, G., Ong, M., Chang, Y.-K., & Terry, P . C. (2018). The Heat Is On: Effects of Synchronous Music on Psychophysiological Parameters and Running Performance in Hot and Humid Conditions. Frontiers in Psychology , 9. https://doi.org/10.3389/fpsyg.2018.01114 Nill, A., & Geipel, A. (2009). Sharing and Owning of Musical Works. Journal of Macromarketing , 30(1), 33–49. https://doi.org/10.1177/0276146709352217 Nilsson, U. (2009). The effect of music intervention in stress response to cardiac surgery in a randomized clinical trial. Heart & Lung , 38(3), 201–207. https:// doi.org/10.1016/j.hrtlng.2008.07.008 727 Bibliography Nittono, H., Tsuda, A., Akai, S., & Nakajima, Y. (2000). Tempo of Background Sound and Performance Speed. Perceptual and Motor Skills , 90(3_suppl), 1122–1122. https://doi.org/10.2466/pms.2000.90.3c.1122 Nöcker-Ribaupierre, M., & Wölfl, A. (2010). Music to counter violence: A preventative approach for working with adolescents in schools. Nordic Journal of Music Therapy , 19(2), 151–161. https://doi.org/10.1080/08098131 .2010.489997 Nolin, W., & Vanderark, S. (1977). A pilot study of patterns of attitudes toward school music experiences, self-esteem and socio-economic status in elementary and junior high students. Contributions to Music Education , 5, 31–46. Norgaard, M., Stambaugh, L. A., & McCranie, H. (2019). The Effect of Jazz Improvisation Instruction on Measures of Executive Function in Middle School Band Students. Journal of Research in Music Education , 67(3), 339–354. https://doi.org/10.1177/0022429419863038 Norman-Haignere, S., Kanwisher, N. G., & McDermott, J. H. (2015). Distinct Cortical Pathways for Music and Speech Revealed by Hypothesis-Free Voxel Decomposition. Neuron , 88(6), 1281–1296. https://doi.org/10.1016/j. neuron.2015.11.035 North, A. C. (2011). The effect of background music on the taste of wine. British Journal of Psychology , 103(3), 293–301. https://doi. org/10.1111/j.2044-8295.2011.02072.x North, A. C., & Hargreaves, D. J. (1996a). Responses to Music in a Dining Area1. Journal of Applied Social Psychology , 26(6), 491–501. https://doi. org/10.1111/j.1559-1816.1996.tb02727.x North, A. C., & Hargreaves, D. J. (1996b). The effects of music on responses to a dining area. Journal of Environmental Psychology , 16(1), 55–64. https://doi. org/10.1006/jevp.1996.0005 North, A. C., & Hargreaves, D. J. (1998). The Effect of Music on Atmosphere and Purchase Intentions in a Cafeteria1. Journal of Applied Social Psychology , 28(24), 2254–2273. https://doi.org/10.1111/j.1559-1816.1998.tb01370.x North, A. C., & Hargreaves, D. J. (1999). Music and Adolescent Identity. Music Education Research , 1(1), 75–92. https://doi.org/10.1080/1461380990010107 North, A. C., & Hargreaves, D. J. (2007a). Lifestyle correlates of musical preference: 1. Relationships, living arrangements, beliefs, and crime. Psychology of Music , 35(1), 58–87. https://doi.org/10.1177/0305735607068888 North, A. C., & Hargreaves, D. J. (2007b). Lifestyle correlates of musical preference: 2. Media, leisure time and music. Psychology of Music , 35(2), 179–200. https://doi.org/10.1177/0305735607070302728 The Power of Music North, A. C., & Hargreaves, D. J. (2007c). Lifestyle correlates of musical preference: 3. Travel, money, education, employment and health. Psychology of Music , 35(3), 473–497. https://doi.org/10.1177/0305735607072656 North, A. C., Hargreaves, D. J., & Hargreaves, J. J. (2004). Uses of Music in Everyday Life. Music Perception , 22(1), 41–77. https://doi.org/10.1525/ mp.2004.22.1.41 North, A. C., Hargreaves, D. J., & Krause, A. E. (2016). Music and consumer behaviour. In S. Hallam, I. Cross, & M. Thaut (Eds), The Oxford Handbook of Music Psychology (2nd ed., pp. 789–803). Oxford University Press. North, A. C., Hargreaves, D. J., & McKendrick, J. (1997). In-store music affects product choice. Nature , 390(6656), 132–132. https://doi.org/10.1038/36484 North, A. C., Hargreaves, D. J., & McKendrick, J. (1999). The influence of in-store music on wine selections. Journal of Applied Psychology , 84(2), 271–276. https://doi.org/10.1037/0021-9010.84.2.271 North, A. C., Hargreaves, D. J., & Mckendrick, J. (2000a). The Effects of Music on Atmosphere in a Bank and a Bar1. Journal of Applied Social Psychology , 30(7), 1504–1522. https://doi.org/10.1111/j.1559-1816.2000.tb02533.x North, A. C., Hargreaves, D. J., & Mckendrick, J. (2000b). The Effects of Music on Atmosphere in a Bank and a Bar1. Journal of Applied Social Psychology , 30(7), 1504–1522. https://doi.org/10.1111/j.1559-1816.2000.tb02533.x North, A. C., Hargreaves, D. J., & O’Neill, S. A. (2000). The importance of music to adolescents. British Journal of Educational Psychology , 70(2), 255–272. https://doi.org/10.1348/000709900158083 North, A. C., Hewitt, L., & Dzidic, P . (2014). Concurrent audio, taste perceptions, and consumer attitudes concerning orange juice (cited in North . North, A. C., Mackenzie, L. C., Law, R. M., & Hargreaves, D. J. (2004). The Effects of Musical and Voice ‘Fit’ on Responses to Advertisements1. Journal of Applied Social Psychology , 34(8), 1675–1708. https://doi.org/10.1111/j.1559-1816.2004. tb02793.x North, A. C., Shilcock, A., & Hargreaves, D. J. (2003). The Effect of Musical Style on Restaurant Customers’ Spending. Environment and Behavior , 35(5), 712–718. https://doi.org/10.1177/0013916503254749 North, A., & Hargreaves, D. (2008). The Social and Applied Psychology of Music . Oxford University Press. https://doi.org/10.1093/acprof : oso/9780198567424.001.0001 North, A., & MacKenzie, L. (2001). Psychologists’ trials find music tempo affects productivity in cows. June, 67. http://www.le.ac.uk/press/press/ moosicstudy.html . Norton, A., Winner, E., Cronin, K., Overy, K., Lee, D. J., & Schlaug, G. (2005). Are there pre-existing neural, cognitive, or motoric markers for musical 729 Bibliography ability? Brain and Cognition , 59(2), 124–134. https://doi.org/10.1016/j. bandc.2005.05.009 Norway, S. (2020). This is Norway . Nozaradan, S., Peretz, I., & Keller, P . E. (2016). Individual Differences in Rhythmic Cortical Entrainment Correlate with Predictive Behavior in Sensorimotor Synchronization. Scientific Reports , 6(1). https://doi.org/10.1038/srep20612 N.P .C. (2012). The results of NPC’s Well-being Measure for Music First: National Orchestra for All 2012 Follow Up . New Philanthropy Capital. Nutley, S. B., Darki, F., & Klingberg, T. (2013). Music practice is associated with development of working memory during childhood and adolescence. Frontiers in Human Neuroscience , 7, 926 335. Nutley, S. B., Darki, F., & Klingberg, T. (2014). Music practice is associated with development of working memory during childhood and adolescence. Frontiers in Human Neuroscience , 7. https://doi.org/10.3389/fnhum.2013.00926 Nyashanu, M., Ikhile, D., & Pfende, F. (2020). Exploring the efficacy of music in palliative care: A scoping review. Palliative and Supportive Care , 19(3), 355–360. https://doi.org/10.1017/s1478951520001042 Oakes, S. (2003). Demographic and Sponsorship Considerations for Jazz and Classical Music Festivals. The Service Industries Journal , 23(3), 165–178. https://doi.org/10.1080/714005121 O’Brien, A., & Donelan, K. (2007). Risky Business: Engaging Marginalised Young People in the Creative Arts. The International Journal of the Arts in Society: Annual Review , 1(6), 15–24. https://doi.org/10.18848/1833-1866/ cgp/v01i06/35277 O’Callaghan, C., Dun, B., Baron, A., & Barry, P . (2013). Music’s Relevance for Children With Cancer: Music Therapists’ Qualitative Clinical Data-Mining Research. Social Work in Health Care , 52(2–3), 125–143. https://doi.org/10.10 80/00981389.2012.737904 Ockelford, A. (2012). Songs Without Words: Exploring How Music Can Serve as a Proxy Language in Social Interaction with Autistic Children. In Music, Health, and Wellbeing (pp. 289–323). Oxford University Press. https://doi. org/10.1093/acprof :oso/9780199586974.003.0021 Odell-Miller, H. (2016). Music therapy for people with a diagnosis of personality disorder: Considerations of thinking and feeling. In J. Edwards (Ed.), The Oxford handbook of music therapy (p. 337). Oxford University Press. Odena, O. (2010). Practitioners’ views on cross-community music education projects in Northern Ireland: Alienation, socio-economic factors and educational potential. British Educational Research Journal , 36(1), 83–105. https://doi.org/10.1080/01411920902878909 O’Donnell, S., Lohan, M., Oliffe, J. L., Grant, D., & Galway, K. (2021). The acceptability, effectiveness and gender responsiveness of participatory arts 730 The Power of Music interventions in promoting mental health and Wellbeing: A systematic review. Arts & Health , 1–18. https://doi.org/10.1080/17533015.2021.1894463 O’Donoghue, J., Moss, H., Clements-Cortes, A., & Freeley, C. (2020). Therapist and individual experiences and perceptions of music therapy for adolescents who stutter: A qualitative exploration. Nordic Journal of Music Therapy , 29(4), 353–370. https://doi.org/10.1080/08098131.2020.1745872 Oechslin, M. S., Ville, D. V. D., Lazeyras, F., Hauert, C.-A., & James, C. E. (2012). Degree of Musical Expertise Modulates Higher Order Brain Functioning. Cerebral Cortex , 23(9), 2213–2224. https://doi.org/10.1093/cercor/bhs206 O.F.S.T.E.D. (2009). Making More of Music: Improving the Quality of Teaching Music in Primary Schools . HMSO. Ogg, M., & Slevc, R. (2019). Neural Mechanisms of Music and Language. In G. I. Zubicaray & N. O. Schiller (Eds), The Oxford Handbook of Neurolinguistics (p. 338). Oxford University Press. Ohnishi, T., Matsuda, H., Asada, T., Hirakata, M., Aruga, M., Imabayashi, E., Imabayashi, E., & Nishikawa, M. (2001). Functional anatomy of musical perception in musicians. NeuroImage , 13(6), 923. https://doi.org/10.1016/ s1053-8119(01)92265-7 Ojukwu, E. V. (1970). Music Education: A Vehicle for Fostering Positive Youth Development. UJAH: Unizik Journal of Arts and Humanities , 18(2), 489–506. https://doi.org/10.4314/ujah.v18i2.28 Okada, B. M. (2016). Musical Training and Executive Functions [PhD Thesis]. University of Maryland. Okada, B. M., & Slevc, L. R. (2018a). Musical training: Contributions to executive function. In M. Bunting, J. Novick, M. Dougherty, & R. W. Engle (Eds), An integrative approach to cognitive and working memory training: Perspectives from psychology, neuroscience, and human development (p. 340). Oxford University Press. Okada, B. M., & Slevc, L. R. (2018b). Individual differences in musical training and executive functions: A latent variable approach. Memory & Cognition , 46(7), 1076–1092. https://doi.org/10.3758/s13421-018-0822-8 Okada, B. M., & Slevc, L. R. (2018c). Individual differences in musical training and executive functions: A latent variable approach. Memory & Cognition , 46(7), 1076–1092. https://doi.org/10.3758/s13421-018-0822-8 Okhrei, A., Kutsenko, T., & Makarchuk, M. (2017). Performance of working memory of musicians and non-musicians in tests with letters, digits, and geometrical shapes. Biologija , 62(4). https://doi.org/10.6001/biologija. v62i4.3408 Oldfield, A. (2006). Investigation into music therapy for ten pre-school children with autistic spectrum disorder and their parents. In A. Oldfield (Ed.), 731 Bibliography Interactive music therapy: A positive approach (pp. 157–188). Jessica Kingsley Publishers. Oleś, P . K. (2005). Wprowadzenie do psychologii osobowości [An introduction to personality psychology . Wydawnictwo Naukowe Scholar. Oliveri, M., Rausei, V., Koch, G., Torriero, S., Turriziani, P ., & Caltagirone, C. (2004). Overestimation of numerical distances in the left side of space. Neurology , 63(11), 2139–2141. https://doi.org/10.1212/01.wnl.0000145975.58478.6d Olson-McBride, L., & Page, T. F. (2012). Song to Self: Promoting a Therapeutic Dialogue with High-Risk Youths Through Poetry and Popular Music. Social Work with Groups , 35(2), 124–137. https://doi.org/10.1080/01609513.2011.6 03117 Onanuga, P . A., & Onanuga, A. O. (2020). Violence, Sexuality and Youth Linguistic Behaviour: An Exploration of Contemporary Nigerian Youth Music. Contemporary Music Review , 39(1), 137–166. https://doi.org/10.1080 /07494467.2020.1753478 Onderdijk, K. E., Acar, F., & Dyck, E. V. (2021). Impact of Lockdown Measures on Joint Music Making: Playing Online and Physically Together. Frontiers in Psychology , 12. https://doi.org/10.3389/fpsyg.2021.642713 Orchestra, B. U. D. I. (2015). Evaluation of a music-based initiative for people with dementia and their carers . Bournemouth University Dementia Institute & Bournemouth Symphony Orchestra. Oreck, B., Baum, S., & McCartney, H. (1999). Artistic Development for Urban Youth: The Promise and Challenge. In B. Fiske (Ed.), Champions of Change: The Impact of the Arts on Learning (p. 341). University of Michigan Libraries. Orsmond, G. I., & Miller, L. K. (1999). Cognitive, Musical and Environmental Correlates of Early Music Instruction. Psychology of Music , 27(1), 18–37. https://doi.org/10.1177/0305735699271003 Orton, A. (2004). Learning Mathematics: Issues, Theory and Classroom Practice . Continuum. Osborne, J. W. (1980). The mapping of thoughts, emotions, sensations and images as responses to music. Journal of Mental Imagery , 5, 133–136. Osborne, M. S., McPherson, G. E., Faulkner, R., Davidson, J. W., & Barrett, M. S. (2015). Exploring the academic and psychosocial impact of El Sistema- inspired music programs within two low socio-economic schools. Music Education Research , 18(2), 156–175. https://doi.org/10.1080/14613808.2015. 1056130 Osborne, N. (2009). Music for children in zones of conflict and post conflict: A psychobiological approach. In S. Malloch & C. Trevarthen (Eds), Communicative musicality: Exploring the basis of human companionship (pp. 331–356). Oxford University Press.732 The Power of Music Osborne, N. (2012). Neuroscience and “real world” practice: Music as a therapeutic resource for children in zones of conflict. Annals of the New York Academy of Sciences , 1252 (1), 69–76. https://doi.org/10.1111/j.1749-6632.2012.06473.x Osman, S. E., Tischler, V., & Schneider, J. (2016). `Singing for the Brain’: A qualitative study exploring the health and well-being benefits of singing for people with dementia and their carers. Dementia , 15(6), 1326–1339. https:// doi.org/10.1177/1471301214556291 Ott, C. (2011). Processing of voiced and unvoiced acoustic stimuli in musicians. Frontiers in Psychology , 2. https://doi.org/10.3389/fpsyg.2011.00195 Overy, K. (2000). Dyslexia, Temporal Processing and Music: The Potential of Music as an Early Learning Aid for Dyslexic Children. Psychology of Music , 28(2), 218–229. https://doi.org/10.1177/0305735600282010 Overy, K. (2003). Dyslexia and Music. Annals of the New York Academy of Sciences , 999(1), 497–505. https://doi.org/10.1196/annals.1284.060 Overy, K. (2014). Motor responses to a steady beat. Neurosciences and Music–V: Cognitive Stimulation and Rehabilitation Conference . Overy, K., Nicolson, R. I., Fawcett, A. J., & Clarke, E. F. (2003). Dyslexia and music: Measuring musical timing skills. Dyslexia , 9(1), 18–36. https://doi. org/10.1002/dys.233 Owen, A. M., McMillan, K. M., Laird, A. R., & Bullmore, E. (2005). N-back working memory paradigm: A meta-analysis of normative functional neuroimaging studies. Human Brain Mapping , 25(1), 46–59. https://doi. org/10.1002/hbm.20131 Ozernov-Palchik, O., & Patel, A. D. (2018). Musical rhythm and reading development: Does beat processing matter? Annals of the New York Academy of Sciences , 1423 (1), 166–175. https://doi.org/10.1111/nyas.13853 Öztürk, A. H., Taşçıoğlu, B., Aktekin, M., Kurtoglu, Z., & Erden, I. (2002). Morphometric comparison of the human corpus callosum in professional musicians and non- musicians by using in vivo magnetic resonance imaging. Journal of Neuroradiology , 29, 29–34. Packer, J., & Ballantyne, J. (2010). The impact of music festival attendance on young people’s psychological and social well-being. Psychology of Music , 39(2), 164–181. https://doi.org/10.1177/0305735610372611 Painter, G. (1966). The Effect of a Rhythmic and Sensory Motor Activity Program on Perceptual Motor Spatial Abilities of Kindergarten Children. Exceptional Children , 33(2), 113–116. https://doi.org/10.1177/001440296603300206 Paleo, I. O., & Wijnberg, N. M. (2006). Classification of popular music festivals: A typology of festivals and an inquiry into their role in the construction of music genres. International Journal of Arts Management , 8(2), 50–81. Palidofsky, M., & Stolbach, B. C. (2012). Dramatic Healing: The Evolution of a Trauma-Informed Musical Theatre Program for Incarcerated Girls. Journal of 733 Bibliography Child & Adolescent Trauma , 5(3), 239–256. https://doi.org/10.1080/19361521 .2012.697102 Pallesen, K. J., Brattico, E., Bailey, C. J., Korvenoja, A., Koivisto, J., Gjedde, A., & Carlson, S. (2010). Cognitive Control in Auditory Working Memory Is Enhanced in Musicians. PLoS ONE , 5(6), e11120. https://doi.org/10.1371/ journal.pone.0011120 Palmer, C. (1997). Music Performance. Annual Review of Psychology , 48(1), 115– 138. https://doi.org/10.1146/annurev.psych.48.1.115 Palmer, C. (2013). Music performance: Movement and coordination. In D. Deutsch (Ed.), The psychology of music (pp. 405–422). Academic Press. Palmer, C., & Pfordresher, P . Q. (2003). Incremental planning in sequence production. Psychological Review , 110(4), 683–712. https://doi. org/10.1037/0033-295x.110.4.683 Palmer, E. S. (2017). Literature Review of Social Justice in Music Education: Acknowledging Oppression and Privilege. Update: Applications of Research in Music Education , 36(2), 22–31. https://doi.org/10.1177/8755123317711091 Palmiero, M., Giulianella, L., Guariglia, P ., Boccia, M., D’ Amico, S., & Piccardi, L. (2019). The Dancers’ Visuospatial Body Map Explains Their Enhanced Divergence in the Production of Motor Forms: Evidence in the Early Development. Frontiers in Psychology , 10. https://doi.org/10.3389/ fpsyg.2019.00768 Palmiero, M., Guariglia, P ., Crivello, R., & Piccardi, L. (2020). The relationships between musical expertise and divergent thinking. Acta Psychologica , 203, 102990. https://doi.org/10.1016/j.actpsy.2019.102990 Palmiero, M., Nori, R., & Piccardi, L. (2016). Visualizer cognitive style enhances visual creativity. Neuroscience Letters , 615, 98–101. https://doi.org/10.1016/j. neulet.2016.01.032 Palmiero, M., Nori, R., Rogolino, C., D’amico, S., & Piccardi, L. (2016). Sex differences in visuospatial and navigational working memory: The role of mood induced by background music. Experimental Brain Research , 234(8), 2381–2389. https://doi.org/10.1007/s00221-016-4643-3 Palmowski, W. (1979). Music therapy for students with behaviour problems. Zeitschrift Für Heilpädagogik , 30(8), 546–550. Palomar-García, M.-Á., Zatorre, R. J., Ventura-Campos, N., Bueichekú, E., & Ávila, C. (2017). Modulation of functional connectivity in auditory–motor networks in musicians compared with nonmusicians. Cerebral Cortex , 27, 2768–2778. Panksepp, J., & Bernatzky, G. (2002). Emotional sounds and the brain: The neuro-affective foundations of musical appreciation. Behavioural Processes , 60(2), 133–155. https://doi.org/10.1016/s0376-6357(02)00080-3734 The Power of Music Pannenborg, H. J., & Pannenborg, W. A. (1915). Die Psychologie der Musiker (The psychology of musicians. Zeitschrift Für Psychologie , 73, 91–136. Panteleeva, Y., Ceschi, G., Glowinski, D., Courvoisier, D. S., & Grandjean, D. (2017). Music for anxiety? Meta-analysis of anxiety reduction in non-clinical samples. Psychology of Music , 46(4), 473–487. https://doi. org/10.1177/0305735617712424 Pantelyat, A., Syres, C., Reichwein, S., & Willis, A. (2015). DRUM-PD: The Use of a Drum Circle to Improve the Symptoms and Signs of Parkinson’s Disease (PD). Movement Disorders Clinical Practice , 3(3), 243–249. https:// doi.org/10.1002/mdc3.12269 Pantev, C., Engelien, A., Candia, V., & Elbert, T. (2001a). Representational Cortex in Musicians. Annals of the New York Academy of Sciences , 930(1), 300–314. https://doi.org/10.1111/j.1749-6632.2001.tb05740.x Pantev, C., Engelien, A., Candia, V., & Elbert, T. (2001b). Representational Cortex in Musicians. Annals of the New York Academy of Sciences , 930(1), 300–314. https://doi.org/10.1111/j.1749-6632.2001.tb05740.x Pantev, C., & Herholz, S. C. (2011). Plasticity of the human auditory cortex related to musical training. Neuroscience & Biobehavioral Reviews , 35(10), 2140–2154. https://doi.org/10.1016/j.neubiorev.2011.06.010 Pantev, C., Oostenveld, R., Engelien, A., Ross, B., Roberts, L. E., & Hoke, M. (1998). Increased auditory cortical representation in musicians. Nature , 392(6678), 811–814. https://doi.org/10.1038/33918 Pantev, C., Roberts, L. E., Schulz, M., Engelien, A., & Ross, B. (2001). Timbre-specific enhancement of auditory cortical representations in musicians. Neuroreport , 12(1), 169–174. https://doi.org/10.1097/00001756-200101220-00041 Paolantonio, P ., Cavalli, S., Biasutti, M., Pedrazzani, C., & Williamon, A. (2020). Art for Ages: The Effects of Group Music Making on the Wellbeing of Nursing Home Residents. Frontiers in Psychology , 11. https://doi.org/10.3389/ fpsyg.2020.575161 Papageorgi, I. (2021). The role of music performance through the life course. In Routledge International Handbook of Music Psychology in Education and the Community (pp. 269–285). Routledge. https://doi. org/10.4324/9780429295362-23 Papageorgi, I., Creech, A., & Welch, G. (2011). Perceived performance anxiety in advanced musicians specializing in different musical genres. Psychology of Music , 41(1), 18–41. https://doi.org/10.1177/0305735611408995 Papinczak, Z. E., Dingle, G. A., Stoyanov, S. R., Hides, L., & Zelenko, O. (2015). Young people’s uses of music for well-being. Journal of Youth Studies , 18(9), 1119–1134. https://doi.org/10.1080/13676261.2015.1020935 Paraskevopoulos, E., Kuchenbuch, A., Herholz, S. C., & Pantev, C. (2012). Evidence for Training-Induced Plasticity in Multisensory Brain Structures: 735 Bibliography An MEG Study. PLoS ONE , 7(5), e36534. https://doi.org/10.1371/journal. pone.0036534 Parbery-Clark, A., Skoe, E., & Kraus, N. (2009). Musical Experience Limits the Degradative Effects of Background Noise on the Neural Processing of Sound. Journal of Neuroscience , 29(45), 14100–14107. https://doi.org/10.1523/ jneurosci.3256-09.2009 Parbery-Clark, A., Skoe, E., Lam, C., & Kraus, N. (2009). Musician Enhancement for Speech-In-Noise. Ear & Hearing , 30(6), 653–661. https://doi.org/10.1097/ aud.0b013e3181b412e9 Parbery-Clark, A., Strait, D. L., Anderson, S., Hittner, E., & Kraus, N. (2011). Musical Experience and the Aging Auditory System: Implications for Cognitive Abilities and Hearing Speech in Noise. PLoS ONE , 6(5), e18082. https://doi.org/10.1371/journal.pone.0018082 Parbery-Clark, A., Tierney, A., Strait, D. L., & Kraus, N. (2012). Musicians have fine-tuned neural distinction of speech syllables. Neuroscience , 219, 111–119. https://doi.org/10.1016/j.neuroscience.2012.05.042 Parker, A., Marturano, N., O’Connor, G., & Meek, R. (2018). Marginalised youth, criminal justice and performing arts: Young people’s experiences of music- making. Journal of Youth Studies , 21(8), 1061–1076. https://doi.org/10.1080/ 13676261.2018.1445205 Parker, G. B. (1982). Coping Behaviors That Mediate Between Life Events and Depression. Archives of General Psychiatry , 39(12), 1386. https://doi. org/10.1001/archpsyc.1982.04290120022004 Parkinson, B., Toterdell, P ., Briner, R. B., & Reynolds, S. (1996). Changing moods. The psychology of mood and mood regulation . Addison Wesley Longman Publishing Company. Parkinson, C., & White, M. (2013). Inequalities, the arts and public health: Towards an international conversation. Arts & Health , 5(3), 177–189. https:// doi.org/10.1080/17533015.2013.826260 Parncutt, R. (2009). In I. S. Hallam, I. Cross, & M. Thaut (Eds), Oxford Handbook of Psychology of Music (pp. 219–228). Oxford University Press. Parr, S. M. (1985). The effects of graduated exercise at the piano on the pianist’s cardiac output, forearm blood flow, heart rate, and blood pressure. Doctoral Dissertation. [MP347]Dissertation Abstracts International , 46(6), 1436. Partanen, E., Kujala, T., Näätänen, R., Liitola, A., Sambeth, A., & Huotilainen, M. (2013). Learning-induced neural plasticity of speech processing before birth. Proceedings of the National Academy of Sciences , 110(37), 15145–15150. https:// doi.org/10.1073/pnas.1302159110 Partanen, E., Kujala, T., Tervaniemi, M., & Huotilainen, M. (2013). Prenatal Music Exposure Induces Long-Term Neural Effects. PLoS ONE , 8(10), e78946. https://doi.org/10.1371/journal.pone.0078946736 The Power of Music Pascual, A. C., Muñoz, N. M., & Robres, A. Q. (2019). The Relationship Between Executive Functions and Academic Performance in Primary Education: Review and Meta-Analysis. Frontiers in Psychology , 10. https://doi. org/10.3389/fpsyg.2019.01582 Pascual-Leone, A. (2001). The Brain That Plays Music and Is Changed by It. Annals of the New York Academy of Sciences , 930(1), 315–329. https://doi. org/10.1111/j.1749-6632.2001.tb05741.x Pascual-Leone, A., Nguyet, D., Cohen, L. G., Brasil-Neto, J. P ., Cammarota, A., & Hallett, M. (1995). Modulation of muscle responses evoked by transcranial magnetic stimulation during the acquisition of new fine motor skills. Journal of Neurophysiology , 74(3), 1037–1045. https://doi.org/10.1152/jn.1995.74.3.1037 Pasiali, V. (2012). Supporting Parent-Child Interactions: Music Therapy as an Intervention for Promoting Mutually Responsive Orientation. Journal of Music Therapy , 49(3), 303–334. https://doi.org/10.1093/jmt/49.3.303 Pasiali, V., & Clark, C. (2018). Evaluation of a Music Therapy Social Skills Development Program for Youth with Limited Resources. Journal of Music Therapy , 55(3), 280–308. https://doi.org/10.1093/jmt/thy007 Passanisi, A., Nuovo, S. D., Urgese, L., & Pirrone, C. (2015). The Influence of Musical Expression on Creativity and Interpersonal Relationships in Children. Procedia - Social and Behavioral Sciences , 191, 2476–2480. https://doi. org/10.1016/j.sbspro.2015.04.308 Patel, A. D. (2003). Language, music, syntax and the brain. Nature Neuroscience , 6(7), 674–681. https://doi.org/10.1038/nn1082 Patel, A. D. (2007). Music, Language, and the Brain . Oxford University Press. https://doi.org/10.1093/acprof :oso/9780195123753.001.0001 Patel, A. D. (2011). Why would Musical Training Benefit the Neural Encoding of Speech? The OPERA Hypothesis. Frontiers in Psychology , 2. https://doi. org/10.3389/fpsyg.2011.00142 Patel, A. D. (2016). Using music to study the evolution of cognitive mechanisms relevant to language. Psychonomic Bulletin Review , 24(1), 177–180. https:// doi.org/10.3758/s13423-016-1088-4 Patel, A. D., & Daniele, J. R. (2003). An empirical comparison of rhythm in language and music. Cognition , 87(1), B35–B45. https://doi.org/10.1016/ s0010-0277(02)00187-7 Patel, A. D., & Iversen, J. R. (2007). The linguistic benefits of musical abilities. Trends in Cognitive Sciences , 11(9), 369–372. https://doi.org/10.1016/j. tics.2007.08.003 Patscheke, H., Degé, F., & Schwarzer, G. (2018). The effects of training in rhythm and pitch on phonological awareness in four- to six-year-old children. Psychology of Music , 47(3), 376–391. https://doi.org/10.1177/0305735618756763 737 Bibliography Patston, L., Kirk, I., Rolfe, M., Corballis, M., & Tippett, L. (2007). The unusual symmetry of musicians: Musicians have equilateral interhemispheric transfer for visual information. Neuropsychologia , 45(9), 2059–2065. https:// doi.org/10.1016/j.neuropsychologia.2007.02.001 Patston, L. L. M., Corballis, M. C., Hogg, S. L., & Tippett, L. J. (2006). The Neglect of Musicians. Psychological Science , 17(12), 1029–1031. https://doi. org/10.1111/j.1467-9280.2006.01823.x Patston, L. L. M., Hogg, S. L., & Tippett, L. J. (2007). Attention in musicians is more bilateral than in non-musicians. Laterality: Asymmetries of Body, Brain and Cognition , 12(3), 262–272. https://doi.org/10.1080/13576500701251981 Patston, L. L. M., & Tippett, L. J. (2011). The Effect of Background Music on Cognitive Performance in Musicians and Nonmusicians. Music Perception , 29(2), 173–183. https://doi.org/10.1525/mp.2011.29.2.173 Pavlicevic, M., & Ansdell, G. (Eds). (2004). Community Music Therapy . Jessica Kingsley Publishers. Pavlicevic, M., O’Neil, N., Powell, H., Jones, O., & Sampathianaki, E. (2013). Making music, making friends: Long-term music therapy with young adults with severe learning disabilities. Journal of Intellectual Disabilities , 18(1), 5–19. https://doi.org/10.1177/1744629513511354 Pavlicevic, M., Tsiris, G., Wood, S., Powell, H., Graham, J., Sanderson, R., Millman, R., & Gibson, J. (2013). The `ripple effect’: Towards researching improvisational music therapy in dementia care homes. Dementia , 14(5), 659–679. https://doi.org/10.1177/1471301213514419 Pearce, E., Launay, J., & Dunbar, R. I. M. (2015). The ice-breaker effect: Singing mediates fast social bonding. Royal Society Open Science , 2(10), 150221. https://doi.org/10.1098/rsos.150221 Pearce, R., & Lillyman, S. (2015). Reducing social isolation in a rural community through participation in creative arts projects. Nursing Older People , 27(10), 33–38. https://doi.org/10.7748/nop.27.10.33.s22 Peck, K. J., Girard, T. A., Russo, F. A., & Fiocco, A. J. (2016). Music and Memory in Alzheimer’s Disease and The Potential Underlying Mechanisms. Journal of Alzheimer’s Disease , 51(4), 949–959. https://doi.org/10.3233/jad-150998 Pecoraro, E. P . (2006). The pleasure of being differently able: Integration through music therapy in primary schools. Music Therapy Today , 7(2), 413–429. Pelham, W. E., Waschbusch, D. A., Hoza, B., Gnagy, E. M., Greiner, A. R., Sams, S. E., Vallano, G., Majumdar, A., & Carter, R. L. (2011). Music and Video as Distractors for Boys with ADHD in the Classroom: Comparison with Controls, Individual Differences, and Medication Effects. Journal of Abnormal Child Psychology , 39(8), 1085–1098. https://doi.org/10.1007/ s10802-011-9529-z738 The Power of Music Pelletier, C. L. (2004). The Effect of Music on Decreasing Arousal Due to Stress: A Meta-Analysis. Journal of Music Therapy , 41(3), 192–214. https://doi. org/10.1093/jmt/41.3.192 Pelletier, K. R. (1992). Mind-body health: Research, Clinical and Policy Applications. American Journal of Health Promotion , 6(5), 345–358, https:// doi.org/10.4278/0809-1171-6.5.345 . Peng, Y.-C., Lu, T.-W., Wang, T.-H., Chen, Y.-L., Liao, H.-F., Lin, K.-H., & Tang, P .-F. (2011). Immediate effects of therapeutic music on loaded sit-to-stand movement in children with spastic diplegia. Gait & Posture , 33(2), 274–278. https://doi.org/10.1016/j.gaitpost.2010.11.020 Penhune, V. B. (2011). Sensitive periods in human development: Evidence from musical training. Cortex , 47(9), 1126–1137. https://doi.org/10.1016/j. cortex.2011.05.010 Perani, D., Saccuman, M. C., Scifo, P ., Anwander, A., Spada, D., Baldoli, C., Poloniato, A., Lohmann, G., & Friederici, A. D. (2011). Neural language networks at birth. Proceedings of the National Academy of Sciences , 108(38), 16056–16061. https://doi.org/10.1073/pnas.1102991108 Peretz, I., Aubé, W., & Armony, J. L. (2013). Toward a neurobiology of musical emotions. In Evolution of Emotional Communication (pp. 277–299). Oxford University Press. https://doi.org/10.1093/acprof : oso/9780199583560.003.0017 Peretz, I., & Coltheart, M. (2003). Modularity of music processing. Nature Neuroscience , 6(7), 688–691. https://doi.org/10.1038/nn1083 Peretz, I., Cummings, S., & Dubé, M.-P . (2007). The Genetics of Congenital Amusia (Tone Deafness): A Family-Aggregation Study. The American Journal of Human Genetics , 81(3), 582–588. https://doi.org/10.1086/521337 Peretz, I., & Hyde, K. L. (2003). What is specific to music processing? Insights from congenital amusia. Trends in Cognitive Sciences , 7(8), 362–367. https:// doi.org/10.1016/s1364-6613(03)00150-5 Peretz, I., Vuvan, D., Lagrois, M.-É., & Armony, J. L. (2015). Neural overlap in processing music and speech. Philosophical Transactions of the Royal Society B: Biological Sciences , 370(1664), 20140090. https://doi.org/10.1098/ rstb.2014.0090 Peretz, I., & Zatorre, R. J. (Eds). (2003). The Cognitive Neuroscience of Music . Oxford University Press. https://doi.org/10.1093/acprof : oso/9780198525202.001.0001 Peretz, I., & Zatorre, R. J. (2005). Brain Organization for Music Processing. Annual Review of Psychology , 56(1), 89–114. https://doi.org/10.1146/annurev. psych.56.091103.070225 739 Bibliography Perfetti, C., & Stafura, J. (2013). Word Knowledge in a Theory of Reading Comprehension. Scientific Studies of Reading , 18(1), 22–37. https://doi.org/ 10.1080/10888438.2013.827687 Perfors, A., & Ong, J. (2012). Musicians are better at learning non-native sound contrasts even in non-tonal languages. In N. Miyake, D. Peebles, & R. P . Cooper (Eds), Proceedings of the 34th Annual Conference of the Cognitive Science Society (pp. 839–844). Cognitive Science Society. Perham, N., & Currie, H. (2014). Does listening to preferred music improve reading comprehension performance? Applied Cognitive Psychology , 28(2), 279–284. https://doi.org/10.1002/acp.2994 Perham, N., & Sykora, M. (2012). Disliked Music can be Better for Performance than Liked Music. Applied Cognitive Psychology , 26(4), 550–555. https://doi. org/10.1002/acp.2826 Perham, N., & Vizard, J. (2010). Can preference for background music mediate the irrelevant sound effect? Applied Cognitive Psychology , 25(4), 625–631. https://doi.org/10.1002/acp.1731 Perham, N., & Withey, T. (2012). Liked Music Increases Spatial Rotation Performance Regardless of Tempo. Current Psychology , 31(2), 168–181. https://doi.org/10.1007/s12144-012-9141-6 Perkins, D. N. (1981). The mind’s best work . Harvard University Press. Perkins, R., Ascenso, S., Atkins, L., Fancourt, D., & Williamon, A. (2016). Making music for mental health: How group drumming mediates recovery. Psychology of Well-Being , 6(1). https://doi.org/10.1186/s13612-016-0048-0 Perkins, R., Mason-Bertrand, A., Fancourt, D., Baxter, L., & Williamon, A. (2020). How Participatory Music Engagement Supports Mental Well-being: A Meta-Ethnography. Qualitative Health Research , 30(12), 1924–1940. https:// doi.org/10.1177/1049732320944142 Perkins, R., & Williamon, A. (2013). Learning to make music in older adulthood: A mixed-methods exploration of impacts on wellbeing. Psychology of Music , 42(4), 550–567. https://doi.org/10.1177/0305735613483668 Perruchet, P ., & Poulin-Charronnat, B. (2012). Challenging prior evidence for a shared syntactic processor for language and music. Psychonomic Bulletin & Review , 20(2), 310–317. https://doi.org/10.3758/s13423-012-0344-5 Persico, G., Antolini, L., Vergani, P ., Costantini, W., Nardi, M. T., & Bellotti, L. (2017). Maternal singing of lullabies during pregnancy and after birth: Effects on mother–infant bonding and on newborns’ behaviour. Concurrent Cohort Study. Women and Birth , 30(4), e214–e220. https://doi.org/10.1016/j. wombi.2017.01.007 Pesek, A. (2009). War on the former Yugoslavian territory. Integration of refugee children into the school system and musical activities as an important factor for overcoming war trauma. In B. Clausen, U. Hemetek, & E. Saether (Eds), 740 The Power of Music Music in Motion: Diversity and Dialogue in Europe (pp. 359–370). Transcript Verlag. Pethybridge, E. (2013). “That’s the Joy of Music!” An Evaluation of Partnership Working with a Teacher in Planning and Delivering a Music Therapy Group for Three Children with Autistic Spectrum Conditions. British Journal of Music Therapy , 27(2), 24–39. https://doi.org/10.1177/135945751302700203 Pethybridge, E., & Robertson, J. (2010). Educational music therapy: Theoretical foundations explored in time-limited group work projects with children. In V. Karkou (Ed.), Arts Therapies in Schools: Research and Practice (pp. 129–144). Jessica Kingsley Publishers. Petition, R. A. A. C. (2013). Renaissance Arts Academy. Renaissance Arts Academy: California Distinguished Schools Exemplary Arts Programme-Arts Education Synopsis . Petrides, K. V. (2013). Ability and Trait Emotional Intelligence. In The Wiley- Blackwell Handbook of Individual Differences (pp. 656–678). Wiley-Blackwell. https://doi.org/10.1002/9781444343120.ch25 Petrides, K. V., & Furnham, A. (2001). Trait emotional intelligence: Psychometric investigation with reference to established trait taxonomies. European Journal of Personality , 15(6), 425–448. https://doi.org/10.1002/per.416 Petrides, K. V., Niven, L., & Mouskounti, T. (2006). The trait emotional intelligence of ballet dancers and musicians. Psicothema , 18, 101–107. Pettan, S. (1998). Music, politics and war in Croatia in the 1990s: An introduction. In S. Pettan (Ed.), Music, Politics, and War: Views From Croatia (pp. 9–27). Institute of Ethnology and Folklore Research. Peynircioglu, Z. F., Durgunoglu, A. Y., & Uney-Kusefoglu, B. (2002). Phonological awareness and musical aptitude. Journal of Research in Reading , 25(1), 68–80. https://doi.org/10.1111/1467-9817.00159 Philippe, R. A., Kosirnik, C., Vuichoud, N., Williamon, A., & Roten, F. C. (2019). Understanding wellbeing Among College Music Students and Amateur musicians in Western Switzerland . Phillips, R. D., Gorton, R. L., Pinciotti, P ., & Sachdev, A. (2010). Promising Findings on Preschoolers’ Emergent Literacy and School Readiness In Arts- integrated Early Childhood Settings. Early Childhood Education Journal , 38(2), 111–122. https://doi.org/10.1007/s10643-010-0397-x Picard, M., & McEwen, B. S. (2018). Psychological Stress and Mitochondria: A Conceptual Framework. Psychosomatic Medicine , 80(2), 126–140. https://doi. org/10.1097/psy.0000000000000544 Pietsch, S., & Jansen, P . (2012). Different mental rotation performance in students of music, sport and education. Learning and Individual Differences , 22(1), 159–163. https://doi.org/10.1016/j.lindif.2011.11.012 741 Bibliography Pietschnig, J., Voracek, M., & Formann, A. K. (2010). Mozart effect–Shmozart effect: A meta-analysis. Intelligence , 38(3), 314–323. https://doi.org/10.1016/j. intell.2010.03.001 Pilon, M. A., McIntosh, K. W., & Thaut, M. H. (1998). Auditory vs visual speech timing cues as external rate control to enhance verbal intelligibility in mixed spastic ataxic dysarthric speakers: A pilot study. Brain Injury , 12(9), 793–803. https://doi.org/10.1080/026990598122188 Pinheiro, A. P ., Vasconcelos, M., Dias, M., Arrais, N., & Gonçalves, Ó. F. (2015). The music of language: An ERP investigation of the effects of musical training on emotional prosody processing. Brain and Language , 140, 24–34. https://doi.org/10.1016/j.bandl.2014.10.009 Pinker, S. (2010). How the Mind Works. In Philosophy after Darwin (pp. 275–288). Princeton University Press. https://doi.org/10.1515/9781400831296-033 Piro, J. M., & Ortiz, C. (2009). The effect of piano lessons on the vocabulary and verbal sequencing skills of primary grade students. Psychology of Music , 37(3), 325–347. https://doi.org/10.1177/0305735608097248 Pitt, J., & Hargreaves, D. (2017). Exploring the rationale for group music activities for parents and young children: Parents’ and practitioners’ perspectives. Research Studies in Music Education , 39(2), 177–194. https://doi. org/10.1177/1321103x17706735 Pitts, S. (2016). Valuing Musical Participation . Routledge. https://doi. org/10.4324/9781315548432 Pitts, S. E. (2005). What Makes an Audience? Investigating the Roles and Experiences of Listeners at a Chamber Music Festival. Music and Letters , 86(2), 257–269. https://doi.org/10.1093/ml/gci035 Pitts, S. E. (2007). Anything goes: A case study of extra-curricular musical participation in an English secondary school. Music Education Research , 9(1), 145–165. https://doi.org/10.1080/14613800601127627 Pitts, S. E. (2008). Extra-curricular music in UK schools: Investigating the aims, experiences and impact of adolescent musical participation. International Journal of Education & the Arts , 9(10). http://www.ijea.org/v9n10/ . Pitts, S. E. (2016). Music, language and learning: Investigating the impact of a music workshop project in four English early years settings. International Journal of Education & the Arts , 17(20). http://www.ijea.org/v17n20/ . Pitts, S. E. (2020). Leisure-Time Music Groups and Their Localities: Exploring the Commercial, Educational, and Reciprocal Relationships of Amateur Music-Making. Music and Letters , 101(1), 120–134. https://doi.org/10.1093/ ml/gcz044 Pitts, S. E., & Burland, K. (2013). Listening to live jazz: An individual or social act? Arts Marketing: An International Journal , 3(1), 7–20. https://doi. org/10.1108/20442081311327138742 The Power of Music Pitts, S. E., & Robinson, K. (2016). Dropping in and dropping out: Experiences of sustaining and ceasing amateur participation in classical music. British Journal of Music Education , 33(3), 327–346. https://doi.org/10.1017/ s0265051716000152 Pitts, S. E., & Spencer, C. P . (2008). Loyalty and Longevity in Audience Listening: Investigating Experiences of Attendance at a Chamber Music Festival. Music and Letters , 89(2), 227–238. https://doi.org/10.1093/ml/gcm084 Platel, H. (1997). The structural components of music perception. A functional anatomical study. Brain , 120(2), 229–243. https://doi.org/10.1093/ brain/120.2.229 Poeppel, D., & Assaneo, M. F. (2020). Speech rhythms and their neural foundations. Nature Reviews Neuroscience , 21(6), 322–334. https://doi. org/10.1038/s41583-020-0304-4 Politimou, N., Bella, S. D., Farrugia, N., & Franco, F. (2019). Born to Speak and Sing: Musical Predictors of Language Development in Pre-schoolers. Frontiers in Psychology , 10. https://doi.org/10.3389/fpsyg.2019.00948 Pongan, E., Tillmann, B., Leveque, Y., Trombert, B., Getenet, J. C., Auguste, N., Dauphinot, V., Haouari, H. E., Navez, M., Dorey, J.-M., Krolak-Salmon, P ., Laurent, B., & and, I. R. (2017). Can Musical or Painting Interventions Improve Chronic Pain, Mood, Quality of Life, and Cognition in Patients with Mild Alzheimer’s Disease? Evidence from a Randomized Controlled Trial. Journal of Alzheimer’s Disease , 60(2), 663–677. https://doi.org/10.3233/ jad-170410 Poquérusse, J., Azhari, A., Setoh, P ., Cainelli, S., Ripoli, C., Venuti, P ., & Esposito, G. (2017). Salivary $\textbackslashupalpha$-amylase as a marker of stress reduction in individuals with intellectual disability and autism in response to occupational and music therapy. Journal of Intellectual Disability Research , 62(2), 156–163. https://doi.org/10.1111/jir.12453 Porter, S., Holmes, V., McLaughlin, K., Lynn, F., Cardwell, C., Braiden, H.-J., Doran, J., & Rogan, S. (2012). Music in mind, a randomized controlled trial of music therapy for young people with behavioural and emotional problems: Study protocol. Journal of Advanced Nursing , 68(10), 2349–2358. https://doi. org/10.1111/j.1365-2648.2011.05936.x Porter, S., McConnell, T., McLaughlin, K., Lynn, F., Cardwell, C., Braiden, H.-J., Boylan, J., & and, V. H. (2016). Music therapy for children and adolescents with behavioural and emotional problems: A randomised controlled trial. Journal of Child Psychology and Psychiatry , 58(5), 586–594. https://doi. org/10.1111/jcpp.12656 Portowitz, A., & Klein, P . S. (2007). MISC-MUSIC: a music program to enhance cognitive processing among children with learning difficulties. International Journal of Music Education , 25(3), 259–271. https://doi. org/10.1177/0255761407087263 743 Bibliography Portowitz, A., Lichtenstein, O., Egorova, L., & Brand, E. (2009). Underlying mechanisms linking music education and cognitive modifiability. Research Studies in Music Education , 31(2), 107–128. https://doi. org/10.1177/1321103x09344378 Portowitz, A., Peppler, K. A., & Downton, M. (2014). In Harmony: A technology- based music education model to enhance musical understanding and general learning skills. International Journal of Music Education , 32(2), 242– 260. https://doi.org/10.1177/0255761413517056 Poscia, A., Stojanovic, J., Milia, D. I. L., Duplaga, M., Grysztar, M., Moscato, U., Onder, G., Collamati, A., Ricciardi, W., & Magnavita, N. (2018). Interventions targeting loneliness and social isolation among the older people: An update systematic review. Experimental Gerontology , 102, 133–144. https://doi. org/10.1016/j.exger.2017.11.017 Pothoulaki, M., MacDonald, R. A. R., Flowers, P ., Stamataki, E., Filiopoulos, V., Stamatiadis, D., & Stathakis, C. P . (2008). An Investigation of the Effects of Music on Anxiety and Pain Perception in Patients Undergoing Haemodialysis Treatment. Journal of Health Psychology , 13(7), 912–920. https://doi.org/10.1177/1359105308095065 Potteiger, J. A., Schroeder, J. M., & Goff, K. L. (2000). Influence of Music on Ratings of Perceived Exertion during 20 Minutes of Moderate Intensity Exercise. Perceptual and Motor Skills , 91(3), 848–854. https://doi.org/10.2466/ pms.2000.91.3.848 Poulos, R. G., Marwood, S., Harkin, D., Opher, S., Clift, S., Cole, A. M. D., Rhee, J., Beilharz, K., & Poulos, C. J. (2018). Arts on prescription for community- dwelling older people with a range of health and wellness needs. Health & Social Care in the Community , 27(2), 483–492. https://doi.org/10.1111/ hsc.12669 Pratt, A. C., & Brady, S. (1988). Relation of phonological awareness to reading disability in children and adults. Journal of Educational Psychology , 80(3), 319–323. https://doi.org/10.1037/0022-0663.80.3.319 Prattini, R. J. (2016). Participation in active and passive music interventions by individuals with Alzheimer’s disease and related dementias: Effects on agitation [Doctoral dissertation.]. Louisiana State University. Preethy, N. A., & Gurunathan, D. (2020). Effect of Music on the Vital Signs and Behaviour of Children During the Recovery Period after General Anaesthesia Procedure-A Randomized Controlled Trial. Indian Journal of Forensic Medicine & Toxicology , 14(4), 336–341. Preti, C. (2013). Live music as a bridge between hospitals and outside communities: A proposed research framework and a review of the literature. UNESCO Refereed E-Journal. Multi-Disciplinary Research in the Arts , 3(3), 1–18.744 The Power of Music Preti, C., & McFerran, K. (2016). Music to promote children’s well-being during illness and hospitalization. In G. E. McPherson (Ed.), The Child as Musician (pp. 373–385). Oxford University Press. Preti, C., & Welch, G. F. (2004). Music in a hospital setting: A multifaceted experience. British Journal of Music Education , 21(3), 329–345. https://doi. org/10.1017/s0265051704005893 Preti, C., & Welch, G. F. (2011). Music in a Hospital: The Impact of a Live Music Program on Pediatric Patients and Their Caregivers. Music and Medicine , 3(4), 213–223. https://doi.org/10.1177/1943862111399449 Priest, D. L., Karageorghis, C. I., & Sharp, N. C. C. (2004). The characteristics and effects of motivational music in exercise settings: The possible influence of gender, age, frequency of attendance, and time of attendance. Journal of Sports Medicine and Physical Fitness , 44(1), 77–86. Procter, S. (2006). Music Therapy: Why not in education? In A. Paterson & S. Zimmerman (Eds), No Needs for Words: Special Needs in Music Education . National Association of Music Educators. Protzko, J. (2017). Raising IQ among school-aged children: Five meta-analyses and a review of randomized controlled trials. Developmental Review , 46, 81–101. https://doi.org/10.1016/j.dr.2017.05.001 Provenzano, A. M., Spencer, M. S., Hopkins, M., Ellis, J., Reischl, C. H., Karr, K., & Savas, S. A. (2020). Effects of a University–School Partnered After- School Music Program on Developmental Health, Social, and Educational Outcomes. Journal of the Society for Social Work and Research , 11(3), 443–462. https://doi.org/10.1086/709175 Prudente, F. A. (1984). Musical Process in the Gasumbi Epic of the Buwaya Kalingga People of Northern Philippines [PhD Thesis]. Ann. Przybylski, L., Bedoin, N., Krifi-Papoz, S., Herbillon, V., Roch, D., Léculier, L., Kotz, S. A., & Tillmann, B. (2013). Rhythmic auditory stimulation influences syntactic processing in children with developmental language disorders. Neuropsychology , 27(1), 121–131. https://doi.org/10.1037/a0031277 Puschmann, S., Baillet, S., & Zatorre, R. J. (2018). Musicians at the Cocktail Party: Neural Substrates of Musical Training During Selective Listening in Multispeaker Situations. Cerebral Cortex , 29(8), 3253–3265. https://doi. org/10.1093/cercor/bhy193 Putkinen, V., Huotilainen, M., & Tervaniemi, M. (2019). Neural Encoding of Pitch Direction Is Enhanced in Musically Trained Children and Is Related to Reading Skills. Frontiers in Psychology , 10. https://doi.org/10.3389/ fpsyg.2019.01475 Putkinen, V., Saarikivi, K., & Tervaniemi, M. (2013). Do informal musical activities shape auditory skill development in preschool-age children? Frontiers in Psychology , 4. https://doi.org/10.3389/fpsyg.2013.00572 745 Bibliography Putkinen, V., Tervaniemi, M., & Huotilainen, M. (2012). Informal musical activities are linked to auditory discrimination and attention in 2–3-year-old children: An event-related potential study. European Journal of Neuroscience , 37(4), 654–661. https://doi.org/10.1111/ejn.12049 Putkinen, V., Tervaniemi, M., Saarikivi, K., & Huotilainen, M. (2015a). Promises of formal and informal musical activities in advancing neurocognitive development throughout childhood. Annals of the New York Academy of Sciences , 1337 (1), 153–162. https://doi.org/10.1111/nyas.12656 Putkinen, V., Tervaniemi, M., Saarikivi, K., & Huotilainen, M. (2015b). Promises of formal and informal musical activities in advancing neurocognitive development throughout childhood. Annals of the New York Academy of Sciences , 1337 (1), 153–162. https://doi.org/10.1111/nyas.12656 Putkinen, V., Tervaniemi, M., Saarikivi, K., Ojala, P ., & Huotilainen, M. (2013). Enhanced development of auditory change detection in musically trained school-aged children: A longitudinal event-related potential study. Developmental Science , 17(2), 282–297. https://doi.org/10.1111/desc.12109 Putkinen, V., Tervaniemi, M., Saarikivi, K., Vent, N. de, & Huotilainen, M. (2014). Investigating the effects of musical training on functional brain development with a novel Melodic MMN paradigm. Neurobiology of Learning and Memory , 110, 8–15. https://doi.org/10.1016/j.nlm.2014.01.007 Pyszczynski, T., Greenberg, J., & Solomon, S. (1999). A dual-process model of defense against conscious and unconscious death-related thoughts: An extension of terror management theory. Psychological Review , 106(4), 835– 845. https://doi.org/10.1037/0033-295x.106.4.835 Quinn, J., Blandon, C., & Batson, A. (2019). Living beyond words: Post-human reflections on making music with post-verbal people. Arts & Health , 13(1), 73–86. https://doi.org/10.1080/17533015.2019.1652194 Rabinowitch, T. C., Cross, I., & Burnard, P . (2013). Musical group interaction, intersubjectivity and merged subjectivity. In D. Reynolds & M. Reason (Eds), Kinaesthetic Empathy in Creative and Cultural Practices . Intellect Press. Rabinowitch, T.-C., Cross, I., & Burnard, P . (2012). Long-term musical group interaction has a positive influence on empathy in children. Psychology of Music , 41(4), 484–498. https://doi.org/10.1177/0305735612440609 Radbourne, J., Glow, H., & Johanson, K. (2013). The audience experience . University of Chicago Press. Radocy, R. E., & Boyle, J. D. (1988). Psychological foundations of musical behaviour . Charles C. Thomas. Rafferty, K. N. (2003). Will a music and spatial-temporal math program enhance test scores? An analysis of second-grade students’ mathematics performance on the Stanford-9 Test and the Capistrano Unified School District CORE level test [Doctoral dissertation.]. University of Southern Carolina.746 The Power of Music Ragert, M., Fairhurst, M. T., & Keller, P . E. (2014). Segregation and Integration of Auditory Streams when Listening to Multi-Part Music. PLoS ONE , 9(1), e84085. https://doi.org/10.1371/journal.pone.0084085 Raglio, A., Bellelli, G., Mazzola, P ., Bellandi, D., Giovagnoli, A. R., Farina, E., Stramba-Badiale, M., Gentile, S., Gianelli, M. V., Ubezio, M. C., Zanetti, O., & Trabucchi, M. (2012). Music, music therapy and dementia: A review of literature and the recommendations of the Italian Psychogeriatric Association. Maturitas , 72(4), 305–310. https://doi.org/10.1016/j.maturitas.2012.05.016 Raglio, A., & Oasi, O. (2015). Music and health: What interventions for what results? Frontiers in Psychology , 6. https://doi.org/10.3389/fpsyg.2015.00230 Ragone, G., Good, J., & Howland, K. (2021). How Technology Applied to Music- Therapy and Sound-Based Activities Addresses Motor and Social Skills in Autistic Children. Multimodal Technologies and Interaction , 5(3), 11. https:// doi.org/10.3390/mti5030011 Ramekar, U. V., & Gurjar, A. A. (2016). Empirical study of the effect of music on plant growth. Tenth International Conference on Intelligent Systems and Control (ISCO , 1–369 4. Randall, W. M., & Rickard, N. S. (2016). Reasons for personal music listening: A mobile experience sampling study of emotional outcomes. Psychology of Music , 45(4), 479–495. https://doi.org/10.1177/0305735616666939 Randall, W. M., & Rickard, N. S. (2017). Personal Music Listening. Music Perception , 34(5), 501–514. https://doi.org/10.1525/mp.2017.34.5.501 Randall, W. M., Rickard, N. S., & Vella-Brodrick, D. A. (2014). Emotional outcomes of regulation strategies used during personal music listening: A mobile experience sampling study. Musicae Scientiae , 18(3), 275–291. https:// doi.org/10.1177/1029864914536430 Rapp-Paglicci, L., Stewart, C., & Rowe, W. (2012). Improving Outcomes for at-risk Youth: Findings from the Prodigy Cultural Arts Program. Journal of Evidence-Based Social Work , 9(5), 512–523. https://doi.org/10.1080/15433714 .2011.581532 Rashidi, N., & Faham, F. (2011). The Effect of Classical Music on the Reading Comprehension of Iranian Students. Theory and Practice in Language Studies , 1(1). https://doi.org/10.4304/tpls.1.1.74-82 Rasmussen, C., & Bisanz, J. (2005). Representation and working memory in early arithmetic. Journal of Experimental Child Psychology , 91(2), 137–157. https://doi.org/10.1016/j.jecp.2005.01.004 Rasmussen, C., Ho, E., & Bisanz, J. (2003). Use of the mathematical principle of inversion in young children. Journal of Experimental Child Psychology , 85(2), 89–102. https://doi.org/10.1016/s0022-0965(03)00031-6 Rathee, R., & Pallavi, R. (2020). Influence of Music on Consumer Behaviour: An Experimental Study. Abhigyan , 38(1), 30 371. 747 Bibliography Rauschecker, J. P . (2001). Cortical Plasticity and Music. Annals of the New York Academy of Sciences , 930(1), 330–336. https://doi.org/10.1111/j.1749-6632.2001. tb05742.x Rauscher, F. H. (1999). Music exposure and the development of spatial intelligence in children. Bulletin of the Council for Research in Music Education , 142, 35–47. Rauscher, F. H. (2002). Mozart and the mind: Factual and fictional effects of musical enrichment. In J. Aronson (Ed.), Improving academic achievement: Impact of psychological factors on education (pp. 269–278). Academic Press. Rauscher, F. H. (2003). Effects of piano, rhythm and singing instruction on the spatial reasoning of at-risk children. In R. Kopiez, A. C. Lehmann, I. Wolther, & C. Wolf (Eds), Proceedings of the Fifth European Society for the Cognitive Sciences of Music (pp. 190–194). Hannover University Press. Rauscher, F. H. (2005). Musical influences on children’s cognitive development. In Royal College of Music . Rauscher, F. H. (2009). The impact of music instruction on other skills. In S. Hallam, I. Cross, & M. Thaut (Eds), The Oxford Handbook of Music Psychology (pp. 244–252). Oxford University Press. Rauscher, F. H. (2014). Effects of Piano, Singing and Rhythm Instruction on the Spatial Reasoning of At-Risk Children . Rauscher, F. H., & Gruhn, W. (Eds). (2007). Neurosciences in Music Pedagogy . Nova Science Publishers Inc. Rauscher, F. H., & Hinton, S. C. (2006). The Mozart Effect: Music Listening is Not Music Instruction. Educational Psychologist , 41(4), 233–238. https://doi. org/10.1207/s15326985ep4104_3 Rauscher, F. H., & Hinton, S. C. (2011). Music Instruction and its Diverse Extra- Musical Benefits. Music Perception , 29(2), 215–226. https://doi.org/10.1525/ mp.2011.29.2.215 Rauscher, F. H., LeMieux, M., & Hinton, S. C. (2005). Selective effects of music instruction on cognitive performance of at–risk children. Bi-Annual Meeting of the European Conference on Developmental Psychology . Rauscher, F. H., & LeMieux, M. T. (2003). Piano, Rhythm, and Singing Instruction Improve Different Aspects of Spatial-temporal Reasoning in Head Start Children. Annual Meeting of the Cognitive Neuroscience Society . Rauscher, F. H., Mosley, J., & Almane, D. (2008). The effects of music instruction on phonemic awareness in kindergarten children. European Conference on Music Development . Rauscher, F. H., Shaw, G. L., & Ky, C. N. (1993). Music and spatial task performance. Nature , 365, 611, 374. https://doi.org/10.1038/365611 .748 The Power of Music Rauscher, F. H., Shaw, G. L., & Ky, K. N. (1995). Listening to Mozart enhances spatial-temporal reasoning: Towards a neurophysiological basis. Neuroscience Letters , 185(1), 44–47. https://doi.org/10.1016/0304-3940(94)11221-4 Rauscher, F. H., & Zupan, M. A. (2000). Classroom keyboard instruction improves kindergarten children’s spatial-temporal performance: A field experiment. Early Childhood Research Quarterly , 15(2), 215–228. https://doi. org/10.1016/s0885-2006(00)00050-8 Rauscher, F., Robinson, D., & Jens, J. (1998). Improved maze learning through early music exposure in rats. Neurological Research , 20(5), 427–432. https:// doi.org/10.1080/01616412.1998.11740543 Rauscher, F., Shaw, G., Levine, L., Wright, E., Dennis, W., & Newcomb, R. (1997). Music training causes long-term enhancement of preschool children’s spatial–temporal reasoning. Neurological Research , 19(1), 2–8. https://doi.org /10.1080/01616412.1997.11740765 Rautenberg, I. (2013). The effects of musical training on the decoding skills of German-speaking primary school children. Journal of Research in Reading , 38(1), 1–17. https://doi.org/10.1111/jrir.12010 Raven, J. (1981). Manual for Raven’s Progressive Matrices and Vocabulary Scales. In Research Supplement No.1: The 1979 British Standardisation of the Standard Progressive Matrices and Mill Hill Vocabulary Scales,[MP375 . Reagon, C., Gale, N., Enright, S., Mann, M., & Deursen, R. van. (2016). A mixed- method systematic review to investigate the effect of group singing on health related quality of life. Complementary Therapies in Medicine , 27, 1–11. https:// doi.org/10.1016/j.ctim.2016.03.017 Reardon, D., & Bell, G. (1970). Effects of sedative and stimulative music on activity levels of severely retarded boys. American Journal of Mental Deficiency , 75, 156–159. Reaves, S., Graham, B., Grahn, J., Rabannifard, P ., & Duarte, A. (2015). Turn Off the Music! Music Impairs Visual Associative Memory Performance in Older Adults. The Gerontologist , 56(3), 569–577. https://doi.org/10.1093/geront/ gnu113 Recarte, M. A., & Nunes, L. (2002). Mental load and loss of control over speed in real driving. Transportation Research Part F: Traffic Psychology and Behaviour , 5(2), 111–122. https://doi.org/10.1016/s1369-8478(02)00010-4 Reeves, P . D. (2013). How Music and Lyrics Protect and Heal the Souls of African American Women Who Have Experienced Domestic-Violence Trauma, Sexual Abuse, or Depression: A Phenomenological Study . Pacifica Graduate Institute. Register, D. (2001). The Effects of an Early Intervention Music Curriculum on Prereading/Writing. Journal of Music Therapy , 38(3), 239–248. https://doi. org/10.1093/jmt/38.3.239 749 Bibliography Register, D. (2004). The Effects of Live MUSIC Groups Versus an Educational Children’s Television Program on the Emergent Literacy of Young Children. Journal of Music Therapy , 41(1), 2–27. https://doi.org/10.1093/jmt/41.1.2 Reinert, K. C. (1997). Music and the Nazi Party Congresses, its role in spectacle, festival and ritual [PhD Thesis]. University of Alberta. Rentfrow, P . J., & Gosling, S. D. (2003). The do re mi’s of everyday life: The structure and personality correlates of music preferences. Journal of Personality and Social Psychology , 84(6), 1236–1256. https://doi.org/10.1037/0022-3514.84.6.1236 Rentfrow, P . J., & Gosling, S. D. (2006). Message in a Ballad. Psychological Science , 17(3), 236–242. https://doi.org/10.1111/j.1467-9280.2006.01691.x Rentfrow, P . J., McDonald, J. A., & Oldmeadow, J. A. (2009). You Are What You Listen To: Young People’s Stereotypes about Music Fans. Group Processes & Intergroup Relations , 12(3), 329–344. https://doi. org/10.1177/1368430209102845 Report, M. M. (2021). Research, Q. A. (2012). Young people not in education, employment or training (NEET) and music making . Youth Music. Resnicow, J. E., Salovey, P ., & Repp, B. H. (2004). Is Recognition of Emotion in Music Performance an Aspect of Emotional Intelligence? Music Perception , 22(1), 145–158. https://doi.org/10.1525/mp.2004.22.1.145 Retallack, D. L. (1973). The sound of music and plants . http://www.dovesong. com/positive_music/plant_experiments.asp Revelle, W., & Loftus, D. A. (1990). Individual Differences and Arousal: Implications for the Study of Mood and Memory. Cognition & Emotion , 4(3), 209–237. https://doi.org/10.1080/02699939008410797 Revesz, G. (1954). Introduction to the Psychology of Music . University of Oklahoma Press. Reybrouck, M., & Podlipniak, P . (2019). Preconceptual Spectral and Temporal Cues as a Source of Meaning in Speech and Music. Brain Sciences , 9(3), 53. https://doi.org/10.3390/brainsci9030053 Ribeiro, F. S., Janzen, T. B., Passarini, L., & Vanzella, P . (2021). Exploring Changes in Musical Behaviors of Caregivers and Children in Social Distancing During the COVID-19 Outbreak. Frontiers in Psychology , 12. https://doi.org/10.3389/ fpsyg.2021.633499 Ribeiro, F. S., Lessa, J. P . A., Delmolin, G., & Santos, F. H. (2021). Music Listening in Times of COVID-19 Outbreak: A Brazilian Study. Frontiers in Psychology , 12. https://doi.org/10.3389/fpsyg.2021.647473 Ribeiro, F. S., & Santos, F. H. (2017). Enhancement of numeric cognition in children with low achievement in mathematic after a non-instrumental 750 The Power of Music musical training. Research in Developmental Disabilities , 62, 26–39. https://doi. org/10.1016/j.ridd.2016.11.008 Riby, L. M. (2013). The Joys of Spring. Experimental Psychology , 60(2), 71–79. https://doi.org/10.1027/1618-3169/a000166 Richards, D., Fassbender, E., Bilgin, A., & Thompson, W. F. (2008). An investigation of the role of background music in IVWs for learning. Research in Learning Technology , 16(3). https://doi.org/10.3402/rlt.v16i3.10901 Richards, S., & Goswami, U. (2019). Impaired Recognition of Metrical and Syntactic Boundaries in Children with Developmental Language Disorders. Brain Sciences , 9(2), 33. https://doi.org/10.3390/brainsci9020033 Richmiller, M. G. (1992). Study of the residual effects of music education experiences of a prison choir, twenty-nine years after participation [PhD Thesis]. Southeast Missouri State University. Rickard, N. S., Appelman, P ., James, R., Murphy, F., Gill, A., & Bambrick, C. (2012). Orchestrating life skills: The effect of increased school-based music classes on children’s social competence and self-esteem. International Journal of Music Education , 31(3), 292–309. https://doi.org/10.1177/0255761411434824 Rickard, N. S., Bambrick, C. J., & Gill, A. (2012). Absence of widespread psychosocial and cognitive effects of school-based music instruction in 10–13-year-old students. International Journal of Music Education , 30(1), 57–78. https://doi.org/10.1177/0255761411431399 Rickard, N. S., & McFerran, K. (2012). Lifelong engagement with music: Benefits for mental health and wellbeing . Nova Science Publishers, Inc. Rickard, N. S., Vasquez, J. T., Murphy, F., Gill, A., & Toukhsati, S. R. (2010). Benefits of a classroom based music program on verbal memory of primary school children: A longitudinal study. Australian Journal of Music Education , 1, 36–47. Rickson, D., Legg, R., & Reynolds, D. (2018). Daily Singing in a School Severely Affected by Earthquakes. Teachers’ Work , 15(1), 63–84. https://doi. org/10.24135/teacherswork.v15i1.243 Rideout, B. E., & Taylor, J. (1997). Enhanced Spatial Performance following 10 Minutes Exposure to Music: A Replication. Perceptual and Motor Skills , 85(1), 112–114. https://doi.org/10.2466/pms.1997.85.1.112 Rideout, V. J., Foehr, U. G., & Roberts, D. F. (2010). Generation M2: Media in the lives of 8- to 18-year-olds . Henry J. Kaiser Family Foundation. Rieber, M. (1965). The effect of music on the activity level of children. Psychonomic Science , 3(1–12), 325–326. https://doi.org/10.3758/bf03343162 Rimmer, M. (2017). Harmony or Discord? Understanding children’s valuations of a Sistema-inspired initiative. British Journal of Music Education , 35(1), 43–55. https://doi.org/10.1017/s0265051717000146 751 Bibliography Rincón Prat, C. (2013). Promoting personal development through music participation: A case study of youth orchestras in Columbia. In S. O’Neill (Ed.), Personhood and Music Learning . Canadian Music Educators Association. Rinta, T., Purves, R., Welch, G., Elmer, S. S., & Bissig, R. (2011). Connections between children’s feelings of social inclusion and their musical backgrounds. Journal of Social Inclusion , 2(2), 34. https://doi.org/10.36251/josi.32 Rio, R. (2018). A Community-Based Music Therapy Support Group for People With Alzheimer’s Disease and Their Caregivers: A Sustainable Partnership Model. Frontiers in Medicine , 5. https://doi.org/10.3389/fmed.2018.00293 Rio, R. E., & Tenney, K. S. (2002). Music Therapy for Juvenile Offenders in Residential Treatment. Music Therapy Perspectives , 20(2), 89–97. https://doi. org/10.1093/mtp/20.2.89 Rippere, V. (1977). `What’s the thing to do when you’re feeling depressed?’—A pilot study. Behaviour Research and Therapy , 15(2), 185–191. https://doi. org/10.1016/0005-7967(77)90104-8 Ritblatt, S., Longstreth, S., Hokoda, A., Cannon, B.-N., & Weston, J. (2013). Can Music Enhance School-Readiness Socioemotional Skills? Journal of Research in Childhood Education , 27(3), 257–266. https://doi.org/10.1080/02568543.20 13.796333 Ritter, S. M., & Ferguson, S. (2017). Happy Creativity: Listening to happy music facilitates divergent thinking . https://doi.org/10.1371/journal.pone.0182210 . Roballey, T. C., McGreevy, C., Rongo, R. R., Schwantes, M. L., Steger, P . J., Wininger, M. A., & Gardner, E. B. (1985). The effect of music on eating behavior. Bulletin of the Psychonomic Society , 23(3), 221–222. https://doi. org/10.3758/bf03329832 Robarts, J. Z., & Sloboda, A. (1994). Perspectives on Music Therapy with People Suffering from Anorexia Nervosa. Journal of British Music Therapy , 8(1), 7–14. https://doi.org/10.1177/135945759400800104 Robazza, C., Macaluso, C., & D’Urso, V. (1994). Emotional Reactions to Music by Gender, Age, and Expertise. Perceptual and Motor Skills , 79(2), 939–944. https://doi.org/10.2466/pms.1994.79.2.939 Robb, S. L. (2000). The Effect of Therapeutic Music Interventions on the Behavior of Hospitalized Children in Isolation: Developing a Contextual Support Model of Music Therapy. Journal of Music Therapy , 37(2), 118–146. https:// doi.org/10.1093/jmt/37.2.118 Robb, S. L. (2003). Designing Music Therapy Interventions for Hospitalized Children and Adolescents Using a Contextual Support Model of Music Therapy. Music Therapy Perspectives , 21(1), 27–40. https://doi.org/10.1093/ mtp/21.1.27 Robb, S. L., Burns, D. S., Stegenga, K. A., Haut, P . R., Monahan, P . O., Meza, J., Stump, T. E., Cherven, B. O., Docherty, S. L., Hendricks-Ferguson, V. L., 752 The Power of Music Kintner, E. K., Haight, A. E., Wall, D. A., & Haase, J. E. (2014). Randomized clinical trial of therapeutic music video intervention for resilience outcomes in adolescents/young adults undergoing hematopoietic stem cell transplant: A report from the Children’s Oncology Group. Cancer , 120(6), 909–917. https://doi.org/10.1002/cncr.28355 Robb, S. L., & Ebberts, A. G. (2003). Songwriting and Digital Video Production Interventions for Pediatric Patients Undergoing Bone Marrow Transplantation, Part II: An Analysis of Patient-Generated Songs and Patient Perceptions Regarding Intervention Efficacy. Journal of Pediatric Oncology Nursing , 20(1), 16–25. https://doi.org/10.1053/jpon.2003.4 Robert, J. B., Terry, L. G., David, J. H., Caitlin, A. C., & Kenneth, W. B. (2006). Supporting the Health of College Solo Singers: The Relationship of Positive Emotions and Stress to Changes in Salivary IgA and Cortisol during Singing. Journal for Learning through the Arts , 2(1). https://doi.org/10.21977/ d92110079 Roberts, M. J. (2009). Peace Punks and Punks Against Racism: Resource Mobilization and Frame Construction in the Punk Movement. Music and Arts in Action , 1(2). Roberts, N. (2016). The school curriculum and SATs in England: Reforms since . House of Commons Library. Robertson, C. (2006). The Potential Role of Collaborative Music-Making in Conflict Resolution: An Exploratory Enquiry. Unpublished dissertation[MP383 . Goldsmiths University. Robinson, J. (2015). Playing at Home: How Families Engage with In Harmony Liverpool . University of Liverpool. Rochette, F., Moussard, A., & Bigand, E. (2014). Music Lessons Improve Auditory Perceptual and Cognitive Performance in Deaf Children. Frontiers in Human Neuroscience , 8. https://doi.org/10.3389/fnhum.2014.00488 Roden, I., Grube, D., Bongard, S., & Kreutz, G. (2013). Does music training enhance working memory performance? Findings from a quasi-experimental longitudinal study. Psychology of Music , 42(2), 284–298. https://doi. org/10.1177/0305735612471239 Roden, I., Könen, T., Bongard, S., Frankenberg, E., Friedrich, E. K., & Kreutz, G. (2014). Effects of music training on attention, processing speed and cognitive music abilities—Findings from a longitudinal study . Roden, I., Kreutz, G., & Bongard, S. (2012). Effects of a School-Based Instrumental Music Program on Verbal and Visual Memory in Primary School Children: A Longitudinal Study. Frontiers in Psychology , 3. https://doi.org/10.3389/ fpsyg.2012.00572 Rodrigues, A., C., G., L., & Loureiro, M. (2007). Visual attention in musicians and non-musicians: A comparative study; CIM07. Proceedings of the 3rd 753 Bibliography International Conference on Interdisciplinary Musicology, 15–19 . http://www- gewi.uni-graz.at/cim07/index2.htm . Rodrigues, A. C., Loureiro, M. A., & Caramelli, P . (2013). Long-term musical training may improve different forms of visual attention ability. Brain and Cognition , 82(3), 229–235. https://doi.org/10.1016/j.bandc.2013.04.009 Rodrigues, H., Leite, A., Faria, C., Monteiro, I., & Rodrigues, P . M. (2010). Music for mothers and babies living in a prison: A report on a special production of `BebéBabá’. International Journal of Community Music , 3(1), 77–90. https:// doi.org/10.1386/ijcm.3.1.77/1 ROE, K. (1985). SWEDISH YOUTH AND MUSIC: Listening Patterns and Motivations. Communication Research , 12(3), 353–362. https://doi. org/10.1177/009365085012003007 Roederer, J. G. (1984). The Search for a Survival Value of Music. Music Perception , 1(3), 350–356. https://doi.org/10.2307/40285265 Roeper, J. de, & Savelsberg, H. J. (2009). Challenging the youth policy imperative: Engaging young people through the arts. Journal of Youth Studies , 12(2), 209–225. https://doi.org/10.1080/13676260802672820 Rogalsky, C., Rong, F., Saberi, K., & Hickok, G. (2011). Functional Anatomy of Language and Music Perception: Temporal and Structural Factors Investigated Using Functional Magnetic Resonance Imaging. Journal of Neuroscience , 31(10), 3843–3852. https://doi.org/10.1523/jneurosci.4515-10.2011 Rogenmoser, L., Kernbach, J., Schlaug, G., & Gaser, C. (2017). Keeping brains young with making music. Brain Structure and Function , 223(1), 297–305. https://doi.org/10.1007/s00429-017-1491-2 Rogers, C. R. (1957). Becoming a Person. In Healing: Human and divine: Man’s search for health and wholeness through science, faith, and prayer. (pp. 57–67). Association Press. https://doi.org/10.1037/10811-003 Rogers, P . (1992). Issues in Working with Sexually Abused Clients in Music Therapy. Journal of British Music Therapy , 6(2), 5–15. https://doi. org/10.1177/135945759200600202 Rolka, E. J., & Silverman, M. J. (2015). A systematic review of music and dyslexia. The Arts in Psychotherapy , 46, 24–32. https://doi.org/10.1016/j.aip.2015.09.002 Rolvsjord, R. (2016). Resource-oriented perspectives in music therapy. In J. Edwards (Ed.), Oxford Library of Psychology.The Oxford Handbook of Music Therapy (pp. 557–576). Oxford University Press. Roma, C. (2010). Re-sounding: Refuge and reprise in a prison choral community. International Journal of Community Music , 3(1), 91–102. https:// doi.org/10.1386/ijcm.3.1.91/1 Román-Caballero, R., Martín-Arévalo, E., & Lupiáñez, J. (2020). Attentional networks functioning and vigilance in expert musicians and non-musicians. 754 The Power of Music Psychological Research , 85(3), 1121–1135. https://doi.org/10.1007/ s00426-020-01323-2 Root-Bernstein, R. S. (2001). Music, Creativity and Scientific Thinking. Leonardo , 34(1), 63–68. https://doi.org/10.1162/002409401300052532 Rooyen, A. van, & Santos, A. dos. (2020). Exploring the lived experiences of teenagers in a children’s home participating in a choir: A community music therapy perspective. International Journal of Community Music , 13(1), 81–101. https://doi.org/10.1386/ijcm_00011_1 Rorke, M. A. (1996). Music and the Wounded of World War II. Journal of Music Therapy , 33(3), 189–207. https://doi.org/10.1093/jmt/33.3.189 Rose, A. J. (2002). Co–Rumination in the Friendships of Girls and Boys. Child Development , 73(6), 1830–1843. https://doi.org/10.1111/1467-8624.00509 Rose, D., Bartoli, A. J., & Heaton, P . (2017). Measuring the impact of musical learning on cognitive, behavioural and socio-emotional wellbeing development in children. Psychology of Music , 47(2), 284–303. https://doi. org/10.1177/0305735617744887 Ross, V. R. (1936). Relationship between intelligence, scholastic achievement and musical talent. Journal of Juvenile Research , 20, 47–64. Rossetti, A. (2020). Environmental Music Therapy (EMT): Music’s Contribution to Changing Hospital Atmospheres and Perceptions of Environments. Music and Medicine , 12(2), 130. https://doi.org/10.47513/mmd.v12i2.742 Rossi, S., Gugler, M. F., Rungger, M., Galvan, O., Zorowka, P . G., & Seebacher, J. (2020). How the Brain Understands Spoken and Sung Sentences. Brain Sciences , 10(1), 36. https://doi.org/10.3390/brainsci10010036 Roulston, K., Jutras, P ., & Kim, S. J. (2015). Adult perspectives of learning musical instruments. International Journal of Music Education , 33(3), 325–335. https://doi.org/10.1177/0255761415584291 Roux, F. H. le, Bouic, P . J. D., & Bester, M. M. (2007). The Effect of Bach’s Magnificat on Emotions, Immune, and Endocrine Parameters During Physiotherapy Treatment of Patients with Infectious Lung Conditions. Journal of Music Therapy , 44(2), 156–168. https://doi.org/10.1093/jmt/44.2.156 Rowe, G., Hirsh, J. B., & Anderson, A. K. (2007). Positive affect increases the breadth of attentional selection. Proceedings of the National Academy of Sciences , 104(1), 383–388. https://doi.org/10.1073/pnas.0605198104 Ruan, Z.-L., Liu, L., Strodl, E., Fan, L.-J., Yin, X.-N., Wen, G.-M., Sun, D.-L., Xian, D.-X., Jiang, H., Jing, J., Jin, Y., Wu, C.-A., & Chen, W.-Q. (2018). Antenatal Training with Music and Maternal Talk Concurrently May Reduce Autistic- Like Behaviors at around 3 Years of Age. Frontiers in Psychiatry , 8. https:// doi.org/10.3389/fpsyt.2017.00305 755 Bibliography Rudnick, M., Sterritt, G. M., & Flax, M. (1967). Auditory and Visual Rhythm Perception and Reading Ability. Child Development , 38(2), 581. https://doi. org/10.2307/1127312 Rudstam, G., Elofsson, U., Søndergaard, H. P ., Bonde, L. O., & Beck, B. D. (2017). Trauma-focused group music and imagery with women suffering from PTSD/complex PTSD: A feasibility study. Approach , 9, 202–216. Rumberger, R. W., & Sun Ah Lim, S. (2008). Why students drop out of school: A review of 25 years of research [California dropout research project report 15.]. University of California. Rummy, N. S. J., Rumaolat, W., & Trihartity, T. (2020). A Systematic Review of Effectiveness of Music Therapy on Depression in the Elderly. Jurnal Ners , 15(2), 101–106, https://doi.org/10.20473/jn.v15i2.18974 . Rusinek, G. (2008). Disaffected learners and school musical culture: An opportunity for inclusion. Research Studies in Music Education , 30(1), 9–23. https://doi.org/10.1177/1321103x08089887 Ruthsatz, J., Detterman, D., Griscom, W. S., & Cirullo, B. A. (2008). Becoming an expert in the musical domain: It takes more than just practice. Intelligence , 36(4), 330–338. https://doi.org/10.1016/j.intell.2007.08.003 Ruud, E. (1997a). Music and identity. Norsk Tidsskrift for Musikkterapi , 6(1), 3–13. https://doi.org/10.1080/08098139709477889 Ruud, E. (1997b). Music and the Quality of Life. Norsk Tidsskrift for Musikkterapi , 6(2), 86–97. https://doi.org/10.1080/08098139709477902 Saarikallio, S. (2006a). Differences in adolescents’ use of music in mood regulation. In M. Baroni, A. R. Addessor, R. Caterina, & M. Costa (Eds), Proceedings of the 9th International Conference on Music Perception and Cognition (p. 391). Alma Mater Studiorum, University of Bologna. Saarikallio, S. (2006b). The strategies for regulating mood by musical activities in adolescence. Proceedings of the 21st International Seminar on Research in Music Education . Saarikallio, S. (2010). Music as emotional self-regulation throughout adulthood. Psychology of Music , 39(3), 307–327. https://doi. org/10.1177/0305735610374894 Saarikallio, S. (2017). Musical Identity in Fostering Emotional Health. In Handbook of Musical Identities (pp. 602–623). Oxford University Press. https://doi.org/10.1093/acprof :oso/9780199679485.003.0033 Saarikallio, S. (2019). Access-Awareness-Agency (AAA) Model of Music- Based Social-Emotional Competence (MuSEC). Music & Science , 2, 205920431881542. https://doi.org/10.1177/2059204318815421 Saarikallio, S., & Baltazar, M. (2018). Music as a Forum for Social-Emotional Health. In L. O. Bonde & T. Theorell (Eds), Music and Public Health: A Nordic 756 The Power of Music Perspective,: Springer [MP392]International Publishing (pp. 101–113 ,). https:// doi.org/10.1007/978-3-319-76240-1_7 . Saarikallio, S., Baltazar, M., & Västfjäll, D. (2017). Adolescents’ musical relaxation: Understanding related affective processing. Nordic Journal of Music Therapy , 26(4), 376–389. https://doi.org/10.1080/08098131.2016.1276 097 Saarikallio, S., & Erkkilä, J. (2007). The role of music in adolescents’ mood regulation. Psychology of Music , 35(1), 88–109. https://doi. org/10.1177/0305735607068889 Saarikallio, S. H., Maksimainen, J. P ., & Randall, W. M. (2018). Relaxed and connected: Insights into the emotional–motivational constituents of musical pleasure. Psychology of Music , 47(5), 644–662. https://doi. org/10.1177/0305735618778768 Saarikallio, S. H., Randall, W. M., & Baltazar, M. (2020). Music Listening for Supporting Adolescents’ Sense of Agency in Daily Life. Frontiers in Psychology , 10. https://doi.org/10.3389/fpsyg.2019.02911 Saarikivi, K. A., Houtilainen, M., Tervaniemi, M., & Putkinen, V. (2019). Selectively enhanced development of working memory in musically trained children and adolescents. Frontiers in Integrative Neuroscience , 13, 62, https:// doi.org/10.3389/finint.2019.00062 . Saarikivi, K., Putkinen, V., Tervaniemi, M., & Huotilainen, M. (2016). Cognitive flexibility modulates maturation and music-training-related changes in neural sound discrimination. European Journal of Neuroscience , 44(2), 1815– 1825. https://doi.org/10.1111/ejn.13176 Sachs, M. E., Damasio, A., & Habibi, A. (2015). The pleasures of sad music: A systematic review. Frontiers in Human Neuroscience , 9. https://doi. org/10.3389/fnhum.2015.00404 Sachs, M., Kaplan, J., Sarkissian, A. D., & Habibi, A. (2017). Increased engagement of the cognitive control network associated with music training in children during an fMRI Stroop task. PLOS ONE , 12(10), e0187254. https://doi. org/10.1371/journal.pone.0187254 Sacks, O. (2007). Musicophilia: Tales of Music and the Brain . Alfred A. Knopf. Sadakata, M., & Sekiyama, K. (2011). Enhanced perception of various linguistic features by musicians: A cross-linguistic study. Acta Psychologica , 138(1), 1–10. https://doi.org/10.1016/j.actpsy.2011.03.007 Sahebdel, S., & Khodadust, M. (2014). The effect of background music while silent reading on EFL Learners’ reading comprehension. The Journal of Applied Linguistics , 7(14), 102–119. Saint-Georges, C., Chetouani, M., Cassel, R., Apicella, F., Mahdhaoui, A., Muratori, F., Laznik, M.-C., & Cohen, D. (2013). Motherese in Interaction: 757 Bibliography At the Cross-Road of Emotion and Cognition? (A Systematic Review). PLoS ONE , 8(10), e78103. https://doi.org/10.1371/journal.pone.0078103 Sakka, L. S., & Juslin, P . N. (2018). Emotion regulation with music in depressed and non-depressed individuals. Music & Science , 1, 205920431875502. https://doi.org/10.1177/2059204318755023 Sala, G., & Gobet, F. (2017a). When the music’s over: Does music skill transfer to children’s and young adolescent’s cognitive and academic skills? A meta- analysis. Educational Research Review , 20, 55–67, https://doi.org/10.1016/j. edutev.2016.11.005 . Sala, G., & Gobet, F. (2017b). Does Far Transfer Exist? Negative Evidence From Chess, Music, and Working Memory Training. Current Directions in Psychological Science , 26(6), 515–520. https://doi.org/10.1177/0963721417712760 Sala, G., & Gobet, F. (2018). Elvis Has Left the Building: Correlational but Not Causal Relationship between Music Skill and Cognitive Ability . https://doi. org/10.31234/osf.io/auzry Sala, G., & Gobet, F. (2020). Cognitive and academic benefits of music training with children: A multilevel meta-analysis. Memory & Cognition , 48(8), 1429– 1441. https://doi.org/10.3758/s13421-020-01060-2 Salamé, P ., & Baddeley, A. (1989). Effects of Background Music on Phonological Short-Term Memory. The Quarterly Journal of Experimental Psychology Section A, 41(1), 107–122. https://doi.org/10.1080/14640748908402355 Salimpoor, V. N., Benovoy, M., Longo, G., Cooperstock, J. R., & Zatorre, R. J. (2009). The Rewarding Aspects of Music Listening Are Related to Degree of Emotional Arousal. PLoS ONE , 4(10), e7487. https://doi.org/10.1371/ journal.pone.0007487 Salmon, D., & Rickaby, C. (2012). City of One: A Qualitative Study Examining the Participation of Young People in Care in a Theatre and Music Initiative. Children & Society , 28(1), 30–41. https://doi.org/10.1111/j.1099-0860.2012.00444.x Salomon, G., & Perkins, D. N. (1989). Rocky Roads to Transfer: Rethinking Mechanism of a Neglected Phenomenon. Educational Psychologist , 24(2), 113–142. https://doi.org/10.1207/s15326985ep2402_1 Salovey, P ., & Mayer, J. D. (1990). Emotional Intelligence. Imagination, Cognition and Personality , 9(3), 185–211. https://doi.org/10.2190/dugg-p24e-52wk-6cdg Salovey, P ., Mayer, J. D., Goldman, S. L., Turvey, C., & Palfai, T. P . (1995). Emotional attention, clarity, and repair: Exploring emotional intelligence using the Trait Meta-Mood Scale. In Emotion, disclosure, & health. (pp. 125–154). American Psychological Association. https://doi.org/10.1037/10182-006 Salthouse, T. A. (2010). Is flanker-based inhibition related to age? Identifying specific influences of individual differences on neurocognitive variables. Brain and Cognition , 73(1), 51–61. https://doi.org/10.1016/j.bandc.2010.02.003758 The Power of Music Sammler, D., & Elmer, S. (2020). Advances in the Neurocognition of Music and Language. Brain Sciences , 10(8), 509. https://doi.org/10.3390/ brainsci10080509 Sammler, D., Grigutsch, M., Fritz, T., & Koelsch, S. (2007). Music and emotion: Electrophysiological correlates of the processing of pleasant and unpleasant music. Psychophysiology , 44(2), 293–304. https://doi. org/10.1111/j.1469-8986.2007.00497.x San Diego Youth Symphony Community Opus Project . (2011). Sandgren, M. (2009). Evidence of strong immediate well–being effects of choral singing–with more enjoyment for women than for men. 7th Triennial Conference of European Society for the Cognitive Sciences of Music (ESCOM 2009 . Sandgren, M. (2018). Exploring personality and musical self-perceptions among vocalists and instrumentalists at music colleges. Psychology of Music , 47(4), 465–482. https://doi.org/10.1177/0305735618761572 Sänger, J., Müller, V., & Lindenberger, U. (2012). Intra- and interbrain synchronization and network properties when playing guitar in duets. Frontiers in Human Neuroscience , 6. https://doi.org/10.3389/fnhum.2012.00312 Santos-Luiz, C. dos, Mónico, L. S. M., Almeida, L. S., & Coimbra, D. (2016). Exploring the long-term associations between adolescents’ music training and academic achievement. Musicae Scientiae , 20(4), 512–527. https://doi. org/10.1177/1029864915623613 Särkämö, T., Ripollés, P ., Vepsäläinen, H., Autti, T., Silvennoinen, H. M., & Salli, E. (2014). Structural changes induced by daily music listening in the recovering brain after middle cerebral artery stroke: A voxel-based morphometry study. Frontiers in Human Neuroscience , 8, 245 398. Sarkamo, T., Tervaniemi, M., Laitinen, S., Forsblom, A., Soinila, S., Mikkonen, M., Autti, T., Silvennoinen, H. M., Erkkila, J., Laine, M., Peretz, I., & Hietanen, M. (2008). Music listening enhances cognitive recovery and mood after middle cerebral artery stroke. Brain , 131(3), 866–876. https://doi.org/10.1093/ brain/awn013 Särkämö, T., Tervaniemi, M., Laitinen, S., Numminen, A., Kurki, M., Johnson, J. K., & Rantanen, P . (2013). Cognitive, Emotional, and Social Benefits of Regular Musical Activities in Early Dementia: Randomized Controlled Study. The Gerontologist , 54(4), 634–650. https://doi.org/10.1093/geront/ gnt100 Sauce, B., & Matzel, L. D. (2018). The paradox of intelligence: Heritability and malleability coexist in hidden gene-environment interplay. Psychological Bulletin , 144(1), 26–47. https://doi.org/10.1037/bul0000131 Sausser, S., & Waller, R. J. (2006). A model for music therapy with students with emotional and behavioral disorders. The Arts in Psychotherapy , 33(1), 1–10. https://doi.org/10.1016/j.aip.2005.05.003 759 Bibliography Savage, P ., Loui, P ., Tarr, B., Schachner, A., Glowacki, L., Mithen, S., & Fitch, W. (2020). Music as coevolved system for social bonding. Behavioural and Brain Sciences , 1[MP399]-36 . https://doi.org/10.1017/SO140525X20000333 . Savan, A. (1998). A study of the effect of background music on the behaviour and physiological responses of children with special educational needs. The Psychology of Education Review , 22(1), 32–36. Savan, A. (1999). The Effect of Background Music on Learning. Psychology of Music , 27(2), 138–146. https://doi.org/10.1177/0305735699272005 Savoie, I. (2012). Evaluation Report: Evaluation of Sistema . Department of Healthy and Inclusive Communities & Sistema New Brunswick. Schäfer, T., Sedlmeier, P ., Städtler, C., & Huron, D. (2013). The psychological functions of music listening. Frontiers in Psychology , 4. https://doi. org/10.3389/fpsyg.2013.00511 Schäfer, T., Smukalla, M., & Oelker, S.-A. (2013). How music changes our lives: A qualitative study of the long-term effects of intense musical experiences. Psychology of Music , 42(4), 525–544. https://doi. org/10.1177/0305735613482024 Schäfer, T., Tipandjan, A., & Sedlmeier, P . (2012). The functions of music and their relationship to music preference in India and Germany. International Journal of Psychology , 47(5), 370–380. https://doi.org/10.1080/00207594.201 2.688133 Scharff, C. (2015). Equality and Diversity in the Classical Music Profession . Kings College London. Scheel, K. R., & Westefeld, J. S. (1999). Heavy metal music and adolescent suicidality: An empirical investigation. Adolescence , 34, 253–273. Schellenberg, E. G. (2001). Music and Nonmusical Abilities. Annals of the New York Academy of Sciences , 930(1), 355–371. https://doi. org/10.1111/j.1749-6632.2001.tb05744.x Schellenberg, E. G. (2003). Does Exposure to Music Have Beneficial Side Effects? In The Cognitive Neuroscience of Music (pp. 430–448). Oxford University Press. https://doi.org/10.1093/acprof :oso/9780198525202.003.0028 Schellenberg, E. G. (2004). Music Lessons Enhance IQ. Psychological Science , 15(8), 511–514. https://doi.org/10.1111/j.0956-7976.2004.00711.x Schellenberg, E. G. (2005). Music Listening and Cognitive Abilities in 10- and 11-Year-Olds: The Blur Effect. Annals of the New York Academy of Sciences , 1060 (1), 202–209. https://doi.org/10.1196/annals.1360.013 Schellenberg, E. G. (2006). Long-term positive associations between music lessons and IQ. Journal of Educational Psychology , 98(2), 457–468. https://doi. org/10.1037/0022-0663.98.2.457760 The Power of Music Schellenberg, E. G. (2011a). Examining the association between music lessons and intelligence. British Journal of Psychology , 102(3), 283–302. https://doi. org/10.1111/j.2044-8295.2010.02000.x Schellenberg, E. G. (2011b). Music Lessons, Emotional Intelligence, and IQ. Music Perception , 29(2), 185–194. https://doi.org/10.1525/mp.2011.29.2.185 Schellenberg, E. G. (2015). Music training and speech perception: A gene- environment interaction. Annals of the New York Academy of Sciences , 1337 (1), 170–177. https://doi.org/10.1111/nyas.12627 Schellenberg, E. G. (2016). Music training and non-musical abilities. In S. Hallam, I. Cross, & M. Thaut (Eds), The Oxford Handbook of Music Psychology (pp. 415–432). Oxford University Press. Schellenberg, E. G. (2020). Correlation = causation? Music training, psychology, and neuroscience. Psychology of Aesthetics, Creativity, and the Arts , 14(4), 475–480. https://doi.org/10.1037/aca0000263 Schellenberg, E. G., Corrigall, K. A., Dys, S. P ., & Malti, T. (2015). Group Music Training and Children’s Prosocial Skills. PLOS ONE , 10(10), e0141449. https://doi.org/10.1371/journal.pone.0141449 Schellenberg, E. G., & Mankarious, M. (2012). Music training and emotion comprehension in childhood. Emotion , 12(5), 887–891. https://doi. org/10.1037/a0027971 Schellenberg, E. G., & Moreno, S. (2009). Music lessons, pitch processing, and g. Psychology of Music , 38(2), 209–221. https://doi. org/10.1177/0305735609339473 Schellenberg, E. G., Nakata, T., Hunter, P . G., & Tamoto, S. (2007). Exposure to music and cognitive performance: Tests of children and adults. Psychology of Music , 35(1), 5–19. https://doi.org/10.1177/0305735607068885 Schellenberg, E. G., & Peretz, I. (2008). Music, language and cognition: Unresolved issues. Trends in Cognitive Sciences , 12(2), 45–46. https://doi. org/10.1016/j.tics.2007.11.005 Schellenberg, E. G., & Weiss, M. W. (2013a). Music and Cognitive Abilities. In The Psychology of Music (pp. 499–550). Elsevier. https://doi.org/10.1016/ b978-0-12-381460-9.00012-2 Schellenberg, E. G., & Weiss, M. W. (2013b). Music and Cognitive Abilities. In The Psychology of Music (pp. 499–550). Elsevier. https://doi.org/10.1016/ b978-0-12-381460-9.00012-2 Schiltz, L. (2016). Treating the emotional and motivational inhibition of highly gifted underachievers with music psychotherapy: Meta-analysis of an evaluation study based on a sequential design. Bull Soc Sci Med Grand DucheLuxemb[MP402 , 1, 7–26. Schlaug, G. (2001). The Brain of Musicians. Annals of the New York Academy of Sciences , 930(1), 281–299. https://doi.org/10.1111/j.1749-6632.2001.tb05739.x 761 Bibliography Schlaug, G. (2005). Effects of Music Training on the Child’s Brain and Cognitive Development. Annals of the New York Academy of Sciences , 1060 (1), 219–230. https://doi.org/10.1196/annals.1360.015 Schlaug, G. (2009). Music, musicians and brain plasticity. In S. Hallam, I. Cross, & M. Thaut (Eds), Oxford Handbook of Music Psychology (pp. 197–207). Oxford University Press. Schlaug, G. (2015). Musicians and music making as a model for the study of brain plasticity. In Progress in Brain Research (pp. 37–55). Elsevier. https:// doi.org/10.1016/bs.pbr.2014.11.020 Schlaug, G., Jäncke, L., Huang, Y., Staiger, J. F., & Steinmetz, H. (1995). Increased corpus callosum size in musicians. Neuropsychologia , 33(8), 1047–1055. https://doi.org/10.1016/0028-3932(95)00045-5 Schlaug, G., Jäncke, L., Huang, Y., & Steinmetz, H. (1995). In Vivo Evidence of Structural Brain Asymmetry in Musicians. Science , 267(5198), 699–701. https://doi.org/10.1126/science.7839149 Schmid, W., Rosland, J. H., Hofacker, S., Hunskår, I., & Bruvik, F. B. (2018). Patient’s and health care provider’s perspectives on music therapy in palliative care-An integrative review. Palliative Care , 17(1), 32 404. Schmidt, R., & Lee, T. (2011). Motor control and learning: A behavioral emphasis . Human Kinetics. Schmithorst, V. J., & Holland, S. K. (2003). The effect of musical training on music processing: A functional magnetic resonance imaging study in humans. Neuroscience Letters , 348(2), 65–68. https://doi.org/10.1016/ s0304-3940(03)00714-6 Schneider, C. E., Hunter, E. G., & Bardach, S. H. (2018). Potential Cognitive Benefits From Playing Music Among Cognitively Intact Older Adults: A Scoping Review. Journal of Applied Gerontology , 38(12), 1763–1783. https:// doi.org/10.1177/0733464817751198 Schneider, J. (2018). The Arts as a Medium for Care and Self-Care in Dementia: Arguments and Evidence. International Journal of Environmental Research and Public Health , 15(6), 1151. https://doi.org/10.3390/ijerph15061151 Schneider, P ., Scherg, M., Dosch, H. G., Specht, H. J., Gutschalk, A., & Rupp, A. (2002). Morphology of Heschl’s gyrus reflects enhanced activation in the auditory cortex of musicians. Nature Neuroscience , 5(7), 688–694. https://doi. org/10.1038/nn871 Schneider, P ., Sluming, V., Roberts, N., Scherg, M., Goebel, R., Specht, H. J., Dosch, H. G., Bleeck, S., Stippich, C., & Rupp, A. (2005). Structural and functional asymmetry of lateral Heschl’s gyrus reflects pitch perception preference. Nature Neuroscience , 8(9), 1241–1247. https://doi.org/10.1038/ nn1530762 The Power of Music Schneider, S., Askew, C. D., Abel, T., & Strüder, H. K. (2010). Exercise, music, and the brain: Is there a central pattern generator? Journal of Sports Sciences , 28(12), 1337–1343. https://doi.org/10.1080/02640414.2010.507252 Schneider, S., Schönle, P . W., Altenmüller, E., & Münte, T. F. (2007). Using musical instruments to improve motor skill recovery following a stroke. Journal of Neurology , 254(10), 1339–1346. https://doi.org/10.1007/s00415-006-0523-2 Schneider, T. W. (2000). The effects of music education on academic achievement. Unpublished doctoral dissertation . The University of Southern Mississippi. Schneider, T. W., & Klotz, J. (2000). The impact of music education and athletic participation on academic achievement . Schon, D. (2014). Short and long-term rhythmic interventions in language rehabilitation. Neurosciences and Music–V: Cognitive Stimulation and Rehabilitation Conference . Schön, D., Anton, J. L., Roth, M., & Besson, M. (2002). An fMRI study of music sight-reading. NeuroReport , 13(17), 2285–2289. https://doi. org/10.1097/00001756-200212030-00023 Schön, D., Magne, C., & Besson, M. (2004). The music of speech: Music training facilitates pitch processing in both music and language. Psychophysiology , 41(3), 341–349. https://doi.org/10.1111/1469-8986.00172.x Schön, D., & Tillmann, B. (2015). Short- and long-term rhythmic interventions: Perspectives for language rehabilitation. Annals of the New York Academy of Sciences , 1337 (1), 32–39. https://doi.org/10.1111/nyas.12635 Schorr-Lesnick, B., Teirstein, A. S., Brown, L. K., & Miller, A. (1985). Pulmonary Function in Singers and Wind-Instrument Players. Chest , 88(2), 201–205. https://doi.org/10.1378/chest.88.2.201 Schrader, E. M., & Wendland, J. M. (2012). Music therapy programming at an aftercare center in Cambodia for survivors of child sexual exploitation and rape and their caregivers. Soc. Work Christ , MP407]39 , 390–406. Schubert, E. (2001a). Continuous measurement of self-report emotional response to music. In P . N. Juslin & J. A. Sloboda (Eds), Music and Emotion: Theory and Research (pp. 393–414). Oxford University Press. Schubert, E. (2001b). Continuous measurement of self-report emotional response to music. In P . N. Juslin & J. A. Sloboda (Eds), Music and emotion: Theory and research (pp. 393–414). Oxford University Press. Schulte, M., Knief, A., Seither-Preisler, A., & Pantev, C. (2002). Different Modes of Pitch Perception and Learning-Induced Neuronal Plasticity of the Human Auditory Cortex. Neural Plasticity , 9(3), 161–175. https://doi.org/10.1155/ np.2002.161 Schulze, K., Zysset, S., Mueller, K., Friederici, A. D., & Koelsch, S. (2011). Neuroarchitecture of verbal and tonal working memory in nonmusicians and 763 Bibliography musicians. Human Brain Mapping , 32(5), 771–783. https://doi.org/10.1002/ hbm.21060 Schurgin, E. (2012). B Sharp Youth Music: Annual Report and Report on Musical Accomplishments January-May 2012 . Goff Family Foundation. Schwabe, C. (2005). Resource-Oriented Music Therapy—The Developement of a Concept. Nordic Journal of Music Therapy , 14(1), 49–56. https://doi. org/10.1080/08098130509478125 Schwartz, K. D., & Fouts, G. T. (2003). Music Preferences, Personality Style, and Developmental Issues of Adolescents. Journal of Youth and Adolescence , 32(3), 205–213. https://doi.org/10.1023/a :1022547520656 Schwartz, R. W., Ayres, K. M., & Douglas, K. H. (2017). Effects of music on task performance, engagement, and behavior: A literature review. Psychology of Music , 45(5), 611–627. https://doi.org/10.1177/0305735617691118 Schweigman, K., Soto, C., Wright, S., & Unger, J. (2011). The Relevance of Cultural Activities in Ethnic Identity Among California Native American Youth. Journal of Psychoactive Drugs , 43(4), 343–348. https://doi.org/10.108 0/02791072.2011.629155 Schweizer, C., Knorth, E. J., & Spreen, M. (2014). Art therapy with children with Autism Spectrum Disorders: A review of clinical case descriptions on `what works’. The Arts in Psychotherapy , 41(5), 577–593. https://doi.org/10.1016/j. aip.2014.10.009 Scotney, V. S., Weissmeyer, S., Carbert, N., & Gabora, L. (2019). The Ubiquity of Cross-Domain Thinking in the Early Phase of the Creative Process. Frontiers in Psychology , 10. https://doi.org/10.3389/fpsyg.2019.01426 Scott, T. J. (1970). The use of music to reduce hyperactivity in children. American Journal of Orthopsychiatry , 40(4), 677–680. https://doi. org/10.1111/j.1939-0025.1970.tb00725.x Segerstrom, S. C., & Miller, G. E. (2004). Psychological Stress and the Human Immune System: A Meta-Analytic Study of 30 Years of Inquiry. Psychological Bulletin , 130(4), 601–630. https://doi.org/10.1037/0033-2909.130.4.601 Seiffge-Krenke, I. (2013). Stress, Coping, and Relationships in Adolescence . Psychology Press. https://doi.org/10.4324/9780203773123 Seinfeld, S., Figueroa, H., Ortiz-Gil, J., & Sanchez-Vives, M. V. (2013). Effects of music learning and piano practice on cognitive function, mood and quality of life in older adults. Frontiers in Psychology , 4. https://doi.org/10.3389/ fpsyg.2013.00810 Seither-Preisler, A., Parncutt, R., & Schneider, P . (2014). Size and Synchronization of Auditory Cortex Promotes Musical, Literacy, and Attentional Skills in Children. Journal of Neuroscience , 34(33), 10937–10949. https://doi. org/10.1523/jneurosci.5315-13.2014764 The Power of Music Selfhout, M. H. W., Branje, S. J. T., Bogt, T. F. M. ter, & Meeus, W. H. J. (2009a). The role of music preferences in early adolescents’ friendship formation and stability. Journal of Adolescence , 32(1), 95–107. https://doi.org/10.1016/j. adolescence.2007.11.004 Selfhout, M. H. W., Branje, S. J. T., Bogt, T. F. M. ter, & Meeus, W. H. J. (2009b). The role of music preferences in early adolescents’ friendship formation and stability. Journal of Adolescence , 32(1), 95–107. https://doi.org/10.1016/j. adolescence.2007.11.004 Seligman, M. E. P . (2002). Authentic happiness . Free Press. Seligman, M. E. P . (2010). Flourish: Positive psychology and interventions. In T[MP409]he Tanner Lectures on Human Values, Ann Arbor: University of Michigan (pp. 1–243). Seligman, M. E. P . (2011). Flourish . Simon & Schuster. Seligman, M. E. P ., Forgeard, M. J. C., Jayawickreme, E., & Kern, M. L. (2011). Doing the Right Thing: Measuring Well-Being for Public Policy. International Journal of Wellbeing , 1(1). https://doi.org/10.5502/ijw.v1i1.15 Selkirk, E. (1984). Phonology and Syntax: The Relation between Sound and Structure . MIT Press. Sereno, A. B., & Holzman, P . S. (1995). Antisaccades and smooth pursuit eye movements in schizophrenia. Biological Psychiatry , 37(6), 394–401. https:// doi.org/10.1016/0006-3223(94)00127-o Serpell, Z. N., & Esposito, A. G. (2016). Development of Executive Functions. Policy Insights from the Behavioral and Brain Sciences , 3(2), 203–210. https:// doi.org/10.1177/2372732216654718 Sesma, H. W., Mahone, E. M., Levine, T., Eason, S. H., & Cutting, L. E. (2009). The Contribution of Executive Skills to Reading Comprehension. Child Neuropsychology , 15(3), 232–246. https://doi.org/10.1080/09297040802220029 Shahin, A., Bosnyak, D. J., Trainor, L. J., & Roberts, L. E. (2003). Enhancement of Neuroplastic P2 and N1c Auditory Evoked Potentials in Musicians. The Journal of Neuroscience , 23(13), 5545–5552. https://doi.org/10.1523/ jneurosci.23-13-05545.2003 Shahin, A. J. (2011). Neurophysiological Influence of Musical Training on Speech Perception. Frontiers in Psychology , 2. https://doi.org/10.3389/ fpsyg.2011.00126 Shahin, A. J., Roberts, L. E., Chau, W., Trainor, L. J., & Miller, L. M. (2008). Music training leads to the development of timbre-specific gamma band activity. NeuroImage , 41(1), 113–122. https://doi.org/10.1016/j. neuroimage.2008.01.067 Shahin, A., Roberts, L. E., Pantev, C., Trainor, L. J., & Ross, B. (2005). Modulation of P2 auditory-evoked responses by the spectral complexity of musical 765 Bibliography sounds. NeuroReport , 16(16), 1781–1785. https://doi.org/10.1097/01. wnr.0000185017.29316.63 Shahin, A., Roberts, L. E., & Trainor, L. J. (2004). Enhancement of auditory cortical development by musical experience in children. NeuroReport , 15(12), 1917–1921. https://doi.org/10.1097/00001756-200408260-00017 Sharda, M., Midha, R., Malik, S., Mukerji, S., & Singh, N. C. (2014). Fronto- Temporal Connectivity is Preserved During Sung but Not Spoken Word Listening, Across the Autism Spectrum. Autism Research , 8(2), 174–186. https://doi.org/10.1002/aur.1437 Sharda, M., Tuerk, C., Chowdhury, R., Jamey, K., Foster, N., & Custo-Blanch, M. (2018). Music improves social communication and auditory–motor connectivity in children with autism. Translat , iatry[MP411], 8 , 1–13. Sharma, M., & Jagdev, T. (2012). Use of Music Therapy for Enhancing Self- esteem among Academically Stressed Adolescents. University Journal of Psychological Research , 27(1), 53–64. Sharon, A., Levav, I., Brodsky, J., Shemesh, A. A., & Kohn, R. (2009). Psychiatric disorders and other health dimensions among Holocaust survivors 6 decades later. British Journal of Psychiatry , 195(4), 331–335. https://doi.org/10.1192/ bjp.bp.108.058784 Shaw, G. L. (2000). Keeping Mozart in Mind . Academic Press. Shen, Y., Lin, Y., Liu, S., Fang, L., & Liu, G. (2019a). Sustained Effect of Music Training on the Enhancement of Executive Function in Preschool Children. Frontiers in Psychology , 10. https://doi.org/10.3389/fpsyg.2019.01910 Shen, Y., Lin, Y., Liu, S., Fang, L., & Liu, G. (2019b). Sustained Effect of Music Training on the Enhancement of Executive Function in Preschool Children. Frontiers in Psychology , 10. https://doi.org/10.3389/fpsyg.2019.01910 Shenfield, T., Trehub, S. E., & Nakata, T. (2003). Maternal Singing Modulates Infant Arousal. Psychology of Music , 31(4), 365–375. https://doi. org/10.1177/03057356030314002 Shepherd, D., & Sigg, N. (2015). Music Preference, Social Identity, and Self-Esteem. Music Perception , 32(5), 507–514. https://doi.org/10.1525/ mp.2015.32.5.507 Sheppard, A., & Broughton, M. C. (2020). Promoting wellbeing and health through active participation in music and dance: A systematic review. International Journal of Qualitative Studies on Health and Well-Being , 15(1), 1732526. https://doi.org/10.1080/17482631.2020.1732526 Shi, Z.-M., Lin, G.-H., & Xie, Q. (2016). Effects of music therapy on mood, language, behavior, and social skills in children with autism: A meta- analysis. Chinese Nursing Research , 3(3), 137–141. https://doi.org/10.1016/j. cnre.2016.06.018766 The Power of Music Shibazaki, K., & Marshall, N. A. (2015). Exploring the impact of music concerts in promoting well-being in dementia care. Aging & Mental Health , 21(5), 468–476. https://doi.org/10.1080/13607863.2015.1114589 Shifriss, R., Bodner, E., & Palgi, Y. (2014). When you’re down and troubled: Views on the regulatory power of music. Psychology of Music , 43(6), 793–807. https://doi.org/10.1177/0305735614540360 Shih, Y.-N., Chien, W.-H., & Chiang, H. (2016). Elucidating the relationship between work attention performance and emotions arising from listening to music. Work , 55(2), 489–494. https://doi.org/10.3233/wor-162408 Shih, Y.-N., Huang, R.-H., & Chiang, H.-Y. (2012). Background music: Effects on attention performance. Work , 42(4), 573–578. https://doi.org/10.3233/ wor-2012-1410 Shih, Y.-N., Liao, Y.-H., Wu, C.-C., & Yang, E.-L. (2020). Therapeutic Factors in the Group Singing Therapy by Social Robot for Patients with Schizophrenia: A Pilot Study. Taiwanese Journal of Psychiatry , 34(4), 196. https://doi. org/10.4103/tpsy.tpsy_38_20 Shin, J. (2011). An investigation of participation in weekly music workshops and its relationship to academic self-concept and self esteem of middle school students in low-income. Contributions to Music Education , 38(2), 29–42. Shin, Y. H. (2006). The effect of music therapy on low-income children’s emotional intelligence [PhD Thesis]. Jeonbuk. Shobo, Y. (2001). Arts, Recreation and Children and Arkansas . Shuker, R. (2004). Beyond the `high fidelity’ stereotype: Defining the (contemporary) record collector. Popular Music , 23(3), 311–330. https://doi. org/10.1017/s0261143004000224 Shuman, J., Kennedy, H., DeWitt, P ., Edelblute, A., & Wamboldt, M. Z. (2016). Group music therapy impacts mood states of adolescents in a psychiatric hospital setting. The Arts in Psychotherapy , 49, 50–56. https://doi. org/10.1016/j.aip.2016.05.014 Shuter-Dyson, R. (2000). Profiling Music Students: Personality and Religiosity. Psychology of Music , 28(2), 190–196. https://doi. org/10.1177/0305735600282008 Sichivitsa, V. O. (2007). The influences of parents, teachers, peers and other factors on students’ motivation in music. Research Studies in Music Education , 29(1), 55–68. https://doi.org/10.1177/1321103x07087568 Siegel, L. S. (2006). Perspectives on dyslexia. Paediatrics & Child Health , 11(9), 581–587. https://doi.org/10.1093/pch/11.9.581 Silk, J. S. (2003). Emotion regulation in the daily lives of adolescents: Links to adolescent adjustment [Doctoral dissertation.]. 767 Bibliography Silk, Y., Griffin, N., & Chow, K. (2008). Youth Orchestras LA: Theory of Action and Proposed Evaluation Plan . Los Angeles Philharmonic & National Center for Research on Evaluation, Standards and Student Testing (CRESST. Silva, S. (2006). Music therapy. In M. Hunter-Carsch, Y. Tiknaz, P . Cooper, & R. Sage (Eds), The handbook of Social, Emotional and Behavioural Difficulties (pp. 199–204). Continuum. Silva, S., Belim, F., & Castro, S. L. (2020). The Mozart Effect on the Episodic Memory of Healthy Adults Is Null, but Low-Functioning Older Adults May Be an Exception. Frontiers in Psychology , 11. https://doi.org/10.3389/ fpsyg.2020.538194 Silva, S., Dias, C., & Castro, S. L. (2019). Domain-Specific Expectations in Music Segmentation. Brain Sciences , 9(7), 169. https://doi.org/10.3390/ brainsci9070169 Silverman, M. J. (2003). The Influence of Music on the Symptoms of Psychosis: A Meta-Analysis. Journal of Music Therapy , 40(1), 27–40. https://doi. org/10.1093/jmt/40.1.27 Silverman, M. J. (2011). Effects of Music Therapy on Change Readiness and Craving in Patients on a Detoxification Unit. Journal of Music Therapy , 48(4), 509–531. https://doi.org/10.1093/jmt/48.4.509 Silverman, M. J. (2016). Comparison of two educational music therapy interventions on recovery knowledge and affect: A cluster-randomized study. Nordic Journal of Music Therapy , 26(4), 359–375. https://doi.org/10.10 80/08098131.2016.1259646 Silvia, P . J., Thomas, K. S., Nusbaum, E. C., Beaty, R. E., & Hodges, D. A. (2016). How does music training predict cognitive abilities? A bifactor approach to musical expertise and intelligence. Psychology of Aesthetics, Creativity, and the Arts, 10(2), 184–190. https://doi.org/10.1037/aca0000058 Simmons-Stern, N. R., Budson, A. E., & Ally, B. A. (2010). Music as a memory enhancer in patients with Alzheimer’s disease. Neuropsychologia , 48(10), 3164–3167. https://doi.org/10.1016/j.neuropsychologia.2010.04.033 Simonton, D. K. (1997). Creative productivity: A predictive and explanatory model of career trajectories and landmarks. Psychological Review , 104(1), 66–89, https://doi.org/10.1037/0033 Simonton, D. K. (2017). Creative Geniuses, Polymaths, Child Prodigies, and Autistic Savants: The Ambivalent Function of Interests and Obsessions. In P . O’Keefe & J. Harackiewicz (Eds), The Science of Interest (pp. 175–185 ,). Springer. https://doi.org/10.1007/978-3-319-55509-6_9 . Simpson, D. J. (1969). The effect of selected musical studies on growth in general creative potential. Dissertation Abstracts , 30, 502–503.768 The Power of Music Simpson, K., & Keen, D. (2011). Music Interventions for Children with Autism: Narrative Review of the Literature. Journal of Autism and Developmental Disorders , 41(11), 1507–1514. https://doi.org/10.1007/s10803-010-1172-y Singh, P ., Katiyar, N., & Verma, G. (2014). Retail Shoppability: The Impact Of Store Atmospherics & Store Layout On Consumer Buying Patterns. International Journal of Scientific and Technology Research , 3(8), 15–23. Singh, Y., Makharia, A., Sharma, A., Agrawal, K., Varma, G., & Yadav, T. (2017). A study on different forms of intelligence in Indian school-going children. Industrial Psychiatry Journal , 26(1), 71. https://doi.org/10.4103/ipj.ipj_61_16 Siponkoski, S.-T., Martínez-Molina, N., Kuusela, L., Laitinen, S., Holma, M., Ahlfors, M., Jordan-Kilkki, P ., Ala-Kauhaluoma, K., Melkas, S., Pekkola, J., Rodriguez-Fornells, A., Laine, M., Ylinen, A., Rantanen, P ., Koskinen, S., Lipsanen, J., & Särkämö, T. (2020). Music Therapy Enhances Executive Functions and Prefrontal Structural Neuroplasticity after Traumatic Brain Injury: Evidence from a Randomized Controlled Trial. Journal of Neurotrauma , 37(4), 618–634. https://doi.org/10.1089/neu.2019.6413 Sistema, E. & Louis. (2013). Orchestrating Diversity: Programme overview and evaluation indicators . Sixsmith, A., & Gibson, G. (2006). Music and the wellbeing of people with dementia. Ageing and Society , 27(1), 127–145. https://doi.org/10.1017/ s0144686x06005228 Skaggs, R. (1997). Music-Centered Creative Arts in a Sex Offender Treatment Program for Male Juveniles. Music Therapy Perspectives , 15(2), 73–78. https:// doi.org/10.1093/mtp/15.2.73 Skånland, M. S. (2011). Use of MP3-players as a coping resource. Music Arts Action , 3, 15–33. Skånland, M. S. (2013). Everyday music listening and affect regulation: The role of MP3 players. International Journal of Qualitative Studies on Health and Well- Being , 8(1), 20595. https://doi.org/10.3402/qhw.v8i0.20595 Skingley, A., Clift, S., Hurley, S., Price, S., & Stephens, L. (2017). Community singing groups for people with chronic obstructive pulmonary disease: Participant perspectives. Perspectives in Public Health , 138(1), 66–75. https:// doi.org/10.1177/1757913917740930 Skinner, M. W., Herron, R. V., Bar, R. J., Kontos, P ., & Menec, V. (2018). Improving social inclusion for people with dementia and carers through sharing dance: A qualitative sequential continuum of care pilot study protocol. BMJ Open , 8(11), e026912. https://doi.org/10.1136/bmjopen-2018-026912 Skoe, E., & Kraus, N. (2013). Musical training heightens auditory brainstem function during sensitive periods in development. Frontiers in Psychology , 4. https://doi.org/10.3389/fpsyg.2013.00622 769 Bibliography Skyllstad, K. (1997). Music in conflict management – a multicultural approach. International Journal of Music Education , os-29 (1), 73–80. https://doi. org/10.1177/025576149702900111 Skyllstad, K. (2000). Creating a culture of peace. The performing arts in interethnic negotiations. Intercultural Communication , 4(4). http://www. immi.se/intercultural/ . Slater, J., Azem, A., Nicol, T., Swedenborg, B., & Kraus, N. (2017). Variations on the theme of musical expertise: Cognitive and sensory processing in percussionists, vocalists and non-musicians. European Journal of Neuroscience , 45(7), 952–963. https://doi.org/10.1111/ejn.13535 Slater, J., Skoe, E., Strait, D. L., O’Connell, S., Thompson, E., & Kraus, N. (2015). Music training improves speech-in-noise perception: Longitudinal evidence from a community-based music program. Behavioural Brain Research , 291, 244–252. https://doi.org/10.1016/j.bbr.2015.05.026 Slater, J., Strait, D. L., Skoe, E., O’Connell, S., Thompson, E., & Kraus, N. (2014). Longitudinal Effects of Group Music Instruction on Literacy Skills in Low- Income Children. PLoS ONE , 9(11), e113383. https://doi.org/10.1371/ journal.pone.0113383 Slatterly, M., Attard, H., Stewart, V., & Wheeler, A. (2020). Participation in creative workshops supports mental health consumers to share their stories of recovery: A one-year qualitative follow-up study. PloS ONE , 15(12), 0243284. Slevc, L. R., Davey, N. S., Buschkuehl, M., & Jaeggi, S. M. (2016). Tuning the mind: Exploring the connections between musical ability and executive functions. Cognition , 152, 199–211. https://doi.org/10.1016/j.cognition.2016.03.017 Slevc, L. R., & Miyake, A. (2006). Individual differences in second-language proficiency: Does musical ability matter? Psychological Science , 17, 675–681, https://doi.org/10.1111/j.1467 Slevc, L. R., & Okada, B. M. (2014a). Nonmusical abilities. In W. Thompson (Ed.), Music in the social and behavioral sciences: An encyclopedia (Vol. 12, pp. 815–817). SAGE Publications, Inc. Slevc, L. R., & Okada, B. M. (2014b). Processing structure in language and music: A case for shared reliance on cognitive control. Psychonomic Bulletin & Review , 22(3), 637–652. https://doi.org/10.3758/s13423-014-0712-4 Slevc, L. R., Rosenberg, J. C., & Patel, A. D. (2009). Making psycholinguistics musical: Self-paced reading time evidence for shared processing of linguistic and musical syntax. Psychonomic Bulletin & Review , 16(2), 374–381. https:// doi.org/10.3758/16.2.374 Slevin, M., & Slevin, P . (2013). Psychoanalysis and El Sistema: Human Development through Music. International Journal of Applied Psychoanalytic Studies , 10(2), 132–140. https://doi.org/10.1002/aps.1355770 The Power of Music Sloboda, J. (2004). Everyday Uses of Music Listening: A Preliminary Study. In Exploring the Musical MindCognition, emotion, ability, function (pp. 318–331). Oxford University Press. https://doi.org/10.1093/acprof : oso/9780198530121.003.0018 Sloboda, J. A. (1976). Visual Perception of Musical Notation: Registering Pitch Symbols in Memory. Quarterly Journal of Experimental Psychology , 28(1), 1–16. https://doi.org/10.1080/14640747608400532 Sloboda, J. A. (1985). The Musical Mind: The Cognitive Psychology of Music . Oxford University Press. Sloboda, J. A., Lamont, A., & Greasley, A. (2009). Choosing to hear music: Motivation process and effect. In S. Hallam, I. Cross, & M. Thaut (Eds), The Oxford Handbook of Music Psychology (pp. 431–440). Oxford University Press. Sloboda, J. A., & O’Neill, S. A. (2001). Emotions in everyday listening to music. In P . N. Juslin & J. A. Sloboda (Eds), Music and Emotion: Theory and Research (pp. 71–104). Oxford University Press. Sloboda, J. A., O’Neill, S. A., & Ivaldi, A. (2001). Functions of Music in Everyday Life: An Exploratory Study Using the Experience Sampling Method. Musicae Scientiae , 5(1), 9–32. https://doi.org/10.1177/102986490100500102 Slotoroff, C. (1994). Drumming technique for assertiveness and anger management in the short-term psychiatry setting for adult and adolescent survivors of trauma. Music Ther , Perspectives[MP424], 12 , 111–116. Sluming, V., Barrick, T., Howard, M., Cezayirli, E., Mayes, A., & Roberts, N. (2002). Voxel-Based Morphometry Reveals Increased Gray Matter Density in Broca’s Area in Male Symphony Orchestra Musicians. NeuroImage , 17(3), 1613–1622. https://doi.org/10.1006/nimg.2002.1288 Sluming, V., Brooks, J., Howard, M., Downes, J. J., & Roberts, N. (2007). Broca’s Area Supports Enhanced Visuospatial Cognition in Orchestral Musicians. Journal of Neuroscience , 27(14), 3799–3806. https://doi.org/10.1523/ jneurosci.0147-07.2007 Smart, E., Edwards, B., Kingsnorth, S., Sheffe, S., Curran, C. J., Pinto, M., Crossman, S., & King, G. (2016). Creating an inclusive leisure space: Strategies used to engage children with and without disabilities in the arts-mediated program Spiral Garden. Disability and Rehabilitation , 40(2), 199–207. https://doi.org/10.1080/09638288.2016.1250122 Smeijsters, H., & Hurk, J. van den. (1999). Music Therapy Helping to Work Through Grief and Finding a Personal Identity. Journal of Music Therapy , 36(3), 222–252. https://doi.org/10.1093/jmt/36.3.222 Smigelsky, M. A., Neimeyer, R. A., Murphy, V., Brown, D., Brown, V., Berryhill, A., & Knowlton, J. (2016). Performing the Peace: Using Playback Theatre in the Strengthening of Police–Community Relations. Progress in Community Health Partnerships: Research, Education, and Action , 10(4), 533–539. https:// doi.org/10.1353/cpr.2016.0061 771 Bibliography Smith, A., Waters, B., & Jones, H. (2010). Effects of prior exposure to office noise and music on aspects of working memory. Noise and Health , 12(49), 235. https://doi.org/10.4103/1463-1741.70502 Smith, C. A., & Morris, L. W. (1977). Differential Effects of Stimulative and Sedative Music on Anxiety, Concentration, and Performance. Psychological Reports , 41(3_suppl), 1047–1053. https://doi.org/10.2466/pr0.1977.41.3f.1047 Smith, C., Viljoen, J. T., & McGeachie, L. (2014). African drumming. Journal of Cardiovascular Medicine , 15(6), 441–446. https://doi.org/10.2459/ jcm.0000000000000046 Smith, D. (2013). Community opus project–Year three update . San Diego Youth Symphony and Conservatory. Smith, J. M., & Szathmary, E. (1995). The major transitions in evolution . Oxford University Press. Smith, M. M., Sherry, S. B., Vidovic, V., Saklofske, D. H., Stoeber, J., & Benoit, A. (2019). Perfectionism and the Five-Factor Model of Personality: A Meta- Analytic Review. Personality and Social Psychology Review , 23(4), 367–390. https://doi.org/10.1177/1088868318814973 Smith, R. J. (2001). Boys’ business: Documenting boys’ engagement with music education in two Top End schools . Smith, S. K., Innes, A., & Bushell, S. (2021a). Exploring the impact of live music performances on the wellbeing of community dwelling people living with dementia and their care partners. Wellbeing, Space and Society , 2, 100032. https://doi.org/10.1016/j.wss.2021.100032 Smith, S. K., Innes, A., & Bushell, S. (2021b). Music making in the community with people living with dementia and care partners–‘I’m leaving feeling on top of the world . Smithurst, S. (2011). In Harmony Norwich Final Pilot Evaluation Report–April 2011 . Priory Research Services. Snijders, T. M., Benders, T., & Fikkert, P . (2020). Infants Segment Words from Songs—An EEG Study. Brain Sciences , 10(1), 39. https://doi.org/10.3390/ brainsci10010039 Sol, P . (2008). Relevancia e impacto de las actividades artísticas sobre los resultados escolares: El caso de la Orquesta Curanilahue [PhD Thesis]. Universidad de Chile. Solli, H. P ., Rolvsjord, R., & Borg, M. (2013). Toward Understanding Music Therapy as a Recovery-Oriented Practice within Mental Health Care: A Meta-Synthesis of Service Users’ Experiences. Journal of Music Therapy , 50(4), 244–273. https://doi.org/10.1093/jmt/50.4.244 Soundwaves, A. (2011). MP5]Austin Soundwaves Results and Findings .772 The Power of Music Southcott, J. E. (2009). And as I go, I love to sing: The Happy Wanderers, music and positive aging. International Journal of Community Music , 2(2), 143–156. https://doi.org/10.1386/ijcm.2.2-3.143_1 Southcott, J., & Nethsinghe, R. (2018). Resilient Senior Russian-Australian Voices: “We Live to Sing and Sing to Live”. Applied Research in Quality of Life , 14(1), 39–58. https://doi.org/10.1007/s11482-017-9580-1 Southgate, D. E., & Roscigno, V. J. (2009). The Impact of Music on Childhood and Adolescent Achievement. Social Science Quarterly , 90(1), 4–21. https:// doi.org/10.1111/j.1540-6237.2009.00598.x Sovansky, E. E., Wieth, M. B., Francis, A. P ., & McIlhagga, S. D. (2014). Not all musicians are creative: Creativity requires more than simply playing music. Psychology of Music , 44(1), 25–36. https://doi.org/10.1177/0305735614551088 Sowden, P . T., Clements, L., Redlich, C., & Lewis, C. (2015). Improvisation facilitates divergent thinking and creativity: Realizing a benefit of primary school arts education. Psychology of Aesthetics, Creativity, and the Arts , 9(2), 128–138. https://doi.org/10.1037/aca0000018 Sparks, R., Helm, N., & Albert, M. (1974). Aphasia Rehabilitation Resulting from Melodic Intonation Therapy. Cortex , 10(4), 303–316. https://doi. org/10.1016/s0010-9452(74)80024-9 Spaulding, S. J., Barber, B., Colby, M., Cormack, B., Mick, T., & Jenkins, M. E. (2013). Cueing and Gait Improvement Among People With Parkinson’s Disease: A Meta-Analysis. Archives of Physical Medicine and Rehabilitation , 94(3), 562–570. https://doi.org/10.1016/j.apmr.2012.10.026 Spearman, C. (1927). The Measurement of Intelligence. Nature , 120(3025), 577–578. https://doi.org/10.1038/120577a0 Spelke, E. S. (2008). Effects of music instruction on developing cognitive systems at the foundations of mathematics and science. In C. Asbury & B. Rich (Eds), Learning, Arts and the Brain (p. 431). Dana Press. Sperber, D. (1996). Explaining Culture . Blackwell. Spintge, R. (2012). Clinical Use of Music in Operating Theatres. In Music, Health, and Wellbeing (pp. 277–286). Oxford University Press. https://doi. org/10.1093/acprof :oso/9780199586974.003.0020 Spintge, R., & Droh, R. (1992). Musik Medizin–Physiologische Grundlagen und praktische Anwendungen . Fischer. Spiro, N., Perkins, R., Kaye, S., Tymoszuk, U., Mason-Bertrand, A., Cossette, I., Glasser, S., & Williamon, A. (2021). The Effects of COVID-19 Lockdown 1.0 on Working Patterns, Income, and Wellbeing Among Performing Arts Professionals in the United Kingdom (April–June 2020). Frontiers in Psychology , 11. https://doi.org/10.3389/fpsyg.2020.594086 Sporny, V. W. (1941). The value of music in correctional institutions [PhD Thesis]. Duquesne University. 773 Bibliography Spychiger, M., Patry, J., Lauper, G., Zimmerman, E., & Weber, E. (1993). Does more music teaching lead to a better social climate? In R. Olechowski & G. Svik (Eds), Experimental research in teaching and learning (p. 432). Peter Lang. Stacy, R., Brittain, K., & Kerr, S. (2002). Singing for health: An exploration of the issues. Health Education , 102(4), 156–162. https://doi. org/10.1108/09654280210434228 Standley, J. (2012). Music Therapy Research in the NICU: An Updated Meta-Analysis. Neonatal Network , 31(5), 311–316. https://doi. org/10.1891/0730-0832.31.5.311 Standley, J. M. (2002). A meta-analysis of the efficacy of music therapy for premature infants. Journal of Pediatric Nursing , 17(2), 107–113. https://doi. org/10.1053/jpdn.2002.124128 Standley, J. M. (2008). Does Music Instruction Help Children Learn to Read? Evidence of a Meta-Analysis. Update: Applications of Research in Music Education , 27(1), 17–32. https://doi.org/10.1177/8755123308322270 Standley, J. M. (2011). Efficacy of music therapy for premature infants in the neonatal intensive care unit: A meta-analysis. Arch Dis Child Fetal[MP433 , 96(supplement 1). https://doi. Standley, J. M., & Hughes, J. E. (1997). Evaluation of an early intervention music curriculum for enhancing prereading/writing skills. Music Therapy , Perspectives,15(2 , 79–85. Starke, K. (2012). Encouraging creativity in children. The Education Digest, Ann Arbor , 78(4), 57–59. Stebbins, R. A. (1992). Amateurs, professionals and serious leisure . McGill-Queen’s University Press. Steele, C. J., Bailey, J. A., Zatorre, R. J., & Penhune, V. B. (2013). Early Musical Training and White-Matter Plasticity in the Corpus Callosum: Evidence for a Sensitive Period. Journal of Neuroscience , 33(3), 1282–1290. https://doi. org/10.1523/jneurosci.3578-12.2013 Steele, K. M., Ball, T. N., & Runk, R. (1997). Listening to Mozart does not enhance backwards digit span performance. Percept Mot Skills[MP436 , 3(2), 1179-1184, https://doi.org/10.2466/pms.1997.84.3c.1179.PMID : Steele, K. M., Bass, K. E., & Crook, M. D. (1999). The Mystery of the Mozart Effect: Failure to Replicate. Psychological Science , 10(4), 366–369. https://doi. org/10.1111/1467-9280.00169 Steen, J. T. van der, Smaling, H. J., Wouden, J. C. van der, Bruinsma, M. S., Scholten, R. J., & Vink, A. C. (2018). Music-based therapeutic interventions for people with dementia. Cochrane Database of Systematic Reviews , 2018 (7). https://doi.org/10.1002/14651858.cd003477.pub4774 The Power of Music Stefani, M. D., & Biasutti, M. (2016). Effects of Music Therapy on Drug Therapy of Adult Psychiatric Outpatients: A Pilot Randomized Controlled Study. Frontiers in Psychology , 7. https://doi.org/10.3389/fpsyg.2016.01518 Steinberg, S., Liu, T., & Lense, M. D. (2021). Musical Engagement and Parent-Child Attachment in Families With Young Children During the Covid-19 Pandemic. Frontiers in Psychology , 12. https://doi.org/10.3389/ fpsyg.2021.641733 Steptoe, A., Willemsen, G., Owen, N., Flower, L., & Mohamed-Ali, V. (2001). Acute mental stress elicits delayed increases in circulating inflammatory cytokine levels. Clinical Science , 101(2), 185–192. https://doi.org/10.1042/ cs1010185 Sternberg, R. J. (1985). Beyond IQ: A Triarchic Theory of Intelligence . Cambridge University Press. Sterritt, G. M., & Rudnick, M. (1966). Auditory and Visual Rhythm Perception in Relation to Reading Ability in Fourth Grade Boys. Perceptual and Motor Skills , 22(3), 859–864. https://doi.org/10.2466/pms.1966.22.3.859 Stevens, C. S. (2010). You Are What You Buy: Postmodern Consumption and Fandom of Japanese Popular Culture. Japanese Studies , 30(2), 199–214. https://doi.org/10.1080/10371397.2010.497578 Stevens, J., Butterfield, C., Whittington, A., & Holttum, S. (2018). Evaluation of Arts based Courses within a UK Recovery College for People with Mental Health Challenges. International Journal of Environmental Research and Public Health , 15(6), 1170. https://doi.org/10.3390/ijerph15061170 Stewart, J., Garrido, S., Hense, C., & McFerran, K. (2019). Music Use for Mood Regulation: Self-Awareness and Conscious Listening Choices in Young People With Tendencies to Depression. Frontiers in Psychology , 10. https:// doi.org/10.3389/fpsyg.2019.01199 Stewart, L. (2006). Congenital amusia. Current Biology , 16(21), R904–R906. https://doi.org/10.1016/j.cub.2006.09.054 Stewart, L., Henson, R., Kampe, K., Walsh, V., Turner, R., & Frith, U. (2003). Becoming a Pianist. Annals of the New York Academy of Sciences , 999(1), 204– 208. https://doi.org/10.1196/annals.1284.030 Stewart, V., Roennfeldt, H., Slattery, M., & Wheeler, A. J. (2019). Generating mutual recovery in creative spaces. Mental Health and Social Inclusion , 23(1), 16–22. https://doi.org/10.1108/mhsi-08-2018-0029 Stickley, T., Wright, N., & Slade, M. (2018). The art of recovery: Outcomes from participatory arts activities for people using mental health services. Journal of Mental Health , 27(4), 367–373. https://doi.org/10.1080/09638237.2018.143 7609 775 Bibliography Stige, B., Ansdell, G., Elefant, C., & Pavlicevic, M. (2017). Where Music Helps: Community Music Therapy in Action and Reflection . Routledge. https://doi. org/10.4324/9781315084084 Stoeber, J., & Eismann, U. (2007). Perfectionism in young musicians: Relations with motivation, effort, achievement, and distress. Personality and Individual Differences , 43(8), 2182–2192. https://doi.org/10.1016/j.paid.2007.06.036 Stoesz, B. M., Jakobson, L. S., Kilgour, A. R., & Lewycky, S. T. (2007). Local Processing Advantage in Musicians: Evidence from Disembedding and Constructional Tasks. Music Perception , 25(2), 153–165. https://doi. org/10.1525/mp.2007.25.2.153 Story, K. M., & Beck, B. D. (2017). Guided Imagery and Music with female military veterans: An intervention development study. The Arts in Psychotherapy , 55, 93–102. https://doi.org/10.1016/j.aip.2017.05.003 Strait, D., & Kraus, N. (2011). Playing Music for a Smarter Ear: Cognitive, Perceptual and Neurobiological Evidence. Music Perception , 29(2), 133–146. https://doi.org/10.1525/mp.2011.29.2.133 Strait, D. L., Chan, K., Ashley, R., & Kraus, N. (2012). Specialization among the specialized: Auditory brainstem function is tuned in to timbre. Cortex , 48(3), 360–362. https://doi.org/10.1016/j.cortex.2011.03.015 Strait, D. L., Hornickel, J., & Kraus, N. (2011). Subcortical processing of speech regularities underlies reading and music aptitude in children. Behavioral and Brain Functions , 7(1). https://doi.org/10.1186/1744-9081-7-44 Strait, D. L., & Kraus, N. (2011). Can You Hear Me Now? Musical Training Shapes Functional Brain Networks for Selective Auditory Attention and Hearing Speech in Noise. Frontiers in Psychology , 2. https://doi.org/10.3389/ fpsyg.2011.00113 Strait, D. L., & Kraus, N. (2014). Biological impact of auditory expertise across the life span: Musicians as a model of auditory learning. Hearing Research , 308, 109–121. https://doi.org/10.1016/j.heares.2013.08.004 Strait, D. L., Kraus, N., Parbery-Clark, A., & Ashley, R. (2010a). Musical experience shapes top-down auditory mechanisms: Evidence from masking and auditory attention performance. Hearing Research , 261(1–2), 22–29. https://doi.org/10.1016/j.heares.2009.12.021 Strait, D. L., Kraus, N., Parbery-Clark, A., & Ashley, R. (2010b). Musical experience shapes top-down auditory mechanisms: Evidence from masking and auditory attention performance. Hearing Research , 261(1–2), 22–29. https://doi.org/10.1016/j.heares.2009.12.021 Strait, D. L., Kraus, N., Skoe, E., & Ashley, R. (2009a). Musical experience and neural efficiency—Effects of training on subcortical processing of vocal expressions of emotion. European Journal of Neuroscience , 29(3), 661–668. https://doi.org/10.1111/j.1460-9568.2009.06617.x776 The Power of Music Strait, D. L., Kraus, N., Skoe, E., & Ashley, R. (2009b). Musical experience and neural efficiency—Effects of training on subcortical processing of vocal expressions of emotion. European Journal of Neuroscience , 29(3), 661–668. https://doi.org/10.1111/j.1460-9568.2009.06617.x Strait, D. L., Kraus, N., Skoe, E., & Ashley, R. (2009c). Musical Experience Promotes Subcortical Efficiency in Processing Emotional Vocal Sounds. Annals of the New York Academy of Sciences , 1169 (1), 209–213. https://doi. org/10.1111/j.1749-6632.2009.04864.x Strait, D. L., O’Connell, S., Parbery-Clark, A., & Kraus, N. (2013). Musicians’ Enhanced Neural Differentiation of Speech Sounds Arises Early in Life: Developmental Evidence from Ages 3 to 30. Cerebral Cortex , 24(9), 2512–2521. https://doi.org/10.1093/cercor/bht103 Strait, D. L., Parbery-Clark, A., Hittner, E., & Kraus, N. (2012). Musical training during early childhood enhances the neural encoding of speech in noise. Brain and Language , 123(3), 191–201. https://doi.org/10.1016/j.bandl.2012.09.001 Strait, D. L., Parbery-Clark, A., O’Connell, S., & Kraus, N. (2013). Biological impact of preschool music classes on processing speech in noise. Developmental Cognitive Neuroscience , 6, 51–60. https://doi.org/10.1016/j.dcn.2013.06.003 Strange, J. (1999). Client-centred music therapy for emotionally disturbed teenagers having moderate learning disability. In T. Wigram & J. Backer (Eds), Clinical applications of music therapy in developmental disability, paediatrics and neurology (pp. 134–154). Jessica Kingsley Publishers. Strange, J. (2012). Psychodynamically-informed Music Therapy Groups with Teenagers with Severe Special Needs in a College Setting: Working Jointly with Teaching Assistants. In J. Tomlinson, P . Derrington, & A. Oldfield (Eds), Music Therapy in Schools. Working with Children of All Ages in Mainstream and Special Education (p. 441). Jessica Kingsley. Straw, W. (1997). Sizing up Record Collections: Gender and Connoisseurship in Rock Music Culture. In S. Whiteley (Ed.), Sexing the Groove: Popular Music and Gender (pp. 3–16). Routledge. Strehlow, G. (2009). The use of music therapy in treating sexually abused children. Nordic Journal of Music Therapy , 18(2), 167–183. https://doi. org/10.1080/08098130903062397 Strong, J. V., & Mast, B. T. (2018). The cognitive functioning of older adult instrumental musicians and non-musicians. Aging, Neuropsychology, and Cognition , 26(3), 367–386. https://doi.org/10.1080/13825585.2018.1448356 Stupar, R. (2012). Superar–Chancen Für Volksschulkinder Durch Musikalische Förderung . ARGE Bildungsmanagement Wien. Stuss, D. T., & Alexander, M. P . (2000). Executive functions and the frontal lobes: A conceptual view. Psychological Research , 63(3–4), 289–298. https://doi. org/10.1007/s004269900007 777 Bibliography Su, Q., & Wang, F. (2010). Study the Effect of Background Music on Cognitive Memory. Applied Mechanics and Materials , 37–38 , 1368–1371. https://doi. org/10.4028/www.scientific.net/amm.37-38.1368 Su, Y. N., Kao, C.-C., Hsu, C.-C., Pan, L.-C., Cheng, S.-C., & Huang, Y.-M. (2017). How does Mozart’s music affect children’s reading? The evidence from learning anxiety and reading rates with e-books. Journal of Educational Technology and Society , 20(2), 101–112. Suárez, L., Elangovan, S., & Au, A. (2016). Cross-sectional study on the relationship between music training and working memory in adults. Australian Journal of Psychology , 68(1), 38–46. https://doi.org/10.1111/ ajpy.12087 Sugarman, J. (2010). Kosova Calls for Peace: Song, Myth, and War in an Age of Global Media. In J. O’Connell & S. E. Castelo-Branco (Eds), Music and Conflict: Ethnomusicological Perspectives (p. 442). University of Illinois Press. Sullivan, H. S. (1964). The fusion of psychiatry and social science . Norton. Summary, H. S. P ., & Plan, E. (2013). Stockton: University of the Pacific . Sun, Y., Lu, X., Ho, H. T., & Thompson, W. F. (2017). Pitch discrimination associated with phonological awareness: Evidence from congenital amusia. Scientific Reports , 7(1). https://doi.org/10.1038/srep44285 Sunderland, N., Graham, P ., & Lenette, C. (2016). Epistemic communities: Extending the social justice outcomes of community music for asylum seekers and refugees in Australia. International Journal of Community Music , 9(3), 223–241. https://doi.org/10.1386/ijcm.9.3.223_1 Sunderland, N., Istvandity, L., Lakhani, A., Lenette, C., Procopis, B., & Caballero, P . (2015). They [do more than] Interrupt Us from Sadness: Exploring the impact of participatory music making on social determinants of health and wellbeing for refugees in Australia. Health, Culture and Society , 8(1), 1–19. https://doi.org/10.5195/hcs.2015.195 Sung, H., Lee, W., Li, T., & Watson, R. (2011). A group music intervention using percussion instruments with familiar music to reduce anxiety and agitation of institutionalized older adults with dementia. International Journal of Geriatric Psychiatry , 27(6), 621–627. https://doi.org/10.1002/gps.2761 Sutcliffe, R., Du, K., & Ruffman, T. (2020). Music Making and Neuropsychological Aging: A Review. Neuroscience & Biobehavioral Reviews , 113, 479–491. https:// doi.org/10.1016/j.neubiorev.2020.03.026 Sutton, C. J. C., & Lowis, M. J. (2008). The Effect of Musical Mode on Verbal and Spatial Task Performance. Creativity Research Journal , 20(4), 420–426. https:// doi.org/10.1080/10400410802391884 Sutton, J., & Backer, J. D. (2009). Music, trauma and silence: The state of the art. The Arts in Psychotherapy , 36(2), 75–83. https://doi.org/10.1016/j. aip.2009.01.009778 The Power of Music Sutton, J. P . (Ed.). (2002). Music, music therapy and trauma . Jessica Kingsley. Swaminathan, S., & Gopinath, J. K. (2013). Music Training and Second- Language English Comprehension and Vocabulary Skills in Indian Children. Psychological Studies , 58(2), 164–170. https://doi.org/10.1007/ s12646-013-0180-3 Swaminathan, S., & Schellenberg, E. G. (2019). Music training and cognitive abilities: Associations, causes, and consequences. In M. H. Thaut & D. A. Hodges (Eds), The Oxford Handbook of Music and the Brain (pp. 645–670). Oxford University Press. Swaminathan, S., & Schellenberg, E. G. (2020). Musical ability, music training, and language ability in childhood. Journal of Experimental Psychology: Learning, Memory, and Cognition , 46(12), 2340–2348. https://doi.org/10.1037/ xlm0000798 Swaminathan, S., Schellenberg, E. G., & Khalil, S. (2017). Revisiting the association between music lessons and intelligence: Training effects or music aptitude? Intelligence , 62, 119–124. https://doi.org/10.1016/j.intell.2017.03.005 Swaminathan, S., Schellenberg, E. G., & Ventatesan, K. (2018). Explaining the association between music training and reading in adults. Journal of Experimental Psychology: Learning, Memory and Cognition , 44(6), 992–999, https://doi.org/10.1037/xml0000493 . Sward, R. (1989). Band is a family. Today’s Music Educator , 448 26–27. Taetle, L. (1999). The relationship between fine arts participation and daily school attendance at the secondary level. Contributions to Music Education , 26(1), 50–66. Tahlier, M., Miron, A. M., & Rauscher, F. H. (2012). Music choice as a sadness regulation strategy for resolved versus unresolved sad events. Psychology of Music , 41(6), 729–748. https://doi.org/10.1177/0305735612446537 Tai, D. M., Phillipson, S. N., & Phillipson, S. (2018). Music training and the academic achievement of Hong Kong students. Research Studies in Music Education , 40(2), 244–264. https://doi.org/10.1177/1321103x18773099 Takacs, Z. K., & Kassai, R. (2019). The efficacy of different interventions to foster children’s executive function skills: A series of meta-analyses. Psychological Bulletin , 145(7), 653–697. https://doi.org/10.1037/bul0000195 Talamini, F., Altoè, G., Carretti, B., & Grassi, M. (2017). Musicians have better memory than nonmusicians: A meta-analysis. PLOS ONE , 12(10), e0186773. https://doi.org/10.1371/journal.pone.0186773 Talamini, F., Carretti, B., & Grassi, M. (2016). The Working Memory of Musicians and Nonmusicians. Music Perception , 34(2), 183–191. https://doi. org/10.1525/mp.2016.34.2.183 779 Bibliography Tallal, P ., & Gaab, N. (2006). Dynamic auditory processing, musical experience and language development. Trends in Neurosciences , 29(7), 382–390. https:// doi.org/10.1016/j.tins.2006.06.003 Tallal, P ., Miller, S., & Fitch, R. H. (1993). Neurobiological Basis of Speech: A Case for the Preeminence of Temporal Processing. Annals of the New York Academy of Sciences , 682(1 Temporal Info), 27–47. https://doi. org/10.1111/j.1749-6632.1993.tb22957.x Tanaka, A., Takehara, T., & Yamauchi, H. (2006). Achievement goals in a presentation task: Performance expectancy, achievement goals, state anxiety, and task performance. Learning and Individual Differences , 16(2), 93–99. https://doi.org/10.1016/j.lindif.2005.06.005 Tapson, C., Noble, D., Daykin, N., & Walters, D. (2018). Live Music in Care: The Impact of Music Interventions for People Living and Working in Care Home Settings . University of Winchester. https://achoirineverycarehome.files. wordpress.com/2018/11/live-music-in-care.pdf . Tarr, B., Launay, J., & Dunbar, R. I. M. (2014). Music and social bonding: “Self- other” merging and neurohormonal mechanisms. Frontiers in Psychology , 5. https://doi.org/10.3389/fpsyg.2014.01096 Tarrant, M., North, A. C., & Hargreaves, D. J. (2000). English and American Adolescents’ Reasons for Listening to Music. Psychology of Music , 28(2), 166–173. https://doi.org/10.1177/0305735600282005 Tarrant, M., North, A. C., & Hargreaves, D. J. (2001). Social Categorization, Self-Esteem, and the Estimated Musical Preferences of Male Adolescents. The Journal of Social Psychology , 141(5), 565–581. https://doi. org/10.1080/00224540109600572 Tatler, B. W., & Wade, N. J. (2003). On Nystagmus, Saccades, and Fixations. Perception , 32(2), 167–184. https://doi.org/10.1068/p3395 Taylor, A. (2010). Participation in a master class: Experiences of older amateur pianists. Music Education Research , 12(2), 199–217. https://doi. org/10.1080/14613801003746576 Taylor, A. C., & Dewhurst, S. A. (2017). Investigating the influence of music training on verbal memory. Psychology of Music , 45(6), 814–820. https://doi. org/10.1177/0305735617690246 Taylor, A., & Hallam, S. (2008). Understanding what it means for older students to learn basic musical skills on a keyboard instrument. Music Education Research , 10(2), 285–306. https://doi.org/10.1080/14613800802079148 Taylor, A., & Hallam, S. (2011). From leisure to work: Amateur musicians taking up instrumental or vocal teaching as a second career. Music Education Research , 13(3), 307–325. https://doi.org/10.1080/14613808.2011.603044780 The Power of Music Taylor, J. M., & Rowe, B. J. (2012). The “Mozart Effect” and the Mathematical Connection. Journal of College Reading and Learning , 42(2), 51–66. https://doi. org/10.1080/10790195.2012.10850354 Terman, L. M. (1916). The measurement of intelligence. Houghton, Mifflin and Company. https://doi.org/10.1037/10014-000 Terry, P . C., Karageorghis, C. I., Curran, M. L., Martin, O. V., & Parsons-Smith, R. L. (2020). Effects of music in exercise and sport: A meta-analytic review. Psychological Bulletin , 146(2), 91–117. https://doi.org/10.1037/bul0000216 Tervaniemi, M. (2009). Musicians–Same or different? Annals of the New York Academy of Science . Tervaniemi, M. (2017). Music in learning and relearning: The life-span approach. Psychomusicology: Music, Mind, and Brain , 27(3), 223–226. https:// doi.org/10.1037/pmu0000185 Tervaniemi, M., Castaneda, A., Knoll, M., & Uther, M. (2006a). Sound processing in amateur musicians and nonmusicians: Event-related potential and behavioral indices. NeuroReport , 17(11), 1225–1228. https://doi. org/10.1097/01.wnr.0000230510.55596.8b Tervaniemi, M., Castaneda, A., Knoll, M., & Uther, M. (2006b). Sound processing in amateur musicians and nonmusicians: Event-related potential and behavioral indices. NeuroReport , 17(11), 1225–1228. https://doi. org/10.1097/01.wnr.0000230510.55596.8b Tervaniemi, M., Ilvonen, T., Karma, K., Alho, K., & Näätänen, R. (1997). The musical brain: Brain waves reveal the neurophysiological basis of musicality in human subjects. Neuroscience Letters , 226(1), 1–4. https://doi.org/10.1016/ s0304-3940(97)00217-6 Tervaniemi, M., Janhunen, L., Kruck, S., Putkinen, V., & Huotilainen, M. (2016). Auditory Profiles of Classical, Jazz, and Rock Musicians: Genre-Specific Sensitivity to Musical Sound Features. Frontiers in Psychology , 6. https://doi. org/10.3389/fpsyg.2015.01900 Tervaniemi, M., Rytkönen, M., Schröger, E., Ilmoniemi, R. J., & Näätänen, R. (2001). Superior Formation of Cortical Memory Traces for Melodic Patterns in Musicians. Learning & Memory , 8(5), 295–300. https://doi.org/10.1101/ lm.39501 Tervaniemi, M., Tao, S., & Huotilainen, M. (2018). Promises of Music in Education? Frontiers in Education , 3. https://doi.org/10.3389/feduc.2018.00074 Thaut, M. (2013). Rhythm, Music, and the Brain . Routledge. https://doi. org/10.4324/9780203958827 Thaut, M. H., & Hodges, D. A. (Eds). (2018). The Oxford Handbook of Music and the Brain . Oxford University Press. https://doi.org/10.1093/ oxfordhb/9780198804123.001.0001 781 Bibliography Thaut, M. H., McIntosh, G. C., & Hoemberg, V. (2015). Neurobiological foundations of neurologic music therapy: Rhythmic entrainment and the motor system. Frontiers in Psychology , 5. https://doi.org/10.3389/ fpsyg.2014.01185 Thaut, M. H., McIntosh, K. H., McIntosh, G. C., & Hoemberg, V. (2001). Auditory rhythmicity enhances movement and speech motor control in patients with Parkinson’s disease. Functional Neurology , XVI(2), 163–172. Thayer, R. E. (1996). The Origins of Everyday Moods . Oxford University Press. Thayer, R. E., Newman, J. R., & McClain, T. M. (1994). Self-regulation of mood: Strategies for changing a bad mood, raising energy, and reducing tension. Journal of Personality and Social Psychology , 67(5), 910–925. https://doi. org/10.1037/0022-3514.67.5.910 The People’s Music School Youth Orchestras . (2013). The People’s Music School Youth Orchestras—El Sistema Chicago. (2013). Evaluation Tools and Strategy . Theorell, T. P ., Lennartsson, A.-K., Mosing, M. A., & UllÃ©n, F. (2014). Musical activity and emotional competence – a twin study. Frontiers in Psychology , 5. https://doi.org/10.3389/fpsyg.2014.00774 Thoma, M. V., Ryf, S., Mohiyeddini, C., Ehlert, U., & Nater, U. M. (2012). Emotion regulation through listening to music in everyday situations. Cognition & Emotion , 26(3), 550–560. https://doi.org/10.1080/02699931.2011.595390 Thomas, J. M. (2014). To what extent do intervention music classes impact on seven and eight year old children presenting with social, emotional and behavioural difficulties: A study of student learning in a deprived school setting [PhD Thesis]. University of Bath, Department of Education. Thompson, G. A., Raine, M., Hayward, S. M., & Kilpatrick, H. (2020). Gathering community perspectives to inform the design of autism-friendly music- making workshops for wellbeing. International Journal of Wellbeing , 10(5), 117–143. https://doi.org/10.5502/ijw.v10i5.1497 Thompson, I., & Tawell, A. (2017). Becoming other: Social and emotional development through the creative arts for young people with behavioural difficulties. Emotional and Behavioural Difficulties , 22(1), 18–34. https://doi. org/10.1080/13632752.2017.1287342 Thompson, J. D. (2016). The role of rap music composition in the experience of incarceration for African American youth [PhD Thesis]. Northwestern University. Thompson, R. A. (2008). Early attachment and later development: Familiar questions, new answers. In J. Cassidy, P . R. Shaver, & eds (Eds), Handbook of Attachment: Theory, Research, and Clinical Applications (pp. 348–365). Guilford Press.782 The Power of Music Thompson, R. G., Moulin, C. J. A., Hayre, S., & Jones, R. W. (2005). Music Enhances Category Fluency In Healthy Older Adults And Alzheimer’s Disease Patients. Experimental Aging Research , 31(1), 91–99. https://doi. org/10.1080/03610730590882819 Thompson, W. F., Schellenberg, E. G., & Husain, G. (2001). Arousal, Mood, and The Mozart Effect. Psychological Science , 12(3), 248–251. https://doi. org/10.1111/1467-9280.00345 Thompson, W. F., Schellenberg, E. G., & Husain, G. (2003). Perceiving Prosody in Speech. Annals of the New York Academy of Sciences , 999(1), 530–532. https:// doi.org/10.1196/annals.1284.067 Thompson, W. F., Schellenberg, E. G., & Husain, G. (2004). Decoding speech prosody: Do music lessons help? Emotion , 4(1), 46–64. https://doi. org/10.1037/1528-3542.4.1.46 Thompson, W. F., Schellenberg, E. G., & Letnic, A. K. (2011). Fast and loud background music disrupts reading comprehension. Psychology of Music , 40(6), 700–708. https://doi.org/10.1177/0305735611400173 Thomson, C. J., Reece, J. E., & Benedetto, M. D. (2014). The relationship between music-related mood regulation and psychopathology in young people. Musicae Scientiae , 18(2), 150–165. https://doi.org/10.1177/1029864914521422 Thomson, J. (2014). Rhythm and literacy abilities: What is the relationship and can rhythm-based interventions help students with dyslexia. Neurosciences and Music–V: Cognitive Stimulation and Rehabilitation Conference . Thomson, M. (1993). Teaching the dyslexic child: Some evaluation studies. In G. Hales (Ed.), Meeting Points in Dyslexia: Proceedings of the first International Conference of the British Dyslexia Association (p. 455). Thorndike, E. L. (1920). Intelligence and its use. Harper’s Magazine , 140, 227–235. Thornton, L. (2013). A Comparison of State Assessment Scores Between Music and Nonmusic Students. Update: Applications of Research in Music Education , 32(1), 5–11. https://doi.org/10.1177/8755123313502339 Thurstone, L. L. (1973). Primary Mental Abilities. In The Measurement of Intelligence (pp. 131–136). Springer Netherlands. https://doi. org/10.1007/978-94-011-6129-9_8 Tierney, A., & Kraus, N. (2013a). Music training for the development of reading skills. In M. M. Merzenich, M. Nahum, & T. M. Vleet (Eds), Progress in Brain Research, 207 (pp. 209–241 ,). Academic Press. https://doi.org/10.1016/ B978-0-444-63327-9.00008-4 . Tierney, A., & Kraus, N. (2013b). The Ability to Move to a Beat Is Linked to the Consistency of Neural Responses to Sound. Journal of Neuroscience , 33(38), 14981–14988. https://doi.org/10.1523/jneurosci.0612-13.2013 783 Bibliography Tierney, A., & Kraus, N. (2014). Auditory-motor entrainment and phonological skills: Precise auditory timing hypothesis (P ATH). Frontiers in Human Neuroscience , 8. https://doi.org/10.3389/fnhum.2014.00949 Tierney, A., Krizman, J., Skoe, E., Johnston, K., & Kraus, N. (2013). High school music classes enhance the neural processing of speech. Frontiers in Psychology , 4. https://doi.org/10.3389/fpsyg.2013.00855 Tierney, A. T., & Kraus, N. (2013). The ability to tap to a beat relates to cognitive, linguistic, and perceptual skills. Brain and Language , 124(3), 225–231. https:// doi.org/10.1016/j.bandl.2012.12.014 Tierney, A. T., Krizman, J., & Kraus, N. (2015). Music training alters the course of adolescent auditory development. Proceedings of the National Academy of Sciences , 112(32), 10062–10067. https://doi.org/10.1073/pnas.1505114112 Tohmo, T. (2005). Economic Impacts of Cultural Events on Local Economies: An Input—Output Analysis of the Kaustinen Folk Music Festival. Tourism Economics , 11(3), 431–451. https://doi.org/10.5367/000000005774352980 Tol, A. J. M., Coulthard, H., & Hanser, W. E. (2018). Music listening as a potential aid in reducing emotional eating: An exploratory study. Musicae Scientiae , 24(1), 78–95. Tol, A. J. M. V. den, & Edwards, J. (2014). Listening to sad music in adverse situations: How music selection strategies relate to self-regulatory goals, listening effects, and mood enhancement. Psychology of Music , 43(4), 473– 494. https://doi.org/10.1177/0305735613517410 Tolfree, E., & Hallam, S. (2016). Children and young people’s uses of and responses to music in their everyday lives: A pilot study. Psychology of Education Review , 40(2), 44–50. Tomasello, M., Carpenter, M., Call, J., Behne, T., & Moll, H. (2005). Understanding and sharing intentions: The origins of cultural cognition. Behavioral and Brain Sciences , 28(5), 675–691. https://doi.org/10.1017/s0140525x05000129 Took, K. J., & Weiss, D. S. (1994). The relationship between heavy metal and rap music and adolescent turmoil: Real or artifact? Adolescence , 29(115), 613–621. Torppa, R., Faulkner, A., Huotilainen, M., Järvikivi, J., Lipsanen, J., Laasonen, M., & Vainio, M. (2014). The perception of prosody and associated auditory cues in early-implanted children: The role of auditory working memory and musical activities. International Journal of Audiology , 53(3), 182–191. https:// doi.org/10.3109/14992027.2013.872302 Torppa, R., & Huotilainen, M. (2019). Why and how music can be used to rehabilitate and develop speech and language skills in hearing-impaired children. Hearing Research , 380, 108–122. https://doi.org/10.1016/j. heares.2019.06.003 Torppa, R., Huotilainen, M., Leminen, M., Lipsanen, J., & Tervaniemi, M. (2014). Interplay between singing and cortical processing of music: A longitudinal 784 The Power of Music study in children with cochlear implants. Frontiers in Psychology , 5. https:// doi.org/10.3389/fpsyg.2014.01389 Torrance, E. P . (1988). The nature of creativity as manifest in its testing. In R. J. Sternberg (Ed.), The nature of creativity: Contemporary psychological perspectives (pp. 43–75). Cambridge University Press. Trahan, T., Durrant, S. J., Müllensiefen, D., & Williamson, V. J. (2018). The music that helps people sleep and the reasons they believe it works: A mixed methods analysis of online survey reports. PLOS ONE , 13(11), e0206531. https://doi.org/10.1371/journal.pone.0206531 Trainor, L. (2014). The importance of rhythm and interpersonal synchrony in social development. Neurosciences and Music–V: Cognitive Stimulation and Rehabilitation Conference . Trainor, L. J. (1996). Infant preferences for infant-directed versus noninfant- directed playsongs and lullabies. Infant Behavior and Development , 19(1), 83–92. https://doi.org/10.1016/s0163-6383(96)90046-6 Trainor, L. J., & Cirelli, L. (2015). Rhythm and interpersonal synchrony in early social development. Annals of the New York Academy of Sciences , 1337 (1), 45–52. https://doi.org/10.1111/nyas.12649 Trainor, L. J., Desjardins, R. N., & Rockel, C. (1999). A comparison of contour and interval processing in musicians and nonmusicians using event-related potentials. Australian Journal of Psychology , 51(3), 147–153. https://doi. org/10.1080/00049539908255352 Trainor, L. J., Lee, K., & Bosnyak, D. J. (2011). Cortical Plasticity in 4-Month- Old Infants: Specific Effects of Experience with Musical Timbres. Brain Topography , 24(3–4), 192–203. https://doi.org/10.1007/s10548-011-0177-y Trainor, L. J., Marie, C., Gerry, D., Whiskin, E., & Unrau, A. (2012). Becoming musically enculturated: Effects of music classes for infants on brain and behavior. Annals of the New York Academy of Sciences , 1252 (1), 129–138. https://doi.org/10.1111/j.1749-6632.2012.06462.x Trainor, L. J., Shahin, A. J., & Roberts, L. E. (2009). Understanding the Benefits of Musical Training. Annals of the New York Academy of Sciences , 1169 (1), 133–142. https://doi.org/10.1111/j.1749-6632.2009.04589.x Trainor, L. J., Shahin, A., & Roberts, L. E. (2003). Effects of Musical Training on the Auditory Cortex in Children. Annals of the New York Academy of Sciences , 999(1), 506–513. https://doi.org/10.1196/annals.1284.061 Tramo, M. J. (2001). Music of the Hemispheres. Science , 291(5501), 54–56. https://doi.org/10.1126/science.10.1126/science.1056899 Trapnell, P . D., & Campbell, J. D. (1999). Private self-consciousness and the five-factor model of personality: Distinguishing rumination from reflection. Journal of Personality and Social Psychology , 76(2), 284–304. https://doi. org/10.1037/0022-3514.76.2.284 785 Bibliography Travis, F., Harung, H. S., & Lagrosen, Y. (2011). Moral development, executive functioning, peak experiences and brain patterns in professional and amateur classical musicians: Interpreted in light of a Unified Theory of Performance. Consciousness and Cognition , 20(4), 1256–1264. https://doi.org/10.1016/j. concog.2011.03.020 Travis, R., & Bowman, S. W. (2012). Ethnic identity, self-esteem and variability in perceptions of rap music’s empowering and risky influences. Journal of Youth Studies , 15(4), 455–478. https://doi.org/10.1080/13676261.2012.663898 Treacy, D. S. (2019). “Because I’m a girl”: Troubling shared visions for music education. Research Studies in Music Education , 42(3), 310–325. https://doi. org/10.1177/1321103x19845145 Trehub, S. E. (2014). Singing interventions for managing infant distress. Neurosciences and Music–V: Cognitive Stimulation and Rehabilitation Conference . Trehub, S. E., & Trainor, L. (1998). Singing to infants: Lullabies and playsongs. Adv. Infancy Research[MP457 , 12, 43–77. Trent, D. E. (1996). The impact of instrumental education on academic achievement [Doctoral dissertation.]. East Texas State University. Dissertation Abstracts International. Trimmer, C. G., & Cuddy, L. L. (2008). Emotional intelligence, not music training, predicts recognition of emotional speech prosody. Emotion , 8(6), 838–849. https://doi.org/10.1037/a0014080 Trondalen, G. (2016). The future of music therapy for persons with eating disorders. In C. Dileo (Ed.), Envisioning the future of music therapy (pp. 31–44). Temple University. Trudel-Fitzgerald, C., Millstein, R. A., Hippel, C. von, Howe, C. J., Tomasso, L. P ., Wagner, G. R., & VanderWeele, T. J. (2019). Psychological well-being as part of the public health debate? Insight into dimensions, interventions, and policy. BMC Public Health , 19(1). https://doi.org/10.1186/s12889-019-8029-x Tsai, C.-G., & Li, C.-W. (2019). Is It Speech or Song? Effect of Melody Priming on Pitch Perception of Modified Mandarin Speech. Brain Sciences , 9(10), 286. https://doi.org/10.3390/brainsci9100286 Tsang, C. D., & Conrad, N. J. (2011). Music Training and Reading Readiness. Music Perception , 29(2), 157–163. https://doi.org/10.1525/mp.2011.29.2.157 Tseng, P .-T., Chen, Y.-W., Lin, P .-Y., Tu, K.-Y., Wang, H.-Y., Cheng, Y.-S., Chang, Y.-C., Chang, C.-H., Chung, W., & Wu, C.-K. (2016). Significant treatment effect of adjunct music therapy to standard treatment on the positive, negative, and mood symptoms of schizophrenic patients: A meta-analysis. BMC Psychiatry , 16(1). https://doi.org/10.1186/s12888-016-0718-8 Tsoi, K. K. F., Chan, J. Y. C., Ng, Y.-M., Lee, M. M. Y., Kwok, T. C. Y., & Wong, S. Y. S. (2018). Receptive Music Therapy Is More Effective than Interactive Music Therapy to Relieve Behavioral and Psychological Symptoms of 786 The Power of Music Dementia: A Systematic Review and Meta-Analysis. Journal of the American Medical Directors Association , 19(7), 568–576.e3. https://doi.org/10.1016/j. jamda.2017.12.009 Tuastad, L., & O’Grady, L. (2013). Music therapy inside and outside prison – A freedom practice? Nordic Journal of Music Therapy , 22(3), 210–232. https:// doi.org/10.1080/08098131.2012.752760 Tuckett, A. G., Hodgkinson, B., Rouillon, L., Balil-Lozoya, T., & Parker, D. (2014). What carers and family said about music therapy on behaviours of older people with dementia in residential aged care. International Journal of Older People Nursing , 10(2), 146–157. https://doi.org/10.1111/opn.12071 Tune, K. K. (2013). Mid-Year Evaluation Report . Communities in schools. Turk, I. (Ed.). (1997). Mousterian ‘Bone Flute’ and Other Finds from Divje Babe I Cave Site in Slovenia . Zalozba ZRC. Turner, M. L., & Engle, R. W. (1989). Is working memory capacity task dependent? Journal of Memory and Language , 28(2), 127–154. https://doi. org/10.1016/0749-596x(89)90040-5 Twomey, A., & Esgate, A. (2002). The Mozart Effect May Only Be Demonstrable in Nonmusicians. Perceptual and Motor Skills , 95(3), 1013–1026. https://doi. org/10.2466/pms.2002.95.3.1013 Tyler, H. M. (2002). In the music prison: The story of Pablo. In J. P . Sutton (Ed.), Music, music therapy and trauma: International perspectives (pp. 175–192). Jessica Kingsley Publishers. Tymoszuk, U., Spiro, N., Perkins, R., Mason-Bertrand, A., Gee, K., & Williamon, A. (2021). Arts engagement trends in the United Kingdom and their mental and social wellbeing implications: HEartS Survey . https://doi.org/10.1371/journal. pone.0246078 . Tyrer, R. A., & Fazel, M. (2014). School and Community-Based Interventions for Refugee and Asylum Seeking Children: A Systematic Review. PLoS ONE , 9(2), e89359. https://doi.org/10.1371/journal.pone.0089359 Tyson, E. H. (2002). Hip Hop Therapy: An Exploratory Study of a Rap Music Intervention with At-Risk and Delinquent Youth. Journal of Poetry Therapy , 15(3), 131–144. https://doi.org/10.1023/a :1019795911358 Tze, P ., & Chou, P . T. (2010). Attention drainage effect: How background music effects concentration in Taiwanese college students. Journal of the Scholarship of Teaching and Learning , 10(1), 36–46. Uggla, L., Blom, K. M., Bonde, L., Gustafsson, B., & Wrangsjö, B. (2019). An Explorative Study of Qualities in Interactive Processes with Children and Their Parents in Music Therapy during and after Pediatric Hematopoietic Stem Cell Transplantation. Medicines , 6(1), 28. https://doi.org/10.3390/ medicines6010028 787 Bibliography Uggla, L., & Bonde, L. O. (2020). In L. O. Bonde & K. Johansson (Eds), Music in Paediatric Hospitals–Nordic Perspectives. Oslo: Norges musikkhøgskole (pp. 141–147 ,). https://hdl.handle.net/11250/2719973 . Uggla, L., Bonde, L. O., Svahn, B. M., Remberger, M., Wrangsjö, B., & Gustafsson, B. (2016). Music therapy can lower the heart rates of severely sick children. Acta Paediatrica , 105(10), 1225–1230. https://doi.org/10.1111/apa.13452 Uggla, L., Bonde, L.-O., Hammar, U., Wrangsjö, B., & Gustafsson, B. (2018). Music therapy supported the health-related quality of life for children undergoing haematopoietic stem cell transplants. Acta Paediatrica , 107(11), 1986–1994. https://doi.org/10.1111/apa.14515 Uhlig, S. (2011a). From violent rap to lovely blues: The transformation of aggressive behavior through vocal music therapy. In A. Meadows (Ed.), Developments in Music Therapy Practice: Case Study Perspectives (p. 466). Barcelona Publishers. Uhlig, S. (2011b). Rap and singing for the emotional and cognitive development of at risk children. In F. Baker & S. Uhlig (Eds), Voicework in music therapy (pp. 63–83). Jessica Kingsley Publishers. Uhlig, S., Dimitriadis, T., Hakvoort, L., & Scherder, E. (2017). Rap and singing are used by music therapists to enhance emotional self-regulation of youth: Results of a survey of music therapists in the Netherlands. The Arts in Psychotherapy , 53, 44–54. https://doi.org/10.1016/j.aip.2016.12.001 Uhlig, S., Groot, J., Jansen, E., & Scherder, E. (2018). Rap & Sing Music Therapy and sleep in adolescents: A single-blind cluster randomized controlled trial. Nordic Journal of Music Therapy , 28(1), 60–70. https://doi.org/10.1080/08098 131.2018.1542613 Uhlig, S., Jansen, E., & Scherder, E. (2016). Study protocol RapMusicTherapy for emotion regulation in a school setting. Psychology of Music , 44(5), 1068–1081. https://doi.org/10.1177/0305735615608696 Uhlig, S., Jansen, E., & Scherder, E. (2017). “Being a bully isn’t very cool\textbackslashldots”: Rap & Sing Music Therapy for enhanced emotional self-regulation in an adolescent school setting – a randomized controlled trial. Psychology of Music , 46(4), 568–587. https://doi. org/10.1177/0305735617719154 Uhlig, S., Jaschke, A., & Scherder, E. (2013). Effects of music on emotion regulation: A systematic literature review. Pr[MP467]Oceedings of the 3rd International Conference on Music and Emotion,[MP468]: University of Jyväskylä. Department of Music , 469. Ullal-Gupta, S., Nederlanden, C. M. V. B. der, Tichko, P ., Lahav, A., & Hannon, E. E. (2013). Linking prenatal experience to the emerging musical mind. Frontiers in Systems Neuroscience , 7. https://doi.org/10.3389/fnsys.2013.00048788 The Power of Music Ullman, M. T. (2001). The Declarative/Procedural Model of Lexicon and Grammar. Journal of Psycholinguistic Research , 30(1), 37–69. https://doi. org/10.1023/a :1005204207369 Underwood, E. B. (2000). An analysis of the achievement patterns of high school students who participate in instrumental music and those who do not participate in instrumental music [PhD Thesis]. Ungerleider, J. (1999). Music and Poetry Build Bi-communal Peace Culture in Cyprus. People Building Peace . http://www.gppac.net/documents/pbp/7/4_ mpcypr.htm Urbain, O. (2007). Music and Conflict Transformation: Harmonies and Dissonances in Geopolitics . I. B. Uy, M. (2010). Positive Behavioral and Academic Outcomes in Students Participating in Two After School Music Programs: The Harmony Project and El Sistema. Unpublished manuscript . Berkeley College of Letters and Sciences, University of California. Uy, M. (2012). Venezuela’s National Music Education Programme El Sistema: Its Interactions with Society and Its Participants’ Engagement in Praxis. Music & Arts in Action , 4(1), 5–21. Vaag, J., Bjørngaard, J. H., & Bjerkeset, O. (2015). Symptoms of anxiety and depression among Norwegian musicians compared to the general workforce. Psychology of Music , 44(2), 234–248. https://doi. org/10.1177/0305735614564910 Vaag, J., Sund, E. R., & Bjerkeset, O. (2017). Five-factor personality profiles among Norwegian musicians compared to the general workforce. Musicae Scientiae , 22(3), 434–445. https://doi.org/10.1177/1029864917709519 Vaiouli, P ., & Andreou, G. (2017). Communication and Language Development of Young Children With Autism: A Review of Research in Music. Communication Disorders Quarterly , 39(2), 323–329. https://doi. org/10.1177/1525740117705117 Valdesolo, P ., & DeSteno, D. (2011). Synchrony and the social tuning of compassion. Emotion , 11(2), 262–266. https://doi.org/10.1037/a0021302 Valdesolo, P ., Ouyang, J., & DeSteno, D. (2010). The rhythm of joint action: Synchrony promotes cooperative ability. Journal of Experimental Social Psychology , 46(4), 693–695. https://doi.org/10.1016/j.jesp.2010.03.004 Vanderark, S., Newman, I., & Bell, S. (1983). The Effects of Music Participation on Quality of Life of the Elderly. Music Therapy , 3(1), 71–81. https://doi. org/10.1093/mt/3.1.71 Varvarigou, M., Creech, A., Hallam, S., & McQueen, H. (2012). Benefits experienced by older people in group music-making activities. Journal of Applied Arts & Health , 3(2), 183–198. https://doi.org/10.1386/jaah.3.2.183_1 789 Bibliography Varvarigou, M., Hallam, S., Creech, A., & McQueen, H. (2013). Different ways of experiencing music-making in later life: Creative music sessions for older learners in East London. Research Studies in Music Education , 35(1), 103–118. https://doi.org/10.1177/1321103x13478863 Västfjäll, D. (2001). Emotion induction through music: A review of the musical mood induction procedure. Musicae Scientiae , 5(1_suppl), 173–211. https:// doi.org/10.1177/10298649020050s107 Vaudreuil, R., Bronson, H., & Bradt, J. (2019). Bridging the Clinic to Community: Music Performance as Social Transformation for Military Service Members. Frontiers in Psychology , 10. https://doi.org/10.3389/fpsyg.2019.00119 Vaughn, K. (2000). Music and Mathematics: Modest Support for the Oft- Claimed Relationship. Journal of Aesthetic Education , 34(3/4), 149. https:// doi.org/10.2307/3333641 Veblen, K. (2012). Community music making: Challenging the stereotypes of conventional music education. In C. A. Baynon & K. K. Veblen (Eds), Critical perspectives in Canadian music education (pp. 123–133). WLU Press. Velasco, E. de la M., & Hirumi, A. (2020). The effects of background music on learning: A systematic review of literature to guide future research and practice. Educational Technology Research and Development , 68(6), 2817–2837. https://doi.org/10.1007/s11423-020-09783-4 Veledar, A. (2008). Tutti Concert in Mostar. In The Royal Norwegian Embassy in Sarajevo . http://www.norveska.ba/News_and_events/Culture/Music/ Tutti_Concert_in_Mostar . Verghese, J., Lipton, R. B., Katz, M. J., Hall, C. B., Derby, C. A., Kuslansky, G., Ambrose, A. F., Sliwinski, M., & Buschke, H. (2003). Leisure Activities and the Risk of Dementia in the Elderly. New England Journal of Medicine , 348(25), 2508–2516. https://doi.org/10.1056/nejmoa022252 Vickers, Z. M., & Wasserman, S. S. (1980). Sensory Qualities of Food Sounds Based on Individual Perceptions. Journal of Texture Studies , 10(4), 319–332. https://doi.org/10.1111/j.1745-4603.1980.tb00863.x Vidas, D., Larwood, J. L., Nelson, N. L., & Dingle, G. A. (2021). Music Listening as a Strategy for Managing COVID-19 Stress in First-Year University Students. Frontiers in Psychology , 12. https://doi.org/10.3389/fpsyg.2021.647065 Viggiani, N. (2014). A study of young people in the justice system engaged with a creative music programme. BPS Developmental Section Conference . Viggiani, N., Daykin, N., Moriarty, Y., & Pilkington, P . (2013). Musical pathways: An exploratory study of young people in the criminal justice system, engaged with a creative music programme . University of the West of England. Viggiani, N., Macintosh, S., & Lang, P . (2010). Music in time: An evaluation of a participatory creative music programme for older prisoners . University of the West of England.790 The Power of Music Villalba, M. (2010). La política pública de las orquestas infanto-juveniles. Revista Latino Americana de Ciencias Sociales, Niñez y Juventud , 8(1), 131–149. Villeneuve, M., Penhune, V., & Lamontagne, A. (2014). A Piano Training Program to Improve Manual Dexterity and Upper Extremity Function in Chronic Stroke Survivors. Frontiers in Human Neuroscience , 8. https://doi. org/10.3389/fnhum.2014.00662 Vink, A. C., Bruinsma, M. S., & Scholten, R. J. (2003a). Music therapy for people with dementia (A. C. Vink, Ed.). John Wiley & Sons, Ltd. https://doi. org/10.1002/14651858.cd003477.pub2 Vink, A. C., Bruinsma, M. S., & Scholten, R. J. (2003b). Music therapy for people with dementia (A. C. Vink, Ed.). John Wiley & Sons, Ltd. https://doi. org/10.1002/14651858.cd003477.pub2 Vink, A. C., Zuidersma, M., Boersma, F., Jonge, P . de, Zuidema, S. U., & Slaets, J. P . J. (2012). The effect of music therapy compared with general recreational activities in reducing agitation in people with dementia: A randomised controlled trial. International Journal of Geriatric Psychiatry , 28(10), 1031–1038. https://doi.org/10.1002/gps.3924 Vink, A., & Hanser, S. (2018). Music-Based Therapeutic Interventions for People with Dementia: A Mini-Review. Medicines , 5(4), 109. https://doi. org/10.3390/medicines5040109 Virtala, P ., & Partanen, E. (2018). Can very early music interventions promote at-risk infants’ development? Annals of the New York Academy of Sciences , 1423 (1), 92–101. https://doi.org/10.1111/nyas.13646 Visu-Petra, L., Cheie, L., Benga, O., & Miclea, M. (2011). Cognitive control goes to school: The impact of executive functions on academic performance. Procedia - Social and Behavioral Sciences , 11, 240–244. https://doi.org/10.1016/j. sbspro.2011.01.069 Vleuten, M. van der, Visser, A., & Meeuwesen, L. (2012). The contribution of intimate live music performances to the quality of life for persons with dementia. Patient Education and Counseling , 89(3), 484–488. https://doi. org/10.1016/j.pec.2012.05.012 Vohra, S., & Nilsson, S. (2011). Does music therapy reduce pain and anxiety in children with cancer undergoing lumbar puncture? Focus on Alternative and Complementary Therapies , 16(1), 66–67. https://doi. org/10.1111/j.2042-7166.2010.01070_15.x Voida, S., Edwards, W. K., Newman, M. W., Grinter, R. E., & Ducheneaut, N. (2006, April). Share and share alike. Proceedings of the SIGCHI Conference on Human Factors in Computing Systems . https://doi.org/10.1145/1124772.1124806 Volpe, G., D’ Ausilio, A., Badino, L., Camurri, A., & Fadiga, L. (2016). Measuring social interaction in music ensembles (P . R, Trans.). https://doi.org/10.1098/ rstb.2015.0377 . 791 Bibliography Volpe, U., Gianoglio, C., Autiero, L., Marino, M. L., Facchini, D., Mucci, A., & Galderisi, S. (2018). Acute Effects of Music Therapy in Subjects With Psychosis During Inpatient Treatment. Psychiatry , 81(3), 218–227. https:// doi.org/10.1080/00332747.2018.1502559 Vougioukalou, S., Dow, R., Bradshaw, L., & Pallant, T. (2019). Wellbeing and Integration through Community Music: The Role of Improvisation in a Music Group of Refugees, Asylum Seekers and Local Community Members. Contemporary Music Review , 38(5), 533–548. https://doi.org/10.1080/074944 67.2019.1684075 Vries, D., Beck, T., Stacey, B., Winslow, K., & Meines, K. (2015). Music as a Therapeutic Intervention with Autism: A Systematic Review of the Literature. Therapeutic Recreational Journal , 49(3), 220–237. Vuust, P ., Brattico, E., Seppänen, M., Näätänen, R., & Tervaniemi, M. (2012). The sound of music: Differentiating musicians using a fast, musical multi-feature mismatch negativity paradigm. Neuropsychologia , 50(7), 1432–1443. https:// doi.org/10.1016/j.neuropsychologia.2012.02.028 Vuust, P ., Gebauer, L., Hansen, N. C., Jørgensen, S. R., Møller, A., & Linnet, J. (2010). Personality influences career choice: Sensation seeking in professional musicians. Music Education Research , 12(2), 219–230. https:// doi.org/10.1080/14613801003746584 Vuust, P ., Pallesen, K. J., Bailey, C., Zuijen, T. L. van, Gjedde, A., Roepstorff, A., & Østergaard, L. (2005). To musicians, the message is in the meter. NeuroImage , 24(2), 560–564. https://doi.org/10.1016/j.neuroimage.2004.08.039 Vuust, P ., Roepstorff, A., Wallentin, M., Mouridsen, K., & Østergaard, L. (2006). It don’t mean a thing\textbackslashldots. NeuroImage , 31(2), 832–841. https://doi.org/10.1016/j.neuroimage.2005.12.037 Vuust, P ., Wallentin, M., Mouridsen, K., Østergaard, L., & Roepstorff, A. (2011). Tapping polyrhythms in music activates language areas. Neuroscience Letters , 494(3), 211–216. https://doi.org/10.1016/j.neulet.2011.03.015 Vyver, J. V. de, & Abrams, D. (2017). The Arts as a Catalyst for Human Prosociality and Cooperation. Social Psychological and Personality Science , 9(6), 664–674. https://doi.org/10.1177/1948550617720275 Waaktaar, T., Christie, H. J., Borge, A. I. H., & Torgersen, S. (2004). How Can Young People’s Resilience be Enhanced? Experiences from a Clinical Intervention Project. Clinical Child Psychology and Psychiatry , 9(2), 167–183. https://doi.org/10.1177/1359104504041917 Waddington-Jones, C., King, A., & Burnard, P . (2019). Exploring Wellbeing and Creativity Through Collaborative Composition as Part of Hull 2017 City of Culture. Frontiers in Psychology , 10. https://doi.org/10.3389/fpsyg.2019.00548 Wade-Woolley, L., & Heggie, L. (2016). The Contributions of Prosodic and Phonological Awareness to Reading. In Linguistic Rhythm and Literacy (pp. 792 The Power of Music 3–24). John Benjamins Publishing Company. https://doi.org/10.1075/ tilar.17.01wad Wahn, B., & König, P . (2017). Is Attentional Resource Allocation Across Sensory Modalities Task-Dependent? Advances in Cognitive Psychology , 13(1), 83–96. https://doi.org/10.5709/acp-0209-2 Wald, G. (2011a). Los usos de los programas sociales y culturales: El caso de dos orquestas juveniles de la Ciudad de Buenos Aires. Questión: Revista Especializadaen Periodismo y Comunicación , 1(29), 1–13. Wald, G. (2011b). Promoción de la salud integral a través del arte con jóvenes situación de vulnerabilidad social: Estudio comparativo de dos orquestas juveniles de la Ciudad de Buenos Aires. Revista de Humanidades Médicas & Estudios Sociales de La Ciencia y La Tecnología , 3(1), 1–31. Wallace, S. D., & Harwood, J. (2018). Associations Between Shared Musical Engagement and Parent–Child Relational Quality: The Mediating Roles of Interpersonal Coordination and Empathy. Journal of Family Communication , 18(3), 202–216. https://doi.org/10.1080/15267431.2018.1466783 Wallentin, M., Nielsen, A. H., Friis-Olivarius, M., Vuust, C., & Vuust, P . (2010). The Musical Ear Test, a new reliable test for measuring musical competence. Learning and Individual Differences , 20(3), 188–196. https://doi.org/10.1016/j. lindif.2010.02.004 Wallick, M. D. (1998). A Comparison Study of the Ohio Proficiency Test Results between Fourth-Grade String Pullout Students and Those of Matched Ability. Journal of Research in Music Education , 46(2), 239–247. https://doi. org/10.2307/3345626 Walsh, S., Causer, R., & Brayne, C. (2019). Does playing a musical instrument reduce the incidence of cognitive impairment and dementia? A systematic review and meta-analysis. Aging & Mental Health , 25(4), 593–601. https:// doi.org/10.1080/13607863.2019.1699019 Walworth, D. D. (2005). Procedural-Support Music Therapy in the Healthcare Setting: A Cost–Effectiveness Analysis. Journal of Pediatric Nursing , 20(4), 276–284. https://doi.org/10.1016/j.pedn.2005.02.016 Walworth, D. D. (2009). Effects of Developmental Music Groups for Parents and Premature or Typical Infants Under Two Years on Parental Responsiveness and Infant Social Development. Journal of Music Therapy , 46(1), 32–52. https://doi.org/10.1093/jmt/46.1.32 Wamhoff, M. J. (1972). A Comparison of Self-concept of Fourth Grade Students Enrolled and Not Enrolled in Instrumental Music in Selected Schools in the Barstow, California School District. Doctoral Dissertation. [MP481]Dissertation Abstracts International , 33, 626. Wan, C. Y., Rüber, T., Hohmann, A., & Schlaug, G. (2010). The Therapeutic Effects of Singing in Neurological Disorders. Music Perception , 27(4), 287– 295. https://doi.org/10.1525/mp.2010.27.4.287 793 Bibliography Wan, C. Y., & Schlaug, G. (2010). Music Making as a Tool for Promoting Brain Plasticity across the Life Span. The Neuroscientist , 16(5), 566–577. https://doi. org/10.1177/1073858410377805 Wang, C.-F., Sun, Y.-L., & Zang, H.-X. (2014). Music therapy improves sleep quality in acute and chronic sleep disorders: A meta-analysis of 10 randomized studies. International Journal of Nursing Studies , 51(1), 51–62. https://doi.org/10.1016/j.ijnurstu.2013.03.008 Wang, S., & Agius, M. (2018). The use of music therapy on the treatment of mental illness and the enhancement of societal wellbeing. Psychiatria Danubina , 30(7), 595–600. Ward, B. (1998). Just my soul responding: Rhythm and blues, Black consciousness and race relations . Routledge. https://doi.org/10.1016/j.ijnurstu.2013.03.008 . Ward, S., James, S. J., James, K., Brown, C., Kokotsaki, D., & Wigham, J. (2020). The benefits of music workshop participation for pupils’ wellbeing and social capital; the In2 music project . Durham University. Warfield, D. (2010). Bowing in the right direction: Hiland Mountain Correctional Center women’s string orchestra programme. International Journal of Community Music , 3(1), 103–110. https://doi.org/10.1386/ijcm.3.1.103/7 Watanabe, D., Savion-Lemieux, T., & Penhune, V. B. (2007). The effect of early musical training: Evidence for a sensitive period in motor learning. Brain and Cognition , 176, 332–340. Weaver, H. (2001). Travellin’ home and back, Exploring the psychological processes of reconciliation [PhD Thesis]. Union Institute and University. Weber, A. (2018). Choral Singing and Communal Mindset: A Program Evaluation of the Voices of Hope Women’s Prison Choir. Unpublished DMA dissertation . University of Minnesota. Weber, M., Martindale, D., Riedel, J., & Neuwirth, G. (1958). The Rational and Social Foundations of Music . Southern Illinois University Press. Wechsler, D. (1997). WAIS-III, Wechsler Adult Intelligence Scale: Administration and Scoring Manual . Psychological Corporation. Wechsler, D. (2008). Wechsler Adult Intelligence Scale . Psychological Corporation. Weidema, J. L., Roncaglia-Denissen, M. P ., & Honing, H. (2016). Top–Down Modulation on the Perception and Categorization of Identical Pitch Contours in Speech and Music. Frontiers in Psychology , 7. https://doi.org/10.3389/ fpsyg.2016.00817 Weinberg, M. K., & Joseph, D. (2016). If you’re happy and you know it: Music engagement and subjective wellbeing. Psychology of Music , 45(2), 257–267. https://doi.org/10.1177/0305735616659552 Weinstein, D., Launay, J., Pearce, E., Dunbar, R. I. M., & Stewart, L. (2016). Singing and social bonding: Changes in connectivity and pain threshold 794 The Power of Music as a function of group size. Evolution and Human Behavior , 37(2), 152–158. https://doi.org/10.1016/j.evolhumbehav.2015.10.002 Welch, G. F., Biasutti, M., MacRitchie, J., McPherson, G. E., & Himonides, E. (2020). Editorial: The Impact of Music on Human Development and Well- Being. Frontiers in Psychology , 11. https://doi.org/10.3389/fpsyg.2020.01246 Welch, G. F., Himonides, E., Saunders, J., & Papageorgi, I. (2010). Researching the impact of the national singing programme ‘Sing Up’ in England: Main findings from the first three years . International Music Education Research Centre (iMerc), Institute of Education, University of London. Welch, G. F., Himonides, E., Saunders, J., Papageorgi, I., & Sarazin, M. (2014). Singing and social inclusion. Frontiers in Psychology , 5. https://doi. org/10.3389/fpsyg.2014.00803 Welch, G. F., Papageorgi, I., Vraka, M., Himonides, E., & Saunders, J. (2011). The Chorister Outreach Programme: A research evaluation 2008–2009 . iMerc, Institute of Education, University of London. Welch, G. F., Saunders, J., Hobsbaum, A., & Himonides, E. (2012). Literacy through music: A research evaluation of the New London Orchestra’s Literacy through Music Programme . iMerc, Institute of Education, University of London. Welch, G. F., Saunders, J., Papageorgi, I., Joyce, H., & E, H. (2009). An instrument for the assessment of children’s attitudes to singing, self and social inclusion . Institute of Education, University of London. Welch, G., Purves, R., Saunders, J., Mason, K., Bowmer, A. R., & Wright, A. (2020). Sing Every Day: The wider benefits of a school-based singing project with disadvantaged children. In P . González & R. Omolo-Ongati (Eds), Proceedings of the 28th International Society for Music Education (ISME) Seminar on Research in Music Education.[MP482 . Wellman, R., & Pinkerton, J. (2015). The Development of a Music Therapy Protocol: A Music 4 Life® Case Report of a Veteran with PTSD. Music and Medicine , 7(3), 24–39. https://doi.org/10.47513/mmd.v7i3.408 Wells, A., & Hakanen, E. A. (1991). The Emotional Use of Popular Music by Adolescents. Journalism Quarterly , 68(3), 445–454. https://doi. org/10.1177/107769909106800315 Wells, D. L., Graham, L., & Hepper, P . G. (2002). The influence of auditory stimulation on the behaviour of dogs housed in a rescue shelter. Animal Welfare , 11(4), 385–393. Wengenroth, M., Blatow, M., Heinecke, A., Reinhardt, J., Stippich, C., Hofmann, E., & Schneider, P . (2013). Increased Volume and Function of Right Auditory Cortex as a Marker for Absolute Pitch. Cerebral Cortex , 24(5), 1127–1137. https://doi.org/10.1093/cercor/bhs391 795 Bibliography Wentworth, E. R. (2019). Mathematics and Music: The Effects of an Integrated Approach on Student Achievement and Affect [PhD Thesis]. Columbia University. Werker, J. F., Lloyd, V. L., Pegg, J. E., & Polka, L. (1996). Putting the baby in the bootstraps: Toward a more complete understanding of the role of the input in infant speech processing. In J. L. Morganand & K. Demuth (Eds), Signal to Syntax: Bootstrapping from speech to grammar in early acquisition, Mahwah, NJ: Lawrence Erlbaum (pp. 427–447). Werner, D. (1984). Amazon journey; An anthropologist’s year among Brazil’s Mekranoti Indians . Simon and Schuster. Werner, J., Wosch, T., & Gold, C. (2015). Effectiveness of group music therapy versus recreational group singing for depressive symptoms of elderly nursing home residents: Pragmatic trial. Aging & Mental Health , 21(2), 147– 155. https://doi.org/10.1080/13607863.2015.1093599 Wetter, O. E., Koerner, F., & Schwaninger, A. (2008). Does musical training improve school performance? Instructional Science , 37(4), 365–374. https:// doi.org/10.1007/s11251-008-9052-y Węziak-Białowolska, D., & Białowolski, P . (2016). Cultural events – does attendance improve health? Evidence from a Polish longitudinal study. BMC Public Health , 16(1). https://doi.org/10.1186/s12889-016-3433-y White, E. J., Hutka, S. A., Williams, L. J., & Moreno, S. (2013). Learning, neural plasticity and sensitive periods: Implications for language acquisition, music training and transfer across the lifespan. Frontiers in Systems Neuroscience , 7. https://doi.org/10.3389/fnsys.2013.00090 Whitehead, B. J. (2001). The effect of music-intensive intervention on mathematics scores of middle and high school students [Doctoral dissertation.]. Capella University. Dissertation Abstracts International. Whitehead-Pleaux, A. M., Baryza, M. J., & Sheridan, R. L. (2006). The Effects of Music Therapy on Pediatric Patients’ Pain and Anxiety During Donor Site Dressing Change. Journal of Music Therapy , 43(2), 136–153. https://doi. org/10.1093/jmt/43.2.136 White-Schwoch, T., Carr, K. W., Anderson, S., Strait, D. L., & Kraus, N. (2013). Older Adults Benefit from Music Training Early in Life: Biological Evidence for Long-Term Training-Driven Plasticity. Journal of Neuroscience , 33(45), 17667–17674. https://doi.org/10.1523/jneurosci.2560-13.2013 Whitwell, D. (1977). Music learning through performance . Texas Music Educators Association. Więch, P ., Sa\textbackslashlacińska, I., Walat, K., Kózka, M., & Bazaliński, D. (2020). Can Singing in a Choir Be a Key Strategy for Lifelong Health? A Cross- sectional Study. Journal of Voice . https://doi.org/10.1016/j.jvoice.2020.11.010796 The Power of Music Wiesendanger, M., & Serrien, D. J. (2004). The quest to understand bimanual coordination. In Progress in Brain Research (pp. 491–505). Elsevier. https:// doi.org/10.1016/s0079-6123(03)43046-x Wiesenthal, D. L., Hennessy, D. A., & Totten, B. (2003). The influence of music on mild driver aggression. Transportation Research Part F: Traffic Psychology and Behaviour , 6(2), 125–134. https://doi.org/10.1016/s1369-8478(03)00020-2 Wig, J. A., & Boyle, J. D. (1982). The Effect of Keyboard Learning Experiences on Middle School General Music Students’ Music Achievement and Attitudes. Journal of Research in Music Education , 30(3), 163–172. https://doi. org/10.2307/3345083 Wiles, J. L., Wild, K., Kerse, N., & Allen, R. E. S. (2012). Resilience from the point of view of older people: `There’s still life beyond a funny knee’. Social Science & Medicine , 74(3), 416–424. https://doi.org/10.1016/j.socscimed.2011.11.005 Wilkinson, R. G., & Marmot, M. (2003). Social determinants of health: The solid facts. WHO Regional Office for Europe. Williams, E., Dingle, G. A., & Clift, S. (2018). A systematic review of mental health and wellbeing outcomes of group singing for adults with a mental health condition. European Journal of Public Health , 28(6), 1035–1042. https:// doi.org/10.1093/eurpub/cky115 Williams, K. E., Barrett, M. S., Welch, G. F., Abad, V., & Broughton, M. (2015). Associations between early shared music activities in the home and later child outcomes: Findings from the Longitudinal Study of Australian Children. Early Childhood Research Quarterly , 31, 113–124. https://doi.org/10.1016/j. ecresq.2015.01.004 Williams, K. E., Berthelsen, D., Nicholson, J. M., Walker, S., & Abad, V. (2012). The Effectiveness of a Short-Term Group Music Therapy Intervention for Parents Who Have a Child with a Disability. Journal of Music Therapy , 49(1), 23–44. https://doi.org/10.1093/jmt/49.1.23 Wills, G., & Cooper, C. L. (1988). PressuresSensitive: Popular musicians under stress . Sage. Wilson, D., Caulfield, L. S., & S, A. (2009). Good vibrations: The long-term impact of a prison based music project. The Prison Service Journal , 182, 27–32. Wilson, D., & Logan, M. (2006). Breaking down walls-The good vibrations project in prison . Centre for Criminal Justice Policy and Research. Wilson, D., McKegg, K., Goodwin, D., Black, X., Sauni, P ., & Toumua, R. (2012). Evaluation of Sistema Aotearoa . Institute of Public Policy, AUT University. Wilson, G. B., & MacDonald, R. A. R. (2019). The Social Impact of Musical Engagement for Young Adults With Learning Difficulties: A Qualitative Study. Frontiers in Psychology , 10. https://doi.org/10.3389/fpsyg.2019.01300 Wilson, S. J., Lusher, D., Martin, C. L., Rayner, G., & McLachlan, N. (2011). Intersecting Factors Lead to Absolute Pitch Acquisition That is 797 Bibliography Maintained in a “Fixed $\textbackslashless$i$\textbackslashgreater$do$\ textbackslashless$/i$\textbackslashgreater$” Environment. Music Perception , 29(3), 285–296. https://doi.org/10.1525/mp.2012.29.3.285 Wilson, S. J., Lusher, D., Wan, C. Y., Dudgeon, P ., & Reutens, D. C. (2008). The Neurocognitive Components of Pitch Processing: Insights from Absolute Pitch. Cerebral Cortex , 19(3), 724–732. https://doi.org/10.1093/cercor/bhn121 Wilson, T. L., & Brown, T. L. (1997). Reexamination of the Effect of Mozart’s Music on Spatial-Task Performance. The Journal of Psychology , 131(4), 365– 370. https://doi.org/10.1080/00223989709603522 Wiltermuth, S. S., & Heath, C. (2009). Synchrony and Cooperation. Psychological Science , 20(1), 1–5. https://doi.org/10.1111/j.1467-9280.2008.02253.x Winner, E., & Cooper, M. (2000). Mute Those Claims: No Evidence (Yet) for a Causal Link between Arts Study and Academic Achievement. Journal of Aesthetic Education , 34(3/4), 11. https://doi.org/10.2307/3333637 Winsler, A., Ducenne, L., & Koury, A. (2011). Singing One’s Way to Self- Regulation: The Role of Early Music and Movement Curricula and Private Speech. Early Education & Development , 22(2), 274–304. https://doi. org/10.1080/10409280903585739 Wise, G. W., Hartmann, D. J., & Fisher, B. J. (1992). Exploration of the Relationship between Choral Singing and Successful Aging. Psychological Reports , 70(3_ suppl), 1175–1183. https://doi.org/10.2466/pr0.1992.70.3c.1175 Wit, K. (2020). Legacy: Participatory music practices with elderly people as a resource for the wellbeing of healthcare professionals [PhD Thesis]. Hanze University of Applied Sciences. Witte, M. de, Spruit, A., Hooren, S. van, Moonen, X., & Stams, G.-J. (2019). Effects of music interventions on stress-related outcomes: A systematic review and two meta-analyses. Health Psychology Review , 14(2), 294–324. https://doi.org /10.1080/17437199.2019.1627897 Wittenberg, R., Hu, B., Barraza-Araiza, L., & Rehil, A. (2019). Projections of older people with dementia and costs of dementia care in the United Kingdom, 2019–2040. Care Policy and Evaluation Centre. Research at LSE CPEC Working Paper , 5([MP485). Wolf, J. (1992). Let’s sing it again: Creating music with young children. Young Children , 47(2), 56–61. Wolff, K. (1979). The non-musical outcomes of music education: A review of the literature. Bulletin of the Council for Research in Music Education , 55, 1–27. Wolff, P . H., Michel, G. F., & Ovrut, M. (1990). The Timing of Syllable Repetitions in Developmental Dyslexia. Journal of Speech, Language, and Hearing Research , 33(2), 281–289. https://doi.org/10.1044/jshr.3302.281798 The Power of Music WONG, P . C. M., & PERRACHIONE, T. K. (2007). Learning pitch patterns in lexical identification by native English-speaking adults. Applied Psycholinguistics , 28(4), 565–585. https://doi.org/10.1017/s0142716407070312 Wong, P . C. M., Perrachione, T. K., & Parrish, T. B. (2007). Neural characteristics of successful and less successful speech and word learning in adults. Human Brain Mapping , 28(10), 995–1006. https://doi.org/10.1002/hbm.20330 Wong, P . C. M., Skoe, E., Russo, N. M., Dees, T., & Kraus, N. (2007). Musical experience shapes human brainstem encoding of linguistic pitch patterns. Nature Neuroscience , 10(4), 420–422. https://doi.org/10.1038/nn1872 Wood, A. (2010). Singing Diplomats: The Hidden Life of a Russian-speaking Choir in Jerusalem. Ethnomusicology Forum , 19(2), 165–190. https://doi.org/ 10.1080/17411912.2010.507360 Wood, A. L. (1973). The relationship of selected factors to achievement motivation and self-esteem among senior high school band members [Doctoral dissertation.]. Louisiana State University and Agricultural & Mechanical College. Dissertation Abstracts International. Wood, L., Ivery, P ., Donovan, R., & Lambin, E. (2013). “To the beat of a different drum”: Improving the social and mental wellbeing of at-risk young people through drumming. Journal of Public Mental Health , 12(2), 70–79. https://doi. org/10.1108/jpmh-09-2012-0002 Woodman, A., Breviglia, E., Mori, Y., Golden, R., Maina, J., & Wisniewski, H. (2018). The Effect of Music on Exercise Intensity among Children with Autism Spectrum Disorder: A Pilot Study. Journal of Clinical Medicine , 7(3), 38. https://doi.org/10.3390/jcm7030038 Woodward, S. C., Sloth-Nielsen, J., & Mathiti, V. (2007). South Africa, the arts and youth in conflict with the law. International Journal of Community Music , 1(1), 69–88. https://doi.org/10.1386/ijcm.1.1.69_0 Wright, R. (2012). Music education and social transformation: Building social capital through music. The Canadian Music Educator, Edmonton , 53(3), 12–13. Wristen, B. (2006). Demographics and motivation of adult group piano students. Music Education Research , 8(3), 387–406. https://doi. org/10.1080/14613800600957503 Wu, C. C., Hamm, J. P ., Lim, V. K., & Kirk, I. J. (2017). Musical training increases functional connectivity, but does not enhance mu suppression. Neuropsychologia , 104, 223–233. https://doi.org/10.1016/j. neuropsychologia.2017.08.029 Wu, S. M. (2002). Effects of music therapy on anxiety, depression and self- esteem of undergraduates. PSYCHOLOGIA , 45(2), 104–114. https://doi. org/10.2117/psysoc.2002.104 799 Bibliography Yang, H., Lu, J., Gong, D., & Yao, D. (2016). How do musical tonality and experience affect visual working memory? NeuroReport , 27(2), 94–98. https://doi.org/10.1097/wnr.0000000000000503 Yang, H., Ma, W., Gong, D., Hu, J., & Yao, D. (2014). A Longitudinal Study on Children’s Music Training Experience and Academic Development. Scientific Reports , 4(1). https://doi.org/10.1038/srep05854 Yang, J., McClelland, A., & Furnham, A. (2016). The effect of background music on the cognitive performance of musicians: A pilot study. Psychology of Music , 44(5), 1202–1208. https://doi.org/10.1177/0305735615592265 Yang, M.-T., Hsu, C.-H., Yeh, P .-W., Lee, W.-T., Liang, J.-S., Fu, W.-M., & Lee, C.-Y. (2015). Attention deficits revealed by passive auditory change detection for pure tones and lexical tones in ADHD children. Frontiers in Human Neuroscience , 9. https://doi.org/10.3389/fnhum.2015.00470 Yang, P . (2015). The impact of music on educational attainment. Journal of Cultural Economics , 39(4), 369–396. https://doi.org/10.1007/s10824-015-9240-y Yap, A. F., Kwan, Y. H., & Ang, S. B. (2017). A systematic review on the effects of active participation in rhythm-centred music making on different aspects of health. European Journal of Integrative Medicine , 9, 44–49. https://doi. org/10.1016/j.eujim.2016.11.011 Yazejian, N., & Peisner-Feinberg, E. S. (2009). Effects of a Preschool Music and Movement Curriculum on Children’s Language Skills. NHSA Dialog , 12(4), 327–341. https://doi.org/10.1080/15240750903075255 Ye, P ., Huang, Z., Zhou, H., & Tang, Q. (2021). Music-based intervention to reduce aggressive behavior in children and adolescents. Medicine , 100(4), e23894. https://doi.org/10.1097/md.0000000000023894 Yinger, O. S., & Gooding, L. (2014). Music Therapy and Music Medicine for Children and Adolescents. Child and Adolescent Psychiatric Clinics of North America , 23(3), 535–553. https://doi.org/10.1016/j.chc.2013.03.003 Yöndem, S., Yöndem, Z. D., & Per, M. (2017). Personality Traits and Psychological Symptoms of Music and Art Students. Journal of Education and Training Studies , 5(7), 53. https://doi.org/10.11114/jets.v5i7.2431 Yoon, J. N. (2000). Music in the classroom: Its influence on children’s brain development, academic performance, and practical life skills. ERIC Document Reproduction Service , ED442707.[MP489 . Young, R., Sproeber, N., Groschwitz, R. C., Preiss, M., & Plener, P . L. (2014). Why alternative teenagers self-harm: Exploring the link between non-suicidal self-injury, attempted suicide and adolescent identity. BMC Psychiatry , 14(1). https://doi.org/10.1186/1471-244x-14-137 Young, V. M., & Colman, A. M. (1979). Some Psychological Processes in String Quartets. Psychology of Music , 7(1), 12–18. https://doi. org/10.1177/030573567971002800 The Power of Music Yun, J. (2014). Juvenile offenders’ experience of music therapy within the framework of self-determination: A modified grounded theory study. Journal of Music and Human Behavior , 11(1), 63–82. Yurgil, K. A., Velasquez, M. A., Winston, J. L., Reichman, N. B., & Colombo, P . J. (2020). Music Training, Working Memory, and Neural Oscillations: A Review. Frontiers in Psychology , 11. https://doi.org/10.3389/fpsyg.2020.00266 Zachopoulou, E., Tsapakidou, A., & Derri, V. (2004). The effects of a developmentally appropriate music and movement program on motor performance. Early Childhood Research Quarterly , 19(4), 631–642. https://doi. org/10.1016/j.ecresq.2004.10.005 Zafranas, N. (2021). Piano keyboard training and the spatial-temporal development of young children attending kindergarten classes in Greece. In Music in the Lives of Young Children (pp. 261–273). Routledge. https://doi. org/10.4324/9781003090311-19 Zampini, M., & Spence, C. (2004). The role of auditory cues in modulating the perceived crispness and staleness of potato chips. Journal of Sensory Studies , 19(5), 347–363. https://doi.org/10.1111/j.1745-459x.2004.080403.x Zanders, M. L. (2015). Music Therapy Practices and Processes with Foster-Care Youth: Formulating an Approach to Clinical Work. Music Therapy Perspectives , 33(2), 97–107. https://doi.org/10.1093/mtp/miv028 Zanini, C. R. de O., & Leao, E. (2006). Therapeutic Choir—A Music Therapist Looks at the New Millenium Elderly. Voices: A World Forum for Music Therapy , 6(2). https://doi.org/10.15845/voices.v6i2.249 Zanutto, D. R. (1997). The effect of instrumental music instruction on academic achievement [PhD Thesis]. University of California. Zapata, G. P ., & Hargreaves, D. J. (2017). The effects of musical activities on the self-esteem of displaced children in Colombia. Psychology of Music , 46(4), 540–550. https://doi.org/10.1177/0305735617716756 Zarobe, L., & Bungay, H. (2017). The role of arts activities in developing resilience and mental wellbeing in children and young people a rapid review of the literature. Perspectives in Public Health , 137(6), 337–347. https://doi. org/10.1177/1757913917712283 Zatorre, R. (2005). Music, the food of neuroscience? Nature , 434(7031), 312–315. https://doi.org/10.1038/434312a Zatorre, R. J. (2001). Spectral and Temporal Processing in Human Auditory Cortex. Cerebral Cortex , 11(10), 946–953. https://doi.org/10.1093/ cercor/11.10.946 Zatorre, R. J. (2003). Absolute pitch: A model for understanding the influence of genes and development on neural and cognitive function. Nature Neuroscience , 6(7), 692–695. https://doi.org/10.1038/nn1085 801 Bibliography Zatorre, R. J. (2013). Predispositions and Plasticity in Music and Speech Learning: Neural Correlates and Implications. Science , 342(6158), 585–589. https://doi.org/10.1126/science.1238414 Zatorre, R. J., Belin, P ., & Penhune, V. B. (2002). Structure and function of auditory cortex: Music and speech. Trends in Cognitive Sciences , 6(1), 37–46. https://doi.org/10.1016/s1364-6613(00)01816-7 Zatorre, R. J., Chen, J. L., & Penhune, V. B. (2007). When the brain plays music: Auditory–motor interactions in music perception and production. Nature Reviews Neuroscience , 8(7), 547–558. https://doi.org/10.1038/nrn2152 Zatorre, R. J., Delhommeau, K., & Zarate, J. M. (2012). Modulation of Auditory Cortex Response to Pitch Variation Following Training with Microtonal Melodies. Frontiers in Psychology , 3. https://doi.org/10.3389/fpsyg.2012.00544 Zatorre, R. J., Fields, R. D., & Johansen-Berg, H. (2012). Plasticity in gray and white: Neuroimaging changes in brain structure during learning. Nature Neuroscience , 15(4), 528–536. https://doi.org/10.1038/nn.3045 Zeevi, L. S., Regev, D., & Guttmann, J. (2018). The Efficiency of Art-Based Interventions in Parental Training. Frontiers in Psychology , 9. https://doi. org/10.3389/fpsyg.2018.01495 Zeilig, H., Killick, J., & Fox, C. (2014). The participative arts for people living with a dementia: A critical review. International Journal of Ageing and Later Life, 9(1), 7–34. https://doi.org/10.3384/ijal.1652-8670.14238 Zelazo, P . D. (2004). The development of conscious control in childhood. Trends in Cognitive Sciences , 8(1), 12–17. https://doi.org/10.1016/j.tics.2003.11.001 Zelizer, C. M. (2003). The Role of Artistic Processes in Peacebuilding in Bosnia- Herzegovina. Peace and Conflict Studies , 10(2), 62–75. Zelizer, C. M. (2004). The role of artistic processes in peacebuilding in Bosnia- Herzegovina. Unpublished doctoral dissertation . George Mason University. Zendel, B. R., & Alain, C. (2009). Concurrent Sound Segregation Is Enhanced in Musicians. Journal of Cognitive Neuroscience , 21(8), 1488–1498. https://doi. org/10.1162/jocn.2009.21140 Zhang, H., Miller, K., Cleveland, R., & Cortina, K. (2018). How listening to music affects reading: Evidence from eye tracking. Journal of Experimental Psychology: Learning, Memory, and Cognition , 44(11), 1778–1791. https://doi. org/10.1037/xlm0000544 Zhang, J. D., Susino, M., McPherson, G. E., & Schubert, E. (2018). The definition of a musician in music psychology: A literature review and the six-year rule. Psychology of Music , 48(3), 389–409. https://doi. org/10.1177/0305735618804038 Zhang, Y., Cai, J., An, L., Hui, F., Ren, T., Ma, H., & Zhao, Q. (2017). Does music therapy enhance behavioral and cognitive function in elderly dementia 802 The Power of Music patients? A systematic review and meta-analysis. Ageing Research Reviews , 35, 1–11. https://doi.org/10.1016/j.arr.2016.12.003 Zhao, K., Bai, Z. G., Bo, A., & Chi, I. (2016). A systematic review and meta- analysis of music therapy for the older adults with depression. International Journal of Geriatric Psychiatry , 31(11), 1188–1198. https://doi.org/10.1002/ gps.4494 Zhao, T. C., & Kuhl, P . K. (2016). Musical intervention enhances infants’ neural processing of temporal structure in music and speech. Proceedings of the National Academy of Sciences , 113(19), 5212–5217. https://doi.org/10.1073/ pnas.1603984113 Zhao, T. C., Lam, H. T. G., Sohi, H., & Kuhl, P . K. (2017). Neural processing of musical meter in musicians and non-musicians. Neuropsychologia , 106, 289–297. https://doi.org/10.1016/j.neuropsychologia.2017.10.007 Zharinova-Sanderson, O. (2004). Promoting integration and socio-cultural change: Community music therapy with traumatized refugees in Berlin. In M. Pavlicevic & G. Ansdell (Eds), Community Music Therapy, London. Jessica Kingsley (pp. 233–248). Zhenxiong, G., Quingyi, Z., & Yuzhen, J. (1995). On the Musical Instruments of Chinese Nationalities. [MP491] Proceedings of the International Symposium on Musical Acoustics, Le Normont , 546–550. Zhou, K., Li, X., Li, J., Liu, M., Dang, S., Wang, D., & Xin, X. (2015). A clinical randomized controlled trial of music therapy and progressive muscle relaxation training in female breast cancer patients after radical mastectomy: Results on depression, anxiety and length of hospital stay. European Journal of Oncology Nursing , 19(1), 54–59. https://doi.org/10.1016/j.ejon.2014.07.010 Zichermann, S. C. (2009). The effects of hip hop and rap on young women in academia [PhD Thesis]. University of Toronto. Zillman, D., & Gan, S. (1997). Musical taste in adolescence. In D. J. Hargreaves & A.C. (Eds), North, The Social Psychology of Music (pp. 161–187). Oxford University Press. Ziv, N., & Goshen, M. (2006). The effect of `sad’ and `happy’ background music on the interpretation of a story in 5 to 6-year-old children. British Journal of Music Education , 23(3), 303–314. https://doi.org/10.1017/s0265051706007078 Zuijen, T. L. van, Sussman, E., Winkler, I., Näätänen, R., & Tervaniemi, M. (2005). Auditory organization of sound sequences by a temporal or numerical regularity—A mismatch negativity study comparing musicians and non-musicians. Cognitive Brain Research , 23(2–3), 270–276. https://doi. org/10.1016/j.cogbrainres.2004.10.007 Zuk, J., Benjamin, C., Kenyon, A., & Gaab, N. (2014). Behavioral and Neural Correlates of Executive Functioning in Musicians and Non-Musicians. PLoS ONE , 9(6), e99868. https://doi.org/10.1371/journal.pone.0099868 803 Bibliography Zuk, J., & Gaab, N. (2018). Evaluating predisposition and training in shaping the musician’s brain: The need for a developmental perspective. Annals of the New York Academy of Sciences , 1423 (1), 40–50. https://doi.org/10.1111/ nyas.13737 Zuk, J., Ozernov-Palchik, O., Kim, H., Lakshminarayanan, K., Gabrieli, J. D. E., Tallal, P ., & Gaab, N. (2013). Enhanced Syllable Discrimination Thresholds in Musicians. PLoS ONE , 8(12), e80546. https://doi.org/10.1371/journal. pone.0080546 Zulauf, M. (1993). Three year experiment in extended music teaching in Switzerland: The different effects observed in a group of French speaking pupils. Bulletin of the Council for Research in Music Education , 119, 111–121. Zyga, O., Russ, S. W., Meeker, H., & Kirk, J. (2017). A preliminary investigation of a school-based musical theater intervention program for children with intellectual disabilities. Journal of Intellectual Disabilities , 22(3), 262–278. https://doi.org/10.1177/1744629517699334 Çupı, B., & Morına, S. (2020). The influential poser and the importance of music in advertising and marketing. Journal of Life Economics , 7(1), 17–28.Index β-endorphin 518 ABRSM 574, 578 abuse 527, 530, 534–537, 541–542, 577–578 accommodation 164, 531, 533, 562 accompaniment 31, 92–93, 164, 408, 455, 584 accuracy 20, 23, 32, 42, 51, 57, 70, 73, 80, 89, 92–93, 97–98, 104, 395, 408 acoustic 21, 30, 33, 45, 48, 50, 52, 61, 64, 72, 104, 126, 142, 156, 416 activation 20, 22, 24, 26–31, 36, 38–39, 41 active 15, 18–20, 24, 28, 33, 36, 42 acute 424, 480, 493, 505–506, 514, 539, 541 adaptive 4, 421–422, 479 addiction 180, 383, 455, 534, 543 ADHD 180, 270, 301–303, 317 adolescence 3, 5–6, 70, 75, 156, 171, 241, 251, 257, 396, 414–415, 418, 422, 424, 437, 441, 444, 463, 477, 523, 554. See adolescent adolescent 419, 422–424, 435, 437–444, 446. See adolescence adrenocorticotropic hormone 416 adulthood 19, 75, 160, 252, 394, 396, 414–415, 418, 422, 447, 461, 463, 547, 554 advantage 21, 56–57, 60, 65, 80, 87, 123, 126, 136, 138–139, 142–144, 146, 148, 150–151, 157–159, 167, 169, 175, 177, 185, 194, 197, 203, 209, 220–221, 243 aesthetic 417, 421, 473 affective 5, 47, 50, 81, 114, 376, 419–420, 441, 443, 461, 467, 539, 545, 558, 575affirmation 12, 414, 458 Africa 7, 421, 445, 507, 532, 535 African-American 250, 528, 559 after-school 35, 118, 155, 188, 388, 398 age-decelerating 461 ageing 61, 159–160, 162, 191, 193, 196, 447, 453–454, 459–460, 463–464, 497, 503 age-matched 73, 96, 118, 460 agency 376, 384, 391, 431, 438, 452, 456, 489, 562, 564 organisation 563, 580 age-related 23, 36, 160, 167, 184–185, 201, 218, 461, 483 aggression 217, 303, 340, 342, 345, 366, 373, 390, 402, 433, 435, 491, 500, 502, 516, 538, 546, 549, 555, 559, 577, 582, 590 aggressive 585 agitation 483, 491–492, 496, 498, 500–501 agreeableness 378, 380–382 agricultural 589–591 aims 444, 561 alcohol 167, 451, 577–578, 582 alcoholics 543 alertness 493, 582 alexithymia 215–216 Toronto Alexithymia Scale 215 altruism 2, 395, 397, 545 Alzheimer’s disease 163, 165–166, 304, 482–483, 489–491, 494, 497–498 Alzheimer’s disease 163, 165–166, 304–305, 308, 482, 489–491, 498 amateur 12, 21–22, 34, 57, 149, 151, 175, 180, 191, 204–205, 380–381, 426–427, 449–451, 461, 468, 553, 574806 The Power of Music America 112, 199, 214, 421, 482, 528, 555, 561–562, 570 amplitude 20, 32, 52, 68, 75, 95, 98–100 amusement 12, 574 amusia 37, 97 congenital 37, 97 amygdala 226, 481 analogue scale 166 anatomical 21, 25–26, 31, 37, 47–48, 181, 202, 506 anger 59, 215, 326, 331, 336, 342, 344, 347, 350, 353–354, 357–358, 364, 366–367, 373, 402, 423, 433, 439, 480, 493, 502, 511, 534–535, 542 anorexia 542 antenatal 393, 547 anterior 17, 21, 32, 35, 60, 153, 175, 202, 227, 509 anthem 468, 558 antidepressant 519, 521, 539 anxiety 162–163, 165, 217, 278, 298, 301, 305, 307, 310, 354, 358, 365–366, 372, 380, 383–384, 406, 410, 413–414, 417, 425, 426, 429, 433–435, 443, 446, 448, 453, 455, 457, 467, 469, 475–476, 482– 484, 487–488, 491–493, 495, 499–500, 503, 509, 511–513, 515–525, 527, 529, 531, 534–536, 538, 541–542, 544–546, 548–549, 566, 590, 593 aphasia 74, 505 appreciation 11, 71, 148, 192, 510, 515, 577 aptitude 54, 58, 70, 82, 94, 102, 112, 121–122, 140, 154, 156–161, 167, 169, 189, 203, 213, 254, 460 architecture 76, 164 arithmetic 107–108, 115, 117–121, 124, 130, 200, 219, 520 army 473–474, 529. See military arterial 511, 517 articulation 47, 99, 164, 511 articulatory 47–48, 157 articulatory suppression 157 artist 12, 167, 443, 445, 469, 473, 502, 504, 520, 525, 557–558, 563, 577–578, 583artistic 16, 27, 211, 224, 227, 445, 471–472, 502, 504, 530, 557, 563, 567 arts-based 233, 387 Asia 145, 377, 421, 532 assessment 10, 17, 67, 88, 102, 113, 154– 155, 159, 162–163, 166, 176–179, 189, 197, 211, 214, 217–218, 240, 243–244, 249, 388, 402, 429, 433, 485, 487, 491, 496, 509, 518, 520 assignment 63, 86, 196 associative 139 asylum-seeker 530–534, 562–565 asymmetry 25, 36, 58, 152 leftward 25, 36 athlete 240–241, 451 athletic 240, 411 atmosphere 439, 452, 548, 585–586 atonal 153 at-risk 89, 117–118, 389, 445, 543 attention 135–138, 142–143, 146–147, 150, 153–154, 156–157, 159, 164, 173–174, 176–177, 181–182, 184–185, 189, 191–193, 195–196 attentional abilities 177 attentional processes 135–136, 146, 154 attentional system 176 attentional control impairment 305 attentive analytical listening 422 attitudes 7, 125, 326, 347, 350, 376, 400, 406, 568, 588 cultural 560 discriminatory 563 towards learning 243, 323, 329, 338, 356, 373 towards music 432, 476 towards offending 359 towards prisoners 363 towards self 386 towards sex 577 towards the elderly 463 audiation 189, 207, 254, 257 audiobook 506, 514, 526 audiovisual 57, 151, 402, 473 audition 47, 72, 95 807 Index auditory-motor 32, 38, 207 aural 21, 42, 46, 55, 57, 61, 69, 76–77, 104–105, 116, 140–141, 169, 257, 260, 279, 594–595 Australia 64, 113, 243, 335–336, 348, 353, 360, 362, 393, 421, 427–428, 436, 441–442, 448, 450, 455, 464, 474–475, 477, 491, 504, 520, 531, 540, 560–563 Austria 520, 524 authentic cadence 53 autism spectrum disorder 76, 335, 341, 405–406, 482–483, 510, 545–548 autobiographical memory 304–305 automation of instruction 389 of processes 26 of skills 7, 25, 42 autonomic nervous system 308, 415, 480 autonomy 354, 359, 378, 382, 428, 438, 458, 542 axial diffusivity 207 babies 43–45, 48, 368, 392–393, 430, 511, 522 basal ganglia 29, 47, 99, 509 basal metabolic rate 487 baseline 41, 83, 109, 124, 156, 163, 166, 181, 193, 214, 272, 288, 304, 329, 365–366, 406, 427, 434, 491–493, 498 Basque Country 468–469 beat-making 128 behavioural modelling 52 behavioural problems 165–166, 269–270, 301, 303, 317 bereavement 427, 429, 458, 515 beta-endorphin 516 bias 10, 136, 144, 195, 253, 307 Big Five personality test 230–231, 380 bilateral 20, 23–24, 28, 30, 38, 48, 137, 153, 174, 188, 226–227, 283, 307, 507 bilingualism 88, 151, 177–178 bimanual coordination 26, 29, 157, 185, 192, 408, 460 movements 26–27, 29 patterns 148synchronisation 193, 460 training 137, 182 biological 4, 58, 99, 142, 167, 194, 310, 312, 415, 426, 481, 503, 513, 520, 522, 547, 551, 553 birth 3, 45, 61, 74, 325, 392–393, 430, 511 blending 50, 79, 83, 97, 101 blood flow 18, 25, 28, 311–312 blood oxygenation 27–28, 153 blood pressure 109, 303, 415–416, 480, 484, 487, 513–514, 517–518, 521–522 blues 278, 347, 352, 452 bonding 3–4, 6, 259, 344, 367–368, 374, 392–393, 395, 399, 403, 426, 430–431, 444, 446, 457, 461, 469, 551–554 boredom 5, 316–317, 319, 402, 439, 495, 583 bottom-up processes 34, 49, 53, 195, 235 boundaries 100, 396, 439, 445, 483, 534, 541 boy 103, 145, 209, 247, 298, 302–304, 319, 329, 333, 335, 343–344, 346, 385, 387, 389–390, 406, 423–424, 435, 440, 535–536, 576 brain damage and music 46, 74, 482, 505, 507 brain injury 505, 510, 527–528 brainstem 16–17, 20, 32–33, 47, 57, 61, 67, 156 bravery 6, 581 Brazil 94, 465–467, 578 breathing 427, 509–511 British Columbia 245 bullying 405, 560 cadence 53 calmness 265, 279, 298–299, 301, 303, 306, 314, 317, 334, 349–350, 367, 413, 418, 426, 431, 436, 447, 455, 517, 524, 532, 583–585 Canada 244–245, 249, 333, 336, 346, 353, 465, 498 cancer 480, 514–516, 519 Cantonese 145 cardiovascular 415, 480 career plans 328, 377, 476808 The Power of Music caregiver 62, 165–166, 169, 328, 331, 352, 392, 430–431, 464–466, 473, 477, 494–498, 504, 515, 547, 553 care home 483, 490–492, 494–495 carer. See caregiver Caribbean 331, 402, 562 catharsis 3, 348, 542, 552 cats 590 causality 9, 37–38, 61–62, 64, 83, 114, 121, 146, 159, 196, 202, 206–207, 210, 213, 232, 247–249, 259, 448, 479, 487, 501 CDs 1, 288, 345, 538, 557 cell nerve cell 18, 24 transplant 514 transplants 513–514 cell transplants 513–514 cellular immunity 480 censorship 7, 357, 556 cerebellum 16, 28–29, 31, 254, 481 cerebral activation 27 areas 135 cortex 15, 481 functions 17 hemispheres 23, 265 palsy 507 processing 139 ceremonies 3, 6, 352, 552 change readiness 543 chanting 86, 92–93, 343, 350, 590 chess 252 Chicago 327, 330 chills phenomenon 310–312, 495 China 2, 7, 13, 70, 81, 129, 139–141, 146, 179, 182, 238, 241, 281, 284, 288, 365, 444, 466, 515, 526, 547 choir 4, 103, 160, 165, 209, 237–238, 240, 244, 247, 256, 353, 361–363, 371, 380, 385, 399–400, 425–429, 445, 456–457, 472–473, 482, 484–489, 509–510, 516, 519, 521, 540, 543, 552–553, 565, 570 chord 21, 32, 41, 390 chronic illness 163, 165, 429, 480, 486, 493, 509, 512, 518chronic sleep disorder 526 chronic stressors 109, 480 cingulate 22, 153, 175, 226–227, 481 circuitry 29–30, 46–47, 49, 54, 312, 421 citizenship 238, 242, 250, 333, 401, 554–555 civil war 531, 557 clapping 86, 92–93, 127, 148, 343 classical 7, 19, 22, 30, 32, 58, 88, 157, 167, 180, 213, 215, 226–228, 230–231, 234, 271–273, 275, 278–279, 287, 289, 297–298, 305, 311, 325, 334–335, 378, 382–383, 404, 408, 416, 424, 436, 468, 484, 526, 538, 540, 564, 582–583, 585–590 classroom-based training 86, 141, 214, 547 close relatives 411, 468, 491 closure 112, 115, 143, 150, 178, 206 cluster analysis 124 cluster randomised controlled trial 157, 213, 407 coaching 164, 356, 495, 537, 547 coarse temporal scales 69–70 cochlea 20, 45, 73 cochlear implant 73–74 cognitive control 50, 142, 153, 159–160, 176, 178, 185, 188 cognitive impairment 74, 163, 169, 180, 193, 218, 267, 270, 306–307, 316, 490, 555 cognitively unimpaired 218 cognitive maturation 48 cognitive processing 7, 23, 26, 39, 44, 50, 79, 134, 145, 154, 195, 197, 223, 254, 278, 310, 397, 428 coherence 3, 151, 337, 552, 566 collaboration 323, 342, 344, 352, 354, 359, 362, 371, 396, 399–400, 402, 432, 436, 453, 462, 470, 472, 474, 476, 496, 499, 504, 534–535, 537, 552, 561, 564 college attainment 247 college students 109, 121, 139, 230, 261–263, 272–273, 287, 293–294, 450, 485 coloured blocks 111, 137 809 Index Columbia 333 comfort 3, 283, 325, 352, 443, 508, 515, 518, 569, 585 communication and music 3–4, 6, 32–33, 43–44, 63, 73, 76, 169, 328, 330, 335, 339, 341, 343, 350–352, 354, 360–361, 364, 366, 374, 378, 394, 397–398, 402, 405, 430–431, 433, 446, 450, 489, 501, 504–505, 508, 510, 515, 519, 523, 530, 533, 535, 545, 547–548, 553, 555, 561, 565 communicative gestures 63, 393 community-based 348, 363, 434–435, 464, 497–498, 504, 534, 538, 568, 580 comorbidity 524, 544 comparative study 69, 207, 209, 259 composers 258, 379, 570 composite 178, 203, 244 composition 22–23, 149, 263–265, 280, 350, 363, 381, 416, 462, 485, 508, 536, 541 comprehensive neuropsychological battery 162, 190 computer music 234, 282, 340, 344, 350, 357 computerised 68, 152, 183, 186, 212, 250, 358, 426, 506 concertos 109, 262, 286 concerts 210, 242, 363, 369, 376, 434, 436, 455, 457, 466, 473–474, 496, 561, 563, 574–575 conductor 30, 136, 363, 398 conflict 3, 180, 187, 194–195, 277, 321, 353, 358, 398, 529–530, 532–533, 537, 555–558, 565–566, 571, 577 conflict-monitoring abilities 180, 195 conformity to social norms 4, 6 confounding factors 9, 125, 140, 163, 177, 197, 203–204, 208, 221, 248, 307, 448, 488, 494, 537, 595 confusion 128, 261, 476, 506 connectedness 342, 367, 415, 429, 449, 454, 462, 470, 477, 504, 563 connectivity 29, 37, 108, 137, 226, 506, 545–546, 552 conscientiousness 258, 378, 380–383, 410consciousness 17, 532, 552 consonance 280, 312–314 consonant-based word discrimination 65, 87, 146 contour 21, 26, 32, 40–41, 44, 53, 58–59, 61, 74, 92, 144 contralateral 28, 39 cooperation 433 and music 303, 336–337, 346, 356, 369, 371, 396, 399, 401–403, 432, 449, 496, 515, 535–536, 538, 551, 553–554, 557, 579 coordinated movement 395, 411, 583 coping and music 5, 191, 326, 330, 347, 355, 358–359, 362, 364, 366–368, 392, 402, 415, 419–420, 422–424, 433, 439–441, 446, 452–453, 467–469, 471, 474, 476, 494, 512–513, 515, 525, 529, 576 corpus callosum 16, 24, 35–36, 257, 509 correctional institution 359, 361, 372 correlation 9, 24, 33, 36, 58, 70, 81–82, 88, 94, 102–103, 109, 113, 121–123, 137, 158, 175, 195–197, 202–203, 205, 207, 224, 226–227, 229, 237, 241, 248–249, 259, 275, 311–313, 321, 386, 398 cortical thickness maturation 19, 35, 174, 187 cortices 25, 28–29, 37, 41, 202, 226, 509 corticospinal 24, 509 cortisol 415–416, 426, 434, 459, 480, 484–485, 511, 516–518, 521, 524 courage 359, 555 Circle of Courage 353 covariate 179, 229, 245–246, 276, 295 COVID-19 415, 465–467, 471, 473–478, 501, 586 cows 589–590 creative behaviour 226 creative thinking 224, 229–230, 232–233 creativity 11, 14, 16, 223–235, 337, 357, 367, 374, 382, 446, 458, 462, 464, 503, 516, 537, 569, 580 crime810 The Power of Music and music 319, 325–326, 337, 348, 350, 353, 355–357, 364–365, 368–373, 387, 446, 534, 567, 579 cross-community 559 cross-cultural 43, 330, 561, 565 cross-domain 4, 47, 224–225 cross-sectional 80 cross-sectional survey 36–37, 41, 64, 138, 144, 158, 196, 207, 218, 473 cultural capital 247, 325 cultural omnivores 449 culture adjustment and music 533 and music interpretation 63, 98, 267, 279, 296, 581 and music-making 2, 6–7, 43, 63, 578 awareness and music 325, 338, 553, 557, 560 cross-communication and music 341, 356, 443, 554, 561 of music 57, 297, 335, 348, 354, 376–377, 382, 442, 470 culture-free intelligence test 143, 206 cytokines 485, 516, 522 dancing 163, 182, 388, 403, 432, 444, 447–448, 451, 463, 469, 485, 553 deactivation 225–227 deafness 72, 98 decision-making 22, 175, 338, 355, 413, 436 decoding 79–80, 82–84, 90, 97, 105, 174, 187 dehydroepiandrosterone 426 dementia 163–167, 169, 217, 219, 304, 415, 457, 461, 473, 483–484, 489–501, 510. See also Alzheimer’s disease; See Alzheimer’s disease depression 161–162, 165, 215, 352, 354, 358, 365–367, 372, 383–384, 413, 415, 421–423, 425, 428–429, 433, 435, 442–443, 448–449, 453–454, 457–458, 460, 463, 467, 476, 478, 480, 482–483, 487–491, 495, 497–500, 503, 506, 509, 511, 515–516, 519, 521–525, 527–531, 534–535, 537–539, 541–542, 544–545, 576 detention centre 333, 356–357, 359–360 determination 128, 326–327, 401, 433, 439, 448, 537 developmental difficulties / disabilities / delays 51, 64, 74–76, 94, 96, 270, 304, 308, 348, 351, 390, 523, 540 developmental functioning and music 333, 435 developmental responses and music 512 deviant stimuli 21, 32–33, 40, 59, 134, 150, 228, 268, 348 dexterity 104, 159, 191–192, 408, 506 differential 28, 31, 79, 165, 194, 196, 264, 268, 274, 549 diffusivity 207 digit-span task 73, 149–151, 154–156, 158, 165–166, 173, 175, 184, 188, 265–267, 305, 459 disabilities 74–75, 166, 308, 341, 390, 394, 405–406, 410, 428–429, 431, 466, 483, 505, 528–529, 547 disadvantage 86, 103, 119, 129, 242, 251, 567, 570 disaffection 319, 321–323, 326, 335–336, 342, 377, 400, 446, 566, 568–569 disorder behavioural 166, 342, 346, 483 brain 76 eating 541–542 gait 505 language 51, 75, 491 mood 542 neurodegenerative 484 neurological 482, 508 obsessive-compulsive 180, 544 psychiatric 180, 413, 498, 513, 520, 524, 527–530, 534, 536, 538–539, 541 rhythm 538 schizophrenia 483, 539, 544–545 sleep 483, 525–526, 548 social anxiety 544 disruptive behaviour 303, 360, 499, 535 811 Index dissociation 60, 311, 421 dissonance 311–312, 314, 416 distractibility 34, 64, 272 distraction 268, 272, 274, 276, 294, 296, 302, 305–306, 314, 317, 440–442, 455, 512, 525, 548, 556, 582 distress 13, 347, 383, 417, 420, 430, 438, 441–442, 465–466, 476, 478, 498, 513–514, 516, 519, 523–524, 530–531, 556, 576 divergent thinking 223, 226–228, 230–231, 233–234 diversion 356, 419, 440, 444, 466, 495, 525, 542–543 diversity 12, 61, 69–70, 217, 224–225, 228, 255, 268, 341, 377, 388, 423, 433, 443, 500, 548, 558, 565, 567, 580 doctoral theses 241, 249 dogs 590 domain-general 47, 51–54, 168, 176, 194, 224, 230–231, 459 domain-specific 4, 52, 69–70, 224, 231, 257 dopamine 291–292, 310, 312, 415, 480, 524, 542 dorsal 25, 28, 38, 41, 47–48, 99, 153 dorsolateral 23, 58, 174, 225–227, 283–284, 307, 539 dorsomedial 312 drama 129, 211, 214–215, 221, 251, 348–349, 359, 489, 574, 581, 593 drawing 111, 118, 137–138, 140, 164, 193, 228, 251, 263, 297, 341, 430, 446, 490, 523, 536 driving 290, 582–584 drug dosage 539 drugs 483, 493, 516, 521, 539 drumming 127, 160, 336, 343, 358, 389, 395, 464, 482, 485, 487, 503–504, 507–508, 519, 522, 535, 566 dysphoria 542–543 economically disadvantaged 103, 129, 434, 567 educated mothers 333, 435elderly 166, 197, 283, 304–305, 316, 419, 428, 453, 459, 461, 463, 489–493, 496, 499, 503, 505, 521 electroencephalography 17, 39–40, 60, 69–70, 75, 109, 262, 281, 285, 288 electrophysiological 17, 33, 144, 275, 313 elementary students 81, 89, 116, 125, 129, 189, 216–217, 238–239, 247, 250, 256, 298, 385, 388, 390, 547, 570 elite 247, 451, 570 El Sistema 72, 118, 155, 247–248, 259, 326–334, 387–388, 401–402, 433–434, 537, 554 emission tomography 311 emotional listening 422–423 emotional self-regulation 64, 182, 330, 387, 406, 415, 418, 422, 429, 447, 454, 459, 465, 467, 527, 531, 576 emotional stability 362, 380, 413–414 empathy 175, 201, 348, 360, 394–395, 397, 402–404, 410, 421, 434, 438, 477, 481, 553–554, 560, 563, 567, 577 empirical study 189, 224, 251–253, 308, 372, 552, 557, 560 empowerment 338, 415, 434, 453, 494, 503, 533, 561 endocrine 415–416, 480, 483–485, 524 endogenous opioid system 553 endorphin 6, 415–416, 457, 480, 489, 516, 518, 553 England 239, 251, 326, 329, 332, 337, 385–386, 427, 436, 444, 456, 570 enjoyment 4–5, 33, 110, 126, 197–198, 263–264, 267, 310, 320–321, 335, 340, 342–343, 356, 359, 362, 364, 373, 401, 413, 421, 431, 433–434, 442, 445, 447, 451–453, 457, 459, 462, 466, 468, 493–494, 496–497, 504, 510, 521, 529, 535, 540–543, 564, 567, 574, 578, 580–581, 584 ensemble 11, 30, 83, 114, 116, 136, 173–174, 186, 197–198, 215, 238, 242, 244, 250, 255, 257, 356, 380, 389–390, 397–401, 458, 461, 470, 485, 509, 534, 546, 549, 554812 The Power of Music entertainment 4, 98, 440–441, 466, 525, 542, 580 entrainment 50–53, 75, 83, 92, 98–99, 195, 252, 404, 416 envelope tracking 52 episodic memory 133, 191, 204, 218, 268, 281, 283–284, 306–307, 417, 495 ethnicity 117, 319, 337, 339, 376–377, 386, 557–558, 560, 563, 569–571, 579 eudaimonic 413, 422, 477 Europe 297, 340, 377, 421 event-related potential 17–18, 38–39, 59, 65, 70, 180, 306 evolution 2, 4, 50, 403, 479, 551 exhaustion 484, 584 ex-offenders 358, 364–367, 370, 373 expert 6, 9–10, 19, 21, 23, 25, 32–33, 42, 57–60, 70, 83, 111, 144, 149–151, 154, 167–169, 175, 177–178, 194, 197, 203–205, 208, 224–225, 227–229, 235, 255, 258, 270, 290–291, 317, 454 expressivity 50, 536 ex-prisoners. See ex-offenders extensor 39, 508 extensor muscles 39 extroverts 231, 274, 292–295, 315, 378, 380, 576 familiarity 22, 30, 48, 55, 59–60, 136, 142, 144, 164, 182, 199, 263, 267, 270, 276–277, 288–289, 293, 295, 298, 304, 316–317, 350, 355, 417, 430–432, 461, 489, 491–492, 495, 497, 540, 569 fasciculus 207 fear 215, 311, 350, 434, 469, 511, 532–533, 569 feelings of belonging 5, 14, 337, 353, 373, 376, 387, 399–400, 439, 447, 449, 452–453, 456, 459, 463, 510, 521, 533–534, 540, 552, 554, 560–561, 566, 578–579 female 3, 43, 109, 121, 139, 161, 167, 250, 265, 268, 271, 273, 278, 292–294, 300, 306, 343, 359, 368, 379, 398, 423, 442–443, 450, 515, 520, 570, 577. See also girlsfestival 391, 451–452, 530, 563, 570, 574, 578, 580, 589 fibromyalgia syndrome 518 financial hardship 369, 475, 476. See also economically disadvantaged finger flexor 39 flash mobs 470 fMRI 18, 22, 28, 36, 38, 226 foetus 3, 43, 547 folk 32, 57, 164, 230–231, 379, 382, 424, 484, 555, 559, 564 folk fiddlers 379 food 312, 370, 542, 587, 591, 593 fraction computation 126 France 69–70, 144, 187, 199, 586 Frank Sinatra 271 freedom 321, 327, 365, 371, 464, 468, 504 freelance 231, 476 friendship 244, 327, 335, 337–339, 369, 376, 388, 398–401, 422, 433, 437–439, 442, 444, 446, 449, 453, 456, 468, 470, 474, 510, 519, 537, 552, 569–570, 578–580, 582 frontal 16, 20, 22–23, 25, 32, 38, 48, 55, 153, 162, 181, 186, 193–194, 202, 226–227, 257, 275, 313, 481 frontocentral 194, 313 frontoparietal 30, 137, 185 frustration 303, 342, 353–354, 385, 391 gamelan 363–364 gamma-band activity 17, 31, 34, 41, 65 gangs 350, 354–355 gender 138, 144, 152, 180, 203, 229, 242, 268, 270, 288, 290, 292, 314, 383, 427, 466, 471, 534, 579, 595 gene 201–202, 551 generalisability 10, 224, 230 genetic 37–38, 42, 61, 76, 171, 201–202 genre 21, 32, 77, 164, 255, 271, 273, 277–278, 282, 311, 314, 316, 325, 347, 352, 355, 376–378, 381–383, 391, 410, 417, 424, 438, 441, 480, 491, 525, 559, 577, 582, 594 813 Index Germany 7, 61, 89, 97, 103, 155, 233, 244, 340–341, 381, 427, 444, 490, 554–555, 586 germination 591 gifted 251, 446 girls 116, 247, 298, 329, 385, 387, 406, 423–424, 439–440, 533–534, 536, 576 Glasgow 333, 471 Glenn Miller 271 glucose 24, 479 gospel 424 government 7, 207, 336, 340–341, 501 Greece 13, 296, 564 grey matter 21–23, 35, 37, 139, 155, 194, 202, 254, 406 grief 337, 358, 476, 522, 530 growth hormone 416, 517 gyrus 20–21, 23–25, 31, 36, 38, 153, 181, 186, 254, 257, 481 haematopoietic 513–514 haemodynamic 18, 27, 29 Haiti 331 hallucinations 491, 544 happiness 59, 234, 297, 327, 329–330, 362, 389, 401, 413–414, 418, 420, 425, 436, 447, 449, 455, 457, 461, 465, 486, 492, 497, 519, 522–523, 525, 529, 574, 582 harmonic 40–41, 50, 53–54, 56, 60, 81, 83, 142 harmony 21, 55, 59, 139, 194, 551 healing 13, 337, 357, 482, 521, 530, 532–534, 536, 565, 591 healthcare professionals 491, 496, 502, 519 hearing in noise 141 spatial 176 hearing music 6, 20, 43 hearing speech 141–142, 167 heart rate 270, 310, 312, 416, 426, 480, 484, 487, 511, 513, 517, 521–522, 585, 590 heavy metal 382, 423–424, 441, 577, 589–590 hedonic 4, 413, 477hemisphere 16, 23, 31, 36, 46, 48, 58–59, 69, 74, 136–137, 147, 152–153, 226, 265, 283, 505, 509 heritability 201 heritage 377, 446, 530, 580 high-functioning 57, 203, 268 high risk 335, 352–353, 398 high school 71, 87, 114, 122–124, 128, 130, 229, 239, 241, 243–244, 246, 300, 327, 346, 380, 391, 399, 423, 442, 554, 569 hip hop 272–273, 337–338, 347–348, 352, 354, 357, 376, 577 hippocampus 22, 312, 481 hobby 12, 66, 410, 440, 454, 457 hobbyists 574 holistic 126, 195, 519 Holocaust 531, 556 homelessness 428, 535, 537, 543 Hong Kong 139, 238, 444, 523 hormonal 415–416 hormones 416, 485, 517, 521, 524, 591 hospices 518–519 hospital 13, 74, 392, 469, 483, 492–493, 496, 500–501, 512–516, 519, 523–524, 545, 590 hostility 360, 538, 544, 553 human capital 247 humoral immunity 480 hyperactivity 180, 301, 335, 338, 345, 360, 434 hyperconnectivity 24 identification emotion 215–216, 404 language unit 56, 69, 77, 80, 84, 87, 100, 141 logo 91, 104 music 20, 40, 49, 68, 70, 97, 100, 287, 355 self 553, 564 identity 1, 3, 5–6, 314, 320–321, 326, 337, 344, 347–348, 353, 355–356, 358, 360, 364, 367–368, 375–377, 384, 387–388, 391, 396, 401, 410, 415, 429, 433, 443–444, 451, 453, 456, 462–464, 468, 814 The Power of Music 472, 476, 491–492, 494, 499, 504, 516, 524, 530, 532–533, 540–542, 552–553, 555, 557–559, 562–563, 566, 571, 574–575, 578 illness 163, 428, 438, 479, 483, 486, 490, 502–504, 510, 519, 523–524, 538–540, 542, 549, 576 imagery and music 107, 135, 417, 518, 529, 531–532, 536, 584 imagination 232, 344, 378, 455 imaging 18, 22, 25–27, 30, 32, 35–36, 41, 46, 138, 149–150, 155, 167, 174–175, 181, 185, 188, 202, 226, 283–284, 460–461, 506, 542, 545 imitation 3, 34, 54, 154, 395, 404, 481 immersion 281–282, 443, 487, 499, 563 immigrant 341, 346, 367, 377, 402, 428, 530, 561–565, 569 immigration 201, 531, 562 immunity 480–481, 485, 590 immunoglobulin 485 immunty 427, 479–480, 482, 484–485, 503, 515–517, 521, 524, 590 improvisation 42, 86, 129, 161, 173, 182, 189–190, 193, 204, 225–229, 231–233, 235, 251, 256, 335, 340–341, 344, 351, 354, 367, 388, 405, 433, 446, 471, 485, 490, 493, 511, 521–522, 535–536, 541, 545, 548, 564–565 incarceration 353, 362–363, 534, 556 inclusion 10, 143, 179, 325, 335–336, 414, 453, 456, 462, 494, 497, 504, 510, 522–523, 531, 534, 552, 559, 561–562, 565–566, 569–571 India 13, 207–208, 238, 279, 591 infant 3, 33, 43–45, 48, 62–63, 71, 74–75, 98, 114, 197, 342, 392–393, 395, 430– 431, 511–512, 522, 552, 554. See babies infant-directed 44–45, 71 informal musical activities 11, 33–34, 63, 77, 81, 84, 173, 231, 338, 399, 431, 433, 445, 468, 529 infrared spectroscopy 226–227, 283–284, 307, 539 infrequent deviant stimuli 134, 150In Harmony 326–330, 332 inhibitory control 85, 92–93, 151, 171, 173, 175, 179–180, 182–184, 186, 189, 195, 434, 460 insomnia 526–527 institutionalised 304, 365, 492, 524 instrumentalists 31, 207, 239, 379–381, 509 intensive care 74, 511 intensive training 84, 89, 95, 104, 141, 157, 185, 333, 406, 506 intercultural 356, 558, 562–563 interference 144, 149, 162, 180, 194, 272, 278, 280, 287, 293, 296, 310, 315 interpersonal intelligence 3, 200, 208, 443, 445, 448 interval 21, 26, 29, 59, 61, 100, 150, 296, 351, 370, 374 intonation 59, 74, 100, 144, 505 therapy 74, 505 intrapersonal intelligence 200, 208, 443, 445 introverts 274, 292–294, 315, 378, 576 iPad 464 Iran 7, 212, 279, 289–290, 345 Iraq 529, 544, 555, 561, 564 Ireland 156, 328, 352, 401, 523, 533, 559, 570 Israel 118, 213, 529, 532, 556–557, 559, 569 Italy 144, 339–340, 434, 466–468, 470 Jamaica 331 jamming 349, 358, 388, 470 joy 418, 425–426, 432, 455, 486 judgement 54, 56, 76, 80, 187, 191, 306, 326, 369, 371, 373 Kalamazoo Kids 327, 332 kinaesthetic 200, 208 kindergarten 84, 88, 90–91, 115–116, 118–119, 129, 146, 154, 182, 212, 242, 249, 403, 547 kinematic 507–508 kinetic 327, 508 Korea 216–217, 360, 435, 537 815 Index language impairment 75–76, 94–96, 99 latency 137, 152, 475, 526 lateralisation 58, 60, 137 late-trained 407 leadership 323, 334, 336, 354, 398, 410, 456, 555, 575 learning climate 259, 323, 400, 568 leukaemia 513 life satisfaction 329, 406, 413–414, 448, 451, 454, 475, 488 limbic 225, 415 linguistically diverse 433, 565, 567 Liverpool 328, 332 lobe 16, 20, 24, 48, 55, 148, 202, 257, 481 localisation 26, 36, 112, 139, 148, 507 lockdown 465–472, 474–476 locomotor 409, 507 loneliness 5, 376, 423, 439, 442, 449, 453, 455, 457, 459, 464, 468–469, 476, 488, 503, 565–566 longitudinal study 9, 35, 64–66, 68–69, 72, 75, 86, 88, 121, 154, 156, 182–183, 187, 207, 211, 213, 219, 240, 244, 259, 408, 440, 448, 487–488, 500, 502, 521, 560 Los Angeles 71, 88, 330 loudness 272–274, 314–315, 416, 418, 447, 549, 555–556, 585–586 love 6, 12, 33, 368, 442, 469, 498, 575 low-arousal music 274, 280 low-frequency oscillations 275, 313 low-income 88, 104, 118, 128, 182, 216, 388, 566. See also economically disadvantaged lullabies 3, 367, 393 lungs 425, 482, 486, 488, 509 lyrical 226, 277, 279, 287, 300 lyric-writing 338, 350, 463 magnetic resonance 18, 22–23, 25–28, 30, 35–36, 149, 174–175, 181, 185, 188, 226–227, 506, 545 magnetoencephalography 18, 20, 31, 33, 44, 64, 147 mainstream education 337, 340–342, 346–347, 560maladaptive 421, 461, 525 Malaysia 558 male 3, 23–24, 109, 112, 121, 139, 167, 273, 292, 294, 300, 360, 365, 368, 372, 379, 423, 437, 528, 575, 577 manipulative dexterity 408 manual dexterity 408, 506 marginalised 336–337, 350, 358, 366, 428, 433, 504, 561–562, 571 mastery 4, 13, 258, 322, 344, 353, 363, 424, 452, 489 maternal 44, 187, 511, 547 maturation 19, 23, 35–36, 48, 71, 87, 174, 182, 184, 187, 207 mean arterial pressure 511, 517 meaning 4, 6, 48, 50, 54–55, 310, 314, 337, 344, 367, 399, 413–415, 428, 431, 436, 439, 443, 447, 453–454, 456, 462–463, 514, 551, 556, 581 medication 484, 488, 516, 525, 531 medicine 327, 345, 482–483 Mekranoti Indians 578 melodic 21–22, 34, 36, 44, 50, 53, 66, 74, 76, 83, 100–101, 147, 164, 203, 216, 546, 577 melodies 22, 33, 38, 41, 43, 53–55, 59–60, 74, 150, 175, 233, 271 memories 16, 22, 133, 169, 278, 311, 314, 424, 430–431, 444, 447, 463, 467, 472, 495, 537 working memory 23, 26, 34, 36, 54, 67, 73, 81–82, 86–87, 101, 120, 133–135, 138, 141, 144–146, 148–162, 164–169, 171, 173–179, 182, 184–187, 191–197, 200, 204–205, 210, 214, 217–219, 252–253, 257, 264–267, 269, 272, 288, 292, 295, 306, 309, 460–461, 496 memorisation 8, 55, 59, 139, 149, 153, 157, 267, 279, 282–284, 584 memory impairment 305 memory performance 146, 150, 152–153, 159, 161, 165, 167, 169, 192, 217, 265, 267, 275, 278, 280, 282, 284, 295, 305, 307, 313 men 275–276, 337, 363, 369, 423, 426–428, 448, 480, 488, 502, 532, 570, 575, 578816 The Power of Music mental health 13, 337, 341–342, 347, 351, 353–354, 366, 372, 394, 413, 415, 421, 424, 427, 429, 431, 441, 457–458, 469, 473, 502–504, 520–521, 527, 534, 537, 539–540, 566–567, 584 mental rotation 111, 121, 268 mentor 326, 354, 356, 373 mesolimbic 542 meta-analytic analyses 10, 253, 516 metabolic 480, 483, 487 metabolism 24, 202, 303 metacognition 270, 290, 296, 317 metal music 273, 277, 382, 423–424, 441, 577, 589–590 methylphenidate 302 Mexico 339, 444, 466 midbrain 312, 481 middle-aged 178, 487, 535 middle-class 250, 428 middle school 189, 213, 237, 246–247, 346, 386, 388, 524, 569 Milanese 466, 470 military 6, 527–528 military service 528 mirror neurons 73 misogynism 577 mobility 458, 482, 505, 580 Modern Language Association 112 modulation 39, 51, 57, 75, 150, 280, 283, 285–286, 307, 397, 485, 516, 538 monolingual 69, 151, 177 morale 415, 488, 571 morphometry 18, 23, 25, 181, 506 mortality 167, 448, 479–480, 488, 521 motherese 44, 48 mothers 3, 43–44, 48, 83, 212, 333, 342, 367, 392–393, 431, 435, 465–466, 522, 536 motivation 6, 8, 77, 101, 110, 119, 125, 128, 140, 157, 197, 200, 221, 225–226, 240, 243, 252, 254, 256, 258–260, 263, 282, 312, 316, 319–324, 327–328, 331–332, 338–339, 342, 357, 368–370, 373, 381–383, 385–386, 402, 406, 410, 418, 425, 433, 435, 447, 450, 454–455, 458, 461, 476, 481, 486, 505, 510–511, 521–522, 529, 546, 566, 575–577, 584–585 motoric 249, 584 Mozart effect 8, 110, 261–262, 264–266, 307–308 Mozart, W. 8, 109–110, 261–266, 268, 273, 275, 279, 281, 286–287, 289–290, 298, 301, 303, 307–308, 516, 589–590 MP3 player 424, 517 multicultural 126, 530, 557, 560, 563 multimodal 16, 37, 39–40, 62, 76, 459 multiple sclerosis 509 muscles 22, 24, 39, 479–480, 489, 508, 510, 515 musicality 2–3, 112, 299, 525, 547, 551 musicianship 6, 112, 123, 176–177, 190, 232, 428 myelination 15, 24, 137, 172 national anthem. See anthem Nazi Germany 7, 555 negativity brain activity 17–18, 21, 32, 34, 60 feeling 440 negligible 188, 209, 211, 240 neighbourhood 118, 245–246, 388 neocortical 65, 225, 311 neonatal 44–45, 511 nerve impulses 15 nervous system 72, 135, 156, 308, 311, 410, 415, 480, 524 neurocognitive 60, 74 neurodegenerative 167, 484, 508 neuroimaging investigations 35, 155 neuroleptic drug 539 neurological 25, 33, 38, 42, 44, 75, 87, 99, 180–181, 225, 256, 260, 262, 269, 392, 477, 482, 486, 505, 508 neurological impairment 49, 508 neuron 15, 17–19, 21–22, 24–25, 27–31, 40–41, 44, 50–53, 73, 75, 153, 176, 202, 312, 507 neuroplasticity 21, 31, 37, 40, 505, 507, 538 817 Index neuropsychological 135, 138, 155, 162, 181, 183, 190–191, 193, 196–197, 212, 217–218, 490 neurorehabilitation 481, 505 neuroscience 9–10, 15–17, 46, 104, 108, 110, 148, 193, 202, 255, 274, 283, 286, 311, 406, 481, 532, 594 neuroticism 379–381, 576 neurotransmitter 172, 312, 416, 485 New Zealand 333, 436, 444, 554 Nigeria 445, 577 noise 20, 33–34, 45, 56–57, 60–61, 64, 67, 80, 101, 141–142, 147, 157–158, 161, 167, 264, 266, 274–275, 280–281, 293–295, 299, 304–305, 326–327, 332–333, 543, 556, 583, 589–591 noisy 67, 72, 142, 424 non-human species 589, 591 non-medical interventions 479 non-musicians 9, 19–34, 37–40, 42, 46, 55–61, 65, 67, 70, 80–81, 110–112, 114, 134–145, 149–153, 157–158, 160–162, 168–169, 175–179, 186, 190–191, 193–194, 196–197, 204–206, 226–228, 231–232, 235, 240, 254–255, 257–258, 265–266, 272–273, 291–292, 377, 379–380, 423, 461 non-trained 67, 184–185 Northern Ireland 352, 523, 559 Norway 337, 344, 366, 466, 487, 502, 520, 557, 563–564, 567 Norwegian 231, 321, 386, 563 nostalgia 164, 466–467, 556 novice 21, 426, 454, 458, 461, 487 numerical magnitude representations 121 nursery 116, 190, 341 nurture 326, 387, 401, 554, 564 occipital 16, 35, 155, 187, 313, 481 oculomotor 135 offender 348, 353–362, 364–366, 368, 371–373, 450, 567 offending 339, 359, 366, 369–371 Ohio 242, 250, 363 Ohio Proficiency Test 250openness 82, 208, 230–232, 235, 258, 378, 380–381, 388 opera 405, 585 optimism 253, 389, 413–414, 433, 439 Opus Project 327, 332 orbitofrontal 174, 312, 539 orchestra 23, 111, 113, 118, 135, 139–140, 186, 191, 244, 250, 255, 303, 326, 329–331, 334, 367–368, 379–381, 388, 391, 398–399, 401, 406, 433–434, 436, 451, 468, 471, 476, 497, 556 oscillation 34, 47, 50, 100, 148, 275, 313 out-of-key 59–60 out-of-tune 281 overarousal 315 overstimulation 556 oxygenation 27–28, 153, 174, 512 oxygen saturation 511, 514 oxytocin 415, 426, 480, 516, 553 paediatric 512–513 palliative 516, 518–519 parahippocampal 312 parent 11, 33, 63–64, 75, 82, 113, 129, 181, 189, 203, 208, 211, 214, 239, 243, 247, 249, 325–328, 330–331, 334–335, 345, 356, 368, 378, 385, 388, 390, 393–394, 396, 401–402, 430–432, 434, 436, 439, 442, 465, 508, 511–515, 523, 537, 547, 553, 569–570 parietal 16, 20, 27, 29, 41, 139, 153, 175, 202, 481 Parkinson’s disease 76, 484, 505, 507, 510 participatory 33, 63, 335, 355, 371, 415, 429, 431, 433, 436, 449, 456, 462, 484, 504, 530–531, 533, 561–562, 564–565, 567 patriotism 6–7, 164, 473–474, 558 patterning 51, 98, 108, 120, 122, 437 pattern-matching 36, 98 peace 358, 418, 453, 455, 499, 527, 529, 533, 555–557 pedagogy 335, 381, 454 peer pressure 343, 353818 The Power of Music percussion 84, 114, 129, 160, 193–194, 214, 254, 335, 343, 358, 363, 378, 388, 436, 460, 482, 491–492, 509, 535 perfectionism 382–383, 410 performance 12, 39, 123, 154, 215, 313, 322, 369–370, 390, 404, 410, 461, 470, 474, 485, 488, 492, 496, 543, 557, 564–565, 575 performer 31, 173, 316, 397–398, 410, 451–452, 457, 468–469, 565, 578 perseverance 101, 119, 258, 359, 386, 389 persistence 69, 95, 138–139, 143, 163, 195, 238, 242, 321, 326, 396, 401, 407–408, 433, 504, 507 personal development 1, 330, 372, 375, 377, 385, 401, 453, 463, 478 personality 9, 157, 200, 203, 224, 230– 231, 235, 254, 257–258, 260, 270, 290, 293–294, 317, 348, 360, 375–383, 410, 437, 456, 522, 539, 595 pharmacological 292, 493, 499, 518, 538, 544 pharmacotherapy 544 Philippines 444, 554 phobic 538 phonation 510–511 phoneme 45, 52, 79–80, 84–85, 89, 94 phonemic awareness 81, 84–86, 95, 207 phonetic 54, 56, 61, 72–73, 80, 154 phonetic contrasts 56, 80 physical development 407, 432 physiological 13, 21, 50, 60–61, 72, 134, 142, 150, 267, 278, 303, 310, 313–314, 316, 416, 418, 479–480, 505, 551, 590 pitch 8, 20, 24–25, 29–30, 32–33, 36, 39–41, 44, 48–49, 56–59, 62–63, 65, 67–68, 71, 81, 85, 90, 93–94, 96–98, 100, 102, 139, 144–145, 180, 183, 205–206, 282, 314, 546, 551 pitch impairment 97 planum temporale 25, 36, 58, 254 plasma 416, 516, 524 plasticity 16–17, 28, 32, 36, 40, 42, 47, 49, 171, 183, 185, 195, 202, 212, 459, 461, 482, 505, 508 playlist 1, 424, 466, 470, 474, 573playschool 33, 64, 73, 85, 182 pleasure 4, 12, 14, 169, 263, 267, 274–275, 292, 309–314, 331, 413, 416–417, 419, 421, 424, 432, 438, 447, 449, 452, 456, 459, 471, 473–474, 481, 489, 493, 527, 531, 549, 554, 575, 579, 584–585, 590–591 poetry 283, 352, 557, 574 Poland 383, 448, 487 police 354, 585 pop 58, 110, 263, 271–272, 295, 323, 327, 335, 352, 382–383, 399, 423–424, 484, 540, 558, 586–587, 590 posterior 20, 22, 25, 36, 58, 60, 153, 275, 313 post-traumatic stress disorder 513, 527–528, 530–531, 534, 536 poverty 352, 402, 435, 537, 566, 569 pre-attentive 33, 66, 69, 76, 96 precentral gyrus 31 predictive 45, 50–51, 53, 75, 121, 191 predictive coding 50, 53 predictor 70, 80, 82, 98, 114, 121, 210, 240, 258, 287, 378, 391, 396, 456, 467, 471, 525, 575 predisposition 37–38, 42, 159, 201 preference 43, 221, 264, 266, 268, 270, 276, 279, 293, 295, 301, 316, 348, 391, 420, 423–424, 512, 520–521, 546, 579, 582 pregnancy 43–44, 393, 483 prejudice 558–559, 566, 571, 593 prelinguistic 63, 393 pre-literacy 91, 103 premotor 26–29, 36, 38, 41 prepotent 177, 194 preschool 62–63, 80–81, 84–85, 89, 97, 115, 117, 124–125, 127, 154, 182, 189–190, 210, 212, 214, 232, 249, 403, 434, 513, 532, 570 pride 326, 328, 332, 338, 364, 369–370, 374, 385, 388, 400–402, 433 priming 262, 266, 269, 307, 309, 587 prison 356, 361–372, 527 prisoners 319, 361, 363–367, 369–370, 372, 556 819 Index problem-solving 120, 134, 173, 262, 354, 369, 399, 490, 569 procrastination 328, 331 proficiency 104, 113, 153, 289–290 prolactin 416, 426 proneness 258, 316 prosocial 6, 64, 338, 360, 363, 367, 393, 395, 397, 403–404, 449, 535, 554, 568, 577 prosodic 47–48, 50–53, 59, 74–75, 92, 97, 100, 215 prosody 50 protective factors/effects 167, 387, 441, 521, 577 protein 24, 202 proximity 451–452, 578 pseudo-words 93, 95, 144, 281 psychiatric 180, 483, 500, 524, 527, 535–536, 538–539, 541, 545 psychiatry 524 psychodynamic 251, 540 psychometric 143, 178, 206 psychopathology 524–525, 538, 540 psychophysical 144, 503 psychophysiological 484, 517 psychosis 538, 545 psychosocial 214, 350, 402, 437, 439, 450, 458, 471, 511, 519, 530, 538 psychosomatic 480, 494 psychotherapy 251, 341, 348, 446, 532 psychoticism 538, 540–541 pulmonary 509–510 punk 559, 577 pupil referral units 342–343 putamen 47, 153 qualitative 123, 165, 327, 332, 336, 342, 350, 359–360, 371–372, 385, 390–391, 393, 429, 447, 464, 492, 494, 562 quality of life 165–166, 172, 415, 428, 450, 457–458, 460, 462, 486–488, 496, 500, 503, 507, 513–514, 516, 519, 521, 524, 526–529, 536, 540, 545–546 quantitative 129, 211, 327, 336, 358, 464, 540race 358, 377 racism 559 randomised controlled trial 10, 71, 94–95, 157, 165–166, 169, 213–214, 219, 366, 407 rap 225–226, 340, 347–354, 357–359, 376, 424, 444, 536, 577 rapport 12, 544 rats 589 receptive activities 2, 63, 73, 76, 83, 100, 189, 204, 214, 249, 352, 448–449, 487–488, 500, 513–514, 565 refugee 325, 345–346, 367, 377, 402, 526–527, 529–534, 560–565 regression analysis 9, 23, 52, 64, 73, 97, 113, 155, 176, 190, 205, 210, 218, 239–240, 243 rehabilitation 73–74, 159, 284, 319, 326, 333, 353, 366–367, 482, 484, 505–507, 514, 518, 526, 532, 534, 543 rehearsal 6, 136, 151, 157, 369–370, 397–399, 426–428, 436, 484, 552 reintegration 319, 356, 363, 371–372, 528 relationship-building 443, 446–447, 477 relaxation 426 relaxing 1, 5, 11–12, 27, 109, 261–262, 265, 271, 306, 330, 402, 413, 416, 419–420, 425–427, 436, 440, 447, 452, 455–457, 459, 469, 473, 486, 495, 497, 510, 512, 515, 519–522, 525–526, 532, 535, 538, 582, 585, 590 relief 449, 469, 518, 533, 541, 579 religion 1, 5–6, 454–455, 488, 530, 557–558, 560, 571, 573 reminiscence 419, 463, 489–490, 495, 499 reoffend 354, 356, 358, 361, 369–370, 372–373 repetition 15, 18, 27, 41, 48, 54, 62–64, 80, 95, 109, 129, 144, 157, 173, 261–262, 265, 270, 278, 317, 322, 356, 363, 393, 405, 407, 431, 436, 461, 508, 546, 548, 551, 558, 584, 589–590 reproduction of music 98, 161 residential home 193, 346, 490. See care home820 The Power of Music resilience 329–330, 336–337, 353, 359– 360, 374, 376, 387, 406, 414, 428, 439, 467, 503, 522, 531–532, 562 resonance 18, 22, 25–28, 30, 35–36, 149, 164, 174–175, 181, 185, 188, 226–227, 506, 545 respect 320, 330, 337–338, 340, 344, 356, 367, 371, 373–374, 397–398, 401, 469, 554, 569 respiration 310, 312, 480, 511, 590 respiratory 164, 483, 485–486, 510–511, 513, 517 responsiveness 354, 369, 371, 431, 512, 537, 547, 582 retention 16, 23, 88, 107, 133–134, 145–146, 150, 153, 180, 282–283, 339, 426, 438, 447, 464, 477, 561 retirement 234, 447, 451, 457, 460, 462, 486–487, 528, 579 retrospective 210, 217, 239, 259, 361, 405, 542 Rett syndrome 76 rewarding 3, 14, 77, 278, 291, 310–312, 374, 505, 552, 578, 594 rewards 5, 252, 259, 268, 278, 292, 306, 310–312, 321, 451, 456, 481–482, 542, 544, 549, 551 rhyme 79, 83, 86, 94, 97, 102, 117, 253, 265–266, 283, 340, 393–394 rhythm 30, 33–34, 36, 43, 47–48, 50–54, 60, 66, 68, 70–71, 74–76, 81–87, 90, 92–102, 105, 107, 114, 116–118, 122–123, 126–127, 130–131, 144, 151, 156, 158, 160–162, 164, 173, 175, 183, 193, 195, 203, 226, 252, 271, 347, 352, 388–389, 395–397, 404, 408–409, 416, 481, 492, 495, 504–505, 507–509, 527, 536, 538, 545–546, 549, 551, 555, 577, 582 cueing 505, 510 impairment 90 prosodic cues 51, 75 rhythmic prosodic cues 51, 75 rituals 5–6, 362–363, 445, 469–470, 472rock 7, 32, 58, 231, 258, 273, 276, 278, 287, 302, 358, 379, 382, 424, 484–485, 559, 577, 583, 586 romantic music 442 rostral 28 rules 17, 42, 55, 59–60, 120, 173, 335, 356, 496 saccadic 135 sadness 215, 285, 297, 306, 421–422, 426, 441, 478, 529, 542 saliva 426, 485, 503, 511, 516, 518, 520 Salvation Army 379 San Diego 327, 332 scanning 18, 27, 35, 138, 152, 159–160, 193, 460 school readiness 83, 403 secretory 485 sedation 278, 304, 483, 512, 516–517, 520 segmentation 50, 69, 82–84, 88, 95, 99–101 segregation 43, 45, 83, 141 self-acceptance 391, 509 self-actualisation 419, 427 self-affirmation 388 self-awareness 386 self-belief 258, 321, 327, 331, 339, 375, 377, 384, 387, 571, 594 self-care 330, 531, 548 self-concept 259, 299, 320, 323, 353, 357–359, 373, 384–389, 459, 464, 489, 504, 535, 540 self-confidence 13, 326, 329, 332, 335, 339, 342, 353, 364, 370, 384–385, 390–391, 401–402, 425, 432, 434, 445, 447, 486, 489, 521, 535–536, 540, 547 self-control 22, 333, 345, 355, 369, 434–435, 535, 538 self-description 351, 388 self-development 320, 429, 471 self-directed 443 self-discipline 258, 329–330, 337, 360, 378, 399, 401 self-disclosure 352 self-efficacy 119, 128, 200, 258, 321–322, 330–332, 337, 353–354, 356, 373–374, 821 Index 384, 390, 429, 431, 439, 459, 566–567, 594 self-esteem 6, 243, 258, 320–323, 329–332, 335–336, 338, 342–343, 345–347, 351– 353, 355–358, 360–361, 364–366, 369, 372–373, 381, 384–393, 402, 406, 410, 413–414, 419, 425, 428–429, 433–434, 437–438, 444–447, 455, 462, 464, 486, 498, 509, 521, 524, 527, 532–533, 535– 536, 540–541, 547, 566–567, 579, 594 self-estimated 230 self-evaluation 5, 299, 358, 437 self-expression 12, 337, 342–343, 346, 356, 360–361, 364, 384, 427, 446, 489, 505, 514, 521, 568, 579 self-identity 5, 377, 391, 463, 563 self-image 384, 386–387, 542, 563, 575 self-knowledge 359, 564 self-monitoring 225, 251 self-paced 27, 275, 584 self-perception 200, 321, 363, 377, 384, 386, 429, 452 self-rated 230, 267, 349, 476 self-regulation 181, 188, 257, 322, 331, 342, 351, 418–419, 431, 440–441, 444, 446–447, 459, 566, 576 self-reliance 400, 568 self-report 112, 158, 163, 180, 191–192, 200, 231, 269, 286, 359, 381, 393, 405–406, 434, 438, 443, 448, 487, 498, 503–504, 515, 520–521 self-satisfaction 459 self-select 9, 112, 183–184, 267, 310, 404, 421, 440–441, 466–467, 480, 506, 581 self-system 377, 384 self-taught 227–228 self-understanding 391, 459 semantic 54, 59, 71, 133, 143, 160, 175, 187, 266, 281, 287 sensation-seeking 382, 582 sensitisation 157, 185, 214, 408 sensor 234 sensorimotor 23, 26, 29, 31, 36–37, 39–42, 76, 98, 157, 175, 185, 225, 397, 407–408, 461, 481–482, 505–507sensory 15–17, 22, 47, 50, 55, 74, 95, 99, 133, 151, 196, 459, 481, 497, 508, 546, 548 sequencing 89, 99, 107, 147–148, 204, 210, 357 serotonin 415–416, 480, 524 set-shifting 172, 181, 184–185, 209 sex 23, 69, 87, 112, 163, 212, 246, 278, 312, 360, 386, 437, 440, 448, 569, 577 sexism 357, 577 sexuality 3, 343, 358, 529–530, 534, 536, 577 sexually abused 358, 530, 534–536 Sierra Leone 533, 561 sight-reading 174, 197, 204 Sing Up 335, 568 sleep 45, 180, 431, 444, 474, 483, 525–526, 531, 548, 556 smoking 448, 580 sociability 362, 394, 552 social capital 325, 456, 570 social climate 399–400 socialisation 402, 419, 466, 536 social isolation 6, 428, 455, 459, 462–464, 466, 470–471, 475, 497–498, 503, 511, 520, 528, 565 social media 466, 468, 470, 472, 558 socioeconomic status 69, 82, 87–88, 113–114, 140, 157, 161, 188, 203, 205, 207, 209, 237–238, 240, 242, 244, 246, 297, 345, 380, 404, 428, 471, 580 socioemotional 259, 403, 405–406, 535 sociomoral reflection 180 software 94, 339–340, 349–350, 359, 471–472, 588 soldier 528–529, 532–533, 555 solidarity 2, 330, 468, 553, 555 solitude 258, 322, 378, 583 somatisation 538 somatosensory 19, 22, 24, 30, 95, 481 sonata 109, 261–266, 268, 281, 289–290, 298, 307, 516, 589 song-writing 216, 234, 342–343, 350, 359, 362, 445, 462, 487, 511, 535–537, 541, 548822 The Power of Music soothing 3, 431, 590 sound discrimination 43, 45, 64, 86, 97, 100, 119, 154, 507 soundtrack 282, 472, 586 South Africa 7, 328, 353–354, 356, 389, 445 South America 330, 421, 561 Spain 67, 88, 213, 335, 432, 466–470, 569 spatiotemporal 507, 594 special educational needs 90, 248, 296, 303, 319, 329, 340, 350, 389, 405–406, 410 spectroscopy 226–227, 283–284, 307, 539 speech deficits 76 speech impairment 484, 510 spinal cord 16, 505 spiritual fulfilment 449, 579 spirituality 5, 329, 400, 418, 427, 429, 449, 454–455, 497, 516, 519, 579 spontaneous 7, 98, 148, 154, 225–226, 288, 340, 364, 395–396, 407, 439, 467–468, 547 Sri Lanka 531, 585 stem cell 513–514 stereotype 17, 379, 381, 437 stigma 527, 531 stimulation 1, 5–6, 18, 39, 50, 67, 76, 224, 268, 271, 278, 301–303, 307, 316, 415, 425, 427–428, 440, 451, 457, 459, 473, 486, 489, 507–508, 511, 517, 520, 584–585, 590 story development 164 stress 45, 51, 53, 73, 76, 147, 166, 301, 337, 358–359, 366–367, 416, 422–423, 425, 441, 443, 446–447, 450, 452, 455, 458, 461, 465, 469–471, 474–475, 478–482, 484–487, 498, 512–513, 515–522, 525, 527–531, 534, 536, 542, 547, 549, 556, 567, 583, 590, 593 striatum 291, 312 stroke 484, 490, 505–506, 510 Stroop test 172, 182, 193, 204, 274 stutter 76, 511 subcortical 19, 27, 29, 48, 57, 60, 71, 87, 99, 142, 156, 480–481, 546 consonant discrimination 57, 60subculture 376, 551 substance abuse 336, 357 suicidal 354, 423, 442, 576 suicide 423, 442, 534, 576 superior longitudinal fasciculus 207 surgery 484, 514–517 survivor 530–532 Suzuki method 34, 146, 154 Sweden 215, 405, 448, 456, 502, 517, 520, 546 Switzerland 400, 450, 492, 568 syllable 45, 51–52, 56, 60–62, 69, 80, 82, 87, 92, 95–96, 98–99, 101, 147, 283 symbol 4, 6, 55, 85–86, 121, 123, 126–127, 141, 159, 161, 192, 213, 263, 352, 363, 402, 430, 446, 534, 542 sympathetic nervous system 311, 524 synapse 15, 17, 24, 65, 172, 202 synchronisation 3, 6, 17, 37, 50, 62, 93, 98–99, 156, 160, 193, 262, 395–396, 407–408, 460, 475, 551–553 synchrony 92, 265, 395–397, 407, 546, 554 systematic 26, 72, 84, 101, 131, 182, 188, 234, 242–243, 266, 308, 310–311, 313, 335, 346, 350, 353, 382, 415, 463, 518, 521 systematic review 10, 101, 131, 346, 350, 353, 415, 463, 518 systolic blood pressure 416, 484, 514, 518 Taiwan 272–273, 298, 524 task-switching 174, 177, 185, 195 Tasmania 456, 570 taste 12, 133, 376, 442, 478, 520, 587 teamwork 329–330, 336, 353, 364, 397, 399, 401–402, 410, 433, 554, 569 tears 455, 481, 495 technology 1, 7, 17, 44, 46, 281, 344–345, 399, 424, 452, 463–464, 471–473, 477–478, 548, 561, 569, 573, 575 teenager 5, 341, 437, 439, 444–445, 512 tempi 88, 286, 582 tempo 98, 114, 263–264, 271–273, 275–276, 280, 282, 314, 363, 395, 431, 582, 584–586 temporo-occipital 35, 155, 187, 481 823 Index tension 5, 265, 306, 314, 341, 425–426, 439, 478, 480, 486, 493, 517, 520, 563, 581 terrorism 529–530 therapeutic 13, 76, 335, 341, 344, 348, 350–351, 356, 358, 367, 371–372, 425, 455, 482–483, 486–487, 489, 492, 500, 505, 510, 514, 519, 524, 529, 534–535, 541, 556, 576 therapist 340–342, 347–348, 351, 360, 394, 406, 477, 482–483, 487, 492, 494–495, 497–498, 500, 503–504, 508, 511, 514, 527–529, 534–536, 540, 545–547, 549, 558 thrash metal 277 threats 344, 421, 479, 544 timbre 8, 21, 32, 65, 100, 271, 314, 546 timing 8, 29, 32, 39, 50, 56, 58, 60, 62, 94–95, 98–99, 142, 252, 407, 481, 509 tiredness 265, 306, 522 togetherness 403, 459, 466 tolerance 227, 330, 388, 555 tomography 311 tonality 63, 150, 314 tone 19–21, 24, 33–34, 37, 40–41, 49, 56, 58–59, 62–65, 80, 82, 97, 144–145, 147, 152–153, 225, 275, 298, 416, 439 tone deaf 37, 82 top-down processes 34, 49, 52–53, 195, 235 torment 556 torture 532, 556, 593 Tower of Hanoi test 173, 186 transcranial magnetic stimulation 18, 39 transferable 232, 321, 325, 334, 338, 341, 374 transformation 36, 121, 330, 336, 342, 428, 446, 528, 557 transformative 359, 361, 364, 557, 568 transplant 513–515 trauma 180–181, 353, 505, 510, 513, 526–537, 558, 560, 565, 571 trust 326, 337–338, 344, 370, 373, 397–398, 449, 456, 469, 532–533, 552, 570, 579 twins 163, 171, 202, 215, 405unconscious awareness 11, 55, 77, 133–134, 415, 440, 593 undergraduate 109, 114, 143, 179, 203–204, 206, 215–216, 225, 239, 258, 262–263, 265, 270–271, 273, 275–278, 280, 282, 290, 474, 525 unhealthy 383, 424, 443, 479, 503 United States 13, 114, 243, 391, 473, 559, 565. See America untrained 40, 64, 69, 95, 100, 127, 147, 156–157, 159, 161, 184–185, 188, 202–203, 208–209, 215–216, 238 urban 114, 237, 319, 336, 347, 358–359, 386, 580 valence 234, 274–275, 284, 313 variability 10, 44, 98, 142, 153, 191, 251, 296, 426, 500, 590 variables 10, 26, 50, 95, 109, 129, 140, 156, 160, 177, 180, 191, 203–204, 208, 241, 243–244, 252, 256, 282, 400, 448, 467, 488, 494, 507, 575 variation 49, 54, 183, 229, 242, 256, 391, 500, 516, 537, 548, 576 vascular 163, 490, 493 ventral striatum 291, 312 verbalisation 491, 532, 536 veterans 528–529, 543 victim 405, 532–535, 547, 556 vigilance 177, 285, 578 violations 17, 59–60, 62, 286 violence 333, 343, 354, 434–435, 529–530, 534–535, 537–538, 560, 569, 577, 593 virtual 41, 128, 281–282, 470–474 visual analogue scale 166 visual impairment 345 visual memory and behaviour 134 visuomotor 28, 136, 459, 461, 493 vital signs 485, 512, 514 Vivaldi 266, 286, 304–305 vocally expressed emotion 57, 59 voice 43, 58, 68–69, 76, 87, 96, 183, 194, 211, 350, 362, 364, 367, 392, 429, 491, 494, 510–511, 530, 564824 The Power of Music volume 20–23, 25–26, 35, 155, 181, 187, 202, 254, 271, 310, 316, 406–407, 424, 439, 509–510, 517, 556, 581–582, 586 volunteer 31, 47, 164, 242, 273, 275, 311, 313, 338, 362–363, 368, 415, 455, 462–463, 554, 574 vowel 49, 56, 61, 65, 69–70, 87, 146, 164 voxel 18, 22–23, 27, 36, 175, 181, 506 voxel-based morphometry 23, 506 vulnerability 325, 333, 421, 423, 453, 467, 469, 476, 496, 532, 565 weapon of music 556 Wechsler Adult Intelligence Scale 200, 204 wellbeing 1, 5, 8, 11, 13, 92, 165, 167, 196, 234, 323, 325, 328–329, 338, 341, 347, 351, 353, 362, 367, 383, 393, 400, 402, 406, 413–422, 424–427, 429–434, 436–438, 440, 442–451, 453–460, 462–469, 471–483, 486–488, 492–493, 496–498, 500–504, 510, 512–513, 516, 519, 521–522, 524, 526, 530–531, 535, 540, 546, 549, 552–554, 561–567, 576, 589, 593Western 7, 19, 32–33, 63, 139, 267, 271, 279, 336, 378, 443, 564, 573, 578 white-matter microstructure 509 Williams syndrome 148 willingness 128, 327, 381, 552 womb 3, 43, 46 women 275–276, 362, 366, 393, 426–428, 464, 502, 518, 529, 534, 536–537, 576–578 word discrimination 65, 82, 87, 146 working memory and behaviour 148, 150 workshop 64, 251, 333, 358–359, 362–364, 373, 388, 436, 462, 488, 504–505, 533, 535, 548, 564, 567 World War 482, 556 worry 5, 278, 414, 426, 439, 457, 467, 471, 518, 525 youth 6, 121, 186, 244, 326, 328, 330–331, 333, 336–337, 339, 345, 347–348, 352–353, 355–357, 359–360, 445–446, 540, 561, 567About the Team Alessandra Tosi was the managing editor for this book. Rosalyn Sword and Melissa Purkiss performed the copy-editing and proofreading. Rosalyn indexed the volume. Anna Gatti designed the cover. The cover was produced in InDesign using the Fontin font. Luca Baffa typeset the book in InDesign and produced the paperback and hardback editions. The text font is Tex Gyre Pagella; the heading font is Californian FB. Luca produced the EPUB, AZW3, PDF, HTML, and XML editions — the conversion is performed with open source software such as pandoc ( https://pandoc.org/ ) created by John MacFarlane and other tools freely available on our GitHub page ( https://github.com/ OpenBookPublishers ).This book need not end here… Share All our books — including the one you have just read — are free to access online so that students, researchers and members of the public who can’t afford a printed edition will have access to the same ideas. This title will be accessed online by hundreds of readers each month across the globe: why not share the link so that someone you know is one of them? This book and additional content is available at: https://doi.org/10.11647/ OBP .0292 Donate Open Book Publishers is an award-winning, scholar-led, not-for-profit press making knowledge freely available one book at a time. We don’t charge authors to publish with us: instead, our work is supported by our library members and by donations from people who believe that research shouldn’t be locked behind paywalls. Why not join them in freeing knowledge by supporting us: https://www. openbookpublishers.com/section/104/1 Like Open Book Publishers Follow @OpenBookPublish Read more at the Open Book Publishers You may also be interested in: A Philosophy of Cover Songs P.D. Magnus https://doi.org/10.11647/OBP .0293 Classical Music Contemporary Perspectives and Challenges Michael Beckerman and Paul Boghossian (eds) https://doi.org/10.11647/OBP .0242 Rethinking Social Action through Music The Search for Coexistence and Citizenship in Medellín’s Music Schools Geoffrey Baker https://doi.org/10.11647/OBP .0243 OBPTHE POWER OF MUSICSUSAN HALLAM AND EVANGELOS HIMONIDESTHE POWER OF MUSIC Building on her earlier work, The Power of Music: A Research Synthesis of the Impact of Acti vely Making Music on the Intellectual, Social and Personal Development of Children and Young People , this volume by Susan Hallam and Evangelos Himonides is an important new resource in the ﬁ eld of music educa� on, prac� ce, and psychology. A well signposted text with helpful subheadings, The Power of Music gathers and synthesises research in neuroscience, psychology, and educa� on to develop our understanding of the eﬀ ects of listening to and ac� vely making music. Its chapters address music’s rela� onship with literacy and numeracy, transferable skills, its impact on social cohesion and personal wellbeing, as well as the roles that music plays in our everyday lives. Considering evidence from large popula� on samples to individual case studies and across age groups, the authors also pose important methodological ques� ons to the research community. The Power of Music defends qualita� ve research against a requirement for randomised control trials that can obscure the diverse and o� en fraught contexts in which people of all ages and backgrounds are exposed to, and engage with, music. This magniﬁ cent and comprehensive volume allows the evidence about the power of music to speak for itself, thus providing an essen� al directory for those researching music educa� on and its social, personal, and cogni� ve impact across human ages and experiences. This is the author-approved edi� on of this Open Access � tle. As with all Open Book publica� ons, this en� re book is available to download for free on the publisher’s website. Printed and digital edi� ons, together with supplementary digital material, can also be found at h� p://www. openbookpublishers.com Cover image by Tabitha Lincoln, all rights reserved Cover design by Anna Gatti SUSAN HALLAM AND EVANGELOS HIMONIDESAn Exploration of the EvidenceHALLAM AND HIMONIDES THE POWER OF MUSIC An Exploration of the Evidenceebook ebook and OA edi� ons also available OPEN ACCESS	[ "music", "musical", "child", "group", "effect", "training", "j", "study", "colleague", "al" ]	{ "summary": "OBPTHE \nPOWER \nOF MUSICSUSAN HALLAM AND \nEVANGELOS HIMONIDESTHE POWER OF MUSIC\nBuilding on her earli" }
mngment-mrkt-ar.pdf	KEITH NEGUS MUSIC GENRES AND CORPORATE CULTURES Music Genres and CorporateCultures Music Genres and Corporate Cultures explores the workings of the music industry, tracing the often uneasy relationship between entertainment cor- porations and the artists they sign. Keith Negus examines the contrasting strategies of major labels like Sony and Universal in managing different genres, artists and staff, and assesses the various myths of corporate cul-ture. How do takeovers affect the treatment of artists? Why was Poly-Gram perceived as too European to attract US artists? Why and how didEMI Records attempt to change their corporate culture? Through a study of three major genres—rap, country and salsa—Negus investigates why the music industry recognises and rewards certain sounds, and how this influences both the creativity of musicians and theiraudiences. He explores why some artists get international promotion while others are neglected, and how performers are packaged as ‘worldmusic’. Negus examines the tension between rap’s image as a spontaneous‘music of the streets’ and the practicalities of the market, asks why execu-tives from New York feel uncomfortable when they visit the countrymusic business in Nashville, and explains why the lack of soundscan sys-tems in Puerto Rican record shops affects salsa’s position on the US Bill- board chart. Drawing on extensive research and interviews with music industry per- sonnel in Britain, the United States and Japan, Music Genres and Corpo-rate Cultures shows how the creation, circulation and consumption of popular music is shaped by record companies and corporate business stylewhile stressing that music production takes place within a broader cul- ture, not totally within the control of large corporations. Keith Negus is Lecturer in the Department of Media and Communica- tions, Goldsmiths College, University of London. He is the author of Producing Pop and Popular Music in Theory .Music Genres and Corporate Cultures Keith Negus London and New YorkFirst published 1999 by Routledge11 New Fetter Lane, London EC4P 4EE Simultaneously published in the USA and Canada by Routledge29 West 35th Street, New York, NY 10001 Routledge is an imprint of the Taylor & Francis Group This edition published in the Taylor & Francis e-Library, 2004. © 1999 Keith Negus All rights reserved. No part of this book may be reprinted or reproduced or utilized in any form or by any electronic,mechanical, or other means, now known or hereafterinvented, including photocopying and recording, or in any information storage or retrieval system, without permission in writing from the publishers. British Library Cataloguing in Publication Data A catalogue record for this book is available from the British Library Library of Congress Cataloguing in Publication Data Negus, Keith, Music genres and corporate cultures/Keith Negus. p. cm.Includes bibliographical references and index.1. Sound recording industry. 2. Popular music—History and criticism. I. &; Title. ML3790.N4 1999781.64–dc21 ISBN 0-203-16946-8 Master e-book ISBN ISBN 0-203-26496-7 (Adobe eReader Format) 0-415-17399-X (hbk)0-415-17400-7 (pbk) Contents Acknowledgements vii Introduction 1 1 Culture, industry, genre: conditions of musical creativity 14 2 Corporate strategy: applying order and enforcing accountab ility 31 3 Record company cultures and the jargon of corporate identity 63 4 The business of rap: between the street and the executive suite 84 5 The corporation, country culture and the communities of musical production 104 6 The Latin music industry, the production of salsa and the culturalmatrix 132 7 Territorial marketing: international repertoire and world music 153 8 Walls and bridges: corporate strategy and creativity within andacross genres 174 Notes 185 Bibliography 197 Index 208 Acknowledgements A substantial part of this book is based on research funded by the Eco- nomic and Social Research Council (ESRC) of Great Britain within theMedia Economics and Media Culture programme (award ref. L126251046). I would like to thank all of those working for the ESRCwho made this possible, along with the various anonymous referees andassessors whose comments and reports helped me focus my ideas andthink about the project more clearly. I would like to extend very specialthanks to Simon Frith, who as Chair of the programme provided intellec-tual guidance, practical advice and also important feedback, encourage-ment and suggestions in response to my questions and working ideas dur-ing and after the research. Margaret Crawford took the administrative systems of Leicester Univer- sity into unknown territory over a three-month period of planning andduring my time away. She then endured and assisted with a number ofdesperate faxes concerning such things as unpaid hotel bills, changeditineraries and medicines for a spider bite. I would like to thank Margaretfor patiently co-ordinating and sorting out many of the administrativedetails of the research and also for her help with a number of personalmatters. Also at Leicester I would like to thank Annabelle Sreberny for much personal and professional support prior to, during and after the research. Thanks too to Oliver Boyd-Barrett, who prompted me to focusmy thoughts on musical genres during a grey awayday in the Leicester-shire countryside—Oliver unwittingly helped set in motion the pattern ofevents that led to the research and this book. Peter Jackson helped in the formulation of my research agenda by providing a number of insights into management thinking and notions of corporate strategy. Still at Leicester,I would like to thank the University for supporting this research and forprior financial assistance which enabled me to visit Japan and to conducta number of interviews in the UK. In Puerto Rico I would like to thank Emilio Pantojas Garcia for welcom- ing me into the Center for Social Research as an Investigador Invitadoand for providing me with both intellectual dialogue and the space to reflect upon the research material and to develop ideas. Very specialthanks are also due to Angel Quintero Rivera (Chuco) for much personaland professional support and encouragement, for constructive criticism ofmy writings and dialogue about many ideas. I am grateful to Jorge Duanywho suggested that I submit an article to the Revista de Ciendas Socialesand who subsequently translated it into Spanish (thus, an earlier versionof Chapter 6 appeared in Vol. 4, Nueva Epoca , of the Revista and I would also like to thank the journal’s anonymous referees for their com- ments and suggestions). Thanks to Jorge Giovanetti Torres and Liliana Cotto for discussions about culture and society in Puerto Rico and in theCaribbean more generally. My time in New York City would have been less rewarding without the company and dialogue of Dave Sanjek, Bob and Annie Clarida and Kai Fickentscher: All assisted with urban orientation and aspects of research planning. Thanks also to Stuart Liebman and his colleagues and studentsat CUNY in Queens for providing feedback and encouragement inresponse to some tentative working ideas. Thanks to staff at Radio CityApartments for their flexibility, friendliness and assistance with communi-cations to the UK. Special thanks to Nel Roman for welcoming me to both New York and the extended family and for showing me parts of the city of which I would otherwise probably have had little personalexperience. In Tennessee I would like to thank Paul Wells for providing me with access to the library facilities of the Center for Popular Music at MiddleTennessee State University, the staff at the library of the Country MusicAssociation, and Richard Peterson for dialogue, information and insightsabout country music and the city of Nashville. Some of the material in Chapter 7 was researched during a trip to Japan in 1993, and I would particularly like to thank Masahiro Yasuda, HiroshiOgawa, Toru Mitsui and Tadd Igarashi, all of whom welcomed me intotheir homes and shared their music, ideas and food with me. Also thanksto Takuya Iwamura for help with arranging interviews and translation. I would like to extend my gratitude to the following people who gave up their time to talk to me about their work, companies, genres or themusic business in general. In the UK: Mike Alien, Roxy Bellamy, MinaFukue, David Hughes, Hiroshi Kato, Jorgen Larsen, Eric Longley,Jonathan Morrish, Fran Nevrkla, Tina Poyser, John Preston, Steve Red-mond, Peter Scaping, Jeremy Silver, Stuart Watson, Adam White. In theUnited States: Sarah Brosmer, Brian Chin, Bob Christgau, Kevin Conroy,Sue D’Agostino, Tim Dubois, Curt Eddy, John Esposito, Chet Flippo,Harry Fox, Lynn Franz, Joe Galante, Victor Gallo, John Ganoe, JeffGreen, Linda Greenberg, George Grelf, David Harleston, Ricardo Howell,Daniel Jason, Anne Latora, Joe Levy, Fran Lichtman, Roy Lott, Anneviii MUSIC GENRES AND CORPORATE CULTURESMansbridge, Ruby Marchand, Kirn Markovchick, Keith McCarthy, David McDonagh, Alastair McMullen, Bob Merlis, Antonio Moreno,Marcus Morton, Havelock Nelson, Barbara Nuessle, Rigoberto Olariaga,Joanne Oriti, Jim Parham, Hal Peterson Jr, Dennis Petroskey, RonnyPugh, Eddie Reeves, Paul Robinson, Nelson Rodriguez, Michael Rosen-blatt, Terri Rosi, Rick Sanjek, Maribel Schumacher, Ajax Scott, DavittSigerson, Scott Siman, Gene Smith, Will Tanous, Neil Turkewitz, ReneeWhite, Timothy White, Larry Willoughby, Walt Wilson, Tim Wipperman,and, in Puerto Rico, thanks to Lourdes Laboy. In Japan: YoshihisaHonda, Kei Ishimura, Kei Ishizaka, Akira Kuwabara, Shigeo Maruyama,Kei Nishimura, Shigeki Ouchi, and Akira Yokota. In researching, thinking about and then writing this book I have tried out a number of ideas in formal presentations, written work and duringinformal conversations, and I have benefited from feedback, suggestions and insights from a number of people. For reading many draft chapters and providing useful critiques, encouragement and suggestions I wouldlike to thank Mike Picketing. Thanks to Dave Laing for discussing work-ing ideas, pointing me in a number of useful directions, providing me withinformation and for spotting many of the errors in my drafts. For theircritical and constructive comments in response to draft chapters I thank Reebee Garofalo, Dave Sanjek and Richard Peterson. Also, for characteris- tically perceptive insights and observations that have helped me in think-ing through various working ideas, I would like to thank Paul du Gay,Eamonn Forde, Dave Hesmondhalgh and Sarah Thornton. Thanks toRebecca Barden, Alistair Daniel, Sally Carter and Elizabeth Jones atRoutledge. My crash-landing back into Highfields after a year away was eased by the frequently crazy company of Eamonn, Hilde and Simon. Thanks tooto Hari and Shoba for their friendship, wit and wisdom. For much transatlantic love, support and practical help throughout the research project I would like to thank my brothers, Chris and Phil, and my parents, Maureen and Gordon. Finally, yet most importantly, I wouldlike to thank Patria for her love, support and wisdom and for sharing the magic realism of an occasionally bizarre, sometimes frustrating and neverdull story.ACKNOWLEDGEMENTS ix Introduction I first made contact with a record company in 1974 when, with an aspir- ing school friend, I mailed the only copy of a badly recorded reel-to-reeltape to Donald ‘Jumbo’ Vanrenen at Virgin Records. Thinking back on this long-lost recording, produced with acoustic guitars and keyboards in one ‘live’ take in the back room of my parents’ house, I am surprised thatwe even received a response, let alone the brief letter that accompaniedthe returned tape. I recall that our songs had ‘promise’ but that the vocalswere ‘weak’, and we were advised to try and record using better-qualityequipment. That was the beginning of a long association with the record-ing industry, during which I would spend many hours in the offices ofrecord labels, production companies and song publishers, initially as oneof the numerous musicians and songwriters attempting to ‘make it’ in themusic business and then as an older and increasingly wiser sociologistattempting to understand the peculiar mixture of reckless abandon andcautious indecision that is such a feature of the music and entertainmentindustry. A few years after that first tape, a number of us had made the transition from back rooms and bedrooms to performing regularly in pubs, commu-nity centres, youth clubs, parties and then more recognized venues. I had become a participant member of a passionate, competitive yet convivial and somewhat idiosyncratic music scene. My co-writing school friendsoon joined X-Ray Spex, with whom he briefly achieved a certain degreeof fame and a lesser degree of fortune before finding himself working inthe office of a building society. After stints in numerous bands, I ended up performing with the lesser known and more embarrassingly named Coconut Dogs, who released a couple of singles and played numerousclubs, bars and provincial venues before sinking into ever deeper obscurityand the inevitable bust-up due to the stupid arguments that areeuphemistically referred to as ‘musical differences’. I then trailed a routethrough various ‘solo’ outings, typical early 1980s faddish synthesizerprojects, and moved in and out of temporary bands while playing ‘ses- 1sions’ with a variety of people who provoked in me equal doses of elation and despair. All this time, the music industry and various artist and repertoire (A and R) people, agents, would-be managers, publishers and wheeler-dealerswere lurking in the background and occasionally stepping into the fore-ground. I was on the verge of signing a lucrative (compared to the dole)publishing contract for songwriting, but the company who were ‘inter-ested’ in me suddenly had to make financial cuts as a result of the early1980s recession, and my contact lost his job. I was about to sign up witha music business contact who was to be my manager and procure me thatelusive ‘solo deal’. But he suddenly disappeared. My telephone calls to hispersonal contact number, and then to his ex-production company, eventu-ally provided me with the vague information that he had, rather suddenly,‘gone to Argentina’. I had much interest from another ‘manager’, andafter a number of telephone conversations we met in a dingy bar adjacentto a London station. Here he presented me with a vision of how he sawmy stage show and future direction. He evoked an image of me in a smalltheatre before an audience, the house lights dimmed, and then—after heuttered the phrase ‘dry ice’—I stopped listening and my mind wanderedon to other projects. I do remember taking the train back to the suburbsin a rather depressed state. When I realized, during one of my more sane and sober moments, that (as Neville Shakespeare) I had told a journalist that I had ‘turned my backon aspirations of fortune, fame and stardom’ and was ‘producing ecologi-cal acoustic piano music that might appear before the nuclear holocaust’(I still have the news cutting), it became apparent that something was notquite right. It was either the music business (and its peripherals) or thefactories and warehouses where I had been working to support the ‘earn-ings’ from my music habit that were driving me crazy. In desperation Ibecame a sociologist, devoted my time to attempting to understand what I had been through and tried to figure out why I was now sitting in alibrary in north London and not recording my latest album in Manhattan. Armed with a degree in sociology and a grant to study for a Ph.D., I revisited many of the same offices and boardrooms (or maybe they simply appeared to be the same). I walked into rooms with a pencil in my hand, and stared thoughtfully at similar rows of desks, low comfy chairs, cooldudes, blank security guards and bored-looking receptionists. I hung around at the back of gigs, seeking out the packs of A and R staff, andlistened in on their drunken conversations. I spoke to pop-paper people,sifted through the words in journals, trade magazines and biographies andconnected all of this to a range of sociological ideas. If, in retrospect, oneof my motives in studying the industry was undoubtedly therapeutic, Ialso had two fairly clear and well-formulated intentions. First, I would beable to impart some knowledge and wisdom to anyone brave or stupid2 MUSIC GENRES AND CORPORATE CULTURESenough to follow the same route, information that might be of some prac- tical use to those—whether musician, industry worker or frustrated fan—who are subject to and have to deal with the music industry in whateverway. Second, I wished to contribute to academic debates and scholarshipwithin popular music studies, a field of study that had begun creeping intoclassrooms and ‘corrupting’ curriculums in sociology, cultural studies andrelated disciplines. The book you have before you is my second attempt at understanding how the music industry works, approaching it from the perspective I have developed as a sociologist. It is an extended argument about how the cre- ation, circulation and consumption of popular music is shaped by recordcompanies and their corporate owners, along with numerous other peoplewho participate in the making of what I have called ‘genre cultures’. Myconcern is with the interplay and uneasy interaction between economics (music as commodity, various business strategies and organizational struc- tures) and culture (the practices, interpretations and ways of life of musi-cians, fans and industry workers) and the ways in which the two oftenblur and fuse. I am also interested in how genre categories inform theorganization of music companies, the creative practices of musicians andthe perceptions of audiences. In researching, thinking through and then writing about these issues, I have gradually become aware of how my own experiences of the recording industry and music-making have informedthis project, influencing the issues I have decided to focus upon and theway I have thought about them. Looking back on the period that I havebriefly alluded to, and reflecting upon this with slightly more than an ‘ifonly I knew then what I know now’ sentiment, I have realized that manyof the intuitive assumptions I made about the music industry as a result ofpersonal experience have informed the ideas I have developed in a moremeasured and self-consciously intellectual way in this book. I should alsoadd that I have reassessed numerous previous assumptions as a result of all this research. There are two main ideas that I have been trying to think through in researching for and writing this book—genre and corporate strategy—and I want to highlight how these issues have a bearing on what we come torecognize as creativity. In Chapter 1 I will provide a discussion of these themes in terms of specific intellectual debates and theories. Here, without wishing to become too indulgent and self-referential, I want to include a few more words about my own personal experiences on the assumptionthat these are not unique, but comparable to what others may haveendured through their involvement in writing songs, performing andattempting to obtain a recording contract. At the very least I would like toacknowledge that the ideas I am putting forward in this book have notsimply been derived from a ‘detached’ scholarly process of research, think-INTRODUCTION 3ing and writing, but have come together following a rather more chaotic pattern of learning over a longer period. A central issue I am concerned with in this book is that of genre: the way in which musical categories and systems of classification shape themusic that we might play and listen to, mediating both the experience ofmusic and its formal organization by an entertainment industry. In retro-spect, with one or two notable exceptions, most of my experiences as amusician were contained within a whole series of genre boundaries, codesand expectations (in a way that did not impact upon my musical consump-tion). Certainly all of my experiences as a member of bands who, to agreater or lesser extent, were focused on the goal of a recording contract,were lived within specific ‘genre worlds’. From the first days of trying toform a band, the initial and recurring question was always ‘What type ofmusic do you play?’, followed by ‘What are your influences?’ and ‘Whatdo you listen to?’ This I would ask, or be asked, during meetings thatoccurred as a result of word-of-mouth communications, when answeringadvertisements in Melody Maker, in reply to notices placed in record shops or when responding to hand-scrawled announcements innewsagents’ windows. The same type of question would be asked whenwe began to arrange gigs. It didn’t matter if it was to be a performance in a pub, at a wedding, in an arts centre or as a support act with another band—the question was always the same: ‘What type of music do youplay?’ Any attempt to refuse musical labe lling by coyly playing the game of ‘we don’t like to classify ourselves’ or ‘we are unlike any other band’would not help us get bookings. It would usually result in a request to‘hear a tape’ before a decision could be made. Once we began playing in front of the public it soon became apparent that our audiences, and those of them who became fans and followed usaround, would have their opinions about the category to which we mightbelong. During a break in a performance, or at the end of a gig, members of an audience would come up with various unsolicited opinions, makingspecific comparisons (I still recall: ‘You play keyboards like the guy inCockney Rebel’ and ‘The band sounds like XTC/The Boomtown Rats/The Beat/Split Enz’). There would be generic comparisons too (‘New wave,but a bit of soul’, ‘You’re too poppy for this place’ or ‘Heavy, great!’—the band members I was performing with when that last phrase was utteredwere using amplifiers and PA equipment that would, against our best intentions, continually produce a distorted sound). Such opinions influ-enced the way in which the band interacted with the audience, how weperformed and how we drew up our set lists. In a practical way we recog-nized the boundaries to genre expectations, how they interacted andoverlapped. We got to know the venues in which we could be ‘a bitpoppy’; where we could get away with extended jams (improvisation);where we had to be a bit heavy (the rows of motorbikes parked outside4 MUSIC GENRES AND CORPORATE CULTURESthe pub or club were usually a clue); and where we could—or more impor- tantly, could not—inflict on the audience attempts at funk workouts orintroduce reggae rhythms into rock ’n’ roll standards. If the responses and expectations of audiences were influencing our per- formances, then the assumptions about genre codes also had an impactupon my own songwriting and style of playing. Like many people, I wasoften simultaneously a member of groups performing different repertoires.For example, I was playing with a slightly jazzy, Steely Dan-influencedband at the same time as being a member of a punk band—and I don’t think I was unusual, although it was often strategically necessary to con- ceal such double lives. I reca ll, during pre- punk days, a brief period when I had been playing with a heavy(ish) rock band, called—appropriately—Bullfrog Nightmare. I was asked to join the band because the membersdid not compose their own material and they had heard, somehow, from someone, that I could write songs. After a couple of weeks of rehearsals and conversations, I introduced my songs to the band. The response I stillrecall. My songs were ‘good’, had ‘good lyrics and melodies’, but were ‘abit too much like Paul McCartney’ (if only! if only!). Somewhat irritated Iwent away, brought my limited knowledge of Deep Purple to bear on ariff stolen from Lou Reed, put it through a fuzz box, wrote about a rock band who cause minor havoc in a rundown hotel, and called it Rock Man- sion Hotel —it was instantly accepted by the band; I had grasped the ‘genre rules’. A few years later, I was asked to join another band who, in the wake of punk and new wave, were desperately trying to modify theirawkward and, in retrospect, rather unique unblended mix of old r ’n’ briffs, Genesis-inspired whimsies and T-Rex boogies. Here I instantly founda place for my angry Elvis Costello pastiches. In other combinations Ifound an outlet for bad Stevie Wonder imitations; I learnt to ‘stop think-ing in chords’ and ‘follow the groove’ when playing disco-jazz-funk; and Irealized that punk rock finally allowed me to leave my keyboards behind and jump across the stage playing electric rhythm guitar (badly, naturally). An irony I was always vaguely aware of throughout this time was the lack of any relationship between the genre performed by a band and the musical inclinations and record collections of the individual musicians.Individual preferences were often eclectic, defying any simple assumptionsabout a direct connection between musical ‘taste’ (or ‘market’) and socialidentities. This would also be apparent when meeting and getting to knowthe musicians in other bands. Most groups were a tense collusion and col-lision of factions, cliques and a lliances, and the un it’s style often the result of a degree of antagonism, compromise and occasional synthesis. Thiswas always leading to arguments and resulting in bands continually split-ting and re-forming. The alternative to compromise simply involved goingcrazy or going solo (and many of us tried both). I have subsequently cometo believe that the most successful bands knew exactly what genre theyINTRODUCTION 5were playing, recognized its musical and social boundaries and under- stood what their audience wanted to hear, see and be told. The mostinteresting bands musically (at least for me) were the strange, unpre-dictable mixtures and messes that were trying to please a range of audi-ences and band members simultaneously (and which are always to befound in a club or bar somewhere). These were not necessarily the mostsuccessful, either in commercial terms or according to their ability tocommunicate with large numbers of people. It was usually the formerrather than the latter who obtained the recording contracts and it goeswithout saying that the ultimate genre question was—and is—asked byrecord companies. This is the way in which the music industry rewardsand recognizes certain genre practices, sounds, combinations, cultures andnot others. Some can be categorized, easily labelled and slotted into thecultures of production more easily than others. One of the central themesof this book concerns how the music industry and broader social net-works act to divide and constrain these potentially fluid, multiple influ-ences and genre crossings. The issue of record company strategy is also central to this book. When I was signed to a record company, and during my numerous discussionswith others on the receiving end of various ‘deals’, I would not have believed that record companies had coherent strategies (maybe back in the 1970s and early 1980s they were not so clear or obvious as they are now).Certainly my memories of being a member of bands signed to record com-panies bring to mind images of inertia and indecision, of things not hap-pening, of the music business being disorganized and populated by‘untogether’ people, and of label directors always changing their mindsand changing their staff (a different A and R person in the seat every sixmonths). I recall the days following the euphoria that accompanied thesigning of a recording contract as a time of great expectations but nothinghappening. The date for the release of the first single came—and went; the recording was delayed (‘by forces beyond our control’). The release of thefirst single was postponed further because the distribution company hadceased operating and a new deal had only just been completed with Poly- Gram—but ‘rest assured, they are “committed” to the band as the firstrelease through this new deal’. The single was at long last released—but there seemed to be little evi- dence of marketing or promotion (we had managed to get our own inde-pendently produced first single played on three different BBC Radio Oneshows). Word filtered along a chain from a friend of a friend who knewsomeone who worked as a secretary at the BBC: The ‘independent pro-moter’ who had been subcontracted to push our single was of the opinionthat it was ‘a piece of shit’ and had got more attractive recordings to plug.We were told, more diplomatically, by the record company that it was‘not radio friendly’. Then senior staff at the record label began to reassess6 MUSIC GENRES AND CORPORATE CULTUREStheir obligation to release a second single before they even had to reach the impending decision to proceed through the first contractual ‘option’clause and commit themselves to record an album. We were informed thatthere was a ‘problem’ with the credentials of the production duo (ex-members of a well-known 1970s rock band) who had agreed to produceour next single and whom we had met to discuss arrangements and stu-dios. The directors of the record company were concerned that theseproducers had a reputation for not remaining sober in the studio. Sowhat? Our collective response of ‘this is rock ’n’ roll’ was not appreciatedby the ones who held the purse strings (even if costs could be recoupedfrom our future earnings). We were introduced to another producer, whocame with the qualification of having played sessions with David Bowie.He told us some nice anecdotes, but we did not really hit it off with himmusically. Who else would produce us? Weeks went by and then turned into months. There were the beginnings of serious and emotional arguments between frustrated band membersand record label. We were thought to be ‘difficult’. It also became vaguelyclear that the company had some financial problems. Eventually we ‘set-tled’—we were paid off with a small amount of cash which we spent bygoing straight into a recording studio and ‘putting down’ some awful demos. These were not very good, recorded ‘on the rebound’—not the best selection of songs, performed too fast with too many instruments inthe mix and a lot of shouting or half-sung ranting accompanying the vocalline. I still recall the reaction of one A and R man at Polydor to whom wepresented the tape a few days later. Pressing the stop button after listeningfor less than thirty seconds, he turned to us and, in a monotone whichmust have been perfected over many years, he said: ‘The drum sound—it’slast year’s thing, maaan!’ At the time, and shortly afterwards, I believed that this entire mess was one big, unlucky, chaotic, cosmic accident without any underlying logic,reason or cause. I was later to reconsider this view and formed the opin-ion that this was just another typical series of occurrences within themusic business, and symptomatic of how record companies function mostof the time. I now believe that this was indicative of the inherent instabil-ity in the music business, the uncertainties that corporate strategiesattempt to deal with, but also that these types of fiascos are the sort ofevents which corporate strategies help to create. Reflecting upon this experience now, particularly when prefacing my own sociological account of the recording industry, it seems worth high-lighting the tensions between these different understandings of the worldof musical production. On one side is the academic tendency, developedfrom a training in modern sociology. This brings with it the assumptionthat the lives of people and things occur according to particular types of‘logic’—hence, the idea that there are identifiable patterns to music indus-INTRODUCTION 7try practices and recognizable motives guiding the habits and actions of musicians and recording industry personnel alike. As a humanist sociolo-gist I have learnt to deal with my fellow human beings as rational andincreasingly ‘reflexive’, self-consciously aware of our actions and the cir-cumstances which limit or enable us to engage in one activity and notanother. Like other sociologists I strongly resist the tendency to yiewbehaviour in terms of an individual’s hidden psychological motives orquirks. Instead, focusing on the combined actions of numerous groupsand alliances, I seek to explain how such entities as the recording industry work in a systematic, coherent and orderly manner. Guiding my approachis the belief that this type of knowledge will be useful for academic col-leagues, students, musicians, people within the recording industry, policy-makers and anyone who seeks to participate in or exercise some influenceon processes of commercial music production. Yet most of the time the music industry clearly does not operate as it should, or is supposed to. It doesn’t work (continually producing hugenumbers of ‘failures’ and disorder) even according to its own most basiccriterion of success. In the process, it generates a large amount of confu-sion, incomprehension, misunderstandings, exploitation, conflict andanxiety. When great music does manage to escape from this vortex, it seems all the more inexplicable and even magical. It is here, at this point and during these moments, when notions of experiential confusion andimmediate emotional response to the mysteries of the music rub upagainst, confront or simply diverge away from any attempt to offer a sys-tematic analysis. ‘Chaos’ appeals to many people’s experience of themusic industry—not as a postmodern feeling of relativist anxiety (a conse-quence of complicated, multiple influences that are potentially knowable),nor as a psychological malady and neither as a social-psychological stateof (equally explicable) disorientation. The musician’s experience andindustry worker’s anxieties embrace chaos and confusion as a real expla- nation of social life and organizational existence, denying that the entiremess is amenable to any kind of systematic or ‘academic’ explanation. Such is the challenge facing the sociologist, and it’s one that I have become acutely aware of as a result of my own prior feeling of chaos and confusion. However, my position in this book is that while the recording industry might make us feel confused, this does not mean that we cannotrelate such disorienting rhythms to very specific social processes, practices and organizational arrangements. While I am, and have always been, sus-picious of simple and one-dimensional explanations of how the musicindustry operates (whether tales of corruption, the commercial rip-off ormodels of melodies passing along bureaucratic assembly lines), I dobelieve that it is possible, from research and study, to gain a useful insightinto the complexity of people, organizations, companies and alliances andthe historically changing motives, influences and agendas which shape the8 MUSIC GENRES AND CORPORATE CULTURESproduction of popular music. Throughout this book I will explain, in a more measured and comprehensive way, some of the corporate contextthat surrounds the tiny human dramas I have already alluded to, and high-light some of the reasons why record companies are such a characteristicmix of reckless speculation (‘sign this band!’) and nervous caution (‘whatshall we do with them?’). I will be using a number of sociological ideas toevoke a series of dynamics, social relationships and discursive practiceswhich are characteristic features of music production. Bearing in mind thecomments above, I have no intention of presenting the material in thisbook as a neat ‘mode l’, nor do I wish to r educe the diverse range of expe- riences I have drawn on to a closed ‘system’ of production. There will be anumber of moments when I shall explicitly attempt to connect with feel-ings of confusion or incomprehension—for example, when discussing theconsequences of corporate strategies for the problems faced by senior executives (in Chapter 2 ) and when highlighting the different ways in which music does, and does not, move across international borders (in Chapter 7 ). While this book is informed, if only in an oblique way, by a series of personal experiences, it also draws from numerous sources and the writ-ings of other authors which fall sometimes on one side, sometimes on the other, of a related division which grows out of the dichotomy dividing the experiential/immediate from the analytic/reflexive. Usually, this pits (oftenantagonistically) academic writing against varieties of journalism andfanzine material. In a similar way, writings about industry and manage-ment often diverge between the material found in weekly magazines,newspapers and popular paperbacks (with their immediate analysis, rally-ing calls and pronouncements about what big business might or shouldnot be doing), and the more measured writing of academics who mayhave developed more ‘critical’ studies of the activities of those withinindustry and commerce. For me, it has been impossible to deal with this subject (the production of music and the recording industry) without drawing upon and acknowl-edging these different sources and their various insights, claims and limita-tions. I don’t pretend to have woven all of the material I have put togetherfrom these sources into an entirely academic, analytical, totally coherentand seamless pattern. It may be that, from a certain academic perspective,some parts of the book will be thought to be too descriptive and journalis-tic; certainly much of it will be considered too academic from the vantagepoint of many fans and journalists. These differing perspectives are notalways discrete, and a number of authors have successfully written acrossthese types of divisions. Such approaches also often converge, diverge,interact and inform one another. For example, many people within themusic industry hold coherent ‘theories’ about what they are doing andwhy the music industry and people within it behave the way that they do.INTRODUCTION 9Theories of ‘subcultures’, of ‘indies versus majors’ and of record compa- nies ‘throwing mud against the wall’ can be found in the writings of aca-demics and in the everyday beliefs of those trying to make sense of whatthey are doing within the music business. Indeed, I have drawn on theseideas when using material derived from personal interviews with musicindustry personnel. This leads me to another issue and a further series ofdilemmas and questions that I think it useful to raise here in these intro-ductory words. Over the years I have often been asked a very similar question about my research, a question that goes something like this: ‘How do you know thatpeople in the music industry are telling you the truth and that they are notsimply lying or giving you a standard public relations line?’ This commontype of question has in fact been asked many times, of researchers andinterviewers in general. It has been asked of me with the extra suspicion that perhaps people within the media, music and entertainment industry are particularly inclined to deception and lying. A simple and practical response to this type of question is to argue that a researcher can draw on a repertoire of techniques which can be foundexplained in many interviewing textbooks: ask the same question in a dif-ferent manner; be attentive to body language and signs of evasiveness; ask the same question of different people; check with other sources—try and validate what is being said by ‘triangulation’, that is by being aware ofdifferent perspectives on the same situation and by seeking other sourcesof knowledge about the topic. This is relatively straightforward and needslittle elaboration here. However, further issues are raised by questionsabout any ‘truth’ that might be gained from interviewing. For posing thistype of question about interviewing presupposes that there is some under-lying truth about the world, and that we can gain access to this by askingpeople the right sort of questions in such a way so as to reveal this truth.If this truth does exist, there is an additional assumption that the person we might be interviewing will be aware of and have knowledge of thistruth (hence, a further supposition is made: he or she can conceal it fromus). The issues here concern philosophical problems of the nature of ‘truth’; the relationship between thoughts, verbal utterances and the worldthey seek to explain; and the debates about whether the interviewer- interviewee relationship provides a means of producing information about the world or whether it can be used to reveal or discover already existing truths. To fully deal with these issues would lead me way beyond the scope of this introduction, but I wish to say something about this issuehere and to clarify how I have approached interviewing and the materialderived from interviews. First, I consider interviewing to be about far more than the collection of ‘data’. It is not, as far as I am concerned, about producing a series of stan-dardized questions (in a survey type format) and asking these of a ‘sam-10 MUSIC GENRES AND CORPORATE CULTURESple’ of people. Interviews are very specific social encounters between individuals which occur at particular times and places. The relationshipwhich is established and which develops (or does not develop) during theencounter will decisively influence any material derived from an interview.Interviews are not about ‘extracting’ information or truths that are wait-ing to be revealed. Instead, an interview is an active social encounter,through which knowledge of the world is produced via a process ofexchange. This involves communication, interpretation, understandingand, occasionally perhaps, misunderstanding. As a major part of my research for this book, I have used interviewing in an attempt to understand how individuals within the music industryperceive and imagine the world in which they are working. I have nottaken this as a reality that is simply constructed (a ‘reality’ brought intobeing during an interview), any more than I have adopted a naive realist approach and presumed that what is said during an interview can be understood as a ‘reflection’ of reality. These meanings I have then sought,as much as possible, to place within their organizational, historical, socialand geographical contexts. I have tried to locate the voices I have used inthis book in such a way that the context of the interview is apparent andin order that the conditions within which such an understanding of reality is produced become clear. In this way, I do not intend that the voices sim- ply ‘speak for themselves’ or provide an index of particular truths and,unlike some academic researchers, I am not seeking to develop so-called‘objective’ concepts which are independent of the world views of the peo-ple I have placed within my study. For me, this can too easily result inrhetorical or cynical attempts to undermine or devalue the views of thepeople who have been spoken to and ‘studied’ (i.e. the researcher trans-lates someone’s words into a more authoritative discourse under therhetorical umbrella of ‘critical’ or ‘scientific’ thought). Since at least the nineteenth century, numerous sociologists and philoso- phers have stressed that, in producing intellectual accounts of the world, we do not simply study and observe human action and behaviour in away comparable to the ‘natural’ or ‘physical’ sciences (focusing on the growth of plants, the movement of atoms or forces influencing the flightof a jet aircraft). Instead, we study social life in which people already have their own ideas, concepts and theories about the world. Hence, the pro-duction of theories and concepts through social scientific or humanistic research inevitably involves a process of mediation or of translation. Wedraw from existing frames of meaning and interpretations circulating inthe world in order to produce our social theories. We seek to understand,interpret, theorize and develop concepts about a world that is alreadyunderstood, interpreted and theorized through various existing concepts.Even if some of these ideas may strike us as rather basic or as a form ofINTRODUCTION 11everyday common sense, we cannot go through them and find some fun- damental truth on the other side. Yet, if the researcher draws upon interpretations and meanings that are already in the world, so the people who we might be studying are drawingupon the ideas and interpretations developed and circulated by social sci-entists. There is an interaction and lack of separation. We cannot bracket,or separate off, social scientific interpretation from the meanings that peo-ple give to the situations within which they live. This idea, discussed asthe ‘double hermeneutic’ in the work of Anthony Giddens and traceableback to the writings of Wilhelm Dilthey in the nineteenth century, is verymuch an attempt to stress the connections between the vernacular, every-day way in which people interpret and understand their lives and themore technical and formal interpretations and theories developed bysocial scientists or philosophers. The point is that the two are not sepa-rate. One cannot be detached from the other and elevated to a moreauthoritative position simply because it has been produced through ascholarly, academic or ‘scientific’ method. When conducting my own research, for this and previous books, it has been very apparent to me that people in the music industry draw uponideas from cultural studies, sociology, musicology, linguistics, semiotics (often mediated through journalism or courses in media and cultural stud- ies) when speaking about artists, recordings, videos and aspects of produc-tion and distribution, as much as academic writers draw on the everydaytheories that are circulated by staff within the music industry. It is thisthat makes arguments about corporate strategies, creative activities, inde-pendent record labels, subcultures and company cultures, identity, global-ization and commodification, more than simply the concern of ‘academic’debate. And it is this which, ultimately, leads me to come out against expe-riential confusion and in favour of some order that can be explained,understood and acted upon. This book has been written with an academic reader in mind, but it is informed by the type of interactions I have beensignalling—between scholarly, academic theorizing and more vernacular, everyday ‘practical knowledge’. I hope that what I have written will con- tribute to both sides of this often fraught divide and also to the interpreta-tive links between the two. In terms of the book’s structure, I have arranged the following chapters so as to build up an account of the recording industry and production ofpopular music based on the way in which specific cultural practices areproduced through the interaction between corporate strategies and musi-cal genre formations. The first chapter provides a frame, an outline of theexplicit theoretical ideas that have informed my thinking and which arewoven throughout the later discussion. Chapter 2 explains the reasons why corporate strategies are introduced and what these strategies involve,and considers some of their main consequences. Chapter 3 focuses12 MUSIC GENRES AND CORPORATE CULTUREScritically on how companies which adopt similar strategies also attempt to differentiate themselves according to ideas about company culture andcorporate identity. These first three chapters provide a context for the pro-files of rap, country and salsa which follow in Chapters 4 to 6 , and for Chapter 7 , in which I place musical production within a more interna- tional setting. My aim in these chapters is to introduce a number ofthemes and issues through a discussion of different types of music, ratherthan to engage in a type of ‘comparison’ of the same aspects (for example,comparing the role of distribution, radio or geographical identities in eachcase). I wish to highlight the specific ways in which musical production isshaped by particular genre cultures and to highlight the broader historical and social context within which production takes place. So, for example,when thinking about the production of rap, salsa and country, we couldsuperficially note that all are manufactured and distributed by recorded music companies which carry the same corporate logos, use the same office arrangements, accord their staff similar basic occupational titles andpromote through the same media formats. However, the way in whichthese genres have come to be produced and circulated is very different—too often the study of pop or rock has been generalized, as if indicative ofall industrialized musical production in general. The formal organiza- tional similarities often conceal important cultural differences. Musical sounds and meanings are not only dependent upon the way an industry isproducing culture, but are also shaped by the way in which culture is pro-ducing an industry. This thematic phrase leads me directly to my firstchapter and to a more detailed discussion of the conceptual ideas whichframe the rest of the book.INTRODUCTION 13 Bibliography Adorno, T. (1991) The Culture Industry, Selected Essays on Mass Cul- ture, ed. J. Bernstein, London: Routledge. Adorno, T. and Horkheimer, M. (1979) Dialectic of Enlightenment, Lon- don: Verso. Anderson, B. (1983) Imagined Communities, London: Verso. Angelero, A. (1992) ‘Back-to-Africa: the “reverse” transculturation of Salsa/Cuban popular music’ in V. Boggs (ed.) Salsiology: Afro-Cuban Music and the Evolution of Salsa in New York City, New York: Excel- sior, pp. 301–5. Aparicio, F. (1998) Listening to Salsa: Gender, Latin Popular Music and Puerto Rican Cultures, Hanover, NH: Wesleyan University Press. Aparicio, F. and Chávez—Silverman, S. (eds) (1997) Tropicalizations, Transcultural Representations of Latinidad, Hanover, NH: Dartmouth College/University Press of New England. Armstrong, P. (1989) ‘Limits and possib ilities for HRM in an age of man- agement accountancy’ in J. Storey (ed.) New Perspectives on Human Resource Management, London, Routledge. Bechdolf, U. (1997) ‘Dancing to Latin American Music: Exoticism or Cre- olization of Cultures?’ Paper presented to ‘Popular Music: Intercultural Interpretations’, Ninth Conference of International Association for the Study of Popular Music, July 1997, Kanazawa, Japan . Becker, H. (1974) ‘Art as Collective Action’, American Sociological Review, Vol. 39, pp. 767–76. ——(1976) ‘Art worlds and social types’ in R.Peterson (ed.) The Produc- tion of Culture, London: Sage, pp. 41–56. Billig, M. (1995) Banal Nationalism, London: Sage. Boggs, V. (1992) ‘Salsa’s Origins: Voices from Abroad’, Latin Beat, Vol. 1, No. 11, pp. 26–31. ——(ed.) (1992) Salsiology: Afro-Cuban Music and the Evolution of Salsa in New York City, New York: Excelsior. 197Bourdieu, P. (1986) Distinction. A Social Critique of the Judgment of Taste, London: Routledge. ——(1993) The Field of Cultural Production, Cambridge: Polity. ——(1996) The Rules of Art, Cambridge: Polity. Buckingham, L. (1997) ‘Out of Tune With Uncle Sam’, Guardian, 31 May 1997, p. 26. Chambers, I. (1985) Urban Rhythms, Pop Music and Popular Culture, London: Macmillan. ——(1994) Migrancy, Culture, Identity, London: Routledge. Chapple, S. and Garofalo, R. (1977) Rock ’n’ Roll is Here to Pay, Chicago: Nelson Hall. Clark-Meads, J. (1995) ‘IFPI Says Sales in Latin Markets Up 33%’ Bill- board, 19 August 1995, p. 3. Clark-Meads, J. and White, A. (1996) ‘Roger Ames New President of PolyGram Music Group’, Billboard, 6 April 1996, p. 6/94. Cline, C. (1996) ‘Indie Country’, Twanging!, No. 7, April, pp. 1–2. Cusic, D. (1995) ‘Country Green: The Money in Country Music’ in C.Tichi (ed.) Readin’ Country Music: Steel Guitars, Opry Stars and Honky Tank Bars: The South Atlantic Quarterly, Vol. 94, No. 1, Win- ter, pp. 231–41. Dane, C. (1995) UK Record Industry Annual Survey, Weston-super- Mare: Media Research Publishing. Dannen, F. (1990). Hit Men. Power Brokers and Fast Money Inside the Music Business, London: Random House. De Wit, B. and Meyer, R. (1994) Strategy: Process, Content, Context, Minneapolis/St Paul: West Publishing Company. Deal, T. and Kennedy, A. (1988) Corporate Cultures, Harmondsworth: Penguin. DeCurtis, A. (1995) ‘Ore Day’, Vibe, December, pp. 92–4. Duany, J. (1984) ‘Popular Music in Puerto Rico: Toward an Anthropol- ogy of Salsa’, Latin American Music Review, Vol. 5, No. 2, pp. 186– 216. Duffy, T. (1994) ‘EMI Spans the Globe in New World Music Series’, Bill- board, 5 February 1994, p. 40. du Gay, P. (1996) Consumption and Identity at Work, London: Sage. ——(ed.) (1997) Production of Culture/Cultures of Production, Open University London: Sage. Edwards, T. and Stein, J. (1998) ‘Getting Giggy With a Hoodie: Young Black Designers are Giving Urban Fashions Street Appeal’, Time, Vol. 151, No. 1, pp. 71–2. Ellison, C. (1995) Country Music Culture, Jackson: University Press of Mississippi. Estupinan, L.M. (1994) ‘Canarias, Decana Espanol de la Salsa’, El Manis- ero, No. 2, April-May 1994, pp. 10–14.198 MUSIC GENRES AND CORPORATE CULTURESFabbri, F. (1982) ‘A theory of music genres: two applications’ in P.Tagg and D. Horn (eds) Popular Music Perspectives, Gothenburg and Exeter: IASPM. ——(1985) ‘Patterns of music consumption in Milan and Reggio Emilia from April to May 1983' in P.Tagg and D.Horn (eds) Popular Music Perspectives 2, Gothenberg and Exeter: IASPM. ——(1989) ‘The system of Canzone in Italy today (1981)’ in S.Frith (ed.) World Music, Politics and Social Change, Manchester: Manchester Uni- versity Press, pp. 122–42. Fabrikant, G. and Weinraub, B. (1996) ‘Having Gotten the Part, Bronf- man Plays the Mogul’, New York Times, Money and Business, 4 Febru- ary 1996, Section 3, p. 1/13. Feiler, B. (1996) ‘Gone Country’, New Republic, 5 February 1996, pp. 19–24. Feld, S. (1984) ‘Communication, Music and Speech About Music’, Year- book for Traditional Music, Vol. 16, pp. 1–18. ——(1994) ‘Notes on World Beat’ in C.Keil and S.Feld (eds) Music Grooves, Chicago: University of Chicago Press, pp. 238–16. Fernández, R. (1994) ‘The Course of U.S. Cuban Music: Margin and Mainstream’, Cuban Studies, Vol. 24, pp. 105–22. Fernando Jr, S.H. (1995) The New Beats: Exploring the Music Culture and Attitudes of Hip-Hop, Edinburgh: Payback Press. Finnegan, R. (1997a) ‘Music, performance and enactment’ in H.Mackay (ed.) Consumption and Everyday Life, London: Sage, pp. 113–58. ——(1997b) ‘Storying the Self: personal narratives and identity’ in H.Mackay (ed.) Consumption and Everyday Life, London: Sage, pp. 58–112. Fish, S. (1980) Is There a Text in This Class? The Authority of Interpre- tive Communities, Cambridge, Mass.: Harvard University Press. Fitzgerald, T. (1996) ‘Uknowhowsheduit’, Beat Down, Vol. 4, No. 2, pp. 22–3. Fligstein, N. (1990) The Transformation of Corporate Control, Cam- bridge, Mass.: Harvard University Press. Flippo, C. (1996) ‘The Gold Rush May Be Over, But Country is Still Flourishing in ‘96’, Billboard, 28 December 1996, pp. 36–7. Flores, A. (1987) ‘Once-hot Biz of Salsa Sound is a Cold Note’, New York Daily News, 14 July 1987, pp. 1/6. Frith, S. (1983) Sound Effects, Youth, Leisure and the Politics of Rock ’n’ Roll, London: Constable. ——(1988) Music for Pleasure, Cambridge: Polity. ——(1991) ‘Critical response’ in D.Campbell Robinson, E.Buck and M.Cuthbert (eds) Music at the Margins; Popular Music and Global Cul- tural Diversity, London: Sage.BIBLIOGRAPHY 199——(ed.) (1993) Music and Copyright, Edinburgh: Edinburgh University Press. ——(1996) Performing Rites. On the Value of Popular Music, Oxford: Oxford University Press. Garcia Canclini, N. (1990) Culturas Hibridas, Estrategias para Entrar y Salir de la Modernidad, Mexico: Grijalbo. Garnham, N. (1990) Capitalism and Communication: Global Culture and the Economics of Information, London: Sage. Garofalo, R. (1986) ‘How Autonomous is Relative: Popular Music, the Social Formation and Cultural Struggle’, Popular Music, Vol. 6, No. 1, pp. 77–92. ——(1993) ‘Black popular music: crossing over or going under?’ in T.Bennett, S. Frith, L.Grossberg, J.Shepherd, G.Turner (eds) Rock and Popular Music: Politics, Policies, Institutions, London: Routledge pp. 231–8. ——(1994) ‘Culture Versus Commerce: The Marketing of Black Popular Music’, Public Culture, Vol. 7, No. 1, pp. 275–88. ——(1997) Rockin’ Out, Popular Music in the USA , Needham Heights, Mass.: Allyn and Bacon. Gavin Report (1996) Texas Radio and the Americana Beat’, Gavin Report, No. 2096, 15 March 1996, pp. 29–30. George, N. (1989) The Death of Rhythm and Blues, London: Omnibus. ——(1992) Buppies, B-Boys, Baps and Bohos, London: HarperCollins. Gerard, C. and Sheller, M. (1989) Salsa, The Rhythm of Latin Music, Temple, Ariz.: White Cliffs Media Co. Giddens, A. (1990) The Consequences of Modernity, Stanford, Ca.: Stan- ford University Press. Gillett, C. (1983) The Sound of the City, London: Souvenir Press. Gilroy, P. (1993) The Black Atlantic, Modernity and Double Conscious- ness, London: Verso. Glanvill, R. (1989) ‘World music mining: the international trade in new music’ in F.Hanly and T.May (eds) Rhythms of the World, London: BBC Books. Glasser, R. (1995) My Music Is My Flag: Puerto Rican Musicians and Their New York Communities 1917–1940 , Berkeley, Ca: University of California Press. Golding, P. (1990) ‘Political communication and citizenship: the media and democracy in an inegalitarian social order’ in M.Ferguson (ed.) Public Communication: The New Imperatives, London: Sage. Golding, P. and Murdock, G. (1996) ‘Culture, communications, and polit- ical economy’ in J.Curran and M.Gurevitch (eds) Mass Media and Society, London: Arnold, pp. 11–30. Goodwin, A. and Gore, J. (1990) ‘World Beat and the Cultural Imperial- ism Thesis’, Socialist Review, Vol. 20, No. 3, pp. 63–80.200 MUSIC GENRES AND CORPORATE CULTURESGorden, A. (1997) ‘It All Adds Up’, The Source, January, p. 98. Gray, H. (1988) Producing Jazz, Philadelphia: Temple University Press. Gregory, K. (1983) ‘Native-View Paradigms: Multiple Cultures and Cul- ture Conflicts in Organizations’, Administrative Science Quarterly, Vol. 28, No. 3, pp. 359–76. Gubernick, L. (1993) Get Hot or Go Home, Trisha Yearwood: The Mak- ing of a Nashville Star, New York: St Martin’s Press. Guilbault, J. (1997) ‘Interpreting World Music: A Challenge in Theory and Practice’, Popular Music, Vol. 16, No. 1, pp. 31–44. Gurza, A. (1996) ‘Salsa Wars’, LA Weekly, 29 April-2 May 1996, pp. 53– 5. Hall, S. (1983) ‘The problem of ideology, Marxism without guarantees’, in B. Matthews (ed.) Marx: 100 Years On, London: Lawrence and Wishart, pp. 57–84. ——(1997) ‘The work of representation’ in S.Hall (ed.) Representation: Cultural Representations and Signifying Practices, London: Sage, pp. 13–74. Hannerz, U. (1996) Transnational Connections, Culture, People, Places, London: Routledge. Harker, D. (1980) One for the Money: Politics and Popular Song, Lon- don: Hutchinson. Hebdige, D. (1979) Subculture, The Meaning of Style, London: Methuen. Hennion, A. (1982) ‘Popular music as social production’ in D.Horn and P.Tagg (eds) Popular Music Perspectives 1, Gothenberg and Exeter: IASPM, pp. 32–40. ——(1983) ‘The Production of Success: An Anti-Musicology of the Pop Song’, Popular Music 3, pp. 158–93. ——(1989) ‘An Intermediary between Production and Consumption; the Producer of Popular Music’, Science, Technology and Human Values, Vol. 14, No. 4, pp. 400–24. Hesmondhalgh, D. (1996a) ‘Flexibility, Post-Fordism and the Music Industries’, Media, Culture and Society, Vol. 18, No. 3, pp. 469–88. ——(1996b) Independent Record Companies and Democratisation in the Popular Music Industry, Ph.D. thesis, Goldsmiths College, University of London. ——(1998) ‘The British Dance Music Industry: A Case Study of Indepen- dent Cultural Production’, British Journal of Sociology, Vol. 49, No. 2, pp. 234–51. Hirsch, P. (1972) ‘Processing Fads and Fashions: An Organizational Set Analysis of Cultural Industry Systems’, American Journal of Sociology, Vol. 77, No. 4, pp. 639–59. Hofstede, G. (1991) Cultures and Organizations, London: McGraw-Hill International. Hosokawa, S. (no date) ‘Salsa no tiene frontera’: Orchesta de la Luz orBIBLIOGRAPHY 201the Globalization and Japanization of Afro-Caribbean Music, unpub- lished manuscript. Jackson, K. (1996) ‘America’s Rush To Suburbia’, New York Times, Sec- tion E, 9 June 1996, p. 15. Jeffrey, D. (1995) ‘Warner’s Fuchs Pledges Scrutiny’, Billboard, 14 Octo- ber 1995, p. 1/91. Jhally, S. (1990) The Codes of Advertising, London: Routledge. Johnson, R. (1997) ‘PolyGram: The Hits Just Keep on Coming. Racial Tensions at Record Label’, Fortune, Vol. 36, No. 12, p. 40. Jones, S. (1993) ‘Who fought the law? The American music industry and the global popular music market’ in T.Bennett, S.Frith, L.Grossberg, J.Shepherd, G. Turner (eds) Rock and Popular Music: Politics, Policies,Institutions, London: Routledge, pp. 83–98. Jones, T.C. (1995) Accounting and the Enterprise, London: Routledge. Kotler, P. (1994) Marketing Management; Analysis, Planning, Implemen- tation and Control, New Jersey: Prentice Hall. Laing, D. (1969) The Sound of Our Time, London: Sheed and Ward. ——(1985) One Chord Wonders; Power and Meaning in Punk Rock, Milton Keynes: Open University. Lash, S. and Urry, J. (1994) Economies of Signs and Space, London: Sage. Lee, S. (1995) ‘Re-examining the Concept of the “Independent” Record Company: The Case of Wax Trax! Records’, Popular Music, Vol. 14, No. 1, pp. 13–32. Lewis, L. (ed.) (1992) The Adoring Audience; Fan Culture and Popular Media, London: Routledge. Llewellyn, H. (1997) ‘Vibrant Sounds of Cuba Spreading to the World: Cuban Music Industry Showing Signs of Life’, Billboard, 3 May 1997, p. 1/78. McClary, S. (1991) feminine Endings: Music, Gender and Sexuality, Min- neapolis: University of Minnesota Press. Mackay, H. (ed.) (1997) Consumption and Everyday Life, London: Sage. Malone, B. (1985) Country Music, USA, Austin, Tex.: University of Texas Press, second edition. Manuel, P. (1991) ‘Salsa and the music industry: corporate control or grassroots expression?’ in P.Manuel (ed.) Essays on Cuban Music, Lan- ham, Md: University Press of America, pp. 157–80. ——(1995a) ‘Salsa and beyond’ in P.Manuel (ed.) Caribbean Currents, Philadelphia: Temple University Press. ——(1995b) ‘Latin music in the new world order: salsa and beyond’ in R. Sakolsky and F.Wei-Han Ho (eds) Sounding Off! Music as Subversion/ Resistance/Revolution, New York: Autonomedia, pp. 277–86. Marcus, G. and Fischer, M. (1986) Anthropology as Cultural Critique, Chicago: University of Chicago Press. Marlowe, A. (1995) ‘The hermeneutics of rap’ in A.Sexton (ed.) Rap on202 MUSIC GENRES AND CORPORATE CULTURESRap: Straight-Up Talk on Hip-Hop Culture, New York: Delta, pp. 220–4. Martin-Barbero, J. (1987) Procesos de Comunicacion y Matrices de Cul- tura, Naucalpan, Mexico: Ediciones G.Gili. ——(1993) Communication, Culture and Hegemony, From Media to Mediations, London: Sage. Mattelart, A. (1991) Advertising International: The Privatization of Pub- lic Space, London: Routledge. Miege, B. (1989) The Capitalization of Cultural Production, New York: International General. Mitchell, T. ( 1996) Popular Music and Local Identity; Rock, Pop and Rap in Europe and Oceania, Leicester: Leicester University Press. Morley, D. and Chen, K.H. (1996) Stuart Hall: Critical Dialogues in Cul- tural Studies, London: Routledge. Morris, C. (1996) ‘MCA Purchases 50% of Interscope: Gangsta Rap Issue Minimized by Execs’, Billboard, 2 March 1996, p. 13/84. Mosco, V. (1996) The Political Economy of Communication, London: Sage. Murdock, G. and Golding, P. (1974) ‘For a political economy of mass communications’ in R.Milliband and J.Saville (eds) The Socialist Regis- ter, 1973 London: Merlin. ——(1977) ‘Capitalism, communication and class relations’ in J.Curran, M.Gurevitch and J.Woollacott (eds) Mass Communication and Society, London: Arnold, pp. 12–43. Neale, S. (1980) Genre, London: British Film Institute. ——(1990) ‘Questions of Genre’, Screen, Vol. 31, No. 1, pp. 45–66. Negus, K. (1992) Producing Pop: Culture and Conflict in the Popular Music Industry, London: Edward Arnold. ——(1993) ‘Global Harmonies and Local Discords; Transnational Poli- cies and Practices in the European Record Industry’, European Journal of Communication, Vol. 8, No. 3, pp. 293–316. ——(1995) ‘Where the Mystical Meets the Market; Commerce and Cre- ativity in the Production of Popular Music’, Sociological Review, Vol. 43, No. 2, pp. 316–41. ——(1996) Popular Music in Theory, Cambridge: Polity Press/Wesleyan University Press. ——(1997) ‘The production of culture’ in P.du Gay (ed.) (1997) Produc- tion of Culture/Cultures of Production, London: Open University/Sage, pp. 67–118. Nelson, H. (1994) ‘Rap: In an Ever-Shifting Climate, Rap Holds Steady and Grows Strong’, Billboard, 26 November 1994, p. 25/46. Newman, M. (1995) ‘Music City Musings: Labels Abound, but Songs (and Duos) at a Premium’, Billboard, 21 October 1995, p. 16. BIBLIOGRAPHY 203——(1996) ‘Global Strategy Critical for Sony Executives Mottola and Bowlin’, Billboard, 18 May 1996, p. 1. Nunziata, S. (1995) ‘The Year in Business’, Billboard, 23 December 1995, p. YE-10. Ochs, E. (1993) ‘Latin Crossover That’s Set to Shake the World’, Music Business International, Vol. 3, No. 11, pp. 23–4. Olivier, C. (1995) ‘PolyGram’s Hollywood Dream’, Corporate Finance, September, pp. 30–5. Pacini Hernandez, D. (1993) ‘A View From The South: Spanish Caribbean Perspectives on World Beat’, The World of Music, Vol. 35, pp. 48–69. Padilla, F. (1989). ‘Salsa Music as a Cultural Expression of Latino Con- sciousness and Unity’, Hispanic Journal of Behavioural Sciences, Vol. 11, No. 1, pp. 28–45. Palmer, R. (1977) ‘Can Salsa Escape the Cultural Ghetto?’ New York Times, 23 January 1977, Section 2, part 2, p. 22/29. Pareles, J. (1996) ‘A Small World After All. But is that Good?’ New York Times, 24 March 1996, p. H34. Parker, A. (1997) ‘Wu-Wear Urban Clothing Chain Opens Store in Nor- folk Va’, Virginia Pilot, 2 May 1997, p. 5. Payton, T. (1997) ‘Set It Off, The Source, January, p. 96. Perez, B. (1986) ‘Political Facets of Salsa’, Popular Music, Vol. 6, No. 2, pp. 149–60. Peterson, R. (1976) ‘The Production of Culture. A Prolegomenon’ in R.Peterson (ed.) The Production of Culture, London: Sage, pp. 7–22. ——(1978) ‘The Production of Cultural Change: The Case of Contempo- rary Country Music’, Social Research, Vol. 45, No. 2, pp. 293–314. ——(1995) ‘The Dialectic of Hard-Core and So ft-Shell C ountry Music’ in C.Tichi (ed.) Readin’ Country Music: Steel Guitars, Opry Stars and Honky Tonk Bars: The South Atlantic Quarterly, Vol. 94, No. 1, Win- ter, pp. 273–300. ——(1997) Creating Country Music, Fabricating Authenticity, Chicago: University of Chicago Press. Peterson, R. and Kern, R. (1995) ‘Hard-Core and Soft-Shell Country Fans’, Journal of Country Music, Vol. 17, No. 3, pp. 3–8. Philips, C. (1996) ‘Charting Sony Music’s Future’, Los Angeles Times, Business, 5 May 1996, pp. D1/D4. Pickering, M. (1997) History, Experience and Cultural Studies, London: Macmillan. Powell, K. (1996) ‘Live From Death Row’, Vibe, Vol. 4, No. 1, February, pp. 44–50. Pride, D. (1991) ‘European Equalizer’, Music Business International, Vol. 2, No. 1, p. 21. Purcell, J. (1989) ‘The impact of corporate strategy on human resource204 MUSIC GENRES AND CORPORATE CULTURESmanagement’ in J.Storey (ed.) New Perspectives on Human Resource Management, London: Routledge. Quintero Rivera, A. (1992) ‘Ponce, the danza and the national question: notes towards a sociology of Puerto Rican music’ in V.Boggs (ed.) Sal- siology: Afro-Cuban Music and the Evolution of Salsa in New YorkCity, New York: Excelsior, pp. 43–58. ——(1994) ‘The camouflaged drum: melodization of rhythms and maroonage ethnicity in Caribbean peasant music’ in G.Behague (ed.)Music and Black Ethnicity: The Caribbean and South America, New Brunswick: Transaction Books, pp. 47–64. ——(1997) ‘Practicas Musicales y Visiones Sociales, Apuntes Sobre la Sociologia de las Músicas “Mulatas” ’, La Cansión Popular, Vol. 12, pp. 181–4. ——(1998) Salsa, Sabor y Control: Sociologia de la Musica ‘Tropical’, Havana: Premio Casa de las Americas, Mexico: Siglo Veintiuno. Quintero Rivera, A. and Manuel Alvarez, L. (1990) ‘La Libre Combina- cion de las Formas Musicales en la Salsa’, David y Goliath, Revista delConsejo Latinoamericano de Ciencias Sociales, Vol. 19, No. 57, pp. 45–51. Ramirez, M. (1996) ‘Joining the Party: Multinational Giants See Great Potential in Latin Music’, Los Angeles Times (Washington Edition), 12 March 1996, p. B5. Reynolds, J. (1995) ‘Rap Confab Assembles Nation’, Billboard, 11 November 1995 , p. 26. ——(1996) ‘Capitol Records Setting a Bad Example’, Billboard, 9 March 1996, p. 18. Robbins, J. (1990) ‘The Cuban Son as Form, Genre and Symbol’, Latin American Music Review, Vol. 11, No. 2, pp. 182–200. Roman Velazquez, P. (1996) The Construction of Latin Identities and Salsa Music Clubs in London: An Ethnographic Study, Ph.D. thesis, Leicester University. ——(1998) ‘El Desarrollo de un Circuito Salsero y la Construccion de Identidades Latinas en Londres’, Revista de Ciencias Sociales, Nueva Epoca, No. 4, pp. 53–79. Rondon, C.M. (1980) El Libra de la Salsa, Caracas, Venezuela: Editorial Arte. Rose, T. (1994a) Black Noise: Rap Music and Black Culture in Contem- porary America, Hanover, NH: Wesleyan University. ——(1994b) ‘Contracting Rap; An Interview with Carmen Ashurst- Watson’ in A. Ross and T.Rose (eds) Microphone Fiends, London: Routledge. Rosen, C. (1996) ‘Capitol Moves Urban Division to EMI: 18 Staffers Laid Off, Billboard, 9 March 1996, p. 3. Rubin, M. (1997) ‘Secrets of the Ch-Ching’, Spin, October, pp. 95–102.BIBLIOGRAPHY 205Russell, R. (1996) ‘Edge of the Row’, Music Row Magazine, Vol. 17, No. 10, June, p. 25. Russell, W. (1993) ‘Editorial, Information Please’, Rhythm Music Maga- zine, September, p. 4. Ryan, J. and Peterson, R. (1982) ‘The product image: the fate of creativ- ity in country music songwriting’, in J.Ettema and D.Whitney (eds) Individuals in Mass Media Organizations: Creativity and Constraint, London: Sage, pp. 11–32. Salaman, G. (1997) ‘Culturing production’ in P.du Gay (ed.) Production of Culture/Cultures of Production, London: Sage, pp. 235–84. Samuels, D. (1995) ‘The rap on rap: the “Black music” that isn’t either’ in A. Sexton (ed.) Rap on Rap: Straight-Up Talk on Hip-Hop Culture, New York: Delta, pp. 241–52. Sandler, A. (1995) ‘Big Labels Ride Black Music Bandwagon’, Variety, 28 August 1995, Vol. 360, p. 13. Sanjek, D. (1995) ‘Blue moon of Kentucky rising over the mystery train: the complex construction of country music’ in C.Tichi (ed.) Readin’ Country Music: Steel Guitars, Opry Stars and Honky Tank Bars: The South Atlantic Quarterly, Vol. 94, No. 1, Winter, pp. 29–55. ——(1997) ‘One Size Does Not Fit All: The Precarious Position of the African-American Entrepreneur in Post WW2 American PopularMusic’, American Music, Vol. 15, No. 4, pp. 535–62. ——(1998) ‘Popular music and the synergy of corporate culture’ in T.Swiss, J. Sloop and A.Herman (eds) Mapping the Beat, Popular Music and Contemporary Theory, Oxford: Blackwell. Sanjek, R. (1988) American Popular Music and Its Business, Oxford: Oxford University Press. Schiller, H. (1989) Culture, Inc. The Corporate Takeover of Public Expression, Oxford: Oxford University Press. ——(1991) ‘Not Yet the Post-Imperial Era’, Critical Studies in Mass Communication, Vol. 8, pp. 13–28. ——(1996) Information Inequality, London: Routledge. Schumacher, T. (1995) ‘This Is a Sampling Sport: Digital Sampling, Rap Music and the Law in Cultural Production’, Media, Culture and Soci- ety, Vol. 17, pp. 253–73. Scott, A. (1994) ‘Dornemann: Embracing Danger, Avoiding Risk’, Music Business International, Vol. 4, No. 3, pp. 9–13. Sexton, A. (ed.) (1995) Rap on Rap: Straight-Up Talk on Hip-Hop Cul- ture, New York: Delta. Siehl, C. and Martin, J. (1990) ‘Organizational culture: a key to financial performance?’ in B.Schneider (ed.) Organizational Climate and Cul- ture, San Francisco: Jossey-Bass. Singer, R. (1983) ‘Tradition and Innovation in Contemporary Latin206 MUSIC GENRES AND CORPORATE CULTURESMusic in New York City’, Latin American Music Review, Vol. 4, No. 2, pp. 183–202. Smircich, L. (1983) ‘Concepts of Culture and Organizational Analysis’, Administrative Science Quarterly, Vol. 28, No. 3, pp. 339–58. Snyder, M. (1996) ‘Artist Support Groups’, Billboard, 8 June 1996, p. 30/44. Stephenson, W.H. and Coulter, E.M. (eds) (1995) A History of the South: Vol. XI, The New South 1945–1980, Baton Rouge: Louisiana State University Press. Tagg, P. (1987) ‘Musicology and the Semiotics of Popular Music’, Semiot- ica, Vol. 66, pp. 279–98. Tate, G. (1996) ‘Is Hip Hop Dead?’ Vibe, Vol. 4, No. 2, March, p. 35. Thornton, S. (1995) Club Cultures: Music, Media and Subcultural Capi- tal, Cambridge: Polity. Tichi, C. (1994) High Lonesome: The American Culture of Country Music, Chapel Hill: University of North Carolina. UNESCO (1982) Culture Industries: A Challenge for the Future of Cul- ture, Paris: UNESCO. Varela, C. (1997) Cubadisco ’97—Cuba’s New Free Market Salsa, www.salsasf.com/features/Cubadisc.html. Vincent, R. (1996) Funk, the Music, the People and the Rhythm of the One, New York: St Martin’s Press. Wade, D. and Picardie, J. (1990) Music Man, Ahmet Ertegun, Atlantic Records and the Triumph of Rock ’n’ Roll, New York: W.W. Norton. Whalen, J. (1994) ‘Rap Defies Traditional Marketing’, Advertising Age, No. 65, 12 March 1994, p. 12. Williams, R. (1961) Culture and Society, Harmondsworth: Penguin. ——(1965) The Long Revolution, Harmondsworth: Penguin. ——(1983) Keywords, London: Fontana. Williamson, J. (1978) Decoding Advertisements, London: Marion Boyars. Willmott, H. (1993) ‘Strength is Ignorance; Slavery is Freedom: Manag- ing Culture in Modern Organizations’, Journal of Management Studies, Vol. 30, No. 4, pp. 515–52. Yamotei, N. (1987) Sleeve notes for Soro, Salif Keita, Stern Records 1020. Zimmerman, K. (1995) ‘Year of Turmoil’, Music Business International, October, pp. 18–22.BIBLIOGRAPHY 207	[ "music", "pp", "london", "culture", "vol", "industry", "ed", "new", "popular", "genre" ]	{ "summary": "KEITH NEGUS MUSIC GENRES AND CORPORATE CULTURES \nMusic Genres and CorporateCultures\nMusic Genres and" }
tL-mrk:prBig_data_and_analytics__the_future_of_music_marketing.pdf	BIG DATA AND ANALYTICS: THE FUTURE OF MUSIC MARKETING by Daniella Capodilupo A Thesis Submitted to the Faculty of College of Business In Partial Fulfillment of the Requirements for the Degree of Master of Science Florida Atlantic University Boca Raton, FL May 2015 ii Copyright 2015 by Daniella Capodilupo iv ACKNOWLEDGEMENTS First and foremost I would like to express my deepest appreciation to committee chair, Dr. Ira Abrams, who has been an admirable mentor, advisor, and friend during my graduate studies at FAU. His love for the music industry and self-learning has been my motivation to always seek more knowledge and be open to different perspectives, which is something I will take with me throughout the rest of my life. Without his guidance and dedication, this thesis would have not been possible. I would like to thank my committee members, Professor Craig Rinne and Professor Alejandroz Sanchez, for aiding me through my studies at FAU and always providing constructive feedback. In addition, I would like to thank Dr. Marc Rhorer for always being available and providing help regarding all thesis and graduation subjects. I would also like to thank Ms. Fookloy Ford for her dedicated assistance to students in the music program. Lastly, I would like to thank my amazing grandparents Anthony and Sandra, my mother Ann, and the rest of my family for being my biggest fans and supporters of my dreams. Without you all grad school would have never been possible. v ABSTRACTAuthor: Daniella Capodilupo Title: Big Data and Analytics: The Future of Music Marketing Institution: Florida Atlantic University Thesis Advisor: Dr. Ira Abrams Degree: Master of Science Year: 2015 This is a comprehensive study of how Big Data and analytics will be the future of music marketing. There has been a recent trend of being able to turn metrics into quantifiable, real-word predictions. With an increase in online music consumption along with the use of social media there is now a clearer view than ever before about how this will happen. Instead of solely relying on big record companies for an artist to make it to the big time, there is now a plethora of data and analytics available not just to a small number of big companies, but to anyone. In order to understand how Big Data and analytics work and are used to strategically market an artist or band, we must first understand how this type of process works. Exploring how other industries have successfully excavated and used data and analytics to target consumers will show parallels that can also be used in the music industry. The main areas covered are how Big Data will propel music marketing by giving hard facts and numbers to determine what consumers like to hear, what consumers are vi willing to spend money on, and the types of media consumers prefer to use to hear music. This thesis will also cover the negative consequences that may arise with the increase of music being distributed through digital channels that affect both the creators and users of music. Though discovering new music has always been a challenge, music data will definitely aid all players in the industry in the technological future. As long as human interactions are happening online, Big Data and analytics will be available for those to use and manipulate to make their marketing efforts more targeted to very specific demographics. DEDICATION This is dedicated to the music business enthusiasts and to everyone that believes technology will continue to change the world we live in. viii BIG DATA AND ANALYTICS: THE FUTURE OF MUSIC MARKETING Introduction ......................................................................................................................... 1 Background ......................................................................................................................... 4 How Your Data Is Being Excavated And What Companies Do With It ............................ 9 First-Party And Third-Party Cookies ............................................................................ 10 The Apple Ecosystem ................................................................................................... 11 The Important Role Of Alogrithms ............................................................................... 12 President Obama And The 2012 Election ..................................................................... 13 Data Collection Creating A New Way Of Life ............................................................. 14 Using Big Data To Determine What Consumers Like ..................................................... 16 Wall Street’s Impact On The Music Industry ............................................................... 16 Social Media Provides Insight To Listening Habits ..................................................... 17 The Next Big Sound ...................................................................................................... 18 Using Big Data To Determine What Consumers Buy ...................................................... 23 Analytics Used To Boost Concert/Ticket Sales ............................................................ 23 Pay Attention To The Music Charts ............................................................................. 24 Big Data Promotes Personalization .............................................................................. 24 Quantcast Eliminates Shotgun Marketing Approach .................................................... 25 Using Big Data To Determine What Medium Consumers Prefer .................................... 27 ix The Traditional Outlets ................................................................................................. 27 Digital Music Downloads ............................................................................................. 29 Youtube ......................................................................................................................... 29 SoundCloud And The DIY Musician ........................................................................... 31 The Rise Of Streaming Services ................................................................................... 32 Consequences Music Creators And Users Face ................................................................ 35 User’s Privacy Issue ...................................................................................................... 35 User’s Personalization .................................................................................................. 37 The Digital Royalty Dilemma ....................................................................................... 38 Conclusion ........................................................................................................................ 41 References ......................................................................................................................... 43 1 INTRODUCTIONExponential growth of technology has brought about a new industry called “Database Marketing.” Simply put, this type of industry collects, aggregates, and brokers personal data and information. The digital activities of many millions of people around the world can be tracked through a variety of new techniques ranging from a store’s loyalty/credit cards, to targeted advertisements found on social media platforms such as Facebook, Twitter, Instagram, and others alike. Personal data, including both online and offline behavior are combined, analyzed, and then are sold to different types of business and corporations.i Companies that collect, combine, and analyze this type of data are known as data brokers. Data brokers represent this wave of change that deals with personal information and how it’s handled both online and offline. This dramatic shift has created a new movement towards what is known as “Big Data.” For illustrative purposes, Big Data is simply made up of raw “little data.” In most cases, these little data give deep personal insight into a consumer’s individual and purchasing profile, and the consumer’s habits. Doug Laney, a tech analyst, first defined Big Data in 2001 as being “high-volume, -velocity and –variety information assets that demand cost-effective, innovative forms of information processing for enhanced insight and decision making.”ii Businesses, across any industry, value these types of insights that were once unavailable before this growth in technology, and have become interested in how these analytics are collected and can be used. 2 It goes without saying that Big Data and data analytics play a huge role in a company’s decision-making process. Though they might be a little late to the party, the music industry is shifting their business practices towards Big Data. Big Data is demanding the music industry to change its business model from what it traditionally was. Online streaming services such as Spotify, Pandora, iHeartRadio, and many others have changed the way music is distributed and how it is discovered. These services are being able to customize user experience based on the customer’s personal “on-platform” behavior and music preferences.iii This evolution of music intelligence combines both online and offline user behavior to determine what consumers are listening to, what they’re willing to spend money on, who they want to see perform “live,” and how and why to keep them coming back. South by Southwest (SXSW) is an example of a company that has used Big Data to not only target their community and audience but also to give its audience exactly what they want, and customize the audience experience in a way that is relevant to their interests.iv Customization is allowing the music industry to find new ways to drive consumer loyalty and with the assistance of Big Data, companies are able to easily match up audience-relevant artists/brands with targeted audience profiles, and with data-backed decisions. Instead of decisions being based on a mere guess or feeling, the facts and numbers are now available. The Big Data potential in music marketing and distribution is colossal and with data being generated and collected in real-time, around the clock, seven days a week, the music industry is now able to see what people are buying, downloading, and communicating about music. Being able to overlay numerous amounts of data sets such 3 as concert dates, television appearances, social media posts, money spent on artist promotion, etc, the music industry business can now see which efforts were effective, which were not effective, and quickly adjust their marketing plans accordingly. The purpose of this study is to understand how Big Data will ultimately change the landscape of how business is transacted within the music industry, and more specifically, how the future of marketing artists and their brands to consumers will be grounded in data and analytics. The main question discussed is how Big Data is changing the music industry’s historical business model. To answer this question it is necessary to explore and compare how Big Data has already affected other industries. It is essential to explore the opportunities and challenges presented by this topic, because as technology continues to grow at an ever-increasing exponential pace, in order to find new outlets and ways to survive and flourish as a business, the music industry, including everything from live performance, recorded music, merchandise, and licensing, must be able to adapt. 4 BACKGROUNDTo explore and fully understand the shift and change happening currently in the music industry we need to explore several areas: the first area involves how Big Data analytics enables companies to make high probability predictions about trends while also allowing them to hone in on strategic targeted marketing. Before this can happen, the data first must be collected. It is important to understand how that data is being deeply mined on a daily basis. What has been described as “The Internet of Things” will connect everyone to everything in an integrated worldwide network, and this will happen through collecting and linking every aspect of economic and social life.v Imagine a world where people, natural resources, machines, logistic networks, consumption habits, production, recycling flows, and virtually every other facet of life are linked and interconnected through software and sensors that feed the “Internet of Things” platform. To truly understand the magnitude of data that can be generated, Gartner, Inc. estimates that by 2020 over twenty-six billion Internet devices will be interconnected.vi In turn, this collecting and linking of data will generate what we know as Big Data in real-time. There are many companies such as Google, Target, the automotive industry and even political campaigns such as the Obama presidential campaign that have relied on data and analytics techniques to market themselves favorably to the public. Other industries have already mastered the art of scraping and aggregating information from multiple websites, and with the rise of music consumption online, there is a clearer picture of music consumption than there ever was before. Record Labels 5 were always known for crunching numbers but Big Data has opened the floodgates, providing a lot more numbers to look at. One of the prominent data points that is being analyzed, as will be further explored, is what music consumers and users “like.” What a consumer likes, shares, and talks about on his or her various social media outlets gives insight and determines which types of artists and acts are worth watching in that person’s opinion. Given a sufficient number of “Likes,” trends can be discerned. Instead of the traditional model where the music industry was focused on sales, new technology and analytics systems are shifting that focus to listening habits. Digital downloads, streaming services, and social media are aiding this change by creating new data points about consumers. This new insight can be used to predict how much potential for success a new artist may have, based on other similar artists’ success. With the focus on listening habits, some may fear that the quality of music will suffer due to our focus on what is “popular” at the time, and generating music based on what the majority of users want to hear. However, analytics and Big Data will still allow artists to find those niche markets to whom they appeal without having to put the quality of their music at risk. For example, take an American artist that finds success first in another country before making it big in the United States. What if an artist had a better predictor of where to find audiences that would classify as being receptive to their music? This could help aid a musician’s success without changing their music to fit mainstream radio, for instance. Understanding what consumers like helps drive and tailor artists’, record labels’, and executives’ marketing efforts. But without knowing what consumers are willing to buy and spend money on limits the potential of those in the music industry to make 6 money. After all, the music industry is still a business that relies on cash flow in order to continue to create new works and get their products out to the consumers. There are many companies now investing time and money into figuring out how to get the most out of analyzing consumer behavior relating to music. There is a recent trend for entertainment companies such as Universal, Next Big Sound, and Sony to become the largest music dataset ever, which will improve the quality of business practices and help artists understand consumers better. Not only will learning consumer behavior improve the quality of the overall business, it will also give us a glimpse of and better predictions about which artists, bands, and acts to be on the lookout for. The public has moved from an ownership/purchase model of acquiring music to “music as a service” based on the easy access to it on demand. Analyzing the preferred format consumers use to hear actual music, based on data, will give a clearer window into how to truly satisfy musicians’ fans. With more people turning to online streaming services, the path to improving music discovery is full of possibilities. This is already happening with “curated” services such as Beats Music, Spotify, Pandora, etc. that are using music intelligence that takes into account trillions of data points to offer new music discovery to its users. New outlets of getting the music to the consumer are creating sophisticated music applications that make it easy for listeners to hear what they want, when they want. Analyzing consumer preference will also aid artists in prioritizing where to market themselves and choosing platforms on which they will have a higher probability of being successful. While there are many positive outcomes to happen from this change in music marketing, it is important to anticipate the possible push back from both sides of the 7 spectrum, music users and creators. Many Internet users are blind to how their personal information is excavated, manipulated, and controlled. Maintaining privacy in the digital world is nearly impossible as a practical matter and consumers routinely agree to privacy policies and “terms of use” every day without realizing what it is they’re agreeing to. Though there may be a time when we will see users resisting giving up personal information, a recent study has showed that presently people are not concerned about sharing their shopping habits, who they’re friends with, what their personal views are, the identity of their favored media, and other lifestyle habits. At the same time, paradoxically, they are concerned about sharing other sensitive information such as Social Security numbers, bank account information, health care information, and personal email or phone conversations.vii Luckily for the music industry, the sensitive information that consumers fear sharing the most is not relevant to marketing music. For the creators of music, Big Data and analytics mean an increase in use of streaming services and the potential of new competitors to enter the landscape, which means more outlets for getting music to the customers by digital, online means. The biggest argument that creators of music, (artists, songwriters, record labels, music publishers, etc.), have towards digital streaming services are the extremely low royalty rates paid. Cory Doctrow, however, explains that the problem with streaming isn’t because it doesn’t pay copyright holders adequately. In fact, he says, these streaming services pay more per song than terrestrial (non-internet) radio stations have ever paid.viii In reality, streaming services offer a better a much better deal than terrestrial radio because unlike terrestrial radio stations, online- streaming services pay both the composers and performers. Furthermore, while radio only reaches a region or city, 8 streaming services have the potential to reach a multi-million listener worldwide audience. 9 HOW YOUR DATA IS BEING EXCAVATED AND WHAT COMPANIES DO WITH ITThe views and definitions revolving around Big Data vary, depending on the company and the industry involved, what they use the data for, what the value of the data is to them, and the results they can gain and generate from the data. More or less, Big Data can be looked at as a collection of data from both digital and traditional sources, outside and inside your company that represents a hub for ongoing analysis and innovation. Using the data collected efficiently helps a company to better sell products or services, target marketing efforts, and improve services and products overall. Big Data analytics are becoming essential for industry and enterprise growth. In a recent Forbes’ article, it is said that 87% of enterprises believe that Big Data will be what redefines the competitive landscape of many different industries, within as little as three years.ix Eighty-nine percent also believe that companies who do not adopt Big Data strategies will risk losing their momentum and market share.x The Industrial Internet Insights Report for 2015 has emphasized that investments in Big Data analytics are becoming stronger than ever and found that not only do companies presently invest more than 20% of their overall technology budget in Big Data analytics, but also they expect this to increase over the next year.xi Many industries are using these analytics to differentiate their competitive strengths and are doing so successfully. Therefore, the primary real risk to not implementing the use of Big Data is missing out on opportunities 10 and overall growth in a market and allowing competitors who adopt an analytic strategy to have an upper hand. Technology has increased the use of Internet-connected devices and has created a new position that the more information you put out about yourself, the more the world can tailor itself to your needs and give you exactly what you want. In short, the more technology collects information about you through your daily activities and interactions the more particular industries can manipulate that data to “benefit” you. Acxiom Corporation is the second-largest company in the database marketing industry that excavates, aggregates, and brokers personal data. This giant data collector is said to have records of hundreds of millions of people that includes: 1.1 billion browser cookies (data that gets sent to a website and tracks a user’s activity), 200 million profiles of mobile users, and an estimated 1,500 pieces of data per consumer, according to the New York Times.xii FIRST-PARTY AND THIRD-PARTY COOKIES Data collected not only includes public records, but also cookies placed on websites that are providing information about online behavior. For example, when you use a computer a “first party” cookie is placed by sites such as Google that can save passwords and other information to avoid having users log in every visit. “First-party data is your personal information, this ranges from behaviors, interest, and actions taken on websites visited, also including cross-platform data from when you access apps and the mobile web.xiii In addition “Third party cookies” travel across all sites tracking, in order, what sites are visited. “Third party” data generates on these visited platforms and often collects information from other websites as well.xiv 11 THE APPLE ECOSYSTEM Apple is one company that has made collecting data easier by building a world that involves a computer for every single interaction. It is now possible for users to sync browsing histories across multiple devices, combining your behaviors on your laptop with your iPad and your iPhone. The result has been better marketing efforts and new ways to deliver advertising to consumers through with the help of these behavioral insights. The Apple brand has created a product that can pay for all your purchases, open your hotel room door, monitor your movements, control your devices in your home, track your sleep patterns, tell you where you parked, how many calories you burned, recommend movies for you to watch, etc., etc. The list goes on and on. All the while, this Apple ecosystem is collecting data about your behavior every step of the way, creating more software and products that the Apple user wants. Intelligence collected by these devices is only a small part of the interconnected world in which we are now living. Take for instance arriving at your hotel room, where the temperature, lights, stereo, mini bar, and even window shades are not only controlled by a single device but can adjust to your preferences before you even arrive to your room. This is just one of the many ways data collected on consumers is being put to use to give people exactly what they want. The more data put out there and collected, the easier it will be to create different types of consumer profiles about any number of people that can include information such as: your education level, your health profile, the type of car you drive, how many children you have, your race and age, your recent purchases, and even your stock portfolio. 12 THE IMPORTANT ROLE OF ALOGRITHMS Apple isn’t the only one that has caught onto the wave of collecting personal information and digital activities of people across the world. The creation and use of algorithms have made it possible for companies to collect and analyze Big Data through different data points. Algorithms consist of mathematical equations that create step-by-step instructions that calculate different data points, provide automated reasoning, and process data.xv Klint Finley states in his article on Wired.com how the Internet today is ruled by algorithms. We witness these mathematical creations every day from what movies Netflix recommends to you, what ads pop up in your email, what users Twitter recommends you to follow, and what shows up on your Facebook feed.xvi Algorithms produce quantifiable results and answers. The real value of algorithms, as explained in The Formula, comes from being able to examine as many data points as possible about someone and creating equations that solely are meant to build an accurate representation of a consumer.xvii For example, Google created an algorithm that knew if a user was more or less likely to purchase a specific product online and could change the prices of items like videos, e-books, computers games, etc. By tracking your search history and website activity, Google was able to use that data to produce an “automated response” based on the calculations.xviii In other words, Google can sell you a product at a price you are willing to pay. Pandora Radio’s success can be accredited to an algorithm. The online radio users send data to Pandora about their preferences through signals such as liking and disliking songs, “skip this song” requests, and inexplicit signals such as if the program is still running or if users aren’t listening. Pandora included an equation in their algorithm to 13 track if a user has or hasn’t interacted with the program for a period of time and displays simple message staying “are you still listening?” prompting a response.xix Pandora uses approximately 450 data points related to “distinct musical characteristics” that algorithms calculate to pick the next song to play.xx PRESIDENT OBAMA AND THE 2012 ELECTION Algorithms and the importance of Big Data were also seen used during the Obama campaign prior to the 2012 election. A 100-strong analytics staff was brought on board to study and sort through tons and tons of terabytes of data to help Obama gain the competitive edge they were looking for in the upcoming election. Campaign manager Jim Messina, who was known formerly for mining data to improve supermarket promotions, can be credited for this approach. Jim Messina knew that in order to achieve the results for their campaign they needed to be smart about what direction the campaign should take and that only could happen from demanding data on everything. These brilliant analysts used Big Data to provide micro targeted demographics that predicted precisely how much money the campaign would get back from fundraising e-mails that were sent out. Another thing they discovered was that women between thirty and forty living on the East Coast did not donate as much as expected so they came up with a way to build incentive by offering a chance to have dinner with Sarah Jessica Parker.xxi Tactics used in Obama’s campaign also included lots of data mining and purchasing data from data brokers. In one scenario, they purchased television-watching habits of people in Ohio that allowed them to televise campaign ads at the exact times specific voters were watching television. What they found using Big Data was that the airtime being bought was during unconventional programming such as The Walking 14 Dead, and Sons of Anarchy, instead of during news programming, which would have been conventionally advised.xxii The Obama campaign illuminated the important impact Big Data has in competitive and strategic marketing success. DATA COLLECTION CREATING A NEW WAY OF LIFE Companies and organizations are not just using Big Data for their own benefit but the use of Big Data is now allowing them to treat customers on more of an individual basis, building long-term loyal relationships. Big Data allows for companies to predict exactly what customers want and in most cases before they even ask for it. Consciously, and in some cases subconsciously, the technological world in which we live has gotten us excited to want to see and use data. For instance, the craze over Jawbone’s UP and the Nike+ FueldBand, a product that tracks your daily steps and activity, and the food diary app MyFitness Pal, has provided users with more data about their health and eating activities than ever before possible. Big Data is now becoming meaningful to consumers the more they become interested in their own personal data, which in turn leads them to continue logging in and using these types of data collecting products. Luke Dormehl describes this new wave of individuals who enthusiastically take part in some form of self-tracking, called the Quantified Self movement.xxiii Simply put, these Quantified Self devotees seek self-knowledge through numbers (different data points). The same can be done within the music industry. For example, there can be incentives offered to get music users interested in tracking their music consumption habits. Take for instance, a personalized tracker of all the shows you’ve been to, or a program that can track your favorite/most listened to song of the week/month. What if someone could even track the music that they perform best at during a workout or run? This is all measurable data that 15 music consumers can generate on their own that can then be used to gear music marketing efforts more strategically. Companies are also using Big Data to improve their interactions with consumers and for that reason makes Big Data analysis key to effective marketing and development. With numerous brands being able to connect through more channels to consumers, improving and maintain relationships are essential. Across many industries, the presence of Big Data and use of analytics is successfully helping companies understand their consumers and target markets, giving them a competitive marketing advantage. 16 USING BIG DATA TO DETERMINE WHAT CONSUMERS LIKEFor decades, the gatekeepers to help make you a star in the music industry were the record labels. The goal was to make an act a success and the key factor to a record’s success was getting radio airplay, which is why most of the record label’s efforts occurred in the radio promotion department. After making a record a hit on the radio, record labels had to then ensure the content was readily available for consumers to buy through various outlets. During this time there was limited interaction and communication between the artist and the consumer. Even though it wasn’t needed much at the time, it didn’t allow the artist to hone in on what their fans liked and wanted to hear more or less of. WALL STREET’S IMPACT ON THE MUSIC INDUSTRY When CDs were released during the early 1980s, the music industry saw a boost in profits, which drew the attention of Wall Street. Multinational conglomerates stepped in and bought what was left of the six independently controlled major labels: Columbia Records, Warner Bros., Universal Music, EMI, Polygram, and BMG.xxiv As the business “suits” began controlling the new music industry, quick bottom-line results became the common goal. With Wall Street in control, labels began looking to Madison Avenue to bring in the big advertising dollars in order to make money for their stockholders. The catch soon became that ad dollars only came in under certain content conditions, i.e. the music programming, whether it was heard on radio, television, had to be in line with the 17 target demographic of the advertiser.xxv Instead of really finding out what different music consumers like and are listening to, Wall Street and Madison Avenue have redefined music to be a mass-market product. A large amount of consumers feel like newer recordings are not worth purchasing as much as recordings released years ago, causing a dilemma for the music industry because product must be sold in order to survive. The music industry’s corporate entities are only looking at what is going to make the most money and with the biggest market, rather than taking the time to analyze and study data that is out there to help tackle and find smaller but more markets. In addition they’re missing out on ways to discover what multiple audiences like and want to hear. Cory Doctorow makes a strong claim that consumers are going to support and pay for artists’ music they actually like, without labels having to force them. Music is personal both to the artist and the consumer, so being able to determine what it is they like to hear would not only make them happy, but also turns them into paying customers, which after all is the end goal for any business. Taking it one step further, analyzing Big Data is allowing us to make better predictions, similar to how Google is able to predict flu outbreaks faster in specific US regions based on public hospital admission records and pin-pointing certain “search terms” to analyze.xxvi SOCIAL MEDIA PROVIDES INSIGHT TO LISTENING HABITS Luckily for the music industry, record companies have recently begun to realize that they need to rely on more information than advertising dollars, gut instinct, and intuition for finding the next big “hit” or star. Within the last few years, the music industry has started to take an active interest in big data and more importantly how to use 18 it to determine what consumers like. Big Data has the ability to help the music industry better identify new waves of music trends, discover new artists, and market those artists more strategically. Social media outlets have played a tremendous role in continually creating and gathering numerous data points about consumers and their interests and listening habits, that can be used for analysis. Every time we “like,” share something, use a hash tag, like/share a page, stream music, buy a concert ticket, or comment on a music blog on various social media outlets such as Facebook, Twitter, Instagram, Youtube, SoundCloud, Tumblr, etc. we’re creating data points for those in the music industry to make better predictions. Whenever you post a video to YouTube, use an app to share, invite friends to a concert you bought tickets for, and share an album you bought, you’re creating a profile for what types of acts you think are worth watching. One of the more powerful sources that collect big data information is YouTube, being the most popular online music discovery tool, number one search engine for music fans, and the preferred platform for listening to music, especially among the younger under-18 demographic. THE NEXT BIG SOUND The Next Big Sound was launched in 2009 and became one of the first providers of online music analytics and insights. The visionary company saw the power and influence Big Data had in fields such as sports, supermarkets, finance, and politics and saw comparisons that could also transform the music industry.xxvii Next Big Sound tracks fan interaction on every artist across the world. These insights include: social, sales, purchases, and plays. The Internet has reinvented the way music is consumed and 19 marketed and the music industry moving completely online has allowed awareness and engagement to be measured, which ultimately will lead to revenue that can be realized. Next Big Sound provides free metrics to any member and allows you to view the metrics to other artists and bands. Anyone is welcomed to become a member by signing up and creating a free account through their website. Analytics measured and collected are the current music trends that compare the changes in metrics across an artist’s page likes, page views, and performance. Every member also has access to a comprehensive overview and tally of any music artist’s page views, mentions, followers, and likes on their official social accounts. They also provide detailed graph comparisons for similar artists that allow someone to see how one artist’s performance is “more popular” (or not) than the other. All of these data points provided by Next Big Sound are allowing the artists, labels, and anyone else invested in the music industry to determine what fans like and want to hear more of, all while helping them make smarter marketing decisions, and getting more bang for their buck. Billboard even noticed the importance of social interaction, with the increase in Internet consumption, and partnered with Next Big Sound to create the Social 50 and Next Big Sound Chart. A weekly chart, the Social 50 lists the most popular artists online across all music sites, while the Next Big Sound Chart provides a view of the fastest accelerating artists predicted to achieve success.xxviii New Charts like the ones found in Billboard never had to exist prior to the boom in use of the Internet. This is just one example of how these online social rankings and interactions are now something labels and business executives look at in order to make strategic marketing decisions when it comes to finding new talent, or dropping unproductive artists from the labels’ roster. 20 Big Data is providing results that are exciting and able to predict more or less tomorrow’s big music star. It is safe to say if the local not-so-famous band’s Facebook page “likes” are steadily increasing to the millions, and the indie artist has hundreds of thousands of Twitter, Instagram, and SoundCloud followers, then label execs, managers, publications and other fans will start to take notice. This shows the importance of researching new artists at early stages of their music career, and studying the different data that is out there. The Next Big Sound credits the power of data with being able to predict the next breakout artists through an algorithm that lists emerging artists with a high probability of accuracy. With the collection and studying of data, Next Big Sound contends they can pinpoint a breakout artist 500 times better than random chance.xxix Some of the well-known circumstances in which the Next Big Sound has analyzed to predict new breakout stars based on social media data were Kendrick Lamer and A$AP Rocky, both of whom had released acclaimed mixtapes but at the same time did not have any studio albums or Billboard hit songs. Another indicator of success has been Billboard’s Hot 100 chart. The Hot 100 chart ranks the most popular songs in the United States based on radio, sales, and online streaming. To search for the next star, Next Big Sound identified artists who made the Hot 100 chart the prior year and examined what their breakout pattern consisted of and generated a predictive model. Metrics included in the study were an artist’s total, daily change, and rate of growth for views, plays, and fans across different outlets such as Twitter, Facebook, YouTube, and SoundCloud. Combining this Big Data and analytics with the Next Big Sound’s algorithm predicted 44 top artists, of which six went on to being on the Billboard Hot 100 list.xxx Data collection and analyzing also 21 proved to be 16 times better of an indicator for an artist’s success versus basing it off an artist’s YouTube views.xxxi Universal Music Group is another big player who has taken heed of the importance of mining and collecting data provided by consumer behavior and social interactions. Two Universal technology experts created an Artist Portal about five years ago. They were motivated by the ability of software to aggregate information from multiple websites. The goal was to create and organize chunks of raw data and present it in a user-friendly way that would allow users to compare and track artists’ sales, social-media buzz, airplay, and streaming globally and in real-time, similar to what Next Big Sound had created.xxxii The Artist Portal also gives insight into factors behind spikes and dips within each metric. The system created allows data sets to be overlaid. For example, it allows overlaying of concert dates, television appearances, social media posts, and money spent on promotion, making it easier for Universal Music Group’s executives to see quickly if efforts need to be moved or if marketing plans need to be adjusted. Even though Universal is a leading force among record labels catching on to the Big Data wave, Sony Music and Warner Music have recently launched and created dashboards similar in functionality. Mining, examining, and studying Big Data, is shifting the music industry’s focus to taking a closer look at consumers’ listening habits and by doing so they are able to determine what consumers like and want to hear. An article by Hannah Karp in the Wall Street Journal mentions how Universal has used analytics to encourage promoters to bring Hip-Hop artists to Finland. Prior to the use of Universal’s Artist Portal, persuading concert promoters would have been 22 difficult due to a lack of Hip-Hop records sold in Finland in the past. This time Universal had data to show that hits from acts such as Kanye West were being streamed at a steady rate by fans in Finland. The data was used to back up their reasoning. The use of data now opens the gates and helps encourage promoters to bring and market hip-hop acts to Finland. Finding niche audiences and audiences that like similar music to another artist are helping the music industry make better strategic decisions, this time based on hard facts. 23 USING BIG DATA TO DETERMINE WHAT CONSUMERS BUYStudying consumer’s purchasing habits provides important data points that can lead to endless marketing possibilities. After all, music itself is a product and the listeners of music are its consumers, which allows us to analyze behaviors and music-related purchase patterns. ANALYTICS USED TO BOOST CONCERT/TICKET SALES Social Media analytics have opened the door for record labels, musicians, and others in the music industry to collect different information to determine what consumers will most likely spend their money on. Facebook and Twitter have allowed fans to like, follow, and talk and comment freely with their peers about their favorite, or least favorite, artists and bands. Take for example a new band wanting to find better ways to promote their next show or performance. Initially you would assume the band has some following and “hype” about them to stir up social media conversations or page likes. An algorithm can be created to sort through all conversations across Facebook and Twitter that mention the band along with data points of consumers either talking positive or negative about a specific song they’ve recorded. Similar to Facebook’s ‘Daily Story Feedback’ feature that displays responses from fans to a band’s posts and status updates, however this feature doesn’t actively sort through all conversation just based on responses. After the data is collected, songs can be ranked based on what the fan’s favorite songs are to hear versus the ones they would least like to hear, from there the band can determine which 24 songs they definitely want to perform at their next show and which songs they should do without. Using this data to track what the consumers want to hear before they get to hear it live, is one simple way of finding better ways to market a band or artist’s upcoming show, resulting in more ticket sales. PAY ATTENTION TO THE MUSIC CHARTS Researching consumer behavior through Big Data and analytics can also help record labels find new ways to market the same product, but in different ways. For instance, Jam Kotenko talks about record labels paying attention to data as simple as what the top selling album is on iTunes as an indicator that the label should gear their marketing efforts towards more singles from that album.xxxiii In some cases, paying attention to real-time data, such as the hottest selling album of the week or month, can also lead to releasing live or acoustic spinoff versions. Understanding that we’re now living in a world where algorithms can input data and spit out highly predicative results is essential if labels want to save misspent promotional dollars. BIG DATA PROMOTES PERSONALIZATION Big Data is allowing us to have a better understanding of the world we live in and a deeper understanding of consumers, and not just of a few people but billions. As we continue to use data collected to determine what consumers like, there will be other ways to manipulate the same data to figure out how to get them to buy what they like. Similarly to how online shoppers leave a trail of their movements through their IP address, which opens them up to being targeted with personalized offers through ads or emails that later pop up regarding either a page you visited or a purchase you made, music consumers enable this personalized advertisement based not on only their 25 purchases but their social interactions, both online and offline. Luke Dormehl gives an example, in his book The Formula, how something as small as mentioning the words “Cape Town” in an email will trigger airlines to send email promotions for “Cheap flights to Africa” emails to your inbox.xxxiv Airlines and other travel companies have algorithms in place that sort through data that can indicate which users have a higher probability of being interested in traveling to South Africa in the future. Even though the context of the email could have been irrelevant to traveling, Big Data allows more efficient marketing promotions based on better predictions. QUANTCAST ELIMINATES SHOTGUN MARKETING APPROACH The music industry now has the opportunity to use similar tactics to ensure they are making improved decisions when it comes to directing their marketing efforts or creating new ones. Quantcast is one of the largest companies in the world that measure consumer audiences through the use of data and algorithms. Co-Founder Konrad Feldman came up with notion of using data to measure a business’ campaign, looking at what actually worked. He then analyzed the massive amount of data to determine the characteristics of a consumer rather than determining what the ideal consumer is for a product and then hoping to figure out where to find those consumers.xxxv This would do away with the traditional shotgun approach to marketing. Amazon’s user recommendations are similar to the vision Quantcast had in creating insights for online retailers to tailor their promotions on their websites to each user and ultimately generate a formula that can depict and describe specific users, then being able to use that to influence their purchasing behavior. 26 Being able to split up audiences based on granular categories such as lifestyle, interests, demographics, geographic location, and psychographics has made it easier to interpret and read behavior patterns found in data. Understanding the music consumer’s behavior and studying data to see where different types of consumer profiles are going, and how they are getting there can aid in influencing their decisions. Pandora is an example of a company who has studied consumer’s listening habits to determine what they most likely will want to hear played next and have also found a way to use the same data to target advertisements. But what if this could be taken one step further and integrate “likes” users have expressed on Facebook to generate other personalized offers? This could lead to more music discovery of specific artists or bands based on interests already conveyed online, along with promoting offers for items such as albums, concert tickets, or merchandise depending on that consumer’s profile and characteristics. The more personalized the promotion, the higher probability that the said advertisement will work. Big Data is allowing for this huge aggregation of all your personal information that you’ve ever put out there to build a precise representation of who you are, now more than ever before. Moving forward it will only continue to be if not more important, to use data to determine what consumers want to buy. 27 USING BIG DATA TO DETERMINE WHAT MEDIUM CONSUMERS PREFER One of the more popular arguments among music industry “insiders” is that the Internet killed record music sales. As a result of the decline of sales since 2001, there have been many new ideas brought about to try and determine if there are still enough paying customers (and ways) to reward the creators of music to keep the industry intact. The great thing Big Data has given to the music world is the massive amount of music data generated straight from the source, the music listeners, that can aid us to come up with new strategies to satisfy all music fans. Big Data is providing a new inside look on how consumers would prefer to listen to and acquire music and through which medium. THE TRADITIONAL OUTLETS Record stores used to be everywhere across the nation prior to the early 2000s. While many would initially guess the decline in record stores was due to the decline in record sales, the main reason was because consumers couldn’t find the product they were looking for. In Music 4.0 it states that since 2003, 3,500 music retailers have closed their doors, now leaving fewer than 2,500 devoted music retail outlets left.xxxvi Music retail chains like Tower, Sam Goody, and Virgin Records all took a hit when consumers realized they could get the same product at a cheaper price from a chain store such as Wal-Mart, Target, and Best Buy. In addition to these megaretailers, the rise of digital music files (MP3s) gave the public the option of buying the same product at a lower price since there wasn’t a requirement for a physical format any longer. 28 Broadcast radio is also not a factor as much as it once was. Establishing moderate airplay could almost always guarantee the long-term success of an artist, but the rise of new music discovery platforms such as YouTube has altered the impact broadcast radio had. Music broadcasted on the radio during the ‘50 through ‘70s local in nature, keyed to the particular area or region it to which it was being broadcasted, and DJs had more freedom to play tunes they liked. As soon as FM radio started to bring in big advertising dollars the local stations lost their control and were bought by station groups, who in turn were purchased by conglomerates.xxxvii For the avid listener, broadcast radio went from having your own personal music guide that offered endless discovery, to a stale and homogenized experience, causing market share loss to Internet and satellite radio. Television has also been a factor that in the past helped increase album sales and turned artists into superstars, but this isn’t so much the case anymore. Being featured on late-night shows such as Saturday Night Live used to be a guarantee that the artist records would sell at least 100,000 units in as little as a week after an appearance.xxxviii Daytime TV helps music sales because it is viewed by a narrow demographic. Although Daytime TV can’t be utilized for every artist, if an artist finds a show that matches the artist’s targeted audience, Daytime TV beats out late-night television for stimulating music sales. Research has shown people are more than likely not interested in buying music during the times late-night television airs. While Disney and Nickelodeon can arguably say they are the only star-making venues on TV today, the acts featured on these platforms must adhere to the network’s specific demographic, which focuses more on being “cute” than appealing to a broad cross-section musical tastes. 29 DIGITAL MUSIC DOWNLOADS Unfortunately, digital music downloads that sell for $0.99 per single will never be enough to offset an industry that once made their revenue from selling physical albums for $10.00 to $18.00. Soundscan reported in 2013 that digital download sales dropped 5.7 percent and total album sales fell 8.4 percent from the previous year.xxxix During 2013 digital album and track downloads saw a decline for the first time ever since 2001. There has been a shift in consumers’ purchasing habits from a focus on albums to a focus on singles only and the increase in use of Internet streaming services. However, even though there has been a decrease in the reported numbers of digital downloads, billions of digital single streams have still been generated. YOUTUBE YouTube has become one of the biggest platforms for music distribution and music discovery, making it one of the most used formats for consumers to listen to music. Here are some astounding facts from YouTube’s press section:xl • More than 1 billion unique users visit YouTube each month • Over 6 billion hours of video are watched each month on YouTube—that's almost an hour for every person on Earth • 100 hours of video are uploaded to YouTube every minute • 80% of YouTube traffic comes from outside the US • YouTube is localized in 61 countries and across 61 languages • According to Nielsen, YouTube reaches more US adults ages 18-34 than any cable network 30 • Millions of subscriptions happen each day. The number of people subscribing daily is up more than 3x since last year, and the number of daily subscriptions is up more than 4x since last year YouTube has become the preferred way for teens to listen to music, with 64% of teens using the service more than any other source such as radio, iTunes, or CDs.xli The valuable data collected through YouTube has illustrated the potential an artist has to reach more people than ever before, which has made it necessary for creators of music to have a YouTube presence, by creating their own YouTube channels. For instance, when a consumer hears a song by an artist for the first time, their “go-to” to find more information or music from said artist is to search for the artist’s YouTube page. Big Data and analytics accessible through YouTube allow for artists to use the platform as an effective and free marketing tool. Being a part of Google, it’s no surprise that YouTube made Search Engine Optimization (SEO) techniques available to their users. SEO is an Internet marketing strategy that looks at different data points and keywords searched by a user or audience. For example if you Googled “concerts this weekend in South Florida” a search results list would contain a list of websites that includes specific keywords containted in your search. YouTube allows artists to customize the name of their video, add descriptions, add keywords, and add tags in order to get videos viewed more frequently. Data-backed statistics prove that YouTube is one of the preferred methods for listening to and discovering new music, making it an indispensable part of music marketing. 31 SOUNDCLOUD AND THE DIY MUSICIAN SoundCloud is no stranger to the Big Data world and is a must have for any do-it-yourself (DIY) musician. Standing out from other popular streaming services, SoundCloud allows anyone to share and upload music to their site. The platform available for musicians has led to SoundCloud becoming the largest community of music creators on the web, uploading an impressive 12 hours of content every minute.xlii SoundCloud has created an environment where fans can make meaningful connections with the artists, similar to social platforms like Twitter and Facebook. Not only can users like, share, and download music from SoundCloud, but they can also comment directly on an artist’s song, introducing a two-way interaction between the audience and musician and rest assured, SoundCloud has a mobile app available on all Apple and Android devices. Being one of the biggest used platforms for creators and places users go to listen to music, SoundCloud has been able to capture all interactions providing analytics and insights for artists. Making it an essential tool for any DIY musician. SoundCloud offers users insights into each song uploaded such as an artist’s recent plays, likes, comments, downloads, and reposts.xliii You can also adjust the time range to compare data on a monthly, weekly, daily, etc. basis. SoundCloud most recently included a new feature that allows users with a “Pro Unlimited account” to see exactly which cities their listeners are located in.xliv While SoundCloud’s “Freemium” service comes with the useful basic stats, their “Pro” and “Pro Unlimited” accounts are well worth the $6 - $15 monthly fee, which include the country and city location of their audiences, respectively.xlv It’s every artist’s goal to find where their fans are. Knowing the location of an artist’s audience can help 32 save time, money, and energy when it comes to strategizing marketing and promotional efforts. SoundCloud’s data is helping make that easier. THE RISE OF STREAMING SERVICES Most people these days are growing more accustomed to using new formats to listen to music like streaming services Pandora, Spotify, Apple Radio, and Beats Music. With consumers wanting access to everything in the palm of their hand, industries have had to incorporate new platforms to offer their services and products. These commonly come in the form of “apps” that allow users to listen, stream, purchase, etc. all from a mobile device or tablet. The main reason for growing popularity of streaming services has been the ease of accessing vast music catalogs online at no charge at all or through a subscription that costs as low as $3 a month, along with eliminating the requirement that the user have computer memory space to store songs. The Internet is making it possible to collect and study data that now reveals the changing buying habits of music lovers. Streaming services can be thought of in a new light that has the potential to transform the music industry’s financial model. We are witnessing an important shift in consumers’ preference from ownership to accessibility. Pandora has reportedly delivered 1.5 billion hours of music each month to over 70 million of its users, of which only roughly three million are paid subscribers.xlvi The streaming market is proving to be a competitive landscape that will continue to have new major players enter the playing field, forcing these companies to constantly find ways to set themselves apart. For example, Spotify wanted to gear their marketing efforts to attract new users who spend more time on their phones and tablets versus a desktop computer or laptop. Spotify offered a promotion that allowed limited free access on 33 mobile devices. The data collected during this promotion showed that 50% of Spotify’s new users were signing up through mobile devices.xlvii Impressively Spotify is reported to currently have 15 million paying customers. This new consumer preferred medium of listening to music is causing for big names such as Jay-Z to enter the growing streaming music industry. During late January 2015, Jay-Z’s Shawn Carter Enterprises subsidiary Project Panther Bidco made a $56.2 million dollar bid for Aspiro, a Swedish streaming company.xlviii The interest in streaming is growing exponentially as it offers increased entertainment consumption and opportunity for musicians to promote their music. In recent years and more to come in the future, the popularity and easy accessibility that streaming services offer have landed providers such as Spotify, Pandora, and Rdio deals with auto manufacturers for in-car integration. Pandora is currently the most recognized for this new type of partnership, already being featured in different automative brands such as BMW, Volvo, Nissan, Mercedes-Benz, and much more.xlix A lot of user’s listening time is spent in the car during their commute, so it’s no surprise that these steaming services are racing to dominate the in-car integration market moving forward. Spotify decided to take an unexplored angle and negotiated a deal with Uber, the taxi car app service, to allow passengers to play the DJ role when they use their service.l Uber has updated their driver’s mobile app settings to allow them to indicate whether or not they have an AUX input in their vehicles. Once a passenger is picked up they can control the music during their ride. This new integration will allow for a new personalized experience for every user that uses the taxi service. 34 As streaming services continue to become the preferred way to consume music, however, the method of distributing and calculating royalties will also need to be addressed. As the financial structure of the music industry changes with the growth in technology and services, the way money flows to those on the creative side must change with it. It is apparent that the traditional method of calculating royalties needs to be readjusted to fit the times we live in. 35 CONSEQUENCES MUSIC CREATORS AND USERS FACE Generating new consumer insights wouldn’t be possible without the important role of Big Data and the linking of different datasets. With data streaming from and through all parts of our daily lives the quantity of data generated is enormous but it comes with its disadvantages as well as advantages. USER’S PRIVACY ISSUE The biggest issue consumers face with the increase in Internet consumption and Internet-connected devices is the loss of privacy. In an increasingly digital world where sensitive information is being shared at an enormous rate, most people are oblivious to how much information they are willfully putting out there and the types of terms and conditions they are agreeing to. Up until the world became as digitized as it now is, people associated the word “privacy” with personal tangible objects, their actual space. In Mary Madden’s article, Public Perceptions of Privacy and Security in the Post-Snowden Era, she notes that in one study 9 out of 10 consumers believe they have no control over how their personal information is gathered and used by companies.li The study also found that among the various communication channels consumer’s use, there hasn’t been a specific platform or medium they feel is safest. For companies that seek to collect information this means that all media are viewed as equal when it comes to finding ways to excavated user data. Interestingly, the study mentioned in Mary Madden’s article found that most consumers are not as worried about privacy when it comes to their lifestyle habits, such 36 as consumer behavior, shopping habits, who their friends are, favored media (movies, music, and the like), political views, etc. Consumers are found to be more concerned about keeping information private regarding their Social Security numbers, health care, bank statements, and the content of personal email and phone conversations.lii The music industry isn’t interested in that kind of consumers’ personal data as much as they are interested in their consumer spending behavior and lifestyle habits, but what many people fail to realize is that these data points are the very ones used to create intimate “portraits” of individuals. There are companies in business specifically designed to mine users’ data from different sources, create users’ profiles, and sell the users’ data to someone else who can utilize the type of “customer” you are to market other products or services. It is surprising how often users agree to companies’ privacy policies or “terms and conditions” without even reading them when submitting information to a website, mobile device, or mobile app. This is the main reason your information is being shared. Most people do not take the time to sit and read through every provision of the “terms and conditions” they run across, but taking a second to open up that window and searching through the content, one would find that a majority of these data collectors explicitly state they are allowed to sell and share your information with third-party “partners” or companies. It is hard to determine if anyone is able or will be able to remain anonymous in the digital world. We continue to leave our digital “fingerprint” every time we use an Internet-connected device whether it through using your real identity (first and last name, social security number, email, etc.) or an IP address that picks up every time you use the Internet from your computer. The accessibility the Internet has given us will not be one 37 that backtracks, which means moving forward the conflict surrounding consumer’s privacy will continuously need to be evaluated and updated to ensure people not only feel safe but that their information is as well. The digital world needs to be regulated and there will come a time for stricter privacy control as more people share information via the Internet. USER’S PERSONALIZATION Big Data has allowed businesses to personalize marketing efforts more now than ever before. Tracking and analyzing consumer’s online and offline habits have created the opportunity for building deeper connections that target consumers individually. Customers like this because data can personalize advertisements and marketing materials based on what a consumer’s “profile” looks like. On the other hand, it has the ability to predict or show what wouldn’t work or apply to a certain consumer. For instance, Big Data can cut out all the junk email a certain individual wouldn’t want to see or, consider buying, while making sure the person only receives emails containing relevant content they would be interested in and have a higher probability of clicking through to make a purchase or use a service. There is, however, some negative consequences that come along with Big Data allowing for so much personalization, and that is “data discrimination.” In order to segment consumers companies have to organize users into different demographic categories based on the data points they are interested in that apply to their service or product. Companies like Acxiom organize consumers into different “value segments,” which basically ranks and determines the value of a consumer based on their online or offline activity. The main issue here is that consumers never know where they fall on the 38 ranking scale and depending on where a consumer is placed they may unknowingly suffer price discrimination, deprivation of special offers, or poor service. This type of discrimination is underhanded because it is entirely invisible. Take for example a time your friend asks to borrow your computer or asks you to sign up for a certain website on his behalf, enter his personal information or search for new products or services. In such a case you might be profiled into a certain demographic that doesn’t apply to you at all based on your friend’s online activity. We are all witness to technology developing at a more rapid pace than our consumer protection laws, and in most cases those laws lag behind the technology and can’t be applied to operate in our networked world. Moving forward, consumers owe it to themselves about be proactive regarding privacy and the insidious violations of personal privacy by educating themselves on different ad-blockers, opt-out tools, and other plug-ins available on most Internet-based platforms. The more consumers understand how their data is collected and used, the more knowledgeable they will be when it comes to putting out personal information. THE DIGITAL ROYALTY DILEMMA For the music creators, the biggest issue with the rise in Internet use has revolved around royalty payments payable to those on the creative side. The laws currently in place make it difficult to fairly balance the needs of the main stakeholders. Creators have argued, and rightfully so, that streaming services are not paying fair market royalties for the licensed use of their works. Musicians for the first time ever currently receive percentage points of pennies, and sometimes less, per stream of their song(s). With the streaming service industry booming, one would think companies such as Pandora, 39 Spotify, Beats Music, etc. would be interested in creating and sustaining mutual profits that will motivate creators of the content to create more and better music. Without the actual music, these digital streaming companies wouldn’t be in the business of making music accessible to consumers in the first place. As the music industry continues to morph into this mixed economy composed of different consumer channels and revenue streams, new royalty regulations will have to be implemented. While there is a rift, currently, concerning streaming service royalties, it cannot be denied that these streaming services have changed the music industry from being one that is focused on ownership to one that revolves around accessibility. Subscription services are turning more pirated users into “buying” consumers, who are in turn looking at paying for music as they would a monthly utility bill. Streaming services in reality are offering copyright holders a better deal than radio ever did, mainly by paying performance royalties to not only the composers and publishers of a song, but also the performers.liii The other advantage music creators are offered through streaming services is the ability to reach millions of potential listeners and to create repeat royalty payment more than once. For example, creators of content earn a royalty payment through streaming services every time one of their songs is streamed, which means you could play the same song 10 times and each time a royalty payment would be calculated versus the sale of an album or digital download that would only generates a royalty payment once at the time of purchase. With streaming services allowing for the generation of ongoing royalties, accessibility has the potential to lead to higher payouts for creators and the performers of music. However, only if the abysmally low royalty rates are increased. Big Data and analytics can effectively aid and provide 40 more insight for artists, record labels, and publishers when it comes to tracking these royalties. Even though digital royalties still needs to be addressed and fine-tuned, data can better track how often songs are being played, where they’re being played, how much of the song is being played, and in what capacity (a highly viewed rated publication or TV show vs. a local minimum reach advertisement that airs once a week), ultimately making it possible to ensure correct payment to copyright holders in the future. Regardless of its pitfalls, the role of Big Data and analytics offers the music industry many opportunities to be profitable and succeed in our technology driven world. 41 CONCLUSION Without a doubt, Big Data and analytics are changing the landscape of many industries. Technology has created a new digital world that allows businesses to track digital activities of millions of people through a variety of different techniques that allow companies a personal look at consumer behavior and listening habits. Data collection has propelled other industries forward keeping them abreast with the current times. Music data can offer the same benefits by aiding those in the music business to make better marketing decisions. Generating and collecting Big Data in real-time, 24/7 will give insight into what people are buying, downloading, and communicating about music. Data collected both online and offline can be combined to better determine what consumers like and want to hear, what consumers are more inclined to buy, and on what media consumers prefer to hear music. With consumer social interactions happening frequently online, the music industry can now see which marketing efforts were a success, which were not, and adjust their plans accordingly. Newer artists entering the music scene now have a better probability of finding ways to distinguish themselves, thanks to Big Data. Up and coming artists have always had a difficult job finding their target audience. But now, with the use of data and analytics it will be much easier to pin-point how to reach those audiences, which ones to avoid entirely, and the most effective route to get there. Big Data provides similar advantages to established artists but more importantly it helps these well-known 42 musicians stay relevant to their demographic and, possibly, build new audiences they would have never been aware of before. The rise in Big Data and analytics put a magnify glass on the consequences that come from use of the Internet in this digital age. Moving forward, the users, creators, and legislators in the music industry will need to act in a cooperative way in order to generate a fair equilibrium that protects user privacy and establishes a fair market value for digital royalties, one that can also adapt to technological advancements. However, when it comes to it the advantage and potential data provides, it would be a serious error not to incorporate Big Data and analytics into your music business tool box. Big Data has created a world that allows any and everyone to view different statistics and data points, not just the big record companies. Now that we know music data is out there and accessible, we should realize that the opportunities are limitless. It is up to those in the music industry to take heed. 43 REFERENCESBantick, M. (2014, October 23). Opening Pandora to all cars. MotoringAU. Retrieved February 9, 2015, from http://www.motoring.com.au/advice/2014/opening-pandora-to-all-cars-47004 Benjamin, M. (2015, January 1). 1st, 2nd, 3rd Party Data: What Does it All Mean? Lotame. Retrieved February 3, 2015, from http://www.lotame.com/1st-2nd-3rd-party-data-what-does-it-all-mean Bernard, D. (2014, November 12). Americans Fear Eroding Privacy Online. VOA News. Retrieved December 8, 2014, from http://www.voanews.com/content/americans-fear-eroding-privacy-online/2517626.html Byfield, B. (2014, April 23). Big Data Customization: A New Era for the Music Industry. Umbel. Retrieved December 8, 2014, from https://www.umbel.com/blog/big-data/music-industry-big-data/ Chemi, E. (2014, March 7). Can Big Data Help Music Labels Find That Perfect Backbeat? Bloomberg Businessweek. Retrieved December 8, 2014, from http://www.businessweek.com/articles/2014-03-07/can-big-data-help-labels-find-that-perfect-back-beat Codey, B. (2015, March 11). How to use your SoundCloud Stats: The basics. The SoundCloud Blog. Retrieved March 19th, 2015, from http://blog.soundcloud.com/2015/03/11/how-to-use-your-soundcloud-stats 44 Columbus, L. (2014, October 19). 84% Of Enterprises See Big Data Analytics Changing Their Industries' Competitive Landscapes In The Next Year. Forbes. Retrieved February 3, 2015, from http://www.forbes.com/sites/louiscolumbus/2014/10/19/84-of-enterprises-see-big-data-analytics-changing-their-industries-competitive-landscapes-in-the-next-year/ Deangelis, S. (2015, September 9). Artificial Intelligence: How Algorithms Make Systems Smart. Wired. Retrieved February 3, 2015, from http://www.wired.com/2014/09/artificial-intelligence-algorithms-2/ Doctorow, C. (2014). Information Doesn't Want to Be Free: Laws for the Internet Age. San Francisco: McSweeney's. Dormehl, L. (2014). The Formula: How Algorithms Solve All Our Problems and Create More. New York: Perigee Trade. Finley, K. (2014, August 8). Wanna Build Your Own Google? Visit the App Store for Algorithms. Wired. Retrieved February 3, 2015, from http://www.wired.com/2014/08/algorithmia/ Halpern, S. (2014, November 20). The Creepy New Wave of the Internet. NY Books. Retrieved December 8, 2014, from http://www.nybooks.com/articles/archives/2014/nov/20/creepy-new-wave-internet/?insrc=toc Hickins, M. (2014, April 14). Pandora’s Improved Algorithms Yield More Listening Hours. Wall Street Journal. Retrieved February 3, 2015, from http://blogs.wsj.com/cio/2014/04/01/pandoras-improved-algorithms-yield-more-listening-hours/ 45 Hu, V., & Buli, L. (2012, December 5). What Social Media Has To Do With Record Sales. Next Big Sound. Retrieved December 8, 2014, from http://blog.nextbigsound.com/post/37277146054/what-social-media-has-to-do-with-record-sales Industrial Internet Insights Report 2015. (2015, January 1). Accenture. Retrieved February 3, 2015, from http://www.accenture.com/SiteCollectionDocuments/PDF/Accenture-Industrial-Internet-Changing-Competitive-Landscape-Industries.pdf Karp, H. (2014, December 15). Music Plays Big Data’s Tune. Wall Street Journal, pp. B4. Kotenko, J. (2013, March 26). Who needs Simon Cowell? How Big Data can predict music superstars. Digital Trends. Retrieved December 8, 2014, from http://www.digitaltrends.com/social-media/the-beauty-of-data-in-music-discovery-how-to-use-it-to-find-the-next-music-sensation Lardinois, F. (2012, August 14). Nielsen: More Teens Now Listen To Music Through YouTube Than Any Other Source. TechCrunch. Retrieved March 14, 2015, from http://techcrunch.com/2012/08/14/youtube-is-for-music/ Lawler, R. (2014, November 14). Uber Integrates With Spotify To Let Passengers Become Backseat DJs. TechCrunch. Retrieved February 9, 2015, from http://techcrunch.com/2014/11/14/uber-music/ Madden, M. (2014, November 12). Public Perceptions of Privacy and Security in the Post-Snowden Era. Pew Research Center. Retrieved February 9, 2015, from http://www.pewinternet.org/2014/11/12/public-privacy-perceptions/ 46 Marwick, A. (2014, January 9). How Your Data Are Being Deeply Mined. NY Books. Retrieved December 8, 2014, from http://www.nybooks.com/articles/archives/2014/jan/09/how-your-data-are-being-deeply-mined/ Next Big Sound. (2014, January 1). Next Big Sound Charts. Next Big Sound. Retrieved February 3, 2015, from http://www.nextbigsound.com/charts Next Big Sound. (n.d.). Predicting Next Year's Breakout Artists. Next Big Sound. Retrieved February 3, 2015, from http://making.nextbigsound.com/post/68287169332/predicting-next-years-breakout-artists Next Big Sound. (2014, January 1). NEXT BIG SOUND PRESENTS: 2014 STATE OF THE INDUSTRY. Next Big Sound. Retrieved February 3, 2015, from http://www.nextbigsound.com/ Owsinski, B. (2014). A Survival Guide for Making Music in the Internet Age. Hal Leonard Books. Page 9 Pandora. (2015, January 1). About The Music Genome Project. Pandora. Retrieved February 3, 2015, from http://www.pandora.com/about/mgp Phillips, J. (2014, March 8). The Future of the Music Industry, According to SoundCloud. Motherboard. Retrieved March 19th, 2015, from http://motherboard.vice.com/read/the-future-of-the-music-industry-according-to-soundcloud 47 Rivera, J., & Van der Meulen, R. (2014, March 19). Gartner Says the Internet of Things Will Transform the Data Center. Garnter. Retrieved February 3, 2015, from http://www.gartner.com/newsroom/id/2684616 Sanders, S. (2015, February 2). Jay Z Close To Entering Streaming Music Business. NPR Blog: The Two Way. Retrieved February 9, 2015, from http://www.npr.org/blogs/thetwo-way/2015/02/02/383362928/jay-z-close-to-entering-streaming-music-business Singer, N. (2012, June 16). Mapping, and Sharing, the Consumer Genome. The New York Times. Retrieved February 3, 2015, from http://www.nytimes.com/2012/06/17/technology/acxiom-the-quiet-giant-of-consumer-database-marketing.html?pagewanted=all&_r=0 Shaw, J. (2014, April 1). Why "Big Data" Is a Big Deal. Harvard Magazine. Retrieved December 8, 2014, from http://harvardmagazine.com/2014/03/why-big-data-is-a-big-deal Shubber, K. (2014, April 9). Music analytics is helping the music industry see into the future. The Guardian. Retrieved December 8, 2014, from http://www.theguardian.com/technology/2014/apr/09/music-analytics-is-helping-the-music-industry-see-into-the-future Sicular, S. (2013, March 27). Gartner's Big Data Definition Consists of Three Parts, Not to Be Confused with Three "V"s. Forbes. Retrieved December 8, 2014, from http://www.forbes.com/sites/gartnergroup/2013/03/27/gartners-big-data-definition-consists-of-three-parts-not-to-be-confused-with-three-vs/ 48 Sisario, B. (2013, December 12). A Stream of Music, Not Revenue. The New York Times. Retrieved February 9, 2015, from http://www.nytimes.com/2013/12/13/business/media/a-stream-of-music-not-revenue.html?pagewanted=all&_r=0 Van Rijmenam, M. (2014, August 30). How Big Data Enabled Spotify To Change The Music Industry. DataFloq. Retrieved December 8, 2014, from https://datafloq.com/read/big-data-enabled-spotify-change-music-industry/391 YouTube Press. (2015, January 1). Statistics. YouTube. Retrieved February 3, 2015, from https://www.youtube.com/yt/press/statistics.html i Marwick, A. (2014, January 9). How Your Data Are Being Deeply Mined. NY Books. Retrieved December 8, 2014, from http://www.nybooks.com/articles/archives/2014/jan/09/how-your-data-are-being-deeply-mined/ ii Sicular, S. (2013, March 27). Gartner's Big Data Definition Consists of Three Parts, Not to Be Confused with Three "V"s. Forbes. Retrieved December 8, 2014, from http://www.forbes.com/sites/gartnergroup/2013/03/27/gartners-big-data-definition-consists-of-three-parts-not-to-be-confused-with-three-vs/ iii Byfield, B. (2014, April 23). Big Data Customization: A New Era for the Music Industry. Umbel. Retrieved December 8, 2014, from https://www.umbel.com/blog/big-data/music-industry-big-data/ iv Byfield, B. (2014, April 23). Big Data Customization: A New Era for the Music Industry. Umbel. Retrieved December 8, 2014, from https://www.umbel.com/blog/big-data/music-industry-big-data/ v Halpern, S. (2014, November 20). The Creepy New Wave of the Internet. NY Books. Retrieved December 8, 2014, from http://www.nybooks.com/articles/archives/2014/nov/20/creepy-new-wave-internet/?insrc=toc vi Rivera, J., & Van der Meulen, R. (2014, March 19). Gartner Says the Internet of Things Will Transform the Data Center. Gartner. Retrieved February 3, 2015, from http://www.gartner.com/newsroom/id/2684616 vii Bernard, D. (2014, November 12). Americans Fear Eroding Privacy Online. VOA News. Retrieved December 8, 2014, from http://www.voanews.com/content/americans-fear-eroding-privacy-online/2517626.html viii Doctorow, C. (2014). Information Doesn't Want to Be Free: Laws for the Internet Age. 49 San Francisco: McSweeney's. ix Columbus, L. (2014, October 19). 84% Of Enterprises See Big Data Analytics Changing Their Industries' Competitive Landscapes In The Next Year. Forbes. Retrieved February 3, 2015, from http://www.forbes.com/sites/louiscolumbus/2014/10/19/84-of-enterprises-see-big-data-analytics-changing-their-industries-competitive-landscapes-in-the-next-year/ x Columbus, L. (2014, October 19). 84% Of Enterprises See Big Data Analytics Changing Their Industries' Competitive Landscapes In The Next Year. Forbes. Retrieved February 3, 2015, from http://www.forbes.com/sites/louiscolumbus/2014/10/19/84-of-enterprises-see-big-data-analytics-changing-their-industries-competitive-landscapes-in-the-next-year/ xi Industrial Internet Insights Report 2015. (2015, January 1). Accenture. Retrieved February 3, 2015, from http://www.accenture.com/SiteCollectionDocuments/PDF/Accenture-Industrial-Internet-Changing-Competitive-Landscape-Industries.pdf xii Singer, N. (2012, June 16). Mapping, and Sharing, the Consumer Genome. The New York Times. Retrieved February 3, 2015, from http://www.nytimes.com/2012/06/17/technology/acxiom-the-quiet-giant-of-consumer-database-marketing.html?pagewanted=all&_r=0 xiii Benjamin, M. (2015, January 1). 1st, 2nd, 3rd Party Data: What Does it All Mean? Lotame. Retrieved February 3, 2015, from http://www.lotame.com/1st-2nd-3rd-party-data-what-does-it-all-mean xiv Benjamin, M. (2015, January 1). 1st, 2nd, 3rd Party Data: What Does it All Mean? Lotame. Retrieved February 3, 2015, from http://www.lotame.com/1st-2nd-3rd-party-data-what-does-it-all-mean xv Deangelis, S. (2015, September 9). Artificial Intelligence: How Algorithms Make Systems Smart. Wired. Retrieved February 3, 2015, from http://www.wired.com/2014/09/artificial-intelligence-algorithms-2/ xvi Finley, K. (2014, August 8). Wanna Build Your Own Google? Visit the App Store for Algorithms. Wired. Retrieved February 3, 2015, from http://www.wired.com/2014/08/algorithmia/ xvii Dormehl, L. (2014). The Formula: How Algorithms Solve All Our Problems and Create More. New York: Perigee Trade. page 30 xviiiDormehl, L. (2014). The Formula: How Algorithms Solve All Our Problems and Create More. New York: Perigee Trade. page 50 xix Hickins, M. (2014, April 14). Pandora’s Improved Algorithms Yield More Listening Hours. Wall Street Journal. Retrieved February 3, 2015, from http://blogs.wsj.com/cio/2014/04/01/pandoras-improved-algorithms-yield-more-listening-hours/ xx Pandora. (2015, January 1). About The Music Genome Project. Pandora. Retrieved February 3, 2015, from http://www.pandora.com/about/mgp xxi Marwick, A. (2014, January 9). How Your Data Are Being Deeply Mined. NY Books. Retrieved December 8, 2014, from http://www.nybooks.com/articles/archives/2014/jan/09/how-your-data-are-being-deeply-mined/ 50 xxii Marwick, A. (2014, January 9). How Your Data Are Being Deeply Mined. NY Books. Retrieved December 8, 2014, from http://www.nybooks.com/articles/archives/2014/jan/09/how-your-data-are-being-deeply-mined/ xxiii Dormehl, L. (2014). The Formula: How Algorithms Solve All Our Problems and Create More. New York: Perigee Trade. Page 12 xxiv Owsinski, B. (2014). A Survival Guide for Making Music in the Internet Age. Hal Leonard Books. Page 9 xxv Owsinski, B. (2014). A Survival Guide for Making Music in the Internet Age. Hal Leonard Books. Page 28 xxvi Shaw, J. (2014, April 1). Why "Big Data" Is a Big Deal. Harvard Magazine. Retrieved December 8, 2014, from http://harvardmagazine.com/2014/03/why-big-data-is-a-big-deal xxvii Next Big Sound. (2014, January 1). NEXT BIG SOUND PRESENTS: 2014 STATE OF THE INDUSTRY. Next Big Sound. Retrieved February 3, 2015, from http://www.nextbigsound.com/ xxviii Next Big Sound. (2014, January 1). Next Big Sound Charts. Next Big Sound. Retrieved February 3, 2015, from http://www.nextbigsound.com/charts xxix Next Big Sound. (n.d.). Predicting Next Year's Breakout Artists. Next Big Sound. Retrieved February 3, 2015, from http://making.nextbigsound.com/post/68287169332/predicting-next-years breakout-artists xxx Next Big Sound. (n.d.). Predicting Next Year's Breakout Artists. Next Big Sound. Retrieved February 3, 2015, from http://making.nextbigsound.com/post/68287169332/predicting-next-years breakout-artists xxxi Next Big Sound. (n.d.). Predicting Next Year's Breakout Artists. Next Big Sound. Retrieved February 3, 2015, from http://making.nextbigsound.com/post/68287169332/predicting-next-years breakout-artists xxxii Karp, H. (2014, December 15). Music Plays Big Data’s Tune. Wall Street Journal, pp. B4. xxxiii Kotenko, J. (2013, March 26). Who needs Simon Cowell? How Big Data can predict music superstars. Digital Trends. Retrieved December 8, 2014, from http://www.digitaltrends.com/social-media/the-beauty-of-data-in-music-discovery-how-to-use-it-to-find-the-next-music-sensation xxxiv Dormehl, L. (2014). The Formula: How Algorithms Solve All Our Problems and Create More. New York: Perigee Trade. page 17 xxxv Dormehl, L. (2014). The Formula: How Algorithms Solve All Our Problems and Create More. New York: Perigee Trade. page 18 xxxvi Owsinski, B. (2014). A Survival Guide for Making Music in the Internet Age. Hal Leonard Books. Page 29 xxxvii Owsinski, B. (2014). A Survival Guide for Making Music in the Internet Age. Hal Leonard Books. Page 32 xxxviii Owsinski, B. (2014). A Survival Guide for Making Music in the Internet Age. Hal 51 Leonard Books. Page 35 xxxix Owsinski, B. (2014). A Survival Guide for Making Music in the Internet Age. Hal Leonard Books. Page 37 xl YouTube Press. (2015, January 1). Statistics. YouTube. Retrieved February 3, 2015, from https://www.youtube.com/yt/press/statistics.html xli Lardinois, F. (2012, August 14). Nielsen: More Teens Now Listen To Music Through YouTube Than Any Other Source. TechCrunch. Retrieved March 14, 2015, from http://techcrunch.com/2012/08/14/youtube-is-for-music/ xlii Phillips, J. (2014, March 8). The Future of the Music Industry, According to SoundCloud. Motherboard. Retrieved March 19th, 2015, from http://motherboard.vice.com/read/the-future-of-the-music-industry-according-to-soundcloud xliii Codey, B. (2015, March 11). How to use your SoundCloud Stats: The basics. The SoundCloud Blog. Retrieved March 19th, 2015, from http://blog.soundcloud.com/2015/03/11/how-to-use-your-soundcloud-stats xliv Phillips, J. (2014, March 8). The Future of the Music Industry, According to SoundCloud. Motherboard. Retrieved March 19th, 2015, from http://motherboard.vice.com/read/the-future-of-the-music-industry-according-to-soundcloud xlv Codey, B. (2015, March 11). How to use your SoundCloud Stats: The basics. The SoundCloud Blog. Retrieved March 19th, 2015, from http://blog.soundcloud.com/2015/03/11/how-to-use-your-soundcloud-stats xlvi Sisario, B. (2013, December 12). A Stream of Music, Not Revenue. The New York Times. Retrieved February 9, 2015, from http://www.nytimes.com/2013/12/13/business/media/a-stream-of-music-not-revenue.html?pagewanted=all&_r=0 xlvii Sisario, B. (2013, December 12). A Stream of Music, Not Revenue. The New York Times. Retrieved February 9, 2015, from http://www.nytimes.com/2013/12/13/business/media/a-stream-of-music-not-revenue.html?pagewanted=all&_r=0 xlviii Sanders, S. (2015, February 2). Jay Z Close To Entering Streaming Music Business. NPR Blog: The Two Way. Retrieved February 9, 2015, from http://www.npr.org/blogs/thetwo-way/2015/02/02/383362928/jay-z-close-to-entering-streaming-music-business xlix Bantick, M. (2014, October 23). Opening Pandora to all cars. MotoringAU. Retrieved February 9, 2015, from http://www.motoring.com.au/advice/2014/opening-pandora-to-all-cars-47004 l Lawler, R. (2014, November 14). Uber Integrates With Spotify To Let Passengers Become Backseat DJs. TechCrunch. Retrieved February 9, 2015, from http://techcrunch.com/2014/11/14/uber-music/ li Madden, M. (2014, November 12). Public Perceptions of Privacy and Security in the Post-Snowden Era. Pew Research Center. Retrieved February 9, 2015, from http://www.pewinternet.org/2014/11/12/public-privacy-perceptions/ lii Madden, M. (2014, November 12). Public Perceptions of Privacy and Security in the 52 Post-Snowden Era. Pew Research Center. Retrieved February 9, 2015, from http://www.pewinternet.org/2014/11/12/public-privacy-perceptions/ liii Doctorow, C. (2014). Information Doesn't Want to Be Free: Laws for the Internet Age. San Francisco: McSweeney's. Page 47.	[ "data", "music", "big", "consumer", "industry", "artist", "retrieved", "new", "user", "next" ]	{ "summary": "BIG DATA AND ANALYTICS: THE FUTURE OF MUSIC MARKETING by Daniella Capodilupo A Thesis Submitte" }
digitaldollar_fullreport.pdf	DISSECTING THE DIGITAL DOLLAR Part One How streaming services are licensed and the challenges artists now faceDISSECTING THE DIGITAL DOLLAR Published by the Music Managers Forum Produced by CMU InsightsWritten by Chris CookePrinted by Headley Brothers, Ashford© Music Managers Forum 2015 A big thank you to the many people who contributed insight and information to our research and helped to produce this report, including: Amanda Harcourt, Andy Edwards, Andy Malt, Ben McEwen, Brian Message, Cliff Fluet, Eric Mackay, Fiona McGugan, Horace Trubridge, Indy Vidyalankara, James Barton, Jane Dyball, John Simson, Jon Webster, Lee Morrison, Maria Forte, Nick Yule, Nigel Dewar Gibb, Perry Resnick, Randy Grimmett, Richard Kirstein, Sophie Goossens, Tahir Basheer and Tom Frederikse. This is Part One of ‘Dissecting The Digital Dollar’ which sets out to instigate and inform a debate amongst the artist, management and wider music community. Part Two will report on those discussions. Follow the MMF online for details of that report. themmf.net \| @mmfuk cmuinsights.com \| @cmuCMU DISSECTING THE DIGITAL DOLLAR \| PAGE 3INTRODUCTION DISSECTING THE DIGITAL DOLLAR Part One How streaming services are licensed and the challenges artists now face Section One: Executive Summary 5 Section Two: Music Rights & Controls 15 Section Three: Ownership & Royalties 20 Section Four: Performer Rights & ER 27 Section Five: Monetising Music Rights Before Digital 29 Section Six: Digital Licensing 36 Section Seven: Manager Survey 48 Section Eight: Issues 52INTRODUCTION PAGE 4 \| DISSECTING THE DIGITAL DOLLAR ABOUT THE MUSIC MANAGERS FORUM The Music Managers Forum represents over 400 artist managers in the UK, who in turn represent over 1000 of the most successful acts on the planet. Since its inception in 1992, the MMF has worked hard to educate, inform and represent UK managers, as well as offering a network through which members can share experiences, opportunities and information. While this work continues, the MMF is also focusing more on providing a collective voice in this time of change, giving real, meaningful value for members and their artists, from helping to unlock investment and opening up new markets, to encouraging a fair and transparent business environment in this digital age. ABOUT CMU INSIGHTS CMU is a service provider to the music industry best known for its media: free daily news bulletin the CMU Daily and premium services the CMU Digest and CMU Trends Report. CMU Insights provides training and consultancy to music companies and companies working with music. This includes a regular seminars and events programme, and CMU Insights @ The Great Escape, the UK’s biggest music business conference at the heart of Europe’s leading festival for new music. CMU also runs an education programme for new talent called CMU:DIY providing workshops and online resources for aspiring artists, songwriters and music entrepreneurs. ABOUT THE AUTHOR Chris Cooke co-founded CMU in 1998, and continues to contribute to the title as Business Editor. Having written about the music business daily for almost fifteen years, he is a leading expert on the sector, and often comments on developments in it for other media, most notably the BBC. With degrees in English and Law, he is a particular expert on music rights, and has closely documented the evolution of digital music. Chris also heads up CMU owner 3CM UnLimited, through which he publishes cultural recommendations service ThisWeek London and Edinburgh Festival magazine ThreeWeeks Edinburgh, and helps run the award winning PR training charity the Taylor Bennett Foundation, which is enabling more ethnic diversity in the communications industry. He co-hosts the CMU and TW Podcasts and recently debuted his first spoken word show ‘Chris Cooke’s Free Speech’. DISSECTING THE DIGITAL DOLLAR \| PAGE 5EXECUTIVE SUMMARY There are various reasons for this confusion… • The complicated nature of the streaming deals. • The record industry and music publishers do not always license in the same way. • The way services are licensed and royalties processed can vary from country to country. • Most streaming deals are ultimately revenue share arrangements, making exact payments per usage less predictable. • The specifics of many streaming deals are secret due to non-disclosure agreements in key contracts.• Those who have led on the development of new licensing arrangements have often done a poor job of communicating them to other stakeholders. In evolving these new licensing models, record companies, music publishers and collective management organisations have had to navigate copyright laws and other music industry conventions which were not specifically developed with the digital distribution of recorded content in mind. In doing so, some assumptions have been made which perhaps, with hindsight, require more consideration, either by lawmakers, courts or the wider music community. Or, at least, a more unified approach across the industry, and across the world. Section One: Executive Summary The rise of digital has created both challenges and opportunities for the music industry. The challenges around piracy have been widely documented, but working with legitimate digital services has also been challenging for music rights owners, especially as we have seen a shift from downloads to streams, because licensing these platforms requires a new approach to doing business. Over the last decade the music rights sector has been busy evolving new licensing models, and new industry standards are now starting to emerge. However, issues remain, and there is some debate as to whether both the fundamentals and the specifics of these new business models are the best possible solutions, and whether or not they have been created to be more beneficial to some stakeholders in the music community than others. And even where standards are emerging, there remains much confusion in the wider music community as to how, exactly, streaming services are being licensed, how it is calculated what digital service providers must pay, and how that money is then processed and shared by the music rights industry. EXECUTIVE SUMMARY PAGE 6 \| DISSECTING THE DIGITAL DOLLAR DISSECTING THE DIGITAL DOLLAR In order to inform this debate, the UK’s Music Managers Forum commissioned this report, to review and explain how music rights have been exploited in the past, how digital licensing has evolved, and what issues now need to be tackled. We spoke in-depth to over 30 leading practitioners from across the music, digital and legal sectors, and surveyed 50 artist managers in five markets who, between them, represent artists signed to all three major music companies and over 100 independent labels. The way music rights work varies around the world, partly because of differences in copyright law, and partly because of different practices and conventions that have evolved in each market. This variation is in itself a challenge in a digital sector where so many services aspire to be truly global. It also poses challenges in explaining how music copyright works on a general level, because different rules, technicalities and terminology may apply in any one country; and there are significant differences of emphasis between so called ‘common law’ jurisdictions, like the UK and the US, and ‘civil law’ systems, like France and Spain. Although we have tried to be ‘market neutral’ in describing the basics of music copyright in this report, we are arguably starting from a common law and possibly UK perspective, but we will try to be clear where the key differences exist between different systems. MUSIC RIGHTS & DIGITAL PLATFORMS: HOW IT WORKS 1. Copyright provides creators with controls that can be exploited for profit Copyright is ultimately about providing creators with certain controls over that which they create, either as a point of principle, and/or to encourage and enable creativity by allowing creators and their business partners to exploit these controls for profit. Exactly what controls a copyright owner enjoys varies from country to country, but they commonly include the exclusive right to make and distribute copies of a creative work, to adapt the work, to rent it out or communicate it, and to perform it in public. Copyright makes money when third parties wish to exploit one of these controls, because the third party must get permission – or a licence – from the copyright owner. The licensor will usually charge the licensee a fee to grant permission. 2. The core music rights The music industry controls and exploits various kinds of intellectual property, though the core music rights are the separate copyrights in songs (lyrics and composition) and sound recordings, what civil law systems might refer to as the separate ‘author’ and ‘neighbouring rights’. Both copyright law and the music industry routinely treat these two kinds of copyright differently. Within the business, music publishers generally control song DISSECTING THE DIGITAL DOLLAR \| PAGE 7EXECUTIVE SUMMARY Which copyrights and controls are you exploiting? You burn a copy of a track onto CD You are exploiting the ‘reproduction control’ of both the song and recording copyright (what music publishers call the ‘mechanical right’) You perform a song at a gig You are exploiting the ‘public performance control’ of just the song copyright You play a track on the radio You are exploiting the ‘communication control’ of both the song and recording copyright You synchronise a track to a TV show You are exploiting the ‘reproduction control’ of both the song and recording copyright when you actually synchronise the track… and then the ‘communication control’ of both the song and recording copyright when the TV show is broadcast You download or stream a track You are exploiting both the ‘reproduction control’ and the ‘communication control’* (probably the specific ‘making available control’) of both the song and recording copyright This can vary from country to country, for example in the US only a reproduction rights licence is required for downloads, while only a performing rights licence is required for personalised radio services. EXECUTIVE SUMMARY PAGE 8 \| DISSECTING THE DIGITAL DOLLAR copyrights while record companies control recording rights. This is important for anyone wishing to license a recording of a song, because it means they will need to do separate deals with both record companies and music publishers, and the labels and publishers may have different ways of doing the deal. 3. The licensing process will differ depending on usage How labels and publishers go about licensing any one licensee will often depend on which of the aforementioned ‘controls’ said licensee wishes to exploit. For example, if they wish to exploit the reproduction and distribution controls – what might be called the ‘reproduction’ or ‘mechanical rights’ – they may be licensed in a different way than if they wish to exploit the performance or communication controls – what might be called the ‘performing’ or ‘neighbouring rights’ (this being an different use of the term ‘neighbouring rights’). Sometimes rights owners license ‘collectively’, as opposed to individual rights owners and licensees having a direct relationship. When this happens all labels or all publishers appoint a ‘collective management organisation’ (CMO) to license on their behalf. This may be done for practical reasons, or because copyright law instigates a ‘compulsory license’, meaning that a rights owner cannot refuse to license in a certain scenario, even though licensees are still obliged to pay royalties. Collective licensing is usually subject to extra regulation with a statutory body or court ultimately empowered to set royalty rates. In the main (there are exceptions, for example in sync), labels commonly license reproduction rights directly but performing rights collectively, whereas publishers often license both sets of rights through their CMOs, but possibly different CMOs (in the UK, MCPS and PRS respectively). 4. It is important to know who controls each copyright Unlike other kinds of intellectual property, copyright is not usually registered with a statutory authority, which can make identifying owners tricky. Copyright law usually defines ‘default’ or ‘presumed’ owners of new works, though these rules vary from country to country, and can be different for songs and recordings. Default owners can also usually transfer ownership, or at least control, to another party – usually in return for money – through so called ‘assignment’ or ‘licensing’ agreements. As a result, whatever default ownership rules may say, most songs are either owned or at least controlled by music publishers, and most recordings are either owned or at least controlled by record companies. Singer songwriters, involved in creating both songs and recordings, will usually have separate deals with separate companies covering their respective song and recording rights. Though there is an important distinction to make when it comes to songs, in that a songwriter may actually directly appoint a CMO to control some elements of their copyright and a music publisher to control the other elements. So in the UK, a songwriter assigns performing rights to PRS but all the other rights to their publisher. The publisher then has a contractual right to share in performing rights revenue, but does not actually control that element of the copyright. DISSECTING THE DIGITAL DOLLAR \| PAGE 9EXECUTIVE SUMMARY Who controls the different music rights? A label sends artists into the studio to write and record new music … a song and a recording is created SONG COPYRIGHT RECORDING COPYRIGHT WHO OWNS THIS?By default, usually the songwriter or songwriters, though they will often transfer ownership and/or control to other parties. WHO OWNS THIS?Default owner varies according to local copyright law – could be label or artist – though artist will often transfer ownership and/or control to another party. WHAT RIGHTS? The copyright provides a number of ‘controls’. The songwriter commonly transfers some controls to a ‘collective management organisation’ and the other controls to a publisher. In the UK: ‘performing rights’ to CMO, other rights to the publisher.WHAT RIGHTS? The copyright provides a number of ‘controls’, all of which will usually be transferred to a record label. However, the artist’s separate right to ‘equitable remuneration’ (ER) on performing rights revenue cannot usually be transferred to the label. CMO passes 50% of income to publisher and 50% to songwriterPublisher pays royalty to songwriter according to publishing contractLabel pays royalty to featured artist according to record contractCMO passes Performer ER income to both featured artist and sessions musiciansPERFORMING RIGHTS OF THE SONG COPYRIGHTOTHER ELEMENTS OF THE SONG COPYRIGHTALL ELEMENTS OF THE RECORDING COPYRIGHTARTIST’S ‘ER’ RIGHT ON PERFORMING RIGHTS INCOME CMO (PRS in the UK)MUSIC PUBLISHERRECORD LABEL ARTISTS’ CMO (PPL in the UK) Publisher either licenses direct or via a CMO (MCPS in UK)CMO handles licensingLabel either licenses direct or via a CMO (PPL in UK)CMO collects Performer ER Default ownership and equitable remuneration rules, and the way the different elements of the song right are split, varies from country to country. And, of course, artists and songwriters don’t only create when sent into the studio by a label! EXECUTIVE SUMMARY PAGE 10 \| DISSECTING THE DIGITAL DOLLAR Finally, copyrights can be co-owned. This is particularly common with song copyrights, because collaboration is common in songwriting. Where a song is co-owned, a licensee will usually need permission from each and every stakeholder to make use of the work. 5. Creator & Performer Rights Artists and songwriters often assign – or as good as – the copyright in their recordings and songs to record labels and music publishers; this is especially true with new talent who need their corporate partners to make risky investments in their careers in the form of artistic development, content production, marketing and cash advances. But artists and songwriters will still retain some rights in relation to those recordings and songs through their record and publishing contracts, in particular the right to share in any revenue generated by their work, and maybe also rights to consultation, approval or veto. In addition to these contractual rights, artists and songwriters may also enjoy other rights directly from copyright law, commonly called moral and performer rights. For recording artists, the most common performer rights relate to ‘approvals’ and ‘performer equitable remuneration’. Approval must usually be gained to record an artist’s performance and to then exploit that recording. Artists may also often enjoy an automatic (ie non-contractual and non-waivable) right to share in certain (though not all) revenue streams associated with their recordings, most often performing rights income. Licensees should be aware of these additional creator and performer rights, which co-exist with the actual copyright that will likely be controlled by a corporate entity. 6. Digital Licensing In the physical product domain, a record company exploited its own sound recording copyright, and licensed the rights to exploit the accompanying song copyright from the relevant music publisher or publishers, usually via the collective licensing system. The CD was then provided to the retailer ‘rights ready’. With just a few exceptions, in the digital domain, download stores and streaming services need to have separate licensing relationships with both record companies and music publishers and/or their respective CMOs. Labels generally license all but online radio directly, though personalised radio services may also be licensed by the CMO in some territories (especially the US, where a compulsory licence applies). Publishers license most digital services collectively, though the big publishers now sometimes license Anglo- American repertoire directly, albeit via joint venture vehicles with the CMOs. As an extra complication, downloads and streams exploit both the reproduction rights and the performing rights of the copyright. On the publishing side, this is important because these two elements of the copyright are often licensed separately (remember, in the UK PRS controls the performing right and the publisher the reproduction right). Outside the US, publishers usually try to provide digital services with ‘combined rights licenses’, which means that, where reproduction and performing rights are DISSECTING THE DIGITAL DOLLAR \| PAGE 11EXECUTIVE SUMMARY controlled by different entities, those two entities need to work together. For example, where publishers license digital direct, they must do so in partnership with the CMOs which control the performing rights. On the recordings side, the label is able to license both elements of the copyright, though by convention performer equitable remuneration was often due on performing rights income but not reproduction rights income, making the fact that both elements of the copyright are being exploited relevant. Except, most labels argue that a specific and separate performing right, first introduced in the mid 1990s and called the ‘making available right’, is what the digital platforms actually exploit, and that that is exempt from performer equitable remuneration. Not all artists agree. 7. The Streaming Deal Most streaming services are licensed in more or less the same way. The deal between the rights owner and the streaming platform is ultimately a revenue share arrangement. Each month the streaming service works out what percentage of overall consumption came from any one label or publisher’s catalogue. It then allocates that percentage of its overall advertising and/or subscription revenue (after sales tax) to the rights owner, and pays them a cut based on a pre-existing revenue share arrangement. Every deal is different, and usually secret, though labels generally see 55-60% of revenue allocated to their catalogue whereas publishers see 10-15%. Overall the streaming service aims to retain about 30%. In addition to the core revenue share arrangement, rights owners will usually seek to minimise their risk by having the streaming service pay minimum rates, for example per play, so that they are guaranteed certain income based on consumption oblivious of the streaming service’s revenues. Rights owners will also often demand upfront advances from the streaming services, while labels may seek equity in start up services and other kickbacks. 8. Money Flow Payment of streaming royalties can be complex. Streaming services generally assume that whichever label provided it with a track owns the copyright, and pays that label its share of the revenue, or the minimum guarantee, whichever is higher. The label will then usually be obliged to share that income with the artist, subject to the terms of said artist’s record deal. Most labels pay artists the same share on digital income as physical income, or maybe a few percent more. There has been much debate as to whether this is fair, while some artists with pre-digital record contracts argue this is an incorrect interpretation of their original agreements. Every record deal is different, but usually artists will receive a minority cut of income – commonly 15-20% – and only after some or all of the label’s initial and ongoing costs have been paid (exact terms are set out in the record contract). There is some confusion in the artist and management community as to what ongoing costs many labels are deducting from digital income. On the publishing side, the streaming service does not usually know which publisher or publishers own the rights in any one song. Therefore the streaming service reports all consumption to each licensor. The rights owner then calculates what it is due and invoices the streaming service, which then needs to ensure it isn’t EXECUTIVE SUMMARY PAGE 12 \| DISSECTING THE DIGITAL DOLLAR being invoiced twice for the same song (or that two licensors aren’t both claiming to own 60% of a song). Once the publishing sector has been paid, money then needs to be split between the performing and reproduction rights. What happens next depends on the country. In the UK, performing rights income goes to PRS, which pays 50% to songwriter and 50% to publisher. Reproduction rights income goes to the publisher (sometimes via MCPS) which will pay a share to the songwriter according to their publishing contract. ISSUES The interviews conducted as part of this research, coupled with our survey of the artist management community, identified seven key issues that the music industry must now address. 1. Division of streaming revenue Is the division of streaming income between each of the stakeholders fair? This includes the split between the streaming services and the music community, between the recording and the song rights, between the reproduction and the performing rights, and between the artist and the label. 2. Performer equitable remuneration and making available Performer rights in many countries say that all artists are due equitable remuneration when their ‘performing rights’ are exploited. However, as mentioned above, most labels argue that digital services exploit a specific and separate performing right called the ‘making available right’, and that equitable remuneration is not due on this income. Not all artists agree, while some acts with pre-1990s record contacts argue that labels cannot exploit this right anyway without their specific approval. 3. Digital deals and NDA culture Labels, publishers and CMOs have created templates for streaming service deals, with revenue share arrangements, minimum guarantees, advances, equity and other kickbacks. Artists and managers are often kept in the dark about these arrangements; are rarely consulted on the merits of each component of the deal; and many feel artists are being unfairly excluded from profits generated by advances, equity and other benefits offered to corporate rights owners. 4. Safe harbours and opt-out services While some streaming services only carry content provided by label partners, others – including YouTube and SoundCloud – allow users to upload content. Rights owners can then request that content be removed, or allow it to remain for promotional purposes, or in some cases – as with YouTube – choose to monetise it on the platform. These services rely on the so called ‘safe harbours’ in US and European law to avoid liability for copyright infringement while hosting unlicensed material users have uploaded. Some question whether the safe harbours were designed for this purpose, and whether the existence of ‘opt-out’ streaming services of this kind is distorting the wider digital music market. 5. Data The music industry is now having to process unprecedented amounts of data, as revenues and royalties are increasingly based on consumption rather than sales. The lack of decent copyright ownership data also hinders efficiency, especially on the publishing side. There are almost DISSECTING THE DIGITAL DOLLAR \| PAGE 13EXECUTIVE SUMMARY certainly ‘big data’ solutions to these problems, the challenge is who should lead this activity, and will labels, publishers and CMOs share the crucial copyright ownership data that is in their control? 6. Collective licensing The labels license most digital services directly, while the publishers often use their CMOs. For various reasons, both artists and songwriters often prefer money to go through the CMOs rather than their labels and publishers, though there is an argument that this is not always the most efficient way to process revenue and data. Either way, artists and songwriters often feel excluded from the debate over the pros and cons of collective licensing. 7. Adapting to the new business models One of the biggest challenges for everyone in the music community is simply adapting to a new way of doing business, where sustained listening rather than first week sales matter, and where successful tracks and albums will deliver revenues over a longer period of time, rather than via a short-term spike. Adapting to this new way of doing business is arguably just a fact of life, though some stakeholders may be shielded more than others from any short- term negative impact. QUESTIONS As we said, the aim of this report is to inform and initiate debate. From the seven issues we have identified, here we pose fifteen key questions for the wider music industry to discuss, consider and answer. 1. How should digital income be split between the music industry and the digital platforms themselves? 2. Of the 70-75% of streaming revenues paid to the music industry, how should these monies be split between the two copyrights, ie the recordings and the songs? 3. Downloads and streams exploit both the reproduction and communication controls of the copyright – ie both the reproduction and the performing rights. How should income be allocated between the two elements of each copyright? 4. Where a record label owns the copyright in a sound recording but pays a royalty to the featured artist under the terms of their record contract, what royalty should the label pay on downloads and streams compared to CDs? 5. What kind of digital services exploit the conventional performing rights and what kind exploit the specific ‘making available right’, and should copyright law be more specific on this point? 6. Should performer equitable remuneration apply to all streaming services, including those exploiting the making available right? 7. Do record labels need a specific making available waiver from all artists before exploiting their recordings digitally? 8. Should record companies and music publishers demand equity from digital start-ups, and if so should they share the profits of any subsequent share sale with their artists and songwriters, and if so on what terms? 9. Should record companies and music publishers demand large advances from EXECUTIVE SUMMARY PAGE 14 \| DISSECTING THE DIGITAL DOLLAR new digital services, and if so should they share any ‘breakage’ (unallocated advances) with their artists and songwriters, and if so on what terms? 10. Should record companies and music publishers demand other kickbacks from new digital services, and if so should they share the benefits with their artists, and if so on what terms? 11. Can it be right that the beneficiaries of copyright are not allowed to know how their songs and recordings are being monetised, and should a new performer right ensure that information is made available to artists, songwriters and their representatives? 12. Should the safe harbours in European and American law be revised so companies like YouTube and SoundCloud cannot benefit from them, however good their takedown systems may or may not be? 13. How is the music rights industry rising to the challenge of processing usage data and royalty payments from streaming services, what data demands should artists and songwriters be making of their labels, publishers and CMOs, and is a central database of copyright ownership ultimately required? 14. Are streaming services best licensed direct or through collective management organisations; if direct what is the best solution when societies actually control elements of the copyright; and are artists and songwriters actually told what solutions have been adopted? 15. Is the biggest challenge for the music industry simply adapting to a new business model which pays out based on consumption rather than sales, and over a much longer time period; and what can artists and songwriters do to better adapt? DISSECTING THE DIGITAL DOLLAR \| PAGE 15MUSIC RIGHTS & CONTROLS Copyright is ultimately about providing creators with certain controls over that which they create, either as a point of principle, and/or to encourage and enable creativity by allowing creators and their business partners to exploit these controls for profit. 2.1 THE KEY MUSIC RIGHTS The music industry owns and exploits two distinct sets of copyright1: • The copyright in songs (lyrics and musical compositions) – known as ‘author rights’ under civil law systems and generally referred to as ‘publishing rights’ within the music industry. • The copyright in sound recordings – known as ‘neighbouring rights’ under many civil law systems and generally referred to as the ‘recording’ or ‘master rights’ by the music business. The distinction is important for various reasons: • In some countries, copyright law will apply different rules to the publishing rights and the recording rights. For example, in the US, AM and FM radio stations must secure licences from and pay royalties to publishing rights owners, but they do not need to pay similar royalties to recording rights owners2. Section Two: Music Rights & Controls PUBLISHING RIGHTS Songwriters & Composers Music Publishers Rights Administrators Performing Rights CMOs Reproduction Rights CMOsIntroducing the music rights sector RECORDING RIGHTS Artists Record Companies Distributors Label CMOs Artist CMOs THE MUSIC PUBLISHING SECTOR THE RECORD INDUSTRY1: The music industry controls plenty of other kinds of intellectual property too – including audio-visual, artistic and other literary works – but these are the core music rights that this report will focus on. 2: The US record industry is currently lobbying to change this so to move into line with the rest of the world.MUSIC RIGHTS & CONTROLS PAGE 16 \| DISSECTING THE DIGITAL DOLLAR • Even when that is not the case, the music industry itself will treat the publishing rights and recording rights differently, and will often license them in different ways. This is especially true when it comes to so called ‘collective licensing’. • Whilst many music rights businesses deal in both publishing and recording rights, they will usually do so through separate autonomous companies. Anyone wishing to make use of recordings of songs will need to deal with both entities. • Whilst many artists will be involved in the creation of both songs and recordings3, they will often work with different companies to exploit the two sets of rights – so will negotiate separate publishing and record deals with two completely separate businesses. By convention, key elements of these two deals will usually differ, in that publishing deals tend to be more generous to songwriters than record deals are to artists, for reasons we will explain below. • The music rights industry can therefore be split into two: the ‘music publishing industry’ controlling and exploiting song copyrights, and the ‘record industry’ controlling and exploiting recording copyrights. 2.2 COPYRIGHT CONTROLS Copyright law provides rights owners with a number of ‘controls’ over how each piece of content they own is used. Copyright law does not usually refer to these controls as ‘controls’ – UK copyright law calls them “acts restricted by the copyright” 4 – but terminology varies from country to country and here we will use the word ‘control’ as a clear and neutral term. The exact list of controls also varies around the world, and sometimes differs between publishing and recording rights. The UK system lists six distinct controls, most of which can be identified, in one form or another, in other copyright systems too. They are as follows: • The Reproduction Control is the true ‘copy’ right, in that it gives the rights owner the exclusive right to make copies of a work. • The Distribution Control provides the rights owner with the exclusive right to issue copies of a work to the public 5. • The Rental Control provides the rights owner with the exclusive right to rent or lend copies of a work to the public. • The Adaptation Control provides the rights owner with the exclusive right to make adaptations of a work. • The Performance Control provides the rights owner with the exclusive right to perform or display a work in public (with ‘public’ usually being defined widely to cover pretty much anything outside the private home or car). • The Communication Control provides the rights owner with the exclusive right to communicate a work to the public, which traditionally means broadcast but also covers communication through digital channels REPRODUCTION CONTROL DISTRIBUTION CONTROL RENTAL CONTROL ADAPTATION CONTROL PERFORMANCE CONTROL COMMUNICATION CONTROL DISSECTING THE DIGITAL DOLLAR \| PAGE 17MUSIC RIGHTS & CONTROLS (the latter sometimes being referred to specifically as the separate ‘making available’ control, depending on how the user accesses the content). In the music industry, the reproduction and distribution controls (or similar) are often grouped together and called the ‘reproduction rights’ or ‘mechanical rights’. We will use the former as a neutral term in this report, because within the music business the term ‘mechanical rights’ tends to be associated more with songs than recordings. The music industry also usually groups together the performance and communication controls (or similar) and calls them the ‘performing rights’ or ‘neighbouring rights’. Again, we will use the former as a neutral term in this report, because while ‘neighbouring rights’ is an increasingly popular phrase in the record industry, the term is confusing because of its different definition under some civil law systems (as mentioned above). Which copyright control or controls are being exploited at any one time is important because, again, the rules set out in copyright law may differ depending on which specific control is in play, and even when that isn’t the case the music industry itself routinely treats and manages each control, or set of controls, differently. 2.3 HOW COPYRIGHTS MAKE MONEY Copyrights make money when third parties – called licensees – want to exploit one or more of these controls: so they want to copy a work, or adapt it, or perform it, or communicate it, and so on. Because the copyright owner has the exclusive right to exploit their content in any of these ways, the third party needs to seek permission 6. And permission is usually granted in return for payment. Licensees may want to exploit more than one copyright – and more than one control – at any one time. For example: • If a third party wants to make a copy of a recording of a song, they are exploiting the separate copyrights in the recording and the song, and therefore need to secure permission for both. • If a third party wants to stream a track, they are exploiting both the reproduction and communication controls of both the 3: In our survey of artist managers, 93% of the acts they represent are involved in the creation of both songs and recordings. 4: Copyright, Designs And Patents Act 1988 Section 16 5: Though this right is usually limited so that the rights owner has no control over the subsequent resale of copies it first issued (providing no additional copying is required to resell, so this principally applies to physical copies). 6: Copyright law routinely provides certain scenarios where permission is not, in fact, required, such as private copies, critical analysis or parody. These are usually called copyright ‘exceptions’ or ‘exemptions’, or ‘fair use’ and ‘fair dealing’, and again rules vary from country to country.REPRODUCTION CONTROL DISTRIBUTION CONTROLREPRODUCTION RIGHTS PERFORMING RIGHTSRENTAL CONTROL ADAPTATION CONTROL PERFORMANCE CONTROL COMMUNICATION CONTROLMUSIC RIGHTS & CONTROLS PAGE 18 \| DISSECTING THE DIGITAL DOLLAR recording and song copyrights, and need to ensure all the right permissions are secured. 2.4 DIRECT , COLLECTIVE AND COMPULSORY LICENCES When a third party wants to exploit a copyright work they must get a licence – so permission – from the copyright owner or owners. At a basic level, the licensee must identify and locate the rights owners7 and then negotiate terms. The rights owner will usually demand some form of payment in return for granting a licence. The rights owner can usually ask for whatever sum of money they like, though – assuming they are seeking to do a deal, which most rights owners are 8 – they are constrained by market realities, such as what the licensee can realistically afford and how important it is to the licensee that this specific deal is done. But beyond these commercial constraints, in most countries copyright law does not generally seek to particularly regulate these directly negotiated deals. Collective licensing However, in some circumstances the music industry chooses to license collectively. This is where a large number of rights owners decide – instead of doing direct deals with each and every individual licensee – to put all their rights into one pot and appoint a standalone organisation to license on their behalf. These organisations are often referred to as ‘collecting societies’, or ‘performing rights organisations’ (PROs), or ‘collective management organisations’ (CMOs). We will generally use the latter term. The CMO then agrees terms with licensees (often with whole groups of licensees together), collects any monies that are due, and distributes income back to the rights owners often (though not always) based on what songs or recordings are used. The music industry generally chooses to license collectively for practical reasons. Mainly to reduce legal and administration costs where you have a set of licensees that is either large or which uses a lot of music, or both, but where per-usage or per-licence income is relatively modest. Or where direct licensing would simply be impractical, or unenforceable, and would likely lead to music being used without license resulting in lost income overall. Both the record industry and the music publishing sector routinely license collectively, though separately 9: radio stations, clubs, jukebox operators and public spaces that play recorded music. The publishers also usually license collectively the live performance of songs in public and the reproduction and distribution of recordings of published songs. Though precise rules can vary from CMO to CMO, and territory to territory. 7: This in itself can be challenging, as generally copyright ownership is not registered with any statutory body (international copyright treaties say registration is not required) and there is no one-stop-shop copyright ownership database provided by the music industry. 8: Though not always; a rights owner may simply wish not to do a deal, or more likely the artist or songwriter involved in creating a recording or song may have a contractual veto right that stops a corporate rights owner entering into a certain kind of deal without their permission, and the artist or songwriter may exercise that veto for ethical, reputational or other reasons. 9: In that the record companies and music publishers appoint separate CMOs, even though many licensees need to exploit both sets of rights. In some countries record industry and publishing sector societies may offer joint licensees, though these are still the exception rather than the norm. DISSECTING THE DIGITAL DOLLAR \| PAGE 19MUSIC RIGHTS & CONTROLS The regulation of collective licensing Legislators generally support collective licensing, despite the market power it arguably gives the CMOs, because of the convenience it provides the potential licensee. Nevertheless, such an approach does create competition law concerns, because if all rights owners license as one, the licensee has nowhere else to go to secure a licence, which could potentially lead to anti-competitive behaviour. For this reason collective licensing is usually subject to further regulation, which usually includes provisions for licensing negotiations to be escalated to a ‘copyright tribunal’, or similar authority, which has the power to rule on royalty disputes and therefore ultimately set the rates a licensee must pay. Collective licensing rules again vary from country to country. Compulsory licenses In some countries copyright law instigates a number of compulsory licences, specific scenarios in which rights owners are obliged to issue a license. For example, rights owners are often obliged to license radio stations via a compulsory licence, while record labels in the US are obliged by copyright law to license personalised radio services such as Pandora. Where such licences apply, rights owners are still due payment for the use of their content, but they lose the right to walk away from deal negotiations, which obviously weakens their negotiating hand somewhat. Rights owners usually provide compulsory licences through the collective licensing system, and are often obliged to do so under law, with copyright courts or statutory bodies ultimately setting rates. OWNERSHIP & ROYAL TIES PAGE 20 \| DISSECTING THE DIGITAL DOLLAR Unlike other forms of intellectual property, copyrights are not usually registered with a statutory authority10, rather copyright ‘crystallises’ when a work is ‘fixed’ in material form11, providing certain criteria are met. Because of this, copyright law provides rules or guidance on who the ‘default’ or ‘presumed’ owners may be, ie when a work is fixed and the copyright crystallises, who by default owns the copyright? These rules vary from country to country, and according to the kind of copyright. 3.1 DEFAUL T OWNERSHIP RULES Generally with lyrics and musical compositions the default owners are the lyricist and the composer, ie the ‘creator’ or ‘author’. Co-written works are co-owned by all parties, though it’s for the creators to decide on how the copyright is split between each contributor 12. The main exception here is when a work is created by an employee as part of their job description – often called ‘work for hire’ in the US – in which case the employer may be the default copyright owner, depending on local rules 13. With sound recordings, default ownership rules vary from copyright system to copyright system. In some countries, the individual or company that funds (ie pays for) a recording, rather than the performers who appear on it, will be the default owner of the resulting copyright. These funders, usually record labels, are often referred to in copyright law as the ‘producer’, but shouldn’t be confused with studio producers. It’s also worth noting that, where performers are, by default, owners or co-owners of recording rights, statutory provisions or work for hire clauses within contracts may take effect, making their employer, ie the label, the default owner. 3.2 ASSIGNMENT Although the law provides default ownership rules, the default owner can usually transfer ownership of their copyrights (both existing and future) to other parties, usually in return for money. Many systems allow full transfer of ownership, usually called ‘assignment’. Even where this is not possible, such as in Germany, copyrights can be licensed in their entirety and in perpetuity to a third party, which practically amounts to the same thing 14. When record companies and music publishers sign new talent who will inevitably require some sort of upfront investment (eg an advance, artist development, marketing) with no real guarantee of a return, the corporate entities will usually seek outright ownership of all the copyrights created under that first contract or, in the case of publishing, outright ownership of at least some elements of the copyright (that is to say, ownership of some of the controls outlined above, and a revenue share from any others, more on which below). Section Three: Ownership & Royalties DISSECTING THE DIGITAL DOLLAR \| PAGE 21OWNERSHIP & ROYAL TIES Any resulting agreement will be structured in such a way as to make the label or publisher actual or de facto rights owner according to copyright law in the local jurisdiction. Of course the record company may be the default owner of the sound recording copyrights by statute anyway, but agreements will be written to avoid any ambiguity. Copyrights don’t last forever, but usually have pretty long terms (50-95 years from release for recordings, and life of the creator plus up to 70 years for songs 15). With new talent record deals, the label will usually want ownership for ‘life of copyright’. In publishing contracts though, rights may revert to the songwriter at some point – by law in the US, or by agreement elsewhere – but usually only after a significant period of time. An artist or songwriter who assigns their rights may also, if successful, be able to renegotiate contracts at a later date giving them ownership or co-ownership of any copyrights created, though this is not usually a given in first deal contracts. 3.3 THE CONTRACTUAL RIGHTS OF ARTISTS AND SONGWRITERS Although artists and songwriters routinely assign16 – and therefore give up – the copyright in works they created to record companies and music publishers, they will likely retain certain contractual rights over or in relation to those works. These will be set out in their assignment contract (or similar). It is worth mentioning that, on the sound recordings side, it is so called ‘featured artists’ 17 who routinely retain rights of this nature through contract. Session musicians who appear on recordings will often be paid a set fee for their time and then have no future involvement in the exploitation of their work. Both featured artists and session musicians still enjoy ‘performer rights’ under law (more on which in section four), but it is generally the former that also benefit from the contractual rights we are about to discuss (studio producers do often get a royalty from recordings they produce, but other rights may be limited). Royalties The most important of these contractual rights relate to royalties, ie the artist or songwriter’s right to share in any money generated by the exploitation of any copyrights they helped create. 10: Statutory or commercial copyright registries do exist in some countries, but logging works with them is usually voluntary. In the US, certain remedies are not available in court for unregistered works (though this mainly applies to domestic rather than foreign works). 11: So, it is transcribed, recorded, filmed, etc. 12: Though if two people collaborate with one writing the lyrics and the other writing the musical composition, under some copyright systems – such as the UK – they each own outright their respective copyright, ie the copyright in the lyrics and the separate copyright in the composition. But if they both contribute to both the lyrics and the score in a manner whereby their individual contributions cannot be separately identified, they would both co-own both copyrights. 13: Where this is the case, copyright law and/or case law will normally provide a definition of what constitutes an ‘employee’ in this context, and/or when ‘work for hire’ applies. 14: There may be some significant differences though, such as what happens if a licensee goes into liquidation, though day- to-day the corporate licensee acts as if it owns the copyright. 15: Where there are multiple creators, the copyright term is usually 70 years after the last surviving collaborator dies. 16: Or similar, such as exclusive licence in perpetuity. 17: Featured artists are the musicians whose name or names any one recording is released under, as opposed to session musicians who are simply credited in the small print. Record labels generally sign record deals with featured artists.OWNERSHIP & ROYAL TIES PAGE 22 \| DISSECTING THE DIGITAL DOLLAR A record and publishing contract will usually state that featured artists and songwriters must receive a share of any revenue generated by their work. How payments are calculated and paid, and what percentage the artist or songwriter receives, will vary from contract to contract, and within the contract will often vary according to how revenue is generated. The label and publisher will also usually have the right to recoup (often exclusively from the artist’s share of revenue) some or all of their upfront costs, which includes any advances paid, before any income is shared at all, and will often have the right to deduct other ongoing costs from revenues before any royalties due to the artist or songwriter are paid. There are some extra points to note here too. • Firstly, newer record deals may also give the label a cut of revenue generated by the artist beyond their sound recordings, such as live activity or merchandise for example. These are often called ‘360 degree deals’ and the other income streams the label shares in are referred to as ‘ancillary revenues’ or ‘non-recorded income’. Each contract needs to state whether ancillary revenues do or do not count towards the label’s unrecouped costs. • Secondly, in publishing, some elements of the copyright will likely be allocated – or actually assigned – to a CMO, which will then usually pay the songwriter their share of subsequent revenue directly. This often means that the songwriter receives their share of this income from day one, ie payment is not subject to recoupment. The publisher has to recoup its investment from those revenue streams not allocated to the CMO. Outside the US, there is usually a direct contract between the songwriter and the CMO covering those elements of the copyright assigned to the society. The songwriter’s publishing contract then does two things: it assigns those elements of the copyright not allocated to the CMO to the publisher, and gives the publisher a simple contractual right to share in the revenue generated by the elements that the CMO controls. What rights the CMO actually controls, how songwriters are paid, and whether or not these payments are subject to recoupment, varies according to the operating mandate and internal rules of each society. Every contract is different, and more established artists and songwriters will usually secure better deals than new talent. Though as a general rule, record contracts are tipped in the label’s favour, allowing them to keep the majority of revenues generated, whereas publishing contracts are likely to be more favourable to the songwriter. Record labels would justify this by arguing that they usually take a much bigger financial risk than the publisher, especially when working with new artists. It is worth noting that the calculation and payment of royalties by labels and publishers is a common cause of tension between music rights companies and the artists and songwriters they work with, especially when artists have stopped working with a label on creating new content, but are still receiving royalties from past assignment deals. Many artists believe that their business partners are “twisting the rules” or “playing the system” – actively or through inactivity – to reduce the royalties they have to pay out. After all, once a label no longer requires DISSECTING THE DIGITAL DOLLAR \| PAGE 23OWNERSHIP & ROYAL TIES an artist to create or promote new content, arguably it has little incentive to interpret or fulfill contractual obligations in a way that favours artists over its shareholders. Record and publishing contracts usually provide artists and songwriters with the right to audit a label or publisher, but in real terms many artists cannot afford to enforce this right effectively. And where there are contractual ambiguities, many artists will be nervous about pursuing expensive litigation, given the big rights owners are nearly always better resourced to fight such legal battles (and if an artist is well resourced, labels and publishers may agree to secret deals to avoid test cases in court and the resulting precedent). Vetoes and other contractual rights In addition to royalties, record and publishing contracts may give talent other rights too. This includes rights to consultation and approval (what might amount to a veto), which provide artists and songwriters with certain controls over how their content is exploited. A veto right usually requires a label or publisher to get specific approval from an artist or songwriter before allowing their work to be used in specific scenarios, eg in an advert or on a new digital platform. Vetoes vary from contract to contract – some are in the artist’s absolute discretion, some are subject to the artist being ‘reasonable’ – and more established artists will negotiate more of these rights into their deals. 3.4 DISTRIBUTION AND ADMINISTRATION DEALS Of course songwriters and artists can choose to retain ownership of all the copyrights in the songs and recordings they create, and many do. Though new talent may struggle to find a label or publisher willing to pay a cash advance, and to invest in artist development, content production and marketing activities, without receiving a copyright assignment in return (or the equivalent under local copyright law). But where artists and songwriters require less or no upfront investment, they can engage the services of a label and publisher while retaining copyright ownership through what were traditionally known in the record industry as ‘distribution deals’ and in the music publishing sector as ‘administration deals’, but which may now be called a ‘licensing’ or ‘services’ deal. Many labels and publishers will provide creative, administrative, distribution and marketing services on a fee or revenue share basis without assignment where their risk is minimised; indeed many labels have separate divisions to work with artists on this basis. In addition to that, a big growth area in the music rights sector has been in the ‘label services’ domain, that is to say standalone companies that provide rights management, distribution and/or marketing services, sometimes to other labels and publishers, but increasingly directly to artists and songwriters. A by-product of this is that while artists and songwriters – and especially more established talent – may retain ownership of their copyrights, they will usually appoint a label, publisher and/or other service provider to manage and represent their rights. Said companies will then be mandated to act as if they owned those copyrights until any deal with the artist or songwriter expires. OWNERSHIP & ROYAL TIES PAGE 24 \| DISSECTING THE DIGITAL DOLLAR 3.5 THE ROLE OF COLLECTIVE MANAGEMENT ORGANISATIONS The aforementioned CMOs also act as rights owners, sometimes actually and other times as agents. As explained above, the CMOs are usually involved where the music industry decides to licence collectively rather than via direct deals. Recordings v publishing rights In any one country, the record and music publishing industries will each appoint one or more CMOs to represent their interests in collective licensing scenarios. Record companies and music publishers have formed separate CMOs, meaning that licensees making use of recordings of songs will usually need to seek separate licences from at least two societies. Performing v reproduction rights Meanwhile in the publishing sector, a distinction is often made between the collective licensing of reproduction rights and the collective licensing of performing rights, with autonomous divisions of the same societies – or totally separate CMOs – appointed for each set of rights. Not all CMOs are the same Although all CMOs are basically providing the same services for their members – negotiating deals, analysing data and distributing revenue – the status, structure, membership and power of the societies varies from country to country, and between the record industry and the music publishing sector. A key differentiator is the aforementioned convention in the song rights domain whereby songwriters, outside the US, actually allocate some elements of their copyrights to a society rather than a publisher. Where this occurs, the songwriter is giving the CMO the exclusive global right to represent those elements of his or her copyrights, and the publisher is simply a beneficiary of those rights. This means two things. First, these CMOs are not simply agents for corporate rights owners that negotiate deals wherever collective licensing is employed, they actually control the rights they represent. Second, both songwriters and publishers are members of the society, and the CMO will be governed by a board made up of both songwriter and publisher members. Both these facts arguably make these CMOs more powerful. Aside for the UK and Italy, songwriters and composers actually constitute a majority on the board of all the CMOs in the European Union. Nevertheless, many songwriters believe the publishers have more influence at board level, which, if true, may simply be due to publisher board members having greater business expertise. But either way, the society must be representative, and be seen to be representative, of both songwriter and publisher members. Not all CMOs representing song rights are structured in this way. The US societies operate differently, and in those countries where reproduction rights are managed by separate CMOs, these may also differ. For example, in the UK, PRS represents performing rights and is structured as just described, but MCPS represents reproduction rights and its board consists mainly of publishers, and it acts more as an agent for its members than an actual copyright owner. In the record industry, where record companies control both the performing and reproduction rights, the labels’ CMOs DISSECTING THE DIGITAL DOLLAR \| PAGE 25OWNERSHIP & ROYAL TIES again usually act as simple agents for the corporate rights owners wherever collective licensing applies. Artists are not normally members of these societies, though the artist community in each country will usually have their own CMO to collect revenue associated with their performer rights, more on which in section four below (in the UK and US, the same societies that represent the labels, PPL and SoundExchange respectively, also administer some or all performer rights income). Perhaps the most important difference between those CMOs which are assigned rights, versus those which act as agents for corporate rights owners, is that labels and publishers could in theory unilaterally withdraw their repertoires from the latter (where compulsory licences do not apply of course, and subject to the society’s own rules), whereas publishers could never unilaterally withdraw from CMOs which have been assigned rights by songwriters. Collective licensing worldwide Where collective licensing applies, rights owners traditionally appoint their local CMOs to issue licenses to individuals and companies operating in their home territory. CMOs commonly provide licensees with a ‘blanket licence’, which allows them to make use of all and any of the songs or recordings in the society’s repertoire, on either a fixed-fee-per-usage or revenue share basis. Participation in these blanket licences is often then compulsory for all society members. Of course more prolific licensees will likely require access to more than just domestic repertoire, so reciprocal agreements are made between CMOs around the world, meaning that in any one market the local society is empowered to license songs or recordings from all over the globe. Revenues are then passed onto foreign societies if and when songs or recordings in their repertoire are exploited by a licensee. This arrangement gives users operating under a blanket licence permission to use a vast catalogue of songs and recordings. So vast, in fact, that even though there will be gaps in the repertoire (where a rights owner hasn’t affiliated with a society or where reciprocal agreements between two countries are yet to be made), many licensees assume the licence allows them to legally use any song or recording that is protected by copyright. Traditionally reciprocal agreements usually only allowed a CMO to license the repertoire of other societies in its home territory. So while a society can license something nearing a global catalogue in its home country, it can only license its own repertoire worldwide (and only then if expressly empowered to do so by its members). This usually means that a licensee operating in multiple territories must seek separate licences in each country via the local society (and for all rights and controls as required). This has proven challenging in the digital era, where many more licensees seek to operate in multiple countries. Some of the publishing sector’s CMOs have sought to provide multi-territory licenses, partly in response to licensee demand and, in Europe, partly to accommodate the European Commission, which says that societies within the European Union should compete for members and licensees in order to comply with competition law. CMO sources indicate that some 200 plus pan-territorial music services are currently licensed across European borders, meanwhile reciprocal agreements and CMO licensing conventions continue to evolve.OWNERSHIP & ROYAL TIES PAGE 26 \| DISSECTING THE DIGITAL DOLLAR 3.6 COMPLEXITY THROUGH FLEXIBILITY Copyright law does not usually seek to regulate the specifics of assignment or licensing agreements, or how the ownership and control of individual copyrights is divided and transferred. This flexibility is a good thing, but it results in complexity. An artist, songwriter or rights owner may assign or license their copyrights to different entities in different countries; they may assign or license their rights for a set period of time rather that the full copyright term; and they may assign each element of the copyright – so each control – separately to different parties. Rights owners can appoint CMOs or other middle men for some licensing scenarios, but continue to deal direct in others 18. And entities which acquire copyrights are usually at liberty to sell them on to other parties down the line. And, of course, you have co-ownership of copyright. This is particularly important with song copyrights, because collaboration is common in songwriting, and collaborating creators – and their publishers and CMOs – will share in the copyrights they create. The law doesn’t dictate what the split in ownership might be, instead this is agreed between participating parties. But there is no one central repository where these agreements are documented and there may be disagreements regarding agreed splits after the fact. The data dilemma Finding accurate and comprehensive data detailing who owns and controls copyright works is a significant issue, because there are so many variables and, in most countries, no formal registration of rights. Numerous companies and organisations, and especially the CMOs, have their own databases recording who owns what song or recording copyrights. But few of these databases are publicly available, and no one database lists every song and recording. And information (especially in relation to splits in co-owned works) may differ from one database to another, with no central authority to deal with such conflicts. Efforts by the music publishing sector to form a single Global Repertoire Database collapsed last year. Even if it had succeeded, that database would have only covered song copyrights, and would have then had to be linked to the record industry’s databases. 18: Collective licensing regulations and individual CMO rules may limit rights owners’ abilities to opt in and out of collective dealing, though there is generally some flexibility across the wider copyright. DISSECTING THE DIGITAL DOLLAR \| PAGE 27PERFORMER RIGHTS & EQUITABLE REMUNERATION Section Four: Performer Rights & Equitable Remuneration As well as providing rights owners with a series of controls over how their content is utilised and distributed, copyright law also often gives creators and performers certain additional and concurrent controls over any of the works they help create, even (and especially) when they have no claim to the actual copyright in those works. These controls are often called ‘moral rights’ or ‘performer rights’. The extent and positioning of these rights varies greatly from country to country, though a key consideration is whether or not they can be waived in a record or publishing contract. Where they can be waived, corporate rights owners will usually insist that they are, which may make these rights ineffective in real terms. The evolution of performer rights in the digital era is a particularly interesting area. In most countries two main sets of performer rights exist, which originate in the Rome Convention of 1961 and apply to all artists who participate in a sound recording, including both featured artists and session musicians (and, in some cases, the studio producer, depending on their involvement). Terminology will vary from country to country, but we will refer to these two sets of rights as Performer Approvals and Performer Equitable Remuneration (or Performer ER). Performer approvals Performers enjoy certain controls in relation to their sound recordings, from the initial ‘fixation’ of the recording itself, to any subsequent exploitation by the copyright owner or third parties. These controls are usually similar or identical to the controls enjoyed by the actual copyright owner as defined in section two above, though will also include that initial ‘fixation control’, ie the right to make a recording of a performance at all. In real terms these controls take the form of ‘approvals’, in that a copyright owner must secure the approval of all performers (or, in some cases, secure the assignment of this performer right from the artist) to make and subsequently exploit a recording. These approvals (or assignments) are usually gained from featured artists through their record contracts, and from session musicians on a case-by-case basis. Where approval is not sought, a record company, say, has no right to make a recording of a performance, or to subsequently exploit it, even if they are clearly the copyright owner according to default ownership rules. Performer ER Performers also usually have a right to ‘equitable remuneration’ from certain specific exploitations of their recordings, most commonly the exploitation of performing rights (ie the public performance and communication controls). Of course artists may be due a share of income generated by their PERFORMER RIGHTS & EQUITABLE REMUNERATION PAGE 28 \| DISSECTING THE DIGITAL DOLLAR recordings through contract anyway, but this performer right exists beyond any contractual arrangement between musician and label. Crucially, this right is usually ‘non- waivable’ or ‘unassignable’, so a rights owner cannot demand artists waive their remuneration right in a contract. Whenever a recording is exploited in a way that is subject to Performer ER, the artist must be remunerated. Usually it is the licensee’s responsibility to ensure remuneration is negotiated and paid, though in the UK the statutory responsibility lies with the copyright owner of the recording. Copyright law is often silent on what ‘equitable remuneration’ actually means, though in most countries the label and artist communities have agreed that income generated by the exploitation of the performing rights in sound recordings will be split 50/50 between copyright owners and all performers, and that such remuneration will be deemed ‘equitable’. In most countries the artist community establishes its own CMO (or CMOs – featured artists and session musicians may have their own organisations) which, jointly with the labels’ CMO, collects performing rights revenue from licensees and then distributes the money to its members, usually pro-rata based on usage. In the UK, PPL – although owned by the labels – collects and distributes performing rights income for both labels and artists. Artists become ‘performer members’ of the society and are paid their share directly. The same is true in the US for featured artists, who receive equitable remuneration for income generated through SoundExchange directly from that body (though session musicians receive their cut via middle-men organisations). DISSECTING THE DIGITAL DOLLAR \| PAGE 29MONETISING MUSIC RIGHTS BEFORE DIGITAL Section Five: Monetising Music Rights Before Digital 5.1 PHYSICAL RECORDINGS For the latter part of the Twentieth Century the single biggest revenue generator in the music industry was the sale of physical copies of sound recordings (whether pressed to vinyl, cassette, CD or more niche formats). When selling physical copies in this way, record companies are, in the main, directly exploiting the reproduction rights of their own sound recording copyrights (labels do also license each other’s content – mainly for compilations and sample-based tracks – though direct exploitation of copyright is most prevalent). But the labels do not usually own the copyright in the songs embodied within their recordings, so they are exploiting the reproduction rights of another copyright owner, usually a publisher (or perhaps a CMO). They therefore need to secure a reproduction rights licence – what would usually be called a ‘mechanical rights licence’ – which, for straight cover versions of published songs, is usually provided through the collective licensing system at industry-standard rates (or where a compulsory licence applies possibly at a ‘statutory rate’, as in the US). RECORDING RIGHTS Record label exploits its own copyright controlsPUBLISHING RIGHTS Publisher appoints CMO to manage these controlsLabel gets licence from and pays revenue share to CMO Label pays revenue share to featured artist according to contractCMO EITHER pays all income minus commission to publisher which pays revenue share to songwriters according to contract OR pays split of income direct to publisher and songwriter (depending on CMO conventions)Licensing and royalties for CDMONETISING MUSIC RIGHTS BEFORE DIGITAL PAGE 30 \| DISSECTING THE DIGITAL DOLLAR Because labels take all the risk in producing, pressing, distributing and marketing physical releases, it is generally accepted that they should keep the majority of the revenue generated, with the publisher usually receiving less than 10% of the wholesale price of the record. It’s important to note that in the physical market, there is just one licensee: the record company. The label exploits its own sound recording copyright and licenses the song copyright. The finished product – the record – is therefore provided to distributor and retailer ‘rights ready’ so that they do not need to worry about copyright. It is then the responsibility of the record company, which receives from the retailer the wholesale price for each record sold, to account to the publishing sector’s mechanical rights CMO. Royalties The label then needs to pay a royalty to the featured artist (and any other beneficiaries) according to the terms of each artist’s record contract. Every record contract is different, though an average artist with an average record contract would probably expect to see about 15% of record sales income, though that 15% may be calculated after various other costs have been deducted from monies received by the label. How the songwriter is paid, after the label has accounted to and paid the publishing sector’s CMO, varies from country to country. In continental Europe, 50% of the money paid by the label to the CMO (or possibly more, depending on the contract between writer and publisher) would be directly distributed to the songwriter (possibly subject to recoupment). Elsewhere, all monies paid by the label would be distributed to the publisher, which would then share that income with their songwriters according to contract. 5.2 BROADCASTING AND LIVE PERFORMANCE The other key revenue stream for the pre- digital music rights sector – and especially for the music publishers – was income generated through the sale of licenses to companies and individuals (though mainly companies) that wanted to perform or communicate songs or recordings. Broadcasters and concert promoters are the big clients here, though any individual or business playing or performing music in public needs a licence. As noted above, this is the area where both the record industry and the publishing sector has relied heavily on collective licensing, with rights owners appointing CMOs to issue licences and collect royalties, which are then passed on, minus admin fees, to the labels, publishers, songwriters and artists based (in theory at least) on how often their works were played by licensees. With regard to the song copyright – where performing and reproduction rights are often split – it is principally the CMOs which control the former that operate in this domain, because licensees are primarily looking to exploit either the performance or communication control. Though where a licensee also needs to make a copy of a recording before playing it – so a radio station needs to copy tracks to its server – the reproduction rights CMO may also issue a licence.19: Where it is a recording of a song that is being communicated or performed. Obviously where it is a live performance of a song, so no recording is exploited, only the owner of the song copyright earns any royalties. 20: There is a specific digital performing right, more on which later. DISSECTING THE DIGITAL DOLLAR \| PAGE 31MONETISING MUSIC RIGHTS BEFORE DIGITAL How CMOs charge for broadcast and performance licences varies according to usage, with fee-per-licence, fee-per-play, annual-lump-sum and revenue share arrangements all regularly employed. More lucrative licensees – including commercial broadcasters and concert promoters – will usually be on revenue share arrangements, so that rights owners benefit as the licensee’s business grows. Royalties Unlike with record sales, broadcast and performance income is often split more equally between the two sets of music rights 19. Once money has been allocated between the recording and song copyrights, it must then be split between labels, publishers, artists and songwriters. On the publishing side, by convention, the CMO will commonly pay 50% direct to publisher and 50% direct to songwriter. On the recordings side, this is where Performer ER often applies, so by convention 50% of income goes to the labels via their CMO and 50% to the artists via their society or societies (as mentioned above, in the UK PPL handles both the label and artist share). This means that broadcast and performance revenue is the one area where income is often more or less split four ways between the labels, publishers, artists and songwriters. An important exception here is the US, where under federal law there is no ‘general’ performance or communication control as part of the sound recording copyright 20. This was the result of a deal between the record industry and the radio sector (which was keen to reduce its royalty payments) when the labels first lobbied Congress for Radio station needs licence to cover SONG COPYRIGHT SOUND RECORDING COPYRIGHT PERFORMER RIGHTSLicensing and royalties for AM/FM radio RECORDING RIGHTS Labels license via their CMOPUBLISHING RIGHTS Songwriters and publishers license via their CMO Artists license via their CMO CMO pays label minus commissionCMO pays featured artists and sessions musicians minus commissionCMO pays 50% to publisher minus commission Publisher may then pass additional cut to songwriter depending on publishing contractCMO pays 50% to songwriter minus commission In the UK the labels and artists use the same CMO, ie PPLMONETISING MUSIC RIGHTS BEFORE DIGITAL PAGE 32 \| DISSECTING THE DIGITAL DOLLAR a federal sound recording copyright in the late 1960s, and was based on the argument that radio was an important promotional channel for record companies. The labels have actually been calling for a general performing right pretty much ever since21, but so far without success, meaning labels and artists earn nothing when recordings are played on AM/FM radio or in public spaces within the US. Owners of song copyrights do enjoy a general performance control, however, and so license broadcasters, concert promoters and other users of music in the same way as their counterparts elsewhere in the world. As an aside, federal copyright law only applies to sound recordings released since 1972, with older recordings protected by state-level copyright law. These copyright systems are generally unclear on whether or not performance and communication controls exist for sound recordings, though recent court rulings in California and New York suggest that, in those states at least, they do, even though no label has ever exploited these controls against terrestrial radio or similar to date. If these court rulings are upheld, it could result in the bizarre situation where pre-1972 sound recordings enjoy more copyright protection than post-1972 recordings. The US Copyright Office recently proposed that federal law should be extended to all sound recordings that are still in copyright to overcome this idiosyncrasy, though – while the record industry would normally support such harmonisation – in this case Licensing and royalties for AM/FM radio in the US21: This campaign is currently focused on the proposed Fair Play, Fair Pay Act. Radio station needs licence to cover SONG COPYRIGHTRECORDING RIGHTSPUBLISHING RIGHTS Songwriters and publishers license via their CMOs No income for artists and record labelsCMO pays 50% to songwriter minus commissionCMO pays 50% to publisher minus commission Publisher may then pass additional cut to songwriter depending on publishing contract DISSECTING THE DIGITAL DOLLAR \| PAGE 33MONETISING MUSIC RIGHTS BEFORE DIGITAL it might actually reduce their rights unless a general performance control is won at a federal level. 5.3 SYNCHRONISATION The third pre-digital revenue stream of note is sync, where film, TV, advert or video game producers wish to ‘synchronise’ existing songs and/or recordings to moving images. As with broadcast and performance, this was traditionally a bigger deal revenue stream for publishers than labels, though the record industry has stepped up its efforts in the sync market considerably since CD sales peaked in the late 1990s. Obviously a sync licensee must secure licenses from all and any rights owners who have a stake in the song and/or recording they wish to use. Sync licensing normally begins with direct deals, though TV sync is done via CMOs and blanket licences in some countries. Broadly, where a copyright is co-owned, any one rights owner can usually refuse to license, scuppering the deal. Under US copyright law, any one rights owner actually has the power to agree a deal for all, providing the other parties are paid their share pro-rata, though industry courtesy and contractual agreements between collaborating songwriters often prevents this. A sync licensee often needs to exploit both the reproduction and the performing right elements of the copyright. The former when they actually sync the audio to video (which constitutes a reproduction of the work) and the latter whenever the video is RECORDING RIGHTS Label provides licence for recording rights Likely referred to as ‘master rights’ by licenseePUBLISHING RIGHTS Publishers license reproduction right directly Likely referred to as ‘sync rights’ by licensee Label pays revenue share to featured artist according to contractLicensing and royalties for directly negotiated sync (eg film, adverts) CMO licenses performing right for each broadcast / screening etc Publisher pays royalty to songwriter according to publishing contractCMO pays 50% to songwriter and 50% to publisher minus commission Publisher may then pass additional cut to songwriter depending on publishing contractLicensee needs to exploit reproduction and performing rightsMONETISING MUSIC RIGHTS BEFORE DIGITAL PAGE 34 \| DISSECTING THE DIGITAL DOLLAR played in public (which constitutes either a performance or a communication). The reproduction rights part of the deal is done first directly with the publisher and the label (except where blanket licences are available for TV sync). The sync industry usually refers to the rights being licensed through these deals as the ‘synchronisation rights’ on the publishing side and the ‘master rights’ on the recordings side. The performing rights element may also be part of that initial deal, or – more commonly on the publishing side – will be paid via the collective licensing system each time the finished work that contains the synced music is broadcast or performed, with additional royalties due according to the relevant CMO licence in addition to any fee paid under the original synchronisation deal. These additional performing rights royalties, where they apply, will usually be factored into the negotiations around the initial sync deal. This cuts both ways. For example, if the final product is to be aired or screened in a market where the collection and distribution of performing rights income is ineffective, the rights owner may seek a premium in the original deal around the reproduction rights. Where a sync licensee is negotiating directly with multiple rights owners, in theory each deal is separate and subject to its own terms. Though rights owners will often use so called ‘most favoured nation’ clauses to ensure that all stakeholders in a song and recording earn the same fees for the sync (pro-rata to their stake in the copyright). These clauses mean that whichever rights owner does the deal first could see the fees agreed increase, Licensing and royalties for TV sync in the UK RECORDING RIGHTS The labels license TV sync through their CMO (PPL) and Performer ER is paid CMO pays label minus commissionCMO pays featured artists and sessions musicians minus commissionPUBLISHING RIGHTS The publishers license TV sync through their CMOs Reproduction rights via MCPS Though both managed via PRS For Music Performing rights via PRS CMO pays share to publisher minus commissionCMO pays share to songwriter minus commissionLicensee needs to exploit reproduction and performing rights A small number of songwriters and pubishers do not actually participate in the TV sync blanket licence DISSECTING THE DIGITAL DOLLAR \| PAGE 35MONETISING MUSIC RIGHTS BEFORE DIGITAL if another stakeholder subsequently negotiates more favourable terms. This also often means that the owners of the sound recording copyright and the song copyright will see more or less the same income from any sync deal involving a recording of a song, unless the song is much more famous than the recording. Though, in theory at least, the publisher does generally have a stronger negotiating hand in sync deals, because it is much easier for a licensee to re-record a song than it is to re-write it. Royalties The value of sync deals can vary enormously, depending on the budgets of the licensee, the prestige of the songs and recordings being licensed, and quite when and how the music is being used. Once a deal is done, the publisher and label must then share any income with songwriters and artists according to the terms of their contracts. As a general rule, under record contracts artists will receive a significantly bigger share of sync than record sale income, commonly 50%. On the publishing side, any additional performing rights income subsequently collected by the CMOs will be split between publishers and songwriters in the usual way. 5.4 OTHER REVENUES Other pre-digital revenue streams for music rights owners include: • Selling and licensing sheet music. • Licensing covermount and promotional CDs. • Licensing music and lyrics to karaoke services. • Licensing CD rental services including libraries. • Non-commercial licensing, eg individuals or not-for-profits pressing short run CDs of concerts. DIGITAL LICENSING PAGE 36 \| DISSECTING THE DIGITAL DOLLAR The evolution of the world wide web and the growth of internet access in the 1990s presented both challenges and opportunities for the music industry. While the challenges of piracy have been well documented, other challenges related to legitimate digital platforms: how to license these services, on what terms, and how to process data and royalties. Not all these challenges have, as yet, been fully met. 6.1 WEBCASTS The first digital services that required licences were online radio stations, ie online services that pretty much replicate traditional radio (and, indeed, are often simulcasts of services already going out on AM or FM). As webcasts are similar to broadcasts, both the record industry and the publishing sector often opted to license these services through the collective licensing system, ie as with traditional radio. Also following the broadcast model, royalties were often split more or less equally between the recording and publishing rights (the US being the exception here, more on which below). From a copyright perspective, the main difference between online and traditional radio is that when content is delivered digitally the broadcaster actually exploits both the reproduction and communication controls of the copyright, whereas traditional broadcast only exploits the communication control. (A reproduction may take place if a conventional radio station copies tracks onto its servers – and this process needs to be licensed – but the broadcast itself only involves a communication to the public). Webcasts and publishing rights This is particularly important on the publishing side of course, because traditionally reproduction and performing rights are dealt with separately. As webcasters would rather not have to seek two separate licences – one for reproduction rights, one for performing rights – often the publishing industry has sought to provide joint licences, with reproduction and performing right CMOs – where separate – collaborating. Again the US is different here, in that the big performing rights organisations do not get involved in the licensing of reproduction rights, and ASCAP is not allowed to under the so called ‘consent decree’ that regulates its operations. Either way, when joint licences are provided, a decision needs to be made as to how monies paid by a webcaster should be split between the reproduction and performing right elements of the copyright. This may seem like a mere technicality, given that the ultimate beneficiaries are the same, though in countries where songwriters receive their share of performing right income directly from their CMO but their cut of reproduction right monies via their publisher, the distinction is important. Especially if the songwriter hasn’t recouped on their publishing contract, so income coming in from the publisher is set against Section Six: Digital Licensing DISSECTING THE DIGITAL DOLLAR \| PAGE 37DIGITAL LICENSING their advance rather than paid to the writer. How webcasting income is divided between the reproduction and the performing rights varies from country to country, and is decided by the industry – often via their CMOs – because copyright law provides no guidance on what this split should be. A common split for webcasts is 75% performing rights and 25% reproduction rights. Though that said, in some countries some webcasts – especially simulcasts of AM or FM radio services – may be treated as only exploiting the performing right. For example, in July this year the BBC decided it could no longer play songs by a handful of writers who are not members of the UK’s reproduction rights society MCPS, because a new caching function for offline listening within its smartphone app meant a reproduction rights licence would be required. Which suggests all the other webcasting services already offered by the BBC, but without caching, were covered by its performing rights licence from PRS. Webcasts and recording rights On the sound recordings side, the record labels’ CMOs are empowered to license both the reproduction and performing elements of the copyright to webcasters. Technically Performer ER is only due on the performing right element, though artists may still receive 50% of total income. That said, Performer ER rules for webcasts do vary from country to country. A key difference on the sound recordings side here is the US. As mentioned above, under federal copyright law there is no general performance control with the sound recording copyright. However, a specific digital performance control was added into federal law by new legislation in the 1990s, meaning that while conventional broadcasters are not obliged to secure a licence from sound recording rights owners, webcasters are. But the same legislation included a compulsory licence for non-interactive webcasting services, meaning that sound recording rights owners are obliged to license webcasters through the collective licensing system. As the US record industry did not have an existing CMO to license traditional broadcasters (it not having previously needed one), SoundExchange was set up to administer this compulsory license, with the rates ultimately set by America’s Copyright Royalty Board. It is worth noting that while sound recording rights owners are obliged to license webcasters through SoundExchange at statutory rates, licensees can opt to negotiate deals directly with the record companies if they so wish. Rights owners might be willing to do such deals if a webcaster provides marketing benefits in addition to royalty payments. As for how artists are paid in the webcasting domain, this new law introduced Performer ER (in certain circumstances) into US copyright for the first time. The concept hadn’t existed in America before, mainly because the revenue stream on which Performer ER is customarily paid elsewhere – performing rights income from sound recordings – didn’t exist in the US. The new law that introduced the digital performing right said that Performer ER (set at 50%, as elsewhere) must be paid on this revenue stream, but only when the webcaster is licensed through SoundExchange. This technically means that if a label could persuade a webcaster to license directly it could avoid paying DIGITAL LICENSING PAGE 38 \| DISSECTING THE DIGITAL DOLLAR Performer ER, meaning it could offer the webcaster a 25% discount while earning 25% more itself. That said, few labels have pursued this arrangement, and the major labels have informally committed to always license webcasters through SoundExchange. Labels would still be obliged to share some of this revenue with featured artists under contract anyway, so that the financial benefits of a direct deal may not be so significant. And the majors may also be aware of the PR damage that could be done if they actively circumvented Performer ER in this way. A final thing to note on webcasting is this: whereas in most countries the licensing of webcasters closely mirrors the licensing of broadcasters, in the US there was no existing framework, because in traditional broadcast a license was only required from the music publishers, so things have evolved differently. In particular, because the publishing sector’s CMOs generally have a revenue share arrangement with webcasters (as they do with broadcasters) whereas SoundExchange often charges a per-play fee, the labels can end up earning considerably more. 6.2 DOWNLOADS While webcasters were relatively easy to license, given the many similarities with traditional broadcasters, the first big innovation in digital music provided more challenges. This was, of course, downloads sold through a la carte download stores of the iTunes model. Although in many ways the iTunes music store was as close to a real world record store as was possible in the digital domain, there were three important differences from a copyright perspective: labels becoming licensing companies; publishers licensing the retailer instead of the label; and the making available right. We will consider each of these in turn. a. Labels become licensing companies With downloads, the labels were no longer directly exploiting their own sound recording copyrights by reproducing their own masters. Instead they transferred digital copies of their recordings onto the download store’s servers, and then gave the download store operator permission to give their customers permission to download, and therefore reproduce, their recordings, on a pay-per- download basis. The labels, for whom direct exploitation of copyright had always been their primary business, were now following the publishers lead in becoming first and foremost licensing companies. b. Publishers license the retailer instead of the label When the download market first emerged, the publishers decided to have their own licensing relationships with the download stores, whereas with CDs the label handles song licensing and the retailer receives the finished product ‘rights ready’, never having to worry about copyright matters. There were three main reasons for this. Firstly, download stores, unlike traditional retailers, were already in the licensing game, because that was the nature of their relationship with the labels. So it wasn’t so big an “ask” that they have a licensing relationship with the publishers too. Secondly, many publishers felt they’d receive payment quicker and get better sales data if they liaised directly with the DISSECTING THE DIGITAL DOLLAR \| PAGE 39DIGITAL LICENSING download store operators, rather than allowing the labels to be middle men. Thirdly, this way publishers could consider each new digital business, and digital business model, themselves, and weigh up the value of the song rights to that business. With hindsight, some of the issues faced today, outlined in section eight below, could have been avoided had publishers continued to license labels, and then have the labels provide download stores with a combined licence (a so called ‘pass-through licence’). Though many publishers still feel licensing digital platforms directly, rather than via labels, is the better option. There are some exceptions to this principle. In the US, the compulsory licensing system meant that the pass-through licence approach had to be adopted on download stores, and in some emerging markets, most notably India, pass-through licensing was agreed to by the publishers for logistical reasons. c. The making available control As with a webcast, a download arguably exploits both the reproduction right and performing right elements of the copyright, or to be more specific the reproduction control and the communication control. However, the communication control, where defined in copyright law, traditionally related to conventional broadcasting which, while easily extended to webcasting, might not apply to other kinds of digital transmission. To ensure digital communication of this kind would still be restricted by copyright, and perhaps to distinguish it from the existing controls that covered RECORDING RIGHTS Record label licenses all rights to download storePUBLISHING RIGHTS Label pays revenue share to featured artist according to contractLicensing and royalties for downloads The publishers license through their CMOs Reproduction rights Maybe handled by same or separate CMOsPerforming rights CMO may pay 100% to publisher who pays royalty to songwriter according to contract OR CMO pays share to songwriter and share to publisherCMO pays 50% to songwriter and 50% to publisher minus commission Publisher may then pass additional cut to songwriter depending on publishing contract Some publishers now license direct as shown in streaming diagram on p45. In the US, only reproduction rights apply for downloads. Licensee needs to exploit reproduction and performing rights (latter is technically the ‘making available’ right)DIGITAL LICENSING PAGE 40 \| DISSECTING THE DIGITAL DOLLAR broadcasting22, some rights owners lobbied to have a separate control added to copyright law called ‘making available’. The making available right was formally introduced in World Intellectual Property Organisation treaties in 1996 and in the European Union in 2001. This control has two distinct features to it, firstly that the transmission is ‘electronic’, and secondly that members of the public “may access it from a place and at a time individually chosen by them”. Generally treated as a separate control within the music industry, and usually referred to as the ‘making available right’, making available could be seen as a sub-category of the existing communication control (and it is formally described as such in UK copyright law). Since becoming part of most copyright systems in the early 2000s, a number of questions have been raised about making available, notably: when, exactly, it applies; whether labels need a specific performer approval to exploit this right; and the impact of making available on Performer ER. All of these will be dealt with in section eight. Downloads and recording rights From the outset, the record industry decided to license download stores directly, while the music publishers inititally opted to license collectively. The record industry opted for direct licensing mainly because a la carte download stores were generally seen as the digital equivalent of the CD market, and labels had always had direct control over their content when it came to physical products, while publishers licensed CDs through their CMOs. Also, while iTunes initially forced standardised pricing on all rights owners, the labels successfully persuaded Apple to allow variable pricing controlled by the record company, and that is easier to manage under a direct licensing scenario. Despite now being in the licensing game – rather than directly exploiting their own copyrights – labels generally treat downloads in much the same way they do CDs, in terms of wholesale pricing and how income is processed. And also in how revenue is shared with featured artists, even where record contracts pre-date iTunes and therefore make no specific provision for the download business. This has proven contentious in the artist community, as we will discuss in section eight. Downloads and publishing rights As with webcasting, the publishers generally provide licences for downloads through their CMOs, though there is now some direct licensing, which we will describe when discussing on-demand streaming below. These licences often cover both the reproduction and performing right elements of the copyright, even when the two sets of rights are ultimately controlled by different parties (except in the US, where a download is treated as just a reproduction). Where you have joint licences, income again needs to be split between the reproduction and performing rights as it is processed. Songwriters would receive their 50% of the performing rights revenue direct from their CMO, while their share of reproduction rights revenue would either be paid direct or via their publisher, depending on the rules of their local society. 6.3 PERSONALISED RADIO While download stores were still in their infancy in the early 2000s, a number of start-ups began experimenting with a form of webcasting where content is 22: Which could be subject to compulsory licences. DISSECTING THE DIGITAL DOLLAR \| PAGE 41DIGITAL LICENSING personalised for each user, rather than radio-style webcasting where all users hear the same content to which they can simple tune in or tune out. Commonly referred to as personalised radio services, the most famous of these platforms today is probably Pandora. Personalised radio and recording rights In the US, the question was quickly raised as to whether or not personalised radio services could license the sound recording rights through SoundExchange, under the same compulsory licence used by more conventional webcasters. If so, the labels – which were still nervous of innovative digital business models at this point – would be obliged to license these services, and the service providers would pay rates ultimately set by the Copyright Royalty Board. The compulsory licence introduced in the 1990s was arguably intended for more conventional webcasting, to ensure the labels didn’t block the growth of standard online radio, and Congress certainly didn’t envisage that this licence would apply to fully interactive streaming services like Spotify. However, the operators of some personalised radio platforms argued that their services were not, in fact, properly interactive so the compulsory licence should apply. With the law that provided the compulsory licence not conclusive on this point, Yahoo, which had acquired a personalised radio service called Launch, tested the reach of the compulsory licence in court and won, confirming that services of this kind could indeed operate under a SoundExchange licence, paying royalties at rates set by the CRB. RECORDING RIGHTS Available under compulsory licence via SoundExchange Though DSP can choose to negotiate direct with label if it wishesLicensing and royalties for personalised radio in the US PUBLISHING RIGHTS Publishers license via CMOs DSP can choose to negotiate direct with publisher if it wishes – though publisher can’t currently force direct deal under current ASCAP/BMI consent decreesService needs licence to cover SONG COPYRIGHT SOUND RECORDING COPYRIGHT PERFORMER RIGHTS *Performer ER technically only applies when service licensed via SoundExchangeCMO pays label minus commissionCMO pays featured artists and sessions musicians minus commissionCMO pays 50% to songwriter minus commissionCMO pays 50% to publisher minus commission Publisher may then pass additional cut to songwriter depending on publishing contractDIGITAL LICENSING PAGE 42 \| DISSECTING THE DIGITAL DOLLAR With the publishers also licensing these fledgling companies through the collective licensing system, this made it much easier for such services to legally launch in the US, which is why the personalised radio market grew so early and so quickly there, and why this kind of streaming service, and especially Pandora and iHeartRadio, remain so significant in the country, despite fully on-demand streaming dominating in Europe. It is important to note that music rights owners have come to resent the way Pandora is licensed, especially since the company’s IPO made its founders rich and its finances public, while subsequent and seemingly relentless efforts by the digital company to persuade the CRB and the collective licensing courts to reduce its royalty payments have exacerbated that resentment. Personalised radio and publishing rights While the American labels are pretty much locked to licensing Pandora through SoundExchange (unless new legislation can be passed), the big publishers in the country have sought to stop licensing services of this kind through their collecting societies, forcing the digital service providers into direct deals. It is arguably a more pressing issue for publishers and songwriters, because under the current system they earn much less than the record companies However, the US courts have ruled that current American collective licensing rules – aka the ‘consent decrees’ that govern the CMOs BMI and ASCAP – forbid partial withdrawal of rights from the performing rights organisations, meaning to force Pandora into direct deals the publishers would need to start licensing all customers of their performing rights – including AM/FM radio stations and concert promoters – directly, a move that would pose both logistical and legal challenges. The publishers have successfully forced a review of US collective licensing rules by the US Department Of Justice, which is expected to conclude partial withdrawal should be allowed (subject to conditions). Though this too will create logistical and legal challenges. For example, can publishers simply withdraw the digital performing rights of their songs from ASCAP and BMI without explicit permission from songwriters? Meanwhile, with international repertoire, licensed by ASCAP and BMI through reciprocal agreements with other CMOs around the world, which often exclusively mandate the US societies to act as licensors, withdrawal would not be possible without the approval and, likely, the participation of those societies. How would that work? Though, when Pandora previously did negotiate direct deals with the big publishers – fearing, for a time, imminent withdrawal from the CMOs – the rights owners secured higher rates, so there is an incentive to meet these challenges and make direct deals work. Personalised radio outside the US Outside the US there are fewer personalised radio services, and those that have launched have not always gained traction on the same level as Spotify-style platforms. Though some fully on-demand services – most notably Rdio – offer personalised radio on their freemium levels. Outside the US labels may license personalised radio services directly, though in some countries they may also allow their CMOs to license services where DISSECTING THE DIGITAL DOLLAR \| PAGE 43DIGITAL LICENSING SoundExchange would license in the US, even though they are not obliged to under law. Where they have done so, Performer ER may or may not be paid depending on local conventions. Publishers outside the US also initially licensed these services through CMOs in a similar way to more conventional webcasts, though some repertoire may now be licensed directly in the way we will outline in the next section. In both scenarios, income again needs to be split between reproduction and performing rights, which may affect how songwriters are paid. 6.4 ON-DEMAND STREAMING The biggest growth area in recorded music today is fully on-demand streaming, so digital service providers (DSPs) like Spotify, Apple Music, Deezer, Rdio, Tidal, Google Play and Napster/Rhapsody. These services first began to emerge around 2006 (though Napster and Rhapsody existed earlier with different models), and really took off after 2008, when the record companies – and particularly the majors – seemed to have a change of heart regarding digital, and started to more proactively investigate and consider new approaches to monetising their content, albeit providing the DSPs agreed to some sizable upfront demands. On-demand streaming and sound recording rights With the SoundExchange compulsory licence in the US definitely not applying to these services, the record industry worldwide opted to license fully on-demand streaming platforms directly, though most indies either rely on digital rights body Merlin to negotiate their deals or they piggy- back on a distributor’s existing arrangement. Fully on-demand streaming services, whether advertising or subscription funded, required a very different approach to licensing on the labels’ part. Unlike the CD and download market, where the labels charge a set wholesale price per sale to the retailer or download store, streaming services are usually licensed on a revenue share basis, similar to the way performing rights organisations often license bigger concert promoters and broadcasters. That said, because when a streaming service first launches there is very little revenue in which to share, and because some DSPs will fail before generating any serious income, the labels build in a number of contingencies, meaning these deals have at least four and maybe five components. • Firstly, there will be the core revenue share element. Labels generally seek 55-60% of any revenue generated by the DSP that can be allocated to their recordings. • Secondly, there will be a series of minima guarantees for the label, which means that whatever revenues a DSP generates, the label will receive a minimum sum of money each time one of their tracks is streamed, and possibly for each subscriber the DSP signs up as well. • Thirdly, there will be an upfront cash advance, so whatever happens the label knows it will make a minimum sum of money in any one licensing period. Further royalty payments by the DSP begin once the advance has been recouped. • Fourthly, with start-ups the labels will usually demand equity in the company, aware that the single biggest revenue generator may be the sale of the streaming business, either to an existing major tech or media firm or through flotation on a stock exchange (IPO). DIGITAL LICENSING PAGE 44 \| DISSECTING THE DIGITAL DOLLAR • Fifthly, on first deal some labels add an admin or technology fee to cover the costs of providing and ingesting content to the DSP’s specific requirements. Where a DSP has both an ad funded and subscription level, and/or partnerships that bundle paid-for subscriptions in with a mobile, ISP or other services, the label will likely negotiate a separate deal for each option. Each month revenue and usage data will need to be provided, and royalties calculated, separately for each part of the deal Once the deal is in place, each month (or thereabouts) the DSP will report to the label for the period just gone all of the following for each category: The DSP then calculates what proportion of overall revenue could be attributed to the label’s recordings, based on the proportion of the total number of streams that came from the record company’s catalogue (so B divided by E). It then pays the label 55-60% of that money depending on the terms of its specific deal. Unless, that is, the minimum rate for the total number of streams (so D multiplied by the per-play minimum rate) – or indeed any other minima that has been guaranteed – is higher, in which case the DSP pays that sum to the label instead. In theory, as a streaming service matures, most elements of the original deal should become irrelevant. Equity and admin fees will probably only be demanded on first deal, and as a service becomes successful – so that monthly revenues always exceed minimum payments – the minima should become irrelevant too (though ad-funded services may always be at the whim of the advertising market, so revenues will fluctuate). Once the labels have been paid, they must then share the income with featured artists according to their record contracts. As with downloads, most labels have based the artist’s share of streaming income on the splits they already received on CD sales (either explicitly in new contracts or by interpreting pre-digital contracts in this way), which is usually a relatively low split (commonly 15%, maybe a few percent more for streams). As with downloads this has proven controversial, and indeed even more so, because many artists feel that the label’s costs and risks are reduced in the streaming domain. There is also an argument that, because streaming arguably exploits performing rights more than reproduction rights, Performer ER should be paid on some of this income. However, the labels argue that the performing right element of streaming constitutes ‘making available’ rather than straight ‘communication to the public’, and that Performer ER does not apply when that is the case. Both these arguments are contentious and we will return to them in section eight below. A B C D ETotal number of subscribers. Total revenues after sales tax has been deducted. Total number of streams. Total number of streams from the label’s catalogue. Proportion of total streams that came from the label’s catalogue (so C divided by D). DISSECTING THE DIGITAL DOLLAR \| PAGE 45DIGITAL LICENSING On-demand streaming and publishing rights On the publishing side of streaming, the distinction between reproduction and performing rights becomes important once again, as does the role of the CMOs. While the publishing sector initially licensed streaming services collectively – and still does in the US, where compulsory and collective licensing rules restrict alternatives – in some other markets, and especially Europe, the big publishers have started to license some repertoire – principally Anglo- American repertoire 23 – directly. However, this move to direct licensing posed a challenge because – as discussed above – outside the US the publishers do not control song copyrights outright, rather the songwriter assigns (basically) some elements of the copyright to their CMO instead. The publisher then enjoys just a contractual share of the revenue generated by those elements of the copyright. This means that, whereas the record companies can easily cut their CMOs out of the deal making process, the music publishers do not have that power, especially if the licensee needs to exploit both performing and reproduction rights. Nevertheless, as the digital market matured the big music publishers in Europe decided they wanted to start licensing some digital services directly, arguing that this would benefit both corporate rights owners and songwriters if it resulted in higher royalties RECORDING RIGHTS Record label licenses all rights to download storePUBLISHING RIGHTS Other publishers license collectively via CMOs Label pays revenue share to featured artist according to contractCMO pays 50% to songwriter and 50% to publisher minus commission Publisher may then pass additional cut to songwriter depending on publishing contractLicensing and royalties for on demand streaming Big publishers MAY license direct in partnership with CMOs CMO may pay 100% to publisher who pays royalty to songwriter according to contract OR CMO pays share to songwriter and share to publisherPublisher pays royalty on reproduction right income to songwriter according to publishing contractLicensee needs to exploit reproduction and performing rights (latter is technically the ‘making available’ right – probably!) Reproduction Rights CMOMusic Publisher23: The definition of ‘Anglo-American repertoire’ can vary, though commonly includes songs registered with CMOs in UK, Ireland, US, Canada, Australia and South Africa. Performing Rights CMODIGITAL LICENSING PAGE 46 \| DISSECTING THE DIGITAL DOLLAR overall, while digital service providers would also benefit, because direct deals could usually be completed quicker and on a multi-territory basis23. The big publishers were confident direct dealing would result in better rates, not least because direct deals would not be subject to collective licensing regulation, strengthening their negotiating hand. And, unlike in the US, European collective licensing rules (formulated in response to a line of cases from the Court Of Justice Of The European Union) said that publishers could exercise so called ‘partial withdrawal’ and license digital directly while continuing to license other sets of users, like radio and concert promoters, though the collective licensing system. However, because the CMOs actually control some of the elements of the copyright that the DSPs seek to exploit, the publishers couldn’t simply start licensing direct on their own. So instead they each formed joint ventures with one or another European society, called ‘special purpose vehicles’, or SPVs. Each of these ventures was then empowered to represent the reproduction rights in its parent publisher’s Anglo- American catalogue, and would then gain permission from relevant CMOs to also represent the performing rights of the same songs. This means the SPV can then negotiate a direct deal with each DSP that covers all elements of songs in the publisher’s repertoire. The deal making is led by the publisher, but terms must be approved by participating CMOs. Publishers which have gone this route are: • Sony/ATV/EMI via SOLAR, a joint venture (JV) with PRS and GEMA. • Universal via DEAL, a JV with SACEM. • Warner/Chappell via PEDL, a JV with various societies but mainly PRS. • BMG via ARESA, a JV with GEMA. • Kobalt originally via a JV with STIM, and now via AMRA, the society Kobalt bought but which continues to operate as an autonomous body. • Some of the bigger indies are now moving in this direction via the IMPEL initiative, which works with PRS. As with other digital licences, once streaming revenue is received it is split between the performing and reproduction rights (splits vary from country to country). Once collected and split between the two sets of rights, income then works its way through the system, some going direct to the publisher, some through the CMO, with the songwriter again possibly receiving their share from two sources, ie from both publisher and society. Of course, while the five publishers now negotiating digital deals direct control a lot of repertoire, they do not control it all, and the direct deals only generally cover Anglo- American catalogue. And whereas on the recordings side, where if a DSP doesn’t have a deal in place with a smaller rights owners it just doesn’t carry that label’s content, on the publishing side it is more complicated because co-ownership of copyright is so common and ownership data is not always easy to come by. This means that a DSP may receive a recording from a label, and have deals in place with publishers that control 80% of the song, but not with the one indie publisher which controls the other 20%. In theory the DSP shouldn’t stream this recording because it is not fully licensed. But it can be hard for the digital service to 23: Some CMOs do now offer multi-territory licences and this trend is growing, though licensing in that way is arguably simpler with direct dealing. DISSECTING THE DIGITAL DOLLAR \| PAGE 47DIGITAL LICENSING know that it hasn’t got all the licences it needs in place for that individual song, and even if it is aware of that issue, it probably won’t know which independent controls the remaining 20%. This basically means DSPs need to get licensing deals in place with pretty much every publisher to make things work. This ‘mop up’ can generally be done through the collective licensing system. So basically a DSP in Europe needs to do deals with SOLAR, DEAL, PEDL, ARESA and AMRA, and then an individual deal with the local collecting society in each and every country in which it wishes to operate (always ensuring that both performing and reproduction rights are covered). DSPs do not like this arrangement, though the societies are trying to reduce the total number of deals digital services are required to do. For example, with the ‘hub’ that has been created by PRS, GEMA and STIM (the UK, German and Swedish CMOs respectively) which will provide one multi-territory licence covering all three societies’ repertoires (not including songs represented by one of the SPVs). PRS also manages licensing for the aforementioned IMPEL, and those rights are included in this hub project. The publishers’ deals – whether directly or collectively negotiated – are similar to those of the labels in that they are ultimately revenue share arrangements, but with some minimum guarantees and an upfront advance. Publishers generally seek 10-15% of any revenue that can be allocated to their songs and payments are calculated in a similar way to with the labels. Though it is worth noting that co-ownership and the lack of good ownership data creates challenges here. Because there is no central database identifying who owns and controls each song copyright or – where songs are co-owned – what the respective splits are, the DSPs generally rely on the publishers and CMOs to tell them what they are due based on what songs have been streamed in any one month. So a DSP provides the SPVs and CMOs with a spreadsheet recording every single stream that took place in the preceding month. The SPV and CMO must then identify every stream that exploited a song it controls, and then work out what it is owed based on its revenue share or minima arrangement, and according to what percentage of the song it owns or controls. This ‘back reporting’ creates two problems. First, processing that level of data is a massive task. The CMOs are now having to process unprecedented amounts of data, and the total amount increases each month as the streaming services grow. Many have struggled with this. And second, there are discrepancies between different publisher’s and CMO’s databases as to who controls what songs, and especially what the percentage splits are in co-owned tracks. Meaning the DSPs are sometimes asked to pay out more than 100% of the monies due on any one stream. Where this happens digital services usually delay payment until the conflict is resolved, which delays payment to the publisher and songwriter. The aforementioned PRS/STIM/GEMA hub also hopes to tackle these challenges too, by pooling the data processing efforts of the three societies and the SPVs they are involved in, and by having one central pool of ownership data so that disputes over splits are less likely to happen (PRS and STIM already had a data sharing arrangement in place called ICE). Nevertheless, worldwide these challenges remain. MANAGER SURVEY PAGE 48 \| DISSECTING THE DIGITAL DOLLAR The licensing of digital services by the music industry is clearly pretty complex, and has evolved somewhat since the first download stores and webcasters needed licences. This evolution has been primarily led by record companies, music publishers and CMOs, even though artists and songwriters may also be rights owners, and are certainly beneficiaries of music copyrights via both contractual and performer rights. To ascertain how digital licensing is being explained to artists and their management teams, and what access to information about digital deals artists and managers are given, we surveyed 50 artist managers from across the world, including the UK, Ireland, France, Australia, Canada and the US, who together work with all three major record companies and over 100 independents. 7.1 ARTIST PROFILE We firstly questioned these managers about the artists they represent, the kinds of copyrights those artists were involved in creating, and the deals they had done with corporate rights owners. Specifically, we asked, “of the artists you manage”…Approximately what proportion have… Assigned ALL their recordings 38% Retained ownership of ALL 45% their recordings Assigned some recordings, 17% retained others Approximately what proportion are… Signed to deals that specifically 63% mention digital income Signed to deals that do not 37% mention digital income Approximately what proportion are involved in the creation of… Only sound recording copyrights 3% Only song copyrights 4% Both sound recording and 93% song copyrights Approximately what proportion are signed to... Major labels or publishers 42% Independent labels or publishers 58% 7.2 KNOWLEDGE OF DIGITAL DEALS We then asked managers what they knew about some key elements of the digital deals that have been struck between the labels, publishers and CMOs they work with and, specifically, the streaming services; and Section Seven: Manager Survey DISSECTING THE DIGITAL DOLLAR \| PAGE 49MANAGER SURVEY also how those deals have been organised and structured. This included… I know the revenue share arrangement between label and streaming services for… All my artists 9% Some of my artists 20% None of my artists 57% I’m not sure 14% I know minimum payments agreed between label and streaming services for… All my artists 9% Some of my artists 4% None of my artists 67% I’m not sure 20% Do you know any of the following? Why the labels license some 41% did services collectively (ie via CMOs) and some services direct (ie not via CMOs) Whether your artist’s 47% did publishing rights are being licensed to digital services via CMO-negotiated deals or publisher-negotiated deals Whether your artist’s 9% did publishing royalties from digital are being paid via their CMO, their publisher, or a combination of the two What percentage of a stream 3% did is deemed ‘reproduction right’ and what percentage of a stream is deemed ‘performing right’ by your artists’ CMOs. 7.3 DIGITAL ROYAL TIES Next we asked what information had been provided about the way corporate rights owners calculate and pay royalties to artists and songwriters on digital income. This included… I know what charges and deductions labels are making on digital income before calculating royalties for… All my artists 9% Some of my artists 25% None of my artists 46% I’m not sure 20% Digital income is clearly presented on royalty statements for… All my artists 24% Some of my artists 45% None of my artists 13% I’m not sure 18% I have seen labels pay a share of digital ‘breakage’ – that is advances paid by DSPs that exceeded per-play royalties owing for any one year – for… All my artists 0% Some of my artists 7% None of my artists 38% I’m not sure 55%MANAGER SURVEY PAGE 50 \| DISSECTING THE DIGITAL DOLLAR 7.4 COMMUNICATION ABOUT DIGITAL DEALS AND ROYAL TIES With managers clearly lacking information on key elements of many of the digital deals done by corporate rights owners and CMOs – and on the way digital income is being processed and shared – we then asked whether respondents had actively requested that information, whether any briefings on digital deals had been provided, and whether they would attend such briefings. Which of the following have you requested information on… (percentage who had) Revenue Share Arrangements 31% Minimum guarantees 31% Charges made on digital royalties 39% Which of the following have invited you to briefings about digital income and royalties? Your artists’ labels 18% Your artists’ publishers 20% Your artists’ CMOs 29% A DSP 37% If they invited you, which of the following would you attend a briefing from? Your artists’ labels 96% Your artists’ publishers 96% Your artists’ CMOs 89% A DSP 98%7.5 ROYAL TY SPLITS Next we asked managers about the way digital income is split between different stakeholders, something that has proven contentious in recent years and which will be discussed in more detail in section eight below. What do you think is a fair label/artist split on streaming income? 60% to label, 40% to artist 10% 50% to label, 50% to artist 39% It will always depend on the record 51% contract, every deal is different Labels currently receive four to six times more of streaming service revenues than publishers/songwriters. Do you think… The current split is fair 11% The money should be split 75% 37% to label, 25% to publisher The money should be split 60% 11% to label, 40% to publisher The money should be split 50% 26% to label, 50% to publisher I have no opinion on the split of 15% money between labels/publishers When should equitable remuneration be paid to artists? All digital services 78% (downloads and streams) All streaming services but not 13% download services Just personalised radio services 9% like Pandora DISSECTING THE DIGITAL DOLLAR \| PAGE 51MANAGER SURVEY 7.6 ISSUES AND PREDICTIONS Finally we asked respondents what they considered to be the key issues regarding digital rights and royalties (selecting from a list of issues we identified) and then what future developments they anticipated. The most important issues managers wished to tackle with record labels were as follows (number of respondents who said this was the most important issue in brackets)… 1. Labels should increase the artists’ share on streaming income. (38%)2. Labels should tell artists and their representatives the specifics of each digital deal (revenue share, minimum guarantees, advances, equity). (29%) 3. Labels should provide artists and their representatives with a clear breakdown of how digital income is processed and what charges are made before royalty splits are calculated. (15%) Meanwhile the issues that managers would most like government to assist on were as follows (number of respondents who said this was the most important issue in brackets)… 1. That labels be forced to share information about their digital deals with any beneficiaries of the copyrights they control (or their representatives) (34%) 2. That performer equitable remuneration be extended to cover all streaming services, ie including on-demand services such as Spotify (28%) 3. That services like YouTube be prevented from using so called ‘safe harbours’ in order to run services where content owners have to opt-out rather than opt-in (28%) In terms of predictions about the future… • 74% said streaming services would be the single biggest revenue stream for the record industry by 2020. • Though only 18% thought streaming services would ultimately replace download platforms altogether, meaning the majority think the two models can co-exist. • Showing an air of pessimism, only 2% thought the record industry will see growth as streaming services come of age, and only 2% thought labels would become more transparent as the digital market matures. • With this in mind, only 4% thought new artists would continue to primarily sign to record companies for the foreseeable future. ISSUES PAGE 52 \| DISSECTING THE DIGITAL DOLLAR 8.1 DIVISION OF REVENUE As the primary way recorded music is commercialised has shifted from physical to digital, and more recently from downloads to streams, there has been much debate as to how monies generated by digital services should be divided between the different stakeholders, ie between the digital platforms, labels, publishers, CMOs, artists and songwriters. There are various components to this debate. a. The rights owners / digital platforms split Question one: How should digital income be split between the music industry and the digital platforms themselves? Most DSPs – both download stores and streaming platforms – see themselves as the new retailers. This meant that, when the early digital services first began negotiating with the record companies, music publishers and CMOs, there was some precedent on which the digital services could base their proposed business models, in that they knew what cut of the pie traditional CD sellers had taken. This has resulted in most streaming services keeping approximately 30% of their post- sales-tax revenue. Though it is worth noting that this is very much an approximate figure, because each rights owner has a different revenue share arrangement with each streaming service, meaning that the DSP might have to share anywhere between 65% and 75% of the revenue attributed to any one stream. Some streams, therefore, will be more costly than others. Across the board it averages out at about 70%. Though most deals between rights owners and DSPs put more of the initial risk on the latter, in that the digital service is obliged to make certain minimum payments to the labels and publishers irrespective of revenue, as outlined above. This may not always apply during trial periods that are completely free to the user, but does with ad-funded freemium and post-trial-period premium when the DSP is yet to reach critical mass. This means that, in the early days, a start-up streaming service will likely be making payments to the rights owners that exceed their entire revenues. This is why it is an expensive business setting up a new streaming platform. Nevertheless, there are some in the music community who propose that the streaming services should be paying more than 70% of their revenues to the rights owners. Though, in the main, the DSPs are unsurprisingly resistant to this proposal. A report published earlier this year by the UK’s Entertainment Retailer’s Association, which counts the key DSPs amongst its membership, argued that the mainly loss- making streaming services are already struggling to grow their businesses on a 30% split, given the infrastructures they have had to build and the advances and guarantees they have had to pay. The report contained the quote: “70% is tough enough, but at 80%, we would have to shut up shop. Somebody should explain that 80% of nothing is… nothing”. Demanding that the DSPs take a cut below the 30% average, therefore, is possibly optimistic at this time. Though since the Jay Z led acquisition of Tidal, and as that Section Eight: Issues DISSECTING THE DIGITAL DOLLAR \| PAGE 53ISSUES company has tried to portray itself as the “artist-friendly streaming service”, it has indicated a willingness to pay 75% of its revenues to the music industry. Meanwhile Apple Music insists that it will also be more generous than the industry standard long- term. So perhaps there is some room for manoeuvre. But it could go either way. Recent developments at Spotify and Deezer have seen both streaming services expand their platforms to include speech and video content, and in the former’s case more originally commissioned content too. If the streaming platforms become more like media companies, and invest in their own content around the music, they may wish to share less revenue with the music industry. Though for the time being, the rights owners/digital split seems likely to stay somewhere between 70/30 and 75/25. b. The recording rights / publishing rights split Question two: Of the 70-75% of streaming revenues paid to the music industry, how should these monies be split between the two copyrights, ie the recordings and the songs? Each rights owner has its own deal with each digital platform and the exact terms of those deals are secret. But we know that sound recording owners will likely have a revenue share arrangement of around 55-60%, while song owners will likely have a revenue share arrangement of between 10-15%. Which means the label is likely to be taking four to six times more than the publisher. This disparity is not new. Indeed in the CD domain the label/publisher split would be tipped even more to the former’s advantage. There are various reasons for this, including the facts that: • A sound recording copyright owner only earns from their one specific recording of a song, while the publisher earns on every version and variation of the work. • The owner of the song also earns every time the work is performed live, and so also enjoys a cut of the live sector’s income. • A sound recording copyright term lasts for a fixed time after release (50-95 years, depending on country), whereas the song term runs for the life of the creator and then a set period of time (50-70 years depending on country), meaning song copyrights usually last significantly longer than recording copyrights. But most importantly, the sound recording owner – ie the label – does a lot more work in getting the CD to market. It pays for the recording to be made, for CDs to be pressed and distributed, and for the marketing campaign that will, if successful, result in sales. The publisher, while paying an advance to the songwriter, has none of this risk, and with risk comes reward. Which is principally why the label earned so much more from CD sales than the publisher. However, when it comes to other uses of recorded music – such as the broadcast or public performance of sound recordings – in the main both rights owners often receive a similar sum of money from licensees (outside the US that is, in America labels actually receive nothing because, as mentioned above, there is only a digital performing right with the sound recording copyright). So, while it may often be down to the label to get new recordings to radio stations and club DJs, the assumption here is that record companies are taking a much lower risk and so the rewards are shared out more equally. ISSUES PAGE 54 \| DISSECTING THE DIGITAL DOLLAR In the main, something akin to the CD model has been applied to both downloads and streams. Even though it could be argued that, while iTunes was the digital evolution of the record shop, Spotify is actually the digital evolution of radio. That logic might suggest a publisher/label split more inline with traditional broadcast, so that any revenues paid to the music industry are split more equally between the two copyrights. Though few are actually proposing a 50/50 arrangement between the record industry and the music publishing sector on streaming income. And many record companies argue that such an arrangement would almost certainly put them out of business. Because even if there are parallels between Spotify and traditional radio, the labels continue to take a considerable risk when creating new recorded content to pump into the streaming services. And while the costs of distribution may be considerably less in digital than physical, there are still significant costs associated with creating new recorded music and marketing those releases, while digital rights administration still requires some resource. Labels have also had to digitise their catalogues and invest in systems to get their content onto the digital platforms. But are the labels really taking as big a risk in the digital age as when they were primarily selling CDs? And won’t their risks decline further as digital-only releases become the norm and the initial set-up costs of the industry’s shift to digital are paid off? And aren’t many labels now partly securing their investments in new talent by taking a cut of revenue streams beyond the sound recording copyright, such as merchandise, live income and brand partnerships?Some in the music publishing industry are now starting to publicly bemoan the level of income they are receiving from the booming streaming sector, and songwriters in particular have become vocal on this issue in the last year. And while these complaints have been partly aimed at the DSPs themselves, and in the US at the compulsory and collective licensing rules that impact what publishing royalties digital services pay, some are now also questioning why there is such a disparity between label and publisher payments on streaming music. In our survey, artist managers generally supported a shift, so that the split between recording and song copyrights becomes closer to 75%/25%. Though some in the publishing sector argue that publishers and CMOs should continue to focus on getting the best possible deals for their respective repertoires, rather than getting into a turf war with the labels. But given that most digital platforms license recordings first (indeed many go live with some publishing deals still pending), the fact that up to 60% of revenue is already committed to the record companies before the DSPs do their deals with the publishers will surely always limit what the digital services can afford to pay for the song rights. Though quite how this matter can be resolved is not clear (though in the US task one is reforming the aforementioned compulsory and collective licensing rules). The problem is exacerbated because the publishers and their CMOs opted to have their own commercial relationships with the DSPs, rather than licensing the labels and letting them provide content to the streaming platforms with all rights covered (remember, in the CD domain, the label not the retailer was the publisher’s licensee). DISSECTING THE DIGITAL DOLLAR \| PAGE 55ISSUES As mentioned above, the main reason for this was that the publishers and their CMOs generally felt that, by having their own separate arrangements with the DSPs, they would get paid faster and would have better access to usage data. With hindsight, there is also an argument that the labels would have been more resistant to the bigger publishers subsequently going the direct licensing route as they have with digital in Europe (via their SPV joint ventures with the CMOs), the record companies having generally paid publishers set rates through the collective licensing system in the past. All these reasons for the publishing sector licensing the DSPs rather than the labels are still sound. But this arrangement means that there is no direct commercial relationship between the labels and the publishers when it comes to digital licensing, leaving the DSP somewhat caught in the middle if the two sides of the music rights industry start to dispute the way digital royalties should be split between the different music copyrights. Except, of course, many music rights firms – and all of the majors – own both labels and publishers, so there is a commercial link at the top of these businesses. Though music rights companies with interests in both sound recording and song copyrights would likely prefer the status quo – ie the majority of the money coming in through their labels – because generally record companies pay artists a much smaller share of income than publishers do songwriters (and at least some of the publishing income is paid direct to songwriters via the CMOs). Meanwhile, the record industry at large likely hopes that publishers and songwriters will be placated down the line as streaming revenues boom and even a minority split of the money becomes lucrative. Though with the wider recorded music market still pretty flat, and with gains in streaming income now having to compensate for declines in both CD and download sales, it may be sometime before the publishers and songwriters start to feel optimistic about digital. c. The reproduction rights / performing rights split Question three: Downloads and streams exploit both the reproduction and communication controls of the copyright – ie both the reproduction and the performing rights. How should income be allocated between the two elements of each copyright? Recording rights On the sound recording side, it could be argued that this distinction is an academic one, because the record company routinely controls both elements of the copyright, and artist contracts don’t usually distinguish between reproduction and performing rights when it comes to royalties (record contracts are more likely to distinguish between ‘sales’ and ‘licence’ income, more on which below). That said, Performer ER is relevant here. Under most copyright systems Performer ER is due when the performing rights of a sound recording copyright are exploited, but not when the reproduction rights are used. However, Performer ER has not been paid on most digital income to date for reasons outlined below. But if it were, it would only be due on the performing right allocation of digital revenue, not the reproduction right allocation (where featured artists would instead be due royalties as set out in their label contract), so at that point how digital ISSUES PAGE 56 \| DISSECTING THE DIGITAL DOLLAR monies were allocated between the two elements of the copyright would become important to both labels and artists. Publishing rights But the reproduction/performing rights split is already important on the publishing side, especially in the US and in countries where monies from the different rights flow through the system differently, like the UK. It is important in the US because reproduction and performing rights are still licensed separately, meaning DSPs need to seek two sets of licenses, one to cover reproduction rights and one to cover performing rights. In the UK, as with the rest of Europe, the publishers and CMOs provide DSPs with joint reproduction/performing right licenses, but the way monies are then paid to publishers and songwriters differs depending on which element of the copyright has been exploited. Under the UK system, 50% of performing rights income is always paid directly to the songwriter by PRS, oblivious of whether or not they have recouped on their publishing deal. But all reproduction rights income is paid to the publisher, which then pays the songwriter their share according to their specific publishing contract. For signed songwriters, therefore, it will likely be beneficial for more digital income to be allocated to the performing right than the reproduction right (especially if they are yet to recoup on their publishing deal). Copyright law does not actually define what controls are exploited in a download and stream, nor what the split should be between the two controls. Therefore the industry defines these splits itself. Common practice has been to assume that the download is more reproduction than performing right, but the stream is more performing than reproduction right. So download income may be split 75% to reproduction and 25% to performing right, while streaming income may be split 25% to reproduction and 75% to performing right. Though these splits vary from country to country, have changed over time, and may be 50/50. d. The artist / label split Question four: Where a record label owns the copyright in a sound recording but pays a royalty to the featured artist under the terms of their record contract, what royalty should the label pay on downloads and streams compared to CDs? There has been much debate since the early days of iTunes as to how digital income should be shared between labels and artists. There has been much less debate about the similar split between publishers and songwriters, possibly because publishing contracts are traditionally much more generous to songwriters than record contracts are to artists, usually because labels make much bigger upfront investments than publishers 24. Every contract is different, of course, though publishing contracts will always see the songwriter take at least 50% of revenue and possibly, in more modern contracts, significantly more. On the label side, while some indie label deals may offer a 50/50 net split with the artist, a more common arrangement will see the record company keep the majority of core income streams. Sales v licence A convention of record contracts is that the royalties paid by the label to the artist often differ according to revenue stream, 24: Though this side of the debate is possibly now underway as songwriters have seen their income drop significantly as digital shifts from downloads to streams. DISSECTING THE DIGITAL DOLLAR \| PAGE 57ISSUES so that while the label may keep 85% of record sale monies, a more generous 50/50 arrangement may apply to other income, such as sync. This distinction was often described in pre-digital contracts using the terms ‘sale’ (where money was generated by directly exploiting the copyright, eg selling CDs) and ‘licence’ (where money was generated through licensing deals, eg sync). This has created a problem for record companies with legacy contracts that do not specifically mention downloads or streams because digital is clearly a licensing rather than sales scenario, in that the label gives permission to the digital platform to exploit their copyrights, rather than directly making and selling copies of their recordings. A strict interpretation of a conventional pre-digital record contract, therefore, could require the label to pay the higher ‘licence’ royalty on all digital income. In the main this has not happened, with the vast majority of labels paying the lower ‘sales’ royalty on downloads, and many on streams too. A significant number of veteran artists have sued their record companies on this point of contractual interpretation, albeit mainly in the US. The landmark case is FBT Productions v Universal Music, relating to the stake producers Mark and Jeff Bass have in the early recordings of Eminem, who is signed to Universal label Interscope. After long-drawn out litigation on the sales v licence point, FBT Productions won the case, subsequently securing a higher royalty on digital income stemming from the Eminem recordings. Universal insisted that this case did not set a general precedent that labels should pay a licence royalty on digital. Nevertheless, countless other artists sued for higher digital royalties, some securing class action status for their litigation, meaning any artist with a similar contract with the same record company might be able to claim higher royalties if the lawsuits prevailed. Despite the high number of lawsuits, few cases have reached court and in the main the majors have sought to settle these actions. Though those settlements that have been made public – mainly those relating to class actions – have generally seen the majors offer only slight increases on download royalties, usually with some provision for past royalties and legal costs to date. The outcome is that most artists are seeing at most just a few per cent more for downloads than CD sales, though higher profile legacy artists may have secured more preferential rates via confidential out- of-court arrangements. It is worth noting that most of these cases focused on download rather than streaming income (relating to a period in time when the former revenue stream vastly outperformed the latter). The argument for a stream being treated as a licence over a sale is surely even stronger than with downloads. Some newer digital royalty lawsuits do cover streams as well, and not all these cases are as yet resolved, so this matter could as yet return to court. Risk and transparency Newer record contracts, of course, clearly set out what royalties are due on digital income (possibly also separating out downloads and streams). Artists may secure a slightly better rate on downloads than CD, and a slightly better rate again on streams over downloads, though they are unlikely to achieve anything close to a 50/50 split on digital, unless working with an independent label that always worked on a 50/50 net revenue share basis (and which would almost ISSUES PAGE 58 \| DISSECTING THE DIGITAL DOLLAR certainly be making a significantly lower investment at the outset). Beyond the above described contractual interpretation disputes, there is a separate debate to be had on what label/artist split is fair on digital. Record companies would argue that they continue to be the primary risk takers in the music industry, and therefore need to keep the majority of the recorded music revenue stream when an investment successfully launches a new artist and/or album. Though artists and managers, like the songwriters and publishers above, might argue that, while that is true to an extent, surely the risks are less in digital than physical, and therefore labels should be more generous in how they share the profits (39% of the managers we surveyed said a 50/50 split would be fairer). And this argument is arguably even stronger for legacy artists where the label recouped on its initial investment long ago, and the costs of getting that catalogue to market are now considerably smaller. Of course, when it comes to new rather than ambiguous legacy record contracts, the label could argue that if the artist wasn’t happy with the splits they are receiving on downloads and streams, they shouldn’t have done the deal. And 51% of the managers we surveyed agreed that – beyond the sales v licence debate on old contracts – digital royalty rates are for artists and labels to agree in contract. And if new talent needs a label’s investment – and most do – they may have to accept terms they don’t especially like. Of greater concern to many managers of artists with post-digital record contracts is transparency. To quote many a lawyer, you may be on a 20% split on streaming income, but “20% of what, precisely?” Under conventional contracts, record companies are allowed to make deductions from income before calculating what the artist is due under their revenue share arrangement. Quite what deductions can be made varies from contract to contract, but might include packaging costs, the cost of lost and damaged stock, and fees for international subsidiaries of a record company that provide additional local marketing and distribution services. These deductions have always been a point of contention between artist and label, especially once the two parties are not actively working together on new content, so that the record company arguably has no real incentive to placate an artist and may instead seek to maximise its own profits by reducing artist royalty payments wherever possible. If anything, deductions have become more contentious in the digital era, for a number of reasons. Some labels seem to continue making deductions for things that can only apply in the physical age, such as lost or damaged stock. And some managers question how international subsidiaries can continue to take the same cut of revenue as with physical, when digital distribution and social media activity, for example, could be done on a global basis by the label in the artist’s home country. These problems are exacerbated by the secrecy that surrounds digital deals, more on which below, and are further complicated because different labels apply, refer to and report deductions in different ways, making it hard for artists and managers to track what is going on. “Transparency” has been on managers’ lips for a few years now, and has become a definite buzz word in the music rights industry this year. Digital licensing is an DISSECTING THE DIGITAL DOLLAR \| PAGE 59ISSUES area where more transparency is definitely needed. 8.2 PERFORMER ER AND MAKING AVAILABLE As mentioned above, although copyright law does not define either downloads or streams, it is generally accepted that the distribution of recorded content through digital channels exploits both the reproduction and performing right elements of the copyright. But which performing right? Under most systems, the ‘performing rights’ traditionally cover both the performance and communication controls of the copyright. Which – when it comes to sound recordings – conventionally means, respectively, the playing of recorded music in a public space and the broadcast of recorded music over AM, FM and DAB radio channels or terrestrial, satellite and cable TV networks. The making available right Question five: What kind of digital services exploit the conventional performing rights and what kind exploit the specific ‘making available right’, and should copyright law be more specific on this point? While it would seem reasonable to suggest that the communication control that covers traditional broadcasting should also cover webcasting – ie radio or TV style services delivered over the internet – as mentioned above, in the early days of the world wide web there were concerns about more interactive forms of digital distribution, principally downloads. To that end a new more specific control called the ‘making available right’ was formally introduced in World Intellectual Property Organisation treaties in 1996 and in the European Union in 2001, and subsequently added to many individual copyright systems. According to the WIPO treaty, this applies to electronic transmission “in such a way that members of the public may access the recording from a place and at a time individually chosen by them”. So neither broadcasts nor online simulcasts of TV or radio, but definitely downloads and possibly other interactive digital channels too. Though which interactive digital channels specifically? A distinction has sometimes been made to the effect that personalised radio services should come under the conventional communication control, while fully on-demand streaming platforms should come under the newer making available right. But not everyone agrees, and there is further confusion in that most fully on- demand streaming services like Spotify also offer a personalised radio option within their platforms. Performer ER on digital Question six: Should performer equitable remuneration apply to all streaming services, including those exploiting the making available right? This distinction is not just a semantic one, because of Performer ER. As mentioned above, in most countries Performer ER is due when the performing rights of a sound recording copyright are exploited, but the making available right – despite arguably being a subset of the communication control – is commonly excluded from this. So if a streaming service is exploiting the conventional communication control Performer ER should be paid, but if the ISSUES PAGE 60 \| DISSECTING THE DIGITAL DOLLAR making available right is at play, no automatic (ie non-contractual) payments to performers are due. This makes the ambiguities around the definition of the stream, in terms of copyright law, perplexing for the performer community. Depending on how making available has been implemented in any one copyright system, there are two possible arguments against the current approach… • First, that making available should only apply to downloads, meaning that all and any streaming services are exploiting the conventional communication control, meaning Performer ER is due. • Or second, that Performer ER should be due whenever the making available right is exploited anyway, and that the exclusion of Performer ER from making available was a mistake. If it was decided that Performer ER was due on all streaming income – either by classifying streams as communication rather than making available, or by applying Performer ER to the making available right – digital services would be obliged to pay royalties directly to performers as well as labels, most likely through the collective licensing system. (In the UK, it would be the labels’ obligation to ensure performers received ER). This would mean a significant shift in negotiating power for featured artists unable to secure better digital royalties from their labels, while opening up a new revenue stream for session musicians who usually have no contractual right to a share of digital income, but who would receive ER payments in the same way they do from broadcast and public performance. Quite how this would all work isn’t clear, though there have been some developments on this issue in some European countries.The performer’s making available control Question seven: Do record labels need a specific making available waiver from all artists before exploiting their recordings digitally? There is another area of contention regarding making available. While Performer ER may not apply, making available is nevertheless included in the list of controls provided to recording artists by their performer rights. As with the other performer controls, labels need artists to waive or assign their making available right through contract in order to subsequently exploit that element of the copyright. As such, new artist contracts will specifically state that the performer’s making available right is waived or assigned. But what about legacy contracts which pre- date the addition of the ‘making available’ right to copyright law in the mid-1990s? Obviously these contracts cannot include a term specifically waiving the making available control, because there was no such control at the time the contract was written. It could therefore be argued that to exploit the making available right through downloads or streams, a record label must first secure a new agreement with each and every legacy artist waiving this new performer control. Those artists could then use that moment to negotiate better digital royalties. However, record companies have assumed that all legacy artist contracts already provide them with the right to exploit the making available control. There are two arguments why this might be the case: • Making available is a sub-set of the existing communication control which may be referenced in the original contract. • A vague catch-all term may have been DISSECTING THE DIGITAL DOLLAR \| PAGE 61ISSUES included in the original contract in which the artist waives both current and future performer controls. However, many artists dispute both these points, arguing that making available is a distinct performer control and that vague catch-all terms are not enforceable. This dispute is currently the subject of test cases. The two key cases to date involved Finnish rock band Hurriganes and Swedish musician Johan Johansson. In the former case, Hurriganes prevailed in a legal dispute with Universal Music on whether or not a legacy contract could waive a performer control that did not exist at the time the contract was written. Though there was an added complication in this case, in that neither side could actually produce the record contract in question. Johan Johansson, meanwhile, won a lawsuit against the record company MNW over whether it, despite owning the copyright in the recordings on which Johansson appeared, nevertheless had the right to distribute that content to streaming services that exploit the making available right. These are recent cases, and appeals may follow, so it remains to be seen if they set a precedent in Finland and Sweden, or beyond. But these cases and/or other future litigation on this issue could as yet confirm that the record companies’ assumption regarding making available is incorrect. 8.3 DIGITAL DEALS AND NDA CUL TURE Most of the music industry’s deals with the DSPs are confidential, with only a small number of people at each label, publisher or CMO party to the specifics of the arrangement. This means that the non-corporate beneficiaries of the copyrights being exploited by the digital platforms – ie artists and songwriters – are not allowed to know the terms under which those copyrights are being used. Nevertheless, the basic structure of these arrangements is known, as described above. Most digital deals are ultimately revenue share arrangements, but with the DSP also committing to minimum guarantees and upfront advances, and possibly additional fees and the provision of equity to the rights owner. Despite not usually knowing the specifics of the deals, many artists and managers have raised concerns about some of these key elements. Equity Question eight: Should record companies and music publishers demand equity from digital start-ups, and if so should they share the profits of any subsequent share sale with their artists and songwriters, and if so on what terms? Some rights owners require equity when first licensing start-up streaming businesses. This is particularly true of the three major record companies and the previously referenced indie labels digital rights body Merlin. As noted above, there is a logic to rights owners taking equity in new DSPs as they license them for the first time. Many of those who invest in new tech start-ups do so assuming they will profit from their investment not when the company itself becomes a profitable concern but when it is sold to an existing major media or tech business, or via an IPO. It may be that the biggest profits to be made from a start-up business will stem from this first transaction, and if that’s when ISSUES PAGE 62 \| DISSECTING THE DIGITAL DOLLAR the start-up’s backers will profit most, the labels want a cut of that action too. Most artists and managers understand this logic, but there is still a point of contention: what happens to any profits made if and when the label sells its equity stake in the start-up? The assumption is that many labels will keep these profits in their entirety, citing clauses in artist contracts that say the record company is only obliged to pay royalties to artists on income directly and identifiably attributable to a specific recording. Artists and managers argue that this is unfair because the label was only able to demand equity in the first place because of the combined value of its artists’ recordings, and therefore artists should share in the profits of any equity sale. Additionally, if labels are not obliged to share this income with artists, they may agree to less favourable terms on revenue share and minimum guarantees, where income is shared with the artists, in return for a better deal on equity. In an ongoing legal battle, Sony Music recently said unapologetically that it was perfectly entitled to structure deals in this way if it so wished. Though many labels would actually counter that the monetary value of any equity stake is uncertain and not accessible for the foreseeable future, so they are unlikely to forego other short-term revenues in return for a better equity deal. Nevertheless, ambiguities around what equity labels have in what DSPs, what value those shareholdings could have if and when a sale takes place, and what will happen to that money, all mean this remains a contentious issue. Many independent labels did sign up to the World Independent Network’s Fair Digital Deals Declaration in 2014, committing to “account to artists a good-faith pro- rata share of any revenues and other compensation from digital services that stem from the monetisation of recordings but are not attributed to specific recordings or performances”. But few artists and managers are clear as to what this will actually mean if and when an equity sale takes place, and the position of the major record companies on this issue is even less clear. Advances Question nine: Should record companies and music publishers demand large advances from new digital services, and if so should they share any ‘breakage’ (unallocated advances) with their artists and songwriters, and if so on what terms? Most rights owners will request upfront advances, often in the millions, from DSPs. A leaked Sony Music deal with Spotify in the US provided a $9 million advance in year one, $16 million in year two, and $17.5 million in an optional third year. These advances are usually recoupable for the DSP over a set time period, but are non- refundable if revenue share or minimum guarantee-based royalties due in that period do not exceed the advance paid. So if the DSP pays a $1 million advance for the next year, but then the record company’s catalogue generates only $750,000 under its revenue share or minimum guarantee arrangement, the rights owner gets to keep the extra $250,000. Again there is a logic to the advances: many start-ups ultimately deliver little in the way of revenue, initially or ever, so the rights owner wants to build in some guarantees to justify going to the effort of doing the deal. And, in real terms, any business likes to be paid upfront if at all possible. DISSECTING THE DIGITAL DOLLAR \| PAGE 63ISSUES But artists and managers have raised two concerns about the advances. First, the size of the advances arguably makes it hard for new DSPs to enter the market, because a service needs considerable funds available to pay multi-million advances at the outset. This ultimately reduces consumer choice, and makes it hard for niche services to launch, a concern also expressed by the UK Entertainment Retailers Association in its manifesto document earlier this year. Second, there is the issue of what happens to unallocated advances, what has often been dubbed as ‘breakage’. So in the example above the record company was $250,000 up on the deal, because it was due $750,000 based on the consumption of its repertoire but had been paid a $1 million advance. So what happens to the $250,000? Does the label simply bank the surplus, or does it share it with its artists? As of June 2015, all three of the major record companies have made commitments to share any such surplus with artists. Universal and Sony made their commitments after breakage fell under media scrutiny, while Warner had been committed to sharing this revenue for sometime. Many independents, meanwhile, are signatories to the aforementioned Fair Digital Deals Declaration. That said, it remains unclear exactly what these commitments on breakage mean in real terms, ie how surpluses are allocated to artists and when such allocations began. Some have also noted that once a successful streaming service is established advances are nearly always recouped by the DSP, so there is no surplus. Therefore it may be that some of the major record companies have committed to share these surpluses with artists only now that there isn’t any money to share. Other kickbacks Question ten: Should record companies and music publishers demand other kickbacks from new digital services, and if so should they share the benefits with their artists, and if so on what terms? Rights owners may also receive other kickbacks over and above equity and advances. The label or publisher may be able to charge administration, technical or legal fees to the DSP, and may receive other benefits, for example in the aforementioned leaked Sony/Spotify contact the record company received an allocation of advertising on the DSP’s freemium service which it could use or sell on. As with equity, many artists and managers fear that rights owners may agree to less favourable terms on key revenue share and minimum guarantee arrangements in return for these extra kickbacks, because the artists must share in the former but can be excluded from the latter. While this may simply be paranoia on the part of artists and managers, the secrecy that surrounds so many digital deals adds to this distrust. The NDAs Question eleven: Can it be right that the beneficiaries of copyright are not allowed to know how their songs and recordings are being monetised, and should a new performer right ensure that information is made available to artists, songwriters and their representatives? Which brings us to the issue most commonly raised by artists and managers regarding the music industry’s digital deals (as demonstrated by our survey), the secrecy that surrounds each arrangement, ISSUES PAGE 64 \| DISSECTING THE DIGITAL DOLLAR which means that artists and songwriters, despite being beneficiaries of music copyrights, are not allowed to know how these copyrights are being valued or exploited. While there is a tendency for both rights owners and DSPs to blame each other for the ‘NDA culture’ that has grown up around the digital music market, it seems likely that the wide ranging non-disclosure agreements that surround most digital deals were originally requested by the services, they being so common in the tech sector. Though it seems that many rights owners have overly embraced the NDAs in subsequent years, usually citing competition concerns for the need for secrecy. Of course, any company wants a degree of confidentiality around its commercial deals, so confidentiality clauses are common in any contractual agreements. And rights owners might argue that their negotiating hands would be weakened if each new digital service knew precisely what deal its competitors had secured, and a weaker negotiating hand would be to the detriment of all the stakeholders in music copyright. However, as a result of the secrecy surrounding the music industry’s digital deals, artists and songwriters, despite being beneficiaries of music copyright, are in the dark as to how those copyrights are being commercialised. This results in a number of problems: • It makes it hard for artists and songwriters to properly audit the royalties they receive to ensure they are being paid what they are contractually due. • It makes it hard for artists and songwriters to assess whether, in their opinion, a label, publisher or CMO is behaving in a fair way, an assessment that could affect the artist or songwriter’s subsequent deals and agreements. • It makes it hard for artists and songwriters to assess whether a label, publisher or CMO is securing the best deals and processing payments in the most efficient way, an assessment that could affect the artist or songwriter’s subsequent deals and agreements. • It makes it hard for artists and songwriters to assess the relative value of their music being consumed on rival digital platforms. • These facts inevitably result in a breakdown of trust between labels and artists, and publishers and songwriters, and/or public criticism of digital services by high profile artists and songwriters which may or may not be justified. Beyond these many and various issues, it could be argued that there is an ethical element to this debate. Can it be right that a legal beneficiary of a copyright can be deprived of crucial information required to calculate exactly what benefit they are due? Should the right to such information be a moral right under contract or copyright law? And should the right to information about the exploitation of a sound recording be added as a new additional performer right? A recent report by Berklee College Of Music’s Rethink Music programme proposed a Creators Bill Of Rights, which includes the line “every creator deserves to know the entire payment stream for his/ her royalties (eg which parties are taking a cut and how much)”. Meanwhile in France, a government-led initiative involving artists and labels recently resulted in a code of conduct under which the latter, in the words of the International Federation Of The Phonographic Industry, would seek to DISSECTING THE DIGITAL DOLLAR \| PAGE 65ISSUES “bring greater clarity and understanding on the distribution of revenues to different parties”. But given the NDAs already entered into, and the competition concerns expressed by DSPs and rights owners to justify these agreements, it may well be difficult to persuade every label, publisher and CMO to share all the information artists and managers say they need. Though if a ‘right to information’ was added to the list of performer rights, it could force the rights owners’ hands. The current position of the management community seems to be that – while NDAs may be necessary – artists, songwriters and managers should be brought ‘inside the NDA’, so that they too know the specifics of the digital deals. Of course there are a lot of artists, songwriters and managers, and it could be argued that once you have hundreds if not thousands of people ‘inside the NDA’, the confidentiality clause becomes unenforceable, because the information will inevitably leak and it would be impossible to identify who did the leaking. A possible compromise is that artists and songwriters are allowed to request that their accountants have access to this information for auditing purposes, which would overcome some though not all of the problems outlined above. This would reduce the number of people party to the confidential information, and given accountants are usually subject to specific professional standards, it would provide some formality as to the how the information is used. Another option would be simply to make the fundamentals of each digital deal – revenue share, minima, advance, equity – public domain, given most services now have very similar arrangements, and rights owners often lock their deals to those of their competitors anyway, through the use of the kind of ‘most favoured nation’ clauses we mentioned when discussing sync above. And if all this information was public domain, so that most DSPs and most rights owners were operating under the same arrangements, success would become wholly about having the most users and the most content consumed (respectively), rather than how good a deal you scored at the outset. 8.4 SAFE HARBOURS AND OPT -OUT SERVICES Question twelve: Should the safe harbours in European and American law be revised so companies like YouTube and SoundCloud cannot benefit from them, however good their takedown systems may or may not be? Both American and European law provides protection for internet companies which provide tools or channels used by others to distribute copyright works without licence. These protections originate in America’s Digital Millennium Copyright Act 1998 and the European Union’s Electronic Commerce Directive 2000/31 and are commonly referred to within the industry as ‘safe harbours’. How the safe harbours work From a copyright perspective, the safe harbours were intended to protect the then emerging market occupied by internet service providers, server hosting companies and similar businesses from liability for copyright infringement if and when those companies’ customers used the internet access or web storage they bought to distribute copyright infringing material. ISSUES PAGE 66 \| DISSECTING THE DIGITAL DOLLAR Early on, internet companies argued that without such protection from liability, their business models would become unfeasible – owing to the difficulty of identifying infringing content amongst incredibly high volumes of traffic – and that growth in internet usage would therefore be curtailed A condition of the safe harbour protection is that the internet company has a system in place via which copyright owners can flag copyright infringing content or material, and that the internet firm then removes this content once made aware of it. These are often called ‘takedown systems’, and people in the music industry often refer to ‘DMCA takedowns’, even in Europe where it is European law rather than the DMCA that actually applies. The quality of the takedown systems operated by websites claiming safe harbour protection vary greatly. Nevertheless, rights owners now routinely issue large numbers of takedown notices to such companies, with the US and UK record industry being particularly prolific in this domain. The debate over what kinds of services should have protection Over the last few years, and especially in the last twelve months, representatives of the record industry and music publishing sector have begun to argue that these safe harbours are being used by a much more diverse range of businesses than was originally intended by lawmakers in Europe and the US. The kind of business the labels and publishers are mainly thinking about here are user-upload platforms like YouTube, Dailymotion and SoundCloud, where users upload audio or video files to the DSP’s servers – some of it including other people’s copyright work without the requisite licenses having been obtained – and then the DSP aggregates that content. This content is then accessible from a central home page and search engine, and users can organise it into playlists. The outcome of this process is that sites like YouTube and SoundCloud soon boast music libraries very similar (and often larger) to those of services like Spotify, and therefore start to compete with those platforms. But unlike Spotify, which accesses content as a result of its licensing deals with the record companies, the user-upload services do not rely solely on the labels to provide the music. Instead, any labels and publishers that do not wish their content to appear on these platforms must issue takedown notices (and/or pursue legal action against the actual individual uploaders, which is not a desirable option). From the rights owners’ perspective, this makes these ‘opt-out’ rather than ‘opt-in’ streaming services. Some labels and publishers believe this runs contrary to the basic principle of copyright: ie the rights of the copyright owner extend beyond the mere right to have content removed in hindsight, and that permission should always be sought before a copyright work is exploited, even if that is a tricky process. That said, these rights owners are not objecting to the concept of safe harbours outright, recognising the practicalities that led to their introduction in the first place. Rather, they are questioning whether user-upload platforms – which are arguably content providers as well as providers of internet services – should enjoy protection. This poses a number of questions… • Does US and European law as it is currently written provide user-upload platforms with safe harbour protection? The operators of such platforms would DISSECTING THE DIGITAL DOLLAR \| PAGE 67ISSUES almost certainly answer with an unequivocal “yes”, arguing that legal precedent is on their side. Rights owners might argue that current law is less clear cut than that and still open to interpretation. • Even if current law does provide these services with safe harbour protection, should it? Did lawmakers in the 1990s ever imagine services like YouTube and SoundCloud benefiting from the safe harbours? And even if they did, is the current situation having a sufficiently detrimental affect on copyright and/or the copyright industries to justify a rethink? Of course some user-upload services have actually sought licenses from the music industry. These licenses allow rights owners to upload and monetise content on these platforms themselves, and also to claim and monetise (or remove) any songs or recordings they own which have been uploaded to the platform by third parties. Most notable in this domain is YouTube, which has long-established licensing deals with many, and probably most, music rights owners, and which has built a system called Content ID to help rights owners monitor, remove and monetise content uploaded by third parties (whether that content is audio- only, an official music video, a cover version of a published song, or a recording synced to a third party video). Nevertheless, many rights owners who have benefited from these licensing deals remain critical. The argument goes that the safe harbours give YouTube an unfair advantage in licensing negotiations, because it can basically say “we have your content already, either license us on our terms, or you’ll be left with the cost of monitoring our networks on a daily basis”. User-upload services might counter that rights owners always have to dedicate some resource to monitoring unlicensed use of their content, while YouTube could argue that Content ID removes many of the costs anyway. Though rights owners would likely say that no automated rights management system is 100% reliable and there will always be admin costs associated with running even a Content ID account; all of which makes it harder for rights owners to walk away from the negotiating table. This, some labels and publishers argue, results in licensed user- upload services getting preferential rates creating a ‘value gap’ in the music rights sector. The debate over takedown systems There is a second element to the debate around safe harbours in the music industry: how sophisticated should the takedown systems be? Many music rights owners now issue takedown notices on an industrial scale against sites that claim safe harbour protection. But as recordings are removed from said sites, exact replacements are often immediately uploaded by users to the same platforms. Rights owners are therefore required to constantly monitor these sites for new uploads and to issue a flood of new takedown notices each day. This process has commonly been compared to a game of Whac-A-Mole. The music industry would prefer more sophisticated takedown systems so that when a recording is removed from any one site for the first time it then stays down, ie the site takes measures to ensure it is not re- uploaded. But how sophisticated a takedown system must websites operate in order to enjoy safe harbour protection? There is some ambiguity here, though the American courts have not generally set the bar particularly high with regards what a takedown system should look like under the DMCA. ISSUES PAGE 68 \| DISSECTING THE DIGITAL DOLLAR Rights owners suspect some user-upload platforms operate deliberately poor takedown systems because their business models rely on a steady stream of copyright infringing content. For example, some in the music industry criticised the takedown system operated by the now defunct user-upload streaming service Grooveshark. Though the litigation that led to that service’s closure centred on music allegedly uploaded by staff rather than users, so didn’t test safe harbour law. The current criminal action against the defunct file-transfer service MegaUpload, if it ever reaches court, may further consider what American law says about takedowns; or specifically, whether safe harbours should still apply if a company can be shown to have been ‘willfully blind’ about users distributing content without licence and/or to have encouraged such activity, even if a nominal takedown system was in place. Of course in Content ID, YouTube has built what is probably the most sophisticated takedown system. Though, as noted, that doesn’t mean it is 100% reliable, and to date it has been much more effective for managing recording rather than song rights on the video platform. That said, YouTube continues to evolve the technology, and the music community might benefit from being more vocal and more clear on what it would like this system – and any other takedown system for that matter – to achieve. Where do user-upload platforms fit in? With copyright law under review in Europe, the music rights industry has put safe harbours at the top of its lobbying agenda this year. It argues that, however the law may have been interpreted over the years, safe harbours were never intended for user-upload services like YouTube, and that said services have in effect been exploiting a loophole in the law to build massive content platforms without paying market-rate (or any, in some cases) royalties to copyright owners. The music industry is basically asking for lawmakers to revisit safe harbours, and ask the questions we expressed above about what kind of services should enjoy this kind of protection, and what impact the current situation is or is not having on the copyright industries. On one level this is an issue that unites the wider music industry, in that trade groups representing labels, publishers, collective management organisations, artists and songwriters have all called for safe harbour rules to be revisited in this way. That said, there are some side debates. YouTube will likely argue that without the safe harbours it could not operate as a viable business, because it would have to manually monitor every single upload to its platform, which would be far too cost prohibitive. And the last thing marketing teams at record companies want is to kill off YouTube, it being one of the most important marketing channels in the modern music business. There is also an argument that, with Content ID, YouTube has actually helped the music industry create new revenue streams, monetising previously lost or forgotten content that users rather than rights owners have digitised, and creating new income from user-generated content and bedroom- produced cover versions. And, with consumers sharing unlicensed content in numerous ways online, it could be argued that there are benefits for rights owners in having this sharing occur DISSECTING THE DIGITAL DOLLAR \| PAGE 69ISSUES on platforms where rights can be more effectively managed and monetised. If a change to safe harbour rules really did result in a cut-back YouTube, these benefits of Content ID could go too. Though more bullish music industry executives might argue that YouTube’s claim it could not operate without safe harbour protection is a bluff, and therefore there is less to lose than it might seem. Yes, YouTube might have to invest in order to more proactively monitor uploads to its networks, but given the revenues the service presumably generates, coupled with the valuable data and traffic it provides for the wider Google network, some think that that is an investment the company would make, if it had to. Not least because the removal of safe harbours for its direct competitors would give YouTube a competitive advantage, in that it is better positioned to take on monitoring duties than its rivals. Though even if YouTube could and would adapt to revised safe harbour rules, the tech industry at large is likely to express concern about the wider impact such changes might have on other online businesses, such as social networks where users routinely post photos and articles owned by third parties without permission. Beyond the specifics of services like YouTube and SoundCloud, the music industry may need to also address concerns about these “unintended consequences” in order to win this debate. As we said, part of the reason rights owners are now lobbying on the safe harbour issue is the perceived ‘value gap’ that they argue the existence of user-upload platforms has created in the digital music market. Most user-upload platforms are free-to-access and, where monetisation is possible, are usually ad-funded. But many in the music community are frustrated that ad-funded platforms enjoy much bigger audiences to paid-for services, but generate much less income. Though it seems inevitable that the digital music market will always be based around a majority who consume via low-value (for the industry) platforms and a minority who use high-value premium services. The challenge is growing ad revenues to increase the value of the free services, and to find better ways to convert freemium users into premium users, either by the user-upload services upselling their own pay-to-use packages, or having them integrate better with other premium platforms. The music industry knows it must now rise to this challenge, and would likely say that lobbying for safe harbour reform is part of that process. Though it should continue to concurrently explore ways that both ad revenue and premium upsell on the user- upload platforms can be increased. 8.5 DATA Question thirteen: How is the music rights industry rising to the challenge of processing usage data and royalty payments from streaming services, what data demands should artists and songwriters be making of their labels, publishers and CMOs, and is a central database of copyright ownership ultimately required? As mentioned above, the shift from downloads to streams has created significant data challenges for the music industry. Whereas before rights owners needed to know each time a single track or album was sold in order to calculate what they were due from a retailer or download ISSUES PAGE 70 \| DISSECTING THE DIGITAL DOLLAR store, now they need to know every single time every single track is listened to by every single user. This has resulted in a flood of usage data for labels, publishers and CMOs to process. At the same time, whereas each line of ‘sales’ data would relate to at least pennies of income and often (for the label at least) pounds, each ‘listen’ will generate fractions of a penny in revenue. Data processing and any subsequent auditing, therefore, must be as efficient as possible, so that administration costs do not eat up all the revenue. There are, of course, technology solutions to this problem, and rights owners have started to invest in building or buying in such systems. But this has been a steep learning curve and it’s highly likely that data processing and therefore revenue distribution was not perfect when the streaming services first started to gain momentum. Indeed the music rights sector is still tackling this challenge, and for labels, publishers and CMOs, developing such systems is an often hidden cost, with many on the outside seeing streaming as a much cheaper model for the rights owners, which it ultimately might be, but in the short term shifting to this new model has required considerable investment. Nevertheless, artists and songwriters should continue to put pressure on their business partners in this domain, not least by considering data processing abilities when deciding which labels, partners and CMOs to work with. The data problem is exacerbated by the lack of a central database of copyright ownership information, which limits what the DSPs can do to help with this process. This is more of a problem for songwriters and publishers. As outlined above, the DSP assumes that whichever label or distributor provides it with a track controls the recording copyright, and therefore should receive usage data and royalties linked to that recording. However, the label or distributor does not tell the DSP who controls the song copyright, and there is no central database where the it can access that information. As we said, this means the DSP has to provide every publisher and every CMO it has a relationship with a complete list of all content usage every month so each rights owner can work out what it is due. This significantly increases the data each and every rights owner has to process, as well as delaying payments whenever there is a dispute between two rights owners about who should be paid for the use of a specific work (ie two publishers between them claim to own 120% of a specific song). Attempts by the music publishing sector to build a publicly accessible Global Repertoire Database, with an inbuilt system to settle disputes where multiple rights owners claim ownership of the same work, collapsed last year. There are still moves by some CMOs – principally PRS, GEMA and STIM in Europe – to combine their respective ownership data to create a regional repertoire database. And some hope that, if similar collaborations take place around the world, these RRDs could eventually be merged to create the GRD. However, there doesn’t currently seem to be any plan to make these RRDs publicly available to all (with concerns about the confidentiality of commercial agreements being one objection given to full disclosure). So, while alliances such as that between PRS, GEMA and STIM may reduce how much data processing takes place month to month, the current system must remain, which is arguably less efficient, can deprive DISSECTING THE DIGITAL DOLLAR \| PAGE 71ISSUES song rights owners of real time data, and reduces what the music industry can expect from the DSPs. 8.6 COLLECTIVE LICENSING Question fourteen: Are streaming services best licensed direct or through collective management organisations; if direct what is the best solution when societies actually control elements of the copyright; and are artists and songwriters actually told what solutions have been adopted? As we have mentioned above, sometimes digital services are licensed through the music industry’s collective licensing system, and sometimes through direct deals with rights owners. In the main, beyond webcasts that are basically online versions of radio, and those covered by the SoundExchange compulsory licence in the US, the record industry has chosen to license most digital services directly. Whereas publishers more often license digital collectively, sometimes because the CMOs themselves control key elements of the copyright so can’t be cut out of the licensing equation, and sometimes because the CMOs have the best song ownership data so are best positioned to calculate and distribute royalties. Though, as we have seen, in Europe the big publishers are now licensing direct, albeit in partnership with the CMOs. Given collective licensing was traditionally used where you had licensees using large amounts of music but paying relatively low royalties per-usage, you could argue that it would make more sense for all streaming services to be licensed in this way. And many artists and songwriters would prefer this approach, possibly because they trust their CMO more than their label or publisher; or because payments via CMOs often circumvent contractual terms that enable labels or publishers to retain income; or because they feel collective licensing is fairer to all, because everyone earns the same per play fees, rather than bigger artists or rights owners having a better deal. That said, the labels and bigger publishers would argue that there are many benefits to direct deals. Collective licensing regulations in law, and each CMO’s own rules, can slow down deal making and reduce the strength of the rights owner’s negotiating hand. CMOs are not always empowered or equipped to negotiate the multi-territory licences digital services need. And not all CMOs are so transparent about how money is processed, resulting in ambiguities and delays. So there are pros and cons to involving the CMOs. Though where the involvement of CMOs is either attractive or – as with publishing in Europe – necessary, because of the rights the societies control, it is possible that a widespread review of both the statutory regulation of collective licensing and each CMO’s own rules and regulations is required. Certainly some of the issues raised by songwriters and publishers in relation to digital licensing are as much to do with their own CMO’s rules as they are the way the DSPs are doing business. It maybe that the collective licensing of digital actually needs to be separated from other forms of collective licensing, with the former operating on a global basis, while the latter continues to operate on a territory by territory basis. You sense this is the message being implied by AMRA, the collecting society bought and relaunched by Kobalt, which is now seeking to represent the digital rights of publishers and songwriters on a global basis. 8.7 ADAPTING TO THE NEW BUSINESS MODELS Question fifteen: Is the biggest challenge for the music industry simply adapting to a new business model which pays out based on consumption rather than sales, and over a much longer time period; and what can artists and songwriters do to better adapt? One final challenge for the wider music community is simply adapting to a new business model, where rather than a record company setting a wholesale price for each record sold, income from which is then shared between label, publisher, artist and songwriter, instead the music industry receives a monthly cut of monies generated by streaming platforms, which is then divided up between stakeholders based on consumption. This new model means that repeat listening rather than first week sales is key, and monies will come in over a much longer period of time, rather than via a quick spike after an album is launched. It also means that records and songs that fans listen to again and again over a long period of time will be more lucrative, whereas previously albums that consumers stopped listening to soon after purchase made just as much money for the music industry as albums that were played on a regular basis for years. And whereas songwriters who contributed to ‘filler’ songs that consumers perhaps used to skip would still earn their cut under the CD model, they will not under the steaming system, where only those tracks on an album that are actually played earn royalties. Much of this is stating the obvious of course. Except that critics of the streaming music model often apply old metrics to the new business. As we said at the outset, it’s not a given that the streaming service licensing models that have been developed over the last ten years are the best, the fairest or the most efficient way of doing business. Though, however these models evolve in the future, labels, publishers, artists and songwriters will have to adapt to the fact their music will generate income in different ways and on different timescales. ISSUES PAGE 72 \| DISSECTING THE DIGITAL DOLLAR DISSECTING THE DIGITAL DOLLAR \| PAGE 73GLOSSARY Anglo-American Repertoire The exact definition can vary, though this commonly refers to songs registered with CMOs in the UK, Ireland, US, Canada, Australia and South Africa. Assignment When ownership of a copyright is transferred from one party to another, often from an artist or songwriter to a label or publisher. Assignment is possible under many though not all copyright systems. Author Rights A term from civil law systems which, from a music perspective, means the rights in songs and compositions as opposed to the rights in recordings. Collective Licensing When music rights owners license as one, appointing a collective management organisation to license on their behalf. Collective licensing is often subject to extra regulation to overcome competition law concerns. Collective Management Organisation (CMO) Organisations that represent rights owners when they license collectively. CMOs usually represent either publishing rights or recording rights, and may only represent reproduction rights or performing rights. On the publishing side, CMOs may actually control some elements of the copyrights they represent, rather than simply representing them as an agent for their members. CMOs are also referred to as collecting societies, performing rights organisations or PROs. Compulsory Licence When copyright law obliges rights owners to provide a licence to a certain group of licensees, thus limiting the rights owners’ negotiating power. Rights owners are still due royalties, but these will usually be ultimately set by a copyright tribunal or court. Compulsory licences are usually managed by CMOs. Digital Service Provider (DSP) A term used to refer to companies which provide digital music services, including download stores and streaming platforms. Featured Artist The musicians whose name or names any one recording is released under, as opposed to session musicians who are simply credited in the small print. Record labels generally sign record deals with featured artists. Making Available Right The specific copyright control exploited by services that make content available via digital channels in a way where the user “may access it from a place and at a time individually chosen by them”. Applies to download platforms and probably at least some streaming services (though there remains some debate about this). Mechanical Rights How publishers usually refer to their reproduction rights, especially when exploited by labels through the recording and distribution of songs. Music Publisher Companies that own and control song copyrights. So called because their original business was to publish books of sheet music. GlossaryGLOSSARY PAGE 74 \| DISSECTING THE DIGITAL DOLLAR Neighbouring Rights This term is used to mean a number of different things. In some civil law systems it refers to the sound recording right, as opposed to the ‘author right’ which covers songs and compositions. In the record industry it is now often used to refer specifically to the ‘performing rights’ element of the sound recording copyright. Or it is sometimes used to specifically refer to the performer equitable remuneration that is paid on performing rights income. Performer ER One of the performer rights, ‘performer equitable remuneration’ is when artists – including featured artists and session musicians – enjoy an automatic right to a share in sound recording revenues. This is a statutory rather than contractual right, and usually cannot be waived or assigned by contract. Performer ER only applies to certain revenue streams, commonly performing rights income. Performer Rights The specific rights of performers over recordings on which they appear that co-exist with the rights of the copyright owner, where the performers are not the copyright owners. Performer rights include controls over the fixation and subsequent exploitation of recordings, and the right to equitable remuneration from certain revenue streams. Performing Rights The specific controls that copyright owners enjoy over the public performance and communication of their works. Publishing Rights The copyright in songs, or specifically lyrics and compositions. Record Company/Record Label Companies that own and control recording copyrights, and also commonly a key investor in artists, especially new artists. Recording Rights The copyright in sound recordings. Reproduction Rights The specific controls that copyright owners enjoy over the reproduction and distribution of their works. Special Purpose Vehicle (SPV) The name used to refer to the joint ventures that have been struck up between the big publishers and CMOs to licence Anglo-American repertoire to digital services, representing both the publisher’s reproduction rights and the CMOs’ matching performing rights. Sync When film, TV, advert or video game producers ‘synchronise’ existing songs and/ or recordings to moving images.Music Managers Forum, Unit 31 Tileyard Studios, Tileyard Road, London, N7 9AH www.themmf.net \| [email protected] \| 020 7700 5755	[ "right", "copyright", "digital", "artist", "label", "publisher", "music", "recording", "service", "owner" ]	{ "summary": "DISSECTING\nTHE\nDIGITAL\nDOLLAR\nPart One\nHow streaming services are licensed \nand the challenges artis" }
tL-pr-market-pmanager_Stage_Presence.pdf	Stage Presence from- Head to Toe A Manual for Musicians Karen A. Hagberg The Scarecrow Press, Inc. Lanham, Maryland, and Oxford 2003 SCARECROW PRESS, INC. Published in the United States of America by Scarecrow Press, Inc. A Member of the Rowman & Littlefield Publishing Group 4501 Forbes Boulevard, Suite 200, Lanham, Maryland 20706 www.scarecrowpress.com PO Box 317 Oxford OX2 9RU, UK Copyright 0 2003 by Karen A. Hagberg AlZ rights reserved. No part of this publication may be reproduced, stored in a retrieval system, or transmitted in any form or by any means, electronic, mechanical, photocopying, recording, or otherwise, without the prior permission of the publisher. British Library Cataloguing in Publication Information Available Library of Congress Cataloging-in-Publication Data Hagberg, Karen A., 1943- Hagberg. Stage presence from head to toe : a manual for musicians / Karen A. p. cm. Includes bibliographical references (p. 103) and index. ISBN 0-8108-4777-9 (pbk. : alk. paper) 1. Music-Performance. 2. Concerts-Handbooks, manuals, etc. 3. Concert etiquette. 4. Self-confidence. 1. Title. ML3795.Hl3 2003 781.4'34~21 2003004846 Printed in the United States of America eTM The paper used in this publication meets the minimum requirements of American National Standard for Information Sciences-Permanence of Paper for Printed Library Materials, ANSI/NISO 239.48-1992. Manufactured in the United States of America. This book is dedicated to the survival of live, acoustic music in the twenty-first century. This Page Intentionally Left Blank1 2 3 4 5 6 7 8 9 10 11 12 Contents Illustrations Checklists Acknowledgments Introduction Stage Presence The Soloist The Page Turner The Small Ensemble (No Conductor) The Large Vocal Ensemble The Orchestra The Conductor as Leader On the Day of the Concert The Stage and Its Furnishings Nonperforming Personnel Auditions and Competitions How to Teach Stage Presence vii ix xi ... Xlll 1 7 27 31 39 47 65 71 75 81 87 95 V vi Bibliography Index About the Author Con tents 103 107 109 Illustrations Figure 2.1 Figure 2.2 Figure 2.3 Figure 2.4 Figure 2.5 Figure 3.1 Figure 4.1 Figure 5.1 Figure 6.1 Figure 6.2 Figure 6.3 Figure 6.4 Figure 6.5 Figure 7.1 Figure 9.1 Figure 11.1 Bare Skin over Hosiery Looks Sloppy Onstage. Long-Legged Performers May Require Low-Heeled Shoes. A Disorganized Bow Projects a Lack of Confidence. A Tense Facial Expression May Make the Performer Appear Angry or Disdainful. Keep Your Music from Spilling over the Stand. The Page Turner Can Seriously Detract from a Performance. Makeshift Solutions Reflect Poor Planning and Inattention to Detail. A Single Distracted Chorus Member Can Affect the Audience's Concentration. Examples of Standing Position Examples of Full Rest Position Examples of Semirest Position Examples of Ready Position Poor Posture Conveys Disinterest in the Performance and Lack of Discipline in the Ensemble. When Not Tailored to Accommodate Required Body Movement, Clothing Will Look Stressed. A Cluttered Stage Is an Inappropriate Setting for a Concert. End the Audition with a Look of Success (Regardless of How You Think You Played). 10 11 16 18 22 28 34 42 54 55 57 58 61 67 76 91 vii viii Illustrations Figure 12.1 Lack of Proper Equipment Results in Poor Posture and Balance; Good Equipment Allows Student to Achieve Strong Posture and Equilibrium. 98 Checklists List 2.1 Performers: Avoid Doing These Things on Stage 26 List 4.1 Ways to Keep Your Performance from Looking Like a Rehearsal 38 List 5.1 Do’s and Dont’s for Chorus Members 45 List 6.1 Things Your Conductor Should Never Have to Say 64 List 11.1 Things to Bring to the Audition or Competition 88 List 8.1 Things to Do on Concert Day 74 List 11.2 Ways to Keep Judges from Eliminating You 94 ix This Page Intentionally Left BlankAcknowledgments This book is the result of my happy association with the following people, who contributed to various aspects of its writing. These personnel staff members in the following orchestras responded to my questionnaire about their onstage guidelines: Russell Williamson (Atlanta Symphony); Anne MacQuarrie (Chicago Symphony Orchestra); Nicholas Hansinger (Detroit Symphony Orchestra); Laura Hutchason Hearn (Kennedy Center Opera House Orchestra); Ted Hutman (Los An- geles Philharmonic Orchestra); Linda Uhkefer (Milwaukee Symphony Orchestra); Heather Larson (Minnesota Orchestra); Everett Zlatoff-Mirsky (Lyric Opera of Chicago Orchestra); Vurl Bland (Nashville Symphony); Harold Steiman (Pittsburgh Symphony Orchestra); Drew Cady (San Diego Symphony); and Gregory Quick (Syracuse Symphony orchestra). The following musicians posed for photographs used as reference for the illustrations: David Angus (horn), Sheri Blake (piano), Lisa Cash (pi- ano), Justin Gardner (piano), Laura Griffiths (oboe), Larissa Hoffend (piano), Kathleen Murphy Kemp (cello), Lisa McCollum (voice), Teri Pa- radero (piano), and Tigran Vardanian (violin). I am indebted to these musicians, friends, and family for their individ- ual contributions: R. J. Alcala, a wonderful musician, talented editor, and long-standing friend, who painstakingly thought about every word I wrote, replaced many with better ones, and at whose suggestion I in- cluded the chapter on teaching stage presence; Carlene Ames, my muse, for her faith in me and in the project; David Angus, horn player in the Rochester Philharmonic Orchestra and president of the International Con- ference of Symphony and Orchestra Musicians, for providing invaluable contact information and advice; John Cammarasano, graphic artist, who xi xii Acknowledgments produced the illustrations; Annette Dragon, photographer and friend, for helping at the last minute with her state-of-the-art equipment; Richard El- liott, Tabernacle organist for the Mormon Tabernacle Choir, for sharing the stage deportment guidelines he developed for his own students; Louise Goldberg, Ph.D., my friend and colleague, for professional advice, good ideas, and invaluable contacts; Ceil Goldman, my dear friend and editor, who has guided and encouraged this project since it was just an idea; my mother, Elsie Hagberg, who applied the no-nonsense advice of her high school English teacher; Douglas Humpherys, associate professor of piano at the Eastman School of Music, for evaluating the chapter on competitions and auditions; Dr. Haruko Kataoka, founder of the Suzuki Piano Basics Method, who taught me the importance of stage presence from the point of view of both the performer and the audience; Barry Lane, my brother-in-law’s brother-in law, owner of the consulting firm Discover Writing, who advised me on the ins and outs of the publishing world; Ralph Locke, chair of the Department of Musicology at the East- man School of Music, for good advice early in the project; Russell Miller, assistant professor of vocal coaching and repertoire at the Eastman School of Music, for lending a critical eye to the final manuscript and providing useful suggestions; Sue Rarus, director of information services at the Na- tional Association for Music Education (MENC), for supplying me with statistical data; Gail Seneca, more family than friend, whose meteoric rise in the business world after ”dressing for success” was, I realize, a major inspiration for this book; Allison Sharma, my niece, who heard an inter- view by Leonard Slatkin on the radio and alerted me to its contents; Jeff Tyzik, composer, arranger, and conductor, who offered valuable sugges- tions for the chapters on orchestras and conductors; Lawrence Wechsler, horn player in the Metropolitan Opera Orchestra, who enlightened me on matters specific to the pit orchestra; my sister Elsa Worth, who provided invaluable editing and many good suggestions; and finally to my partner, Dorothy Drake, who saw purses hanging on the backs of the violinists’ chairs and said, “Why doesn’t anyone tell them not to do that?” -KH Introduction This book focuses on the performance of classical music, but the basic principles are the same for all kinds of music. Musicians need to make their audiences receptive and to give them a lasting, positive impression. Just as classical training lays a foundation for the performance of other kinds of music, the basics of stage presence outlined here may be adapted to all kinds of performances, by all kinds of musicians. Stage presence is an aspect of music education that carries over to many other areas of life. Good stage presence is invaluable for job interviews, verbal presentations, and social situations of all kinds. For the musician, good stage presence helps to build and keep audi- ences. This is so important, for without the audience, there can be no per- formances. Too many fine performers and ensembles do not rise to their deserved level of success because they lack the ability to relate to their au- dience appropriately and effectively. I have written this book as a manual and guide for those musicians who need help looking more comfortable, confident, and appropriate on stage and for teachers who want to impart stage presence skills to their students. This book summarizes the accepted guidelines as they have come down to us in the twenty-first century after over two hundred years of public musical performances. It should be mentioned that, from the rise of public performance in the late eighteenth century, some very successful and famous musicians have broken the conventional "rules" of stage presence by wearing attention- getting attire and engaging in unconventional behavior on stage. Franz Liszt was an early, and notorious, example. His fame (like that of Elvis Presley and Liberace more recently) was the result of becoming a heart- throb and a matinee idol as much as being a musician. xiii xiv Introduction No one should argue that these great performers had poor stage pres- ence. On the contrary, they each had an uncanny ability to connect with their audience. Consider, however, that no performer can make an im- pression in this way unless there are standards from which to deviate. This book outlines the standards as they have come down to us in the twenty-first century. Chapter I Stage Presence The piece of music is worked out by the composer, but it is the performance which we enjoy. Thus the active and emotional principle in music occurs in the act of reproduction, which draws the electric spark from a mysterious source and directs it toward the heart of the listener. -Eduard Hanslick (1825-1904), music critic Music does not exist until it is performed. -Benjamin Britten (1913-1976), composer Think about the best concert you have ever attended-a concert that thrilled you-that left you feeling you had just experienced something wonderful and out of the ordinary-a concert at which you felt deeply touched by the music. Truly exceptional musical performances produce this kind of experience. On the other hand, many concerts seem to be played well enough, but just have no spark. You may leave the concert hall remembering only such things as the sheet music hanging precariously off the edge of the music stand or the violinist in the third row who wore white socks. These seem- ingly little distractions have the power to pull the audience away from the music, so that no matter how well the musicians are playing, the audience will have a hard time being moved by the performance. Impeccable stage presence, always a component of the best perfor- mances, is a topic musicians too often disregard. This is shortsighted, because good stage presence has far more impact on the audience than performers sometimes consider or realize, and it can be the key element 2 Chapter 1 in the making or breaking of a concert, no matter how well the musicians What exactly is stage presence, and why is it important for musicians? Play. STAGE PRESENCE DEFINED Stage presence is the visual aspect of a live musical performance: every- thing from a performer’s walk, bow, facial expression, and dress, to an en- semble’s portrayal of a single, unified entity; from the condition of chairs, music stands, and piano, to the mechanics of smooth stage management. Performers can greatly enhance their image, and their audience’s total ex- perience, by paying attention to the details of stage presence. Good stage presence, like good editing in films or books, goes largely unnoticed. Though it does not announce itself, it allows the audience to be in a positive, receptive mood before the concert, and allows listeners to concentrate on the music throughout the performance without distrac- tions. Performers with good stage presence project a positive image: they know what they are doing and have meticulously attended to every de- tail of their work. Poor stage presence is painfully obvious. We in the audience feel nerv- ous when we watch a soloist who is nervous. An awkward performer makes us feel awkward, too. And we can become very distracted by an ensemble whose members are distracted. The shoulder strap that keeps slipping down the violinist’s arm, the hair that constantly falls into the pi- anist’s face, or the short pant legs that reveal bare skin over the cellist’s socks all draw attention away from the music. There are innumerable little things involving performers’ nervous habits and inappropriate onstage behavior that may constitute poor stage presence as well. A wise performer anticipates and, as much as possible, eliminates all potential distractions. THE PHILOSOPHICAL BASIS: RESPECT Thefirst requisite in A musician is, that he should respect, acknowledge, and do homage to what is great and sublime in his art, instead of tying to extinguish the great lights, so that his own small one may shine a little more brightly. -Felix Mendelssohn (1809-1847), composer, conductor, pianist Stage presence is not simply a long list of rules of behavior. No rulebook exists that prescribes the proper way to perform in all settings at all times. Good stage presence, like music itself, is an art, a clear expression of the Stage Presence 3 disciplined musician’s respect for the music, for the audience, for other musicians, and for himself or herself. Respect for the Music As the performer, you should do everything you can to provide the au- dience with direct access to the music, with as few distractions as possi- ble. When you respect the music you readily defer to the composer and do nothing that could take the spotlight away from the work being played. You are also prepared to perform by having adequately practiced so that your performance is as good as it can be. Do not let the perfor- mance look or sound like a rehearsal. Respect for the Audience Respecting the audience means appreciating the people who took the time and trouble to come and listen. After all, without them there would be no performance. When you are appreciative of your audience, you will sincerely want to do your best for them, and this will be reflected in your facial expressions and body language. Audiences, like guests, will feel welcome if you greet them with genuine friendliness and respect. Respect for Other Musicians Never do anything to bring attention to yourself or take attention away from the group. When musicians play together, competition among them can seriously detract from the performance. Respecting your fellow musi- cians means that you do not try to upstage them in any way; for example, the accompanist should dress more conservatively than the soloist, the members of the string section should remain still and attentive during the flute solo, and every member of an ensemble should keep an eye on the conductor at all times. All musicians should be present throughout the per- formance of a work and not leave the stage during long rests or before the applause is finished. The physical space of those around you should not be violated with demonstrative or sudden body movements. Ensemble bows need to be rehearsed, giving all members appropriate and gracious ac- knowledgment. Respect for Yourself When you respect yourself as a musician, you take your work seriously, and you want your audience to take you seriously as well. You have prac- ticed long hours and have gone to the trouble to arrange for a performance. 4 Chapter 1 After all of this, you do not want to look awkward or foolish onstage, nor do you want inadvertently to put off your audience in any way. Attending to the most minute details of your stage presence indicates a respect for both yourself and your work that will enhance your image in the eyes of your audience and the general public. STAGE PRESENCE AND STAGE FRIGHT The determination to give pleasure does more to nullify stagefright than any device known. --George Hotchkiss Street (twentieth century), vocal coach, professor Unfortunately, many fine musicians are not able to perform successfully in front of an audience because of stage fright. Every performer must cope with feelings of anxiety before a concert because it takes courage to get up in front of an audience and do anything, much less a task as complex as playing a musical instrument or singing. All successful performers must find ways to deal with this inevitable anxiety. Despite the hazards of stage fright, the adrenaline produced by precon- cert excitement can actually help performers do their best. We humans ac- complish the most when our adrenaline is pumping. This is the reason athletes almost always break records in competitions and not during prac- tice sessions. Musicians who have learned to use this heightened state to their advantage find that adrenaline can spur them on to do their best rather than cause them to fall apart. Knowing Helps While much has been written about stage fright as a phobia that in some cases might need medical attention, very little has been said about the relationship between stage fright and stage presence. Good stage pres- ence can actually help relieve much of the anxiety associated with stage fright. In any situation, stress is reduced when you know what is expected of you and how to go about doing things correctly. In a social context, for ex- ample, you are much more at ease if you know how to make introductions properly, converse with strangers, or even which fork to use at the dinner table. Without knowing such basics of etiquette, you may feel insecure and awkward. If you were continually to make one etiquette faux pas af- ter another, your insecurity could turn into full-blown anxiety. This kind of snowballing embarrassment can cause some people to become so anx- ious that they avoid social situations. Stage Presence 5 Musicians in performance are no different. If unsure how to walk onto a stage, how to bow, where to stand, how to face the audience, how to hold the instrument, how to dress, and so on, a musician can also become anxious, sometimes to the point of not being able to perform at all. Know- ing the basic rules, and then following them, gives the musician a sense of self-confidence and self-control. Just as most people need to practice shak- ing hands with strangers while looking into their eyes and smiling as they introduce themselves, musicians, too, must practice walking on stage, bowing, and then properly getting ready to play. Though more natural to some people than others, these are all acquired skills without which mu- sicians would be much less able to handle stage fright. Performers can increase their sense of self-confidence and self-control, overcome their nervousness, and use the pressure of performance to their advantage on stage by studying and practicing the principles of good stage presence. Knowing you look your best and are acting appropriately on stage takes away debilitating self-consciousness and allows you to think about the music and about bringing pleasure to the audience. Stage fright is ex- aggerated when your attention is focused solely on yourself. Learning to become centered on the music itself and on the performance at hand is es- sential for players who want to minimize stage fright. PAYING ATTENTION TO STAGE PRESENCE IS IMPORTANT FOR MUSICIANS Good stage presence complements and enhances a musical performance, while poor stage presence not only diminishes a performance but can also ruin it entirely. Good stage presence reflects a musician’s respect for the music, the audience, for other musicians, and for himself or herself. Practicing good stage presence can allow a musician to use the rush of adrenaline before a performance to his or her advantage, effectively di- minishing stage fright. Compared with the complexities and demands of learning to perform a musical work, stage presence may seem to be unimportant, but it is a vital element of the performance that no musician can afford to overlook. This Page Intentionally Left BlankChapter 2 The Soloist The pianist's physical impression is enormously important, more important than I ever supposed as a beginner. . . . I didn't realize how important [it] was until thefirst time I saw myselfon television. Before that, ifanyone commented on my appearance I thought, "Here I'm trying to petform great music, and they're talking about banalities. 'I I made all sorts of bad movements; I threw my arms wildly about. When lfinally saw how I looked, however, I realized that 1 was distracting the audiencefrom the music. -Alfred Brendel (b. 1931), pianist Learning the music and expressing it in your own unique way is, of course, your primary task as a performer. It is good to realize, however, that visual aspects of your presentation either help or hinder the audience's ability to be drawn into your music. Are you confident and enthusiastic about per- forming? Did you take the time to look your best? Have you organized your stage management so that it runs smoothly and does not take up un- necessary time? Have you done everything possible to eliminate repeti- tious, possibly annoying, body or facial movements? Performers who pay attention to these things look comfortable onstage and, in turn, put the au- dience at ease and ready to listen. You owe it to yourself, after all your long hours of practice, to present your music in the best context. HOW TO DRESS FOR THE CONCERT STAGE Dressing for Style We all have our individual styles of dress in everyday life, and some of us are more fashion conscious than others. It is important to realize, 7 8 Chapter 2 however, that a musical performance is not a fashion show, and that care must be taken to choose appropriate dress for a concert. The level of formality of your clothing, for example, may vary depend- ing on the time of day of the performance (generally, less formal for af- ternoons than evenings), the time of year (less formal in the summertime than during other seasons), or the venue (less formal in a room than in a concert hall), but every performance, whether before an audience or judges, deserves a dressed up appearance. If you wear everyday clothes you risk having your performance look like a rehearsal or a practice ses- sion. Dressing up also indicates that you take yourself seriously, and sug- gests that the audience should do so as well. In addition to the level of formality in dress, musicians need to be sen- sitive to how flamboyant or revealing their clothing might be. Those who dress in provocative clothing in their everyday lives should recognize that such styles may be inappropriate while performing simply because they compete with the music for the audience's attention. Some young profes- sional performers are encouraged by their agents to adopt unusual or provocative modes of dress so that audiences will remember them (the young man with the big muscles or the red socks; the young woman with the stunning cleavage or the short skirt); and some achieve notoriety by discarding traditional conventions of concert attire altogether. Revealing and unconventional clothing, however, distracts an audience. For exam- ple, it is not uncommon lately to see musicians performing with bare arms-but as the conductor Leonard Slatkin pointed out in an interview in the London Times in 1999, string players dressed this way risk having their audience become more fascinated with their jiggling flesh than with their music. Pianists and other instrumentalists can have the same problem when their upper arms are exposed, even if they are young and in generally good physical condition. When you are performing, make sure that what you wear is flattering to your own body. Use clothing to minimize your least attractive physical attributes and to downplay ex- tremes in height and weight. Color is also something to think about. We each look our best in certain colors. Some colors, such as pastels, may make you look washed out un- der stage lights, while bright colors may appear too loud. Black is always a safe choice because it looks dignified and strong, and does not vie for at- tention. Just because an outfit is black, however, does not mean that it is appropriately dressy or formal enough for the occasion. Casual clothes that are black still look like casual clothes. As a musician, you may not feel qualified to choose the best clothing for yourself; your aesthetic sensibility may be largely aural and not visual. You may not feel sure about choosing styles, fabrics, and colors. Do not hesitate to get help when deciding on your concert wardrobe. If you do The Soloist 9 not know someone who has a special knack for dressing well, consider hiring a professional consultant. Work to get the confidence that results from knowing you look good onstage. In the long run, what you really want people to notice and to remem- ber is your playing. Performers with long professional careers eventually adopt a conservative and modest way of dressing that does not distract their audience. Dressing for Utility and Comfort A pair of good, comfortable shoes. -Birgit Nilsson (b. 1918), Wagnerian soprano [in answer to the question, "What does it take to sing Wagnerian opera?"] Performers need to consider more than just style. It is essential that there be nothing annoying or uncomfortable about your clothes. First, they should not be too tight. In addition to restricting the natural move- ment of your body, tight clothing can appear even tighter under stage lighting, which will create shadows around any underlying body con- tours or underwear. You also need to be able to move freely without wor- rying that your clothing will shift into undesirable positions. High slits on skirts, for example, are problematic in this way, as are shoulder straps (al- though bare arms are not recommended) and ill-fitting cummerbunds. Concert clothes should fit comfortably. There should be enough room in the arms and back of your outfit to move as much as you need to move. Find a tailor you can rely on to keep your stage clothes fitting and look- ing just right. If you gain or lose a few pounds, get new clothes. Nothing about your attire should need recurring attention, because ad- justing your clothing onstage looks awkward and self-conscious. While performing, you want to be able to forget about your outfit entirely and bring your full concentration to the music. Therefore, never perform in clothing that you have not worn while playing your instrument, singing, or conducting. There is a good reason for a "dress" rehearsal even if you are performing solo. Hem Lengths, Foofwear, and Hosiery When playing on a stage that is set up higher than the audience, do not fail to consider what you look like from the knees down. A skirt that may appear modest when people are standing at your level, may look outra- geous from the first few rows of the orchestra. Short skirts are generally too revealing from a raised stage. Midcalf is about as short as a skirt can be without becoming a distraction. If the skirt is made of a material that 10 Chapter 2 may look sheer under stage lights, wear a dark-colored slip almost as long as the skirt, and always check beforehand to make sure it does not show below the hemline whatever your position. Skirts shorter than full length, and all trousers, reveal glimpses of hosiery. Therefore, consider hosiery carefully as an asset to your overall appearance. It should be as dressy as the rest of your clothing and should not be lighter in color than your outfit or your skin. Allowing the audi- ence to see above your hosiery, a fashion faux pas in any context, looks awful under stage lighting, especially if you have pale skin. Cellists in particular must be careful about this. Long sleeves are best when hemmed to the correct length so they do not look too short or too long and do not get in your way. They should be plain and tapered toward the wrist, without any extra decorations such as fur, lace, or flashy cufflinks. Choose your shoes carefulIy. It is best to have shoes that you use only for performing. Wear a style and color that coordinate appropriately with the rest of your outfit. Do not let shoes become worn or dirty, and keep them impeccably polished. Make sure you can walk in your shoes with a Figure 2.1. Bare Skin over Hosiery Looks Sloppy Onstage. The Soloist 11 natural stride and without making too much noise on the stage. It is help- ful not only to include shoes in your dress rehearsal, but also to walk and to practice in them until they really become part of you. Soles of new shoes should be roughed up enough so that they will not be slippery on a polished floor. If you perform standing up, shoes with adequate support will keep you from being in pain or fatigued by the end of the concert. Just as you want to be able to forget about your clothes, you want to be able to forget about your footwear. Very high heels or stacked shoes may require the wearer to adopt an unnatural posture while walking, standing, and even sitting. The athletic aspect of musicianship requires the body to be in the best alignment for its most efficient performance. Although those with very short legs may find that high heels can help them sit in a more balanced way by allowing their feet to reach the floor, taller players can look down- right siily in high heels when sitting. Be a musician first, and allow com- fort and the natural use of your body, rather than fashion, to dictate your footwear. Necklines, Hair, Makeup, and Accessories Just as some audience members are sitting below you in the orchestra Ievel, others will be sitting above you when you play in a hall with a bal- cony. Low necklines that appear modest under normal circumstances can become revealing when viewed from the upper levels of the hall. Con- sider also the appearance of a low neckline when bowing, the moment Figure 2.2. Long-Legged Performers May Require Low-Heeled Shoes. 12 Chnptcr 2 that the entire audience effectively sees you from above. Carefully choose your neckline so that it will not constitute a distraction. Perform with your hair under control, so that the audience can have a clear, full view of your face. Your hair should be either short enough or se- curely fastened so that it does not obstruct this view. As with clothing, constantly touching your hair and moving it around can look sloppy, in- secure, and self-conscious. Hair falling into your face during the cadenza can interfere with your concentration and make the audience wonder how you are going to deal with it. In addition, long hair that is not pulled back often projects too casual or seductive an appearance when you are wearing dressy clothes. Ballet dancers and ice skaters learn to take care of their hair so that it stays in one place throughout their rigorous routines. Noticing how they do this can be instructive for musicians, who also need their hair to look neat and to stay put. Making sure your hair is well groomed can con- tribute greatly to your confidence onstage. Wear understated makeup. It is a mistake to think that makeup must be overdone onstage. Just as in daily life, too much makeup attracts atten- tion. Wear only clear nail polish and keep fingernails very short for play- ing an instrument. When it comes to accessories, the fewer the better. It is best not to wear anything on your wrists or fingers if you are playing an instrument. That includes a watch, since the only reason to do so is to check the time, and you would not want the audience to see you do that. Be careful wearing hair ornaments that may come loose. A brooch or a necklace may be all right if your instrument never touches it. Certain instrumentalists, such as cellists and harpists, must consider the buttons on the front of their cloth- ing, making certain that they are not in the way as they perform. Scarves and shawls can be a nuisance and a distraction when they move around, as can eyeglasses. If you wear eyeglasses, have them adjusted to fit snugly so that they do not ride down your nose. Whatever you wear, prac- tice performing while wearing it and make sure nothing in your wardrobe will demand your attention or your adjustment during the concert. Dress to Enhance Your Perforniniice The best concert attire may be very different from what you would choose to wear for other occasions. Performers need to take many things into consideration that are not necessarily important in everyday life, such as how an outfit looks from odd angles and under bright lights, and whether it competes with the music for the attention of the audience. In addition, the athletic aspect of musical performance requires con- cert clothes to be as comfortable as a sports uniform designed for a spe- The Soloist 13 cific function. Anything less will distract the performer, who needs every bit of concentration to do the best job. As elements of comfort and utility, shoes, hairstyles, and accessories are as important as the clothing itself. RAISE EXPECTATIONS WITH YOUR ENTRANCE The moment you walk onstage, you make a strong impression on the au- dience based on your attitude and degree of confidence as reflected in your walk, facial expression, bow, and ability to create a meaningful si- lence before the first note is sounded. With these various elements of your entrance, you actually provide the audience with an expectation of the performance to come, positive or negative. It is in the interest of every performer to maximize the audience’s high expectation before the first note is sounded. Attending to all the aspects of your entrance allows you to look enthusiastic, confident, and ready to perform. Walking Onstage Plan the route you will take from backstage to the place where you will stop and bow. Always enter from stage right (the audience’s left side), un- less there is something about the configuration of the building that pre- vents your doing so. Practice walking out onto the stage of every new venue so you get a feel for the distance and know about any detours or obstacles ahead of time. For an actor, establishing a distinctive walk is an important element in the development of any character; actors learn that the way people walk says a great deal about them. When you walk onto a concert stage, the walk itself gives the audience a strong message about who you are, how you feel about being there, your attitude toward the audience, your level of enthusiasm for the performance, and even whether or not you ure u good performer. It is in your best interest to give the audience as many positive messages about yourself as possible. The moment they see you they begin to form an opinion of how you will eventually play. If you can make them think that you are about to give them a good experience, chances are that they wiZZ have a good experience. The opposite is also true-negative ex- pectations are usually fulfilled as well. You want your walk to project enthusiastic anticipation for the event about to take place, as if you are going somewhere you want to go. The pace should therefore be purposeful without being hurried. Walking too quickly can look nervous and self-conscious. Walking too slowly can con- vey reluctance, a lack of enthusiasm, or simply a bad attitude. 14 Chapter 2 Your body should look composed and relaxed with good, alert posture, arms naturally at your sides if not carrying an instrument. If you are car- rying an instrument, make sure you are doing it in a professional and formal manner. Some performers look at the audience as they are walking out, the way contestants in beauty pageants are instructed to walk onstage. Since walk- ing in one direction while looking in another is not something we do in daily life, it is a challenge to make this look natural. The advantage of walking on in this way is that you will establish eye contact with your au- dience the moment they first see you, and you can maintain this rapport from the time you step onto the stage until your bow. Otherwise, you may look at where you are going as you normally would, and promptly take your position for your introductory bow. In either case, know ahead of time exactly where that place is on the stage so you will not look in any way unsure of where you are going. It is sometimes a good idea to mark the spot on the stage with a piece of tape so you do not worry about finding it. Be conscious of making a visual pic- ture as you take your bow. If you are playing on an instrument that is al- ready there (piano, harp, percussion), stand so that the audience will see you and the instrument as a single unit. Getting close to where you will actually play will keep you from having to walk another distance after you bow, which can look anticlimactic and interrupt the timing of your entrance. Facing the Audience Now you have made your entrance. As the audience applauds, you ar- rive at the spot onstage upon which you will stop and bow. As you face the audience, your facial expression should complete the impression given by your walk. The audience should feel that you are happy to see them and appreciative that they took the time and trouble to be there. Genuine sincerity goes right to the heart of your audience. You can con- vey good feelings more effectively by making eye contact with a single audience member toward the back of the orchestra section or in the low- est balcony, or by letting your eyes unhurriedly sweep from one side of the back of the audience to the other. Smiling is good, but again, your smile must be sincere to establish rap- port with your audience. We have all seen photos of people with fake smiles plastered on their faces. An audience can recognize such a smile from a great distance, and they will immediately see that it is phony. The performer must truly have a good attitude and positive feelings. Besides, cultivating such feelings as you greet your audience is the best way to break down boundaries between you and them, to settle yourself, to de- The Soloist 15 mystify the situation, and to get ready to play. It also effectively reduces preconcert jitters. Try imagining that you are smiling at someone you love, or meeting your best friend at the airport after a long absence. Bowing Bowing to the audience is like shaking hands with an individual-a proper formal greeting and introduction. Establishing eye contact both before and after the bow conveys sincerity. Come onto the stage and move purposefully to the spot where you will perform. Then: 1. Stop and look out at the audience, establishing eye contact. 2. Bow. 3. Stand back up and stay in that spot until you have reestablished eye contact with the audience. Failing to do all three things is equivalent to meeting someone and shaking hands without eye contact, or turning to walk away before the handshake is finished-either of which would be dismissive and rude. Bow with your feet together, because keeping feet apart can look disor- ganized and awkward. Keep your shoulders down and your hands re- laxed at your sides unless holding your instrument. Pianists may touch the piano with the left hand as they bow. Lower your eyes to the floor as you bend from the waist-gently, with no jerky motions (never "throw" your hair)-to about a 45-degree angle. Lowering your eyes indicates hu- mility and respect. Maintaining eye contact during the actual bow is ei- ther threatening (the kind of bow used toward opponents in the martial arts) or immodest, and therefore is not recommended in musical per- formance. Move your head and body together as you bow without sticking out your chin or going down chin first. Keep your hands in one place at your sides and do not let them ride down your legs or dangle out in front of you. An unbuttoned suit jacket separates and appears untidy when bowing, and will allow a long tie, if not fastened with a tie tack, to fall straight down perpendicular to your body. After your first bow, you may incon- spicuously unbutton before playing to give yourself full freedom of movement and to keep the jacket from puckering unattractively as you play; refasten as you get ready to bow at the end. If you perform wearing a suit jacket, practice quick and unobtrusive buttoning and unbuttoning without having to look down as you do it. Nothing about the bow should appear hurried. Take your time coming to your place and looking at the audience both before and after the bow. 16 Chapter 2 Figure 2.3. A Disorganized Bow Projects a Lack of Confidence. Also take your time moving into playing position, all the while maintain- ing a sincere and pleasing facial expression. By entering unhurriedly, yet intentionally, you are drawing the audience into your own sense of time and space; you will be turning your attention to your instrument as the audience is settling down after having applauded your entrance. By set- ting the pace in this way, you can prepare for the concert together with the audience, and by this time, you have given them a number of positive impressions of yourself and positive expectations for your ensuing per- formance. Assuming Playing Position You and the audience are now getting ready together to hear the mu- sic. At this transition point in a performance, it is important to maintain an atmosphere of respect as you turn your attention to your instru- ment. The respectful and anticipatory mood that your entrance and bow have created can be completely undone by stopping to tune your The Soloist 17 instrument at this crucial moment. It is best to have already tuned be- fore coming onstage. This can be accomplished with the use of an elec- tronic tuning device that may be tuned to the piano ahead of time. If performing without a piano, there is no reason to tune onstage at all; tune backstage, out of hearing of the audience. If you must do any tun- ing onstage, do it as quickly, quietly, and unobtrusively as possible. No long riffs that sound like practicing or showing off; no endless zeroing in on the pitches. Nothing can break the spell you have created for the audience like tuning. The first sound they should hear is the first note on your program. Never turn your back to the audience unless you are the conductor or any player who, for whatever reason, must actually perform facing the back of the stage. Get ready quickly, but with composure. If the stage personnel have done their job, you should not need to arrange stage furnishings in any way (move chairs, raise or lower the piano lid, change the height of the stand, adjust the piano bench, position the stand). Take a few moments to create a total silence filled with your intense concentration. Performers who are good at this can focus the entire audi- ence within this silence before they begin to play, creating the ideal at- mosphere in which to sound the first notes of their piece. When performing with an accompanist, make sure you have rehearsed the beginning of the piece with the least amount of demonstrative count- ing, either verbal or physical. The beginning should look very smooth to the audience, as if you are simply breathing together. Practicing and Assessing Your Entrance and Bow Entering and bowing is an art in itself, and few people do it well with- out extensive thought and repetitive practice. In earlier times, performers had to rely on the mirror and on the opinions of others to assess their en- trances and bows and to work on improving them. But now we have the video camera, an invaluable tool for musicians wishing to study their stage presence. Even the most practiced professionals will be surprised upon observing their own performance by how their entrances, exits, and bows may diverge from the image they have of themselves in their mind’s eye. Studying yourself in this way is the beginning of a positive change that is bound to improve your overall image. If you find that you are hav- ing trouble on your own making the changes you think you need to make, you may benefit from working with a specialist in the art of stage pres- ence or with an acting coach to create the best possible initial impression for your audience. 18 Chapter 2 DURING THE PERFORMANCE One can correct facial grimaces by placing a mirror on the reading desk of the spinet or harpsichord. -FranCois Couperin (1668-1733), composer, harpsichordist, organist As you play, keep the audience focused on the music as much as possi- ble by not giving them other things to notice and think about. Body lan- guage should demonstrate intense, yet calm, concentration. You need to be aware of potential problems in this area so you may play with composure and, after playing, graciously accept the audience’s ap- plause. Annoying Physical Habits As they practice, most musicians acquire physical habits that can be dis- tracting in performance. Intense effort and concentration, for example, may create an unpleasant, even grotesque, facial expression. A strong sense of rhythm or of melody may produce body movement that is overblown and intrusive. Some performers do the same things over and over, more from habit than necessity, creating behaviors that are difficult to overlook when the Figure 2.4. dainful. A Tense Facial Expression May Make the Performer Appear Angry or Dis- The Soloist 19 audience is trying to listen to the music. These behaviors fall into three categories: Personal Habits Mopping your brow Wringing or flexing your hands or fingers Wiping your mouth Licking your lips Tapping your toes Adjusting your hair Touching your eyeglasses Breathing audibly Humming as you play Handling Your Instrument Shaking out moisture Applying rosin to the bow Pulling loose hairs from the bow Wiping the keyboard Rattling the valves Audibly blowing into a mouthpiece or horn Licking the reed Drarnat ic Gestures Assuming a tense or overblown facial expression Tossing your head Flailing your arms Swaying your body Bobbing your head "Dancing" to the music Some of these behaviors may be perfectly all right when they are neces- sary for the well-being of the performer and instrument, or when dictated by aspects of the piece. When they are repetitive and predictable, however, and appear pointless, they become distracting or even annoying. Just as the best and most seasoned performers tend to dress conserva- tively to avoid calling attention to themselves, they have also learned to adopt a poised demeanor and to maintain quiet concentration as they play and during rests. It is the same kind of concentration that they have used to bring the audience into their silence at the beginning of the piece. 20 Chapter 2 When there is accompaniment, it is important for the soloist to be men- tally performing whenever the accompanist is playing alone, from the first note to the very last note of every piece. While concentrating in this way, be careful not to react to any mistakes the accompanist makes. Perspiration Some performers perspire excessively as they perform and need to use a handkerchief to dry their face and hands between pieces or during rests. The handkerchief should be folded, pressed, and kept that way; do not unfurl the handkerchief or wad it up. Blot, not wipe, your skin. Give some attention to how you will carry the handkerchief and where you will place it during the performance. You should not dig it out from a trousers pocket. It is more easily accessible from an interior jacket pocket or from inside a long sleeve. Pianists may carry the handkerchief in the hand and place it inside the piano before they begin to play. A white handkerchief will glare under stage lights. A subdued color, one that does not clash with the color of your attire, is better. Never wipe your hands on your clothing. You may be doing this un- consciously. If you are not in the habit of having a handkerchief with you when you perform, notice what you do whenever your hands become moist. If perspiration is a problem, wear colors and fabrics that will minimize the appearance of moisture. Nonshiny fabrics and very dark colors are best. Eye Contact Instrumentalists should not look directly at the audience as they per- form. In fact, the only time to make eye contact with the audience is im- mediately before and immediately after the bow (unless you also choose to establish eye contact as you are walking onstage). Constant or furtive eye contact both during the actual playing and during rests will make you look self-conscious. Do, however, allow the audience to see your face as you play by making sure that nothing, such as your music stand or your hair- style, obstructs the audience’s view. Be sure to hold your head up if you play a guitar or cello or the audience will see only the top of your head. Depending on the work being performed, singers are required either to address the audience directly or to remain detached as an instrumentalist would. In either case, the singer must be aware of exactly what the music requires in this regard and consciously decide whether to establish eye contact with the audience. Singers must be careful not to hold their score in front of their face, but flat and low in front of them. The Soloist 21 Reacting to Mistakes Always assume that every performance will have mistakes. Much more important than eliminating all mistakes (which is virtually impossible) is how you react to them. Do not allow the audience to get worried about your mistakes. It is imperative that you eliminate even the tiniest reaction, in either your face or body. Visibly reacting to mistakes makes them seem much worse than they are. We can follow the example of ice skaters: per- formers who have learned to rise from a fall on the ice with a big smile, almost as if they had actually intended to fall. Keeping your composure during and after a mistake is very difficult for some players. Whether they realize it or not, most musicians actually practice losing composure by allowing themselves histrionics in the pri- vacy of the practice room and then, once onstage, find it impossible to change this lifelong, ingrained bad habit. Be aware of the ways that you handle mistakes as you practice and eliminate any reaction that your au- dience may be able to see. Playing from Memory You should have the score in your head, and not your head in the score. -Hans von Biilow (1830-1894), conductor Most of the major conductors, great pianists, and other legendary soloists performed almost exclusively from memory. There is no question that playing from memory, without having to bother with the printed score at all, is the preferable way to perform. This way, you securely know every note of the music and thus totally avoid the potentially messy busi- ness of dealing with the score on stage. But practical considerations force most performers to resort to using their music at least some of the time. When music must be used during a performance, how can it be done with the least possible distraction? As much as possible, you want the audience to remain unaware of the score. With the exception of singers, who may hold the score in their hands as they sing, soloists should never have to carry their music or the music stand onto the stage as they walk out to play. The score and stand should have been positioned beforehand by stage personnel (or by you before the audience arrives) and opened to the first page. The height of the music stand also should be preset so that you will not need to adjust it in front of your audience before you begin. You should not have to carry the score or stand off with you when you are done. The score should remain completely hidden by the music stand. If you have a particularly wide or high score, or have taped copied pages together 22 Chapter 2 Figure 2.5. Keep Your Music from Spilling over the Stand. to avoid difficult page turns, it is wise to purchase an extension or an ex- pandable stand, making it wide or high enough to accommodate the size of the pages. Use only a score in good condition, and make sure to take care of any single pages that could fall during the concert. Always carry clips with you, and if you need to fasten the score to the stand, do it. Never turn pages in a demonstrative or sudden manner, but rather as unobtrusively and quietly as possible. Know the music as thoroughly as possible. Use the score as a general guideline and refrain from reading the music note by note during a per- formance. Such intense reading takes your focus away from your sur- roundings and turns it instead to the page, which can make it look as if you are practicing. Follow Hans von Bulow’s advice and have the score in your head-not your head in the score. The Soloist 23 ACKNOWLEDGING APPLAUSE Carefully rehearse your body language and your concentration to control the timing of the audience's applause at the end of your piece. Even the most unsophisticated audience can be dissuaded from clapping between movements or too early in the significant silence at the end of a piece by the way the performer maintains concentration and holds the body. In- vite the applause to begin exactly when you want it by releasing your con- centration, both mentally and physically. As the applause begins, stand to bow as you did at the beginning, with the same relaxed facial expression and eye contact with your audience. If you feel drained and exhausted, do not show it. Bow with sincere grati- tude toward the listeners. Accept the compliment of applause openly and graciously, avoiding any hint of a fake, "aw-shucks" modesty. If you turn your head even slightly during the bow, you run the risk of projecting this undesirable impression. Decide beforehand how and when you will leave the stage. You may decide to bow two or three times before leaving if the applause is partic- ularly enthusiastic and to leave after the first bow if it is not. Walk off with good posture and at a brisk but not hurried pace. Stay offstage or return quickly for another bow. It is important to come out for additional bows while the applause is at a peak and not already dying down. Avoid milk- ing the applause by coming back too many times. It is always best to leave before the audience asks you to leave. ENCORES Although encores may look like a spontaneous response to an audience's enthusiasm, the performer has, of course, carefully planned one or more of them ahead of time. You need to know exactly what you will play as if it is part of your printed program. Just as you never want to take too many bows, you never want to play too many encores. Leave the audi- ence always wanting a little more, rather than run the risk of playing too long. If you want to play an encore as part of your program, come back on- stage quickly after the first or second bow and get into position to per- form again right away. Announce the name of the piece in a clear voice as soon as the audience is still. It is almost always appropriate to add one piece in this way. Performing multiple encores is all right, as long as the audience remains enthusiastic. Avoid teasing your audience by mak- ing them wonder whether or not you will play again, and do not make them beg as you repeatedly enter, bow, and leave the stage. Either play 24 Chapter 2 or end the concert without being coy. Too few encores are better than too many. TALKING TO YOUR AUDIENCE There are times when you may want to address the audience during the course of a performance-to break down barriers between musician and concertgoer, introduce yourself to the audience, or present additional in- formation that may not appear in the program, for example. Only those performers who are good public speakers should attempt this, being aware that the formality of a traditional concert is significantly lowered whenever you take on the added role of narrator or host. If informality is not the goal, a preconcert talk or interview followed by an intermission is often the solution that allows musicians to address the audience while at the same time preserving the formal character of the subsequent concert. To further draw the distinction between talking and performing, it is best not to talk in your concert attire, but to change clothes between the talk and the performance. Publicizing such talks ahead of time, and holding them before the scheduled time of the begin- ning of the performance, also makes it possible for audience members to skip the verbal presentation if they wish. PERFORMING WITH OTHERS If you have an accompanist, be sure that both of you practice exits, en- trances, and bows together. It looks good if you, as the soloist, are gener- ous in your public recognition of your accompanist. If you are equal collaborators, come on and off the stage as equals (soloist in the lead com- ing on and accompanist in the lead going off) and bow together. If the ac- companist is performing a subordinate role in the music, it is appropriate for the soloist to be in the lead walking both on and off and to bow alone. With a gesture, the soloist may invite the accompanist to take his or her individual bow at the end of the concert. Always exit the stage together, single file and at the same pace. After the first exit, subsequent bows may be taken by the soloist alone. When soloing with an ensemble of singers or musicians, your en- trances, exits, and bows will be coordinated with the conductor. In the case of a conductorless ensemble, you must come on and off the stage and bow together with the group. In either case, since a performing organiza- tion may have a distinctive style or pace of entering, leaving, and bowing, it is appropriate to request a short rehearsal for these maneuvers so that The Soloist 25 they appear organized during the concert. The details of repeated bow- ing, acknowledgment of individual players or sections, encores, and so forth should all be decided ahead of time. KEEP YOUR AUDIENCE FROM BEGINNING TO END As you perform, encourage your audience to concentrate on the sound of the music by eliminating as many potential distractions as you can. These include repetitive and unnecessary physical habits, facial contortions, in- appropriately looking at the audience, visibly reacting to mistakes, and fumbling with the score. At the conclusion of a performance, acknowl- edge applause in a professional and rehearsed manner, always making your final bow while the audience remains animated. Plan encores to avoid the anticlimactic feeling that results from playing too many of them. ATTEND TO ALL ASPECTS OF YOUR STAGE PRESENCE Your job is not over when the music is ready to be performed. Have you done everything possible to maximize your appearance and demeanor when you perform? Time and effort must be spent on many aspects of stage presence so that your music can be heard in the best possible con- text. Choose the most appropriate clothes for the event and for the task at hand. Study and practice your entrance and bow so that the audience will anticipate a good performance before you even begin. Evaluate your be- havior onstage for anything that your audience will find distracting. Prac- tice not reacting to mistakes. Either perform from memory, or make sure that your use of the score is as unobtrusive as possible. Accept applause graciously, and always leave the audience wanting more. Your hard work deserves to be displayed in the best light. Constantly evaluate your stage presence as it is today, and work toward improving it in the future. Your audience will notice and appreciate your attention to this important, yet neglected aspect of performance. 26 Chapter 2 LIST 2.1 PERFORMERS: AVOID DOING THESE THINGS ONSTAGE Turning your back to the audience (unless you perform in this po- Chewing gum or holding anything in your mouth Adjusting your clothing or hair Touching your eyeglasses Scratching an itch Wearing distracting or uncomfortable clothes Wearing noisy shoes or shoes that make it difficult to walk or play Wearing anything on the arms, wrists, or fingers Keeping time with movements of your body (unless you are the Arranging stage furnishings (piano lid, stands, chairs, and so on) sition) your instrument naturally conductor) Chapter 3 The Page Turner Ever since performers (especially keyboard players, who usually play continuously throughout a piece) have begun to appear before audiences, they have wanted to solve the thorny problem of how to turn pages while also playing their instrument. The nineteenth-century pianist and con- ductor Sir Charles Halle developed a mechanical page-turning apparatus for pianists that was operated by the player’s foot. It was reported at the time, however, that audiences became so fascinated watching the clever device in action that they forgot to pay attention to the music. Similar me- chanical inventions over the years have met their demise for the same rea- son. (Very recently, a digital music stand has come on the market that stores a part or a score electronically. ”Pages” are ”turned” at the touch of the performer’s finger or toe. As yet, however, there has been no ideal re- placement for the human page turner.) Even if the performer is adept at turning pages, for difficult music it is still a good idea to have a person onstage to assist. The sheer physical feat of being able to turn pages and play at the same time can have the same ef- fect on the audience as the mechanical devices. The person turning pages onstage is an important element in the overall presentation of the concert. When you are that person, in addition to turning pages at the right time you can actively contribute to the stage presence of the entire performance. APPEARANCE General dress guidelines that apply to performers apply to page turners as well. Be especially careful about loose-fitting sleeves and dangly jewelry 27 28 Chapter 3 Figure 3.1. The Page Turner Can Seriously Detract from a Performance. that may get in the way of the performer, and always avoid the use of per- fumed personal products, especially when working with singers or wind players. Your attire can be somewhat less formal and less colorful than the others’, but never casual. You should never have any candy, lozenges, or gum in your mouth. Everyone knows that actually chewing gum is out of the question, but many appear to believe that they can hold things in their mouths unob- trusively. This is not true, especially onstage. If possible, attend one or more rehearsals, or at least take the time to read through the scores together with the performer, making sure you know about all repeats and cuts and can easily understand everything in the music. Some players mark the exact beat on which they will want every page turned. The performer should never have to give cues with the head or body when a page needs turning. ENTRANCES On entering the stage, you should walk behind the performers and go di- rectly to the piano or other music stand, without looking at the audience or acknowledging the applause in any way. Move in a relaxed and pur- poseful manner, at the same pace as the other musicians, with head up and eyes forward. Reach your designated place on the stage just before the musicians bow. The Page Turner 29 Carry the score onstage, closed and at your side. Place it on the desk, open to the first page. Locate the first page of the piece before coming on- stage so you will not have to look for it in front of the audience. You may remove the score from the stage when finished. This may be necessary if there are several different performers in one concert. But if there is nothing about the concert that requires bringing the score on and off, it can be placed on the desk before the audience arrives and left there as you leave the stage with the performers. It looks neater if you close the score and lay it down on the flat part of the desk before leav- ing. DURING THE PERFORMANCE Your chair is best situated slightly behind the pianist’s bench on the up- stage side. If the chair is just next to the pianist, it will be in the way. Sit upstage of other soloists if you are turning their pages as well. Be sure your chair is not too low and that it does not squeak. Remain seated between page turns and stand to turn pages. It is best to turn all the pages, not just certain ones. Keep in mind that repeatedly standing up and sitting down throughout a performance is potentially very distracting if not done in the most unobtrusive and smooth manner. Thus, you should have no trouble physically standing up and sitting down in a controlled, quiet manner. Before, during, and after the performance, sit up with good posture and both feet on the floor. Remain absolutely still (but not stiff), concentrating on the music. Keep your eyes always on the score, never looking at the players, the audience, or around the room. Your hands should remain quiet and relaxed in your lap. Prepare pages by flaring their upper right- hand corners so the pages can be easily separated and you will not be tempted to moisten your fingers with your tongue. Turn pages efficiently and quietly-never moving any part of your body to the music (e.g., bob- bing your head or tapping your toes). EXIT During the first bow at the end of the concert, remain seated, looking at the score, and then rise promptly to follow the performers as they go off- stage. Always turn toward, not away, from the audience. Remain offstage during subsequent bows unless your presence is required during the per- formance of an encore. Ask to be included in rehearsals for entrances, ex- its, and bows, including those for possible encores. 30 Chapter 3 DO MORE THAN JUST TURN PAGES Realize that much depends on your role as page turner. If you do not dress appropriately, the look of the other performers will be compro- mised. The audience will be distracted if you move around too much or if you are not fully concentrating on the music. Entrances and exits will ap- pear disorganized if you have not rehearsed your part in them. Be aware of all the ways that you can contribute to a successful performance. Chapter 4 The Small Ensemble (No Conductor) When collaborating with another musician or other musicians without the direction of a conductor, who is in charge of your stage presence-i.e., how are decisions affecting your stage presence made? Your appearance on stage can be greatly improved by consciously planning the various as- pects of your presentation. When there are two or more musicians on a stage performing to- gether, it helps the audience to be drawn into your music when you look like a polished ensemble even before you begin to play and sound like one. Therefore, you want to look as if you have thought about all as- pects of your appearance, including attire, equipment, your way of moving together on and off the stage, and your way of acknowledging applause. Although you may consider yourselves to have a collaborative rather than a hierarchical relationship with one another, it is a good idea for any pair or group of musicians, after deciding major policies together, to iden- tify an individual or individuals who may take a proprietary interest in your organization’s stage presence. There may be someone who enjoys choosing and inspecting your attire, who may like to clean and repair your stage furnishings, or who would be interested in conducting re- hearsals for your exits, entrances, and bows. Once these people have been identified, give them the authority to carry out the wishes of the entire en- semble in such matters. Without having individuals who take the respon- sibility for maintaining the level of its stage presence, any ensemble will become increasingly disorganized, because there is no one consistently taking care of the details. 31 32 Chapter 4 ATTIRE Duos and other small ensembles often perform in intimate halls or in rooms where the musicians’ attire will come under scrutiny by the audi- ence. If anyone’s clothing is not in good condition, freshly cleaned, and pressed, people will notice. It will also be obvious if outfits do not fit well or if shoes are worn and scuffed. Someone in the group should be as- signed to conduct inspections for grooming and the general condition of everyone’s clothes. This may be as far as you can go when playing in an ensemble that may not regularly perform together. It takes planning to determine a level of formality that you wish to achieve, and then to make sure all members look that way. The most com- mon faux pas in a performing ensemble’s way of dressing is incongruity in style and formality. Within a single performing organization, it is not unusual to see some musicians dressed as if for a black-tie occasion, some looking as if they are going to work in an office, and still others who would fit in at a folk festival. It is also common to see one or more mem- bers of a group who dress in a way that calls undue attention to them- selves, taking attention away from the group. Even when there are only two of you, a pianist and another instrument for example, it is important to coordinate your clothes. The easiest way to prevent incongruities and attention-getting attire is to have a uniform outfit designed for all members. If you dress yourselves individually, without the benefit of a strict dress code or an actual uni- form, it will appear as if you have not given thought to the way you are dressing as a group-and, truly, you have not. There can be a different de- sign for men and women, but without stipulating exactly what everyone will wear, the ensemble will constantly be grappling with the issue of how to appear as if it has thoughtfully planned its attire. The organization can devise a clear dress code and strictly enforce it, but will find, in the long run, that having a uniform is easier and will produce better results. To adapt your look for different venues, seasons, and times of day, a variety of uniforms for various occasions may be chosen. Whether designing a uniform or creating a dress code, include every as- pect of the musicians’ outfit, including accessories and shoes. Just one musician wearing brown socks when everyone else is wearing black can distract an audience. Begin to raise awareness among your members about issues of group attire by taking time to observe video recordings of yourselves while per- forming. Also, discuss the way you presently dress-together, you will come up with good ideas for constructive change. Consciously decide how you really want to look, and begin taking steps to reach your goal. The Small Ensemble (No Conductor) 33 EQUIPMENT The total impression you make on your audience is enhanced by your use of equipment, such as chairs and music stands that are uniform in style and in new condition. The best professional ensembles, realizing the im- portance of this, go to the trouble of bringing their own equipment with them to every place they perform. Often, some members of the ensemble will require a chair of a certain height or configuration (such as a particu- larly low piano bench or a cello chair) or a music stand that opens extra wide. Do not expect to find these things in most performing venues. Makeshift solutions, such as using two nesting chairs to raise the seat or placing two music stands side by side to make one wider stand, look slip- shod and reveal a lack of planning and apparent general indifference to the details and requisites of your performance. Always assume, unless you know for certain otherwise, that you will need to bring your own equipment to all performances, and be committed to maintaining uniform-looking equipment in new condition. ENSEMBLE MANEUVERS ONSTAGE Without frequent rehearsals of your entrances, bows, exits, and the way in which you wish to begin pieces and acknowledge applause together, your spontaneous way of doing these things will look disorganized. The more members in your ensemble, the higher the potential that you will look un- connected and lost onstage. Here is another area where careful study of yourselves on video can be very instructive, revealing all manner of de- tails that you may not have considered. Walking Onstage This may seem simple enough, but the way you all walk onstage as a group projects a certain image of yourselves. Every ensemble can decide ahead of time exactly what image it wants to project and then can practice an entrance that will have the desired effect. You will want to come out to- gether, which means that you should all walk at the same pace without bunching up or leaving big gaps between people. All players should have finished walking before any begin to bow so that you all bow together. All players, to minimize movement onstage after the bow, should bow as close as possible to the spot where they will eventually perform. The or- der in which you walk out will be determined in this way by your posi- tion on the stage where you play. If you walk out in a different order, you .H Figure 4.1. Makeshift Solutions Reflect Poor Planning and Inattention to Detail. The Small Ensemble (No Conductor) 35 will need to move around too much, crossing in front of or behind each other. For this reason, it is probably best not to revert to traditional rules of etiquette for your entrance, such as having women enter before men or elders precede younger players. Be conscious of entering with good posture, erect without being stiff, looking poised and eager to perform. If you all adopt a similar facial ex- pression, you can portray an ensemble attitude, rather than a motley col- lection of individuals. For those who walk out carrying their instruments, add to the look of uniformity by coordinating how you will hold them. Do not carry your music with you as you come onstage. Arrange parts on the music stands ahead of time, before the audience arrives, or have them placed there by stage personnel, open to the first page of the music. Adjust the exact position of each stand (height, angle, tilt) and chair be- forehand as well so that players will not need to make any of these ad- justments in front of the audience. Bowing Before making the actual bow, all members should have come to a com- plete stop and be facing the audience, standing with good posture and feet together, and makmg eye contact with the audience. Practice bowing at the same pace: after making eye contact with the audience together for the same amount of time, all bend down to the same angle (about 45 degrees from perpendicular) with eyes lowered to the feet; stay down together for a slow count of three, then come back up and reestablish eye contact with the au- dience before moving into your playing positions. If you do not plan your bows to this degree of detail, some musicians in the group will draw atten- tion by doing something different from the others. By bowing more quickly than others, for example, or bending down much further than anyone else, tossing the hair, or failing to lower the eyes during the bow, individual members can undermine the desired appearance of purposeful and planned unity. Think of yourselves as an ensemble before and after you actually play-for the entire time you are in front of the audience. Tuning Tuning is best done beforehand and offstage, where the audience can- not hear you. An electronic tuning device is useful when you must tune to an instrument, usually a piano, already onstage. If for some reason tun- ing must be done onstage, do it as quietly and as unobtrusively as possi- ble, having established ahead of time what pitches you will play. It is best, however, when the first sound the audience hears is the first note of the program. 36 Chapter 4 DURING THE PERFORMANCE In rehearsal, develop a way to begin each piece that will not be overly dra- matic, using collective concentration and breathing. No conversation should ever be necessary among the musicians onstage. One member is usually designated to conduct the entrances, which are accomplished most successfully when all of the members are ready and concentrating together so that the audience is least aware of the mechanics of this process. Avoid any obvious counting, foot tapping, or head bobbing. As with solo musicians, ensembles appear most impressive when they play together with the least amount of visible effort. Make sure there are no loose pages in your music that could fall off the stand during the performance. Turn pages gently and quietly. Avoid page turning during others’ solos. Bring clips and tape and arrange your mu- sic in the order in which you will perform it. Do whatever is necessary to keep the printed music from becoming a distraction. Never react to mistakes, your own or others’. Keep strong concentra- tion during those times when you are not playing. Do not look around the room during long rests or relax your posture. The audience can tell when you are daydreaming. Remain a fully participating member of the en- semble at all times by concentrating on the music from beginning to end. AT THE CONCLUSION OF THE CONCERT Responding to applause and leaving the stage are other maneuvers that require rehearsal if they are to look smooth and planned. Someone in the group should be designated to give the others signals that tell them when to bow and when to leave the stage. When leaving, as well as when en- tering, everyone should move as a group, at the same pace and with uni- form spacing. Avoid situations where some members are leaving while others are still bowing, or where some are bunching up because one per- son is moving at a slower pace than the group as a whole. Also plan and rehearse reentrances for additional bows and encores so that your coordinated appearance is not compromised at the end of your concert. You may want to appear spontaneous after you have played, but actual spontaneity can result in a look of unprofessional confusion. Prac- tice looking spontaneous while also planning your moves so that you will maintain the intentional look of your ensemble until you leave the stage for the last time. When invited to take an individual bow, accept the au- dience’s recognition graciously and in a dignified manner, without inap- propriate humility. Never visibly resist an invitation to bow alone or force another to beg you to bow. The Small Ensemble (No Conductor) 37 Because there will be no time to make a collective decision, appoint one member to decide when the group will stop going back for additional bows. Do everything as a group. Do not allow one or two members to go back onstage and then coax the others to join them. Usually, by the time all of this happens, the audience has stopped applauding and the players are forced to leave the stage as the audience itself begins to leave. It is always best to stop coming out for bows while the audience is still at the peak of their enthusiasm in order to avoid milking the applause. Coordinate your final exit with the raising of the house lights as the stage goes dim. EVALUATING YOUR STAGE PRESENCE It is useful to study a video recording of a dress rehearsal or performance to improve details of your stage presence. Viewing yourselves from the audience’s point of view can be very revealing, and is the first step neces- sary for positive change. Working with a professional consultant is often the best way for an ensemble to achieve a truly professional demeanor and appearance and to establish procedures that will maintain good stage presence in the future. MAKING STAGE PRESENCE A PRIORITY IN YOUR ENSEMBLE When small ensembles with no conductor ignore issues of stage presence, they run the risk of appearing disorganized and unprofessional. Perfor- mances of such groups too often look like rehearsals. To project a polished and professional appearance, your ensemble must consciously plan attire, stage furnishings, and group entrances, exits, and bows. It is best to assign individuals specific stage presence duties and give them the authority to carry out these duties. By making an aspect of stage presentation part of each player’s job description, awareness of stage pres- ence issues among all members of the organization will be heightened. Your audience may not realize why, but they will experience more ex- citing and satisfying performances as you work to improve the presenta- tion of your ensemble. 38 Chapter 4 LIST 4.1 WAYS TO KEEP YOUR PERFORMANCE FROM LOOKING LIKE A REHEARSAL Perform with furniture and equipment in new condition, without dust, dirt, scratches, or dents. (No ownership stencils on the back of your music stands!) Do not perform housekeeping duties onstage. Assign the moving and setting up of furniture, large instruments, stands, and scores to stagehands. Require stagehands to dress uniformly and not too casually. Coordinate the attire among members of the ensemble. Leave all personal items (purses, instrument cases, extra clothing) backstage. Carry nothing onstage but your instrument. Never turn your back to the audience. Refrain from talking to other musicians while onstage. Avoid excessive tuning or warming up within hearing of the au- dience. Avoid excessive, demonstrative, or predictable attention to your instrument during the performance (emptying water from winds, wiping, adjusting joints, applying rosin to a bow, pulling hair from a bow, cleaning or drying piano keys) Keep tempo with concentration, not by beating it with part of your body. Practice and rehearse enough so your eyes are not glued to the score. Turn pages silently and unobtrusively. Refrain from perceptibly reacting to mistakes (yours or others’). Rehearse every detail of entrances, exits, and bows in the hall where the performance will take place. Establish eye contact with the audience immediately before and immediately after your bow. From the stage, do not look for, or signal to, friends in the audi- ence before, during, or after the performance. Bring 100 percent of your concentration to the performance every second you are in front of the audience, whether you are playing or not. Chapter 5 The Large Vocal Ensemble A choir sounds no better than it looks. --Paul Hill (1939-1999), choral conductor, composer, arranger A chorus can look unified more easily than an instrumental ensemble be- cause its members are all doing the same thing while standing together in the same way. There is also a strong tradition for singers in vocal ensem- bles to wear strictly uniform dress. Nevertheless, chorus members need clear and detailed guidelines for their onstage appearance and demeanor if the group is to make its stage presentation the best it can be. The goal of any chorus is to create, from many members, one single entity, or ”voice.” This is accomplished by enacting and maintaining policies designed to maximize the look of professionalism and poise in the ensemble, and by eliminating anything on the part of the individuals that may draw atten- tion to themselves or away from the group. Within the organization, individual personnel or committees may be assigned responsibility for certain aspects of stage presence, not only to set policy but also to enforce it. DRESS The ultimate in choral uniformity is a choir robe. In addition to being identical for everyone, male and female, it hangs attractively on indi- vidual bodies and frames all the singers’ faces in exactly the same way. Because it is usually purchased from a single source or custom made, the material is also identical in color and texture from robe to robe. It is 39 40 Chapter 5 simple for singers to wear and adapts to all but the most radical changes in body size. A chorus wearing robes portrays a certain image, but it may not be one you want for your ensemble. There are many other possible styles of dress, including formal black-tie attire, military uniforms, and various, more casual outfits. It is always preferable that everyone be wearing ex- actly the same thing. If singers are asked to provide their own clothes, the results will be less than optimum. If required to wear black trousers or skirts and white tops, for example, everyone will appear with different styles, some dressy and others not so. The necklines, sleeve lengths, hem- lines, and fabrics will vary, and the assorted "whites" and "blacks" will not look the same onstage. The best clothing for chorus members is either custom made or pur- chased from a single source where the chosen outfits will remain avail- able. It may be decided that the women and men in the group wear different clothing, but then the desirability of creating two visually dis- tinct groups of singers in the ensemble must be considered. It is possible, if custom made, for male and female attire to be designed in a gender- specific way and to look alike onstage. Whatever the chosen outfit, it should be kept in good condition, clean, and pressed. It should fit well and not cling to the body. Choir robes should be adjusted to a uniform length for each singer. Shoes and Hosiery Uniform footwear is also preferable to having chorus members choose their own, especially for those singers in the front row (although the au- dience may see the feet of all the singers as they enter and exit the stage). Variety in footwear can undermine the uniform look achieved in the rest of the attire. Consideration must be given to the comfort and support of shoes, since singers must stand for extended lengths of time and poor foot support may cause upper bodies to shift and sway. Hair, Makeup, and Accessories Require singers to wear their hair short enough so that it does not fall into their faces as they sing, or to fasten it back securely so that it will need no adjustment during a performance. Hairstyles, including mustaches and beards, should be congruent with the style of the clothing (not too ca- sual) and appear well groomed. Makeup should be understated. One or more singers with heavy makeup will look very different from all the others. It is best if no jewelry The Large Vocal Ensemble 41 is worn, including rings (with the possible exception of wedding bands) and watches. If earrings are allowed, they should not dangle. DEMEANOR Develop guidelines for the singers’ demeanor and circulate these among all members; devise as well a system of enforcement that may be applied strictly and fairly. The singers will appreciate being instructed in the prin- ciples of good stage presence and will know exactly what is expected of them. Preconcert Preparation Require singers to arrive well before the beginning of a performance so that they may make preparations in an unstressed environment and so that vocal warmups involving all members may be conducted back- stage. It is bad for morale and for the performers’ voices when some singers rush in at the last moment before a concert. Taking time to make preparations together will ensure that everyone is warmed up, thinking together, and feeling ready to perform. Before actually going out onstage, it is a good idea for the singers to observe a period of silence to prepare themselves mentally and to avoid finishing conversations or being other- wise preoccupied as they walk out in front of the audience. Entrance In rehearsal, the entrance of the chorus should have been practiced so that it will go as smoothly as possible at the concert. All singers should know exactly where they are going and who is walking ahead of them. Practice entering at a uniform pace, so that people do not bunch up or leave big gaps among themselves. Take attendance before the concert. Remove chairs of absent members and plan how to fill in empty spots on risers. Chorus members should enter promptly, walking directly to their places without looking around or at the audience. The singers should all adopt pleasant facial expressions during their entrance, as if looking for- ward to the concert. There should be no conversation or wordless com- munication with other chorus or audience members. When in place, the entire chorus may be seated on cue from a designated member and then rise on the entrance of the conductor. Standing and sitting should be done exactly together. With practice, a large chorus can make the simple acts of standing up and sitting down 42 Chapter 5 appear very exciting to the audience and draw them into the group’s dis- cipline even before the music begins. While Performing All singers should be standing at a uniform angle. The angle may be different in different sections of the chorus from stage left to stage right, but should change gradually and uniformly and be determined ahead of time. All members should assume a strong yet relaxed posture and hold it throughout the performance. Singers in any chorus need to be reminded often about their posture. Singers should never do anything with their eyes but look at the con- ductor, nor anything with their hands but hold the score. If long hair has been properly fastened and eyeglasses securely adjusted, there should be no need to use the hands for any other reason. When singing without mu- sic, hands may remain relaxed at the sides or clasped in front, but should be uniform throughout the chorus. The conductor, possibly assisted by other observers, should correct any attention-getting behavior on the part of individual chorus mem- bers during rehearsals. Just one or two demonstrative singers can constitute a major distraction, changing the desired mood of the whole performance. Figure 5.1. A Single Distracted Chorus Member Can Affect the Audience’s Concentration. The Large Vocal Ensemble 43 Music Folders Singing from memory is always the preferable way to perform. The singers not only look more prepared but also can better concentrate on the conductor when they are not reading. At those times when printed music is necessary, carefully plan how it will look and how the singers will manage the music onstage. Music should be held in folders of the same size, style, and color, arranged ahead of time in the order it will be performed. Everyone should be instructed to hold their music folders in the same hand and in the same uniform way in rest position as they walk out and before they get ready to sing. On cue from the conductor, they can practice opening the folders exactly together in the same way that they practiced synchronized stand- ing and sitting. Every singer should have his or her own folder so that each may adopt the same stance. It is difficult for singers to watch the conductor and to stand with good posture when sharing folders. The folders should be held at a height that allows the singers to glance at the music and also at the conductor by moving only their eyes, while their entire faces remain vis- ible to the audience. Acknowledging Applause Plan and rehearse how the conductor and chorus will acknowledge applause together at the end of each piece as well as at the end of the con- cert. Decide whether the chorus will bow or simply remain standing dur- ing the applause. Practice the details of this part of the performance. If bowing, practice doing it exactly together on cue from the conductor. Whether bowing or not, the members of the chorus should remain stand- ing, with good posture and pleasant facial expressions, folders held uni- formly at their sides in rest position as the conductor is bowing, exiting, and reentering for additional bows. They should refrain from any con- versation or wordless communication with their neighbors or with mem- bers of the audience. Rehearse the bows of soloists and conductor as well as exits and re- entrances for additional bows. Coordinate the dimming of the stage lights with the final exit of the conductor and soloists. Chorus members should remain standing still until the audience has completely stopped applaud- ing, and then leave the stage in the same organized and rehearsed fashion in which they arrived at the beginning of the concert: holding folders uni- formly, walking at a rehearsed, uniform pace, and not talking among themselves or looking at the audience. 44 Chapter 5 After the Concert Instruct singers on how to interact with audience members at the con- clusion of the concert. They should accept praise graciously, without contradicting listeners’ opinions of the concert. It is unseemly and unpro- fessional to attempt to extract praise from audience members, to discuss weaknesses in the concert, or to engage in conversations that are critical of the conductor, soloists, or other chorus members or sections. Postcon- cert discussions with listeners should all be positive; the time for critical evaluation among performers is at the next rehearsal. TOTAL DISCIPLINE AND ORGANIZATION Good stage presence in a large chorus requires thinking about dozens of little details which may seem insignificant individually but, taken to- gether, create a professional and organized appearance in which the au- dience may fully concentrate on the music. The demeanor of each and every singer must blend in with all the others to avoid distraction. Dress- ing in a planned and coordinated fashion, rehearsing entrances, exits, and bows, and establishing a detailed code of onstage deportment for the singers all contribute to the final goal of creating a chorus that looks dis- ciplined, poised, organized, and ready to sing. The Large Vocal Ensemble 45 LIST 5.1 DO’S AND DON’TS FOR CHORUS MEMBERS Do Keep your concert attire clean, pressed, and in good condition. Keep your shoes polished and in good repair. Adjust eyeglasses so they will not ride down your nose. Practice your music so you do not need to be glued to the score. Bathe before dressing. Brush your teeth. Fasten and style your hair appropriately. Eat a light meal before the concert. Arrive early for the performance. Clear your head of personal problems. Arrange your music in the order you will sing it before going on- Stand and sit still, with erect but not stiff posture. Concentrate on the music, whether singing or not. Keep your eyes on the conductor. Hold your music still. Maintain an appropriate and pleasant facial expression. Accept praise graciously. Keep postconcert conversations with the audience positive. stage. Don’t Eat big meals before performing. Eat garlic or anything that may disagree with your stomach. Drink alcohol. Wear any perfumed products. Carry anything onstage but your music. Talk, gesture, or make eye contact with others while onstage. Move around when you sing. Take up too much room with your arms. Hold anything in your mouth. Touch your face or hair. Toss your hair. Beat time with your head or feet. Lookaround. Slump when sitting. Look overly enthusiastic, thus drawing attention to yourself. (continued) 46 Chapter 5 LIST 5.1 DO’S AND DON’TS FOR CHORUS MEMBERS (continued) React to mistakes, your own or those of others. Mouth the words when others are singing. Applaud. Turn your back to the audience. Discuss weaknesses in the performance with audience members. Seek praise from audience members or ask their opinion of the concert. Chapter 6 The Orchestra An orchestra that does not watch the baton has no conductor. -Hector Berlioz (1803-1869), composer, conductor It is thrilling to see a disciplined orchestra (in this chapter, ”orchestra” refers to any instrumental ensemble with a conductor) in which all play- ers are obviously concentrating together as one under the conductor’s ba- ton. The appearance and demeanor of such a precision ensemble leads an audience to expect something wonderful and out of the ordinary, and they are rarely disappointed. The best orchestras look professional and poised down to the last member, from the time they come out on- stage until the time they leave. To achieve this high level of discipline and a uniform appearance, every orchestra not only needs a clear dress code and comprehensive onstage guidelines, but also standard procedures and personnel responsible for their enforcement. RESPONSIBILITIES OF THE BOARD OF DIRECTORS, MANAGEMENT, AND CONDUCTOR Whether actively aware of it or not, the leadership of any orchestra es- tablishes the organization’s standards on its stage presence. If you are part of such leadership-whether you are in charge of a student orches- tra, an amateur orchestra, or a professional symphony-the stage pres- ence of the ensemble is your responsibility. Collectively, you and your 47 48 Chapter 6 associates must decide exactly how you want your orchestra to look and act. Once you have established this, it is then necessary to set rules and provide the resources to make it happen. Regardless of how profes- sional or experienced your players may be, they will be unable to pro- ject a unified image unless they have specific instructions particular to your organization. To maximize the polished look of your ensemble, begin by establishing standards of dress and demeanor, stating them clearly in writing and dis- tributing them to every member. No detail should be omitted from the written policy. This may seem fussy or excessive, but without spelling out exactly what you want-to the letter-you will not get the expected re- sults. You will probably be restricted by budgetary concerns, because good stage presence costs money in terms of time if not directly in cash. This is why the entire leadership of an orchestra, conductor, board of direc- tors, and management must be involved in setting these standards. Wise leadership will realize, however, that the effect good stage presence can have on an audience is well worth the expense. Maintaining an organi- zation whose poise and professionalism excites concertgoers will in- crease the size of the audience over time. This is truly the bread and butter of any performing organization. No matter how well they may actually play, it is difficult to keep an audience if your ensemble looks disorganized or if the players themselves do not appear engaged in the performances. The Dress Code A good dress code will ensure a coordinated and equally formal look among all the players. It will also prohibit elements of attire that may draw attention to individuals. The same principle that applies to solo per- formers applies as well to a large instrumental ensemble: the best concert attire does not compete with the music for the attention of the audience. This principle, of course, may be relaxed for less formal concerts in which the musicians dress for fun or for a comical effect. Concert bands, modeled on military marching bands, traditionally wear dress military uniforms (or uniforms based on that model). Military dress codes are specific to the last detail (including even hairstyle and footwear), leaving no room for individuality of any kind. The result in the ensemble is the appearance of complete uniformity. Orchestras, on the other hand, originated as entertainment for the no- bility, performing in salons and ballrooms in livery dictated by the patron or even the building in which they performed-by the nineteenth century, The Orchestra 49 in the stylish, formal dress clothing of the day. The custom of applying rigid military standards of uniformity to the orchestra’s way of dressing has not survived in most orchestras, especially those with both male and female members. Presently, ambiguities and generalities in most orchestra dress codes leave many details of the members’ attire to individual choice. Orchestras need to be careful that their dress code or the enforcement of the dress code has not become so lax as to make the general appearance seem dis- organized and visually chaotic. The heightened concentration and inten- sity that musicians want to project requires equivalent attention to attire. The amount of care that goes into dressing is a visual manifestation of the amount of care that went into preparing the music. Audiences find them- selves unable to take a casually dressed orchestra nearly as seriously as they would if the players were dressed formally. The Gender Issue Added to the lack of specificity in orchestra dress codes is the compli- cation brought about by the presence of both men and women in the group, since male and female formal attire has always been gender spe- cific. Typically, although the appearance of uniformity is the goal, orches- tra dress codes have different rules for men and women. When there are separate dress codes for each gender, the men’s rules are relatively simple and compliance is relatively easy. This is because certain items of male dress, such as suits and tuxedos, hardly change style from year to year and are always readily available. The women’s rules, since women’s fashions change every season and there is, as yet, no standard uniform for female orchestra members, usu- ally allow for all sorts of outfits (dresses, pant suits, skirts and tops, slacks and tops, and so on). Experiments with formal attire have included per- mitting or requiring female members to dress in identical tuxedos as the men, and, at the other end of the spectrum, dispensing with the idea of uniformity altogether by having women dress in colorful ball gowns, as they might for any formal social function. To achieve more uniformity, some orchestras have experimented with dressing the male and female players alike by having them dress in casual outfits: all in black pants and matching T-shirts, for example. The result- ing look, although coordinated, can make the audience feel as if they are watching a rehearsal. Still others have resorted to having an outfit custom made for their women players in a single style and material. This is the only way to have firm control over how the women in the orchestra look onstage. Although 50 Chapter 6 it may seem bothersome to get involved in design and dressmaking or tailoring, the trouble it will save on the performance end may be well worth it, by completely coordinating the women’s clothing and eliminat- ing visual disarray. The outfits may cost more, but the players will be saved the frustration of searching the department stores, where they can- not count on finding suitable solutions for items that will comply with the dress code. If yours is a professional orchestra, an authentic professional uniform is also a tax deduction. In situations where the female members are expected to comply with a dress code on their own, they may have difficulty finding outfits in the re- quired color (usually black or white). Complying with this seemingly simple color requirement is not so easy. There are many shades of black and many shades of white that, when mixed together under stage lights, do not contribute to a unified appearance within the ensemble. Stark white and various shades of cream do not look good together, for exam- ple. Black, too, comes in a variety of hues-especially when there are a va- riety of materials-that are visually incompatible. Female players also need clothes that do not cling to the body and that do not leave too much flesh exposed. They must deal with the fact that women’s fashions are usually created to be attention-getting, while the main point of an orchestra’s dress code is that no single player stand out visually from the group. A strict dress code may also prohibit certain types of fabrics, such as velvet, satin, and open lace-even further limit- ing women’s choices. Added to all these restrictions is the requirement that the outfit match the male tuxedo in level of formality. It is no won- der that among female players we see such a variety of outfits-often looking inappropriate-and that the visual impression given by an or- chestra seems to deteriorate as the percentage of female players rises. This is a principal reason some conductors, whether they realize it or not, do not want women in their orchestras. It is no reflection on women as musicians, but rather a comment on our social customs regarding gender-specific dress. Developing a standard uniform for female players and making it consistently available to them is the only way this problem will be solved. When unable to provide your players with a uniform, it is helpful for them when dress codes are very specific, leaving as little as possible to individual choice. Male Attire A certain type of tuxedo, suit, or uniform should be required for men, specifying whether or not the coat has tails, whether to wear a cummerbund or waistcoat, the color and type of the tie, and the color The Orchestra 51 of the cummerbund or waistcoat. It is best if fabrics are all exactly the same. Female Attire For women, it is important to prohibit certain fabrics that stand out un- der stage lighting, such as velvet, satin, and sequins or other sparkly ma- terial. Fabric should not be revealing (too sheer or lace too open). Hems of skirts and pants should be floor length, sleeves at least halfway between the elbow and wrist. Necklines should be modest both in front and in back. While bare arms, legs, and decolletage may be acceptable fashion, they make the female players look less serious and dignified than their male counterparts; furthermore, different amounts of exposed skin from person to person in the orchestra looks disorganized under the stage lights. All garments should drape in a flattering line without clinging to the body. If slim skirts or tight pants are worn, an overlaying garment should be required. In all cases, the women’s attire should look as formal as-and no more formal than-the men’s. Jewelry and Hair Flashy jewelry on the body or in the hair as well as dangling earrings or bracelets of any kind should be prohibited. Great variety among hairstyles is another cause of visual disarray. Hair- style is an important item in the dress code. Long hair hanging down looks incongruously informal when wearing dressy clothes. It must be fastened back, away from the face, requiring no adjustment during the concert. All hairstyles, including beards and mustaches, should be impec- cably groomed to coordinate with formal dress. Shoes and Hosiery Shoes and hosiery are important, since much of the audience sits eye level with these. For both men and women there are all kinds of dress shoes, and it is best to require not simply black dress shoes but to specify a certain kind. Smooth leather, suede, and patent leather appear very dif- ferent from each other and look disorderly when all are represented within the ensemble at the same time. Open toes, boots, and very high heels are not appropriate. The best presentation is for shoes to be com- pletely uniform from member to member. Hosiery must be black, not sparkly or otherwise highly decorated, long enough so that the tops are not seen (over the calf), and in a formal style 52 Chapter 6 consistent with the rest of the outfit. Like shoes, hosiery looks best when everyone is wearing exactly the same kind. Alternate Dress Codes Often, an orchestra will have more than one dress code for different performing situations. For example, there may be a less formal code for daytime concerts, or a lighter look for summer concerts. The guidelines should clearly prohibit the wearing of anything that would cause visual disarray in the ensemble or bring attention onto itself. Even for less for- mal concerts the dress code should be as specific as possible. Size, Cleaning, and Maintenance The dress code should stipulate that players are to wear clothes that fit well. It looks sloppy when some members are wearing clothes that are not the right size. It is also important to require that concert clothing be regularly cleaned and pressed, and that the clothing not show wear of any kind. The audi- ence can perceive dirty, worn, or wrinkled garments-to think otherwise is false. Shoes, too, must be kept in pristine condition, not scuffed or worn. Hosiery must be free of runs. Enforcement The best dress code in the world is not worth much if it is not enforced, and good enforcement requires regular inspection. The services of a dress- maker or tailor can be used periodically to evaluate overall fit and condi- tion of garments and to determine when they need to be replaced. It is good to appoint a staff member to conduct a preconcert inspection at every performance to cover all other matters. The dress code should out- line penalties for various and repeated infractions. The inspector must ap- ply these sanctions strictly, consistently, and fairly. Frequently explain to the players the importance of the dress code for the success of the entire organization. You want them to become as inter- ested as you are in having the orchestra look good onstage so that they are completely invested in the standards of your organization. Onstage Guidelines Orchestras usually perform on a stage without a curtain. This means that the audience may see and hear the players as they assemble before The Orchestra 53 the performance and also at the end as they leave. It is important to con- sider how they all look and sound during these times as well as when they are actually performing. Four Positions of Readiness Members of the orchestra can practice assuming various postures to- gether so that, at any given time, they may be in the same stage of readiness together as a group. There are four standard postures that in- strumentalists typically learn: standing position, rest position, semi- rest position, and ready position. The standing position is used when players walk out on a stage with an instrument and whenever the orchestra stands together to acknowl- edge applause. This usually happens when the conductor comes on- stage at the beginning of the concert and again when the conductor calls for the players to stand during the applause at the end. Standing posi- tion itself is the appropriate way for the ensemble to acknowledge ap- plause: musicians within the orchestra do not bow unless singled out individually. In standing position, the players within the families of like instruments should hold their instruments (and their bows in the case of the string players) in the same formal way and at a uniform angle. Players should remain very still, never taking their eyes off the conductor. The row of musicians at the front of the orchestra, because they are closest to the au- dience, must pay particular attention to their appearance in standing po- sition. It looks good if they face the audience when the full ensemble stands. The other players further to the back of the stage must be equally attentive to their standing position, however, if the disciplined appear- ance of the group as a whole is to be maintained. Rest position is employed during long rests or during pieces or move- ments in which the instrument does not play at all. Instruments may be placed on the floor, on an instrument stand, or across the player’s lap in rest position. Percussionists, harpists, and keyboard players may simply stand or sit quietly. Regardless of how long a musician must remain in rest position, his or her posture should not change-it should remain strong and upright with the head aligned and centered over the spine. The resting player should neither lean on the chair back nor slouch for- ward, and feet should remain on the floor. Throughout a long period of rest, the players’ eyes should remain on the conductor while also follow- ing the score to be ready for the next entrance. When players relax their posture, are looking around, or are otherwise not paying attention, they distract the audience and weaken the concentration of everybody in the hall. Figure 6.1. Examples of Standing Position Figure 6.2. Examples of Full Rest Position 56 Chapter 6 A semirest position is employed just before the conductor cues a ready position at the beginning of a piece, at the end of long rests just before playing again, and for short periods of rest in the music. From semirest position the players are able to assume the ready position at once. In ready position, the players are holding their instruments up and are ready to play. They look as if they are about to do something, with all of their energy and concentration focused on the upcoming task. Erect and eager posture held slightly forward in a ready position creates the ap- pearance of enthusiastic anticipation of the music to come. All eyes are on the conductor, waiting for a cue. Musicians may have been taught slightly different ways to assume these positions. Most important is that each position is intentional and planned. Therefore, each orchestra needs to have its own standard defini- tions of the four positions and then to have the players practice them to- gether until they look and feel precisely coordinated. Before the Concert All players should come onstage at the same time, just before the con- cert begins, so that the audience will not hear them practicing or see them doing the housework of setting up for the concert. All stage furnishings, scores, stands, and stationary instruments should have been set up and adjusted before the audience is allowed into the auditorium. The musi- cians should come onstage mentally ready for the performance, without talking among themselves or looking at the audience. The players should carry an instrument or nothing at all. Other equip- ment necessary for the performance (secondary instruments, mutes, swabs, extra strings, music stand clips, and so on) should have been placed earlier at each playing position onstage. Leave all nonessential per- sonal belongings (instrument cases, purses, sweaters, and so on) behind so they do not litter the stage. Carry instruments in a formal manner, and get quickly into formal rest position, sitting or standing, with good pos- ture. Warmups should have been done backstage, out of hearing of the au- dience, so that all members arrive onstage ready to tune when the con- certmaster arrives. If there is a reason the orchestra members must warm up onstage, they should do so as quickly as possible. Appoint a member to be in charge of stopping the warmup before the entrance of the con- certmaster, who should not have to enter while people are still playing. The entrance of the concertmaster should be timed to happen as soon as all members have assumed their positions (or after the brief warmup). The lighting may change just at this point, with the lights onstage coming up n n Figure 6.3. Examples of Semirest Position Figure 6.4. Examples of Ready Position The Orchestra 59 as the auditorium lights are dimmed. As the stage lights come up, all the players are sitting still and attentively waiting for the concertmaster. No stragglers should ever arrive onstage after this moment. As the lighting changes, the audience will be drawn into the readiness and the silence of the players. The concertmaster then makes an entrance during this silence, goes to his or her position onstage, and bows to ac- knowledge applause. After the bow, the concertmaster will turn to direct the tuning of the orchestra section by section, in an organized fashion, as efficiently and quietly as possible, with players sounding only the usual tuning pitches. The concertmaster will be seated at the conclusion of the tuning, mak- ing way for the entrance of the conductor. Someone backstage should be appointed to watch for the exact moment when the tuning has been com- pleted and then to signal the conductor to go out onstage. It is anti- climactic if the conductor’s entrance is delayed at the conclusion of the tuning. All members should rise together upon the conductor’s entrance, with the players in each section facing the same direction, holding their instru- ments in a uniform fashion. This move must be rehearsed to be precise and effective. One player who can see the conductor at the moment when he or she steps out onto the stage (this is not the concertmaster, who is usually facing in the other direction) may be appointed to cue the others to stand exactly together. For this to work well, all members must give their full concentration to the conductor’s entrance-which, in turn, will generate excitement and anticipation among the audience. The conductor enters and bows from the podium, so that he or she will not have to walk any distance after bowing, while the orchestra stands at attention. Then, facing the orchestra, the conductor gives the cue to be seated. The players then sit down exactly together, assuming the semirest position and then, on another cue, get into ready position. Orchestrating every detail of the conductor’s entrance and the various positions of the players (standing, rest position, semirest position, and ready position) shows the audience that you are truly an ensemble-working, thinking, concentrating together-before you begin to play. A large group of people who are focused enough to move with precision in this way is exciting to watch. After such a carefully coordinated opening, the audience will await the first sound of the program with aroused anticipation. At the Conclusion of the Concert The conductor’s bows and his or her invitation to the entire orchestra or to specific groups of players to stand and acknowledge applause should be rehearsed beforehand. When not standing to accept applause, all members 60 Chapter 6 remain in uniform rest position until the conductor has left the stage for the last time and the house lights come up. At this point, all of the players should leave the stage promptly, without conversation, carrying only their instruments. Cleaning and packing up instruments should be done back- stage. The Podium, Chairs, and Music Stands Music stands should all have been set at a height from which players may see the printed music and also the conductor by moving only the eyes (not moving the whole head) and without craning the neck. The ele- vation of the conductor’s podium depends on the height of the conduc- tor: the taller the conductor, the lower the podium. Players closest to the conductor should not have to strain upward to see the conductor’s face, hands, and baton; the players in back need a clear, unobstructed view. Dented, dirty, worn out, and generally shabby stage furniture will be perceived by the audience. Although acquiring and maintaining good- looking stage furnishings is costly, an orchestra that wants to look its best cannot afford to overlook this significant aspect of its stage presence. Every performing organization needs a staff member to be in charge of the appearance of its stage furnishings. THE RESPONSIBILITIES OF ORCHESTRA MEMBERS First and foremost, faithfully adhere to your orchestra’s published dress codes and stage guidelines. Take them seriously, and never try to bend the rules and thereby place stress on the entire organization. If your ensemble warms up on the stage wlule there are audience mem- bers present, do so as quickly and quietly as possible. This is not the time to show off your upcoming solos or to demonstrate how high, fast, or loud you can play. Also, whether warming up backstage or onstage, it is extremely bad form to use portions of a guest artist’s solo as warmup material (as if to show that you can play the piece too). When tuning with the orchestra, do so as quietly and quickly as you can, sounding only your tuning pitch. Whenever you are onstage, remain in alert posture, without leaning on your chair back or slouching forward, and keep your feet under you. Try to appear mentally awake and involved in what is going on even between pieces. Be actively involved with seemingly passive activities, such as waiting for the conductor, listening during rests, and sitting while the au- dience applauds. Never allow yourself to look disinterested, bored, or tired. Be careful not to adopt a trancelike stare during those times when you are not playing. Leave your watch backstage. The Orchestra 61 Figure 6.5. pline in the Ensemble. Poor Posture Conveys Disinterest in the Performance and Lack of Disci- Do not converse or engage in any type of wordless communication that is not directly relevant to the performance. Refrain from reacting with your facial expression to mistakes or to any out-of-the-ordinary occur- rence onstage. Similarly, save your expressions of approval for others’ playing for after the concert. Do not look at the audience or turn around to look at anything behind you (another player, the chorus, a film). Never take your eyes off the conductor when you are playing as well as when you are not. Know your music well enough so you do not need to read it note for note. While performing, keep body movement to a minimum. Do not violate the personal space of the players around you. Refrain from beating time with any part of your body or swaying back and forth or in circles. Keep your legs still and arms, legs, and feet close to the body. Do not draw at- tention to yourself with demonstrative enthusiasm. Instead, develop a look of intense, still concentration as you play. Turn your pages gently, without disturbing the air around you. If you are responsible for page turning, always be prepared with clips to fasten the score to the stand if necessary. If you have equipment that must be set on the floor-a mute, for example-place a cloth under it to elimi- nate the possibility of making noise when putting it down during the 62 Chapter 6 concert. Refrain from cleaning your instrument or turning pages during someone’s solo. In the event of a musical emergency, when an instrument has a me- chanical failure, it is appropriate for a musician in a lesser position imme- diately to give over his or her instrument to the soloist, first chair, or more highly ranked player. Attend to every detail of your attire as stipulated in the orchestra’s dress code. Wear clothing that fits you perfectly, changing it whenever your body size changes. Choose footwear and hosiery that goes with the rest of your outfit and conforms to the dress code. If your hair is long enough to fall into your face, make sure it is well groomed and fastened back securely. Do not wear anything on your fingers (with the possible exception of a wedding ring) or wrists or paint your nails. If you wear glasses, make sure they fit snugly and will not ride down your nose. Eliminate the possibility of having body odor by bathing just before the concert. Clean and press your concert attire regularly. Do not wear per- fumed products of any kind to rehearsals or concerts. Never chew gum or hold anything in your mouth. Do not bring read- ing material of any kind onstage during concerts or rehearsals. Arrive early and stay late. It is rude to come onstage after the conduc- tor has arrived or to leave while the conductor is still there. THE PIT ORCHESTRA Some think that the pit orchestra need not be so concerned with issues of stage presence, since they are sitting down in the pit away from the view of the audience. However, the overall discipline of a performing organi- zation is just as important when the audience cannot see you. Good pos- ture, uniform dress, attention to the conductor, the appearance of being totally engaged in the performance-all of these elements have an effect on the musicians themselves, and help to create the best performance an organization can produce. Also, it is an unusual situation when the pit orchestra is not visible from loges and balconies. People sitting in those sections are part of the audience as well, and there is enough illumination from music stands for them to see clearly whether the musicians are truly involved in the performance or not. The pit orchestras of some of the best professional opera companies often act as if this portion of the audience is not even there. Especially distracting is the practice of allowing musicians to come in and out in the middle of an act to avoid sitting for long periods of time while not playing. This cannot help but break the concentration of the conductor, other musicians, and a signif- icant portion of the audience repeatedly throughout a long performance. The Orchestra 63 Possibly the most serious infraction is for the players to pack up and leave at the end of a performance as soon as their last note is played, while the audience is applauding. This is rude and inconsiderate to the conduc- tor, the singers, and the audience and gives a bad impression of the or- ganization as a whole. As with onstage orchestras, members of the pit orchestra should remain present as long as the conductor is there. OBSTACLES TO GOOD STAGE PRESENCE The financial realities of maintaining a professional orchestra sometimes force, or at least encourage, an organization to cut comers in matters of their stage presence. For example, poorly paid pit orchestra players may, in the absence of a deserved pay raise, be given the privilege of leaving as soon as their part in the performance is over. Perhaps the management, not wanting to have to pay the musicians for the extra time, will actually require them to leave. Morale among professional orchestra members can be a problem. As wonderful as any orchestra concert is, players who perform in the same ensemble week in and week out can easily become stale and worn down by the routine of their job. It takes strong leadership to keep players fully invested in the success of the organization so that they can put 100 per- cent of themselves into each performance. Because poor morale, although intangible, is obvious and demoralizing to an audience, the leadership of large performing groups should go to any lengths necessary to keep their players’ enthusiasm high. A professional or an amateur orchestra that has a good dress code and stage guidelines may still look bad onstage because it cannot afford the time or the money it takes to enforce the rules consistently. There may be inadequate funds to maintain the scores in good condition and to replace them when necessary. The stage furnishings may get shabby, with no money to buy new ones. Most conductors feel that there is always too little rehearsal time, and nat- urally they want to use every bit of this time preparing the music for per- formance rather than rehearsing entrances, exits, and bows, for example. Attending to details of stage presence can seem to be an unattainable luxury. OVERCOMING THE OBSTACLES There are personnel in any large orchestra who would enjoy the job of im- proving and maintaining the group’s visual presentation and who would take on the task of raising funds to accomplish this. Finding these people 64 Chapter 6 and setting them to work takes nothing more than the leadership’s inter- est in making this happen. When the board members, management, and conductor become fully aware of the importance of stage presence and when they realize that poor stage presence can seriously curtail the overall success of their organization, it will become a priority. Good stage presence comes at a high cost. The return on the investment will be great, however, measured by the effect it will have on your audience. In this sense, no orchestra can afford to be without it.. LIST 6.1 THINGS YOUR CONDUCTOR SHOULD NEVER HAVE TO SAY Watchme. Stop talking (gesturing, winking, rolling your eyes, flirting, gig- gling). Wakeup. Get rid of the gum. Put down the magazine (book, newspaper, letter). Stop fidgeting during the solo. . Clean your tuxedo. Turn your pages quietly. Don’t wear that cologne (hair spray, aftershave). . Stop tapping your foot (bobbing your head, moving around). . Relax your face. . Take a bath (use mouthwash). Sit up straight. Leave your belongings (purses, sweaters, instrument cases) back- . Be onstage before I arrive and do not leave until I go. stage. Music directors of amateur and student ensembles may often be heard saying these things. In a professional context, however, con- ductors are sometimes reluctant to insult the intelligence and expe- rience of their musicians by pointing out such basic transgressions. It is presumed that professional players know better even though their behavior may not always show it. It is the responsibility of every ensemble member to take care of these things in the context of both rehearsals and performances, and every orchestra needs to have a procedure in place to correct infractions. Chapter 7 The Conductor as Leader The real end and aim of a conductor should be, in my opinion, that his presence should be apparently unnecessa y. His place is at the helm, and not at the oars. -Franz Liszt (1811-1886), composer and pianist Conductors provide much of the legendary material of music history. The great conductors have been imposing figures who, by sheer force of their personalities and their exceptional musicianship, maintain authoritarian command over dozens, sometimes even hundreds, of musicians. A good conductor will use his or her charisma to focus the concentration of the players and audience alike on every note of the work being performed, keeping the excitement high from the first note to the last. Good stage presence, an indispensable element in the conductor’s overall presenta- tion, helps accomplish this. Most performing organizations have a hierarchy of leadership that usu- ally includes many people, the conductor (or music director) being only one of these. As a conductor, therefore, you will never be given the au- thority to make all the decisions. In addition to purely musical duties, you will find yourself involved in the politics of keeping budgets balanced, maintaining personnel satisfaction, and dealing with board members, fac- ulties, and/or management. You may have minimal stated authority. Regardless of how much power you are actually given by the policies of the organization, however, everyone will look to you as the moral and artistic leader of the group, the person who sets and enforces the stan- dards, who demands discipline, who is uncompromising in musical mat- ters. And, in fact, the best conductors ure such people, those who can push others to heights they would not otherwise attain, often with nothing more than their own steadfast ideals. 65 66 Chapter 7 Since budgetary matters are involved, it is preferable that there be an organizationwide policy, and funds designated for the establishment and maintenance of the organization’s stage presence. Even with such a pol- icy, however, the actual day-to-day stage presence of your chorus or or- chestra largely depends on your own rules and your ability to enforce them. You will do this by commanding the respect of the musicians, main- taining high morale among them, and exercising a strong power of per- suasion among your colleagues. COMMAND RESPECT AND REQUIRE CONCENTRATION Audiences are impressed when the members of a performing organiza- tion are respectful toward their conductor. This show of respect draws them into the performance before it begins, as soon as you appear on stage. Therefore, it is important to require that your ensemble respond im- mediately to your entrance by standing exactly together as you come on- stage at the outset of a concert. Practice getting all members in various stages of readiness: standing, rest, semirest, and ready positions. Ulti- mately, you want the ensemble to react instantly to your cues. This means that they will be ready and waiting for your direction at all times. You should never have to do anything demonstrative to get their attention. MOVE AS LITTLE AS POSSIBLE Conductors must give unmistakable and suggestive signals to the orchestra, not choreography to the audience. --George Szell(1897-1970), conductor You look most powerful and effective when your cues to the ensemble are subtle. This is true when actually conducting the music as well as when cueing readiness positions. If your direction is grandiose, or if it looks as if you are working too hard to get the musicians to follow you, your in- fluence over them will appear weaker than if you can achieve the desired results with small and apparently effortless motions. A minimum of movement on your part is also less distracting for the audience. CONDUCT WITH GOOD POSTURE Good posture is a characteristic of most successful leaders. To project your image as the ensemble’s capable and effective conductor, carry yourself well. Keep a strong back, and hold your head on top of your spine, always The Conductor as Leader 67 looking out in front of you. Hold your shoulders down and back and keep your arms and hands natural and relaxed. Be conscious of being able to breathe deeply, with an open chest and head up at all times. When using the score, place the music stand so that you may see the music without bending your head forward. Do not let your eyes become glued to the score throughout the performance, and do not let the use of the score negatively affect your good, strong posture. Turn pages as un- obtrusively as possible. It is best when the audience is unaware that there is music in front of you. DRESS FOR THE JOB When conducting, you need to be able to use a full range of motion in your arms. Whatever you wear should not impede this movement, nor should your clothes look stressed as you conduct. This requires special at- tention, because dress clothes are not usually constructed to allow for large arm movements, and may burst at the seams or pucker unattrac- tively unless tailored with this need in mind. Figure 7.1. Will Look Stressed. When Not Tailored to Accommodate Required Body Movement, Clothing 68 Chapter 7 Hems of skirts and trousers should not rise and fall with your arm movement. Pay attention to the appearance of your footwear, assuming that it will be eye level with a good portion of your audience, and make sure your shoes provide enough support so you may stand throughout the concert without undue fatigue. Wear clothing at least as formal as the full ensemble’s attire. Keep your hair short or fasten it back away from your face. It is dis- tracting for the musicians, for the audience, and most important for you if you have to repeatedly push hair out of your eyes during a performance. Do not wear anything on your fingers or wrists. Evaluate Your Appearance from Behind A conductor is usually the only musician who performs with his or her back to the audience. (Organists also play with their backs to the audi- ence, but often they are out of sight altogether. When playing within sight of the audience, this consideration is important for organists as well.) It is difficult to imagine how you appear from behind without viewing a video recording of yourself. Weak posture is especially noticeable from this van- tage point. If you have a habit of bending forward at the waist as you con- duct, you will see that this projects your derriere into an unflattering position in some clothing-especially when viewed from below, where much of the audience will be sitting. This is one reason conductors tradi- tionally wear tails or long jackets. Avoid any clothing that clings to the body. GENEROUSLY SHARE ACCOLADES WITH OTHER MUSICIANS As the conductor, you may be the leader of the ensemble, but this does not mean that you accept all the credit for its accomplishments. Without the musicians under your baton there would be no performance. Audiences are attracted to conductors who are, in addition to being firm disciplinar- ians, generous in their public appreciation of the other musicians in the organization. Acknowledge the contributions of individual singers, players, or sec- tions during the applause. Although you may want this to appear spon- taneous, it is best to plan and rehearse it ahead of time. Decide exactly what will happen during the final applause: which individuals or sections will be asked to stand, the order in which they will be asked, how long each will remain standing, what the cue is to be seated, and so forth- always planning that all curtain calls will cease when the applause begins to wane. The Conductor as Leader 69 PRECISELY TIME ENTRANCES AND EXITS Coordinate all entrances and exits with your stage manager. There should not be an anticlimactic wait for your entrance at the outset of the concert. Make sure that either you or the concertmaster enter as soon as the house lights go down, the stage lights come up, and the audience gets quiet. Time your entrance similarly with the lighting after an intermission. If the con- certmaster is the first to enter for the purpose of tuning, enter promptly at the end of the tuning, at the moment the concertmaster is being seated. Before intermissions and at the end of the concert, it should be obvious to the audience when you have stopped coming back for bows by having the house lights up and the stage lights dimmed as you exit for the last time. Guest Soloists When there is a guest soloist or soloists, entrances, bows, and exits with the conductor also need rehearsal if they are to look polished. As the con- ductor, it is your responsibility to orchestrate these moves, and to adapt the customs of your organization to the style of the visiting soloist(s). Generally, the conductor follows the soloist(s) both on and off the stage. When coming on, the soloist goes to the place where he or she will per- form, and the conductor passes behind the soloist and goes directly to the podium. At this point, the soloist takes a bow while the conductor also faces front, either bowing together with the soloist or just watching, but allowing the focus to be on the soloist during the initial bow. Because de- tails can vary, they should always be rehearsed. The guest performer will appreciate the time you take to do this. At the end of the performance, any number of things may happen. The soloist may embrace the conductor, or shake the hand of both conductor and concertmaster, before doing a solo bow. Then the conductor and soloist may bow together. The conductor may want the orchestra or cer- tain sections of the ensemble to stand to accept their own applause. It is inappropriate for a soloist to bow while the audience is clapping for the orchestra. In the case of multiple soloists, it is important to decide who will lead the group on and off the stage and the order in which they will walk. The conductor can plan all these moves so that nothing looks awk- ward or clumsy during the applause. CONSCIOUSLY PLAN YOUR ENSEMBLE’S PRESENTATION As a conductor, you are responsible for the stage presence of many peo- ple at once. You are the person on whom the entire organization relies for 70 Chapter 7 standards, guidance, and enforcement. You must think about all the de- tails, lay plans, hold rehearsals, and be able to convince management of the importance of your overall presentation. This is a dimension of your job that will almost certainly contribute to a major goal of your entire or- ganization: the growth and retention of your audience. Chapter 8 On the Day of the Concert Three qualities are essential in a professional musician . . . thefirst is good health and the other two are the same. -Mark Hambourg (1879-1961), pianist An important and sometimes overlooked aspect of stage presence is the general well-being of the performer(s). You need to be feeling well to look your best, and you cannot be feeling rushed and frantic if you are to take care of all the important details of your concert in addition to playing well. Whether performing frequently or only once or twice a year, to be suc- cessful you must learn to take care of your health, get enough rest, eat well, practice sufficiently, conduct rehearsals, and have adequate time for bathing, dressing, grooming, and checking out the conditions in the con- cert hall. It takes careful planning to make time for all these things while also keeping yourself as calm and focused as possible before your concert. PERSONAL NEEDS First, determine your optimum schedule on the day of a concert. When do you like to get up? How long will you practice and where? When will re- hearsals be scheduled? How much time would you like to have in the hall? Are you meeting with a piano tuner and, if so, when and for how long? Do you need meetings with the stage personnel, or with a page turner? When would you like to eat? What would you like to eat? Do you need time to rest, and if so, when, where, and for how long? How much 71 72 Chapter 8 time do you need for bathing, dressing, and getting ready? How long be- fore the beginning of the concert would you like to arrive at the hall? What are your needs backstage during the concert and immediately fol- lowing the performance? Once you know the answers to these and all similar questions, you can arrange your day, leaving plenty of time for everything you need to do. It is helpful to develop your own personal checklist and routine schedule for days on which you will perform. HOSTS, PATRONS, AND FANS If you are not completely in charge of your schedule on concert day-if you are in another city, for example-you must make your needs known to the people around you. You may fear being regarded as a prima donna if you make too many demands on people who may not understand the importance of some of your requests. Sometimes this cannot be helped. It is better to be seen as a finicky person than a bad performer, and often this is exactly the choice you must make. More experienced performers learn how to make their needs known. If you are young and less experi- enced, people can take advantage of you before you learn to express your needs clearly and completely. Some hosts, especially less experienced ones, will be relieved if you tell them exactly what you want to do throughout the day of a concert, be- cause they may be under the mistaken impression that you need to be en- tertained. If you fill the whole day with your requested schedule, they will see that they do not have to worry about keeping you occupied. It is also in your interest as a performer to build good relationships with your hosts, patrons, and fans, who will want to have personal contact with you of one sort or another. On the day of your concert you may be invited to attend a dinner or a reception. You may also be asked to sign autographs or copies of your recordings. Some hosts will want you to help promote your concert by being interviewed in the media. The best way to juggle the wishes of your hosts and your personal ne- cessities is to spell out your most important needs in writing, well before the concert, and to ask your host to honor them. This will eliminate last minute surprises, because you will be consulted if your host wants to make any changes in your stipulated schedule, and you will be able to make decisions case by case. When unfamiliar with your surroundings, do not forget to inquire about the length of time it takes to get to a pro- posed activity and to return afterward. Ask that your hotel be close to the concert hall, or at least that you can remain close to the hall all day before the concert. Driving around in traf- fic can be very stressful, and you will encounter hosts who are bad driv- On the Day of the Concert 73 ers. You will not be able to return to your room to bathe and dress before the concert if the hotel is too far from the hall. Spell out your meal requests, including preferred menus and times. Do not be persuaded to go to restaurants that are too far from the hall on the day of the concert. Decline preconcert social dinner engagements. Let your hosts know ahead of time if you want something to eat and drink in your dressing room and if there is anything else you may need to have backstage during the concert. Ask that no well-wishers visit your dressing room before the concert or during intermission. Afterward, you can put limits on how long you will greet the public or how long you will sign autographs. If you look for- ward to the postconcert reception, you may want to stay until the end, but if you do not enjoy parties, limit the time you are willing to remain at such events. Request something to eat and drink before meeting people at a reception. Too often, performers are not offered anything before being placed in a receiving line or being asked to sign autographs. Reception food is often not adequate in any case. If you need a good meal after the concert, request one, and plan to arrive late at the reception. Learn to Decline Requests Applause is a receipt, not a bill. -Artur Schnabel (1882-1951), pianist, explaining his refusal to play encores At the end of a concert, do not perform encores if you are tired and feel you cannot do your best. Also, it is in bad taste for your hosts to re- quest informal performances at other times, and therefore always ap- propriate to decline such requests. Practice gracious ways to escape overly zealous or long-winded fans. If you play an instrument, avoid prolonged hand shaking or autograph signing, as both activities can stress your hand. Avoid Awkward Situations Being clear about your needs before the concert will save you from such awkward situations as: having to decline a preconcert dinner party at the last minute, having to cancel sightseeing plans, or having to ask a delegation of VIP patrons to leave your dressing room during intermis- sion. Most hosts are happy to help carry out your wishes if they know what they are, and will understand that certain things must be important to you when you have gone to the trouble of enumerating them ahead of time. 74 Chapter 8 PROTECT YOUR WELL-BEING Performing music is a very demanding job, more demanding than non- performers usually realize. Therefore, do not expect that others, even those accustomed to working with professional musicians, will anticipate your individual needs on the day of a concert. It is up to you to express your needs very clearly and well ahead of time to the people who can help you schedule the day as you need it to be. Every day, do your best to maintain your health by eating well, getting enough rest, minimizing stress, and avoiding unhealthy habits. There is a significant athletic component to being a performing musician, and you, just like any athlete, will perform best when in peak condition. LIST 8.1 THINGS TO DO ON CONCERT DAY Go over your personal checklist(s) early in the day (after having al- ready reviewed them earlier in the week), to make sure all is ready and in order. Outline your schedule in detail. Review tasks with the stage manager and other helpers. Make time for adequate rest, practice, and preferred relaxation Eat well, avoiding sugar, caffeine, alcohol, and anything that Decline social engagements before the concert and during inter- Visualize an exciting, enjoyable performing experience. routines. might upset your stomach. mission. Chapter 9 The Stage and Its Furnishings Hints to those who have pianofortes: Keep your pianofreefrom dust, and do not allow needles, pins, or bread to be placed upon it, especially if the keyboard is exposed, as suck articles are apt to get inside and produce a jarring or whizzing sound. -Enquire Within upon Everything, 1860 The stage upon which you perform, as well as the furniture and the piano you use are important aspects of your presentation that should not be overlooked. Consider the stage a special place, the visual context for your concert. Avoid performing in any venue that you cannot visit beforehand, so that there will be time to make requests of the stage manager. As with all other aspects of stage presence, follow the principle that you want a distraction-free environment in which your audience can concentrate on the music. MAKE THE STAGE CLEAN AND UNCLUTTERED Performers frequently play in halls over which they have no control. Con- sequently, if the stage is in generally poor condition, needing paint or repairs, there is little you can do about this-except possibly to play in a different hall. Regardless of its overall condition, however, the stage itself, as well as any permanent equipment that you may be using, such as a piano, podium, or risers, should be clean. Request that cleaning be done before the concert or, when there is no staff at your disposal, do it yourself. 75 76 Chapter 9 Make sure the stage is not littered with nonessential objects such as chairs, music stands, risers, podiums, instruments, or anything else that you will not be using in your concert. Request that the stage be emptied of all such items or move them backstage yourself. Your chairs and stands look best when they are uniform in style and color, clean, and in good condition without dust, fingerprints, scratches, or dents. Take care of this equipment as you would your instrument. Stands should have a solid backing and be large enough to hide the widest and highest score you will use. It is safest to bring your own chairs and stands with you unless you know ahead of time that the hall will be well equipped for your performance. PLACEMENT In general, performers should be centered on the stage. This means that a conductor will be standing at the exact center, and a chamber group will be clustered about the center. The keyboard of a piano will be lined up along the center perpendicular line for a solo performance and about two feet to the left of this line (as viewed from the audience) when perform- ing with a soloist. Do not position the piano at an angle. Once you have determined the center of the stage from left to right, you must decide how far back on the stage you and any other performers should be positioned. Take into consideration the acoustics of the hall, sight lines from the audience, and, if necessary, the lighting. There will be one spot from which sound will project the best into the hall. Experienced performers can find this place even without the presence of the audience. There are times when problems with lighting will force you to move to a Figure 9.1. A Cluttered Stage Is an Inappropriate Setting for a Concert. The Stage and Its Furnishings 77 less acoustically desirable place on the stage. This is a very unfortunate situation. The best stages have lighting that can adapt to the position you have chosen based solely on musical considerations. LIGHT IN G Before the concert, decide on the settings for both the stage lighting and the lighting in the house. You will want the stage lighting to come up and the house lights to dim just before the performers walk onstage, and for the reverse to happen just before intermission and at the end of the concert after the final bow. Direct spotlights to center stage if there will be only one performer. As the size of the ensemble increases, strong lighting should illuminate more of the stage. As much as possible, eliminate any distracting shadows or any glaring lights that will blind the musicians. It may be necessary to use lighting on individual music stands, so be prepared with this equipment. To remove all shadows from the keyboard, pianists ideally require light- ing from directly above, but unfortunately this is often not available. Al- ways rehearse with the lighting that will be used at the concert. Ask the lighting engineer to coordinate the changes in stage and house lighting with the ushering staff, so that latecomers do not disrupt the dra- matic entrance of the musicians onstage, their concentrated preparation, and the first sounds of the concert. FLOWERS The atmosphere of a concert can be enhanced when the stage is dressed up with flowers. If you have a single bouquet, its size should be in proportion to the size of the stage and the hall. It is better to have no flowers than to have an arrangement that looks too small. Numerous smaller plants or bunches of cut flowers may be used to line the lip of the stage. Get the ad- vice of a florist or decorator if you want flowers but feel that you cannot make the best choices regarding size, type, and stage placement. Flowers should tastefully enhance the overall picture that the performers wish to present, and not look out of place or overwhelm the stage. THE PIANO PROBLEM Musical instruments are beautiful, aesthetic objects, and most musicians take pride in keeping their own instruments looking as good as possible 78 Chapter 9 by cleaning and packing them away after every time they play. Pianists (some aspects of this discussion apply as well to percussionists and play- ers of all other keyboard instruments), however, are rarely tutored in pro- cedures of instrument care. There are a number of reasons for this. First, a technician is usually relied upon to care for the instrument. Since frequent tuning is important as well as expensive, it is easy for the pianist to feel as if the piano is being well maintained simply by calling the technician. Sec- ond, pianists almost always perform on instruments they do not own. Thus, it may seem unimportant to care for the appearance of one’s own piano, since the audience will never see it. Third, the case of a grand piano is something that can seem more like a piece of furniture than a mu- sical instrument because it gathers dust and, when the lid is down, pro- vides a large surface upon which it is tempting to place things. Fourth, as with a piece of fine furniture, it takes time and money to keep the piano looking in pristine condition. It is not uncommon, then, that the appearance of musicians’ personal pianos deteriorates after a few years, with an accumulation of finger- prints and dirt on the case and keys and dust piling up under the strings. Dents and scratches caused by using the instrument as a table, by bump- ing into it with other objects, or by moving it, go unrepaired. The interior of the instrument is usually not cleaned by the average technician. Pianos not personally owned by individual musicians-those in schools, conservatories, and concert halls-fare even worse. Typically, the piano may be tuned regularly and have occasional adjustments and re- pairs that affect the way the instrument sounds and the way it responds to the performer, but very rarely will an organization provide for main- taining the appearance of even their best piano. No pressure is brought to bear by the people playing the piano either, because visiting pianists will typically take an interest only in the condition and the tuning of the in- strument, just as they do at home. Employees of the institution that owns the piano and other musicians have no pride of personal ownership, and they are rarely instructed in the care and maintenance of the piano’s appearance. When not in use, the pi- ano serves as a tabletop. When it is being moved about onstage, you may see the piano being bumped into things or serving as a dolly for the piano bench or other items. Typically, none of the people around the piano treat it as the magnificent instrument that it is. From the standpoint of good stage presence, a piano on a stage should look like a new piano in a showroom. Only in this condition will the ap- pearance of the instrument be congruent with the other formalities ob- served by the performer(s). Dirt, fingerprints, scratches, and dents are all visible to the audience. A pianist in a formal gown or tuxedo sitting at an abused piano paints a very incongruous picture. As the performer, The Stage and Its Furnishings 79 you may want the piano in the hall to look better, but if it has suffered years of neglect there is not too much you can do in the last hours before a concert. Until caring for the instrument becomes a routine aspect of piano ped- agogy and awareness of the impression made by the piano’s appearance is raised among all musicians, the “piano problem” will not go away. Moving the Piano during a Concert Whenever there is occasion for the piano to be moved on and off the stage during a concert, it is important that it be treated as a musical instrument. The protective, padded cover should be removed backstage before the pi- ano is brought out. If the cover has any metal parts, such as grommets or buckles, take care not to scratch the piano with them. No items should ever be transported on the piano lid. Stagehands who move the piano should be dressed up and not look like furniture movers. They can keep the shiny sur- face of the piano free of fingerprints by wearing gloves or by wiping any new fingerprints from the case with a soft cloth carried expressly for this purpose. With practice, the job can be done expertly and efficiently, mini- mizing the time the audience must wait between pieces. Other musicians who may need to move their chairs and stands to make way for the piano or for any other kind of onstage rearrangement should know exactly where they are going and move there promptly and quietly, without conversation and without turning their backs to the au- dience. It is good to rehearse these moves so they take up as little time as possible during the concert. STAGE PRESENCE INCLUDES THE STAGE, ITS FURNITURE, AND INSTRUMENTS It is a pity if, after rehearsing your music, choosing just the right attire, and studying all aspects of your comportment on stage, the concert takes place in shoddy surroundings. First and foremost, make sure the stage and its furnishings are clean. Request that the piano be cleaned and pol- ished, or do it yourself. Use uniform chairs and stands and keep them free of obvious dents and scratches. All musicians, not just pianists, should be aware of the importance of treating pianos, and other instruments that are the property of the hall or the organization, as the fine instruments they are, and should devote time and energy to their care. Too often it is the piano or other shared instru- ments that undermine the effort you have put into other areas of your stage presence. This Page Intentionally Left BlankChapter 10 Nonperforming Personnel In the opera house . . . you depend even on the man who operates the cur- tain. If he lets if down or up too early or too late, at a stroke he ruins a pi- anissimo! -Karl Bohm (1894-1981), conductor If you perform in the same hall all the time, or if your organization is large enough to have its own support staff, you have the luxury of having the time to familiarize your helpers with your ongoing needs and to train them in all the details. It is often the case, however, when musicians per- form in various venues, that they must work with people they do not know well or at all. In these cases, it is important to consider what kinds of needs should be communicated before your performance and to whom your requests should be directed. Every performing venue has a staff of one or more people whose job it is to provide assistance to the performers and to see that concerts run smoothly. Staff members can best do this when performers communicate their needs in a clear and organized fashion and when they are asked to participate in problem solving. Do not assume that nonperforming personnel, no matter how experi- enced and professional they may be, will anticipate all your needs. You, the performer, are responsible for making all of your requests known to the staff well ahead of time. You must therefore plan the time to make this important communication. 81 82 Chapter 10 TYPICAL POSITIONS Not all venues have a full-time staff member performing each of these functions, and some venues have more than one. The following list of po- sitions represents tasks that must be done behind the scenes of any per- formance. Performers should not have to do anything but perform on the day of a concert, and they should certainly not do any housekeeping tasks in front of the audience. Therefore, whenever the venue does not provide the personnel, others should be appointed to carry out this essential work. Concert Manager The concert manager is in charge of booking the hall. When first com- municating with the concert manager about the date of your concert, make sure you include all the times at which your performance will have an impact on the venue. For example, if you will have equipment deliv- ered, let the concert manager know exactly when it will be delivered and by whom. Provide the name and phone number of the movers. Ask for the name and number of the person to whom the movers should report. Make sure to find out where the equipment will be stored before your re- hearsal and concert and who is responsible for moving it to the stage be- fore you perform. If you need to have a piano tuned, ask for the tuner’s name and num- ber and find out the schedule of the tuning. If you will schedule your own tuner, find out the times when the piano may be tuned and give the concert manager the tuner’s name, phone number, and tuning schedule. Make sure to give the concert manager an estimate of the time you need for rehearsal in the hall. Ask the name of the person who will be there to let you in, and find out how to contact that person in the event the build- ing is closed when you get there. If possible, meet him or her beforehand. Ask about security measures during rehearsals, and what procedure to follow to exit and reenter the building. In estimating the ending time for your concert, it is best to say that the concert will end later than it actually will, allowing the stage personnel to be finished earlier than planned or, at least, on time. Do not forget to add the time it will take for you to pack up your things and for the audience to leave. Finally, tell the concert manager when your equipment will be moved from the hall. Get the name and number of the person to whom the movers should report, and make sure the movers have the appropriate in- formation. Nonperforming Personnel 83 Stage Manager The stage manager will set up the stage before your event and make any desired changes on the stage during the concert. He or she also can control the temperature of the hall and will supervise the lighting, both on the stage and in the auditorium. Stage managers and their helpers, the stagehands, are there to help make your performance run smoothly. It is in your best interest to utilize their expertise as much as possible, but this requires communicating detailed instructions to them and, in some cases, holding rehearsals. Early on, make the request that the stage be cleaned and cleared of all unnecessary items. If your concert will use the piano, ask that the case of the instrument and the legs of the bench be polished. Make sure you tell the stage manager exactly where you want every piece of equipment-risers, stands, chairs, podium, instruments, and so forth-positioned on the stage. If a musician has adjusted his or her equipment beforehand-for example, setting the height of the piano bench or the tilt and height of the music stand-request that these adjust- ments be carefully maintained. Clearly describe all changes in the stage setup that will happen during the concert and exactly when they will happen. If there are more than one or two simple changes, outline them all in writing. It is helpful for the stagehands if you mark the stage floor with tape-a separate color for each change-to show where everything should be. Ask the stagehands to make these changes in a specific way-that they carry single items in an upright position with both hands, for example, and that they do not turn their backs to the audience. Request that any person who will come onstage during the concert be dressed appropriately. If the stagehands in that venue are not accus- tomed to dressing for performances, you may want to appoint your own helpers to do this onstage work, but performers should refrain from do- ing it themselves. It is a good idea to give the stage manager or supervising stagehand a generous tip before your performance, thanking him or her for all the an- ticipated help that will make your concert a success. Lighting Engineer The stage manager may be in charge of the lighting, but there may also be a lighting engineer. In either case, check out the stage lighting before- hand to see that the lighting appropriately highlights the important places on the stage. Ask the lighting engineer to adjust the lighting to your needs, and do not position yourself or your equipment to adapt to the 84 Chapter 10 lighting unless it cannot be adjusted. Make sure the lighting illuminates your face as you bow, and be careful that it does not cast annoying shad- ows on piano keys or shine too strongly in your eyes as you play. Make sure all the musicians can see their music. Sometimes separate illumina- tion may be required on individual music stands. Plan the lighting before, during, and after the concert, deciding how much to dim the auditorium during the performance and how much to dim the stage before and after. Coordinate the changing of the stage and auditorium lighting with your entrance and with your final bows. Musi- cians should enter promptly after the stage lights come up at the begin- ning of a concert, and auditorium lights should come up immediately after the performers have left the stage for the last time. Lapses in the tim- ing at these crucial junctures create anticlimactic moments that are best avoided. AudioNisual Engineer If you will need audiovisual equipment during the concert, or simply a microphone to make announcements before the concert, make these needs known ahead of time so that a person who has experience with the equipment will have time to set it up for you. Always rehearse the use of such apparatus. This spares your audience the frustration of waiting while you make last minute adjustments or while you figure out how to work the equipment. It is also important to protect everyone's ears from the shriek of a poorly adjusted microphone. It has become necessary to remind audiences before a concert to turn off electronic devices that may make noise: cell phones, pagers, watches, and so forth. A live, verbal announcement for this purpose is more effective than a written reminder in a program. This announcement may come from backstage over the sound system or by an onstage announcer, but do not forget to request sound equipment for this short speech. Stagehands should remove all audiovisual equipment from the stage as soon as you are finished with it. Ushers Some performers may think of ushers as having nothing to do with the concert itself, but they can play a key role in the overall stage presenta- tion. If you have gone to the trouble of carefully orchestrating your en- trance, of bringing the audience into your concentration, and of building up a feeling of anticipation and excitement, you want to make sure that nothing disturbs the critical moments before you begin to play or sing. Nonperforming Personnel 85 You can rely on the ushers to keep latecomers from interfering with the in- tense atmosphere you have tried so hard to create. You need, therefore, authoritative ushers who are able to enforce the rules requiring tardy audience members to wait until the end of a piece to enter the hall. This can be quite a difficult task, as the concertgoers with the potential for causing the most disruption-those sitting down front- are often the ones who have paid the most for their tickets or who are pa- trons of the concert. It is not a job for young people, those who are timid, or those who can easily be manipulated. Ask the ushers not to wait until you are about to begin, but to prohibit en- trance to the hall as soon as the stage lights come up so that your entire entrance will be free from distraction. In a large hall, it is preferable for the head usher and the stage manager to be in communication with one another so they may coordinate the moment of your entrance in this way. GET TO KNOW YOUR HELPERS Performers will get the best support from staff with whom they have es- tablished clear and respectful communication. This communication should be carried out early enough so that the staff, in turn, can also plan, as it is sometimes difficult or impossible for them to accommodate last minute requests. Go to the trouble of remembering the names of your helpers and know- ing their various responsibilities. This familiarity will facilitate your interaction. Draw on their expertise. They are essential to the smooth run- ning of your performance. This Page Intentionally Left BlankChapter 131 Auditions and Competitions There are no auditions, only performances. -Janet Bookspan (contemporary), performance coach/stage director There is a body of literature in the fields of psychology and education con- firming that your physical appearance affects the expectations people have of your eventual performance in any area. Performers with good vi- sual attributes are consistently rated higher than others. Studies have also confirmed, though, that the musician’s physical appearance has less to do with the conventional standard of attractiveness than with the portrayal of confidence and good stage manners. Whether they are aware of it or not, judges in a musical audition form an opinion of you before you play, and their evaluation of your appearance and demeanor onstage is included in their evaluation of your playing. They will be responsible for the performances that result from the audition and cannot help but favor performers who not only play well but who also proj- ect a poised and confident image. All too often, even in competitions at the highest level, one or more of the best performers is overlooked because of poor stage presence, and prizes are awarded to weaker players who simply look better in front of an audience. For this reason, going into an audition with impeccable stage presence gives you a distinct advantage. THE AUDITION AS A PERFORMANCE An audition is no different from any other performance, except that there is usually a specific goal: you may or may not be accepted to a conservatory, 87 88 Chapter 11 secure a position in a performing ensemble, win a prize, or get a teaching post based on the results of an audition. A single audition could thus have a profound effect on your life, and there is no aspect of stage presence that is unimportant in this context. Never decide ahead of time, because you do not expect to win or because the outcome is not that important to you, that your presentation is unimportant. Typically, you will be performing in an unfamiliar venue. Therefore, you would be smart to anticipate your every possible need and to be as self-sufficient as possible, saving yourself the stress of having to deal with emergency situations without being prepared. LIST 11.1 THINGS TO BRING TO THE AUDITION OR COMPETITION: CHECKLIST FOR PERFORMERS Directions to the event Instructions for the event Important phone numbers (teachers, page turner, event director) Cell phone (with ringer turned off), or change or phone card for Pencil, pen, and paper Instrument, cleaned and polished Required equipment (adjustable chair, footrest, pedal extender, Instrument cleaning and repair supplies Scores for judges (nof your working copy) Metronome with a light-only feature Wristwatch (but do not wear it when performing) Performing attire: clothes, shoes, and accessories Wool gloves and jacket or sweater Grooming needs: comb, hairbrush, tissues, makeup, nail clipper Handkerchief, clean, folded, and pressed Eyeglasses (even if you wear contacts) Bottled water (avoid sugar and caffeine) Nutritious snack phone calls endpin, mute, music stand, clips for printed music) Your posture and gait as you walk into a room or onto a stage can pro- ject enthusiasm and confidence just as easily as it can project uncertainty and apprehension. Make sure the very first impression you make is a strong and positive one. If performing on a stage, bowing before you begin will let you collect yourself and draw the other people in the room into your performance, Auditions and Competitions 89 much like at a concert. Attend to all the minute aspects of your bow, be- cause a poor bow will make you look awkward and inexperienced. When performing in a room, a simple smile and hello to the judges may suffice. In either case, do not fail to acknowledge the judges. If you enter carrying your instrument, do so in a professional and for- mal manner. Refrain from holding it in a sloppy fashion as you walk and bow, as well as during rests. Choose your attire as carefully as you would for a concert. Never wear casual clothes for any audition. Wear concert shoes with appropriate hosiery. Fasten your hair well. Wear nothing on fingers and wrists. Keep fingernails short and do not paint them. Never chew gum or hold any- thing in your mouth. It is a good idea, no matter what time of year, to bring wool gloves and a jacket or sweater to wear until just before you perform. Public buildings can be uncomfortably cool either from winter weather or air conditioning. Preperformance nerves can also make you feel unnaturally cold. It is im- portant that your hands and body are kept warm as you wait your turn. When you are in front of judges, eliminate any and all self-conscious man- nerisms. Never touch your hair, body, or clothing. Keep your face relaxed in a pleasant expression. Practice not looking either timid or so serious that you look unpleasant or angry. Keep your mouth relaxed. Do not alert the judges to the parts of the program you find difficult by tensing your lips, furrowing your brow, or using any unnecessary gestures or postures. Absolutely never react to mistakes, as this will only draw more attention to them. Remember that the best players make the performance look easy. Keep your feet and your head still. How you maintain your feet and your head is a reflection of your total state of mind. If you allow your feet or head to fidget, you will appear nervous or frightened. If you beat time with either, your playing will appear labored and not quite ready for per- formance. During long rests, remain concentrated and composed. Do not fill the time by fussing with your instrument or performing any unnecessary tasks. Practice standing or sitting comfortably, merely listening with com- posure and concentration, all the while sustaining good body posture. If you require an accompanist and/or a page turner for your audition, rehearse your entrance and exit down to the last detail so you will not have to have any conversation in front of the judges. You want to look as if you all know exactly what you are doing. If you need to use printed music, keep your scores in a ring binder, arranged in the order you will play them. If it is necessary to have any "trip- tych or "altarpiece" arrangements of photocopies to avoid page turns, make sure these are opened out before you begin to play. Juggling your in- strument and the score can look awkward. Practice doing this beforehand 90 Chapter 11 to make the task as smooth as possible. Bear in mind that there may be no surface except the floor on which to put down your instrument. Make any adjustments to the music stand decisively, without fidgeting or spending too much time double-checking its height, tilt, and balance. Always be prepared for the possibility that the judges may stop you in the middle of a piece and tell you to go to the next one. If the judges stop you, be ready to go on graciously to the next piece. If they stop you in the middle of the last piece on your program, stand and bow as you would have if you had been permitted to finish. Being stopped is not necessarily an indication that the judges do not like your playing. Often it means just the opposite. You may be disappointed that they stop you, especially if it is before you have played what you think is the most impressive section of the music. But regardless of how you may feel about being stopped, look cheerful and think confidently. Practice ending your program with a look of success on your face as you take your final bow. Walk off with confidence, looking as if you did your best and are happy with yourself and your performance. INTERACTING WITH JUDGES You will audition in a room or on a stage. In a room, where you are in close physical proximity to the judges, it is appropriate to say hello to them as you enter. If you hand your scores to the judges yourself, take time to present them graciously, with eye contact and without hurrying. You should never appear as if you are throwing the scores hastily toward them. If performing on a stage with the judges seated in the audience, walk out and bow as if in concert, without saying anything. Take time to prepare yourself and set the tone of your performance be- fore actually playing the first note. Wait between pieces until the judges tell you to go on unless you have been instructed beforehand to play con- tinuously; in such a case, take time mentally to get ready for each piece on your program as you would in recital. YOUR SCORES Do not bring working scores that are extensively marked up to your au- dition. You do not want the judges to see your teacher’s directions or your notes to yourself. If judges have this information before them, it will draw their attention to your potential difficulties. It is almost impossible for them not to lower your grade if you commit an error you were supposed to have corrected in practice. Auditions and Competitions 91 Figure 11 .l. You Played). End the Audition with a look of Success (Regardless of How You Think Use new, pristine scores that are fully intact and clean in appearance. Avoid pedagogical editions, anthologies, or collections geared toward students (these usually have colorful illustrated covers). Rather, use professional edi- tions whenever possible (no pictures). By doing so, you will give the impres- sion that you are a more serious musician even before you begin to play. Although you want to avoid giving the judges your working copy with personal reminders and annotations, make sure the score you do give them has your notations regarding articulations, ornaments, dynamics, tempo indications, and cuts that reflect exactly how you have prepared the piece. Judges should know that your interpretation, if different from what is printed in the music, is intentional. This is different from having a score marked to draw attention to your problem areas. 92 Chapter 11 Do not use photocopies. Sponsors of auditions and competitions, want- ing to adhere strictly to copyright laws, disqualify candidates who appear with illegal copies of their music. If a work is out of print and it is legal to copy it, you may do so, but bring a recent letter from a publisher or re- tailer to that effect. Number the measures neatly in the score if they are not already num- bered in your edition. One number per line of music to the upper left of the line is best. Judges want to be able to refer to specific places in the mu- sic for their comments. Do not write your name on these scores, as the judges are usually not supposed to know who you are. INTERACTING WITH RIVALS A competitive musical event is like any competitive sport. There will be winners and there will be losers. Behave graciously both as a winner and as a loser, for you will eventually find yourself in both positions. Always make it a point to congratulate the winners. If there is a win- ners’ performance at the end of a competition, not only is it courteous to attend, but it is educational as well. Competitors who avoid listening to the other players miss the unique opportunity to observe how others have prepared themselves to participate in the event. Hearing the other participants play is an invaluable experience that will work to your ad- vantage in the next competition. When you are in the happy position of receiving a prize, always con- gratulate the other prize winners. Thank the judges and the organizers of the event for giving you the chance to compete. Extend yourself to those around you, and accept congratulations with sincere gratitude. Judging a musical performance is subjective. Often, at the conclusion of a competition you and others might strongly disagree with the judges’ de- cisions. Feelings can run very high in this situation. You may not only feel personally disappointed by failing to win a prize, but also rightfully an- gry that you were a victim of poor judging. If you are a winner, you may notice people around you who feel you did not deserve to win. Discussing and evaluating judges’ decisions is an integral part of par- ticipating in competitions. There is much to be learned by doing so. Such discussions, however, are never appropriate at the site of the event. No matter how unfair you may think the judging has been, your behavior to- ward your fellow competitors, the organizers of the event, and even the judges themselves should remain professional, appreciative, and cordial. If you and the people around you are feeling outraged at the results, share these feelings at a later time. Avoid being drawn into conversations criti- cal of the judging, whether in mixed company or off to the side among Auditions and Competitions 93 your own entourage. While in the presence of others, act as if you assume that the judges have done their best and have chosen the most deserving winners, whether you really feel this way or not. THE BLIND AUDITION There are situations in which evaluators will hear a candidate from behind a screen, without seeing the player. Most orchestras in the United States and Europe instituted these so-called blind auditions in the late 1970s as a move to overcome the long-standing belief that white men are more com- petent players than women and minorities. In fact, the percentage of women and minorities in orchestras has indeed risen dramatically since the practice of blind auditions began. When participating in a blind audition, however, it is important psy- chologically to take care of your appearance as if the evaluators can see you. You will simply play better when you look good. You may also have contact with members of the hiring organization other than the actual evaluators, and it does not hurt to look as if you are taking the audition seriously in the presence of personnel staff, board members, volunteers, and even stagehands. THE 100 PERCENT AUDITION Because the results may have a lasting impact on your life, you want to give judges the most positive impression possible at any audition. When you have gone to the trouble of takmg care of the details of your stage presence, judges will immediately understand that you are serious about your work. You will have the added confidence that comes from knowing you look good and are acting appropriately. Often, good stage presence is the only thing that distinguishes winners from losers. Be generous and sportsmanlike in your dealings with other competi- tors, organizers, judges, and audience members. Behave appropriately whether you are a winner or a loser, and abide cheerfully by the judges’ decisions. 94 Chapter 22 LIST 11.2 WAYS TO KEEP JUDGES FROM ELIMINATING YOU Dress up as for any concert, and pay close attention to all matters of personal grooming. Make eye contact with judges on entering the room or hall and greet them with a smile as you hand over your scores. (If the sit- uation is more formal, with you on a stage and the judges sitting in the hall, formally bow to them, making eye contact before and after your bow-before you begin playing-just as you would to any audience.) Practice looking and feeling enthusiastic about playing your au- dition. Make sure this is reflected in all aspects of your body lan- guage (posture, walk, facial expression, and so on). Provide the judges with scores in good condition, without notes written all over them. Bring editions used by professional musicians, not those pub- lished for students. Refrain from adjusting your hair, eyeglasses, or clothing. Eliminate any visible nervous habits. Never register displeasure with your performance. Do not react to mistakes through your facial expression or body language. When your performance is finished, bow and leave the room or the stage as you would before any audience, with an expression of success and satisfaction on your face. Practice your demeanor before judges by acting out the situation. Make and study video recordings of yourself. Work to improve all details of your presentation. Chapter 12 How to Teach Stage Presence Stage presence is a subject that is sorely neglected. . . . It is a critical element in communicating with an audience, and,for that reason it must be taught as part of a student'sformal training. -Anthony LeRoy Glise (contemporary), guitarist, composer, music editor Stage presence can be taught and can always be improved. It is not some- thing that most musicians do naturally, even after years of performing in public. Yet, once aware of it, musicians and students alike begin to un- derstand how their overall presentation affects the impression they make, and how they can win over an audience even before they begin to play. Teachers can provide students with ongoing experience and, over time, give them the ability to look good and feel confident onstage. Some performers-dancers and singers, for example-are generally taught to be more aware of their stage presence than are instrumentalists. In some conservatories, vocal students are required to approach each lesson as a learning experience in their stage presentation, and are required to pay at- tention to their dress and grooming on lesson days. All music teachers can incorporate the study of stage presence into their teaching. As with most life skills, the earlier a child is exposed to principles of stage presence the better. These are most effectively taught from the very first music lesson. Do not wait until a student expresses interest in becoming a professional musician. In fact, it is not at all necessary for a music student to eventually end up on a concert stage for these skills to be relevant. Stage presence skills are invaluable in areas other than mu- sic. Having the confidence to be comfortable in front of large groups of 95 96 Chapter 12 people and the poise to make a good impression are prerequisites to most kinds of success. If your students emerge from your studio with good stage presence, you will have given them an ability that carries over to all areas of their lives. DEVELOPING GOOD STAGE PRESENCE IN STUDENTS Stage presence can be grouped into four components: 1) posture, 2) the bow, 3) dress, and 4) demeanor. Throughout a student’s education, from the first lesson to the last, expertise in these four areas can be taught and improved. All four areas require a long time to master. You cannot simply tell students about them and then move on; these are abilities that can be developed only with constant practice and patient reminders over a long period of time. Posture Whether learning to play an instrument, sing, or conduct, good posture is an essential part of good technique. Performing music is a physical ac- tivity, and good posture keeps the body working naturally and with min- imum effort. It is impossible to breathe freely and deeply when the body is not aligned and when the chest cavity is not fully open. Musical per- formance of any kind requires good, deep breathing and optimum body balance. Teachers who work with young children have an especially important responsibility for their students’ postures, since the physical attitude stu- dents adopt at the beginning of music study usually follows them throughout their lives. Those who have attempted to correct poor posture in older students understand this very well. Whether you teach voice, instruments, or conducting, think of good posture as the first basic element, without which the student will be at a serious disadvantage. Constantly examine, reassess, and work on your own posture. A teacher with poor posture cannot set a good example, and students learn best by example. Cultivate an interest in the science of body balance and alignment and begin to observe the various ways that people stand, sit, and walk. The more you know about this, the more you can help your students. There are a variety of disciplines that help train musicians in posture, balance, and the most effective use of the body: Alexander Technique, tai chi, yoga, and Pilates, to name a few. Becoming an expert to improve your own posture and that of your students requires that you think about it in the case of every student who comes along and every performer you see. As a teacher, it is imperative that you can rec- How fo Teach Stage Presence 97 ognize subtle weaknesses in posture and brief lapses in body balance and that you can suggest ways to correct them. If you teach an instrument that is played while seated, you will need specialized equipment to teach posture. Make sure you have adjustable seating specific to the instrument you teach, for yourself as well as for the students. With this equipment, you can provide the best example, and you may seat each individual student in a position just right for his or her body, changing the seating as the student’s body changes. In some in- stances, in addition to adjustable chairs, you will need footrests to keep feet from dangling. Your students will have a variety of bodies, some with naturally better posture than others. Some will have weak lower backs and find it difficult to stand erect or to sit up straight for any length of time. Some will have tight necks and shoulders. Some will find it difficult to hold their heads squarely on top of their spines. Take time at every lesson to adjust your students’ posture and require that they play their lesson with an erect yet relaxed body, whether sitting or standing. Teach them, when sitting, to hold their lower back in the same position as it is when they are standing up straight. Elicit the help of parents to check the students’ posture dur- ing home practice. Do not neglect to teach walking with good posture, so that the students’ entrances and exits will look consistent with their bear- ing as they perform. Assume that a student’s posture will probably not improve significantly until you have consistently taught it for many years. Praise a student’s good posture, and do not give up on difficult cases. All students can learn to walk and to perform with good posture. The Bow In most Western countries, we no longer bow in the course of daily life. Consequently, we have no experience with bowing and no practice doing so. It is no wonder so many performers, from beginners to professionals, seem self-conscious and awkward when they bow, since the only time they do it is on a stage in front of an audience just before they are about to perform. Make sure that you, the teacher, have practiced your bow until you feel natural and comfortable doing it, and then teach it carefully by having the student practice bowing repeatedly until the action feels natural and com- fortable. Teach the several elements of a good bow, beginning with stand- ing with good posture, feet together, arms naturally at the sides, hands relaxed, and looking at the audience with a pleasant facial expression. Then require an unhurried bow, bending at the waist to about 45 degrees from upright, and looking down at the toes, all the while holding the hands in one place at the side and not letting them dangle out in front or Figure 12.1. Equipment Allows Student to Achieve Strong Posture and Equilibrium. Lack of Proper Equipment Results in Poor Posture and Balance; Good Hozo to Teach Stage Presence 99 travel down the legs. The most difficult part of the bow to teach is the end: coming up from the actual bow, standing again with good posture, and reestablishing eye contact with the audience for several moments before moving. This all may seem simple enough, but students will not do it suc- cessfully onstage until they have been reminded and have practiced each of these elements over a long period of time. It helps to give students frequent opportunities to bow in front of small groups. Consistently require good bows in master classes and short recitals as well as in every lesson. Teach students to bow before they play as well as after: bowing at the beginning is the only way they may center themselves and control the timing of their entrances. Take time to evalu- ate each student’s bow. When there is an opportunity, have students critique each other’s bows. Make video recordings of performances and observe the video with each individual student for the purpose of evalu- ating the bows. It can take years for students to finally feel comfortable enough to per- form the bow well, to look poised and self-confident as they face their audience. Be patient, knowing that once this skill is acquired it will stay with them for life. Dress When planning recitals for your students, make them formal occasions for which students will want to dress. Distribute a dress code and require strict adherence to it. This may be difficult for students who do not ordi- narily have a reason to dress up in their everyday lives or for some who simply hate dressing up. It takes patience and effort to teach the impor- tance of dressing for performances. Explain to students and parents that, just as there are uniforms for various sporting activities, dress clothes are the music student’s uniform. Ultimately, your students will respect your enforcement of the dress code, and, though they may complain about it, will come to enjoy the special recital days when they all dress up. Of course, you must set the tone by dressing well, for lessons as well as for performances. Make everything about your recitals as formal as you can. Have the stu- dents perform in a well-maintained hall with a good piano. Place flowers on the stage. Print good-looking programs. Plan a formal reception. Use dressy tablecloths and arrange food attractively on serving platters. Use a punch bowl instead of just setting out soda or juice bottles on a table. These things will add to the overall impression of the recital as a special event that warrants dressing up. As the music teacher, you may need help creating such an elegant reception. Find a parent or a small group of par- ents who will take on the responsibility, or have the event catered. Of 100 Chapter 12 course, not every concert needs to incorporate such an overtly social as- pect, but giving students many opportunities to experience performances made special in this way helps them to understand that appropriate de- meanor and environment can never be overlooked. Require that certain aspects of the dress code be observed during les- sons. Ask that long hair be fastened back. Instrumentalists should remove everything from fingers (with the possible exception of wedding bands) and wrists, and fingernails must be trimmed. After doing this at lessons year in and year out, students will prepare themselves in this way with- out even thinking about it. Impress on students the importance of dressing for all performances: recitals, master classes, workshops, auditions, and competitions. Al- though you may have a less formal dress code for some events, avoid holding any performances for which there are no dress guidelines at all. You do not want to teach students that some concerts are so unimportant that the performers may disregard their presentation. Teach them that looking good in any situation where they will play in front of others will give them an advantage over those who take less care with their appear- ance. Regularly critique your students’ dress and overall appearance when you review video recordings of their performances with them, making suggestions for improvement. Was the skirt too short? Was the tie straight? Were the shoes too casual? Did the hair fall into the face? Were the clothes too tight? Were the high heels too high? Make the students aware of these issues and remind them, from recital to recital, to think about improving their appearance onstage. Sample Dress Guidelines for Formal Student Performances Girls: Dressy outfit Skirts below the knee (not sheer) Sleeves required No plunging neckline (or back) Fabric should not cling to body No stacked shoes or very high heels Hosiery required Boys: White or solid dress shirt with a tie Dark dress pants (no corduroy or denim) with a dress belt Coordinated jacket Dress shoes (no sneakers, lug soles, casual suedes) Black dress socks How to Teach Stage Presence 101 All: Wear nothing on fingers or wrists Secure long hair away from the face Be able to walk naturally in shoes Clothing and shoes should fit well Demeanor If you have taught your students good posture, how to bow, and have required them to dress well, they already feel more confident onstage and in front of an audience. Knowing that you are acting appropriately and looking good contributes to overall poise and self-assurance. You want to further maximize the students’ confident appearance by teaching them to eliminate certain gestures or behaviors that might make them look timid, awkward, or nervous, or that may project a bad attitude. Eval- uating their performances on video is invaluable in this area. Facial Expression Encourage students to maintain a pleasant facial expression as they practice walking and bowing, and also when they play. They can be asked to smile as they bow, but it is important that the smile not look insincere. A sincere and open facial expression, one that conveys a good attitude to- ward the audience and enthusiasm for the performance, is the goal. The bow at the end should have this same facial expression, whether the stu- dent is happy with the performance or not. Teach students never to regis- ter displeasure with their performance in any way while onstage. As they perform, teach them not to carry tension in the face, not to grimace, not to look so serious that they appear angry, and not to reveal the most difficult parts of their piece by looking strained when playing them. In lessons, students should practice not reacting to their own mistakes. Point it out to students whenever they do this, and ask them not to allow themselves to react to their mistakes when they are practicing. Let students know that all performers, even the greatest ones, make mistakes, that there is no such thing as a mistake-free performance. Students will not realize this unless you tell them. Help them understand that all good performers learn to handle mistakes so well that the audience is often unaware of them. Hands, Feet, and Body Teach students not to fidget with their hands while onstage. Show them how insecure it looks when performers adjust their clothes or their hair during a concert, and how distracting this can be for their audience. Make 102 Chapter 12 sure they know not to scratch an itch or otherwise touch themselves. Ten- sion in hands can be seen from the audience, so teach students how to keep their hands relaxed at all times. This will also have a good effect on their overall ability to stay calm and in control of themselves during a per- formance. In lessons, help them learn not to beat time with their feet or head and to eliminate other extraneous body movement. Attitude The performer‘s general attitude is revealed to the audience with the en- tire body. Every move is a reflection of the player’s mental state. Teach stu- dents the best pace for walking out onstage and bowing-not sluggish, not hurried. As you work on posture, make sure to include the element of re- laxation, because a stiff body projects a nervous or unhappy attitude. Discuss how to accept compliments at the end of a performance. It is no more appropriate for the performer to register displeasure with his or her performance after the concert than during it. Teach students that it is rude to contradict well-meaning praise-instead, they should accept it gra- ciously and thankfully. Teach them as well never to blame external condi- tions for a poor performance (“The piano was bad,” ”Somebody was coughing,” “The accompanist threw me off”). Regardless of how poorly a musician feels that he or she may have played, there is no reason to meet the audience afterward without a sense of pride and accomplishment for having performed. Moreover, performers are always much more aware of their own flaws than the audience will be. All students need to realize this. The best way to teach students to have a good attitude toward their per- formance is to teach them to love the work they are performing and to love music in general. This, after all, may be the most important job of any music teacher, ALWAYS TEACH STAGE PRESENCE Students cannot learn good stage presence if they are asked to exercise it only once or twice a year at a special event. Good stage presence must be an ongoing routine in your studio. Some element of stage presence may be incorporated into every lesson you teach. It takes time and sometimes money to educate musicians in the art of stage presence, but the results are well worth it. As you gradually raise awareness of stage presence among all your students, the standards of your studio will rise accordingly, and the attention you pay to this issue will give students skills that are useful not only in musical performance, but in all other areas of their lives. Bibliography Aarons, Martha. “Orchestral Etiquette.” Flute Talk 17, no. 8 (April 1998): 22. Alberge, Dalya. “Cover Up, Conductor Tells Fat Fiddlers” (quoting conductor Baxtresser, Jeanne. “Becoming a Team Player.” Flute Talk 8, no. 3 (November 1988): Bean, M. ”Performance Techniques for Singers: Bringing the Song to Life, part 2: The Two Halves.” Journal of Singing 54, no. 2 (1997): 3942. -. “Performance Techniques for Singers: Gesture in Art Song and Opera.” Jour- nal of Singing 54, no. 5 (May/June 1998): 37-39. Beckhelm, Paul. “Take a Bow.” American Music 7, no. 1 (September/October 1957): 11,21-22. Blake, Sara. “Developing a Commanding Stage Presence: A Trained Dancer Looks at the Subject of Musical Performances and Offers Some Eye-opening Advice.” American Recorder 39 (May 1998): 16-20+. Boots, Frederic W. ”A Judicious Amount of Showmanship.“ Instrumentalist 25, no. 6 (January 1971): 60-63. Bryce, Pandora. “Stage Presence and Communication: An Interview with Tenor Mark DuBois.” American Suzuki Journal 27, no. 4 (Summer 1999): 19-23. Burns, R. ”Showmanship.” Modern Drummer 11 (September 1987): 110. Campos, Frank G., ed. “Clinic: Stage Deportment.” ITG Journal 20, no. 2 (Decem- “Capotasto.” Classical Guitar 5, no. 9 (May 1987): 53. Cerone, David. “Bringing the Stage into the Practice Room.” American String Clements, Kaye L. ”Checklist for Competitions.” Flute Talk 18, no. 2 (October Colby, Linda Jenks. “The Rules of Good Page Turning.” Clavier 28, no. 2 (February Leonard Slatkin). London Times, August 23,2000. 14-17. ber 1995): 71. Teacher 31, no. 2 (Spring 1981): 24-25. 1998): 17-22. 1989): 30. 103 104 Bibliography Collins, Stewart. “Looking Good: There Is More to Concert-Giving Than Going On Stage and Playing the Music.“ Classical Music 654 (March 25,2000): 46-47. Davis-Brown, Eileen. “Smile, Please!” The Strad 87, no. 1037 (September 1976): 391f. Debost, M. “Debost’s Comments: Limited Movement.” Flute Talk 17, no. 4 (De- cember 1997): 4-5. Delano. “Some Tricks of the Trade for Orchestral String Players.” The Strad 61, no. 725 (September 1950): 156. Deutsch, R. W. ”Slatkin Says Overweight Musicians Should Cover Up.” Leonard Slatkin on www.sonicnet.com, 2000. Duncan, Charles. “Stage Presence.“ American String Teacher 31, no. 2 (Spring 1981): 29. Ellis, Brobury Pearce. ”How Do You Look?” Music Journal 9, no. 7 (November Emmons, Shirlee, and Alma Thomas. Power Performance for Singers: Transcending Fink, Lorraine. “Teaching Stage Personality.” American Suzuki Journal 27, no. 1 (Fall Frank, Jonathan. ”The Boneless Wonder.” Musical Opinion 82, no. 976 (January Gibson, Tom. “Thoughts to Ponder: Auditioning-A View from Behind the Glise, Anthony LeRoy. “Stage Presence-the Forgotten Art.” Soundboard 21, no. 3 Goll-Wilson, Kathleen. “Talking about Flutes.” Flute Talk 15, no. 8 (April 1996): 2. Gregg, Jean Westerman. ”From Song to Speech: On Requirements for a Singing Career.” Journal of Singing 54 (May/ June 1998): 51-52. Hayes, Susan. ”Learning about Showmanship from Opera Stars.” Flute Talk 15, no. 8 (April 1996): 17-18+. Hickman, David R. ”Judges’ Advice to Young Soloists.” ITG Journal 13, no. 4 (May 1989): 24-25. Highstein, Ellen. Making Music in Looking Glass Land: A Guide to Survival and Busi- ness Skills for the Classical Performer. New York: Concert Artists Guild, 1997. Hill, Paul. ”Cleaning Up Your Act: The Pride of Presentation Affects the Pride of Performance.” Choral Journal 19, no 8 (April 1979): 18-21. Jacobson, Joshua R. ”Before the Concert.” Choral Journal 21, no. 7 (March 1981): 37+. Jarboe, John C. “The Last Word: Smile.” American Suzuki Journal 21, no. 2 (Febru- ary 1993): 4647. Landy, D., and H. Sigall. ”Beauty Is Talent: Task Evaluations as a Function of the Performer’s Physical Attractiveness.” Journal of Personality and Social Psychology 29, no. 3 (March 1974): 299-304. 1951): 11,53-55. the Barriers. New York: Oxford University Press, 1998. 1998): 4748. 1959): 233-34. Screen.” ITA Journal 26 (Summer 1998): 20-21. (Winter 1995): 21-23. ”A Lesson in Concert Etiquette.“ School Music (January/February 1936): 7. McClaren, Cort Alan. “The Influence of Visual Attributes of Solo Marimbists on Perceived Qualitative Response of Listeners.” Ph.D. diss., University of Okla- homa, 1985. _. . “The Visual Aspect of Solo Marimba Performance.” Percussive Notes 27, no. 1 (Fall 1988): 54-58. Bibliography 105 Miller, Richard. "Self-Perception and Performance Reality." NATS Bulletin 48, no. Monroe, Ervin. "Musical Birds." Flute Talk 13, no. 1 (September 1993): 27-29. Morrison, Richard. "So What Is the Bottom Line, Mr. Blobby?" London Times, Au- Muegel, Glenn Allen. "Accepting Applause Is Part of the Performance." National Novotna, Jarmila. "What to Do on the Stage?" Etude 70 (September 1952): 9,5657. Rathbone, Basil. "How Do You Look to Your Audience?" Etude 69 (March 1951): Scharnberg, William. "Lookin' Good but Feelin' Bad." The Horn Call 26, no. 2 Smythe, Richard. "Mirror Image." Music Teacher 76 (September 1997): 15. Sorel, Claudette. Mind Your Musical Manners . . . Offand On Stage: A Handbook of Stage Etiquette Plus . . . a Listing of the lmportant Domestic and Foreign Competitions. New York Edward B. Marks, 1972. -. Mind Your Musical Manners . . . On and Offstage: A Handbook of Stage Etiquette, 3rd ed. New York: Edward B. Marks/Hal Leonard, 1995. Spelman, Leslie P. "Neglected Aspects of Music Teaching." American Music Teacher 17, no. 4 (February/March 1968): 35+. Street, George Hotchkiss. "Performance Hints for the Young Singer." Music of the West 10, no. 9 (May 1955): 5. Thatcher, E. C. "Mannerisms." The Strad 59, no. 708 (April 1949): 304. Van Ingen, Elizabeth. "Stage Smarts: Concert Etiquette for Performers." Chamber Music 2, no. 4 (Winter 1985): 25-27,46. Verdery, B. "Contemporary Classical: Performance Tips." Guitar Player 24, no. 5 (May 1990): 116. Vorreiter, Vicki. "To Bow or Not to Bow? . . . That Is the Question!" American Suzuki Journal 23, no. 2 (February 1995): 46-47. Wapnik, Joel, Jolan Kovacs Mazza, and Alice-Ann Darrow. "Effects of Performer Attractiveness, Stage Behavior, and Dress on Violin Performance Evaluation." Journal of Research in Music Education 46, no. 4 (Winter 1998): 510-21. Whitlock, Weldon. Facets of the Singer's Art. Vol. 1, Twentieth Centu y Masterworks on Singing. Champaign, Ill.: Pro Musica, 1967. ~. "Stage Deportment." NATS Bulletin 21, no. 2 (December 1964): 20-21,31-32. 2 (November/December 1991): 14+. gust 23,2000. School Orchestra Association Bulletin 23, no. 2 (January 1981): 11. 16,56. (1996): 4546. This Page Intentionally Left BlankIndex accompanist, 17, 20,24,89 applause, acknowledging, 23, 28, attire, concert, 7-13, 10-11,25, 26, 67-68,83,99-101. See also dress code; gender issue 36-37,41,53,59-60,68,73 27-28,31-32,38,3941,45,62,67, audience, addressing the, 23’24 audio/visual equipment, 84. See also stage furnishings Berlioz, Hector (1803-1869), 47 body language, 13,18-19,23,26,29, See also facial expression; posture 36, 45, 61, 66, 77, 89, 90,93, 101-2. Bohm, Karl (1894-1981), 81 Bookspan, Janet, 87 bowing, 15-16, 16, 17,20, 23,25, 31, 35, breathing. See body language Brendel, Alfred (b.1931), 7 Britten, Benjamin (1913-1976), 1 Bulow, Hans von (1830-1894), 21,22 36,38,43,69,88-89,97-99,102 chairs, 29, 33,34, 97, 98. See also stage compliments, accepting, 44, 45, 92, furnishings 102 concentration, 18, 19, 23, 36,38,89 concert attire. See attire, concert concert dress. See attire, concert concert manager, 82 concertmaster, 56-57,60 conductor, 42,43,59-60,63-64, 65-70, confidence, 5,13,88,101 Couperin, Francois (1668-1733), 18 demeanor. See body language dress, concert. See attire, concert dress code, 48-51,60,63,100-101. See 67,76 also attire, concert encores, 23-24,25,29 entrance onto stage, 13-14, 17,24, 28-29, 30, 31, 33,4142,53,56,59, 69, 88, 89, 93, 102 100 35, 36-37,43, 60,69,89,93 evaluation, video, 17, 37, 68,93, 99, exit from stage, 23, 24, 29-30,31,33, eye contact, 14-15,20,25,35,93 facial expression, 14-15, 18, 21,23,25, 41,45,61,89,90, 91, 93, 101. See also body language 107 108 lndex fans, 72-74 full rest position. See readiness positions gender issue, 49-51. See also attire, concert Hambourg, Mark (1879-1961), 71 Hanslick, Eduard (1825-1904), 1 health, 71,74 Hill, Paul (1939-1999), 39 hosts, 72-74 leadership, 39,4748,64,65-70 LeRoy-Glise, Anthony, 95 lighting. See stage lighting Liszt, Franz (1811-1886), 65 memory, performing from, 21,43 Mendelssohn, Felix (1809-1847), 2 mistakes, reacting to, 21,25,38,45 morale, 63 music, printed, 21-22, 22, 25,27,29, music stand, 21-22,22, 34, 67. See also 38,42,43,45,61-62, 67, 89-92,93 stage furnishings Nilsson, Birgit (b.1918), 9 onstage guidelines, 41,4748,5240 page turner, 27-30,89 parts. See music, printed patrons, 72-74 performers, personal needs of, 71-72 perspiration, 20 physical habits. See body language piano, 75,77-79,82 pit orchestra, 62-63 positions of readiness. See readiness positions posture, 14,29,45,53, 60, 61, 66-67, 88, 93,96-97, 98. See also body language printed music. See music, printed readiness positions, 53-56,54,55,57, ready position. See readiness positions relaxation, 14 respect, 24,16 rest position. See readiness positions 58,66 Schnabel, Artur (1882-1951), 73 score. See music, printed semirest position. See readiness stage fright, 4-5, 14-15 stage furnishings, 17,26,31,38,60,63, 75-79,83,97. See also audio/visual equipment; chairs; music stand positions stage hands, 38, 83, 84 stage lighting, 76-77,83-84 stage management, 17,38,83 stage presence: definition of, 2-4,5; standing position. See readiness Street, George Hotchkiss, 4 Szell, George (1879-1970), 66 evaluation of. See evaluation, video positions talking to the audience. See audience, tuning, 16-17, 35, 38,56,60 addressing the ushers, 84-85 video evaluation. See evaluation, video walking offstage. See exit from stage walking onstage. See entrance onto stage About the Author Karen A. Hagberg, Ph.D., is a consultant and presenter on stage presence for performing musicians. As one of only a dozen Americans to earn a diploma in piano at the Talent Education Institute in Japan, she has trav- eled widely, conducting seminars and workshops for piano teachers in Australia, Singapore, England, Canada, and throughout the United States since 1990. Her students perform regularly at national and international events and have won several prizes in competitions. A contributor to the latest editions of Grove’s Dictionary of Opera and Grove’s Dictionary ofMusic and Musicians, Dr. Hagberg has also written nu- merous articles as author of her personal monthly newsletter while study- ing in Japan (Mafsurnofo News, 1989-1991), and as editor of the bimonthly Piano Basics Foundation News since 1995. Dr. Hagberg is a graduate of Syracuse University and received her M.A. and Ph.D. degrees at the Eastman School of Music. The writing of this book was motivated by her passion for live, acoustic musical performance and her fervent hope that it will flourish and endure into the twenty-first century and beyond. 109	[ "stage", "audience", "may", "concert", "music", "performance", "look", "time", "bow", "good" ]	{ "summary": "Stage Presence \nfrom- Head to Toe \nA Manual for Musicians \nKaren A. Hagberg \nThe Scarecrow Press, I" }
Media,_Communication_and_Cultural_Studies_Catalogue_Jul_-_Dec_2024_GBP.pdf	Routledge www.routledge.comMedia, Communication & Cultural Studies Catalogue July - December 2024 New and Forthcoming TitleseBooks We have over 50,000 eBooks available across the Humanities, Social Sciences, Behavioural Sciences, Built Environment, STM and Law, from leading Imprints, including Routledge, Focal Press and Psychology Press. These eBooks are available for both individual and institutional purchase. INDIVIDUALS Our eBooks are available from Amazon, Apple iBookstore, Google eBooks, Ebooks.com, Kobo, Barnes & Noble, Waterstones, Mobipocket, VitalSource, and CourseSmart. LIBRARIES AND INSTITUTIONS Subscribe to or purchase a wide range of eBook packages or pick and mix your own from our complete collection (a minimum number of titles applies). FREE TRIALS are available. For more information, please visit www.tandfebooks.com or contact your local sales team. eUpdates Register your email at www.tandf.co.uk/eupdates to receive information on books, journals and other news within your area of interest.Partnership Opportunities at Routledge At Routledge we always look for innovative ways to support and collaborate with our readers and the organizations they represent. If you or your organization would like to discuss partnership opportunities, from reciprocal marketing activities to commercial enterprises, please do get in touch on [email protected]. Considering Books for Course Use? This symbol shows books that are available as complimentary exam copies for lecturers or faculty considering them for course adoption. To obtain your copy visit the URL listed beneath the title in the catalog and select your choice of print or electronic copy. Visit www.routledge.com or in the US you can call 1-800-634-7064. This symbol shows books that are available as electronic inspection copies only. For a complete list, visit: www.routledge.com/representatives . Trade Customers\' Representatives, Agents and Distribution For a complete list, visit: www.routledge.com/representatives . an informa business Prices, publication dates and content are correct at time of going to press, but may be subject to change without notice.Welcome Welcome to the July to December 2024 Media, Communication & Cultural Studies Catalogue . We welcome your feedback on our publishing programme, so please do not hesitate to get in touch – whether you want to read, write, review, adapt or buy, we want to hear from you, so please visit our website below or please contact your local sales representative for more information. www.routledge.com Prices are correct at time of going to press and may be subject to change without notice. Some titles within this catalogue may not be available in your region.Contents Audio . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .2 Communication Studies . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .4 Filmmaking & Post Production . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .10 Mass Communication & Journalism . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .13 Media & Cultural Studies . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .14 Photography . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .29 Index . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .30 2 AUDIO Build AI-Enhanced Audio Plugins with C++ Matthew John Yee-King Build AI-Enhanced Audio Plugins with C++ explains how to embed artificial intelligence technology inside tools that can be used by audio and music professionals, through worked examples using Python, C++ and audio plug-in APIs which demonstrate how to combine technologies to produce professional, AI-enhanced creative tools. This is an essential guide for software developers and programmers of all levels looking to integrate AI into their systems, as well as educators and students of audio programming, machine learning and software development. Focal Press June 2024:362 Pb: 978-1-032-43042-3: £39.99 Hb: 978-1-032-43046-1: £135 eBook: 978-1-003-36549-5 * For full contents and more information, visit: www.routledge.com/9781032430423 Designing Audio Circuits and Systems Bob Cordell Designing Audio Circuits and Systems is a comprehensive guide to audio circuits and systems design. Beginning with analog audio circuit design basics that a novice can understand, this book offers insight all the way through to in-depth design techniques for many different audiophile and professional audio circuits and functions. Bridging the analog and digital worlds, this is essential reading for those in the professional audio engineering community, as well as students and enthusiasts who wish to design audio circuits and functions for pro audio or audiophile applications, and live sound or studio mixing consoles. Focal Press June 2024:738 Pb: 978-1-032-01089-2: £76.99 Hb: 978-1-032-01090-8: £135 * For full contents and more information, visit: www.routledge.com/9781032010892 Collaboration, Engagement, and Tradition in Contemporary and Electronic Music NoiseFloor Perspectives Edited by Marc Estibeiro , Dave Payling , David Cotter Collaboration, Engagement, and Tradition in Contemporary and Electronic Music: NoiseFloor Perspectives offers insights into practices at the forefront of modern music making and is built on a rich collection of concerts and talks, representing over a decade of artistic insight and creative practice showcased at the annual NoiseFloor event. This book will be of interest to postgraduates and advanced undergraduates working in the areas of contemporary music, electronic music, and music technology, and is also ideal for composers, artists, and researchers investigating theoretical concepts and compositional practices in contemporary music. Focal Press October 2024:406 Pb: 978-1-032-55374-0: £38.99 Hb: 978-1-032-55375-7: £135 * For full contents and more information, visit: www.routledge.com/9781032553740 Interactive Technologies and Music Making Transmutable Music Tracy Redhead University of Western Australia Challenging current music making approaches which have traditionally relied on the repetition of fixed forms when played, this book provides a new framework for musicians, composers and producers wanting to explore working with music that can be represented by data and transformed by interactive technologies. This book is a valuable resource for industry professionals wanting to gain an insight into cutting edge new practice, as well as for assisting musicians, composers and producers with professional development. Focal Press August 2024:210 Pb: 978-1-032-22650-7: £31.99 Hb: 978-1-032-22651-4: £130 * For full contents and more information, visit: www.routledge.com/9781032226507 5TH EDITION Dance Music Manual Rick Snoman Dance Music Manual - a comprehensive guidebook for novice and seasoned professionals alike - walks readers through the tools and techniques required to create original, captivating, and professional-sounding electronic dance music. Used by professionals worldwide, this updated fifth edition has been significantly rewritten and includes new content on building your studio, processing, sampling, sound design, and a chapter on DJ techniques. The book is also supported by a companion website, providing audio and video examples of the techniques to accompany the book. Focal Press September 2024:560 Pb: 978-1-032-64678-7: £38.99 Hb: 978-1-032-64685-5: £135 * For full contents and more information, visit: www.routledge.com/9781032646787 2ND EDITION Recording Orchestra and Other Classical Music Ensembles Richard King Series: Audio Engineering Society Presents Recording Orchestra and Other Classical Music Ensembles explores techniques and methodologies specific to recording classical music. Whether a newcomer or a seasoned engineer looking to refine their skills, this book speaks to all levels of expertise and covers every aspect of recording symphonic and concerto repertoire, opera, chamber music, and solo piano. This new edition has updated and expanded material, including new chapters on classical crossover projects, film score recording, and immersive/3D recording and mixing, as well as a number of new case studies, making this an essential guide for students, researchers and professionals recording classical music. Focal Press August 2024:278 Pb: 978-1-003-32460-7: £37.99 Hb: 978-1-032-34943-5: £135 * For full contents and more information, visit: www.routledge.com/9781003324607 AUDIO 3 The Music Business for Music Creators Industry Mechanics for Contemporary Creators Jonny Amos The Music Business for Music Creators is a roadmap to understanding the traditional and modern income streams that define the modern music industry, by offering definitions of the key components that underpin the business behind them, with an emphasis on educating and empowering the next generation of music creators with the knowledge they require to build a career out of their creative pursuits. This book is core reading for students of music business and music creation in contemporary music education, and provides an essential resource for those on music, music production, and music performance courses, as well as aspiring and early career professionals. Focal Press June 2024:368 Pb: 978-1-032-58912-1: £36.99 Hb: 978-1-032-58913-8: £135 eBook: 978-1-003-45211-9 * For full contents and more information, visit: www.routledge.com/9781032589121 The Routledge Handbook of Sound Design Edited by Michael Filimowicz Simon Fraser University, Canada The Routledge Handbook of Sound Design offers a comprehensive overview of the diverse contexts of creativity and research that characterize contemporary sound design practice. Readers will find expansive coverage of sound design in relation to games, VR, globalization, performance, soundscape, and feminism, amongst other fields. Collectively, the chapters illustrate the robustness and variety of contemporary sound design research and creativity, making this book essential reading for students, teachers, researchers, and practitioners working on sound design in its many forms. Focal Press October 2024:382 Hb: 978-1-032-35147-6: £215 * For full contents and more information, visit: www.routledge.com/9781032351476 www.routledge.com 4 COMMUNICATION STUDIES 2ND EDITION Argumentation Keeping Faith with Reason John P. Nordin , Edward Schiappa Massachusetts Institute of Technology This extensively updated second edition provides a comprehensive introduction to argumentation skills for undergraduates. Argumentation: Keeping Faith with Reason is an ideal textbook for undergraduate courses in argumentation, persuasion, critical thinking, and informal logic. Routledge May 2024:378 Pb: 978-1-032-54122-8: £53.99 Hb: 978-1-032-54123-5: £145 eBook: 978-1-003-41526-8 * For full contents and more information, visit: www.routledge.com/9781032541228 Communicating Effectively During a Health Crisis A Critical Examination of Communication Breakdowns During the COVID-19 Pandemic Devjani Sen Algonquin College, Canada, Rukhsana Ahmed University at Albany, State University of New York, USA Exploring how and why communication breakdowns occur during pandemics and world disasters, this book offers solutions for improving communication and managing future public health crises. An interdisciplinary critique of the delivery and reception of messages during global disasters, this text is suitable for undergraduate and graduate courses in Communication Studies, Health Communication, Risk Communication and Public Health, Psychology, Sociology, and Disaster Management. Routledge July 2024:224 Pb: 978-1-032-49682-5: £35.99 Hb: 978-1-032-49684-9: £130 * For full contents and more information, visit: www.routledge.com/9781032496825 8TH EDITION Broadcast News and Writing Stylebook Bob Papper , Janet Kolodzy Broadcast News and Writing Stylebook is the go-to resource for writing broadcast news, offering a concise introduction to writing engaging stories for television, radio, podcasts, and online media. Drawing on over a quarter of a century of broadcast news and industry research experience, authors Papper and Kolodzy once again ensure this vital text contains all the information necessary for being a successful news writer today. Whether you’re a journalism student or a working broadcast professional, Broadcast News and Writing Stylebook is a definitive reference for your bookshelf. Routledge November 2024:370 Pb: 978-1-032-51984-5: £79.99 Hb: 978-1-032-51979-1: £155 * For full contents and more information, visit: www.routledge.com/9781032519845 Crisis Communication Cases from Asia A Cultural Approach Edited by Krishnamurthy Sriramesh University of Colorado Boulder, USA, Su Lin Yeo Singapore Management University This book analyzes crisis communication in Asia, focusing on how culture plays a central role in the way a crisis develops and is resolved. Each of the cases addresses the onset, evolution, and resolution of the crisis. The contributors are seasoned practitioners who have done crisis communication work in this continent and have used the same framework of five environmental variables that define culture in this book: political culture; economic systems; societal culture; media systems; and activist environments. This volume is ideal for scholars and advanced students in public relations and strategic communication generally and crisis communication specifically. Routledge October 2024:204 Pb: 978-1-032-53388-9: £36.99 Hb: 978-1-032-53389-6: £135 * For full contents and more information, visit: www.routledge.com/9781032533889 Celebrity Rhetoric and Sexual Misconduct Cases Discursive Self-Cleaving Andrea McDonnell Providence College, USA Series: Routledge Focus on Communication Studies This book considers the rhetorical strategies used by celebrities and their surrogates and attorneys when faced with claims of sexual misconduct. Providing a richly detailed analysis of how this discourse functions and why jurors and members of the public find it convincing, this book will be of interest to students and scholars in the field of Communication Studies, Rhetoric, Media, Law, and Popular Culture Studies. Routledge May 2024:106 Hb: 978-1-032-46112-0: £48.99 eBook: 978-1-003-38013-9 * For full contents and more information, visit: www.routledge.com/9781032461120 6TH EDITION Crisis Communications A Casebook Approach Kathleen Fearn-Banks University of Washington, USA, Kevin Kawamoto University of Hawaii, USA Series: Routledge Communication Series Now in its sixth edition, this book provides engaging, practice-oriented case studies analyzing communication professionals’ crisis preparation and responses, illustrating key considerations for communicating with both internal and external stakeholders during and after a crisis. Crisis Communications, 6th Edition is intended for courses in crisis communication, crisis management, disaster response, corporate communications, and public relations. Routledge June 2024:394 Pb: 978-0-367-89445-0: £66.99 Hb: 978-0-367-89456-6: £135 eBook: 978-1-003-01928-2 * For full contents and more information, visit: www.routledge.com/9780367894450 COMMUNICATION STUDIES 5 DEI and Intersectional Social Identities at Work A Communication Approach Donnalyn Pompper University of Oregon, USA, Tugce Ertem-Eray North Carolina State University, USA This book equips readers—both students and communication practitioners--with the theoretical understanding and practical skills they need to support nonprofit and for-profit management to create and assess diversity, equity, inclusion (DEI), and social identity intersectionality goals in their organizations. This is an ideal text for advanced undergraduates and graduate courses in organizational communication, strategic communication, marketing communication, human resources, and public relations, as well as for communication practitioners working in these subdisciplines. Routledge June 2024:274 Pb: 978-1-032-24528-7: £39.99 Hb: 978-1-032-24529-4: £135 eBook: 978-1-003-27912-9 * For full contents and more information, visit: www.routledge.com/9781032245287 Diversity, Equity, and Inclusion in Strategic Communications Becoming Culturally Proficient Communicators Lee Bush Elon University, USA, Karen Lindsey Elon University, USA Taking a DEI-first approach, this book teaches students to become culturally proficient communicators by approaching diversity, equity, and inclusion (DEI) with intentionality in every aspect of strategic communications. Ideal for students at the undergraduate level with relevance to graduate students as well, the book can be used as a stand-alone text in DEI communications courses, as a supplement to core advertising or public relations texts, or in modules in advanced communications courses. Routledge August 2024:192 Pb: 978-1-032-53386-5: £35.99 Hb: 978-1-032-53387-2: £130 * For full contents and more information, visit: www.routledge.com/9781032533865 Digital Media Production for Beginners Julia V. Griffey Written for the non-specialist media producer, this book offers a practical and engaging guide to basic digital media production using modern equipment and software. This book is an essential companion for students in communication disciplines, including PR, advertising, journalism, and marketing, looking for a solid grounding in digital media production to prepare them for the competitive job market. Routledge September 2024:218 Pb: 978-1-032-61143-3: £34.99 Hb: 978-1-032-61145-7: £130 * For full contents and more information, visit: www.routledge.com/9781032611433 European Media Systems for Deliberative Communication Risks and Opportunities Edited by Zrinjka Peruško Series: Routledge Studies in Media, Communication, and Politics European Media Systems for Deliberative Communication explores how four dimensions of national media systems – the legal framework for freedom of expression and information, media accountability, journalism, audience media usage and competencies – contribute to or are detrimental to the success of deliberative communication. This book will interest scholars and students in communication studies, political communication, media and society, media sociology, global media studies, European Studies and Journalism Routledge July 2024:216 Hb: 978-1-032-76000-1: £130 * For full contents and more information, visit: www.routledge.com/9781032760001 Dissonant Public Spheres Communication, Campaigns and Crises Edited by Karolina Koc-Michalska Audencia Business School, Nantes, France, Ulrike Klinger , Lance Bennett , Andrea Rommele This book covers various aspects of political communication in dissonant public spheres and their impact on democratic processes. It expands research on campaigning beyond assumptions of well-functioning political systems, to better understand how the erosion of institutional legitimacy and trust affects communication processes. Chapters also examine the role of data-driven campaigning and address how limited access to platform data affects our understanding of dissonant public spheres. The chapters in this book were originally published in Political Communication. Routledge August 2024:240 Hb: 978-1-032-76653-9: £130 * For full contents and more information, visit: www.routledge.com/9781032766539 11TH EDITION Family Communication Cohesion and Change Dawn O. Braithwaite , Paul Schrodt Texas Christian University, USA, Colleen Warner University of Missouri , USA, Kathleen M. Galvin Northwestern University, USA Now in its eleventh edition, Family Communication: Cohesion and Change continues to provide students with a foundational, accessible, and inclusive overview of the family communication field. This edition represents the plurality of today’s families, helping students see themselves and think through how the up-to-date research and theory apply to their lives. This book is ideal for undergraduate courses in family communication, allied subjects in communication studies, family studies, nursing, and social work, and offers free Instructor and Student Resources designed to test students’ knowledge and save instructor’s time when preparing lessons. Routledge October 2024:500 Pb: 978-0-367-72399-6: £79.99 Hb: 978-0-367-74860-9: £215 * For full contents and more information, visit: www.routledge.com/9780367723996 www.routledge.com 6 COMMUNICATION STUDIES Humor and Health in the Media Raising the Question, Should Illness be Funny? Malynnda A. Johnson Indiana State University, USA Series: Routledge Research in Health Communication Examining popular media portrayals of various health topics, this book offers a critical analysis of how those mediated messages can impact, for good or ill, people’s physical and mental health. This insightful study will interest scholars and students of health in popular culture as well as health communication, media studies, public health administration, and health policy. Routledge August 2024:216 Hb: 978-1-032-40631-2: £130 * For full contents and more information, visit: www.routledge.com/9781032406312 Media and Crisis Communication Edited by W. Timothy Coombs Centre for Crisis and Risk Communications Series: Electronic Media Research Series This volume centers on the relationship between media and crisis communication, the need to address which has only been heightened by the recent experience of COVID-19 and the needs for public health crisis communication. This collection will interest scholars and students of crisis communication, public relations, risk communication, digital media and political communication. Routledge October 2024:256 Hb: 978-1-032-61906-4: £135 * For full contents and more information, visit: www.routledge.com/9781032619064 Listening The Key Concepts Elizabeth S. Parks Colorado Mountain College, USA, Meara H. Faw Colorado State University, USA, Laura R. Lane Colorado State University, USA Series: Routledge Key Guides A vital and comprehensive starting place for understanding the key concepts, this book explores 177 diverse types and styles of listening named in academic scholarship to date. The first of its kind, Listening: The Key Concepts is an expansive, state-of the-field exploration of listening scholarship that can be used as a guidebook for undergraduate and graduate students in Listening, Public Speaking, Interpersonal Communication, and Intercultural Communication courses as well as other related disciplines. Routledge August 2024:256 Pb: 978-1-032-53184-7: £34.99 Hb: 978-1-032-53185-4: £130 * For full contents and more information, visit: www.routledge.com/9781032531847 12TH EDITION Media Ethics Cases and Moral Reasoning Clifford G. Christians University of Illinois at Urbana- Champaign, USA, Mark Fackler Calvin College, USA, Peggy J. Kreshel University of Georgia, USA, William J. Brown Regent University, USA, Yayu Feng University of St. Thomas, USA, Holly K. Overton The Pennsylvania State University, USA, Kathy Brittain Richardson Westminster College, USA Through original case studies and analyses of real-life media experiences, Media Ethics challenges readers to think analytically and critically about ethical situations in mediated communication. This core textbook is ideal for classes in media and communication ethics, journalism, public relations, advertising, entertainment media, and popular culture. Routledge June 2024:514 Pb: 978-1-032-39139-7: £105 Hb: 978-1-032-39140-3: £195 eBook: 978-1-003-34856-6 * For full contents and more information, visit: www.routledge.com/9781032391397 3RD EDITION Listening Processes, Functions, and Competency Debra L. Worthington Auburn University, USA, Graham D. Bodie University of Mississippi, USA, Margaret E. Fitch-Hauser Auburn University, USA This fully revised third edition explores the essential role of listening to human communication across contexts and cultures. Addressing listening as a cognitive process, social function, and critical professional competency, this is an essential textbook for undergraduate courses in listening and communication studies. Routledge May 2024:364 Pb: 978-1-032-49125-7: £86.99 Hb: 978-1-032-49126-4: £175 * For full contents and more information, visit: www.routledge.com/9781032491257 Media Tactics in the Long Twentieth Century Edited by Marie Cronqvist , Fredrik Mohammadi Norén , Emil Stjernholm Series: Routledge Studies in Media, Communication, and Politics Integrating media studies with history, Media Tactics in the Long Twentieth Century explores the dynamic relationship between tactics and strategies in recent history. This volume will interest scholars and students working in the field of media and communication in general, and in the subfields of strategic communication, public relations, media history, and propaganda studies. Routledge August 2024:296 Hb: 978-1-032-61827-2: £135 * For full contents and more information, visit: www.routledge.com/9781032618272 COMMUNICATION STUDIES 7 6TH EDITION MediaWriting Print, Broadcast, Online, and Public Relations Deborah A. Silverman SUNY Buffalo State College, USA, Brian S. Meyer , Joe Marren , W. Richard Whitaker Buffalo State College, USA, Ronald D. Smith SUNY Buffalo State College, USA, Janet E. Ramsey Buffalo State College, USA Accessible and engaging, this book is an invaluable resource for students planning to enter the dynamic and changing world of media writing. Drawing on a wealth of real-world examples and featuring helpful "How To" boxes throughout, MediaWriting explains the various styles of writing for print, broadcast, online, social media, public relations, and multimedia outlets. Designed to meet the needs of students of digital, print, and broadcast media, public relations, or a wannabe jack-of-all trades in the online media environment, this reader-friendly primer will equip beginners with all the skills necessary to succeed in their chosen writing field. Routledge August 2024:454 Pb: 978-1-032-49580-4: £69.99 Hb: 978-1-032-49581-1: £140 * For full contents and more information, visit: www.routledge.com/9781032495804 3RD EDITION Personal Conflict Management Theory and Practice Amy Janan Johnson The University of Oklahoma, USA, Ioana A. Cionea University of Oklahoma, USA, Suzanne McCorkle Boise State University, USA, Melanie J. Reese Boise State University, USA This third edition bridges the theory behind why conflict occurs with specific skills and tools to transform difficult interpersonal encounters into beneficial, constructive exchanges. An instructor manual, significantly updated as well, is also available online, including summaries of the chapters, activities, a test bank, and sample syllabi and assignments. Please visit www.routledge.com/ 9781032412412 Routledge July 2024:382 Pb: 978-1-032-41241-2: £71.99 Hb: 978-1-032-41243-6: £135 eBook: 978-1-003-35699-8 * For full contents and more information, visit: www.routledge.com/9781032412412 Mental Health and Wellbeing for Journalists A Practical Guide Hannah Storm This book offers a first-of-its-kind practical, person-centred guide to managing and contextualising journalists’ emotional wellbeing and mental health. Mental Health and Wellbeing for Journalists is written for news media professionals, educators, and students, as well as anyone interested in promoting more sustainable journalism through supporting the industry’s most precious resource: its people. Routledge May 2024:200 Pb: 978-1-032-38245-6: £32.99 Hb: 978-1-032-38246-3: £135 eBook: 978-1-003-34417-9 * For full contents and more information, visit: www.routledge.com/9781032382456 3RD EDITION Principles of Intercultural Communication Igor E. Klyukanov Eastern Washington University, USA This third edition provides a comprehensive view of intercultural communication through its concise style and unique theoretical framework of ten interconnected principles. This text is ideally suited for upper-level or graduate intercultural communication courses within communication, linguistics, and anthropology departments. Routledge October 2024:286 Pb: 978-1-032-61307-9: £37.99 Hb: 978-1-032-61308-6: £135 * For full contents and more information, visit: www.routledge.com/9781032613079 Nonprofit Communications A Mission-Driven and Human-Centered Approach Kelly C. Gaggin Syracuse University, USA This text provides a guide to strategic communications for nonprofit organizations that is rooted in the desire to serve and do good. Its approach to communications is mission- based and human-centric to align the values of the nonprofit sector with the campaign planning process. The text offers a view of nonprofits at local, national, and international levels of impact and explores those relationships while keeping in mind the value and needs of those being served. Ideal for undergraduate and graduate courses in nonprofit strategic communications and/or management as well as a resource for nonprofit industry professionals. Routledge April 2024:190 Pb: 978-1-032-46114-4: £39.99 Hb: 978-1-032-46116-8: £135 eBook: 978-1-003-38014-6 * For full contents and more information, visit: www.routledge.com/9781032461144 Public Relations for Public Health and Social Good Edited by Brooke W. McKeever University of South Carolina, USA Foregrounding the work professional communicators do to support public health and social missions, this book examines how the principles and practices of public relations can be applied by nonprofit, government, and corporate entities working to understand and improve public health and social conditions. Ideally placed for advanced undergraduate and graduate courses in public relations, health communication, or strategic communication as well as for communications professionals looking to apply research to their practice. Routledge July 2024:232 Pb: 978-1-032-35508-5: £36.99 Hb: 978-1-032-35509-2: £130 * For full contents and more information, visit: www.routledge.com/9781032355085 www.routledge.com 8 COMMUNICATION STUDIES Race and Ethnicity as Foundational Forces in Political Communication Edited by Stewart M. Coles , Daniel S. Lane Race and ethnicity are central to our lived experiences of politics, yet they are often absent from studies of urgent questions in contemporary political communication. This volume responds to this crucial issue in the field, illuminating a multitude of ways that identity and power shape the interpersonal, mediated, and technological dimensions of politics. It empirically illustrates the lack of race-focused scholarship in this area, while demonstrating how studying race/ethnicity as endogenous to politics sheds new light on the “big questions” facing multiracial, multiethnic societies. This book was originally published as a special issue of Political Communication. Routledge August 2024:152 Hb: 978-1-032-82185-6: £130 eBook: 978-1-003-50336-1 * For full contents and more information, visit: www.routledge.com/9781032821856 State-Sponsored Disinformation Around the Globe How Politicians Deceive their Citizens Edited by Martin Echeverría University of Puebla, Mexico, Sara García Santamaría , Daniel C. Hallin University of California-San Diego, USA Series: Routledge Studies in Media, Communication, and Politics This book explores the pervasive and globalized trajectory of domestic disinformation. It describes specific operations and general apparatuses of disinformation that are sponsored by the State institutions in several countries around the world, such as governments, political parties, and politicians. Advancing the field of misinformation and disinformation studies by specializing in State-sponsored operations and their consequences, this book will be an essential volume for scholars and upper-level students of media and communication studies, journalism, political communication, disinformation and misinformation, social media, sociology and international politics. Routledge October 2024:328 Hb: 978-1-032-63273-5: £135 * For full contents and more information, visit: www.routledge.com/9781032632735 Risk and Crisis Communication in Europe Towards Integrating Theory and Practice in Unstable and Turbulent Times Edited by Audra Diers-Lawson Kristiania Univ. College, Norway, Andreas Schwarz Technical University of Ilmenau, Germany, Florian Meissner Macromedia University of Applied Sciences, Germany, Silvia Ravazzani IULM, Italy Series: Routledge Research in Communication Studies This timely volume offers an international and cross- disciplinary examination of risk and crisis communication theory and practice in Europe. This exciting and innovative volume will interest scholars and students of risk and crisis communication, media studies, political communication, public relations, political studies and international relations. Routledge June 2024:360 Hb: 978-1-032-43713-2: £130 * For full contents and more information, visit: www.routledge.com/9781032437132 13TH EDITION The Law of Public Communication William E. Lee University of Georgia, USA., Daxton R. Stewart Texas Christian University, USA., Jonathan Peters University of Georgia, USA. This thoroughly updated classic textbook provides an overview of communication and media law, including the most current legal developments. It explains laws affecting the daily work of writers, broadcasters, public relations practitioners, photographers, bloggers, and other public communicators. The Law of Public Communication is an ideal core textbook for undergraduate and graduate courses in communication law and mass media law. Routledge August 2024:554 Pb: 978-1-032-67638-8: £94.99 Hb: 978-1-032-68853-4: £130 * For full contents and more information, visit: www.routledge.com/9781032676388 Start-up and Entrepreneurial Communication Theoretical Foundations and Contemporary Development Edited by Alexander Godulla Leipzig University, Germany , Linjuan Rita Men University of Florida, U.S.A. This book delves into the dynamic field of start-up and entrepreneurial communication, addressing a significant research gap. It examines central areas of discourse, exploring the intricate balance between a start-up’s brand, identity, and strategic communication, as well as the crucial role of internal communication. Additionally, the book offers insights into the highly innovative realm of crowdfunding, complementing its comprehensive exploration of start-up communication. This volume was originally published as a special issue of the International Journal of Strategic Communication. Routledge June 2024:254 Hb: 978-1-032-77073-4: £175 eBook: 978-1-003-48117-1 * For full contents and more information, visit: www.routledge.com/9781032770734 The Routledge Handbook of Conflict and Peace Communication Edited by Stacey L. Connaughton Perdue University, USA , Stefanie Pukallus The University of Sheffield, UK Series: Routledge Handbooks in Communication Studies This handbook provides a comprehensive review of research in conflict and peace communication and offers readers a range of insights into foundational, ongoing, and emerging discussions in this field. This handbook is essential reading for scholars, research-driven practitioners, graduate-level students, and upper-level undergraduate students in conflict and peace communication within disciplines such as communication studies, political science, international relations, security studies, and human rights. Routledge October 2024:462 Hb: 978-1-032-49048-9: £215 * For full contents and more information, visit: www.routledge.com/9781032490489 COMMUNICATION STUDIES 9 The Routledge Handbook of Public Speaking Research and Theory Edited by Stevie M. Munz Utah Valley University, USA, Tim McKenna-Buchanan Manchester University, USA, Anna M. Wright Illinois College, USA Series: Routledge Handbooks in Communication Studies Providing a comprehensive survey of the empirical research, theory, and history of public speaking, this handbook fills a crucial gap in public speaking pedagogy resources and provides a foundation for future research and pedagogical development. Reinforcing the relevance, importance, and significance of public speaking in individual, interpersonal, social, and cultural communication contexts, this accessibly written handbook will be an indispensable resource for public speaking instructors and program administrators. It will also be valuable reading for Communication Pedagogy and Introduction to Graduate Studies courses. Routledge April 2024:432 Hb: 978-1-032-36782-8: £215 eBook: 978-1-003-33377-7 * For full contents and more information, visit: www.routledge.com/9781032367828 US Media and Diversity Representation, Dissemination, and Effects Edited by Travis L. Dixon , Dana Mastro Series: Electronic Media Research Series This volume fully illuminates the role of diversity in media representation, dissemination, and effects across various platforms, including social media. Against a backdrop of shifting demographics and increasing diversity, the book highlights the implications for media consumption patterns and explores the simultaneous rise in online hate. Routledge June 2024:246 Hb: 978-1-032-59079-0: £135 eBook: 978-1-003-45282-9 * For full contents and more information, visit: www.routledge.com/9781032590790 The Routledge Handbook of Rhetoric and Power Edited by Nathan Crick Texas A&M University, USA. Series: Routledge Handbooks in Communication Studies The Routledge Handbook of Rhetoric and Power represents the first comprehensive disciplinary investigation into the relationship between rhetoric and power as it is expressed in different aspects of society. Featuring contributions from key scholars, this accessibly written handbook will be an indispensable resource for researchers and students in the fields of rhetoric, writing studies, communication studies, political communication, and social justice. Routledge October 2024:488 Hb: 978-1-032-55469-3: £215 * For full contents and more information, visit: www.routledge.com/9781032554693 The Sociomateriality of Leadership A Ventriloquial Perspective Jonathan Clifton Series: Routledge Studies in Communication, Organization, and Organizing With the parallel expansion of both leadership research and the use of ventriloquism within communication studies, this book addresses the lack of connection between the two, arguing that ventriloquial analyses can add significant insights to leadership research and that leadership research can be a fruitful avenue of inquiry. Offering fresh insight into leadership practice, this book will be an essential read for scholars and students of organisational communication, leadership and management. Routledge September 2024:216 Hb: 978-1-032-70009-0: £135 * For full contents and more information, visit: www.routledge.com/9781032700090 www.routledge.com 10 FILMMAKING & POST PRODUCTION Art of the Cut Conversations with Film and TV Editors, Volume II Steve Hullfish This follow-up text of the widely acclaimed Art of the Cut book published in 2017 expands on its predecessor with more than 360 interviews from the world’s best editors (including nearly every Oscar-winner from the last 30 years). The interviews contained within are carefully curated into topics that are most important to film editors and those that aspire to become film editors. The questions asked and the organization of the book is not merely an academic view of the art of editing but is the practical result of an actual working film and TV editor bringing benefits to both student and professional readers. Focal Press July 2024:354 Pb: 978-1-032-52130-5: £36.99 Hb: 978-1-032-53190-8: £135 * For full contents and more information, visit: www.routledge.com/9781032521305 Color Science and Digital Imaging An Essential Guide for Visual Effects Artists, Filmmakers and Photographers Steve Wright This book, written by a leading expert in the field of visual effects, demystifies the complex subject of color science and how it should be managed from project ideation to completion. Written for the professional Photographer, Cinematographer, visual effects, motion graphics or CG artist, Editor and Colorist, this book will provide you with knowledge of the upstream and downstream technology to your job that will not only give you a competitive advantage and help you to make better images while giving you a real- world working knowledge of Color Science. Routledge November 2024:264 Pb: 978-1-032-77386-5: £46.99 Hb: 978-1-032-78052-8: £135 * For full contents and more information, visit: www.routledge.com/9781032773865 Behind the Scenes of Indie Film Marketing A FilmSnobbery Field Guide Nicholas LaRue This book provides current and incoming filmmakers with a comprehensive overview of how to create solid business and marketing plans to better build their audiences and prepare their movies for distribution. Nicholas LaRue combines experienced insights into aesthetics and creativity, with logical data-driven conclusions to provide an eclectic analysis of independent film promotion. Given this diversity of perspective, this text will be an integral resource for new indie filmmakers, as well as those wishing to perfect their craft in whatever facet of independent filmmaking promotion. Focal Press June 2024:238 Pb: 978-1-032-50786-6: £33.99 Hb: 978-1-032-49500-2: £135 eBook: 978-1-003-39964-3 * For full contents and more information, visit: www.routledge.com/9781032507866 5TH EDITION Digital Compositing for Film and Video Production Workflows and Techniques Steve Wright Written by senior compositor, technical director, and master trainer Steve Wright, this book condenses years of production experience into an accessible and highly informative guide suitable for working and aspiring visual effects artists. This updated edition addresses the problems that professional compositors face daily with a blend of theory, practical production techniques, and workflows. It also features powerful new keying techniques and updates on the latest tech in the visual effects industry with all-new content on AI. A companion website also offers NUKE workflows and images from the examples discussed in the book allowing readers to experiment with the material first- hand. Routledge June 2024:554 Pb: 978-1-032-41799-8: £71.99 Hb: 978-1-032-41801-8: £145 eBook: 978-1-032-41807-0 * For full contents and more information, visit: www.routledge.com/9781032417998 Cinematography and Lighting for Television A Contemporary Approach Tim Palmer Drawing from author Tim Palmer's thirty years of experience working as a cinematographer for award-winning drama series including Killing Eve, Bad Sisters and Line of Duty, this book is the go-to guide on how to light just about any scene a cinematographer may face when shooting a TV show. Including practical advice for working in the industry and tips for low-budget and student settings, this is an accessible and creative guide to producing visually compelling footage that translates the script to the screen. Ideal for the professional cinematographer and advanced students of cinematography looking to develop their skills. Routledge November 2024:272 Pb: 978-1-032-25162-2: £32.99 Hb: 978-1-032-25163-9: £135 * For full contents and more information, visit: www.routledge.com/9781032251622 Editing for the Screen Edited by John Rosenberg University of Southern California, USA Series: PERFORM Combining essays and interviews with editors from film and television, this collection explores the business side of editing. Over 30 industry professionals dispel myths about the industry and provide practical advice on the business of film and TV editing. Written for undergraduates and graduates studying film and TV editing, as well as aspiring editors, this book provides readers with a wealth of first- hand information that will help them create their own opportunities and pursue a career in film and television. Routledge September 2024:240 Pb: 978-1-032-06498-7: £35.99 Hb: 978-1-032-06499-4: £130 * For full contents and more information, visit: www.routledge.com/9781032064987 FILMMAKING & POST PRODUCTION 11 Filmmaking in Academia Practice Research for Filmmakers Agata Lulkowska Series: Routledge Studies in Media Theory and Practice Evaluating the existing position of film as research, Filmmaking in Academia offers clear guidance and practical advice from the planning and conception of research films to the making, evaluation, dissemination and impact of practice-based research. This book aspires to serve as a guide for new and current researchers reaching to screen-based media and creative practice. It seeks to explore the scope, definitions, methodologies, and interdisciplinary (and post-disciplinary) nature of film research projects. This exciting new work provides key reading for graduate students, academics, and filmmakers looking to move into academia. Routledge June 2024:176 Hb: 978-1-032-39125-0: £49.99 * For full contents and more information, visit: www.routledge.com/9781032391250 Smartphone Cinema Making Great Films with Your Mobile Phone Bart Weiss This book guides the reader through the process of using your phone to create different kinds of video and audio for TV, theaters, YouTube, TikTok, and podcasts. Drawing from the author’s experience teaching classes on mobile filmmaking, this resource helps you tell stories better whilst going over the techniques necessary to control the phone professionally, also covering the accessories and software that can help you shape your narrative. This book will be a guide to first time makers, students of many disciplines including student filmmakers, and professional filmmakers who want to leverage what the phone can bring to a shoot. Focal Press November 2024:176 Pb: 978-1-032-54104-4: £35.99 Hb: 978-1-032-54103-7: £135 * For full contents and more information, visit: www.routledge.com/9781032541044 2ND EDITION Introduction to Cinematography Learning Through Practice Tania Hoser Introduction to Cinematography offers a practical, stage by stage guide to the creative and technical aspects of cinematography. Building from a skills-based approach focused on professional practice, Hoser provides a step-by- step introduction to the techniques, processes, and procedures of working with cameras, lenses, and light. This makes the second edition of Introduction to Cinematography the most up-to-date and essential resource for anyone aiming to acquire the full range of cinematography skills, allowing seamless progression from exercises through to full feature shoots. Routledge August 2024:508 Pb: 978-1-032-40884-2: £54.99 Hb: 978-1-032-40885-9: £135 * For full contents and more information, visit: www.routledge.com/9781032408842 2ND EDITION The Business of Television Updated and Expanded Second Edition Ken Basin Sony Pictures Television; Harvard Business School, USA In this expanded and updated second edition, esteemed television executive and Harvard lecturer Ken Basin offers a comprehensive and readable overview of the business, financial, and legal structure of the U.S. television industry, as well as its deal-making norms. Written for a diverse audience of working or aspiring creative professionals, executives, agents, managers, lawyers, and students, The Business of Television is the definitive reference guide for the ever- changing television industry. Routledge September 2024:680 Pb: 978-1-032-01298-8: £35.99 Hb: 978-1-032-01299-5: £130 * For full contents and more information, visit: www.routledge.com/9781032012988 Scene-writing for Film and TV Simon van der Borgh Focusing on an integral aspect of screenplays, this book takes students and writers at all levels through the process of understanding and writing better scenes. It interrogates the functions of a scene and how writers can then apply this knowledge to their own film and television scripts. Exploring the film and TV scene with its different types, forms, and functions, it is the ideal book for aspiring screenwriters and students of screenwriting and filmmaking at all levels, as well as directors, producers and actors looking to better understand the contextual and sub-textual motivations intended by the writer. Routledge October 2024:256 Pb: 978-1-032-27755-4: £26.99 Hb: 978-1-032-27756-1: £135 * For full contents and more information, visit: www.routledge.com/9781032277554 The Self-Sustaining Filmmaker Creating Crowdsourced, Crowdfunded & Community-Supported Independent Film Marty Lang This book provides guidance on how to build an independent, financially sustainable filmmaking career through channels such as crowdsourcing, crowdfunding, and community filmmaking concepts. This is an essential guide for aspiring and seasoned filmmakers alike looking to understand and apply crowdsourcing as an effective tool in their career. Routledge June 2024:224 Pb: 978-1-032-28202-2: £32.99 Hb: 978-1-032-28211-4: £135 eBook: 978-1-003-29575-4 * For full contents and more information, visit: www.routledge.com/9781032282022 www.routledge.com 12 FILMMAKING & POST PRODUCTION 2ND EDITION TV Writing On Demand What's Now + What's Next. Neil Landau This book takes a deep dive into writing for today’s audiences, against the backdrop of a constantly evolving TV ecosystem. This will be an essential resource for student and professional writers and is supplemented with a companion website offering additional content including script excerpts, pitch document/deck/show bible samples, scene analysis and templates, plus useful writing exercises to break new ground and to mine new territory. Routledge August 2024:388 Pb: 978-1-032-40881-1: £34.99 Hb: 978-1-032-40882-8: £130 * For full contents and more information, visit: www.routledge.com/9781032408811 4TH EDITION Voice & Vision A Creative Approach to Narrative Filmmaking Mick Hurbis-Cherrier Hunter College, City University of New York, USA, Gustavo Mercado Develop your creative voice whilst acquiring the practical skills and confidence to use it with this fully updated edition. Providing a solid grounding in tools, techniques, and processes of narrative film, this comprehensive manual covers all the essentials whilst foregrounding artistic vision throughout. Updates include: a more in-depth discussion of color grading tools, and their in the filmmaking process; up to date information on the creative role of the Digital Imaging Technician; step-by-step procedures for effective camera tests and the development of custom LUTs in pre- production; expanded sections on simple green screen effects, drone technology, funding, and distribution. Routledge October 2024:672 Pb: 978-0-367-75867-7: £54.99 Hb: 978-0-367-75868-4: £135 * For full contents and more information, visit: www.routledge.com/9780367758677 MASS COMMUNICATION & JOURNALISM 13 3RD EDITION Beyond Powerful Radio An Audio Communicator’s Guide to the Digital World - News, Talk, Information, & Personality for Podcasting & Broadcasting Valerie Geller A complete guide to becoming a successful communicator, Beyond Powerful Radio teaches time-tested techniques that work in any format – radio, TV, podcast, or online. Learn how to get, keep, and grow audiences with powerful storytelling, and become a dynamic presenter. This book holds the tools needed to create winning content; tell compelling stories; build your brand; develop talent; produce a show; report the news; sell; and write commercials. Whether you’re a professional with years in the industry, an instructor with a class full of media hopefuls, or you are just starting out as a podcaster or radio host, this book will help you reach your goals. Routledge November 2024:608 Pb: 978-0-367-34914-1: £51.99 Hb: 978-0-367-33739-1: £160 * For full contents and more information, visit: www.routledge.com/9780367349141 2ND EDITION Videojournalism Multimedia Storytelling for Online, Broadcast and Documentary Journalists Kenneth Kobre San Francisco State University, USA Videojournalism: Multimedia Storytelling for Online, Broadcast and Documentary Journalists is an essential guide for solo video storytellers—from "backpack" videojournalists to short-form documentary makers to do-it-all broadcast reporters. This book is for anyone learning how to master the art and craft of telling real, short-form stories with words, sound and pictures for the Web or television. Routledge April 2024:392 Pb: 978-1-032-22386-5: £66.99 Hb: 978-1-032-22388-9: £135 eBook: 978-1-003-27238-0 * For full contents and more information, visit: www.routledge.com/9781032223865 www.routledge.com 14 MEDIA & CULTURAL STUDIES Academia's Billion-Dollar Roulette Ken-Tye Yong , Morning Liu This book explores how in a rapidly shifting world, higher education has found itself at the crux of socio-economic, demographic, and technological transformations. This book dives deep into this evolving landscape, navigating the vast complexities of global higher education and its cultural implications. This book is tailored for a broad spectrum of readers including Higher education policymakers, university administrators, and educators will find it particularly invaluable. Yet, its accessible language and engaging narratives also appeal to students, and anyone curious about the trajectory of higher education in our rapidly changing world. Routledge July 2024:104 Hb: 978-1-032-75986-9: £48.99 * For full contents and more information, visit: www.routledge.com/9781032759869 Bourdieusian Media Studies Johan Lindell Uppsala University, Sweden Series: Routledge Focus on Media and Cultural Studies Bourdieusian Media Studies illustrates the merits of Pierre Bourdieu’s cultural sociological approach in the field of media studies, explicating exactly what a “Bourdieusian” analysis of media would entail, and what new understandings of the digital media landscape that would emerge from such an analysis. Illustrating the craft of Bourdieusian media studies and shedding new light on key dynamics of digital media culture, this book will appeal to scholars and students working in media studies, media theory, sociology of media, digital media, and cultural production. Routledge July 2024:160 Hb: 978-1-032-42117-9: £49.99 * For full contents and more information, visit: www.routledge.com/9781032421179 African Documentary Cinema Alexie Tcheuyap University of Toronto, Canada Series: Routledge Advances in Film Studies African Documentary Cinema investigates the inception and trajectory of contemporary documentary filmmaking in sub- Saharan African countries and their diasporas. The book challenges critical paradigms that have long prevailed in African film criticism, shedding light on the diverse discourses and evolving aesthetic trends present within documentary films. This ground-breaking study offers new insight into a rapidly expanding topic and will appeal to students and scholars in the fields of film studies, documentary film, media industry studies, African studies, French, postcolonial studies, politics and cultural studies. Routledge August 2024:210 Hb: 978-1-032-20374-4: £130 eBook: 978-1-003-26336-4 * For full contents and more information, visit: www.routledge.com/9781032203744 Cannabis Cultures and Markets Edited by Michał Wanke University of Opole, Poland, Sveinung Sandberg University of Oslo, Norway, Ruken Macit Harran University, Turkey, Hakan Gülerce Harran University, Turkey This book demonstrates how culture matters for the understanding of cannabis use. It stems from the growing body of research on how users manoeuvre stigmatisation and celebrate the subcultural status of cannabis amid rapid transformation of the substance and its societal reception. The volume presents international studies that challenge the normalisation thesis and simplified views on patterns of use, as well as the western bias in social research of cannabis. The chapters in this book were originally published as a special issue of Drugs: Education, Prevention and Policy. Routledge June 2024:136 Hb: 978-1-032-74369-1: £135 eBook: 978-1-003-46896-7 * For full contents and more information, visit: www.routledge.com/9781032743691 Asian Histories and Heritages in Video Games Edited by Yowei Kang , Kenneth C. C. Yang , Michał Mochocki , Jakub Majewski , Paweł Schreiber Series: Routledge Advances in Game Studies This book explores the representations of national Asian histories in digital games. Situated at the intersection of regional game studies and historical game studies, this book offers chapters on histories and heritages of Japan, China, Iran, Iraq, Taiwan, South Korea, Indonesia, Singapore, Turkey, and Russia. Appealing primarily to scholars in the fields of game studies, heritage studies, postcolonial criticism, and media studies, this book will be particularly useful for the subfields of historical game studies and postcolonial game studies. Routledge September 2024:248 Hb: 978-1-032-60966-9: £135 * For full contents and more information, visit: www.routledge.com/9781032609669 Central and Eastern European Histories and Heritages in Video Games Edited by Michał Mochocki , Paweł Schreiber , Jakub Majewski , Yaraslau I. Kot Series: Routledge Advances in Game Studies This book explores the representations of Central and Eastern European histories in digital games. Appealing primarily to scholars in the fields of game studies, heritage studies, postcolonial criticism, and media studies, this book will be particularly useful for the subfields of historical game studies and postcolonial game studies. Routledge October 2024:256 Hb: 978-1-032-60967-6: £135 * For full contents and more information, visit: www.routledge.com/9781032609676 MEDIA & CULTURAL STUDIES 15 Changing Geopolitics of Global Communication Daya Thussu Series: Communication and Society This book examines the rapidly evolving dynamics between global communication and geopolitics. It bridges the existing gap in scholarship and highlight the growing importance of digital communication in legitimizing and promoting geopolitical and economic goals of leading powers. The ideas and arguments advanced here privilege a reading of geopolitical processes and examples from the perspective of the global South. This comprehensive and transdisciplinary study adopts a holistic approach and will be of interest to the global community of scholars, researchers and commentators in communication and international relations, among other fields. Routledge July 2024:288 Pb: 978-1-138-28080-9: £29.99 Hb: 978-1-138-28079-3: £115 * For full contents and more information, visit: www.routledge.com/9781138280809 Cinema and Surveillance The Asymmetric Gaze Martin Blumenthal-Barby Rice University, USA Series: Routledge Focus on Film Studies Cinema and Surveillance: The Asymmetric Gaze shows how key modern filmmakers challenge and disturb the relation between film and surveillance, medium and message. Assembling readings of films by Harun Farocki, Michael Haneke, and Fritz Lang, the book considers surveillance in such different domains as urban life, religious doctrine, and law enforcement. In its intersection of well-known figures and a highly topical issue, this book will have broad appeal, especially, but not exclusively, among students and scholars in film studies, media studies, German studies, European studies, art history, and political theory. Routledge June 2024:96 Hb: 978-1-032-13461-1: £48.99 eBook: 978-1-003-22983-4 * For full contents and more information, visit: www.routledge.com/9781032134611 Childhood in Animation Navigating a Secret World Jane Batkin University of Lincoln, UK Series: Routledge Research in Cultural and Media Studies Childhood in Animation: Navigating a Secret World explores how children are viewed in cinema and television and examines the screen spaces that they occupy. This volume will be of great interest to scholars and students of childhood studies, animation, film and television studies, psychology and sociology. Routledge August 2024:192 Hb: 978-0-367-75855-4: £130 * For full contents and more information, visit: www.routledge.com/9780367758554 Classics in Media Theory Edited by Stina Bengtsson Södertörn University, Sweden, Staffan Ericson Södertörn University, Sweden, Fredrik Stiernstedt Södertörn University, Sweden This comprehensive collection introduces and contextualizes media studies' most influential texts and thinkers, from early 20th century mass communication to the first stages of digital culture in the 21st century. This is essential reading for students of media and communication and adjacent fields such as journalism studies, sociology and cultural studies. Routledge June 2024:420 Pb: 978-1-032-55795-3: £42.99 Hb: 978-1-032-55796-0: £135 eBook: 978-1-003-43227-2 * For full contents and more information, visit: www.routledge.com/9781032557953 Children, Media, and Pandemic Parenting Family Life in Uncertain Times Edited by Rebekah Willett , Xinyu Zhao Series: Routledge Studies in New Media and Cyberculture This book examines changes in families’ rules and routines connected with media during the pandemic and shifts in parents’ understanding of children’s media use. This timely volume will offer key insights to researchers and graduate students studying in a variety of disciplines including media and cultural studies, communication arts, education, childhood studies and family studies. Routledge July 2024:224 Hb: 978-1-032-60203-5: £130 * For full contents and more information, visit: www.routledge.com/9781032602035 Communicating in Intercultural Spaces Lily A. Arasaratnam-Smith Alphacrucis University College, Australia, L. Ripley Smith Communicating in Intercultural Spaces is a unique contribution to literature in intercultural communication from two authors who bring distinct socio-cultural voices to this work. Written for readers ranging from advanced undergraduate students to intercultural practitioners, this book offers a new conceptualisation for understanding intercultural communication. Eight propositions frame the concept of intercultural spaces. Readers should expect to walk away with an understanding of key theories and frameworks in intercultural communication and the tools with which to develop their own intercultural communication competence. Routledge August 2024:264 Pb: 978-1-032-33149-2: £34.99 Hb: 978-1-032-33150-8: £130 * For full contents and more information, visit: www.routledge.com/9781032331492 www.routledge.com 16 MEDIA & CULTURAL STUDIES Conflicting Images Histories of War Photography in the News Stuart Allan Bournemouth University, UK, Tom Allbeson Unlike most historical examinations of war reporting which centre the evolving role of the war correspondent, Conflicting Images focuses on the contribution of photographers and photojournalists, providing an evaluative appraisal of war photography in the news and its development from the nineteenth century to the twenty- first. This book is recommended reading for researchers and advanced students of visual journalism and conflict reporting. Routledge May 2024:290 Pb: 978-0-415-61832-8: £35.99 Hb: 978-0-415-61829-8: £135 eBook: 978-0-203-12985-2 * For full contents and more information, visit: www.routledge.com/9780415618328 Data Journalism and the COVID-19 Disruption Edited by Jingrong Tong University of Sheffield, UK. Data Journalism and the COVID-19 Disruption offers an international, multidisciplinary account of how and to what extent the COVID-19 pandemic has been a blessing for data journalism. Offering a timely contribution to the discussions on how data journalism evolved during a time of crisis, this volume will appeal to scholars and students of data journalism, journalism practice, media and communication studies, and media industry studies. Routledge August 2024:248 Hb: 978-1-032-55077-0: £130 * For full contents and more information, visit: www.routledge.com/9781032550770 Covid-19 in Film and Television Watching the Pandemic Edited by Verena Bernardi Saarland University, Germany, Amanda D. Giammanco Saarland University, Germany, Heike Mißler Saarland University, Germany Series: Routledge Research in Cultural and Media Studies This collection explores the impact of COVID-19 on the production and consumption of television and film content in the English-speaking world. Given the pandemic’s lasting impact on film and television industries, this book will be a valuable read for scholars studying audience and viewer reception of on-screen content, and the impact of crises on cultural industries. It will also appeal to researchers in cultural studies, popular culture, television studies, internet studies, film studies, and media studies more broadly. Routledge September 2024:200 Hb: 978-1-032-44594-6: £135 * For full contents and more information, visit: www.routledge.com/9781032445946 Design History and Culture Methods and Approaches Javier Gimeno-Martínez This student friendly text provides a comprehensive exploration of the methods and approaches employed within design scholarship, drawing upon influences from history, art history, anthropology and interdisciplinary studies such as science and technology studies and material culture studies. This comprehensive overview of methods and approaches will enable students to select the most appropriate methodological tools for their own research. It is an ideal guide for both undergraduate and postgraduate students in design, design culture, design history, design studies and visual culture. Routledge July 2024:290 Pb: 978-0-367-70629-6: £34.99 Hb: 978-0-367-70628-9: £135 * For full contents and more information, visit: www.routledge.com/9780367706296 Critical Readings on Hammer Horror Films Edited by Fernando Gabriel Pagnoni Berns Universidad de Buenos Aires, Argentina, Matthew Edwards Series: Routledge Advances in Horror This collection offers close readings on Hammer’s cycle of horror films, analysing key films and placing particular emphasis on the narratives and themes present in the works discussed. This volume will appeal to scholars and students of film studies, international cinema, film history and horror studies. Routledge June 2024:248 Hb: 978-1-032-60315-5: £130 eBook: 978-1-003-45860-9 * For full contents and more information, visit: www.routledge.com/9781032603155 Digital Media Metaphors A Critical Introduction Edited by Johan Farkas Malmö University, Sweden, Marcus Maloney This volume provides a comprehensive introduction to digital media metaphors, unpacking their power and limitations. The collection, structured in three parts, explores metaphors across digital infrastructures, content, and users. Within these parts, each chapter examines a specific metaphor that has become near-ubiquitous in public debate. Doing so, the book engages not only with the technological, but also the social, political, and environmental implications of digital technologies and relations. This unique collection will interest students and scholars of digital media studies, media and communication studies, sociology, and science and technology studies. Routledge November 2024:190 Pb: 978-1-032-67459-9: £35.99 Hb: 978-1-032-67460-5: £135 * For full contents and more information, visit: www.routledge.com/9781032674599 MEDIA & CULTURAL STUDIES 17 Digital Media, Denunciation and Shaming The Court of Public Opinion Daniel Trottier , Qian Huang , Rashid Gabdulhakov Series: Routledge Focus on Communication and Society This book offers a common set of concepts to help make sense of online shaming practices, accounting for instances of discrimination and injury that morally divide readers and at times risk unjust and disproportionate harm to those under scrutiny. This book is recommended reading for advanced students and researchers of online visibility and harm across Media Studies, Cultural Studies, and Sociology. Routledge June 2024:130 Hb: 978-1-032-60272-1: £49.99 * For full contents and more information, visit: www.routledge.com/9781032602721 Eco-Teen Films Robin L. Murray Eastern Illinois University, USA, Joseph K. Heumann Eastern Illinois University, USA Series: Routledge Advances in Film Studies Illuminating the impacts of environmental disasters and climate crises globally, this book examines the experiences of teens grappling with eco-disasters and issues in films of the 21st century. This book will be of interest to students and scholars of film studies, ecocriticism, and environmental studies, especially those with a particular interest in ecocinema and/or ecocritical readings of films. Routledge September 2024:216 Hb: 978-1-032-77511-1: £135 * For full contents and more information, visit: www.routledge.com/9781032775111 Disinformation Debunked Building Resilience through Media and Information Literacy Edited by Divina Frau-Meigs , Nicoleta Corbu Series: Routledge Research in Media Literacy and Education Disinformation Debunked: Building Resilience through Media and Information Literacy examines the way Media and Information Literacy (MIL) can address disinformation in conjunction with fact-checkers and developers, to benefit from the expertise of these fields in fighting disinformation. This book is of great importance to students, scholars and educators working on media and information literacy, digital media, journalism, mass communication, misinformation and disinformation. Routledge June 2024:328 Hb: 978-1-032-48101-2: £135 eBook: 978-1-003-38740-4 * For full contents and more information, visit: www.routledge.com/9781032481012 Emirati Women Journalists Bargaining with Patriarchy in Search of Equality Noura Al Obeidli Series: Routledge Focus on Journalism Studies This book presents a rare investigation of the media landscape and gender dynamics in Emirati newsrooms, with a socio-cultural focus on the influence of tribal patriarchalism in determining Emirati women’s role as news- makers. This book will interest students and scholars of journalism and journalistic practice, media policy, international journalism, gender studies and Middle East studies Routledge July 2024:152 Hb: 978-1-032-78541-7: £48.99 * For full contents and more information, visit: www.routledge.com/9781032785417 Disrupting Mainstream Journalism in India The Rise of Alternative Journalisms Online Kalyani Chadha Series: Disruptions Disrupting Mainstream Journalism in India offers a comprehensive and empirically-grounded analysis of the production of digital journalism by marginalized groups within Indian society. Disrupting Mainstream Journalism in India is a valuable empirical resource for students and scholars interested in Indian media, journalism, and democracy. Routledge May 2024:132 Hb: 978-1-032-15447-3: £48.99 eBook: 978-1-003-24420-2 * For full contents and more information, visit: www.routledge.com/9781032154473 Europeans and the Media Between Global and Local Andrea Miconi Series: Routledge Research in Cultural and Media Studies This book investigates the relationship between the process of Europeanization – the expected rise of a common culture – and the role played by the media in the different regions. This nuanced and insightful volume will interest students and scholars in the field of communication studies, European studies, and comparative media studies. Routledge July 2024:224 Hb: 978-1-032-74370-7: £130 * For full contents and more information, visit: www.routledge.com/9781032743707 www.routledge.com 18 MEDIA & CULTURAL STUDIES Fan Podcasts Rewatch, Recap, Review Anne Korfmacher Series: Routledge Advances in Fan and Fandom Studies Starting from the observation of the ubiquity of fan podcasts engaging in media commentary, this book explores three fan podcast genres in which commentary manifests as a structuring form: rewatch and reread podcasts, recap podcasts, and review podcasts. This book will be of significant interest to scholars and students in podcast studies, fan studies, cultural and literary studies who are interested in fan podcasts, podcast genre analysis and ways of close reading podcasts as texts. Routledge June 2024:238 Hb: 978-1-032-72194-1: £135 eBook: 978-1-032-72200-9 * For full contents and more information, visit: www.routledge.com/9781032721941 3RD EDITION Introduction to Game Analysis Clara Fernández-Vara New York University, USA This accessible, third edition textbook gives students the tools they need to analyze game using strategies borrowed from textual analysis. Introduction to Game Analysis remains an essential practical tool for students who want to become fluent writers and informed critics of games, as well as digital media in general. Routledge June 2024:362 Pb: 978-1-032-31834-9: £38.99 Hb: 978-1-032-41007-4: £135 eBook: 978-1-003-35577-9 * For full contents and more information, visit: www.routledge.com/9781032318349 Gamer Citizens Live-Video Politics in a Digital Age Ilya Brookwell University of California Riverside, USA This book examines the politics of being a gamer in the digital age with an in-depth study of the communities of gamers who populate live-video streaming sites. Interesting reading for undergraduate students, postgraduate researchers, and academics of media, cultural and communication studies, video game studies, and digital media studies. Routledge June 2024:146 Pb: 978-1-032-37133-7: £35.99 Hb: 978-1-032-37621-9: £135 eBook: 978-1-003-34107-9 * For full contents and more information, visit: www.routledge.com/9781032371337 Journalism and Safety An Introduction to the Field Edited by Oscar Westlund Oslo Metropolitan University, Norway, Roy Krøvel Oslo Metropolitan University, Norway, Kristin Skare Orgeret Oslo Metropolitan University, Norway This volume presents key international research on journalism and safety with a focus on conceptual, global, and transnational approaches, as well as conflict, challenges, and consequences for democracy. It offers an overview of the latest research and ongoing developments in the field of journalism and safety and speaks to the ways in which digital developments have worsened the risks surrounding journalists, with online harassments, security breaches, surveillance and so forth challenging their safety like never before. The chapters in the book were originally published in Digital Journalism, Journalism Studies and Journalism Practice during the years 2019-2023. Routledge June 2024:324 Hb: 978-1-032-70294-0: £135 eBook: 978-1-032-70575-0 * For full contents and more information, visit: www.routledge.com/9781032702940 Intersectionality, Political Economy, and Media Carolyn M. Byerly Howard University, USA This textbook considers the critical relationship between gender, race and class and the political economy of media, providing an accessible introduction for students. This is a key text for undergraduate and graduate media and communication courses such as Media and Society, Political Economy of Media, Gender, Race and Media, Research Methods, and more. It will also appeal to social science classes such as Media Sociology, Labor Studies, and Political Economy Research. Routledge July 2024:222 Pb: 978-1-032-51690-5: £34.99 Hb: 978-1-032-51691-2: £135 * For full contents and more information, visit: www.routledge.com/9781032516905 Journalism from Print to Platform The Impossible Shift from Analog to Digital Robert Hassan University of Melbourne, Australia Series: Disruptions Through a synthesis of philosophical anthropology and media theory, this book examines the human relationship with technology, progressing from analogue to digital, to give a new perspective on journalism in the digital age. Journalism from Print to Platform takes a fresh look at the relationship between journalism as a craft shaped by its tools and considers anew the tools themselves. This challenging study is an insightful resource for students and scholars in journalism, media and technology studies. Routledge May 2024:120 Hb: 978-0-367-51513-3: £49.99 eBook: 978-1-003-05420-7 * For full contents and more information, visit: www.routledge.com/9780367515133 MEDIA & CULTURAL STUDIES 19 Kardashians A Critical Anthology Edited by Meredith Jones , Kath Burton , Donna Lee Brien Central Queensland University, Australia This interdisciplinary volume introduces the field of Kardashian Studies through collections of essays based in sociology, media studies, cultural studies, critical race theory, and fashion theory. The first of its kind, Kardashians: A Critical Anthology positions Kardashian Studies at the forefront of critical inquiry around notions of authenticity, contemporary feminisms, visuality and social media. It will of interest to both scholars and students interested in popular culture, television, notions of authenticity, contemporary feminisms, visuality, race, and social media. Routledge July 2024:222 Pb: 978-1-032-67440-7: £35.99 Hb: 978-1-032-67441-4: £135 eBook: 978-1-032-67442-1 * For full contents and more information, visit: www.routledge.com/9781032674407 Media and Society An Introduction Klaus Bruhn Jensen University of Copenhagen, Denmark, Signe Sophus Lai Media and Society: An Introduction, offers an interdisciplinary approach to media as means of social connection in everyday life and beyond. As a comprehensive and up-to-date textbook on key conceptual, analytical, and normative issues facing students of media and communication today, this book is a practically applicable resource for teaching and learning about media, in the classroom, in self-study, and in different world regions. As such, it is a key resource for undergraduate students and professors in the fields of media, communication, and cultural studies. Routledge November 2024:270 Pb: 978-1-032-65504-8: £34.99 Hb: 978-1-032-65508-6: £135 * For full contents and more information, visit: www.routledge.com/9781032655048 Kate Bush and the Moving Image Stephen Glynn Stephen Glynn demonstrates that Kate Bush’s work, in both sound and vision, has long been influenced by film and television media.The volume explores in depth Bush’s ‘music of allusion’ and analyses the significance of film and television references throughout the lyrics and settings of her songs. It also surveys the shaping presence of film and television in the look, narrative and artistry of her music videos. Accessible yet academically rigorous, Kate Bush and the Moving Image is a stand-out study of the iconic singer- songwriter’s discography and cinematic ventures. It will appeal to both students and scholars of Film, Television, Media, Cultural and Popular Music Studies. Routledge July 2024:176 Hb: 978-1-032-76684-3: £48.99 * For full contents and more information, visit: www.routledge.com/9781032766843 Media in Africa Issues and Critiques Edited by Toks Dele Oyedemi , René A. Smith Wits School of Arts, University of the Witwatersrand, Johannesburg, South Africa A comprehensive and accessible introduction, this book examines a range of issues pertaining to theory, history, and critiques of media in Africa. An essential text for students of media, communication, journalism, and cultural studies who are studying media in Africa, as well as those studying global media. Routledge May 2024:232 Pb: 978-1-032-39239-4: £34.99 Hb: 978-1-032-39925-6: £135 eBook: 978-1-003-35290-7 * For full contents and more information, visit: www.routledge.com/9781032392394 Korea’s Platform Empire An Emerging Power in the Global Platform Sphere Seongcheol Kim , Dal Yong Jin Simon Fraser University, Canada Korea's Platform Empire explores the evolution of digital platforms in South Korea’s media sphere, and their global political, economic, cultural, and technological influence. This book will appeal to students and scholars working on media industries, digital media, platform studies, information and technology studies, Korean and East Asian media studies, and the creative and cultural industries. Routledge June 2024:204 Hb: 978-1-032-57937-5: £135 eBook: 978-1-003-44169-4 * For full contents and more information, visit: www.routledge.com/9781032579375 Media Industries in Crisis What COVID Unmasked Edited by Vicki Mayer Tulane University, USA, Noa Lavie Academic College of Tel Aviv-Jaffa, Israel, Miranda Banks Loyola Marymount University, USA This edited volume offers a global overview that impact the COVID-19 pandemic, and other significant crises, have had on media industries and how they’ve responded. This collection will be of interest to media and communication students, particularly those focused on the media industries and practices, and crisis communication and management, as well as those working in the media industries. Routledge April 2024:282 Pb: 978-1-032-48190-6: £35.99 Hb: 978-1-032-48192-0: £135 eBook: 978-1-003-38779-4 * For full contents and more information, visit: www.routledge.com/9781032481906 www.routledge.com 20 MEDIA & CULTURAL STUDIES Media Inequality News Framing and Media Power Victoria Fielding University of Adelaide, Australia Series: Theorizing Education News media notionally underpins a vibrant and diverse democracy by representing political, industrial and social conflict to mass audiences. Yet, few studies measure how equitably journalists frame public contestation. Despite framing theory’s extensive use in media and communication scholarship, little is known about how frames are created and disseminated - how frames are built - to explain how and why journalists frame news the way they do. Media Inequality is thus valuable to scholars, academics and research students in the fields of journalism, communication, and media, particularly scholars interested in how journalists represent political, industrial, and social contestation. Routledge September 2024:264 Hb: 978-1-032-65954-1: £135 * For full contents and more information, visit: www.routledge.com/9781032659541 2ND EDITION Media Theory for A Level The Essential Revision Guide Mark Dixon Media Theory for A Level provides a comprehensive introduction to the 19 academic theories required for A Level Media study. This book is key reading for teachers and students of A-Level Media Studies and is also a useful resource for GCSE students. Media Theory for A Level is also accompanied by the essentialmediatheory.com website that contains a wide range of supporting resources including revision flashcards, worksheets, and more exemplar applications of theory to current set texts. Routledge July 2024:298 Pb: 978-1-032-42102-5: £18.99 Hb: 978-1-032-42103-2: £135 * For full contents and more information, visit: www.routledge.com/9781032421025 Media Literacy of the Oppressed An Emancipatory Pedagogy for/with the Marginalized Jad Melki Series: Routledge Research in Media Literacy and Education This book offers an alternative approach to developing media literacy pedagogies for people in postcolonial countries and marginalized communities, especially in the Global South, tackling unexplored issues such as media literacy of war, terrorism, pandemics, infodemics, populism, colonialism, genocide, and intersectional feminism. This book will be an important resource for scholars, educators and students of media literacy, communication, cultural studies, critical pedagogy, postcolonialism, Arab studies, and human rights. Routledge October 2024:304 Hb: 978-0-367-33488-8: £135 * For full contents and more information, visit: www.routledge.com/9780367334888 Media, Dissidence and the War in Ukraine Edited by Tabe Bergman , Jesse Owen Hearns- Branaman Series: Routledge Studies in Media, Communication, and Politics This volume examines the global media coverage of the armed conflict in Ukraine, focusing on the marginalization of dissident perspectives in the West and the information quality and diversity on social media. Written by a diverse group of international researchers, this multifaceted volume offers new perspectives and insights on the reporting of the ongoing conflict. It will interest scholars of international communication and media, foreign policy and international politics, war and conflict, content analysis, and journalism. Routledge June 2024:204 Hb: 978-1-032-55705-2: £135 eBook: 978-1-003-43186-2 * For full contents and more information, visit: www.routledge.com/9781032557052 Media Pluralism in the Digital Era Legal, Economic, Social, and Political Lessons Learnt from Europe Edited by Elda Brogi , Iva Nenadić , Pier Luigi Parcu Bringing together scholars, journalists, and researchers from 27 European countries, this book provides a comparative and longitudinal analysis of the evolvement of conditions and standards relevant for sustainable, free, and plural media and journalism in Europe in the last 10 years. Offering a comprehensive overview of key areas of EU media policy, causes and solutions for the media economic struggle, and innovative examples of business models for journalism in the digital age, this book is recommended reading for advanced students and researchers of media policy and regulation, as well as policymakers. Routledge September 2024:218 Hb: 978-1-032-56761-7: £130 * For full contents and more information, visit: www.routledge.com/9781032567617 Media, Internet, and Social Movements in Hong Kong Control and Protest Carol P. Lai University of Macau, Macau, Andrew Y. To Series: Routledge Focus on Communication and Society Focusing on the unique story of the ‘recolonization’ of Hong Kong since 2019, this book describes the environment of news gathering and publishing during this period and studies how this has connected to wider political, economic, and social changes. This compelling text will be of interest to students and scholars in the fields of journalism, media, and area studies, particularly those focusing on Greater China and the Asia-Pacific region. Routledge August 2024:138 Hb: 978-0-367-71302-7: £49.99 * For full contents and more information, visit: www.routledge.com/9780367713027 MEDIA & CULTURAL STUDIES 21 Narrating Chinese Youth Mobilities Digital Storytelling and Media Citizenship He Zhang , Qian Gong Series: Chinese Perspectives on Journalism and Communication This book presents the first major initiative to introduce workshop-based Digital Storytelling to digitally dynamic and engaged youth, both in China and internationally. The title will be of value to professionals in the field of digital storytelling and will also appeal to students and scholars interested in Chinese youth culture, educational mobility, media citizenship, digital literacy and Chinese migration. Routledge July 2024:158 Hb: 978-1-032-80085-1: £130 eBook: 978-1-003-49675-5 * For full contents and more information, visit: www.routledge.com/9781032800851 Patterns of Harassment in African Journalism Edited by Lungile Augustine Tshuma , Trust Matsilele , Mbongeni Jonny Msimanga , Sadia Jamil Series: Routledge Research in Journalism This volume examines the trends and patterns of journalists’ harassment in Africa, and assess the policy interventions and protection mechanisms that are put into place in the region. Offering new theoretical insights into the scope of journalism practices in the Africa, this book will interest students and scholars of journalism, African studies, political science, media and communication studies, journalism practice and gender studies. Routledge June 2024:270 Hb: 978-1-032-69748-2: £135 eBook: 978-1-032-69760-4 * For full contents and more information, visit: www.routledge.com/9781032697482 News Aesthetics and Myth The Making of Media Illiteracy in India Shashidhar Nanjundaiah Series: Routledge Research in Cultural and Media Studies This book considers the presence of media illiteracy in a world in which we are supposedly consumed by media, live a media life, in a media ecosystem, surrounded only by mediated communication. This vital and innovative book will be an important resource for scholars and students in the areas of media literacy and critical media literacy, media education, journalism, mass communication, aesthetics and media technology. Routledge July 2024:246 Hb: 978-1-032-75541-0: £130 eBook: 978-1-003-47445-6 * For full contents and more information, visit: www.routledge.com/9781032755410 Pedagogical Opportunities of the Review Genre Learning in Cultures of Evaluation Maarit Jaakkola University of Gothenburg, Sweden Series: Routledge Research in Media Literacy and Education Pedagogical Opportunities of the Review Genre unleashes the pedagogical potential of the review genre, reframing the act of reviewing of cultural products as a communicative practice from a pedagogical perspective. This innovative and truly interdisciplinary study will interest students and researchers in the areas of media literacy, digital media, media and communication studies, cultural studies, sociology of arts, and pedagogical studies – in particular, cultural journalism and criticism, audience studies, cultural production and cultural mediation, as well as critical media pedagogy and literacy studies. Routledge June 2024:240 Hb: 978-1-032-37700-1: £135 eBook: 978-1-003-34229-8 * For full contents and more information, visit: www.routledge.com/9781032377001 News Corp Empire of Influence Graham Murdock Loughborough University, UK, Benedetta Brevini University of Sydney, Australia, Michael Ward University of Sydney, Australia Series: Global Media Giants A comprehensive scholarly look at the dominance, power, and influence of News Corp as one of the most potent communication giants of current times. This is an invaluable resource to students and scholars of global media industries, the political economy of media, media policy, and media and politics. Routledge August 2024:178 Hb: 978-1-032-18032-8: £48.99 * For full contents and more information, visit: www.routledge.com/9781032180328 2ND EDITION Photography as Activism Images for Social Change Michelle Bogre This fully revised and updated second edition of Photography as Activism is both a study of activist photography, and a call to action. It offers students and documentary photographers insights into the theory, history, philosophy and practice of photography as activism. The book is illustrated with 85 key historical and contemporary images. Chapters have been revised to include contemporary ideas about representation, gaze, agency and decolonizing the camera, as well as an expanded history. Photography as Activism is an essential text for courses on documentary and photojournalism, and those that explore art as social change more broadly. Routledge September 2024:278 Pb: 978-0-367-72352-1: £38.99 Hb: 978-0-367-72350-7: £135 * For full contents and more information, visit: www.routledge.com/9780367723521 www.routledge.com 22 MEDIA & CULTURAL STUDIES 9TH EDITION Power Without Responsibility Press, Broadcasting and the Internet in Britain James Curran , Jean Seaton Hailed as a book that has ‘cracked the canon’ by the Times Higher, Power Without Responsibility gained the International Communication Fellows’ ‘classic book’ Award in 2019. This ninth edition takes account of new developments (such as generative AI) and new scholarship in the field. It also contains a new chapter on the transformed opportunity for a reformed and buccaneering public service broadcasting in the face of automated misinformation and social division: locally, nationally and internationally. This trailblazing text is essential reading for all students and scholars interested in British media and contemporary media and society. Routledge September 2024:552 Pb: 978-1-032-11201-5: £39.99 Hb: 978-1-032-11199-5: £130 * For full contents and more information, visit: www.routledge.com/9781032112015 Refugee Settlement in Australia A Holistic Overview of Current Research and Practice Aparna Hebbani Series: Routledge Studies in Media, Communication, and Politics Combining theoretical and practical information, this book presents a holistic overview of refugee settlement in Australia. It focuses on numerous critical aspects of refugee settlement which play a vital role in refugee integration into Australia. Starting with an overview of immigration history in Australia, the book then places an emphasis on 21st century settlement of refugees. This is an ideal resource for advanced undergraduates, postgraduates, and scholars of refugee settlement in the disciplines of communication, media, politics and international relations, social work, education, and demographic studies. Routledge June 2024:122 Hb: 978-1-032-27250-4: £125 eBook: 978-1-003-29195-4 * For full contents and more information, visit: www.routledge.com/9781032272504 Project Management for Book Publishers The Programs and Workflows Behind Making Books and Digital Products John Rodzvilla Project Management for Book Publishers provides readers with a solid understanding of efficient processes and workflows for content creation, product development, and the marketing and distribution of both physical and digital products.Written for publishing professionals at all levels, this book will also help advanced students of Publishing and Book Studies navigate best practices for project management in the modern publishing landscape. Routledge July 2024:184 Pb: 978-1-032-51672-1: £34.99 Hb: 978-1-032-51673-8: £135 * For full contents and more information, visit: www.routledge.com/9781032516721 Rethinking Scholarly Communication in China A Political Economy Approach Liu Zhongbo This book examines science and technology policies in China over time and explores the development of scholarly communication through the lens of the political economy of communication. The title will serve as a key reference for academics, researchers and students interested in the intersection of communication studies, librarianship, and political science, particularly those focusing on China's academic knowledge production and scholarly communication. Routledge August 2024:134 Hb: 978-1-032-66580-1: £135 * For full contents and more information, visit: www.routledge.com/9781032665801 Race, Culture and the Video Game Industry A Vicious Circuit Sam Srauy Oakland University, USA A detailed and much needed examination of how systemic racism in the US shaped the culture, market logic, and production practices of video game developers from the 1970s until the 2010s. A vital contribution to the study of video games that will be welcomed by students and scholars in the fields of media studies, cultural studies, game studies, critical race studies, and beyond. Routledge April 2024:168 Pb: 978-1-032-39806-8: £35.99 Hb: 978-1-032-40715-9: £135 eBook: 978-1-003-35442-0 * For full contents and more information, visit: www.routledge.com/9781032398068 Screening Big Data Films That Shape Our Algorithmic Literacy Gerald Sim Florida Atlantic University, USA This book examines the influence of key films on public understanding of big data and the algorithmic systems that structure our digitally mediated lives. This book will interest students and scholars of film and media studies, digital culture, critical data studies, and technopolitics. Routledge July 2024:210 Pb: 978-0-367-77263-5: £35.99 Hb: 978-0-367-77402-8: £130 * For full contents and more information, visit: www.routledge.com/9780367772635 MEDIA & CULTURAL STUDIES 23 9TH EDITION Selling Rights Lynette Owen Now in its ninth edition, Selling Rights has firmly established itself as the leading guide to all aspects of rights sales and co-publications throughout the world. Covering the full range of potential rights, from English-language territorial rights through to serial rights, permissions, rights for the reading-impaired, translation rights, dramatization and documentary rights, electronic and multimedia rights, this book constitutes a comprehensive introduction and companion to the topic. Selling Rights is an essential reference tool and an accessible and illuminating guide to current and future issues for rights professionals and students of publishing. Routledge July 2024:544 Pb: 978-1-032-49590-3: £52.99 Hb: 978-1-032-49592-7: £135 * For full contents and more information, visit: www.routledge.com/9781032495903 2ND EDITION Social Media Measurement and Management Entrepreneurial Digital Analytics Jeremy Harris Lipschultz University of Nebraska at Omaha, USA This revised and updated textbook applies a critical and practical lens to the world of social media analytics. Author Jeremy Harris Lipschultz explores the foundations of digital data, strategic tools, and best practices in an accessible volume for students and practitioners of social media communication. A perfect primer for this developing industry, this book is ideal for students, scholars, and practitioners of digital media seeking to hone their skills and expand their bank of new tools and resources. Routledge August 2024:328 Pb: 978-1-032-24786-1: £42.99 Hb: 978-1-032-25210-0: £130 eBook: 978-1-003-28209-9 * For full contents and more information, visit: www.routledge.com/9781032247861 Slut Narratives in Popular Culture Laurie McMillan Kutztown University of Pennsylvania, USA Series: Routledge Research in Cultural and Media Studies Slut Narratives in Popular Culture explores representations of slut shaming and the term “slut” in U.S. popular media, 2000- 2020. It argues that cultural narratives of intersectional gender identities are gradually but unevenly shifting to become more progressive and sex positive. Aimed primarily at an academic audience, this book will also engage general readers interested in intersectional feminism, pop culture, new media, digital technologies, and socio-linguistic change. Readers will become more adept at deconstructing assumptions embedded in popular media, especially narratives informing slut shaming. Routledge August 2024:240 Hb: 978-1-032-39469-5: £130 * For full contents and more information, visit: www.routledge.com/9781032394695 Spider-Man: Into the Spider-Verse Youth, Race, and the Hypertext Charlie Michael Series: Cinema and Youth Cultures Exploring the dynamic genres of animation and comic book films, this book examines the transmedia role of Spider-Man: Into the Spider-Verse and its critical involvement in attempts to diversify representations in youth-oriented cinema and culture. Written in an approachable style, this book is suitable for undergraduates, postgraduates and specialists in the field. The book is a versatile resource for media studies, film studies, animation studies and cultural studies courses, but will also appeal to fans seeking to investigate the thematic underbelly of Into the Spider-verse. Routledge June 2024:136 Hb: 978-0-367-76450-0: £48.99 * For full contents and more information, visit: www.routledge.com/9780367764500 Social Media and Digital Politics Networked Reason in an Age of Digital Emotion James Jaehoon Lee Northwestern University, USA, Jeffrey Layne Blevins University of Cincinnati, USA Informed by critical theory, this book employs Social Network Analysis (SNA) to examine the ever-increasing impact that social media has on politics and contemporary civic discourse. A timely and vital text for upper-level students and scholars in a variety of disciplines from media and communication studies, journalism, digital humanities to social network analysis, political science, and sociology. Routledge August 2024:160 Pb: 978-1-032-47882-1: £36.99 Hb: 978-1-032-47884-5: £135 * For full contents and more information, visit: www.routledge.com/9781032478821 Spotlight on Journalism and Popular Heroism The Rise from Tabloid Stars to Digital Activists Caryn Coatney University of Southern Queensland, Australia Series: Routledge Research in Journalism This book offers fresh insights into the central role of journalism in shaping popular memories of community heroism in times of crisis. Further, it challenges familiar assumptions about Hollywood celebrity reporting and shows journalists’ active role in connecting popular culture icons with local communities. Presenting unique views of community, collaborative and interactive journalism, this book will be a valuable resource to students and scholars of journalism, communication, media and political history, as well as professionals already operating within the field of journalism. Routledge September 2024:184 Hb: 978-1-032-67412-4: £135 * For full contents and more information, visit: www.routledge.com/9781032674124 www.routledge.com 24 MEDIA & CULTURAL STUDIES 2ND EDITION Stories of Art James Elkins School of the Art Institute of Chicago, USA A thoughtful, engaging and intimate history of art that offers a critical analysis of the assumptions on which the entire discipline of art history depends. A must read for students and scholars interested in exploring the cultural function of art history. Routledge July 2024:266 Pb: 978-1-032-69606-5: £36.99 Hb: 978-1-032-69607-2: £135 * For full contents and more information, visit: www.routledge.com/9781032696065 Television Directors, Race, and Gender Written Out of the Story Jonathan J. Cavallero Series: Routledge Advances in Television Studies This book challenges the predominant framing of US television as a writer’s or producer’s medium by suggesting that television directors are a vital component of TV artistry. This original and insightful work will appeal to students and scholars of television studies, television production and media production, critical media studies, media authorship, gender studies, and race and media. Routledge July 2024:238 Hb: 978-1-032-62995-7: £130 * For full contents and more information, visit: www.routledge.com/9781032629957 Survey of Media Screens, Sounds, and Synergies Stacey O. Irwin Millersville University, USA An accessible and exciting new textbook that provides students with an in-depth historical and conceptual understanding of the nature and function of media in society. This is an essential text for students taking classes such as Introduction to Mass Media, Survey of Media, Media History, Media and Society, and Media Culture. Routledge September 2024:218 Pb: 978-1-032-50249-6: £34.99 Hb: 978-1-032-50250-2: £130 * For full contents and more information, visit: www.routledge.com/9781032502496 Television Sitcom and Cultural Crisis Edited by Holly Willson Holladay , Chandler L. Classen Series: Routledge Advances in Television Studies This volume demonstrates that television comedies are conduits through which we might resist normative ways of thinking about cultural crises. By drawing on Gramscian notion of crisis and the understanding that crises are overlapping, interconnected, and mutually constitutive, the essays in this collection demonstrate that situation comedies do more than make us laugh; they also help us understand the complexities of our social world’s moments of crisis. Divided into thematic sections that highlight crises of systems, identity, representation, speculation and more, this book will interest scholars of media & cultural studies, political economy, communication and humor studies. Routledge June 2024:180 Hb: 978-1-032-69959-2: £135 eBook: 978-1-032-69962-2 * For full contents and more information, visit: www.routledge.com/9781032699592 Teenage Boys, Musical Identities, and Music Education An Australian Narrative Inquiry Jason Goopy Series: SEMPRE Studies in The Psychology of Music Through the distinctive stories and drawings of Aaron, Blake, Conor, Elijah, Michael and Tyler, this book reveals the musical identities of teenage boys in their final year of study at an Australian boys’ school. The relatable and personal stories in this book will appeal to a broad readership, including music teachers, teacher educators, researchers and readers interested in the role of music in our lives. Routledge May 2024:252 Hb: 978-1-032-57319-9: £135 eBook: 978-1-003-43887-8 * For full contents and more information, visit: www.routledge.com/9781032573199 The Class and Gender Politics of Chinese Online Discourse Ambivalence, Sociopolitical Tensions and Co-option Yanning Huang Xi’an-Jiaotong Liverpool University, China Series: Routledge Studies in New Media and Cyberculture This book offers an in-depth study of the quasi-political, self- deprecating and parodic buzzwords and memes prevalent in Chinese online discourse. Offering a rigorous and panoramic analysis of the politics and logics of online wordplay in contemporary China, and providing a critical and nuanced analytical framework for studying digital culture and participation in China and elsewhere, this book will be an important resource for scholars and students of media and communication studies, Internet and digital media studies, discourse analysis, Asian studies, and social anthropology. Routledge June 2024:208 Hb: 978-1-032-43531-2: £135 eBook: 978-1-003-37029-1 * For full contents and more information, visit: www.routledge.com/9781032435312 MEDIA & CULTURAL STUDIES 25 The Cultural Industries of India Edited by Rohit K. Dasgupta University of Glasgow, UK, Clelia Clini Loughborough University, UK The Cultural Industries of India is the first book length study dedicated to the Indian cultural and creative industries. By covering specific aspects of the cultural and creative sectors in India– from film festivals to music and performing arts, from cinema to tourism, including a policy review on innovation in the creative industries – the various chapters offer a comprehensive overview of the relationship between the cultural and creative industries and the wider economic, social, cultural and political processes taking place within India and its diaspora. The chapters in this book were originally published as a special issue of Cultural Trends. Routledge May 2024:116 Hb: 978-1-032-44509-0: £135 eBook: 978-1-003-37252-3 * For full contents and more information, visit: www.routledge.com/9781032445090 The New Audience for Old TV Considering the Resurgent Popularity of The Sopranos Alexander H. Beare Series: Routledge Advances in Television Studies The New Audience for Old TV is the first book to investigate how audiences re-read and re-interpret resurgent shows when watching in new cultural contexts. Using the metaphor of the anamorphic painting, it introduces the analytical framework of a ‘retrospective reading’ to reveal the new meanings that are being made available for ‘old’ TV. Ultimately, The New Audience for Old TV uncovers fresh insights into audiences’ experiences with ‘prestige’ TV and the new avenues of meaning-making in the age of streaming. Routledge October 2024:152 Hb: 978-1-032-75003-3: £135 * For full contents and more information, visit: www.routledge.com/9781032750033 The Disaster Film as Social Practice Joseph Zornado Rhode Island College, United States of America, Sara Reilly Rhode Island College, United States of America Series: Routledge Advances in Film Studies Surveying disaster film from a Lacanian psychoanalytic perspective, this book explores the disaster film genre from its initial appearance in 1933 (The Grapes of Wrath, 1933) to its present-day form (Don’t Look Up!, 2021), laying bare the ideological unconscious at work within the genre. Providing a nuanced understanding of the disaster film genre and its significance in contemporary culture and thought, this book will be of interest to scholars and students of film studies, cultural studies, media studies, and environmental studies. Routledge July 2024:198 Hb: 978-1-032-43260-1: £130 * For full contents and more information, visit: www.routledge.com/9781032432601 The Routledge Companion to Asian Cinemas Edited by Zhen Zhang New York University, USA, Sangjoon Lee City University of Hong Kong, Debashree Mukherjee Columbia University, USA, Intan Paramaditha Macquarie University, Australia Series: Routledge Media and Cultural Studies Companions Balancing leading scholars with emerging trendsetters, this Companion offers fresh perspectives on Asian cinemas and charts new constellations in the field with significance far beyond Asian cinema studies. An ideal resource for film, media, cultural and Asian studies researchers, students, and scholars, as well as informed readers with an interest in Asian cinemas. Routledge July 2024:586 Hb: 978-1-032-19940-5: £215 * For full contents and more information, visit: www.routledge.com/9781032199405 The Female Nude Art, Obscenity and Sexuality Lynda Nead Birkbeck, University of London, UK Series: Routledge Classics The history of Western art is saturated with images of the female body. Lynda Nead's The Female Nude was the first book to critically examine this phenomenon from a feminist perspective. In a deft and engaging manner, Lynda Nead explores the ways in which acceptable and unacceptable images of the female body are produced, issues which have been reignited by current controversies around the patriarchy, objectification and pornography. The Female Nude paints a devastating picture of the depiction of the female body and remains as invigorating as it was since its first publication. This Routledge Classics edition includes a new Preface by the author. Routledge May 2024:234 Pb: 978-1-032-64175-1: £19.99 Hb: 978-1-032-64178-2: £130 eBook: 978-1-032-64179-9 * For full contents and more information, visit: www.routledge.com/9781032641751 The Routledge Companion to Global Photographies Edited by Lucy Soutter , Duncan Wooldridge Series: Routledge Art History and Visual Studies Companions In response to widespread demand for more knowledge about contemporary photographies beyond the West, this volume provides a transnational discussion, grounded in dialogue between authors and editors from diverse locations and contexts. The volume explores issues surrounding cultural translation, photography’s response to climate change, decolonial practices, identities and the role of photobooks. It also provides in-depth surveys and case studies, alongside interviews and roundtable discussions with key figures. This collection is an essential resource for academics and students working in or with photography, contextual studies, history, theory, and media and cultural studies. Routledge August 2024:492 Hb: 978-1-032-43661-6: £205 * For full contents and more information, visit: www.routledge.com/9781032436616 www.routledge.com 26 MEDIA & CULTURAL STUDIES The Routledge Companion to Media Audiences Edited by Annette Hill , Peter Lunt Series: Routledge Media and Cultural Studies Companions The Routledge Companion to Media Audiences captures the ways in which audiences and audience researchers are adapting to emerging social, cultural, market, technical and environmental conditions. Bringing together forty essays, this anthology explores how our changing encounters with media are complex, contradictory, and increasingly commercialized in the modern world. Chapters by both early career and experienced international scholars, survey new conceptualisations and constitutions of audiences, and assess key issues, themes and developments within the field. It is a must-read for media, communication, humanities, cultural studies and social science scholars and students. Routledge September 2024:640 Hb: 978-1-032-21466-5: £205 * For full contents and more information, visit: www.routledge.com/9781032214665 The Undead Child in Popular Culture Representations of Childhoods Past, Present, and Preserved Edited by Craig Martin , Debbie Olson Series: Routledge Research in Cultural and Media Studies In this study of representations of children and childhood, a global team of authors explore the theme of undeadness as it applies to cultural constructions of the child. This unique and insightful volume will interest scholars and students working on popular culture and cultural studies, media studies, film and television studies, childhood studies, gender studies, and philosophy. Routledge August 2024:260 Hb: 978-1-032-65758-5: £130 * For full contents and more information, visit: www.routledge.com/9781032657585 The Routledge Handbook of Indigenous Film Edited by Ernie Blackmore University of Wollongong, Australia, Kerstin Knopf University of Bremen, Germany, Wendy Gay Pearson University of Western Ontario, Canada, Corina Wieser-Cox University of Bremen, Germany Series: Routledge Media and Cultural Studies Handbooks This volume examines various aspects of Indigenous film cultures, analyzes the works of Indigenous directors and producers worldwide, and focuses on readings (contextual, historical, political, aesthetic, and activist) of individual Indigenous films. The Handbook specifically explores Indigenous film in Canada, Mexico, the United States, Central and South America, Northern Europe, Australia, New Zealand, the Pacific and the Philippines. Essential reading for students and scholars of Indigenous Studies, Cultural Studies, Area Studies, Film and Media Studies, Feminist and Queer Studies, and anyone interested in Indigenous cultures and cinema. Routledge July 2024:598 Hb: 978-1-032-30008-5: £215 * For full contents and more information, visit: www.routledge.com/9781032300085 Transforming PR Public Relations to People Relations Andrius Kasparas This book introduces the concept of Picnic Society – a society which we all belong to today because social media has given us unlimited opportunities to create or destroy our own and our circle’s (our bubble’s) realities, possibilities, and reputations. This book will appeal to professionals who already have a solid grasp of public relations technologies but would like to review their skills and develop their own model of public relations know-how without being limited by the strict boundaries of traditional PR theory. Routledge October 2024:296 Pb: 978-1-032-68709-4: £36.99 Hb: 978-1-032-73937-3: £135 * For full contents and more information, visit: www.routledge.com/9781032687094 The Routledge Handbook of Role-Playing Game Studies Edited by José P. Zagal University of Utah, USA, Sebastian Deterding Imperial College London, UK Series: Routledge Media and Cultural Studies Handbooks This Handbook provides a comprehensive guide to the latest research on role-playing games (RPGs) across disciplines, cultures, and media in one single, accessible volume. A comprehensive reference volume ideal for students and scholars of game studies, immersive experiences, and looking to learn more about the ever- growing, interdisciplinary field of RPG studies. Routledge June 2024:524 Hb: 978-1-032-27778-3: £215 eBook: 978-1-003-29804-5 * For full contents and more information, visit: www.routledge.com/9781032277783 Transnational Radio Monitoring in the Twentieth Century Practices of Propaganda and Surveillance in Europe and Beyond, 1930-1990 Edited by Suzanne Bardgett , Friederike Kind-Kovács , Vincent Kuitenbrouwer University of Amsterdam, the Netherlands Radio monitoring is an important feature of broadcasting history and monitoring reports form a treasure trove for historians. This volume offers six case studies that provide new insights on the importance of radio monitoring during the Second World War and the Cold War. This volume explores the rich history of radio monitoring during the Second World War and the Cold War. As such it offers original case studies that shed light on previously unknown radio histories. Moreover, all the authors reflect on the use of monitoring reports as a historical source and as such provide methodological guidelines. It was originally published in Media History. Routledge September 2024:110 Hb: 978-1-032-81754-5: £135 * For full contents and more information, visit: www.routledge.com/9781032817545 MEDIA & CULTURAL STUDIES 27 4TH EDITION Understanding Communication Research Methods A Theoretical and Practical Approach Stephen M. Croucher Massey University, New Zealand, Daniel Cronn-Mills Minnesota State University, USA Using an engaging how-to approach that draws from scholarship, real life, and popular culture, this textbook, now in its fourth edition, offers students practical reasons why they should care about research methods and offers a practical guide for conducting research. This textbook is perfect for beginning and advanced scholars using critical, cultural, interpretive, qualitative, quantitative, rhetorical, and performance research methods. Routledge September 2024:340 Pb: 978-1-032-55738-0: £77.99 Hb: 978-1-032-55775-5: £175 * For full contents and more information, visit: www.routledge.com/9781032557380 What To Do About Conspiracy Theories? Academic Entanglements in Conflicts Over Truths Edited by Elżbieta Drążkiewicz Lund University, Lund University,, Jaron Harambam University of Amsterdam, The Netherlands This book highlights that like everything that relates to conspiracy theories, even the answer to this question is not straightforward and can vary across disciplines and schools, can be influenced by disciplinary ethical codes of conduct, research methodologies, and specific approaches to conspiracy theories. Foregrounding a variety of approaches, from across disciplines, academic seniority, and countries (USA, Ireland, UK, The Netherlands, Sweden, and Greece), the chapters offer multiple alternative takes on the issue of what should academics do with conspiracy theories. This book was originally published as a special issue of the Journal for Cultural Research. Routledge March 2024:132 Hb: 978-1-032-64744-9: £135 * For full contents and more information, visit: www.routledge.com/9781032647449 5TH EDITION Understanding Video Games The Essential Introduction Simon Egenfeldt-Nielsen IT University of Copenhagen, Denmark, Jonas Heide Smith IT University of Copenhagen, Denmark, Susana Pajares Tosca IT University of Copenhagen, Denmark The fifth edition of this pioneering textbook takes video game studies into the next decade, highlighting changes in mobile, social, and casual gaming. This book introduces students to the major theories used to analyse games, such as ludology and narratology, and the commercial and organizational aspects of the game industry. The text evaluates the cultural position of video games and considers the potential effects of both violent and "serious" games. Including illustrations, questions, a glossary of key terms, and a detailed video game history timeline this is an indispensible resource for anyone interested in examining the ways video games are reshaping entertainment and society. Routledge May 2024:428 Pb: 978-1-032-22974-4: £48.99 Hb: 978-1-032-21472-6: £135 eBook: 978-1-003-27499-5 * For full contents and more information, visit: www.routledge.com/9781032229744 Work in the Digital Media and Entertainment Industries A Critical Introduction Tanner Mirrlees University of Ontario Institute of Technology, Canada This book is a first of its kind critical inter-disciplinary introduction to the economic, political, cultural, and technological dimensions of work in the rapidly growing digital media and entertainment industries (DMEI). Offering a broad overview of the field, this textbook is an indispensable resource for instructors, undergraduates, postgraduates, and scholars. Routledge October 2024:360 Pb: 978-0-367-67375-8: £34.99 Hb: 978-0-367-67376-5: £135 * For full contents and more information, visit: www.routledge.com/9780367673758 Virtual Influencers Identity and Digitality in the Age of Multiple Realities Esperanza Miyake Series: Routledge Studies in New Media and Cyberculture This book identifies the converging socio-cultural, economic and technological conditions that have shaped, informed and realised the identity of the contemporary virtual influencer, situating them at the intersection of social media, consumer culture and AI, and digital technologies. Drawing from a wide range of disciplines, this book will appeal to scholars, researchers and students working in the area(s) of: Popular Culture and Media; Internet, Digital and Social Media Studies; Data justice and Governance; Japanese Media Studies, Celebrity Studies; Fan Studies; Marketing and Consumer Studies; Sociology; Human-Computer Studies; and AI and Technology Studies. Routledge August 2024:228 Hb: 978-1-032-55969-8: £130 * For full contents and more information, visit: www.routledge.com/9781032559698 2ND EDITION Writing True Stories The Complete Guide to Memoir, Creative Non-Fiction, Personal Essay, Diaries, Biography, and Travel Patti Miller Writing True Stories is an essential book for anyone who has ever wanted to write a memoir or explore the wider territory of creative non-fiction. It provides practical guidance and inspiration on a vast array of writing topics, including how to access memories, find a narrative voice, build a vivid world on the page, create structure, use research—and face the difficulties of truth-telling. Routledge June 2024:388 Pb: 978-1-032-76563-1: £34.99 Hb: 978-1-032-76731-4: £135 eBook: 978-1-003-47982-6 * For full contents and more information, visit: www.routledge.com/9781032765631 www.routledge.com 28 MEDIA & CULTURAL STUDIES Young People, Media, and Nostalgia An Ethnography of How Youth Imagine their Lives Rodrigo Muñoz-González Series: Routledge Research in Cultural and Media Studies This book explores how Latin American young people engage with nostalgic representations of the 1970s and 1980s through contemporary media. This comprehensive empirical study will be of interest to scholars, researchers and students of media and communications studies, Latin American studies, sociology, digital culture, memory studies, social and cultural anthropology, youth studies, cultural studies, and readers interested in popular culture, television, and cinema. Routledge October 2024:216 Hb: 978-1-032-84755-9: £135 * For full contents and more information, visit: www.routledge.com/9781032847559 PHOTOGRAPHY 29 Clinical Photography — Theory and Practice A Reference and Guide for Practitioners Edited by Simon Brown , Paul Crompton , Amy Lake Lecturer in Medical Photography, Programme Manager for Postgrad Certificate in Medical Illustration, Cardiff University Series: Applications in Scientific Photography This is an authoritative and comprehensive reference for understanding clinical photography and improving the reader's ability to hone their skills and knowledge. Some medical specialties are covered in detail, including dermatology, dental and oral medicine, pediatrics, orthopedics, telemedicine, and photography in surgery and the operating room. As well as a practical guide to clinical photography, the book also discusses the legal, moral, and ethical contexts within which photography in medicine operates and, for the first time, explores the societal, cultural, and religious factors for practicing in today’s digitally literate, multi-cultural world. Routledge September 2024:336 Pb: 978-1-138-89164-7: £115 Hb: 978-1-138-89163-0: £250 * For full contents and more information, visit: www.routledge.com/9781138891647 Photography and Resistance Securing the Evidence in Nazi Occupied Europe Janina Struk Photography and Resistance tells the stories of the people who resisted fascism in Europe by taking or securing photographs. This original study will be an essential resource for students and scholars of photography, visual culture, Holocaust studies and history, as well as anyone interested in the history of the Second World War. Routledge July 2024:216 Pb: 978-1-350-12020-4: £25.99 Hb: 978-1-032-78718-3: £135 * For full contents and more information, visit: www.routledge.com/9781350120204 Displacement, Environments, and Photo-Politics in the Mediterranean Migrant Sea Parvati Nair Queen Mary University of London, UK Series: Photography, Place, Environment Focusing on the Mediterranean region from 2015 onwards, this volume explores photography’s engagement with displacement, a process that denotes the environmental and social breakdown of places and the forced mobility of people. The book will be of interest to scholars in photography theory, migration and refugee studies, art history, Mediterranean studies, and political science. Routledge November 2024:216 Hb: 978-1-350-11619-1: £135 * For full contents and more information, visit: www.routledge.com/9781350116191 5TH EDITION The Darkroom Cookbook Steve Anchell The fifth edition of this comprehensive guide to darkroom photography is fully revised and updated, placing analog and traditional methods into the context of a digital world and contemporary workflows. This is the essential guide for any practitioner who wants to take the next step to develop a thorough understanding of film and darkroom processes, techniques, and working methodologies, as well as graduate and advanced photography students with an interest in analog and darkroom processes. Routledge October 2024:442 Pb: 978-1-032-40486-8: £48.99 Hb: 978-1-032-40488-2: £145 * For full contents and more information, visit: www.routledge.com/9781032404868 11TH EDITION Langford's Basic Photography The Guide for Serious Photographers Michael Langford , Anna Fox , Richard Sawdon Smith Professor of Photography & AIDS Cultures and Head of the Arts & Media Department at London South Bank University, Andrew Bruce This seminal photography text, now in its 11th edition, has been revamped, reorganized, and modernized to include the most up-to-date and need to know information for photographers. Introducing all the key concepts and fundamentals of photography, this book is a must have for any photographer’s bookcase.Ideal as a foundational text for students of photography as well as a key reference for professionals. Routledge October 2024:630 Pb: 978-1-032-39758-0: £49.99 Hb: 978-1-032-39757-3: £135 * For full contents and more information, visit: www.routledge.com/9781032397580 www.routledge.com 30 INDEX BY TITLE A . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .Academia's Billion-Dollar Roulette . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .14 African Documentary Cinema . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .14 Argumentation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .4 Art of the Cut . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .10 Asian Histories and Heritages in Video Games . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .14 B . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .Behind the Scenes of Indie Film Marketing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .10 Beyond Powerful Radio . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .13 Bourdieusian Media Studies . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .14 Broadcast News and Writing Stylebook . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .4 Build AI-Enhanced Audio Plugins with C++ . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .2 C . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .Cannabis . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .14 Celebrity Rhetoric and Sexual Misconduct Cases . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .4 Central and Eastern European Histories and Heritages in Video Games . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .14 Changing Geopolitics of Global Communication . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .15 Childhood in Animation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .15 Children, Media, and Pandemic Parenting . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .15 Cinema and Surveillance . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .15 Cinematography and Lighting for Television . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .10 Classics in Media Theory . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .15 Clinical Photography — Theory and Practice . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .29 Collaboration, Engagement, and Tradition in Contemporary and Electronic Music . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .2 Color Science and Digital Imaging . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .10 Communicating Effectively During a Health Crisis . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .4 Communicating in Intercultural Spaces . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .15 Conflicting Images . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .16 Covid-19 in Film and Television . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .16 Crisis Communication Cases from Asia . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .4 Crisis Communications . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .4 Critical Readings on Hammer Horror Films . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .16 D . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .Dance Music Manual . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .2 Data Journalism and the COVID-19 Disruption . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .16 DEI and Intersectional Social Identities at Work . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .5 Design History and Culture . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .16 Designing Audio Circuits and Systems . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .2 Digital Compositing for Film and Video . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .10 Digital Media, Denunciation and Shaming . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .17 Digital Media Metaphors . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .16 Digital Media Production for Beginners . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .5 Disinformation Debunked . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .17 Displacement, Environments, and Photo-Politics in the Mediterranean . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .29 Disrupting Mainstream Journalism in India . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .17 Dissonant Public Spheres . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .5 Diversity, Equity, and Inclusion in Strategic Communications . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .5 E . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .Eco-Teen Films . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .17 Editing for the Screen . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .10 Emirati Women Journalists . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .17 European Media Systems for Deliberative Communication . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .5 Europeans and the Media . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .17 F . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .Family Communication . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .5 Fan Podcasts . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .18 Filmmaking in Academia . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .11 G . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .Gamer Citizens . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .18 H . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .Humor and Health in the Media . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .6 I . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .Interactive Technologies and Music Making . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .2 Intersectionality, Political Economy, and Media . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .18 Introduction to Cinematography . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .11 Introduction to Game Analysis . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .18 J . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .Journalism and Safety . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .18 Journalism from Print to Platform . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .18 K . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .Kardashians . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .19 Kate Bush and the Moving Image . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .19 Korea’s Platform Empire . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .19 L . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .Langford's Basic Photography . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .29 Listening . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .6 Listening . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .6 M . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .Media, Dissidence and the War in Ukraine . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .20 Media, Internet, and Social Movements in Hong Kong . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .20 Media and Crisis Communication . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .6 Media and Society . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .19 Media Ethics . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .6 Media in Africa . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .19 Media Industries in Crisis . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .19 Media Inequality . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .20 Media Literacy of the Oppressed . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .20 Media Pluralism in the Digital Era . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .20 Media Tactics in the Long Twentieth Century . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .6 Media Theory for A Level . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .20 MediaWriting . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .7 Mental Health and Wellbeing for Journalists . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .7 N . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .Narrating Chinese Youth Mobilities . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .21 News Aesthetics and Myth . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .21 News Corp . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .21 Nonprofit Communications . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .7 P . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .Patterns of Harassment in African Journalism . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .21 Pedagogical Opportunities of the Review Genre . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .21 Personal Conflict Management . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .7 Photography and Resistance . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .29 Photography as Activism . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .21 Power Without Responsibility . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .22 Principles of Intercultural Communication . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .7 Project Management for Book Publishers . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .22 Public Relations for Public Health and Social Good . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .7 R . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .Race, Culture and the Video Game Industry . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .22 Race and Ethnicity as Foundational Forces in Political Communication . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .8 Recording Orchestra and Other Classical Music Ensembles . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .2 Refugee Settlement in Australia . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .22 Rethinking Scholarly Communication in China . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .22 Risk and Crisis Communication in Europe . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .8 S . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .Scene-writing for Film and TV . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .11 Screening Big Data . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .22 Selling Rights . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .23 Slut Narratives in Popular Culture . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .23 Smartphone Cinema . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .11 Social Media and Digital Politics . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .23 Social Media Measurement and Management . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .23 Spider-Man: Into the Spider-Verse . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .23 Spotlight on Journalism and Popular Heroism . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .23 Start-up and Entrepreneurial Communication . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .8 State-Sponsored Disinformation Around the Globe . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .8 Stories of Art . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .24 Survey of Media . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .24 T . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .Teenage Boys, Musical Identities, and Music Education . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .24 Television Directors, Race, and Gender . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .24 Television Sitcom and Cultural Crisis . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .24 The Business of Television . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .11 The Class and Gender Politics of Chinese Online Discourse . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .24 The Cultural Industries of India . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .25 The Darkroom Cookbook . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .29 The Disaster Film as Social Practice . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .25 The Female Nude . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .25 The Law of Public Communication . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .8 The Music Business for Music Creators . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .3 The New Audience for Old TV . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .25 The Routledge Companion to Asian Cinemas . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .25 The Routledge Companion to Global Photographies . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .25 The Routledge Companion to Media Audiences . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .26 The Routledge Handbook of Conflict and Peace Communication . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .8 The Routledge Handbook of Indigenous Film . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .26 The Routledge Handbook of Public Speaking Research and Theory . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .9 The Routledge Handbook of Rhetoric and Power . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .9 The Routledge Handbook of Role-Playing Game Studies . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .26 The Routledge Handbook of Sound Design . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .3 The Self-Sustaining Filmmaker . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .11 The Sociomateriality of Leadership . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .9 The Undead Child in Popular Culture . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .26 Transforming PR . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .26 Transnational Radio Monitoring in the Twentieth Century . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .26 TV Writing On Demand . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .12 U . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .Understanding Communication Research Methods . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .27 Understanding Video Games . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .27 INDEX BY TITLE 31 US Media and Diversity . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .9 V . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .Videojournalism . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .13 Virtual Influencers . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .27 Voice & Vision . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .12 W . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .What To Do About Conspiracy Theories? . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .27 Work in the Digital Media and Entertainment Industries . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .27 Writing True Stories . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .27 Y . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .Young People, Media, and Nostalgia . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .28 www.routledge.com 32 INDEX BY AUTHOR A . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .Allan, Allbeson . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .16 Al Obeidli . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .17 Amos . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .3 Anchell . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .29 Andrius Kasparas . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .26 Arasaratnam-Smith, Smith . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .15 B . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .Bardgett, Kind-Kovács, Kuitenbrouwer . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .26 Basin . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .11 Batkin . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .15 Bengtsson, Ericson, Stiernstedt . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .15 Bergman, Hearns-Branaman . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .20 Bernardi, Giammanco, Mißler . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .16 Blackmore, Knopf, Pearson, Wieser-Cox . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .26 Blumenthal-Barby . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .15 Bogre . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .21 Braithwaite, Schrodt, Warner, Galvin . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .5 Brogi, Nenadić, Parcu . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .20 Brookwell . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .18 Brown, Crompton, Lake . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .29 Bush, Lindsey . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .5 Byerly . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .18 C . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .Cavallero . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .24 Chadha . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .17 Christians, Fackler, Kreshel, Brown, Feng, Overton, Richardson . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .6 Clifton . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .9 Coatney . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .23 Connaughton, Pukallus . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .8 Coombs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .6 Cordell . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .2 Crick . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .9 Cronqvist, Norén, Stjernholm . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .6 Croucher, Cronn-Mills . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .27 Curran, Seaton . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .22 D . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .Dasgupta, Clini . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .25 Diers-Lawson, Schwarz, Meissner, Ravazzani . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .8 Dixon . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .20 Dixon, Mastro . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .9 Drążkiewicz, Harambam . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .27 E . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .Echeverría, García Santamaría, Hallin . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .8 Egenfeldt-Nielsen, Smith, Tosca . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .27 Elkins . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .24 Estibeiro, Payling, Cotter . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .2 F . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .Farkas, Maloney . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .16 Fearn-Banks, Kawamoto . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .4 Fernández-Vara . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .18 Fielding . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .20 Filimowicz . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .3 Frau-Meigs, Corbu . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .17 G . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .Gaggin . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .7 Geller . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .13 Gimeno-Martínez . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .16 Glynn . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .19 Godulla, Men . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .8 Goopy . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .24 Griffey . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .5 H . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .H. Beare . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .25 Hassan . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .18 Hebbani . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .22 Hill, Lunt . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .26 Holladay, Classen . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .24 Hoser . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .11 Huang . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .24 Hullfish . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .10 Hurbis-Cherrier, Mercado . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .12 J . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .Jaakkola . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .21 Jensen, Lai . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .19 Johnson . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .6 Johnson, Cionea, McCorkle, Reese . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .7 Jones, Burton, Brien . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .19 K . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Kang, Yang, Mochocki, Majewski, Schreiber . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .14 Kim, Yong Jin . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .19 King . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .2 Klyukanov . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .7 Kobre . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .13 Koc-Michalska, Klinger, Bennett, Rommele . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .5 Korfmacher . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .18 L . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .Lai, To . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .20 Landau . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .12 Lang . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .11 Langford, Fox, Sawdon Smith, Bruce . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .29 LaRue . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .10 Lee, Blevins . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .23 Lee, Stewart, Peters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .8 Lindell . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .14 Lipschultz . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .23 Lulkowska . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .11 M . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .M. Coles, S. Lane . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .8 Martin, Olson . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .26 Mayer, Lavie, Banks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .19 McDonnell . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .4 McKeever . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .7 McMillan . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .23 Melki . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .20 Michael . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .23 Miconi . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .17 Miller . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .27 Mirrlees . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .27 Miyake . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .27 Mochocki, Schreiber, Majewski, Kot . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .14 Munz, McKenna-Buchanan, Wright . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .9 Murdock, Brevini, Ward . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .21 Murray, Heumann . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .17 Muñoz-González . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .28 N . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .Nair . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .29 Nanjundaiah . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .21 Nead . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .25 Nordin, Schiappa . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .4 O . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .O. Irwin . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .24 Owen . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .23 Oyedemi, Smith . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .19 P . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .Pagnoni Berns, Edwards . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .16 Palmer . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .10 Papper, Kolodzy . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .4 Parks, Faw, Lane . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .6 Peruško . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .5 Pompper, Ertem-Eray . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .5 R . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .Redhead . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .2 Rodzvilla . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .22 Rosenberg . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .10 S . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .Sen, Ahmed . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .4 Silverman, Meyer, Marren, Whitaker, Smith, Ramsey . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .7 Sim . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .22 Snoman . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .2 Soutter, Wooldridge . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .25 Srauy . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .22 Sriramesh, Yeo . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .4 Storm . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .7 Struk . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .29 T . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .Tcheuyap . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .14 Thussu . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .15 Tong . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .16 Trottier, Huang, Gabdulhakov . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .17 Tshuma, Matsilele, Msimanga, Jamil . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .21 V . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .van der Borgh . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .11 W . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .Wanke, Sandberg, Macit, Gülerce . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .14 Weiss . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .11 Westlund, Krøvel, Orgeret . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .18 Willett, Zhao . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .15 Worthington, Bodie, Fitch-Hauser . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .6 INDEX BY AUTHOR 33 Wright . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .10 Wright . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .10 Y . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .Yee-King . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .2 Yong, Liu . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .14 Z . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .Zagal, Deterding . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .26 Zhang, Gong . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .21 Zhang, Lee, Mukherjee, Paramaditha . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .25 Zhongbo . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .22 Zornado, Reilly . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .25 www.routledge.comTaylor & Francis Group 4 Park Square, Milton Park, Abingdon. Oxon. OX14 4RN Tel: ++44 (0) 20 805 20500	[ "medium", "study", "routledge", "communication", "wwwroutledgecom", "information", "content", "visit", "book", "full" ]	{ "summary": "Routledge\nwww.routledge.comMedia, Communication & \nCultural Studies Catalogue\nJuly - December 2024 \n" }
tL-mrk-pr-mngmnt:arCourse guide Music Marketing and Management.pdf	1 Music Marketing and Management @ HU 2024/2025 For whom Are you a driven, globally- minded student with a deep passion for music, artists, and the business side of the music industry? Then you are the perfect candidate for our Minor Program in Music Marketing and Management at the University of Applied Sciences Utrecht, the Netherlands (Hogeschool Utrecht)! Crafted in collaboration with industry experts, this program is specifically designed to equip you with the skills and knowledge needed for (junior ) roles in music business companies. Our program has a proven track record of success, with past students securing internships and trainee positions at companies such as Universal Music, Double V bookings, Buma Stemra, Warner Music, CTM Publishing, Downton Publishing, Peer Music, AMP.Amsterdam, Cloud 9, and Armada Music, among others. This is more than just a minor; it's a gateway to a vibrant and exciting career in the music industry. Admission For admission into this program, having a background in introductory marketing and/or communication courses is beneficial but not mandatory. Additionally, proficiency in English at the CEFR level B2 is required. Rest assured, all essential theoretical foundations will be thoroughly covered and tailored to your needs at the program's kickoff and throughout the lectures. Part -time students are also welcome to join this minor. For more information and to discuss your specific circumstances, please contact the minor's representative. Content Upon successful completion of the minor program, students will have gained a comprehensive array of skills and knowledge, positioning them for exciting opportunities in the music business industry. This program is tailored to equip you with practical insights and hands -on experience, ensuring that you are well-prepared for the dynamic and evolving world of music business. Whether you aspire to innovate in music marketing, excel in music rights management, or launch your own music -related venture, this minor provides the foundational expertise and industry connections you need to turn your passion into a thriving career. By enrolling in our minor program participants take the first step towards making a significant impact in the music business landscape. Learning objectives Upon completion of the minor program, students and participants will be capable of, among other things: 1. Analyze : • Critically examine case studies of successful music business models to identify key factors that contribute to commercial success and sustainability. • Analyze the impact of digital media on music marketing and distribution, comparing traditional and modern strategies. 2. Evaluate : 2 • Appraise the ethical implications of various music rights management scenarios using the principles of copyright law. • Evaluate the effectiveness of different music promotion techniques in reaching and engaging target audiences. 3. Create : • Develop a comprehensive business plan for a (start-up) label or music -related enterprise, incorporating market analysis, financial planning, and strategic marketing. • Design a marketing campaign for a music release, integrating digital and traditional media, and based on consumer insights. 4. Apply • Apply knowledge of music publishing and rights management to simulate contract negotiations and royalty distribution scenarios. • Utilize statistical tools to interpret market data and forecast music industry trends. 5. Synthesize • Synthesize various elements to propose innovative approaches to music business challenges. • Combine theoretical knowledge with practical skills to produce a portfolio of music business projects, including event planning, artist management, music copyright and artist branding, promotion and marketing. These objectives will ensure that students are engaging in activities that promote critical thinking, problem -solving, and creativity —all of which are crucial skills for success in the music business industry. Courses The program spans one semester and includes the following courses: Course title ECTS Music Marketing and Management (MMM) 1.0 15 Music Marketing and Management (MMM) 2.0 15 Please be aware that the program is designed as a cohesive package of courses/subjects and is typically intended to be completed in that format. Combining multiple programs within a single period is not feasible. Assessment • MMM 1.0 – Mid Term Individual Portfolio assessment • MMM 2.0 – Final Individual Portfolio assessment In our Minor Program, student evaluations are centered around individual portfolio assessments. Over the 20 -week program, you will create and maintain a personal portfolio website. This online portfolio will be a comprehensive showcase of all your work com pleted during the program, including but not limited to: • Learning objectives and evidence of your learning journey. • A variety of content and documents created by you. • Videos, presentations, and podcasts you've produced. • Chapters from books you've contributed to and reflective reports. This portfolio will serve as a living document of your progress, encapsulating the knowledge and skills you've acquired. Our program is structured to support formative evaluations, promoting iterative 3 learning and encouraging your growth towards independent work in complex environments. This approach is designed to prepare you for a successful professional career. We will conduct two individual assessments: a mid -term assessment and a final assessment. These assessments will utilize your portfolio as a primary resource, providing tangible proof of your learning and development. Through this process, we aim to engage you in reflective practices, allowing you to critically analyze your work in relation to the learning objectives set at the program's outset. This portfolio -based evaluation is not just an assessment tool; it's an opportunity for you to build a professional body of work that demonstrates your capabilities and growth, making it a valuable asset for your future career endeavors. Literature The literature to be covered during the minor is outlined below. A finalized reading list will be provided prior to the commencement of the minor. • Mandatory: “ All you need to know about the Music Business ”, 11th Edition, Donald S. Passman, Publisher: Simon & Schuster, 2023 • Mandatory: Bargfrede, A. (2017). Music law in the digital age: copyright essentials for today's music business . Hal Leonard Corporation. • Recommended: “ The Live Music BusinessManagement and Production of Concerts and Festivals”, Author: Andy Reynolds, 3rd Edition, 2022, Routledge Schedule This minor program takes place in both autumn (September until January) and spring (February until July) . The schedule and teaching days for the program have not been finalized. While the exact days for mandatory in -person attendance are yet to be determined, it is established that there will be two full days each week dedicated to physical classroom interacti on. Additionally, students are expected to engage weekly with their coaches and critical friends (in an online setting). Furthermore, students are required to complete two volunteer shifts at the Amsterdam Dance Event in October an d attend the Eurosonic Noorderslag Conference in January. There is also a possibility of participating in an international trip lasting 3 to 5 days. Additional costs N/A	[ "music", "program", "business", "minor", "marketing", "student", "portfolio", "assessment", "management", "industry" ]	{ "summary": "1 \n Music Marketing and Management @ HU 2024/2025 \n \nFor whom \nAre you a driven, globally- minded " }
tL-management:ardigital-music-landscape.pdf	WIPO Committee on Intellectual Property and Development THE GLOBAL DIGITAL MUSIC LANDSCAPE An Overview of Distribution, Copyright, and Rights Administration for Music in the Digital Age Bill Rosenblatt [email protected] April 2024 1 Table of Contents Table of Contents ................................ ................................ ................................ ................................ ............................ 1 Executive Summary ................................ ................................ ................................ ................................ ....................... 2 I. Introduction ................................ ................................ ................................ ................................ .............................. 3 II. Music Distribution Channels ................................ ................................ ................................ .............................. 5 A. Music Digital Service Providers (DSPs) ................................ ................................ .............................. 5 B. Video DSPs ................................ ................................ ................................ ................................ ..................... 9 C. Labels ................................ ................................ ................................ ................................ .............................. 11 D. Publishers ................................ ................................ ................................ ................................ ...................... 11 E. Analytics Tools for DSP Data ................................ ................................ ................................ ................. 12 F. Scarcity -Based Distribution Channels in the Digital Age ................................ ................................ 12 III. Digital Music Distribution Trends and Challenges ................................ ................................ ............. 16 A. Channel Control ................................ ................................ ................................ ................................ .......... 17 B. Supply and Demand ................................ ................................ ................................ ................................ .. 18 C. Fraud and Piracy ................................ ................................ ................................ ................................ ........ 19 D. Generative AI ................................ ................................ ................................ ................................ ............... 22 IV. Music Rights Administration ................................ ................................ ................................ ....................... 24 A. Basics of Music Copyright ................................ ................................ ................................ ....................... 24 B. Identifiers and Metadata ................................ ................................ ................................ .......................... 25 C. Licenses ................................ ................................ ................................ ................................ ......................... 27 A. Sound Recordi ng Rights Flows ................................ ................................ ................................ ............ 28 B. Independent Digital Distributors ................................ ................................ ................................ ........... 29 C. Composition Rights Flows ................................ ................................ ................................ ...................... 31 D. Publishing Administration Services ................................ ................................ ................................ ..... 35 E. Synch Licensing ................................ ................................ ................................ ................................ .......... 36 V. Opportunities for Developing Countries ................................ ................................ ................................ ..... 38 A. Opportunities for Copyright Infrastructure ................................ ................................ ........................ 38 B. Checklist for Independent Creators ................................ ................................ ................................ .... 39 VI. Conclusions ................................ ................................ ................................ ................................ ....................... 41 References ................................ ................................ ................................ ................................ ................................ ...... 42 Glossary ................................ ................................ ................................ ................................ ................................ ........... 43 About the Author ................................ ................................ ................................ ................................ ........................... 46 2 Executive Summary This guide has been prepared as per the mandate given by the WIPO Committee on IP and Development. It aims to provide an understanding of the digital music industry for creators in developing countries and for those shaping public policy that affects them . The first part of this guide covers the primary entities that make music available to the public : digital service providers (DSPs), record labels, and music publishers. It also covers an area of renewed interest in recent years: distribution channels that are based on scarcity and collectability rather than digital ubiquity , physical (vinyl) and digital (NFTs). The second part of the guide discuss es trends and challenge s in music distribution for artists today. One of these is the challenge of channel control: digital technologies giving creators less control over how their music is packaged, distributed, and presented to users. Another is supply and demand, where the former is huge and growing at an accelerated pace while the latter remains relatively flat, causing problems in exposure for new or independent artists . Copyright infringement has been a well -known problem since the early days of digital; this is discussed along wit h its more recent cousin, streaming fraud. Finally, the guide discusses generative AI and its potential impact on the music industry, although it is early days for this exciting technology in the music context. The third part of this guide covers rights a dministration and copyright infrastructure for t oday ’s music industry. These are the laws, data, systems, and processes —the nuts, bolts, and plumbing —that enable creators to get paid when their music is heard. The discussion here is intended to give creato rs and policy officials an overview of the basic elements of copyright infrastructure, including fundamental concepts of copyright law,1 standard identifiers, metadata, and licenses. Then it covers the flows of information and payments for sound recordings and musical compositions , and the various services that are available to independent artists to simplify and automate these processes. The final section of this guide discusses opportunities for developing countries, whose creators may be able to partici pate in the global music industry through services described here, but which may not have sufficiently mature copyright infrastructures to enable them to participate as fully as possible. This section includes a list of suggested steps for independent creators to familiarize themselves with local copyright laws, relevant identifiers, and copyright compliance tools, and to sign up for CMOs and helpful services. The guide concludes with a glossary of terms and a list of references to consult for further a nd ongoing information. The views expressed herein are solely my own and not necessarily those of WIPO. 1 This is, of necessity, a high -level overview; copyright laws and rights administration entities vary considerably from one country to another. 3 I. Introduction Digital technologies have transformed the global music industry in ways that are at least as profound as the transformations that took p lace a century ago, when music could first be recorded and distributed on portable consumer products (such as, piano rolls and wax cylinders) . The legal music marketplace of the 2000s, focused on downloaded files, proved unsustainable. Streaming, though invented in the late 1990s, did not become popular until the 2010s, but it then proceeded to dominate global music consumption around the world . Nowadays, digital is the music industry: it accounts for about three -quarters of global music industry revenue,2 and the vast majority of that comes from streaming. Yet services that deliver digital music to the public are just the tail end of a variety of processes for creating, preparing, and distributing music. These processes have also been enabled by digital technology, and —in part because of this —they have become far more complex, and far more global, than they were when vinyl ruled the industry in the 1960s and 1970s. Since that time, d igital technologies have disrupted the music industry from the inside out. Professional recording studios began to adopt digital recording technology in the late 1970s . So- called digital audio workstation (DAW) softw are for personal computers, such as Digidesign ’s Pro Tools, appeared in the early 1990s. Nowadays free or low -cost DAW software such as Audacity and GarageBand are widely used by independent musicians. The use of digital sampling to create music also began in the late 1970s with innovations such as the Kurzweil and Fairlight digital sampling synthesizers; their capabilities have now also filtered down to the many free or low -cost tools that everyday musicians also use . The first use of digital te chnology to distribute music to the public on a wide scale was, of course, the compact dis c (CD), which was launched in the early 1980s. But the distribution of digital music to the public over networks did not happen on a wide scale until almost two decad es later, once the Internet and technologies for compressing digital audio became available to everyday users. It used to be that the most important entities in the recorded music industry, apart from creators (songwriters and performing artists), were mu sic publishers, record labels, radio, and retail record stores. Today, a new type of entity has evolved as arguably the most important in the industry: the digital music service, known as a digital service provider or DSP. As an indication of the size of their influence, t he combined revenues of DSPs worldwide likely exceeded those of record labels sometime in the mid -2010s. DSPs are certainly far more influential than record stores in distributing music to the public in most countries around the world , and the influence of terrestrial broadcast radio is on the wane . Figure 1 shows the primary entities in today ’s digital music ecosystem for independent creators . Artists create music recordings and submit them to record labels (see p. 11) or digital distributors (see p. 29), which send them to DSPs (see p. 5) for users to play. Songwriters (who could be the same as the recording artists) submit information about their compositions to music publishers (see p. 11) or publishing administrators (see p. 35). As will be discussed, the 2 IFPI, IFPI 2023 Global Music Report: Global Recorded Music Revenues Grew 9% In 2022 , March 21, 2023, https://www.ifpi.org/ifpi -global -music -report -global -recorded -music -revenues -grew-9-in-2022 . This number counts streaming, downloads, and a portion of sound recording performance revenue. 4 differences between the entities in Figure 1 shown in green and those shown in blue is that the latter own rights in the music while the former do not. Figure 1: The primary entities in the digital music ecosystem. Several other entities besides those shown in Figure 1 are involved in the process of determining, collecting, and disbursing royalty paymen ts, as I will describe below. The resulting technologies and complexities of the processes that I’ll discuss go hand -in-hand with enormous opportunities for musical artists around the world to reach global audiences. But they also require artists and the people they work with to understand a lot more than was necessary a half century ago. This guide aims to address those gaps in und erstanding. 5 II. Music Distribution Channels The largest component of the global music industry by revenue is recorded music , which involves recording artists and record labels . The International Federation of the Phonographic Industry (IFPI) , the umbrella trade organization for recorded music worldwide, reported USD 26.2 billion in recorded music revenue in 2022.3 Revenue figures for music publishing, which involves songwriters and music publishers , are harder to pin down , but the segment is smaller than recorded music , with estimated worldwide revenues of USD 14 billion in 2022.4 The third prong of music industry revenue is from live performances, which are not discussed here; global live music revenue is estimated to be comparable to that of recorded mus ic. Of course, live music revenues were affected profoundly in recent years by the COVID -19 pandemic. A. Music Digital Service Providers (DSPs) The most important type of entity in the distribution of music to the public is the digital service provider or DSP . DSPs provide the following services and models:  Downloads : selling digital files in MP3, MP4 AAC, FLAC, or other formats.  Fixed non -interactive streaming : providing radio -like playlists of music and possibly other content as audio streams. These can be either Internet simulcasts of AM/FM radio broadcasts or “pure play ” Internet -only services.  Customized non -interactive streaming : programmed streaming services that provide ways for listeners to influence music selections, such as featured artist selection , “thumbs up/thumbs down, ” and song skipping, but do not let users pick individual songs or define their own playlists.  Interactive streaming (also called on -demand streaming): streaming services that let users pick individual songs and define (and usually share) their own playlists. Most of these services charge monthly subscription fees; some are free with ads or are “freemium ” models with limited -functionality free subscription tiers.  Tethered downloads (also called conditional or limited downloads): sub scription services that enable users to download files protected by digital rights management (DRM) so that they work only on the device on which they are downloaded and only as long as the user subscribes to the service. Most of today ’s DSPs bundle severa l of the above services into subscription offerings. Non-interactive streaming services appeared in the late 1990s and could be used over the dialup Internet connections that were common at the time. Tens of thousands of non-interactive streaming services are available worldwide today; for example, the TuneIn Radio app maintains a directory of over 120,000 of them . The first paid download DSPs appeared in the early 2000s. These services soon bifurcated into DRM -enabled services that licensed major -label c ontent (such as Universal Music Group ’s own BlueMatter) and DRM -free services with independent label music (such as eMusic). 3 IFPI 2023 Global Music Report . 4 Kristin Robinson , U.S. Music Publishing Revenue Grew 19% to $5.6B Last Year , June 14, 2023, https://www.billboard.com/pro/music -publishing -revenue -2022 -united -states -nmpa/ . U.S. revenues are estimated to be 40% of global revenues. 6 The first interactive streaming service with licensed music from all major labels was Rhapsody (now known as Napster5), which achieved its license agreements with the majors in 2002. Yet the first DSP for music to make a major impact on the market was a download service, Apple ’s iTunes Music Store, which launched in 2003 and sold DRM -protected files. Download services had stopped using DRM by 2009, by agreement with record labels, as the labels sought alternatives to Apple as a retailer that could sell music files which would still play on Apple ’s ubiquitous iPods and iPhones. Interactive streaming music services lagged i n popularity for several years. There were two major reasons for this. First, download and non -interactive streaming were similar to older models of music distribution that users were already familiar with: record stores and radio stations respectively. But the model of paying a monthly subscription fee for access to an enormous library of music on demand (which only lasts as long as the user pays the subscription fee) was not familiar. Second, such services could only work on computers with Internet connec tions that were fast enough to support streaming; smartphones did not appear until 2007, and mobile broadband Internet connectivity did not appear until the late 2000s depending on territory. The first interactive streaming services with major label licens ing that broke through on a global scale were Spotify and YouTube. Spotify launched in Sweden in 2008. Its chief innovation was to implement a freemium model , which included a free subscription tier that limited access to music and earned revenue through ads and a paid tier with no limitations and no ads . Spotify has been quite successful over the years in getting free users to convert to paid. YouTube launched in 2005 . It was never really a music service per se, but it flourished as a de facto music service because it allowed users to upload their own content, some of which included music. YouTube began licensing music from the major labels in 2006 (shortly before its acquis ition by Google) and achieved licensing with all of the major labels around 2011, by which time Spotify had launched in several countries outside of its native Sweden. An upward inflection point in interactive streaming use came in the couple of years afte r that, as shown in Figure 3 on p. 17 below. Interactive streaming is now by far the dominant mode of music consumption in the world. Today there are several dozen DSPs that offer subscription -based interactive streaming as well as other models; a selection are shown in Table 1. Most of these also offer non -interactive streams (playlists) as well as tethered downloads. A few, such as iHeartRadio, offer Internet simulcasts of AM/FM broadcast stations as well. Of the DSPs listed in Table 1, apart from Napster /Rhapsody and Spotify , the services that launched earliest (and survived to this day) include Melon, which launched in South Korea in 2004; KKBOX, which launched in Taiwan in 2005; JioSaavn, which launched (as Saavn) in India as a consumer service in 2009; Yandex Music (Russia, 2010); Gaana (India, 2010) ; and Anghami (Lebanon, 2011). DSP Regions and Countries 5 Apart from the brand name, today ’s Napster DSP has no relationship with the US -based file -sharing network of the la te 1990s that was shut down by court order over copyright infringement claims. 7 Global Services Spotify 237 countries JioSaavn (South Asian) Worldwide6 IDAGIO (classical) 190 countries Deezer 185 countries Apple Music 162 countries YouTube Music7 96 countries TIDAL 61 countries Amazon Music 50 countries Regional Services Anghami Middle East/North Africa, Europe, United States Audiomack United States, UK, Canada, several African countries Boomplay Music Africa Claromúsica Central and South America iHeartRadio North America, Australia, New Zealand Joox Hong Kong, Thailand, Malaysia, Indonesia, Myanmar KKBox Taiwan, Japan, Singapore, Malaysia Kuack Caribbean Line Music Japan, Taiwan Melon South Korea, Indonesia Napster North America, Western Europe, some South America Presto Music (classical & jazz) North America, Europe, Australia, New Zealand Qobuz North America, Western Europe, some South America SoundCloud Go+8 North America, Western Europe TikTok (TikTok Music, Resso) Indonesia, Brazil, India , Mexico, Australia, Singapore Trebel Colombia, Mexico, Indonesia, United States UMA Russia, Commonwealth of Independent States countries Wynk India, Sri Lanka, several African countries 6 Limitations on English -language content and no free tier outside of South Asia. 7 YouTube Music is a paid subscription service that launched in 2018 and is separate from the “regular ” YouTube but offers music that was uploaded to YouTube. 8 SoundCloud ’s basic service with limited catalog is available worldwide. 8 Yandex Music Russia, Commonwealth of Independent States countries Zvuk Russia, Commonwealth of Independent States countries Single Territory Services Tencent Music (QQ Music, Kugou, Kuwo) China NetEase Cloud Music China YouSee Musik Denmark Hungama Music India Gaana India Patari Pakistan Flo South Korea Genie Music South Korea Naver Music/VIBE South Korea Pandora United States Table 1: Selected music DSPs with interactive streaming. Countries subject to change. From the standpoint of rights administration (handling submission of music and payment of royalties), interactive streaming services are of two basic types: one epitomized by S potify, the other by YouTube. Services such as Spotify, Apple Music, Deezer, and Amazon Music only accept music from record labels and digital distributors (see p. 29) with which they have agreed licenses. The process for distributing music on one of these services is straightforward: if a label or digital distributor has a license agreement with the DSP, then it can feed music to the DSP , which will put it all up on the service.9 I refer to this as “opt-in” licensing : labels can “opt in ” to licensing their music to the DSP. On the other hand, DSPs such as YouTube and SoundCloud that accept content uploads from all users work differently from a licensing perspective. These services generally obtained license agreements after they started operating, sometimes after actual or threatened legal action from rightsholders. Such DSPs typically have license agreemen ts with record labels that allow labels to decide on a case -by-case basis what to do when a user attempts to upload their content onto the service; otherwise, they generally presume that user -provided content should be allowed. These services typically us e content recognition technology (see p. 21) that tries to identify the music that a user is uploading by looking it up in a large database; if it finds a match, then the service abides by whatever the content licensor has arranged wit h the service, which is typically to let the content go up in exchange for a share of advertising revenue, or in rare cases, to block the upload. If the content recognition technology does not find a match, then the service simply allows the content to go up. In other words, content on these user -contributed services only doesn ’t go up if a rightsholder chooses to dis allow it; therefore, I refer to this as “opt-out” 9 Assuming that the music satisfies the DSP ’s policies and guidelines, such as editorial policies for metadata . 9 licensing. (These services accept feeds from record labels and indie distributors as well as from users .) Digital radio (non -interactive streaming) services may operate differently from interactive streaming services from a licensing perspective, depending on the territory ’s copyright laws . Such services may invoke what are known as neighboring rights , i.e., performance rights on sound recordings (see p. 24), which are implicated for terrestrial broadcast radio in most countries . In some countries, neighb oring rights exist by licensing convention, while in a few (such as Spain, Hungary, and Belgium) they exist by law. Generally , countries that are signatories to the WIPO Performances and Phonograms Treaty (WPPT) of 1996 require payment of digital performance royalties on sound recordings.10 A few streaming DSPs also sell permanent downloads, but the market for downloads has shrunk worldwide as fans have abandoned them for streaming (or vinyl ). Most of the remaining download -focused services, a selec tion of which is shown in Table 2, focus on indie music (i.e., not from major labels), music for DJs (electronic, EDM, House, etc.), Western classical music , and high -resolution files for audiophiles in lossless formats such as FLAC and PCM. Service Focus Bandcamp11 Indie music Beatport Music for DJs Classical Archives Classical music eMusic Indie music HDtracks High-resolution lossless Jamendo Indie music Juno Download Music for DJs Magnatune Indie music ProStudioMasters High-resolution lossless Supraphonline Czech/Slovak music Traxsource Music for DJs Table 2: selected digital download services and their areas of musical focus. B. Video DSPs Some of the most popular music services today are video services. Virtually all of these are based on user uploads and opt -out music licensing, although they also accept submissions from 10 See https://www.wipo.int/treaties/en/ip/wppt/summary_wppt.html . For a list of signatories, see https://www.wipo.int/treaties/en/notifications/wppt/treaty_wppt_1.html . 11 Bandcamp also acts as a label for its artists: it produces vinyl, CDs, and cassettes. Physical products contribute a large percentage of Bandcamp ’s revenue. 10 record labels and distr ibutors. The very few video DSPs that use opt -in licensing —as well as paid-subscription revenue models —are small ones that primarily offer catalogs of long -form live concert videos; examples include Qello Concerts of Canada (pop music) and Medici TV of France (classical music).12 Otherwise, all video services that use music are based on user -uploaded content. YouTube is the largest music DSP (of any kind) in the world by sheer numbers, yet it ’s difficult to measure its exact user base for music because musi c is only a subset of its content: a 2019 study found that 22% of the video views on YouTube are of videos that their uploaders categorized as “Music, ” which is one of 15 category choices.13 Most “music videos ” on YouTube consist of entire songs, whether th ey are official label videos or those that users post. Yet the vast majority of views of music videos on YouTube are of “official ” label -supplied videos of studio recordings rather than user uploads . In other words, although music on YouTube is mixed in among a huge amount of other content, YouTube has become essentially another licensed music service, albeit one that is video -based. In fact, an especially large number of music video views on YouTube are of videos distributed by Vevo, a joint venture of t he major record labels that distribute s official music videos on YouTube and several other video services, mostly channels on Internet TV set -top boxes (Apple TV, Roku, Amazon Fire TV , etc. ), Smart TVs, and pay -TV operators around the world. On the other h and, services such as TikTok and its competitors such as Reels (Meta) and Triller use a lot of music but are not really music services per se. These services use music in video clips that are more like social network posts than music releases. TikTok, for example, started out in 2017 as a platform for users to post videos of themselves lip -synching or dancing to short clips of music. TikTok eventually acquired licenses from record labels. The music clips used in short -form video services are known as derivative works in copyright law and generally require licenses from copyright owners. The emphasis in these services is on the users who post the videos rather than on the artists who play the music.14 A growing number of musical artists have their own Ti kTok channels, but the most popular channels on TikTok are not those of superstar musical artists. Some artists use TikTok clips as promotional vehicles for full -length music plays on other DSPs. This has led TikTok to launch two opt -in style DSPs of its o wn, Resso and TikTok Music, though only in a handful of countries thus far (see Table 1). TikTok should be able to use its own DSPs to keep users on TikTok services instead of losing them to other DSPs. In addition to short -form social video platforms, gaming platforms such as Fortnite and Amazon ’s Twitch are also important platforms for music —most often for video livestreaming of musical performances. Several other livestreaming platforms exist as well. For some of these 12 YouTube Music is categor ized here as an interactive streaming music DSP, although it features a lot of video content from YouTube. 13 Pex, Music became even more valuable on YouTube in 2019 , https://pex.com/blog/state -of-youtube - 2019 -music -more -valuable/ . 14 For example, musical artists ’ accounts don ’t get any special designation on TikTok, apart from TikTok ’s standard identity verification program; fans of artists can take user and account na mes that lead to confusion . E.g., there are currently TikTok account names such as the.real.ladygaga, planet_doja_cat, and taylorswifttoday, which list their user names as “Lady Gaga, ” “DOJACAT, ” and “Taylor Swift .” 11 platforms, disputes exist over whether responsibility for proper music licensing should fall to the platform companies or their users. Apart from the opt -in vs. opt -out dichotomy, another important licensing difference with video DSPs is that they require synchronization ( “synch ” or sometimes “sync”) licenses. Copyright owners require synch licenses for using music as part of a presentation of other media, such as a video, game, or VR/AR experience.15 See p. 36 for more on synch licensing. C. Labels Once an artist makes a recording that they want to release to the public , there ar e three general ways to do it: through a major label, an independent (“indie ”) label, or an independent digital distributor. All of these provide artists with ways of making their music available on DSPs and collecting royalties from plays on those DSPs. The first two of these also make music available on physical media such as vinyl, CDs, and cassettes. See p. 29 below for a discussion of digital distributors , which work with independent artists in lieu of labels . The major labels currently are those owned by three global recorded music companies: Universal Music Group (UMG), Sony Music Entertainment (SME), and Warner Music Group (WMG). Each of these owns several labels; for example, WMG owns labels such as Atlantic, Elektra, Asylum, Atco, Reprise, and Rhino; Sony Music owns Columbia, RCA, Epic, and Arista ; Universal owns Interscope, Geffen, Capitol, Republic, Island, Def Jam , Verve, and Virgin . Both major and indie labels typically own copyrights in artists ’ sound recordings, known as master rights , with two exceptions: a few superstar -level artists have been able to negotiate deals with major labels in which they retain ownership of master rig hts; and some indie labels will allow artists to retain master rights. Collectively the major labels own 70% of the global market for recorded music ,16 a share that is slowly decreasing over time. There is also a “fourth major ” called Merlin, which negotiat es licenses with DSPs on behalf of its member ind ie labels, which collectively account for another 15% of the global market. Otherwise, the main differences between major and indie labels are tradeoffs between relationships and resources. Indie labels tend to give artists more personal attention and creative freedom, and they typically offer more artist -friendly contract terms , such as release of master rights to the artist after a few years . Majors can pay bigger advances and have a lot more resources to m arket a record . The vast majority of music at the top of the charts worldwide is released on a label owned by one of the majors. D. Publishers Music publishing covers musical compositions (by songwriters or composers) rather than recordings; this is explain ed in more detail below. The three major recorded music companies each have corporate siblings that are music publishers: Universal Music Publishing, Sony Music Publishing, and Warner Chappell Music respectively. The music publishing market is less concentra ted than recorded music; Kobalt Music Group and BMG are also often included in lists 15 This is not a statutory right in copyr ight law but rather an industry convention, one that goes back to the days of silent films when a music track was “synched ” to a movie as it played in a theater. 16 Music & Copyright, Recorded -music market share gains for SME and the indies, publishing sha re growth for UMPG and WCM , April 25, 2003, https://musicandcopyright.wordpress.com/2023/0 4/25/recorded - music -market -share -gains -for-sme-and-the-indies -publishing -share -growth -for-umpg -and-wcm/ . 12 of top music publishers worldwide . As with independent labels, there are far too many independent music publishers to count. In addition to traditional music publishers, a new breed of service providers has arisen to help independent songwriters collect royalties from various sources without claiming a share of copyrights. These are called publishing administrators or admin publishers. They are analogous to independent digital distributors, and they are discussed below at p. 35. E. Analytics Tools for DSP Data Artists, managers, and labels have a number of online tools at their disposal today that help them go beyond chart data and analyze the torrent of information related to artists and their music that comes from DSPs and social platforms . These tools are useful for planning single releases, marketing campaigns, tours, social media presence, and many other activities . Each of the major DSPs has its own analytics t ools (e.g., Spotify for Artists, Apple Music for Artists , Deezer for Creators ), but a competitive market has also emerged for third -party analytics tools that analyze data across multiple DSPs and other platforms . A popular choice for cross -platform music data analytics is Chartmetric . Chartmetric tracks artists ’ and songs ’ performance on several DSP s and broadcast radio; artists ’ metrics on social networks such as TikTok, Facebook, Instagram , and Twitter; fan engagement metrics across multiple platforms; synchs of songs on movies, TV shows, and games; concerts; and much more. It has powerful charting tools and enables users to download data for their own further analysis. Chartmetric is constantly adding features and improving its data visualization (look and feel). On the other hand, Chartmetric is the most expensive of these tools; it is widely used within record labels, artist management companies, and so on ; less so by individual artists or at small indie labels . At this writing, a full Premium plan co sts USD 140/month per user. Chartmetric also makes an Artist plan available at a price (at this time of writing) of USD 10/month for up to 3 artists , which provides some but not all of the features of the Premium plan, as well as a free plan with basic data. Other powerful multi -platform music data analysis tools include Soundcharts and Viberate . Both have lower -cost artist plans; Viberate also offers a free “Lite” plan for artists. F. Scarcity -Based Distribution Channels in the Digital Age Digital distribution channels have all been based on the idea that digital content is trivially easy to copy and send to other people. DRM on digital downloads limi ts what users can do with downloads they purchase online, but it does not limit the supply of those files from online services . DRM -free digital downloads have no technical restrictions on copying and redistribution.17 And streaming services employ flavors of DRM on streamed content, but the fundamental idea of these st reaming services is to make music available to subscribers on as wide a variety of devices as possible in as many locations as possible. In other words, all of these digital music channels rely on ubiquity of digital content and digital networks. 17 Download services such as Amazon Music also provide “cloud sync ” capabilities, which automatically download copies of music users purchase to all of their devices as long as those devices have the service ’s app installed and are logged in under the user ’s ID. 13 Of course, physical music products do not operate this way: they are limited in number and require cost and effort to reproduce. In recent years, music distribution channels have arisen that re-introduce that notion of scarcity and create music products th at are collectible. The importance of scarcity -based offerings is increasing again as fans look for ways to engage with music and artists beyond merely hearing them on streaming services. Vinyl The biggest scarcity -based channel for music today —once again —is vinyl . The market for vinyl LPs and 7 -inch singles hit bottom in the mid -2000s, when digital downloads were on the rise and CDs were still selling relatively well. Now vinyl sales have grown again . Today vinyl is a multi -billion -dollar market worldwide and represents at least 8 -10% of overall music industry revenue, much more if used vinyl sales count . Vinyl now sells more than CDs and digital downloads combined at prices that , adjusted for inflati on, are about equal to what they were during vinyl ’s peak period in the 1970s . In many countries , vinyl is now the second largest source of music industry after streaming, albeit still much smaller than streaming. One big difference between the vinyl market of today and the original vinyl market is that vinyl records are used as tokens of fandom as much as they are used for listening: one survey found that fully 50% of buyers of vinyl in 2022 did not own turntables .18 Cassette tapes , which were most popular in the late 1980s, have also enjoyed a resurgence , but on a much smaller scale than vinyl. CDs have remained popular in recent years in certain markets, such as Japan. Non-Fungible Tokens (NFTs) The other noteworthy scarcity -based music distribution channel today is non -fungible tokens (NFTs). NFTs are a byproduct of the blockchain technology revolution of the 2010s.19 The most widely known and most popular use of blockchain technology is for cryptocurrency, in which a blockchain (such as the Bitcoin blockchain) contains a record of every transaction in that currency that has ever take n place. But blockchains are also used to track transactions that don’t involve currency . For example, some phy sical product retailers use blockchains to track goods that come to them from suppliers and wholesalers. NFTs are another example of this use of blockchains strictly as transaction records . An NFT identifies a purchase of something that is not “fungible, ” i.e., is not currency. It is simply a record of a purchase —of something —that is stored on a blockchain. It ’s like a publicly accessible receipt for a transaction , unalterable proof (“bragging rights ”) that a user paid for something. That “something ” could be anything, but in the world of NFTs, it ’s typically one or more items of digital content . Artists typically create (“mint”) NFTs in limited numbers or as single items. 18 Luminate Data, Luminate U.S. Year -End Music Report for 2022 , https://luminatedata.com/reports/luminate -2022 -u-s-year-end-report/ . 19 A blockchain is a database of transaction records, one that is out there on the Internet and has no owner; instead, everyone who wants to participate in transactions on a given blockchain has a complete, up -to-date copy of the entire blockchain. There are elaborate protocols to update blockchains whenever anyone completes a transaction, to ensure the validity of the transaction and the integrity of the blockchain. (It is only possible to add transactions to a blockchain, not to change or delete them.) 14 In music, the most typical configuration for NFTs is a digital audio file combined wi th a piece of digital visual art. Other music oriented NFTs have been created for physical items such as tour props and rare musical instruments .20 They have also been created for experiential items such as concert attendance , like digital ticket stub s. The relationship between NFTs and copyright has been the subject of some interest . For NFTs on digital content, w ith rare exceptions, the content has no DRM protection, so that anyone can listen to or view it; yet the “ownership ” of an NFT belongs to only o ne user at a time. However, from a legal standpoint, a buyer of an NFT does not actually own anything. As with vinyl LPs and other physical products, the NFT buyer does not own copyright in the musical composition or sound recording . But unlike physical music products, the NFT buyer does not own anything else either . Likewise, if the NFT is on a physical item (such as a tour prop) , the NFT buyer does not own the physical item. The NFT itself is merely a transaction record , and NFT sy stems merely replicate certain aspects of copyrighted materials in the digital domain. For example, NFTs can be resold or given away , just as CDs and vinyl can . If an NFT is resold, the user associated with the transaction record on the blockchain changes. To some extent, t his mirrors the concept of exhaustion in copyright law, which generally states that a seller of a copyrighted work exhausts its rights in the c opy of the work, so that the purchaser has the right to dispose of it (sell, lend, rent, give away) as they wish. NFT records are stored on blockchains that support smart contracts , which are code routines that implement sets of rules that run whenever an NFT is minted or changes hands. Smart contracts for NFTs typically implement payments of resale royalties to creators (and sometimes commissions to NFT platforms) when NFTs are resold . In this sense, the mechan ics of NFT can diverge from those of physical copyrighted works , in that some countries do not support artists ’ resale rights a/k/a droits de suite .21 There are dozens of NFT platforms, some of which focus on specific types of content (music, visual art, etc.) while others are more general. Users have wallets that show information about the NFTs that they have purchased. These can be web browser plug -ins, mobile apps, or even hardware devices. When a user r esells an NFT, the record of that NFT disappears from that user’s wallet and appears in the buyer ’s wallet. NFTs are typically purchased using the cryptocurrency supported by the blockchain that the NFT is on, such as ETH for the Ethereum blockchain. Some NFT platforms allow purchases in standard currencies through traditional methods such as credit cards. NFTs enjoyed a period of hype in 2021 , with average prices exceeding USD 1000 each and the peak selling price for a single music NFT over a million dollars . One reason for this is that crypto currency speculators drove much of the market activity. Ano ther is that Ethereum, the most widely used blockchain that supports smart contracts, used a method for validating new transactions that was ex tremely costly in its use of computing power; to compensate for the electricity use and environmental impact, NFT platforms charged “gas fees ” that often exceeded USD 100, making it impractical to sell NFTs at vinyl -like prices. 20 Examples of the latter have included NFTs on Stradivarius violins and guitars that were owned by John Lennon. 21 Artist resale rights apply mainly to single - or limited -edition visual artworks , and have not been known to apply to musical works . The world is roughly evenly divided between countries that support droits de suite and those that do not . 15 But starting in late 2022, Ethereum switched to a new technology architecture that reduced computing power requirements drastically , and gas fees have been decreasing or going away entirely. That, combined with the general exodus of crypto speculators from the market, caused NFT pr ices to plummet ; at this time of writing average prices are comparable to those of vinyl LPs, and only a small number of music NFTs are now considered valuable collectors ’ items . The research firm Water & Music built a database of music NFT sales through early 2023 that put the total revenue from music -related NFTs in 2022 at just under USD 100 million; this is only about 2% of worldwide physical music revenue.22 Figure 2: NFT campaigns and participating artists, June 2021 through year end 2022. Source: Water & Music. Yet NFTs are not dead. On the contrary, they have been following the typical trajectory of new technology adoptions, known as a “hype cycle, ”23 which consists of a hype -driven spike , followed by a decline as the hype wears off, followed by slow, steady growth. The number of artists who are minting NFTs and the NFT campaigns they are minting are slowly increasing, as shown in Figure 2. it looks as though NFTs are destined in the near - to medium -term to become an established category of merch -cum-content similar to vinyl LPs. 22 Global physical music revenue was $4.6B for 2022. IFPI, Global Music Report 2023, https://globalmusicreport.ifpi.org/ . 23 Gartner, Gartner Hype Cycle, https://www.gartner.com/en/research/methodologies/gartner -hype-cycle . 16 III. Digital Music Distribution Trends and Challenges Streaming has dominated the music industry in terms of revenue and music consumption worldwide since the late 2010s. As shown in Figure 3,24 streaming i s the latest in a series of format s for distributing recorded music to the public.25 Revenue and consumption from streaming is still growing, and although growth is now slowing down, streaming has already dominated the market for a longer period of time tha n tapes or downloads.26 Streaming currently drives 76% of recorded music revenue worldwide and growing.27 It is likely that by 2025, inflation -adjusted recorded music revenue will reach or exceed the level it achieved in the late 1970s, at the height of the era of LPs and cassettes;28 though it remains to be seen whether revenues will ever reach their all -time peak levels set in 1999 at the peak of the CD era before Internet file -sharing caused industry revenues to collapse. 24 Figure 3 shows United States recorded music revenue figures , adjusted for inflation, going back to 1973. USA is the only country for which these detailed historical figures are readily available, but it is representative of economically developed countries. 25 Howie Singer and Bill Rosenblatt, Key Changes: The Ten Times Technology Transformed t he Music Business. Oxford: Oxford University Press, 2023. 26 Bill Rosenblatt, New Music Industry Numbers From RIAA And Edison Research Show Growth Slowing , March 9, 2023, https://www.forbes.com/sites/billrosenblatt/2023/03/09/new -music -industry -numbers - from -riaa-and-edison -research -show -growth -slowing/ . 27 IFPI 2023 Global Music Report, not counting performance or synchronization revenues, which apply across multiple delivery modalities. 28 The sharp drop in revenues after 1978 was due to a combination of the 1979 oil crisis, in which the price of oil (a raw ingredient in making vinyl) shot up while the world economy went into recession , and the rise in home taping of albums as moderate -priced cassette equipment became capable of high audio quality . 17 Figure 3: Half a century of r ecorded music revenue s by format, USA, USD billions, 2022 dollars. Source: RIAA. Music creators face several distinct structural challenges in today ’s streaming -dominated market. A. Channel Control One is control of distribution channels . The history of music technology is marked by several innovations that took channel control away fro m artists and record labels and put it into the hands of fans. Here are some previous examples:  Home taping , mid-1970s : innovations such as chromium dioxide tape and Dolby noise reduction made it possible to record music onto cassette tapes on home equipment with sound quality approaching that of vinyl at a reasonable cost . This enabled mixtapes as well as unauthorized copies of albums.  CD re -sequencing, 1980s : CD players had Shuffle buttons and (in more advanced models) the ability to program one ’s own sequence of tracks . This led fans away from listening to albums as the artists and producers intended.  Digital downloads, 2000s : digital downloads broke albums up into individual tracks , which led to further declines in album sales relative to single track sales and, arguably, a decline in the primacy of the album as a music release configuration .  Streaming playlists, 2010s : the majority of music played on streaming DSPs comes from playlists rather than albums or tracks that users select individually. Placement on widely -followed playlists —which are controlled by either DSPs or users —is now the 18 “coin of the realm ” for music exposure on streaming services. Playlists can be either DSP-generated or user -gene rated. DSP -generated playlists are by human editors , algorithms , or both .29 The current trend that moves channel control further towards users is the rise of mobile -friendly short -form video services such as TikTok and their easy -to-use video editing tools . These are rising in popularity extremely quickly : statistics on TikTok usage vary, but TikTok is reported to have surpassed a billion monthly active users worldwide ,30 compared to 2.5 billion for YouTube around the same time (and half a billio n for Spotify) . As mentioned above, short -form video services lend more importance to users who use music as background for their videos than to the artists behind the music. This makes it more difficult for artists to gain exposure for themselves or even their complete music tracks , and it is causing some artists to create more “TikTok -friendly ” tracks that, for example, start with the hook or chorus instead of waiting until after an intro and/or verse. B. Supply and Demand Another trend that imposes structural cha llenges on today ’s digital music market is the huge and growing disparity between supply and demand. Streaming music services currently ingest more than 100,000 new tracks into their catalogs worldwide every day . In contrast, labels released only a few thousand records (singles and albums) per year during the vinyl era. And the number is growing ; for example, Luminate Data maintains a database that had data on 193 million recordings31 as of the end of 2022 ; the database has been growing at a rate of more than 20% per year in the last five years .32 This explosion of music is, of course, due to the ever-increasing ease of recording and releasing music through innovations such as 4 -track cassette -based home stud ios, the Internet, DAWs , and the easy availability of digital samples . Yet while the amount of music available on streaming DSPs is grow ing at a torrid pace , demand is hardly growing at all , especially in countries where high percentages of the population have Internet access and connected devices. There are only so many hours in a day when people can listen to music . The gap between supply and demand first became apparent in the licensed music market with digital music download services in the mid-2000s , which would compete on (among other things) how many million tracks were in their music libraries . Early Internet pundits predicted a bright future for lesser -known creators in the “long tail, ” compared to the limited inventories of content available at ph ysical retailers such as bookstores and record stores.33 Of course, the big advantage of “limitless ” inventory of music in the digital world is that i t makes “every record ever recorded ”34 available to anyone with an Internet connection. But it soon gave ris e to the problem 29 Among the most highly popular and influential playlists today are Spotify ’s Today ’s Top Hits a nd Rap Caviar; both are editorial playlists. Spotify also has “algotorial ” playlists that editors generate with the h elp of algorithms. 30 See for example DemandSage, 45+ TikTok Statistics For Every Marketer (July 2023) , July 22, 2023, https://www.demandsage.com/tiktok -user-statistics/ . 31 Unique ISRCs; see below. 32 Top Entertainment Trends for 2023: What the Data Says , Luminate, presentation given by Luminate CEO Rob Jonas at SXSW 2023, https://luminatedata.com/reports/sxsw -top-entertainment -trends -for-2023/ . 33 See for example Chris Anderson, The Long Tail: Why the Future of Business Is Selling Less of More. New Yo rk: Hyperion, 2006. 34 https://www.youtube.com/watch?v=SRjl_nIRSLk . 19 of discovery : the bigger the variety of music available, the harder it is to find something you might like . Digital content services have been casting about for better ways for users to find content since the early days of digital . For example, some discovery techniques developed during the 2000s introduced ways of using user -contributed (“crowdsourced ”) information, while others were based on metadata created by trained professionals; and more recent techniques have harvested comments posted on websites, blogs , and social media to aid in discovery . Another technique known as collaborative filtering computes similarities between music you have played and music other users have played, with the idea that if other users ’ tastes are similar to yours, then music they listen to might be of interest to you too. As the discussion of discovery metadata below (see p. 27) suggests , this is an area that is still considered to be ripe for improvement . Although more and more music has been released, more and more music remains undiscovered —and it has been argued that more and more music “clutters up ” the offerings on DSPs. Discovery features are considered more important in comparing today ’s mainstream DSPs than the sizes of their catalogs. One result of this is that it is getting harder and harder for new or independent artists to get their music discovered. In fact, the “long tail ” theory has been somewhat turned on its head : the biggest music stars are getting an even bigger share of attention than the y did in the pre - Internet days. Luminate ’s data, for e xample, shows that 42% of the recordings it tracks in its database received 10 plays or fewer in 2022, and 24% received no plays at all , while less than 400,000 tracks (0.2%) received at least a million plays.35 In response to this, record labels and music publishers are redoubling their efforts to promote catalog music —defined as music that is at least 18 months o ld—because it ’s more likely to be familiar to people already. This is one of the main factors36 that has driven the recent spate of deals in which catalogs of legacy musical artists (Bob Dylan, Bruce Springsteen , Neil Diamond , etc.) and even recent stars (Shakira , Luis Fonsi , David Guetta ), have been bought and sold for amounts reaching up into the hundreds of millions of dollars. The major labels are also pushing DSPs to emphasize their “premium music ” over music that is, for example, generated automatically as background music. And fans are increasing the share of catalog music they listen to: for example, Luminate data shows that the share of catalog music being streamed grew steadily from 67% in 2019 to 75% in 2022.37 C. Fraud and Piracy The explosion in recorded music has intensified th e struggle for more plays on streaming services. And just as broadcast radio begat payola (bribes paid to radio stations to play songs on the air) when radio was the most important way to promote recorded music , streaming has led to streaming fraud —the generation of fake streams to boost play counts on DSPs. 35 Top Entertainment Trends for 2023 . 36 Along with historically low interest rates. 37 Top Entertainment Trends for 2023 . 20 Streaming Fraud Various forms of streaming fraud exist, such as setting up “stream farms ” of computers that automatically play songs repeatedly , or using identity theft to take over existing user accounts so that they play certain music . A study in early 2023 in France suggested that at least 1 -3% of streams in that country , possibly much more, are fake.38 And although many DSPs take steps to detect and stop streaming fraud, new techniques are being developed all the time , thanks to what has become a lucrative market for play count boosting services. Another form of stream fraud involves uploading unauthorized copies or remixes of hit songs under false artist names to generate royalties for the uploaders. This is just the latest way in that digital piracy39 has affected the music industry , although in this case it involves gaming the system to generate royalties instead of getting music for free. File Sharing and Stream Ripping The potential of digital devices and networks for piracy has been well known since the 1990s. Napster40 and other early Internet -based file -sharing services have been credited for having a devastating effect on music industry revenue: total recorded music revenue drop ped by about 60% (adjusted for inflation) in the decade after the industry ’s peak, CD -dominated year of 1999. A US federal court found Napster liable for infringement and ordered it shut down in 2001 . After Napster ’s shutdown , a series of other file -sharing network services appeared that attempt ed to skirt the aspects of Napster that led to its legal liability, such as its central directory of files and their online locations. Many of these post-Napster file -sharing networks were also shut down through legal actions ; others (such as Gnutella and BitTorrent) were designed to shift liability away from technology developers to individual users . Some of these still exist , though they are not used as much for music file -sharing anymore . Instead, the primary means for music piracy nowadays is “stream ripping ”—capturing streams into files on users ’ devices. The most popular form of stream ripping is technology that turns YouTube streams into files on the user ’s device. Notice and Takedown Since the late 1990s, right sholders in many countries have been able to use a simple process called notice and takedown to get their content removed from online services where it ’s posted without permission . This process was first defined in the United States as part of a law enacted in 1998, the Digital Millennium Copyright Act (DMCA). The relevant part of the DMCA says , in essence, that if you send an online service a notification of content that was posted on the service without your permission, the s ervice can avoid copyright liability if it removes the content 38 Centre national de la musique, Fake streams, real phenomenon: the CNM working with the industry to fight streaming fraud , January 16, 2023, https://cn m.fr/wp - content/uploads/2023/01/CP_CNM_Manipulation -des-streams_ENG.pdf . Spotify, Deezer, and Qobuz provided data for the study. 39 This term for copyright infringement is controversial, but contrary to widely held belief, this definition of “piracy ” origin ated long before Internet file -sharing in the 1990s. See for example Adrian Johns, Piracy: The Intellectual Property Wars from Gutenberg to Gates . Chicago: University of Chicago Press, 2010. 40 The music DSP called Napster that operates today (see Table 1) has nothing in common with the file - sharing network of the late 1990s other than the brand name. 21 quickly . Most websites and online services provide ways to send these notices, such as dedicated email addresses or web forms. And a lthough the DMCA is law only in the USA, many online services that operate worldwide accept takedown notice s, and laws similar to the DMCA exist in several other countries. Yet DMCA -style laws and processes do not prevent the same content from being reposted after someone sent a notice and had it taken down. This is known as the “Whac -a-Mole problem ,”41 and it has led many copyright owners to become dissatisfied with notice and takedown. Some have called for a new type of scheme that they call “notice and staydown .” As the name suggests, this involves the online service keeping records of content that is the subject of takedown notices and taking steps to ensure that no one posts it again. So far, no countries have implemented “notice and staydown ” in law . Aside f rom takedown notices, v arious technologies have been developed to mitigate digital piracy. The first was DRM (see p. 5). Although many people like to say that DRM for music died when Apple stopped using it on files purchased on iTunes, DRM is actually still used in almost all forms of digital music distribution, permanent file downloads being virtually the only exception.42 All of the major DSPs use their own flavors of DRM on streams and conditional downloads. Fingerprinting and ACR Another technology that was originally developed to address piracy is fingerprinting , also known as perceptual hashin g. Fingerprinting technology analyzes the bits of the content in a file and extracts a set of numbers that capture its essence (its “fingerprint ”). A properly designed fingerprinting algorithm should return the same fingerprint for every instance of a given sound recording regardless of format, codec, bitrate, etc. Fingerprint ing for sound recordings nowadays is considered to be quite accurate.43 Technology also exists to detect musical compositions (e.g., in cover versions or live performances of songs ); this is not yet quite as accurate as fingerprinting technology for sound recordings . The use of fingerprinting to extract a fingerprint of a file and look the fingerprint up in a large database of fingerprints of content to find a match is known as automated content recognition (ACR) or simply content recognition . Probably the best-known application of fingerprinting and ACR is the Shazam app for recognizing music in public using the microphone on a mobile device. ACR was originally developed to be used in file -sharing networks to detect and block uploads of copyrighted music in the wake of the Napster shutdown. But file-sharing networks that used the technology were never popular . Instead, ACR became important for its use in rights administration. Its first major use for that purpose was by YouTube (see p. 6), as part of its initial license agreement with Warner Music Group in 2006. Today, copyright enforcement services use ACR to detect potentially infringing content in publicly accessible places onli ne, such as 41 See https://en.wikipedia.org/wiki/Whac -A-Mole . 42 Bill Rosenblatt, The Myth of DRM -Free Music, Revisited , February 26, 2017, https://copyrightandtechnology.c om/2017/02/16/the -myth -of-drm-free-music -revisited/ . 43 An exception to this is in classical music. Fingerprinting algorithms often give “false positives ” by claim ing that different performances of a standard repertoire piece (e.g., Bach or Mozart) match a given sound recording . Ironically, most standard repertoire compositions are out of copyright even if the recorded performances aren ’t. 22 websites, blogs, and so on . Several such services exist today ; the ones focused on music include MUSO and AudioLock of the UK , Digital Content Protection of Italy, and RightsCorp of the US. (These services send takedown notices, as described above.) Impact of Piracy There have been many studies that purport to measure the economic impact of piracy . A good recent summary of research in this area is a report written by three researchers for the U nited States Patent and Trademark Office in 2020,44 although much of what it covers concerns video content rather than music. The upshot of the dozens of studies and meta -studies appears to be that piracy has had a negative economic impact on the music industry , one that has outweighed the positive impact from file -sharing that it promotes music and leads to legitimate purchases , though the size and proportion of that impact continue to be a matter of debate . The impact of piracy from file -sharing has lessened over the past decade with the rise of streaming services that make enormous catalogs of music available. Studies by the copyright enforcement service MUS O show that overall piracy is down from its levels in the mid -2010s but slowly rising again thanks to stream ripping.45 An industry consensus has emerged that while anti-piracy technologies and services have their place s, legal services that are easy to use and provide lots of music at good prices with rich features are also effective weapons against piracy. D. Generative AI The problem of oversupply , discussed above, relates to another trend that will pose structural challenges for the music industry in the coming years: generative artificial intelligence (AI). Although AI as a field has been around since the 1950s, generative AI —AI techniques that generate content by themselves or with help from humans —has undergone a series of major breakthroughs in recent years. Generative AI tools for music are now widely available, often for free, and can be easy to use without much technical expertise. AI will undoubtedly have profound effects on m usic and all other creative fields , and it ’s too early to predict exactly how it will affect the music industry . There are those who say that AI will diminish opportunities for musicians and others who say that it will expand them. Which of these turns out to be true will depend on many factors, including legal rulings and regulations46 as well as advances in technology. But one thing is for sure: whether AI is used to create, to assist humans to create, or to produce or distribute m usic, it will lead to even faster growth of the supply of music available to the public. In this respect, generative AI is the latest in a series of technologies that have sped up the rate of recorded music releases , as discussed above . 44 Brett Danaher , Michael D. Smith, and Rahul Telang, Piracy Landscape Study: Analysis of Existing and Emerging Researc h Relevant to Intellectual Property Rights (IPR) Enforcement of Commercial -Scale Piracy . United States Patent and Trademark Office, March 2020 , https://www.uspto .gov/sites/default/files/documents/USPTO -Piracy - Landscape.pdf . 45 Muso, Piracy Was Never Killed by Streaming, https://www.muso.com/magazine/piracy -was-never -killed - by-stream ing. 46 For example, whether laws or legal precedents emerge that require generative AI companies to take licenses to content that they use for algorithm training purposes. 23 It is conceivable that within the next few years, the pace of new music releases will hit an inflection point at which DSPs will no longer accept just anything that labels and distributors throw at them. DSPs historically competed with one another on catalog size; after a certain point, sheer catalog size might not be as important anymore. Conversely, DSPs also compete on the quality of discovery that they offer through playlists, search, navigation, social features, and so on ; metastasizing catalogs leads to diminishing re turns in discovery . DSPs may also find that despite the downward trend in storage costs, it may no longer be cost -effective to keep storing all that music . The evolution of download services towards niche markets, as shown in Table 2 above, may point the way to a future for streaming services that no longer attempt to offer “every record ever recorded ” but also serve niche markets.47 47 One example of this is classical music, which has many unique requirements for dis covery metadata (see p. 22) and user interface features . Examples of classical -focused streaming DSPs with classical music only are IDAGIO (see Table 1) and Apple Music Classical, an offshoot of Apple Music that resulted from Apple ’s acquisition of another classical -focused DSP called Primephonic . 24 IV. Music Rights Administration Section II of this guide described the various types of distribution channels in music today, along with the principal entities involved in distributing music to DSP s and processing rights and royalties. These entities, and others that I will describe here, are involved in a complex behind - the-scenes world of copyright law, royalty structures, licenses, data, and processes related to music. Success as a recording musician requires understanding this complexity. In this section , I explain the fundamentals of copyright infrastructure in music, the ways royalties are processed, and the tools and services that are available to artists to help them manage these processes. A. Basics of Music Copyright In copyright law, each piece of recorded music has two copyrights , which are shown in Figure 4. One is for the musical composition , also known as a musical work , created by a composer or songwriter, that an artist performs on the recording. This can be thought of conceptually as sheet music plus lyrics (if any). The other is for the recording itself , also known as a sound recording or phonogram . Of course, some music recordings are of songs that the performer also wrote , while others are not; in the latter case, the two copyrights belong to different people. Figure 4: Each recorded music track has two copyrights, one for the composition and one for the sound recording. Copyright law generally d efines rights on each of these that the copyright owner has by default , unless and until they license those rights to someone else. These vary somewhat from one country to another, but generally they include rights to reproduce (copy), distribute (send to 25 someone else), and publicly perform a composition or sound recording; some territories define different rights, such as the right of communicati on to the public instead of public performance in European law . As mentioned above, reproduction and distribution rights are lumped together into one , whether by law or by industry convention, and called mechanical rights (for compositions) or master rights (for sound recordings). Other aspects of music copyright also derive from industry conventions rather than purely from laws. For example, as explained above, labels rather than musical artists typically own the master rights to sound recordings; and in some territories songwriters typically split ownership of musical compositions with their music publishers. And other rights , such as synch and grand rights ,48 exist out of convention rather than directly in law. B. Identifiers and Metadata Despite its many complexities, t he music industry is better organized than some other content industries regarding rights administration because it contains only a small number of well- understood royaltable items: there are compositions (songs), sound recordings (tracks), and collections of sound recordings (albums); and the latter two can be distributed as physical products (CDs, LPs, cassettes). These are the “atomic units ” of music rights and royalty processing . Standard Identifiers Each of these units has standard alphanumeric identifiers that are recognized throughout the industry and used to automate rights and royalty processes . The most important are:  ISRC (International Standard Recording Code), created in 1986 as a unique identifier for sound recordings, administered by IF PI, the international umbrella for recording industry trade associations. The first two characters of an ISRC are a country code , followed by three characters denoting the registrant (usually a record label), followed by two digits of the year of release.  ISWC (International Standard [Musical] Works Code), created in 1995 as a unique identifier for musical compositions, administered by CISAC, the international umbrella organization for collective authors ’ and composers ’ rights management organizations , as explained below .  UPC (Universal Product Code) and closely related EAN (European Article Number), international identifiers for physical products (of any type) , designed in the early 1970s to be used with barcodes, administered by the international supply chain standards organization GS1.  IPI (Interested Parties Information), created in 2001 as a unique identifier for songwriters and music publishers, administered by CISAC and Bureau International de l'Edition Mécanique (BIEM).  ISNI (International Standard Name Identifier), a more recent standard launched in 2011 and increasingly used in the music industry as a unique identifier for recording artists, administered by the ISNI International Agency in the UK. 48 Grand rights are rights to use music in stage performances, such as dance or musical theater. 26 For example, the 2015 hit song “Nena ” by the Urug uayan group Marama , from their album Todo Comenzó Bailando , has the following identifiers:  ISRC for Todo Comenzó Bailando : UYM121501381  ISRC for single release of “Nena ”: UYM 121501378  UPC for Todo Comenzó Bailando CD: 889853011926  ISWC for “Nena ”: T-046.527.890 -3  Songwriter: Ferra Agustin Duarte , IPI 00670940436  Recording artist : Marama , ISNI 0000 0004 7029 012X Supply Chain Metadata In addition to identifiers, there are standard metadata schemes used in conveying information about these “atomic units ” from entity to another . This is known as supply chain metadata . DDEX (Digital Data Exchange) is a standards body formed in 2006 that maintains a family of supply chain messaging protocol standards which contain metadata schemes .49 The most commonly used of the several DDEX standards are those that apply to sound recordings :  ERN (Electronic Release Notification), used by labels and distributors to feed release information to DSPs.  DSR (Digital Sales Report), used by retailers and DSPs t o report sales, usage, and/or revenue from music to righ stholders or administrators.  CDM (Claim Detail Message), used by some rightsholders and CMOs to send information to DSPs about royalties they are claiming for use of compositions embodied in sound recordings. In addition, various standards maintained by CISAC are used on the composition side,50 such as:  CWR (Common Works Registration ), used by music publishers to send information about compositions to rights administrators such as the collective mana gement organizations (CMOs) that will be discussed shortly.  CCID (Claim Confirmation and Invoice Details ), an older standard used by some CMOs to send information to DSPs about royalties they are claiming for use of compositions embodied in sound recordings.  CRD (Common Royalty Distribution), used for communication of composition usage among CMOs and publishers. Creators need to create the metadata necessary to generate ERN and CWR messages when they write or record songs. There are apps that make this process easy by capturing metadata at the time of creation (including integration with digital audio workstations) and us ing it to register identifier s and ensure proper credits . One is Session Studio; another is Songspace, a division of the indie distributor FUGA . 49 https://kb.ddex.net/about -ddex-standards/ . 50 See https://www.cisac.org/formats#:~:text=The%20Common% 20Royalty%20Distribution%20(CRD,or%20fro m%20society%20to%20members. 27 Discovery Metadata The other important type of metadata in music is discovery metadata , which describes music in ways that are intended to be useful for searching, recommendations, website/app navigation, algorithmic playlist generation, and other forms of music discovery . The challenges of discovery amid the enormous supply of music available on today ’s DSPs are discussed at p. 18 above. For a long time there were no standards (or at least no widely used schemes) for discovery metadata despite various attempts to create them . Some discovery metadata schemes are owned by third parties, such as Gracenote and Jaxsta , which sell them to DSPs and other services; others are proprietary to DSPs, such as the Music Genome Project (MGP) used in the DSP Pandora . In 2019, record labels and DSPs got together to create a discovery metadata standard under the DDEX umbrella called Media Enrichment And Description (MEAD) .51 The primary impetus for MEAD was the rise of smart s peakers, such as Amazon ’s Echo and Google Nest devices, which process voice queries for music (among other things). Labels and smart speakers had a mutual interest in ensuring that responses to queries such as “Play some cumbia ” or “Play Bad Bunny ’s latest single ” or “Play some jazz with alto sax ” or “Play some background music for studying ” are as on-target as possible. The MEAD standard contains thousands of metadata attributes for each song . Tests have shown that the use of MEAD metadata improves smart speaker responses: for example, users are less likely to ask their smart speakers to “skip to the next song ” when the smart speaker uses MEAD metadata provided by labels , and MEAD -tagged tracks are more likely to be included in algorithmically generated playlists . C. Licenses As mentioned above, copyright owners get exclusive rights to their works under copyright law. They can license these rights to others. Licenses are contracts that specify royalty terms , among other things. Licenses can be agreed by parties in a licensing scheme , in which case they are often called voluntary licenses , or they can be set by law, in which case they are called compulsory licenses. Voluntary licenses have royalties that are defined as part of the license agreeme nt, while compulsory licenses usually have royalties defined by law , in which case they are called statutory royalties. For example :  Record labels license their recordings to DSPs via voluntary licenses. Royalty rates for these licenses are typically confidential and vary according to several factors .52  Compulsory licenses exist for specific situations , such as radio . This means that the licensee ( e.g., a streaming radio DSP ) can play whatever music it wan ts without having to ask permission in advance, but it must pay a royalty that is usually set as part of the 51 DDEX, MEAD explained, https://kb.ddex.net/implementing -each-standard/media -enrichment -and- description -(mead)/mead -explained/ . 52 For a highly detailed and fairly recent set of statistics on streaming royalty rates from several DSPs around the world, see Soundcharts, What Music Streaming Services Pay Per Stream (And Why It Actually Doesn ’t Matter), June 26, 2019 , https://soundcharts.com/blog/music -streaming -rates-payouts . 28 law (statute) that defines the compulsory license. Compulsory licenses vary from one country to another. In addition, entities known as collective management organizations (CMOs) define and administer licenses for catalogs of content that comes from rightsholders that they represent . CMOs often offer blanket licenses to DSPs that cover all of the music that the CMO represents . The most common type o f CMO is a performance rights organization (PRO), which manages public performance or communication -to-the-public licensing for catalogs of compositions or sound recordings . There are also mechanical rights organizations (MROs) that manage mechanical licenses for compositions . Many countries have single designated CMOs that license music to DSPs , while a handful have multiple PROs that do this . Some CMOs manage only one type of right while others manage multiple rights; for example, PRS for Music in t he UK manages both performance and mechanical rights on musical compositions. CISAC, the international organization for author and composer CMOs, maintains a list of its members at https://members.cisac.org/CisacPortal/annuaire.do?method=membersDirectoryList&by=society/ . Separate PROs also exist for performance rights in sound recordings in some countries ; examples include PPCA (Australia), PPL (UK), PPM (Malaysia), Re:Sound (Canada), RMPL (India) , and SoundExchange (USA). A. Sound Recording Rights Flows When a listener plays a song on a DSP , the record label or indie digital distributor (see below) gets a royalty according to the applicable license, which could be a voluntary license for a download or on -demand stream, or a compulsory license for a digital radio stream. The process is straightforward: t he record label pays the recording artist a roya lty according to terms in the artist ’s contract with the label. If the artist uses an indie digital distributor, the distributor pas ses the royalty along to the artist , less any commission that the distributor takes. Similarly, if an indie label distributo r is involved, the distributor takes a commission and passes the remaining royalties along to the indie label, which shares royalties with the artist according to a contract. Pro-Rata vs. User -Centri c Royalties Much has been said about the per-stream royalty rates that DSPs pay to record labels and distributors based on streaming play counts. Those rates tend to be quite complex and depend on various factors , so they are hard to pin down. A more recent controversy is not about per - stream rates but abou t how DSPs convert overall stream counts into royalties for artists and labels. The traditional way has been simply for a DSP to make payments for a given song proportional to the total number of plays of that song by all of its users within each territor y. This has come to be called the pro-rata method of calculating royalties. For example, if a DSP in Indonesia gets a billion total plays in a month and Mahalini Raharja gets 10 million of those plays, then Mahalini ’s label , Hits Records , gets 1% of the total royalties that the DSP pays out to record labels that month in Indonesia . Some i ndependent artists and labels claim that this model puts them at a disadvantage and rewards only the biggest stars , because it incentivizes gaming the system for “raw numbers ” rather than building loyal fan bases. They have been pushing for an alternative called the user- centric royalty model. 29 With the user -centric model, the DSP divides up royalties generated from each user ’s subscription fees according to t hat user ’s plays , regardless of how much music each user plays in a given period of time . For example , assume a DSP in Chile charges CLP 4000 a month and pays 60% of its revenues to record labels and distributors.53 Assume that a user of that DSP listens to Myke Towers 75% of the time and Quevedo the other 25% of the time . Then Myke Towers ’s label One World will get CLP 1800 ( 75% of the CLP 2400 that the DSP pays out in Chile for that user ), and Quevedo ’s label Taste the Floor will get CLP 600 . This will happen regardless of whether the user plays music for one hour or a hundred hours in a given month. DSPs tend to resist the move to user -centric royalty payments; among other things, it would require major retooling of the software they use to calcu late royalty payments, and it is more complex to implement and to audit. At this writing, SoundCloud and Deezer are the only global DSPs that have adopted a user -centric model . It’s unclear how this change would really affect the distribution of royalties among superstars vs. indie artists or across musical genres; studies have been done and opinions vary ,54 though the experiences of SoundCloud, Deezer, and any other DSP that adopts user -centric royalties in the coming years should increase understanding. B. Independent Digital Distributors Some independent artists choose to go without labels and work with indie digital distributors instead. Digital distributors accept uploads of artists ’ recordings and associated metadata, and they submit the music to DSPs and to other types of services, such as wholesale digital music distributors, social media platforms, karaoke services , exercise machines, music services for restaurants and retail stores , etc. They handle various types of pap erwork, such as registering for copyrights in countries where this is required before an artist can receive royalties. Digital distributors do not own master rights, and ( except CD Baby) they do not produce physical music products. Some will help promote music on DSPs, such as by plugging songs for inclusion on their editorial playlists , but otherwise they do no marketing or promotion. At this writing there are dozens of indie di gital distributors. These are generally accessible to artists anywhere in the world , with a few exceptions . They vary in the number and location of DSPs to which they distribute music, though those lists are constantly growing and changing. Here are some o ther points of differentiation among these services:  Some distributors will also contribute music to user -generated content platforms such as YouTube and SoundCloud that have programs for content monetization , or to social networks such as Instagram and Facebook .  Some will distribute music videos to Vevo (see p. 10). 53 The DSP will pay additional roy alties to composition rightsholders; see below. 54 Several a rticles have been written about this. See for example : Huppe, Michael, Should Streaming Services Change How Artists Are Paid? Forbes.com, February 8, 2023, https://www.forbes.com/sites/forbesbusinesscouncil/2023/02/08/should -streaming -services -change -how- artists -are-paid/ (Huppe i s the CEO of SoundExchange, the US sound recording PRO ). Martin, Didier, Music Streaming Must Switch to a Fair and Logical Payout Model. There Is No Time to Lose. Music Business Worldwide, February 9, 2021, https://www.musicbusinessworldwide.com/the -streaming -music -industry - must -switch -to-a-fair-and-logical -payout -model -there -is-no-time-to-lose/ (Martin is CEO of Outhere Music, a Paris -based independent classical music label). Centre National de la Musique, Music streaming: impact of UCPS settlement model , January 2021, https://cnm.fr/wp - content/uploads/2021/03/1_CNM_UCPS_Detailed_report_January2021.pdf . 30  Some let artists choose which DSPs will receive their music.  Some let artists choose which territories (countries) t o distribute their music.  A few also offer publishing administration services (see p. 35).  A few also offer mastering services.  Some will accept cover songs (songs written and already recorded by others), and of those, some will obtain mechanical licenses for the compositions being covered.  The speed at which these services get music onto the major DSPs varies from less than 24 hours to two weeks. This also de pends on the DSP, the territory, and whether the song is a cover (i.e., whether it ’s necessary to clear mechanical rights for the song).  Some offer mobile apps for artists, while others have websites only. Pricing structures vary widely among indie digital distributors, and many have multiple plans to choose from. Most charge commissions on royalties; commissions may vary according to the plan the artist selects. Similarly, most charge distribution fees which also vary according to the plans they offer: som e plans charge per release, others charge per number of artists, others charge annual flat fees, and so on. At this time of writing, the only digital distributor that is entirely “free” (no commissions, no registration or distribution fees, no annual memb ership fees) at this writing is SoundOn, which TikTok launched in 2022. SoundOn distributes to many other DSPs worldwide besides TikTok ’s own services. It is possible that as TikTok continues to build out its own DSPs around the world, it will start chargi ng for SoundOn or limit the DSPs that it works with. A selection of widely used indie distributors and some of their attributes is shown in Table 3. A much more detailed comparison is available at https://aristake.com/digital -distribution - comparison/ . Ari Herstand, author of the book How to Make It in the New Music Business (See References below) , maintains this chart. Other more detailed comparisons are from the website ProMusicianHub at https://promusicianhub.com/online -music -distribution -companies/ and the music data analytics company Soundcharts at https://soundcharts.com/blog/music -distribution . Distributor Launched Areas of Focus Commission Distribution Fees? Publishing Admin? CD Baby (Downtown Music) 1998 CDs 9% yes yes (Songtrust) Ditto Music 2005 0 yes EmuBands 2005 0 yes TuneCore (Believe) 2005 0-20% yes yes Horus Music 2006 Asia 0-20% yes Symphonic 2006 Urban, Latin, Electronic 0-15% yes yes (Songtrust) RouteNote 2008 Asia 0-15% yes yes 31 ONErpm 2010 Latin America 15% Music Gateway 2011 0-20% depends on plan yes Record Union 2011 0 yes DistroKid 2013 0 yes yes Stem 2015 Advances to artists 10% Soundrop (Downtown Music) 2016 Covers 15% Amuse 2017 0 depends on plan LANDR 2017 Production & Mastering 0-15% yes United Masters 2017 Hip-hop 0-10% Level (Warner Music) 2018 0% yes Songtradr 2018 Synch Licensing 0-10% yes SoundOn (TikTok) 2022 0 TikTok/Resso only Table 3: Selected digital distributors for independent artists. There are also distributors for indie labels, which get member labels ’ music onto DSPs so that the labels do not have to maintain the infrastructure to do this themselves. Ex amples of indie label distributors include Alternative Distribution Alliance (ADA), The Orchard, Ingrooves, and FUGA. These companies provide different services that depend on the needs of labels. C. Composition Rights Flows The royalty calculations for sound recordings in record label contracts and labels ’ licensing deals with DSPs can be very complex. But the flows of royalties for musical compositions from plays on DSPs are more complicated than for sound recordings. There are several reasons for this. Sound Recordings Embody Compositions One reason derives from the fact that sound recordings embody musical compositions, which — as discussed above —are separate entities from the sound recordings , with separate administrators and potentially separate creators . Labels have historically not passed information along to DSPs about the compositions embodied in their sound recordings. The reason for this has its roots in the development of the first lice nsed streaming music services. In the early 2000s, the first DSPs with major label licensing were those owned by the major labels themselves. Under an agreement with the major music publishers, the labels cleared 32 mechanicals on the compositions through a licensing agency that was affiliated with the publishers themselves. This licensing agency, the Harry Fox Agency (HFA), maintained a large database of compositions and their associated sound recordings; it used that database to match recordings to compositions and cleared the mechanicals on those compositions. In other words, the major labels used an agency that represented music publishers (some of which were the labels ’ corporate siblings) to clear mechanicals. But in the ensuing few years , the major labels spun out those DSPs as independent companies , and other independent DSPs launched . These DSPs still didn ’t get composition information along with the recordings that labels sent them , and they were not (or no longer) owned by record companies with corporate siblings that were music publishers. So the DSPs hired agencies such as HFA and others to clear mechanicals “after the fact ” on their behalf in the same way. In other words, the burden of clearing mechanicals shifted from labels to the DSPs themselves . None of these licensing agencies had a 100% complete, accurate, and up -to-date database of compositions matched to recordings , and they used various techniques to find compositions for recordings that were not in their databases. This led inevitably to errors and omissions in clearing mechanicals. Through the 2000s, the market for interactive streaming was small enough that few concerns were raised . But when streaming started to become the major source of revenue in the industry after 2011, composition rightsholders began to bring legal actions, with damage claims large enough that the industry began to take notice . The industry sought solutions to this problem as the monetary implications got larger. Yet solutions would not be simple —especially since, in many cases, the labels themselves did not necessarily maintain composition information associated with the reco rdings in their catalogs in a timely manner for the release of music in digital form .55 One idea was to solve the problem by creat ing a global database of music rights that everyone could use . A few such projects were started, but none succeeded, and this approach has been rejected as impractical and too complex.56 A more recent direction has been for DSPs to ask labels to send them information on at least one rightsholder per music track before they will ingest the music into their cata logs. Yet another has been to launch services that facilitate the sharing of data among different types of entities rather than attempting to store it all in a single large database . An example of this approach is the Verifi Rights Data Alliance, launched in 2022 by the startup Verifi Media.57 Compositions Can Have Multiple Songwriters and Publishers Another reason why composition royalty flows are more complex than sound recordings is that while a recording always comes from one label or distributor, a rec ording ’s underlying 55 The historical roots of this state of affairs go back to the 1980s. At that time, labels were rushing to re - release albums on CD , which required re -clearing mechanicals on the compositions. Some l abels decided to release some CDs before clearing the mechanicals, and a large backlog of uncleared mechanicals ensued. This led to lawsuits and settlements, but it established a “release now, clear later ” practice that has largely per sisted ever since in certain situations . 56 The best -known of these attempts was the Global Repertory Database (GRD), which began in 2010 and was abandoned four years later. 57 https ://www.verifi.media/vrda . 33 composition may have multiple songwriters , each of which may have their own music publisher and may be affiliated with different CMOs . The average pop song today has about four songwriters ; some have more than a dozen . And the odds are greater and greater that those songwriters come from different countries. F or example, a song played in Uruguay might be written by songwriters in Chile and Argentina who are affiliated with the PROs SCD and SADAIC respectively; this can require the involvement of so -called sub-publishers and/or reciprocal agreements among PROs to recover foreign royalties. In addition, rights ownership data can change over time; this happens much more frequently with compositions than with sound recordin gs. For example, some songs are released before the splits (royalty shares among songwriters) are finalized , or splits change after release; and publishers buy and sell rights to compositions all the time . All of this complicates composition royalty transa ction processing. Parties Involved in Composition Royalties Vary Finally, the parties involved in composition royalty processing vary, not just from one territory to the next but also among rightsholders and DSPs within a given territory . Figure 5 shows a typical composition royalty process for streaming in countries with single CMOs that process royalties for digital music use .58 58 For a good high -level description of the processes and challenges, see The Song Royalties Guide , Music Managers Forum, at https://the mmf.net/site/wp -content/uploads/2022/05/mmf -songroyaltiesguide.pdf . 34 Figure 5: Typical process for sound recording rights flows from plays of music on a DSP. The steps in this process, most of which are labelled in Figure 5, are as follows: 1. Labels and distributors send music along with metadata feeds in DDEX ERN files (see p. 26) to a DSP . 2. Users stream music on the DSP. 3. The DSP sends DDEX DSR files (see p. 26) to labels and distributors after the end of each reporting period (month or quarter) . This data includes ISRCs to identify sound recordings, along with use counts, types of uses (paid subscription streams, free streams, tethered downloads), and other infor mation. 4. The DSP sends play reports , which can also be in DDEX DSR files, to the local CMO for calculating royalties on composition performances, composition mechanicals, and (in most countries) sound recording performances. It also sends play reports to pu blishers with which it has direct licenses, which can be either traditional music publishers (e.g., Sony Music Publishing ) or admin publishers (e.g., Songtrust ; see below ). 5. The CMO uses its own database and other technology to determine the compositions embodied in the sound recordings and their songwriters, publishers, and splits . It communicates with publishers, other CMOs, and possibly third parties in cases where it can’t figure this out. 35 6. The CMO sends the DSP a claim file , which could be in CISAC CC ID or DDEX CDM format, for that reporting period showing which rightsholders are implicated in the music played and what royalties are owed . 7. The DSP pays royalties to the CMO, which passes them on to rightsholders or other CMOs as necessary . 8. The DSP pays sound recording royalties to labels and distributors. This is just a simple example . Many variations are possible , depending on the country ’s copyright laws and conventions , the DSP ’s deals with publishers, the capabilities of the CMO, and other factors . For example:  A DSP may pay a publisher directly (denoted in blue lines in Figure 5) for the publisher ’s share of royalties while paying a CMO for the songwriter ’s share.  DSPs may pay so -called special purpose vehicles (SPVs), which are partnerships between publishers and CMOs that represent Anglo -American repertoire separately from other repertoire .59  The DSP could hold off on royalty payment if there is missing data or a dispute over rights ownership.60  The DSP may operate in a country where there are multiple CMOs that li cense DSPs .  Conversely, the CMO may operate in multiple countries or handle multi -territorial licensing , making it possible to process some multi -territorial rights through a single CMO .  The DSP may have an arrangement with a rights administration service to clear and process mechanicals and/or sound recording performances itself, instead of the CMO doing this. Yet another reason for the increased complexity of composition royalty transactions has to do with synch licensing on video DSPs ; see p. 36 below . D. Publishing Administration Services Just as record labels take care of rights administration and royalty collection on sound record ings, music publishers manage rights administration and royalty collection on compositions. As the above implies, independent songwriters face complex rights administration tasks. And just as there are indie digital distributors for independent recording a rtists, there are publishing administrators (also known as admin publishers ) for independent songwriters and small publishers . Some songwriters set up personal publishing entities, sometimes known as “vanity publishers, ” and entrust administration to a major publisher. For example, Lady Gaga has a vanity publisher, House of Gaga Music, which uses Sony Music Publishing as its administrator. But otherwise, admin publishers exist for indie songwriters. These services take percentages of royalties and various other fees for processing composition royalties, but they take no copyright ownership shares, nor do they do any marketing or promotion . As with digital distributors, songwriters from almost anywhere in the world can use these services. 59 Each of the major publishers has an SPV set up , although these operate mostly in Europe. 60 For example, the DSP could receive royalty claims that add up to more than 100% of the rights ownership, which is known as “overclaiming .” 36 The primary purpose of a publish ing administrator is to handle mechanical royalties , on the assumption that a PRO will handle performance royalties for the songwriter . Some indie publishing administrators also handle synch royalties , and some pro vide setlist submission tools to assist with collecting performance royalties for live performances . Indie songwriters must also sign up with a PRO in their country , although in some cases admin publishers will take care of that. Admin publishers typically serve songwriters around the world and collect royalties worldwide as well through a combination of direct deals and CMO relationships . They take commissions on royalties of 15-20% (higher on synch royalties because they require more effort ) and charge either signup fees or per -song /per-album fees. Leading publishing administrators for indie songwriters include :  Songtrust , a division of Downtown Music Holdings , which owns a number of music service businesses . Songtrust has partnerships with the digital distributors Symphonic and CD Baby (see Table 3 above) .  Sentric, owned by Believe of France , also an owner of a number of different music service businesses .  The digital distributors TuneCore, CD Baby, RouteNote, Music Gateway, and DistroK id offer admin publishing for artists who use their distribution services. Each of these companies collect s royalties for tens or hundreds of thousands of songwriters in over 200 territories worldwide. A detailed comparison of these services ’ features and costs comes , once again, from Ari Herstand , at https://aristake.com/admin -publishing -comparison/ . E. Synch Licensing As explained above , synchronization royalties arise out of industry convention and apply when music is used with another medium, such as a video, game, VR experience, and so on. It is possible to license synch rights for both sound recordings and compositions ; for example, a music supervisor for a television show can license a composition and hire an artist to record a cover version (which implicates only the composition) or license the original sound recording (which implicates both).61 The most important point about synch r ights is that every synch must be licensed individually with the rightsholder . There are no set rates and few industry standards for royalties , and rightsholders can refuse to license at all. And although there are several services that make music for synch uses available at low cost or for free, there are no CMOs or online licensing hubs for music owned by major labels or publishers. This lack of an organized marketplace for synch rights was understandable when synch usages were limited to TV shows and movies, where the value and nature of each music use varied according to context and the volume of usage was limited. But in today ’s world of video DSPs, the lack of organization in synch licensing makes for an inefficient market. Publishers nowadays get into disputes with large user -generated video platforms about whose responsibility it should be to obtain proper synch licensing —the platform companies or their end -users —and these disputes sometimes result in the platform companies taking blanket licenses to large publishers ’ 61 There are also instances where a synch license may not be required, such as fair use or fair dealing, which are hi ghly situation -specific but may come up in instances such as news reporting and documentary filmmaking. 37 catalogs . This means that smaller publishers may go without licenses with these platforms . Some publishers are resistant to collective or standardized synch licensing because it would diminish their control. This is an unstable situa tion that will take some time to resolve , but rightsholders should be motivated to make the market more efficient, as s ynch licensing is a growing opportunity for creators and rights administrators alike. On the recorded music side, although synch accounts for only 2.4% of overall revenue, it is the fastest -growing category after having been stagnant until 2017 . Synch revenue rose 22% from 2021 to 2022, almost double the current growth of streaming revenue.62 62 IFPI 2023 Global Music Report. 38 V. Opportunities for Developing Countries Thanks to the global reach of DSPs (see Table 1), labels, digital distributors (see Table 3), and publishing administrators (see p. 35), recording artists and songwriters in developing countries have access to global digital music markets , which represent the vast majority of music consumption worldwide . As long as they have good Internet connectivity, artists can get their music exposed to the public on a wide variety of services and ca n get paid royalties on the ir sound recordings. To help ensure that creators can take advantage o f these opportunities, it is important to educate musical creators about :  The availability of digital distribution and rights administration services for independent creators .  The availability of administrative services for independent labels and music publishers , to help them get up and running in the digital age without investment in technology infrastructure.  The basic nuts and bolts of copyright infrastructure, including identifiers and metadata.  Copyright laws that govern digital music distribution and royalty flows.  Music industry conventions that transcend or complement individual countries ’ copyright laws. In many ways, the various services a vailable to independent artists compensate for the lack of copyright infrastructure in some countries , such as some CMOs ’ lack of capability for collecting and administering digital royalties . But these services are based in a handful of Western countries . Although they can collect royalties from plays of music around the world, they do not necessarily help artists promote their music locally, and the commissions and fees they take move money out of the country. A. Opportunities for Copyright Infrastructure Therefore , opportunities exist in developing countries for local companies to help musicians promote and monetize their music . As the above has implied , building such capabilities is complicated and expensive . Yet there are things that countries can do to make it easier by reducing legal risk and operational complexity . For example, it would be helpful to clarify responsibilities for rights clearance and administration under the country ’s copyright laws . This means answering questions such as:  What rights are required for music streaming, and is it possible to consolidate them into single streaming rights for both sound recordings and compositions ?  Are rightsholders ’ interests better served through simple automatable licensing frameworks (such as compulsory blanket licensing) than through ad hoc “bespoke ” licensing requirements?  Must DSPs clear rights to music before they make it available to avoid legal risk , or is it sufficient to offer music and wait for claims fro m rightsholders to pay royalties (as with compulsory licenses) ? “Release now, clear later ” has become music industry convention , in some cases, despite its potential tension with national copyright laws.  Who has responsibility to clear and administer rights —CMOs, DSPs, or rightsholders (labels, publishers)? In particular, where does the responsibility lie for identifying 39 compositions embedded in sound recordings and the compositions ’ rightsholders and splits?  What type s of entities are best positioned to do rights administration in a given country ? Are there opportunities to create such entities through government action or entrepreneurship ? Once these basic questions are answered, then it can become clear er how a country can set up or incentivize the appropriate copyright infrastructures. For example, it will become clearer whether composition matching and royalty payments are best handled by CMOs that represent rightsholders or service providers that work on behalf of DSPs , some combination of the se, or some other entity that works on behalf of multiple types of entities at once . Along with this clarity should come avenues for investment in such infrastructure , including technologies and skills , which will move money onshore that is currently goin g to the US, UK, or EU. And along with investment should come requirements that data be made available openly , instead of the proprietary databases that many rights administrators (whether CMOs or otherwise) maintain for their own benefit . The movement towards open music rights data has already begun. For example, the United States enacted legislation in 2018 that established a CMO called the Mechanical Licensing Collective that processes mechanicals for streaming services. The law required the MLC to make its complete database —which currently holds information on over 30 million compositions —available to the public via a website for free and through regular bulk data feeds at a low cost. In the UK, a government study on the streaming music market recently led the UK collecting society PRS for Music to announce a project to build a database of composition and matching sound recording metadata for DSPs to use.63 Open data about music rights leads not o nly to transparency of royalty payments but the ability to build more administration and analytic services more quickly and easily. It should also ameliorate some of the complexities associated with multiple rights administrators in a given territory. B. Chec klist for Independent Creators Here are some tips for independent artists and songwriters that summarize many of the the points raised in this guide.  Learn about your country ’s copyright law s:  Determine what your exclusive rights are to your music under your country ’s copyright law.  Determine what aspects of music royalties, if any, are covered under your country ’s copyright laws, such as mandatory copyright registration as a precondition to collecting royalties or compulsory licenses with statutory royal ty rates.  Find out about your country ’s approach to neighboring rights such as radio or digital radio play of sound recordings and the processes by which royalties are obtained for them.  Register with CMOs: 63 Presentation at https://www.wipo.int/me etings/en/details.jsp?meeting_id=76608 . 40  Learn about your country ’s CMO(s) and to wha t extent they are involved in collecting royalties for digital music.  Sign up for a PRO that will collect digital royalties for you worldwide. If your country ’s PRO does not do this, try to sign up for one that will (national residency requirements vary).  If your country has a CMO that collects mechanical rights (a MRO), register for that too. Same if your country has a CMO that collects for neighboring rights (performance rights on sound recordings).  Sign up with service providers:  If you are a recording artist, sign up for a digital distributor to make your music available on DSPs in your region and worldwide.  If you are a songwriter, sign up for a publishing administrator , or for a digital distributor that offers admin publishing services, to c ollect mechanicals and other composition royalties worldwide.  Sign up for a data analytics app such as Chartmetric, Soundcharts, or Viberate, and for at least one of the artist data apps on DSPs that offer your music (Spotify for Artists, Deezer for Creators, etc.).  Identifiers:  Note the identifiers that distributors and/or admin publishers have created for you, such as ISRCs, ISWCs, and IPI.  Register for an ISN I if you do not have one already. You can do this through an ISNI registration agency; a list is available at https://isni.org/page/isni -registration -agencies/ .  Copyright compliance: Ac quaint yourself with copyright compliance capabilities, such as notice and takedown forms, provided by online services operating in your country so that you can have unauthorized copies of your music taken down. 41 VI. Conclusions The music business has been transformed by digital technologies and networks in ways that make it more accessible to creators in developing countries than it was before. There is a vigorously competitive worldwide market for digital music services with glo bal reach as well as regional players that cater to specific audiences in different geographies. Streaming royalty rates aside, t he good news for creators with Internet connectivity is that there are many services available to make their music accessible to audiences all over the world with a few clicks, often at a nominal cost and without taking any ownership of copyrights. Music ’s short list of simple atomic units of commerce –the composition, the sound recording, the album – makes it particularly amenable to global online commerce. It is possible for creators to collect more royalties from more sources than ever before. And many tools are available, often at little or no cost, to enable creators to collect and examine data on how their music is being received around the world. Yet as they say, the devil is in the details. Understanding the global world of music copyright and royalties requires understanding many details of copyright laws, royalty schemes, many types of data, and a whole host of adminis trative entities beyond labels and music publishers. It requires understanding the different processes and royalty flows for sound recordings and, especially, compositions. Today ’s streaming -dominated music world is also fraught with challenges beyond roy alty payments. As users become more able to slice and dice music into small chunks and use it with their posts on social platforms, creators lose more control over distribution channels. Creators are releasing music in a world where more than 100,000 new t racks are uploaded to DSPs globally every day , making new music harder for fans to discover , and new generative AI technologies promise to accelerate the supply of new music even more in the near future. And the streaming world is rife with ways to game the system that put creators with limited means at a disadvantage while the biggest stars with major -label resources garner more and more attention . Opportunities also abound for developing countries in b uilding copyright infrastructure that supports digital music . This can include revising copyright laws and regulations to reflect current processes and conventions in digital music . It can also include appropriate investment in public and/or private sector rights administration capabilities . This will help creators promote and monetize their music locally, and it will help repatriate portions of the revenues generated by music commerce that are leaving the country today. There are many other sources of information and assistance —including from WIPO —to help on this journey. 42 References Books  Jeff Brabec and Todd Brabec, Music, Money, and Success : The Insider's Guide to Making Money in the Music Business , 8th Edition . New York: Simon & Schuster, 2019.  Chris Cooke, Dissecting the Digital Dollar: Third Edition , Music Managers Forum, 2020.  Ari Herstand, How to Make It in the New Music Business: Practical Tips on Building a Loyal Following and Making a Living as a Musician, 2nd Edition. New York: Liveright, 2019.  Donald S. Passman, All You Need to Know about the Music Business , 10th Edition . New York: Schirmer Trade Books, 2018. Online Educational Resources  Ari’s Take (Ari Herstand ): https://aristake.com/ . Ari also runs Ari’s Take Academy (https://aristakeacademy.com/ ), which offers online courses for indie musicians.  Curve (royalty software vendor) Royalties 101 online classes: https://www.curveroyaltysystems.com/royalties -101-music -publishing , https://www.curveroyaltysy stems.com/royalties -101-recorded -music  Music Managers Forum (trade association for music managers) Digital Dollar reports : https://themmf.net/digitaldollar/  Songtrust (publishing administration vendor) booklets and webinars: https://www.songtrust.com/resource -center Industry News  Billboard, https://www.billboard.com/ .  Music Ally, https://musically.com/ .  Music Business Worldwide, https://www.musicbusinessworldwide.com/ .  Variety, https://variety. com/v/music/ .  Your Morning Coffee (weekly newsletter), https://yourmorning.coffee/home#weekly -newsletter . Podcasts (Available on most podcast platforms)  Music Business Worldwide  Musi c Tectonics  Musonomics  The New Music Business with Ari Herstand  Trapital  Your Morning Coffee 43 Glossary ACR – automatic content recognition. A technology for identifying content by taking its fingerprint and looking it up in a database of fingerprints to find a match. See also fingerprinting. Catalog music – music that is at least 18 months old. CISAC – Confédération Internationale des Sociétés d'Auteurs et Compositeurs . International organization of CMOs for authors and composers. CISAC administers standards including CWR (Common Works Registration), CCID (Claim Confirmation and Invoice Details), CRD (Common Royalty Distribution), ISWC and IPI. See also CMO , MRO, PRO. CMO – collective management organization , a/k/a collecting socie ty. A service that administers rights and royalties on behalf of rightsholders that affiliate with it. See also PRO, MRO. DAW – Digital audio workstation. Software for recording, mixing, editing, and producing audio content on a computer. DDEX – Digital Data Exchange. A standards body that creates and maintains messaging and metadata standards for the digital music supply chain. DDEX standards include DSR (Digital Sales Report) , ERN (Electronic Release Notification) , CDM (Claim Detail Message), and MEAD (Media Enrichment And Description) . See also supply chain metadata, discovery metadata. Digital distributor – a service that takes independent artists ’ music, submits it to DSPs, collects royalties from those DSPs, and distributes royalties to th e artists without owning any rights. See also label. Discovery metadata – metadata that describes music for purposes of discovery through recommendation, search, app navigation, algorithmic playlist generation, etc. See also supply chain metadata. DMCA – Digital Millennium Copyright Act. A 1998 United States la w under which if an online service accepts and acts on takedown notices from copyright holders, it can avoid liability for copyright infringement. Some countries outside the USA have similar legal re gimes. See also takedown notice. Downloading – transmission of complete files from a service to a user ’s device. See also streaming. DRM – digital rights management. A set of techniques for encrypting files or streams before sending them to users. Users must have the proper credentials (such as a valid subscription to a DSP) to decrypt and play the content on their devices. DSP – digital service provider. An online music service. Fingerprinting – a technique for identifying the content in a digital file. A fingerprinting algorithm analyzes the data in the file and produces a series of numbers that characterize it (the fingerprint) . See als o ACR. FLAC – Free Lossless Audio Codec. A n open, royalty -free standard algorithm for compressing audio data into smaller storage space with no loss in sound quality. Freemium – a service subscription model that includes free and paid membership tiers . 44 Generative AI – a class of artificial intelligence technologies that generate content automatically with varying degrees of human assistance. IFPI – International Federation of the Phonographic Industry. The international umbrella trade organization for th e recorded music industry. IPI – Interested Parties Information. A standard identifier for musical composition rightsholders (songwriters or publishers). ISNI – International Standard Name Identifier. A standard identifier for names, often used for recordi ng artists. ISRC – International Standard Recording Code. A standard identifier for sound recordings. ISWC – International Standard [musical] Works Code. A standard identifier for musical compositions. Label – a company that issues and administers rights in sound recordings, whether physical or digital. License – a contract between a rightsholder and a licensee, such as a DSP, giving the licensee rights on content, such as distribution rights. Master rights – reproduction and distribution rights to a soun d recording. The name derives from the rights to a master tape of a recording. Mechanical rights – reproduction and distribution rights to a musical composition. The name derives from mechanical reproduction of piano rolls in the early 20th century. MP3 – short for MPEG -1 Audio Layer 3 or MPEG -2 Audio Layer 3. A standard algorithm for compressing audio data into a smaller space, potentially with some compromise in sound quality. MRO – mechanical rights organization. A CMO that administers mechanical rights to musical compositions. See also CMO, PRO. Music Publisher – a company that owns and administers rights in musical compositions. Musical composition (a/k/a musical work) – the music and lyrics (if any) to a song . NFT – Non-Fungible Token. A record of a transaction stored on a blockchain that identifies the item purchased, such as digital music or other content. Opt-in licensing – a DSP ’s scheme for ingesting recorded music whereby it will only accept music from rightsholders under license agreements. Opt-out licensing – a DSP ’s scheme for ingesting recorded music whereby it will accept any music from anyone ; rightsholders must indicate which music they forbid the DSP from offering and negotiate license terms for the music that they allow the DSP to offer . PCM – Pulse Code Modulation. An old er format for uncompressed digital audio that produces very large files with full sound quality. 45 PRO – performance rights organization. A CMO that administers performance right s to musical compositions or sound recordings. See also CMO, MRO. Pro-rata royalties – the traditional royalty calculation scheme for streaming DSPs , in which the DSP pays royalties to rightsholders based on the aggregate streams by all of the DSP ’s users in a reporting period. See also user-centric royalties. Publishing administrator – a service that administers rights to musical compositions on behalf of independent songwriters and does not own any rights. See also music publisher. Rightsholder – an owne r or part -owner of copyright in a work, such as a musical composition or sound recording. Sound recording (a/k/a phonogram ) – audio recording of a performance of a musical composition. See also musical composition. Stream ripping – capturing an audio or video stream into a file that resides on the user ’s device. Streaming – sending an audio or video signal over the Internet to a user ’s device via a continuous series of small chunks of compressed audio or video (a stream) that the user ’s device reassembles into program content for the user. See also downloading. Sub-publish er – a music publisher that administers royalties for a rightsholder in a different territory . Supply chain metadata – metadata that describes music for purposes of DSP ingestion, rights administration, and royalty processing. See also discovery metadata. Synchronization (a/k/a synch or sync ) – a right to use music in connection with another type of media, such as a video, game, or VR/AR experience. Takedown notice – a notice that a copyright holder (or a copyright enforcement service acting on its behalf) sends to an online service to get it to remove content that has been posted without authorization. See also DMCA. UPC – Universal Product Code. A standard identifier for physical products (such as LPs and CDs) , designed to be represented in barcodes. User -centric royalties – royalty calculation scheme for streaming DSPs in which the DSP divides up royalties generated from each user ’s subscription fees according to that user ’s plays, regardless of how much music the user plays in a reporting period . See also pro-rata royalties. 46 About the Author Bill Rosenblatt is the founder and president of GiantSteps Media Technology Strategies, a consulting firm that has provide d expertise in technologies, business strategy, and intellectual property for digital media since 2000 . His music industry clients have included major record labels, digital music services, technology companies, investment firms, and startups around the world. He has advised or testified before public policy bodies in North America, Europe, and Asia on issues related to copyright in the digital age. He has served as an expert witness in litigations and royalty rate proceedings in the United States, Canada, and the Netherlands on the digital music market, digital copyright , and related technologies such as DRM, streaming media, fingerprinting, and watermarking. Bill is an adjunct professor in the Music Business program at N ew Yo rk University , and he has guest lectured at several universities including Carnegie Mellon, Columbia , MIT, the University of Virginia , and the law schools of Rutgers University and the University of New Hampshire . He is the program chair of the annual Copy right + Technology conferences in New York, which he co-produces with the Copyright Society , and he has spoken at other conferences worldwide including the World Economic Forum in Davos, Switzerland . He is on the trustee boards of the Copyright Society and Princeton Broadcasting Service, Inc. ; and he is on the advisory board of the American Society for Collective Rights Licensing , a collecting society for illustrators and photographers. Bill is the author of Digital Rights Management: Business and Technology (Wiley, 2002) and coauthor (with Howie Singer) of Key Changes: The Ten Times Technology Transformed the Music Industry (Oxford University Press, 2023) . He is a media industry contributor to Forbes.com and has written for Publishers Weekly and other periodicals . He holds degrees in computer science from Princeton and the University of Massachusetts .	[ "music", "service", "digital", "right", "royalty", "label", "dsps", "artist", "recording", "user" ]	{ "summary": "WIPO Committee on Intellectual Property \nand Development \n \n \nTHE GLOBAL DIGITAL \nMUSIC LANDSCAPE " }
tL-mrk:pr-mngmentaudio-market-update-fall-2023.pdf	The Future of Audio Audio Market Update —Fall 2023September 2023Audio Market Update—Fall 2023 2At our recent Midsummer Music Tech Dinner in New York, we were joined by MIDiA Research’s Tatiana Cirisano , who shared some of her firm’s perspectives on three industry themes: Music industry forecasts: Recorded music’s staying power. Streaming subscription business model reaching saturation —time to start considering the next phase of growth in the industry. Music creation trends: With a growing base of consumers empowered to make music, the creator tool industry is establishing itself as a central part of the music business. AI takeaways: AI will challenge labels and artists, but “remix culture” offers an opportunity for new revenue streams around music. The music world will increasingly center around fandom, identity, and creativity. Please reach out to us or to MIDiA ([email protected]) directly for more insight into these topics. The industry continues to be highly active, attracting investment and M&A from top -tier PE funds, underscoring the importance of the creator tool component to the broader music industry (Avid, Antares). We are encouraged by the momentum in this market! At our Global Tech Conference in New York on October 3, we’ll have a panel discussion titled “The Future of Creator Tools” with the heads of Image- Line, SoundCloud, Vidmob , and Storyblocks . We hope to see you there! Click here to register for the event .Topics Covered in This Report »The Music Industry •Updated Sector TAM Estimates •Streaming Subscribers/ARPU •Under -Monetization of Streaming •Impact of Emerging Platforms •Music Catalog Valuation Environment •Generative AI »The Creator Economy »Podcast Engagement »Digital Transformation of Radio »Sector Valuation Environment •Recent Sector M&A and Financing Transactions •Public Market PerformanceJonathan Norman Managing Director London D2C Audio Creator Tools Live Events IPBrian Marler Director Los AngelesHoulihan Lokey’s Leading Digital Audio Franchise has completed a financing consisting of $24,000,000 Series D Convertible Preferred Stock Placement Agent has completed a financing transaction in connection with its acquisition of Fairness Opinion Melody Holdings, L.P., parent of SESAC Music Group a portfolio company of has completed a $265 million debt recapitalization Financial Opinion has confirmed a Chapter 11 Plan of Reorganization, restructuring approximately $450 million of debt Second Lien Noteholder Advisor has been acquired by EV Events Center, LLC a joint venture between Brooklyn Sports & Entertainment and AEG Presents with its regional partner The Bowery Presents Sellside Advisor has been merged into Merger Advisor has acquired Financial Advisor* has received a strategic investment from Sellside Advisor* has been acquired by Sellside Advisor completed an $80M share/warrant repurchase, representing 100% of the outstanding securities of Financial Advisor has been acquired by Sellside Advisor has been acquired by a portfolio company of Sellside Advisor has acquired Buyside Advisor* has acquired Buyside Advisor $50,000,000 Financing Financial Advisor* Jared Shaber Vice President New YorkDaniel Gossels Managing Director New YorkJohn Lambros Managing Director Co-Head of U.S. Technology New York Sameer Jindal Managing Director MumbaiDigital Audio Team Conrad Kolasa Vice President Los AngelesJohn Focosi Associate Los Angeles Ishan Pinto Financial Analyst New YorkRahul Amin Financial Analyst New York Selected transactions were executed by Houlihan Lokey professionals while at other firms acquired by Houlihan Lokey or by pr ofessionals from a Houlihan Lokey joint venture company. 3Highly Relevant Sector Experience has sold a majority stake in to Sellside Advisor parent company of has received financing from Coran Capshaw Founder of Sellside Advisor A Global Leader in Technology Advisory Notes: Ranking based on data provided by Refinitiv. Excludes accounting firms and brokers. (1)As of June 30, 2023. (2)Excludes corporate MDs. (3)As of August 2023. (4)LTM ended June 30, 2023.2022 M&A Advisory Rankings All Global Technology Transactions Advisor Deals 1 Houlihan Lokey 116 2 Goldman Sachs 106 3 Morgan Stanley 79 4 Rothschild 76 5 JP Morgan 75Expertise in High -Growth Technology Sectors Significant experience and expertise across vertical and horizontal business management software, HCM, property tech, tech -enabled services, UCaaS, industrial tech, data and analytics, FinTech, adtech, cyber, and digital audio.Global Tech Coverage and Knowledge Our global footprint with offices in key M&A markets in the Americas, Asia, and Europe gives us integrated coverage, while our local roots mean that we have a strong understanding of the markets we cover. 15 technology offices globally 220+ technology -focused bankers 40+ technology -focused Managing DirectorsBroad and Deep Investor Coverage 24 senior officers dedicated to the sponsor community in the Americas and Europe. Coverage of 1,000+ private equity firms, 250+ credit funds, and 75+ family offices. Catalog and deal experience on financial sponsor preferences and behaviors. Houlihan Lokey’s Capital Markets Group comprises 90 dedicated professionals across 11 offices in five countries who have raised ~$25 billion and advised on an additional ~$12 billion across 250+ transactions over the past two fiscal years.Key Facts and Figures 2,000+ CLIENTS SERVED ANNUALLY326 MANAGING DIRECTORS(1,2)~2,000 TOTAL FINANCIAL PROFESSIONALS36 LOCATIONS WORLDWIDE(1)$1.8B REVENUE(4)$7B+ MARKET CAPITALIZATION(3)Partner -Led Approach Providing unbiased, insightful advice in the best interest of our clients, Houlihan Lokey dedicates significant senior resources to guiding clients. 436 LOCATIONS WORLDWIDE 220 + TECHNOLOGY BANKERS 40+ TECH MANAGING DIRECTORS 116 TECHNOLOGY DEALS IN CY22 No. 1 TECH M&A ADVISOR* Local Technology teamAmericas Atlanta BaltimoreBostonChicagoDallas Houston Los AngelesMiamiMinneapolisNew YorkSan FranciscoSão Paulo Washington, D.C. Asia-Pacific BeijingFukuokaGurugramHong Kong SARMumbaiNagoyaShanghaiSingaporeSydneyTokyo Europe and Middle East AmsterdamAntwerpDubaiFrankfurtLondon Madrid ManchesterMilan Munich ParisStockholmTel Aviv Zurich Source: Refinitiv. Excludes accounting firms and brokers.Our Tech M&A Team Is No. 1 Globally With Unrivaled Reach 5Houlihan Lokey Global Tech Conference 2022MARKETINGCRM Houlihan Lokey Global Tech Conference 2023 October 3, 2023 \|Lotte New York Palace Hotel WHAT TO EXPECT AT THE EVENT •Panel Discussions With CEOs of High -Growth Companies: A wide range of speakers will share their insights about navigating current market conditions and positioning their companies for future success across a variety of technology sectors. •Featured Speakers: The conference will feature high - profile speakers and candid panel discussions with distinguished tech thought leaders, covering a variety of topical themes. •Targeted One -on-One Meetings: Houlihan Lokey will arrange targeted, one -on-one meetings for presenting companies over the course of the conference, advising on prospects, meeting structure and materials, and coordinating any follow -up. •Networking Opportunities: Join an audience of strategic, financial, and institutional investors as well as other capital providers for lunch and end -of-day cocktails.OCTOBER 2Evening Pre- Conference VIP Reception OCTOBER 3CONFERENCE: Panels and 1x1sAGENDA Interested in presenting your company at GTC 2023? Email [email protected] 100+ PARTICIPATING COMPANIES TARGETED ONE-ON-ONE MEETINGS WITH INVESTORS AND STRATEGIC PARTNERS 700+ CONFERENCE ATTENDEES 6Music Industry Outlook Remains Robust 7The sector exhibited resolve throughout 2022, and recent analyst growth forecasts have remained materially unchanged from prior estimates. (1)Goldman Sachs, “Music Is in the Air.”$30 $32$39$43$46$51$56$61$67$72$79$85 $14$13$14$17$18$19$20$21$22$24$25$27 $28 $5$15$27$28$30$31$33$35$36$38$40 $72 $50$68$86$92$99$107$115$123$132$141$151 2019 2020 2021 2022 2023E 2024E 2025E 2026E 2027E 2028E 2029E 2030ERecorded Music Music Publishing Live Music ’23E–’30E CAGR Live Music 5% Music Publishing 6% Recorded Music 9%“We believe the growth outlook remains strong and will be more broad -based: we forecast global music industry revenues to grow at +7.1% YoY in 2023 (+8% prior), with our 2023–2030 CAGR slightly upgraded to 7.3% (+7.1% prior). Within this, our streaming growth forecasts are unchanged at +11%.”(1)Total Global Industry Revenues by Segment(1) $ in BillionsStreaming Has Rebuilt the Music Industry 8$22.3 $21.0 $21.6 $20.1 $18.5 $18.0 $16.8 $15.2 $13.1 $11.0 $9.6 $8.2 $7.5 $6.9 $6.1 $5.4 $5.2 $5.0 $4.7 $4.2 $3.9 $3.8 $4.4 $4.8 $0.1 $0.1 $0.2 $0.2 $0.4 $0.4 $0.6 $0.9 $1.3 $1.8 $2.7 $4.4 $6.2 $8.8 $10.7 $12.7 $15.7 $17.5 $0.3 $1.0 $1.9 $2.6 $3.2 $3.5 $3.7 $4.1 $4.2 $4.1 $3.9 $3.6 $3.1 $2.5 $1.6 $1.4 $1.2 $1.1 $0.9 $0.6 $0.7 $0.7 $0.8 $0.8 $0.9 $1.1 $1.1 $1.2 $1.3 $1.3 $1.4 $1.6 $1.7 $1.8 $2.1 $2.2 $2.5 $2.4 $2.2 $2.3 $2.5 $0.3 $0.3 $0.3 $0.3 $0.3 $0.3 $0.3 $0.4 $0.5 $0.5 $0.4 $0.5 $0.6 $22.3 $21.0 $22.1 $20.7 $19.2 $19.2 $18.7 $18.1 $16.9 $15.7 $14.6 $13.8 $13.8 $13.8 $13.5 $13.1 $13.6 $14.8 $15.9 $17.5 $18.9 $20.3 $24.0 $26.2 1999 2000 2001 2002 2003 2004 2005 2006 2007 2008 2009 2010 2011 2012 2013 2014 2015 2016 2017 2018 2019 2020 2021 2022Total Physical Total Streaming Downloads and Other Digital Performance Rights Synchronization Source: IFPI Global Music Report 2023.In 2021, global recorded music revenue surpassed the previous high reached in 1999 driven by the rapid growth in streaming. $ in BillionsGlobal Recorded Music Historical Revenue1.01.41.82.22.73.4 2017 2018 2019 2020 2021 2022Powerful Tailwinds Driving Music Industry Growth 9Music Streaming Expansion New Digital Media Platforms (Non -DSPs) Growth of Independent Artists Music Consumption Rapidly Increasing Global On -Demand Song Streams; in Trillions(3) (1)MIDiA Research 2023– 2 030 global music forecasts. Non -DSP platforms include TikTok, Meta, Snap, Twitch, Peloton, Roblox, Apple Fitness. (2)Goldman Sachs, “Music Is in the Air”, Houlihan Lokey estimates. Emerging platforms include revenues from social media platfor ms, podcasts, gaming, etc. (3)Luminate. Global Music Streaming Subscribers; in Millions(1)Global Music Streaming Revenue From Non-DSP Platforms; $ in Billions(1) Global Streaming Market Share(2) 35% 31%23%23%22%16%20%30% 2018 2022UMG Sony WMG Independent Artists +50% Growth+240% 6637458248949541,0081,0551,1001,140 2022 2023E 2024E 2025E 2026E 2027E 2028E 2029E 2030E$3.4$4.5$5.4$6.2$6.7$7.2$7.6$7.9$8.2 2022 2023E 2024E 2025E 2026E 2027E 2028E 2029E 2030E195237280324362397426454479501152161168174178181184186187189 124144157169178186192197201205 63758594102109114119124128 40465464738291100109118 5746637458248949541,0081,0551,1001,140 2021 2022 2023E 2024E 2025E 2026E 2027E 2028E 2029E 2030EAsia-Pacific North America Europe Latin America Rest of WorldMusic Subscriber Expansion Expected to Continue Across All Regions 10(1)MIDiA Research 2023– 2030 global music forecasts.In MillionsAudio Subscribers by Region(1) RoW 12% APAC 9% Europe 4% LATAM 6% North America 2% ’23E–’30E CAGRAPAC is expected to account for more than half of net adds between 2023 and 2030.Under- Monetization of Music Streaming Increasingly Apparent 11(1)MIDiA Research 2023– 2030 global music forecasts. (2)Goldman Sachs, “Music is in the Air.”Monthly Music Subscriber Blended ARPU (Retail)(1)ARPU Growth Has Been Anemic Revenue per Stream Continues to Slip Music Undervalued Compared to Video Global Revenue per Stream(1)Price per Hour of Consumption(2) $0.0040$0.0045$0.0050$0.0055$0.0060$0.0065$0.0070 2017 2018 2019 2020 2021 2022$0.17$0.34$0.38$0.77$0.94 Music Hulu Netflix Disney+ Max Music Streaming ’23E–’30E CAGR RoW 1% APAC 2% Europe 4% LATAM 2% N. America 3% $1.90 $1.68 $1.63 $1.69 $1.74 $1.76 $1.79 $1.80 $1.82 $1.83$5.59 $5.82 $6.07 $6.41 $6.71 $6.93 $7.12 $7.29 $7.39 $7.48$4.82 $4.09 $4.18$4.53$4.82 $5.04 $5.22 $5.37 $5.49 $5.58$1.32$1.38 $1.32$1.36$1.39$1.42$1.44 $1.45 $1.47 $1.48 $1.48$1.34 $1.32$1.37$1.39$1.41$1.44 $1.46 $1.46 $1.45$3.42 $3.15 $3.11$3.20$3.27 $3.31 $3.34 $3.36 $3.37 $3.36 2021 2022 2023E 2024E 2025E 2026E 2027E 2028E 2029E 2030EAsia-Pacific North America Europe Latin America Rest of World Blended Global ARPU Global 1%…With Further Increases Expected “If the monthly price of a music subscription had gone up by the same proportion [as video streaming], it would have increased from $9.99, where it was in 2011, to $19.37 today… We believe the market will bear further price increases in the future, and we’re expecting that they’ll arrive on a more regular cadence than in the past.”The Industry Is Attempting to Address Under -Monetization 12Major Streamers Implemented Long -Awaited Price Hikes… Platform Date Plan/Change Region July 2023 Premium/+10% Global July 2023 Premium/+10% Global July 2023Base Individual/+10% Family/+13%U.S. January 2023 Unlimited/+10% U.S./U.K. October 2022Premier/+10% Family/+13%Global (1)Spotify, based on streaming activity for February 15 to March 15, 2023. (2)L uminate.The Superfan Model Presents a New Monetization OpportunityRobert Kyncl CEO, WMG (Q3 ’23 Earnings) “We believe that breaking the $10 barrier [on music streaming services] is a watershed moment, as other platforms will likely follow suit, and regular price increases will become the norm in the audio streaming industry as they are in the video streaming industry.” Pershing Square (’22 Letter to Shareholders) Super listeners comprise 2% of an artist’s monthly listenership but account for more than 18% of monthly streams.(1) 19% of music listeners in the U.S. can be categorized as superfans.(2) Superfans spend 80% more on average per month relative to non -superfans.(2) Superfans are 54% more likely to be “the first among their friends to discover new music and artists.”(2)Superfans are highly engaged music listeners who are willing to spend more on music, merchandise, and other artist content. T he superfan model involves segmenting this population and offering exclusive and premium content, allowing for increased subscription ARPU and enhanced monetization.DSP Sub Growth Continues—Amazon, YouTube, and Tencent Gaining Share 13Global Paid Subs by Platform(1) (1)Wells Fargo Equity Research, Music Business Worldwide, MIDiA .101129154180202229251268 526672818999107114 2639597590103115127 3549597489101111121 1221344962718189 596892114131142158174 285371470574663745824894 2018 2019 2020 2021 2022 2023E 2024E 2025ESpotify Apple Music Tencent Music Amazon Music YouTube Music OtherEmerging platforms will be a source of new subscriber growth. In Millions YouTube Music 33% Spotify 15% Tencent Music 26% Amazon Music 20% Apple Music 12% ’18A–’25E CAGR Other 17%The Creator Economy Has the Potential to Transform the Industry 14Music Professionals and Aspiring ProfessionalsGlobal Creator Economy Music Enthusiasts and Beginners $3.7B 16M$215B 600M+ $105B 300M Creators$6.0B 92M $2.6B 40M Creators $1.6B 7M Creators2022A2027E 2022A2027E 2022A2027E(1) (1) Sources: MIDiA Research, Adobe Research, New Creator Manifesto. (1)15.5% CAGR applied to calculate 2027E market size figures based on forecasted creator count growth from ~300 million in 2022 to ~400 m i llion in 2024.The overall creator economy is massive, and within the music industry, the market for enthusiasts is twice the size of the marke t for professionals and is expected to grow significantly.Market Leaders Are Vocal About the Creator Economy 15At SoundCloud, we a re driving a more equitable and exciting future for ALL artists. SoundCloud continues to be a creator -first company, focusing on what artists need to build their careers and thrive … Artists, producers and songwriters are the driving force that continues to push what’s next.Tracy Chan SVP, SoundCloud Our foundational audio technologies are essential to the ecosystem for entertainment audio. They’re delivered across a very broad range of consumer entertainment devices… We continue to be focused on the opportunity to bring the Dolby experience to an even wider range of use cases . Kevin Yeaman CEO, Dolby Labs When creators are happy, when creators are engaging, when they’re adding more content to Spotify, Spotify just becomes better… The real goal is to understand how to help creators really reach their fans, really gain new audiences, and really monetize as best as they can .Paul Vogel CFO, Spotify We’re heading towards a future where more people can do creative work they enjoy , and I want platforms like ours to play a role in making that happen. Mark Zuckerberg CEO, Meta We just saw so much organic growth from the software tools side among the creators that it became a no -brainer that this is what we should focus on. Anjali SudCEO, Vimeo The creator economy is this birth of, you know, now hundreds of millions of people who are taking advantage of these wonderful creation tools that are now available to so many people. Jack Conte CEO, Patreon It’s a competitive landscape, and creators certainly can go other places… But at the end of the da y, if we offer the most amount of reach and the most amount of dollars or financial success, creators will come to us . Susan Wojcicki CEO, YouTube The unprecedented growth of the creator economy provides a platform for everyone to be a creator . Individuals, solopreneurs, small business owners, and content creators can now express themselves and explore creative and artistic pursuits in new ways.Scott Belsky CPO, Adobe Non- Professional Music Creators Are Transforming the Music Industry 16(1)Goldman Sachs, “Music Is in the Air.” Selected Creator Tool Platforms Company Founded Website Mission 2004 beatport.comBeatport provides world -class products and services that help DJs and producers at all stages of their careers elevate their cra ft. Its indefinite pursuit of innovation and inspiration helps lead the category and define the progression of DJ culture around the world. 1994 image -line.comImage -Line is the company behind FL Studio, the world’s leading music production platform. FL Studio’s iconic user -friendly inte rface, expansive capabilities, and extensive library of plugins and effects have made it a favorite for producers around the globe—from passionate beatmakers to the biggest producers of our generation. Through a steady stream of relevant updates and improvements, FL Studi o has cemented itself as the first-choice digital audio workstation (DAW) for music producers and has spawned a passionate community o f millions of music -makers around the globe. 2013 output.comOutput’s core mission is centered around revolutionizing the music creation process by providing innovative tools and technology to musicians, producers, and composers. Its primary objective is to empower artists to unleash their creativity and bring their unique visions to life through cutting -edge software and instruments. 2014 pex.comPex specializes in digital rights technology. It ensures transparency and accuracy in attribution by bringing together all stakeholders and industries to license and manage content. Its advanced licensing infrastructure allows platforms to manage and license content b efore it’s published, empowering creators to upload freely while respecting copyright. 2008 soundcloud.comSoundCloud is a next-generation music entertainment company that offers innovative products, tools, and services that empower ar tists to build and grow their careers while allowing its young, influential audience to discover what’s new and next in music. 2013 splice.comSplice seeks to empower all musicians to realize their creative potential and share it with the world. With its cloud -based musi c creation platform that helps music creators bring their ideas to life through a vast, industry -leading catalog of high -quality licensed s amples, paired with powerful AI, Splice’s creative ecosystem accelerates deep sound discovery and inspiration. ~120k Songs Uploaded Daily to Spotify… Number of Songs Uploaded to Spotify Daily; in Thousands(1) 020406080100120140 Apr-18 Apr-19 Apr-20 Apr-21 Apr-22 Apr-23…85% of Which Are Coming From Non-Professional Creators % of New Tracks Uploaded(1) 4%11%85% Majors Other Professionals Non-ProfessionalsIf Harnessed Effectively, Generative AI Will Be a Productive Creator Tool 17With the proper framework, likely determined by rightsholders, artists, and labels, generative AI could be a boon to the indu stry. Songs on DSPs to Boom if AI Left Unregulated… Total Songs on DSPs, in Millions(2) …Potentially Diminishing the Position of Labels Majors’ Illustrative Share of Songs, Streams, and Subscription Revenues(2)“Consumerization” of music-making: Non- professionals creating music. Monetization opportunities for creator tools companies and rightsholders: Consumer-geared music-making tools and games. Social media integration. Artists selling stem packs to fans. Vast increase in the scale of music creation with a high volume of songs being released on DSPs. “Choose your poison” scenario for Majors (e.g., WMG, UMG, SME) : AI music stays on DSPs: AI music overtakes background music; DSPs internally generate AI music and lower royalties for Majors due to dilution. Majors force DSPs to strike down AI music: Growth of social and user -generated content platforms increases their cultural capital and lowers royalties for Majors due to DSPs’ smaller user bases.Potential Implications From AI: A Discussion(1) (1)From a conversation about AI from Houlihan Lokey’s Midsummer Music Tech Dinner, July 2023. (2)J P Morgan Research. 22%61%79% 0%20%40%60%80%100% 2019 2020 2021 2022 2023E 2024E 2025E 2026E 2027E 2028E 2029E 2030EDistro Share of Songs Share of Streams Share of Revenues1,000 02004006008001,0001,200 2019 2020 2021 2022 2023E 2024E 2025E 2026E 2027E 2028E 2029E 2030ESpotlight on New Player: Aimi Leverages Generative AI and Rights Cleared Music to Enhance the Music Creation Process 18 Aimi Offers Interactive Music Experiences on Aimi Player and Live Channels on YouTubeCompany Overview Headquarters: Austin, Texas Founded: 2019 CEO: Edward Balassanian Description:Aimi operates as a software platform that lowers the barriers to music creation. It allows fans, enthusiasts, and creators to interact in the music creation process. By leveraging rights-cleared music and generative AI, Aimi enhances the ability of artists to create great, unique music in a new way. Recent Financing:In November 2021, Aimi raised $20 million in a series B led by Great Mountain Partners. "We founded Aimi in 2019 with a simple vision: to enable human artistry to guide AI in the creation of beautiful music . We are a generative music platform. We do use AI, but we've always had the artist at the front of that.” Edward Balassanian , Founder and CEO SXSW 2023 PresentationSelected Commentary Generative AI Music Stations for a Consumer’s Listening Pleasure Live Channels Are Not Pre- Recorded but Are Generated Live by Aimi’s AI Running on Web Servers Serenity Trap Flow Electronica Chill Deep House Organica Lounge Amapiano How Aimi Leverages AI to Enhance Music Creation Aimi “Sonic Vault” AI Technology Inputs Solutions Tops Harmony FX Pads Bass BeatsAimi Live Aimi PlayerAimi StudioVideo SyncAlbum MakerB2B Sources: Company website, PitchBook , S&P Capital IQ.Melody Featured Recent Transactions in Generative AI 19Ann. Date Type Company Investor/AcquirerInvestment/Purchase Price ($M)Company Description June 2023Financing $20WAVs AI’s music streaming platform uses AI to analyze samples on a user’s hard drive and then categorize and tag them. May 2023Financing $7Boombox designs software to empower the modern remote musician and offers tools to collaborate on songwriting remotely and manage song splits. May 2023Financing $2.7Operator of music stems creation platform intended for artists to make more money from their music. AudioShake’s platform separates recordings into their different component parts. October 2022Acquisition $32Supertone offers voice synthesis and cloning for singing and speaking, enabling users to create artificial voices that sound like real humans. October 2022Financing $101Stability AI is a community -driven, open- source AI company for imagery, language, audio, video, etc. June 2022Financing N/AAuthentic Artists makes interactive virtual artists using deep learning technologies. June 2022Financing ~$3.1Boomy is a generative AI company that enables anyone with a smartphone to produce and monetize original songs. April 2022Financing $15Endel’s app creates individually tailored soundscapes that are designed to help people relax, focus, and sleep. March 2022Financing $14.5Using AI and building blocks supplied by real -world musicians, LifeScore delivers an ever- evolving composition. Sources: S&P Capital IQ, PitchBook, 451 Research, Mergermarket, Music Business Worldwide, Wall Street Research, Musical.ly.$24 $25 $4$14$30$32$35$37$41 2018 2019 2020 2021 2022 2023E 2024E 2025E 2026E $125$252 2019 2023EA New Era in Live Music 20Since 2019, U.S. concert attendance is up 24% and average ticket resale prices have more than doubled.(1) Segment Revenue Well Above Pre-Pandemic Levels “…2023 is off to a tremendous start. For the first time in three years, all of our markets are fully opened… What is clear as we look at our results and operating metrics is that global demand for live events continues to reach new heights.” Michael Rapino , President, CEO and Director, Live Nation(3) “The Eras Tour, which started in March and ends in the U.S. on August 9, is on track to become the biggest in concert history, potentially grossing $1 billion. It felt like 2019 again in Las Vegas when Swift performed there in March . The tourism authority in Vegas credited the superstar’s concerts with boosting visitor numbers to nearly pre-pandemic levels .” July 2023 Ticket Prices Have More Than Doubled Since 2019 Average Resale Price for Concert Tickets on SeatGeek(2) “Live music will be recession -proof. Amid inflation and an impending recession, major artists and popular festivals will continue to capture the largest share of consumers’ spending on live entertainment. Attending concerts with friends is worth the cost for music enthusiasts, and it should continue to perform better than other types of entertainment.” Fabrice Sergent , Managing Partner, Bandsintown(4)Global Concert Ticketing Revenue; $ in Billions(1) +102% (1)Live Nation, Pollstar, PWC, Seaport Research Partners. (2)W SJ, The Year of the $1,000 Concert Ticket.(3)Live Nation Entertainment, Q1 2023 earnings call. (4)EDMIdentity , Bandsintown Managing Partner Fabrice Sergent Talks 2023 Trends.Radio Remains a Critical Component of Audio 21Radio’s signal still reaches a massive, engaged audience. Radio Fundamentals Endure… 71% Radio’s share of all ad- supported audio listening.(2)87% Radio’s share of all ad- supported listening in the car.(2)88% Of adults listen to the radio weekly.(1)~12 hours The average amount of time listeners are tuning in weekly. (1) 93% 92% 92% 91% 89% 89% 86%7% 8% 8% 9% 11% 11% 14% Q1 2017 Q1 2018 Q1 2019 Q1 2020 Q1 2021 Q1 2022 Q1 2023Over-the-Air AM/FM Radio AM/FM via Streaming (1)Beyond Words, “Spoken -Word Audio Statistics 2022: Listener Habits & Demographics.” (2)Edison Research, “Share of Ear,” Q1 2023.(3)Statista. (4)Activate Consulting, Activate Technology & Media Outlook 2023. “Digital Audio” includes audio streamed via mobile and desktop/laptop; “Radio” excludes digital radio.Engagement on Streaming Platforms Has Surpassed Radio 1:231:301:37 1:401:501:201:141:11 1:111:062:43 2:44 2:48 2:51 2:56 2019 2020 2021 2022 2026EDigital Audio Radio 45%38% 63% 55%58% 58% 51%49%42% 42%% of Total Audio TimeAverage Daily Audio Time per Adult Aged 18+ by Type(4)Streaming Is Growing as a Percent of Total AM/FM Listening Share of Audio Time Spent Between Over -the-Air AM/FM Listening and Digital Streaming AM/FM Radio, Persons Aged 25 –54 (2)…Supporting a Steady Outlook Global Radio Revenues; $ in Billions(3) $34$35 $35 $35 $35 $35 $35 $35 2020 2021 2022 2023E 2024E 2025E 2026E 2027E$0.5$0.7$0.8$1.4$1.8$2.3$3.2$4.0 2018 2019 2020 2021 2022 2023E 2024E 2025EPodcast Engagement and Monetization Have Risen Sharply 22U.S. Podcast Revenue Booming Since 2015, the Average Time Weekly Podcast Listeners Spend With Podcasts Has DoubledU.S. Podcast Revenues; $ in Billions(1) 4:279:03 2015 2023EAverage U.S. Weekly Podcast Time; Hours:Minutes(2) Market Share of Podcast Streams(4)(5)Spotify and Apple Dominate Podcast Streams4758677492107119 110122 2015 2016 2017 2018 2019 2020 2021 2022 2023E 34% 28%6%33%Monthly U.S. Podcast Listenership Has Reached 122 Million OtherPeople Who Listened to a Podcast in the Past Month—U.S. Population 12+; Millions(2,3) (1)Variety, Talking Audio Report. (2)T he Podcast Consumer 2023: An Infinite Dial Report, Edison Research.(3)U.S. Census Bureau. (4)Demandsage . (5)Total may not sum to 100% due to rounding. Music Streaming Has Revitalized Music Catalog Valuations 23Peak of demand forphysical, digital disruption has yet tooccur“High Teens” Streaming solidifies and new models emerge15x– 20x+ Decline of physical, emergence of piracy , andcreation of digital ecosystem<10x NPS ValuationEnvironment Macro Trends Today 2000s –2015 1990sAs the industry has evolved, music catalog valuation multiples (as measured by Net Publisher’s Share or “NPS”) have returned to levels seen prior to disruption from technological change in the early 2000s.Demand for Music Assets Has Increased With Market Entrants 24Music catalog demand has increased in recent years due to uncorrelated features of the asset and an annuity-like earnings stream. Sources: Shot Tower Capital, Musonomics (Larry S. Miller), Barclays Research, Solomon Partners.$0.8 $1.3$3.2 $3.3 $3.5$6.7 $0.4$1.9$5.3 $0.2$0.8$1.3$3.2$3.7$5.4$12.0 2015 2016 2017 2018 2019 2020 2021Investment Into Music Rights Companies or Catalog Acquisition Funds Music Catalog M&A 0.0x5.0x10.0x15.0x20.0x25.0x30.0x 2006 2008 2010 2012 2014 2016 2018 2020NPS Multiples (Catalogs) EBITDA Multiples (Publishers) 0.0x5.0x10.0x15.0x20.0x25.0x30.0x 2007 2009 2011 2013 2015 2017 2019NLS Multiples (Catalogs) EBITDA Multiples (Labels)Global Investment in Music Royalties Recorded Music Music Publishing$ in BillionsThe Song as an Asset Class 25Sept. 2022: blackx Music Fund launched an initial raise of $100 million . Aug. 2020: Concord raises ~$1 billion in debt financing.Mar. 2021: Influence Media Partners launches a $100 million catalog fund.July 2022: SESAC closes a $335 million bond transaction. Dec. 2021: Northleaf raises $303.8 million through securities backed by music rights .2020 2021 2022 Oct. 2021: KKR acquires Kobalt KMR Music Royalties portfolio for $1.1 billion. Aug. 2022: Carlyle invests $500 million into newly launched Litmus Music. Oct. 2021: Blackstone invests $1 billion in music rights via Hipgnosis . Dec. 2022: Apollo priced a $1.8 billion bond backed by Concord’s music rights . Reflects Music ABS TransactionFeb. 2022: Iconoclast launches with backing from PIMCO. Aug. 2022: Litmus launches with $500 million of backing from Carlyle.Oct. 2021: HarbourView launches with $1 billion of capital from Apollo. Oct. 2021: Lyric launches with $500 million backed by Spirit Music Group.Sept. 2020: Hipgnosis raises ~$500 million in stock offering. Apr. 2021: Reservoir SPACs to acquire more catalogs.Feb. 2022: KKR sold $732 million of securities supported by publishing and sound securities. Aug. 2022: Hipgnosis raises $222 million through an ABS. Nov. 2020: Round Hill raises $282 million in fund IPO.Mar. 2022: Kobalt raises $550 million for catalogacquisitions. Oct. 2022: Brookfield commits $1.7 billion to Primary Wave . Sources: Company announcements, MusicBusinessWorldwide.com, DigitalMusicNews.com, Bloomberg.com, Billboard.com, Variety.com, PitchBook , S&P Capital IQ, other publicly available information.Music catalog funds have continued to raise significant capital throughout 2023. 2023 Feb. 2023: ShamrockCapital Content Fund III raises more than $600 million . Feb. 2023: Lyric closes music royalty fund with ~$800 million in total commitments .Mar. 2023: MultimediaMusic raises $100 million in developmentcapital. May 2023: Duetti raises $32 million of venture funding . June 2023: Beyond Music completes a ~$170 million strategic fundraising round. June 2023: HYBE seeks a $380 million raise to fund U.S. acquisitions. Select Recent Music Catalog Acquisitions 26Q3 2022 BMG Acquires Jean - Michel Jarre Catalog July 2022 Value: N/A Reach Music Acquires Chuck D Catalog Sept. 2022 Value: N/A Concord Acquires Phil Collins Catalog Sept. 2022 Value: $300M Harbourview Acquires Stake in Brad Paisley Catalog July 2022 Value: N/A Influence Media Partners Acquires Future Catalog Sept. 2022 Value: ~$75M Harbourview Acquires Stake in Lady A Catalog July 2022 Value: N/A Q4 2022 BMG Acquires Haddaway Catalog Nov. 2022 Value: N/A Domain Capital Acquires Iggy Azalea Catalog Nov. 2022 Value: N/A Primary Wave Acquires Huey Lewis Catalog Nov. 2022 Value: N/A Primary Wave Acquires Whitney Houston Catalog Nov. 2022 Value: ~$50M –$100M BMG Acquires Peter Frampton Catalog Dec. 2022 Value: N/A BMG Acquires Chris Rea Catalog Dec. 2022 Value: N/A Litmus Acquires Keith Urban Catalog Dec. 2022 Value: N/A Q1 2023 Shamrock/Universal Acquires Dr. Dre Catalog Jan. 2023 Value: ~$200M+ Primary Wave Acquires Manzarek/ Krieger Rights in The Doors Catalog Jan. 2023 Value: N/A WMG Acquires Yes Catalog Jan. 2023 Value: N/A Hipgnosis Acquires Justin Bieber Catalog Jan. 2023 Value: $200M+ Mojo Music & Media Acquires Several Catalogs Mar. 2 023 Value: N/A Q2 2023 Primary Wave Acquires Stake in Sarah McLachlan Catalog Apr. 2023 Value: N/A Reach Music Acquires Rights to Two Judas Priest Albums Apr. 2023 Value: N/A Anthem Acquires Additional Interest in Timbaland Catalog June 2023 Value: N/A BMG Acquires Paul Simon Catalog June 2023 Value: N/A BMG Acquires The Hollies Catalog June 2023 Value: N/A Primary Wave Acquires Joey Tempest Catalog June 2023 Value: N/A Q3 2023 Harbourview Acquires Selected Nelly Assets July 2023 Value: $50M Despite the rising interest rate envi ronment, music catalogs have continued to trade at robust valuations. While multiples have been trading at approximately 15x–20x NPS, iconic artist catalogs have been transacting at ~20x+ NPS. A few factors are potentially supporting the sustained valuation levels: The influx of capital in recent years earmarked for catalog acquisitions. Continued strong industry growth, supported by healthy expected sub-growth, new monetization channels (e.g., TikTok, Peloton, metaverse), and the over -indexing of catalogs in streaming. In 2020/2021, there were concerns that the Biden administration would amend the treatment of capital gains. With the post-midterm divided government, a revision in capital gains tax treatment seems less likely. Sources: Company announcements, MusicBusinessWorldwide.com, DigitalMusicNews.com, Bloomberg.com, Billboard.com, Variety.com, oth er publicly available information.Spotlight on New Player: Duetti Raises $32 Million to Further Expand Microfinancing Efforts 27How Microfinancing of an Artist’s Catalog Works Independent Artists Popularity GrowthIndependent artists sell their catalogs to microfinancing companies. Microfinancing companies help optimize a song’s popularity and receive licensing fees.Increased song popularity helps grow art ists’ brands and reputations.Company Overview Headquarters: New York, New York Founded: 2022 Description:Duetti is a microfinancing platform that provides cash for artists’ music catalogs, allowing artists to receive transparent, data-driven offers.Announced: Ma y 2023 Roc Nation, Presight Capital, and Viola Ventures participated in the round. The investment will be used to scale the business to match the growing demand by expanding the team, partnering with new artists, and implementing financial optimization opportunities for acquired catalogs. Duetti marks the first major investment into the artist microfinancing space, as they have quickly scaled as a tool for more than 60 independent artists and partnered on deals across over 100 tracks, with artists receiving up to $400,000 per deal. “In recent years, the trend of legacy A-list musicians selling their entire catalogs has left independent artists out of the equation. Now, artists at all stages of their careers can easily capture the potential of their tracks and catalogs to help them reach the next step of their journey.”Selected Commentary Lior Tibon , CEO of DuettiDuetti Receives $32 Million in Early - Stage Funding Transaction highlights a new wave in the artist catalog microfinancing industry. Sources: Company website, PitchBook , S&P Capital IQ. Microfinancing CompaniesRecent Sector Transactions 28 pppCompany Overview Selected CommentaryHeadquarters: Santa Cruz, California Founded: 1990 Description: Audio -based software products intended to serve the music industry. The company’s software offers an algorithm for vocal and instrumental processing, pitch correction, enhancement, and special effects, thereby enabling clients to enhance and manipulate their voices.Announced: August 2023 Atairos makes a minority investment in Antares Audio, creator of Auto -Tune, joining existing investors Ulysses Management and Orkila Capital. Auto -Tune has become one of the largest and fastest - growing creator tools companies in the world. The partnership will provide Auto -Tune with financial and strategic resources as the company continues to expand. Investment amount of $100 million “Since it was first invented by Dr. Andy Hildebrand, Auto -Tune has revolutionized the music industry and has indisputably become the sound of the 21st century . We are proud that a world -class investor such as Atairos sees the massive untapped potential in using our technology to enhance creativ ity.”Antares Receives Significant Investment From Atairos Landmark transaction super - charges Auto -Tune’s next phase of growth. Steve Berkley , CEO at Auto -TuneTransaction Highlights Sources: Company website, PitchBook , S&P Capital IQ. Company Overview Headquarters: Aukland, New Zealand Founded: 1998 Description:Serato is a developer of software for music production. The company has different products that target professional studios, DJs, producers, and recreational music creators.Announced: Ju ly 2023 AlphaTheta , parent company of Pioneer DJ, via its financial sponsor KKR, acquired Serato . Acquisition advances KKR’s effort in the music creator spa ce, particularly targeting DJs. Serato and AlphaTheta w ill continue to operate as stand- alone brands. Deal value of $71.2 million (¥10.15 billion) “I am delighted to announce the acquisition of Serato . Through extensive discussions within our company and with Serato’s management team, we have been exploring new ways to contribute to the industry. Bringing Serato into the AlphaTheta Group will lead to new synergies and significant technological innovations , adding continued value to the community.”Selected Commentary Yoshinori Kataoka , CEO at AlphaThetaSerato Acquired by Pioneer DJ (AlphaTheta ) Transaction highlights expansion efforts of creator tools to the Pioneer DJ platform.Transaction Highlights Recent Sector Transactions (cont.) 29 pppCompany Overview Selected CommentaryHeadquarters: Landover, Maryland Founded: 2019 Description: RBmedia is the largest publisher of audiobooks in the world. RBmedia has published more than 60,000 titles and has the broadest distribution network reaching millions of listeners worldwide.Announced: July 2023 H.I.G. Capital acquired RBmedia from KKR for an undisclosed sum. Since KKR’s investment in 2018, RBmedia has doubled the size of its catalog and expanded its distribution channels. The transaction m arks H.I.G. Capital’s entrance into the audiobook space and represents one of the largest audiobook transactions to date. “The audiobook market is set for significant growth and investment in the coming years… We are thrilled to partner with RBmedia’s world- class management team and to help them build on their success to date as they continue to shape the digital media landscape.” Aaron Tolson , Managing Directo r at H.I.G. CapitalTransaction Highlights RBmedia Acquired by H.I.G. Capital RBmedia acquisition represents financial sponsors’ value of the audiobook industry. Sources: Company website, PitchBook , S&P Capital IQ. Company Overview Headquarters: Bologna, Italy Founded: 2010 Description:Musixmatch is a developer of a global music data platform intended to change the way people experience music and lyrics. The company’s platform offers a catalog of song lyrics and translations that are synchronized word -by-word.Announced: Ju ly 2022 TPG—t hrough its middle -market and growth equity platform TPG Growth—made a significant strategic investment in Musixmatch . Partnership advances Musixmatch’s mission to provide ly rical content, tools, enriched metadata, and services to a growing community. Musixmatch joins TPG’s extensive portfolio of music and broa der media investments, including Calm and Creative Artists Agency (CAA). “We have long admired the impressive platform that Max and his team have built and believe Musixmatch’s unparalleled metadata catalog , proprietary lyrics sourcing engine, and extensive relationships with streaming platforms and IP owners will continue to position the company for success in this large and growing market.”Selected Commentary Jacqui Hawwa, Business Unit Partner at TPG GrowthMusixmatch Receives Significant Investment From TPG Transaction highlights Musixmatch’s aim to expand internationally and in new verticals.Transaction Highlights Avid Technology to Be Acquired by STG for $1.4 Billion 30Avid Financial Profile and Q2 ‘23 Business Highlights On August 9, 2023, Avid, a leading provider of software and integrated solutions to the media and entertainment industry, announced that it had entered into a definitive agreement to be acquired by an affiliate of STG, a leading private equity firm, in an all-cash transaction valuing Avid at approximately $1.4 billion, inclusive of Avid’s net debt. Under the terms of the agreement, Avid shareholders will receive $27.05 in cash for each share of Avid common stock. The purchase price represents a premium of 32.1% over the company’s unaffected closing share price on May 23, 2023. The transaction is expected to close in Q4 ’23. Sources: Press releases, SEC filings, company website. (1)LTM refers to the 12 months ending on June 30, 2023. (2)Includes Professional Services and Training revenue. Transaction Overview has entered into a definitive agreement to be acquired by ~$1,400,000,000 Avid Platform Overview Selected Deal Commentary STG has admired Avid’s heritage as a category creator and pioneer in the media and entertainment software market for many years. We are excited to partner with Jeff and the management team to build on the company’s history of delivering differentiated and innovative content creation and management software solutions. —William Chisholm , STG PartnerAvid has delivered technology that enables individuals and enterprises who create media for a living to make, manage, and monetize today’s most celebrated video and audio content across the globe. We are pleased to announce this transaction with STG, who share our conviction and excitement. —Jeff Rosica , Avid CEO Digital Media CompositionRobust Editing SoftwareSophisticated Digital Production Shared Storage SystemsLive Sound and Console SystemsVideo Servers and BroadcastingIntegrated SolutionsMedia Production SuitePost-Production EnvironmentsEditorial Workflow ModulesEnterprise Software Solutions3.3x EV/LTM Revenue(1)18.6x EV/LTM EBITDA(1)LTM Revenue Breakdown(1)Paid Cloud-enabled software sub scriptions reached ~544,400 as of June 30, 2023 (+21% YoY). Subscription ARR was $154 million as of June 30, 2023 (+27% YoY). Total ARR was $248 million as of June 30, 2023 (+7% YoY). LTM recurring revenue percent was 83.3% of the company’s revenue for the 12 months ending June 30, 2023, up from 79.7% for the 12 months ending June 30, 2022. Implied Transaction Multiples39.5% 23.5%37.0% Subscription Maintenance Integrated Solutions & Other(2) Creative Software SolutionsThe Music Landscape Is Evolving With Digital Replatforming 31MUSIC VALUE CHAIN:Labels and Publishing Distribution Artist Services and Rights Management Production and Engagement Tools Live Concert Streaming Artist and Label Services Artist Platforms AI Tools and Analytics Rights ManagementDIY and Distribution Distributors DSPsIndie Labels Large -Scale Publishers Major Labels Live Event Mgmt. Fan Engagement DAWs, Creator Platforms, and Services Generative AI Video and CreativeTo view full market map, please contact: [email protected] ; [email protected] Audio Transactions Date Company Investor(s)Investment Size ($M) Aug-23 $65 Aug-23 $100 Jul-23 $250(2) Jul-23 $20 Jun-23 $15 Jun-23 $170 May-23 $25 May-23 $32 Mar-23 $100 Mar-23 $75 Feb-23 $100 Feb-23 $110Featured 2023 Audio M&A Transactions Sources: Company website, PitchBook , S&P Capital IQ. (1) Houlihan Lokey estimate. (2) A $250 million credit facility from Victory Park Capital that will enable Stem to provide artists’ advance checks. 32Date Acquirer TargetEnterprise Value ($M) Aug-23 $1,400 Jul-23 ~$1,000(1) Jul-23 $71 May-23 - May-23 - May-23 - Mar-23 $57 Mar-23 - Feb-23 - Feb-23 $24 Feb-23 $300 Featured 2023 Audio Private Placement Transactions Ahdritz Holding (40.0%)(30.0%)(20.0%)(10.0%)0.0%10.0%20.0%30.0% DTC Audio Streaming Labels and Publishers Radio Events Creator Tools S&P 500 Radio Creator ToolsPublic Market Performance 33Labels and Publishers DTC Audio Streaming Events Source: S&P Capital IQ as of September 11, 2023. 10.3% 1.1%14.3% (10.1%)(7.4%) (35.3%) (7.4%) 14.3% (35.3%) 1.1% (10.1%)LTM Share Price Performance 7.1x 5.4x 2.9x 2.8x 2.3x2.0x 1.3x1.0x 0.9x 0.5x 0.4x 0.3xPublic Market Performance (DTC Audio Streaming) 34Source: S&P Capital IQ as of September 11, 2023. Note: TEV/Forward Revenue chart excludes Apple, Amazon, and Alphabet. TEV/CY 2023E REVENUE NA TEV/NTM REVENUEMedian: 1.6x 1.4x 1.0x1.1x1.2x1.3x1.4x1.5x1.6x1.7x1.8x1.9x 26.0x 19.3x 16.1x15.3x13.9x 13.7x 9.4xPublic Market Performance (Labels and Publishers) 35Source: S&P Capital IQ as of September 11, 2023. Note: TEV/Forward EBITDA chart excludes Round Hill Music.NA TEV/CY 2023E EBITDA TEV/NTM EBITDAMedian: 15.3x 15.6x 12.0x14.0x16.0x18.0x20.0xPublic Market Performance (Radio) 36Source: S&P Capital IQ as of September 11, 2023. TEV/CY 2023E EBITDA TEV/NTM EBITDAMedian : 8.4x15.1x 10.7x 9.4x8.6x8.2x7.6x 6.6x 6.5x 7.8x 6.0x6.5x7.0x7.5x8.0x8.5x9.0x9.5xPublic Market Performance (Events and Ticketing) 37Source: S&P Capital IQ as of September 11, 2023. TEV/CY 2023E EBITDA TEV/NTM EBITDAMedian: 13.9x 66.7x 19.8x 15.4x12.5x 11.1x 11.1x 12.2x 8.0x10.0x12.0x14.0x16.0x18.0x20.0x13.2x 5.9x5.5x 5.4x 3.9x3.5x 3.4x3.1x 1.6x 1.0xPublic Market Performance (Creator Tools) 38Source: S&P Capital IQ as of September 11, 2023. TEV/CY 2023E REVENUE TEV/NTM REVENUEMedian: 3.7x 4.0x 3.0x3.5x4.0x4.5x5.0x5.5x6.0xRecent Sector M&A Detail 39Sources: S&P Capital IQ, PitchBook, 451 Research, Mergermarket, Music Business Worldwide.Aug-23 Avid Technology STG PartnersDeveloper of an open and integrated technology platform designed for digital media content production, management, secured content storage, and distribution.$1,400.0 Aug-23 Belift Lab HybeLaunched in 2018 as a Korean- based joint venture between Hybe and CJ ENM, Belift Lab was established to manufacture and promote idol groups. In November 2020, Belift launched Enhypen. The seven- member boy band emerged from the reality TV show I- Land and has since enjoyed three million- selling albums.$221.0 Jul-23 RBmedia H.I.G. CapitalProvider of audiobooks and digital media intended for consumer, retail, professional, school, library, and infotainment markets.-- Jul-23 Absolute Label Services Management Buyout Provider of music label services intended to help artists take their music to market. -- Jul-23 Nelly (Selected Recorded Assets) HarbourView Equity Partners Recording artist music catalog. $50.0 Jul-23 Serato Audio Research Ltd.AlphaTheta Corp. (Parent of Pioneer DJ)DJ musician software creator tools for novice to professional musicians. The software is sold primarily on a monthly subscription basis. Serato was founded in 1998 and is based in Auckland, New Zealand.$71.0 Jun-23 LOGIC Influence Media Partners Recording artist music catalog. -- Jun-23 Paul Simon Catalog BMG Recording artist music catalog. -- Jun-23 Joey Tempest Catalog Primary Wave Music publishing catalog. -- Jun-23 The Hollies Catalog BMG Recording artist music catalog. -- Jun-23 Royal Streaming Pamir PartnersDeveloper of exclusive sounds and music concepts intended to serve both local and global brands. The Swedish company offers branded music, handles everything from streaming to managing rights, and provides complete solutions for all stores in a large international chain and individual hotels.-- May- 23 Listen Entertainment PodX GroupOperator of a radio and podcast production company based in Shirley, United Kingdom. The company creates podcasts, radio shows, and social -first content as well as distributes it on various podcast apps.-- May- 23 Proactiv Sony Music MasterworksOperator of an event management firm intended to produce and promote large- scale shows, international exhibitions, and music concerts. The company offers the production, promotion, organization, and communication of any show or event, among other services.-- May- 23 Callin RumbleOperator of a social podcasting platform intended to create, discover, and consume live and recorded audio content in one place. The company’s platform provides users with quality audio podcasts that combine social audio and podcasting in a seamless fashion.-- May- 23 Comhear WiSA TechnologiesOperator of an audio technology company intended to bring people close together through pristine communication. The company’s technology offers patented audio enhancement software and beamforming technology that enhances immersive entertainment with the physical sensation of sound.--($ in Millions) Target Announced Target Acquirer Target Description TEVRecent Sector M&A Detail (cont.) 40Sources: S&P Capital IQ, PitchBook, 451 Research, Mergermarket, Music Business Worldwide.May- 23 Blinkist Go1Operator of an app -based book summarizing platform intended to gather key insights from nonfiction books to read or listen to in short explanations.-- Apr-23 Red 11 Music EndeavorOperator of a talent booking agency based in Austin, Texas. The company specializes in booking live performances for their clients at venues across the United States.-- Apr-23 Bose Professional Division Transom Capital GroupDeveloper of audio systems that are easy to design, install, and operate for performance, commercial, and conferencing applications, and has worked with AV integrators, system designers, installers, and consultants to deliver audio experiences.-- Mar- 23 Sentric BelieveDeveloper of an online music publishing platform designed to empower artists and songwriters to collect the royalties they’re owed and add creative value to their songs.$57.0 Mar- 23 Clockenflap Live Nation EntertainmentOperator of event organizing company based in Hong Kong, China. The company specializes in hosting music and arts festivals and events.-- Mar- 23 AudioSalad SESAC Music GroupPlatform that provides artist metadata and media asset management services as well as delivery and distribution services.-- Feb-23 Hyperion Records Universal Music GroupOperator of a music company intended to provide recordings of music of all styles and from all periods, from the twelfth century to the 21st. The company’s specialties include classical music, recording, production, download, and distribution.-- Feb-23 7digital Group PLC Songtradr 7digital Group PLC is a business -to-business digital music and radio services company. $23.8 Feb-23 QC Media HybeProvider of label and management services based in Atlanta, Georgia. The company specializes in creating music with several artists and producing music for online audio and video series catering to music enthusiasts, businesses, and individuals.$300.0 Jan-23 Justin Bieber Catalog Hipgnosis Recording artist music catalog. $200.0 Jan-23 Soundmouse OrfiumSoundmouse provides music cue sheet reporting and monitoring for the broadcast and entertainment production spaces.-- Jan-23 Dr. Dre Shamrock Capital Recording artist music catalog. $200.0 Dec-22 AMI Entertainment Coral Tree PartnersProvides music and music video entertainment, as well as advanced digital advertising capabilities, to bars and restaurants through its digital jukebox offering.$175.0 Dec-22 Greg Wells Beyond Music Producer/songwriter Greg Wells’ music catalog. -- Dec-22 Keith Urban Litmus Recording artist music catalog. --($ in Millions) Target Announced Target Acquirer Target Description TEVRecent Sector Private Placement Detail 41Sources: S&P Capital IQ, PitchBook, 451 Research, Mergermarket, Music Business Worldwide.Aug-23 DICEMUSIC, Ahdritz Holding, Structural Capital, Exor Ventures, Mirabaud Lifestyle FundA U.K.-based mobile ticketing platform for live music events. $65.0 -- Aug-23 Antares Audio Technologies AtairosLeading software vocal production product that has revolutionized the music industry and is used in the vast majority of The Billboard Hot 100 tracks.$100.0 -- Jul-23 Sound.xyzAndreessen Horowitz, Snoop Dogg, Ryan Tedder, othersAllows artists to mint their songs on -chain as a non-fungible token (NFT) to sell directly to fans and has helped music creators generate $5.5 million on their music sales since its beta launch in 2022. Raised a $5 million seed round in December 2021.$20.0 -- Jun-23 Xposure Music Lalotte VenturesDeveloper of an artist development and music discovery platform intended to easily submit their music to an array of industry insiders. The company’s platform helps to connect directly with recognized marketers, producers, and managers from the labels and companies.-- -- Jun-23 Soundtrack Your Brand MUSICSubscription -based music streaming service targeting SMBs, helping SMBs play music that fits their brand and managing the commer cial licensing.$15.0 -- Jun-23 WAVs AI Regal Investments Generative AI music creation platform. -- -- Jun-23 Beatclub Anthem Entertainment Operator of a digital global marketplace intended to connect the music creator community with record labels. -- -- Jun-23 JKBXMaywic Select Investments, Valor Equity PartnersOperator of a music investment platform intended to democratize ownership of music royalties using blockchain and securitization . The company offers fans, retail investors, and music lovers the opportunity to invest in music royalties at a scale.$16.1 $60.0 Jun-23 Beyond Music Praxis CapitalSouth Korea -based music catalog acquisition company that has made more than 70 catalog acquisitions as of June 2023. The firm says it manages nearly $400 million in AUM and the rights to 27,000 songs.$170.0 -- May-23Playlist (Movies, Music, and Entertainment)Altos Ventures, Hana SecuritiesOperator of a digital platform intended to enjoy drama and music content from playlists. The company’s platform specializes i n producing and creating web drama content and is focused on the adult segment across a variety of genres and through enjoyable content.$10.7 -- May-23 Kuku FM International Finance CorporationKuku FM is India’s leading audio content platform that creates, produces, markets, and distributes exclusive premium audio co ntent in the form of audiobooks, stories, summaries, courses, and more categories via its mobile app and website, available on Android and iOS.$10.0 -- May-23 BandLabCercano Management (formerly Vulcan Captial )Developer of a social music-making platform designed to make music and share the creative process with musicians and fans. $25.0 $400.0 May-23 ElevenLabs Andreessen Horowitz Developer of voice dubbing tools designed to automatically dub videos and podcasts into other languages. -- -- May-23 DuettiPresight Capital, Roc Nation, Viola VenturesOperator of a music licensing platform intended to provide new and empowering financial prospects. The company’s platform engage s to buy catalog rights from independent musicians and monetize them with data and social media marketing.$32.0 -- Apr-23 Fireside ChatRed Beard Capital, Paris Hilton, othersDeveloper of a next -generation podcast platform intended for creators to bring the audience into the story through live, interac tive, virtual shows. The company’s platform is made for podcasting and conversing with listeners through said podcasts.$25.0 $113.0 Mar-23 Times Music Pr imary Wave MusicA subsidiary of media giant Times of India Group, Times Music is an Indian record label and music publisher whose library represents bollywood , indie, pop, rock, regional, spiritual, and other non-film music genres.$100.0 -- Mar-23 Multimedia MusicBardin Hill Investment Partners, Metropolitan Partners, Pinnacle BankOperator of a music group company focused on acquiring and managing music rights from commercially proven films and television s eries $100.0. -- Mar-23 Trala Seven Seven SixDeveloper of a music education application designed to teach users to play the violin. The company’s application offers tutor ials, daily lessons, and real -time feedback on mistakes.$19.2 -- Mar-23 Nettwerk Music GroupBeedie Capital, Flexpoint Ford, Vistara GrowthOperator of a record label and artist management company located in Vancouver, Canada. The company specializes in publishing and dis tributing music recordings and rosters.$75.0 --($ in Millions) Investment Pre-Money Announced Target Investor Target Description Amount ValuationRecent Sector Private Placement Detail (cont.) 42Sources: S&P Capital IQ, PitchBook, 451 Research, Mergermarket, Music Business Worldwide.Feb-23 Cutting Edge Media Music Pinnacle Financial PartnersFinancing and investment company and operating units that provide music publishing, record label, and other music services to feature films, TV shows, musical theatre productions, and video games.$100.0 -- Feb-23 Beatclub Hipgnosis Songs Operator of a digital global marketplace intended to connect the music creator community with record labels. $17.6 -- Feb-23 Fever Goldman SachsLive entertainment tech company that runs exclusive events and directs its users to restaurants, concerts, night life, sports events, fashion shows, pop -ups, and more.$110.0 -- Jan-23 Yuehua Entertainment HengTen Networks Group, MaoyanYH Entertainment Group is an artist management company in China. The company has grown into a cultural and entertainment platfor m comprising three complementary business segments of artist management, music IP production and operation, and pan-entertainment business.$489.8 -- Dec-22 Audio Up Ben Lurie, others Podcast content creator focused on the development and ownership of premium audio IP. $10.0 $150.0 Nov-22 Vampr Downtown Music Vampr , launched in 2016, is dubbed as the “LinkedIn for Creatives.” -- -- Nov-22 Orfium Big Pi VenturesOrfium is amusic management platform that identifies online copyright violations and monetizes content for producers, publishers, rec ord companies, and other IP owners.$27.0 -- Nov-22 Wonder Inventions IVPThe company’s platform automatically composes tracks that synchronize precisely with their source video, allowing creators to forego stock music.$30.0 -- Oct-22 Stability AICoatue , Lightspeed, O’Shaughnessy VenturesDeveloper of an open AI tool that allows users to create images and audio based on text inputs. $101.0 $1,000.0 Oct-22 Primary WaveBrookfield Asset Management and CAAAn independent music publisher with a portfolio that includes songs by Stevie Nicks, Whitney Houston, etc. Primary Wave also raises and manages funds that are used to acquire music rights.$1,700.0 -- Sep-22 Kuku FMFundamentum, Paramark , existing investorsKuku FM is India’s leading audio content platform that creates, produces, markets, and distributes exclusive premium audio co ntent in the form of audiobooks, stories, summaries, courses, and more categories via its mobile app and website, available on Android and iOS.$21.8 -- Sep-22 Podimo83North, Headline, Heartcore , Highland Europe, Saban, othersPodimo is a podcast and short -form audio platform that offers personalized recommendations for users and supports podcast creators through a revenue share model, driven by its subscription -based service.$57.0 -- Aug-22 ProofAndreessen Horowitz, BR Capital, Flamingo DAO, othersOperator of a media, podcast, and in -person event company intended for NFT members. $50.0 -- Aug-22 Songfinch Valor Equity Partners Developer of an online music platform intended to let users buy personalized songs from musicians. $17.0 -- Jul-22 Musixmatch TPG GrowthMusixmatch is an Italian music data company and platform for users to search and share song lyrics with translations. It is the largest platform of this kind in the world, having 80 million users, 8 million lyrics, and 130+ employees.-- -- Jul-22 Stationhead Buttonwood Group AdvisorsStationhead is a social music platform for artists and fans to connect, livestream, create, and share curated playlists. The platform has five million users, with 30k stations across 200 countries.$12.0 -- Jul-22 AssemblyAIInsight Partners, Accel, Y Combinator, othersDeveloper of a speech recognition system that uses AI to automate audio transcriptions. $30.0 -- Jul-22 Blue WirePirate Entrepreneurship Fund, Dot Capital, East Carolina Angels Blue Wire is a sports podcasting network, with 150+ podcasts that create high -quality, original audio content, and has partnered with world - class athletes who are looking to grow their audio platform and expand their influence.$2.5 -- Jun-22 NextoryAcacia Asset Management, Industrifonden, LK FinansSweden -based subscription model audiobook platform allowing users to download and listen to a library of books and comics. $10.0 --($ in Millions) Inv estment Pre-Money Announced Target Investor Target Description Amount ValuationFeatured Audio Market Experience 43Houlihan Lokey professionals have unparalleled experience in advising audio companies across a wide range of transactions. Tombstones included herein represent transactions closed from 2010 forward Selected transactions were executed by Houlihan Lokey professionals while at other firms acquired by Houlihan Lokey or by pr ofessionals from a Houlihan Lokey joint venture company.has been acquired by Sellside Advisor has confirmed a Chapter 11 Plan of Reorganization, restructuring approximately $450 million of debt Second Lien Noteholder Advisor has received a strategic investment from Sellside Advisor* has been acquired by A portfolio company of Sellside Advisor parent company of has received financing from Coran Capshaw Founder of Sellside Advisor has been acquired by EV Events Center, LLC a joint venture between Brooklyn Sports & Entertainment and AEG Presents with its regional partner The Bowery Presents Sellside Advisor has completed a financing consisting of $24,000,000 Series D Convertible Preferred Stock Placement Agent has completed a financing transaction in connection with its acquisition of Fairness Opinion has been acquired by Sellside Advisor has been merged into Merger Advisor Secured Financing Financial Advisor* has divested its equity stake in to Financial Advisor* has been acquired by Financial Advisor* a portfolio investment of Valuation Opinion has been acquired by Financial Advisor* $50,000,000 Financing Financial Advisor* investment from Financial Advisor* has exchanged stations with Financial Opinion has been acquired by Sellside Advisor completed an $80M share/warrant repurchase, representing 100% of the outstanding securities of Financial Advisor has sold a majority stake in to Sellside Advisor* has been acquired by a portfolio company of Sellside Advisor has made an investment in Financial Advisor* has acquired Buyside Advisor* has been acquired by Sellside Advisor has been acquired by Sellside Advisor has acquired Financial Advisor* has raised equity from Wood Creek Capital to acquire Financial Advisor* Beats Electronics, LLC has licensed certain trademarks and trade names to Daisy, LLC Fairness Opinion has been acquired by Financial Advisor* has been acquired by Financial Advisor* has been acquired by Sellside Advisor* Preferred Stock Offering Financial Advisor* has acquired Buyside Advisor* $9,500,000 Series E Preferred Stock Financial Advisor* has acquired Buyside Advisorhas successfully placed a senior secured credit facility in support of an acquisition Placement AgentFeatured Audio Market Experience (cont.) 44Houlihan Lokey is a leader in providing valuation and financial opinions in the media and entertainment industry. has successfully completed a financial restructuring of its €2.4bn credit facilities Company Advisor Sony Corporation of America, Providence Equity Partners,Texas Pacific Group,DLJ Merchant Banking Partners and Comcast Corporation(the “Consortium”) have agreed to acquire for approximately $4.85 billion Financial OpinionDreamWorks Animation, Inc. has separated from DreamWorks LLC as a new publicly traded corporation Financial OpinionHOB Entertainment, Inc. has completed a $110 million recapitalization of its preferred and common stock Financial Advisor & Fairness Opinionhas been acquired by Citadel Limited Partnership and NBC Universal, Inc. Financial Opinionshas paid a special dividend of $10 per share on its common stock (approximately $3 billion in aggregate) Financial OpinionProvidence Equity Partners, 3i Investments plc,and Sparrowhawk Media(the “Consortium”) have acquired the international businesses of the for approximately $242 million Financial OpinionRed Envelope Entertainment, LLC a subsidiary of Netflix, Inc. Financial OpinionValuation opinion in connection with a potential transaction Financial Opinion We rendered a valuation opinion for corporate planning purposes to Image Entertainment regarding its film and television library IP Valuation has completed a recapitalization transaction with Financial Advisor & Fairness OpinionWe rendered a valuation opinion for financial reporting purposes to Yankee Entertainment & Sports Network Financial Opinion has completed a spin -off of Financial Opinion has acquired Financial & Tax Due Diligence Beats Electronics, LLC has licensed certain trademarks and trade names to Daisy, LLC Fairness Opinion has acquired We rendered a valuation opinion for financial reporting purposes to Anthem Sports & Entertainment regarding the acquisition of HDNet LLC a/k/a AXS TV Financial Opinion We rendered a valuation opinion for financial reporting purposes to Hasbro, Inc. regarding the feature film Financial Opinion has completed a financing consisting of $24,000,000 Series D Convertible Preferred Stock Placement Agent has completed a financing transaction in connection with its acquisition of Fairness Opinion Valuation of a film library for collateral lending purposes in connection with Sound Point Capital Management’s acquisition of Relativity Media. Collateral Valuation Valuation of a film and television library for collateral lending purposes Collateral Valuation We rendered a valuation opinion for tax & financial reporting purposes to The Topps Company regarding its sports & entertainment business Financial Opinion We rendered a valuation opinion for financial reporting purposes to MGM regarding its intangible assets including the MGM film and television library Financial Opinion has completed a special dividend recapitalization through an add- on to its existing term loan Financial Opinion has acquired a controlling interest in Kids Station Inc. We rendered a valuation opinion for financial reporting purposes to Sony Pictures Television Inc. regarding the intangible assets of Kids Station Inc. Financial Opinion has successfully completed the spin-off of Houlihan Lokey provided financial opinions to the Board of Directors of both Twenty -First Century Fox and Fox Corporation. Financial Opinion a portfolio investment of Valuation Opinion Provided financial advisory services and a valuation opinion in connection with the purchase of Tribune Media’s 5% interest in Chicago Entertainment Ventures, LLC Financial Opinion Accelerated Global Content, LLC Valuation opinion in connection with strategic initiatives following AGC’s launch Financial Opinion has acquired an interest in from Valuation Specialist / Services formerly known as has completed the restructuring of €2.8 billion of debt Financial Opinion ValueVision Media, Inc. has entered into an agreement to restructure and extend its Series A Redeemable Convertible Preferred Stock held by GE Capital Equity Investments, Inc. The Series A Redeemable Convertible Preferred Stock has been exchanged for: 4.9 million shares of 12% Series B Redeemable Preferred Stock due 2014 Warrants to purchase 6.0 million common shares at $0.75 per share $3.4 million cash Financial Advisor & Fairness Opinion Iconoclast Fund GP, LLC has acquired certain music catalogs of Empire of the Sun and Murder Inc. Financial Opinion Axton Copyrights, LLC dba Concord Music has acquired certain assets of Downtown Music Holdings Financial Opinion Alchemy Copyrights, LLC dba Concord Music has been acquired by Axton Copyrights, LLC We rendered a valuation opinion for financial reporting purposes to Axton Copyrights regarding its acquisition of Concord Music Financial Opinion Axton Copyrights, LLC dba Concord Music has acquired certain assets of Downtown Music Holdings Financial OpinionAlchemy Copyrights, LLC dba Concord Music has acquired certain music catalogs of Genesis, Phil Collins, Michael Rutherford, and Anthony Banks Financial Opinion Tombstones included herein represent transactions closed from 2004 forward.Disclaimer 45© 2023 Houlihan Lokey. All rights reserved. This material may not be reproduced in any format by any means or redistributed w ithout the prior written consent of Houlihan Lokey. Houlihan Lokey is a trade name for Houlihan Lokey, Inc., and its subsidiaries and affiliates, which include the following licensed (or, in the case of Singapore, exempt) entities: in ( i) the United States: Houlihan Lokey Capital, Inc., and Houlihan Lokey Advisors, LLC, each an SEC-registered broker -dealer and me mber of FINRA (www.finra.org ) and SIPC (www.sipc.org ) (investment banking services); (ii) Europe: Houlihan Lokey Advisory Limited, Houlihan Lokey EMEA, LLP, Houlihan Lokey (Corporate Finance) Limited, and Houlihan Lokey UK Limited, authorized and regulated by the U.K. Financial Conduct Authority; Houlihan Lokey (Europe) GmbH, authorized and regulated by the German Federal Financial Supervisory Authority (Bundesanstalt für Finanzdienstleistungsaufsicht ); (iii) the United Arab Emirates, Dubai International Financial Centre (Dubai): Houlihan Lokey (MEA Financial Advisory) Limited, regulated by the Dubai Financial Ser vices Authority for the provision of advising on financial products, arranging deals in investments, and arranging credit and advising on credit to professional clients on ly; (iv) Singapore: Houlihan Lokey (Singapore) Private Limited and Houlihan Lokey Advisers Singapore Private Limited, each an “exempt corporate finance adviser” able to provide exempt corporate finance advisory services to accredited investors only; (v) Hong Kong SAR: Houlihan Lokey (China) Limited, licensed in Hong K ong by the Securities and Futures Commission to conduct Type 1, 4, and 6 regulated activities to professional investors only; (vi) India: Houlihan Lokey Advisory (India) Private Limited, registered as an investment adviser with the Securities and Exchange Board of India (registration number INA000001217); and (vii) Australia: H oulihan Lokey (Australia) Pty Limited (ABN 74 601 825 227), a company incorporated in Australia and licensed by the Australian Securities and Investments Commission (AFSL number 474953) in respect of financial services provided to wholesale clients only. In the United Kingdom, European Economic Area (EEA), Dubai, Singapore, Hong Kong, India, and Australia, this communication is directed to intended recipients, including actual or potential professional clients (UK, EEA, and Dubai), accre dited investors (Singapore), professional investors (Hong Kong), and wholesale clients (Australia), respectively. No entity affiliated with Houlihan Lokey, Inc., provides banking or securities brokerage services and is not subject to FINMA supervision in Switzerland or similar regulatory authorities in other jurisdictions. Other persons, such as retail clients, are NOT the intended recipients of our communications or services and should not act upon this communication. Houlihan Lokey gathers its data from sources it considers reliable; however, it does not guarantee the accuracy or completene ss of the information provided within this presentation. The material presented reflects information known to the authors at the time this presentation was written, and this information is subject to change. Any forward -looking information and statements contained herein are subject to various risks and uncertainties, many of which are di fficult to predict, that could cause actual results and developments to differ materially from those expressed in, or implied or projected by, the forward-looking in formation and statements. In addition, past performance should not be taken as an indication or guarantee of future performance, and information contained herein ma y be subject to variation as a result of currency fluctuations. Houlihan Lokey makes no representations or warranties, expressed or implied, regarding the accuracy of this material. The views expressed in this material accurately reflect the personal views of the authors regarding the subject securities and issuers and do not necessarily coincide with those of Houlihan Lokey. Officers, directors, and partners in the Houlihan Lokey group of companies may have positions in the securities of the companies discussed. This presentation does not constitute advice or a recommendation, offer, or solicitation with respect to the securities of any company discussed herein, is not intended to provide information upon which to base an investment decision, and should not be construed as such. Houlihan Lokey or its affiliates may from tim e to time provide financial or related services to these companies. Like all Houlihan Lokey employees, the authors of this presentation receive compensation that is affected by overall firm profitability.CORPORATE FINANCE FINANCIAL RESTRUCTURING FINANCIAL AND VALUATION ADVISORY HL.com	[ "music", "company", "financial", "e", "catalog", "platform", "audio", "million", "artist", "advisor" ]	{ "summary": "The Future of Audio\nAudio Market Update —Fall 2023September 2023Audio Market Update—Fall 2023\n2At o" }
tL-How Much To Join TAXI A&R Music Service.pdf	Ta r g e t Yo u r M u s i c t o t h e U l t i m a t eList of Music Publishers, RecordLabels and Film & TV MusicSupervisorsLeft RightABCMTVNBCSpikeFoxCBSCapitol RecrordsWarner BrothersBravoAtlanic RecordsHBOUniversal Music GroupA&EShowtimeHistoryRounderUSAParamountEMIVH1Animal Planet8/13/24, 2:05 PMPage 1 of 9Warner Brothers RecordsBETSong/BMGESPNInterscope RecordsFOX SportsWord RecordsTNTCNBCCNNHallmark NetworkOWNPBSThe Science ChannelSYFYTBSClick below to see what the music industry is lookingfor right now!Get Free Daily Music Opportunity AlertsHere's How We Help Y ou...TAXI delivers those targeted opportunities right to your front door.Record labels, Publishers, Music Libraries and Film & TV MusicSupervisors tell us what kind of Songs, Instrumental Tracks and Artiststhey currently need - then we tell you. When you see a match for yourmusic, send it to us, and our A&R team will pre-screen it for thecompany that needs it.8/13/24, 2:05 PMPage 2 of 9If your music is on-target and great, we send it to them. Your musicbecomes solicited because it came from a trusted industry source(that's us!)You'll get about 100 different opportunities every month and they comein nearly every genre you can think of - Rock, Pop, Country, AdultContemporary, Modern Rock, Jazz, Film/TV, New Age, Instrumental,and just about any other style you'd commonly hear on the radio, inmovies, TV shows, video games and commercials.Thousands of independent songwriters, artists and composers havemade Record Deals, Publishing Deals, Film & TV Music Licensing Dealsand countless Sync Placements using TAXI.Plus, we have a FREE, members-only convention where you'll get tolisten to, learn from and mingle with many of the industry’s top decisionmakers.Thousands of Songwriters, Artists, and Composers come from all overthe world to network with Music Industry Decision Makers and eachother at the TAXI Road Rally."I was told that Rally would be a life-changing experience, and itproved to be absolutely true."-Adriana LycetteWant to Meet Top Music Industry ExecutivesFace-to-Face?You'll get plenty of chances at our FREE, members-only convention,the Road Rally. Other music conventions cost as much as $600 perperson. When you become a TAXI member, you'll get TWO FREE ticketsto what many people think is the very best convention of its kind.8/13/24, 2:05 PMPage 3 of 9That's a $1,200 value that you get FREE with your TAXI membership!Join us at the Rally and meet top Film & TV Music Supervisors,Production Music Library Executives, Music Publishers, Multi-PlatinumProducers, Hit Songwriters, Music Marketing Experts, and A&RExecutives from Major and Indie Labels. We carefully select panelists,teachers, and mentors who will give you honest answers without theego and the "hipper-than-you"" attitude you'll find at otherconventions.If you want to network or collaborate with other musicians andsongwriters, our convention will feel like Heaven on Earth. The peoplewho come to the Rally are world famous for being warm, unbelievablyinclusive, and incredibly generous. It's such a powerful weekend youliterally won't want it to end. 8/13/24, 2:05 PMPage 4 of 9Hollywood Trailer Music Supervisor Naaman Snell takes a look at a CDgiven to him by TAXI Member Al Sanchez. Hollywood Film Music Supervisor Beth Amy Rosenblatt takes CDs froma member after the amazing Music Supervisor Listening and Q&A Panelheld on Saturday at the TAXI Road Rally.Yo u Keep All The Money!If you strike a deal and make a gazillion dollars, you'll keep a gazilliondollars. No percentages or publishing splits go to TAXI. An entire yearof our service is so inexpensive that you'll probably spend less on TAXIthan you do on designer coffee. Much less than you'd spend on a tripto LA, NY or Nashville or a couple of hours with a music attorney!Click Now To Join TAXI8/13/24, 2:05 PMPage 5 of 9Yo u ' l l A l s o G e t a F u l l , O n e -Ye a rMoney-Back Guarantee... We're so confident that you'll love belonging to TAXI, that we'llshoulder the risk. If you think that our Industry Listings aren't the bestyou've ever seen, we'll refund your membership fee in full. If you don'tthink our feedback helps you improve your music, ditto. And the samegoes for our unmatched customer service. If you call with a question ora problem and you're not greeted by one of the friendliest, most helpfulpeople you've ever met at any business, we'll refund your membershipfee.And that's not a 30-day guarantee. It's a Full, One-Year Guarantee.Yes, you read that correctly! We give you a full year to make sure you'rehappy with our listings, feedback and customer service. And if you'renot, mail a letter during that 365 day period telling us why you're notand we'll refund your first year's membership fee.For obvious reasons we can't guarantee you'll get a deal through TAXIor that your music will be forwarded. That depends on the music youpitch and how well you target those pitches. This guarantee appliesonly to the first year membership fee and does not include renewals orany additional/upgraded services offered by TAXI.We regret that we can't give refunds based on financial difficulties, theinability to dedicate the appropriate time to writing and pitching yourmusic through TAXI, outside success, the quality of your recordings orbecoming discouraged if your music isn't "there" yet. We're here to8/13/24, 2:05 PMPage 6 of 9help you with that. And that's why we'd like you to use our service for afull year.Getting Opinions from Family and Friends isNice, but...Getting objective, detailed feedback from Hollywood musicsupervisors, hit songwriters, A&R people, publishers, and recordproducers is priceless. When you become part of TAXI, it's like havingyour own personal team of industry pros giving you tips, techniquesand fresh ideas.Many of our members use our feedback to whip their music into shapebefore they spend the time and money to record an album or submit itto record labels, music supervisors, music libraries and publishers.You'll never have to regret that you didn't add a bridge, change a lyric,or make your chorus punchier before you play it for an industry pro orrelease your finished record. We'll help you get it right before it'setched in stone! How much is that worth to you?This Works Better Than HopeHow many years have you already wasted, hoping for success to fallfrom the sky and into your lap? TAXI gives you specific targets anddeadlines to help you stop procrastinating and become more proactive.Why wait for Music Supervisors, A&R People and Publishers to stumbleon your web page with millions of other songwriters, composers andartists all competing for attention?Can you honestly say that Social Media has had a significant impact onyour career? Having friends and followers is great, but having music8/13/24, 2:05 PMPage 7 of 9industry decision makers asking for your music is much, much better!Click Now To Join TAXITAXI members' music has been in HollywoodBlockbusters, TV Shows on virtually every network,and on the desks of A&R executives at every MajorLabel.Got Questions?Does TAXI take a percentage?TAXI almost sounds too good to be true. How do I know it's legitimate?Why do these companies tell TAXI what they're looking for?Does TAXI get listings for artists, bands, songwriters, and composers?What styles of music are most frequently requested?Who are your A&R people?Can't I just buy a directory or "tip sheet" and send my music to recordcompanies myself?Do I only get one chance to send my music?Will TAXI give feedback on every song or instrumental track I submit?Does TAXI have a submission fee?Does TAXI split the submission fees with the companies requestingmusic?Does TAXI check out the companies that it works with?If my music is forwarded, what are the chances that it will be listened toby the A&R person who asked for it?Isn't there too much competition for me to expect that my music will beforwarded?Does TAXI have members in places other than the U.S.?How can TAXI handle all those submissions?8/13/24, 2:05 PMPage 8 of 9What percentage of your members get forwarded?What's TAXI's "Success Ratio"?What kinds of deals have TAXI members signed?Can I sign up as a publishing, management, or production company,and send in material for several people under my membership?Can I join as a studio and submit demos from my clients?How much does TAXI cost?How long will my membership last?How much is it to renew my membership?Should I wait until my material is totally "finished" before I join TAXI?Yo u ' l l F i n a l l y G e t Yo u r S h o t . . .The music business is very competitive, but if you don't run the raceyou have no chance to win. Your TAXI membership will keep you wellinformed, highly-motivated and more connected to the real musicindustry than you ever dreamed possible.Ready T o Quit Procrastinating?So what do you say ... are you ready to quit procrastinating? How manyyears have you been talking about doing something serious with yourmusic? The opportunity is right in front of you, and the time is now!Become a member of TAXI today and get heard.Click Now To Join TAXI8/13/24, 2:05 PMPage 9 of 9	[ "music", "taxi", "u", "get", "l", "pmpage", "industry", "member", "much", "youll" ]	{ "summary": "Ta r g e t Yo u r M u s i c t o t h e U l t i m a t eList of Music Publishers, RecordLabels and" }
Music-Video-Production-Agreement.pdf	VIDEO PRODUCTION AGREEMENT This agreement (“Agreement”), effective as of _____, 2015, is between __________ (“Artist”) with an address of __________________, and _____________ (“Producer”), with an address at _____________________________. WITNESSETH: WHEREAS, Producer has recognized expertise in video production; and WHEREAS, Artist wishes to engage Producer to record a music video featuring Artist performing a song titled “_____________” (the “Video”). NOW, THEREFORE, in consideration of the mutual covenants and agreements contained herein, the parties hereto agree as follows: 1.PRODUCTION SERVICES 1.1. Producer shall provide Artist with the video recording and production services (hereinafter “Production Services”) described within this Agreement. 1.2. Principal photography shall begin on ____________, 2015. Producer shall make Delivery, as defined herein, of the Video to Artist no later than _________, 2015. “Delivery” shall consist of delivery of (i) a fully edited sound synchronized video master, and (ii) all other recorded elements created during production including but not limited to all audio tracks, video footage and outtakes. Delivery will not be deemed to have occurred until Artist accepts the Video as suitable for commercial exploitation. 1.3.Producer shall provide the Production Services to Artist promptly with the degree of skill, attention and due care that is standard practice within the professional Production Services industry. 1.4.Producer and Artist agree that the budget attached in Schedule A shall represent 100% of the funds required to produce the Video (hereinafter “Budget”). This amount represents the Producer’s total anticipated costs and profit. The Budget should include all costs for producing the video including producer and director fees as well as post production editing costs. For examples of music video budgets ranging from “shoestring” to “commercial/studio” budgets, see http://garrettgibbons.com/musicvideobudgets. 1.5.If the Producer hires a director (hereinafter “Director”), the Director shall be an employee of the Producer for purposes of the production and Delivery of the Video. 1 1.6.All employees and representatives of Producer providing the Production Services hereunder to Artist during the Term of this Agreement shall be deemed for all purposes (including all compensation, taxes and employee benefits) to be employees or representatives solely of Producer, and not to be employees or representatives of Artist or to be independent contractors of Artist. 1.7.The Video shall depict content to be included in a treatment or script to be approved by Artist prior to principal photography. 2.GRANT OF RIGHT: WORK MADE FOR HIRE This clause transfers all rights to the person (or company as the case may be) commissioning the Video. 2.1.Production Services provided by the Producer and any other person providing such Services shall be deemed to be provided on a “work made for hire” basis as that term is defined under the U.S. copyright law. The Video and all other materials created or contributed by the Producer including all footage, outtakes and audio tracks (the “Materials”), shall be the sole property of Artist throughout the universe, free from any claims whatsoever by Producer; and Artist shall have the exclusive right to register the copyright(s) in such Materials in her name as the owner and author thereof and to secure any and all renewals and extensions of such copyright(s). 2.2.Without limiting the generality of the foregoing, Artist and any person authorized by Artist shall have the unlimited exclusive right, throughout the universe, to manufacture or create copies of the Video or any other Materials by any method now or hereafter known, or any work derived from the Video or the Materials and to sell, market, transfer or otherwise deal in same under any trademarks, trade names and labels, or to refrain from such manufacture, sale and dealing. 2.3Artist or any Person authorized by Artist shall have the right throughout the universe, and may grant to others the right, to reproduce, print, publish, or disseminate in any medium the name, portraits, pictures, likenesses and biographical material concerning Producer and Director any other person providing Production Services, as news or information, or for the purposes of trade, or for advertising purposes, in connection with promotion marketing and sale of the Video. As used in this Agreement, “name” shall include, without limitation, any professional names. 3.COMPENSATION 3.1. The Parties agree that the Effective Date of this Agreement shall be as set forth at the beginning of this Agreement (hereinafter “Effective Date”). The parties acknowledge that the total amount of the attached Budget is___________ Dollars ($_____). 2 Within five (5) days of the Effective Date, Artist shall pay Producer 50% of the Budget, that is, _________ Dollars ($_____). The second payment of 25%, that is, _________ Dollars ($_____), shall be due upon completion of principal photography. The third and last 25% payment of ________ Dollars ($_____) shall be due upon Delivery of the Video and other Materials to Artist. 3.2. Overages. In regard to overages to the Budget, Producer shall not charge Artist any monies in addition to the approved Budget without Artist‘s prior written approval. 4.NOTICES Notices, reports, accountings or other communication which Producer or Artist may require or desire to send to the other must be delivered either by: Certified mail, return receipt requested to the parties at the addresses first written above or other address to be designated by Producer or Artist as the case may be; or Electronic mail at the following addresses: (i) for Artist: _________@___.com (ii) for Producer: ___________@___.com 5.ASSIGNMENT Producer may not assign this Agreement or any right or obligations under this Agreement. Artist may assign this Agreement or any of her rights or obligations hereunder to any person, firm, or corporation including a corporation in which Artist is a principal, provided that (i) Artist shall remain responsible for any payments required to be made under this Agreement, and (ii) the assignee has the necessary cash on hand to make any payments required under this Agreement. 6.WARRANTIES AND INDEMNIFICATION 6.1.Producer warrants and represents that he has the legal right to enter into this Agreement including the legal right to sign on behalf of the Director. Producer further warrants and represents that (a) all content contributed by the Producer shall be original and not interfere with or violate any rights of any third party; and (b) no content appearing in the Video, including artwork or photography, will interfere with or violate any rights of any third party. 6.2Producer warrants and represents that he shall provide valid signed releases from any third party performing or appearing in the video, and that he shall, if legally required, secure valid signed location releases from any location appearing in the video. Acceptable forms of release are attached hereto as Schedule “A” and “B” respectively. The attached releases may be used as Schedules A and B. Note that the releases allow the Producer to assign the rights secured in the releases to the Artist. 3 6.3. Producer and each of his representatives, employees, contractors, agents and representatives hereby release, indemnify and agree to hold harmless Artist and her agents and representatives from and against any and all losses and/or damages which arise out of the Production Services. 7. TERMINATION Artist may terminate this Agreement upon written notice in the event of a material breach by Producer, including late delivery of the Video, if such breach is not cured within 2 days of notice thereof. If such breach is not cured within that time, Producer shall not be entitled to any additional payments and, upon notice by Artist, Producer shall refund to Artist any monies previously paid. 8. MISCELLANEOUS 8.1. Governing Law. This Agreement shall be interpreted under the laws of the state of ________ without regard to its choiceoflaw rules, and the parties shall submit to the exclusive jurisdiction of the courts of that state. Since the Artist is the party paying money in this Agreement, the Artist should have the right to decide in which state any dispute arising from the Agreement should be litigated. 8.2.Relationship of Parties. Producer and Artist shall have the relationship of independent contractors. Nothing herein shall be construed to place Producer and Artist in the relationship of principal and agent, employer and employee, master and servant, partners, or joint venturers, and neither party shall, either expressly or by implication, have represented themselves as having any authority to make contracts in the name of, or binding on, each other, or to obligate the other in any manner. 8.3.Complete Agreement. Producer and Artist acknowledge that this Agreement represents the complete and exclusive statement of the agreement between the Producer and Artist with regard to the subject matter herein, and that it supersedes any proposal or prior agreement, whether oral or written, and any other communications between the Parties relating to the subject matter of this agreement. 8.4. Enforcement. If any provision of this Agreement shall be found invalid or unenforceable, then such provision shall not invalidate or in any way affect the enforceability of the remainder of this Agreement. UNDERSTOOD AND AGREED: [ARTIST’s NAME] 4 _______________________________ [NAME OF PRODUCER] _______________________________ SS #____________________________ If the Producer is a production company or LLC (“Production Company”), the president or managing partner should sign the personal guarantee below: In order to induce Artist to enter into this Agreement, I hereby agree and acknowledge that (a) I have read all of the terms and conditions set forth in this Agreement; and (b) I shall be personally bound by all the terms and conditions in this Agreement applying to the Production Company, and that I shall be personally liable for any breach of this Agreement by Production Company. PRESIDENT OR MANAGING PARTNER _______________________________ Print Name: _____________________ Position: ________________________ 5 PERSONAL RELEASE To ______________ (“Producer”) Address I understand that Producer is producing a video containing the performance of a song titled “_____________” (the “Video”). For good and valuable consideration, including my desire to appear in the Video, I irrevocably grant to Producer, his licensees and assigns the right to film, videotape, portray and photograph me, my likeness and my performance, and to record my voice and other sound effects, and the right to use them or any portion thereof, and my name and any biographical facts which may have been provided to Producer, in connection with the production of the Video and the advertising, promotion and publicity therefor, and all rights of every nature whatsoever in and to all films, video, portrayals, photographs, performances and recordings produced hereunder (“Material”), including without limitation all copyrights therein and renewals and extensions thereof, and the exclusive right to reproduce, exhibit, distribute and otherwise exploit the Material in whole or in part in perpetuity throughout the universe in all languages, in any and all versions (including digitized versions) and forms, and in any and all media now known or hereafter devised. Independently and apart from any consideration accruing to me hereunder, I hereby release Producer and Producer’s authorized designees from, and covenant not to sue Producer and Producer’s authorized designees for any claim or cause of action, whether known or unknown, for libel, slander, invasion of right of privacy, publicity or personality, or any other claim or cause of action, based upon or relating to the exercise of any of the rights referred to herein. I understand that nothing herein will require Producer or Producer’s designees actually to produce or utilize any Material hereunder. This grant is irrevocable so that Producer may proceed in reliance thereon. This instrument contains the entire understanding of the parties, may not be changed or terminated except by an instrument by Producer and me and will be construed in accordance with the laws of the State of ______, provided that the courts of the state of __________ shall have exclusive jurisdiction to resolve any disputes arising from this Release. Dated:______________________ Authorized Signature ______________________________ [Print name] 6	[ "producer", "artist", "shall", "agreement", "video", "right", "production", "party", "including", "may" ]	{ "summary": " \n \nVIDEO PRODUCTION AGREEMENT \n \n \nThis agreement (“Agreement”), effective as of _____, 2015, is b" }
tL-Artist-Investment-Agreement-Pro-Artist.pdf	1 PRO -ARTIST AGREEMENT This investment agreement (“Agreement”) is entered into as of May 1, 201 4 by and between: ________ (the “Artist”) a corporatio n with an address at _____________ furnishing the services of __________ (“Artist”) and ________ (“Investor”) with an address at ________________________. Note that the Artist is entering into this agreement , not as an individual , but via a “furnishing company.” See the discussion regarding “Limited Liability” in the Introduction. WHEREAS the parties to this Agreement seek to advance the career of Artist, they agree as follows: 1. INVESTMENT: Investor agrees to invest a minimu m of Two Million Dollars ($2,000,000) (the “Investment”) and a maximum of Two Million Five Hundred Thousand Dollars ($2,500,000) pursuant to the terms of this Agreement. The Investment shall be paid directly to Company. The parties agree that the Company shall use the Investment to advance the career of the Artist in the Entertainment Industry (as defined below) and to satisfy the goals set forth in the marketing plan attached as Schedule A (the “Marketing Plan”), provided that Company reserves the right t o change the Marketing Plan if Company reasonably believes that such changes would enhance the career of the Artist. A marketing plan is a comprehensive blueprint that sets forth a company’s (or in this case an Artist’s) advertising and marketing effort s for a period of time. It includes a budget and specifications of what the Artist intends to do with the money. For instance, it may include amounts for hiring a publicist, and/or an indie radio promoter. It will also include detailed estimates of the Artist’s earnings. These projections may be key in an investor’s decision to support an artist. Note that in this pro -Artist agreement, the Artist reserves the right to use the Investment for other expenses than in the Market Plan presented to the Inve stor if the Artist feels that the money could be better spent on other activities as the circumstances of the Artist’s career change. 2. PAYMENT DATES: a. Five Hundred Thousand Dollars ($500,000) shall be payable to Company upon execution of this A greement. Said amount shall be paid to a bank account (“Account”) owned by Company as a check payable to Artist. 2 b. Company shall have the right to withdraw funds from the Account in accordance with the purposes of this Agreement. c. Investor shall replenish the Account at any time that there is less than $20,000 in the Account. For the avoidance of doubt, if at any time there is less than Twenty Thousand Dollars in the Account Investor will place at least enough money in the Account so that it will equal Five Hundred Thousand Dollars ($500,000). d. It is understood and agreed that Investor shall not pay any Expenses directly but rather that Investor will make sufficient funds available for Company to pay Expenses. e. The parties hereto agre e that the purpose of Investor replenishing the Account is to allow Artist to pay Expenses to advance the Artist’s career, and the parties anticipate that at least Two Million Dollars ($2,000,000) will be required to invest in the Artist in order to genera te Net Profits as defined below provided that if additional funds are required up to the amount of Two Million Five Hundred Thousand Dollars ($2,500,000), Investor shall make such additional funds available. Although this is a pro -Artist agreement, the in vestment is so large that a limited number of installments is reasonable. f. The Company shall have full discretion and the right to exercise independent judgment without approval form Investor with respect to paying any individual expense up to Sevent y Five Thousand Dollars ($75,000). For any individual expense in excess of Seventy -Five Thousand Dollars, Investor shall have the right to approve such expense, provided that approval shall not be unreasonably denied if the Expense is in the best interest s of advancing Artist’s career. This is a reasonable control on spending. 3. INVESTMENT RETURN: As consideration for the Investment, Investor shall receive a total of forty per cent (40%) of “Net Profits” (as defined below) earned by Ar tist from the Entertainment Industry. Such consideration shall be referred to herein as the “Investment Return.” This rate of return is on the high side but is in proportion to the large sum invested. 4. COMPANY: Company shall use best efforts to laun ch, sustain, and advance the Artist’s in the Entertainment Industry. It is agreed at all times during the Term of this Agreement that the Artist shall be a shareholder and an officer in the Company. 5. DEFINITIONS: a. “Net Profits,” for the purposes of this Agreement, shall mean Gross Earnings as defined below minus Expenses. “Gross Earnings,” for the purposes of this Agreement, shall mean all income actually received by Company or Artist from the Artist’s activities in the Entertainment Ma rketing including performance fees, sponsorship fees, endorsement fees, 3 advances, guaranties, recording royalties, salaries, bonuses, deferred compensation, union payments, equity or shares in corporations or partnerships, shares of profits, or any other f orm of compensation or income. Notwithstanding anything to the contrary in the foregoing: (i) the Investment shall not be deemed to be Gross Earnings, and (ii) salaries, benefits including insurance and pensions, and/or any other fees paid to employees or agents of Company or Artist shall not be deemed to be Gross Earnings. b. “Expenses,” for the purposes of this Agreement, shall mean (i) any actual recording or video production costs paid to unaffiliated and unrelated third parties in connection with Artist’s recording or video recording of the Artist, (ii) any actual tour support costs, including sound, lighting, equipment rental, transportation, accommodations and lodging paid in connection with Artist’s live performances, (iii) any actual bona fide documented payments to any third party in connection with advancing the Artist’s career in the Entertainment Industry such as monies paid in connection with marketing, public relations, publicity, branding and image consulting, website development, artist management, marketing management, booking agents, accounting and legal fees, photography, wardrobe and styling, radio promotion, manufacturing and packaging, digital distribution or any other out -of-pocket expenses incurred in connection with the Artist a ctivities in the Entertainment Industry; (iv) any monies needed to maintain corporate offices and a recording studio including rent, furnishings, recording equipment, electricity, phone, any computers, etc., (v) up to Five Hundred Thousand Dollars ($500,00 0) for any salaries and/or benefits paid to employees or agents of the Artist, and (vi) all taxes payable by the Artist including federal, state and city income taxes, and sales taxes. c. “Entertainment Industry,” for the purposes of this Agreement, sh all mean Artist’s activities in the entertainment industry as follows: (i) live performance as a music performer or dancer; (ii) music recordings and records including sale, lease or rental of music recordings in any media throughout the world now know or hereafter developed; (iii) music videos and concert films; (iv) all aspects of motion pictures and the motion picture Marketing including performance, directing, writing and producing; (v) all aspects of television and the television Marketing including p erformance, directing, writing, and producing, (vi) licensing music recordings for television, movies, commercials, and electronic or video games; (vii) merchandise of any sort including clothes, posters, stationary, etc., or endorsements of any product or service; (viii) any project associated with digital entertainment content involving the Internet, mobile or any other technology now known or hereafter developed; (ix) all aspects of book publishing including writing; (x) all aspects of live theatre and the theatre Marketing including acting, performing, directing and producing. For the avoidance of doubt this Agreement does not pertain or apply to any income received on behalf of any other artists or individuals except the Company or Artist. 6. CAP ON INVESTMENT RETURN: Notwithstanding anything to the contrary herein there shall be a cap of ten (10) years (the “Term”) from the date of this Agreement. For avoidance of doubt, the Investor’s right to collect monies from Artist shall terminate ten (10) years from the date of this Agreement so that there shall be no obligation to pay Investor any share of any monies received by Company or Artist after said date. The long term is in proportion to the large investment. 4 7. ACCOUNTING AND PA YMENT: Company shall account to Investor on a semi -annual basis starting July 1, 20 14 and continue so long as Net Profits are earned, by furnishing statements and any payments due to Investor after deduction of permissible Expenses. Each such accounting s tatement shall include a description of any transaction subject to this Agreement including identification of any third party, the amount paid and the nature of the products and/or services for which payment was made. Each such accounting statement shall c over all relevant transactions for the immediately preceding semi -annual period. 8. AUDIT: a. Investor shall have the right, at any time, to give Company written notice of Investor’s intention to examine Company's books and records with respect to each royalty statement. Such examination shall occur no more than once each year and be commenced no sooner than one (1) month and no later than three (3) months after the date of such notice, at Investor’s sole cost and expense, by any certifi ed public accountant or attorney designated by Investor, provided that he or she is not then engaged in an outstanding examination of Company's books and records on behalf of a person other than Investor. Such examination shall be made during Company's usu al business hours at the place where Company maintains the books and records which relate to Investor, and which are necessary to verify the accuracy of the statement or statements specified in Investor’s notice to Company. Company shall have no obligatio n to produce such books and records more than once. b. Unless Investor provides a notice to examine Company’s books and records within six (6) months of receipt by Investor of any royalty statement, each such statement rendered to Investor shall be fi nal, conclusive and binding on Investor and shall constitute an account stated. Investor shall be foreclosed from maintaining any action, claim or proceeding against Company in any forum or tribunal with respect to any statement or accounting rendered her eunder unless such action, claim or proceeding is commenced against Company in a court of competent jurisdiction within one (1) year after the date that such statement or accounting is received by Investor. c. Investor acknowledges that Company books a nd records contain confidential trade information. Neither Investor nor Investor’s representatives will communicate to others, or use on behalf of any other person, any facts or information obtained as a result of such examination of Company's books and r ecords, except as may be required by law or judicial decree. 9. LEGAL COUNSEL: Investor hereby acknowledges that he has sought and received legal advice from independent counsel or that he has voluntarily waived his right to independent counsel wi th respect to the terms and provision contained in this Agreement. Investor acknowledges that the Entertainment Industry is a highly risky business and that he may not be re-paid or earn any Net Profits. Note that the contact makes clear that the Investor may never recoup his investment. 5 10. INDEPENDENT CONTRACTOR: Investor and Company shall have the relationship of independent contractors. Nothing herein shall be construed to place Investor and Company in the relationship of principal and a gent, employer and employee, master and servant, partners, or joint venturers, and neither party shall have expressly or by implications, represented themselves as having any authority to make contracts in the name of, or binding on, each other, or to obligate the other in any manner. 11. NOTICES: Notices, reports, accountings or other communication which the Investor or Company may be required or desires to send to the other, must be delivered EITHER by a. certified mail, return receip t requested to the parties at the addresses first written above or other address to be designated by Investor or Company. b. electronic mail at the following addresses: (i) for Company: ___________@___ (ii) for Investor: ___________@___ 12. ASSI GNMENT: Investor may assign this Agreement or any of his rights hereunder to any person, firm, or corporation including a corporation in which the Investor is a principal, provided that (i) Investor shall remain responsible for any payments required to be made under this Agreement, and (ii) the assignee has the necessary cash on hand to make any payments required under this Agreement. Notwithstanding the foregoing, Company may not assign this agreement or any of its obligations herein. 13. ENT IRE UNDERSTANDING: This Agreement constitutes the entire understanding between the parties with reference to this matter, and supersedes all prior agreements, written or oral. This Agreement cannot be modified except by written instrument signed by the pa rties. 14. GOVERNING LAW: This Agreement is made, and is to be construed under the laws of the State of New York with respect to contracts to be executed and performed in this State. 15. ENFORCEMENT: If any provision of this Agreement shall be found invalid or unenforceable, then such provision shall not invalidate or in any way affect the enforceability of the remainder of this Agreement. AGREED TO AND ACCEPTED: INVESTOR COMPANY f/s/o ARTIST By: By: Name: ___________ _______ Authorized Signatory 6	[ "investor", "artist", "shall", "company", "agreement", "investment", "expense", "including", "party", "dollar" ]	{ "summary": " \n1 \nPRO -ARTIST AGREEMENT \n \n \nThis investment agreement (“Agreement”) is entered into as of May " }
Universal-Music-Discontined-Lists-2014.pdf	Catalogue NumberArtist / Title Config Scannable UPC UPC 880032A 10 CC/KING BISCUIT PRESENTS Compact Disc 707108800326 5340276 10CC/TENOLOGY 40TH ANN(4CD+DVD CD with DVD 600753402764 PESS0282 16/SCOTT CASE Compact Disc 793061902825 3740516 1975,THE/THE 1975 Compact Disc 602537405169 PL06012 1986/NIHILISM IS NOTHING TO WO Compact Disc 634457175426 554562 1994 LONDO/OLIVER! - BART Compact Disc 724355545626 407182A 2 BIT PIE/2 PIE ISLAND Compact Disc 827954071821 CUT1007 2ND STEP/THE ULTIMATE INTERACT Digital Video Disc 801735400789 0694908132 2PAC/THE ROSE THAT GREW FROM Compact Disc 606949081324 845452C 30 SECONDS/A BEAUTIFUL LIE CD with DVD 094638454526 066122A 30 SECONDS/THIS IS WAR (W/T-SH CD with DVD 5099960661227 179212 30 SECONDS/THIS IS WAR L.E. DL CD with DVD 5099991792129 6076883089 38 SPECIAL/LIVE AT STURGIS (DV Digital Video Disc 060768830899 B000238709 38 SPECIAL/THE BEST OF 38 SPEC Digital Video Disc 602498621646 CCM20842 5 STAIRSTEPS & CUBIE/LOVE'S HA Compact Disc 617742208429 B000431702 50 CENT/THE MASSACRE Compact Disc 602498804087 CCM07782 5TH DIMENSION/THE MAGIC GARDEN Compact Disc 617742077827CCM09542 60 MILLION BUFFALO/NEVADA JUKE Compact Disc 617742095425 RMED00190 707/I COULD BE GOOD FOR YOU(BE Compact Disc 630428019027RMED00272 707/MAGIC Compact Disc 630428027220 B001784202 98 DEGREES/ICON Compact Disc 602537224814ALPHABETICAL BY ARTIST / Alphabetique par artisteUNIVERSAL MUSIC DISCONTINUED LISTING / Liste de produits discontinues The following titles have been discontinued effective immediately. Please have all return requests submitted by Friday Februar y 27, 2015. All authorized discontinued products must be returned to our distribution centre by Friday March 27, 2015. À compter de maintenant les titres suivants ont été discontinués. Veuillez s'il vous plait avoir soumis toutes demandes de reto urs pour ces produits au plus tard le vendredi 27 février 2015. Tous les produits discontinués autorisés doivent être retournés à notre cen tre de distribution au plus tard le vendredi 27 mars 2015. 5 099991 792129 0 94638 45452 66 00753 40276 4 5 099960 661227 7 07108 80032 6 6 17742 20842 9 6 17742 09542 5 6 30428 01902 7 6 30428 02722 06 17742 07782 7 6 02537 22481 46 02498 80408 76 02537 40516 9 7 24355 54562 6 6 06949 08132 48 27954 07182 17 93061 90282 5 6 34457 17542 6 8 01735 40078 9 6 02498 62164 60 60768 83089 9 Page 1 of 496 November 12, 2014Catalogue NumberArtist / Title Config Scannable UPC UPC B000070902 98 DEGREES/THE BEST OF CHRISTM Compact Disc 602498603826 4400176549 98 DEGREES/THE COLLECTION Digital Video Disc 0440017654901166132182 A PRAIRIE HOME COMPANION/30TH Compact Disc 0116613218231166132189 A PRAIRIE HOME COMPANION/30TH Digital Video Disc 011661321892 B000908102 A THORN FOR EVERY HEART/IT'S H Compact Disc 602517351332 D7670 AALIYAH/LOSING AALIYAH-UNAUTHO Digital Video Disc 655690767063 ACD71221 AARONSM,M/RENZI/VIEAUX/HISTORY Compact Disc 787867122129 UOPJ43 ABANDON ALL SHIPS/MALOCCHIO Compact Disc 626570605768 PP016 ABBA/DANCING QUEEN Digital Video Disc 603777901695 5170074 ABBA/GOLD GREATEST HITS Cassette 731451700743 3145592212 ABBA/LOVE STORIES Compact Disc 7314559221270251731763 ABBA/THE ALBUM (DELUXE EDT) CD with DVD 602517317635 4778464 ABBADO,C/PERGOLESI COLLECTION Compact Disc 0289477846470734362 ABBADO/WP/VAR:1991 NEW YEAR'S Digital Video Disc 044007343623 B000597602 ABBUEHL,S/COMPASS Compact Disc 602498719343 9824373 ABC/LEXICON OF LOVE (DELUXE ED Compact Disc 602498243732 B000228902 ABERCROMBIE,J QUINTET/CLASS TR Compact Disc 044003811829B000179302 ABERCROMBIE,J/RARUM:SELECTED R Compact Disc 044001421228 NPR088 ABIGOR/SATANIZED Compact Disc 4001617233429 310032A ABORIGINAL/HEARTS OF THE NATIO Compact Disc 669803100326 BSFT0042 ABSTRACT RUDE/MAKING MORE TRAC Compact Disc 825994114324 MVD5706D AC DC/DIRTY DEEDS(DVD) Digital Video Disc 760137570691 CVIS379 AC/DC/AND THEN THERE WAS ROCK Digital Video Disc 823564505596 CIS2019 AC/DC/CLASSIC INTERVIEWS Compact Disc 823564201924 5031CD AC/DC/TALKS (SHAPE DISC) Compact Disc 9120817150314 CDDVD21 AC/DC/THE DOCUMENT (CD+DVD) CD with DVD 8235649001627 31451 70074 3 8 23564 90016 26 02517 31763 5 9 120817 150314 7 87867 12212 9 8 23564 20192 46 02517 35133 2 6 26570 60576 8 6 69803 10032 67 31455 92212 7 6 02498 24373 2 0 44001 42122 80 44003 81182 96 02498 71934 30 28947 78464 76 02498 60382 6 4 001617 233429 0 11661 32182 3 8 25994 11432 46 55690 76706 3 6 03777 90169 5 8 23564 50559 67 60137 57069 10 44001 76549 0 0 44007 34362 30 11661 32189 2 Page 2 of 496 November 12, 2014Catalogue NumberArtist / Title Config Scannable UPC UPC HNECD018D ACCEPT/BALLS TO THE WALL(2CD Compact Disc 5013929911826 PP008 ACDC/THUNDER ROCK (DVD) Digital Video Disc 603777900896 842852 ACOUSTIC A/RADIO CONTACT Compact Disc 724358428520 GRSD9907 ACOUSTIC ALCHEM/POSITIVE THINK Compact Disc 011105990721 SDR0084 ACTION,THE/COMPLETE PUNK RECOR Compact Disc 652975008422 B000561310 ADAMS,B/ANTHOLOGY CD with DVD 602498866672 CD5013 ADAMS,B/RECKLESS Compact Disc 075021501324 CDROUN2095 ADAMS,J/WALKING ON A TIGHTROPE Compact Disc 011661209527 LEM20012 ADAMS,M/LOVE & DANCE Compact Disc 674159200125 MQP1103 ADAMS,P/CRITICS CHOICE Compact Disc 094631199226 616102A ADAMSON,B/NEGRO INSIDE ME,THE Compact Disc EP's 724596161029690192B ADAMSON,B/OEDIPUS SCHMOEDIPUS Compact Disc 724596901922 RISA1128 ADDERLEY,C/THING ARE GETTING B SACD4Stereo/Surround/CDAud 025218733267 3145226512 ADDERLEY,C/VERVE JZ V.31 Compact Disc 7314522651284228303812 ADDERLY,C/JULIAN "CANNONBALL" Compact Disc 042283038127 4870 ADEGBALOLA,B/BITTERSWEETBLUES Compact Disc 014551487029 LIB33279 ADKINS,T & TRITT,T/SOUNDSTAGE Digital Video Disc 619061327935 RT018 AEROSMITH/LIVIN ON THE EDGE Digital Video Disc 9223814130188 PP021 AEROSMITH/PUMPING ANGEL INTERV Digital Video Disc 603777902791 B001549902 AEROSMITH/TOUGH LOVE:BEST OF T Compact Disc 602527669267B001026802 AFI/I HEARD A VOICE-LIVE FROM Compact Disc 602517507265 0171562 AFONSO,J/ZANZIBAR Compact Disc 044001715624 407052B AFTERHOURS/BALLADS OF THE LITT Compact Disc 827954070527 GPR71 AFTERNOON GENTLEMEN/PISSEDOGRA Compact Disc 760137007104 SJPCD218 AFTERTHEFIRE/AT2F Compact Disc 5055011702189 773912A AGLUKARK, /BIG FEELING Compact Disc 7243577391226 02498 86667 2 0 11661 20952 76 52975 00842 2 5 055011 702189 7 60137 00710 40 94631 19922 66 74159 20012 5 6 02527 66926 77 31452 26512 8 0 42283 03812 77 24358 42852 0 7 24596 90192 2 6 02517 50726 50 11105 99072 1 7 24357 73912 20 44001 71562 40 75021 50132 45 013929 911826 8 27954 07052 70 14551 48702 97 24596 16102 9 6 19061 32793 5 6 03777 90279 19 223814 130188 6 03777 90089 6 0 25218 73326 7 Page 3 of 496 November 12, 2014Catalogue NumberArtist / Title Config Scannable UPC UPC 404632 AGUST, DAN/SWALLOWED A STAR Compact Disc 827954046324 2708998 AHA / FOOT OF THE MOUNTAIN Compact Disc 602527089980 81172M AIMALS,THE/ARK Compact Disc 060768117228 PDROPCDD7 AITKEN,L/ANTHOLOGY-THE GODFATH Compact Disc 5013929680722 PDROPCD8 AITKEN,L/BOOGIE IN MY BONES Compact Disc 5013929680821 PDROPCD11 AITKEN,L/EVERYBODY SKA! RUDI G Compact Disc 5013929681125 PDROPCD3 AITKEN,L/HIGH PRIEST OF REGGAE Compact Disc 5013929680326PDROPCD2 AITKEN,L/SAYS FIRE Compact Disc 5013929680227PDROPCD4 AITKEN,L/SCANDAL IN A BRIXTON Compact Disc 5013929680425PDROPCD1 AITKEN,L/SKA WITH LAUREL Compact Disc 5013929680128PDROPCD6 AITKEN,L/THE ANTASTIC LAUREL A Compact Disc 5013929680623PDROPCD5 AITKEN,L/THE ORIGINAL COOL JAM Compact Disc 5013929680524 PDROPCD10 AITKEN,L/VOODOO WOMAN-MUSIC FO Compact Disc 5013929681026 PDROPCD9 AITKEN,L/YOU GOT ME ROCKIN-THE Compact Disc 5013929680920 ZEDDCD020 AKABU/PHUTURE AIN'T WHAT IT US Compact Disc 5060162570570 706192 AKINMUSIRE/WHEN THE HEART EMER Compact Disc 5099907061929 BROOK1041 AKKERMAN,J/A REAL ELEGANTGYPSY Compact Disc 883717700254 HST072DVD AKKERMAN,J/A TOUCH OF C(CD+DVD CD with DVD 5060230861630 ACE11565 AKKERMAN,J/LIVE Digital Video Disc 690978115655 B001502002 AKON/AKONIC (DELUXE EDITION) Compact Disc 602527541785B001501902 AKON/STADIUM Compact Disc 602527541747B000819902 AKON/TROUBLE Compact Disc 602517173613 4776277 ALAGNA,R/BERLIOZ ARIAS Compact Disc 0289477627754776280 ALAGNA,R/FRENCH OPERA ARIAS Compact Disc 0289477628054776279 ALAGNA,R/VERDI ARIAS Compact Disc 028947762799 HSM50442 ALAIMO,S/EVERY DAY I HAVE TO C Compact Disc 8098425044205 060230 861630 8 09842 50442 05 060162 570570 8 83717 70025 45 013929 680722 6 02527 54174 76 02527 54178 5 6 02517 17361 36 02527 08998 0 0 28947 76277 5 0 28947 76279 90 28947 76280 55 099907 061929 5 013929 680128 5 013929 681026 5 013929 681125 5 013929 680227 5 013929 680326 5 013929 680425 5 013929 680524 5 013929 680623 5 013929 680821 5 013929 680920 8 27954 04632 4 0 60768 11722 8 6 90978 11565 5 Page 4 of 496 November 12, 2014Catalogue NumberArtist / Title Config Scannable UPC UPC HSM50482 ALAIMO,S/MASHED POTATOES Compact Disc 809842504826 HSM50472 ALAIMO,S/STARRING STEVE ALAIMO Compact Disc 809842504727HSM50462 ALAIMO,S/STEVE ALAIMO EN ESPAN Compact Disc 809842504628HSM50452 ALAIMO,S/TWIST WITH STEVE ALAI Compact Disc 809842504529 MF0672 ALAMO RACE TRACK/BLACK CAT JOH Compact Disc 796627007620 880492 ALARM THE/KING BISCUIT FLOW/H Compact Disc 707108804928 4739372 ALBENIZ/HENRY CLIFFORD Compact Disc 0289473937264670962 ALBENIZ/MERLIN Compact Disc 028946709627 1166131852 ALBERSTEIN,C & KLEZMATICS/T WE Compact Disc 011661318526 NPR290LTD ALESTORM/BLACK SAILS AT MIDNIG CD with DVD 693723512402 CCDCD2232 ALEXANDER, M/STEAMING HOT Compact Disc 013431223221 INAK6468DVD ALEXANDER,M TRIO/THE PRIS CONC Digital Video Disc 707787646871 CCDCD4834 ALEXANDER,M/HERITAGE SERIES:MO Compact Disc 013431483427CCDCD1024 ALEXANDERMIV SACD4Stereo/Surround/CDAud 013431102465 DE002 ALEXISONFIRE/ALEXISONFIRE Compact Disc 825996000120 DE09 ALEXISONFIRE/CRISIS (LTD.EDIT) Compact Disc 825996002025DE08 ALEXISONFIRE/CRISIS (REG.EDIT) Compact Disc 825996001424DE03 ALEXISONFIRE/WATCH OUT Compact Disc 825996000328 403352B ALI, KELLI/PSYCHIC CAT Compact Disc 827954033522 BMR1192 ALIENS/LUNA Compact Disc 607287011929 MVDV4744 ALKAHOLIKS,THE/LIVE FROM REHAB Digital Video Disc 022891474494 HP7632 ALL TIME LOW/DON'T PANIC IT'S Compact Disc 790692076321 ACME0142 ALLIN,GG/VIOLENT BEATINGS Compact Disc 689076300759 JHR041 ALLISON,B/LIVE AT THE JAZZHAUS Compact Disc 4260075860411 INAK9029CD ALLISON,B/NO MERCY Compact Disc 4001985090297 4834 ALLISON,L/BLUESTREAK Compact Disc 0145514834276 93723 51240 2 0 13431 22322 1 8 25996 00202 5 7 90692 07632 10 13431 48342 77 07108 80492 8 0 11661 31852 6 4 001985 090297 4 260075 860411 0 28947 39372 6 0 28946 70962 7 8 25996 00012 0 8 25996 00032 88 25996 00142 4 8 27954 03352 28 09842 50452 98 09842 50462 88 09842 50472 78 09842 50482 6 6 89076 30075 96 07287 01192 97 96627 00762 0 0 14551 48342 70 22891 47449 47 07787 64687 1 0 13431 10246 5 Page 5 of 496 November 12, 2014Catalogue NumberArtist / Title Config Scannable UPC UPC 4820 ALLISON,L/SOUL FIXIN' MAN Compact Disc 014551482024 836362 ALLISTER/BEFORE THE BLACKOUT Compact Disc 060768363625836032 ALLISTER/DEAD ENDS AND GIRLFRI Compact Disc 060768360327836102 ALLISTER/LAST STOP SUBUBRBIA Compact Disc 060768361027 B001807902 ALLMAN BROTHER/BROTHERS &(4CD Compact Disc 602537288076B000793802 ALLMAN BROTHERS BAND/IDLEWILD Compact Disc 602517123168 847572 ALLMAN BROTHERS BAND/LIVE AT A Compact Disc 060768475724 B000971202 ALLMAN BROTHERS BAND/LIVE AT T Compact Disc 602517432703 0075307051 ALLMAN BROTHERS BAND/THE BEST Compact Disc 6007530705123145312622 ALLMAN BROTHERS/BROTHERS AND S Compact Disc 7314531262203145868222 ALLMAN,G/THE BEST OF GREGG ALL Compact Disc 731458682226 SN6530 ALMOND,M/BLUEGATE FIELDS-LIVE CD with DVD 5027626653033SFE002 ALMOND,M/OPEN ALL NIGHT Compact Disc 5013929841222 6076847982 ALMOND,M/STARDOM ROAD Compact Disc 060768479821 SFE004 ALMOND,M/VARIETE (DOUBLE DISC Compact Disc 5013929841420 B001098602 ALPERIN,M/HER FIRST DANCE Compact Disc 602517167421 433032 ALTER, MYR/IF Compact Disc 068944330324433312 ALTER, MYR/WHERE IS THERE Compact Disc 068944333127 ALP239 ALTERATIONS/VOILA! ENOUGH Compact Disc 735286223927 1166178132 ALTON,E/I'M STILL IN LOVE WITH Compact Disc 0116617813202061626422 ALY & AJ/INSOMNIATIC Compact Disc 720616264220 6962313922 AM I BLOOD/EXISTENCE OF TRAUMA Compact Disc 769623139220 RMED00703 AMAZING RHYTHM ACES/ALIVE IN A Compact Disc 630428070325 AG4942 AMERICA/HOURGLASS Compact Disc 012805049429 900042A AMERICA/HUMAN NATURE Compact Disc 632459000425 INAK5507SACD AMERICA/STRUTTIN'OUR STUFF(SAC SACD4Stereo/Surround/CDAud 7077875507655 027626 653033 0 11661 78132 0 6 32459 00042 56 30428 07032 57 69623 13922 07 35286 22392 75 013929 841222 5 013929 841420 6 02517 12316 8 6 00753 07051 26 02517 43270 3 7 31453 12622 0 7 20616 26422 06 02537 28807 6 6 02517 16742 17 31458 68222 6 0 12805 04942 90 68944 33032 4 0 68944 33312 70 60768 36362 5 0 60768 36032 7 0 60768 47572 40 60768 36102 7 0 60768 47982 10 14551 48202 4 7 07787 55076 5 Page 6 of 496 November 12, 2014Catalogue NumberArtist / Title Config Scannable UPC UPC QLDVD7180 AMERICA'S MUSIC LEGACY/RHYTHM Digital Video Disc 760137718093 QLDVD7184 AMERICA'S MUSIC LEGACY/ROCK'N' Digital Video Disc 760137718499 3145493712 AMMONS,G & STITT,S/BOSS TENORS Compact Disc 7314549371222894582012 AMOR/OPERAS GREAT LOVE SONGS Compact Disc 028945820125 DR4440 AMP/VIDEO ARCHIVE FOR THE AGES Digital Video Disc 022891444091 836212 AN ANGLE/AND TAKE IT WITH A GR Compact Disc 060768362123 836542B AN ANGLE/THE TRUTH IS THAT YOU Compact Disc 060768365421 836312 AN ANGLE/WE CAN BREATHE UNDER Compact Disc 060768363120 KCD263 ANANDA PROJECT/NIGHT BLOSSOM ( Compact Disc 788557026321 MAJ100740 ANARION/UNBROKEN Compact Disc 842051007429 419952 ANBERLIN/BLUEPRINTS FOR THE Compact Disc 724354199523736732 ANBERLIN/CITIES Compact Disc 094637367322 NMR0250 ANDERS AND KENDALL/WILD CHORUS Compact Disc 084854272899 B000531602 ANDERSEN,A/ELECTRA Compact Disc 602498243374B000228602 ANDERSEN,A/THE TRIANGLE Compact Disc 044003812123 MF0792 ANDERSON,L/IF Compact Disc 796627007927 ROK8010CD ANDERSON,M/BLUESHEART Compact Disc 707787801027ROK8011CD ANDERSON,M/CHAMELEON Compact Disc 707787801126 MDA0002 ANDERSON,M/FROM THE HEART Compact Disc 614325675029MDA0001 ANDERSON,M/MY TURN Compact Disc 614325446629MDA0003 ANDERSON,M/NOW Compact Disc 013964488586 441072 ANDERSON,R/UNDRESSING UNDERWAT Compact Disc 640424410728 MDA0004 ANDERSONM/TENDER LOVING CHRIST Compact Disc 858370002076 5301571 ANDREWS SISTERS,THE/JAZZ CLUB: Compact Disc 600753015711 SJPCD187 ANDROMEDA/ORIGINALS Compact Disc 5055011701878 MVDV4574 ANDROMEDA/PLAYING OFF THE BOAR Digital Video Disc 0228914574978 42051 00742 97 88557 02632 1 7 07787 80102 7 7 07787 80112 6 5 055011 701878 6 14325 44662 96 14325 67502 9 0 13964 48858 6 8 58370 00207 66 40424 41072 87 31454 93712 2 6 00753 01571 10 28945 82012 5 6 02498 24337 4 0 44003 81212 30 94637 36732 27 24354 19952 3 0 84854 27289 90 60768 36212 3 0 60768 36312 00 60768 36542 1 7 96627 00792 70 22891 44409 1 0 22891 45749 77 60137 71809 3 7 60137 71849 9 Page 7 of 496 November 12, 2014Catalogue NumberArtist / Title Config Scannable UPC UPC 3771740 ANGEL HAZE/DIRTY GOLD Compact Disc 602537717408 PFL0232 ANGELIC PROCESS/WEIGHING SOULS Compact Disc 616892895527 LM012 ANIMALS/BOOM BOOM A MUSICA(DVD Digital Video Disc 5883007136126 D3100 ANKA,P/DESTINY(DVD) Digital Video Disc 032031310094 AFM1763 ANNIHILATOR/ALL FOR YOU + SCHI Compact Disc 4046661082920 6076852032 ANNIHILATOR/CARNIVAL DIABLOS Compact Disc 0607685203256076862842 ANNIHILATOR/CRITERIA FOR A BLA Compact Disc 0607686284276076862882 ANNIHILATOR/REFRESH THE DEMON Compact Disc 0607686288238216151212 ANTHOLOGY OF WORLD MUSIC/AFGHA Compact Disc 6821615121296076884089 ANTHRAX/ALIVE 2:THE DVD Digital Video Disc 060768840898 847642 ANTHRAX/ALIVE 2:THE MUSIC Compact Disc 060768476424 6076846882 ANTHRAX/MUSIC OF MASS DESTRUCT CD with DVD 0607684688256076883749 ANTHRAX/MUSIC OF MASS DESTRUCT Digital Video Disc 060768837492 846492 ANTHRAX/VOLUME 8:THE THREAT IS Compact Disc 060768464926 6076846092 ANTHRAX/WE'VE COME FOR YOU ALL Compact Disc 060768460928 AF0041 ANTIFLAG/DEATH OF A NATION-DVD Digital Video Disc 648469004193 3145497752 ANTOINE,M/CRUISIN' Compact Disc 731454977524 INAK9053CD ANTOLINI,C/KNOCK OUT 2000 Compact Disc 707787905329 VOL0706 ANTON BARBEAU WITH SU JORDAN/T Compact Disc 3770000947052 3145429842 APOCALYPTICA/CULT Compact Disc 731454298421 450022B APOLLO SUN/APOLLO SUNSHINE Compact Disc 827954500222 450012D APOLLO SUN/KATONAH Compact Disc 827954500123 FROG0842 APPARAT ORGAN QUARTET/POLYFONI Compact Disc 7332181039467 450072B APPLES IN /DISCOVERY OF A WORL Compact Disc 827954500727450032B APPLES IN /FUN TRICK NOISEMAKE Compact Disc 827954500321450052B APPLES IN /HER WALLPAPER REVER Compact Disc 8279545005290 60768 46882 56 82161 51212 9 3 770000 947052 7 07787 90532 96 02537 71740 8 7 31454 97752 4 7 31454 29842 1 7 332181 039467 8 27954 50012 38 27954 50022 2 8 27954 50032 1 8 27954 50052 98 27954 50072 70 60768 62842 7 0 60768 62882 30 60768 52032 5 0 60768 46092 80 60768 47642 4 0 60768 46492 66 16892 89552 7 4 046661 082920 0 32031 31009 4 6 48469 00419 35 883007 136126 0 60768 83749 20 60768 84089 8 Page 8 of 496 November 12, 2014Catalogue NumberArtist / Title Config Scannable UPC UPC TWA0282 ARAB STRAP/ELEPHANT SHOE Compact Disc 604978002822 MARK1001 ARC ANGELS,THE/LIVING IN A DRE Compact Disc 825479221523 DGCBD24465 ARC ANGELS/ARC ANGELS Compact Disc 720642446522 MMPCD0561 ARCHEON/END OF THE WEAKNESS Compact Disc 5907785031197 4400660392 ARDEN,J/LIVE WITH THE VAN(LIMI Compact Disc 044006603926 HEAR0032 ARIEL PINK'S HAUNTED GRAFF/SCA Compact Disc 631778400329 MCABD31346 ARMSTRONG,L/BEST OF DECCA YEAR Compact Disc 076743134623 4400139792 ARMSTRONG,L/LOUIS ARMSTRONG AN Compact Disc 044001397929 B000982902 ARMSTRONG/RAHMAN/ELIZABETH:THE Compact Disc 602517451872 OGL891302 ARROGANTWORMS,T/BEST OF-GIFT W Compact Disc 790058913024 1166180972 ARTHUR&FRIENDS/ARTHUR'S PERFEC Compact Disc 0116618097271166181062 ARTHUR&FRIENDS/ARTHUR'S REALLY Compact Disc 0116618106244400600882 ARTHUR,J/REDEMPTION'S SON Compact Disc 044006008820 MASSCD1044D GARTILLERY/BY INHERITANCE Compact Disc 5907785030107 MASSCD1046D GARTILLERY/TERROR SQUAD(REMASTE Compact Disc 5907785030121 MYSTCD028 ARTROSIS/CON TRUST Compact Disc 5903427871671 MMPCD0123 ARTROSIS/IN NOMINE NOCTIS Compact Disc 5907785017832 845942 ASHANTI/FOOLISH/UNFOOLISH:REFL Compact Disc 060768459427 4428887 ASHKENAZY,V/BEETHOVEN:THE PIAN Compact Disc 028944288872 MVD6517 ASLEEP AT THE WHEEL/IN CONCERT Digital Video Disc 707787651790 NPR263 ASMEGIN/ARV Compact Disc 693723507828 4775232 ASSAD,B/VERDI Compact Disc 028947752325 VP361CD ASTRALASIA/HAWKWIND REMIXES Compact Disc 604388320127 AFM2473 AT VANCE/7 CHAINS Compact Disc 4046661082821AFM1753 AT VANCE/ONLY HUMAN + THE EVIL Compact Disc 4046661068122 BASE1372 A-TEAM/LAB DOWN UNDER Compact Disc 8259941137230 11661 80972 7 0 11661 81062 4 5 907785 030121 5 903427 871671 5 907785 031197 5 907785 017832 6 04388 32012 70 44006 00882 00 44001 39792 90 44006 60392 6 0 76743 13462 37 20642 44652 2 0 28947 75232 50 28944 28887 26 02517 45187 2 6 93723 50782 88 25479 22152 3 5 907785 030107 0 60768 45942 7 8 25994 11372 36 04978 00282 2 6 31778 40032 9 4 046661 068122 7 90058 91302 4 4 046661 082821 7 07787 65179 0 Page 9 of 496 November 12, 2014Catalogue NumberArtist / Title Config Scannable UPC UPC SJPCD241 ATOMICROOSTER/HOMEWORK Compact Disc 5055011702417 SJPCD104 ATOMICROOSTER/LIVEATTHEMARQUEE Compact Disc 5055011701045 VOL0702 ATOMIK/DANCETROY Compact Disc 3770000947014 NPR143LTD ATROCITY/ATLANTIS Compact Disc 693723342900 NPR229 ATROCITY/DIE LIEBE FT:DAS ICH Compact Disc 693723510026NPR225 ATROCITY/HALLUCINATIONS/THE HU Compact Disc 693723506524 NPR238LTD ATROCITY/WERK 80 II Compact Disc 693723510101 MASSCDDG098 5ATROPHY/SOCIALIZED HATE Compact Disc 5907785028708 MASSCDDG098 6ATROPHY/VIOLENT BY NATURE Compact Disc 5907785028715 CD421122 ATTRITION/ATTRITION BOXED SET Compact Disc 637642112220CD421088 ATTRITION/DANTES KITCHEN Compact Disc 637642108827 CHC2071 AUDIOGOLD/EMBERS & THEORIES Compact Disc 858370002410 B000940702 AUSTIN,J/OCEAN DRIVE Compact Disc 602517371033 CA60065 AUSTRAILIAN BALLET CO/NUTCRACK Digital Video Disc 4028462600657CA60064 AUSTRAILIAN BALLET CO/SLEEPING Digital Video Disc 4028462600640 SYN069 AUTRY, G/THE LAST ROUNDUP CD with DVD 874757006925 INTROCD2028 AUTRY,G/A PROPER INTRO TO:GENE Compact Disc 805520060288 10473 AVALON/CELTIC DEVOTION Compact Disc 09674180902619435 AVALON/DINNER IN ITALY Compact Disc 09674100812220401 AVALON/DINNER IN MEXICO Compact Disc 09674101162719428 AVALON/DINNER IN PARIS Compact Disc 09674100802324387 AVALON/FENG SHUI Compact Disc 096741035920 CCM2029 AVERAGE WHITE BAND/WARMER COMM Compact Disc 617742202922 B001217602 AVEYS,R UBIQUITY/CHANGE UP THE Compact Disc 602517868489 WM500442 AVIANCE,K/BOX OF CHOCOLATES Compact Disc 790185004428 2706342 AWAD,N&M/THERE MUST BE ANOTHER Compact Disc 6025270634238 74757 00692 5 0 96741 80902 6 0 96741 00802 30 96741 01162 7 0 96741 03592 00 96741 00812 23 770000 947014 7 90185 00442 86 17742 20292 25 907785 028708 5 907785 028715 5 055011 701045 6 37642 10882 76 37642 11222 0 8 58370 00241 0 6 02517 37103 3 6 02517 86848 9 6 02527 06342 36 93723 34290 0 6 93723 51002 6 6 93723 51010 16 93723 50652 45 055011 702417 8 05520 06028 84 028462 600640 4 028462 600657 Page 10 of 496 November 12, 2014Catalogue NumberArtist / Title Config Scannable UPC UPC CRASDVD043 AWOL ONE/A ROAD TO NOWHERE Digital Video Disc 788377103097 MF0832 AXE RIVERBOY/TUTU TO TANGO Compact Disc 796627008320 DTG760659 AXELROD,D/SERIOUSLY DEEP Compact Disc 602517606593 AFM2713 AXXIS/FLAMES OF DOOM Compact Disc 884860003728 CDROUN0321 AYERS,J & OTHERS/MINSTREL BANJ Compact Disc 011661032125 883289 AYERS,R/LIVE AT RONNIE SCOTT'S Compact Disc 060768832893 B001269602 AYERS,R/VIRGO RED Compact Disc 602517995697B000426902 AYLER,A/NEW GRASS Compact Disc 602498802724B000656002 AYLER,A/THE IMPULSE STORY Compact Disc 602498551035 RTECD71 AZ/LEGENDARY Compact Disc 856811001718 NR006 AZOIC,THE/FORWARD Compact Disc 751937170921 INAK9090CD AZTECA/FROM THE RUINS Compact Disc 707787909020 CD0416 B.HICKS/FIDDLE PATCH Compact Disc 011661041622CD2089 B.KING&T.EVANS/LIVE & LET LIVE Compact Disc 011661208926 8227832 B.WHITE/GREATEST HITS VOL.2 Compact Disc 042282278326 ROUTE10 B3/B3 Compact Disc 778224941224 3711946 BA PLUS,THE/MADE POSSIBLE Compact Disc 602537119462 D000175802 BABY EINSTEIN/ANIMAL FRIENDS Compact Disc 050087119652 DIS607687 BABY EINSTEIN/BABY BACH Compact Disc 050086076871DIS607697 BABY EINSTEIN/BABY BEETHOVEN Compact Disc 050086076970DIS600967 BABY EINSTEIN/BABY EINSTEIN BO Compact Disc 050086009671DIS600997 BABY EINSTEIN/BABY GALILEO Compact Disc 050086009978 D000037502 BABY EINSTEIN/BABY MOZART 2 Compact Disc 050087104405 DIS600797 BABY EINSTEIN/BABY NEPTUNE Compact Disc 050086007974DIS607967 BABY EINSTEIN/BABY SANTA Compact Disc 050086079674DIS607717 BABY EINSTEIN/BABY VIVALDI Compact Disc 0500860771750 11661 03212 5 0 11661 20892 60 11661 04162 2 7 78224 94122 47 07787 90902 07 51937 17092 1 0 50087 11965 2 0 50087 10440 50 50086 00967 1 0 50086 00997 80 50086 07687 16 02537 11946 2 0 50086 00797 40 50086 07697 0 0 50086 07717 50 50086 07967 46 02498 80272 46 02517 99569 7 0 42282 27832 66 02498 55103 5 8 56811 00171 86 02517 60659 3 0 60768 83289 37 96627 00832 0 8 84860 00372 87 88377 10309 7 Page 11 of 496 November 12, 2014Catalogue NumberArtist / Title Config Scannable UPC UPC DIS616617 BABY EINSTEIN/HOLIDAY MELODIES Compact Disc 050086166176 DIS610857 BABY EINSTEIN/LULLABY CLASSICS Compact Disc 050086108572DIS616867 BABY EINSTEIN/LULLABYE CLASSIC Compact Disc 050086168675DIS613217 BABY EINSTEIN/MUSIC BOX ORCHES Compact Disc 050086132171 D000562202 BABY EINSTEIN/NAPTIME MELODIES Compact Disc 050087160050D000006802 BABY EINSTEIN/PLAYTIME MUSIC B Compact Disc 050087100766 DIS612327 BABY EINSTEIN/PLAYTIME MUSIC B Compact Disc 050086123278 D000110902 BABY EINSTEIN/SING AND PLAY Compact Disc 050087112615 DIS613207 BABY EINSTEIN/TRAVELING MELODI Compact Disc 050086132072 D000204502 BABY EINSTEIN/WAKE UP AND GOOD Compact Disc 050087122669 DIS614567 BABY EINSTEIN/WAKE-UP AND GOOD Compact Disc 050086145676 D000316112 BABY EINSTEIN/WORLD MUSIC Compact Disc 050087134402 DIS607707 BABY EINSTIEN/BABY MOZART Compact Disc 050086077076 BHH2021 BABY J/BIRTH Compact Disc 611933202128 DIS614977 BABYEINSTEIN/BABY NOAH Compact Disc 050086149773DIS614257 BABYEINSTEIN/MEET THE ORCHESTR Compact Disc 050086142576DIS616287 BABYEINSTEIN/PLAYDATE FUN Compact Disc 050086162871 B001266302 BABYFACE/TBA Compact Disc 602517973923 150182A BACH, SEBA/ANGEL DOWN Compact Disc 5099951501822 B000004802 BACH,J.S./RICERCAR Compact Disc 028946191224 NCD60155 BACH,JS & C.P.E./BACH MAGNIFIC Compact Disc 032466015526 4465332 BACH/4 ORCHESTRAL SUITES Compact Disc 0289446533284696402 BACH/AIR & BADINERIE Compact Disc 0289469640264742202 BACH/BRANDENBURG CONCERTOS 4,5 Compact Disc 0289474220204393742 BACH/CANTATAS V2/RICHTER Compact Disc 0289439374294588382 BACH/CHRISTMAS ORATORIO Compact Disc 0289458838236 11933 20212 8 0 32466 01552 60 50087 16005 0 6 02517 97392 30 50087 13440 20 50087 12266 90 50087 10076 6 0 50086 14977 30 50086 13217 1 0 50086 13207 20 50087 11261 50 50086 16867 5 0 50086 14567 6 0 50086 16287 10 50086 14257 60 50086 12327 80 50086 10857 2 0 50086 07707 60 50086 16617 6 0 28944 65332 8 0 28946 96402 60 28946 19122 4 0 28945 88382 35 099951 501822 0 28947 42202 0 0 28943 93742 9 Page 12 of 496 November 12, 2014Catalogue NumberArtist / Title Config Scannable UPC UPC 4696722 BACH/FAMOUS CHORUSES Compact Disc 028946967225 4696872 BACH/HARPSICHORD CONCERTOS Compact Disc 0289469687274743372 BACH/KEYBOARD WORKS Compact Disc 028947433729 CD80179 BACH/ORGAN WORKS Compact Disc 089408017926 4742352 BACH/PARTITAS Compact Disc 0289474235224621732 BACH/ST JOHN PASSION LEPPARD Compact Disc 0289462173204681622 BACH/ST.JOHN'S PASSION HIGHLIG Compact Disc 0289468162264630272 BACH/T ART OF FUGUE/GOEBEL Compact Disc 0289463027294742212 BACH/THE WELL TEMPERED CLAVIER Compact Disc 0289474221294681242 BACH/VIOLIN CONCERTOS 1 & 2 Compact Disc 0289468124264172362 BACH/WELL TEMP CLAV V.2/SCHIFF Compact Disc 028941723628 B000618702 BACHARACH,B/DEFINITIVE COLLECT Compact Disc 602498501122 OIE00182 BACKYARD TIRE FIRE/VAGABONDS A Compact Disc 837101248693 DORN0042 BAD BLOOD/BAD BLOOD Compact Disc 790168540325 ACME0252 BAD CHOPPER/HATE WAS THE CHAIN Compact Disc 600665797422 B001572902 BAD MEETS EVIL/HELL:THE SEQUEL Compact Disc EP's 602527732381B000935302 BADU,E/BADUIZM (SPECIAL EDIT) Compact Disc 602517376809B001474402 BADU,E/ICON Compact Disc 602527487465 CCM20422 BAILEY,P/SINGS PORGY & BESS AN Compact Disc 617742204223 CHC2055 BAJKA/ESCAPE FROM WONDERLAND Compact Disc 858370002465CHC2051 BAJKA/IN WONDERLAND Compact Disc 858370002458 872052 BAKER, CHE/PLATINUM Compact Disc 094638720522 RISA1119 BAKER,C/IN NEW YORK SACD4Stereo/Surround/CDAud 025218733168 5435472 BAKER,C/IN PARIS:A SELECTION F Compact Disc 731454354721 4400143782 BAKER,C/PLAYS STANDARDS Compact Disc 044001437823 CCM21322 BAKER,L/SAVED Compact Disc 6177422132250 89408 01792 6 6 17742 21322 56 17742 20422 3 8 58370 00245 88 58370 00246 56 02498 50112 2 6 02527 48746 5 0 44001 43782 37 31454 35472 10 28946 21732 0 6 02517 37680 9 0 94638 72052 20 28946 96872 70 28946 96722 5 0 28946 81242 60 28946 81622 6 0 28946 30272 90 28947 42352 20 28947 43372 9 0 28941 72362 80 28947 42212 9 6 00665 79742 28 37101 24869 3 7 90168 54032 5 6 02527 73238 1 0 25218 73316 8 Page 13 of 496 November 12, 2014Catalogue NumberArtist / Title Config Scannable UPC UPC B001119202 BAKER,S/OUTLOUD! Compact Disc 602517642065 OIE0122 BALANCE II/BALANCE II Compact Disc 094922604750 RMED00104 BALANCE/BALANCE/IN FOR THE COU Compact Disc 630428010420 SAR1251 BALDASSARI,B/CATABILE-DUETS FO Compact Disc 723368125122SAR2243 BALDASSARI,B/MOCK,J/MUSIC OF O Compact Disc 723368225426SAR1252 BALDASSARI,B/NEW CLASSICS FOR Compact Disc 723368125221SAR2252 BALDASSARI/SCHNAUFER/APPALACHI Compact Disc 723368225228 508992 BALDRY, LO/LOOKING AT LONG JOH Compact Disc 094635089929 MVD6522 BALDRY,L-J/LIVE IN CONCERT Digital Video Disc 707787652292 BM7005 BALIN,M/BLUE HIGHWAY Compact Disc 884502685060 0172782 BALKE,J/KYANOS Compact Disc 044001727825 CDROUN11577 BALL,E.C/E.C. BALL, WITH ORNA Compact Disc 011661157729 SFMCD071 BALLARD,R/ANTHOLOGY Compact Disc 8231950107125 RMED00105 BALLARD,R/RUSS BALLARD/THE FIR Compact Disc 630428010529 4529382 BAND OF T GRENADIER GUAR/T WOR Compact Disc 028945293820 B001817702 BAND PERRY,THE/PIONEER(DLX) Compact Disc 602537327638 501032 BAND,THE/JERICHO Compact Disc 854750001035 Q200946 BANG LIME/BEST FRIENDS IN LOVE Compact Disc 060270094628 MASSCD1419D GBANG TANGO/PSYCHO CAFE Compact Disc 5907785036604 0249847167 BANGO,M/THE BEST OF MANU DIBAN Compact Disc 602498471678 EXM006 BANKS,D/THE ARCHIVE TAPES(4CD Compact Disc 5060105490125 B000282802 BANKS,L/THE HUNGER FOR MORE(ED Compact Disc 602498627631 ELQT003 BARBER/GREATEST HITS Compact Disc 776974228022 CD80441 BARBER/VIOLIN CONCERTO, PIANO Compact Disc 089408044120 B000427402 BARBIERI,G/CHAPTER FOUR;ALIVE Compact Disc 602498802779 INAK9100CD BARDEN,G/ROCK 'N ROLL MY SOUL Compact Disc 7077879100260 11661 15772 98 84502 68506 0 5 060105 490125 7 07787 91002 68 231950 107125 5 907785 036604 7 23368 12512 2 7 23368 12522 17 23368 22542 6 7 23368 22522 86 02517 64206 5 6 02537 32763 80 28945 29382 0 6 02498 80277 96 02498 62763 10 94635 08992 9 7 76974 22802 20 44001 72782 5 6 02498 47167 80 60270 09462 86 30428 01042 0 6 30428 01052 90 94922 60475 0 0 89408 04412 08 54750 00103 57 07787 65229 2 Page 14 of 496 November 12, 2014Catalogue NumberArtist / Title Config Scannable UPC UPC CDFLY564 BARE NECESSITIES/TAKE A DANCE Compact Disc 018964056421 474052 BARENAKED /ALL IN GOOD TIME HO Compact Disc 5099994740523289173 BARENAKED /ALL IN GOOD TIME T- MERCH - GENERAL 5099962891738 SF10694 BARENAKED LADIES/TALK TO THE(C CD with DVD 826663106947SF10692 BARENAKED LADIES/TALK TO(DVD) Digital Video Disc 826663106923 8374362 BARKER,C & STAN,G/CHET BAKER M Compact Disc 042283743625 283382 BARNEY/FAVORITES Compact Disc 724382833826 3145232512 BARRA MACNEILS/TRADITIONAL ALB Compact Disc 731452325129 DVDZM3 BARRETT,S/PINK FLOYD & SYD BAR Digital Video Disc 825947135925DVDZM2 BARRETT,S/PINK FLOYD AND SYD B Digital Video Disc 604386955222 2539601492 BARRIE, M R/BREAKAWAY Compact Disc 825396014925 0179932 BARRON,K/CANTA BASIL Compact Disc 044001799327 HUP009DN BARRY,T & LA PAR FORCE/LIVE (D Digital Video Disc 827657002191 2894552972 BARTOK/6 STR QRT/TAKACS Compact Disc 028945529721 4756720 BARTOK/KOCSIS PLAYS BARTOK Compact Disc 0289475672024745402 BARTOK/PIANO CONCERTOS 1 & 2 Compact Disc 0289474540214681882 BARTOK/PIANO CONCERTOS NOS 1-3 Compact Disc 0289468188244473992 BARTOK/PIANO CONCERTOS NOS. 1- Compact Disc 0289447399234775634 BARTOLETTI,B/ROSSINI:II BARBIE Compact Disc 0289477563474781521 BARTOLI,C/SACRIFICIUM Compact Disc 0289478152114733802 BARTOLI,C/THE ART OF CECILIA B Compact Disc 0289473380244555132 BARTOLI/BEL CANTO Compact Disc 028945551326 ABR224332 BARTON,LA/OLD ENOUGH Compact Disc 783722243329 SYN012 BASIE,C & BENNETT,T/LIFE IS A Compact Disc 874757001227 4228374332 BASIE,C/KING OF SWING Compact Disc 042283743328 IDVD1026 BASIE,C/SWING ERA Digital Video Disc 0228919026908 26663 10694 70 18964 05642 1 8 74757 00122 77 83722 24332 90 44001 79932 7 0 42283 74332 80 42283 74362 5 7 24382 83382 6 7 31452 32512 9 0 28947 56720 2 0 28946 81882 40 28947 45402 1 0 28947 75634 70 28944 73992 3 0 28945 55132 60 28947 33802 40 28947 81521 10 28945 52972 15 099994 740523 8 25396 01492 56 04386 95522 2 8 27657 00219 18 25947 13592 5 0 22891 90269 08 26663 10692 35 099962 891738 Page 15 of 496 November 12, 2014Catalogue NumberArtist / Title Config Scannable UPC UPC MET0012 BASIK/AT THE MERCY OF THE CITY Compact Disc 621617804623 B000599202 BATTAGIA,S/RACCONTO Compact Disc 602498706701B001401602 BATTAGLIA,S/PASTORALE Compact Disc 602527137643 NPR120 BATTLELORE/SWORD'S SONG Compact Disc 693723228228 BHH2058 BAVU BLAKES/CREATE & HUSTLE Compact Disc 611933205822 404832 BC CAMPLIG/HIDE, RUN AWAY Compact Disc 827954048328 TC253266 BEACH BOYS,THE/FOREVER Compact Disc 628261326624 965494 BEACH BOYS/CALIFORNIA GOLD Cassette 077779654949965492 BEACH BOYS/CALIFORNIA GOLD Compact Disc 077779654925083922 BEACH BOYS/FIVE FOR $5 Compact Disc 5099930839229 EV306099 BEACH BOYS/GOOD VIBRATIONS(DVD Digital Video Disc 801213060993 336394 BEACH BOYS/GREATEST HITS COMPI Cassette 724383363940336404 BEACH BOYS/GREATEST HITS COMPI Cassette 724383364046 006212B BEACH BOYS/LEGENDS FOREVER Compact Disc 5099950062126 316412 BEACH BOYS/PARTY / STACKS O TR Compact Disc 724353164126 699402A BEACH BOYS/PET SOUNDS: 40TH AN CD with DVD 094636994024 293382C BEACH BOYS/SMILE SESSIONS 2CD CD with DVD 5099972933824 293393 BEACH BOYS/SMILE SESSIONS 2CD CD with DVD 5099972933930 MVD5707D BEACH BOYS/SURFIN SUCCESS(DVD) Digital Video Disc 760137570790 266282 BEACH BOYS/VERY BEST OF THE BE Compact Disc 5099902662824 DIS613437 BEAR IN THE BIG BLUE/GREATEST Compact Disc 050086134373 PGDVD105 BEASTIE BOYS/COMPLETE STORY (D Digital Video Disc 823564511498 158522 BEATLES, T/E P CD BOX - SINGLE Compact Disc 077771585227159012 BEATLES, T/SINGLES BOX SET Compact Disc 077771590122994499 BEATLES, T/STEREO BOX DVD Digital Video Disc 5099969944994 IEG2222 BEATLES,THE/PARTING WAYS (DVD) Digital Video Disc 6177422222967 24383 36394 0 7 24383 36404 60 77779 65494 9 5 099972 933824 5 099972 933930 0 94636 99402 46 28261 32662 46 11933 20582 2 5 099950 062126 0 77779 65492 5 5 099902 662824 6 02527 13764 36 02498 70670 1 0 50086 13437 35 099930 839229 7 24353 16412 6 0 77771 58522 7 0 77771 59012 26 93723 22822 8 8 27954 04832 86 21617 80462 3 7 60137 57079 0 8 23564 51149 8 6 17742 22229 65 099969 944994 8 01213 06099 3 Page 16 of 496 November 12, 2014Catalogue NumberArtist / Title Config Scannable UPC UPC CCM07932 BEAU BRUMMELS,THE/BEAU BRUMMEL Compact Disc 617742079326 CRASCD049 BEAUTIFUL GIRLS/WE'RE ALREADY Compact Disc 788377103929 4228285992 BEAUTIFUL-SOUTH/CARRY ON UP T Compact Disc 042282859921 CLC6432 BEAVER&KRAUSE/THE NONSUCH GUID Compact Disc 617742064322 HSM50182 BEAVER,L/KATIE PEARL Compact Disc 809842501825HSM50662 BEAVER,L/WHEN WAS THE LAST TIM Compact Disc 809842506622 GEBBD24613 BEAVIS & BUTTHE/EXPERIENCE V.1 Compact Disc 720642461327 CHC2040 BEBO BEST SUPER LOUNGE/D'JAZZO Compact Disc 858370002274CHC2060 BEBO BEST SUPER LOUNGE/SARONNO Compact Disc 858370002236CHC2087 BEBO BEST/THE SUPER L/MAMOSSA Compact Disc 4260225980365 0121598212 BECHET,S/SIDNEY BECHET ET CLAU Compact Disc 601215982121 RT029 BECK,J/LIVE IN WEST PALM B(DVD Digital Video Disc 9223814130294 RR002DVD BECK,J/THE EARLY DAYS (DVD) Digital Video Disc 9215017160024 5082CD BECK,J/VAUGHAN,S R/GUITAR GODS Compact Disc 9120817150826 B001026202 BECK/ODELAY (DELUXE EDITION) Compact Disc 602517506275B000757600 BECK/THE INFORMATION CD with DVD 602517067172 ODR9321 BECKWITHENSEMBLE,T/A LA CLAIRE Compact Disc 776143932125 MAJ700362 BEDLAM/LIVE IN LONDON 1973 Compact Disc 822927003625 300079 BEE GEES,THE/THIS IS WHERE I C Digital Video Disc 801213000791 4399002 BEET/9 SYM/GARDINER Compact Disc 0289439900284323812 BEET/PNO TRIO 1-11 COMPLETE Compact Disc 028943238120 CD80229 BEET/QUA 6,7/CLEVELAND QUARTET Compact Disc 089408022920 4608252 BEETHOVEN&MOZART/P CONCERTOS Compact Disc 0289460825224756207 BEETHOVEN/FIDELIO Compact Disc 0289475620784775128 BEETHOVEN/FOLKSONG ARRANGEMENT Compact Disc 0289477512814608222 BEETHOVEN/P CONC 1,2,3,5, ROND Compact Disc 0289460822256 02517 06717 2 0 89408 02292 08 09842 50182 57 88377 10392 9 8 09842 50662 2 4 260225 980365 8 22927 00362 56 17742 07932 6 6 17742 06432 2 8 58370 00227 4 8 58370 00223 6 6 01215 98212 1 0 28943 23812 0 0 28946 08222 50 28946 08252 2 0 28947 56207 86 02517 50627 57 20642 46132 7 0 28943 99002 8 0 28947 75128 10 42282 85992 1 9 120817 150826 7 76143 93212 5 8 01213 00079 19 223814 130294 9 215017 160024 Page 17 of 496 November 12, 2014Catalogue NumberArtist / Title Config Scannable UPC UPC 4674242 BEETHOVEN/PIANO CONCERTO NOS Compact Disc 028946742426 4748102 BEETHOVEN/PIANO SONATAS OP.10 Compact Disc 0289474810274470752 BEETHOVEN/STR QRT/EMERSON Compact Disc 0289447075264696882 BEETHOVEN/STRING QUARTETS Compact Disc 0289469688264746012 BEETHOVEN/SYMPHONIES 1 & 2 SACD2Stereo/CD Audio 0289474601214681042 BEETHOVEN/SYMPHONIES NOS. 7 & Compact Disc 0289468104224470742 BEETHOVEN/SYMPHONY NO. 9 Compact Disc 0289447074274749832 BEETHOVEN/SYMPHONY NO.2;PIANO Compact Disc 0289474983224574932 BEETHOVEN/VAR,BAG/PLETNEV Compact Disc 0289457493274681522 BEETHOVEN/VIOLIN SONATAS NOS.2 Compact Disc 0289468152294537332 BEETHOVEN/WORKS FOR PIANO Compact Disc 028945373324 B000592202 BEETHOVEN-THE PIANO SONATAS OP Compact Disc 028947631002 AA0362 BEFORE I BREAK/BEFORE I BREAK Compact Disc 621617955523 MMPCD0065DD BEHEMOTH/CHAOTICA: THE ESSENCE Compact Disc 5907785012776 MFR010 BEHERIT/NORDIC DEMONS LIVE Compact Disc 4053817130107MFR006 BEHERIT/WEREWOLF SEMEN AND BLO Compact Disc 4053817130060 4756353 BEINUM,E/ORIGINAL MASTERS Compact Disc 028947563532 SYN066 BELAFONTE,H/DEEP AS THE RIVER Compact Disc 874757006628 AE0022 BELHOM, THOMAS/CHEVAL OBLIQUE Compact Disc 880918072425 MASSCD1075D GBELIEVER/EXTRACTION FROM MORTA Compact Disc 5907785030916 MASSCD1073D GBELIEVER/SANITY OBSCURE Compact Disc 5907785030879 4828 BELL,C/DEEPDOWN Compact Disc 0145514828264854 BELL,C/GOODLUCKMAN Compact Disc 014551485421 ABG1 BELL,L/LET'S TALK ABOUT LOVE Compact Disc 827912070743 4400671542 BELLE,B/CEWBEAGAPPIC Compact Disc 044006715421 485242 BELLEGARDE/CAMINANDO Compact Disc 068944852420 0 68944 85242 08 74757 00662 8 8 27912 07074 35 907785 030916 5 907785 012776 5 907785 030879 4 053817 130107 4 053817 130060 0 44006 71542 10 28946 96882 6 0 28946 81042 2 0 28946 81522 90 28946 74242 6 0 28947 63100 20 28945 74932 70 28947 48102 7 0 28947 49832 20 28944 70752 6 0 28947 56353 20 28945 37332 40 28944 70742 7 8 80918 07242 56 21617 95552 3 0 14551 48282 6 0 14551 48542 10 28947 46012 1 Page 18 of 496 November 12, 2014Catalogue NumberArtist / Title Config Scannable UPC UPC 4174242 BELLINI/SONNAMBULA/BONYNGE Compact Disc 028941742421 NAVIGAT073 BELLOWHEAD /BROADSIDE Compact Disc 5052442002000 HUP008DN BELLRAYS,THE/BELLRAYS @ THE BA Digital Video Disc 827657001996 CD83334 BELLSON,L/LIVE FROM NEW YORK Compact Disc 089408333422 CHC2038 BELUGAS,C/SWOP Compact Disc 858370002182CHC2046 BELUGAS/CAVIAR AT 3 A.M & MINO Compact Disc 858370002199CHC2049 BELUGASC/ZOO ZIZARO Compact Disc 858370002205 083932 BENATAR, P/FIVE FOR $5 Compact Disc 5099930839328 6076862562 BENATAR,P/8-15-80 Compact Disc 060768625624 862162A BENATAR,P/INNAMORATA Compact Disc 060768621626 ALP156 BENDIAN,G/INTERZONE Compact Disc 735286115628 ALP125 BENDIAN,G/INTERZONE/REQUIEM FO Compact Disc 735286112528 3145435862 BENSON,G/ABSOLUTE BENSON Compact Disc Enhanced 731454358620 390189 BENSON,G/ABSOLUTELY LIVE DVD Digital Video Disc 801213901890 B001078702 BENSON,G/I GOT A WOMAN AND SOM Compact Disc 602517620759B000967402 BENSON,G/SHAPE OF THINGS TO CO Compact Disc 602517426672B001195602 BENSON,G/TELL IT LIKE IT IS Compact Disc 602517808102 OP33788 BENTLEY,Z/STRIDE Compact Disc 776143378824 3145413632 BENTON,B/THE BEST OF BROOK BEN Compact Disc 731454136327 ISRCD88860 BEOWULF/WESTMINSTER & 5TH Compact Disc 825888826029 ALP224 BEREFORD,S/TRISTAN HONSI/DOUBL Compact Disc 735286222425 4775489 BERGANZW,T/BRAVA BERGANZAI Compact Disc 028947754893 B001824402 BERGENDAHL,A/SOMETHING TO BE B Compact Disc 7320470169575 4679172 BERGER,E/THE SINGERS Compact Disc Enhanced 0289467917214756169 BERGONZI,C/VERDI ARIAS Compact Disc 0289475616994570382 BERIO/SEQUENZAS/ENSEMBLE INTER Compact Disc 0289457038240 89408 33342 2 8 25888 82602 97 35286 11562 8 7 35286 22242 58 58370 00218 2 8 58370 00219 9 8 58370 00220 5 7 320470 169575 6 02517 42667 26 02517 62075 9 6 02517 80810 2 0 28945 70382 40 28947 75489 3 0 28947 56169 90 28941 74242 1 5 099930 839328 7 31454 13632 77 35286 11252 8 7 76143 37882 45 052442 002000 0 60768 62562 4 0 60768 62162 6 7 31454 35862 0 0 28946 79172 18 01213 90189 08 27657 00199 6 Page 19 of 496 November 12, 2014Catalogue NumberArtist / Title Config Scannable UPC UPC 4436932 BERLIOZ/LES TROYENS/OSM/DUTOIT Compact Disc 028944369328 2894582082 BERLIOZ/LES TROYENS-GRAND Compact Disc 028945820828 4741652 BERLIOZ/SYMPHONIE FANTASTIQUE Compact Disc 0289474165244749872 BERLIOZ/SYMPHONIE FANTASTIQUE Compact Disc 0289474987284681272 BERLIOZ/SYMPHONY FANTASY Compact Disc 028946812723 349692B BERNADETE /BERNADETTE PETERS L Compact Disc 724353496920 SDR0034 BERNER,G/LIGHT ENOUGH TO TRAVE Compact Disc 652975003427 0734502 BERNSTEIN,L/BEETHOVEN:OVERTURE Digital Video Disc 0440073450230734514 BERNSTEIN,L/BERNSTEIN CONDUCTS Digital Video Disc 0440073451464777101 BERNSTEIN,L/WEST SIDE STORY-CD CD with DVD 028947771012 B000981802 BERNSTEIN,L/WEST SIDE STORY-CE Compact Disc 028947662693 0734354 BERNSTEIN,L/WP/BRAHMS:ACADEMIC Digital Video Disc 0440073435484770002 BERNSTEIN/THE 1953 "AMERICAN D Compact Disc 028947700029 ABCVP122DVD BERRY,C & DIDDLEY,B/ROCK N ROL Digital Video Disc 604388715701 ABR224182 BERRY,C/ROCKIT Compact Disc 783722241820 DRG218 BETTER OFF DREAD/REGGAE COLLEC Digital Video Disc 022891021896 883979 BETTER THAN EZRA/LIVE IN NEW O Compact Disc 060768839793 ALP193CD BETTER TO SEE YOU WITH/TBA Compact Disc 735286119329 D4110 BEYONCE/BEYONCE UNATHRORIZED Digital Video Disc 655690411096 HATMAN2005 BIBB,E/PAINTING SIGNS Compact Disc 5038787000529 4747142 BIBER/REQUIEM IN F Compact Disc 028947471424 B001681732 BIEBER,J/BOYFRIEND (CDS) Compact Disc Singles 602537018277 0252736810 BIEBER,J/MY WORLD & MW2.0 COLL Compact Disc 6025273681080252735279 BIEBER,J/MY WORLD 2.0(CD+TEE/L Compact Disc 602527352794 HRM00312 BIF NAKED/ESSENTIALLY NAKED CD with DVD 600336031220 CRDVD148 BIG AUDIO DYNAMITE/LIVE:E=MC2 Digital Video Disc 50139299348560 28947 77101 2 6 00336 03122 07 35286 11932 9 5 038787 000529 6 52975 00342 70 28945 82082 8 6 02527 35279 46 02527 36810 80 28946 81272 30 28947 41652 4 0 28947 47142 40 28947 49872 8 0 28947 70002 90 28947 66269 30 28944 36932 8 7 24353 49692 0 7 83722 24182 0 0 60768 83979 3 6 02537 01827 7 5 013929 934856 0 22891 02189 6 6 55690 41109 66 04388 71570 10 44007 34354 80 44007 34514 60 44007 34502 3 Page 20 of 496 November 12, 2014Catalogue NumberArtist / Title Config Scannable UPC UPC 3728425 BIG COUNTRY/AT THE BBC(SUP DLX CD with DVD 602537284252 6076846722 BIG HEAD TODD & THE MONS/CRIME Compact Disc 0607684672246076883799 BIG HEAD TODD & THE MONSTERS/L Digital Video Disc 0607688379976076847142 BIG HEAD TODD AND THE MONSTERS Compact Disc 0607684714294400140292 BIG SUGAR/BROTHERS & SISTERS:A Compact Disc 0440014029203145409552 BIG SUGAR/HEATED Compact Disc 731454095525 4755 BIG TWIST & MELLOW FELLOWS/LIV Compact Disc 014551475521 F0492 BIG WIG/INVITATION TO TRAGEDY Compact Disc 714753004924 8249600041 BIGELF/CHEAT THE GALLOWS Compact Disc 182496000419 CDROUN3159 BIKEL, THEODORE/A TASTE OF PAS Compact Disc 011661315921 TTR80262 BIKEL,T/SINGS SONGS OF ISRAEL Compact Disc 617742802627 CD421072 BILE/FRANKENHOLE Compact Disc 637642107226 CD421055U BILE/NIGHTMARE BEFORE KRZTOFF Compact Disc 637642105529 CD421101 BILE/REGURGE:A BUCKET OF BILE Compact Disc 637642110127CD421071 BILE/SEX REFLEX Compact Disc 637642107127 5344625 BILLIE HOLIDAY/LADY SINGS THE BLU RAY AUDIO 600753446256 6076845632 BIOHAZARD/KILL OR BE KILLED Compact Disc 0607684563276076845192 BIOHAZARD/UNCIVILIZATION Compact Disc 060768451926 HSM50422 BIRDWATCHERS/BIRDWATCHERS Compact Disc 809842504222 B000203102 BISBAL,D/BULERIA Compact Disc 602498163832 4833 BISHOP,E/ACEINTHEHOLE Compact Disc 0145514833284791 BISHOP,E/DON'T LET THE BOSSMAN Compact Disc 014551479123 4717502 BIZET/CARMEN Compact Disc 0289471750254717362 BIZET/L'ARLESIENNE SUITES 1&2 Compact Disc 028947173625 DRB1398 BIZZY BONE/LIVE IN CONCERT (DV Digital Video Disc 022891139898 404672 BJORK/ARMY OF ME/REMIXES & COV Compact Disc 8279540467206 00753 44625 66 02537 28425 2 1 82496 00041 9 0 11661 31592 1 6 37642 10552 9 6 37642 10712 76 37642 10722 6 6 37642 11012 76 17742 80262 70 44001 40292 0 6 02498 16383 2 0 28947 17362 50 28947 17502 57 31454 09552 5 8 27954 04672 08 09842 50422 20 60768 45192 60 60768 45632 70 60768 47142 90 60768 46722 4 0 14551 47912 30 14551 47552 1 0 14551 48332 87 14753 00492 4 0 22891 13989 80 60768 83799 7 Page 21 of 496 November 12, 2014Catalogue NumberArtist / Title Config Scannable UPC UPC 403632A BJORK/DEBUT LIVE Compact Disc 827954036325 400612A BJORK/GLING-GLO Compact Disc 827954006120 403562 BJORK/HOMOGENIC LIVE Compact Disc 827954035625405179 BJORK/INSIDE BJORK Digital Video Disc 827954051793 403622B BJORK/POST LIVE Compact Disc 827954036226403612B BJORK/VESPERTINE LIVE Compact Disc 827954036127 405059 BJORK/VESSEL LIVE Digital Video Disc 827954050598405159 BJORK/VOLUMEN PLUS Digital Video Disc 827954051595 0169110CD BLAC HEAD LION/5 YEARS IN 50MI Compact Disc 707787911023 B002016402 BLACC,A/LIFT YOUR SPIRIT Compact Disc 602537734900 403762A BLACK BOX /PASSIONOIA Compact Disc 827954037629 TWA0212 BLACK BOX RECORDER/ENGLAND MAD Compact Disc 604978002129TWA0402 BLACK BOX RECORDER/WORST OF.. Compact Disc 604978004024 RT042 BLACK KEYS,T/GROWN SO/LIVE(DVD Digital Video Disc 9223814130423 LBMCD236582 BLACK MAJESTY/SANDS OF TIME Compact Disc 693723658223 AFM2723 BLACK MESSIAN/CRUCACHAN/THE PA Compact Disc 884860003827 ER0662 BLACK MY HEART/BEFORE THE DEVI Compact Disc 790168466625 RHH777322 BLACK OAK ARKANSAS/THE COMPLET Compact Disc 603497773220 MA250117 BLACK OAK ARKANSAS/THE WILD BU Compact Disc 5413992501175 LUG10062 BLACK PEGASUS/F#CK YO! RADIO Compact Disc 800828255121 3754056 BLACK SABBATH/BLACK SABBA(2DVD Digital Video Disc 602537540563 DM015 BLACK SABBATH/CHILDREN OF THE Digital Video Disc 8333817130151 SFMDVD022 BLACK SABBATH/CROSS PURPOSES L Digital Video Disc 823195001825 6076883469 BLACK SABBATH/NEVER SAY DIE (D Digital Video Disc 060768834699 2749907 BLACK SABBATH/PAST LIVE (DLX) Compact Disc 602527499079 6076845612 BLACK SABBATH/PAST LIVES (CDX2 Compact Disc 0607684561295 413992 501175 7 07787 91102 3 6 02537 73490 0 6 93723 65822 3 6 03497 77322 08 27954 00612 0 8 27954 03562 5 8 27954 03612 78 27954 03622 68 27954 03632 5 8 27954 03762 9 0 60768 45612 96 02527 49907 98 00828 25512 16 04978 00212 9 6 04978 00402 4 8 84860 00382 7 7 90168 46662 5 6 02537 54056 39 223814 130423 8 333817 130151 8 23195 00182 58 27954 05059 8 8 27954 05159 58 27954 05179 3 0 60768 83469 9 Page 22 of 496 November 12, 2014Catalogue NumberArtist / Title Config Scannable UPC UPC 6076845622 BLACK SABBATH/PAST LIVES (LTD) Compact Disc 060768456228 6076883269 BLACK SABBATH/THE BLACK SABBAT Digital Video Disc 0607688326956076883279 BLACK SABBATH/THE BLACK SABBAT Digital Video Disc 060768832794 2770406 BLACK SABBATHBORN AGAIN(2CD) Compact Disc 602527704067 1166191041 BLACK SEA STATION,THE/TRANSYLV Compact Disc 011661910416 MD03 BLACK UHURU WITH SLY ROBBIE/CH Compact Disc 843655014448 B000528902 BLACKBROWES,T/GOLD Compact Disc 602498843420 MA251008 BLACKLACE/UNLACEDTOOHOTTOHANDL Compact Disc 5413992510085 177789 BLACKMORE S NIGHT/THE BEGINNIN Compact Disc 5099901777895 194232B BLACKMORES NI/A KNIGHT(CD+DVD CD with DVD 5099931942324 TIC60444 BLACKSHIRE/3D EXPERIENCE Compact Disc 806937101625 B001069602 BLADE,B & FELLOWSHIP BAND/SEAS Compact Disc 602517610477 6076846862 BLADES,J/JACK BLADES Compact Disc 060768468627 ALP19 BLAG DAHLIA/VENUS WITH ARMS Compact Disc 735286191929 CLC1042 BLAIR,J/Love Is The Thing Compact Disc 617742104226 TSQ2097 BLAKE,R/DRIFTWOODS Compact Disc 894807002097 OIE0152 BLAKELY,J/NAGLE,R/TAN MANTIS Compact Disc 837101222471 CCDCD2234 BLAKEY,A & JAZZ MESSENGERS,T/B Compact Disc 013431223429 4228326592 BLAKEY,A/1958 PARIS OLYMPIA Compact Disc 042283265929 CLC5932 BLANC,M/BEST OF THE MAN OF 100 Compact Disc 617742059328 PRO106 BLAQ POET/BLAQ OUT Compact Disc 890701001211 DEW90132 BLASKO,S/THE OVERTURE & THE UN Compact Disc 602498297582 B000981502 BLASKO,S/WHAT THE SEA WANTS TH Compact Disc 602517082014 DK30244 BLASTERS,THE/LIVE GOING HOME Compact Disc 826663024425 MASSCDDG103 3BLESSED DEATH/DESTINED FOR EXT Compact Disc 5907785029989 D000007102 BLEU,C/ANOTHER SIDE Compact Disc 0500871007975 099931 942324 0 13431 22342 90 11661 91041 6 8 90701 00121 1 5 907785 029989 8 43655 01444 8 8 06937 10162 5 7 35286 19192 9 6 17742 10422 6 6 17742 05932 86 02498 84342 0 0 50087 10079 70 42283 26592 96 02517 61047 7 6 02498 29758 2 6 02517 08201 45 413992 510085 0 60768 45622 8 0 60768 46862 76 02527 70406 7 8 26663 02442 58 37101 22247 15 099901 777895 8 94807 00209 70 60768 83269 5 0 60768 83279 4 Page 23 of 496 November 12, 2014Catalogue NumberArtist / Title Config Scannable UPC UPC 0147352 BLEY & GIUFFRE & SWALLO/THE LI Compact Disc 044001473524 413362B BLIND MELO/LIVE AT THE PALACE Compact Disc 094634133623 DR7001 BLINK 182/INTERVIEWS Digital Video Disc 663300700195DR0061 BLINK 182/PROBED-UNAUTHORIZED Digital Video Disc 022891006121 B000133412 BLINK-182/BLINK-182 (EDITED) Compact Disc 602498609651 CDROUN3126 BLOCK, RORY /ANGEL OF MERCY Compact Disc 011661312623 TC253247 BLONDIE/FOREVER Compact Disc 628261324729 85595M BLONDIE/GOOD BOYS Compact Disc 060768559516 023842 BLONDIE/LEGENDS FOREVER Compact Disc 5099950238422 4607002002 BLONDIE/NO EXIT Compact Disc 846070020025 680372B BLONDIE/SGLS COLLECTION 77-82 Compact Disc 5099996803721 CRDVD154 BLOOD SWEAT AND TEARS/SPINNING Digital Video Disc 5013929935457 MA250148 BLOOMFIELD,M/CELEBRATING THE B Compact Disc 5413992501489 BMK915892 BLOOMFIELD,M/I'M WITH YOU ALWA Compact Disc 804879158929 HSM70022 BLOWFLY/OLDIES BUT GOODIES Compact Disc 809842700228HSM70052 BLOWFLY/RAPPIN' DANCIN' AND LA Compact Disc 809842700525HSM70132 BLOWFLY/SUPERBLOWFLY Compact Disc 809842701324HSM70092 BLOWFLY/WEIRD WORLD Compact Disc 809842700921 HSM70012 BLOWFLY/ZODIAC PARTY Compact Disc 809842700129 WM500382 BLUE 6/SWEETER LOVE Compact Disc 790185003827 CCM09632 BLUE ASH/NO MORE, NO LESS Compact Disc 617742096323HSM51022 BLUE NOTES,THE/THE TRUTH HAS C Compact Disc 809842510223 6076863442 BLUE OYSTER CULT/A LONG DAY'S CD with DVD 0607686344286076863042 BLUE OYSTER CULT/CURSE OF THE Compact Disc 060768630420 SFMCD052 BLUE OYSTER CULT/LIVE IN AMERI Compact Disc 8231950105220 7697425052 BLUE PETER/RADIO SILENCE Compact Disc 776974250528 0 60768 63442 86 28261 32472 90 11661 31262 3 7 76974 25052 88 09842 70052 58 09842 70022 85 413992 501489 8 09842 70132 48 04879 15892 9 8 09842 70092 1 6 17742 09632 37 90185 00382 75 099950 238422 0 44001 47352 4 6 02498 60965 1 5 099996 803721 0 94634 13362 3 8 46070 02002 5 8 231950 105220 8 09842 51022 38 09842 70012 9 0 60768 63042 00 60768 55951 66 63300 70019 5 5 013929 935457 0 22891 00612 1 Page 24 of 496 November 12, 2014Catalogue NumberArtist / Title Config Scannable UPC UPC RUF3014 BLUECARAVAN/NEW GENERATION:LIS Digital Video Disc 710347301479 MIW101037 BLUEGRASS ETC./BLUEGRASS ETC. Compact Disc 813411010373 MH26118 BLUERUNNERS/THE CHATEAU CHUCK Compact Disc 019011611822 INAK90942CD BLUES COMPANY/2 IN 1 COLLECTIO Compact Disc 707787909426 0169122CD BLUES COMPANY/4 2 1(4CD) Compact Disc 707787912228 INAK9081CD BLUES COMPANY/HOT AND READY TO Compact Disc 707787908122 INAK6002DVD BLUES COMPANY/KEEPIN' THE BLUE Digital Video Disc 707787600279 INAK9087 BLUES COMPANY/MORE BLUES,BALLA Compact Disc 707787908726 INAK9096CD BLUES COMPANY/O'TOWN GROOVES Compact Disc 707787909624 6076847202 BLUES EXPLOSION/DAMAGE Compact Disc 0607684720206076883599 BLUES TRAVELER/LIVE FROM RED R Digital Video Disc 0607688359936076847022 BLUES TRAVELER/LIVE ON THE ROC Compact Disc 0607684702246076846202 BLUES TRAVELER/TRUTH BE TOLD Compact Disc 060768462021 WARPCD257X BOARDS OF CANADA/TOMORROW'S HA Compact Disc 801061825720 LV128 BOBBY MILLER PRESENTS/I DUG AC Compact Disc 764942220727 9823193 BOCELLI,A/A NIGHT IN TUSCANY-D Digital Video Disc 602498231937 3145898132 BOCELLI,A/CIELI DI TOSCANA SACD4Stereo/Surround/CDAud 731458981329 B001610000 BOCELLI,A/CONCERTO:ONE NIGHT I CD with DVD 028947646174 2782563 BOCELLI,A/CONCERTO:ONE NIGHT I Digital Video Disc 602527825632 B001500100 BOCELLI,A/MY CHRISTMAS (DLX.ED CD with DVD 602527535265 4626004 BOCELLI,A/SACRED ARIAS Cassette 028946260043 4400752032 BOCELLI,A/SACRED ARIAS DVD Digital Video Disc 044007520321 5155D BOCELLI,A/THE VOICE(DVD) Digital Video Disc 9120817151557 B000129219 BOCELLI,A/VERDI:ARIAS DVD Audio 028946460092 ERB0002 BODE,E/COLD DECEMBER NIGHT Compact Disc 683884065626 FRBCD134 BODH'AKTAN/AGAINST WINDS AND T Compact Disc 0399110134270 28946 26004 30 28947 64617 4 6 02527 53526 57 07787 90872 67 07787 90812 27 07787 90942 6 7 07787 90962 47 07787 91222 8 7 64942 22072 70 19011 61182 28 13411 01037 3 6 83884 06562 6 0 39911 01342 70 60768 46202 10 60768 47022 40 60768 47202 0 8 01061 82572 07 07787 60027 97 10347 30147 9 9 120817 151557 6 02527 82563 26 02498 23193 7 0 44007 52032 10 60768 83599 3 0 28946 46009 27 31458 98132 9 Page 25 of 496 November 12, 2014Catalogue NumberArtist / Title Config Scannable UPC UPC CR9251522 BOGGUSS,S/HAVE YOURSELF A MERR Compact Disc 616892515227 CR9251512 BOGGUSS,S/SWING Compact Disc 616892515128 4775296 BOHM,K/CONDUCTS MOZART & STRAU Compact Disc 0289477529671762393 BOINE MARI/IT AIN'T NECESSARIL Compact Disc 602517623934 CCD30038 BOLTON,M/BOLTON SWINGS SINATRA Compact Disc 888072300385 LIB33625 BOLTON,M/THE BEST OF MICHAEL B Digital Video Disc 619061362530 MM00021 BOMB,A/FATAL ATTRACTION Compact Disc 747014583722 3145380882 BON JOVI/7800 FAHRENHEIT Compact Disc 731453808829 B001417302 BON JOVI/7800 FAHRENHEIT:TOUR Compact Disc 602527361673B001417202 BON JOVI/BON JOVI:TOUR EDITION Compact Disc 602527361666 4400630552 BON JOVI/BOUNCE Compact Disc 044006305523 B001418102 BON JOVI/BOUNCE:TOUR EDITION Compact Disc 602527361819 3145260132 BON JOVI/CROSS ROAD Compact Disc 7314526013223145424742 BON JOVI/CRUSH Compact Disc 731454247429 B001418002 BON JOVI/CRUSH: TOUR EDITION Compact Disc 602527361802B000537102 BON JOVI/HAVE A NICE DAY Compact Disc 602498826201B001418202 BON JOVI/HAVE A NICE DAY:TOUR Compact Disc 602527361826 3145380912 BON JOVI/KEEP THE FAITH Compact Disc 731453809123 B001417602 BON JOVI/KEEP THE FAITH:TOUR E Compact Disc 602527361727B000890202 BON JOVI/LOST HIGHWAY Compact Disc 602517328082B001418302 BON JOVI/LOST HIGHWAY:TOUR EDI Compact Disc 602527361840 3145380902 BON JOVI/NEW JERSEY Compact Disc 731453809024 B001417502 BON JOVI/NEW JERSEY:TOUR EDITI Compact Disc 602527361659 3145380892 BON JOVI/SLIPPERY WHEN WET Compact Disc 731453808928 B001417402 BON JOVI/SLIPPERY WHEN WET:TOU Compact Disc 602527361697 3145727172 BON JOVI/THANK YOU FOR LOVING Compact Disc EP's 7314572717286 02527 36167 3 6 02527 36166 6 6 02527 36181 9 6 02527 36180 2 6 02527 36182 6 6 02527 36172 7 6 02527 36184 0 6 02527 36165 97 31453 80902 47 31453 80912 37 31453 80882 9 0 44006 30552 3 7 31454 24742 9 6 02517 32808 2 7 31453 80892 86 02498 82620 17 31452 60132 2 6 02527 36169 76 02517 62393 40 28947 75296 7 8 88072 30038 5 7 47014 58372 26 16892 51512 86 16892 51522 7 7 31457 27172 86 19061 36253 0 Page 26 of 496 November 12, 2014Catalogue NumberArtist / Title Config Scannable UPC UPC 3145381192 BON JOVI/THESE DAYS Compact Disc 731453811928 B001417702 BON JOVI/THESE DAYS:TOUR EDITI Compact Disc 602527361758 9817845 BONA,R&KANZA,L&TOTO,G/TOTO,BON Compact Disc 602498178454 CCM20002 BOND,G/SOLID BOND Compact Disc 617742200027 NOT50232 BONILLA,M/AMERICAN MATADOR Compact Disc 617742502329 B000537282 BONJOVI/HAVE A NICE DAY-DUAL DUALDISC 602498846858B000526482 BONJOVI/SLIPPERY WHEN WET-DUAL DUALDISC 602498842577 4756936 BONNEY,B/MOZART;THE OTHER MOZA Compact Disc 028947569367 NOT5025 BOOK OF LOVE/LULLABY Compact Disc 617742502527 B000417202 BOOMTOWN RATS,T/THE BEST OF BO Compact Disc 602498269114 1166176882 BOOTHE.K/A MAN AND HIS HITS Compact Disc 011661768826 NBA62792 BORGIR,D/FOR LL TID Compact Disc 727361627928 9866081 BORSTLAP,M/JAZZ IN AMSTERDAM Compact Disc 6024986608120734372 BOSKOVSKY,W/WP/VIENNA IN MUSIC Digital Video Disc 044007343722 GBVI0072 BOSTON SPACESHIPS/ZERO TO 99 Compact Disc 655035080727 CD80645 BOTSTEIN,L/LE ROI ARTHURS Compact Disc 089408064524 SRJB1465 BOUCHARD,J/JUKEBOX IN MY HEAD Compact Disc 884501103220 NMR0200 BOULDER ACOUSTIC SOCIETY/PUNCH Compact Disc 827912089011 884569 BOULT, ADR/CA:BEETHOVEN:VIOLIN Digital Video Disc 094638845690 B001621402 BOW WOW/UNDERRATED Compact Disc 602527847351 812472 BOWEN, ROB/OLD HEARTH-WELSH MU Compact Disc 774718124722 CDFLY610 BOWEN, ROBIN HU/TELYN BERSEINO Compact Disc 018964061029 8450972 BOXCAR-WILLIE/BEST L FAVORITES Compact Disc 042284509725 ALP105 BOXHEAD ENSEMBLE/NIAGRA FALLS Compact Disc 735286110524 B001289702 BOYD,NE/MY AMERICAN DREAM Compact Disc 602527039374 CHC2079 BOYKIN,B/ALL THE TIME IN THE W Compact Disc 8583700026637 74718 12472 2 0 18964 06102 90 89408 06452 40 11661 76882 6 8 58370 00266 36 17742 20002 7 8 84501 10322 0 7 35286 11052 46 17742 50252 7 6 02527 84735 16 02527 36175 87 31453 81192 8 0 42284 50972 56 02498 17845 4 6 02498 66081 2 6 02527 03937 40 28947 56936 7 6 02498 26911 4 8 27912 08901 17 27361 62792 86 17742 50232 9 6 55035 08072 70 44007 34372 2 0 94638 84569 06 02498 84257 76 02498 84685 8 Page 27 of 496 November 12, 2014Catalogue NumberArtist / Title Config Scannable UPC UPC CHC2041 BOYKIN,B/CHOCOLATE & CHILI Compact Disc 858370002670 CDROUN11549 BOYOYO BOYS & O/HOMELAND -- A Compact Disc 011661154926 MVDV4731 BOZIO/MACHACEK/O'HEARN/OUT TRI Digital Video Disc 022891473190MVDV4724 BOZZIO,T/LIVE WITH THE TOSCA S Digital Video Disc 022891472490 4596352 BRAHMS/4 SYM/CELIBIDACHE Compact Disc 0289459635254614222 BRAHMS/GREATEST HITS Compact Disc 028946142226 CD80465 BRAHMS/SYMPHONIES NO. 3 & 4 Compact Disc 089408046520 4749892 BRAHMS/SYMPHONY NO. 2; REGER Compact Disc 028947498926 STUM18 BRAINS,THE/HELL N BACK & NO BR Compact Disc 844667004656 ALP15 BRANCA,G/SYMPHONY #5 "..HYPERS Compact Disc 735286191523 4801996 BRANCO,C/KRONOS Compact Disc 028948019960 FOL14512 BRANDYQWINE SINGERS,THE/THE BR Compact Disc 045507145120 0249819489 BRASSENS,G/BEST OF Compact Disc 602498194898 CDROUN9055 BRAVE COMBO /GROUP DANCE EP Compact Disc 011661905528 B001069872 BRAVERY,THE/THE SUN AND MOON-C Compact Disc 602517610439B000544102 BRAXTON,T/LIBRA Compact Disc 602498853368 2061624962 BREAKING BENJAMIN/SO COLD EP Compact Disc EP's 720616249623 BR21602 BREAKMEN,THE/THE BREAKMEN Compact Disc 778224216025 4777550 BREAM,J/JULIAN BREAM PLAYS DOW Compact Disc 028947775508 GRD9948 BRECKER BROTHER/PRICELESS JAZZ Compact Disc 011105994828 B000028502 BRECKER QUINDECTET,M/WIDE ANGL Compact Disc 044007614228 WRASS238 BREGOVIC,G/ALKOHOL Compact Disc 875232007727 HSM50962 BRENDA AND HERB/IN HEAT AGAIN Compact Disc 809842509623 SHOUT66 BRENDA AND THE TABULATIONS/ Compact Disc 5013929506626 4756930 BRENDEL,A/MOZART;PIANO CONCERT Compact Disc 028947569305 B000891502 BRICK & LACE/LOVE IS WICKED Compact Disc 6025172700158 44667 00465 60 11661 15492 6 0 11661 90552 80 89408 04652 0 8 09842 50962 38 58370 00267 0 0 45507 14512 0 5 013929 506626 6 02517 27001 50 44007 61422 86 02498 85336 8 0 28947 77550 8 0 28947 56930 56 02517 61043 9 0 11105 99482 80 28948 01996 00 28946 14222 60 28945 96352 5 0 28947 49892 6 6 02498 19489 8 7 78224 21602 57 35286 19152 3 8 75232 00772 77 20616 24962 30 22891 47249 00 22891 47319 0 Page 28 of 496 November 12, 2014Catalogue NumberArtist / Title Config Scannable UPC UPC B000096302 BRICKELL,E/VOLCANO Compact Disc 602498606209 6076846742 BRIDES OF DESTRUCTION/HERE COM Compact Disc 060768467422 101329 BRIGHTMAN,/DIVA:THE VIDEO COLL Digital Video Disc 094631013294 8391162 BRIGHTMAN,S/T SONGS T GOT AWAY Compact Disc 042283911628 CDROUN0374 BRISLIN, KATE &/SLEEPLESS NIGH Compact Disc 011661037427 CCM21302 BRISTOL,J/STRANGERS Compact Disc 617742213027 CLC31 BRITT,E/The RCA Years Compact Disc 617742003123 552512 BROADWAY C/PASSION - SONDHEIM Compact Disc 724355525123 AM0212 BROADWAYS/BROKEN STAR Compact Disc 612851002128 ORCD7227 BRODY,D/TRAIL IN LIFE Compact Disc 823674722722 014002 BROKEN SOCIAL SCENE/BROKEN V.2 Compact Disc 827590140028 GRACD6705 BROM,M/NOT FOR NOTHIN' Compact Disc 671946670529 B000669202 BRONX,THE/THE BRONX Compact Disc 602498563694 IM0001 BROOKLYN ZU/CHAMBER #9, VERSE Compact Disc 854882200658 85420600116 BROOKS,G/SEVENS Compact Disc 854206001169 600101 BROOKS,G/THE LIMITED SERI(BOXS CD with DVD 854206001015600121 BROOKS,G/ULTIMATE HITS CD with DVD 854206001213 B001455102 BROOKS,J/CONSTELLATION ME Compact Disc 602527442662 5602 BROOKS,L/DELUXEEDITION Compact Disc 0145515602274759 BROOKS,L/LIVE FROM CHICAGO-BAY Compact Disc 0145514759274843 BROOKS,L/ROADHOUSERULES Compact Disc 0145514843254721 BROOKS,L/TURN ON THE NIGHT Compact Disc 014551472124 SMCR5068 BROTHERS JOHNSON/BLAM(EXPANDED Compact Disc 5013929076839 ALP83 BROTZMANN,C/ZULUTIME Compact Disc 735286198324 INAK6302 BROUGHTON BAND,E/AT ROCKPALAST Compact Disc 707787630276 INAK9086CD BROUGHTON,E BAND/AT ROCKPALAST Compact Disc 7077879086278 54206 00101 5 8 54206 00121 30 11661 03742 7 6 71946 67052 96 17742 21302 7 7 07787 63027 6 7 07787 90862 77 35286 19832 46 17742 00312 36 02498 60620 9 6 02527 44266 20 42283 91162 8 8 54206 00116 96 02498 56369 47 24355 52512 3 8 27590 14002 8 5 013929 076839 8 23674 72272 20 60768 46742 2 6 12851 00212 8 0 14551 56022 78 54882 20065 8 0 14551 48432 5 0 14551 47212 40 14551 47592 70 94631 01329 4 Page 29 of 496 November 12, 2014Catalogue NumberArtist / Title Config Scannable UPC UPC B000293802 BROUSSARD,M/CARENCRO Compact Disc 602498628706 INDEXT001 BROUWER,M/WHERE'S OUR REVOLUTI Compact Disc 044003736139 B000351009 BROWN,B/BEST OF - DVD Digital Video Disc 602498639689 3145898262 BROWN,C & ROACH,M/AT BASIN STR Compact Disc 731458982623 4771 BROWN,C/ONE MORE FOR THE ROAD Compact Disc 014551477129 3145263732 BROWN,C/ROACH,M/ALONE TOGETHER Compact Disc 731452637321 4804 BROWN,CG/NO LOOKIN' BACK Compact Disc 0145514804264745 BROWN,CG/PRESSURE COOKER Compact Disc 0145514745244779 BROWN,CG/STANDING MY GROUND Compact Disc 014551477921 MVD6520 BROWN,C-GATEMOUTH/IN CONCERT Digital Video Disc 707787652094 1166177392 BROWN,D/DENNIS BROWN IN DUB Compact Disc 011661773929 CA60047 BROWN,D/LIVE AT REGGAE CANFEST Digital Video Disc 4028462600473 RPMSH250 BROWN,J & FLOYD,E/SOUL BROTHER Compact Disc 5013929525023 B000895509 BROWN,J/ARE YOU READY FOR STAR Digital Video Disc 602517336841 MVDV4790 BROWN,J/DOUBLE DYNAMITE! Digital Video Disc 760137479093 HSM20012 BROWN,J/FAMILY AFFAIR Compact Disc 809842200124 SB002 BROWN,J/MR.DYNAMITE:UNAUTHORIZ Digital Video Disc 603777902494 HSM60042 BROWN,J/SOUL SYNDROME Compact Disc 809842600429 NOT50332 BROWN,J/TRAPPED IN THE BODY OF Compact Disc 617742503326 PROPERBOX59 BROWN,M/DADDY OF WESTERN SWING Compact Disc 805520020596 B000153102 BROWN,P/UP FRONT Compact Disc 602498611609 CCDCD4293 BROWN,R/DON'T FORGET THE BLUES Compact Disc 013431429326 4400653952 BROWN,R/JAZZ CELLO Compact Disc 044006539522 SHOUT54 BROWN,R/MIDNIGHT DESIRE/WELCOM Compact Disc 5013929505421 412741 BROWNLEE,C/CHAD BROWNLEE Compact Disc 798304127416 4400317323 BROZA,D/EAST JERUSALEM,WEST JE Compact Disc 044003173231 7 98304 12741 60 13431 42932 60 11661 77392 9 6 17742 50332 68 09842 20012 4 8 09842 60042 95 013929 525023 0 44003 17323 17 31452 63732 17 31458 98262 3 0 44006 53952 26 02498 61160 96 02498 62870 6 5 013929 505421 0 14551 48042 6 8 05520 02059 60 44003 73613 9 0 14551 47452 40 14551 47712 9 0 14551 47792 1 7 60137 47909 3 6 03777 90249 47 07787 65209 4 6 02517 33684 16 02498 63968 9 4 028462 600473 Page 30 of 496 November 12, 2014Catalogue NumberArtist / Title Config Scannable UPC UPC RUF3012 BROZMAN,B/LIVE IN GERMANY Digital Video Disc 710347301271 8283949152 BRUBECK,D & DESMOND,P/1975:THE Compact Disc 082839491525 AMACD015 BRUBECK,D/ON THE RADIO Compact Disc 884607000157 6076846332 BRUCE,J/MORE JACK THAN GOD Compact Disc 060768463325 EANTCD21030 BRUCE,J/SILVER RAILS(CD+DVD) CD with DVD 5013929473034 4696422 BRUCKNER/SYMPHONY 4 Compact Disc 028946964224 CCM07942 BRUMMELS,B/THE BEAU BRUMMELS Compact Disc 617742079425 BADFICD003 BRUNET,A/FRENCH MELODIES IN LA Compact Disc 5013929930339 CCDCD4698 BRUNO,J & DEFRANCESCO,J/LIKE T Compact Disc 013431469827CCDCD4768 BRUNO,J & WATSON,B/LIVE AT BIR Compact Disc 013431476825CCDCD4810 BRUNO,J TRIO/LIVE AT BIRDLAND Compact Disc 013431481027CCDCD4532 BRUNO,J/SLEIGHT OF HAND Compact Disc 013431453222 B001883502 BRYAN,L/CRASH MY PARTY(DLX) Compact Disc 602537466542 390569 BRYANT,R/NORMAN GRANZ JASS Digital Video Disc 801213905690 CA60035 BRYSON,J/LIVE AT WARSAW JAZZ F Digital Video Disc 4028462600350 B000624002 BUANNE,P/THE ITALIAN Compact Disc 602498511831 710332A BUC FIFTY/SERVE THE DEVIL, PR Compact Disc 800867103322 ION20192 BUCKETHEAD/BUCKETHEADLAND 2 Compact Disc 611688201926 MR40703 BUCKLEY,T/DREAM LETTER (CDX2) Compact Disc 767004070322MR40704 BUCKLEY,T/HONEYMAN Compact Disc 767004070421MR40705 BUCKLEY,T/LIVE AT THE TROUBADO Compact Disc 767004070520 DR4566 BUCKLEY,T/MY FLEETING HOUSE(DV Digital Video Disc 022891456698 MR40706 BUCKLEY,T/THE DREAM BELONGS TO Compact Disc 767004070629 VOL1106 BUDAM/MAN Compact Disc 3770000947298VOL0905 BUDAM/STORIES OF DEVILS,ANGELS Compact Disc 3770000947175 710302 BUENA VISTA SISTERS CLUB/ANACA Compact Disc 40206597103095 013929 473034 0 13431 45322 20 13431 46982 7 0 13431 48102 7 8 00867 10332 20 13431 47682 5 7 67004 07062 97 67004 07042 1 3 770000 947175 3 770000 947298 6 17742 07942 5 6 11688 20192 6 7 67004 07032 2 7 67004 07052 05 013929 930339 0 82839 49152 5 6 02498 51183 10 28946 96422 4 6 02537 46654 28 84607 00015 7 4 020659 710309 0 60768 46332 5 4 028462 600350 0 22891 45669 87 10347 30127 1 8 01213 90569 0 Page 31 of 496 November 12, 2014Catalogue NumberArtist / Title Config Scannable UPC UPC 0770222 BUENAVENTURE,Y/VAGABUNDO Compact Disc 044007702222 MBT253389 BUFFETT,J/LIVE AT WRIGLEY FIEL Compact Disc 628261338924 839002 BUFFSEEDS/SPARKLE ME (EP) Compact Disc EP's 060768390027839012 BUFFSEEDS/THE PICTURE SHOW Compact Disc 060768390126244552 BUNNETT, J/NEW YORK DUETS Compact Disc 724352445523 ODR9316 BURASHKO,A/BURASHKO PLAYS PROK Compact Disc 776143931623 3145204012 BURDON,E & ANIMALS T/THE BEST Compact Disc 731452040121 ABCVP116DVD BURDON,E/BEYOND THE ANIMALS Digital Video Disc 604388712205 SHOUT46 BURKE,S/THIS IS IT-APOLLO SOUL Compact Disc 5013929504622 EUL0802 BURNING SEASON,THE/ONWARD ANTH Compact Disc 790168468025 BM28 BURNING SPEAR/A LIVE Compact Disc 828283032828 BM324 BURNING SPEAR/APPOINTMENT FOR CD with DVD 828283032422BM332 BURNING SPEAR/BURNING SPEAR EX CD with DVD 828283033207 1166176642 BURNING SPEAR/CREATION REBEL Compact Disc 011661766426 BM320 BURNING SPEAR/HOME TO MY ROOTS Digital Video Disc 828283032095BM334 BURNING SPEAR/JAH IS REAL Compact Disc 828280334086BM319 BURNING SPEAR/LIVE IN PARIS,ZE Compact Disc 828283031920BM321 BURNING SPEAR/LIVE IN VERMONT Digital Video Disc 828283032194BM327 BURNING SPEAR/OUR MUSIC (DUAL Compact Disc 020286202127BM325 BURNING SPEAR/WORLD SHOULD KNO CD with DVD 828283032521 MM00010 BURNING STARR/BLAZE OF GLORY Compact Disc 747014583425 PALMCD2122 BURNINGSPEAR/MARCUS GARVEY Compact Disc 660200212223 MA250139 BURNSIDE,RL/RAW ELECTRIC Compact Disc 5413992501397 B001071202 BURRELL,K/A NIGHT AT THE VANGU Compact Disc 602517613539 4757168 BURROWS,S/MOZART:CLASSIC RECIT Compact Disc 028947571681 CCDCD4749 BURTON,G/DEPARTURE Compact Disc 0134314749208 28283 03242 2 8 28283 03252 18 28283 03320 7 0 13431 47492 06 28261 33892 4 0 11661 76642 6 7 47014 58342 5 5 413992 501397 6 02517 61353 90 44007 70222 2 7 31452 04012 17 24352 44552 3 0 28947 57168 15 013929 504622 8 28283 03192 08 28283 03282 8 0 20286 20212 78 28280 33408 67 76143 93162 30 60768 39012 6 6 60200 21222 37 90168 46802 50 60768 39002 7 6 04388 71220 5 8 28283 03209 5 8 28283 03219 4 Page 32 of 496 November 12, 2014Catalogue NumberArtist / Title Config Scannable UPC UPC DJ857 BURTON,G/GARY BURTON LIVE Digital Video Disc 022891985792 CCDCD4887 BURTON,G/LIBERTANGO-MUSICFOR A Compact Disc 013431488729 AR0372 BURY YOUR DEAD/YOU HAD ME AT H Compact Disc 790168465727 900999 BURZUM/FILOSOFEM Compact Disc 5029029009998 TRM740202 BUSH/RAZORBLADE SUITCASE Compact Disc 788647402028TRM740192 BUSH/SIXTEEN STONE Compact Disc 788647401922 300639 BUSTA RHYMES/EVERYTHING REMAIN Digital Video Disc 801213006397 SMCR25086 BUTLER,J/LOVE S ON THE MENU/SU Compact Disc 5013929078635 RPMSH218 BUTLER,J/SWEETEST SOUL Compact Disc 5013929521827 987982 BUTTHOLE S/INDEPENDANT WORM SA Compact Disc 077779879823485062 BUYU, AMBR/BLUES IN RED Compact Disc 068944850624 MASSCD1366D GBUZZOVEN/SORE (REMASTERED)-2CD Compact Disc 5907785036017 4400140632 BYAS,D&MCGHEE,H&MOODY,J/BEPOP Compact Disc 044001406324 355602 BYRD, DONA/SLOW DRAG (RVG) Compact Disc 724353556020 CCDCD4850 BYRD,C/MY INSPIRATIONS-MUSIC O Compact Disc 013431485025 FCD24757 BYRD.C/BYRD BY THE SEA Compact Disc 025218245722 LM011 BYRDS/TURN TURN TURN A MUS(DVD Digital Video Disc 5883007136119 MMPDVD0132 CAAMORA/SHE (DVD) Digital Video Disc 5907785031623 4776191 CABALLE,M/VAR:FRENCH OPERA ARI Compact Disc 028947761914 691732 CABARET VO/VOICE OF AMERICA,TH Compact Disc 724596917329 3726763 CAETANO,V/ABRACACO Compact Disc 602537267637 070707 CAGE THE ELEPHANT/CAGE THE ELE Compact Disc 602517422926 CCM21012 CALDERON, J/CITY MUSIC Compact Disc 617742210125 100092D CALIBAN/OPPOSITE FROM WITHI Compact Disc 727701000923 900242A CALIBAN/UNDYING DARKNESS,TH Compact Disc 876929002421 ER0472 CALICO SYSTEM/DUPLICATED MEMOR Compact Disc 7901684647200 13431 48502 50 13431 48872 9 7 27701 00092 3 8 76929 00242 15 029029 009998 0 25218 24572 2 6 17742 21012 55 013929 078635 5 907785 036017 5 013929 521827 6 02537 26763 7 6 02517 42292 67 88647 40202 8 7 88647 40192 2 0 44001 40632 4 7 24596 91732 90 28947 76191 40 77779 87982 3 7 24353 55602 00 68944 85062 47 90168 46572 7 7 90168 46472 08 01213 00639 70 22891 98579 2 5 883007 136119 5 907785 031623 Page 33 of 496 November 12, 2014Catalogue NumberArtist / Title Config Scannable UPC UPC EUL0832 CALICO SYSTEM/OUTSIDE ARE THE Compact Disc 790168468322 CD85501 CALIFORNIA PROJECT/PAPA DOO RU Compact Disc 089408550126 INTROCD2057 CALLAS,M/A PROPER INTRO TO:MAR Compact Disc 805520060578 B000284509 CAMEO/THE BEST OF CAMEO Digital Video Disc 602498627921 SMCR5089 CAMERON G C/G.C. CAMERON Compact Disc 5013929078932 5615452 CAMILO,M & TOMATITO/SPAIN Compact Disc 731456154527 SACD63574 CAMILO,M/LIVE AT THE BLUE NOTE SACD4Stereo/Surround/CDAud 089408357466 GPR51 CAMPBELL,B/BRUCE CAMPBELL Compact Disc 760137005124 MW046 CAMPBELL,G/DUETS Compact Disc 813411010465 CR9258712 CAMPBELL,K/SING ME OUT Compact Disc 616892587125CR9258732 CAMPBELL,K/SONGS FROM THE LEVE Compact Disc 616892587323 3145868762 CAM'RON/COME HOME WITH ME Compact Disc 731458687627 IMD2204CD CAM'RON/CRIMINAL MIND Compact Disc 187245222043 ODR9337 CANADAINBRASS&ELMERISELER/PEOP Compact Disc 776143933726ODR7383 CANADIAN BRASS & BRAID,D/SPIRI Compact Disc 776143738321 OD7368 CANADIAN BRASS & THE EASTMAN W Compact Disc 776143736822 ODR7346 CANADIAN BRASS/BACH Compact Disc 776143734620ODR7415 CANADIAN BRASS/BRAHMS ON BRASS Compact Disc 776143741529ODR7416 CANADIAN BRASS/CANADIAN BRASS Compact Disc 776143741628 30008 CANADIAN BRASS/CANADIAN BRASS Compact Disc 034062300082 ODR7380 CANADIAN BRASS/ECHO:GLORY OF G Compact Disc 776143738024ODR7336 CANADIAN BRASS/HIGH SOCIETY:JA Compact Disc 776143733623 OD7350 CANADIAN BRASS/JAZZ ROOTS Compact Disc 776143735023OD7347 CANADIAN BRASS/LEGENDS Compact Disc 776143734729 ODR9330 CANADIAN BRASS/MAGIC HORN Compact Disc 776143933023ODR7382 CANADIAN BRASS/STARS & STRIPES Compact Disc 7761437382220 89408 55012 6 7 60137 00512 45 013929 078932 7 31456 15452 7 7 31458 68762 78 13411 01046 5 7 76143 93372 6 7 76143 73362 37 76143 73462 0 7 76143 73502 3 7 76143 73472 97 76143 73682 2 7 76143 73802 4 7 76143 73822 27 76143 74152 9 7 76143 74162 8 7 76143 93302 37 76143 73832 1 0 34062 30008 28 05520 06057 8 1 87245 22204 36 16892 58712 5 6 16892 58732 37 90168 46832 2 6 02498 62792 1 0 89408 35746 6 Page 34 of 496 November 12, 2014Catalogue NumberArtist / Title Config Scannable UPC UPC ODR7371 CANADIAN BRASS/SWING THAT MUSI Compact Disc 776143737126 ODR9339 CANADIANBRASS/CELEBRATION Compact Disc 776143933924ODR9332 CANADIANBRASS/JOYFUL SOUNDS Compact Disc 776143933221ODR7334 CANADIANBRASS/WEDDING ESSENTIA Compact Disc 776143733425 DE21 CANCER BATS/BEARS/MAYORS/SCRAP CD with DVD 825996202128 MVDA4886 CANDY NOW/CANDY NOW Compact Disc 760137488620 USD53136 CANIBUS /CAN I BUS Compact Disc 601215313628 600262A CANNED HEA/GAMBLIN' WOMAN Compact Disc 712786002627 880052 CANNED HEA/KING BISCUIT PRESEN Compact Disc 707108800524 4710902 CANNONESSES OF THE HOLY/ETERNA Compact Disc 028947109020 4400673722 CANO/THE BEST OF CANO Compact Disc 044006737225 B001847302 CAPITAL CITIES/IN A TIDAL WAVE Compact Disc 602537370344 HUP005DN CAPTAIN EVERYTHING/LIVE AT THE Digital Video Disc 827657001392 SUM390 CAPTURE THE CROWN/ALL HYPE(EP Compact Disc EP's 817424012911 CVIS397 CARAVAN/35TH ANNIV.CONCERT(2DV Digital Video Disc 823564507392 FUR801027 CARAVANS,THE/GLAMOROUS HEART Compact Disc 5018901801027 ALP29 CARBON/AMUSIA Compact Disc 735286192926ALP61 CARBON/I:S:M: ARC Compact Disc 735286196122 B000370909 CARDIGANS THE/LIVE IN LONDON Digital Video Disc 602498232552 410282B CARDONA, M/CAMBUCHA Compact Disc 068944102822 B001377202 CAREY,M/ANGEL'S ADVOCATE Compact Disc 602527268897 SXYCD030 CAREY,M/THE LOWDOWN - UNAUTHOR Compact Disc 823564609522 B001181502 CARLA BLEY BIG BAND/APPEARING Compact Disc 602517255166 CDROUN0197 CARLIN, BOB /BANGING & SAWI Compact Disc 011661019720 INAK74531BD CARLTON,L & LUKATHER BAND/PARI BLU RAY 707787745390 ABR70072 CARMEN,E/TONIGHT YOU'RE MINE Compact Disc 617742700725 7 07787 74539 08 25996 20212 8 7 12786 00262 7 7 07108 80052 4 0 11661 01972 07 60137 48862 0 8 23564 60952 27 35286 19292 6 7 35286 19612 25 018901 801027 6 02527 26889 76 02537 37034 46 01215 31362 8 6 02517 25516 60 28947 10902 0 0 44006 73722 5 6 17742 70072 50 68944 10282 27 76143 73342 57 76143 93322 17 76143 93392 47 76143 73712 6 8 17424 01291 18 27657 00139 2 8 23564 50739 2 6 02498 23255 2 Page 35 of 496 November 12, 2014Catalogue NumberArtist / Title Config Scannable UPC UPC B001364902 CARNEY/MR. GREEN VOL.1 Compact Disc 602527237961 MASSCD1175D GCARNIVORE/RETALIATION (REMASTE Compact Disc 5907785032408 B000082009 CARPENTERS THE/INTERPRETATIONS Digital Video Disc 602498604731 0694934162 CARPENTERS THE/THE ESSENTIAL C Compact Disc 606949341626 4757567 CARRERAS,J/MASSENET:WERTHER Compact Disc 028947575672 NOT5012 CARROLL.J/PRAYING MANTIS Compact Disc 617742501223 INTROCD2060 CARTER FAMILY/A PROPER INTRO T Compact Disc 805520060608 390519 CARTER,B/LIVE IN MONTREUX Digital Video Disc 801213905195 GRD9947 CARTER,B/PRICELESS JAZZ Compact Disc 011105994729 ABR224222 CARTER,C/I FELL IN LOVE Compact Disc 783722242223 3145486262 CASE/OPEN LETTER Compact Disc 7314548626220121532912 CASH MONEY/BALLER BLOCKIN' Compact Disc 601215329124 825812 CASH, ROSA/RULES OF TRAVEL Compact Disc 724358258127 FEP714692 CASH,J & VAR/WE THE PEOPLE Compact Disc 045507146929 TC252257 CASH,J/FOREVER CD with DVD 628261225729 0881702832 CASH,J/IS COMING TO TOWN/BOOM Compact Disc 008817028323 B001513709 CASH,J/JOHNNY CASH RETURNS TO Compact Disc 602527579191 KELSODVD2 CASH,J/LEGENDS IN CONCERT:THE Digital Video Disc 5060204780516 TVCME01 CASH,J/MAN IN BLACK:(LTD)DVD Digital Video Disc 793573867070 EDO003 CASTRO,E/PHOENIX Compact Disc 837101186049 PJ82462 CASTRO,E/SACRED GRAFFITI Compact Disc 829166824622 NPR235 CATASTROPHIC/PATHOLOGY OF MURD Compact Disc 693723506227 3145125102 CATHERINE-WHEEL/FERMENT Compact Disc 731451251023 SXYCD028 CAVE,N/THE LOWDOWN Compact Disc 823564609225 957292 CAVE/NICK/THE B/THE BOATM(2CD Compact Disc 5099909572928957222 CAVE/NICK/THE BAD/LET LOVE IN Compact Disc 50999095722256 28261 22572 9 8 37101 18604 9 8 29166 82462 27 83722 24222 35 907785 032408 8 23564 60922 56 17742 50122 3 0 45507 14692 9 6 02527 57919 16 01215 32912 40 28947 57567 2 0 08817 02832 36 02527 23796 1 0 11105 99472 9 7 31451 25102 37 31454 86262 2 7 24358 25812 76 06949 34162 6 6 93723 50622 7 5 099909 572928 5 099909 572225 8 05520 06060 8 7 93573 86707 05 060204 780516 6 02498 60473 1 8 01213 90519 5 Page 36 of 496 November 12, 2014Catalogue NumberArtist / Title Config Scannable UPC UPC 957242 CAVE/NICK/THE BAD/MURDER B(2CD Compact Disc 5099909572423 957262 CAVE/NICK/THE BAD/MURDER BALLA Compact Disc 5099909572621 957362B CAVE/NICK/THE BAD/NO MORE SHAL Compact Disc 5099909573628 957342C CAVE/NICK/THE BAD/NO MORE(2CD Compact Disc 5099909573420 957312 CAVE/NICK/THE BAD/THE BOATMAN Compact Disc 5099909573123232232 CAVE/NICK/WARREN/THE ROAD ORIG Compact Disc 5099962322324232302 CAVE/NICK/WARREN/WHITE LUN(2CD Compact Disc 5099962323024 FCD84022 CCR/COSMO'S FACTORY (REMASTERE Compact Disc 025218840224FCD83932 CCR/GREEN RIVER (REMASTERED) Compact Disc 025218839327 4400671912 CCR/RECOLLECTION Compact Disc 044006719122 FCD96862 CCR/THE CONCERT (REMASTERED) Compact Disc 025218968621FCD83972 CCR/WILLIE & THE POOR(REMASTE Compact Disc 025218839723 4589282 CECILIA-&-BRYN Compact Disc 028945892825 083582 CELTIC WOM/FIVE FOR $5 Compact Disc 5099930835825 2537715657 CELTIC WOMAN/EMERALD MUSICAL G Compact Disc 602537715657 CDFLY394 CEPHAS, JOHN & /DOG DAYS OF AU Compact Disc 018964039424 LIB33278 CETERA,P & GRANT,A/SOUNDSTAGE Digital Video Disc 619061327836 FOL32812 CHAD MITCHELL TRIO,THE/AT THE Compact Disc 045507328127FOL32622 CHAD MITCHELL TRIO,THE/MIGHTY Compact Disc 045507326222FOL33132 CHADMITCHELL TRIO,THE/BLOWIN' Compact Disc 045507331325 4758352 CHAILLY,R/SCHUMANN:SYMPHONIES Compact Disc 0289475835234429606 CHAILLY/RCO/MAHLER:THE COMPLET Compact Disc 028944296068 6076847342 CHAMBERLIN,J/LIFE BEGINS AGAIN Compact Disc 060768473423 CCM08312 CHAMBERS BROTHERS/NOW Compact Disc 617742083125 B001372302 CHAMILLIONAIRE/VENOM Compact Disc 602527257532 SNCD10492 CHAMPIAN FULTON/CHAMPIAN SINGS Compact Disc 6019171049200 18964 03942 40 25218 96862 10 25218 83932 7 0 25218 83972 30 25218 84022 4 6 17742 08312 50 45507 32622 2 0 45507 33132 50 45507 32812 7 6 01917 10492 06 02527 25753 26 02537 71565 70 44006 71912 2 0 28947 58352 3 0 28944 29606 80 28945 89282 5 5 099930 835825 5 099909 572423 5 099909 573420 5 099909 572621 5 099909 573123 5 099909 573628 5 099962 322324 5 099962 323024 0 60768 47342 36 19061 32783 6 Page 37 of 496 November 12, 2014Catalogue NumberArtist / Title Config Scannable UPC UPC 567912A CHANG, SAR/SWEET SORROW Compact Disc 724355679123 PRMCD2011 CHAPMAN,R & FAMILY/ROGER CHAPM Compact Disc 805520290111 775422 CHAQUICO, /ACOUSTIC HIGHWAY Compact Disc 724387754225 CLC377 CHARIOTEERS/BEST OF Compact Disc 617742037722 6076847782 CHARLATANS UK,T/SIMPATICO Compact Disc 060768477827 710212F CHARLEMANGE/DETOUR ALLURE Compact Disc 712177102127 CRE3143902 CHARLES RAY/LIVE IN CONCERT Compact Disc 888072314399 CRE31406 CHARLES,R/A MESSAGE FROM THE P Compact Disc 888072314061 SYN027 CHARLES,R/BROTHER RAY'S BLUES Compact Disc 874757002729 TC253118 CHARLES,R/FOREVER Compact Disc 628261311828 CRE31669 CHARLES,R/GENIUS + SOUL=JAZZ Compact Disc 888072316690 CCDCD2248 CHARLES,R/GENIUS LOVES COMPANY Compact Disc 013431224822 CRE31293 CHARLES,R/GENIUS! - THE ULTIMA Compact Disc 888072312937CRE33175 CHARLES,R/HIT THE ROAD JACK AN Compact Disc 888072331754CRE31337 CHARLES,R/MODERN SOUNDS IN COU Compact Disc 888072313378 CRE3219602 CHARLES,R/RARE GENIUS:THE UNDI Compact Disc 888072321960 CRE31896 CHARLES,R/SINGS FOR LOVERS Compact Disc 888072318960 CRE3325802 CHARLES,R/SINGULAR GENIUS:THE Compact Disc 888072332584 CRE31670 CHARLES,R/THE GENIUS HITS THE Compact Disc 888072316706CRE31671 CHARLES,R/THE SPIRIT OF CHRIST Compact Disc 888072316713 RCV001 CHARMS/EASY TROUBLE (DVD) Digital Video Disc 747728958120 790082A CHASE PHOE/CUT THE CHASE Compact Disc 800867900822710062A CHAVEZ, JO/MUSIC FROM THE CONN Compact Disc 800867100628 CDROUN2126 CHAVIS, BOOZOO /BOOZOO, THAT'S Compact Disc 011661212626 CCM21122 CHECKER,C/IT'S PONY TIME/LET'S Compact Disc 617742211221 AG7912 CHECKFIELD/SURROUNDED Compact Disc 0128050791298 88072 31293 7 8 88072 32196 08 88072 31669 0 8 88072 33258 48 88072 31337 88 88072 31439 9 8 88072 33175 4 8 88072 31670 68 88072 31896 08 88072 31406 1 8 88072 31671 36 28261 31182 8 8 00867 10062 88 00867 90082 2 0 11661 21262 60 13431 22482 28 74757 00272 9 6 17742 21122 16 17742 03772 28 05520 29011 1 7 24387 75422 57 24355 67912 3 0 12805 07912 97 12177 10212 70 60768 47782 7 7 47728 95812 0 Page 38 of 496 November 12, 2014Catalogue NumberArtist / Title Config Scannable UPC UPC CCM21452 CHEECH & CHONG/LOS COCHINOS Compact Disc 617742214529 CCM21462 CHEECH & CHONG/WEDDING ALBUM Compact Disc 617742214628 949272 CHEMICAL B/WE ARE THE NIGHT Compact Disc 094639492725 CD420157 CHEMLAB/EAST SIDE MILITIA Compact Disc 637642015729 ACD71278 CHEN,W/DIARY IN G PIANOS SONAT Compact Disc 787867127827 4729 CHENIER,C/I'M HERE Compact Disc 014551472926 MW047 CHER/ALL I REALLY WANT TO DO:B Compact Disc 813411010472 MCABD922 CHER/GREATEST HITS Compact Disc 076732092224 GESSD24509 CHER/IF I COULD TUR Compact Disc 720642450925 3145602092 CHER/T WAY OF LOVE-T CHER COLL Compact Disc 7314560209213145205412 CHER/TAKE ME HOME Compact Disc 731452054128 RMED00189 CHERIE AND MARIE CURRIE/MESSIN Compact Disc 630428018921 MCABD10032 CHESNUTT,M/TOO COLD AT HO Compact Disc 008811003227 ABCVP129DVD CHIC/MOUNT FUJI FESTIVAL'03(DV Digital Video Disc 604388720705 5134D CHICAGO/BEGINNINGS(DVD) Digital Video Disc 9120817151342 NJPDVD620N CHICKENSHACK/IDRATHERGOLIVE Digital Video Disc 5055011707207 CHM0002 CHIELI MINUCCI & SPECIAL/LIVE Compact Disc 858370002069 0251761306 CHILDREN OF BODOM/HATEBREEDER Compact Disc 602517613065 SFE024D CHINA CRISIS/DIARY OF A HO(2CD Compact Disc 5013929843424 697242 CHINGY/HOODSTAR-LIMIT ED PAC Compact Disc 094636972428 117432A CHIPMUNKS,/A KID'S CHRISTMAS Compact Disc 096741174322 097572 CHIPMUNKS,/A KIDS CHRISTMAS (U Compact Disc 5099930975729 4439472 CHOPIN/CHOPIN EXPERIENCE Compact Disc 0289443947264630512 CHOPIN/EDITIONV.2/BALLADES ETU Compact Disc 0289463051264630572 CHOPIN/EDITIONV.4/NOCTURNES Compact Disc 0289463057204141272 CHOPIN/ETUDES OP. 10 & OP. 25 Compact Disc 0289414127206 37642 01572 96 17742 21452 9 6 17742 21462 8 8 58370 00206 97 87867 12782 7 5 099930 975729 6 02517 61306 5 0 96741 17432 20 94639 49272 5 0 08811 00322 70 76732 09222 4 7 31456 02092 17 20642 45092 5 7 31452 05412 8 0 28946 30512 6 0 28946 30572 00 28944 39472 6 0 28941 41272 00 94636 97242 85 013929 843424 8 13411 01047 2 6 30428 01892 10 14551 47292 6 6 04388 72070 5 5 055011 707207 9 120817 151342 Page 39 of 496 November 12, 2014Catalogue NumberArtist / Title Config Scannable UPC UPC 4756617 CHOPIN/ETUDES OP.10 PIANO SONA SACD4Stereo/Surround/CDAud 028947566175 4628742 CHOPIN/T COMPLETE POLONAISES Compact Disc 028946287422 ISBDVD0001 CHOQUETTE,N/LA DIVA ET LE MAES Digital Video Disc 620323000190 NPD856802 CHRISTIANSON,B/A CHRISTMAS CAR Compact Disc 032466568022 ALP11 CHROME CRANKS/OILY CRANKS Compact Disc 735286191127 ITR1702 CHRSTMAS ISLAND/BLACKOUT SUMME Compact Disc 759718517026 4775706 CHUNG,MW/RAVEL:DAPHINIS ET CHL Compact Disc 028947757061 ODR7412 CHUNG-OO/INVITATION TO ROMANCE Compact Disc 776143741222 B000674102 CHYNN,T/OUT OF MANY-ONE Compact Disc 602498783788 4801413 CICCOLINI,A/CAMILLE SAINT-SAEN Compact Disc 028948014132 B000613202 CICCONEYOUTH(SONICYOUTH)THE WH Compact Disc 602498797921 DRRPM001 CINDY CRUSE RATCLIFF/TWENTY TH Compact Disc 044003133839 0180722 CINELU,M/QUEST JOURNEY Compact Disc 044001807220 MFO42404 CINERAMA/TORINO Compact Disc 767004240428 485392 CIPELLI, R/F. - A LEO Compact Disc 068944853922 AFM1773 CIRCLE II CIRLE/WATCHING IN SI Compact Disc 4046661083026 MVD5457D CIRCLE JERKS/MY CAREER AS(DVD Digital Video Disc 760137545798 485512B CIRQUE DU /25TH ANNIVERSARY ED Compact Disc 068944855124 485502 CIRQUE DU /ALLEGRIA Compact Disc 068944855025 CDSMCJ100052 CIRQUEDUSOLEIL/SALTIMBANCO Compact Disc 874751000141 HUCD3058 CITRUS SUN/ANOTHER TIME ANOTHE Compact Disc 053361305826 RMED00299 CITY BOY/BOOK EARLY Compact Disc 630428029927RMED00296 CITY BOY/CITY BOY Compact Disc 630428029620RMED00297 CITY BOY/DINNER AT THE RITZ Compact Disc 630428029729RMED00300 CITY BOY/THE DAY THE EARTH CAU Compact Disc 630428030022 305961 CIUFO, MIC/MOMENTO Compact Disc 793573059611 7 93573 05961 18 74751 00014 1 0 53361 30582 60 68944 85392 27 67004 24042 80 32466 56802 2 7 35286 19112 7 6 02498 78378 8 6 02498 79792 1 0 44001 80722 00 28946 28742 2 0 28947 75706 1 0 28948 01413 2 0 68944 85502 50 68944 85512 4 6 30428 02972 96 30428 02992 7 6 30428 03002 26 30428 02962 07 76143 74122 27 59718 51702 6 0 44003 13383 9 4 046661 083026 6 20323 00019 0 7 60137 54579 80 28947 56617 5 Page 40 of 496 November 12, 2014Catalogue NumberArtist / Title Config Scannable UPC UPC DA058 CIVIL WARS,THE/LIVE AT AMOEBA Compact Disc 821826003811 DRJTCBS001 CLAESSON,J T/I WILL WAIT Compact Disc 044003144385 PP010 CLAPTON,E/LAYLA (DVD) Digital Video Disc 603777901091 RT015 CLAPTON,E/PUT IT WHERE YOU WAN Digital Video Disc 9223814130157 3145318252 CLAPTON,E/SLOWHAND Compact Disc 731453182523 CM00001 CLARK, L/TRIBUTE TO LES PAUL Compact Disc 793573935540 153662 CLARK, SON/LEAPIN' AND LOPIN'/ Compact Disc 5099921536625 ABR70312 CLARK,G/GUY CLARK (CD) Compact Disc 617742703122 CCM20022 CLARK,P/OPEN YOUR HEART:A LOVE Compact Disc 617742200225 ZONE1011 CLARK,P/PAROS/ORLEANS/PARIS (2 Compact Disc 5060105741128 IEG2104 CLARK,P/PORTRAIT OF PETULA CLA Digital Video Disc 617742210491 CCM20832 CLARK,P/THIS IS CHRISTMAS Compact Disc 617742208320 B000143602 CLARK,T & O'FARRILL,C/SPANISH Compact Disc 602498610503 390649 CLARK,T/NORMAN GRANZ' JAZZ IN Digital Video Disc 801213906499 4884 CLARK,W/FROMAUSTINWITHSOUL Compact Disc 0145514884225607 CLARKE,W/DELUCEEDITION Compact Disc 0145515607224827 CLARKE,W/GROOVETIME Compact Disc 0145514827274806 CLARKE,W/SERIOUS INTENTIONS Compact Disc 014551480624 CHF00123 CLARKSON,K/THE ALL AMERICAN(DV Digital Video Disc 827191001230 355362 CLASSIC CR/ALBATROSS Compact Disc 094633553620 URBNET1015 CLASSIFIED/BOY-COTT-IN THE IND Compact Disc 775020620124 2707144 CLAYTON,G/TWO SHADE Compact Disc 602527071442 485342 CLEGG, JOH/BEST OF LIVE Compact Disc 068944853427 803092A CLIFF,J/JIMMY CLIFF Compact Disc 060768030923 6076804602 CLIFF,J/THIS IS CRUCIAL REGGAE Compact Disc 060768046023 B001135802 CLIQUE GIRLZ/INCREDIBLE Compact Disc 6025177263908 21826 00381 1 6 17742 20022 5 5 060105 741128 6 17742 70312 27 93573 93554 0 6 02517 72639 07 31453 18252 3 6 02498 61050 3 6 02527 07144 20 94633 55362 05 099921 536625 6 17742 20832 0 0 68944 85342 7 0 60768 04602 30 60768 03092 30 14551 48842 20 44003 14438 5 7 75020 62012 40 14551 48062 40 14551 48272 70 14551 56072 2 8 27191 00123 06 03777 90109 1 6 17742 21049 1 8 01213 90649 99 223814 130157 Page 41 of 496 November 12, 2014Catalogue NumberArtist / Title Config Scannable UPC UPC BND0042 CLOGS/LULLABY FOR SUE Compact Disc 632662555422 CCDCD4633 CLOONEY,R/DEMI-CENTENNIAL Compact Disc 013431463320 AMACD003 CLOONEY,R/ON THE AIR Compact Disc 884607000034 CCDCD7018 CLOONEY,R/ROSEMARY CLOONEY SHO Digital Video Disc 013431701897CCDCD2134 CLOONEY,R/SINGS ARLEN & BERLIN Compact Disc 013431213420CCDCD4112 CLOONEY,R/SINGS THE LYRICS OF Compact Disc 013431411222CCDCD4333 CLOONEY,R/SINGS THE LYRICS OF Compact Disc 013431433323 3145894852 CLOONEY,R/SWING AROUND ROSIE Compact Disc 731458948520 CCDCD1018 CLOONEY,R/WHITE CHRISTMAS SACD4Stereo/Surround/CDAud 013431101864 MMPCD0227 CLOSTERKELLER/NERO Compact Disc 5907785024700 B001509602 CLOWER,J/ICON Compact Disc 602527566597 CMAAO2 CMA/ALL OVER Compact Disc 693405005024 CVIS375DVD COBAIN,K/EARLY LIFE OF A LEGEN Digital Video Disc 823564504995 INTROCD2070 COBB,A/A PROPER INTRO TO:ARNET Compact Disc 805520060707 INAK813CD COBHAM,B/STRATUS Compact Disc 4001985008131 ION20122 COBRA STRIKE/2 Compact Disc 611688200929ION20092 COBRA STRIKE/THE 13TH SCROLL Compact Disc 611688201223 MA250250 COCHRAN,S/LIVE AT MONTREUX Compact Disc 5413992502509 329512 COCHRANE, /RAGGED ASS ROAD Compact Disc 724383295128265702 COCHRANE, /VICTORY DAY Compact Disc 077772657022 HHI014 COHEED AND CAMBRIA/THE AFTERMA Compact Disc 793573216953 767842 COHEN, ADA/MELANCOLISTA Compact Disc 724357678421 TPDVD166 COHEN,L/BIRD ON A WIRE (DVD) Digital Video Disc 604388737000 3145893182 COHN,A & SIMS,Z/YOU'N'ME Compact Disc 731458931829 SXYCD024 COLDPLAY/THE LOWDOWN Compact Disc 823564609027 RT023 COLDPLAY/VIOLET HILL-LIVE (DVD Digital Video Disc 92238141302320 13431 21342 0 0 13431 41122 2 0 13431 43332 30 13431 46332 0 5 413992 502509 6 11688 20122 34 001985 008131 6 11688 20092 95 907785 024700 8 23564 60902 76 02527 56659 7 7 31458 93182 97 31458 94852 0 7 93573 21695 3 7 24357 67842 10 77772 65702 27 24383 29512 88 84607 00003 4 8 05520 06070 76 32662 55542 2 6 93405 00502 40 13431 70189 7 6 04388 73700 08 23564 50499 5 9 223814 130232 0 13431 10186 4 Page 42 of 496 November 12, 2014Catalogue NumberArtist / Title Config Scannable UPC UPC 407622A COLE, LLOY/ANTIDEPRESSANT Compact Disc 827954076222 404142 COLE, LLOY/ECT Compact Disc 827954041428404152 COLE, LLOY/MUSIC IN A FOREIGN Compact Disc 827954041527404162 COLE, LLOY/PLASTIC WOOD Compact Disc 827954041626879972 COLE, NAT /PLATINUM Compact Disc 094638799726349274 COLE, NAT /UNFORGETTABLE ,THE Cassette 724383492749349262 COLE, NAT /UNFORGETTABLE ,THE Compact Disc 724383492626529952 COLE, NAT /VELVET VOICES Compact Disc 5099995299525 CCM08702 COLE, NAT KING/10TH ANNIVERSAR Compact Disc 617742087024CCM08682 COLE, NAT KING/EVERY TIME I FE Compact Disc 617742086829 CD83545 COLE,F/IN THE NAME OF LOVE Compact Disc 089408354526 2894724642 COLE,N/REFLECTIONS Compact Disc 028947246428 TC253258 COLE,NAT KING/FOREVER Compact Disc 628261325825 CA60008 COLE,NK/A NIGHTINGALE SANG:TRI Digital Video Disc 4028462600084 SYN035 COLE,NK/CENTRAL AVENUE BREAKDO Compact Disc 874757003528 CCM08232 COLE,NK/WELCOME TO THE CLUB/TE Compact Disc 617742082326 CD83595 COLEMAN,D/WHAT ABOUT LOVE? Compact Disc 089408359521 ROUTE16 COLEMAN,P/BLUE COMEDY Compact Disc 778224162520 ROK8013CD COLIN HODGKINSON GROUP/BACKDOO Compact Disc 707787801324 NPR144 COLLAPSE 7/IN DEEP SILENCE Compact Disc 693723343020 4743 COLLIN,C COPELAND/SHOWDOWN Compact Disc 014551474326 CCM21262 COLLINS, J/BREAD & ROSES Compact Disc 617742212624CCM21282 COLLINS, J/FIFTH ALBUM Compact Disc 617742212822 CCM21272 COLLINS, J/RUNNING FOR MY LIFE Compact Disc 617742212723 4719 COLLINS,A/FROSTBITE Compact Disc 014551471929 CCM08472 COLLINS,B/ULTRA WAVE Compact Disc 6177420847267 24383 49274 9 6 28261 32582 50 89408 35452 6 7 78224 16252 08 74757 00352 8 6 17742 21262 4 6 17742 08472 66 17742 08702 4 6 17742 08232 66 17742 08682 9 6 17742 21282 27 07787 80132 45 099995 299525 7 24383 49262 60 94638 79972 6 0 28947 24642 8 0 14551 47432 66 93723 34302 0 6 17742 21272 38 27954 04142 8 8 27954 04152 7 8 27954 04162 68 27954 07622 2 0 89408 35952 1 0 14551 47192 94 028462 600084 Page 43 of 496 November 12, 2014Catalogue NumberArtist / Title Config Scannable UPC UPC CCM08462 COLLINS,BOOTSY RUBBER BAND/THI Compact Disc 617742084627 CCM21252 COLLINS,J/CHRISTMAS AT THE BIL Compact Disc 617742212525CCM21222 COLLINS,J/HOME AGAIN Compact Disc 617742212228CCM21242 COLLINS,J/TIMES OF OUR LIVES Compact Disc 617742212426CCM21232 COLLINS,J/TRUE STORIES & OTHER Compact Disc 617742212327 CD421049 COLONY 5/LIFELINE Compact Disc 637642104928 B000656202 COLTRANE,A/THE IMPULSE STORY Compact Disc 602498551059B000219102 COLTRANE,A/TRANSLINEAR LIGHT Compact Disc 602498619292 253734979 COLTRANE,J/A LOVE SUPREME(DLX) BLU RAY AUDIO 602537349791 B001240202 COLTRANE,J/ASCENSION (EDT.I&II Compact Disc 602517920248 IMPD2168 COLTRANE,J/COMPLETE AFRICA BRA Compact Disc 011105016827 IMPD215 COLTRANE,J/JOHN COLTRANE-REMAS Compact Disc 011105021524 B001240402 COLTRANE,J/KULU SE MAMA Compact Disc 602517920347 IMPD199 COLTRANE,J/MEDITATIONS-REMASTE Compact Disc 011105019927 GRBD9874 COLTRANE,J/PRICELESS JAZZ Compact Disc 011105987424 3145890992 COLTRANE,J/SPIRITUAL Compact Disc 7314589099273145499142 COLTRANE,J/STANDARDS Compact Disc 731454991421 B000467200 COMMON/BE (DELUXE EDITION) CD with DVD 602498818961B000467102 COMMON/BE (EDITED) Compact Disc 602498818947 615492B COMPIL CLA/MOZART NOCTURNES Compact Disc 724356154926 668272 CONCERT AR/THE MILITARY BAND Compact Disc 724356682726 4775800 CONCERTOKOLN/MOZART:MOZART Compact Disc 028947758006 ANBD1070 CONEY HATCH/FRICTION Compact Disc 066825107027 TWA0082 CONGA NORVELL/ABNORMALS ANONYM Compact Disc 604978000828 CD421123 CONNELLY,C/CHRIS CONNELLY BOX Compact Disc 637642112329 265934 CONNORS, S/K.I.C. ALONG WITH Cassette 0777726593476 02537 34979 1 0 77772 65934 76 02498 81896 1 0 66825 10702 76 17742 21222 8 6 17742 21232 76 17742 21242 66 17742 21252 5 6 37642 11232 96 37642 10492 86 17742 08462 7 6 02517 92024 8 6 02517 92034 7 7 31454 99142 17 31458 90992 76 02498 61929 26 02498 55105 9 0 11105 98742 40 11105 01992 70 11105 02152 40 11105 01682 7 6 02498 81894 7 7 24356 15492 6 7 24356 68272 6 0 28947 75800 6 6 04978 00082 8 Page 44 of 496 November 12, 2014Catalogue NumberArtist / Title Config Scannable UPC UPC ALP250 CONTEMPORARY JAZZ QUINTET/ACTI Compact Disc 735286225020 MH26123 CONTINENTAL DRIFTERS/CONTINENT Compact Disc 019011612324 SNJBF015 CONTRO TRIO/CONNECTION Compact Disc 8051093880163 MASSCD1124D GCONTROL DENIED/FRAGILE ART OF Compact Disc 5907785031760 492904 COOK, JESS/FREEFALL Cassette 724384929046 MA250065 COOLIDGE,R/OUT OF THE BLUES Compact Disc 4011777910023 SL017 COOPER,A/BITE YOUR FACE OF(DVD Digital Video Disc 9553814130179 6076883159 COOPER,A/PRIME CUTS (DVD) Digital Video Disc 060768831599 RT011 COOPER,A/SCHOOL'S OUT(DVD) Digital Video Disc 9223814130119 SF13395 COOPER,A/STRANGE CASE OF AL(DV Digital Video Disc 826663133950 093624962960 COOPER,A/THEATRE OF DEATH (CD+ CD with DVD 093624962960 PJ22830 COOPER,R/TABERNACLE Compact Disc 783707228303 135022 COPELAND/YOU ARE MY SUNSHINE Compact Disc 5099921350221 GRMD9535 COREA CHICK/ELEKTRIC BAND Compact Disc 011105953528 391189 COREA,C & BURTON,G/LIVE AT MON Digital Video Disc 801213911899 CCDCD9020 COREA,C & ORIGIN/A WEEK AT THE SACD1Stereo 013431902027 B001002402 COREA,C& RETURN TO FOREVER/DEF Compact Disc 602517473058 CCDCD9002 COREA,C/THREE QUARTERS Compact Disc 013431900221 CADIZCD111 CORNWELL,H/TOTEM AND TABOO Compact Disc 844493061113 2310741092 CORONER/MENTAL VORTEX DIGITAL ALBUM 8231074109296076883139 CORROSION OF CONFORMITY/LIVE V Digital Video Disc 060768831391 INAK9092CD CORYELL,L/EARTHQUAKE AT THE AV Compact Disc 707787909228 DTG765893 COSBY,B/BADFOOT BROWN & THE BU Compact Disc 602517658936 3145391712 COSBY,B/HELLO,FRIEND/TO ENNIS Compact Disc 731453917125 B000986702 COSTA,M/UNFAMILIAR FACES Compact Disc 602517458581B000680110 COSTELLO,E&TOUSSAINT,A/THE RIV CD with DVD 6024985672587 24384 92904 6 0 93624 96296 0 6 02498 56725 80 13431 90022 10 19011 61232 4 8 44493 06111 37 83707 22830 3 7 07787 90922 85 907785 031760 7 35286 22502 0 8 051093 880163 6 02517 65893 64 011777 910023 6 02517 47305 8 7 31453 91712 5 6 02517 45858 10 11105 95352 85 099921 350221 8 23107 41092 98 01213 91189 99 223814 130119 9 553814 130179 8 26663 13395 00 60768 83159 9 0 60768 83139 10 13431 90202 7 Page 45 of 496 November 12, 2014Catalogue NumberArtist / Title Config Scannable UPC UPC B000863302 COSTELLO,E/GOODBYE CRUEL WORLD Compact Disc 602517260849 4715772 COSTELLO,E/IL SOGNO Compact Disc 028947157724 B000099902 COSTELLO,E/NORTH Compact Disc 602498091630B000158036 COSTELLO,E/NORTH SACD4Stereo/Surround/CDAud 602498612149B000864202 COSTELLO,E/POP MUSIC Compact Disc 602517260948B000863902 COSTELLO,E/TRUST Compact Disc 602517260900 MA250287 COTTON,J/HOW LONG CAN A FOOL G Compact Disc 5413992502875 ROUTE23 COUGHLIN,J/SIMPLY PLEASURES Compact Disc 776098176025 IJ543 COUNT BASIE & HIS ORCH/LIVE IN Digital Video Disc 8436028695430 SYN006 COUNT BASIE/ONE O'CLOCK JUMP Compact Disc 874757000626 DGCD225226 COUNTINGCROWS /ACROSS A WIRE- Compact Disc 720642522622 4762454 COUPERIN,F/LECONS DE TENEBRES; Compact Disc 028947624547 RPMSH296 COVAY,D/HOT BLOOD Compact Disc 5013929529625RPMSH292 COVAY,D/SUPER DUDE 1 Compact Disc 5013929529229 MRCD6427 COWBOY JUNKIES/ANATOMY OF A CD Compact Disc 823674642723MRCD6426 COWBOY JUNKIES/ONE SOUL NOW(LI Compact Disc 823674642624 WJR30 COWBOY NATION/A JOURNEY OUT OF Compact Disc 016351604828 CLC286 CRABBY APPLETON/Rotten To The Compact Disc 617742028621 182482 CRAMER, FL/PIANO MAGIC OF, THE Compact Disc 014921824829 ABCVP135DVD CRAMPS,THE/LIVE (DVD) Digital Video Disc 5060230860657 B000372409 CRANBERRIES THE/LIVE Digital Video Disc 602498233566 CDROUN0099 CRARY, DAN /LADY'S FANCY Compact Disc 011661009929 OP33801 CRASH KELLY/ONE MORE HEART ATT Compact Disc 776143380124 CLC468 CRAWFORD,J/The Captivating Joh Compact Disc 617742046823 PPCR025 CRAY,R/THE ROBERT CRAY COLLECT Digital Video Disc 5013929402553 467009 CREAM/CLASSIC ARTISTS CD with DVD 068944670093 0 68944 67009 38 23674 64262 48 23674 64272 3 0 11661 00992 90 14921 82482 95 413992 502875 7 76098 17602 5 8 74757 00062 6 6 17742 04682 36 17742 02862 10 16351 60482 86 02517 26094 86 02517 26084 9 6 02517 26090 0 7 20642 52262 2 0 28947 62454 76 02498 09163 00 28947 15772 4 5 013929 529229 5 013929 529625 7 76143 38012 4 5 013929 402553 5 060230 860657 6 02498 23356 68 436028 695430 6 02498 61214 9 Page 46 of 496 November 12, 2014Catalogue NumberArtist / Title Config Scannable UPC UPC 296942B CREED/FULL CIRCLE (DLX) CD/DVD CD with DVD 5099902969428 TC253055 CREEDANCE CLEARWATER REVIVAL/F Compact Disc 628261305520 RR005 CREEDENCE CLEARWAT/WOODSTOCK Compact Disc 9215017160055 RT016 CREEDENCE CLEARWATER REVIVAL/H Digital Video Disc 9223814130164RT024 CREEDENCE CLEARWATER REVIVAL/W Digital Video Disc 9223814130249RT031 CREEDENCE CLEARWATER/LIVE ON S Digital Video Disc 9223814130317 MVD5263A CREEPERSIN/CREEPERSIN REANIMAT Compact Disc 760137526322MVD5205A CREEPERSIN/DIEMONSTERDIE/OTHER Compact Disc 760137520528 CEM7 CREEPERSIN/FASTER CREEPERSIN K Compact Disc 635961072829 880592 CRENSHAW, /I'VE SUFFERED FOR M Compact Disc 707108805925 ALP78 CRESENT/ELECTRONIC SOUNDS CONS Compact Disc 735286197822 4758243 CRESPIN,R/PRIMA DONNA IN PARIS Compact Disc 028947582434 B000907402 CRESPO,E/REGRESO EL JEFE Compact Disc 602517350496B001431802 CRISPELL/ROTHENBERG/ONE NIGHT Compact Disc 602517992207 CRITCD002 CRITICAL RHYTHM/SINGULAR 2 Compact Disc 5704207113109 B001975102 CROLL,D/SWEET DISARRAY Compact Disc 602537626267 310042A CROOKED LA/GOOD OLD DAYS,THE Compact Disc 669803100425 SYN016 CROSBY & NASH/BITTERSWEET Compact Disc 874757001623 6076864272 CROSBY & NASH/HIGHLIGHTS Compact Disc 060768642720 CCM21612 CROSBY,B/CHRISTMAS SESSIONS Compact Disc 617742216127 CCM21062 CROSBY,B/ON THE SENTIMENTAL SI Compact Disc 617742210620 CCM21092 CROSBY,B/SO RARE-TREASURES FRO Compact Disc 617742210927 IEG2206 CROSBY,B/THE TELEVISIION SPECI Digital Video Disc 617742220698IEG2231 CROSBY,B/THE TELEVISION SPECIA Digital Video Disc 617742223194 B001299002 CROSS CANADA RAGWEED/HAPPINESS Compact Disc 602527067100B000888902 CROSS CANADIAN RAGWEED/MISSION Compact Disc 6025173249545 099902 969428 6 28261 30552 0 7 07108 80592 57 60137 52632 2 8 74757 00162 36 35961 07282 97 60137 52052 8 6 17742 21092 77 35286 19782 2 5 704207 113109 6 17742 21612 76 02537 62626 7 6 02527 06710 0 6 02517 32495 46 02517 35049 6 6 69803 10042 56 02517 99220 70 28947 58243 49 215017 160055 6 17742 21062 00 60768 64272 0 6 17742 22319 46 17742 22069 89 223814 130164 9 223814 130249 9 223814 130317 Page 47 of 496 November 12, 2014Catalogue NumberArtist / Title Config Scannable UPC UPC 6076862832 CROSS,C/GREATEST HITS LIVE Compact Disc 060768628328 6076862902 CROSS,C/RED ROOM Compact Disc 060768629028 CDROUN8017 CROW, DAN & OTH/CHANUKAH AT HO Compact Disc 011661801721 3020602822 CRUISE,J/ART OF BEING A GIRL Compact Disc 030206028225 INTROCD2045 CRUZ,C/A PROPER INTRO TO:CELIA Compact Disc 805520060455 TER009 CRYSTAL METHOD,THE/DIVIDED BY Compact Disc 852967001107 TWR0001 CUESTA,C/MI BOSSA NOVA Compact Disc 700261315850 PRRI762802 CUETE/LEGEND OF A GANGSTER Compact Disc 795957628024PRRI761762 CUETE/ROUND TOWNE MUSIC Compact Disc 795957617028 INTROCD2026 CUGAT,X/A PROPER INTRO TO:XAVI Compact Disc 805520060264 B000393902 CUGAT,X/CUSI'S COCKTAILS Compact Disc 075021034815 3736208 CULLUM,J/MOMENTUM(2CD+DVD) CD with DVD 602537362080 CDHBEA151 CULTURE /PRODUCTION SOM Compact Disc 011661765122CDHBEA137 CULTURE /TROD ON Compact Disc 011661763722 737122 CULTURE CL/GREATEST HITS Compact Disc 724387371224924062 CULTURE CL/WAKING UP WITH THE Compact Disc 724359240626 CCM00862 CUMBERLAND THREE,THE/FOLK SCEN Compact Disc 617742008623 IC1017 CURSON,T AND CO/JUBILANT POWER Compact Disc 077712710176 OIE0142 CURTIS/BLUE ELECTRIC COOL Compact Disc 825346751429 CRVE001 CURVED AIR/LIVE ATMOSPH(CD+DVD CD with DVD 5060105490071 800582A CUSHNIE, S/CANADIAN ACES Compact Disc 778578005825800572A CUSHNIE, S/TWO PIANOS,NO WAITI Compact Disc 778578005726 SJMC1001 CUSSON,M/MATT CUSSON Compact Disc 798304015447 MODCD027 CUTCOPY/BRIGHT LIKE NEON LOVE Compact Disc 898926000125 4775015 CYCLE/CANTO DE LA VIDA Compact Disc 028947750154 MASSCDDG106 5CYCLONE/BRUTAL DESTRUCTION Compact Disc 59077850303745 060105 490071 6 02537 36208 0 0 11661 76512 20 30206 02822 50 11661 80172 1 0 11661 76372 2 7 98304 01544 77 00261 31585 0 5 907785 030374 0 77712 71017 66 17742 00862 37 24387 37122 4 7 24359 24062 60 75021 03481 5 8 98926 00012 5 0 28947 75015 47 78578 00582 5 7 78578 00572 68 05520 06045 5 8 05520 06026 4 8 25346 75142 97 95957 61702 87 95957 62802 40 60768 62832 8 0 60768 62902 8 8 52967 00110 7 Page 48 of 496 November 12, 2014Catalogue NumberArtist / Title Config Scannable UPC UPC TTSDR0101 D.O.A/THOR/ARE U READY Compact Disc 652975010128 BRC0019 D.R.I./LIVE AT CBGB'S 1984(DVD Digital Video Disc 650557011129 B000240502 D12/D12 WORLD (EDITED) Compact Disc 602498621639 XXICD21484 DA COSTA,A/ESPANA Compact Disc 722056148429XXICD21422 DA COSTA.A/HENDIX,MCARTNEY & Y Compact Disc 722056142229 9866212 DADAFON/HARBOUR Compact Disc 602498662120 B000893702 DADDY YANKEE/EL CARTEL:THE BIG Compact Disc 602517335707B000584100 DADDYYANKEE/BARRIO FINO EN DIR CD with DVD 602498875872B000579200 DADDYYANKEE/BARRIO FINO EN DIR CD with DVD 602498872406 1166106102 DAILEY & VINCENT/SINGING FROM Compact Disc 011661061026 405199 DAISY CHAI/VIDEOS,THE Digital Video Disc 827954051991 CDHBEA92 DALEY, LLOYD /LLOYD DALEY'S Compact Disc 011661759220 4391066720 DALTON/PIT STOP Compact Disc 8024391066720 PMR0012 DAMEMAS/LET YOUR TAPE ROCK Compact Disc 600064900126 92004 DAMN FINE BAND FT:ROSE TATTOO/ Compact Disc 4012666920048 SDR0005 DAMNED,THE/MOLTEN LAGER Compact Disc 652975000525 955224 DAMONE, VI/LEGENDARY VIC DAMON Cassette 724349552241 955222A DAMONE, VI/LEGENDARY VIC DAMON Compact Disc 724349552227 DM2504 DAMONE,V/ON THE STREET WHERE Y Digital Video Disc 022891250494 CCM20082 DANA,B/MY NAME..JOSE JIMENEZ Compact Disc 617742200829 MCASD11676 DANCE HALL CRAS/HONEY I M HOME Compact Disc 008811167622 368292 DANDY WARH/ODDITORIUM OR WARLO Compact Disc 094633682924 ID001 DANTER,I/PROVE YOU WRONG Compact Disc 5060105490187 KRD11278 DAOU,V/ZIPLESS Compact Disc 008811127824 CLC171 DARIN,B/THE CURTAIN FALL-LIVE Compact Disc 617742017120CLC402 DARIN,B/THINGS & OTHER THINGS Compact Disc 6177420402277 24349 55224 16 02498 87587 2 6 02498 87240 67 22056 14222 97 22056 14842 9 0 11661 06102 6 0 11661 75922 0 5 060105 490187 6 17742 20082 94 012666 920048 6 17742 04022 76 17742 01712 06 52975 00052 56 52975 01012 8 7 24349 55222 76 02517 33570 7 0 08811 12782 40 08811 16762 26 02498 62163 9 6 02498 66212 0 0 94633 68292 48 024391 066720 6 00064 90012 6 0 22891 25049 48 27954 05199 16 50557 01112 9 Page 49 of 496 November 12, 2014Catalogue NumberArtist / Title Config Scannable UPC UPC CLC400 DARIN,B/TWIST WITH BOBBY DARIN Compact Disc 617742040029 CLC403 DARIN,B/WINNERS Compact Disc 617742040326 NPR155LTD DARKWELL/METATRON Compact Disc 693723013121 MMPCD0296 DARZAMAT/SEMIDEVILISH Compact Disc 5907785025714 TVT03852 DASHBOARD CONFESSIONAL/A MARK, CD with DVD 601091038523 B000898102 DASHBOARD CONFESSIONAL/DUSK & Compact Disc 602517340046B000606102 DASHBOARD CONFESSIONAL/DUSK AN Compact Disc 602498893401 TVT03802 DASHBOARD CONFESSIONAL/SWISS A Compact Disc 601091038028TTR80012 DASHIELL,B & THE KINSMEN/BUD D Compact Disc 617742800128 ABCD236 DAUGHTRY,C/MAXIMUM DAUGHTRY Compact Disc 823564027128 MOOD4606CD DAUNER/SALUZZI/MARIANO/ONE NIG Compact Disc 707787460620 WWR0707 DAVE GLEASON'S WASTED DAYS/JUS Compact Disc 837101341554 SJPCD179 DAVIES,D/BUG Compact Disc 5055011701793SJPCD212 DAVIES,D/TRANSFORMATION Compact Disc 5055011702127 3145895462 DAVIS JR,S/BOY MEETS GIRL:SAM Compact Disc 731458954620 747332 DAVIS, AND/HANDEL:MESSIAH HIGH Compact Disc 724357473323 737332A DAVIS, AND/HOLST:THE PLANETS Compact Disc 724357373326 576102 DAVIS, MIL/BALLAD ARTISTRY OF Compact Disc 077775761023 CD85508 DAVIS,A/SURRENDER DOROTHY Compact Disc 089408550829 AG1012 DAVIS,C&VAR/DINNER Compact Disc 012805010122AG1022 DAVIS,C&VAR/PARTY Compact Disc 012805010221AG1052 DAVIS,C&VAR/PARTY 2 Compact Disc 012805010528AG1032 DAVIS,C&VAR/ROMANCE Compact Disc 012805010320AG1072 DAVIS,C&VAR/ROMANCE II Compact Disc 012805010726AG1002 DAVIS,C&VAR/SUNDAY MORNING COF Compact Disc 012805010023AG1042 DAVIS,C&VAR/SUNDAY MORNING COF Compact Disc 0128050104296 01091 03852 36 17742 04002 9 5 055011 701793 8 23564 02712 8 5 055011 702127 5 907785 025714 7 07787 46062 06 17742 80012 86 17742 04032 6 6 02517 34004 6 7 31458 95462 06 01091 03802 86 02498 89340 1 7 24357 37332 67 24357 47332 3 0 77775 76102 3 0 12805 01002 30 12805 01012 2 0 12805 01022 1 0 12805 01032 0 0 12805 01042 90 12805 01052 8 0 12805 01072 68 37101 34155 46 93723 01312 1 0 89408 55082 9 Page 50 of 496 November 12, 2014Catalogue NumberArtist / Title Config Scannable UPC UPC AG2982 DAVIS,CPRESENTS/VAR/A RENAISSA Compact Disc 012805029827 OJCCD10852 DAVIS,E & GRIFFIN,J/BATTLE STA Compact Disc 025218708524 390669 DAVIS,E/NORMAN GANTZ'JAZZ IN M Digital Video Disc 801213906697 3726516 DAVIS,M/ASCENSEUR POUR LECHAFA BLU RAY AUDIO 602537265169 AMACD004 DAVIS,M/BROADCAST SESSIONS Compact Disc 884607000041 OJCCD6 DAVIS,M/T NEW MILES DAVIS QUIN Compact Disc 025218110624 OJCCD296 DAVIS,M/WORKIN' WITH T MILES D Compact Disc 025218629621 CLC4942 DAVIS,S & ALMEIDA,L/SAMMY DAVI Compact Disc 617742049428 MW013 DAVIS,S JR./SAMMY'S SWINGINEST Compact Disc 813411010137 CLC449 DAVIS,S JR/SALUTES THE STARS O Compact Disc 617742044928 CLC7482 DAVIS,S.JR/SING JUST FOR LOVER Compact Disc 617742074826CLC7492 DAVIS,S.JR/STARRING SAMMY DAVI Compact Disc 617742074925CLC4922 DAVIS,S/THE SAMMY DAVIS, JR SH Compact Disc 617742049220CLC4902 DAVIS,S/WHEN THE FEELING HITS Compact Disc 617742049022 EW4920 DAWKINS,J/KANT SCHECK DEES BLU Compact Disc 739788492027 MRCD6568 DAWN GOLDEN/STILL LIFE Compact Disc 823674656829 SYN019 DAY,D/SOMEBODY LOVES ME Compact Disc 874757001920 0770300372 DAYS OF THE NEW/DAYS OF THE NE Compact Disc 607703003729 ABCVP118DVD DAZZ BAND/THE BEST OF FUNK (DV Digital Video Disc 604388713721 CLC7452 DB'S,THE & FRIENDS/IT'S CHRIST Compact Disc 617742074529 MH26122 DB'S,THE/PARIS AVENUE Compact Disc 019011612225 SDR0003 DBS/I IS FOR INSIGNIFICANT Compact Disc 652975000327 251402A DC TALK/JESUS FREAK Compact Disc 724382514022 CD8000 DE BURGH,C/SPARK TO A FLAME: T Compact Disc 075021800021 0694934292 DE BURGH,C/TIMING IS EVERYTHIN Compact Disc 6069493429206076875122 DE LA SOUL/THE GRIND DATE Compact Disc 0607687512246 02537 26516 90 12805 02982 7 0 25218 62962 1 0 19011 61222 58 74757 00192 06 17742 04922 08 13411 01013 7 6 52975 00032 76 17742 04902 26 17742 04492 86 17742 04942 8 6 17742 07452 96 17742 07482 6 6 17742 07492 5 7 39788 49202 7 6 06949 34292 06 07703 00372 9 7 24382 51402 2 0 75021 80002 10 25218 70852 4 0 25218 11062 4 8 23674 65682 98 84607 00004 1 0 60768 75122 46 04388 71372 18 01213 90669 7 Page 51 of 496 November 12, 2014Catalogue NumberArtist / Title Config Scannable UPC UPC YY9435 DE NIEVE,B/THE IMCOMPARABLE BO Compact Disc 8436006494468 4400134702 DE PHAZZ/DEATH BY CHOCOLATE Compact Disc 044001347023 DR4418 DEAD BOYS/LIVE AT CBGB 1977(DV Digital Video Disc 022891441892 PIASA55CD DEAD CAN DANCE/ANASTASIS Compact Disc 843798000933PIASA57CD DEAD CAN DANCE/IN CONCERT Compact Disc 843798001084 MR42903 DEAD KENNEDYS/BEDTIME FOR DEMO Compact Disc 767004290324 MR42902 DEAD KENNEDYS/FRANKENCHRIST Compact Disc 767004290225 MFO42909 DEAD KENNEDYS/FRESH FRUIT FOR CD with DVD 767004290928 MR42907 DEAD KENNEDYS/FRESH FRUIT FOR Compact Disc 767004290720MR42904 DEAD KENNEDYS/GIVE ME CONVENIE Compact Disc 767004290423MR42908 DEAD KENNEDYS/LIVE AT THE DEAF Compact Disc 767004290829 MR42910 DEAD KENNEDYS/MILKING THE SACR Compact Disc 767004291024 MR42905 DEAD KENNEDYS/MUTINY ON THE BA Compact Disc 767004290522MR42901 DEAD KENNEDYS/PLASTIC SURGERY Compact Disc 767004290126 404482 DEADMAN/OUR INTERNAL GHOSTS Compact Disc 827954044825 TWA0682 DEAN AND BRITTA/SONIC SOUVENIR Compact Disc 604978006820 NG012 DEAR AND GLORIOUS PHYSICIAN/DE Compact Disc 616822036020 MRCD6462 DEARS,T/GANG OF LOSERS Compact Disc 823674646226 ISRCD88060 DEATH & TAXES/TATTOOED HEARTS Compact Disc 825888806021 TWA0432 DEATH BY CHOCOLATE/ZAP THE WOR Compact Disc 604978004321 BADVCCD4 DEATH IN JUNE/BURIAL Compact Disc 4038846600043 DR4387 DEATH METAL/DEATH METAL: A DOC Digital Video Disc 022891438793 COUNT0122 DEATH SET/WORLDWIDE Compact Disc 625978001226 MW020 DECORMIER,B&L/WOODY GUTHRIE CH Compact Disc 813411010205 LV127 DEE,JOEY/THE STARLITERS/MORE T Compact Disc 764942211923 6076862502 DEEP PURPLE/ABANDON Compact Disc 0607686250207 67004 29092 87 67004 29032 4 7 67004 29102 4 7 64942 21192 36 16822 03602 0 8 25888 80602 10 44001 34702 3 8 13411 01020 58 23674 64622 68 436006 494468 7 67004 29012 67 67004 29022 5 7 67004 29052 27 67004 29082 97 67004 29042 37 67004 29072 0 4 038846 600043 8 27954 04482 5 6 25978 00122 66 04978 00432 16 04978 00682 08 43798 00093 3 0 60768 62502 08 43798 00108 40 22891 44189 2 0 22891 43879 3 Page 52 of 496 November 12, 2014Catalogue NumberArtist / Title Config Scannable UPC UPC 300309 DEEP PURPLE/CONCERTO FOR GROUP Digital Video Disc 801213003099 WWCD050 DEEP ROOT/BEST OF DEEP ROOT Compact Disc 718750555021 AMCL1030 DEEP RUMBA/A CALM IN THE FIRE Compact Disc 692863103020AMCL1024 DEEP RUMBA/THE NIGHT BECOMES A Compact Disc 692863102429 UP23780 DEER,GM/YEAH, BUT THE RESPONSE Compact Disc 706442378027 3145324862 DEF-LEPPARD/SLANG Compact Disc 731453248625 CD421020 DEFRAGMENTATION/SELF CONSTRUCT Compact Disc 637642102023 6076803322 DEKKER,D/ISRAELITES:THE BEST O Compact Disc 0607680332216076805712 DEKKER,D/THIS IS CRUCIAL REGGA Compact Disc 0607680571286076805642 DEKKER,D/TJIS IS DESMOND DEKKE Compact Disc 0607680564286076805222 DEKKER,D/YOU CAN GET IT IF YOU Compact Disc 060768052222 20686 DEL MAR/AFTER THE QUAKE Compact Disc 884502068672 3785754 DEL REY,L/ULTRAVIOLENCE(DLX) Compact Disc 602537857548 B000159102 DEL VIKINGS/THE BEST OF THE DE Compact Disc 602498612262 PTV76 DELETED SCENES/LITHIUM BURN Compact Disc 760137622826 8411102 DELGADO,R/20 SOUTH AMERICA Compact Disc 042284111027 MVD5761A DELICIOUS DOO WOP AND/VOLUME 1 Compact Disc 760137576129 ABR70112 DEL-LORDS,THE/BASED ON A TRUE Compact Disc 617742701128 AB70272 DEL-LORDS,THE/LOVERS WHO WANDE Compact Disc 617742702729 SHOUT38 DELLS/ALWAYS TOGETHER Compact Disc 5013929503823 8472672 DENNIS,C/MOVE TO THIS Compact Disc 042284726726 CCML6002 DENVER,J/LIVE AT CEDAR RAPIDS Compact Disc 617742600223 B000589277 DEPECHEMODE/ONE NIGHT IN PARIS Universal Media Disc 602498879061 PWSNCD10242 DEROSE,D/LOVE'S HOLIDAY Compact Disc 601917102421 880362 DERRINGER,/KING BISCUIT FLOW/H Compact Disc 707108803624 SFMDVD019 DERRINGER,R/ROCK SPECTACULAR(D Digital Video Disc 823195001344 7 07108 80362 48 84502 06867 2 6 17742 70272 96 92863 10242 96 92863 10302 0 7 06442 37802 7 6 17742 60022 36 37642 10202 3 7 60137 57612 97 18750 55502 1 6 17742 70112 8 6 01917 10242 16 02537 85754 8 0 42284 11102 77 31453 24862 5 0 42284 72672 66 02498 61226 2 5 013929 503823 7 60137 62282 60 60768 05712 8 0 60768 05642 80 60768 03322 1 0 60768 05222 28 01213 00309 9 8 23195 00134 46 02498 87906 1 Page 53 of 496 November 12, 2014Catalogue NumberArtist / Title Config Scannable UPC UPC 246972 DESERTERS/SIBERIAN NIGHTLIFE-N Compact Disc 724352469727 CCM20382 DESHANNON,J/JACKIE DESHANNON Compact Disc 617742203820 484162B DESJARDINS/LE PARTY - BANDE SO Compact Disc 068944841622 VOL0801 DESOLE/PERDUS CORPS ET BEINS Compact Disc 3770000947069 DTR030 DESSA/CASTOR,THE TWIN Compact Disc 707541377195DTR009 DESSA/FALSE HOPES Compact Disc 789577188327DTR022 DESSAA BADLY BROKEN CODE Compact Disc 707541160698 MASSCD1362D GDESTRUCTION/THE ANTICHRIST (RE Compact Disc 5907785035973 NBA12489 DESTRUCTION/TOTAL DESTRUCTION Digital Video Disc 727361124892 CR00309 DETENTE/RECOGNIZE NO AUTHORITY Compact Disc 844667003093 RMED00107 DEVICE/22B3 Compact Disc 630428010727 ALV0232 DEVIL INSIDE/36 KARAT Compact Disc 766846911824 LNKCD81 DEVIL'S DAUGHTERS W/DA/DEVIL'S Compact Disc 633090363887 707022B DEVIN TOWN/ADDICTED Compact Disc 885417070224 MVD0501DD DEVO/LIVE:1980 (JEWEL CASE) Digital Video Disc 022891050124 DIS614427 DEVO2.0/DEVO 2.0 CD with DVD 050086144273 PGRP0001 DEXTER,T/LISTEN Compact Disc 812044010002 AFM2753 DEZPERADOZ/WESTERN METAL Compact Disc 884860004121 4531092 DG2/PUCCINI/BOHEME/BERNSTEIN Compact Disc 028945310923 INAK9080CD DI MEOLA,A/DIABOLIC INVENTIONS Compact Disc 707787908023 MCAMC5232 DIAMOND NEIL /20 GOLDEN GREA Cassette 076732523247 0881122972 DIAMOND,N/THE NEIL DIAMOND COL Compact Disc 008811229726 DR4365 DIANNO,P/BEAST IN THE EAST (DV Digital Video Disc 022891436591 CRS0708 DIBANGO,M/MANU DIBANGO JOUE SY Compact Disc 858370002595 INAK90833CD DICE OF DIXIE/THE FINEST BRAND Compact Disc 707787908320 SJPCD247 DICKEN/FROMMRBIGTO Compact Disc 50550117024790 76732 52324 70 50086 14427 38 85417 07022 47 07541 37719 53 770000 947069 7 07541 16069 8 8 58370 00259 57 07787 90802 3 7 07787 90832 05 907785 035973 5 055011 702479 7 89577 18832 7 0 08811 22972 60 28945 31092 37 24352 46972 7 6 33090 36388 76 17742 20382 0 0 68944 84162 2 6 30428 01072 78 44667 00309 3 7 66846 91182 4 8 12044 01000 2 8 84860 00412 1 0 22891 43659 10 22891 05012 47 27361 12489 2 Page 54 of 496 November 12, 2014Catalogue NumberArtist / Title Config Scannable UPC UPC 6076863932 DICKINSON,B/ALIVE(EXPANDED)CDX Compact Disc 060768639324 6076852242 DICKINSON,B/BEST OF B.DICKINS Compact Disc 0607685224286076852252 DICKINSON,B/THE BEST OF BRUCE Compact Disc 0607685225276076847532 DICKINSON,B/TYRANNY OF SOULS Compact Disc 060768475328 SFMDVD018 DIDDLEY,B/ROCK 'N ROLL ALL STA Digital Video Disc 823195001337 B001438172 DIDDY-DIRTY MONEY/LAST TRAIN T Compact Disc 602527403113 DPR015 DIE VERBANNTEN KINDER EVAS/DUS Compact Disc 693723502625 EUL0792 DIE YOUNG TX/GRAVEN IMAGES Compact Disc 790168467929 4706282 DIEGO FLOREZ,J/BEL CANTO SACD4Stereo/Surround/CDAud 0289470628204571962 DIES-IRAE/T ESSENTIAL CHORAL C Compact Disc 028945719627 SYN056 DIETRICH, M/FALLING IN LOVE AG CD with DVD 874757005621 MIW101035 DILLARD,D/THE BANJO ALBUM(S.E. Compact Disc 813411010359 CLC281 DILLARDS,The/Copperfields Compact Disc 617742028126 403672 DILLON, SA/NOBODY'S SWEETHEART Compact Disc 827954036721 GL001 DIMEOLA, A/HORGAS/HE & CARMEN Compact Disc 731406879326 INAK7004BD DIMEOLA,AL/MOROCCO FANTASIA(BR BLU RAY 707787700474 INAK7003DVD DIMEOLA,AL/MOROCCO FANTASIA(DV Digital Video Disc 707787700375 176692A DIMINO, FA/GREATEST HITS Compact Disc 724381766927 529124 DIMINO,F/HIS GREATEST HITS & F Cassette 724385291241529134 DIMINO,F/HIS GREATEST HITS & F Cassette 724385291340529144 DIMINO,F/HIS GREATEST HITS & F Cassette 724385291449529154 DIMINO,F/HIS GREATEST HITS & F Cassette 724385291548529122 DIMINO,F/HIS GREATEST HITS & F Compact Disc 724385291227529132 DIMINO,F/HIS GREATEST HITS & F Compact Disc 724385291326529142 DIMINO,F/HIS GREATEST HITS & F Compact Disc 724385291425529152 DIMINO,F/HIS GREATEST HITS & F Compact Disc 7243852915247 07787 70047 4 7 24385 29124 1 7 24385 29134 0 7 24385 29144 9 7 24385 29154 88 74757 00562 1 7 31406 87932 66 17742 02812 6 7 24385 29122 7 7 24385 29132 6 7 24385 29142 5 7 24385 29152 46 02527 40311 3 0 28945 71962 7 7 24381 76692 76 93723 50262 5 8 13411 01035 9 8 27954 03672 10 60768 63932 4 0 60768 52252 70 60768 52242 8 0 60768 47532 8 7 90168 46792 9 7 07787 70037 58 23195 00133 7 0 28947 06282 0 Page 55 of 496 November 12, 2014Catalogue NumberArtist / Title Config Scannable UPC UPC NBA10472 DIMMU BORGIR/DEATH CULT ARMAGE Compact Disc 727361104726 RT001 DIO/LIVE IN BULGARIA Digital Video Disc 9443819000167 5042D DIO/THE LEGEND: LIVE (DVD) Digital Video Disc 9120817150420 DP2010 DION PARSON & THE 21ST CENTURY Compact Disc 747014592922 934852 DION/GREATEST HITS Compact Disc 724359348520667182 DION/ROCK N ROLL XMAS Compact Disc 077776671826 AFM2763 DIONYSUS/TALES OF DIONYSUS Compact Disc 884860004220 500107A DIR EN GRE/WITHERING TO DEATH CD with DVD 850175001070 0249823180 DIRE STRAITS/ON THE NIGHT Digital Video Disc 6024982318070249873051 DIRESTRAITS&KNOPFLER/PRIVATE I Compact Disc 602498730515 DR4388 DIRTBAGS/ARMPIT OF METAL Digital Video Disc 022891438892 EMGD1243 DIRTY HEADS/ANY PORT IN A STOR Compact Disc 631903080822 CDPHIL1180 DISAPPEAR FEAR /SEED IN THE SA Compact Disc 011671118024 0251705081 DISCO ENSEMBLE/FIRST AID KIT Compact Disc 602517050815 406142A DISCO INFE/TECHNICOLOUR Compact Disc 827954061426 DIS605799 DISDVDRAL/THE LION KING Digital Video Disc 050086057993DIS605669 DISDVDRAL/TOY STORY 2 Digital Video Disc 050086056699DIS600237 DISNEY FANTASIA 2000 6 X 8 Compact Disc 050086002375 02MS9600 DISNEY SPECIAL/CR GIBSON LULL Cassette 050086000065 DIS604357 DISNEY SPECIAL/TARZAN ENGLISH Compact Disc 050086043576DIS600342 DISNEY/SWINGIN X-MAS 6 X 8 Compact Disc 050086003426 4440432 DISPOSABLE-HEROES-OF-HIPHOPRIS Compact Disc 016244404320 DIS604704 DISREADALONG/TIGGER MOVIE Cassette 050086047048 4776194 DISTEFANO,G/OPERA RECIRAL Compact Disc 028947761945 4841 DIXON,F/WAKEUPANDLIVE Compact Disc 014551484127 MA250153 DIXON,W & WINTER,J/SPOONFUL OF Compact Disc 5413992501533 0 50086 04704 80 50086 00006 78 50175 00107 0 0 11671 11802 47 47014 59292 2 0 50086 04357 6 0 50086 00342 66 02517 05081 50 77776 67182 6 6 02498 73051 5 0 16244 40432 00 50086 00237 5 0 28947 76194 57 24359 34852 07 27361 10472 6 5 413992 501533 8 27954 06142 66 31903 08082 28 84860 00422 0 0 14551 48412 79 120817 150420 0 22891 43889 26 02498 23180 7 0 50086 05669 90 50086 05799 39 443819 000167 Page 56 of 496 November 12, 2014Catalogue NumberArtist / Title Config Scannable UPC UPC 3145423252 DJ CLUE/T PROFESSIONAL PT II Compact Disc 731454232524 710272B DJ DREZ/CAPTURE OF SOUND,THE Compact Disc 800867102721 4400144532 DJ ENCORE FEAT. ENGELINA/INTUI Compact Disc 044001445323 PRO145 DJ ENVY/AUDIO UPRISING VOL.1 Compact Disc 890701001617 PRO137 DJ E-Z ROCK/SPITTAZ VOL.1 MIXE Compact Disc 890701001525 BHH2007 DJ FAUST/MAN OR MYTH? Compact Disc 611933200728BHH2071 DJ JS-1/AUDIO TECHNICIAN Compact Disc 611933207123 CHEZ901 DJ NEIL ALINE/ON THE ROCKS Compact Disc 790185900126CHEZ902 DJ NEIL ALINE/ON THE ROCKS VOL Compact Disc 790185900225 MR27001 DJ SKRIBBLE & ANTHONY ACID/MDM Compact Disc 663609700124 6076805812 DJ SPOOKY/CREATION REBEL:TROJ Compact Disc 0607680581256076805582 DJ SPOOKY/DJ SPOOKY PRESENTS:T Compact Disc 060768055827 BHH2044 DJ'S BOMB,THE/RETURN OF THE DJ Compact Disc 611933204429 B000653402 DLEON,O/BEST OF Compact Disc 602498528921 BIBER76831CD DOBSON,B/LOOKING BACK Compact Disc 707787683128 MVDV4678 DOGG POUND/CHRONICLES:THE CLEV Digital Video Disc 022891467892 PRO140 DOITALL/AMERICAN DU Compact Disc 890701001556 6076863312 DOKKEN / JAPAN LIVE '95 Compact Disc 0607686331246076863462 DOKKEN/LIVE FROM THE SUN (CD+D CD with DVD 0607686346266076883119 DOKKEN/LIVE FROM THE SUN(DVDX2 Digital Video Disc 060768831193 PRCD82702 DOLPHY,E/FAR CRY (REMASTERED) Compact Disc 025218484923 4776234 DOMINGO,P/ALBENIZ:PEPITA JIMEN Compact Disc 0289477623484778166 DOMINGO,P/AMORE INFINITO-SONGS Compact Disc 028947781660 CA90008 DOMINGO,P/ROSTROPOVICH,M/PLACI Digital Video Disc 4028462900085 4765825 DOMINGO,P/TORROBA:LUISA FERNAD Compact Disc 028947658252 DPR014 DOMINION/LIFE HAS ENDED HERE Compact Disc 6937232479220 60768 63462 68 00867 10272 1 0 25218 48492 30 60768 63312 48 90701 00152 5 6 63609 70012 4 8 90701 00155 66 11933 20442 96 11933 20072 8 7 90185 90022 56 11933 20712 3 7 07787 68312 87 90185 90012 6 0 28947 78166 00 44001 44532 3 0 28947 65825 20 28947 76234 87 31454 23252 4 6 02498 52892 1 6 93723 24792 28 90701 00161 7 0 60768 05582 70 60768 05812 5 4 028462 900085 0 22891 46789 2 0 60768 83119 3 Page 57 of 496 November 12, 2014Catalogue NumberArtist / Title Config Scannable UPC UPC CCM20092 DOMINO,F/FATS Compact Disc 617742200928 CCM20102 DOMINO,F/FATS IS BACK Compact Disc 617742201024 811842A DONOVAN/VERY BEST OF THE EARLY Compact Disc 060768118423811842A DONOVAN/VERY BEST OF THE EARLY Compact Disc 060768118423 4775587 DONZIETTI/L'ELISIR D'AMORE Compact Disc 028947755876 LV115 DOO WOPS OF LOVE/VALENTINE SON Compact Disc 764942253022 6076883989 DOOBIE BROTHERS/LIVE A T WOLF Digital Video Disc 0607688398926076864352 DOOBIE BROTHERS/LIVE AT WOLF T CD with DVD 0607686435296076847252 DOOBIE BROTHERS/LIVE AT WOLF T Compact Disc 060768472525 PPCD005 DOOLALY,S/RELOADED 2 Compact Disc 4250250400631 DTR015 DOOMTREE/DOOMTREE Compact Disc 707541031691DTR013 DOOMTREE/FALSE HOPES Compact Disc 707541952828DTR023 DOOMTREE/FALSE HOPES XV Compact Disc 707541167499DTR032 DOOMTREE/NO KINGS Compact Disc 707541384490 4756623 DORATI,A/TCHAIKOVSKY/THE NUTCR SACD4Stereo/Surround/CDAud 028947566236 CCM09562 DORFF,S/THEME FROM GROWING PAI Compact Disc 617742095623 PRCD82252 DORHAM,K/QUIET KENNY (REMASTER Compact Disc 025218482929 AFM2773 DORO/DORO DIAMONDS Compact Disc 884860004329AFM2793 DORO/DORO WARRIOR'S SPIRIT Compact Disc 884860004527 AFMSG1025 DORO/IN LIEBE UND FREUNDSCAFT Compact Disc EP's 4046661016659 GRD9953 DORSEY,T & /SWINGSATION Compact Disc 011105995320 CCM21512 DOVELLS,THE/FOR YOUR HULLY GUL Compact Disc 617742215120 BND0172 DOVEMAN/WITH MY LEFT HAND I RA Compact Disc 632662556726 DBA001 DOWNES BRAIDE AS/PICTURES OF Y Compact Disc 5060105490170 B001102602 DOWNING,W/A DREAM FULFILLED Compact Disc 602517655065 3145896102 DOWNING,W/SENSUAL JOURNEY Compact Disc 7314589610240 60768 64352 9 0 25218 48292 96 17742 20092 8 6 17742 20102 4 4 250250 400631 7 07541 03169 1 7 07541 16749 9 7 07541 38449 0 6 17742 21512 06 17742 09562 37 64942 25302 2 7 07541 95282 80 60768 11842 3 6 02517 65506 5 7 31458 96102 40 11105 99532 00 28947 75587 6 5 060105 490170 0 60768 47252 50 60768 11842 3 6 32662 55672 68 84860 00432 9 8 84860 00452 7 4 046661 016659 0 60768 83989 2 0 28947 56623 6 Page 58 of 496 November 12, 2014Catalogue NumberArtist / Title Config Scannable UPC UPC GRANDCD04 DR.FEELGOOD/BRILLEAUX Compact Disc 5018349400028 GRANDCD01 DR.FEELGOOD/PRIVATE PRACTICE Compact Disc 5018349000129 TLG0003 DRAKE,N/FAMILY TREE Compact Disc 804879071525 5345112 DRAKE,N/FIVE LEAVES LEFT BLU RAY AUDIO 600753451120 521052C DREADNAUT/A TASTE OF WHAT'S T Compact Disc 778505210520 IMD2203CD DREAM/RADIO KILLER Compact Disc 187245222036 390759 DREW/SCHUUR/DOUBLE TIME JAZZ C Digital Video Disc 801213907595 8086X DRIFTERS,THE/GREATEST HITS Compact Disc 022891808626 DVD8085X DRIFTERS,THE/GREATEST HITS LIV Digital Video Disc 022891808596 597872 D'RIVERA,P & ARTURO SAN/REUNIO Compact Disc 821895978720 YY9424 D'RIVERA,P/ESTE CAMINO LARGO Compact Disc 8436006494246YY9423 D'ROVERA,P/THE LOST SESSIONS Compact Disc 8436006494239 957319 DROWNING G/BANG Compact Disc 634479573194 4607001402 DROWNING POOL/FULL CIRCLE Compact Disc 846070014024 KEG00009 DRU HILL/INDRUPENDENCE DAY Compact Disc 891113002124 B000522109 DRUHILL/HITS: VIDEOS Digital Video Disc 602498840917 06005CD DRUM LEGENDS RAREBELL/YORK/LIV Compact Disc 707787060059 SJPCD154 DSEPERADO/ACE Compact Disc 5055011701540 WWCD048 DUB TERROR/DUB TERROR Compact Disc 0718750554819 4790924 DUDAMEL,G/MAHLER SYMPHONY(2CD Compact Disc 028947909248 567812 DUDLEY, AN/AMERICAN HISTORY X Compact Disc 724355678126 2061624732 DUFF,H/HILARY DUFF Compact Disc 7206162473220249820920 DUFRESNE,D/THE BEST OF DIANE D Compact Disc 602498209202SACD60515 DUKAS/T SORCERER'S APPRENTICE SACD2Stereo/CD Audio 089408051500 SHOUT42 DUKE,D/WOMAN Compact Disc 5013929504226 SMCR5077 DUKE,G/A BRAZILIAN LOVE AFF(EP Compact Disc 50139290777376 00753 45112 0 8 46070 01402 47 78505 21052 05 018349 400028 5 018349 000129 8 436006 494246 0 718750 554819 8 436006 494239 7 07787 06005 98 21895 97872 0 0 28947 90924 8 7 20616 24732 27 24355 67812 6 6 02498 20920 2 5 013929 077737 5 013929 504226 5 055011 701540 0 22891 80862 6 6 34479 57319 41 87245 22203 68 04879 07152 5 8 91113 00212 40 22891 80859 6 6 02498 84091 78 01213 90759 5 0 89408 05150 0 Page 59 of 496 November 12, 2014Catalogue NumberArtist / Title Config Scannable UPC UPC SMCR5029 DUKE,G/FOLLOW THE RAINBOW-EXPA Compact Disc 5013929072930 507322 DUKES OF S/CHIPS FROM THE CHOC Compact Disc 724385073229 MA250170 DUNBAR,A/BLUE WHALE Compact Disc 5413992501700 0114310902 DUNGER,N/HERE'S MY SONG Compact Disc 601143109027 4465452 DUO/BACH/WTC BK1/GULDA Compact Disc 0289446545234465482 DUO/BACH/WTC BK2/GULDA Compact Disc 0289446548204425772 DUO/BEET/CTI V1/KOVACEVICH Compact Disc 0289442577244422722 DUO/BIZET/BEST OF... Compact Disc 0289442272224387572 DUO/BRAHMS/SYM 1-4/SAWALLISCH Compact Disc 0289438757214563272 DUO/DVORAK/LATE SYM/LEPPARD Compact Disc 0289456327284465632 DUO/HANDEL/WIND SNTA/ASMFCE Compact Disc 0289446563294388002 DUO/MOZART/MASSES&REQUIEM Compact Disc 0289438800224422602 DUO/PUCCINI/BOHEME/RICCIARELLI Compact Disc 028944226027 CCM09372 DURANTE,J/SONGS FOR SUNDAY Compact Disc 617742093728 708694 D'URBERVIL/WE ARE THE HUNTERS Compact Disc 061297086948 PJ10023 DUSTY AND THE LOVENOTES/WHAT D Compact Disc 829166100238 780027 DUTRONC,J/FEMMES DAUJOURDHUI Compact Disc 3700477800277 702602 DUVAL, DAN/OF THE VALLEY Compact Disc 654367026021 1061807 DVD/UCC - VOL. 7 Digital Video Disc 069458097734 JB1149DVD DVDMAGAZINE/ALL ACCESS DVD MAG Digital Video Disc 826374114996 DR4477 DVDMAGAZINE/AMP;VIDEO ARCHIVE Digital Video Disc 022891447795 BD8311 DVDMAGAZINE/BLAST DVD MAG;SEPT Digital Video Disc 837101084031 4674602 DVORAK&TCHAIKOVSKY&ELGAR/STRIN Compact Disc 028946746028 CD4706012 DVORAK/SLAVONIC DANCES SACD4Stereo/Surround/CDAud 028947060123 4775481 DVORAK/SYMPHONY NO.8 Compact Disc 028947754817 DR4515 DWARVES/FEFU: THE DVD Digital Video Disc 0228914515946 54367 02602 16 01143 10902 7 8 29166 10023 85 013929 072930 3 700477 800277 6 17742 09372 85 413992 501700 7 24385 07322 9 0 28944 22602 70 28944 65452 3 0 28944 65632 90 28943 87572 1 0 28943 88002 20 28944 22722 20 28944 25772 4 0 28945 63272 80 28944 65482 0 0 28946 74602 8 0 28947 75481 70 61297 08694 8 0 22891 45159 40 22891 44779 5 8 37101 08403 18 26374 11499 60 69458 09773 4 0 28947 06012 3 Page 60 of 496 November 12, 2014Catalogue NumberArtist / Title Config Scannable UPC UPC PG2DVD120 DYLAN,B/1978-1989 (CD+DVD) CD with DVD 823564517896 CDCD5035 DYLAN,B/BOB DYLAN'S WOODY GUTH Compact Disc 823564614625 DR4525 DYLAN,B/UNAUTHORIZED DOCUMENTA Digital Video Disc 022891452591 8204592 E.HUMPERDINCK/RELEASE ME Compact Disc 042282045928 PP024 EAGLES/CALIFORNIA NIGHTS UNAUT Digital Video Disc 603777903095 MVDV4690 EARACHE/I CRUSHER COMPLETE(DVD Digital Video Disc 022891469094 HEC24772 EARL,R AND THE BROADCASTERS/SU Compact Disc 670917247722 B001105402 EARLE,S/COPPERHEAD ROAD(DELUXE Compact Disc 602517658981 6076836302 EARLY N/THE MOTHER, THE MECHAN Compact Disc 0607683630216076836112 EARLY NOVEMBER/FOR ALL OF THIS Compact Disc 0607683611266076836332 EARLY NOVEMBER/THE ACOUSTIC EP Compact Disc 0607683633286076836152 EARLY NOVEMBER/THE ROOM'S TOO Compact Disc 060768361522 IDG1059 EARSHOT/THE SILVER LINING Compact Disc 894862001059 MR44301 EAST BAY RAY/LABYRINTH Compact Disc 767004430126 WMC008 EASTMAN,G QUINTET/BROWN SKIN G Compact Disc 796873030342 CCM21102 EASTWOOD,C/RAWHIDE'S CLINT EAS Compact Disc 617742211023 SHOUT63 EBONYS/FOREVER Compact Disc 5013929506329 NOT50312 ECHO & THE BUNNYMEN/LIVE AT TH Compact Disc 617742503128 2061671252 ECHOBRAIN/ECHOBRAIN Compact Disc 7206167125234042440232 ECHOBRAIN/GLEAN Compact Disc 6404244023273145264402 ECKSTINE,B/BILLY'S BEST Compact Disc 731452644022 SVY17125 ECKSTINE,B/THE LEGENDARY BILLY Compact Disc 795041712523 245742 ECONOLINE /BRAND NEW HISTORY Compact Disc 724352457427382442 ECONOLINE /DEVIL YOU KNOW,THE Compact Disc 724383824427 NPR240 EDENBRIDGE/MYEARTHDREAM Compact Disc 693723510927NPR331 EDENBRIDGE/SOLITAIRE Compact Disc 8854700008178 23564 51789 6 7 95041 71252 37 96873 03034 2 6 17742 21102 36 70917 24772 2 6 40424 40232 77 20616 71252 3 7 31452 64402 26 02517 65898 1 7 24352 45742 7 7 24383 82442 70 42282 04592 8 5 013929 506329 8 85470 00081 76 93723 51092 76 17742 50312 88 23564 61462 5 7 67004 43012 60 60768 36152 20 60768 36112 6 0 60768 36332 80 60768 36302 1 8 94862 00105 90 22891 46909 40 22891 45259 1 6 03777 90309 5 Page 61 of 496 November 12, 2014Catalogue NumberArtist / Title Config Scannable UPC UPC TM2439 EDMUND SIMENTAL/MIDNIGHT RENDE Compact Disc 362112439599 880482 EDMUNDS, D/KING BISCUIT FLOW/H Compact Disc 707108804829 SHOUTD79 EDWARDS,T/ITS ALL IN THE(2CD Compact Disc 5013929507920 VR567 EELS/END TIME Compact Disc 601091056725VR775 EELS/WONDERFUL GLORIOUS(2CD) Compact Disc 601091077522 QLDVD6834 EGILSSON,PERDERSON & DARLING/L Digital Video Disc 022891683490 433082 EHRLICH, M/LONG VIEW,THE Compact Disc 068944330829692372 EINSTURZEN/PERPETUUM MOBILE Compact Disc 724596923726694922 EINSTURZEN/STRATEGIES AGAINST Compact Disc 724596949221 CRDVD80 EINSTURZENDE NEUBAUTEN/HALBER Digital Video Disc 022891828099 PROPERBOX69 ELDRIDGE,R/LITTLE JAZZ TRUMPET Compact Disc 805520020695 390549 ELDRIDGE,R/NORMAN GANTZ LIVE Digital Video Disc 801213905492 ST1206 ELECTRIC MOON/INFERNO Compact Disc 9120031190264 CLC07312 ELECTRIC PRUNES/JUST GOOD OLD Compact Disc 617742073126 CLC133 ELECTRIC PRUNES/Underground Compact Disc 617742013320 MA250165 ELECTRICFLAG/ISHOULDHAVELEFTHE Compact Disc 5413992501656 CSK9308 ELECTRICFRANKENSTEIN/IT'S ALIV Compact Disc 027297930827 ALP13 ELEVENTH DAY DREAM/URSA MAJOR Compact Disc 735286191325 MCASD10065 ELFMAN DANNY /MUSIC FOR A DA Compact Disc 008811006525 MK10162 ELIGH/PRESENTS GANDALF'S BEAT Compact Disc 765481862324 NPR122 ELIS/GOD'S SILENCE DEVIL'S TEM Compact Disc 693723228426 3145899072 ELLA FITZGERALD OPUS/LETS FALL Compact Disc 731458990727 390699 ELLINGTON,D & ELLA FITZGERALD/ Digital Video Disc 801213906994 INTROCD2043 ELLINGTON,D/A PROPER INTRO TO: Compact Disc 805520060431 SYN032 ELLINGTON,D/BLUE HARLEM Compact Disc 874757003221 391009 ELLINGTON,D/CONCERT OF SACRED Digital Video Disc 8012139100907 07108 80482 9 8 74757 00322 17 35286 19132 55 413992 501656 5 013929 507920 6 17742 07312 69 120031 190264 3 62112 43959 9 0 27297 93082 76 17742 01332 08 05520 02069 56 01091 07752 26 01091 05672 5 7 31458 99072 77 24596 92372 6 7 24596 94922 1 0 08811 00652 5 6 93723 22842 60 68944 33082 9 8 05520 06043 17 65481 86232 40 22891 68349 0 0 22891 82809 9 8 01213 90549 2 8 01213 91009 08 01213 90699 4 Page 62 of 496 November 12, 2014Catalogue NumberArtist / Title Config Scannable UPC UPC IDVD2869037 ELLINGTON,D/THE BIG BANDFEELIN Digital Video Disc 022891903796 CCM20432 ELLIOT,C/CASS ELLIOT 7 THE ROA Compact Disc 617742204322 PFC3184102 ELLIOTT,G/SUGAR SWEET Compact Disc 888072318410 CLC198 ELLIOTT,R/Young Brigham Compact Disc 617742019827 3905 ELLIS,T/COOL ON IT Compact Disc 0145513905274823 ELLIS,T/STORM WARNING Compact Disc 0145514823214805 ELLIS,T/TROUBLE TIME Compact Disc 014551480525 VEGA23323 ELSIANE/HYBRID Compact Disc 619061332328 SOM703 ELUVEITIE/VEN Compact Disc 822603170320 AFM2433 ELVENKING/WINTERSREEL Compact Disc 4046661127225 RT008 EMERSON LAKE & PALMER/LIVE IN Digital Video Disc 9223814130089 6076884189 EMERSON,LAKE & PALMER/BEYOND T Digital Video Disc 060768841895 606040 EMERY/QUESTION,THE Compact Disc 724386060402 940442B EMERY/WEAK'S END,THE Compact Disc 724359404424 YY9436 EMILIO,F/TATA GA1/4INES GRUPO Compact Disc 8436006494475 CVIS301DVD EMINEM/BEHIND THE MASK Digital Video Disc 022891030102 DR0611 EMINEM:HITZ & DISSES-UNAUTHORI Digital Video Disc 022891061120 BUM091 EMMA-LEE/NEVER JUST A DREAM Compact Disc 826811004125 AAM0082 END IT/MEET YOUR MAKER Compact Disc 633757201224 DR4463 ENGLISH BEAT/IN CONCERT AT THE Digital Video Disc 022891446392 5345984 ENIGMA/CLASSIC ALBUM SELEC(5CD Compact Disc 600753459843 584072 ENIGMA/PLATINUM COLLECTION(3CD Compact Disc 5099945840722 WARPCD249X ENO/HYDE/SOMEDAY WORLD(2CD) Compact Disc 801061824921 FB29004 ENSEMBLE FOR EARLY MUSIC/A BAR Compact Disc 700702900423 ODR9348 ENSEMBLE VIVANT/AUDIENCE FAVOU Compact Disc 776143934822ODR9379 ENSEMBLE VIVANT/FETE FRANCAIS Compact Disc 7750209421278 88072 31841 0 7 00702 90042 38 436006 494475 6 17742 01982 76 17742 20432 2 6 00753 45984 3 5 099945 840722 7 24386 06040 2 7 24359 40442 4 8 26811 00412 5 7 76143 93482 2 7 75020 94212 78 01061 82492 18 22603 17032 0 6 33757 20122 46 19061 33232 80 14551 39052 7 4 046661 127225 0 14551 48052 50 14551 48232 1 0 22891 03010 2 0 22891 44639 20 22891 90379 6 9 223814 130089 0 22891 06112 00 60768 84189 5 Page 63 of 496 November 12, 2014Catalogue NumberArtist / Title Config Scannable UPC UPC ODR7396 ENSEMBLE VIVANT/HOMAGE TO ASTO Compact Disc 776143739625 NPR113 ENTHRONED/CARNAGE IN WORLDS BE Compact Disc 693723247526NPR214 ENTHRONED/TETRA KARCIST Compact Disc 693723504926NPR149 ENTHRONED/XES HAERETICUM Compact Disc 693723344423NPR149 ENTHRONED/XES HAERETICUM Compact Disc 693723344423 445342B ENTOMBED/UPRISING Compact Disc 600704453425 6076863802 ENTWISTLE,J/SO WHO'S THE BASS Compact Disc 060768638020 INAK9095CD EPITAPH/DANCING WITH GHOSTS Compact Disc 707787909525INAK9079CD EPITAPH/REMEMBER THE DAZE Compact Disc 707787907927 3145363892 EPMD/BACK IN BUSINESS Compact Disc 731453638921 EPR01 EPMD/WE MEAN BUSINESS Compact Disc 094922111043 9826226 ERA/THE VERY BEST OF ERA CD with DVD 602498262269 693552B ERASURE/LIGHT AT THE END O(2CD Compact Disc 724596935521570332B EROICA TRI/PASION-PIAZOLLA,V1 Compact Disc 724355703323 CCDCD1019 ESCOVEDO,P/MISTER E SACD4Stereo/Surround/CDAud 013431101963 3145177752 ESSENTIALS/B.WEBSTER Compact Disc 7314517775233145129052 ESSENTIALS/D.WASHINGTON Compact Disc 7314512905273145216562 ESSENTIALS/M.TORME Compact Disc 7314521656263145129042 ESSENTIALS/S.VAUGHAN Compact Disc 731451290428 4757108 ESTERHAZYQUARTET/MOZART:6 HAYD Compact Disc 028947571087 RSRCD3961 ESTRADA,E/HERE KITTY KITTEE Compact Disc 786851153576 B000104902 ETHERIDGE,M/MELISSA ETHERIDGE Compact Disc 602498606889B001372602 ETHERIDGE,M/MELISSA ETHERIDGE- Compact Disc 602527257747 6076803852 ETHIOPIANS/EVERYTHING CRASH:TH Compact Disc 060768038523 TR009 ETTES,THE/DO YOU WANT POWER Compact Disc 724101213212 CA90007 ETTINGER,D/DAN ETTINGER MEETS Digital Video Disc 40284629000786 02498 26226 97 07787 90952 5 7 07787 90792 7 6 02527 25774 76 93723 34442 3 7 31451 29042 87 31451 29052 77 31451 77752 3 7 31452 16562 6 6 02498 60688 97 24355 70332 37 31453 63892 1 0 28947 57108 76 93723 24752 6 6 93723 34442 36 93723 50492 6 7 24596 93552 17 76143 73962 5 7 86851 15357 66 00704 45342 5 0 60768 03852 30 60768 63802 0 0 94922 11104 3 7 24101 21321 2 4 028462 900078 0 13431 10196 3 Page 64 of 496 November 12, 2014Catalogue NumberArtist / Title Config Scannable UPC UPC NMR0240 ETZIONI,M/MARVIN COUNTRY (2CD) Compact Disc 616892026846 296742 EVANESCENC/FALLEN Compact Disc 5099902967424296662 EVANESCENC/OPEN DOOR,THE Compact Disc 5099902966625 200249B EVANS BLUE/EVANS BLUE Compact Disc 852362002495 D000030402 EVANS BLUE/THE PURSUIT BEGINS Compact Disc 050087103699 FCD10122 EVANS,B/COMPLETE FANTASY RECOR Compact Disc 025218101226 3145279062 EVANS,B/T BEST OF BILL EVAN Compact Disc 7314527906203145338252 EVANS,B/T BEST OF BILL EVANS Compact Disc 731453382527 OJCCD68 EVANS,B-TRIO/EVERYBODY DIGS EV Compact Disc 025218606820 OJCCD140 EVANS,B-TRIO/SUNDAY AT T VILLA Compact Disc 025218614023 PRSA7120 EVANS,G/GIL EVANS & TEN SACD4Stereo/Surround/CDAud 025218730426 IMPD186 EVANS,G/OUT OF THE COO Compact Disc 011105018623 2061625852 EVANSBLUE/THE MELODY AND THE E Compact Disc 720616258526 B000901102 EVE/HERE I AM Compact Disc 602517343108 0694908452 EVE/SCORPION Compact Disc 606949084523 ER0422 EVERGREEN TERRACE/BURNED ALIVE Compact Disc 790168464225ER0602 EVERGREEN TERRACE/SINCERITY IS Compact Disc 790168466021ER0512 EVERGREEN TERRACE/WRITER'S BLO Compact Disc 790168465123 SAR1257 EVERGREEN/MANDOLIN MUSIC FOR C Compact Disc 723368125726 900032F EVERY OTHERS/THE EVERY OTHERS Compact Disc 880329000321 AFM2803 EVIDENCE ONE/CRITICAL LIMIT Compact Disc 884860004626 710302A EVIDENCE/YELLOW TAPE INSTRUM Compact Disc 800867103025 ALP129 EX, TERRI & HAN BENNINK/LAUGHI Compact Disc 735286112924ALP130 EX,TERRI & AN BAARS/HEF Compact Disc 735286113020 UFR0362 EXCUSE/THE SINGULARITY/YEAR TH Compact Disc 892926001366 VOL0805 EXONVALDES/NEAR THE EDGE OF SO Compact Disc 3770000947083 8 00867 10302 50 25218 61402 30 25218 10122 68 52362 00249 5 0 25218 60682 0 3 770000 947083 7 35286 11292 4 7 35286 11302 07 23368 12572 66 02517 34310 87 31452 79062 0 7 31453 38252 7 6 06949 08452 37 20616 25852 60 50087 10369 9 0 11105 01862 35 099902 966625 5 099902 967424 6 16892 02684 6 8 80329 00032 1 8 92926 00136 67 90168 46512 3 8 84860 00462 67 90168 46422 5 7 90168 46602 10 25218 73042 6 Page 65 of 496 November 12, 2014Catalogue NumberArtist / Title Config Scannable UPC UPC VOL1002 EXONVALDES/THERE'S NO PLACE LI Compact Disc 3770000947212 LV118 EXPLORERES/LOWELL,D/VISION OF Compact Disc 764942081328 AMCD902 FABIAN,L/LARA FABIAN Compact Disc 776693090221AMCD905 FABIAN,L/PURE Compact Disc 776693090528 LV116 FABULOUS FOUR/SIMPLY FABULOUS Compact Disc 764942017921 HSM50782 FABULOUS LUCKETT BR,THE/HEAVEN Compact Disc 809842507827 BMK080022 FABULOUS THUNDERBIRDS,THE/GIRL Compact Disc 647780800224 BMK80032 FABULOUS THUNDERBIRDS,THE/WHAT Compact Disc 647780800323 863152B FABULOUS THUNDERBIRDS/LIVE Compact Disc 060768631526 4228286082 FACE TO FACE/BIG CHOICE Compact Disc 042282860828 HSM50682 FACTS OF LIFE,THE/MATTER OF FA Compact Disc 809842506820 TFC1002 FAHRENHEIT 451/THE TWI/WALKING Compact Disc 700261229362 0075304115 FAIRPORT CONVENTION/GOLD Compact Disc 600753041154 473112 FAIRUZ/FAIRUZ LEGEND,BEST OF Compact Disc 094634731126 B000114602 FAITHFUL,M/THE BEST OF MARIANN Compact Disc 602498069516 3145245792 FAITHFULL,M/A PERFECT STRANGER Compact Disc 731452457929 330449 FAITHFULL,M/DREAMING MY DREAMS Digital Video Disc 801213304493 ODR9310 FALLIS,ML/PRIMADONNA ON A MOOS Compact Disc 776143002125 0044503302 FALLON,J/THE BATHROOM WALL Compact Disc 600445033023 NMR0090 FANCY TRASH/THREE CHEERS FOR T Compact Disc 653496115026 9828293 FARACO,M/COM TRADICAO Compact Disc 602498282939 MM45774 FARCRY/HIGH GEAR Compact Disc 747014577424 CDPHIL1102 FARIA, MIMI /SOLO Compact Disc 011671110226 CCDCD2133 FARLOW,T/AUTUMN LEAVES Compact Disc 013431213321 MVDINAK9077 FARLOWE,C/AT ROCKPALAST Compact Disc 707787907729 INAK6303DVD FARLOWE,C/AT ROCKPALAST (DVD) Digital Video Disc 7077876303750 11671 11022 6 0 13431 21332 18 09842 50682 08 09842 50782 7 7 47014 57742 47 00261 22936 2 7 07787 90772 97 64942 01792 17 64942 08132 83 770000 947212 6 47780 80032 36 47780 80022 4 6 53496 11502 67 76693 09022 1 7 76693 09052 8 6 02498 28293 96 00753 04115 4 7 31452 45792 90 94634 73112 6 6 00445 03302 30 42282 86082 8 6 02498 06951 6 7 76143 00212 50 60768 63152 6 8 01213 30449 3 7 07787 63037 5 Page 66 of 496 November 12, 2014Catalogue NumberArtist / Title Config Scannable UPC UPC MIG00900CD FARLOWE,C/HOTEL EINGANG Compact Disc 885513009005 MIG00880CD FARLOWE,C/THUND,THE/BORN AGAIN Compact Disc 885513008800 BADFICD001 FARSE/BOXING CLEVER(DLX) Compact Disc 5013929930131 710342A FAT JACK/CATER TO THE DJ 2 Compact Disc 800867103421662032A FATBOY SLI/BETTER LIVING THROU Compact Disc 017046620321 3774297 FATBOY SLIM PRES/BEM BRASIL(2C Compact Disc 602537742974 YHVHCD5 FATHER YOD AND THE SPIRIT OF 7 Compact Disc 5030094124820 4625052 FAV-CELLO-CTOS/WEBBER/MENUHIN Compact Disc 028946250525 131734B FEAR FACTO/MECHANIZE - STANDAR Compact Disc 803341317345 B000736102 FELDMAN,M/WHAT EXIT Compact Disc 602498765371 INAK64751DVD FELICIANO,J BAND/THE PARIS CON Digital Video Disc 707787647595 INAK74751 FELICIANO,J/THE PARIS CONCERT BLU RAY 707787747592 485382 FELIX STUS/BAIJI Compact Disc 068944853823 PADVD001 FERGUSON,M/LIVE FROM THE KING Digital Video Disc 880423000104 555782 FERNANDES,/AUTOMATICLUV Compact Disc 5099995557823539614 FERRANTE &/MOONLIGHT MAG(CAS-1 Cassette 724385396144539624 FERRANTE &/MOONLIGHT MAG(CAS-2 Cassette 724385396243539634 FERRANTE &/MOONLIGHT MAG(CAS-3 Cassette 724385396342539612 FERRANTE &/MOONLIGHT MAG(DIS-1 Compact Disc 724385396120539622 FERRANTE &/MOONLIGHT MAG(DIS-2 Compact Disc 724385396229539632 FERRANTE &/MOONLIGHT MAG(DIS-3 Compact Disc 724385396328539604 FERRANTE &/MOONLIGHT MAGIC Cassette 724385396045539602 FERRANTE &/MOONLIGHT MAGIC Compact Disc 724385396021 INTROCD2079 FERRIER,K/A PROPER INTRO TO:KA Compact Disc 805520060790 310772B FERRO, TIZ/L'AMORE E'UNA COSA Compact Disc 5099973107729 481732 FERRY, BRY/MORE THAN THIS THE Compact Disc 7243848173297 07787 74759 2 7 24385 39614 4 7 24385 39624 3 7 24385 39634 2 7 24385 39604 58 00867 10342 18 85513 00900 5 8 85513 00880 0 5 013929 930131 7 24385 39612 0 7 24385 39622 9 7 24385 39632 8 7 24385 39602 16 02537 74297 4 7 24384 81732 90 17046 62032 1 0 28946 25052 5 5 099973 107729 5 099995 557823 6 02498 76537 18 03341 31734 5 0 68944 85382 35 030094 124820 8 05520 06079 08 80423 00010 47 07787 64759 5 Page 67 of 496 November 12, 2014Catalogue NumberArtist / Title Config Scannable UPC UPC SHOUT51 FEVA,S/SAVOIR FAIRE PLUS Compact Disc 5013929505124 ODR9318 FIALKOWSKA,J/CHOPIN BOOK TWO Compact Disc 776143931821ODR9305 FIALKOWSKA,J/FIALKOWSKA PLAYS Compact Disc 176143000723ODR9312 FIALKOWSKA,J/PLAYS CHOPIN Compact Disc 776143931227ODR9322 FIALKOWSKA,J/TRANSCENDENTAL LI Compact Disc 776143932224 NMR0152 FIELD STUDY/FEVERLAND Compact Disc 888002973795 B001283002 FIELD,A/POTTER,J/BEING DUFAY Compact Disc 028947669487 PRR043 FIELDING,J/THE GAUNTLET Compact Disc 827034004329 5324560 FIELDS,G/OUR GRACIE-THE BEST O Compact Disc 600753245606 826552 FIGURE FOU/SUFFERING THE LOSS Compact Disc 724358265521 CRASCD013 FILIBUSTER/DEADLY HI-FI Compact Disc 788377100621 990069 FILM/BIG BROTHER SEASON 3 Digital Video Disc 805239900691990119 FILM/DOCUM/PAPARAZZI VOLUME 1 Digital Video Disc 805239901193725669 FILM/SPECI/RACE TO DAKAR Digital Video Disc 094637256695 DR4400 FILM-DVD/RISE: THE STORY OF RA Digital Video Disc 022891440093 ROOTCELLAR2 FINCH,J/IN THE ARMS OF MORPHEU Compact Disc 776098184921 836072 FINCH/FALLING INTO PLACE Compact Disc 060768360723 4228609912 FINCH/WHAT IT IS TO BURN Compact Disc 042286099125 296722 FINGER ELE/GREYEST OF BLUE SKI Compact Disc 5099902967226 403372A FINGER, TH/WE ARE F--K YOU Compact Disc 827954033720 MRCD6498 FIREMAN,THE/ELECTRIC ARGUMENTS Compact Disc 823674649821 TWA0542 FIREWATER/MAN ON THE BURNING T Compact Disc 604978005427 MY23062 FIRKINS,M/BLACK LIGHT SONATAS Compact Disc 614286230626 CCM07162 FISCHER,WM/PRONOUNCED NORMAL Compact Disc 617742071627 4757169 FISCHERDIESKAU,D/CLASSIC RECIT Compact Disc 028947571698 CF040807 FISH/COMMUNION (2CD SET) Compact Disc 6043886919207 76098 18492 1 6 17742 07162 7 6 04388 69192 07 88377 10062 18 27034 00432 9 0 42286 09912 5 5 099902 967226 0 28947 66948 7 6 00753 24560 6 0 28947 57169 87 24358 26552 18 88002 97379 55 013929 505124 8 23674 64982 18 27954 03372 01 76143 00072 3 7 76143 93122 77 76143 93182 1 7 76143 93222 4 0 60768 36072 3 6 04978 00542 7 6 14286 23062 68 05239 90069 1 8 05239 90119 3 0 22891 44009 30 94637 25669 5 Page 68 of 496 November 12, 2014Catalogue NumberArtist / Title Config Scannable UPC UPC DR4408 FISHBONE/CRITICAL TIMES:THE HE Digital Video Disc 022891440895 46696 FISHER PRICE/50TH BIRTHDAY 2DP Compact Disc 096741232725 NPR150 FISSION/CRATER Compact Disc 693723343525 4280300422 FITZ AND THE TANTRUMS/PICKIN' Compact Disc 842803004225 390619 FITZGERALD & FLANAGAN/NORMAN G Digital Video Disc 801213906192 PACD23107592 FITZGERALD,E & PETERSON,O/EL(R Compact Disc 025218483322 SYN014 FITZGERALD,E/A TISKET A TASKET Compact Disc 874757001425 3145198322 FITZGERALD,E/CPTE.SONG BOOK Compact Disc 7314519832213145272232 FITZGERALD,E/DAYDREAM/BEST Compact Disc 731452722324 GRMD663 FITZGERALD,E/ELLA & FRIENDS Compact Disc 011105066327 3145896562 FITZGERALD,E/ELLA AT JUAN-LES Compact Disc 7314589656263145239902 FITZGERALD,E/ESSENTIAL ELLA Compact Disc 731452399021 8295342 FITZGERALD,E/IRVING BERLIN SB1 Compact Disc 042282953421 B000009202 FITZGERALD,E/JUKEBOX ELLA-THE Compact Disc 044007605820B000393302 FITZGERALD,E/SINGS THE JEROME Compact Disc 075021034754 3145332472 FITZGERALD,E/T BEST OF SONGBOO Compact Disc 7314533247253145195642 FITZGERALD,E/T CPT ELLA IN BER Compact Disc 731451956423 ACME0192 FIVE OUTSIDERS/ON THE RUN Compact Disc 689076301152 880162 FIXX/KING BISCUIT FLOWER HOUR Compact Disc 707108801620 EUL0762 FJORD/LIVES LIVES Compact Disc 790168467622 TWA0522 FLAMING SIDEBURNS/SAVE ROCK 'N Compact Disc 604978005229TWA0612 FLAMING SIDEBURNS/SKY PILOTS Compact Disc 604978006127 390689 FLANAGAN,T/NORMAN GANTZ JAZZ I Digital Video Disc 801213906895 RMED00147 FLASH AND THE PAN/FLASH AND TH Compact Disc 630428014725 2061625862 FLASHLIGHTBROWN/BLUE Compact Disc 720616258625 B000559202 FLATLEY,M/CELTIC TIGER Compact Disc 6024988650570 25218 48332 2 7 07108 80162 00 96741 23272 5 8 74757 00142 5 6 30428 01472 5 7 20616 25862 57 31453 32472 57 31452 39902 1 7 31451 95642 37 31451 98322 1 7 31452 72232 4 7 31458 96562 6 0 42282 95342 1 0 44007 60582 0 0 75021 03475 40 11105 06632 7 6 02498 86505 76 93723 34352 5 8 42803 00422 5 6 89076 30115 2 6 04978 00522 9 6 04978 00612 77 90168 46762 28 01213 90619 2 8 01213 90689 50 22891 44089 5 Page 69 of 496 November 12, 2014Catalogue NumberArtist / Title Config Scannable UPC UPC 6076811812 FLEETWOOD MAC/JUMPING AT SHOWD Compact Disc 060768118126 ALP145 FLESH EATERS/CHRIS D./TIME STA Compact Disc 735286114522 B001254802 FLIPSYDE/STATE OF SURVIVAL Compact Disc 602517963894B000457502 FLIPSYDE/WE THE PEOPLE Compact Disc 602498814369 MR48004 FLO & EDDIE/ILLEGAL,IMMORTAL & Compact Disc 767004800424MR48003 FLO & EDDIE/NEW YORK:TIMES Compact Disc 767004800325 MR48001 FLO & EDDIE/PHLORESCENT LEECH Compact Disc 767004800127 521022C FLOOR THIR/ MMMM Compact Disc 778505210223 B001549372 FLORENCE+THE MACHINE/LUNGS(DLX Compact Disc 602527666051 MASSCD1137D GFLOTSAM AND JETSAM/WHEN THE ST Compact Disc 5907785031906 TTR80132 FLOYD,E/KNOCK ON WOOD Compact Disc 617742801323 400022C FLUX OF PI/STRIVE TO SURVIVE Compact Disc 827954000227 400012B FLUX OF PI/UNCARVED BLOCK Compact Disc 827954000128 0694930562 FLYING BURRITO BROTHERS/THE BE Compact Disc 606949305628 MW062 FLYING LIZARDS,THE/THE FLYING Compact Disc 813411010625 LOB1008 FLYNN,B/BLUES DRIVE Compact Disc 880074140631 CD420097 FM EINHEIT/RADIO INFERNO Compact Disc 637642009728 829782 FM STATIC/WHAT ARE YOU WAITIN Compact Disc 724358297829 880502A FOGHAT/KING BISCUIT FLOWER HOU Compact Disc 707108805024 4400140602 FOL&DEVILLERS&CRISS/SAXOPHONES Compact Disc 044001406027 485082 FOLEY, SUE/CHANGE Compact Disc 068944850822485232 FOLEY, SUE/NEW USED CAR Compact Disc 068944852321 PROPERBOX10 7FOLEY,R/HILLBILLY FEVER Compact Disc 805520021074 RUF3013 FOLEY,S/LIVE IN EUROPE (DVD) Digital Video Disc 710347301370 485552B FONESCA, R/AKOKAN Compact Disc 068944855520 433282 FONESCA, R/ZAMAZU Compact Disc 0689443328237 78505 21022 3 7 07108 80502 45 907785 031906 7 67004 80012 77 35286 11452 2 6 37642 00972 86 17742 80132 3 8 80074 14063 16 02527 66605 16 02517 96389 4 6 02498 81436 9 0 44001 40602 77 24358 29782 96 06949 30562 8 8 13411 01062 5 0 68944 85082 2 0 68944 85232 1 0 68944 33282 30 68944 85552 07 67004 80032 57 67004 80042 4 8 27954 00012 88 27954 00022 7 8 05520 02107 40 60768 11812 6 7 10347 30137 0 Page 70 of 496 November 12, 2014Catalogue NumberArtist / Title Config Scannable UPC UPC YY9430 FONSECA,R/AFR-CUBAN JAZZ PROJE Compact Disc 8436006494307 SXYCD010 FOO FIGHTERS/THE LOWDOWN UNAUT Compact Disc 823564607221 FRL301632 FOR ALL THOSE SLEEPING/OUTSPOK Compact Disc 714753016323 SDR0020 FORD PIER/12 STEP PLAN,11 STEP Compact Disc 652975002024 INAK6541DVD FORD,R/IN CONCERT OHNE FILTER, Digital Video Disc 707787654197 MVD6516 FORD,R/LIVE IN CONCERT Digital Video Disc 707787651691 INAK6451DVD FORD,R/NEW MORNING PARIS CONCE Digital Video Disc 707787645171 INAK74511BD FORD,R/NEW MORNING:PARIS CONCE BLU RAY 707787745192 INAK7477BD FORD,R/PARIS CONCERT REVISI(BR BLU RAY 707787747776 INTROCD2032 FORD,T.E./A PROPER INTRO TO:TE Compact Disc 805520060325 170262B FORD,TENNE/SINGS 22 FAVORITE H Compact Disc 014921702622797392B FORDHAM, J/CONCRETE LOVE (SACD SACD4Stereo/Surround/CDAud 015707973922 5081D FOREIGNER/LIVE ON STAGE (DVD) Digital Video Disc 9120817150819 122984 FORESHADOW/DAYS OF NOTHING Compact Disc 803341229846 4778339 FORRESTER,M/HANDEL:SERSE - 3CD Compact Disc 028947783398 MM00018 FORRESTER,R/GONE WITH THE WIND Compact Disc 747014583623 B000850502 FORT,A/A LONG STORY Compact Disc 602517014169 SDR0024 FOSTER,K/WAR IS NOT ENOUGH Compact Disc 652975002420 811702 FOUNDATIONS,THE/THE VERY BEST Compact Disc 060768117020848392 FOUNTAINSO/WELCOME INTERSTATE Compact Disc 724358483925 INTROCD2080 FOUR ACES,THE/A PROPER INTRO T Compact Disc 805520060806 LV141 FOUR ESQUIRES/LOVE ME FOREVER Compact Disc 609465980225 CLC7432 FOUR SEASONS,THE/STREETFIGHTER Compact Disc 617742074321 TUNEIN009D FOWLEY,K/WILDFIRE(THE COMP(2CD Compact Disc 5013929090927 SPIT037 FOWLIS,J/CUILIDH (2CD) CD with DVD 844493070375 SPIT033 FOWLIS,J/MAR A THA MO CHRIDHE Compact Disc 50515652203397 07787 74519 2 7 07787 74777 6 8 44493 07037 58 03341 22984 60 14921 70262 2 7 47014 58362 3 6 17742 07432 18 23564 60722 1 6 09465 98022 56 52975 00202 4 6 52975 00242 0 7 24358 48392 56 02517 01416 90 28947 78339 8 5 051565 220339 5 013929 090927 8 436006 494307 8 05520 06032 5 8 05520 06080 60 60768 11702 07 14753 01632 3 9 120817 150819 7 07787 64517 17 07787 65419 7 7 07787 65169 1 0 15707 97392 2 Page 71 of 496 November 12, 2014Catalogue NumberArtist / Title Config Scannable UPC UPC OGL820182 FOX,K/RETURN TO THE PLANET EAR Compact Disc 790058201824 CCM06972 FOXX,R/YOU GOTTA WASH YOUR ASS Compact Disc 617742069723 HSM50912 FOXY HOT NUMBERS/FOXY HOT NUMB Compact Disc 809842509128 HSM50982 FOXY/LIVE Compact Disc 809842509821 PRR770 FRAMEPICTURES/REMEMBER IT Compact Disc 837792008132 B000455002 FRAMPTON,P/FRAMPTON COMES ALIV Compact Disc 602517212671 6076862912 FRAMPTON,P/LIVE IN DETROIT Compact Disc 0607686291273145409502 FRAMPTON,P/T VERY BEST OF Compact Disc 731454095020 SNJBF003 FRANCESCA,A/EVERYTHING WE LOVE Compact Disc 8051093880033 8334082 FRANCIS,C/20 ALL TIME GREATS Compact Disc 0422833408244775418 FRANCK/IN SPIRITUM SACD4Stereo/Surround/CDAud 028947754183 WM500222 FRANCOIS K./BEST OF WAVE VOL.1 Compact Disc 790185002226WM500062 FRANCOIS K./FK-EP AND BEYOND Compact Disc 790185000628 780051 FRANCOIS,S/EN PUBLIC Compact Disc 3700477800512 B000951502 FRANKENREITER,D/RECYCLED RECIP Compact Disc EP's 602517415492 ABR224962 FRANKLIN,A/RUNNIN' OUT OF FOOL Compact Disc 783722249628 ABR224972 FRANKLIN,A/SOUL SISTER/TAKE IT Compact Disc 783722249727 SHOUT50 FRANKLIN,E/PIECE OF HER HEART Compact Disc 5013929505025 SNJBF001 FRANZINI,M/OUT OF A LOGICAL CH Compact Disc 8051093880019SNJBF014 FRANZINI/AJMAR/RANTZER/PINTORI Compact Disc 8051093880156 896792B FRASER,D/DEAN PLAYS BOB Compact Disc 060768967922 HOR11042 FREEHEAT/DON'T WORRY BE HAPPY Compact Disc 631778110426 CCDCD4714 FREELON,N/SHAKING FREE Compact Disc 013431471424CCDCD1012 FREELON,N/SHAKING FREE SACD4Stereo/Surround/CDAud 013431101260 710322C FREESTYLE/ETCHED IN STONE Compact Disc 800867103223 4756811 FRENI & SCOTTO/CLASSIC RECITAL Compact Disc 028947568117 8 00867 10322 30 13431 47142 47 90058 20182 4 8 09842 50912 8 7 83722 24972 73 700477 800512 6 17742 06972 3 8 37792 00813 2 8 051093 880019 8 051093 880033 8 051093 880156 7 90185 00062 87 90185 00222 60 42283 34082 46 02517 21267 1 0 28947 56811 77 31454 09502 0 5 013929 505025 7 83722 24962 88 09842 50982 1 0 60768 62912 7 0 60768 96792 2 6 31778 11042 66 02517 41549 2 0 13431 10126 00 28947 75418 3 Page 72 of 496 November 12, 2014Catalogue NumberArtist / Title Config Scannable UPC UPC 4780368 FRENI,M/PUCCINI:UN BEL DE-PUCC Compact Disc 028947803683 MR800832 FRENTE/MARVIN THE ALBUM Compact Disc 035498008320 PRR152 FREQUENCY DRIFT/GHOSTS Compact Disc 837792008354 B001445502 FRESH,A/FRESH N UP Compact Disc 602527424248 BIBER76811 FRIEDEMANN/SAITENSPRUNG Compact Disc 707787681124BIBER76787 FRIEDEMANN/THE CONCERT Digital Video Disc 707787678773 DCE0012 FRIENDS OF ROCK-N-ROLL/FRIENDS Compact Disc 094922632883 4400141982 FRISELL,B/RARUM-SELECTED RECOR Compact Disc 044001419829 CCDCD4998 FRISHBERG,D/LOOKIN' GOOD Compact Disc 013431499824 NNR0102 FRITZEN,J/DIAMONDS Compact Disc 858370002502NNR0100 FRITZEN,J/LOVE BIRDS Compact Disc 858370002489NNR0103 FRITZEN,J/MAGICAL Compact Disc 858370002519NNR0101 FRITZEN,J/V.I.P. Compact Disc 858370002496 PRR237 FROBERG, HASSE/FUTURE PAST FUT Compact Disc 837792008262 4763198 FRON MALE VOICE CHOIR/VOICES O Compact Disc 289447631989 CDFLY646 FSK /THE SOUND OF M Compact Disc 018964064624 MF0412 FUGU/FUGU 1 Compact Disc 796627004124 0252764092 FUMANTI,G/ELYSIUM Compact Disc 6025276409216076846162 FUN LOVIN' CRIMINALS/WELCOME T Compact Disc 060768461628 CSF00124 FUN/WE ARE YOUNG(DVD) Digital Video Disc 827191001247 HEP05172 FUNDERBURGH,A & THE ROCKETS/MY Compact Disc 670917051725HEP05132 FUNDERBURGH,A & THE ROCKETS/SH Compact Disc 670917051329 HEC26552 FUNDERBURGH,A & THE ROCKETS/TA Compact Disc 670917265528 FRT0482 FUNERAL FOR A FRIEND/CASUALLY Compact Disc 828136004828 MF0802 FURMAN,E &THE HARPOONS/BANGING Compact Disc 796627008023MF0962 FURMAN,E/HARPOONS/INSIDE THE H Compact Disc 7966270096240 18964 06462 40 13431 49982 4 8 37792 00826 28 58370 00251 9 6 70917 05132 97 07787 68112 4 6 70917 26552 86 70917 05172 58 58370 00248 9 8 58370 00249 68 58370 00250 26 02527 42424 8 6 02527 64092 12 89447 63198 90 35498 00832 0 0 44001 41982 90 28947 80368 3 8 37792 00835 4 0 60768 46162 8 8 28136 00482 87 96627 00412 4 7 96627 00802 3 7 96627 00962 40 94922 63288 3 8 27191 00124 77 07787 67877 3 Page 73 of 496 November 12, 2014Catalogue NumberArtist / Title Config Scannable UPC UPC CDROUN0456 FURTADO, TONY &/TONY FURTADO & Compact Disc 018964445621 7697424922 FURTADO,N/GREY CUP PROMO(CFL E Compact Disc Singles 776974249225 711882A FURTHER SE/MOON IS DAWN,THE Compact Disc 647077118827 4775238 FURTWANGLER,W/THE FASCINATION Compact Disc 028947752387 TSAK005CD FUTURE CLOUDS & RADAR/PEORIA Compact Disc 895382001055 MM00105 FUTURE/THE GREATEST STORY(DVD Digital Video Disc 827191001056 9811207 FYGI,L/LIVE AT NORTH SEA JAZZ Digital Video Disc 602498112076 EA111 G TOM MC/THOU SHALL NOT FALL Compact Disc 854882200696 1166177342 G.ISAACS/BEST OF VOL.2 Compact Disc 0116617734241166130132 G.THOROGOOD/& T DESTROYERS SACD4Stereo/Surround/CDAud 011661301320 CDUPST020 GABRELS, REEVES/THE SACRED SQU Compact Disc 011671802022 B000151709 GABRIEL,P/GROWING UP LIVE Digital Video Disc 602498611432 RWPXCA1 GABRIEL,P/SCRATCH MY BACK (2CD Compact Disc 180030000208 0694935949 GABRIEL,P/SECRET WORLD LIVE Digital Video Disc 606949359492 PGCDR5 GABRIEL,P/SO (REMASTERED) Compact Disc 180030000680 4713332 GABRIELI,G & DE RORE,C/A VENET Compact Disc 028947133322 390789 GADD GANG/ROOTS SAX/DOUBLE TIM Digital Video Disc 801213907892460062 GAITHER, B/GOING HOME/HEAVEN Compact Disc 617884600624 427712C GAITHER, B/ROCK OF AGES/B&G GA Compact Disc 617884277123 6076846432 GALACTIC/RUCKUS Compact Disc 060768464322 4776077 GALWAY,J/VAR/ICH WAR EIN BERLI Compact Disc 028947760771 SNJBF016 GAMBA,O/REMEMBERING NINO ROTA Compact Disc 8051093880187 B000356200 GAME THE/THE DOCUMENTARY(DELUX CD with DVD 602498641422 SXYCD047 GAME VS 50 CENT/THE GLOVES ARE Compact Disc 823564611624 B001372972 GAME/THE RED ALBUM (DLX CD/DVD Compact Disc 602527258225 341092A GAMMA RAY/MAJESTIC Compact Disc 0218234109206 02498 64142 20 11671 80202 2 1 80030 00020 80 11661 77342 40 18964 44562 1 8 23564 61162 48 051093 880187 6 02527 25822 50 28947 13332 20 28947 75238 7 0 28947 76077 16 17884 27712 36 47077 11882 7 6 17884 60062 41 80030 00068 0 0 60768 46432 28 95382 00105 5 8 54882 20069 6 0 21823 41092 07 76974 24922 5 8 27191 00105 6 6 02498 11207 6 8 01213 90789 26 02498 61143 2 6 06949 35949 20 11661 30132 0 Page 74 of 496 November 12, 2014Catalogue NumberArtist / Title Config Scannable UPC UPC SNJBF010 GANGSTERSTORY/THE DOUBLE LIFE Compact Disc 8051093880101 4400141652 GARBAREK,J/RARUM-SELECTED RECO Compact Disc 044001416521 4757057 GARDNER&MONTEVERDICHOIR/MOZART Compact Disc 028947570578 SYN055 GARLAND, J/OVER THE RAINBOW CD with DVD 874757005522 IEG2153 GARLAND,J/JUDY GARLAND COLLECT Digital Video Disc 617742215397IEG2148 GARLAND,J/THE JUDY GARLAND SHO Digital Video Disc 617742214895 IEG2152 GARLAND,J/THE JUSY GARLAND HOL Digital Video Disc 617742215298 PRCD70862 GARLAND,R/RED GARLAND'S PIANO Compact Disc 025218487627 CCDCD9030 GARLAND,T/MADE BY WALKING Compact Disc 013431903024 SNJBF012 GARLASCHELLI,L/MUSIKORCHESTRA Compact Disc 8051093880125 3145580772 GARNER,E/CONTRASTS Compact Disc 731455807721 SYN029 GARNER,E/THE ELF Compact Disc 874757002927 714188 GASLIGHT A/AMERICAN SLANG (T-S MERCH - GENERAL 603967141887 IAM0277 GATHERING BRITANNIA/THE BRIDGE Compact Disc 899079002776 COI0422 GAY FOR JOHNNY DEPP/POLITICS O Compact Disc 823566454229 3746352162 GAYE,M/A TRIBUTE TO THE GREAT Compact Disc 737463521628 B000110919 GAYE,M/COLLECTION DVD Audio 602498607626 0075305053 GAYE,M/THE BEST OF-GREEN SERIE Compact Disc 600753050538 B000350236 GAYE,M/THE MARVIN GAYE COLLECT SACD4Stereo/Surround/CDAud 602498636398 MW048 GAYLE,C/TOP 10 COUNTRY HITS (2 Compact Disc 813411010489 HEC705192 GEARS,THE/ROCKIN' AT GROUND ZE Compact Disc 670917051923DTG776709 GENE SHAW QUINTET/BREAKTHROUGH Compact Disc 602517767096 PTV55 GENERATIONALS/TRUST Compact Disc EP's 788377113720RT022 GENESIS/LIVE-TONIGHT (DVD) Digital Video Disc 9223814130225 VPDVD42 GENESIS/REMEMBER KNEBWORTH 197 Digital Video Disc 604388696109 HSM50972 GEORGE & MCCRAE,G/TOGETHER Compact Disc 8098425097228 74757 00552 2 0 13431 90302 40 25218 48762 7 8 09842 50972 28 74757 00292 7 6 70917 05192 38 13411 01048 9 6 02517 76709 68 99079 00277 68 051093 880101 8 051093 880125 6 00753 05053 87 31455 80772 1 7 37463 52162 80 44001 41652 1 0 28947 57057 8 8 23566 45422 9 7 88377 11372 0 6 04388 69610 96 17742 21489 56 17742 21539 7 9 223814 130225 6 17742 21529 8 6 02498 60762 66 03967 14188 7 6 02498 63639 8 Page 75 of 496 November 12, 2014Catalogue NumberArtist / Title Config Scannable UPC UPC AUDIO27 GERI X/ANTHEMS OF A MENDED HEA Compact Disc 897030002179 RUB224 GERRARD,L/THE SILVER TREE Compact Disc 854882001217 ELQT006 GERSHWIN,G/GREATEST HITS Compact Disc 776974228329 4681362 GERSHWIN/I GOT RHYTHM Compact Disc 028946813621 TVT03402 GET UP KIDS/SOMETHING TO WRITE Compact Disc 601091034020 CCDCD4807 GETZ,S & CHET,B/QUINTESSENCE V Compact Disc 013431480723 3145170492 GETZ,S QUARTET/IN PARIS Compact Disc 7314517049253145277732 GETZ,S/COOL VELVET/& STRING Compact Disc 731452777324 FSA3266 GETZ,S/STAN GETZ & CAL TJADER SACD4Stereo/Surround/CDAud 025218733861 3145842102 GETZ,S/THE VERY BEST OF STAN G Compact Disc 731458421023 PMVD001 GG ALLIN/CARNIVAL OF EXCESS(CD Compact Disc 642640304829 B000651602 GIANTDRAG/HEARTS AND UNICORNS Compact Disc 602498544051 CDHBEA73 GIBBS, JOE /JOE GIBBS & ER Compact Disc 011661757325 3145896732 GIBBS,T/PLAYS JEWISH MELODIES Compact Disc 731458967323 CCM09112 GIBSON,B/SKI SONGS Compact Disc 617742091120 433052 GILAD ARZM/EXILE Compact Disc 068944330522 4736312 GILBERT&SULLIVAN/COMPLETE SET Compact Disc 0289473631254736562 GILBERT&SULLIVAN/RUDDIGORE Compact Disc 028947365624 SYN004 GILBERTO,A/THE GIRL FROM IPANE Compact Disc 874757000428 425992 GILDER, NI/CITY NIGHTS(NORTHER Compact Disc 724354259920 MCSSD70038 GILL,V/BREATH OF HEAVEN Compact Disc 008817003825 MCAD10877 GILL,V/LET THERE BE PEACE Compact Disc 008811087722 MASSCD1345D GGILLAN,I/TOOLBOX (REMASTERED) Compact Disc 5907785035737 3145170522 GILLESPIE,D/AFRO Compact Disc 7314517052294400184202 GILLESPIE,D/DIZZY GILLESPIE & Compact Disc 0440018420233145163192 GILLESPIE,D/JAZZ MASTER V10 Compact Disc 7314516319240 11661 75732 50 13431 48072 3 6 42640 30482 9 8 74757 00042 88 97030 00217 9 5 907785 035737 6 17742 09112 07 31451 70492 5 0 44001 84202 37 31451 70522 97 31452 77732 4 7 31458 42102 3 7 31458 96732 3 7 31451 63192 46 01091 03402 0 0 08817 00382 5 0 08811 08772 26 02498 54405 10 28946 81362 17 76974 22832 9 0 28947 36312 5 0 28947 36562 4 7 24354 25992 00 68944 33052 28 54882 00121 7 0 25218 73386 1 Page 76 of 496 November 12, 2014Catalogue NumberArtist / Title Config Scannable UPC UPC 390659 GILLESPIE,D/NORMAN GANTZ JAZZ Digital Video Disc 801213906598 0121597342 GILLESPIE,D/THE GIANT Compact Disc 601215973426 HST035DVD GINGER BAKER'S AIRFORCE/LIVE ( Digital Video Disc 5060230860664 NOT003 GINUWINE/ELGIN Compact Disc 044003133402 880322 GIRLSCHOOL/KING BISCUIT FLOWER Compact Disc 707108803228 4400655082 GIUFFRE,J/THE EASY WAY Compact Disc 044006550824 MASSCD1373D GGIUFFRIA/GIUFFRIA (REMASTERED) Compact Disc 5907785036147 MASSCD1374D GGIUFFRIA/SILK AND STEEL (REMAS Compact Disc 5907785036154 642060 GLASS TIGE/NO TURNING BA 98-04 DVD + BNS CD 724386420602 4640642 GLASS,P/AGUAS DA AMAZONIA Compact Disc 028946406427 NPR261 GLITTERTIND/EVIGE ASATRO + TIL Compact Disc 693723512624 CDRW200 GLOAMING,THE/THE GLOAMING Compact Disc 884108002087 ALP248 GLOBE UNITY ORCHESTRA/HAMBURG Compact Disc 735286224825 4702932 GLUCK/ALCESTE Compact Disc 0289470293284706112 GLUCK/ITALIAN ARIAS SACD4Stereo/Surround/CDAud 028947061120 TWA0582 GO-BETWEENS/BRIGHT YELLOW BRIG Compact Disc 604978005823TWA0702 GO-BETWEENS/LIBERTY BELLE & TH Compact Disc 604978007025 IDG1042 GOD FIRED MAN/A BILLION BALCON Compact Disc 894862001042 CHS33335 GODSMACK/CHANGES Digital Video Disc 619061333530 B001360102 GOEBBELS,H/LANDSCHAFT MIT ENTF Compact Disc 028947658382 CLC5302 GOLD,A/WHIRLWIND Compact Disc 617742053029 MW032 GOLDBERG,B/BARRY GOLDBERG Compact Disc 813411010328 NPR116 GOLDEN DAWN/MASQUERADE Compact Disc 693723226521 262122 GOLDFRAPP/HEAD FIRST Compact Disc 5099962621229 183002B GOLDFRAPP/SEVENTH TREE Compact Disc 5099951830021011672B GOLDFRAPP/THE SINGLES Compact Disc 50999301167267 07108 80322 8 5 907785 036147 5 907785 036154 6 17742 05302 96 01215 97342 6 0 44006 55082 4 0 28947 02932 80 28946 40642 7 0 28947 65838 2 6 93723 22652 16 93723 51262 4 8 13411 01032 8 5 099951 830021 5 099962 621229 5 099930 116726 7 35286 22482 58 84108 00208 7 6 04978 00582 3 6 04978 00702 5 8 94862 00104 20 44003 13340 2 6 19061 33353 05 060230 860664 8 01213 90659 8 7 24386 42060 2 0 28947 06112 0 Page 77 of 496 November 12, 2014Catalogue NumberArtist / Title Config Scannable UPC UPC 4778531 GOLIJOU,O/TETRO - SOUNDTRACK Compact Disc 028947785316 B000028702 GOLUB,J.SOUL SESSIONS Compact Disc 044007614327 3145436882 GOLUB,J/DANGEROUS CURVES Compact Disc 7314543688273145895642 GOLUB,J/DO IT AGAIN Compact Disc 731458956426 D001897892 GOMEZ,S/STARS DANCE(DLX) Compact Disc 050087294892 479902B GOMEZ/SILENCE Compact Disc Singles 724354799020 INTROCD2052 GONZALES,B/A PROPER INTRO TO:B Compact Disc 805520060523 YY9429 GONZALEZ,R/TODO SENTIMENTO Compact Disc 8436006494291 LV123 GOOD BYE DAD AND ALL THE BEST Compact Disc 764942237343 0249863094 GOOD,M/WHITE LIGHT ROCK & ROLL Compact Disc 602498630945 GRD9954 GOODMAN,B/SWINGSATION Compact Disc 011105995429 880182A GORDON, RO/KING BISCUIT FLOWER Compact Disc 707108801828 1896496042 GORDON,S/YOU KNOCK ME OUT Compact Disc 018964960421 MASSCDDG098 8GORGUTS/CONSIDERED DEAD Compact Disc 5907785028739 MASSCDDG098 9GORGUTS/EROSION OF SANITY Compact Disc 5907785028746 B001755602 GOULDING,E/HALCYON Compact Disc 602537160839 252732799 GOULDING,E/LIGHTS Compact Disc 602527327990 603002 GOVI/HAVANA SUNSET BEST OF GO Compact Disc 724386030023 88088215852 GOV'T MULE/MIGHTY HIGH Compact Disc 88088215852179102215099 GOV'T MULE/RISING LOW - DVD Digital Video Disc 791022150995 AGZ0007 GOZE,C/LONG WAY HOME Compact Disc 843485083256 PRO130 GRAFH/BEST OF GRAFH:CLASSIC SH Compact Disc 890701001457 XXICD21424 GRAND CHOEUR DE MTL./DUBOIS-7 Compact Disc 722056142427 NOT5002 GRANT LEE BUFFALO/COPPEROPOLIS Compact Disc 617742500226 933372 GRAPES OF /SEPTEMBER BOWL OF G Compact Disc 077779333721480182 GRAPES OF /TREE HOUSE Compact Disc 0777748018297 22056 14242 77 07108 80182 8 0 18964 96042 1 8 90701 00145 75 907785 028739 5 907785 028746 7 64942 23734 3 6 17742 50022 68 43485 08325 60 50087 29489 2 6 02527 32799 07 31454 36882 7 7 31458 95642 60 44007 61432 7 6 02498 63094 5 7 24386 03002 30 11105 99542 9 0 77774 80182 90 77779 33372 10 28947 78531 6 6 02537 16083 98 436006 494291 8 05520 06052 3 8 80882 15852 17 24354 79902 0 7 91022 15099 5 Page 78 of 496 November 12, 2014Catalogue NumberArtist / Title Config Scannable UPC UPC 5170282 GRAPPELLI,S/LEGRAND,S/WITH Compact Disc 731451702822 4400140612 GRAPPELLI,S/PLAYS COLE PORTER Compact Disc 044001406126 SVY17163 GRAPPELLI,S/TIMELESS STEPHANIE Compact Disc 795041716323 SIDVD569 GRATEFUL DEAD/DAWN OF THE(DVD) Digital Video Disc 823564529899 MLLCD12 GRAVE DIGGER/RHEINGOLD Compact Disc 807297163520 6076845392 GRAVITY KILLS/SUPERSTARVED Compact Disc 060768453920 07863650179 GRAY,D/LIVE AT THE POINT-DVD Digital Video Disc 078636501796 MASSCDDG105 8GREAT KAT, THE/WORSHIP ME OR D Compact Disc 5907785030299 MA251036 GREATWHITE/REVISITINGFAMILIARW Compact Disc 5413992510368 147252C GREEN AL/LEGEND FOREVER Compact Disc 5099951472528 MOS824182 GREEN,B/MOSAIC SELECT - (3CD) Compact Disc 724358241822 6076805652 GREENWOOD,J/JOHNNY GREENWOOD I Compact Disc 060768056527 QLDVD6695 GREENWOOD,L/LIVE (DVD) Digital Video Disc 022891669593 PWHSM51242 GREG DIAMOND/STAR CRUISER Compact Disc 809842512425 ALP209 GREGORIO,G/OTRA MUSICA(1963-70 Compact Disc 735286220926 B000060302 GREY,A/SNAP YOUR FINGERS Compact Disc 602498603079 UMD80397 GRIEG /PIANO CONCERTO Compact Disc 602438039722 842108021804 GRIFFITHS,L/ARMCHAIR ANARCHY Compact Disc 842108021804 6076802412 GRIFFITHS,M/PUT A LITTLE LOVE Compact Disc 060768024120 ABR270252 GRIN/ALL OUT Compact Disc 617742702521 BHH2053 GRIP GRAND/WELCOME TO BROAKAN Compact Disc 611933205327 GKN0002 GROOVE KID NATION/MUSIC IN MOT Compact Disc 858370002045GKN0003 GROOVE KID NATION/RHYTHM BEARS Compact Disc 858370002816GKN0001 GROOVE KID NATION/WHEELS ON TH Compact Disc 884501386630 ORO0042 GROUCH/DON'T TALK TO ME Compact Disc 693405000425 LM0312 GROUCH/SOUND ADVICE Compact Disc 6934050031298 07297 16352 07 95041 71632 3 5 907785 030299 6 17742 70252 1 6 11933 20532 78 09842 51242 5 8 42108 02180 47 35286 22092 67 24358 24182 2 8 84501 38663 08 58370 00204 5 8 58370 00281 65 099951 472528 0 44001 40612 67 31451 70282 2 6 02498 60307 9 6 02438 03972 25 413992 510368 0 60768 02412 00 60768 05652 70 60768 45392 0 6 93405 00312 96 93405 00042 50 22891 66959 38 23564 52989 9 0 78636 50179 6 Page 79 of 496 November 12, 2014Catalogue NumberArtist / Title Config Scannable UPC UPC ALP238 GRUNTZ,G/CLARKE,K/MENTAL CRUEL Compact Disc 735286223828 ASCD008 GRUPO FANTASMA/SONIDOS GOLD Compact Disc 854882200665 SNJBF006 GRUPPO Q/LIVE IN CHINA Compact Disc 8051093880064 3145892802 GRUSIN,D/THE VERY BEST OF DAVE Compact Disc 731458928027 FCD30066 GUARALDI,V/A CHARLIE BROWN CHR Compact Disc 888072300668FCD84312 GUARALDI,V/A CHARLIE BROWN CHR Compact Disc 025218843126 FCD9682 GUARALDI,V/CHARLIE BROWNS HOLI Compact Disc 025218968225 4575292 GUIDE-JAUNE-OPERA Compact Disc 028945752921 CRSEG015 GUN/GUN Compact Disc 5013929181526CRSEG016 GUN/GUNSIGHT Compact Disc 5013929181625 B000159302 G-UNIT/BEG FOR MERCY (EDITED) Compact Disc 602498612279 0075338877 GUNS N ROSES/25TH A(CD+DVD(LTD CD with DVD 600753388778 PP023 GUNS N ROSES/DESTRUCTIVE APPET Digital Video Disc 603777902999 PGDVD114 GUNS N ROSES/THE ROAD TO DEMOC Digital Video Disc 823564516097 RQTZ169 GURUS,THE/CLOSING CIRCLES Compact Disc 634457534322 OGL820132 GURYAN,M/25 DEMOS Compact Disc 790058201329 ALP163 GUSTAFSSON/STACKENAS/BLUES Compact Disc 735286116328 INTROCD2059 GUTHRIE,W/A PROPER INTRO TO:WO Compact Disc 805520060592 MA250115 GUY,B & WELLS,J/EVERYDAY WE HA Compact Disc 5413992501151MA250273 GUY,B/SIT AND CRY THE BLUES Compact Disc 5413992502738 DRT802 GWAR/BLOOD BATH & BEYOND Digital Video Disc 828730080297 6076846792 GZR/OHMWORK Compact Disc 060768467927 OPECD7414 H2/HOME FOR THE HOLIDAYS Compact Disc 776143741420 ODR7407 H2;H2/FLIGHTS Compact Disc 776143740423 B000597802 HAARLA,I/NORTHBOUND Compact Disc 602498703779 ALP219 HAAZ & COMPANY/UNLAWFUL MUSIC Compact Disc 7352862219236 00753 38877 88 88072 30066 8 0 25218 84312 6 0 25218 96822 5 5 413992 502738 5 413992 501151 7 35286 11632 87 35286 22382 8 8 051093 880064 5 013929 181526 5 013929 181625 7 31458 92802 7 6 02498 61227 9 6 02498 70377 90 28945 75292 1 6 34457 53432 2 7 35286 22192 37 76143 74042 37 76143 74142 08 05520 06059 2 0 60768 46792 78 54882 20066 5 7 90058 20132 96 03777 90299 9 8 23564 51609 7 8 28730 08029 7 Page 80 of 496 November 12, 2014Catalogue NumberArtist / Title Config Scannable UPC UPC 372222B HACKETT, S/PLEASE DON'T TOUCH Compact Disc 094633722224 9808050 HADEN&METHENY/BEYOND T MI(LTD) Compact Disc 6024980805045298272 HADEN,C QRT WEST/NOW IS T HOUR Compact Disc 731452982728 IMPD188 HADEN,C/LIBERATION MUS Compact Disc 011105018821 B000494902 HADEN,C/NOT IN OUR NAME Compact Disc 602498292488 8316732 HADEN,C/QUARTET WEST Compact Disc 0422831673225309996 HADEN,C/THE MONTREAL TAPES-6CD Compact Disc 600753099964 6076846082 HAGAR,S/HALLELUJAH Compact Disc 0607684608296076883559 HAGAR,S/LONG ROAD (DVD) Digital Video Disc 060768835597 447942 HAGGARD, M/I'M A LONESOME FUGI Compact Disc 094634479424 ABR602062 HAGGARD,M/A LIVING LEGEND Compact Disc 084296020621 ABR70322 HAGGARD,M/KERN RIVER/CHILL FAC Compact Disc 617742703221 AMACD006 HAGGARD,M/LIVE! Compact Disc 884607000065 ABR224072 HAIRCUT ONE HUNDRED/PELICAN WE Compact Disc 783722240724 0743131 HAITINK,B/MAHLER:SYMPHONIES NO Digital Video Disc 0440074313130743133 HAITINK,B/MAHLER:SYMPHONIES NO Digital Video Disc 0440074313374757564 HAITINK/COA/MAHLER:SYMPHONY N3 Compact Disc 028947575641 ALP203 HAL RUSSELL'S CHEMICAL/ELIXIR Compact Disc 735286220322 6076836192 HALIFAX/A WRITER'S REFERENCE Compact Disc 0607683619286076836372 HALIFAX/THE INEVITABILITY OF A Compact Disc 060768363724 BALL6001 HAMILTON,R OR/TAKE YOUR-V1-6CD Compact Disc 883717251220 SHOUT27 HAMILTON,R/DON'T LET GO Compact Disc 5013929502727SHOUT44 HAMILTON,R/TORE UP! RCA AND AG Compact Disc 5013929504424 CCDCD1028 HAMILTON,S/SCOTT HAMILTON WITH SACD4Stereo/Surround/CDAud 013431102861CCDCD4127 HAMILTON,S/TENOR SHOES Compact Disc 013431412724 PWSNCD10403 HAMMER,T/LOOK STOP & LISTEN TH Compact Disc 601917104029 0 13431 41272 46 17742 70322 1 7 83722 24072 40 84296 02062 1 7 35286 22032 2 6 01917 10402 97 31452 98272 86 02498 08050 4 0 42283 16732 26 02498 29248 8 6 00753 09996 4 0 28947 57564 10 11105 01882 10 94633 72222 4 0 94634 47942 4 5 013929 502727 5 013929 504424 8 84607 00006 5 8 83717 25122 00 60768 46082 9 0 60768 36192 8 0 60768 36372 40 44007 43131 3 0 44007 43133 70 60768 83559 7 0 13431 10286 1 Page 81 of 496 November 12, 2014Catalogue NumberArtist / Title Config Scannable UPC UPC CDROUN3060 HAMMOND, JOHN /FROGS FOR SNAK Compact Disc 011661306028 INAK6457 HAMMOND,J/PARIS CONCERT Digital Video Disc 707787645775 546212A HAMPSON/AMERICAN DREAMER-SONGS Compact Disc 077775462128 GRD9945 HAMPTON,L/PRICELESS JAZZ Compact Disc 011105994521 NPD85646 HANDEL,GF/GLORIUS HANDEL SOPRA Compact Disc 032466564628 4742252 HANDEL/ACIS & GALATEA Compact Disc 0289474225254752072 HANDEL/ATHALIA Compact Disc 0289475207264717582 HANDEL/CONCERTI GROSSI OP.6/WA Compact Disc 0289471758274434702 HANDEL/ISRAEL IN EGYPT/PRESTON Compact Disc 0289443470294476922 HANDEL/JUDAS MACCABAEUS Compact Disc 0289447692274713412 HANDEL/MESSIAH Compact Disc 028947134121 SACD60594 HANDEL/MUSIC FOR ROYAL FIREWOR SACD4Stereo/Surround/CDAud 089408059407 4741682 HANDEL/MUSIC FOR THE ROYAL FIR Compact Disc 0289474168214690612 HANDEL/THEODORA Compact Disc 028946906125 ODR9335 HANNAFORDSTREET/CONNECTIONS IN Compact Disc 776143933528ODR9319 HANNAFORDSTREET/HEAVY METAL Compact Disc 776143931920ODR9324 HANNAFORDSTREET/VOICES ON HIGH Compact Disc 776143932422 CDGRON64 HANS-JOACHIM & TIM STORY/INLAN Compact Disc 854882200689 4756181 HANSON/SYMPHONIES NOS.1 & 2 SACD4Stereo/Surround/CDAud 028947561811 MYSTCD083 HAPPYSAD/MOW MI DOBRZE Compact Disc 5903427872494 CA60009 HARDIE,C/CLIFF HARDIE AND THE Digital Video Disc 4028462600091 0121594032 HARDIMAN,R/ANTHEM Compact Disc 601215940329 10071 HARDY,H/ALONE Compact Disc 096742000026 3145279072 HARGROVE,R/MCBRIDE,C/SCOTT, Compact Disc 731452790729 HEC705272 HARMAN,J BAND/BLACK & WHITE Compact Disc 670917052722 HEP00142 HARMAN,J BAND/DO NOT DISTURB Compact Disc 6709170514280 11661 30602 8 0 96742 00002 60 32466 56462 8 6 70917 05272 25 903427 872494 6 70917 05142 87 31452 79072 90 28944 34702 90 11105 99452 10 77775 46212 8 0 28947 41682 10 28947 13412 10 28947 17582 70 28947 52072 6 6 01215 94032 90 28947 42252 5 0 28944 76922 7 0 28946 90612 5 7 76143 93192 0 7 76143 93242 27 76143 93352 8 8 54882 20068 9 4 028462 600091 7 07787 64577 5 0 89408 05940 7 0 28947 56181 1 Page 82 of 496 November 12, 2014Catalogue NumberArtist / Title Config Scannable UPC UPC HEC26562 HARMAN,J BAND/TWO SIDES TO EVE Compact Disc 670917256625 7697423922 HARMER,S/I'M A MOUNTAIN Compact Disc 776974239226 810019A HARPER,B/BLUEPRINTS OF JAZZ V2 Compact Disc 827912079616 MA250183 HARPER,R/SOPHISTICATED BEGGAR Compact Disc 5413992501830 3145361422 HARPESTRY/A.WOLLENWEIDER Compact Disc 731453614222 4837 HARRIS,C/BETWEENMIDNIGHTANDDAY Compact Disc 014551483724 MA250110 HARRIS,E/I'VE ALWAYS NEEDED YO Compact Disc 5413992991105 CCDCD4758 HARRIS,G/IN HIS HANDS Compact Disc 013431475828 CCM21002 HARRIS,R/THE PROPHET BY KAHIL Compact Disc 617742210026 942342 HARRISON, /GEORGE HARRISON Compact Disc 724359423425 GRBD9873 HARTMAN,J/PRICELESS JAZZ Compact Disc 011105987325 4775487 HARTMANN/SYMPHONY NO.6 Compact Disc 028947754879 5683800107 HARTSELL,D/DANE HARTSELL(ARTIS Compact Disc 856838001074 B000997202 HARVEY,P.J./WHITE CHALK Compact Disc 602517403260 NMR0160 HASKARD,K/DON'T TELL Compact Disc 794465867529 958692 HASTE THE /BURNING BRIDGES Compact Disc 724359586922605670 HASTE THE /WHEN EVERYTHING FAI Compact Disc 724386056702 6076862972 HATCHET,M/KINGDOM OF XII Compact Disc 0607686297210114310132 HATFIELD,J/BEAUTIFUL CREATURE Compact Disc Enhanced 601143101328 NMR0170 HAUNT/THE DEEP NORTH Compact Disc 794465877122 VE20057 HAUNTED HEADS/LETTERE D'AMORE Compact Disc 689240200571 NSD158 HAVOC/13 Compact Disc 822720715824 MF422012 HAWKINS SCREAMIN JA/BEST OF TH Compact Disc 767004220123 DGCBD24627 HAWKINS TED /THE NEXT HUNDR Compact Disc 720642462720 PROPERBOX14 HAWKINS,C/THE BEBOP YEARS Compact Disc 604988991420 CCM09002 HAWKINS,R/ARKANSAS ROCKPILE/MO Compact Disc 6177420900240 13431 47582 85 413992 991105 6 17742 09002 46 04988 99142 06 17742 21002 66 70917 25662 5 5 413992 501830 7 94465 86752 97 31453 61422 2 6 02517 40326 00 11105 98732 5 7 20642 46272 00 28947 75487 97 76974 23922 6 7 24359 58692 2 7 24386 05670 27 24359 42342 5 8 56838 00107 4 7 94465 87712 2 8 22720 71582 4 7 67004 22012 36 89240 20057 18 27912 07961 6 0 60768 62972 10 14551 48372 4 6 01143 10132 8 Page 83 of 496 November 12, 2014Catalogue NumberArtist / Title Config Scannable UPC UPC 7697422292 HAYDEN/LIVE FROM CONVOCATION H Compact Disc 776974222921 4747302 HAYDN&SCHUBERT&BRAHMS/HAYDN,SC Compact Disc 0289474730224713272 HAYDN,F/STRING QUARTETS Compact Disc 0289471327214647072 HAYDN,J/THE SIX LONDON SYMPHON Compact Disc 0289464707254166432 HAYDN/SONATAS (11)/BRENDEL Compact Disc 0289416643274756160 HAYDN/SYMPHONIES NOS.88 & 101 Compact Disc 0289475616064681802 HAYDN/WIND CONCERTOS Compact Disc 028946818022 TC253043 HAYES,I/FOREVER CD with DVD 628261304325 SXSA1010 HAYES,I/THE ISAAC HAYES MOVEME SACD4Stereo/Surround/CDAud 025218733564 SMCR5055 HAYES,IC/WARWICK,D/A MAN AND A Compact Disc 5013929075535 SHOUT49 HAYES,L/ATOMIC BABY:HOLLYWOOD Compact Disc 5013929504929 440382 HAYNES,G/GIBBY HAYNES AND HIS Compact Disc 640424403829 IMPD180 HAYNES,R/OUT OF THE AFTERNOON Compact Disc 011105018029 MA250224 HAYWARD,J/SINGSMOODYBLUESCLASS Compact Disc 5413992502240 6076862022 HAYWARD,J/THE VIEW FROM THE HI Compact Disc 060768620223 SHOUTD71 HAYWOOD,L/KEEP IT IN THE FAMIL Compact Disc 5013929507128 PWSNCD10392 HAZELTINE,D/THE INSPIRATION SU Compact Disc 601917103923 SNCD10482 HAZELTINE,D/THE NEW CLASSIC TR Compact Disc 601917104821 SLR0412 HAZLEWOOD,L/ANN-MARGRET/COWBOY Compact Disc 787996004129 711100 HE IS LEGE/I AM HOLLYWOOD Compact Disc 724357111003 0169119CD HEALEY,J/AS THE YEARS GO P(3CD Compact Disc 7077879119240162013CD HEALEY,J/AS THE YEARS(2CD+2DVD CD with DVD 707787201377 IAM0260 HEALING SIXES/BLUEJAY Compact Disc 899079002608 183222A HEART/MAGAZINE Compact Disc 724381832226 AFMCD4762 HEAVENS FORTRESS/RAIDED LAND Compact Disc 884860091725 GBS001 HELIX/A HEAVY MENTAL CHRISTMAS Compact Disc 6206733250286 28261 30432 5 7 07787 20137 77 07787 91192 46 01917 10482 15 013929 075535 5 413992 502240 8 99079 00260 86 01917 10392 36 40424 40382 90 28946 47072 5 0 28941 66432 7 0 11105 01802 90 28946 81802 20 28947 13272 10 28947 47302 2 0 28947 56160 6 7 24357 11100 3 7 24381 83222 65 013929 504929 5 013929 507128 7 76974 22292 1 8 84860 09172 50 60768 62022 3 7 87996 00412 9 6 20673 32502 80 25218 73356 4 Page 84 of 496 November 12, 2014Catalogue NumberArtist / Title Config Scannable UPC UPC HELIX2012 HELIX/BEST OF 1983-2012 Compact Disc 620673344722 33212 HELIX/VAGABOND BONES Compact Disc 620673332125 DR4380 HELLACOPTERS THE/GOODNIGHT CLE Digital Video Disc 022891438090 485312 HELLMAN, T/DEPARTURE SONGS Compact Disc 068944853120 MQP1110 HELLO DALI/BEDTIME FOR BOB-O Compact Disc 892094001014 761751 HELLOGOODBYE/EP/DVD SPILT Compact Disc EP's 602517617513 6076836202 HELLOGOODBYE/HELLOGOODBYE Compact Disc 060768362024 884159 HELLOGOODBYE/OMG HGB DVD RETFL Digital Video Disc 060768841598 6076836452 HELLOGOODBYE/ZOMBIES!ALIENS!VA Compact Disc 0607683645236076852192 HELLOWEEN/HIGH LIVE (CDX2) Compact Disc 060768521926 NPR413 HELLSAW/TRIST Compact Disc 885470003191 4762740 HEMMING,F/IMPRESSIVE PIECES Compact Disc 028947627401 223802 HENDERSON,/HERITAGE Compact Disc 5099952238024 965072B HENDERSON,/IN N' OUT Compact Disc 724359650722 PWCL102046 HENDRICKSON S,IAN/BLUES IN THE Compact Disc 875531001297 301029 HENDRIX,J EXPERIENCE/CLASSIC A Digital Video Disc 801213010295 LI20460 HENDRIX,J/HIS GREATEST HITS Compact Disc 076637046025 CLC422 HENSKE,J/The Death-Defying Jud Compact Disc 617742042221 4713722 HEPPNER,B/AIRS FRANCAIS Compact Disc 028947137221 CRSEG018 HERD,THE/PARADISE LOST-THE COM Compact Disc 5013929181823 EHCD04 HERMAN,E/SNAIL'S PACE Compact Disc 884502021615EHCD01 HERMAN,E/THE KID IN THE MIRROR Compact Disc 634479086472 SRHR1239 HERMAN'S COLLECTION/HERMAN'S C Compact Disc 844185011617 ACME0242 HERO DISHONEST/WHEN THE SHIT H Compact Disc 689076300551 ROUTE17 HERRIOTT,M SEXTET/UNTO THE BRE Compact Disc 778224177524 TFC1008 HERRMANN,B/MYSTERIOUS ISLAND T Compact Disc 7002612278706 34479 08647 28 84502 02161 5 7 78224 17752 40 76637 04602 5 6 17742 04222 18 75531 00129 7 7 00261 22787 08 92094 00101 4 8 44185 01161 75 013929 181823 0 28947 13722 10 28947 62740 1 5 099952 238024 7 24359 65072 28 85470 00319 10 68944 85312 0 0 60768 36452 30 60768 36202 4 6 89076 30055 10 60768 52192 66 20673 33212 56 20673 34472 2 6 02517 61751 30 22891 43809 0 8 01213 01029 50 60768 84159 8 Page 85 of 496 November 12, 2014Catalogue NumberArtist / Title Config Scannable UPC UPC CCDCD4267 HERSCH,F/HORIZON Compact Disc 013431426721 CCDCD4596 HERSCH,F/LIVE AT THE MAYBECK V Compact Disc 013431459620 ARMA329 HEWITT,E/BURN THE SKY DOWN Compact Disc 8718522004964 HHCD001 HEY HELLO/HEY HELLO Compact Disc 689492141721 HHLP001 HEY HELLO/HEY HELLO(LP) Compact Disc 689492141813 ABR7019 HEYWARD,N/NORTH OF A MIRACLE Compact Disc 617742701920 B000259519 HIATT,J/BRING THE FAMILY DVD Audio 602498624340 SD671132 HICKS,D & THE HOT LICKS/BEATIN Compact Disc 720616711328 836172 HIDDEN IN LAIN VIEW/HIDDEN IN Compact Disc EP's 060768361720836222 HIDDEN IN PLAIN VIEW/LIFE IN D Compact Disc 060768362222836512 HIDDEN IN PLAIN VIEW/RESOLUTIO Compact Disc 060768365124 2301149 HIEROGLYPHICS/FULL CIRCLE TOUR Digital Video Disc 6553230114952301102 HIEROGLYPHICS/FULL CIRCLE(EDIT Compact Disc 6553230110202301012 HIEROGLYPHICS/THIRD EYE VISION Compact Disc 655323010122 TSCD486 HIGH LEVEL R/GAUGHAN/BOA/THE B Compact Disc 714822048620 671212 HIKARU, UT/ULTRA BLUE Compact Disc 094636712123 781142A HIKARU,U/SINGLE COLLECTION V.1 Compact Disc 724357811422 317658 HILL & THE/11:11 Compact Disc 627843176589 SHOUT70 HILL, Z Z/THE BEST THING THAT Compact Disc 5013929507029 COW716322 HILL,A & LONG GONE DADDYS/BAR Compact Disc 670917163220 4498102 HILLIARD ENSEMBLE/PART,ARVO:LI Compact Disc 028944981025 B000591702 HILLIARDENSEMBLE/NICHOLAS GOMB Compact Disc 602498187920 FOL714672 HILLSIDE SINGERS/I'D LIKE TO T Compact Disc 045507146721 093022 HILLSONG L/CORNERSTONE Compact Disc 5099990930225 0246544922 HINES,E/ONCE UPON A TIME Compact Disc 602465449228 SHOUT59 HINTON,E/VERY EXTREMELY DANGER Compact Disc 5013929505926 0 45507 14672 16 89492 14172 1 6 89492 14181 3 6 70917 16322 06 17742 70192 0 7 14822 04862 07 20616 71132 8 6 02465 44922 80 94636 71212 3 7 24357 81142 2 0 28944 98102 5 6 02498 18792 0 5 099990 930225 0 13431 42672 1 0 13431 45962 0 5 013929 505926 5 013929 507029 8 718522 004964 6 27843 17658 90 60768 36512 40 60768 36222 2 6 55323 01012 26 55323 01102 00 60768 36172 0 6 55323 01149 56 02498 62434 0 Page 86 of 496 November 12, 2014Catalogue NumberArtist / Title Config Scannable UPC UPC SHOUT23 HINTON,J/FUNNY HOW TIME SLIPS Compact Disc 5013929502321 SACD63655 HIROMI/TIME CONTROL SACD4Stereo/Surround/CDAud 089408365560 NOT5003 HITCHCOCK,R/STOREFRONT HITCHCO Compact Disc 617742500325 DEW9000437 HIVES,THE/LEX HIVES Compact Disc 602537018482 3761703 HOBBIT,THE/THE DESOLATION(2CD) Compact Disc 6025376170433761704 HOBBIT,THE/THE DESOLATION(2CD) Compact Disc 602537617036 PROPERBOX58 HODGES,J/THE JEEP IS JUMPIN' Compact Disc 805520020589 2061671062 HOEY,G/HO! HO! HOEY Compact Disc 720616710628 CCM09622 HOG HEAVEN/HOG HEAVEN Compact Disc 617742096224 PAUK2N HOGARTH,S/NAKED IN THE CHAPEL Digital Video Disc 5060108070485 4881 HOLE,D/OUTSIDELOOKINGIN Compact Disc 0145514881254807 HOLE,D/SHORT FUSE BLUES Compact Disc 0145514807234847 HOLE,D/TICKETTOCHICAGO Compact Disc 0145514847214814 HOLE,D/WORKING OVERTIME Compact Disc 014551481423 B001446602 HOLE/BEST OF Compact Disc 602527426808 GRD2601 HOLIDAY,B/COMPLETE DECCA RECOR Compact Disc 011105060127 IDVD1115 HOLIDAY,B/GENIUS OF LADY DAY,T Digital Video Disc 022891811596 3145214292 HOLIDAY,B/LADY SINGS T BLUES Compact Disc 731452142924 8234492 HOLIDAY,B/SILVER COLLECTION Compact Disc 042282344922 3145176582 HOLIDAY,B/T COMPLETE BILLIE Compact Disc 7314517658273145276502 HOLIDAY,B/VERVE JZ MASTER47 Compact Disc 7314527650244400140022 HOLLAND,D BIG BAND/WHAT GOES A Compact Disc 044001400223 5570202 HOLLAND,D QUINTET/POINT OF VIE Compact Disc 7314557020268371132 HOLLAND,D/TRIPLICATE Compact Disc 042283711327 NPR067 HOLLENTHON/DOMUS MUNDI Compact Disc 4001617267721 NPR242LTD HOLLENTHON/OPUS MAGNUM Compact Disc 6937231220218 05520 02058 96 17742 50032 5 6 02537 61704 3 6 02537 61703 6 6 02527 42680 87 20616 71062 8 0 42282 34492 2 7 31451 76582 77 31452 14292 4 7 31452 76502 40 11105 06012 7 7 31455 70202 60 44001 40022 3 0 42283 71132 75 013929 502321 6 93723 12202 14 001617 267721 6 02537 01848 2 6 17742 09622 4 0 14551 48812 5 0 14551 48072 3 0 14551 48142 30 14551 48472 15 060108 070485 0 22891 81159 60 89408 36556 0 Page 87 of 496 November 12, 2014Catalogue NumberArtist / Title Config Scannable UPC UPC 4775002 HOLLIGER,H/OBOE CONCERTOS - GR Compact Disc 028947750024 4400187472 HOLLISTER,D/THINGS IN THE GAME Compact Disc 044001874727 B001527602 HOLLYWOOD UNDEAD/AMERICAN TRAG Compact Disc 602527621425 0249836066 HOLMES,R/BEST OF Compact Disc 602498360668 HEC23882 HOLMES,R/HOLMSTROM LOOKOUT! Compact Disc 670917238829 OP33809 HOLNESS,N AKA X-QUISITE/UNRELE Compact Disc 776143380926 TWA0092 HOME/13: NETHERREGIONS Compact Disc 604978000927 836092 HOMEGROWN/KINGS OF POP Compact Disc 060768360921836012 HOMEGROWN/WHEN IT ALL COMES DO Compact Disc EP's 060768360129 SDR0044 HONEYMANS/STOMPIN' GROUNDS Compact Disc 652975004424 B001437002 HOOBASTANK/GREATEST HITS:DON'T Compact Disc 602527400839 EUL812 HOODS/GHETTO BLASTER Compact Disc 790168468124 390299 HOOKER,JL/COME & SEE ABOUT ME- Digital Video Disc 801213902996 CLC1034 HOOSIER HOTSHOTS,The/Havin' Fu Compact Disc 617742103427 B001748602 HOPE,D/RECOMPOSED BY MAX RICHT Compact Disc 028947650409 SHOUT45 HOPKINS,L/ROCK AND ROLL BLUES Compact Disc 5013929504523 SRLH1471 HOPPEN,L/ONE OF THE LUCKY ONES Compact Disc 847108062925 CDHBEA88 HORACE,A/MR. BASSIE Compact Disc 011661758827 8379332 HORN,S/CLOSE ENOUGH F LOVE Compact Disc 042283793323 3145494172 HORN,S/YOU'RE MY THRILL Compact Disc 731454941723 DVD2869027 HORNE,L/THE INCOMPARABLE LENA Digital Video Disc 022891802792 CCM66572 HORNE,L/V DISC RECORDINGS Compact Disc 617742665727 SFMDVD035 HORNSBY,B/ONE NIGHT IN MANHATT Digital Video Disc 5413992580354 HH0106CD HORROR HIGH PRESENTS/PROM QUEE Compact Disc 852215001422 4702 HORTON,W/BIG WALTER HORTON WIT Compact Disc 014551470229 PWAJD72249 HOT CLUB OF SAN/LIVE AT YOSHI Compact Disc 7878672249220 11661 75882 7 6 17742 66572 7 8 52215 00142 28 47108 06292 56 70917 23882 9 6 17742 10342 76 52975 00442 4 7 87867 22492 26 02527 40083 9 7 31454 94172 30 42283 79332 30 44001 87472 7 0 28947 65040 90 28947 75002 4 6 02527 62142 5 6 02498 36066 8 5 013929 504523 7 76143 38092 6 0 60768 36092 16 04978 00092 7 0 14551 47022 97 90168 46812 40 60768 36012 9 8 01213 90299 6 0 22891 80279 2 5 413992 580354 Page 88 of 496 November 12, 2014Catalogue NumberArtist / Title Config Scannable UPC UPC HSM50792 HOT KRACKER/HOT KRACKER Compact Disc 809842507926 836522 HOUSE OF FOOLS/HOUSE OF FOOLS Compact Disc EP's 060768365223836492 HOUSE OF FOOLS/LIVE AND LEARN Compact Disc 060768364929 0251760860 HOUSEMARTINS,THE/BEAUTIFUL SOU Compact Disc 602517608603 836342B HOUSTON CALLS/A COLLECTION OF Compact Disc 060768363427 SMCR5054 HOUSTON,C/PRESENTING CISSY HOU Compact Disc 5013929075436 CHD39332 HOWLIN WOLF /THE CHESS BOX Compact Disc 076732933220 AMACD019 HOWLIN' WOLF/ROCKIN; THE BLUES Compact Disc 884607000195 MA250192 HOWLINWOLF/LIVE IN EUROPE Compact Disc 5413992501922 FANCYCD32 HRSTA/L'ECLAT DU CIEL ETAIT IN Compact Disc 620675138657 MEGA012 HUB CITY STOMPERS/BLOOD,SWEAT Compact Disc 616892537823 HSM50142 HUDSON,D/I GOT WHAT YOU WANT Compact Disc 809842501429 6076847432 HUGHS,G/SOUL MOVER Compact Disc 060768474321 TK162 HULUD,S & ANOTHER VICTIM/A WHO Compact Disc 824953001620 0694907342 HUMBLE PIE/THE BEST OF HUMBLE Compact Disc 606949073428 NCD60163 HUMMEL.JN/COMPLETE PIANO SONAT Compact Disc 032466016325 SHOUT68 HUMMINGBIRDS,D/A CHRISTIAN TES Compact Disc 5013929506824 B000418102 HUMPERDINCK,E/LET THERE BE LOV Compact Disc 028947566069 MG9002 HUMPHREY,W/NEW ORLEANS TR VOL Compact Disc 096094900227 4400383169 HUNTER,I/STRINGS ATTACHED:A VE Digital Video Disc 044003831698 HEP11782 HUNTER,J/BELIEVE WHAT I SAY Compact Disc 670917117827 4839 HUNTER,L/BORDERTOWNLEGEND Compact Disc 0145514839224853 HUNTER,L/SWINGINGFROMTHERAFTER Compact Disc 014551485322 CLC365 HUNTER,T/Tab Hunter Compact Disc 617742036527 NOT5005 HUNTERS AND COLLECTORS/GHOST N Compact Disc 617742500523 OP33789 HUTCHINGS,R/ATLANTIC AVENUE Compact Disc 7761433789230 96094 90022 70 32466 01632 58 09842 50792 6 6 17742 50052 36 17742 03652 76 70917 11782 76 16892 53782 35 413992 501922 0 28947 56606 90 76732 93322 06 02517 60860 3 6 06949 07342 85 013929 075436 5 013929 506824 8 84607 00019 5 7 76143 37892 38 09842 50142 90 60768 36492 9 0 60768 47432 10 60768 36342 7 6 20675 13865 7 8 24953 00162 0 0 14551 48392 2 0 14551 48532 20 60768 36522 3 0 44003 83169 8 Page 89 of 496 November 12, 2014Catalogue NumberArtist / Title Config Scannable UPC UPC OP33799 HUTCHINGS,R/THE DAYS BEFORE Compact Disc 626776816227 433232 HYLDGAARD,/BLUSH Compact Disc 068944332328 SMCR5095 HYMAN,P/GODDESS OF LOVE(EXPAND Compact Disc 5013929079533SMCR5092 HYMAN,P/PHYLLIS HYMAN Compact Disc 5013929079236 MASSCD1165D GHYPOCRISY/PENETRALIA (REMASTER Compact Disc 5907785032262 836412 I AM THE AVALANCHE/I AM THE AV Compact Disc 060768364127836002 I CAN MAKE A MESS LIKE NOBOSY' Compact Disc 060768360020 3145462462 I MOTHER EARTH/BLUE,GREEN,OR Compact Disc Enhanced 731454624626 AB70282 I SEE HAWKS IN L.A./THE BEST O Compact Disc 617742702828 5029CD IBIZA/THE ISLAND Compact Disc 9120817150291 433202 IBRAHIM, A/A CELEBRATION Compact Disc 068944332021433012 IBRAHIM, A/AFRICAN MAGIC Compact Disc 068944330126433192 IBRAHIM, A/RE:BRAHIM Compact Disc 068944331925 HPR005 IDAHO/THE FORBIDDEN EP & ALAS: Compact Disc 641444022625 SFMDVD023 IDOL,B/NO RELIGION-LIVE (DVD) Digital Video Disc 823195001832 CD89111 I-FIAMMINGHI/COLLECTION Compact Disc 089408911125 LFR22 IFIHADAHIFI/FAME BY PROXY Compact Disc 825576973929 0252741991 IGLESIAS, E/EUPHORIA Compact Disc 602527419916 B000171102 IGLESIAS,E/7 Compact Disc 602498613399B001784602 IGLESIAS,E/ICON Compact Disc 602537226191 4400643852 IGLESIAS,E/QUIZAS Compact Disc 044006438528 B002025102 IGLESIAS,E/SEX AND LOVE Compact Disc 602537745241B002024902 IGLESIAS,E/SEX AND LOVE(DLX) Compact Disc 602537745258 506026149006 IGLESIAS,J/LEGENDS IN CONCERT( Digital Video Disc 5060261490069 DORN0062 IGNITE THE WILL/WORDS FAIL Compact Disc 790168544125 LV137 IKE CLANTON MEETS BUZZ/THE UNR Compact Disc 7649420169240 89408 91112 55 907785 032262 6 17742 70282 8 9 120817 150291 6 41444 02262 5 8 25576 97392 95 013929 079533 5 013929 079236 6 02537 22619 1 6 02537 74524 1 6 02537 74525 86 02527 41991 6 0 44006 43852 86 02498 61339 90 68944 33012 6 0 68944 33192 50 68944 33202 10 68944 33232 8 7 64942 01692 46 26776 81622 7 0 60768 36412 7 0 60768 36002 0 7 90168 54412 57 31454 62462 6 5 060261 490069 8 23195 00183 2 Page 90 of 496 November 12, 2014Catalogue NumberArtist / Title Config Scannable UPC UPC 0252769375 IL VOLO/IL VOLO Compact Disc 602527693750 CREEKCD3 ILLSLEY,J/GLASS Compact Disc 5037300761091 B001662022 IMAGINE DRAGONS/CONTINUED SILE Compact Disc EP's 602527962320 MASSCD0953 IMMOLATION/DAWN OF POSSESSION Compact Disc 5907785027633 MVDV4689 IMMORTALISED/EARACHE RECORDS: Digital Video Disc 022891468998 RUF3006DVD IMPERIAL CROWNS/PREACHIN' THE Digital Video Disc 710347300670 PLU500312 IMPERIAL/WE SAIL AT DAWN Compact Disc 658445003126 ABR224822 IMPRESSIONS/PREACHER MAN/FINAL Compact Disc 783722248225 B000935402 INDIA ARIE/ACOUSTIC SOUL(SEPEC Compact Disc 602517376830 5317321 INDRA/ONE WOMAN SHOW Compact Disc 600753173213 131166 INGESTED/SURPASSING THE BOUN Compact Disc 803341311664 CRTREE009 INGRID & CROCE,J/CROCE Compact Disc 5013929690929 SYN008 INK SPOTS/JAVA JIVE Compact Disc 874757000824 6076899192 INNER CIRCLE/CRUCIAL REGGAE:IN Compact Disc 0607689919276076802552 INNER CIRCLE/THE BEST OF INNER Compact Disc 060768025523 PSY40422 INSANE CLOWN POSSE/HELL'S PIT( Compact Disc 756504404225 DIR1192 INSLEY,D/HERE WITH YOU TONIGHT Compact Disc 807207045625 130904 INSOMNIUM/ACROSS THE DARK-DLX Compact Disc 803341309043 PRR840 INTERSPHERES/INTERSPHERES-ATMO Compact Disc 837792008224 847242A IOMMI/HUGHES/THE DEP SESSION 9 Compact Disc 060768472426900472A ION DISSON/MINUS THE HERD Compact Disc 876929004722 LIB33624 IRISHTENORS,T/IN CONCERT WITH Digital Video Disc 619061362431 ABCVP126DVD IRON BUTTERFLY/CONCERT & DOCUM Digital Video Disc 604388716104 NPR272 IRON FIRE/TO THE GRAVE Compact Disc 693723308326 NPR403LTD IRON FIRE/VOYAGE OF THE DAMNED Compact Disc 885470003016 SPE11992 IRVING,RL III TRIO/NEW MOMENTU Compact Disc 8084961199298 76929 00472 28 03341 30904 38 03341 31166 4 7 56504 40422 55 037300 761091 8 74757 00082 4 8 37792 00822 47 83722 24822 5 5 013929 690929 6 02527 69375 0 6 00753 17321 36 02517 37683 0 8 85470 00301 66 93723 30832 65 907785 027633 0 60768 02552 30 60768 99192 7 8 08496 11992 96 58445 00312 6 8 07207 04562 5 0 60768 47242 66 02527 96232 0 6 19061 36243 10 22891 46899 8 6 04388 71610 47 10347 30067 0 Page 91 of 496 November 12, 2014Catalogue NumberArtist / Title Config Scannable UPC UPC SKY0292 ISAACSON,G/MEMORIES IN SHADOWS Compact Disc 803645002923 LIB33276 ISAAK,C/SOUNDSTAGE Digital Video Disc 619061327638 676722B ISBIN, SHA/AMERICAN LANDSCAPES Compact Disc 724356767225 HSM50552 ISH/ISH Compact Disc 809842505526 IPC32 ISIS/OCEANIC Compact Disc 689230003229 ICON1011 ISLEY BORTHERS,THE/IT'S OUR TH Compact Disc 886975552122 ICO204792 ISLEY BROTHERS,THE/GO ALL THE Compact Disc 886972047928 0044502912 ISLEY BROTHERS/ETERNAL Compact Disc 600445029125 ICO569312 ISLEY,JASPER,ISLEY/BROADWAY'S Compact Disc 886975693122 NG010 ISOBELLA/SURROGATE EMOTIONS O Compact Disc 616822014325 ACD71274 ISRAELI CHAMBER PROJECT/OPUS 1 Compact Disc 787867127421 TK121 IT DIES TODAY/LIVIDITY Compact Disc 824953012121 MCBBD20280 IVES BURL /A LITTLE BITTY Compact Disc 076742028022 B000849402 IVES,B/HULLABALOO BELAY Compact Disc 602517234536 3145429342 JA RULE/RULE 3:36 Compact Disc 731454293426 B001016802 JA RULE/THE MIRROR Compact Disc 602517495579 117282A JACKSON, J/ALL FOR YOU Compact Disc 724381172827 ORPH91214 JACKSON,F/DIAMOND COLLECTION Compact Disc 802469121421 301069 JACKSON,J/LIVE IN HAWAII+THE V Digital Video Disc 801213010691 0694907752 JACKSON,J/THE BEST OF JOE JACK Compact Disc 606949077525 B001329702 JACKSON,M & JACKSON 5/THE MOTO Compact Disc 602527147833 0075321352 JACKSON,M & JACKSON 5/THE MOTO Compact Disc 600753213520 IEG2207 JACKSON,M/A GOSPEL CALLING (DV Digital Video Disc 617742220797 PROPERBOX10 6JACKSON,M/COME TO JESUS Compact Disc 805520021067 DTG730363 JACKSON,M/FUNKY SKULL Compact Disc 602517303638 FC1003 JACKSON,M/THE AWARDS COLLECTIO Digital Video Disc 6037779091968 86975 55212 2 8 86975 69312 2 6 16822 01432 5 8 05520 02106 7 6 02517 30363 88 86972 04792 8 6 02527 14783 36 02517 23453 6 6 02517 49557 9 7 24381 17282 7 6 00753 21352 00 76742 02802 27 24356 76722 5 6 00445 02912 5 7 31454 29342 6 6 06949 07752 58 09842 50552 6 7 87867 12742 18 03645 00292 3 8 24953 01212 1 8 02469 12142 16 89230 00322 9 8 01213 01069 16 19061 32763 8 6 17742 22079 7 6 03777 90919 6 Page 92 of 496 November 12, 2014Catalogue NumberArtist / Title Config Scannable UPC UPC 847052 JACKYL/LIVE FROM FULL THROTTLE Compact Disc 060768470521 VOL0701 JACOB,J/BARHAM Compact Disc 3770000947007VOL1001 JACOB,J/SEL Compact Disc 3770000947205 340812A JADIS/MORE THAN MEETS THE EYE Compact Disc 693723408125 SJPCD150 JAGUAR/RUN RAGGED Compact Disc 5055011701502 5330678 JAM,THE/SOUND AFFECTS (DLX.) Compact Disc 600753306789 CLC178 JAM,THE/THIS IS THE MODERN WOR Compact Disc 617742017823 5314932 JAM/COLLECTON Compact Disc 731453149328 B000268202 JAMAL,A/CHAMBER MUSIC OF THE N Compact Disc 602498625736 0249820643 JAMES GANG/THE BEST OF JAMES G Compact Disc 602498206430 B000904302 JAMES,E/JAZZ Compact Disc 602517346864B001462402 JAMES,J/DAUGHTER OF A GYPSY Compact Disc 602527462691B000360802 JAMES,R/GOLD Compact Disc 602498642757 CCM09652 JAMES,T & SHONDELLS/40 YEARS ( Compact Disc 617742096521 CCM20962 JAMES,T & THE SHONDELLS/GETTIN Compact Disc 617742209624 CCM20952 JAMES,T/MY HEAD,MY BED & MY RE Compact Disc 617742209525 CHC2064 JAMESTAYLOR,Q/TEMPLATE Compact Disc 858370002175 CRTREE003D JAN DUKES DE GREY/SORCERERS/MI Compact Disc 5013929690325 4740102 JANACEK QUARTET/CMPLTE DG RECO Compact Disc 0289474010254218522 JANACEK/KATA KABANOVA Compact Disc 0289421852274775832 JANOWITZ,G/THE GOLDEN VOICE Compact Disc 0289477583274775566 JANSONS,M/VAR:NEW YEAR'S CONCE Compact Disc 028947755661 4228272862 JARRETT,K/CONCERTS Compact Disc 0422827286234400141682 JARRETT,K/RARUM-SELECTED RECOR Compact Disc 044001416828 8430282 JARRETT,K/SUN BEAR CONCERTS Compact Disc 042284302821 CA90006 JARVI,P/PAAVO JARVI MEETS ELIZ Digital Video Disc 40284629000616 93723 40812 53 770000 947007 3 770000 947205 6 17742 20952 5 8 58370 00217 56 17742 01782 3 6 17742 09652 15 055011 701502 5 013929 690325 6 02527 46269 16 02498 62573 66 00753 30678 9 7 31453 14932 8 6 02498 64275 7 0 42284 30282 10 42282 72862 3 0 44001 41682 80 28947 40102 5 0 28947 75566 10 28947 75832 70 28942 18522 76 02517 34686 46 02498 20643 0 6 17742 20962 40 60768 47052 1 4 028462 900061 Page 93 of 496 November 12, 2014Catalogue NumberArtist / Title Config Scannable UPC UPC ROUTE19 JARVIS,B/SEQUENCES Compact Disc 821228803828 ROUTE24 JARVIS,B/SOLO PIANO Compact Disc 821228831524 4400130442 JATP:A.BLAKEY&G.ARVANITAS/JAZZ Compact Disc 044001304422 SMI83 JAY ROCK/FOLLOW ME HOME Compact Disc 893981001834 ISRCD88150 JAYA THE CAT/MORE LATE NIGHT T Compact Disc 825888815023 B001595802 JAY-Z & WEST,K/WATCH THE THRON Compact Disc 602527791494 390679 JAZZ AT THE PHILHARMONIC/NORMA Digital Video Disc 801213906796 ZEDDCD021 JD73/PURE GOLD Compact Disc 5060162570600 083272 JEAN, NORM/ANTI MOTHER,THE Compact Disc 5099920832728 BHH2025 JEEP BEAT COLLECTIVE/TECHNICS Compact Disc 611933202524 AMACD005 JEFFERSON AIRPLANE/CLEARED FOR Compact Disc 884607000058 MA250150 JEFFERSON AIRPLANE/HIGH FLYING Compact Disc 5413992501502 CCL60052 JEFFERSON AIRPLANE/LIVE AT FIL Compact Disc 617742600520 CCL60042 JEFFERSON AIRPLANE/LIVE AT FIL Compact Disc 617742600421CCL60062 JEFFERSON AIRPLANE/LIVE AT FIL Compact Disc 617742600629 CCL60082 JEFFERSON AIRPLANE/RETURN TO T Compact Disc 617742600827 ICO519312 JEFFERSON AIRPLANE/THIRTY SECO Compact Disc 886975193127 6076862652 JEFFERSON STARSHIP/WINDOWS OF Compact Disc 060768626522 082702 JENKINS, R/BLUE SKIES Compact Disc 628740827024 9869033 JENKINS,K/SECOND NATURE Compact Disc 602498690338 SF13049 JENNINGS,W W N/LIVE AT THE US Digital Video Disc 826663130492 CCM20672 JENNINGS,W/FOLK COUNTRY/WAYLON Compact Disc 617742206722CCM20682 JENNINGS,W/LOVE OF THE COMMON Compact Disc 617742206821 B000092602 JENNINGS,W/THE COMPLETE MCA RE Compact Disc 602498605813 CCM20692 JENNINGS,W/WAYLON/SINGER OF SA Compact Disc 617742206920 AFCMORCD007 JENSEN, K L/CATS MADE OF RABBI Compact Disc 7384350060826 28740 82702 48 21228 80382 8 8 21228 83152 4 6 11933 20252 4 6 17742 60052 0 6 17742 60082 7 6 17742 20682 1 6 17742 20692 05 060162 570600 7 38435 00608 26 17742 20672 28 25888 81502 30 44001 30442 2 6 02498 69033 8 6 02498 60581 36 02527 79149 4 5 099920 832728 8 84607 00005 8 6 17742 60042 1 6 17742 60062 9 8 86975 19312 75 413992 501502 0 60768 62652 28 93981 00183 4 8 01213 90679 6 8 26663 13049 2 Page 94 of 496 November 12, 2014Catalogue NumberArtist / Title Config Scannable UPC UPC 2539602752 JEPSEN,C R/CURIOSITY (CDEP) Compact Disc EP's 825396027529 CJM0002 JEPSEN,CR/TUG OF WAR Compact Disc 621617317628 3145363572 JERKY-BOYS/JERKY BOYS 4 Compact Disc 7314536357223145460632 JERKY-BOYS/STOP STARING AT ME Compact Disc Enhanced 7314546063254228285262 JERU-T-DAMAGA/T SUN RISES IN Compact Disc 042282852625 TWA0102 JESUS LIZARD/JESUS LIZARD Compact Disc 604978001023 4833752982 JETT,J AND THE BLA/FIT TO BE T Compact Disc 748337529824 55626 JEWEL/JEWEL CHISTMAS Compact Disc 096741372827 CDED7041 JIMENEZ/FLACO&SANTIAGO/TEX MEX Compact Disc 712136704126 HSM50102 JIMMY BO HOME/JIMMY BO HORNE Compact Disc 809842501023 SHOUT73 JIVE FIVE, THE/I'M A HAPPY MAN Compact Disc 5013929507326 PIASA46CD JOAN AS POLICE WOMAN/THE DEEP Compact Disc 843798000483 B000680402 JOANNA/THIS CRAZY LIFE Compact Disc 602498541661 3145433812 JOBIM,A/JOBIM Compact Disc 731454338127 8432732 JOBIM,A-C/COMPACT JAZZ Compact Disc 042284327329 3145214312 JOBIM,A-C/COMPOSER DESAFINADO Compact Disc 7314521431296076860092 JOBRIATH/LONELY PLANET BOY:THE Compact Disc 060768600928 UPTMD11019 JODECI /DIARY OF A MAD Compact Disc 008811101923 B000825902 JODECI/BEST OF Compact Disc 602517182158 KEGDVD01 JOE/LIVE FROM JAPAN (DVD) Digital Video Disc 891113002148 KEG00005 JOE/SIGNATURE Compact Disc 891113002056 8487765 JOEY & RORY/JOEY ROY INSPIRED Compact Disc 617884877651 LAS0032 JOEY THE JERK/AVERAGE JOE Compact Disc 621617605626 ALP212 JOHANNSSON,S/SCHLINGERLAND(197 Compact Disc 735286221220 ABR224622 JOHANSEN,D/HERE COMES THE NIGH Compact Disc 783722246221 ABR224872 JOHANSEN,D/LIVE IT UP Compact Disc 7837222487207 12136 70412 66 21617 31762 8 0 96741 37282 7 7 83722 24622 17 35286 22122 08 09842 50102 3 6 17884 87765 16 02498 54166 1 7 31452 14312 97 31454 33812 7 0 42284 32732 97 31453 63572 2 0 08811 10192 30 42282 85262 5 6 02517 18215 85 013929 507326 7 83722 24872 00 60768 60092 86 04978 00102 3 6 21617 60562 68 91113 00205 67 48337 52982 4 8 43798 00048 37 31454 60632 58 25396 02752 9 8 91113 00214 8 Page 95 of 496 November 12, 2014Catalogue NumberArtist / Title Config Scannable UPC UPC 4759180 JOHN ALLDIS CHOIR/VAR:AN OLDE Compact Disc 028947591801 5370691 JOHN,E/5 CLASSIC ALBUM SELECTI Compact Disc 602537069118 MCBBD10501 JOHN,E/BREAKING HEARTS Compact Disc 008811050122 3145281592 JOHN,E/GOODBYE YELLOW BRICK RD Compact Disc 731452815927 B000230719 JOHN,E/GOODBYE YELLOW BRICK RO DVD Audio 602498177068B000147840 JOHN,E/GOODBYE YELLOW...(DELUX SACD4Stereo/Surround/CDAud 602498132807 3145141382 JOHN,E/RARE MASTERS Compact Disc 731451413827 MCBBD10497 JOHN,E/THE FOX Compact Disc 008811049720 BASE1412 JOHNNY FIVE/SUMMER Compact Disc 825994114126 GM0012 JOHNNY FIVE/SUMMER Compact Disc 670659092529 CCM04662 JOHNSON,B SURFING BAND/SURFERS Compact Disc 617742046625 ANGEL0001 JOHNSON,CD/LOVE & NEGOTIATION Compact Disc 602517008007 9873571 JOHNSON,E/MOZART:THE MOZART AL Compact Disc 602498735718 SFE009T JOHNSON,H/BLAST (2CD+DVD) CD with DVD 5013929841925 SYN007 JOHNSON,R/ME AND THE DEVIL BLU Compact Disc 874757000725 CADIZCD105 JOHNSON,W/THE BEST OF VOLUME 1 Compact Disc 844493061052 CHC2062 JOJO EFFECT/MARBLE TUNES Compact Disc 858370002427CHC2033 JOJO EFFECT/NOT WITH ME Compact Disc 858370002441 CHC20492 JOJO EFFECT/ORDINARY MADNESS Compact Disc 858370002434 0881126922 JOLSON,A/THE BEST OF AL JOLSON Compact Disc 008811269227 ARS0042 JON B/HOLIDAY WISHES FROM ME T Compact Disc 689076207454 AFM2813 JON OLIVA'S PAIN/MANIACAL MEMO Compact Disc EP's 884860004725 D000194412 JONAS BROTHERS/A LITTLE BIT LO Compact Disc 050087121587D000363202 JONAS BROTHERS/BE MINE (CANADI Compact Disc EP's 050087139377D000028212 JONAS BROTHERS/JONAS BROTHERS Compact Disc 050087103408D000282012 JONAS BROTHERS/LINES,VINES AND Compact Disc 0500871308485 013929 841925 8 58370 00243 46 17742 04662 5 8 74757 00072 5 8 58370 00244 18 58370 00242 7 0 50087 13084 80 50087 12158 7 0 50087 10340 87 31452 81592 7 7 31451 41382 76 02537 06911 8 0 08811 04972 00 08811 05012 20 28947 59180 1 6 02498 73571 86 02517 00800 7 0 08811 26922 78 44493 06105 28 25994 11412 6 6 70659 09252 9 6 89076 20745 4 0 50087 13937 78 84860 00472 56 02498 17706 8 6 02498 13280 7 Page 96 of 496 November 12, 2014Catalogue NumberArtist / Title Config Scannable UPC UPC D000282902 JONAS BROTHERS/MUSIC FROM THE Compact Disc 050087130947 D000051400 JONAS BROTHERS/THE BONUS JONAS CD with DVD 050087105983D000583992 JONAS,J/FASTLIFE Compact Disc 050087162290D000547600 JONAS,N & THE ADMINISTRATION/W CD with DVD 050087158415D000519602 JONAS,N & THE ADMINISTRATION/W Compact Disc 050087155490 2977451 JONAS/THE QUEST (OST) Compact Disc 825646977451 PLU500272 JONBENET/PLOT THICKENS Compact Disc 658445002723 813412B JONES, ALE/ALED JONES Compact Disc 774718134127 841772 JONES, NOR/2CD ORIGINALS(COME Compact Disc 5099968417727294112 JONES, NOR/COME AWAY WITH ME(C CD with DVD 5099962941129 CDBEYE9571 JONES, TUTU /BLUE TEXAS SOU Compact Disc 011661957121 1166115872 JONES,B/PUT YOUR HANDS ON YOUR Compact Disc 011661158726 EUL0712 JONES,C/MESSENGER Compact Disc 790168467127 3145479592 JONES,E-DAVIS,R/HEAVY SOUNDS Compact Disc 731454795920 ABR224092 JONES,G&WYNET,T/GOLDENRING Compact Disc 783722240922 MCABD11096 JONES,G/THE BRADLEY BARN SESSI Compact Disc 008811109622 230872 JONES,N/LITTLE BROKEN HEART(LE Compact Disc 5099962308724 B001436072 JONES,Q/Q.SOUL BOSSA NOSTRA(LT Compact Disc 602527399799 CCM20042 JONES,S & HIS CITY SLICKERS/BA Compact Disc 617742200423 TC252255 JONES,T/FOREVER CD with DVD 628261225521 B001455502 JONES,T/PRAISE AND BLAME Compact Disc 602527449876 CRTREE004 JONES,W/RIGHT NOW Compact Disc 5013929690424 0177252 JOR,JB/ACUSTICO Compact Disc 044001772528 399032A JORDAN, MA/LIVING IN MARINA DE Compact Disc 724353990329605742A JORDAN, MA/MAKE BELIEVE BALLRO Compact Disc 724356057425 IDVD1024 JORDAN,L/FILMS AND SOUNDIES Digital Video Disc 0228919024926 28261 22552 10 50087 15841 50 50087 10598 3 5 099962 941129 8 25646 97745 1 7 74718 13412 7 0 11661 15872 60 11661 95712 1 6 17742 20042 37 83722 24092 2 5 013929 690424 5 099962 308724 6 02527 39979 90 50087 16229 0 0 50087 15549 00 50087 13094 7 7 31454 79592 0 0 08811 10962 25 099968 417727 7 24353 99032 9 7 24356 05742 50 44001 77252 86 02527 44987 66 58445 00272 3 7 90168 46712 7 0 22891 90249 2 Page 97 of 496 November 12, 2014Catalogue NumberArtist / Title Config Scannable UPC UPC PROPERBOX47 JORDAN,L/JIVIN'WITH JORDAN Compact Disc 805520020473 433092 JOSH ROSEM/TREATS FOR THE NIGH Compact Disc 068944330928 6076847742 JOURNEY/GENERATIONS Compact Disc 060768477421 SDR0022 JP5/HOT BOX Compact Disc 652975002222 597712 JUAN FORMELLY LOS VAN VAN/EN E Compact Disc 821895977129 HJR0302 JUDD,E/INSECT FUNK Compact Disc 5099950077427 900022C JULIANA THOERY/DEADBEAT SWEETH Compact Disc 876929000229 300102J JULY TALK/JULY TALK Compact Disc 858713001025 NPR282 JUNGLE ROT/WHAT HORRORS AWAIT Compact Disc 693723511825 RBL035BOX KA SPEL,E/GHOST LOGIK(2CD)(LTD Compact Disc 4250137245317 1166132812 KAKI KING/JUNIOR Compact Disc 011661328129 CRSEG023D KALEIDOSCOPE/MADE IN ENGLA(2CD Compact Disc 5013929182325 B000735902 KALHOR,K/THE WIND Compact Disc 602498563540 407902 KALLI/WHILE THE CITY SLEE Compact Disc 827954079025 4757049 KANAWA,K/MOZART;DER SCHAUSPIED Compact Disc 028947570493 B001221802 KANCHELI,G/LITTLE IMBER Compact Disc 028947663942 406252B KANE, AR/I Compact Disc 827954062522406262A KANE, AR/SIXTY NINE Compact Disc 827954062621 TM9706 KANE,A/ARIKA KANE Compact Disc 884501197069CR1305 KANG,E & TUCKER,M/ORCHESTRA DI Compact Disc 824140130522 3145295542 KANSAS CITY BAND/KANSAS CITY Compact Disc 731452955425 0166512 KANZA,L/TOYEBI TE Compact Disc 0440016651274777156 KARAJAN,H/STRAUSS:EIN HELDENLE Compact Disc 0289477715624776237 KARAJAN,H/THE FIRST RECORDINGS Compact Disc 0289477623794777155 KARAJAN,H/VAR:MASTER RECORDING Compact Disc 0289477715554780254 KARAJAN,HV/PUCCINI:LA BOHEME - Compact Disc 0289478025498 76929 00022 9 5 013929 182325 4 250137 245317 8 21895 97712 9 8 84501 19706 9 8 24140 13052 26 52975 00222 2 0 44001 66512 77 31452 95542 5 0 28947 77155 50 28947 77156 26 02498 56354 0 0 28947 66394 2 0 28947 76237 9 0 28947 80254 90 28947 57049 36 93723 51182 50 68944 33092 8 8 27954 06252 2 8 27954 06262 18 27954 07902 58 05520 02047 3 0 11661 32812 90 60768 47742 1 5 099950 077427 8 58713 00102 5 Page 98 of 496 November 12, 2014Catalogue NumberArtist / Title Config Scannable UPC UPC DIS612477 KARAOKE/DISNEYMANIA KARAOKE Compact Disc 050086124770 DIS613407 KARAOKE/DIS-THEME PARK FAVOURI Compact Disc 050086134076 SYB1644 KARAOKE/LOVE SONGS 3 Compact Disc 610017164437 MASSCD1028D GKARMA TO BURN/KARMA TO BURN Compact Disc 5907785029927 DRP031 KARMA TO BURN/LIVE IN LONDON A Compact Disc 801927518254 MMP3CDBOX00 2KARMA TO BURN/MOUNTAIN MAMA'S Compact Disc 5907785029903 NPR379 KARMA TO BURN/V Compact Disc 885470002293 MASSCD1029D GKARMA TO BURN/WILD WONDERFUL P Compact Disc 5907785029934 OMM308202 KASKADE/THE OM REMIXES Compact Disc 600353082021 TTR80152 KC AND THE SUNSHINE BAND/DO IT Compact Disc 617742801521 B000405902 K-CI & JOJO/ALL MY LIFE:THEIR Compact Disc 075021037533 CDFLY652 KEANE, PETER /WALKIN' AROUND Compact Disc 018964065225 B001210502 KEANE/PERFECT SYMMETRY Compact Disc 602517855786 CHC2067 KEARNEY,J/TO THE MOON Compact Disc 858370002243 RMED00992 KEATS/KEATS Compact Disc 724381899229 B000452982 KEITH,T/SHOCK'N Y'ALL DUALDISC 602498804179 SDR0074 KEITHLEY,J/BAND IF REBELS Compact Disc 652975007425SDR0023 KEITHLEY,J/BEAT TRASH Compact Disc 652975002321 B000145702 KELLAWAY,R/....CELLO QUARTET Compact Disc 602498610626 OD7369 KELLY,S/CHRISTMAS GUITAR Compact Disc 776143736921 ODR7340 KELLY,S/THE #1 CLASSICAL GUITA Compact Disc 776143734026ODR7413 KELLY,S/WHERE THE WOOD MEETS T Compact Disc 776143741321 407112B KEMP, ROSE/A HANDFUL OF HURRIC Compact Disc 827954071128 4769060 KEMPFF,W/BACH:KEYBOARD WORKS Compact Disc 028947690603 HSM50052 KENDRICK,N/THE SWANS/NAT KENDD Compact Disc 809842500521 315042 KENTON, ST/BEST OF Compact Disc 7243831504276 10017 16443 7 0 18964 06522 56 17742 80152 18 01927 51825 45 907785 029927 5 907785 029934 5 907785 029903 6 52975 00232 16 52975 00742 58 58370 00224 3 6 02498 61062 66 02517 85578 60 75021 03753 3 0 28947 69060 30 50086 12477 0 0 50086 13407 6 7 24383 15042 76 00353 08202 18 85470 00229 3 7 24381 89922 9 8 27954 07112 87 76143 73692 1 7 76143 74132 17 76143 73402 6 8 09842 50052 16 02498 80417 9 Page 99 of 496 November 12, 2014Catalogue NumberArtist / Title Config Scannable UPC UPC CLC356 KENTON,S/Lush Interlude / The Compact Disc 617742035629 TAN111242 KENTON,S/ROAD BAND '67 Compact Disc 780291112421 IDVD1025 KENTON,S/SWING ERA Digital Video Disc 022891902591 PROPERBOX13 KENTON,S/THE STAN KENTON STORY Compact Disc 604988991321 MIW101041 KENTUCKY COLONELS,THE/LIVIN' I Compact Disc 813411010410 2707259 KENYA BOYS CHOIR,THE/SPIRIT OF Compact Disc 602527072593 LOLLI35CD KEVIN K/ADDICTION Compact Disc 600638988925LOLLI28CD KEVIN K/KISS OF DEATH Compact Disc 801655087220 ICB14 KEVIN K/NEW YORK, NEW YORK Compact Disc 600638970128 ELM001 KEVIN K/ORIENTAL NIGHTS Compact Disc 783707208329 NSF00122 KEYS,A/KEYS TO KEYS(DVD) Digital Video Disc 827191001223 SXYCD016 KEYS,A/THE LOWDOWN Compact Disc 823564607825 5118152 KHALED/KHALED Compact Disc 7314511815285198982 KHALED/N'SSI-N'SSI Compact Disc 731451989827 880042 KHIN, GREG/KING BISCUIT FLOWER Compact Disc 707108800425 DR0051 KID ROCK/DEVIL KNOWS MY NAME-U Digital Video Disc 022891005124 SXYCD017 KID ROCK/THE LOWDOWN (2CD) Compact Disc 823564607924 TWA0182 KID SILVER/DEAD CITY SUNBEAMS Compact Disc 604978001825 IPC07 KID606/DOWN WITH THE SCENE Compact Disc 689230000723 B002117002 KIESZA/HIDEAWAY(CDEP) Compact Disc EP's 602537911363 CCM650822 KILLDARES,THE/SECRETS OF THE D Compact Disc 654679650822CCM831023 KILLDARES,THE/UP AGAINST THE L CD with DVD 654679831023 SSR12009 KILLER AND THE STAR,THE/SELF-T Compact Disc 798304055443 OGL815652 KILLER PUSSY/BIKINI WAX Compact Disc 790058156520 MA251001 KILLER/READYFORHELL/WALLOFSOUN Compact Disc 5413992510016 108922B KILLING JO/NIGHT TIME (REMASTE Compact Disc 50999510892216 54679 83102 37 07108 80042 57 80291 11242 1 7 83707 20832 96 00638 97012 88 01655 08722 06 00638 98892 5 8 23564 60782 5 8 23564 60792 46 17742 03562 9 8 13411 01041 0 5 413992 510016 5 099951 089221 6 02527 07259 3 7 31451 18152 8 7 31451 98982 7 6 54679 65082 2 7 90058 15652 06 04988 99132 1 6 04978 00182 5 7 98304 05544 36 89230 00072 3 6 02537 91136 38 27191 00122 3 0 22891 00512 40 22891 90259 1 Page 100 of 496 November 12, 2014Catalogue NumberArtist / Title Config Scannable UPC UPC DK001 KILMINSTER,D/SCARLET THE DIREC Compact Disc 5060105490194 CLC6642 KIM,A/HOW'D WE EVER GET THIS W Compact Disc 617742066425 5338499 KING B B/MR. B.B. KING(10CD) Compact Disc 600753384992 MCABD11767 KING B B/THE ELECTRIC/HIS BEST Compact Disc 008811176723 CCM20712 KING FAMILY,THE/CHRISTMAS WITH Compact Disc 617742207125 IEG2175 KING FAMILY,THE/CHRISTMAS WITH Digital Video Disc 617742217599 NG014 KING OF SPAIN/ENTROPY Compact Disc 616822060926 BADFICD004 KING PRAWN/FIRST OFFENCE(DLX) Compact Disc 5013929930438BADFICD005 KING PRAWN/FRIED IN LONDON(DLX Compact Disc 5013929930537 1166177572 KING TUBBY/NINEY THE OBSERVER Compact Disc 011661775725 CDBEYE9509 KING, LITTLE JI/LITTLE JIMMY K Compact Disc 011661950924 SHOUT24 KING,A/BACK TO SOUL Compact Disc 5013929502420 SCD86062 KING,A/BORN UNDER A BAD SIGN Compact Disc 025218860628 0881122412 KING,B.B/MAKIN' LOVE IS GOOD F Compact Disc 008811224127 MCAD10843 KING,B/IN LONDON Compact Disc 008811084325 CVIS604 KING,BB/LIVE AT SING SING (DVD Digital Video Disc 823564515397 MA250190 KING,BB/LIVEINEUROPE Compact Disc 5413992501908 CCM2028 KING,BE/SUPERNATURAL/BENNY AND Compact Disc 617742202823 HEC705282 KING,E & ROOMFUL OF BLUES/GLAZ Compact Disc 670917052821 IAM0024 KING,F/MY SWEET ELIXIR Compact Disc 899079002400 880062 KINGFISH/KING BISCUIT PRESEN Compact Disc 707108800623 RT028 KINGS OF LEON/KNOCKED UP (DVD) Digital Video Disc 9223814130287 563134 KINGSTON T/THEIR GREATEST HITS Cassette 077775631340563144 KINGSTON T/THEIR GREATEST HITS Cassette 077775631449563154 KINGSTON T/THEIR GREATEST HITS Cassette 077775631548 995482B KINGSTON T/THEIR GREATEST HITS Compact Disc 7243499548230 77775 63134 0 0 77775 63144 9 0 77775 63154 80 11661 95092 4 0 25218 86062 8 7 07108 80062 30 11661 77572 5 5 413992 501908 6 17742 20712 5 5 013929 930438 5 013929 930537 5 060105 490194 6 17742 20282 3 8 99079 00240 06 16822 06092 6 6 70917 05282 15 013929 502420 7 24349 95482 30 08811 22412 70 08811 17672 36 00753 38499 2 0 08811 08432 56 17742 06642 5 8 23564 51539 76 17742 21759 9 9 223814 130287 Page 101 of 496 November 12, 2014Catalogue NumberArtist / Title Config Scannable UPC UPC 572472 KINGSTON T/TOM DOOLEY Compact Disc 077775724721 FOL20642 KINGSTON TRIO/AN EVENING WITH Compact Disc 045507206425 CCM08072 KINGSTON TRIO/NICK,BOB & JOHN- Compact Disc 617742080728 810602A KINISON, S/LIVE FROM HELL Compact Disc 724358106022 ALP194CD KINK GONG/ELECTRONIC WORLD Compact Disc 735286119428 2756326 KINKS,THE/KINDA KINKS (DLX) Compact Disc 6025275632682738364 KINKS,THE/MISFITS Compact Disc 6025273836442738361 KINKS/LOW BUDGET Compact Disc 6025273836132738371 KINKS/ONE FOR THE ROAD Compact Disc 6025273837122738386 KINKS/SLEEPWALKER Compact Disc 602527383866 SRI00112D KINKY FRIEDMAN & LITTLE JEWFOR Compact Disc 802396001124 4860 KINSEYREPORT/SMOKEANDSTEEL Compact Disc 014551486022 725862 KIRKNESS, /LIFE ON THE ROAD Compact Disc 061297258628 CA60010 KIROV BALLET,THE/SWAN LAKE (DV Digital Video Disc 4028462600107 PP005 KIS/KRAZY KILLER (DVD) Digital Video Disc 603777900599 B000465309 KISS/BEST OF VOL.II - DVD Digital Video Disc 602498817957 5008D KISS/FOREVER! THE ULTIMATE BOX Digital Video Disc 9120817150086 B000710409 KISS/LICK IT UP-DEFINITIVE-DVD Digital Video Disc 602517011281 MVDV4648 KISS/LOVES YOU Digital Video Disc 022891464891 B001748102 KISS/MONSTER(DLX)(LTD) Compact Disc 602537150205 0253740966 KISS/MONSTER(TOUR EDITION) Compact Disc 602537409662 PP001 KISS/SATANIK KREATURES:INTERVI Digital Video Disc 603777900193 3145865612 KISS/THE BOX SET Compact Disc 7314586561286076883569 KISS/THE DVD (DVDX2) Digital Video Disc 060768835696 406132A KITCHENS O/CAPSULE: THE BEST O Compact Disc 827954061327 SN6525 KITT,E/EARTHA KITT LIVE AT THE Compact Disc 50276266525318 02396 00112 47 35286 11942 86 17742 08072 80 45507 20642 5 5 027626 652531 6 02537 15020 5 6 02537 40966 27 24358 10602 2 7 31458 65612 80 77775 72472 1 0 61297 25862 8 8 27954 06132 76 02527 38361 36 02527 38364 4 6 02527 38371 2 6 02527 38386 66 02527 56326 8 0 14551 48602 2 6 03777 90019 34 028462 600107 6 03777 90059 9 9 120817 150086 6 02498 81795 7 6 02517 01128 1 0 22891 46489 1 0 60768 83569 6 Page 102 of 496 November 12, 2014Catalogue NumberArtist / Title Config Scannable UPC UPC 2796207 KIWANUKA,M/HOME AGAIN (2CD) Compact Disc 602527962078 105684 KIX/LIVE IN BALTIMORE CD with DVD 8024391056844 B001538102 K'JON/OXYGEN Compact Disc 602527642741 860102C KLAATU/3:47 EST Compact Disc 778578601027 B000862902 KLAXONS/MYTHS OF THE NEAR FUTU Compact Disc 602517206526 MF0642 KLEE/HONEYSUCKLE Compact Disc 796627006425 403792A KLEIN, JEF/EVERYBODY LOVES A W Compact Disc 827954037926 404572C KLEIN, JEF/HUSTLER,THE Compact Disc 827954045723 9866035 KLEIVE,A/OHMAGODDABL Compact Disc 602498660355 1166131972 KLEZMATICS THE/RISE UP Compact Disc 011661319721 CDROUN3105 KLEZMER CONSERV/A JUMPIN' NIGH Compact Disc 011661310520 0252730072 K'NAAN/TROUBADOUR"CHAMPION EDI Compact Disc 602527300726 205812 KNACK, THE/10 BEST: THE BEST O Compact Disc 724352058129 509990846562 KNACK/GET THE KNACK Compact Disc 5099908465627 CRSEG017 KNICKERBOCKERS/ONE TRACK MIND Compact Disc 5013929181724 RPMSH279 KNIGHT BROTHERS/TEMPTATION Compact Disc 5013929527928 485202 KNOPFLER, /SHIP OF DREAMS Compact Disc 068944852024 0249823378 KNOPFLER,M/A NIGHT IN LONDON Digital Video Disc 602498233788 3708118 KNOPFLER,M/PRIVATEERIN(DLX 3CD Compact Disc 602537081189 EUL0752 KNOW THE SCORE/ALL TIME LOW Compact Disc 790168467523 DSBBD31073 KOFFMAN,M/MUSIC FOR THE NIGHT Compact Disc 057623107326 0121592712 KOFFMAN,M/THE MOE KOFFMAN PROJ Compact Disc 601215927122 MF0552 KOMEDA/KOKOMEMEDADA Compact Disc 796627005527 690472 KOMPUTER/WORLD OF TOMORROW,T Compact Disc 724596904725 PWACD71281 KONDONASSIS,Y/AMERICAN HARP Compact Disc 787867128121 DMT880082 KOOLKEITH&KUTMASTAKURT/BREAK U CDSP Enhanced 7900588008298 024391 056844 7 90058 80082 90 11661 31972 1 0 11661 31052 0 7 87867 12812 15 099908 465627 5 013929 181724 5 013929 527928 6 02527 64274 1 6 02527 30072 6 6 01215 92712 26 02517 20652 66 02527 96207 8 7 24596 90472 56 02537 08118 96 02498 66035 5 0 57623 10732 67 24352 05812 9 0 68944 85202 48 27954 03792 6 8 27954 04572 3 7 96627 00552 77 96627 00642 57 78578 60102 7 7 90168 46752 36 02498 23378 8 Page 103 of 496 November 12, 2014Catalogue NumberArtist / Title Config Scannable UPC UPC DMT880080 KOOLKEITH&KUTMASTAKURT/BREAK U Compact Disc Singles 790058800805 QLDVD6837 KORB,K/LIVE IN VIENNA (DVD) Digital Video Disc 022891683797 DR4395 KORN/R U READY?-UNAUTHORIZED Digital Video Disc 022891439523 4757556 KOVACEVICH,S/BEETHOVEN:DIABELL Compact Disc 028947575566 MASSCD1302D GKOVENANT/NEXUS POLARIS Compact Disc 5907785035157 0251741595 KRALL,D/VERY BEST OF DIANA(DEL CD with DVD 602517415959 CD83422 KRAMER,M/EVITA EN JAZZ Compact Disc 089408342226 472922 KRAVITZ, L/GREATEST HITS LTD. CD with DVD 094634729222 B000506602 KREMER,G/SCHUBERT;STRING QUART Compact Disc 028947619390 OGL820092 KRIEGER,R/CINEMATIX Compact Disc 790058200926 BD22005 KRUMBSNATCHA/KRUMBSNATCHA CLAS Compact Disc 663609200525 MVD0507CD KRUMMACHER,V/THE COCK CROWS AT Digital Video Disc 022891050728 CLC1013 KRUPA,G & HIS ORCHESTRA/At The Compact Disc 617742101324 4775838 KUBELIK,R/OM:RARE RECORDINGS Compact Disc 028947758389 403252A KUKL/EYE,THE Compact Disc 827954032525403262A KUKL/HOLIDAYS IN EUROPE Compact Disc 827954032624 CD80535 KUNZEL&CINCINNATI/MEGA MOVIES Compact Disc 089408053528 SACD60657 KUNZEL&CINCINNATI/RUSSIAN NIGH SACD4Stereo/Surround/CDAud 089408065767SACD60674 KUNZEL,E/CPO/TCHAIKOVSKY:NUTCR SACD4Stereo/Surround/CDAud 089408067464 B000591802 KURTAG,G/KAFKA FRAGMENTE OP.24 Compact Disc 028947630999 WRASS197 KUTI,F/THE BEST OF FELA KUTI A CD with DVD 5060001272382 317457 KWELI, TAL/PRISONER OF CONSCIO Compact Disc 793573174574485192 L HAM DE F/COR DE PORC Compact Disc 068944851928 TB17182 L WORD,THE/MENAGE A TROIS-SEAS Compact Disc 661868171822 SFMCD134 L.A. GUNS/THE VERY BEST OF Compact Disc 8231950113423 LAS0012 L.A. SYMPHONY/BALONEY Compact Disc 6216176213290 94634 72922 26 02517 41595 9 5 060001 272382 0 89408 05352 8 7 93573 17457 48 27954 03252 50 89408 34222 6 8 231950 113423 6 63609 20052 5 6 17742 10132 40 28947 57556 6 0 28947 61939 0 0 28947 63099 90 28947 75838 9 0 68944 85192 85 907785 035157 8 27954 03262 4 6 21617 62132 96 61868 17182 27 90058 20092 67 90058 80080 5 0 22891 68379 7 0 22891 05072 80 22891 43952 3 0 89408 06576 7 0 89408 06746 4 Page 104 of 496 November 12, 2014Catalogue NumberArtist / Title Config Scannable UPC UPC BASE1392 L.A.SYMPHONY/END IS NOW Compact Disc 825994113921 2923163697 LA BOLDUC,C/J'AI UN BOUTON SUR Compact Disc 9782923163697 485272 LA PLANETE/SOUNDTRACK Compact Disc 068944852727 ISRCD88400 LA VIEJA GUARDIA/LA VIEJA GUAR Compact Disc 825888840032 B000463902 LABELLE,P/CLASSIC MOMENTS Compact Disc 602498813652 MCAD5737 LABELLE,P/WINNER IN YOU Compact Disc 076732573723 MA90562 LABRIER,J/LABRIE'S MULLMU 2 Compact Disc 026245905627 NPR089 LACRIMAS PROFUND/BURNING: A WI Compact Disc 768586908928 0676172 LACY,S/THE BEAT SUITE Compact Disc 044006761725 827522 LADY ANTEB/JUST A KISS Compact Disc Singles 5099908275226 CTCD7057 LADY GAGA/X-POSTED Compact Disc 823564706726 HUSA9083 LADYSMITH BLACK MAMBAZO/RAISE SACD2Stereo/CD Audio 053361908362 HUCD3109 LADYSMITHBLACKMAMBAZO/LONG WAL Compact Disc 053361310929 HUSA9109 LADYSMITHBLACKMAMBAZO/LONG WAL SACD4Stereo/Surround/CDAud 053361910969 VOL1003 LAFILLE/TOUT ATTACHE(E) Compact Disc 3770000947229 613442 LAIBACH/LET IT BE Compact Disc 724596134429 617142A LAIBACH/NATO Compact Disc 724596171424 692709 LAIBACH/VIDEOS,THE Digital Video Disc 724596927090 CDUPST010 LAIKA & COSMONAUTS THE/THE AMA Compact Disc 011671801025 DM2505 LAINE,F/THAT OLD LUCKY SUN(DVD Digital Video Disc 022891250593 5034X LAKE,G/GREG LAKE (CD) Compact Disc 022891503422 DVD8081X LAKE,G/WELCOME BACKSTAGE (DVD) Digital Video Disc 022891808190 RMED00142 LAKE/ANTHOLOGY Compact Disc 630428014220 MAHCD001 LAKE/BLAST OF SILENCE Compact Disc 4042564015829 RMED00126 LAKE/LAKE II Compact Disc 630428012622RMED00127 LAKE/OUCH Compact Disc 6304280127210 53361 31092 9 0 11671 80102 53 770000 947229 4 042564 015829 8 23564 70672 6 6 30428 01422 0 6 30428 01262 2 6 30428 01272 18 25888 84003 2 7 24596 13442 9 7 24596 17142 40 76732 57372 3 0 44006 76172 56 02498 81365 2 7 68586 90892 80 68944 85272 79 782923 163697 0 22891 50342 28 25994 11392 1 0 26245 90562 7 5 099908 275226 0 22891 80819 00 22891 25059 37 24596 92709 00 53361 90836 2 0 53361 91096 9 Page 105 of 496 November 12, 2014Catalogue NumberArtist / Title Config Scannable UPC UPC B001753602 LAMAR,K/GOOD KID, M A A D(DLX Compact Disc 602537162321 CCM20812 LAMB/BRING OUT THE SUN Compact Disc 617742208122CCM20822 LAMB/CROSS BETWEEN Compact Disc 617742208221 SYN0072 LANDMARQ/ENTERTAINING ANGE(2CD Compact Disc 5060105490095 CLC5342 LANE,C/GREATEST COUNTRY HITS Compact Disc 617742053425 CLC308 LANE,R & THE CHARTBUSTERS/Robi Compact Disc 617742030822 4779829 LANG LANG/LISZT Compact Disc 028947798293 ACD14292 LANGLEY,J/DIGGIN IN Compact Disc 880504142921 CBR0362 LANOIS,B/SNAKE ROAD Compact Disc 624481003628 B000278402 LANZ,D/THE GOOD LIFE Compact Disc 028947561644B001431402 LARCHER,T/MADHARES Compact Disc 028947636519 SHOUTD48 LASALLE,D/A LITTLE BIT NAUGHTY Compact Disc 5013929504820 ACME0092 LAST IN LINE/L'ESERCITO DEL MO Compact Disc 621617396227 FRBCD152 LAST VEGAS,THE/SWEET SALVATION Compact Disc 039911015223 350039 LAST,J/A WORLD OF MUSIC(DVD) Digital Video Disc 801213500390 6076804922 LASWELL,B/TROJAN DUB MASSIVE C Compact Disc 060768049222 42605CD LATEEF THE TRUTHSPEAKER/AHEAD Compact Disc 02412042605298049CD LATEEF THE TRUTHSPEAKER/TRUTH Compact Disc 783855980498 HSM50012 LATIMORE,B/THE EARLY YEARS Compact Disc 809842500125HSM50952 LATIMORE/BRASS TACKS Compact Disc 809842509524HSM51042 LATIMORE/DIG A LITTLE DEEPER Compact Disc 809842510421 400403 LATTIMORE,K/BACK 2 COOL Compact Disc 851554004033 CDUP035 LAUDERDALE,J/PERMISSIONS Compact Disc 601143003523 ABR70152 LAUDERDALE,J/PLANET OF LOVE Compact Disc 617742701524 ODR9301 LAUGHTON,S&W/OPENING DAY Compact Disc 776143000121ODR9303 LAUGHTON,S&WILLIAM/BAROQUE BAN Compact Disc 7761430003298 80504 14292 1 6 01143 00352 38 51554 00403 37 83855 98049 80 24120 42605 2 6 17742 70152 45 060105 490095 6 17742 20812 2 6 17742 20822 1 6 17742 05342 5 6 17742 03082 26 02537 16232 1 0 28947 63651 90 28947 79829 3 0 28947 56164 4 5 013929 504820 6 24481 00362 8 0 39911 01522 3 7 76143 00012 1 7 76143 00032 98 09842 51042 18 09842 50012 5 8 09842 50952 40 60768 04922 26 21617 39622 7 8 01213 50039 0 Page 106 of 496 November 12, 2014Catalogue NumberArtist / Title Config Scannable UPC UPC OGL820152 LAUPER,C/SHINE Compact Disc 790058201527 CHC2077 LAZLO /LAZLO Compact Disc 858370002304 4768 LAZY LESTER/HARP AND SOUL Compact Disc 014551476825 HOR1072 LAZYCAME/FINBEGIN Compact Disc 631778110723 967332 LEAHY/IN ALL THINGS Compact Disc 724359673325 4776219 LEAR,E/VAR:A MUSICAL TRIBUTE Compact Disc 028947762195 HUP007DN LEATHERFACE/BOAT IN THE SMOKE Digital Video Disc 827657001798 NPR375LTD LEAVES' EYES/MEREDAED (CD+DVD) CD with DVD 885470002194 NPR339 LEAVESÂ EYES/NJORD FAN EDITION Compact Disc 885470000503 4717242 LEBRUN & MOZART/OBOE CONCERTOS Compact Disc 028947172420 PP012 LED ZEPPELIN/WAY DOWN INSIDE Digital Video Disc 603777901299 382072B LEDOUX,C/CAPITOL COLLECT 1990 Compact Disc 724353820725 SB0028 LEE, P/SO LONG, IT'S BEEN GOOD Compact Disc 614511760522 992164 LEE, PEGGY/LEGENDARY PEGGY LEE Cassette 724349921641992162 LEE, PEGGY/LEGENDARY PEGGY LEE Compact Disc 724349921627 COS33791 LEE,B/IN CONCERT Digital Video Disc 619061379132 CCM09212 LEE,P/ALL AGLOW AGAIN Compact Disc 617742092127 SYN054 LEE,P/GOLD Compact Disc 874757005423 CCM20772 LEE,P/LET'S LOVE Compact Disc 617742207729 IDVD1021 LEE,P/PEGGY LEE & FRIENDS-SWIN Digital Video Disc 022891902195 CCM09172 LEE,P/THE LOST '40S & '50S CAP Compact Disc 617742091724 CCM09202 LEE,P/THEN WAS THEN NOW IS NOW Compact Disc 617742092028CCM20702 LEE,P/TWO SHOWS NIGHTLY (DLX.E Compact Disc 617742207026 D6100 LEFT EYE/CRAZY SEXY COOL Digital Video Disc 655690610093 RBL037BOX LEGENDARY PINK/CHEMICAL(CD+DVD CD with DVD 4250137202716 LV119 LEGENDARY TEENAGERS/LIVE! Compact Disc 7649422498277 24349 92164 1 4 250137 202716 8 85470 00219 4 8 74757 00542 38 58370 00230 4 6 17742 09202 8 6 17742 20702 66 17742 20772 9 7 64942 24982 76 17742 09212 76 14511 76052 2 7 24349 92162 77 24359 67332 5 0 28947 76219 5 7 24353 82072 50 28947 17242 08 85470 00050 3 6 17742 09172 46 31778 11072 37 90058 20152 7 0 14551 47682 5 6 19061 37913 2 6 55690 61009 30 22891 90219 58 27657 00179 8 6 03777 90129 9 Page 107 of 496 November 12, 2014Catalogue NumberArtist / Title Config Scannable UPC UPC ODR99012 LEGENDARYENTERTAINERS/WE'RE FR Compact Disc 176143001027 3145481482 LEGRAND,M/PARIS JAZZ PIANO Compact Disc 731454814829 MW014 LEIBER & STOLLER/HOUND DOG:THE Compact Disc 813411010144 597802 LEIVA,P/ESTA ES MI RUMBA Compact Disc 821895978027 4400741659 LEMPER&WEILL&NYMAN/UTE LEMPER Digital Video Disc 044007416594 065112B LENNON, JO/BOOTEG/HOME TAPES Compact Disc 5099990651120 063722 LENNON, JO/DOUBLE FANTASY (COM Compact Disc 5099990637223281962 LENNON, JO/LEGEND FOREVER Compact Disc 5099922819628466422 LENNON, JO/SHAVED FISH Compact Disc 077774664226355682 LENNON, SE/FRIENDLY FIRE CD with DVD 724353556822 NOT50302 LENNON,J/HELP YOURSELF (CD) Compact Disc 617742503029 NOT50292 LENNON,J/MR.JORDAN (CD) Compact Disc 617742502923NOT50282 LENNON,J/THE SECRET VALUE OF D Compact Disc 617742502824 B000061702 LENOIR,JB/MARTIN SCORSESE PRES Compact Disc 602498603147 4670862 LEONCAVALLO/PAGALIACCI Compact Disc 028946708620 XXICD21679 LES AGREMENTS DE MONTREAL/BACH Compact Disc 722056167925 VPTMQ051CD LESLIE WEST BAND/NEW YORK STAT Compact Disc 604388687428 CCM21032 LESTER,S/ANN CORRIO PRESENTS:H Compact Disc 617742210323 9843543 LEVEL 42/WORLD MACHINE-DELUXE Compact Disc 602498435434 OFTCD003 LEVELLERS/UNDERGROUND Compact Disc 5025425101656 MQP1109 LEVIEV,M/MULTIPLE PERSONALITIE Compact Disc 892094001007 B001431502 LEVIN,R/DUTILLEUX:D'OMBRE ET D Compact Disc 028947636533B001909402 LEVINE,J/LIVE AT CARNEGIE(2CD) Compact Disc 028948105533 4769803 LEVINE/MET/WAGNER:DER RING DES Compact Disc 028947698036 404852A LEVY/ROTTEN LOVE Compact Disc 827954048526700022B LEWIS, JER/JERRY LEE LEWIS LIV Compact Disc 6177470002267 24353 55682 2 7 22056 16792 5 6 17747 00022 66 04388 68742 86 17742 50302 9 6 17742 21032 38 13411 01014 4 8 21895 97802 7 8 92094 00100 75 099990 651120 5 099990 637223 5 099922 819628 0 28948 10553 37 31454 81482 9 6 02498 43543 46 02498 60314 7 0 28947 63653 3 0 28947 69803 60 28946 70862 00 77774 66422 6 6 17742 50282 46 17742 50292 3 8 27954 04852 61 76143 00102 7 5 025425 101656 0 44007 41659 4 Page 108 of 496 November 12, 2014Catalogue NumberArtist / Title Config Scannable UPC UPC CCM20132 LEWIS,G & HTE PLAYBOYS/THE COM Compact Disc 617742201321 506026149034 LEWIS,J L & FRIENDS/LEGENDS IN Digital Video Disc 5060261490342 CDFLY515 LEWIS,L & ROZIUM,T/SINGIN' MY Compact Disc 018964051525 CD0400 LEWIS,L/EARTH & SKY:SONGS OF L Compact Disc 011661040021 CCM09452 LEWIS,L/FATHOMS DEEP Compact Disc 617742094527 SYN067 LIBERACE/CLASSIC PIANO FAVORIT CD with DVD 874757006727 0249824503 LIBERACE/THE BEST OF LIBERACE Compact Disc 602498245033 NVR014 LIBRARY VOICES/SUMMER OF LUST Compact Disc 823674006228 ODR9311 LICHTI,D/DANIEL LICHTI SINGS B Compact Disc 776143931128ODR9302 LICHTI/FIALK/SCHUBERT:SCHWANEN Compact Disc 776143000220 ISRCX87800 LIFE OF AGONY/20 YEARS(CD+DVD CD with DVD 825888780086 4743272 LIGETI/STR QUAR 1&2; RAMIFICAT Compact Disc 028947432722 PPK007 LIKE A STORM/THE END OF THE BE Compact Disc 813985010038 B000534702 LIKE,T/ARE YOU THINKING WHAT I Compact Disc 602498845257 10108094 LIL BOOSIE/GONE TIL DECEMBER Compact Disc 802061809420 IMD2201CD LIL WAYNE/GONE TILL NOVEMBER Compact Disc 187245222012 D6044 LILJOHN/UNAUTHORIZED Digital Video Disc 655690604498 MASSCD1076D GLILLIAN AXE/LILLIAN AXE Compact Disc 5907785030923 MASSCD1077D GLILLIAN AXE/LOVE AND WAR Compact Disc 5907785030930 PRRI762602 LIL'SICKO/LET'S RIDE Compact Disc 795957626020 MFO42602 LILYS/EVERYTHING WRONG IS Compact Disc 767004260228 CLC119 LIMELITERS,THE/OUR MEN IN SAN Compact Disc 617742011920 0694907702 LIMP BIZKIT/CHOCOLATE (EDITED) Compact Disc 606949077020 B001383002 LIMP BIZKIT/CHOCOLATE STARFISH Compact Disc 602527284125B001576602 LIMP BIZKIT/GOLD COBRA(DLX EDI Compact Disc 602527746982 MVDV4768 LIMP BIZKIT/ROCK IN THE PARK 2 Digital Video Disc 7601374768948 25888 78008 68 74757 00672 70 11661 04002 10 18964 05152 56 17742 20132 1 6 17742 09452 7 5 907785 030923 5 907785 030930 7 67004 26022 8 6 17742 01192 08 13985 01003 8 6 02527 28412 56 06949 07702 06 02498 84525 7 6 02527 74698 20 28947 43272 26 02498 24503 3 8 23674 00622 8 7 76143 00022 07 76143 93112 8 8 02061 80942 0 1 87245 22201 2 7 95957 62602 0 7 60137 47689 46 55690 60449 85 060261 490342 Page 109 of 496 November 12, 2014Catalogue NumberArtist / Title Config Scannable UPC UPC B000563202 LIMPBIZKIT/GREATEST HITZ (EDIT Compact Disc 602498867716 SBR104 LINDSEY,G/WE ARE ALL ALONE IN Compact Disc 791381848120 AM0052 LINK 80/17 REASONS... Compact Disc 612851000520AM0142 LINK 80/KILLING KATIE Compact Disc 612851001428 RT005 LINKIN PARK/BLEED IT OUT (DVD) Digital Video Disc 9223814130058 NCD601742 LIPKIN,S & STEINHARDT,A/SCHBER Compact Disc 032466017421 MA90602 LIQUID TRIO EXP/SPONTANEOUS CO Compact Disc 614286906026 RUF3005 LISTER,A/LIVE! (DVD) Digital Video Disc 710347300571 4752062 LISZT/ANNEES DE PELERINAGE Compact Disc 028947520627 SMCR5083D LITTLE ANTH/THE IMPE/ON A(2CD Compact Disc 5013929078338 HSM50942 LITTLE BEAVER/BEAVER FEVER Compact Disc 809842509425HSM51012 LITTLE BEAVER/JOEY Compact Disc 809842510124 LV122 LITTLE CAESAR AND THE CO/STILL Compact Disc 764942249421 4812 LITTLE CHARLIE & THE NIGHTCATS Compact Disc 014551481225 DVR01 LITTLE HURRICANE/GOLD FEVER Compact Disc 887158675140 310112A LITTLE ISL/INDIAN COUNTRY Compact Disc 669803101125 HSM20242 LITTLE MILTON/FRIEND OF MINE Compact Disc 809842502426 SHOUT41 LITTLE MILTON/IF WALLS COULD T Compact Disc 5013929504127 CCM20272 LITTLE RICHARD/KING OF ROCK AN Compact Disc 617742202724 SYN002 LITTLE RICHARD/THE KING OF ROC Compact Disc 874757000220 CCM20212 LITTLE RICHARD/THE RILL THING Compact Disc 617742202120 CCM20232 LITTLE RICHARD/THE SECOND COMI Compact Disc 617742202328 RARMD10346 LIVE/MENTAL JEWELRY Compact Disc 008811034627 520992B LIVES OF M/SWEET ART OF DECEIV Compact Disc EP's 778505209920 520822C LIVES OF M/UNTIL WE LAY THIS T Compact Disc 078505208221 MF0632 LIVING BLUE,THE/FIRE BLOOD WAT Compact Disc 796627006326 0 78505 20822 17 64942 24942 1 8 74757 00022 08 09842 50242 68 09842 51012 4 6 17742 20232 80 32466 01742 1 5 013929 078338 6 17742 20272 48 09842 50942 57 91381 84812 0 5 013929 504127 6 69803 10112 5 0 08811 03462 76 02498 86771 6 0 28947 52062 7 6 17742 20212 06 12851 00052 0 6 12851 00142 8 7 96627 00632 68 87158 67514 06 14286 90602 6 0 14551 48122 5 7 78505 20992 07 10347 30057 19 223814 130058 Page 110 of 496 November 12, 2014Catalogue NumberArtist / Title Config Scannable UPC UPC INAK90932CD LIVING COLOUR/THE PARIS CONCER Compact Disc 707787909327 INAK6474 LIVING COLOUR/THE PARIS CONCER Digital Video Disc 707787647472 3145238452 LL-COOL-J/MR.SMITH Compact Disc 7314523845223145391862 LL-COOL-J/PHENOMENON Compact Disc 7314539186274400140002 LLOYD,C/HYPERION WITH HIGGINS Compact Disc 0440014000254400187832 LLOYD,C/LIFT EVERY VOICE Compact Disc 044001878329 B000412102 LLYOD,C/JUMPING THE CREEK Compact Disc 602498241301B001568102 LMFAO/SORRY FOR PARTY ROCKING Compact Disc 602527723228 BD28157 LOADED/OLD ROCKERS Compact Disc 663609815729 SNCD10432 LOCKE,J AND HAZE/MUTUAL ADMIRA Compact Disc 601917104326 FEA5001 LOCKSLEY/DON'T MAKE ME WAIT Compact Disc 089488500127 SACD63509 LOCKWOOD,RJR/DELTA CROSSROADS SACD4Stereo/Surround/CDAud 089408350900GEFD24734 LOEB LISA & NIN/TAILS Compact Disc 720642473429 TWR0002 LOEB,C/PLAIN N SIMPLE Compact Disc 700261330679 673272 LOLENE/ELECTRICK HOTEL,THE Compact Disc 5099996732724 1166117702 LOMAX,A/THE SPANISH RECORDINGS Compact Disc 011661177024 SNJBF019 LOMBARDO,BROWN,VERSACE,OATTS/B Compact Disc 8051093880224 0249824600 LOMBARDO,G/THE BEST OF GUY LOM Compact Disc 602498246009 ALP139 LONBERG-HOLN TRI/VALENTINE FOR Compact Disc 735286113921 SOP2005002 LONDON APARTMENTS,T/ROMANTICIS Compact Disc 777320125125 300232F LONDON SOU/LONDON SOULS,THE Compact Disc 857593002320 4776193 LONDON,G/SPIRITUALS Compact Disc 028947761938 B000071802 LONE JUSTICE/THE BEST OF LONE Compact Disc 602498603840 CLC1005 LONG,J/At The Hotel New Yorker Compact Disc 617742100525 257587CD LONG,J/SURRENDER Compact Disc 700261257587 LV121 LONNIE AND THE CAROLLONS MEETT Compact Disc 7649422452250 11661 17702 4 8 57593 00232 0 6 17742 10052 57 07787 90932 7 7 00261 25758 77 35286 11392 16 63609 81572 9 7 64942 24522 58 051093 880224 7 00261 33067 96 01917 10432 66 02527 72322 8 7 20642 47342 90 44001 87832 90 44001 40002 5 6 02498 24130 1 0 28947 76193 87 31453 91862 77 31452 38452 2 5 099996 732724 6 02498 24600 9 6 02498 60384 07 77320 12512 50 89488 50012 77 07787 64747 2 0 89408 35090 0 Page 111 of 496 November 12, 2014Catalogue NumberArtist / Title Config Scannable UPC UPC EP00114 LOPEZ,J/EVOLUTION(DVD) Digital Video Disc 827191001148 B002082802 LOPEZ,J/JENNIFER LOPEZ(DLX) Compact Disc 602537842827 TTR80092 LOPEZ,T/THE LOVE ALBUM Compact Disc 617742800920 WMP100 LOREN,H/MANY TIMES, MANY WAYS Compact Disc 884501080132 6076894052 LOS ABANDONED/MIXED TAPE Compact Disc 060768940529 LC001 LOS CHAMANES/CONJUROS Compact Disc 790185001526 CHC2058 LOS CUATRO DE LA SALA/TANGO MA Compact Disc 858370002281 2061617412 LOS LOBOS/GOOD MORNING Compact Disc 720616174123 EGR23975 LOS VAN VAN/ESTRELLAS DE CUBA Compact Disc 619061397525 598112 LOS VAN VAN/SANDUNGUERA Compact Disc 821895981126 520902B LOSING FOC/A PORTRAIT FOR THE Compact Disc 778505209029 OPCD141 LOST SOUL/UBERMENSCH Compact Disc 4015698235821 MW063 LOTHAR AND THE HAND PEOPLE/PRE Compact Disc 813411010632 VOL1004 LOU/ET APPRES ON VERRA Compact Disc 3770000947151 B000104202 LOUCH,S/WALK WITT ME Compact Disc 602498606827 125013 LOUD FAMILY W/BARBEAU,A/WHAT I Compact Disc 783707346007 1575612 LOUSSIER,J/PLAY BACH NO.1 Compact Disc 601215756128 914592 LOVE, COUR/AMERICA'S SWEETHEAR Compact Disc 724359145921 CCM09322 LOVE/FALSE START Compact Disc 617742093223 PPR112302 LOVELY,K/STILL THE RAIN Compact Disc 884501301770 862202B LOVERBOY/SIX Compact Disc 060768622029 MCAMD42263 LOVETT,L/AND HIS LARGE BAND Compact Disc 076742226329 0881702342 LOVETT,L/ANTHOLOGY VOL.1 COWBO Compact Disc 008817023427 MCAD10808 LOVETT,L/I LOVE EVERYBODY Compact Disc 008811080822 B000973400 LOVETT,L/IT'S NOT BIG,IT'S LAR CD with DVD 602517439955B000896602 LOVETT,L/IT'S NOT BIG,IT'S LAR Compact Disc 6025173385866 02517 43995 57 78505 20902 98 84501 08013 2 8 21895 98112 6 3 770000 947151 8 58370 00228 16 17742 80092 0 8 84501 30177 06 17742 09322 37 90185 00152 6 7 83707 34600 76 02537 84282 7 0 76742 22632 97 24359 14592 16 01215 75612 86 02498 60682 7 0 08817 02342 7 0 08811 08082 2 6 02517 33858 67 20616 17412 3 6 19061 39752 5 4 015698 235821 8 13411 01063 2 0 60768 62202 90 60768 94052 98 27191 00114 8 Page 112 of 496 November 12, 2014Catalogue NumberArtist / Title Config Scannable UPC UPC MCAD10475 LOVETT,L/JOSHUA JUDGES RUTH Compact Disc 008811047528 MCAD11964 LOVETT,L/LIVE IN TEXAS Compact Disc 008811196424 MCABD31307 LOVETT,L/LYLE LOVETT Compact Disc 076743130724 B000116202 LOVETT,L/MY BABY DON'T TOLERAT Compact Disc 602498608333 MCABD42028 LOVETT,L/PONTIAC Compact Disc 076744202826 0881131842 LOVETT,L/SMILE Compact Disc 008811318420 LIB33300 LOVETT,L/SOUNDSTAGE Digital Video Disc 619061330034 MCAD211831 LOVETT,L/STEP INSIDE THIS HOUS Compact Disc 008811183127 MCAD11409 LOVETT,L/THE ROAD TO ENSENADA Compact Disc 008811140922 MONO0202 LOWER FORTY-EIGHTS/APERTURES Compact Disc 634457180727 7492793032 LOWEST OF T LOW/SHAKESPEARE MY Compact Disc 774927930329 B000454202 LTD&OSBORNE,J/GOLD Compact Disc 602498813997 433222 LUBO, ALEX/KABA HORO Compact Disc 068944332229 CHC2073 LUCA,A/LISTEN AND WAIT Compact Disc 858370002298 380013 LUCKSMITHS/NATURALISTE Compact Disc 779903800139 SFMDVD021 LUKATHER,S & WINTER,E/LIVE AT Digital Video Disc 823195001320 2894622772 LULLABIES-FOR-LOVERS/VAR Compact Disc 028946227725 SRLW1595 LULLWATER/SILHOUETTE Compact Disc 609728636166 DUA1608 LUMINEERS,THE/THE LUMINEERS Compact Disc 803020160828 NMR0190 LUMINESCENT ORCHESTRII/NEPTUNE Compact Disc 884501005685 TWA0692 LUNA/RENDEZVOUS Compact Disc 604978006929 1166170342 LUNNY,D/JOUNEY:T BEST OF DONAL Compact Disc 0116617034218162300001 LUNY TUNES & BABY RANKS/MASS F Compact Disc 181623000018 BR2006 LUSCH,B/SUPRESINGLY GOOD FOR Y Compact Disc 678277130326 BARQCD006 LUSTRAL/DEEPER DARKER SECRETS Compact Disc 5704207113291 MMPCD0140 LUX OCCULTA/THE MOTHER AND THE Compact Disc 59077850190960 11661 70342 17 79903 80013 9 8 03020 16082 87 74927 93032 9 6 09728 63616 6 5 907785 019096 6 78277 13032 68 84501 00568 58 58370 00229 86 02498 81399 76 02498 60833 30 08811 19642 4 0 08811 18312 7 0 08811 14092 20 76743 13072 4 0 76744 20282 6 1 81623 00001 80 28946 22772 50 08811 31842 00 08811 04752 8 0 68944 33222 9 5 704207 113291 6 04978 00692 96 34457 18072 76 19061 33003 4 8 23195 00132 0 Page 113 of 496 November 12, 2014Catalogue NumberArtist / Title Config Scannable UPC UPC CCM09332 LYMON,F/ROCK 'N ROLL Compact Disc 617742093322 0881702152 LYNN,L/THE BEST OF LORETTA V.2 Compact Disc 008817021522 B000251302 LYNN,L/VAN LEAR ROSE Compact Disc 602498189559 MCAD22041 LYNN,L/YOU AIN'T WOMAN ENOUGH Compact Disc 076732204122 3145461772 LYNNE,S/I AM SHELBY LYNNE Compact Disc 7314546177273145864362 LYNNE,S/LOVE, SHELBY Compact Disc 731458643623 EVER500 LYNNE,S/REVELATION ROAD(CD+DVD CD with DVD 852659192380 6076862982 LYNYRD SKYNYRD/CHRISTMAS TIME Compact Disc 060768629820 TC253110 LYNYRD SKYNYRD/FOREVER Compact Disc 628261311026 6076846992 LYNYRD SKYNYRD/LYVE (CDX2) Compact Disc 0607684699216076862472 LYNYRD SKYNYRD/LYVE FROM STEEL Compact Disc 060768624726 MCAC11941 LYNYRD SKYNYRD/THE BEST OF LYN Cassette 008811194147 OJCCD53 M.DAVIS/AND HORNS Compact Disc 025218605328 SNJBF004 M.E.F./VEROSIMILMENTE Compact Disc 8051093880040 CIDM9570 M.FAITHFULL/BROKEN ENGLISH Compact Disc 060439957023 3145308592 M.WELLS/ULTIMATE COLLECTION Compact Disc 731453085923 4775254 MAAZEL,L/COMPLETE EARLY BERLIN Compact Disc 028947752547 0251751325 MACDONALD,A/THIS IS THE LIFE Compact Disc 602517513259 CD80429 MACDOWELL/PIANO CONCERTO NO.2 Compact Disc 089408042928 TWA0572 MACHA/FORGET TOMORROW Compact Disc 604978005724TWA0222 MACHA/SEE IT ANOTHER WAY Compact Disc 604978002228 UOPJ17 MACHETEAVENUE/FIRST CUTS Compact Disc EP's 876183001253 YOTS31912 MACHIAVELLIAN/IMPOSSIBILITY OF Compact Disc 620673319126 B000202302 MACHITO/VACATION A THE CONCORD Compact Disc 602498617656 4786 MACK.L/LIVE-ATTACK OF THE KILL Compact Disc 014551478621 404412A MACKENZIE,/TRANSMISSION IMPOSS Compact Disc 8279540441220 08811 19414 78 52659 19238 0 6 28261 31102 6 8 27954 04412 26 17742 09332 2 8 051093 880040 7 31458 64362 36 02498 18955 9 7 31454 61772 7 6 02498 61765 67 31453 08592 3 6 02517 51325 90 60439 95702 30 76732 20412 2 0 28947 75254 70 08817 02152 2 0 25218 60532 80 60768 62472 6 6 04978 00222 86 04978 00572 4 6 20673 31912 60 89408 04292 80 60768 46992 10 60768 62982 0 0 14551 47862 18 76183 00125 3 Page 114 of 496 November 12, 2014Catalogue NumberArtist / Title Config Scannable UPC UPC 575872B MACLELLAN,/LONESOME RIVER Compact Disc 724385758720 675132 MACNEIL, R/I'LL ACCEPT THE ROS Compact Disc 094636751320563282 MACNEIL, R/MUSIC OF A THOUSAND Compact Disc 724385632822357532 MACNEIL, R/THINKING OF YOU Compact Disc 724383575329339514 MACRAE, GO/GOLDEN VOICE OF GOR Cassette 724353395148339512 MACRAE, GO/GOLDEN VOICE OF GOR Compact Disc 724353395124 NPR106 MACTATUS/SUICIDE Compact Disc 4001617242124 MASSCD1339D GMAD MAX/NIGHT OF PASSION Compact Disc 5907785035669 NMR0180 MAD TEA PARTY/FOUND A REASON Compact Disc 796873039871 B001909109 MADONNA/MDNA LIVE(BR) BLU RAY 602537479344B001909009 MADONNA/MDNA LIVE(DVD) Digital Video Disc 602537479337 SXYCD034 MADONNA/THE LOWDOWN Compact Disc 823564609928 PP019 MADONNA/VIRGIN INTERVIEWS UNAU Digital Video Disc 603777902593 753940 MAE/EVERGLOW,THE Compact Disc 724387539402014032 MAE/MAE GREATEST HITS 2012 Compact Disc 5099930140325 VP360CD MAGIC MUSHROOM BAND/LIVE 89 Compact Disc 604388320028 ALP98 MAGICAL POWER MAKO/BLUE DOT Compact Disc 735286199826 ALP101 MAGICAL POWER MAKO/LO POP DIAM Compact Disc 735286110128 ALP99 MAGICAL POWER MAKO/TRANCE RESO Compact Disc 735286199925 1896460702 MAGNOLIA SISTERS/CHERS AMIS Compact Disc 018964607029 KAY23959 MAGNUM DAISY/MAGNUM DAISY Compact Disc 619061397822 883389 MAHAL,T/LIVE AT RONNIE SCOTT'S Compact Disc 060768833890 4540142 MAHLER/COMPLETE ORCHESTRA SONG Compact Disc 028945401423 B000968002 MAHLER/KREMERATA BALTICA Compact Disc 028947661771 2894588602 MAHLER/SYM 5/CHAILLY Compact Disc 028945886022 4681942 MAHLER/SYMPHONIES NOS. 2 & 10 Compact Disc 0289468194256 02537 47934 47 24353 39514 8 0 18964 60702 97 35286 11012 87 35286 19982 6 7 35286 19992 55 907785 035669 8 23564 60992 8 6 04388 32002 87 24353 39512 4 0 28945 40142 37 24385 75872 0 7 24383 57532 90 94636 75132 0 7 24385 63282 2 0 28946 81942 50 28947 66177 1 0 28945 88602 27 24387 53940 2 5 099930 140325 7 96873 03987 14 001617 242124 6 19061 39782 2 0 60768 83389 06 03777 90259 36 02537 47933 7 Page 115 of 496 November 12, 2014Catalogue NumberArtist / Title Config Scannable UPC UPC 4669552 MAHLER/SYMPHONY NO.10 Compact Disc 028946695524 4107152 MAHLER/SYMPHONY NO.3 Compact Disc 0289410715214455132 MAHLER/SYMPHONY NO.7 Compact Disc 0289445513274673142 MAHLER/SYMPHONY NO.8 SYMPHONY Compact Disc 028946731420 CD80269 MAHLER/WAYFARER/SCHMIDTRUCKER Compact Disc 089408026928CD83542 MAHOGANY,K/PRIDE & JOY Compact Disc 089408354229 898012A MAHOOD, BE/GIRL OUT OF THE ORD Compact Disc 774018980127 300102C MAHOOD, BE/MOODY BLUE Compact Disc 881653001022 ROADANGEL00 1MAHOOD,B/THIS CHRISTMAS CELEBR Compact Disc 061297331710 ROADANGEL00 2MAHOOD,B/UNMISTAKABLE Compact Disc 061297124343 429742 MAIREAD/CE/RAINING UP Compact Disc 094634297424 B000591902 MAKARSKI,M/TO BE SUNG ON THE W Compact Disc 028947631026 1166104862 MALIBU STORM/MALIBU STORM Compact Disc 011661048621 301309 MALMSTEEN,Y/CONCERTO Digital Video Disc 801213013098 CLC1053 MALTBY,R & HIS ORCHESTRA/Music Compact Disc 617742105322 IEG2150 MAMA CASS/MAMA CASS TELEVISION Digital Video Disc 617742215090 SJPCD081 MAMASBOYS/RELATIVITY Compact Disc 5055011700819 0075322657 MANCEBO,J/BABIES LOVE ABBA Compact Disc 6007532265750075318446 MANCEBO,J/BABIES LOVE CREEDANC Compact Disc 6007531844620075318447 MANCEBO,J/BABIES LOVE ELTON JO Compact Disc 6007531844790075318448 MANCEBO,J/BABIES LOVE MADONNA Compact Disc 6007531844860075324664 MANCEBO,J/BABIES LOVE MARIAH C Compact Disc 6007532466410075322656 MANCEBO,J/BABIES LOVE MICHAEL Compact Disc 6007532265680075318449 MANCEBO,J/BABIES LOVE PHIL COL Compact Disc 6007531844930075318455 MANCEBO,J/BABIES LOVE PINK FLO Compact Disc 6007531845540075318451 MANCEBO,J/BABIES LOVE QUEEN Compact Disc 6007531845168 81653 00102 27 74018 98012 70 89408 02692 8 0 89408 35422 9 0 11661 04862 1 6 17742 10532 2 5 055011 700819 6 00753 24664 16 00753 22657 5 6 00753 22656 86 00753 18446 2 6 00753 18447 9 6 00753 18448 6 6 00753 18449 3 6 00753 18455 4 6 00753 18451 60 28947 63102 60 28941 07152 1 0 28944 55132 70 28946 69552 4 0 28946 73142 0 0 94634 29742 40 61297 33171 0 0 61297 12434 3 8 01213 01309 8 6 17742 21509 0 Page 116 of 496 November 12, 2014Catalogue NumberArtist / Title Config Scannable UPC UPC 0075318452 MANCEBO,J/BABIES LOVE ROLLING Compact Disc 600753184523 0075318453 MANCEBO,J/BABIES LOVE STEVIE W Compact Disc 6007531845300075324665 MANCEBO,J/BABIES LOVE THE CARP Compact Disc 6007532466580075318450 MANCEBO,J/BABIES LOVE THE POLI Compact Disc 6007531845090075318454 MANCEBO,J/BABIES LOVE U2 Compact Disc 600753184547 TTR80002 MANCINI,H & TAYLOR,I/TERRIBLY Compact Disc 617742800029 FRM1019 MANN,M/2006 Compact Disc 829421101925FRM5000 MANN,M/ANGEL STATION LIVE IN M Digital Video Disc 829421500018FRM1013 MANN,M/BEST OF VOLUME 2 1972-2 Compact Disc 829421101321FRM1029 MANN,M/CHANCE Compact Disc 829421102922FRM1031 MANN,M/CRIMINAL TANGO Compact Disc 829421103127FRM1006 MANN,M/GLORIFIED MAGNIFIED Compact Disc 829421100621FRM1027 MANN,M/GOOD EARTH Compact Disc 829421102724FRM1005 MANN,M/MANFRED MANN'S EARTH BA Compact Disc 829421100522FRM1009 MANN,M/NIGHTINGALES AND BOMBER Compact Disc 829421100928FRM1008 MANN,M/SOLAR FIRE Compact Disc 829421100829FRM1030 MANN,M/SOMEWHERE IN AFRIKA Compact Disc 829421103028FRM1010 MANN,M/THE ROARING SILENCE Compact Disc 829421101024FRM1028 MANN,M/WATCH Compact Disc 829421102823 OJCCD910 MANNE,S/BELLS ARE RINGING Compact Disc 025218691024 AG19882 MANNHEIMSTEAMROLLER/A FRESH AI Compact Disc 012805198820 AG0032 MANNHEIMSTEAMROLLER/A MANNHEIM Compact Disc 012805000321AG4432 MANNHEIMSTEAMROLLER/CHRISTMAS Compact Disc 012805044325 AG12252 MANNHEIMSTEAMROLLER/CHRISTMAS Compact Disc 012805122528AG19842 MANNHEIMSTEAMROLLER/CHRISTMAS Compact Disc 012805198424 AG8002 MANNHEIMSTEAMROLLER/CLASSICAL Compact Disc 012805080026 0 12805 04432 50 25218 69102 4 0 12805 12252 86 00753 24665 86 00753 18452 3 6 00753 18453 0 6 00753 18450 9 6 00753 18454 7 0 12805 19842 40 12805 19882 0 0 12805 08002 60 12805 00032 18 29421 10062 18 29421 10132 1 8 29421 10312 7 8 29421 10082 98 29421 10092 8 8 29421 10102 48 29421 10192 5 8 29421 10272 4 8 29421 10282 38 29421 10292 2 8 29421 10302 88 29421 10052 26 17742 80002 9 8 29421 50001 8 Page 117 of 496 November 12, 2014Catalogue NumberArtist / Title Config Scannable UPC UPC AG50062 MANNHEIMSTEAMROLLER/FRESH AIRE Compact Disc 012805500623 AG20862 MANNHEIMSTEAMROLLER/SAVING THE Compact Disc 012805208628AG30892 MANNHEIMSTEAMROLLER/YELLOWSTON Compact Disc 012805308922 19909202 MANNING,B AND THE GO LUCKY/HOM Compact Disc 199.0920-2 433212 MANO, MICH/COOL SIDE OF THE PI Compact Disc 068944332120 B000592002 MANSURIAN,T/ARS POETICA Compact Disc 028947630708 CCM20852 MANTOVANI/CHRISTMAS CAROLS Compact Disc 617742208528 0249822265 MANTOVANI/THE BEST OF MANTOVAN Compact Disc 602498222652 OGL891372 MANZAREK,R/LOVE HER MADLY Compact Disc 790058913727 9809582 MARDIS GRAS BB/HEAT Compact Disc 602498095829 4851 MARGOLIN,B/UP&IN Compact Disc 014551485124 CCDCD4200 MARIA,T/COME WITH ME Compact Disc 013431420026CCDCD2114 MARIA,T/LIVE AT THE BLUE NOTE Compact Disc 013431211426CCDCD4264 MARIA,T/WILD Compact Disc 013431426424 2539601852 MARIANA'S TRENCH/MASTERPIECE T CD with DVD 8253960185272539600822 MARIANAS TRENCH/MASTERPIECE TH Compact Disc 825396008221 433022 MARIANO, C/DEEP IN A DREAM Compact Disc 068944330225 SMCR5049 MARIE,T/STARCHILD Compact Disc 5013929074934 MVDA4816 MARILLION/MARBLES Compact Disc 760137481621MVDV4766 MARILLION/SOMEWHERE IN LONDON Digital Video Disc 022891476696 MVD5708D MARILYN MANSON/INNER SANCT(DVD Digital Video Disc 760137570899 TRR80062 MARKETTS/TAKE TO WHEELS Compact Disc 617742800623 133667 MARLEY, BO/LIVE ON AIR Compact Disc 803341336674 861182A MARLEY, ZI/ONE BRIGHT DAY Compact Disc 077778611820 3145864082 MARLEY,B & T WAILERS/EXODUS(DE Compact Disc 7314586408200249867965 MARLEY,B & T WAILERS/FY-AH, FY Compact Disc 6024986796548 25396 01852 70 13431 42002 6 8 25396 00822 1 8 03341 33667 40 13431 21142 6 0 13431 42642 4 7 60137 48162 15 013929 074934 6 17742 20852 8 6 17742 80062 3 0 77778 61182 0 6 02498 67965 47 31458 64082 06 02498 09582 90 28947 63070 8 6 02498 22265 20 12805 50062 3 0 12805 20862 8 0 12805 30892 2 0 68944 33022 50 68944 33212 0 7 90058 91372 7 0 14551 48512 4 7 60137 57089 90 22891 47669 6 Page 118 of 496 November 12, 2014Catalogue NumberArtist / Title Config Scannable UPC UPC 9816472 MARLEY,B & T WAILERS/GROOVING Compact Disc 602498164723 1166177012 MARLEY,B & T WAILERS/WAILERS & Compact Disc 011661770126 803312A MARLEY,B & THE WAILERS/COMPLET Compact Disc 060768033122 6076805152 MARLEY,B & THE WAILERS/ESSENTI Compact Disc 0607680515226076802312 MARLEY,B & THE WAILERS/IN THE Compact Disc 0607680231230249826006 MARLEY,B & THE WAILERS/LIVE AT Digital Video Disc 602498260067 802012A MARLEY,B & THE WAILERS/RASTA R Compact Disc 060768020122 6076804812 MARLEY,B & THE WAILERS/ROOTS O CD with DVD 0607680481266076805272 MARLEY,B & THE WAILERS/SOUL RE Compact Disc 0607680527276076803482 MARLEY,B & THE WAILERS/SOUL RE Compact Disc 0607680348226076804622 MARLEY,B & THE WAILERS/THIS IS Compact Disc 060768046221 9874862 MARLEY,B&WAILERS,T/MAN TO MAN Compact Disc 602498748626 SYN018 MARLEY,B/SOUL ALMIGHTY Compact Disc 874757001821 802512B MARLEY,B/THE BEST OF BOB MARLE Compact Disc 060768025127 6076803992 MARLEY,B/WAILERS/AFRICAN HERBS Compact Disc 0607680399266076802612 MARLEY,B/WAILERS/TRANCHTOWN RO Compact Disc 060768026124 TGW0001 MARLEY,Z/LOVE IS MY RELIGION Compact Disc 094922607256 811582 MARMALADE/THE VERY BEST OF Compact Disc 060768115828 B000643009 MARRINER,N/MOZART:IL RE PASTOR Digital Video Disc 044007012994B000059302 MARS VOLTA,T/DE-LOUSED IN THE Compact Disc 602498602980 JHR046 MARSLAND DOT COM/MARSLAND DOT Compact Disc 4260075860466 308002B MARTIN, CH/I CAN TOO Compact Disc 627843080022 308000 MARTIN, CH/SLEEPING WITH A STR Compact Disc 627843080008276852 MARTIN, DE/CLASSIC DINO:BEST O Compact Disc 5099902768526276792 MARTIN, DE/DINO:ESSENTIAL DEAN Compact Disc 5099902767925332004 MARTIN, DE/HIS GREATEST HITS A Cassette 724383320042 7 24383 32004 20 60768 04812 60 11661 77012 6 8 74757 00182 1 4 260075 860466 5 099902 768526 5 099902 767925 6 02498 60298 06 02498 16472 3 6 02498 74862 6 6 27843 08002 2 6 27843 08000 80 94922 60725 60 60768 04622 10 60768 02312 3 0 60768 02612 40 60768 03992 60 60768 05152 2 0 60768 05272 70 60768 02012 2 0 60768 02512 70 60768 03312 2 0 60768 11582 80 60768 03482 26 02498 26006 7 0 44007 01299 4 Page 119 of 496 November 12, 2014Catalogue NumberArtist / Title Config Scannable UPC UPC 023802 MARTIN, DE/LEGENDS FOREVER Compact Disc 5099950238026 177614 MARTIN, DE/MEMORIES ARE MADE O Cassette 724381776148332014 MARTIN, DE/TAPE 1-HIS GREATEST Cassette 724383320141332024 MARTIN, DE/TAPE 2-HIS GREATEST Cassette 724383320240332034 MARTIN, DE/TAPE 3-HIS GREATEST Cassette 724383320349 529962B MARTIN, DE/VELVET VOICES Compact Disc 5099995299624 B001218902 MARTIN,D/A VERY COOL CHRISTMAS Compact Disc 602517871526B001536802 MARTIN,D/COOL THEN,COOL NOW Compact Disc 602527634586 CLC251 MARTIN,D/DEAN "TEX" MARTIN RID Compact Disc 617742025125CLC252 MARTIN,D/DINO LATINO-FRENCH ST Compact Disc 617742025224CLC254 MARTIN,D/DREAM WITH DEAN-EVERY Compact Disc 617742025422 TC253239 MARTIN,D/FOREVER Compact Disc 628261323920 B001650502 MARTIN,D/ICON Compact Disc 602527942728B001906502 MARTIN,D/ICON MY KIND OF CHRIS Compact Disc 602537507511B001243902 MARTIN,D/LOVE SONGS Compact Disc 602517931565B001334002 MARTIN,D/MY KIND OF CHRISTMAS Compact Disc 602527161082B001596202 MARTIN,D/MY KIND OF CHRISTMAS Compact Disc 602527796291 CLC6012 MARTIN,D/THIS IS DEAN MARTIN Compact Disc 617742060126 NPD85670 MARTIN,F/VIN HERBE Compact Disc 032466567025 465022 MARTINA, M/PHARE DE LA LUNE Compact Disc 794504650228 TTR80212 MARTINEZ,H/HIRTH FROM EARTH Compact Disc 617742802122 CLC327 MARTINO,A/Merry Christmas Compact Disc 617742032727 MA90972 MARTONE/CLEAN Compact Disc 614286909720 3742288 MARTYN,J/THE ISLAND Y(17CD+DVD CD with DVD 6025374228834705702 MASCAGNI & LEONCAVALLO/CAVALLE Compact Disc 028947057024 78612730292 MASE/DOUBLE UP Compact Disc 7861273029297 24381 77614 8 7 24383 32014 1 7 24383 32024 0 7 24383 32034 9 6 02537 42288 36 28261 32392 0 7 94504 65022 8 6 17742 80212 26 17742 02512 5 6 17742 02542 2 6 17742 03272 76 17742 06012 66 17742 02522 4 0 32466 56702 55 099995 299624 6 02527 63458 6 6 02527 94272 8 6 02517 93156 55 099950 238026 6 02537 50751 1 6 02527 16108 26 02517 87152 6 6 02527 79629 1 0 28947 05702 4 7 86127 30292 96 14286 90972 0 Page 120 of 496 November 12, 2014Catalogue NumberArtist / Title Config Scannable UPC UPC B000244202 MASEKELA,H/STILL GRAZING Compact Disc 602498622520 SMCR5025 MASON,H/FUNK IN A MASON JAR: E Compact Disc 5013929072534 CRTREE008 MASON/STARTING AS WE MEAN TO G Compact Disc 5013929690820 4256512 MASSENET/ESCLARMONDE/BONYNGE Compact Disc 0289425651280772642 MASSI,S/DEB Compact Disc 044007726426 MFR014 MASTER/FOLLOW YOUR SAVIOR Compact Disc 4053817130145 AFM2823 MASTERPLAN/MKII SPECIAL PACK Compact Disc EP's 884860004824 STUM25 MATADORS,THE/SWEET REVENGE Compact Disc 844667010947STUM10 MATADORS,THE/THE DEVIL'S MUSIC Compact Disc 775020564923 RT044 MATCHBOX TWENTY/THESE HARD(DVD Digital Video Disc 9223814130447 B000652502 MATERIALISSUE/BEST OF Compact Disc 602498549070 CCM20162 MATHIS,J/I'LL BUY YOU A STAR/L Compact Disc 617742201628CCM20172 MATHIS,J/RAPTURE/ROMANTICALLY Compact Disc 617742201727CCM20182 MATHIS,J/UP,UP AND AWAY/LOVE I Compact Disc 617742201826 9817513 MATOGROSSO,N/VAGABUNDO Compact Disc 602498175132 733350 MATSUI, KE/WALLS OF AKENDORA CD with DVD 724387333505 GRSD9890 MATSUI,K/THE KEIKO MATSUI COLL Compact Disc 011105989022 4757877 MAUCERI,J/GERSHWIN:PORGY & BES Compact Disc 028947578772 MCSSD70018 MAVERICKS/TRAMPOLINE Compact Disc 008817001821 SFMDVD034 MAYALL,J & THE BLUESBREAKERS/I Digital Video Disc 5413992580347 ATOM2010 MAYFIELD,C/ LOVE TO THE PEOPLE Compact Disc 883717001023 TTR80112 MAYFIELD,C/CURTIS IN CHICAGO-R Compact Disc 617742801125 6076804032 MAYTALS THE/MONKEY MAN Compact Disc 060768040328 CDHBEA143 MAYTALS/NEVER GROW OLD Compact Disc 011661764323 CDROUN11545 MBARGA,P/AKI SPECIAL Compact Disc 011661154520 0253791077 MC MARIO/SUMMER ANTHEMS 2014 Compact Disc 6025379107797 24387 33350 5 0 11661 76432 3 0 11661 15452 05 013929 072534 8 83717 00102 34 053817 130145 6 17742 80112 55 013929 690820 6 02537 91077 96 02498 62252 0 0 08817 00182 10 11105 98902 26 02498 17513 2 0 28947 57877 20 28942 56512 8 0 44007 72642 6 6 02498 54907 0 6 17742 20162 8 6 17742 20172 7 6 17742 20182 6 0 60768 04032 88 44667 01094 7 7 75020 56492 38 84860 00482 4 9 223814 130447 5 413992 580347 Page 121 of 496 November 12, 2014Catalogue NumberArtist / Title Config Scannable UPC UPC 802132B MC5/LIVE:MOTOR CITY IS BURNING Compact Disc 060768021327 SFE011D MCALMONT,D/LIVE FROM LEICESTER CD with DVD 5013929842120 HNECD004 MCAULEY SCHENKER GRO/UNPLUGGED Compact Disc 5013929910423HNECD002 MCAULEY SCHENKER GROUP/PERFECT Compact Disc 5013929910225 3145439152 MCBRIDE,C/SCI-FI Compact Disc 731454391528 HRM31926 MCCARTNEY,P/GOOD EVENING NY DL CD with DVD 888072319264 HRM3359602 MCCARTNEY,P/KISSES OF THE (DLX Compact Disc 888072335967 CA60041 MCCARTNEY,P/STANDING STONE WIT Digital Video Disc 4028462600411 JCC2081 MCCLINTON,D/ROCKING THE BOAT:A Digital Video Disc 844667003284 B000030902 MCCLINTON,D/THE BEST OF DELBER Compact Disc 008817037325 CCDCD4661 MCCONNELL,R/DON'T GET AROUND M Compact Disc 013431466123CCDCD4759 MCCORKLE,S/LET'S FACE THE MUSI Compact Disc 013431475927 0169107CD MCCORMACK,E/HEAL MY FAITH Compact Disc 707787910729 4756233 MCCRACKEN,J/CLASSIC RECITALS Compact Disc 028947562337 CDBEYE9508 MCCRACKLIN,J/MY STORY Compact Disc 011661950825 HSM50692 MCCRAE,G/FOR YOUR LOVE Compact Disc 809842506929 PWHSM51132 MCCRAE,G/GEORGE MCCRAE Compact Disc 809842511329 HSM60012 MCCRAE,G/GWEN MCCRAE SINGS TK Compact Disc 809842600122 PWHSM51312 MCCRAE,M/SOMETHING SO RIGHT Compact Disc 809842513125 4777635 MCCREESH,P & CONSORT,G/A SPOTL Compact Disc 0289477763524775744 MCCREESH,P/MOZART;MASS IN C MI Compact Disc 028947757443 130052 MCCULLOUGH,R/BELFAST BLUES Compact Disc 670211300529 000024A MCDERMOTT,/DANNY BOY,THE COLLE Cassette 000000000246000022B MCDERMOTT,/DANNY BOY,THE COLLE Compact Disc 000000000222 960092 MCDERMOTT,/IRISH SPIRIT Compact Disc 5099909600928408212 MCDERMOTT,/NOISE FROM THE WORD Compact Disc 827954082124 0 00000 00024 68 88072 31926 45 013929 842120 0 11661 95082 50 13431 46612 3 0 13431 47592 7 6 70211 30052 98 09842 60012 28 09842 50692 95 013929 910225 5 013929 910423 8 09842 51132 9 8 09842 51312 57 07787 91072 9 5 099909 600928 0 00000 00022 27 31454 39152 8 0 28947 75744 30 28947 77635 20 28947 56233 70 08817 03732 5 8 27954 08212 40 60768 02132 7 8 88072 33596 7 4 028462 600411 8 44667 00328 4 Page 122 of 496 November 12, 2014Catalogue NumberArtist / Title Config Scannable UPC UPC 086362 MCDERMOTT,/PRECIOUS MEMORIES Compact Disc 5099930863620 933264 MCDERMOTT,/SHAMROCKS AND HEATH Cassette 724389332643933262 MCDERMOTT,/SHAMROCKS AND HEATH Compact Disc 724389332629 CCDCD1022 MCDUFF,J & DEFRANCESCO,J/IT'S SACD4Stereo/Surround/CDAud 013431102267 DTG785233 MCDUFF,J/GIN & ORANGE Compact Disc 602517852334 3145202872 MCENTIRE,R/BEST OF THE EARLY Y Compact Disc 7314520287230881701192 MCENTIRE,R/SO GOOD TOGETHER Compact Disc Enhanced 008817011929 PLAN9023 MCEUEN,J & IBBOTSON,J/STORIES Compact Disc 601183902329 BUST0162 MCGRAFF,T/DAY IN MY SHOES Compact Disc 837101336925 DPRE001 MCINNIS,A/WHEREVER YOU ARE Compact Disc 854882200672 CCDCD2123 MCKENNA,D & HAMILTON,S/DOUBLE Compact Disc 013431212324 QRCD113X MCKENNITT,L/A MEDITERRANEAN OD Compact Disc 774213105042 QRCD101D MCKENNITT,L/ELEMENTAL (DELUXE) CD with DVD 774213310125QRCD103D MCKENNITT,L/PARALLEL DREAMS (D CD with DVD 774213310323QRCD107D MCKENNITT,L/THE BOOK OF (DELUX CD with DVD 774213310729QRCD105D MCKENNITT,L/THE MASK AND (DELU CD with DVD 774213310521QRCD104D MCKENNITT,L/THE VISIT (DELUXE) CD with DVD 774213310422QRCD102D MCKENNITT,L/TO DRIVE THE (DELU CD with DVD 774213310224INDEXT011 MCKNIGHT & BOGDAL/ZOMBIE NATIO Compact Disc 845121035766 B001509502 MCKNIGHT,B/ICON LOVE SONGS Compact Disc 602527566580 873602 MCLAREN, M/DUCK ROCK Compact Disc 077778736028 CR9256822 MCMURTRY,J/LIVE IN AUGHT-THREE Compact Disc 616892568223 CCDCD4853 MCPARTLAND,M & HICKORY HOUSE T Compact Disc 013431485322CCDCD4824 MCPARTLAND,M/HERITAGE SERIES:M Compact Disc 013431482420CCDCD4460 MCPARTLAND,M/LIVE AT MAYBECK V Compact Disc 013431446026 ALP256 MCPHEE,J/SYNDER,J/PIECES OF LI Compact Disc 7352862256247 24389 33264 3 7 74213 31052 17 74213 31012 5 7 74213 31022 47 74213 31032 3 7 74213 31072 9 7 74213 31042 27 74213 10504 2 0 13431 48532 20 13431 21232 4 0 13431 44602 60 13431 48242 0 7 35286 22562 46 02517 85233 4 6 01183 90232 95 099930 863620 7 24389 33262 9 6 02527 56658 0 0 77778 73602 87 31452 02872 3 8 37101 33692 5 8 54882 20067 2 8 45121 03576 6 6 16892 56822 30 08817 01192 90 13431 10226 7 Page 123 of 496 November 12, 2014Catalogue NumberArtist / Title Config Scannable UPC UPC AMACD014 MCRAE,C/LIVE AT THE FLAMINGO J Compact Disc 884607000140 390749 MCRAE/MANHATTEN TRANSFER/DOUBL Digital Video Disc 801213907496 HPO6016 MCTELL,R/THE DEFINITIVE COLLEC Compact Disc 714822601627 SHOUT32 MEADOWS,W/GO ON AND CRY Compact Disc 5013929503229 6076864312 MEAT LOAF/BAT OUT OF HELL W/ME Compact Disc 0607686431236076884349 MEAT LOAF/BAT OUT OF HELL W/ME Digital Video Disc 0607688434936076883639 MEAT LOAF/BAT OUT OF HELL W/ME Digital Video Disc 060768836396 CRASDVD030 MEAT PUPPETS/ALIVE IN THE NINE Digital Video Disc 022891003090 6076847212 MEATLOAF/BAT OUT OF HELL WITH Compact Disc 0607684721296076846532 MEATLOAF/COULDN'T HAVE SAID IT Compact Disc 060768465329 MVDA4831 MEATMEN/ROCK N ROLL JUGGERNAUT Compact Disc 760137483120 429572 MEAV/CELTI/A CELTIC JOURNEY Compact Disc 094634295727 639952C MEAV/CELTI/MEAV Compact Disc 094636399522 466722A MEDIAEVAL /WORLDES BLYSSE Compact Disc 724384667221 SJPCD091 MEDICINEHEAD/LIVEATMARQUE1975 Compact Disc 5055011700918 6076883209 MEGADETH/RUDE AWAKENING (DVD) Digital Video Disc 060768832091 4776225 MEHTA,Z/NEW YEAR'S CONCERT 200 Compact Disc 028947762256 CA90003 MEHTA,Z/ZUBIN MEHTA MEETS MITS Digital Video Disc 4028462900030 RHM27893 MELANIE/PHOTOGRAPH;DOUBLE EXPO Compact Disc 603497789320 SJPCD103 MELANIE/SOLOPOWERED Compact Disc 5055011701038 B000478602 MELLENCAMP,J/MR.HAPPY GO LUCKY Compact Disc 602498823514B001308002 MELLENCAMP,J/ON THE RURAL ROUT Compact Disc 602527093154 CDHBEA129 MELODIANS,THE /SWING & DINE Compact Disc 011661762923 60732500112 MELVOIN,M TRIO/YOU KNOW Compact Disc 607325001127 TK107 MEMPHIS MAY FIRE/MEMPHIS MAY F Compact Disc 824953010721 CDROUN0198 MENARD,D.L./CAJUN SATURDAY Compact Disc 011661019829 0 11661 76292 3 0 11661 01982 97 60137 48312 0 5 055011 700918 6 03497 78932 0 6 07325 00112 76 02527 09315 47 24384 66722 1 6 02498 82351 40 28947 76225 60 94634 29572 7 0 94636 39952 25 013929 503229 8 84607 00014 0 5 055011 701038 7 14822 60162 7 0 60768 47212 9 0 60768 46532 90 60768 64312 3 8 24953 01072 14 028462 900030 0 22891 00309 08 01213 90749 6 0 60768 84349 3 0 60768 83639 6 0 60768 83209 1 Page 124 of 496 November 12, 2014Catalogue NumberArtist / Title Config Scannable UPC UPC CDROUN6021 MENARD,D.L./NO MATTER WHERE YO Compact Disc 011661602120 4756210 MENDELLSOHN/CELLO SONATAS Compact Disc 0289475621084329842 MENDELSSOHN/ELIJAH Compact Disc 028943298421 CLC7892 MENDES,S & BRAZIL 77/HOMECOOKI Compact Disc 617742078923CLC7902 MENDES,S & BRAZIL 77/SERGIO ME Compact Disc 617742079029 D001385992 MENDLER ,B/HELLO MY NAME IS Compact Disc 050087242961 900342A MERCY/PLANES MISTAKEN FOR STAR Compact Disc 876929003428 91101 MERMEN,THE/THE AMAZING CALIFOR Compact Disc 644949110125 0675662 MERRILL,H/LILAC WINE Compact Disc 0440067566224451762 MESSIAEN/ST.FRANCOIS D'ASSISE Compact Disc 028944517620 DR4389 METALHEADZ/METALHEADZ Digital Video Disc 022891438991 RT002 METALLICA/FOR WHOM THE BELLS T Digital Video Disc 9223814130027 8254712 METHANY,P/NEW CHAUTAUQUA Compact Disc 042282547125 MVDHD4675 METHOD MAN/LIVE FROM SUNSET ST Digital Video Disc 022891467595 0881120202 METHODS OF MAYHEM/.... Compact Disc 008811202026 DTG439342 METROS,THE/SWEETEST ONE (CD) Compact Disc 886974393429 3769360 MICHAEL,G/SYMPHONICA(DLX LTD) Compact Disc 602537693603 CDHBEA3512 MICHIGAN & SMIL/RUB-A-DUB STYL Compact Disc 011661351226 9818811 MICUS,S/LIFE Compact Disc 602498188118 0881128572 MIDTOWN/LIVING WELL IS THE BES Compact Disc 008811285722 IMP025 MIGNON/KISS OF DEATH Compact Disc 9344818000038 2537542291 MIKAEL,S/SPEECHLESS Compact Disc 602537542291 BASE0022 MIKAH NINE/IT'S ALL LOVE:AMERI Compact Disc 621617697720 ALP71 MILES/LICHT/HAINO/GERRY MILES Compact Disc 735286197129 UNIW4041902 MILKY CHANCE/STOLEN DANCE(CDEP Compact Disc EP's 602537899036 0135352 MILLE,D/ENTRE CHIEN ET LOUP Compact Disc 0440013535290 11661 35122 68 76929 00342 80 11661 60212 0 7 35286 19712 96 17742 07892 3 8 86974 39342 96 17742 07902 9 0 50087 24296 1 6 02537 69360 3 0 44001 35352 90 28943 29842 1 0 08811 20202 6 0 08811 28572 20 28947 56210 8 0 44006 75662 2 0 42282 54712 5 6 02498 18811 80 28944 51762 0 9 344818 000038 6 02537 54229 1 6 21617 69772 06 44949 11012 5 6 02537 89903 60 22891 46759 50 22891 43899 1 9 223814 130027 Page 125 of 496 November 12, 2014Catalogue NumberArtist / Title Config Scannable UPC UPC 711162A MILLER, ST/FLY LIKE AN EAGLE(3 CD with DVD 094637111628 SYN034 MILLER,G/MILLER MAKES IT HAPPE Compact Disc 874757003429 CCM05162 MILLER,M AND THE GANG/50 ALL-A Compact Disc 617742051629CCM20992 MILLER,M AND THE GANG/PEACE SI Compact Disc 617742209921 SYN038 MILLS BROTHERS,THE/SWEETHEART Compact Disc 874757003825 800042A MILLS, FRA/20TH ANNIVERSARY Compact Disc 077778000426931302A MILLS, FRA/A SPECIAL CHRISTMAS Compact Disc 077779313020800222A MILLS, FRA/CHRISTMAS Compact Disc 077778002222 570182 MILLS, FRA/OUR CANADA Compact Disc 777535701824 0881123572 MILLS,S/THE BEST OF STEPHANIE Compact Disc 008811235727 OP33795 MILLS,T/ATHABASCA Compact Disc 776143379524 0252733024 MILOW/MILOW Compact Disc 602527330242 TPH2101 MINAJ,N/BEAM ME UP SCOTTY Compact Disc 187245210118 B001502102 MINAJ,N/PINK FRIDAY Compact Disc 602527541846 SNJBF005 MINARDI/ESPINOZA/PINTORI/RANTZ Compact Disc 8051093880057 BASE0042 MIND CLOUDERS/FAKE IT UNTIL YO Compact Disc 825994112726 B000613602 MINELLI,L/DEFINITIVE COLLECTIO Compact Disc 602498798034 391719 MINGUS,C/EPITAPH Digital Video Disc 801213917198 3145896362 MINGUS,C/FINEST HOUR Compact Disc 731458963622 MRCD6436 MINIATURES,T/AT THE SCENE OF T Compact Disc EP's 823674643621 UDR0240CD MINISTRY/ENJOY THE QUIET LIVE Compact Disc 5099961515420 UDR0235DVD MINISTRY/ENJOY THE QUIET(DVD+2 DVD + BNS CD 5099901958225 CCM09162 MINK DE VILLE/WHERE ANGELS FEA Compact Disc 617742091625CCM09762 MINNELLI,L/THE COMPLETE A&M RE Compact Disc 617742097627 0881124782 MINT ROYALE/ON THE ROPES Compact Disc 008811247829 MCGJ1020 MINTZER,B/OLD SCHOOL:NEW LESSO Compact Disc 6122621020280 94637 11162 8 6 12262 10202 88 74757 00382 58 74757 00342 9 6 17742 20992 16 17742 05162 9 6 17742 09762 76 17742 09162 58 051093 880057 6 02498 79803 4 7 31458 96362 26 02527 54184 6 0 08811 24782 97 77535 70182 40 77779 31302 00 77778 00042 6 0 77778 00222 2 6 02527 33024 20 08811 23572 7 7 76143 37952 4 8 25994 11272 61 87245 21011 8 5 099961 515420 8 23674 64362 18 01213 91719 8 5 099901 958225 Page 126 of 496 November 12, 2014Catalogue NumberArtist / Title Config Scannable UPC UPC SMCR5073 MIRACLES/LOVE CRAZY(CDEP) Compact Disc EP's 5013929077331 SMCR5074 MIRACLES/THE MIRACLES Compact Disc 5013929077430 682242 MIRET, ROG/GOTTA GET UP NOW Compact Disc 5052146822423 NBA11222 MISERY INDEX/RETALIATE Compact Disc 727361112226 ZLR0101 MISS LESLIE & HER JUKE-JOINTER Compact Disc 634479131318ZLR0102 MISS LESLIE & HER JUKE-JOINTER Compact Disc 634479364372 BKB002 MISSIONARY PO,THE/CONSEQUENCES Compact Disc 884501649674BKB001 MISSIONARY POSIT,THE/DIAMONDS Compact Disc 884501177122 SHOUT22 MITCHELL, M 'SOUL'/THE TOWN I Compact Disc 5013929502222 4400655072 MITCHELL,B/THIS IS BILLY MITCH Compact Disc 044006550725 CDROUN2076 MITCHELL,B/WE GOT A PARTY!--TH Compact Disc 011661207622 GEFMD24172 MITCHELL,J/CHALK MARK IN A RAI Compact Disc 720642417225 PJ26220 MITCHELL,R/JAZZY ME,LIVE IN JA CD with DVD 700261262208 B001491702 MITCHELL/THE NOTE FACTORY/FAR Compact Disc 602527048017 HSM50802 MIZELL,R/HEY SEXY DANCER Compact Disc 809842508022 3145429162 MJ COLE/SINCERE Compact Disc 731454291620 PRO107 MMO/OPOMONOPO Compact Disc 890701001228 287662 MOBY/DESTROYED Compact Disc 5099902876627208155 MOBY/DESTROYED BOOK(2CD Compact Disc 9788862081559 245752B MOBY/DESTROYED REMIXED(2CD Compact Disc 5099962457521 663050 MOBY/DESTROYED(2CD) Compact Disc 5060236630506 303302B MOBY/DESTROYED(3CD) Compact Disc 5099973033028 913782C MOBY/DESTROYED(4CD) Compact Disc 5099909137820 289702 MOBY/DESTROYED(LTD) Compact Disc 5099902897028 183072B MOBY/LAST NIGHT Compact Disc 5099951830724 428662 MOBY/LAST NIGHT Compact Disc 50999242866267 00261 26220 85 052146 822423 0 11661 20762 2 8 09842 50802 2 8 90701 00122 88 84501 17712 28 84501 64967 46 34479 13131 8 6 34479 36437 25 013929 077430 0 44006 55072 5 7 31454 29162 07 20642 41722 5 6 02527 04801 75 013929 502222 7 27361 11222 6 5 099951 830724 5 099924 286626 9 788862 081559 5 099902 876627 5 099902 897028 5 060236 630506 5 099909 137820 5 099962 457521 5 099973 033028 5 013929 077331 Page 127 of 496 November 12, 2014Catalogue NumberArtist / Title Config Scannable UPC UPC 183070 MOBY/LAST NIGHT FRENCH Compact Disc 5099951830700 480041 MOBY/WAIT FOR ME REMIXES Compact Disc 5060204800412 BOOK6 MODEL ROCKETS,THE/PILOT COUNTR Compact Disc 614511722827 SDR0061 MODERENETTES/GET IT STRAIGHT Compact Disc 652975006121 NPR260 MODERN AGE SLAVERY,THE/DAMNED Compact Disc 693723307923 CCM05242 MODERN FOLK QUARTET/CHANGES Compact Disc 617742052428 CDPHIL1144 MOFFATT,K&H/DANCE ME OUTSIDE Compact Disc 011671114422 CD83343 MOFFETT,C/EVIDENCE Compact Disc 089408334320 3906 MOFRO/BLACKWATER Compact Disc 0145513906263907 MOFRO/LOCHLOOSA Compact Disc 014551390725 TWA0132 MOGWAI/KICKING A DEAD PIG Compact Disc 604978001320 CCM2091 MOHAWK,E/ESSRA MOHAWK (CD) Compact Disc 617742209129 CCM2094 MOHAWK,E/PRIMORDIAL LOVERS (CD Compact Disc 617742209426 CCM2090 MOHAWK,E/SANDY'S ALBUM IS HERE Compact Disc 617742209020 ALP245 MOHOLO/STABBINS/TIPPETT/TERN(1 Compact Disc 735286224528 361882 MOIST/CREATURE Compact Disc 724383618828 6076847652 MOISTBOYZ/I & II Compact Disc 060768476523 790042B MOKA ONLY/FLOOD Compact Disc 800867900426710042B MOKA ONLY/LIME GREEN Compact Disc 800867100420710182A MOKA ONLY/LOWDOWN SUITE Compact Disc 800867101823 FANCYCD52 MOLASSES/SLOW MESSE Compact Disc 620675158242FANCYCD22 MOLASSES/TRILOGIE: TOIL & PEAC Compact Disc 621617815728FANCYCD12 MOLASSES/YOU'LL NEVER BE WELL Compact Disc 621617946521 4400666612 MOLOTOV/DANSE AND DENSE DENSO Compact Disc 044006666129 UMSD80587 MOLOTOV/DONDE JUGARAN LAS NINA Compact Disc 602438058723 9870342 MOLVAER,N/REMAKES Compact Disc 6024987034278 00867 10042 0 8 00867 10182 38 00867 90042 60 11671 11442 2 6 17742 20912 9 6 17742 20902 06 17742 05242 8 7 35286 22452 86 14511 72282 7 6 52975 00612 1 6 02438 05872 30 44006 66612 97 24383 61882 8 6 02498 70342 70 14551 39062 6 0 14551 39072 56 93723 30792 3 6 17742 20942 65 099951 830700 5 060204 800412 0 60768 47652 36 04978 00132 0 6 21617 81572 8 6 21617 94652 16 20675 15824 20 89408 33432 0 Page 128 of 496 November 12, 2014Catalogue NumberArtist / Title Config Scannable UPC UPC NPD85665 MONCKTON,L/THE ARCADIANS Compact Disc 032466566523 DA025 MONEEN/THE WORLD I WANT TO LEA Compact Disc 821826002302 6076862712 MONEY,E/READY EDDIE Compact Disc 060768627123 862232A MONEY,E/SHAKIN' WITH THE MONEY Compact Disc 060768622326 6076863292 MONEY,E/THEN AND NOW Compact Disc 0607686329292894724682 MONK/MERCY Compact Disc 028947246824 319229 MONKEES, T/LIVE SUMMER TOUR Digital Video Disc 013023192294 R20232 MONOLIGHT/FREE MUSIC Compact Disc 7033662020232 CDFLY459 MONTANA,P/THE COWBOY'S SWEETH Compact Disc 018964045920 300802A MONTE, MAR/ROSE & CHARCOAL Compact Disc 724383008025 OJCCD106 MONTGOMERY,W/FULL HOUSE Compact Disc 025218610629 3145894862 MONTGOMERY,W/WILLOW WEEP FOR M Compact Disc 731458948629 4871 MONTOYA,C/SUSPICION Compact Disc 014551487128 3020602232 MOODSWINGS/HORIZONTAL Compact Disc 0302060223221166105502 MOODY BLUEGRASS/A NASHVILLE TR Compact Disc 0116610550253145352232 MOODY BLUES THE/TIME TRAVELLER Compact Disc 7314535223294400652752 MOODY BLUES/A NIGHT AT RED ROC Compact Disc 044006527529 600382A MOON, KEIT/TWO SIDES OF THE MO Compact Disc 712786003822 MA250225 MOON,D/HOWLINATTHESOUTHERNMOON Compact Disc 5413992502257 RPMSH275 MOORE,B & THE RHYTHM ACES/GO A Compact Disc 5013929552753 365502 MOORE,G/A DIFFERENT BEAT Compact Disc 602923655024 6076863022 MOORE,G/BACK TO THE BLUES Compact Disc 060768630222 5346002 MOORE,G/CLASSIC ALBUM SELE(5CD Compact Disc 600753460023 6076883579 MOORE,G/LIVE AT MONSTER OF ROC Digital Video Disc 0607688357956076846972 MOORE,G/POWER OF THE BLUES Compact Disc 060768469723 HSM50592 MOORE,J/MAKE ME FEEL LIKE A WO Compact Disc 8098425059228 21826 00230 2 7 12786 00382 20 11661 05502 50 18964 04592 0 0 30206 02232 20 25218 61062 9 8 09842 50592 20 32466 56652 3 5 013929 552753 7 31458 94862 9 6 00753 46002 37 31453 52232 9 0 44006 52752 97 24383 00802 50 28947 24682 4 5 413992 502257 0 60768 63022 26 02923 65502 40 60768 62712 3 0 60768 63292 90 60768 62232 6 7 033662 020232 0 60768 46972 30 14551 48712 80 13023 19229 4 0 60768 83579 5 Page 129 of 496 November 12, 2014Catalogue NumberArtist / Title Config Scannable UPC UPC CD83648 MOORE,S/III Compact Disc 089408364822 B000613302 MOORE,T/PSYCHIC HEARTS(REMASTE Compact Disc 602498797938 SNJBF002 MORAES,R/LIVE AT BIRD'S JAZZ C Compact Disc 8051093880026 PIASA040CD MORCHEEBA/BLOOD LIKE LEMONADE Compact Disc 843798000148 407282A MOREAU/NOVA SCOTIA Compact Disc 827954072828 CDHBEA153 MORGAN,D/TIME MARCHES ON: DERR Compact Disc 011661765320 SMCR5091 MORGAN,M/MELISA MORGAN Compact Disc 5013929079137 NPR110 MORGENSTERN/RAUSCH Compact Disc 693723247427 PRD056 MORRICONE,E/ARENA/MORRICONE UN Compact Disc 827034005623 CDPH1194 MORRISEY,B/YOU'LL NEVER GET TO Compact Disc 011671119427 MASSCD1413D GMORSE,S/HIGH TENSION WIRES (RE Compact Disc 5907785036543 MVD5163BR MORSE,S/SECTS, DREGS & ROCK N BLU RAY 760137516392 DGATE115 MORTAL LOOM/THIS VASTNESS(2CD) Compact Disc 675604110556 1166118882 MORTON,J/THE COMPLETE LIBRARY Compact Disc 011661188822 KAY22222 MOSS,P/LIVE DIRTY Compact Disc 619061222223 VP423CD MOTHER GONG/O AMSTERDAM Compact Disc 604388327423 B001182802 MOTIAN,P/CONCEPTION VESSEL Compact Disc 602517758520 RT025 MOTLEY CURE/LIVE...AROUND THE Digital Video Disc 9223814130256 6076864172 MOTOHEAD/ANOTHER PERFECT DAY Compact Disc 060768641723 4920412 MOTORHEAD/ACE OF SPADES Compact Disc 5050749204127 B001388302 MOTORHEAD/ACE OF SPADES (RARIT Compact Disc 600753244333 6076864022 MOTORHEAD/BOMBER (DELUXE)CDX2 Compact Disc 060768640221 5009CD MOTORHEAD/BURNER:BEST OF (CD) Compact Disc 91208171500935020CD MOTORHEAD/BURNER:BEST OF (SHAP Compact Disc 9120817150208 ONE1031 MOTORHEAD/CATCH SCRATCH FEWER Compact Disc 9196631210312 862682A MOTORHEAD/EVERYTHINGS LOUDER Compact Disc 0607686268297 60137 51639 20 11661 76532 0 0 11661 18882 20 11671 11942 70 89408 36482 2 9 120817 150093 9 120817 150208 8 27034 00562 3 6 04388 32742 35 907785 036543 9 196631 210312 8 051093 880026 5 013929 079137 6 02498 79793 8 6 02517 75852 0 0 60768 64022 16 93723 24742 7 6 19061 22222 38 27954 07282 8 6 75604 11055 6 0 60768 62682 98 43798 00014 8 0 60768 64172 3 5 050749 204127 6 00753 24433 39 223814 130256 Page 130 of 496 November 12, 2014Catalogue NumberArtist / Title Config Scannable UPC UPC B001444402 MOTORHEAD/ICON Compact Disc 600753279779 6076852412 MOTORHEAD/INFERNO Compact Disc 060768524125 880292A MOTORHEAD/KING BISCUIT FLOWER Compact Disc 707108802924 6076862312 MOTORHEAD/SACRIFICE Compact Disc 0607686231256076862382 MOTORHEAD/SNAKE BITE LOVE Compact Disc 060768623828 ICO527372 MOTT THE HOOPIE/LIVE-EXPANDED Compact Disc 886975273720 SJPCD121 MOTT THE HOOPLE/HOOPLING..BEST Compact Disc 5055011701212 ICO413652 MOTT THE HOOPLE/THE HOOPLE Compact Disc 886974136521 SJPCD029 MOTTTHEH OOPLE/ALLTHEWAYFROMSTO Compact Disc 5016272882928 SJPCD226 MOTTTHEH OOPLE/LIVEFILMOREWESTS Compact Disc 5055011702264 SJPCD061 MOTTTHEH OOPLE/ROCKNROLLCIRCUSL Compact Disc 5055011700611 SJPCD099 MOTTTHEH OOPLE/TWOMILESFROMLIVE Compact Disc 5055011700994 880472A MOUNTAIN/GREATEST HITS - LIV Compact Disc 707108804720 SJPCD189 MOUSE/LADY KILLER Compact Disc 5055011701892 9821591 MOUSKOURI,N/A CANADIAN TRIBUTE Compact Disc 602498215913 0249821129 MOUSKOURI,N/LIVE AT THE HEROD Digital Video Disc 6024982112983145341022 MOUSKOURI,N/NANA LATINA Compact Disc 731453410220 SALVOBX406 MOVE,T/THE MOVE ANTHOLOGY(4CD Compact Disc 698458840622 SALVOCD014 MOVE,THE/LOOKING ON (DLX) Compact Disc 698458811424 SALVOCD12 MOVE,THE/SHAZAM (EXPANDED) Compact Disc 698458811226 SALVODCD207 MOVE,THE/THE MOVE (DLX)(2CD) Compact Disc 698458820723 836132 MOVIELIFE/FORTY HOUR TRAIN BAC Compact Disc 060768361324836082 MOVIELIFE/HAS A GAMBLING PROB Compact Disc 060768360822 4681162 MOZART/CLARINET CONCERTO Compact Disc 0289468116274646482 MOZART/COMPLETE MOZART ED(ENG) Compact Disc 0289464648234648802 MOZART/COMPLETE MOZART ED:ARIA Compact Disc 0289464880277 07108 80292 4 7 07108 80472 08 86975 27372 0 5 055011 702264 5 016272 882928 5 055011 701892 5 055011 700611 5 055011 701212 6 98458 84062 2 6 98458 81142 4 6 98458 81122 6 6 98458 82072 36 00753 27977 9 0 28946 46482 3 0 28946 48802 76 02498 21591 3 7 31453 41022 0 0 28946 81162 78 86974 13652 1 5 055011 700994 0 60768 62312 5 0 60768 62382 8 0 60768 36082 20 60768 36132 40 60768 52412 5 6 02498 21129 8 Page 131 of 496 November 12, 2014Catalogue NumberArtist / Title Config Scannable UPC UPC 4649202 MOZART/COMPLETE MOZART ED:LATE Compact Disc 028946492024 4647902 MOZART/COMPLETE MOZART:DIVERTI Compact Disc 0289464790254649302 MOZART/COMPLETE MOZART:GERMAN Compact Disc 0289464930214649102 MOZART/COMPLETE MOZART:MIDDLE Compact Disc 0289464910274648402 MOZART/COMPLETE MOZART:VIOLIN Compact Disc 0289464840294746112 MOZART/CORONATION MASS Compact Disc 0289474611284733542 MOZART/COSI FAN TUTTE Compact Disc 0289473354294378292 MOZART/COSI FAN TUTTE Compact Disc 0289437829204674202 MOZART/DON GIOVANNI HILITES Compact Disc 0289467420204398712 MOZART/FIGARO/GARDINER Compact Disc 0289439871274576012 MOZART/GIOVANNI/TERFEL/ABBADO Compact Disc 0289457601244756111 MOZART/LE NOZZE DI FIGARO Compact Disc 0289475611184152872 MOZART/MAGIC FLUTE Compact Disc 0289415287284717382 MOZART/PIANO CONC NO.21 & 26 Compact Disc 0289471738234681062 MOZART/PIANO CONCERTOS NO.21 & Compact Disc 0289468106204626512 MOZART/PNO CTI IN D MINOR K466 Compact Disc 0289462651234752052 MOZART/REQUIEM Compact Disc 0289475205284430092 MOZART/REQUIEM. EXULTATE,JUBIL Compact Disc 0289443009254749822 MOZART/SYMPHONIES NOS. 33,36 & Compact Disc 0289474982234317602 MOZART/T PIANO SONATAS Compact Disc 0289431760264702922 MOZART/VIOLIN CONCERTOS NOS.1, Compact Disc 0289470292294756200 MOZART/VIOLIN SONATAS-F MAJOR SACD4Stereo/Surround/CDAud 0289475620094714352 MOZART/WIND CONCERTOS Compact Disc 028947143529 CD80449 MOZART:LE NOZZE DI FIGARO Compact Disc 089408044922 4267352 MOZART-ED-PHL/SAMPLER Compact Disc 028942673526 PRRI761402 MR. KNIGHTOWL/NO REGRETS Compact Disc 795957614027 0 89408 04492 2 0 28942 67352 60 28947 52052 80 28946 47902 5 0 28946 48402 90 28946 49102 70 28946 49202 4 0 28946 49302 1 0 28947 02922 90 28944 30092 50 28946 81062 00 28946 74202 0 0 28946 26512 30 28947 17382 3 0 28943 17602 60 28945 76012 4 0 28947 14352 90 28947 46112 8 0 28947 49822 30 28941 52872 80 28947 33542 9 0 28947 56111 80 28943 78292 0 0 28943 98712 7 7 95957 61402 70 28947 56200 9 Page 132 of 496 November 12, 2014Catalogue NumberArtist / Title Config Scannable UPC UPC MEGA015 MR. T-BONE/SEES AMERICA Compact Disc 616892580928 MVD5065D MR.CHI PIG/OPEN YOUR MOUTH AND Digital Video Disc 760137506591 PRRI762202 MR.KNIGHT OWL/JAIL BIRD Compact Disc 795957622022PRRI762302 MR.KNIGHT OWL/KNIGHTMARES Compact Disc 795957623029 AM0162 MU330/CRAB RANGOON Compact Disc 612851001626AM0072 MU330/PRESS Compact Disc 612851000728 CLC7952 MUGWUMPS,THE/THE MUGWUMPS Compact Disc 617742079524 LFJ50055 MUHAMMAD,D/PREACHIN TO THE CHO Compact Disc 612296039727 110 MULDAUR,M/CLASSIC LIVE Compact Disc 804403011027 3145497992 MUMBA,S/GOTTA TELL YOU Compact Disc 731454979924 CDFLY669 MUNDE,A & CARR,J/WELCOME TO WE Compact Disc 018964066925 811712B MUNGO JERRY/THE VERY BEST OF Compact Disc 060768117129 SYN057 MUNROE,M/DIAMONDS ARE A GIRLS CD with DVD 874757005720 DIS616357 MUPPETS,T/GREEN AND RED CHRIST Compact Disc 050086163571 BD22004 MURPHY,E/STRINGS OF THE STORM Compact Disc 663609200426 9872410 MURPHY,M/ONCE TO EVERY HEART Compact Disc 602498724101 954092 MURRAY,A/ANNE - GLEN/ DANNY Compact Disc 724349540927954112 MURRAY,A/TOGETHER/KEEPING IN Compact Disc 724349541122349234 MURRY, ANN/HER GREATEST HITS & Cassette 724383492343 349222A MURRY, ANN/HER GREATEST HITS & Compact Disc 724383492220 341854 MURRY, ANN/HIS GREATEST HITS & Cassette 724383418541341864 MURRY, ANN/HIS GREATEST HITS & Cassette 724383418640 336352A MURRY, ANN/HIS GREATEST HITS & Compact Disc 724383363520 336372 MURRY, ANN/HIS GREATEST HITS & Compact Disc 724383363728336382 MURRY, ANN/HIS GREATEST HITS & Compact Disc 724383363827 0169115CD MUSEUM/TRACES OF Compact Disc 7077879115287 24383 49234 3 7 24383 41854 1 7 24383 41864 08 74757 00572 00 18964 06692 58 04403 01102 76 17742 07952 46 16892 58092 8 7 07787 91152 87 24383 49222 0 7 24383 36352 0 7 24383 36372 8 7 24383 36382 70 50086 16357 1 6 02498 72410 17 31454 97992 4 7 24349 54112 27 24349 54092 76 63609 20042 66 12296 03972 7 0 60768 11712 96 12851 00072 86 12851 00162 67 95957 62202 2 7 95957 62302 97 60137 50659 1 Page 133 of 496 November 12, 2014Catalogue NumberArtist / Title Config Scannable UPC UPC HR33 MUSHROOM'S PATIENCE/SPIRIT OF Compact Disc 4038846310331 CRTREE001 MUSKETT,H/EVERY TIME YOU MOVE Compact Disc 5013929690127 AZCHL202 MUSLIM GAUZE/FROM THE EDGE Compact Disc 881851002029 4705552 MUSSORGSKY/BORIS GODUNOV (1872 Compact Disc 0289470555254775479 MUSSORGSKY/PICTURES AT AN EXHI Compact Disc 028947754794 LFR18 MUSTANGS AND MADRAS/LA LECHUZA Compact Disc 825576920121 MRE033 MUTHSPIEL/SCHERRER/GRENADIER/M Compact Disc 9005321011330 4775796 MUTTER,S/MOZART:PIANO TRIOS Compact Disc 028947757962 MJR008 MUZIK,R/REELECTION Compact Disc 692287900823 3145409102 MXPX/SLOWLY GOING T WAY OF T Compact Disc Enhanced 731454091022 711962B MXPX/TEN YEARS AND RUNNIG Compact Disc 647077119626 SXYCD019 MY CHEMICAL ROMANCE/THE LOWDOW Compact Disc 823564608129 ORO32002 MYSTIK JOURNEYMEN/BLACK SANDS Compact Disc 659057013824 933342 N.E.R.D./FLY OR DIE Compact Disc 724359333427 CDUP021 N.LOWE/LIVE! ON T BATTLEFIELD Compact Disc 011671802121 B000360102 N.O.R.E/1 FAN A DAY Compact Disc 602498645659 BHH2072 NAC ONE/NATURAL REACTION Compact Disc 611933207222 81359 NAKED AND FAMOUS,THE/PASSIVE M Compact Disc 9416339813593 ABR70172 NANTUCKET/NO DIRECTION HOME Compact Disc 617742701722 100012H NARCISSUS/NARCISSUS Compact Disc 727701000121 BR002CD NASH,J/THE THINGS YOU THINK YO Compact Disc 718122113026 CDROUN0212 NASHVILLE BLUEGRASS BAND/MY NA Compact Disc 011661021228 SAR1258 NASHVILLE MANDOLIN ENS/BACH,BE Compact Disc 723368125825 MIW101036 NASHVILLE WEST/NASHVILLE WEST Compact Disc 813411010366 FAT0047CD NASTASIA,N/ON LEAVING Compact Disc 600116994721 006142B NAT KING C/UNFORGETTABLE NAT K Compact Disc 50999500614267 27701 00012 1 0 11661 02122 80 11671 80212 19 005321 011330 8 23564 60812 94 038846 310331 6 17742 70172 26 11933 20722 28 25576 92012 1 7 23368 12582 55 013929 690127 6 92287 90082 3 9 416339 813593 6 02498 64565 9 5 099950 061426 7 24359 33342 70 28947 05552 5 0 28947 75479 4 0 28947 75796 2 6 47077 11962 68 81851 00202 9 8 13411 01036 6 6 00116 99472 16 59057 01382 4 7 18122 11302 67 31454 09102 2 Page 134 of 496 November 12, 2014Catalogue NumberArtist / Title Config Scannable UPC UPC B000711102 NATALIE/EVERYTHING NEW Compact Disc 602517012202 CDROUN2137 NATHAN & T ZYDECO CHA CH/CREOL Compact Disc 011661213722 939392 NATIONAL V/COURAGE Compact Disc 077779393923 KCD272 NAVARRO,K/A LONG HOT SUMMER MI Compact Disc 788557027229 5501CD NAZARETH/BROKEN DOWN ANGELS/TH Compact Disc 8700817155017 CD9500 NAZARETH/T VERY VERY BEST Compact Disc 075021950023 6076863282 NAZARETH/THEN AND NOW Compact Disc 0607686328206076845862 NAZZ/OPEN OUR EYES:THE ANTHOLO Compact Disc 060768458628 4764 NEAL,K/BIG NEWS FROM BATON ROU Compact Disc 0145514764294783 NEAL,R/LOUSIANA LEGEND Compact Disc 014551478324 AHS339 NEATS/1981 1984 THE ACE OF HEA Compact Disc 700282033924 ZEDDCD016 NEGRO JOEY AND THE SUN BU/REMI Compact Disc 5060162570143ZEDDCD013 NEGRO JOEY AND THE SUNBUR/MOVI Compact Disc 5060162570037ZEDDCD026 NEGRO,J & THE SUNBURST BAND/TH Compact Disc 5060162571799ZEDDCD001 NEGRO,J AND THE SUNBU/HERE COM Compact Disc 5036865005015ZEDDCD006 NEGRO,J AND THE SUNBUR/UNTIL T Compact Disc 827655014721ZEDDCD011 NEGRO,J/MANY FACES OF V1 (2CD Compact Disc 5037454772608ZEDDCD017 NEGRO,J/MANY FACES OF V2 (2CD Compact Disc 5060162570150 CLC275 NEIL,F/Bleecker & MacDougal Compact Disc 617742027525 NVS006320 NEKROMABTIX/CURSE OF THE COFFI Compact Disc 5017273006320 B000840100 NELLY/COUNTRY GRAMMAR(SPEC/EDI Compact Disc 602517186118 4400177482 NELLY/NELLYVILLE (EDITED) Compact Disc 044001774829 ODR7384 NELSEN,J/BRAHMS/MOZART:TRIO FO Compact Disc 776143738420 456132 NELSON, HA/SMILE, IT'S THE END Compact Disc 094634561327 572502A NELSON, RI/LONESOME TOWN Compact Disc 077775725025 DBK1242 NELSON, WILLIE/54 SONGS: THE S Compact Disc 6463150124220 11661 21372 2 7 88557 02722 9 8 700817 155017 6 17742 02752 55 060162 570150 5 060162 571799 5 036865 005015 8 27655 01472 15 060162 570037 5 060162 570143 5 017273 006320 5 037454 772608 7 00282 03392 46 02517 01220 2 6 02517 18611 8 0 44001 77482 90 77779 39392 3 0 94634 56132 7 0 77775 72502 50 75021 95002 3 7 76143 73842 00 60768 45862 80 60768 63282 0 6 46315 01242 20 14551 47832 40 14551 47642 9 Page 135 of 496 November 12, 2014Catalogue NumberArtist / Title Config Scannable UPC UPC B000427502 NELSON,O/LIVE FROM LOS ANGELES Compact Disc 602498802786 CDFLY052 NELSON,T/HOMEMADE SONGS Compact Disc 018964005221 SYN001 NELSON,W/FACE OF A FIGHTER Compact Disc 874757000121 B000260102 NELSON/THE BEST OF NELSON Compact Disc 602498624579 4756327 NELSOVA,Z/ORIGINAL MASTERS Compact Disc 0289475632730734226 NETOPIL,T/LUCIO SILLA - 2 DVD Digital Video Disc 044007342268 CDGRONIV NEU!/86 Compact Disc 854882201358 CDGRON1 NEU!/NEU Compact Disc 854882200719CDGRON3 NEU!/NEU 75 Compact Disc 854882200733CDGRON2 NEU!/NEU2 Compact Disc 854882200726 710162D NEVA DINOVA/HATE YOURSELF CHAN Compact Disc 712177101625 CDROUN2102 NEVILLE,A/MY GREATEST GI Compact Disc 011661210226 IMP010 NEW CHRISTS/GLORIA Compact Disc 9339851000107 CLC5102 NEW CHRISTY MINSTRELS/THE WAND Compact Disc 617742051025 RMED00187 NEW ENGLAND/NEW ENGLAND Compact Disc 630428018723 8036042 NEW FOUND GLORY/FROM THE SCREE Compact Disc EP's 060768360426 PPCR027 NEW KIDS ON THE BLOCK/HANGIN' Digital Video Disc 5013929402751 BOOK61 NEW ORIGINAL SONIC SOUND/THE N Compact Disc 614511724920 Q200967 NEW PORNOGRAPHERS,THE/CHALLENG Compact Disc 060270096721 NG017 NEW ROMAN TIMES/ON THE SLEEVE Compact Disc 616822081228 MEGA024 NEW YORK SKA JAZZ ENSEM/SKALEI Compact Disc 616892655923 PIASA39CD NEW YOUNG PONY CLUB/THE OPTIMI Compact Disc 843798000100 CCM20462 NEWHART,B/THIS IS IT! Compact Disc 617742204629 B000393802 NEWMAN,J/JOE NEWMAN QUINTET A Compact Disc 075021034808 LV113 NEWPORTS/A CHRISTMAS STOCKING Compact Disc 764942244921 715922B NEWSBOYS/GOD'S NOT DEAD Compact Disc 8041471592210 18964 00522 1 0 60270 09672 10 11661 21022 6 9 339851 000107 8 74757 00012 1 7 64942 24492 16 16892 65592 36 16822 08122 86 17742 05102 5 6 14511 72492 0 0 75021 03480 86 02498 80278 6 0 28947 56327 3 8 04147 15922 16 02498 62457 9 6 17742 20462 96 30428 01872 37 12177 10162 58 54882 20135 8 8 54882 20072 68 54882 20073 3 8 43798 00010 08 54882 20071 9 0 60768 36042 6 5 013929 402751 0 44007 34226 8 Page 136 of 496 November 12, 2014Catalogue NumberArtist / Title Config Scannable UPC UPC 916342 NEWTON, WA/COLLECTOR SERIES Compact Disc 077779163427 557592 NEWTON-JOH/GRACE AND GRATITUDE Compact Disc 792755575925 B000408709 NEWTONJOHN,O/VIDEO GOLD 1 Digital Video Disc 075021038653B000524709 NEWTONJOHN,O/VIDEO GOLDII Digital Video Disc 602498841488 485172 NICHOLLS, /SONGS FROM THE SOUR Compact Disc 068944851720 CRSEG014 NICK NICELY/PSYCHOTROPIA Compact Disc 5013929181427 AM01332 NICOTINE/SESSION Compact Disc 612851013322 0114310422 NIELDS,N&K/THIS TOWN IS WRONG Compact Disc 601143104220 4752142 NIELSEN,C/MASKARADE Compact Disc 0289475214264775514 NIELSEN,C/SYMPHONIES 1-6 Compact Disc 028947755142 485102B NILS LANDG/FUNKY ABBA Compact Disc 068944851027 4756413 NILSSON,B/CLASSIC RECITALS Compact Disc 028947564133 0251740807 NINE BLACK ALPS/LOVE/HATE Compact Disc 602517408074 B000499432 NINE BLACK ALPS/NINE BLACK ALP Compact Disc EP's 602498832363 4400609659 NINE INCH NAILS/AND ALL THAT C Digital Video Disc 044006096599 INTDM95811 NINE INCH NAILS/FURTHER DOWN T Compact Disc 606949581121 INTDS97026 NINE INCH NAILS/THE DAY THE WO Compact Disc Singles 606949702625 B001033160 NINE INCH NAILS/Y34RZ3ROR3MIX3 Compact Disc 602517524194 DRNM05 NINE MILE/COUNTRY PORNO ELECTR Compact Disc 829982111623 PRR309 NINE STONES CLOSE/TRACES Compact Disc 837792008309 PP020 NIRVANA/TEEN SPIRIT UNAUTHORIZ Digital Video Disc 603777902692 CORTI1812 NITSCH,H/DAY 3: DAY OF DIONYSU Compact Disc 607515118123CORTI2032 NITSCH,H/HARMONIUMWERK VOLUMES Compact Disc 607515120324 805262B NITTY GRIT/SYMPHONION DREAM Compact Disc 724358052626 417212 NITTY GRIT/UNCLE CHARLIE & HIS Compact Disc 724354172120 QLDVD6697 NITTY GRITTY DIRT BAND/GREATES Digital Video Disc 0228916697916 01143 10422 0 8 29982 11162 3 8 37792 00830 95 013929 181427 6 02517 40807 4 6 02517 52419 46 06949 58112 10 28947 52142 6 0 28947 75514 2 0 28947 56413 37 92755 57592 5 7 24354 17212 07 24358 05262 60 77779 16342 7 0 68944 85102 70 68944 85172 0 6 12851 01332 2 6 07515 11812 3 6 07515 12032 46 02498 83236 3 6 06949 70262 5 0 22891 66979 16 03777 90269 20 44006 09659 90 75021 03865 3 6 02498 84148 8 Page 137 of 496 November 12, 2014Catalogue NumberArtist / Title Config Scannable UPC UPC CCM06902 NITZSCHE,J/CHOPIN '66 Compact Disc 617742069020 CCM06882 NITZSCHE,J/DANCE TO THE HITS O Compact Disc 617742068825CCM06892 NITZSCHE,J/ST.GILES CRIPPLEGAT Compact Disc 617742068924 B000888502 NLT/NOT LIKE THEM Compact Disc 602517248908B000217109 NO DOUBT/THE VIDEOS 1992-2003 Digital Video Disc 602498619223 0252711916 NOAH AND THE WHALE/THE FIRST D Compact Disc 602527119168 CD421034U NOCTURNE/PARADISE WASTED Compact Disc 637642103426 SHP2100 NOLL,S / NOLL,R AND CATHY CHAM Compact Disc 750618210024 SHD8201 NOLL,S/SONGS FOR THE INNER CHI Compact Disc 750618820124SHD9000 NOLL,S/YOU CAN RELAX NOW Compact Disc 750618900024 AAA998 NOMEANSNO/THE PEOPLE'S CHOICE Compact Disc 689230099826 0881129202 NONPOINT/DEVELOPMENT Compact Disc 0088112920270881123642 NONPOINT/STATEMENT Compact Disc Enhanced 008811236427 SJPCD215 NORMAN,C&BAND/ONEACOUSTICEVENI Compact Disc 5055011702158 4756398 NORMAN,J/IN THE SPIRIT & CHRIS Compact Disc 0289475639830743104 NORMAN,J/JESSYE NORMAN AT CHRI Digital Video Disc 0440074310474756395 NORMAN,J/SINGS STRAVINSKY & SC Compact Disc 0289475639524757154 NORMAN,J/SINGS WAGNER Compact Disc 028947571544 SRDX003 NORMAN,L/SO LONG AGO THE GARDE Compact Disc 755491440322 MA90982 NORRIS,K/ICONS OF THE ILLOGIC Compact Disc 614286909829 MA250207 NORTHMISSISSIPPIALLSTAR/SHAKEH Compact Disc 5413992502073 BS307 NORTON,J/AMERICAN DEGENERAT(DV Digital Video Disc 729440819163 BS301 NORTON,J/NO BABY FOR YOU Compact Disc 729440819125 AFM2393 NOSTRADAMEUS/PATHWAY TO HELL Compact Disc 4046661126822AFM0392 NOSTRADAMEUS/WORDS OF NOSTRADA Compact Disc 4009880466827 ZEDDCD004 NOVA FRONTERIA/FULL FRONTERIA Compact Disc 5020196160048 7 29440 81912 57 50618 82012 4 7 55491 44032 26 17742 06882 5 6 17742 06892 46 17742 06902 0 5 020196 160048 6 37642 10342 6 5 413992 502073 7 50618 90002 47 50618 21002 46 02517 24890 8 0 28947 56395 20 28947 56398 3 0 28947 57154 46 02527 11916 8 0 08811 29202 7 5 055011 702158 6 14286 90982 96 89230 09982 6 4 009880 466827 4 046661 126822 0 08811 23642 7 0 44007 43104 76 02498 61922 3 7 29440 81916 3 Page 138 of 496 November 12, 2014Catalogue NumberArtist / Title Config Scannable UPC UPC ALP73 NRG ENSEMBLE/BEJAZZO GETS A FA Compact Disc 735286197327 NR044 NULL DEVICE/SUSPENDING BELIEF Compact Disc 654367469392 150882 NUMAN,G/PURE Compact Disc 670211508826 GSRSD1130 NUYORICAN SOUL/NUYORICAN SOUL Compact Disc 011105113021 1166131766 NYRO,L/ANGEL IN THE DARK (SACD SACD2Stereo/CD Audio 011661317666 ICO364202 NYRO,L/MOTHER'S SPIRITUAL Compact Disc 886973642023ICO201072 NYRO,L/NESTED Compact Disc 886972010724 MCAD5365 OAK RIDGE BOYS/CHRISTMAS Compact Disc 076732536520 MW028 OBAMA,B/BARACK OBAMA:DAYS OF H Compact Disc 813411010281 WJR25 O'BRIEN,R/SOUTHWESTER SOUVENIR Compact Disc 803020117723 3145243992 OC/JEWELZ Compact Disc 731452439925 847462 OCEAN COLOUR SCENE/A HYPERACTI Compact Disc 060768474628 6076846232 OCEAN COLOUR SCENE/NORTH ATLAN Compact Disc 060768462328 CCM21152 OCHS,P/IN CONCERT (CD) Compact Disc 617742211528 1718876 OCL/THE SOUND OF MUSIC-LONDON Compact Disc 602517188761 PWRCD18 OCONNELL,B/LATIN JAZZ FANTASY Compact Disc 806013001825 ADV51239V OCR/UMOJA-DVD(SPIRIT OF TOGETH Digital Video Disc 880504512397 ACD51442V OCR/UMOJA-SPIRIT OF TOGETHER 2 Compact Disc 8805045144213145436002 O'DAY,A/ANITA O'DAY'S FINEST H Compact Disc 731454360029 485182 ODD/LIBERTÉ 54 Compact Disc 068944851829 DPTDV236 ODONNELL,D/LIVE FROM BRA(2DVD Digital Video Disc 796539023664 YY9431 O'FARRILL,C/CHICO O'FARRILL'S Compact Disc 8436006494314 B001575302 OKLAND,N/LYSOER/HOMAGE A OLE B Compact Disc 602527402468 5370490 OLDFIELD,M/6 CLASSIC ALBUM SEL Compact Disc 6025370490663740448 OLDFIELD,M/CRISES(3CD+2DVD) CD with DVD 6025374044831749051 OLDFIELD,M/MUSIC OF THE SPHERE Compact Disc 602517490512 6 02537 40448 38 80504 51442 18 13411 01028 1 6 17742 21152 8 8 436006 494314 7 35286 19732 7 8 86972 01072 48 86973 64202 3 8 03020 11772 36 54367 46939 2 8 06013 00182 5 7 31454 36002 9 6 02537 04906 60 76732 53652 0 6 02517 49051 26 02517 18876 17 31452 43992 50 11105 11302 1 6 02527 40246 86 70211 50882 6 0 68944 85182 90 60768 47462 8 0 60768 46232 8 8 80504 51239 7 7 96539 02366 40 11661 31766 6 Page 139 of 496 November 12, 2014Catalogue NumberArtist / Title Config Scannable UPC UPC CRTREE010 OLDFIELD,S/EASY/CELEBRATION Compact Disc 5013929691025 CCM09262 OLSON,C & TEXTONES,THE/DETROIT Compact Disc 617742092622 RUF3011 OMAR&HOWLERS,T/BAMBOOZLED-DVD Digital Video Disc 710347301172 090632 OMNICHORD,J/CHARLOTTE OR OTIS Compact Disc 775020906327 ER0452 ON BROKEN WINGS/SOME OF US MAY Compact Disc 790168464522 EUL0822 ON WATERSHIP DOWN/ORPHEUS VS. Compact Disc 790168468223 JSK0067 ONCE JUST/DESTINATION Compact Disc 652975006725 PWSNCD10422 ONE FOR ALL/RETURN OF THE LINE Compact Disc 601917104227 ALV0312 ONE NATION UNDER/ONE NATION UN Compact Disc 4031917000278 B001510102 O'NEAL,A/ICON Compact Disc 602527567853B001491802 OOUNASKARI/MIKKONEN/KUARA Compact Disc 602527332178 MASSCD1240D GOPPROBRIUM/BEYOND THE UNKNOWN Compact Disc 5907785033870 PLU500322 ORANGEBURG MASSACRE/MOOREA Compact Disc 658445003225 300439 ORBISON,R/GREATEST HITS LIVE Digital Video Disc 801213004393 MW060 ORCHESTRAL MANOEUVERS IN THE D Compact Disc 813411010601 0184932 ORCHESTRE NATIONAL DE JAZZ/CHA Compact Disc 044001849329 B001187402 OREGON/ECOTOPIA Compact Disc 602517775947 4741312 ORFF/TRIONFI:CARMINA BURANA Compact Disc 0289474131274577302 ORG/MOZART/ENTFUHRUNG/FRICSAY Compact Disc 028945773025 8276700022 ORGY/PUNK STATIK PARANOIA Compact Disc 882767000222 B001350202 ORIANTHI/BELIEVE Compact Disc 602527203720 DIS613917 ORIG.CAST/MARY POPPINS Compact Disc 050086139170 429542 ORIGINAL C/COLOR PURPLE - A MU Compact Disc 094634295420 MVD5388A ORIGINAL SOUNDTRACK/THE YANKLE Compact Disc 760137538820 429662 ORLA/CELTI/WATER IS WIDE,THE Compact Disc 094634296625 CCM21132 ORLONS,THE/THE WAH-WATUSI/SOUT Compact Disc 6177422113207 60137 53882 06 52975 00672 56 17742 09262 2 6 17742 21132 05 907785 033870 8 13411 01060 15 013929 691025 6 01917 10422 7 6 02527 56785 3 8 82767 00022 2 6 02527 20372 00 44001 84932 9 6 02517 77594 76 02527 33217 8 0 50086 13917 00 28947 41312 7 0 28945 77302 5 0 94634 29662 50 94634 29542 07 75020 90632 7 4 031917 000278 6 58445 00322 57 90168 46822 37 90168 46452 2 8 01213 00439 37 10347 30117 2 Page 140 of 496 November 12, 2014Catalogue NumberArtist / Title Config Scannable UPC UPC MM810 ORQUESTA CUBANA DE MSICA MO/OR Compact Disc 8436019588109 RS184 ORTOLANI,R/CANNIBAL HOLOCA(ORI Compact Disc 666616018428 URCD241 ORY,K/SONG OF THE WANDERER/DAN Compact Disc 5018121124128 SMCR5061 OSBOURNE,J/ONLY HUMAN (EXPANDE Compact Disc 5013929076136 1166178402 OSBOURNE,J/TRUTHS AND RIGHTS D Compact Disc 011661784024 CVIS3199 OSBOURNE,O/CROWN PRINCE DVD + BNS CD 022891319993 676477 OSLO/THE RISE AND FALL OF LOVE Compact Disc 689076764773 QLDVD6703 OSMOND BROTHERS/COUNTRY ROCKER Digital Video Disc 022891670391 2061624542 OST/13 GOING ON 30 Compact Disc 720616245427 DIS608467 OST/ALADDIN Compact Disc 050086084678 B000023102 OST/AMERICAN DREAMS Compact Disc 044003815926 DIS606287 OST/ARIEL'S FAVORITES Compact Disc 050086062874 D001809702 OST/AUSTIN AND ALLY Compact Disc 050087285845 DIS608807 OST/BAMBI Compact Disc 050086088072 RECALLNA007 OST/BANDIDAS Compact Disc 859179001321 3145242602 OST/BASQUIAT-MUSIC FROM T MIRA Compact Disc 731452426024 DIS609027 OST/BEST OF COUNTRY SING THE B Compact Disc 050086090273DIS613257 OST/BEST OF MUPPETS FEAT.WIZAR Compact Disc 050086132577 RHH776012 OST/BROADWAY MELODY OF 1940 Compact Disc 603497760121 1166190582 OST/BUFFY THE VAMPIRE SLAYER(O Compact Disc 011661905825 MCAD211389 OST/CASINO Compact Disc 008811138929 0044504102 OST/CATCH ME IF YOU CAN Compact Disc 6004450410282061624952 OST/CHRISTMAS WITH THE KRANKS Compact Disc 720616249524 DIS613747 OST/CHRONICLES OF NARNIA Compact Disc 050086137473DIS608797 OST/CINDERELLA Compact Disc 050086087976 MCABD10506 OST/COMMITMENTS THE VOL 2 Compact Disc 0088110506270 11661 90582 50 11661 78402 48 436019 588109 6 66616 01842 8 5 018121 124128 6 03497 76012 15 013929 076136 0 50087 28584 50 50086 08467 8 0 44003 81592 6 0 08811 05062 70 08811 13892 97 31452 42602 47 20616 24542 7 7 20616 24952 46 00445 04102 80 50086 06287 4 0 50086 08797 60 50086 08807 2 0 50086 09027 3 0 50086 13257 7 0 50086 13747 38 59179 00132 16 89076 76477 3 0 22891 67039 10 22891 31999 3 Page 141 of 496 November 12, 2014Catalogue NumberArtist / Title Config Scannable UPC UPC SE30672 OST/COMPANY OF HEROES Compact Disc 669311306722 HR620252 OST/CRIMSON TIDE Compact Disc 720616202529 MCAMD11228 OST/DANGEROUS MINDS Compact Disc 008811122829 B000479482 OST/DEVIL'S REJECTS(DUAL DISC) DUALDISC 602498824177 DIS610107 OST/DISNEY KARAOKE:THE LION Compact Disc 050086101078GEFD2007 OST/DREAMGIRLS Compact Disc 720642200728 HR622412 OST/DUETS Compact Disc 720616224125 DIS609497 OST/DUMBO Compact Disc 050086094974 2894607962 OST/ELIZABETH Compact Disc 0289460796214400648512 OST/EVELYN Compact Disc 044006485126 D001959502 OST/FROZEN(2CD) Compact Disc 050087301194 DIS608647 OST/HERCULES Compact Disc 050086086474 MCSSD11806 OST/HOW STELLA GOT HER GROOVE Compact Disc 008811180621 2061626412 OST/INVINCIBLE Compact Disc 7206162641214400147132 OST/JAY & SILENT BOB STRIKE BA Compact Disc Enhanced 044001471322 DIS609507 OST/JUNGLE BOOK Compact Disc 050086095070 2061624612 OST/KING ARTHUR Compact Disc 7206162461272061626172 OST/KINKY BOOTS ORIGINAL SOUND Compact Disc 7206162617243145896462 OST/KISSING JESSICA STEIN Compact Disc 7314589646292061624782 OST/LADDER 49 Compact Disc 720616247827 DIS628587 OST/LE ROI LION Compact Disc 050086285877 PRR049 OST/LILIES OF THE FIELD Compact Disc 827034004923 DIS608580 OST/LION KING Cassette 050086085804DIS608587 OST/LION KING Compact Disc 050086085873DIS610467 OST/LION KING 1 1/2 Compact Disc 050086104673 INTSD90090 OST/LOST HIGHWAY Compact Disc 606949009021 0 50086 08580 48 27034 00492 30 50087 30119 4 0 50086 08587 30 50086 28587 77 31458 96462 90 08811 12282 9 0 08811 18062 1 6 06949 00902 17 20616 24782 77 20616 26172 47 20616 26412 17 20616 20252 9 7 20616 22412 5 7 20616 24612 77 20642 20072 8 0 50086 08647 40 50086 09497 4 0 50086 09507 00 50086 10107 8 0 50086 10467 30 44006 48512 60 28946 07962 16 69311 30672 2 0 44001 47132 26 02498 82417 7 Page 142 of 496 November 12, 2014Catalogue NumberArtist / Title Config Scannable UPC UPC DIS600777 OST/MEREDITH WILLSON'S THE MUS Compact Disc 050086007776 8242062 OST/MIDNIGHT EXPRESS Compact Disc 042282420626 0044503852 OST/MINORITY REPORT Compact Disc 600445038523 HR622772 OST/MISSION IMPOSSIBLE II(SCOR Compact Disc 720616227720 DIS607127 OST/MONSTERS, INC Compact Disc 050086071272 3145295082 OST/MR HOLLAND'S OPUS Compact Disc 731452950826 4520652 OST/MR HOLLAND'S OPUS/VAR Compact Disc 028945206523 DIS612577 OST/MULAN II Compact Disc 050086125777DIS612497 OST/ON THE RECORD Compact Disc 050086124978DIS609587 OST/PETER PAN Compact Disc 050086095872DIS607607 OST/PETE'S DRAGON Compact Disc 050086076079DIS600817 OST/PIGLET'S BIG MOVIE Compact Disc 050086008179DIS608457 OST/PINOCCHIO Compact Disc 050086084579DIS606197 OST/POOH'S GRAND ADVENTURE Compact Disc 050086061976 PRD037 OST/RAIN MAN Compact Disc 827034003728 B000072802 OST/RED, WHITE & BLUES Compact Disc 602498077368 DIS607447 OST/RETURN TO NEVERLAND Compact Disc 050086074471 HR622882 OST/SAVE THE LAST DANCE Compact Disc 720616228826 3145865692 OST/SHALLOW HAL Compact Disc 7314586569204400170312 OST/SIX FEET UNDER Compact Disc 044001703126 MCABD6149 OST/SWEET DREAMS Compact Disc 076732614921 DIS612687 OST/THE BEST OF POOH & HEFFALU Compact Disc 050086126873 4400688842 OST/THE GOOD THIEF Compact Disc 0440068884222061625412 OST/THE GREATEST GAME EVER PLA Compact Disc 720616254122 DIS607817 OST/THE HAPPIEST MILLIONAIRE Compact Disc 050086078172DIS610167 OST/THE HAUNTED MANSION Compact Disc 0500861016728 27034 00372 8 0 44001 70312 67 31452 95082 60 42282 42062 6 0 76732 61492 16 02498 07736 8 7 31458 65692 0 0 44006 88842 27 20616 22772 0 7 20616 22882 6 7 20616 25412 26 00445 03852 30 50086 00777 6 0 50086 00817 9 0 50086 06197 60 50086 07127 2 0 50086 07447 10 50086 07607 9 0 50086 07817 20 50086 08457 90 50086 09587 2 0 50086 10167 20 50086 12497 80 50086 12577 7 0 50086 12687 30 28945 20652 3 Page 143 of 496 November 12, 2014Catalogue NumberArtist / Title Config Scannable UPC UPC B000063302 OST/THE HULK Compact Disc 028947509820 DIS600767 OST/THE JUNGLE BOOK 2 Compact Disc 050086007677 273512 OST/THE KING AND I-RESTORED Compact Disc 724352735129 2061624942 OST/THE LIFE AQUATIC WITH STEV Compact Disc 720616249425 DIS616187 OST/THE LITTLE MERMAID(SPEC.ED Compact Disc 050086161874 B000455702 OST/THE LONGEST YARD (EDITED) Compact Disc 602498814246 DIS606777 OST/THE LULLABY ALBUM Compact Disc 050086067770 4400663812 OST/THE MUSIC OF BOLLYWOOD Compact Disc 0440066381262061624452 OST/THE PRINCE & ME Compact Disc 720616244529 4732482 OST/THE RED DRAGON Compact Disc 028947324829 2061623522 OST/THE ROOKIE Compact Disc 720616235220 DIS600697 OST/THE SANTA CLAUSE 2 Compact Disc 050086006977 B000292402 OST/THE TERMINAL Compact Disc 602498628751 2061624642 OST/THE VILLAGE Compact Disc 720616246424 DIS606477 OST/TOY STORY 2 Compact Disc 050086064779DIS607997 OST/TREASURE PLANET Compact Disc 050086079971 2061623572 OST/UNDERCOVER BROTHER Compact Disc 720616235725 B000307602 OST/VANITY FAIR Compact Disc 602498631256B000609302 OST/WILLIAMS,J/MUNICH Compact Disc 602498791424 DIS608637 OST/WINNIE THE POOH-TAKE MY Compact Disc 050086086375 4400643942 OST/XXX Compact Disc 0440064394262061623242 OST/ZOOLANDER Compact Disc 720616232427 B000651002 OST:TV/MIAMI VICE BEST OF Compact Disc 602498542392 MA251004 OSTROGOTH/ECSTASY&DANGERFULLMO Compact Disc 5413992510047MA251005 OSTROGOTH/FEELINGSOFFURYTOOHOT Compact Disc 5413992510054 DTR010 OTTER,C/FALSE HOPES Compact Disc 789577188228 5 413992 510047 5 413992 510054 7 89577 18822 80 44006 43942 66 02498 81424 6 0 44006 63812 6 7 20616 23242 77 20616 23522 0 7 20616 23572 57 20616 24452 97 20616 24942 5 7 20616 24642 4 6 02498 54239 20 50086 00697 70 50086 00767 7 0 50086 06477 90 50086 06777 0 0 50086 07997 1 0 50086 08637 50 50086 16187 40 28947 50982 0 6 02498 62875 10 28947 32482 9 6 02498 63125 6 6 02498 79142 47 24352 73512 9 Page 144 of 496 November 12, 2014Catalogue NumberArtist / Title Config Scannable UPC UPC ACME0202 OUT COLD/GOODBYE CRUEL WORLD Compact Disc 689076301251 ACME0219 OUT COLD/LOOKING THROUGH COMMU Digital Video Disc 689076301350ACME0082 OUT COLD/TWO BROKEN HEARTS... Compact Disc 689076300650ACME0162 OUT COLD/WILL ATTACK IF PROVOK Compact Disc 689076300957 TK0130 OUTBREAK/OUTBREAK Compact Disc 824953013029 TRR80052 OUTRIGGERS,THE/GOLDEN HITS OF Compact Disc 617742800524 CDGSD105 OVER THE RHINE/LONG SURRENDER Compact Disc 634457538429 DBK1252 OWENS,B/DOWN ON THE CORNER OF Compact Disc 646315012521 HYH1512 OXBOW/FUCK FEST Compact Disc 798546236426 RMED00708 OZARK MOUNTAIN DAREDEVILS/ALIV Compact Disc 630428070820 0165992 OZONE,M/SO MANY COLORS Compact Disc 0440016599280219062 OZONE,M/TREASURE Compact Disc 044002190628 MA90672 OZRIC TENTACLES/SPIRALS IN HYP Compact Disc 026245906723 HSM60052 P,ERIP/BUY HER ROSES Compact Disc 809842600528 710292B P.E.A.C.E./MEGABITE Compact Disc 800867102929 6076802852 PABLO,A/SKANKING WITH PABLO 19 Compact Disc 060768028524 CRSEG005 PACIFIC DRIFT/FEELIN FREE Compact Disc 5013929180529 OGL820282 PACK,D/UNBORN Compact Disc 790058202821 LBMCD236531 PAGAN S MIND/CELESTIAL ENTRANC Compact Disc 693723653129LBMCD234092 PAGAN S MIND/ENIGMATIC CALLING Compact Disc 693723409221LBMCD237966 PAGAN S MIND/GOD'S EQUATION Compact Disc 693723796628LBMCD236060 PAGAN S MIND/INFINITY DIVINE Compact Disc 693723606026 3145584982 PAGE,P/GOLDEN GREATS Compact Disc 731455849820 TRR80022 PAICH,M/THE ROCK-JAZZ INCIDENT Compact Disc 617742800227 2061622392 PAIGE,J/POSITIVELY SOMEWHERE Compact Disc 7206162239204400160952 PAIN/NOTHING REMAINS THE SAME Compact Disc Enhanced 0440016095278 00867 10292 9 6 93723 40922 1 6 93723 60602 66 93723 65312 9 6 93723 79662 8 6 17742 80022 76 17742 80052 4 5 013929 180529 8 09842 60052 80 44001 65992 8 7 20616 22392 07 31455 84982 00 44002 19062 8 0 26245 90672 36 30428 07082 06 89076 30065 0 6 89076 30095 76 89076 30125 1 6 46315 01252 16 34457 53842 9 7 98546 23642 68 24953 01302 9 7 90058 20282 10 60768 02852 4 0 44001 60952 76 89076 30135 0 Page 145 of 496 November 12, 2014Catalogue NumberArtist / Title Config Scannable UPC UPC BPM0806 PAIVA,B/BRITTNI Compact Disc 791344162126 BPM9205 PAIVA,B/HEAR Compact Disc 791344157627BPM0611 PAIVA,B/LIVING UKULELE(DVD) Digital Video Disc 791344165929BPM2012 PAIVA,B/TELL U WHAT Compact Disc 858370002168BPM0909 PAIVAB/FOUR STRINGS: THE FIRE Compact Disc 884501214605 4782 PALADINS,THE/LET'S BUZZ Compact Disc 014551478225 690782B PAN SONIC/A Compact Disc 724596907825 691482 PAN SONIC/AALTOPIIRI Compact Disc 724596914823690492 PAN SONIC/VAKIO Compact Disc 724596904923 VOL0703 PANAME DANDIES/LE SWING DE L'E Compact Disc 3770000947021 RT013 PANTERA/MOUTH OF WAR-LIVE (DVD Digital Video Disc 9223814130133 0044503822 PAPA ROACH/LOVEHATETRAGEDY Compact Disc 600445038226 MF0512 PAPAS FRITAS/POP HAS FREED US Compact Disc 796627005121 MASSCDDG104 8PARADOX/PRODUCT OF IMAGINATION Compact Disc 5907785030145 4756622 PARAY,P/BERLIOZ/SYMPHONIE FANT SACD4Stereo/Surround/CDAud 028947566229 CCM2089 PARIS,J/THE JACKIE PARIS SOUND Compact Disc 617742208924 549052A PARKENING/GREAT RECORDINGS,TH Compact Disc 077775490527 880602 PARKER, GR/KBFH PRESENTS.GRAHA Compact Disc 707108806021 OJCCD41 PARKER,C/BIRD AT ST.NICKS Compact Disc 025218604123 3145397572 PARKER,C/CHARLIE PARKER Compact Disc 731453975729 SYN011 PARKER,C/CHASIN' THE BIRD Compact Disc 874757001128 3145278152 PARKER,C/CONFIRMATION/BEST OF Compact Disc 7314527815293145218542 PARKER,C/VERVE JAZZ MASTERS 28 Compact Disc 7314521854263145198272 PARKER,C/VERVE JAZZ MSTRS V15 Compact Disc 731451982729 B001098802 PARKER,E/BOUSTOPHEDON Compact Disc 602517500549B000229002 PARKER,E/MEMORY/VISION Compact Disc 0440038117200 25218 60412 37 07108 80602 15 907785 030145 7 91344 15762 7 3 770000 947021 7 91344 16212 6 8 84501 21460 58 58370 00216 8 7 31451 98272 97 31452 78152 9 7 31452 18542 67 31453 97572 97 24596 90492 37 24596 90782 5 7 24596 91482 3 0 77775 49052 7 0 44003 81172 06 02517 50054 96 00445 03822 6 6 17742 20892 4 8 74757 00112 87 96627 00512 10 14551 47822 57 91344 16592 9 9 223814 130133 0 28947 56622 9 Page 146 of 496 November 12, 2014Catalogue NumberArtist / Title Config Scannable UPC UPC ALP147 PARKER/DRUMM/ZERRANG/OUT TRIOS Compact Disc 735286114720 NMR0150 PARLOUR STEPS/AMBIGUOSO Compact Disc 621365103924NMR0151 PARLOUR STEPS/THE HIDDEN NAMES Compact Disc 830159005607 YR003 PARSON RED HEADS/KING GIRAFFE Compact Disc 634479475498 DP2011 PARSON,D/LIVE AT DIZZYS CL(2CD Compact Disc 747014613627 9848545 PARSONS,A PROJECT/TALES OF MYS Compact Disc 602498485453 CD80387 PART/FRATRES/WERTHEN Compact Disc 089408038723 2894720802 PART/ORIENT OCCIDENT Compact Disc 028947208020 466552 PARTLAND B/ELECTRIC HONEY Compact Disc 077774665520 DJ893 PASADENA ROOF ORCHESTRA/DANCE Digital Video Disc 022891989394 PCD2310968 PASS,J/RESONANCE Compact Disc 025218096829 404622B PASULUSMA,/FINGERS & THUMBS Compact Disc 827954046225 0672512 PATRICK & RAYMOND/ON / OFF Compact Disc 044006725123 INTROCD2040 PATTON,C/A PROPER INTRO TO:CHA Compact Disc 805520060400 ACD71229 PAUKERT,K/AUBADE Compact Disc 787867122921ACD71248 PAUKERT,K/KAREL PAUKERT PLAYS Compact Disc 787867124826ACD71228 PAUKERT,K/NOELS Compact Disc 787867122822ACD71255 PAUKERT,K/ORGAN MUSIC FROM ST Compact Disc 787867125526 572622 PAUL,LES &/ALL-TIME GREATEST H Compact Disc 077775726220 B000606502 PAULMOTAINBAND/GARDEN OF EDEN Compact Disc 602498760277 404082A PAULUSMA, /SCISSORS IN MY POCK Compact Disc 827954040827 TERMIDOR21D VPAVAROTTI,L/A CHRISTMAS SP(DVD Digital Video Disc 821895989429 TERMIDOR22D VPAVAROTTI,L/A LEGEND SAYS(DVD Digital Video Disc 821895989023 4756670 PAVAROTTI,L/LA GIOCANDA Compact Disc 028947566700 59392 PAVAROTTI/PAVAROTTI CHRISTMAS Compact Disc 096741433825 SGM02 PAVLO/FANTASIA Compact Disc 0689446614280 25218 09682 97 35286 11472 0 7 47014 61362 76 34479 47549 8 6 02498 48545 3 0 44006 72512 30 77774 66552 00 28947 20802 0 6 02498 76027 7 0 28947 56670 00 77775 72622 06 21365 10392 4 8 30159 00560 7 0 68944 66142 88 27954 04082 78 27954 04622 5 7 87867 12282 27 87867 12292 1 7 87867 12482 6 7 87867 12552 68 05520 06040 0 0 96741 43382 50 89408 03872 3 8 21895 98902 30 22891 98939 4 8 21895 98942 9 Page 147 of 496 November 12, 2014Catalogue NumberArtist / Title Config Scannable UPC UPC SGM04 PAVLO/FROSTBITE MUSIC FOR THE Compact Disc 068944931927 SGM03 PAVLO/I FEEL LOVE AGAIN Compact Disc 068944930425SGM08 PAVLO/IRRESISTIBLE Compact Disc 068944938322SGM09 PAVLO/LIVE AT MASSEY HALL Compact Disc 653496118720SGM07 PAVLO/MEDITERRANEAN LOUNGE Compact Disc 068944935222 HEJ01 PAVLO/MEDITERRANEAN NIGHTS Compact Disc 621617317222 SGM01 PAVLO/PAVLO Compact Disc 068944661329 HEJ10 PAVLO/SIX STRING BLVD Compact Disc 776127327527 CDFLY280 PAXTON,T/EVEN A GRAY DAY Compact Disc 018964028022 B000427102 PAYNE,F/AFTER THE LIGHTS GO DO Compact Disc 602498802748 942312A PAYOLAS, T/LANGFORD PART I Compact Disc EP's 094639423125 3145573272 PAYTON,N/PAYTON'S PLACE Compact Disc 731455732726 PTV24 PEEKERS,THE/LIFE IN THE AIR Compact Disc 788377110224 INTROCD2044 PEERS,D/A PROPER INTRO TO:DONA Compact Disc 805520060448 SF12653 PENDERGRASS,T/LIVE82(DVD) Digital Video Disc 826663126532 MASSCD1262D GPENDRAGON/CONCERTO MAXIMO Compact Disc 5907785034303 127352 PENGUIN CA/BROADCASTING FROM H Compact Disc 5099921273520127342 PENGUIN CA/PENGUIN CAFE ORCHES Compact Disc 5099921273421127362 PENGUIN CA/SIGNS OF LIFE(REMAS Compact Disc 5099921273629 CDVARR026 PENTANGLE/IN T ROUND Compact Disc 011671002620 341192 PENTANGLE/IN THE ROUND Compact Disc 021823411927341202 PENTANGLE/OPEN THE DOOR Compact Disc 021823412023 OHH308122 PEOPLE UNDER THE STAIRS/THE OM Compact Disc 600353081222 OMM300362 PEOPLE UNDER THE/QUESTION IN Compact Disc 600353003620 SHOUT74 PEOPLE'S CHOICE/PEOPLE'S CHOIC Compact Disc 5013929507425 VM0013 PEOPLES REPUBLIC OF EUROPE/SIN Compact Disc 7786329018410 18964 02802 2 0 11671 00262 07 88377 11022 4 5 907785 034303 7 78632 90184 15 099921 273629 5 099921 273421 5 099921 273520 7 31455 73272 66 02498 80274 8 5 013929 507425 6 53496 11872 0 0 68944 66132 90 68944 93042 50 68944 93192 7 0 68944 93522 20 68944 93832 2 6 21617 31722 2 7 76127 32752 7 8 05520 06044 8 0 21823 41192 7 0 21823 41202 3 6 00353 08122 2 6 00353 00362 00 94639 42312 5 8 26663 12653 2 Page 148 of 496 November 12, 2014Catalogue NumberArtist / Title Config Scannable UPC UPC CSA7573 PEPPER,A/GETTIN TOGETHER SACD4Stereo/Surround/CDAud 025218733762 OJCCD389 PEPPER,A/T WAY IT WAS Compact Disc 025218638920 AAM0092 PERALTA/PERALTA Compact Disc 633757201323 700012A PERKINS, C/CARL PERKINS LIVE Compact Disc 617747000127 4775755 PERLMAN,I/MOZART;SINFONIA CONC Compact Disc 028947757559 1166177522 PERRY,L/BAFFLING SMOKE SIGNAL Compact Disc 011661775220 CDHBEA53 PERRY,L/CHICKEN SCRATCH Compact Disc 011661755321 1166177532 PERRY,L/CUTTING RAZOR:RARE CUT Compact Disc 011661775329 CDHBEA06 PERRY,L/MYSTIC MIRACLE STAR Compact Disc 011661750623CDHBEA76 PERRY,L/SOUNDZS FROM T HOT LIN Compact Disc 011661757622 5339730 PERRY,L/THE UPSETTER/SUPER(2CD Compact Disc 600753397305 CDHB77 PERRY,L/UPSETTER SHOP V.1 DUB Compact Disc 011661757721 5339802 PERRY,L/VAR/LEE 'SCRATCH' PERR Compact Disc 600753398029 6076805662 PERRY,LS/THE UPSETTER SELECTIO Compact Disc 0607680566266076805132 PERRY,LS/THIS IS CRUCIAL REGGA Compact Disc 060768051324 PRR401 PERSPHONE'S DREAM/PAN:AN URBAN Compact Disc 837792008200 AFM1273 PERZONAL WAR/DIFFERENT FACES Compact Disc 4046661032420 MASSCDDG098 2PESTILENCE/MIND REFLECTIONS Compact Disc 5907785028678 CLC189 PETER & GORDON/THE ULTIMATE PE Compact Disc 617742018929 SYN048 PETER,PAUL & MARY/WEAVE ME THE Compact Disc 874757004822 3145438342 PETERSON TRIO/ON THE TOWN WITH Compact Disc 731454383424SACD63500 PETERSON&LEGRAND/TRAIL OF DREA SACD4Stereo/Surround/CDAud 089408350009 BT3013 PETERSON, O/PIANO COLOSSUS Compact Disc 805520130134 4400130292 PETERSON,O & GRAPPELLI/QUARTET Compact Disc 044001302923 B000539802 PETERSON,O&SINGERS/IN TUNE Compact Disc 602498270141B000539502 PETERSON,O/ANOTHER DAY Compact Disc 6024982701650 25218 63892 0 6 17747 00012 7 0 11661 77522 0 0 11661 77532 9 0 11661 75772 10 11661 75062 30 11661 75532 1 0 11661 75762 2 8 74757 00482 25 907785 028678 8 37792 00820 0 6 17742 01892 9 0 44001 30292 37 31454 38342 4 6 02498 27014 1 6 02498 27016 50 28947 75755 9 4 046661 032420 8 05520 13013 40 60768 05132 40 60768 05662 66 00753 39730 56 33757 20132 3 6 00753 39802 9 0 89408 35000 90 25218 73376 2 Page 149 of 496 November 12, 2014Catalogue NumberArtist / Title Config Scannable UPC UPC 9811303 PETERSON,O/EXCLUSIVELY FOR MY SACD4Stereo/Surround/CDAud 602498113035 B000539702 PETERSON,O/HELLO HERBIE Compact Disc 602498270158B001218102 PETERSON,O/IN A ROMANTIC MOOD Compact Disc 602517868878 9875796 PETERSON,O/JAZZ CLUB:FLY ME TO Compact Disc 602498757963 B000539902 PETERSON,O/MOTIONS & EMOTIONS Compact Disc 602498270134 390909 PETERSON,O/NORMAN GANTZ'JAZZ:L Digital Video Disc 801213909094 B000540102 PETERSON,O/TRACKS Compact Disc 602498270110 3145580752 PETERSON,O/TRIO + 1 Compact Disc 731455807523 B000540202 PETERSON,O/TRISTEZA ON PIANO Compact Disc 602498270103 3145168932 PETERSON,O/VERVE JZ MAS/V37 Compact Disc 731451689321 B000540302 PETERSON,O/WALKING THE LINE Compact Disc 602498270097 LIB33301 PETTY,T AND T HEARTBREAKERS/SO Digital Video Disc 619061330133 B002563602 PEYROUX,M/STANDIN' ON THE ROOF Compact Disc 602527720708 3724270 PEYROUX,M/THE BLUE ROOM(CD+DVD CD with DVD 602537242702 B000809602 PHAROAHE MONCH/DESIRE Compact Disc 602517144040 UMABHE001 PHILLIPS,G/MR. LEMONS Compact Disc 854882001132 0114310662 PHILLIPS,GL/NINETEENEIGHTIES Compact Disc 601143106620 B002079802 PHILLIPS,P/BEHIND THE LIGHT HM Compact Disc 602537827398B001776702 PHILLIPS,P/WORLD FROM,THE(ZINE Compact Disc 602537209767 CDPH1210 PHILLIPS,U/TELLING TAKES ME HO Compact Disc 011671121024 RMED00262 PHOENIX/PHOENIX/IN FULL VIEW Compact Disc 630428026223 PROPERBOX35 PIAF,E/LOVE AND PASSION Compact Disc 604988993523 HEC27442 PIAZZA,R & MIGHTY FLYERS/BLUES Compact Disc 670917274421 HEP00162 PIAZZA,R & THE MIGHTY FLYERS/A Compact Disc 670917051626 CRSEG006 PICADILLY LINE/THE HUGE WORLD Compact Disc 5013929180628 HSM50582 PICKETT,W/CHOCOLATE MOUNTAIN Compact Disc 8098425058236 02537 24270 2 0 11671 12102 46 01143 10662 0 6 04988 99352 36 30428 02622 3 6 70917 27442 1 6 70917 05162 6 5 013929 180628 6 02537 82739 86 02527 72070 86 02498 27013 4 6 02498 27011 0 6 02498 27010 3 7 31451 68932 16 02498 27015 8 7 31455 80752 3 6 02498 27009 76 02517 86887 8 6 02498 75796 3 6 02517 14404 0 6 02537 20976 7 8 09842 50582 38 54882 00113 26 19061 33013 38 01213 90909 46 02498 11303 5 Page 150 of 496 November 12, 2014Catalogue NumberArtist / Title Config Scannable UPC UPC 4780028 PICKETT/NLC/FEAST OF FOOLS Compact Disc 028947800286 IG845014 PIERCE,A/OH DEER Compact Disc 884501292689 IG003 PIERCE,A/WINTER Compact Disc 777000077720 MH28132 PIERCE,JC/BAD GIRLS UPSET BY T Compact Disc 784608813223 B001658702 PIERCES ,THE/YOU & I Compact Disc 602527960494 CD420144 PIG & SOW/JE M AIME Compact Disc 637642014425CD729809 PIGFACE/GUB Compact Disc 036172980925CD421114 PIGFACE/GUB/WELCOME TO MEXICO Compact Disc 637642111421CD421121 PIGFACE/THE HEAD REMIXES BOXED Compact Disc 637642112121 SDR0004 PIGMENT VEHICLE/MURDER'S ONLY Compact Disc 652975000426 B000259802 PIKE,D/MANHATTAN LATIN Compact Disc 602498624463 MRCD6428 PILATE/FOR ALL THAT'S GIVEN Compact Disc EP's 823674642822 3145435802 PINE,C/BACK IN T DAY Compact Disc 731454358026 CUNLP329 PINHAS,R/MERZBOW/PARIS 2008 Compact Disc 045775032917 PP006 PINK FLOYD/SHINE ON - DVD Digital Video Disc 603777900698 1790020594 PINK GRENADE/FEAR OF A PINK PL Compact Disc 811790020594 NSF00121 PINK/REVOLUTION(DVD) Digital Video Disc 827191001216 PP002 PINKFLOYD/THE DARK SIDE:INTERV Digital Video Disc 603777900292 SALVODCD219 PIRATES,THE/SHAKIN WITH TH(2CD Compact Disc 698458821928 B000166402 PITCH BLACK/PITCH BLACK LAW Compact Disc 602498603550 845452A PITCHSHIFTER/P.S.I. (ENHANCED) Compact Disc Enhanced 060768454521 SACD63577 PIZZARELLI/LIVE AT BIRDLAND SACD4Stereo/Surround/CDAud 089408357763 VR539 PLACEBO/BATTLE FOR THE SUN Compact Disc 601091053922 LB0102 PLANET ASIA/STILL IN TRAINING Compact Disc 826944401013 RMED00396 PLANET P PROJEC/ PINK WORLD Compact Disc 630428039629RMED00395 PLANET P PROJECT/PLANET P PROJ Compact Disc 6304280395200 45775 03291 77 77000 07772 08 84501 29268 9 6 98458 82192 86 37642 01442 5 6 37642 11142 1 6 37642 11212 10 36172 98092 57 84608 81322 3 6 52975 00042 66 02527 96049 4 7 31454 35802 66 02498 62446 3 6 01091 05392 26 02498 60355 00 28947 80028 6 6 30428 03952 06 30428 03962 98 11790 02059 4 8 26944 40101 30 60768 45452 18 23674 64282 2 6 03777 90029 28 27191 00121 66 03777 90069 8 0 89408 35776 3 Page 151 of 496 November 12, 2014Catalogue NumberArtist / Title Config Scannable UPC UPC RT030 PLANT,R AND PAGE,J/LIVE ON(DVD Digital Video Disc 9223814130300 MRCD6430 PLASKETT,J/LA DE DA Compact Disc 823674643027MRCD6418 PLASKETT,J/TRUTHFULLY TRUTHFUL Compact Disc 823674641825 520862B PLATINUM B/PLATINUM BLACK Compact Disc 778505208626 B000664402 PLATINUMWEIRD/PLATINUM WEIRD Compact Disc 602498560600 HXR017 PLAYING ENEMY/MY LIFE AS THE V Compact Disc 790168621123 HRM31819 PLAYING FOR CHANGE/SONGS AROUN CD with DVD 888072318199 844632 PLEASURE, /MOODYS MOOD FOR LOV Compact Disc 077778446323 4776415 PLETNEV,M & RNO/BEETHOVEN:PIAN Compact Disc 0289477641514776416 PLETNEV,M/BEETHOVEN:PIANO CONC Compact Disc 028947764168 MRCD6413 PLUMB,J/UNDER AND OVER Compact Disc 823674641320 MF0682 POEMS,THE/YOUNG AMERICA Compact Disc 796627006821 RMED00134 POINT BLANK/AMERICAN EXCESS/ON Compact Disc 630428013421 083952 POISON/FIVE FOR $5 Compact Disc 5099930839526 177182C POISON/LEGEND FOREVER Compact Disc 5099951771829 177862B POISON/NOTHIN' BUT A GOOD Compact Disc 5099991778628 KIV45390 POLEY,T/COLLATERAL DAMAGE Compact Disc 747014539026 9875671 POLICE,THE/SYNCHRONICITY CONCE Universal Media Disc 6024987567134745572 POMERIUM/OLD WORLD CHRISTMAS Compact Disc 028947455721 RGM0181 PONDEROSA TWINS PLUS/2 2 1 PON Compact Disc 848064001812 AFM2833 POODLES, THE/METAL TRADE Compact Disc 884860004923 B001521602 POP EVIL/WAR OF ANGELS Compact Disc 602527610207 880552 POP, IGGY/LIVE IN NYC-KING BI Compact Disc 707108805529 MVD6513 POPA CHUBBY/IN CONCERT Digital Video Disc 707787651370 B001917402 POPE,C/FRAME BY FRAME(DLX) Compact Disc 602537528240 FREAK7 POPGROUP,THE/CURIOSITIES(2CD) Compact Disc 50604109000748 88072 31819 9 8 23674 64132 08 23674 64182 5 7 78505 20862 6 7 07108 80552 98 23674 64302 7 7 90168 62112 3 7 47014 53902 66 30428 01342 1 5 099991 778628 6 02527 61020 75 099951 771829 6 02498 56060 0 6 02537 52824 00 28947 76416 8 0 28947 45572 10 28947 76415 1 5 099930 839526 0 77778 44632 3 8 48064 00181 27 96627 00682 1 5 060410 900074 8 84860 00492 3 7 07787 65137 09 223814 130300 6 02498 75671 3 Page 152 of 496 November 12, 2014Catalogue NumberArtist / Title Config Scannable UPC UPC AEREC001 POPOVIC,A/AN EVENING AT TRASIM Digital Video Disc 8714835079644 RUF3008DVD POPOVIC,A/ANA! Digital Video Disc 710347300878 646642 PORTER/CAN CAN Compact Disc 077776466422 440012B PORTMANN, /NO TRUER WORDS Compact Disc 633014400124 SDR0031 PORTRAIT OF POVERTY/POOR PRINC Compact Disc 652975003120 MM812 PORTUONDO,O/DUETS Compact Disc 8436019588123 YY9433 PORTUONDO,O/LAGRIMAS NEGRAS:CA Compact Disc 8436006494444 AM0182 POTSHOT/POTS AND SHOTS Compact Disc 612851001824 9817788 POTTER,C/LIVE AT THE VILLAGE V Compact Disc 6024981778845301907 POTTER,C/SONG FOR ANYONE Compact Disc 6007530190789835155 POTTER,C/UNDERGROUND Compact Disc 602498351550 D000038502 POTTER,G & NOCTURNALS/THIS IS Compact Disc 050087104511 4482702 POULENCFRANC/ORGAN CONCERTO Compact Disc 028944827026 103082A POWDER BLU/PLATINUM Compact Disc 5099951030827 0251735251 POWDERFINGER/DREAM DAYS AT THE Compact Disc 602517352513 321372 POWELL, BU/AMAZING,THEVOL 2 Compact Disc 724353213725 CCDCD9038 POWELL,B/LIVE IN LAUSANNE, 196 Compact Disc 013431903826 5192162 POWELL,B/THREE ORIGINALS (2CD) Compact Disc 731451921629 HUCD3073 POWELL,D/97TH & COLUMBUS Compact Disc 053361307325 CDROUN0384 POWELL,D/IF I GO TEN THOUSAND Compact Disc 011661038424 NPR244 POWER QUEST/MASTER OF ILLUSION Compact Disc 693723511023 598582 PP BANDA/SALSA CUBANA Compact Disc 821895985827 TRR80072 PRATT & MCCLAIN/PRATT & MCCLAI Compact Disc 617742800722 MFO42501 PREACHER BOY/DEVIL'S BUTTERMIL Compact Disc 767004250120 LFM408 PRESLEY,E/AT SUN RECORDS CD with DVD 823564902821 DRLIB001 PRESS PLAY/LIFE IS BEAUTIFUL Compact Disc 798304013801 8 23564 90282 16 33014 40012 4 0 11661 03842 40 53361 30732 50 13431 90382 6 7 67004 25012 08 21895 98582 7 6 17742 80072 26 52975 00312 0 6 02517 35251 3 7 31451 92162 96 02498 35155 0 0 28944 82702 60 50087 10451 10 77776 46642 2 5 099951 030827 6 02498 17788 4 6 00753 01907 8 7 24353 21372 5 6 93723 51102 38 436019 588123 8 436006 494444 6 12851 00182 4 7 98304 01380 17 10347 30087 88 714835 079644 Page 153 of 496 November 12, 2014Catalogue NumberArtist / Title Config Scannable UPC UPC PRR561 PRESTO BALLET/RELIC OF THE MOD Compact Disc 879198009740 082392 PRESTON, B/ENCOURAGING WORDS Compact Disc 5099990823923 SHOUT43 PRICE,L/MR PERSONALITY Compact Disc 5013929504325 4679132 PRICE,L/THE SINGERS Compact Disc Enhanced 0289467913254757037 PRICE,M/MOZART;DON GIOVANNI Compact Disc 028947570370 700142B PRIDE, CHA/LIVE IN CONCERT Compact Disc 620357001422700145A PRIDE, CHA/LIVE IN CONCERT Digital Video Disc 620357001453 COS33792 PRIDE,C/IN CONCERT Digital Video Disc 619061379231 861762A PRIEST, MA/BONAFIDE Compact Disc 077778617624 CLC1019 PRIMA,L & HIS ORCHESTRA/Plays Compact Disc 617742101928 MASSCD1407D GPRIMAL FEAR/JAWS OF DEATH Compact Disc 5907785036468 MASSCD1406D GPRIMAL FEAR/PRIMAL FEAR (REMAS Compact Disc 5907785036451 1031BAM PRIMAMORE,P/GRANCIA Compact Disc 801963873621 DTG439102 PRINCE LASHA/INSIGHT Compact Disc 886974391029 TFC1006 PRINCE,THE/THE PAUPER/COMPLETE Compact Disc 700261271408 B000589177 PRINCE/LIVE AT THE ALADIN LAS Universal Media Disc 602498879054 SALVOCD020 PROCOL HARUM/A SALTY DOG Compact Disc 698458812025SALVOCD021 PROCOL HARUM/HOME Compact Disc 698458812124 SALVODCD206 PROCOL HARUM/SECRETS OF TH(2CD Compact Disc 698458820624 SALVOCD018 PROCOL HARUM/SHINE ON BRIGHTLY Compact Disc 698458811820 CDROUN2057 PROFESSOR LONGHAIR/HOUSEPARTY Compact Disc 011661205727 484992B PROJECT O//NOW AS THEN Compact Disc 068944849925 4756712 PROKOFIEV/CONCERTOS 1 & 2, SON Compact Disc 0289475671274734432 PROKOFIEV/PROKOFIEV ANNIVERSAR Compact Disc 0289473443224629132 PROKOFIEV/T LOVE FOR THREE ORA Compact Disc 028946291320 TWA0012 PROLAPSE/BACK SATURDAY Compact Disc 6049780001256 20357 00142 2 0 11661 20572 78 01963 87362 16 17742 10192 8 7 00261 27140 8 6 98458 81182 06 98458 81202 5 6 98458 81212 4 6 98458 82062 45 907785 036451 5 907785 036468 8 79198 00974 0 0 77778 61762 4 0 28946 29132 05 099990 823923 0 28947 57037 0 0 28947 34432 20 28947 56712 75 013929 504325 8 86974 39102 9 0 68944 84992 5 6 04978 00012 50 28946 79132 5 6 19061 37923 16 20357 00145 3 6 02498 87905 4 Page 154 of 496 November 12, 2014Catalogue NumberArtist / Title Config Scannable UPC UPC TWA0202 PROLAPSE/GHOSTS OF DEAD AEROPL Compact Disc 604978002020 NMR0140 PRONSKY,R/DEPARTURES & ARRIVAL Compact Disc 794465854321NMR0142 PRONSKY,R/ONLY DAUGHTER Compact Disc 884501849517NMR0141 PRONSKY,R/VIEWFINDER Compact Disc 845121032123 UOPJ011 PROTEST THE HERO/A CALCULATED Compact Disc EP's 292561225828 B001786202 PSY/PSY Compact Disc 602537230518 5346288 PUBLIC IMAGE LIMITED/GOLD(2CD) Compact Disc 6007534628814706242 PUCCINI/LA BOHEME SACD4Stereo/Surround/CDAud 0289470624244138932 PUCCINI/MANON LESCAUT/SINOPOLI Compact Disc 028941389329 2894724942 PUCCINI/THE VOICE OF PUCCINI Compact Disc 028947249429 4775599 PUCCINI/TOSCA Compact Disc 0289477559994663842 PUCCINI/TOSCA Compact Disc 028946638422 B001366102 PUDDLE OF MUDD/VOL.4-SONGS IN Compact Disc 602527239286 CCDCD1004 PUENTE,T/GOZA MI TIMBAL SACD4Stereo/Surround/CDAud 013431100461 9840045 PULP/HIS N HERS-DELUXE EDITION Compact Disc 602498400456 0251748208 PUPPINI SISTERS/THE RISE AND F Compact Disc 602517482081 4674542 PURCELL/SWEETER THAN ROSES Compact Disc 028946745427 AFM2413 PURE INC./PURE DAWN Compact Disc 4046661127027 900362A PURIFIED I/REAPER OF SOULS Compact Disc 876929003626 HSM51052 PURSELL,B/THE NASHVILLE SWEAT Compact Disc 809842510520 382102 PURSUIT OF/WHEN WE RULED:THE B Compact Disc 094633821026635782 QUANTIC AN/TRADITION IN TRANSI Compact Disc 5060006357824 RP002 QUARTERFLASH/GOODBYE UNCLE BUZ Compact Disc 678277157323 4758503 QUARTETTO ITALIANO/BEETHOVEN:M Compact Disc 028947585039 HSM50932 QUARTZ/QUARTZ Compact Disc 809842509326 IAM0249 QUATEMAN,B/BILL QUATEMAN Compact Disc 8990790024938 76929 00362 6 5 060006 357824 8 09842 51052 0 8 09842 50932 6 8 99079 00249 36 00753 46288 16 02537 23051 8 6 02498 40045 66 02527 23928 6 0 94633 82102 66 02517 48208 1 0 28946 74542 70 28941 38932 9 0 28947 75599 9 0 28946 63842 2 0 28947 58503 90 28947 24942 97 94465 85432 1 6 78277 15732 38 45121 03212 38 84501 84951 76 04978 00202 0 4 046661 127027 2 92561 22582 8 0 13431 10046 10 28947 06242 4 Page 155 of 496 November 12, 2014Catalogue NumberArtist / Title Config Scannable UPC UPC IAM0279 QUATEMAN,B/THE ALMOST EVE OF E Compact Disc 899079002790 MW027 QUATRO,M/GREATEST HITS (CD+DVD CD with DVD 813411010274 4801938 QUATUOR DEBUSSY/REQUIEM MOZART Compact Disc 028948019380 INTROCD2004 QUEBEC,I/A PROPER INTRO TO:IKE Compact Disc 805520060042 2061625279 QUEEN & PAUL RODGER/RETURN OF Digital Video Disc 720616252791 D000441309 QUEEN & PAUL RODGERS/LIVE IN U Digital Video Disc 050087147433 CLC7262 QUEEN LATIFAH/NATURE OF A SIST Compact Disc 617742072624 HR620052 QUEEN/AT T BBC Compact Disc 720616200525 2061690119 QUEEN/GREATEST VIDEO HITS 1 Digital Video Disc 720616901194 D001410402 QUEEN/JAZZ (2CD-DLX) Compact Disc 050087245450D002084700 QUEEN/LIVE AT THE RAIN(2CD+DVD BLU RAY+CD+DVD 050087313906 2061624222 QUEEN/LIVE AT WEMBLEY STADIUM Compact Disc 7206162422282061624009 QUEEN/LIVE AT WEMBLEY STADIUM Digital Video Disc 720616240095 HR620172 QUEEN/MADE IN HEAVEN Compact Disc 720616201720 MVD5709D QUEEN/MERCURY RISING(DVD) Digital Video Disc 760137570998 2061624909 QUEEN/ON FIRE-LIVE AT THE BOWL Digital Video Disc 720616249098 327710BS00 QUEEN/ORB (USB) USB STICK 671734423184 HR621322 QUEEN/ROCKS Compact Disc 720616213228 SIDVD520 QUEEN/UNDER REVIEW 1946-1991:T Digital Video Disc 823564510194 CVIS399 QUEEN/UNDER REVIEW 1980-1991 D Digital Video Disc 823564508191 0694978672 QUEENS OF THE STONE AGE/GO WIT CDSP Enhanced 606949786724 LK2702 QUEERS/PLEASANT SCREAMS Compact Disc 763361927026 DR4423 QUIET RIOT/89' LIVE IN JAPAN Digital Video Disc 022891442394 MQP1112 QUINCHETTE,P/LIKE BASIE Compact Disc 094636750125 D4660 R KELLY/PIED PIPER OF R&B UNAT Digital Video Disc 655690466096 RT027 R.E.M./MAN ON THE MOON (DVD) Digital Video Disc 92238141302700 50087 31390 68 13411 01027 4 6 06949 78672 46 17742 07262 48 99079 00279 0 0 94636 75012 57 20616 24222 80 50087 24545 0 7 20616 20172 0 7 20616 21322 87 20616 20052 50 28948 01938 0 8 05520 06004 2 7 63361 92702 6 6 55690 46609 68 23564 51019 4 8 23564 50819 17 60137 57099 87 20616 25279 1 7 20616 24009 57 20616 90119 40 50087 14743 3 7 20616 24909 8 9 223814 130270 0 22891 44239 46 71734 42318 4 Page 156 of 496 November 12, 2014Catalogue NumberArtist / Title Config Scannable UPC UPC 3145305592 R.JAMES/ULTIMATE COLLECTION Compact Disc 731453055926 ABR70052 RABBITT,E/HORIZON Compact Disc 617742700527 VOL0705 RACE/BE YOUR ALIBI Compact Disc 3770000947045VOL0803 RACE/IN MY HEAD IT WORKS Compact Disc 3770000947106 4383262 RACHMANINOV/COMPLETE WORKS FOR Compact Disc 0289438326254741712 RACHMINOV/PIANO CONC NO.2 & 3 Compact Disc 028947417125 100042D RADIATION /WONDERLAND Compact Disc 727701000428 MP001 RADIN,J/SIMPLE TIMES Compact Disc 858275001037 B000171602 RAEKWON/THE LEX DIAMOND STORY Compact Disc 602498613719 WWCD047 RAGANA/MANY REVERBS TO CROSS Compact Disc 718750554727 SXYCD005 RAGE AGAINST THE MACHINE/THE L Compact Disc 823564606521 RT047 RAGE AGAINST THE/BULLS ON P(DV Digital Video Disc 9223814130478 HNECD016D RAGING SLAB/ASSMASTER(2CD) Compact Disc 5013929911628 MCADE11938 RAHZEL/MAKE THE MUSIC 2000 Compact Disc Enhanced 008811193829 433242 RAIH ABOU-/JOURNEY TO THE CENT Compact Disc 068944332427433162 RAIH ABOU-/MORTON'S FOOT Compact Disc 068944331628 5331367 RAINBOW/DOWN TO EARTH (DLX) Compact Disc 600753313671 200862 RAINBOW/LIVE IN MUNICH Compact Disc 826992008622301639 RAINBOW/LIVE IN MUNICH:1977 Digital Video Disc 801213016396 BB20072 RALPH/THE LIVERPOOL(CDEP) Compact Disc EP's 777000200722 845812 RAMAINZ/LIVE IN NYC Compact Disc 060768458123 ODR7411 RAMM,A/PIANO DREAMS Compact Disc 776143741123 0252719514 RAMMSTEIN/LIEBE IST FUR ALLE D Compact Disc 602527195148 DR4368 RAMONE,DD/HEY IS DEE DEE HOME? Digital Video Disc 022891436898 6076845422 RAMONE,J/DON'T WORRY ABOUT ME Compact Disc 060768454224 WMR65410 RANDLE,V/SLEEP CITY Compact Disc 6181065410227 27701 00042 8 8 26992 00862 28 23564 60652 13 770000 947045 3 770000 947106 7 18750 55472 76 17742 70052 7 6 18106 54102 26 02527 19514 86 02498 61371 9 6 00753 31367 10 28943 83262 57 31453 05592 6 0 28947 41712 5 5 013929 911628 0 68944 33162 80 68944 33242 7 7 76143 74112 3 0 60768 45422 40 60768 45812 38 58275 00103 7 0 08811 19382 9 7 77000 20072 28 01213 01639 69 223814 130478 0 22891 43689 8 Page 157 of 496 November 12, 2014Catalogue NumberArtist / Title Config Scannable UPC UPC B000595402 RANEY,J/JIMMY RANEY FEAT:BOB B Compact Disc 602498883334 CD83526 RANGLIN,E/MODERN ANSWERS TO OL Compact Disc 089408352621 861732B RANKIN FAM/REUNION: DELUXE TOU Compact Disc 094638617327 836532 RAORK/BREAK OF DAY Compact Disc 060768365322 2061650599 RASCAL FLATTS/HERE'S TO YOU;LI Digital Video Disc 720616505996 ORBM7335 RASCAL FLATTS/NOTHING LIKE THI Compact Disc 823674733520 CCM08062 RASCALS,THE/SEARCH AND NEARNE Compact Disc 617742080629 791502 RAT PACK, /CHRISTMAS WITH THE Compact Disc 5099997915027 1166190972 RATELIFF,N/IN MEMORY OF LOSS Compact Disc 011661909724 MASSCDDG106 8RATOS DE PORAO/ANARKOPHOBIA Compact Disc 5907785030619 SJPCD165 RATS/THE FALL AND RISE-A RATS Compact Disc 5055011701656 B000839302 RAVA,E QUINTET/THE WORDS AND T Compact Disc 602517097735B001051302 RAVA,E/BOLLANI,S/THE THIRD MAN Compact Disc 602517373228B000506102 RAVA,E/TATI Compact Disc 602498701744 4666672 RAVEL/GREATEST HITS Compact Disc 0289466667224691842 RAVEL/LA VALSE,CONCERTO FOR PI Compact Disc 028946918425 ABR70352 RAVE-UPS,THE/THE BOOK OF YOUR Compact Disc 617742703528 SDR0054 RAW POWER/HIT LIST Compact Disc 652975005421 AFM0442 RAWHEAD REXX/REWHEAD REXX Compact Disc 4009880467527 404872 RAYNARD, J/STRANGE HISTORIES Compact Disc 827954048724 PRO141 RAYVON/RAYVON Compact Disc 859553002005 ACME0172 REACTION/REACTION Compact Disc 689076301053 CDFLY411 REAGON,B/RIVER OF LIFE: HARMON Compact Disc 018964041120 MASSCDDG097 9REALM/ENDLESS WAR Compact Disc 5907785028647 HSM50342 REAVES,P/ALL ABOUT LOVE Compact Disc 809842503423 MG1085 REBIRTH BRASS BA/ULTIMATE REBI Compact Disc 0960941085240 89408 35262 1 0 11661 90972 4 0 18964 04112 08 59553 00200 5 8 09842 50342 36 17742 08062 9 6 17742 70352 8 5 907785 028647 0 96094 10852 45 055011 701656 5 907785 030619 6 52975 00542 15 099997 915027 6 02498 88333 4 0 94638 61732 7 0 28946 66672 26 02498 70174 46 02517 09773 5 6 02517 37322 8 0 28946 91842 5 8 27954 04872 48 23674 73352 00 60768 36532 2 6 89076 30105 34 009880 467527 7 20616 50599 6 Page 158 of 496 November 12, 2014Catalogue NumberArtist / Title Config Scannable UPC UPC 691202A RECOIL/LIQUID Compact Disc 724596912027 691312C RECOIL/STRANGE HOURS - EP Compact Disc EP's 724596913123 310082A RED BULL/BEST OF RED BULL Compact Disc 669803100821310102A RED BULL/MILLENIUM Compact Disc 669803101026310012A RED BULL/MOTHER EARTH Compact Disc 669803100128 574002 REDDY, HEL/ALL TIME GR HITS Compact Disc 077775740028 D001805492 REDLIGHT KING/IRONS IN THE FI Compact Disc 050087285388 MVD5117D REDMAN,D/AN AMERICAN JAZZ LIFE Digital Video Disc 760137511793 3145589452 REDMAN/DOCS T NAME 2000 Compact Disc 731455894523 CDPHIL1110 REDPATH,J/A FINE SONG FOR SING Compact Disc 011671111025 CDROUN11556 REDPATH,J/FIRST FLIGHT Compact Disc 011661155626 CDPHIL1131 REDPATH,J/LEAVING THE LAND Compact Disc 011671113128CDPHIL1054 REDPATH,J/SONG OF THE SEALS Compact Disc 011671105420CDPHIL1187 REDPATH,J/THE SONGS OF ROBERT Compact Disc 011671118727 UP23836 REDUCEDSHAKESPEARECO/THEBIBLE: Compact Disc 706442383625 ICON1013 REED,L/LEGENDARY HEARTS (CD) Compact Disc 886972057224 5064CD REED,L/WALK ON THE WILD SIDE-L Compact Disc 9120817150642 QLDVD6603 REEVES,M/IN CONCERT (DVD) Digital Video Disc 022891660392 36562 REFLECTIONS/CARIBBEAN SPA Compact Disc 09674113592736558 REFLECTIONS/REJUVENATE NATURAL Compact Disc 096741135521 4775518 REGER,M/STRING QUARTETS/CLARIN Compact Disc 028947755180 CD80589 REGER/REGER & ROMANTICISM Compact Disc 089408058929 471223 REID, JOHN/A PLACE CALLED LOVE MERCH - GENERAL 5099964712239 HSM50162 REID,C/FUNKY PARTY Compact Disc 809842501627 HSM50532 REID,C/RUNNING WATER Compact Disc 809842505328 80889059551 REID,J/A CHRISTMAS GIFT TO YOU Compact Disc 6808890595510 11661 15562 6 0 11671 10542 00 11671 11102 5 0 11671 11312 8 0 11671 11872 7 0 96741 13552 10 96741 13592 7 0 89408 05892 99 120817 150642 7 06442 38362 5 8 09842 50162 78 86972 05722 40 50087 28538 86 69803 10012 86 69803 10082 1 6 69803 10102 67 24596 91202 7 7 31455 89452 3 0 28947 75518 00 77775 74002 8 6 80889 05955 18 09842 50532 87 24596 91312 3 0 22891 66039 27 60137 51179 3 5 099964 712239 Page 159 of 496 November 12, 2014Catalogue NumberArtist / Title Config Scannable UPC UPC DJ907 REID,R/LIVE IN VIENNA Digital Video Disc 022891990796 CRS400142 REINHARDT,D/LE QUINTET DU HOT Compact Disc 858370002137 0121598542 REINHARDT,D/SWING 39 Compact Disc 601215985429 B001580402 REINHART,H/AMERICAN IDOL SEASO Compact Disc 5060136136979 CDROUN0315 REISCHMAN,J/NORTH OF THE BORDE Compact Disc 011661031524 MVD4948V RELM,M/CLOWN ALLEY (DVD) Digital Video Disc 760137494898MVD4946A RELM,M/SPECTACLE Compact Disc 718122907564 TRR80172 REMBRANTS,THE/THE REMBRANTS Compact Disc 617742801729 DGCSD25300 REMY ZERO/VILLA ELAINE Compact Disc 720642530023 433252 RENAUD/GAR/ARCOLUZ Compact Disc 068944332526433182 RENAUD/GAR/ENTREMUNDO Compact Disc 068944331826 ISRCD88510 RENO DIVORCE/TEARS BEFORE BREA Compact Disc 825888851021 0881123102 RES/HOW I DO Compact Disc 008811231026 DR4369 RESIDENTS THE/ESKIMO Digital Video Disc 022891436997 692752 RESIDENTS,/COMMERCIAL ALBUM,TH Compact Disc 724596927526 MVD5369LP RESIDENTS,THE/FINGERPRINCE (LP Compact Disc 760137536918 MVD5137D RESIDENTS,THE/RANDY'S GHOST ST Digital Video Disc 760137513797 ARM250972 RESISTANCE,THE/RISE FROM TR(EP Compact Disc EP's 826992509723 4780146 RESMARK,S/NIELSEN:MASKARADE Compact Disc 028947801467 SPH23637 RESPECTABLES,THE/SWEET MAMA Compact Disc 619061374120 4761884 RESPIGHI/LA CAMPANA SOMMERSA Compact Disc 028947618843 ZEDDCD023 REVENGE/REEKIN STRUCTIONS Compact Disc 5060162570822 NMR1001 REVEREDN RAVEN/SLOW BURN Compact Disc 786851320527NMR1002 REVEREND RAVEN/LIVE A T BLUES Compact Disc 666186656822 NPR343 REVOLUTION RENAISSANCE/TRINITY Compact Disc 885470001326 DR0213 REVOLUTION USA?/REVOLUTION USA Digital Video Disc 0228910213226 19061 37412 00 11661 03152 4 7 18122 90756 4 7 60137 53691 86 17742 80172 9 5 060162 570822 7 86851 32052 7 6 66186 65682 28 25888 85102 18 58370 00213 7 6 01215 98542 9 0 28947 61884 37 24596 92752 60 08811 23102 65 060136 136979 7 20642 53002 3 0 28947 80146 7 8 85470 00132 60 68944 33182 60 68944 33252 6 8 26992 50972 37 60137 51379 77 60137 49489 80 22891 99079 6 0 22891 02132 20 22891 43699 7 Page 160 of 496 November 12, 2014Catalogue NumberArtist / Title Config Scannable UPC UPC 741322 RHAPSODY/DAWN OF VICTORY Compact Disc 4001617413227 CLC386 RHINOCEROS/SATIN CHICKEN/BETTE Compact Disc 617742038620 440182B RHYTHM LOG/RHYTHM LOGIC Compact Disc 633014401824 SNJBF008 RICCI,C/ SWINGING SESSION Compact Disc 8051093880088 CDROUN0167 RICE,T UNIT/BACKWATERS Compact Disc 011661016729 1166116222 RICE,T/THE BLUEGRASS GUITAR CO Compact Disc 011661162228 CDROUN0272 RICE,W/NEW MARKET GAP Compact Disc 011661027220 B000394002 RICH,B/BLUES CARAVAN Compact Disc 075021034822 ABR70142 RICH,C/ONCE A DRIFTER Compact Disc 617742701425 CDROUN6027 RICHARD,Z/ZACK'S BON TON Compact Disc 011661602724 B000226802 RICHEY,K/COLLECTION Compact Disc 602498620243B000938602 RICHIE,L & COMMODORES/NUMBER 1 Compact Disc 602517394445 0075304123 RICHIE,L & COMMODORES/THE BEST Compact Disc 6007530412394400181202 RICHIE,L/CAN'T SLOW DOWN (DELU Compact Disc 044001812026 B000256236 RICHIE,L/JUST FOR YOU SACD4Stereo/Surround/CDAud 602498623886B000979600 RICHIE,L/LIVE IN PARIS(DVD+CD) CD with DVD 602517447073 6076883719 RICHMAN,J/TAKE ME TO THE PLAZA Digital Video Disc 060768837195 CD9047 RICHMAN,J/YOU MUST AK T HEART Compact Disc 011661904729 4758652 RICHTER,S/20TH CENTURY MUSIC P Compact Disc 0289475865244758613 RICHTER,S/BEETHOVEN:THE MASTER Compact Disc 0289475861354758619 RICHTER,S/HAYDN:THE MASTER V.6 Compact Disc 0289475861974758130 RICHTER,S/PROKOFIEV/SCRIABIN/S Compact Disc 028947581307 CDROUN0220 RIDERS IN T SKY/NEW TRAILS Compact Disc 011661022027 SJPCD194 RIDLEY,G/ANTHOLOGY Compact Disc 5055011701946 485362A RIEU, YANN/SAINT-GERVAIS Compact Disc 068944853625 485462 RIEU, YANN/SPECTRUM CD with DVD 0689448546226 02517 44707 3 0 68944 85462 26 33014 40182 4 0 11661 90472 90 11661 16222 80 11661 01672 9 0 11661 02202 70 11661 02722 0 0 11661 60272 46 17742 03862 0 5 055011 701946 8 051093 880088 6 17742 70142 5 6 02517 39444 50 75021 03482 2 6 00753 04123 9 0 28947 58130 70 28947 58613 5 0 28947 58619 70 44001 81202 66 02498 62024 3 0 28947 58652 4 0 68944 85362 54 001617 413227 0 60768 83719 56 02498 62388 6 Page 161 of 496 November 12, 2014Catalogue NumberArtist / Title Config Scannable UPC UPC 3707889 RIEU,A/FROM MAASTRICHT WI(6DVD Digital Video Disc 602537078899 0652632 RIEU,A/LOVE AROUND THE WORLD Compact Disc 044006526324 MASSCD1210D GRIGHTEOUS PIGS/STRESS RELATED Compact Disc 5907785033177 AE4072 RIHANNA/BROWN,C/HIP HO V2(2DVD Digital Video Disc 655690407204 B000896802 RIHANNA/GOOD GIRL GONE BAD Compact Disc 602517337909B001136000 RIHANNA/GOOD GIRL GONE BAD(RE CD with DVD 602517728042 4626182 RIMSKY-KORSAKOV/TSAR'S BRIDE Compact Disc 028946261828 MW064 RIPERTON,M/PERFECT ANGEL Compact Disc 813411010649 B002117902 RISE AGAINST/THE BLACK MARKET Compact Disc 602537911561 390799 RITENOUR/STEPS AHEAD/DOUBLE TI Digital Video Disc 801213907991 INTROCD2049 RITTER,T/A PROPER INTRO TO:TEX Compact Disc 805520060493 563542 RIVARD, MI/MEFIEZ-VOUS DU GRAN Compact Disc 077775635423 82666310538 RIVERS,J/LAST BOOGIE IN PARIS Compact Disc 826663105384 SHOUT35 RIVINGTONS/PAPA OOM MOW MOW Compact Disc 5013929503526 HSM50542 ROACH THOMPSON BLUES BAN/HONKY Compact Disc 809842505427 710172C ROB THE VI/BEATS TO PILAGE &CO Compact Disc 800867101724 IC1078 ROBERTS,J/THE JUDY ROBERTS BAN Compact Disc 077712710787IC1088 ROBERTS,J/THE OTHER WORLD Compact Disc 077712710886 B001932702 ROBERTSON,THE/DUCK THE HAL EXC Compact Disc 602537557936 CDROUN3114 ROBILLARD,D/AFTER HOURS SWING Compact Disc 011661311428CDROUN3100 ROBILLARD,D/YOU GOT ME Compact Disc 011661310025 HSM50082 ROBINSON J.P./CLASSIC R&B FROM Compact Disc 809842500828 4710 ROBINSON,F/I HEAR SONG BLUES D Compact Disc 014551471028 B000332209 ROBINSON,S/BEST OF - DVD Digital Video Disc 602498635865 ACX142 ROBYN,R/DO IT AGAIN Compact Disc 827590142022 B000648502 ROCHELL,M/YOU,ME AND THE RADIO Compact Disc 6024985403986 02517 72804 2 8 00867 10172 4 0 11661 31002 50 11661 31142 85 013929 503526 5 907785 033177 0 77712 71078 7 0 77712 71088 66 02537 91156 1 6 02498 54039 86 02537 55793 60 44006 52632 4 0 28946 26182 86 02517 33790 9 0 77775 63542 3 8 27590 14202 28 13411 01064 9 8 09842 50082 88 09842 50542 78 05520 06049 3 8 26663 10538 4 0 14551 47102 86 55690 40720 46 02537 07889 9 6 02498 63586 58 01213 90799 1 Page 162 of 496 November 12, 2014Catalogue NumberArtist / Title Config Scannable UPC UPC VP428CD ROCK SCULLY/TWO DECADES ON THE Compact Disc 604388327928 DRMSD50008 ROCK,C/ROLL WITH T NEW Compact Disc 600445000827 BAB9682 ROCKABYE BABY/GOOD DAY,GOODNI Compact Disc 027297968226 0249833453 RODGERS & HART/DEFINITIVE COLL Compact Disc 602498334539 CCM21352 RODGERS,J/SINGS FOLK SONGS/AT Compact Disc 617742213522 CCM21342 RODGERS,J/TWILIGHT ON THE TRAI Compact Disc 617742213423 3145898472 RODGERS,M M/RED, WHITE AND BLU Compact Disc 731458984726 862942 RODGERS,P/ELECTRIC Compact Disc 060768629424 4343692 RODRIGO/CTO ARANJUEZ/ROMERO Compact Disc 0289434369224756545 RODRIGO/THE RODRIGO COLLECTION CD with DVD 028947565451 HSM80022 RODRIGUEZ,O/VARIOUS/VOCAL MAGI Compact Disc 809842800225 N4CD10 ROESY/COLOUR ME COLOURFUL Compact Disc 5099386268116 349254 ROGERS, KE/HIS GREATEST HITS A Cassette 724383492541 ABR635282 ROGERS,K/COVERED BY KENNY Compact Disc 084296352821 TC252259 ROGERS,K/FOREVER Compact Disc 628261225927 LM046 ROGERS,K/GOLDEN HITS COLLE(DVD Digital Video Disc 5883007136461 341874 ROGERS,K/HIS GREATEST HITS-CS1 Cassette 724383418749341884 ROGERS,K/HIS GREATEST HITS-CS2 Cassette 724383418848 SYN070 ROGERS,R/KING OF THE COWBOYS CD with DVD 874757007021 CDFLY425 ROGERS,S&CLAUDIA/CLOSING T DIS Compact Disc 018964042523 MASSCDDG109 2ROGUE MALE/FIRST VISIT Compact Disc 5907785030657 EV306679 ROLLING STO/SWEET SUMM(2DVD+T Digital Video Disc 801213066797 IEG2170 ROLLING STONES,THE/ROCK OF AGE Digital Video Disc 617742217094 B001766102 ROLLINGSTONES,THE/GRRR(3CD) Compact Disc 602537109142 6076845122A ROLLINS BAND/NICE Compact Disc 060768451223 IMPD224 ROLLINS,S/ALFIE-REMASTERED Compact Disc 0111050224227 24383 41874 9 7 24383 41884 87 24383 49254 10 28947 56545 1 8 74757 00702 16 28261 22592 7 0 18964 04252 35 099386 268116 0 27297 96822 6 0 84296 35282 1 5 907785 030657 6 17742 21342 36 04388 32792 8 8 09842 80022 5 6 02537 10914 27 31458 98472 66 02498 33453 9 0 28943 43692 2 0 11105 02242 26 00445 00082 7 6 17742 21352 2 0 60768 45122 30 60768 62942 4 6 17742 21709 48 01213 06679 75 883007 136461 Page 163 of 496 November 12, 2014Catalogue NumberArtist / Title Config Scannable UPC UPC OJCCD291 ROLLINS,S/SAXOPHONE COLOSSUS Compact Disc 025218629126 OJCCD124 ROLLINS,S/TENOR MADNESS Compact Disc 025218612425 B000655902 ROLLINS,S/THE IMPULSE STORY Compact Disc 602498551028 880132A ROMANTICS,/KING BISCUIT FLOWER Compact Disc 707108801323 6076804552 ROMEO,M/WET DREAM: THE BEST OF Compact Disc 060768045521 740152 ROMERO, AN/SPANISH GUITAR VIRT Compact Disc 724357401524 FUR306722 RONNIE HOWARD TRIO/GOTTA GIT O Compact Disc 5018901306720 600422A RONSON, MI/SECRET SESSIONS,THE Compact Disc 712786004225 B000088702 RONSTADT,L/HUMMIN' TO MYSELF Compact Disc 602498605219 LV120 ROOMATES/LET S CALL IT A DAY Compact Disc 764942222028 B001113802 ROOTS,THE/RISING DOWN Compact Disc 602517672567B000392802 ROSENWINKEL,K/DEEP SONG Compact Disc 075021034563 817042A ROSNES, RE/WITH THE DANISH RAD Compact Disc 724358170429 3145305112 ROSS,D & T SUPREMES/ANTHOLOGY Compact Disc 731453051126 B000569402 ROSS,D/BLUE Compact Disc 602498870037B000079102 ROSS,D/DIANA (DELUXE) Compact Disc 602498604410 0121591852 ROSS,D/THE BEST OF DIANA ROSS- Compact Disc 6012159185264400670542 ROSS,D/TO LOVE AGAIN (REMASTER Compact Disc 044006705422 4154982 ROSSINI/VIAGGIO A REIMS/ABBADO Compact Disc 028941549822 B001281202 ROTH,A/ASLEEP IN THE BREAD AIS Compact Disc 602527018355 ACM714142 ROTH,D/DIGGINGTHROUGHMYCLOSET Compact Disc 045507141429ACM740112 ROTH,D/IRRECONCILABLESIMILARIT Compact Disc 045507401127 FOL740382 ROTH,D/PRACTICIEMAKESPROGRESS Compact Disc 045507403824 MA90692 ROTH,DL/DIAMOND DAVE Compact Disc 026245906921 SNCD10502 ROTONDI,J AND TH/HARD HITTIN A Compact Disc 601917105026 B000613502 ROUND,C/SLOW MOTION ADDICT Compact Disc 6024987979760 25218 62912 6 7 12786 00422 57 07108 80132 30 25218 61242 5 7 64942 22202 8 0 45507 40112 7 0 45507 40382 45 018901 306720 0 45507 14142 9 6 01917 10502 66 02498 60521 9 0 75021 03456 3 7 31453 05112 6 6 02527 01835 50 44006 70542 26 02498 60441 0 6 02498 79797 66 02498 55102 8 6 02498 87003 77 24357 40152 4 7 24358 17042 9 0 28941 54982 26 02517 67256 7 6 01215 91852 60 60768 04552 1 0 26245 90692 1 Page 164 of 496 November 12, 2014Catalogue NumberArtist / Title Config Scannable UPC UPC B000216102 ROUND,C/THE DISCONNECTION Compact Disc 602498619124 ALP216 ROVA SAXOPHONE QUARTET/AS WAS Compact Disc 735286221626 FRANIRR067 ROVICS,D/THE COMMONS Compact Disc 5036265000450 B001449502 ROWLAND,K/HERE I AM Compact Disc 602527431420 CLC624 ROXY/ROXY Compact Disc 617742062427 MMPDVD0187 RPWL/THE RPWL LIVE EXPERIENCE DVD + BNS CD 5907785034808 3145433192 RUBIO,P/PAULINA Compact Disc 731454331920 9871129 RUDD,X/GOOD SPIRITS Compact Disc 602498711293 MA90922 RUDESS,J/ROAD HOME Compact Disc 614286909225 6076863812 RUDGREN,T/BEST OF - LIVE Compact Disc 0607686381290694906252 RUFF RYDERS/RUFF RYDERS VOL 2 Compact Disc 6069490625210694931772 RUFF RYDERS/RYDE OR DIE VOL.3 Compact Disc 606949317720 INAK9078 RUMPF,I & FRIENDS/AT ROCKPALAS Compact Disc 707787907897 380009 RUN CHICO /SHASHBO Compact Disc 779903800092 MIW101061 RUNDGREN,T/FOR LACK OF HONEST Compact Disc 813411010618 863572 RUNDGREN,T/LIARS Compact Disc 060768635722 846022A RUNDGREN,T/NEARLY HUMAN TOUR.J Compact Disc 060768460225 JD001 RURAL ALBERTA ADVANTAGE,THE/HO Compact Disc 648401013825 PRDVD36 RUSBY,K/LIVE AT CHRISTMAS(DVD) Digital Video Disc 5060066680191 MA250257 RUSH,O/I CAN'T QUIT THE BLUES Compact Disc 5413992502578 4797 RUSH,O/LOST IN THE BLUES Compact Disc 014551479727 6682510999 RUSH/RUSH IN RIO (DVD) Digital Video Disc 0668251099916682500017 RUSH/SNAKES & ARROWS T-SHIRT MERCH - GENERAL 066825000175 1355482 RUSH/SNAKES AND ARROWS(MVI LTD DVD Audio 075678999024 6682510972 RUSH/THE SPIRIT OF RADIO:(LIMI CD with DVD 066825109724 340282 RUSSELL, L/LEON RUSSELL Compact Disc 724383402823 0 66825 10972 47 79903 80009 26 17742 06242 77 35286 22162 6 7 07787 90789 76 02527 43142 0 7 31454 33192 0 6 06949 31772 06 06949 06252 16 02498 61912 4 7 24383 40282 35 413992 502578 5 036265 000450 0 60768 63812 9 0 60768 46022 58 13411 01061 8 6 48401 01382 56 14286 90922 5 0 60768 63572 26 02498 71129 3 0 14551 47972 7 0 66825 10999 15 060066 680191 5 907785 034808 0 75678 99902 40 66825 00017 5 Page 165 of 496 November 12, 2014Catalogue NumberArtist / Title Config Scannable UPC UPC 3145525402 RUSSELL,B/GREATEST HITS Compact Disc 731455254020 SYN058 RUSSELL,J/PAMPER ME CD with DVD 874757005829 3145867762 RUSTED ROOT/WELCOME TO MY PART Compact Disc 731458677628 AG5882 RUTTER,J/CAMBRIDGESINGERS/BROT Compact Disc 012805058827AG5002 RUTTER,J/CAMBRIDGESINGERS/OLDE Compact Disc 012805050029AG5862 RUTTER,J/CITYOFLONDONSINFONIA/ Compact Disc 012805058629 4651392 RUZICA,P/STRING QUARTETS,ARDIT Compact Disc 028946513927 836022 RX BANDITS/HALFWAY BETWEEN HER Compact Disc 060768360228836052 RX BANDITS/PROGRESS Compact Disc 060768360525836142 RX BANDITS/THE RESIGNATION Compact Disc 060768361423 0252782674 RYANDAN/IMAGINE Compact Disc 6025278267450252734225 RYANDAN/SILENCE SPEAKS Compact Disc 602527342252 CCM21112 RYDELL,B/BOBBY RYDELL SALUTES Compact Disc 617742211122 B001472202 RYE RYE/GO! POP! BANG! Compact Disc 602527027913 0170702 RYPDAL,T/LUX AETERNA Compact Disc 044001707025 4400142012 RYPDAL,T/RARUM-SELECTED RECORD Compact Disc 0440014201226076846522 RZA,THE/BIRTH OF A PRINCE Compact Disc 060768465220 CIDM1300 S.WINWOOD/BACK IN T HIGH LIFE Compact Disc 060439130020 DMWUS10014 SACRED OATH/SACRED OATH Compact Disc 826217900427 503832A SACRED SPI/MORE CHANTS AND DAN Compact Disc 724385038327 RMED00139 SAD CAFE/ANTHOLOGY Compact Disc 630428013926 RMED00285 SAD CAFE/OLE Compact Disc 630428028524 CLC37 SADLER,S.SGT.BARRY/BALLAD OF T Compact Disc 617742003727 MASSCDDG099 2SADUS/VISION OF MISERY Compact Disc 5907785028777 4840 SAFFIRETHEUPPITYBLUES/CLEANING Compact Disc 014551484028 TWA0552 SAHARA HOTNIGHTS/C'MON LET'S P Compact Disc 6049780055268 74757 00582 9 6 30428 01392 6 5 907785 028777 6 17742 21112 2 6 17742 00372 76 02527 34225 2 6 02527 02791 36 02527 82674 5 7 24385 03832 70 60439 13002 07 31458 67762 87 31455 25402 0 0 28946 51392 7 0 44001 70702 5 0 44001 42012 20 12805 05002 9 0 12805 05862 90 12805 05882 7 8 26217 90042 7 6 30428 02852 40 60768 36022 8 0 60768 36052 5 0 60768 36142 3 6 04978 00552 60 60768 46522 0 0 14551 48402 8 Page 166 of 496 November 12, 2014Catalogue NumberArtist / Title Config Scannable UPC UPC 3779542 SAINT GURMEET RAM/HIGHWAY LOVE Compact Disc 602537795420 CADIZCD102 SAINTS,THE/THE GREATEST COWBOY Compact Disc 823566415923 492762 SALERNO/SO/MENDELSON SAENS VIO Compact Disc 077774927628 EXM003 SALKEY,J/RECOLLECTIONS OF RIFL Compact Disc 5060105490026 4775375 SALONEN,E/FOREIGN BODIES;WING Compact Disc 028947753759 B001447702 SALUZZI,D/EL ENCUENTRO Compact Disc 028947638346B000402502 SALUZZI,D/SENDEROS Compact Disc 602498196120 VBE002 SALVADOR SANTANA BAND/SSB Compact Disc 804879115526 CCM20072 SAM & DAVE/SAM & DAVE Compact Disc 617742200720 0253762285 SAM ROBERTS BAND/LO FANTASY(DL Compact Disc 602537622856 VM0016 SAM/DESTRUCTION UNIT Compact Disc 778632901889 HSM50132 SAMANDDAVE/SAM AND DAVE Compact Disc 809842501320 B001198102 SAMPLE,J & WALKER,D/SWING STRE Compact Disc 602517835092 SJPCD220 SAMSON/PS1953-2005 Compact Disc 5055011702202SJPCD219 SAMSON/TOMORROWANDYESTERDAY Compact Disc 5055011702196 DWT70365 SAN FERMIN/SAN FERMIN Compact Disc 878037027792 CCM20762 SANBORN,D/TAKING OFF Compact Disc 617742207620 CCDCD4519 SANCHEZ,P/EL MEJOR Compact Disc 013431451921 CHC2032 SANCHEZ,R/EN LA PLAYA AL SOL Compact Disc 858370002380 970792 SANCTUARY,/BOLERO Compact Disc 724349707924 B000427602 SANDERS,P/ELEVATION Compact Disc 602498802793 MM806 SANDOVAL,A/ARTURO SANDOVAL & T Compact Disc 8436019588062 YY9439 SANDOVAL,A/LIVE AT THE HOTEL N Compact Disc 8436006494505 CLC180 SANDPIPERS/GUANTANMER-SANDPIPE Compact Disc 617742018028 4775111 SANDSTROM/HIGH MASS Compact Disc 028947751113 CHC2078 SANS CHICHI/MUTE N' MUSE Compact Disc 8583700022500 13431 45192 18 09842 50132 06 17742 20072 0 5 055011 702196 8 436006 494505 6 17742 20762 0 6 17742 01802 85 055011 702202 7 78632 90188 9 8 58370 00238 0 8 58370 00225 05 060105 490026 6 02537 79542 0 6 02537 62285 6 6 02498 80279 36 02517 83509 20 77774 92762 8 6 02498 19612 00 28947 63834 6 0 28947 75111 30 28947 75375 9 7 24349 70792 48 23566 41592 3 8 78037 02779 2 8 436019 588062 8 04879 11552 6 Page 167 of 496 November 12, 2014Catalogue NumberArtist / Title Config Scannable UPC UPC CLC5712 SANSEBASTIONSTRINGS/SUMMER Compact Disc 617742057126 1896496152 SANSONE,J/WATERMELON PATCH Compact Disc 018964961527 4756415 SASS,S/CLASSIC RECITALS Compact Disc 028947564157 MMPCD0199 SATELLITE/A STREET BETWEEN SUN Compact Disc 5907785023390 RT012 SATRIANI,J/ONE BIG RUSH-LIVE 2 Digital Video Disc 9223814130126 DY100109 SAVAGE CIRCUS/DREAMLAND MANOR( Compact Disc 4260085620111 090212 SAVING ABE/FIVE FOR $5 Compact Disc 5099930902121542132 SAVOY BROW/BRING IT HOME Compact Disc 085365421325 0734324 SAWALLISCH,W/HINDEMITH:CARDILL Digital Video Disc 044007343241 CA90004 SAWALLISCH,W/WOLFGANG SAWALLIS Digital Video Disc 4028462900047 SJPCD070 SAXON/DIAMONDS&NUGGETS Compact Disc 5055011700703 359001 SAXON/SACRIFICE Compact Disc 5099973590019 6076862582 SAXON/THE EAGLE HAS LANDED PT2 Compact Disc 060768625822 862212B SAXON/UNLEASH THE BEAST Compact Disc 060768622128 765513 SAY NO MORE/WHAT YOU THOUGHT Y Compact Disc 602517655133 ROUTE22 SCAEFER,A/TWELVE EASY PIECES Compact Disc 776098175226 CHS33306 SCAGGS,B/BOZ SCAGGS GREATEST H Digital Video Disc 619061330638 MYSTCD024 SCEPTIC/ INTERNAL COMPLEXITY Compact Disc 5903427871589 ODR9325 SCHAFER,RM/CREDO Compact Disc 776143932521ODR9307 SCHAFER,RM/PATRIA Compact Disc 776143000824 INAK9085CD SCHENKER,M GROUP/IN THE MIDST Compact Disc 707787908528 INAK71851BD SCHENKER,M GROUP/LIVE IN TOKYO BLU RAY 707787718592 INAK9098CD SCHENKER,M GROUP/LIVE IN TOKYO Compact Disc 707787909822 INAK61851DVD SCHENKER,M GROUP/LIVE IN TOKYO Digital Video Disc 707787618595 INAK9091CD SCHENKER,M/BARDEN,G/GIPSY LADY Compact Disc 707787909129INAK9103CD SCHENKER,M/TEMPLE OF ROCK Compact Disc 7077879103237 07787 71859 20 85365 42132 50 18964 96152 7 7 76098 17522 6 7 07787 90852 8 7 07787 91032 37 07787 90912 97 07787 90982 25 907785 023390 5 903427 871589 6 17742 05712 6 5 099930 902121 0 28947 56415 7 4 260085 620111 5 055011 700703 7 76143 00082 47 76143 93252 10 60768 62582 2 6 02517 65513 30 60768 62212 85 099973 590019 6 19061 33063 8 7 07787 61859 54 028462 900047 0 44007 34324 19 223814 130126 Page 168 of 496 November 12, 2014Catalogue NumberArtist / Title Config Scannable UPC UPC INAK9116 SCHENKER,M/TEMPLE OF ROCK(2CD) Compact Disc 707787911627 INAK7187 SCHENKER,M/TEMPLE OF ROCK(BR) BLU RAY 707787718776 INAK2012 SCHENKER,M/TEMPLE OF(BR+2CD+D BLU RAY+CD+DVD 707787201292INAK6187 SCHENKER,M/TEMPLE OF(DVD) Digital Video Disc 707787618779 ALP235 SCHIANO,M/ON THE WAITING LIST Compact Disc 735286223521 B001190602 SCHIFF,A/BEETHOVEN:PIANO SONAT Compact Disc 028947661894B001190802 SCHIFF,A/BEETHOVEN:PIANO SONAT Compact Disc 028947661924B001081402 SCHIFF,A/BEETHOVEN:THE PIANO S Compact Disc 028947661870B001071902 SCHIFF,A/CERHA:CONCERTO FOR VI Compact Disc 028947630982 3145897632 SCHIFRIN,L/PIANO, STRINGS AND Compact Disc 731458976325 4792279 SCHILLER/OPUS Compact Disc 0289479227974775502 SCHNEIDERHAN,W/BEETHOVEN/VIOLI Compact Disc 028947755029 B001266702 SCHNITTKE/RASKATOV/HILLARD/SYM Compact Disc 028947669944 NUG702 SCHOFIELD,M TRIO/EAR TO THE GR Compact Disc 689076112369 NUG1002 SCHOFIELD,M/LIVE FROM THE ARCH Compact Disc 5065001293054 TBN0812 SCHOOL FOR HEROES/ANSWER Compact Disc 711578008120 4775233 SCHUBERT/FANTASIA FOR 2 PIANOS Compact Disc 028947752332 CD80337 SCHUBERT/IMPROMPTUS OP.90 & 14 Compact Disc 089408033728 4556852 SCHUBERT/PNO TRIO/ASHKENAZY Compact Disc 0289455685224674172 SCHUBERT/TROUT QUINTETT Compact Disc 028946741726 471932 SCHULLER/N/JOPLIN: THE RED BAC Compact Disc 077774719322 SDR0063 SCHULZ/WHAT APOLOGY Compact Disc 652975006329 MIG00922 SCHULZE,K/LA VIE ELECTRONI(3CD Compact Disc 885513009227 4713682 SCHUMANN/DAVIDBUNDLERSTANZE Compact Disc 0289471368284713702 SCHUMANN/KREISLERIANA,GESANGE Compact Disc 0289471370234404962 SCHUMANN/PNO WKS/LUPU Compact Disc 0289440496267 07787 71877 6 7 07787 20129 2 0 89408 03372 87 35286 22352 1 5 065001 293054 6 89076 11236 97 07787 91162 7 6 52975 00632 90 28947 92279 77 31458 97632 5 0 77774 71932 20 28946 74172 60 28947 63098 20 28947 66187 00 28947 66189 4 0 28947 66192 4 0 28947 66994 4 0 28947 13682 80 28947 75233 2 0 28947 13702 30 28947 75502 9 0 28944 04962 60 28945 56852 2 8 85513 00922 77 11578 00812 07 07787 61877 9 Page 169 of 496 November 12, 2014Catalogue NumberArtist / Title Config Scannable UPC UPC 4296722 SCHUMANN/SYM 1-4/KARAJAN Compact Disc 028942967229 CD80182 SCHUMANN/SYMPHONIES 2 & 3 Compact Disc 089408018220 4697652 SCHUMMANN/CARNAVAL;DAVIDSBUNDE Compact Disc 028946976524 SM20064 SCHWARTZ,S & SCHENKER,M/LIVE T Compact Disc 4041767028209SM20041 SCHWARZ,S & THE ELECTRICGUITAR Compact Disc 4041767027608SM20071 SCHWARZ,S & THE LEGENDS/SOUL C Compact Disc 4041767028247 0251705090 SCISSORSISTERS/TA-DAH! Compact Disc 6025170509073145895242 SCLAVIS,L/DANS LA NUIT-MUSIC F Compact Disc 731458952428 B001296902 SCLAVIS,L/LOST ON THE WAY Compact Disc 602517984974 0385042 SCLAVIS,L/NAPOLI'S WALLS Compact Disc 044003850422 4400655962 SCOFIELD,J BAND/UP ALL NIGHT Compact Disc 0440065596293145375032 SCOFIELD,J TRIO/MAKOTO OZONE Compact Disc 7314537503263145434302 SCOFIELD,J/BUMP Compact Disc 731454343022 B000169902 SCOFIELD,J/EN ROUTE Compact Disc 602498613573 CD428005 SCORN/ANAMNESIS Compact Disc 637642800523CD469876 SCORN/ZANDER Compact Disc 017046987622 RPMSH209 SCOTT, P & BENSON,J J/COMPLETE Compact Disc 5013929520929 1201DVD SCOTT,B/THE YEARS BEFORE AC/DC Digital Video Disc 5322017120010 SHOUT29 SCOTT,P/SHE'S GOT IT ALL Compact Disc 5013929502925 PRCD110272 SCOTT,S/QUEEN OF THE ORGAN:SHI Compact Disc 025218312721 INAK6465 SCOTT-HERON,S/PARIS CONCERT(DV Digital Video Disc 707787646574 STLW001 SCREAMING TREES/LAST WORDS:THE Compact Disc 678277191327 4529612 SCRIABIN/PIANO SONATAS Compact Disc 028945296128 DGB023 SEA WOLF/LEAVES IN THE RIVER Compact Disc 842803001521 VOL0802 SEAGULL STRANGE/BETTER ANGELS Compact Disc 3770000947076 4846 SEALS,/LIVESPONTANEOUSCOMBUSTI Compact Disc 0145514846220 25218 31272 10 89408 01822 0 4 041767 028247 4 041767 027608 4 041767 028209 3 770000 947076 6 78277 19132 76 37642 80052 3 0 17046 98762 2 5 013929 520929 7 31453 75032 6 6 02498 61357 37 31454 34302 20 44006 55962 96 02517 05090 7 0 28945 29612 80 28946 97652 4 0 44003 85042 27 31458 95242 8 6 02517 98497 40 28942 96722 9 5 013929 502925 8 42803 00152 1 0 14551 48462 25 322017 120010 7 07787 64657 4 Page 170 of 496 November 12, 2014Catalogue NumberArtist / Title Config Scannable UPC UPC 4720 SEALS,S/CHICAGO FIRE Compact Disc 014551472025 4708 SEALS,S/MIDNIGHT SON Compact Disc 0145514708234703 SEALS,S/THE SON SEALS BLUES BA Compact Disc 014551470328 B001368302 SEAN,J/ALL OR NOTHING Compact Disc 602527245164 863392 SEARCHERS,THE/THE DEFINITIVE P Compact Disc 060768633926 811592B SEARCHERS,THE/THE VERY BEST OF Compact Disc 060768115927 2745981 SEARCHERS/HEARTS IN THEIR(4CD Compact Disc 602527459813 880192 SEBASTIAN,/KING BISCUIT FLOWER Compact Disc 707108801927 020692B SECRET & W/GREAT WHITE WHALE Compact Disc 5099950206926 CDROUN0383 SEEGER,M & OTHERS/WAY DOWN IN Compact Disc 011661038325CDROUN0262 SEEGER,M & OTHERS\FRESH OLDTIM Compact Disc 011661026223 HWA1207 SEEGER,P/STORIES & SONGS FOR L Compact Disc 018106120720 4775856 SEEMAN,C/OM/MOZART:COMPLETE SO Compact Disc 028947758563 404122B SEETHER/FINDING BEAUTY IN NEGA Compact Disc 5099964041223545062B SEGER, BOB/FACE THE PROMISE Compact Disc 094635450620 736862 SEGER, BOB/FACE THE PROMISE LT CD with DVD 094637368626303342 SEGER, BOB/GREATEST HITS Compact Disc 724383033423 132212B SEGER, BOB/STRANGER IN TOWN(PL Compact Disc 5099951322120 4775476 SEGOVIA,A/SEGOVIA COLLECTIONV2 Compact Disc 0289477547630144322 SEIM,T/THE SOURCE AND DIFFEREN Compact Disc 044001443220 320832C SEKIDEN/JUNIOR FICTION Compact Disc 620673208321 OP33798 SELASEE ATIASE/RUN Compact Disc 776143379821 TC253243 SELENA/FOREVER Compact Disc 628261324323 029602 SELENA/LEGENDS FOREVER Compact Disc 5099950296026836272 SELF AGAINST CITY/TAKE IT HOW Compact Disc EP's 060768362727836502 SELF AGAINST CITY/TELLING SECR Compact Disc 0607683650250 94637 36862 6 6 28261 32432 36 20673 20832 17 07108 80192 7 0 11661 02622 30 11661 03832 5 0 18106 12072 0 5 099950 296026 6 02527 24516 4 5 099964 041223 0 44001 44322 00 28947 75476 30 28947 75856 35 099950 206926 7 24383 03342 3 5 099951 322120 6 02527 45981 3 0 94635 45062 0 7 76143 37982 1 0 60768 36502 50 60768 11592 70 60768 63392 60 14551 47032 80 14551 47082 30 14551 47202 5 0 60768 36272 7 Page 171 of 496 November 12, 2014Catalogue NumberArtist / Title Config Scannable UPC UPC BS4538 SELFE,KEVIN & THE TORNADOES/PL Compact Disc 700261280769 0714139 SELLERS,P/MOZART:COSI FAN TUTT Digital Video Disc 044007141397 0881123552 SEMISONIC/ALL ABOUT CHEMISTRY Compact Disc 008811235529 725863 SEREDA, JE/TURN THE COUNTRY ON Compact Disc 061297258635 NPR361LTD SERENITY/DEATH & LEGACY Compact Disc 885470001883NPR250LTD SERENITY/FALLEN SANCTUARY Compact Disc 693723311425 MF0702 SERVEERT,B/BARE STRIPPED NAKED Compact Disc 796627007026 EUL0732 SET YOUR GOALS/MUTINY Compact Disc 790168467325 NPR119 SETHERIAL/FROM THE ANCIENT RUI Compact Disc 693723227627NPR264 SETHERIAL/NORD + HELL ETERNAL Compact Disc 693723307329 440352 SETZER,B ORCH/THE ULTIMATE COL Compact Disc 640424403522 4042440112 SETZER,B ORCHESTRA/BOOGIE WOOG Compact Disc 640424401122 440682 SETZER,B ORCHESTRA/ROCKABILLY Compact Disc 640424406820 740882A SEVEN WITCHES/PASSAGE TO THE O Compact Disc 823107408827740022A SEVEN WITCHES/XILED TO INFINIT Compact Disc 823107400227 MASSCD1236D GSEVENTH ANGEL/LAMENT FOR WEARY Compact Disc 5907785033788 MASSCD1235D GSEVENTH ANGEL/THE TORMENT Compact Disc 5907785033771 NPR358 SEVENTH VOID/HEAVEN IS GONE Compact Disc 885470001715 MVD5710D SEX PISTOLS/AGENTS OF ANARCHY Digital Video Disc 760137571094 548572A SEXTETO MA/A PASSION FOR TANGO Compact Disc 077775485721710242A SHABAZZ TH/BOOK OF SHABAZZ Compact Disc 800867102424 CA60050 SHABBA RANKS/SHABBA AT SHOWDOW Digital Video Disc 4028462600503 TLE0004 SHACKELTONS,THE/RECORDS Compact Disc 887158729201 DTG776474 SHADES OF BROWN/S.O.B. Compact Disc 602517764743 747014583920 SHAFER,F/RESISTOR (CD) Compact Disc 884501362320 INAK6529 SHAKATAK/IN CONCERT:OHNE FILTE Digital Video Disc 7077876529958 00867 10242 4 8 84501 36232 05 907785 033771 5 907785 033788 6 02517 76474 37 00261 28076 9 6 40424 40682 06 40424 40352 2 6 40424 40112 20 08811 23552 9 0 77775 48572 1 8 87158 72920 18 85470 00188 3 6 93723 31142 5 8 85470 00171 56 93723 22762 7 6 93723 30732 90 61297 25863 5 8 23107 40022 78 23107 40882 77 96627 00702 6 7 90168 46732 5 4 028462 600503 7 07787 65299 57 60137 57109 40 44007 14139 7 Page 172 of 496 November 12, 2014Catalogue NumberArtist / Title Config Scannable UPC UPC ALIEN0222 SHALABI EFFECT/SOUND TRACK Compact Disc 620675134895 405079 SHAMEN, TH/GREATEST HITS Digital Video Disc 827954050796571062 SHANKAR, R/FULL CIRCLE TOUR W/ Compact Disc 724355710628 670232A SHANKAR, R/INDIA'S MASTER MUSI Compact Disc 724356702325 MF0732 SHANNON,S/CITY MORNING SONG Compact Disc 796627007323 DLCD0023 SHANNON,S/RENEGADE Compact Disc 827565023622 4400161582 SHARISSA/NO HALF STEPPIN' Compact Disc 044001615825 CCM21522 SHARP,DD/IT'S MASHED POTATO TI Compact Disc 617742215229 ALP92 SHARP,E/ARC2:THE SEVENTIES Compact Disc 735286199222ALP95 SHARP,E/ARC3:CYBERPUNK & THE V Compact Disc 735286199529 711002A SHARPE, CR/I AM Compact Disc 695967110024 CR9266422 SHAVER,BJ/REAL DEAL Compact Disc 616892664222CR9251502 SHAVER.BJ/FREEDOM'S CHILD Compact Disc 616892515029 SMCR5027 SHAW,M/FROM THE DEPTHS OF MY S Compact Disc 5013929072732 862542B SHAW,T/7 DEADLY ZENS Compact Disc 060768625426 50714542 SHAWBROTHERS/CONCERTINTHEPARK Compact Disc 045507145427 CLC219 SHAY,D/Park Avenue Hillbillies Compact Disc 617742021929 4749852 SHCUBERT/SYMPHONIES NOS. 3 & 4 Compact Disc 028947498520 FSM8516 SHE WANTS REVENGE/VALLEYHEART Compact Disc 846070085161 CCDCD1009 SHEARING,G & JONES,H/THE SPIRI SACD4Stereo/Surround/CDAud 013431100966 INTROCD2002 SHEARING,G/A PROPER INTRO TO:G Compact Disc 805520060028 0246544142 SHEPP,A/ATTICA BLUES Compact Disc 602465441420 QLDVD6668 SHEPPARD,TG/IN CONCERT (DVD) Digital Video Disc 022891666899 CCM21402 SHERMAN,A/ALLAN IN WONDERLAND Compact Disc 617742214024CCM21432 SHERMAN,A/ALLAN SHERMAN LIVE!( Compact Disc 617742214321CCM21422 SHERMAN,A/MY NAME IS ALLAN Compact Disc 6177422142226 95967 11002 48 27565 02362 2 7 35286 19922 2 5 013929 072732 6 17742 21522 9 7 35286 19952 9 0 45507 14542 7 6 17742 02192 9 6 02465 44142 00 44001 61582 57 24355 71062 8 0 28947 49852 07 24356 70232 5 8 46070 08516 1 6 17742 21402 4 6 17742 21422 26 17742 21432 18 05520 06002 80 60768 62542 66 20675 13489 5 7 96627 00732 3 6 16892 51502 96 16892 66422 2 0 22891 66689 98 27954 05079 6 0 13431 10096 6 Page 173 of 496 November 12, 2014Catalogue NumberArtist / Title Config Scannable UPC UPC CCM21412 SHERMAN,A/SONGS FOR SWINGIN' L Compact Disc 617742214123 CCM21442 SHERMAN,A/TOGETHERNESS Compact Disc 617742214420 BARQCD005 SHILOH (BAND)/ELEMENTS Compact Disc 5704207113260 2539603692 SHILOHS,THE/SO WILD Compact Disc 825396036927 BLR0002 SHILTS/ALL GROWN UP Compact Disc 884501713771BLR0001 SHILTS/GOING UNDERGROUND Compact Disc 884501396349 0382662 SHINING/SWEET SHANGHAI DEVIL Compact Disc 044003826625 NMR0211 SHINYRIBS/GULF COAST MUSEUM Compact Disc 887845696069NMR0210 SHINYRIBS/WELL AFTER AWHILE Compact Disc 845121021073 FH013 SHIPIBO SHAMANS/WOVEN SONGS OF Compact Disc 678277141322 ACME0152 SHODS/STOP CRYING Compact Disc 689076300858 391789 SHORTER,W/LIVE AT MONTREUX 199 Digital Video Disc 801213917891 4674652 SHOSTAKOVICH/SYMPHONY NO.8 Compact Disc 028946746523 SJPCD227 SHUTTLEWORTH,P/MIXEDUPSHOOKUPG Compact Disc 5055011702271 B001497102 SHYNE/GANGLAND(EXPLICIT) Compact Disc 602527534275 4775484 SIBELIUS/OVERTURES/THE TEMPEST Compact Disc 0289477548484681442 SIBELIUS/VIOLIN CONCERTO Compact Disc 0289468144204748142 SIBELIUS/VIOLIN CONCERTO Compact Disc 028947481423 MVDV4916 SID VICIOUS/SID!BY THOSE WHO R DVD + BNS CD 760137491699 NPR044 SIEBENBURGEN/GRIMJAUR Compact Disc 4001617272121NPR100 SIEBENBURGEN/PLAGUED BE THY AN Compact Disc 4001617240625NPR306 SIEGFRIED/NIEBELUNG Compact Disc 782124000516 0881130912 SIGUR ROS/( ) Compact Disc 008811309121 B000027000 SIGUR ROS/(UNTITLED #1) {CDSP} CD with DVD 008811323394 7697422142 SIGUR ROS/AGAETIS BYRJUN Compact Disc 776974221429 AFM2853 SILENT FORCE/FUTURE FORCE Compact Disc 884860005128 0 08811 32339 45 704207 113260 5 055011 702271 6 17742 21412 3 6 78277 14132 28 84501 39634 98 84501 71377 1 6 02527 53427 5 0 08811 30912 1 7 76974 22142 90 44003 82662 5 0 28946 81442 00 28946 74652 3 0 28947 48142 30 28947 75484 88 45121 02107 38 87845 69606 9 4 001617 272121 4 001617 240625 7 82124 00051 66 17742 21442 0 6 89076 30085 88 25396 03692 7 8 84860 00512 88 01213 91789 1 7 60137 49169 9 Page 174 of 496 November 12, 2014Catalogue NumberArtist / Title Config Scannable UPC UPC 0734299 SILLS,B/MADE IN AMERICA - DVD Digital Video Disc 044007342992 MASSCD1257D GSILVER MOUNTAIN/UNIVERSE Compact Disc 5907785034242 CLR022 SILVER SEAS, THE/HIGH SOCIETY Compact Disc 875929002226 825012A SILVERMAN,/PARLOUR GRAND,THE/P Compact Disc 774718250124 4721122 SILVESTROV,L/REQUIEM FOR LARIS Compact Disc 028947211228 VR557 SIMON,H/HARPER SIMON Compact Disc 601091055728 RPMSH222 SIMON,J/MONUMENT OF SOUL Compact Disc 5013929522220 9846775 SIMONE,N/JAZZ CLUB:MY BABY JUS Compact Disc 6024984677564770222 SIMONEAU,L/OPERA RECITALS AND Compact Disc 028947702221 175922 SIMPLE MIN/5X5 LIVE Compact Disc 5099901759228 348132B SIMPLE MINDS/CELEBRATE GRE(3CD Compact Disc 5099993481328 359622 SIMPLE MINDS/NEON LIGHTS Compact Disc 724353596224 B000291302 SIMPSON,A/AUTOBIOGRAPHY Compact Disc 602498628744 349272 SINATRA, F/CLASSIC SINATRA (EC Compact Disc 5099923492721294142 SINATRA, F/CLASSIC SINATRA(CD CD with DVD 5099962941426380892 SINATRA, F/COMPLETE SINATRA CA Compact Disc 724383808922 43322 SINATRA,F/CHRISTMAS MEMORIES Compact Disc 096741222726 6PAZZ003 SINATRA,F/MARTIN,D/SAM/THE RAT Compact Disc 883717016720 SYN020 SINATRA,F/NIGHT AND DAY Compact Disc 874757002026 AMACD013 SINATRA,F/ON THE RADIO Compact Disc 884607000133 MASSCD1313D GSINERGY/SUICIDE BY MY SIDE Compact Disc 5907785035256 QLDVD6701 SINGING COWBOYS/SINGING COWBOY Digital Video Disc 022891670193 MASSCD1284D GSINISTER/CROSS THE STYX Compact Disc 5907785034969 MASSCD1286D GSINISTER/HATE/BASTARD SAINTS Compact Disc 5907785034983 MASSCD1287D GSINNER/JUDGEMENT DAY Compact Disc 5907785034990 AFM2162 SINNER/MASK OF SANITY Compact Disc 8848600001235 099962 941426 7 24353 59622 4 0 96741 22272 6 8 74757 00202 6 5 907785 034983 5 907785 035256 5 907785 034969 8 83717 01672 05 907785 034242 5 907785 034990 5 013929 522220 6 01091 05572 8 6 02498 46775 6 5 099901 759228 5 099993 481328 0 28947 21122 8 0 28947 70222 1 5 099923 492721 7 24383 80892 26 02498 62874 4 8 84607 00013 38 75929 00222 6 7 74718 25012 4 8 84860 00012 30 22891 67019 30 44007 34299 2 Page 175 of 496 November 12, 2014Catalogue NumberArtist / Title Config Scannable UPC UPC 8215102 SIOUXSIE & T BANSHEES/HYAENA Compact Disc 042282151025 NPR136 SIRENIA/SIRENIAN SHORES Compact Disc 693723344324 ALP253 SIRONE/SIRONE LIVE(1981) Compact Disc 735286225327 MMPCD0039 SIRRAH/ACME Compact Disc 5907785029286 B000739802 SISQO/BEST OF SISQO Compact Disc 602517048331 3145488362 SISQO/RETURN OF DRAGON Compact Disc Enhanced 731454883627 CDHBEA4607 SISTER CAROL/DREAD NATTY CONGO Compact Disc 011661460720 0121578832 SISTER HAZEL/FORTRESS Compact Disc Enhanced 601215788327 USD53030 SISTER HAZEL/SOMEWHERE MORE FA Compact Disc 601215303025 SYN053 SISTER SLEDGE/WE ARE FAMILY Compact Disc 874757005324 SIVSSCD2 SIVION/SPRING OF THE SONGBIRD Compact Disc 619981196826 DR0071 SIX JOKERZ/SIX JOKERZ-UNAUTHOR Digital Video Disc 022891007128 TWA0492 SIXTEEN HORSEPOWER/FOLKLORE Compact Disc 604978004925TWA0652 SIXTEEN HORSEPOWER/OLDEN Compact Disc 604978006523 MVDV4619 SIZZLA AND CAPLETON/CONSCIOUS Digital Video Disc 022891461999 CDHB18586 SKATALITES, THE/FOUNDATION SKA Compact Disc 011661768529 CRSEG008 SKIP BIFFERTY/SKIP BIFFERTY Compact Disc 5013929180826 BADFICD006 SKOIDATS/A CURE FOR WHAT(DLX) Compact Disc 5013929930636 BHH2047 SKRATCH COMANDO/INCREDIBLE DJ' Compact Disc 611933204726 PRR790 SKY ARCHITECT/EXCAVATION OF TH Compact Disc 837792008163 RT017 SKYNYRD,L/LIVE 2006 (DVD) Digital Video Disc 9223814130171 RR001DVD SKYNYRD,L/THE EARLY DAYS (DVD) Digital Video Disc 9215017160017 AM0092 SLAPSTICK/SLAPSTICK Compact Disc 612851000926 862762 SLAUGHTER/BACK TO REALITY Compact Disc 060768627628 862302A SLAUGHTER/FEAR NO EVIL Compact Disc 060768623026862142B SLAUGHTER/REVOLUTION Compact Disc 0607686214280 11661 76852 90 11661 46072 0 8 74757 00532 4 6 11933 20472 65 013929 930636 7 35286 22532 7 5 907785 029286 8 37792 00816 35 013929 180826 6 01215 30302 50 42282 15102 5 6 02517 04833 16 93723 34432 4 0 60768 62762 8 0 60768 62142 80 60768 62302 66 12851 00092 66 04978 00652 36 04978 00492 56 19981 19682 66 01215 78832 77 31454 88362 7 0 22891 00712 8 0 22891 46199 9 9 223814 130171 9 215017 160017 Page 176 of 496 November 12, 2014Catalogue NumberArtist / Title Config Scannable UPC UPC MASSCD1164D GSLAUGHTER/STRAPPADO (REMASTERE Compact Disc 5907785032255 863222 SLAUGHTER/THEN AND NOW Compact Disc 060768632226 NRO32102 SLEEPTHIEF/LABYRINTHINE HEART Compact Disc 754863210228HOR11032 SLEET/VOLUME DROPS Compact Disc 631778110327 846712 SLICK,E/ZIG ZAG Compact Disc 060768467125 NMR0130 SLIDIN' SLIM/ONE MAN RIOT Compact Disc 801495187920 OOM7775 SLIM MAN/ALL I WANT FOR CHRIST Compact Disc 702621777520OOM7779 SLIM MAN/CHRISTMAS EVE Compact Disc 884501062190OOM7783 SLIM MAN/SLIM MAN LIVE Compact Disc 884501766012OOM7778 SLIM MAN/SOLSTICE Compact Disc 837101262880OOM7781 SLIM MAN/THOUSAND MILES AWAY Compact Disc 884501356756 MW055 SLIM WHITMAN/GREATEST COUNTRY Compact Disc 813411010557 MUBBD37 SLOAN/SMEARED Compact Disc 777488003723 AM0122 SLOW GHERKIN/DOUBLE HAPPINESS Compact Disc 612851001220 MVDA4881 SLY & ROBBIE/LIVE 86 (2CD) Compact Disc 760137488125 6076804542 SLY & ROBBIE/RIDDIM:THE BEST O Compact Disc 060768045422 310202A SMALL SINS/MOOD SWINGS Compact Disc 779903102028 B000929702 SMALL WORLD/WORLD PREMIERE Compact Disc 602517371316 CDROUN4014 SMALL,F/THE HEART OF T APPALOO Compact Disc 011661401426 SNJBF009 SMELL 3/ SWINGIN Compact Disc 8051093880095 800602A SMITH, EUG/LOVELY DAY Compact Disc 778578006020908462A SMITH, JIM/PRAYER MEETIN(WITH Compact Disc 724359084626 ROOTCELLAR5 SMITH,A/SWEET EMBRACE Compact Disc 776098186826 800592A SMITH,E/ALMOST GRTS HITS VOL.1 Compact Disc 778578005924 SPIT035 SMITH,E/TOO LONG AWAY Compact Disc 844493070351 ROOTCELLAR3 SMITH,J SMILING/THIS BLUE BEFO Compact Disc 7760981865297 79903 10202 8 0 11661 40142 6 7 76098 18652 97 76098 18682 68 37101 26288 0 8 44493 07035 15 907785 032255 7 60137 48812 5 8 051093 880095 8 13411 01055 78 01495 18792 0 7 02621 77752 0 8 84501 06219 0 8 84501 35675 68 84501 76601 2 6 02517 37131 67 77488 00372 3 0 60768 04542 2 7 24359 08462 6 7 78578 00592 47 78578 00602 00 60768 46712 50 60768 63222 6 6 12851 00122 06 31778 11032 77 54863 21022 8 Page 177 of 496 November 12, 2014Catalogue NumberArtist / Title Config Scannable UPC UPC B001058302 SMITH,J/THE DEFINITIVE COLLECT Compact Disc 602517561274 CDFLY404 SMITH,M/MICHAEL SMITH (1986) Compact Disc 018964040420 ABR224342 SMITHEREENS,THE/GREEN THOUGHTS Compact Disc 783722243428 MVDV4676 SMITHS,THE/INSIDE THE SMITHS Digital Video Disc 022891467694 AFRO0022 SMOKEY AND MIHO/TEMPO DE AMOR Compact Disc 616892515920 715176 SMOKING POPES/BORN TO QUIT Compact Disc 603967151763 SJPCD030 SNAFU/SNAFUSITUATIONNORMAL Compact Disc 5016272883024 JSM030210 SNAKE EYE SEVEN/16 CROWS Compact Disc 747014589922 KIV45364 SNAKE EYE/RITUAL INSTINCT Compact Disc 747014536421 D000124902 SND/MEGA MOVIE MIX:ENCORE Compact Disc 050087114213 0249837182 SND/METAL;A HEADBANGER'S JOURN Compact Disc 602498371824 CLC7332 SNEAKERS,THE/NONSEQUITUR OF SI Compact Disc 617742073324 B000375682 SNOW PATROL/FINAL STRAW DUALDISC 602498255520 PIASA38CD SOAP & SKIN/LOVETUNE FOR VACCU Compact Disc 843798000094 0249862590 SOCIAL CODE/YEAR AT THE MOVIES Compact Disc 602498625903 MVDV4687 SOCIETY 1/CREATION OF SOUND AN Digital Video Disc 022891468790 836402 SOCRATIC/LUNCH FOR THE SKY Compact Disc 060768364028765536 SOCRATIC/SPREAD THE RUMORS Compact Disc 602517655362 MEOW1272 SODAHBERK,D/CUT OPEN Compact Disc 751937512721 750002A SODASTREAM/THE HILL FOR COMPAN Compact Disc 823107500026 317661 SODERBERG,/REFUGE Compact Disc 627843176619 5303216 SOFT CELL/NON STOP EROTIC CABA Compact Disc 600753032169 6076883879 SOFT CELL/NON-STOP EXOTIC VIDE Digital Video Disc 060768838796 8307082 SOFT CELL/T SINGLES Compact Disc 042283070820 INAK90762CD SOFT MACHINE LEGACY/LIVE AT TH Compact Disc 707787907620 DRT442 SOIL/TRUE SELF (EDITED) Compact Disc 8287300442200 18964 04042 0 7 47014 58992 2 7 47014 53642 1 7 07787 90762 05 016272 883024 7 83722 24342 8 6 17742 07332 40 50087 11421 3 8 28730 04422 06 02517 56127 4 6 02498 37182 4 6 02498 62590 3 6 00753 03216 9 0 42283 07082 06 27843 17661 98 23107 50002 60 60768 36402 8 6 02517 65536 26 03967 15176 3 7 51937 51272 16 16892 51592 0 8 43798 00009 4 0 22891 46879 00 22891 46769 4 0 60768 83879 66 02498 25552 0 Page 178 of 496 November 12, 2014Catalogue NumberArtist / Title Config Scannable UPC UPC MWM5112 SOLANGE/SOL-ANGEL & THE HADLEY Compact Disc 879645001112 DR01301 SOLE PURSUIT,THE/OPPOSING FORC Compact Disc 844667030006 847312 SOLEDAD BROTHERS/VOICE OF TREA Compact Disc 060768473126 LV125 SOLITAIRES/STILL WALKING ALONG Compact Disc 764942031323 33347 SOLITUDES/BRAZILIAN BREEZE Compact Disc 09674107772234813 SOLITUDES/CALM THE MIND Compact Disc 09674111762632457 SOLITUDES/CELTIC SERENITY Compact Disc 09674109312833348 SOLITUDES/DESERT SPA Compact Disc 09674110302510939 SOLITUDES/FOREST PIANO Compact Disc 09674141262222940 SOLITUDES/LAKESIDE RETREAT Compact Disc 09674102372918088 SOLITUDES/MOON RIVER Compact Disc 09674141792433349 SOLITUDES/MOONLIGHT SONATA Compact Disc 09674110312412149 SOLITUDES/NATURAL MASSAGE THER Compact Disc 09674141652112151 SOLITUDES/NATURAL RELAXATION Compact Disc 09674141712212153 SOLITUDES/NATURAL SLEEP INDUCE Compact Disc 09674141502932469 SOLITUDES/SONGBIRDS AT SUNSET Compact Disc 09674109372212633 SOLITUDES/SONGBIRDS BY T STREA Compact Disc 09674110152613043 SOLITUDES/WATERSCAPES Compact Disc 09674110162529188 SOLITUDES/WHAT A WONDERFUL WOR Compact Disc 096741070020 4775726 SOLLSCHER,G/THE RENAISSANCE AL Compact Disc 028947757269 710352A SON DOOBIE/DOBBIE DELUXE Compact Disc 800867103520 HH0908 SON OF SAM/INTO THE NIGHT Compact Disc 852215001101 SNJBF013 SONATA ISLAND/A + B Compact Disc 8051093880149SNJBF018 SONATA ISLAND/HIGH SOCIETY Compact Disc 8051093880200 646662A SONDHEIM/FOLLIES Compact Disc 077776466620 DGCMD24511 SONIC YOUTH/CONFUSION IS SEX Compact Disc 720642451120 8 00867 10352 00 96741 41262 2 0 96741 41652 1 0 96741 41712 2 0 96741 10152 6 0 96741 10162 50 96741 41792 40 96741 02372 9 0 96741 07002 00 96741 09312 8 0 96741 09372 20 96741 07772 2 0 96741 10312 40 96741 11762 6 0 96741 41502 90 96741 10302 5 8 52215 00110 1 8 051093 880200 7 64942 03132 3 8 051093 880149 7 20642 45112 00 77776 46662 00 28947 75726 98 44667 03000 6 0 60768 47312 68 79645 00111 2 Page 179 of 496 November 12, 2014Catalogue NumberArtist / Title Config Scannable UPC UPC DGCMD24515 SONIC YOUTH/DAYDREAM NATION Compact Disc 720642451526 B000899202 SONIC YOUTH/DAYDREAM NATION(DE Compact Disc 602517341128 DGCMD24513 SONIC YOUTH/E V O L Compact Disc 720642451328DGCMD24514 SONIC YOUTH/SISTER Compact Disc 720642451427 B000613102 SONICYOUTH/SONIC YOUTH EP-EXPA Compact Disc 602498797914NPR278LTD SONS OF SEASONS/GODS OF VERMIN Compact Disc 693723512006 CCM20782 SOOPER,A/DADA Compact Disc 617742207828 B000605002 SORAYA/GOLD Compact Disc 602498891773 CRSEG012 SORROWS,THE/YOU'VE GOT WHAT I Compact Disc 5013929181229 3145104992 SOSA,M/EN ARGENTINA Compact Disc 731451049927 SHOUT61 SOUL CHILDREN/THERE ALWAYS-FIN Compact Disc 5013929506121 4756235 SOULIOTIS,E/CLASSIC RECITALS Compact Disc 028947562351 B001488002 SOULJA BOY/THE DEANDRE WAY (D Compact Disc 602527514086 2301042 SOULSOFMISCHIEF/TRIOLOGY:CONFL Compact Disc 655323010429 3145408332 SOUNDGARDEN/A SIDES Compact Disc 731454083324 B001768402 SOUNDGARDEN/KING ANIMAL(DELUX Compact Disc 602537185504 3145401982 SOUNDGARDEN/SUPERUNKNOWN Compact Disc 731454019828 647702 SOUNDHEIM/FUNNY THING HAPPENE Compact Disc 077776477022 0249846668 SOUNDS OF BLACKNESS/BEST OF SO Compact Disc 6024984666813145490292 SOUNDS OF BLACKNESS/TIME 4 HEA Compact Disc 731454902922 D000516902 SOUNDTRACK TV/CAMP ROCK 2:THE Compact Disc 050087155216 867272 SOUNDTRACK/1984 Compact Disc 077778672722 6076845652 SOUNDTRACK/BANGER SISTERS Compact Disc 060768456525 650232 SOUNDTRACK/FIORELLO Compact Disc 724356502321 568102B SOUNDTRACK/MISS SAIGON (HIGHLI Compact Disc 724355681027 757222 SOUNDTRACK/MONTY PYTHON'S LIFE Compact Disc 0946375722216 17742 20782 8 5 013929 181229 0 50087 15521 66 02517 34112 8 6 02498 79791 47 20642 45142 77 20642 45132 87 20642 45152 6 7 31454 08332 4 6 02537 18550 4 0 77778 67272 27 31451 04992 7 7 31454 90292 26 02527 51408 66 02498 89177 3 0 94637 57222 17 24355 68102 70 77776 47702 2 7 24356 50232 10 28947 56235 1 7 31454 01982 8 6 02498 46668 15 013929 506121 6 93723 51200 6 0 60768 45652 56 55323 01042 9 Page 180 of 496 November 12, 2014Catalogue NumberArtist / Title Config Scannable UPC UPC D000050102 SOUNDTRACK/RATATOUILLE Compact Disc 050087105860 403512A SOUNDTRACK/ROB ROY Compact Disc 724384035129 762672 SOUNDTRACK/ROCKY BALBOA BEST Compact Disc 094637626726 B000930402 SOUNDTRACK/RUSH HOUR III Compact Disc 602517371064 D000348602 SOUNDTRACK/SEARS WISH BOOK H.S Compact Disc 050087137670 OGL891082 SOUNDTRACK/SEX-O-RAMA 2 Compact Disc 790058910825 B001250202 SOUNDTRACK/SLUMDOG MILLIONAIRE Compact Disc 602517946293 4776459 SOUNDTRACK/THE BANQUET Compact Disc 028947764595 D000006002 SOUNDTRACK/THE HOAX Compact Disc 050087100681 296952 SOUNDTRACK/WALK THE LINE Compact Disc 5099902969527 4756182 SOUSA/24 FAVOURITE MARCHES SACD4Stereo/Surround/CDAud 028947561828 MVD6532 SOUTHSIDE JONNY AND T ASBUR/IN Digital Video Disc 707787653299 PRRI762102 SOUTHSIDE SOLDIERS/GANGSTA CHR Compact Disc 795957621025 PRRRI761102 SOUTHSIDE SOLDIERS/NEW WEST CO Compact Disc 795957611026 PRRI761502 SOUTHSIDE SOLDIERS/STREET LEGE Compact Disc 795957615024 IAM0255 SPACE OPERA/SPACE OPERA II Compact Disc 899079002554IAM0433 SPACE OPERA/SPACE OPERA I Compact Disc 617742043327 KAY23946 SPACEMAK3R/SPACEMAK3R Compact Disc 619061394623 OGL816052 SPAROCKS/12 MIXES Compact Disc 790058160527OGL816002 SPAROCKS/TERMINAL JIVE Compact Disc 790058160022 6076802872 SPECIALS,THE/CONQUERING RULER Compact Disc 0607680287226076802782 SPECIALS,THE/SKINHEAD GIRL Compact Disc 060768027824 SHOUT39 SPELLBINDERS/CHAIN REACTION Compact Disc 5013929503922 AMG0352 SPELLBOUND/INCOMING DESTINY Compact Disc 4046661012828 CDROUN2114 SPENCE,J/THE SPRING OF SIXTY Compact Disc 011661211421 PP027 SPICE GIRLS/ZIG-A-ZIG-AHHH(DVD Digital Video Disc 603777903392 0 11661 21142 18 99079 00255 4 6 17742 04332 76 02517 37106 4 0 50087 10068 16 02517 94629 37 24384 03512 9 5 099902 969527 0 50087 10586 0 0 50087 13767 0 0 28947 76459 50 94637 62672 6 5 013929 503922 6 19061 39462 3 0 60768 02872 2 0 60768 02782 47 95957 61502 47 95957 61102 67 95957 62102 57 90058 91082 5 7 90058 16002 27 90058 16052 7 4 046661 012828 6 03777 90339 27 07787 65329 90 28947 56182 8 Page 181 of 496 November 12, 2014Catalogue NumberArtist / Title Config Scannable UPC UPC MASSCD1011D GSPIRITUAL BEGGARS/ANOTHER WAY Compact Disc 5907785029668 MASSCD1012D GSPIRITUAL BEGGARS/MANTRA III Compact Disc 5907785029675 0249817713 SPLIT ENZ/THE BEST OF SPLIT EN Compact Disc 602498177136 SDR0083 SPORES,THE/NEWS,WEATHER AND SP Compact Disc 652975008323 NMR0220 SPOUSE/CONFIDENCE Compact Disc 794465910720 ABCVP121DVD SPRINGFIELD,R/LIVE AND KICKIN' Digital Video Disc 604388715602 SACD69074 SPYRO GYRA/ORIGINAL CINEMA SACD4Stereo/Surround/CDAud 053361907464 HUCD3107 SPYROGYRA/WRAPPED IN A DREAM Compact Disc 053361310721 RMED00115 SPYS/SPYS/BEHIND ENEMY LINES Compact Disc 630428011526 0249832835 SQUEEZE/ARGY BARGY(DELUXE EDIT Compact Disc 602498328354 ABR224492 SQUEEZE/EAST SIDE STORY Compact Disc 783722244920 MR801372 SQUIRREL NUT ZIPPERS/HOT Compact Disc 035498013720 2061655342 SQUIRREL NUT ZIPPERS/THE BEST Compact Disc 720616553423 MW065 SRC/MILESTONES Compact Disc 813411010656MW066 SRC/SRC Compact Disc 813411010663 682282 SS-KALIERT/SUBZERO Compact Disc 5052146822829580382 ST.LAWRENC/AWAKENING Compact Disc 724355803825571442 ST.LAWRENC/TCHAIKOVSKY:STR 1&3 Compact Disc 724355714428981622 STABILO/CUPID Compact Disc 724359816227247012 STACCATTOS/INITIALLY NORTHERN Compact Disc 724352470129 SJPCD235 STACKRIDGE/SOMETHINGFORTHEWEEK Compact Disc 5055011702356 NJPDVD630 STACKRIDGE/THEFORBIDDENCITY Digital Video Disc 5055011706309 CCDCD3102 STAFFORD,J/BALLAD OF THE BLUES Compact Disc 013431310228 CA60011 STAGIONE D'OPERA ITALIANA/CARM Digital Video Disc 4028462600114 INAK6466DVD STANLEY JORDAN TRIO/THE PARIS Digital Video Disc 707787646673 OGL891102 STAR WARS/COCTAILS IN THE CANT Compact Disc 790058911020 0 13431 31022 85 052146 822829 0 53361 31072 1 8 13411 01065 6 5 055011 702356 7 90058 91102 05 907785 029668 5 907785 029675 8 13411 01066 36 52975 00832 3 7 24359 81622 77 20616 55342 30 35498 01372 0 7 24355 71442 8 7 24352 47012 97 24355 80382 56 02498 32835 46 02498 17713 6 7 94465 91072 0 7 83722 24492 06 30428 01152 6 4 028462 600114 7 07787 64667 36 04388 71560 2 5 055011 706309 0 53361 90746 4 Page 182 of 496 November 12, 2014Catalogue NumberArtist / Title Config Scannable UPC UPC 965082A STAR, MAZZ/SHE HANGS BRIGHTLY Compact Disc 077779650828 RMED00705 STARCASTLE/ALIVE IN AMERICA Compact Disc 630428070523 RMED00130 STARCASTLE/REEL TO REAL Compact Disc 630428013025 CDHBEA102 STARLIGHTS/SOLDERING Compact Disc 011661760226 803782 STARR, RIN/GOODNIGHT VIENNA Compact Disc 077778037828319079 STARR, RIN/RINGO & HIS NEW ALL Digital Video Disc 013023190795 SRR003XBB STARS/THE FIVE GHOSTS (DLX.ED) Compact Disc 776974309592 SRR003X STARS/THE FIVE GHOSTS (DLX.EDI Compact Disc 788581014974 836182 STARTING LINE/MAKE YOURSELF AT Compact Disc EP's 060768361829836062 STARTING LINE/WITH HOPES OF ST Compact Disc EP's 060768360624 3145189452 STATLER BROTHERS/30TH ANNIVERS Compact Disc 731451894527 EV306419 STATUS QUO/BACK2SQ 1 LI(DVD+CD DVD + BNS CD 801213064199 EVB334709 STATUS QUO/BACK2SQ 1 LIV(BR+CD BLU RAY + BNS CD 801213347094 900232A STAVESACRE/HOW TO LIVE WITH A Compact Disc 876929002322 ALP118 STEAM/REAL TIME Compact Disc 735286111828 6076899312 STEEL PULSE/AFRICAN HOLOCAUST Compact Disc 060768993129 836162 STEEL TRAIN/1969 (EP) Compact Disc EP's 060768361621836122 STEEL TRAIN/FOR YOU MY DEAR(EP Compact Disc EP's 060768361225836572 STEEL TRAIN/TRAMPOLINE Compact Disc 060768365728836252 STEEL TRAIN/TWILIGHT TALES FRO Compact Disc 060768362529 MCBBD31192 STEELY DAN /CAN T BUY A TH Compact Disc 076731119229 520762C STEEPLE CH/STANDING ON THE VER Compact Disc 778505207629 B000584922 STEFANI,G/LUXURIOUS (EP) Compact Disc EP's 602498876381 SMCR5085 STEPHANIE,S/MERCILESS(EP) Compact Disc EP's 5013929078536 NMR0121 STEPHANIE'S ID/WARM PEOPLE Compact Disc 881034355409 2719777 STEREOPHONICS/KEEP CALM AND CA Compact Disc 6025271977778 01213 34709 47 88581 01497 47 76974 30959 2 8 76929 00232 2 7 78505 20762 90 11661 76022 66 30428 07052 3 7 31451 89452 7 6 02527 19777 70 76731 11922 90 77779 65082 8 0 77778 03782 8 8 81034 35540 97 35286 11182 86 30428 01302 5 0 60768 99312 9 0 60768 36252 90 60768 36572 8 5 013929 078536 6 02498 87638 10 60768 36122 50 60768 36162 10 60768 36182 9 0 60768 36062 40 13023 19079 5 8 01213 06419 9 Page 183 of 496 November 12, 2014Catalogue NumberArtist / Title Config Scannable UPC UPC 5330153 STEREOPHONICS/PERFORMANCE AND Compact Disc 600753301531 5330159 STEREOPHONICS/WORD GETS AROUND Compact Disc 600753301593 INAK74711 STERN,M BAND/THE PARIS CONCERT BLU RAY 707787747196 INAK64711DVD STERN,M/BAND:PARIS CONCERT(DVD Digital Video Disc 707787647175 INAK6456 STERN,M/PARIS CONCERT Digital Video Disc 707787645676 PWCL053109 STEVE KALDRSTAD QUI/BLOW UP Compact Disc 875531005400 5337905 STEVENS,C/COLLECTION,THE(11CD Compact Disc 600753379059 CCM21642 STEVENS,C/FISHER,J/FISHER,TL/T Compact Disc 617742216424 301449 STEVENS,C/MAJIKAT EARTH TOUR 1 CD with DVD 801213014491200412 STEVENS,C/MAJIKAT:EARTH TOUR 1 Compact Disc 826992004129300499 STEVENS,C/MAJIKAT:EARTH TOUR 1 Digital Video Disc 801213004997 0249817911 STEVENS,RAY/THE BEST OF STEVEN Compact Disc 602498179116 MA90952 STEVENS,S/MEMORY CRASH Compact Disc 614286909522 1102CD STEVIE B./GREATEST FREESTYLE B Compact Disc 8399245011028 8088900784 STEWART,D/THE BLACKBIRD DIARIE Compact Disc 680889007842 ACM714362 STEWART,J/BANDERALIVE Compact Disc 045507143621 SYN068 STEWART,R/THE DAY WILL COME Compact Disc 874757006826 MW052 STEWART,W/GREATEST COUNTRY HIT Compact Disc 813411010526 900052A STIFF LITT/HOPE STREET+THE BES Compact Disc 632459000524813412A STIFF LITTLE FINGERS/GET A LIF Compact Disc 060768134126 4400532839 STING/BRAND NEW DAY TOUR T Digital Video Disc 044005328394 B001872202 STING/THE LAST SHIP(DLX)(2CD) Compact Disc 602537443215 6076846922 STINSON,T/VILLAGE GORILLA HEAD Compact Disc 060768469228 IJ541 STITT,S & JOHNSON,JJ/WE REMEMB Digital Video Disc 8436028695416 B000202802 STITT,S/PERSONAL APPEARANCE Compact Disc 731452331427 3737878 STOCKDALE,A/KEEP MOVING Compact Disc 6025373787847 07787 74719 6 8 01213 01449 1 8 26992 00412 9 6 32459 00052 46 17742 21642 4 8 74757 00682 60 45507 14362 18 399245 011028 6 80889 00784 26 00753 37905 9 6 02537 37878 47 31452 33142 76 02537 44321 56 02498 17911 6 8 13411 01052 68 75531 00540 0 0 60768 13412 6 0 60768 46922 86 00753 30153 1 6 00753 30159 3 6 14286 90952 28 01213 00499 77 07787 64717 5 7 07787 64567 6 0 44005 32839 4 8 436028 695416 Page 184 of 496 November 12, 2014Catalogue NumberArtist / Title Config Scannable UPC UPC 652062 STOKOWSKI/SHOSTAKOVICH:SY 11YR Compact Disc 724356520622 CIM016 STONE RIVER BOYS/LOVE ON THE D Compact Disc 801655239827 310072 STONEY PAR/BEST OF STONEY PARK Compact Disc 669803100722 310052A STONEY PAR/DON'T LOOK BACK Compact Disc 669803100524 MONO0232 STOUT,A/QUEENS LIVE IN CASKETS Compact Disc 634457193529 MCABD42266 STRAIT,G/BEYOND THE BLUE NEON Compact Disc 076742226626MCASD11584 STRAIT,G/CARRYING YOUR LOVE WI Compact Disc 008811158422 0881703619 STRAIT,G/FOR THE LAST TIME FRO Digital Video Disc 008817036199 B000162019 STRAIT,G/HONKYTONKVILLE DVD Audio 602498612590 MCAD42114 STRAIT,G/IF YOU AIN'T LOVIN' Compact Disc 076742211424 MAJ100702 STRANGEWAYS/NATIVE SONS Compact Disc 842051007023MAJ100692 STRANGEWAYS/STRANGEWAYS Compact Disc 842051006927 TWA0422 STRATFORD 4/REVOLT AGAINST TIR Compact Disc 604978004222 MASSCD1323D GSTRATOVARIUS/ELEMENTS VOL. 1 Compact Disc 5907785035416 MASSCD1324D GSTRATOVARIUS/ELEMENTS VOL. 2 Compact Disc 5907785035423 341082A STRATOVARIUS/STRATOVARIUS Compact Disc 021823410821 576812 STRAUSS, R/ARIAS & SCENES Compact Disc 724355768124 4674072 STRAUSS,J/DE FLEDERMAUS HIGHLI Compact Disc 0289467407294705222 STRAUSS/ASCHENBRODEL(CINDERELL Compact Disc 028947052227 CD80605 STRAUSS/DIE AGYPTISCHE HELENA Compact Disc 089408060526 4705832 STRAUSS/ELEKTRA Compact Disc 0289470583284749002 STRAUSS/NEW YEARS CONCERT 2004 Compact Disc 0289474900294751372 STRAVINSKY&JANACEK/LE SACRE DE Compact Disc 028947513728 NAD10002 STRAVINSKY/RACHMANINOFF/LE SAC Compact Disc 032466000225 4775485 STRAVINSKY/RITE OF SPRING Compact Disc 028947754855 RMED00706 STRAWBS/ALIVE IN AMERICA Compact Disc 6304280706220 89408 06052 6 6 30428 07062 20 32466 00022 58 01655 23982 7 5 907785 035416 5 907785 035423 8 42051 00692 78 42051 00702 36 69803 10052 46 69803 10072 2 0 76742 22662 6 0 08811 15842 2 0 28947 05222 70 76742 21142 4 7 24355 76812 47 24356 52062 2 0 28947 51372 80 28946 74072 9 0 28947 49002 9 0 28947 75485 50 28947 05832 86 04978 00422 26 34457 19352 9 0 21823 41082 10 08817 03619 9 6 02498 61259 0 Page 185 of 496 November 12, 2014Catalogue NumberArtist / Title Config Scannable UPC UPC 440632 STRAY CATS/RUMBLE IN BRIXTON Compact Disc 640424406325 NPR295LTD STREAM OF PASSION/FLAME WITHIN Compact Disc 693723512907 PRO142 STREET,J/TASTY Compact Disc 890701001570 INAK6525 STREHLI,A & BALL,M/IN CONCERT Digital Video Disc 707787652599 SF13736 STREISAND,B/A MUSICARES TRI(DV Digital Video Disc 826663137361 883589 STRING CHEESE INCIDENT/LIVE AT Digital Video Disc 060768835894 FS002 STRONGMAN,S/HONEY Compact Disc 747014547823 2061623912 STRYPER/7:THE BEST OF STRYPER Compact Disc 720616239129 HR611062 STRYPER/CAN'T STOP T ROCK Compact Disc 720616110626 2061611832 STRYPER/THE YELLOW AND BLACK A Compact Disc 7206161183252061611852 STRYPER/TO HELL WITH THE DEVIL Compact Disc 720616118523 MH28131 STUART,D/CAN O' WORMS Compact Disc 784608813124 B000496002 STUART,M/BADLANDS Compact Disc 602498831496 MCAD11204 STUART,M/THE MARTY PARTY HIT Compact Disc 008811120429 NPR241 STUCK MOJO/SOUTHERN BORN KILLE Compact Disc 693723510422 391709 STUFF/LIVE AT MONTREUX 1976 Digital Video Disc 801213917099 5577892 STYLE COUNCIL,T/T COMPLETE ADV Compact Disc 731455778922 B000570702 STYLES,P/TIME IS MONEY Compact Disc 602498870440 862752A STYX/BRAVE NEW WORLD Compact Disc 060768627529 B000792402 STYX/ONE WITH EVERYTHING:STYX Compact Disc 602517099654B001402602 SUBLIME/LIVE (CDX2) Compact Disc 602527327624 CRASDVD053 SUBLIMETRIB/LOOK AT ALL THE LO Digital Video Disc 788377104292CRASDVD054 SUBLIMETRIB/LOOK AT ALL THE LO Digital Video Disc 788377104322 CDBEYE9607 SUGAR RAY /SWEET AND SWIN Compact Disc 011661960725CDBEYE9507 SUGAR RAY & THE/DON'T STAND IN Compact Disc 011661950726 MH28137 SUMMERS,B/ESSENCE OF KWANZAA Compact Disc 784608813728 0 11661 95072 60 11661 96072 58 90701 00157 0 7 84608 81372 87 84608 81312 4 6 02527 32762 46 40424 40632 5 7 31455 77892 2 6 02517 09965 46 02498 83149 6 0 08811 12042 9 6 02498 87044 07 20616 11832 5 7 20616 11852 37 20616 11062 67 20616 23912 9 6 93723 51042 26 93723 51290 7 0 60768 62752 97 47014 54782 3 7 88377 10429 2 7 88377 10432 27 07787 65259 9 8 01213 91709 90 60768 83589 48 26663 13736 1 Page 186 of 496 November 12, 2014Catalogue NumberArtist / Title Config Scannable UPC UPC IMPD249 SUN RA/SPACE IS THE PLACE Compact Disc 011105024921 SJPCD113 SUNDANCE/SUNDANCE Compact Disc 5055011701137 CDROUN9018 SUNDOGS /HOWLIN' Compact Disc 011661901827 391529 SUPER GUITAR TRIO/LIVE AT MONT Digital Video Disc 801213915293 760009A SUPERJOINT RITUAL/LIVE IN DALL Compact Disc 823107600092 700032D SUPERJOINT RITUAL/UNE ONCE & D Compact Disc 823107000328700042D SUPERJOINT RITUAL/USE ONCE & D Compact Disc 823107000427 0694933492 SUPERTRAMP/BREAKFAST IN AMERIC Compact Disc 606949334925 CS3647 SUPERTRAMP/CRIME O T CENTURY Cassette 075021364745 5345068 SUPERTRAMP/CRIME OF THE CENTUR BLU RAY AUDIO 600753450680 VARI2013005 SUPPERCLUB/LIMITED EDITIO(10CD Compact Disc 8718521020248 TC253153 SUPREMES,THE/FOREVER Compact Disc 628261315321 NOT5008 SURF PUNKS/OH NO! NOT THEM AGA Compact Disc 617742500820NOT5009 SURF PUNKS/PARTY BOMB Compact Disc 617742500929 4400170652 SURMAN&DEJOHNETTE/FREE AND EAQ Compact Disc 044001706523 B000180302 SURMAN,J/RARUM:SELECTED RECORD Compact Disc 044001419720 CCDCD4586 SUTTON,R/LIVE AT THE MAYBECK V Compact Disc 013431458623 420132B SUZUKI,D/SPACE CHILD Compact Disc 801464201329 NPR327LTD SVARTSOT/MULMETS VISER Compact Disc 885470000282 ALP135 SWANS/FEEL GOOD NOW Compact Disc 735286113525 NMR0082 SWEANY,P BAND/C'MON C'MERE Compact Disc 707541807920 NMR087CD SWEANY,P/CLOSE TO THE FLOOR Compact Disc 888002372949 NMR0083 SWEANY,P/EVERY HOUR IS A DOLLA Compact Disc 794465849327NMR0084 SWEANY,P/THAT OLD SOUTHERN DRA Compact Disc 845121030310 KEG00008 SWEAT,K/RIDIN' SOLO Compact Disc 891113002117 790052B SWEATSHOP /LOCAL 604 Compact Disc 8008679005256 00753 45068 00 75021 36474 5 6 28261 31532 1 8 00867 90052 50 11661 90182 7 7 35286 11352 56 17742 50082 0 6 17742 50092 9 7 07541 80792 00 11105 02492 1 0 44001 70652 3 0 44001 41972 06 06949 33492 5 8 45121 03031 08 88002 37294 9 7 94465 84932 78 01464 20132 90 13431 45862 38 718521 020248 8 23107 00042 7 8 85470 00028 25 055011 701137 8 23107 60009 2 8 91113 00211 78 23107 00032 88 01213 91529 3 Page 187 of 496 November 12, 2014Catalogue NumberArtist / Title Config Scannable UPC UPC 710262C SWEATSHOP /NATURAL PROGRESSION Compact Disc 800867102622 710362A SWEATSHOP /UNITED WE FALL Compact Disc 800867103629 MZ21066 SWEET/LIVE AT THE MARQUEE Compact Disc 747014433928 BTMSR0300D SWIFT,T/SPEAK NOW (SBX EXCL) Compact Disc 843930004096 515952 SWITCHFOOT/LEGEND OF CHIN,THE Compact Disc 724385159527 710192A SWOLLEN ME/BAD DREAMS INSTRUME Compact Disc 800867101922710312A SWOLLEN ME/HEAVY INSTRUMENTALS Compact Disc 800867103124 FRANIRR058 SYKES,M/MIRANDA SYKES BAND Compact Disc 5036265000337 SMCR25063 SYLVERS/SHOWCASE/NEW HORIZONS Compact Disc 5013929076334 NPR297 SYRACH/A DARK BURIAL Compact Disc 693723513324 SMCR5094 SYREETA/SYREETA(1980) Compact Disc 5013929079434 RT045 SYSTEM OF A DOWN/VICINITY(DVD) Digital Video Disc 9223814130454 4400654062 SZABO,G/HIGH CONTRAST Compact Disc 044006540627 HSM50922 T CONNECTION/MAGIC Compact Disc 809842509227 HSM50812 T CONNECTION/ON FIRE Compact Disc 809842508121 HSM50852 T CONNECTION/T CONNECTION Compact Disc 809842508527HSM50842 T CONNECTION/TOTALLY CONNECTED Compact Disc 809842508428HSM50772 T L BARRETT,P/DO NOT PASS ME B Compact Disc 809842507728 4400382259 T.A.T.U./SCREAMING FOR MORE Digital Video Disc 044003822597 B000778502 T.A.T.U./THE BEST Compact Disc 602517064621 3145269912 T.CLARK/TERRI CLARK Compact Disc 731452699121 SNJBF017 T.RICCI,M.RICCI,TAFURI,FURIAN Compact Disc 8051093880194 DR4333 T.S.O.L/LIVE AT O.C. Digital Video Disc 022891433392 5376982 TAHA,R/CARTE BLANCHE Compact Disc 7314537698235439952 TAHA,R/MADE IN MEDINA Compact Disc 7314543995245893912 TAHA,R/RACHID TAHA LIVE Compact Disc 7314589391228 43930 00409 6 8 00867 10192 28 00867 10262 2 8 00867 10312 48 00867 10362 9 8 09842 50922 7 8 09842 50852 75 013929 079434 8 09842 50772 88 09842 50842 8 8 051093 880194 7 47014 43392 8 5 013929 076334 0 44006 54062 7 7 31452 69912 16 02517 06462 17 24385 15952 7 7 31454 39952 47 31453 76982 3 7 31458 93912 26 93723 51332 4 8 09842 50812 15 036265 000337 0 22891 43339 20 44003 82259 79 223814 130454 Page 188 of 496 November 12, 2014Catalogue NumberArtist / Title Config Scannable UPC UPC MF0462 TAHITI 80/WALLPAPER FOR THE SO Compact Disc 796627004629 CDWRES986 TAILGATORS /MUMBO JUMBO Compact Disc 027524098627 847302 TALBOT,B/ALIVE IN THE SPIRIT W Compact Disc 060768473027 NASCD002 TALK,J/THINKING OUT LOUD Compact Disc 800505139324 ROK8016CD TAMKIN,J/SORTED Compact Disc 707787801621 0730999 TAN DUN/TEA Digital Video Disc 044007309995 300879 TANGERINE DREAM/LIVE IN AMERIC CD with DVD 801213008797 MASSCD1107D GTANK/POWER OF HUNTER(REMASTERE Compact Disc 5907785031067 MASSCD1110D GTANK/TANK Compact Disc 5907785031098 MASSCD1108D GTANK/THIS MEANS WAR (REMASTERE Compact Disc 5907785031074 AFM1862 TANKWART/HIMBEERGEIST ZUM FRUE Compact Disc 4046661084726 CHC2084 TAPE FIVE/SWING PATROL Compact Disc 858370002687CHC2050 TAPE FIVE/TONIGHT JOSEPHINE Compact Disc 858370002694 GTR2011 TARDIK,R/B.E.L.L.(BALANCE,ENER Compact Disc 841823097415 845552 TATE,G/GEOFF TATE Compact Disc 060768455528 937452B TAVARES/ANTHOLOGY Compact Disc 724359374529 CHBD31271 TAYLOR KOKO /KOKO TAYLOR Compact Disc 076731127125 433172 TAYLOR, CE/OWNER OF THE RIVER Compact Disc 068944331727 5605 TAYLOR,H/DELUXE EDITION Compact Disc 0145515605244915 TAYLOR,K/OLDSCHOOL Compact Disc 014551491521 INAK64761DVD TAYLOR,M BAND/THE TOKYO CONCER Digital Video Disc 707787647694 88697868122 TAYLOR,M/MICK TAYLOR Compact Disc 886978681225 SHOUT26 TAYLOR,T/EVER WONDERFUL Compact Disc 5013929502628 4430032 TCHAIK/1812/R&J/DORATI Compact Disc 0289443003214435552 TCHAIK/BALLET MUSIC/DUTOIT Compact Disc 0289443555294611612 TCHAIKOVSKY/GREATEST HITS Compact Disc 0289461161288 01213 00879 70 27524 09862 7 8 00505 13932 4 8 41823 09741 55 907785 031074 5 907785 031067 7 07787 80162 1 8 86978 68122 58 58370 00269 48 58370 00268 7 0 28944 30032 1 0 28946 11612 80 28944 35552 90 76731 12712 57 24359 37452 9 5 013929 502628 0 68944 33172 75 907785 031098 0 60768 47302 7 0 60768 45552 87 96627 00462 9 4 046661 084726 0 14551 49152 10 14551 56052 40 44007 30999 5 7 07787 64769 4 Page 189 of 496 November 12, 2014Catalogue NumberArtist / Title Config Scannable UPC UPC 4751382 TCHAIKOVSKY/ROMEO & JULIET;HAM Compact Disc 028947513827 4406302 TCHAIKOVSKY/SWAN LAKE; PR Compact Disc 0289440630284770532 TCHAIKOVSKY/SYMPHONIC POEMS;MA Compact Disc 0289477053214681972 TCHAIKOVSKY/SYMPHONY NO.4:SERE Compact Disc 0289468197224696112 TCHAIKOVSKY/SYMPHONY NO.5:1815 Compact Disc 028946961124 925209 TEA PARTY,/ILLUMINATIONS Digital Video Disc 724349252097 4756154 TEBALDI,R/CHRISTMAS FESTIVAL Compact Disc 028947561545 SMI036 TECH N9NE COLLABOS/WELCOME TO Compact Disc 853435003036 4347252 TE-KANAWA/CLASSICS Compact Disc 0289434725244681632 TELEMANN/WIND COCNERTOS Compact Disc 028946816325 TRR80032 TEMPO,N & STEVENS,A/HEY BABY! Compact Disc 617742800326 TWA0632 TEN BENSON/BENSON BURNER Compact Disc 604978006325 DRB1353 TENSION & RELEASE/SPRINGING TH Digital Video Disc 022891135395 812492 TERFEL, BR/SONGS OF MY WELSH H Compact Disc 774718124920 0734006 TERFEL,B/SONGS AND ARIAS Digital Video Disc 044007340066 4734 TERRY,S/WHOOPIN' Compact Disc 014551473428 B000454709 TESLA/BEST OF - DVD Digital Video Disc 602498814048 6076846372 TESLA/INTO THE NOW Compact Disc 0607684637216076845202 TESLA/REPLUGGED LIVE (CDX2) Compact Disc 060768452022 845432A TESLA/STANDING ROOM ONLY Compact Disc 060768454323 NBA31012 TESTAMENT/DARK ROOTS OF THR(2C Compact Disc 727361310127NBA31010 TESTAMENT/DARK ROOTS OF(DLX)(1 DVD + BNS CD 727361310103 SHOUT47 TEX,J/FIRST ON THE DIAL Compact Disc 5013929504721 RPMSH237 TEX,J/LIVE AND LIVELY/SOUL COU Compact Disc 5013929523722 SHOUT67 TEX,J/SINGLES A'S & B'S VOL 2 Compact Disc 5013929506725SHOUT64 TEX,J/SINGLES A'S & B'S VOL.1 Compact Disc 50139295064287 74718 12492 06 17742 80032 6 5 013929 523722 5 013929 506428 5 013929 506725 0 28943 47252 40 28944 06302 8 0 28946 96112 4 0 28946 81632 50 28946 81972 20 28947 51382 7 0 28947 70532 1 0 28947 56154 5 5 013929 504721 7 27361 31012 70 60768 46372 1 0 60768 45202 2 0 60768 45432 36 04978 00632 58 53435 00303 6 0 14551 47342 80 22891 13539 5 6 02498 81404 87 24349 25209 7 0 44007 34006 6 7 27361 31010 3 Page 190 of 496 November 12, 2014Catalogue NumberArtist / Title Config Scannable UPC UPC SHOUT72 TEX,J/SINGLES A'S & B'S VOL.3 Compact Disc 5013929507227 1166176622 T-GLADIATORS/AT STUDIO ONE:BON Compact Disc 011661766228 VIRUS3992 TH' INBRED/LEGACY OF FERTILITY Compact Disc 721616099249 URCD242 THARPE,S R/THE ONE AND ONLY QU Compact Disc 5018121124227 2539600022 THEORY OF A DEADMAN/NOTHING CO Compact Disc Singles 8253960002252539601232 THEORY OF A DEADMAN/SCARS (DLX CD with DVD 825396012327 711742A THEORY, JU/EMOTION IS DEAD Compact Disc 647077117424 LV124 THESE MEN IN LOVE/NORTHERN SOU Compact Disc 760137912422 4663572 THIBAUDET,J.Y./PLAYS CHOPIN Compact Disc 028946635728 EUL0772 THICK AS BLOOD/MOMENT OF TRUTH Compact Disc 790168467721 3745689 THICKE,R/BLURRED LINES Compact Disc 602537456895 B001867902 THICKE,R/BLURRED LINES Compact Disc 602537424788 4775377 THIELEMANN,C/SYMPHONY NO. 5 Compact Disc 028947753773 300159C THINGAMAKI/SUNDAY BIBLE TOONS DVD + BNS CD 892273001590 B000231102 THIRD WORLD/THE BEST OF THIRD Compact Disc 044006325323 CDROUN2058 THOMAS, IRMA /THE WAY I FEEL Compact Disc 011661205826 KEG00003 THOMAS, J/JOE THOMAS, NEW MAN Compact Disc 891113002025 CCM20652 THOMAS,BJ/I'M SO LONESOME I CO Compact Disc 617742206524CCM20602 THOMAS,BJ/ON MY WAY/YOUNG AND Compact Disc 617742206029 1166115822 THOMAS,I/IF YOU WANT IT,COME A Compact Disc 011661158221 IAJ001 THOMAS,J/HAZEL (EP) Compact Disc EP's 852215001217 ALP227 THOMAS,L/BANANA:THE LOST SESSI Compact Disc 735286222722 4769 THOMAS,R/THAT WOMAN IS POISON Compact Disc 014551476924 HSM50872 THOMAS,T/LIVE Compact Disc 809842508725HSM50892 THOMAS,T/TOUCH TO TOUCH Compact Disc 809842508923HSM50882 THOMAS,T/YOU RE THE SONG Compact Disc 8098425088248 25396 01232 7 0 11661 15822 10 11661 76622 8 0 11661 20582 6 8 09842 50872 5 8 09842 50882 48 09842 50892 35 013929 507227 7 35286 22272 27 60137 91242 2 6 02537 45689 5 6 02537 42478 8 0 28947 75377 30 28946 63572 86 47077 11742 4 0 44006 32532 3 6 17742 20602 96 17742 20652 45 018121 124227 7 21616 09924 9 8 91113 00202 5 0 14551 47692 47 90168 46772 1 8 52215 00121 78 25396 00022 5 8 92273 00159 0 Page 191 of 496 November 12, 2014Catalogue NumberArtist / Title Config Scannable UPC UPC 369012 THOMPSON, /VINTAGE COLLECTION Compact Disc 724383690121 RMED00270 THOMPSON,C/IF YOU REMEMBER ME Compact Disc 630428027022 ROUTE20 THOMPSON,D QUARTET/C'EST SI BO Compact Disc 776098168723 ROUTE3 THOMPSON,D/FORGOTTEN MEMORIES Compact Disc 778224553328 INTROCD2072 THOMPSON,L/A PROPER INTRO TO:L Compact Disc 805520060721 B001093002 THOMPSON,T/A PIECE OF WHAT YOU Compact Disc 602517643482 SDR0077 THOR/INTO THE NOISE Compact Disc 652975007722 B000910802 THORNTON,BB/BEAUTIFUL DOOR Compact Disc 602517352315B000938502 THORNTON,BB/HOBO(2005 RE-ISSUE Compact Disc 602517352322 846282 THORNTON,BB/THE EDGE OF THE WO Compact Disc 060768462823 INTROCD2078 THORNTON,BM/A PROPER INTRO TO: Compact Disc 805520060783 872252 THOROGOOD,/PLATINUM Compact Disc 094638722526 6076863742 THOROGOOD,G/THEN AND NOW Compact Disc 060768637429 ALP225 THORTON,C/FREEDOM & UNITY Compact Disc 735286222524 714040 THOUSAND F/SET IT OFF Compact Disc 724357140409 647832A THOUSAND F/WELCOME TO THE MASQ Compact Disc 5099926478326 5129962 THREE-DOG-NIGHT/T BEST OF Compact Disc 731451299629 B000542902 THRICE/VHEISSU (DELUXE) Compact Disc 602498852460 DRJTAH001 THULIN,J/THE ANATOMY OF A HEAR Compact Disc 044003141438 DE42 THY ART IS MURDER/HATE Compact Disc 825996203354 BSFT0032 TICO DA COSTA/LAGARTIXA Compact Disc 634457175327 MYSTCD165 TIDES FROM NEBULA/EARTHSHINE Compact Disc 5903427874658 ALP86 TIERS,W/TWILIGHT OF THE COMPUT Compact Disc 735286198621 DIFB245CDX TIGA/NON STOP Compact Disc 5414939328022 CCM09052 TILLIS,M/YOUR BODY IS AN OUTLA Compact Disc 617742090529 B000859502 TIMBALAND/TIMBALAND PRESENTS:S Compact Disc 6025172567747 76098 16872 3 7 78224 55332 8 6 52975 00772 2 7 35286 22252 4 7 35286 19862 15 903427 874658 6 17742 09052 96 02517 35232 26 02517 64348 2 6 02517 35231 5 7 31451 29962 9 6 02498 85246 0 6 02517 25677 40 94638 72252 6 5 099926 478326 7 24357 14040 97 24383 69012 1 8 25996 20335 46 30428 02702 2 8 05520 06072 1 8 05520 06078 30 60768 46282 3 6 34457 17532 7 5 414939 328022 0 44003 14143 80 60768 63742 9 Page 192 of 496 November 12, 2014Catalogue NumberArtist / Title Config Scannable UPC UPC TWKJT002 TIMBERLAKE,J/JUST HANGING OUT( Digital Video Disc 603777901794 520942B TIN FOIL P/AGE OF VIPERS Compact Disc 778505209425 CT105 TINGSTAD,E & RUMBEL,N/A MOMENT Compact Disc 837101085946 CRSEG004 TINKERBELL'S FAIRYDUST/TINKERB Compact Disc 5013929180420 CDROUN9054 TINY TIM /TINY TIM'S CHR Compact Disc 011661905429 CCM20582 TINY TIM/I'VE NEVER SEEN A STR Compact Disc 617742205824 SAECRS018 TIOMKIN,D/HIGH NOON MUSIC COMP Compact Disc 700261231600 LTM90602 TIZER,L/DIVERSIFY Compact Disc 805859060225 LTM1112 TIZER,L/GOLDEN SOUL Compact Disc 805859011128 LTM90901 TIZER,L/PASSAGES Compact Disc 805859014426 LTM1209 TIZER/DOWNBEAT Compact Disc 805859035827 LTM90259 TIZER/LIVE Compact Disc 805859025927 MVDA4699 TOASTERS/CBGB OMFUG MASTERS:LI Compact Disc 022891469926 MA250220 TOGNONI,R/IRONYARD REVISITED Compact Disc 5413992502202 0252742069 TOKIO HOTEL/HUMANOID CITY LIVE Compact Disc 6025274206910252742070 TOKIO HOTEL/HUMANOID CITY LIVE Digital Video Disc 602527420707 172602A TOM FUN OR/YOU WILL LAND WITH Compact Disc 778591726028 IPC40 TOMAHAWK/MIT GAS Compact Disc 689230004028 ODR9338 TOMKINS,G/AND SO IT GOES Compact Disc 776143933825 KTN767540 TONEY,K/KINGS OF THE EVENING O Compact Disc 859707675406 KTN1002 TONEY,K3/NEW AMERICAN SUITE Compact Disc 724101238024 SHOUT30 TONEY,O JR/GUILTY-A SOUTHERN S Compact Disc 5013929503021SHOUT40 TONEY,O JR/LOVING YOU TOO LONG Compact Disc 5013929504028 6076804582 TOOTS & THE MAYTALS/THIS IS CR Compact Disc 0607680458286076803292 TOOTS/MAYTALS/SWEET AND DANDY Compact Disc 060768032927 CCDCD4306 TORME,M & MCCONNELL,R/MEL TORM Compact Disc 0134314306290 11661 90542 97 78505 20942 5 7 78591 72602 8 0 13431 43062 90 22891 46992 6 5 413992 502202 8 59707 67540 6 7 24101 23802 46 17742 20582 4 7 00261 23160 08 37101 08594 6 5 013929 180420 8 05859 01112 8 8 05859 03582 7 8 05859 02592 78 05859 06022 5 8 05859 01442 6 6 02527 42069 1 5 013929 503021 5 013929 504028 7 76143 93382 5 0 60768 04582 8 0 60768 03292 76 89230 00402 86 03777 90179 4 6 02527 42070 7 Page 193 of 496 November 12, 2014Catalogue NumberArtist / Title Config Scannable UPC UPC CCDCD1026 TORME,M & SHEARING,G/A VINTAGE SACD4Stereo/Surround/CDAud 013431102663 SYN050 TORME,M/A FOGGY DAY Compact Disc 874757005027 3145496732 TORME,M/MEL TORME FINEST HOUR Compact Disc 731454967327 DK37985 TORME,M/THE BETHLEHEM YEARS Compact Disc 826663798524 483522 TORRINI, E/LOVE IN THE TIME OF Compact Disc 724384835224 ESACD710037 TORTURE/STORM ALERT Compact Disc 829571003728 3145430342 TORVESI,G & COSCIA,G/IN CERCA Compact Disc 731454303422 CDHBEA140 TOSH, ANDREW /ORIGINAL MAN Compact Disc 011661764026 367912 TOSH, PETE/COMPLETE-CAPTURED L Compact Disc 724353679125376982 TOSH, PETE/MAMA AFRICA Compact Disc 724353769826376962 TOSH, PETE/MYSTIC MAN Compact Disc 724353769628376932 TOSH, PETE/WANTED DREAD OR ALI Compact Disc 724353769321 4756812 TOURANGEAU,H/CLASSIC RECITALS Compact Disc 028947568124 B000631202 TOWNER,R/TIME LINE Compact Disc 602498759110 MASSCDDG099 3TOXIK/THINK THIS Compact Disc 5907785028784 MASSCDDG099 4TOXIK/WORLD CIRCUS Compact Disc 5907785028791 NOT50212 TOY MATINEE/TOY MATINEE Compact Disc 617742502121 SNJBF007 TRACANNA AND MARTINALE/PASSI L Compact Disc 8051093880071 836282 TRACH RECORD/THE TRACK RECORD Compact Disc 060768362826 0121535592 TRAGICALLY HIP /DAY FOR NIGHT Compact Disc Enhanced 6012153559250121535602 TRAGICALLY HIP /FULLY COMPLETE Compact Disc Enhanced 6012153560210121535632 TRAGICALLY HIP /ROAD APPLES-EN Compact Disc Enhanced 6012153563280121535622 TRAGICALLY HIP /THE TRAGICALLY Compact Disc Enhanced 6012153562290121535642 TRAGICALLY HIP /UP TO HERE-ENH Compact Disc Enhanced 6012153564270121535612 TRAGICALLY HIP,T/TROUBLE AT T Compact Disc Enhanced 6012153561200252702464 TRAGICALLY HIP,THE/WE ARE THE Compact Disc 6025270246468 29571 00372 8 0 11661 76402 68 74757 00502 7 5 907785 028784 8 051093 880071 6 17742 50212 17 31454 96732 7 6 02527 02464 67 24353 76932 17 24353 67912 5 7 24353 76962 87 24353 76982 67 24384 83522 4 7 31454 30342 2 6 02498 75911 00 28947 56812 4 5 907785 028791 0 60768 36282 68 26663 79852 4 6 01215 35592 5 6 01215 35602 1 6 01215 35612 06 01215 35622 96 01215 35632 8 6 01215 35642 70 13431 10266 3 Page 194 of 496 November 12, 2014Catalogue NumberArtist / Title Config Scannable UPC UPC NPR280LTD TRAIL OF TEARS/BLOODSTAINED EN Compact Disc 693723512808 NPR160 TRAIL OF TEARS/FREE FALL INTO Compact Disc 693723370125 NPR160LTD TRAIL OF TEARS/FREE FALL INTO Compact Disc 693723013329 844202 TRAINCHA/LOOK OF LOVE BURT B Compact Disc 094638442028 TWA0352 TRAM/FREQUENTLY ASKED QUESTION Compact Disc 604978003522 CLC625 TRAVELERS3/TRAVELERS 3 Compact Disc 617742062526 CRDVD141 TRAVERS BAND,P/HOOKED ON MUSIC Digital Video Disc 5013929934153 CRDVD75 TRAVERS,P/BOOM BOOM:LIVE(DVD) Digital Video Disc 022891927594 KRE100007 TRAVERS,P/CRASH AND BURN (CD) Compact Disc 842051000079 811602A TREMELOES/THE VERY BEST OF Compact Disc 060768116023 SNJBF022 TREPERQUATTROPIUUNO/VINTAGE Compact Disc 8051093880255 BUM093 TREWS,THE/ACOUSTIC-FRIENDS & T Compact Disc 826811005429 BUM093DV TREWS,THE/ACOUSTIC-FRIENDS & T Digital Video Disc 826811005894 BUM103S TREWS,THE/HIGHWAY OF HEROES Compact Disc Singles 826811007720 BUM111 TREWS,THE/HOPE & RUIN Compact Disc 826811007928BUM081 TREWS,THE/NO TIME FOR LATER Compact Disc 826811001223 EVR0522 TRIAL/ARE THESE OUR LIVES Compact Disc 794556005227 CD429012 TRIBES OF NEUROT/REBEGIN Compact Disc 637642901220 MA250112 TRIBUTE ALBUM/PINK FLOYD:BREAT Compact Disc 5413992501120 5322311 TRICKY/MAXINQUAYE (2CD DLX) Compact Disc 600753223116 ACD71240 TRIO CON BRIO/RAVEL DVORAK AND Compact Disc 787867124024 ODR9315 TRIOLYRA/HARBORD STREET Compact Disc 776143931524 CDROUN0294 TRISCHKA, TONY /WORLD TURNING Compact Disc 011661029422 BTL710182 TRISTEZA/SPINE & SENSORY(EXPAN Compact Disc 655035041025 FRM1002 TRIUMVIRAT/SPARTACUS Compact Disc 829421100225 B000158802 TROGGS,T/THE BEST OF THE TROGG Compact Disc 0440063415218 29421 10022 50 11661 02942 25 413992 501120 8 051093 880255 8 42051 00007 96 17742 06252 6 6 00753 22311 60 94638 44202 8 0 44006 34152 18 26811 00122 38 26811 00542 9 8 26811 00792 86 93723 37012 56 93723 51280 8 6 93723 01332 9 6 37642 90122 0 7 76143 93152 47 87867 12402 40 60768 11602 3 6 55035 04102 57 94556 00522 96 04978 00352 2 8 26811 00772 00 22891 92759 4 8 26811 00589 45 013929 934153 Page 195 of 496 November 12, 2014Catalogue NumberArtist / Title Config Scannable UPC UPC NPR313 TROLL/NEO-SATANIC SUPREMACY Compact Disc 885470000121 MCBBD763 TROOPER/FLYING COLOURS Compact Disc 076732076323 0075306578 TROOPER/THE BEST OF-GREEN SERI Compact Disc 600753065785 SJET511 TROTMAN,E/LOVE AND SAX Compact Disc 786851388879 MVD6503 TROUT, W/IN CONCERT Digital Video Disc 707787650373 RUF3003 TROUT, WALTER AND THE RADICAL Digital Video Disc 710347300373 B000404502 TROVESI & COSCIA/ROUND ABOUT W Compact Disc 602498241318B001222102 TROVESI,G/PORFUMO DI VIOLETTA Compact Disc 602517731240 V220101 TROWER,R/ANOTHER DAYS BLUES Compact Disc 788575010104 RUF3009 TROWER,R/LIVING OUT OF TIME:LI Digital Video Disc 710347300977 ICON1017 TROWER,R/TWICE REMOVED FROM YE Compact Disc 5099968694920 CD420173 TRS-80/THE MANHATTAN LOVE MACH Compact Disc 637642017327 B000870002 TRU LIFE/BREATHING AIN'T ENOUG Compact Disc 602517262119 300118B TRUE WIDOW/TRUE WIDOW Compact Disc 859403001189 CD421057U TUB RING/FERMI PARADOX Compact Disc 637642105727 DV421115U TUB RING/IOPTICS & SONICS (DVD Digital Video Disc 637642111520 CD421096 TUB RING/ZOO HYPOTHOESIS Compact Disc 637642109626 509999084822 TUBES/COMPLETION BACKWARDS PRI Compact Disc 5099990848223 MW053 TUCKER,T/SINGLES & DOUBLES Compact Disc 813411010533 4757463 TUCKWELL,B/VAR:THE ART OF BARR Compact Disc 028947574637 761422 TUNSTALL, /ACOUSTIC EXTRAVAGAN CD with DVD 094637614228 KAY23999 TURBO DISTORTION/KING MOTTE Compact Disc 619061399901 100162D TURBONEGRO/PARTY ANIMALS Compact Disc 727701001623 4747292 TURNAGE,MA&SCOFIELD,J/SCORCHED Compact Disc 028947472926 MEGW0282 TURNER,A/MOVIN' Compact Disc 603408002821 MA250289 TURNER,BIG JOE WITH BLOOMFIELD Compact Disc 54139925028990 94637 61422 8 7 27701 00162 37 88575 01010 4 6 03408 00282 15 099990 848223 5 413992 502899 6 37642 01732 7 6 37642 10572 77 86851 38887 9 8 13411 01053 35 099968 694920 6 02517 26211 96 00753 06578 50 76732 07632 3 6 02498 24131 8 6 02517 73124 0 0 28947 47292 60 28947 57463 78 85470 00012 1 6 19061 39990 16 37642 10962 68 59403 00118 97 07787 65037 3 7 10347 30037 3 7 10347 30097 7 6 37642 11152 0 Page 196 of 496 November 12, 2014Catalogue NumberArtist / Title Config Scannable UPC UPC SYN017 TURNER,I & T/GHETTO FUNK Compact Disc 874757001722 AMACD001 TURNER,I & T/SING THE BLUES Compact Disc 884607000010 XXICD21482 TURP/QUILICO/DUCHESNEAU/DUBOIS Compact Disc 722056148221 MR48002 TURTLES,THE/SAVE THE TURTLES:G Compact Disc 767004800226 RMED00500 TWAIN,S/FIRST TIME?FOR THE LAS Compact Disc 630428050020RMED00110 TWAIN,S/SEND IT WITH LOVE Compact Disc 630428011021 MM44485 TWENTY 4 SEVEN/DESTINATION EVE Compact Disc 747014448526 407682 TWILIGHT S/A STITCH IN TIME Compact Disc EP's 827954076826 4392171637 TWISTA/DARK HORSE Compact Disc 634392171637 MCAD22004 TWITTY,C & LYNN,L/TWO'S A PART Compact Disc 076732200421 MCABD6391 TWITTY,C/GREATEST HITS V3.MAD. Compact Disc 076732639122 B001066202 TWITTY,C/IT'S ONLY MAKE BELIEV Compact Disc 602517600201 PSY40512 TWIZTID/MAN'S MYTH VOL.1 Compact Disc 756504405123 BUM071 TWO HOURS TRAFFIC/LITTLE JABS Compact Disc 826811000721 SHOUT56 TYMES,THE/GRACE & SAVOUR-THE C Compact Disc 5013929505629 NPR247LTD TYR/LAND (CD+DVD) CD with DVD 693723351124NPR380LTD TYR/LAY OF THRYM Compact Disc 885470002323 2061625502 TYRELL,S/SONGS OF SINATRA Compact Disc 720616255020 ZIQ333CD U ZIQ/CHEWED CORNER Compact Disc 5055300330918 AFM1595 U.D.O./THE WRONG SIDE OF MIDNI Compact Disc EP's 4046661067927 862392B U.F.O./WALK ON WATER Compact Disc 060768623927 5103472 U2/ACHTUNG BABY Compact Disc 731451034725 CID110 U2/BOY Compact Disc 075679004024 0249871830 U2/CITY OF BLINDING LIGHTS Compact Disc Singles 6024987183084400639102 U2/ELECTRIAL STORM-MAXI #2 Compact Disc EP's 044006391021 1798676 U2/GET ON YOUR BOOTS (CD SGL) Compact Disc Singles 6025179867636 93723 35112 47 22056 14822 1 7 56504 40512 37 47014 44852 67 67004 80022 68 74757 00172 2 6 02517 60020 10 76732 63912 2 7 31451 03472 5 0 75679 00402 47 20616 25502 00 76732 20042 1 8 26811 00072 1 5 055300 330918 5 013929 505629 8 84607 00001 0 8 85470 00232 36 34392 17163 76 30428 05002 0 6 30428 01102 1 0 60768 62392 7 0 44006 39102 18 27954 07682 6 4 046661 067927 6 02498 71830 8 6 02517 98676 3 Page 197 of 496 November 12, 2014Catalogue NumberArtist / Title Config Scannable UPC UPC 3145721892 U2/IF GOD WILL SEND HIS ANGELS Compact Disc EP's 731457218921 CID1127 U2/JOSHUA TREE, THE Compact Disc 042284229821 CID111 U2/OCTOBER Compact Disc 042284229722 IEG2137 U2/ROCK CRUSADE Digital Video Disc 617742213799 CIDM113 U2/UNDER A BLOOD RED SKY Compact Disc 060439011329 CID112 U2/WAR Compact Disc 042281114823 847242B UB40/LABOUR OF LOVE I, 2 & 3 Compact Disc 724358472424 4757777 UCHIDA&TATE/MOZART:PIANO CONCE Compact Disc 028947577775 DR4479 UFO/TOO HOT TO HANDLE Digital Video Disc 022891447993 0249876823 ULVAEUS,B&ANDERSON,B/LYCKA Compact Disc 602498768235 HSM51032 UNCLE LOUIE/UNCLE LOUIE S HERE Compact Disc 809842510322 426582 UNDEROATH/DEFINE THE GREAT LI Compact Disc 094634265829 ER0622 UNEARTH/OUR DAYS OF EULOGY Compact Disc 790168466229 555612 UNGAR,JAY//LOVER'S WALTZ,THE Compact Disc 724355556127 MOOD4607CD UNITED JAZZ & ROCK ENS./BREAK Compact Disc 707787460729 MOOD4601CD UNITED JAZZ & ROCK ENS/LIVE IN Compact Disc 707787460125MOOD4605CD UNITED JAZZ & ROCK ENS/PLAY WO Compact Disc 707787460521 MOOD4611CD UNITED JAZZ/ROCK ENSEMBLE/DIE Compact Disc 707787461122MOOD4608CD UNITED JAZZ/ROCK ENSEMBLE/ROUN Compact Disc 707787460828 OGL891272 UNITEDWESTAND/SONGS FOR AMERIC Compact Disc 790058912720 TOX007CDM UNSU/THE FILTHY Compact Disc 3770000191011 ER0542 UNTIL THE END/BLIND LEADING TH Compact Disc 790168465420 BADFICD002 UPSESSIONS,THE/THE NEW HEA(DLX Compact Disc 5013929930230 CDHBEA136 UPSETTERS /UPSETTERS A GO Compact Disc 011661763623 6076803302 UPSETTERS/RETURN OF DJANGO:THE Compact Disc 060768033023 804982 UPSETTERS/SCRATCH THE UPSETTER Compact Disc 060768049826 0 11661 76362 35 013929 930230 8 09842 51032 2 7 07787 46082 87 07787 46112 27 07787 46072 9 3 770000 191011 0 42284 22972 2 0 60439 01132 9 7 24358 47242 4 6 02498 76823 50 28947 57777 50 42281 11482 30 42284 22982 1 7 24355 55612 70 94634 26582 9 7 07787 46012 5 7 07787 46052 1 0 60768 04982 60 60768 03302 37 90058 91272 07 90168 46622 9 7 90168 46542 07 31457 21892 1 6 17742 21379 9 0 22891 44799 3 Page 198 of 496 November 12, 2014Catalogue NumberArtist / Title Config Scannable UPC UPC 365312A URIAH HEEP/FIREFLY Compact Disc 602923653129 LM045 URIAH HEEP/ONE MORE NIGHT(DVD) Digital Video Disc 5883007136454 HNECD012 URIAH HEEP/SEA OF LIGHT Compact Disc 5013929911222HNECD014 URIAH HEEP/SONIC ORIGAMI Compact Disc 5013929911420HNECD013 URIAH HEEP/SPELLBINDER LIVE Compact Disc 5013929911321 365342A URIAH HEEP/THE BEST OF PART 2 Compact Disc 602923653426 5011CD URIAH HEEP/THE EARLY YEARS Compact Disc 9120817150116 811612B URIAH HEEP/THE VERY BEST OF Compact Disc 060768116122 6076899362 U-ROY/THIS IS CRUCIAL REGGAE Compact Disc 060768993624 231152A USHER, DAV/LITTLE SONGS Compact Disc 724382311522 6076845752 UTOPIA/BOOTLEG SERIES VOL 2:LI Compact Disc 060768457522 MMPCD0062 VADER/DE PROFUNDIS (REMASTERED Compact Disc 5907785023352MMPCD0057 VADER/KINGDOM Compact Disc 5907785029316MMPCD0054 VADER/REBORN IN CHAOS (REMASTE Compact Disc 5907785027916 5079CD VAI,S/SATRIANI,J/GUITAR GODS V Compact Disc 9120817150796 MM811 VALDES,B/& HIS SABOR DE CUBA O Compact Disc 8436019588116 CLC217 VALE,J/The Essential 50's Sing Compact Disc 617742021721 TB17492 VALENTINE,H/LESSONS FROM THE L Compact Disc 661868174922 491432 VALENTINO /DAYBREAK EXPRESS Compact Disc 068944914326491372 VALENTINO /FEELIN' NO PAIN Compact Disc 068944913725491252 VALENTINO /MY FOOLISH HEART Compact Disc 068944912520302862 VAN B,A/STATE OF TRAN 2013 Compact Disc 812623028626 5099D VAN HALEN/BOTTOMS UP/BROAD(DVD Digital Video Disc 9120817150994 RT026 VAN HALEN/THE VERY BEST OF-LIV Digital Video Disc 9223814130263 6076863012 VAN ZANT/VAN ZANT II Compact Disc 060768630123 ALP140 VANDERMARK 5/AIRPORTS FOR LIGH Compact Disc 7352861140275 907785 027916 6 17742 02172 15 907785 029316 5 907785 023352 9 120817 150116 7 35286 11402 77 24382 31152 2 8 12623 02862 65 013929 911222 5 013929 911321 5 013929 911420 6 02923 65312 9 0 68944 91252 00 68944 91372 50 68944 91432 69 120817 150796 8 436019 588116 0 60768 99362 46 02923 65342 6 0 60768 11612 2 0 60768 45752 2 0 60768 63012 36 61868 17492 2 9 223814 130263 5 883007 136454 9 120817 150994 Page 199 of 496 November 12, 2014Catalogue NumberArtist / Title Config Scannable UPC UPC ALP47 VANDERMARK 5/SINGLE PIECE FLOW Compact Disc 735286194722 ALP166 VANDERMARK 5/THE COLOR OF MEMO Compact Disc 735286116625 MA250098 VANILLA FUDGE/THE RETURN Compact Disc 5413992500987 ABCVP123DVD VANILLA FUDGE/WHEN TWO WORLDS Digital Video Disc 604388715800 ALP39 VAR/ JUST ANOTHER ASSHOLE Compact Disc 735286193923 AHS001 VAR/12 CLASSIC 45S Compact Disc 700282000124 351159 VAR/123 IT'S EASY FOR ME Compact Disc 021823511597 QLDVD6489 VAR/20 COUNTRY LEGENDS (DVD) Digital Video Disc 760137648994QLDVD6579 VAR/20 FIRST LADIES OF COUNTRY Digital Video Disc 022891657996 6076883679 VAR/270 MILES FROM GRACELAND(D Digital Video Disc 060768836792 QLDVD6599 VAR/60'S ROCK & ROLL JUKEBOX Digital Video Disc 022891659990 LM010 VAR/60S ROCK HEROES(DVD) Digital Video Disc 5883007136102 B000868702 VAR/90'S ROCK NUMBER 1'S Compact Disc 602498473641 0075321178 VAR/A CANADIAN CHRISTMAS 4 Compact Disc 600753211786 4756117 VAR/A CELEBRATION CD with DVD 0289475611704713712 VAR/A CLASSIC TALE:MUSIC FOR O Compact Disc 028947137122 SYN074 VAR/A COUNTRY CHRISTMAS (CD+DV CD with DVD 874757007427 CT001 VAR/A FAREWELL TO PLANET EARTH Digital Video Disc 822603102499 4756380 VAR/A FRENCH COLLECTION Compact Disc 028947563808 DR4324 VAR/A GOTHIC INDUSTRIAL MIX Digital Video Disc 022891432494 CCD352152 VAR/A GREAT DAY OF JAZZ Compact Disc 013431521525 EGR23930 VAR/A GUARACHAR COLECCION"HECH Compact Disc 619061393022 KCD274 VAR/A LONG HOT SUMMER (MIXED B Compact Disc 788557027427 EGR24032 VAR/A MI MANERA ESENCIA DE CUB Compact Disc 619061403226 6076899142 VAR/A REGGAE TRIBUTE TO BOB DY Compact Disc 060768991422 INAK7968CD VAR/A TASTY SOUND COLL:ABSINTH Compact Disc 7077877968288 74757 00742 70 28947 56117 0 0 13431 52152 55 413992 500987 7 88557 02742 7 7 07787 79682 87 35286 19392 37 35286 19472 2 7 00282 00012 4 6 00753 21178 6 0 28947 56380 86 02498 47364 1 0 28947 13712 2 6 19061 39302 2 6 19061 40322 67 35286 11662 5 0 21823 51159 7 0 60768 99142 26 04388 71580 0 7 60137 64899 4 0 22891 65799 6 8 22603 10249 90 22891 65999 0 0 22891 43249 45 883007 136102 0 60768 83679 2 Page 200 of 496 November 12, 2014Catalogue NumberArtist / Title Config Scannable UPC UPC INAK7965CD VAR/A TASTY SOUND COLL:CHAMPAG Compact Disc 707787796521 INAK7967CD VAR/A TASTY SOUND COLL:CIGARS Compact Disc 707787796729INAK7966CD VAR/A TASTY SOUND COLL:COCKTAI Compact Disc 707787796620INAK7961CD VAR/A TASTY SOUND COLL:COFFEE Compact Disc 707787796125INAK7962CD VAR/A TASTY SOUND COLL:TEA & T Compact Disc 707787796224INAK7964CD VAR/A TASTY SOUND COLL:WHISKY Compact Disc 707787796422INAK7963CD VAR/A TASTY SOUND COLL:WINE & Compact Disc 707787796323 602498729496 VAR/A TRIBUTE TO THE KING Digital Video Disc 602498729496 OPECD7388 VAR/A VERY MERRY CHRISTMAS Compact Disc 776143738826 351139 VAR/ABC IT'S EASY FOR ME Compact Disc 021823511399 1011 VAR/ALLIGATOR RECORDS 25TH ANN Compact Disc 014551101123 SFMDVD033 VAR/ALL-STAR TRIBUTE TO MUDDY Digital Video Disc 5413992580330 4745522 VAR/ALT-BACHISCHES ARCHIV:CAN Compact Disc 028947455226 TAN111132 VAR/ALTERNATE ROUTES Compact Disc 782091111321 5707978910 VAR/AM THE RESURRECTION A TRIB Compact Disc 015707978910 CD80606 VAR/AMERICAN MAESTROS Compact Disc 089408060625 4681202 VAR/AN EVENING WITH MONTSERRAT Compact Disc 028946812020 POP109 VAR/AN EXCITING HOUSE MIX Compact Disc 890701001143 0075329900 VAR/AN INSTRUMENTAL CHRISTMAS Compact Disc 600753299005 CCD352132 VAR/AN INTIMATE EVENING Compact Disc 013431521327 ST28624 VAR/ANOTHER CHRISTMAS GIFT FOR Compact Disc 735383286528 CCM09982 VAR/APOLLO SATURDAY NIGHT Compact Disc 617742099829 DR4563 VAR/APPETITE FOR DECONSTRUCTIO Digital Video Disc 022891456391 4791045 VAR/ARCHIV PRODUKTION 194(55CD Compact Disc 0289479104599819460 VAR/AROUND THE WORLD:MUSIC FOR Compact Disc 6024981946074731042 VAR/ARTHUR GRUMIAUX:HISTORIC P Compact Disc 0289473104260 15707 97891 0 0 89408 06062 5 0 13431 52132 78 90701 00114 37 07787 79612 57 07787 79652 1 7 07787 79622 4 7 07787 79632 37 07787 79642 27 07787 79662 07 07787 79672 9 7 82091 11132 1 7 35383 28652 86 00753 29900 5 6 02498 19460 7 0 28947 31042 60 28946 81202 00 28947 45522 6 0 28947 91045 96 17742 09982 97 76143 73882 6 0 21823 51139 9 0 14551 10112 3 0 22891 45639 16 02498 72949 6 5 413992 580330 Page 201 of 496 November 12, 2014Catalogue NumberArtist / Title Config Scannable UPC UPC 4715622 VAR/AS TIME GOES BY Compact Disc 028947156222 DR1139 VAR/ATHENS GA, INSIDE OUT Digital Video Disc 022891113997 RHH777738 VAR/ATLANTIC VOCAL GROUPS(1951 Compact Disc 603497773824 CHC2047 VAR/AURAL AFFAIRS,VOL.1 Compact Disc 858370002397 CRASDVD050 VAR/AWOL ONE/CULTUREAMA 666 V2 Digital Video Disc 022891138792 4564972 VAR/BACH FOR BOOKS Compact Disc 0289456497264715792 VAR/BACHIANA II-DOUBLE CONCERT Compact Disc 028947157922 78612730222 VAR/BADBOY GREATEST HITS Compact Disc 786127302226 4781526 VAR/BALLET MASTERPIECES-35CD Compact Disc 028947815266 CHC2043 VAR/BAR TUNES VOL 4 Compact Disc 858370002700CHC2035 VAR/BAR TUNES, VOL. 3 Compact Disc 858370002403 4335232 VAR/BAROQUE EXPERIENCE/HOGWOOD Compact Disc 0289433523214563552 VAR/BAROQUE FOR BRIDES TO BE Compact Disc 028945635521 362842B VAR/BEATLES BLUES Compact Disc 021823628424 9463729232 VAR/BEETHOVEN:THE GREATEST MOM Compact Disc 094637292327 4785364 VAR/BENJAMIN BRITTEN(65CD+DVD CD with DVD 028947853640 0075308135 VAR/BEST OF 70'S ROCK/SUPERSTA Compact Disc 6007530813580249821969 VAR/BEST OF ALL TIME FAVOURITE Compact Disc 6024982196901166178012 VAR/BEST OF STUDIO ONE Compact Disc 011661780125 4777352 VAR/BEST OF THE BRITISH-LIVE B Compact Disc 0289477735284775077 VAR/BEST OF WIENER PHILHARMONI Compact Disc 028947750772 0075308981 VAR/BIG IN THE UK Compact Disc 600753089811 FVCD048 VAR/BIG SOUNDS:EMBER SOUNDTRAC Compact Disc 5055311000480 804932 VAR/BILL LASWELL PRESENT:TROJA Compact Disc 060768049321 0249837061 VAR/BIO GUARD POOL PARTY Compact Disc 602498370612 CCDCD7500 VAR/BLONDE Compact Disc 0134317500240 28947 85364 0 0 11661 78012 5 0 13431 75002 45 055311 000480 6 03497 77382 4 8 58370 00240 38 58370 00270 08 58370 00239 7 6 00753 08981 1 6 02498 37061 20 28947 77352 86 00753 08135 80 28945 63552 10 28945 64972 6 0 28943 35232 10 28947 15622 2 0 28947 75077 20 28947 81526 67 86127 30222 60 28947 15792 2 6 02498 21969 00 21823 62842 4 0 60768 04932 10 94637 29232 70 22891 13879 20 22891 11399 7 Page 202 of 496 November 12, 2014Catalogue NumberArtist / Title Config Scannable UPC UPC TK502 VAR/BLOOD, SWEAT AND TEN YEARS Compact Disc 824953005024 MVD5119D VAR/BLOWING FUSES LEFT & (DVD) Digital Video Disc 760137511991 PACD23109732 VAR/BLUES AROUND THE CLOCK Compact Disc 025218097321 INAK2301CD VAR/BLUES FOR BROKEN HEARTS Compact Disc 707787230124INAK2302CD VAR/BLUES FOR RAINY DAYS Compact Disc 707787230223INAK2303CD VAR/BLUES FOR WHEN YOU ARE ALO Compact Disc 707787230322 HSM50022 VAR/BLUES FROM THE 50S Compact Disc 809842500224 883309 VAR/BLUES MASTERS Compact Disc 060768833098 WM500282 VAR/BODY & SOUL COMPILATION Compact Disc 790185002820 BHH2004 VAR/BOMB WORLDWIDE Compact Disc 611933200421 845712 VAR/BONNAROO Compact Disc 060768457126845742 VAR/BONNAROO (CDX2) Compact Disc 060768457423 6076883349 VAR/BONNAROO (DVD) Digital Video Disc 060768833494 846212 VAR/BONNAROO 2003 (CDX2) Compact Disc 060768462120847362 VAR/BONNAROO 2004 (CDX2) Compact Disc 060768473621 6076884079 VAR/BONNAROO 2004 (DVD) Digital Video Disc 060768840799 CCM2030 VAR/BONNIE & CLYDE:OST Compact Disc 617742203028 SYN015 VAR/BORN WITH THE BLUES:10 LEG Compact Disc 874757001524 PDROPCD12 VAR/BOSS REGGAE SOUNDS-REGGAE Compact Disc 5013929681224 CD80249 VAR/BRAGGIN' IN BRASS Compact Disc 089408024924 2894625612 VAR/BRAHMS FOR BOOK LOVERS Compact Disc 028946256121 CCD52002 VAR/BRAZILIAN ROMANCE Compact Disc 013431520023 0075328593 VAR/BREAK THIS Compact Disc 600753285930 4756851 VAR/BRITISH AND AMERICAN BAND Compact Disc 0289475685135380062 VAR/BRITISH ROCK SYMPHONY Compact Disc 7314538006254746382 VAR/BRYN TERFEL SINGS FAVORITE SACD4Stereo/Surround/CDAud 0289474638250 89408 02492 4 0 13431 52002 30 25218 09732 1 7 90185 00282 0 8 74757 00152 47 07787 23012 4 7 07787 23022 3 7 07787 23032 2 6 17742 20302 86 11933 20042 1 5 013929 681224 8 09842 50022 4 6 00753 28593 0 7 31453 80062 50 28946 25612 1 0 28947 56851 30 60768 45712 60 60768 83309 8 0 60768 45742 3 0 60768 46212 0 0 60768 47362 18 24953 00502 4 7 60137 51199 1 0 60768 83349 4 0 60768 84079 9 0 28947 46382 5 Page 203 of 496 November 12, 2014Catalogue NumberArtist / Title Config Scannable UPC UPC YZLCD002 VAR/BUSTIN' OUT NEW WAVE TO NE Compact Disc 5055311050027 CDED7013 VAR/CAJUN COUNTRY Compact Disc 712136701323 EGR24033 VAR/CANCIONES DE SIEMPRE ESENC Compact Disc 619061403325 4465CD VAR/CAPPUCCINO BAR & LOUNGE V2 Compact Disc 4012600344657 CDROUN1716 VAR/CARIBBEAN VOYAGE:BROWN GIR Compact Disc 011661171626CDROUN1721 VAR/CARIBBEAN VOYAGE:CARIBBEAN Compact Disc 011661172128CDROUN1722 VAR/CARIBBEAN VOYAGE:CARRIACOU Compact Disc 011661172227 4753922 VAR/CASSIC RECITALS Compact Disc 028947539223 CCD52202 VAR/CHA CHA PARTY Compact Disc 013431522027 DIS606067 VAR/CHILDREN'S FAVORITES VOL 2 Compact Disc 050086060672 POP108 VAR/CHILL HOUSE CAPE TOWN Compact Disc 890701001136POP107 VAR/CHILL HOUSE TOKYO Compact Disc 890701001129 4776281 VAR/CHRISTMAS ALBUM(ALAGNA,R) Compact Disc 028947762812 B001463102 VAR/CHRISTMAS CLASSICS FT:RUDO Compact Disc 602527462905 351109 VAR/CHRISTMAS CLASSICS:JINGLE Compact Disc 021823511092351119 VAR/CHRISTMAS FAMILY CLASSICS: Compact Disc 021823511191 DIS611857 VAR/CHRISTMAS FAVOURITES Compact Disc 050086118571 0075329901 VAR/CHRISTMAS GREATEST HITS 2 Compact Disc 600753299012 ABR224432 VAR/CHRISTMAS IS FOR KIDS Compact Disc 783722244326 TC253087 VAR/CHRISTMAS MEMORIES CD with DVD 628261308729 SYN075 VAR/CHRISTMAS MEMORIES (CD+DVD CD with DVD 874757007526 ODR7345 VAR/CHRISTMAS TRADITION-MUSIC Compact Disc 776143734521 VE20060 VAR/CHRONIC 2011:A MILLENNIUM Compact Disc 689240200601 4670502 VAR/CINEMA ITALIANO Compact Disc 028946705025 B000907502 VAR/CLASSIC DISCO NUMBER 1'S Compact Disc 602517350519 4753962 VAR/CLASSIC RECITALS Compact Disc 0289475396296 28261 30872 9 8 74757 00752 67 12136 70132 3 0 11661 17162 6 0 11661 17212 8 0 11661 17222 7 0 13431 52202 7 6 89240 20060 18 90701 00113 6 8 90701 00112 94 012600 344657 7 83722 24432 6 6 02517 35051 96 00753 29901 26 02527 46290 50 50086 06067 2 0 50086 11857 10 28947 76281 2 0 28946 70502 5 0 28947 53962 90 28947 53922 36 19061 40332 55 055311 050027 7 76143 73452 10 21823 51109 2 0 21823 51119 1 Page 204 of 496 November 12, 2014Catalogue NumberArtist / Title Config Scannable UPC UPC 4755222 VAR/CLASSIC RECITALS Compact Disc 028947552222 4756410 VAR/CLASSIC RECITALS Compact Disc 0289475641024753942 VAR/CLASSIC RECITALS Compact Disc 028947539421 DRB1374 VAR/CLASSIC RHYTHM & BLUES V.1 Digital Video Disc 022891137498 DRB1376 VAR/CLASSIC RHYTHM & BLUES V.3 Digital Video Disc 022891137696DRB1379 VAR/CLASSIC RHYTHM & BLUES V.6 Digital Video Disc 022891137993 4674582 VAR/COCKTAIL CLASSICS Compact Disc 028946745823 CCD52182 VAR/COCKTAIL PARTY Compact Disc 013431521822 9463729212 VAR/COCKTAIL:SERIOUSLY GOOD MU Compact Disc 094637292129 3419CD VAR/COFFEE BAR & LOUNGE V.2 Compact Disc 8783817134193333CD VAR/COFFEE BAR & LOUNGE VOL. 1 Compact Disc 40126333333389933CD VAR/COFFEE BAR & LOUNGE VOL.3 Compact Disc 4012633999336 RMC0001 VAR/CONCERT FOR RONNIE MON(DVD Digital Video Disc 881034121141 CCDCD1035 VAR/CONCORD JAZZ SACD SAMPLER SACD4Stereo/Surround/CDAud 013431103561 CDED7051 VAR/COUNTRY BLUES GUITAR Compact Disc 712136705123 QLDVD6684 VAR/COUNTRY FEVER JUKEBOX V.1 Digital Video Disc 022891668497QLDVD6685 VAR/COUNTRY FEVER JUKEBOX V.2 Digital Video Disc 022891668596 4343852 VAR/COUTS OF SPAIN/ROMEROS Compact Disc 028943438520 CRITCD004 VAR/CRITICAL TRANCE Compact Disc 5704207113147 INAK1971CD VAR/CROSSROADS FESTIVAL VOL.1 Compact Disc 707787197120 B001728902 VAR/CRUEL SUMMER(G.O.O.D. MUSI Compact Disc 602537118670 QLDVD6686 VAR/CRUISIN' COUNTRY HITS Digital Video Disc 022891668695 CRASDVD058 VAR/CULTURAMA 777:AUDIOVISUAL Digital Video Disc 788377104797 MVD5851A VAR/CUT INS VOLUME ONE Compact Disc 760137585121 0075330181 VAR/DANCE CLASSICS Compact Disc 600753301814 803982 VAR/DANCE HALL 69 Compact Disc 0607680398277 12136 70512 30 13431 52182 2 8 78381 71341 9 4 012633 999336 4 012633 333338 7 60137 58512 15 704207 113147 7 07787 19712 0 6 02537 11867 0 6 00753 30181 40 28943 43852 00 28946 74582 30 28947 55222 2 0 28947 56410 2 0 28947 53942 1 0 60768 03982 70 94637 29212 9 0 22891 66849 7 0 22891 66869 50 22891 66859 60 22891 13799 30 22891 13769 6 7 88377 10479 70 22891 13749 8 8 81034 12114 1 0 13431 10356 1 Page 205 of 496 November 12, 2014Catalogue NumberArtist / Title Config Scannable UPC UPC 95119DVD VAR/DANCEHALL BASHMENT Digital Video Disc 026617951191 7697431362 VAR/DEATH IN VENICE Compact Disc 776974313629 4756786 VAR/DECCA RECORDINGS V.3-1936 Compact Disc 028947567868 WM500842 VAR/DEEP AND SEXY Compact Disc 790185008426 1166118282 VAR/DEEP RIVER OF SONG:GEORGIA Compact Disc 011661182820 MIW000831 VAR/DEEP SEA BLUES (DVD) Digital Video Disc 813411018317 CD83575 VAR/DELTA BLUES BOXED SET Compact Disc 089408357527 DIS613137 VAR/DISNEY BOSSA NOVA Compact Disc 050086131372 D000068402 VAR/DISNEY MUSIC BLOCK PARTY Compact Disc 050087107871 DIS607857 VAR/DISNEYMANIA Compact Disc 050086078578DIS613187 VAR/DISNEY'S HAPPIEST CELEBRAT Compact Disc 050086131877 4543952 VAR/DMITRI/HVOROSTOVSKY Compact Disc 028945439525 MW008 VAR/DOO-WOP FOR LOVERS Compact Disc 813411010083 2923163060 VAR/DREAM SONGS NIGHT SONGS FR Compact Disc 629231630604 884139 VAR/DRIVE THRU & RUSHMORE RECO Compact Disc 060768841390884019 VAR/DRIVE THRU DVD VOL.1 Digital Video Disc 060768840195884029 VAR/DRIVE THRU DVD VOL.2 Digital Video Disc 060768840294884329 VAR/DRIVE THRU EXTRAVAGANZA Compact Disc 060768843295836242 VAR/DRIVE-THRU PURE VOLUME Compact Disc 060768362420 MVDV4723 VAR/DRUM PAD'S 20TH ANNIVERSAR Digital Video Disc 022891472391 MVDV4688 VAR/EARACHE MY EYE Digital Video Disc 022891468899 DVD2869053 VAR/EAST COAST VOL.2 Digital Video Disc 022891805397 TORTV1123CD VAR/EIST ARIS Compact Disc 5099343211230 EGR24034 VAR/EL POP Y EL ROCK CUBANO ES Compact Disc 619061403424 4748152 VAR/ELEVEN-STRING BAROQUE Compact Disc 028947481522 2894733452 VAR/ESSENTIAL CHRISTMAS:30 SEA Compact Disc 0289473345210 11661 18282 0 0 89408 35752 77 90185 00842 6 5 099343 211230 8 13411 01008 30 50087 10787 1 0 28945 43952 50 50086 07857 80 50086 13137 2 0 50086 13187 7 0 28947 48152 2 0 28947 33452 10 28947 56786 87 76974 31362 9 6 19061 40342 46 29231 63060 4 0 60768 84139 0 0 60768 84329 5 0 60768 36242 0 0 22891 46889 90 26617 95119 1 8 13411 01831 7 0 22891 47239 1 0 22891 80539 70 60768 84019 5 0 60768 84029 4 Page 206 of 496 November 12, 2014Catalogue NumberArtist / Title Config Scannable UPC UPC 4714932 VAR/EVENING STAR:GERMAN OPERA Compact Disc 028947149323 DR1461 VAR/FAITHFULLY YOURS-UNAUTHORI Digital Video Disc 022891146124 LIB33622 VAR/FARM AID-KEEP AMERICA GROW Digital Video Disc 619061362233 4621792 VAR/FAVOURITE HARP CTI Compact Disc 0289462179244621762 VAR/FAVOURITE PNO CTI VOL1 Compact Disc 028946217627 CCD52112 VAR/FEELING SENTIMENTAL Compact Disc 013431521129 CCM07362 VAR/FIFTY #1 HITS OF THE 50S(2 Compact Disc 617742073621 RPMSH210 VAR/FIRE & FURY OF BOBBY ROBIN Compact Disc 5013929521025 TSCD907 VAR/FOLK MUSIC OF GREECE Compact Disc 5016272907027 2894704662 VAR/FOR MY LOVE Compact Disc 0289470466222894724772 VAR/FOR YOUR DREAMS Compact Disc 028947247722SACD60536 VAR/FROM ISLES TO THE COURTS SACD4Stereo/Surround/CDAud 0894080536033145654172 VAR/FUNK CLASSICS:T 70S Compact Disc 731456541723 B000922302 VAR/FUTURE IDOLS Compact Disc 602498494998 3145601002 VAR/G.PETERSON WORLDWIDE 1 Compact Disc 731456010021 102 VAR/GENUINE HOUSEROCKIN MUS/II Compact Disc 014551010227101 VAR/GENUINE HOUSEROCKIN MUSIC Compact Disc 014551010128 B000397702 VAR/GET HAPPY:THE HAROLD ARLEN Compact Disc 602498267301 8771CD VAR/GOA TUNES (CD) Compact Disc 9788000987712 B000974702 VAR/GOLD - JAZZ DIVAS Compact Disc 600753020586B000820702 VAR/GOLD - OL SKOOL JAMS Compact Disc 602517173781B000854502 VAR/GOLD-QUIET STORM GOLD Compact Disc 602517243798 BZCD014 VAR/GOT A LIGHT, MAC? Compact Disc 823564701400 DR3690 VAR/GOTH BOX Digital Video Disc 022891980025DR4401 VAR/GOTH:THE ULTIMATE COLLECTI Digital Video Disc 022891440192 DR3302 VAR/GOTHIC INDUSTRIAL MADNES Digital Video Disc 0228913302260 13431 52112 9 9 788000 987712 6 17742 07362 1 5 016272 907027 5 013929 521025 6 02517 17378 16 02498 49499 8 6 02498 26730 1 6 00753 02058 67 31456 01002 10 28946 21762 70 28946 21792 4 6 02517 24379 87 31456 54172 30 28947 14932 3 0 28947 04662 2 0 28947 24772 2 8 23564 70140 00 14551 01012 80 14551 01022 76 19061 36223 3 0 22891 33022 60 22891 14612 4 0 22891 98002 5 0 22891 44019 20 89408 05360 3 Page 207 of 496 November 12, 2014Catalogue NumberArtist / Title Config Scannable UPC UPC 3145847052 VAR/GRAMMY NOMINEES 2002 Compact Disc 731458470526 B001063002 VAR/GRAMMY NOMINEES 2008 Compact Disc 602517581029 0167503CD VAR/GREAT COVER VERSIONS REFER Compact Disc 707787750325 DCW387 VAR/GREAT OUTLAW VALENTINE &NA Digital Video Disc 022891038795 INAK7502HQCD VAR/GREAT VOICES VOL 2 Compact Disc 707787750226 4573572 VAR/GREATEST CLASSICAL XMAS Compact Disc 028945735726 RSPCD53313 VAR/GREATEST GOSPEL HITS Compact Disc 025218331326 224041 VAR/GREECE Compact Disc 4011222240415224041 VAR/GREECE Compact Disc 4011222240415 SDR0038 VAR/GREEN REVOLUTION Compact Disc 652975003823 ABR635102 VAR/GREETINGS FROM NASHVILLE-C Compact Disc 084296351022 4756835 VAR/GULDA PLAYS BEETHOVEN Compact Disc 028947568353 TC252906 VAR/HALLOWEEN COLLECTOR'S EDIT Digital Video Disc 628261290628 PWRCD5 VAR/HARMONICA BLUES ORGY Compact Disc 806013000521 B000021302 VAR/HAYREN-MUSIC OF TIGRAN MAN Compact Disc 028946183120 MVDV4727 VAR/HEADS UP 2006 (DVD) Digital Video Disc 022891472797MVDV4730 VAR/HEADS UP 2007 (DVD) Digital Video Disc 022891473091 HSM50492 VAR/HENRY STONE'S HIDDEN DI V1 Compact Disc 809842504925HSM50502 VAR/HENRY STONE'S HIDDEN DI V2 Compact Disc 809842505021 2833DVD VAR/HEROES OF HEAVY METAL Digital Video Disc 5783817582833 IDVD1019 VAR/HI DE HO & OTHER MOVIES -S Digital Video Disc 022891901990 BZCD006 VAR/HIGH ROLLERS Compact Disc 823564700601 UTVMVD78017 VAR/HIP HOP 411 Digital Video Disc 688997801796 DRB1346 VAR/HIP HOP HALL OF FAME Digital Video Disc 022891134695 B000161402 VAR/HIP HOP HITS VOLUME 7 Compact Disc 602498611890 RANDB013 VAR/HISTORY OF NEW ORLEANS V1 Compact Disc 50650011261470 25218 33132 6 8 09842 50492 5 8 09842 50502 16 52975 00382 3 0 84296 35102 27 07787 75032 5 7 07787 75022 6 5 065001 126147 8 06013 00052 14 011222 240415 7 31458 47052 6 6 02517 58102 9 0 28946 18312 00 28945 73572 6 6 02498 61189 00 28947 56835 3 8 23564 70060 14 011222 240415 6 28261 29062 8 5 783817 582833 0 22891 03879 5 0 22891 47309 1 0 22891 13469 50 22891 47279 7 6 88997 80179 60 22891 90199 0 Page 208 of 496 November 12, 2014Catalogue NumberArtist / Title Config Scannable UPC UPC PROPERBOX9 VAR/HITTIN'ON ALL SIX:A HISTOR Compact Disc 604988990928 58399 VAR/HOLIDAY ENTERTAINING Compact Disc 096741422324 MCAD64664 VAR/HOME OF THE BLUES Compact Disc 731456466422 HSM50202 VAR/HOOKED ON THE BLUES Compact Disc 809842502020 POP105 VAR/HOUSE AFFAIR: VOL.2 Compact Disc 890701001105POP106 VAR/HOUSE MUSIC MILANO Compact Disc 890701001112 3145563322 VAR/HOUSEMIX 2001 Compact Disc 731455633221 DVD2869006 VAR/HOY COMO AYER Digital Video Disc 022891800699 CD001IDS VAR/IBIZA 2013 THE GREATEST CH Compact Disc 9480018130011500218CD VAR/IBIZA CHILLOUT MOODS VOL.1 Compact Disc 8399245002187 B001523902 VAR/ICON CELEBRATES BLACK HIST Compact Disc 602527614373 ABR224452 VAR/IF TOOTHPASTE TASTED LIKE Compact Disc 783722244524 IEWSJ059 VAR/IMTIMATE ENCOUNTERS WITH S Compact Disc 874757005928 8216160052 VAR/IRISH TRAD MSIC:THE EAST C Compact Disc 682161600529 RPMSH212 VAR/IT TAKES TWO Compact Disc 5013929521223 IAM0238 VAR/ITS ABOUT MUSIC ARTISTS-IT Compact Disc 899079002387 3735229 VAR/JACKASS Compact Disc 6025373522964777387 VAR/JANACEK:THE EXCURSIONS OF Compact Disc 028947773870 CCD52032 VAR/JAZZ AT DAY'S END Compact Disc 013431520320CCD52062 VAR/JAZZ AT WEEK'S END Compact Disc 013431520627 9843867 VAR/JAZZ CLUB:THE SWINGING BIG Compact Disc 602498438671 EGR24035 VAR/JAZZ DE CUBA ESENCIA DE CU Compact Disc 619061403523 3145483182 VAR/JAZZ ET CINEMA VOL.1 Compact Disc 731454831826 MW007 VAR/JAZZ FOR LOVERS Compact Disc 813411010076 3145198532 VAR/JAZZ MASTERS VOLUME 20 Compact Disc 731451985324 DVD2869060 VAR/JAZZ VOICE:LADIES SING JAZ Digital Video Disc 0228918060976 82161 60052 9 0 13431 52032 0 0 13431 52062 70 96741 42232 4 8 74757 00592 88 90701 00110 5 8 90701 00111 2 7 83722 24452 48 399245 002187 9 480018 130011 8 99079 00238 7 8 13411 01007 65 013929 521223 6 02527 61437 3 7 31454 83182 66 02498 43867 1 7 31451 98532 40 28947 77387 07 31455 63322 17 31456 46642 2 6 02537 35229 6 6 19061 40352 38 09842 50202 06 04988 99092 8 0 22891 80069 9 0 22891 80609 7 Page 209 of 496 November 12, 2014Catalogue NumberArtist / Title Config Scannable UPC UPC CCD352172 VAR/JAZZ WEEKEND Compact Disc 013431521723 4000192 VAR/JESSYE NORMAN SINGS SACRED Compact Disc 028940001925 ZEDDCD008 VAR/JOEY NEGRO:IN THE BEGI(2CD Compact Disc 5030820042732 SDR0019 VAR/JOHNNT HANSON PRESENTS PUC Compact Disc 652975001928 VE20018 VAR/JUST LIKE PARADISE:TRIBUTE Compact Disc 689240001826 3145319602 VAR/JZ FOR JOY/VERVE XMAS A Compact Disc 7314531960253145493522 VAR/KEN BURNS JAZZ:THE STORY Compact Disc 731454935227 DR4183 VAR/KICK SOME A$$-UNAUTHORIZED Digital Video Disc 022891418320 BZCD013 VAR/KICKING HITLER'S BUTT Compact Disc 823564701301 4756814 VAR/KRAUSE,T/CLASSIC RECITALS Compact Disc 028947568148 MW004 VAR/K-TEL PRESENTS SUPERBAD Compact Disc 813411010045 845962 VAR/LAST OF MISSISSIPPI JUKES Compact Disc 060768459625 CCD52092 VAR/LATINE ROMANCE Compact Disc 013431520924 3145568022 VAR/LATINO HEAT Compact Disc 7314556802252923163001 VAR/LE CHAT MUSICIAN Compact Disc 629231630017 WWCD046 VAR/LEAD WITH THE BASS 3 Compact Disc 7187505546288 0075319389 VAR/LEGENDS OF ROCK Compact Disc 600753193891 SDR0053 VAR/LET'S START THE ACTION Compact Disc 652975005322 VE20030 VAR/LICK IT UP:TRIBUTE TO KISS Compact Disc 689240003028 4740062 VAR/LIEDER & OPERA SCENES Compact Disc 0289474006224748432 VAR/LIEDERABEND Compact Disc 028947484325 BZCD003 VAR/LIKE AN ATOM BOMB Compact Disc 823564700304 DIS607977 VAR/LILO & STITCH ISLAND FAVOU Compact Disc 050086079773 836322 VAR/LISTEN TO BOB DYLAN:A TRIB Compact Disc 060768363229 OGL891252 VAR/LISTEN TO WHAT THE MAN SAI Compact Disc 790058912522 DR4398 VAR/LIVE '72-LONDON ROCK N'ROL Digital Video Disc 0228914398990 13431 52092 40 13431 52172 3 6 89240 00182 6 6 89240 00302 86 52975 00192 8 7 187505 546288 8 13411 01004 55 030820 042732 6 52975 00532 27 31454 93522 77 31453 19602 5 6 00753 19389 17 31455 68022 50 28940 00192 5 0 50086 07977 30 28947 40062 2 0 28947 48432 50 28947 56814 8 8 23564 70030 48 23564 70130 1 6 29231 63001 70 60768 45962 5 0 60768 36322 9 7 90058 91252 2 0 22891 43989 90 22891 41832 0 Page 210 of 496 November 12, 2014Catalogue NumberArtist / Title Config Scannable UPC UPC TSQ2967 VAR/LIVE AT CAFFE LENA MUSIC F Compact Disc 894807002967 DJ860 VAR/LIVE AT RONNIE SCOTT'S Digital Video Disc 022891986096 QLDVD6548 VAR/LIVE AT THE ROCK N ROLL PA Digital Video Disc 022891654896QLDVD6549 VAR/LIVE AT THE ROCK N ROLL V2 Digital Video Disc 022891654995 DJ858 VAR/LIVE FROM RONNIE SCOTT'S Digital Video Disc 022891985891 QLDVD6550 VAR/LIVE FROM THE ROCK N ROLL Digital Video Disc 022891655091 TB02003 VAR/LIVE IN SAN FRANCISCO Digital Video Disc 826258200357 HJR0332 VAR/LIVING IS HARD:WEST AFRICA Compact Disc 5099920825423 ZEDDCD015 VAR/LOCKED IN THE VINYL CE(2CD Compact Disc 5060162570112 EGR23893 VAR/LOCOS POR EL MAMBO Compact Disc 619061389322 CDED9009 VAR/LONE STAR BLUES Compact Disc 712136900924 0673032 VAR/LORD OF THE RINGS-AT DAWN Compact Disc 044006730325 5454506732 VAR/LOS BANDOLEROS-THE FIRST D Compact Disc 6545450673278216118302 VAR/LOUISIANA:CATCH THAT TRAIN Compact Disc 6821611830229463729222 VAR/LOUNGE:SERIOUSLY GOOD MUSI Compact Disc 0946372922289463788282 VAR/LOUNGE:THE DEPARTURE LOUNG Compact Disc 094637882825 4748022 VAR/LOVE MOODS:THE MOST ROMANT Compact Disc 028947480228 DIS611597 VAR/LULLABY & GOODNIGHT Compact Disc 050086115976 0881129042 VAR/LYRICIST LOUNGE VOL.2 Compact Disc 008811290429 341002 VAR/MAESTRO Compact Disc 021823410029 4696502 VAR/MARCHES & POLKAS Compact Disc 028946965023 2894722072 VAR/MASTERS OF THE BOW Compact Disc 028947220725 863072B VAR/MAXIMUM HEAVY METAL Compact Disc 060768630727863092A VAR/MAXIMUM ROCK HITS:STRAIGHT Compact Disc 060768630925 4775320 VAR/MELODRAMEN Compact Disc 028947753209 LV111 VAR/MERRY CHRISTMAS BABY Compact Disc 7649429956256 82161 18302 27 12136 90092 4 7 64942 99562 55 060162 570112 6 54545 06732 7 0 08811 29042 90 44006 73032 5 0 28946 96502 30 50086 11597 60 28947 48022 8 0 28947 75320 90 28947 22072 56 19061 38932 2 0 21823 41002 9 0 60768 63072 7 0 60768 63092 55 099920 825423 0 94637 29222 88 94807 00296 7 0 94637 88282 50 22891 98609 6 8 26258 20035 70 22891 65509 10 22891 65499 50 22891 65489 6 0 22891 98589 1 Page 211 of 496 November 12, 2014Catalogue NumberArtist / Title Config Scannable UPC UPC EGR23891 VAR/MI SALSA TIENE SANDUNGA (F Compact Disc 619061389124 HSM50122 VAR/MIAMI FUNK VOLUME 1 Compact Disc 809842501221 HSM50152 VAR/MIAMI FUNK VOLUME 2 Compact Disc 809842501528HSM50252 VAR/MIAMI FUNK VOLUME 3 Compact Disc 809842502525HSM50262 VAR/MIAMI FUNK VOLUME 4 Compact Disc 809842502624HSM50222 VAR/MIAMI SOUL SISTERS Compact Disc 809842502228 SACD60516 VAR/MICHAEL MURRAY AT ST.SULPI SACD4Stereo/Surround/CDAud 089408051609 VE20034 VAR/MISTY MOUNTAIN HOP:LED ZEP Compact Disc 689240200342 ACD71266 VAR/MORGENSTERN TRIO Compact Disc 787867126622 845582 VAR/MOTOTRAX 1 Compact Disc 060768455825 B001220802 VAR/MOTOWN:THE COMPLETE NO.1'S Compact Disc 602517875746 4681572 VAR/MOVIE CLASSICS Compact Disc 0289468157244566382 VAR/MOZART FOR MASSAGE Compact Disc 0289456638214467622 VAR/MOZART ON T MENU Compact Disc 0289446762284775810 VAR/MOZART:1956 JUBILEE EDITIO Compact Disc 0289477581054775811 VAR/MOZART:1956 JUBILEE EDITIO Compact Disc 0289477581124775812 VAR/MOZART:1956 JUBILEE EDITIO Compact Disc 0289477581294775813 VAR/MOZART:1956 JUBILEE EDITIO Compact Disc 028947758136 TRI24014 VAR/MR.SAXOBEAT Compact Disc 619061401420CGR9900 VAR/MS.FITS:HATE IS YOU MISTRE Compact Disc 027297990029 CCDCD4911 VAR/MUSIC OF GEORGE GERSHWIN: Compact Disc 013431491125 5149CD VAR/MUSICAL TRIBUTE TO JOHNNY Compact Disc 9120817151496 4775494 VAR/MUSIK..SPRACHE DER WELT II Compact Disc 0289477549474747852 VAR/MY FIGURE SKATING ALBUM Compact Disc 028947478522 DR4201 VAR/NEVER ENOUGH-UNAUTHORIZED Digital Video Disc 022891013624 QLDVD6700 VAR/NEW LADIES OF COUNTRY(DVD) Digital Video Disc 022891670094 0 13431 49112 58 09842 50122 1 9 120817 151496 0 27297 99002 90 28944 67622 80 28945 66382 16 02517 87574 6 0 28946 81572 4 0 28947 47852 20 28947 75494 70 28947 75810 5 0 28947 75811 2 0 28947 75812 9 0 28947 75813 66 19061 38912 4 6 89240 20034 28 09842 50152 8 8 09842 50222 88 09842 50252 5 8 09842 50262 4 7 87867 12662 2 0 60768 45582 5 6 19061 40142 0 0 22891 67009 40 22891 01362 40 89408 05160 9 Page 212 of 496 November 12, 2014Catalogue NumberArtist / Title Config Scannable UPC UPC MG9003 VAR/NEW ORLEANS TRADITIONAL VO Compact Disc 096094900326 4742502 VAR/NEW YEARS CONCERT Compact Disc 0289474250214775366 VAR/NEW YEARS CONCERT 2005 Compact Disc 0289477536674780034 VAR/NEW YEAR'S CONCERT 2008-2C Compact Disc 028947800347 5110D VAR/NIGHT OF GUITARS (DVD) Compact Disc 9120817151106 HUP003DN VAR/NOISE! FIRST PUNKERVISION Digital Video Disc 827657000999 3145358842 VAR/NOVA BOSSA/RED HOT ON VERV Compact Disc 731453588424 HP20501 VAR/NYC SUBWAY:SONGS FROM THE Compact Disc 660662205016 XXICD21600 VAR/O CANADA! Compact Disc 722056160025 4742082 VAR/ODYSSEY Compact Disc 028947420828 SUB23381 VAR/ONE DROP-NEW ROOTS ATTACK Compact Disc 619061338122 4734762 VAR/OPERAS VOL.1 Compact Disc 0289473476204738512 VAR/OPERAS VOL.2 Compact Disc 0289473851274732492 VAR/ORCHESTRAL WORKS Compact Disc 028947324928 MVDA4777 VAR/OUNK ROCK KARAOKE(CD+DVD) CD with DVD 760137477723 DR4526 VAR/OUR FOREFATHERS-A PROTOPUN Digital Video Disc 022891452690 MA250135 VAR/OUR OWN SPECIAL WAY-TRIBUT Compact Disc 5413992501359 DR0011 VAR/OUT OF THE BOTTLE-UNAUTHOR Digital Video Disc 022891001126 ALP38 VAR/OUT OF THEIR MOUTHS MK II Compact Disc 735286193824 DRB1356 VAR/OUTLAWZ WORLDWIDE Digital Video Disc 022891135692 BZCD012 VAR/OUTSIDE THE LAW Compact Disc 823564701202 ZEDDCD028 VAR/OVERDOSE OF THE HOST(2CD) Compact Disc 5060162572062 EGR23927 VAR/PARA QUE TU LO BAILES COLE Compact Disc 619061392728 4756268 VAR/PARAY CONDUCTS FRENCH ORCH Compact Disc 028947562689 CCD352192 VAR/PARTY MIX Compact Disc 013431521921 TSQ1875 VAR/PEOPLE TAKE WARNING!MURDER Compact Disc 8560750018757 60137 47772 37 22056 16002 5 0 13431 52192 16 60662 20501 60 96094 90032 6 5 060162 572062 7 35286 19382 45 413992 501359 7 31453 58842 4 0 28947 34762 0 0 28947 38512 70 28947 42082 80 28947 42502 1 0 28947 75366 7 0 28947 80034 7 0 28947 32492 8 0 28947 56268 98 23564 70120 2 6 19061 39272 89 120817 151106 6 19061 33812 2 8 56075 00187 50 22891 45269 0 0 22891 13569 28 27657 00099 9 0 22891 00112 6 Page 213 of 496 November 12, 2014Catalogue NumberArtist / Title Config Scannable UPC UPC 4608312 VAR/PIANO CONCERTOS 1,2-HUNGAR Compact Disc 028946083123 4776555 VAR/PIANO MOODS Compact Disc 028947765554 CMH8902 VAR/PICKIN' ON NANCY SINATRA Compact Disc 027297890220CMH8964 VAR/PICKIN'ON ERIC CLAPTON V.2 Compact Disc 027297896420 B000303702 VAR/PLAINTE CALME Compact Disc 028947240020 DIS610007 VAR/POOH FRIENDSHIP DAY Compact Disc 050086100071 B000967002 VAR/POWER BALLADS NUMBER 1'S Compact Disc 602517426610 0743277 VAR/PUCCINI:PUCCINI GOLD-DVD Digital Video Disc 044007432778 CF058DVD VAR/PUNK BROADCASTING SYSTEM Digital Video Disc 022891005896 DR4383 VAR/PUNK CAN TAKE IT Digital Video Disc 022891438397 MVDV4883 VAR/PUNK IN ENGLAND Digital Video Disc 760137488392MVDV4882 VAR/PUNK IN LONDON Digital Video Disc 760137488293MVDA4776 VAR/PUNK ROCK KARAOKE(DVD+CD) CD with DVD 760137477693 3145847789 VAR/PURE 80'S THE DVD Digital Video Disc 7314584778913145841492 VAR/PURE BLUES Compact Disc 731458414926 DR4547 VAR/PURE DECADENCE - DVD Digital Video Disc 022891454793 7401202 VAR/PURE DISCO 2 Compact Disc 776974012027 0075329811 VAR/PURE(LY) ACOUSTIC 3 Compact Disc 600753298114 EGR23929 VAR/QUIERO HABLAR CONTIGO COLE Compact Disc 619061392926 MVD5818A VAR/RAREST OF THE RARE GIRL GR Compact Disc 760137581826 LV164 VAR/RAREST OF THE RARE GIRL V2 Compact Disc 609465980188 ABR633002 VAR/REASON TO BELIEVE-A COUNTR Compact Disc 084296330027 3145331832 VAR/RED HOT&RIO Compact Disc 731453318328 BZCD001 VAR/REEFER MADNESS Compact Disc 823564700106 INAK7501HQCD VAR/REFERENCE SOUND EDITION: V Compact Disc 707787750127 0075327149 VAR/REGGAE 2010 Compact Disc 6007532714907 60137 47769 3 7 07787 75012 76 09465 98018 87 60137 58182 60 27297 89022 0 0 27297 89642 0 0 84296 33002 76 02517 42661 0 6 00753 27149 07 31453 31832 87 76974 01202 7 6 00753 29811 47 31458 41492 60 28946 08312 3 0 28947 24002 0 0 50086 10007 10 28947 76555 4 8 23564 70010 66 19061 39292 67 60137 48839 2 7 60137 48829 30 22891 43839 70 22891 00589 6 0 22891 45479 37 31458 47789 10 44007 43277 8 Page 214 of 496 November 12, 2014Catalogue NumberArtist / Title Config Scannable UPC UPC 802432A VAR/REGGAE CHRISTMAS-21 CHRIST Compact Disc 060768024328 0075318224 VAR/REGGAE CLASSICS:THE GREATE Compact Disc 600753182246 MVDV4884 VAR/REGGAE IN A BABYLON Digital Video Disc 760137488491 6PAZZ009 VAR/REGGAE JAMAICA STYLEE 2 Compact Disc 883717019721 6076804762 VAR/REGGAE PULSE 4:CHRISTMAS S Compact Disc 060768047624 95039DVD VAR/REGGAE ROCKERS-SUNSPLASH 9 Digital Video Disc 026617950392 CA60048 VAR/REGGAE SHOWDOWN:GIANTS OF Digital Video Disc 4028462600480 9463690922 VAR/REGGAETON:THE CUBAN REVOLU Compact Disc 094636909226 CCM21172 VAR/REMEMBER ME BABY-CAMEO PAR Compact Disc 617742211726 RPMSH248 VAR/REMEMBERING ROOTS OF SOUL Compact Disc 5013929524828 ZEDDCD030 VAR/REMIXED WITH LOVE BY J(2CD Compact Disc 5060162572390 DR4256 VAR/RIDING THE EDGE-UNAUTHORIZ Digital Video Disc 022891425625 6076845732 VAR/RISE ABOVE:24 BLACK FLAG S Compact Disc 0607684573246076862422 VAR/ROCK AND ROLL DOCTOR:A TRI Compact Disc 0607686242210114310892 VAR/ROCK FOR RELIEF Compact Disc 601143108921 046632B VAR/ROCK THE DOCK (EXCLUSIVE) Compact Disc 5099970466324 MCBBD25084 VAR/ROCKIN LITTLE CHRISTMAS Compact Disc 076742508425 DR1532 VAR/ROCKYOUR SOCKS OFF-UNAUTHO Digital Video Disc 022891153290 4735962 VAR/ROMANTIC ADAGIOS II Compact Disc 028947359623 ABR620032 VAR/RUDY THE REDNECK REINDEER Compact Disc 084296200320 EGR23928 VAR/RUMBEROS DE CUBA COLECCION Compact Disc 619061392827 7731301892 VAR/SALSA! EXPLOSION Compact Disc 8773130018919463729172 VAR/SALSA:SERIOUSLY GOOD MUSIC Compact Disc 094637291726 805782 VAR/SANTA'S BUMPER CHRISTMAS Compact Disc 021823511290 TK128 VAR/SAW VI Compact Disc 824953012824 4696532 VAR/SILENT NIGHT-A CHRISTMAS C Compact Disc 0289469653206 01143 10892 18 83717 01972 1 6 17742 21172 6 5 060162 572390 0 84296 20032 05 013929 524828 6 00753 18224 6 8 77313 00189 15 099970 466324 0 76742 50842 5 0 28946 96532 00 28947 35962 3 6 19061 39282 70 60768 62422 10 60768 02432 8 0 21823 51129 00 60768 45732 40 60768 04762 4 8 24953 01282 40 94636 90922 6 0 94637 29172 60 22891 42562 57 60137 48849 1 4 028462 600480 0 22891 15329 00 26617 95039 2 Page 215 of 496 November 12, 2014Catalogue NumberArtist / Title Config Scannable UPC UPC MVD5996A VAR/SINGING IN A WINTER WONDER Compact Disc 760137599623 4731272 VAR/SIR GEORGE SOLTI:THE FIRST Compact Disc 028947312727 RPM041 VAR/SMASH UP DERBY Compact Disc 698715004125 0249821595 VAR/SMOOTH JAZZ 2 Compact Disc 602498215951 35495 VAR/SOLITUDES 25TH ANNI/FRENCH CD with DVD 096741113024 EGR23892 VAR/SON DE LA LOMA (FIESTA EDI Compact Disc 619061389223 DR4327 VAR/SONGS FOR CASSAVETTES:AN A Digital Video Disc 022891432791 IEG2187 VAR/SOUL OF THE CHURCH (DVDX2) Digital Video Disc 617742218794 WNRCD5044 VAR/SOUL STEPPERS (DVD+CD) DVD + BNS CD 5018755504419 0881129102 VAR/SOUNDBOMBING II Compact Disc 008811291020 CCDCD5227 VAR/SOUNDS OF SPRING Compact Disc 013431522720 863272 VAR/SOUTHERN ROCK CHRISTMAS Compact Disc 060768632721 T0133DVD VAR/STAIND:TAINTED-UNAUTHORIZ Digital Video Disc 692865013334 DR4279 VAR/STAR BABY SCRAPBOOK-UNAUTH Digital Video Disc 022891137320 SYN077 VAR/STARS COME OUT FOR CHRISTM CD with DVD 874757007724 IEG2077 VAR/STAX DOUBLE FEATURE (2DVD) Digital Video Disc 617742207798 STXCD30811 VAR/STAX:THE SOUL OF HIP-HOP Compact Disc 888072308114 INAK7924CD VAR/STEREO HORTEST CD VOL.5 Compact Disc 707787792424 0167926CD VAR/STEREO HORTEST V7 Compact Disc 707787792622 VIT9186 VAR/STONE SOUR:STRING QUARTET Compact Disc 027297918627 301139 VAR/STRAT PACK Digital Video Disc 801213011391 1166177242 VAR/STUDIO ONE SHOWCASE V.1 Compact Disc 011661772427 BZCD002 VAR/SUGAR IN MY BOWL Compact Disc 823564700205 ZEDDCD012 VAR/SUPAFUNKANOVA VOL 1 (2CD) Compact Disc 5037454772950 PROPERBOX56 VAR/SWING TANZEN VERBOTEN:SWIN Compact Disc 805520020565 PROPERBOX75 VAR/SWINGING HOLLYWOOD HILLBIL Compact Disc 8055200207560 96741 11302 4 8 74757 00772 40 13431 52272 0 0 11661 77242 77 60137 59962 3 7 07787 79242 4 8 05520 02075 67 07787 79262 2 0 27297 91862 7 5 037454 772950 6 98715 00412 5 6 02498 21595 1 0 08811 29102 00 28947 31272 7 8 23564 70020 58 88072 30811 46 19061 38922 3 8 05520 02056 50 60768 63272 1 8 01213 01139 16 92865 01333 40 22891 43279 1 6 17742 20779 80 22891 13732 06 17742 21879 4 5 018755 504419 Page 216 of 496 November 12, 2014Catalogue NumberArtist / Title Config Scannable UPC UPC CD1700 VAR/T ALAN LOMAX COLLECTION Compact Disc 011661170025 18662 VAR/T ALAN LOMAX COLLECTION:BL Compact Disc 682161186627 8216118312 VAR/T ALAN LOMAX:DEEP RIVER OF Compact Disc 682161183121 CD1715 VAR/T ALAN LOMAX:PRISON SONGS Compact Disc 011661171527CD1701 VAR/T ALAN LOMAX:SOUTHERN JOUR Compact Disc 011661170124 8216117622 VAR/T SPANISH COLLECTION:ARAGO Compact Disc 682161176222 5254492 VAR/T ULTIMATE 80'S BALLADS Compact Disc 731452544926 3145217372 VAR/T VERVE STORY 1944-1994 Compact Disc 731452173720 CD83503 VAR/TELARC'S GOT MORE BLUES Compact Disc 089408350320 1166132439 VAR/TELLURIDE BLUEGRASS FESTIV Digital Video Disc 011661324398 LV157 VAR/THAT BEACH BOY SOUND Compact Disc 609465980171 LV157 VAR/THAT BEACH BOY SOUND Compact Disc 609465980171 ABR616022 VAR/THAT CHRISTMAS FEELING(3CD Compact Disc 084296160228 2894721792 VAR/THE #1 SOPRANOS ALBUM Compact Disc 028947217923 B000036502 VAR/THE BEST OF BLUES ROCK SON Compact Disc 008811323424 862262A VAR/THE BEST OF METAL Compact Disc 060768622623 LIB33574 VAR/THE BEST OF SOUND STAGE Digital Video Disc 619061357437 0249809690 VAR/THE BEST OF THE 50'S Compact Disc 602498096901 845872 VAR/THE BRITISH ARE COMING Compact Disc 060768458727 845222A VAR/THE BRITISH ARE COMING V1 Compact Disc 060768452220 3020606462 VAR/THE CHILL LOUNGE Compact Disc 030206064629 4779525 VAR/THE COLLECTION(34CD)-LTD E Compact Disc 0289477952544782826 VAR/THE DECCA SOUND (50CD) Compact Disc 0289478282664696922 VAR/THE FLIGHT OF THE BUMBLE B Compact Disc 028946969229 D000003302 VAR/THE FOX AND THE HOUND 2 Compact Disc 050087100322 BZCD008 VAR/THE IRON HORSE Compact Disc 8235647008096 82161 18312 16 82161 18662 7 6 82161 17622 20 11661 17002 5 0 11661 17012 40 11661 17152 7 0 89408 35032 0 0 30206 06462 96 09465 98017 1 0 84296 16022 87 31452 17372 07 31452 54492 6 0 28946 96922 9 0 50087 10032 20 28947 79525 4 0 28947 82826 60 28947 21792 3 6 02498 09690 10 08811 32342 4 8 23564 70080 90 60768 45872 70 60768 62262 3 0 60768 45222 06 09465 98017 10 11661 32439 8 6 19061 35743 7 Page 217 of 496 November 12, 2014Catalogue NumberArtist / Title Config Scannable UPC UPC HSM50992 VAR/THE LAST DISCO IN PARIS Compact Disc 809842509920 PROPERBOX11 0VAR/THE LOUISIANA HAYRIDE Compact Disc 805520021104 BMRNV0100A VAR/THE MUSIC OF NASHVILLE ORI Compact Disc 843930007691 BHH2050 VAR/THE REAL DEAL Compact Disc 611933205020 RSPCD53303 VAR/THE ROOTS OF SOUL Compact Disc 025218330329 4647342 VAR/THE SOFIA RECITAL Compact Disc 028946473429 ZEDDCD007 VAR/THE SOUL OF DISCO V1(2CD) Compact Disc 5030820041476ZEDDCD010 VAR/THE SOUL OF DISCO V2(2CD) Compact Disc 5037454772400 B000678302 VAR/THE STATE I'M IN Compact Disc 602498789988 MVD5817A VAR/THE ULTIMATE TORCH Compact Disc 760137581727 4731822 VAR/THE ULTIMATE WIZARD ALBUM Compact Disc 028947318224 B000047802 VAR/THE VOICE OF AMERICA Compact Disc 028947298526 4775420 VAR/THE WALTZ:ECSTACY AND MYST Compact Disc 028947754206 AHS007 VAR/THE WASTED YEARS Compact Disc 700282100725 FLMDVD003 VAR/THIS AIN'T YOUR MOM'S HARD Digital Video Disc 094922698643 6076804642 VAR/THIS IS CRUCIAL REGGAE:DUB Compact Disc 0607680464296076805552 VAR/THIS IS CRUCIAL REGGAE:SUM Compact Disc 0607680555206076802752 VAR/TIGHTEN UP! TROJAN REGGAE Compact Disc 060768027527 ABR730012 VAR/TIMELESS CHRISTMAS Compact Disc 798647300125 4757172 VAR/TIPPET;VOCAL MUSIC - 4CD S Compact Disc 028947571728 LV114 VAR/TIS THE SEASON TO BE FREEZ Compact Disc 764942010526 ER0002 VAR/TO ELLIOTT FROM PORTLAND Compact Disc 634457168923 0075315027 VAR/TODAY'S BEST MUSIC 2009 Compact Disc 6007531502760075316540 VAR/TODAY'S BEST MUSIC 2009(WE Compact Disc 6007531654090075324519 VAR/TODAY'S BEST MUSIC 2010 Compact Disc 600753245194 EGR23894 VAR/TODO CHACHACHA (FIESTA EDI Compact Disc 6190613894210 25218 33032 9 7 64942 01052 68 09842 50992 0 7 00282 10072 55 030820 041476 7 60137 58172 7 7 98647 30012 55 037454 772400 8 05520 02110 4 6 11933 20502 0 6 00753 24519 46 00753 15027 6 6 00753 16540 90 28946 47342 9 6 02498 78998 8 0 28947 29852 60 28947 31822 4 0 28947 57172 80 28947 75420 68 43930 00769 1 6 34457 16892 3 6 19061 38942 10 60768 02752 70 60768 04642 9 0 60768 05552 00 94922 69864 3 Page 218 of 496 November 12, 2014Catalogue NumberArtist / Title Config Scannable UPC UPC B001154602 VAR/TOTALLY 80'S FOR KIDS Compact Disc 600753100158 CCD52052 VAR/TRANQUILLITY Compact Disc 013531520528 4455CD VAR/TRIBUTE TO AERZTE Compact Disc 4012633344556 391629 VAR/TRIBUTE TO EDITH PIAF 2004 Digital Video Disc 801213916290 5067D VAR/TRIBUTE TO MILES DAVIS(DVD Digital Video Disc 9120817150673 803922 VAR/TROJAN SISTERS BOX SET Compact Disc 060768039223 3020606542 VAR/TUNNEL TRANCE FORCE AMER-2 Compact Disc 030206065428 HSM50512 VAR/TWELVE INCH CLAS 70S VOL 1 Compact Disc 809842505120 HSM50522 VAR/TWELVE INCH CLAS 70S VOL 2 Compact Disc 809842505229HSM50562 VAR/TWELVE INCH DISCO CLASS V3 Compact Disc 809842505625HSM50572 VAR/TWELVE INCH DISCO CLASS V4 Compact Disc 809842505724 VOL0903 VAR/TWISTED CABARET V.1:(DLX.D Digital Video Disc 3770000947182VOL0902 VAR/TWISTED CABARET VOL.1 Compact Disc 3770000947168 CTG50006 VAR/ULTIMATE B-BOY:CITY VS CIT Digital Video Disc 694955000699 4758079 VAR/ULTIMATE CLASSICAL CHILL O Compact Disc 0289475807994780381 VAR/ULTIMATE VOICES Compact Disc 028947803812 2923163154 VAR/UN TRESOR DANS MON JARDIN Compact Disc 629231631540 4744002 VAR/UN VERITABLE ARTISTE Compact Disc 028947440024 ZEDDCD027 VAR/UNDER THE INFLUENCE TW(2CD Compact Disc 5060162571850ZEDDCD024 VAR/UNDER THE INFLUENCE V1(2CD Compact Disc 5060162571096ZEDDCD029 VAR/UNDER THE INFLUENCE V3(2CD Compact Disc 5060162572079 3000D VAR/UNDERGROUND SHOW VOL.1 Digital Video Disc 600665755125 DROM14DVD VAR/UNIVERSAL STORIES OF DANCE Digital Video Disc 804909001492 DRB1400 VAR/URBAN SPOTLIGHT DVD-ZINE-U Digital Video Disc 022891140092SDR0057 VAR/VANCOUVER COMPLICATION COM Compact Disc 652975005728 SF13175 VAR/VANS WARPED TOUR GREATEST Compact Disc 8266631317580 30206 06542 80 13531 52052 7 3 770000 947168 8 09842 50512 0 5 060162 572079 4 012633 344556 5 060162 571096 5 060162 571850 6 52975 00572 80 28947 80381 26 00753 10015 8 0 28947 44002 40 28947 58079 9 6 29231 63154 08 09842 50522 9 8 09842 50562 5 8 09842 50572 40 60768 03922 3 8 26663 13175 83 770000 947182 9 120817 150673 0 22891 14009 26 00665 75512 56 94955 00069 9 8 04909 00149 28 01213 91629 0 Page 219 of 496 November 12, 2014Catalogue NumberArtist / Title Config Scannable UPC UPC VERW39248 VAR/VERVE REMIXED 4 Compact Disc 602517741973 0249860738 VAR/VERVE REMIXED II Compact Disc 602498603031 TK589 VAR/VIDEO ASSAULT VOL.1 Digital Video Disc 824953005895 4696632 VAR/VIRTUOSO HARP MUSIC Compact Disc 028946966327 3145430772 VAR/VOICES OF THE CENTURY Compact Disc 731454307727 95019DVD VAR/VOL 1:I WANT MY DVD Digital Video Disc 02661795019495029DVD VAR/VOL 2:I WANT MY DVD Digital Video Disc 02661795029395079DVD VAR/VOL 2:REGGAE JAMMIN Digital Video Disc 026617950798 BHH2086 VAR/VOLUME 2 Compact Disc 611933208625 DIS613467 VAR/WALT DISNEY TAKES YOU TO D Compact Disc 050086134670 DVD2869055 VAR/WEST COAST VOL.1 Digital Video Disc 022891805595DVD2869056 VAR/WEST COAST VOL.2 Digital Video Disc 022891805694DVD2869057 VAR/WEST COAST VOL.3 Digital Video Disc 022891805793 4740242 VAR/WILHELM KEMPFF:THE COMPLET Compact Disc 028947402428 WNRD2467 VAR/WOODSTOCK DIARY 1969(DVD) Digital Video Disc 5018755246715 TSQ2776 VAR/WORK HARD,PLAY HARD,PRAY H Compact Disc 894807002776 4663512 VAR/WORLD OF GREAT BRITISH CLA Compact Disc 028946635124 BZCD004 VAR/YOU DONE ME WRONG Compact Disc 823564700403 0075327021 VAR/Z103.5 HIT MIX 2010 Compact Disc 6007532702190075330904 VAR/Z103.5 STREETMIX 2K11 Compact Disc 600753309049 4754872 VARESE/THE COMPLETE WORKS Compact Disc 028947548720 OCT21947 VARIES-VARIOUS/MAMAN: 25 CHANS Compact Disc 619061194728 6076805782 VARIOUS /TROJAN SLACK REGGAE BOX Compact Disc 060768057821 875242B VARIOUS AR/#1 HITS OF THE 80'S Compact Disc 094638752424 190632 VARIOUS AR/10 GREEN APPLES(COM Compact Disc 5099991906328 213772B VARIOUS AR/100 % ROCK Compact Disc 50999721377276 11933 20862 5 5 099991 906328 5 099972 137727 6 00753 30904 96 00753 27021 90 28946 63512 46 02498 60303 16 02517 74197 3 7 31454 30772 70 28946 96632 7 0 50086 13467 0 0 28947 40242 8 0 28947 54872 0 0 94638 75242 48 23564 70040 3 6 19061 19472 88 94807 00277 60 26617 95029 3 0 26617 95079 8 0 22891 80559 5 0 22891 80569 4 0 22891 80579 30 26617 95019 4 5 018755 246715 8 24953 00589 5 Page 220 of 496 November 12, 2014Catalogue NumberArtist / Title Config Scannable UPC UPC 907882 VARIOUS AR/25 MORE SUNDAY SCHO Compact Disc 724359078823 680512 VARIOUS AR/A CHRISTMAS SONGBOO Compact Disc 5099926805122 110352B VARIOUS AR/A FINE ROMANCE Compact Disc 096741103520 962044 VARIOUS AR/A POP N COUNTRY CHR Cassette 724349620445962042 VARIOUS AR/A POP N COUNTRY CHR Compact Disc 724349620421275422 VARIOUS AR/AIR GUITAR ANTHEMS Compact Disc 5099902754222071862 VARIOUS AR/AN OLD FASHIONED CH Compact Disc 5099950718627643472 VARIOUS AR/AT LAST: TIMELESS S Compact Disc 5099996434727393362 VARIOUS AR/AUSSIE STARS Compact Disc 724353933623 797302C VARIOUS AR/AWESOME 80'S Compact Disc 5099967973026 300142A VARIOUS AR/BABY, IT'S COLD OUT Compact Disc 724353001421305362A VARIOUS AR/BABY, IT'S COLD OUT Compact Disc 724353053628710032A VARIOUS AR/BATTLE AXE WARRIORS Compact Disc 800867100321114062A VARIOUS AR/BE-BOP-A-LULA Compact Disc 096741140624 321932 VARIOUS AR/BELIEVE Compact Disc 094633219328393372 VARIOUS AR/BELL BOTTOMED ROCK Compact Disc 724353933722223432 VARIOUS AR/BIG SHINY BONUS CD Compact Disc 724352234325740612 VARIOUS AR/BLACK AND BLUES/GIU Compact Disc 9783937406121 393392A VARIOUS AR/BRITISH INVASION Compact Disc 724353933920 984752 VARIOUS AR/CAPITOL SINGS THE B Compact Disc 077779847525917122 VARIOUS AR/CD FAM JAM Compact Disc 724359171227603272 VARIOUS AR/CHOIX DU QUEBEC Compact Disc 724356032729147925 VARIOUS AR/CLASSIC ROCK Compact Disc 0496741479258223694 VARIOUS AR/CMT 2000 Cassette 724352236947223692 VARIOUS AR/CMT 2000 Compact Disc 724352236923 113442B VARIOUS AR/COOL YULE Compact Disc 0967411344257 24349 62044 5 7 24352 23694 78 00867 10032 15 099967 973026 5 099996 434727 0 496741 479258 0 96741 14062 4 0 96741 13442 50 94633 21932 80 96741 10352 0 7 24356 03272 97 24359 17122 77 24353 93372 2 7 24353 93392 07 24353 93362 3 7 24353 00142 1 7 24353 05362 87 24349 62042 1 7 24352 23432 55 099902 754222 5 099950 718627 5 099926 805122 7 24352 23692 37 24359 07882 3 0 77779 84752 59 783937 406121 Page 221 of 496 November 12, 2014Catalogue NumberArtist / Title Config Scannable UPC UPC 097492 VARIOUS AR/COOL YULE (DISC 3) Compact Disc 5099930974920 097512 VARIOUS AR/COOL YULE (DISC ONE Compact Disc 5099930975125097502 VARIOUS AR/COOL YULE (DISC TWO Compact Disc 5099930975026 123452B VARIOUS AR/COUNTRY LOVE Compact Disc 096741234521710022B VARIOUS AR/DEFENDERS OF THE UN Compact Disc 800867100222 275262 VARIOUS AR/DOO WOP FAVOURITES Compact Disc 5099922752628982592 VARIOUS AR/ELAN DE COEUR Compact Disc 724359825922 658662B VARIOUS AR/ESSENTIAL 80S Compact Disc 5099996586624 740645 VARIOUS AR/ETERNAL PEACE/MONUM Compact Disc 9783937406459 112972A VARIOUS AR/EXCELLENT '80'S Compact Disc 096741129728112862A VARIOUS AR/FAB THE BEST OF THE Compact Disc 096741128622 740627 VARIOUS AR/FADO PORTUGUES Compact Disc 9783937406275613802 VARIOUS AR/FOR MY MOM Compact Disc 094636138022 840492C VARIOUS AR/FOREVER COUNTRY Compact Disc 5099908404923 694062 VARIOUS AR/GLOBAL GOLD Compact Disc 094636940625740644 VARIOUS AR/GOSPEL JOURNEY Compact Disc 9783937406442073282 VARIOUS AR/HAPPY HOLIDAYS Compact Disc 5099950732821723432 VARIOUS AR/HAPPY HOUR -ROCK CL Compact Disc 064027234329 124202B VARIOUS AR/HEY BIG SPENDER Compact Disc 096741242021 147966 VARIOUS AR/HEY, SANTA CLAUS Compact Disc 0496741479661 452382B VARIOUS AR/HIGHER GROUND HURRI Compact Disc 094634523820 120322 VARIOUS AR/HIP HOLIDAY Compact Disc 096741203220990079 VARIOUS AR/HIP HOP 101 Digital Video Disc 805239900790224802 VARIOUS AR/HITS OF THE 50'S Compact Disc 724352248025224812 VARIOUS AR/HITS OF THE 60'S Compact Disc 724352248124224822 VARIOUS AR/HITS OF THE 70'S Compact Disc 7243522482238 00867 10022 2 0 496741 479661 5 099930 974920 5 099930 975125 5 099930 975026 5 099996 586624 0 96741 24202 15 099922 752628 0 96741 23452 1 0 96741 20322 00 96741 12972 8 0 94636 94062 50 96741 12862 2 0 64027 23432 97 24359 82592 2 7 24352 24822 37 24352 24812 47 24352 24802 55 099950 732821 5 099908 404923 0 94636 13802 29 783937 406275 9 783937 406442 9 783937 406459 0 94634 52382 0 8 05239 90079 0 Page 222 of 496 November 12, 2014Catalogue NumberArtist / Title Config Scannable UPC UPC 224832 VARIOUS AR/HITS OF THE 80'S Compact Disc 724352248322 418352A VARIOUS AR/HOLIDAY STARS 2002 Compact Disc 724354183522804072A VARIOUS AR/HOLT-RENFREW CHRIST Compact Disc 724358040722 319852 VARIOUS AR/ITALIA NOSTRA SUPER Compact Disc 724353198527 424352B VARIOUS AR/JENSON BLUES Compact Disc 094634243520 977512 VARIOUS AR/LADY SINGS THE BLUE Compact Disc 724359775128814862 VARIOUS AR/LADY SINGS THE BLUE Compact Disc 724358148626 283312A VARIOUS AR/LA-LA-LATINA (LA SE Compact Disc 724352833122 283302 VARIOUS AR/LA-LA-LATINA(SILK & Compact Disc 724352833023635732 VARIOUS AR/LES INCONTOURNABLES Compact Disc 724356357327752522 VARIOUS AR/LES INCONTOURNABLES Compact Disc 724387525221 644222B VARIOUS AR/LES INCONTOURNABLES Compact Disc 724386442222790022B VARIOUS AR/LYRICS OF FURY Compact Disc 800867900228790062B VARIOUS AR/LYRICS OF FURY 2 Compact Disc 800867900624 740640 VARIOUS AR/MADONNA/SACRED ART Compact Disc 9783937406404 744212B VARIOUS AR/MAGIC FLUTE:QUEST F Compact Disc 094637442128112252A VARIOUS AR/MARTINI MIX Compact Disc 096741122521 819910 VARIOUS AR/MAXI & CO. KIT Compact Disc 724348199102626892 VARIOUS AR/MOST BEAUTIFUL CLAS Compact Disc 724356268920336112 VARIOUS AR/MOST RELAXING OPERA Compact Disc 094633361126079292 VARIOUS AR/MOVE TO YOUR GROOVE Compact Disc 5099960792921740626 VARIOUS AR/NAPOLI/LA CITTA,LA Compact Disc 9783937406268 638892B VARIOUS AR/NOKIA UNWIRED VOL 1 Compact Disc 724386388926680472B VARIOUS AR/NOW THAT'S WHAT I C Compact Disc 5099926804729 684252 VARIOUS AR/NOW! THAT'S WHAT I Compact Disc 5099926842523115752 VARIOUS AR/OPEN COUNTRY Compact Disc 0967411575238 00867 90022 8 8 00867 90062 4 5 099960 792921 0 96741 15752 30 94637 44212 8 0 96741 12252 10 94634 24352 0 7 24356 35732 7 7 24386 38892 67 24348 19910 27 24358 04072 27 24354 18352 2 7 24353 19852 7 7 24352 83312 2 7 24352 83302 37 24352 24832 2 7 24387 52522 1 7 24386 44222 2 5 099926 804729 5 099926 842523 7 24356 26892 0 0 94633 36112 67 24359 77512 8 7 24358 14862 6 9 783937 406268 9 783937 406404 Page 223 of 496 November 12, 2014Catalogue NumberArtist / Title Config Scannable UPC UPC 175022A VARIOUS AR/OUTTV PRESENTS: OUT Compact Disc 5099951750220 330692B VARIOUS AR/PERFECT MUSIC MIX,T Compact Disc 724353306922 891152 VARIOUS AR/POLLY POCKETS Compact Disc 094638911524078002 VARIOUS AR/PUMP IT UP - 4 Compact Disc 5099990780028 541902B VARIOUS AR/RATTLESNAKE GUITAR Compact Disc 085365419025 323144 VARIOUS AR/REMINISCING WITH TH Cassette 094633231443 323202B VARIOUS AR/REMINISCING WITH TH Compact Disc 094633232020117182A VARIOUS AR/ROCK & ROLL HIGHWAY Compact Disc 096741171826 875512 VARIOUS AR/ROCK AND ROLL JUKEB Compact Disc 5099908755124417782 VARIOUS AR/ROLLER RINK REWIND Compact Disc 5099974177820305242 VARIOUS AR/ROMANCE (LA SENZA) Compact Disc 724353052423 305262A VARIOUS AR/ROMANCE (SILK & SAT Compact Disc 724353052621 467312 VARIOUS AR/SANTA BABY Compact Disc 5099994673128361362 VARIOUS AR/SANTA BABY(SILK & S Compact Disc 724353613624259582 VARIOUS AR/SATURN Compact Disc 724352595822 407032B VARIOUS AR/SCREAMING MASTERPIE Compact Disc 827954070329942072B VARIOUS AR/SEARS CHRISTMAS Compact Disc 724359420721 848382 VARIOUS AR/SEARS SUMMER Compact Disc 724358483826393402 VARIOUS AR/SECOND BRITISH INVA Compact Disc 724353934026 310172B VARIOUS AR/SKINTIGHT BLUES Compact Disc 669803101729 683392 VARIOUS AR/SODA SHOP CLASSICS Compact Disc 5099926833927323062 VARIOUS AR/SONGS FOR A WINTER Compact Disc 094633230620982602 VARIOUS AR/SONGS FROM THE HEAR Compact Disc 724359826028068452 VARIOUS AR/STUDIO 97 Compact Disc 5099930684522657392 VARIOUS AR/SUMMER FUN Compact Disc 5099996573921972352 VARIOUS AR/SUMMER SOUNDTRACK Compact Disc 7243597235250 94633 23144 30 85365 41902 55 099951 750220 5 099908 755124 5 099994 673128 5 099990 780028 5 099974 177820 5 099930 684522 5 099926 833927 5 099996 573921 0 96741 17182 60 94638 91152 4 0 94633 23202 0 7 24359 72352 50 94633 23062 0 7 24359 82602 87 24359 42072 1 7 24358 48382 6 7 24353 93402 67 24353 30692 2 7 24353 61362 47 24353 05242 3 7 24353 05262 1 7 24352 59582 2 6 69803 10172 98 27954 07032 9 Page 224 of 496 November 12, 2014Catalogue NumberArtist / Title Config Scannable UPC UPC 849402 VARIOUS AR/SWEET LISTENING 25 Compact Disc 724358494020 220972 VARIOUS AR/SWING FEVER(SILK & Compact Disc 724352209729091342 VARIOUS AR/TAKE ME HOME, COUNT Compact Disc 5099960913425436382 VARIOUS AR/THIS CHRISTMAS Compact Disc 5099924363822 085252B VARIOUS AR/TIMELESS LOVE Compact Disc 5099960852526 395642 VARIOUS AR/TOMMY HILFIGER MUSI Compact Disc 094633956421740646 VARIOUS AR/TRADITIONAL CHRISTM Compact Disc 9783937406466943302 VARIOUS AR/UNSTOPPABLE/CITIZAN Compact Disc 724359433028 114752B VARIOUS AR/VIVA ITALIA Compact Disc 096741147524 740643 VARIOUS AR/W A MOZART A BIO IN Compact Disc 9783937406435740637 VARIOUS AR/WILD THING:MUSCLE C Compact Disc 9783937406374916172 VARIOUS AR/WINE CONNECTION,THE Compact Disc 724359161723356322 VARIOUS AR/WONDER + FRESH FITN Compact Disc 5099923563223269352 VARIOUS AR/WONDER CARES FITNES Compact Disc 5099902693521310022 VARIOUS AR/WORLD'S LEADING ROU Compact Disc 669803100227956352 VARIOUS AR/WORSHIP TOGETHER CA Compact Disc 724359563527 GRBD9935 VARIOUS ARTISTS/A TIME FOR LOV Compact Disc 011105993524 CDROUN5101 VARIOUS ARTISTS/ANTHOLOGY OF W Compact Disc 011661510128CDROUN5122 VARIOUS ARTISTS/ANTHOLOGY OF W Compact Disc 011661512221 CDHBEA43 VARIOUS ARTISTS/CHANNEL ONE, H Compact Disc 011661754324CDHBEA47 VARIOUS ARTISTS/COLLECTOR'S ED Compact Disc 011661754720 CDROUN6023 VARIOUS ARTISTS/CONJUNTO ! (D6 Compact Disc 011661602328 6076805562 VARIOUS ARTISTS/CRUCIAL REGGAE Compact Disc 0607680556296076805572 VARIOUS ARTISTS/CRUCIAL REGGAE Compact Disc 060768055728 CDHBEA202 VARIOUS ARTISTS/DUB OVER DUB: Compact Disc 011661770225CDHBEA142 VARIOUS ARTISTS/DUB SPECIALIST Compact Disc 011661764224 0 11661 75432 40 11661 51012 8 0 11661 76422 40 11661 77022 50 11661 75472 00 11661 51222 1 0 11661 60232 85 099902 693521 5 099960 913425 5 099923 563223 0 96741 14752 40 94633 95642 1 7 24359 43302 87 24358 49402 0 7 24359 16172 37 24352 20972 9 5 099924 363822 6 69803 10022 7 0 11105 99352 45 099960 852526 7 24359 56352 79 783937 406374 9 783937 406435 9 783937 406466 0 60768 05562 9 0 60768 05572 8 Page 225 of 496 November 12, 2014Catalogue NumberArtist / Title Config Scannable UPC UPC CDROUN1141 VARIOUS ARTISTS/FALL OF MAN: C Compact Disc 018964114121 CDROUN0331 VARIOUS ARTISTS/OLD-TIME MUSIC Compact Disc 011661033122 CDHBEA55 VARIOUS ARTISTS/ORIGINAL CLUB Compact Disc 011661755529 CDFLY450 VARIOUS ARTISTS/PARTISANS OF V Compact Disc 018964045029 CDROUN8025 VARIOUS ARTISTS/RAINBOW SIGN Compact Disc 011661802520 CDHBEA181 VARIOUS ARTISTS/RESPECT TO STU Compact Disc 011661768123 CDROUN11510 VARIOUS ARTISTS/ROUNDER OLD-TI Compact Disc 011661151024 CDHBEA104 VARIOUS ARTISTS/RUN RHYTHM RUN Compact Disc 011661760424CDHBEA105 VARIOUS ARTISTS/SKA AFTER SKA Compact Disc 011661760523 AK29932 VARIOUS ARTISTS/SUN RECORDS YE Compact Disc 8026575993129 CDROUNSS37 VARIOUS ARTISTS/SUN ROCKABILLY Compact Disc 011661553729 GRD9944 VARIOUS ARTISTS/TENOR SAX BALL Compact Disc 011105994422 B000199302 VARIOUS ARTISTS/THE JAZZ WEDDI Compact Disc 602498617557 CDHBEA195 VARIOUS ARTISTS/TREASURE ISLE Compact Disc 011661769526 SUNVC0413 VARIOUS ARTISTS/VIDEO COMPILAT VHS Clamshell format 621617004139 CDROUN1052 VARIOUS ARTISTS/VINTAGE HAWAII Compact Disc 011661105225 CHC2056 VARIOUS/ART OF ELECTRO SWING Compact Disc 858370002267 ABR686061 VARIOUS/CHRISTMAS TOY STORY Compact Disc 084296860616ABR635362 VARIOUS/CHRISTMASINMYHEART Compact Disc 084296353620ABR635372 VARIOUS/CHRISTMASINTHEMOUNTAIN Compact Disc 084296353729ABR636022 VARIOUS/CHRISTMASONTHEROADAGAI Compact Disc 084296360222ABR411442 VARIOUS/COUNTRY CHRISTMAS Compact Disc 741914114420ABR635422 VARIOUS/DRIFTINGCOWBOYACOUNTRY Compact Disc 084296354221 955772 VARIOUS/FRIENDS IN BELLWOOD I Compact Disc 625989557729223284 VARIOUS/GREAT GROUPS OF'50&60S Cassette 724352232840223282 VARIOUS/GREAT GROUPS OF'50&60S Compact Disc 724352232826 7 24352 23284 00 18964 04502 90 11661 75552 90 18964 11412 1 0 11661 76042 4 0 11661 76052 30 11661 76812 3 0 11661 76952 60 11661 03312 2 0 11661 10522 50 11661 15102 40 11661 80252 0 0 11661 55372 9 0 84296 35362 0 0 84296 36022 20 84296 86061 6 7 41914 11442 00 84296 35372 9 0 84296 35422 18 58370 00226 7 7 24352 23282 66 02498 61755 70 11105 99442 2 6 25989 55772 98 026575 993129 6 21617 00413 9 Page 226 of 496 November 12, 2014Catalogue NumberArtist / Title Config Scannable UPC UPC 281902B VARIOUS/GREAT JAZZ SESSIONS V2 Compact Disc 5099922819024 ABR635092 VARIOUS/GREETINGSFROMDETROITCL Compact Disc 084296350926ABR634862 VARIOUS/GREETINGSFROMPHILLYCLA Compact Disc 084296348626ABR634882 VARIOUS/GREETINGSFROMTEXASCLAS Compact Disc 084296348824ABR635142 VARIOUS/GREETINGSFROMTHEEASTCO Compact Disc 084296351428ABR635122 VARIOUS/GREETINGSFROMTHEWESTCO Compact Disc 084296351220ABR635172 VARIOUS/HARD&FASTALLTIMEGREATE Compact Disc 084296351725 356332 VARIOUS/HEART&STROKE FOUN 2008 Compact Disc 5099923563322 545872B VARIOUS/INSTANT 80'S TODAY, V1 Compact Disc 085365458727 MWM5610 VARIOUS/KIDS RAP RADIO V5 Compact Disc 879645000610 OCT22178 VARIOUS/LA VOIX DES ANGES Compact Disc 619061217823 117202B VARIOUS/LAKEPORT CLASSIC ROV.1 Compact Disc 094631172021117212A VARIOUS/LAKEPORT CLASSIC ROV.2 Compact Disc 094631172120117222A VARIOUS/LAKEPORT CLASSIC ROV.3 Compact Disc 094631172229 OCT22028 VARIOUS/LE MEILLEUR DE LA BONN Compact Disc 619061202829 7703 VARIOUS/LIVINGCHICAGOBLUESVOL4 Compact Disc 014551770329 311222C VARIOUS/MAKING SPIRIT BRI CDX2 Compact Disc 5099973112228312482C VARIOUS/MAKING SPIRIT BRI CDX3 Compact Disc 5099973124825 544282B VARIOUS/MOTHER GOOSE ROCKS V.1 Compact Disc 085365442825 544292 VARIOUS/MOTHER GOOSE ROCKS V.2 Compact Disc 085365442924544772 VARIOUS/MOTHER GOOSE ROCKS V.4 Compact Disc 085365447721 9838571 VARIOUS/MR GAINSBOURG REVISITE Compact Disc 602498385715 330704 VARIOUS/PERFECT MUS MIX-CASS 1 Cassette 724353307042330714 VARIOUS/PERFECT MUS MIX-CASS 2 Cassette 724353307141330724 VARIOUS/PERFECT MUS MIX-CASS 3 Cassette 724353307240330734 VARIOUS/PERFECT MUS MIX-CASS 4 Cassette 724353307349 7 24353 30704 2 7 24353 30714 1 7 24353 30724 0 7 24353 30734 90 85365 44772 10 85365 44282 50 85365 45872 7 0 85365 44292 40 84296 35142 8 0 84296 35122 00 84296 34882 40 84296 35092 6 0 84296 35172 50 84296 34862 6 5 099973 112228 5 099973 124825 5 099923 563322 0 94631 17202 1 0 94631 17212 0 0 94631 17222 95 099922 819024 6 02498 38571 56 19061 20282 96 19061 21782 38 79645 00061 0 0 14551 77032 9 Page 227 of 496 November 12, 2014Catalogue NumberArtist / Title Config Scannable UPC UPC 831492 VARIOUS/POPULAR-EURO HEAVEN 98 Compact Disc 623398314926 589282 VARIOUS/PRIORITY RECORDS SAMPL Compact Disc 5099945892820115722 VARIOUS/R&B CLASSIC HITS 60'S Compact Disc 096741157226 310092A VARIOUS/SC/BEST OF THE BEST Compact Disc 669803100920700149B VARIOUS/SERIES DV-METAL&HA V.5 Digital Video Disc 711577001498117492A VARIOUS/SLAVE TO LOVE:SEXY 80S Compact Disc 096741174926 982582 VARIOUS/SOIREE ROMANTIQUE,V1 Compact Disc 724359825823 CLC412 VARIOUS/SWINGING SONGS FOR SAN Compact Disc 617742041224 4743282 VARIOUS/THE INCOMPARABLE RUDOL Compact Disc 028947432821 7707 VARIOUS/THENEWBLUEBLOODS Compact Disc 014551770725 ABR636212 VARIOUS/THESEVENTIESDREAMWEAVE Compact Disc 084296362127ABR636152 VARIOUS/THESEVENTIESHARDROCKIN Compact Disc 084296361526ABR636162 VARIOUS/THESEVENTIESHARDROCKIN Compact Disc 084296361625ABR636172 VARIOUS/THESEVENTIESHEAVYGUITA Compact Disc 084296361724ABR636182 VARIOUS/THESEVENTIESLOSTROCKCL Compact Disc 084296361823ABR636202 VARIOUS/THESEVENTIESSOFTSEVENT Compact Disc 084296362028ABR636192 VARIOUS/THESEVENTIESSOFTSEVENT Compact Disc 084296361922ABR663222 VARIOUS/THESEVENTIESSWEETERTHA Compact Disc 084296362226ABR635802 VARIOUS/THESIXTIESSERIESFRATHO Compact Disc 084296358021ABR635812 VARIOUS/THESIXTIESSERIESMAKELO Compact Disc 084296358120 6076803142 VARIOUS/TROJAN DUB BOX SET(CDX Compact Disc 060768031425 596722B VARIOUS/VAN.OPERA SAMP 2006-7 Compact Disc 094635967227868482A VARIOUS/VANCOUVER OPERA 2005-6 Compact Disc 724358684827 865262 VARIOUS/VANCOUVER OPERA SPR 07 Compact Disc 094638652625 554692B VARIOUS/WORLD MUSIC VOLUME 1 Compact Disc 724385546921 RPMSH299 VARNER,D/FINALLY GOT OVER Compact Disc 50139295299226 23398 31492 6 0 84296 36182 3 0 84296 36222 6 0 84296 35802 10 84296 36152 6 0 84296 36172 40 84296 36212 76 17742 04122 4 0 84296 36202 80 84296 36162 5 0 84296 35812 00 84296 36192 2 5 013929 529922 0 96741 17492 60 96741 15722 6 0 94638 65262 50 94635 96722 7 7 24358 68482 77 24359 82582 3 7 24385 54692 16 69803 10092 05 099945 892820 0 28947 43282 1 0 60768 03142 50 14551 77072 57 11577 00149 8 Page 228 of 496 November 12, 2014Catalogue NumberArtist / Title Config Scannable UPC UPC DR4571 VARONE,P/WAKING UP DEAD(DVD) Digital Video Disc 022891457190 939962 VARSITY FA/VARSITY Compact Disc 094639399628 773372B VAS/FEAST OF SILENCE Compact Disc 724357733724 82666311710 VAT/THE ONLY COUNTRY CLASSIC A Compact Disc 826663117103 RT019 VAUGHAN,S R/BECK,J/LIVE IN HON Digital Video Disc 9223814130195 B000468102 VAUGHAN,S/AFTER HOURS AT THE L Compact Disc 602498819043 8327912 VAUGHAN,S/AT MISTER KELLY'S Compact Disc 042283279124 CLC480 VAUGHAN,S/Divine Lady Of Song Compact Disc 617742048025 B000945402 VAUGHAN,S/GOLD Compact Disc 602517402195B000940402 VAUGHAN,S/LIVE AT MISTER KELLY Compact Disc 602517396944 IDVD1022 VAUGHAN,S/SARAH VAUGHAN & FRIE Digital Video Disc 022891902294 3145390522 VAUGHAN,S/T ULTIMATE S VAUGHAN Compact Disc 731453905221 CLC6682 VAUGHN,B/LOOK FOR A STAR/A SWI Compact Disc 617742066821 AMACD016 VAUGHN,S & HERMAN,W/ON THE RAD Compact Disc 884607000164 KCD249 VEGA,L/MIX THE VIBE:FOR THE LO Compact Disc 788557024921KCD276 VEGA,L/VEGA ON KING STREET(2CD Compact Disc 788557027625 MSR10041 VEGA,N/NICO VEGA Compact Disc 602517957701 SMCR5017 VEGA,T/GTOTALLY TATA (EXPANDED Compact Disc 5013929071735 4391066324 VEGA/STEREO MESSIAH Compact Disc 80243910663244391066621 VEGA/WHAT THE HELL! Compact Disc 8024391066621 3726802 VELOSO,C/ABRACACO Compact Disc 6025372680235385832 VELOSO,C/PRENDA MINHA Compact Disc 731453858329 TK127 VENTANA/AMERICAN SURVIVAL GUID Compact Disc 824953012725 572532 VENTURES, /WALK-DON'T RUN Compact Disc 077775725322 B000423302 VERACINI/VERACINI SONATAS Compact Disc 028947670551 D1246 VERDI,G/THE LIFE OF VERDI(4DVD Digital Video Disc 0320311246915 013929 071735 7 88557 02492 1 7 88557 02762 56 17742 06682 16 17742 04802 5 6 02517 40219 5 7 31453 85832 97 31453 90522 10 42283 27912 46 02498 81904 3 6 02517 39694 4 6 02517 95770 17 24357 73372 4 6 02537 26802 3 0 28947 67055 10 77775 72532 20 94639 39962 8 8 84607 00016 4 8 024391 066324 8 024391 066621 8 26663 11710 3 8 24953 01272 5 0 32031 12469 10 22891 45719 0 0 22891 90229 49 223814 130195 Page 229 of 496 November 12, 2014Catalogue NumberArtist / Title Config Scannable UPC UPC 4100922 VERDI/AIDA (COMPLETE) Compact Disc 028941009227 4756766 VERDI/ATTILA Compact Disc 0289475676604704402 VERDI/LA TRAVIATA Compact Disc 0289470440244174072 VERDI/NABUCCO/GARDELLI,GOBBI Compact Disc 0289417407244116182 VERDI/OTELLO Compact Disc 0289411618264705862 VERDI/UN BALLO IN MASCHERA Compact Disc 0289470586254756772 VERDI/UN GIORNO DI REGNO Compact Disc 0289475677214756769 VERI/IL CORSARO Compact Disc 028947567691 CLC316 VERLAINE,T/Tom Verlaine Compact Disc 617742031621 636882B VERVE,T/THIS IS MUSIC:SG 92-98 Compact Disc 724386368829 NPR219LTD VESANIA/DISTRACTIVE KILLUSION Compact Disc 693723025827 710322F VIA AUDIO/SAY SOMETHING SAY SO Compact Disc 712177103223 RPMDSH278 VIBRATIONS, THE/OUT OF SIGHT! Compact Disc 5013929527829 SDR0028 VIBRATORS,THE/BUZZIN Compact Disc 792093336325SDR0027 VICE SQUED/LO-FI LIFE Compact Disc 652975002727 846602 VIDA BLUE/THE ILLUSTRATED BAND Compact Disc 060768466029 ACD71250 VIEAUX,J/BACH VOL 1 WORKS FOR Compact Disc 787867125021ACD71233 VIEAUX,J/IMAGES OF METHENY Compact Disc 787867123324ACD71270 VIEAUX,J/LABRO,J & A F/PIAZZOL Compact Disc 787867127025ACD71212 VIEAUX,J/MANUEL PONCE THE GUIT Compact Disc 787867121221ACD71224 VIEAUX,J/SEVILLA THE MUSIC OF Compact Disc 787867122426 9865419 VIENNA ART ORCH,T/DUKE ELLINGT Compact Disc 602498654194 079872 VINES, THE/BEST OF,THE Compact Disc 5099950798728 814942B VINNIE VIN/ALL SYSTEMS GO Compact Disc 724358149425 MASSCD1023D GVIOLENT FORCE/MALEVOLENT ASSAU Compact Disc 5907785030909 485332 VIRELLES, /MOTION Compact Disc 0689448533285 907785 030909 6 17742 03162 1 6 52975 00272 77 92093 33632 55 013929 527829 7 24386 36882 90 28947 56766 0 0 28947 56769 10 28947 56772 1 6 02498 65419 40 28941 00922 7 0 28941 74072 4 0 28941 16182 60 28947 04402 4 0 28947 05862 5 7 24358 14942 55 099950 798728 0 60768 46602 96 93723 02582 7 0 68944 85332 87 87867 12122 1 7 87867 12242 67 87867 12332 47 87867 12502 1 7 87867 12702 57 12177 10322 3 Page 230 of 496 November 12, 2014Catalogue NumberArtist / Title Config Scannable UPC UPC 4776195 VISHNEVSKSYA,G/RACHMANINOV/GLI Compact Disc 028947761952 L635R2 VISQUEEN/KING ME Compact Disc 783707669427L638R3 VISQUEEN/SUNSET ON DATELAND Compact Disc 634457160026 PIASA37CD VITALIC/FLASHMOB Compact Disc 843798000087 RMED00188 VITAMIN Z/RITES OF PASSAGE Compact Disc 630428018822 B001303902 VITOUS,M/REMEMBERING WEATHER R Compact Disc 602517881372 4681702 VIVALDI/FLUTE CONCERTOS Compact Disc 0289468170254621702 VIVALDI/GREAT CHORAL WORKS Compact Disc 0289462170234448212 VIVALDI/LA STRAVAGANZA Compact Disc 028944482126 DEMUS002 VIXEN/LIVE & LEARN Compact Disc 893776001025 DEMCD156 VIXEN/LIVE AND LEARN Compact Disc 5060011191567 MONO0182 VOGELBACHER,RP/SHRILL FALCONS Compact Disc 634457184923 CCM08672 VOICE OF WALTER SCHUMANN/THE V Compact Disc 617742086720 TTR80182 VOICES OF EAST HARLEM/RIGHT ON Compact Disc 617742801828 MASSCD1233D GVOIVOD/THE OUTER LIMITS (REMAS Compact Disc 5907785033627 440152 VOIVOD/VOIVOD Compact Disc 640424401528 2777567 VOLBEAT/LIVE FROM BEYOND HELL DVD + BNS CD 602527775678 DY21876 VOLLANT,F/KATAK Compact Disc 619061187621DY22113 VOLLANT.F/NIPAIAMIANAN Compact Disc 619061211326 OIE0102 VON FRICKLE/ARRHYTHMIA Compact Disc 837101185479 4790055 VON KARAJAN,H/KARAJAN 1960S(82 Compact Disc 0289479005594747002 VON OTTER,AS/WATERCOLOURS;SWED Compact Disc 028947470021 MYSTCD232 VOTUM/HARVEST MOON Compact Disc 5903427875945 DEMCD165 W.A.S.P./BABYLON (CD) Compact Disc 5060011191659 6076852322 W.A.S.P./DYING FOR THE WORLD Compact Disc 060768523227 852042 W.A.S.P./UNHOLY TERROR Compact Disc 0607685204246 19061 18762 1 6 19061 21132 6 5 060011 191659 8 93776 00102 5 5 903427 875945 6 17742 80182 86 17742 08672 05 060011 191567 6 40424 40152 80 28946 21702 3 0 28944 48212 60 28946 81702 56 02517 88137 2 0 28947 90055 9 0 28947 47002 10 28947 76195 2 7 83707 66942 7 6 34457 16002 6 5 907785 033627 6 30428 01882 2 6 34457 18492 3 8 37101 18547 9 0 60768 52322 7 0 60768 52042 48 43798 00008 7 6 02527 77567 8 Page 231 of 496 November 12, 2014Catalogue NumberArtist / Title Config Scannable UPC UPC 4400632232 W.C./GHETTO HEISMAN Compact Disc 044006322322 CLC620 WACKERS,THE/HOT WACKS Compact Disc 617742062021CLC621 WACKERS,THE/SHREDDER Compact Disc 617742062120CLC619 WACKERS,THE/WACKERING HEIGHTS Compact Disc 617742061925 4716382 WAGNER/ARIAS SACD4Stereo/Surround/CDAud 0289471638244674572 WAGNER/DER FLIEGENDE HOLLANDER Compact Disc 0289467457244692262 WAGNER/EXC.FROM "THE FLYING DU Compact Disc 0289469226204696822 WAGNER/LOHENGRIN Compact Disc 0289469682224152782 WAGNER/MEISTERSINGER/JOCHUM Compact Disc 028941527820 2894582102 WAGNER/RING NIBELUNGEN/SOLTI Compact Disc 028945821023 4749742 WAGNER/TRISTAN UND ISOLDE Compact Disc 0289474974244133152 WAGNER/TRISTAN/KLEIBER Compact Disc 028941331526 864162 WAINWRIGHT/HISTORY Compact Disc 077778641629542412 WAITE, JOH/COMPLETE JOHN WAITE Compact Disc 724385424120 4400656452 WAITRESSES,THE/THE BEST OF... Compact Disc 044006564524 880242 WAITRESSES/KING BISCUIT FLOWER Compact Disc 707108802429 MR40601 WAITS,T/THE EARLY YEARS V1 Compact Disc 767004060125 MR40602 WAITS,T/THE EARLY YEARS VOL.2 Compact Disc 767004060224 MFVP127DVD WAKEMAN, R/CLASSICAL WAKEMAN 1 Digital Video Disc 5060230860640 FRE00034 WAKEY! WAKEY!/ALMOST EVERYTHIN Compact Disc 611357630767 485052 WALKER, NA/WHEN SHE DREAMS Compact Disc 068944850525 MCABD10381 WALKER,J J/GREAT GONZOS Compact Disc 008811038120 WP001 WALKING PAPERS/WALKING PAPERS Compact Disc 678277207028 433272A WALLACE, B/DISORDER AT THE BOR Compact Disc 068944332724 433102 WALLACE, B/NEARNESS OF YOU,THE Compact Disc 068944331024 B000015636 WALLFLOWERS THE/RED LETTER DAY SACD4Stereo/Surround/CDAud 6069493666297 07108 80242 9 6 78277 20702 86 17742 06192 56 17742 06212 0 7 67004 06022 46 17742 06202 1 0 77778 64162 90 28945 82102 3 0 08811 03812 00 28946 96822 20 28946 74572 4 0 28946 92262 0 0 28941 33152 60 28941 52782 0 0 28947 49742 40 44006 32232 2 7 24385 42412 0 0 44006 56452 4 0 68944 33102 40 68944 85052 5 0 68944 33272 47 67004 06012 5 6 11357 63076 75 060230 860640 6 06949 36662 90 28947 16382 4 Page 232 of 496 November 12, 2014Catalogue NumberArtist / Title Config Scannable UPC UPC B001411302 WALLFOWERS,THE/LOOKING THROUGH Compact Disc 602527345369 ALP249 WALLIN PER HENDRIK TRIO/BURNIN Compact Disc 735286224924 ER0272 WALLS OF JERICO/DAY & A THOUSA Compact Disc EP's 790168462726 B001376902 WALLUMROD ENSEMBLE/FABULA SUIT Compact Disc 602527112695 0170672 WALLUMROD/SOFIENBERG VARIATION Compact Disc 044001706721 MCBBD20809 WALSH JOE /ROCKY MOUNTAIN Compact Disc 076742080921 LSP21743X WALSH,B/BOB WALSH BLUES Compact Disc 619061174324 DY22051 WALSH,B/UNFORGETTABLE SONGS Compact Disc 619061205127 B001521702 WALSH,J/ICON Compact Disc 602527610269 0741509 WALTON/AT THE HAUNTED END OF T Digital Video Disc 044007415092 GEFBD25122 WANG CHUNG /GREATEST HITS- Compact Disc 720642512227 3752810 WANTED ,THE/WORD OF MOUTH(DLX) Compact Disc 602537528103 350909 WAR ZONE:THE ULTIMATE EVIL Digital Video Disc 801213509096 CLC166 WARING,F/Now Is The Caroling S Compact Disc 617742016628 MASSCD1417D GWARLOCK/TRUE AS STEEL Compact Disc 5907785036581 7697425542 WARNES,J/FAMOUS BLUE RAINCOAT Compact Disc 776974255424 MA251034 WARRANT/MOSTWANTED Compact Disc 5413992510344 547072 WARREN G/IN THE MID-NITE HOU Compact Disc 085365470729547152 WARREN G/IN THE MID-NITE HOU Compact Disc 085365471528 B000889902 WARREN G/REGULATE..G FUNK ERA Compact Disc 602517327382 ESACD710047 WARRIOR SOUL/CHILL PILL Compact Disc 829571004725ESACD710045 WARRIOR SOUL/DRUGS GOD AND TH Compact Disc 829571004527ESACD710044 WARRIOR SOUL/LAST DECADE DEAD Compact Disc 829571004428ESACD710046 WARRIOR SOUL/SALUTATIONS FROM Compact Disc 829571004626ESACD710048 WARRIOR SOUL/THE SPACE AGE PLA Compact Disc 829571004824 EUL0722 WARRIORS/BEYOND THE NOISE Compact Disc 7901684672260 85365 47072 9 0 85365 47152 85 907785 036581 7 35286 22492 4 6 17742 01662 86 02527 61026 96 02527 34536 9 7 76974 25542 46 02537 52810 30 76742 08092 1 7 20642 51222 70 44001 70672 16 02527 11269 5 6 02517 32738 2 8 29571 00442 88 29571 00452 7 8 29571 00462 68 29571 00472 5 8 29571 00482 45 413992 510344 6 19061 17432 4 6 19061 20512 7 7 90168 46722 67 90168 46272 6 0 44007 41509 2 8 01213 50909 6 Page 233 of 496 November 12, 2014Catalogue NumberArtist / Title Config Scannable UPC UPC CCM07522 WARWICK,D/ANYONE WHO HAD A HEA Compact Disc 617742075229 CCM07572 WARWICK,D/HERE WHERE THERE IS Compact Disc 617742075724 SFMDVD027 WARWICK,D/JUKEBOX IN MY MIND Digital Video Disc 5413992580279 CCM07532 WARWICK,D/MAKE WAY FOR DIONNE Compact Disc 617742075328CCM07582 WARWICK,D/ON STAGE AND IN THE Compact Disc 617742075823 CDROUN2048 WASHINGTON, WAL/WOLF TRACKS Compact Disc 011661204829 IDVD1020 WASHINGTON,D/DINAH AND FRIENDS Digital Video Disc 022891902096 3145148412 WASHINGTON,D/FIRST ISSUE T DIN Compact Disc 731451484124 SMCR5088 WASHINGTON,D/GOING FOR THE(EP Compact Disc 5013929078833 SYN009 WASHINGTON,D/LOW DOWN BLUES Compact Disc 874757000923 590312B WATCHMEN, /SILENT RADAR Compact Disc 724385903120 MF0532 WATERBOYS,THE/UNIVERSAL HALL Compact Disc 796627005329 CHD380002 WATERS MUDDY /THE CHESS BOX Compact Disc 076741080229 RR006 WATERS ROGERS/LIVE ON AIR UK 2 Compact Disc 9215017160062 B001265002 WATERS,M/AUTHORIZED BOOTLEG-LI Compact Disc 602517982918 MA250191 WATERS,M/LIVE IN EUROPE Compact Disc 5413992501915 106005 WATSON, PA/PATRICK WATSON BOX Compact Disc 680341060057112005 WATSON, PA/WOODEN ARMS (O-CARD Compact Disc 680341120058 UM002 WATSON,G & VINCENT,R/YOUR MONE Compact Disc 881034740144 5606000940 WATT,B/HENDRA(DLX) Compact Disc 8856060009406076863632 WATTS,C/WATTS AT SCOTT'S Compact Disc 060768636323 9866741 WAXOLUTIONISTS/COUNTERFIGHT Compact Disc 602498667415 HNECD011 WAYSTED/SAVE YOUR PRAYERS Compact Disc 5013929911123 B001669302 WE ARE SERENADES/CRIMINAL HEAV Compact Disc 602537002139 ICO457372 WEATHER REPORT/TALE SPINNIN' Compact Disc 886974573722 CLC6632 WEBB,J/SUSPENDING DISBELIEF Compact Disc 6177420663260 11661 20482 9 8 74757 00092 3 6 17742 06632 66 17742 07532 8 5 413992 501915 5 013929 911123 5 013929 078833 6 17742 07572 4 6 17742 07582 36 17742 07522 9 7 31451 48412 4 6 02537 00213 96 02517 98291 87 24385 90312 0 6 02498 66741 50 76741 08022 9 8 81034 74014 49 215017 160062 8 86974 57372 20 60768 63632 36 80341 12005 86 80341 06005 77 96627 00532 9 8 85606 00094 00 22891 90209 65 413992 580279 Page 234 of 496 November 12, 2014Catalogue NumberArtist / Title Config Scannable UPC UPC CLC6582 WEBB,J/WORDS AND MUSIC Compact Disc 617742065824 4674212 WEBER/DER FREISCHUTZ Compact Disc 0289467421294696932 WEBER/OVERTURES,CLARINET Compact Disc 0289469693281754642 WEBSTER,B/BEN WEBSTER IN DENMA Digital Video Disc 602517546424 3145274752 WEBSTER,B/T SOUL OF Compact Disc 731452747525 4766 WEBSTER,K/SWAMP BOOGIE QUEEN Compact Disc 0145514766274777 WEBSTER,K/TWO FISTED MAMA Compact Disc 014551477723 CCDCD9016 WECKL,D/RHYTHM OF THE SOUL Compact Disc 013431901624 W13011CD WEDNESDAY 13/DEAD MEAT COL(4CD Compact Disc 852215001897 542752 WEEKS, SAR/I'M AN ANIMAL Compact Disc 085365427525 6076846932 WEEN/LIVE IN CHICAGO CD with DVD 0607684693276076883729 WEEN/LIVE IN CHICAGO (DVDX2) Digital Video Disc 060768837294 B001351002 WEEZER/RADITUDE Compact Disc 602527205373 LN20004 WEINSTOCK,M/TAILS OF THE CITY Compact Disc 882169000424 ISRCD87990 WELCH BOYS/ DRINKING ANGRY Compact Disc 825888799026 SYN475 WELK,L/CHRISTMAS SHOWS(DVD) Digital Video Disc 874757047591 SYN480 WELK,L/NEW YEARS SPECIALS(DVD Digital Video Disc 874757048093SYN474 WELK,L/TOP TUNES & NEW TAL(DVD Digital Video Disc 874757047492 CLC330 WELLER,F/The Very Best Of Fred Compact Disc 617742033021 9842593 WELLER,P/HIT PARADE Compact Disc 602498425930 NPR175LTD WELTENBRAND/END OF THE WIZARD Compact Disc 693723020426 CDFLY046 WERNICK, PETE &/DR. BANJO STEP Compact Disc 018964004620 B000532502 WEST,K/LATE REGISTRATION (LIMI Compact Disc 602498843680 404722A WESTZYNTHI/ROCK, YOU CAN FLY Compact Disc 827954047222 ECL4012 WETTON,J/BATTLE LINES Compact Disc 747014401224 RMED00118 WETTON/MANZANERA/WETTON/MANZAN Compact Disc 6304280118230 60768 46932 70 13431 90162 4 0 85365 42752 5 0 18964 00462 08 82169 00042 4 7 47014 40122 4 6 30428 01182 36 17742 03302 18 52215 00189 76 17742 06582 4 8 25888 79902 67 31452 74752 5 6 02498 42593 06 02527 20537 30 28946 74212 9 0 28946 96932 8 6 02498 84368 06 93723 02042 6 8 27954 04722 20 14551 47662 7 0 14551 47772 3 8 74757 04759 16 02517 54642 4 8 74757 04749 28 74757 04809 30 60768 83729 4 Page 235 of 496 November 12, 2014Catalogue NumberArtist / Title Config Scannable UPC UPC 5330982 WHEELER,K/ANGEL SONG Compact Disc 731453309821 860842C WHEN IN RO/WHEN IN ROME Compact Disc 077778608424 INAK6519 WHIITE/TJ/IN CONCERT-OHNE FILT Digital Video Disc 707787651998 IAM0230 WHISTLER/CHAUCER/DETROIT/GREEN Compact Disc 899079002301 B000189002 WHITE BARRY/BEST OF VOLUME 2 Compact Disc 602498616062 122837 WHITE CHAP/SOMATIC DEFILEMENT Compact Disc 803341228375 310062A WHITE FISH/LIFEGIVER Compact Disc 669803100623 CDROUN0385 WHITE, JEFF /THE WHITE ALBU Compact Disc 011661038523 MIW101040 WHITE,C/33 ACOUSTIC GUITAR INS Compact Disc 813411010403 RT046 WHITE,J/BLUE BLOOD BLUES(DVD) Digital Video Disc 9223814130461 ORPH91223 WHITE,R/KEEP RIDING Compact Disc 802469122329 HJR0282 WHITE,S/I AM THE MAN Compact Disc 094639668427 MA250096 WHITE,TJ/TAKE HOME THE SWAMP Compact Disc 5413992500963 863662 WHITE,TJ/THE HEROINES Compact Disc 060768636620 GEBBD24173 WHITESNAKE /SAINTS & SINNE Compact Disc 720642417324 RT006 WHITESNAKE/HERE I GO AGAIN(DVD Digital Video Disc 9223814130065 0694934022 WHITESNAKE/HERE I GO AGAIN:THE Compact Disc 606949340223 CDROUN9011 WHITFIELD, BARR/OW! OW! OW! Compact Disc 011661901124CDROUN0264 WHITSTEIN BROTH/OLD TIME DUETS Compact Disc 011661026421506026149024 WHITTAKER,R/LEGENDS IN CONCERT Digital Video Disc 5060261490243 MA250209 WHITTINGTON,B/BUDDYWHITTINGTON Compact Disc 5413992502097 MCBBD31197 WHO THE /WHO BY NUMBERS Compact Disc 076731119724 B000210319 WHO THE/TOMMY DVD Audio 602498618363 MCAD8031 WHO THE/WHO S BETTER WHO S BES Compact Disc 076732803127 B001247209 WHO,THE/THE KIDS ARE ALRIGHT(S Digital Video Disc 602517942172 0147402 WIBUTEE/EIGHT DOMESTIC CHALLEN Compact Disc 0440014740260 11661 03852 3 0 11661 02642 10 11661 90112 4 5 413992 502097 8 99079 00230 1 6 02498 61606 20 77778 60842 4 6 69803 10062 3 0 76732 80312 70 76731 11972 4 0 44001 47402 66 06949 34022 37 20642 41732 47 31453 30982 1 8 03341 22837 5 8 13411 01040 3 5 413992 500963 0 94639 66842 7 0 60768 63662 08 02469 12232 9 5 060261 490243 6 02517 94217 29 223814 130065 9 223814 130461 7 07787 65199 8 6 02498 61836 3 Page 236 of 496 November 12, 2014Catalogue NumberArtist / Title Config Scannable UPC UPC 9866817 WIBUTEE/PLAYMACHINE Compact Disc 602498668177 AFM1365 WICKED WISDOM/BLEED ALL OVER M Compact Disc 4046661039559 6076846062 WIDESPREAD PANIC/BALL Compact Disc 060768460621 PLX7029 WILCO/I AM TRYING TO BREAK YOU BLU RAY 082354004729 530022 WILCOX, DA/OUT OF THE WOODS Compact Disc 724385300226 B000932002 WILDBIRDS,THE/GOLDEN DAZE Compact Disc 602517373938 MCAMD10972 WILDE KIM /THE SINGLES CO Compact Disc 008811097226 MA251010 WILDFIRE/BRUTEFORCEANDIGNORANC Compact Disc 5413992510108 846692 WILDHEARTS/THE WILDHEARTS MUST Compact Disc 060768466920 B001815102 WILL I AM/WILLPOWER Compact Disc 602537320417 078452B WILLIAMS, /IN AND OUT OF CONSC Compact Disc 5099990784521 B000072502 WILLIAMS,B/THE JOURNEY WITHIN Compact Disc 602498603864 MCABD31247 WILLIAMS,D/BEST OF VOL 3 Compact Disc 076731124728 MW056 WILLIAMS,D/GREAT COUNTRY Compact Disc 813411010564 MCABD31249 WILLIAMS,D/GREATEST HITS Compact Disc 076731124926 HSM50762 WILLIAMS,G/TOGETHER Compact Disc 809842507629 UP23783 WILLIAMS,K/HUMAN BEINGS-WHAT A Compact Disc 706442378324 B001524002 WILLIAMS,L/BLESSED (DLX CDX2) Compact Disc 602527614304 HSM51162 WILLIAMS,L/COUNTRY DISCO Compact Disc 809842511626 PJ82682 WILLIAMS,L/HEALING WITHIN Compact Disc 829166826824 390539 WILLIAMS,ML/NORMAN GRANZ' JAZZ Digital Video Disc 801213905393 WMR959 WILLIAMSON,C/BEST OF CRIS WILL Compact Disc 618106595926 WMR65408 WILLIAMSON,C/THE CHANGER & THE Compact Disc Enhanced 618106540827 MA250193 WILLIAMSON,S/LIVEINEUROPE Compact Disc 5413992501939 MA250155 WILLIAMSON,SB/BYE BYE SONNY Compact Disc 5413992501557 406652A WILLIAMSON/BOY FOR YOU Compact Disc 8279540665200 82354 00472 9 8 27954 06652 07 06442 37832 4 8 29166 82682 48 13411 01056 4 8 09842 50762 9 5 413992 501557 5 413992 510108 6 02537 32041 7 6 02498 60386 46 02517 37393 8 0 76731 12472 8 0 76731 12492 60 08811 09722 6 6 02527 61430 46 02498 66817 7 5 099990 784521 7 24385 30022 6 6 18106 59592 6 5 413992 501939 8 09842 51162 60 60768 46692 00 60768 46062 14 046661 039559 6 18106 54082 78 01213 90539 3 Page 237 of 496 November 12, 2014Catalogue NumberArtist / Title Config Scannable UPC UPC 407272 WILLIAMSON/DAY OF THE LONE WOL Compact Disc 827954072729 ZEDDCD014 WILLIS,D/DOUG'S DISCO BRAIN Compact Disc 5060162570082 818602 WILSON, CA/GLAMOURED Compact Disc 724358186024 CDBEYE9538 WILSON, HOP /HOUSTON GHETTO Compact Disc 011661953826 285152 WILSON, NA/SPOTLIGHT ON Compact Disc 724382851523 D000428902 WILSON,B/BRIAN WILSON REIMAGIN Compact Disc 050087146122 6076883669 WILSON,B/PET SOUNDS-LIVE IN LO Digital Video Disc 060768836693 MWM0662 WILSON,BC/JUST LOVE Compact Disc 879645006629 ICON1019 WILSON,C/YOUNGBLOOD Compact Disc 886976318529 SMCR25087 WILSON,N/CANT TAKE MY EYES(EP Compact Disc EP's 5013929078734 SMCR5075D WILSON,N/KEEP YOU SATISFIE(2CD Compact Disc 5013929077539SMCR5090D WILSON,N/MUSIC ON MY MIND (2CD Compact Disc 5013929079038 SMCR25093 WILSON,N/THE SOUND OF NANCY WI Compact Disc 5013929079335 DTG776479 WILSON,R/GOT TO GET YOUR OWN Compact Disc 602517764798 EJC55408 WILSON,T TRIO/COMPLETE RECORDI Compact Disc 8436028694082 862442A WINTER, JO/LET ME IN Compact Disc 077778624424 MVD6511 WINTER,E/IN CONCERT Digital Video Disc 707787651172 5609 WINTER,J/DELUXEEDITION Compact Disc 014551560920 CCML6000 WINTER,J/LIVE AT THE FILMORE E Compact Disc 617742600025 MASSCD1136D GWINTER/INTO DARKNESS/ETERNAL F Compact Disc 5907785031883 TPE077 WITCH/WITCH (DVD) Digital Video Disc 707239007793 B000367502 WITHERSPOON,J & MCDUFF/THE BLU Compact Disc 602498644713 404642 WITHOUT GR/TENDERFOOT Compact Disc 827954046423 LERCD321041 WOBBLER/HINTERLAND Compact Disc 763232104129 B001336502 WOLFMOTHER/COSMIC EGG Compact Disc 602527118512 291442B WOMACK, BO/UMNDERSTANDING Compact Disc 7243829144267 63232 10412 90 11661 95382 6 5 907785 031883 6 17742 60002 55 013929 079335 5 013929 077539 5 013929 079038 5 060162 570082 6 02517 76479 88 86976 31852 9 6 02527 11851 20 77778 62442 4 6 02498 64471 30 50087 14612 2 7 24382 91442 67 24382 85152 37 24358 18602 4 8 436028 694082 8 27954 04642 38 27954 07272 9 8 79645 00662 9 0 14551 56092 05 013929 078734 7 07239 00779 37 07787 65117 20 60768 83669 3 Page 238 of 496 November 12, 2014Catalogue NumberArtist / Title Config Scannable UPC UPC CRDVD98 WOMACK,B/SOUL SEDUCTION SUPREM Digital Video Disc 022891829898 875112 WON-G/RAGE OF THE AGE Compact Disc 060768751125 PWSNCD10352 WONSEY,A/THE THANG Compact Disc 601917103527 WBRFTN001 WOOD,K & FROM THE NORTH/MALFUN Compact Disc 852215001811 4400655122 WOODS,P/AT THE MONTREAUX FESTI Compact Disc 044006551227 CCDCD2155 WOODY,H BIG BAND/FROM EAST TO Compact Disc 013431215523 4300952 WORLD-OF/GILBERT&SULLIVAN Compact Disc 0289430095224480562 WORLD-OF/KING'S VOL 2 Compact Disc 0289448056284300932 WORLD-OF/VAUGHAN WILLIAMS Compact Disc 0289430093244332212 WORLD-OF/VERDI Compact Disc 028943322126 B000006402 WORLEY,D/HAVE YOU FORGOTTEN Compact Disc 600445044326 RMED00261 WRABIT/TRACKS Compact Disc 630428026124 RHH777771 WRIGHT,C & WATTS 103RD.ST.BAND Compact Disc 603497777129 B000245109 WRIGHT,C/THE BEST OF CHELY WRI Digital Video Disc 602498622735 NR96032 WRIGHT,J/AT CROSS PURPOSES Compact Disc 041871960321 SHOUT31 WRIGHT,M/DO RIGHT WOMAN Compact Disc 5013929503120 OGL820012 WROCKERS/STRANGER THAN FICTION Compact Disc 790058200124 4790248 WUNDERLICH,F/THE LAST RECITAL Compact Disc 028947902485 6076847272 WU-TANG CLAN/DISCIPLES OF THE Compact Disc 060768472723 ROADANGEL00 4WYATT/IF I HAD A DOLLAR Compact Disc 621617281820 DTG785232 WYLIE,R/EXTRASENSORY PERCEPTIO Compact Disc 602517852327 362652 WYMAN,B/BILL WYMAN Compact Disc 021823626529 362662B WYMAN,B/MONKEY GRIP Compact Disc 021823626628 MVD6506 WYMAN,B/RHYTHM KINGS IN CONCE Digital Video Disc 707787650670 INAK5506 WYMAN,B/RHYTHM KINGS:STRUTTIN SACD4Stereo/Surround/CDAud 707787550666 362642 WYMAN,B/STONE ALONE Compact Disc 0218236264200 13431 21552 38 52215 00181 1 6 02517 85232 70 41871 96032 16 30428 02612 4 6 03497 77712 96 01917 10352 7 0 28947 90248 50 28943 32212 60 28943 00932 40 28943 00952 2 0 28944 80562 80 44006 55122 7 6 00445 04432 6 5 013929 503120 6 21617 28182 07 90058 20012 40 60768 75112 5 0 21823 62652 9 0 21823 62662 8 0 21823 62642 00 60768 47272 30 22891 82989 8 6 02498 62273 5 7 07787 65067 0 7 07787 55066 6 Page 239 of 496 November 12, 2014Catalogue NumberArtist / Title Config Scannable UPC UPC 362672 WYMAN,B/STUFF Compact Disc 021823626727 SHOUT53 WYNNE,P/SOUL FROM SUGARHILL Compact Disc 5013929505322 B002008102 X AMBASSADORS/THE REASON(CD EP Compact Disc EP's 602537717583NPR417LTD XANDRIA/NEVERWORLD'S END-LTD Compact Disc 885470003160 MASSCDDG097 7XENTRIX/FOR WHOSE ADVANTAGE Compact Disc 5907785028623 MASSCDDG097 8XENTRIX/KIN Compact Disc 5907785028630 DR3835 X-MIX/FAST FORWARD & REWIND Digital Video Disc 030003705725 MMC04102 Y & T/UNEARTHED VOL.2 Compact Disc 825346639024 PMTD0 YAHOWHA 13/2013 (2CD+DVD)-LTD CD with DVD 760137999027 YHVH1CD YAHOWHA13/I'M GONNA TAKE YOU H Compact Disc 760137484028YHVHCD3 YAHOWHA13/OPERETTA Compact Disc 760137483922YHVHCD2 YAHOWHA13/PENETRATION,AN AQUAR Compact Disc 760137484127 CDVARR038 YANKEE INGENUIT/HEATIN' UP THE Compact Disc 011671003825 D000490709 YANNI VOICES/LIVE IN CONCERT Digital Video Disc 050087152536 0832300003 YANOFSKY,N/LITTLE SECRET Compact Disc 808323000031 FOL17002 YARBROUGH, G/LOVEFORLIFE Compact Disc 045507170023 FOL717152 YARBROUGH,G/HONEY&WINE Compact Disc 045507171525 CCM09792 YARBROUGH,G/LET ME CHOOSE LIFE Compact Disc 617742097924 FOL717132 YARBROUGH,G/THEBITTERANDTHESWE Compact Disc 045507171327 5129D YARDBIRDS/PARIS 1966-19,THE(DV Digital Video Disc 9120817151298 ABCVP115DVD YARDBIRDS/THE STORY OF Digital Video Disc 604388712106 B000633702 YEAHYEAHYEAHS/SHOW YOUR BONES Compact Disc 602498526507 MCASD11091 YEARWOOD,T/THE SWEETEST GIFT Compact Disc 008811109127MCSSD70023 YEARWOOD,T/WHERE YOUR ROADS Compact Disc 008817002323 HUCD3090 YELLOWJACKETS/PEACE ROUND:A CH Compact Disc 053361309022 TBO2005 YELLOWMAN/YELLOWMNA LIVE Digital Video Disc 8262582005557 60137 99902 7 0 11671 00382 5 0 53361 30902 28 25346 63902 45 907785 028623 5 907785 028630 0 45507 17002 3 0 45507 17132 70 45507 17152 5 6 17742 09792 4 0 08811 10912 7 0 08817 00232 36 02498 52650 78 08323 00003 15 013929 505322 8 85470 00316 0 7 60137 48402 8 7 60137 48412 77 60137 48392 20 21823 62672 7 6 02537 71758 3 0 30003 70572 5 6 04388 71210 6 8 26258 20055 59 120817 151298 0 50087 15253 6 Page 240 of 496 November 12, 2014Catalogue NumberArtist / Title Config Scannable UPC UPC MVD5055D YES/ACOUSTIC (DVD) Digital Video Disc 760137505594 467029A YES/CLASSIC ARTISTS SERIES Digital Video Disc 068944670291 MVD5152D YES/YESSPEAK (DVD) Digital Video Disc 760137515296 INAK90823CD YORK,P/AND FRIENDS Compact Disc 707787908221 0252740742 YOUNG ARTISTS FOR HAITI/WAVIN' Compact Disc Singles 602527407425 B000297302 YOUNG BUCK/STRAIGHT OUTTA (EDI Compact Disc 602498629895 SDR0062 YOUNG CANADIANS/NO ESCAPE Compact Disc 652975006220 B002023002 YOUNG MONEY/RISE OF AN EMPIRE Compact Disc 602537751693 CMMD402 YOUNG,L/THE KANSAS CITy SESSIO Compact Disc 011105040228 3145218592 YOUNG,L/VERVE JZ MASTR V.30 Compact Disc 731452185921 SF12721 YOUNG,N/A MUSICCARES TRIBUT(DV Digital Video Disc 826663127218 RT010 YOUNG,N/LIVE IN CONCERT 2009(D Digital Video Disc 9223814130102 6076883339 YOUNG,N/RUST NEVER SLEEPS (DVD Digital Video Disc 060768833395 B000598909 YOUNGJEEZY/LET'S GET IT:THUG M Digital Video Disc 602498885468 CRTREE006 ZAKARRIAS/ZAKARRIAS Compact Disc 5013929690622 8109662 ZAMFIR/ROMANCE Compact Disc 042281096624 250191A ZANE/BIG ZANE THEORY,THE Compact Disc 004992501910 880282 ZANT, JOHN/KING BISCUIT FLOWER Compact Disc 707108802825 6076862362 ZANT,V/BROTHER TO BROTHER Compact Disc 060768623620 247022 ZAPPACOSTA/ZAPPACOSTA-NORTHERN Compact Disc 724352470228137408 ZATOKREV/THE BAT THE WHEEL AND Compact Disc 803341374089 HSM80042 ZAVAC,J/GRATITUDE Compact Disc 809842800423HSM80012 ZAVAC,J/THE CRAET/INSTRUMENTAL Compact Disc 809842800126 D001805892 ZENDAYA/ZENDAYA Compact Disc 050087285425 404032B ZEPHANIAH,/NAKED Compact Disc 827954040322 806202 ZEVON, WAR/TRANSVERSE CITY Compact Disc 7243580620217 07108 80282 57 07787 90822 1 6 52975 00622 0 5 013929 690622 8 09842 80012 68 09842 80042 36 02537 75169 3 0 50087 28542 5 7 24358 06202 17 31452 18592 1 0 04992 50191 00 42281 09662 46 02498 62989 5 0 11105 04022 8 7 24352 47022 8 8 03341 37408 9 8 27954 04032 20 60768 62362 06 02527 40742 57 60137 50559 4 7 60137 51529 6 6 02498 88546 80 60768 83339 59 223814 130102 0 68944 67029 1 8 26663 12721 8 Page 241 of 496 November 12, 2014Catalogue NumberArtist / Title Config Scannable UPC UPC NG013 ZILLIONAIRE/THE STREET LIGHTS Compact Disc 837101396356 B001266802 ZIMMERMANN,D/CANTO DI SPERANZA Compact Disc 028947668855 HH1106CD ZOMBEAST/ZOMBEAST Compact Disc 852215001088 B001705002 ZOMBIE, R/MONDO SEX HEAD Compact Disc 602537076123B000589377 ZOMBIE,R/HELLBILLY DELUXE (UMD Universal Media Disc 602498879078 ACME0262 ZOOPARTY/YOU ARE HERE Compact Disc 600665796722 3145338212 ZUCCHERO/GREATEST HITS(ITALIA) Compact Disc 731453382121 NMR0112 ZYDEPUNKS,THE/FINISTERRE Compact Disc 884501002202 RT021 ZZ TOP/GREATEST HITS LIVE (DVD Digital Video Disc 92238141302188 37101 39635 6 6 02537 07612 3 7 31453 38212 10 28947 66885 5 8 84501 00220 28 52215 00108 8 6 00665 79672 2 9 223814 130218 6 02498 87907 8 Page 242 of 496 November 12, 2014Catalogue NumberArtist & Title Configuration Scannable UPC UPC 492531 A PERFECT /MER DE NOMS Vinyl LP's 724384925314 301387 ADAMS RYAN/DO I WAIT/DARKNESS Vinyl LP's 5099973013877 2537914906 ADAMS,R/1984(7'') 7" Vinyl Singles 602537914906 VNL12213LP ADDERLEY,C/SOMETHIN ELS(12''LP Vinyl Singles 8032979642136 NER0641 AKIMBO/JERSEY SHORES (LP) Vinyl LP's 658457106419 DAV051 ALEXISONFIRE/MATH SHEETS D(VNL) Vinyl LP's 821826003736 ACME0077 ALIEN BLOOD TRANSFUSION/13/ALI 7" Vinyl Singles 621617396579ACME0047 ALIEN BLOOD TRANSFUSION/ALIAN 7" Vinyl Singles 621617396678 JR35012 AND YOU WILL KNOW US/FESTIVAL Vinyl LP's 719488350124 NMR0251 ANDERS & KENDALL/WILD CHORU(LP Vinyl LP's 616892105947 008001 APOSTLE OF HUSTLE/FOLKLORIC FE Vinyl LP's 827590080010 DAV00014 ARKELLS/JACKSON SQUARE (LP) Vinyl LP's 821826001381 TO007SI ARKELLS/SING MOTOWN(7'') 7" Vinyl Singles 884860102810 TFC001 AT THE DRIVE/RELATIONSHIP(2LP Vinyl LP's 852914001105 DAV047 ATTACK IN BLACK/MARRIAG(DLX(LP Vinyl LP's 821826003323 GPR705 BACKSLIDER&NIMBUS TERRIFIX/SPL Vinyl LP's 760137007029 MVD5462LP BAD BRAINS/LIVE AT CBGB 1982 Vinyl LP's 760137546214 VNL12226LP BAKER,C/IT COULD HAPPEN( 12''LP Vinyl Singles 8032979642266 VNL12205LP BAKER,C/MY F UNNY VALENT(12''LP Vinyl LP's 8032979642051 NSR0956 BALANCE AND COM/THE THINGS(LP Vinyl LP's 603111809564UNIVERSAL MUSIC DISCONTINUED LISTING / Liste de produits discontinues The following titles are no longer distributed by Universal Mu sic Canada and are not returnable effective immediately. À compter de maintenant les titres suivants ne sont plus dist ribués par Universal Music Canada et ne sont pas retournables. ALPHABETICAL BY ARTIST / Alphabetique par artiste 8 21826 00138 18 27590 08001 0 8 21826 00332 38 21826 00373 6 7 60137 54621 46 16892 10594 7 7 60137 00702 97 24384 92531 4 5 099973 013877 8 52914 00110 5 6 03111 80956 48 032979 642051 6 58457 10641 9 7 19488 35012 48 032979 642136 8 032979 642266 6 02537 91490 6 8 84860 10281 06 21617 39667 86 21617 39657 9 Page 243 of 496 November 12, 2014Catalogue NumberArtist & Title Configuration Scannable UPC UPC 101034 BAND OF SKULLS /BABY DARLING DO Vinyl LP's 811771010347 983411 BEACH BOYS/GOOD VIBRATIONS (1 0 Vinyl LP's 5099909834118 880431 BEAST IE BO/HOT SAUCE CO MM.PT.2 Viny l LP's 5099968804312 416397 BEATLES, T/PAPERBACK WRITER /RA Vinyl LP's 5099964163970 MMPLPBOX0001 BEHEMOTH/HISTORICA (LP) Vinyl LP's 5907785022300 NAVIGAT073LP BELLOWHEAD/BROADSIDE Vinyl LP's 5052442002109 JNR0491 BERRY/BLUE SKY,RAGING SUN(LP) Vinyl LP's 656605792712 SPM0691 BID D AND THE KIDS TABLE/B/BEI Vinyl LP's 639852506912 VNL12225LP BILL EVANS TR/EVERYBODY(12' 'LP Vinyl Singles 8032979642259 VNL12221LP BILL EVANS TRIO/WALTZ F(12' 'LP Vinyl Singles 8032979642211 953241 BLAKEY , AR/MOANIN' Vinyl LP's 724349532410 854041 BLAKEY , AR/MOANIN' (VYL IMP) Viny l LP's 5099968540418 HS038LP BLAKEY,A /MESSAGE FROM BLAKEY V Vinyl LP's 3700426914253 B001603301 BLINK 182/NEIGHBORHOODS (LP) Vinyl LP's 602527821801 HS035LP BLUE MITCHELL/BRING IT HOME TO Vinyl LP's 3700426914222 ACME0237 BONDSMEN,B/BILL BONDSMEN 7" Vinyl Singles 621617396470 GBVI0071 BOSTON SPACESHIPS/ZE RO TO 99 Vinyl LP's 655035080710 Q100963 BOYS NOIZE/OI OI OI (LP) Vinyl LP's 060270096318 EANTLP128 BRUCE,J/SILVER RAILS(LP) Vinyl LP's 5013929472815 MFO407031 BUCKLEY,T/DREAM LETTER (2LP) Vinyl LP's 767004070315 004681 BULAT, BAS/HEART OF MY OWN Vinyl LP's 883870046817 DWT70369 BUTTER THE CHIL/TRUE CRIM(7''L 7" Vinyl Singles 878037027839 625P1941 BXUXSXH/NEW AMERICAN CENT URY Vinyl LP's 621617400818 MVD5147LP CANDY SNATCHERS/DOWN AT DELILA Vinyl LP's 760137514718 132340 CANNIBAL C/WRETCHE D SPAWN Vinyl LP's 803341323407 8 03341 32340 70 60270 09631 8 8 83870 04681 77 67004 07031 55 907785 022300 7 60137 51471 86 02527 82180 15 099968 804312 5 099909 834118 5 099968 540418 7 24349 53241 05 099964 163970 8 11771 01034 7 5 013929 472815 5 052442 002109 6 39852 50691 2 6 55035 08071 06 56605 79271 2 3 700426 914222 3 700426 914253 6 21617 40081 88 032979 642211 8 032979 642259 8 78037 02783 96 21617 39647 0 Page 244 of 496 November 12, 2014Catalogue NumberArtist & Title Configuration Scannable UPC UPC NBA32101 CARNIFEX/DIE WITHOUT HOPE(LP) Vinyl LP's 727361321017 MVD6274LP CASE,N A ND FR/SATELLITE OF(7'' 7" Viny l Singles 760137627418 TSQ2998 CHANDLER,D/THE END OF AN OL(LP Vinyl LP's 894807002998ANX0027 CHEAP TRAGEDI ES/CHEAP TRAGEDIE 7" Vinyl Singles 621617321274 ITR1701 CHRISTMAS ISLAND/BLACKOUT SUMM Vinyl LP's 759718517019 390041 CINEMATIC O,THE/LATE NIGHT(2LP Vinyl LP's 5099973900412 HULP8155 CLARKE,S/JAZZ IN THE GARDEN(LP Vinyl LP's 053361815516 ACME0117 COCKROACH/STAY ANGRY 7" Vinyl Singles 621617396371 HHI013V COHEED AND C/THE AFTERMA(LP EP Vinyl EP 793573211101HHI011V COHEED AND/THE AFTERMAN(LP T Vinyl LP's 793573214379 B001519601 COLD WAR KIDS/MINE IS YOURS(LP Vinyl LP's 602527574639 VNL12202LP COLEMAN,O/FREE JAZZ(12''LP) Vinyl LP's 8032979642020VNL12223LP COLEMAN,O/SOMETHING ELS(12''LP Vinyl Singles 8032979642235 738661 COLLETT, J/IDOLS OF EXILE (VIN Vinyl LP's 5033197386614 VNL12210LP COLTRANE,J/BLUE TRAIN(12''LP) Vinyl Singles 8032979642105VNL12222LP COLTRANE,J/MY FAVOURITE(12''LP Vinyl Singles 8032979642228 DPRO347 CONSTANTINES/HARD FEELINGS (7" 7" Vinyl Singles 827590734012 001701 CONSTANTINES/ISLANDS IN THE ST Vinyl LP's 827590017016 2741518 CROWDED HOUSE/INTRIGUER(IMPT L Vinyl LP's 602527415185 TER010 CRYSTAL METHOD,THE/DIVIDED BY Vinyl LP's 852967001114 HS039LP CURTIS,A & DUPREE,B/KATANGA!(L Vinyl LP's 3700426914260 IPC30LP DALEK/FROM FILTHY TONGUES OF G Vinyl LP's 689230003014 FAN3373701 D AVE BRUBECK QUARTET/FA N(10"VY 10" Vinyl 888072337374 OJC012 DAVIS,M AND JACKSO/QUINTET(LP) Vinyl LP's 025218111218 VNL12204LP DAVIS,M/ASCENSEUR POUR(12''LP Vinyl Singles 80329796420447 93573 21110 1 8 27590 01701 65 033197 386614 0 25218 11121 80 53361 81551 6 7 93573 21437 9 6 02527 41518 57 27361 32101 7 8 032979 642020 5 099973 900412 3 700426 914260 7 59718 51701 9 8 52967 00111 48 94807 00299 8 6 89230 00301 46 02527 57463 9 8 032979 642044 8 032979 642105 8 032979 642228 8 032979 642235 8 88072 33737 47 60137 62741 8 6 21617 39637 16 21617 32127 4 8 27590 73401 2 Page 245 of 496 November 12, 2014Catalogue NumberArtist & Title Configuration Scannable UPC UPC VNL12203LP DAVIS,M/BIRTH OF THE CO(12''LP Vinyl Singles 8032979642037 PRS33353 DAVIS,M/KIND OF BLUE (10"VYL) 10" Vinyl 888072333536 DV31 DEAD AND DIVINE/ANTIMACY Vinyl Singles 825996803127 MR42903LP DEAD KENNEDYS/BEDTIME FOR DEMO Vinyl LP's 767004290317MR42902LP DEAD KENNEDYS/FRANKENCHRIST (L Vinyl LP's 767004290218 MFO42917LP DEAD KENNEDYS/FRESH FRUIT FOR Vinyl LP's 767004291710 MFO42914LP DEAD KENNEDYS/GIVE ME CONVENIE Vinyl LP's 767004291413 MR42906LP DEAD KENNEDYS/IN GOD WE TRUST, Vinyl LP's 767004290614MR42905LP DEAD KENNEDYS/MUTINY ON THE BA Vinyl LP's 767004290515MR42901LP DEAD KENNEDYS/PLASTIC SURGERY Vinyl LP's 767004290119 MAU5CD017V DEADMAU5/WHILE 1<2 N/A(3LP) Vinyl LP's 883958012826 COUNT0121 DEATH SET/WORLDWIDE (LP) Vinyl LP's 5021392495187 HW10218 DEEP PURPLE/LIVE 1999 MELBOURN Vinyl LP's 697593000694 ER203171 DEEP PURPLE /NOW WHAT(LP) Vinyl LP's 826992031712 GPR56 DEEP SHIT/CREEPIN' WH ILE YOU S Vin yl LP's 760137000563 52951 DEL JETT/THE BLACK/BAD REPT(LP Vinyl LP's 748337529510 1166191311 DELTA SPIRIT/DELTA SPIRIT (VYL Vinyl LP's 0116619131101166190981 DELTA SPIRIT/HISTORY FROM BELO Vinyl LP's 011661909816 FAN3287301 DENGUE F EVER/CANNIBAL COURT SHI Vinyl LP's 888072328730 IPC44LP DESERTSESSIONS/VOLU MES 9 & 10 Vi nyl LP's 689230004417 PIASR560LP DEUS/FOLLOWING SEA(LP) Vin yl LP's 5414939258718 PIASR510LP DEUS /KEEP YOU CLOSE(LP ) Vinyl LP's 5414939147517 MVD6223LP DEVO/BUTCH DEVO & THE SU(LP+DV vinyl with dvd 760137622314 DWT703121 DIE ANTWOORD/TENSION (LP) Vinyl LP's 878037026863 MAD118 DIPLO & TIESTO/C'MON (12"VYL) Vinyl Singles 8910630024038 88072 32873 00 11661 90981 60 11661 91311 07 67004 29141 3 7 60137 00056 38 83958 01282 6 8 26992 03171 27 67004 29171 0 6 97593 00069 47 67004 29011 97 67004 29021 87 67004 29031 7 7 67004 29061 4 7 67004 29051 5 5 021392 495187 6 89230 00441 77 48337 52951 0 5 414939 147517 5 414939 258718 8 78037 02686 38 032979 642037 8 91063 00240 38 25996 80312 7 7 60137 62231 48 88072 33353 6 Page 246 of 496 November 12, 2014Catalogue NumberArtist & Title Configuration Scannable UPC UPC MRG4551 DIVINE FITS/A THING CALLED(LP) Vinyl LP's 673855045511 0205155078 DIZZ1/ EVERYDAY GR IND(LP EP) Viny l EP 5060205155078 53661 DOLLYROTS,THE/CALIFORNIA B(7'' 7" Vinyl Singles 748337536617 RGM0059 DUROCS /DUROCS (LP) Vinyl LP's 848064000594 AAA999LP EAGLES OF D EATH METAL/PEACE LO Vinyl LP's 689230099918 RPM070LP ELECTRIC EEL SHOC K/BEAT ME!(LP Vinyl LP's 698715007010 INT290287 EMINEM/SLIM SHADY(2LP) Vinyl LP's 606949028718 0694932901 EMINEM/THE EMINEM SHOW(2LP) Vinyl LP's 606949329013 581481 EMPIRE OF /WALKING IN A DREAM Vinyl LP's 5099945814815 HXR0217 END OF YEAR/MORE SONGS ABOUT T Vinyl LP's 760137002178 EPR02 EPMD/WE MEAN BUSI NESS (LP) Vi nyl LP's 094922130242 TR010 ETTES,THE/DO YOU WANT POWER(LP Vinyl LP's 724101213014 NMR0241 ETZIONI,M/MARVIN COUNTRY (2LP) Vinyl LP's 616892026747 050091 EVENING HY MNS/SPIRIT GUIDES (V Vinyl LP's 827590500914 TSQ2264 FAIRFIELD,F/FRANK FAIRFIELD(LP Vinyl LP's 894807002264TSQ2585 FAIRFIELD,F/OUT OF THE OPEN WE Vinyl LP's 894807002585 886581 FAUST/FAUST IV Vinyl LP's 5099968865818132339 FEAR FACTO/MECHANIZE -LTD EDIT Vinyl LP's 803341323391 DTC007 FIFTH HOUR HERO/COLLECTED I(LP Vinyl LP's 777913000075 5345886 FITZGERALD,E/ARM/ELLA AND L(LP Vinyl LP's 600753458860 MVDLP4898 FLIPPER /LO VE (LP) Viny l LP's 760137489818 WRP24912 FLYING LOTUS/LA EP 3X3 Vinyl LP's 801061924911 WARPLP256X FLYING LOTUS/YOU'RE DEAD(4LP B Vinyl LP's 801061825614 FLP30523 FOGERTY,J/REVIVAL Vinyl LP's 888072305236 HOSS0101 FOOD FOR ANIMALS/BELLY(LP) Vinyl LP's 6216173002175 060205 155078 8 27590 50091 4 8 88072 30523 66 16892 02674 76 98715 00701 0 7 60137 48981 88 48064 00059 4 7 60137 00217 8 5 099968 865818 6 00753 45886 06 06949 32901 36 06949 02871 8 5 099945 814815 6 73855 04551 1 8 03341 32339 1 7 77913 00007 5 8 01061 82561 48 01061 92491 1 6 21617 30021 70 94922 13024 2 8 94807 00258 58 94807 00226 47 24101 21301 46 89230 09991 87 48337 53661 7 Page 247 of 496 November 12, 2014Catalogue NumberArtist & Title Configuration Scannable UPC UPC RGDFA00312 FREE BLOOD/ROYAL FAMILY(12"LP) Vinyl EP 829732000313 DCE0011 FRIENDS OF ROCK-N-ROLL/FRIENDS Vinyl LP's 094922704580 202481 GALLAGHER,R/NOTES FROM SAN FRA Vinyl LP's 826992024813201951 GALLAGHER,RIRISH TOUR (12"VYL) Vinyl Singles 826992019512714337 GASLIGHT A/TUMBLING DICE-SHE L Vinyl Singles 603967143379 SD15181 GASLIGHT AN,THE/THE SINGL(7''L 7" Vinyl Singles 603967151817 MVDLP4920 GENITORTURERS/CUM JUNKIE (LP) Vinyl LP's 760137492016 3754040 GOMEZ/BRING IT ON(2LP) Vinyl LP's 6025375404023754044 GONG/ANGELS EGG(LP) Vinyl LP's 602537540440 FRBLP151 GOOD,M/ARROW OF DESIRE(LP) Vinyl LP's 039911015124 1166190831 GORDON,M/THE GREEN SPARROW( 12" Vinyl EP 011661908314 DWT701091 GRAY,D/DRAW THE LINE (LP) Vinyl LP's 878037010916 WRP1631 GRIZZLY BEAR/FRI END (LP) Vi nyl LP's 801061016319 1166111631 GUTHRIE,W/WOODY'S GREATEST HIT Vinyl LP's 011661116313 LPHBEA205 HAMMOND, BERES /GETTING STRONG Vinyl LP's 011661770515 980251 HARRISON, /ALL THINGS MUST PAS Vinyl LP's 077779802517 MVD6236LP HART,G/ EVERY EVERYTHING(LP+DVD v inyl with dvd 760137623618 MVD5325LP HART,G/SO FAR FROM HEAVEN/M(LP V inyl LP's 760137532514 0205155184 HIDDEN ORCHESTRA/ARCHIPEL(2LP) Vinyl LP's 5060205155184 6250981 HIGHSCORE/UNS USPECTING ACTO RS Vinyl LP's 621617696013 FCR702 HOGRA/CANNIBAL OVEN/POISONE(LP Vinyl LP's 760137070214 5345887 HOLIDAY,B/LADY SINGS THE BL(LP Vinyl LP's 600753458877 1166177941 HOLT,J/I CAN'T GET YOU OFF MY Vinyl LP's 011661779419 714601 HORRIBLE C/ELSIE(RED VYL INDIE Vinyl LP's 603967146011800761 HUMAN HIGH/MOODY MOTORCYCLE Vinyl LP's 8032380076180 11661 90831 48 29732 00031 3 0 39911 01512 4 6 03967 14601 18 26992 02481 3 0 11661 11631 3 0 11661 77941 90 11661 77051 5 7 60137 07021 4 6 00753 45887 76 02537 54040 2 6 02537 54044 0 0 77779 80251 78 78037 01091 67 60137 49201 6 7 60137 53251 4 8 03238 00761 86 21617 69601 30 94922 70458 0 5 060205 155184 8 01061 01631 96 03967 14337 98 26992 01951 2 7 60137 62361 86 03967 15181 7 Page 248 of 496 November 12, 2014Catalogue NumberArtist & Title Configuration Scannable UPC UPC 9347031 HUMAN LEAGUE /DON'T YOU WAN(LP Vinyl LP's 5099993470315 OWSLP007 HUNDRED WATERS/THE MOON RAN(LP Vinyl LP's 881034152756 HRM30851 HUNTER,J/THE HARD WAY(LP) Vinyl LP's 888072308510 NSR0171 INTO IT OVER IT /52 WEEKS(4LP Vi nyl LP's 603111801711 3754188 JAPAN/GHO STS(7'') 7" Vinyl Singles 602537541881 5891409313 JAROSZ,S/BUILD ME UP FROM B(LP Vinyl LP's 015891409313 VIRUS1371 JELLO BIAFRA/MOJO NIXON/PRAIRI Vinyl LP's 721616013719 4833753161 JETT,J AND THE BL/GLORIOUS R(L Vinyl LP's 748337531612 52931 JETT,J AND THE BLA/ALBUM(LP+CD Vinyl + CD 748337529312 PRBLP004 JIM JONES REVUE,THE/BURNING YO Vinyl LP's 614511781725 5351132 JOHN,E/GREATEST HITS(2LP) Vinyl LP's 600753511329 CADIZLP131 JOHNSON,W/THE BEST OF(2LP) V inyl LP's 844493061311 B001949311 LADY GA GA/APPLAUSE REMIXES( LP) Vinyl LP's 602537589784 B001635301 LADY GAGA/BORN THIS WAY-THE RE Vinyl LP's 602527893358 ACME0091 LAST IN LINE/L'ESCERCITO DEL M Vinyl LP's 621617396111 MON007LP LAZZARUS,Q/HOPKINS,J/GOODBYE(L Vinyl LP's 614511819220 HXR0207 LEMURIA/OZZY Vinyl LP's 760137002079 296977 LENNON, JO/MOTHER/IMAGINE/WATC Vinyl LP's 5099962969772 SPC3362801 LITTLE RICHARD/HERE'S LIT (VYL Vinyl LP's 888072336285 625P2021 LORD OF LIGHT/ENERGY Vinyl LP's 621617400610 025001 LOS CAMPESI NO/STICKING FING ERS Vinyl LP's 827590250017 DWT70342 MAJOR LAZER/GET FREE (VYL EP) Vinyl EP 878037027334 308003 MARTIN, CH/I CAN TOO Vinyl LP's 627843080039398831 MASSI VE AT/PROTECTIO N Vinyl LP's 724383988310 3754043 MASSI VE ATTACK/MEZZANINE (2LP) Vinyl LP's 6025375404337 48337 52931 2 8 78037 02733 48 27590 25001 78 88072 33628 58 88072 30851 0 0 15891 40931 3 6 14511 81922 06 14511 78172 5 7 60137 00207 95 099993 470315 6 02537 54043 37 24383 98831 06 00753 51132 9 6 02527 89335 86 02537 58978 4 5 099962 969772 8 44493 06131 1 6 27843 08003 96 21617 39611 17 21616 01371 9 6 21617 40061 06 03111 80171 1 7 48337 53161 28 81034 15275 6 6 02537 54188 1 Page 249 of 496 November 12, 2014Catalogue NumberArtist & Title Configuration Scannable UPC UPC WRP1301 MAXIMO PARK/A CERTAIN TRIGGER Vinyl LP's 801061013011 RHYME005 MAZZY STAR/I M LESS HE RE(7'') 7" Vi nyl Singles 887158709616 HRM33824 MCCARTNEY,P/ANOTHER DAY(7" VYL 7" Vinyl Singles 888072338241 HRM3423201 MCCARTNEY,P/CHRISTMAS(7''LP LT 7" Vinyl Singles 888072342323HRM3426101 MCCARTNEY,P/MAYBE IM AMAZED(LT Vinyl LP's 888072342613 7230383 MCCARTNEY,P/MEMORY ALMOST FULL Vinyl LP's 888072303836 000021A MCDERMOTT,/DANNY BOY,THE COLLE Vinyl LP's 000000000215 Q100871 METRIC/FANTASIES (LP) Vinyl LP's 060270087118Q100908 METRIC/LIVE IT OUT - 2LP Vinyl LP's 060270090811 MET80115 METRIC/SYNTHETICA(2X12"VYL) Vinyl LP's 875918011512 117260 MGMT/LATE NIGHT TALES(2LP Vinyl LP's 8801571172606 LVR00112 MI AMI/ARK OF THE COVENANT(12" Vinyl EP 621617300019 UDR0241LP MINISTRY/ENJOY THE QUIET LI(LP Vinyl LP's 5099961515215 AFMLP4624 MINISTRY/FROM BEER TO ETER(2LP Vinyl LP's 884860087612 BMR0951 MIRRORS/13 PATIENT FLOWERS Vinyl LP's 607287009711BMR0782 MODEY LEMON/CURIOUS CITY Vinyl LP's 072438735971BMR0452 MODEY LEMON/THUNDER + LIGHTNIN Vinyl LP's 607287004617 IPC33LP MOISTBOYZ /III Vinyl LP's 689230003311 IPC41LP MONDOGENERATOR/A DRUG PROBLEM Vinyl LP's 689230004110 DAV049 MONEEN/THE RED TREE DELUXE(VYL Vinyl LP's 821826003774 3754190 MOORE,G/LYNOTT/OUT IN THE(7'' 7" Vinyl Singles 602537541904 B001543601 N AKED AND FAMOUS,THE/ PASSIVE M Vinyl LP's 602527574448 JR36014 NEW TALES TO TELL/A TRIBUTE TO Vinyl LP's 713488360145 4245361 NIRVANA/IN UTERO (LP) Vinyl LP's 720642453612 B001895901 NIRVANA/IN UTERO 2013 MIX(LP) Vinyl LP's 6025374834716 21617 30001 98 88072 34261 3 8 75918 01151 2 8 21826 00377 48 88072 30383 6 0 00000 00021 5 6 02527 57444 8 6 02537 48347 17 20642 45361 28 84860 08761 28 801571 172606 0 60270 09081 10 60270 08711 8 6 07287 00461 70 72438 73597 76 07287 00971 18 01061 01301 1 5 099961 515215 7 13488 36014 56 89230 00331 1 6 89230 00411 08 88072 34232 38 88072 33824 1 6 02537 54190 48 87158 70961 6 Page 250 of 496 November 12, 2014Catalogue NumberArtist & Title Configuration Scannable UPC UPC 4244251 NIRVAN A/NEVERMIND (LP) Vinyl LP's 720642442517 RKID71T OASIS/SUPERSONIC(12''SINGLE) Vinyl LP's 5051961071061 9346977 OLDFIELD,M/THEME FROM TU(7''LP 7" Vinyl Singles 5099993469777 3341232372 OPETH/MY ARMS YOUR HEARSE(2LP) Vinyl LP's 8033412323723341232358 OPETH/ORCHID(2LP) Vinyl LP's 803341232358 7306571 OST/MU PPETS MOVIE,THE OST( LP) Vinyl LP's 050087306571 ACME0227 OUT COLD/PLANNED ACCIDENTS 7" Vinyl Singles 621617396074 VNL12207LP PARKER,C/BIRD AND DIZ(12''LP Vinyl Singles 8032979642075 SRLP1255215 PEASANT/BO UND FOR GLORY (LP) Vinyl LP's 4018939219031 2301051 PEPL OVE/ASCENSION Vinyl LP's 655323010511 5345889 PETERSON,O/NIGHT TRAIN(LP) Vinyl Singles 600753458891 LP729809 PIGFACE/GUB (LP) Vinyl LP's 036172980918 SMALP968 PINK FLOYD/LONDON 1966/1967(LP Vinyl LP's 636551596817 1790020600 PINK GRENADE/FEAR OF A PINK(LP Vinyl LP's 811790020600 RR1761 POISON THE WELL/THE OPP(2LP+CD Vinyl LP's 850537004251 TNGP023LP POLICA/GIVE YOU THE GHOST (LP) Vinyl LP's 789577678811 9301835331 PRETTY RECKLES,THE/GOING T(LP) Vinyl LP's 793018353311 MVD5765LP PUBLIC ENEMY/PLANET EARTH T(LP Vinyl LP's 760137576518 515066 QUANTIC PR/DOG WITH A ROPE Vinyl LP's 5060205150660 AAA996 QUEENS OF THE STONE AGE/LULLAB Vinyl LP's 689230099611 IPC43 QUEENS OF THE STONE AGE/SONGS Vinyl LP's 689230004318 LPJNR045 RACEBANNON/WRAP THE BODY (LP) Vinyl LP's 634457529021 845421 RAMONE,J/DON'T WORRY ABOUT ME Vinyl LP's 060768454217 9287707 RINGO STARR/45 RPM SING(7'' LP 7" Vinyl Singles 5099992877078 HS037LP RIVERS,S/CONTOURS (LP) Vinyl LP's 37004269142465 060205 150660 7 60137 57651 87 89577 67881 10 36172 98091 8 7 93018 35331 17 20642 44251 7 0 50087 30657 18 03341 23235 88 03341 23237 2 8 50537 00425 1 0 60768 45421 74 018939 219031 8 11790 02060 06 36551 59681 7 6 34457 52902 1 3 700426 914246 5 051961 071061 6 89230 09961 1 6 89230 00431 86 55323 01051 1 6 00753 45889 18 032979 642075 5 099993 469777 5 099992 877078 6 21617 39607 4 Page 251 of 496 November 12, 2014Catalogue NumberArtist & Title Configuration Scannable UPC UPC B000328801 ROBERTS,S/WE WERE BORN IN A FL Vinyl LP's 602498635278 89931 ROLLING ST,THE/GOT LIVE IF(7'' 7" Vinyl Singles 018771899310 2746710 ROLLING STONES,THE/1971-2005(V Vinyl LP's 6025274671088823231 ROLLING STONES,THE/AFTERMATH Vinyl LP's 0422882323158823301 ROLLING STONES,THE/BEGGARS BAN Vinyl LP's 0422882330158823261 ROLLING STONES,THE/BETWEEN TH Vinyl LP's 0422882326128823221 ROLLING STONES,THE/BIG HITS Vinyl LP's 0422882322168823161 ROLLING STONES,THE/ENGLAND'S N Vinyl LP's 0422882316158823331 ROLLING STONES,THE/GET YER YA Vinyl LP's 0422882333128823341 ROLLING STONES,THE/HOT ROCKS Vinyl LP's 0422882334118823321 ROLLING STONES,THE/LET IT BLE Vinyl LP's 0422882332138823441 ROLLING STONES,THE/METAMORPH Vinyl LP's 0422882344188823191 ROLLING STONES,THE/OUT OF OUR Vinyl LP's 0422882319128823291 ROLLING STONES,THE/THEIR SATAN Vinyl LP's 0422882329193723278 ROLLING STONES/DOOM AND(10" LP 10" Vinyl 602537232789 VNL12224LP ROLLINS,S /SAXOPHONE COL(12''L P Vinyl Singles 8032979642242 268337 ROXY MUSIC/VIRGINIA PLAIN/PYJA Vinyl LP's 5099902683379 ACX142LP ROYKSOPP AND ROBYN/DO IT AG(LP Vinyl LP's 5060236632227 DRP7002 RUMPELSTILTSKIN GRINDER/GLOOMI Vinyl LP's 760137700210 625P1611 RUNNING FOR COVER/DARK WELL-LP Vinyl LP's 621617326316 1686176561 RUSH/CLOCKWORK ANGELS(2X12"VYL Vinyl LP's 016861765613 1770841 RUSH/SN AKES & ARROWS (VINYL ) Vinyl Singles 081227998097 0135427 RUSH/THE GARDEN(10'') 10" Vinyl 016861354275 DTC006 SAINTE CATHER,THE/THE MACHI(LP Vinyl LP's 777913000068 PBRD116 SAM ROBERTS BA/WE'RE ALL IN(LP Vinyl LP's 880893111621 0 16861 76561 35 060236 632227 7 60137 70021 05 099902 683379 8 80893 11162 16 02527 46710 86 02498 63527 8 0 42288 23161 5 0 42288 23191 20 42288 23221 60 42288 23231 5 0 42288 23261 2 0 42288 23291 90 42288 23301 5 0 42288 23321 30 42288 23331 2 0 42288 23341 1 0 42288 23441 8 7 77913 00006 86 21617 32631 6 0 81227 99809 78 032979 642242 0 16861 35427 56 02537 23278 90 18771 89931 0 Page 252 of 496 November 12, 2014Catalogue NumberArtist & Title Configuration Scannable UPC UPC PAPER082LP SAM ROBERTS BAN/LO FA NTASY(2LP Vi nyl LP's 880893008211 CUNLP325LP SAO PAULO UNDERG/TR ES CABAC(LP Vin yl LP's 045775032511 ACME0107 SBGM/SUPER BASTARDS AND GREAT 7" Vinyl Singles 621617395978 INAK91031LP SCHENKER,M/TEMPLE OF ROCK (LP) Vinyl LP's 707787910316 1166136143 SEEGERS,D/GOING DOWN TO THE(LP Vi nyl LP's 888072361430 625P1921 SEEIN RED/FPO/ SPLIT Viny l LP's 621617399518 870051 SEX PISTOL/GREAT ROCK AND ROLL Vinyl LP's 077778700517 ACME0031 SHODS/BAMBOOZLED Vinyl LP's 621617395817 990011 SHORTER, W/SPEAK NO EVIL V inyl LP's 724349900110 VNL12227LP SILVER,H/HORACE SILVER(12''LP Vinyl Singles 8032979642273 9347041 SIMPLE MINDS/PROMISED YOU A(LP Vinyl LP's 5099993470414 181541 SINATRA, F/A JOLLY CHRISTMAS F Vinyl LP's 5099991815415 4635441 SLASH/APOCALYPTIC LOVE (LP) Vinyl LP's 5099946354419 050241 SMITH, SAM/TOUGH COOKIE Vinyl LP's 827590502413 GPR68 SOIL OF IGNORANCE AND WADGE/SP Vinyl LP's 760137006817 WTM39362 SOUNDTRACK/THE DARK KNIG(VINYL Vinyl LP's 794043162817 MF0931 SOY UN CABALLO/HEUER ES DE RAIS Vi nyl LP's 796627009723 HUI3245401 SPALDING,E /CHAMBER MUSIC S C(LP Vinyl LP's 888072324541 ACME0187 SPEND4/AYAYAYAYAYAYA YA 7" Viny l Singles 621617395770 3792307 SPIDERS /SHAKE ELECTRIC(L P) Vinyl LP's 602537923076 B002073411 ST VINCENT/DIGITAL WI TNESS(LP Viny l LP's 602537825400 COW898197 STARLINE RHYTHM BOYS,THE/GREEN Vinyl LP's 747728981975 072901 STARS/T AKE ME TO THE RIOT 7" Vinyl Singles 827590729018 TT00003 STEEL TRAIN/STEEL TRAIN (LP) Vinyl LP's 881034492753 NMR0123LP STEPHANIE'S ID/STARFRUIT (LP) Vinyl LP's 8845015796508 27590 50241 3 8 88072 32454 10 45775 03251 1 7 60137 00681 77 07787 91031 6 7 47728 98197 5 8 84501 57965 05 099993 470414 6 02537 82540 07 94043 16281 78 80893 00821 1 6 02537 92307 65 099946 354419 0 77778 70051 7 5 099991 815415 7 24349 90011 08 88072 36143 0 6 21617 39581 7 7 96627 00972 36 21617 39951 8 8 81034 49275 38 032979 642273 8 27590 72901 86 21617 39597 8 6 21617 39577 0 Page 253 of 496 November 12, 2014Catalogue NumberArtist & Title Configuration Scannable UPC UPC STYLUSLP3 STEREOPHONICS/GRAFFITI ON T(LP Vinyl LP's 5053723003013 RHR0197 STEVENS,J(PETE DELORENZO) /JUDE 7" Vi nyl Singles 621617416079 0731521011 STONE,J/SOUL SESSIONS,THE V( LP Vinyl LP's 807315210113 VIRUS3661 SUBHUMANS/NEW DARK AGE PARADE Vinyl LP's 721616036619 VR20061 SUN KIL MOON/TINY CITIES Vinyl LP's 621617427518 5345458 SU PERTRAMP/BREAKFAST IN AME(LP Viny l LP's 600753454589 NMR088LP SWEANY,P/CLOSE TO THE FLOOR(LP Vinyl LP's 616892141945 NMR0086 SWEANY,P/ EVERY HOUR IS A( LP Vinyl LP's 711574717217 NMR0085 SWEANY,P/THAT OLD SOUTHERN DRA Vinyl LP's 845121031546 BTMSR0300C SWIFT, T/SPEAK NOW (LPX2) V inyl LP's 843930004003 2301131 TAJAI/POWER MOVEMENT Vinyl LP's 655323011310 AFMLP3241 TANKARD/VOL(L)UME 14 (LP) Vinyl LP's 884860023528 VIRUS4011 TH' INBRED/LEGACY OF FERTILITY Vinyl LP's 721616040111VIRUS4021 TH' INBRED/LEGACY OF FERTILITY Vinyl LP's 721616040210 VNL12229LP THELONIUS MONK/THELONIUS(12''L Vinyl Singles 8032979642297 0114311171 THEY MIGHT BE GIANTS/THE ELSE Vinyl LP's 6011431117163341330924 THIN LIZZY/JOHNNY THE FOX(LP) Vinyl LP's 8033413309243341330979 THIN LIZZY/RENEGADE(LP) Vinyl LP's 803341330979 VH00132 THIN LIZZY/STILL DANGEROUS:LIV Vinyl LP's 894316001321 3341330986 THIN LIZZY/THUNDER AND LIG(2LP Vinyl LP's 803341330986 MBL0811 THIS WILL DESTROY YOU/YOUNG MO Vinyl LP's 621617421813 BMR0752 TIME FLYS/FLY Vinyl LP's 607287007717BMR0932 TIME FLYS/REBELS OF BABYLON Vin yl LP's 607287009414 714467 TITLE FIGH/FLOOD OF '72 7" Vinyl Singles 603967144673 KR46V TOADIES/NO DELIVERANCE (LP) Vinyl LP's 1865350046356 01143 11171 6 8 03341 33092 4 8 03341 33097 9 8 03341 33098 67 11574 71721 76 16892 14194 5 8 45121 03154 66 00753 45458 98 07315 21011 3 8 84860 02352 85 053723 003013 8 43930 00400 3 7 21616 04011 1 7 21616 04021 07 21616 03661 9 6 07287 00771 7 6 07287 00941 46 21617 42751 8 6 21617 42181 3 1 86535 00463 56 55323 01131 0 8 94316 00132 18 032979 642297 6 03967 14467 36 21617 41607 9 Page 254 of 496 November 12, 2014Catalogue NumberArtist & Title Configuration Scannable UPC UPC 132498 TOWNSEND, /INFINITY Vinyl LP's 803341324985 132502B TOWNSEND, /SYNCHESTRA Vinyl LP's 803341325029 NSR0891 TRC/NATION(LP) Vinyl LP's 603111808918 MFO48002LP TURTLES,TH E/SAVE THE TURTLES: T Vinyl LP's 767004800219 MFO48023LP TURTLES/H APPY TOGETHER(L P) Vinyl LP's 767004802312 MFO48021LP TURTLES/IT AIN'T ME BABE(LP ) Vinyl LP's 767004802114 B001965511 U2/ORDINARY LOVE (10'') 10" Vinyl 602537620487 ZRKLP7 UKRAINIANS THE/N EVER MIND T(LP Vinyl LP's 5060195515883 ISCR8132 UNSEEN/INTERNAL SAL VATION Vinyl LP's 825888813012 105125 URIAH H EEP/INTO THE WILD (LP) Viny l LP's 8024391051252 01675031LP VAR/GREAT COVER VERSIONS R(2LP Vinyl LP's 707787750318 2301071 VAR/ONE BIG TRIP Vinyl LP's 655323010719 BHH2048 VAR/REVENGE OF THE B-BOY:(LPX2 Vi nyl LP's 611933204818 5707914918 VAR/THE NEWPORT FOLK FESTI(LP) Vinyl LP's 0157079149185891405117 VAR/TWISTABLE TURNABLE MAN A M Vinyl LP's 015891405117ZEDDLP027 VAR/UNDER THE INFLUENCE TW(2LP Vinyl LP's 5060162571881ZEDDLP029 VAR/UNDER THE INFLUENCE V3(2LP Vinyl LP's 50601625721611166177191 VAR/VERSION DREAD:18 DUB HITS Vinyl LP's 011661771918 6257951 VARIOUS ARTISTS/FOUR CORNERS Vinyl LP's 621617695917 ACME0137 VARIOUS ARTISTS/NO SIDE 95-98 7" Vinyl Singles 621617395671 008301 VARIOUS/ARTS & CRAFTS RECORD S Vinyl LP's 827590083011 9347051 VERVE,THE/THE VERVE(LP EP) Vinyl EP 5099993470513 FAN3496501 VINCE GUARADLI TRIO/LINUS(7'' 7" Vinyl Singles 888072349650 MVD5043LP WAITS,T/THE EARLY YEARS V1(LP) Vinyl LP's 767004060118 MFO40602LP WAITS,T/THE EARLY YEARS VOL.2( Vinyl LP's 767004060217 5 099993 470513 8 03341 32498 5 8 03341 32502 9 0 15891 40511 7 8 27590 08301 18 024391 051252 0 11661 77191 86 11933 20481 8 5 060162 572161 5 060195 515883 7 07787 75031 87 67004 80211 47 67004 80231 2 5 060162 571881 7 67004 06021 77 67004 80021 9 7 67004 06011 88 25888 81301 2 6 21617 69591 70 15707 91491 86 03111 80891 8 6 55323 01071 96 02537 62048 7 8 88072 34965 06 21617 39567 1 Page 255 of 496 November 12, 2014Catalogue NumberArtist & Title Configuration Scannable UPC UPC ACME0127 WARM JETS/WARM JETS 7" Vinyl Singles 621617395572 748591 WATSON, PA/CLOSE TO PARADISE Vinyl LP's 5033197485911 B001909201 WEEKND,TH E/KISS LA ND(LP Vinyl LP's 602537512935 9752827 WELLER,P/FLAME OUT(7'' LP) 7" Vinyl Singles 5099997528272 600142 WHITE BUFF,THE/SHADOWS GREY(LP Vinyl Singles 898336001422 DWT70383 WHITE DENIM/A PLACE TO STA(7'' 7" Vinyl Singles 878037027983 276511 WINTERSLEE/WELCOME TO THE NIGH Vinyl LP's 5099922765116 NSR049 WONDER YEARS,THE/I'VE GIVEN YO Vinyl Singles 603111926810 DAV038 WOOL/LUNAR MOMENTO LOST S1(VYL Vinyl LP's 821826003712 0253795467 YANOFSKY,N/LITTLE SECRET(INTL Vinyl LP's 6025379546747235002527 YOUNG BUFFALO/BRAIN ONE(LP) Vinyl LP's 8572350025272539602722 ZOLAS,THE/LIPTONIANS,THE/SPLIT 7" Vinyl Singles 825396027222 ACME0261 ZOOPARTY/YOU ARE HERE Vinyl LP's 6216173605186 02537 51293 5 8 21826 00371 2 6 02537 95467 45 099922 765116 5 033197 485911 6 21617 36051 88 57235 00252 78 98336 00142 2 6 03111 92681 05 099997 528272 6 21617 39557 2 8 25396 02722 28 78037 02798 3 Page 256 of 496 November 12, 2014Catalogue Numbe rArtist / Title Config Scannable UPC UPC 101 VAR/GENUINE HOUSEROCKIN MUSIC Compact Disc 014551010128 102 VAR/GENUINE HOUSEROCKIN MUS/II Compact Disc 014551010227 110 MULDAUR,M/CLASSIC LIVE Compact Disc 804403011027 1011 VAR/ALLIGATOR RECORDS 25TH ANN Compact Disc 0145511011233905 ELLIS,T/COOL ON IT Compact Disc 0145513905273906 MOFRO/BLACKWATER Compact Disc 0145513906263907 MOFRO/LOCHLOOSA Compact Disc 0145513907254702 HORTON,W/BIG WALTER HORTON WIT Compact Disc 0145514702294703 SEALS,S/THE SON SEALS BL UES BA Compact Disc 014551470328 4708 SEALS,S/MIDNIGHT SON Compact Disc 0145514708234710 ROBINSON,F/I HEAR SONG BLUES D Compact Disc 0145514710284719 COLLINS,A/FROSTBITE Compact Disc 0145514719294720 SEALS,S/CHICAGO FI RE Compact Disc 014551472025 4721 BROOKS,L/TURN ON TH E NIGHT Compact Disc 014551472124 4729 CHENIER,C/I'M HERE Compact Disc 0145514729264734 TERRY,S/WHOOPIN' Compact Disc 0145514734284743 COLLIN,C COPELAND/SHOWDOWN Compact Disc 0145514743264745 BROWN,CG/PRESSURE COOKER Compact Disc 014551474524 4755 BIG TWIST & MELLOW FELLOWS/LIV Compact Disc 0145514755214759 BROOKS,L/LIVE FROM CHICAGO-BAY Compact Disc 0145514759274764 NEAL,K/BIG NEWS FROM BATON ROU Compact Disc 0145514764294766 WEBSTER,K/SWAMP BOOGIE QUEEN Compact Disc 014551476627NUMERICAL BY ARTIST / Numerique par artisteUNIVERSAL MUSIC DISCONTINUED LISTING / List e de produits discontinues The following titles have been discontinued effective immediately. Please have all return requests submitted by Friday Februar y 27, 2015. All authorized discontinued products must be returned to our distribution centre by Friday March 27, 2015. À compter de maintenant les titres suivants ont été discontinués. Veuillez s'il vous plait avoir soumis toutes demandes de reto urs pour ces produits au plus tard le vendredi 27 février 2015. Tous les produits discontinués autorisés doivent être retournés à notre cen tre de distribution au plus tard le vendredi 27 mars 2015. 8 04403 01102 7 0 14551 47432 60 14551 39062 6 0 14551 39072 5 0 14551 47642 90 14551 01012 8 0 14551 39052 7 0 14551 47212 4 0 14551 47292 6 0 14551 47552 10 14551 10112 30 14551 01022 7 0 14551 47022 9 0 14551 47032 8 0 14551 47082 3 0 14551 47102 8 0 14551 47192 9 0 14551 47202 5 0 14551 47342 8 0 14551 47452 4 0 14551 47592 7 0 14551 47662 7 Page 257 of 496 November 12, 2014Catalogue Numbe rArtist / Title Config Scannable UPC UPC 4768 LAZY LESTER/HARP AND SOUL Compact Disc 014551476825 4769 THOMAS,R/THAT WOMAN IS POISON Compact Disc 0145514769244771 BROWN,C/ONE MORE FOR THE ROAD Compact Disc 0145514771294777 WEBSTER,K/TWO FISTED MAMA Compact Disc 0145514777234779 BROWN,CG/STANDING MY GROUND Compact Disc 0145514779214782 PALADINS,THE/LET'S BUZZ Compact Disc 0145514782254783 NEAL,R/LOUSIANA LEGEND Compact Disc 0145514783244786 MACK.L/LIVE-ATTACK OF THE KILL Compact Disc 0145514786214791 BISHOP,E/DON'T LET THE BOSSMAN Compact Disc 0145514791234797 RUSH,O/LOST IN THE BLUES Compact Disc 0145514797274804 BROWN,CG/NO LOOKIN' BACK Compact Disc 0145514804264805 ELLIS,T/TROUBLE TIME Compact Disc 0145514805254806 CLARKE,W/SERIOUS INTENTIONS Compact Disc 0145514806244807 HOLE,D/SHORT FUSE BLUES Compact Disc 0145514807234812 LITTLE CHARLIE & THE NIGHTCATS Compact Disc 0145514812254814 HOLE,D/WORKING OVERTIME Compact Disc 0145514814234820 ALLISON,L/SOUL FIXIN' MAN Compact Disc 0145514820244823 ELLIS,T/STORM WARNING Compact Disc 0145514823214827 CLARKE,W/GROOVETIME Compact Disc 0145514827274828 BELL,C/DEEPDOWN Compact Disc 0145514828264833 BISHOP,E/ACEINTHEHOLE Compact Disc 0145514833284834 ALLISON,L/BLUESTREAK Compact Disc 0145514834274837 HARRIS,C/BETWEENMIDNI GHTANDDAY Compact Disc 014551483724 4839 HUNTER,L/BORDERTOWNL EGEND Compact Disc 014551483922 4840 SAFFIRETHEUPPITYBLUES/CLEANING Compact Disc 0145514840284841 DIXON,F/WAKEUPANDL IVE Compact Disc 014551484127 4843 BROOKS,L/ROADHOUSERULES Compact Disc 0145514843254846 SEALS,/LIVESPONTANEOUSCO MBUSTI Compact Disc 014551484622 0 14551 48042 60 14551 47832 40 14551 47692 4 0 14551 47912 3 0 14551 48392 2 0 14551 48402 8 0 14551 48432 50 14551 47682 5 0 14551 47712 9 0 14551 47772 3 0 14551 47792 1 0 14551 47822 5 0 14551 47862 1 0 14551 47972 7 0 14551 48052 5 0 14551 48062 4 0 14551 48072 3 0 14551 48122 5 0 14551 48142 3 0 14551 48202 4 0 14551 48232 1 0 14551 48272 7 0 14551 48282 6 0 14551 48332 8 0 14551 48342 7 0 14551 48372 4 0 14551 48412 7 0 14551 48462 2 Page 258 of 496 November 12, 2014Catalogue Numbe rArtist / Title Config Scannable UPC UPC 4847 HOLE,D/TICKETTOCHICAGO Compact Disc 014551484721 4851 MARGOLIN,B/UP&IN Compact Disc 0145514851244853 HUNTER,L/SWINGINGFROMT HERAFTER Compact Disc 014551485322 4854 BELL,C/GOODLUCKMA N Compact Disc 014551485421 4860 KINSEYREPORT/SMOKEANDS TEEL Compact Disc 014551486022 4870 ADEGBALOLA,B/BITTERSWEETBLUES Compact Disc 0145514870294871 MONTOYA,C/SUSPICION Compact Disc 0145514871284881 HOLE,D/OUTSIDELOOKINGIN Compact Disc 0145514881254884 CLARK,W/FROMAUSTINWITHSOUL Compact Disc 0145514884224915 TAYLOR,K/OLDSCHOOL Compact Disc 0145514915215602 BROOKS,L/DELUXEEDITION Compact Disc 0145515602275605 TAYLOR,H/DELUXE EDITION Compact Disc 0145515605245607 CLARKE,W/DELUCEEDITION Compact Disc 0145515607225609 WINTER,J/DELUXEEDITION Compact Disc 0145515609207703 VARIOUS/LIVINGCHICAGOB LUESVOL4 Compact Disc 014551770329 7707 VARIOUS/THENEWBLUEBLOODS Compact Disc 014551770725 10071 HARDY,H/ALONE Compact Disc 09674200002610473 AVALON/CELTIC DEVOTION Compact Disc 09674180902610939 SOLITUDES/FOREST PIANO Compact Disc 09674141262212149 SOLITUDES/NATURAL M ASSAGE THER Compact Disc 096741416521 12151 SOLITUDES/NATURAL RELAXATION Compact Disc 09674141712212153 SOLITUDES/NATURAL SL EEP INDUCE Com pact Disc 096741415029 12633 SOLITUDES/SONGBIRDS BY T STREA Compact Disc 09674110152613043 SOLITUDES/WATERS CAPES Compact Disc 096741101625 014002 BROKEN SOCIAL SCENE/BROKEN V.2 Compact Disc 827590140028014032 MAE/MAE GREATEST HITS 2012 Compact Disc 5099930140325 18088 SOLITUDES/MOON RIVER Compact Disc 09674141792418662 VAR/T ALAN LOMAX COLLECTION:BL Compact Disc 682161186627 6 82161 18662 70 96742 00002 6 0 96741 80902 6 0 96741 41262 2 0 96741 41652 1 0 96741 41712 2 0 96741 10152 6 0 96741 10162 5 0 96741 41792 40 96741 41502 9 5 099930 140325 8 27590 14002 80 14551 48842 2 0 14551 56022 70 14551 48812 5 0 14551 77072 50 14551 48472 1 0 14551 48532 2 0 14551 48542 1 0 14551 48602 2 0 14551 48702 9 0 14551 48712 8 0 14551 49152 1 0 14551 56052 4 0 14551 56072 2 0 14551 56092 0 0 14551 77032 90 14551 48512 4 Page 259 of 496 November 12, 2014Catalogue Numbe rArtist / Title Config Scannable UPC UPC 19428 AVALON/DINNER IN PARIS Compact Disc 096741008023 19435 AVALON/DINNER IN ITALY Compact Disc 09674100812220401 AVALON/DINNER IN MEXICO Compact Disc 096741011627 20686 DEL MAR/AFTER THE QUAKE Compact Disc 884502068672 22940 SOLITUDES/LAKESIDE RETREAT Compact Disc 096741023729 023802 MARTIN, DE/LEGENDS FOREVER Compact Disc 5099950238026 023842 BLONDIE/LEGENDS FO REVER Compact Disc 5099950238422 24387 AVALON/FENG SHUI Compact Disc 09674103592029188 SOLITUDES/WHAT A WONDERFUL WOR Compact Disc 096741070020 029602 SELENA/LEGENDS FO REVER Compact Disc 5099950296026 30008 CANADIAN BRASS/CANADI AN BRASS Compact Disc 034062300082 32457 SOLITUDES/CELTIC SERENITY Compact Disc 09674109312832469 SOLITUDES/SONGBIRDS AT SUNSET Compact Disc 09674109372233212 HELIX/VAGABOND BONES Compact Disc 62067333212533347 SOLITUDES/BRAZILIAN BREEZE Compact Disc 09674107772233348 SOLITUDES/DESERT SPA Compact Disc 096741103025 33349 SOLITUDES/MOONLIGHT SONATA Compact Disc 09674110312434813 SOLITUDES/CALM THE MIND Compact Disc 09674111762635495 VAR/SOLITUDES 25TH ANNI/FRENCH CD with DVD 09674111302436558 REFLECTIONS/REJUVENATE NATURAL Compact Disc 09674113552136562 REFLECTIONS/CARIBBEAN SPA Compact Disc 096741135927 43322 SINATRA,F/CHRISTMAS ME MORIES Compact Disc 096741222726 46696 FISHER PRICE/50TH BIRTHDAY 2DP Compact Disc 09674123272555626 JEWEL/JEWEL CHISTMAS Compact Disc 09674137282758399 VAR/HOLIDAY ENTERTAINING Compact Disc 09674142232459392 PAVAROTTI/PAVAROTTI CHRI STMAS Compact Disc 096741433825 063722 LENNON, JO/DOUBLE FA NTASY (COM Compact Disc 5099990637223 068452 VARIOUS AR/STUDIO 97 Compact Disc 5099930684522 0 96741 11302 40 96741 00802 3 0 96741 01162 7 0 96741 02372 9 0 96741 03592 0 0 96741 07002 0 0 96741 09312 8 0 96741 09372 2 0 96741 07772 2 0 96741 10312 4 0 96741 11762 6 0 96741 13552 1 0 96741 13592 7 0 96741 23272 50 96741 00812 2 0 96741 10302 5 0 96741 22272 6 0 96741 37282 7 0 96741 42232 48 84502 06867 2 5 099990 637223 5 099930 684522 5 099950 238422 5 099950 238026 5 099950 296026 0 34062 30008 2 0 96741 43382 56 20673 33212 5 Page 260 of 496 November 12, 2014Catalogue Numbe rArtist / Title Config Scannable UPC UPC 070707 CAGE THE ELEPHANT/CAGE THE ELE Compact Disc 602517422926 071862 VARIOUS AR/AN OLD FASHIONED CH Compact Disc 5099950718627073282 VARIOUS AR/HAPPY HOLI DAYS Compact Disc 5099950732821 078002 VARIOUS AR/PUMP IT UP - 4 Compact Disc 5099990780028079292 VARIOUS AR/MOVE TO YOUR GROOVE Compact Disc 5099960792921079872 VINES, THE/BEST OF ,THE Compact Disc 5099950798728 81359 NAKED AND FAMOUS,THE /PASSIVE M Compact Disc 9416339813593 082392 PRESTON, B/ENCOURAGING WORDS Compact Disc 5099990823923082702 JENKINS, R/BLUE SKIES Compact Disc 628740827024083272 JEAN, NORM/ANTI MOTHER,THE Compact Disc 5099920832728083582 CELTIC WOM/FIVE FOR $5 Compact Disc 5099930835825083922 BEACH BOYS/FIVE FOR $5 Compact Disc 5099930839229 083932 BENATAR, P/FIVE FOR $5 Compact Disc 5099930839328083952 POISON/FIVE FOR $5 Compact Disc 5099930839526086362 MCDERMOTT,/PRECIOUS MEMORIES Compact Disc 5099930863620090212 SAVING ABE/FIVE FOR $5 Compact Disc 5099930902121 090632 OMNICHORD,J/CHARLOTTE OR OTIS Compact Disc 775020906327 91101 MERMEN,THE/THE AMAZING CALIFOR Compact Disc 644949110125 091342 VARIOUS AR/TAKE ME HO ME, COUNT Compact Disc 5099960913425 92004 DAMN FINE BAND FT:ROSE TATTOO/ Compact Disc 4012666920048 093022 HILLSONG L/CORNERSTONE Compact Disc 5099990930225097492 VARIOUS AR/COOL YULE (DISC 3) Compact Disc 5099930974920097502 VARIOUS AR/COOL YULE (DISC TWO Compact Disc 5099930975026097512 VARIOUS AR/COOL YULE (DISC ONE Compact Disc 5099930975125097572 CHIPMUNKS,/A KIDS CHRI STMAS (U Compact Disc 5099930975729 101329 BRIGHTMAN,/DIVA:THE VIDEO COLL Digital Video Disc 094631013294105684 KIX/LIVE IN BALTIMORE CD with DVD 8024391056844106005 WATSON, PA/PATRICK WATSON BOX Compact Disc 680341060057 8 024391 056844 6 28740 82702 4 4 012666 920048 9 416339 813593 5 099990 780028 5 099960 913425 5 099960 792921 5 099930 975729 5 099930 863620 5 099930 974920 5 099930 975125 5 099930 975026 6 02517 42292 6 5 099950 718627 5 099950 732821 5 099930 902121 5 099990 823923 5 099920 832728 5 099990 930225 5 099930 839328 5 099950 798728 5 099930 839229 5 099930 839526 5 099930 835825 7 75020 90632 7 6 80341 06005 76 44949 11012 5 0 94631 01329 4 Page 261 of 496 November 12, 2014Catalogue Numbe rArtist / Title Config Scannable UPC UPC 112005 WATSON, PA/WOODEN ARMS (O-CARD Compact Disc 680341120058 115722 VARIOUS/R&B CLASSIC HI TS 60'S Compact Disc 096741157226 115752 VARIOUS AR/OPEN COUNTRY Compact Disc 096741157523120322 VARIOUS AR/HIP HOLIDAY Compact Disc 096741203220122837 WHITE CHAP/SOMATIC DEFILEMENT Compact Disc 803341228375122984 FORESHADOW/DAYS OF NOTHING Compact Disc 803341229846 125013 LOUD FAMILY W/BARBEAU,A/WHAT I Compact Disc 783707346007 127342 PENGUIN CA/PENGUIN CA FE ORCHES Compact Disc 5099921273421 127352 PENGUIN CA/BROADCASTING FROM H Compact Disc 5099921273520127362 PENGUIN CA/SIGNS OF LIFE(REMAS Compact Disc 5099921273629130052 MCCULLOUGH,R/BELFAST BLUES Compact Disc 670211300529 130904 INSOMNIUM/ACROSS THE DARK-DLX Compact Disc 803341309043131166 INGESTED/SURPASSING TH E BOUN Compact Disc 803341311664 133667 MARLEY, BO/LIVE ON AIR Compact Disc 803341336674135022 COPELAND/YOU ARE MY SUNSHINE Compact Disc 5099921350221 0135352 MILLE,D/ENTRE CHIEN ET LOUP Compact Disc 044001353529 137408 ZATOKREV/THE BAT THE WHEEL AND Compact Disc 803341374089 0144322 SEIM,T/THE SOURCE AND DIFFEREN Compact Disc 044001443220 0147352 BLEY & GIUFFRE & SWALLO/THE LI Compact Disc 0440014735240147402 WIBUTEE/EIGHT DOMESTIC CHALLEN Compact Disc 044001474026 147925 VARIOUS AR/CLASSIC ROCK Compact Disc 0496741479258 147966 VARIOUS AR/HEY, SANTA CLAUS Compact Disc 0496741479661150882 NUMAN,G/PURE Compact Disc 670211508826153662 CLARK, SON/LEAPIN' A ND LOPIN'/ Compact Disc 5099921536625 158522 BEATLES, T/E P CD BOX - SINGLE Compact Disc 077771585227 159012 BEATLES, T/SINGLES BOX SET Compact Disc 077771590122 0165992 OZONE,M/SO MANY COLORS Compact Disc 0440016599280166512 KANZA,L/TOYEBI TE Compact Disc 0440016651278 03341 22984 6 8 03341 30904 3 8 03341 31166 4 8 03341 33667 46 70211 30052 97 83707 34600 7 0 496741 479661 0 496741 479258 0 96741 20322 00 96741 15722 6 0 96741 15752 3 5 099921 273629 5 099921 273421 5 099921 273520 0 44001 35352 9 0 44001 66512 70 44001 47352 4 0 44001 65992 80 44001 47402 60 44001 44322 05 099921 350221 5 099921 536625 0 77771 58522 7 0 77771 59012 28 03341 22837 5 8 03341 37408 9 6 70211 50882 66 80341 12005 8 Page 262 of 496 November 12, 2014Catalogue Numbe rArtist / Title Config Scannable UPC UPC 0170672 WALLUMROD/SOFIENBERG VARIATION Compact Disc 044001706721 0170702 RYPDAL,T/LUX AETERNA Compact Disc 0440017070250171562 AFONSO,J/ZANZIBAR Compact Disc 0440017156240172782 BALKE,J/KYANOS Compact Disc 044001727825 175922 SIMPLE MIN/5X5 LIVE Compact Disc 5099901759228 0177252 JOR,JB/ACUSTICO Compact Disc 044001772528 177614 MARTIN, DE/MEMORIES ARE MADE O Cassette 724381776148177789 BLACKMORE S NIGHT/THE BEGINNIN Compact Disc 5099901777895179212 30 SECONDS/THIS IS WAR L.E. DL CD with DVD 5099991792129 0179932 BARRON,K/CANTA BASIL Compact Disc 044001799327 0180722 CINELU,M/QUEST JOURNEY Compact Disc 044001807220 182482 CRAMER, FL/PIANO MAGIC OF, THE Compact Disc 014921824829183070 MOBY/LAST NIGHT FRENCH Compact Disc 5099951830700 0184932 ORCHESTRE NATIONAL DE JAZZ/CHA Compact Disc 044001849329 190632 VARIOUS AR/10 GREEN APPLES(COM Compact Disc 5099991906328 200412 STEVENS,C/MAJIKAT:EARTH TOUR 1 Compact Disc 826992004129 200862 RAINBOW/LIVE IN MUNICH Compact Disc 826992008622205812 KNACK, THE/10 BEST: TH E BEST O Compact Disc 724352058129 208155 MOBY/DESTROYED BOOK(2CD Compact Disc 9788862081559 0219062 OZONE,M/TREASURE Compact Disc 044002190628 220972 VARIOUS AR/SWING F EVER(SILK & Compact Disc 724352209729 223282 VARIOUS/GREAT GROUPS OF'50&60S Compact Disc 724352232826223284 VARIOUS/GREAT GROUPS OF'50&60S Cassette 724352232840223432 VARIOUS AR/BIG SHINY BONUS CD Compact Disc 724352234325223692 VARIOUS AR/CMT 2000 Compact Disc 724352236923223694 VARIOUS AR/CMT 2000 Cassette 724352236947223802 HENDERSON,/HERITAGE Compact Disc 5099952238024224041 VAR/GREECE Compact Disc 40112222404157 24381 77614 8 7 24352 23284 0 7 24352 23694 75 099991 792129 8 26992 00412 9 8 26992 00862 20 14921 82482 9 5 099991 906328 4 011222 240415 7 24352 23282 67 24352 20972 9 7 24352 23432 55 099901 759228 0 44001 79932 7 0 44001 80722 00 44001 71562 4 0 44001 77252 8 0 44002 19062 80 44001 70672 1 0 44001 70702 5 0 44001 72782 5 0 44001 84932 9 7 24352 23692 37 24352 05812 9 5 099952 238024 5 099951 830700 9 788862 081559 5 099901 777895 Page 263 of 496 November 12, 2014Catalogue Numbe rArtist / Title Config Scannable UPC UPC 224041 VAR/GREECE Compact Disc 4011222240415 224802 VARIOUS AR/HITS OF THE 50'S Compact Disc 724352248025224812 VARIOUS AR/HITS OF THE 60'S Compact Disc 724352248124224822 VARIOUS AR/HITS OF THE 70'S Compact Disc 724352248223224832 VARIOUS AR/HITS OF THE 80'S Compact Disc 724352248322230872 JONES,N/LITTLE BROKEN HEART(LE Compact Disc 5099962308724232232 CAVE/NICK/WARREN/THE RO AD ORIG Compact Disc 5099962322324 232302 CAVE/NICK/WARREN/WHIT E LUN(2CD Compact Disc 5099962323024 244552 BUNNETT, J/NEW YORK DUETS Compact Disc 724352445523 245742 ECONOLINE /BRAND NEW HISTORY Compact Disc 724352457427246972 DESERTERS/SIBERIAN NI GHTLIFE-N Compact Disc 724352469727 247012 STACCATTOS/INITIALLY NORTHERN Compact Disc 724352470129247022 ZAPPACOSTA/ZAPPACOSTA-N ORTHERN Compact Disc 724352470228 259582 VARIOUS AR/SATURN Compact Disc 724352595822262122 GOLDFRAPP/HEAD FI RST Compact Disc 5099962621229 265702 COCHRANE, /VICTORY DAY Compact Disc 077772657022 265934 CONNORS, S/ K.I.C. ALONG WITH Cassette 077772659347 266282 BEACH BOYS/VERY BEST OF THE BE Compact Disc 5099902662824 269352 VARIOUS AR/WONDER CARES FITNES Compact Disc 5099902693521273512 OST/THE KING AND I-RESTORED Compact Disc 724352735129275262 VARIOUS AR/DOO WOP FAVOURITES Compact Disc 5099922752628275422 VARIOUS AR/AIR GUITAR ANTHEMS Compact Disc 5099902754222276792 MARTIN, DE/DINO:ESSENTI AL DEAN Compact Disc 5099902767925 276852 MARTIN, DE/CLASSIC DI NO:BEST O Compact Disc 5099902768526 281962 LENNON, JO/LEGEND FOREVER Compact Disc 5099922819628 283302 VARIOUS AR/LA-LA-LATINA(SILK & Compact Disc 724352833023283382 BARNEY/FAVORITES Compact Disc 724382833826285152 WILSON, NA/SPOTLIGHT ON Compact Disc 724382851523 0 77772 65934 7 5 099902 768526 5 099902 693521 5 099962 308724 5 099922 752628 5 099922 819628 7 24352 83302 37 24352 59582 27 24352 24832 27 24352 24822 37 24352 24812 47 24352 24802 5 5 099902 767925 5 099902 754222 5 099902 662824 7 24382 83382 67 24352 45742 7 7 24352 47012 97 24352 44552 3 0 77772 65702 27 24352 46972 7 7 24352 47022 8 7 24382 85152 37 24352 73512 94 011222 240415 5 099962 621229 5 099962 322324 5 099962 323024 Page 264 of 496 November 12, 2014Catalogue Numbe rArtist / Title Config Scannable UPC UPC 287662 MOBY/DESTROYED Compact Disc 5099902876627 289173 BARENAKED /ALL IN GOOD TI ME T- MERCH - GENERAL 5099962891738 289702 MOBY/DESTROYED(LTD) Compact Disc 5099902897028293393 BEACH BOYS/SMILE SESSION S 2CD CD wi th DVD 5099972933930 294112 JONES, NOR/COME AWAY WITH ME(C CD with DVD 5099962941129294142 SINATRA, F/CLASSIC SI NATRA(CD CD wi th DVD 5099962941426 296662 EVANESCENC/OPEN DOOR ,THE Compact Disc 5099902966625 296722 FINGER ELE/GREYEST OF BLUE SKI Compact Disc 5099902967226 296742 EVANESCENC/FALLEN Compact Disc 5099902967424296952 SOUNDTRACK/WALK THE LINE Compact Disc 5099902969527 300079 BEE GEES,THE/THIS IS WHER E I C Digital Video Disc 801213000791 300309 DEEP PURPLE/CONCERTO FOR GROUP Digital Video Disc 801213003099 300439 ORBISON,R/GREATEST HITS LIVE Digital Video Disc 801213004393300499 STEVENS,C/MAJIKAT:EARTH TOUR 1 Digital Video Disc 801213004997 300639 BUSTA RHYMES/EVERYTHING REMAIN Digita l Video Disc 801213006397 300879 TANGERINE DREAM/LIVE IN AMERIC CD with DVD 801213008797301029 HENDRIX,J EXPERIENCE/CLASSI C A Digital Video Disc 801213010295 301069 JACKSON,J/LIVE IN HAWAII+THE V Digital Video Disc 801213010691301139 VAR/STRAT PACK Digital Video Disc 801213011391301309 MALMSTEEN,Y/CONCERTO Digital Video Disc 801213013098301449 STEVENS,C/MAJIKAT EARTH TOUR 1 CD wi th DVD 801213014491 301639 RAINBOW/LIVE IN MUNICH:1977 Digital Video Disc 801213016396302862 VAN B,A/STATE OF TRAN 2013 Compact Disc 812623028626303342 SEGER, BOB/GREATEST HITS Compact Disc 724383033423305242 VARIOUS AR/ROMANCE (LA SENZA) Compact Disc 724353052423305961 CIUFO, MIC/MOMENTO Compact Disc 793573059611308000 MARTIN, CH/SLEEPING WI TH A STR Compact Disc 627843080008 310022 VARIOUS AR/WORLD'S LEADING ROU Compact Disc 669803100227 8 01213 01449 15 099972 933930 5 099962 941426 5 099962 941129 8 01213 00879 7 7 93573 05961 17 24353 05242 3 6 69803 10022 75 099902 966625 5 099902 967226 5 099902 967424 5 099902 969527 7 24383 03342 38 12623 02862 6 6 27843 08000 85 099902 876627 5 099902 897028 8 01213 00309 9 8 01213 00439 3 8 01213 00499 7 8 01213 00639 7 8 01213 01069 1 8 01213 01139 1 8 01213 01309 8 8 01213 01639 68 01213 00079 1 8 01213 01029 55 099962 891738 Page 265 of 496 November 12, 2014Catalogue Numbe rArtist / Title Config Scannable UPC UPC 310072 STONEY PAR/BEST OF STONEY PARK Compact Disc 669803100722 315042 KENTON, ST/BEST OF Compact Disc 724383150427316412 BEACH BOYS/PARTY / STAC KS O TR Compact Disc 724353164126 317457 KWELI, TAL/PRISONER OF CONSCIO Compact Disc 793573174574317658 HILL & THE/11:11 Compact Disc 627843176589317661 SODERBERG,/REFUGE Compact Disc 627843176619319079 STARR, RIN/RINGO & HIS NEW ALL Digital Video Disc 013023190795319229 MONKEES, T/LIVE SUMMER TOUR Digital Video Disc 013023192294 319852 VARIOUS AR/ITALIA NOSTRA SUPER Compact Disc 724353198527321372 POWELL, BU/AMAZING,THEVOL 2 Compact Disc 724353213725321932 VARIOUS AR/BELIEVE Compact Disc 094633219328323062 VARIOUS AR/SONGS FOR A WINTER Compact Disc 094633230620323144 VARIOUS AR/REMINISCING WITH TH Cassette 094633231443329512 COCHRANE, /RAGGED ASS ROAD Compact Disc 724383295128 330449 FAITHFULL,M/DREAMING MY DREAMS Digital Video Disc 801213304493330704 VARIOUS/PERFECT MU S MIX-CASS 1 Cassette 724353307042 330714 VARIOUS/PERFECT MU S MIX-CASS 2 Cassette 724353307141 330724 VARIOUS/PERFECT MU S MIX-CASS 3 Cassette 724353307240 330734 VARIOUS/PERFECT MU S MIX-CASS 4 Cassette 724353307349 332004 MARTIN, DE/HIS GREATEST HITS A Cassette 724383320042332014 MARTIN, DE/TAPE 1-HIS GREATEST Cassette 724383320141332024 MARTIN, DE/TAPE 2-HIS GREATEST Cassette 724383320240332034 MARTIN, DE/TAPE 3-HIS GREATEST Cassette 724383320349336112 VARIOUS AR/MOST RELAXING OPERA Compact Disc 094633361126336372 MURRY, ANN/HIS GREATEST HITS & Compact Disc 724383363728 336382 MURRY, ANN/HIS GREATEST HITS & Compact Disc 724383363827 336394 BEACH BOYS/GREATEST HI TS COMPI Cassette 724383363940 336404 BEACH BOYS/GREATEST HI TS COMPI Cassette 7243833640460 94633 23144 3 7 24353 30704 2 7 24353 30714 1 7 24353 30724 0 7 24353 30734 9 7 24383 36394 0 7 24383 36404 67 24383 32004 2 7 24383 32014 1 7 24383 32024 0 7 24383 32034 97 93573 17457 4 0 94633 21932 8 0 94633 23062 07 24353 19852 7 7 24383 36372 8 7 24383 36382 76 69803 10072 2 0 94633 36112 67 24383 29512 87 24353 16412 67 24383 15042 7 7 24353 21372 56 27843 17658 9 6 27843 17661 9 8 01213 30449 30 13023 19079 5 0 13023 19229 4 Page 266 of 496 November 12, 2014Catalogue Numbe rArtist / Title Config Scannable UPC UPC 339512 MACRAE, GO/GOLDEN VOICE OF GOR Compact Disc 724353395124 339514 MACRAE, GO/GOLDEN VOICE OF GOR Cassette 724353395148340282 RUSSELL, L/LEON RUSSELL Compact Disc 724383402823341002 VAR/MAESTRO Compact Disc 021823410029341192 PENTANGLE/IN THE ROUND Compact Disc 021823411927341202 PENTANGLE/OPEN THE DOOR Compact Disc 021823412023341854 MURRY, ANN/HIS GREAT EST HITS & Cassette 724383418541 341864 MURRY, ANN/HIS GREAT EST HITS & Cassette 724383418640 341874 ROGERS,K/HIS GREATEST HITS-CS1 Cassette 724383418749341884 ROGERS,K/HIS GREATEST HITS-CS2 Cassette 724383418848349234 MURRY, ANN/HER GREAT EST HITS & Cassette 724383492343 349254 ROGERS, KE/HIS GREATEST HITS A Cassette 724383492541349262 COLE, NAT /UNFORGETTABLE ,THE Compact Disc 724383492626349272 SINATRA, F/CLASSIC SI NATRA (EC Compact Disc 5099923492721 349274 COLE, NAT /UNFORGETTABLE ,THE Cassette 724383492749350039 LAST,J/A WORLD OF MUSIC(DVD) Digital Video Disc 801213500390350909 WAR ZONE:THE ULTIMATE EVIL Digital Video Disc 801213509096351109 VAR/CHRISTMAS CLASSICS :JINGLE Compact Disc 021823511092 351119 VAR/CHRISTMAS FAMILY CLASSICS: Compact Disc 021823511191 351139 VAR/ABC IT'S EASY FOR ME Compact Disc 021823511399351159 VAR/123 IT'S EASY FOR ME Compact Disc 021823511597355362 CLASSIC CR/ALBATRO SS Compact Disc 094633553620 355602 BYRD, DONA/SLOW DRAG (RVG) Compact Disc 724353556020355682 LENNON, SE/FRIENDLY FIRE CD with DVD 724353556822356322 VARIOUS AR/WONDER + FRESH FITN Compact Disc 5099923563223356332 VARIOUS/HEART&STROKE FOUN 2008 Compact Disc 5099923563322357532 MACNEIL, R/THINKING OF YOU Compact Disc 724383575329359001 SAXON/SACRIFICE Compact Disc 50999735900197 24353 39514 8 7 24383 41874 9 7 24383 41884 8 7 24383 49254 17 24383 49234 37 24383 41854 1 7 24383 41864 0 7 24383 49274 9 7 24353 55682 2 5 099923 563223 5 099923 563322 7 24353 39512 4 7 24383 49262 6 7 24383 57532 90 94633 55362 05 099923 492721 7 24383 40282 3 7 24353 55602 00 21823 41192 7 0 21823 41202 30 21823 41002 9 0 21823 51109 2 0 21823 51119 1 0 21823 51139 9 0 21823 51159 7 5 099973 590019 8 01213 50039 0 8 01213 50909 6 Page 267 of 496 November 12, 2014Catalogue Numbe rArtist / Title Config Scannable UPC UPC 359622 SIMPLE MINDS/NEON LIGHTS Compact Disc 724353596224 361362 VARIOUS AR/SANTA BABY( SILK & S Compact Disc 724353613624 361882 MOIST/CREATURE Compact Disc 724383618828362642 WYMAN,B/STONE ALONE Compact Disc 021823626420362652 WYMAN,B/BILL WYMAN Compact Disc 021823626529362672 WYMAN,B/STUFF Compact Disc 021823626727365502 MOORE,G/A DIFFERENT BEAT Compact Disc 602923655024 367912 TOSH, PETE/COMPLETE-CAPTURED L Compact Disc 724353679125368292 DANDY WARH/ODDITORIUM OR WARLO Compact Disc 094633682924369012 THOMPSON, /VINTAGE COLLECTION Compact Disc 724383690121376932 TOSH, PETE/WANTED DREAD OR ALI Compact Disc 724353769321376962 TOSH, PETE/MYSTIC MAN Compact Disc 724353769628376982 TOSH, PETE/MAMA AFRICA Compact Disc 724353769826380009 RUN CHICO /SHASH BO Compact Disc 779903800092 380013 LUCKSMITHS/NATURALISTE Compact Disc 779903800139380892 SINATRA, F/COMPLETE SINATRA CA Compact Disc 724383808922382102 PURSUIT OF/WHEN WE RULED:THE B Compact Disc 094633821026382442 ECONOLINE /DEVIL YOU KNOW,THE Compact Disc 724383824427 0382662 SHINING/SWEET SHANGHAI DEVIL Compact Disc 0440038266250385042 SCLAVIS,L/NAPOLI'S WALLS Compact Disc 044003850422 390189 BENSON,G/ABSOLUTELY LIVE DVD Digital Video Disc 801213901890 390299 HOOKER,JL/COME & SEE ABOUT ME- Digital Video Disc 801213902996 390519 CARTER,B/LIVE IN MONTREUX Digital Video Disc 801213905195390539 WILLIAMS,ML/NORMAN GRANZ' JAZZ Digital Video Disc 801213905393390549 ELDRIDGE,R/NORMAN GANTZ LIVE Digital Video Disc 801213905492390569 BRYANT,R/NORMAN GRANZ JASS Digital Video Disc 801213905690390619 FITZGERALD & FLANAGAN/NORMAN G Digital Video Disc 801213906192390649 CLARK,T/NORMAN GRANZ' JAZZ IN Digital Video Disc 801213906499 7 79903 80009 2 7 79903 80013 97 24353 59622 4 7 24353 61362 4 0 44003 82662 57 24353 76932 17 24353 67912 5 7 24353 76962 8 7 24353 76982 6 0 94633 82102 67 24383 61882 8 7 24383 82442 7 0 44003 85042 27 24383 69012 1 7 24383 80892 20 94633 68292 46 02923 65502 40 21823 62672 70 21823 62652 90 21823 62642 0 8 01213 90189 0 8 01213 90299 6 8 01213 90519 5 8 01213 90539 3 8 01213 90549 2 8 01213 90569 0 8 01213 90619 2 8 01213 90649 9 Page 268 of 496 November 12, 2014Catalogue Numbe rArtist / Title Config Scannable UPC UPC 390659 GILLESPIE,D/NORMAN GAN TZ JAZZ Digita l Video Disc 801213906598 390669 DAVIS,E/NORMAN GANTZ'JAZZ IN M Digital Video Disc 801213906697390679 JAZZ AT THE PHILHARMONIC/NORMA Digital Video Disc 801213906796390689 FLANAGAN,T/NORMAN GANTZ JAZZ I Digital Video Disc 801213906895390699 ELLINGTON,D & ELLA FITZGERALD/ Digital Video Disc 801213906994390749 MCRAE/MANHATTEN TRANSFER/DOUBL Digital Video Disc 801213907496390759 DREW/SCHUUR/DOUBLE TIME JAZZ C Digital Video Disc 801213907595 390789 GADD GANG/ROOTS SAX/DOUBLE TIM Digital Video Disc 801213907892390799 RITENOUR/STEPS AHEAD/DOUBL E TI Digital Video Disc 801213907991 390909 PETERSON,O/NORMAN GANTZ'JAZZ:L Digital Video Disc 801213909094391009 ELLINGTON,D/CONCERT OF SACRED Digital Video Disc 801213910090391189 COREA,C & BURTON,G/LIVE AT MON Digital Video Disc 801213911899391529 SUPER GUITAR TRIO/LIVE AT MONT Digital Video Disc 801213915293391629 VAR/TRIBUTE TO EDITH PIAF 2004 Digital Video Disc 801213916290391709 STUFF/LIVE AT MONTREUX 1976 Digital Video Disc 801213917099391719 MINGUS,C/EPITAPH Digital Video Disc 801213917198391789 SHORTER,W/LIVE AT MONTREUX 199 Digital Video Disc 801213917891393362 VARIOUS AR/AUSSIE STARS Compact Disc 724353933623393372 VARIOUS AR/BELL BOTTOMED ROCK Compact Disc 724353933722393402 VARIOUS AR/SECOND BRITISH INVA Compact Disc 724353934026395642 VARIOUS AR/TOMMY HILFIGER MUSI Compact Disc 094633956421400403 LATTIMORE,K/BACK 2 COOL Compact Disc 851554004033403562 BJORK/HOMOGENIC LIVE Compact Disc 827954035625403672 DILLON, SA/NOBODY'S SWEETHEART Compact Disc 827954036721404142 COLE, LLOY/ECT Compact Disc 827954041428404152 COLE, LLOY/MUSIC IN A FOREIGN Compact Disc 827954041527404162 COLE, LLOY/PLASTIC WOOD Compact Disc 827954041626404482 DEADMAN/OUR INTERNAL GHOSTS Compact Disc 827954044825 8 51554 00403 30 94633 95642 17 24353 93372 2 7 24353 93402 67 24353 93362 3 8 27954 03562 5 8 27954 03672 1 8 27954 04142 8 8 27954 04152 7 8 27954 04162 6 8 27954 04482 58 01213 90659 8 8 01213 90669 7 8 01213 90679 6 8 01213 90689 5 8 01213 90749 6 8 01213 90759 5 8 01213 90789 2 8 01213 90799 1 8 01213 90909 4 8 01213 91009 0 8 01213 91189 9 8 01213 91529 3 8 01213 91629 08 01213 90699 4 8 01213 91709 9 8 01213 91789 18 01213 91719 8 Page 269 of 496 November 12, 2014Catalogue Numbe rArtist / Title Config Scannable UPC UPC 404632 AGUST, DAN/SWALLOWED A STAR Compact Disc 827954046324 404642 WITHOUT GR/TENDERFOOT Compact Disc 827954046423404672 BJORK/ARMY OF ME/REMIXES & COV Compact Disc 827954046720404832 BC CAMPLIG/HIDE, RUN AWAY Compact Disc 827954048328 404872 RAYNARD, J/STRANGE HISTORIES Compact Disc 827954048724405059 BJORK/VESSEL LIVE Digital Video Disc 827954050598405079 SHAMEN, TH/GREATEST HITS Digital Video Disc 827954050796405159 BJORK/VOLUMEN PLUS Digital Video Disc 827954051595405179 BJORK/INSIDE BJORK Digital Video Disc 827954051793405199 DAISY CHAI/VIDEOS,THE Digital Video Disc 827954051991407272 WILLIAMSON/DAY OF THE LONE WOL Compact Disc 827954072729407682 TWILIGHT S/A STITCH IN TIME Compact Disc EP's 827954076826407902 KALLI/WHILE THE CITY SLEE Compact Disc 827954079025408212 MCDERMOTT,/NOISE FROM THE WORD Compact Disc 827954082124412741 BROWNLEE,C/CHAD BROWNLEE Compact Disc 798304127416417212 NITTY GRIT/UNCLE CHARL IE & HIS Compact Disc 724354172120 417782 VARIOUS AR/ROLLER RINK REWIND Compact Disc 5099974177820419952 ANBERLIN/BLUEPRINTS FOR THE Compact Disc 724354199523425992 GILDER, NI/CITY NIGHTS(NORTHER Compact Disc 724354259920426582 UNDEROATH/DEFINE THE GREAT LI Compact Disc 094634265829 428662 MOBY/LAST NIGHT Compact Disc 5099924286626429542 ORIGINAL C/COLOR PURPLE - A MU Compact Disc 094634295420429572 MEAV/CELTI/A CELTIC JOURNEY Compact Disc 094634295727429662 ORLA/CELTI/WATER IS WIDE,THE Compact Disc 094634296625429742 MAIREAD/CE/RAINING UP Compact Disc 094634297424433012 IBRAHIM, A/AFRICAN MAGIC Compact Disc 068944330126433022 MARIANO, C/DEEP IN A DREAM Compact Disc 068944330225 433032 ALTER, MYR/IF Compact Disc 068944330324 7 98304 12741 6 5 099974 177820 7 24354 25992 0 0 94634 26582 97 24354 19952 37 24354 17212 0 0 94634 29572 7 0 94634 29662 5 0 94634 29742 40 94634 29542 0 0 68944 33012 6 0 68944 33022 5 0 68944 33032 45 099924 286626 8 27954 04642 3 8 27954 04672 0 8 27954 04832 8 8 27954 04872 48 27954 04632 4 8 27954 07272 9 8 27954 07902 5 8 27954 08212 48 27954 07682 68 27954 05059 8 8 27954 05079 6 8 27954 05159 5 8 27954 05179 3 8 27954 05199 1 Page 270 of 496 November 12, 2014Catalogue Numbe rArtist / Title Config Scannable UPC UPC 433052 GILAD ARZM/EXILE Compact Disc 068944330522 433082 EHRLICH, M/LONG VIEW,THE Compact Disc 068944330829433092 JOSH ROSEM/TREATS FOR THE NIGH Compact Disc 068944330928433102 WALLACE, B/NEARNESS OF YOU,THE Compact Disc 068944331024 433162 RAIH ABOU-/MORTON'S FOOT Compact Disc 068944331628433172 TAYLOR, CE/OWNER OF THE RIVER Compact Disc 068944331727433182 RENAUD/GAR/ENTREM UNDO Compact Disc 068944331826 433192 IBRAHIM, A/RE:BRAHIM Compact Disc 068944331925433202 IBRAHIM, A/A CELEBRATION Compact Disc 068944332021433212 MANO, MICH/COOL SIDE OF THE PI Compact Disc 068944332120433222 LUBO, ALEX/KABA HORO Compact Disc 068944332229433232 HYLDGAARD,/BLUSH Compact Disc 068944332328433242 RAIH ABOU-/JOURNEY TO THE CENT Compact Disc 068944332427 433252 RENAUD/GAR/ARCOLUZ Compact Disc 068944332526433282 FONESCA, R/ZAMAZU Compact Disc 068944332823433312 ALTER, MYR/WHERE IS THERE Compact Disc 068944333127436382 VARIOUS AR/THIS CHRI STMAS Compact Disc 5099924363822 440152 VOIVOD/VOIVOD Compact Disc 640424401528440352 SETZER,B ORCH/THE ULTI MATE COL Compact Disc 640424403522 440382 HAYNES,G/GIBBY HAYNES AND HIS Compact Disc 640424403829 440632 STRAY CATS/RUMBLE IN BRIXTON Compact Disc 640424406325440682 SETZER,B ORCHESTRA/R OCKABILLY Compact Disc 640424406820 441072 ANDERSON,R/UNDRESSING UNDERWAT Com pact Disc 640424410728 447942 HAGGARD, M/I'M A LONESOME FUGI Compact Disc 094634479424456132 NELSON, HA/SMILE, IT'S THE END Compact Disc 094634561327460062 GAITHER, B/GOING HO ME/HEAVEN Compact Disc 617884600624 465022 MARTINA, M/PHARE DE LA LUNE Compact Disc 794504650228466422 LENNON, JO/SHAVED FISH Compact Disc 077774664226 7 94504 65022 86 40424 40682 06 40424 40632 56 40424 40382 96 40424 40352 26 40424 40152 8 6 40424 41072 85 099924 363822 0 94634 56132 7 6 17884 60062 40 94634 47942 4 0 77774 66422 60 68944 33052 2 0 68944 33082 9 0 68944 33092 8 0 68944 33102 4 0 68944 33172 70 68944 33162 8 0 68944 33182 6 0 68944 33192 5 0 68944 33202 1 0 68944 33242 70 68944 33212 0 0 68944 33222 9 0 68944 33232 8 0 68944 33282 3 0 68944 33312 70 68944 33252 6 Page 271 of 496 November 12, 2014Catalogue Numbe rArtist / Title Config Scannable UPC UPC 466552 PARTLAND B/ELECTRIC HONEY Compact Disc 077774665520 467009 CREAM/CLASSIC ARTI STS CD with DVD 068944670093 467312 VARIOUS AR/SANTA BABY Compact Disc 5099994673128 471223 REID, JOHN/A PLACE CALLE D LOVE MERCH - GENERAL 5099964712239 471932 SCHULLER/N/JOPLIN: TH E RED BAC Compact Disc 077774719322 472922 KRAVITZ, L/GREATEST HITS LTD. CD with DVD 094634729222473112 FAIRUZ/FAIRUZ LEGEND, BEST OF Compact Disc 094634731126 474052 BARENAKED /ALL IN GOOD TIME HO Compact Disc 5099994740523 480041 MOBY/WAIT FOR ME REMIXES Compact Disc 5060204800412480182 GRAPES OF /TREE HOUSE Compact Disc 077774801829481732 FERRY, BRY/MORE THAN THIS THE Compact Disc 724384817329483522 TORRINI, E/LOVE IN THE TIME OF Compact Disc 724384835224485052 WALKER, NA/WHEN SHE DREAMS Compact Disc 068944850525485062 BUYU, AMBR/BLUES IN RED Compact Disc 068944850624485082 FOLEY, SUE/CHANGE Compact Disc 068944850822485172 NICHOLLS, /SONGS FROM THE SOUR Compact Disc 068944851720485182 ODD/LIBERTÉ 54 Compact Disc 068944851829485192 L HAM DE F/COR DE PORC Compact Disc 068944851928485202 KNOPFLER, /SHIP OF DREAMS Compact Disc 068944852024485232 FOLEY, SUE/NEW USED CAR Compact Disc 068944852321485242 BELLEGARDE/CAMINANDO Compact Disc 068944852420485272 LA PLANETE/SOUNDT RACK Compact Disc 068944852727 485312 HELLMAN, T/DEPARTURE SONGS Compact Disc 068944853120 485332 VIRELLES, /MOTION Compact Disc 068944853328485342 CLEGG, JOH/BEST OF LIVE Compact Disc 068944853427485382 FELIX STUS/BAIJI Compact Disc 068944853823485392 CIPELLI, R/F. - A LEO Compact Disc 068944853922485462 RIEU, YANN/SPECT RUM CD with DVD 0689448546220 94634 72922 20 68944 67009 3 0 68944 85462 20 68944 85242 0 0 68944 85392 25 099994 673128 7 24384 81732 90 94634 73112 6 7 24384 83522 40 77774 71932 20 77774 66552 0 0 77774 80182 95 099994 740523 0 68944 85052 5 0 68944 85062 4 0 68944 85082 2 0 68944 85182 9 0 68944 85202 40 68944 85172 0 0 68944 85192 8 0 68944 85232 1 0 68944 85272 7 0 68944 85312 0 0 68944 85332 8 0 68944 85342 7 0 68944 85382 35 060204 800412 5 099964 712239 Page 272 of 496 November 12, 2014Catalogue Numbe rArtist / Title Config Scannable UPC UPC 485502 CIRQUE DU /ALLEGRIA Compact Disc 068944855025 491252 VALENTINO /MY FOOLISH HEART Compact Disc 068944912520491372 VALENTINO /FEELIN' NO PAIN Compact Disc 068944913725491432 VALENTINO /DAYBREAK EX PRESS Compact Disc 068944914326 492762 SALERNO/SO/MENDELSON SAENS VIO Compact Disc 077774927628 492904 COOK, JESS/FREEFALL Cassette 724384929046501032 BAND,THE/JERICHO Compact Disc 854750001035507322 DUKES OF S/CHIPS FROM THE CHOC Compact Disc 724385073229 508992 BALDRY, LO/LOOKING AT LONG JOH Compact Disc 094635089929515952 SWITCHFOOT/LEGEND OF CHIN,THE Compact Disc 724385159527529122 DIMINO,F/HIS GREATEST HITS & F Compact Disc 724385291227529124 DIMINO,F/HIS GREATEST HITS & F Cassette 724385291241529132 DIMINO,F/HIS GREATEST HITS & F Compact Disc 724385291326529134 DIMINO,F/HIS GREATEST HITS & F Cassette 724385291340529142 DIMINO,F/HIS GREATEST HITS & F Compact Disc 724385291425529144 DIMINO,F/HIS GREATEST HITS & F Cassette 724385291449529152 DIMINO,F/HIS GREATEST HITS & F Compact Disc 724385291524529154 DIMINO,F/HIS GREATEST HITS & F Cassette 724385291548529952 COLE, NAT /VELVET VOICES Compact Disc 5099995299525530022 WILCOX, DA/OUT OF THE WOODS Compact Disc 724385300226539602 FERRANTE &/MOONLIGHT MAGIC Compact Disc 724385396021539604 FERRANTE &/MOONLIGHT MAGIC Cassette 724385396045539612 FERRANTE &/MOONLIGHT MAG(DIS-1 Compact Disc 724385396120539614 FERRANTE &/MOONLIGHT MAG(CAS-1 Cassette 724385396144539622 FERRANTE &/MOONLIGHT MAG(DIS-2 Compact Disc 724385396229539624 FERRANTE &/MOONLIGHT MAG(CAS-2 Cassette 724385396243539632 FERRANTE &/MOONLIGHT MAG(DIS-3 Compact Disc 724385396328539634 FERRANTE &/MOONLIGHT MAG(CAS-3 Cassette 724385396342 7 24385 39614 4 7 24385 39624 3 7 24385 39634 27 24385 39604 57 24385 29124 1 7 24385 29134 0 7 24385 29144 9 7 24385 29154 87 24384 92904 6 5 099995 299525 7 24385 39612 0 7 24385 39622 9 7 24385 39632 87 24385 39602 17 24385 29122 7 7 24385 29132 6 7 24385 29142 5 7 24385 29152 47 24385 07322 9 0 94635 08992 90 77774 92762 8 7 24385 15952 7 7 24385 30022 60 68944 91252 0 0 68944 91372 5 0 68944 91432 60 68944 85502 5 8 54750 00103 5 Page 273 of 496 November 12, 2014Catalogue Numbe rArtist / Title Config Scannable UPC UPC 542132 SAVOY BROW/BRING IT HOME Compact Disc 085365421325 542412 WAITE, JOH/COMPLETE JOHN WAITE Compact Disc 724385424120542752 WEEKS, SAR/I'M AN ANIMAL Compact Disc 085365427525544292 VARIOUS/MOTHER GOOSE ROCKS V.2 Compact Disc 085365442924544772 VARIOUS/MOTHER GOOSE ROCKS V.4 Compact Disc 085365447721547072 WARREN G/IN THE MID-NITE HOU Compact Disc 085365470729547152 WARREN G/IN THE MID-NITE HOU Compact Disc 085365471528552512 BROADWAY C/PASSION - SONDHEIM Compact Disc 724355525123 554562 1994 LONDO/OLIVER! - BART Compact Disc 724355545626555612 UNGAR,JAY//LOVER'S WALTZ,THE Compact Disc 724355556127555782 FERNANDES,/AUTOMATICLUV Compact Disc 5099995557823557592 NEWTON-JOH/GRACE AND GRATITUDE Compact Disc 792755575925563134 KINGSTON T/THEIR GREATEST HITS Cassette 077775631340563144 KINGSTON T/THEIR GREATEST HITS Cassette 077775631449563154 KINGSTON T/THEIR GREATEST HITS Cassette 077775631548563282 MACNEIL, R/MUSIC OF A THOUSAND Compact Disc 724385632822563542 RIVARD, MI/MEFIEZ-VOUS DU GRAN Compact Disc 077775635423567812 DUDLEY, AN/AMERICAN HI STORY X Compact Disc 724355678126 570182 MILLS, FRA/OUR CANADA Compact Disc 777535701824571062 SHANKAR, R/FULL CIRCLE TOUR W/ Compact Disc 724355710628571442 ST.LAWRENC/TCHAIKOVSKY: STR 1&3 Compact Disc 724355714428 572472 KINGSTON T/TOM DOOLEY Compact Disc 077775724721572532 VENTURES, /WALK-DON'T RUN Compact Disc 077775725322572622 PAUL,LES &/ALL-TIME GREATEST H Compact Disc 077775726220574002 REDDY, HEL/ALL TIME GR HITS Compact Disc 077775740028576102 DAVIS, MIL/BALLAD ARTISTRY OF Compact Disc 077775761023576812 STRAUSS, R/ARIAS & SCENES Compact Disc 724355768124580382 ST.LAWRENC/AWAKENING Compact Disc 724355803825 0 77775 63134 0 0 77775 63144 9 0 77775 63154 80 85365 47072 9 0 85365 47152 80 85365 44772 10 85365 42132 5 0 85365 42752 5 0 85365 44292 4 7 24355 54562 6 7 24355 71442 8 7 24355 76812 47 24355 55612 7 7 24355 71062 87 77535 70182 4 7 24355 80382 55 099995 557823 7 24385 63282 27 24385 42412 0 7 92755 57592 5 0 77775 76102 30 77775 74002 80 77775 72472 1 0 77775 72532 2 0 77775 72622 00 77775 63542 37 24355 52512 3 7 24355 67812 6 Page 274 of 496 November 12, 2014Catalogue Numbe rArtist / Title Config Scannable UPC UPC 584072 ENIGMA/PLATINUM COLLECTION(3CD Compact Disc 5099945840722 589282 VARIOUS/PRIORITY RECORDS SAMPL Compact Disc 5099945892820 597712 JUAN FORMELLY LOS VAN VAN/EN E Compact Disc 821895977129597802 LEIVA,P/ESTA ES MI RUMBA Compact Disc 821895978027597872 D'RIVERA,P & ARTURO SAN/REUNIO Compact Disc 821895978720598112 LOS VAN VAN/SANDUNG UERA Compact Disc 821895981126 598582 PP BANDA/SALSA CUBANA Compact Disc 821895985827 600101 BROOKS,G/THE LIMITED SERI(BOXS CD with DVD 854206001015600121 BROOKS,G/ULTIMATE HITS CD with DVD 854206001213603002 GOVI/HAVANA SUNSET BEST OF GO Compact Disc 724386030023 603272 VARIOUS AR/CHOIX DU QUEBEC Compact Disc 724356032729 605670 HASTE THE /WHEN EVERYT HING FAI Compact Disc 724386056702 606040 EMERY/QUESTION,THE Compact Disc 724386060402613442 LAIBACH/LET IT BE Compact Disc 724596134429613802 VARIOUS AR/FOR MY MOM Compact Disc 094636138022626892 VARIOUS AR/MOST BEAUTI FUL CLAS Compact Disc 724356268920 635732 VARIOUS AR/LES INCONT OURNABLES Compact Disc 724356357327 635782 QUANTIC AN/TRADITION IN TRANSI Compact Disc 5060006357824642060 GLASS TIGE/NO TURNING BA 98-04 DVD + BNS CD 724386420602 643472 VARIOUS AR/AT LAST: TIMELESS S Compact Disc 5099996434727646642 PORTER/CAN CAN Compact Disc 077776466422647702 SOUNDHEIM/FUNNY THING HAPPENE Compact Disc 077776477022 650232 SOUNDTRACK/FIORELLO Compact Disc 724356502321652062 STOKOWSKI/SHOSTAKOVICH:SY 11YR Compact Disc 724356520622 0652632 RIEU,A/LOVE AROUND THE WORL D Compact Disc 044006526324 657392 VARIOUS AR/SUMMER FUN Compact Disc 5099996573921663050 MOBY/DESTROYED(2CD) Compact Disc 5060236630506667182 DION/ROCK N ROLL XMAS Compact Disc 0777766718268 54206 00101 5 8 54206 00121 3 5 060006 357824 8 21895 98112 68 21895 97712 9 8 21895 97802 7 8 21895 97872 0 8 21895 98582 7 5 099996 434727 5 099996 573921 7 24356 35732 77 24356 03272 9 0 77776 67182 65 099945 892820 0 44006 52632 47 24596 13442 97 24386 03002 35 099945 840722 7 24356 26892 0 0 77776 46642 2 0 77776 47702 2 7 24356 50232 1 7 24356 52062 20 94636 13802 27 24386 06040 27 24386 05670 2 5 060236 630506 7 24386 42060 2 Page 275 of 496 November 12, 2014Catalogue Numbe rArtist / Title Config Scannable UPC UPC 668272 CONCERT AR/THE MILITARY BAND Compact Disc 724356682726 671212 HIKARU, UT/ULTRA BLUE Compact Disc 094636712123 0672512 PATRICK & RAYMOND/ON / OFF Compact Disc 0440067251230673032 VAR/LORD OF THE RINGS-AT DAWN Compact Disc 044006730325 673272 LOLENE/ELECTRICK HOTEL,THE Compact Disc 5099996732724675132 MACNEIL, R/I'LL ACCEPT THE ROS Compact Disc 094636751320 0675662 MERRILL,H/LILAC WINE Compact Disc 0440067566220676172 LACY,S/THE BEAT SUITE Compact Disc 044006761725 676477 OSLO/THE RISE AND FALL OF LOVE Compact Disc 689076764773680512 VARIOUS AR/A CHRISTM AS SONGBOO Compact Disc 5099926805122 682242 MIRET, ROG/GOTTA GET UP NOW Compact Disc 5052146822423682282 SS-KALIERT/SUBZERO Compact Disc 5052146822829683392 VARIOUS AR/SODA SHOP CLASSICS Compact Disc 5099926833927 684252 VARIOUS AR/NOW! THAT'S WHAT I Compact Disc 5099926842523690472 KOMPUTER/WORLD OF TOMORROW,T Compact Disc 724596904725690492 PAN SONIC/VAKIO Compact Disc 724596904923691482 PAN SONIC/AALTOPIIRI Compact Disc 724596914823691732 CABARET VO/VOICE OF AMERICA,TH Compact Disc 724596917329 692372 EINSTURZEN/PERPETUUM MOBILE Compact Disc 724596923726692709 LAIBACH/VIDEOS,THE Digital Video Disc 724596927090692752 RESIDENTS,/COMMERCIAL ALBUM,TH Compact Disc 724596927526694062 VARIOUS AR/GLOBAL GOLD Compact Disc 094636940625694922 EINSTURZEN/STRATEGIES AGAINST Compact Disc 724596949221697242 CHINGY/HOODSTAR-LIMIT ED PAC Compact Disc 094636972428702602 DUVAL, DAN/OF THE VALLEY Compact Disc 654367026021706192 AKINMUSIRE/WHEN THE HEART EMER Compact Disc 5099907061929708694 D'URBERVIL/WE ARE TH E HUNTERS Compact Disc 061297086948 710302 BUENA VISTA SISTERS CLUB/ANACA Compact Disc 4020659710309 6 54367 02602 15 052146 822423 5 052146 822829 5 099926 833927 0 94636 94062 50 94636 71212 3 5 099926 805122 5 099926 842523 7 24596 90472 5 7 24596 90492 3 7 24596 91732 9 7 24596 92372 6 7 24596 92752 6 7 24596 94922 17 24596 91482 30 44006 72512 37 24356 68272 6 0 94636 75132 00 44006 73032 5 0 44006 75662 2 0 44006 76172 55 099996 732724 0 94636 97242 8 5 099907 061929 0 61297 08694 8 4 020659 710309 6 89076 76477 3 7 24596 92709 0 Page 276 of 496 November 12, 2014Catalogue Numbe rArtist / Title Config Scannable UPC UPC 711100 HE IS LEGE/I AM HOLLYWOOD Compact Disc 724357111003 714040 THOUSAND F/SET IT OFF Compact Disc 724357140409 0714139 SELLERS,P/MOZART:COSI FAN TUTT Digital Video Disc 044007141397 714188 GASLIGHT A/AMERICAN SL ANG (T-S MERCH - GENERAL 603967141887 715176 SMOKING POPES/BORN TO QUIT Compact Disc 603967151763723432 VARIOUS AR/HAPPY HOUR -R OCK CL Compact Disc 064027234329 725669 FILM/SPECI/RACE TO D AKAR Digital Video Disc 094637256695 725862 KIRKNESS, /LIFE ON THE ROAD Compact Disc 061297258628 725863 SEREDA, JE/TURN THE CO UNTRY ON Compact Disc 061297258635 0730999 TAN DUN/TE A Digital Video Disc 044007309995 733350 MATSUI, KE/WALLS OF AKENDORA CD wi th DVD 724387333505 0734006 TERFEL,B/SONGS AND ARIAS Digital Video Disc 0440073400660734226 NETOPIL,T/LUCIO SILLA - 2 DVD Digital Video Disc 0440073422680734299 SILLS,B/MADE IN AMERICA - DVD Digital Video Disc 0440073429920734324 SAWALLISCH,W/HINDEMITH:CARDILL Digital Video Disc 0440073432410734354 BERNSTEIN,L/WP/BRAHMS:ACADEMIC Digital Video Disc 0440073435480734362 ABBADO/WP/VAR:1991 NEW YEAR 'S Digital Video Disc 044007343623 0734372 BOSKOVSKY,W/WP/VIENNA IN MUSIC Digital Video Disc 044007343722 0734502 BERNSTEIN,L/BEETHOVEN:OVER TURE Digital Video Disc 044007345023 0734514 BERNSTEIN,L/BERNSTEIN CONDUCTS Digital Video Disc 044007345146 736732 ANBERLIN/CITIES Compact Disc 094637367322736862 SEGER, BOB/FACE THE PROMISE LT CD with DVD 094637368626737122 CULTURE CL/GREATEST HITS Compact Disc 724387371224740152 ROMERO, AN/SPANISH GUIT AR VIRT Compact Disc 724357401524 740612 VARIOUS AR/BLACK AND BLUES/GIU Compact Disc 9783937406121740626 VARIOUS AR/NAPOLI/LA CITTA,LA Compact Disc 9783937406268740627 VARIOUS AR/FADO PORTUGUES Compact Disc 9783937406275740637 VARIOUS AR/WILD THING:MUSCLE C Compact Disc 97839374063747 24387 33350 5 0 94637 36862 60 64027 23432 9 7 24387 37122 4 7 24357 40152 40 94637 36732 27 24357 11100 3 7 24357 14040 9 9 783937 406121 9 783937 406268 9 783937 406275 9 783937 406374 0 61297 25862 8 0 61297 25863 56 03967 15176 3 0 94637 25669 5 0 44007 34354 8 0 44007 34362 3 0 44007 34372 2 0 44007 34514 60 44007 34006 6 0 44007 34226 8 0 44007 34299 2 0 44007 34324 1 0 44007 34502 30 44007 30999 50 44007 14139 7 6 03967 14188 7 Page 277 of 496 November 12, 2014Catalogue Numbe rArtist / Title Config Scannable UPC UPC 740640 VARIOUS AR/MADONNA/SACRED ART Compact Disc 9783937406404 740643 VARIOUS AR/W A MOZART A BIO IN Compact Disc 9783937406435740644 VARIOUS AR/GOSPEL JOURNEY Compact Disc 9783937406442740645 VARIOUS AR/ETERNAL PEAC E/MONUM Compact Disc 9783937406459 740646 VARIOUS AR/TRADITION AL CHRISTM Compact Disc 9783937406466 741322 RHAPSODY/DAWN OF VI CTORY Compact Disc 4001617413227 0741509 WALTON/AT THE HAUNTED END OF T Digital Video Disc 0440074150920743104 NORMAN,J/JESSYE NO RMAN AT CHRI Digi tal Video Disc 044007431047 0743131 HAITINK,B/MAHLER:SYMPHONIES NO Digital Video Disc 0440074313130743133 HAITINK,B/MAHLER:SYMPHONIES NO Digital Video Disc 0440074313370743277 VAR/PUCCINI:P UCCINI GOLD-DVD Di gital Video Disc 044007432778 747332 DAVIS, AND/HANDEL:MESSI AH HIGH Compact Disc 724357473323 752522 VARIOUS AR/LES INCONT OURNABLES Compact Disc 724387525221 753940 MAE/EVERGLOW,THE Compact Disc 724387539402757222 SOUNDTRACK/MONTY PYTHO N'S LIFE Compact Disc 094637572221 761422 TUNSTALL, /ACOUSTIC EXTRAVAGAN CD wi th DVD 094637614228 761751 HELLOGOODBYE/EP/DVD SPILT Compact Disc EP's 602517617513762672 SOUNDTRACK/ROCKY BALBO A BEST Compact Disc 094637626726 765513 SAY NO MORE/WHAT YOU THOUGHT Y Compact Disc 602517655133 765536 SOCRATIC/SPREAD THE RUMORS Compact Disc 602517655362767842 COHEN, ADA/MELANCOLISTA Compact Disc 724357678421 0770222 BUENAVENTURE,Y/VAG ABUNDO Compact Disc 044007702222 0772642 MASSI,S/DEB Compact Disc 044007726426 775422 CHAQUICO, /ACOUSTIC HIGHWAY Compact Disc 724387754225 780027 DUTRONC,J/FEMMES DAUJ OURDHUI Compac t Disc 3700477800277 780051 FRANCOIS,S/EN PUBLIC Compact Disc 3700477800512 791502 RAT PACK, /CHRISTMAS WITH THE Compact Disc 5099997915027 803782 STARR, RIN/GOODNIGHT VIENNA Compact Disc 0777780378280 94637 61422 8 3 700477 800277 3 700477 800512 5 099997 915027 7 24387 52522 1 0 44007 70222 2 7 24387 75422 50 94637 57222 17 24357 47332 3 7 24357 67842 17 24387 53940 2 0 94637 62672 69 783937 406404 9 783937 406435 9 783937 406442 9 783937 406459 9 783937 406466 0 44007 72642 6 0 77778 03782 86 02517 65536 26 02517 65513 34 001617 413227 6 02517 61751 30 44007 43131 30 44007 43104 7 0 44007 43133 7 0 44007 43277 80 44007 41509 2 Page 278 of 496 November 12, 2014Catalogue Numbe rArtist / Title Config Scannable UPC UPC 803922 VAR/TROJAN SISTERS BOX SET Compact Disc 060768039223 803982 VAR/DANCE HALL 69 Compact Disc 060768039827804932 VAR/BILL LASWELL PRESEN T:TROJA Compact Disc 060768049321 804982 UPSETTERS/SCRATCH THE UPSETTER Compact Disc 060768049826 805782 VAR/SANTA'S BUMPER CHRISTMAS Compact Disc 021823511290 806202 ZEVON, WAR/TRANSVER SE CITY Compact Disc 724358062021 811582 MARMALADE/THE VERY BEST OF Compact Disc 060768115828 811702 FOUNDATIONS,THE/THE VERY BEST Compact Disc 060768117020 812472 BOWEN, ROB/OLD HEARTH-WELSH MU Compact Disc 774718124722812492 TERFEL, BR/SONGS OF MY WELSH H Compact Disc 774718124920814862 VARIOUS AR/LADY SINGS THE BLUE Compact Disc 724358148626818602 WILSON, CA/GLAMOURED Compact Disc 724358186024819910 VARIOUS AR/MAXI & CO. KIT Compact Disc 724348199102825812 CASH, ROSA/RULES OF TRAVEL Compact Disc 724358258127 826552 FIGURE FOU/SUFFERING THE LOSS Compact Disc 724358265521827522 LADY ANTEB/JUST A KISS Compact Disc Singles 5099908275226829782 FM STATIC/WHAT ARE YOU WAITIN Compact Disc 724358297829831492 VARIOUS/POPULAR-EURO HEAVEN 98 Compact Disc 623398314926 836002 I CAN MAKE A MESS LIKE NOBOSY' Compact Disc 060768360020 836012 HOMEGROWN/WHEN IT ALL COMES DO Compact Disc EP's 060768360129836022 RX BANDITS/HALFWAY BETWEEN HER Compact Disc 060768360228836032 ALLISTER/DEAD ENDS AND GIRLFRI Compact Disc 060768360327836052 RX BANDITS/PROGRESS Compact Disc 060768360525836062 STARTING LINE/WITH HOPES OF ST Compact Disc EP's 060768360624 836072 FINCH/FALLING INTO PLACE Compact Disc 060768360723836082 MOVIELIFE/HAS A GAMBLING PROB Compact Disc 060768360822836092 HOMEGROWN/KINGS OF POP Compact Disc 060768360921836102 ALLISTER/LAST STOP SUBUBRBIA Compact Disc 0607683610277 74718 12472 2 7 74718 12492 0 6 23398 31492 67 24348 19910 27 24358 06202 1 7 24358 14862 6 7 24358 26552 1 7 24358 29782 97 24358 25812 77 24358 18602 40 60768 03982 7 0 60768 11582 8 0 60768 36022 8 0 60768 36082 20 60768 04932 1 0 60768 04982 6 0 21823 51129 0 0 60768 36072 3 0 60768 36092 10 60768 36032 70 60768 36002 0 0 60768 36052 50 60768 11702 0 0 60768 36102 70 60768 03922 3 0 60768 36012 9 0 60768 36062 45 099908 275226 Page 279 of 496 November 12, 2014Catalogue Numbe rArtist / Title Config Scannable UPC UPC 836122 STEEL TRAIN/FOR YOU MY DEAR(EP Compact Disc EP's 060768361225 836132 MOVIELIFE/FORTY HOUR TRAIN BAC Compact Disc 060768361324836142 RX BANDITS/THE RESIGNATION Compact Disc 060768361423836162 STEEL TRAIN/1969 (EP) Compact Disc EP's 060768361621836172 HIDDEN IN LAIN VIEW/HIDDEN IN Compact Disc EP's 060768361720836182 STARTING LINE/MAKE YOUR SELF AT Compact Disc EP's 060768361829 836212 AN ANGLE/AND TAKE IT WITH A GR Compact Disc 060768362123 836222 HIDDEN IN PLAIN VIEW/LIFE IN D Compact Disc 060768362222836242 VAR/DRIVE-THRU PURE VOLUME Compact Disc 060768362420 836252 STEEL TRAIN/TWILIGHT TALES FRO Compact Disc 060768362529836272 SELF AGAINST CITY/TAKE IT HOW Compact Disc EP's 060768362727 836282 TRACH RECORD/THE TRACK RECORD Compact Disc 060768362826836312 AN ANGLE/WE CAN BR EATHE UNDER Compact Disc 060768363120 836322 VAR/LISTEN TO BOB DYLAN:A TRIB Compact Disc 060768363229836362 ALLISTER/BEFORE THE BLACKOUT Compact Disc 060768363625836402 SOCRATIC/LUNCH FOR TH E SKY Compact Disc 060768364028 836412 I AM THE AVALANCHE/I AM THE AV Compact Disc 060768364127 836492 HOUSE OF FOOLS/LIVE AND LEARN Compact Disc 060768364929836502 SELF AGAINST CITY/TELLING SECR Compact Disc 060768365025836512 HIDDEN IN PLAIN VIEW/RESOLUTIO Compact Disc 060768365124836522 HOUSE OF FOOLS/HOUSE OF FOOLS Compact Disc EP's 060768365223836532 RAORK/BREAK OF DAY Compact Disc 060768365322836572 STEEL TRAIN/TRAMPOLINE Compact Disc 060768365728839002 BUFFSEEDS/SPARKLE ME ( EP) Compact Disc EP's 060768390027 839012 BUFFSEEDS/THE PICTURE SHOW Compact Disc 060768390126 841772 JONES, NOR/2CD ORIGINALS(COME Compact Disc 5099968417727842852 ACOUSTIC A/RADIO CONTACT Compact Disc 724358428520844202 TRAINCHA/LOOK OF LOVE BURT B Compact Disc 094638442028 7 24358 42852 05 099968 417727 0 94638 44202 80 60768 36492 9 0 60768 36532 2 0 60768 39012 60 60768 36282 60 60768 36212 3 0 60768 36312 0 0 60768 36362 5 0 60768 36402 8 0 60768 36412 7 0 60768 36502 5 0 60768 36512 40 60768 36142 3 0 60768 36222 20 60768 36132 4 0 60768 36242 0 0 60768 36252 9 0 60768 36572 80 60768 36322 9 0 60768 39002 70 60768 36172 0 0 60768 36272 7 0 60768 36522 30 60768 36122 5 0 60768 36162 1 0 60768 36182 9 Page 280 of 496 November 12, 2014Catalogue Numbe rArtist / Title Config Scannable UPC UPC 844632 PLEASURE, /MOODYS MOOD FOR LOV Compact Disc 077778446323 845552 TATE,G/GEOFF TATE Compact Disc 060768455528845582 VAR/MOTOTRAX 1 Compact Disc 060768455825845712 VAR/BONNAROO Compact Disc 060768457126845742 VAR/BONNAROO (CDX2) Compact Disc 060768457423845812 RAMAINZ/LIVE IN NYC Compact Disc 060768458123845872 VAR/THE BRITISH ARE COMING Compact Disc 060768458727845942 ASHANTI/FOOLISH/UNFOOLISH:REFL Compact Disc 060768459427845962 VAR/LAST OF MISSISSIPPI JUKES Compact Disc 060768459625846212 VAR/BONNAROO 2003 (CDX2) Compact Disc 060768462120846282 THORNTON,BB/THE EDGE OF THE WO Compact Disc 060768462823846492 ANTHRAX/VOLUME 8:THE THREAT IS Compact Disc 060768464926846602 VIDA BLUE/THE ILLUSTRATED BAND Compact Disc 060768466029846692 WILDHEARTS/THE WILDHEARTS MUST Compact Disc 060768466920846712 SLICK,E/ZIG ZAG Compact Disc 060768467125847052 JACKYL/LIVE FROM FULL THROTTLE Compact Disc 060768470521847302 TALBOT,B/ALIVE IN THE SPIRIT W Compact Disc 060768473027847312 SOLEDAD BROTHERS/VOICE OF TREA Compact Disc 060768473126847362 VAR/BONNAROO 2004 (CDX2) Compact Disc 060768473621847462 OCEAN COLOUR SCENE/A HYPERACTI Compact Disc 060768474628 847572 ALLMAN BROTHERS BAND/LIVE AT A Compact Disc 060768475724847642 ANTHRAX/ALIVE 2:THE MUSIC Compact Disc 060768476424848382 VARIOUS AR/SEARS SUMMER Compact Disc 724358483826 848392 FOUNTAINSO/WELCOME INTERSTATE Compact Disc 724358483925849402 VARIOUS AR/SWEET LISTENING 25 Compact Disc 724358494020852042 W.A.S.P./UNHOLY TERROR Compact Disc 060768520424862762 SLAUGHTER/BACK TO REALITY Compact Disc 060768627628862942 RODGERS,P/ELECTRIC Compact Disc 060768629424 7 24358 49402 07 24358 48382 6 7 24358 48392 50 77778 44632 3 0 60768 46602 90 60768 45942 70 60768 45812 3 0 60768 47462 8 0 60768 62762 80 60768 45582 5 0 60768 45712 6 0 60768 45872 7 0 60768 45962 5 0 60768 46282 3 0 60768 46712 5 0 60768 47302 7 0 60768 47642 4 0 60768 62942 40 60768 46492 6 0 60768 47572 40 60768 45552 8 0 60768 47312 60 60768 45742 3 0 60768 46212 0 0 60768 47362 10 60768 46692 0 0 60768 47052 1 0 60768 52042 4 Page 281 of 496 November 12, 2014Catalogue Numbe rArtist / Title Config Scannable UPC UPC 863222 SLAUGHTER/THEN AND NOW Compact Disc 060768632226 863272 VAR/SOUTHERN ROCK CHRISTMAS Compact Disc 060768632721 863392 SEARCHERS,THE/THE DEFI NITIVE P Compact Disc 060768633926 863572 RUNDGREN,T/LIARS Compact Disc 060768635722863662 WHITE,TJ/THE HEROINES Compact Disc 060768636620864162 WAINWRIGHT/HISTORY Compact Disc 077778641629865262 VARIOUS/VANCOUVER OPERA SPR 07 Compact Disc 094638652625867272 SOUNDTRACK/1984 Compact Disc 077778672722872052 BAKER, CHE/PLATINUM Compact Disc 094638720522 872252 THOROGOOD,/PLATINUM Compact Disc 094638722526873602 MCLAREN, M/DUCK ROCK Compact Disc 077778736028 875112 WON-G/RAGE OF THE AGE Compact Disc 060768751125875512 VARIOUS AR/ROCK AND ROLL JUKEB Compact Disc 5099908755124879972 COLE, NAT /PLATINUM Compact Disc 094638799726880042 KHIN, GREG/KING BISCUIT FLOWER Compact Disc 707108800425880052 CANNED HEA/KING BIS CUIT PRESEN Com pact Disc 707108800524 880062 KINGFISH/KING BISCUI T PRESEN Compact Disc 707108800623 880162 FIXX/KING BISCUIT FLOWER HOUR Compact Disc 707108801620880192 SEBASTIAN,/KING BISCUIT FLOWER Compact Disc 707108801927 880242 WAITRESSES/KING BISCUI T FLOWER Compact Disc 707108802429 880282 ZANT, JOHN/KING BISCUIT FLOWER Compact Disc 707108802825880322 GIRLSCHOOL/KING BISCUIT FLOWER Compact Disc 707108803228880362 DERRINGER,/KING BISCUIT FLOW/H Compact Disc 707108803624880482 EDMUNDS, D/KING BISCUI T FLOW/H Compact Disc 707108804829 880492 ALARM THE/KING BISCUIT FLOW/H Compact Disc 707108804928880552 POP, IGGY/LIVE IN NYC-KING BI Compact Disc 707108805529880592 CRENSHAW, /I'VE SUFFERED FOR M Compact Disc 707108805925880602 PARKER, GR/KBFH PRESENTS .GRAHA Compact Disc 707108806021 7 07108 80042 5 7 07108 80052 4 7 07108 80062 3 7 07108 80162 0 7 07108 80192 7 7 07108 80242 9 7 07108 80282 5 7 07108 80322 8 7 07108 80362 4 7 07108 80482 9 7 07108 80492 8 7 07108 80552 9 7 07108 80592 5 7 07108 80602 15 099908 755124 0 94638 65262 50 77778 64162 9 0 77778 73602 80 77778 67272 2 0 94638 72252 6 0 94638 79972 60 94638 72052 20 60768 63222 6 0 60768 75112 50 60768 63272 1 0 60768 63662 00 60768 63392 6 0 60768 63572 2 Page 282 of 496 November 12, 2014Catalogue Numbe rArtist / Title Config Scannable UPC UPC 883289 AYERS,R/LIVE AT RONNIE SCOTT'S Compact Disc 060768832893 883309 VAR/BLUES MASTERS Compact Disc 060768833098883389 MAHAL,T/LIVE AT RONNIE SCOTT'S Compact Disc 060768833890883589 STRING CHEESE INCIDENT/L IVE AT Digita l Video Disc 060768835894 883979 BETTER THAN EZRA/LIVE IN NEW O Compact Disc 060768839793884019 VAR/DRIVE THRU DVD VOL. 1 Digital Video Disc 060768840195 884029 VAR/DRIVE THRU DVD VOL. 2 Digital Video Disc 060768840294 884139 VAR/DRIVE THRU & RUSHMORE RECO Compact Disc 060768841390 884159 HELLOGOODBYE/OMG HGB DVD RETFL Digital Video Disc 060768841598 884329 VAR/DRIVE THRU EXTRAVAG ANZA Compact Disc 060768843295 884569 BOULT, ADR/CA:BEETHOVEN:V IOLIN Digital Video Disc 094638845690 891152 VARIOUS AR/POLLY POCKETS Compact Disc 094638911524900999 BURZUM/FILOSOFEM Compact Disc 5029029009998907882 VARIOUS AR/25 MORE S UNDAY SCHO Com pact Disc 724359078823 914592 LOVE, COUR/AMERICA'S SWEETHEAR Compact Disc 724359145921916172 VARIOUS AR/WINE CONNECTION,THE Compact Disc 724359161723916342 NEWTON, WA/COLLECTOR SERIES Compact Disc 077779163427917122 VARIOUS AR/CD FAM JAM Compact Disc 724359171227924062 CULTURE CL/WAKING UP WITH THE Compact Disc 724359240626925209 TEA PARTY,/ILLUMINATIONS Digital Video Disc 724349252097933262 MCDERMOTT,/SHAMROCKS AND HEATH Compact Disc 724389332629933264 MCDERMOTT,/SHAMROCKS AND HEATH Cassette 724389332643933342 N.E.R.D./FLY OR DIE Compact Disc 724359333427933372 GRAPES OF /SEPTEMBER BOWL OF G Compact Disc 077779333721934852 DION/GREATEST HITS Compact Disc 724359348520939392 NATIONAL V/COURAGE Compact Disc 077779393923939962 VARSITY FA/VARSITY Compact Disc 094639399628942342 HARRISON, /GEORGE HARRISON Compact Disc 724359423425 7 24389 33264 35 029029 009998 0 94638 91152 4 7 24359 17122 77 24359 16172 3 7 24389 33262 97 24359 24062 67 24359 14592 1 7 24359 33342 7 0 77779 39392 30 77779 33372 17 24359 07882 3 0 77779 16342 7 7 24359 34852 0 0 94639 39962 8 7 24359 42342 50 60768 83289 3 0 60768 83389 0 0 60768 83979 30 60768 83309 8 0 60768 84139 0 0 60768 84329 5 0 94638 84569 0 7 24349 25209 70 60768 84159 80 60768 83589 4 0 60768 84019 5 0 60768 84029 4 Page 283 of 496 November 12, 2014Catalogue Numbe rArtist / Title Config Scannable UPC UPC 943302 VARIOUS AR/UNSTOPPABLE/ CITIZAN Compact Disc 724359433028 949272 CHEMICAL B/WE ARE THE NIGHT Compact Disc 094639492725954092 MURRAY,A/ANNE - GLEN / DANNY Compact Disc 724349540927 954112 MURRAY,A/TOGETHER/KEEPI NG IN Compact Disc 724349541122 955224 DAMONE, VI/LEGENDARY VIC DAMON Cassette 724349552241955772 VARIOUS/FRIENDS IN BELLWOOD I Compact Disc 625989557729956352 VARIOUS AR/WORSHIP TOGETHER CA Compact Disc 724359563527957222 CAVE/NICK/THE BAD/LET LOVE IN Compact Disc 5099909572225 957242 CAVE/NICK/THE BAD/MURDE R B(2CD Compact Disc 5099909572423 957262 CAVE/NICK/THE BAD/MURDE R BALLA Compact Disc 5099909572621 957292 CAVE/NICK/THE B/THE BOATM(2CD Compact Disc 5099909572928 957312 CAVE/NICK/THE BAD/THE BOATMAN Compact Disc 5099909573123 957319 DROWNING G/BANG Compact Disc 634479573194958692 HASTE THE /BURNING BRIDGES Compact Disc 724359586922 960092 MCDERMOTT ,/IRISH SPIRIT C ompact Disc 5099909600928 962042 VARIOUS AR/A POP N COUNTRY CHR Compact Disc 724349620421962044 VARIOUS AR/A POP N COUNTRY CHR Cassette 724349620445965492 BEACH BOYS/CALIFORNIA GOLD Compact Disc 077779654925 965494 BEACH BOYS/CALIFO RNIA GOLD Cassette 077779654949 967332 LEAHY/IN ALL THINGS Compact Disc 724359673325970792 SANCTUARY,/BOLERO Compact Disc 724349707924972352 VARIOUS AR/SUMMER SO UNDTRACK Com pact Disc 724359723525 977512 VARIOUS AR/LADY SINGS THE BLUE Compact Disc 724359775128981622 STABILO/CUPID Compact Disc 724359816227982582 VARIOUS/SOIREE ROMANTIQUE,V1 Compact Disc 724359825823982592 VARIOUS AR/ELAN DE COEUR Compact Disc 724359825922982602 VARIOUS AR/SONGS FROM THE HEAR Compact Disc 724359826028984752 VARIOUS AR/CAPITOL SINGS THE B Compact Disc 077779847525 7 24349 62044 57 24349 55224 1 0 77779 65494 95 099909 600928 7 24359 72352 5 7 24359 82592 2 7 24359 82602 87 24359 82582 37 24359 43302 8 7 24349 62042 1 0 77779 65492 50 94639 49272 5 7 24359 67332 5 7 24359 81622 77 24349 54112 27 24349 54092 7 7 24359 77512 87 24359 56352 7 7 24359 58692 2 0 77779 84752 57 24349 70792 46 25989 55772 9 5 099909 572423 5 099909 572928 5 099909 572225 5 099909 572621 5 099909 573123 6 34479 57319 4 Page 284 of 496 November 12, 2014Catalogue Numbe rArtist / Title Config Scannable UPC UPC 987982 BUTTHOLE S/INDEPENDANT WORM SA Compact Disc 077779879823 990069 FILM/BIG BROTHER SEASO N 3 Digital Video Disc 805239900691 990079 VARIOUS AR/HIP HOP 101 Digital Video Disc 805239900790990119 FILM/DOCUM/PAPARAZZI VOLU ME 1 Digital Video Disc 805239901193 992162 LEE, PEGGY/LEGENDARY PEGGY LEE Compact Disc 724349921627992164 LEE, PEGGY/LEGENDARY PEGGY LEE Cassette 724349921641994499 BEATLES, T/STEREO BOX DVD Digital Video Disc 5099969944994 1061807 DVD/UCC - VOL. 7 D igital Video Disc 069458097734 1355482 RUSH/SNAKES A ND ARROWS(MVI LT D DVD Audio 075678999024 1575612 LOUSSIER,J/PLAY BACH NO.1 Compact Disc 6012157561281718876 OCL/THE SOUND OF MUSI C-LONDON Compact Disc 602517188761 1749051 OLDFIELD,M/MUSIC OF THE SPHERE Compact Disc 6025174905121754642 WEBSTER,B/BEN WEBSTER IN DENMA Digital Video Disc 602517546424 1762393 BOINE MA RI/IT AIN'T NEC ESSARIL Compact Disc 602517623934 1798676 U2/GET ON YOUR BOOTS (CD SGL) Compact Disc Singles 6025179867632301012 HIEROGLYPHICS/ THIRD EYE VISION Compact Disc 655323010122 2301042 SOULSOFMISCHIEF/TRIOLOGY:CONFL Compact Disc 6553230104292301102 HIEROGLYPHICS/FULL CIRCLE(EDIT Compact Disc 6553230110202301149 HIEROGLYPHICS/FULL CIRCLE TOUR Digital Video Disc 6553230114952706342 AWAD,N&M/THERE MUST BE ANOTHER Compact Disc 6025270634232707144 CLAYTON,G/TWO SHADE Compact Disc 6025270714422707259 KENYA BOYS CHOIR,THE/SPIRIT OF Compact Disc 6025270725932708998 AHA / FOOT OF THE MOUNTAIN Compact Disc 6025270899802719777 STEREOPHONICS/KEEP CALM AND CA Compact Disc 602527197777 2738361 KINKS/LOW BUDGET Compact Disc 6025273836132738364 KINKS,THE/MISFITS Compact Disc 6025273836442738371 KINKS/ONE FOR THE ROAD Compact Disc 6025273837122738386 KINKS/SLEEPWALKER Compact Disc 6025273838667 24349 92164 17 24349 92162 7 6 02527 08998 06 01215 75612 8 6 02527 07259 36 02517 49051 26 02517 18876 1 6 02527 19777 76 02527 06342 3 6 02527 07144 26 02517 62393 40 77779 87982 3 6 02527 38361 3 6 02527 38364 4 6 02527 38371 2 6 02527 38386 66 55323 01012 2 6 55323 01042 9 6 55323 01102 06 02517 98676 38 05239 90069 1 8 05239 90079 0 8 05239 90119 3 5 099969 944994 0 69458 09773 4 6 02517 54642 4 6 55323 01149 50 75678 99902 4 Page 285 of 496 November 12, 2014Catalogue Numbe rArtist / Title Config Scannable UPC UPC 2745981 SEARCHERS/HEARTS IN TH EIR(4CD Compact Disc 602527459813 2749907 BLACK SABBATH/PAST LIVE (DLX) Compact Disc 6025274990792756326 KINKS,THE/KINDA KINKS (DLX) Compact Disc 6025275632682770406 BLACK SABBATHBORN AGAI N(2CD) Compact Disc 602527704067 2777567 VOLBEAT/LIVE FROM BEYO ND HELL DVD + BNS CD 602527775678 2782563 BOCELLI,A/CONCERTO:ONE NIGHT I Digital Video Disc 6025278256322796207 KIWANUKA,M/HOME AGAIN (2CD) Compact Disc 6025279620782977451 JONAS/THE QUEST (OST) Compact Disc 8256469774513707889 RIEU,A/FROM MAAST RICHT WI(6DVD Dig ital Video Disc 602537078899 3708118 KNOPFLER,M/PRIVATEERIN(DLX 3CD Compact Disc 6025370811893711946 BA PLUS,THE/MADE POSSIBLE Compact Disc 6025371194623724270 PEYROUX,M/THE BLUE ROOM (CD+DVD CD wi th DVD 602537242702 3726516 DAVIS,M/ASCENSEUR POUR LECHAFA BLU RAY AUDIO 6025372651693726763 CAETANO,V/ABRACACO Compact Disc 6025372676373726802 VELOSO,C/ABRACACO Compact Disc 6025372680233728425 BIG COUNTRY/AT THE BBC(SUP DLX CD with DVD 6025372842523735229 VAR/JACKASS Compact Disc 6025373522963736208 CULLUM,J/MOMENTUM(2CD+DVD) CD with DVD 6025373620803737878 STOCKDALE,A/KEEP MO VING Compact Disc 602537378784 3740448 OLDFIELD,M/CRISES(3CD+ 2DVD) CD wi th DVD 602537404483 3740516 1975,THE/THE 1975 Compact Disc 6025374051693742288 MARTYN,J/THE ISLAND Y(17CD+DVD CD with DVD 6025374228833745689 THICKE,R/BLURRED LINES Compact Disc 6025374568953752810 WANTED ,THE/WORD OF MOUTH(DLX) Compact Disc 6025375281033754056 BLACK SABBATH/BLACK SABBA(2D VD Digital Video Disc 602537540563 3761703 HOBBIT,THE/THE DESOLATION(2CD) Compact Disc 6025376170433761704 HOBBIT,THE/THE DESOLATION(2CD) Compact Disc 6025376170363769360 MICHAEL,G/SYMPHONICA(DLX LTD) Compact Disc 602537693603 6 02537 26516 9 6 02537 28425 2 6 02537 40448 3 6 02537 42288 36 02537 36208 06 02537 24270 28 25646 97745 1 6 02537 61704 3 6 02537 61703 66 02537 26763 7 6 02537 40516 9 6 02537 45689 56 02537 11946 2 6 02537 37878 4 6 02537 69360 36 02537 52810 36 02527 96207 8 6 02537 08118 9 6 02537 26802 3 6 02537 35229 66 02527 45981 3 6 02527 70406 76 02527 49907 9 6 02527 56326 8 6 02537 54056 36 02527 82563 2 6 02537 07889 96 02527 77567 8 Page 286 of 496 November 12, 2014Catalogue Numbe rArtist / Title Config Scannable UPC UPC 3771740 ANGEL HAZE/DIRTY GOLD Compact Disc 602537717408 3774297 FATBOY SLIM PRES/BEM BRASIL(2C Compact Disc 6025377429743779542 SAINT GURMEET RAM/HIGHWAY LOVE Compact Disc 6025377954203785754 DEL REY,L/ULTRAVIOLENCE(DLX) Compact Disc 6025378575484000192 VAR/JESSYE NORMAN SINGS SACRED Compact Disc 028940001925 4100922 VERDI/AIDA (COMPLETE) Compact Disc 0289410092274107152 MAHLER/SYMPHONY NO.3 Compact Disc 0289410715214116182 VERDI/OTELLO Compact Disc 0289411618264133152 WAGNER/TRISTAN/KLEIBER Compact Disc 0289413315264138932 PUCCINI/MANON LESCAUT/ SINOPOLI Compact Disc 028941389329 4141272 CHOPIN/ETUDES OP. 10 & OP. 25 Compact Disc 0289414127204152782 WAGNER/MEISTERSINGER /JOCHUM Compact Disc 028941527820 4152872 MOZART/MAGIC FLUTE Compact Disc 0289415287284154982 ROSSINI/VIAGGIO A REIMS/ABBADO Compact Disc 0289415498224166432 HAYDN/SONATAS (11)/BRENDEL Compact Disc 0289416643274172362 BACH/WELL TEMP CLAV V.2/SCHIFF Compact Disc 0289417236284174072 VERDI/NABUCCO/GARDELL I,GOBBI Compact Disc 028941740724 4174242 BELLINI/SONNAMBULA/BONYNGE Compact Disc 0289417424214218522 JANACEK/KATA KABANOVA Compact Disc 0289421852274256512 MASSENET/ESCLARMONDE/B ONYNGE Compact Disc 028942565128 4267352 MOZART-ED-PHL/SAMPLER Compact Disc 0289426735264296722 SCHUMANN/SYM 1-4/KAR AJAN Compact Disc 028942967229 4300932 WORLD-OF/VAUGHAN WILLIAMS Compact Disc 0289430093244300952 WORLD-OF/GILBERT&SULLIVAN Compact Disc 0289430095224317602 MOZART/T PIANO SONATAS Compact Disc 0289431760264323812 BEET/PNO TRIO 1-11 COMPLETE Compact Disc 0289432381204329842 MENDELSSOHN/ELIJAH Compact Disc 0289432984214332212 WORLD-OF/VERDI Compact Disc 0289433221266 02537 79542 0 6 02537 85754 86 02537 74297 46 02537 71740 8 0 28943 32212 60 28943 00932 4 0 28943 00952 20 28942 67352 60 28941 66432 70 28940 00192 5 0 28943 29842 10 28943 23812 00 28941 00922 7 0 28941 07152 1 0 28941 33152 6 0 28941 38932 9 0 28941 52782 0 0 28941 54982 2 0 28942 96722 9 0 28943 17602 60 28941 52872 8 0 28941 74072 4 0 28942 18522 7 0 28942 56512 80 28941 16182 6 0 28941 41272 0 0 28941 72362 8 0 28941 74242 1 Page 287 of 496 November 12, 2014Catalogue Numbe rArtist / Title Config Scannable UPC UPC 4335232 VAR/BAROQUE EXPERIENCE/HOGWOOD Compact Disc 028943352321 4343692 RODRIGO/CTO ARANJUEZ/ROMERO Compact Disc 0289434369224343852 VAR/COUTS OF SPAIN/ROMEROS Compact Disc 0289434385204347252 TE-KANAWA/CLASSICS Compact Disc 0289434725244378292 MOZART/COSI FAN TUTTE Compact Disc 0289437829204383262 RACHMANINOV/COMPLETE WORKS FOR Compact Disc 0289438326254387572 DUO/BRAHMS/SYM 1-4/SAWALLISCH Compact Disc 0289438757214388002 DUO/MOZART/MASSES&REQ UIEM Compact Disc 028943880022 4393742 BACH/CANTATAS V2/RICHTER Compact Disc 0289439374294398712 MOZART/FIGARO/GARDINER Compact Disc 0289439871274399002 BEET/9 SYM/GARDINER Compact Disc 0289439900284404962 SCHUMANN/PN O WKS/LUPU Compact Disc 028944049626 4406302 TCHAIKOVSKY/SWAN L AKE; PR Compact Disc 028944063028 4422602 DUO/PUCCINI/BOH EME/RICCIARELLI Compact Disc 028944226027 4422722 DUO/BIZET/BEST OF... Compact Disc 0289442272224425772 DUO/BEET/CTI V1/KO VACEVICH Compact Disc 028944257724 4428887 ASHKENAZY,V/BEET HOVEN:THE PIAN Compact Disc 028944288872 4429606 CHAILLY/RCO/MAHLER:THE COMPLET Compact Disc 0289442960684430032 TCHAIK/1812/R&J/DORATI Compact Disc 0289443003214430092 MOZART/REQUIEM. EXULTATE,JUBIL Compact Disc 0289443009254434702 HANDEL/ISRAEL IN EGYPT/PRESTON Compact Disc 0289443470294435552 TCHAIK/BALLET MUSIC/DUTOIT Compact Disc 0289443555294436932 BERLIOZ/LES TROYENS/OSM/DUTOIT Compact Disc 0289443693284439472 CHOPIN/CHOPIN EXPERIENCE Compact Disc 0289443947264440432 DISPOSABLE-HEROES-OF-HIP HOPRIS Compact Disc 016244404320 4448212 VIVALDI/LA STRAVAGANZA Compact Disc 0289444821264451762 MESSIAEN/ST.FRANCOIS D'ASSISE Compact Disc 028944517620 4455132 MAHLER/SYMPHONY NO.7 Compact Disc 028944551327 0 28944 22602 70 28943 83262 5 0 28943 87572 1 0 28943 88002 2 0 28944 22722 2 0 28944 25772 40 28943 47252 40 28943 43692 2 0 28943 43852 0 0 28944 06302 8 0 28944 30032 1 0 28944 30092 5 0 28944 34702 9 0 28944 48212 60 28943 35232 1 0 16244 40432 00 28943 99002 8 0 28944 51762 0 0 28944 55132 70 28944 28887 2 0 28944 29606 8 0 28944 39472 60 28944 35552 90 28944 04962 6 0 28944 36932 80 28943 78292 0 0 28943 93742 9 0 28943 98712 7 Page 288 of 496 November 12, 2014Catalogue Numbe rArtist / Title Config Scannable UPC UPC 4465332 BACH/4 ORCHESTRAL SU ITES Compact Disc 028944653328 4465452 DUO/BACH/WTC BK1/GULDA Compact Disc 0289446545234465482 DUO/BACH/WTC BK2/GULDA Compact Disc 0289446548204465632 DUO/HANDEL/WIND SNTA/ASMFCE Compact Disc 0289446563294467622 VAR/MOZART ON T MENU Compact Disc 0289446762284470742 BEETHOVEN/SYMPHONY NO. 9 Compact Disc 028944707427 4470752 BEETHOVEN/STR QRT/EMERSON Compact Disc 0289447075264473992 BARTOK/PIANO CONCERTOS NOS. 1- Compact Disc 0289447399234476922 HANDEL/JUDAS MACCABAEUS Compact Disc 0289447692274480562 WORLD-OF/KING'S VOL 2 Compact Disc 0289448056284482702 POULENCFRANC/ORGAN CONCERTO Compact Disc 0289448270264498102 HILLIARD ENSEMBLE/PART,ARVO:LI Compact Disc 0289449810254520652 OST/MR HOLLAND'S OPUS/VAR Compact Disc 0289452065234529382 BAND OF T GRENADIER GUAR/T WOR Compact Disc 0289452938204529612 SCRIABIN/PIANO SONATAS Compact Disc 0289452961284531092 DG2/PUCCINI/BOHEME/BE RNSTEIN Compact Disc 028945310923 4537332 BEETHOVEN/WORKS FOR PIANO Compact Disc 028945373324 4540142 MAHLER/COMPLETE ORCHEST RA SONG Compact Disc 028945401423 4543952 VAR/DMITRI/HVOROSTOVSKY Compact Disc 0289454395254555132 BARTOLI/BEL CANTO Compact Disc 0289455513264556852 SCHUBERT/PNO TRIO/ ASHKENAZY Compact Disc 028945568522 4563272 DUO/DVORAK/LATE SYM /LEPPARD Compact Disc 028945632728 4563552 VAR/BAROQUE FOR BRIDES TO BE Compact Disc 0289456355214564972 VAR/BACH FOR BOOKS Compact Disc 0289456497264566382 VAR/MOZART FOR MASSAGE Compact Disc 0289456638214570382 BERIO/SEQUENZAS/ENSEMBLE INTER Compact Disc 0289457038244571962 DIES-IRAE/T ESSENTIAL CHORAL C Compact Disc 028945719627 4573572 VAR/GREATEST CLASSICAL XMAS Compact Disc 0289457357260 28944 80562 8 0 28945 29382 00 28944 65452 3 0 28944 65632 90 28944 65332 8 0 28945 63272 80 28944 65482 0 0 28945 40142 30 28944 67622 8 0 28945 43952 5 0 28945 63552 1 0 28945 64972 6 0 28945 66382 10 28944 82702 6 0 28945 29612 80 28944 98102 5 0 28945 71962 70 28945 31092 3 0 28945 70382 4 0 28945 73572 60 28944 70752 6 0 28944 73992 3 0 28945 20652 3 0 28945 55132 6 0 28945 56852 20 28945 37332 40 28944 70742 7 0 28944 76922 7 Page 289 of 496 November 12, 2014Catalogue Numbe rArtist / Title Config Scannable UPC UPC 4574932 BEETHOVEN/VAR,BAG/PLE TNEV Compact Disc 028945749327 4575292 GUIDE-JAUNE-OPERA Compact Disc 0289457529214576012 MOZART/GIOVANNI/TER FEL/ABBADO Compact Disc 028945760124 4577302 ORG/MOZART/ENTFUHRUNG/F RICSAY Compact Disc 028945773025 4588382 BACH/CHRISTMAS ORAT ORIO Compact Disc 028945883823 4589282 CECILIA-&-BRYN Compact Disc 0289458928254596352 BRAHMS/4 SYM/CELIBIDACHE Compact Disc 0289459635254608222 BEETHOVEN/P CONC 1,2,3, 5, ROND Compact Disc 028946082225 4608252 BEETHOVEN&MOZART/P CO NCERTOS Compact Disc 028946082522 4608312 VAR/PIANO CONCERTOS 1,2-HUNGAR Compact Disc 028946083123 4611612 TCHAIKOVSKY/GREATEST HITS Compact Disc 028946116128 4614222 BRAHMS/GREATEST HITS Compact Disc 0289461422264621702 VIVALDI/GREAT CHORAL WORKS Compact Disc 0289462170234621732 BACH/ST JOHN PASSION LEPPARD Compact Disc 028946217320 4621762 VAR/FAVOURITE PNO CTI VOL1 Compact Disc 0289462176274621792 VAR/FAVOURITE HARP CTI Compact Disc 0289462179244625052 FAV-CELLO-CTOS/WEBBER/MENUHIN Compact Disc 0289462505254626004 BOCELLI,A/SACRED ARIAS Cassette 0289462600434626182 RIMSKY-KORSAKOV/TSAR'S BRIDE Compact Disc 028946261828 4626512 MOZART/PNO CTI IN D MINOR K466 Compact Disc 0289462651234628742 CHOPIN/T COMPLETE POLONAISES Compact Disc 0289462874224629132 PROKOFIEV/T LOVE FOR THREE ORA Compact Disc 0289462913204630272 BACH/T ART OF FUGU E/GOEBEL Compact Disc 028946302729 4630512 CHOPIN/EDITIONV.2/BALLADES ETU Compact Disc 0289463051264630572 CHOPIN/EDITIONV.4/N OCTURNES Compact Disc 028946305720 4640642 GLASS,P/AGUAS DA AMAZONIA Compact Disc 0289464064274646482 MOZART/COMPLETE MOZART ED(ENG) Compact Disc 0289464648234647072 HAYDN,J/THE SIX LONDON SYMPHON Compact Disc 028946470725 0 28946 26004 30 28946 21702 3 0 28946 21762 7 0 28946 25052 50 28946 21732 0 0 28946 21792 4 0 28946 28742 2 0 28946 47072 50 28946 26182 8 0 28946 29132 0 0 28946 46482 30 28946 40642 70 28946 08222 5 0 28946 08252 2 0 28946 08312 3 0 28946 14222 60 28946 11612 8 0 28946 26512 30 28945 74932 7 0 28945 75292 1 0 28945 76012 4 0 28945 96352 5 0 28946 30272 9 0 28946 30512 6 0 28946 30572 00 28945 77302 5 0 28945 89282 50 28945 88382 3 Page 290 of 496 November 12, 2014Catalogue Numbe rArtist / Title Config Scannable UPC UPC 4647342 VAR/THE SOFIA RECITAL Compact Disc 028946473429 4647902 MOZART/COMPLETE MOZART:DIVERTI Compact Disc 0289464790254648402 MOZART/COMPLETE MOZART:VIOLIN Compact Disc 0289464840294648802 MOZART/COMPLETE MOZART ED:ARIA Compact Disc 0289464880274649102 MOZART/COMPLETE MOZART:MIDDLE Compact Disc 0289464910274649202 MOZART/COMPLETE MOZART ED:LATE Compact Disc 0289464920244649302 MOZART/COMPLETE MOZART:GERMAN Compact Disc 0289464930214651392 RUZICA,P/STRING QUARTETS,ARDIT Compact Disc 0289465139274663512 VAR/WORLD OF GREAT BRITISH CLA Compact Disc 0289466351244663572 THIBAUDET,J.Y./PLAYS CHOPIN Compact Disc 0289466357284663842 PUCCINI/TOSCA Compact Disc 0289466384224666672 RAVEL/GREATEST HITS Compact Disc 0289466667224669552 MAHLER/SYMPHONY NO.10 Compact Disc 0289466955244670502 VAR/CINEMA ITALIANO Compact Disc 0289467050254670862 LEONCAVALLO/PAGALIACCI Compact Disc 0289467086204670962 ALBENIZ/MERLIN Compact Disc 0289467096274673142 MAHLER/SYMPHONY NO.8 SYMPHONY Compact Disc 0289467314204674072 STRAUSS,J/DE FLEDERMAUS HIGHLI Compact Disc 0289467407294674172 SCHUBERT/TROUT QUINTETT Compact Disc 0289467417264674202 MOZART/DON GIOVANNI HILITES Compact Disc 0289467420204674212 WEBER/DER FREISCHUTZ Compact Disc 0289467421294674242 BEETHOVEN/PIANO CONCERTO NOS C ompact Disc 028946742426 4674542 PURCELL/SWEETER THAN ROSES Compact Disc 028946745427 4674572 WAGNER/DER FLIEGENDE HOLLANDER Compact Disc 0289467457244674582 VAR/COCKTAIL CLASSICS Compact Disc 0289467458234674602 DVORAK&TCHAIKOVSKY&ELGAR/ STRIN Compact Disc 028946746028 4674652 SHOSTAKOVICH/SYMPHONY NO.8 Compact Disc 0289467465234679132 PRICE,L/THE SINGERS Compact Disc Enhanced 028946791325 0 28946 63512 40 28946 47342 9 0 28946 47902 5 0 28946 48402 9 0 28946 48802 7 0 28946 49102 7 0 28946 49202 4 0 28946 49302 1 0 28946 74212 9 0 28946 74542 7 0 28946 74572 40 28946 74242 6 0 28946 74652 30 28946 66672 2 0 28946 74072 9 0 28946 74172 6 0 28946 74582 3 0 28946 74602 80 28946 74202 00 28946 51392 7 0 28946 63842 20 28946 63572 8 0 28946 69552 4 0 28946 70502 5 0 28946 70862 0 0 28946 70962 7 0 28946 73142 0 0 28946 79132 5 Page 291 of 496 November 12, 2014Catalogue Numbe rArtist / Title Config Scannable UPC UPC 4679172 BERGER,E/THE SINGERS Compact Disc Enhanced 028946791721 4681042 BEETHOVEN/SYMPHONIES NO S. 7 & Compact Disc 028946810422 4681062 MOZART/PIANO CONCERTOS NO.21 & Compact Disc 0289468106204681162 MOZART/CLARINET CONCERTO Compact Disc 0289468116274681202 VAR/AN EVENING WITH MO NTSERRAT Compact Disc 028946812020 4681242 BACH/VIOLIN CONCERTOS 1 & 2 Compact Disc 0289468124264681272 BERLIOZ/SYMPHONY FANTASY Compact Disc 0289468127234681362 GERSHWIN/I GOT RHYTHM Compact Disc 0289468136214681442 SIBELIUS/VIOLIN CONCERTO Compact Disc 0289468144204681522 BEETHOVEN/VIOLIN SONAT AS NOS.2 Compact Disc 028946815229 4681572 VAR/MOVIE CLASSICS Compact Disc 0289468157244681622 BACH/ST.JOHN'S PASSION HIGHLIG Compact Disc 028946816226 4681632 TELEMANN/WIND COCNERTOS Compact Disc 0289468163254681702 VIVALDI/FLUTE CONCERTOS Compact Disc 0289468170254681802 HAYDN/WIND CONCERTOS Compact Disc 0289468180224681882 BARTOK/PIANO CONCERTOS NOS 1-3 Compact Disc 0289468188244681942 MAHLER/SYMPHONIES NOS. 2 & 10 Compact Disc 0289468194254681972 TCHAIKOVSKY/SYMPHONY NO .4:SERE Compact Disc 028946819722 4690612 HANDEL/THEODORA Compact Disc 0289469061254691842 RAVEL/LA VALSE,CONCERTO FOR PI Compact Disc 028946918425 4692262 WAGNER/EXC.FROM "THE FLYING DU Compact Disc 0289469226204696112 TCHAIKOVSKY/SYMPHONY NO.5:1815 Compact Disc 0289469611244696402 BACH/AIR & BADINERIE Compact Disc 0289469640264696422 BRUCKNER/SYMPHON Y 4 Compact Disc 028946964224 4696502 VAR/MARCHES & POL KAS Compact Disc 028946965023 4696532 VAR/SILENT NIGHT-A CHRI STMAS C Compact Disc 028946965320 4696632 VAR/VIRTUOSO HARP MUSIC Compact Disc 0289469663274696722 BACH/FAMOUS CHORUSES Compact Disc 028946967225 0 28946 96112 4 0 28946 96402 6 0 28946 96422 4 0 28946 96502 3 0 28946 96532 0 0 28946 96722 50 28946 96632 70 28946 81362 1 0 28946 81442 0 0 28946 81632 50 28946 81042 2 0 28946 81062 0 0 28946 81162 7 0 28946 81202 0 0 28946 81242 6 0 28946 81272 3 0 28946 81622 6 0 28946 81702 5 0 28946 81942 5 0 28946 81972 20 28946 81522 9 0 28946 81572 4 0 28946 81802 2 0 28946 81882 4 0 28946 91842 5 0 28946 92262 00 28946 90612 50 28946 79172 1 Page 292 of 496 November 12, 2014Catalogue Numbe rArtist / Title Config Scannable UPC UPC 4696822 WAGNER/LOHENGRIN Compact Disc 028946968222 4696872 BACH/HARPSICHORD CONCERTOS Compact Disc 0289469687274696882 BEETHOVEN/STRING QUAR TETS Compact Disc 028946968826 4696922 VAR/THE FLIGHT OF THE BUMBLE B Compact Disc 0289469692294696932 WEBER/OVERTURES,CLAR INET Compact Disc 028946969328 4697652 SCHUMMANN/ CARNAVAL;DAVIDSBUNDE Compact Disc 028946976524 4702922 MOZART/VIOLIN CONCERTOS NOS.1, Compact Disc 0289470292294702932 GLUCK/ALCESTE Compact Disc 0289470293284704402 VERDI/LA TRAVIATA Compact Disc 0289470440244705222 STRAUSS/ASCHENBRODEL(CINDERELL Compact Disc 0289470522274705552 MUSSORGSKY/BORI S GODUNOV (1872 Compact Disc 028947055525 4705702 MASCAGNI & LEONCAVALLO/CAVALLE Compact Disc 0289470570244705832 STRAUSS/ELEKTRA Compact Disc 0289470583284705862 VERDI/UN BALLO IN MASCHERA Compact Disc 0289470586254706112 GLUCK/ITALIAN ARIAS SACD4Stereo/Surround/CDAud 0289470611204706242 PUCCINI/LA BOHEME SA CD4Stereo/Surround/CDAud 028947062424 4706282 DIEGO FLOREZ,J/BEL CANTO SACD4Stereo/Surround/CDAud 0289470628204710902 CANNONESSES OF THE HOLY /ETERNA Compact Disc 028947109020 4713272 HAYDN,F/STRING QUARTETS Compact Disc 0289471327214713332 GABRIELI,G & DE RORE,C/A VENET Compact Disc 0289471333224713412 HANDEL/MESSIAH Compact Disc 0289471341214713682 SCHUMANN/ DAVIDBUNDLERSTANZE Compact Disc 028947136828 4713702 SCHUMANN/KR EISLERIANA,GESANGE Compact Disc 028947137023 4713712 VAR/A CLASSIC TALE:MUS IC FOR O Compact Disc 028947137122 4713722 HEPPNER,B/AIRS FRA NCAIS Compact Disc 028947137221 4714352 MOZART/WIND CONCERTOS Compact Disc 0289471435294714932 VAR/EVENING STAR:GERMA N OPERA Compact Disc 028947149323 4715622 VAR/AS TIME GOES BY Compact Disc 0289471562220 28947 02922 9 0 28947 05552 50 28947 02932 8 0 28947 05222 70 28946 96872 7 0 28946 96882 6 0 28946 96922 9 0 28946 97652 40 28946 96822 2 0 28946 96932 8 0 28947 10902 0 0 28947 13722 10 28947 13272 1 0 28947 13332 2 0 28947 13412 1 0 28947 13682 8 0 28947 13712 2 0 28947 14352 9 0 28947 14932 3 0 28947 15622 20 28947 13702 30 28947 04402 4 0 28947 05702 4 0 28947 05832 8 0 28947 05862 5 0 28947 06242 4 0 28947 06282 00 28947 06112 0 Page 293 of 496 November 12, 2014Catalogue Numbe rArtist / Title Config Scannable UPC UPC 4715772 COSTELLO,E/IL SOGNO Compact Disc 028947157724 4715792 VAR/BACHIANA II-DOUBLE CONCERT Compact Disc 0289471579224716382 WAGNER/ARIAS SACD4Stereo/Surround/CDAud 0289471638244717242 LEBRUN & MOZART/OBOE CONCERTOS Compact Disc 028947172420 4717362 BIZET/L'ARLESIENNE SUITES 1&2 Compact Disc 0289471736254717382 MOZART/PIANO CONC NO.21 & 26 Compact Disc 0289471738234717502 BIZET/CARMEN Compact Disc 0289471750254717582 HANDEL/CONCERTI GROSSI OP.6/WA Compact Disc 0289471758274721122 SILVESTROV,L/REQUIEM FOR LARIS Compact Disc 0289472112284731042 VAR/ARTHUR G RUMIAUX:HISTORIC P Compact Disc 028947310426 4731272 VAR/SIR GEORGE SOLTI:THE FIRST Compact Disc 0289473127274731822 VAR/THE ULTIMATE WIZARD ALBUM Compact Disc 0289473182244732482 OST/THE RED DRAGON Compact Disc 0289473248294732492 VAR/ORCHESTRAL WORKS Compact Disc 0289473249284733542 MOZART/COSI FAN TUTTE Compact Disc 0289473354294733802 BARTOLI,C/THE ART OF CECILIA B Compact Disc 0289473380244734432 PROKOFIEV/PROKOFIEV ANNIVERSAR Compact Disc 0289473443224734762 VAR/OPERAS VOL.1 Compact Disc 0289473476204735962 VAR/ROMANTIC ADAGIOS II Compact Disc 0289473596234736312 GILBERT&SULLIVAN/COMPLETE SET Compact Disc 0289473631254736562 GILBERT&SULLIVAN/RUDDI GORE Compact Disc 028947365624 4738512 VAR/OPERAS VOL.2 Compact Disc 0289473851274739372 ALBENIZ/HENRY CLIFFORD Compact Disc 0289473937264740062 VAR/LIEDER & OPERA SCENES Compact Disc 0289474006224740102 JANACEK QUARTET/CMPLTE DG RECO Compact Disc 0289474010254740242 VAR/WILHELM KEMPFF:THE COMPLET Compact Disc 0289474024284741312 ORFF/TRIONFI:CARMINA BURANA Compact Disc 0289474131274741652 BERLIOZ/SYMPHONIE FANTASTIQUE Compact Disc 028947416524 0 28947 31042 6 0 28947 34762 0 0 28947 38512 70 28947 21122 80 28947 17362 5 0 28947 17382 3 0 28947 41652 40 28947 40062 2 0 28947 40102 5 0 28947 40242 8 0 28947 41312 70 28947 17502 5 0 28947 17582 70 28947 15772 4 0 28947 39372 60 28947 32482 9 0 28947 33802 40 28947 32492 80 28947 31272 7 0 28947 31822 4 0 28947 33542 9 0 28947 36312 5 0 28947 36562 40 28947 34432 2 0 28947 35962 30 28947 17242 00 28947 15792 2 0 28947 16382 4 Page 294 of 496 November 12, 2014Catalogue Numbe rArtist / Title Config Scannable UPC UPC 4741682 HANDEL/MUSIC FOR THE ROYAL FIR Compact Disc 028947416821 4741712 RACHMINOV/PIANO CONC NO.2 & 3 Compact Disc 0289474171254742082 VAR/ODYSSEY Compact Disc 0289474208284742202 BACH/BRANDENBURG CONCERTOS 4,5 Compact Disc 0289474220204742212 BACH/THE WELL TEMPERED CLAVIER Compact Disc 0289474221294742252 HANDEL/ACIS & GALATEA Compact Disc 0289474225254742352 BACH/PARTITAS Compact Disc 0289474235224742502 VAR/NEW YEAR S CONCERT Com pact Disc 028947425021 4743272 LIGETI/STR QUAR 1&2; RAMIFICAT Compact Disc 0289474327224743282 VARIOUS/THE INCOMPAR ABLE RUDOL Compact Disc 028947432821 4743372 BACH/KEYBOA RD WORKS Compact Disc 028947433729 4744002 VAR/UN VERITABLE ARTISTE Compact Disc 0289474400244745402 BARTOK/PIANO CONCERTOS 1 & 2 Compact Disc 0289474540214745522 VAR/ALT-BACHISCHES A RCHIV:CAN Compact Disc 028947455226 4745572 POMERIUM/OLD WORLD CHRISTMAS Compact Disc 028947455721 4746012 BEETHOVEN/SYMPHONIES 1 & 2 SACD2Stereo/CD Audio 028947460121 4746112 MOZART/CORONATION MASS Compact Disc 0289474611284746382 VAR/BRYN TERFEL SINGS FAVORITE SACD4Stereo/Surround/CDAud 0289474638254747002 VON OTTER,AS/WATERCOLOURS;SWED Compact Disc 0289474700214747142 BIBER/REQUIEM IN F Compact Disc 0289474714244747292 TURNAGE,MA&SCOFIELD,J /SCORCHED Compact Disc 028947472926 4747302 HAYDN&SCHUBERT &BRAHMS/HAYDN,SC Compact Disc 028947473022 4747852 VAR/MY FIGURE SKATING ALBUM Compact Disc 0289474785224748022 VAR/LOVE MOODS:THE MOST ROMANT Compact Disc 0289474802284748102 BEETHOVEN/PIANO SONAT AS OP.10 Compact Disc 028947481027 4748142 SIBELIUS/VIOLIN CONCERTO Compact Disc 0289474814234748152 VAR/ELEVEN-STRING BAROQUE Compact Disc 0289474815224748432 VAR/LIEDERABEND Compact Disc 0289474843250 28947 41682 1 0 28947 41712 5 0 28947 48022 80 28947 45402 10 28947 42082 8 0 28947 42352 2 0 28947 42502 1 0 28947 43272 2 0 28947 43282 1 0 28947 43372 9 0 28947 44002 4 0 28947 45572 1 0 28947 46112 8 0 28947 47002 1 0 28947 47142 4 0 28947 47292 6 0 28947 47302 2 0 28947 47852 2 0 28947 48102 7 0 28947 48142 3 0 28947 48152 2 0 28947 48432 50 28947 45522 60 28947 42202 0 0 28947 42212 9 0 28947 42252 5 0 28947 46012 1 0 28947 46382 5 Page 295 of 496 November 12, 2014Catalogue Numbe rArtist / Title Config Scannable UPC UPC 4749002 STRAUSS/NEW YEARS CONCERT 2004 Compact Disc 028947490029 4749742 WAGNER/TRISTAN UND ISOLDE Compact Disc 028947497424 4749822 MOZART/SYMPHONIES NOS. 33,36 & Compact Disc 0289474982234749832 BEETHOVEN/SYMPHONY NO.2 ;PIANO Compact Disc 028947498322 4749852 SHCUBERT/SYMPHON IES NOS. 3 & 4 Compact Disc 028947498520 4749872 BERLIOZ/SYMPHONIE FANTASTIQUE Compact Disc 0289474987284749892 BRAHMS/SYMPHONY NO. 2; REGER Compact Disc 0289474989264751372 STRAVINSKY&JANACEK/LE SACRE DE Compact Disc 028947513728 4751382 TCHAIKOVSKY/ROMEO & JULIET;HAM Compact Disc 0289475138274752052 MOZART/REQUIEM Compact Disc 0289475205284752062 LISZT/ANNEES DE PELERINAGE Compact Disc 0289475206274752072 HANDEL/ATHALIA Compact Disc 0289475207264752142 NIELSEN,C/MASKARADE Compact Disc 0289475214264753922 VAR/CASSIC RECITALS Compact Disc 0289475392234753942 VAR/CLASSIC RECITALS Compact Disc 0289475394214753962 VAR/CLASSIC RECITALS Compact Disc 0289475396294754872 VARESE/THE COMPLETE WORKS Compact Disc 0289475487204755222 VAR/CLASSIC RECITALS Compact Disc 0289475522224756111 MOZART/LE NOZZE DI FIGARO Compact Disc 0289475611184756117 VAR/A CELEBRATION CD with DVD 0289475611704756154 TEBALDI,R/CHRISTMAS F ESTIVAL Compact Disc 028947561545 4756160 HAYDN/SYMPHONIES NOS.88 & 101 Compact Disc 0289475616064756169 BERGONZI,C/VERDI ARIAS Compact Disc 0289475616994756181 HANSON/SYMPHONIES NOS.1 & 2 SACD4Stereo/Surround/CDAud 0289475618114756182 SOUSA/24 FAVOURITE MARCHE S SACD4Stereo/Surround/CDAud 028947561828 4756200 MOZART/VIOLIN SONATAS-F MAJOR SACD4Stereo/Surround/CDAud 0289475620094756207 BEETHOVEN/FIDELIO Compact Disc 0289475620784756210 MENDELLSOHN/CELLO SONATAS Compact Disc 028947562108 0 28947 56117 00 28947 52052 8 0 28947 56207 8 0 28947 56210 80 28947 51372 8 0 28947 51382 70 28947 49002 9 0 28947 49742 4 0 28947 49822 3 0 28947 49832 2 0 28947 49852 0 0 28947 49872 8 0 28947 49892 6 0 28947 52062 7 0 28947 52072 6 0 28947 52142 6 0 28947 54872 00 28947 53962 9 0 28947 55222 2 0 28947 56111 8 0 28947 56160 6 0 28947 56169 90 28947 53922 3 0 28947 53942 1 0 28947 56154 5 0 28947 56200 90 28947 56182 80 28947 56181 1 Page 296 of 496 November 12, 2014Catalogue Numbe rArtist / Title Config Scannable UPC UPC 4756233 MCCRACKEN,J/C LASSIC RECITALS Compact Disc 028947562337 4756235 SOULIOTIS,E/CLASSIC RE CITALS Compact Disc 028947562351 4756268 VAR/PARAY CONDUCTS FRENCH ORCH Compact Disc 028947562689 4756327 NELSOVA,Z/ORIGINAL MASTERS Compact Disc 0289475632734756353 BEINUM,E/ORIGINAL MASTERS Compact Disc 0289475635324756380 VAR/A FRENCH COLLECTION Compact Disc 0289475638084756395 NORMAN,J/SINGS STRAVI NSKY & SC Compact Disc 028947563952 4756398 NORMAN,J/IN THE SPIRIT & CHRI S Compact Disc 028947563983 4756410 VAR/CLASSIC RECITALS Compact Disc 0289475641024756413 NILSSON,B/CLASSIC RE CITALS Compact Disc 028947564133 4756415 SASS,S/CLASSIC RECITA LS Compact Disc 028947564157 4756545 RODRIGO/THE RODRIGO COLLECTION CD with DVD 0289475654514756617 CHOPIN/ETUDES OP.10 PIANO SONA SACD4Stereo/Surround/CDAud 0289475661754756622 PARAY,P/BERLIOZ/SYMPHONIE FANT SACD4Stereo/Surround/CDAud 0289475662294756623 DORATI,A/TCHAIKO VSKY/THE NUTCR SACD4St ereo/Surround/CDAud 028947566236 4756670 PAVAROTTI,L/LA GIOCANDA Compact Disc 0289475667004756712 PROKOFIEV/CONCERTOS 1 & 2, SON Compact Disc 0289475671274756720 BARTOK/KOCSIS PLAYS BARTOK Compact Disc 0289475672024756766 VERDI/ATTILA Compact Disc 0289475676604756769 VERI/IL CORSAR O Compact Disc 028947567691 4756772 VERDI/UN GIORNO DI REGNO Compact Disc 0289475677214756786 VAR/DECCA RECORDINGS V.3-1936 Compact Disc 0289475678684756811 FRENI & SCOTTO/CLASSI C RECITAL Compact Disc 028947568117 4756812 TOURANGEAU,H/C LASSIC RECITALS Compact Disc 028947568124 4756814 VAR/KRAUSE,T/CLASSIC RE CITALS Compact Disc 028947568148 4756835 VAR/GULDA PLAYS BEET HOVEN Compact Disc 028947568353 4756851 VAR/BRITISH AND AMERICAN BAND Compact Disc 0289475685134756930 BRENDEL,A/MOZART;PIANO CONCERT Compact Disc 0289475693050 28947 56545 10 28947 56395 2 0 28947 56398 30 28947 56380 8 0 28947 56720 2 0 28947 56766 0 0 28947 56769 1 0 28947 56772 1 0 28947 56930 50 28947 56233 7 0 28947 56235 1 0 28947 56268 9 0 28947 56327 3 0 28947 56353 2 0 28947 56410 2 0 28947 56415 7 0 28947 56786 8 0 28947 56811 7 0 28947 56812 4 0 28947 56814 8 0 28947 56835 3 0 28947 56851 30 28947 56712 70 28947 56413 3 0 28947 56670 00 28947 56623 60 28947 56622 90 28947 56617 5 Page 297 of 496 November 12, 2014Catalogue Numbe rArtist / Title Config Scannable UPC UPC 4756936 BONNEY,B/MOZART;THE OTHER MOZA Compact Disc 028947569367 4757037 PRICE,M/MOZART;DON GIOVANNI Compact Disc 0289475703704757049 KANAWA,K/MOZART;DER SCHAUSPIED Compact Disc 0289475704934757057 GARDNER&MONTEVE RDICHOIR/MOZART C ompact Disc 028947570578 4757108 ESTERHAZYQUARTET/MOZART:6 HAYD Compact Disc 0289475710874757154 NORMAN,J/SINGS WAGNER Compact Disc 0289475715444757168 BURROWS,S/MOZART:CLASSI C RECIT Compact Disc 028947571681 4757169 FISCHERDIESKAU,D/CLASSI C RECIT Compact Disc 028947571698 4757172 VAR/TIPPET;VOCAL MUSIC - 4CD S Compact Disc 0289475717284757463 TUCKWELL,B/VAR:THE ART OF BARR Compact Disc 0289475746374757556 KOVACEVICH,S/BEET HOVEN:DIABELL Compact Disc 028947575566 4757564 HAITINK/COA/MAHLER:SYMPHONY N3 Compact Disc 0289475756414757567 CARRERAS,J/MASSENET:W ERTHER Compact Disc 028947575672 4757777 UCHIDA&TATE/MOZART:PIA NO CONCE Com pact Disc 028947577775 4757877 MAUCERI,J/GERSHWIN:PORGY & BES Compact Disc 0289475787724758079 VAR/ULTIMATE CLASSICAL CHILL O Compact Disc 0289475807994758130 RICHTER,S/PROKOFIEV/SCRIABIN/S Compact Disc 0289475813074758243 CRESPIN,R/PRIMA DONNA IN PARIS Compact Disc 028947582434 4758352 CHAILLY,R/SCHUMANN:SYM PHONIES Compact Disc 028947583523 4758503 QUARTETTO ITALIANO/ BEETHOVEN:M Compact Disc 028947585039 4758613 RICHTER,S/BEETHO VEN:THE MASTER Compact Disc 028947586135 4758619 RICHTER,S/HAYDN:THE MASTER V.6 Compact Disc 0289475861974758652 RICHTER,S/20TH CENTURY MUSIC P Compact Disc 0289475865244759180 JOHN ALLDIS CHOIR/VAR:AN OLDE Compact Disc 0289475918014761884 RESPIGHI/LA CAMPANA SOMMERSA Compact Disc 0289476188434762454 COUPERIN,F/LECONS DE TENEBRES; Compact Disc 0289476245474762740 HEMMING,F/IMPRESSIVE PI ECES Compact Disc 028947627401 4763198 FRON MALE VOICE CHOIR/VOICES O Compact Disc 289447631989 0 28947 61884 3 2 89447 63198 90 28947 57154 4 0 28947 57556 6 0 28947 57564 1 0 28947 57567 2 0 28947 57777 5 0 28947 58130 7 0 28947 58613 5 0 28947 58619 7 0 28947 62454 70 28947 57057 8 0 28947 58079 90 28947 57108 7 0 28947 57463 7 0 28947 57877 2 0 28947 58243 4 0 28947 58352 3 0 28947 58503 9 0 28947 58652 4 0 28947 59180 10 28947 56936 7 0 28947 57037 0 0 28947 57168 1 0 28947 57169 8 0 28947 57172 8 0 28947 62740 10 28947 57049 3 Page 298 of 496 November 12, 2014Catalogue Numbe rArtist / Title Config Scannable UPC UPC 4765825 DOMINGO,P/TORROBA:LUISA FERNAD Compact Disc 028947658252 4769060 KEMPFF,W/BACH:KEYBOARD WORKS Compact Disc 028947690603 4769803 LEVINE/MET/WAGNER:DER RING DES Compact Disc 0289476980364770002 BERNSTEIN/THE 1953 "AMERICAN D Compact Disc 0289477000294770222 SIMONEAU,L/OPERA RECITALS AND Compact Disc 0289477022214770532 TCHAIKOVSKY/SYMPHONIC POEMS;MA Compact Disc 028947705321 4775002 HOLLIGER,H/OBOE CONCERTOS - GR Compact Disc 0289477500244775015 CYCLE/CANTO DE LA VIDA Compact Disc 0289477501544775077 VAR/BEST OF WIENER PH ILHARMONI Compact Disc 028947750772 4775111 SANDSTROM/HIGH MASS Compact Disc 0289477511134775128 BEETHOVEN/FOLKSO NG ARRANGEMEN T Compact Disc 028947751281 4775232 ASSAD,B/VERDI Compact Disc 0289477523254775233 SCHUBERT/FANTASIA FOR 2 PIANOS Compact Disc 028947752332 4775238 FURTWANGLER,W/THE FASCINATION Compact Disc 0289477523874775254 MAAZEL,L/COMPLETE EARLY BERLIN Compact Disc 0289477525474775296 BOHM,K/CONDUCTS MOZART & STRAU Compact Disc 028947752967 4775320 VAR/MELODRAMEN Compact Disc 0289477532094775366 VAR/NEW YEARS CONCERT 2005 Compact Disc 028947753667 4775375 SALONEN,E/FOREIGN BODIES;WING Compact Disc 0289477537594775377 THIELEMANN,C/SYMPHONY NO. 5 Compact Disc 0289477537734775418 FRANCK/IN SPIRITUM SACD4Stereo/Surround/CDAud 0289477541834775420 VAR/THE WALTZ:ECSTACY AND MYST Compact Disc 0289477542064775476 SEGOVIA,A/SEGOVIA COLLECTIONV2 Compact Disc 0289477547634775479 MUSSORGSKY/PICTURES AT AN EXHI Compact Disc 028947754794 4775481 DVORAK/SYMPHONY NO.8 Compact Disc 0289477548174775484 SIBELIUS/OVERTURES/TH E TEMPEST Compact Disc 028947754848 4775485 STRAVINSKY/RITE OF SPRING Compact Disc 0289477548554775487 HARTMANN/SYMPHONY NO.6 Compact Disc 0289477548790 28947 69060 3 0 28947 75232 50 28947 65825 2 0 28947 70002 9 0 28947 70222 1 0 28947 70532 1 0 28947 75002 4 0 28947 75077 2 0 28947 75111 3 0 28947 75128 1 0 28947 75238 7 0 28947 75254 7 0 28947 75320 9 0 28947 75366 7 0 28947 75375 9 0 28947 75476 3 0 28947 75479 4 0 28947 75481 7 0 28947 75484 8 0 28947 75487 90 28947 69803 6 0 28947 75233 2 0 28947 75377 3 0 28947 75485 50 28947 75296 70 28947 75015 4 0 28947 75420 60 28947 75418 3 Page 299 of 496 November 12, 2014Catalogue Numbe rArtist / Title Config Scannable UPC UPC 4775489 BERGANZW,T/BRAVA BERGA NZAI Compact Disc 028947754893 4775494 VAR/MUSIK..SPRACHE DER WELT II Compact Disc 0289477549474775502 SCHNEIDERHAN, W/BEETHOVEN/VIOLI Compact Disc 028947755029 4775514 NIELSEN,C/SYMPHONIES 1-6 Compact Disc 0289477551424775518 REGER,M/STRING QUARTETS/CLARIN Compact Disc 0289477551804775566 JANSONS,M/VAR:NEW YEAR 'S CONCE Compact Disc 028947755661 4775587 DONZIETTI/L'ELISIR D'AMORE Compact Disc 0289477558764775599 PUCCINI/TOSCA Compact Disc 0289477559994775634 BARTOLETTI,B/ROSSIN I:II BARBIE Com pact Disc 028947756347 4775706 CHUNG,MW/RAVEL:DAPHINIS ET CHL Compact Disc 028947757061 4775726 SOLLSCHER,G/THE RENAI SSANCE AL Compact Disc 028947757269 4775744 MCCREESH,P/MOZART;MASS IN C MI Compact Disc 028947757443 4775755 PERLMAN,I/M OZART;SINFONIA CO NC Compact Disc 028947757559 4775796 MUTTER,S/MOZART:PIANO TRIOS Compact Disc 0289477579624775800 CONCERTOKOLN/MOZART:MOZART Compact Disc 0289477580064775810 VAR/MOZART:1956 JUBILEE EDITIO Compact Disc 0289477581054775811 VAR/MOZART:1956 JUBILEE EDITIO Compact Disc 0289477581124775812 VAR/MOZART:1956 JUBILEE EDITIO Compact Disc 0289477581294775813 VAR/MOZART:1956 JUBILEE EDITIO Compact Disc 0289477581364775832 JANOWITZ,G/THE GOLDEN VOICE Compact Disc 0289477583274775838 KUBELIK,R/OM:RARE RECORDINGS Compact Disc 0289477583894775856 SEEMAN,C/OM/MOZART:COMPLETE SO Compact Disc 0289477585634776077 GALWAY,J/VAR/ICH WAR EIN BERLI Compact Disc 0289477607714776191 CABALLE,M/VAR:FRENCH O PERA ARI Compact Disc 028947761914 4776193 LONDON,G/SPIRITUALS Compact Disc 0289477619384776194 DISTEFANO,G/OPERA RECIRAL Compact Disc 0289477619454776195 VISHNEVSKSYA,G/RA CHMANINOV/GLI Compact Disc 028947761952 4776219 LEAR,E/VAR:A MUSICAL TRIBUTE Compact Disc 0289477621950 28947 75489 3 0 28947 75494 7 0 28947 75566 1 0 28947 75587 6 0 28947 75599 9 0 28947 75634 7 0 28947 75706 1 0 28947 75744 3 0 28947 75810 5 0 28947 75811 2 0 28947 75812 9 0 28947 75813 6 0 28947 75832 7 0 28947 75856 3 0 28947 76077 1 0 28947 76191 4 0 28947 76193 8 0 28947 76194 5 0 28947 76195 2 0 28947 76219 50 28947 75796 20 28947 75726 9 0 28947 75755 9 0 28947 75838 90 28947 75502 9 0 28947 75514 2 0 28947 75518 0 0 28947 75800 6 Page 300 of 496 November 12, 2014Catalogue Numbe rArtist / Title Config Scannable UPC UPC 4776225 MEHTA,Z/NEW YEAR'S CO NCERT 200 Compact Disc 028947762256 4776234 DOMINGO,P/ALBENIZ:PEPITA JIMEN Compact Disc 0289477623484776237 KARAJAN,H/THE FIRST RECORDINGS Compact Disc 0289477623794776277 ALAGNA,R/BERLIOZ ARIAS Compact Disc 0289477627754776279 ALAGNA,R/VERDI ARIAS Compact Disc 0289477627994776280 ALAGNA,R/FRENCH OPER A ARIAS Compact Disc 028947762805 4776281 VAR/CHRISTMAS ALBUM(AL AGNA,R) Compact Disc 028947762812 4776415 PLETNEV,M & RNO/BEETHO VEN:PIAN Compact Disc 028947764151 4776416 PLETNEV,M/BEETHOVEN:PIA NO CONC Com pact Disc 028947764168 4776459 SOUNDTRACK/THE BAN QUET Compact Disc 028947764595 4776555 VAR/PIANO MOODS Compact Disc 0289477655544777101 BERNSTEIN,L/WEST SIDE STORY-CD CD with DVD 0289477710124777155 KARAJAN,H/VAR:MASTER RECORDING Compact Disc 0289477715554777156 KARAJAN,H/STRAUSS:EIN HELDENLE Compact Disc 0289477715624777352 VAR/BEST OF THE BRITISH-LIVE B Compact Disc 0289477735284777387 VAR/JANACEK:TH E EXCURSIONS OF Compact Disc 028947773870 4777550 BREAM,J/JULIAN BREAM PLAYS DOW Compact Disc 028947775508 4777635 MCCREESH,P & CONSORT, G/A SPOTL Compact Disc 028947776352 4778166 DOMINGO,P/AMORE INFINITO-SONGS Compact Disc 0289477816604778339 FORRESTER,M/HANDEL:SERSE - 3CD Compact Disc 0289477833984778464 ABBADO,C/PERGOLESI COLLECTION Compact Disc 0289477846474778531 GOLIJOU,O/TETRO - SOUNDTRACK Compact Disc 0289477853164779525 VAR/THE COLLECTION(34CD)-LTD E Compact Disc 0289477952544779829 LANG LANG/LISZT Compact Disc 0289477982934780028 PICKETT/NLC/FEAST OF FOOLS Compact Disc 0289478002864780034 VAR/NEW YEAR'S CONCERT 2008-2C Compact Disc 0289478003474780146 RESMARK,S/NIELSEN:M ASKARADE Compact Disc 028947801467 4780254 KARAJAN,HV/PUCCINI:LA BOHEME - Compact Disc 0289478025490 28947 77101 2 0 28947 78166 00 28947 76416 8 0 28947 77155 5 0 28947 77156 2 0 28947 77387 0 0 28947 77550 80 28947 77352 80 28947 76225 6 0 28947 76234 8 0 28947 76237 9 0 28947 76277 5 0 28947 76279 9 0 28947 76280 5 0 28947 76281 2 0 28947 76415 1 0 28947 76459 5 0 28947 77635 2 0 28947 78339 8 0 28947 78531 60 28947 76555 4 0 28947 79829 30 28947 79525 4 0 28947 80028 6 0 28947 80034 7 0 28947 80146 7 0 28947 80254 90 28947 78464 7 Page 301 of 496 November 12, 2014Catalogue Numbe rArtist / Title Config Scannable UPC UPC 4780368 FRENI,M/PUCCIN I:UN BEL DE-PUCC Compact Disc 028947803683 4780381 VAR/ULTIMATE VOICES Compact Disc 0289478038124781521 BARTOLI,C/SACRIFICIUM Compact Disc 0289478152114781526 VAR/BALLET MASTERPIECES-35CD Compact Disc 0289478152664782826 VAR/THE DECCA SOUND (50CD) Co mpact Disc 028947828266 4785364 VAR/BENJAMIN BRITTEN(65CD+DVD CD with DVD 0289478536404790055 VON KARAJAN,H/KARAJAN 1960S(82 Compact Disc 0289479005594790248 WUNDERLICH,F/THE LAST RECITAL Compact Disc 028947902485 4790924 DUDAMEL,G/MAHLER SYMPHONY(2CD Compact Disc 0289479092484791045 VAR/ARCHIV PRODUKTION 194(55CD Compact Disc 0289479104594792279 SCHILLER/OPUS Compact Disc 0289479227974801413 CICCOLINI,A/CAMILLE SAINT-SAEN Compact Disc 028948014132 4801938 QUATUOR DEBUSSY/REQUIE M MOZART Compact Disc 028948019380 4801996 BRANCO,C/KRONOS Compact Disc 0289480199604920412 MOTORHEAD/ACE OF SPADES Compact Disc 5050749204127 5103472 U2/ACHTUNG BABY Compact Disc 7314510347255118152 KHALED/KHALED Compact Disc 7314511815285129962 THREE-DOG-NIGHT/T BEST OF Compact Disc 7314512996295170074 ABBA/GOLD GREATEST HITS Cassette 7314517007435170282 GRAPPELLI,S/LEGRAND,S/WITH Compact Disc 7314517028225192162 POWELL,B/THREE ORIGINALS (2CD) Compact Disc 7314519216295198982 KHALED/N'SSI-N'SSI Compact Disc 7314519898275254492 VAR/T ULTIMATE 80'S BALLADS Compact Disc 7314525449265298272 HADEN,C QRT WEST/NOW IS T HOUR Compact Disc 7314529827285301571 ANDREWS SISTERS,THE/ JAZZ CLUB: Compact Disc 600753015711 5301907 POTTER,C/SONG FOR ANYONE Compact Disc 6007530190785303216 SOFT CELL/NON STOP EROTIC CABA Compact Disc 6007530321695309996 HADEN,C/THE MO NTREAL TAPES-6CD Compact Disc 600753099964 7 31451 70074 30 28947 85364 0 0 28947 92279 70 28947 90924 80 28947 80381 2 0 28947 90248 5 7 31451 70282 2 7 31451 92162 9 7 31452 98272 8 6 00753 09996 46 00753 01571 17 31452 54492 6 6 00753 03216 97 31451 29962 97 31451 03472 50 28948 01996 0 6 00753 01907 80 28947 90055 9 0 28948 01938 00 28947 80368 3 0 28947 81526 6 0 28947 82826 60 28947 81521 1 7 31451 18152 8 7 31451 98982 70 28947 91045 9 0 28948 01413 2 5 050749 204127 Page 302 of 496 November 12, 2014Catalogue Numbe rArtist / Title Config Scannable UPC UPC 5314932 JAM/COLLECTON Compact Disc 731453149328 5317321 INDRA/ONE WOMAN SHOW Compact Disc 6007531732135322311 TRICKY/MAXINQUAYE (2 CD DLX) Compact Disc 600753223116 5324560 FIELDS,G/OUR GRACIE-THE BEST O Compact Disc 6007532456065330153 STEREOPHONICS/PERFORMANCE AND Compact Disc 6007533015315330159 STEREOPHONICS/WORD GETS AROUND Compact Disc 6007533015935330678 JAM,THE/SOUND AFFECTS (DLX.) Compact Disc 600753306789 5330982 WHEELER,K/ANGEL SONG Compact Disc 7314533098215331367 RAINBOW/DOWN TO EARTH (DLX) Compact Disc 6007533136715337905 STEVENS,C/COLLECTION, THE(11CD Compact Disc 600753379059 5338499 KING B B/MR. B.B. KING(10CD) Compact Disc 6007533849925339730 PERRY,L/THE UPSETTER/ SUPER(2CD Compact Disc 600753397305 5339802 PERRY,L/VAR/LEE 'SCRATCH' PERR Compact Disc 6007533980295340276 10CC/TENOLOGY 40TH ANN(4CD+DVD CD with DVD 6007534027645344625 BILLIE HOLIDAY/LADY SINGS THE BLU RAY AUDIO 6007534462565345068 SUPERTRAMP/CRIME OF THE CENTUR BLU RAY AUDIO 6007534506805345112 DRAKE,N/FIVE LEAVES LE FT BLU RAY AUDIO 600753451120 5345984 ENIGMA/CLASSIC ALBUM SELEC(5CD Compact Disc 600753459843 5346002 MOORE,G/CLASSIC ALBUM SELE(5CD Compact Disc 6007534600235346288 PUBLIC IMAGE LIMITED/GOLD(2CD) Compact Disc 6007534628815370490 OLDFIELD,M/6 CLASSIC ALBUM SEL Compact Disc 6025370490665370691 JOHN,E/5 CLASSIC ALBUM SELECTI Compact Disc 602537069118 5376982 TAHA,R/CARTE BLANCHE Compact Disc 7314537698235380062 VAR/BRITISH ROCK SYMPHONY Compact Disc 7314538006255385832 VELOSO,C/PRENDA MINHA Compact Disc 7314538583295435472 BAKER,C/IN PARIS:A SELECTION F Compact Disc 7314543547215439952 TAHA,R/MADE IN MEDINA Compact Disc 7314543995245570202 HOLLAND,D QUINTET/POINT OF VIE Compact Disc 731455702026 6 00753 44625 6 6 00753 45068 0 6 00753 45112 06 00753 40276 4 6 00753 46288 16 00753 17321 3 6 00753 37905 9 6 00753 45984 3 7 31454 35472 17 31453 85832 96 00753 46002 3 6 02537 04906 66 00753 30678 97 31453 14932 8 6 00753 31367 1 7 31453 80062 56 02537 06911 86 00753 22311 6 6 00753 38499 27 31453 30982 1 7 31455 70202 66 00753 24560 6 7 31454 39952 47 31453 76982 36 00753 39730 56 00753 30153 1 6 00753 30159 3 6 00753 39802 9 Page 303 of 496 November 12, 2014Catalogue Numbe rArtist / Title Config Scannable UPC UPC 5577892 STYLE COUNCIL,T/T COMP LETE ADV Compact Disc 731455778922 5615452 CAMILO,M & TOMATITO/SPAIN Compact Disc 7314561545275893912 TAHA,R/RACHID TAHA LIVE Compact Disc 7314589391227401202 VAR/PURE DISCO 2 Compact Disc 7769740120278036042 NEW FOUND GLORY/FROM TH E SCREE Compact Disc EP's 060768360426 8109662 ZAMFIR/ROMANCE Compact Disc 0422810966248204592 E.HUMPERDI NCK/RELEASE ME Compact Disc 042282045928 8215102 SIOUXSIE & T BANSH EES/HYAENA Compact Disc 042282151025 8227832 B.WHITE/GREATEST HITS VOL.2 Compact Disc 0422822783268234492 HOLIDAY,B/SILVER COLLECTION Compact Disc 0422823449228242062 OST/MIDNIGHT EXPRESS Compact Disc 0422824206268254712 METHANY,P/NEW CHAUTAUQUA Compact Disc 0422825471258295342 FITZGERALD,E/IRVING BERLIN SB1 Compact Disc 0422829534218307082 SOFT CELL/T SINGLES Compact Disc 0422830708208316732 HADEN,C/QUARTET WEST Compact Disc 0422831673228327912 VAUGHAN,S/AT MISTER KELLY'S Compact Disc 0422832791248334082 FRANCIS,C/20 ALL TIME GREATS Compact Disc 0422833408248371132 HOLLAND,D/TRIPLICATE Compact Disc 0422837113278374362 BARKER,C & STAN,G/CHE T BAKER M Compact Disc 042283743625 8379332 HORN,S/CLOSE ENOUGH F LOVE Compact Disc 0422837933238391162 BRIGHTMAN,S/T SONGS T GOT AWAY Compact Disc 0422839116288411102 DELGADO,R/20 SOUTH AMERICA Compact Disc 0422841110278430282 JARRETT,K/SUN BEAR CO NCERTS Compact Disc 042284302821 8432732 JOBIM,A-C/COMPACT JAZZ Compact Disc 0422843273298450972 BOXCAR-WILLIE/BEST L FAVORITES Compact Disc 0422845097258472672 DENNIS,C/MOVE TO THIS Compact Disc 0422847267268487765 JOEY & RORY/JOEY ROY INSPIRED Compact Disc 6178848776519808050 HADEN&METHEN Y/BEYOND T MI(LTD ) Compact Disc 602498080504 6 17884 87765 17 31456 15452 7 0 42282 34492 2 6 02498 08050 40 42282 95342 1 0 42283 16732 2 0 42283 27912 4 0 42283 74362 5 0 42283 79332 3 0 42284 32732 97 76974 01202 7 0 42284 50972 57 31455 77892 2 0 42282 15102 5 0 42283 91162 80 42283 34082 4 0 42284 11102 70 42282 27832 6 0 42282 42062 60 42281 09662 4 0 42283 07082 0 0 42284 72672 60 42284 30282 10 42282 54712 5 0 42283 71132 70 42282 04592 87 31458 93912 2 0 60768 36042 6 Page 304 of 496 November 12, 2014Catalogue Numbe rArtist / Title Config Scannable UPC UPC 9809582 MARDIS GRAS BB/HEAT Compact Disc 602498095829 9811207 FYGI,L/LIVE AT NORTH SEA JAZZ Digita l Video Disc 602498112076 9811303 PETERSON,O/EXCLUSIVELY FOR MY SACD4Stereo/Surround/CDAud 6024981130359816472 MARLEY,B & T WAILERS/GROOVING Compact Disc 6024981647239817513 MATOGROSSO,N/VAGABUNDO Compact Disc 6024981751329817788 POTTER,C/LIVE AT THE VILLAGE V Compact Disc 6024981778849817845 BONA,R&KANZA,L&TOTO,G/TOTO,BON Compact Disc 6024981784549818811 MICUS,S/LIFE Compact Disc 6024981881189819460 VAR/AROUND TH E WORLD:MUSIC FOR Compact Disc 602498194607 9821591 MOUSKOURI,N/A CANADIAN TRIBUTE Compact Disc 6024982159139823193 BOCELLI,A/A NIGHT IN TUSCANY-D Digital Video Disc 6024982319379824373 ABC/LEXICON OF LOVE (DELUXE ED Compact Disc 6024982437329826226 ERA/THE VERY BEST OF ERA CD wi th DVD 602498262269 9828293 FARACO,M/COM TRADICAO Compact Disc 6024982829399835155 POTTER,C/UNDE RGROUND Com pact Disc 602498351550 9838571 VARIOUS/MR GAINSBOURG REVISITE Compact Disc 6024983857159840045 PULP/HIS N HERS-DELUXE EDITION Compact Disc 6024984004569842593 WELLER,P/HIT PARADE Compact Disc 6024984259309843543 LEVEL 42/WORLD MACHINE-DELUXE Compact Disc 6024984354349843867 VAR/JAZZ CLUB:THE SWINGING BIG Compact Disc 6024984386719846775 SIMONE,N/JAZZ CLUB:MY BABY JUS Compact Disc 6024984677569848545 PARSONS,A PROJECT/TALES OF MYS Compact Disc 6024984854539865419 VIENNA ART O RCH,T/DUKE ELLING T Compact Disc 602498654194 9866035 KLEIVE,A/OHMAGODDABL Compact Disc 6024986603559866081 BORSTLAP,M/JAZZ IN AMSTERDAM Compact Disc 6024986608129866212 DADAFON/HARBOUR Compact Disc 6024986621209866741 WAXOLUTIONISTS/COUNTERFIGHT Compact Disc 6024986674159866817 WIBUTEE/PLAYMACHINE Compact Disc 602498668177 6 02498 26226 9 6 02498 46775 66 02498 43867 16 02498 28293 9 6 02498 35155 0 6 02498 42593 06 02498 19460 76 02498 16472 3 6 02498 48545 36 02498 43543 46 02498 21591 3 6 02498 24373 2 6 02498 66035 5 6 02498 66817 76 02498 40045 66 02498 17788 4 6 02498 17845 46 02498 09582 9 6 02498 17513 2 6 02498 65419 4 6 02498 66081 2 6 02498 66212 0 6 02498 66741 56 02498 18811 8 6 02498 38571 56 02498 23193 76 02498 11207 6 6 02498 11303 5 Page 305 of 496 November 12, 2014Catalogue Numbe rArtist / Title Config Scannable UPC UPC 9869033 JENKINS,K/SECOND NATURE Compact Disc 602498690338 9870342 MOLVAER,N/REMAKES Compact Disc 6024987034279871129 RUDD,X/GOOD SPIRITS Compact Disc 6024987112939872410 MURPHY,M/ONCE TO EVER Y HEART Compact Disc 602498724101 9873571 JOHNSON,E/MOZART:THE MOZART AL Compact Disc 6024987357189874862 MARLEY,B&WAILERS,T/MAN TO MAN Compact Disc 6024987486269875671 POLICE,THE/SYNCHRO NICITY CONCE Univer sal Media Disc 602498756713 9875796 PETERSON,O/JAZZ CLUB:FLY ME TO Compact Disc 602498757963 10108094 LIL BOOSIE/GONE TIL DECEMBER Compact Disc 80206180942019909202 MANNING,B AND THE GO LUCKY/HOM Compact Disc 199.0920-2 0044502912 ISLEY BROTHERS/ETERNAL Compact Disc 6004450291250044503302 FALLON,J/THE BATHROOM WALL Compact Disc 6004450330230044503822 PAPA ROA CH/LOVEHATETRAGEDY Compact Disc 600445038226 0044503852 OST/MINORITY REPORT Compact Disc 6004450385230044504102 OST/CATCH ME IF YOU CAN Compact Disc 600445041028 50714542 SHAWBROTHERS /CONCERTINTHEPARK Compact Disc 045507145427 0075304115 FAIRPORT CONVENTION/GOLD Compact Disc 6007530411540075304123 RICHIE,L & COMMODORES/THE BEST Compact Disc 600753041239 0075305053 GAYE,M/THE BEST OF-GREEN SERIE Compact Disc 6007530505380075306578 TROOPER/THE BEST OF-G REEN SERI Compact Disc 600753065785 0075307051 ALLMAN BROTHERS BA ND/THE BEST Com pact Disc 600753070512 0075308135 VAR/BEST OF 70'S ROCK/SUPERSTA Compact Disc 6007530813580075308981 VAR/BIG IN THE UK Compact Disc 6007530898110075315027 VAR/TODAY'S BEST MUSIC 2009 Compact Disc 6007531502760075316540 VAR/TODAY'S BEST MUSIC 2009(WE Compact Disc 6007531654090075318224 VAR/REGGAE CLASSICS:THE GREATE Compact Disc 6007531822460075318446 MANCEBO,J/BABIES LOVE CREEDANC Compact Disc 600753184462 0075318447 MANCEBO,J/BABIES LOVE ELTON JO Compact Disc 600753184479 0 45507 14542 7 6 00753 08981 16 00753 05053 8 6 00753 07051 2 6 00753 18446 2 6 00753 18447 96 00753 18224 66 00753 15027 6 6 00753 16540 96 02498 72410 1 6 02498 75796 3 6 00753 04123 9 6 00753 06578 5 6 00753 08135 86 02498 69033 8 6 02498 74862 6 6 00753 04115 46 02498 70342 7 6 00445 03822 6 6 00445 03852 3 6 00445 04102 86 00445 02912 5 6 00445 03302 36 02498 73571 8 8 02061 80942 06 02498 71129 3 6 02498 75671 3 Page 306 of 496 November 12, 2014Catalogue Numbe rArtist / Title Config Scannable UPC UPC 0075318448 MANCEBO,J/BABIES LOVE MADONNA Compact Disc 600753184486 0075318449 MANCEBO,J/BABIES LOVE PHIL COL Compact Disc 6007531844930075318450 MANCEBO,J/BABIES LOVE THE POLI Compact Disc 6007531845090075318451 MANCEBO,J/BABIES LOVE QUEEN Compact Disc 6007531845160075318452 MANCEBO,J/BABIES LOVE ROLLING Compact Disc 6007531845230075318453 MANCEBO,J/BABIES LOVE STEVIE W Compact Disc 6007531845300075318454 MANCEBO,J/BABIES LOVE U2 Compact Disc 6007531845470075318455 MANCEBO,J/BABIES LOVE PINK FLO Compact Disc 6007531845540075319389 VAR/LEGENDS OF ROCK Compact Disc 6007531938910075321178 VAR/A CA NADIAN CHRISTMAS 4 Compact Disc 600753211786 0075321352 JACKSON,M & JACKSON 5/THE MOTO Compact Disc 6007532135200075322656 MANCEBO,J/BABIES LOVE MICHAEL Compact Disc 6007532265680075322657 MANCEBO,J/BABIES LOVE ABBA Compact Disc 6007532265750075324519 VAR/TODAY'S BEST MUSIC 2010 Compact Disc 6007532451940075324664 MANCEBO,J/BABIES LOVE MARIAH C Compact Disc 6007532466410075324665 MANCEBO,J/BABIES LOVE TH E CARP Compact Disc 600753246658 0075327021 VAR/Z103.5 HIT MIX 2010 Compact Disc 6007532702190075327149 VAR/REGGAE 2010 Compact Disc 6007532714900075328593 VAR/BREAK THIS Compact Disc 6007532859300075329811 VAR/PURE(LY) ACOUSTIC 3 Compact Disc 6007532981140075329900 VAR/AN IN STRUMENTAL CHRISTMA S Compact Disc 600753299005 0075329901 VAR/CHRISTM AS GREATEST HITS 2 Compact Disc 600753299012 0075330181 VAR/DANCE CLASSICS Compact Disc 6007533018140075330904 VAR/Z103.5 STREETMIX 2K11 Compact Disc 6007533090490075338877 GUNS N ROSES/25T H A(CD+DVD(LTD CD with DVD 600753388778 0114310132 HATFIELD,J/BEAUTIFUL CREATURE Compact Disc Enhanced 6011431013280114310422 NIELDS,N&K/THIS TOWN IS WRONG Compact Disc 6011431042200114310662 PHILLIPS,GL/NINETEENEIGHTIES Compact Disc 601143106620 6 00753 38877 8 6 01143 10422 0 6 01143 10662 06 00753 28593 0 6 00753 29900 5 6 00753 29901 2 6 00753 30904 96 00753 30181 46 00753 27149 06 00753 27021 96 00753 24519 4 6 00753 24664 1 6 00753 24665 86 00753 21178 6 6 00753 22657 56 00753 22656 86 00753 18448 6 6 00753 18449 3 6 00753 18455 46 00753 18451 6 6 00753 18452 3 6 00753 18453 06 00753 18450 9 6 00753 18454 7 6 00753 19389 1 6 00753 29811 46 00753 21352 0 6 01143 10132 8 Page 307 of 496 November 12, 2014Catalogue Numbe rArtist / Title Config Scannable UPC UPC 0114310892 VAR/ROCK FOR RELIEF Compact Disc 601143108921 0114310902 DUNGER,N/H ERE'S MY SONG Compact Disc 601143109027 0121532912 CASH MONEY/BALLER BLOCKIN' Compact Disc 6012153291240121535592 TRAGICALLY HIP /DAY FOR NIGHT Compact Disc Enhanced 6012153559250121535602 TRAGICALLY HIP /FULLY COMPLETE Compact Disc Enhanced 6012153560210121535612 TRAGICALLY HIP,T/TROUBLE AT T Compact Disc Enhanced 6012153561200121535622 TRAGICALLY HIP /THE TRAGICALLY Compact Disc Enhanced 6012153562290121535632 TRAGICALLY HIP /ROAD APPLES-EN Compact Disc Enhanced 6012153563280121535642 TRAGICALLY HIP /UP TO HERE-ENH Compact Disc Enhanced 6012153564270121578832 SISTER HAZEL/FORTRESS Compact Disc Enhanced 6012157883270121591852 ROSS,D/TH E BEST OF DIANA RO SS- Compact Disc 601215918526 0121592712 KOFFMAN,M/THE MOE KOFFMAN PROJ Compact Disc 6012159271220121594032 HARDIMAN,R/ANTHEM Compact Disc 6012159403290121597342 GILLESPIE,D/THE GIANT Compact Disc 6012159734260121598212 BECHET,S/SIDNEY BECHET ET CLAU Compact Disc 6012159821210121598542 REINHARDT,D/SWING 39 Compact Disc 6012159854290246544142 SHEPP,A/ATTICA BLUES Compact Disc 6024654414200246544922 HINES,E/ONCE UPON A TIME Compact Disc 6024654492280249809690 VAR/THE BEST OF THE 50'S Compact Disc 6024980969010249817713 SPLIT ENZ/THE BEST OF SPLIT EN Compact Disc 6024981771360249817911 STEVENS,RAY/TH E BEST OF STEVEN Compact Disc 602498179116 0249819489 BRASSENS,G/BEST OF Compact Disc 6024981948980249820643 JAMES GANG/THE BEST OF JAMES G Compact Disc 6024982064300249820920 DUFRESNE, D/THE BEST OF DIAN E D Compact Disc 602498209202 0249821129 MOUSKOURI,N/LIVE AT THE HEROD Digital Video Disc 6024982112980249821595 VAR/SMOOTH JAZZ 2 Compact Disc 6024982159510249821969 VAR/BEST OF ALL TIME FAVOURITE Compact Disc 6024982196900249822265 MANTOVANI/THE BEST OF MANTOVAN Compact Disc 6024982226526 01143 10892 1 6 01143 10902 7 6 01215 92712 2 6 01215 98212 1 6 01215 98542 96 01215 97342 6 6 02498 21595 16 02465 44142 0 6 02465 44922 86 01215 32912 4 6 01215 94032 9 6 02498 19489 8 6 02498 20920 26 01215 91852 6 6 02498 17911 66 02498 17713 6 6 02498 20643 0 6 02498 21969 0 6 02498 22265 26 02498 09690 16 01215 78832 76 01215 35592 5 6 01215 35602 1 6 01215 35612 0 6 01215 35622 9 6 01215 35632 8 6 01215 35642 7 6 02498 21129 8 Page 308 of 496 November 12, 2014Catalogue Numbe rArtist / Title Config Scannable UPC UPC 0249823180 DIRE STRAITS/ON THE NIGHT Digital Video Disc 602498231807 0249823378 KNOPFLER,M/A NIGHT IN LONDON Digital Video Disc 6024982337880249824503 LIBERACE/THE BEST OF LIBERACE Compact Disc 602498245033 0249824600 LOMBARDO,G/THE BEST OF GUY LOM Compact Disc 6024982460090249826006 MARLEY,B & THE WAILERS/LIVE AT Digital Video Disc 6024982600670249832835 SQUEEZE/ARGY BARGY(DELUXE EDIT Compact Disc 6024983283540249833453 RODGERS & HART/DEFINITIVE COLL Compact Disc 6024983345390249836066 HOLMES,R/BEST OF Compact Disc 6024983606680249837061 VAR/BIO GUARD POOL PARTY Compact Disc 6024983706120249837182 SND/METAL;A HEADBANGER'S JOURN Compact Disc 6024983718240249846668 SOUNDS OF BLAC KNESS/BEST OF SO Compact Disc 602498466681 0249847167 BANGO,M/THE BEST OF MA NU DIBAN Com pact Disc 602498471678 0249860738 VAR/VERVE REMIXED II Compact Disc 6024986030310249862590 SOCIAL CODE/ YEAR AT THE MOVI ES Compact Disc 602498625903 0249863094 GOOD,M/WHITE LIGHT ROCK & ROLL Compact Disc 6024986309450249867965 MARLEY,B & T WAILERS/FY-AH, FY Compact Disc 6024986796540249871830 U2/CITY OF BLINDING LIGHTS Compact Disc Singles 6024987183080249873051 DIRESTRAIT S&KNOPFLER/PRIVATE I Compact Disc 602498730515 0249876823 ULVAEUS,B&A NDERSON,B/LYCKA Compact Disc 602498768235 0251705081 DISCO ENSEMBLE/FIRST AID KIT Compact Disc 6025170508150251705090 SCISSORSISTERS/TA-DAH! Compact Disc 6025170509070251731763 ABBA/THE ALBUM (DELUXE EDT) CD with DVD 602517317635 0251735251 POWDERFINGER/ DREAM DAYS AT TH E Compact Disc 602517352513 0251740807 NINE BLACK ALPS/LOVE/HATE Compact Disc 6025174080740251741595 KRALL,D/VERY BEST OF DIANA(DEL CD with DVD 602517415959 0251748208 PUPPINI SISTERS/THE RISE AND F Compact Disc 6025174820810251751325 MACDONALD,A/THIS IS THE LIFE Compact Disc 6025175132590251760860 HOUSEMARTI NS,THE/BEAUTIFUL SOU Compact Disc 602517608603 6 02517 41595 96 02517 31763 5 6 02517 35251 3 6 02517 40807 46 02498 37061 2 6 02498 60303 16 02498 33453 9 6 02517 05081 56 02498 37182 4 6 02498 62590 3 6 02498 63094 5 6 02498 67965 4 6 02517 05090 76 02498 76823 56 02498 73051 5 6 02517 51325 96 02517 48208 1 6 02517 60860 36 02498 32835 4 6 02498 46668 1 6 02498 47167 86 02498 24600 9 6 02498 36066 86 02498 24503 3 6 02498 71830 86 02498 23180 7 6 02498 23378 8 6 02498 26006 7 Page 309 of 496 November 12, 2014Catalogue Numbe rArtist / Title Config Scannable UPC UPC 0251761306 CHILDREN OF BODOM/HATEBREEDER Compact Disc 602517613065 0252702464 TRAGICALLY HIP,THE/WE ARE THE Compact Disc 6025270246460252711916 NOAH AND THE WHALE/THE FIRST D Compact Disc 6025271191680252719514 RAMMSTEIN/LIEBE IST FUR ALLE D Compact Disc 6025271951480252730072 K'NAAN/TROUBADOUR"CHAMPION EDI Compact Disc 602527300726 252732799 GOULDING,E/LIGHTS Compact Disc 602527327990 0252733024 MILOW/MILOW Compact Disc 6025273302420252734225 RYANDAN/ SILENCE SPEAKS Co mpact Disc 602527342252 0252735279 BIEBER,J/MY WORLD 2.0(CD+TEE/L Compact Disc 6025273527940252736810 BIEBER,J/MY WORLD & MW2.0 COLL Compact Disc 6025273681080252740742 YOUNG ARTISTS FOR HAITI/WAVIN' Compact Disc Singles 6025274074250252741991 IGLESIAS, E/EUPHORIA Compact Disc 6025274199160252742069 TOKIO HOTEL/HUMANOID CITY LIVE Compact Disc 6025274206910252742070 TOKIO HOTEL/HUMANOID CITY LIVE Digital Video Disc 6025274207070252764092 FUMANTI,G/ELYSIUM Compact Disc 6025276409210252769375 IL VOLO/IL VOLO Compact Disc 6025276937500252782674 RYANDAN/IMAGINE Compact Disc 602527826745 253734979 COLTRANE,J/A LOVE SUPREME(DLX) BLU RAY AUDIO 602537349791 0253740966 KISS/MONSTER(TOUR EDITION) Compact Disc 6025374096620253762285 SAM ROBERTS BA ND/LO FANTASY(DL Compact Disc 602537622856 0253791077 MC MARIO/SUMMER ANTHEMS 2014 Compact Disc 6025379107790694906252 RUFF RYDERS/RUFF RYDERS VOL 2 Compact Disc 6069490625210694907342 HUMBLE PIE/TH E BEST OF HUMBLE Compact Disc 606949073428 0694907702 LIMP BIZKIT/CHOCOLATE (EDITED) Compact Disc 6069490770200694907752 JACKSON,J/THE BEST OF JOE JACK Compact Disc 6069490775250694908132 2PAC/THE ROSE THAT GREW FROM Compact Disc 6069490813240694908452 EVE/SCORPION Compact Disc 6069490845230694930562 FLYING B URRITO BROTHERS/THE BE Compact Disc 606949305628 6 02537 34979 16 02527 69375 06 02527 42069 16 02527 32799 0 6 02527 34225 26 02517 61306 5 6 02537 91077 96 02527 82674 5 6 02537 62285 66 02527 30072 66 02527 19514 8 6 02527 64092 1 6 02537 40966 26 02527 02464 6 6 02527 41991 66 02527 11916 8 6 02527 35279 4 6 02527 36810 8 6 06949 08132 46 06949 07702 0 6 06949 08452 36 06949 06252 16 02527 33024 2 6 06949 07342 8 6 06949 07752 5 6 06949 30562 86 02527 40742 5 6 02527 42070 7 Page 310 of 496 November 12, 2014Catalogue Numbe rArtist / Title Config Scannable UPC UPC 0694931772 RUFF RYDERS/RYDE OR DIE VOL.3 Compact Disc 606949317720 0694933492 SUPERTRAMP/ BREAKFAST IN AMER IC Compact Disc 606949334925 0694934022 WHITESNAKE/HERE I GO AGAIN:THE Compact Disc 6069493402230694934162 CARPENTERS TH E/THE ESSENTIAL C Compact Disc 606949341626 0694934292 DE BURG H,C/TIMING IS EVER YTHIN Compact Disc 606949342920 0694935949 GABRIEL,P/SECRET WORLD LIVE Digital Video Disc 6069493594920694978672 QUEENS OF THE STONE AGE/GO WIT CDSP Enhanced 6069497867240770300372 DAYS OF THE NE W/DAYS OF THE NE Compact Disc 607703003729 0832300003 YANOFSKY,N/LITTLE SECRET Compact Disc 8083230000310881120202 METHODS OF MAYHEM/.... Co mpact Disc 008811202026 0881122412 KING,B.B/MAKIN' LOVE IS GOOD F Compact Disc 0088112241270881122972 DIAMOND,N/THE NEIL DIAMOND COL Compact Disc 0088112297260881123102 RES/HOW I DO Compact Disc 0088112310260881123552 SEMISONIC/ALL ABOUT CHEMISTRY Compact Disc 0088112355290881123572 MILLS,S/THE BEST OF STEPHANIE Compact Disc 0088112357270881123642 NONPOINT/STATEMENT Compact Disc Enhanced 0088112364270881124782 MINT ROYALE/ON THE ROPES Compact Disc 0088112478290881126922 JOLSON,A/THE BEST OF AL JOLSON Compact Disc 0088112692270881128572 MIDTOWN/LIVING WELL IS THE BES Compact Disc 0088112857220881129042 VAR/LYRICIST LOUNGE VOL.2 Compact Disc 0088112904290881129102 VAR/SOUNDBOMBING II Compact Disc 0088112910200881129202 NONPOINT/DEVELOPMENT Compact Disc 0088112920270881130912 SIGUR ROS/( ) Compact Disc 0088113091210881131842 LOVETT,L/SMILE Compact Disc 0088113184200881701192 MCENTIRE,R/SO GOOD TOGETHER Compact Disc Enhanced 0088170119290881702152 LYNN,L/THE BEST OF LORETTA V.2 Compact Disc 0088170215220881702342 LOVETT,L/ANTHOLOGY VOL.1 COWBO Compact Disc 0088170234270881702832 CASH,J/IS COMING TO TOWN/BOOM Compact Disc 0088170283236 06949 78672 4 0 08811 30912 10 08811 29102 00 08811 29042 9 0 08817 02832 36 06949 34292 0 0 08817 02342 70 08811 22972 60 08811 20202 6 0 08811 22412 7 0 08811 23102 6 0 08811 23552 9 0 08811 24782 9 0 08811 28572 2 0 08811 29202 7 0 08811 31842 06 06949 31772 0 6 06949 34022 3 6 07703 00372 96 06949 33492 5 6 06949 34162 6 0 08817 02152 20 08811 26922 70 08811 23572 78 08323 00003 1 0 08817 01192 90 08811 23642 76 06949 35949 2 Page 311 of 496 November 12, 2014Catalogue Numbe rArtist / Title Config Scannable UPC UPC 0881703619 STRAIT,G/FOR THE LAST TIME FRO Digital Video Disc 008817036199 1166104862 MALIBU STORM/MALIBU STORM Compact Disc 0116610486211166105502 MOODY BLUEGRASS/A NASHVILLE TR Compact Disc 0116610550251166106102 DAILEY & VINCENT/SINGING FROM Compact Disc 0116610610261166115822 THOMAS ,I/IF YOU WANT IT,C OME A Compact Disc 011661158221 1166115872 JONES,B/PUT YOUR HANDS ON YOUR Compact Disc 0116611587261166116222 RICE,T/THE BL UEGRASS GUITAR CO Compact Disc 011661162228 1166117702 LOMAX,A/THE SPANISH RECORDING S Compact Disc 011661177024 1166118282 VAR/DEEP RI VER OF SONG:GEORG IA Compact Disc 011661182820 1166118882 MORTON,J/THE COMPLETE LIBRARY Compact Disc 0116611888221166130132 G.THOROGOOD/& T DESTROYERS SACD4Stereo/Surround/CDAud 0116613013201166131766 NYRO,L/ANGEL IN THE DARK (SACD SACD2Stereo/CD Audio 0116613176661166131852 ALBERSTEIN,C & KLEZMATICS/T WE Compact Disc 0116613185261166131972 KLEZMATICS THE/RISE UP Compact Disc 0116613197211166132182 A PRAIRIE HOME COMPANION/30TH Compact Disc 0116613218231166132189 A PRAIRIE HOME COMPANION/30TH Digital Video Disc 0116613218921166132439 VAR/TELLURIDE BLUEGRASS FESTIV Di gital Video Disc 011661324398 1166132812 KAKI KING/JUNIOR Compact Disc 0116613281291166170342 LUNNY,D/JOUNEY:T BEST OF DONAL Compact Disc 0116617034211166176622 T-GLADIATORS/AT STUDIO ONE:BON Compact Disc 0116617662281166176642 BURNING SPEAR/CREATION REBEL Compact Disc 011661766426 1166176882 BOOTHE.K/A MAN AND HIS HITS Compact Disc 0116617688261166177012 MARLEY,B & T WAILERS/WAILERS & Compact Disc 0116617701261166177242 VAR/STUDIO ONE SHOWCASE V.1 Compact Disc 0116617724271166177342 G.ISAACS/BEST OF VOL.2 Compact Disc 0116617734241166177392 BROWN,D/DENNIS BROWN IN DUB Compact Disc 0116617739291166177522 PERRY,L/BAFFLING SMOKE SIGNAL Compact Disc 0116617752201166177532 PERRY,L/CUTTING RAZOR:RARE CUT Compact Disc 0116617753290 11661 15872 60 11661 15822 1 0 11661 70342 1 0 11661 76622 80 11661 05502 5 0 11661 18882 2 0 11661 77012 6 0 11661 77392 9 0 11661 77522 0 0 11661 77532 90 11661 76642 6 0 11661 77242 70 11661 06102 6 0 11661 16222 8 0 11661 17702 4 0 11661 18282 0 0 11661 31852 6 0 11661 31972 1 0 11661 76882 6 0 11661 77342 40 11661 04862 1 0 11661 32182 3 0 11661 32812 90 11661 32439 80 08817 03619 9 0 11661 32189 20 11661 31766 60 11661 30132 0 Page 312 of 496 November 12, 2014Catalogue Numbe rArtist / Title Config Scannable UPC UPC 1166177572 KING TUBBY/ NINEY THE OBSERVER Compact Disc 011661775725 1166178012 VAR/BEST OF STUDIO ONE Compact Disc 0116617801251166178132 ALTON,E/I'M STILL IN LOVE WITH Compact Disc 0116617813201166178402 OSBOURNE,J/T RUTHS AND RIGHTS D Compact Disc 011661784024 1166180972 ARTHUR&FR IENDS/ARTHUR'S PERFE C Compact Disc 011661809727 1166181062 ARTHUR&FRIE NDS/ARTHUR'S REALLY Compact Disc 011661810624 1166190582 OST/BUFFY THE VAMPIRE SLAYER(O Compact Disc 011661905825 1166190972 RATELIFF,N/IN MEMORY OF LOSS Compact Disc 0116619097241166191041 BLACK SEA STAT ION,THE/TRANSYLV Compact Disc 011661910416 1790020594 PINK GRENADE/FEAR OF A PINK PL Compact Disc 8117900205941896460702 MAGNOLIA SISTERS/CHERS AMIS Compact Disc 0189646070291896496042 GORDON,S/YOU KNOCK ME OUT Compact Disc 0189649604211896496152 SANSONE,J/WATERMELON PATCH Compact Disc 0189649615272061611832 STRYPER/THE YELLOW A ND BLACK A Compact Disc 720616118325 2061611852 STRYPER/TO HELL WITH THE DEVIL Compact Disc 720616118523 2061617412 LOS LOBOS/GOOD MORNING Compact Disc 7206161741232061622392 PAIGE,J/POSITIVELY SOMEWHERE Compact Disc 7206162239202061623242 OST/ZOOLANDER Compact Disc 7206162324272061623522 OST/THE ROOKIE Compact Disc 7206162352202061623572 OST/UNDERCOVER BROTHER Compact Disc 7206162357252061623912 STRYPER/7:THE BEST OF STRYPER Compact Disc 720616239129 2061624009 QUEEN/LIVE AT WEMBLEY STADIUM Digital Video Disc 7206162400952061624222 QUEEN/LIVE AT WEMBLEY STADIUM Compact Disc 7206162422282061624452 OST/THE PRINCE & ME Compact Disc 7206162445292061624542 OST/13 GOING ON 30 Compact Disc 7206162454272061624612 OST/KING ARTHUR Compact Disc 7206162461272061624642 OST/THE VILLAGE Compact Disc 7206162464242061624732 DUFF,H/HILARY DUFF Compact Disc 7206162473220 11661 78132 0 0 18964 60702 90 11661 77572 5 0 11661 78012 5 0 11661 90582 5 0 18964 96152 70 11661 78402 4 0 11661 90972 4 0 18964 96042 10 11661 80972 7 0 11661 91041 60 11661 81062 4 7 20616 17412 3 7 20616 22392 0 7 20616 23242 7 7 20616 23522 0 7 20616 23572 5 7 20616 24222 8 7 20616 24452 9 7 20616 24542 7 7 20616 24732 27 20616 11832 5 7 20616 11852 3 7 20616 23912 9 7 20616 24612 7 7 20616 24642 48 11790 02059 4 7 20616 24009 5 Page 313 of 496 November 12, 2014Catalogue Numbe rArtist / Title Config Scannable UPC UPC 2061624782 OST/LADDER 49 Compact Disc 720616247827 2061624909 QUEEN/ON FIRE-LIVE AT THE BOWL Digital Video Disc 7206162490982061624942 OST/THE LIFE AQUATIC WITH STEV Compact Disc 7206162494252061624952 OST/CHRISTMAS WI TH THE KRANKS Compact Disc 720616249524 2061624962 BREAKING BENJAMI N/SO COLD EP Co mpact Disc EP's 720616249623 2061625279 QUEEN & PAUL RO DGER/RETURN OF Digi tal Video Disc 720616252791 2061625412 OST/THE GREATEST GAME EVER PLA Compact Disc 7206162541222061625502 TYRELL,S/SONGS OF SINATRA Compact Disc 7206162550202061625852 EVANSBLUE/THE MELODY AND THE E Compact Disc 7206162585262061625862 FLASHLIGHTBROWN/BLUE Compact Disc 7206162586252061626172 OST/KINKY BOOTS ORIGINAL SOUND Compact Disc 7206162617242061626412 OST/INVINCIBLE Compact Disc 7206162641212061626422 ALY & AJ/INSOMNIATIC Compact Disc 7206162642202061650599 RASCAL FLATTS/HERE'S TO YOU;LI Digital Video Disc 7206165059962061655342 SQUIRREL NUT ZIPPERS/THE BEST Co mpact Disc 720616553423 2061671062 HOEY,G/HO! HO! HOEY Compact Disc 7206167106282061671252 ECHOBRAIN/ECHOBRAIN Compact Disc 7206167125232061690119 QUEEN/GREATEST VIDEO HITS 1 Digital Video Disc 7206169011942310741092 CORONER/MENTAL VORTEX DIGITAL ALBUM 8231074109292537542291 MIKAEL,S/SPEECHLESS Compact Disc 6025375422912537715657 CELTIC WOMAN/EMERALD MUSICAL G Compact Disc 6025377156572539600022 THEORY OF A DEADMAN/NOTHING CO Compact Disc Singles 8253960002252539600822 MARIANAS TR ENCH/MASTERPIECE TH Compact Disc 825396008221 2539601232 THEORY OF A DEADMAN/SCARS (DLX CD with DVD 8253960123272539601492 BARRIE, M R/BREAKAWAY Com pact Disc 825396014925 2539601852 MARIANA'S TRE NCH/MASTERPIECE T CD with DVD 825396018527 2539602752 JEPSEN,C R/ CURIOSITY (CDEP) Co mpact Disc EP's 825396027529 2539603692 SHILOHS,THE/SO WILD Compact Disc 825396036927 8 25396 01232 7 8 25396 01852 78 25396 00822 17 20616 25862 5 7 20616 71252 37 20616 71062 8 6 02537 71565 77 20616 25852 67 20616 24782 7 7 20616 24942 5 7 20616 24952 4 7 20616 25502 0 7 20616 26172 4 7 20616 26412 1 7 20616 26422 0 7 20616 55342 37 20616 25412 2 6 02537 54229 1 8 25396 01492 5 8 25396 03692 78 25396 02752 97 20616 24962 3 8 25396 00022 58 23107 41092 97 20616 50599 67 20616 25279 1 7 20616 90119 47 20616 24909 8 Page 314 of 496 November 12, 2014Catalogue Numbe rArtist / Title Config Scannable UPC UPC 2894552972 BARTOK/6 STR QRT/TAKACS Compact Disc 028945529721 2894582012 AMOR/OPERAS GREAT LOVE SONGS Compact Disc 0289458201252894582082 BERLIOZ/LES TROYENS-GRAND Compact Disc 0289458208282894582102 WAGNER/RING NIBELUNGEN/SOLTI Compact Disc 0289458210232894588602 MAHLER/SYM 5/CHAILLY Compact Disc 0289458860222894607962 OST/ELIZABETH Compact Disc 0289460796212894622772 LULLABIES-FOR-LOVERS/VAR Compact Disc 0289462277252894625612 VAR/BRAHMS FOR BOOK LOVERS Compact Disc 0289462561212894704662 VAR/FOR MY LOVE Compact Disc 0289470466222894720802 PART/ORIENT OCCIDENT Compact Disc 0289472080202894721792 VAR/THE #1 SOPRANOS ALBUM Compact Disc 0289472179232894722072 VAR/MASTERS OF THE BOW Compact Disc 0289472207252894724642 COLE,N/REFLECTIONS Compact Disc 0289472464282894724682 MONK/MERCY Compact Disc 0289472468242894724772 VAR/FOR YOUR DREAMS Compact Disc 0289472477222894724942 PUCCINI/T HE VOICE OF PUCCI NI Compact Disc 028947249429 2894733452 VAR/ESSENTIAL CHRISTMAS:30 SEA Co mpact Disc 028947334521 2923163001 VAR/LE CHAT MUSICIAN Compact Disc 6292316300172923163060 VAR/DREAM SONGS NIGHT SONGS FR Compact Disc 6292316306042923163154 VAR/UN TRESOR DANS MON JARDIN Compact Disc 6292316315402923163697 LA BOLDUC,C/J' AI UN BOUTON SU R Compact Disc 9782923163697 3020602232 MOODSWINGS/HORIZONTAL Compact Disc 0302060223223020602822 CRUISE,J/ART OF BEING A GIRL Compact Disc 030206028225 3020606462 VAR/THE CHILL LOUNGE Compact Disc 0302060646293020606542 VAR/TUNNEL TR ANCE FORCE AMER -2 Compact Disc 030206065428 3145104992 SOSA,M/EN ARGENTINA Compact Disc 7314510499273145125102 CATHERINE-WHEEL/FERMENT Compact Disc 7314512510233145129042 ESSENTIALS/S.VAUGHAN Compact Disc 731451290428 0 30206 02822 5 0 30206 06462 9 0 30206 06542 80 30206 02232 2 7 31451 29042 87 31451 04992 70 28946 22772 5 0 28946 25612 10 28945 82012 5 0 28945 82082 8 0 28945 82102 3 7 31451 25102 30 28947 20802 0 0 28947 24682 40 28947 22072 5 0 28947 24642 80 28947 04662 2 0 28947 21792 3 0 28947 33452 10 28945 52972 1 0 28945 88602 2 0 28946 07962 1 0 28947 24772 2 0 28947 24942 9 6 29231 63001 7 6 29231 63060 4 6 29231 63154 0 9 782923 163697 Page 315 of 496 November 12, 2014Catalogue Numbe rArtist / Title Config Scannable UPC UPC 3145129052 ESSENTIALS/D.WASHINGTON Compact Disc 731451290527 3145141382 JOHN,E/RARE MASTERS Compact Disc 7314514138273145148412 WASHINGTON,D/FIRST ISSUE T DIN Compact Disc 7314514841243145163192 GILLESPIE,D/JAZZ MASTER V10 Compact Disc 7314516319243145168932 PETERSON,O/VERVE JZ MAS/V37 Compact Disc 7314516893213145170492 GETZ,S QUARTET/IN PARIS Compact Disc 7314517049253145170522 GILLESPIE,D/AFRO Compact Disc 7314517052293145176582 HOLIDAY,B/T COMPLETE BILLIE Compact Disc 7314517658273145177752 ESSENTIALS/B.WEBSTER Compact Disc 7314517775233145189452 STATLER BROTHERS/30TH ANNIVERS Compact Disc 7314518945273145195642 FITZGERALD,E/T CPT ELLA IN BER Compact Disc 7314519564233145198272 PARKER,C/VERVE JAZZ MSTRS V15 Compact Disc 7314519827293145198322 FITZGERALD,E/CPTE.SONG BOOK Compact Disc 7314519832213145198532 VAR/JAZZ MASTERS VOLUME 20 Compact Disc 7314519853243145202872 MCENTIRE,R/BEST OF TH E EARLY Y Compact Disc 731452028723 3145204012 BURDON, E & ANIMALS T/THE BEST Compact Disc 731452040121 3145205412 CHER/TAKE ME HOME Compact Disc 7314520541283145214292 HOLIDAY,B/LADY SINGS T BLUES Compact Disc 7314521429243145214312 JOBIM,A-C/COMPOSER DESAFINADO Compact Disc 7314521431293145216562 ESSENTIALS/M.TORME Compact Disc 7314521656263145217372 VAR/T VERVE STORY 1944-1994 Compact Disc 7314521737203145218542 PARKER,C/VERVE JAZZ MASTERS 28 Compact Disc 7314521854263145218592 YOUNG,L/VERVE JZ MASTR V.30 Compact Disc 7314521859213145226512 ADDERLEY,C/VERVE JZ V.31 Compact Disc 7314522651283145232512 BARRA MACNEILS/TRADITIONAL ALB Compact Disc 7314523251293145238452 LL-COOL-J/MR.SMITH Compact Disc 7314523845223145239902 FITZGERALD,E/ESSENTIAL ELLA Compact Disc 7314523990213145242602 OST/BASQUIAT-MUSIC FROM T MIRA Compact Disc 7314524260247 31451 68932 1 7 31451 98272 9 7 31452 26512 87 31451 70492 5 7 31452 17372 0 7 31452 39902 17 31451 29052 7 7 31451 70522 9 7 31451 76582 7 7 31451 77752 3 7 31451 95642 3 7 31451 98322 1 7 31452 14292 4 7 31452 14312 9 7 31452 16562 67 31451 63192 4 7 31451 98532 4 7 31452 18542 6 7 31452 18592 17 31451 41382 7 7 31452 32512 97 31451 89452 77 31451 48412 4 7 31452 42602 47 31452 02872 3 7 31452 04012 1 7 31452 05412 8 7 31452 38452 2 Page 316 of 496 November 12, 2014Catalogue Numbe rArtist / Title Config Scannable UPC UPC 3145243992 OC/JEWELZ Compact Disc 731452439925 3145245792 FAITHFULL,M/A PERFECT STRANGER Compact Disc 7314524579293145260132 BON JOVI/CROSS ROAD Compact Disc 7314526013223145263732 BROWN,C/ROACH,M/ALONE TOGETHER Compact Disc 7314526373213145264402 ECKSTINE,B/BILLY'S BEST Compact Disc 7314526440223145269912 T.CLARK/TERRI CLARK Compact Disc 7314526991213145272232 FITZGERALD,E/ DAYDREAM/BEST Co mpact Disc 731452722324 3145274752 WEBSTER,B/T SOUL OF Compact Disc 7314527475253145276502 HOLIDAY,B/VERVE JZ MASTER47 Compact Disc 7314527650243145277732 GETZ,S/COOL VELVET/& STRING Compact Disc 7314527773243145278152 PARKER,C/CONFIRMATION/BEST OF Compact Disc 7314527815293145279062 EVANS,B/T BEST OF BILL EVAN Compact Disc 7314527906203145279072 HARGROVE,R/MCBRIDE,C/SCOTT, Compact Disc 7314527907293145281592 JOHN,E/GOODBYE YELLOW BRICK RD Compact Disc 7314528159273145295082 OST/MR HOLLAND'S OPUS Compact Disc 7314529508263145295542 KANSAS CITY BAND/KANSAS CITY Compact Disc 731452955425 3145305112 ROSS,D & T SUPREMES/ANTHOLOGY Compact Disc 7314530511263145305592 R.JAMES/ULTIMATE COLLECTION Compact Disc 7314530559263145308592 M.WELLS/ULTIMATE COLLECTION Compact Disc 7314530859233145312622 ALLMAN BROTHERS/BROTHERS AND S Compact Disc 7314531262203145318252 CLAPTON,E/SLOWHAND Compact Disc 7314531825233145319602 VAR/JZ FOR JOY/VERVE XMAS A Compact Disc 7314531960253145324862 DEF-LEPPARD/SLANG Compact Disc 7314532486253145331832 VAR/RED HOT&RIO Compact Disc 7314533183283145332472 FITZGERALD,E/T BEST OF SONGBOO Compact Disc 7314533247253145338212 ZUCCHE RO/GREATEST HITS(ITA LIA) Compact Disc 731453382121 3145338252 EVANS,B/T BEST OF BILL EVANS Compact Disc 7314533825273145341022 MOUSKOURI,N/NANA LATINA Compact Disc 731453410220 7 31452 81592 7 7 31453 18252 3 7 31453 32472 57 31452 63732 1 7 31452 64402 2 7 31452 72232 4 7 31452 74752 5 7 31452 77732 4 7 31452 78152 9 7 31452 79062 0 7 31452 79072 9 7 31452 95542 5 7 31453 19602 5 7 31453 31832 8 7 31453 38252 77 31452 76502 4 7 31452 95082 6 7 31453 38212 17 31453 05112 6 7 31453 05592 6 7 31453 08592 37 31452 69912 17 31452 60132 2 7 31453 41022 07 31453 24862 57 31453 12622 07 31452 43992 5 7 31452 45792 9 Page 317 of 496 November 12, 2014Catalogue Numbe rArtist / Title Config Scannable UPC UPC 3145352232 MOODY BLUES THE/TIME TRAVELLER Compact Disc 731453522329 3145358842 VAR/NOVA BOSSA/ RED HOT ON VER V Compact Disc 731453588424 3145361422 HARPESTRY/A.WOLLENWEIDER Compact Disc 7314536142223145363572 JERKY-BOYS/JERKY BOYS 4 Compact Disc 7314536357223145363892 EPMD/BACK IN BUSINESS Compact Disc 7314536389213145375032 SCOFIELD,J TRIO/MAKOTO OZONE Compact Disc 7314537503263145380882 BON JOVI/7800 FAHRENHEIT Compact Disc 7314538088293145380892 BON JOVI/SLIPPERY WHEN WET Compact Disc 7314538089283145380902 BON JOVI/NEW JERSEY Compact Disc 7314538090243145380912 BON JOVI/KEEP THE FAITH Compact Disc 7314538091233145381192 BON JOVI/THESE DAYS Compact Disc 7314538119283145390522 VAUGHAN,S/T ULTIMATE S VAUGHAN Compact Disc 7314539052213145391712 COSBY,B/HELLO,F RIEND/TO ENNI S Compact Disc 731453917125 3145391862 LL-COOL-J/PHENOMENON Compact Disc 7314539186273145397572 PARKER,C/CHARLIE PARKER Compact Disc 7314539757293145401982 SOUNDGA RDEN/SUPERUNKNOWN Compact Disc 731454019828 3145408332 SOUNDGA RDEN/A SIDES C ompact Disc 731454083324 3145409102 MXPX/SLOWLY GOING T WAY OF T Compact Disc Enhanced 7314540910223145409502 FRAMPTON,P/T VERY BEST OF Compact Disc 7314540950203145409552 BIG SUGAR/HEATED Compact Disc 7314540955253145413632 BENTON,B/TH E BEST OF BROOK BEN Compact Disc 731454136327 3145423252 DJ CLUE/T PROFESSIONAL PT II Compact Disc 7314542325243145424742 BON JOVI/CRUSH Compact Disc 7314542474293145429162 MJ COLE/SINCERE Compact Disc 7314542916203145429342 JA RULE/RULE 3:36 Compact Disc 7314542934263145429842 APOCALYPTICA/CULT Compact Disc 7314542984213145430342 TORVESI,G & CO SCIA,G/IN CERCA Compact Disc 731454303422 3145430772 VAR/VOICES OF THE CENTURY Compact Disc 731454307727 7 31453 91712 5 7 31454 08332 47 31453 80902 4 7 31453 80912 3 7 31453 81192 87 31453 80882 9 7 31454 24742 97 31453 80892 87 31453 75032 67 31453 58842 4 7 31453 90522 1 7 31454 30772 77 31453 97572 9 7 31454 29162 07 31453 52232 9 7 31453 61422 2 7 31453 63572 2 7 31454 29842 1 7 31454 30342 27 31453 91862 77 31453 63892 1 7 31454 23252 4 7 31454 29342 67 31454 01982 8 7 31454 09502 0 7 31454 09552 5 7 31454 13632 77 31454 09102 2 Page 318 of 496 November 12, 2014Catalogue Numbe rArtist / Title Config Scannable UPC UPC 3145433192 RUBIO,P/PAULINA Compact Disc 731454331920 3145433812 JOBIM,A/JOBIM Compact Disc 7314543381273145434302 SCOFIELD,J/BUMP Compact Disc 7314543430223145435802 PINE,C/BACK IN T DAY Compact Disc 7314543580263145435862 BENSON,G/ABSOLUTE BENSON Compact Disc Enhanced 7314543586203145436002 O'DAY,A/ANITA O'DAY'S FINEST H Compact Disc 7314543600293145436882 GOLUB,J/DANGEROUS CURVES Compact Disc 7314543688273145438342 PETERSON TRIO/ON THE TOWN WITH Compact Disc 7314543834243145439152 MCBRIDE,C/SCI-FI Compact Disc 7314543915283145460632 JERKY-BOYS/STOP STARING AT ME Compact Disc Enhanced 7314546063253145461772 LYNNE,S/I AM SHELBY LYNNE Compact Disc 7314546177273145462462 I MOTHER EARTH/BLUE,GREEN,OR Compact Disc Enhanced 7314546246263145479592 JONES,E-DAVI S,R/HEAVY SOUNDS Co mpact Disc 731454795920 3145481482 LEGRAND,M/PARIS JAZZ PIANO Compact Disc 7314548148293145483182 VAR/JAZZ ET CINEMA VOL.1 Compact Disc 7314548318263145486262 CASE/OPEN LETTER Compact Disc 7314548626223145488362 SISQO/RETURN OF DRAGON Compact Disc Enhanced 7314548836273145490292 SOUNDS OF BLACKNESS/TIME 4 HEA Compact Disc 7314549029223145493522 VAR/KEN B URNS JAZZ:THE STORY Compact Disc 731454935227 3145493712 AMMONS,G & STITT,S/BOSS TENORS Compact Disc 7314549371223145494172 HORN,S/YOU'RE MY THRILL Compact Disc 7314549417233145496732 TORME,M/MEL TORME FINEST HOUR Compact Disc 7314549673273145497752 ANTOINE,M/CRUISIN' Compact Disc 7314549775243145497992 MUMBA,S/GOTTA TELL YOU Compact Disc 7314549799243145499142 COLTRANE,J/STANDARDS Compact Disc 7314549914213145525402 RUSSELL,B/GREATEST HITS Compact Disc 7314552540203145563322 VAR/HOUSEMIX 2001 Compact Disc 7314556332213145568022 VAR/LATINO HEAT Compact Disc 731455680225 7 31454 61772 7 7 31454 81482 97 31454 35802 6 7 31454 83182 6 7 31454 93522 77 31454 33812 7 7 31454 34302 2 7 31454 36002 9 7 31454 36882 7 7 31454 38342 4 7 31454 39152 8 7 31454 79592 0 7 31454 93712 2 7 31454 94172 3 7 31454 96732 7 7 31454 97752 4 7 31454 99142 17 31454 33192 0 7 31455 63322 1 7 31455 68022 57 31454 97992 47 31454 90292 2 7 31455 25402 07 31454 86262 27 31454 35862 0 7 31454 62462 67 31454 60632 5 7 31454 88362 7 Page 319 of 496 November 12, 2014Catalogue Numbe rArtist / Title Config Scannable UPC UPC 3145573272 PAYTON,N/PAYTON'S PLACE Compact Disc 731455732726 3145580752 PETERSON,O/TRIO + 1 Compact Disc 7314558075233145580772 GARNER,E/CONTRASTS Compact Disc 7314558077213145584982 PAGE,P/GOLDEN GREATS Compact Disc 7314558498203145589452 REDMAN/DOCS T NAME 2000 Compact Disc 7314558945233145592212 ABBA/LOVE STORIES Compact Disc 7314559221273145601002 VAR/G.PETERSON WORLDWIDE 1 Compact Disc 7314560100213145602092 CHER/T WAY OF LOVE-T CHER COLL Compact Disc 7314560209213145654172 VAR/FUNK CLASSICS:T 70S Compact Disc 7314565417233145721892 U2/IF GOD WILL SEND HIS ANGELS Compact Disc EP's 7314572189213145727172 BON JOVI/THANK YOU FOR LOVING Compact Disc EP's 7314572717283145841492 VAR/PURE BLUES Compact Disc 7314584149263145842102 GETZ,S/THE VERY BEST OF STAN G Compact Disc 7314584210233145847052 VAR/GRAMMY NOMINEES 2002 Compact Disc 7314584705263145847789 VAR/PURE 80'S THE DVD Digital Video Disc 7314584778913145864082 MARLEY,B & T WAILERS/EXODUS(DE Compact Disc 7314586408203145864362 LYNNE,S/LOVE, SHELBY Compact Disc 7314586436233145865612 KISS/THE BOX SET Compact Disc 7314586561283145865692 OST/SHALLOW HAL Compact Disc 7314586569203145867762 RUSTED ROOT/WELCOME TO MY PART Compact Disc 7314586776283145868222 ALLMAN,G/THE BEST OF GREGG ALL Compact Disc 7314586822263145868762 CAM'RON/COME HOME WITH ME Compact Disc 7314586876273145890992 COLTRANE,J/SPIRITUAL Compact Disc 7314589099273145892802 GRUSIN,D/THE VERY BEST OF DAVE Compact Disc 731458928027 3145893182 COHN,A & SIMS,Z/YOU'N'ME Compact Disc 7314589318293145894852 CLOONEY,R/SW ING AROUND ROSI E Compact Disc 731458948520 3145894862 MONTGOMERY,W/WILLOW WEEP FOR M Compact Disc 7314589486293145895242 SCLAVIS,L/DANS LA NUIT-MUSIC F Compact Disc 731458952428 7 31458 64362 37 31455 80772 17 31455 73272 6 7 31455 80752 3 7 31458 42102 3 7 31458 90992 7 7 31458 92802 7 7 31458 93182 9 7 31458 94852 0 7 31458 94862 97 31456 01002 1 7 31458 41492 6 7 31458 47052 67 31455 92212 7 7 31458 65612 87 31456 02092 1 7 31458 65692 07 31458 64082 0 7 31458 67762 87 31455 84982 0 7 31456 54172 3 7 31458 95242 87 31455 89452 3 7 31458 68762 77 31458 68222 67 31457 27172 87 31457 21892 1 7 31458 47789 1 Page 320 of 496 November 12, 2014Catalogue Numbe rArtist / Title Config Scannable UPC UPC 3145895462 DAVIS JR,S/BOY MEETS GIRL:SAM Compact Disc 731458954620 3145895642 GOLUB,J/DO IT AGAIN Compact Disc 7314589564263145896102 DOWNING,W/SENSUAL JOURNEY Compact Disc 7314589610243145896362 MINGUS,C/FINEST HOUR Compact Disc 7314589636223145896462 OST/KISSING JESSICA STEIN Compact Disc 7314589646293145896562 FITZGERALD,E/ELLA AT JUAN-LES Compact Disc 7314589656263145896732 GIBBS,T/PLAYS JEWISH MELODIES Compact Disc 7314589673233145897632 SCHIFRIN,L/PIANO, STRINGS AND Compact Disc 7314589763253145898132 BOCELLI,A/CIELI DI TOSCANA SACD4Stereo/Surround/CDAud 7314589813293145898262 BROWN,C & ROACH,M/AT BASIN STR Compact Disc 731458982623 3145898472 RODGERS,M M/RED, WHITE AND BLU Compact Disc 7314589847263145899072 ELLA FITZGERALD OPUS/LETS FALL Compact Disc 7314589907273746352162 GAYE,M/A TRIBUTE TO THE GREAT Compact Disc 7374635216284042440112 SETZER,B ORCHESTRA/BOOGIE WOOG Compact Disc 6404244011224042440232 ECHOBRAIN/GLEAN Compact Disc 6404244023274228272862 JARRETT,K/CONCERTS Compact Disc 0422827286234228285262 JERU-T-DAMAGA /T SUN RISES IN Compact Disc 042282852625 4228285992 BEAUTIFUL-SOUTH/ CARRY ON UP T Compact Disc 042282859921 4228286082 FACE TO FACE/BIG CHOICE Compact Disc 0422828608284228303812 ADDERLY,C/JULIAN "CANNONBALL" Compact Disc 0422830381274228326592 BLAKEY,A/1958 PARIS OLYMPIA Compact Disc 0422832659294228374332 BASIE,C/KING OF SWING Compact Disc 0422837433284228609912 FINCH/WHAT IT IS TO BURN Compact Disc 0422860991254280300422 FITZ AND THE TANTRUMS/PICKIN' Compact Disc 8428030042254391066324 VEGA/STEREO MESSIAH Compact Disc 80243910663244391066621 VEGA/WHAT THE HELL! Compact Disc 80243910666214391066720 DALTON/PIT STOP Compact Disc 80243910667204392171637 TWISTA/DARK HORSE Compact Disc 634392171637 6 40424 40232 76 40424 40112 2 0 42283 26592 97 31458 98472 67 31458 95462 0 7 31458 95642 6 7 31458 96102 4 7 31458 96362 2 7 31458 96462 9 7 31458 96562 6 7 31458 96732 3 7 31458 97632 5 7 31458 98262 3 0 42283 03812 7 0 42283 74332 87 31458 99072 7 0 42286 09912 57 37463 52162 8 0 42282 72862 3 0 42282 85262 5 0 42282 85992 1 0 42282 86082 8 8 024391 066324 8 024391 066621 8 024391 066720 6 34392 17163 78 42803 00422 57 31458 98132 9 Page 321 of 496 November 12, 2014Catalogue Numbe rArtist / Title Config Scannable UPC UPC 4400130292 PETERSON,O & GRAPPELLI/Q UARTET Compact Disc 044001302923 4400130442 JATP:A.BLAKEY&G.ARVANITAS/JAZZ Compact Disc 0440013044224400134702 DE PHAZZ/DEATH BY CHOCOLATE Compact Disc 0440013470234400139792 ARMSTRONG,L/LOUIS ARMSTRONG AN Compact Disc 0440013979294400140002 LLOYD,C/HYPERION WITH HIGGINS Compact Disc 0440014000254400140022 HOLLAND,D BIG BAND/WHAT GOES A Compact Disc 0440014002234400140292 BIG SUGAR/BROTHERS & SISTERS:A Compact Disc 0440014029204400140602 FOL&DEVILLERS&CRISS/SAXOPHONES Compact Disc 0440014060274400140612 GRAPPELLI,S/PLAYS COLE PORTER Compact Disc 0440014061264400140632 BYAS,D&MCGHEE,H&MOODY,J/BEPOP Compact Disc 0440014063244400141652 GARBAREK,J/RARUM-SELECTED RECO Compact Disc 0440014165214400141682 JARRETT,K/RARUM-SELECTED RECOR Compact Disc 0440014168284400141982 FRISELL,B/RARUM-SELECTED RECOR Compact Disc 0440014198294400142012 RYPDAL,T/RARUM-SELECTED RECORD Compact Disc 0440014201224400143782 BAKER,C/PLAYS STANDARDS Com pact Disc 044001437823 4400144532 DJ ENCORE FEAT. ENGELINA/INTUI Compact Disc 0440014453234400147132 OST/JAY & SILENT BOB STRIKE BA Compact Disc Enhanced 0440014713224400160952 PAIN/NOTHING REMAINS THE SAME Compact Disc Enhanced 0440016095274400161582 SHARISSA/NO HALF STEPPIN' Compact Disc 044001615825 4400170312 OST/SIX FEET UNDER Compact Disc 0440017031264400170652 SURMAN&DEJOHNETTE/FREE AND EAQ Compact Disc 0440017065234400176549 98 DEGREES/THE COLLECTIO N Digital Video Disc 044001765490 4400177482 NELLY/NELLYVILLE (EDITED) Compact Disc 0440017748294400181202 RICHIE,L/CAN'T SLOW DOWN (DELU Compact Disc 0440018120264400184202 GILLESPIE,D/DIZZY GILLESPIE & Compact Disc 0440018420234400187472 HOLLISTER,D/THINGS IN THE GAME Compact Disc 0440018747274400187832 LLOYD,C/LIFT EVERY VOICE Compact Disc 0440018783294400317323 BROZA,D/EAST JERUSALEM,WEST JE Compact Disc 044003173231 0 44003 17323 10 44001 39792 9 0 44001 40602 7 0 44001 40612 6 0 44001 43782 30 44001 40632 40 44001 30292 3 0 44001 30442 2 0 44001 34702 3 0 44001 84202 30 44001 70312 6 0 44001 77482 90 44001 40292 0 0 44001 81202 60 44001 61582 5 0 44001 87472 70 44001 44532 30 44001 41982 90 44001 40022 3 0 44001 87832 90 44001 40002 5 0 44001 41652 1 0 44001 41682 8 0 44001 42012 2 0 44001 70652 30 44001 47132 2 0 44001 60952 7 0 44001 76549 0 Page 322 of 496 November 12, 2014Catalogue Numbe rArtist / Title Config Scannable UPC UPC 4400382259 T.A.T.U./SCREAMING FOR MORE Digital Video Disc 044003822597 4400383169 HUNTER ,I/STRINGS ATTACHED:A VE Digital Video Disc 044003831698 4400532839 STING/BRAND NEW DAY TOUR T Digital Video Disc 0440053283944400600882 ARTHUR,J/REDEMPTION'S SON Compact Disc 0440060088204400609659 NINE I NCH NAILS/AND ALL THAT C Digital Video Disc 044006096599 4400630552 BON JOVI/BOUNCE Compact Disc 0440063055234400632232 W.C./GHETTO HEISMAN Compact Disc 0440063223224400639102 U2/ELECTRIAL STORM-MAXI #2 Compact Disc EP's 0440063910214400643852 IGLESIAS,E/QUIZAS Compact Disc 0440064385284400643942 OST/XXX Compact Disc 0440064394264400648512 OST/EVELYN Compact Disc 0440064851264400652752 MOODY BLUES/A NIGHT AT RED ROC Compact Disc 0440065275294400653952 BROWN,R/JAZZ CELLO Compact Disc 0440065395224400654062 SZABO,G/HIGH CONTRAST Compact Disc 0440065406274400655072 MITCHELL,B/THIS IS BILLY MITCH Compact Disc 0440065507254400655082 GIUFFRE,J/THE EASY WAY Compact Disc 0440065508244400655122 WOODS,P/AT THE MONTREAUX FESTI Compact Disc 0440065512274400655962 SCOFIELD,J BAND/UP ALL NIGHT Compact Disc 0440065596294400656452 WAITRESSES,THE/THE BEST OF... Compact Disc 0440065645244400660392 ARDEN,J/LIVE WITH THE VAN(LIMI Compact Disc 0440066039264400663812 OST/THE MUSIC OF BOLLYWOOD Compact Disc 0440066381264400666612 MOLOTOV/DANSE AND DENSE DENSO Compact Disc 0440066661294400670542 ROSS,D/TO LOVE AGAIN (REMASTER Compact Disc 0440067054224400671542 BELLE,B/CEWBEAGAPPIC Compact Disc 0440067154214400671912 CCR/RECOLLECTION Compact Disc 0440067191224400673722 CANO/THE BEST OF CANO Compact Disc 0440067372254400688842 OST/THE GOOD THIEF Compact Disc 0440068884224400741659 LEMPER&WEILL&NYMAN/UTE LEMPER Digital Video Disc 0440074165940 44006 00882 0 0 44006 30552 3 0 44006 71542 10 44006 53952 2 0 44006 54062 7 0 44006 55072 5 0 44006 55082 4 0 44006 55122 7 0 44006 55962 90 44006 43942 6 0 44006 60392 6 0 44006 66612 90 44006 63812 60 44006 52752 9 0 44006 70542 2 0 44006 71912 2 0 44006 88842 20 44006 43852 80 44006 32232 2 0 44006 48512 6 0 44006 56452 4 0 44006 73722 50 44006 39102 10 44003 83169 80 44003 82259 7 0 44006 09659 9 0 44007 41659 40 44005 32839 4 Page 323 of 496 November 12, 2014Catalogue Numbe rArtist / Title Config Scannable UPC UPC 4400752032 BOCELLI,A/SACRED ARIAS DVD Digital Video Disc 044007520321 4607001402 DROWNING POOL/FULL CIRCLE Compact Disc 8460700140244607002002 BLONDIE/NO EXIT Compact Disc 8460700200254833752982 JETT,J AND THE BLA/FIT TO BE T Compact Disc 7483375298245454506732 VAR/LOS BANDOLEROS-THE FIRST D Compact Disc 6545450673275606000940 WATT,B/HENDRA(DLX) Compact Disc 8856060009405683800107 HARTSELL,D/DANE HARTSELL(ARTIS Compact Disc 8568380010745707978910 VAR/AM THE RES URRECTION A TRIB Compact Disc 015707978910 6076802312 MARLEY,B & THE WAILERS/IN THE Compact Disc 0607680231236076802412 GRIFFITHS,M/PUT A LITTLE LOVE Compact Disc 0607680241206076802552 INNER CI RCLE/THE BEST OF I NNER Compact Disc 060768025523 6076802612 MARLEY,B/WAILERS/TRA NCHTOWN RO Com pact Disc 060768026124 6076802752 VAR/TIGHTEN UP! TROJAN REGGAE Compact Disc 0607680275276076802782 SPECIALS,THE/ SKINHEAD GIRL Co mpact Disc 060768027824 6076802852 PABLO,A/SKANKING WITH PABLO 19 Compact Disc 0607680285246076802872 SPECIALS,THE/CONQUERING RULER Compact Disc 0607680287226076803142 VARIOUS/TROJAN DUB BOX SET(CDX Compact Disc 0607680314256076803292 TOOTS/MAYTALS/SWEET AND DANDY Compact Disc 0607680329276076803302 UPSETTERS/RET URN OF DJANGO:THE Compact Disc 060768033023 6076803322 DEKKER,D/ISRAELITES:THE BEST O Compact Disc 0607680332216076803482 MARLEY,B & THE WAILERS/SOUL RE Compact Disc 0607680348226076803852 ETHIOPIANS/EVER YTHING CRASH:T H Compact Disc 060768038523 6076803992 MARLEY,B/WAILERS/AFRICAN HERBS Compact Disc 0607680399266076804032 MAYTALS THE/MONKEY MAN Compact Disc 0607680403286076804542 SLY & ROBBIE/ RIDDIM:THE BEST O Compact Disc 060768045422 6076804552 ROMEO,M/WET DREAM: THE BEST OF Compact Disc 0607680455216076804582 TOOTS & THE MAYTALS/THIS IS CR Compact Disc 0607680458286076804602 CLIFF,J/THIS IS CRUCIAL REGGAE Compact Disc 0607680460230 15707 97891 08 46070 01402 4 6 54545 06732 7 0 60768 04542 28 56838 00107 48 46070 02002 5 0 60768 02752 70 60768 02552 3 0 60768 04602 30 60768 02312 3 0 60768 02612 4 0 60768 03992 6 0 60768 04552 1 0 60768 04582 80 60768 02412 0 0 60768 03852 30 60768 03302 3 0 60768 03482 20 60768 03292 70 60768 02872 20 60768 02782 4 0 60768 04032 88 85606 00094 0 0 60768 03322 10 60768 03142 50 60768 02852 47 48337 52982 40 44007 52032 1 Page 324 of 496 November 12, 2014Catalogue Numbe rArtist / Title Config Scannable UPC UPC 6076804622 MARLEY,B & THE WAILERS/THIS IS Compact Disc 060768046221 6076804642 VAR/THIS IS CRUCIAL REGGAE:DUB Compact Disc 060768046429 6076804762 VAR/REGGAE PULSE 4:CHRISTMAS S Compact Disc 0607680476246076804812 MARLEY,B & THE WAILERS/ROOTS O CD with DVD 0607680481266076804922 LASWELL,B/TROJAN DUB MASSIVE C Compact Disc 0607680492226076805132 PERRY,LS/THIS IS CRUCIAL REGGA Compact Disc 0607680513246076805152 MARLEY,B & THE WAILER S/ESSENTI Compact Disc 060768051522 6076805222 DEKKER,D/YOU CAN GET IT IF YOU Compact Disc 0607680522226076805272 MARLEY,B & THE WAILERS/SOUL RE Compact Disc 0607680527276076805552 VAR/THIS IS CRUCIAL REGGAE:SU M Compact Disc 060768055520 6076805562 VARIOUS ARTIST S/CRUCIAL REGGAE Compact Disc 060768055629 6076805572 VARIOUS ARTIST S/CRUCIAL REGGAE Compact Disc 060768055728 6076805582 DJ SPOOKY/DJ SPOOKY PRESENTS:T Compact Disc 060768055827 6076805642 DEKKER,D/TJIS IS DESM OND DEKKE Compact Disc 060768056428 6076805652 GREENWOOD,J/JOHNNY GREENWOOD I Compact Disc 0607680565276076805662 PERRY,LS/THE UPSETTER SELECTI O Compact Disc 060768056626 6076805712 DEKKER,D/THIS IS CRUCIAL REGGA Compact Disc 060768057128 6076805782 VARIOUS /TROJAN SLACK REGGAE BOX Compact Disc 0607680578216076805812 DJ SPOOKY/CR EATION REBEL:TROJ Compact Disc 060768058125 6076811812 FLEETWOOD MAC/JUMPING AT SHOWD Compact Disc 0607681181266076836112 EARLY NOVEMBER/FOR ALL OF THIS Compact Disc 0607683611266076836152 EARLY NOVEMBER/THE ROOM'S TOO Compact Disc 0607683615226076836192 HALIFAX/A WRITER'S REFERENCE Compact Disc 0607683619286076836202 HELLOGOODBYE/HELLOGOODBYE Compact Disc 0607683620246076836302 EARLY N/THE MOTHER, THE MECHAN Compact Disc 0607683630216076836332 EARLY NOVEMBER/THE ACOUSTIC EP Compact Disc 0607683633286076836372 HALIFAX/THE INEVITABILITY OF A Compact Disc 0607683637246076836452 HELLOGOODBYE/ZOMBIES!ALIENS!VA Compact Disc 0607683645230 60768 04812 60 60768 04622 1 0 60768 04642 9 0 60768 36152 2 0 60768 36452 30 60768 05712 80 60768 05552 0 0 60768 36202 40 60768 36112 6 0 60768 36192 8 0 60768 36332 8 0 60768 36372 40 60768 36302 10 60768 05562 9 0 60768 05572 80 60768 05132 40 60768 04922 2 0 60768 05152 2 0 60768 05272 7 0 60768 05582 7 0 60768 05642 8 0 60768 05662 6 0 60768 05812 50 60768 05652 7 0 60768 05782 10 60768 04762 4 0 60768 05222 2 0 60768 11812 6 Page 325 of 496 November 12, 2014Catalogue Numbe rArtist / Title Config Scannable UPC UPC 6076845192 BIOHAZARD/UNCIVILIZATION Compact Disc 060768451926 6076845202 TESLA/REPLUGGED LIVE (CDX2) Compact Disc 0607684520226076845392 GRAVITY KILLS/SUPERSTARVED Compact Disc 0607684539206076845422 RAMONE,J/DON'T WORRY ABOUT ME Compact Disc 0607684542246076845612 BLACK SABBAT H/PAST LIVES (CDX 2 Compact Disc 060768456129 6076845622 BLACK SABBATH/PAST LIVES (LTD) Compact Disc 0607684562286076845632 BIOHAZARD/KILL OR BE KILLED Compact Disc 0607684563276076845652 SOUNDTRA CK/BANGER SISTER S Compact Disc 060768456525 6076845732 VAR/RISE ABOVE:24 BLACK FLAG S Compact Disc 0607684573246076845752 UTOPIA/BOOTLEG SERIES VOL 2:LI Compact Disc 0607684575226076845862 NAZZ/OPEN O UR EYES:THE ANTHOL O Compact Disc 060768458628 6076846062 WIDESPREAD PANIC/BALL Compact Disc 060768460621 6076846082 HAGAR,S/HALLELUJAH Compact Disc 0607684608296076846092 ANTHRAX/WE'VE COME FOR YOU ALL Compact Disc 0607684609286076846162 FUN LOVIN' CRIMINALS/WELCOME T Compact Disc 0607684616286076846202 BLUES TRAVELER /TRUTH BE TOLD Compact Disc 060768462021 6076846232 OCEAN COLOUR SCENE/NORTH ATLAN Compact Disc 0607684623286076846332 BRUCE,J/MORE JACK THAN GOD Compact Disc 0607684633256076846372 TESLA/INTO THE NOW Compact Disc 0607684637216076846432 GALACTIC/RUCKUS Compact Disc 0607684643226076846522 RZA,THE/BIRTH OF A PRINCE Compact Disc 0607684652206076846532 MEATLOAF/COULDN'T HAVE SAID IT Compact Disc 0607684653296076846722 BIG HEAD TODD & THE MONS/CRIME Compact Disc 0607684672246076846742 BRIDES OF DEST RUCTION/HERE CO M Compact Disc 060768467422 6076846792 GZR/OHMWORK Compact Disc 0607684679276076846862 BLADES,J/JACK BLADES Compact Disc 0607684686276076846882 ANTHRAX/MU SIC OF MASS DEST RUCT CD with DVD 060768468825 6076846922 STINSON,T/VILLAGE GORILLA HEAD Compact Disc 060768469228 0 60768 46882 50 60768 45192 6 0 60768 45422 4 0 60768 45612 9 0 60768 45632 7 0 60768 46092 80 60768 46082 9 0 60768 46202 1 0 60768 46742 20 60768 46532 90 60768 45622 8 0 60768 46432 20 60768 45652 5 0 60768 46372 1 0 60768 46722 4 0 60768 46862 70 60768 45392 0 0 60768 46792 70 60768 45202 2 0 60768 45862 8 0 60768 46232 80 60768 45732 4 0 60768 45752 2 0 60768 46162 8 0 60768 46922 80 60768 46062 1 0 60768 46522 00 60768 46332 5 Page 326 of 496 November 12, 2014Catalogue Numbe rArtist / Title Config Scannable UPC UPC 6076846932 WEEN/LIVE IN CHICAGO CD with DVD 060768469327 6076846972 MOORE,G/POWER OF THE BLUES Compact Disc 0607684697236076846992 LYNYRD SKYN YRD/LYVE (CDX2) Compact Disc 060768469921 6076847022 BLUES TRAVELER/LIVE ON THE ROC Compact Disc 0607684702246076847142 BIG HEAD TODD AND THE MONSTERS Compact Disc 0607684714296076847202 BLUES EXPLOSION/DAMAGE Compact Disc 0607684720206076847212 MEATLOAF/BAT OUT OF HELL WITH Compact Disc 0607684721296076847252 DOOBIE BROTHERS/LIVE AT WOLF T Compact Disc 0607684725256076847272 WU-TANG CLAN/DISCIPLES OF THE Compact Disc 0607684727236076847342 CHAMBERLIN,J/LIFE BEGINS AGAIN Compact Disc 0607684734236076847432 HUGHS,G/SOUL MOVER Compact Disc 0607684743216076847532 DICKINSON,B/TYRANNY OF SOULS Compact Disc 0607684753286076847652 MOISTBOYZ/I & II Compact Disc 0607684765236076847742 JOURNEY/GENERATIONS Compact Disc 0607684774216076847782 CHARLATANS UK,T/SIMPATICO Compact Disc 0607684778276076847982 ALMOND,M/STARDOM ROAD Compact Disc 0607684798216076852032 ANNIHILATOR/CARNIVAL DIABLOS Compact Disc 0607685203256076852192 HELLOWEEN/HIGH LIVE (CDX2) Compact Disc 0607685219266076852242 DICKINSON, B/BEST OF B.DICKINS Compact Disc 060768522428 6076852252 DICKINSON, B/THE BEST OF B RUCE Compact Disc 060768522527 6076852322 W.A.S.P./DYING FOR THE WORLD Compact Disc 0607685232276076852412 MOTORHEAD/INFERNO Compact Disc 0607685241256076860092 JOBRIATH/LONELY PLANET BOY:THE Compact Disc 0607686009286076862022 HAYWARD,J/THE VIEW FROM THE HI Compact Disc 0607686202236076862312 MOTORHEAD/SACRIFICE Compact Disc 0607686231256076862362 ZANT,V/BROTHER TO BROTHER Compact Disc 0607686236206076862382 MOTORHEAD/SNAKE BITE LOVE Compact Disc 0607686238286076862422 VAR/ROCK AND ROLL DOCTOR:A TRI Compact Disc 0607686242210 60768 46932 7 0 60768 47252 5 0 60768 62362 00 60768 62312 5 0 60768 62382 80 60768 52032 50 60768 47022 4 0 60768 47212 9 0 60768 47742 1 0 60768 62422 10 60768 47142 9 0 60768 47782 7 0 60768 62022 30 60768 47202 0 0 60768 47342 3 0 60768 47652 3 0 60768 60092 80 60768 47432 10 60768 47272 3 0 60768 52252 70 60768 52192 6 0 60768 52242 80 60768 46972 3 0 60768 46992 1 0 60768 52322 7 0 60768 52412 50 60768 47532 8 0 60768 47982 1 Page 327 of 496 November 12, 2014Catalogue Numbe rArtist / Title Config Scannable UPC UPC 6076862472 LYNYRD SKYN YRD/LYVE FROM ST EEL Compact Disc 060768624726 6076862502 DEEP PURPLE/ABANDON Compact Disc 0607686250206076862562 BENATAR,P/8-15-80 Compact Disc 0607686256246076862582 SAXON/THE EAGLE HAS LANDED PT2 Compact Disc 0607686258226076862652 JEFFERSON STARSHIP/WINDOWS OF Compact Disc 0607686265226076862712 MONEY,E/READY EDDIE Compact Disc 0607686271236076862832 CROSS,C/GREATEST HITS LIVE Compact Disc 0607686283286076862842 ANNIHILATOR/CRITERIA FOR A BLA Compact Disc 0607686284276076862882 ANNIHILATOR/REFRESH THE DEMON Compact Disc 0607686288236076862902 CROSS,C/RED ROOM Compact Disc 0607686290286076862912 FRAMPTON,P/LIVE IN DETROIT Compact Disc 0607686291276076862972 HATCHET,M/KINGDOM OF XII Compact Disc 0607686297216076862982 LYNYRD SKYN YRD/CHRISTMAS TIME Compact Disc 060768629820 6076863012 VAN ZANT/VAN ZANT II Compact Disc 0607686301236076863022 MOORE,G/BACK TO THE BLUES Compact Disc 0607686302226076863042 BLUE OYSTER CULT/CURSE OF THE Compact Disc 0607686304206076863282 NAZARETH/THEN AND NOW Compact Disc 0607686328206076863292 MONEY,E/THEN AND NOW Compact Disc 0607686329296076863312 DOKKEN / JAPAN LIVE '95 Compact Disc 0607686331246076863442 BLUE OYSTER CULT/A LONG DAY'S CD with DVD 0607686344286076863462 DOKKEN/LIVE FROM THE SUN (CD+D CD with DVD 060768634626 6076863632 WATTS,C/WATTS AT SCOTT'S Compact Disc 0607686363236076863742 THOROGOOD,G/THEN AND NOW Compact Disc 0607686374296076863802 ENTWISTLE,J/SO WHO'S THE BASS Compact Disc 0607686380206076863812 RUDGREN,T/BEST OF - LIVE Compact Disc 0607686381296076863932 DICKINSON,B/ALIVE(EXPANDED)CDX Compact Disc 0607686393246076864022 MOTORHEAD/BOMBER (DELUXE)CDX2 Compact Disc 0607686402216076864172 MOTOHEAD/ANOTHER PERFECT DAY Compact Disc 060768641723 0 60768 63442 8 0 60768 63462 60 60768 63312 4 0 60768 64022 10 60768 62912 70 60768 62842 70 60768 62562 4 0 60768 62882 3 0 60768 63022 2 0 60768 63042 0 0 60768 63932 40 60768 63812 90 60768 62472 6 0 60768 62712 3 0 60768 63292 9 0 60768 63632 3 0 60768 63802 00 60768 63012 3 0 60768 63282 00 60768 62582 2 0 60768 64172 30 60768 63742 90 60768 62502 0 0 60768 62652 2 0 60768 62832 8 0 60768 62902 8 0 60768 62972 1 0 60768 62982 0 Page 328 of 496 November 12, 2014Catalogue Numbe rArtist / Title Config Scannable UPC UPC 6076864272 CROSBY & NASH/HIGHLIGHTS Compact Disc 060768642720 6076864312 MEAT LOAF/BAT OUT OF HELL W/ME Compact Disc 0607686431236076864352 DOOBIE BROTHERS/LIVE AT WOLF T CD with DVD 0607686435296076875122 DE LA SOUL/THE GRIND DATE Compact Disc 0607687512246076883089 38 SPECIAL/LIVE AT STURGIS (DV Digital Video Disc 0607688308996076883119 DOKKEN/LIVE FROM THE SUN(DVDX2 Dig ital Video Disc 060768831193 6076883139 CORROSION OF CONFORMITY/LIVE V Digital Video Disc 0607688313916076883159 COOPER,A/PRIME CUTS (DVD) Digital Video Disc 0607688315996076883209 MEGADETH/RUDE AWAKENING (DVD) Dig ital Video Disc 060768832091 6076883269 BLACK SABBATH/TH E BLACK SABBAT Digi tal Video Disc 060768832695 6076883279 BLACK SABBATH/TH E BLACK SABBAT Digi tal Video Disc 060768832794 6076883339 YOUNG,N/ RUST NEVER SLEEPS (DVD Digital Vi deo Disc 060768833395 6076883349 VAR/BONNAROO (DVD) Digital Video Disc 0607688334946076883469 BLACK SABBATH/ NEVER SAY DIE (D Di gital Video Disc 060768834699 6076883559 HAGAR,S/LONG ROAD (DVD) Digital Video Disc 0607688355976076883569 KISS/THE DVD (DVDX2) Digital Video Disc 0607688356966076883579 MOORE,G/LIVE AT MONSTER OF ROC Digital Video Disc 0607688357956076883599 BLUES TRAVELER/LI VE FROM RED R Dig ital Video Disc 060768835993 6076883639 MEAT LOAF/BAT OUT OF HELL W/ME Digital Video Disc 0607688363966076883669 WILSON,B/PET SOUNDS-LIVE IN LO Digital Video Disc 060768836693 6076883679 VAR/270 MILES FROM GRACELAND(D Digital Video Disc 0607688367926076883719 RICHMAN,J /TAKE ME TO THE PLAZ A Digital Video Disc 060768837195 6076883729 WEEN/LIVE IN CHICAGO (DVDX2) Digital Video Disc 0607688372946076883749 ANTHRAX/MU SIC OF MASS DESTRUCT Digital Vi deo Disc 060768837492 6076883799 BIG HEAD TODD & THE MONSTERS/L Digital Video Disc 0607688379976076883879 SOFT CELL/NON-STOP EXOTIC VIDE Digital Video Disc 0607688387966076883989 DOOBIE BROTHERS/LIVE A T WOLF Digital Video Disc 0607688398926076884079 VAR/BONNAROO 2004 (DVD) Digital Video Disc 0607688407990 60768 64352 90 60768 64272 0 0 60768 64312 3 0 60768 75122 4 0 60768 83339 5 0 60768 83559 7 0 60768 83989 20 60768 83749 20 60768 83269 5 0 60768 83279 4 0 60768 83469 9 0 60768 83569 6 0 60768 83599 3 0 60768 83729 40 60768 83639 6 0 60768 83719 5 0 60768 83799 70 60768 83349 4 0 60768 83679 2 0 60768 83879 6 0 60768 84079 90 60768 83089 9 0 60768 83119 3 0 60768 83209 10 60768 83159 90 60768 83139 1 0 60768 83579 5 0 60768 83669 3 Page 329 of 496 November 12, 2014Catalogue Numbe rArtist / Title Config Scannable UPC UPC 6076884089 ANTHRAX/ALIVE 2:THE DVD Digital Video Disc 060768840898 6076884189 EMERSON,L AKE & PALMER/BEYOND T Dig ital Video Disc 060768841895 6076884349 MEAT LOAF/BAT OUT OF HELL W/ME Digital Video Disc 0607688434936076894052 LOS ABANDO NED/MIXED TAPE Compact Disc 060768940529 6076899142 VAR/A REGGAE TRIBUTE TO BOB DY Compact Disc 0607689914226076899192 INNER CI RCLE/CRUCIAL REGGAE :IN Compact Disc 060768991927 6076899312 STEEL PULSE/AFRICAN HOLOCAUST Compact Disc 0607689931296076899362 U-ROY/THIS IS CRUCIAL REGGAE Compact Disc 060768993624 6682500017 RUSH/SN AKES & ARROWS T-SHIR T MERCH - GE NERAL 066825000175 6682510972 RUSH/THE SPIRIT OF RADIO:(LIMI CD with DVD 0668251097246682510999 RUSH/RUSH IN RIO (DVD) Digital Video Disc 066825109991 6962313922 AM I BLOOD/EXISTENCE OF TRAUMA Compact Disc 769623139220 7492793032 LOWEST OF T LOW/SHAKESPEARE MY Compact Disc 7749279303297697422142 SIGUR ROS/AGAETIS BYRJUN Compact Disc 7769742214297697422292 HAYDEN/LIVE FROM CONVOCATION H Compact Disc 7769742229217697423922 HARMER,S/I'M A MOUNTAIN Compact Disc 7769742392267697424922 FURTADO,N/GREY CUP PROMO(CFL E Compact Disc Singles 7769742492257697425052 BLUE PETER/RADIO SILENCE Compact Disc 7769742505287697425542 WARNES,J/FAMOUS BLUE RAINCOAT Compact Disc 7769742554247697431362 VAR/DEATH IN VENICE Compact Disc 7769743136297731301892 VAR/SALSA! EXPLOSION Compact Disc 877313001891 07863650179 GRAY,D/LIVE AT THE POINT-DVD Digital Video Disc 078636501796 8088900784 STEWART,D/THE BLACKBIRD DIARIE Compact Disc 6808890078428162300001 LUNY TUNES & BABY RANKS/MASS F Compact Disc 181623000018 8216117622 VAR/T SPANISH COLLECTION:ARAGO Compact Disc 682161176222 8216118302 VAR/LOUISIANA:CATCH THAT TRAIN Compact Disc 6821611830228216118312 VAR/T ALAN LOMAX:DEEP RIVER OF Compact Disc 6821611831218216151212 ANTHOLOGY OF WORLD MUSIC/AFGHA Compact Disc 6821615121290 66825 10972 4 6 82161 18312 16 82161 18302 26 82161 17622 2 6 82161 51212 97 74927 93032 9 7 76974 25052 87 69623 13922 0 6 80889 00784 27 76974 25542 47 76974 22142 9 8 77313 00189 1 1 81623 00001 87 76974 23922 6 7 76974 31362 97 76974 22292 10 60768 99192 7 0 60768 99362 40 60768 99142 20 60768 94052 9 0 60768 99312 9 7 76974 24922 50 66825 10999 10 60768 84349 30 60768 84089 8 0 60768 84189 5 0 78636 50179 60 66825 00017 5 Page 330 of 496 November 12, 2014Catalogue Numbe rArtist / Title Config Scannable UPC UPC 8216160052 VAR/IRISH TRAD MSIC:THE EAST C Compact Disc 682161600529 8249600041 BIGELF/CHEAT THE GALLOWS Compact Disc 1824960004198276700022 ORGY/PUNK STATIK PARANOIA Compact Disc 8827670002228283949152 BRUBECK,D & DESMOND,P/1975:THE Compact Disc 0828394915259463690922 VAR/REGGAETON:THE CUBAN REVOLU Compact Disc 0946369092269463729172 VAR/SALSA:SERIOUSLY GOOD MUSIC Compact Disc 0946372917269463729212 VAR/COCKTAIL:SERIOUSLY GOOD MU Compact Disc 0946372921299463729222 VAR/LOUNGE:SERIOUSLY GOOD MUSI Compact Disc 0946372922289463729232 VAR/BEETHOVEN:THE GREATEST MOM Compact Disc 0946372923279463788282 VAR/LOUNGE: THE DEPARTURE LO UNG Compact Disc 094637882825 60732500112 MELVOIN,M TRIO/YOU KNOW Compact Disc 607325001127 78612730222 VAR/BADBOY GREATEST HITS Compact Disc 78612730222678612730292 MASE/DOUBLE UP Compact Disc 78612730292979102215099 GOV'T MULE/RISING LOW - DVD Digital Video Disc 79102215099580889059551 REID,J/A CHRISTMAS GIFT TO YOU Compact Disc 68088905955182666310538 RIVERS,J/LAST BOOGIE IN PARIS Compact Disc 82666310538482666311710 VAT/THE ONLY COUNTRY CLASSIC A Compact Disc 826663117103 85420600116 BROOKS,G/SEVENS Compact Disc 85420600116988088215852 GOV'T MULE/MIGHTY HIGH Compact Disc 880882158521 88697868122 TAYLOR,M/MICK TAYLOR Compact Disc 886978681225 093624962960 COOPER,A/THEATRE OF DEATH (CD+ CD with DVD 093624962960 506026149006 IGLESIAS,J/LEGENDS IN CONCERT( Digital Video Disc 5060261490069506026149024 WHITTAKER,R/LEGE NDS IN CONCERT Di gital Video Disc 5060261490243 506026149034 LEWIS,J L & FRIENDS/LEGENDS IN Digital Video Disc 5060261490342509990846562 KNACK/GET THE KNACK Compact Disc 5099908465627509999084822 TUBES/COMPLETION BACKWARDS PR I Compact Disc 5099990848223 602498729496 VAR/A TRIBUTE TO THE KING Digital Video Disc 602498729496 747014583920 SHAFER,F/RESISTOR (CD) Compact Disc 884501362320 0 93624 96296 01 82496 00041 96 82161 60052 9 8 84501 36232 05 099990 848223 5 099908 465627 8 86978 68122 56 07325 00112 70 82839 49152 58 82767 00022 2 8 54206 00116 97 86127 30222 6 7 86127 30292 9 6 80889 05955 1 8 26663 11710 38 26663 10538 4 8 80882 15852 10 94636 90922 6 0 94637 29222 8 0 94637 29232 70 94637 29172 6 0 94637 29212 9 0 94637 88282 5 5 060261 490069 5 060261 490243 5 060261 490342 6 02498 72949 67 91022 15099 5 Page 331 of 496 November 12, 2014Catalogue Numbe rArtist / Title Config Scannable UPC UPC 842108021804 GRIFFITHS,L/AR MCHAIR ANARCHY Compact Disc 842108021804 000022B MCDERMOTT,/DANNY BOY,THE COLLE Compact Disc 000000000222000024A MCDERMOTT,/DANNY BOY,THE COLLE Cassette 000000000246006142B NAT KING C/UNFORGETTABLE NAT K Compact Disc 5099950061426006212B BEACH BOYS/LEGENDS FO REVER Compact Disc 5099950062126 011672B GOLDFRAPP/THE SINGLES Compact Disc 5099930116726 0162013CD HEALEY,J/AS THE YEARS(2 CD+2DVD CD wi th DVD 707787201377 0167503CD VAR/GREAT COVER VERSIONS REFER Compact Disc 7077877503250167926CD VAR/STEREO HORTEST V7 Compact Disc 7077877926220169107CD MCCORMACK,E/HEAL MY FAITH Compact Disc 7077879107290169110CD BLAC HEAD LION/5 YEAR S IN 50MI Compact Disc 707787911023 0169115CD MUSEUM/TRACES OF Compact Disc 7077879115280169119CD HEALEY,J/AS THE YEARS GO P(3CD Compact Disc 7077879119240169122CD BLUES COMPANY/4 2 1(4CD) Compact Disc 707787912228 020692B SECRET & W/GREAT WHITE WHALE Compact Disc 5099950206926 02MS9600 DISNEY SPECIAL/ CR GIBSON LULL Cassette 050086000065 046632B VAR/ROCK THE DOCK (EXCLUSIVE) Compact Disc 5099970466324 06005CD DRUM LEGENDS RAREBELL/ YORK/LIV Compact Disc 707787060059 065112B LENNON, JO/BOOTEG/HOME TAPES Compact Disc 5099990651120066122A 30 SECONDS/THIS IS WAR (W/T-SH CD with DVD 5099960661227078452B WILLIAMS, /IN AND OUT OF CONSC Compact Disc 5099990784521085252B VARIOUS AR/TIMELESS LOVE Compact Disc 5099960852526 100012H NARCISSUS/NARCISSUS Compact Disc 727701000121100042D RADIATION /WONDERLAND Compact Disc 727701000428100092D CALIBAN/OPPOSITE FROM WITHI Compact Disc 727701000923100162D TURBONEGRO/PARTY ANIMALS Compact Disc 727701001623 103082A POWDER BLU/PLATINUM Compact Disc 5099951030827 1031BAM PRIMAMORE,P/GRANCIA Compact Disc 8019638736210 00000 00024 6 0 50086 00006 77 07787 20137 7 5 099960 661227 7 27701 00012 1 7 27701 00042 8 7 27701 00092 3 7 27701 00162 37 07787 91192 4 8 01963 87362 17 07787 75032 5 7 07787 79262 2 7 07787 91072 9 7 07787 91102 3 7 07787 91152 8 7 07787 91222 8 7 07787 06005 98 42108 02180 4 5 099990 651120 5 099950 062126 5 099950 061426 0 00000 00022 2 5 099970 466324 5 099990 784521 5 099951 030827 5 099960 852526 5 099950 206926 5 099930 116726 Page 332 of 496 November 12, 2014Catalogue Numbe rArtist / Title Config Scannable UPC UPC 108922B KILLING JO/NIGHT TIME (REMASTE Compact Disc 5099951089221 1102CD STEVIE B./GREATEST FREESTYLE B Compact Disc 8399245011028 110352B VARIOUS AR/A FINE ROMANCE Compact Disc 096741103520112252A VARIOUS AR/MARTINI MIX Compact Disc 096741122521112862A VARIOUS AR/FAB THE BEST OF THE Compact Disc 096741128622 112972A VARIOUS AR/EXCELLENT '80'S Compact Disc 096741129728113442B VARIOUS AR/COOL YULE Compact Disc 096741134425114062A VARIOUS AR/BE-BOP-A-LULA Compact Disc 096741140624114752B VARIOUS AR/VIVA ITALIA Compact Disc 096741147524117182A VARIOUS AR/ROCK & ROLL HIGHWAY Compact Disc 096741171826117202B VARIOUS/LAKEPORT CLASSI C ROV.1 Compact Disc 094631172021 117212A VARIOUS/LAKEPORT CLASSI C ROV.2 Compact Disc 094631172120 117222A VARIOUS/LAKEPORT CLASSI C ROV.3 Compact Disc 094631172229 117282A JACKSON, J/ALL FOR YOU Compact Disc 724381172827117432A CHIPMUNKS,/A KID'S CHRISTMAS C ompact Disc 096741174322 117492A VARIOUS/SLAVE TO LOVE:SEXY 80S Compact Disc 096741174926 1201DVD SCOTT,B/THE YEARS BEFORE AC/DC Digital Video Disc 5322017120010 123452B VARIOUS AR/COUNTRY LOVE Compact Disc 096741234521124202B VARIOUS AR/HEY BIG SPENDER Compact Disc 096741242021 131734B FEAR FACTO/MECHANIZE - STANDAR Compact Disc 803341317345132212B SEGER, BOB/STRANGER IN TOWN(PL Compact Disc 5099951322120 147252C GREEN AL/LEGEND FO REVER Compact Disc 5099951472528 150182A BACH, SEBA/ANGEL DO WN Compact Disc 5099951501822 170262B FORD,TENNE/SINGS 22 FAVORITE H Compact Disc 014921702622172602A TOM FUN OR/YOU WILL LAND WITH Compact Disc 778591726028175022A VARIOUS AR/OUTTV PR ESENTS: OUT Compact Disc 5099951750220 176692A DIMINO, FA/GREATEST HITS Compact Disc 724381766927 177182C POISON/LEGEND FO REVER Compact Disc 5099951771829 7 78591 72602 8 5 099951 750220 0 14921 70262 28 399245 011028 5 099951 089221 0 96741 24202 1 5 099951 771829 0 96741 23452 1 5 099951 472528 0 96741 17492 60 96741 17432 20 96741 17182 60 96741 14062 4 0 96741 14752 40 96741 13442 50 96741 12972 80 96741 12862 20 96741 12252 1 0 94631 17202 1 0 94631 17212 0 0 94631 17222 90 96741 10352 0 7 24381 17282 7 5 099951 501822 7 24381 76692 75 099951 322120 8 03341 31734 55 322017 120010 Page 333 of 496 November 12, 2014Catalogue Numbe rArtist / Title Config Scannable UPC UPC 177862B POISON/NOTHIN' BUT A GOOD Compact Disc 5099991778628 183002B GOLDFRAPP/SEVENTH TR EE Compact Disc 5099951830021 183072B MOBY/LAST NIGHT Compact Disc 5099951830724183222A HEART/MAGAZINE Compact Disc 724381832226194232B BLACKMORES NI/A KNIGHT(CD+DVD CD with DVD 5099931942324200249B EVANS BLUE/EVANS BL UE Compact Disc 852362002495 213772B VARIOUS AR/100 % ROCK Compact Disc 5099972137727231152A USHER, DAV/LITTLE SONGS Compact Disc 724382311522245752B MOBY/DESTROYED REMIXED(2CD Compact Disc 5099962457521250191A ZANE/BIG ZANE THEORY,THE Compact Disc 004992501910251402A DC TALK/JESUS FREAK Compact Disc 724382514022 257587CD LONG,J/SURRENDER Compact Disc 700261257587 281902B VARIOUS/GREAT JAZZ SESSI ONS V2 Compact Disc 5099922819024 283312A VARIOUS AR/LA-LA-LATINA (LA SE Compact Disc 724352833122 2833DVD VAR/HEROES OF HEAVY ME TAL Digital Video Disc 5783817582833 291442B WOMACK, BO/UMNDERSTANDING Compact Disc 724382914426 293382C BEACH BOYS/SMILE SESSION S 2CD CD wi th DVD 5099972933824 296942B CREED/FULL CIRCLE (DLX) CD/DVD CD with DVD 5099902969428 3000D VAR/UNDERGROUND SHOW VO L.1 Digital Video Disc 600665755125 300102C MAHOOD, BE/MOODY BLUE Compact Disc 881653001022 300102J JULY TALK/JULY TALK Compact Disc 858713001025 300118B TRUE WIDOW/TRUE WIDOW Compact Disc 859403001189300142A VARIOUS AR/BABY, IT'S COLD OUT Compact Disc 724353001421 300159C THINGAMAKI/SUNDAY BIBL E TOONS DVD + BNS CD 892273001590 300232F LONDON SOU/LONDON SOULS,THE Compact Disc 857593002320 300802A MONTE, MAR/ROSE & CHARCOAL Compact Disc 724383008025303302B MOBY/DESTROYED(3CD) Compact Disc 5099973033028305262A VARIOUS AR/ROMANCE (SILK & SAT Compact Disc 7243530526215 099972 933824 5 099902 969428 5 099931 942324 8 52362 00249 5 8 81653 00102 2 8 57593 00232 07 00261 25758 75 099991 778628 5 099972 137727 7 24353 05262 17 24353 00142 17 24352 83312 20 04992 50191 0 7 24383 00802 55 099922 819024 7 24382 31152 2 7 24382 51402 27 24381 83222 6 7 24382 91442 65 099951 830021 5 099951 830724 5 099962 457521 5 099973 033028 8 59403 00118 98 58713 00102 55 783817 582833 6 00665 75512 5 8 92273 00159 0 Page 334 of 496 November 12, 2014Catalogue Numbe rArtist / Title Config Scannable UPC UPC 305362A VARIOUS AR/BABY, IT'S COLD OUT Compact Disc 724353053628 308002B MARTIN, CH/I CAN TOO Compact Disc 627843080022310012A RED BULL/MOTHER EARTH Compact Disc 669803100128310032A ABORIGINAL/HEARTS OF THE NATIO Compact Disc 669803100326310042A CROOKED LA/GOOD OLD DAYS,THE Compact Disc 669803100425 310052A STONEY PAR/DON'T LOOK BACK Compact Disc 669803100524310062A WHITE FISH/LIFEGIVER Compact Disc 669803100623310082A RED BULL/BEST OF RED BULL Compact Disc 669803100821310092A VARIOUS/SC/BEST OF THE BEST Compact Disc 669803100920 310102A RED BULL/MILLENIUM Compact Disc 669803101026310112A LITTLE ISL/INDIAN COUNTRY Compact Disc 669803101125310172B VARIOUS AR/SKINTIGHT BLUES Compact Disc 669803101729310202A SMALL SINS/MOOD SWINGS Compact Disc 779903102028310772B FERRO, TIZ/L'AMORE E'UNA COSA Compact Disc 5099973107729 311222C VARIOUS/MAKING SPIRIT BRI CDX2 Compact Disc 5099973112228312482C VARIOUS/MAKING SPIRIT BRI CDX3 Compact Disc 5099973124825320832C SEKIDEN/JUNIOR FICTION Compact Disc 620673208321 323202B VARIOUS AR/REMINISCING WITH TH Compact Disc 094633232020 327710BS00 QUEEN/ORB (USB) USB STICK 671734423184 330692B VARIOUS AR/PERFECT MUSIC MIX,T Compact Disc 724353306922 3333CD VAR/COFFEE BAR & LOUNGE VOL. 1 Compact Disc 4012633333338 336352A MURRY, ANN/ HIS GREATEST HITS & Compact Disc 724383363520 340812A JADIS/MORE THAN MEETS THE EYE Compact Disc 693723408125341082A STRATOVARIUS/STRATOVARIUS Compact Disc 021823410821341092A GAMMA RAY/MAJESTIC Compact Disc 021823410920 3419CD VAR/COFFEE BAR & LOUNGE V.2 Compact Disc 878381713419 348132B SIMPLE MINDS/CELEBRATE GRE(3CD Compact Disc 5099993481328349222A MURRY, ANN/ HER GREATEST HITS & Compact Disc 7243834922207 79903 10202 8 6 20673 20832 1 6 93723 40812 5 8 78381 71341 94 012633 333338 5 099973 112228 5 099973 124825 0 94633 23202 0 7 24353 30692 27 24353 05362 8 7 24383 49222 07 24383 36352 0 5 099993 481328 6 69803 10012 8 6 69803 10032 6 6 69803 10042 5 6 69803 10052 4 6 69803 10062 3 6 69803 10082 1 6 69803 10092 0 6 69803 10102 6 6 69803 10112 5 6 69803 10172 9 5 099973 107729 6 27843 08002 2 0 21823 41092 00 21823 41082 16 71734 42318 4 Page 335 of 496 November 12, 2014Catalogue Numbe rArtist / Title Config Scannable UPC UPC 349692B BERNADETE /BERNADETTE PETERS L Compact Disc 724353496920 362662B WYMAN,B/MONKEY GRIP Compact Disc 021823626628362842B VAR/BEATLES BLUES Compact Disc 021823628424365312A URIAH HEEP/FIREFLY Compact Disc 602923653129365342A URIAH HEEP/THE BEST OF PART 2 Compact Disc 602923653426 372222B HACKETT, S/PLEASE DON' T TOUCH Compact Disc 094633722224 382072B LEDOUX,C/CAPITOL COLLECT 1990 Compact Disc 724353820725393392A VARIOUS AR/BRITISH INVASION Compact Disc 724353933920 399032A JORDAN, MA/LIVING IN MARINA DE Compact Disc 724353990329400012B FLUX OF PI/UNCARVED BLOCK Compact Disc 827954000128 400022C FLUX OF PI/STRIVE TO SURVIVE Compact Disc 827954000227 400612A BJORK/GLING-GLO Compact Disc 827954006120403252A KUKL/EYE,THE Compact Disc 827954032525403262A KUKL/HOLIDAYS IN EUROPE Compact Disc 827954032624403352B ALI, KELLI/PSYCHIC CAT Compact Disc 827954033522403372A FINGER, TH/WE ARE F--K YOU Compact Disc 827954033720403512A SOUNDTRACK/ROB ROY Compact Disc 724384035129403612B BJORK/VESPERTINE LIVE Compact Disc 827954036127403622B BJORK/POST LIVE Compact Disc 827954036226403632A BJORK/DEBUT LIVE Compact Disc 827954036325403762A BLACK BOX /PASSIONOIA Compact Disc 827954037629403792A KLEIN, JEF/EVERYBODY LOVES A W Compact Disc 827954037926404032B ZEPHANIAH,/NAKED Compact Disc 827954040322404082A PAULUSMA, /SCISSORS IN MY POCK Compact Disc 827954040827404122B SEETHER/FINDING BEAUTY IN NEGA Compact Disc 5099964041223 404412A MACKENZIE,/TRANSMISSION IMPOSS Compact Disc 827954044122 404572C KLEIN, JEF/HUSTLER,THE Compact Disc 827954045723 404622B PASULUSMA,/FINGERS & THUMBS Compact Disc 827954046225 8 27954 03252 5 8 27954 04412 27 24353 93392 0 7 24384 03512 90 94633 72222 4 5 099964 041223 7 24353 99032 97 24353 82072 57 24353 49692 0 6 02923 65312 9 8 27954 00012 8 8 27954 00022 7 8 27954 00612 0 8 27954 03262 4 8 27954 03352 2 8 27954 03372 0 8 27954 03612 7 8 27954 03622 6 8 27954 03632 5 8 27954 03762 9 8 27954 03792 6 8 27954 04032 2 8 27954 04082 7 8 27954 04572 3 8 27954 04622 50 21823 62842 4 6 02923 65342 60 21823 62662 8 Page 336 of 496 November 12, 2014Catalogue Numbe rArtist / Title Config Scannable UPC UPC 404722A WESTZYNTHI/ROCK, YOU CAN FLY Compact Disc 827954047222 404852A LEVY/ROTTEN LOVE Compact Disc 827954048526406132A KITCHENS O/CAPSULE: THE BEST O Compact Disc 827954061327 406142A DISCO INFE/T ECHNICOLOUR Co mpact Disc 827954061426 406252B KANE, AR/I Compact Disc 827954062522406262A KANE, AR/SIXTY NINE Compact Disc 827954062621406652A WILLIAMSON/BOY FOR YOU Compact Disc 827954066520407032B VARIOUS AR/SCREAMING MASTERPIE Compact Disc 827954070329407052B AFTERHOURS/BALLADS OF THE LITT Compact Disc 827954070527407112B KEMP, ROSE/A HANDFUL OF HURRIC Compact Disc 827954071128 407182A 2 BIT PIE/2 PIE ISLAND Compact Disc 827954071821407282A MOREAU/NOVA SCOTIA Compact Disc 827954072828407622A COLE, LLOY/ANTID EPRESSANT Compact Disc 827954076222 410282B CARDONA, M/CAMB UCHA Compact Disc 068944102822 413362B BLIND MELO/LIVE AT THE PALACE Compact Disc 094634133623418352A VARIOUS AR/HOLIDAY STARS 2002 Compact Disc 724354183522420132B SUZUKI,D/SPACE CHILD Compact Disc 801464201329424352B VARIOUS AR/JENSON BLUES Compact Disc 094634243520 42605CD LATEEF THE TRUTHSPEAKER /AHEAD Compact Disc 024120426052 427712C GAITHER, B/ROCK OF AGES/B&G GA Compact Disc 617884277123 433272A WALLACE, B/DISORDER AT THE BOR Compact Disc 068944332724440012B PORTMANN, /NO TRUER WORDS Compact Disc 633014400124440182B RHYTHM LOG/RHYTHM LOGIC Compact Disc 633014401824445342B ENTOMBED/UPRISING Compact Disc 600704453425 4455CD VAR/TRIBUTE TO AERZTE Compact Disc 40126333445564465CD VAR/CAPPUCCINO BAR & LOUNGE V2 Compact Disc 4012600344657 450012D APOLLO SUN/KATONAH Compact Disc 827954500123 450022B APOLLO SUN/APOLLO SUNSHINE Compact Disc 827954500222 6 33014 40012 4 6 33014 40182 48 27954 06652 0 0 24120 42605 2 4 012600 344657 4 012633 344556 0 94634 24352 07 24354 18352 2 6 17884 27712 30 94634 13362 3 8 01464 20132 90 68944 10282 2 0 68944 33272 48 27954 04722 2 8 27954 04852 6 8 27954 06132 7 8 27954 06142 6 8 27954 06252 2 8 27954 06262 1 8 27954 07032 9 8 27954 07052 7 8 27954 07182 1 8 27954 07282 8 8 27954 07622 28 27954 07112 8 8 27954 50012 3 8 27954 50022 26 00704 45342 5 Page 337 of 496 November 12, 2014Catalogue Numbe rArtist / Title Config Scannable UPC UPC 450032B APPLES IN /FUN TRICK NO ISEMAKE Compact Disc 827954500321 450052B APPLES IN /HER WALLPAPER REVER Compact Disc 827954500529450072B APPLES IN /DISCOVERY OF A WORL Compact Disc 827954500727 452382B VARIOUS AR/HIGHER GR OUND HURRI Com pact Disc 094634523820 466722A MEDIAEVAL /WORLDES BLYSSE Compact Disc 724384667221467029A YES/CLASSIC ARTISTS SERIE S Digital Video Disc 068944670291 479902B GOMEZ/SILENCE Compact Disc Singles 724354799020484162B DESJARDINS/LE PARTY - BANDE SO Compact Disc 068944841622484992B PROJECT O//NOW AS THEN Compact Disc 068944849925485102B NILS LANDG/FUNKY ABBA Compact Disc 068944851027 485362A RIEU, YANN/SAINT-GERVAIS Compact Disc 068944853625485512B CIRQUE DU /25TH ANNIVERSARY ED Compact Disc 068944855124485552B FONESCA, R/AKOKAN Compact Disc 068944855520500107A DIR EN GRE/WITHERING TO DEATH CD with DVD 850175001070 500218CD VAR/IBIZA CHILLOUT MOODS VOL.1 Compact Disc 8399245002187 5008D KISS/FOREVER! THE ULTIMATE BOX Digital Video Disc 9120817150086 5009CD MOTORHEAD/BURNER:BEST OF (CD) Compact Disc 9120817150093 5011CD URIAH HEEP/THE EAR LY YEARS Compact Disc 9120817150116 5020CD MOTORHEAD/BURNER:BEST OF (SHAP Compact Disc 9120817150208 5029CD IBIZA/THE ISLAND Compact Disc 91208171502915031CD AC/DC/TALKS (SHAPE DISC) Compact Disc 9120817150314 5034X LAKE,G/GREG LAKE (CD) Compact Disc 022891503422 503832A SACRED SPI/MORE CHANTS AND DAN Compact Disc 724385038327 5042D DIO/THE LEGEND: LIVE (DVD) Digital Video Disc 9120817150420 5064CD REED,L/WALK ON THE WILD SIDE-L Compact Disc 9120817150642 5067D VAR/TRIBUTE TO MILES DAVIS(DVD Digital Video Disc 9120817150673 5079CD VAI,S/SATRIANI,J/GUITAR GODS V Compact Disc 9120817150796 5081D FOREIGNER/LIVE ON STAGE (DVD) Digital Video Disc 91208171508198 50175 00107 0 9 120817 150642 9 120817 150093 9 120817 150208 9 120817 150314 8 399245 002187 9 120817 150116 9 120817 150291 7 24384 66722 1 7 24385 03832 70 94634 52382 0 0 68944 84162 2 0 68944 84992 5 0 68944 85102 7 0 68944 85362 5 0 68944 85512 4 0 68944 85552 0 0 22891 50342 2 9 120817 150796 8 27954 50032 1 8 27954 50052 9 8 27954 50072 7 7 24354 79902 0 9 120817 150420 9 120817 150673 9 120817 150819 9 120817 150086 0 68944 67029 1 Page 338 of 496 November 12, 2014Catalogue Numbe rArtist / Title Config Scannable UPC UPC 5082CD BECK,J/VAUGHAN,S R/GUITAR GODS Compact Disc 9120817150826 5099D VAN HALEN/BOTTOMS UP/BROAD(DVD Digital Video Disc 91208171509945110D VAR/NIGHT OF GUITARS (DVD) Compact Disc 9120817151106 5129D YARDBIRDS/PARIS 1966-19,THE(DV Digital Video Disc 9120817151298 5134D CHICAGO/BEGINNINGS(DVD) Digital Video Disc 9120817151342 5149CD VAR/MUSICAL TRIBUTE TO JOHNNY Compact Disc 9120817151496 5155D BOCELLI,A/THE VOICE(DVD) Digital Video Disc 9120817151557 520762C STEEPLE CH/STANDING ON THE VER Compact Disc 778505207629 520822C LIVES OF M/UNTIL WE LAY THIS T Compact Disc 078505208221 520862B PLATINUM B/PLATINUM BLACK Compact Disc 778505208626520902B LOSING FOC/A PORTRAIT FOR THE Compact Disc 778505209029520942B TIN FOIL P/AGE OF VIPERS Compact Disc 778505209425520992B LIVES OF M/SWEET ART OF DECEIV Compact Disc EP's 778505209920 521022C FLOOR THIR/ MMMM Compact Disc 778505210223 521052C DREADNAUT/A TASTE OF WHAT'S T Compact Disc 778505210520 529962B MARTIN, DE/VELVET VOICES Compact Disc 5099995299624541902B VARIOUS AR/RATTLESNAKE GUITAR Compact Disc 085365419025 544282B VARIOUS/MOTHER GOOSE ROCKS V.1 Compact Disc 085365442825545062B SEGER, BOB/FACE THE PROMISE Compact Disc 094635450620545872B VARIOUS/INSTANT 80'S TODAY, V1 Compact Disc 085365458727546212A HAMPSON/AMERICAN DREAMER-SONGS Compact Disc 077775462128548572A SEXTETO MA/A PASSION FOR TANGO Compact Disc 077775485721549052A PARKENING/GREAT RECORDINGS,TH Compact Disc 077775490527 5501CD NAZARETH/BROKEN DOWN ANGELS/TH Compact Disc 8700817155017 554692B VARIOUS/WORLD MUSIC VOLUME 1 Compact Disc 724385546921567912A CHANG, SAR/SWEET SORROW Compact Disc 724355679123568102B SOUNDTRACK/MI SS SAIGON (HIGHLI Compact Disc 724355681027 570332B EROICA TRI/PASION-PIAZOLLA,V1 Compact Disc 724355703323 0 85365 44282 5 0 85365 45872 77 78505 20762 9 0 78505 20822 1 7 78505 20862 6 7 78505 20902 9 7 78505 20942 5 7 78505 21022 3 7 78505 21052 0 0 85365 41902 5 8 700817 155017 9 120817 151496 5 099995 299624 7 24385 54692 10 77775 46212 8 0 77775 49052 7 7 24355 68102 7 7 24355 70332 30 77775 48572 1 7 24355 67912 30 94635 45062 09 120817 150826 9 120817 151106 7 78505 20992 09 120817 151298 9 120817 151557 9 120817 150994 9 120817 151342 Page 339 of 496 November 12, 2014Catalogue Numbe rArtist / Title Config Scannable UPC UPC 572502A NELSON, RI/LONESOME TOWN Compact Disc 077775725025 575872B MACLELLAN,/LONESOME RIVER Compact Disc 724385758720590312B WATCHMEN, /SILENT RADAR Compact Disc 724385903120596722B VARIOUS/VAN.OPERA SAMP 2006-7 Compact Disc 094635967227600262A CANNED HEA/GAMBLIN' WOMAN Compact Disc 712786002627600382A MOON, KEIT/TWO SIDES OF THE MO Compact Disc 712786003822600422A RONSON, MI/SECRET SESSI ONS,THE Compact Disc 712786004225 605742A JORDAN, MA/MAKE BELIEVE BALLRO Compact Disc 724356057425 6076845122A ROLLINS BAND/NICE Compact Disc 060768451223 615492B COMPIL CLA/MOZART NOCTURNES Compact Disc 724356154926 616102A ADAMSON,B/NEGRO INSIDE ME,THE Compact Disc EP's 724596161029617142A LAIBACH/NATO Compact Disc 724596171424636882B VERVE,T/THIS IS MUSIC:SG 92-98 Compact Disc 724386368829638892B VARIOUS AR/NOKIA UNWIRED VOL 1 Compact Disc 724386388926 639952C MEAV/CELTI/MEAV Compact Disc 094636399522 644222B VARIOUS AR/LES INCONTOURNABLES Compact Disc 724386442222 646662A SONDHEIM/FOLLIES Compact Disc 077776466620647832A THOUSAND F/WELCOME TO THE MASQ Compact Disc 5099926478326658662B VARIOUS AR/ESSENTIAL 80S Compact Disc 5099996586624662032A FATBOY SLI/BETTER LIVING THROU Compact Disc 017046620321670232A SHANKAR, R/INDIA'S MASTER MUSI Compact Disc 724356702325676722B ISBIN, SHA/AMERICAN LANDSCAPES Compact Disc 724356767225 680372B BLONDIE/SGLS COLLECTION 77-82 Compact Disc 5099996803721680472B VARIOUS AR/NOW THAT'S WHAT I C Compact Disc 5099926804729690192B ADAMSON,B/OEDIPUS SCHMOEDIPUS Compact Disc 724596901922690782B PAN SONIC/A Compact Disc 724596907825691202A RECOIL/LIQUID Compact Disc 724596912027 691312C RECOIL/STRANGE HOURS - EP Compact Disc EP's 7245969131237 12786 00262 7 7 12786 00382 2 7 12786 00422 5 5 099996 586624 0 94635 96722 7 7 24386 38892 6 7 24386 44222 27 24386 36882 9 0 17046 62032 1 5 099926 804729 7 24385 75872 0 7 24596 17142 4 7 24596 90192 2 7 24596 90782 5 7 24596 91202 75 099996 803721 7 24356 15492 6 0 77776 46662 0 7 24356 76722 57 24356 05742 57 24385 90312 0 5 099926 478326 0 77775 72502 5 7 24356 70232 50 94636 39952 20 60768 45122 3 7 24596 16102 9 7 24596 91312 3 Page 340 of 496 November 12, 2014Catalogue Numbe rArtist / Title Config Scannable UPC UPC 693552B ERASURE/LIGHT AT THE END O(2CD Compact Disc 724596935521 699402A BEACH BOYS/PET SOUNDS: 40TH AN CD wi th DVD 094636994024 6PAZZ003 SINATRA,F/MARTIN,D/SAM/THE RAT Compact Disc 8837170167206PAZZ009 VAR/REGGAE JAMAICA STYLEE 2 Compact Disc 883717019721 700012A PERKINS, C/CARL PERKINS LIVE Compact Disc 617747000127700022B LEWIS, JER/JERRY LEE LEWIS LIV Compact Disc 617747000226 700032D SUPERJOINT RITUAL/UNE ONCE & D Compact Disc 823107000328700042D SUPERJOINT RITUAL/USE ONCE & D Compact Disc 823107000427 700142B PRIDE, CHA/LIVE IN CONCERT Compact Disc 620357001422700145A PRIDE, CHA/LIVE IN CONCERT Digital Video Disc 620357001453700149B VARIOUS/SERIES DV-METAL&HA V.5 Digital Video Disc 711577001498707022B DEVIN TOWN/ADDICTED Compact Disc 885417070224710022B VARIOUS AR/DEFENDERS OF THE UN Compact Disc 800867100222710032A VARIOUS AR/BATTLE AXE WARRIORS Compact Disc 800867100321710042B MOKA ONLY/LIME GREEN Compact Disc 800867100420710062A CHAVEZ, JO/MUSIC FROM THE CONN Com pact Disc 800867100628 710162D NEVA DINOVA/HA TE YOURSELF CHAN Compact Disc 712177101625 710172C ROB THE VI/BEATS TO PI LAGE &CO Compact Disc 800867101724 710182A MOKA ONLY/LOWDOWN SUITE Compact Disc 800867101823710192A SWOLLEN ME/BAD DREAMS INSTRUME Compact Disc 800867101922 710212F CHARLEMANGE/DETOUR ALLURE Compact Disc 712177102127 710242A SHABAZZ TH/BOOK OF SHABAZZ Compact Disc 800867102424 710262C SWEATSHOP /NATURAL PR OGRESSION Compact Disc 800867102622 710272B DJ DREZ/CAPTURE OF SOUND,THE Compact Disc 800867102721 710292B P.E.A.C.E./MEGABITE Compact Disc 800867102929710302A EVIDENCE/YELLOW TAPE INSTRUM Compact Disc 800867103025 710312A SWOLLEN ME/HEAVY INSTRUM ENTALS Compact Disc 800867103124 710322C FREESTYLE/ETCHED IN STONE Compact Disc 8008671032230 94636 99402 4 8 00867 10022 2 8 00867 10032 1 8 00867 10042 0 8 00867 10062 8 8 00867 10172 4 8 00867 10182 3 8 00867 10192 2 8 00867 10242 4 8 00867 10262 2 8 00867 10272 1 8 00867 10292 9 8 00867 10302 5 8 00867 10312 4 8 00867 10322 38 85417 07022 46 17747 00012 7 6 17747 00022 6 6 20357 00142 28 83717 01972 18 83717 01672 0 8 23107 00042 77 24596 93552 1 7 12177 10162 5 7 12177 10212 78 23107 00032 8 6 20357 00145 3 7 11577 00149 8 Page 341 of 496 November 12, 2014Catalogue Numbe rArtist / Title Config Scannable UPC UPC 710322F VIA AUDIO/SAY SOMETHIN G SAY SO Compact Disc 712177103223 710332A BUC FIFTY/SERVE THE DEVIL, PR Compact Disc 800867103322710342A FAT JACK/CATER TO THE DJ 2 Compact Disc 800867103421710352A SON DOOBIE/DOBBIE DELUXE Compact Disc 800867103520710362A SWEATSHOP /UNITED WE FALL Compact Disc 800867103629711002A SHARPE, CR/I AM Compact Disc 695967110024711162A MILLER, ST/FLY LIKE AN EAGLE(3 CD with DVD 094637111628711742A THEORY, JU/EMOTION IS DEAD Compact Disc 647077117424711882A FURTHER SE/MOON IS DAWN,THE Compact Disc 647077118827711962B MXPX/TEN YEARS A ND RUNNIG Compac t Disc 647077119626 715922B NEWSBOYS/GOD'S NOT DEAD Compact Disc 804147159221737332A DAVIS, AND/HOLST:THE PLANETS Compact Disc 724357373326740022A SEVEN WITCHES/XILED TO INFINIT Compact Disc 823107400227 740882A SEVEN WITCHES/PASSAGE TO THE O Compact Disc 823107408827 744212B VARIOUS AR/MAGIC FLUTE:QUEST F Compact Disc 094637442128750002A SODASTREAM/THE HILL FOR COMPAN Compact Disc 823107500026760009A SUPERJOINT RITUAL/LIVE IN DALL Compact Disc 823107600092773372B VAS/FEAST OF SILENCE Compact Disc 724357733724773912A AGLUKARK, /BIG FEELING Compact Disc 724357739122781142A HIKARU,U/SINGLE COLLECTION V.1 Compact Disc 724357811422790022B VARIOUS AR/LYRICS OF FURY Compact Disc 800867900228790042B MOKA ONLY/FLOOD Compact Disc 800867900426790052B SWEATSHOP /LOCAL 604 Compact Disc 800867900525790062B VARIOUS AR/LYRICS OF FURY 2 Compact Disc 800867900624790082A CHASE PHOE/CUT THE CHASE Compact Disc 800867900822 797302C VARIOUS AR/AWESOME 80'S Compact Disc 5099967973026 797392B FORDHAM, J/CONCRETE LOVE ( SACD SACD4Stereo/Surround/CDAud 015707973922 800042A MILLS, FRA/20TH ANNIVERSARY Compact Disc 0777780004260 94637 11162 88 00867 10332 2 8 00867 10342 1 8 00867 10352 0 8 00867 10362 9 8 00867 90022 8 8 00867 90042 6 8 00867 90052 5 8 00867 90062 4 8 00867 90082 26 95967 11002 4 5 099967 973026 0 94637 44212 8 7 24357 81142 27 24357 73372 47 24357 37332 6 7 24357 73912 26 47077 11742 4 6 47077 11882 7 6 47077 11962 6 8 04147 15922 1 0 77778 00042 68 23107 40022 7 8 23107 40882 77 12177 10322 3 8 23107 50002 6 8 23107 60009 2 0 15707 97392 2 Page 342 of 496 November 12, 2014Catalogue Numbe rArtist / Title Config Scannable UPC UPC 800222A MILLS, FRA/CHRISTMAS Compact Disc 077778002222 800572A CUSHNIE, S/TWO PIANOS,NO WAITI Compact Disc 778578005726800582A CUSHNIE, S/CANADIAN ACES Compact Disc 778578005825800592A SMITH,E/ALMOST GRTS HITS VOL.1 Compact Disc 778578005924800602A SMITH, EUG/LOVELY DAY Compact Disc 778578006020802012A MARLEY,B & THE WAILERS/RASTA R Compact Disc 060768020122802132B MC5/LIVE:MOTOR CITY IS BURNING Com pact Disc 060768021327 802432A VAR/REGGAE CHRISTMAS- 21 CHRIST Compact Disc 060768024328 802512B MARLEY,B/THE BEST OF BOB MARLE Compact Disc 060768025127803092A CLIFF,J/JIMMY CLIFF Compact Disc 060768030923803312A MARLEY,B & THE WAILERS/COMPLET Compact Disc 060768033122804072A VARIOUS AR/HOLT-RENF REW CHRIST Com pact Disc 724358040722 805262B NITTY GRIT/SYMPHONION DREAM Compact Disc 724358052626 8086X DRIFTERS,THE/GREATEST HITS Compact Disc 022891808626 810019A HARPER,B/BLUEPRINTS OF JAZZ V2 Compact Disc 827912079616810602A KINISON, S/LIVE FROM HELL Compact Disc 724358106022811592B SEARCHERS,THE/T HE VERY BEST OF Compact Disc 060768115927 811602A TREMELOES/THE VERY BEST OF Compact Disc 060768116023 811612B URIAH HEEP/TH E VERY BEST OF Compact Disc 060768116122 811712B MUNGO JERRY/THE VERY BEST OF Compact Disc 060768117129 81172M AIMALS,THE/ARK Compact Disc 060768117228 811842A DONOVAN/VERY BEST OF THE EARLY Compact Disc 060768118423 811842A DONOVAN/VERY BEST OF THE EARLY Compact Disc 060768118423 813412A STIFF LITTLE FINGERS/GET A LIF Compact Disc 060768134126813412B JONES, ALE/ALED JONES Compact Disc 774718134127814942B VINNIE VIN/ALL SYSTEM S GO Compact Disc 724358149425 817042A ROSNES, RE/WITH THE DANISH RAD Compact Disc 724358170429825012A SILVERMAN,/PARLOUR GRAND,THE/P Compact Disc 774718250124 7 74718 13412 70 60768 11842 37 24358 04072 2 7 24358 10602 2 7 24358 17042 97 24358 14942 57 24358 05262 60 77778 00222 2 7 78578 00592 4 7 78578 00602 07 78578 00582 57 78578 00572 6 7 74718 25012 40 22891 80862 6 0 60768 11722 80 60768 02012 2 0 60768 02132 7 0 60768 02512 7 0 60768 03312 2 0 60768 11842 30 60768 02432 8 0 60768 11602 3 0 60768 11612 2 0 60768 13412 60 60768 03092 3 0 60768 11592 7 0 60768 11712 98 27912 07961 6 Page 343 of 496 November 12, 2014Catalogue Numbe rArtist / Title Config Scannable UPC UPC 836342B HOUSTON CALLS/A COLLECTION OF Compact Disc 060768363427 836542B AN ANGLE/THE TRUTH IS THAT YOU Compact Disc 060768365421 840492C VARIOUS AR/FOREVER COUNTRY Com pact Disc 5099908404923 845222A VAR/THE BRITISH ARE COMING V1 Compact Disc 060768452220845432A TESLA/STANDING ROOM ONLY Compact Disc 060768454323845452A PITCHSHIFTER/P. S.I. (ENHANCED) Com pact Disc Enhanced 060768454521 845452C 30 SECONDS/A BEAUTIFU L LIE CD with DVD 094638454526 846022A RUNDGREN,T/ NEARLY HUMAN TO UR.J Compact Disc 060768460225 847242A IOMMI/HUGHES/THE DEP SESSION 9 Compact Disc 060768472426 847242B UB40/LABOUR OF LOVE I, 2 & 3 Compact Disc 724358472424 85595M BLONDIE/GOOD BOYS Compact Disc 060768559516 860102C KLAATU/3:47 EST Compact Disc 778578601027860842C WHEN IN RO/WHEN IN ROME Compact Disc 077778608424 861182A MARLEY, ZI/ONE BRIGHT DAY Compact Disc 077778611820861732B RANKIN FAM/REUNION: DELUXE TOU Compact Disc 094638617327861762A PRIEST, MA/BONAFIDE Compact Disc 077778617624862142B SLAUGHTER/REVOLUTION Compact Disc 060768621428862162A BENATAR,P/INNAMORATA Compact Disc 060768621626862202B LOVERBOY/SIX Compact Disc 060768622029862212B SAXON/UNLEASH THE BEAST Compact Disc 060768622128 862232A MONEY,E/SHAKIN' WITH THE MONEY Compact Disc 060768622326862262A VAR/THE BEST OF METAL Compact Disc 060768622623862302A SLAUGHTER/FEAR NO EVIL Compact Disc 060768623026862392B U.F.O./WALK ON WATER Compact Disc 060768623927862442A WINTER, JO/LET ME IN Compact Disc 077778624424862542B SHAW,T/7 DEADLY ZENS Compact Disc 060768625426862682A MOTORHEAD/EVER YTHINGS LOUDER Compact Disc 060768626829 862752A STYX/BRAVE NEW WORLD Compact Disc 0607686275290 94638 45452 65 099908 404923 7 24358 47242 4 0 77778 60842 4 0 77778 61182 0 0 77778 61762 4 0 77778 62442 40 94638 61732 7 0 60768 62162 60 60768 55951 6 0 60768 62202 9 0 60768 62542 6 0 60768 62682 90 60768 62142 8 0 60768 62262 3 0 60768 62302 60 60768 36542 1 0 60768 62232 60 60768 46022 50 60768 36342 7 0 60768 62212 80 60768 45432 30 60768 45222 0 0 60768 62392 7 0 60768 62752 90 60768 47242 6 7 78578 60102 70 60768 45452 1 Page 344 of 496 November 12, 2014Catalogue Numbe rArtist / Title Config Scannable UPC UPC 863072B VAR/MAXIMUM HEAVY METAL Compact Disc 060768630727 863092A VAR/MAXIMUM ROCK HITS:STRAIGHT Compact Disc 060768630925863152B FABULOUS THUNDERBI RDS/LIVE Compact Disc 060768631526 868482A VARIOUS/VANCOUVER OPERA 2005-6 Compact Disc 724358684827875242B VARIOUS AR/#1 HITS OF THE 80'S Compact Disc 094638752424 8771CD VAR/GOA TUNES (CD) Compact Disc 9788000987712 880032A 10 CC/KING BISCUIT PRESENTS Compact Disc 707108800326 880132A ROMANTICS,/KING BISCUIT FLOWER Compact Disc 707108801323880182A GORDON, RO/KING BISCUIT FLOWER Compact Disc 707108801828880292A MOTORHEAD/KING BISCUIT FLOWER Compact Disc 707108802924880472A MOUNTAIN/GREATEST HITS - LIV Compact Disc 707108804720880502A FOGHAT/KING BISCUIT FLOWER HOU Compact Disc 707108805024896792B FRASER,D/DEAN PLAYS BOB Compact Disc 060768967922898012A MAHOOD, BE/GIRL OUT OF THE ORD Compact Disc 774018980127 900022C JULIANA THOERY/DEADBEAT SWEETH Compact Disc 876929000229 900032F EVERY OTHERS/THE EVERY OTHERS Compact Disc 880329000321 900042A AMERICA/HUMAN NATURE Compact Disc 632459000425900052A STIFF LITT/HOPE STREET+THE BES Compact Disc 632459000524900232A STAVESACRE/HOW TO LIVE WITH A Compact Disc 876929002322900242A CALIBAN/UNDYING DARK NESS,TH Compact Disc 876929002421 900342A MERCY/PLANES MISTAKEN FOR STAR Compact Disc 876929003428 900362A PURIFIED I/REAPER OF SOULS Compact Disc 876929003626900472A ION DISSON/MINUS THE HERD Compact Disc 876929004722908462A SMITH, JIM/PRAYER MEETIN(WITH Compact Disc 724359084626 913782C MOBY/DESTROYED(4CD) Compact Disc 5099909137820 931302A MILLS, FRA/A SPECIAL CHRISTMAS Compact Disc 077779313020937452B TAVARES/ANTHOLOGY Compact Disc 724359374529940442B EMERY/WEAK'S END, THE Compact Disc 724359404424 8 76929 00022 9 8 76929 00232 2 8 76929 00242 1 8 76929 00342 8 8 76929 00362 6 8 76929 00472 27 07108 80032 6 7 07108 80132 3 7 07108 80182 8 7 07108 80292 4 7 07108 80472 0 7 07108 80502 4 6 32459 00042 5 6 32459 00052 47 74018 98012 79 788000 987712 7 24358 68482 7 0 77779 31302 0 7 24359 40442 40 94638 75242 4 7 24359 37452 97 24359 08462 6 5 099909 137820 0 60768 96792 2 8 80329 00032 10 60768 63072 7 0 60768 63092 5 0 60768 63152 6 Page 345 of 496 November 12, 2014Catalogue Numbe rArtist / Title Config Scannable UPC UPC 942072B VARIOUS AR/ SEARS CHRISTMAS C ompact Disc 724359420721 942312A PAYOLAS, T/LANGFORD PAR T I Compact Disc EP's 094639423125 95019DVD VAR/VOL 1:I WANT MY DVD Digital Video Disc 02661795019495029DVD VAR/VOL 2:I WANT MY DVD Digital Video Disc 026617950293 95039DVD VAR/REGGAE ROCKERS-SUNSPLASH 9 Digital Video Disc 026617950392 95079DVD VAR/VOL 2:REGGAE JAMMIN Digital Video Disc 02661795079895119DVD VAR/DANCEHALL BASHME NT Digital Video Disc 026617951191 955222A DAMONE, VI/LEGENDARY VIC DAMON Compact Disc 724349552227 957342C CAVE/NICK/THE BAD/NO MORE(2CD Compact Disc 5099909573420 957362B CAVE/NICK/THE BAD/NO MO RE SHAL Compact Disc 5099909573628 965072B HENDERSON ,/IN N' OUT C ompact Disc 724359650722 965082A STAR, MAZZ/SHE HANGS BRIGHTLY Compact Disc 077779650828 98049CD LATEEF THE TRUTH SPEAKER/TRUTH Compact Disc 783855980498 9933CD VAR/COFFEE BAR & LOUNGE VOL.3 Compact Disc 4012633999336 995482B KINGSTON T/THEIR GREATEST HITS Compact Disc 724349954823 AA0362 BEFORE I BREAK/BEFORE I BREAK Compact Disc 621617955523 AAA998 NOMEANSNO/THE PEOPLE'S CHOICE Compact Disc 689230099826 AAM0082 END IT/MEET YOUR MAKER Compact Disc 633757201224 AAM0092 PERALTA/PERALTA Compact Disc 633757201323 AB70272 DEL-LORDS,THE/LOVERS WHO WANDE Compact Disc 617742702729AB70282 I SEE HAWKS IN L.A./THE BEST O Compact Disc 617742702828 ABCD236 DAUGHTRY,C/MAXIMUM DAUGHTRY Compact Disc 823564027128 ABCVP115DVD YARDBIRDS/THE STORY OF Digital Video Disc 604388712106ABCVP116DVD BURDON,E/BEYOND THE AN IMALS Digital Video Disc 604388712205 ABCVP118DVD DAZZ BAND/THE BEST OF FUNK (DV Digit al Video Disc 604388713721 ABCVP121DVD SPRINGFIELD,R/LIVE AND KICKIN' Digital Video Disc 604388715602ABCVP122DVD BERRY,C & DIDDLEY,B/ROCK N ROL Digital Video Disc 604388715701ABCVP123DVD VANILLA FUDGE/WHEN TWO WORLDS Digital Video Disc 6043887158004 012633 999336 7 83855 98049 8 6 17742 70272 9 6 17742 70282 8 8 23564 02712 87 24359 42072 1 7 24349 95482 37 24349 55222 7 0 77779 65082 87 24359 65072 25 099909 573420 5 099909 573628 6 33757 20122 4 6 33757 20132 36 21617 95552 3 6 89230 09982 60 94639 42312 5 6 04388 71372 1 6 04388 71580 00 26617 95119 1 6 04388 71210 60 26617 95029 3 0 26617 95079 8 6 04388 71220 5 6 04388 71560 2 6 04388 71570 10 26617 95019 4 0 26617 95039 2 Page 346 of 496 November 12, 2014Catalogue Numbe rArtist / Title Config Scannable UPC UPC ABCVP126DVD IRON BUTTERFLY/CONCERT & DOCUM Digital Video Disc 604388716104 ABCVP129DVD CHIC/MOUNT FUJI FESTIVAL'03(DV Digital Video Disc 604388720705ABCVP135DVD CRAMPS,THE/LIVE (DVD) Digital Video Disc 5060230860657 ABG1 BELL,L/LET'S TALK ABOUT LOVE Compact Disc 827912070743 ABR224072 HAIRCUT ONE HUNDRED/PELICAN WE Compact Disc 783722240724 ABR224092 JONES,G&WYNET,T/GOLDENRING Compact Disc 783722240922 ABR224182 BERRY,C/ROCKIT Compact Disc 783722241820 ABR224222 CARTER,C/I FELL IN LOVE Compact Disc 783722242223ABR224332 BARTON,LA/OLD ENOUGH Compact Disc 783722243329ABR224342 SMITHEREENS,THE/GREEN THOUGHTS Compact Disc 783722243428ABR224432 VAR/CHRISTMAS IS FO R KIDS Compact Disc 783722244326 ABR224452 VAR/IF TOOTHPASTE TAST ED LIKE Compact Disc 783722244524 ABR224492 SQUEEZE/EAST SIDE STORY Compact Disc 783722244920 ABR224622 JOHANSEN,D/HERE COMES THE NIGH Compact Disc 783722246221ABR224822 IMPRESSIONS/PREACHER MAN/FINAL Compact Disc 783722248225 ABR224872 JOHANSEN,D/LIVE IT UP Compact Disc 783722248720ABR224962 FRANKLIN,A/RUNNIN' OU T OF FOOL Compact Disc 783722249628 ABR224972 FRANKLIN,A/SOUL SISTER/TAKE IT Compact Disc 783722249727ABR270252 GRIN/ALL OUT Compact Disc 617742702521ABR411442 VARIOUS/COUNTRY CHRISTMAS Compact Disc 741914114420 ABR602062 HAGGARD,M/A LIVING LEGEND Compact Disc 084296020621ABR616022 VAR/THAT CHRISTMAS F EELING(3CD Compact Disc 084296160228 ABR620032 VAR/RUDY THE REDNECK REINDEER Compact Disc 084296200320 ABR633002 VAR/REASON TO BELIEVE- A COUNTR Compact Disc 084296330027 ABR634862 VARIOUS/GREETINGSFROMPHILLYCLA Compact Disc 084296348626ABR634882 VARIOUS/GREETINGSFROMTEXASCLAS Compact Disc 084296348824ABR635092 VARIOUS/GREETINGSFROMDETROITCL Compact Disc 084296350926ABR635102 VAR/GREETINGS FROM NASHVILLE-C Compact Disc 084296351022 7 83722 24972 78 27912 07074 3 6 17742 70252 17 83722 24222 3 0 84296 34882 4 0 84296 35092 6 0 84296 35102 27 83722 24092 27 83722 24072 4 7 83722 24332 9 7 83722 24432 6 7 83722 24452 4 0 84296 16022 87 83722 24622 1 0 84296 02062 17 41914 11442 07 83722 24342 8 7 83722 24822 5 0 84296 20032 0 0 84296 33002 7 0 84296 34862 67 83722 24962 87 83722 24492 07 83722 24182 0 7 83722 24872 06 04388 72070 56 04388 71610 4 5 060230 860657 Page 347 of 496 November 12, 2014Catalogue Numbe rArtist / Title Config Scannable UPC UPC ABR635122 VARIOUS/GREETINGSFROMTHEWESTCO Compact Disc 084296351220 ABR635142 VARIOUS/GREETINGSFR OMTHEEASTCO Compact Disc 084296351428 ABR635172 VARIOUS/HARD&FASTALLTIMEGREATE Compact Disc 084296351725ABR635282 ROGERS,K/COVERED BY KENNY Compact Disc 084296352821ABR635362 VARIOUS/CHRISTMASI NMYHEART Compact Disc 084296353620 ABR635372 VARIOUS/CHRISTMASINT HEMOUNTAIN Compact Disc 084296353729 ABR635422 VARIOUS/DRIFTINGCOWBOYACOUNTRY Compact Disc 084296354221ABR635802 VARIOUS/THESIXTIESSER IESFRATHO Compact Disc 084296358021 ABR635812 VARIOUS/THESIXTIESSER IESMAKELO Compact Disc 084296358120 ABR636022 VARIOUS/CHRISTMASONTHE ROADAGAI Compact Disc 084296360222 ABR636152 VARIOUS/THESEVENTIESHA RDROCKIN Compact Disc 084296361526 ABR636162 VARIOUS/THESEVENTIESHA RDROCKIN Compact Disc 084296361625 ABR636172 VARIOUS/THESEVENTIESH EAVYGUITA Compact Disc 084296361724 ABR636182 VARIOUS/THESEVENTIESLOS TROCKCL Compact Disc 084296361823 ABR636192 VARIOUS/THESEVENTIESSO FTSEVENT Compact Disc 084296361922 ABR636202 VARIOUS/THESEVENTIESSO FTSEVENT Compact Disc 084296362028 ABR636212 VARIOUS/THESEVENTIESDR EAMWEAVE Compact Disc 084296362127 ABR663222 VARIOUS/THESEVENTIESSW EETERTHA Compact Disc 084296362226 ABR686061 VARIOUS/CHRISTMAS TO Y STORY Compact Disc 084296860616 ABR70052 RABBITT,E/HORI ZON Compact Disc 617742700527 ABR70072 CARMEN,E/TONIGHT YOU'RE MINE Compact Disc 617742700725 ABR70112 DEL-LORDS,THE/BASED ON A TRUE Compact Disc 617742701128 ABR70142 RICH,C/ONCE A DRIFTER Compact Disc 617742701425ABR70152 LAUDERDALE,J/PLANET OF LOVE Compact Disc 617742701524ABR70172 NANTUCKET/NO DIRECTION HOME Compact Disc 617742701722 ABR7019 HEYWARD,N/NORTH OF A MIRACLE Compact Disc 617742701920 ABR70312 CLARK,G/GUY CLARK (CD) Compact Disc 617742703122ABR70322 HAGGARD,M/KERN RIVER/CHILL FAC Compact Disc 6177427032210 84296 36182 30 84296 35142 8 6 17742 70152 40 84296 35122 0 0 84296 36222 60 84296 35362 00 84296 35282 1 0 84296 35802 1 0 84296 36152 6 0 84296 36172 4 0 84296 36212 7 6 17742 70322 10 84296 35172 5 0 84296 36022 2 0 84296 36202 8 0 84296 86061 6 6 17742 70192 0 6 17742 70312 26 17742 70052 7 6 17742 70112 8 6 17742 70172 20 84296 35372 9 0 84296 35422 1 0 84296 36162 5 6 17742 70142 50 84296 35812 0 0 84296 36192 2 6 17742 70072 5 Page 348 of 496 November 12, 2014Catalogue Numbe rArtist / Title Config Scannable UPC UPC ABR70352 RAVE-UPS,THE/THE BOOK OF YOUR Compact Disc 617742703528 ABR730012 VAR/TIMELESS CHRIST MAS Compact Disc 798647300125 ACD14292 LANGLEY,J/DIGGIN IN Compact Disc 880504142921 ACD51442V OCR/UMOJA-SPIRIT OF TOGETHER 2 Compact Disc 880504514421 ACD71212 VIEAUX,J/MANUEL PONCE THE GUIT Compact Disc 787867121221 ACD71221 AARONSM,M/RENZI/VIEAUX/HISTORY Compact Disc 787867122129 ACD71224 VIEAUX,J/SEVILLA THE MUSIC OF Compact Disc 787867122426 ACD71228 PAUKERT,K/NOELS Compact Disc 787867122822ACD71229 PAUKERT,K/AUBADE Compact Disc 787867122921ACD71233 VIEAUX,J/IMAGES OF METHENY Compact Disc 787867123324ACD71240 TRIO CON BRIO/RAVEL DVORAK AND Compact Disc 787867124024 ACD71248 PAUKERT,K/KAREL PAUKERT PLAYS Compact Disc 787867124826ACD71250 VIEAUX,J/BACH VOL 1 WORKS FOR Compact Disc 787867125021ACD71255 PAUKERT,K/ORGAN MUSIC FROM ST Compact Disc 787867125526ACD71266 VAR/MORGENSTERN TRIO Compact Disc 787867126622ACD71270 VIEAUX,J/LABRO,J & A F/PIAZZOL Compact Disc 787867127025ACD71274 ISRAELI CHAMBER PROJECT/OPUS 1 Compact Disc 787867127421 ACD71278 CHEN,W/DIARY IN G PIANOS SONAT Compact Disc 787867127827 ACE11565 AKKERMAN,J/LIVE Digital Vi deo Disc 690978115655 ACM714142 ROTH,D/DIGGINGTHROUGHMYCLOSET Compact Disc 045507141429ACM714362 STEWART,J/BANDERALIVE Compact Disc 045507143621ACM740112 ROTH,D/IRRECONCILABLESIMILARIT Compact Disc 045507401127 ACME0082 OUT COLD/TWO BROKEN HEARTS... Compact Disc 689076300650ACME0092 LAST IN LINE/L'ESE RCITO DEL MO Compact Disc 621617396227 ACME0142 ALLIN,GG/VIOLENT BEATINGS Compact Disc 689076300759ACME0152 SHODS/STOP CRYING Compact Disc 689076300858ACME0162 OUT COLD/WILL ATTACK IF PROVOK Compact Disc 689076300957ACME0172 REACTION/REACTION Compact Disc 6890763010538 80504 14292 1 8 80504 51442 1 7 87867 12212 9 0 45507 14362 1 0 45507 40112 76 17742 70352 8 7 98647 30012 5 0 45507 14142 97 87867 12782 77 87867 12122 1 7 87867 12242 6 7 87867 12282 2 7 87867 12292 1 7 87867 12332 4 7 87867 12402 4 7 87867 12482 6 7 87867 12502 1 7 87867 12552 6 7 87867 12662 2 7 87867 12702 5 7 87867 12742 1 6 89076 30075 96 89076 30065 0 6 21617 39622 7 6 89076 30085 8 6 89076 30095 7 6 89076 30105 36 90978 11565 5 Page 349 of 496 November 12, 2014Catalogue Numbe rArtist / Title Config Scannable UPC UPC ACME0192 FIVE OUTSIDERS/ON THE RUN Compact Disc 689076301152 ACME0202 OUT COLD/GOODBYE CRUE L WORLD Compact Disc 689076301251 ACME0219 OUT COLD/LOOKING THROUGH COMMU Digital Video Disc 689076301350ACME0242 HERO DISHONEST/WHEN THE SHIT H Compact Disc 689076300551ACME0252 BAD CHOPPER/HATE WAS THE CHAIN Compact Disc 600665797422 ACME0262 ZOOPARTY/YOU ARE HERE Compact Disc 600665796722 ACX142 ROBYN,R/DO IT AGAIN Compact Disc 827590142022 ADV51239V OCR/UMOJA-DVD(SPIRIT OF TOGETH Digital Video Disc 880504512397 AE0022 BELHOM, THOMAS/CHEVAL OBLIQUE Compact Disc 880918072425 AE4072 RIHANNA/BROWN,C/HIP HO V2(2DVD Digital Video Disc 655690407204 AEREC001 POPOVIC,A/AN EVENING AT TRASIM Digital Video Disc 8714835079644 AF0041 ANTIFLAG/DEATH OF A NATION-DVD Digital Video Disc 648469004193 AFCMORCD007 JENSEN, K L/CATS MADE OF RABBI Compact Disc 738435006082 AFM0392 NOSTRADAMEUS/WORDS OF NOSTRADA Compact Disc 4009880466827AFM0442 RAWHEAD REXX/REWHEAD REXX Compact Disc 4009880467527AFM1273 PERZONAL WAR/DIFFERENT FACES Compact Disc 4046661032420AFM1365 WICKED WISDOM/BLEED ALL OVER M Compact Disc 4046661039559AFM1595 U.D.O./THE WRONG SIDE OF MIDNI Compact Disc EP's 4046661067927AFM1753 AT VANCE/ONLY HUMAN + THE EVIL Compact Disc 4046661068122AFM1763 ANNIHILATOR/ALL FOR YOU + SCHI Compact Disc 4046661082920AFM1773 CIRCLE II CIRLE/WATCHING IN SI Compact Disc 4046661083026AFM1862 TANKWART/HIMBEERGEIS T ZUM FRUE Compact Disc 4046661084726 AFM2162 SINNER/MASK OF SANITY Compact Disc 884860000123 AFM2393 NOSTRADAMEUS/PATHWAY TO HELL Compact Disc 4046661126822AFM2413 PURE INC./PURE DAWN Compact Disc 4046661127027AFM2433 ELVENKING/WINTERSREEL Compact Disc 4046661127225AFM2473 AT VANCE/7 CHAINS Compact Disc 4046661082821AFM2713 AXXIS/FLAMES OF DOOM Compact Disc 8848600037287 38435 00608 28 27590 14202 2 4 046661 032420 6 00665 79742 2 6 00665 79672 26 89076 30115 2 6 89076 30125 1 6 89076 30055 1 8 80918 07242 5 4 046661 068122 4 009880 466827 4 009880 467527 4 046661 039559 4 046661 082920 4 046661 083026 4 046661 084726 8 84860 00012 3 4 046661 126822 4 046661 127027 4 046661 127225 4 046661 082821 8 84860 00372 84 046661 067927 8 80504 51239 7 6 48469 00419 36 55690 40720 4 8 714835 079644 6 89076 30135 0 Page 350 of 496 November 12, 2014Catalogue Numbe rArtist / Title Config Scannable UPC UPC AFM2723 BLACK MESSIAN/CRUCACHA N/THE PA Compact Disc 884860003827 AFM2753 DEZPERADOZ/WESTERN METAL Compact Disc 884860004121AFM2763 DIONYSUS/TALES OF DIONYSUS Compact Disc 884860004220AFM2773 DORO/DORO DIAMONDS Compact Disc 884860004329AFM2793 DORO/DORO WARRIOR'S SPIRIT Compact Disc 884860004527AFM2803 EVIDENCE ONE/CRITICAL LIMIT Compact Disc 884860004626AFM2813 JON OLIVA'S PAIN/MANIACAL MEMO Compact Disc EP's 884860004725AFM2823 MASTERPLAN/MKII SPEC IAL PACK Compact Disc EP's 884860004824 AFM2833 POODLES, THE/METAL TRADE Compact Disc 884860004923AFM2853 SILENT FORCE/FUTURE FORCE Compact Disc 884860005128 AFMCD4762 HEAVENS FORTRESS/RA IDED LAND Compact Disc 884860091725 AFMSG1025 DORO/IN LIEBE UND FRE UNDSCAFT Compac t Disc EP's 4046661016659 AFRO0022 SMOKEY AND MIHO/TEMPO DE AMOR Compact Disc 616892515920 AG0032 MANNHEIMSTEAMROLLER/A MANNHEIM Compact Disc 012805000321 AG1002 DAVIS,C&VAR/SUNDAY MO RNING COF Compact Disc 012805010023 AG1012 DAVIS,C&VAR/DI NNER Compact Disc 012805010122 AG1022 DAVIS,C&VAR/PAR TY Compact Disc 012805010221 AG1032 DAVIS,C&VAR/ROM ANCE Compact Disc 012805010320 AG1042 DAVIS,C&VAR/SUNDAY MO RNING COF Compact Disc 012805010429 AG1052 DAVIS,C&VAR/PAR TY 2 Compact Disc 012805010528 AG1072 DAVIS,C&VAR/ROMA NCE II Compact Disc 012805010726 AG12252 MANNHEIMSTEAMROLLER/ CHRISTMAS Compact Disc 012805122528 AG19842 MANNHEIMSTEAMROLLER/ CHRISTMAS Compact Disc 012805198424 AG19882 MANNHEIMSTEAMROLLER/A FRESH AI Compact Disc 012805198820 AG20862 MANNHEIMSTEAMROLLER/SAVI NG THE Compact Disc 012805208628 AG2982 DAVIS,CPRESENTS/VAR/A RENAISSA Compact Disc 012805029827 AG30892 MANNHEIMSTEAMROLLER/YE LLOWSTON Compact Disc 012805308922 AG4432 MANNHEIMSTEAMROLLER/ CHRISTMAS Compact Disc 012805044325 0 12805 02982 7 0 12805 04432 50 12805 12252 8 0 12805 19842 4 0 12805 19882 00 12805 00032 1 0 12805 20862 80 12805 01002 3 0 12805 01012 2 0 12805 01022 1 0 12805 01032 0 0 12805 01042 9 0 12805 01052 8 0 12805 01072 6 0 12805 30892 28 84860 09172 5 6 16892 51592 08 84860 00382 7 8 84860 00412 1 8 84860 00422 0 8 84860 00432 9 8 84860 00452 7 8 84860 00462 6 8 84860 00492 3 8 84860 00512 88 84860 00472 5 8 84860 00482 4 4 046661 016659 Page 351 of 496 November 12, 2014Catalogue Numbe rArtist / Title Config Scannable UPC UPC AG4942 AMERICA/HOURGLASS Compact Disc 012805049429 AG5002 RUTTER,J/CAMBRIDGESINGERS/OLDE Compact Disc 012805050029 AG50062 MANNHEIMSTEAMROLLER/FR ESH AIRE Compact Disc 012805500623 AG5862 RUTTER,J/CITYOFLONDONSINFONIA/ Compact Disc 012805058629AG5882 RUTTER,J/CAMBRIDGESINGERS/BROT Compact Disc 012805058827AG7912 CHECKFIELD/SURRO UNDED Compact Disc 012805079129 AG8002 MANNHEIMSTEAMROLLER/ CLASSICAL Compact Disc 012805080026 AGZ0007 GOZE,C/LONG WAY HOME Compact Disc 843485083256 AHS001 VAR/12 CLASSIC 45S Compact Disc 700282000124AHS007 VAR/THE WASTED YEARS Compact Disc 700282100725 AHS339 NEATS/1981 1984 THE ACE OF HEA Compact Disc 700282033924 AK29932 VARIOUS ARTISTS/SUN RECORDS YE Compact Disc 8026575993129 ALIEN0222 SHALABI EFFECT/S OUND TRACK Compact Disc 620675134895 ALP101 MAGICAL POWER MAKO/LO POP DIAM Compact Disc 735286110128ALP105 BOXHEAD ENSEMBLE/NIAGRA FALLS Compact Disc 735286110524 ALP11 CHROME CRANKS/OILY CRANKS Compact Disc 735286191127 ALP118 STEAM/REAL TIME Compact Disc 735286111828ALP125 BENDIAN,G/INTERZONE/REQUIEM FO Compact Disc 735286112528 ALP129 EX, TERRI & HAN BENNINK/LAUGHI Compact Disc 735286112924 ALP13 ELEVENTH DAY DREAM/ URSA MAJOR Compact Disc 735286191325 ALP130 EX,TERRI & AN BAARS/HEF Compact Disc 735286113020 ALP135 SWANS/FEEL GOOD NOW Compact Disc 735286113525ALP139 LONBERG-HOLN TRI/VALENTINE FOR Compact Disc 735286113921ALP140 VANDERMARK 5/AIRPORTS FOR LIGH Compact Disc 735286114027ALP145 FLESH EATERS/CHRIS D ./TIME STA Compact Disc 735286114522 ALP147 PARKER/DRUMM/ZERRANG/OUT TRIOS Compact Disc 735286114720 ALP15 BRANCA,G/SYMPHONY #5 "..HYPERS Compact Disc 735286191523 ALP156 BENDIAN,G/INTERZONE Compact Disc 7352861156287 00282 10072 5 7 35286 19132 5 7 35286 11472 07 35286 11012 8 7 35286 11052 4 7 35286 19112 7 7 35286 11292 4 7 35286 11302 0 7 35286 11352 5 7 35286 11392 1 7 35286 11402 7 7 35286 11452 2 7 35286 11562 88 43485 08325 6 7 00282 00012 4 7 00282 03392 40 12805 50062 3 0 12805 08002 60 12805 04942 9 0 12805 05002 9 0 12805 05862 9 0 12805 05882 7 0 12805 07912 9 7 35286 19152 37 35286 11182 8 7 35286 11252 88 026575 993129 6 20675 13489 5 Page 352 of 496 November 12, 2014Catalogue Numbe rArtist / Title Config Scannable UPC UPC ALP163 GUSTAFSSON/STACKENAS/BLUES Compact Disc 735286116328 ALP166 VANDERMARK 5/THE COLOR OF MEMO Compact Disc 735286116625 ALP19 BLAG DAHLIA/VENUS WITH ARMS Compact Disc 735286191929 ALP193CD BETTER TO SEE YOU WITH/TBA Compact Disc 735286119329 ALP194CD KINK GONG/ELECTRONIC WORLD Compact Disc 735286119428 ALP203 HAL RUSSELL'S CHEMICAL/ELIXIR Compact Disc 735286220322ALP209 GREGORIO,G/OTRA MUSICA(1963-70 Compact Disc 735286220926ALP212 JOHANNSSON,S/SCHLINGERLAND(197 Compact Disc 735286221220ALP216 ROVA SAXOPHONE QUARTET/AS WAS Compact Disc 735286221626 ALP219 HAAZ & COMPANY/UNLAWFUL MUSIC Compact Disc 735286221923 ALP224 BEREFORD,S/TRISTAN HONSI/DOUBL Compact Disc 735286222425ALP225 THORTON,C/FREEDOM & UNITY Compact Disc 735286222524ALP227 THOMAS,L/BANANA:THE LOST SESSI Compact Disc 735286222722 ALP235 SCHIANO,M/ON THE WAITING LIST Compact Disc 735286223521ALP238 GRUNTZ,G/CLARKE,K/ME NTAL CRUEL Compact Disc 735286223828 ALP239 ALTERATIONS/VOILA! ENOUGH Compact Disc 735286223927ALP245 MOHOLO/STABBINS/TI PPETT/TERN(1 Compact Disc 735286224528 ALP248 GLOBE UNITY ORCHESTRA/HAMBURG Compact Disc 735286224825 ALP249 WALLIN PER HENDRIK TRIO/BURNIN Compact Disc 735286224924 ALP250 CONTEMPORARY JAZZ QUINTET/ACTI Compact Disc 735286225020ALP253 SIRONE/SIRONE LIVE(1981) Compact Disc 735286225327ALP256 MCPHEE,J/SYNDER,J/PIECES OF LI Compact Disc 735286225624 ALP29 CARBON/AMUSIA Compact Disc 735286192926ALP38 VAR/OUT OF THEIR MOUTHS MK II Compact Disc 735286193824ALP39 VAR/ JUST ANOTHE R ASSHOLE Compact Disc 735286193923 ALP47 VANDERMARK 5/SINGLE PIECE FLOW Compact Disc 735286194722ALP61 CARBON/I:S:M: ARC Compact Disc 735286196122 ALP71 MILES/LICHT/HAINO/GERRY MILES Compact Disc 7352861971297 35286 22352 1 7 35286 19712 97 35286 11632 8 7 35286 11932 9 7 35286 11942 87 35286 19192 9 7 35286 22032 2 7 35286 22092 6 7 35286 22122 0 7 35286 22162 6 7 35286 22242 5 7 35286 22252 4 7 35286 22272 2 7 35286 22382 8 7 35286 22392 7 7 35286 22452 8 7 35286 22492 4 7 35286 22502 0 7 35286 22532 7 7 35286 22562 4 7 35286 19292 6 7 35286 19382 4 7 35286 19392 3 7 35286 19472 2 7 35286 19612 27 35286 11662 5 7 35286 22482 57 35286 22192 3 Page 353 of 496 November 12, 2014Catalogue Numbe rArtist / Title Config Scannable UPC UPC ALP73 NRG ENSEMBLE/BEJAZZO GETS A FA Compact Disc 735286197327 ALP78 CRESENT/ELECTRONIC SOUNDS CONS Co mpact Disc 735286197822 ALP83 BROTZMANN,C/ZULUTIME Compact Disc 735286198324ALP86 TIERS,W/TWILIGHT OF THE COMPUT Compact Disc 735286198621ALP92 SHARP,E/ARC2:THE SEVENTIES Compact Disc 735286199222 ALP95 SHARP,E/ARC3:CYBERPUNK & THE V Compact Disc 735286199529 ALP98 MAGICAL POWER MAKO/BLUE DOT Compact Disc 735286199826ALP99 MAGICAL POWER MAKO/TRANCE RESO Compact Disc 735286199925 ALV0232 DEVIL INSIDE/36 KARAT Compact Disc 766846911824ALV0312 ONE NATION UNDER/ONE NATION UN Compact Disc 4031917000278 AM0052 LINK 80/17 REASONS... Compact Disc 612851000520AM0072 MU330/PRESS Compact Disc 612851000728AM0092 SLAPSTICK/SLAPSTICK Compact Disc 612851000926AM0122 SLOW GHERKIN/DOUBLE HAPPINESS Compact Disc 612851001220 AM01332 NICOTINE/SESSI ON Compact Disc 612851013322 AM0142 LINK 80/KILLING KATIE Compact Disc 612851001428AM0162 MU330/CRAB RANGOON Compact Disc 612851001626AM0182 POTSHOT/POTS AND SHOTS Compact Disc 612851001824AM0212 BROADWAYS/BROKEN STAR Compact Disc 612851002128 AMACD001 TURNER,I & T/SING THE BLUES Compact Disc 884607000010 AMACD003 CLOONEY,R/ON THE AIR Compact Disc 884607000034AMACD004 DAVIS,M/BROADC AST SESSIONS Compact Disc 884607000041 AMACD005 JEFFERSON AIRPLANE/CLEARED FOR Compact Disc 884607000058AMACD006 HAGGARD,M/LIVE! Compact Disc 884607000065AMACD013 SINATRA,F/ON THE RADIO Compact Disc 884607000133AMACD014 MCRAE,C/LIVE AT THE FLAMINGO J Compact Disc 884607000140AMACD015 BRUBECK,D/ON THE RADIO Compact Disc 884607000157AMACD016 VAUGHN,S & HERMAN,W/ON THE RAD Compact Disc 8846070001647 35286 19922 27 35286 19732 7 7 35286 19782 2 7 35286 19832 4 7 35286 19862 1 7 35286 19952 9 7 35286 19982 6 7 35286 19992 5 8 84607 00004 18 84607 00001 0 8 84607 00003 4 8 84607 00005 8 8 84607 00006 5 8 84607 00014 0 8 84607 00015 7 8 84607 00016 48 84607 00013 37 66846 91182 4 4 031917 000278 6 12851 00052 0 6 12851 01332 26 12851 00072 8 6 12851 00092 6 6 12851 00122 0 6 12851 00142 8 6 12851 00162 6 6 12851 00182 4 6 12851 00212 8 Page 354 of 496 November 12, 2014Catalogue Numbe rArtist / Title Config Scannable UPC UPC AMACD019 HOWLIN' WOLF/ROCKIN; THE BLUES Compact Disc 884607000195 AMCD902 FABIAN,L/LARA FABIAN Compact Disc 776693090221AMCD905 FABIAN,L/PURE Compact Disc 776693090528 AMCL1024 DEEP RUMBA/THE NIGH T BECOMES A Compact Disc 692863102429 AMCL1030 DEEP RUMBA/A CALM IN THE FIRE Compact Disc 692863103020 AMG0352 SPELLBOUND/INCOMING DESTINY Compact Disc 4046661012828 ANBD1070 CONEY HATCH/FRICTION Compact Disc 066825107027 ANGEL0001 JOHNSON,CD/LOVE & NEGOTIATION Compact Disc 602517008007 AR0372 BURY YOUR DEAD/YOU HAD ME AT H Compact Disc 790168465727 ARM250972 RESISTANCE,THE/RISE FROM TR(EP Compact Disc EP's 826992509723 ARMA329 HEWITT,E/BURN THE SKY DOWN Compact Disc 8718522004964 ARS0042 JON B/HOLIDAY WISHES FROM ME T Compact Disc 689076207454 ASCD008 GRUPO FANTASMA/SONIDOS GOLD Compact Disc 854882200665 ATOM2010 MAYFIELD,C/ LOVE TO THE PEOPLE Compact Disc 883717001023 AUDIO27 GERI X/ANTHEMS OF A MENDED HEA Compact Disc 897030002179 AZCHL202 MUSLIM GAUZE/FROM THE EDGE Compact Disc 881851002029 B000004802 BACH,J.S./RICERCAR Compact Disc 028946191224B000006402 WORLEY,D/H AVE YOU FORGOTTE N Compact Disc 600445044326 B000009202 FITZGERALD,E/JUKEBOX ELLA-THE Compact Disc 044007605820B000015636 WALLFLOWERS THE/RED LETTER DAY SACD4Stereo/Surround/CDAud 606949366629B000021302 VAR/HAYREN-MUSIC OF TIGRAN MAN Compact Disc 028946183120B000023102 OST/AMERICAN DREAMS Compact Disc 044003815926B000027000 SIGUR ROS/(UNTITLED #1) {CDSP} CD with DVD 008811323394B000028502 BRECKER QUINDECTET,M/WIDE ANGL Compact Disc 044007614228B000028702 GOLUB,J.SOUL SESSIONS Compact Disc 044007614327B000030902 MCCLINTON,D/ THE BEST OF DEL BER Compact Disc 008817037325 B000036502 VAR/THE BEST OF BLU ES ROCK SON Compact Disc 008811323424 B000047802 VAR/THE VOICE OF AMERICA Compact Disc 028947298526 0 08811 32339 40 66825 10702 76 92863 10242 9 6 92863 10302 0 8 83717 00102 3 8 97030 00217 97 76693 09022 1 7 76693 09052 8 0 44007 60582 0 0 44007 61422 8 0 44007 61432 70 44003 81592 60 28946 19122 4 0 28946 18312 06 00445 04432 6 0 28947 29852 66 02517 00800 7 0 08817 03732 5 0 08811 32342 48 81851 00202 98 718522 004964 8 84607 00019 5 6 89076 20745 4 8 54882 20066 54 046661 012828 7 90168 46572 7 8 26992 50972 3 6 06949 36662 9 Page 355 of 496 November 12, 2014Catalogue Numbe rArtist / Title Config Scannable UPC UPC B000059302 MARS VOLTA,T/DE-LOUSED IN THE Compact Disc 602498602980 B000060302 GREY,A/SNAP YOUR FINGERS Compact Disc 602498603079B000061702 LENOIR,JB/MARTIN SC ORSESE PRES Compact Disc 602498603147 B000063302 OST/THE HULK Compact Disc 028947509820B000070902 98 DEGREES/THE BEST OF CHRISTM Compact Disc 602498603826B000071802 LONE JUSTICE/THE BEST OF LONE Compact Disc 602498603840B000072502 WILLIAMS,B/THE JOURNEY WITHIN Compact Disc 602498603864B000072802 OST/RED, WHITE & BLUES Compact Disc 602498077368B000079102 ROSS,D/DIANA (DELUXE) Compact Disc 602498604410B000082009 CARPENTERS THE/INTERPRETATIONS Digital Video Disc 602498604731B000088702 RONSTADT,L/HUMMIN' TO MYSELF Compact Disc 602498605219B000092602 JENNINGS,W/THE COMPLETE MCA RE Compact Disc 602498605813B000096302 BRICKELL,E/VOLCANO Compact Disc 602498606209B000099902 COSTELLO,E/NORTH Compact Disc 602498091630B000104202 LOUCH,S/WALK WITT ME Compact Disc 602498606827B000104902 ETHERIDGE,M/MELISSA ETHERIDGE Compact Disc 602498606889 B000110919 GAYE,M/COLLECTION DVD Audio 602498607626B000114602 FAITHFUL,M/THE BEST OF MARIANN Compact Disc 602498069516B000116202 LOVETT,L/MY BABY DON'T TOLERAT Compact Disc 602498608333B000129219 BOCELLI,A/VERDI:ARIAS DVD Audio 028946460092B000133412 BLINK-182/BLINK-182 (EDITED) Compact Disc 602498609651B000143602 CLARK,T & O'FARRILL,C/SPANISH Compact Disc 602498610503B000145702 KELLAWAY,R /....CELLO QUARTE T Compact Disc 602498610626 B000147840 JOHN,E/GOODBYE YELLOW ...(DELUX SACD4Ster eo/Surround/CDAud 602498132807 B000151709 GABRIEL,P/GROWING UP LIVE Digital Video Disc 602498611432B000153102 BROWN,P/UP FRONT Compact Disc 602498611609B000158036 COSTELLO,E/NORTH SACD4Stereo/Surround/CDAud 602498612149B000158802 TROGGS,T/THE BEST OF THE TROGG Compact Disc 044006341521 6 02498 60833 36 02498 60521 96 02498 60307 9 6 02498 60386 4 6 02498 61050 3 6 02498 61062 6 6 02498 61160 96 02498 60298 0 6 02498 60620 9 6 02498 60682 76 02498 60441 0 6 02498 60581 36 02498 60314 7 6 02498 07736 8 6 02498 60688 9 6 02498 60965 16 02498 09163 00 28947 50982 0 6 02498 60382 6 6 02498 06951 66 02498 60384 0 0 44006 34152 16 02498 60473 1 6 02498 61143 20 28946 46009 26 02498 60762 6 6 02498 13280 7 6 02498 61214 9 Page 356 of 496 November 12, 2014Catalogue Numbe rArtist / Title Config Scannable UPC UPC B000159102 DEL VIKINGS/ THE BEST OF THE DE Compact Disc 602498612262 B000159302 G-UNIT/BEG FOR MERCY (EDITED) Compact Disc 602498612279B000161402 VAR/HIP HOP HITS VOLUME 7 Compact Disc 602498611890B000162019 STRAIT,G/HONKYTONKVILLE DVD Audio 602498612590B000166402 PITCH BLACK/PITCH BLACK LAW Compact Disc 602498603550B000169902 SCOFIELD,J/EN ROUTE Compact Disc 602498613573B000171102 IGLESIAS,E/7 Compact Disc 602498613399B000171602 RAEKWON/THE LEX DIAMOND STORY Compact Disc 602498613719B000179302 ABERCROMBIE,J/R ARUM:SELECTED R Compact Disc 044001421228 B000180302 SURMAN,J/RARUM:SELECTED RECORD Compact Disc 044001419720B000189002 WHITE BARRY/BEST OF VOLUME 2 Compact Disc 602498616062B000199302 VARIOUS ARTISTS/THE JAZZ WEDDI Compact Disc 602498617557B000202302 MACHITO/VACATION A THE CONCORD Compact Disc 602498617656B000202802 STITT,S/PERSONAL APPEARANCE Com pact Disc 731452331427 B000203102 BISBAL,D/BULERIA Compact Disc 602498163832B000210319 WHO THE/TOMMY DVD Audio 602498618363B000216102 ROUND, C/THE DISCONNECT ION Compact Disc 602498619124 B000217109 NO DOUBT/THE VIDEOS 1992-2003 Digital Video Disc 602498619223B000219102 COLTRANE,A/TRANSLINEAR LIGHT Compact Disc 602498619292B000226802 RICHEY,K/COLLECTION Compact Disc 602498620243B000228602 ANDERSEN,A/THE TRIANGLE Compact Disc 044003812123B000228902 ABERCROMBIE,J QUINTET/CLASS TR Compact Disc 044003811829B000229002 PARKER,E/MEMORY/VISION Compact Disc 044003811720B000230719 JOHN,E/GOODBYE YELLOW BRICK RO DV D Audio 602498177068 B000231102 THIRD WORLD/ THE BEST OF THIRD Compact Disc 044006325323 B000238709 38 SPECIAL/THE BEST OF 38 SPEC Digital Video Disc 602498621646 B000240502 D12/D12 WORLD (EDITED) Compact Disc 602498621639B000244202 MASEKELA,H/STILL GRAZING Compact Disc 602498622520 6 02498 61606 26 02498 61357 3 6 02498 61755 7 6 02498 61765 6 7 31452 33142 7 6 02498 61929 2 6 02498 62252 06 02498 60355 0 6 02498 61371 9 6 02498 16383 2 6 02498 62024 36 02498 61227 9 6 02498 61339 9 6 02498 61912 4 6 02498 62163 90 44001 42122 8 0 44001 41972 0 0 44003 81212 3 0 44003 81182 9 0 44003 81172 06 02498 61189 06 02498 61226 2 0 44006 32532 36 02498 61922 3 6 02498 62164 66 02498 61259 0 6 02498 17706 86 02498 61836 3 Page 357 of 496 November 12, 2014Catalogue Numbe rArtist / Title Config Scannable UPC UPC B000245109 WRIGHT,C/THE BEST OF CHELY WRI D igital Video Disc 602498622735 B000251302 LYNN,L/VAN LEAR ROSE Compact Disc 602498189559B000256236 RICHIE,L/JUST FOR YOU SACD4Stereo/Surround/CDAud 602498623886B000259519 HIATT,J/BRING THE FAMILY DVD Audio 602498624340B000259802 PIKE,D/MANHATTAN LATIN Compact Disc 602498624463B000260102 NELSON/THE BEST OF NELSON Compact Disc 602498624579B000268202 JAMAL,A/CHAMBER MUSIC OF THE N Compact Disc 602498625736B000278402 LANZ,D/THE GOOD LIFE Compact Disc 028947561644B000282802 BANKS,L/TH E HUNGER FOR MORE (ED Compact Disc 602498627631 B000284509 CAMEO/THE BEST OF CA MEO Digital Video Disc 602498627921 B000291302 SIMPSON,A/AUTOBIOGRAPHY Compact Disc 602498628744B000292402 OST/THE TERMINAL Compact Disc 602498628751B000293802 BROUSSARD, M/CARENCRO Com pact Disc 602498628706 B000297302 YOUNG BUCK/STRAIGHT OUTTA (EDI Compact Disc 602498629895B000303702 VAR/PLAINTE CALME Compact Disc 028947240020B000307602 OST/VANITY FAIR Compact Disc 602498631256B000332209 ROBINSON,S/BEST OF - DVD Digital Video Disc 602498635865 B000350236 GAYE,M/THE MARV IN GAYE COLLECT SACD4 Stereo/Surround/CDAud 602498636398 B000351009 BROWN,B/BEST OF - DVD Digital Video Disc 602498639689 B000356200 GAME THE/THE DOCUMENTARY(DELUX CD with DVD 602498641422B000360102 N.O.R.E/1 FAN A DAY Compact Disc 602498645659B000360802 JAMES,R/GOLD Compact Disc 602498642757B000367502 WITHERSPOON,J & MCDUFF/THE BLU Compact Disc 602498644713 B000370909 CARDIGANS THE/LIVE IN LONDON Digital Video Disc 602498232552B000372409 CRANBERRIES THE/LIVE Digital Video Disc 602498233566B000375682 SNOW PATROL/FINAL STRAW DUALDISC 602498255520B000392802 ROSENWINKEL,K/DEEP SONG Compact Disc 075021034563 B000393302 FITZGERALD,E/SINGS THE JEROME Compact Disc 075021034754 6 02498 64142 2 6 02498 64565 96 02498 18955 9 6 02498 62446 3 6 02498 62573 6 6 02498 64471 3 0 75021 03456 3 0 75021 03475 46 02498 64275 76 02498 62870 6 6 02498 62989 56 02498 62763 1 0 28947 24002 06 02498 62875 10 28947 56164 4 6 02498 63125 66 02498 62874 46 02498 62457 9 6 02498 23255 2 6 02498 23356 66 02498 63586 56 02498 62273 5 6 02498 62792 1 6 02498 63968 9 6 02498 25552 06 02498 62434 0 6 02498 63639 86 02498 62388 6 Page 358 of 496 November 12, 2014Catalogue Numbe rArtist / Title Config Scannable UPC UPC B000393802 NEWMAN,J/JOE NEWMAN QUINTET A Compact Disc 075021034808 B000393902 CUGAT,X/CUSI'S COCKTAILS Compact Disc 075021034815B000394002 RICH,B/BL UES CARAVAN Co mpact Disc 075021034822 B000397702 VAR/GET HAPPY: THE HAROLD ARLE N Compact Disc 602498267301 B000402502 SALUZZI,D/SENDEROS Compact Disc 602498196120B000404502 TROVESI & CO SCIA/ROUND ABOUT W Compact Disc 602498241318 B000405902 K-CI & JOJO/ALL MY LIFE:THEIR Compact Disc 075021037533B000408709 NEWTONJOHN,O/VIDEO GOLD 1 Digital Video Disc 075021038653B000412102 LLYOD,C/JUMPING THE CREEK Compact Disc 602498241301B000417202 BOOMTOWN RATS,T/THE BEST OF BO Compact Disc 602498269114B000418102 HUMPERDINCK,E/LET THERE BE LOV Compact Disc 028947566069B000423302 VERACINI/VERACINI SONATAS Compact Disc 028947670551B000426902 AYLER,A/NEW GRASS Compact Disc 602498802724B000427102 PAYNE,F/AFTER THE LIGH TS GO DO Compact Disc 602498802748 B000427402 BARBIERI,G/CHAPTER FOUR;ALIVE Compact Disc 602498802779B000427502 NELSON,O/LIVE FROM LOS ANGELES Compact Disc 602498802786B000427602 SANDERS,P/ELEVATION Compact Disc 602498802793B000431702 50 CENT/THE MASSACRE Compact Disc 602498804087B000452982 KEITH,T/SHOCK'N Y'ALL DUALDISC 602498804179B000454202 LTD&OSBORNE,J/GOLD Compact Disc 602498813997B000454709 TESLA/BEST OF - DVD Digital Video Disc 602498814048B000455002 FRAMPTON,P/FRAMPTON COMES ALIV Compact Disc 602517212671B000455702 OST/THE LONGEST YARD (EDITED) Compact Disc 602498814246B000457502 FLIPSYDE/WE THE PEOPLE Compact Disc 602498814369B000463902 LABELLE,P/CLASSIC MOMENTS Compact Disc 602498813652B000465309 KISS/BEST OF VOL .II - DVD Digital Video Disc 602498817957 B000467102 COMMON/BE (EDITED) Compact Disc 602498818947B000467200 COMMON/BE (DELUXE EDITION) CD with DVD 602498818961 6 02498 81896 16 02498 81436 96 02498 81399 76 02498 80408 70 75021 03480 8 0 75021 03481 5 0 75021 03482 2 6 02498 26730 1 6 02498 80272 4 6 02498 80274 8 6 02498 80277 9 6 02498 80278 6 6 02498 80279 3 6 02498 81424 60 28947 56606 9 6 02517 21267 10 75021 03753 3 6 02498 81894 76 02498 19612 0 6 02498 24131 8 6 02498 24130 1 0 28947 67055 1 6 02498 81365 26 02498 26911 4 6 02498 81795 76 02498 81404 80 75021 03865 3 6 02498 80417 9 Page 359 of 496 November 12, 2014Catalogue Numbe rArtist / Title Config Scannable UPC UPC B000468102 VAUGHAN,S/AFTER HOURS AT THE L Compact Disc 602498819043 B000478602 MELLENCAMP,J/MR.HAPPY GO LUCKY Compact Disc 602498823514B000479482 OST/DEVIL'S REJECTS(DUAL DISC) DUALDISC 602498824177B000494902 HADEN,C/NOT IN OUR NAME Compact Disc 602498292488B000496002 STUART,M/BADLANDS Compact Disc 602498831496B000499432 NINE BLACK ALPS/NINE BLACK ALP Compact Disc EP's 602498832363B000506102 RAVA,E/TATI Compact Disc 602498701744B000506602 KREMER,G/SCHU BERT;STRING QUAR T Compact Disc 028947619390 B000522109 DRUHILL/HITS: VIDEOS Digita l Video Disc 602498840917 B000524709 NEWTONJOHN,O/VIDEO GOLDII Digital Video Disc 602498841488B000526482 BONJOVI/SLIPPERY WHEN WET-DUAL DUALDISC 602498842577 B000528902 BLACKBROWES,T/GOLD Compact Disc 602498843420B000531602 ANDERSEN,A/ELECTRA Compact Disc 602498243374B000532502 WEST,K/LATE REGISTRATION (LIMI Compact Disc 602498843680B000534702 LIKE,T/ARE YOU THINKING WHAT I Compact Disc 602498845257B000537102 BON JOVI/HAVE A NICE DAY Compact Disc 602498826201B000537282 BONJOVI/HAVE A NICE DAY-DUA L DUALDISC 602498846858 B000539502 PETERSON,O/ANOTHER DAY Compact Disc 602498270165B000539702 PETERSON,O/HELLO HERBIE Compact Disc 602498270158B000539802 PETERSON,O&SINGERS/IN TUNE Compact Disc 602498270141B000539902 PETERSON,O/MOTIONS & EMOTIONS Compact Disc 602498270134B000540102 PETERSON,O/TRACKS Compact Disc 602498270110B000540202 PETERSON,O/TRISTEZA ON PIANO Compact Disc 602498270103B000540302 PETERSON,O/WALKING THE LINE Compact Disc 602498270097B000542902 THRICE/VHEISSU (DELUXE) Compact Disc 602498852460B000544102 BRAXTON,T/LIBRA Compact Disc 602498853368B000559202 FLATLEY,M/CELTIC TIGER Compact Disc 602498865057B000561310 ADAMS,B/ANTHOLOGY CD with DVD 602498866672 6 02498 86667 26 02498 84342 0 6 02498 82620 1 6 02498 27013 4 6 02498 27011 0 6 02498 27010 36 02498 27015 86 02498 81904 3 6 02498 29248 8 6 02498 27014 1 6 02498 27009 76 02498 27016 5 6 02498 85336 86 02498 82351 4 6 02498 83149 6 6 02498 85246 06 02498 84525 76 02498 70174 4 0 28947 61939 0 6 02498 24337 4 6 02498 84368 0 6 02498 86505 76 02498 83236 3 6 02498 84148 86 02498 84091 7 6 02498 84257 7 6 02498 84685 86 02498 82417 7 Page 360 of 496 November 12, 2014Catalogue Numbe rArtist / Title Config Scannable UPC UPC B000563202 LIMPBIZKIT/GREATEST HITZ (EDIT Compact Disc 602498867716 B000569402 ROSS,D/BLUE Compact Disc 602498870037B000570702 STYLES,P/TIME IS MONEY Compact Disc 602498870440B000579200 DADDYYAN KEE/BARRIO FINO EN DIR CD with DVD 602498872406 B000584100 DADDYYAN KEE/BARRIO FINO EN DIR CD with DVD 602498875872 B000584922 STEFANI,G/LUXURIOUS (EP) Compact Disc EP's 602498876381B000589177 PRINCE/LIVE AT THE ALADIN LAS Universal Media Disc 602498879054B000589277 DEPECHEMODE /ONE NIGHT IN PARIS Un iversal Media Disc 602498879061 B000589377 ZOMBIE,R/HELLBILLY DELUXE (UMD Universal Media Disc 602498879078B000591702 HILLIARDENSEMBLE/NICHOLAS GOMB Compact Disc 602498187920B000591802 KURTAG,G/KAFKA FRAGMENTE OP.24 Compact Disc 028947630999B000591902 MAKARSKI,M/TO BE SUNG ON THE W Compact Disc 028947631026B000592002 MANSURIAN,T/ARS POETICA Compact Disc 028947630708B000592202 BEETHOVEN-THE PIANO SONATAS OP Compact Disc 028947631002 B000595402 RANEY,J/JIMMY RANEY FEAT:BOB B Compact Disc 602498883334B000597602 ABBUEHL,S/COMPASS Compact Disc 602498719343B000597802 HAARLA ,I/NORTHBOUND Co mpact Disc 602498703779 B000598909 YOUNGJEEZY/LET'S GET IT:THUG M Digital Video Disc 602498885468B000599202 BATTAGIA,S/RACCONTO Compact Disc 602498706701B000605002 SORAYA/GOLD Compact Disc 602498891773B000606102 DASHBOA RD CONFESSIONAL/DUSK AN Compact Disc 602498893401 B000606502 PAULMOTAINBAND/GARDEN OF EDEN Compact Disc 602498760277B000609302 OST/WILLIAMS,J/MUNICH Compact Disc 602498791424B000613102 SONICYOUTH/SONIC YOUTH EP-EXPA Compact Disc 602498797914B000613202 CICCONEYOUTH(SONICYOUTH)THE WH Compact Disc 602498797921B000613302 MOORE,T/PSYCHI C HEARTS(REMAST E Compact Disc 602498797938 B000613502 ROUND, C/SLOW MOTION A DDICT Compact Disc 602498797976 B000613602 MINELLI,L/DEFINITIVE COLLECTIO Compact Disc 6024987980346 02498 87587 26 02498 87240 6 6 02498 79803 46 02498 79792 16 02498 79791 46 02498 88333 46 02498 86771 6 6 02498 87044 0 6 02498 89340 1 6 02498 79797 66 02498 87003 7 6 02498 89177 3 6 02498 79793 86 02498 18792 0 6 02498 71934 3 6 02498 76027 70 28947 63099 9 0 28947 63102 6 0 28947 63070 8 0 28947 63100 2 6 02498 70377 9 6 02498 70670 1 6 02498 79142 46 02498 87638 1 6 02498 88546 86 02498 87905 4 6 02498 87906 1 6 02498 87907 8 Page 361 of 496 November 12, 2014Catalogue Numbe rArtist / Title Config Scannable UPC UPC B000618702 BACHARACH,B/DEFINITIVE COLLECT Compact Disc 602498501122 B000624002 BUANNE,P/THE ITALIAN Compact Disc 602498511831B000631202 TOWNER,R/TIME LINE Compact Disc 602498759110B000633702 YEAHYEAHYEAH S/SHOW YOUR BONE S Compact Disc 602498526507 B000643009 MARRINE R,N/MOZART:IL RE PAST OR Digital Video Disc 044007012994 B000648502 ROCHELL,M/YOU,ME AND THE RADIO Compact Disc 602498540398B000651002 OST:TV/MIAMI VICE BEST OF Compact Disc 602498542392B000651602 GIANTDRAG/HEARTS AND UNICORNS Compact Disc 602498544051B000652502 MATERIALISSUE/BEST OF Compact Disc 602498549070B000653402 DLEON,O/BEST OF Compact Disc 602498528921B000655902 ROLLINS,S/THE IMPULSE STORY Compact Disc 602498551028B000656002 AYLER,A/THE IMPULSE STORY Compact Disc 602498551035B000656202 COLTRANE,A/THE IMPULSE STORY Compact Disc 602498551059B000664402 PLATINUMWEIRD/PLATINUM WEIRD Compact Disc 602498560600B000669202 BRONX,THE/THE BRONX Compact Disc 602498563694B000674102 CHYNN,T/OUT OF MANY-ONE Compact Disc 602498783788B000678302 VAR/THE STATE I'M IN Compact Disc 602498789988B000680110 COSTELLO,E&TOUSSAINT,A /THE RIV CD with DVD 602498567258 B000680402 JOANNA/THIS CRAZY LIFE Compact Disc 602498541661B000710409 KISS/LICK IT UP-DEFINITIVE-DVD Digital Video Disc 602517011281B000711102 NATALIE/EVERYTHING NEW Compact Disc 602517012202B000735902 KALHOR,K/THE WIND Compact Disc 602498563540B000736102 FELDMAN,M/WHAT EXIT Compact Disc 602498765371B000739802 SISQO/BEST OF SISQO Compact Disc 602517048331B000757600 BECK/THE INFORMATION CD with DVD 602517067172B000778502 T.A.T.U./THE BEST Compact Disc 602517064621B000792402 STYX/ONE WITH EVERYT HING:STYX Compact Disc 602517099654 B000793802 ALLMAN BROTHERS BAND/IDLEWILD Compact Disc 602517123168 6 02498 56725 8 6 02517 06717 2 6 02517 12316 86 02498 50112 2 6 02498 78378 8 6 02498 54166 1 6 02517 01220 26 02498 56060 06 02498 54039 86 02498 51183 1 6 02517 09965 46 02517 06462 16 02498 52650 7 6 02498 54405 1 6 02498 55102 8 6 02498 55103 5 6 02498 55105 96 02498 54239 2 6 02498 78998 8 6 02498 56354 0 6 02498 76537 16 02498 75911 0 6 02498 56369 46 02498 54907 0 6 02498 52892 1 6 02517 04833 16 02517 01128 10 44007 01299 4 Page 362 of 496 November 12, 2014Catalogue Numbe rArtist / Title Config Scannable UPC UPC B000809602 PHAROAHE MONCH/DESIRE Co mpact Disc 602517144040 B000819902 AKON/TROUBLE Compact Disc 602517173613B000820702 VAR/GOLD - OL SKOOL JAMS Compact Disc 602517173781B000825902 JODECI/BEST OF Compact Disc 602517182158B000839302 RAVA,E QUINTET/THE WO RDS AND T Compact Disc 602517097735 B000840100 NELLY/COUNTRY GRAMMA R(SPEC/EDI Com pact Disc 602517186118 B000849402 IVES,B/HULLABALOO BELAY Compact Disc 602517234536B000850502 FORT,A/A LONG STORY Compact Disc 602517014169B000854502 VAR/GOLD-QUIET STORM GOLD Compact Disc 602517243798B000859502 TIMBALAND/TI MBALAND PRESENTS:S Compact Disc 602517256774 B000862902 KLAXONS/MYTHS OF THE NEAR FUTU Compact Disc 602517206526B000863302 COSTELLO,E/GOODBYE CRUEL WORLD Compact Disc 602517260849B000863902 COSTELLO,E/TRUST Compact Disc 602517260900B000864202 COSTELLO,E/POP MUSIC Compact Disc 602517260948B000868702 VAR/90'S ROCK NUMBER 1'S Compact Disc 602498473641B000870002 TRU LIFE/BREATHING AIN'T ENOUG Compact Disc 602517262119B000888502 NLT/NOT LIKE THEM Compact Disc 602517248908B000888902 CROSS CANADIAN RAGWEED/MISSION Compact Disc 602517324954B000889902 WARREN G/REGULATE..G FUNK ERA Compact Disc 602517327382B000890202 BON JOVI/LOST HIGHWAY Compact Disc 602517328082B000891502 BRICK & LACE/LOVE IS WICKED Compact Disc 602517270015B000893702 DADDY YAN KEE/EL CARTEL:THE BIG Compact Disc 602517335707 B000895509 BROWN,J/ARE YOU READY FOR STAR Digital Video Disc 602517336841B000896602 LOVETT,L/IT'S NOT BIG,IT'S LAR Compact Disc 602517338586B000896802 RIHANNA/GOOD GIRL GONE BAD Compact Disc 602517337909B000898102 DASHBOA RD CONFESSIONAL/DU SK & Compact Disc 602517340046 B000899202 SONIC YOUTH/DAYDREAM NATION(DE Compact Disc 602517341128B000901102 EVE/HERE I AM Compact Disc 602517343108 6 02517 26094 8 6 02517 34310 86 02517 24890 86 02517 17361 3 6 02517 34004 66 02517 23453 66 02517 18611 8 6 02517 26211 96 02517 17378 1 6 02517 27001 5 6 02517 34112 86 02517 33570 76 02517 32808 26 02517 14404 0 6 02517 32495 46 02517 20652 6 6 02517 33858 66 02517 25677 46 02517 24379 8 6 02517 26084 9 6 02517 26090 0 6 02498 47364 16 02517 09773 5 6 02517 01416 9 6 02517 33790 96 02517 32738 26 02517 18215 8 6 02517 33684 1 Page 363 of 496 November 12, 2014Catalogue Numbe rArtist / Title Config Scannable UPC UPC B000904302 JAMES,E/JAZZ Compact Disc 602517346864 B000907402 CRESPO,E/REGRESO EL JEFE Compact Disc 602517350496B000907502 VAR/CLASSIC DISCO NUMBER 1' S Compact Disc 602517350519 B000908102 A THORN FOR EVERY HEART/IT'S H Compact Disc 602517351332 B000910802 THORNTON,BB/BEAUTIFU L DOOR Compact Disc 602517352315 B000922302 VAR/FUTURE IDOLS Compact Disc 602498494998B000929702 SMALL WORLD/WORLD PREMIERE Compact Disc 602517371316B000930402 SOUNDTRACK/ RUSH HOUR III Co mpact Disc 602517371064 B000932002 WILDBIRDS,THE/GOLDEN DAZE Compact Disc 602517373938B000935302 BADU,E/BA DUIZM (SPECIAL EDIT) Compact Disc 602517376809 B000935402 INDIA ARIE/A COUSTIC SOUL(SEPEC Compact Disc 602517376830 B000938502 THORNTON,BB/HOBO(2005 RE-ISSUE Compact Disc 602517352322B000938602 RICHIE,L & COMMODORES/NUMBER 1 Compact Disc 602517394445B000940402 VAUGHAN,S/LIVE AT MISTER KELLY Compact Disc 602517396944B000940702 AUSTIN,J/OCEAN DRIVE Compact Disc 602517371033B000945402 VAUGHAN,S/GOLD Compact Disc 602517402195B000951502 FRANKENREITER,D/RECYCLED RECIP Compact Disc EP's 602517415492B000967002 VAR/POWER BALLADS NUMBER 1'S Compact Disc 602517426610B000967402 BENSON,G/ SHAPE OF THINGS TO CO Compact Disc 602517426672 B000968002 MAHLER/KREMERATA BALTICA Compact Disc 028947661771B000971202 ALLMAN BROTHERS BAND/LIVE AT T Compact Disc 602517432703B000973400 LOVETT,L/IT'S NOT BIG,IT'S LAR CD with DVD 602517439955B000974702 VAR/GOLD - JAZZ DIVAS Compact Disc 600753020586B000979600 RICHIE,L/LIVE IN PARIS(DVD+CD) CD with DVD 602517447073B000981502 BLASKO,S/WHAT THE SEA WANTS TH Compact Disc 602517082014 B000981802 BERNSTEIN,L/WEST SIDE STORY-CE Compact Disc 028947662693B000982902 ARMSTRONG/RAHMAN/ELI ZABETH:THE Compact Disc 602517451872 B000986702 COSTA,M/UNFAMILIAR FACES Compact Disc 602517458581 6 02517 43995 5 6 02517 44707 36 02517 35133 2 6 02517 43270 36 02517 39444 56 02517 37131 6 6 02517 37106 4 6 02517 35232 26 02517 35051 9 6 02517 42661 06 02517 40219 56 02517 37103 36 02498 49499 8 6 02517 39694 4 6 02517 42667 2 6 00753 02058 6 6 02517 45858 16 02517 35049 6 6 02517 37393 86 02517 35231 5 6 02517 37680 9 6 02517 37683 0 6 02517 08201 40 28947 66177 1 0 28947 66269 3 6 02517 45187 26 02517 34686 4 6 02517 41549 2 Page 364 of 496 November 12, 2014Catalogue Numbe rArtist / Title Config Scannable UPC UPC B000997202 HARVEY,P.J./WHITE CHALK Compact Disc 602517403260 B001002402 COREA,C& RETURN TO FOREVER /DEF Compact Disc 602517473058 B001016802 JA RULE/THE MIRROR Compact Disc 602517495579B001026202 BECK/ODELAY (DELUXE EDITION) Compact Disc 602517506275B001026802 AFI/I HEARD A VOICE-LIVE FROM Compact Disc 602517507265 B001033160 NINE I NCH NAILS/Y34RZ3ROR3 MIX3 Compact Disc 602517524194 B001051302 RAVA,E/BOLLANI,S/THE THIRD MAN Compact Disc 602517373228 B001058302 SMITH,J/THE DEFINITIVE COLLECT Compact Disc 602517561274B001063002 VAR/GRAMMY NOMINEES 2008 Compact Disc 602517581029B001066202 TWITTY,C/IT'S ONLY MAKE BELIEV Compact Disc 602517600201B001069602 BLADE,B & FELLOWSHI P BAND/SEAS Com pact Disc 602517610477 B001069872 BRAVERY,THE/TH E SUN AND MOON-C Compact Disc 602517610439 B001071202 BURRELL,K/A NIGHT AT THE VANGU Compact Disc 602517613539 B001071902 SCHIFF,A/CERHA:CONCERTO FOR VI Compact Disc 028947630982B001078702 BENSON,G/I GOT A WOMAN AND SOM Compact Disc 602517620759B001081402 SCHIFF,A/ BEETHOVEN:THE PIAN O S Compact Disc 028947661870 B001093002 THOMPSON,T/A PIECE OF WHAT YOU Compact Disc 602517643482B001098602 ALPERIN,M/HER FIRST DANCE Compact Disc 602517167421B001098802 PARKER,E/BOUSTOPHEDON Compact Disc 602517500549B001102602 DOWNING,W/A DREAM FULFILLED Compact Disc 602517655065B001105402 EARLE,S/COPPE RHEAD ROAD(DELUX E Compact Disc 602517658981 B001113802 ROOTS,THE/RISING DOWN Compact Disc 602517672567B001119202 BAKER,S/OUTLOUD! Compact Disc 602517642065B001135802 CLIQUE GIRLZ/INCREDIBLE Compact Disc 602517726390B001136000 RIHANNA/GOOD GIRL GONE BAD(RE CD with DVD 602517728042B001154602 VAR/TOTALLY 80'S FOR KIDS Compact Disc 600753100158B001181502 CARLA BLEY BIG BA ND/APPEARING Compact Disc 602517255166 B001182802 MOTIAN,P/CONCEPT ION VESSEL Compact Disc 602517758520 6 02517 72804 26 02517 72639 06 02517 64206 56 02517 47305 8 6 00753 10015 86 02517 49557 9 6 02517 65506 56 02517 56127 4 6 02517 61047 7 6 02517 61353 9 6 02517 62075 9 6 02517 64348 26 02517 60020 16 02517 40326 0 6 02517 61043 96 02517 52419 46 02517 50726 5 6 02517 58102 96 02517 50627 5 6 02517 65898 16 02517 37322 8 0 28947 63098 2 0 28947 66187 0 6 02517 16742 1 6 02517 50054 9 6 02517 25516 6 6 02517 75852 06 02517 67256 7 Page 365 of 496 November 12, 2014Catalogue Numbe rArtist / Title Config Scannable UPC UPC B001187402 OREGON/ECOTOPIA Compact Disc 602517775947 B001190602 SCHIFF,A/ BEETHOVEN:PIANO SO NAT Compact Disc 028947661894 B001190802 SCHIFF,A/ BEETHOVEN:PIANO SO NAT Compact Disc 028947661924 B001195602 BENSON,G/TELL IT LIKE IT IS Compact Disc 602517808102B001198102 SAMPLE,J & WALKER,D/SWING STRE Compact Disc 602517835092B001210502 KEANE/PERFE CT SYMMETRY Compact Disc 602517855786 B001217602 AVEYS,R UBIQ UITY/CHANGE UP THE Compact Disc 602517868489 B001218102 PETERSON,O/IN A ROMANTIC MOOD Compact Disc 602517868878B001218902 MARTIN,D/A VERY COOL CHRISTMAS Compact Disc 602517871526B001220802 VAR/MOTOWN:THE COMPLETE NO.1'S Compact Disc 602517875746B001221802 KANCHELI,G/LITTLE IMBER Compact Disc 028947663942B001222102 TROVESI,G/PORFUMO DI VIOLETTA Compact Disc 602517731240B001240202 COLTRANE,J/ASCENSION (EDT.I&II Compact Disc 602517920248B001240402 COLTRANE,J/KULU SE MAMA Compact Disc 602517920347B001243902 MARTIN,D/LOVE SONGS Compact Disc 602517931565B001247209 WHO,THE/THE KIDS ARE ALRIGHT(S Digital Video Disc 602517942172B001250202 SOUNDTRACK/SLUMDOG MILLIONAIRE Compact Disc 602517946293B001254802 FLIPSYDE/STATE OF SURVIVAL Compact Disc 602517963894 B001265002 WATERS,M/AUTHORIZED BOOTLEG-LI Compact Disc 602517982918B001266302 BABYFACE/TBA Compact Disc 602517973923B001266702 SCHNITTKE/ RASKATOV/HILLARD/SYM Compact Disc 028947669944 B001266802 ZIMMERMA NN,D/CANTO DI SPERAN ZA Compact Disc 028947668855 B001269602 AYERS,R/VIRGO RED Compact Disc 602517995697B001281202 ROTH,A/ASLEEP IN THE BREAD AIS Compact Disc 602527018355 B001283002 FIELD,A/POTTER,J/BEING DUFAY Compact Disc 028947669487B001289702 BOYD,NE/MY AMERICAN DREAM Compact Disc 602527039374B001296902 SCLAVIS,L/LOST ON THE WAY Compact Disc 602517984974B001299002 CROSS CA NADA RAGWEED/HAPPIN ESS Compact Disc 602527067100 6 02527 06710 06 02517 97392 36 02517 96389 46 02517 93156 5 6 02517 94629 36 02517 87152 6 6 02517 92024 8 6 02517 92034 76 02517 80810 2 6 02517 83509 2 6 02517 86848 9 6 02517 86887 8 6 02517 99569 7 6 02527 01835 56 02517 87574 66 02517 85578 6 6 02517 98291 86 02517 77594 7 0 28947 66189 4 0 28947 66192 4 0 28947 66394 2 6 02517 73124 0 0 28947 66994 4 0 28947 66885 5 0 28947 66948 7 6 02517 98497 46 02527 03937 46 02517 94217 2 Page 366 of 496 November 12, 2014Catalogue Numbe rArtist / Title Config Scannable UPC UPC B001303902 VITOUS,M/REMEMBERING WEATHER R Compact Disc 602517881372 B001308002 MELLENCAMP,J/ON THE RURAL ROUT Com pact Disc 602527093154 B001329702 JACKSON,M & JACKSON 5/THE MOTO Compact Disc 602527147833B001334002 MARTIN,D/MY KIND OF CHRISTMAS Compact Disc 602527161082B001336502 WOLFMOTHER/COSMIC EGG Compact Disc 602527118512B001350202 ORIANTHI/BELIEVE Compact Disc 602527203720B001351002 WEEZER/RADITUDE Compact Disc 602527205373B001360102 GOEBBELS,H/LA NDSCHAFT MIT ENTF Compact Disc 028947658382 B001364902 CARNEY/MR. GREEN VOL.1 Compact Disc 602527237961B001366102 PUDDLE OF MUDD/VOL.4- SONGS IN Compact Disc 602527239286 B001368302 SEAN,J/ALL OR NOTHING Compact Disc 602527245164B001372302 CHAMILLIONAIRE/VENOM Compact Disc 602527257532B001372602 ETHERIDGE,M/ MELISSA ETHERIDGE- Compact Disc 602527257747 B001372972 GAME/THE RED ALBUM (DLX CD/DVD Compact Disc 602527258225B001376902 WALLUMROD ENSEMBLE/FABULA SUIT Compact Disc 602527112695B001377202 CAREY,M/ANGEL'S ADVOCATE Compact Disc 602527268897B001383002 LIMP BIZKIT/CHOCOLATE STARFISH Compact Disc 602527284125B001388302 MOTORHEAD/ACE OF SPADES (RARIT Compact Disc 600753244333 B001401602 BATTAGLIA,S/PASTORALE Compact Disc 602527137643B001402602 SUBLIME/LIVE (CDX2) Compact Disc 602527327624B001411302 WALLFOWERS,THE/LOOKING THROUGH Compact Disc 602527345369B001417202 BON JOVI/BON JOVI:TOUR EDITION Compact Disc 602527361666B001417302 BON JOVI/7800 FAHRENHEIT:TOUR Compact Disc 602527361673B001417402 BON JOVI/SLIPPERY WHEN WET:TOU Compact Disc 602527361697B001417502 BON JOVI/NEW JERSEY:TOUR EDITI Compact Disc 602527361659B001417602 BON JOVI/KEEP THE FA ITH:TOUR E Compact Disc 602527361727 B001417702 BON JOVI/THESE DAYS: TOUR EDITI Compact Disc 602527361758 B001418002 BON JOVI/CRUSH: TO UR EDITION Compact Disc 6025273618026 02527 09315 4 6 02527 11851 2 6 02527 32762 46 02527 25774 7 6 02527 26889 76 02527 25753 2 6 02527 28412 5 6 02527 34536 96 02527 14783 3 6 02527 25822 5 6 02527 36167 36 02527 36166 6 6 02527 36180 26 02527 36172 76 02527 36165 9 6 02527 36175 86 02527 16108 2 6 02527 24516 4 6 02527 36169 76 02527 23796 1 6 02527 23928 66 02527 20372 0 6 02527 20537 36 02517 88137 2 0 28947 65838 2 6 02527 11269 5 6 02527 13764 36 00753 24433 3 Page 367 of 496 November 12, 2014Catalogue Numbe rArtist / Title Config Scannable UPC UPC B001418102 BON JOVI/BOUNCE:TOUR EDITION Compact Disc 602527361819 B001418202 BON JOVI/HAVE A NICE DAY:TOUR Compact Disc 602527361826 B001418302 BON JOVI/LOST HIGHWAY:TOUR EDI Compact Disc 602527361840B001431402 LARCHER,T/MADHARES Compact Disc 028947636519B001431502 LEVIN,R/DUTILLEUX:D'OMBRE ET D Compact Disc 028947636533B001431802 CRISPELL/ROTH ENBERG/ONE NIGHT Compact Disc 602517992207 B001436072 JONES,Q/Q.SOUL BOSSA NOSTRA(LT Compact Disc 602527399799B001437002 HOOBASTANK/GR EATEST HITS:DON'T Compact Disc 602527400839 B001438172 DIDDY-DIRTY MONEY/LAST TRAIN T Compact Disc 602527403113B001444402 MOTORHEAD/ICON Compact Disc 600753279779B001445502 FRESH,A/FRESH N UP Compact Disc 602527424248B001446602 HOLE/BEST OF Compact Disc 602527426808B001447702 SALUZZI,D/EL ENCUENTRO Compact Disc 028947638346B001449502 ROWLAND,K/HERE I AM Compact Disc 602527431420B001455102 BROOKS,J/CONSTELLATION ME Compact Disc 602527442662B001455502 JONES,T/PRAISE AND BLAME Compact Disc 602527449876B001462402 JAMES,J/DAUGHTER OF A GYPSY Compact Disc 602527462691B001463102 VAR/CHRISTM AS CLASSICS FT:RUDO Compact Disc 602527462905 B001472202 RYE RYE/GO! POP! BANG! Compact Disc 602527027913B001474402 BADU,E/ICON Compact Disc 602527487465B001488002 SOULJA BOY/THE DEA NDRE WAY (D Compact Disc 602527514086 B001491702 MITCHELL/THE NOTE FACTORY/FAR Compact Disc 602527048017B001491802 OOUNASKARI/MI KKONEN/KUARA C ompact Disc 602527332178 B001497102 SHYNE/GANGLAND(EXPLICIT) Compact Disc 602527534275B001500100 BOCELLI,A/MY CHRISTMAS (DLX.ED CD with DVD 602527535265 B001501902 AKON/STADIUM Compact Disc 602527541747B001502002 AKON/AKONIC (DELUXE EDITION) Compact Disc 602527541785B001502102 MINAJ,N/PINK FRIDAY Compact Disc 602527541846 6 02527 53526 56 02527 43142 0 6 02527 46269 16 02527 42424 8 6 02527 53427 56 02527 40083 9 6 02527 42680 8 6 02527 54174 7 6 02527 54178 56 02527 39979 9 6 02527 02791 36 00753 27977 96 02527 36181 9 6 02527 36182 6 6 02527 36184 0 6 02527 46290 5 6 02527 48746 5 6 02527 54184 66 02527 44266 26 02527 40311 3 6 02527 51408 60 28947 63651 9 0 28947 63653 3 6 02517 99220 7 0 28947 63834 6 6 02527 04801 7 6 02527 33217 86 02527 44987 6 Page 368 of 496 November 12, 2014Catalogue Numbe rArtist / Title Config Scannable UPC UPC B001509502 MCKNIGHT,B/ICON LOVE SONGS Compact Disc 602527566580 B001509602 CLOWER,J/ICON Compact Disc 602527566597B001510102 O'NEAL,A/ICON Compact Disc 602527567853B001513709 CASH,J/J OHNNY CASH RETURNS TO Compact Disc 602527579191 B001521602 POP EVIL/WAR OF ANGELS Compact Disc 602527610207B001521702 WALSH,J/ICON Compact Disc 602527610269B001523902 VAR/ICON CELEBRATES BLACK HIST Compact Disc 602527614373B001524002 WILLIAMS,L/BLESSED (DLX CDX2) Compact Disc 602527614304B001527602 HOLLYWOOD UND EAD/AMERICAN TRAG Compact Disc 602527621425 B001536802 MARTIN,D/COOL THEN,COOL NOW Compact Disc 602527634586B001538102 K'JON/OXYGEN Compact Disc 602527642741B001549372 FLORENCE+THE MACHINE/LUNGS(DLX Compact Disc 602527666051B001549902 AEROSMITH/TOUGH LOVE:BEST OF T Compact Disc 602527669267B001568102 LMFAO/SORRY FOR PARTY ROCKING Compact Disc 602527723228B001572902 BAD MEETS EVIL/HELL:THE SEQUEL Compact Disc EP's 602527732381B001575302 OKLAND,N/LYSOER/HOMAGE A OLE B Compact Disc 602527402468B001576602 LIMP BIZKIT/GOLD COBRA(DLX EDI Compact Disc 602527746982B001580402 REINHART,H/A MERICAN IDOL SEASO Compact Disc 5060136136979 B001595802 JAY-Z & WEST,K/WATCH THE THRON Compact Disc 602527791494B001596202 MARTIN,D/MY KIND OF CHRISTMAS Compact Disc 602527796291B001610000 BOCELLI,A/CONCERTO:ONE NIGHT I CD with DVD 028947646174B001621402 BOW WOW/UNDERRATED Compact Disc 602527847351B001650502 MARTIN,D/ICON Compact Disc 602527942728B001658702 PIERCES ,THE/YOU & I Compact Disc 602527960494B001662022 IMAGINE DRAGONS/CONTINUED SILE Compact Disc EP's 602527962320B001669302 WE ARE SERENADES/CRIMINAL HEAV Compact Disc 602537002139B001681732 BIEBER,J/BOYFR IEND (CDS) Compact Disc Singles 602537018277 B001705002 ZOMBIE, R/MONDO SEX HEAD Compact Disc 602537076123 0 28947 64617 46 02527 72322 86 02527 63458 6 6 02527 96049 46 02527 94272 8 6 02537 07612 36 02527 61026 96 02527 57919 1 6 02527 61020 7 6 02527 64274 1 6 02527 66605 1 6 02527 84735 16 02527 79629 16 02527 61437 36 02527 56658 0 6 02527 56659 7 6 02527 56785 3 6 02527 66926 76 02527 61430 4 5 060136 136979 6 02527 74698 2 6 02537 00213 96 02527 40246 8 6 02527 79149 46 02527 62142 5 6 02527 73238 1 6 02527 96232 0 6 02537 01827 7 Page 369 of 496 November 12, 2014Catalogue Numbe rArtist / Title Config Scannable UPC UPC B001728902 VAR/CRUEL SUMME R(G.O.O.D. MUSI Compact Disc 602537118670 B001748102 KISS/MONSTER(DLX)(LTD) Compact Disc 602537150205B001748602 HOPE,D/RECOMPOSED BY MAX RICHT Compact Disc 028947650409B001753602 LAMAR,K/GOOD KID, M A A D(DLX Compact Disc 602537162321B001755602 GOULDING,E/HALCYON Compact Disc 602537160839B001766102 ROLLINGSTONES,THE/G RRR(3CD) Com pact Disc 602537109142 B001768402 SOUNDGA RDEN/KING ANIMAL(D ELUX Compact Disc 602537185504 B001776702 PHILLIPS,P/WORLD FROM,THE(ZINE Compact Disc 602537209767B001784202 98 DEGREES/ICON Compact Disc 602537224814B001784602 IGLESIAS,E/ICON Compact Disc 602537226191B001786202 PSY/PSY Compact Disc 602537230518B001807902 ALLMAN BROTHER/BROTHERS &(4CD Compact Disc 602537288076B001815102 WILL I AM/WILLPOWER Compact Disc 602537320417B001817702 BAND PERRY,THE/PIONEER(DLX) Compact Disc 602537327638B001824402 BERGENDAHL,A/SOMETHING TO BE B Compact Disc 7320470169575B001847302 CAPITAL CITIES/IN A TIDAL WAVE Compact Disc 602537370344B001867902 THICKE,R/BLURRED LINES Compact Disc 602537424788B001872202 STING/THE LAST SHIP(DLX)(2CD) Compact Disc 602537443215B001883502 BRYAN,L/CRASH MY PARTY(DLX) Compact Disc 602537466542B001906502 MARTIN,D/ICON MY KIND OF CHRIS Compact Disc 602537507511B001909009 MADONNA/MDNA LIVE(DVD) Digital Video Disc 602537479337B001909109 MADONNA/MDNA LIVE(BR) BLU RAY 602537479344B001909402 LEVINE,J/LIVE AT CARNEGIE(2CD) Compact Disc 028948105533B001917402 POPE,C/FRAME BY FRAME(DLX) Compact Disc 602537528240B001932702 ROBERTSON,THE /DUCK THE HAL EXC Compact Disc 602537557936 B001975102 CROLL,D/SWEET DISARRAY Compact Disc 602537626267B002008102 X AMBASSADORS/TH E REASON(CD EP Com pact Disc EP's 602537717583 B002016402 BLACC,A/LIFT YOUR SPIRIT Compact Disc 602537734900 6 02537 47934 4 6 02537 62626 7 6 02537 73490 07 320470 169575 6 02537 15020 5 6 02537 10914 26 02537 11867 0 6 02537 22481 4 6 02537 22619 1 6 02537 42478 86 02537 37034 46 02537 32763 86 02537 23051 8 6 02537 32041 7 6 02537 50751 1 0 28948 10553 36 02537 18550 4 6 02537 52824 0 6 02537 55793 66 02537 16232 1 6 02537 20976 7 6 02537 28807 60 28947 65040 9 6 02537 46654 26 02537 44321 56 02537 16083 9 6 02537 71758 36 02537 47933 7 Page 370 of 496 November 12, 2014Catalogue Numbe rArtist / Title Config Scannable UPC UPC B002023002 YOUNG MONEY/RISE OF AN EMPIRE Compact Disc 602537751693 B002024902 IGLESIAS,E/SEX AND LOVE(DLX) Compact Disc 602537745258B002025102 IGLESIAS,E/SEX AND LOVE Compact Disc 602537745241B002079802 PHILLIPS,P/BEHIND THE LIGHT HM Compact Disc 602537827398B002082802 LOPEZ,J/JENNIFER LOPEZ(DLX) Compact Disc 602537842827B002117002 KIESZA/HIDEAWAY(CDEP) Compact Disc EP's 602537911363B002117902 RISE AGAINST/THE BLACK MARKET Compact Disc 602537911561B002563602 PEYROUX,M/STA NDIN' ON THE R OOF Compact Disc 602527720708 BAB9682 ROCKABYE BABY/GOOD DAY, GOODNI Compact Disc 027297968226 BADFICD001 FARSE/BOXING CLEVER(DLX) Compact Disc 5013929930131 BADFICD002 UPSESSIONS,THE/THE NEW HEA(DLX Compact Disc 5013929930230 BADFICD003 BRUNET,A/FRENCH MELO DIES IN LA Compact Disc 5013929930339 BADFICD004 KING PRAWN/FIRST OFFENCE(DLX) Compact Disc 5013929930438BADFICD005 KING PRAWN/FRIED IN LONDON(DLX Compact Disc 5013929930537BADFICD006 SKOIDATS/A CURE FO R WHAT(DLX) Compact Disc 5013929930636 BADVCCD4 DEATH IN JUNE /BURIAL Compact Disc 4038846600043 BALL6001 HAMILTON,R OR/TAKE YO UR-V1-6CD Compact Disc 883717251220 BARQCD005 SHILOH (BAND)/ELEMENTS Compact Disc 5704207113260 BARQCD006 LUSTRAL/DEEPER DAR KER SECRETS Co mpact Disc 5704207113291 BASE0022 MIKAH NINE/IT'S ALL LOVE:AMERI Compact Disc 621617697720BASE0042 MIND CLOUDERS/FAKE IT UNTIL YO Compact Disc 825994112726 BASE1372 A-TEAM/LAB DOWN UNDER Compact Disc 825994113723 BASE1392 L.A.SYMPHONY/END IS NOW Compact Disc 825994113921 BASE1412 JOHNNY FIVE/SUMMER Compact Disc 825994114126 BB20072 RALPH/THE LIVERPOOL(CDEP) Compact Disc EP's 777000200722 BD22004 MURPHY,E/STRINGS OF THE STORM Compact Disc 663609200426 BD22005 KRUMBSNATCHA/KRUMBSNATCHA CLAS Compact Disc 663609200525BD28157 LOADED/OLD ROCKERS Compact Disc 663609815729 6 63609 20052 55 704207 113260 0 27297 96822 6 5 013929 930230 5 013929 930438 5 013929 930537 5 013929 930636 6 63609 81572 95 013929 930131 5 013929 930339 6 02537 91156 16 02537 82739 8 6 02537 84282 76 02537 74524 16 02537 74525 86 02537 75169 3 6 02527 72070 8 5 704207 113291 6 63609 20042 64 038846 600043 8 83717 25122 0 6 21617 69772 0 8 25994 11272 6 8 25994 11392 1 8 25994 11412 68 25994 11372 36 02537 91136 3 7 77000 20072 2 Page 371 of 496 November 12, 2014Catalogue Numbe rArtist / Title Config Scannable UPC UPC BD8311 DVDMAGAZINE/BLAST DVD MAG;SEPT Digita l Video Disc 837101084031 BHH2004 VAR/BOMB WORLDWIDE Compact Disc 611933200421BHH2007 DJ FAUST/MAN OR MYTH? Compact Disc 611933200728BHH2021 BABY J/BIRTH Compact Disc 611933202128BHH2025 JEEP BEAT COLLECTI VE/TECHNICS Com pact Disc 611933202524 BHH2044 DJ'S BOMB,THE/RETURN OF THE DJ Compact Disc 611933204429 BHH2047 SKRATCH COMANDO/INCRE DIBLE DJ' Compact Disc 611933204726 BHH2050 VAR/THE REAL DEAL Compact Disc 611933205020BHH2053 GRIP GRAND/WELCOME TO BROAKAN Compact Disc 611933205327 BHH2058 BAVU BLAKES/CREATE & HUSTLE Compact Disc 611933205822 BHH2071 DJ JS-1/AUDIO TE CHNICIAN Com pact Disc 611933207123 BHH2072 NAC ONE/NATURAL REACTION Compact Disc 611933207222BHH2086 VAR/VOLUME 2 Compact Disc 611933208625 BIBER76787 FRIEDEMANN/THE CONCERT Digital Video Disc 707787678773BIBER76811 FRIEDEMANN/SAITE NSPRUNG Compact Disc 707787681124 BIBER76831CD DOBSON,B/LOOKING BACK Compact Disc 707787683128 BKB001 MISSIONARY POSIT,THE/DIAMONDS Compact Disc 884501177122BKB002 MISSIONARY PO,THE/CONSEQUENCES Compact Disc 884501649674 BLR0001 SHILTS/GOING UNDE RGROUND Com pact Disc 884501396349 BLR0002 SHILTS/ALL GROWN UP Compact Disc 884501713771 BM28 BURNING SPEAR/A LIVE Compact Disc 828283032828 BM319 BURNING SPEAR/LIVE IN PARIS,ZE Compact Disc 828283031920 BM320 BURNING SPEAR/HOME TO MY ROOTS Digital Video Disc 828283032095 BM321 BURNING SPEAR/LIVE IN VERMONT Digita l Video Disc 828283032194 BM324 BURNING SPEAR/APPOINTM ENT FOR CD wi th DVD 828283032422 BM325 BURNING SPEAR/WORLD SH OULD KNO CD with DVD 828283032521 BM327 BURNING SPEAR/OUR MUSI C (DUAL Compact Disc 020286202127 BM332 BURNING SPEAR/BURNING SPEAR EX CD wi th DVD 828283033207 8 28283 03242 2 8 28283 03252 1 8 28283 03320 76 11933 20252 4 6 11933 20442 96 11933 20072 8 6 11933 20862 56 11933 20472 6 6 11933 20532 7 6 11933 20582 26 11933 20212 8 6 11933 20712 3 7 07787 68312 87 07787 68112 46 11933 20042 1 6 11933 20502 0 6 11933 20722 2 8 84501 17712 2 8 84501 64967 4 8 84501 39634 9 8 84501 71377 1 8 28283 03192 08 28283 03282 8 0 20286 20212 78 37101 08403 1 7 07787 67877 3 8 28283 03209 5 8 28283 03219 4 Page 372 of 496 November 12, 2014Catalogue Numbe rArtist / Title Config Scannable UPC UPC BM334 BURNING SPEAR/JAH IS REAL Compact Disc 828280334086 BM7005 BALIN,M/BLUE HIGHWAY Compact Disc 884502685060 BMK080022 FABULOUS THUNDERBI RDS,THE/GIRL Compact Disc 647780800224 BMK80032 FABULOUS THUNDERBI RDS,THE/WHAT Compact Disc 647780800323 BMK915892 BLOOMFIELD,M/I'M WITH YOU ALWA Compact Disc 804879158929 BMR1192 ALIENS/LUNA Compact Disc 607287011929 BMRNV0100A VAR/THE MUSIC OF NASHVILLE ORI Compact Disc 843930007691 BND0042 CLOGS/LULLABY FO R SUE Compact Disc 632662555422 BND0172 DOVEMAN/WITH MY LEFT HAND I RA Compact Disc 632662556726 BOOK6 MODEL ROCKETS,THE/PILOT COUNTR Compact Disc 614511722827 BOOK61 NEW ORIGINAL SONI C SOUND/THE N C ompact Disc 614511724920 BPM0611 PAIVA,B/LIVING UKULELE(DVD) Digital Video Disc 791344165929BPM0806 PAIVA,B/BRITTNI Compact Disc 791344162126BPM0909 PAIVAB/FOUR STRINGS: THE FIRE Compact Disc 884501214605 BPM2012 PAIVA,B/TELL U WHAT Compact Disc 858370002168BPM9205 PAIVA,B/HEAR Compact Disc 791344157627 BR002CD NASH,J/THE THINGS YOU THINK YO Compact Disc 718122113026 BR2006 LUSCH,B/SUPRESINGLY GOOD FOR Y Compact Disc 678277130326 BR21602 BREAKMEN,THE/THE BREAKMEN Compact Disc 778224216025 BRC0019 D.R.I./LIVE AT CBGB'S 1984(DVD Digital Video Disc 650557011129 BROOK1041 AKKERMAN,J/A REAL ELEGANTGYPSY Compact Disc 883717700254 BS301 NORTON,J/NO BABY FO R YOU Compact Disc 729440819125 BS307 NORTON,J/AMERICAN DEGENERAT(DV Digital Video Disc 729440819163 BS4538 SELFE,KEVIN & THE TO RNADOES/PL Com pact Disc 700261280769 BSFT0032 TICO DA COSTA/LAGARTIXA Compact Disc 634457175327BSFT0042 ABSTRACT RUDE/MAKING MORE TRAC Compact Disc 825994114324 BT3013 PETERSON, O/PIANO COLOSSUS Compact Disc 805520130134 BTL710182 TRISTEZA/SPINE & SENSORY(EXPAN Compact Disc 6550350410258 84502 68506 0 7 29440 81912 57 91344 15762 78 04879 15892 9 8 83717 70025 46 47780 80032 36 47780 80022 4 6 14511 72282 7 6 14511 72492 0 6 78277 13032 6 7 00261 28076 97 91344 16212 6 8 84501 21460 5 8 58370 00216 88 43930 00769 1 7 78224 21602 58 28280 33408 6 8 05520 13013 4 6 55035 04102 56 07287 01192 9 6 32662 55672 66 32662 55542 2 8 25994 11432 46 34457 17532 77 18122 11302 67 91344 16592 9 7 29440 81916 36 50557 01112 9 Page 373 of 496 November 12, 2014Catalogue Numbe rArtist / Title Config Scannable UPC UPC BTMSR0300D SWIFT,T/SPEAK NOW ( SBX EXCL) Compact Disc 843930004096 BUM071 TWO HOURS TRAFFIC/LITTLE JABS Compact Disc 826811000721BUM081 TREWS,THE/NO TIME FOR LATER Compact Disc 826811001223BUM091 EMMA-LEE/NEVER JUST A DREAM Compact Disc 826811004125 BUM093 TREWS,THE/ACOUSTIC-FRIENDS & T Compact Disc 826811005429 BUM093DV TREWS,THE/ACOUSTIC-FRIENDS & T Digital Video Disc 826811005894 BUM103S TREWS,THE/HIGHWAY OF HEROES Compact Disc Singles 826811007720 BUM111 TREWS,THE/HOPE & RUIN Compact Disc 826811007928 BUST0162 MCGRAFF,T/DAY IN MY SHOES Compact Disc 837101336925 BZCD001 VAR/REEFER MADNESS Compact Disc 823564700106BZCD002 VAR/SUGAR IN MY BOWL Compact Disc 823564700205BZCD003 VAR/LIKE AN ATOM BOMB Compact Disc 823564700304BZCD004 VAR/YOU DONE ME WRONG Compact Disc 823564700403BZCD006 VAR/HIGH ROLLERS Compact Disc 823564700601BZCD008 VAR/THE IRON HORSE Compact Disc 823564700809BZCD012 VAR/OUTSIDE THE LAW Compact Disc 823564701202BZCD013 VAR/KICKING HITLER'S BUTT Compact Disc 823564701301BZCD014 VAR/GOT A LIGHT, MAC? Compact Disc 823564701400 CA60008 COLE,NK/A NIGHTINGALE SANG:TRI Digital Video Disc 4028462600084CA60009 HARDIE,C/CLIFF HARDIE AND THE Digital Video Disc 4028462600091CA60010 KIROV BALLET,THE/SWAN LAKE (DV Digital Video Disc 4028462600107 CA60011 STAGIONE D'OPERA ITALIANA/CARM Digital Video Disc 4028462600114CA60035 BRYSON,J/LIVE AT WARSAW JAZZ F Digital Video Disc 4028462600350CA60041 MCCARTNEY,P/STANDING STONE WIT Digital Video Disc 4028462600411 CA60047 BROWN,D/LIVE AT REGGAE CANFEST Digital Video Disc 4028462600473 CA60048 VAR/REGGAE SHOWDOWN:GIANTS OF Digital Video Disc 4028462600480CA60050 SHABBA RANKS/SHABBA AT SH OWDOW Digital Video Disc 4028462600503 CA60064 AUSTRAILIAN BALLET CO/S LEEPING Digita l Video Disc 40284626006408 43930 00409 6 8 26811 00122 3 8 26811 00542 9 8 26811 00792 88 26811 00412 58 26811 00072 1 8 23564 70010 6 8 23564 70030 4 8 23564 70040 3 8 23564 70060 1 8 23564 70080 9 8 23564 70120 2 8 23564 70130 1 8 23564 70140 08 23564 70020 58 37101 33692 58 26811 00772 0 4 028462 600503 4 028462 600411 4 028462 600640 4 028462 600114 4 028462 600084 4 028462 600350 4 028462 600107 4 028462 600480 4 028462 600091 8 26811 00589 4 4 028462 600473 Page 374 of 496 November 12, 2014Catalogue Numbe rArtist / Title Config Scannable UPC UPC CA60065 AUSTRAILIAN BALLET CO/NUTCRACK Digital Video Disc 4028462600657 CA90003 MEHTA,Z/ZUBIN MEHTA MEETS MITS Digital Video Disc 4028462900030CA90004 SAWALLISCH,W/WOLFGANG SAWALLIS Digital Video Disc 4028462900047CA90006 JARVI,P/PAAVO JARVI MEET S ELIZ Digita l Video Disc 4028462900061 CA90007 ETTINGER,D/DAN ETTINGER MEETS Digital Video Disc 4028462900078CA90008 DOMINGO,P/ROSTROPOVICH,M/PLACI Digital Video Disc 4028462900085 CADIZCD102 SAINTS,THE/THE GREATEST COWBOY Compact Disc 823566415923CADIZCD105 JOHNSON,W/THE BEST OF VOLUME 1 Compact Disc 844493061052 CADIZCD111 CORNWELL,H/TOTEM AND TABOO Compact Disc 844493061113 CBR0362 LANOIS,B/SNAKE ROAD Compact Disc 624481003628 CCD30038 BOLTON,M/BOLTON SWINGS SINATRA Compact Disc 888072300385 CCD352132 VAR/AN INTIMATE EVENING Compact Disc 013431521327 CCD352152 VAR/A GREAT DAY OF JAZZ Compact Disc 013431521525CCD352172 VAR/JAZZ WEEKEND Compact Disc 013431521723CCD352192 VAR/PARTY MIX Compact Disc 013431521921 CCD52002 VAR/BRAZILIAN ROMANCE Compact Disc 013431520023CCD52032 VAR/JAZZ AT DAY'S END Compact Disc 013431520320CCD52052 VAR/TRANQUILLITY Compact Disc 013531520528CCD52062 VAR/JAZZ AT WEEK' S END Compact Disc 013431520627 CCD52092 VAR/LATINE ROMANCE Compact Disc 013431520924CCD52112 VAR/FEELING SENTIMENTAL Compact Disc 013431521129CCD52182 VAR/COCKTAIL PARTY Compact Disc 013431521822CCD52202 VAR/CHA CHA PARTY Compact Disc 013431522027 CCDCD1004 PUENTE,T/GOZA MI TIM BAL SACD4Stereo/Surround/CDAud 013431100461 CCDCD1009 SHEARING,G & JONES,H/THE SPIRI SACD4Stereo/Surround/CDAud 013431100966 CCDCD1012 FREELON,N/SHAKING FR EE SACD4Stereo/Surround/CDAud 013431101260 CCDCD1018 CLOONEY,R/WHITE CHRISTMA S SACD4Stereo/Surround/CDAud 013431101864 CCDCD1019 ESCOVEDO,P/MISTER E SACD4Stereo/Surround/CDAud 0134311019630 13431 52002 3 0 13431 52112 90 13431 52032 0 0 13431 52062 7 0 13431 52182 2 0 13431 52202 70 13431 52092 40 13431 52132 7 0 13431 52152 5 0 13431 52172 3 0 13431 52192 1 0 13531 52052 78 44493 06111 38 23566 41592 3 8 44493 06105 2 8 88072 30038 56 24481 00362 84 028462 900085 4 028462 900030 4 028462 900061 4 028462 600657 4 028462 900047 4 028462 900078 0 13431 10046 1 0 13431 10096 6 0 13431 10126 0 0 13431 10186 4 0 13431 10196 3 Page 375 of 496 November 12, 2014Catalogue Numbe rArtist / Title Config Scannable UPC UPC CCDCD1022 MCDUFF,J & DEFRANCESCO,J /IT'S SACD4Stereo/Surround/CDAud 013431102267 CCDCD1024 ALEXANDERMIV SACD4 Stereo/Surround/CDAud 013431102465 CCDCD1026 TORME,M & SHEARING,G/A VI NTAGE SACD4Stereo/Surround/CDAud 013431102663 CCDCD1028 HAMILTON,S/SCOTT HAMILTON WITH SACD4Stereo/Surround/CDAud 013431102861 CCDCD1035 VAR/CONCORD JAZZ SACD SAMPL ER SACD4Stereo/Surround/CDAud 013431103561 CCDCD2114 MARIA,T/LIVE AT THE BLUE NOTE Compact Disc 013431211426 CCDCD2123 MCKENNA,D & HAMILTON ,S/DOUBLE Compact Disc 013431212324 CCDCD2133 FARLOW,T/AUTUMN LEAVES Compact Disc 013431213321 CCDCD2134 CLOONEY,R/SINGS ARLE N & BERLIN Compact Disc 013431213420 CCDCD2155 WOODY,H BIG BAND/FROM EAST TO Compact Disc 013431215523 CCDCD2232 ALEXANDER, M/STEAM ING HOT Compact Disc 013431223221 CCDCD2234 BLAKEY,A & JAZZ MESSENGE RS,T/B Compact Disc 013431223429 CCDCD2248 CHARLES,R/GENIUS LO VES COMPANY Compact Disc 013431224822 CCDCD3102 STAFFORD,J/BALLAD OF THE BLUES Compact Disc 013431310228 CCDCD4112 CLOONEY,R/SINGS THE LYRICS OF Compact Disc 013431411222 CCDCD4127 HAMILTON,S/TENOR SHOES Compact Disc 013431412724CCDCD4200 MARIA,T/COME WI TH ME Compact Disc 013431420026 CCDCD4264 MARIA,T/WILD Compact Disc 013431426424CCDCD4267 HERSCH,F/HORI ZON Compact Disc 013431426721 CCDCD4293 BROWN,R/DON'T FORGET THE BLUES Compact Disc 013431429326 CCDCD4306 TORME,M & MCCONNELL,R/ MEL TORM Compact Disc 013431430629 CCDCD4333 CLOONEY,R/SINGS THE LYRICS OF Compact Disc 013431433323 CCDCD4460 MCPARTLAND,M/LIVE AT MAYBECK V Compact Disc 013431446026 CCDCD4519 SANCHEZ,P/EL ME JOR Compact Disc 013431451921 CCDCD4532 BRUNO,J/SLEIGHT OF HAND Compact Disc 013431453222 CCDCD4586 SUTTON,R/LIVE AT TH E MAYBECK V Compact Disc 013431458623 CCDCD4596 HERSCH,F/LIVE AT TH E MAYBECK V Compact Disc 013431459620 CCDCD4633 CLOONEY,R/DEMI-CEN TENNIAL Compact Disc 0134314633200 13431 22322 1 0 13431 42002 6 0 13431 45322 20 13431 45192 10 13431 21142 6 0 13431 21232 4 0 13431 21332 1 0 13431 21342 0 0 13431 21552 3 0 13431 22342 9 0 13431 31022 8 0 13431 41122 2 0 13431 41272 4 0 13431 42642 4 0 13431 42932 6 0 13431 43062 9 0 13431 43332 3 0 13431 44602 6 0 13431 46332 00 13431 22482 2 0 13431 42672 1 0 13431 45862 3 0 13431 45962 00 13431 10286 1 0 13431 10356 10 13431 10226 7 0 13431 10246 5 0 13431 10266 3 Page 376 of 496 November 12, 2014Catalogue Numbe rArtist / Title Config Scannable UPC UPC CCDCD4661 MCCONNELL,R/DON'T GE T AROUND M Compact Disc 013431466123 CCDCD4698 BRUNO,J & DEFRANCESC O,J/LIKE T Compact Disc 013431469827 CCDCD4714 FREELON,N/SHAKING FREE Compact Disc 013431471424 CCDCD4749 BURTON,G/DEPART URE Compact Disc 013431474920 CCDCD4758 HARRIS,G/IN HIS HANDS Compact Disc 013431475828 CCDCD4759 MCCORKLE,S/LET'S FACE THE MUSI Compact Disc 013431475927 CCDCD4768 BRUNO,J & WATSON,B/L IVE AT BIR Compact Disc 013431476825 CCDCD4807 GETZ,S & CHET,B/QUIN TESSENCE V Compact Disc 013431480723 CCDCD4810 BRUNO,J TRIO/LIVE AT BIRDLAND Compact Disc 013431481027 CCDCD4824 MCPARTLAND,M/HERITAGE SERIES:M Compact Disc 013431482420 CCDCD4834 ALEXANDER,M/HERITAGE SERIES:MO Compact Disc 013431483427 CCDCD4850 BYRD,C/MY INSPIRATION S-MUSIC O Compact Disc 013431485025 CCDCD4853 MCPARTLAND,M & HICKOR Y HOUSE T Compact Disc 013431485322 CCDCD4887 BURTON,G/LIBERTANGO- MUSICFOR A Compact Disc 013431488729 CCDCD4911 VAR/MUSIC OF GEORGE GERSHWIN: Compact Disc 013431491125 CCDCD4998 FRISHBERG,D/LOOKIN ' GOOD Compact Disc 013431499824 CCDCD5227 VAR/SOUNDS OF SPRING Compact Disc 013431522720 CCDCD7018 CLOONEY,R/ROSEMARY CLOO NEY SHO Digital Video Disc 013431701897 CCDCD7500 VAR/BLONDE Co mpact Disc 013431750024 CCDCD9002 COREA,C/THREE QU ARTERS Compact Disc 013431900221 CCDCD9016 WECKL,D/RHYTHM OF THE SOUL Compact Disc 013431901624 CCDCD9020 COREA,C & ORIGIN/A WEEK AT THE SACD1Stereo 013431902027 CCDCD9030 GARLAND,T/MADE BY WALKING Compact Disc 013431903024 CCDCD9038 POWELL,B/LIVE IN LAU SANNE, 196 Compact Disc 013431903826 CCL60042 JEFFERSON AIRPLANE/LIVE AT FIL Compact Disc 617742600421 CCL60052 JEFFERSON AIRPLANE/LIVE AT FIL Compact Disc 617742600520 CCL60062 JEFFERSON AIRPLANE/LIVE AT FIL Compact Disc 617742600629 CCL60082 JEFFERSON AIRPLANE/R ETURN TO T Compact Disc 6177426008270 13431 46982 7 0 13431 48102 7 0 13431 48502 5 0 13431 48872 90 13431 48342 7 0 13431 48532 2 0 13431 52272 00 13431 46612 3 0 13431 47142 4 0 13431 47492 0 0 13431 47582 8 0 13431 47592 7 0 13431 47682 5 0 13431 48072 3 0 13431 48242 0 0 13431 49112 5 0 13431 49982 4 0 13431 90022 1 0 13431 90162 4 0 13431 90302 4 0 13431 90382 60 13431 75002 4 6 17742 60052 0 6 17742 60082 76 17742 60042 1 6 17742 60062 90 13431 70189 7 0 13431 90202 7 Page 377 of 496 November 12, 2014Catalogue Numbe rArtist / Title Config Scannable UPC UPC CCM00862 CUMBERLAND THREE,THE/FOLK SCEN Compact Disc 617742008623 CCM04662 JOHNSON,B SURFING BAND/SURFERS Compact Disc 617742046625CCM05162 MILLER,M AND THE GANG/50 ALL-A Compact Disc 617742051629CCM05242 MODERN FOLK QUARTET/CHANGES Compact Disc 617742052428CCM06882 NITZSCHE,J/DANCE TO THE HITS O Compact Disc 617742068825CCM06892 NITZSCHE,J/ST.GILES CRIPPLEGAT Compact Disc 617742068924CCM06902 NITZSCHE,J/CHOPIN '66 Compact Disc 617742069020CCM06972 FOXX,R/YOU GOTTA WASH YOUR ASS Compact Disc 617742069723CCM07162 FISCHER,WM/PRONOUNCE D NORMAL Com pact Disc 617742071627 CCM07362 VAR/FIFTY #1 HITS OF THE 50S(2 Compact Disc 617742073621CCM07522 WARWICK,D/ANYONE WHO HAD A HEA Compact Disc 617742075229CCM07532 WARWICK,D/MAKE WAY FO R DIONNE Com pact Disc 617742075328 CCM07572 WARWICK,D/HERE WHERE THERE IS Compact Disc 617742075724CCM07582 WARWICK,D/ON STAGE AND IN THE Compact Disc 617742075823CCM07782 5TH DIMENSION/THE MAGIC GARDEN Compact Disc 617742077827CCM07932 BEAU BRUMMELS,THE/BEAU BRUMMEL Compact Disc 617742079326 CCM07942 BRUMMELS,B/THE BEAU BRUMMELS Compact Disc 617742079425 CCM08062 RASCALS,THE/SEARCH A ND NEARNE Com pact Disc 617742080629 CCM08072 KINGSTON TRIO/NICK,BOB & JOHN- Compact Disc 617742080728CCM08232 COLE,NK/WELCOME TO THE CLUB/TE Compact Disc 617742082326CCM08312 CHAMBERS BROTHERS/NOW Compact Disc 617742083125CCM08462 COLLINS,BOOTSY RUBBER BAND/THI Compact Disc 617742084627 CCM08472 COLLINS,B/ULTRA WAVE Compact Disc 617742084726CCM08672 VOICE OF WALTER S CHUMANN/THE V C ompact Disc 617742086720 CCM08682 COLE, NAT KING/EVERY TIME I FE Compact Disc 617742086829 CCM08702 COLE, NAT KING/10TH ANNIVERSAR Compact Disc 617742087024CCM09002 HAWKINS,R/ARKANSAS RO CKPILE/MO Compact Disc 617742090024 CCM09052 TILLIS,M/YOUR BODY IS AN OUTLA Compact Disc 617742090529 6 17742 08312 56 17742 07532 8 6 17742 08472 66 17742 06882 5 6 17742 08062 96 17742 05162 9 6 17742 07572 4 6 17742 09002 46 17742 04662 5 6 17742 05242 8 6 17742 06892 4 6 17742 06902 0 6 17742 07162 7 6 17742 07362 1 6 17742 07942 56 17742 06972 3 6 17742 07582 3 6 17742 08702 46 17742 07522 9 6 17742 07932 6 6 17742 08072 8 6 17742 08232 6 6 17742 08672 06 17742 00862 3 6 17742 09052 96 17742 08682 96 17742 07782 7 6 17742 08462 7 Page 378 of 496 November 12, 2014Catalogue Numbe rArtist / Title Config Scannable UPC UPC CCM09112 GIBSON,B/SKI SONGS Compact Disc 617742091120 CCM09162 MINK DE VILLE/WHERE ANGELS FEA Compact Disc 617742091625 CCM09172 LEE,P/THE LOST '40S & '50S CAP Compact Disc 617742091724 CCM09202 LEE,P/THEN WAS THEN NOW IS NOW Compact Disc 617742092028CCM09212 LEE,P/ALL AGLOW AGAIN Compact Disc 617742092127CCM09262 OLSON,C & TEXTONES,THE/DETROIT Compact Disc 617742092622CCM09322 LOVE/FALSE START Compact Disc 617742093223CCM09332 LYMON,F/ROCK 'N ROLL Compact Disc 617742093322CCM09372 DURANTE,J/SONGS FO R SUNDAY Compact Disc 617742093728 CCM09452 LEWIS,L/FATHOMS DEEP Compact Disc 617742094527CCM09542 60 MILLION BUFFALO/NEVADA JUKE Compact Disc 617742095425CCM09562 DORFF,S/THEME FROM GROWING PAI Compact Disc 617742095623 CCM09622 HOG HEAVEN/HOG HEAVEN Compact Disc 617742096224 CCM09632 BLUE ASH/NO MORE, NO LESS Compact Disc 617742096323CCM09652 JAMES,T & SHONDELLS /40 YEARS ( Compact Disc 617742096521 CCM09762 MINNELLI,L/THE COMPLETE A&M RE Compact Disc 617742097627CCM09792 YARBROUGH,G/LET ME CHOOSE LIFE Compact Disc 617742097924 CCM09982 VAR/APOLLO SATURDAY NIGHT Compact Disc 617742099829 CCM20002 BOND,G/SOLID BOND Compact Disc 617742200027CCM20022 CLARK,P/OPEN YOUR HEART:A LOVE Compact Disc 617742200225CCM20042 JONES,S & HIS CITY SLICKERS/BA Compact Disc 617742200423CCM20072 SAM & DAVE/SAM & DAVE Compact Disc 617742200720 CCM20082 DANA,B/MY NAME..JOSE JIMENEZ Compact Disc 617742200829CCM20092 DOMINO,F/FATS Compact Disc 617742200928CCM20102 DOMINO,F/FATS IS BACK Compact Disc 617742201024CCM20132 LEWIS,G & HTE PLAYBO YS/THE COM Compact Disc 617742201321 CCM20162 MATHIS,J/I'LL BUY YOU A STAR/L Compact Disc 617742201628CCM20172 MATHIS,J/RAPTURE/ROMANTICALLY Compact Disc 617742201727 6 17742 20092 86 17742 20072 06 17742 09332 2 6 17742 20102 4 6 17742 20132 16 17742 20022 5 6 17742 20042 3 6 17742 20082 96 17742 09762 7 6 17742 20002 76 17742 09162 5 6 17742 09262 2 6 17742 09542 5 6 17742 09562 36 17742 09202 8 6 17742 09322 3 6 17742 09452 7 6 17742 09632 3 6 17742 09652 16 17742 09212 7 6 17742 09372 86 17742 09112 0 6 17742 09792 46 17742 09172 4 6 17742 09982 9 6 17742 20162 8 6 17742 20172 76 17742 09622 4 Page 379 of 496 November 12, 2014Catalogue Numbe rArtist / Title Config Scannable UPC UPC CCM20182 MATHIS,J/UP,UP AND AWAY/LOVE I Compact Disc 617742201826 CCM20212 LITTLE RICHARD/THE RILL THING Compact Disc 617742202120 CCM20232 LITTLE RICHARD/THE SECOND COMI Compact Disc 617742202328CCM20272 LITTLE RICHARD/KING OF ROCK AN Compact Disc 617742202724 CCM2028 KING,BE/SUPERNATURAL/BENNY AND Compact Disc 617742202823CCM2029 AVERAGE WHITE BAND/WARM ER COMM Compact Disc 617742202922 CCM2030 VAR/BONNIE & CLYDE:OST Compact Disc 617742203028 CCM20382 DESHANNON,J/JACKIE DESHANNON Compact Disc 617742203820 CCM20422 BAILEY,P/SINGS PORG Y & BESS AN Compact Disc 617742204223 CCM20432 ELLIOT,C/CASS ELLIOT 7 THE ROA Compact Disc 617742204322 CCM20462 NEWHART,B/THIS IS IT! Compact Disc 617742204629 CCM20582 TINY TIM/I'VE NEVER SEEN A STR Compact Disc 617742205824 CCM20602 THOMAS,BJ/ON MY WAY/YOUNG AND Compact Disc 617742206029CCM20652 THOMAS,BJ/I'M SO LONESOME I CO Compact Disc 617742206524 CCM20672 JENNINGS,W/FOLK COUNTRY/WAYLON Compact Disc 617742206722CCM20682 JENNINGS,W/LOVE OF THE COMMON Compact Disc 617742206821CCM20692 JENNINGS,W/WAYLON/SINGER OF SA Compact Disc 617742206920CCM20702 LEE,P/TWO SHOWS NIGHTLY (DLX.E Compact Disc 617742207026CCM20712 KING FAMILY,THE/CHRI STMAS WITH Compact Disc 617742207125 CCM20762 SANBORN,D/TAKING OFF Compact Disc 617742207620CCM20772 LEE,P/LET'S LOVE Compact Disc 617742207729CCM20782 SOOPER,A/DADA Compact Disc 617742207828CCM20812 LAMB/BRING OUT THE SUN Compact Disc 617742208122CCM20822 LAMB/CROSS BETWEEN Compact Disc 617742208221 CCM20832 CLARK,P/THIS IS CHRISTMAS Compact Disc 617742208320 CCM20842 5 STAIRSTEPS & CUBIE/L OVE'S HA Compact Disc 617742208429 CCM20852 MANTOVANI/CHRISTMAS CAROLS Compact Disc 617742208528 CCM2089 PARIS,J/THE JACKIE PARIS SOUND Compact Disc 6177422089246 17742 20232 8 6 17742 20292 2 6 17742 20712 5 6 17742 20782 8 6 17742 20842 96 17742 20582 4 6 17742 20682 1 6 17742 20812 2 6 17742 20822 16 17742 20272 4 6 17742 20282 3 6 17742 20302 8 6 17742 20422 3 6 17742 20692 0 6 17742 20702 6 6 17742 20762 0 6 17742 20772 9 6 17742 20852 86 17742 20432 2 6 17742 20672 26 17742 20212 0 6 17742 20382 0 6 17742 20462 9 6 17742 20602 9 6 17742 20652 4 6 17742 20832 0 6 17742 20892 46 17742 20182 6 Page 380 of 496 November 12, 2014Catalogue Numbe rArtist / Title Config Scannable UPC UPC CCM2090 MOHAWK,E/SANDY'S ALBUM IS HERE Compact Disc 617742209020 CCM2091 MOHAWK,E/ESSRA MOHA WK (CD) Compact Disc 617742209129 CCM2094 MOHAWK,E/PRIMORDIAL LOVERS (CD Compact Disc 617742209426 CCM20952 JAMES,T/MY HEAD,MY BED & MY RE Compact Disc 617742209525 CCM20962 JAMES,T & THE SHONDELLS/GETTIN Compact Disc 617742209624 CCM20992 MILLER,M AND THE GANG /PEACE SI Compact Disc 617742209921 CCM21002 HARRIS,R/THE PROPHET BY KAHIL Compact Disc 617742210026CCM21012 CALDERON, J/CITY MUSIC Compact Disc 617742210125CCM21032 LESTER,S/ANN CORRIO PRESENTS:H Compact Disc 617742210323 CCM21062 CROSBY,B/ON THE SENTIME NTAL SI Compact Disc 617742210620 CCM21092 CROSBY,B/SO RARE-TR EASURES FRO Compact Disc 617742210927 CCM21102 EASTWOOD,C/RAWHIDE'S CLINT EAS Compact Disc 617742211023 CCM21112 RYDELL,B/BOBBY RYDELL SALUTES Compact Disc 617742211122 CCM21122 CHECKER,C/IT'S PONY TIME/LET'S Compact Disc 617742211221CCM21132 ORLONS,THE/THE WAH-WATUSI/SOUT Compact Disc 617742211320CCM21152 OCHS,P/IN CONCERT (CD) Compact Disc 617742211528CCM21172 VAR/REMEMBER ME BABY- CAMEO PAR Compact Disc 617742211726 CCM21222 COLLINS,J/HOME AGAIN Compact Disc 617742212228CCM21232 COLLINS,J/TRUE STORIES & OTHER Compact Disc 617742212327CCM21242 COLLINS,J/TIMES OF OUR LIVES Compact Disc 617742212426CCM21252 COLLINS,J/CHRISTMAS AT THE BIL Compact Disc 617742212525 CCM21262 COLLINS, J/BREAD & ROSES Compact Disc 617742212624 CCM21272 COLLINS, J/RUNNING FOR MY LIFE Compact Disc 617742212723 CCM21282 COLLINS, J/FIFTH ALBUM Compact Disc 617742212822CCM21302 BRISTOL,J/STRANGERS Compact Disc 617742213027CCM21322 BAKER,L/SAVED Compact Disc 617742213225CCM21342 RODGERS,J/TWILIGHT ON THE TRAI Compact Disc 617742213423 CCM21352 RODGERS,J/SINGS FOLK SONGS/AT Compact Disc 6177422135226 17742 20912 9 6 17742 21012 56 17742 20902 0 6 17742 21322 56 17742 21262 46 17742 20952 5 6 17742 20992 1 6 17742 21032 3 6 17742 21092 7 6 17742 21172 6 6 17742 21302 76 17742 21122 1 6 17742 21222 8 6 17742 21232 7 6 17742 21242 6 6 17742 21252 56 17742 21102 3 6 17742 21112 2 6 17742 21132 0 6 17742 21152 8 6 17742 21342 36 17742 21002 6 6 17742 21282 26 17742 20942 6 6 17742 20962 4 6 17742 21062 0 6 17742 21272 3 6 17742 21352 2 Page 381 of 496 November 12, 2014Catalogue Numbe rArtist / Title Config Scannable UPC UPC CCM21402 SHERMAN,A/ALLAN IN WONDERLAND Compact Disc 617742214024 CCM21412 SHERMAN,A/SONGS FOR SWINGIN' L Compact Disc 617742214123 CCM21422 SHERMAN,A/MY NAME IS ALLAN Compact Disc 617742214222CCM21432 SHERMAN,A/ALLAN SHERMAN LIVE!( Compact Disc 617742214321CCM21442 SHERMAN,A/TOGETHERNESS Compact Disc 617742214420 CCM21452 CHEECH & CHONG/LOS COCHINOS Compact Disc 617742214529CCM21462 CHEECH & CHONG/WEDDING ALBUM Compact Disc 617742214628CCM21512 DOVELLS,THE/FOR YOUR HULLY GUL Compact Disc 617742215120CCM21522 SHARP,DD/IT'S MASHED POTATO TI Compact Disc 617742215229CCM21612 CROSBY,B/CHRISTMAS SESSIONS Compact Disc 617742216127 CCM21642 STEVENS,C/FISHER,J/FIS HER,TL/T Compact Disc 617742216424 CCM650822 KILLDARES,THE/SECRETS OF THE D Compact Disc 654679650822 CCM66572 HORNE,L/V DISC RECORDINGS Compact Disc 617742665727 CCM831023 KILLDARES,THE/UP AGAINST THE L CD with DVD 654679831023 CCML6000 WINTER,J/LIVE AT THE FILMORE E Compact Disc 617742600025CCML6002 DENVER,J/LIVE AT CEDAR RAPIDS Compact Disc 617742600223 CD001IDS VAR/IBIZA 2013 THE GREATEST CH Compact Disc 9480018130011 CD0400 LEWIS,L/EARTH & SKY:SO NGS OF L Compact Disc 011661040021 CD0416 B.HICKS/FIDDLE PATCH Compact Disc 011661041622CD1700 VAR/T ALAN LOMAX COLLECTION Compact Disc 011661170025CD1701 VAR/T ALAN LOMAX:SOUTHERN JOUR Compact Disc 011661170124CD1715 VAR/T ALAN LOMAX:PRISON SONGS Compact Disc 011661171527CD2089 B.KING&T.EVANS/LIVE & LET LIVE Compact Disc 011661208926 CD420097 FM EINHEIT/RADIO INFERNO Compact Disc 637642009728CD420144 PIG & SOW/JE M AIME Compact Disc 637642014425CD420157 CHEMLAB/EAST SIDE MILITIA Compact Disc 637642015729CD420173 TRS-80/THE MANHATTAN LOVE MACH Compact Disc 637642017327CD421020 DEFRAGMENTATION/SELF CONSTRUCT Com pact Disc 6376421020236 54679 83102 3 0 11661 04002 1 0 11661 20892 60 11661 04162 2 0 11661 17002 5 0 11661 17012 4 0 11661 17152 76 17742 66572 76 17742 21642 4 6 17742 60002 5 6 37642 01572 96 17742 21412 3 6 17742 21452 9 6 17742 21462 8 6 17742 21512 0 6 17742 21522 9 6 17742 60022 3 9 480018 130011 6 37642 00972 8 6 37642 01442 5 6 37642 01732 7 6 37642 10202 36 17742 21612 7 6 54679 65082 26 17742 21402 4 6 17742 21422 2 6 17742 21432 1 6 17742 21442 0 Page 382 of 496 November 12, 2014Catalogue Numbe rArtist / Title Config Scannable UPC UPC CD421034U NOCT URNE/PARADISE WAST ED Compact Disc 637642103426 CD421049 COLONY 5/LIFELINE Compact Disc 637642104928 CD421055U BILE/NIGHTMARE BEFORE KRZTOFF Compact Disc 637642105529CD421057U TUB RING/FERMI PARADOX Compact Disc 637642105727 CD421071 BILE/SEX REFLEX Compact Disc 637642107127CD421072 BILE/FRANKENHOLE Compact Disc 637642107226CD421088 ATTRITION/DANTES KITCHEN Compact Disc 637642108827 CD421096 TUB RING/ZOO HYPOTHOESIS Compact Disc 637642109626 CD421101 BILE/REGURGE:A BUCKET OF BILE Compact Disc 637642110127CD421114 PIGFACE/GUB/WELCOME TO MEXICO Compact Disc 637642111421CD421121 PIGFACE/THE HEAD REMIXES BOXED Compact Disc 637642112121CD421122 ATTRITION/ATTRITION BOXED SET Compact Disc 637642112220CD421123 CONNELLY,C/ CHRIS CONNELLY BO X Compact Disc 637642112329 CD428005 SCORN/ANAMNESIS Compact Disc 637642800523 CD429012 TRIBES OF NEUROT/ REBEGIN Compact Disc 637642901220 CD469876 SCORN/ZANDER Compact Disc 017046987622 CD4706012 DVORAK/SLAVONIC DANCES SACD4Stereo/Surround/CDAud 028947060123 CD5013 ADAMS,B/RECKLESS Compact Disc 075021501324 CD729809 PIGFACE/GUB Compact Disc 036172980925 CD8000 DE BURGH,C/SPARK TO A FLAME: T Compact Disc 075021800021 CD80179 BACH/ORGAN WORKS Compact Disc 089408017926CD80182 SCHUMANN/SYMPHONI ES 2 & 3 Compact Disc 089408018220 CD80229 BEET/QUA 6,7/CLEVELA ND QUARTET Compact Disc 089408022920 CD80249 VAR/BRAGGIN' IN BRASS Compact Disc 089408024924CD80269 MAHLER/WAYFARER/SCHM IDTRUCKER Compact Disc 089408026928 CD80337 SCHUBERT/IMPROMPTUS OP.90 & 14 Compact Disc 089408033728 CD80387 PART/FRATRES/WERTHEN Compact Disc 089408038723CD80429 MACDOWELL/PIANO CONCERTO NO.2 Compact Disc 089408042928 0 89408 01822 0 0 89408 02292 0 0 89408 03372 80 89408 01792 6 0 89408 02492 4 0 89408 02692 86 37642 11232 96 37642 10342 6 6 37642 10492 8 6 37642 10552 9 6 37642 10572 7 6 37642 10712 7 6 37642 10722 6 6 37642 10882 7 6 37642 11012 7 6 37642 11142 1 6 37642 11212 1 6 37642 11222 0 6 37642 80052 3 0 17046 98762 2 0 36172 98092 5 0 75021 80002 10 75021 50132 46 37642 10962 6 6 37642 90122 0 0 89408 04292 80 89408 03872 30 28947 06012 3 Page 383 of 496 November 12, 2014Catalogue Numbe rArtist / Title Config Scannable UPC UPC CD80441 BARBER/VIOLIN CONCERTO, PIANO Compact Disc 089408044120 CD80449 MOZART:LE NOZZE DI FIGARO Compact Disc 089408044922CD80465 BRAHMS/SYMPHONIES NO. 3 & 4 Compact Disc 089408046520CD80535 KUNZEL&CINCINNATI/MEGA MOVIES Compact Disc 089408053528CD80589 REGER/REGER & ROMANTICISM Compact Disc 089408058929CD80605 STRAUSS/DIE AGYPTISCHE HELENA Compact Disc 089408060526CD80606 VAR/AMERICAN M AESTROS Compact Disc 089408060625 CD80645 BOTSTEIN,L/LE ROI ARTHURS Compact Disc 089408064524 CD83334 BELLSON,L/LIVE FROM NEW YORK Compact Disc 089408333422CD83343 MOFFETT,C/EVIDENCE Compact Disc 089408334320CD83422 KRAMER,M/EVITA EN JAZZ Compact Disc 089408342226CD83503 VAR/TELARC'S GOT MORE BLUES Compact Disc 089408350320CD83526 RANGLIN,E/MODERN ANSWERS TO OL Compact Disc 089408352621CD83542 MAHOGANY,K/PRIDE & JOY Compact Disc 089408354229CD83545 COLE,F/IN THE NAME OF LOVE Compact Disc 089408354526CD83575 VAR/DELTA BLUES BOXED SET Compact Disc 089408357527CD83595 COLEMAN,D/WHAT ABOUT LOVE? Compact Disc 089408359521CD83648 MOORE, S/III Compac t Disc 089408364822 CD85501 CALIFORNIA PROJECT/ PAPA DOO RU Com pact Disc 089408550126 CD85508 DAVIS,A/SURRENDER DOROTHY Compact Disc 089408550829 CD89111 I-FIAMMINGHI/COLLECTION Compact Disc 089408911125 CD9047 RICHMAN,J/YOU MUST AK T HEART Compact Disc 011661904729CD9500 NAZARETH/T VERY VERY BEST Compact Disc 075021950023 CDBEYE9507 SUGAR RAY & THE/DON' T STAND IN Compact Disc 011661950726 CDBEYE9508 MCCRACKLIN,J/MY STORY Compact Disc 011661950825CDBEYE9509 KING, LITTLE JI/LITTLE JIMMY K Compact Disc 011661950924CDBEYE9538 WILSON, HOP /HOU STON GHETTO Compact Disc 011661953826 CDBEYE9571 JONES, TUTU /B LUE TEXAS SOU Compact Disc 011661957121 0 11661 90472 9 0 11661 95072 6 0 11661 95082 5 0 11661 95092 40 89408 91112 50 89408 05352 8 0 89408 06452 4 0 89408 35262 1 0 11661 95382 6 0 11661 95712 10 89408 05892 9 0 89408 06052 6 0 89408 06062 50 89408 04492 2 0 89408 04652 0 0 89408 33342 2 0 89408 55012 60 89408 34222 6 0 89408 35032 0 0 89408 35422 9 0 89408 35452 6 0 89408 35752 7 0 89408 36482 2 0 75021 95002 30 89408 55082 90 89408 35952 10 89408 04412 0 0 89408 33432 0 Page 384 of 496 November 12, 2014Catalogue Numbe rArtist / Title Config Scannable UPC UPC CDBEYE9607 SUGAR RAY /S WEET AND SWIN Compact Disc 011661960725 CDCD5035 DYLAN,B/BOB DYLAN'S WOODY GUTH Compact Disc 823564614625 CDDVD21 AC/DC/THE DOCUMENT (CD+DVD) CD wi th DVD 823564900162 CDED7013 VAR/CAJUN COUNTRY Compact Disc 712136701323CDED7041 JIMENEZ/FLACO&SANTI AGO/TEX MEX Compact Disc 712136704126 CDED7051 VAR/COUNTRY BLUES GUITAR Compact Disc 712136705123CDED9009 VAR/LONE STAR BLUES Compact Disc 712136900924 CDFLY046 WERNICK, PETE &/DR. BANJO STEP Compact Disc 018964004620CDFLY052 NELSON,T/HOMEMADE SONGS Compact Disc 018964005221CDFLY280 PAXTON,T/EVEN A GRAY DAY Compact Disc 018964028022 CDFLY394 CEPHAS, JOHN & /DOG DAYS OF AU Compact Disc 018964039424 CDFLY404 SMITH,M/MICHAEL SMITH (1986) Compact Disc 018964040420CDFLY411 REAGON,B/RIVER OF LIFE: HARMON Compact Disc 018964041120CDFLY425 ROGERS,S&CLAUDIA/CLOSING T DIS Compact Disc 018964042523CDFLY450 VARIOUS ARTISTS/PARTISANS OF V Compact Disc 018964045029CDFLY459 MONTANA,P/THE COWBOY'S SWEETH Compact Disc 018964045920CDFLY515 LEWIS,L & ROZIUM,T/SINGIN' MY Compact Disc 018964051525CDFLY564 BARE NECESSITIES/T AKE A DANCE Com pact Disc 018964056421 CDFLY610 BOWEN, ROBIN HU/TELYN BERSEINO Compact Disc 018964061029CDFLY646 FSK /THE SOUND OF M Compact Disc 018964064624 CDFLY652 KEANE, PETER /WAL KIN' AROUND Co mpact Disc 018964065225 CDFLY669 MUNDE,A & CARR,J/WELC OME TO WE Compact Disc 018964066925 CDGRON1 NEU!/NEU Compact Disc 854882200719CDGRON2 NEU!/NEU2 Compact Disc 854882200726CDGRON3 NEU!/NEU 75 Compact Disc 854882200733 CDGRON64 HANS-JOACHIM & TIM STORY/INLAN Compact Disc 854882200689 CDGRONIV NEU!/86 Compact Disc 854882201358 CDGSD105 OVER THE RHINE/LON G SURRENDER Compact Disc 6344575384298 23564 90016 20 11661 96072 5 0 18964 00522 1 0 18964 02802 2 0 18964 03942 4 0 18964 04502 9 0 18964 06102 9 0 18964 06462 47 12136 90092 47 12136 70132 3 7 12136 70412 6 7 12136 70512 3 0 18964 00462 0 0 18964 04042 0 0 18964 04112 0 0 18964 04252 3 0 18964 04592 0 0 18964 05152 5 0 18964 05642 1 0 18964 06522 5 0 18964 06692 58 23564 61462 5 6 34457 53842 98 54882 20068 9 8 54882 20135 88 54882 20072 6 8 54882 20073 38 54882 20071 9 Page 385 of 496 November 12, 2014Catalogue Numbe rArtist / Title Config Scannable UPC UPC CDHB18586 SKATALITES, THE/FOUNDA TION SKA Compact Disc 011661768529 CDHB77 PERRY,L/UPSETTER SHOP V.1 DUB Compact Disc 011661757721 CDHBEA06 PERRY,L/MYSTIC MIRA CLE STAR Compact Disc 011661750623 CDHBEA102 STARLIGHTS/SOLDERING Compact Disc 011661760226CDHBEA104 VARIOUS ARTISTS/RUN RHYTHM RUN Com pact Disc 011661760424 CDHBEA105 VARIOUS ARTISTS/SKA AFTER SKA Compact Disc 011661760523 CDHBEA129 MELODIANS,THE /SWING & DINE Compact Disc 011661762923CDHBEA136 UPSETTERS /UPSETTERS A GO Compact Disc 011661763623CDHBEA137 CULTURE /TROD ON Compact Disc 011661763722CDHBEA140 TOSH, ANDREW /O RIGINAL MAN Compact Disc 011661764026 CDHBEA142 VARIOUS ARTISTS/DUB SPECIALIST Compact Disc 011661764224 CDHBEA143 MAYTALS/NEVER GR OW OLD Compact Disc 011661764323 CDHBEA151 CULTURE /PRODUCTION SOM C ompact Disc 011661765122 CDHBEA153 MORGAN,D/TIME MARCHES ON: DERR Compact Disc 011661765320CDHBEA181 VARIOUS ARTISTS/R ESPECT TO STU Compact Disc 011661768123 CDHBEA195 VARIOUS ARTISTS/TREASURE ISLE Compact Disc 011661769526CDHBEA202 VARIOUS ARTISTS/DUB OVER DUB: Compact Disc 011661770225 CDHBEA3512 MICHIGAN & SMIL/RUB-A-DUB STYL Compact Disc 011661351226 CDHBEA43 VARIOUS ARTISTS/CHA NNEL ONE, H Compact Disc 011661754324 CDHBEA4607 SISTER CAROL/DREAD NATTY CONGO Compact Disc 011661460720 CDHBEA47 VARIOUS ARTISTS/COLLE CTOR'S ED Compact Disc 011661754720 CDHBEA53 PERRY,L/CHICKEN SCRATCH Compact Disc 011661755321 CDHBEA55 VARIOUS ARTISTS/ORIG INAL CLUB Compact Disc 011661755529 CDHBEA73 GIBBS, JOE /J OE GIBBS & ER Compact Disc 011661757325 CDHBEA76 PERRY,L/SOUNDZS FROM T HOT LIN Compact Disc 011661757622 CDHBEA88 HORACE,A/MR. BASSIE Compact Disc 011661758827 CDHBEA92 DALEY, LLOYD /LLO YD DALEY'S Compact Disc 011661759220 CDPH1194 MORRISEY,B/YOU'LL NEVER GET TO Compact Disc 0116711194270 11661 76432 3 0 11661 76512 2 0 11661 76532 0 0 11661 35122 6 0 11661 75432 4 0 11661 75552 9 0 11661 75732 5 0 11661 75882 70 11661 76852 9 0 11661 75772 1 0 11661 75062 3 0 11661 76022 6 0 11661 76042 4 0 11661 76052 3 0 11661 76292 3 0 11661 76362 3 0 11661 76372 2 0 11661 76402 6 0 11661 76422 4 0 11661 76812 3 0 11661 76952 6 0 11661 77022 5 0 11661 46072 0 0 11661 75472 0 0 11661 75532 1 0 11661 75762 2 0 11661 75922 0 0 11671 11942 7 Page 386 of 496 November 12, 2014Catalogue Numbe rArtist / Title Config Scannable UPC UPC CDPH1210 PHILLIPS,U/TELLING TAKES ME HO Compact Disc 011671121024 CDPHIL1054 REDPATH,J/SONG OF THE SEALS Compact Disc 011671105420 CDPHIL1102 FARIA, MIMI /SOLO Compact Disc 011671110226CDPHIL1110 REDPATH,J/A FINE SONG FOR SING Compact Disc 011671111025CDPHIL1131 REDPATH,J/LEAVING THE LAND Compact Disc 011671113128 CDPHIL1144 MOFFATT,K&H/DANCE ME OUTSIDE Compact Disc 011671114422CDPHIL1180 DISAPPEAR FEAR /SEED IN THE SA Compact Disc 011671118024 CDPHIL1187 REDPATH,J/THE SONGS OF ROBERT Compact Disc 011671118727 CDROUN0099 CRARY, DAN /L ADY'S FANCY Co mpact Disc 011661009929 CDROUN0167 RICE,T UNIT/BAC KWATERS Compact Disc 011661016729 CDROUN0197 CARLIN, BOB / BANGING & SAWI Compact Disc 011661019720 CDROUN0198 MENARD,D.L./CAJ UN SATURDAY Com pact Disc 011661019829 CDROUN0212 NASHVILLE BLUEGRASS BAND/MY NA Compact Disc 011661021228 CDROUN0220 RIDERS IN T SKY/NE W TRAILS Compact Disc 011661022027 CDROUN0262 SEEGER,M & OTHERS\FR ESH OLDTIM Compact Disc 011661026223 CDROUN0264 WHITSTEIN BROTH/OLD TIME DUETS Compact Disc 011661026421 CDROUN0272 RICE,W/NEW MAR KET GAP Compact Disc 011661027220 CDROUN0294 TRISCHKA, TONY /WOR LD TURNING Co mpact Disc 011661029422 CDROUN0315 REISCHMAN,J/NORTH OF THE BORDE Co mpact Disc 011661031524 CDROUN0321 AYERS,J & OTHERS/MIN STREL BANJ Compact Disc 011661032125 CDROUN0331 VARIOUS ARTISTS/OLD- TIME MUSIC Compact Disc 011661033122 CDROUN0374 BRISLIN, KATE &/SL EEPLESS NIGH Compact Disc 011661037427 CDROUN0383 SEEGER,M & OTHERS/W AY DOWN IN Compact Disc 011661038325 CDROUN0384 POWELL,D/IF I GO TE N THOUSAND Compact Disc 011661038424 CDROUN0385 WHITE, JEFF /THE WHITE ALBU Compact Disc 011661038523 CDROUN0456 FURTADO, TONY &/TO NY FURTADO & Compact Disc 018964445621 CDROUN1052 VARIOUS ARTISTS/VINT AGE HAWAII Compact Disc 011661105225 CDROUN1141 VARIOUS ARTISTS/FALL OF MAN: C Compact Disc 0189641141210 11671 11022 6 0 11661 02942 2 0 11661 03152 4 0 11661 03212 5 0 11661 03842 4 0 11661 03852 3 0 18964 11412 10 11671 12102 4 0 11671 10542 0 0 11671 11102 5 0 11671 11312 8 0 11671 11442 2 0 11671 11802 4 0 11671 11872 7 0 11661 00992 9 0 11661 01672 9 0 11661 01972 0 0 11661 01982 9 0 11661 02122 8 0 11661 02202 7 0 11661 02622 3 0 11661 02642 1 0 11661 02722 0 0 11661 03312 2 0 11661 03742 7 0 11661 03832 5 0 18964 44562 1 0 11661 10522 5 Page 387 of 496 November 12, 2014Catalogue Numbe rArtist / Title Config Scannable UPC UPC CDROUN11510 VARIOUS ARTISTS/RO UNDER OLD-TI Co mpact Disc 011661151024 CDROUN11545 MBARGA,P/AKI SPECIAL Compact Disc 011661154520 CDROUN11549 BOYOYO BOYS & O/HO MELAND -- A Compact Disc 011661154926 CDROUN11556 REDPATH,J/FIRST FLIGHT Compact Disc 011661155626 CDROUN11577 BALL,E.C/E.C. BALL, WITH ORNA Compact Disc 011661157729 CDROUN1716 VAR/CARIBBEAN VOYAGE: BROWN GIR Compact Disc 011661171626 CDROUN1721 VAR/CARIBBEAN VOYAG E:CARIBBEAN Com pact Disc 011661172128 CDROUN1722 VAR/CARIBBEAN VOYAGE: CARRIACOU Compact Disc 011661172227 CDROUN2048 WASHINGTON, WAL/WO LF TRACKS Compact Disc 011661204829 CDROUN2057 PROFESSOR LONGHAIR /HOUSEPARTY Compact Disc 011661205727 CDROUN2058 THOMAS, IRMA /THE WAY I FEEL Compact Disc 011661205826 CDROUN2076 MITCHELL,B/WE GOT A PARTY!--TH Compact Disc 011661207622 CDROUN2095 ADAMS,J/WALKING ON A TIGHTROPE Compact Disc 011661209527 CDROUN2102 NEVILLE,A/MY GREAT EST GI Compact Disc 011661210226 CDROUN2114 SPENCE,J/THE SPRING OF SIXTY Compact Disc 011661211421 CDROUN2126 CHAVIS, BOOZOO /BOO ZOO, THAT'S Compact Disc 011661212626 CDROUN2137 NATHAN & T ZYDECO CHA CH/CREOL Co mpact Disc 011661213722 CDROUN3060 HAMMOND, JOHN /FROGS FOR SNAK Compact Disc 011661306028 CDROUN3100 ROBILLARD,D/YOU GOT ME Compact Disc 011661310025 CDROUN3105 KLEZMER CONSERV/A JU MPIN' NIGH Compact Disc 011661310520 CDROUN3114 ROBILLARD,D/AFTER HO URS SWING Compact Disc 011661311428 CDROUN3126 BLOCK, RORY /A NGEL OF MERCY Compact Disc 011661312623 CDROUN3159 BIKEL, THEODORE/A T ASTE OF PAS Compact Disc 011661315921 CDROUN4014 SMALL,F/THE HEART OF T APPALOO Compact Disc 011661401426 CDROUN5101 VARIOUS ARTISTS/ANTH OLOGY OF W Compact Disc 011661510128 CDROUN5122 VARIOUS ARTISTS/ANTH OLOGY OF W Compact Disc 011661512221 CDROUN6021 MENARD,D.L./NO MATTE R WHERE YO Compact Disc 011661602120 CDROUN6023 VARIOUS ARTISTS/CO NJUNTO ! (D6 Compact Disc 0116616023280 11661 15562 6 0 11661 20952 7 0 11661 51012 80 11661 15102 4 0 11661 15452 0 0 11661 15492 6 0 11661 15772 9 0 11661 17162 6 0 11661 17212 8 0 11661 17222 7 0 11661 20482 9 0 11661 20572 7 0 11661 20582 6 0 11661 20762 2 0 11661 21022 6 0 11661 21142 1 0 11661 21262 6 0 11661 21372 2 0 11661 30602 8 0 11661 31002 5 0 11661 31052 0 0 11661 31142 8 0 11661 31262 3 0 11661 31592 1 0 11661 40142 6 0 11661 51222 1 0 11661 60212 0 0 11661 60232 8 Page 388 of 496 November 12, 2014Catalogue Numbe rArtist / Title Config Scannable UPC UPC CDROUN6027 RICHARD,Z/ZACK'S BON TON Compact Disc 011661602724 CDROUN8017 CROW, DAN & OTH/CHANU KAH AT HO Compact Disc 011661801721 CDROUN8025 VARIOUS ARTISTS/RA INBOW SIGN Compact Disc 011661802520 CDROUN9011 WHITFIELD, BARR/OW ! OW! OW! Compact Disc 011661901124 CDROUN9018 SUNDOGS /HOWLIN' Compact Disc 011661901827 CDROUN9054 TINY TIM /TINY TIM'S CHR Compact Disc 011661905429 CDROUN9055 BRAVE COMBO /GRO UP DANCE EP Co mpact Disc 011661905528 CDROUNSS37 VARIOUS ARTISTS/S UN ROCKABILLY Co mpact Disc 011661553729 CDRW200 GLOAMING,THE/THE GLOAMING Compact Disc 884108002087 CDSMCJ100052 CIRQUEDUSOLEIL/SALTIMBANCO Compact Disc 874751000141 CDUP021 N.LOWE/LIVE! ON T BATTLEFIELD Compact Disc 011671802121CDUP035 LAUDERDALE,J/PERMI SSIONS Compact Disc 601143003523 CDUPST010 LAIKA & COSMONAUTS THE/THE AMA Compact Disc 011671801025CDUPST020 GABRELS, REEVES/THE SACRED SQU Compact Disc 011671802022 CDVARR026 PENTANGLE/IN T ROUND Compact Disc 011671002620CDVARR038 YANKEE INGENUIT/HEAT IN' UP THE Compact Disc 011671003825 CDWRES986 TAILGATORS /MUMBO JUMBO Compact Disc 027524098627 CEM7 CREEPERSIN/FASTER CR EEPERSIN K Compact Disc 635961072829 CF040807 FISH/COMMUNION (2CD SET) Compact Disc 604388691920 CF058DVD VAR/PUNK BROADCASTIN G SYSTEM Digita l Video Disc 022891005896 CGR9900 VAR/MS.FITS:HATE IS YOU MISTRE Compact Disc 027297990029 CHBD31271 TAYLOR KOKO /KOKO TAYLOR Compact Disc 076731127125 CHC2032 SANCHEZ,R/EN LA PL AYA AL SOL Compact Disc 858370002380 CHC2033 JOJO EFFECT/NOT WITH ME Compact Disc 858370002441CHC2035 VAR/BAR TUNES, VOL. 3 Compact Disc 858370002403CHC2038 BELUGAS,C/SWOP Compact Disc 858370002182CHC2040 BEBO BEST SUPER LOUNG E/D'JAZZO Compact Disc 858370002274 CHC2041 BOYKIN,B/CHOCOLATE & CHILI Compact Disc 8583700026700 11661 90542 9 0 11671 80202 28 74751 00014 1 6 01143 00352 30 11661 80172 10 11661 60272 4 0 11661 80252 0 0 11661 90112 4 0 11661 90182 7 0 11661 90552 8 0 11661 55372 9 0 11671 80212 1 0 11671 80102 5 0 11671 00262 0 0 11671 00382 5 0 27524 09862 7 8 58370 00267 06 35961 07282 9 6 04388 69192 0 0 27297 99002 9 8 58370 00238 0 8 58370 00244 1 8 58370 00240 3 8 58370 00218 2 8 58370 00227 40 76731 12712 58 84108 00208 7 0 22891 00589 6 Page 389 of 496 November 12, 2014Catalogue Numbe rArtist / Title Config Scannable UPC UPC CHC2043 VAR/BAR TUNES VOL 4 Compact Disc 858370002700 CHC2046 BELUGAS/CAVIAR AT 3 A.M & MINO Compact Disc 858370002199CHC2047 VAR/AURAL AFFAIRS,VOL.1 Compact Disc 858370002397CHC2049 BELUGASC/ZOO ZIZARO Compact Disc 858370002205 CHC20492 JOJO EFFECT/ORDINARY MADNESS Compact Disc 858370002434 CHC2050 TAPE FIVE/TONIGHT JOSEPHINE Compact Disc 858370002694 CHC2051 BAJKA/IN WONDERLAND Compact Disc 858370002458CHC2055 BAJKA/ESCAPE FROM WO NDERLAND Compact Disc 858370002465 CHC2056 VARIOUS/ART OF ELECTRO SWING Compact Disc 858370002267CHC2058 LOS CUATRO DE LA SALA/TANGO MA Compact Disc 858370002281CHC2060 BEBO BEST SUPER LOUNG E/SARONNO Compact Disc 858370002236 CHC2062 JOJO EFFECT/MARBLE TUNES Compact Disc 858370002427CHC2064 JAMESTAYLOR,Q/TEMPLATE Compact Disc 858370002175CHC2067 KEARNEY,J/TO THE MOON Compact Disc 858370002243 CHC2071 AUDIOGOLD/EMBERS & THEORIES Compact Disc 858370002410CHC2073 LUCA,A/LISTEN AND WAIT Compact Disc 858370002298CHC2077 LAZLO /LAZLO Compact Disc 858370002304CHC2078 SANS CHICHI/MUTE N' MUSE Compact Disc 858370002250CHC2079 BOYKIN,B/ALL THE TIME IN THE W Compact Disc 858370002663CHC2084 TAPE FIVE/SWING PATROL Compact Disc 858370002687 CHC2087 BEBO BEST/THE SUPER L/MAMOSSA Compact Disc 4260225980365 CHD380002 WATERS MUDDY /T HE CHESS BOX Compact Disc 076741080229 CHD39332 HOWLIN WOLF /T HE CHESS BOX Compact Disc 076732933220 CHEZ901 DJ NEIL ALINE/ON THE ROCKS Compact Disc 790185900126CHEZ902 DJ NEIL ALINE/ON THE ROCKS VOL Compact Disc 790185900225 CHF00123 CLARKSON,K/THE ALL AMERICAN(DV Digital Video Disc 827191001230 CHM0002 CHIELI MINUCCI & SPECIA L/LIVE Compact Disc 858370002069 CHS33306 SCAGGS,B/BOZ SCAGGS GREATEST H Digital Video Disc 619061330638 4 260225 980365 7 90185 90022 58 58370 00228 1 8 58370 00230 4 8 58370 00266 38 58370 00243 4 8 58370 00217 5 7 90185 90012 68 58370 00270 0 8 58370 00219 9 8 58370 00239 7 8 58370 00220 5 8 58370 00269 4 8 58370 00245 8 8 58370 00246 5 8 58370 00226 7 8 58370 00223 6 8 58370 00242 7 8 58370 00224 3 8 58370 00241 0 8 58370 00229 8 8 58370 00225 0 8 58370 00268 7 8 58370 00206 90 76741 08022 9 0 76732 93322 0 6 19061 33063 88 27191 00123 0 Page 390 of 496 November 12, 2014Catalogue Numbe rArtist / Title Config Scannable UPC UPC CHS33335 GODSMACK/CHANGES Digital Video Disc 619061333530 CID110 U2/BOY Compact Disc 075679004024CID111 U2/OCTOBER Compact Disc 042284229722CID112 U2/WAR Compact Disc 042281114823 CID1127 U2/JOSHUA TREE, THE Compact Disc 042284229821 CIDM113 U2/UNDER A BLOOD RED SKY Compact Disc 060439011329 CIDM1300 S.WINWOOD/BACK IN T HIGH LIFE Compact Disc 060439130020CIDM9570 M.FAITHFULL/BROKEN ENGLISH Compact Disc 060439957023 CIM016 STONE RIVER BOYS/LOVE ON THE D Compact Disc 801655239827 CIS2019 AC/DC/CLASSIC INTE RVIEWS Compact Disc 823564201924 CJM0002 JEPSEN,CR/TUG OF WAR Compact Disc 621617317628 CLC07312 ELECTRIC PRUNES/JUST GOOD OLD Compact Disc 617742073126 CLC1005 LONG,J/At The Hotel New Yorker Compact Disc 617742100525CLC1013 KRUPA,G & HIS ORCH ESTRA/At The Compact Disc 617742101324 CLC1019 PRIMA,L & HIS ORCH ESTRA/Plays Compact Disc 617742101928 CLC1034 HOOSIER HOTSHOTS,The/Havin' Fu Compact Disc 617742103427CLC1042 BLAIR,J/Love Is The Thing Compact Disc 617742104226CLC1053 MALTBY,R & HIS ORCH ESTRA/Music Compact Disc 617742105322 CLC119 LIMELITERS,THE/OUR MEN IN SAN Compact Disc 617742011920CLC133 ELECTRIC PRUNES/Underground Compact Disc 617742013320CLC166 WARING,F/Now Is The Caroling S Compact Disc 617742016628CLC171 DARIN,B/THE CURTAIN FALL-LIVE Compact Disc 617742017120 CLC178 JAM,THE/THIS IS THE MODERN WOR Compact Disc 617742017823CLC180 SANDPIPERS/GUANTANMER-SANDPIPE Compact Disc 617742018028CLC189 PETER & GORDON/THE ULTIMATE PE Compact Disc 617742018929CLC198 ELLIOTT,R/Young Brigham Compact Disc 617742019827CLC217 VALE,J/The Essential 50's Sing Compact Disc 617742021721CLC219 SHAY,D/Park Avenue Hillbillies Com pact Disc 6177420219296 21617 31762 88 01655 23982 7 6 17742 01782 36 17742 10532 26 17742 07312 6 6 17742 10052 5 6 17742 10192 8 6 17742 02172 16 17742 01802 88 23564 20192 4 6 17742 01332 0 6 17742 01982 76 17742 10132 4 6 17742 10342 7 6 17742 10422 6 6 17742 01192 0 6 17742 01662 8 6 17742 01712 0 6 17742 02192 96 17742 01892 90 42284 22972 2 0 60439 01132 90 75679 00402 4 0 42281 11482 3 0 42284 22982 1 0 60439 95702 30 60439 13002 06 19061 33353 0 Page 391 of 496 November 12, 2014Catalogue Numbe rArtist / Title Config Scannable UPC UPC CLC251 MARTIN,D/DEAN "TEX" MARTIN RID Compact Disc 617742025125 CLC252 MARTIN,D/DINO LATI NO-FRENCH ST Co mpact Disc 617742025224 CLC254 MARTIN,D/DREAM WITH DEAN-EVERY Compact Disc 617742025422 CLC275 NEIL,F/Bleecker & MacDougal Compact Disc 617742027525CLC281 DILLARDS,The/Copperfields Compact Disc 617742028126CLC286 CRABBY APPLETON/Rotten To The Compact Disc 617742028621CLC308 LANE,R & THE CHARTBUSTERS/Robi Compact Disc 617742030822 CLC31 BRITT,E/The RCA Years Compact Disc 617742003123 CLC316 VERLAINE,T/Tom Verlaine Compact Disc 617742031621CLC327 MARTINO,A/Merry Christmas Compact Disc 617742032727CLC330 WELLER,F/The Very Best Of Fred Compact Disc 617742033021CLC356 KENTON,S/Lush Interlude / The Compact Disc 617742035629CLC365 HUNTER,T/Tab Hunter Compact Disc 617742036527 CLC37 SADLER,S.SGT.BARRY/BALLAD OF T Compact Disc 617742003727 CLC377 CHARIOTEERS/BEST OF Compact Disc 617742037722 CLC386 RHINOCEROS/SATIN CHICKEN/BETTE Compact Disc 617742038620CLC400 DARIN,B/TWIST WITH BOBBY DARIN Compact Disc 617742040029 CLC402 DARIN,B/THINGS & OTHER THINGS Compact Disc 617742040227CLC403 DARIN,B/WINNERS Compact Disc 617742040326CLC412 VARIOUS/SWINGING SONGS FOR SAN Compact Disc 617742041224CLC422 HENSKE,J/The Death- Defying Jud Compact Disc 617742042221 CLC449 DAVIS,S JR/SALUTES THE STARS O Compact Disc 617742044928CLC468 CRAWFORD,J/The Captivating Joh Compact Disc 617742046823CLC480 VAUGHAN,S/Divine Lady Of Song Compact Disc 617742048025 CLC4902 DAVIS,S/WHEN THE FEELING HITS Compact Disc 617742049022CLC4922 DAVIS,S/THE SAMMY DAVIS, JR SH Compact Disc 617742049220CLC4942 DAVIS,S & ALMEIDA,L/SAMMY DAVI Compact Disc 617742049428CLC5102 NEW CHRISTY MINSTREL S/THE WAND Compact Disc 617742051025 6 17742 04922 06 17742 04682 3 6 17742 04902 26 17742 03302 1 6 17742 04122 4 6 17742 04222 16 17742 02752 5 6 17742 03862 0 6 17742 04002 9 6 17742 04492 8 6 17742 04942 86 17742 03772 26 17742 00372 76 17742 02512 5 6 17742 02542 2 6 17742 03162 1 6 17742 04022 7 6 17742 04032 66 17742 02812 6 6 17742 02862 1 6 17742 03082 2 6 17742 00312 3 6 17742 03272 7 6 17742 03562 9 6 17742 03652 7 6 17742 04802 56 17742 02522 4 6 17742 05102 5 Page 392 of 496 November 12, 2014Catalogue Numbe rArtist / Title Config Scannable UPC UPC CLC5302 GOLD,A/WHIRLWIND Compact Disc 617742053029 CLC5342 LANE,C/GREATEST COUNTRY HITS Compact Disc 617742053425CLC5712 SANSEBASTIONSTRINGS /SUMMER Compact Disc 617742057126 CLC5932 BLANC,M/BEST OF THE MAN OF 100 Compact Disc 617742059328 CLC6012 MARTIN,D/THIS IS DEAN MARTIN Compact Disc 617742060126 CLC619 WACKERS,THE/WACKERING HEIGHTS Compact Disc 617742061925CLC620 WACKERS,THE/HOT WACKS Compact Disc 617742062021CLC621 WACKERS,THE/SHREDDER Compact Disc 617742062120CLC624 ROXY/ROXY Compact Disc 617742062427CLC625 TRAVELERS3/TRAVEL ERS 3 Compact Disc 617742062526 CLC6432 BEAVER&KRAUSE/THE NONS UCH GUID Compact Disc 617742064322 CLC6582 WEBB,J/WORDS AND MUSIC Compact Disc 617742065824CLC6632 WEBB,J/SUSPENDING DISBELIEF Compact Disc 617742066326 CLC6642 KIM,A/HOW'D WE EVER GET THIS W Compact Disc 617742066425 CLC6682 VAUGHN,B/LOOK FOR A STAR/A SWI Compact Disc 617742066821CLC7262 QUEEN LATIFAH/NATURE OF A SIST Compact Disc 617742072624CLC7332 SNEAKERS,THE/NONSEQUI TUR OF SI Compact Disc 617742073324 CLC7432 FOUR SEASONS,THE/STR EETFIGHTER Compact Disc 617742074321 CLC7452 DB'S,THE & FRIENDS /IT'S CHRIST Compact Disc 617742074529 CLC7482 DAVIS,S.JR/SING JUST FOR LOVER Compact Disc 617742074826CLC7492 DAVIS,S.JR/STARRING SAMMY DAVI Compact Disc 617742074925CLC7892 MENDES,S & BRAZIL 77/HOMECOOKI Compact Disc 617742078923CLC7902 MENDES,S & BRAZIL 77/SERGIO ME Compact Disc 617742079029CLC7952 MUGWUMPS,THE/THE MUGWUMPS Compact Disc 617742079524 CLR022 SILVER SEAS, THE/HI GH SOCIETY Compact Disc 875929002226 CM00001 CLARK, L/TRIBUTE TO LES PAUL Compact Disc 793573935540 CMAAO2 CMA/ALL OVER Compact Disc 693405005024 CMH8902 VAR/PICKIN' ON NANCY SINATRA Compact Disc 0272978902206 17742 06632 6 6 17742 07892 36 17742 06192 5 6 17742 06212 0 6 17742 06242 7 6 17742 07432 16 17742 05342 5 6 17742 07262 4 6 17742 07452 9 6 17742 07952 4 7 93573 93554 06 17742 06202 1 0 27297 89022 06 17742 06682 16 17742 06432 2 6 17742 07332 4 6 17742 07482 6 6 17742 07492 5 6 17742 07902 96 17742 05712 6 6 17742 05932 8 6 17742 06012 6 6 17742 06252 6 6 17742 06582 46 17742 05302 9 8 75929 00222 66 17742 06642 5 6 93405 00502 4 Page 393 of 496 November 12, 2014Catalogue Numbe rArtist / Title Config Scannable UPC UPC CMH8964 VAR/PICKIN'ON ERIC CLAPTON V.2 Compact Disc 027297896420 CMMD402 YOUNG,L/THE KANSAS CITy SESSIO Compact Disc 011105040228 COI0422 GAY FOR JOHNNY DEPP/ POLITICS O Compact Disc 823566454229 CORTI1812 NITSCH,H/DAY 3: DAY OF DIONYSU Compact Disc 607515118123CORTI2032 NITSCH,H/HARMONIUMWERK VOLUMES Compact Disc 607515120324 COS33791 LEE,B/IN CONCERT Digital Video Disc 619061379132COS33792 PRIDE,C/IN CONCERT Digital Video Disc 619061379231 COUNT0122 DEATH SET/WORLDWIDE Compact Disc 625978001226COW716322 HILL,A & LONG GONE DADDYS/BAR Compact Disc 670917163220 CR00309 DETENTE/RECOGNIZE NO AUTHORITY Compact Disc 844667003093 CR1305 KANG,E & TUCKER,M/ORCH ESTRA DI Compact Disc 824140130522 CR9251502 SHAVER.BJ/FREEDOM'S CHILD Compact Disc 616892515029 CR9251512 BOGGUSS,S/SWING Compact Disc 616892515128CR9251522 BOGGUSS,S/HAVE YOURSEL F A MERR Compact Disc 616892515227 CR9256822 MCMURTRY,J/LIVE IN AUGHT-THREE Compact Disc 616892568223CR9258712 CAMPBELL,K/SING ME OUT Compact Disc 616892587125CR9258732 CAMPBELL,K/SONGS FROM THE LEVE Compact Disc 616892587323 CR9266422 SHAVER,BJ/REAL DEAL Compact Disc 616892664222 CRASCD013 FILIBUSTER/DEADLY HI-FI Compact Disc 788377100621CRASCD049 BEAUTIFUL GIRLS/WE 'RE ALREADY Compact Disc 788377103929 CRASDVD030 MEAT PUPPETS/ALIVE IN THE NINE Digi tal Video Disc 022891003090 CRASDVD043 AWOL ONE/A ROAD TO NOWHERE Digital Video Disc 788377103097CRASDVD050 VAR/AWOL ONE/CULTUREAMA 666 V2 Digital Video Disc 022891138792CRASDVD053 SUBLIMETRIB/LOOK AT ALL THE LO Digital Video Disc 788377104292CRASDVD054 SUBLIMETRIB/LOOK AT ALL THE LO Digital Video Disc 788377104322CRASDVD058 VAR/CULTURAMA 777:AUDIOVISUAL Digital Video Disc 788377104797 CRDVD141 TRAVERS BAND,P/HOOKED ON MUSIC Digital Video Disc 5013929934153 CRDVD148 BIG AUDIO DYNAMITE/LI VE:E=MC2 Digital Video Disc 5013929934856 7 88377 10392 96 70917 16322 0 7 88377 10062 10 27297 89642 0 8 24140 13052 20 11105 04022 8 8 44667 00309 38 23566 45422 9 6 25978 00122 66 07515 11812 3 6 07515 12032 4 6 16892 58712 5 6 16892 58732 36 16892 51502 9 6 16892 51512 8 6 16892 51522 7 6 16892 56822 3 6 16892 66422 26 19061 37913 2 6 19061 37923 1 7 88377 10429 2 5 013929 934856 7 88377 10432 20 22891 13879 20 22891 00309 0 7 88377 10309 7 7 88377 10479 7 5 013929 934153 Page 394 of 496 November 12, 2014Catalogue Numbe rArtist / Title Config Scannable UPC UPC CRDVD154 BLOOD SWEAT AND TEAR S/SPINNING Digita l Video Disc 5013929935457 CRDVD75 TRAVERS,P/BOOM BOOM:L IVE(DVD) Digita l Video Disc 022891927594 CRDVD80 EINSTURZENDE NEUBAUTE N/HALBER Digita l Video Disc 022891828099 CRDVD98 WOMACK,B/SOUL SEDUCTIO N SUPREM Digita l Video Disc 022891829898 CRE31293 CHARLES,R/GENIUS! - THE ULTIMA Compact Disc 888072312937CRE31337 CHARLES,R/MODERN SOUNDS IN COU Compact Disc 888072313378 CRE31406 CHARLES,R/A MESSAGE FR OM THE P Compact Disc 888072314061 CRE3143902 CHARLES RAY/LIVE IN CONCERT Compact Disc 888072314399 CRE31669 CHARLES,R/GENIUS + SOUL=JAZZ Compact Disc 888072316690CRE31670 CHARLES,R/THE GENIUS HITS THE Compact Disc 888072316706CRE31671 CHARLES,R/THE SPIRIT OF CHRIST Compact Disc 888072316713 CRE31896 CHARLES,R/SINGS FOR LOVERS Compact Disc 888072318960 CRE3219602 CHARLES,R/ RARE GENIUS:THE UNDI Compact Disc 888072321960 CRE33175 CHARLES,R/HIT THE ROAD JACK AN Compact Disc 888072331754 CRE3325802 CHARLES,R/SINGULAR GENIUS:THE Compact Disc 888072332584 CREEKCD3 ILLSLEY,J/GLASS Compact Disc 5037300761091CRITCD002 CRITICAL RHYTHM/SINGULAR 2 Compact Disc 5704207113109CRITCD004 VAR/CRITICAL TRANCE Compact Disc 5704207113147 CRS0708 DIBANGO,M/MANU DIBANGO JOUE SY Compact Disc 858370002595 CRS400142 REINHARDT,D/LE QUINTET DU HOT Compact Disc 858370002137 CRSEG004 TINKERBELL'S FAIRYDUST/TINKERB Compact Disc 5013929180420CRSEG005 PACIFIC DRIFT/FEELIN FREE Compact Disc 5013929180529CRSEG006 PICADILLY LINE/THE HUGE WORLD Compact Disc 5013929180628CRSEG008 SKIP BIFFERTY/SKIP BIFFERTY Compact Disc 5013929180826 CRSEG012 SORROWS,THE/YOU'VE GOT WHAT I Compact Disc 5013929181229CRSEG014 NICK NICELY/PSYCHOTROPIA Compact Disc 5013929181427CRSEG015 GUN/GUN Compact Disc 5013929181526CRSEG016 GUN/GUNSIGHT Compact Disc 50139291816258 88072 31293 7 8 88072 32196 08 88072 31669 0 8 88072 33258 48 88072 31337 8 8 88072 31439 9 8 88072 33175 48 88072 31670 6 8 88072 31896 08 88072 31406 1 8 88072 31671 3 5 037300 761091 5 704207 113147 8 58370 00259 55 704207 113109 5 013929 180420 5 013929 180529 5 013929 180628 5 013929 180826 5 013929 181229 5 013929 181427 5 013929 181526 5 013929 181625 8 58370 00213 75 013929 935457 0 22891 82809 90 22891 92759 4 0 22891 82989 8 Page 395 of 496 November 12, 2014Catalogue Numbe rArtist / Title Config Scannable UPC UPC CRSEG017 KNICKERBOCKERS/ONE TRACK MIND Compact Disc 5013929181724 CRSEG018 HERD,THE/PARADISE LOST-THE COM Compact Disc 5013929181823 CRSEG023D KALEIDOSCOPE/MADE IN ENGLA(2CD Compact Disc 5013929182325 CRTREE001 MUSKETT,H/EVERY TIME YOU MOVE Compact Disc 5013929690127 CRTREE003D JAN DUKES DE GREY/ SORCERERS/MI Compact Disc 5013929690325 CRTREE004 JONES,W/RIGHT NOW Compact Disc 5013929690424CRTREE006 ZAKARRIAS/ZAKARRIAS Compact Disc 5013929690622CRTREE008 MASON/STARTING AS WE MEAN TO G Compact Disc 5013929690820CRTREE009 INGRID & CROCE,J/CROCE Compact Disc 5013929690929CRTREE010 OLDFIELD,S/EASY/CE LEBRATION Compact Disc 5013929691025 CRVE001 CURVED AIR/LIVE ATMOSPH(CD+DVD CD with DVD 5060105490071 CS3647 SUPERTRAMP/CRIME O T CENTURY Cassette 075021364745 CSA7573 PEPPER,A/GETTIN TOGETH ER SACD4Stereo/Surround/CDAud 025218733762 CSF00124 FUN/WE ARE YOUNG(DVD) Digital Video Disc 827191001247 CSK9308 ELECTRICFRANKENSTEIN/IT'S ALIV Compact Disc 027297930827 CT001 VAR/A FAREWELL TO PLANET EARTH Digital Video Disc 822603102499CT105 TINGSTAD,E & RUMBEL,N/A MOMENT Compact Disc 837101085946 CTCD7057 LADY GAGA/X-POSTED Compact Disc 823564706726 CTG50006 VAR/ULTIMATE B-BOY:CITY VS CIT Digital Video Disc 694955000699 CUNLP329 PINHAS,R/MERZBOW/ PARIS 2008 Compact Disc 045775032917 CUT1007 2ND STEP/THE ULTIMATE INTERACT Digital Video Disc 801735400789 CVIS301DVD EMINEM/BEHIND THE MASK Digital Video Disc 022891030102 CVIS3199 OSBOURNE,O/CROWN PRINCE DVD + BNS CD 022891319993 CVIS375DVD COBAIN,K/EARLY LIFE OF A LEGEN Digital Video Disc 823564504995 CVIS379 AC/DC/AND THEN THERE WAS ROCK Digital Video Disc 823564505596CVIS397 CARAVAN/35TH ANNIV.CO NCERT(2DV Digita l Video Disc 823564507392 CVIS399 QUEEN/UNDER REVIEW 1980-1991 D Digital Video Disc 823564508191 CVIS604 KING,BB/LIVE AT SING SING (DVD Digital Video Disc 8235645153970 75021 36474 55 060105 490071 0 45775 03291 78 23564 70672 65 013929 182325 0 27297 93082 7 8 37101 08594 65 013929 181724 5 013929 181823 5 013929 690127 5 013929 690325 5 013929 690424 5 013929 690622 5 013929 690820 5 013929 690929 5 013929 691025 8 27191 00124 7 6 94955 00069 9 8 23564 50559 60 22891 03010 28 22603 10249 9 8 23564 51539 78 01735 40078 9 8 23564 50499 5 8 23564 50819 18 23564 50739 20 22891 31999 30 25218 73376 2 Page 396 of 496 November 12, 2014Catalogue Numbe rArtist / Title Config Scannable UPC UPC D000003302 VAR/THE FO X AND THE HOUND 2 Compact Disc 050087100322 D000006002 SOUNDTRA CK/THE HOAX Compact Disc 050087100681 D000006802 BABY EINSTEIN/PLAYTIME MUSIC B Compact Disc 050087100766D000007102 BLEU,C/ANOTHER SIDE Compact Disc 050087100797D000028212 JONAS BROTHERS/JONAS BROTHERS Compact Disc 050087103408D000030402 EVANS BLUE/THE PURSUIT BEGINS Compact Disc 050087103699 D000037502 BABY EINSTEIN/BABY MOZART 2 Compact Disc 050087104405D000038502 POTTER,G & NOCTURNALS/THIS IS Compact Disc 050087104511 D000050102 SOUNDTRACK/RATATOUILLE Compact Disc 050087105860D000051400 JONAS BROTHERS/THE BONUS JONAS CD with DVD 050087105983D000068402 VAR/DISNEY MUSIC BLOCK PARTY Compact Disc 050087107871D000110902 BABY EINSTEIN/SING A ND PLAY Compact Disc 050087112615 D000124902 SND/MEGA MOVIE MIX:ENCORE Compact Disc 050087114213D000175802 BABY EINSTEIN/ANIMAL FRIENDS Compact Disc 050087119652 D000194412 JONAS BROTHERS/A LITTLE BIT LO Compact Disc 050087121587D000204502 BABY EINSTEIN/W AKE UP AND GOOD Compact Disc 050087122669 D000282012 JONAS BROTHERS/LINES,VINES AND Compact Disc 050087130848D000282902 JONAS BROTHERS/MUSIC FROM THE Compact Disc 050087130947D000316112 BABY EINSTEIN/WORLD MUSIC Compact Disc 050087134402D000348602 SOUNDTRA CK/SEARS WISH BOOK H.S Compact Disc 050087137670 D000363202 JONAS BROTHERS/BE MINE (CANADI Compact Disc EP's 050087139377D000428902 WILSON,B/BRIAN WILSON REIMAGIN Compact Disc 050087146122D000441309 QUEEN & PAUL RODGERS/LIVE IN U Digital Video Disc 050087147433D000490709 YANNI VOICES/LIVE IN CONCERT Digital Video Disc 050087152536D000516902 SOUNDTRA CK TV/CAMP ROCK 2:THE Compact Disc 050087155216 D000519602 JONAS,N & THE ADMINISTRATION/W Compact Disc 050087155490D000547600 JONAS,N & THE ADMINISTRATION/W CD with DVD 050087158415D000562202 BABY EINSTEIN/NAPTIME MELODIES Compact Disc 050087160050 0 50087 15841 50 50087 10598 3 0 50087 16005 00 50087 15521 60 50087 11965 2 0 50087 13440 20 50087 11421 3 0 50087 12266 90 50087 10079 70 50087 10068 1 0 50087 10787 10 50087 10440 50 50087 10076 6 0 50087 15549 00 50087 13084 8 0 50087 13094 70 50087 12158 70 50087 11261 50 50087 10340 8 0 50087 10369 9 0 50087 10451 10 50087 10032 2 0 50087 10586 0 0 50087 13767 0 0 50087 14612 20 50087 13937 7 0 50087 14743 3 0 50087 15253 6 Page 397 of 496 November 12, 2014Catalogue Numbe rArtist / Title Config Scannable UPC UPC D000583992 JONAS,J/FASTLIFE Compact Disc 050087162290 D001385992 MENDLER ,B/HELLO MY NAME IS Compact Disc 050087242961D001410402 QUEEN/JAZZ (2CD-DLX) Compact Disc 050087245450D001805492 REDLIGHT KING/IRONS IN THE FI Compact Disc 050087285388D001805892 ZENDAYA/ZENDAYA Compact Disc 050087285425D001809702 OST/AUSTIN AND ALLY Compact Disc 050087285845D001897892 GOMEZ,S/STARS DANCE(DLX) Compact Disc 050087294892D001959502 OST/FROZEN(2CD) Compact Disc 050087301194D002084700 QUEEN/LIVE AT THE RAIN(2CD+DVD BLU RAY+CD+DVD 050087313906 D1246 VERDI,G/THE LIFE OF VERDI(4DVD Digital Video Disc 032031124691D3100 ANKA,P/DESTINY(DVD) Digital Video Disc 032031310094 D4110 BEYONCE/BEYONCE UNATHRORI ZED Digital Video Disc 655690411096 D4660 R KELLY/PIED PIPER OF R&B UNAT Digital Video Disc 655690466096D6044 LILJOHN/UNAUTHORIZED Digital Video Disc 655690604498D6100 LEFT EYE/CRAZY SEXY C OOL Digital Video Disc 655690610093 D7670 AALIYAH/LOSING AALIYAH-UNAUTHO Digital Video Disc 655690767063 DA025 MONEEN/THE WORLD I WANT TO LEA Compact Disc 821826002302DA058 CIVIL WARS,THE/LIVE AT AMOEBA Compact Disc 821826003811 DBA001 DOWNES BRAIDE AS/PICTURES OF Y Compact Disc 5060105490170 DBK1242 NELSON, WILLIE/54 SONGS: THE S Compact Disc 646315012422DBK1252 OWENS,B/DOWN ON THE CORNER OF Compact Disc 646315012521 DCE0012 FRIENDS OF ROCK-N-ROLL/FRIENDS Compact Disc 094922632883 DCW387 VAR/GREAT OUTLAW VALENTINE &NA Digital Video Disc 022891038795 DE002 ALEXISONFIRE/ALEXISONFIRE Compact Disc 825996000120 DE03 ALEXISONFIRE/WATCH OUT Compact Disc 825996000328DE08 ALEXISONFIRE/CRISIS (REG.EDIT) Compact Disc 825996001424DE09 ALEXISONFIRE/CRISIS (LTD.EDIT) Compact Disc 825996002025DE21 CANCER BATS/BEARS/MAYO RS/SCRAP CD wi th DVD 8259962021280 50087 31390 6 8 25996 20212 88 25996 00202 58 21826 00230 2 8 21826 00381 10 50087 28538 8 0 50087 29489 20 50087 28584 5 0 50087 30119 40 50087 28542 50 50087 24296 10 50087 16229 0 0 50087 24545 0 5 060105 490170 8 25996 00012 0 8 25996 00032 8 8 25996 00142 46 46315 01242 2 6 46315 01252 1 0 94922 63288 30 32031 12469 1 0 32031 31009 4 6 55690 60449 86 55690 46609 6 0 22891 03879 56 55690 76706 36 55690 61009 36 55690 41109 6 Page 398 of 496 November 12, 2014Catalogue Numbe rArtist / Title Config Scannable UPC UPC DE42 THY ART IS MURDE R/HATE Compact Disc 825996203354 DEMCD156 VIXEN/LIVE AND LEARN Compact Disc 5060011191567DEMCD165 W.A.S.P./BABYLON (CD) Compact Disc 5060011191659 DEMUS002 VIXEN/LIVE & LEARN Compact Disc 893776001025 DEW9000437 HIVES,THE/LEX HIVES Compact Disc 602537018482 DEW90132 BLASKO,S/THE OVERTURE & THE UN Compact Disc 602498297582 DGATE115 MORTAL LOOM/THIS VASTNESS(2CD) Co mpact Disc 675604110556 DGB023 SEA WOLF/LEAVES IN TH E RIVER Compact Disc 842803001521 DGCBD24465 ARC ANGELS/ARC ANGELS Compact Disc 720642446522DGCBD24627 HAWKINS TED /T HE NEXT HUNDR Co mpact Disc 720642462720 DGCD225226 COUNTINGCROWS /ACROSS A WIRE- Compact Disc 720642522622 DGCMD24511 SONIC YOUTH/CONFUSION IS SEX Compact Disc 720642451120DGCMD24513 SONIC YOUTH/E V O L Compact Disc 720642451328DGCMD24514 SONIC YOUTH/SISTER Compact Disc 720642451427DGCMD24515 SONIC YOUTH/DAYDREAM NATION Compact Disc 720642451526 DGCSD25300 REMY ZERO/VILLA ELAINE Compact Disc 720642530023 DIFB245CDX TIGA/NON STOP Compact Disc 5414939328022 DIR1192 INSLEY,D/HERE WITH YOU TONIGHT Compact Disc 807207045625 DIS600237 DISNEY FANTASIA 2000 6 X 8 Compact Disc 050086002375DIS600342 DISNEY/SWINGIN X-MAS 6 X 8 Compact Disc 050086003426DIS600697 OST/THE SANTA CLAUSE 2 Compact Disc 050086006977DIS600767 OST/THE JUNGLE BOOK 2 Compact Disc 050086007677DIS600777 OST/MEREDITH WILLSON'S THE MUS Compact Disc 050086007776DIS600797 BABY EINSTEIN/BABY NEPTUNE Compact Disc 050086007974 DIS600817 OST/PIGLET'S BIG MOVIE Compact Disc 050086008179DIS600967 BABY EINSTEIN/BABY EINS TEIN BO Compact Disc 050086009671 DIS600997 BABY EINSTEIN/BABY GALILEO Compact Disc 050086009978DIS604357 DISNEY SPECIAL/TARZAN ENGLISH Compact Disc 0500860435765 060011 191659 8 93776 00102 55 060011 191567 0 50086 00967 1 0 50086 00997 80 50086 00797 47 20642 45112 0 7 20642 45142 77 20642 45132 8 7 20642 45152 6 0 50086 04357 60 50086 00342 66 02498 29758 2 7 20642 44652 2 7 20642 46272 0 7 20642 53002 37 20642 52262 2 0 50086 00237 5 0 50086 00697 7 0 50086 00767 7 0 50086 00777 6 0 50086 00817 98 25996 20335 4 6 02537 01848 2 6 75604 11055 6 8 07207 04562 55 414939 328022 8 42803 00152 1 Page 399 of 496 November 12, 2014Catalogue Numbe rArtist / Title Config Scannable UPC UPC DIS604704 DISREADALONG/TIGGER MOVIE Cassette 050086047048 DIS605669 DISDVDRAL/TOY STORY 2 Digital Video Disc 050086056699DIS605799 DISDVDRAL/THE LION KING Digital Video Disc 050086057993DIS606067 VAR/CHILDREN'S FAVORITES VOL 2 Compact Disc 050086060672DIS606197 OST/POOH'S GRAND ADVENTURE Compact Disc 050086061976DIS606287 OST/ARIEL'S FAVORITES Compact Disc 050086062874DIS606477 OST/TOY STORY 2 Compact Disc 050086064779DIS606777 OST/THE LULLABY ALBUM Compact Disc 050086067770DIS607127 OST/MONSTERS, INC Compact Disc 050086071272DIS607447 OST/RETURN TO N EVERLAND Compact Disc 050086074471 DIS607607 OST/PETE'S DRAGON Compact Disc 050086076079DIS607687 BABY EINSTEIN/ BABY BACH Compact Disc 050086076871 DIS607697 BABY EINSTEIN/BABY BEETHOVEN Compact Disc 050086076970 DIS607707 BABY EINSTIEN/BABY MOZART Compact Disc 050086077076 DIS607717 BABY EINSTEIN/BABY VIVALDI Compact Disc 050086077175 DIS607817 OST/THE HAPPIEST MI LLIONAIRE Compact Disc 050086078172 DIS607857 VAR/DISNEYMANIA Compact Disc 050086078578DIS607967 BABY EINSTEIN/BABY SANTA Compact Disc 050086079674 DIS607977 VAR/LILO & STITCH ISLAND FAVOU Compact Disc 050086079773DIS607997 OST/TREASURE PL ANET Compact Disc 050086079971 DIS608457 OST/PINOCCHIO Compact Disc 050086084579DIS608467 OST/ALADDIN Compact Disc 050086084678DIS608580 OST/LION KING Cassette 050086085804DIS608587 OST/LION KING Compact Disc 050086085873DIS608637 OST/WINNIE THE P OOH-TAKE MY Compact Disc 050086086375 DIS608647 OST/HERCULES Compact Disc 050086086474DIS608797 OST/CINDERELLA Compact Disc 050086087976DIS608807 OST/BAMBI Compact Disc 050086088072 0 50086 08580 40 50086 04704 8 0 50086 07687 1 0 50086 07697 0 0 50086 07717 50 50086 07707 6 0 50086 07967 4 0 50086 08587 30 50086 08467 80 50086 06067 2 0 50086 06197 6 0 50086 06287 4 0 50086 06477 9 0 50086 06777 0 0 50086 07127 2 0 50086 07447 1 0 50086 07607 9 0 50086 07817 2 0 50086 07857 8 0 50086 07977 3 0 50086 07997 1 0 50086 08457 9 0 50086 08637 5 0 50086 08647 4 0 50086 08797 6 0 50086 08807 20 50086 05669 9 0 50086 05799 3 Page 400 of 496 November 12, 2014Catalogue Numbe rArtist / Title Config Scannable UPC UPC DIS609027 OST/BEST OF COUNTRY SING THE B Compact Disc 050086090273 DIS609497 OST/DUMBO Compact Disc 050086094974DIS609507 OST/JUNGLE BOOK Compact Disc 050086095070DIS609587 OST/PETER PAN Compact Disc 050086095872DIS610007 VAR/POOH FRIENDSHIP DAY Compact Disc 050086100071DIS610107 OST/DISNEY KARAOKE:THE LION Compact Disc 050086101078DIS610167 OST/THE HAUNTED MANSION Compact Disc 050086101672DIS610467 OST/LION KING 1 1/2 Compact Disc 050086104673DIS610857 BABY EINSTEIN/LULL ABY CLASSICS Com pact Disc 050086108572 DIS611597 VAR/LULLABY & G OODNIGHT Compact Disc 050086115976 DIS611857 VAR/CHRISTMAS F AVOURITES Compact Disc 050086118571 DIS612327 BABY EINSTEIN/PLAYTIM E MUSIC B Compact Disc 050086123278 DIS612477 KARAOKE/DISNEYMANIA KARAOKE Compact Disc 050086124770DIS612497 OST/ON THE RECORD Compact Disc 050086124978DIS612577 OST/MULAN II Compact Disc 050086125777DIS612687 OST/THE BEST OF POOH & HEFFALU Compact Disc 050086126873 DIS613137 VAR/DISNEY BOSSA NOVA Compact Disc 050086131372 DIS613187 VAR/DISNEY'S HAPPIEST CELEBRAT Compact Disc 050086131877 DIS613207 BABY EINSTEIN/TRAVELIN G MELODI Compact Disc 050086132072 DIS613217 BABY EINSTEIN/MUSIC BOX ORCHES Compact Disc 050086132171 DIS613257 OST/BEST OF MUPPETS FEAT.WIZAR Compact Disc 050086132577 DIS613407 KARAOKE/DIS-THEME PARK FAVOURI Compact Disc 050086134076DIS613437 BEAR IN THE BIG BL UE/GREATEST Compact Disc 050086134373 DIS613467 VAR/WALT DISNEY TAKES YOU TO D Compact Disc 050086134670 DIS613747 OST/CHRONICLES OF NARNIA Compact Disc 050086137473 DIS613917 ORIG.CAST/MARY POPPINS Compact Disc 050086139170DIS614257 BABYEINSTEIN/MEET TH E ORCHESTR Compact Disc 050086142576 DIS614427 DEVO2.0/DEVO 2.0 CD with DVD 050086144273 0 50086 14427 30 50086 13217 10 50086 13207 2 0 50086 14257 60 50086 12327 80 50086 10857 20 50086 10007 10 50086 09027 3 0 50086 09497 4 0 50086 09507 0 0 50086 09587 2 0 50086 10107 8 0 50086 10167 2 0 50086 10467 3 0 50086 11597 6 0 50086 11857 1 0 50086 12477 0 0 50086 12497 8 0 50086 12577 7 0 50086 12687 3 0 50086 13137 2 0 50086 13187 7 0 50086 13257 7 0 50086 13407 6 0 50086 13437 3 0 50086 13467 0 0 50086 13747 3 0 50086 13917 0 Page 401 of 496 November 12, 2014Catalogue Numbe rArtist / Title Config Scannable UPC UPC DIS614567 BABY EINSTEIN/WAKE-UP AND GOOD Compact Disc 050086145676 DIS614977 BABYEINSTEIN/BABY NOAH Compact Disc 050086149773 DIS616187 OST/THE LITTLE MERM AID(SPEC.ED Compact Disc 050086161874 DIS616287 BABYEINSTEIN/PLAYD ATE FUN Compact Disc 050086162871 DIS616357 MUPPETS,T/GREEN AND RED CHRIST Com pact Disc 050086163571 DIS616617 BABY EINSTEIN/HOLIDAY MELODIES Compact Disc 050086166176 DIS616867 BABY EINSTEIN/LULL ABYE CLASSIC Compact Disc 050086168675 DIS628587 OST/LE ROI LION Compact Disc 050086285877 DJ857 BURTON,G/GARY BURTON LIVE Digital Video Disc 022891985792DJ858 VAR/LIVE FROM RONNIE SCOTT'S Digital Video Disc 022891985891DJ860 VAR/LIVE AT RONNIE SCOTT'S Digital Video Disc 022891986096DJ893 PASADENA ROOF ORCHESTRA /DANCE Digita l Video Disc 022891989394 DJ907 REID,R/LIVE IN VIENNA Digital Video Disc 022891990796 DK001 KILMINSTER,D/SCARLET THE DIREC Compact Disc 5060105490194 DK30244 BLASTERS,THE/LIVE GOING HOME Compact Disc 826663024425DK37985 TORME,M/THE BETHLEH EM YEARS Compact Disc 826663798524 DLCD0023 SHANNON,S/RENEGADE Compact Disc 827565023622 DM015 BLACK SABBATH/CHILDREN OF THE Digital Video Disc 8333817130151 DM2504 DAMONE,V/ON THE STREET WHERE Y Digital Video Disc 022891250494DM2505 LAINE,F/THAT OLD LUCKY SUN(DVD Digital Video Disc 022891250593 DMT880080 KOOLKEITH&KUTMASTAKURT/B REAK U Compact Disc Singles 790058800805 DMT880082 KOOLKEITH&KUTMASTAK URT/BREAK U CDSP Enhanced 790058800829 DMWUS10014 SACRED OATH/SACRED OATH Compact Disc 826217900427 DORN0042 BAD BLOOD/BAD BLOOD Compact Disc 790168540325DORN0062 IGNITE THE WILL/WORDS FAIL Compact Disc 790168544125 DP2010 DION PARSON & THE 21ST CENTURY Compact Disc 747014592922DP2011 PARSON,D/LIVE AT DIZZYS CL(2CD Compact Disc 747014613627 DPR014 DOMINION/LIFE HAS ENDED HERE Compact Disc 693723247922 7 90058 80082 98 27565 02362 2 7 47014 59292 25 060105 490194 7 47014 61362 70 50086 14977 3 0 50086 16867 50 50086 14567 6 0 50086 16287 1 0 50086 16617 60 50086 16357 1 0 50086 28587 70 50086 16187 4 6 93723 24792 28 26217 90042 78 26663 02442 5 8 26663 79852 4 7 90168 54412 57 90168 54032 57 90058 80080 50 22891 99079 60 22891 98609 6 0 22891 98939 40 22891 98579 2 0 22891 25059 30 22891 25049 40 22891 98589 1 8 333817 130151 Page 402 of 496 November 12, 2014Catalogue Numbe rArtist / Title Config Scannable UPC UPC DPR015 DIE VERBANNTEN KI NDER EVAS/DUS Com pact Disc 693723502625 DPRE001 MCINNIS,A/WHEREVER YOU ARE Compact Disc 854882200672 DPTDV236 ODONNELL,D/LIVE FROM BRA(2DVD Digital Video Disc 796539023664 DR0011 VAR/OUT OF THE BOTTLE-UNAUTHOR Digital Video Disc 022891001126 DR0051 KID ROCK/DEVIL KNOWS MY NAME-U Digital Video Disc 022891005124 DR0061 BLINK 182/PROBED-UNAUTHORIZED Digital Video Disc 022891006121DR0071 SIX JOKERZ/SIX JOKERZ-UNAUTHOR Digital Video Disc 022891007128 DR01301 SOLE PURSUIT,THE/OPPOSING FORC Compact Disc 844667030006 DR0213 REVOLUTION USA?/REVOLUTION USA Digital Video Disc 022891021322 DR0611 EMINEM:HITZ & DISSES-UNA UTHORI Digita l Video Disc 022891061120 DR1139 VAR/ATHENS GA, INSIDE OUT Digital Video Disc 022891113997 DR1461 VAR/FAITHFULLY YOURS-UNAUTHORI Digital Video Disc 022891146124 DR1532 VAR/ROCKYOUR SOCKS OFF-UNAUTHO Digital Video Disc 022891153290DR3302 VAR/GOTHIC INDUSTRIAL MADNES Digital Video Disc 022891330226 DR3690 VAR/GOTH BOX Digital Video Disc 022891980025 DR3835 X-MIX/FAST FORWARD & REWIND Digital Video Disc 030003705725 DR4183 VAR/KICK SOME A$$-UNAUTHORIZED Digital Video Disc 022891418320 DR4201 VAR/NEVER ENOUGH-UNAUTHO RIZED Digital Video Disc 022891013624 DR4256 VAR/RIDING THE EDGE-UNAUTHORIZ Digital Video Disc 022891425625DR4279 VAR/STAR BABY SCRAPBOOK- UNAUTH Digital Video Disc 022891137320 DR4324 VAR/A GOTHIC INDUSTRIA L MIX Digital Video Disc 022891432494 DR4327 VAR/SONGS FOR CASSAVETTES: AN A Digital Video Disc 022891432791 DR4333 T.S.O.L/LIVE AT O.C. Digital Video Disc 022891433392DR4365 DIANNO,P/BEAST IN THE EAST (DV Digital Video Disc 022891436591 DR4368 RAMONE,DD/HEY IS DEE DEE HOME? Digital Video Disc 022891436898DR4369 RESIDENTS THE/ESKI MO Digital Video Disc 022891436997 DR4380 HELLACOPTERS THE/GOODNIGHT CLE Digital Video Disc 022891438090DR4383 VAR/PUNK CAN TAKE IT Digital Video Disc 0228914383978 44667 03000 66 93723 50262 5 8 54882 20067 2 7 96539 02366 4 0 22891 42562 50 22891 33022 60 22891 00712 8 0 22891 15329 0 0 30003 70572 5 0 22891 43839 70 22891 11399 7 0 22891 01362 40 22891 02132 2 0 22891 43279 1 0 22891 43659 1 0 22891 43809 00 22891 00112 6 0 22891 13732 0 0 22891 43339 20 22891 00612 1 0 22891 43249 40 22891 00512 4 0 22891 43689 80 22891 06112 0 0 22891 14612 4 0 22891 98002 5 0 22891 41832 0 0 22891 43699 7 Page 403 of 496 November 12, 2014Catalogue Numbe rArtist / Title Config Scannable UPC UPC DR4387 DEATH METAL/DEATH METAL: A DOC Digital Video Disc 022891438793 DR4388 DIRTBAGS/ARMPIT OF METAL Digital Video Disc 022891438892DR4389 METALHEADZ/METALHEADZ Digital Video Disc 022891438991DR4395 KORN/R U READY?-UNAUTHORIZED Digital Video Disc 022891439523DR4398 VAR/LIVE '72-LONDON ROCK N'ROL Digital Video Disc 022891439899DR4400 FILM-DVD/RISE: THE STORY OF RA Digital Video Disc 022891440093 DR4401 VAR/GOTH:THE ULTIMATE COLLECTI Digital Video Disc 022891440192DR4408 FISHBONE/CRITICAL TIMES:THE HE Digital Video Disc 022891440895 DR4418 DEAD BOYS/LIVE AT CBGB 1977(DV Digital Video Disc 022891441892 DR4423 QUIET RIOT/89' LIVE IN JAPAN Digita l Video Disc 022891442394 DR4440 AMP/VIDEO ARCHIVE FOR TH E AGES Digita l Video Disc 022891444091 DR4463 ENGLISH BEAT/IN CONCERT AT THE Digital Video Disc 022891446392 DR4477 DVDMAGAZINE/AMP;VIDEO ARCHIVE Digita l Video Disc 022891447795 DR4479 UFO/TOO HOT TO HANDLE Digital Video Disc 022891447993DR4515 DWARVES/FEFU: THE DV D Digital Video Disc 022891451594 DR4525 DYLAN,B/UNAUTHORIZED DOCUMENTA Digital Video Disc 022891452591DR4526 VAR/OUR FOREFATHERS-A PROTOPUN Digital Video Disc 022891452690DR4547 VAR/PURE DECADENCE - DVD Digital Video Disc 022891454793DR4563 VAR/APPETITE FOR DECONS TRUCTIO Digita l Video Disc 022891456391 DR4566 BUCKLEY,T/MY FLEETING HOUSE(DV Digital Video Disc 022891456698DR4571 VARONE,P/WAKING UP DEAD(DVD) Digital Video Disc 022891457190DR7001 BLINK 182/INTERVIEWS Digital Video Disc 663300700195 DRB1346 VAR/HIP HOP HALL OF FAME Digital Video Disc 022891134695DRB1353 TENSION & RELEASE/SPRINGI NG TH Digita l Video Disc 022891135395 DRB1356 VAR/OUTLAWZ WORLDWIDE Digital Video Disc 022891135692 DRB1374 VAR/CLASSIC RHYTHM & BLU ES V.1 Digital Video Disc 022891137498 DRB1376 VAR/CLASSIC RHYTHM & BLU ES V.3 Digital Video Disc 022891137696 DRB1379 VAR/CLASSIC RHYTHM & BLU ES V.6 Digital Video Disc 0228911379930 22891 45269 00 22891 44189 2 0 22891 45159 4 0 22891 45639 10 22891 43879 3 0 22891 43889 2 0 22891 44409 1 0 22891 13799 36 63300 70019 5 0 22891 13469 50 22891 43899 1 0 22891 44009 3 0 22891 44779 5 0 22891 45479 3 0 22891 13569 2 0 22891 13769 60 22891 45259 10 22891 43952 3 0 22891 44639 2 0 22891 44799 3 0 22891 45669 80 22891 43989 9 0 22891 45719 0 0 22891 13539 50 22891 44089 50 22891 44019 2 0 22891 44239 4 0 22891 13749 8 Page 404 of 496 November 12, 2014Catalogue Numbe rArtist / Title Config Scannable UPC UPC DRB1398 BIZZY BONE/LIVE IN CONCERT (DV Digital Video Disc 022891139898 DRB1400 VAR/URBAN SPOTLIGHT DVD-ZINE-U Digital Video Disc 022891140092 DRG218 BETTER OFF DREAD/REGGAE COLLEC Digital Video Disc 022891021896 DRJTAH001 THULIN,J/THE ANATOMY OF A HEAR Compact Disc 044003141438 DRJTCBS001 CLAESSON,J T/I WILL WAIT Compact Disc 044003144385 DRLIB001 PRESS PLAY/LIFE IS BEAUTIFUL Compact Disc 798304013801 DRMSD50008 ROCK,C/ROLL WITH T NEW Compact Disc 600445000827 DRNM05 NINE MILE/COUNTRY PO RNO ELECTR Compact Disc 829982111623 DROM14DVD VAR/UNIVERSAL STORIES OF DANCE Digital Video Disc 804909001492 DRP031 KARMA TO BURN/LIVE IN LONDON A Compact Disc 801927518254 DRRPM001 CINDY CRUSE RATCLIFF/ TWENTY TH Compact Disc 044003133839 DRT442 SOIL/TRUE SELF (EDITED) Compact Disc 828730044220DRT802 GWAR/BLOOD BATH & BEYOND Digital Video Disc 828730080297 DSBBD31073 KOFFMAN,M/MUSIC FO R THE NIGHT Compact Disc 057623107326 DTG439102 PRINCE LASHA/INSIGHT Compact Disc 886974391029 DTG439342 METROS,THE/SWEETEST ONE (CD) Compact Disc 886974393429DTG730363 JACKSON,M/FUNKY SKULL Compact Disc 602517303638 DTG760659 AXELROD,D/SERIOUSLY DEEP Compact Disc 602517606593 DTG765893 COSBY,B/BADFOOT BROW N & THE BU Co mpact Disc 602517658936 DTG776474 SHADES OF BROWN/S.O.B. Compact Disc 602517764743DTG776479 WILSON,R/GOT TO GET YOUR OWN Compact Disc 602517764798DTG776709 GENE SHAW QUINTE T/BREAKTHROUGH C ompact Disc 602517767096 DTG785232 WYLIE,R/EXTRASENSORY PERCEPTIO Compact Disc 602517852327 DTG785233 MCDUFF,J/GIN & ORANGE Compact Disc 602517852334 DTR009 DESSA/FALSE HO PES Compact Disc 789577188327 DTR010 OTTER,C/FALSE HOPES Compact Disc 789577188228DTR013 DOOMTREE/FALSE HOPES Compact Disc 707541952828DTR015 DOOMTREE/DOOMTREE Compact Disc 7075410316918 01927 51825 48 29982 11162 3 7 07541 03169 18 86974 39342 9 6 02517 76709 6 6 02517 85232 76 02517 65893 6 6 02517 76474 3 6 02517 85233 46 02517 30363 8 6 02517 76479 8 7 89577 18832 7 7 89577 18822 8 7 07541 95282 88 28730 04422 0 0 57623 10732 66 00445 00082 7 6 02517 60659 38 86974 39102 97 98304 01380 1 0 44003 13383 90 44003 14143 8 0 44003 14438 50 22891 13989 8 0 22891 14009 2 8 04909 00149 20 22891 02189 6 8 28730 08029 7 Page 405 of 496 November 12, 2014Catalogue Numbe rArtist / Title Config Scannable UPC UPC DTR022 DESSAA BADLY BROKEN CODE Compact Disc 707541160698 DTR023 DOOMTREE/FALSE HOPES XV Compact Disc 707541167499 DTR030 DESSA/CASTOR,THE TWIN Compact Disc 707541377195 DTR032 DOOMTREE/NO KINGS Compact Disc 707541384490 DUA1608 LUMINEERS,THE/THE LUMINEERS Compact Disc 803020160828 DV421115U TUB RING/IOPTICS & SONICS (DVD Digital Video Disc 637642111520 DVD2869006 VAR/HOY COMO AYER Digital Video Disc 022891800699 DVD2869027 HORNE,L/THE INCOMPARABLE LENA Digital Video Disc 022891802792 DVD2869053 VAR/EAST COAST VO L.2 Digital Video Disc 022891805397 DVD2869055 VAR/WEST COAST VOL.1 Digital Video Disc 022891805595DVD2869056 VAR/WEST COAST VOL.2 Digital Video Disc 022891805694DVD2869057 VAR/WEST COAST VOL.3 Digital Video Disc 022891805793 DVD2869060 VAR/JAZZ VOICE:LADIES SING JAZ Digital Video Disc 022891806097 DVD8081X LAKE,G/WELCOME BACKSTAG E (DVD) Digital Video Disc 022891808190 DVD8085X DRIFTERS,THE/GREATEST HITS LIV Digital Video Disc 022891808596 DVDZM2 BARRETT,S/PINK FLOYD AND SYD B Digital Video Disc 604386955222DVDZM3 BARRETT,S/PINK FLOYD & SYD BAR Digital Video Disc 825947135925 DVR01 LITTLE HURRICANE/GOL D FEVER Compact Disc 887158675140 DWT70365 SAN FERMIN/SAN FERMIN Compact Disc 878037027792 DY100109 SAVAGE CIRCUS/DREAMLAND MANOR( Compact Disc 4260085620111 DY21876 VOLLANT,F/KATAK Compact Disc 619061187621DY22051 WALSH,B/UNFORGETTABLE SONGS Compact Disc 619061205127DY22113 VOLLANT.F/NIPAIAMIANAN Compact Disc 619061211326 EA111 G TOM MC/THOU SHALL NOT FALL Compact Disc 854882200696 EANTCD21030 BRUCE,J/SILVER RA ILS(CD+DVD) CD with DVD 5013929473034 ECL4012 WETTON,J/BATTLE LINES Compact Disc 747014401224 EDO003 CASTRO,E/PHOENIX Compact Disc 837101186049 EGR23891 VAR/MI SALSA TIENE SANDUNGA (F Com pact Disc 619061389124 5 013929 473034 6 19061 18762 1 6 19061 21132 68 03020 16082 87 07541 37719 5 8 37101 18604 97 47014 40122 47 07541 16069 8 7 07541 16749 9 7 07541 38449 0 6 19061 38912 48 78037 02779 2 4 260085 620111 6 19061 20512 7 8 54882 20069 68 87158 67514 06 04386 95522 20 22891 80819 0 0 22891 80859 60 22891 80279 2 8 25947 13592 50 22891 80559 5 0 22891 80569 4 0 22891 80579 30 22891 80069 96 37642 11152 0 0 22891 80609 70 22891 80539 7 Page 406 of 496 November 12, 2014Catalogue Numbe rArtist / Title Config Scannable UPC UPC EGR23892 VAR/SON DE LA LOMA (FIESTA EDI Compact Disc 619061389223 EGR23893 VAR/LOCOS POR EL MAMBO Compact Disc 619061389322EGR23894 VAR/TODO CHACHACHA (FIESTA EDI Compact Disc 619061389421EGR23927 VAR/PARA QUE TU LO BAILES COLE Compact Disc 619061392728EGR23928 VAR/RUMBEROS DE CUBA COLECCION Compact Disc 619061392827EGR23929 VAR/QUIERO HABLAR CONTIGO COLE Compact Disc 619061392926EGR23930 VAR/A GUARACHAR COLECCION"HECH Compact Disc 619061393022EGR23975 LOS VAN VAN/ESTRELLAS DE CUBA Compact Disc 619061397525EGR24032 VAR/A MI MANERA ESE NCIA DE CUB Co mpact Disc 619061403226 EGR24033 VAR/CANCIONES DE SI EMPRE ESENC Compact Disc 619061403325 EGR24034 VAR/EL POP Y EL ROCK CUBANO ES Compact Disc 619061403424EGR24035 VAR/JAZZ DE CUBA ESE NCIA DE CU Co mpact Disc 619061403523 EHCD01 HERMAN,E/THE KID IN THE MIRROR Compact Disc 634479086472 EHCD04 HERMAN,E/SNAIL' S PACE Compact Disc 884502021615 EJC55408 WILSON,T TRIO/COMPLETE RECORDI Compact Disc 8436028694082 ELM001 KEVIN K/ORIENTAL NIGHTS Compact Disc 783707208329 ELQT003 BARBER/GREATEST HITS Compact Disc 776974228022ELQT006 GERSHWIN,G/GREATEST HITS Compact Disc 776974228329 EMGD1243 DIRTY HEADS/ANY PORT IN A STOR Compact Disc 631903080822 EP00114 LOPEZ,J/EVOLUTION(DVD) Digital Video Disc 827191001148 EPR01 EPMD/WE MEAN BUSINESS Compact Disc 094922111043 ER0002 VAR/TO ELLIOTT FROM PORTLAND Compact Disc 634457168923ER0272 WALLS OF JERICO/DAY & A THOUSA Compact Disc EP's 790168462726ER0422 EVERGREEN TERRACE/BURNE D ALIVE Compact Disc 790168464225 ER0452 ON BROKEN WINGS/SOME OF US MAY Compact Disc 790168464522ER0472 CALICO SYSTEM/DUPLICA TED MEMOR Compact Disc 790168464720 ER0512 EVERGREEN TERRACE/WRI TER'S BLO Compact Disc 790168465123 ER0542 UNTIL THE END/BLIND LEADING TH Compact Disc 7901684654206 34479 08647 2 8 84502 02161 5 7 83707 20832 9 7 76974 22802 2 7 76974 22832 9 6 34457 16892 36 19061 39752 56 19061 39272 8 6 19061 39282 7 6 19061 39292 6 6 19061 39302 26 19061 38922 3 6 19061 38932 2 6 19061 38942 1 6 19061 40322 6 6 19061 40332 5 6 19061 40342 4 6 19061 40352 3 8 436028 694082 0 94922 11104 36 31903 08082 2 7 90168 46512 37 90168 46422 5 7 90168 46472 07 90168 46452 2 7 90168 46542 07 90168 46272 68 27191 00114 8 Page 407 of 496 November 12, 2014Catalogue Numbe rArtist / Title Config Scannable UPC UPC ER0602 EVERGREEN TERRACE/SINCE RITY IS Compact Disc 790168466021 ER0622 UNEARTH/OUR DAYS OF EULOGY Compact Disc 790168466229 ER0662 BLACK MY HEART/BEFORE THE DEVI Compact Disc 790168466625 ERB0002 BODE,E/COLD DECEMBER NIGHT Compact Disc 683884065626 ESACD710037 TORTURE/STORM ALERT Compact Disc 829571003728ESACD710044 WARRIOR SOUL/LAST DECADE DEAD Compact Disc 829571004428ESACD710045 WARRIOR SOUL/DRUGS GOD AND TH Compact Disc 829571004527 ESACD710046 WARRIOR SOUL/SALUTATIONS FROM Compact Disc 829571004626ESACD710047 WARRIOR SOUL/CHILL PILL Compact Disc 829571004725ESACD710048 WARRIOR SOUL/THE SPACE AGE PLA Compact Disc 829571004824 EUL0712 JONES,C/MESSENGER Compact Disc 790168467127EUL0722 WARRIORS/BEYOND THE NOISE Compact Disc 790168467226 EUL0732 SET YOUR GOALS/MUTINY Compact Disc 790168467325EUL0752 KNOW THE SCORE/ALL TIME LOW Compact Disc 790168467523EUL0762 FJORD/LIVES LIVES Compact Disc 790168467622EUL0772 THICK AS BLOOD/MOMENT OF TRUTH Compact Disc 790168467721EUL0792 DIE YOUNG TX/GRAVEN IMAGES Compact Disc 790168467929 EUL0802 BURNING SEASON,THE/ON WARD ANTH Compact Disc 790168468025 EUL0822 ON WATERSHIP DOWN/ORPHEUS VS. Compact Disc 790168468223EUL0832 CALICO SYSTEM/OUTSIDE ARE THE Compact Disc 790168468322 EUL812 HOODS/GHETTO BLASTER Compact Disc 790168468124 EV306099 BEACH BOYS/GOOD VIBRATIO NS(DVD Digita l Video Disc 801213060993 EV306419 STATUS QUO/BACK2SQ 1 LI(DVD+CD DVD + BNS CD 801213064199EV306679 ROLLING STO/SWEET SUMM(2DVD+T Digital Video Disc 801213066797 EVB334709 STATUS QUO/BACK2SQ 1 LIV(BR+CD BLU RAY + BNS CD 801213347094 EVER500 LYNNE,S/REVELATION ROAD (CD+DVD CD wi th DVD 852659192380 EVR0522 TRIAL/ARE THESE O UR LIVES Compact Disc 794556005227 EW4920 DAWKINS,J/KANT SCHECK DEES BLU Compact Disc 739788492027 8 01213 34709 4 8 52659 19238 08 29571 00372 8 7 39788 49202 76 83884 06562 6 8 29571 00442 8 8 29571 00452 7 8 29571 00462 6 8 29571 00472 5 8 29571 00482 4 7 94556 00522 97 90168 46602 1 7 90168 46622 9 7 90168 46662 5 7 90168 46712 7 7 90168 46722 6 7 90168 46732 5 7 90168 46752 3 7 90168 46762 2 7 90168 46772 1 7 90168 46792 9 7 90168 46802 5 7 90168 46822 3 7 90168 46832 2 7 90168 46812 4 8 01213 06679 78 01213 06099 3 8 01213 06419 9 Page 408 of 496 November 12, 2014Catalogue Numbe rArtist / Title Config Scannable UPC UPC EXM003 SALKEY,J/RECOLLECTIONS OF RIFL Compact Disc 5060105490026 EXM006 BANKS,D/THE ARCHIVE TAPES(4CD Compact Disc 5060105490125 F0492 BIG WIG/INVITATION TO TRAGEDY Compact Disc 714753004924 FANCYCD12 MOLASSES/YOU'LL NEVER BE WELL Compact Disc 621617946521 FANCYCD22 MOLASSES/TRILOGIE: TO IL & PEAC Compact Disc 621617815728 FANCYCD32 HRSTA/L'ECLAT DU CIEL ETAIT IN Compact Disc 620675138657FANCYCD52 MOLASSES/SLOW MESSE Compact Disc 620675158242 FAT0047CD NASTASIA,N/ON LEAVING Compact Disc 600116994721 FB29004 ENSEMBLE FOR EARLY MUSIC/A BAR Compact Disc 700702900423 FC1003 JACKSON,M/THE AWARDS COLLECTIO Digital Video Disc 603777909196 FCD10122 EVANS,B/COMPLETE FA NTASY RECOR Compact Disc 025218101226 FCD24757 BYRD.C/BYRD BY THE SEA Compact Disc 025218245722FCD30066 GUARALDI,V/A CHARLIE BROWN CHR Compact Disc 888072300668FCD83932 CCR/GREEN RIVER (R EMASTERED) Compact Disc 025218839327 FCD83972 CCR/WILLIE & THE PO OR(REMASTE Compact Disc 025218839723 FCD84022 CCR/COSMO'S FACTORY (REMASTERE Compact Disc 025218840224 FCD84312 GUARALDI,V/A CHARLIE BROWN CHR Compact Disc 025218843126 FCD9682 GUARALDI,V/CHARLIE BROWNS HOLI Compact Disc 025218968225 FCD96862 CCR/THE CONCERT (R EMASTERED) Compact Disc 025218968621 FEA5001 LOCKSLEY/DON'T MAKE ME WAIT Compact Disc 089488500127 FEP714692 CASH,J & VAR/WE THE PEOPLE Compact Disc 045507146929 FH013 SHIPIBO SHAMANS/WOVEN SONGS OF Compact Disc 678277141322 FLMDVD003 VAR/THIS AIN'T YOUR MOM'S HARD Digital Video Disc 094922698643 FOL14512 BRANDYQWINE SINGERS,THE/THE BR Compact Disc 045507145120FOL17002 YARBROUGH, G/LOVEFORLIFE Compact Disc 045507170023FOL20642 KINGSTON TRIO/AN EVEN ING WITH Compact Disc 045507206425 FOL32622 CHAD MITCHELL TRIO,THE/MIGHTY Compact Disc 045507326222FOL32812 CHAD MITCHELL TRIO,THE/AT THE Compact Disc 0455073281278 88072 30066 8 0 25218 84312 60 25218 10122 6 0 25218 24572 2 0 25218 96822 5 0 25218 96862 10 25218 83932 7 0 25218 83972 3 0 25218 84022 47 00702 90042 35 060105 490125 0 45507 32622 20 45507 14692 9 0 45507 14512 0 0 45507 17002 3 0 45507 20642 5 0 45507 32812 76 78277 14132 25 060105 490026 6 00116 99472 16 21617 81572 8 6 20675 13865 76 21617 94652 1 6 20675 15824 2 0 89488 50012 77 14753 00492 4 0 94922 69864 36 03777 90919 6 Page 409 of 496 November 12, 2014Catalogue Numbe rArtist / Title Config Scannable UPC UPC FOL33132 CHADMITCHELL TRIO,THE/BLOWIN' Compact Disc 045507331325 FOL714672 HILLSIDE SINGERS/I'D LIKE TO T Compact Disc 045507146721FOL717132 YARBROUGH,G/THEBITTERANDTHESWE Compact Disc 045507171327FOL717152 YARBROUGH,G/HONEY&WINE Compact Disc 045507171525FOL740382 ROTH,D/PRACTICIEM AKESPROGRESS Compact Disc 045507403824 FRANIRR058 SYKES,M/MIRANDA SYKES BAND Compact Disc 5036265000337 FRANIRR067 ROVICS,D/THE COMMONS Compact Disc 5036265000450 FRBCD134 BODH'AKTAN/AGAINST WINDS AND T Compact Disc 039911013427FRBCD152 LAST VEGAS,THE/SWEET SALVATION Compact Disc 039911015223 FRE00034 WAKEY! WAKEY!/ALMOS T EVERYTHIN Compact Disc 611357630767 FREAK7 POPGROUP,THE/CURIOSIT IES(2CD) Compact Disc 5060410900074 FRL301632 FOR ALL THOSE SLEEPI NG/OUTSPOK Compact Disc 714753016323 FRM1002 TRIUMVIRAT/SPAR TACUS Compact Disc 829421100225 FRM1005 MANN,M/MANFRED MANN'S EARTH BA Compact Disc 829421100522FRM1006 MANN,M/GLORIFIED MAGNIFIED Compact Disc 829421100621FRM1008 MANN,M/SOLAR FIRE Compact Disc 829421100829FRM1009 MANN,M/NIGHTINGALES AND BOMBER Compact Disc 829421100928FRM1010 MANN,M/THE ROARING SILENCE Compact Disc 829421101024FRM1013 MANN,M/BEST OF VOLUME 2 1972-2 Compact Disc 829421101321FRM1019 MANN,M/2006 Compact Disc 829421101925FRM1027 MANN,M/GOOD EARTH Compact Disc 829421102724FRM1028 MANN,M/WATCH Compact Disc 829421102823FRM1029 MANN,M/CHANCE Compact Disc 829421102922FRM1030 MANN,M/SOMEWHERE IN AFRIKA Compact Disc 829421103028FRM1031 MANN,M/CRIMINAL TANGO Compact Disc 829421103127FRM5000 MANN,M/ANGEL STATION LIVE IN M Digital Video Disc 829421500018 FROG0842 APPARAT ORGAN QUARTE T/POLYFONI Compact Disc 7332181039467 FRT0482 FUNERAL FOR A FRIEND/CASUALLY Compact Disc 8281360048288 29421 10022 50 45507 14672 1 0 45507 40382 40 45507 33132 5 0 45507 17132 7 0 45507 17152 5 7 332181 039467 8 29421 10062 1 8 29421 10132 1 8 29421 10312 78 29421 10082 9 8 29421 10092 8 8 29421 10102 4 8 29421 10192 5 8 29421 10272 4 8 29421 10282 3 8 29421 10292 2 8 29421 10302 88 29421 10052 20 39911 01522 30 39911 01342 75 036265 000337 5 036265 000450 7 14753 01632 3 8 28136 00482 86 11357 63076 7 5 060410 900074 8 29421 50001 8 Page 410 of 496 November 12, 2014Catalogue Numbe rArtist / Title Config Scannable UPC UPC FS002 STRONGMAN,S/HONEY Compact Disc 747014547823 FSA3266 GETZ,S/STAN GETZ & CAL TJADER SACD4Stereo/Surround/CDAud 025218733861 FSM8516 SHE WANTS REVENGE/ VALLEYHEART Compact Disc 846070085161 FUR306722 RONNIE HOWARD TRIO/GOTTA GIT O Compact Disc 5018901306720FUR801027 CARAVANS,THE/GLAMOR OUS HEART Compact Disc 5018901801027 FVCD048 VAR/BIG SOUNDS:EMBER SOUNDTRAC Compact Disc 5055311000480 GBS001 HELIX/A HEAVY MENTAL CHRISTMAS Compact Disc 620673325028 GBVI0072 BOSTON SPACESHIPS/ZE RO TO 99 Compact Disc 655035080727 GEBBD24173 WHITESNAKE /SAI NTS & SINNE Co mpact Disc 720642417324 GEBBD24613 BEAVIS & BUTTHE/EXPER IENCE V.1 Compact Disc 720642461327 GEFBD25122 WANG CHUNG /G REATEST HITS- Compact Disc 720642512227 GEFD2007 OST/DREAMGIRLS Compact Disc 720642200728 GEFD24734 LOEB LISA & NIN/TAILS Compact Disc 720642473429 GEFMD24172 MITCHELL,J/CHALK MARK IN A RAI Compact Disc 720642417225 GESSD24509 CHER/IF I COUL D TUR Compact Disc 720642450925 GKN0001 GROOVE KID NATION/WHEELS ON TH Compact Disc 884501386630GKN0002 GROOVE KID NATION/MUSIC IN MOT Compact Disc 858370002045GKN0003 GROOVE KID NATION/ RHYTHM BEARS Compact Disc 858370002816 GL001 DIMEOLA, A/HORGAS/HE & CARMEN Compact Disc 731406879326 GM0012 JOHNNY FIVE/SUMMER Compact Disc 670659092529 GPR51 CAMPBELL,B/BRUCE CAMPBELL Compact Disc 760137005124 GPR71 AFTERNOON GENTLEMEN/ PISSEDOGRA Compact Disc 760137007104 GRACD6705 BROM,M/NOT FOR NOTHIN' Compact Disc 671946670529 GRANDCD01 DR.FEELGOOD/PRIVAT E PRACTICE Co mpact Disc 5018349000129 GRANDCD04 DR.FEELGOOD/B RILLEAUX Compact Disc 5018349400028 GRBD9873 HARTMAN,J/PRICEL ESS JAZZ Compact Disc 011105987325 GRBD9874 COLTRANE,J/PRICE LESS JAZZ Compact Disc 011105987424 GRBD9935 VARIOUS ARTISTS/A TIME FOR LOV Compact Disc 0111059935245 018349 400028 6 71946 67052 9 5 018349 000129 5 055311 000480 7 31406 87932 6 7 60137 00512 4 7 60137 00710 45 018901 306720 5 018901 801027 8 84501 38663 0 8 58370 00204 5 8 58370 00281 6 0 11105 99352 40 11105 98732 5 0 11105 98742 47 20642 45092 57 20642 41732 4 7 20642 46132 7 7 20642 51222 7 7 20642 20072 8 7 20642 47342 9 7 20642 41722 58 46070 08516 1 6 55035 08072 7 6 70659 09252 96 20673 32502 87 47014 54782 3 0 25218 73386 1 Page 411 of 496 November 12, 2014Catalogue Numbe rArtist / Title Config Scannable UPC UPC GRD2601 HOLIDAY,B/COMPLETE DECCA RECOR Compact Disc 011105060127 GRD9944 VARIOUS ARTISTS/TENOR SAX BALL Compact Disc 011105994422GRD9945 HAMPTON,L/PRICEL ESS JAZZ Compact Disc 011105994521 GRD9947 CARTER,B/PRICEL ESS JAZZ Compact Disc 011105994729 GRD9948 BRECKER BROTHER/PR ICELESS JAZZ Compact Disc 011105994828 GRD9953 DORSEY,T & /SWI NGSATION Compact Disc 011105995320 GRD9954 GOODMAN,B/SWINGSATION Compact Disc 011105995429 GRMD663 FITZGERALD,E/ELLA & FRIENDS Compact Disc 011105066327 GRMD9535 COREA CHICK/ELEKTRIC BAND Compact Disc 011105953528 GRSD9890 MATSUI,K/THE KEIKO MATSUI COLL Compact Disc 011105989022GRSD9907 ACOUSTIC ALCHEM/POSITIVE THINK Compact Disc 011105990721 GSRSD1130 NUYORICAN SOUL/NUYORICAN SOUL Compact Disc 011105113021 GTR2011 TARDIK,R/B.E.L.L.(BALANCE,ENER Compact Disc 841823097415 HATMAN2005 BIBB,E/PAINTING SIGNS Compact Disc 5038787000529 HEAR0032 ARIEL PINK'S HAUNTED GRAFF/SCA Compact Disc 631778400329 HEC23882 HOLMES,R/HOLMSTROM LOOKOUT! Compact Disc 670917238829HEC24772 EARL,R AND THE BROADCASTERS/SU Compact Disc 670917247722HEC26552 FUNDERBURGH,A & THE ROCKETS/TA Compact Disc 670917265528 HEC26562 HARMAN,J BAND/TWO SIDES TO EVE Compact Disc 670917256625HEC27442 PIAZZA,R & MIGHTY FLYERS/BLUES Compact Disc 670917274421 HEC705192 GEARS,THE/ROCKIN' AT GROUND ZE Compact Disc 670917051923 HEC705272 HARMAN,J BAND/BLACK & WHITE Compact Disc 670917052722HEC705282 KING,E & ROOMFUL OF BLUES/GLAZ Compact Disc 670917052821 HEJ01 PAVLO/MEDITERRANEAN NIGHTS Compact Disc 621617317222 HEJ10 PAVLO/SIX STRING BLVD Compact Disc 776127327527 HELIX2012 HELIX/BEST OF 1983-2012 Compact Disc 620673344722 HEP00142 HARMAN,J BAND/DO NOT DISTURB Compact Disc 670917051428HEP00162 PIAZZA,R & THE MIGHTY FLYERS/A Compact Disc 6709170516268 41823 09741 5 6 70917 05192 3 6 70917 05272 25 038787 000529 6 70917 24772 2 6 70917 26552 8 6 70917 27442 1 6 70917 05162 66 70917 23882 9 6 70917 05282 16 70917 25662 5 6 70917 05142 80 11105 06012 7 0 11105 99442 2 0 11105 99452 1 0 11105 99472 9 0 11105 99482 8 0 11105 99532 0 0 11105 99542 9 0 11105 06632 7 0 11105 98902 2 0 11105 99072 1 0 11105 11302 10 11105 95352 8 6 21617 31722 2 7 76127 32752 76 31778 40032 9 6 20673 34472 2 Page 412 of 496 November 12, 2014Catalogue Numbe rArtist / Title Config Scannable UPC UPC HEP05132 FUNDERBURGH,A & THE ROCKETS/SH Co mpact Disc 670917051329 HEP05172 FUNDERBURGH,A & THE ROCKETS/MY Compact Disc 670917051725 HEP11782 HUNTER,J/BELIEVE WH AT I SAY Compact Disc 670917117827 HH0106CD HORROR HIGH PRESENTS /PROM QUEE Compact Disc 852215001422 HH0908 SON OF SAM/INTO THE NIGHT Compact Disc 852215001101 HH1106CD ZOMBEAST/ZOMBEAST Compact Disc 852215001088 HHCD001 HEY HELLO/HEY HE LLO Compact Disc 689492141721 HHI014 COHEED AND CAMBRIA/THE AFTERMA Compact Disc 793573216953 HHLP001 HEY HELLO/HEY HELLO(LP) Compact Disc 689492141813 HJR0282 WHITE,S/I AM THE MAN Compact Disc 094639668427HJR0302 JUDD,E/INSECT FUNK Compact Disc 5099950077427 HJR0332 VAR/LIVING IS HARD:WEST AFRICA Compact Disc 5099920825423 HNECD002 MCAULEY SCHENKER GROUP/PERFECT Compact Disc 5013929910225HNECD004 MCAULEY SCHENKER GRO/UNPLUGGED Compact Disc 5013929910423HNECD011 WAYSTED/SAVE YOUR PRAYERS Compact Disc 5013929911123 HNECD012 URIAH HEEP/SEA OF LIGHT Compact Disc 5013929911222 HNECD013 URIAH HEEP/SPELLBI NDER LIVE Compact Disc 5013929911321 HNECD014 URIAH HEEP/SONIC ORIGAMI Compact Disc 5013929911420 HNECD016D RAGING SLAB/ASSMAST ER(2CD) Compact Disc 5013929911628 HNECD018D ACCEPT/BALLS TO THE WALL(2CD Compact Disc 5013929911826 HOR1072 LAZYCAME/FINBEGIN Compact Disc 631778110723 HOR11032 SLEET/VOLUME DROPS Compact Disc 631778110327HOR11042 FREEHEAT/DON'T WORRY BE HAPPY Compact Disc 631778110426 HP20501 VAR/NYC SUBWAY:SONGS FROM THE Compact Disc 660662205016 HP7632 ALL TIME LOW/DON'T PANIC IT'S Compact Disc 790692076321 HPO6016 MCTELL,R/THE DEFINITIVE COLLEC Compact Disc 714822601627 HPR005 IDAHO/THE FORBIDDEN EP & ALAS: Compact Disc 641444022625 HR33 MUSHROOM'S PATIENCE/SPIRIT OF Compact Disc 4038846310331 7 90692 07632 16 60662 20501 66 89492 14172 1 6 89492 14181 3 5 013929 910225 5 013929 910423 5 013929 911123 6 70917 05132 9 8 52215 00142 2 8 52215 00110 1 4 038846 310331 6 70917 05172 5 6 70917 11782 7 6 41444 02262 57 93573 21695 3 5 013929 911222 5 013929 911321 5 013929 911420 5 013929 911628 5 013929 911826 8 52215 00108 8 7 14822 60162 70 94639 66842 7 5 099950 077427 5 099920 825423 6 31778 11032 7 6 31778 11042 66 31778 11072 3 Page 413 of 496 November 12, 2014Catalogue Numbe rArtist / Title Config Scannable UPC UPC HR611062 STRYPER/CAN'T STOP T ROCK Compact Disc 720616110626 HR620052 QUEEN/AT T BBC Compact Disc 720616200525HR620172 QUEEN/MADE IN HEAVEN Compact Disc 720616201720 HR620252 OST/CRIMSON TIDE Compact Disc 720616202529HR621322 QUEEN/ROCKS Compact Disc 720616213228HR622412 OST/DUETS Compact Disc 720616224125HR622772 OST/MISSION IMPOSSIBLE II(SCOR Compact Disc 720616227720HR622882 OST/SAVE THE LAST DANCE Compact Disc 720616228826 HRM00312 BIF NAKED/ESSENTIALLY NAKED CD wi th DVD 600336031220 HRM31819 PLAYING FOR CHANGE/SONGS AROUN CD with DVD 888072318199HRM31926 MCCARTNEY,P/GOOD EVEN ING NY DL CD with DVD 888072319264 HRM3359602 MCCARTNEY,P/ KISSES OF THE (DLX Compact Disc 888072335967 HSM20012 BROWN,J/FAMILY AFFAIR Compact Disc 809842200124HSM20242 LITTLE MILTON/FRIEND OF MINE Compact Disc 809842502426 HSM50012 LATIMORE,B/THE EARLY YEARS Compact Disc 809842500125 HSM50022 VAR/BLUES FROM THE 50S Compact Disc 809842500224 HSM50052 KENDRICK,N/THE SWAN S/NAT KENDD Co mpact Disc 809842500521 HSM50082 ROBINSON J.P./CLASSI C R&B FROM Compact Disc 809842500828 HSM50102 JIMMY BO HOME/JIMMY BO HORNE Compact Disc 809842501023HSM50122 VAR/MIAMI FUNK VOLUME 1 Compact Disc 809842501221HSM50132 SAMANDDAVE/SAM A ND DAVE Compact Disc 809842501320 HSM50142 HUDSON,D/I GOT WHAT YOU WANT Compact Disc 809842501429 HSM50152 VAR/MIAMI FUNK VOLUME 2 Compact Disc 809842501528 HSM50162 REID,C/FUNKY PARTY Compact Disc 809842501627HSM50182 BEAVER,L/KATIE PEARL Compact Disc 809842501825 HSM50202 VAR/HOOKED ON THE BLUES Compact Disc 809842502020HSM50222 VAR/MIAMI SOUL SISTERS Compact Disc 809842502228HSM50252 VAR/MIAMI FUNK VOLUME 3 Compact Disc 8098425025258 88072 31819 9 8 88072 31926 46 00336 03122 0 8 09842 50182 58 09842 50132 08 09842 50242 68 09842 20012 4 8 09842 50122 1 8 09842 50162 78 09842 50022 4 8 09842 50102 37 20616 22772 07 20616 20172 0 7 20616 20252 9 7 20616 22412 5 7 20616 22882 67 20616 21322 87 20616 11062 6 7 20616 20052 5 8 09842 50152 88 09842 50012 5 8 09842 50052 1 8 09842 50082 8 8 09842 50142 9 8 09842 50202 0 8 09842 50222 8 8 09842 50252 58 88072 33596 7 Page 414 of 496 November 12, 2014Catalogue Numbe rArtist / Title Config Scannable UPC UPC HSM50262 VAR/MIAMI FUNK VOLUME 4 Compact Disc 809842502624 HSM50342 REAVES,P/ALL ABOUT LOVE Compact Disc 809842503423 HSM50422 BIRDWATCHERS/BIRDWATCHERS Compact Disc 809842504222 HSM50442 ALAIMO,S/EVERY DAY I HAVE TO C Compact Disc 809842504420 HSM50452 ALAIMO,S/TWIST WITH STEVE ALAI Compact Disc 809842504529HSM50462 ALAIMO,S/STEVE ALAI MO EN ESPAN Compact Disc 809842504628 HSM50472 ALAIMO,S/STARRING STEVE ALAIMO Compact Disc 809842504727 HSM50482 ALAIMO,S/MASHED POTATOES Compact Disc 809842504826 HSM50492 VAR/HENRY STONE'S HIDDEN DI V1 Compact Disc 809842504925HSM50502 VAR/HENRY STONE'S HIDDEN DI V2 Compact Disc 809842505021HSM50512 VAR/TWELVE INCH CLAS 70S VOL 1 Compact Disc 809842505120 HSM50522 VAR/TWELVE INCH CLAS 70S VOL 2 Compact Disc 809842505229 HSM50532 REID,C/RUNNING WATER Compact Disc 809842505328 HSM50542 ROACH THOMPSON BLUES BAN/HONKY Compact Disc 809842505427HSM50552 ISH/ISH Compact Disc 809842505526HSM50562 VAR/TWELVE INCH DISC O CLASS V3 Compact Disc 809842505625 HSM50572 VAR/TWELVE INCH DISC O CLASS V4 Compact Disc 809842505724 HSM50582 PICKETT,W/CHOCOLATE MOUNTAIN Compact Disc 809842505823 HSM50592 MOORE,J/MAKE ME FEEL LIKE A WO Compact Disc 809842505922HSM50662 BEAVER,L/WHEN WAS THE LAST TIM Compact Disc 809842506622 HSM50682 FACTS OF LIFE,THE/MATTER OF FA Compact Disc 809842506820HSM50692 MCCRAE,G/FOR YO UR LOVE Compact Disc 809842506929 HSM50762 WILLIAMS,G/TOGETHER Compact Disc 809842507629HSM50772 T L BARRETT,P/DO NO T PASS ME B Compact Disc 809842507728 HSM50782 FABULOUS LUCKETT BR,THE/HEAVEN Compact Disc 809842507827 HSM50792 HOT KRACKER/HOT KRACKER Compact Disc 809842507926HSM50802 MIZELL,R/HEY SEXY DANCER Compact Disc 809842508022 HSM50812 T CONNECTION/ON FIRE Compact Disc 8098425081218 09842 50662 28 09842 50342 3 8 09842 50682 08 09842 50492 5 8 09842 50502 1 8 09842 50802 28 09842 50442 0 8 09842 50692 9 8 09842 50782 78 09842 50512 0 8 09842 50592 2 8 09842 50762 9 8 09842 50772 8 8 09842 50792 68 09842 50522 9 8 09842 50582 3 8 09842 50812 18 09842 50262 4 8 09842 50452 9 8 09842 50462 8 8 09842 50472 7 8 09842 50482 6 8 09842 50532 8 8 09842 50542 7 8 09842 50552 6 8 09842 50562 5 8 09842 50572 48 09842 50422 2 Page 415 of 496 November 12, 2014Catalogue Numbe rArtist / Title Config Scannable UPC UPC HSM50842 T CONNECTION/TOTALLY CONNECTED Compact Disc 809842508428 HSM50852 T CONNECTION/T CONNECTION Compact Disc 809842508527HSM50872 THOMAS,T/LIVE Compact Disc 809842508725HSM50882 THOMAS,T/YOU RE THE SONG Compact Disc 809842508824HSM50892 THOMAS,T/TOUCH TO TOUCH Compact Disc 809842508923 HSM50912 FOXY HOT NUMBERS/FOXY HOT NUMB Compact Disc 809842509128HSM50922 T CONNECTION/MAGIC Compact Disc 809842509227HSM50932 QUARTZ/QUARTZ Compact Disc 809842509326HSM50942 LITTLE BEAVER/BEAVER FEVER Compact Disc 809842509425 HSM50952 LATIMORE/BRASS TACKS Compact Disc 809842509524 HSM50962 BRENDA AND HERB/IN HEAT AGAIN Compact Disc 809842509623HSM50972 GEORGE & MCCRAE,G/ TOGETHER Compact Disc 809842509722 HSM50982 FOXY/LIVE Compact Disc 809842509821 HSM50992 VAR/THE LAST DISCO IN PARIS Compact Disc 809842509920HSM51012 LITTLE BEAVER/JOEY Compact Disc 809842510124 HSM51022 BLUE NOTES,THE/THE TRUTH HAS C Compact Disc 809842510223 HSM51032 UNCLE LOUIE/UNCLE LOUI E S HERE Compact Disc 809842510322 HSM51042 LATIMORE/DIG A LITTLE DEEPER Compact Disc 809842510421 HSM51052 PURSELL,B/THE NASHVILLE SWEAT Compact Disc 809842510520 HSM51162 WILLIAMS,L/COUNTRY DISCO Compact Disc 809842511626 HSM60012 MCCRAE,G/GWEN MCCR AE SINGS TK Compact Disc 809842600122 HSM60042 BROWN,J/SOUL SYNDROME Compact Disc 809842600429 HSM60052 P,ERIP/BUY HER ROSES Compact Disc 809842600528 HSM70012 BLOWFLY/ZODIAC PARTY Compact Disc 809842700129 HSM70022 BLOWFLY/OLDIES BUT GOODIES Compact Disc 809842700228HSM70052 BLOWFLY/RAPPIN' DANCI N' AND LA Compact Disc 809842700525 HSM70092 BLOWFLY/WEIRD WORLD Compact Disc 809842700921HSM70132 BLOWFLY/SUPERBLOWFLY Compact Disc 8098427013248 09842 50962 38 09842 50912 88 09842 50872 5 8 09842 50882 4 8 09842 50892 3 8 09842 50992 08 09842 50972 28 09842 50922 7 8 09842 51012 4 8 09842 70052 58 09842 51052 0 8 09842 60012 28 09842 50932 6 8 09842 70022 8 8 09842 70132 48 09842 50852 7 8 09842 70092 18 09842 50842 8 8 09842 50942 5 8 09842 51032 2 8 09842 60042 9 8 09842 60052 88 09842 51022 3 8 09842 51042 1 8 09842 51162 6 8 09842 70012 98 09842 50952 4 8 09842 50982 1 Page 416 of 496 November 12, 2014Catalogue Numbe rArtist / Title Config Scannable UPC UPC HSM80012 ZAVAC,J/THE CRAET/IN STRUMENTAL Compact Disc 809842800126 HSM80022 RODRIGUEZ,O/VARIOUS/VOCAL MAGI Compact Disc 809842800225HSM80042 ZAVAC,J/GRATI TUDE Compact Disc 809842800423 HST035DVD GINGER BAKER'S AIRFO RCE/LIVE ( Digit al Video Disc 5060230860664 HST072DVD AKKERMAN,J/A TOUCH OF C(CD+DVD CD with DVD 5060230861630 HUCD3058 CITRUS SUN/ANOTHER TI ME ANOTHE Compact Disc 053361305826 HUCD3073 POWELL,D/97TH & CO LUMBUS Compact Disc 053361307325 HUCD3090 YELLOWJACKETS/PEACE RO UND:A CH Com pact Disc 053361309022 HUCD3107 SPYROGYRA/WRAPPED IN A DREAM Compact Disc 053361310721 HUCD3109 LADYSMITHBLACKMAMBAZ O/LONG WAL Compact Disc 053361310929 HUP003DN VAR/NOISE! FIRST PUNKERVISION Digital Video Disc 827657000999HUP005DN CAPTAIN EVERYTHING/LIVE AT THE Digital Video Disc 827657001392 HUP007DN LEATHERFACE/BOAT IN THE SMOKE Digital Video Disc 827657001798 HUP008DN BELLRAYS,THE/BELLRAYS @ THE BA Digita l Video Disc 827657001996 HUP009DN BARRY,T & LA PAR FORCE/LIVE (D Digital Video Disc 827657002191 HUSA9083 LADYSMITH BLACK MAMBAZO/RAISE SACD2Stereo/CD Audio 053361908362HUSA9109 LADYSMITHBLACKMAMBAZO/LONG WAL SACD4Stereo/Surround/CDAud 053361910969 HWA1207 SEEGER,P/STORIES & SO NGS FOR L Compact Disc 018106120720 HXR017 PLAYING ENEMY/MY LIFE AS THE V Compact Disc 790168621123 HYH1512 OXBOW/FUCK FEST Compact Disc 798546236426 IAJ001 THOMAS,J/HAZEL (EP) Compact Disc EP's 852215001217 IAM0024 KING,F/MY SWEET ELIXIR Compact Disc 899079002400IAM0230 WHISTLER/CHAUCER/DETROIT/GREEN Compact Disc 899079002301IAM0238 VAR/ITS ABOUT MUSIC ARTISTS-IT Compact Disc 899079002387IAM0249 QUATEMAN,B/BILL QUATEMAN Compact Disc 899079002493IAM0255 SPACE OPERA/SPACE OPERA II Compact Disc 899079002554 IAM0260 HEALING SIXES/BLUEJAY Compact Disc 899079002608IAM0277 GATHERING BRITANNIA/THE BRIDGE Compact Disc 8990790027765 060230 861630 0 53361 30732 5 0 53361 31092 90 53361 30582 6 0 53361 30902 2 0 53361 31072 1 0 18106 12072 0 7 90168 62112 3 8 99079 00240 0 8 99079 00230 1 8 99079 00238 7 8 99079 00249 3 8 99079 00255 4 8 99079 00260 8 8 99079 00277 68 09842 80012 6 8 09842 80022 5 8 09842 80042 3 7 98546 23642 6 8 52215 00121 78 27657 00139 2 8 27657 00199 68 27657 00099 9 8 27657 00219 15 060230 860664 8 27657 00179 8 0 53361 90836 2 0 53361 91096 9 Page 417 of 496 November 12, 2014Catalogue Numbe rArtist / Title Config Scannable UPC UPC IAM0279 QUATEMAN,B/THE ALMOST EVE OF E Compact Disc 899079002790 IAM0433 SPACE OPERA/SPACE OPERA I Compact Disc 617742043327 IC1017 CURSON,T AND CO/JUBIL ANT POWER Compact Disc 077712710176 IC1078 ROBERTS,J/THE JUDY ROBERTS BAN Compact Disc 077712710787IC1088 ROBERTS,J/THE OTHER WORLD Compact Disc 077712710886 ICB14 KEVIN K/NEW YORK, NEW YORK Compact Disc 600638970128 ICO201072 NYRO,L/NESTED Compact Disc 886972010724ICO204792 ISLEY BROTHERS,THE/GO ALL THE Compact Disc 886972047928ICO364202 NYRO,L/MOTHER'S SPIRITUAL Compact Disc 886973642023 ICO413652 MOTT THE HOOPLE/THE HOOPLE Compact Disc 886974136521ICO457372 WEATHER REPORT/TALE SPINNIN' Compact Disc 886974573722ICO519312 JEFFERSON AIRPLANE/THIRTY SECO Compact Disc 886975193127 ICO527372 MOTT THE HOOPIE/LIVE-EXPANDED Compact Disc 886975273720ICO569312 ISLEY,JASPER,ISLEY/BROADWAY'S Compact Disc 886975693122 ICON1011 ISLEY BORTHERS,THE/IT'S OUR TH Compact Disc 886975552122ICON1013 REED,L/LEGENDARY HEARTS (CD) Compact Disc 886972057224ICON1017 TROWER,R/TWICE REMOVED FROM YE Compact Disc 5099968694920ICON1019 WILSON,C/YOUNGBLOOD Compact Disc 886976318529 ID001 DANTER,I/PROVE YOU WRONG Compact Disc 5060105490187 IDG1042 GOD FIRED MAN/A BILLION BALCON Compact Disc 894862001042IDG1059 EARSHOT/THE SILVER LINING Compact Disc 894862001059 IDVD1019 VAR/HI DE HO & OTHER MOVIES -S Digital Video Disc 022891901990 IDVD1020 WASHINGTON,D/DINAH AND FRIENDS Digital Video Disc 022891902096IDVD1021 LEE,P/PEGGY LEE & FRIENDS-SWIN Digital Video Disc 022891902195IDVD1022 VAUGHAN,S/SARAH VAUGHAN & FRIE Digital Video Disc 022891902294IDVD1024 JORDAN,L/FILMS AND SOUNDIES Digita l Video Disc 022891902492 IDVD1025 KENTON,S/SWING ERA Digital Video Disc 022891902591 IDVD1026 BASIE,C/SWING ER A Digital Video Disc 0228919026908 86975 55212 28 86975 27372 0 8 86975 69312 2 5 060105 490187 6 00638 97012 88 99079 00279 0 6 17742 04332 7 0 77712 71017 6 0 77712 71078 7 0 77712 71088 6 8 86972 01072 4 8 86973 64202 3 8 86972 05722 4 8 86976 31852 98 86972 04792 8 5 099968 694920 8 86974 13652 1 8 86974 57372 2 8 86975 19312 7 8 94862 00105 98 94862 00104 2 0 22891 90209 6 0 22891 90219 5 0 22891 90229 4 0 22891 90249 2 0 22891 90269 00 22891 90199 0 0 22891 90259 1 Page 418 of 496 November 12, 2014Catalogue Numbe rArtist / Title Config Scannable UPC UPC IDVD1115 HOLIDAY,B/GENIUS OF LADY DAY,T Digital Video Disc 022891811596 IDVD2869037 ELLINGTON,D/THE BIG BANDFEELIN Digital Video Disc 022891903796 IEG2077 VAR/STAX DOUBLE FEATURE (2DVD) Digital Video Disc 617742207798IEG2104 CLARK,P/PORTRAIT OF PETULA CLA Digital Video Disc 617742210491IEG2137 U2/ROCK CRUSADE D igital Video Disc 617742213799 IEG2148 GARLAND,J/THE JUDY GARLAND SHO Digital Video Disc 617742214895IEG2150 MAMA CASS/MAMA CASS TE LEVISION Digita l Video Disc 617742215090 IEG2152 GARLAND,J/THE JUSY GARLAND HOL Digital Video Disc 617742215298 IEG2153 GARLAND,J/JUDY GARLAND COLLECT Digital Video Disc 617742215397IEG2170 ROLLING STONES,THE/ROCK OF AGE Digital Video Disc 617742217094IEG2175 KING FAMILY,THE/CHRIST MAS WITH Digita l Video Disc 617742217599 IEG2187 VAR/SOUL OF THE CHURCH (D VDX2) Digital Video Disc 617742218794 IEG2206 CROSBY,B/THE TELEVISIIO N SPECI Digital Video Disc 617742220698 IEG2207 JACKSON,M/A GOSPEL CALLI NG (DV Digital Video Disc 617742220797 IEG2222 BEATLES,THE/PARTING W AYS (DVD) Digital Video Disc 617742222296 IEG2231 CROSBY,B/THE TELEVISION SPECIA Digita l Video Disc 617742223194 IEWSJ059 VAR/IMTIMATE ENCOUNTERS WITH S Compact Disc 874757005928 IG003 PIERCE,A/WINTER Compact Disc 777000077720 IG845014 PIERCE,A/OH DEER Compact Disc 884501292689 IJ541 STITT,S & JOHNSON,JJ/WE REMEMB Digital Video Disc 8436028695416IJ543 COUNT BASIE & HIS ORCH/ LIVE IN Digita l Video Disc 8436028695430 IM0001 BROOKLYN ZU/CHAMBER #9, VERSE Compact Disc 854882200658 IMD2201CD LIL WAYNE/GONE TILL NOVEMBER Compact Disc 187245222012IMD2203CD DREAM/RADIO KILLER Compact Disc 187245222036IMD2204CD CAM'RON/CRIMINAL MIND Compact Disc 187245222043 IMP010 NEW CHRISTS/GL ORIA Compact Disc 9339851000107 IMP025 MIGNON/KISS OF DEATH Compact Disc 9344818000038 IMPD180 HAYNES,R/OUT OF THE AFTERNOON Compact Disc 0111050180298 74757 00592 8 7 77000 07772 0 8 84501 29268 9 9 339851 000107 0 11105 01802 99 344818 000038 1 87245 22201 2 1 87245 22203 6 1 87245 22204 38 54882 20065 86 17742 21379 96 17742 20779 8 6 17742 22319 46 17742 22079 76 17742 22069 86 17742 21049 1 6 17742 21489 5 6 17742 21539 70 22891 81159 6 0 22891 90379 6 6 17742 21509 0 6 17742 21709 4 6 17742 21759 9 6 17742 21879 4 6 17742 22229 66 17742 21529 8 8 436028 695416 8 436028 695430 Page 419 of 496 November 12, 2014Catalogue Numbe rArtist / Title Config Scannable UPC UPC IMPD186 EVANS,G/OUT OF THE COO Compact Disc 011105018623 IMPD188 HADEN,C/LIBERATION MUS Compact Disc 011105018821IMPD199 COLTRANE,J/MEDITATIONS-REMASTE Compact Disc 011105019927IMPD215 COLTRANE,J/JOHN COLTRANE-REMAS Compact Disc 011105021524 IMPD2168 COLTRANE,J/COMPLETE AFRICA BRA Compact Disc 011105016827 IMPD224 ROLLINS,S/ALFIE-REMASTERED Compact Disc 011105022422IMPD249 SUN RA/SPACE IS THE PLACE Compact Disc 011105024921 INAK1971CD VAR/CROSSROADS FESTIVAL VOL.1 Compact Disc 707787197120 INAK2012 SCHENKER,M/TEMPLE OF(BR+2CD+D BLU RAY+CD+DVD 707787201292 INAK2301CD VAR/BLUES FOR BROKEN HEARTS Compact Disc 707787230124INAK2302CD VAR/BLUES FOR RAINY DAYS Compact Disc 707787230223INAK2303CD VAR/BLUES FOR WHEN YOU ARE ALO Compact Disc 707787230322 INAK5506 WYMAN,B/RHYTHM KINGS:STRUTTIN SACD4Stereo/Surround/CDAud 707787550666 INAK5507SACD AMERICA/STRUTTIN'OUR STUFF(SAC SACD4Stereo/Surround/CDAud 707787550765 INAK6002DVD BLUES COMPANY/KEEPIN' THE BLUE Digita l Video Disc 707787600279 INAK61851DVD SCHENKER,M GROUP/LIVE IN TOKYO Digital Video Disc 707787618595 INAK6187 SCHENKER,M/TEMPLE OF(DVD) Digital Video Disc 707787618779INAK6302 BROUGHTON BAND,E/AT ROCKPALAST Compact Disc 707787630276 INAK6303DVD FARLOWE,C/AT ROCKPAL AST (DVD) Digit al Video Disc 707787630375 INAK6451DVD FORD,R/NEW MORNING PARIS CONCE Digital Video Disc 707787645171 INAK6456 STERN,M/PARIS CONCERT Digital Video Disc 707787645676 INAK6457 HAMMOND,J/PARIS CONCERT Digital Video Disc 707787645775 INAK6465 SCOTT-HERON,S/PARIS CONCERT(DV Digital Video Disc 707787646574 INAK6466DVD STANLEY JORDAN TRIO/THE PARIS Digital Video Disc 707787646673INAK6468DVD ALEXANDER,M TRIO/THE PRIS CONC Digital Video Disc 707787646871 INAK64711DVD STERN,M/BAND:PARIS CONCERT(DVD Digital Video Disc 707787647175 INAK6474 LIVING COLOUR/THE PARIS CONCER Digital Video Disc 707787647472 INAK64751DVD FELICIANO,J BAND/THE PARIS CON Digital Video Disc 7077876475957 07787 20129 2 7 07787 23012 4 7 07787 23022 3 7 07787 23032 2 7 07787 63027 67 07787 19712 00 11105 01862 3 0 11105 01882 1 0 11105 01992 7 0 11105 02152 4 0 11105 01682 7 0 11105 02242 2 0 11105 02492 1 7 07787 64667 37 07787 60027 9 7 07787 64717 57 07787 61859 5 7 07787 61877 9 7 07787 64517 1 7 07787 64567 6 7 07787 64657 4 7 07787 64687 1 7 07787 64747 27 07787 64577 57 07787 63037 5 7 07787 64759 57 07787 55076 57 07787 55066 6 Page 420 of 496 November 12, 2014Catalogue Numbe rArtist / Title Config Scannable UPC UPC INAK64761DVD TAYLOR,M BAND/THE TOKYO CONCER Digital Video Disc 707787647694 INAK6519 WHIITE/TJ/IN CONCERT-OHNE FILT Digital Video Disc 707787651998 INAK6525 STREHLI,A & BALL,M/IN CONCERT Digital Video Disc 707787652599INAK6529 SHAKATAK/IN CONCERT:OHNE FILTE Digital Video Disc 707787652995 INAK6541DVD FORD,R/IN CONCERT OHNE FILTER, Digital Video Disc 707787654197INAK7003DVD DIMEOLA,AL/MOROCCO FANTASIA(DV Digital Video Disc 707787700375 INAK7004BD DIMEOLA,AL/MOROCCO FANTASIA(BR BLU RAY 707787700474 INAK71851BD SCHENKER,M GROUP/LIVE IN TOKYO BLU RAY 707787718592 INAK7187 SCHENKER,M/TEMPLE OF ROCK(BR) BLU RAY 707787718776 INAK74511BD FORD,R/NEW MORNING:PARIS CONCE BLU RAY 707787745192 INAK74531BD CARLTON,L & LUKATHER BAND/PARI BLU RAY 707787745390 INAK74711 STERN,M BAND/THE PARIS CONCERT BLU RAY 707787747196INAK74751 FELICIANO,J/THE PARIS CONCERT BLU RAY 707787747592 INAK7477BD FORD,R/PARIS CONCERT REVISI(BR BLU RAY 707787747776 INAK7501HQCD VAR/REFERENCE SO UND EDITION: V C ompact Disc 707787750127 INAK7502HQCD VAR/GREAT VOICES VOL 2 Compact Disc 707787750226 INAK7924CD VAR/STEREO HORTEST CD VOL.5 Compact Disc 707787792424INAK7961CD VAR/A TASTY SOUND COLL:COFFEE Compact Disc 707787796125 INAK7962CD VAR/A TASTY SOUND COLL:TEA & T Compact Disc 707787796224 INAK7963CD VAR/A TASTY SOUND COLL:WINE & Compact Disc 707787796323 INAK7964CD VAR/A TASTY SOUND COLL:WHISKY Compact Disc 707787796422 INAK7965CD VAR/A TASTY SOUND COLL:CHAMPAG Compact Disc 707787796521 INAK7966CD VAR/A TASTY SOUND COLL:COCKTAI Compact Disc 707787796620 INAK7967CD VAR/A TASTY SOUND COLL:CIGARS Compact Disc 707787796729 INAK7968CD VAR/A TASTY SOUND COLL:ABSINTH Compact Disc 707787796828 INAK813CD COBHAM,B/STRATUS Compact Disc 4001985008131 INAK9029CD ALLISON,B/NO MERCY Compact Disc 4001985090297INAK9053CD ANTOLINI,C/KNOCK OUT 2000 Compact Disc 7077879053297 07787 74719 6 7 07787 74759 27 07787 70047 4 7 07787 74519 2 7 07787 74777 67 07787 71877 67 07787 71859 2 7 07787 74539 0 7 07787 79612 5 7 07787 79652 17 07787 75012 7 7 07787 79242 4 7 07787 79622 4 7 07787 79632 3 7 07787 79642 2 7 07787 79662 0 7 07787 79672 9 7 07787 79682 8 4 001985 008131 4 001985 090297 7 07787 90532 97 07787 75022 67 07787 65259 9 7 07787 65299 5 7 07787 65419 7 7 07787 70037 57 07787 65199 87 07787 64769 4 Page 421 of 496 November 12, 2014Catalogue Numbe rArtist / Title Config Scannable UPC UPC INAK90762CD SOFT MACHINE LEGACY/LIVE AT TH Compact Disc 707787907620 INAK9078 RUMPF,I & FRIENDS/AT ROCKPALAS Compact Disc 707787907897 INAK9079CD EPITAPH/REMEMBER THE DAZE Compact Disc 707787907927INAK9080CD DI MEOLA,A/DIABOLIC INVENTIONS Compact Disc 707787908023INAK9081CD BLUES COMPANY/HOT AND READY TO Compact Disc 707787908122 INAK90823CD YORK,P/AND FRIENDS Compact Disc 707787908221INAK90833CD DICE OF DIXIE/THE FINEST BRAND Compact Disc 707787908320 INAK9085CD SCHENKER,M GROUP/IN THE MIDST Compact Disc 707787908528INAK9086CD BROUGHTON,E BAND/AT ROCKPALAST Compact Disc 707787908627 INAK9087 BLUES COMPANY/MORE BLUES,BALLA Compact Disc 707787908726 INAK9090CD AZTECA/FROM THE RUINS Compact Disc 707787909020INAK9091CD SCHENKER,M/BARDEN, G/GIPSY LADY Compact Disc 707787909129 INAK9092CD CORYELL,L/EARTHQUAKE AT THE AV Compact Disc 707787909228 INAK90932CD LIVING COLOUR/THE PARIS CONCER Compact Disc 707787909327INAK90942CD BLUES COMPANY/2 IN 1 COLLECTIO Compact Disc 707787909426 INAK9095CD EPITAPH/DANCING WITH GHOSTS Compact Disc 707787909525INAK9096CD BLUES COMPANY/O'TOWN GROOVES Compact Disc 707787909624INAK9098CD SCHENKER,M GROUP/LIVE IN TOKYO Compact Disc 707787909822INAK9100CD BARDEN,G/ROCK 'N ROLL MY SOUL Compact Disc 707787910026INAK9103CD SCHENKER,M/TEMPLE OF ROCK Compact Disc 707787910323 INAK9116 SCHENKER,M/TEMPLE OF ROCK(2CD) Compact Disc 707787911627 INDEXT001 BROUWER,M/WHERE'S OUR REVOLUTI Compact Disc 044003736139INDEXT011 MCKNIGHT & BOGDAL/ZOMBIE NATIO Compact Disc 845121035766 INTDM95811 NINE INCH NAILS/F URTHER DOWN T C ompact Disc 606949581121 INTDS97026 NINE INCH NAILS/THE D AY THE WO Compact Disc Singles 606949702625 INTROCD2002 SHEARING,G/A PROPER INTRO TO:G Compact Disc 805520060028INTROCD2004 QUEBEC ,I/A PROPER INTRO TO:IKE Compact Disc 805520060042 INTROCD2026 CUGAT,X/A PROPER INTRO TO:XAVI Compact Disc 8055200602647 07787 90872 67 07787 90852 8 7 07787 90922 8 7 07787 91032 37 07787 90762 0 7 07787 90802 3 7 07787 90812 2 7 07787 90822 1 7 07787 90832 0 7 07787 90862 7 7 07787 90902 0 7 07787 90912 9 7 07787 90932 7 7 07787 90942 6 7 07787 90962 4 7 07787 90982 2 7 07787 91002 6 7 07787 91162 77 07787 90952 57 07787 90789 7 7 07787 90792 7 6 06949 58112 1 8 05520 06002 8 8 05520 06004 2 8 05520 06026 40 44003 73613 9 8 45121 03576 6 6 06949 70262 5 Page 422 of 496 November 12, 2014Catalogue Numbe rArtist / Title Config Scannable UPC UPC INTROCD2028 AUTRY,G/A PROPER INTRO TO:GENE Compact Disc 805520060288 INTROCD2032 FORD,T.E./A PROPER INTRO TO:TE Compact Disc 805520060325INTROCD2040 PATTON,C/A PROPER INTRO TO:CHA Compact Disc 805520060400INTROCD2043 ELLINGTON,D/A PROPER INTRO TO: Compact Disc 805520060431INTROCD2044 PEERS,D/A PROPER INTRO TO:DONA Compact Disc 805520060448 INTROCD2045 CRUZ,C/A PROPER IN TRO TO:CELIA Compact Disc 805520060455 INTROCD2049 RITTER,T/A PROPER INTRO TO:TEX Compact Disc 805520060493INTROCD2052 GONZALES,B/A PROPER INTRO TO:B Compact Disc 805520060523INTROCD2057 CALLAS,M/A PROPER INTRO TO:MAR Compact Disc 805520060578INTROCD2059 GUTHRIE,W/A PROPER INTRO TO:WO Compact Disc 805520060592INTROCD2060 CARTER FAMILY/A PROPER INTRO T Compact Disc 805520060608INTROCD2070 COBB,A/A PROPER INTRO TO:ARNET Compact Disc 805520060707INTROCD2072 THOMPSON,L/A PROPER INTRO TO:L Compact Disc 805520060721INTROCD2078 THORNTON,BM/A PROPER INTRO TO: Compact Disc 805520060783INTROCD2079 FERRIER,K/A PROPER INTRO TO:KA Compact Disc 805520060790INTROCD2080 FOUR ACES,THE/A PROPER INTRO T Compact Disc 805520060806 INTSD90090 OST/LOST HIGHWAY Compact Disc 606949009021 ION20092 COBRA STRIKE/THE 13TH SCROLL Compact Disc 611688201223ION20122 COBRA STRIKE/2 Compact Disc 611688200929ION20192 BUCKETHEAD/BUCKETHEADLAND 2 Compact Disc 611688201926 IPC07 KID606/DOWN WITH THE SCENE Compact Disc 689230000723IPC32 ISIS/OCEANIC Compact Disc 689230003229IPC40 TOMAHAWK/MIT GAS Compact Disc 689230004028 ISBDVD0001 CHOQUETTE,N/LA DIVA ET LE MAES Digital Video Disc 620323000190 ISRCD87990 WELCH BOYS/ DRINKING ANGRY Compact Disc 825888799026ISRCD88060 DEATH & TAXES/TATTOOED HEARTS Compact Disc 825888806021ISRCD88150 JAYA THE CAT/MORE LA TE NIGHT T Compact Disc 825888815023 ISRCD88400 LA VIEJA GUARDIA/LA VIEJA GUAR Compact Disc 825888840032 6 11688 20122 3 6 11688 20092 9 6 11688 20192 6 8 25888 79902 6 8 25888 80602 1 8 25888 81502 3 8 25888 84003 26 06949 00902 18 05520 06028 8 8 05520 06032 5 8 05520 06045 5 8 05520 06049 3 8 05520 06057 8 8 05520 06059 2 8 05520 06060 88 05520 06040 0 8 05520 06043 1 8 05520 06044 8 8 05520 06052 3 8 05520 06070 7 8 05520 06072 1 8 05520 06078 3 8 05520 06079 0 8 05520 06080 6 6 89230 00402 86 89230 00322 96 89230 00072 3 6 20323 00019 0 Page 423 of 496 November 12, 2014Catalogue Numbe rArtist / Title Config Scannable UPC UPC ISRCD88510 RENO DIVORCE/TEARS BEFORE BREA Compact Disc 825888851021 ISRCD88860 BEOWULF/WESTMINSTER & 5TH Compact Disc 825888826029 ISRCX87800 LIFE OF AGONY/20 YEARS(CD+DVD CD with DVD 825888780086 ITR1702 CHRSTMAS ISLAND/BLACKO UT SUMME Compact Disc 759718517026 JB1149DVD DVDMAGAZINE/ALL ACCESS DVD MAG Digital Video Disc 826374114996 JCC2081 MCCLINTON,D/ROCKING THE BOAT:A Digital Video Disc 844667003284 JD001 RURAL ALBERTA ADVANTA GE,THE/HO Compact Disc 648401013825 JHR041 ALLISON,B/LIVE AT THE JAZZHAUS Compact Disc 4260075860411JHR046 MARSLAND DOT COM/MARSLAND DOT Compact Disc 4260075860466 JSK0067 ONCE JUST/DESTINATION Compact Disc 652975006725 JSM030210 SNAKE EYE SEVEN/16 CROWS Compact Disc 747014589922 KAY22222 MOSS,P/LIVE DIRTY Compact Disc 619061222223KAY23946 SPACEMAK3R/SPACEM AK3R Compact Disc 619061394623 KAY23959 MAGNUM DAISY/MAGNUM DAISY Compact Disc 619061397822KAY23999 TURBO DISTORTION/KING MOTTE Compact Disc 619061399901 KCD249 VEGA,L/MIX THE VIBE:FOR THE LO Compact Disc 788557024921KCD263 ANANDA PROJECT/NIGHT BLOSSOM ( Compact Disc 788557026321KCD272 NAVARRO,K/A LONG HOT SUMMER MI Compact Disc 788557027229KCD274 VAR/A LONG HOT SUMMER (MIXED B Compact Disc 788557027427KCD276 VEGA,L/VEGA ON KING STREET(2CD Compact Disc 788557027625 KEG00003 THOMAS, J/JOE THOMAS, NEW MAN Compact Disc 891113002025KEG00005 JOE/SIGNATURE Compact Disc 891113002056KEG00008 SWEAT,K/RIDIN' SOLO Compact Disc 891113002117KEG00009 DRU HILL/INDRUPENDENCE DAY Compact Disc 891113002124 KEGDVD01 JOE/LIVE FROM JAPAN (DVD) Digital Video Disc 891113002148 KELSODVD2 CASH,J/LEGENDS IN CONCERT:THE Digital Video Disc 5060204780516 KIV45364 SNAKE EYE/RITUAL IN STINCT Compact Disc 747014536421 KIV45390 POLEY,T/COLLATERAL DAMAGE Compact Disc 7470145390268 25888 78008 6 7 88557 02722 96 52975 00672 5 7 47014 58992 2 7 47014 53642 18 25888 82602 9 7 88557 02742 74 260075 860466 4 260075 860411 7 88557 02492 1 7 88557 02632 1 7 88557 02762 5 7 47014 53902 68 25888 85102 1 6 19061 22222 3 6 19061 39462 3 6 19061 39782 2 6 19061 39990 17 59718 51702 6 6 48401 01382 5 8 91113 00212 48 91113 00211 78 91113 00205 68 91113 00202 58 26374 11499 6 5 060204 780516 8 44667 00328 4 8 91113 00214 8 Page 424 of 496 November 12, 2014Catalogue Numbe rArtist / Title Config Scannable UPC UPC KRD11278 DAOU,V/ZIPLESS Compact Disc 008811127824 KRE100007 TRAVERS,P/CRASH AND BURN (CD) Com pact Disc 842051000079 KTN1002 TONEY,K3/NEW AMERICAN SUITE Compact Disc 724101238024 KTN767540 TONEY,K/KINGS OF THE EVENING O Compact Disc 859707675406 L635R2 VISQUEEN/KING ME Compact Disc 783707669427L638R3 VISQUEEN/SUNSET ON DATELAND Compact Disc 634457160026 LAS0012 L.A. SYMPHONY/BALONEY Compact Disc 621617621329LAS0032 JOEY THE JERK/AVERAGE JOE Compact Disc 621617605626 LB0102 PLANET ASIA/STILL IN TRAINING Compact Disc 826944401013 LBMCD234092 PAGAN S MIND/ENIGMATIC CALLING Compact Disc 693723409221LBMCD236060 PAGAN S MIND/INFINITY DIVINE Compact Disc 693723606026LBMCD236531 PAGAN S MIND/CELESTIAL ENTRANC Compact Disc 693723653129LBMCD236582 BLACK MAJESTY/SANDS OF TIME Compact Disc 693723658223LBMCD237966 PAGAN S MIND/GOD'S EQUATION Compact Disc 693723796628 LC001 LOS CHAMANES/CONJUROS Compact Disc 790185001526 LEM20012 ADAMS,M/LOVE & DANCE Compact Disc 674159200125 LERCD321041 WOBBLER/HINTERLAND Compact Disc 763232104129 LFJ50055 MUHAMMAD,D/PREACHIN TO THE CHO Compact Disc 612296039727 LFM408 PRESLEY,E/AT SUN RECORDS CD with DVD 823564902821 LFR18 MUSTANGS AND MADRAS/ LA LECHUZA Compact Disc 825576920121 LFR22 IFIHADAHIFI/FAME BY PROXY Compact Disc 825576973929 LI20460 HENDRIX,J/HIS GREATEST HITS Compact Disc 076637046025 LIB33276 ISAAK,C/SOUNDSTAGE Digital Vi deo Disc 619061327638 LIB33278 CETERA,P & GRANT,A/ SOUNDSTAGE Digita l Video Disc 619061327836 LIB33279 ADKINS,T & TRITT,T/ SOUNDSTAGE Digita l Video Disc 619061327935 LIB33300 LOVETT,L/SOUNDSTA GE Digital Video Disc 619061330034 LIB33301 PETTY,T AND T HEARTB REAKERS/SO Digita l Video Disc 619061330133 LIB33574 VAR/THE BEST OF SOUND STAGE Digital Video Disc 6190613574378 23564 90282 16 93723 40922 1 6 93723 60602 6 6 93723 65312 9 6 93723 79662 8 7 63232 10412 98 59707 67540 6 0 76637 04602 57 24101 23802 4 7 90185 00152 68 42051 00007 9 8 25576 92012 1 8 25576 97392 96 74159 20012 50 08811 12782 4 7 83707 66942 7 6 34457 16002 6 6 93723 65822 3 6 12296 03972 76 21617 62132 9 6 21617 60562 6 8 26944 40101 3 6 19061 32763 8 6 19061 32783 6 6 19061 32793 5 6 19061 33003 4 6 19061 33013 3 6 19061 35743 7 Page 425 of 496 November 12, 2014Catalogue Numbe rArtist / Title Config Scannable UPC UPC LIB33622 VAR/FARM AID-KEEP AMERIC A GROW Digita l Video Disc 619061362233 LIB33624 IRISHTENORS,T/IN CONCERT WITH Digital Video Disc 619061362431LIB33625 BOLTON,M/THE BEST OF MICHAEL B Digit al Video Disc 619061362530 LK2702 QUEERS/PLEASANT S CREAMS Compact Disc 763361927026 LM010 VAR/60S ROCK HEROES(DVD) Digital Video Disc 5883007136102LM011 BYRDS/TURN TURN TURN A MU S(DVD Digital Video Disc 5883007136119 LM012 ANIMALS/BOOM BOOM A MUSICA(DVD Digital Video Disc 5883007136126 LM0312 GROUCH/SOUND ADVI CE Compact Disc 693405003129 LM045 URIAH HEEP/ONE MORE NI GHT(DVD) Digita l Video Disc 5883007136454 LM046 ROGERS,K/GOLDEN HITS COLLE(DVD Digital Video Disc 5883007136461 LN20004 WEINSTOCK,M/TAILS OF THE CITY Compact Disc 882169000424 LNKCD81 DEVIL'S DAUGHTERS W/DA/DEVIL'S Compact Disc 633090363887 LOB1008 FLYNN,B/BLUES DRIVE Compact Disc 880074140631 LOLLI28CD KEVIN K/KISS OF DEATH Compact Disc 801655087220LOLLI35CD KEVIN K/ADDICTION Compact Disc 600638988925 LSP21743X WALSH,B/BOB WALSH BLUES Compact Disc 619061174324 LTM1112 TIZER,L/GOLDEN SOUL Compact Disc 805859011128LTM1209 TIZER/DOWNBEAT Compact Disc 805859035827 LTM90259 TIZER/LIVE Compact Disc 805859025927LTM90602 TIZER,L/DIVERSIFY Compact Disc 805859060225LTM90901 TIZER,L/PASSAGES Compact Disc 805859014426 LUG10062 BLACK PEGASUS/F#CK YO! RADIO Compact Disc 800828255121 LV111 VAR/MERRY CHRISTM AS BABY Compact Disc 764942995625 LV113 NEWPORTS/A CHRISTMAS STOCKING Compact Disc 764942244921 LV114 VAR/TIS THE SEASON TO BE FREEZ Compact Disc 764942010526 LV115 DOO WOPS OF LOVE/VALENTINE SON Compact Disc 764942253022LV116 FABULOUS FOUR/SIMPLY FABULOUS Compact Disc 764942017921LV118 EXPLORERES/LOWELL,D/VISION OF Compact Disc 764942081328 7 64942 01052 67 64942 99562 58 82169 00042 4 7 64942 24492 18 01655 08722 0 6 00638 98892 5 7 64942 25302 2 7 64942 01792 1 7 64942 08132 88 80074 14063 1 8 05859 01112 8 8 05859 03582 7 8 05859 02592 7 8 05859 06022 5 8 05859 01442 66 33090 36388 7 8 00828 25512 16 93405 00312 9 6 19061 17432 47 63361 92702 66 19061 36223 3 6 19061 36243 1 6 19061 36253 0 5 883007 136102 5 883007 136119 5 883007 136126 5 883007 136461 5 883007 136454 Page 426 of 496 November 12, 2014Catalogue Numbe rArtist / Title Config Scannable UPC UPC LV119 LEGENDARY TEENAGERS/LIVE! Compact Disc 764942249827 LV120 ROOMATES/LET S CALL IT A DAY Compact Disc 764942222028LV121 LONNIE AND THE CAROLLONS MEETT Compact Disc 764942245225LV122 LITTLE CAESAR AND THE CO/STILL Compact Disc 764942249421 LV123 GOOD BYE DAD AND A LL THE BEST Compact Disc 764942237343 LV124 THESE MEN IN LOVE/NO RTHERN SOU Compact Disc 760137912422 LV125 SOLITAIRES/STILL WALKING ALONG Compact Disc 764942031323LV127 DEE,JOEY/THE STARLITERS/MORE T Compact Disc 764942211923LV128 BOBBY MILLER PRESENTS/I DUG AC Compact Disc 764942220727 LV137 IKE CLANTON MEETS BUZZ/THE UNR Compact Disc 764942016924 LV141 FOUR ESQUIRES/LOVE ME FOREVER Compact Disc 609465980225 LV157 VAR/THAT BEACH BOY SOUND Compact Disc 609465980171 LV157 VAR/THAT BEACH BOY SOUND Compact Disc 609465980171 LV164 VAR/RAREST OF THE RARE GIRL V2 Compact Disc 609465980188 MA250065 COOLIDGE,R/OUT OF THE BLUES Compact Disc 4011777910023 MA250096 WHITE,TJ/TAKE HOME THE SWAMP Compact Disc 5413992500963 MA250098 VANILLA FUDGE/THE RETURN Compact Disc 5413992500987MA250110 HARRIS,E/I'VE ALWAYS N EEDED YO Compact Disc 5413992991105 MA250112 TRIBUTE ALBUM/PINK FLOYD:BREAT Compact Disc 5413992501120MA250115 GUY,B & WELLS,J/EVERYD AY WE HA Compact Disc 5413992501151 MA250117 BLACK OAK ARKANSAS/THE WILD BU Compact Disc 5413992501175 MA250135 VAR/OUR OWN SPECIAL W AY-TRIBUT Compact Disc 5413992501359 MA250139 BURNSIDE,RL/RAW EL ECTRIC Compact Disc 5413992501397 MA250148 BLOOMFIELD,M/CELEBRATING THE B Compact Disc 5413992501489 MA250150 JEFFERSON AIRPLANE/HIGH FLYING Compact Disc 5413992501502MA250153 DIXON,W & WINTER,J/SPOONFUL OF Compact Disc 5413992501533 MA250155 WILLIAMSON,SB/BYE BYE SONNY Compact Disc 5413992501557 MA250165 ELECTRICFLAG/ISHOUL DHAVELEFTHE Compact Disc 54139925016565 413992 991105 5 413992 501151 5 413992 501120 7 64942 24942 1 5 413992 500987 5 413992 501175 5 413992 501489 7 64942 22202 8 6 09465 98017 1 5 413992 501656 5 413992 501557 7 64942 24982 7 7 64942 24522 5 7 64942 23734 3 7 60137 91242 2 7 64942 03132 3 7 64942 21192 3 7 64942 22072 7 6 09465 98022 5 6 09465 98018 8 4 011777 910023 5 413992 501359 5 413992 501397 5 413992 500963 5 413992 501502 5 413992 501533 7 64942 01692 4 6 09465 98017 1 Page 427 of 496 November 12, 2014Catalogue Numbe rArtist / Title Config Scannable UPC UPC MA250170 DUNBAR,A/BLUE WHALE Compact Disc 5413992501700 MA250183 HARPER,R/SOPHISTICATED BEGGAR Compact Disc 5413992501830MA250190 KING,BB/LIVEINEUROPE Compact Disc 5413992501908MA250191 WATERS,M/LIVE IN EUROPE Compact Disc 5413992501915MA250192 HOWLINWOLF/LIVE IN EUROPE Compact Disc 5413992501922 MA250193 WILLIAMSON,S/LIVEINEUROPE Compact Disc 5413992501939 MA250207 NORTHMISSISSIPPIALLS TAR/SHAKEH Com pact Disc 5413992502073 MA250209 WHITTINGTON,B/BUDDYWH ITTINGTON Compact Disc 5413992502097 MA250220 TOGNONI,R/IRONYARD REVISITED Compact Disc 5413992502202MA250224 HAYWARD,J/SINGSMOODYBLUESCLASS Compact Disc 5413992502240 MA250225 MOON,D/HOWLINATTHESOUTHERNMOON Compact Disc 5413992502257 MA250250 COCHRAN,S/LIVE AT MO NTREUX Compact Disc 5413992502509 MA250257 RUSH,O/I CAN'T QUIT THE BLUES Compact Disc 5413992502578 MA250273 GUY,B/SIT AND CRY THE BLUES Compact Disc 5413992502738MA250287 COTTON,J/HOW LONG CAN A FOOL G Compact Disc 5413992502875MA250289 TURNER,BIG JOE WITH BLOOMFIELD Compact Disc 5413992502899MA251001 KILLER/READYFORHELL/WALLOFSOUN Compact Disc 5413992510016MA251004 OSTROGOTH/ECSTASY&DAN GERFULLMO Compact Disc 5413992510047 MA251005 OSTROGOTH/FEELINGSOFFURYTOOHOT Compact Disc 5413992510054 MA251008 BLACKLACE/UNLACEDTOOHOTTOHANDL Compact Disc 5413992510085 MA251010 WILDFIRE/BRUTEFORCEANDIGNORANC Compact Disc 5413992510108 MA251034 WARRANT/MOSTWANTED Compact Disc 5413992510344MA251036 GREATWHITE/REVISITINGFAMILIARW Compact Disc 5413992510368 MA90562 LABRIER,J/LABRIE'S MULLMU 2 Compact Disc 026245905627MA90602 LIQUID TRIO EXP/SPONTANEOUS CO Compact Disc 614286906026MA90672 OZRIC TENTACLES/SPIRALS IN HYP Compact Disc 026245906723MA90692 ROTH,DL/DIAMOND DAVE Compact Disc 026245906921MA90922 RUDESS,J/ROAD HO ME Compact Disc 6142869092255 413992 502509 5 413992 502875 5 413992 502738 5 413992 502202 5 413992 501908 5 413992 501915 5 413992 502097 5 413992 502240 5 413992 502899 5 413992 510047 5 413992 501700 5 413992 501830 5 413992 501922 5 413992 502073 5 413992 510016 5 413992 510054 5 413992 510108 0 26245 90672 35 413992 502578 5 413992 510085 5 413992 501939 5 413992 502257 5 413992 510344 5 413992 510368 0 26245 90692 16 14286 90602 60 26245 90562 7 6 14286 90922 5 Page 428 of 496 November 12, 2014Catalogue Numbe rArtist / Title Config Scannable UPC UPC MA90952 STEVENS,S/MEMORY CRASH Compact Disc 614286909522 MA90972 MARTONE/CLEAN Compact Disc 614286909720MA90982 NORRIS,K/ICONS OF THE ILLOGIC Compact Disc 614286909829 MAHCD001 LAKE/BLAST OF SILENCE Compact Disc 4042564015829 MAJ100692 STRANGEWAYS/STRA NGEWAYS Compact Disc 842051006927 MAJ100702 STRANGEWAYS/NATI VE SONS Compact Disc 842051007023 MAJ100740 ANARION/UNBROKEN Compact Disc 842051007429MAJ700362 BEDLAM/LIVE IN LONDON 1973 Compact Disc 822927003625 MARK1001 ARC ANGELS,THE/LIVING IN A DRE Compact Disc 825479221523 MASSCD0953 IMMOLATION/DAWN OF POSSESSION Compact Disc 5907785027633 MASSCD1011DG SPIRITUAL BEGGARS/ANOTHER WAY Compact Disc 5907785029668MASSCD1012DG SPIRITUAL BEGGARS/MANTRA III Compact Disc 5907785029675MASSCD1023DG VIOLENT FORCE/MAL EVOLENT ASSAU Compact Disc 5907785030909 MASSCD1028DG KARMA TO BURN/KAR MA TO BURN Compact Disc 5907785029927 MASSCD1029DG KARMA TO BURN/WILD WONDERFUL P Compact Disc 5907785029934 MASSCD1044D GARTILLERY/BY INHERITANCE Compact Disc 5907785030107 MASSCD1046DG ARTILLERY/TERROR SQUAD(REMASTE Compact Disc 5907785030121MASSCD1073DG BELIEVER/SANIT Y OBSCURE Com pact Disc 5907785030879 MASSCD1075DG BELIEVER/EXTRACTIO N FROM MORTA Compact Disc 5907785030916 MASSCD1076DG LILLIAN AXE/LILLIAN AXE Compact Disc 5907785030923MASSCD1077DG LILLIAN AXE/LOVE AND WAR Compact Disc 5907785030930MASSCD1107DG TANK/POWER OF HUNT ER(REMASTERE Compact Disc 5907785031067 MASSCD1108DG TANK/THIS MEANS WAR (REMASTERE Compact Disc 5907785031074 MASSCD1110D GTANK/TANK Compact Disc 5907785031098 MASSCD1124DG CONTROL DENIED/FRAGILE ART OF Compact Disc 5907785031760MASSCD1136DG WINTER/INTO DARK NESS/ETERNAL F Compact Disc 5907785031883 MASSCD1137DG FLOTSAM AND JETSAM/WHEN THE ST Compact Disc 5907785031906MASSCD1164DG SLAUGHTER/STRAPPAD O (REMASTERE Compact Disc 59077850322554 042564 015829 5 907785 030121 5 907785 030916 5 907785 031883 5 907785 031906 5 907785 030879 5 907785 031074 8 42051 00742 9 5 907785 030909 5 907785 030923 5 907785 030930 5 907785 031067 5 907785 031760 5 907785 032255 5 907785 029668 5 907785 029675 5 907785 029927 5 907785 029934 8 22927 00362 58 42051 00692 7 8 42051 00702 3 8 25479 22152 3 5 907785 027633 5 907785 030107 5 907785 031098 6 14286 90982 96 14286 90952 2 6 14286 90972 0 Page 429 of 496 November 12, 2014Catalogue Numbe rArtist / Title Config Scannable UPC UPC MASSCD1165DG HYPOCRISY/PENETRALIA (REMASTER Compact Disc 5907785032262 MASSCD1175DG CARNIVORE/RETALIATION (REMASTE Compact Disc 5907785032408MASSCD1210DG RIGHTEOUS PIGS/S TRESS RELATED Compact Disc 5907785033177 MASSCD1233D GVOIVOD/THE OUTER LIMITS (REMAS Compact Disc 5907785033627 MASSCD1235DG SEVENTH ANGEL/TH E TORMENT Compact Disc 5907785033771 MASSCD1236DG SEVENTH ANGEL/LAME NT FOR WEARY Compact Disc 5907785033788 MASSCD1240DG OPPROBRIUM/BEYOND THE UNKNOWN Co mpact Disc 5907785033870 MASSCD1257DG SILVER MOUNTAIN/UNIVERSE Compact Disc 5907785034242MASSCD1262DG PENDRAGON/CONCERT O MAXIMO Compact Disc 5907785034303 MASSCD1284DG SINISTER/CROSS THE STYX Compact Disc 5907785034969MASSCD1286DG SINISTER/HATE/ BASTARD SAINTS C ompact Disc 5907785034983 MASSCD1287DG SINNER/JUDGEMENT DAY Compact Disc 5907785034990 MASSCD1302D GKOVENANT/NEXUS POLARIS Compact Disc 5907785035157 MASSCD1313DG SINERGY/SUICIDE BY MY SIDE Compact Disc 5907785035256MASSCD1323DG STRATOVARIUS/ELEMENTS VOL. 1 Compact Disc 5907785035416MASSCD1324DG STRATOVARIUS/ELEMENTS VOL. 2 Compact Disc 5907785035423MASSCD1339DG MAD MAX/NIGHT OF PASSION Compact Disc 5907785035669 MASSCD1345DG GILLAN,I/TOOLBOX (REMASTERED) Compact Disc 5907785035737 MASSCD1362DG DESTRUCTION/THE AN TICHRIST (RE Compact Disc 5907785035973 MASSCD1366DG BUZZOVEN/SORE (REMASTERED)-2CD Compact Disc 5907785036017MASSCD1373DG GIUFFRIA/GIUFFRIA (REMASTERED) Compact Disc 5907785036147MASSCD1374DG GIUFFRIA/SILK AND STEEL (REMAS Compact Disc 5907785036154MASSCD1406DG PRIMAL FEAR/PRIMAL FEAR (REMAS Compact Disc 5907785036451MASSCD1407DG PRIMAL FEAR/JAWS OF DEATH Compact Disc 5907785036468MASSCD1413DG MORSE,S/HIGH TENSION WIRES (RE Compact Disc 5907785036543MASSCD1417DG WARLOCK/TRUE AS STEEL Compact Disc 5907785036581MASSCD1419DG BANG TANGO/PSY CHO CAFE Compact Disc 5907785036604 MASSCDDG0977 XENTRIX/FOR WHO SE ADVANTAGE Compact Disc 59077850286235 907785 034303 5 907785 036581 5 907785 032262 5 907785 034983 5 907785 035256 5 907785 032408 5 907785 033177 5 907785 034969 5 907785 035973 5 907785 036147 5 907785 036154 5 907785 028623 5 907785 033771 5 907785 033788 5 907785 033870 5 907785 034242 5 907785 034990 5 907785 035416 5 907785 035423 5 907785 035669 5 907785 035737 5 907785 036017 5 907785 036451 5 907785 036468 5 907785 036543 5 907785 036604 5 907785 033627 5 907785 035157 Page 430 of 496 November 12, 2014Catalogue Numbe rArtist / Title Config Scannable UPC UPC MASSCDDG0978 XENTRIX/ KIN Compact Disc 5907785028630 MASSCDDG0979 REALM/ENDL ESS WAR Compact Disc 5907785028647 MASSCDDG0982 PESTILENCE/MIND RE FLECTIONS Compact Disc 5907785028678 MASSCDDG0985 ATROPHY/SOCIALIZ ED HATE Compact Disc 5907785028708 MASSCDDG0986 ATROPHY/VIOLENT BY NATURE Com pact Disc 5907785028715 MASSCDDG0988 GORGUTS/CONSIDER ED DEAD Compact Disc 5907785028739 MASSCDDG0989 GORGUTS/EROSION OF SANITY Compact Disc 5907785028746 MASSCDDG0992 SADUS/VISION OF MISERY Compact Disc 5907785028777 MASSCDDG0993 TOXIK/THINK THIS Compact Disc 5907785028784 MASSCDDG099 4TOXIK/WORLD CIRCUS Compact Disc 5907785028791 MASSCDDG1033 BLESSED DEATH/DESTIN ED FOR EXT Compact Disc 5907785029989 MASSCDDG1048 PARADOX/PRODUCT OF IMAGINATION Compact Disc 5907785030145 MASSCDDG1058 GREAT KAT, THE/WORS HIP ME OR D Compact Disc 5907785030299 MASSCDDG1065 CYCLONE/BRUTAL DESTRUCTION Compact Disc 5907785030374 MASSCDDG1068 RATOS DE PORAO/AN ARKOPHOBIA Compact Disc 5907785030619 MASSCDDG1092 ROGUE MALE/FIR ST VISIT Compact Disc 5907785030657 MBT253389 BUFFETT,J/LIVE AT WRIGLEY FIEL Compact Disc 628261338924 MCABD10032 CHESNUTT,M/TOO COLD AT HO Compact Disc 008811003227MCABD10381 WALKER,J J/GREAT GONZOS Compact Disc 008811038120MCABD10506 OST/COMMITMENTS THE VOL 2 Compact Disc 008811050627MCABD11096 JONES,G/THE BRADL EY BARN SESSI Com pact Disc 008811109622 MCABD11767 KING B B/THE ELECTR IC/HIS BEST Compact Disc 008811176723 MCABD31247 WILLIAMS,D/BEST OF VOL 3 Compact Disc 076731124728MCABD31249 WILLIAMS,D/GREATEST HITS Compact Disc 076731124926MCABD31307 LOVETT,L/LYLE LOVETT Compact Disc 076743130724MCABD31346 ARMSTRONG,L/BEST OF DECCA YEAR Compact Disc 076743134623 MCABD42028 LOVETT,L/PONTIAC Compact Disc 076744202826MCABD42266 STRAIT,G/BEYOND THE BLUE NEON Compact Disc 0767422266266 28261 33892 45 907785 028678 5 907785 030145 5 907785 030299 5 907785 028630 5 907785 028647 5 907785 028708 5 907785 028715 5 907785 028739 5 907785 028746 5 907785 028777 5 907785 028784 5 907785 029989 5 907785 030374 5 907785 030657 5 907785 030619 0 76743 13072 4 0 76744 20282 60 08811 03812 0 0 76731 12472 8 0 76731 12492 60 08811 00322 7 0 76742 22662 60 08811 10962 20 08811 05062 7 0 08811 17672 3 0 76743 13462 35 907785 028791 Page 431 of 496 November 12, 2014Catalogue Numbe rArtist / Title Config Scannable UPC UPC MCABD6149 OST/SWEET DREAMS Compact Disc 076732614921 MCABD6391 TWITTY,C/GREATEST HITS V3.MAD. Compact Disc 076732639122 MCABD922 CHER/GREATEST HITS Compact Disc 076732092224 MCAC11941 LYNYRD SKYNYRD/THE BEST OF LYN Cassette 008811194147 MCAD10475 LOVETT,L/JOSHUA JUDGES RUTH Compact Disc 008811047528MCAD10808 LOVETT,L/I LOVE EVERYBODY Compact Disc 008811080822MCAD10843 KING,B/IN LONDON Compact Disc 008811084325MCAD10877 GILL,V/LET THER E BE PEACE Compact Disc 008811087722 MCAD11204 STUART,M/THE MARTY PARTY HIT Compact Disc 008811120429MCAD11409 LOVETT,L/THE ROAD TO ENSENADA Compact Disc 008811140922MCAD11964 LOVETT,L/LIVE IN TEXAS Compact Disc 008811196424 MCAD211389 OST/CASINO Compact Disc 008811138929MCAD211831 LOVETT,L/STEP INSIDE THIS HOUS Compact Disc 008811183127 MCAD22004 TWITTY,C & LYNN,L/TWO'S A PART Compact Disc 076732200421MCAD22041 LYNN,L/YOU AIN'T WOMAN ENOUGH Compact Disc 076732204122MCAD42114 STRAIT,G/IF YOU AIN'T LOVIN' Compact Disc 076742211424 MCAD5365 OAK RIDGE BOYS/ CHRISTMAS Compact Disc 076732536520 MCAD5737 LABELLE,P/WINNER IN YOU Compact Disc 076732573723 MCAD64664 VAR/HOME OF THE BLUES Compact Disc 731456466422 MCAD8031 WHO THE/WHO S BETTER WHO S BES Compact Disc 076732803127 MCADE11938 RAHZEL/MAKE THE MUSIC 2000 Compact Disc Enhanced 008811193829 MCAMC5232 DIAMOND NEIL /20 GOLDEN GREA Cassette 076732523247 MCAMD10972 WILDE KIM /THE SINGLES CO Compact Disc 008811097226MCAMD11228 OST/DANGEROUS MINDS Compact Disc 008811122829MCAMD42263 LOVETT,L/AND HIS LARGE BAND Compact Disc 076742226329 MCASD10065 ELFMAN DANNY /MUSIC FOR A DA Compact Disc 008811006525MCASD11091 YEARWOOD,T/THE SWEET EST GIFT Compact Disc 008811109127 MCASD11584 STRAIT,G/CARRYING YOUR LOVE WI Compact Disc 008811158422 0 76732 52324 70 08811 19414 7 0 08811 19642 4 0 08811 18312 70 08811 14092 2 0 76742 22632 90 76732 53652 00 76732 63912 2 0 08811 12042 9 0 08811 10912 70 76732 61492 1 0 08811 15842 20 76732 09222 4 0 76732 80312 70 08811 08772 2 0 08811 13892 9 7 31456 46642 2 0 08811 09722 6 0 08811 12282 9 0 08811 00652 50 08811 04752 8 0 08811 08082 2 0 08811 08432 5 0 76732 20042 1 0 76732 20412 2 0 76742 21142 4 0 76732 57372 3 0 08811 19382 9 Page 432 of 496 November 12, 2014Catalogue Numbe rArtist / Title Config Scannable UPC UPC MCASD11676 DANCE HALL CRAS/HONEY I M HOME Compact Disc 008811167622 MCBBD10497 JOHN,E/THE FOX Compact Disc 008811049720MCBBD10501 JOHN,E/BREAKING HEARTS Compact Disc 008811050122 MCBBD20280 IVES BURL /A LITTLE BITTY Compact Disc 076742028022MCBBD20809 WALSH JOE /ROCKY MOUNTAIN Compact Disc 076742080921MCBBD25084 VAR/ROCKIN LITTLE CHRISTMAS Compact Disc 076742508425 MCBBD31192 STEELY DAN /CAN T BUY A TH Compact Disc 076731119229MCBBD31197 WHO THE /WHO BY NUMBERS Compact Disc 076731119724 MCBBD763 TROOPER/FLYING COLOURS Compact Disc 076732076323 MCGJ1020 MINTZER,B/OLD SCHOOL :NEW LESSO Compact Disc 612262102028 MCSSD11806 OST/HOW STELLA GOT HER GROOVE Compact Disc 008811180621MCSSD70018 MAVERICKS/TRAMPO LINE Compact Disc 008817001821 MCSSD70023 YEARWOOD,T/WHERE YOUR ROADS Compact Disc 008817002323 MCSSD70038 GILL,V/BREATH OF HEAVEN Compact Disc 008817003825 MD03 BLACK UHURU WITH SLY ROBBIE/CH Com pact Disc 843655014448 MDA0001 ANDERSON,M/MY TURN Compact Disc 614325446629MDA0002 ANDERSON,M/FROM THE HEART Compact Disc 614325675029MDA0003 ANDERSON,M/NOW Compact Disc 013964488586MDA0004 ANDERSONM/TENDER LO VING CHRIST Co mpact Disc 858370002076 MEGA012 HUB CITY STOMPERS/BLOOD,SWEAT Compact Disc 616892537823MEGA015 MR. T-BONE/SEES AMERICA Compact Disc 616892580928MEGA024 NEW YORK SKA JAZZ EN SEM/SKALEI Compact Disc 616892655923 MEGW0282 TURNER,A/MOVI N' Compact Disc 603408002821 MEOW1272 SODAHBERK,D/CUT OPEN Compact Disc 751937512721 MET0012 BASIK/AT THE MERCY OF THE CITY Compact Disc 621617804623 MF0412 FUGU/FUGU 1 Compact Disc 796627004124MF0462 TAHITI 80/WALLPAPER FO R THE SO Compact Disc 796627004629 MF0512 PAPAS FRITAS/POP HAS FR EED US Compact Disc 7966270051216 12262 10202 8 6 16892 65592 3 6 03408 00282 18 43655 01444 8 6 16892 58092 86 16892 53782 36 14325 44662 9 6 14325 67502 9 0 13964 48858 6 8 58370 00207 60 08817 00382 50 08817 00182 1 0 08817 00232 30 76742 08092 1 0 76742 50842 5 0 76731 11922 9 0 76731 11972 4 0 76732 07632 30 08811 16762 2 0 76742 02802 2 0 08811 18062 10 08811 04972 0 0 08811 05012 2 7 96627 00412 4 7 96627 00462 9 7 96627 00512 17 51937 51272 1 6 21617 80462 3 Page 433 of 496 November 12, 2014Catalogue Numbe rArtist / Title Config Scannable UPC UPC MF0532 WATERBOYS,THE/UNIVERSAL HALL Compact Disc 796627005329 MF0552 KOMEDA/KOKOMEMEDADA Compact Disc 796627005527MF0632 LIVING BLUE,THE/FIRE BLOOD WAT Compact Disc 796627006326MF0642 KLEE/HONEYSUCKLE Compact Disc 796627006425MF0672 ALAMO RACE TRACK/BLACK CAT JOH Compact Disc 796627007620MF0682 POEMS,THE/YOUNG AMERICA Compact Disc 796627006821MF0702 SERVEERT,B/BARE STRIPPED NAKED Compact Disc 796627007026 MF0732 SHANNON,S/CITY MORNING SONG Compact Disc 796627007323MF0792 ANDERSON,L/IF Compact Disc 796627007927MF0802 FURMAN,E &THE HARPOONS/BANGING Compact Disc 796627008023MF0832 AXE RIVERBOY/TUTU TO TANGO Compact Disc 796627008320MF0962 FURMAN,E/HARPOONS/INSIDE THE H Compact Disc 796627009624 MF422012 HAWKINS SCREAMIN JA/BEST OF TH Compact Disc 767004220123 MFO42404 CINERAMA/TORINO Compact Disc 767004240428MFO42501 PREACHER BOY/DEVIL'S BUTTERMIL Compact Disc 767004250120MFO42602 LILYS/EVERYTHING WRONG IS Compact Disc 767004260228MFO42909 DEAD KENNEDYS/FRESH FRUIT FOR CD with DVD 767004290928 MFR006 BEHERIT/WEREWOLF SEMEN AND BLO Compact Disc 4053817130060MFR010 BEHERIT/NORDIC DEMONS LIVE Compact Disc 4053817130107MFR014 MASTER/FOLLOW YO UR SAVIOR Compact Disc 4053817130145 MFVP127DVD WAKEMAN, R/CLASSICAL W AKEMAN 1 Digital Video Disc 5060230860640 MG1085 REBIRTH BRASS BA/ULTIMA TE REBI Compact Disc 096094108524 MG9002 HUMPHREY,W/NEW ORLEANS TR VOL Compact Disc 096094900227MG9003 VAR/NEW ORLEANS TRADITIONAL VO Compact Disc 096094900326 MH26118 BLUERUNNERS/THE CHAT EAU CHUCK Com pact Disc 019011611822 MH26122 DB'S,THE/PARIS AVENUE Compact Disc 019011612225 MH26123 CONTINENTAL DRIFTERS/CONTINENT Compact Disc 019011612324MH28131 STUART,D/CAN O' WORMS Compact Disc 784608813124 7 67004 29092 8 0 19011 61222 5 0 19011 61232 40 96094 90022 77 67004 24042 8 4 053817 130107 7 67004 25012 0 7 67004 26022 8 4 053817 130060 0 96094 10852 4 0 96094 90032 64 053817 130145 0 19011 61182 2 7 84608 81312 47 67004 22012 37 96627 00532 9 7 96627 00552 7 7 96627 00632 6 7 96627 00642 5 7 96627 00762 0 7 96627 00682 1 7 96627 00702 6 7 96627 00732 3 7 96627 00792 7 7 96627 00802 3 7 96627 00832 0 7 96627 00962 4 5 060230 860640 Page 434 of 496 November 12, 2014Catalogue Numbe rArtist / Title Config Scannable UPC UPC MH28132 PIERCE,JC/BAD GIRLS UPSET BY T Compact Disc 784608813223 MH28137 SUMMERS,B/ESSENCE OF KWANZAA Compact Disc 784608813728 MIG00880CD FARLOWE,C/THUND,THE/ BORN AGAIN Compact Disc 885513008800 MIG00900CD FARLOWE,C/HOTEL EINGANG Compact Disc 885513009005 MIG00922 SCHULZE,K/LA VIE ELECTRONI(3CD Compact Disc 885513009227 MIW000831 VAR/DEEP SEA BLUES (D VD) Digital Video Disc 813411018317 MIW101035 DILLARD,D/THE BANJO ALBUM(S.E. Compact Disc 813411010359MIW101036 NASHVILLE WEST/NASHVILLE WEST Compact Disc 813411010366 MIW101037 BLUEGRASS ETC./BLUEG RASS ETC. Compact Disc 813411010373 MIW101040 WHITE,C/33 ACOUSTIC GUITAR INS Compact Disc 813411010403 MIW101041 KENTUCKY COLONELS,THE/LIVIN' I Compact Disc 813411010410 MIW101061 RUNDGREN,T/FOR LACK OF HONEST Compact Disc 813411010618 MJR008 MUZIK,R/REELECTION Compact Disc 692287900823 MK10162 ELIGH/PRESENTS GANDA LF'S BEAT Compact Disc 765481862324 MLLCD12 GRAVE DIGGER/RHE INGOLD Compact Disc 807297163520 MM00010 BURNING STARR/BLAZE OF GLORY Compact Disc 747014583425 MM00018 FORRESTER,R/GONE WITH THE WIND Compact Disc 747014583623 MM00021 BOMB,A/FATAL ATTRACTION Compact Disc 747014583722 MM00105 FUTURE/THE GREATEST STORY(DVD Digital Video Disc 827191001056MM44485 TWENTY 4 SEVEN/DESTIN ATION EVE Compact Disc 747014448526 MM45774 FARCRY/HIGH GEAR Compact Disc 747014577424 MM806 SANDOVAL,A/ARTURO SANDOVAL & T Compact Disc 8436019588062 MM810 ORQUESTA CUBANA DE MSICA MO/OR Compact Disc 8436019588109 MM811 VALDES,B/& HIS SABOR DE CUBA O Compact Disc 8436019588116 MM812 PORTUONDO,O/DUETS Compact Disc 8436019588123 MMC04102 Y & T/UNEARTHED VOL.2 Compact Disc 825346639024 MMP3CDBOX002 KARMA TO BURN/MO UNTAIN MAMA'S Compact Disc 5907785029903 MMPCD0039 SIRRAH/ACME Compact Disc 59077850292868 07297 16352 08 85513 00900 57 84608 81372 8 8 85513 00880 0 7 47014 58362 3 7 47014 44852 6 8 25346 63902 47 47014 57742 4 8 436019 588109 7 47014 58342 57 84608 81322 3 5 907785 029903 5 907785 029286 8 13411 01037 3 8 13411 01041 0 6 92287 90082 38 13411 01036 68 13411 01035 9 8 13411 01040 38 85513 00922 7 8 436019 588116 8 436019 588123 8 436019 588062 7 47014 58372 28 13411 01061 8 7 65481 86232 4 8 27191 00105 68 13411 01831 7 Page 435 of 496 November 12, 2014Catalogue Numbe rArtist / Title Config Scannable UPC UPC MMPCD0054 VADER/REBORN IN CHAOS (REMASTE Compact Disc 5907785027916 MMPCD0057 VADER/KINGDOM Compact Disc 5907785029316MMPCD0062 VADER/DE PROFUNDIS (R EMASTERED Compact Disc 5907785023352 MMPCD0065DD BEHEMOTH/CHAOTICA: THE ESSENCE Co mpact Disc 5907785012776 MMPCD0123 ARTROSIS/IN NOMINE NOCTIS Compact Disc 5907785017832MMPCD0140 LUX OCCULTA/THE MOTH ER AND THE Compact Disc 5907785019096 MMPCD0199 SATELLITE/A STREET BETWEEN SUN Compact Disc 5907785023390MMPCD0227 CLOSTERKELLER/NERO Compact Disc 5907785024700MMPCD0296 DARZAMAT/SEMIDEVILISH Compact Disc 5907785025714MMPCD0561 ARCHEON/END OF TH E WEAKNESS Compact Disc 5907785031197 MMPDVD0132 CAAMORA/SHE (DVD) Digital Video Disc 5907785031623MMPDVD0187 RPWL/THE RPWL LIVE EXPERIENCE DVD + BNS CD 5907785034808 MODCD027 CUTCOPY/BRIGHT LIKE NEON LOVE Compact Disc 898926000125 MONO0182 VOGELBACHER,RP/SHRILL FALCONS Compact Disc 634457184923MONO0202 LOWER FORTY-EIGHTS /APERTURES Compact Disc 634457180727 MONO0232 STOUT,A/QUEENS LIVE IN CASKETS Compact Disc 634457193529 MOOD4601CD UNITED JAZZ & ROCK ENS/LIVE IN Compact Disc 707787460125MOOD4605CD UNITED JAZZ & ROCK ENS/PLAY WO Compact Disc 707787460521 MOOD4606CD DAUNER/SALUZZI/MARIANO/ONE NIG Compact Disc 707787460620MOOD4607CD UNITED JAZZ & ROCK ENS./BREAK Compact Disc 707787460729MOOD4608CD UNITED JAZZ/ROCK ENSEMBLE/ROUN Compact Disc 707787460828MOOD4611CD UNITED JAZZ/ROCK ENSEMBLE/DIE Compact Disc 707787461122 MOS824182 GREEN,B/MOSAIC SELECT - (3CD) Compact Disc 724358241822 MP001 RADIN,J/SIMPLE TIMES Compact Disc 858275001037 MQP1103 ADAMS,P/CRITICS CHOICE Compact Disc 094631199226MQP1109 LEVIEV,M/MULTIPLE PERSONALITIE Compact Disc 892094001007MQP1110 HELLO DALI/BEDTIME FOR BOB-O Compact Disc 892094001014MQP1112 QUINCHETTE,P/LIKE BASIE Compact Disc 0946367501255 907785 012776 5 907785 027916 5 907785 031197 5 907785 029316 5 907785 023352 5 907785 023390 7 07787 46082 8 7 07787 46112 25 907785 017832 5 907785 019096 5 907785 024700 5 907785 025714 7 07787 46062 0 7 07787 46072 9 7 24358 24182 2 0 94631 19922 6 8 92094 00100 7 8 92094 00101 4 0 94636 75012 58 98926 00012 5 7 07787 46012 5 7 07787 46052 16 34457 18072 76 34457 18492 3 6 34457 19352 9 8 58275 00103 75 907785 031623 5 907785 034808 Page 436 of 496 November 12, 2014Catalogue Numbe rArtist / Title Config Scannable UPC UPC MR27001 DJ SKRIBBLE & ANTHONY ACID/MDM Compact Disc 663609700124 MR40601 WAITS,T/THE EARLY YEARS V1 Compact Disc 767004060125 MR40602 WAITS,T/THE EARLY YEARS VOL.2 Compact Disc 767004060224MR40703 BUCKLEY,T/DREAM LETTER (CDX2) Compact Disc 767004070322MR40704 BUCKLEY,T/HONEYMAN Compact Disc 767004070421MR40705 BUCKLEY,T/LIVE AT THE TROUBADO Compact Disc 767004070520MR40706 BUCKLEY,T/THE DREAM BELONGS TO Compact Disc 767004070629 MR42901 DEAD KENNEDYS/PLASTIC SURGERY Compact Disc 767004290126MR42902 DEAD KENNEDYS/FRAN KENCHRIST Com pact Disc 767004290225 MR42903 DEAD KENNEDYS/BEDTIME FOR DEMO Compact Disc 767004290324 MR42904 DEAD KENNEDYS/GIVE ME CONVENIE Compact Disc 767004290423MR42905 DEAD KENNEDYS/MUTINY ON THE BA Compact Disc 767004290522MR42907 DEAD KENNEDYS/FRESH FRUIT FOR Compact Disc 767004290720MR42908 DEAD KENNEDYS/LIVE AT THE DEAF Compact Disc 767004290829 MR42910 DEAD KENNEDYS/MILKING THE SACR Compact Disc 767004291024 MR44301 EAST BAY RAY/LABYRINTH Compact Disc 767004430126 MR48001 FLO & EDDIE/PHLORESCENT LEECH Compact Disc 767004800127MR48002 TURTLES,THE/SAVE THE TURTLES:G Compact Disc 767004800226 MR48003 FLO & EDDIE/NEW YORK:TIMES Compact Disc 767004800325MR48004 FLO & EDDIE/ILLEGAL,IMMORTAL & Compact Disc 767004800424 MR800832 FRENTE/MARVIN THE ALBUM Compact Disc 035498008320MR801372 SQUIRREL NUT ZIPPER S/HOT Compact Disc 035498013720 MRCD6413 PLUMB,J/UNDER A ND OVER Compact Disc 823674641320 MRCD6418 PLASKETT,J/TRUTHFULLY TRUTHFUL Compact Disc 823674641825 MRCD6426 COWBOY JUNKIES/ONE SOUL NOW(LI Compact Disc 823674642624MRCD6427 COWBOY JUNKIES/ANATOMY OF A CD Compact Disc 823674642723MRCD6428 PILATE/FOR ALL THAT'S GIVEN Compact Disc EP's 823674642822MRCD6430 PLASKETT,J/LA DE DA Compact Disc 823674643027 8 23674 64132 0 8 23674 64262 48 23674 64182 5 8 23674 64272 3 8 23674 64302 76 63609 70012 4 7 67004 07062 9 7 67004 80022 67 67004 07042 17 67004 06022 4 7 67004 07032 2 7 67004 07052 0 7 67004 29032 4 7 67004 29102 4 7 67004 80012 7 0 35498 00832 0 0 35498 01372 07 67004 29012 6 7 67004 29022 5 7 67004 29052 2 7 67004 29082 9 7 67004 43012 6 7 67004 80032 5 7 67004 80042 47 67004 06012 5 7 67004 29042 3 7 67004 29072 0 8 23674 64282 2 Page 437 of 496 November 12, 2014Catalogue Numbe rArtist / Title Config Scannable UPC UPC MRCD6436 MINIATURES,T/AT THE SCENE OF T Compact Disc EP's 823674643621 MRCD6462 DEARS,T/GANG OF LOSERS Compact Disc 823674646226MRCD6498 FIREMAN,THE/ELECTRIC ARGUMENTS Compact Disc 823674649821MRCD6568 DAWN GOLDEN/STILL LIFE Compact Disc 823674656829 MRE033 MUTHSPIEL/SCHERRER/GRENADIER/M Compact Disc 9005321011330 MSR10041 VEGA,N/NICO VEGA Compact Disc 602517957701 MUBBD37 SLOAN/SMEARED Compact Disc 777488003723 MVD0501DD DEVO/LIVE:1980 (JEWEL CASE) Digita l Video Disc 022891050124 MVD0507CD KRUMMACHER,V/THE COCK CROWS AT Digital Video Disc 022891050728 MVD4946A RELM,M/SPECTACLE Compact Disc 718122907564MVD4948V RELM,M/CLOWN ALLEY (DVD) Digital Video Disc 760137494898 MVD5055D YES/ACOUSTIC (DVD ) Digital Video Disc 760137505594 MVD5065D MR.CHI PIG/OPEN YOUR MOUTH AND Digital Video Disc 760137506591MVD5117D REDMAN,D/AN AMERICAN JAZZ LIFE Digital Video Disc 760137511793MVD5119D VAR/BLOWING FUSES LEFT & (DVD) Digital Video Disc 760137511991 MVD5137D RESIDENTS,THE/RANDY'S GHOST ST Digital Video Disc 760137513797MVD5152D YES/YESSPEAK (DVD) Dig ital Video Disc 760137515296 MVD5163BR MORSE,S/SECTS, DREGS & ROCK N BLU RAY 760137516392 MVD5205A CREEPERSIN/DIEMONSTE RDIE/OTHER Compact Disc 760137520528 MVD5263A CREEPERSIN/CREEPERSIN REANIMAT Compact Disc 760137526322 MVD5369LP RESIDENTS,THE/FINGERPRINCE (LP Compact Disc 760137536918 MVD5388A ORIGINAL SOUNDTRACK /THE YANKLE Compact Disc 760137538820 MVD5457D CIRCLE JERKS/MY CAREER AS(DVD Digital Video Disc 760137545798 MVD5706D AC DC/DIRTY DEEDS(DVD) Digital Video Disc 760137570691MVD5707D BEACH BOYS/SURFIN SUCC ESS(DVD) Digita l Video Disc 760137570790 MVD5708D MARILYN MANSON/INNER SANCT(DVD Digital Video Disc 760137570899MVD5709D QUEEN/MERCURY RISING (DVD) Digital Video Disc 760137570998 MVD5710D SEX PISTOLS/AGENTS OF ANARCHY Digita l Video Disc 7601375710947 60137 51639 27 18122 90756 4 7 60137 52632 2 7 60137 53882 07 60137 53691 87 60137 52052 89 005321 011330 6 02517 95770 1 7 77488 00372 38 23674 65682 98 23674 64622 6 8 23674 64982 18 23674 64362 1 7 60137 50559 4 7 60137 51379 77 60137 49489 8 7 60137 51529 6 7 60137 57089 97 60137 57079 07 60137 51199 10 22891 05072 8 7 60137 50659 1 7 60137 51179 3 7 60137 57109 40 22891 05012 4 7 60137 57069 1 7 60137 57099 87 60137 54579 8 Page 438 of 496 November 12, 2014Catalogue Numbe rArtist / Title Config Scannable UPC UPC MVD5761A DELICIOUS DOO WOP AND/VOLUME 1 Compact Disc 760137576129 MVD5817A VAR/THE ULTIMATE TORCH Compact Disc 760137581727MVD5818A VAR/RAREST OF THE RARE GIRL GR Compact Disc 760137581826MVD5851A VAR/CUT INS VOLUME ONE Compact Disc 760137585121MVD5996A VAR/SINGING IN A WINTER WONDER Compact Disc 760137599623 MVD6503 TROUT, W/IN CONCERT Digital Video Disc 707787650373 MVD6506 WYMAN,B/RHYTHM KINGS IN CONCE Digital Video Disc 707787650670MVD6511 WINTER,E/IN CONCERT Digital Video Disc 707787651172 MVD6513 POPA CHUBBY/IN CONCE RT Digital Video Disc 707787651370 MVD6516 FORD,R/LIVE IN CONCERT Digital Video Disc 707787651691MVD6517 ASLEEP AT THE WHEEL/IN CONCERT Digita l Video Disc 707787651790 MVD6520 BROWN,C-GATEMOUTH/IN CONCERT Digital Video Disc 707787652094MVD6522 BALDRY,L-J/LIVE IN CONCERT Digital Video Disc 707787652292MVD6532 SOUTHSIDE JONNY AND T ASBUR/IN Digita l Video Disc 707787653299 MVDA4699 TOASTERS/CBGB OMFUG MASTERS:LI Compact Disc 022891469926MVDA4776 VAR/PUNK ROCK KARAOKE(DVD+CD) CD with DVD 760137477693MVDA4777 VAR/OUNK ROCK KARAOKE(CD+DVD) CD with DVD 760137477723MVDA4816 MARILLION/MARBLES Compact Disc 760137481621MVDA4831 MEATMEN/ROCK N ROLL JUGGERNAUT Compact Disc 760137483120MVDA4881 SLY & ROBBIE/LIVE 86 (2CD) Compact Disc 760137488125MVDA4886 CANDY NOW/CANDY NOW Compact Disc 760137488620 MVDHD4675 METHOD MAN/LIVE FROM SUNSET ST Digital Video Disc 022891467595 MVDINAK9077 FARLOWE,C/AT ROCKPALAST Compact Disc 707787907729 MVDV4574 ANDROMEDA/PLAYING OFF THE BOAR Digita l Video Disc 022891457497 MVDV4619 SIZZLA AND CAPLETON/CONSCIOUS Digital Video Disc 022891461999 MVDV4648 KISS/LOVES YOU D igital Video Disc 022891464891 MVDV4676 SMITHS,THE/INSIDE THE SMITHS Digital Video Disc 022891467694MVDV4678 DOGG PO UND/CHRONICLES:THE CLEV Digital Vi deo Disc 022891467892 7 60137 47769 3 7 60137 47772 3 7 60137 48162 17 60137 59962 3 0 22891 46992 67 60137 58512 1 7 60137 48862 07 60137 48312 0 7 60137 48812 5 7 07787 90772 97 60137 57612 9 7 60137 58172 7 7 60137 58182 6 0 22891 46759 5 0 22891 46789 20 22891 46199 9 0 22891 46769 47 07787 65037 3 7 07787 65169 1 7 07787 65229 2 0 22891 45749 77 07787 65137 0 7 07787 65179 0 7 07787 65209 4 7 07787 65329 97 07787 65117 27 07787 65067 0 0 22891 46489 1 Page 439 of 496 November 12, 2014Catalogue Numbe rArtist / Title Config Scannable UPC UPC MVDV4687 SOCIETY 1/CREATION OF SOUND AN Digita l Video Disc 022891468790 MVDV4688 VAR/EARACHE MY EYE Digital Video Disc 022891468899MVDV4689 IMMORTALISED/EARACHE RECORDS: Digital Video Disc 022891468998MVDV4690 EARACHE/I CRUSHER COMPLE TE(DVD Digita l Video Disc 022891469094 MVDV4723 VAR/DRUM PAD'S 20TH A NNIVERSAR Digita l Video Disc 022891472391 MVDV4724 BOZZIO,T/LIVE WITH THE TOSCA S Digital Video Disc 022891472490 MVDV4727 VAR/HEADS UP 2006 (DVD) Digital Video Disc 022891472797MVDV4730 VAR/HEADS UP 2007 (DVD) Digital Video Disc 022891473091 MVDV4731 BOZIO/MACHACEK/O'HEARN/OUT TRI Digital Video Disc 022891473190 MVDV4744 ALKAHOLIKS,THE/LIVE FROM REHAB Digital Video Disc 022891474494MVDV4766 MARILLION/SOMEWHERE IN LONDON Digital Video Disc 022891476696MVDV4768 LIMP BIZKIT/ROCK IN THE PARK 2 Digital Video Disc 760137476894MVDV4790 BROWN,J/DOUBLE DYNAMITE! Digital Video Disc 760137479093MVDV4882 VAR/PUNK IN LONDON Digital Video Disc 760137488293MVDV4883 VAR/PUNK IN ENGLAND Digital Video Disc 760137488392MVDV4884 VAR/REGGAE IN A BABYLON Digital Video Disc 760137488491 MVDV4916 SID VICIOUS/SID!BY TH OSE WHO R DVD + BNS CD 760137491699 MW004 VAR/K-TEL PRESENTS SUPERBAD Compact Disc 813411010045 MW007 VAR/JAZZ FOR LOVERS Compact Disc 813411010076MW008 VAR/DOO-WOP FOR LOVERS Compact Disc 813411010083MW013 DAVIS,S JR./SAMMY'S SWINGINEST Compact Disc 813411010137MW014 LEIBER & STOLLER/HO UND DOG:THE Compact Disc 813411010144 MW020 DECORMIER,B&L/WOODY GUTHRIE CH Compact Disc 813411010205MW027 QUATRO,M/GREATEST HITS (CD+DVD CD with DVD 813411010274 MW028 OBAMA,B/BARACK OBAMA: DAYS OF H Compact Disc 813411010281 MW032 GOLDBERG,B/BARRY GOLDBERG Compact Disc 813411010328MW046 CAMPBELL,G/DUETS Compact Disc 813411010465MW047 CHER/ALL I REALLY WANT TO DO:B Compact Disc 813411010472 8 13411 01027 4 8 13411 01028 18 13411 01013 7 8 13411 01014 48 13411 01008 38 13411 01004 5 8 13411 01007 6 8 13411 01020 5 8 13411 01032 8 8 13411 01046 5 8 13411 01047 27 60137 47909 30 22891 47669 6 7 60137 48839 20 22891 46889 9 0 22891 47449 40 22891 46899 8 0 22891 46909 40 22891 46879 0 7 60137 47689 4 7 60137 48829 3 7 60137 48849 10 22891 47309 10 22891 47279 70 22891 47239 1 0 22891 47249 0 0 22891 47319 0 7 60137 49169 9 Page 440 of 496 November 12, 2014Catalogue Numbe rArtist / Title Config Scannable UPC UPC MW048 GAYLE,C/TOP 10 COUNTRY HITS (2 Compact Disc 813411010489 MW052 STEWART,W/GREATEST COUNTRY HIT Compact Disc 813411010526 MW053 TUCKER,T/SINGLES & DOUBLES Compact Disc 813411010533MW055 SLIM WHITMAN/GREATEST COUNTRY Compact Disc 813411010557MW056 WILLIAMS,D/GREAT COUNTRY Compact Disc 813411010564MW060 ORCHESTRAL MANOEUVERS IN THE D Compact Disc 813411010601 MW062 FLYING LIZARDS,THE/THE FLYING Compact Disc 813411010625MW063 LOTHAR AND THE HAND PEOPLE/PRE Compact Disc 813411010632MW064 RIPERTON,M/PERFECT ANGEL Compact Disc 813411010649 MW065 SRC/MILESTONES Compact Disc 813411010656MW066 SRC/SRC Compact Disc 813411010663 MWM0662 WILSON,BC/JUST LOVE Compact Disc 879645006629MWM5112 SOLANGE/SOL-ANGEL & THE HADLEY Compact Disc 879645001112MWM5610 VARIOUS/KIDS RAP RADIO V5 Compact Disc 879645000610 MY23062 FIRKINS,M/BLACK LIGHT SONATAS Compact Disc 614286230626 MYSTCD024 SCEPTIC/ INTERNAL COMPLEXITY Compact Disc 5903427871589MYSTCD028 ARTROSIS/CON TRUST Compact Disc 5903427871671MYSTCD083 HAPPYSAD/MOW MI DOBRZE Compact Disc 5903427872494 MYSTCD165 TIDES FROM NEBULA/EARTHSHINE Compact Disc 5903427874658MYSTCD232 VOTUM/HARVEST MOON Compact Disc 5903427875945 MZ21066 SWEET/LIVE AT THE MARQUEE Compact Disc 747014433928 N4CD10 ROESY/COLOUR ME CO LOURFUL Compact Disc 5099386268116 NAD10002 STRAVINSKY/RACHMANIN OFF/LE SAC Compact Disc 032466000225 NASCD002 TALK,J/THINKING OUT LOUD Compact Disc 800505139324 NAVIGAT073 BELLOWHEAD /BROADSIDE Compact Disc 5052442002000 NBA10472 DIMMU BORGIR/DEATH CULT ARMAGE Compact Disc 727361104726NBA11222 MISERY INDEX/RETALIATE Compact Disc 727361112226NBA12489 DESTRUCTION/TOTAL DEST RUCTION Digital Video Disc 727361124892 8 00505 13932 45 903427 871671 8 13411 01056 48 13411 01048 9 5 099386 268116 0 32466 00022 58 13411 01065 6 5 903427 871589 5 903427 872494 5 903427 874658 5 903427 875945 7 47014 43392 88 13411 01066 38 13411 01053 3 8 13411 01055 7 8 13411 01060 1 7 27361 11222 67 27361 10472 68 13411 01052 6 8 13411 01062 5 8 13411 01063 2 8 13411 01064 9 5 052442 002000 6 14286 23062 68 79645 00061 08 79645 00662 9 8 79645 00111 2 7 27361 12489 2 Page 441 of 496 November 12, 2014Catalogue Numbe rArtist / Title Config Scannable UPC UPC NBA31010 TESTAMENT/DARK ROOTS OF(DLX)(1 DVD + BNS CD 727361310103 NBA31012 TESTAMENT/DARK ROOTS OF THR(2C Compact Disc 727361310127NBA62792 BORGIR,D/FOR LL TID Compact Disc 727361627928 NCD60155 BACH,JS & C.P.E./BACH MAGNIFIC Compact Disc 032466015526NCD60163 HUMMEL.JN/COMPLETE PIANO SONAT Compact Disc 032466016325 NCD601742 LIPKIN,S & STEINHARDT,A/SCHBER Compact Disc 032466017421 NG010 ISOBELLA/SURROGATE EM OTIONS O Compact Disc 616822014325 NG012 DEAR AND GLORIOUS PHYSICIAN/DE Compact Disc 616822036020NG013 ZILLIONAIRE/THE STREET LIGHTS Compact Disc 837101396356NG014 KING OF SPAIN/EN TROPY Compact Disc 616822060926 NG017 NEW ROMAN TIMES/ON THE SLEEVE Compact Disc 616822081228 NJPDVD620N CHICKENSHACK/IDRATHERGOLIVE Digital Video Disc 5055011707207 NJPDVD630 STACKRIDGE/THEFORBIDDENCITY Digital Video Disc 5055011706309 NMR0082 SWEANY,P BAND/C'MON C'MERE Compact Disc 707541807920 NMR0083 SWEANY,P/EVERY HOUR IS A DOLLA Compact Disc 794465849327 NMR0084 SWEANY,P/THAT OLD SOUTHERN DRA Compact Disc 845121030310 NMR0090 FANCY TRASH/THREE CHEERS FOR T Compact Disc 653496115026 NMR0112 ZYDEPUNKS,THE/FINISTERRE Compact Disc 884501002202NMR0121 STEPHANIE'S ID/WARM PEOPLE Compact Disc 881034355409 NMR0130 SLIDIN' SLIM/ONE MAN RIOT Compact Disc 801495187920 NMR0140 PRONSKY,R/DEPARTURES & ARRIVAL Compact Disc 794465854321 NMR0141 PRONSKY,R/VIEW FINDER Compact Disc 845121032123 NMR0142 PRONSKY,R/ONLY DA UGHTER Compact Disc 884501849517 NMR0150 PARLOUR STEPS/AMBI GUOSO Compact Disc 621365103924 NMR0151 PARLOUR STEPS/THE HI DDEN NAMES Compact Disc 830159005607 NMR0152 FIELD STUDY/FEVER LAND Compact Disc 888002973795 NMR0160 HASKARD,K/DON'T TELL Compact Disc 794465867529 NMR0170 HAUNT/THE DEEP NORTH Compact Disc 7944658771226 16822 01432 50 32466 01552 6 0 32466 01632 5 0 32466 01742 1 6 16822 03602 0 8 37101 39635 6 6 16822 06092 6 6 16822 08122 8 7 07541 80792 0 6 53496 11502 6 8 01495 18792 0 7 94465 86752 98 45121 03031 0 6 21365 10392 4 8 30159 00560 7 8 88002 97379 5 7 94465 87712 27 94465 85432 17 94465 84932 7 8 81034 35540 98 84501 00220 2 8 45121 03212 3 8 84501 84951 77 27361 31012 7 7 27361 62792 8 5 055011 707207 5 055011 706309 7 27361 31010 3 Page 442 of 496 November 12, 2014Catalogue Numbe rArtist / Title Config Scannable UPC UPC NMR0180 MAD TEA PARTY/FO UND A REASON Com pact Disc 796873039871 NMR0190 LUMINESCENT ORCHESTR II/NEPTUNE Com pact Disc 884501005685 NMR0200 BOULDER ACOUSTIC SO CIETY/PUNCH Co mpact Disc 827912089011 NMR0210 SHINYRIBS/WELL AFTER AWHILE Compact Disc 845121021073NMR0211 SHINYRIBS/GULF COAST MUSEUM Compact Disc 887845696069NMR0220 SPOUSE/CONFIDENCE Compact Disc 794465910720NMR0240 ETZIONI,M/MARVIN COUNTRY (2CD) Compact Disc 616892026846NMR0250 ANDERS AND KENDALL/WILD CHORUS Compact Disc 084854272899 NMR087CD SWEANY,P/CLOSE TO THE FLOOR Compact Disc 888002372949 NMR1001 REVEREDN RAVEN/SLO W BURN Compact Disc 786851320527 NMR1002 REVEREND RAVEN/LIVE A T BLUES Compact Disc 666186656822 NNR0100 FRITZEN,J/LOVE BIRDS Compact Disc 858370002489NNR0101 FRITZEN,J/V .I.P. Compac t Disc 858370002496 NNR0102 FRITZEN,J/DIAMONDS Compact Disc 858370002502NNR0103 FRITZEN,J/MAGICAL Compact Disc 858370002519 NOT003 GINUWINE/ELGIN Compact Disc 044003133402 NOT5002 GRANT LEE BUFFALO/C OPPEROPOLIS Compact Disc 617742500226 NOT5003 HITCHCOCK,R/STOREFR ONT HITCHCO Co mpact Disc 617742500325 NOT5005 HUNTERS AND COLLECTOR S/GHOST N Compact Disc 617742500523 NOT5008 SURF PUNKS/OH NO! NOT THEM AGA Compact Disc 617742500820NOT5009 SURF PUNKS/PARTY BOMB Compact Disc 617742500929NOT5012 CARROLL.J/PRAYING MANTIS Compact Disc 617742501223 NOT50212 TOY MATINEE/TOY MATINEE Compact Disc 617742502121 NOT50232 BONILLA,M/AMERICAN MATADOR Compact Disc 617742502329 NOT5025 BOOK OF LOVE/LULLABY Compact Disc 617742502527 NOT50282 LENNON,J/THE SECRET VALUE OF D Compact Disc 617742502824NOT50292 LENNON,J/MR.JORDAN (CD) Compact Disc 617742502923 NOT50302 LENNON,J/HELP YOURSELF (CD) Compact Disc 617742503029 6 17742 50302 98 58370 00251 9 6 17742 50052 3 6 17742 50082 0 6 17742 50092 9 6 17742 50122 36 17742 50022 6 6 17742 50032 5 6 17742 50212 1 6 17742 50252 78 84501 00568 5 7 86851 32052 7 6 66186 65682 2 8 58370 00248 9 8 58370 00249 6 8 58370 00250 26 16892 02684 6 0 84854 27289 9 8 88002 37294 98 27912 08901 17 96873 03987 1 8 45121 02107 3 7 94465 91072 08 87845 69606 9 6 17742 50282 4 6 17742 50292 36 17742 50232 90 44003 13340 2 Page 443 of 496 November 12, 2014Catalogue Numbe rArtist / Title Config Scannable UPC UPC NOT50312 ECHO & THE BUNNYMEN/ LIVE AT TH Compact Disc 617742503128 NOT50332 BROWN,J/TRAPPED IN TH E BODY OF Compact Disc 617742503326 NPD85646 HANDEL,GF/GLORIUS HANDEL SOPRA Compact Disc 032466564628NPD85665 MONCKTON,L/THE ARCADIANS Compact Disc 032466566523NPD85670 MARTIN,F/VIN HERBE Compact Disc 032466567025 NPD856802 CHRISTIANSON,B/A CHRI STMAS CAR Compact Disc 032466568022 NPR044 SIEBENBURGEN/GRI MJAUR Compact Disc 4001617272121 NPR067 HOLLENTHON/DOMU S MUNDI Compact Disc 4001617267721 NPR088 ABIGOR/SATANIZED Compact Disc 4001617233429NPR089 LACRIMAS PROFUND/BURNI NG: A WI Compact Disc 768586908928 NPR100 SIEBENBURGEN/PLAGUED BE THY AN Compact Disc 4001617240625 NPR106 MACTATUS/SUICIDE Compact Disc 4001617242124NPR110 MORGENSTERN/RAUSCH Compact Disc 693723247427NPR113 ENTHRONED/CARNAGE IN WORLDS BE Compact Disc 693723247526NPR116 GOLDEN DAWN/MASQUERADE Compact Disc 693723226521NPR119 SETHERIAL/FROM THE ANCIENT RUI Compact Disc 693723227627NPR120 BATTLELORE/SWORD'S SONG Compact Disc 693723228228NPR122 ELIS/GOD'S SILENCE DEVIL'S TEM Compact Disc 693723228426NPR136 SIRENIA/SIRENIAN SHORES Compact Disc 693723344324 NPR143LTD ATROCITY/ATLANTIS Compact Disc 693723342900 NPR144 COLLAPSE 7/IN DEEP SILENCE Compact Disc 693723343020 NPR149 ENTHRONED/XES HAERETICUM Compact Disc 693723344423NPR149 ENTHRONED/XES HAERETICUM Compact Disc 693723344423NPR150 FISSION/CRATER Compact Disc 693723343525 NPR155LTD DARKWELL/METATRON Compact Disc 693723013121 NPR160 TRAIL OF TEARS/FREE FALL INTO Compact Disc 693723370125 NPR160LTD TRAIL OF TEARS/FREE FALL INTO Compact Disc 693723013329NPR175LTD WELTENBRAND/END OF THE WIZARD Compact Disc 6937230204266 17742 50332 6 0 32466 56462 8 0 32466 56802 20 32466 56652 3 0 32466 56702 5 6 93723 34442 36 93723 22652 1 6 93723 34290 06 93723 24742 7 6 93723 24752 6 6 93723 34302 0 6 93723 34442 3 6 93723 37012 54 001617 272121 4 001617 233429 4 001617 240625 4 001617 242124 6 93723 02042 64 001617 267721 7 68586 90892 8 6 93723 22762 7 6 93723 34352 5 6 93723 01312 16 93723 22822 8 6 93723 22842 6 6 93723 01332 96 93723 34432 46 17742 50312 8 Page 444 of 496 November 12, 2014Catalogue Numbe rArtist / Title Config Scannable UPC UPC NPR214 ENTHRONED/TETRA KARCIST Compact Disc 693723504926 NPR219LTD VESANIA/DISTRACTIVE KILLUSION Compact Disc 693723025827 NPR225 ATROCITY/HALLUCINATIONS/THE HU Compact Disc 693723506524NPR229 ATROCITY/DIE LIEBE FT:DAS ICH Compact Disc 693723510026 NPR235 CATASTROPHIC/PATHOLOGY OF MURD Compact Disc 693723506227 NPR238LTD ATROCITY/WERK 80 II Compact Disc 693723510101 NPR240 EDENBRIDGE/MYEAR THDREAM Compact Disc 693723510927 NPR241 STUCK MOJO/SOUTHERN BORN KILLE Compact Disc 693723510422 NPR242LTD HOLLENTHON/OPUS MAGNUM Compact Disc 693723122021 NPR244 POWER QUEST/MASTER OF ILLUSION Compact Disc 693723511023 NPR247LTD TYR/LAND (CD+DVD) CD with DVD 693723351124NPR250LTD SERENITY/FALLEN SANCTUARY Compact Disc 693723311425 NPR260 MODERN AGE SLAVERY,TH E/DAMNED Compact Disc 693723307923 NPR261 GLITTERTIND/EVIGE ASATRO + TIL Compact Disc 693723512624 NPR263 ASMEGIN/ARV Compact Disc 693723507828NPR264 SETHERIAL/NORD + HELL ETERNAL Compact Disc 693723307329NPR272 IRON FIRE/TO THE GRAVE Compact Disc 693723308326 NPR278LTD SONS OF SEASONS/GOD S OF VERMIN Compact Disc 693723512006 NPR280LTD TRAIL OF TEARS/BLOODSTAINED EN Compact Disc 693723512808 NPR282 JUNGLE ROT/WHAT HORRORS AWAIT Compact Disc 693723511825 NPR290LTD ALESTORM/BLACK SAILS AT MIDNIG CD with DVD 693723512402NPR295LTD STREAM OF PASSION/FLA ME WITHIN Compact Disc 693723512907 NPR297 SYRACH/A DARK BURIAL Compact Disc 693723513324NPR306 SIEGFRIED/NI EBELUNG Compact Disc 782124000516 NPR313 TROLL/NEO-SATANIC SUPREMACY Compact Disc 885470000121 NPR327LTD SVARTSOT/MULMETS VISER Compact Disc 885470000282 NPR331 EDENBRIDGE/SOLITAIRE Compact Disc 885470000817NPR339 LEAVESÂ EYES/NJORD FAN EDITION Compact Disc 8854700005036 93723 35112 4 6 93723 51240 2 8 85470 00028 26 93723 51002 6 6 93723 51042 2 6 93723 30792 3 6 93723 51182 5 6 93723 51332 46 93723 50492 6 6 93723 51010 1 6 93723 12202 1 6 93723 31142 5 6 93723 51200 6 6 93723 51280 8 6 93723 51290 7 8 85470 00081 76 93723 50782 86 93723 02582 7 6 93723 30732 9 7 82124 00051 6 8 85470 00012 16 93723 50622 7 6 93723 51092 7 6 93723 51102 3 6 93723 51262 4 6 93723 30832 66 93723 50652 4 8 85470 00050 3 Page 445 of 496 November 12, 2014Catalogue Numbe rArtist / Title Config Scannable UPC UPC NPR343 REVOLUTION RENAISSANCE/TRINITY Compact Disc 885470001326 NPR358 SEVENTH VOID/HEAVEN IS GONE Compact Disc 885470001715 NPR361LTD SERENITY/DEATH & LEGACY Compact Disc 885470001883NPR375LTD LEAVES' EYES/MEREDAED (CD+DVD) CD wi th DVD 885470002194 NPR379 KARMA TO B URN/V Compact Disc 885470002293 NPR380LTD TYR/LAY OF THRYM Compact Disc 885470002323NPR403LTD IRON FIRE/VOYAGE OF THE DAMNED Compact Disc 885470003016 NPR413 HELLSAW/TRIST Compact Disc 885470003191 NPR417LTD XANDRIA/NEVERWORLD' S END-LTD Compact Disc 885470003160 NR006 AZOIC,THE/FORWARD Compact Disc 751937170921NR044 NULL DEVICE/SUSPENDING BELIEF Compact Disc 654367469392 NR96032 WRIGHT,J/AT CROSS PURPOSES Compact Disc 041871960321 NRO32102 SLEEPTHIEF/LABYRINTHIN E HEART Compact Disc 754863210228 NSD158 HAVOC/13 Compact Disc 822720715824 NSF00121 PINK/REVOLUTION(DVD) Digital Video Disc 827191001216NSF00122 KEYS,A/KEYS TO KEYS(DV D) Digital Video Disc 827191001223 NUG1002 SCHOFIELD,M/LIVE FROM THE ARCH Compact Disc 5065001293054 NUG702 SCHOFIELD,M TRIO/EAR TO THE GR Compact Disc 689076112369 NVR014 LIBRARY VOICES/SUMMER OF LUST Compact Disc 823674006228 NVS006320 NEKROMABTIX/CURSE OF THE COFFI Compact Disc 5017273006320 OCT21947 VARIES-VARIOUS/MAMAN: 25 CHANS Compact Disc 619061194728OCT22028 VARIOUS/LE MEILLEUR DE LA BONN Compact Disc 619061202829OCT22178 VARIOUS/LA VOIX DES ANGES Compact Disc 619061217823 OD7347 CANADIAN BRASS/LE GENDS Compact Disc 776143734729 OD7350 CANADIAN BRASS/JA ZZ ROOTS Compact Disc 776143735023 OD7368 CANADIAN BRASS & TH E EASTMAN W Compact Disc 776143736822 OD7369 KELLY,S/CHRISTMAS GUITAR Compact Disc 776143736921 ODR7334 CANADIANBRASS/WEDDI NG ESSENTIA Compact Disc 7761437334258 85470 00219 4 5 065001 293054 6 89076 11236 90 41871 96032 1 5 017273 006320 7 51937 17092 1 6 54367 46939 2 8 22720 71582 4 8 23674 00622 88 85470 00188 3 8 85470 00229 3 8 85470 00319 18 85470 00301 6 8 85470 00316 08 85470 00132 6 8 85470 00171 5 8 85470 00232 3 6 19061 19472 8 6 19061 20282 9 6 19061 21782 3 7 76143 73342 57 76143 73502 37 76143 73472 9 7 76143 73692 17 76143 73682 27 54863 21022 8 8 27191 00122 38 27191 00121 6 Page 446 of 496 November 12, 2014Catalogue Numbe rArtist / Title Config Scannable UPC UPC ODR7336 CANADIAN BRASS/HIGH SOCIETY:JA Compact Disc 776143733623 ODR7340 KELLY,S/THE #1 CLASSICAL GUITA Compact Disc 776143734026ODR7345 VAR/CHRISTMAS TRADIT ION-MUSIC Compact Disc 776143734521 ODR7346 CANADIAN BR ASS/BACH Compact Disc 776143734620 ODR7371 CANADIAN BRASS/SWING THAT MUSI Compact Disc 776143737126 ODR7380 CANADIAN BRASS/ECHO:G LORY OF G Compact Disc 776143738024 ODR7382 CANADIAN BRASS/STAR S & STRIPES Compact Disc 776143738222 ODR7383 CANADIAN BRASS & BR AID,D/SPIRI Co mpact Disc 776143738321 ODR7384 NELSEN,J/BRAHMS/MOZART:TRIO FO Compact Disc 776143738420ODR7396 ENSEMBLE VIVANT/HOMAGE TO ASTO Compact Disc 776143739625ODR7407 H2;H2/FLIGHTS Compact Disc 776143740423ODR7411 RAMM,A/PIANO DREAMS Compact Disc 776143741123ODR7412 CHUNG-OO/INVITATION TO ROMANCE Compact Disc 776143741222 ODR7413 KELLY,S/WHERE THE WOOD MEETS T Compact Disc 776143741321ODR7415 CANADIAN BRASS/BRAHMS ON BRASS Compact Disc 776143741529 ODR7416 CANADIAN BRASS/CANA DIAN BRASS Co mpact Disc 776143741628 ODR9301 LAUGHTON,S&W/OPENING DAY Compact Disc 776143000121ODR9302 LICHTI/FIALK/SCHUBERT: SCHWANEN Compact Disc 776143000220 ODR9303 LAUGHTON,S&WILLIAM/BAROQUE BAN Compact Disc 776143000329ODR9305 FIALKOWSKA,J/FIALKO WSKA PLAYS Compact Disc 176143000723 ODR9307 SCHAFER,RM/PATRIA Compact Disc 776143000824ODR9310 FALLIS,ML/PRIMADONNA ON A MOOS Compact Disc 776143002125ODR9311 LICHTI,D/DANIEL LICHTI SINGS B Compact Disc 776143931128ODR9312 FIALKOWSKA,J/PL AYS CHOPIN Compact Disc 776143931227 ODR9315 TRIOLYRA/HARBORD STREET Compact Disc 776143931524ODR9316 BURASHKO,A/BURASHKO PLAYS PROK Compact Disc 776143931623 ODR9318 FIALKOWSKA,J/CHOPIN BOOK TWO Compact Disc 776143931821 ODR9319 HANNAFORDSTREET/H EAVY METAL Compact Disc 7761439319207 76143 00012 1 7 76143 00022 0 7 76143 00032 9 1 76143 00072 3 7 76143 00082 4 7 76143 00212 5 7 76143 93112 8 7 76143 93122 7 7 76143 93152 4 7 76143 93162 3 7 76143 93182 1 7 76143 93192 07 76143 73362 3 7 76143 73462 0 7 76143 73712 67 76143 73452 1 7 76143 73802 4 7 76143 73822 2 7 76143 74042 3 7 76143 74112 3 7 76143 74122 2 7 76143 74132 1 7 76143 74152 9 7 76143 74162 87 76143 73402 6 7 76143 73842 07 76143 73832 1 7 76143 73962 5 Page 447 of 496 November 12, 2014Catalogue Numbe rArtist / Title Config Scannable UPC UPC ODR9321 BECKWITHENSEMBLE,T/A LA CLAIRE Compact Disc 776143932125 ODR9322 FIALKOWSKA,J/TRANSCE NDENTAL LI Compact Disc 776143932224 ODR9324 HANNAFORDSTREET/VOICES ON HIGH Compact Disc 776143932422ODR9325 SCHAFER,RM/CREDO Compact Disc 776143932521ODR9330 CANADIAN BRASS/MA GIC HORN Com pact Disc 776143933023 ODR9332 CANADIANBRASS/JOYF UL SOUNDS Compact Disc 776143933221 ODR9335 HANNAFORDSTREET/CONNECTIONS IN Compact Disc 776143933528ODR9337 CANADAINBRASS&ELMERI SELER/PEOP Compact Disc 776143933726 ODR9338 TOMKINS,G/AND SO IT GOES Compact Disc 776143933825ODR9339 CANADIANBRASS/CEL EBRATION Compact Disc 776143933924 ODR9348 ENSEMBLE VIVANT/AUDIENCE FAVOU Compact Disc 776143934822ODR9379 ENSEMBLE VIVANT/FETE FRANCAIS Compact Disc 775020942127 ODR99012 LEGENDARYENTERTAINERS/WE'RE FR Compact Disc 176143001027 OFTCD003 LEVELLERS/UNDE RGROUND Com pact Disc 5025425101656 OGL815652 KILLER PUSSY/BIKINI WAX Compact Disc 790058156520OGL816002 SPAROCKS/TERMINAL JIVE Compact Disc 790058160022OGL816052 SPAROCKS/12 MIXES Compact Disc 790058160527OGL820012 WROCKERS/STRANGER THAN FICTION Compact Disc 790058200124OGL820092 KRIEGER,R/CINEMATIX Compact Disc 790058200926OGL820132 GURYAN,M/25 DEMOS Compact Disc 790058201329OGL820152 LAUPER,C/SHINE Compact Disc 790058201527 OGL820182 FOX,K/RETURN TO THE PLANET EAR Compact Disc 790058201824 OGL820282 PACK,D/UNBORN Compact Disc 790058202821OGL891082 SOUNDTRACK/SEX-O-RAMA 2 Compact Disc 790058910825 OGL891102 STAR WARS/COCTAILS IN THE CANT Compact Disc 790058911020 OGL891252 VAR/LISTEN TO WHAT THE MAN SAI Compact Disc 790058912522OGL891272 UNITEDWESTAND/SONGS FOR AMERIC Compact Disc 790058912720OGL891302 ARROGANTWORMS,T/BEST OF-GIFT W Compact Disc 790058913024 7 90058 20182 4 7 90058 91102 07 76143 93382 57 76143 93212 5 7 76143 93222 4 7 76143 93242 2 7 76143 93252 1 7 76143 93322 1 7 76143 93352 8 7 76143 93392 4 1 76143 00102 77 76143 93372 6 7 76143 93482 2 7 75020 94212 77 76143 93302 3 7 90058 15652 0 7 90058 20012 4 7 90058 91272 07 90058 91082 57 90058 20282 17 90058 20132 9 7 90058 91252 2 7 90058 91302 47 90058 16002 2 7 90058 16052 7 7 90058 20092 6 7 90058 20152 75 025425 101656 Page 448 of 496 November 12, 2014Catalogue Numbe rArtist / Title Config Scannable UPC UPC OGL891372 MANZAREK,R/LOVE HER MADLY Compact Disc 790058913727 OHH308122 PEOPLE UNDER THE STAI RS/THE OM Compact Disc 600353081222 OIE00182 BACKYARD TIRE FIRE/ VAGABONDS A Compact Disc 837101248693 OIE0102 VON FRICKLE/A RRHYTHMIA Compact Disc 837101185479 OIE0122 BALANCE II/BALA NCE II Com pact Disc 094922604750 OIE0142 CURTIS/BLUE ELECTR IC COOL Compact Disc 825346751429 OIE0152 BLAKELY,J/NAGLE,R/TA N MANTIS Compact Disc 837101222471 OJCCD106 MONTGOMERY,W/FULL HOUSE Compact Disc 025218610629 OJCCD10852 DAVIS,E & GRIFFIN,J/BATTLE STA Compact Disc 025218708524 OJCCD124 ROLLINS,S/TENOR MADNESS Compact Disc 025218612425OJCCD140 EVANS,B-TRIO/SUNDAY AT T VILLA Compact Disc 025218614023 OJCCD291 ROLLINS,S/SAXOPHONE COLOSSUS Compact Disc 025218629126OJCCD296 DAVIS,M/WORKIN' WITH T MILES D Compact Disc 025218629621OJCCD389 PEPPER,A/T WAY IT WAS Compact Disc 025218638920 OJCCD41 PARKER,C/BIRD AT ST.NICKS Compact Disc 025218604123 OJCCD53 M.DAVIS/AND HO RNS Compact Disc 025218605328 OJCCD6 DAVIS,M/T NEW MILES DAVIS QUIN Compact Disc 025218110624 OJCCD68 EVANS,B-TRIO/EVERYBODY DIGS EV Compact Disc 025218606820 OJCCD910 MANNE,S/BELLS ARE RINGING Compact Disc 025218691024 OMM300362 PEOPLE UNDER THE/QU ESTION IN Compact Disc 600353003620 OMM308202 KASKADE/THE OM REMIXES Compact Disc 600353082021 ONE1031 MOTORHEAD/CATCH SCRATCH FEWER Compact Disc 9196631210312 OOM7775 SLIM MAN/ALL I WANT FOR CHRIST Co mpact Disc 702621777520 OOM7778 SLIM MAN/SOLSTICE Compact Disc 837101262880OOM7779 SLIM MAN/CHRIST MAS EVE Compact Disc 884501062190 OOM7781 SLIM MAN/THOUSAND MILES AWAY Compact Disc 884501356756OOM7783 SLIM MAN/SLIM MAN LIVE Compact Disc 884501766012 OP33788 BENTLEY,Z/STRIDE Compact Disc 7761433788240 25218 61402 3 0 25218 62912 6 0 25218 63892 0 0 25218 60412 3 0 25218 69102 40 25218 61062 9 0 25218 61242 5 0 25218 62962 1 0 25218 60682 0 8 37101 26288 09 196631 210312 7 02621 77752 0 8 84501 06219 0 8 84501 35675 6 8 84501 76601 20 25218 70852 4 0 25218 60532 8 0 25218 11062 4 6 00353 08202 1 7 76143 37882 48 37101 24869 3 8 37101 18547 9 0 94922 60475 0 8 25346 75142 9 8 37101 22247 16 00353 08122 2 6 00353 00362 07 90058 91372 7 Page 449 of 496 November 12, 2014Catalogue Numbe rArtist / Title Config Scannable UPC UPC OP33789 HUTCHINGS,R/ATLANTIC AVENUE Compact Disc 776143378923 OP33795 MILLS,T/ATHABASCA Compact Disc 776143379524OP33798 SELASEE ATIASE/RUN Compact Disc 776143379821 OP33799 HUTCHINGS,R/THE D AYS BEFORE Compact Disc 626776816227 OP33801 CRASH KELLY/ONE MORE HEART ATT Compact Disc 776143380124OP33809 HOLNESS,N AKA X-QUISIT E/UNRELE Compact Disc 776143380926 OPCD141 LOST SOUL/UBERMENSCH Compact Disc 4015698235821 OPECD7388 VAR/A VERY MERRY CHRISTMAS Compact Disc 776143738826 OPECD7414 H2/HOME FOR THE HOLIDAYS Compact Disc 776143741420 ORBM7335 RASCAL FLATTS/NOTHING LIKE THI Compact Disc 823674733520 ORCD7227 BRODY,D/TRAIL IN LIFE Compact Disc 823674722722 ORO0042 GROUCH/DON'T TALK TO ME Compact Disc 693405000425 ORO32002 MYSTIK JOURNEYMEN/B LACK SANDS Compact Disc 659057013824 ORPH91214 JACKSON,F/DIAMOND COLLECTION Compact Disc 802469121421ORPH91223 WHITE,R/KEEP RI DING Compact Disc 802469122329 PACD23107592 FITZGERALD,E & PETERSON,O/EL(R Compact Disc 025218483322PACD23109732 VAR/BLUES AROUND THE CLOC K Compact Disc 025218097321 PADVD001 FERGUSON,M/LIVE FROM THE KING Digital Video Disc 880423000104 PALMCD2122 BURNINGSPEAR/MARCUS GARVEY Compact Disc 660200212223 PAUK2N HOGARTH,S/NAKED IN TH E CHAPEL Digita l Video Disc 5060108070485 PCD2310968 PASS,J/RESONA NCE Compact Disc 025218096829 PDROPCD1 AITKEN,L/SKA WI TH LAUREL Compact Disc 5013929680128 PDROPCD10 AITKEN,L/VOODOO WOMAN-MUSIC FO Compact Disc 5013929681026PDROPCD11 AITKEN,L/EVERYBODY SKA! RUDI G Compact Disc 5013929681125 PDROPCD12 VAR/BOSS REGGAE SOUNDS-REGGAE Compact Disc 5013929681224 PDROPCD2 AITKEN,L/SAYS FIRE Compact Disc 5013929680227 PDROPCD3 AITKEN,L/HIGH PRIEST OF REGGAE Compact Disc 5013929680326PDROPCD4 AITKEN,L/SCANDAL IN A BRIXTON Compact Disc 50139296804250 25218 48332 2 0 25218 09682 90 25218 09732 1 5 013929 681224 5 013929 680128 5 013929 681026 5 013929 681125 5 013929 680227 5 013929 680326 5 013929 680425 4 015698 235821 7 76143 37892 3 7 76143 37982 17 76143 37952 4 7 76143 38012 4 7 76143 38092 66 26776 81622 7 7 76143 73882 6 7 76143 74142 0 8 23674 72272 28 23674 73352 0 6 93405 00042 5 6 59057 01382 4 8 02469 12142 1 8 02469 12232 9 6 60200 21222 38 80423 00010 4 5 060108 070485 Page 450 of 496 November 12, 2014Catalogue Numbe rArtist / Title Config Scannable UPC UPC PDROPCD5 AITKEN,L/THE ORIGINAL COOL JAM Compact Disc 5013929680524 PDROPCD6 AITKEN,L/THE ANTASTIC LAUREL A Compact Disc 5013929680623PDROPCD8 AITKEN,L/BOOGIE IN MY BONES Compact Disc 5013929680821PDROPCD9 AITKEN,L/YOU GOT ME ROCKIN-THE Compact Disc 5013929680920 PDROPCDD7 AITKEN,L/ANTHOLOGY -THE GODFATH Compact Disc 5013929680722 PESS0282 16/SCOTT CASE Compact Disc 793061902825 PFC3184102 ELLIOTT,G/SUGAR SWEET Compact Disc 888072318410 PFL0232 ANGELIC PROCESS/WEIGHI NG SOULS Compact Disc 616892895527 PG2DVD120 DYLAN,B/1978-1989 (CD+DVD) CD with DVD 823564517896 PGCDR5 GABRIEL,P/SO (REM ASTERED) Compact Disc 180030000680 PGDVD105 BEASTIE BOYS/COMPLETE STORY (D Digita l Video Disc 823564511498 PGDVD114 GUNS N ROSES/THE ROAD TO DEMOC Digit al Video Disc 823564516097 PGRP0001 DEXTER,T/LISTEN Compact Disc 812044010002 PIASA040CD MORCHEEBA/BLOOD LIKE LEMONADE Compact Disc 843798000148 PIASA37CD VITALIC/FLASHMOB Compact Disc 843798000087PIASA38CD SOAP & SKIN/LOVETUNE FOR VACCU Compact Disc 843798000094PIASA39CD NEW YOUNG PONY CLUB/THE OPTIMI Compact Disc 843798000100PIASA46CD JOAN AS POLICE WOMAN/THE DEEP Compact Disc 843798000483PIASA55CD DEAD CAN DANCE/ANASTASIS Compact Disc 843798000933PIASA57CD DEAD CAN DANCE/IN CONCERT Compact Disc 843798001084 PJ10023 DUSTY AND THE LOVENOTES/WHAT D Compact Disc 829166100238PJ22830 COOPER,R/TABERNACLE Compact Disc 783707228303PJ26220 MITCHELL,R/JAZZY ME,LIVE IN JA CD with DVD 700261262208PJ82462 CASTRO,E/SACRED GRAFFITI Compact Disc 829166824622PJ82682 WILLIAMS,L/HEALING WITHIN Compact Disc 829166826824 PL06012 1986/NIHILISM IS NOTHING TO WO Compact Disc 634457175426 PLAN9023 MCEUEN,J & IBBOTSON,J/STORIES Compact Disc 601183902329 PLU500272 JONBENET/PLOT THICKENS Compact Disc 6584450027238 23564 51789 6 7 00261 26220 88 88072 31841 0 7 83707 22830 38 29166 10023 8 8 29166 82462 2 8 29166 82682 4 6 01183 90232 95 013929 680722 5 013929 680524 5 013929 680623 5 013929 680821 5 013929 680920 1 80030 00068 07 93061 90282 5 6 58445 00272 36 16892 89552 7 6 34457 17542 68 12044 01000 2 8 43798 00093 38 43798 00014 8 8 43798 00010 08 43798 00008 7 8 43798 00009 4 8 43798 00048 3 8 43798 00108 48 23564 51609 78 23564 51149 8 Page 451 of 496 November 12, 2014Catalogue Numbe rArtist / Title Config Scannable UPC UPC PLU500312 IMPERIAL/WE SAIL AT DAWN Compact Disc 658445003126 PLU500322 ORANGEBURG MASSA CRE/MOOREA Compact Disc 658445003225 PLX7029 WILCO/I AM TRYING TO BREAK YO U BLU RAY 082354004729 PMR0012 DAMEMAS/LET YOUR TAPE ROCK Com pact Disc 600064900126 PMTD0 YAHOWHA 13/2013 (2CD+DVD)-LTD CD with DVD 760137999027 PMVD001 GG ALLIN/CARNIVAL OF EXCESS(CD Compact Disc 642640304829 POP105 VAR/HOUSE AFFAIR: VOL.2 Compact Disc 890701001105POP106 VAR/HOUSE MUSIC MILANO Compact Disc 890701001112POP107 VAR/CHILL HOUSE TOKYO Compact Disc 890701001129POP108 VAR/CHILL HOUSE C APE TOWN Compact Disc 890701001136 POP109 VAR/AN EXCITING HOUSE MIX Compact Disc 890701001143 PP001 KISS/SATANIK KREATURES:INTERVI Digital Video Disc 603777900193PP002 PINKFLOYD/THE DARK SIDE:INTERV Digital Video Disc 603777900292PP005 KIS/KRAZY KILLER (DVD) Digital Video Disc 603777900599 PP006 PINK FLOYD/SHINE ON - DVD Digital Video Disc 603777900698PP008 ACDC/THUNDER ROCK (D VD) Digital Video Disc 603777900896 PP010 CLAPTON,E/LAYLA (DVD) Digital Video Disc 603777901091 PP012 LED ZEPPELIN/WAY DOWN INSIDE Digita l Video Disc 603777901299 PP016 ABBA/DANCING QUEEN Digital Vi deo Disc 603777901695 PP019 MADONNA/VIRGIN INTERVIEWS UNAU Digital Video Disc 603777902593PP020 NIRVANA/TEEN SPIRIT UNAUTHORIZ Digital Video Disc 603777902692PP021 AEROSMITH/PUMPING ANGEL INTERV Digital Video Disc 603777902791PP023 GUNS N ROSES/DESTRUCTI VE APPET Digital Video Disc 603777902999 PP024 EAGLES/CALIFORNIA NIGHTS UNAUT Digital Video Disc 603777903095PP027 SPICE GIRLS/ZIG-A-ZIG- AHHH(DVD Digital Video Disc 603777903392 PPCD005 DOOLALY,S/RELOADED 2 Compact Disc 4250250400631PPCR025 CRAY,R/THE ROBERT CRAY COLLECT Digital Video Disc 5013929402553PPCR027 NEW KIDS ON THE BLOCK/HANGIN' Digital Video Disc 50139294027510 82354 00472 9 7 60137 99902 7 8 90701 00113 68 90701 00112 98 90701 00110 5 8 90701 00111 2 8 90701 00114 3 4 250250 400631 6 42640 30482 96 00064 90012 66 58445 00312 6 6 58445 00322 5 6 03777 90019 3 6 03777 90109 1 6 03777 90299 9 6 03777 90339 26 03777 90259 3 5 013929 402553 6 03777 90269 26 03777 90169 56 03777 90059 9 6 03777 90279 1 6 03777 90309 56 03777 90029 2 5 013929 402751 6 03777 90069 8 6 03777 90129 96 03777 90089 6 Page 452 of 496 November 12, 2014Catalogue Numbe rArtist / Title Config Scannable UPC UPC PPK007 LIKE A STORM/THE END OF THE BE Compact Disc 813985010038 PPR112302 LOVELY,K/STILL THE RAIN Compact Disc 884501301770 PRCD110272 SCOTT,S/QUEEN OF THE ORGAN:SHI Compact Disc 025218312721 PRCD70862 GARLAND,R/RED GARLAND'S PIANO Compact Disc 025218487627PRCD82252 DORHAM,K/QUIET KENNY (REMASTER Compact Disc 025218482929PRCD82702 DOLPHY,E/FAR CRY (REMASTERED) Compact Disc 025218484923 PRD037 OST/RAIN MAN Compact Disc 827034003728PRD056 MORRICONE,E/ARENA/MORRICONE UN Compact Disc 827034005623 PRDVD36 RUSBY,K/LIVE AT CHRIST MAS(DVD) Digita l Video Disc 5060066680191 PRMCD2011 CHAPMAN,R & FAMILY/ROGER CHAPM Compact Disc 805520290111 PRO106 BLAQ POET/BLAQ OUT Compact Disc 890701001211PRO107 MMO/OPOMONOPO Compact Disc 890701001228PRO130 GRAFH/BEST OF GRAF H:CLASSIC SH Co mpact Disc 890701001457 PRO137 DJ E-Z ROCK/SPITTAZ VOL.1 MIXE Compact Disc 890701001525PRO140 DOITALL/AMERICAN DU Compact Disc 890701001556PRO141 RAYVON/RAYVO N Compact Disc 859553002005 PRO142 STREET,J/TASTY Compact Disc 890701001570 PRO145 DJ ENVY/AUDIO UPRISING VOL.1 Compact Disc 890701001617 PROPERBOX106 JACKSON,M/COME TO JESUS Compact Disc 805520021067 PROPERBOX10 7FOLEY,R/HILLBILLY FEVER Compact Disc 805520021074 PROPERBOX110 VAR/THE LOUISIANA HAYRIDE Compact Disc 805520021104 PROPERBOX13 KENTON,S/THE STAN KENTON STORY Compact Disc 604988991321 PROPERBOX14 HAWKINS,C/THE BEBOP YEARS Compact Disc 604988991420 PROPERBOX35 PIAF,E/LOVE AND PASSION Compact Disc 604988993523 PROPERBOX47 JORDAN,L/JIVIN'WITH JORDAN Compact Disc 805520020473PROPERBOX56 VAR/SWING TANZEN VERBOTEN:SWIN Compact Disc 805520020565 PROPERBOX58 HODGES,J/THE J EEP IS JUMPIN' Compact Disc 805520020589 PROPERBOX59 BROWN,M/DADDY OF WESTERN SWING Compact Disc 8055200205960 25218 31272 1 0 25218 48492 30 25218 48762 7 0 25218 48292 9 8 90701 00152 5 8 59553 00200 5 8 90701 00157 08 90701 00121 1 8 90701 00155 68 27034 00562 3 8 90701 00145 78 27034 00372 88 84501 30177 0 8 05520 29011 1 6 04988 99142 0 8 05520 02058 98 05520 02106 7 6 04988 99352 38 90701 00122 8 8 05520 02110 48 13985 01003 8 8 90701 00161 7 8 05520 02107 4 8 05520 02059 66 04988 99132 1 8 05520 02047 3 8 05520 02056 55 060066 680191 Page 453 of 496 November 12, 2014Catalogue Numbe rArtist / Title Config Scannable UPC UPC PROPERBOX69 ELDRIDGE,R/LITTLE JAZZ TRUMPET Compact Disc 805520020695 PROPERBOX75 VAR/SWINGING HOLLYWOOD HILLBIL Compact Disc 805520020756 PROPERBOX9 VAR/HITTIN'ON ALL SIX:A HISTOR Compact Disc 604988990928 PRR043 FIELDING,J/THE GAUNTLET Compact Disc 827034004329PRR049 OST/LILIES OF THE FIELD Compact Disc 827034004923 PRR152 FREQUENCY DRIFT/GHOSTS Compact Disc 837792008354 PRR237 FROBERG, HASSE/FUT URE PAST FUT Compact Disc 837792008262 PRR309 NINE STONES CLOSE/TRACES Compact Disc 837792008309PRR401 PERSPHONE'S DREAM/PAN:AN URBAN Compact Disc 837792008200PRR561 PRESTO BALLET/RELIC OF THE MOD Compact Disc 879198009740PRR770 FRAMEPICTURES/REMEMBER IT Compact Disc 837792008132PRR790 SKY ARCHITECT/EXCAVATIO N OF TH Compact Disc 837792008163 PRR840 INTERSPHERES/INTERSPHERES-ATMO Compact Disc 837792008224 PRRI761402 MR. KNIGHTOWL/NO REGRETS Compact Disc 795957614027PRRI761502 SOUTHSIDE SOLDIERS/STREET LEGE Compact Disc 795957615024PRRI761762 CUETE/ROUND TOWN E MUSIC Compact Disc 795957617028 PRRI762102 SOUTHSIDE SOLDIERS/GANGSTA CHR Compact Disc 795957621025PRRI762202 MR.KNIGHT OWL/JAIL BIRD Compact Disc 795957622022PRRI762302 MR.KNIGHT OWL/KNIGHTMARES Compact Disc 795957623029PRRI762602 LIL'SICKO/LET'S RIDE Compact Disc 795957626020PRRI762802 CUETE/LEGEND OF A GANGSTER Compact Disc 795957628024 PRRRI761102 SOUTHSIDE SOLDIERS/N EW WEST CO Compact Disc 795957611026 PRSA7120 EVANS,G/GIL EVANS & TE N SACD4Stereo/Surround/CDAud 025218730426 PSY40422 INSANE CLOWN POSSE/HE LL'S PIT( Compact Disc 756504404225 PSY40512 TWIZTID/MAN'S MYTH VOL.1 Compact Disc 756504405123 PTV24 PEEKERS,THE/LIFE IN THE AIR Compact Disc 788377110224 PTV55 GENERATIONALS/TRUST Compact Disc EP's 788377113720 PTV76 DELETED SCENES/LITHIUM BURN Compact Disc 760137622826 7 56504 40422 5 7 56504 40512 3 7 88377 11022 48 37792 00826 28 27034 00432 9 8 27034 00492 3 8 37792 00830 98 05520 02075 6 8 37792 00820 0 8 79198 00974 0 8 37792 00813 2 8 37792 00816 3 8 37792 00822 48 05520 02069 5 7 60137 62282 68 37792 00835 46 04988 99092 8 7 95957 61502 4 7 95957 61702 8 7 95957 61102 67 95957 61402 7 7 95957 62102 5 7 95957 62202 2 7 95957 62302 9 7 95957 62602 0 7 95957 62802 4 7 88377 11372 00 25218 73042 6 Page 454 of 496 November 12, 2014Catalogue Numbe rArtist / Title Config Scannable UPC UPC PWACD71281 KONDONASSIS,Y/AMER ICAN HARP Compact Disc 787867128121 PWAJD72249 HOT CLUB OF SAN/LIVE AT YOSHI Compact Disc 787867224922PWCL053109 STEVE KALDRSTAD QUI/B LOW UP Compact Disc 875531005400 PWCL102046 HENDRIC KSON S,IAN/BLUES IN THE Compact Disc 875531001297 PWHSM51132 MCCRAE,G/GEORGE MCCRAE Compact Disc 809842511329 PWHSM51242 GREG DIAMOND/ST AR CRUISER Com pact Disc 809842512425 PWHSM51312 MCCRAE,M/SOMETHIN G SO RIGHT Compact Disc 809842513125 PWRCD18 OCONNELL,B/LATIN JA ZZ FANTASY Compact Disc 806013001825 PWRCD5 VAR/HARMONICA BLU ES ORGY Compact Disc 806013000521 PWSNCD10242 DEROSE,D/LOVE'S HOLIDAY Compact Disc 601917102421PWSNCD10352 WONSEY,A/THE THANG Compact Disc 601917103527 PWSNCD10392 HAZELTINE,D/THE INSPIRATION SU Compact Disc 601917103923PWSNCD10403 HAMMER,T/LOOK STOP & LISTEN TH Compact Disc 601917104029PWSNCD10422 ONE FOR ALL/RETURN OF THE LINE Compact Disc 601917104227 Q200946 BANG LIME/BEST FRIENDS IN LOVE Compact Disc 060270094628Q200967 NEW PORNOGRAPHERS,THE/CHALLENG Compact Disc 060270096721 QLDVD6489 VAR/20 COUNTRY LEGENDS (DVD) Digital Video Disc 760137648994QLDVD6548 VAR/LIVE AT THE ROCK N ROLL PA Digital Video Disc 022891654896QLDVD6549 VAR/LIVE AT THE ROCK N ROLL V2 Digital Video Disc 022891654995QLDVD6550 VAR/LIVE FROM THE ROCK N ROLL Digital Video Disc 022891655091QLDVD6579 VAR/20 FIRST LADIES OF COUNTRY Digital Video Disc 022891657996QLDVD6599 VAR/60'S ROCK & RO LL JUKEBOX Digital Video Disc 022891659990 QLDVD6603 REEVES,M/IN CONCERT (DVD) Digital Video Disc 022891660392 QLDVD6668 SHEPPARD,TG/IN CONCERT (DVD) Digital Video Disc 022891666899 QLDVD6684 VAR/COUNTRY FEVER JU KEBOX V.1 Digital Video Disc 022891668497 QLDVD6685 VAR/COUNTRY FEVER JU KEBOX V.2 Digital Video Disc 022891668596 QLDVD6686 VAR/CRUISIN' COUNTRY HITS Digita l Video Disc 022891668695 QLDVD6695 GREENWOOD,L/LIVE (DVD) Digital Video Disc 0228916695930 60270 09672 17 87867 12812 1 8 75531 00129 7 8 09842 51132 9 8 09842 51242 5 8 09842 51312 57 87867 22492 2 8 06013 00182 5 8 06013 00052 1 6 01917 10242 1 6 01917 10352 7 6 01917 10392 3 6 01917 10402 9 6 01917 10422 7 0 60270 09462 88 75531 00540 0 0 22891 66039 2 0 22891 66849 7 0 22891 66869 57 60137 64899 4 0 22891 66859 60 22891 65799 6 0 22891 66689 90 22891 65509 1 0 22891 66959 30 22891 65499 50 22891 65489 6 0 22891 65999 0 Page 455 of 496 November 12, 2014Catalogue Numbe rArtist / Title Config Scannable UPC UPC QLDVD6697 NITTY GRITTY DIRT BAND/GREATES Digital Video Disc 022891669791 QLDVD6700 VAR/NEW LADIES OF COUNTRY(DVD) Digital Video Disc 022891670094QLDVD6701 SINGING COWBOYS/SINGING COWBOY Digital Video Disc 022891670193QLDVD6703 OSMOND BROTHERS/COUNTRY ROCKER Digital Video Disc 022891670391QLDVD6834 EGILSSON,PERDERSON & DARLING/L Digital Video Disc 022891683490QLDVD6837 KORB,K/LIVE IN VIENNA (DVD) Digital Video Disc 022891683797QLDVD7180 AMERICA'S MUSIC LEGACY/RHYTHM Digital Video Disc 760137718093QLDVD7184 AMERICA'S MUSIC LEGACY/ROCK'N' Digital Video Disc 760137718499 QRCD101D MCKENNITT,L/ELEMENTAL (DELUXE) CD with DVD 774213310125QRCD102D MCKENNITT,L/TO DRIVE THE (DELU CD with DVD 774213310224QRCD103D MCKENNITT,L/PARALLEL DREAMS (D CD with DVD 774213310323QRCD104D MCKENNITT,L/THE VISIT (DELUXE) CD with DVD 774213310422QRCD105D MCKENNITT,L/THE MASK AND (DELU CD with DVD 774213310521 QRCD107D MCKENNITT,L/THE BOOK OF (DELUX CD with DVD 774213310729 QRCD113X MCKENNITT,L/A MEDITERRANEAN OD Compact Disc 774213105042 R20232 MONOLIGHT/FREE MUSIC Compact Disc 7033662020232 RANDB013 VAR/HISTORY OF NEW ORLEANS V1 Compact Disc 5065001126147 RARMD10346 LIVE/MENTAL JEWELRY Compact Disc 008811034627 RBL035BOX KA SPEL,E/GHOST LOGI K(2CD)(LTD Compact Disc 4250137245317 RBL037BOX LEGENDARY PINK/CHEMICAL(CD+DVD CD with DVD 4250137202716 RCV001 CHARMS/EASY TROUBLE (D VD) Digital Video Disc 747728958120 RECALLNA007 OST/BANDIDAS Compact Disc 859179001321 RGM0181 PONDEROSA TWINS PLUS/2 2 1 PON Compact Disc 848064001812 RHH776012 OST/BROADWAY MELODY OF 1940 Compact Disc 603497760121 RHH777322 BLACK OAK ARKANSAS/TH E COMPLET Compact Disc 603497773220 RHH777738 VAR/ATLANTIC VOCAL GROUPS(1951 Compact Disc 603497773824RHH777771 WRIGHT,C & WATTS 103RD.ST.BAND Compact Disc 603497777129 RHM27893 MELANIE/PHOTOGRAPH;DOUBLE EXPO Compact Disc 603497789320 4 250137 202716 7 74213 31052 17 74213 31012 5 7 74213 31022 4 7 74213 31032 3 7 74213 31072 97 74213 31042 2 7 74213 10504 2 4 250137 245317 5 065001 126147 6 03497 76012 1 6 03497 77382 4 6 03497 77712 9 6 03497 78932 00 08811 03462 7 6 03497 77322 08 59179 00132 1 8 48064 00181 27 033662 020232 0 22891 67039 10 22891 67019 30 22891 66979 1 0 22891 67009 4 0 22891 68349 0 0 22891 68379 7 7 47728 95812 07 60137 71809 3 7 60137 71849 9 Page 456 of 496 November 12, 2014Catalogue Numbe rArtist / Title Config Scannable UPC UPC RISA1119 BAKER,C/IN NEW YORK SACD4Stereo/Surround/CDAud 025218733168 RISA1128 ADDERLEY,C/THING ARE GETTING B SACD4Stereo/Surround/CDAud 025218733267 RMC0001 VAR/CONCERT FOR RONNIE MON(DVD Digital Video Disc 881034121141 RMED00104 BALANCE/BALANCE/IN FOR THE COU Compact Disc 630428010420RMED00105 BALLARD,R/RUSS BALLARD/THE FIR Compact Disc 630428010529RMED00107 DEVICE/22B3 Compact Disc 630428010727RMED00110 TWAIN,S/SEND IT WITH LOVE Compact Disc 630428011021RMED00115 SPYS/SPYS/BEHIND ENEM Y LINES Compact Disc 630428011526 RMED00118 WETTON/MANZANERA/WETTON/MANZAN Compact Disc 630428011823RMED00126 LAKE/LAKE II Compact Disc 630428012622RMED00127 LAKE/OUCH Compact Disc 630428012721 RMED00130 STARCASTLE/REEL TO REAL Compact Disc 630428013025 RMED00134 POINT BLANK/AMERICAN EXCESS/ON Compact Disc 630428013421 RMED00139 SAD CAFE/ANTHOLOGY Compact Disc 630428013926RMED00142 LAKE/ANTHOLOGY Compact Disc 630428014220RMED00147 FLASH AND THE PAN/FLASH AND TH Compact Disc 630428014725 RMED00187 NEW ENGLAND/NEW ENGLAND Compact Disc 630428018723RMED00188 VITAMIN Z/RITES OF PASSAGE Compact Disc 630428018822 RMED00189 CHERIE AND MARIE CURRIE/MESSIN Com pact Disc 630428018921 RMED00190 707/I COULD BE GOOD FOR YOU(BE Compact Disc 630428019027RMED00261 WRABIT/TRACKS Compact Disc 630428026124RMED00262 PHOENIX/PHOENIX/IN FULL VIEW Compact Disc 630428026223 RMED00270 THOMPSON,C/IF YOU REMEMBER ME Compact Disc 630428027022 RMED00272 707/MAGIC Compact Disc 630428027220 RMED00285 SAD CAFE/OLE Compact Disc 630428028524RMED00296 CITY BOY/CITY BOY Compact Disc 630428029620RMED00297 CITY BOY/DINNER AT THE RITZ Compact Disc 630428029729RMED00299 CITY BOY/BOOK EARLY Compact Disc 6304280299276 30428 01392 6 6 30428 01422 0 6 30428 01472 56 30428 01182 3 6 30428 01262 2 6 30428 01272 1 6 30428 01342 1 6 30428 01902 7 6 30428 02612 4 6 30428 02622 3 6 30428 02722 06 30428 01102 16 30428 01072 7 6 30428 01892 16 30428 01302 5 6 30428 02972 96 30428 01872 36 30428 01152 6 6 30428 01882 2 6 30428 02702 2 6 30428 02852 4 6 30428 02992 76 30428 01042 0 6 30428 01052 9 6 30428 02962 08 81034 12114 10 25218 73326 70 25218 73316 8 Page 457 of 496 November 12, 2014Catalogue Numbe rArtist / Title Config Scannable UPC UPC RMED00300 CITY BOY/THE DAY THE EARTH CAU Compact Disc 630428030022 RMED00395 PLANET P PROJECT/PLANET P PROJ Compact Disc 630428039520RMED00396 PLANET P PROJEC/ PINK WORLD Compact Disc 630428039629RMED00500 TWAIN,S/FIRST TIME?FOR THE LAS Compact Disc 630428050020 RMED00703 AMAZING RHYTHM ACES/ALIVE IN A Compact Disc 630428070325RMED00705 STARCASTLE/ALIVE IN AMERICA Compact Disc 630428070523RMED00706 STRAWBS/ALIVE IN AMERICA Compact Disc 630428070622 RMED00708 OZARK MOUNTAIN DAREDEVILS/ALIV Compact Disc 630428070820RMED00992 KEATS/KEATS Compact Disc 724381899229 ROADANGEL00 1MAHOOD,B/THIS CHRISTMAS CELEBR Compact Disc 061297331710 ROADANGEL00 2MAHOOD,B/UNMISTAKABLE Compact Disc 061297124343 ROADANGEL00 4WYATT/IF I HAD A DOLLAR Compact Disc 621617281820 ROK8010CD ANDERSON,M/BLUESHEART Compact Disc 707787801027ROK8011CD ANDERSON,M/CHAMELEON Compact Disc 707787801126ROK8013CD COLIN HODGKINSON GROUP/BACKDOO Compact Disc 707787801324ROK8016CD TAMKIN,J/SORTED Compact Disc 707787801621 ROOTCELLAR2 FINCH,J/IN THE ARMS OF MORPHEU Compact Disc 776098184921 ROOTCELLAR3 SMITH,J SMILING/THIS BLUE BEFO Compact Disc 776098186529ROOTCELLAR5 SMITH,A/SWEET EMBRACE Compact Disc 776098186826 ROUTE10 B3/B3 Compact Disc 778224941224ROUTE16 COLEMAN,P/BLUE COMEDY Compact Disc 778224162520ROUTE17 HERRIOTT,M SEXTET/UNTO THE BRE Compact Disc 778224177524ROUTE19 JARVIS,B/SEQUENCES Compact Disc 821228803828ROUTE20 THOMPSON,D QUARTET/C'EST SI BO Compact Disc 776098168723ROUTE22 SCAEFER,A/TWELVE EASY PIECES Compact Disc 776098175226 ROUTE23 COUGHLIN,J/SIMPLY PLEASURES Compact Disc 776098176025ROUTE24 JARVIS,B/SOLO PIANO Compact Disc 821228831524 ROUTE3 THOMPSON,D/FORGOTTEN MEMORIES Compact Disc 778224553328 7 76098 17522 67 78224 94122 4 7 78224 16252 07 76098 18492 1 8 21228 80382 87 76098 18652 9 7 76098 16872 37 76098 18682 6 8 21228 83152 47 76098 17602 5 7 78224 55332 87 78224 17752 46 30428 07032 5 6 30428 07062 26 30428 07052 3 7 07787 80102 7 7 07787 80112 6 7 07787 80162 17 07787 80132 40 61297 33171 0 0 61297 12434 3 6 21617 28182 06 30428 05002 0 6 30428 07082 0 7 24381 89922 96 30428 03002 2 6 30428 03952 0 6 30428 03962 9 Page 458 of 496 November 12, 2014Catalogue Numbe rArtist / Title Config Scannable UPC UPC RP002 QUARTERFLASH/GOOD BYE UNCLE BUZ Compact Disc 678277157323 RPM041 VAR/SMASH UP DERBY Compact Disc 698715004125 RPMDSH278 VIBRATIONS, THE/OUT OF SIGHT! Compact Disc 5013929527829 RPMSH209 SCOTT, P & BENSON,J J/COMPLETE Compact Disc 5013929520929RPMSH210 VAR/FIRE & FURY OF BOBBY ROBIN Compact Disc 5013929521025 RPMSH212 VAR/IT TAKES TWO Compact Disc 5013929521223RPMSH218 BUTLER,J/SWEETEST SOUL Compact Disc 5013929521827RPMSH222 SIMON,J/MONUMENT OF SOUL Compact Disc 5013929522220RPMSH237 TEX,J/LIVE AND LIVELY/SOUL COU Compact Disc 5013929523722RPMSH248 VAR/REMEMBERING ROOTS OF SOUL Compact Disc 5013929524828RPMSH250 BROWN,J & FLOYD,E/SOUL BROTHER Compact Disc 5013929525023RPMSH275 MOORE,B & THE RHYTHM ACES/GO A Compact Disc 5013929552753RPMSH279 KNIGHT BROTHERS/TEMPTATION Compact Disc 5013929527928 RPMSH292 COVAY,D/SUPER DUDE 1 Compact Disc 5013929529229 RPMSH296 COVAY,D/HOT BLOOD Compact Disc 5013929529625 RPMSH299 VARNER,D/FINALLY GOT OVER Compact Disc 5013929529922 RQTZ169 GURUS,THE/CLOSING CIRCLES Compact Disc 634457534322 RR001DVD SKYNYRD,L/THE EARLY D AYS (DVD) Digital Video Disc 9215017160017 RR002DVD BECK,J/THE EARLY DAYS (DVD) Digital Video Disc 9215017160024 RR005 CREEDENCE CLEARWAT/WOODSTOCK Compact Disc 9215017160055RR006 WATERS ROGERS/LIVE ON AIR UK 2 Compact Disc 9215017160062 RS184 ORTOLANI,R/CANNIBAL HOLOCA(ORI Compact Disc 666616018428 RSPCD53303 VAR/THE ROOTS OF SOUL Compact Disc 025218330329RSPCD53313 VAR/GREATEST GO SPEL HITS Compact Disc 025218331326 RSRCD3961 ESTRADA,E/HERE KITTY KITTEE Compact Disc 786851153576 RT001 DIO/LIVE IN BULGARIA Digital Video Disc 9443819000167RT002 METALLICA/FOR WHOM THE BELLS T Digital Video Disc 9223814130027RT005 LINKIN PARK/BLEED IT OUT (DVD) Digital Video Disc 9223814130058 0 25218 33032 9 0 25218 33132 66 66616 01842 86 98715 00412 5 5 013929 527829 5 013929 520929 5 013929 521025 5 013929 521223 5 013929 521827 5 013929 522220 5 013929 523722 5 013929 524828 5 013929 525023 5 013929 552753 5 013929 527928 5 013929 529922 6 78277 15732 3 5 013929 529229 5 013929 529625 6 34457 53432 2 9 215017 160055 9 215017 160062 7 86851 15357 6 9 223814 130027 9 443819 000167 9 223814 130058 9 215017 160017 9 215017 160024 Page 459 of 496 November 12, 2014Catalogue Numbe rArtist / Title Config Scannable UPC UPC RT006 WHITESNAKE/HERE I GO AG AIN(DVD Digital Video Disc 9223814130065 RT008 EMERSON LAKE & PALMER/ LIVE IN Digita l Video Disc 9223814130089 RT010 YOUNG,N/LIVE IN CONCERT 2009(D Digital Video Disc 9223814130102RT011 COOPER,A/SCHOOL'S OUT(DVD) Digital Video Disc 9223814130119RT012 SATRIANI,J/ONE BIG RUSH-LIVE 2 Digital Video Disc 9223814130126RT013 PANTERA/MOUTH OF WAR-LIVE (DVD Digital Video Disc 9223814130133RT015 CLAPTON,E/PUT IT WHERE YOU WAN Digital Video Disc 9223814130157RT016 CREEDENCE CLEARWATER REVIVAL/H Digital Video Disc 9223814130164RT017 SKYNYRD,L/LIVE 2006 (DVD ) Digital Video Disc 9223814130171 RT018 AEROSMITH/LIVIN ON THE EDGE Digital Video Disc 9223814130188RT019 VAUGHAN,S R/BECK,J/LIVE IN HON Digital Video Disc 9223814130195RT021 ZZ TOP/GREATEST HITS LIVE (DVD Digital Video Disc 9223814130218RT022 GENESIS/LIVE-TONIGHT (DVD) Digital Video Disc 9223814130225RT023 COLDPLAY/VIOLET HILL-LIVE (DVD Digital Video Disc 9223814130232RT024 CREEDENCE CLEARWATER REVIVAL/W Digital Video Disc 9223814130249RT025 MOTLEY CURE/LIVE ...ARO UND THE Digital Video Disc 9223814130256 RT026 VAN HALEN/THE VERY BEST OF-LIV Digita l Video Disc 9223814130263 RT027 R.E.M./MAN ON THE MOON (DVD) Digital Video Disc 9223814130270RT028 KINGS OF LEON/KNOCKED UP (DVD) Digital Video Disc 9223814130287RT029 BECK,J/LIVE IN WEST PALM B(DVD Digital Video Disc 9223814130294RT030 PLANT,R AND PAGE,J/LIVE ON(DVD Digital Video Disc 9223814130300RT031 CREEDENCE CLEARWATER/LIVE ON S Digital Video Disc 9223814130317RT042 BLACK KEYS,T/GROWN SO/LI VE(DVD Digital Video Disc 9223814130423 RT044 MATCHBOX TWENTY/THESE HARD(DVD Digital Video Disc 9223814130447 RT045 SYSTEM OF A DOWN/VICIN ITY(DVD) Digita l Video Disc 9223814130454 RT046 WHITE,J/BLUE BLOOD BLUES(DVD) Digital Video Disc 9223814130461RT047 RAGE AGAINST THE/BULLS ON P(DV Digital Video Disc 9223814130478 RTECD71 AZ/LEGENDARY Compact Disc 856811001718 8 56811 00171 89 223814 130065 9 223814 130089 9 223814 130102 9 223814 130119 9 223814 130126 9 223814 130133 9 223814 130164 9 223814 130171 9 223814 130195 9 223814 130157 9 223814 130225 9 223814 130232 9 223814 130249 9 223814 130256 9 223814 130263 9 223814 130270 9 223814 130287 9 223814 130294 9 223814 130300 9 223814 130317 9 223814 130423 9 223814 130447 9 223814 130454 9 223814 130461 9 223814 130478 9 223814 130218 9 223814 130188 Page 460 of 496 November 12, 2014Catalogue Numbe rArtist / Title Config Scannable UPC UPC RUB224 GERRARD,L/THE SILVER TREE Compact Disc 854882001217 RUF3003 TROUT, WALTER AND THE RADICAL Digital Video Disc 710347300373RUF3005 LISTER,A/LIVE! (DVD) Digital Video Disc 710347300571 RUF3006DVD IMPERIAL CROWNS/PREACHIN' THE Digital Video Disc 710347300670 RUF3008DVD POPOVIC,A/ANA! Digital Video Disc 710347300878 RUF3009 TROWER,R/LIVING OUT OF TIME:LI Digital Video Disc 710347300977RUF3011 OMAR&HOWLERS,T/BAMBOOZLED-DVD Digital Video Disc 710347301172RUF3012 BROZMAN,B/LIVE IN GERMANY Digital Video Disc 710347301271RUF3013 FOLEY,S/LIVE IN EUROPE (DVD) Digital Video Disc 710347301370RUF3014 BLUECARAVAN/NEW GENERA TION:LIS Digita l Video Disc 710347301479 RWPXCA1 GABRIEL,P/SCRATCH MY BACK (2CD Compact Disc 180030000208 SACD60515 DUKAS/T SORCERER'S APPREN TICE SACD2Ster eo/CD Audio 089408051500 SACD60516 VAR/MICHAEL MURRAY AT ST .SULPI SACD4Stereo/Surround/CDAud 089408051609 SACD60536 VAR/FROM ISLES TO THE COURTS SACD4Stereo/Surround/CDAud 089408053603SACD60594 HANDEL/MUSIC FOR ROYAL FIREWOR SACD4Stereo/Surround/CDAud 089408059407SACD60657 KUNZEL&CINCINNATI/RUSSIAN NIGH SACD4Stereo/Surround/CDAud 089408065767SACD60674 KUNZEL,E/CPO/TCHAIKOVSKY: NUTCR SACD4Stereo/Surround/CDAud 089408067464 SACD63500 PETERSON&LEGRAND/TRAIL OF DREA SACD4Stereo/Surround/CDAud 089408350009SACD63509 LOCKWOOD,RJR/DELTA CROSSROADS SACD4Stereo/Surround/CDAud 089408350900SACD63574 CAMILO,M/LIVE AT THE BLUE NOTE SACD4Stereo/Surround/CDAud 089408357466SACD63577 PIZZARELLI/LIVE AT BIRDLAND SACD4Stereo/Surround/CDAud 089408357763SACD63655 HIROMI/TIME CONTROL SACD4Stereo/Surround/CDAud 089408365560SACD69074 SPYRO GYRA/ORIGINAL CI NEMA SACD4Stereo/Surround/CDAud 053361907464 SAECRS018 TIOMKIN,D/HIGH NOON MUSIC COMP Compact Disc 700261231600 SALVOBX406 MOVE,T/THE MOVE ANTHOLOGY(4CD Compact Disc 698458840622 SALVOCD014 MOVE,THE/LOOKING ON (DLX) Compact Disc 698458811424SALVOCD018 PROCOL HARUM/SHINE ON BRIGHTLY Compact Disc 698458811820SALVOCD020 PROCOL HARUM/A SALTY DOG Compact Disc 6984588120251 80030 00020 8 7 00261 23160 0 6 98458 84062 2 6 98458 81142 4 6 98458 81182 0 6 98458 81202 58 54882 00121 7 7 10347 30037 3 7 10347 30097 7 7 10347 30117 2 7 10347 30127 1 7 10347 30137 0 7 10347 30147 97 10347 30057 1 7 10347 30067 0 7 10347 30087 8 0 89408 05150 0 0 89408 05160 9 0 89408 35000 90 89408 05360 3 0 89408 05940 7 0 89408 06576 7 0 89408 06746 4 0 89408 35090 0 0 89408 35746 6 0 89408 35776 3 0 89408 36556 0 0 53361 90746 4 Page 461 of 496 November 12, 2014Catalogue Numbe rArtist / Title Config Scannable UPC UPC SALVOCD021 PROCOL HARUM/HOME Compact Disc 698458812124 SALVOCD12 MOVE,THE/SHAZAM (EXPANDED) Compact Disc 698458811226 SALVODCD206 PROCOL HARUM/SECRETS OF TH(2CD Compact Disc 698458820624SALVODCD207 MOVE,THE/THE MOVE (DLX)(2CD) Compact Disc 698458820723SALVODCD219 PIRATES,THE/SHAKIN WITH TH(2CD Compact Disc 698458821928 SAR1251 BALDASSARI,B/CATABILE- DUETS FO Compact Disc 723368125122 SAR1252 BALDASSARI,B/NEW CLASSI CS FOR Compact Disc 723368125221 SAR1257 EVERGREEN/MANDOLIN MU SIC FOR C Compact Disc 723368125726 SAR1258 NASHVILLE MANDOLIN ENS/BACH,BE Compact Disc 723368125825SAR2243 BALDASSARI,B/MOCK,J/MUSIC OF O Compact Disc 723368225426SAR2252 BALDASSARI/SCHNAUFER/ APPALACHI Compact Disc 723368225228 SB002 BROWN,J/MR.DYNAMITE:UNAUTHORIZ Digital Video Disc 603777902494 SB0028 LEE, P/SO LONG, IT'S BEEN GOOD Compact Disc 614511760522 SBR104 LINDSEY,G/WE ARE ALL ALONE IN Compact Disc 791381848120 SCD86062 KING,A/BORN UNDER A BAD SIGN Compact Disc 025218860628 SD671132 HICKS,D & THE HOT LI CKS/BEATIN Compact Disc 720616711328 SDR0003 DBS/I IS FOR INSIGNIFICANT Compact Disc 652975000327SDR0004 PIGMENT VEHICLE/MURDE R'S ONLY Compact Disc 652975000426 SDR0005 DAMNED,THE/MOLTEN LAGER Compact Disc 652975000525SDR0019 VAR/JOHNNT HANSON PRESENTS PUC Compact Disc 652975001928 SDR0020 FORD PIER/12 STEP PLAN,11 STEP Compact Disc 652975002024SDR0022 JP5/HOT BOX Compact Disc 652975002222SDR0023 KEITHLEY,J/BEAT TRASH Compact Disc 652975002321 SDR0024 FOSTER,K/WAR IS NOT ENOUGH Compact Disc 652975002420SDR0027 VICE SQUED/LO-FI LIFE Compact Disc 652975002727SDR0028 VIBRATORS,THE/BUZZIN Compact Disc 792093336325SDR0031 PORTRAIT OF POVERTY/POOR PRINC Compact Disc 652975003120SDR0034 BERNER,G/LIGHT ENOUGH TO TRAVE Compact Disc 6529750034270 25218 86062 8 6 52975 00032 7 6 52975 00192 86 98458 81212 4 6 98458 81122 6 6 98458 82062 4 6 98458 82072 3 6 98458 82192 8 7 23368 12512 2 7 23368 12522 1 7 23368 12572 6 7 23368 12582 5 7 23368 22542 6 7 23368 22522 8 6 14511 76052 2 7 91381 84812 0 6 52975 00042 6 6 52975 00052 5 6 52975 00202 4 6 52975 00222 2 6 52975 00232 1 6 52975 00242 0 6 52975 00272 7 7 92093 33632 5 6 52975 00312 0 6 52975 00342 77 20616 71132 86 03777 90249 4 Page 462 of 496 November 12, 2014Catalogue Numbe rArtist / Title Config Scannable UPC UPC SDR0038 VAR/GREEN REVOLUTION Compact Disc 652975003823 SDR0044 HONEYMANS/STOMPIN' GROUNDS Compact Disc 652975004424 SDR0053 VAR/LET'S START THE ACTION Compact Disc 652975005322SDR0054 RAW POWER/HIT LIST Compact Disc 652975005421SDR0057 VAR/VANCOUVER COMPLICATION COM Compact Disc 652975005728SDR0061 MODERENETTES/GET IT STRAIGHT Compact Disc 652975006121SDR0062 YOUNG CANADIANS/NO ESCAPE Compact Disc 652975006220SDR0063 SCHULZ/WHAT APOLOGY Compact Disc 652975006329SDR0074 KEITHLEY,J/BAND IF REBELS Compact Disc 652975007425 SDR0077 THOR/INTO THE NOISE Compact Disc 652975007722SDR0083 SPORES,THE/NEWS,WEATHER AND SP Compact Disc 652975008323SDR0084 ACTION,THE/COMPLETE PUNK RECOR Compact Disc 652975008422 SE30672 OST/COMPANY OF HEROES Compact Disc 669311306722 SF10692 BARENAKED LADIES/TALK TO (DVD) Digital Video Disc 826663106923 SF10694 BARENAKED LADIES/TALK TO THE(C CD with DVD 826663106947 SF12653 PENDERGRASS,T/LIVE82( DVD) Digital Video Disc 826663126532 SF12721 YOUNG,N/A MUSICCARES TRIBUT(DV Digital Video Disc 826663127218SF13049 JENNINGS,W W N/LIVE AT THE US Digital Video Disc 826663130492SF13175 VAR/VANS WARPED TOUR GREATEST Compact Disc 826663131758SF13395 COOPER,A/STRANGE CASE OF AL(DV Digital Video Disc 826663133950 SF13736 STREISAND,B/A MUSICARES TRI(DV Digital Video Disc 826663137361 SFE002 ALMOND,M/OPEN ALL NIGHT Compact Disc 5013929841222SFE004 ALMOND,M/VARIETE (DOUBLE DISC Compact Disc 5013929841420 SFE009T JOHNSON,H/BLAST (2CD+DVD) CD with DVD 5013929841925 SFE011D MCALMONT,D/LIVE FROM LEICESTER CD with DVD 5013929842120 SFE024D CHINA CRISIS/DIARY OF A HO(2CD Compact Disc 5013929843424 SFMCD052 BLUE OYSTER CULT/LIVE IN AMERI Compact Disc 8231950105220 SFMCD071 BALLARD,R/ANTHOLOGY Compact Disc 8231950107125 5 013929 841925 5 013929 842120 8 26663 10694 76 52975 00382 3 6 52975 00772 2 6 52975 00842 2 8 231950 107125 6 52975 00442 4 6 52975 00532 2 6 52975 00542 1 6 52975 00572 8 6 52975 00612 1 6 52975 00622 0 6 52975 00632 9 6 52975 00742 5 6 52975 00832 3 5 013929 841222 5 013929 841420 5 013929 843424 8 231950 105220 6 69311 30672 2 8 26663 13175 88 26663 12653 2 8 26663 12721 8 8 26663 13049 2 8 26663 13395 0 8 26663 13736 18 26663 10692 3 Page 463 of 496 November 12, 2014Catalogue Numbe rArtist / Title Config Scannable UPC UPC SFMCD134 L.A. GUNS/THE VERY BEST OF Compact Disc 8231950113423 SFMDVD018 DIDDLEY,B/ROCK 'N ROLL ALL STA Digital Video Disc 823195001337SFMDVD019 DERRINGER,R/ROCK SPEC TACULAR(D Digita l Video Disc 823195001344 SFMDVD021 LUKATHER,S & WINTER,E/LIVE AT Digital Video Disc 823195001320SFMDVD022 BLACK SABBATH/CROSS PURP OSES L Digital Video Disc 823195001825 SFMDVD023 IDOL,B/NO RELIGION-LIVE (DVD) Digital Video Disc 823195001832SFMDVD027 WARWICK,D/JUKEBOX IN MY MIND Digita l Video Disc 5413992580279 SFMDVD033 VAR/ALL-STAR TRIBUTE TO MUDDY Digita l Video Disc 5413992580330 SFMDVD034 MAYALL,J & THE BLU ESBREAKERS/I Digital Video Disc 5413992580347 SFMDVD035 HORNSBY,B/ONE NIGHT IN MANHATT Digita l Video Disc 5413992580354 SGM01 PAVLO/PAVLO Compact Disc 068944661329SGM02 PAVLO/FANTASIA Compact Disc 068944661428SGM03 PAVLO/I FEEL LOVE AGAIN Compact Disc 068944930425SGM04 PAVLO/FROSTBITE MUSI C FOR THE Compact Disc 068944931927 SGM07 PAVLO/MEDITERRANEAN LOUNGE Compact Disc 068944935222 SGM08 PAVLO/IRRESISTIBLE Compact Disc 068944938322SGM09 PAVLO/LIVE AT M ASSEY HALL Compact Disc 653496118720 SHD8201 NOLL,S/SONGS FOR THE INNER CHI Compact Disc 750618820124SHD9000 NOLL,S/YOU CAN RELAX NOW Compact Disc 750618900024 SHOUT22 MITCHELL, M 'SOUL'/THE TOWN I Compact Disc 5013929502222SHOUT23 HINTON,J/FUNNY HOW TIME SLIPS Compact Disc 5013929502321 SHOUT24 KING,A/BACK TO SOUL Compact Disc 5013929502420 SHOUT26 TAYLOR,T/EVER WO NDERFUL Com pact Disc 5013929502628 SHOUT27 HAMILTON,R/DON'T LET GO Compact Disc 5013929502727SHOUT29 SCOTT,P/SHE'S GOT IT ALL Compact Disc 5013929502925SHOUT30 TONEY,O JR/GUILTY-A SOUTHERN S Compact Disc 5013929503021SHOUT31 WRIGHT,M/DO RIGHT WOMAN Compact Disc 5013929503120SHOUT32 MEADOWS,W/GO ON AND CRY Compact Disc 50139295032298 231950 113423 7 50618 82012 4 7 50618 90002 4 5 013929 502420 5 013929 502222 5 013929 502321 5 013929 502628 5 013929 502727 5 013929 502925 5 013929 503021 5 013929 503120 5 013929 503229 6 53496 11872 00 68944 66132 9 0 68944 66142 8 0 68944 93042 5 0 68944 93192 7 0 68944 93522 2 0 68944 93832 28 23195 00133 7 8 23195 00134 4 8 23195 00132 0 8 23195 00182 5 8 23195 00183 2 5 413992 580330 5 413992 580347 5 413992 580279 5 413992 580354 Page 464 of 496 November 12, 2014Catalogue Numbe rArtist / Title Config Scannable UPC UPC SHOUT35 RIVINGTONS/PAPA OOM MOW MOW Compact Disc 5013929503526 SHOUT38 DELLS/ALWAYS TOGETHER Compact Disc 5013929503823SHOUT39 SPELLBINDERS/CHAIN REACTION Compact Disc 5013929503922SHOUT40 TONEY,O JR/LOVING YOU TOO LONG Compact Disc 5013929504028 SHOUT41 LITTLE MILTON/IF WALLS COULD T Compact Disc 5013929504127 SHOUT42 DUKE,D/WOMAN Compact Disc 5013929504226SHOUT43 PRICE,L/MR PERSONALITY Compact Disc 5013929504325SHOUT44 HAMILTON,R/TORE UP! RCA AND AG Compact Disc 5013929504424SHOUT45 HOPKINS,L/ROCK AND ROLL BLUES Compact Disc 5013929504523SHOUT46 BURKE,S/THIS IS IT-APOLLO SOUL Compact Disc 5013929504622SHOUT47 TEX,J/FIRST ON THE DIAL Compact Disc 5013929504721SHOUT49 HAYES,L/ATOMIC BABY: HOLLYWOOD Compact Disc 5013929504929 SHOUT50 FRANKLIN,E/PIECE OF HER HEART Compact Disc 5013929505025SHOUT51 FEVA,S/SAVOIR FAIR E PLUS Compact Disc 5013929505124 SHOUT53 WYNNE,P/SOUL FROM SUGARHILL Compact Disc 5013929505322SHOUT54 BROWN,R/MIDNIGHT DESIRE/WELCOM Compact Disc 5013929505421SHOUT56 TYMES,THE/GRACE & SAVOUR-THE C Com pact Disc 5013929505629 SHOUT59 HINTON,E/VERY EXTREM ELY DANGER Compact Disc 5013929505926 SHOUT61 SOUL CHILDREN/THER E ALWAYS-FIN Compact Disc 5013929506121 SHOUT63 EBONYS/FOR EVER Compact Disc 5013929506329 SHOUT64 TEX,J/SINGLES A'S & B'S VOL.1 Compact Disc 5013929506428SHOUT66 BRENDA AND THE TABULATIONS/ Compact Disc 5013929506626SHOUT67 TEX,J/SINGLES A'S & B'S VOL 2 Compact Disc 5013929506725 SHOUT68 HUMMINGBIRDS,D/A CHRISTIAN TES C ompact Disc 5013929506824 SHOUT70 HILL, Z Z/THE BEST THING THAT Compact Disc 5013929507029 SHOUT72 TEX,J/SINGLES A'S & B'S VOL.3 Compact Disc 5013929507227 SHOUT73 JIVE FIVE, THE/I' M A HAPPY MAN Compact Disc 5013929507326 SHOUT74 PEOPLE'S CHOICE/PEO PLE'S CHOIC Compact Disc 50139295074255 013929 503526 5 013929 507227 5 013929 504127 5 013929 506428 5 013929 506626 5 013929 506725 5 013929 504929 5 013929 503823 5 013929 504028 5 013929 504226 5 013929 504325 5 013929 504424 5 013929 504523 5 013929 504622 5 013929 504721 5 013929 505025 5 013929 505124 5 013929 505322 5 013929 505421 5 013929 505629 5 013929 505926 5 013929 506121 5 013929 506329 5 013929 506824 5 013929 507029 5 013929 507326 5 013929 507425 5 013929 503922 Page 465 of 496 November 12, 2014Catalogue Numbe rArtist / Title Config Scannable UPC UPC SHOUTD48 LASALLE,D/A LITTLE BIT NAUGHTY Compact Disc 5013929504820 SHOUTD71 HAYWOOD,L/KEEP IT IN THE FAMIL Compact Disc 5013929507128 SHOUTD79 EDWARDS,T/ITS ALL IN THE(2CD Compact Disc 5013929507920 SHP2100 NOLL,S / NOLL,R AND CATHY CHAM Compact Disc 750618210024 SIDVD520 QUEEN/UNDER REVIEW 1946-1991:T Digital Video Disc 823564510194 SIDVD569 GRATEFUL DEAD/DAWN OF THE(DVD) Digital Video Disc 823564529899 SIVSSCD2 SIVION/SPRING OF TH E SONGBIRD Compact Disc 619981196826 SJET511 TROTMAN,E/LOVE AND SAX Compact Disc 786851388879 SJMC1001 CUSSON,M/MATT CUSSON Compact Disc 798304015447 SJPCD029 MOTTTHEHOOPLE/ALLTHE WAYFROMSTO Compact Disc 5016272882928 SJPCD030 SNAFU/SNAFUSITUATIONNORMAL Compact Disc 5016272883024SJPCD061 MOTTTHEHOOPLE/ROCK NROLLCIRCUSL Compact Disc 5055011700611 SJPCD070 SAXON/DIAMONDS&NUGGETS Compact Disc 5055011700703 SJPCD081 MAMASBOYS/RELA TIVITY Compact Disc 5055011700819 SJPCD091 MEDICINEHEAD/LI VEATMARQUE1975 Compact Disc 5055011700918 SJPCD099 MOTTTHEHOOPLE/TWOM ILESFROMLIVE Compact Disc 5055011700994 SJPCD103 MELANIE/SOLOPOWERED Compact Disc 5055011701038 SJPCD104 ATOMICROOSTER/LIVEATTHEMARQUEE Compact Disc 5055011701045 SJPCD113 SUNDANCE/SUNDA NCE Compact Disc 5055011701137 SJPCD121 MOTT THE HOOPLE/HOO PLING..BEST Compact Disc 5055011701212 SJPCD150 JAGUAR/RUN RAGGED Compact Disc 5055011701502 SJPCD154 DSEPERADO/ ACE Compact Disc 5055011701540 SJPCD165 RATS/THE FALL AND RISE-A RATS Compact Disc 5055011701656SJPCD179 DAVIES,D/BUG Compact Disc 5055011701793SJPCD187 ANDROMEDA/ORI GINALS Compact Disc 5055011701878 SJPCD189 MOUSE/LADY KILLER Compact Disc 5055011701892SJPCD194 RIDLEY,G/ANTHOLOGY Compact Disc 5055011701946SJPCD212 DAVIES,D/TRANSFORMATION Compact Disc 50550117021277 98304 01544 7 5 016272 882928 5 055011 701892 5 055011 700611 5 055011 701212 5 013929 507920 5 016272 883024 5 055011 700918 5 055011 701502 5 055011 701793 5 055011 700819 5 055011 701045 5 055011 701656 5 055011 701878 5 055011 701946 5 055011 702127 7 86851 38887 97 50618 21002 45 013929 504820 5 013929 507128 5 055011 700703 5 055011 701038 5 055011 701137 5 055011 701540 5 055011 700994 6 19981 19682 68 23564 51019 4 8 23564 52989 9 Page 466 of 496 November 12, 2014Catalogue Numbe rArtist / Title Config Scannable UPC UPC SJPCD215 NORMAN,C&BAND/ONEAC OUSTICEVENI Compact Disc 5055011702158 SJPCD218 AFTERTHEFIRE/AT2F Compact Disc 5055011702189SJPCD219 SAMSON/TOMORROWA NDYESTERDAY Compact Disc 5055011702196 SJPCD220 SAMSON/PS1953-2005 Compact Disc 5055011702202SJPCD226 MOTTTHEHOOPLE/LIVEF ILMOREWESTS Compact Disc 5055011702264 SJPCD227 SHUTTLEWORTH,P/MIXEDUPSHOOKUPG Compact Disc 5055011702271SJPCD235 STACKRIDGE/SOMETHINGFORTHEWEEK Compact Disc 5055011702356 SJPCD241 ATOMICROOSTER/HOMEWORK Compact Disc 5055011702417 SJPCD247 DICKEN/FROMMRBIGTO Compact Disc 5055011702479 SKY0292 ISAACSON,G/MEMORIES IN SHADOWS Compact Disc 803645002923 SL017 COOPER,A/BITE YOUR FACE OF(DVD Digital Video Disc 9553814130179 SLR0412 HAZLEWOOD,L/ANN-MARGRET/COWBOY Compact Disc 787996004129 SM20041 SCHWARZ,S & THE ELECTRICGUITAR Compact Disc 4041767027608SM20064 SCHWARTZ,S & SCHENKER,M/LIVE T Compact Disc 4041767028209SM20071 SCHWARZ,S & THE LEGENDS/SOUL C Compact Disc 4041767028247 SMCR25063 SYLVERS/SHOWCASE/NEW HORIZONS Com pact Disc 5013929076334 SMCR25086 BUTLER,J/LOVE S ON THE MENU/SU Compact Disc 5013929078635SMCR25087 WILSON,N/CANT TAKE MY EYES(EP Compact Disc EP's 5013929078734 SMCR25093 WILSON,N/THE SOUND OF NANCY WI Compact Disc 5013929079335 SMCR5017 VEGA,T/GTOTALLY TATA (EXPANDED Compact Disc 5013929071735SMCR5025 MASON,H/FUNK IN A MASON JAR: E Compact Disc 5013929072534SMCR5027 SHAW,M/FROM THE DEPTHS OF MY S Compact Disc 5013929072732SMCR5029 DUKE,G/FOLLOW THE RAINBOW-EXPA Compact Disc 5013929072930SMCR5049 MARIE,T/STA RCHILD Compact Disc 5013929074934 SMCR5054 HOUSTON,C/PRESENTING CISSY HOU Compact Disc 5013929075436 SMCR5055 HAYES,IC/WARWICK,D/A MAN AND A Compact Disc 5013929075535 SMCR5061 OSBOURNE,J/ONLY HUMAN (EXPANDE Compact Disc 5013929076136 SMCR5068 BROTHERS JOHNSON/BLAM(EXPANDED Compact Disc 50139290768394 041767 028247 4 041767 027608 4 041767 028209 5 055011 702264 5 055011 702271 5 013929 078635 5 013929 079335 5 013929 071735 5 013929 072534 5 013929 072732 5 013929 072930 5 013929 074934 5 013929 075535 5 055011 702189 5 055011 702196 5 055011 702356 5 055011 702479 5 055011 702202 5 013929 076334 5 013929 076136 5 013929 075436 5 013929 076839 5 055011 702158 5 055011 702417 8 03645 00292 3 7 87996 00412 9 5 013929 078734 9 553814 130179 Page 467 of 496 November 12, 2014Catalogue Numbe rArtist / Title Config Scannable UPC UPC SMCR5073 MIRACLES/LOVE CRAZY(CDEP) Compact Disc EP's 5013929077331 SMCR5074 MIRACLES/THE MIRACLES Compact Disc 5013929077430 SMCR5075D WILSON,N/KEEP YOU SAT ISFIE(2CD Compact Disc 5013929077539 SMCR5077 DUKE,G/A BRAZILIAN LOVE AFF(EP Compact Disc 5013929077737 SMCR5083D LITTLE ANTH/THE IMPE/ON A(2CD Compact Disc 5013929078338 SMCR5085 STEPHANIE,S/MERCIL ESS(EP) Compact Disc EP's 5013929078536 SMCR5088 WASHINGTON,D/GOING FOR THE(EP Compact Disc 5013929078833SMCR5089 CAMERON G C/G.C. CAMERON Compact Disc 5013929078932 SMCR5090D WILSON,N/MUSIC ON MY MIND (2CD Compact Disc 5013929079038 SMCR5091 MORGAN,M/MELISA MORGAN Compact Disc 5013929079137SMCR5092 HYMAN,P/PHYLLIS HYMAN Compact Disc 5013929079236SMCR5094 SYREETA/SYREETA(1980) Compact Disc 5013929079434SMCR5095 HYMAN,P/GODDESS OF LOVE(EXPAND Compact Disc 5013929079533 SMI036 TECH N9NE COLLABOS/WELCOME TO Compact Disc 853435003036 SMI83 JAY ROCK/FOLLOW ME HOME Compact Disc 893981001834 SN6525 KITT,E/EARTHA KITT LIVE AT THE Compact Disc 5027626652531SN6530 ALMOND,M/BLUEGATE FIELDS-LIVE CD with DVD 5027626653033 SNCD10432 LOCKE,J AND HAZE/MUTUAL ADMIRA Compact Disc 601917104326SNCD10482 HAZELTINE,D/THE NE W CLASSIC TR Compact Disc 601917104821 SNCD10492 CHAMPIAN FULTON/CHAMPIAN SINGS Compact Disc 601917104920SNCD10502 ROTONDI,J AND TH/HARD HITTIN A Compact Disc 601917105026 SNJBF001 FRANZINI,M/OUT OF A LOGICAL CH Compact Disc 8051093880019SNJBF002 MORAES,R/LIVE AT BIRD'S JAZZ C Compact Disc 8051093880026 SNJBF003 FRANCESCA,A/EVERYTHI NG WE LOVE Compact Disc 8051093880033 SNJBF004 M.E.F./VEROSIMILMENTE Compact Disc 8051093880040SNJBF005 MINARDI/ESPINOZA/PIN TORI/RANTZ Compact Disc 8051093880057 SNJBF006 GRUPPO Q/LIVE IN CHINA Compact Disc 8051093880064SNJBF007 TRACANNA AND MART INALE/PASSI L Compact Disc 80510938800715 027626 653033 6 01917 10482 15 013929 077539 5 013929 078338 5 013929 078833 5 013929 079038 5 013929 079434 8 051093 880019 8 051093 880026 8 051093 880033 8 051093 880040 8 051093 880057 8 051093 880064 8 051093 880071 5 027626 652531 6 01917 10432 6 6 01917 10492 0 6 01917 10502 65 013929 079533 5 013929 077430 5 013929 078932 5 013929 079137 5 013929 079236 5 013929 077737 8 53435 00303 6 8 93981 00183 45 013929 078536 5 013929 077331 Page 468 of 496 November 12, 2014Catalogue Numbe rArtist / Title Config Scannable UPC UPC SNJBF008 RICCI,C/ SWINGI NG SESSION Compact Disc 8051093880088 SNJBF009 SMELL 3/ SWINGIN Compact Disc 8051093880095SNJBF010 GANGSTERSTORY/THE DOUBLE LIFE Compact Disc 8051093880101SNJBF012 GARLASCHELLI,L/MUSIKORCHESTRA Compact Disc 8051093880125SNJBF013 SONATA ISLAND/A + B Compact Disc 8051093880149SNJBF014 FRANZINI/AJMAR/RANTZER/PINTORI Compact Disc 8051093880156SNJBF015 CONTRO TRIO/CONNECTION Compact Disc 8051093880163SNJBF016 GAMBA,O/REMEMBERING NINO ROTA Compact Disc 8051093880187SNJBF017 T.RICCI,M.RICCI,TAFURI,FURIAN Compact Disc 8051093880194SNJBF018 SONATA ISLAND/HIGH SOCIETY Compact Disc 8051093880200SNJBF019 LOMBARDO,BROWN,VERSACE,OATTS/B Compact Disc 8051093880224SNJBF022 TREPERQUATTROPIUUNO /VINTAGE Compact Disc 8051093880255 SOM703 ELUVEITIE/VEN Compact Disc 822603170320 SOP2005002 LONDON APARTMENTS,T/R OMANTICIS Compact Disc 777320125125 SPE11992 IRVING,RL III TRIO/NEW MOMENT U Compact Disc 808496119929 SPH23637 RESPECTABLES,THE/SWEET MAMA Compact Disc 619061374120 SPIT033 FOWLIS,J/MAR A TH A MO CHRIDHE Co mpact Disc 5051565220339 SPIT035 SMITH,E/TOO LONG AWAY Compact Disc 844493070351SPIT037 FOWLIS,J/CUILIDH (2CD) CD with DVD 844493070375 SRDX003 NORMAN,L/SO LONG AGO THE GARDE Compact Disc 755491440322 SRHR1239 HERMAN'S COLLECTION/HERMAN'S C Compact Disc 844185011617 SRI00112D KINKY FRIEDMAN & LITTLE JEWFOR Compact Disc 802396001124 SRJB1465 BOUCHARD,J/JUKEBOX IN MY HEAD Compact Disc 884501103220 SRLH1471 HOPPEN,L/ONE OF THE LUCKY ONES Compact Disc 847108062925 SRLW1595 LULLWATER/SILHOUETTE Compact Disc 609728636166 SRR003X STARS/THE FIVE GHOSTS (DLX.EDI Compact Disc 788581014974 SRR003XBB STARS/THE FIVE GHOSTS (DLX.ED) Compact Disc 776974309592 SSR12009 KILLER AND THE STAR,THE/SELF-T Compact Disc 798304055443 8 44493 07037 56 19061 37412 0 7 88581 01497 4 7 76974 30959 26 09728 63616 67 55491 44032 2 8 02396 00112 48 44493 07035 1 8 84501 10322 08 051093 880194 8 051093 880200 8 051093 880088 8 051093 880095 8 051093 880101 8 051093 880125 8 051093 880149 8 051093 880156 8 051093 880163 8 051093 880187 8 051093 880224 8 051093 880255 8 47108 06292 58 44185 01161 75 051565 220339 7 77320 12512 5 8 08496 11992 98 22603 17032 0 7 98304 05544 3 Page 469 of 496 November 12, 2014Catalogue Numbe rArtist / Title Config Scannable UPC UPC ST1206 ELECTRIC MOON/INFERNO Compact Disc 9120031190264 ST28624 VAR/ANOTHER CHRISTM AS GIFT FOR Compact Disc 735383286528 STLW001 SCREAMING TREES/LAST WORDS:THE Compact Disc 678277191327 STUM10 MATADORS,THE/THE DEVIL'S MUSIC Compact Disc 775020564923STUM18 BRAINS,THE/HELL N BACK & NO BR Compact Disc 844667004656STUM25 MATADORS,THE/SWEET REVENGE Compact Disc 844667010947 STXCD30811 VAR/STAX:THE SOUL OF HIP-HOP Compact Disc 888072308114 SUB23381 VAR/ONE DROP-NEW ROOTS ATTACK Compact Disc 619061338122 SUM390 CAPTURE THE CROWN/ALL HYPE(EP Compact Disc EP's 817424012911 SUNVC0413 VARIOUS ARTISTS/VIDEO COMPILAT VHS Clamshell format 621617004139 SVY17125 ECKSTINE,B/THE LEGENDARY BILLY Compact Disc 795041712523SVY17163 GRAPPELLI,S/TIMELESS STEPHANIE Compact Disc 795041716323 SXSA1010 HAYES ,I/THE I SAAC HAYES MOVEME SACD4 Stereo/Surround/CDAud 025218733564 SXYCD005 RAGE AGAINST THE MACHINE/THE L Compact Disc 823564606521SXYCD010 FOO FIGHTERS/THE LOWDOWN UNAUT Compact Disc 823564607221SXYCD016 KEYS,A/THE LOWDOWN Compact Disc 823564607825SXYCD017 KID ROCK/THE LOWDOWN (2CD) Compact Disc 823564607924SXYCD019 MY CHEMICAL ROMANCE/THE LOWDOW Compact Disc 823564608129SXYCD024 COLDPLAY/THE LOWDOWN Compact Disc 823564609027SXYCD028 CAVE,N/THE LO WDOWN Compact Disc 823564609225 SXYCD030 CAREY,M/THE LOWDOWN - UNAUTHOR Compact Disc 823564609522SXYCD034 MADONNA/THE LOWDOWN Compact Disc 823564609928SXYCD047 GAME VS 50 CENT/THE GLOVES ARE Compact Disc 823564611624 SYB1644 KARAOKE/LOVE SONGS 3 Compact Disc 610017164437 SYN001 NELSON,W/FACE OF A FIGHTER Compact Disc 874757000121SYN002 LITTLE RICHARD/THE KING OF ROC Compact Disc 874757000220SYN004 GILBERTO,A/THE GIRL FROM IPANE Compact Disc 874757000428SYN006 COUNT BASIE/ONE O'CL OCK JUMP Compact Disc 874757000626 6 10017 16443 78 44667 00465 6 7 95041 71252 3 7 95041 71632 3 8 74757 00022 0 8 74757 00062 68 74757 00012 18 23564 60652 16 78277 19132 7 8 74757 00042 88 23564 60722 1 8 23564 60782 5 8 23564 60792 4 8 23564 60812 9 8 23564 60952 2 8 23564 61162 49 120031 190264 8 23564 60902 7 8 23564 60922 5 8 23564 60992 87 35383 28652 8 8 88072 30811 48 44667 01094 77 75020 56492 3 6 19061 33812 2 8 17424 01291 1 0 25218 73356 46 21617 00413 9 Page 470 of 496 November 12, 2014Catalogue Numbe rArtist / Title Config Scannable UPC UPC SYN007 JOHNSON,R/ME AND THE DEVIL BLU Compact Disc 874757000725 SYN0072 LANDMARQ/ENTERTAINING ANGE(2CD Compact Disc 5060105490095 SYN008 INK SPOTS/JAVA JIVE Compact Disc 874757000824SYN009 WASHINGTON,D/LOW DOWN BLUES Compact Disc 874757000923 SYN011 PARKER,C/CHASIN' THE BIRD Compact Disc 874757001128 SYN012 BASIE,C & BENNETT,T/LI FE IS A Compact Disc 874757001227 SYN014 FITZGERALD,E/A TISKET A TASKET Compact Disc 874757001425 SYN015 VAR/BORN WITH THE BLUES:10 LEG Compact Disc 874757001524SYN016 CROSBY & NASH/BITTE RSWEET Compact Disc 874757001623 SYN017 TURNER,I & T/GHETTO FUNK Compact Disc 874757001722 SYN018 MARLEY,B/SOUL ALMIGHTY Compact Disc 874757001821SYN019 DAY,D/SOMEBODY LOVES ME Compact Disc 874757001920 SYN020 SINATRA,F/NIGHT AND DAY Compact Disc 874757002026SYN027 CHARLES,R/BROTHER RAY'S BLUES Compact Disc 874757002729SYN029 GARNER,E/THE ELF Compact Disc 874757002927SYN032 ELLINGTON,D/BLUE HARLEM Compact Disc 874757003221SYN034 MILLER,G/MILLER MAKES IT HAPPE Compact Disc 874757003429 SYN035 COLE,NK/CENTRAL AVE NUE BREAKDO Compact Disc 874757003528 SYN038 MILLS BROTHERS,THE/SWEETHEART Compact Disc 874757003825SYN048 PETER,PAUL & MARY/W EAVE ME THE Compact Disc 874757004822 SYN050 TORME,M/A FOGGY DAY Compact Disc 874757005027SYN053 SISTER SLEDGE/WE ARE FAMILY Compact Disc 874757005324SYN054 LEE,P/GOLD Compact Disc 874757005423SYN055 GARLAND, J/OVER THE RAINBOW CD with DVD 874757005522 SYN056 DIETRICH, M/FALLING IN LOVE AG CD with DVD 874757005621 SYN057 MUNROE,M/DIAMONDS AR E A GIRLS CD with DVD 874757005720 SYN058 RUSSELL,J/PAMPER ME CD with DVD 874757005829SYN066 BELAFONTE,H/DEEP AS TH E RIVER Compact Disc 874757006628 8 74757 00572 08 74757 00552 2 8 74757 00582 98 74757 00562 18 74757 00382 5 8 74757 00542 38 74757 00122 7 8 74757 00142 58 74757 00082 4 8 74757 00092 3 8 74757 00152 4 8 74757 00342 9 8 74757 00662 88 74757 00192 0 8 74757 00352 8 8 74757 00482 2 8 74757 00502 78 74757 00172 2 8 74757 00202 6 8 74757 00322 18 74757 00292 78 74757 00162 3 8 74757 00182 1 8 74757 00272 9 8 74757 00532 45 060105 490095 8 74757 00072 5 8 74757 00112 8 Page 471 of 496 November 12, 2014Catalogue Numbe rArtist / Title Config Scannable UPC UPC SYN067 LIBERACE/CLASSIC PIANO FAVORIT CD wi th DVD 874757006727 SYN068 STEWART,R/THE DAY WILL COME Compact Disc 874757006826SYN069 AUTRY, G/THE LAST ROUNDUP CD wi th DVD 874757006925 SYN070 ROGERS,R/KING OF THE COWBOYS CD with DVD 874757007021 SYN074 VAR/A COUNTRY CHRISTM AS (CD+DV CD wi th DVD 874757007427 SYN075 VAR/CHRISTMAS MEMORIES (CD+DVD CD wi th DVD 874757007526 SYN077 VAR/STARS COME OUT FOR CHRISTM CD with DVD 874757007724 SYN474 WELK,L/TOP TUNES & NEW TAL(DVD Digital Video Disc 874757047492 SYN475 WELK,L/CHRISTMAS SHOW S(DVD) Digita l Video Disc 874757047591 SYN480 WELK,L/NEW YEARS SPECIA LS(DVD Digita l Video Disc 874757048093 T0133DVD VAR/STAIND:TAINTED-UNAUTHORIZ Digital Video Disc 692865013334 TAN111132 VAR/ALTERNATE ROUTES Compact Disc 782091111321TAN111242 KENTON,S/ROAD BAND '67 Compact Disc 780291112421 TB02003 VAR/LIVE IN SAN FRANCISCO Digital Video Disc 826258200357 TB17182 L WORD,THE/MENAGE A TROIS-SEAS Compact Disc 661868171822 TB17492 VALENTINE,H/LESSONS FR OM THE L Compact Disc 661868174922 TBN0812 SCHOOL FOR HEROES/ANSWER Compact Disc 711578008120 TBO2005 YELLOWMAN/YELLOWMNA LIVE Digital Video Disc 826258200555 TC252255 JONES,T/FOR EVER CD with DVD 628261225521 TC252257 CASH,J/FOREVER CD with DVD 628261225729 TC252259 ROGERS,K/FOREVER Compact Disc 628261225927TC252906 VAR/HALLOWEEN COLLECTOR'S EDIT Digital Video Disc 628261290628TC253043 HAYES ,I/FOR EVER CD with DVD 628261304325 TC253055 CREEDANCE CLEARWATER REVIVAL/F Compact Disc 628261305520TC253087 VAR/CHRISTMAS MEMO RIES CD with DVD 628261308729 TC253110 LYNYRD SKYNYRD/FO REVER Compact Disc 628261311026 TC253118 CHARLES,R/FOR EVER Compact Disc 628261311828 TC253153 SUPREMES,THE/FO REVER Compact Disc 6282613153216 28261 22552 1 6 28261 22572 9 6 28261 30432 5 6 28261 30872 98 74757 00692 5 8 74757 00772 48 74757 00742 7 8 74757 00752 68 74757 00672 7 8 74757 00702 1 6 28261 22592 7 6 28261 30552 0 6 28261 31102 6 6 28261 31182 8 6 28261 31532 18 74757 00682 6 7 80291 11242 17 82091 11132 1 7 11578 00812 06 61868 17492 26 61868 17182 2 6 28261 29062 86 92865 01333 4 8 26258 20035 78 74757 04759 1 8 26258 20055 58 74757 04749 2 8 74757 04809 3 Page 472 of 496 November 12, 2014Catalogue Numbe rArtist / Title Config Scannable UPC UPC TC253239 MARTIN,D/FOREVER Compact Disc 628261323920 TC253243 SELENA/FOREVER Compact Disc 628261324323TC253247 BLONDIE/FOREVER Compact Disc 628261324729TC253258 COLE,NAT KING/FOREVER Compact Disc 628261325825TC253266 BEACH BOYS,THE/FO REVER Compact Disc 628261326624 TER009 CRYSTAL METHOD,THE/DIVIDED BY Compact Disc 852967001107 TERMIDOR21D VPAVAROTTI,L/A CHRISTMAS SP( DVD Digital Video Disc 821895989429 TERMIDOR22DV PAVAROTTI,L/A LEGE ND SAYS(DVD Digital Video Disc 821895989023 TFC1002 FAHRENHEIT 451/THE TWI/WALKING Compact Disc 700261229362TFC1006 PRINCE,THE/THE PAUPER/COMPLETE Compact Disc 700261271408TFC1008 HERRMANN,B/MYSTERIOUS ISLAND T Compact Disc 700261227870 TGW0001 MARLEY,Z/LOVE IS MY RELIGION Compact Disc 094922607256 TIC60444 BLACKSHIRE/3D EXPERIENCE Compact Disc 806937101625 TK0130 OUTBREAK/OUTBREAK Compact Disc 824953013029 TK107 MEMPHIS MAY FIRE/MEMPHIS MAY F Compact Disc 824953010721TK121 IT DIES TODAY/LIVIDITY Compact Disc 824953012121TK127 VENTANA/AMERICAN SURVIVAL GUID Compact Disc 824953012725TK128 VAR/SAW VI Compact Disc 824953012824TK162 HULUD,S & ANOTHER VICTIM/A WHO Compact Disc 824953001620TK502 VAR/BLOOD, SWEAT A ND TEN YEARS Com pact Disc 824953005024 TK589 VAR/VIDEO ASSAULT VO L.1 Digital Video Disc 824953005895 TLE0004 SHACKELTONS,THE/RECORDS Compact Disc 887158729201 TLG0003 DRAKE,N/FAMILY TREE Compact Disc 804879071525 TM2439 EDMUND SIMENTAL/MIDNI GHT RENDE Compact Disc 362112439599 TM9706 KANE,A/ARIKA KANE Compact Disc 884501197069 TORTV1123CD VAR/EIST ARIS Compact Disc 5099343211230 TOX007CDM UNSU/THE FILTHY Compact Disc 3770000191011 TPDVD166 COHEN,L/BIRD ON A WIRE (DVD) Digital Video Disc 6043887370006 28261 32392 0 6 28261 32432 3 6 28261 32472 9 6 28261 32582 5 6 28261 32662 4 8 06937 10162 57 00261 22936 2 7 00261 27140 8 7 00261 22787 0 3 62112 43959 9 8 84501 19706 9 5 099343 211230 3 770000 191011 0 94922 60725 6 8 87158 72920 18 24953 01212 1 8 04879 07152 58 24953 01302 9 8 24953 01272 5 8 24953 01282 4 8 24953 00502 48 24953 00162 08 24953 01072 18 52967 00110 7 8 21895 98902 3 6 04388 73700 08 21895 98942 9 8 24953 00589 5 Page 473 of 496 November 12, 2014Catalogue Numbe rArtist / Title Config Scannable UPC UPC TPE077 WITCH/WITCH (DVD) Digital Video Disc 707239007793 TPH2101 MINAJ,N/BEAM ME UP SCOTTY Compact Disc 187245210118 TR009 ETTES,THE/DO YOU WANT POWER Compact Disc 724101213212 TRI24014 VAR/MR.SAXO BEAT Compact Disc 619061401420 TRM740192 BUSH/SIXTEEN STONE Compact Disc 788647401922TRM740202 BUSH/RAZORBLADE SUITCASE Compact Disc 788647402028 TRR80022 PAICH,M/THE ROCK-JAZZ INCIDENT Compact Disc 617742800227TRR80032 TEMPO,N & STEVENS, A/HEY BABY! Compact Disc 617742800326 TRR80052 OUTRIGGERS,THE/GOLDEN HITS OF Compact Disc 617742800524TRR80062 MARKETTS/TAKE TO WHEELS Compact Disc 617742800623TRR80072 PRATT & MCCLAIN/PRATT & MCCLAI Compact Disc 617742800722TRR80172 REMBRANTS,THE/THE REMBRANTS Compact Disc 617742801729 TSAK005CD FUTURE CLOUDS & RADAR/PEORIA Compact Disc 895382001055 TSCD486 HIGH LEVEL R/GAUGHA N/BOA/THE B Compact Disc 714822048620 TSCD907 VAR/FOLK MUSIC OF GREECE Compact Disc 5016272907027 TSQ1875 VAR/PEOPLE TAKE WA RNING!MURDER Com pact Disc 856075001875 TSQ2097 BLAKE,R/DRIFTWOODS Compact Disc 894807002097TSQ2776 VAR/WORK HARD,PLAY HARD,PRAY H Compact Disc 894807002776TSQ2967 VAR/LIVE AT CAFFE LENA MUSIC F Compact Disc 894807002967 TTR80002 MANCINI,H & TAYLOR ,I/TERRIBLY Com pact Disc 617742800029 TTR80012 DASHIELL,B & THE KINSMEN/BUD D Compact Disc 617742800128TTR80092 LOPEZ,T/THE LOVE ALBUM Compact Disc 617742800920TTR80112 MAYFIELD,C/CURTIS IN CHICAGO-R Compact Disc 617742801125 TTR80132 FLOYD,E/KNOCK ON WOOD Compact Disc 617742801323TTR80152 KC AND THE SUNSHINE BAND/DO IT Compact Disc 617742801521TTR80182 VOICES OF EAST HARLEM /RIGHT ON Compact Disc 617742801828 TTR80212 MARTINEZ,H/HIRTH FROM EARTH Compact Disc 617742802122TTR80262 BIKEL,T/SINGS SONGS OF ISRAEL Compact Disc 6177428026276 17742 80022 7 6 17742 80092 0 6 17742 80152 16 17742 80172 9 7 14822 04862 0 5 016272 907027 6 17742 80032 6 6 17742 80052 4 6 17742 80062 3 6 17742 80072 2 6 17742 80012 8 6 17742 80112 5 6 17742 80132 3 6 17742 80182 8 6 17742 80212 2 6 17742 80262 77 88647 40202 87 88647 40192 2 6 17742 80002 91 87245 21011 8 8 95382 00105 56 19061 40142 0 8 94807 00209 7 8 94807 00277 6 8 94807 00296 77 24101 21321 2 8 56075 00187 57 07239 00779 3 Page 474 of 496 November 12, 2014Catalogue Numbe rArtist / Title Config Scannable UPC UPC TTSDR0101 D.O.A/THOR/ARE U READY Compact Disc 652975010128 TUNEIN009D FOWLEY,K/WILDFIRE(THE COMP(2CD Compact Disc 5013929090927 TVCME01 CASH,J/MAN IN BLACK:(LTD)DVD Digital Video Disc 793573867070 TVT03402 GET UP KIDS/SOMETHING TO WRITE Compact Disc 601091034020TVT03802 DASHBOARD CONFESSION AL/SWISS A Compact Disc 601091038028 TVT03852 DASHBOARD CONFESSIONAL /A MARK, CD with DVD 601091038523 TWA0012 PROLAPSE/BACK SAT URDAY Compact Disc 604978000125 TWA0082 CONGA NORVELL/ABNORMALS ANONYM Compact Disc 604978000828TWA0092 HOME/13: NETHERREGIONS Compact Disc 604978000927TWA0102 JESUS LIZARD/JESUS LIZARD Compact Disc 604978001023TWA0132 MOGWAI/KICKING A DEAD PIG Compact Disc 604978001320TWA0182 KID SILVER/DEAD CI TY SUNBEAMS Compact Disc 604978001825 TWA0202 PROLAPSE/GHOSTS OF DEAD AEROPL Compact Disc 604978002020 TWA0212 BLACK BOX RECORDER/ENGLAND MAD Compact Disc 604978002129TWA0222 MACHA/SEE IT ANOT HER WAY Compact Disc 604978002228 TWA0282 ARAB STRAP/ELEPHANT SHOE Compact Disc 604978002822TWA0352 TRAM/FREQUENTLY ASKED QUESTION Compact Disc 604978003522 TWA0402 BLACK BOX RECORDER/WORST OF.. Compact Disc 604978004024TWA0422 STRATFORD 4/REVOLT AGAINST TIR Compact Disc 604978004222TWA0432 DEATH BY CHOCOLATE/ZAP THE WOR Compact Disc 604978004321TWA0492 SIXTEEN HORSEPOWER/ FOLKLORE Compact Disc 604978004925 TWA0522 FLAMING SIDEBURNS/ SAVE ROCK 'N Compact Disc 604978005229 TWA0542 FIREWATER/MAN ON TH E BURNING T Compact Disc 604978005427 TWA0552 SAHARA HOTNIGHTS/C'MON LET'S P Compact Disc 604978005526TWA0572 MACHA/FORGET TOMORROW Compact Disc 604978005724TWA0582 GO-BETWEENS/BRIGHT YELLOW BRIG Compact Disc 604978005823TWA0612 FLAMING SIDEBURNS/ SKY PILOTS Compact Disc 604978006127 TWA0632 TEN BENSON/BENSO N BURNER Compact Disc 6049780063256 01091 03852 36 52975 01012 8 6 01091 03802 86 01091 03402 05 013929 090927 6 04978 00282 26 04978 00012 5 6 04978 00092 7 6 04978 00102 3 6 04978 00132 0 6 04978 00182 5 6 04978 00212 96 04978 00082 8 6 04978 00202 0 6 04978 00222 8 6 04978 00352 2 6 04978 00402 4 6 04978 00422 2 6 04978 00432 1 6 04978 00492 5 6 04978 00582 36 04978 00522 9 6 04978 00552 66 04978 00542 7 6 04978 00612 7 6 04978 00632 56 04978 00572 47 93573 86707 0 Page 475 of 496 November 12, 2014Catalogue Numbe rArtist / Title Config Scannable UPC UPC TWA0652 SIXTEEN HORSEPOWE R/OLDEN Compact Disc 604978006523 TWA0682 DEAN AND BRITTA/SONIC SOUVENIR Compact Disc 604978006820TWA0692 LUNA/RENDEZVOUS Compact Disc 604978006929TWA0702 GO-BETWEENS/LIBERTY BELLE & TH Compact Disc 604978007025 TWKJT002 TIMBERLAKE,J/JUST HA NGING OUT( Digi tal Video Disc 603777901794 TWR0001 CUESTA,C/MI BO SSA NOVA Compact Disc 700261315850 TWR0002 LOEB,C/PLAIN N SIMPLE Compact Disc 700261330679 UDR0235DVD MINISTRY/ENJOY THE QUIET(DVD+2 DVD + BNS CD 5099901958225 UDR0240CD MINISTRY/ENJOY THE QUIET LIVE Compact Disc 5099961515420 UFR0362 EXCUSE/THE SINGULAR ITY/YEAR TH Compact Disc 892926001366 UM002 WATSON,G & VINCENT,R/YOUR MONE Compact Disc 881034740144 UMABHE001 PHILLIPS,G/MR. LEMONS Compact Disc 854882001132 UMD80397 GRIEG /PIANO CONCERTO Compact Disc 602438039722 UMSD80587 MOLOTOV/DONDE JUGARAN LAS NINA Compact Disc 602438058723 UNIW4041902 MILKY CHANCE/STOLEN DANCE(CDEP Compact Disc EP's 602537899036 UOPJ011 PROTEST THE HERO/A CALCULATED Compact Disc EP's 292561225828 UOPJ17 MACHETEAVENUE/FIRST CUTS Compact Disc EP's 876183001253 UOPJ43 ABANDON ALL SHIPS/ MALOCCHIO Compact Disc 626570605768 UP23780 DEER,GM/YEAH, BUT TH E RESPONSE Compact Disc 706442378027 UP23783 WILLIAMS,K/HUMAN BEINGS-WHAT A Compact Disc 706442378324UP23836 REDUCEDSHAKESPEARECO/TH EBIBLE: Compact Disc 706442383625 UPTMD11019 JODECI /DIARY OF A MAD Compact Disc 008811101923 URBNET1015 CLASSIFIED/BOY-COTT- IN THE IND Compact Disc 775020620124 URCD241 ORY,K/SONG OF THE WANDERER/DAN C ompact Disc 5018121124128 URCD242 THARPE,S R/THE ONE A ND ONLY QU Compact Disc 5018121124227 USD53030 SISTER HAZEL/SOMEWHERE MORE FA Compact Disc 601215303025USD53136 CANIBUS /CAN I BUS Compact Disc 601215313628 UTVMVD78017 VAR/HIP HOP 411 Digital Video Disc 6889978017967 00261 31585 0 7 06442 37832 47 06442 37802 7 7 06442 38362 5 5 018121 124128 7 00261 33067 9 6 26570 60576 8 6 01215 30302 5 6 01215 31362 86 02438 05872 36 02438 03972 2 0 08811 10192 38 81034 74014 4 5 018121 124227 6 04978 00652 3 6 04978 00682 0 6 04978 00692 9 6 04978 00702 5 8 92926 00136 65 099961 515420 8 54882 00113 2 7 75020 62012 46 02537 89903 6 2 92561 22582 8 8 76183 00125 36 03777 90179 4 6 88997 80179 65 099901 958225 Page 476 of 496 November 12, 2014Catalogue Numbe rArtist / Title Config Scannable UPC UPC V220101 TROWER,R/ANOTHER DAYS BLUES Compact Disc 788575010104 VARI2013005 SUPPERCLUB/LIMITED EDITIO(10CD Compact Disc 8718521020248 VBE002 SALVADOR SANTANA BAND/SSB Compact Disc 804879115526 VE20018 VAR/JUST LIKE PARADISE:TRIBUTE Compact Disc 689240001826VE20030 VAR/LICK IT UP:TRIBUTE TO KISS Compact Disc 689240003028 VE20034 VAR/MISTY MOUNTAIN HOP:LED ZEP Compact Disc 689240200342VE20057 HAUNTED HEADS/LETTERE D'AMORE Compact Disc 689240200571 VE20060 VAR/CHRONIC 2011:A MI LLENNIUM Compact Disc 689240200601 VEGA23323 ELSIANE/HYBRID Compact Disc 619061332328 VERW39248 VAR/VERVE REMIXED 4 Compact Disc 602517741973 VIRUS3992 TH' INBRED/LEGACY OF FERTILITY Compact Disc 721616099249 VIT9186 VAR/STONE SOUR:STRING QUARTET Compact Disc 027297918627 VM0013 PEOPLES REPUBLIC OF EUROPE/SIN Compact Disc 778632901841VM0016 SAM/DESTRUCTION UNIT Compact Disc 778632901889 VOL0701 JACOB,J/BARHAM Compact Disc 3770000947007VOL0702 ATOMIK/DANCETROY Compact Disc 3770000947014VOL0703 PANAME DANDIES/LE SWING DE L'E Compact Disc 3770000947021VOL0705 RACE/BE YOUR ALIBI Compact Disc 3770000947045VOL0706 ANTON BARBEAU WITH SU JORDAN/T Compact Disc 3770000947052 VOL0801 DESOLE/PERDUS CORPS ET BEINS Compact Disc 3770000947069 VOL0802 SEAGULL STRANGE/BETTE R ANGELS Compact Disc 3770000947076 VOL0803 RACE/IN MY HEAD IT WORKS Compact Disc 3770000947106VOL0805 EXONVALDES/NEAR THE EDGE OF SO Compact Disc 3770000947083VOL0902 VAR/TWISTED CABARET VOL.1 Compact Disc 3770000947168 VOL0903 VAR/TWISTED CABARET V. 1:(DLX.D Digital Video Disc 3770000947182 VOL0905 BUDAM/STORIES OF DEVILS,ANGELS Compact Disc 3770000947175VOL1001 JACOB,J/SEL Compact Disc 3770000947205VOL1002 EXONVALDES/THERE'S NO PLACE LI Compact Disc 37700009472126 89240 20060 16 89240 00182 6 3 770000 947014 6 89240 00302 87 88575 01010 4 3 770000 947052 3 770000 947069 3 770000 947083 3 770000 947168 3 770000 947007 3 770000 947021 3 770000 947045 3 770000 947076 3 770000 947106 3 770000 947175 3 770000 947205 7 78632 90184 1 7 78632 90188 9 3 770000 947212 0 27297 91862 76 02517 74197 38 718521 020248 6 89240 20034 2 6 89240 20057 1 7 21616 09924 96 19061 33232 88 04879 11552 6 3 770000 947182 Page 477 of 496 November 12, 2014Catalogue Numbe rArtist / Title Config Scannable UPC UPC VOL1003 LAFILLE/TOUT ATTACHE(E) Compact Disc 3770000947229 VOL1004 LOU/ET APPRES ON VERRA Compact Disc 3770000947151 VOL1106 BUDAM/MAN Compact Disc 3770000947298 VP360CD MAGIC MUSHROOM BAND/LIVE 89 Compact Disc 604388320028VP361CD ASTRALASIA/HAWKWIND REMIXES Compact Disc 604388320127VP423CD MOTHER GONG/O AMSTERDAM Compact Disc 604388327423VP428CD ROCK SCULLY/TWO DECADES ON THE Compact Disc 604388327928 VPDVD42 GENESIS/REMEMBER KNEBWORTH 197 Digital Video Disc 604388696109 VPTMQ051CD LESLIE WEST BAND/NEW YORK STAT Compact Disc 604388687428 VR539 PLACEBO/BATTLE FOR THE SUN Compact Disc 601091053922VR557 SIMON,H/HARPER SIMON Compact Disc 601091055728VR567 EELS/END TIME Compact Disc 601091056725VR775 EELS/WONDERFUL GLORIOUS(2CD) Compact Disc 601091077522 W13011CD WEDNESDAY 13/DEAD MEAT COL(4CD Compact Disc 852215001897 WARPCD249X ENO/HYDE/SOMEDAY WORLD(2CD) Compact Disc 801061824921WARPCD257X BOARDS OF CANADA/TOMORROW'S HA Compact Disc 801061825720 WBRFTN001 WOOD,K & FROM THE NORTH/MALFUN Compact Disc 852215001811 WJR25 O'BRIEN,R/SOUTHWESTER SOUVENIR Compact Disc 803020117723WJR30 COWBOY NATION/A JOURNEY OUT OF Compact Disc 016351604828 WM500062 FRANCOIS K./FK-EP AND BEYOND Com pact Disc 790185000628 WM500222 FRANCOIS K./BEST OF WAVE VOL.1 Compact Disc 790185002226WM500282 VAR/BODY & SOUL COMPILATION Compact Disc 790185002820WM500382 BLUE 6/SWEETER LOVE Compact Disc 790185003827WM500442 AVIANCE,K/BOX OF CHOCOLATES Compact Disc 790185004428WM500842 VAR/DEEP AND SEXY Compact Disc 790185008426 WMC008 EASTMAN,G QUINTET/BR OWN SKIN G Compact Disc 796873030342 WMP100 LOREN,H/MANY TIMES, MANY WAYS Compact Disc 884501080132 WMR65408 WILLIAMSON,C/THE CHANGER & THE Compact Disc Enhanced 618106540827 8 84501 08013 28 52215 00181 1 7 90185 00282 03 770000 947229 6 04388 68742 83 770000 947151 3 770000 947298 6 04388 32742 3 7 90185 00442 88 52215 00189 7 7 90185 00842 6 7 96873 03034 26 04388 32002 8 6 04388 32012 7 6 04388 32792 8 7 90185 00062 8 7 90185 00222 6 7 90185 00382 78 03020 11772 3 0 16351 60482 86 01091 05572 8 6 01091 07752 26 01091 05672 56 01091 05392 2 8 01061 82492 1 8 01061 82572 0 6 18106 54082 76 04388 69610 9 Page 478 of 496 November 12, 2014Catalogue Numbe rArtist / Title Config Scannable UPC UPC WMR65410 RANDLE,V/SLEEP CITY Compact Disc 618106541022 WMR959 WILLIAMSON,C/BEST OF CRIS WILL Compact Disc 618106595926 WNRCD5044 VAR/SOUL STEPPERS (D VD+CD) DVD + BNS CD 5018755504419 WNRD2467 VAR/WOODSTOCK DIARY 1969(DVD) Digital Video Disc 5018755246715 WP001 WALKING PAPERS/WALKING PAPERS Compact Disc 678277207028 WRASS197 KUTI,F/THE BEST OF FE LA KUTI A CD with DVD 5060001272382 WRASS238 BREGOVIC,G/ALKOHOL Compact Disc 875232007727 WWCD046 VAR/LEAD WITH THE BASS 3 Compact Disc 7187505546288 WWCD047 RAGANA/MANY REVERBS TO CROSS Compact Disc 718750554727 WWCD048 DUB TERROR/DUB TERROR Compact Disc 0718750554819WWCD050 DEEP ROOT/BEST OF DEEP ROOT Compact Disc 718750555021 WWR0707 DAVE GLEASON'S WASTED DAYS/JUS Compact Disc 837101341554 XXICD21422 DA COSTA.A/HENDIX,MCARTNEY & Y Compact Disc 722056142229XXICD21424 GRAND CHOEUR DE MTL./DUBOIS-7 Compact Disc 722056142427XXICD21482 TURP/QUILICO/DUCHESN EAU/DUBOIS Compact Disc 722056148221 XXICD21484 DA COSTA,A/ ESPANA Compact Disc 722056148429 XXICD21600 VAR/O CANADA! Compact Disc 722056160025XXICD21679 LES AGREMENTS DE MONTREAL/BACH Compact Disc 722056167925 YHVH1CD YAHOWHA13/I'M GONNA TAKE YOU H Compact Disc 760137484028 YHVHCD2 YAHOWHA13/PENETRATION ,AN AQUAR Compact Disc 760137484127 YHVHCD3 YAHOWHA13/OPER ETTA Compact Disc 760137483922 YHVHCD5 FATHER YOD AND THE SPIRIT OF 7 Compact Disc 5030094124820 YOTS31912 MACHIAVELLIAN/IMPOSSIBI LITY OF Compact Disc 620673319126 YR003 PARSON RED HEADS/KING GIRAFFE Compact Disc 634479475498 YY9423 D'ROVERA,P/THE LOST SESSIONS Compact Disc 8436006494239 YY9424 D'RIVERA,P/ESTE CAMINO LARGO Compact Disc 8436006494246 YY9429 GONZALEZ,R/TODO SENTIMENTO Compact Disc 8436006494291YY9430 FONSECA,R/AFR-CUBAN JAZZ PROJE Compact Disc 84360064943075 060001 272382 7 22056 14222 9 7 22056 14242 7 7 22056 14822 1 7 22056 14842 9 7 22056 16002 5 7 22056 16792 56 78277 20702 8 7 18750 55472 7 8 436006 494246 7 187505 546288 0 718750 554819 8 436006 494239 7 18750 55502 16 18106 54102 2 6 34479 47549 88 37101 34155 46 18106 59592 6 7 60137 48402 8 7 60137 48412 7 7 60137 48392 2 8 436006 494291 8 436006 494307 5 030094 124820 6 20673 31912 68 75232 00772 75 018755 246715 5 018755 504419 Page 479 of 496 November 12, 2014Catalogue Numbe rArtist / Title Config Scannable UPC UPC YY9431 O'FARRILL,C/CHICO O'FARRILL'S Compact Disc 8436006494314 YY9433 PORTUONDO,O/LAGRIMAS NEGRAS:CA Compact Disc 8436006494444YY9435 DE NIEVE,B/THE IMCOM PARABLE BO Compact Disc 8436006494468 YY9436 EMILIO,F/TATA GA1/4INES GRUPO Compact Disc 8436006494475YY9439 SANDOVAL,A/LIVE AT THE HOTEL N Compact Disc 8436006494505 YZLCD002 VAR/BUSTIN' OUT NE W WAVE TO NE Compact Disc 5055311050027 ZEDDCD001 NEGRO,J AND THE SUNB U/HERE COM Compact Disc 5036865005015 ZEDDCD004 NOVA FRONTERIA/FULL FRONTERIA Compact Disc 5020196160048 ZEDDCD006 NEGRO,J AND THE S UNBUR/UNTIL T C ompact Disc 827655014721 ZEDDCD007 VAR/THE SOUL OF DI SCO V1(2CD) Compact Disc 5030820041476 ZEDDCD008 VAR/JOEY NEGRO:IN THE BEGI(2CD Compact Disc 5030820042732 ZEDDCD010 VAR/THE SOUL OF DI SCO V2(2CD) Compact Disc 5037454772400 ZEDDCD011 NEGRO,J/MANY FACES OF V1 (2CD Compact Disc 5037454772608 ZEDDCD012 VAR/SUPAFUNKANOVA VO L 1 (2CD) Compact Disc 5037454772950 ZEDDCD013 NEGRO JOEY AND THE SUNBUR/MOVI Co mpact Disc 5060162570037 ZEDDCD014 WILLIS,D/DOUG'S DI SCO BRAIN Compact Disc 5060162570082 ZEDDCD015 VAR/LOCKED IN THE VI NYL CE(2CD Compact Disc 5060162570112 ZEDDCD016 NEGRO JOEY AND THE SUN BU/REMI Compact Disc 5060162570143 ZEDDCD017 NEGRO,J/MANY FACES OF V2 (2CD Compact Disc 5060162570150 ZEDDCD020 AKABU/PHUTURE AIN'T WH AT IT US Compact Disc 5060162570570 ZEDDCD021 JD73/PURE GOLD Compact Disc 5060162570600ZEDDCD023 REVENGE/REEKIN ST RUCTIONS Compact Disc 5060162570822 ZEDDCD024 VAR/UNDER THE INFLUE NCE V1(2CD Compact Disc 5060162571096 ZEDDCD026 NEGRO,J & THE SUNB URST BAND/TH Co mpact Disc 5060162571799 ZEDDCD027 VAR/UNDER THE INFLUE NCE TW(2CD Compact Disc 5060162571850 ZEDDCD028 VAR/OVERDOSE OF THE HOST(2CD) Com pact Disc 5060162572062 ZEDDCD029 VAR/UNDER THE INFLUE NCE V3(2CD Compact Disc 5060162572079 ZEDDCD030 VAR/REMIXED WITH LOVE BY J(2CD Compact Disc 50601625723908 436006 494475 8 436006 494505 5 060162 570150 5 060162 571799 5 060162 572062 5 060162 572079 5 060162 572390 5 036865 005015 5 020196 160048 8 27655 01472 1 5 060162 570037 5 060162 570082 5 060162 570143 5 060162 570570 5 060162 570600 5 060162 570822 5 030820 041476 8 436006 494314 5 030820 042732 5 037454 772400 5 060162 570112 5 060162 571096 5 060162 571850 5 037454 772608 5 037454 772950 5 055311 050027 8 436006 494444 8 436006 494468 Page 480 of 496 November 12, 2014Catalogue Numbe rArtist / Title Config Scannable UPC UPC ZIQ333CD U ZIQ/CHEWED CORNER Compact Disc 5055300330918 ZLR0101 MISS LESLIE & HER JUKE-JOINTER Compact Disc 634479131318ZLR0102 MISS LESLIE & HER JUKE-JOINTER Compact Disc 634479364372 ZONE1011 CLARK,P/PAROS/ORLEANS/PARIS (2 Compact Disc 5060105741128 5 060105 741128 6 34479 13131 8 6 34479 36437 25 055300 330918 Page 481 of 496 November 12, 2014Catalogue Numbe rArtist / Title Config Scannable UPC UPC 001701 CONSTANTINES/ISLANDS IN THE ST Vinyl LP's 827590017016 004681 BULAT, BAS/HEART OF MY OWN Vinyl LP's 883870046817008001 APOSTLE OF HUSTLE/FOLKLORIC FE Vinyl LP's 827590080010008301 VARIOUS/ARTS & CRAFTS RECORD S Vinyl LP's 827590083011025001 LOS CAMPESINO/STICKING FINGERS Vinyl LP's 827590250017050091 EVENING HYMNS/SPIRIT GUIDES (V Vinyl LP's 827590500914050241 SMITH, SAM/TOUGH COOKIE Vinyl LP's 827590502413 52931 JETT,J AND THE BLA/ALBUM(LP+CD Vinyl + CD 74833752931252951 DEL JETT/THE BLACK/BAD REPT(LP Vinyl LP's 74833752951053661 DOLLYROTS,THE/CALIFORNIA B(7'' 7" Vinyl Singles 748337536617 072901 STARS/TAKE ME TO THE RIOT 7" Vinyl Singles 827590729018 89931 ROLLING ST,THE/GOT LIVE IF(7'' 7" Vinyl Singles 018771899310 101034 BAND OF SKULLS/BABY DARLING DO Vinyl LP's 811771010347105125 URIAH HEEP/INTO THE WILD (LP) Vinyl LP's 8024391051252117260 MGMT/LATE NIGHT TALES(2LP Vinyl LP's 8801571172606132339 FEAR FACTO/MECHANIZE -LTD EDIT Vinyl LP's 803341323391132340 CANNIBAL C/WRETCHED SPAWN Vinyl LP's 803341323407132498 TOWNSEND, /INFINITY Vinyl LP's 803341324985 0135427 RUSH/THE GARDEN(10'') 10" Vinyl 016861354275UNIVERSAL MUSIC DISCONTINUED LISTING / List e de produits discontinues The following titles are no longer distributed by Universal Music Canada and are not returnable effective immediately. À compter de maintenant les titres suivants ne sont plus distribués par Universal Music Canada et ne sont pas retournables. NUMERICAL BY ARTIST / Numerique par artiste 7 48337 52931 2 8 03341 32340 7 8 03341 32498 58 27590 08301 18 27590 01701 6 8 27590 08001 0 8 27590 25001 7 8 27590 50091 4 8 27590 50241 3 8 024391 051252 8 83870 04681 7 8 03341 32339 18 11771 01034 7 8 801571 172606 7 48337 52951 0 0 16861 35427 50 18771 89931 08 27590 72901 87 48337 53661 7 Page 482 of 496 November 17, 2014Catalogue Numbe rArtist / Title Config Scannable UPC UPC 181541 SINATRA, F/A JOLLY CHRISTMAS F Vinyl LP's 5099991815415 201951 GALLAGHER,RIRISH TOUR (12"VYL) Vinyl Singles 826992019512202481 GALLAGHER,R/NOTES FROM SAN FRA Vinyl LP's 826992024813268337 ROXY MUSIC/VIRGINIA PLAIN/PYJA Vinyl LP's 5099902683379276511 WINTERSLEE/WELCOME TO THE NIGH Vinyl LP's 5099922765116296977 LENNON, JO/MOTHER/IMAGINE/WATC Vinyl LP's 5099962969772301387 ADAMS RYAN/DO I WAIT/DARKNESS Vinyl LP's 5099973013877308003 MARTIN, CH/I CAN TOO Vinyl LP's 627843080039390041 CINEMATIC O,THE/LATE NIGHT(2LP Vinyl LP's 5099973900412398831 MASSIVE AT/PROTECTION Vinyl LP's 724383988310416397 BEATLES, T/PAPERBACK WRITER/RA Vinyl LP's 5099964163970492531 A PERFECT /MER DE NOMS Vinyl LP's 724384925314515066 QUANTIC PR/DOG WITH A ROPE Vinyl LP's 5060205150660581481 EMPIRE OF /WALKING IN A DREAM Vinyl LP's 5099945814815600142 WHITE BUFF,THE/SHADOWS GREY(LP Vinyl Singles 898336001422714337 GASLIGHT A/TUMBLING DICE-SHE L Vinyl Singles 603967143379714467 TITLE FIGH/FLOOD OF '72 7" Vinyl Singles 603967144673714601 HORRIBLE C/ELSIE(RED VYL INDIE Vinyl LP's 603967146011738661 COLLETT, J/IDOLS OF EXILE (VIN Vinyl LP's 5033197386614748591 WATSON, PA/CLOSE TO PARADISE Vinyl LP's 5033197485911800761 HUMAN HIGH/MOODY MOTORCYCLE Vinyl LP's 803238007618845421 RAMONE,J/DON'T WORRY ABOUT ME Vinyl LP's 060768454217854041 BLAKEY, AR/MOANIN' (VYL IMP) Vinyl LP's 5099968540418 6 03967 14601 1 5 033197 386614 8 26992 02481 3 5 060205 150660 7 24383 98831 05 099902 683379 5 099945 814815 5 099922 765116 7 24384 92531 45 099991 815415 5 099973 013877 5 099968 540418 5 099962 969772 5 099964 163970 6 27843 08003 9 5 099973 900412 0 60768 45421 78 03238 00761 85 033197 485911 6 03967 14337 98 26992 01951 2 8 98336 00142 2 6 03967 14467 3 Page 483 of 496 November 17, 2014Catalogue Numbe rArtist / Title Config Scannable UPC UPC 870051 SEX PISTOL/GREAT ROCK AND ROLL Vinyl LP's 077778700517 880431 BEASTIE BO/HOT SAUCE COMM.PT.2 Vinyl LP's 5099968804312886581 FAUST/FAUST IV Vinyl LP's 5099968865818953241 BLAKEY, AR/MOANIN' Vinyl LP's 724349532410980251 HARRISON, /ALL THINGS MUST PAS Vinyl LP's 077779802517983411 BEACH BOYS/ GOOD VIBR ATIONS (10 Vinyl LP's 5099909834118 990011 SHORTER, W/SPEAK NO EVIL Vinyl LP's 724349900110 1770841 RUSH/SNAKES & ARROWS (VINYL) Vinyl Singles 0812279980972301051 PEPLOVE/ASCENSION Vinyl LP's 6553230105112301071 VAR/ONE BIG TRIP Vinyl LP's 6553230107192301131 TAJAI/POWER MOVEMENT Vinyl LP's 6553230113102741518 CROWDED HOUSE/INTRIGUER(IMPT L Vinyl LP's 6025274151852746710 ROLLING STONES,THE/1971-2005(V Vinyl LP's 6025274671083723278 ROLLING STONES/DOOM AND(10" LP 10" Vinyl 6025372327893754040 GOMEZ/BRING IT ON(2LP) Vinyl LP's 6025375404023754043 MASSIVE ATTACK/MEZZANINE (2LP) Vinyl LP's 6025375404333754044 GONG/ANGELS EGG(LP) Vinyl LP's 6025375404403754188 JAPAN/GHOSTS(7'') 7" Vinyl Singles 6025375418813754190 MOORE,G/LYNOTT/OUT IN THE(7'' 7" Vinyl Singles 6025375419043792307 SPIDERS/SHAKE ELECTRIC(LP) Vinyl LP's 6025379230764244251 NIRVANA/NEVERMIND (LP) Vinyl LP's 7206424425174245361 NIRVANA/IN UTERO (LP) Vinyl LP's 7206424536124635441 SLASH/APOCALYPTIC LOVE (LP) Vinyl LP's 5099946354419 6 02537 54043 35 099968 865818 6 02537 54040 2 6 02537 54044 06 02527 46710 8 6 02537 92307 6 7 20642 44251 7 7 20642 45361 2 5 099946 354419 0 77778 70051 7 5 099968 804312 5 099909 834118 7 24349 53241 0 7 24349 90011 00 77779 80251 7 6 02527 41518 56 55323 01131 06 55323 01051 1 6 55323 01071 90 81227 99809 7 6 02537 23278 9 6 02537 54188 1 6 02537 54190 4 Page 484 of 496 November 17, 2014Catalogue Numbe rArtist / Title Config Scannable UPC UPC 5345458 SUPERTRAMP/BREAKFAST IN AME(LP Vinyl LP's 600753454589 5345886 FITZGERALD,E/ARM/ELLA AND L(LP Vinyl LP's 600753458860 5345887 HOLIDAY,B/LADY SINGS THE BL(LP Vinyl LP's 6007534588775345889 PETERSON,O/NIGHT TRAIN(LP) Vinyl Singles 6007534588915351132 JOHN,E/GREATEST HITS(2LP) Vinyl LP's 6007535113296250981 HIGHSCORE/UNSUSPECTING ACTORS Vinyl LP's 6216176960136257951 VARIOUS ARTISTS/FOUR CORNERS Vinyl LP's 6216176959177230383 MCCARTNEY,P/MEMORY ALMOST FULL Vinyl LP's 8880723038367306571 OST/MUPPETS MOVIE,THE OST(LP) Vinyl LP's 0500873065718823161 ROLLING STONES,THE/ENGLAND'S N Vinyl LP's 0422882316158823191 ROLLING STONES,THE/OUT OF OUR Vinyl LP's 0422882319128823221 ROLLING STONES,THE/BIG HITS Vinyl LP's 0422882322168823231 ROLLING STONES,THE/AFTERMATH Vinyl LP's 0422882323158823261 ROLLING STONES,THE/BETWEEN TH Vinyl LP's 0422882326128823291 ROLLING STONES,THE/THEIR SATAN Vinyl LP's 0422882329198823301 ROLLING STONES,THE/BEGGARS BAN Vinyl LP's 0422882330158823321 ROLLING STONES,THE/LET IT BLE Vinyl LP's 0422882332138823331 ROLLING STONES,THE/GET YER YA Vinyl LP's 0422882333128823341 ROLLING STONES,THE/HOT ROCKS Vinyl LP's 0422882334118823441 ROLLING STONES,THE/METAMORPH Vinyl LP's 0422882344189287707 RINGO STARR/45 RPM SING(7'' LP 7" Vinyl Singles 50999928770789346977 OLDFIELD,M/THEME FROM TU(7''LP 7" Vinyl Singles 50999934697779347031 HUMAN LEAGUE /DON'T YOU WAN(LP Vinyl LP's 5099993470315 8 88072 30383 6 5 099993 470315 6 00753 45886 0 6 00753 45887 76 00753 45458 9 6 00753 51132 9 0 50087 30657 1 0 42288 23161 5 0 42288 23191 2 0 42288 23221 6 0 42288 23231 5 0 42288 23261 2 0 42288 23291 9 0 42288 23301 5 0 42288 23321 3 0 42288 23331 2 0 42288 23341 1 0 42288 23441 86 21617 69601 3 6 21617 69591 76 00753 45889 1 5 099993 469777 5 099992 877078 Page 485 of 496 November 17, 2014Catalogue Numbe rArtist / Title Config Scannable UPC UPC 9347041 SIMPLE MINDS/PROMISED YOU A(LP Vinyl LP's 5099993470414 9347051 VERVE,THE/THE VERVE(LP EP) Vinyl EP 50999934705139752827 WELLER,P/FLAME OUT(7'' LP) 7" Vinyl Singles 5099997528272 0114311171 THEY MIGHT BE GIANTS/THE ELSE Vinyl LP's 6011431117160205155078 DIZZ1/EVERYDAY GRIND(LP EP) Vinyl EP 50602051550780205155184 HIDDEN ORCHESTRA/ARCHIPEL(2LP) Vinyl LP's 50602051551840253795467 YANOFSKY,N/LITTLE SECRET(INTL Vinyl LP's 6025379546740694932901 EMINEM/THE EMINEM SHOW(2LP) Vinyl LP's 6069493290130731521011 STONE,J/SOUL SESSIONS,THE V(LP Vinyl LP's 8073152101131166111631 GUTHRIE,W/WOODY'S GREATEST HIT Vinyl LP's 0116611163131166136143 SEEGERS,D/GOING DOWN TO THE(LP Vinyl LP's 8880723614301166177191 VAR/VERSION DREAD:18 DUB HITS Vinyl LP's 0116617719181166177941 HOLT,J/I CAN'T GET YOU OFF MY Vinyl LP's 0116617794191166190831 GORDON,M/THE GREEN SPARROW(12" Vinyl EP 0116619083141166190981 DELTA SPIRIT/HISTORY FROM BELO Vinyl LP's 0116619098161166191311 DELTA SPIRIT/DELTA SPIRIT (VYL Vinyl LP's 0116619131101686176561 RUSH/CLOCKWORK ANGELS(2X12"VYL Vinyl LP's 0168617656131790020600 PINK GRENADE/FEAR OF A PINK(LP Vinyl LP's 8117900206002537914906 ADAMS,R/1984(7'') 7" Vinyl Singles 6025379149062539602722 ZOLAS,THE/LIPTONIANS,THE/SPLIT 7" Vinyl Singles 8253960272223341232358 OPETH/ORCHID(2LP) Vinyl LP's 8033412323583341232372 OPETH/MY ARMS YOUR HEARSE(2LP) Vinyl LP's 8033412323723341330924 THIN LIZZY/JOHNNY THE FOX(LP) Vinyl LP's 803341330924 0 11661 90831 45 099993 470513 5 060205 155078 0 16861 76561 30 11661 11631 3 0 11661 90981 66 01143 11171 6 0 11661 77191 8 0 11661 77941 9 0 11661 91311 0 8 03341 33092 46 02537 95467 45 099993 470414 8 07315 21011 36 06949 32901 3 8 03341 23235 8 8 03341 23237 28 88072 36143 0 8 11790 02060 05 060205 155184 6 02537 91490 65 099997 528272 8 25396 02722 2 Page 486 of 496 November 17, 2014Catalogue Numbe rArtist / Title Config Scannable UPC UPC 3341330979 THIN LIZZY/RENEGADE(LP) Vinyl LP's 803341330979 3341330986 THIN LIZZY/THUNDER AND LIG(2LP Vinyl LP's 8033413309864833753161 JETT,J AND THE BL/GLORIOUS R(L Vinyl LP's 7483375316125707914918 VAR/THE NEWPORT FOLK FESTI(LP) Vinyl LP's 0157079149185891405117 VAR/TWISTABLE TURNABLE MAN A M Vinyl LP's 0158914051175891409313 JAROSZ,S/BUILD ME UP FROM B(LP Vinyl LP's 0158914093137235002527 YOUNG BUFFALO/BRAIN ONE(LP) Vinyl LP's 8572350025279301835331 PRETTY RECKLES,THE/GOING T(LP) Vinyl LP's 793018353311 000021A MCDERMOTT,/DANNY BOY,THE COLLE Vinyl LP's 000000000215 01675031LP VAR/GREAT COVER VERSIONS R(2LP Vinyl LP's 707787750318 132502B TOWNSEND, /SYNCHESTRA Vinyl LP's 803341325029 625P1611 RUNNING FOR COVER/DARK WELL-LP Vinyl LP's 621617326316625P1921 SEEIN RED/FPO/SPLIT Vinyl LP's 621617399518625P1941 BXUXSXH/NEW AMERICAN CENTURY Vinyl LP's 621617400818625P2021 LORD OF LIGHT/ENERGY Vinyl LP's 621617400610 AAA996 QUEENS OF THE STONE AGE/LULLAB Vinyl LP's 689230099611 AAA999LP EAGLES OF DEATH METAL/PEACE LO Vinyl LP's 689230099918 ACME0031 SHODS/BAMBOOZLED Vinyl LP's 621617395817ACME0047 ALIEN BLOOD TRANSFUSION/ALIAN 7" Vinyl Singles 621617396678ACME0077 ALIEN BLOOD TRANSFUSION/13/ALI 7" Vinyl Singles 621617396579ACME0091 LAST IN LINE/L'ESCERCITO DEL M Vinyl LP's 621617396111ACME0107 SBGM/SUPER BASTARDS AND GREAT 7" Vinyl Singles 621617395978ACME0117 COCKROACH/STAY ANGRY 7" Vinyl Singles 621617396371 8 03341 32502 90 15891 40511 7 0 15891 40931 38 03341 33097 9 8 03341 33098 6 7 07787 75031 87 93018 35331 1 0 00000 00021 5 6 21617 39581 7 6 21617 39611 16 21617 39951 8 6 21617 40081 8 6 21617 40061 06 21617 32631 68 57235 00252 70 15707 91491 87 48337 53161 2 6 89230 09961 1 6 89230 09991 8 6 21617 39667 8 6 21617 39657 9 6 21617 39597 8 6 21617 39637 1 Page 487 of 496 November 17, 2014Catalogue Numbe rArtist / Title Config Scannable UPC UPC ACME0127 WARM JETS/WARM JETS 7" Vinyl Singles 621617395572 ACME0137 VARIOUS ARTISTS/NO SIDE 95-98 7" Vinyl Singles 621617395671ACME0187 SPEND4/AYAYAYAYAYAYAYA 7" Vinyl Singles 621617395770ACME0227 OUT COLD/PLANNED ACCI DENTS 7" Vinyl Singles 621617396074 ACME0237 BONDSMEN,B/BILL BONDSMEN 7" Vinyl Singles 621617396470ACME0261 ZOOPARTY/YOU ARE HERE Vinyl LP's 621617360518 ACX142LP ROYKSOPP AND ROBYN/DO IT AG(LP Vinyl LP's 5060236632227 AFMLP3241 TANKARD/VOL(L)UME 14 (LP) Vinyl LP's 884860023528AFMLP4624 MINISTRY/FROM BEER TO ETER(2LP Vinyl LP's 884860087612 ANX0027 CHEAP TRAGEDIES/CHEAP TRAGEDIE 7" Vinyl Singles 621617321274 B000328801 ROBERTS,S/WE WERE BORN IN A FL Vinyl LP's 602498635278B001519601 COLD WAR KIDS/MINE IS YOURS(LP Vinyl LP's 602527574639B001543601 NAKED AND FAMOUS,THE/PASSIVE M Vinyl LP's 602527574448B001603301 BLINK 182/NEIGHBORHOODS (LP) Vinyl LP's 602527821801B001635301 LADY GAGA/BORN THIS WAY-THE RE Vinyl LP's 602527893358B001895901 NIRVANA/IN UTERO 2013 MIX(LP) Vinyl LP's 602537483471B001909201 WEEKND,THE/KISS LAND(LP Vinyl LP's 602537512935B001949311 LADY GAGA/APPLAUSE REMIXES(LP) Vinyl LP's 602537589784B001965511 U2/ORDINARY LOVE (10'') 10" Vinyl 602537620487B002073411 ST VINCENT/DIGITAL WITNESS(LP Vinyl LP's 602537825400 BHH2048 VAR/REVENGE OF THE B-BOY:(LPX2 Vinyl LP's 611933204818 BMR0452 MODEY LEMON/THUNDER + LIGHTNIN Vinyl LP's 607287004617BMR0752 TIME FLYS/FLY Vinyl LP's 6072870077175 060236 632227 6 02537 51293 5 6 11933 20481 86 02537 82540 06 02527 57444 86 02498 63527 8 6 02527 89335 8 6 02537 58978 46 02537 48347 16 02527 82180 18 84860 02352 8 8 84860 08761 26 21617 36051 8 6 07287 00461 7 6 07287 00771 76 02527 57463 9 6 02537 62048 76 21617 39557 2 6 21617 39567 1 6 21617 39577 0 6 21617 39607 4 6 21617 39647 0 6 21617 32127 4 Page 488 of 496 November 17, 2014Catalogue Numbe rArtist / Title Config Scannable UPC UPC BMR0782 MODEY LEMON/CURIOUS CITY Vinyl LP's 072438735971 BMR0932 TIME FLYS/REBELS OF BABYLON Vinyl LP's 607287009414BMR0951 MIRRORS/13 PATIENT FLOWERS Vinyl LP's 607287009711 BTMSR0300C SWIFT,T/SPEAK NOW (LPX2) Vinyl LP's 843930004003 CADIZLP131 JOHNSON,W/THE BEST OF(2LP) Vinyl LP's 844493061311 COUNT0121 DEATH SET/WORLDWIDE (LP) Vinyl LP's 5021392495187 COW898197 STARLINE RHYTHM BOYS,THE/GREEN Vinyl LP's 747728981975 CUNLP325LP SAO PAULO UNDERG/TRES CABAC(LP Vinyl LP's 045775032511 DAV00014 ARKELLS/JACKSON SQUARE (LP) Vinyl LP's 821826001381 DAV038 WOOL/LUNAR MOMENTO LOST S1(VYL Vinyl LP's 821826003712DAV047 ATTACK IN BLACK/MARRIAG(DLX(LP Vinyl LP's 821826003323DAV049 MONEEN/THE RED TREE DELUXE(VYL Vinyl LP's 821826003774DAV051 ALEXISONFIRE/MATH SHEETS D(VNL Vinyl LP's 821826003736 DCE0011 FRIENDS OF ROCK-N-R OLL/FRIENDS Vinyl LP's 094922704580 DPRO347 CONSTANTINES/HARD FEELINGS (7" 7" Vinyl Singles 827590734012 DRP7002 RUMPELSTILTSKIN GRINDER/GLOOMI Vinyl LP's 760137700210 DTC006 SAINTE CATHER,THE/THE MACHI(LP Vinyl LP's 777913000068DTC007 FIFTH HOUR HERO/COLLECTED I(LP Vinyl LP's 777913000075 DV31 DEAD AND DIVINE/ANTIMACY Vinyl Singles 825996803127 DWT701091 GRAY,D/DRAW THE LINE (LP) Vinyl LP's 878037010916DWT703121 DIE ANTWOORD/TENSION (LP) Vinyl LP's 878037026863 DWT70342 MAJOR LAZER/GET FREE (VYL EP) Vinyl EP 878037027334DWT70369 BUTTER THE CHIL/TRUE CRIM(7''L 7" Vinyl Singles 878037027839 8 78037 02733 48 21826 00138 1 8 21826 00371 2 8 21826 00332 3 8 21826 00377 4 8 21826 00373 60 45775 03251 1 7 60137 70021 07 47728 98197 58 44493 06131 1 7 77913 00006 8 7 77913 00007 5 8 78037 01091 68 43930 00400 30 72438 73597 7 6 07287 00971 16 07287 00941 4 5 021392 495187 0 94922 70458 0 8 78037 02686 38 25996 80312 7 8 78037 02783 98 27590 73401 2 Page 489 of 496 November 17, 2014Catalogue Numbe rArtist / Title Config Scannable UPC UPC DWT70383 WHITE DENIM/A PLACE TO STA(7'' 7" Vinyl Singles 878037027983 EANTLP128 BRUCE,J/SILVER RAILS(LP) Vinyl LP's 5013929472815 EPR02 EPMD/WE MEAN BUSINESS (LP) Vinyl LP's 094922130242 ER203171 DEEP PURPLE/NOW WHAT(LP) Vinyl LP's 826992031712 FAN3287301 DENGUE FEVER/CANNIBAL COURTSHI Vinyl LP's 888072328730FAN3373701 DAVE BRUBECK QUARTET/FAN(10"VY 10" Vinyl 888072337374FAN3496501 VINCE GUARADLI TRIO/LINUS(7'' 7" Vinyl Singles 888072349650 FCR702 HOGRA/CANNIBAL OVEN/POISONE(LP Vinyl LP's 760137070214 FLP30523 FOGERTY,J/REVIVAL Vinyl LP's 888072305236 FRBLP151 GOOD,M/ARROW OF DESIRE(LP) Vinyl LP's 039911015124 GBVI0071 BOSTON SPACESHIPS/ZERO TO 99 Vinyl LP's 655035080710 GPR56 DEEP SHIT/CREEPIN' WHILE YOU S Vinyl LP's 760137000563GPR68 SOIL OF IGNORANCE AND WADGE/SP Vinyl LP's 760137006817 GPR705 BACKSLIDER&NIMBUS TERRIFIX/SPL Vinyl LP's 760137007029 HHI011V COHEED AND/THE AFTERMAN(LP T Vinyl LP's 793573214379HHI013V COHEED AND C/THE AFTERMA(LP EP Vinyl EP 793573211101 HOSS0101 FOOD FOR ANIMALS/BELLY(LP) Vinyl LP's 621617300217HRM30851 HUNTER,J/THE HARD WAY(LP) Vinyl LP's 888072308510HRM33824 MCCARTNEY,P/ANOTHER DAY(7" VYL 7" Vinyl Singles 888072338241 HRM3423201 MCCARTNEY,P/CHRISTMAS(7''LP LT 7" Vinyl Singles 888072342323HRM3426101 MCCARTNEY,P/MAYBE IM AMAZED(LT Vinyl LP's 888072342613 HS035LP BLUE MITCHELL/BRING IT HOME TO Vinyl LP's 3700426914222HS037LP RIVERS,S/CONTOURS (LP) Vinyl LP's 3700426914246 7 93573 21110 1 8 88072 34261 30 39911 01512 48 88072 30523 6 8 88072 30851 08 88072 32873 0 7 60137 00681 77 60137 07021 4 7 60137 00056 3 7 60137 00702 9 7 93573 21437 98 26992 03171 25 013929 472815 6 55035 08071 0 6 21617 30021 7 3 700426 914222 3 700426 914246 0 94922 13024 2 8 88072 33737 4 8 88072 34965 0 8 88072 34232 38 88072 33824 18 78037 02798 3 Page 490 of 496 November 17, 2014Catalogue Numbe rArtist / Title Config Scannable UPC UPC HS038LP BLAKEY,A/MESSAGE FROM BLAKEY V Vinyl LP's 3700426914253 HS039LP CURTIS,A & DUPREE,B/KATANGA!(L Vinyl LP's 3700426914260 HUI3245401 SPALDING,E/CHAMBER MUSIC SC(LP Vinyl LP's 888072324541 HULP8155 CLARKE,S/JAZZ IN THE GARDEN(LP Vinyl LP's 053361815516 HW10218 DEEP PURPLE/LIVE 1999 MELBOURN Vinyl LP's 697593000694 HXR0207 LEMURIA/OZZY Vinyl LP's 760137002079HXR0217 END OF YEAR/MORE SONGS ABOUT T Vinyl LP's 760137002178 INAK91031LP SCHENKER,M/TEMPLE OF ROCK (LP) Vinyl LP's 707787910316 INT290287 EMINEM/SLIM SHADY(2LP) Vinyl LP's 606949028718 IPC30LP DALEK/FROM FILTHY TONGUES OF G Vinyl LP's 689230003014IPC33LP MOISTBOYZ/III Vinyl LP's 689230003311IPC41LP MONDOGENERATOR/A DRUG PROBLEM Vinyl LP's 689230004110 IPC43 QUEENS OF THE STONE AGE/SONGS Vinyl LP's 689230004318 IPC44LP DESERTSESSIONS/VOLUMES 9 & 10 Vinyl LP's 689230004417 ISCR8132 UNSEEN/INTERNAL SALVATION Vinyl LP's 825888813012 ITR1701 CHRISTMAS ISLAND/BLACKOUT SUMM Vinyl LP's 759718517019 JNR0491 BERRY/BLUE SKY,RAGING SUN(LP) Vinyl LP's 656605792712 JR35012 AND YOU WILL KNOW US/FESTIVAL Vinyl LP's 719488350124JR36014 NEW TALES TO TELL/A TRIBUTE TO Vinyl LP's 713488360145 KR46V TOADIES/NO DELIVERANCE (LP) Vinyl LP's 186535004635 LP729809 PIGFACE/GUB (LP) Vinyl LP's 036172980918 LPHBEA205 HAMMOND, BERES /GETTING STRONG Vinyl LP's 011661770515 LPJNR045 RACEBANNON/WRAP THE BODY (LP) Vinyl LP's 6344575290218 88072 32454 1 0 53361 81551 6 0 11661 77051 57 07787 91031 6 0 36172 98091 87 60137 00207 9 7 60137 00217 8 6 06949 02871 86 97593 00069 4 8 25888 81301 2 6 56605 79271 2 6 34457 52902 13 700426 914253 3 700426 914260 7 59718 51701 9 7 19488 35012 4 1 86535 00463 57 13488 36014 56 89230 00431 8 6 89230 00441 76 89230 00301 4 6 89230 00331 1 6 89230 00411 0 Page 491 of 496 November 17, 2014Catalogue Numbe rArtist / Title Config Scannable UPC UPC LVR00112 MI AMI/ARK OF THE COVENANT(12" Vinyl EP 621617300019 MAD118 DIPLO & TIESTO/C'MON (12"VYL) Vinyl Singles 891063002403 MAU5CD017V DEADMAU5/WHILE 1<2 N/A(3LP) Vinyl LP's 883958012826 MBL0811 THIS WILL DESTROY YOU/YOUNG MO Vinyl LP's 621617421813 MET80115 METRIC/SYNTHETICA(2X12"VYL) Vinyl LP's 875918011512 MF0931 SOY UN CABALLO/HEUERES DE RAIS Vinyl LP's 796627009723 MFO40602LP WAITS,T/THE EARLY YEARS VOL.2( Vinyl LP's 767004060217 MFO407031 BUCKLEY,T/DREAM LETTER (2LP) Vinyl LP's 767004070315 MFO42914LP DEAD KENNEDYS/GIVE ME CONVENIE Vinyl LP's 767004291413 MFO42917LP DEAD KENNEDYS/FRESH FRUIT FOR Vinyl LP's 767004291710MFO48002LP TURTLES,THE/SAVE THE TURTLES:T Vinyl LP's 767004800219 MFO48021LP TURTLES/IT AIN'T ME BABE(LP) Vinyl LP's 767004802114MFO48023LP TURTLES/HAPPY TOGETHER(LP) Vinyl LP's 767004802312 MMPLPBOX0001 BEHEMOTH/HISTORICA (LP) Vinyl LP's 5907785022300 MON007LP LAZZARUS,Q/HOPKINS,J /GOODBYE(L Vin yl LP's 614511819220 MR42901LP DEAD KENNEDYS/PLASTIC SURGERY Vinyl LP's 767004290119MR42902LP DEAD KENNEDYS/FRANKENCHRIST (L Vinyl LP's 767004290218MR42903LP DEAD KENNEDYS/BEDTIME FOR DEMO Vinyl LP's 767004290317MR42905LP DEAD KENNEDYS/MUTINY ON THE BA Vinyl LP's 767004290515MR42906LP DEAD KENNEDYS/IN GOD WE TRUST, Vinyl LP's 767004290614 MRG4551 DIVINE FITS/A THING CALLED(LP) Vinyl LP's 673855045511 MVD5043LP WAITS,T/THE EARLY YEARS V1(LP) Vinyl LP's 767004060118 MVD5147LP CANDY SNATCHERS/DOWN AT DELILA Vinyl LP's 7601375147186 21617 30001 9 8 75918 01151 2 7 67004 07031 5 6 14511 81922 07 67004 29141 3 7 67004 80211 4 7 67004 80231 2 5 907785 022300 7 60137 51471 88 83958 01282 6 6 73855 04551 17 67004 06021 7 7 67004 80021 97 67004 29171 0 7 67004 29011 9 7 67004 29021 8 7 67004 29031 7 7 67004 29061 47 67004 29051 5 7 67004 06011 87 96627 00972 36 21617 42181 38 91063 00240 3 Page 492 of 496 November 17, 2014Catalogue Numbe rArtist / Title Config Scannable UPC UPC MVD5325LP HART,G/SO FAR FROM HEAVEN/M(LP Vinyl LP's 760137532514 MVD5462LP BAD BRAINS/LIVE AT CBGB 1982 Vinyl LP's 760137546214MVD5765LP PUBLIC ENEMY/PLANET EARTH T(LP Vinyl LP's 760137576518MVD6223LP DEVO/BUTCH DEVO & THE SU(LP+DV vinyl with dvd 760137622314MVD6236LP HART,G/EVERY EVERYTHING(LP+DVD vinyl with dvd 760137623618MVD6274LP CASE,N AND FR/SATELLITE OF(7'' 7" Vinyl Singles 760137627418MVDLP4898 FLIPPER /LOVE (LP) Vinyl LP's 760137489818 MVDLP4920 GENITORTURERS/CUM JUNKIE (LP) Vinyl LP's 760137492016 NAVIGAT073LP BELLOWHEAD/BROADSIDE Vinyl LP's 5052442002109 NBA32101 CARNIFEX/DIE WITHOUT HOPE(LP) Vinyl LP's 727361321017 NER0641 AKIMBO/JERSEY SHORES (LP) Vinyl LP's 658457106419 NMR0085 SWEANY,P/THAT OLD SOUTHERN DRA Vinyl LP's 845121031546NMR0086 SWEANY,P/EVERY HOUR IS A(LP Vinyl LP's 711574717217 NMR0123LP STEPHANIE'S ID/STARFRUIT (LP) Vinyl LP's 884501579650 NMR0241 ETZIONI,M/MARVIN COUNTRY (2LP) Vinyl LP's 616892026747NMR0251 ANDERS & KENDALL/WILD CHORU(LP Vinyl LP's 616892105947 NMR088LP SWEANY,P/CLOSE TO THE FLOOR(LP Vinyl LP's 616892141945 NSR0171 INTO IT OVER IT/52 WEEKS(4LP Vinyl LP's 603111801711 NSR049 WONDER YEARS,THE/I'VE GIVEN YO Vinyl Singles 603111926810 NSR0891 TRC/NATION(LP) Vinyl LP's 603111808918NSR0956 BALANCE AND COM/THE THINGS(LP Vinyl LP's 603111809564 OJC012 DAVIS,M AND JACKSO/QUINTET(LP) Vinyl LP's 025218111218 OWSLP007 HUNDRED WATERS/THE MOON RAN(LP Vinyl LP's 881034152756 0 25218 11121 87 60137 57651 8 6 16892 02674 77 60137 54621 4 7 11574 71721 7 6 16892 10594 7 6 16892 14194 57 60137 48981 8 8 45121 03154 6 8 84501 57965 0 6 03111 80956 47 27361 32101 77 60137 49201 67 60137 53251 4 5 052442 002109 6 58457 10641 9 6 03111 80891 86 03111 80171 1 8 81034 15275 66 03111 92681 07 60137 62231 4 7 60137 62361 8 7 60137 62741 8 Page 493 of 496 November 17, 2014Catalogue Numbe rArtist / Title Config Scannable UPC UPC PAPER082LP SAM ROBERTS BAN/LO FANTASY(2LP Vinyl LP's 880893008211 PBRD116 SAM ROBERTS BA/WE'RE ALL IN(LP Vinyl LP's 880893111621 PIASR510LP DEUS/KEEP YOU CLOSE(LP) Vinyl LP's 5414939147517PIASR560LP DEUS/FOLLOWING SEA(LP) Vinyl LP's 5414939258718 PRBLP004 JIM JONES REVUE,THE/BURNING YO Vinyl LP's 614511781725 PRS33353 DAVIS,M/KIND OF BLUE (10"VYL) 10" Vinyl 888072333536 Q100871 METRIC/FANTASIES (LP) Vinyl LP's 060270087118Q100908 METRIC/LIVE IT OUT - 2LP Vinyl LP's 060270090811Q100963 BOYS NOIZE/OI OI OI (LP) Vinyl LP's 060270096318 RGDFA00312 FREE BLOOD/ROYAL FAMILY(12"LP) Vinyl EP 829732000313 RGM0059 DUROCS /DUROCS (LP) Vinyl LP's 848064000594 RHR0197 STEVENS,J(PETE DELORENZO)/JUDE 7" Vinyl Singles 621617416079 RHYME005 MAZZY STAR/I M LESS HERE(7'') 7" Vinyl Singles 887158709616 RKID71T OASIS/SUPERSONIC(12''SINGLE) Vinyl LP's 5051961071061 RPM070LP ELECTRIC EEL SHOCK/BEAT ME!(LP Vinyl LP's 698715007010 RR1761 POISON THE WELL/THE OPP(2LP+CD Vinyl LP's 850537004251 SD15181 GASLIGHT AN,THE/THE SINGL(7''L 7" Vinyl Singles 603967151817 SMALP968 PINK FLOYD/LONDON 1966/1967(LP Vinyl LP's 636551596817 SPC3362801 LITTLE RICHARD/HERE'S LIT (VYL Vinyl LP's 888072336285 SPM0691 BID D AND THE KIDS TABLE/B/BEI Vinyl LP's 639852506912 SRLP1255215 PEASANT/BOUND FOR GLORY (LP) Vinyl LP's 4018939219031 STYLUSLP3 STEREOPHONICS/GRAFFITI ON T(LP Vinyl LP's 5053723003013 TER010 CRYSTAL METHOD,THE/DIVIDED BY Vinyl LP's 8529670011148 29732 00031 3 8 88072 33628 50 60270 09631 86 14511 78172 5 6 98715 00701 08 48064 00059 48 80893 00821 1 8 80893 11162 1 5 053723 003013 8 50537 00425 10 60270 09081 10 60270 08711 8 4 018939 219031 6 36551 59681 7 6 39852 50691 2 8 52967 00111 45 051961 071061 5 414939 147517 5 414939 258718 8 88072 33353 6 6 03967 15181 78 87158 70961 66 21617 41607 9 Page 494 of 496 November 17, 2014Catalogue Numbe rArtist / Title Config Scannable UPC UPC TFC001 AT THE DRIVE/RELATIONSHIP(2LP Vinyl LP's 852914001105 TNGP023LP POLICA/GIVE YOU THE GHOST (LP) Vinyl LP's 789577678811 TO007SI ARKELLS/SING MOTOWN(7'') 7" Vinyl Singles 884860102810 TR010 ETTES,THE/DO YOU WANT POWER(LP Vinyl LP's 724101213014 TSQ2264 FAIRFIELD,F/FRANK FAIRFIELD(LP Vinyl LP's 894807002264TSQ2585 FAIRFIELD,F/OUT OF THE OPEN WE Vinyl LP's 894807002585TSQ2998 CHANDLER,D/THE END OF AN OL(LP Vinyl LP's 894807002998 TT00003 STEEL TRAIN/STEEL TRAIN (LP) Vinyl LP's 881034492753 UDR0241LP MINISTRY/ENJOY THE QUIET LI(LP Vinyl LP's 5099961515215 VH00132 THIN LIZZY/STILL DANGEROUS:LIV Vinyl LP's 894316001321 VIRUS1371 JELLO BIAFRA/MOJO NIXON/PRAIRI Vinyl LP's 721616013719VIRUS3661 SUBHUMANS/NEW DARK AGE PARADE Vinyl LP's 721616036619VIRUS4011 TH' INBRED/LEGACY OF FERTILITY Vinyl LP's 721616040111VIRUS4021 TH' INBRED/LEGACY OF FERTILITY Vinyl LP's 721616040210 VNL12202LP COLEMAN,O/FREE JAZZ(12''LP) Vinyl LP's 8032979642020VNL12203LP DAVIS,M/BIRTH OF THE CO(12''LP Vinyl Singles 8032979642037VNL12204LP DAVIS,M/ASCENSEUR POUR(12''LP Vinyl Singles 8032979642044VNL12205LP BAKER,C/MY FUNNY VALENT(12''LP Vinyl LP's 8032979642051VNL12207LP PARKER,C/BIRD AND DIZ(12''LP Vinyl Singles 8032979642075VNL12210LP COLTRANE,J/BLUE TRAIN(12''LP) Vinyl Singles 8032979642105VNL12213LP ADDERLEY,C/SOMETHIN ELS(12''LP Vinyl Singles 8032979642136VNL12221LP BILL EVANS TRIO/WALTZ F(12''LP Vinyl Singles 8032979642211VNL12222LP COLTRANE,J/MY FAVOURITE(12''LP Vinyl Singles 80329796422287 89577 67881 18 52914 00110 5 8 032979 642020 8 032979 642051 7 21616 04011 1 7 21616 04021 07 21616 03661 97 21616 01371 95 099961 515215 8 81034 49275 38 94807 00258 5 8 94807 00299 88 94807 00226 47 24101 21301 4 8 94316 00132 1 8 032979 642037 8 032979 642044 8 032979 642075 8 032979 642105 8 032979 642136 8 032979 642211 8 032979 642228 8 84860 10281 0 Page 495 of 496 November 17, 2014Catalogue Numbe rArtist / Title Config Scannable UPC UPC VNL12223LP COLEMAN,O/SOMETHING ELS(12''LP Vinyl Singles 8032979642235 VNL12224LP ROLLINS,S/SAXOPHONE COL(12''LP Vinyl Singles 8032979642242VNL12225LP BILL EVANS TR/EVERYBODY(12''LP Vinyl Singles 8032979642259VNL12226LP BAKER,C/IT COULD HAPPEN(12''LP Vinyl Singles 8032979642266VNL12227LP SILVER,H/HORACE SILVER(12''LP Vinyl Singles 8032979642273VNL12229LP THELONIUS MONK/THELONIUS(12''L Vinyl Singles 8032979642297 VR20061 SUN KIL MOON/TINY CITIES Vin yl LP's 621617427518 WARPLP256X FLYING LOTUS/YOU'RE DEAD (4LP B Vin yl LP's 801061825614 WRP1301 MAXIMO PARK/A CERTAIN TRIGGER Vin yl LP's 801061013011 WRP1631 GRIZZLY BEAR/FRIEND (LP) Vinyl LP's 801061016319 WRP24912 FLYING LOTUS/LA EP 3X3 Vin yl LP's 801061924911 WTM39362 SOUNDTRACK/THE DARK KNIG (VINYL Vin yl LP's 794043162817 ZEDDLP027 VAR/UNDER THE INFLUENCE TW (2LP Vin yl LP's 5060162571881 ZEDDLP029 VAR/UNDER THE INFLUENCE V3 (2LP Vin yl LP's 5060162572161 ZRKLP7 UKRAINIANS THE/NEVER MIND T (LP Vin yl LP's 50601955158835 060162 572161 5 060195 515883 5 060162 571881 7 94043 16281 76 21617 42751 8 8 01061 01301 18 01061 82561 4 8 01061 92491 18 01061 01631 98 032979 642235 8 032979 642242 8 032979 642259 8 032979 642266 8 032979 642273 8 032979 642297 Page 496 of 496 November 17, 2014	[ "disc", "compact", "b", "video", "digital", "upc", "vinyl", "lp", "cd", "title" ]	{ "summary": "Catalogue \nNumberArtist / Title Config Scannable UPC UPC\n880032A 10 CC/KING BISCUIT PRESENTS Compact" }
Discontinued-List-May-2015.pdf	2450 Victoria Park Ave., Suite 1, Willowdale, Ontario M2J 5H3 Phone: (416) 718.4000 May 18, 2015 / 18 mai 2015 To: All Universal Music Commercial Partners/ À tous les partenaires commerciaux de Universal Music Please note these discontinued selections from the Universal Music domestic catalogue. We have prepared an alphabetical listing (by artist) as well as a numeric listing. All partners must be in current standing with Universal Music in order to receive full credit. Please forward all discontinued return requests to your local Universal Music Sales Representative by Friday, August 14 th 2015. All authorized discontinued products must be returned to our distribution centre no later than Friday, September 18th 2015. A complete list of titles is available at http://www.umcreleasebooks.ca Please contact your local Universal Music Canada representative should you have any questions. Veuillez prendre note que la liste suivante représente les sélections discontinuées du catalogue domestique de Universal Music. Nous avons préparé une liste par ordre alphabétique (par artiste) ainsi qu’une liste par ordre numérique. Tous les partenaires se doit d’avoir un crédit courant en bonne et due forme avec Universal afin d’être admissible à ce crédit. Veuillez faire parvenir toutes les demandes de retour des produits discontinués à votre représentant chez Universal Music avant le vendredi 14 août 2015. Toutes les autorisations de produits discontinués doivent être retournées au centre de distribution avant le vendredi 18 septembre 2015. Une liste complète des titres est disponible au http://www.umcreleasebooks.ca Si vous avez des questions, contactez votre représentant chez Universal Music, Kind regards / Bien à vous, Regards, Adam Abbasakoor Vice President, Commercial Affairs Universal Music Canada Catalogue NumberArtist / Title Config Scannable UPC UPC 824042B 12 STONES/12 STONES Compact Disc 5099908240422 296852 12 STONES/ANTHEM FOR THE UNDE Com pact Disc 5099902968520 825332 12 STONES/ONLY EASY DA Y WAS Y Com pact Disc 5099908253323 296772 12 STONES/POTTER'S FIELD Compact Disc 5099902967721 CRP068 2.5 CHILDREN/COURAGE/N ON MACHI Compact Disc 881182006826 B000386202 2PAC/LOYAL TO THE GAME (EDITE Compact Disc 075021032958 NOT50202 3RD MATINEE/MEANWHILE Compact Disc 617742502022 8088905995 5 SECONDS OF/LIVE SOS(CD+GRL L FAN PACKS 6808890599578088905994 5 SECONDS OF/LIVE SOS(CD+GRL M FAN PACKS 680889059940 SHOUT65 7TH WONDER/WORDS DO N'T SAY ENO Compact Disc 5013929506527 206192 88 FINGERS/UP YOUR ASS Compact Disc 790692061921 PRCCD0442 A FOREST OF S/O PPORTUNISTIC Co mpact Disc 884388404434 PRCCD0452 A FOREST OF ST/THE CORPSE OF R C ompact Disc 884388404533 CRP083 A WELL THOUGHT TRAGED Y/DYING F Compact Disc 823819008322 CREEP065 A YEAR TO FORGET/APOSTASY Compact Disc 685747025020 INN0202 AARON,B/BRINGIN' IT BACK Compact Disc 823118000027 INN0203 AARON,B/DESI RE Compact Disc 823118516825 INN0201 AARON,B/WITH EVER Y TOUCH Compact Disc 823118888823À compter de maintenant les titres suivants ont été discontinu és. Veuillez s'il vous plait avoir soumis toutes demandes de reto urs pour ces produits au plus tard le vendredi 14 août 2015. Tous les produits discontinués autorisés doivent être retournés à not re centre de distribution au plus tard le vendredi 18 septembre, 2015.UNIVERSAL MUSIC DISCONTINUED LISTING / Liste de produits discontinues The following titles have been discontinued effective immediatel y. Please have all return requests submitted by Friday August 14, 2015. All authorized discontinued products must be returned to our distribution centre by Friday September 18, 2015. ALPHABETICAL BY ARTIST / Alphabetique par artiste 5 099908 240422 5 099902 968520 5 099908 253323 5 099902 967721 8 81182 00682 6 0 75021 03295 8 6 17742 50202 2 6 80889 05995 7 6 80889 05994 0 5 013929 506527 7 90692 06192 1 8 84388 40443 4 8 84388 40453 3 8 23819 00832 2 6 85747 02502 0 8 23118 00002 7 8 23118 51682 5 8 23118 88882 3 Page 1 of 217Catalogue NumberArtist / Title Config Scannable UPC UPCALPHABETICAL BY ARTIST / Alphabetique par artiste B002166402 ABBA/LIVE AT WEMBLEY AR ENA(2CD Com pact Disc 602537716067 B001186702 ABERCROMBIE,J/ANIMA TO Compact Disc 602517798700 DG61 ABOMINANT/WHERE DEMO NS DWELL Compact Disc 827166006123 AFM1522 ABSOLUTE/ABSOLU TE Compact Disc 4046661056327 NR046 AD INFERNA/D SM Compact Disc 843310037423 LBMCD234157 ADAGIO/SANCTUS IGNIS Compact Disc 693723415727 SHOUTD36 ADAMS,J/CHASING RAINBOWS Com pact Disc 5013929503625 RPMSH219 ADAMS,J/RELEASED-A MEMORIAL AL Co mpact Disc 5013929521926 CD2135 ADAMS,J/T VERDI CT Compact Disc 011661213524 KFR788249 ADOLESCENTS/HOUSE OF BL(DVD+CD DVD + BNS CD 610337882493KFR788242 ADOLESCENTS/HOUSE OF BLU(CD+DV CD with DVD 610337882424 HUCD3137 AFRO-BOP A LLIANCE BIG BAND/ CAR Compact Disc 053361313722 UWR007 AGAINST TOMORROW'S SKY/JUMP TH Compact Disc 665776106129 300030 AIRLINER/LAST DAYS OF AUGUST Compact Disc 7332233000308 7884906825 AL ABAMA/ANGELS AMONG US Compact Disc 617884906825 4800958 ALAGNA,D/LE DERNIER JOUR D'UN Com pact Disc 028948009589 B000163102 ALBRIGHT,G/KICKIN' IT UP Compact Disc 602498612736 PRCCD090 ALCEST/SOUVENIRS DUN AUTRE Com pact Disc 4039053709024 CCDCD4743 ALDEN,H/TAKE YOUR PICK Compac t Disc 013431474326 200200 ALEX BAND/WE' VE ALL BEEN THER Compact Disc 857542002005 CD83527 ALEXANDER,M/GOIN' YARD Compact Disc 089408352720 JST071CD ALL EYES WEST/ALL EYES WEST Compact Disc 689222007129 HR21312 ALL TIME LOW/FUTURE HEARTS HMV Compact Disc 7906922131226 02537 71606 7 6 02517 79870 0 8 27166 00612 3 4 046661 056327 8 43310 03742 3 6 93723 41572 7 5 013929 503625 5 013929 521926 0 11661 21352 4 6 10337 88249 3 6 10337 88242 4 0 53361 31372 2 6 65776 10612 9 7 332233 000308 6 17884 90682 5 0 28948 00958 9 6 02498 61273 6 4 039053 709024 0 13431 47432 6 8 57542 00200 5 0 89408 35272 0 6 89222 00712 9 7 90692 21312 2 Page 2 of 217Catalogue NumberArtist / Title Config Scannable UPC UPCALPHABETICAL BY ARTIST / Alphabetique par artiste 8394172 ALLMAN BROTHERS/DREAMS Compact Disc 042283941724 SFE015 ALMOND,M AND CASHMO RE,M/FEASTI Com pact Disc 5013929842526 SFE006 ALMOND,M/STRANGER THINGS Compact Disc 5013929841628 SFE005 ALMOND,M/VARIETE Compact Disc 5013929841529 AAA995 ALTAMONT/THE MON KEE'S UNCLE Com pact Disc 689230099529 296782 ALTER BRID/ONE DAY REMAINS Compact Disc 5099902967820 PAE24328 ALTER EGO/ALTER EGO Compact Disc 619061432820 HH47042 AMB/GOD'S HA ND Compact Disc 756504470428 400152A AMERICA/GREATEST HITS LIVE Compact Disc 826784001527 PMCD1102 AMERICAN SPEEDWAY/A BIGGER BOA Com pact Disc 881182110226 MVDA4820 AMERICAN SPEEDWAY/SHIP OF FOOL Compact Disc 760137482024 45R013 AMOS THE TRANSPAREN T/GOODNIGHT Compact Disc 4400315066852 666070 ANBERLIN/ NEVER TAKE FRIENDS H Compact Disc 724386660701 IC1143 ANDERSON,C/CAT A NDERSON Com pact Disc 077712711432 302402C ANDERSSON,/BUSY MISSI NG YOU Compact Disc 812623024024 WR4619 ANDRE CANNIERE GROUP/ FORWARD S Com pact Disc 610696501783 PMCD9992 ANGELBATH,J/GYPSY WOMAN Compact Disc 760137999225 RGM9982 ANIMALS,THE/MICKIE MOST(5CD+T Compact Disc 018771899822 ZMC6 ANNETTE/SAUTER DE HAUT Cassette 777179000642 AFM0812 ANNIHILATOR/ALL FOR YOU Compact Disc 5099751547020AFM0819 ANNIHILATOR/ALL FOR YOU (DIGI) Co mpact Disc 5099751547099 AFM0642 ANNIHILATOR/DOUBLE LIVE ANNIHI Co mpact Disc 5099751102823 AFMD642 ANNIHILATOR/DOUBLE LIVE(LTD.DI Compact Disc 50997511028920 42283 94172 4 5 013929 842526 5 013929 841628 5 013929 841529 6 89230 09952 9 5 099902 967820 6 19061 43282 0 7 56504 47042 8 8 26784 00152 7 8 81182 11022 6 7 60137 48202 4 4 400315 066856 7 24386 66070 1 0 77712 71143 2 8 12623 02402 4 6 10696 50178 3 7 60137 99922 5 0 18771 89982 2 7 77179 00064 2 5 099751 547020 5 099751 547099 5 099751 102823 5 099751 102892 Page 3 of 217Catalogue NumberArtist / Title Config Scannable UPC UPCALPHABETICAL BY ARTIST / Alphabetique par artiste AFM1009 ANNIHILATOR/SCHIZO DELUX (DIGI Compact Disc 4046661009620 AFM1002 ANNIHILATOR/SCHIZO DELUXE Compact Disc 4046661009521 KFR787842 ANTIFREEZE/FOUR LE TTER WORDS Com pact Disc 610337878427 KFR788182 ANTIFR EEZE/THE SEARCH FOR SO ME Compact Disc 610337881823 KFR787662 APOCALY PSE HOB/HOUSE OF T Compact Disc 610337876621 0249872723 APOCALYPTICA/LIVE - DVD Digital Video Disc 6024987272324400636832 APOCALYPTICA/REFLECTIONS Compact Disc 044006368320 400072B APRIL WINE/GREATEST HITS LIVE Compact Disc 826784000728 CR10012 APRIL WINE/GREATEST HITS LIVE Compact Disc 802076100123 4391061527 ARC ANGEL/HARL EQUINS OF LIGHT Compact Disc 8024391061527 ACD71275 ARC DUO/NEW WORKS FOR FLUTE & Compact Disc 787867127520 754710B AS CITIES /SON, I LOVED YOU AT Compact Disc 724387547100 CRSEG013 ASHKAN/IN FROM THE COLD Compact Disc 5013929181328 RRCD03 ASHTON,G/BEG,BORROW & STEEL Com pact Disc 614511715027 RRCD02 ASHTON,G/FANG IT Compact Disc 614511714921 4775242 ASKENASE,S/THE COMPLETE 1950S Compact Disc 028947752424 SUMCD60 ASKING AL EXANDRIA/RECKLESS AND Compact Disc 894587001600 SUMCD61 ASKING AL EXANDRIA/RECKLESS AND Compact Disc 894587001617 TRI335 ASP/HORROR VACUI (2 CD) Compact Disc 4260063943355 BLK067 AT A LOSS/A FALLING AWAY FROM Compact Disc 823819006724 300379 ATOMIC KITTEN/RIGHT HERE ,RIGHT Digital Video Disc 801213003792 NPR421 ATROCITY/DIE GOTTLO SEN(2DVD+CD DV D + BNS CD 885470003788 PWACD71280 ATTACCA QUARTET/FELLOW TRAVE Compact Disc 7878671280224 046661 009620 4 046661 009521 6 10337 87842 7 6 10337 88182 3 6 10337 87662 1 6 02498 72723 2 0 44006 36832 0 8 26784 00072 8 8 02076 10012 3 8 024391 061527 7 87867 12752 0 7 24387 54710 0 5 013929 181328 6 14511 71502 7 6 14511 71492 1 0 28947 75242 4 8 94587 00160 0 8 94587 00161 7 4 260063 943355 8 23819 00672 4 8 01213 00379 2 8 85470 00378 8 7 87867 12802 2 Page 4 of 217Catalogue NumberArtist / Title Config Scannable UPC UPCALPHABETICAL BY ARTIST / Alphabetique par artiste KFR788252 AUDIO KARATE/LADY MELODY Compact Disc 610337882523 KFR787922 AUDI O KARATE/SPACE CAMP Compact Disc 610337879226 WAX700102 AUTUMN HILL/ CANT KEEP EP(EXC) Co mpact Di sc EP' s 185627001026 DG54 AVENGER/FEAST OF ANGE R JOY OF Compact Disc 827166005423 AFM1632 AXXIS/DOOM OF DESTINY Compact Disc 4046661086522AFM1639 AXXIS/DOOM OF DESTINY (LTD.DIG Compact Disc 4046661086621AFM1032 AXXIS/PARADISE IN FLAMES Compact Disc 4046661016321AFM1039 AXXIS/PARADISE IN FLAMES (DIGI Compact Disc 4046661016420 SMCR5033 AYERS,R/I'M THE ON E(FOR YOUR L C ompact Disc 5013929073333 NR057 AZOIC,THE/CORRUP TION Compact Disc 884501851718 NR018 AZOIC,THE/ILLUMI NATE Compact Disc 628740738122 NR033 AZOIC,THE/RE ILLUMI NATION(THE Co mpact Disc 628740112021 B001349302 B SCHMIDT,T/EXPANDO Compact Disc 602527203461 400172A B.T.O./GREATEST HITS LIVE Compact Disc 826784001725 CJ30 BABY LAURENCE/DANCE MASTER Com pact Disc 077712700306 4400600762 BABY:AKA THE #1 STUNNA/BI RDMAN Compac t Disc 044006007625 4595992 BACH/GOLDBERG/VARIATIONS/TUREC Compact Disc 028945959924 B000228502 BACH/WELL TEMPERED VOL.1 Compact Disc 028947604822 NR009 BACKLASH/IMPETUS Compact Disc 751937188629 PDROPCD16 BAD MANNERS/FOR GING AHEAD Compact Disc 5013929681620 PDROPCD15 BAD MANNERS/ GOSH IT'S Compact Disc 5013929681521 PDROPCD14 BAD MANNERS/LOON EE TUNES! Compact Disc 5013929681422 PDROPCD13 BAD MANNERS /SKA N B Com pact Disc 50139296813236 10337 88252 3 6 10337 87922 6 1 85627 00102 6 8 27166 00542 3 4 046661 086522 4 046661 086621 4 046661 016321 4 046661 016420 5 013929 073333 8 84501 85171 8 6 28740 73812 2 6 28740 11202 1 6 02527 20346 1 8 26784 00172 5 0 77712 70030 6 0 44006 00762 5 0 28945 95992 4 0 28947 60482 2 7 51937 18862 9 5 013929 681620 5 013929 681521 5 013929 681422 5 013929 681323 Page 5 of 217Catalogue NumberArtist / Title Config Scannable UPC UPCALPHABETICAL BY ARTIST / Alphabetique par artiste MAHACD26 BAKA BEYOND & BAKA GB INE/BAKA Com pact Disc 5060108322423 MAHACD23 BAKA BEYOND/ORCHEST RE BAKA GBI Com pact Disc 5060108321129 OGL891622 BAKER,K/GOT IT COVER ED Compac t Disc 790058916223 OGL891652 BAKER,K/ROCKIN FOR A LI VING Compac t Disc 790058916520 QLDVD6024 BALDREY,LJ/IT AIN'T EASY:LIVE Digital Video Disc 760137602491 CDROUN6071 BALFA TOUJOURS /D EUX VOYAGES C ompact Disc 011661607125 CD3151 BALL,M/LET ME PLAY WITH YOUR P Compact Disc 011661315129CD2152 BALL,M/SING IT! Compact Disc 011661215221 635302 BAMBOOS, T/SIDE STEPPER Compac t Disc 5060006353024 BLK0069 BANNER/YOUR MURDER MIX TAPE Com pact Disc 823819006922 OGL400062 BARNES & BARNES/AMAZING ADULT Compact Disc 809394000623OGL400052 BARNES & BARNES/KODOVONER Compact Disc 809394000524 BLR0086 BARRICADE/BE HEARD Compact Disc 823819008629 FSM10 BARRY,J/BORN FREE OR IGINAL MOT Compact Disc 638558018026 390559 BASIE,C & HIS ORCH/NORMAN GA NT Digital Video Disc 801213905591 390629 BASIE,C & HIS ORCH/NORMAN GA NT Digital Video Disc 801213906291 3145198192 BASIE,C/VERVE JZZ MASTERS V.2 C ompact Disc 731451981920 D002082702 BATES,T/GUARDIANS OF THE GALAX Compact Disc 050087313708 NPR352LTD BATTLELORE/DOOMBO UND(CD+DVD) CD wi th DVD 885470001838 798412B BAYSIDE/KILLING TIME Compact Disc 5099967984121 923539 BEACH BOYS/E NDLESS HARMONY Digit al Video Disc 724349235397 779379 BEACH BOYS/ PET SOUNDS DV D Audio 724347793790 349212A BEACH BOYS/THEIR GREATEST HITS Compact Disc 7243834921215 060108 322423 5 060108 321129 7 90058 91622 3 7 90058 91652 0 7 60137 60249 1 0 11661 60712 5 0 11661 31512 9 0 11661 21522 1 5 060006 353024 8 23819 00692 2 8 09394 00062 3 8 09394 00052 4 8 23819 00862 9 6 38558 01802 6 8 01213 90559 1 8 01213 90629 1 7 31451 98192 0 0 50087 31370 8 8 85470 00183 8 5 099967 984121 7 24349 23539 7 7 24347 79379 0 7 24383 49212 1 Page 6 of 217Catalogue NumberArtist / Title Config Scannable UPC UPCALPHABETICAL BY ARTIST / Alphabetique par artiste 449642A BEACH BOYS/WARMTH OF THE SUN,T Compac t Disc 094634496421 IPC118 BEAK>/BEAK> Co mpact Disc 689230011828 DS501642 BEAT PHARMACY/CONSTAN T PRESSUR Com pact Disc 790185016421 993499 BEATLES, T/FI RST U.S. VISIT,TH Digital Vi deo Disc 724359934990 PP007 BEATLES,THE/SHE LOVES YO U -DVD Digita l Video Disc 603777900797 4756319 BEET HOVEN/STEPHEN KOVAC EVICH P Compac t Disc 028947563198 MCAD80090 BEETHOVEN/SYM 9 " CHORAL" Com pact Disc 602438009022 FRBCD21 BEL,M/DISTA NCE Compact Disc 039911002124 FRBEE137 BEL,M/DON'T FORGET TO BREATHE Compact Disc 039911013724 OBR6913002 BELLER,B/THANKS IN ADVANCE Compact Disc 643157398141OBR6913003 BELLER,B/TO NOTHING, THE THANK Digital Video Disc 804879124795OBR6913001 BELLER,B/VIEW Compact Disc 829757206325OBR6913005 BELLER,B/WEDNESDAY NIGHT LIVE Digital Video Disc 700261326979 294092 BENATAR, P/GREATEST HITS (CD+E CD with DVD 5099962940924 0253799884 BENNETT,T/LA DY GA/CHEEK TO(D LX Compact Disc 602537998845 ORCD7230 BENT, R/THE BLOOD TRILOGY Compact Disc EP's 823674723002 4357052 BERG/LULU Compact Disc 028943570527 CRP023 BERNIE BERNIE HEAD FLAP/CHEESE Com pact Disc 881182102320 4775746 BERNSTEINWP/MOZART;LATE SYMPHO Compact Disc 028947757467 MJR045 BERTIGA,T/RIOT Compact Disc 692287904524 NPR170 BESEECH/SUNLESS DA YS Compact Disc 693723373027 350389 BEST OF THE OB LIVIOUS,THE Digit al Video Disc 801213503896 RS121 BETHLEHEM/REFLEKTIONEN AUF STE Compact Disc 6666160121290 94634 49642 1 6 89230 01182 8 7 90185 01642 1 7 24359 93499 0 6 03777 90079 7 0 28947 56319 8 6 02438 00902 2 0 39911 00212 4 0 39911 01372 4 6 43157 39814 1 8 04879 12479 5 8 29757 20632 5 7 00261 32697 9 5 099962 940924 6 02537 99884 5 8 23674 72300 2 0 28943 57052 7 8 81182 10232 0 0 28947 75746 7 6 92287 90452 4 6 93723 37302 7 8 01213 50389 6 6 66616 01212 9 Page 7 of 217Catalogue NumberArtist / Title Config Scannable UPC UPCALPHABETICAL BY ARTIST / Alphabetique par artiste IEG2223 BEYONCE/SHINE (D VD) Digital Video Disc 617742222395 CD83629 BIBB,E/A SHIP CALLED LOVE Compact Disc 089408362927 MOONCD101 BIG,THE/WHATEVER MAKES YOU HAP C ompact Disc 664813310123 PWAJD72221 BILL CUNLIFFE SE/LI VE AT ROCCO Co mpact Disc 787867222126 PWAJD72250 BILL CUNLIFFE TRIO/R IVER EDGE Co mpact Disc 787867225028 IPC121 BIRD,MT/SOME PLACE SIMPLE Compact Disc 689230012122 BURN292 BLACK 47/BITTERSWEET SIXTEEN Compact Disc 076605229221 INTSD90152 BLACK EY ED PEAS/BEHIND THE FRO Compact Disc 606949015220 LBMCD234838 BLACK MAJESTY/SILENT COMPANY Compact Disc 693723483825 FRBCD112 BLACK RIBBONS/N EUROMANCER Compact Disc 039911011225 PRE008 BLACKMORE'S/WINTER CAROLS Compact Disc 4046661045826 ODOPE1002D BLADE/THE LION GOES FROM STREN Compact Disc 5013929870222 RCD94382 BLAKEY,A & JAZZ MESSENGERS/C AR Compac t Disc 025218484527 3145490892 BL AKEY,A/KEN BURNS JAZZ: ART BL Com pact Disc 731454908924 SC0109 BLANK & JONES/EDIT ION FOUR Com pact Disc 4260154680343 SC0101 BLANK & JONES/RELAX EDITION ON Co mpact Disc 4046661057027 SC0103 BLANK & JONES/RELAX EDITION TH Co mpact Disc 4046661057225 SC0002 BLANK & JONES/THE LOGIC OF PLE Compact Disc 4260154680114 PWRSR0209 BLAZE OF PERDITION /TOWARDS THE Compact Disc 666616020926 KFR788289 BLEEDING THROU/THIS IS LIV(DVD Digital Video Disc 610337882899 390369 BLIND BOYS OF ALABA/GO TELL(DV Digita l Video Disc 801213903696 NR015 BLIND FAITH AND/TH E CHARMING Com pact Disc 628740715529 779089 BLIND MELO/LETTERS FROM A PORC Digital Video Disc 7243477908986 17742 22239 5 0 89408 36292 7 6 64813 31012 3 7 87867 22212 6 7 87867 22502 8 6 89230 01212 2 0 76605 22922 1 6 06949 01522 0 6 93723 48382 5 0 39911 01122 5 4 046661 045826 5 013929 870222 0 25218 48452 7 7 31454 90892 4 4 260154 680343 4 046661 057027 4 046661 057225 4 260154 680114 6 66616 02092 6 6 10337 88289 9 8 01213 90369 6 6 28740 71552 9 7 24347 79089 8 Page 8 of 217Catalogue NumberArtist / Title Config Scannable UPC UPCALPHABETICAL BY ARTIST / Alphabetique par artiste BLK0051 BLIND SOCIETY/OUR FU TURE IS LO Compact Disc 823819006120 BLK0052 BLINDSOCIETY/CONTRAR Y TO POPUL Compact Disc 823819005222 RS205 BLODFEST/LEJRES FALD Compact Disc 666616020520 906382 BLONDIE/EAT TO THE BEAT(CD/DVD CD with DVD 094639063826 CT52 BLOODSOAKED/DEATH OF HOPE Com pact Disc 827166202129 RS186 BLOODTHORN/GENO CIDE Compact Disc 666616018725 954492 BLOSSOM DE/MAY I COME IN Compact Disc 724349544925 1166104892 BLUE HIGHWAY/STILL CLIMBING MO Compact Disc 011661048928 K006 BLUE OCEAN SUITE/BLUE OCEAN SU Compact Disc 801342200628 7697425072 BLUE PETER/FALLING Compact Disc 776974250726 SHOUT33 BLUE,B & THE PHANTOM BLUES BAN Compact Disc 5013929503328 HYP5236 BLUES BAND,THE/BEST OF..THE RE Co mpact Disc 4011586523629 CJ09 BOB WILBER QUINTET,THE/BLOWIN Compact Disc 077712700092 IPC108 BOHERN & DER CLUB OF GORE/DELO Compact Disc 689230010821 IPC128 BOHREN & DER CLUB OF GORE/BEIL Compact Disc 689230012825 IPC155 BOHREN AND DER CLUB/P IANO NIGH Compact Disc 689230015529 IPC48 BOHREN&DERCLUBOFGORE/ BLACK EAR Compact Disc 689230004820 CREEP046 BOILS/WHEN THE SUN GO ES DOWN E Compact Disc EP's 881182104621 485002A BOLDUC, RE/TCHA T Compact Disc 068944850020 INN0701 BOLVIN,E/NO BO UNDARIES Com pact Disc 823118663024 3145140452 BON JOVI/ KEEP T FAITH Com pact Disc 731451404528 3145433782 BONFA,L/T COMPOSER OF "BLACK O Compact Disc 731454337823 ACD14262 BOOMERS,T/ART OF LIVING Compact Disc 8805041426248 23819 00612 0 8 23819 00522 2 6 66616 02052 0 0 94639 06382 6 8 27166 20212 9 6 66616 01872 5 7 24349 54492 5 0 11661 04892 8 8 01342 20062 8 7 76974 25072 6 5 013929 503328 4 011586 523629 0 77712 70009 2 6 89230 01082 1 6 89230 01282 5 6 89230 01552 9 6 89230 00482 0 8 81182 10462 1 0 68944 85002 0 8 23118 66302 4 7 31451 40452 8 7 31454 33782 3 8 80504 14262 4 Page 9 of 217Catalogue NumberArtist / Title Config Scannable UPC UPCALPHABETICAL BY ARTIST / Alphabetique par artiste ACD10372 BOOMERS,T/MIDWAY Compact Disc 624481103724 ACD10612 BOOMERS/25 THOUSAND DAYS Compact Disc 624481106121 RGM0120 BORDERLINE/SWEET DR EAMS & QUI Compact Disc 848064001201 SUMCD65 BORN OF OSIRIS/THE DISCOVE(2CD Compact Disc 894587001655 SUMCD51 BORN OF OSIRIS/THE DISCOVE(HOT Compact Disc 894587001518 4775385 BOULEZ,P/EXPLOSANTE-FIXE...,NO Compact Disc 028947753858 NR040 BOW EVER DOWN/THE PR ODUCT OF M C ompact Disc 628740126325 BWFDV1022 BOWFIRE/BOWFIRE BOWFIRE (DVD Digital Video Disc 895834001022 FRBCD5222 BOWFIRE/HOLIDAY H EART STRINGS Compact Disc 625712522222 BWFCD1039 BOWFIRE/LIVE IN CONCERT Com pact Disc 895834001039 182352C BOXCAR WI L/BEST LOVED FAVORI TE Compact Disc 014921823525 130112D BOXCAR WIL/BOXCAR 'S BEST Com pact Disc 014921301122 FNZ900142 BR EAKERS DK,THE/HERE FOR A LAU Compac t Disc 881159009027 SMCR5076 BRECKER BROTHERS B, THE/BACK TO Compact Disc 5013929077638 49597 BRICKMAN,J/BEAUTIFUL WORLD (DL Compact Disc 096741276620 5678825613 BRITE FU TURES/DARK PAST Compact Disc 075678825613 HARV0080 BRODY/WORTH DY ING FOR Compact Disc 881821712026 633092B BROKEN KEY/GRAVITY Compact Disc 5060006330926 85420600115 BROOKS,G/FRESH HORSES Compact Disc 85420600115285420600110 BROOKS,G/GARTH BROOKS Compact Disc 85420600110785420600113 BROOKS,G/IN PIECES Compact Disc 85420600113885420600111 BROOKS,G/NO FENCES Compact Disc 85420600111485420600114 BROOKS,G/ROPIN' THE WIND Compact Disc 8542060011456 24481 10372 4 6 24481 10612 1 8 48064 00120 1 8 94587 00165 5 8 94587 00151 8 0 28947 75385 8 6 28740 12632 5 8 95834 00102 2 6 25712 52222 2 8 95834 00103 9 0 14921 82352 5 0 14921 30112 2 8 81159 00902 7 5 013929 077638 0 96741 27662 0 0 75678 82561 3 8 81821 71202 6 5 060006 330926 8 54206 00115 2 8 54206 00110 7 8 54206 00113 8 8 54206 00111 4 8 54206 00114 5 Page 10 of 217Catalogue NumberArtist / Title Config Scannable UPC UPCALPHABETICAL BY ARTIST / Alphabetique par artiste 85420600118 BROOKS,G/SCARECROW Compact Disc 854206001183 85420600112 BROOKS,G/THE CHASE Compact Disc 854206001121 138052 BROTHER BO/PLOW Compact Disc 015891380520 CDROUN0013 BROTHER OSWALD /BRO THER OSWALD Co mpact Disc 011661001329 RGM0220 BROTHERHOOD/THE COMP LETE R(2CD Compact Disc 848064002208 88751698009 BROTHE RS LANDRETH,THE/LET IT L Compact Disc 887516980091 ALP205 BROTZMANN,P/NIPPLES Compact Disc 735286220520 1166120742 BROWN,C/A LIFE IN THE BLUES Compact Disc 011661207424 IC7001 BROWN,C/THE PARIS CO LLECTIO V1 Compact Disc 077712770019 IC7011 BROWN,C/THE PARIS CO LLECTIO V2 Compact Disc 077712770118 5169000101 BROWN,D/DIVINE BROWN Compact Disc 8516900010193145498842 BROWN,J/LIVE AT THE APOLLO V2 Compact Disc 731454988421 SF10881 BROWN,J/LIVE AT THE BOSTON(DVD Digital Video Disc 826663108811 CD83340 BROWN,R/BASS FA CE Compact Disc 089408334023 CCDCD4815 BROWN,R/HERITAGE SER IES:RAY BR Co mpact Disc 013431481522 CD83430 BROWN,R/SUMMERTIME Compact Disc 089408343025 CRSEG001 BROWNE,D/GIVE ME TAKE YOU Com pact Disc 5013929180123 1167180502 BRYAN,D/LUNAR ECLIPSE Compact Disc 011671805023 SMCR5012D BRYSON,P/REACHING FOR THE SKY/ Compact Disc 5013929071230 ANSD1074 BUDDY RICH BIG /BURNI NG FOR BU Co mpact Disc 066825107423 OGL891322 BUDELUV/DIARY OF A LOUNGEMAN Compact Disc 790058913222 CRSEG003 BULLDOG BREED/MADE IN ENGLAND Compact Disc 5013929180321 TML007 BULLDOZE/FINAL BEATDOWN (CD+DVD CD wi th DVD 8802700951248 54206 00118 3 8 54206 00112 1 0 15891 38052 0 0 11661 00132 9 8 48064 00220 8 8 87516 98009 1 7 35286 22052 0 0 11661 20742 4 0 77712 77001 9 0 77712 77011 8 8 51690 00101 9 7 31454 98842 1 8 26663 10881 1 0 89408 33402 3 0 13431 48152 2 0 89408 34302 5 5 013929 180123 0 11671 80502 3 5 013929 071230 0 66825 10742 3 7 90058 91322 2 5 013929 180321 8 80270 09512 4 Page 11 of 217Catalogue NumberArtist / Title Config Scannable UPC UPCALPHABETICAL BY ARTIST / Alphabetique par artiste 76909 BURNING OF,THE/WIT H US Compac t Disc 789577690929 CDHBEA11 BURNING SPEAR /FAR OVER Com pact Disc 011661751125 HT6501 BURNSIDE,RL/SOUNDMA CHINEGROOVE Com pact Disc 012928650120 IC1094 BURTON,A/NEW YORK ST ATE OF MIN Compact Disc 077712710947 WR4621 BURTON,E/OCCURE NCES Compact Disc 610585454794 CCDCD1029 BURTON,G & COREA,C/LIKE MINDSSACD4Stereo/Surround/CDA ud013431102960 546762 BUSHWICK/GUTTA MIXX Compact Disc 085365467620 2061622692 BUTTHOLE SURFERS/WEIRD REVOLUT Compact Disc Enhanced 720616226921 CCDCD4468 BYRD,C &PEPLOWSKI,K/BO SSA NOVA Com pact Disc 013431446828 TPDVD103 CALLAS,M/TONY PALMER'S FILM AB Digital Video Disc 604388691203 CL100533 CAMPBELL,W/ THINK TANK Co mpact Disc 875531005332 HM61001 CANDY ROSE/A ROLLERCO ASTER LOV Compact Disc 5060215610017 0121590542 CANIBUS/2000 B.C. Compact Disc 601215905427 182382 CANNON, AC/GOLDEN F AVORITES Compact Disc 014921823822 4756145 CANTELOUBE/SINGS CANT ELOUBE CH CD wi th DVD 028947561453 CCDCD4655 CAPP,F & JUGGERNAUT/IN A HEFTI Com pact Disc 013431465522 300079C CARLBERG, /GO TO HELL, MISS RY Compact Disc 7332233000797 300101B CARLBERG, /IN A NUT SHELL Compact Disc 7332233001015 300115D CARLBERG, /LILAC TIME, THE Compact Disc 7332233001152 300084B CARLBERG, /RIVERBANK Compact Disc 7332233000841 INAK6453DVD CARLTON,L&LUKATHER/NE W MORNING Digital Video Disc 707787645379 D001911302 CARPENTER,S/ CAN'T BLAME A GI RL Compact Disc 050087296285 ACD14382 CARRINGTON,J&DWYER, P/ONE TAKE Compact Disc 8805041438297 89577 69092 9 0 11661 75112 5 0 12928 65012 0 0 77712 71094 7 6 10585 45479 4 0 13431 10296 0 0 85365 46762 0 7 20616 22692 1 0 13431 44682 8 6 04388 69120 3 8 75531 00533 2 5 060215 610017 6 01215 90542 7 0 14921 82382 2 0 28947 56145 3 0 13431 46552 2 7 332233 000797 7 332233 001015 7 332233 001152 7 332233 000841 7 07787 64537 9 0 50087 29628 5 8 80504 14382 9 Page 12 of 217Catalogue NumberArtist / Title Config Scannable UPC UPCALPHABETICAL BY ARTIST / Alphabetique par artiste 823102 CARTEL/CYCLES Compact Disc 5099908231024 795022 CARTER FAM/COUNTRY BY Compact Disc 015707950220 362312 CARTER, DE/GREATEST HITS Compact Disc 724353623128 LFJ33418 CARVIN,M/L OST AND FOUND PROJ EC Compac t Disc 884501334181 795302 CASH, JOHN/JUST AS I AM Compact Disc 015707953023 B000805602 C ASH,J/LEGEND OF JOHNNY CASH V Com pact Disc 602517138407 RGM0129 CAT MOTHER/ALL NIGH/T HE STREET Compact Disc 848064001294 EXP211 CELIA,D/THIS IS N'T HERE Com pact Disc 722056021128 B001520809 CELTIC T HUNDER (DVD) Digit al Video Disc 602527608181 B001590102 CELTIC T HUNDER / STORM C ompact Disc 602527782607 B001519502 CELTIC T HUNDER/HERITAGE Co mpact Disc 602527602431 B001392402 CELTIC THUNDER/IT'S ENTERT AINM Compac t Disc 602527309071 B001392509 CELTIC T HUNDER/IT'S ENTERTAINM Digital Vi deo Disc 602527309088 B001785402 CELTIC T HUNDER/MYTHOLOGY Co mpact Disc 602537227303 B001785509 CELTIC THUNDER/MYTHOLOGY (DVD) Digital Video Disc 602537227310 B001590209 CELTIC THUNDER/STORM (DVD) D igital Vi deo Disc 602527782935 B001308702 CELTIC THUNDER/TAKE ME HO ME Compact Disc 602527094489 B001308809 CELTIC T HUNDER/TAKE ME HOME-LI D igital Vi deo Disc 602527094496 B001647102 CELTIC T HUNDER/VOYAGE Co mpact Disc 602527908106 B001647209 CELTIC T HUNDER/VOYAGE (DVD) D igital Vi deo Disc 602527908090 RVCP001 CENTRAL PARK/REFLEC TED (DIGI) Compact Disc 884860034128 MODCD169 CEO/WONDERL AND Compact Disc 602537634514 201982A CEREMONY/STILL, NOTHING MOVE Compact Disc 8117720198205 099908 231024 0 15707 95022 0 7 24353 62312 8 8 84501 33418 1 0 15707 95302 3 6 02517 13840 7 8 48064 00129 4 7 22056 02112 8 6 02527 60818 1 6 02527 78260 7 6 02527 60243 1 6 02527 30907 1 6 02527 30908 8 6 02537 22730 3 6 02537 22731 0 6 02527 78293 5 6 02527 09448 9 6 02527 09449 6 6 02527 90810 6 6 02527 90809 0 8 84860 03412 8 6 02537 63451 4 8 11772 01982 0 Page 13 of 217Catalogue NumberArtist / Title Config Scannable UPC UPCALPHABETICAL BY ARTIST / Alphabetique par artiste J3137 CHAMBERLAND,C/SERENDIPI TY STRE Compact Disc 775584231729 PSTGE0905 CHAMELEON CLUB/A FILM BY ALLEN Digital Video Disc 793573090591 PR66 CHAPIN BROTHERS ,THE Compact Disc 077712000666 548352B CHARLAMAGN/SOUT H CRACK - THE A Compact Disc 085365483521 948072A CHARLAP, B/SOMEWHERE Compact Disc 724359480725 PVCD137 CHARLES,R/MESS AR OUND Compact Disc 805520051378 PROPERBOX13 3CHARLES,R/THE WAY I F EEL(4CD S Compact Disc 805520021333 B001491502 CHARLES/GRYDELAND/WA LLUMROD/DA Compact Disc 602517625068 CDROUN2097 CHAVIS, BOOZOO /THE LAKE CHARL Co mpact Disc 011661209725 CDROUN2156 CHAVIS, BOOZOO /WHO STOLE MY M C ompact Disc 011661215627 AZ1103131004 CH EAP FREAKS/BURY THEM ALL Compact Disc 616822103227 43218 CHEESE,R/I' D LIKE A VIRGIN Compact Disc 640424321826 44111 CHEESE,R/SILENT NIGH TCLUB Compact Disc 640424411121 DR2CD011 CHELSEA SMIL ES,THE/THE CHELSEA Compact Disc 5060011195114 301049 CHER/EXTR AVAGANZA LIVE AT THE D igital Vi deo Disc 801213010493 20091 CHICKENFOOT/CHICKENFOOT Compact Disc 67479720091420093 CHICKENFOOT/CHICKENFOOT (DELUX CD wi th DVD 674797200938 0251708287 CHILDREN OF BODO M/CHAOS RIDDEN Dig ital Video Disc 602517082878 SMCR25004 CHI-LITES/HAPPY BEING LONELY/F Compact Disc 5013929070431 PWCL010807 CHRI S DAVIS SEXTET/A NIGH T REM Compact Disc 875531003666 CUNCD750262 CHRIS MCGREGOR S BR/ECLIPSE AT Compact Disc 045775026220 SYB4840 CHRISTIN KARAOKE 12- CT PACK Com pact Disc 610017484023 604422 CHRISTY, J/BALLADS FO R NIGHT P Com pact Disc 7243560442277 75584 23172 9 7 93573 09059 1 0 77712 00066 6 0 85365 48352 1 7 24359 48072 5 8 05520 05137 8 8 05520 02133 3 6 02517 62506 8 0 11661 20972 5 0 11661 21562 7 6 16822 10322 7 6 40424 32182 6 6 40424 41112 1 5 060011 195114 8 01213 01049 3 6 74797 20091 4 6 74797 20093 8 6 02517 08287 8 5 013929 070431 8 75531 00366 6 0 45775 02622 0 6 10017 48402 3 7 24356 04422 7 Page 14 of 217Catalogue NumberArtist / Title Config Scannable UPC UPCALPHABETICAL BY ARTIST / Alphabetique par artiste 984522 CHRISTY, J/MISTY MI SS CHRISTY Com pact Disc 077779845224 ALP79 CHROME CRANKS/DIABOLI CAL BOOGI Com pact Disc 735286197921 Q201268 CHROMEO/BUSIN ESS CASUAL (DLX E Compact Disc 060270126824 AFM2733 CIRCLE II CIRCLE/LAST REVELATI Compac t Disc EP's 884860003926 KFR788369 CIRCLE JERKS/LIVE AT THE H(DVD Digital Video Disc 610337883698 IPC90 CIRCUS DEVILS/SGT .DISCO Com pact Disc 689230009023 SERCD323045 CIRCUS MA XIMUS/ISOLATE C ompact Disc 763232303829 SERCD323033 CIRCUS MAXIMUS/THE FIRST CHAPT Compac t Disc 763232302624 CDSMC100072 CIRQUE DU SOLEIL /ALEGRIA Compact Disc 874751000172 CDSMCJ100222 CIRQUE DU SOLEIL /LE BEST OF Co mpact Disc 874751000134 CDSMC100102 CIRQUE DU SOLEIL /QUIDAM Compact Disc 874751000103 CDSMCD10021 2CIRQUE DU SOLEIL/SOLAR IUM/DELI Compact Disc 874751000127 CDSMCD10019 2CIRQUE DU SOLEIL/TAPI S ROUGE Compact Disc 874751000066 CDSMCJ100232 CIRQUE DU SOLEIL /ZUMANITY Compact Disc 874751000264 CDSMCJ100132 CIRQUEDUSOLEI L/"O" Compact Disc 874751000288 CDSMCJ100252 CIRQUEDUSOLEIL/ CORTEO Compact Disc 874751000400 CDSMCJ100262 CIRQUEDUSOLEIL/ DELIRIUM Com pact Disc 874751000431 CDSMCJ100162 CIRQUEDUSOLEIL/ DRALION Compact Disc 874751000158 CDSMCJ100242 CIRQUEDUSOLEI L/KA Compact Disc 874751000387 CDSMCJ100152 CIRQUEDUSOLEIL/ LA NOUBA Compact Disc 874751000301 CDSMCJ100092 CIRQUEDUSOLEIL/MY STERE LIVE Compact Disc 874751000011 CDSMCJ100172 CIRQUE DUSOLEIL/VAREKAI Co mpact Disc 874751000257 0881703252 CLARK,T/PAIN TO KILL Compact Disc 0088170325280 77779 84522 4 7 35286 19792 1 0 60270 12682 4 8 84860 00392 6 6 10337 88369 8 6 89230 00902 3 7 63232 30382 9 7 63232 30262 4 8 74751 00017 2 8 74751 00013 4 8 74751 00010 3 8 74751 00012 7 8 74751 00006 6 8 74751 00026 4 8 74751 00028 8 8 74751 00040 0 8 74751 00043 1 8 74751 00015 8 8 74751 00038 7 8 74751 00030 1 8 74751 00001 1 8 74751 00025 7 0 08817 03252 8 Page 15 of 217Catalogue NumberArtist / Title Config Scannable UPC UPCALPHABETICAL BY ARTIST / Alphabetique par artiste 1167112382 CL EAVES,S/WISHBONES C ompact Disc 011671123820 MJR033 CLEVELAND,B/HOLOGR AMATRON Com pact Disc 692287903329 BDWH2 CLIKS,THE/BLACK TI E ELEVATOR Com pact Disc 602537367870 CCDCD4812 CLOONEY,R/HERITAGE SER IES:ROSE Com pact Disc 013431481225 5678683992 CLOUD CO NTROL/DREAM CAVE Compact Disc 075678683992 FNZ900262 COAL MEN,THE/BEAUTY IS A MOMEN C ompact Disc 881159100113 B000553102 COCKER,J/MAD DOGS A ND ENGLISHM Co mpact Disc 602498860069 3145416062 COCKER,J /THE BEST OF JOE COCKE Compact Disc 731454160629 CCDCD9007 COLAIUTA,V/VINNIE OLAIUTA Compact Disc 013431900726 DIG116 COLD BLOOD/TRANS FUSION Compact Disc 766057026829 Z281018 COLE,H TRIO/BLAME IT ON MY YOU Compact Disc 061528101822Z281020 COLE,H TRIO/DON'T SMOKE IN BED Compact Disc 061528102027 6152810418 COLE,H/HOLLY COLE Compact Disc 061528104182 Z281030 COLE,H/IT H APPENED ONE NIGH T Compact Disc 061528103024 SMCR5009D COLE,N/NATALIE..LI VE (CDX2) Compact Disc 5013929070936 SMCR5028 COLE,N/THANKFUL-EX PANDED EDITI C ompact Disc 5013929072831 390349 COLE,NK/WHEN I FALL IN LOVE:TH Digital Video Disc 801213903498842872 COLEMAN, O/NEW YORK IS NOW Compact Disc 077778428725 B001013502 COLTRANE,J/THE IMPULSE ALBUM V Compact Disc 602517488328B001240302 COLTRANE,J/T HE JOHN COLTRANE Q Compact Disc 602517920323 BLK076 COMMERCIALS/SHADOW AGENCY/THE Co mpact Disc 823819007622 B000245809 COMMODOR ES T/THE BEST OF THE C Digital Video Disc 602498622810 DEMCD104 COMP/TASTE TH E HATE Compact Disc 50600111910480 11671 12382 0 6 92287 90332 9 6 02537 36787 0 0 13431 48122 5 0 75678 68399 2 8 81159 10011 3 6 02498 86006 9 7 31454 16062 9 0 13431 90072 6 7 66057 02682 9 0 61528 10182 2 0 61528 10202 7 0 61528 10418 2 0 61528 10302 4 5 013929 070936 5 013929 072831 8 01213 90349 8 0 77778 42872 5 6 02517 48832 8 6 02517 92032 3 8 23819 00762 2 6 02498 62281 0 5 060011 191048 Page 16 of 217Catalogue NumberArtist / Title Config Scannable UPC UPCALPHABETICAL BY ARTIST / Alphabetique par artiste NR023 CONETIK/CARBON ELEKT RIQ V2 0 Compact Disc 628740763421 MSK2416 CONFESSION/LIFE A ND DEATH Com pact Disc 661278241627 22312 COOKE,S/S.COOKES STOR Y/1959-65 Compact Disc 018771223122 9843157 COPE,J/JEHO VAKILL-DELUXE EDIT I Compact Disc 602498431573 MJNCD2087 COPERNICUS/D EEPER Compac t Disc 723616208720 PWNCD2093 COPERNICUS/WORTH LESS Compact Disc 723616209321 IPC94 COPPOLA,I/THE BLACK & WHITE AL Compact Disc 689230009429 300060B CORDUROY U/OH EIRA(REP OF 3300 Compact Disc 7332233000605 CCDCD9014 COREA,C & BURTON,G/N ATIVE SENS Com pact Disc 013431901426 CCDCD9009 COREA,C/LIVE IN MO NTREUX Com pact Disc 013431900924 WR4614 CORNELIUS,P/FIE RCE Compact Disc 884501382229 PM070724 CORVAS CORAX/KATLENBERG ANNO M CD with DVD 4046661082425 PR01891 CORVUS CORAX/ANTE C ASU PECCATI Co mpact Disc 5099751714927 PR110317 CORVUS CORAX/GAUDIA VITE(LIVE Compact Disc 5099751716020 PR050512 CORVUS CORAX/IN ELEC TRONICA(RE Co mpact Disc 4046661005028 PR07986 CORVUS CORAX/LIVE AU F DEM WASH Compact Disc 5099751715320 PR120011 CORVUS CORA X/MARCHEN AUS ALTE R Compact Disc 5099751715627 PR10009 CORVUS CORAX/MILLE ANNI PASSI Com pact Disc 5099751715528 PR100213 CORVUS CORAX/SEI KILOS Compact Disc 5099715715823 PR05008 CORVUS CORAX/TEMPI ANTIQUII Compact Disc 5099751716129 PR03954 CORVUS CORAX/TR ITONUS Com pact Disc 5099751715221 PM070623 CORVUS CORAX/VENUS VI NA MUSICA Co mpact Disc 4046661037425 PR10987 CORVUS CORAX/VI ATOR Compact Disc 50997517154296 28740 76342 1 6 61278 24162 7 0 18771 22312 2 6 02498 43157 3 7 23616 20872 0 7 23616 20932 1 6 89230 00942 9 7 332233 000605 0 13431 90142 6 0 13431 90092 4 8 84501 38222 9 4 046661 082425 5 099751 714927 5 099751 716020 4 046661 005028 5 099751 715320 5 099751 715627 5 099751 715528 5 099715 715823 5 099751 716129 5 099751 715221 4 046661 037425 5 099751 715429 Page 17 of 217Catalogue NumberArtist / Title Config Scannable UPC UPCALPHABETICAL BY ARTIST / Alphabetique par artiste CRP060 COUGARS/NOW SER VING Compact Disc 685747013225 OGL891616 COUNTRYMAN,D/MOOG TASTIC Compact Disc 790058916162 PUR340 COVERDALE,D/WHITESN AKE/NORTHWI Com pact Disc 5022911340315 CRTREE011 COVINGTON,J/THE BEAUTIFUL CHAN C ompact Disc 5013929691124 390719 CRABB FAMILY,THE/#1 HITS LIVE Digita l Video Disc 801213907199 182582B CRAMER, FL/BLUE SKIES Compact Disc 014921825826 110152G CRAMER, FL/FAVORITE CO UNTRY HI Com pact Disc 014921101524 182552D CRAMER,F/PIANO MAGIC OF, VOL.2 Compact Disc 014921825529 4400633152 CRANBERRIES THE/STARS-THE (LIM CD with DVD 044006331522 CREEP062 CRANKED UP!/A CALL FOR SOLIDAR Compact Disc 685747021923 6076846132 CRAY,R/TIME WILL TELL Compact Disc 0607684613213145390002 CREAM/THOSE WERE THE DAYS Compact Disc 731453900028 SUMCD006 CREATURE FEATURE/T HE GREATEST Co mpact Disc 894587001068 296962 CREED/FULL CIRCLE Compact Disc 5099902969626 870362B CREED/GREATEST HITS CD/DVD CD wi th DVD 5099968703622 296972 CREED/WEATHERED Compact Disc 5099902969725 400012C CR EEPSHOW,/SELL YOUR SO UL Compact Disc 843204000120 400309 CRENSHAW, /LIVE FROM THE STONE Digital Video Disc 826784003095 TRO24048 CROONERS, THE/CROON ERS LIVE,TH Compact Disc 619061404827 400252A CROSBY, DA/GREATEST HITS Compact Disc 826784002524 CCM21072 CROSBY,B/BING ON BROA DWAY (CD) Co mpact Disc 617742210729 110112G CROSS, MIK/HIGH POWERED, LOW F Compact Disc 015891101125 ER203132 CROSS,C/A NIGHT IN PAR (2CD+DVD CD wi th DVD 8269920313236 85747 01322 5 7 90058 91616 2 5 022911 340315 5 013929 691124 8 01213 90719 9 0 14921 82582 6 0 14921 10152 4 0 14921 82552 9 0 44006 33152 2 6 85747 02192 3 0 60768 46132 1 7 31453 90002 8 8 94587 00106 8 5 099902 969626 5 099968 703622 5 099902 969725 8 43204 00012 0 8 26784 00309 5 6 19061 40482 7 8 26784 00252 4 6 17742 21072 9 0 15891 10112 5 8 26992 03132 3 Page 18 of 217Catalogue NumberArtist / Title Config Scannable UPC UPCALPHABETICAL BY ARTIST / Alphabetique par artiste MJR030 CROVELLA,B/WHATS RATTL IN ON TH Compact Disc 692287903022 AFM1392 CRUACHAN/THE MORRIGA N'S CALL Com pact Disc 4046661044720 PWAJD72208 CUNLIFFE,B/SATIS FACTION Compact Disc 787867220825 0203002 CURRENCY/PILOT TALK (E XPLICIT) Compact Disc 857593002030 IPC42 CURSEOFTHEGOLDENVAM PIRE/MASS D Com pact Disc 689230004226 SHOUT69 CURTIS,K/MUSIC FOR DANCING/THE Co mpact Disc 5013929506923 HYP6245 CUTTING CREW/GRINNI NG SOULS Compact Disc 4011586624524 IEG2169 CYRUS,M/THE WORLD ACCO RDING TO Digital Video Disc 617742216998 XXICD21479 DA COSTA & FROHN/DUO S FOR VIOL Compact Disc 722056147927 0249886693 DALA/A NGELS & THIEVES Compact Disc 602498866931 IPC72 DALEK/A PURGE OF DI SSIDENTS CD wi th DVD 689230007296 IPC84 DALEK/ABANDONED LA NGUAGE Compact Disc 689230008422 IPC56 DALEK/ABSENCE Compact Disc 689230005629 IPC30 DALEK/FROM FILTHY TONGUE OF GO Compact Disc 689230003021 IPC109 DALEK/GUTTER TA CTICS Compact Disc 689230010920 INN0602 DALTON,J TRIO/WARM GHOST IN A Compact Disc 823118325823 INN0601 DALTONJ/GIFT Compact Disc 829757176925 B001484502 DAMNED THINGS,THE/IR ONICLAST Compact Disc 602527507125 KFR788509 DANCE HALL CRA/THE SHOW MU(DVD Digital Video Disc 610337885098 PWCL051407 DANDERFER,J S/ACCE;E RATED DEVE Co mpact Disc 875531002652 BLK0084 DANGER O'S/LITTLE MACHINES Compact Disc 823819008421 OPM6601 DANKO,R/CRYIN'HEAR T BLUES Compact Disc 623235660124 AFM0692 DARK AT DAWN/OF DE CAY AND DESI Co mpact Disc 50997513692266 92287 90302 2 4 046661 044720 7 87867 22082 5 8 57593 00203 0 6 89230 00422 6 5 013929 506923 4 011586 624524 6 17742 21699 8 7 22056 14792 7 6 02498 86693 1 6 89230 00729 6 6 89230 00842 2 6 89230 00562 9 6 89230 00302 1 6 89230 01092 0 8 23118 32582 3 8 29757 17692 5 6 02527 50712 5 6 10337 88509 8 8 75531 00265 2 8 23819 00842 1 6 23235 66012 4 5 099751 369226 Page 19 of 217Catalogue NumberArtist / Title Config Scannable UPC UPCALPHABETICAL BY ARTIST / Alphabetique par artiste PMCD9994 DARK SEA DREAM/DAR K SEA DREAM Com pact Disc 760137999423 RS166 DARKFORTRESS/PROFANE GENOCIDAL Com pact Disc 666616016622 HTMN00622 DASH MONE,M/STEPPIN UP TO THE Compact Disc 619586006223 CRTREE002 DAVE & ARTHUR,T/MORNI NG STANDS Co mpact Disc 5013929690226 CD83570 DAVE B RUBEK QUARTET/PARK AVENU Compac t Disc 089408357022 PWCL020510 DAVIS,C/BAILE BONITA Compact Disc 875531005806 PRTB70442 DAVIS,M/COLLECTORS' ITEMS Compact Disc 025218488327 3020665192 DAY,D/W L ES BROWN & HIS O RCHES Compac t Disc 030206651928 TRI343 DBS/ONLY DBS IS P URE BODYBILLY Co mpact Disc 4260063943430 CD5083 DE BURGH,C/BEST MOVES Compac t Disc 075021508323 301199 DE BURGH,C/LIVE IN CO NCERT Digital Video Disc 801213011995 C101008 DEAD PETS,THE/REVENGE OF THE V Compact Disc 744773006325 C101007 DEAD PETS,THE/TOO LITTLE TOO L Compact Disc 744773006127 PWMJR009 DEAN,ELTON/THE WR ON/THE UNBELI C ompact Disc 692287900922 CJ34 DEAN,P/ONLY TIME WILL TELL Compact Disc 077712700344 IC1163 DEAN,P/RADIO Compact Disc 077712711630 DR2CD007 DEAR SUPERSTAR/H EARTLESS Compact Disc 5060011195077 MRCD6409 DEARS T/NO CITIES LEFT Compact Disc 823674640927 MMPCD0112 DECAPITATED/THE FI RST DAMNED Co mpact Disc 5907785017092 CT39 DECIMATION/ANTHEMS OF AN EMYRE Compact Disc 0827166183923 PUR304 DEEP PURPLE/GEMINI SUITE(LIVE) Co mpact Disc 5022911304317 PUR253 DEEP PURPLE/LIVE IN DENMARK 19 Co mpact Disc 5022911253318 PUR256 DEEP PURPLE/LIVE IN SAN DIEGO C ompact Disc 50229112563197 60137 99942 3 6 66616 01662 2 6 19586 00622 3 5 013929 690226 0 89408 35702 2 8 75531 00580 6 0 25218 48832 7 0 30206 65192 8 4 260063 943430 0 75021 50832 3 8 01213 01199 5 7 44773 00632 5 7 44773 00612 7 6 92287 90092 2 0 77712 70034 4 0 77712 71163 0 5 060011 195077 8 23674 64092 7 5 907785 017092 0 827166 183923 5 022911 304317 5 022911 253318 5 022911 256319 Page 20 of 217Catalogue NumberArtist / Title Config Scannable UPC UPCALPHABETICAL BY ARTIST / Alphabetique par artiste PUR338 DEEP PURPLE/LIVE IN STOCKHOLM C ompact Disc 5022911338312 PUR321 DEEP PURPLE/THIS TI ME AROUND(L C ompact Disc 5022911321314 SERCD323049 DELAIN/APRIL RAIN Compact Disc 763232304925 SERCD323053 DELAIN/LUCIDI TY Compact Disc 763232305328 SERCD3062 DELAIN/WE ARE TH E OTHERS Com pact Disc 763232306226 PWAZ23001 DELEON,S /CON SALSA Y SABO R Compact Disc 787867300121 CD9041 DELEVANTES/LONG ABOUT THAT TIM C ompact Disc 011661904125 SMCR5047 DELLS,THE/LOVE CO NNECTION Com pact Disc 5013929074736 SMCR5056 DELLS,THE/ONE ST EP CLOSER Compact Disc 5013929075634 SMCR5046 DELLS,THE/THEY SAID IT COULDN Co mpact Disc 5013929074637 DCD001 DEMONONOMONOPOTOPIUM /DEMONONOM Co mpact Disc 829410644020 DDN21950 DESNOYERS,D & CLAMAR AN,A/TANDE Co mpact Disc 619061195022 DDN23446 DESNOYERS,D/CLUB SOUND VOL.1 Com pact Disc 619061344628 DDN23333 DESNOYERS,D/DAN DESN OYERS LIVE CD with DVD 619061333325 DDN22230 DESNOYERS,D/IN DA HO USE VOL. 1 Compact Disc 619061223022 DDN23357 DESNOYERS,D/IN DA HOUSE VOL.2 Compact Disc 619061335725 DDN23704 DESNOYERS,D/IN DA HOUSE VOL.3 Compact Disc 619061370429 DDN22060 DESNOYERS,D/LE NIGH TCLUB 01 Compact Disc 619061206025 DDN22065 DESNOYERS,D/LE NIGH TCLUB 02 Compact Disc 619061206520 DDN22180 DESNOYERS,D/LE NIGH TCLUB 03 Compact Disc 619061218028 DDN23742 DESNOYERS,D/LIVE AT PACHA CLUB CD with DVD 619061374229 DDN23489 DESNOYERS,D/LIVE AT PACHA CLUB CD with DVD 619061348923 DNY22005 DESNOYERS,D/POWE R SPIN Compact Disc 6190612005285 022911 338312 5 022911 321314 7 63232 30492 5 7 63232 30532 8 7 63232 30622 6 7 87867 30012 1 0 11661 90412 5 5 013929 074736 5 013929 075634 5 013929 074637 8 29410 64402 0 6 19061 19502 2 6 19061 34462 8 6 19061 33332 5 6 19061 22302 2 6 19061 33572 5 6 19061 37042 9 6 19061 20602 5 6 19061 20652 0 6 19061 21802 8 6 19061 37422 9 6 19061 34892 3 6 19061 20052 8 Page 21 of 217Catalogue NumberArtist / Title Config Scannable UPC UPCALPHABETICAL BY ARTIST / Alphabetique par artiste DDN22066 DESNOYERS,D/POWER SPIN VOL.3 Compact Disc 619061206629 DDN22061 DESNOYERS,D/POWER SPIN VOL.2 Compact Disc 619061206124 DDN23650 DESNOYERS,D/SUMMER SESSION 08 Com pact Disc 619061365029 AFM0969DIGI DESTRUCTION/INVENTO R OF EVIL ( C ompact Disc 5099752006892 0075313821 DEXYS MIDNIGH T RUNNERS/THE BES Compact Disc 600753138212 SERCD3061 DIABLO SWING OR/PA NDORAS PINAT C ompact Disc 763232306127 SERCD323050 DIABLO SWING OR/SIN G ALONG SON Compact Disc 763232305021 PWMJR054 DIALETO/THE LAST TRIBE Compact Disc 692287905422 B002184202 DIAMOND,N/MELODY ROAD(DLX) Compact Disc 602537991358 OGL891392 DICK,A/DO YOUR SHOWS ALWAYS SU Compact Disc 790058913925 1166105082 DICKENS HAZEL TRIBUTE/TBD Compact Disc 011661050822 DR2CD017 DIE SO FLUID/THE WO RLD IS TOO Compact Disc 5060011195176 632682 DIESLER/DIGGIN IT SOME THIN RO Com pact Disc 5060006326820 633042 DIESLER/ KEEPIE UPPIES Co mpact Disc 5060006330421 1166106222 DIFFIE,J/THE ULTIMATE COLLECTI Compact Disc 011661062221 700312D DILLARDS, /THERE IS A TIME Compact Disc 015707003124 5063D DIO, R J/IN MEMORY OF [DVD] Digital Video Disc 9120817150635 AFM0742 DIONYSUS/ANIMA MUNDI Com pact Disc 5099751504221 PWWH0232 DISSENT/DISSEN T Compact Disc 698873023228 TML011 DISSOLVE/CAVEMAN OF THE FUTURE Co mpact Disc 616822069721 NR007 DISSONANCE/REINCA RNATE Compact Disc 751937175926 NR029 DISTORTED REAL/DAY DREAMS AND Compact Disc 628740790922 NR010 DISTORTED REALITY/TH E FINE LIN Compact Disc 6287406848256 19061 20662 9 6 19061 20612 4 6 19061 36502 9 5 099752 006892 6 00753 13821 2 7 63232 30612 7 7 63232 30502 1 6 92287 90542 2 6 02537 99135 8 7 90058 91392 5 0 11661 05082 2 5 060011 195176 5 060006 326820 5 060006 330421 0 11661 06222 1 0 15707 00312 4 9 120817 150635 5 099751 504221 6 98873 02322 8 6 16822 06972 1 7 51937 17592 6 6 28740 79092 2 6 28740 68482 5 Page 22 of 217Catalogue NumberArtist / Title Config Scannable UPC UPCALPHABETICAL BY ARTIST / Alphabetique par artiste 400082B DIXIE DREG/GREATEST HI TS LIVE Compact Disc 826784000827 IPC13 DJ EDDIE DEF/INNER SCRATCH DEM C ompact Disc 689230001324 OMM303412 DJ MARK FARINA/AIR FARINA Compact Disc 600353034129 GRA12802 DJIN/DESTINY OF AQUARIUS Com pact Disc 646413128025 PWAJD72215 DOC SEVERINSEN/SWINGIN TH E BLU Compac t Disc 787867221525 417962 DOC WATSON/SONGS FROM HOME Compact Disc 724354179624 CRP107 DOMINO THEORY/L ANGUAGE Compact Disc 881182010724 INN0405 DONATO,W/BEST OF THE SEASON Com pact Disc 823118945526 INN0403 DONATO,W/LAWS OF ATTRACTION Compact Disc 823118100826INN0402 DONATO,W/WI LLCALL Compact Disc 823118100628 INN0401 DONATO,W/WILLPOWER Compact Disc 634479077050 CLR029 DON'T BE A STRANGER /FRUTTI DI Co mpact Disc 875929002929 AFM1417 DORO/20 YEARS A WA RRIOR SOUL CD with DVD 4046661046076 AFM1722 DORO/ALL WE ARE Compact Disc 4046661073928AFM2035 DORO/ANTHEMS FOR TH E CHAMPION Compact Disc EP's 4046661102727 AFM2783 DORO/DORO ANTHEMS (3EP SET) Compact Disc EP's 884860004428AFM1072 DORO/WARRIOR SOUL Compact Disc 4046661022728 MJ049 DOUBT/MERCY PITY PEAC E & LOVE Com pact Disc 692287904920 300024B DOUGLAS HE/DOUGLAS HEART Compact Disc 7332233000247 139712 DOUGLAS, J/LOOKOUT FOR HOPE (SSACD4Stereo/Surround/CDA ud015891397122 0252787832 DOWN WITH W EBSTER/TIME TO WI N2 Compact Disc 602527878324 MRCD4152 DOWNIE,G/COKE MACHI NE GLOW Compact Disc 823674641528 0694931282 DR. DRE/THE WASH Compact Disc 6069493128248 26784 00082 7 6 89230 00132 4 6 00353 03412 9 6 46413 12802 5 7 87867 22152 5 7 24354 17962 4 8 81182 01072 4 8 23118 94552 6 8 23118 10082 6 8 23118 10062 8 6 34479 07705 0 8 75929 00292 9 4 046661 046076 4 046661 073928 4 046661 102727 8 84860 00442 8 4 046661 022728 6 92287 90492 0 7 332233 000247 0 15891 39712 2 6 02527 87832 4 8 23674 64152 8 6 06949 31282 4 Page 23 of 217Catalogue NumberArtist / Title Config Scannable UPC UPCALPHABETICAL BY ARTIST / Alphabetique par artiste DTRBDW3 DREASE WILLIAMS,B/GOOD MORNING Com pact Disc 654367020456 296752 DROWNING P/SINNER Compact Disc 5099902967523 CDROUN0258 DRY BRANCH FIRE/FERTI LE GROUND Co mpact Disc 011661025820 IC1063 DRY JACK/MAGICAL ELEMENTS Compact Disc 077712710633 URBNET1065 D-SISIVE/LET THE CHILDREN DIE C ompact Disc 775020933828 IPC97 DUB TRIO/ANOTHER SO UND IS DYIN Co mpact Disc 689230009726 SMCR5031 DUKE,G/DREAM ON Compact Disc 5013929073135 SMCR5030 DUKE,G/MASTER OF THE GAME-EXPA Compact Disc 5013929073036SMCR5032 DUKE,G/RENDEZV OUS Compact Disc 5013929073234 LBMCD236563 DUNGEON/ A RISE TO POWE R Compact Disc 693723656328 PWSRM004 DUNLOP,J/FAILEASAN REFLECTIONS C ompact Disc 609613821561 ACD66062 DURAN,H/FROM THE H EART Compact Di sc Enhanced 880504660623 CRP3348 DUTCHLAND DIESEL/ STAG ING GRAC Com pact Disc 881182334820 CRP030 DUTCHLAND DIESEL/ALL NE W POLIC Compact Disc 881182003023 SMCR5052 DYNAMIC SUPERIORS/G IVE & TAKE Compact Disc 5013929075238 SMCR25003 DYNAMIC SUPERIORS/T HE DYNAMIC C ompact Disc 5013929070332 SMCR5051 DYNAMIC SUPERIORS/YOU NAME IT Compact Disc 5013929075139 LFR1044 E SMITH,C/BLUES FOR C Compact Disc 606987002442 CDHB209 E.BLENDER/PIECE OF T BLENDER Com pact Disc 011661770928 AAA999 EAGLES OF DEATH META L/PEACE LO Com pact Disc 689230099925 3145375622 EARL,R/& T BROADCASTERS/T COLO Compact Disc 731453756229 IPC68 EATWESTBLASTTEST/POPULAR MUSIC Compact Disc 689230006824 CL070109 EBY,C/BROKEN SHADOWS Compact Disc 8845012336066 54367 02045 6 5 099902 967523 0 11661 02582 0 0 77712 71063 3 7 75020 93382 8 6 89230 00972 6 5 013929 073135 5 013929 073036 5 013929 073234 6 93723 65632 8 6 09613 82156 1 8 80504 66062 3 8 81182 33482 0 8 81182 00302 3 5 013929 075238 5 013929 070332 5 013929 075139 6 06987 00244 2 0 11661 77092 8 6 89230 09992 5 7 31453 75622 9 6 89230 00682 4 8 84501 23360 6 Page 24 of 217Catalogue NumberArtist / Title Config Scannable UPC UPCALPHABETICAL BY ARTIST / Alphabetique par artiste 320722 ECONOLINE /AFFLICTION Compact Disc 724383207220 AFM0889 EDGUY/HALL OF FLAMES (DIGI) Compact Disc 5099751924296AFM0505 EDGUY/PAINTING ON THE WALL Compact Disc 4029758229255 200251C EDISUN/EDISUN Compact Disc 852362002518300049C EDSON/KNOW.. Compact Disc 7332233000490 E2CD1001 EDWARD II/THE DEFINI TIVE COLLE Compact Disc 844493092247 CRSEG009 EDWARDS HAND/EDWA RDS HAND Com pact Disc 5013929180925 CRSEG010 EDWARDS HAND/ST RANDED Compac t Disc 5013929181021 CFU0375 EGAN,W/FUNDAMENTAL ROLL Compact Disc 850703003750 ALP75 EIGHT EYED SPY/C OLLECTION Compact Disc 735286197525 AFM1319 EISBRECHER/ANTIKOER PER (DIGI) Compact Disc 4046661038828 AFMFBX2643 EISBRECHER/EISZEIT CD with DVD 884860032223 AFM1305 EISBRECHER/LEIDER Compact Disc 4046661038453AFM1315 EISBRECHER/VERGISSM EINNICHT Com pact Disc 4046661038651 CRSEG002 ELASTIC BAND/EXPANSI ONS ON LIF Compact Disc 5013929180222 IC7012 ELDRIDGE,R/I REMEMBER HARLEM Compact Disc 077712770125 IC7002 ELDRIDGE,R/LITTLE JAZZ Compact Disc 077712770026 MUSND38 ELEVATOR THROUGH/MUSI C FROM T Compac t Disc EP's 777488003822 D0816 ELIOT GARDINER,J/BACH CA NT(DVD Digital Video Disc 032031081697 NPR195 ELIS/GRIEFSH IRE Compact Disc 693723502724 MOTORCD1013 ELLIOT,R/HEP Compact Disc 827565003426 CDHBEA3511 ELLIS,A/SUNDAY COMING Compact Disc 011661351127 LFR1024 ELMER GIBSON TRIO/LIVE Compact Disc 6069870022447 24383 20722 0 5 099751 924296 4 029758 229255 8 52362 00251 8 7 332233 000490 8 44493 09224 7 5 013929 180925 5 013929 181021 8 50703 00375 0 7 35286 19752 5 4 046661 038828 8 84860 03222 3 4 046661 038453 4 046661 038651 5 013929 180222 0 77712 77012 5 0 77712 77002 6 7 77488 00382 2 0 32031 08169 7 6 93723 50272 4 8 27565 00342 6 0 11661 35112 7 6 06987 00224 4 Page 25 of 217Catalogue NumberArtist / Title Config Scannable UPC UPCALPHABETICAL BY ARTIST / Alphabetique par artiste STB0022 EMAROSA/THIS IS YOUR WAY OUT Compact Disc EP's 635961090823 82666312075 EMERSON,L AKE & PALMER/A TIME A Compact Disc 826663120752 GARUDACD002 EMERY,G/NORTHE RN LIGHTS Com pact Disc 8715576133886 GARUDACD003 EMERY,G/NORTHERN LI GHTS RE-LIT Co mpact Disc 8715576137433 IPC49 END/THE SOUNDS OF DISASTER Com pact Disc 689230004929 924769 ENIGMA/REMEMBER THE FUTURE Digital Video Disc 724349247697 636462B ENO, BRIAN/MUSIC FOR FILMS Compact Disc 724356364622 BLK0065 ENSIGN/LOVE THE MUSIC HATE THE Compact Disc 823819006526 400092B ENTWISTLE,/GREATEST HITS LIVE Compact Disc 826784000926 8088905228 EST RADA,E/ROUND3 Co mpact Disc 680889052286 MAHACD17 ETE/ETE Compact Disc 5038044814623 TR007 ETTES, THE/DANGER IS CD EP Com pact Disc 790168641923 827719 EVAN ESCENC/ANYWHERE BUT HOME D Digital Video Disc 5099908277190 RIVCD1802 EVANS,B/THE COMPLETE RIVERSIDE Co mpact Disc 025218001823 NPR439LTD EX DEO/CALIGVLA(LTD) Compact Disc 885470004471 CT60 EXECRATION/ACCEPTANCE OF ZERO Compact Disc 827166230122 IPC15 EXGIRL/BACK TO THE MONO KERO Compact Disc 689230001522 SLAM1111 EXTERIO/L'ALBUM MONSTRE-1ERE P Compact Disc 620953345920 IPC87 EYVIND KANG/ATHL ANTIS Compact Disc 689230008729 IPC50 EYVINDKANG/VIRGINAL CO ORDINAT C ompact Disc 689230005025 3145589332 F.BROWN/CHYNA DOLL Compact Disc 731455893328 110182D FAITH, PER/GREAT MOVIE THEMES Compact Disc 014921101821 110132G FAITH, PER/LATIN RHYTHMS Compact Disc 0149211013266 35961 09082 3 8 26663 12075 2 8 715576 133886 8 715576 137433 6 89230 00492 9 7 24349 24769 7 7 24356 36462 2 8 23819 00652 6 8 26784 00092 6 6 80889 05228 6 5 038044 814623 7 90168 64192 3 5 099908 277190 0 25218 00182 3 8 85470 00447 1 8 27166 23012 2 6 89230 00152 2 6 20953 34592 0 6 89230 00872 9 6 89230 00502 5 7 31455 89332 8 0 14921 10182 1 0 14921 10132 6 Page 26 of 217Catalogue NumberArtist / Title Config Scannable UPC UPCALPHABETICAL BY ARTIST / Alphabetique par artiste 110112H FAITH, PER/THEME FROM A SUMMER Compact Disc 014921101128 PWRCD6 FAMBROUGH ,C/LIVE AT ZANZIBAR Co mpact Disc 806013000620 TS009X FANDANGLE/FLY AWAY Compact Disc 5060101380239 IPC19 FANTOMAS&MEL VINSBIGBAND/MILLE N Compact Disc 689230001928 IPC45 FANTOMAS/DELIRIUM CORDIA Compact Disc 689230004523 IPC17 FANTOMAS/DIRECT ORS CUT Com pact Disc 689230001720 IPC01 FANTOMAS/FANTOMAS Compact Disc 689230000129 IPC102 FANTOMAS/MELVINS BIG BAND/LIVE Digital Video Disc 689230010296 IPC65 FANTOMAS/SUSPENDED ANIMATION Compact Disc 689230006527 IPC62 FANTOMAS/SUSPENDED AN IMATION-L Compact Disc 689230006220 700022K FARINA, MI/COMPLETE VANGUARD R Compact Disc 015707000222 MIG00900CD FARLOWE,C/HOTEL EINGANG Compact Disc 885513009005 IPC101 FARMERS MARKET/SURFIN'USSR Compact Disc 689230010128 300259 FATBOY SLIM/BEACH BOUTIQ UE 2 Digital Video Disc 801213002597 4214402 FAURE/REQUIEM/DUTOITPELLEAS Compact Disc 028942144026 563622 FAUST/FAUST IV Compact Disc 094635636222 D1322 FEINSTEIN,M/MICHAEL FEINSTE(DV Digital Video Disc 032031132290 848064000211 FERGUSON,M /THE NEW SOUNDS OF M Compact Disc 848064000211 35544 FIAS,A/CHRISTMAS SPA Compac t Disc 096741124624 NR005 FICTION 8/CHAOT ICA Compact Disc 751937157526 NR012 FICTION 8/FOREVER NEVERAFTER Com pact Disc 628740705124 PR22 FIELDS,W C AND WES/HI S ONLY RE Compact Disc 077712000222 PWSRM002 FIERE/JOY DUNLOP & TWELFTH DAY Compact Disc 6097282862170 14921 10112 8 8 06013 00062 0 5 060101 380239 6 89230 00192 8 6 89230 00452 3 6 89230 00172 0 6 89230 00012 9 6 89230 01029 6 6 89230 00652 7 6 89230 00622 0 0 15707 00022 2 8 85513 00900 5 6 89230 01012 8 8 01213 00259 7 0 28942 14402 6 0 94635 63622 2 0 32031 13229 0 8 48064 00021 1 0 96741 12462 4 7 51937 15752 6 6 28740 70512 4 0 77712 00022 2 6 09728 28621 7 Page 27 of 217Catalogue NumberArtist / Title Config Scannable UPC UPCALPHABETICAL BY ARTIST / Alphabetique par artiste UWR018 FIFTY CALIBER KISS/ARMOR CLASS Compact Disc 022891201823 WHES3001DVD FILM/JOHN LENNON:THE MESSENGER Digital Video Disc 805203300199 BLR0074 FINALE/THINGS CAN ST ILL GET BE Compact Disc 823819007424 296732 FINGER ELE/FINGER ELEVEN Com pact Disc 5099902967325 296812 FINGER ELE/THEM VS. YOU VS. ME Compact Disc 5099902968124827699 FINGER ELE/US VS. THEN VS. NOW DVD + BNS CD 5099908276995 543512B FIREHOUSE/CATEGORY 5 Compact Disc 085365435124 40467 FISHER PRIC E SER/CB:BEETHOVEN Compact Disc 096741191725 38564 FISHER PRICE SER/WB:CELTIC LUL Compact Disc 09674115602137225 FISHER PRICE/ BEST ANIMAL SONG S Compact Disc 096741143120 35475 FISHER PRICE/BW:NO MO RE CRYING Com pact Disc 096741123825 40036 FISHER PRICE/CHRISTMAS DI SCOVE Digital Video Disc 096741336591 35860 FISHER PRICE/ EASTER SING ALON G Compact Disc 096741129520 41912 FISHER PRICE/HALLOWEEN SING AL Compact Disc 09674118552636973 FISHER PRICE/SILLY SONGS Compact Disc 09674113952922968 FISHER PRICE/SONGS & GAMES FOR Compact Disc 09674102412222970 FISHER PRICE/SONGS FROM THE FA Compact Disc 09674102422134208 FISHERPRICE/BATH TIME SING-ALO Compact Disc 096741112225 DEMCD138 FIST/THE STORM Compact Disc 5060011191383 PROPERBOX11 6FITZGERALD,E/DEARLY BELOVED Compact Disc 805520021166 B000965102 FITZGERALD,E/ELLA IN HAMBURG Compact Disc 602517425286 3145178982 FITZGERALD,E/T FIRST LADY OF S Compact Disc 7314517898233145276552 FITZGERALD,E/VERVE JZ MAST #46 Compact Disc 7314527655290 22891 20182 3 8 05203 30019 9 8 23819 00742 4 5 099902 967325 5 099902 968124 5 099908 276995 0 85365 43512 4 0 96741 19172 5 0 96741 15602 1 0 96741 14312 0 0 96741 12382 5 0 96741 33659 1 0 96741 12952 0 0 96741 18552 6 0 96741 13952 9 0 96741 02412 2 0 96741 02422 1 0 96741 11222 5 5 060011 191383 8 05520 02116 6 6 02517 42528 6 7 31451 78982 3 7 31452 76552 9 Page 28 of 217Catalogue NumberArtist / Title Config Scannable UPC UPCALPHABETICAL BY ARTIST / Alphabetique par artiste 317739 FITZGERALD/YES - SIDE B Compact Disc EP's 627843177395 SHOUT34 FIVE BLIND BOYS OF MISSISSIPPI Compact Disc 5013929503427 1398501054 FIVE FING ER DEATH PUNCH/AMER IC Compact Disc 813985010540 IPC53 FLATEARTHSOCIETY/ISMS Compact Disc 689230005322 B001464709 FLEMING,R/A MU SIC ODYSSEY IN S D igital Vi deo Disc 044007434055 500515 FLEVANS/M AKE NEW FRIENDS Co mpact Disc 5036865005152 938792 FLORATONE/FLORATONE Compact Disc 094639387922 TPDVD124 FONTEYN,M/TONY PALMER'S FILM A Digital Video Disc 604388711000 UWRFB004 FOOSE/ARE WE STRONGER Compact Disc 665776127759 UWR22613 FOOSE/SACRIFICE Compact Disc 884501226134 RS167 FOREST OF IMPALED/FORWARD THE Compact Disc 666616016721RS192 FOREST OF IMPALED/R ISE AND CON C ompact Disc 666616019227 SMCR5058 FOSTER,R/DELIGHT (E XPANDED EDI C ompact Disc 5013929075832 SMCR5057 FOSTER,R/LOVE SATELLITE (EXPAN Compact Disc 5013929075733 182412C FOUR FRESH/FRESH Compact Disc 014921824126182392C FOUR FRESH/FRESHMAS Compact Disc 014921823921 SHOUT58 FOUR TOPS/SOMETHING TO REMEMBE Compact Disc 5013929505827 780054 FRANCOIS,C/EN PUBLIC 1965 MAUB Compact Disc 3700477800543 780055 FRANCOIS,C/EN PUBLIC 1971CAMBR Compact Disc 3700477800550 780056 FRANCOIS,C/EN PUBLIC 1974 CAMB Compact Disc 3700477800567 780057 FRANCOIS,C/EN PUBLIC 1978 LYON Compact Disc 3700477800574780053 FRANCOIS,C/HIS HITS IN ENG(2CD Compact Disc 3700477800536 K014 FRANJO,M/SOLO POR TU AMOR Compact Disc 8013422014276 27843 17739 5 5 013929 503427 8 13985 01054 0 6 89230 00532 2 0 44007 43405 5 5 036865 005152 0 94639 38792 2 6 04388 71100 0 6 65776 12775 9 8 84501 22613 4 6 66616 01672 1 6 66616 01922 7 5 013929 075832 5 013929 075733 0 14921 82412 6 0 14921 82392 1 5 013929 505827 3 700477 800543 3 700477 800550 3 700477 800567 3 700477 800574 3 700477 800536 8 01342 20142 7 Page 29 of 217Catalogue NumberArtist / Title Config Scannable UPC UPCALPHABETICAL BY ARTIST / Alphabetique par artiste 4391061329 FREDRI KSEN,F/ANY GIVEN MO MENT Compac t Disc 8024391061329 302979 FREE/FOR EVER (DVDX2) Digit al Video Disc 801213029792 SFE014 FREEEZ/GONNA GET YOU (DLX EXPA Co mpact Disc 5013929842427 SFE017 FREEEZ/SOUTHERN FREEEZ -EXPANDE Com pact Disc 5013929842724 PWHTMN02267 FRIDAY/EUPHORIC ST ATE OF MIND Compact Disc 619586022674 IC1019 FRIESEN,D/STAR DANCE Compac t Disc 077712710190 IC1086 FRIESEN,D/STOWELL,J/OT HER MANS Com pact Disc 077712710862 IC1061 FRIESEN,D/STOWELL,J/T HROUGH TH Com pact Disc 077712710619 WH51 FRNKIERO ANDTHE C/ STOMACHACHES C ompact Disc 601091423527 CLR012 FROBERG,T/SOMEWHERE IN THE CIT Compact Disc 875929001229CLR026 FROBERG,T/TURN HEADS Compac t Disc 875929002622 NR030 FROZEN PLASMA/ARTIFICIAL Compact Disc 628740793725 MR801732 FU MANCHU/THE ACTION IS GO Compact Disc 035498017322 FNZ900222 FURTADO, T/DEEP WATER C ompact Disc 881159010085 FNZ900312 FURTADO,T/GOLDEN Compact Disc 881159401319FNZ900022 FURTADO, T/THESE CHAINS C ompact Disc 881159000222 FNZ900602 FURTADO,T/THIRTEEN Compact Disc 881159006026 EVB334929 GABRIEL,P/BACK TO FRONT(DLX 2B BLU RAY + BNS CD 801213349296 7884911096 GAITHER VOCAL/SOMETIMES IT(DVD Digital Video Disc 617884911096 426440 GAITHER, B/CANADIAN HOMECOMING Compact Disc 617884264406 BLK0080 GALE,G/FEW EASY ST EPS TO SECUR Co mpact Disc 823819008025 LBMCD236544 GALLOGL ASS/LEGENDS FROM NO W AN Compac t Disc 693723654423 EARCD861343 GAMMA RAY/TO THE METAL Compact Disc 6285861343248 024391 061329 8 01213 02979 2 5 013929 842427 5 013929 842724 6 19586 02267 4 0 77712 71019 0 0 77712 71086 2 0 77712 71061 9 6 01091 42352 7 8 75929 00122 9 8 75929 00262 2 6 28740 79372 5 0 35498 01732 2 8 81159 01008 5 8 81159 40131 9 8 81159 00022 2 8 81159 00602 6 8 01213 34929 6 6 17884 91109 6 6 17884 26440 6 8 23819 00802 5 6 93723 65442 3 6 28586 13432 4 Page 30 of 217Catalogue NumberArtist / Title Config Scannable UPC UPCALPHABETICAL BY ARTIST / Alphabetique par artiste EARCD613439 GAMMA RAY/TO THE METAL(2CD) Compact Disc 628586134393 IPC125 GANGPOL & MIT/THE 1000 SOFTCOR Compact Disc 689230012528 4758256 GARDINER,J/HANDEL:SAUL - 3 CD Compact Disc 028947582564 792202C GARLAND, J/VERY BEST OF JUDY G Compact Disc 094637922026 WR4615 GARNETT,A/SERPENT Compact Disc 5060195512035 NR034 GASR/REPTILE Compact Disc 628740843321NR022 GASR/SURVIVAL OF THE FITTEST Compact Disc 628740757529 OGL840069 GASS,C/ THE WORST COMEDY SH(D VD Digital Video Disc 790058400692 8088904889 GAYE,M/GOLD(CD+LARGE T-SHIRT) FAN PACKS 680889048890 574052 GAYLE,CRYS/GREATEST HITS Compact Disc 077775740523 IPC60 GENERALPATTONVSTHEXE CUTIONERS/ Com pact Disc 689230006022 300089 GENESSIS/TH E GENESIS SONGBOOK Digital Vi deo Disc 801213000890 UWR013 GEOGRAPHY/LIFE IN BINARY Com pact Disc 665776111222 WR4622 GEORGE CROWLEY QUAR TET/PAPER U Com pact Disc 610696501790 OGL820272 GEORGEWBUSHSINGERS/SON GS IN TH Compact Disc 790058202722 B001218002 GETZ,S/IN STOCKHOLM Compact Disc 602517868847 CCDCD4188 GETZ,S/PURE GE TZ Compact Disc 013431418825 IPC70 GHOSTIGITAL/IN COD WE TRUST Compact Disc 689230007029 301269 GIBB,R/LIVE W/FRANKFURT NEUE P Digital Video Disc 801213012695 LFJ1022 GIBSON,E/GENERATI ON DANCE Com pact Disc 606987002220 MCGJ1009 GILLESPIE,D ALUMNI/T HINGS TO C C ompact Disc 612262100925 IC7010 GILLESPIE,D/HAVIN A GOOD TIME Compact Disc 077712770101 B000393702 GILL ESPIE,D/SITTIN' IN Compact Disc 0750210347926 28586 13439 3 6 89230 01252 8 0 28947 58256 4 0 94637 92202 6 5 060195 512035 6 28740 84332 1 6 28740 75752 9 7 90058 40069 2 6 80889 04889 0 0 77775 74052 3 6 89230 00602 2 8 01213 00089 0 6 65776 11122 2 6 10696 50179 0 7 90058 20272 2 6 02517 86884 7 0 13431 41882 5 6 89230 00702 9 8 01213 01269 5 6 06987 00222 0 6 12262 10092 5 0 77712 77010 1 0 75021 03479 2 Page 31 of 217Catalogue NumberArtist / Title Config Scannable UPC UPCALPHABETICAL BY ARTIST / Alphabetique par artiste IC7023 GILLESPIE,D/THE CHAMP Compact Disc 077712770231 DR2CD015 GLITTERATI,THE/ARE YOU ONE OF Co mpact Disc 5060011195152 MOONCD103 GO JIMMY GO/(THE GIRL WITH THE Compact Disc 664813410328 KFR788192 GOD AWFULS,THE/NEXT STOP, ARMA Compact Disc 610337881922KFR788239 GOLDFINGER/LIVE AT THE HOUSE(D Digital Video Disc 610337882394 693042B GOLDFRAPP/NUM BER 1 Compact Disc EP' s 724596930427 IPC78 GOLDINGINSTITUTE,T/ FINAL RELAX Compact Disc 689230007821 FAN3603102 GOLLIWOGS,THE/FIGHT FIRE COMPL Compact Disc 888072360310 758482A GOLUB, JEF/TEMPTATION Compact Disc 724387584822 PW302062414 GOMEZ,E/PER SEMPRE Compact Disc 030206241426 073002 GONZALES, /SOLO PIANO II Compact Disc 827590730021057002 GONZALES/IVORY TOWER Compact Disc 827590570023 049002B GONZALES/SOLO PIANO:DELUXE E CD with DVD 827590490024 PROPERBOX10 9GOODMAN,B/THE ESSENTIAL BG Compac t Disc 805520021098 IPC86 GOON MOON/LICKER'S LAST LEG Compact Disc 689230008620 377542 GORDON, DE/A SWINGIN' AFFAIR Compact Disc 094633775428 TPDVD102 GORECKI/SYMPHONY OF SORROWFUL Digital Video Disc 604388682621 0252732799 GOULDING,E/LIGHTS Compact Disc 602527327990 139532 GOURDS/COW FISH FOWL OR PIG Compact Disc 015891395326 TRICD7340 GOYETTE,M/SWEET WARM JELLY Compact Disc 619061734023 CLR030 GRAMERCY ARMS/GRA MERCY ARMS Compact Disc 875929003025 8088905347 GRANDE,A /MY EVERYTHING EX C WM FAN PACKS 680889053474 B002139602 GRANDE ,A/MY EVERYTHING(D LX) Compact Disc 6025379395270 77712 77023 1 5 060011 195152 6 64813 41032 8 6 10337 88192 2 6 10337 88239 4 7 24596 93042 7 6 89230 00782 1 8 88072 36031 0 7 24387 58482 2 0 30206 24142 6 8 27590 73002 1 8 27590 57002 3 8 27590 49002 4 8 05520 02109 8 6 89230 00862 0 0 94633 77542 8 6 04388 68262 1 6 02527 32799 0 0 15891 39532 6 6 19061 73402 3 8 75929 00302 5 6 80889 05347 4 6 02537 93952 7 Page 32 of 217Catalogue NumberArtist / Title Config Scannable UPC UPCALPHABETICAL BY ARTIST / Alphabetique par artiste 925812 GR APES OF /NOW AND AG AIN Compact Disc 077779258123 731302B GRAPPELLI,/ BEST OF, THE C ompact Disc 015707313025 781822B GRAPPELLI,/ SATIN DOLL Co mpact Disc 015707818223 RGM0123 GRATEFUL DE/DICKS PICKS 25(4CD Compact Disc 848064001232RGM0060 GRATEFUL DEAD/DICK'S P V29(6CD Compact Disc 848064000600RGM0051 GRATEFUL DEAD/DICK'S P V30(4CD Compact Disc 848064000518 848064000198 GRATEFUL DEAD/DICK'S PICKS V32 Compact Disc 848064000198 RGM0102 GRATEFUL DEAD/DICK' S PICKS(2CD Compact Disc 848064001027 RGM0071 GRATEFUL DEAD/DICK' S PICKS(3CD Compact Disc 848064000716 RGM0052 GRATEFUL DEAD/DICK'S V31(4CD Compact Disc 848064000525RGM0072 GRATEFUL,D/DICK'S PICKS VOL.28 Compact Disc 848064000723 NPR365 GRAVE DIGGER/BALLAD OF MARY (C Compac t Disc EP's 885470001913 NPR349LTD GRAVE DIGGE R/CLANS WILL RISE A Compact Disc 885470001296 NPR443 GRAVE DIGGER/HOME AT LAST Com pact Disc 885470004358 NPR270 GRAVE DIGGER/PR AY Compac t Disc 693723308128 FNZ900132 GREEN PITCH/ACE OF HEARTS Compact Disc 881159008020 335802 GREEN, GRA/SOLID Compact Disc 724383358021 DIG121 GREENE,J/THE DIG YEARS Compact Disc 766057034220 SJPCD347 GREENSLADE/LIVE 1973/1975 Compact Disc 5055011703476 1167112332 GRIFFITH,N/ONCE IN A VERY BLUE Compact Disc 0116711233251166132209 GRIFFITH,N/WINTER MARQUEE Digital Video Disc 011661322097 CDFLY535 GRUPO AYMARA/ALIRINA -LIVE & IN Compact Disc 018964053529 400112B GTR/GREATEST HITS LIVE Compact Disc 8267840011210 77779 25812 3 0 15707 31302 5 0 15707 81822 3 8 48064 00123 2 8 48064 00060 0 8 48064 00051 8 8 48064 00019 8 8 48064 00102 7 8 48064 00071 6 8 48064 00052 5 8 48064 00072 3 8 85470 00191 3 8 85470 00129 6 8 85470 00435 8 6 93723 30812 8 8 81159 00802 0 7 24383 35802 1 7 66057 03422 0 5 055011 703476 0 11671 12332 5 0 11661 32209 7 0 18964 05352 9 8 26784 00112 1 Page 33 of 217Catalogue NumberArtist / Title Config Scannable UPC UPCALPHABETICAL BY ARTIST / Alphabetique par artiste IPC163 GUANO PADANO/AMERICANA Compact Disc 689230016328 FCD697 GUARALDI,V/CHARLIE BROWN XMAS Compact Disc 025218669726 OLG816192 GURYAN,M/THE CHOPST ICKS VARIAT Compact Disc 790058161920 CLR007 GUS BLACK/AUTUMN DAYS Compact Disc 875929000727 CLR027 GUS BLACK/TODAY IS NOT THE DAY Compact Disc 875929002721 SMCR5082 GUTHRIE,G/GOOD TO GO LOVER(EXP Compact Disc 5013929078239 KFR788119 GUTTERMOUTH/HOUSE OF BL(DVD+CD DVD + BNS CD 610337881199 KFR788112 GUTTERMOUTH/HOUSE OF BLU(CD+DV CD with DVD 610337881120 FIRK114 GUY/MCCOY/TORME/EVIL TWIN Compact Disc 5060066551149 3145560002 H.DANG ER/WHERE HAVE ALL T MERR Compact Disc 731455600025 3145360772 H.WILLIAMS/T COMPLETE HANK WIL Compact Disc 731453607729 IC1073 HAIG,A/AL HAIG PLAYS THE MUSIC Compact Disc 077712710732 SERCD323051 H AKEN/AQUARIUS C ompact Disc 763232305120 SERCD3060 HAKEN/VISIO NS Compact Disc 763232306028 MM7 HALO OF FLYS/BLOODIER SHADE OF Compact Disc 827166227122 IPC10 HAMBURGER,N/GREAT PHONE CALLS Compact Disc 689230001027 MCGJ1017 HAMILTON,C JAZZ ORCH/LIVE AT M Compact Disc 612262101724 RLT1114 HANCOCK,B/WEST TEXAS WALTZES & Compact Disc 614511704328 TPDVD114 HANDEL,GF/THE LI FE OF Digital Video Disc 604388704200 TPCD114 HANDEL,GF/THE LIFE OF (CD) Compact Disc 604388705122 4534642 HANDEL/M ESSIAH Compac t Disc 028945346427 4346952 HANDEL/M ESSIAH Compac t Disc 028943469524 IC1072 HANNA,R/ROLAND HANNA PLAYS THE Compact Disc 0777127107256 89230 01632 8 0 25218 66972 6 7 90058 16192 0 8 75929 00072 7 8 75929 00272 1 5 013929 078239 6 10337 88119 9 6 10337 88112 0 5 060066 551149 7 31455 60002 5 7 31453 60772 9 0 77712 71073 2 7 63232 30512 0 7 63232 30602 8 8 27166 22712 2 6 89230 00102 7 6 12262 10172 4 6 14511 70432 8 6 04388 70420 0 6 04388 70512 2 0 28945 34642 7 0 28943 46952 4 0 77712 71072 5 Page 34 of 217Catalogue NumberArtist / Title Config Scannable UPC UPCALPHABETICAL BY ARTIST / Alphabetique par artiste DEMCD152 HANOI ROCKS/ANOTHE R HOSTILE TA Compact Disc 5060011191529 MURCD3 HARDSHIP POST/H ACK Compact Disc 777488000326 DSBBD31052 HARDY HAGOOD /A LL MY BEST Com pact Disc 057623105223 DR2US002 HARRIS,L/CALM BEFOR E THE STORM Compact Disc 5060011195053 312542 HARRISON, /ALL THING MUST PASS Com pact Disc 724353125424 304742 HARRISON, /ALL THINGS MUST PAS Compact Disc 724353047429 358802 HARRISON, /CONCERT FO R BANGLAD Compact Disc 094633588028 946652 HARRISON, /LIVE IN JAPAN Com pact Disc 724359466521 668992B HARRISON, /LIVING IN THE MATER Compact Disc 094636689920 INN0003 HART,R/FEARLESS SHORES Com pact Disc 823118302220 PWAJD72238 HASHIMOTO,A/INTRO DUCING ATSUKO Co mpact Disc 787867223826 NPR392 HATESPHERE/THE GREAT BLUDGEONI Co mpact Disc 885470002736 DEMCD101 HATRED/THE O FFERING Compact Disc 5060011191017 296892B HAWTHORNE /SKELETONS Com pact Disc 5099902968926 4400162982 HAYDEN/ SKYSCRAPER NATIONAL PAR Compac t Disc 044001629822 4775145 HAYDN/STRING QUARTETS OP 51-74 Compact Disc 028947751458 782014 HEAD,M/MY BACK PAGES Compact Disc 3700477820145 CRP101 HEARTLAND/STARS OUT NUMBER THE Compact Disc 881182010120 SM34 HEART-SET SELF DEST RUCT/OF NIG Compact Disc 736211693464 0249883974 HEDLEY/ON MY OWN Compact Disc Singles 602498839744 IPC83 HELLA/THERE'S NO 666 IN OUTER Compact Disc 689230008323 PHCD7002 HELLECASTERS,THE/ESC APE FROM H Com pact Disc 800633700229 HT6502 HEMPHILL,J/FEELIN' GOOD Compact Disc 0129286502295 060011 191529 7 77488 00032 6 0 57623 10522 3 5 060011 195053 7 24353 12542 4 7 24353 04742 9 0 94633 58802 8 7 24359 46652 1 0 94636 68992 0 8 23118 30222 0 7 87867 22382 6 8 85470 00273 6 5 060011 191017 5 099902 968926 0 44001 62982 2 0 28947 75145 8 3 700477 820145 8 81182 01012 0 7 36211 69346 4 6 02498 83974 4 6 89230 00832 3 8 00633 70022 9 0 12928 65022 9 Page 35 of 217Catalogue NumberArtist / Title Config Scannable UPC UPCALPHABETICAL BY ARTIST / Alphabetique par artiste CD83320 HENDRICKS,J/BO PPIN'AT T BLUE N Compact Disc 089408332029 934462B HENDRIX, J/BAND OF GYPSY'S Compact Disc 724349344624 1166177692 HEPTON ES,THE/DEEP IN THE ROOTS Compact Disc 011661776920 9867896 HERBERT,G/BITTERSWEET AND BLUE Com pact Disc 602498678961 DEMCD103 HERESIARH/MYTH ICAL BEASTS Com pact Disc 5060011191031 PROPERBOX15 HERMAN,W/WOODY HERMAN STORY Compact Disc 604988991529 BRS7 HERSEY, B&P/THE ETERNA L EMBRAC Com pact Disc 807207030423 BRS6 HERSEY,B/WAKING TH E COBRA Compact Disc 634479150678 PWAJD72231 HERSHMAN,J/PARTNER S IN CRIME Compact Disc 787867223123 CRP110CD HIGHER GIANT/FIRS T FIVE Compact Disc 881182011028 IPC106 HILL,Z/ASTROLOGICAL STRAITS Compact Disc 689230010623 CJ31 HINES,E/EARL PLAYS GE ORGE GERS Co mpact Disc 077712700313 CD83600 HIROMI/BRAIN Compact Disc 089408360022 44110 HOEY,G/AMERICAN MADE Compact Disc 640424411022 LFR1026 HOFF,D/MEMORY FROM BELOW Compact Disc 606987002268 B000377002 HOLIDAY,B/BILLY REMEMBERS BILL Compact Disc 602498648827 NPR314 HOLLENTHON/TYRANTS AND WRAITHS Compact Disc 782124000479 SMCR5014 HOLLIDAY,J/I'M ON YOUR SIDE Com pact Disc 5013929071438 B001295702 HOLLINGER,H/S CHUMANN:ROMANCEND Compact Disc 028947632252 ORNG0053CD HOLLOW,J/DIRT Y HANDS Com pact Disc 880121005623 B000762102 HOLLOWAY,J/BACH:SONATAS & PART Compact Disc 028947631521 AZ1103131001 HOLLYWOOD/STUNTS Compact Disc 616822100721 130012 HOLT,S/ANGELS IN EXILE Compact Disc 6702113001230 89408 33202 9 7 24349 34462 4 0 11661 77692 0 6 02498 67896 1 5 060011 191031 6 04988 99152 9 8 07207 03042 3 6 34479 15067 8 7 87867 22312 3 8 81182 01102 8 6 89230 01062 3 0 77712 70031 3 0 89408 36002 2 6 40424 41102 2 6 06987 00226 8 6 02498 64882 7 7 82124 00047 9 5 013929 071438 0 28947 63225 2 8 80121 00562 3 0 28947 63152 1 6 16822 10072 1 6 70211 30012 3 Page 36 of 217Catalogue NumberArtist / Title Config Scannable UPC UPCALPHABETICAL BY ARTIST / Alphabetique par artiste 200232 HOOKER,JL/FACE TO FACE Compact Disc 826992002323 200242 HOOKER,JL/JACK O'DI AMONDS Compact Disc 826992002422 3145571992 HORN,S/I REMEMBER MILES Compact Disc 7314557199253145471622 HORN,S/T ULTIMATE Compact Disc 731454716222 4758493 HORNE,M/VAR:SOUVENIR OF A GOLD Compact Disc 028947584933 ELLCD012CH1L HORTENSIA,C /PAPILLONS Com pact Disc 822685601224 PWAJD72241 HOT CLUB OF SAN,T HE/BOHEMIAN M C ompact Disc 787867224120 CDFLY231 HOT RIZE /RADIO BOOGIE Compact Disc 018964023126 FLOATD6018 HOT TUNA/RELIX COLLECTION Compact Disc 805772601826 CRSEG024 HOTLEGS/YOU DIDN'T LIKE IT BEC Compact Disc 5013929182424 UWR022 HOUSE OF FIRE/HOU SE OF FIRE Compact Disc 022891202226 SMCR5072 HOUSTON,T/THE MOW EST ALBUM Compact Disc 5013929077232 PROPERBOX22 HOWELL,B/TEMPUS FUGUE-IT Compact Disc 604988992229 0881129852 HOWLIN WOLF/THE LONDON HOWLIN' Compact Disc 008811298524 PWCL110707 HU BERT BRUNO TRIO/LIVE THE CEL Com pact Disc 875531003741 DEMUS001 HUGHES,G/MUSIC FO R THE DRIVE Co mpact Disc 893776001018 400042B HUMBLE PIE/GREATEST HITS LIVE Compact Disc 826784000421 CDFLY634 HUMMEL, MARK /FEEL LIKE ROCK Compact Disc 018964063429 SMCR5019 HUMPHREY,B/FREESTYL E-EXPANDED Com pact Disc 5013929071933 193512 HUNT,M/THE MILES HUNT CLUB Compact Disc 769921935128 SHOUT52 HUTCH,W/SOUL PO RTRAIT Com pact Disc 5013929505223 DR2US001 HYDROGEN/DEADLY PASSI ON(DIGI-P Compact Disc 5060011195046 CRP31893 I AM I SEE/ADAMAN TIUM Compact Disc 8818213189388 26992 00232 3 8 26992 00242 2 7 31455 71992 5 7 31454 71622 2 0 28947 58493 3 8 22685 60122 4 7 87867 22412 0 0 18964 02312 6 8 05772 60182 6 5 013929 182424 0 22891 20222 6 5 013929 077232 6 04988 99222 9 0 08811 29852 4 8 75531 00374 1 8 93776 00101 8 8 26784 00042 1 0 18964 06342 9 5 013929 071933 7 69921 93512 8 5 013929 505223 5 060011 195046 8 81821 31893 8 Page 37 of 217Catalogue NumberArtist / Title Config Scannable UPC UPCALPHABETICAL BY ARTIST / Alphabetique par artiste CRP82 I FARM/ SO MY KIDS WON'T HAVE Compact Disc 881182103723 CD101 I WILL I/ POPE'S RING IS MADE Compact Disc 755491021729 PWHTMN00796 I4AI/PLAY Compact Disc 619586007961 SJPCD134 IAN GILLAN BAND/RA RITIES 1975- Compact Disc 5055011701342 0694905402 IGLESIAS,E/ENRIQUE Compact Disc 606949054021 TPCD160 IGOSHINA,V/THE STRA NGE CASE OF Co mpact Disc 604388735822 TPDVD161 IGOSHINA,V/THE STRA NGE CASE OF Digi tal Video Disc 604388735709 780040 IL ETAIT UNE FOIS/R IEN QUUUN C Com pact Disc 3700477800406 CSR2003 ILL NINO/ENIGMA Compact Disc 891146001033 SFE016 IMAGINATION/FASCINATION OF THE Compact Disc 5013929842625 CT62 INFECTED FLESH/CONCA TENATION O Compact Disc 827166237220 300062F INGENTING/HAR KOMME R SOLEN Compact Disc 7332233000629 300097 INGENTING/MYC KET VASEN FOR IN Compact Disc 7332233000971 BC005 INSANE/WAIT AND PRAY Compact Disc 4042133010446 NR028 INTERFACE/BEYOND HUMANITY Compact Disc 628740790724 NR042 INTERFACE/BODY FLOW Compact Disc 628740141021NR037 INTERFACE/DESTINAT ION FOCUS Com pact Disc 628740109922 NR038 INTERFACE/VISIONS OF MODERN LI Co mpact Disc 628740117828 NR024 INVISIBLE BALL/ESCAPING LIGHT Compact Disc 628740773925 300090 IRENE/ BABY I LOVE YOUR WA Y Compact Disc 7332233000902 300094B IRENE/LITTLE THINGS(THAT TEAR Compact Disc 7332233000940300104B IRENE/LONG GONE SINCE LAST SUM Compact Disc 7332233001046 RS136 ISCARIOT,J/HEAVEN IN FLAMES Com pact Disc 6666160136218 81182 10372 3 7 55491 02172 9 6 19586 00796 1 5 055011 701342 6 06949 05402 1 6 04388 73582 2 6 04388 73570 9 3 700477 800406 8 91146 00103 3 5 013929 842625 8 27166 23722 0 7 332233 000629 7 332233 000971 4 042133 010446 6 28740 79072 4 6 28740 14102 1 6 28740 10992 2 6 28740 11782 8 6 28740 77392 5 7 332233 000902 7 332233 000940 7 332233 001046 6 66616 01362 1 Page 38 of 217Catalogue NumberArtist / Title Config Scannable UPC UPCALPHABETICAL BY ARTIST / Alphabetique par artiste RS158 ISCARIOT,J/TO EMBRAC E THE CORP Compact Disc 666616015823 IPC145 ISIS/CELESTIAL Compact Disc 689230014522 IPC80 ISIS/CLEARING THE EYE Digital Video Disc 689230008095IPC81 ISIS/IN THE ABSENCE OF TRUTH Compact Disc 689230008125 IPC99 ISIS/NOT IN RIVERS, BUT IN DROP Compact Disc 689230009924 IPC148 ISIS/OCEANIC Compact Disc 689230014829IPC157 ISIS/PANOPTICON Compact Disc 689230015727 IPC57 ISIS/PANOPTICON Compact Disc 689230005728 IPC140 ISIS/TEMPORAL Compact Disc 689230014027IPC113 ISIS/WAVERING RA DIANT Compac t Disc 689230011323 0644582 ISUNGSET,T/ICEMAN IS Compact Disc 044006445823 IC7007 J J JOHNSON/JACKSON,M/ A DATE I Compact Disc 077712770071 5592312 J.BREL/EN SCENES/ENREGISTREMEN Compact Disc 731455923124 ONE24208 J7/LE JOUR J Compact Disc 619061420827 300539 JACKSON,J/THE VELVET ROPE-LIVE Digital Video Disc 801213005390390529 JACKSON,M/NORMAN GANTZ JAZZ LI Digital Video Disc 801213905294 MRE022 JAHNEL.B/TRIO/MODUL AR CONCEPTS Compact Disc 9005321800224 5371432 JAM/DIRECTION,REACTI ON,CREAT Com pact Disc 731453714328 401792A JAMES, COL/THEN AGAIN Compact Disc 724384017927 FR00242 JAMES,M/CALABASH BLUES Compac t Disc 754971002425 2747054 JAMIROQUAI/ROCK DUST LIGHT STA Compact Disc 602527470542 CRTREE007 JAN DUKES DE GREY/S TRANGE TERR Co mpact Disc 5013929690721 901860 JANE'S ADD/STRA YS Compact Disc 7243590186076 66616 01582 3 6 89230 01452 2 6 89230 00809 5 6 89230 00812 5 6 89230 00992 4 6 89230 01482 9 6 89230 01572 7 6 89230 00572 8 6 89230 01402 7 6 89230 01132 3 0 44006 44582 3 0 77712 77007 1 7 31455 92312 4 6 19061 42082 7 8 01213 00539 0 8 01213 90529 4 9 005321 800224 7 31453 71432 8 7 24384 01792 7 7 54971 00242 5 6 02527 47054 2 5 013929 690721 7 24359 01860 7 Page 39 of 217Catalogue NumberArtist / Title Config Scannable UPC UPCALPHABETICAL BY ARTIST / Alphabetique par artiste WR4613 JANISCH,M/PURPO SE BUILT Compact Disc 5060116573534 IC7013 JASPAR,B/REVISI TED Compact Disc 077712770132 B001427772 JAY-Z/HITS COLLECTION,THE VOL1 Compact Disc 602527388113 HSM50652 JBS,THE/GROOVE MACHINE Compact Disc 809842506523 IC1016 JEFFERSON,E/THE JAZZ SINGER Compact Disc 077712010160IC1033 JEFFERSON,E/THE MAIN MAN Compact Disc 077712710336 3020605722 J ESSY/RAIN Com pact Disc 030206057225 MJR058 JEVTOVIC,D/AM I WA LKING WRONG Compact Disc 692287905828 390199 JEWEL/LIVE AT HUMPHREY'S BY TH Digital Video Disc 801213901999 IPC123 JOHANNES,A/ SPARK Compac t Disc 689230012320 SMCR5020 JOHNSON,A/BACK FO R MORE Com pact Disc 5013929072039 ORNG0015CD JOHNSON,A/SONGS FR OM INSTANT S Compact Disc 880121002028 ORNG0010 JOHNSON,A/SONGS FROM INSTANT S Compact Disc 880121001120 SFE010T JOHNSON,H/DREAMS THAT MONEY CA CD with DVD 5013929842021 SFE013 JOHNSON,H/SOULSTREAM : DLX EXPA Compact Disc 5013929842328 B000392302 JOHNSON,J&FRAN KENREITER/SOME L Compact Disc EP's 075021034433 9875406 JOHNSON,J/LIVE IN JAPAN-UMD Univer sal Media Disc 602498754061 63855802752 JOHNSON,J/ORIGINAL MOTI ON PICT Com pact Disc 638558027523 CADIZCD106 JOHNSON,W/THE BEST OF VOLUME 2 Compact Disc 844493061069 SSR0012 JON AMOR BLUES GROU P/JON AMOR Compact Disc 609722944618 AFMD1293 JON OLIVAS PAIN/MANI ACAL RENDE Co mpact Disc 4046661037128 AFMSG1295 JON OLIVS'A PAIN/STRA IGHT JACK Com pact Disc EP's 4046661036954 TSQ5074 JONES,B/GET IN UNION(2CD) Com pact Disc 8562250050745 060116 573534 0 77712 77013 2 6 02527 38811 3 8 09842 50652 3 0 77712 01016 0 0 77712 71033 6 0 30206 05722 5 6 92287 90582 8 8 01213 90199 9 6 89230 01232 0 5 013929 072039 8 80121 00202 8 8 80121 00112 0 5 013929 842021 5 013929 842328 0 75021 03443 3 6 02498 75406 1 6 38558 02752 3 8 44493 06106 9 6 09722 94461 8 4 046661 037128 4 046661 036954 8 56225 00507 4 Page 40 of 217Catalogue NumberArtist / Title Config Scannable UPC UPCALPHABETICAL BY ARTIST / Alphabetique par artiste JJCD7009 JORGENSON,J/FRANCO-A MERICAN SW Co mpact Disc 800633700922 AFM0759 JORN/OUT TO EVERY NATION Com pact Disc 5099751546795 AFM1062 JORN/THE DUKE Compact Disc 4046661012927 105175 JOURNEY/EC LIPSE Compac t Disc 8024391051757 D001915892 JOYW AVE/HOW DO YOU FEEL NOW Compact Disc 050087296735 TS008X JUKES,THE/WE MIGH T DISAPPEAR Com pact Disc 5060101380222 PPD022CD JUNIOR BATTLES/IDLE AGES Compact Disc 823819133420 SMCR5069 JUNIOR/J I Compact Disc 5013929076938 IPC96 KAADA PATTON/LIVE (D VD) Digital Video Disc 689230009696 IPC79 KAADA/MUSIC FOR MO VIEBIKERS Com pact Disc 689230007920 IPC58 KAADA/PATTON/RO MANCES Compac t Disc 689230005827 IPC37 KAADA/THAN YOU FOR YOUR VALUAB Com pact Disc 689230003724 ACD10042 KAESHAMMER,M/TELL YOU HO W I FE Compact Disc 776127077729 2923163761 KALDOR,C/ UN PATO EN NUEVA YO RK Compact Disc 9782923163765 NPR366LTD KAMPFAR/MARE Compact Disc 885470002064 400052C KAN SAS/GREATEST HITS LI VE Compac t Disc 826784000520 4745562 KAR AJAN/A CHRISTMAS CO NCERT Compac t Disc 028947455622 SYB1604 KARAOKE / GIRL CO UNTRY 1 Com pact Disc 610017160439 SYB1617 KARAOKE / GIRL POP 4 Compact Disc 610017161733SYB1016 KARAOKE MALE/COUNTRY MALE Compact Disc 610017101630SYB1613 KARAOKE/ GIRL POP 3 Compact Disc 610017161337SYB2014 KARAOKE/DVD CHRI STMAS SING ALO Dig ital Vi deo Disc 610017201422 SYB2017 KARAOKE/DVD LOVE SONGS Digital Video Disc 6100172017298 00633 70092 2 5 099751 546795 4 046661 012927 8 024391 051757 0 50087 29673 5 5 060101 380222 8 23819 13342 0 5 013929 076938 6 89230 00969 6 6 89230 00792 0 6 89230 00582 7 6 89230 00372 4 7 76127 07772 9 9 782923 163765 8 85470 00206 4 8 26784 00052 0 0 28947 45562 2 6 10017 16043 9 6 10017 16173 3 6 10017 10163 0 6 10017 16133 7 6 10017 20142 2 6 10017 20172 9 Page 41 of 217Catalogue NumberArtist / Title Config Scannable UPC UPCALPHABETICAL BY ARTIST / Alphabetique par artiste OMM305882 KASKADE/HOUSE OF OM PR ESENTS K Com pact Disc 600353058828 OMM302202 KASKADE/IT S YOU IT S ME Compact Disc 600353022027 B000326636 KEITH,T/SHOCK 'N Y'ALLSACD4Stereo/Surround/CDA ud602498631713 SHOUT80 KENNER,C/I LIKE IT LIKE THAT Compact Disc 5013929508026 846462B KENTON, ST/A MERRY CHRIST MAS Compact Disc 724358464627 300819 KEYS,A/THE DIARY OF ALICIA KEY Digital Video Disc 801213008193 PWWH0269 KEYS,C/VERTICAL CL EARANCE Compact Disc 698873026922 B002039802 KID CUDI/KID CUDI PRESENTS SAT Compac t Disc 602537779352 IPC05 KIDSOFWIDNEYHIGH/LET'S GET BUS Compact Disc 689230005254 BLR0079 KILL YOUR IDOLS/LIVE AT CBGB'S Compact Disc 823819007929 BLK0031 KILLING TIME/UNAVOIDABLE CDEP Compact Disc EP's 723631003126 IPC159 KING BUZZO/THIS MACHINE KILLS Compact Disc 689230015925 400122A KING, B B/GREATEST HITS LIVE Compact Disc 826784001220 82666311043 KING,BB/B.B.KING LIVE IN AFRIC Digital Video Disc 826663110432 SERCD3064 KINGCROW/IN CR ESCENDO Compact Disc 763232306424 794502B KLEZMER CO/YI DDISHE RENAISSAN C Compact Disc 015707945028 KLEZTETCD2 KLEZTET,A/DELUSIONS OF KLEZMER Compact Disc 783707525822KLEZTETCD1 KLEZTET,A/Y2KLEZMER Compact Disc 791022108026 DMT880092 KOOLKEITH&KU TMASTAKURT/DIESEL Compact Disc 790058800928 RS203 KOPP,H/NEKRONOLOGY MU SIC FROM Compact Disc 666616020322 390129 KRALL,D/LIVE IN PARIS Digital Video Disc 801213901296 B000375882 KRALL,D/THE GIRL IN THE OTHER DUALDISC 602498648247 841452 KRAVITZ, L/BAPTISM Com pact Disc 7243584145236 00353 05882 8 6 00353 02202 7 6 02498 63171 3 5 013929 508026 7 24358 46462 7 8 01213 00819 3 6 98873 02692 2 6 02537 77935 2 6 89230 00525 4 8 23819 00792 9 7 23631 00312 6 6 89230 01592 5 8 26784 00122 0 8 26663 11043 2 7 63232 30642 4 0 15707 94502 8 7 83707 52582 2 7 91022 10802 6 7 90058 80092 8 6 66616 02032 2 8 01213 90129 6 6 02498 64824 7 7 24358 41452 3 Page 42 of 217Catalogue NumberArtist / Title Config Scannable UPC UPCALPHABETICAL BY ARTIST / Alphabetique par artiste 980132 KRAVITZ, L/LET LOVE RULE(20TH Compact Disc 5099969801327 IC1031 KRIVDA,E/SATANIC Compact Disc 077712710312IC1043 KRIVDA,E/THE AL CHEMIST Compact Disc 077712710435 AFM1389 KROKUS/HELLRAISER (LTD.EDIT) Compact Disc 4046661043327 797782 K'S CHOICE/10 Compact Disc 015707977821797769 K'S CHOICE/10 Digital Video Disc 015707977692 CDBB9600 KUBEK,SMOKIN-JOE/T AKE YOUR BES Com pact Disc 011661960022 0246544132 KUHN&MCFA RLAND/OCTOBER SU ITE Compact Disc 602465441321 SACD60437 KUNSEL,E & CPO/THE BIG PICTURESACD4Stereo/Surround/CDA ud089408043765 SACD60592 KUNZEL & CPO/GOT SWING! (SACD)SACD4Stereo/Surround/CDA ud089408059209 CD80483 KUNZEL,E/MAGICAL MUSICALS Compact Disc 089408048326 UP23800 KURT,E/KITTEN WI TH WIT Compact Disc 706442380020 K002 L APPUNTAMENTO/L APP UNTAMENTO Compact Disc 801342200222 400272B LAKE, GREG/G REATEST HITS Co mpact Disc 826784002722 SERCD3067 LALU/ATOMIC ARK Compact Disc 763232306721 TRI345 L'AME IMMORTELLE/ DURCH FREMDE Com pact Disc 4260063943454 TRI330 L'AME IMMORTELLE/NAMENLOS Compact Disc 4260063943300 139252 LANDRETH, /L EVEE TOWN Com pact Disc 015891392523 IPC143 LANEGAN,M/GARWOOD,D/B LACK PUDD Co mpact Disc 689230014324 4775938 LANGLANG/MEMORY Compact Disc 028947759386 ENT21607 LAST,J/SEDUCT ION Compact Disc 619061160723 LTS10022 LATIMORE/ALL ABOUT THE RHYTHM Compact Disc 809842100226LTS10012 LATIMORE/BACK 'ATCHA Compact Disc 8098421001275 099969 801327 0 77712 71031 2 0 77712 71043 5 4 046661 043327 0 15707 97782 1 0 15707 97769 2 0 11661 96002 2 6 02465 44132 1 0 89408 04376 5 0 89408 05920 9 0 89408 04832 6 7 06442 38002 0 8 01342 20022 2 8 26784 00272 2 7 63232 30672 1 4 260063 943454 4 260063 943300 0 15891 39252 3 6 89230 01432 4 0 28947 75938 6 6 19061 16072 3 8 09842 10022 6 8 09842 10012 7 Page 43 of 217Catalogue NumberArtist / Title Config Scannable UPC UPCALPHABETICAL BY ARTIST / Alphabetique par artiste LTS10042 LATIMORE/LADIES CHOICE Compact Disc 809842100424 LTS10032 LATIMORE/LIVE IN VIENNA Compact Disc 809842100325 300040B LAUREL MUS/DREAMS AND LIES Compact Disc 7332233000407 300041 LAUREL MUS/THIS NIGH T AND THE Compact Disc 7332233000414 895412 LAWS, RONN/FEVER Compact Disc 077778954125 N55833 LAWTON,J AND DIANA/ THE POWER Compact Disc 3800227080048 IPC161 LE BUTCHERETTES/CRY IS FOR THE Compact Disc 689230016120 B000338502 LE TIGRE/THIS ISLAND Compact Disc 602498637005 NPR513LTD L EAVES EYES/SYMPHONIES OF THE Compact Disc 819224016786 CRSEG019 LEAVES, THE/ALL THE GOOD THAT Com pact Disc 5013929181922 IC1042 LEE WILSON,J/SECRETS FROM THE Compact Disc 077712710428 300093 LEGENDS, T/FACTS AND FIGURES Compact Disc 7332233000933 300086 LEGENDS, T/HIDE AWAY Compact Disc 7332233000865 300092D LEGENDS, T/LUCKY STAR Compact Disc 7332233000926 300091B LEGENDS, T/PLAY IT FOR TODAY Compact Disc 7332233000919 300082D LEGENDS, T/PUBLIC RADIO Compact Disc 7332233000827 300116B LEGENDS, T/SECONDS AWAY Compact Disc 7332233001169 685936 LENNON, JO/SHAVED FI SH (LTD) Compact Disc 4988006859364 B002182500 LENNOX,A/NOSTALGIA(DL X CD+DVD) CD wi th DVD 602547012340 FLOATB6067 LENOIR,J.B/THE MOJO Compact Disc 805772606722 NR041 LEVEL 2 0/ARMA GEDDON Compact Disc 628740136324 CDBEYE9570 LEVY,R/ZIM ZAM ZOOM: ACID BLUE Compact Disc 011661957022 SMM2004 LEWIS,L AND THE RIGHT HAND/LIV Compact Disc 7968730620778 09842 10042 4 8 09842 10032 5 7 332233 000407 7 332233 000414 0 77778 95412 5 3 800227 080048 6 89230 01612 0 6 02498 63700 5 8 19224 01678 6 5 013929 181922 0 77712 71042 8 7 332233 000933 7 332233 000865 7 332233 000926 7 332233 000919 7 332233 000827 7 332233 001169 4 988006 859364 6 02547 01234 0 8 05772 60672 2 6 28740 13632 4 0 11661 95702 2 7 96873 06207 7 Page 44 of 217Catalogue NumberArtist / Title Config Scannable UPC UPCALPHABETICAL BY ARTIST / Alphabetique par artiste SMM2006 LEWIS,L/SKIPPIN' AND FLYIN Compact Disc 700261338453 CLR018 LEWIS,S/TRANSLATIONS Compact Disc 875929001823 PRCCD1132 LIFELOVER/SJU KDOM Compact Disc 884388711341 MJR047 LIGRO/DICTIONA RY 2 Compact Disc 692287904722 4400600582 LIL' WAYNE/500 DEGREEZ Compact Disc 044006005829 500562D LIMP TWINS/TALES FROM BEYOND T Compact Disc 827655005620 CRSEG011 LINCOLN, P/NORTH WI ND BLEW SOU Compact Disc 5013929181120 B000126802 LINCOLN,A/IT'S ME Compact Disc 044003817128 MY005CD LINDY/5 TRACK UK SAMPLER Compact Disc EP's 880121000727 NR021 LIQUID DIVINE/IN TERFACE Compact Disc 628740758229 B001335502 LISL EVAND,R/DIMINUITO Compact Disc 028947633174 300122F LITTLE BIG/HATEFUL EYE EP, THE Compact Disc 7332233001220 HM572 LIVEONES,THE/SHES COLD BLOODED Compact Disc 619586005721 K025 LIVING THEATER PR/G ROOVE GURU Co mpact Disc 801342202523 K022 LIVING THEATER/ACT ONE MODERN Co mpact Disc 801342202226 K024 LIVING THEATER/ACT THREE Compact Disc 801342202424 K023 LIVING THEATER/ACT TWO Compact Disc 801342202325K026 LIVING THEATER/TRILOGY(3CD) Compact Disc 801342202622 IPC61 LOCUST,T/SAFETY SECOND, BODY LA Compact Disc EP's 689230006121 HYP6247 LOFGREN,N/SACRE D WEAPON Com pact Disc 4011586624722 B000578202 LOHAN,L/A LITTLE MORE PERSONAL Compact Disc 602498871935 1166117692 LOMAX,A COLLE CTION/THE SPANIS H Compact Disc 011661176928 NPR399 LONELY KAMEL/LONELY KAMEL Compact Disc 8854700028597 00261 33845 3 8 75929 00182 3 8 84388 71134 1 6 92287 90472 2 0 44006 00582 9 8 27655 00562 0 5 013929 181120 0 44003 81712 8 8 80121 00072 7 6 28740 75822 9 0 28947 63317 4 7 332233 001220 6 19586 00572 1 8 01342 20252 3 8 01342 20222 6 8 01342 20242 4 8 01342 20232 5 8 01342 20262 2 6 89230 00612 1 4 011586 624722 6 02498 87193 5 0 11661 17692 8 8 85470 00285 9 Page 45 of 217Catalogue NumberArtist / Title Config Scannable UPC UPCALPHABETICAL BY ARTIST / Alphabetique par artiste OGL891402 LOPEZ,G/EL MAS CHINGON Compact Disc 790058914021 OGL891242 LOPEZ,G/RIGHT NOW RIGHT NOW Compact Disc 790058912423 743372B LORBER, JE/KICKIN' IT Compact Disc 724387433724 SACD60598 LOS ANGELES GUITAR QUARTET/GUISACD4Stereo/Surround/CDA ud089408059865 LG51592 LOS GRISWOLDS/BRING THE ROCK Compact Disc 825346515922 CD83431 LOUSSIER,J/PLAYS SATIE Compact Disc 089408343124 300098 LOVENINJAS/I WANNA BE LIKE JOH Compact Disc 7332233000988 300099C LOVENINJAS/SECRET OF THE LOVEN Compact Disc 7332233000995 SUMCD58 LOWER THAN ATLANTIS /WORLD RECO Co mpact Disc 894587001587 7492793034 LOWEST OF T LO W/SHAKESPEARE MY Cassette 774927930343 IPC08 LUCKYSTARS,T/HOLLYW OOD & WESTE Compact Disc 689230000822 4534972 LULLY/ACIS ET GALATEE Compact Disc 028945349725 849022 LUNCH AT A/CA TCH THE MOON Co mpact Disc 094638490227 IPC120 LUPPI,D/MALOS HABITO S(BAD HABI Compact Disc 689230012023 545622 LYLE, BOBB/JOYFUL Compact Disc 085365456228 SNCD10272 LYNCH,B/MEETS BILL CHARLAP Com pact Disc 601917102728 PWSNCD10172 LYNCH,B/TRIBUTE TO THE TRUMPET Co mpact Disc 601917101721 MJ041 MACHINE MASS TRIO/AS REAL AS T Com pact Disc 692287904128 PWDTRMD004 MAD DUKEZ/THE OPEN AFFAIRS EP Compact Disc 884501876797 IPC115 MADLOVE/WHITE WITH FOAM Compact Disc 689230011521 302722B MADRID/ORIGINAL MESSAGE C ompact Disc 812623027223 CD80066 MAHLER/SYMPHONY NO.1 "TITAN" Compact Disc 089408006623 MJ020 MAHOGANY FROG/DO5 Compact Disc 6922879020257 90058 91402 1 7 90058 91242 3 7 24387 43372 4 0 89408 05986 5 8 25346 51592 2 0 89408 34312 4 7 332233 000988 7 332233 000995 8 94587 00158 7 7 74927 93034 3 6 89230 00082 2 0 28945 34972 5 0 94638 49022 7 6 89230 01202 3 0 85365 45622 8 6 01917 10272 8 6 01917 10172 1 6 92287 90412 8 8 84501 87679 7 6 89230 01152 1 8 12623 02722 3 0 89408 00662 3 6 92287 90202 5 Page 46 of 217Catalogue NumberArtist / Title Config Scannable UPC UPCALPHABETICAL BY ARTIST / Alphabetique par artiste MJ90482 MAHOGANY FROG/SENNA Compact Disc 692287904821 RGM0328 MAIN INGRED/L T D AND BLACK SE Compact Disc 848064003281 DWT70088 MAJOR LAZER/GUNS DON'T KILL PE Compact Disc 878037008821 PMCD1 MAKOTO,K AND MOTHER S OF INVASI Co mpact Disc 022891910121 IPC03 MALDOROR/SH E Compact Disc 689230000327 AMG10122 MALEVOLENT CREATION/ENVENOMED Compact Disc 805019101225 RLB1812 MALONE,M/LET THE S UNSHINE IN Co mpact Disc 5060139270076 CRP054 MAN WITHOUT PLAN/ I FEEL BADLY Compact Disc 881182005423 UWR006 MANALIVE!/HEART HANDS AND MIND Co mpact Disc 665776102022 MOOD4609CD MANGELSDORFF DAUNE R QUINTETTE/ C ompact Disc 707787460927 MCGJ1012 MANN,H & WOODS,P/BEY OND BROOKL Compact Disc 612262101229 DEMCD139 MANTAS/ZERO TO LERANCE Com pact Disc 5060011191390 DSBBD31069 MANT ECA/EXTRA EXTR A Compact Disc 057623106923 OGL89166 MANZAREK,R/MCCLURE,M/THE PIANO Compact Disc 790058916629 PWMJR038 MARBIN/RODBY/WERTI CO/BREAKING Co mpact Disc 692287903824 HM00675 MARCEL,Q/JUMP Compact Disc 619586006759 CDROUN2113 MARDI GRAS INDIANS/ SUPER SUNDA Co mpact Disc 011661211322 2539602692 MARIAN AS TRENCH/EVER (FANPAC K) Compac t Disc 825396026928 2539600202 MARIAN AS TRENCH/SAY ANYTHING(C Compact Disc Singles 825396002021 SMCR5059 MARIE,T/EMERALD CITY (EXPANDED Compact Disc 5013929075931 SMCR5060 MARIE,T/NAKED TO TH E WORLD (EX C ompact Disc 5013929076037 SMCR5048 MARIE,T/RO BBERY Compac t Disc 5013929074835 DR4449 MARILLION/MARBLES ON THE ROAD Digital Video Disc 0228914449926 92287 90482 1 8 48064 00328 1 8 78037 00882 1 0 22891 91012 1 6 89230 00032 7 8 05019 10122 5 5 060139 270076 8 81182 00542 3 6 65776 10202 2 7 07787 46092 7 6 12262 10122 9 5 060011 191390 0 57623 10692 3 7 90058 91662 9 6 92287 90382 4 6 19586 00675 9 0 11661 21132 2 8 25396 02692 8 8 25396 00202 1 5 013929 075931 5 013929 076037 5 013929 074835 0 22891 44499 2 Page 47 of 217Catalogue NumberArtist / Title Config Scannable UPC UPCALPHABETICAL BY ARTIST / Alphabetique par artiste 484912 MARITIME J/NOW AND NOW AGAIN Compact Disc 068944849123 484652A MARITIME J/SIREN'S SONG Compact Disc 068944846528 VR4249 MARK LANEGAN,THE/PHANTOM RADIO Compact Disc 601091424951VR4248 MARK LANEGAN,THE/PHANTOM RADIO Compact Disc 601091424852 SU2K8CD5 MARK RUFF RYDER PR ESENTS V1/AC C ompact Disc 5035937020055 SU2K8CD6 MARK RUFF RYDER PR ESENTS V1/JU C ompact Disc 5035937020062 SU2K8CD4 MARK RUFF RYDER PR ESENTS V1/UK C ompact Disc 5035937020048 860382A MARLEY, ZI/CONCIOUS PARTY Compact Disc 077778603825 1166178352 MARLEY,B & WAILERS/ANOTHER DAN Compact Disc 011661783522 B002149702 MAROON 5/V(DLX) Compact Disc 602537957934 4758249 MARRINER,N/ ROSSINI:IL TURCO IN Compact Disc 028947582496 HNECD008 MARSDEN,B/AND ABOUT TIME TOO Compact Disc 5013929910829 HNECD009 MARSDEN,B/LOOK AT ME NOW Compact Disc 5013929910928 DR2CD008 MARSHALL LAW/RA ZORHEAD Compact Disc 5060011195084 332002 MARTIN, DE/HIS GREATEST HITS A Compact Disc 724383320028 BLUEBLOOD00 3MARTIN,E/BLUE TO TH E BONE Compact Disc 805201000329 BLUEBLOOD01 1MARTIN,E/CONTRARY MARY Compact Disc 805201001128 BLUEBLOOD01 3MARTIN,E/FOLK & BLUES Compact Disc 805201000138 BLUEBLOOD00 8MARTIN,E/ICE CREAM Compact Disc 805201000923 BLUEBLOOD00 6MARTIN,E/KEEP ON WO RKING Compac t Disc 805201000626 BLUEBLOOD01 2MARTIN,E/LIVE AT THE WHARF Digital Video Disc 805201001227 BLUEBLOOD00 5MARTIN,E/LIVE IN TH E USA Compact Disc 805201000527 BLUEBLOOD00 7MARTIN,E/PILLOWCASE BLUES Compac t Disc 8052010007250 68944 84912 3 0 68944 84652 8 6 01091 42495 1 6 01091 42485 2 5 035937 020055 5 035937 020062 5 035937 020048 0 77778 60382 5 0 11661 78352 2 6 02537 95793 4 0 28947 58249 6 5 013929 910829 5 013929 910928 5 060011 195084 7 24383 32002 8 8 05201 00032 9 8 05201 00112 8 8 05201 00013 8 8 05201 00092 3 8 05201 00062 6 8 05201 00122 7 8 05201 00052 7 8 05201 00072 5 Page 48 of 217Catalogue NumberArtist / Title Config Scannable UPC UPCALPHABETICAL BY ARTIST / Alphabetique par artiste BLUEBLOOD00 9MARTIN,E/PLAY THE BLUES WITH F Compact Disc 805201001029 BLUEBLOOD00 1MARTIN,E/SOLO IN SOHO Compact Disc 805201000121 INN0705 MARTIN,P/GOOD DAY AT WORK Compact Disc 823118999420 1166191052 MARTIN,S &STEEP CANYON RANG ERS Compact Disc 011661910522 545152 MARTINEZ, /L A HABANA VIVE Co mpact Disc 085365451520 OGL891592 MARTLING,J/SNART( CD+DVD) CD wi th DVD 790058915929 300102I MARY ONETT/VOID Compact Disc 7332233001022 DR2CD018 MARYA ROXX/PAYBACK TIME Compact Disc 5060011195183 B000738302 M ASEKELA,H/BEST OF Co mpact Disc 602517046580 SMCR5024 MASON,H/EARTHMOVER: EXPANDED E Com pact Disc 5013929072435 SMCR5018 MASON,H/GROOVIN YO U-EXPANDED E C ompact Disc 5013929071834 SMCR5026 MASON,H/M.V.P.: EX PANDED EDITI C ompact Disc 5013929072633 SMCR5015 MASON,H/MARCHING IN THE STREET Co mpact Disc 5013929071537 AFM2443 MASTERPLAN + BEAUTI FUL SIN/MAS Compact Disc 4046661127324 AFM0849 MASTERPLAN/AERONAUTICS (DIGI) Compact Disc 5099751943792 KFR788279 MATCHES,THE/LIVE AT THE HO(DVD Digital Video Disc 610337882790 RGM0084 MATHIS,J/LOVE IS EVER YTHING PL Co mpact Disc 848064000846 RGM0108 MATHIS,J/SO NICE/J OHNNY/MATHIS C ompact Disc 848064001089 150542 MAYALL,J/LIVE AT THE MARQUEE 1 Compact Disc 670211505429 CV010 MAYOR,M/CUE ARE ES TEA YOU Compact Disc 5060115510219 ODOPE1003 MC DUKE/ORGANI SED RHYME Compact Disc 5013929870321 ODOPE1004 MC MELL O/ THOUGHTS RELEASED (R Compact Disc 5013929870420 HNECD003 MCAULEY SCHENKER GROUP/MSG Compact Disc 50139299103248 05201 00102 9 8 05201 00012 1 8 23118 99942 0 0 11661 91052 2 0 85365 45152 0 7 90058 91592 9 7 332233 001022 5 060011 195183 6 02517 04658 0 5 013929 072435 5 013929 071834 5 013929 072633 5 013929 071537 4 046661 127324 5 099751 943792 6 10337 88279 0 8 48064 00084 6 8 48064 00108 9 6 70211 50542 9 5 060115 510219 5 013929 870321 5 013929 870420 5 013929 910324 Page 49 of 217Catalogue NumberArtist / Title Config Scannable UPC UPCALPHABETICAL BY ARTIST / Alphabetique par artiste HUCD3067 MCBRIDE,J/KEEPIN' IT REAL Com pact Disc 053361306724 CL051411 MCCALSIN,J/SUNALTA Compact Disc 884501694674 CDROUN0283 MCCUTCHEON,J/LIVE AT WOLF TRAP Compact Disc 011661028326 303041 MCCUTCHEON/LONGI NG Compact Disc 627843030416 365652 MCDERMOTT,/A TIME TO REMEMBER Compact Disc 724353656522894812 MCDERMOTT,/ON A WHIM:SONGS OF Compact Disc 094638948124 MCAMD10400 MCENTIRE,R/FOR MY BROKEN HEART Compact Disc 008811040024 QRDVD3112N MCKENNITT,L/A MOVEABLE MUSICAL Digital Video Disc 774213341112 WR4617 MCKNIGHT,M/DO OR DIE Compact Disc 609613392566 B002050002 MCLACHLAN,S/SHINE ON(LTD DLX) Compact Disc 602537791088 CCDCD4745 MCPARTLAND,M/SILENT POOL Compact Disc 013431474524 ALP226 MCPHEE,J/UNDERGROUND RAILROAD Com pact Disc 735286222623 DEMCDD158 MCQUEEN/BREAK TH E SILENCE Com pact Disc 5060011199587 848064000167 MEDLEY,B/BILL MEDLEY 100%/SOFT Compact Disc 848064000167 AFM1892 MEKONG DELTA/DANCES OF DEATH Compact Disc 4019521500544AFM1902 MEKONG DELTA/KALEIDASCOPE Compact Disc 4019521500599AFM1922 MEKONG DELTA/PICTUR ES AT AN EX Compact Disc 4046661087024 AFM1872 MEKONG DELTA/THE MUSIC OF ERIC Compact Disc 4019521500551AFM1882 MEKONG DELTA/THE PRINCIPLE OF Compact Disc 4019521500537AFM1912 MEKONG DELTA/VISIONS FUGITIVES Compact Disc 4019521500582 B000478402 MELLENCA MP,J/DANCE NAKED Compact Disc 602498823491 4757054 MELOSQUARTEET/MOZART;GREAT CHA Compact Disc 028947570547 IPC136 MELVINS LITE/FR EAK PUKE Com pact Disc 6892300136240 53361 30672 4 8 84501 69467 4 0 11661 02832 6 6 27843 03041 6 7 24353 65652 2 0 94638 94812 4 0 08811 04002 4 7 74213 34111 2 6 09613 39256 6 6 02537 79108 8 0 13431 47452 4 7 35286 22262 3 5 060011 199587 8 48064 00016 7 4 019521 500544 4 019521 500599 4 046661 087024 4 019521 500551 4 019521 500537 4 019521 500582 6 02498 82349 1 0 28947 57054 7 6 89230 01362 4 Page 50 of 217Catalogue NumberArtist / Title Config Scannable UPC UPCALPHABETICAL BY ARTIST / Alphabetique par artiste IPC38 MELVINS,T/26 SONGS Compact Disc 689230003823 IPC04 MELVINS,T/BOOTLI CKER Compact Disc 689230000426 IPC14 MELVINS,T/COLLOSUS OF DESTINY Compact Disc 689230001423 IPC12 MELVINS,T/GLUEY PO RCH TREATMEN Com pact Disc 689230001225 IPC20 MELVINS,T/HOSTILE AM BIENT TAKE Compact Disc 689230002024 IPC76 MELVINS,T/HOUDINI LIVE 2005 Compact Disc 689230007623 IPC02 MELVINS,T/MA GGOT Compact Disc 689230000228 IPC63 MELVINS,T/MANGLED DEMOS FROM 1 Compact Disc 689230006329 IPC164 MELVINS,THE/HOLD IT IN Compact Disc 689230016427IPC105 MELVINS,THE/NUDE WI TH BOOTS Compact Disc 689230010524 IPC126 MELVINS,THE/SUGAR DADDY LIVE Co mpact Disc 689230012627 IPC116 MELVINS/CHICKEN SWITCH Compact Disc 689230011620 IPC144 MELVINS/EVERYBODY LOVE SAUSAGE Com pact Disc 689230014423 IPC54 MELVINS/LUSTMORD/PIGS OF THE R Compact Disc 689230005421 IPC82 MELVINS/SENILE ANIMAL (A) Compact Disc 689230008224 IPC112 MELVINS/THE BRIDE SCREAMED MUR Compact Disc 689230011224IPC150 MELVINS/TRES CABRONES Compact Disc 689230015024 D2933 MENDELSSOHN,F/THE DREAM(DVD) Digital Video Disc 032031293397 TPDVD120 MENUHIN,H/A FAMILY PO RTRAIT(DV Digit al Video Disc 604388703906 926912 MERCER, RO/DOUBLE WI DE VOL.1 Compact Disc 094639269129 IPC67 MESSERCHUPS/CRAZY PRICE Compac t Disc 689230006725 KFR788089 MEST/THE SHOW MUST GO OFF(DVD Digital Video Disc 610337880895 OGL400042 METRO/AMERICA IN MY HEAD Compact Disc 8093940004256 89230 00382 3 6 89230 00042 6 6 89230 00142 3 6 89230 00122 5 6 89230 00202 4 6 89230 00762 3 6 89230 00022 8 6 89230 00632 9 6 89230 01642 7 6 89230 01052 4 6 89230 01262 7 6 89230 01162 0 6 89230 01442 3 6 89230 00542 1 6 89230 00822 4 6 89230 01122 4 6 89230 01502 4 0 32031 29339 7 6 04388 70390 6 0 94639 26912 9 6 89230 00672 5 6 10337 88089 5 8 09394 00042 5 Page 51 of 217Catalogue NumberArtist / Title Config Scannable UPC UPCALPHABETICAL BY ARTIST / Alphabetique par artiste KFR787862 MI6/LUNCHBOX Compact Disc 610337878625 MRCD6435 MICHEL,D/LOVING THE ALIEN:DANN Co mpact Disc 823674643522 HYP8263 MICK FLEETWOOD BLU ES BAND/BLUE Co mpact Disc 4011586826324 NPR156 MIDNATTSOL/WHERE TWIL IGHT DWEL Co mpact Disc 693723370323 110072G MILLER GLE/HERE WE GO AGAIN Compact Disc 014921100725 110052F MILLER GLE/MOONLIGHT SERENADE Compact Disc 014921100527 170552B MILLER GLE/SWING TIME Compact Disc 014921705524 110172D MILLER GLE/YESTERDAYS Compact Disc 014921101722 880012B MILLER, ST/KBF H PRESENTS.STEVE Compact Disc 793018800129 3145269932 MILLER,R/KING OF THE ROAD:THE Compact Disc 731452699329 SMCR5081 MILLS,S/I'VE GOT TH E CURE(EXPA Com pact Disc 5013929078130 318392 MILSAP, RO/SINGS HIS BEST Com pact Disc 724383183920 986672B MILSTEIN, /ICON: NATHAN MILSTE Compact Disc 5099969866722 IPC122 MINI MANSIONS/MIN I MANSIONS Compact Disc 689230012221 2547207906 MINI MANSIONS/THE GREAT PRETEN Compact Disc 602547207906 AFMFBX4626 MINISTRY/FROM BEER TO ETERNITY Co mpact Disc 884860087025 CFU010 MINK DEVILLE/RETURN TO MAGENTA C ompact Disc 850703003095 SFM0001 MINK/MINK Compact Disc 899451001007 FRANCHIELI20 MINUCCI,C& SPECIAL EFX/WITHOUT C ompact Disc 626570612520 SRR002 MIRABAL,R/IN TH E BLOOD Com pact Disc 700261216751 611262B MIRANDA SE/MADRA Compact Disc 724596112625 RS188 MIRRORTHRONE/CARRIER S OF DUST Compact Disc 666616018824 Z281024 MITCHELL,K/ITCH Compact Disc 0615281024236 10337 87862 5 8 23674 64352 2 4 011586 826324 6 93723 37032 3 0 14921 10072 5 0 14921 10052 7 0 14921 70552 4 0 14921 10172 2 7 93018 80012 9 7 31452 69932 9 5 013929 078130 7 24383 18392 0 5 099969 866722 6 89230 01222 1 6 02547 20790 6 8 84860 08702 5 8 50703 00309 5 8 99451 00100 7 6 26570 61252 0 7 00261 21675 1 7 24596 11262 5 6 66616 01882 4 0 61528 10242 3 Page 52 of 217Catalogue NumberArtist / Title Config Scannable UPC UPCALPHABETICAL BY ARTIST / Alphabetique par artiste Z281010 MITCHELL,K/ROCKLAND Compact Disc 061528101020 MCGJ1030 MITZER,B/SWING OUT Compact Disc 612262103025 LBMCD233149 MOB RUL ES/SAVAGE LAND Co mpact Disc 693723314921 LBMCD234142 MOB RULES/TEMPLE OF TWO SUNS Compact Disc 693723414225 108 MOBY GRAPE/LEGENDARY GRAPE Com pact Disc 804403010822 IPC33 MOISTBOYZ/III Compact Disc 689230003328 MCBBD37170 MOM AND DADS/ BEST OF Com pact Disc 076741717026 300019C MONDIAL/ALWAYS DREAMING OF SOM Compact Disc 7332233000193 IPC41 MONDOGENERATOR/A DRUG PROBLEM Com pact Disc 689230004127 900022B MON KEES, T/LIVE SUMMER TO UR Compact Disc 805239000223 795182C MONROE, BI/EARLY YEARS, THE Compact Disc 015707951821 270852 MONTE, MAR/MEMORIES, CHRONICLES Com pact Disc 724352708529 3145390622 MONTGOMERY,W/BUMPIN Compact Disc 731453906228 944752 MONTGOMERY/FAR WES Compact Disc 077779447527351249 MONTY PYTHON-ALMOST THE TRUTH Digital Video Disc 801213512492 IC7020 MOODY,J/IN THE BEG INNING Com pact Disc 077712770200 CFU007 MOON MARTIN/SHOTS FROM A COLD Compact Disc 850703003064 CFU0307 MOON MARTIN/STR EET FEVER Com pact Disc 850703003071 MJR028 MORAINE/MANIFEST DESTINY Compact Disc 692287902827 NIBL005 MORAY,J/JIM MORAY Compact Disc 5038622112127NIBL007 MORAY,J/LOW CUL TURE Compact Disc 844493092131 NIBL003 MORAY,J/SWEET ENGLAND Compact Disc 5038622108021 904142 MORGAN, LE/SONIC BOOM Compact Disc 7243590414210 61528 10102 0 6 12262 10302 5 6 93723 31492 1 6 93723 41422 5 8 04403 01082 2 6 89230 00332 8 0 76741 71702 6 7 332233 000193 6 89230 00412 7 8 05239 00022 3 0 15707 95182 1 7 24352 70852 9 7 31453 90622 8 0 77779 44752 7 8 01213 51249 2 0 77712 77020 0 8 50703 00306 4 8 50703 00307 1 6 92287 90282 7 5 038622 112127 8 44493 09213 1 5 038622 108021 7 24359 04142 1 Page 53 of 217Catalogue NumberArtist / Title Config Scannable UPC UPCALPHABETICAL BY ARTIST / Alphabetique par artiste IPC66 MORRICONE.E/CRIME AND DISSONAN C ompact Disc 689230006626 DGATE1277 MORTAL LOOM/ADDICTED TO THE TR Compact Disc 675604175029 DGATE1255 MORTAL LOOM/ALCHEMY THROUGH DR Co mpact Disc 675604600125 DGATE1256 MORTAL LOOM/AMERICAN EDITION Compact Disc 675604125710 FNZ900192 MOSTLY BEAR S/THE ED MITCHE LL C Compact Disc 881159009430 CFU011 MOTELS,THE/MOTELS Compact Disc 850703003101 PWFNZ900202 MOTHER TRUCKERS,TH E/LET'S ALL C ompact Disc 881159009447 6076852012 MOTORHEAD/T HE BEST OF MOTO RHEA Compact Disc 060768520127 861132 MOULD, BOB/WORKBOOK Compact Disc 077778611325 IPC74 MOUSE ON MARS/ VARCHARZ Com pact Disc 689230007425 KFR787809 MOVIE/THAT DARN PUNK(DVD) Digital Video Disc 610337878090 4713342 MOZART/ARIAS Compact Disc 028947133421 203342A MRS MILLER/WILD, COOL & SWINGI Compact Disc 724352033423 SMCR5001D MTUME/KISS THIS WO RLD GOODBYE/ Co mpact Disc 5013929070134 SMCR5002 MTUME/THEATER OF THE MIND Compact Disc 5013929070233 IPC71 MUGISON/LITTLE TRIP Compact Disc 689230007128 IPC104 MUGISON/MUGI BOOGIE Compact Disc 689230010425 IPC69 MUGISON/MUGIMAMA,IS THIS MONKE Compact Disc 689230006923 LFJ1021 MUHAMMAD,D/CONSIDER THE SOURCE Co mpact Disc 606987002121 LFJ1020 MUHAMMAD,D/HEREAF TER(2CD) Compact Disc 606987002022 LFJ1015 MUHAMMAD,D/RADIO FREE SOUL Compact Disc 069870010205 IC7017 MULLIGAN,G/GERRY MULLIGAN Compact Disc 077712770170 OGL891232 MUMY,B/AFTER DREAMS COME TRUE Compact Disc 7900589123246 89230 00662 6 6 75604 17502 9 6 75604 60012 5 6 75604 12571 0 8 81159 00943 0 8 50703 00310 1 8 81159 00944 7 0 60768 52012 7 0 77778 61132 5 6 89230 00742 5 6 10337 87809 0 0 28947 13342 1 7 24352 03342 3 5 013929 070134 5 013929 070233 6 89230 00712 8 6 89230 01042 5 6 89230 00692 3 6 06987 00212 1 6 06987 00202 2 0 69870 01020 5 0 77712 77017 0 7 90058 91232 4 Page 54 of 217Catalogue NumberArtist / Title Config Scannable UPC UPCALPHABETICAL BY ARTIST / Alphabetique par artiste 4780076 MURAJI,K/RODRIGO:VIVA! RODRIGO Com pact Disc 028947800767 CRP072 MURRAY,T/THE BROKEN SOUND Com pact Disc 881182007229 300272G MURS/LOVE AND ROCKETS VOL.1 Compact Disc 857593002726 4136882 MUS/AVE MA RIA Compact Disc 028941368829 NR026 MUSCLE AND HATE/A TRIBUTE TO Compact Disc 628740778326 700532C MUSSEL WHIT/BLUES NEVER DIE, TH Compact Disc 015707005326 IPC149 MUTATION/ERRO R 500 Compact Disc 689230014928 MRE021 MUTHSPIEL WOLFGANG/4TET/EARTH Compact Disc 9005321800217MRE020 MUTHSPIEL WOLFGANG/BLADE/FRIEN CD with DVD 9005321800200 4791984 MUTTER,A S/DVORAK VIOL IN(CD+DV CD wi th DVD 028947919841 HTMN22734 MUZIK,R/REELECTION Compact Disc 837101227346 0694906562 MXPX/THE EVER PASSING MOMENT Compact Disc 606949065621 4453992 MYSTERY OF SANTA DOMINGO/MYSTE Compact Disc 028944539929 NPR178 NAIO SSAION/OUT LOUD Compact Disc 693723374123 IC1004 NAKASIAN,S/BILLIE RE MEMBERED Com pact Disc 077712710046 SMASH003 NARASIRATO/TANGIO TUMAS Compact Disc 844493092421SMASH004 NARASIRATO/WARATO'O Compact Disc 844493092490 11929 NASHMAN,L/LULLABABY/TE NDER DRE Com pact Disc 096741802522 DEMUS004 NAZARETH/THE NEWS Compact Disc 5060181430046 3744274 NDIDI/DARK SWING Compact Disc 602537442744 RS131 NECROPHAGIA/BLACK BL OOD VOMITO Compact Disc 666616013126 RS124 NECROPHAGIA/SEASON OF THE DEAD Com pact Disc 666616012426 RS181 NECROPHAGIA/VOL1 HAR VEST RITUA Com pact Disc 6666160181210 28947 80076 7 8 81182 00722 9 8 57593 00272 6 0 28941 36882 9 6 28740 77832 6 0 15707 00532 6 6 89230 01492 8 9 005321 800217 9 005321 800200 0 28947 91984 1 8 37101 22734 6 6 06949 06562 1 0 28944 53992 9 6 93723 37412 3 0 77712 71004 6 8 44493 09242 1 8 44493 09249 0 0 96741 80252 2 5 060181 430046 6 02537 44274 4 6 66616 01312 6 6 66616 01242 6 6 66616 01812 1 Page 55 of 217Catalogue NumberArtist / Title Config Scannable UPC UPCALPHABETICAL BY ARTIST / Alphabetique par artiste NA3 NEGATIVE APPROACH/CAN'T TELL N Digital Video Disc 616822002599 NA2 NEGATIVE APPROACH/FAIR WARNING Digita l Video Disc 616822002193 NA1 NEGATIVE APPROACH/FAIR WARNING Digita l Video Disc 616822032824 LM049 NELSON,W/LIVE(DV D) Digital Video Disc 5883007136492 MOTORCD1003 NEUWORTH,B/HAVANA MIDNIGHT:A T C ompact Disc 5016272893320 1708963 NEVE, JEF TRIO /NOBODY IS ILLE G Compact Disc 602517089631 AFM2552 NEW BLACK,THE/THE NEW BLACK Compact Disc 884860001724 VROOM06 NEW BOMB TURKS/DRUNK ON COCK Co mpact Disc 723631200624 CDPHIL1193 NEWCOMER,C/VISIONS AND DREAMS C ompact Disc 011671119328 IC1059 NEWTON,C/THE MOTIVE BEHIND THE Compact Disc 077712710596 IC1079 NEWTONCAM,C/WELCOM E ALIENS Compact Disc 077712710794 B000376282 NINE I NCH NAILS/THE DOWN WARD S DUA LDISC 602498648353 140582 NITTY GRIT/ SPEED OF LIFE Co mpact Disc 015891405827 HSCD2107 NIX,J/BRIGHT LIGHTS & COUNTRY Co mpact Disc 821252210722 302382B NIZLOPI/HALF THESE SONGS ARE A Compact Disc 812623023829 SC01 NO MORE SAINTS/ CONSUME Compact Disc 072011010026 B001118802 NOA/GENES & JEANS Compact Disc 602517639911 JST070CD NOISE BY NUMBERS/O VER LEAVITT Co mpact Disc 689222007020 AAA994 NOMEANSNO/ALL ROADS LEAD TO AU Compact Disc 689230099420 IPC92 NORTHERN STATE/CAN I KEEP THIS Com pact Disc 689230009221 633382 NOSTALGIA /BORDERL ANDS Compac t Disc 5060006333828 AFM0822 NOSTRADAMEUS/HE LLBOUND Compact Disc 5099751712121 AFM0482 NOSTRADAMEUS/PROPH ET OF EVIL Compact Disc 40098804679236 16822 00259 9 6 16822 00219 3 6 16822 03282 4 5 883007 136492 5 016272 893320 6 02517 08963 1 8 84860 00172 4 7 23631 20062 4 0 11671 11932 8 0 77712 71059 6 0 77712 71079 4 6 02498 64835 3 0 15891 40582 7 8 21252 21072 2 8 12623 02382 9 0 72011 01002 6 6 02517 63991 1 6 89222 00702 0 6 89230 09942 0 6 89230 00922 1 5 060006 333828 5 099751 712121 4 009880 467923 Page 56 of 217Catalogue NumberArtist / Title Config Scannable UPC UPCALPHABETICAL BY ARTIST / Alphabetique par artiste PMCD9995 NOTEKILLERS/WE'RE HE RE TO HELP Co mpact Disc 760137999522 485562 NOUVELLE V/3 Compact Disc 068944855629485282 NOUVELLE V/BANDE A PART Compact Disc 068944852826485142 NOUVELLE V/NOUVELLE VAGUE Compact Disc 068944851423 1166131662 NRBQ/NRBQ Compact Disc 011661316621 NR013 NULL DEVICE/A MILLION DIFFEREN Compact Disc 628740711729 NR032 NULL DEVICE/EXCURS IONS Compact Disc 628740838426 HM09111 NZABA KHARYSMA,A/IN ATTENDU Com pact Disc 3775000091118 PRFCD006 OAKENFOLD,P/TRANCE MISSION Com pact Disc 8718522041075 PIASA45CD OBEL,A/PHILHAR MONICS Compact Disc 843798000476 MVDA4648 OBLIVION SUN/OBLIVION SUN Compact Disc 022891464822 PWAJD72243 OBRIEN,T/OUT OF A DREAM Compact Disc 787867224328 MW070 OCHS,P/ON MY WAY (1963 DEMO SE Compact Disc 813411010700 SFE018 O'CONNOR,H/I GIVE YO U MY SUNSH Compact Disc 5013929842823 OHMCD007 ODEL/MIND & BO DY SOLD Compact Disc 634479087141 SE20542 OGS/BEST OF THE BEST-COLLECTOR Compact Disc 669311205421 SE20692 OGS/INFAMOUS Compact Disc 669311206923SE20512 OGST/RESIDENT EVIL 5 Compact Disc 669311205124SE20572 OGST/STREET FIGHTER 4 Compact Disc 669311205728 SHOUT77 OJAY'S, THE/WE'LL NEVER FORGET Co mpact Disc 5013929507722 DO12852 O'KEEFE,D/RUNNIN' FROM THE DEV Com pact Disc 712657128524 ARCD8401 OMAR AND THE HOWLER S/I TOLD YO Compact Disc 684857010124 KFR788129 ONE MAN ARMY/LIVE AT THE T(DVD Digital Video Disc 6103378812987 60137 99952 2 0 68944 85562 9 0 68944 85282 6 0 68944 85142 3 0 11661 31662 1 6 28740 71172 9 6 28740 83842 6 3 775000 091118 8 718522 041075 8 43798 00047 6 0 22891 46482 2 7 87867 22432 8 8 13411 01070 0 5 013929 842823 6 34479 08714 1 6 69311 20542 1 6 69311 20692 3 6 69311 20512 4 6 69311 20572 8 5 013929 507722 7 12657 12852 4 6 84857 01012 4 6 10337 88129 8 Page 57 of 217Catalogue NumberArtist / Title Config Scannable UPC UPCALPHABETICAL BY ARTIST / Alphabetique par artiste B001771302 ONE REPUBLIC/NATIVE Compact Disc 602537198047 B001771402 ONE REPUBLIC/NATIVE(DLX) Compact Disc 602537198054 HLM24079 ORANGE ORANGE/TRO PICAL PASSION Co mpact Disc 619061407927 201722 ORBISON,R/THE FINAL CONCERT(CD Com pact Disc 826992017228 AFMCD3042 ORDEN OGAN/EASTON HOPE Com pact Disc 884860017329 TPDVD118 ORFF,C/O FORTUNA! Digital Video Disc 604388703708 SE20102 ORIG.GAME SND/HITMAN CONTRACTS C ompact Disc 669311201027 IPC64 ORTHEIM/O V Compact Disc 689230006428 4669392 OST/AGNES BROWNE Compact Disc 028946693926 B002101602 OST/BEGIN AGAIN Compact Disc 602537885657 0044504152 OST/BIKER BOYZ Compact Disc 600445041523 B000066712 OST/CAMP Compact Disc 044003828025B000456102 OST/CINDERELLA MAN Compact Disc 602498814109B002019002 OST/DIVERGENT (OST) Compact Disc 602537741632B000804802 OST/DREAMGIRLS 25TH ANNIVERSAR Compact Disc 602517136526 KFR787612 OST/GLORY DAYS Compact Disc 610337876126 D002014802 OST/GUARDIANS OF THE GA(DLX Compact Disc 050087306830D002109704 OST/GUARDIANS OF THE GALAXY V1 Cassette 050087316471D002054602 OST/GUARDIANS OF THE GALAXY V1 Compact Disc 050087310851D002090302 OST/GUARDIANS OF THE GALAXY(2C Compact Disc 050087314477 SE30682 OST/METRO LAST NIGHT Compact Disc 669311306821 2061624712 OST/MOOG Compact Disc 7206162471243020670432 OST/N EVER LET ME GO Compact Disc 0302067043276 02537 19804 7 6 02537 19805 4 6 19061 40792 7 8 26992 01722 8 8 84860 01732 9 6 04388 70370 8 6 69311 20102 7 6 89230 00642 8 0 28946 69392 6 6 02537 88565 7 6 00445 04152 3 0 44003 82802 5 6 02498 81410 9 6 02537 74163 2 6 02517 13652 6 6 10337 87612 6 0 50087 30683 0 0 50087 31647 1 0 50087 31085 1 0 50087 31447 7 6 69311 30682 1 7 20616 24712 4 0 30206 70432 7 Page 58 of 217Catalogue NumberArtist / Title Config Scannable UPC UPCALPHABETICAL BY ARTIST / Alphabetique par artiste 4400663652 OST/STANDING IN THE SHADOWS(DE Compact Disc 044006636528 2894709992 OST/STAR TREK:ENTERPRISE Compact Disc 0289470999253020670072 OST/THE GHOSTWRITER Compact Disc 0302067007252061624072 OST/UNDE R THE TUSCAN SU N Compact Disc 720616240729 NPR255 OTYG/ALVEFARD + SAGOV INDARS BO Co mpact Disc 693723511627 K001 OUR EARTH/OUR EAR TH Compact Disc 801342200123 BLR0049 OUTBURST/MILES TO GO Compact Disc 723631004925NE83131 OZARK MOUNTAIN DARED EVILS/DON' Compact Disc 602498831311 NE61046 OZARK MOUNTAIN DARED EVILS/IT'L Compact Disc 602498610466 NE63933 OZARK MOUNTAIN DARED EVILS/IT'S Compact Disc 602498639337 NE05452 OZARK MOUNTAIN DARED EVILS/MEN Compact Disc 606949054526 KFR788072 OZMA/SPENDING TIME ON THE BORD Co mpact Disc 610337880727 KFR787972 OZMA/THE DOUBLE DO NKEY DISC Compact Disc 610337879721 CDHB150 P.TOSH/THE TOUG HEST Compac t Disc 011661765023 CFU030 PALMER,R/PRIDE Compact Disc 850703003293 TPDVD128 PALMER,T/THE SALZBURG FESTIVAL Digital Video Disc 604388718207 IPC139 PALMS/PALMS Compact Disc 689230013921 AFM0422 PARADOX/COLLISION COURSE Compact Disc 4009880467329 564182B PARKENING,/GRACE LIKE A RIVER Compact Disc 094635641820 4400655972 PARKER,C/THE COMPLETE MASTER T Compact Disc 044006559728 WR4618 PARTIKEL/COHESION Compact Disc 608938938480 139982 PARTON, DO/LIVE & WELL (CDX2) Compact Disc 015891399829 140072C PARTON, DO/THOSE WERE THE DAYS Compact Disc 0158914007230 44006 63652 8 0 28947 09992 5 0 30206 70072 5 7 20616 24072 9 6 93723 51162 7 8 01342 20012 3 7 23631 00492 5 6 02498 83131 1 6 02498 61046 6 6 02498 63933 7 6 06949 05452 6 6 10337 88072 7 6 10337 87972 1 0 11661 76502 3 8 50703 00329 3 6 04388 71820 7 6 89230 01392 1 4 009880 467329 0 94635 64182 0 0 44006 55972 8 6 08938 93848 0 0 15891 39982 9 0 15891 40072 3 Page 59 of 217Catalogue NumberArtist / Title Config Scannable UPC UPCALPHABETICAL BY ARTIST / Alphabetique par artiste 140082E PARTON,D/ACOUSTIC COLL:99-02 Compact Disc 015891400822 IPC100 PATTON,M/A PERFECT PLACE CD with DVD 689230010029IPC133 PATTON,M/BERIO,L/LABO RINTUS II Co mpact Disc 689230013327 IPC119 PATTON,M/MONDO CANE Compac t Disc 689230011927 IPC131 PATTON,M/THE SOLITUDE OF PRIME Compact Disc 689230013129 PWJAM2005 PAUL BOURELLY,J/BOOM BOP Compact Disc 692287200527 CFU0318 PAUL COLLINS BEAT/THE KIDS ARE C ompact Disc 850703003187 CRCD30 PAUL DELAY BAND/LAST OF THE BE Co mpact Disc 619981233521 4367192 PAVAROTTI/AMORE Co mpact Disc 028943671927 RVDP005 PAVLOV'S DOG/AT TH E SOUND OF T C ompact Disc 4018996212679 RVPD001 PAVLOV'S DOG/HAS ANYO NE HERE S C ompact Disc 4018996212587 RVPD009 PAVLOVS DOG/LIVE A ND UNLEASHED Com pact Disc 884860035026 RVPD002 PAVLOV'S DOG/LOST IN AMERICA C ompact Disc 4018996212594 RVDP004 PAVLOV'S DOG/PAMPERED MENIAL(N Compact Disc 884860015028 SMCR5021 PAYNE,F/STARES A ND WHISPERS Com pact Disc 5013929072138 SMCR5084 PAYNE,F/SUPERNATURA L HIGH(EXPA Compact Disc 5013929078437 3145494192 PAYTON,N/DEAR LOUIS Compact Disc 731454941921 IPC77 PEEPINGTOM/PEEPING TOM Compact Disc 689230007722 880002 PENDERGRAS/FROM TEDDY, WITH LO Compact Disc 793018800020 127332 PENGUIN CA/MUSIC FROM THE PENG Compact Disc 5099921273322 296632 PEOPLE IN /AS FAR AS THE EYE C Compact Disc 5099902966328296932 PEOPLE IN /BEYOND THE HORIZON Compact Disc 5099902969329 MAHACD24 PEOPLE OF THE SOUT HERN NATION/ C ompact Disc 50601159402450 15891 40082 2 6 89230 01002 9 6 89230 01332 7 6 89230 01192 7 6 89230 01312 9 6 92287 20052 7 8 50703 00318 7 6 19981 23352 1 0 28943 67192 7 4 018996 212679 4 018996 212587 8 84860 03502 6 4 018996 212594 8 84860 01502 8 5 013929 072138 5 013929 078437 7 31454 94192 1 6 89230 00772 2 7 93018 80002 0 5 099921 273322 5 099902 966328 5 099902 969329 5 060115 940245 Page 60 of 217Catalogue NumberArtist / Title Config Scannable UPC UPCALPHABETICAL BY ARTIST / Alphabetique par artiste OMM300382 PEOPLE UNDER THE STAI/THE CA T Compact Disc 600353003828 300839 PET SHOP BOYS/SOMEWHERE Digital Video Disc 801213008391 0249862534 PETERSON,O/A NIGHT IN VIENNA Digital Video Disc 602498625347 5138302 PETERSON,O/EXCLUSIVELY FOR MY Compact Disc 731451383021 CD83314 PETERSON,O/LAST CALL AT T BLUE Compact Disc 089408331428 B000540002 PETERSON,O/REUNION BLUES Compact Disc 602498270127 B001477559 PETTY,T & THE HEARTBREAKER S/DA BLU RAY 602527494012 IPC31 PHANTOMSMASHER/PHANT OM SMASHER Compact Disc 689230003120 B000569802 PHARRELL/IN MY MIND Compact Disc 602498870167 4790718 PHILHARMONIKER,THE/SYMPHONY,T Compact Disc 028947907183 SMCR25007 PHILLIPS,E/HERE'S ESTHER..ARE Co mpact Disc 5013929070738 SMCR25006 PHILLIPS,E/YOU'VE COME A LONG Compact Disc 5013929070639 2776036 PIERPO LJAK/BEST OF Co mpact Disc 602527760360 HNEDCD001 PIGI RON/PIG IR ON IV Compact Disc 5013929910126 MRCD6437 PILATE/THE WI NDOW Compact Disc EP's 823674643720 CRP059 PILOT AROUND THE SUN/ PILOT ARO Com pact Disc 881821705929 IPC39 PINKANVIL/HALLOWEEN PARTY Compact Disc 689230003922 KFR788209 PISTOL GRIP/LIVE AT THE GL(DVD Digital Video Disc 610337882097 ORNG0008CD PITRE,L/SHA TTERED Compact Disc 880121000826 MVDA4684 PLASTIC CRIMEWAVE SO UND/NO WON Com pact Disc 022891468424 MVDA4818 PLASTIC CRIMEWAVE SOUND/PLASTI Com pact Disc 760137481829 PWWH0262 PLATE FORK KNIFE SPOON/PLATE F Compact Disc 698873026229 BLR0077 PLOW UNITED/GOODNIGH T SELLOUT! Compact Disc 8238190077216 00353 00382 8 8 01213 00839 1 6 02498 62534 7 7 31451 38302 1 0 89408 33142 8 6 02498 27012 7 6 02527 49401 2 6 89230 00312 0 6 02498 87016 7 0 28947 90718 3 5 013929 070738 5 013929 070639 6 02527 76036 0 5 013929 910126 8 23674 64372 0 8 81821 70592 9 6 89230 00392 2 6 10337 88209 7 8 80121 00082 6 0 22891 46842 4 7 60137 48182 9 6 98873 02622 9 8 23819 00772 1 Page 61 of 217Catalogue NumberArtist / Title Config Scannable UPC UPCALPHABETICAL BY ARTIST / Alphabetique par artiste JST089 PLOW UNITED/MARCHI NG BAND Com pact Disc 689222008928 CRP78 PLOW UNITED/NARCO LEPSY Compac t Disc 823819007820 PPD0026CD PLOW UNITED/SL EEPWALK Compac t Disc 823819130924 COOLIDGE32 PLOW UNITED/THE DUS TBIN OF HIS Compact Disc 708874003225 URBNET1008 POCKETDWELLERS/L IFECHECK Com pact Disc 624060953726 SMCR5037 POINTER,N/CA LLING Compact Disc 5013929073739 SMCR5036 POINTER,N/FEEL IT Compact Disc 5013929073630 TON23671 POMERLO/CASA VO YAGEUR Com pact Disc 619061367122 MODCD165 POND/HOBO RO CKET Compact Disc 602537359196 AFM1552 POODLES,THE/METAL WILL STAND T Compact Disc 4046661051322 400222B POP, IGGY/GREATEST HITS LIVE Compact Disc 826784002227 CCDCD4775 POTTER,C/UNSPO KEN Compac t Disc 013431477525 8216105192 POWELL,D/TIME AGAIN Compact Disc 682161051925 INN0103 PRBYLSKI,J/OUT OF THE BOX Compact Disc 823118522529 CUNCD750017 PR ESENT/TRISKAIDEKAPHOBIE /LE P Compact Disc 045775001722 SMCR5013 PRESTON,B/EVERYBODY LIKES SOME Com pact Disc 5013929071339 DK34132 PRETTY THINGS,THE/ BEST OF THE C ompact Disc 826663413229 4745002 PREVIN &BERNSTEIN/VIOLIN CO NCER Compact Disc 028947450023 B000132300 PRIMUS/ANIMALS SHOULD NOT TRY Digital Video Disc 602498609422 330469 PRINCE/R AVE UN2 THE YEAR Di gital Vi deo Disc 801213304691 BLK0059 PROTAGONIST/HOPE AND RAGE Com pact Disc 823819005925 INN0102 PRYBYLSKI,J/WINDOW SHOPPING Compact Disc 837101169240 DTRLD010 PSEUDO INTELLECTUALS /DOPE GRIN Compact Disc 8867882025046 89222 00892 8 8 23819 00782 0 8 23819 13092 4 7 08874 00322 5 6 24060 95372 6 5 013929 073739 5 013929 073630 6 19061 36712 2 6 02537 35919 6 4 046661 051322 8 26784 00222 7 0 13431 47752 5 6 82161 05192 5 8 23118 52252 9 0 45775 00172 2 5 013929 071339 8 26663 41322 9 0 28947 45002 3 6 02498 60942 2 8 01213 30469 1 8 23819 00592 5 8 37101 16924 0 8 86788 20250 4 Page 62 of 217Catalogue NumberArtist / Title Config Scannable UPC UPCALPHABETICAL BY ARTIST / Alphabetique par artiste TPDVD115 PUCCINI/PUCCINI (D VD) Digital Video Disc 604388703401 301209 PUDDLE OF MUDD/STRIKING THAT F Digital Video Disc 801213012091 CCDCD4354 PUENTE T & WOODS,P/ SALSA MEETS Com pact Disc 013431435426 632129 QSO FT SPA/ LIVE IN PARIS Digi tal Video Disc 5060006321290 632126 QUANTIC/1 OFFS REMIX & B-SID 2 Compact Disc 5060006321269 B000823902 QUASTHOFF,T/THE JAZZ ALBUM-WAT Compact Disc 028947765011 2061624652 QUEEN/GREATEST HITS-WE WILL RO Compact Disc 7206162465232061690179 QUEEN/GREATEST VIDEO HITS 2 Digital Video Disc 720616901798 HR622002 QUEEN/T CROWN JEWELS Compact Disc 720616220028 CVIS394 QUEEN/UNDER REVIEW 1973-1980 D Digital Video Disc 823564507095 IPC93 QUI/LOVE'S MIRACLE Compact Disc 689230009320 DEMCD164 QUIET RIOT/REHAB A ND LIVE & RA Co mpact Disc 5060011191642 DEMCD136 QUIREBOYS,THE/100% LIVE 2002 Compact Disc 5060011191369 3020672309 RABIN,T/LIVE IN L A Compact Disc 030206723090 SHOUT57 RADCLIFFE,J & FRIE NDS/SUPER BA Co mpact Disc 5013929505728 714032 RAGAN, CHU/GOLD CO UNTRY Compac t Disc 603967140323 400192A RAMONES, T/NYC 1978 Compact Disc 826784001923 PWWH0258 RANELIN,P/INSPI RATION Compact Disc 698873025826 PWWH0290 RANELIN,P/LIVE REMI NISCENCE Com pact Disc 698873029022 SS04 RANGER,A/ALISON RANGER Compact Disc 823819000425 CREEP067 RANGER,A/FORMULA IMPERATIVE Compact Disc 881182006727 B001593202 R AVA,Q/ ENRICO/TRI BE Compac t Disc 602527669700 AFM1282 RAWHEAD REXX/BLACK DIARIES Compact Disc 40466610325296 04388 70340 1 8 01213 01209 1 0 13431 43542 6 5 060006 321290 5 060006 321269 0 28947 76501 1 7 20616 24652 3 7 20616 90179 8 7 20616 22002 8 8 23564 50709 5 6 89230 00932 0 5 060011 191642 5 060011 191369 0 30206 72309 0 5 013929 505728 6 03967 14032 3 8 26784 00192 3 6 98873 02582 6 6 98873 02902 2 8 23819 00042 5 8 81182 00672 7 6 02527 66970 0 4 046661 032529 Page 63 of 217Catalogue NumberArtist / Title Config Scannable UPC UPCALPHABETICAL BY ARTIST / Alphabetique par artiste CJ17 RED BALABAN AND CATS/A NIGHT A Compact Disc 077712700177 UWR012 RED TOPS/LEFT FO R DEAD Compact Disc 665776111727 82666311619 REDDING,O/T HE BEST:SEE & HEAR Compact Disc 826663116199 SERCD323025 REDEMPTION/RED EMPTION Compact Disc 763232301825 SFE023 REED,J/THE GINGER LIG/BIG CITY Compact Disc 5013929843325 KFR788219 REEL BIG FISH/LIVE AT THE(DVD Digital Video Disc 610337882196 33971 REFLECTIONS/ A PEACEFUL SOAK Compact Disc 096741108723 29192 REFLECTIONS/A ROCKIN 50'S CHRI Com pact Disc 096741070129 39044 REFLECTIONS/ASIAN SERENITY Compact Disc 09674116372242225 REFLECTIONS/BEST OF SUPERSTARZ Com pact Disc 096741222924 22458 REFLECTIONS/CARDIO WORKOUT Compact Disc 096741020629 RNTA9308 REFLECTIONS/CELT IC CHRISTMA S Cassette 096741930843 33400 REFLECTIONS/CELTIC HYMNS Compact Disc 09674110382733767 REFLECTIONS/CHRISTM AS BELLES Com pact Disc 096741107627 35516 REFLECTIONS/CHRISTM AS CHILL Com pact Disc 096741126529 30843 REFLECTIONS/ CHRISTMAS EXTRAVAG Compact Disc 096741082122 29193 REFLECTIONS/CHRISTMAS GUITAR Com pact Disc 096741070228 38036 REFLECTIONS/CHRISTM AS HARP Com pact Disc 096741152528 28086 REFLECTIONS/CHRISTM AS PIANO Com pact Disc 096741062124 38262 REFLECTIONS/DINNER MU SIC 2CD Compact Disc 096741154720 39436 REFLECTIONS/FIRESIDE CHRI STMAS Digital Video Disc 096741335891 33967 REFLECTIONS/GET MOVING! Compact Disc 09674110852530869 REFLECTIONS/HIGHLAND CHRISTMAS Com pact Disc 0967410841260 77712 70017 7 6 65776 11172 7 8 26663 11619 9 7 63232 30182 5 5 013929 843325 6 10337 88219 6 0 96741 10872 3 0 96741 07012 9 0 96741 16372 2 0 96741 22292 4 0 96741 02062 9 0 96741 93084 3 0 96741 10382 7 0 96741 10762 7 0 96741 12652 9 0 96741 08212 2 0 96741 07022 8 0 96741 15252 8 0 96741 06212 4 0 96741 15472 0 0 96741 33589 1 0 96741 10852 5 0 96741 08412 6 Page 64 of 217Catalogue NumberArtist / Title Config Scannable UPC UPCALPHABETICAL BY ARTIST / Alphabetique par artiste 31222CD REFLECTIONS/IRISH CHRISTMAS Com pact Disc 096741087226 42046 REFLECTIONS/JIM BRICKMAN:XMAS Compact Disc 09674120812637182 REFLECTIONS/SALSA PARTY MIX Compact Disc 09674114122512522 REFLECTIONS/SENTIMENTAL PIANO Compact Disc 09674193162827389 REFLECTIONS/SPIRIT DREAMS Compact Disc 09674104992748367 REFLECTIONS/WHITE CHRI STMAS(2C Com pact Disc 096741258626 34918 REFLECTIONS/WISHES:SOLO PIANO Compact Disc 096741120527 RVKR001 REID,K/THE COMMO N THREAD Com pact Disc 4046661115826 HYP7258 REILLY,M/ROWAN (LTD .EDITION 2C Compact Disc 4011586725825 IC7004 REINHARDT,D/THE VERSAT ILE GIAN Compact Disc 077712770040 400182A RENAI SSANC/GREATEST HITS LIVE Compac t Disc 826784001824 400212A RENAI SSANC/GRT'S HITS LI VE PT2 Compac t Disc 826784002128 IPC130 RETOX/UGLY ANIMALS Compact Disc 689230013020 4TAY4036 RHYTHM AND HU/MUSIC OF GERSHWI Compact Disc 681585403624 239992 RICH, B UDD/KEEP THE CUSTOMER S Compact Disc 724352399925 945072B RICH, BUDD/NEW ON E,THE Compact Disc 724349450721 D3164 RICHARDS,C/ON THE BEACH( DVD) Digital Video Disc 032031316492 CDROUN0170 RIDERS IN T SKY/PRA IRIE SERENA C ompact Disc 011661017023 MOONCD110 RIFFS,THE/LIVE AT CLUB SKA Compact Disc 664813311021 KFR788412 RIGHTEOUS JAMS/RAGE OF DISCIPL Compact Disc 610337884121 PWWH0294 RINTA,M/EPONY MOUS Compact Disc 698873029428 MOJR1950 RISHELL,P & RAINES, A/A NIGHT I Compact Disc 687474836429 MOJRDVD1951 RISHELL,P & RAINES,A/ A NIGHT I Digital Video Disc 6874748536240 96741 08722 6 0 96741 20812 6 0 96741 14122 5 0 96741 93162 8 0 96741 04992 7 0 96741 25862 6 0 96741 12052 7 4 046661 115826 4 011586 725825 0 77712 77004 0 8 26784 00182 4 8 26784 00212 8 6 89230 01302 0 6 81585 40362 4 7 24352 39992 5 7 24349 45072 1 0 32031 31649 2 0 11661 01702 3 6 64813 31102 1 6 10337 88412 1 6 98873 02942 8 6 87474 83642 9 6 87474 85362 4 Page 65 of 217Catalogue NumberArtist / Title Config Scannable UPC UPCALPHABETICAL BY ARTIST / Alphabetique par artiste RSR0208 RITUAL COMBAT/OCCUL TUS REQUIEM C ompact Disc 666616020827 PWCL102212 ROBBINS,D/ZAP Compact Disc 884501890403 IC1138 ROBERTS,J/NIGHTS IN BRAZIL Compact Disc 077712711388 TML012 ROBOTS AND EMPIRE/C OLOR TOUCHE Co mpact Disc 845121005714 TML008 ROBOTS AND EMPIRE /OMNIVORE Compact Disc 880270205523 WR4620 ROBSON,P/THE IMMEASUR ABLE CODE Com pact Disc 610696501776 SFE020D ROCK STEADY CREW/R EADY(CD+DVD CD with DVD 5013929843028 HYP4230 ROCKER,L/BURNIN'LO VE-THE BEST Com pact Disc 4011586423028 4491632 RODGERS,HAMMER/SOMETHING/TERFE Compact Disc 028944916324 349242 ROGERS, KE/HIS GREATEST & FINE Compact Disc 724383492428 B001766402 ROLLING ST,T HE/GRRR(5CD+7'' LP Compact Disc 018771891321 B001766302 ROLLING STON E,THE/GRRR(3CD DL X Compact Disc 018771892328 3723392 ROLLING STONES/G RRR BLU RAY AUDIO 602537233922 EV306959 ROLLING STONES/LA FORUM(3LP+DV vinyl with dvd 801213069590 12202 ROLLING STONES/SINGLES 1965-19 Compact Disc 018771122029 B001766202 ROLLINGSTON ES,THE/GRRR(3CD) Compact Disc 018771891826 OOTA03 ROMANCE,M/1000 CA RATS Compact Disc 619061425525 300023C RONDERLIN/W AVE ANOTHER DAY GO Compact Disc 7332233000230 LV126 RONNIE DIO/RONNIE DI O AND THE Compact Disc 609465980041 MOOD4610CD ROOYEN,AV/HOMEWARD PICTURES FR Compact Disc 707787461023 PWAJD72232 ROSENE,B/ALL MY LIFE Compact Disc 787867223222 541282B ROSENSHONT/ROCK'N'ROLL TEDDY B Compact Disc 085365412828 DSRBD31054 ROSS,D/ BEARING STRAIGHT Compact Disc 0576231054216 66616 02082 7 8 84501 89040 3 0 77712 71138 8 8 45121 00571 4 8 80270 20552 3 6 10696 50177 6 5 013929 843028 4 011586 423028 0 28944 91632 4 7 24383 49242 8 0 18771 89132 1 0 18771 89232 8 6 02537 23392 2 8 01213 06959 0 0 18771 12202 9 0 18771 89182 6 6 19061 42552 5 7 332233 000230 6 09465 98004 1 7 07787 46102 3 7 87867 22322 2 0 85365 41282 8 0 57623 10542 1 Page 66 of 217Catalogue NumberArtist / Title Config Scannable UPC UPCALPHABETICAL BY ARTIST / Alphabetique par artiste SNCD10222 ROTONDI,J/DESTINAT ION UP Com pact Disc 601917102223 SNCD10292 ROTONDI,J/THE PLEAS URE DOME Com pact Disc 601917102926 PP2163 ROXSY TYLER S CARNIVAL OF HORR Digital Video Disc 885007216322 RVRX012 ROXX,THE/IRONIC TRUTH Compact Disc 0884860014328 OT803032 ROY,P/ISSUES+OPTIONS Compact Disc 826798030322 105824 ROYAL HUNT/20TH ANNIVER S(CD+DV CD wi th DVD 8024391058244 CD83465 RUBIN,V/T LANGUAGE OF LOVE Compact Disc 089408346521 400062B RUNDGREN,T/GR EATEST HITS LIVE Compact Disc 826784000629 SMCR5050 RUSHEN,P/PATRI CE Compact Disc 5013929075030 632089 RUSSELL, A/LI VE IN PARIS Digi tal Video Disc 5060006320897 632872B RUSSELL, A/MY FAVOURITE LETTE R Compact Disc 5060006328725 501222F RUSSELL, A/UNDER THE MUNKA MOO Compact Disc 827655012222 355392 RUSSELL, L/WILL O' TH E WHISP Com pact Disc 724383553921 CDPH1116 RUSSELL,T/ROAD TO BAYAMON Com pact Disc 011671111629 ODOPE1001 RUTHLESS RAP ASSASSINS /KILLER Compact Disc 5013929870123 3020605242 RYAN,K/STRONGER Compact Disc 0302060524280251747135 RYANDAN/ RYANDAN Com pact Disc 602517471351 DEMCD117 SACRED SIN/H EKATON Compac t Disc 5060011191178 DEMCD111 SACRED SIN/TRANSLUCI D DREAM MI Compact Disc 5060011191116 UWR014 SADAHARU/NEW AND ALTERNA TE CAR Digital Video Disc 022891445098 UWR009 SADAHARU/PUNISHMENT IN HI-FI Compact Disc 656605917924 B001088809 SAM A ND DAVE/THE ORIGINAL SO UL Digital Video Disc 602517644052 300069C SAM BASSADE/BETWEEN THE LI NES Compact Disc 73322330006986 01917 10222 3 6 01917 10292 6 8 85007 21632 2 0 884860 014328 8 26798 03032 2 8 024391 058244 0 89408 34652 1 8 26784 00062 9 5 013929 075030 5 060006 320897 5 060006 328725 8 27655 01222 2 7 24383 55392 1 0 11671 11162 9 5 013929 870123 0 30206 05242 8 6 02517 47135 1 5 060011 191178 5 060011 191116 0 22891 44509 8 6 56605 91792 4 6 02517 64405 2 7 332233 000698 Page 67 of 217Catalogue NumberArtist / Title Config Scannable UPC UPCALPHABETICAL BY ARTIST / Alphabetique par artiste 300112G SAM BASSADE/FINAL SAY Co mpact Disc 7332233001121 300106 SAM BASSADE/MIGRATION C ompact Disc 7332233001060 300070 SAM BASSADE/NEW MOON Co mpact Disc 7332233000704 0382652 SAMSA'RA/SAMSA'RA Compact Disc 044003826526 RGM0116 SAMUDIO,S/HARD A ND HEAVY Com pact Disc 848064001164 CCDCD4778 SANCHEZ,P/FREEDOM SOUND Compac t Disc 013431477822 SPM5 SANDPEOPLE/HONEST PEOPLE Compact Disc 837101406635 INN0507 SANSAVERINO,JJ/SUNSHI NE AFTER Com pact Disc 820637029522 ISBCD5065 SASH/TRILENI UM Compact Disc 620323506524 MJR042 SAVOLDELLI,B/INSANOL OGY(FEATUR Com pact Disc 692287904227 IPC114 SAX RUINS/YAW IQUO Compact Disc 689230011422 359002 SAXON/SACRIFICE Compact Disc 5099973590026 CRP123 SCAREHO/INTERNATIONAL BROTHERH Co mpact Disc 881821112321 DEMCD107 SCARIOT/DEATHF ORLORN Compact Disc 5060011191079 OGL891522 SCHELETTER,E/WITCHI NG HOUR Com pact Disc 790058915226 OGL820402 SCHNEID ER,R/REGISTERED O FFENDE Compact Disc 790058204023 ACD71230 SCHOCKER,G/VIEAUX, J/ARIOSO Compact Disc 787867123027 ACD71215 SCHOCKER,G/VIEAUX,J/ DREAM TRAV Compact Disc 787867121528 ALP232 SCHOOF,M/EUROPEAN ECHOES Com pact Disc 735286223224 ARMA322 SCHULZ,M/LOS ANGEL ES 12 (2CD) Com pact Disc 8717306984096 CL012312 SCOTT BRASILEIRA,J/SONHO MEU Compact Disc 875531008326 MCGJ1021 SCOTT,T/BEBOP UNITED Compact Disc 612262102127 LDCD1035 SCRAPOMATIC/ALLIGA TOR LOVE CRY Co mpact Disc 0128861035227 332233 001121 7 332233 001060 7 332233 000704 0 44003 82652 6 8 48064 00116 4 0 13431 47782 2 8 37101 40663 5 8 20637 02952 2 6 20323 50652 4 6 92287 90422 7 6 89230 01142 2 5 099973 590026 8 81821 11232 1 5 060011 191079 7 90058 91522 6 7 90058 20402 3 7 87867 12302 7 7 87867 12152 8 7 35286 22322 4 8 717306 984096 8 75531 00832 6 6 12262 10212 7 0 12886 10352 2 Page 68 of 217Catalogue NumberArtist / Title Config Scannable UPC UPCALPHABETICAL BY ARTIST / Alphabetique par artiste 1166105369 SCRUGG S&WATSON&SKAGGS/THE T HRE Digital Video Disc 011661053694 SUMCD008 SEA OF TREACHERY/AT DAGGERS DR Co mpact Disc 894587001082 HYP7253 SEAGAL,S/MOJO PR IEST Compac t Disc 4011586725320 4775724 SEDARES,J/WAXMAN:JOSHUA Compact Disc 028947757245 705012C SEEGER, PE/BEST OF, THE C ompact Disc 015707050128 797982 SEEGER, PE/ESSENTIAL, THE C ompact Disc 015707979825 CDROUN0313 SEEGER,M/3RD ANNUAL FAREWELL R Compact Disc 011661031326 770082D SEEGER,P/LI VE AT NEWPORT,63- 65 Compact Disc 015707700825 870452 SEETHE R/DISCLAIMER II Compact Disc 5099968704520 296822 SEETHE R/KARMA AND EFFE CT Compact Disc 5099902968223 296922 SEETHER/ON E COLD NIGHT(CD/DV D CD with DVD 5099902969220 3757048 SEET HER/SEETHE R 2002 TO 2013 Compact Disc 602537570485 B002184302 SEGER,B/RIDE OUT(DLX) Compact Disc 602537918904 409700 SELENA/SELENA MOTION PICTURE Compact Disc 724354097003 IPC16 SENSATIONAL/GET ON MY PAGE Compact Disc 689230001621 512780 SETZER BRIA N OR/CHRISTMAS RO CK Compact Disc 640424999872 524644 SETZER BRIA N OR/DON'T MESS( 2CD Compact Disc 640424999582 512781 SETZER BRIAN/ULTIMATE CH(CD+DV CD wi th DVD 640424999865 MJR046 SH TG N/SH TG N Compact Disc 692287904623 HARV0070 SHADOW SEASON/ST ARSHINE Com pact Disc 881821712224 CDROUN0078 SHAKERS, UNITED/EARLY SHAKER S Com pact Disc 011661007826 AFM0782 SHAMAN/RITUAL Compact Disc 5099751617921AFM0792 SHAMAN/RITUAL LIVE Compact Disc 50997516180270 11661 05369 4 8 94587 00108 2 4 011586 725320 0 28947 75724 5 0 15707 05012 8 0 15707 97982 5 0 11661 03132 6 0 15707 70082 5 5 099968 704520 5 099902 968223 5 099902 969220 6 02537 57048 5 6 02537 91890 4 7 24354 09700 3 6 89230 00162 1 6 40424 99987 2 6 40424 99958 2 6 40424 99986 5 6 92287 90462 3 8 81821 71222 4 0 11661 00782 6 5 099751 617921 5 099751 618027 Page 69 of 217Catalogue NumberArtist / Title Config Scannable UPC UPCALPHABETICAL BY ARTIST / Alphabetique par artiste 674362 SHANKAR, R/RAVI SHANKAR IN SAN Compact Disc 724356743625 INN0902 SHARMAT,C/BLEU HORIZONS Compact Disc 823118999321 SMCR5008 SHAW,M/TAKE A BITE Compact Disc 5013929070837 SMCR5066 SHAW,M/WHO IS THIS BITCH ANYWA Compact Disc 5013929076631 FNZ900212 SHEAR,J/MORE Compact Disc 881159009546 B000657202 SH EPP,A/THE IMPULSE ST ORY Compact Disc 602498551165 RS1809 SHINDELL,R/SOUTH OF DELIA Compact Disc 700261213132 320962 SHORTER, W/SCHIZO PHRENIA Compact Disc 724383209620 TPCD145 SHOSTAKOVICH,D/TEST IMONY:THE S Compact Disc 604388722624 TPDVD145 SHOSTAKOVICH,D/TESTIMONY-THE Digital Video Disc 604388722501 HRM31405 SIA/TV IS MY PARENT Digital Video Disc 888072314054 CD80246 SIBELIUS/SYMPHONIES NOS. 1 & 5 Compact Disc 089408024627 HESY001 SIDNEY YORK/3'S HEARTS Compact Disc 628855004068 900214B SIGEL, BEA/THIS TIME Co mpact Disc 899079002141 NR043 SILENT AUCTION/H ON EARTH Compact Disc 843310036723 ODOPE1005 SILVER BULLET/BRING DOWN THE W Compact Disc 5013929870529 3145390502 SIMONE,N/T ULTIMATE N SIMON Compact Disc 7314539050233145298672 SIMONE,N/VJM#58/SINGS NINA Compact Disc 731452986726 591452 SIMPLE MINDS/CRY Compact Disc 766925914524 OJCCD444 SIMS,Z/AND T GERSHW IN BROS Compact Disc 025218644426 IC7005 SIMS,Z/BROTHER IN SWING Compact Disc 077712770057 337432 SINATRA, F/CLOSE TO YOU AND MO Compact Disc 724353374327 CRE32929 SINATRA,F/RING-A-D ING DING! Compact Disc 8880723292947 24356 74362 5 8 23118 99932 1 5 013929 070837 5 013929 076631 8 81159 00954 6 6 02498 55116 5 7 00261 21313 2 7 24383 20962 0 6 04388 72262 4 6 04388 72250 1 8 88072 31405 4 0 89408 02462 7 6 28855 00406 8 8 99079 00214 1 8 43310 03672 3 5 013929 870529 7 31453 90502 3 7 31452 98672 6 7 66925 91452 4 0 25218 64442 6 0 77712 77005 7 7 24353 37432 7 8 88072 32929 4 Page 70 of 217Catalogue NumberArtist / Title Config Scannable UPC UPCALPHABETICAL BY ARTIST / Alphabetique par artiste 2750366 SINATRA,F/ SEPTEMBER OF MY Y EAR Compac t Disc 602527503660 2728088 SINATRA,F/SINATRA 65 Compact Disc 602527280882 FNZ902686 SIRSY/COMING INTO FAME Compact Disc 881159026864FNZ900302 SIRSY/REVOLUTION Compact Disc 881159301213 MOONCD104 SKAVILLE UK/ 1973 Compact Disc 664813310420 IPC29 SKELETONKEY/OBTAI NIUM Compac t Disc 689230002925 DEMCD142 SKYCLAD/A SEMBLANCE OF NORMALI Compact Disc 5060011191420 DEMCD112 SKYCLAD/ANOTHER FINE MESS Compact Disc 5060011191123 DEMCD115 SKYCLAD/NO DAYLIGHT S,NOR HEELT C ompact Disc 5060011191154 LATEXCD35 SKYDIGGERS/NORTH ERN SHORE Compact Disc 823674008222 MRCD6402 SLAINTE MHAT H/VA Compact Disc 823674640224 IPC162 SLEAFORD MODS/CHU BBED UP Com pact Disc 689230016229 82666310052 SLIGHTLY STOOPID/WINTER TOUR 0 Compact Disc 826663100525 182342 SLIM WHITM/BEST LOVED FAVORITE Com pact Disc 014921823426 B000313509 SLIM,M & WILLIAMSON/BLUES LEGE Digital Video Disc 602498632598 171102A SLOWCOASTE/FUTURE RADIO Compact Disc 778591711024 SLAM1511 SMASH HIT COMBO/GENE RATION TES Compact Disc 654367027202 427062A SMASHING P/EARPHORIA Compact Disc 724354270628 B001218302 SMITH,J/HOBO FLATS Compact Disc 602517868892B000940302 SMITH,J/WHO'S AFRAID OF VIRGIN Compact Disc 602517396937 1166196172 SMOKIN'JOE KUBEK/BITE ME Co mpact Disc 011661961722 CAMO052 SNAK THE RIPPER/WHITE DYNAMITE Co mpact Disc 614511800426 UWR017 SNAKES & MUSIC/I SABELLE Compac t Disc 0228912017246 02527 50366 0 6 02527 28088 2 8 81159 02686 4 8 81159 30121 3 6 64813 31042 0 6 89230 00292 5 5 060011 191420 5 060011 191123 5 060011 191154 8 23674 00822 2 8 23674 64022 4 6 89230 01622 9 8 26663 10052 5 0 14921 82342 6 6 02498 63259 8 7 78591 71102 4 6 54367 02720 2 7 24354 27062 8 6 02517 86889 2 6 02517 39693 7 0 11661 96172 2 6 14511 80042 6 0 22891 20172 4 Page 71 of 217Catalogue NumberArtist / Title Config Scannable UPC UPCALPHABETICAL BY ARTIST / Alphabetique par artiste UWR010 SNAKES AND MUSIC/T RUISIMS Compact Disc 022891000631 B000666302 SNIDER,T/THE DEVIL YOU KNOW Compact Disc 602498559161 5678684029 SO SO GLOS,THE/BLOWOUT Compact Disc 075678684029 300239 SOFT CELL/LIVE IN MILAN Digital Video Disc 801213002399 MJ016 SOFT MACHINE LEGACY/STEAM Compact Disc 692287901622 105622 SOLEIL MOO/ON THE WA Y TO EVERY Com pact Disc 8024391056226 48019 SOLITUDES/CELTIC SEASHORE C ompact Disc 096741250620 39620 SOLITUDES/H2O Compact Disc 09674100205246474 SOLITUDES/MEDITERRANEAN SPA Compact Disc 09674122962646478 SOLITUDES/O2 Compact Disc 09674123002846473 SOLITUDES/OCEAN OD YSSEY Compac t Disc 096741229527 46656 SOLITUDES/SLEEP TH ERAPY Compac t Disc 096741233821 33977 SOMERSET/CELTIC SERENITY Compact Disc 096741109027 SFE003 SOMERVILLE,J /SUDDENLY LAST SU M CD with DVD 5013929841321 TS007 SOMETHING SECRET/SOMETHING SEC Compact Disc 5060101380215 NBA32162 SONATA ARCTICA/PAR IAHS CHILD Co mpact Disc 727361321628 B001329102 SONOS/SONOSINGS Compact Disc 602527147413B001238602 SOULJA BOY TELL EM/ISOULJABOYT Compact Disc 602517916821 DR2CD001 SOUND EX,THE/PAL OMINO Compact Disc 5060011195015 300114B SOUND OF A/DANG ER Compac t Disc 7332233001145 300119 SOUND OF A/M.A.G .I.C. Compact Disc 7332233001190 B001467700 SOUNDG ARDEN/TELEPHANTASM -BEST CD with DVD 602527471297 IPC98 SOUNDTRACK/30 DAYS OF NIGHT Compact Disc 6892300098250 22891 00063 1 6 02498 55916 1 0 75678 68402 9 8 01213 00239 9 6 92287 90162 2 8 024391 056226 0 96741 25062 0 0 96741 00205 2 0 96741 22962 6 0 96741 23002 8 0 96741 22952 7 0 96741 23382 1 0 96741 10902 7 5 013929 841321 5 060101 380215 7 27361 32162 8 6 02527 14741 3 6 02517 91682 1 5 060011 195015 7 332233 001145 7 332233 001190 6 02527 47129 7 6 89230 00982 5 Page 72 of 217Catalogue NumberArtist / Title Config Scannable UPC UPCALPHABETICAL BY ARTIST / Alphabetique par artiste 471742B SOUNDTRA CK/CRUEL INTENTIO NS Compact Disc 724384717421 IPC134 SOUNDTRACK/PORTAL 2 SONGS TO Com pact Disc 689230013426 B001200102 SOUNDT RACK/ROCKNROLLA Compact Disc 600753115800 300078 SOUTH AMBU/SOUTH AM BULANCE Compact Disc 7332233000780 SHOUT78 SPELLMAN,B/FORTUNE TELLER A SI Compact Disc 5013929507821 DEMCD140 SPIKE/IT'S A TREAT TO BE ALIVE Compact Disc 5060011191406 FNZ900042 SPOOKIE DALY PRIDE/ MEDICINE CH Co mpact Disc 881159000420 FNZ900002 SPOOKIE DALY/MARSHMALLOW PIE Compact Disc 881159000024 HUCD3074 SPYRO GYRA/ORIGINA L CINEMA Compact Disc 053361307424 DMT880192 SQUEAK RU/FAT WORLD Compact Disc 790058801925 AFM0262 SQUEALER/THE PR OPHECY Com pact Disc 4009880465325 400162B SQUIER, BI/GREATEST HITS LIVE Compact Disc 826784001626 MR801692 SQUIRREL NUT ZIPPERS/PERENNIAL Compact Disc 035498016929 4777970 STADER,M/IN DULCI JUBILO-MARIA Compact Disc 028947779704 MWM0982 STAMPLEY,M/ONE VOICE Compact Disc 879645009828 B000229202 ST ANKO,T QUARTET/SUSPE NDED NIG Com pact Disc 602498112441 547552 STANLEY, A/I CAN DO ANYTHING Compact Disc 085365475526 SMCR5062 STAPLE SINGERS,THE/THE STAP(EP Compact Disc 5013929076235SMCR5038 STAPLE SINGERS/TURNI NG POINT Com pact Disc 5013929073838 880032B STARR, RIN/RINGO STA RR & HIS A Compact Disc 793018800327 MRCD6408 STARR,K/SUN AGAIN Compact Disc 823674640828 296862B STARS OF T/A TIME FOR LIONS Compact Disc 5099902968629296832B STARS OF T/CENTURIES BEFORE LO Compact Disc 50999029683227 24384 71742 1 6 89230 01342 6 6 00753 11580 0 7 332233 000780 5 013929 507821 5 060011 191406 8 81159 00042 0 8 81159 00002 4 0 53361 30742 4 7 90058 80192 5 4 009880 465325 8 26784 00162 6 0 35498 01692 9 0 28947 77970 4 8 79645 00982 8 6 02498 11244 1 0 85365 47552 6 5 013929 076235 5 013929 073838 7 93018 80032 7 8 23674 64082 8 5 099902 968629 5 099902 968322 Page 73 of 217Catalogue NumberArtist / Title Config Scannable UPC UPCALPHABETICAL BY ARTIST / Alphabetique par artiste 170602B STATLER BR/FLOWERS ON THE WALL Compact Disc 014921706026 448999 STATLER BR/GOSPEL MUSIC OF TH E Digital Video Disc 617884489991 CDROUN0284 STECHER,J&BRISLIN,K/ BLUE LIGHT C ompact Disc 011661028425 AFM0292 STEEL ATTACK/WHERE MANKIND FAI Compact Disc 4009880465820 IPC28 STEROIDMAXIMUS/ECTOPIA Compact Disc 689230002826 2547032645 ST EVE,S/SONIC SOUL S URFER Compac t Disc 602547032645 9839326 ST EVENS,C/BOX SET (4 CD) Compact Disc 602498393260 B001218802 ST EVENS,C/TEA FOR TILLERM AN(DE Compact Disc 602517870888 LFJ1011 STEVENS,G QUINTET/HO MECOMING Com pact Disc 606987000929 SHOUT75 STEWART,B/UNBELI EVABLE/CROSS M Com pact Disc 5013929507524 SNCD10442 STEWART,G/PLAYS THE MUSIC OF D Compact Disc 601917104425 SUMCD212 STICK TO YOUR GUNS /DIAMOND(FYE Compact Disc 817424011129 422342 STONE, JOS/ SOUL SESSIONS,TH E Compact Disc 724354223426 3020667672 STORYVILLE/BLUEST EYES Compact Disc 030206676723 IC1030 STOWELL,J/GOLDEN DE LICIOUS Compact Disc 077712710305 TPDVD126 STRAVINSKY,I/ONCE AT A BORDER Digital Video Disc 604388711505 4681862 STRAVINSKY/THE RITE OF SPRING Compact Disc 028946818626 VPCD3607 STRAWBS/HERO & HEROINE Com pact Disc 075021360723 SUMCD009 STRAY FROM THE PATH/VILLAINS Compact Disc 894587001099 WR4624 STRIGALE,Z/SMILING ORGANIZM V1 Compact Disc 610696501806 2061611872 STRYPER/AGAINST THE LAW Compact Disc 7206161187212061611862 STRYPER/IN GOD WE TRUST Compact Disc 7206161186222061611842 STRY PER/SOLDIERS UNDER CO MMAND Compact Disc 7206161184240 14921 70602 6 6 17884 48999 1 0 11661 02842 5 4 009880 465820 6 89230 00282 6 6 02547 03264 5 6 02498 39326 0 6 02517 87088 8 6 06987 00092 9 5 013929 507524 6 01917 10442 5 8 17424 01112 9 7 24354 22342 6 0 30206 67672 3 0 77712 71030 5 6 04388 71150 5 0 28946 81862 6 0 75021 36072 3 8 94587 00109 9 6 10696 50180 6 7 20616 11872 1 7 20616 11862 2 7 20616 11842 4 Page 74 of 217Catalogue NumberArtist / Title Config Scannable UPC UPCALPHABETICAL BY ARTIST / Alphabetique par artiste AVANTI08 STUDEBAKER,J & THE HA WKS/WAITI Com pact Disc 800492193583 AVANTI04 STUDEBAKER,J/BETWEEN LIFE AND Compact Disc 620673230827 182402B STUR, JIMM/JIMMY ST URR CHRISTM Com pact Disc 014921824027 110062F STURR, JIM/LI VE AT GILLEY'S C ompact Disc 014921100626 130162C STURR, JIM/POLKA F AVORITES Com pact Disc 014921301627 182532C STURR, JIM/ SATURDAY NIGHT POLK Compact Disc 014921825321 182452B STURR, JIM/ STURR-IT-UP Com pact Disc 014921824522 110032E STURR, JIM/WHEN IT'S POLKA TIM Com pact Disc 014921100329 CDROUN6077 STURR, JIMMY /POL KA! ALL NIG C ompact Disc 011661607729 SMCR5005D STYLISTICS,THE/IN F ASHION/LOVE Compact Disc 5013929070530 7502165142 STYX/CAUGHT IN T ACT LIVE Compact Disc 075021651425 MAHACD27 SU(BAKA BEYOND)/WORTH IT AFTER C ompact Disc 8421080289888 300107 SUBURBAN K/#4 Compact Disc 7332233001077 TRBCD009 SUDDEN,N/GOLDE N VANITY Com pact Disc 823566450627 IC1012 SULLIVAN,C/GENESIS Compact Disc 077712710121 808632 SUMAC, YMA/MAMBO Compact Disc 077778086321 DJ865 SUN RA/CRY OF JA ZZ Digital Video Disc 022891986591 SMCR25067 SUN/WANNA MAKE LOVE/ SUN-POWER Com pact Disc 5013929076730 CRP057 SUPER HI-FIVE/SONGS FOR WORKIN Co mpact Disc 823819115723 0694932229 SUPERTRAMP/THE STORY SO FAR... Digital Video Disc 606949322298 RVPD003 SURKAMP,D/DANCING ON THE EDGE Compact Disc 4018996212570 5891410524 SUTTON,B/INTO MY OWN Compact Disc 015891410524 CD83592 SUTTON,T/DANCING IN THE DARK Com pact Disc 0894083592248 00492 19358 3 6 20673 23082 7 0 14921 82402 7 0 14921 10062 6 0 14921 30162 7 0 14921 82532 1 0 14921 82452 2 0 14921 10032 9 0 11661 60772 9 5 013929 070530 0 75021 65142 5 8 421080 289888 7 332233 001077 8 23566 45062 7 0 77712 71012 1 0 77778 08632 1 0 22891 98659 1 5 013929 076730 8 23819 11572 3 6 06949 32229 8 4 018996 212570 0 15891 41052 4 0 89408 35922 4 Page 75 of 217Catalogue NumberArtist / Title Config Scannable UPC UPCALPHABETICAL BY ARTIST / Alphabetique par artiste SDE1957 SWAMP DOGG/EXCELLENT SIDE OF S Compact Disc 722247195720 375532 SWEETNAM, /S OUND SOLDIER C ompact Disc 094633755321 IPC117 SWIFT,R/THE A RCHITECT Com pact Disc 689230011729 BMRBD0550E SWIFT,T/1989(DLX) Compact Disc 843930013869 011026443 SWIFT,T/RED(SBX EXCL) Compact Disc 843930007080 712012B SWINGIN' U/MORE SCARED Compact Disc 603967120127 4541452 SYMPHONIC-LED-Z EPPELIN Co mpact Disc 028945414522 SMCR5071 SYREETA/ONE TO ONE Compact Disc 5013929077133 4400193542 T.A.T.U./ALL THE THINGS SHE SA CDSP Enhanced 044001935428 0743141 TAKAC S QUARTET/BARTOK:STRING Q Digital Video Disc 044007431412 IPC75 TANGOSALOON,T/THE TA NGO SALOON Compact Disc 689230007524 AFM0582 TANKARD/B-DAY Compact Disc 5099750784020AFM0589 TANKARD/B-DAY (LIMITED EDITION Compact Disc 5099750784099AFM2463 TANKARD/BEASTS OF BEER Compac t Disc 4046661127522 AFM1089 TANKARD/THE BEAUTY AND THE BEE Co mpact Disc 4046661031829 ARM251102 TARJA/COLOURS IN TH E DARK SPL Co mpact Disc 826992511023 SMCR5022 TAVARES/IN THE CITY (EXPANDED E C ompact Disc 5013929072237 SMCR5065 TAVARES/LOVE UPRISING (EXPANDED Com pact Disc 5013929076532 SMCR5064 TAVARES/MADAM BUTTERF LY(EXPAND Com pact Disc 5013929076433 SMCR5023 TAVARES/SKY HIGH (E XPANDED EDI C ompact Disc 5013929072336 SMCR5045 TAVARES/SUPERCHA RGED Compac t Disc 5013929074538 3753714 TAYLOR,R/THE LOT(12 CD+DVD) CD wi th DVD 602537537143 LFR1045 TC III/LIVE! MEGA JAZZ EXPLOSI Compact Disc 6069870024597 22247 19572 0 0 94633 75532 1 6 89230 01172 9 8 43930 01386 9 8 43930 00708 0 6 03967 12012 7 0 28945 41452 2 5 013929 077133 0 44001 93542 8 0 44007 43141 2 6 89230 00752 4 5 099750 784020 5 099750 784099 4 046661 127522 4 046661 031829 8 26992 51102 3 5 013929 072237 5 013929 076532 5 013929 076433 5 013929 072336 5 013929 074538 6 02537 53714 3 6 06987 00245 9 Page 76 of 217Catalogue NumberArtist / Title Config Scannable UPC UPCALPHABETICAL BY ARTIST / Alphabetique par artiste 445559 TE KANAWA,/DAME KIRI & FRIENDS Digital Video Disc 724354455599 511955 TEA LEAF GREEN/RAISE UP THE TE Compact Disc 640424999919 2451388 TEA L EAF GREEN/SEEDS(3 CD) Compact Disc 640424999940 2511100 TEA LEAF GREEN/TAUGHT TO BE PR Compact Disc 640424999933 B000567509 TEARSFORFEARS/SCENES FROM THE Digital Video Disc 602498342725 4753972 TEBALDI,R/CL ASSIC RECITALS Co mpact Disc 028947539728 B000037802 TEITUR/POETRY AND AEROPLANES Compact Disc 044003848825 4630742 TELEMANN/STRING CO NCERTOS Com pact Disc 028946307427 DEMUS003 TEMPLE OF BRUTALITY/LETHAL AGE Compact Disc 893776001032 B000945102 TEMPTATIONS,THE/BACK TO FRONT Compact Disc 602517401983 105722 TEN/HERESY AND CREED Compact Disc 8024391057223 4744382 TERFEL,B/BRYN TERFEL SINGS FAV Compact Disc 028947443827 IPC167 TETEMA/GEOCIDAL Compact Disc 689230016724 RPMSH238 TEX,J/HAPPY SOUL/B UYING A BOOK Co mpact Disc 5013929523821 SHOUT76 TEX,J/SINGLES A'S & B'S VOL.4 Compact Disc 5013929507623 CD83624 THACKERY,J/HEALIN' GROUND Com pact Disc 089408362422 AZ1101132100 THEO SAMPEL/SAMPEL THIS Compact Disc 711574601325 PR20 THEODORE/TEARS FROM A GLASS EY Com pact Disc 077712000208 DR2CD009 THERAPY?/CROOKED TIMBER Compact Disc 5060011195091 BLASTCD001 THERAPY?/WE'RE HERE TO THE END Compact Disc 5065001991004 0114311172 THEY MIGHT BE GIANTS/THE ELSE Compact Disc 601143111723 CUNCD750113 THINKING PLAGUE/IN EXTREMIS Com pact Disc 045775011325 497182 THOMPSON, /TEDDY THOMPSON Compact Disc 7243849718237 24354 45559 9 6 40424 99991 9 6 40424 99994 0 6 40424 99993 3 6 02498 34272 5 0 28947 53972 8 0 44003 84882 5 0 28946 30742 7 8 93776 00103 2 6 02517 40198 3 8 024391 057223 0 28947 44382 7 6 89230 01672 4 5 013929 523821 5 013929 507623 0 89408 36242 2 7 11574 60132 5 0 77712 00020 8 5 060011 195091 5 065001 991004 6 01143 11172 3 0 45775 01132 5 7 24384 97182 3 Page 77 of 217Catalogue NumberArtist / Title Config Scannable UPC UPCALPHABETICAL BY ARTIST / Alphabetique par artiste ACD76192 THOMPSON,D/SCHWAGER,D/O NE TAKE Compact Disc Enhanced 880504761924 IC7016 THOMPSON,L/LUCKY THOMPSON Compact Disc 077712770163 463292 THOROGOOD,/LIVE Compact Disc 077774632928 1166116142 THOROGOOD,G&THEDESTROYE RS/WHO Com pact Disc 011661161429 B000634302 THRICE/RED SKY - EP Compact Disc EP's 602498520376 KFR788379 THROWRAG/THE SHOW MUST GO(DVD Digital Video Disc 610337883797 DEMCD155 TIGERTAILZ/BEZ ERK II Compact Disc 5060011191550 CJ25 TIM LAUGHLIN S N/NE W ORLEANS Compact Disc 077712700252 IPC103 TIPSY/BUZZZ Compact Disc 689230010326 500052M TM JUKE/M APS FROM THE WILDE RNE Compact Disc 827655000526 MA250198 TOGNONI,R/CAPITAL WAH Compact Disc 5413992501984 RGM0069 TOKENS,THE/IT'S A HAPPENING WO Co mpact Disc 848064000693 4702550 TOKIO HOTEL/KINGS OF SUBURBIA Compact Disc 602547025500 319257 TOM FUN OR/EARTHWORM HEART Compact Disc 793573192578 IPC89 TOMAHAWK/ANONYMUS Compact Disc 689230008927 IPC142 TOMAHAWK/ODDFELLOWS Compact Disc 689230014225IPC141 TOMAHAWK/STONE LETTER Compact Disc 689230014119 IPC18 TOMAHAWK/TOMAHAWK Compact Disc 689230001829 B002168902 TOMLIN,C/LOVE RAN RED Compact Disc 5099908332929 3145310422 TONIC/LEMON PARADE Compact Disc 731453104228 MOTORCD1033 TORMES,L/LIMELIGHT Compact Disc 844493010333 779299 TOSH, PETE/COMPLETE - CAPTURED Digital Video Disc 724347792991 TML009 TOURNAMENT/SWORDSWA LLOWER Compact Disc 8818211309298 80504 76192 4 0 77712 77016 3 0 77774 63292 8 0 11661 16142 9 6 02498 52037 6 6 10337 88379 7 5 060011 191550 0 77712 70025 2 6 89230 01032 6 8 27655 00052 6 5 413992 501984 8 48064 00069 3 6 02547 02550 0 7 93573 19257 8 6 89230 00892 7 6 89230 01422 5 6 89230 01411 9 6 89230 00182 9 5 099908 332929 7 31453 10422 8 8 44493 01033 3 7 24347 79299 1 8 81821 13092 9 Page 78 of 217Catalogue NumberArtist / Title Config Scannable UPC UPCALPHABETICAL BY ARTIST / Alphabetique par artiste 8088905818 TRAGICALLY HIP/FULLY COM(CD+T Compact Disc 680889058189 AFM0432 TRANTULA/DREAM MAKER Com pact Disc 4009880467428 200278B TRAPT/REBORN(DLX) Compact Disc 852362002785400232A TRAVERS, P/GREATEST HITS LI VE Compac t Disc 826784002326 IPC52 TREVORDUNNSTRIO/SISTE R PHANTOM Com pact Disc 689230005223 780043 TRIANGLE/JAI VU Compact Disc 3700477800437780034 TRIANGLE/TRIANGLE Compact Disc 3700477800345 300059B TRIBECA/DRAGON DOWN Compact Disc 7332233000599300025B TRIBECA/KATE-97 Compact Disc 7332233000254 300051 TRIBECA/SOLITUDE Compact Disc 7332233000513 300029B TRIBECA/SUN ALWAYS SHINES ON T Compact Disc 7332233000292 CDROUN11508 TRISCHKA, TONY /DUS T ON THE NE Co mpact Disc 011661150829 KFR788392 TSUNAMI BOMB/LIVE AT THE GL(DV Digital Video Disc 610337883995 HARV0050 TURMOIL/FRAGMENTS OF SUFFERING Compact Disc 881821712125 CL022011 TURNER BRAD Q/ITS THAT TIME Compact Disc 875531007169 B002201710 TWAIN,S/STILL THE ONE L(CD+DVD CD with DVD 602547038371 DEMOUS004 TWISTED SISTER/LI VE AT THE AST CD with DVD 667348100023 B001630502 TYGA/C ARELESS WORLD C ompact Disc 602527874463 848064000228 TYMES,TH E/SO MUCH IN LO VE Compac t Disc 848064000228 B000657302 TYNER,M/THE IMPULSE STORY Compact Disc 602498551172 AFM2589 U.D.O./DOMINATOR LTD. DIGI Compact Disc 884860006224 AFM1599 U.D.O./MASTERCUTOR (LTD.EDIT) Compact Disc 4046661056594 AFM2863 U.D.O./MISSION X SPECIAL PACK Com pact Disc 8848600052276 80889 05818 9 4 009880 467428 8 52362 00278 5 8 26784 00232 6 6 89230 00522 3 3 700477 800437 3 700477 800345 7 332233 000599 7 332233 000254 7 332233 000513 7 332233 000292 0 11661 15082 9 6 10337 88399 5 8 81821 71212 5 8 75531 00716 9 6 02547 03837 1 6 67348 10002 3 6 02527 87446 3 8 48064 00022 8 6 02498 55117 2 8 84860 00622 4 4 046661 056594 8 84860 00522 7 Page 79 of 217Catalogue NumberArtist / Title Config Scannable UPC UPCALPHABETICAL BY ARTIST / Alphabetique par artiste AFM0707 U.D.O./NAILED TO METAL (DVD+CD CD with DVD 5099720216896 B000570909 U2/VERTIGO//2005;LIVE FROM CHI Digital Video Disc 602498746448B000571049 U2/VERTIGO//2005;LIVE FROM(DEL Digital Video Disc 602498746431 5548982 ULTRAVOX/THE ISLAND YEARS Compact Disc 731455489828 110322C UNCLE WALT/GIRL ON TH E SUNNY S Com pact Disc 015891103228 KFR788352 UNDERMINDED/HAIL UNAMERICAN Com pact Disc 610337883520 NPR518LTD UNGUIDED,THE/FRAGIL E IMMORTALI Compact Disc 819224018056 CRTREE005 UNICORN/UPHILL A LL THE WAY Compact Disc 5013929690523 UWR026 UNITE.RESIST./UNITE .RESIST. Compact Disc 665776125540 IPC85 UNSANE/VISQU EEN Compact Disc 689230008521 IPC156 UNSEMBLE,THE/THE UNSEMBLE Compact Disc 689230015628 MOONCD102 UPSESSIONS,THE/THE NEW HEAVYWE Co mpact Disc 664813310222 802372A UPSETTERS /DOUBLE SEVEN Co mpact Disc 060768023727 B001911302 URBAN,K/FUSE(DLX) Compact Disc 602537515776 IC1036 URBANIAK,M/URBANIAK Compact Disc 077712710367 HYP8264 URE,M/10 Compact Disc 4011586826423HYP6249 URE,M/MOVE ME+ (2CD SET) Compact Disc 4011586624920HYP5235 URE,M/RELIVE-THE DV D SOUNDTRA Com pact Disc 4011586523520 EARCD613442 URIAH HEEP/CELEBRATION(RE G ED) Compact Disc 628586134423 400132B URIAH H EEP/GREATEST HITS LI VE Compac t Disc 826784001329 EARCD613470 URI AH HEEP/LIVE AT SWEDEN ROCK Com pact Disc 628586134706 723812 URIAH H EEP/WONDERWORLD Co mpact Disc 823107238127 8122982 URIAH-H EEP/THE MAGICIAN'S BIRT Compac t Disc 0422812298245 099720 216896 6 02498 74644 8 6 02498 74643 1 7 31455 48982 8 0 15891 10322 8 6 10337 88352 0 8 19224 01805 6 5 013929 690523 6 65776 12554 0 6 89230 00852 1 6 89230 01562 8 6 64813 31022 2 0 60768 02372 7 6 02537 51577 6 0 77712 71036 7 4 011586 826423 4 011586 624920 4 011586 523520 6 28586 13442 3 8 26784 00132 9 6 28586 13470 6 8 23107 23812 7 0 42281 22982 4 Page 80 of 217Catalogue NumberArtist / Title Config Scannable UPC UPCALPHABETICAL BY ARTIST / Alphabetique par artiste 4400148322 US3/AN O RDINARY DAY IN A UNUSA Compac t Disc 044001483226 KFR787852 U SELESS ID/BAD STORY H APPY END Com pact Disc 610337878526 KFR788062 U SELESS ID/NO VACATION FR OM TH Compact Disc 610337880628 KFR788342 U SELESS ID/REDEMPTIO N Compact Disc 610337883421 300269 USHER/LIVE IN CONCERT- 8701 EVO Digital Video Disc 801213002696 BURN005 VAGABOND OPERA/SING FOR YOUR L Compact Disc 751937412823 INN0302 VAIL,G/SMOOTH JAZZ CLASSICS Com pact Disc 809931021050 INN0301 VAILG/EMOTION Compact Disc 809931022019 CRSEG007 VALENTINE,H/ALL IN YOUR HEAD Com pact Disc 5013929180727 CDROUN8083 VALERI, MICHELE/THE GREAT DINO Co mpact Disc 011661808324 NPR525 VAN CANTO/DAWN OF THE BRAVE Compact Disc 819224018001 539302 VAN ZANDT,/HIGH, LOW A ND IN BE Com pact Disc 724385393020 KFR787782 VANDALS,THE/FEAR OF A PUNK PLA Compact Disc 610337877826KFR788292 VANDALS,THE/HOLLYWOOD POTATO C Compact Disc 610337882929KFR787962 VANDALS,THE/INTERNET DATING SU Co mpact Disc 610337879622 KFR788229 VANDALS,THE/LIVE AT TH E HOU(DV Digital Video Disc 610337882295 KFR788222 VANDALS,THE/LIVE AT THE(CD+DVD CD with DVD 610337882226 KFR787772 VANDALS,THE/OI TO TH E WORLD RE Co mpact Disc 610337877727 KFR787989 VANDALS,THE/OI TO THE WORLD(DV Digital Video Disc 610337879899 KFR58621 VANDALS,THE /PEACE THRU VAND(LP Compact Disc 610337586216 KFR787762 VANDALS,THE/PLAY REALLY BAD OR Compact Disc 610337877628KFR788442 VANDALS,THE/SHIN GO REMIXES Compact Disc 610337884428 KFR787712 VANDALS,THE/SWEATIN TO THE VAN Compact Disc 6103378771230 44001 48322 6 6 10337 87852 6 6 10337 88062 8 6 10337 88342 1 8 01213 00269 6 7 51937 41282 3 8 09931 02105 0 8 09931 02201 9 5 013929 180727 0 11661 80832 4 8 19224 01800 1 7 24385 39302 0 6 10337 87782 6 6 10337 88292 9 6 10337 87962 2 6 10337 88229 5 6 10337 88222 6 6 10337 87772 7 6 10337 87989 9 6 10337 58621 6 6 10337 87762 8 6 10337 88442 8 6 10337 87712 3 Page 81 of 217Catalogue NumberArtist / Title Config Scannable UPC UPCALPHABETICAL BY ARTIST / Alphabetique par artiste KFR787719 VANDALS,THE/SWEATIN TO THE(DVD Digital Video Disc 610337877192 KFR788422 VANDALS,THE/WHEN IN ROME Compact Disc 610337586124 SACD60571 VAR/A CELT IC SPECTACULAR SASACD4Stereo/Surround/CDA ud089408057106 3020606372 VAR/A W EEKEND IN PARIS Co mpact Disc 030206063721 3020608692 VAR/ALL STAR TRANCE Compact Disc 030206086928 4775384 VAR/AMERICAN CONTEMPO RARIES Compact Disc 028947753841 B000835309 VAR/AMERICAN FOLK BLUES VOL.4 Digital Video Disc 602517205888 CDSGP4019 VAR/BACK TO THE 50'S (CDX4) Compact Disc 5032427401929 CDED7053 VAR/BAYOU BEAT Compac t Disc 712136705321 PROPERBOX10 VAR/BEBOP SPO KEN HERE Com pact Disc 604988991024 TMI922 VAR/BENEATH THE TIDES Compact Disc 881821119221 TPDVD125 VAR/BENJAMIN BRITTIN: A TIME TH Digital Video Disc 604388711109 43704 VAR/BEST OF CHRISTMAS CHILLOUT Compact Disc 096741226021 3020608172 VAR/BHANGRA DANCE HITS Co mpact Disc 030206081725 MAD115 VAR/BLOW YOUR HEAD-DIPLO PRESE Compact Disc 891063002359 1166116162 VAR/BLU EGRASS MOUNTAIN ST YLE Compact Disc 011661161627 1166105312 VAR/BLU EGRASS NUMBER 1' S Compact Disc 011661053120 7697425492 VAR/BORROWED TUNES II- A TRIBUT Compact Disc 776974254922 3020606112 VAR/B REAKFAST CLUB PAR IS Compact Disc 030206061123 3145609852 VAR/BUMP N' GRIND 3 Compact Disc 7314560985243020607512 VAR/CAFE EUROPA Compact Disc 0302060751203020604212 VAR/CAFE ROMA 2 Compact Disc 0302060421221213670772 VAR/C AJUN HEAT, ZYDECO BEAT Compac t Disc 7121367077216 10337 87719 2 6 10337 58612 4 0 89408 05710 6 0 30206 06372 1 0 30206 08692 8 0 28947 75384 1 6 02517 20588 8 5 032427 401929 7 12136 70532 1 6 04988 99102 4 8 81821 11922 1 6 04388 71110 9 0 96741 22602 1 0 30206 08172 5 8 91063 00235 9 0 11661 16162 7 0 11661 05312 0 7 76974 25492 2 0 30206 06112 3 7 31456 09852 4 0 30206 07512 0 0 30206 04212 2 7 12136 70772 1 Page 82 of 217Catalogue NumberArtist / Title Config Scannable UPC UPCALPHABETICAL BY ARTIST / Alphabetique par artiste KFR787959 VAR/C AKEBOY(DVD) Digita l Video Disc 610337879592 CDROUN1728 VAR/CARIBBEAN VOYAGE :GRENADA:C Co mpact Disc 011661172821 CD83473 VAR/CELEBRATING THE MUSIC OF Compact Disc 089408347320 CMCD002 VAR/CELTIC T HUNDER Compac t Disc 602517665620 CMCD001 VAR/CELTIC T HUNDER Compac t Disc 602517624504 B001160602 VAR/C ELTIC THUNDER ACT TWO Compact Disc 602517781900 CMDVD002 VAR/CELTIC THUNDER TH E SHOW Digita l Video Disc 602517665637 DIS607797 VAR/CHILDREN'S F AVOURITES Compact Disc 050086077977 22454 VAR/CHRISTMAS FI ESTA Compac t Disc 096741020421 34161 VAR/CHRISTMAS LULL ABIES Compac t Disc 096741111228 COZ17452 VAR/CLASSICAL LOVE Compac t Disc 795041745224 CCDCD5304 VAR/COLORS OF LATI N JAZZ:SABRO Com pact Disc 013431530428 4756780 VAR/DECCA & PHILIPS REC:1951-6 Compact Disc 028947567806 B002148602 VAR/DEF JAM 30TH ANN(3CD+T SHI Compact Disc 602537969654 0734068 VAR/DER RING DES NIBELUNG EN TH Digital Video Disc 044007340684 3020604012 VAR/D ESERT GROOVES Co mpact Disc 030206040128 3020606512 VAR/D ESERT GROOVES 2 C ompact Disc 030206065121 D4K37441 VAR/DOCTORS PROFESSORS KING S Compact Disc 826663744125 SACD60600 VAR/EPICSSACD4Stereo/Surround/CDA ud089408060069 MWM5617 VAR/ESSENCE MUSIC F ESTIVAL V3 DV D + BN S CD 879645001617 3020607222 VAR/ ESSENTIAL COLLECTIO N 2 Compact Disc 030206072228 D000563102 VAR/FAMILY JAMS 3 Compact Disc 050087160142 KFR787899 VAR/FEAR OF A PUNK PLAN V1(DVD Digital Video Disc 6103378789916 10337 87959 2 0 11661 17282 1 0 89408 34732 0 6 02517 66562 0 6 02517 62450 4 6 02517 78190 0 6 02517 66563 7 0 50086 07797 7 0 96741 02042 1 0 96741 11122 8 7 95041 74522 4 0 13431 53042 8 0 28947 56780 6 6 02537 96965 4 0 44007 34068 4 0 30206 04012 8 0 30206 06512 1 8 26663 74412 5 0 89408 06006 9 8 79645 00161 7 0 30206 07222 8 0 50087 16014 2 6 10337 87899 1 Page 83 of 217Catalogue NumberArtist / Title Config Scannable UPC UPCALPHABETICAL BY ARTIST / Alphabetique par artiste NR031 VAR/FOURPLAY V1 Compact Disc 628740816325 CD80432 VAR/FROM THE HEART: ITALIAN AR Compact Disc 089408043222 200262 VAR/GOT BLUES Compact Disc 826992002620 4767064 VAR/GRIEG;GREATEST HITS Compact Disc 028947670643 1166176492 VAR/HEAD SHOT:INSTRUMENTALS,DU Compact Disc 011661764927 5345685 VAR/HENRI DUTILLEUX ED ITIO(6CD Compact Disc 600753456859 CDAN1617 VAR/HILLS OF HOME 25YRS FOLK M Compact Disc 011661851627 B000668002 VAR/HOUSE THAT TRANE BUILT(4CD Compact Disc 602498562833 TSQ2981 VAR/I HEARD THE ANGE LS SI(4CD) Compact Disc 894807002981 3020607322 VAR/IBIZA REVISITED Compact Disc 030206073225 5422882 VAR/JAZZLAND REMIXED Compact Disc 7314542288240690282 VAR/JAZZLAND REMIXED 2 Compact Disc 044006902821 CRP050 VAR/LAST STAKE HAS BEEN DRIVEN Com pact Disc 600668700023 USP20003 VAR/LCBO:SUMMER ENTE RTAINING Com pact Disc 776974316927 DDN22088 VAR/LES 15 ANS DU 6 A 6-ANGLOP Compact Disc 619061208821DDN22086 VAR/LES 15 ANS DU 6 A 6-FRANCO Compact Disc 619061208623 LFJ1010 VAR/LIFE FORCE JAZZ & BLU(2 CD Compact Disc 606987001025 22474 VAR/LITTLE ANGELS Compact Disc 096741021428 0881129032 VAR/LYRICIST LOUNGE VOL.1 Compact Disc 008811290320 7769 VAR/MUCH MORE POWER HO UR KARAO Com pact Disc 884739776920 KFR787732 VAR/NO STARS JUST TALENT Compact Disc 610337877321 1166105062 VAR/O SISTER 2:WOMEN BLUEGRASS Compact Disc 011661050624 OMM303462 VAR/OM LOUNGE V8 Compact Disc 6003530346246 28740 81632 5 0 89408 04322 2 8 26992 00262 0 0 28947 67064 3 0 11661 76492 7 6 00753 45685 9 0 11661 85162 7 6 02498 56283 3 8 94807 00298 1 0 30206 07322 5 7 31454 22882 4 0 44006 90282 1 6 00668 70002 3 7 76974 31692 7 6 19061 20882 1 6 19061 20862 3 6 06987 00102 5 0 96741 02142 8 0 08811 29032 0 8 84739 77692 0 6 10337 87732 1 0 11661 05062 4 6 00353 03462 4 Page 84 of 217Catalogue NumberArtist / Title Config Scannable UPC UPCALPHABETICAL BY ARTIST / Alphabetique par artiste 300579 VAR/OUT OF IRELAND-FROM A WHIS Digital Video Disc 801213005796 MVDV4915 VAR/PAGAN METAL:A DOCUMENTARY Digital Video Disc 760137491590 PCC4911 VAR/PLATINUM CHRISTM AS COLLECT Com pact Disc 884739491120 4PRCD4426 VAR/PRESTIGE RECO RDS STORY Com pact Disc 025218442626 3020604332 VAR/P UER TECHNO 2 C ompact Disc 030206043327 KFR788322 VAR/PUNK ROCK IS YO UR FRIEN V5 Co mpact Disc 610337883223 KFR788512 VAR/PUNK ROCK IS YO UR FRIEN V6 Co mpact Disc 610337885128 KFR787932 VAR/PUNK ROCK IS YOUR FRIEND Co mpact Disc 610337879325 KFR788172 VAR/PUNK ROCK IS YOUR FRIEND V C ompact Disc 610337881724 BLK0055 VAR/PUNK ROCK JUKE BOX VOL 1 Compact Disc 823819005529 BLK0044 VAR/PUNK ROCK JUKE BOX VOL 2 Compact Disc 723631004420 B000719809 VAR/PURE 80'S VIDEO IDOLS Digital Video Disc 602498406540 3020605922 VAR/PURE FITNESS Compact Disc 0302060592293020606312 VAR/PURE PUNJABI Compact Disc 030206063127 WMR286 VAR/PURE SPA TA HITI Compact Disc 065219428625 SVY17598 VAR/REBOP-TH E SAVOY REMIXES C ompact Disc 795041759825 NR004 VAR/RESISTOR Compact Disc 751937134725 1166132799 VAR/RO UNDER RECORDS 40TH(DVD) Digital Vi deo Disc 011661327993 KFR788309 VAR/ SECRET WEAPONS OF K V1 (DVD Digital Video Disc 610337883094 KFR788529 VAR/ SECRET WEAPONS OF K V3 (DVD Digital Video Disc 610337885296 KFR787949 VAR/ SECRET WEAPONS OF KUNG (DVD Digital Video Disc 610337879493 3020606612 VAR/ SENSUAL NIGHTS:THE ESSENTI Compac t Disc 030206066128 B002228002 VAR/SHADYXV Compact Disc 6025470690098 01213 00579 6 7 60137 49159 0 8 84739 49112 0 0 25218 44262 6 0 30206 04332 7 6 10337 88322 3 6 10337 88512 8 6 10337 87932 5 6 10337 88172 4 8 23819 00552 9 7 23631 00442 0 6 02498 40654 0 0 30206 05922 9 0 30206 06312 7 0 65219 42862 5 7 95041 75982 5 7 51937 13472 5 0 11661 32799 3 6 10337 88309 4 6 10337 88529 6 6 10337 87949 3 0 30206 06612 8 6 02547 06900 9 Page 85 of 217Catalogue NumberArtist / Title Config Scannable UPC UPCALPHABETICAL BY ARTIST / Alphabetique par artiste HVBX005 VAR/SOCA GOLD 2( 3CD) Compact Disc 5035980113926 TSCD918 VAR/SONGS & DANCES FROM PAPUA Com pact Disc 714822091824 33480 VAR/SONGS FROM THE NORTH POLE Compact Disc 096741104527 STX3599102 VAR/STAX SOUL SINGLES V 3(10CD Compact Disc 888072359918 333209 VAR/STRAT PACK - BLU-RAY BLU RAY 801213332090 SUMDV011 VAR/SUMMER SLAUGHTE R(DVD) Digital Video Disc 894587001112 8216118322 VAR/T ALAN LOMAX:DEEP RI VER:V2 Compac t Disc 682161183220 3020606262 VAR/TANTRA LOUNGE VOLUME 4 Compact Disc 030206062625 KFR787802 VAR/THAT DARN PUNK Compact Disc 610337878021 B000246009 VAR/T HE BEST OF LADIES OF THE Digital Video Disc 602498189221 SHOUT62 VAR/THE GOSPEL SOUND Com pact Disc 5013929506220 848064000235 VAR/THE RE D BIRD GIRLS C ompact Disc 848064000235 PWMG5007 VAR/THE TRADITIONAL SONGS Compact Disc 096094500724 ARMA346 VAR/TRANCE 100 2013 VOL 1(4 CD Compact Disc 8718522011498 CD80281 VAR/TRAVELIN'LIG HT Compact Disc 089408028120 3020605222 VAR/T UNNEL TRANCE FORCE AM ERIC Compac t Disc 030206052220 UWR002 VAR/UNIVERSAL WARNING RECORDS Com pact Disc 022891003021 CDHBAN024 VAR/URBAN BEAT REGG AE/MASSIVE Com pact Disc 011661852426 2061623982 VAR/VERONICA GUERIN Compact Disc 7206162398221166177192 VAR/VERSION DREAD Compact Disc 0116617719253020608732 VAR/VIN - LE LOUNGE Compact Disc 0302060873213020606492 VAR/W EEKEND IN IBIZA C ompact Disc 030206064926 3020604412 VAR/WHITE MARTINI Compact Disc 0302060441265 035980 113926 7 14822 09182 4 0 96741 10452 7 8 88072 35991 8 8 01213 33209 0 8 94587 00111 2 6 82161 18322 0 0 30206 06262 5 6 10337 87802 1 6 02498 18922 1 5 013929 506220 8 48064 00023 5 0 96094 50072 4 8 718522 011498 0 89408 02812 0 0 30206 05222 0 0 22891 00302 1 0 11661 85242 6 7 20616 23982 2 0 11661 77192 5 0 30206 08732 1 0 30206 06492 6 0 30206 04412 6 Page 86 of 217Catalogue NumberArtist / Title Config Scannable UPC UPCALPHABETICAL BY ARTIST / Alphabetique par artiste 780046 VARIATION S/TAKE IT OR LEAVE IT Compact Disc 3700477800468 300034B VARIOUS AR/3.. Compact Disc 7332233000346300065B VARIOUS AR/4 Compact Disc 7332233000650 170502 VARIOUS AR /BEST OF THE BIG BAN Compac t Disc 014921705029 949552 VARIOUS AR/BLUE NOTE PLAYS THE Compact Disc 724359495521605642 VARIOUS AR /CELTIC VOYAGE- CDN C Compact Disc 724386056429 795792B VARIOUS AR/CONCERTS FO R A LAND Compact Disc 015707957922 545022B VARIOUS AR/CUBA:I AM TIME(4 CD Compact Disc 085365450226 086792 VARIOUS AR/DAN IN REAL LIFE SN Compact Disc 5099950867929 302322B VARIOUS AR/DANCE PARTY 2009 Compact Disc 812623023225302212B VARIOUS AR/EZ ROCK PRES:STU 97 Compact Disc 812623022129 900012C VARIOUS AR/HIGH TIMES PRE:RIP Compact Disc 805239000124 838170 VARIOUS AR/HYMNS:ANCI ENT AND M Compact Disc 724358381702 635902 VARIOUS AR/IMPOSSIBLE ARK:A CO Compact Disc 5060006359026 797352C VARIOUS AR/IT'LL COME TO YOU:S Compact Disc 015707973526 302202B VARIOUS AR/JEWEL PRESENTS:T IME Compact Disc 812623022020 300021 VARIOUS AR/LABRADOR KINGSIZE Compact Disc 7332233000216 100772B VARIOUS AR/MON O-WHEN SHAPES JO Compact Disc 5050491007724 737742C VARIOUS AR/NOW CO UNTRY 7 Com pact Disc 5099997377429 990049 VARIOUS AR/P UPPETRY OF THE PEN Digital Vi deo Disc 805239900493 302432B VARIOUS AR/ROCK PARTY ANTHEMS Compact Disc 812623024321633732B VARIOUS AR/SHAPES ( 2007) Compact Disc 5060006337321 635052B VARIOUS AR/SHAPES 08:01 Co mpact Disc 50600063505283 700477 800468 7 332233 000346 7 332233 000650 0 14921 70502 9 7 24359 49552 1 7 24386 05642 9 0 15707 95792 2 0 85365 45022 6 5 099950 867929 8 12623 02322 5 8 12623 02212 9 8 05239 00012 4 7 24358 38170 2 5 060006 359026 0 15707 97352 6 8 12623 02202 0 7 332233 000216 5 050491 007724 5 099997 377429 8 05239 90049 3 8 12623 02432 1 5 060006 337321 5 060006 350528 Page 87 of 217Catalogue NumberArtist / Title Config Scannable UPC UPCALPHABETICAL BY ARTIST / Alphabetique par artiste 000724 VARIOUS AR /SHAPES ONE HORIZO NT Compact Disc 8276550007246 632742B VARIOUS AR/SHAPES RED C ompact Disc 5060006327421 302762B VARIOUS AR/SUMMER HITZ Compact Disc 812623027629 515016 VARIOUS AR/TRU THOUGH TS 10TH A Compact Disc 5060205150165 302752B VARIOUS AR/ULTIMATE HITZ Compact Disc 812623027520 CDEDIS7063 VARIOUS ARTISTS/ BLUES GUMBO Compact Disc 712136706328 CDHBEA86 VARIOUS ARTISTS/SKA BONANZA -- Co mpact Disc 011661758629 CRP041 VARIOUS CREEP RECORDS / DESTROY Com pact Disc 121097004129 300052G VARIOUS/LABRADOR KINGSIZE V2 Compact Disc 7332233000520 200222E VARIOUS/PL EA FOR PEACE/TAKE V2 Compact Disc 790692002221 200352E VARIOUS/T AKE ACTION! VOLUME 6 CD with DVD 790692003525 473426 VARIOUS/WHEN SHAPES JOIN TOG/ 2 Compact Disc 5037454734262 100182F VARIOUS/WHE N SHAPES JOIN TOG/ 3 Compact Disc 5050491001821 781983 VARTAN,S/2 MN 35 DU BO NHEUR 19 Com pact Disc 3700477819835 781989 VARTAN,S/A DOPPIA COPPIA Compact Disc 3700477819897780264 VARTAN,S/A LOLYMPIA 1970 Compact Disc 3700477802646781992 VARTAN,S/A LOLYMPIA 1972 Compact Disc 3700477819927781991 VARTAN,S/AIME MOI Compact Disc 3700477819910781984 VARTAN,S/BIENVENUE SO LITUDE Compact Disc 3700477819842 780265 VARTAN,S/ CANTA EN ESPANOL Compact Disc 3700477802653 781985 VARTAN,S/COMME UN GARCON 1967 Compact Disc 3700477819859782000 VARTAN,S/DANCING STAR Compact Disc 3700477820008 781988 VARTAN,S/DE CHOSES ET DAUTRE S Compact Disc 37004778198808 276550 007246 5 060006 327421 8 12623 02762 9 5 060205 150165 8 12623 02752 0 7 12136 70632 8 0 11661 75862 9 1 21097 00412 9 7 332233 000520 7 90692 00222 1 7 90692 00352 5 5 037454 734262 5 050491 001821 3 700477 819835 3 700477 819897 3 700477 802646 3 700477 819927 3 700477 819910 3 700477 819842 3 700477 802653 3 700477 819859 3 700477 820008 3 700477 819880 Page 88 of 217Catalogue NumberArtist / Title Config Scannable UPC UPCALPHABETICAL BY ARTIST / Alphabetique par artiste 781986 VARTAN,S/DERAISO NNABLE Compact Disc 3700477819866 782002 VARTAN,S/DES HEURES DE DESIR Compact Disc 3700477820022 782005 VARTAN,S/FANTAISIE Compact Disc 3700477820053782003 VARTAN,S/GEORGES Compact Disc 3700477820039782007 VARTAN,S/I DONT WANT THE NIGHT Compact Disc 3700477820077 781995 VARTAN,S/JAI UN PROBLEME Compact Disc 3700477819958780263 VARTAN,S/JE CHANTE PO UR SWANEE Com pact Disc 3700477802639 781987 VARTAN,S/LA MARITZA Compact Disc 3700477819873782013 VARTAN,S/LA REINE DE SABA Co mpact Disc 3700477820138 781994 VARTAN,S/LI VE IN JAPAN Co mpact Disc 3700477819941 782006 VARTAN,S/LIVE IN LAS VEGAS Compact Disc 3700477820060781998 VARTAN,S/PALAIS DES CONGRES 75 Compact Disc 3700477819989782004 VARTAN,S/PALAIS DES CONGRES 77 Compact Disc 3700477820046782012 VARTAN,S/PALAIS DES CONGRES 83 Compact Disc 3700477820121782010 VARTAN,S/PALAIS DES SPORTS 81 Compact Disc 3700477820107781990 VARTAN,S/P UNTO E BASTA Com pact Disc 3700477819903 782001 VARTAN,S/QUESTCE QUI FAIT PLEU Compact Disc 3700477820015781997 VARTAN,S/SHANG SHANG A LANG Compact Disc 3700477819972781999 VARTAN,S/SHOW SYLVIE VARTAN Compact Disc 3700477819996780258 VARTAN,S/SYLVIE Compact Disc 3700477802585781993 VARTAN,S/SYLVIE A TOKYO Compact Disc 3700477819934780266 VARTAN,S/SYMPATHIE Compact Disc 3700477802660780267 VARTAN,S/TA SORCIERE BIEN AIME Compact Disc 37004778026773 700477 819866 3 700477 820022 3 700477 820053 3 700477 820039 3 700477 820077 3 700477 819958 3 700477 802639 3 700477 819873 3 700477 820138 3 700477 819941 3 700477 820060 3 700477 819989 3 700477 820046 3 700477 820121 3 700477 820107 3 700477 819903 3 700477 820015 3 700477 819972 3 700477 819996 3 700477 802585 3 700477 819934 3 700477 802660 3 700477 802677 Page 89 of 217Catalogue NumberArtist / Title Config Scannable UPC UPCALPHABETICAL BY ARTIST / Alphabetique par artiste 781996 VARTAN,S/VIRAGE Compact Disc 3700477819965 VC20504 VAUGHAN,S & WASHINGT ON,D/VINTA Co mpact Disc 884739050426 3145181992 VAUGHAN,S/JAZZ MASTERS V18 Compact Disc 731451819926 WR4623 VAYENAS,N/NICK VAYENAS Compact Disc 884501699426 SMCR5016 VEGA,T/FULL SPEED AHEAD (EXP E Compact Disc 5013929071636 DEMCD105 VEIL OF SORROW/DARK RIVERS OF Compact Disc 5060011191055 730102B VENOM/PO SSESSED Com pact Disc 823107301029 CRP104 VENOMOUS/PRESERVED EM ERGENCIES Com pact Disc 881182010427 IPC51 VENOMOUSCONCEPT/RET ROACTIVE AB Compact Disc 689230005124 559062 VENTURES, /ALL-TIME GREATEST H Compact Disc 724385590627328202 VENTURES, /L IVE IN JAPAN Co mpact Disc 724383282029 CD80254 VERDI/SACRED PIECES/SHAWPSAL M Compact Disc 089408025426 KFR788572 VERSUS THE WORLD/VERSUS THE WO Compact Disc 610337885722 NPR219 VESANIA/DISTRACTIVE KILLUSION Com pact Disc 693723505824 UWR011 VICTIM OF MODERN AGE/CHANNELS Co mpact Disc 665776107423 IPC55 VINCENT&MRGREEN/VINCE NT & MR.G Compact Disc 689230005520 UM001 VINCENT,R/TAKEN Compact Disc 881034544094 CRP118 VIOLENT SOCIETY/WE DON'T BELIE Co mpact Disc 881821011822 5443812 VISAGE/THE DAMNED DO N'T CRY Com pact Disc 731454438124 KIN17597 VOLLENWEIDER,A/MAGI CAL JOURNEY Com pact Disc 795041759726 IPC73 VONSCHIRACH,O/MAXIPAD DETENTIO Co mpact Disc 689230007326 BLIS018 VOODOO CIRCLE/VOOD OO CIRCLE Compact Disc 896825002172 AFM2549 VOODOO CIRCLE/VOODOO CIRCLE (L Compact Disc 40466611437203 700477 819965 8 84739 05042 6 7 31451 81992 6 8 84501 69942 6 5 013929 071636 5 060011 191055 8 23107 30102 9 8 81182 01042 7 6 89230 00512 4 7 24385 59062 7 7 24383 28202 9 0 89408 02542 6 6 10337 88572 2 6 93723 50582 4 6 65776 10742 3 6 89230 00552 0 8 81034 54409 4 8 81821 01182 2 7 31454 43812 4 7 95041 75972 6 6 89230 00732 6 8 96825 00217 2 4 046661 143720 Page 90 of 217Catalogue NumberArtist / Title Config Scannable UPC UPCALPHABETICAL BY ARTIST / Alphabetique par artiste 4704432 WAGNER/DIE WALKURE Compact Disc 028947044321 1166190732 WAITE,J/DOWNTOWN:JO URNEY OF A Compact Disc 011661907324 SHOUT37 WALKER,T-BONE/GOOD FEELIN Compact Disc 5013929503724 CD80125 WALTON/SYMPHONY NO. 1 Compact Disc 089408012525 030006 WALTZ FOR /HE LOVES ANNA Compac t Disc 7392880300060 300073D WAN LIGHT/CARMALINE Compact Disc 7332233000735 300055B WAN LIGHT/LANDMARKS A ND HOUSE Com pact Disc 7332233000551 300056 WAN LIGHT/LETS WAKE UP SOMEWH Com pact Disc 7332233000568 300072G WAN LIGHT/THAT GRIM REALITY Compact Disc 7332233000728 782029 WANG CHUNG/MOSAI C Compact Disc 3700477820299 3711279 WARE,J/DEVOTION Compact Disc 602537112791 SJPCD034 WARHOUSE/WA RHOUSE Compac t Disc 5016272883420 SJPCD170 WARMAN,J/FROM THE JUNGLE TO TH Compact Disc 5055011701700 SMCR5053 WARWICK,D D/FOOLISH FOOL(EXPAN Compact Disc 5013929075337 SMCR5011D WARWICK,D/SINGS COLE PORTER/AQ Compact Disc 5013929071131 DR2CD012 WARWICK,R/BELFAST CONFETTI Compact Disc 5060011195121 UWR023 WATCHING THE MOON/ PERCEPTION I C ompact Disc 665776120422 82666311304 WATERS,M/LIVE AT CHICAGOFEST Digital Video Disc 826663113044 485322 WATSON, DA/EN DUO Compact Disc 068944853229 1167131309 WATSON,D/THE GUITAR ARTIST(DVD Digital Video Disc 0116713130921166104842 WAYFARING STRANGERS/SHIFTING S Compact Disc 011661048423 HNECD010 WAYSTED/VI CES Compact Disc 5013929911024 390849 W EBBER,A/MASTERPIECE-LIVE FROM CD with DVD 8012139084930 28947 04432 1 0 11661 90732 4 5 013929 503724 0 89408 01252 5 7 392880 300060 7 332233 000735 7 332233 000551 7 332233 000568 7 332233 000728 3 700477 820299 6 02537 11279 1 5 016272 883420 5 055011 701700 5 013929 075337 5 013929 071131 5 060011 195121 6 65776 12042 2 8 26663 11304 4 0 68944 85322 9 0 11671 31309 2 0 11661 04842 3 5 013929 911024 8 01213 90849 3 Page 91 of 217Catalogue NumberArtist / Title Config Scannable UPC UPCALPHABETICAL BY ARTIST / Alphabetique par artiste 236282 W EBBER,A/MASTERPIECE-LIVE FROM Compact Disc 766922362823 350059 W EBBER,AL/MASTERPIECE (DVD ) Digital Video Disc 801213500598 3145214492 W EBSTER,B/SOULVILLE Compact Disc 731452144928 CL091812 WEEDS,CORY/BILL CO/WITH BENEFI Compact Disc 884501835046 JATTA0052 WEEKES,T/ADOWA/LOVE, HERB AND Com pact Disc 603408100527 SMCR5070D WELLS,M/COMPLETE 20TH,THE(2CD Compact Disc 5013929077034 5678766633 WHITE ARROWS/DRY LAND IS NOT A Compact Disc 075678766633 549112 WHITE, KAR/CARPE DIEM Compact Disc 085365491120 FNZ900082 WHITE,A/BLACK DOVES Compact Disc 881159000826 3145381812 WHITE,B/HI S VERY BEST Com pact Disc 731453818125 B000394502 WHIT ESNAKE/DEFINITIVE COLLE CTI Compact Disc 075021035034 0881119602 WHO TH E/BBC SESSIONS C ompact Disc 008811196028 3747398 WHO,THE/TOMMY BLU RAY AUDIO 602537473984 AFM1362 WICKED WISDOM/WICKED WISDOM Compact Disc 4046661039627 PWWH0299 WIDE HIVE PLAYERS/WI DE HIVE PL Co mpact Disc 698873029626 CJ08 WILBER,B/NEW CLARINET IN TOWN Compact Disc 077712700085 485512A WILCOX, DA/BR EAKFAST AT THE CI Compact Disc 077774855129 CFU023 WILDE,K/KIM WILDE Compact Disc 850703003224CFU024 WILDE,K/SELECT Compact Disc 850703003231 CREEP066 WILLIAM'S EVE/FIRS T CLASS GUN Com pact Disc 685747025426 WR4616 WILLIAMS,J/ANOTHER TIME Compact Disc 884501499439 HM06562 WILLIAMS,S/UNDEFI NED Compact Disc 619586065626 TPDVD106 WILLIAMS,V/O THOU TR ANSCENDENT Digi tal Video Disc 6043886981277 66922 36282 3 8 01213 50059 8 7 31452 14492 8 8 84501 83504 6 6 03408 10052 7 5 013929 077034 0 75678 76663 3 0 85365 49112 0 8 81159 00082 6 7 31453 81812 5 0 75021 03503 4 0 08811 19602 8 6 02537 47398 4 4 046661 039627 6 98873 02962 6 0 77712 70008 5 0 77774 85512 9 8 50703 00322 4 8 50703 00323 1 6 85747 02542 6 8 84501 49943 9 6 19586 06562 6 6 04388 69812 7 Page 92 of 217Catalogue NumberArtist / Title Config Scannable UPC UPCALPHABETICAL BY ARTIST / Alphabetique par artiste OGL815862 WILLIS,W/ROCK & ROLL WILL NEVE Compact Disc 790058158623 327452 WILSON, NA/LUSH LIFE Compact Disc 724383274529962652 WILSON, NA/YESTERDAY LOVE SONG Compact Disc 077779626526 CDBEYE9534 WILSON, SMOKEY /SMOKE 'N' FIRE Compact Disc 011661953420 SMCR25010 WILSON,N/ALL IN LOVE IS FAIR/C Compact Disc 5013929071032 UWR020 WISDOM IN CHAINS/DIE FOR US LI Digital Video Disc 022891202097 UWR024 WISDOM IN CHAINS/WI SDOM IN CHA Co mpact Disc 665776121825 IC7014 WITHERSPOON,J/OLYMPIA CONCERT Com pact Disc 077712770149 3145302382 WONDER,S/CONVERSATION PLACE Compact Disc 731453023826 ISBCD2057 WOOD,R/SLIDE ON LIVE Compact Disc 068584205723 IC1002 WOODS,P/AND HIS EURO PEAN TIME Com pact Disc 077712710022 4433922 WORLD-OF/SOUSA MA RCHES Compac t Disc 028944339222 METALLIC013 WRATHFUL PLAGUE/THEE WITHIN TH Compact Disc 827166240626 DW0403 WRIGHT,D/AUTUMN DREAM S(DIGIPAC Compact Disc 854666004038 DW0402 WRIGHT,D/CHRISTMAS BY CANDLELI Com pact Disc 854666004021 DW0404 WRIGHT,D/CURTAIN CALL Compact Disc 854666004045 DW0405 WRIGHT,D/REMEMBERIN G CHRISTMAS Com pact Disc 854666004052 DW0407 WRIGHT,D/SHADO WS Compact Disc 854666004076 PWMJR055 WRONG OBJECT,THE/A FTER THE EXH Compact Disc 692287905521 GSE756 WU BLOCK/HIDDE N GEMS Compact Disc 887158746710 4800064 WUNDERLICH,F/ SACRED ARIAS C ompact Disc 028948000647 SERCD323029 WUTHERING HEIGH/FAR FROM THE M Compact Disc 763232302228 WYATT004 WYATT/SHOULDA BEEN HERE LAST N C ompact Disc 4885810149737 90058 15862 3 7 24383 27452 9 0 77779 62652 6 0 11661 95342 0 5 013929 071032 0 22891 20209 7 6 65776 12182 5 0 77712 77014 9 7 31453 02382 6 0 68584 20572 3 0 77712 71002 2 0 28944 33922 2 8 27166 24062 6 8 54666 00403 8 8 54666 00402 1 8 54666 00404 5 8 54666 00405 2 8 54666 00407 6 6 92287 90552 1 8 87158 74671 0 0 28948 00064 7 7 63232 30222 8 4 88581 01497 3 Page 93 of 217Catalogue NumberArtist / Title Config Scannable UPC UPCALPHABETICAL BY ARTIST / Alphabetique par artiste DEMCD114 WYKKED WYTCH/ANGELI C VENGEANCE Co mpact Disc 5060011191147 DEMCD137 WYKKED WYTCH/ NEFRET Com pact Disc 5060011191376 DEMCD102 WYKKED WYTCH/SOME THING WYKKED Co mpact Disc 5060011191024 44120 WYLDE BUNCH/WYLDE B UNCH(CDEP) Com pact Disc 640424412029 182732 WYNETTE, T/INSPIRATIONAL FAVOR Compact Disc 014921827325 DEMCD110 WYTCHFYNDE/THE AWAKENING Com pact Disc 5060011191109 NR045 XMH/STATE OF MIND Compact Disc 843310037027NR025 XP8/HRS MIN SEC Compact Disc 628740774021 MVDA4819 YAHOWA 13/SONIC PORTATION Compact Disc 760137481928 INN802 YANDELL,P/SOUL GRIND Compact Disc 823118999932 INN0801 YANDELL,P/THE WINDOW Compact Disc 823118999925 HUSA9097 YELLOWJACKETS/ALTERED STATESACD4Stereo/Surround/CDA ud053361909765 105204 YES/FLY FROM HERE( CD+DVD) CD wi th DVD 8024391052044 IPC34 YOSHIMI&YUKA/FLOWER WITH NO C0 Co mpact Disc 689230003427 IPC88 YOUNG GODS/SUPER READY/FRAGMEN Compact Disc 689230008828 RGM0066 YURO,T/THE COMPLETE LIBERT(2CD Compact Disc 848064000662 182632C ZAMFIR/SONGS OF ROMANCE, V.I Compact Disc 014921826328 182642B ZAMFIR/SONGS OF ROMANCE, V.II Compact Disc 014921826427 4698422 ZELENKA/ORCH ESTRAL WORKS C ompact Disc 028946984222 CJ13 ZINN'S RAGTIME STRING /GREAT SC Compact Disc 077712700139 HUCD3088 ZONJIC,A/SELDOM BLUES Compac t Disc 053361308827 IPC110 ZU/CARBONIFEROUS Compact Disc 6892300110265 060011 191147 5 060011 191376 5 060011 191024 6 40424 41202 9 0 14921 82732 5 5 060011 191109 8 43310 03702 7 6 28740 77402 1 7 60137 48192 8 8 23118 99993 2 8 23118 99992 5 0 53361 90976 5 8 024391 052044 6 89230 00342 7 6 89230 00882 8 8 48064 00066 2 0 14921 82632 8 0 14921 82642 7 0 28946 98422 2 0 77712 70013 9 0 53361 30882 7 6 89230 01102 6 Page 94 of 217Catalogue Number Artist & Title Configuration Scannable UPC UPC 5351106 ABBA/GOLD(2LP) Vinyl LP's 600753511060 397075ACID HOUSE/SING ALONG WITH ACIVinyl LP's 7332233970755 2537919871ADAMS ,R/DO YOU LAUGH WHILE(7"7" Vinyl Singles 602537919871 1790022482 ADAMS,R/BLUE LIGHT(7'') 7" Vinyl Singles 811790022482 953291 ADDERLEY C/SOMETHIN' ELSE Vinyl LP's 724349532915000211ADRIAN YOU/ADRIAN YOUNGE P(LP)Vinyl LP's 795550002115 206841AGAINST AL/RESTORATION OF CHAOVinyl LP's 790692068418 CRP048ALL ELSE FAILED/IN MY GODS EYEVinyl LP's 881182104812 JST071LPALL EYES WEST/ALL EYES WEST(LPVinyl LP's 689222007112 PMLP1102AMERICAN SPEEDWAY/A BIGGER BOAVinyl LP's 881182110219 PM7S01AMERICAN SPEEDWAY/HOWL YA DOINVinyl LP's 760137999638 45R013VAMOS THE TRANSPAREN T/GOODN(VYLVinyl LP's 680889019494 PMLP9992ANGEL BATH,J/GYPSY WOMAN (LP)Vinyl LP's 760137999218 714761ANTI-FLAG/GENERAL STRIKE,THEVinyl LP's 603967147612 DWR008ANTISEEN/LIVE IN AUSTIN, TX(LPVinyl LP's 760137000891UNIVERSAL MUSIC DISCONTINUED LISTING / Liste de produits discontinues The following titles are no longer distributed by Universal Music Canada and are not returnable effective immediately. À compter de maintenant les titres suivants ne sont plus distribués par Universal Music Canada et ne sont pas retournables. ALPHABETICAL BY ARTIST / Alphabetique par artiste 6 00753 51106 0 7 332233 970755 6 02537 91987 1 8 11790 02248 2 7 24349 53291 5 7 95550 00211 5 7 90692 06841 8 8 81182 10481 2 6 89222 00711 2 8 81182 11021 9 7 60137 99963 8 6 80889 01949 4 7 60137 99921 8 6 03967 14761 2 7 60137 00089 1 Page 95 of 217Catalogue Number Artist & Title Configuration Scannable UPC UPCALPHABETICAL BY ARTIST / Alphabetique par artiste 5351442APHRODITES CHILD/666 THE A(2LPVinyl LP's 600753514429 MRG484 ARCADE FIRE/REFLEKTOR(12') Vinyl Singles 673855048413 SUMLP88ASKING ALEXANDRIA/RECKLESS(LP)Vinyl LP's 894587001884 KFR787671ASSORTED JELLY/WHATS REALLY(LPVinyl LP's 610337876713 KFR787701ASSORTED JELLYB/ WWW Y2KTHEO(LPVinyl LP's 610337877017 KFR878221ATARIS,THE/END IF FOREVER(LP)Vinyl LP's 610337878212 5678683718 AUGUSTINES/CRUEL CITY 7'' 7" Vinyl Singles 075678683718 CRP210BACKWOODS PAYBACK/USE MAGIC TOVinyl LP's 881821210010 632711BAMBOOS, T/SIDE STEPPER (LP+CDVinyl LP's 5060006327117 CRP701 BARRICADE/BARRICADE (LP) Vinyl LP's 881821701013 HP7901 BAYSIDE/CULT(LP Vinyl LP's 790692079018HP7964 BAYSIDE/TIME HAS COME(LP) Vinyl LP's 790692079674 201501BECK,J/PERFORMING THIS WEEK(12Vinyl LP's 826992015019 290800BENSON,B/YOU WERE RIGHT(LP)Vinyl LP's 748252908001 714491BIG D AND /FOR THE DAMNED,THEVinyl LP's 603967144918 OGL820351BIGBANG/FROM ACID TO ZEN(LP)Vinyl LP's 790058203514 DAV018BJORK,B/PUNK ROCK GUILT (2LP)Vinyl LP's 821826001824 LDP1973BJORK,B/PUNK ROCK GUILT (2XLP)Vinyl LP's 829707197314 FRBLP124BLACK RIBBONS/NEUROMANCER(LP)Vinyl LP's 0399110124206 00753 51442 9 6 73855 04841 3 8 94587 00188 4 6 10337 87671 3 6 10337 87701 7 6 10337 87821 2 0 75678 68371 8 8 81821 21001 0 5 060006 327117 8 81821 70101 3 7 90692 07901 8 7 90692 07967 4 8 26992 01501 9 7 48252 90800 1 6 03967 14491 8 7 90058 20351 4 8 21826 00182 4 8 29707 19731 4 0 39911 01242 0 Page 96 of 217Catalogue Number Artist & Title Configuration Scannable UPC UPCALPHABETICAL BY ARTIST / Alphabetique par artiste KSCOPE818BLACKFIELD/WELCOME TO MY(2LPVinyl LP's 802644581712 B001812801BOB MARLEY & THE WAILE/KAYA(LPVinyl LP's 602537315567 SUMLP75BORN OF OSIRIS/A HIGHER PLA(LPVinyl LP's 894587001754 SUMLP74BORN OF OSIRIS/THE NEW REIG(LPVinyl LP's 894587001747 WRP1641BORN RUFFIANS/RED YELLOW & BLUVinyl LP's 801061016418 798621 BOXMASTERS/BOXMASTERS Vinyl LP's 015707986212 5678825163BRITE FUTURES/DARK PAST(LP)Vinyl LP's 075678825163 CRP019BRODY(FRED MASCHERINO OF TAKINVinyl LP's 881182101910 798261BROUSSARD,/S.O.S.: SAVE OUR SOVinyl LP's 015707982610 FAN3433201BRUBECK ,D/FANTASY 3 2(10'' LP10" Vinyl 888072343320 CRP013BUGLITE/MARCIA BRADY FANCLUBVinyl LP's 881182101316 RGM0075BUKOWSKI,C/READS HIS POETRY(LPVinyl LP's 848064000754 5351473BURNING SPEAR/MARCUS GARVEY(LPVinyl LP's 600753514733 5284961CAMPBELL,G/GHOST ON THE CAN(LPVinyl LP's 640424999445 18013CAMPBELL,G/SEE YOU THERE(LP)Vinyl LP's 822685180132 B001919601 CASH,J/AMERICAN II(LP) Vinyl LP's 602537530311B001919701 CASH,J/AMERICAN III(LP) Vinyl LP's 602537530328B001950701 CASH,J/AMERICAN IV(2LP) Vinyl LP's 602537596386B001919501CASH,J/AMERICAN RECORDINGS(LP)Vinyl LP's 6025375303048 02644 58171 2 6 02537 31556 7 8 94587 00175 4 8 94587 00174 7 8 01061 01641 8 0 15707 98621 2 0 75678 82516 3 8 81182 10191 0 0 15707 98261 0 8 88072 34332 0 8 81182 10131 6 8 48064 00075 4 6 00753 51473 3 6 40424 99944 5 8 22685 18013 2 6 02537 53031 1 6 02537 53032 8 6 02537 59638 6 6 02537 53030 4 Page 97 of 217Catalogue Number Artist & Title Configuration Scannable UPC UPCALPHABETICAL BY ARTIST / Alphabetique par artiste B000276901CASH,J/AMERICAN V A HUNDRED(LPVinyl LP's 602517005099 75344167CASH,J/AMERICAN VI AIN'T NO GRVinyl LP's 600753441671 B001395401CASH,J/AMERICAN VI AINT NO(LPVinyl LP's 602527315645 325301 CHEMICAL B/FURTHER Vinyl Singles 5099963253016 DAV033RSDCITY AND COLOUR/SOMETIMES (LP)Vinyl LP's 821826003026 518011 CLAPTON,E/OLD SOCK(2LP) Vinyl LP's 822685180163853901CLARK, SON/COOL STRUTTIN' (VYLVinyl LP's 5099968539016 8088904663 CLASSIFIED/HIGHER(LP) Vinyl LP's 680889046636 CREEP116COLD WORLD/STRENGTH FOR A REASVinyl LP's 665776121146 953261 COLTRANE, /BLUE TRAIN Vinyl LP's 724349532618 WH0306CORYELL,L/THE WILD HIVE PLA(LPVinyl LP's 698873030615 CRP009 CRASH/GROOVN HARD (LP) Vinyl LP's 881182100913 MODVL172 CUT COPY/BRIGHT LIKE N(LP) Vinyl LP's 602537291946 5351090 DAN,S/GREATEST HITS(2LP) Vinyl LP's 600753510902 BLK0841DANGER O'S/LITTLE MACHINES (LPVinyl LP's 823819008414 CRP112DANGER O'S/MASSIVELY INTIMIDATVinyl LP's 881821111218 CRP106DANGER O'S/NINETEEN NINETY FOUVinyl LP's 881182110615 PMLP9994DARK SEA DREAM/DARK SEA DREAMVinyl LP's 760137999416 VILELP354DARKTHRONE/SEMPITERNAL PAS(2LPVinyl LP's 8010568354136 02517 00509 9 6 00753 44167 1 6 02527 31564 5 5 099963 253016 8 21826 00302 6 8 22685 18016 3 5 099968 539016 6 80889 04663 6 6 65776 12114 6 7 24349 53261 8 6 98873 03061 5 8 81182 10091 3 6 02537 29194 6 6 00753 51090 2 8 23819 00841 4 8 81821 11121 8 8 81182 11061 5 7 60137 99941 6 8 01056 83541 3 Page 98 of 217Catalogue Number Artist & Title Configuration Scannable UPC UPCALPHABETICAL BY ARTIST / Alphabetique par artiste 800359DATSUNS, T/DEATH RATTLE BOOGIEVinyl LP's 850358003594 QE002SDEAD MILKMEN/PRETTY MUSIC F(LPVinyl LP's 786851486285 ER203701 DEEP PURPLE/GRAZ 1975(2LP) Vinyl LP's 826992037011 1412000532DELTRON 3030/DELTRON 3030 L(LPVinyl LP's 641412000532 1412000228DELTRON 3030/EVENT II INST(2LPVinyl Singles 641412000198 AFM2231DESTRUCTION/D.E.V.O.L.U.T.I. O.Vinyl LP's 4046661124712 AFM2321DESTRUCTION/THE CURSE OF THE AVinyl LP's 884860007719 AFM1473DESTRUCTION/THRASH ANTHEMS(LTDVinyl LP's 4046661050431 853911 DOLPHY, ER/OUT TO LUNCH Vinyl LP's 5099968539115 AFM2331 DORO/FEAR NO EVIL(PICT-LP) Vinyl LP's 884860000611 HARV0120DOUBLEDEALER/DEMO MIX- 7"VINYL7" Vinyl Singles 823819119011 HARV0220DOUBLEDEALER/WHOSE WORLD I(VYLVinyl LP's 823819112210 B002156801DR OCTAGON/DR OCTAGONECOLO(2LPVinyl LP's 602537982813 CRP020DUTCHLAND DIESEL/NO RULES (LP)Vinyl LP's 881182102016 IPC111EAGLES OF DEATH METAL/HEART ONVinyl LP's 689230011118 6892141440ENEMIES/EMBARK EMBRACE(LPVinyl LP's 616892141440 WARPLP249XENO/HY/SOMEDAY WORLD INDIE(2LPVinyl LP's 801061824914 3740247EVANESCENCE/FALLEN(LP)(10 TH LTVinyl LP's 602537402472 5345891EVANS,B/CONVERSATIONS WITH (LPVinyl Singles 6007534589148 50358 00359 4 7 86851 48628 5 8 26992 03701 1 6 41412 00053 2 6 41412 00019 8 4 046661 124712 8 84860 00771 9 4 046661 050431 5 099968 539115 8 84860 00061 1 8 23819 11901 1 8 23819 11221 0 6 02537 98281 3 8 81182 10201 6 6 89230 01111 8 6 16892 14144 0 8 01061 82491 4 6 02537 40247 2 6 00753 45891 4 Page 99 of 217Catalogue Number Artist & Title Configuration Scannable UPC UPCALPHABETICAL BY ARTIST / Alphabetique par artiste OJC088EVANS,B/PORTRAIT IN JAZZ(LP)Vinyl LP's 025218108812 D002121121FALL OUT BOY/IMMORTALS FROM(LPVinyl LP's 050087317645 IPC166FANTOMAS/WUNDERKAMMER( 5LP+CASSVinyl LP's 689230016618 AZ1103421005FATAL FIGURES/CATERWAUL(LP)Vinyl LP's 613285866720 BPR01FIGHT AMP/HUNGRY FOR NOTHINGVinyl LP's 881821110426 1166106361FLECK,B AND THE FLE/JINGLE A(LVinyl LP's 011661063617 WARPLP256XFLYING LOTUS/YOU'RE DEAD(4LP BVinyl LP's 801061825614 FB005LPFURY OF FIVE/MUSHMOUTH/EAST COVinyl LP's 665776129951 ER203021 GALLAGHER,R/TATTOO(LP) Vinyl LP's 826992030210 5345890GETZ,S/MCFARLAND,G/BIG BAND(LPVinyl Singles 600753458907 073001 GONZALES, /SOLO PIANO II Vinyl LP's 827590730014 BLK29 GOOPS/LUCKY (LP) Vinyl LP's 823819002917 IPC138 GUANO PADANO/2 (LP) Vinyl LP's 689230013822 BLK0851GUNS ON THE RUN/FOR GLORY (LP)Vinyl LP's 823819008513 Q100944HAINES,E & SOFT SKETE/WHAT ISVinyl LP's 060270094413 CRP021HALFLINGS/FRABBA JABBA (LP)Vinyl LP's 881182102115 CRP006HALFLINGS/MEMORY LAPSE (LP)Vinyl LP's 881182100616 IPC165LPHAMBURGER,N/GREAT PHONE CAL(LPVinyl LP's 689230016519 953311 HANCOCK, H/MAIDEN VOYAGE Vinyl LP's 7243495331100 25218 10881 2 0 50087 31764 5 6 89230 01661 8 6 13285 86672 0 8 81821 11042 6 0 11661 06361 7 8 01061 82561 4 6 65776 12995 1 8 26992 03021 0 6 00753 45890 7 8 27590 73001 4 8 23819 00291 7 6 89230 01382 2 8 23819 00851 3 0 60270 09441 3 8 81182 10211 5 8 81182 10061 6 6 89230 01651 9 7 24349 53311 0 Page 100 of 217Catalogue Number Artist & Title Configuration Scannable UPC UPCALPHABETICAL BY ARTIST / Alphabetique par artiste 933851 HARPER, BE/LIFELINE Vinyl LP's 094639338511 679341HARPER, BE/THERE WILL BE A LIGVinyl LP's 5099926793412 9799611 HARPER,B/BY MY SIDE(LP) Vinyl LP's 5099997996118 AFM2281HELSTAR/THE KING OF HELL (LP)Vinyl LP's 4046661137910 163191HENDRIX, J/BAND OF GYPSY'S (VIVinyl LP's 077771631917 IMG00613HIEROGLYPHICS/THE KITCHEN(2LP)Vinyl LP's 887158807152 CRP110 HIGHER GIANT/FIRST FIVE (LP) Vinyl LP's 881182111018 PWDWR001HOOKERS/HORROR RISES FROM T(LPVinyl LP's 760137569510 0889055300ILL SCARLETT/ILL SCARLETT(LP)Vinyl LP's 680889055300 781901INDIGO GIR/BEAUTY QUEEN SISTERVinyl LP's 015707819015 1772030115IRON CHIC/THE CONSTANT ONE(LP)Vinyl Singles 811772030115 782121ISAAK, CHR/BEYOND THE SUN (LP)Vinyl LP's 015707821216 120561JACKSON,W/ROCKIN THE WANDA(LP)Vinyl LP's 5099991205612 CRP031JOHNNY X AND THE CONSPIRACY/JOVinyl LP's 881182103112 777731 JOHNSON, E/UP CLOSE Vinyl LP's 828527777317 AFMLP2881JON OLIVIA'S PAIN/FESTIVAL (LPVinyl LP's 884860017916 6S229003 JONES,N/PENGUIN EGGS (LP) Vinyl LP's 8712618900314 5345892 JONES,Q/BIG BAND BOSS(LP) Vinyl LP's 600753458921 300101C JULY TALK/JULY TALK Vinyl LP's 8587130010180 94639 33851 1 5 099926 793412 5 099997 996118 4 046661 137910 0 77771 63191 7 8 87158 80715 2 8 81182 11101 8 7 60137 56951 0 6 80889 05530 0 0 15707 81901 5 8 11772 03011 5 0 15707 82121 6 5 099991 205612 8 81182 10311 2 8 28527 77731 7 8 84860 01791 6 8 712618 900314 6 00753 45892 1 8 58713 00101 8 Page 101 of 217Catalogue Number Artist & Title Configuration Scannable UPC UPCALPHABETICAL BY ARTIST / Alphabetique par artiste PPD022LPJUNIOR BATTLES/IDLE AGES(LP)Vinyl LP's 823819136810 860161 KLAATU/RAARITIES Vinyl LP's 778578601614 PMLP9990KOHOUTEK/LOSSLESS LOSS (LP)Vinyl LP's 760137999010 AES003KOPP,H/NEKRONOLOGY: MUSIC FROMVinyl LP's 881821003193 AFMLP2961 LAKE OF TEARS/ILLWILL (LP) Vinyl LP's 884860042017 IPC143LPLANEGAN,M/GARWOOD,D/BLA CK P(LPVinyl LP's 689230014317 IPC161LPLE BUTCHERETTES/CRY IS FOR(LPVinyl LP's 689230016113 RBLLP004LEGENDARY PINK D/10 TO THE(LPVinyl LP's 4250137202952 1772029010 LEMURIA/THE DISTANCE IS(LP) Vinyl LP's 811772029010 436231LENNON, JO/LIVE PEACE IN TORONVinyl LP's 5099924362313 HARV0190 LIFELESS/NLFTW (LP) Vinyl LP's 823819110513 CRP114LIVE NOT ON EVIL/COMING BACK TVinyl LP's 881821011419 TML016 LIVING HELL/OBLIVION(LP) Vinyl LP's 881821131018 2547065797LOS CAMPESINOS/A LOS CAMPE(LPVinyl LP's 602547065797 6S229001MAGIC SAM/WEST SIDE SOUL (LP)Vinyl LP's 8712618900116 CRP002MAO AND THE CHINESE REVOLUTIONVinyl LP's 881182100210 SMALP972 MARILLION/MARBLES [2LP] Vinyl LP's 636551597210SMALP996MARILLION/RADIATION 2013(2LP)Vinyl LP's 636551599610 AFMLP2341MASTERPLAN/TIME TO BE KING (LPVinyl LP's 8848600200158 23819 13681 0 7 78578 60161 4 7 60137 99901 0 8 81821 00319 3 8 84860 04201 7 6 89230 01431 7 6 89230 01611 3 4 250137 202952 8 11772 02901 0 5 099924 362313 8 23819 11051 3 8 81821 01141 9 8 81821 13101 8 6 02547 06579 7 8 712618 900116 8 81182 10021 0 6 36551 59721 0 6 36551 59961 0 8 84860 02001 5 Page 102 of 217Catalogue Number Artist & Title Configuration Scannable UPC UPCALPHABETICAL BY ARTIST / Alphabetique par artiste HRM3671801MCCARTNEY,P/HOPE FOR THE FU(LPVinyl LP's 888072367180 HRM32812MCCARTNEY,P/MCCARTNEY- SPL EDITVinyl LP's 888072328129 632611 ME & YOU/FLOATING HEAVY Vinyl LP's 5060006326110 AFM1731MEKONG DELTA/LURKING FEAR (2LPVinyl LP's 4046661070613 IPC164LP MELVINS,THE/HOLD IT IN(LP) Vinyl LP's 689230016410 SUMLP251 MESTIS/BASAL GANGLIA(LP) Vinyl LP's 817424011518 IPC122LPMINI MANSIONS/MINI MANSIONS(LPVinyl LP's 689230012214 AFMLP4621MINISTRY/FROM BEER TO ETER(2LPVinyl LP's 884860093019 AFMLP3991 MINISTRY/RELAPSE (LP) Vinyl LP's 884860052818AFMLP4171MOB RULES/CANNIBAL NATION(LP LVinyl LP's 884860065825 ES13MOPAR MOUNTAIN DAREDEVILS/MOPAVinyl LP's 881821110518 000161 MORRIS, KE/BANSHEE Vinyl LP's 795550001613 JST080LPMXPX/PLANS WITHIN PLANS (LP)Vinyl LP's 689222008010 799051 NATHANSON,/MODERN LOVE Vinyl LP's 015707990516 EXF802NEOMYTHICS/NEW CORPORATE RE(LPVinyl LP's 698873080214 JST070LPNOISE BY NUMBERS/OVER LEAVI(LPVinyl LP's 689222007013 0205155696NOSTALGIA 77/THE MO/MEASURES(LVinyl LP's 5060205155696 PMLP9995NOTEKILLERS/WE'RE HERE TO HELPVinyl LP's 760137999515 SWSHT003ONLY ATTITUDE COUNTS/TRIUMPH OVinyl LP's 8811820403188 88072 36718 0 8 88072 32812 9 5 060006 326110 4 046661 070613 6 89230 01641 0 8 17424 01151 8 6 89230 01221 4 8 84860 09301 9 8 84860 05281 8 8 84860 06582 5 8 81821 11051 8 7 95550 00161 3 6 89222 00801 0 0 15707 99051 6 6 98873 08021 4 6 89222 00701 3 5 060205 155696 7 60137 99951 5 8 81182 04031 8 Page 103 of 217Catalogue Number Artist & Title Configuration Scannable UPC UPCALPHABETICAL BY ARTIST / Alphabetique par artiste AFMLP3891ORDEN OGAN/TO THE END(2LP)(BLAVinyl LP's 884860052412 AFMLP3894ORDEN OGAN/TO THE END(LP CLEARVinyl LP's 884860065924 CRP022ORPHANS,THE/ANTHEMS FOR DOOMEDVinyl LP's 881182102214 KFR787611 OST/GLORY DAYS(LP) Vinyl LP's 610337876119 D001992901OST/THE LION KING(LP/PICTURE DVinyl LP's 050087304607 IPC139LP PALMS/PALMS(LP) Vinyl LP's 689230013914 5345888PARKER,C/CHARLIE PARKER WIT(LPVinyl Singles 600753458884 CRP014 PEEPSHOW/PEEPSHOW (LP) Vinyl LP's 881182101415 MIG80211PETERSON/WEBSTER/DURING TH(2LPVinyl LP's 885513802118 PPD0026LPPLOW UNITED/SLEEPWALK(2LP)Vinyl LP's 823819130917 FOE12PLOW UNITED/TEXAS CRIFFER (LP)Vinyl LP's 881182111216 MODVL156 POND/BEARD WIVES DENI(LP) Vinyl LP's 602527969312MODVL176 POND/HOBO ROCKET(LP) Vinyl LP's 602537359219 CRP11112POPULATION ZERO/LUDLOW (VYL)Vinyl LP's 823819111121 KSCOPE802PORCUPINE TREE/UP THE DOWN(2LPVinyl LP's 802644880211 3794936 PORTISHEAD/DUMMY(LP) Vinyl LP's 602537949366 9301835921PRETTY RECKLESS,THE/GOING T(LPVinyl LP's 793018359214 515372 QUANTIC AN/MAGDALENA Vinyl LP's 5060205153722 0205154712QUANTIC/GONGOR,N/MUEVEL O(LP)Vinyl Singles 50602051547128 84860 05241 2 8 84860 06592 4 8 81182 10221 4 6 10337 87611 9 0 50087 30460 7 6 89230 01391 4 6 00753 45888 4 8 81182 10141 5 8 85513 80211 8 8 23819 13091 7 8 81182 11121 6 6 02527 96931 2 6 02537 35921 9 8 23819 11112 1 8 02644 88021 1 6 02537 94936 6 7 93018 35921 4 5 060205 153722 5 060205 154712 Page 104 of 217Catalogue Number Artist & Title Configuration Scannable UPC UPCALPHABETICAL BY ARTIST / Alphabetique par artiste 7454334172 QUANTIC/THE 5TH EXOTIC(LP) Vinyl LP's 5037454334172 3791074QUEEN/LIVE AT THE RAINBOW 74(4Vinyl LP's 602537910748 IPC91QUEENS OF THE STONE AGE/ERA VUVinyl LP's 689230009115 UWR027QUEERS/LIVE IN PHILLY 2006 (LPVinyl LP's 881182102719 CRP001LP REJECT/REJECT (LP) Vinyl LP's 881182110912 IPC130LP RETOX/UGLY ANIMALS (LP) Vinyl LP's 689230013013 714531REVEREND P/PEYTON ON PATTONVinyl LP's 603967145311 PPD0031LPRIVERBOAT GAMBL/SMASH/GRAB(LP)Vinyl LP's 823819130818 FTN17825ROBERTSON,R/HOW TO BECOME CLAIVinyl LP's 795041782519 HARV0200ROCK BOTTOM/YOUR DEMISE- 7"VINY7" Vinyl Singles 823819020010 3711006ROLLING STONES,THE/GRRR(5LP)Vinyl LP's 602537110063 CRP119RUMBLERS/BRING ME BACK (LP)Vinyl LP's 881821711913 OJC266RUMSEY,H/LIGHTHOUSE ALLSTRS(LPVinyl LP's 025218026611 OJC636RUMSEY,H/MUSIC 4 LIGHTHOUSE(LPVinyl LP's 025218663618 5273987 RUSH/CARAVAN.BU2B (7"YL) 7" Vinyl Singles 075678826856 870915B RUSSELL,A/TO DUST(LP) Vinyl LP's 3700398709154 PAPER082LPSAM ROBERTS BAN/LO FANTASY(2LPVinyl LP's 880893008211 632661SARAVAH SO/SARAVAH SOUL (LP+CDVinyl LP's 5060006326615 CRPLP123SCAREHO/INTERNATIONAL BROTHERHVinyl LP's 8818211123145 037454 334172 6 02537 91074 8 6 89230 00911 5 8 81182 10271 9 8 81182 11091 2 6 89230 01301 3 6 03967 14531 1 8 23819 13081 8 7 95041 78251 9 8 23819 02001 0 6 02537 11006 3 8 81821 71191 3 0 25218 02661 1 0 25218 66361 8 0 75678 82685 6 3 700398 709154 8 80893 00821 1 5 060006 326615 8 81821 11231 4 Page 105 of 217Catalogue Number Artist & Title Configuration Scannable UPC UPCALPHABETICAL BY ARTIST / Alphabetique par artiste HARV0040SCREW 32/WHY ARE WE SO FCKD UVinyl LP's 881821004015 PMLP1103SERPENT THRONE/WHITE SUMMER BLVinyl LP's 881182110318 531471SETZER,B/ROCKABILLY RIOT L(3LPVinyl LP's 640424999346 5271011SETZER,B/SETZER GOES INSTRU(LPVinyl LP's 640424999483 HESY0002SIDNEY YORK/3'S HEARTS(10 7")7" Vinyl Singles 823674022013 HR67647SILVERSTEIN/AUGUST/FOUR(7' 'LP7" Vinyl Singles 790692676477 ARM250911 SLASH/MADE IN STOKE(3LP) Vinyl LP's 826992509112 IPC162LPSLEAFORD MODS/CHUBBED UP(LP)Vinyl LP's 689230016212 MM002SMASHING PUMPKINS,/OCEANIA(2LPVinyl LP's 818610010018 715171SMOKING POPES/BORN TO QUITVinyl LP's 603967151718 5678677410SO SO GLOS,THE/BLOWOUT(LP)Vinyl LP's 075678677410 UWRFB002SPUDMONSTERS/STAND UPµ(LP)Vinyl LP's 665776126653 5277691 STONE,J/LP1(LP) Vinyl LP's 640424999469 SUMLP197STRAY FROM THE PATH/RISING(LP)Vinyl LP's 817424010979 CRP011 SUPER HI FIVE/BETH (LP) Vinyl LP's 881182101118CRP034SUPER HI FIVE/SUPER HI FIVE(LPVinyl LP's 881182103419 CRP120SUPER HI- FIVE/SACFACE/SPLIT 7Vinyl LP's 881821712019 715111SUPERDRAG/REGRETFULLY YOURSVinyl LP's 603967151114 HP7971TAKING BACK SUNDAY AN/SPLIT(LPVinyl LP's 7906929797148 81821 00401 5 8 81182 11031 8 6 40424 99934 6 6 40424 99948 3 8 23674 02201 3 7 90692 67647 7 8 26992 50911 2 6 89230 01621 2 8 18610 01001 8 6 03967 15171 8 0 75678 67741 0 6 65776 12665 3 6 40424 99946 9 8 17424 01097 9 8 81182 10111 8 8 81182 10341 9 8 81821 71201 9 6 03967 15111 4 7 90692 97971 4 Page 106 of 217Catalogue Number Artist & Title Configuration Scannable UPC UPCALPHABETICAL BY ARTIST / Alphabetique par artiste IPC167LP TETEMA/GEOCIDAL(LP) Vinyl LP's 689230016717 AFMLP2121THEATRE OF TRAGEDY/FOREVER ISVinyl LP's 884860009218 WH0308THROTTLE ELEVATOR MUSIC/THROTTVinyl LP's 698873030813 FREUDLP116THUNDERS,J/LOOKING FOR JOHN(2LVinyl LP's 5013145211632 IPC103LP TIPSY/BUZZZ (LP) Vinyl LP's 689230010319 HNV0011TIRED PONY/THE GHOST OF THE(LPVinyl Singles 857223004069 632701TM JUKE AN/BOTO AND THE 2ND LIVinyl LP's 5060006327018 6892141341 TOE/NEW SENTIMENTALITY Vinyl Singles 616892141341 IPC158 TOMAHAWK/M E A T(7'') 7" Vinyl Singles 689230015819 IPC142LP TOMAHAWK/ODDFELLOWS(LP) Vinyl LP's 689230014218 HARV0160LPTROUBLESOME/LOSE CONTROL (LP)Vinyl LP's 823819112111 AFM2581 U.D.O./DOMINATOR Vinyl LP's 884860006019 AFMLP3261 U.D.O./REV-RAPTOR (LP) Vinyl LP's 884860043229 IPC156LPUNSEMBLE,THE/THE UNSEMBLE(LP)Vinyl LP's 689230015611 110042VAR/DAVID LYNCH FOUNDATION(4LPVinyl LP's 632467253035 B002148501VAR/DEF JAM 30TH A(6LP+T SHIRTVinyl LP's 602537969630 CC001VAR/HARDCORE CONNECTION 7 (LP)Vinyl LP's 881182030111 BLK0039 VAR/OUR OWN WAY V/A (LP) Vinyl LP's 823819103928 STX8549 VAR/SWEET SOUL MUSIC(LP) Vinyl LP's 0252188549176 89230 01671 7 8 84860 00921 8 6 98873 03081 3 5 013145 211632 6 89230 01031 9 8 57223 00406 9 5 060006 327018 6 16892 14134 1 6 89230 01581 9 6 89230 01421 8 8 23819 11211 1 8 84860 00601 9 8 84860 04322 9 6 89230 01561 1 6 32467 25303 5 6 02537 96963 0 8 81182 03011 1 8 23819 10392 8 0 25218 85491 7 Page 107 of 217Catalogue Number Artist & Title Configuration Scannable UPC UPCALPHABETICAL BY ARTIST / Alphabetique par artiste SWSHT007VAR/THIS IS SUCK CITY NOT L.A.Vinyl LP's 881182040714 SUMLP81 VEIL OF MAYA/ID(LP) Vinyl LP's 894587001815 AFMLP4421VOODOO CIRCLE/MORE THAN ON(2LPVinyl LP's 884860078214 CRP027WALLY/ERIC CLAPTON IS DEAD (LPVinyl LP's 881182102818 CRP017WALLY/THIRD YEAR FRESHMAN SPLIVinyl LP's 881182101712 5678762260WHITE ARROWS/DRY LAND IS NO(LPVinyl LP's 075678762260 KSCOP818WILSON,S/GRACE FOR DROWNING(2LVinyl LP's 802644581811 443791 WINTERSLEE/HELLO HUM Vinyl LP's 5099964437910 UWR025WISDOM IN CHAINS./WISDOM IN CHVinyl LP's 665776121924 CC005WISDOM IN CHAINS/DIE YOUNG (LPVinyl LP's 881182030517 7593002672WORDYSOULSPEAK/LET THE RYTH(LPVinyl LP's 857593002672 HARV0150WRONG ANSWER/THE WORLD IS EMPT7" Vinyl Singles 823819015016 6892094142YOU BLEW IT/THE PAST IN PR(LP)Vinyl Singles 616892094142 5678732010 YOUNG BUFFALO/UPSTAIRS 7'' 7" Vinyl Singles 0756787320108 81182 04071 4 8 94587 00181 5 8 84860 07821 4 8 81182 10281 8 8 81182 10171 2 0 75678 76226 0 8 02644 58181 1 5 099964 437910 6 65776 12192 4 8 81182 03051 7 8 57593 00267 2 8 23819 01501 6 6 16892 09414 2 0 75678 73201 0 Page 108 of 217Catalogue NumberArtist / Title Config Scannable UPC UPC 108 MOBY GRAPE/LEGENDARY GRAPE Com pact Disc 804403010822 000724 VARIOUS AR /SHAPES ONE HORIZO NT Compact Disc 8276550007246 7769 VAR/MUCH MORE POWER HO UR KARAO Com pact Disc 884739776920 11929 NASHMAN,L/LULLABABY/TE NDER DRE Com pact Disc 096741802522 12202 ROLLING STONES/SINGLES 1965-19 Compact Disc 01877112202912522 REFLECTIONS/SENTIMENTAL PIANO Compact Disc 09674193162820091 CHICKENFOOT/CHICKENFOOT Compact Disc 67479720091420093 CHICKENFOOT/CHICKENFOOT (DELUX CD wi th DVD 674797200938 22312 COOKE,S/S.COOKES STOR Y/1959-65 Compact Disc 018771223122 22454 VAR/CHRISTMAS FI ESTA Compac t Disc 096741020421 22458 REFLECTIONS/CARDIO WORKOUT Compact Disc 096741020629 22474 VAR/LITTLE ANGELS Compact Disc 09674102142822968 FISHER PRICE/SONGS & GAMES FOR Compact Disc 09674102412222970 FISHER PRICE/SONGS FROM THE FA Compact Disc 09674102422127389 REFLECTIONS/SPIRIT DREAMS Compact Disc 09674104992728086 REFLECTIONS/CHRISTM AS PIANO Com pact Disc 096741062124 29192 REFLECTIONS/A ROCKIN 50'S CHRI Com pact Disc 096741070129 29193 REFLECTIONS/CHRISTMAS GUITAR Com pact Disc 096741070228NUMERICAL BY ARTIST / Numerique par artisteUNIVERSAL MUSIC DISCONTINUED LISTING / Liste de produits discontinues The following titles have been discontinued effective immediatel y. Please have all return requests submitted by Friday August 14, 2015. All authorized discontinued products must be return ed to our distribution centre by Friday September 18, 2015. À compter de maintenant les titres suivants ont été discontinu és. Veuillez s'il vous plait avoir soumis toutes demandes de reto urs pour ces produits au plus tard le vendredi 14 août 2015. Tous les produits discontinués autorisés doivent être retournés à not re centre de distribution au plus tard le vendredi 18 septembre, 2015. 8 04403 01082 2 8 276550 007246 8 84739 77692 0 0 96741 80252 2 0 18771 12202 9 0 96741 93162 8 6 74797 20091 4 6 74797 20093 8 0 18771 22312 2 0 96741 02042 1 0 96741 02062 9 0 96741 02142 8 0 96741 02412 2 0 96741 02422 1 0 96741 04992 7 0 96741 06212 4 0 96741 07012 9 0 96741 07022 8 Page 109 of 217Catalogue NumberArtist / Title Config Scannable UPC UPCNUMERICAL BY ARTIST / Numerique par artiste 030006 WALTZ FOR /HE LOVES ANNA Compac t Disc 7392880300060 30843 REFLECTIONS/ CHRISTMAS EXTRAVAG Compact Disc 096741082122 30869 REFLECTIONS/HIGHLAND CHRISTMAS Com pact Disc 096741084126 33400 REFLECTIONS/CELTIC HYMNS Compact Disc 09674110382733480 VAR/SONGS FROM THE NORTH POLE Compact Disc 09674110452733767 REFLECTIONS/CHRISTM AS BELLES Com pact Disc 096741107627 33967 REFLECTIONS/GET MOVING! Compact Disc 09674110852533971 REFLECTIONS/ A PEACEFUL SOAK Compact Disc 096741108723 33977 SOMERSET/CELTIC SERENITY Compact Disc 09674110902734161 VAR/CHRISTMAS LULL ABIES Compac t Disc 096741111228 34208 FISHERPRICE/BATH TIME SING-ALO Compact Disc 09674111222534918 REFLECTIONS/WISHES:SOLO PIANO Compact Disc 09674112052735475 FISHER PRICE/BW:NO MO RE CRYING Com pact Disc 096741123825 35516 REFLECTIONS/CHRISTM AS CHILL Com pact Disc 096741126529 35544 FIAS,A/CHRISTMAS SPA Compac t Disc 096741124624 35860 FISHER PRICE/ EASTER SING ALON G Compact Disc 096741129520 36973 FISHER PRICE/SILLY SONGS Compact Disc 09674113952937182 REFLECTIONS/SALSA PARTY MIX Compact Disc 09674114122537225 FISHER PRICE/ BEST ANIMAL SONG S Compact Disc 096741143120 38036 REFLECTIONS/CHRISTM AS HARP Com pact Disc 096741152528 38262 REFLECTIONS/DINNER MU SIC 2CD Compact Disc 096741154720 38564 FISHER PRICE SER/WB:CELTIC LUL Compact Disc 09674115602139044 REFLECTIONS/ASIAN SERENITY Compact Disc 0967411637227 392880 300060 0 96741 08212 2 0 96741 08412 6 0 96741 10382 7 0 96741 10452 7 0 96741 10762 7 0 96741 10852 5 0 96741 10872 3 0 96741 10902 7 0 96741 11122 8 0 96741 11222 5 0 96741 12052 7 0 96741 12382 5 0 96741 12652 9 0 96741 12462 4 0 96741 12952 0 0 96741 13952 9 0 96741 14122 5 0 96741 14312 0 0 96741 15252 8 0 96741 15472 0 0 96741 15602 1 0 96741 16372 2 Page 110 of 217Catalogue NumberArtist / Title Config Scannable UPC UPCNUMERICAL BY ARTIST / Numerique par artiste 39436 REFLECTIONS/FIRESIDE CHRI STMAS Digital Video Disc 096741335891 39620 SOLITUDES/H2O Compact Disc 09674100205240036 FISHER PRICE/CHRISTMAS DI SCOVE Digital Video Disc 096741336591 40467 FISHER PRIC E SER/CB:BEETHOVEN Compact Disc 096741191725 41912 FISHER PRICE/HALLOWEEN SING AL Compact Disc 09674118552642046 REFLECTIONS/JIM BRICKMAN:XMAS Compact Disc 09674120812642225 REFLECTIONS/BEST OF SUPERSTARZ Com pact Disc 096741222924 43218 CHEESE,R/I' D LIKE A VIRGIN Compact Disc 640424321826 43704 VAR/BEST OF CHRISTMAS CHILLOUT Compact Disc 096741226021 44110 HOEY,G/AMERICAN MADE Compact Disc 64042441102244111 CHEESE,R/SILENT NIGH TCLUB Compact Disc 640424411121 44120 WYLDE BUNCH/WYLDE B UNCH(CDEP) Com pact Disc 640424412029 46473 SOLITUDES/OCEAN OD YSSEY Compac t Disc 096741229527 46474 SOLITUDES/MEDITERRANEAN SPA Compact Disc 09674122962646478 SOLITUDES/O2 Compact Disc 09674123002846656 SOLITUDES/SLEEP TH ERAPY Compac t Disc 096741233821 48019 SOLITUDES/CELTIC SEASHORE C ompact Disc 096741250620 48367 REFLECTIONS/WHITE CHRI STMAS(2C Com pact Disc 096741258626 49597 BRICKMAN,J/BEAUTIFUL WORLD (DL Compact Disc 096741276620 057002 GONZALES/IVORY TOWER Compact Disc 827590570023073002 GONZALES, /SOLO PIANO II Compact Disc 827590730021 76909 BURNING OF,THE/WIT H US Compac t Disc 789577690929 086792 VARIOUS AR/DAN IN REAL LIFE SN Compact Disc 50999508679290 96741 33589 1 0 96741 00205 2 0 96741 33659 1 0 96741 19172 5 0 96741 18552 6 0 96741 20812 6 0 96741 22292 4 6 40424 32182 6 0 96741 22602 1 6 40424 41102 2 6 40424 41112 1 6 40424 41202 9 0 96741 22952 7 0 96741 22962 6 0 96741 23002 8 0 96741 23382 1 0 96741 25062 0 0 96741 25862 6 0 96741 27662 0 8 27590 57002 3 8 27590 73002 1 7 89577 69092 9 5 099950 867929 Page 111 of 217Catalogue NumberArtist / Title Config Scannable UPC UPCNUMERICAL BY ARTIST / Numerique par artiste 105175 JOURNEY/EC LIPSE Compac t Disc 8024391051757 105204 YES/FLY FROM HERE( CD+DVD) CD wi th DVD 8024391052044 105622 SOLEIL MOO/ON THE WA Y TO EVERY Com pact Disc 8024391056226 105722 TEN/HERESY AND CREED Compact Disc 8024391057223 105824 ROYAL HUNT/20TH ANNIVER S(CD+DV CD wi th DVD 8024391058244 127332 PENGUIN CA/MUSIC FROM THE PENG Compact Disc 5099921273322 130012 HOLT,S/ANGELS IN EXILE Compact Disc 670211300123138052 BROTHER BO/PLOW Compact Disc 015891380520139252 LANDRETH, /L EVEE TOWN Com pact Disc 015891392523 139532 GOURDS/COW FISH FOWL OR PIG Compact Disc 015891395326 139712 DOUGLAS, J/LOOKOUT FOR HOPE (SSACD4Stereo/Surround/CDA ud015891397122 139982 PARTON, DO/LIVE & WELL (CDX2) Compact Disc 015891399829140582 NITTY GRIT/ SPEED OF LIFE Co mpact Disc 015891405827 150542 MAYALL,J/LIVE AT THE MARQUEE 1 Compact Disc 670211505429170502 VARIOUS AR /BEST OF THE BIG BAN Compac t Disc 014921705029 182342 SLIM WHITM/BEST LOVED FAVORITE Com pact Disc 014921823426 182382 CANNON, AC/GOLDEN F AVORITES Compact Disc 014921823822 182732 WYNETTE, T/INSPIRATIONAL FAVOR Compact Disc 014921827325193512 HUNT,M/THE MILES HUNT CLUB Compact Disc 769921935128 200200 ALEX BAND/WE' VE ALL BEEN THER Compact Disc 857542002005 200232 HOOKER,JL/FACE TO FACE Compact Disc 826992002323200242 HOOKER,JL/JACK O'DI AMONDS Compact Disc 826992002422 200262 VAR/GOT BLUES Compact Disc 8269920026208 024391 051757 8 024391 052044 8 024391 056226 8 024391 057223 8 024391 058244 5 099921 273322 6 70211 30012 3 0 15891 38052 0 0 15891 39252 3 0 15891 39532 6 0 15891 39712 2 0 15891 39982 9 0 15891 40582 7 6 70211 50542 9 0 14921 70502 9 0 14921 82342 6 0 14921 82382 2 0 14921 82732 5 7 69921 93512 8 8 57542 00200 5 8 26992 00232 3 8 26992 00242 2 8 26992 00262 0 Page 112 of 217Catalogue NumberArtist / Title Config Scannable UPC UPCNUMERICAL BY ARTIST / Numerique par artiste 201722 ORBISON,R/THE FINAL CONCERT(CD Com pact Disc 826992017228 0203002 CURRENCY/PILOT TALK (E XPLICIT) Compact Disc 857593002030 206192 88 FINGERS/UP YOUR ASS Compact Disc 790692061921236282 W EBBER,A/MASTERPIECE-LIVE FROM Compact Disc 766922362823 239992 RICH, B UDD/KEEP THE CUSTOMER S Compact Disc 724352399925 270852 MONTE, MAR/MEMORIES, CHRONICLES Com pact Disc 724352708529 294092 BENATAR, P/GREATEST HITS (CD+E CD with DVD 5099962940924 296632 PEOPLE IN /AS FAR AS THE EYE C Compact Disc 5099902966328296732 FINGER ELE/FINGER ELEVEN Com pact Disc 5099902967325 296752 DROWNING P/SINNER Compact Disc 5099902967523296772 12 STONES/POTTER'S FIELD Compact Disc 5099902967721296782 ALTER BRID/ONE DAY REMAINS Compact Disc 5099902967820 296812 FINGER ELE/THEM VS. YOU VS. ME Compact Disc 5099902968124296822 SEETHE R/KARMA AND EFFE CT Compact Disc 5099902968223 296852 12 STONES/ANTHEM FOR THE UNDE Com pact Disc 5099902968520 296922 SEETHER/ON E COLD NIGHT(CD/DV D CD with DVD 5099902969220 296932 PEOPLE IN /BEYOND THE HORIZON Compact Disc 5099902969329296962 CREED/FULL CIRCLE Compact Disc 5099902969626296972 CREED/WEATHERED Compact Disc 5099902969725300021 VARIOUS AR/LABRADOR KINGSIZE Compact Disc 7332233000216300030 AIRLINER/LAST DAYS OF AUGUST Compact Disc 7332233000308300041 LAUREL MUS/THIS NIGH T AND THE Compact Disc 7332233000414 300051 TRIBECA/SOLITUDE Compact Disc 73322330005138 26992 01722 8 8 57593 00203 0 7 90692 06192 1 7 66922 36282 3 7 24352 39992 5 7 24352 70852 9 5 099962 940924 5 099902 966328 5 099902 967325 5 099902 967523 5 099902 967721 5 099902 967820 5 099902 968124 5 099902 968223 5 099902 968520 5 099902 969220 5 099902 969329 5 099902 969626 5 099902 969725 7 332233 000216 7 332233 000308 7 332233 000414 7 332233 000513 Page 113 of 217Catalogue NumberArtist / Title Config Scannable UPC UPCNUMERICAL BY ARTIST / Numerique par artiste 300056 WAN LIGHT/LETS WAKE UP SOMEWH Com pact Disc 7332233000568 300070 SAM BASSADE/NEW MOON Co mpact Disc 7332233000704 300078 SOUTH AMBU/SOUTH AM BULANCE Compact Disc 7332233000780 300086 LEGENDS, T/HIDE AWAY Compact Disc 7332233000865 300089 GENESSIS/TH E GENESIS SONGBOOK Digital Vi deo Disc 801213000890 300090 IRENE/ BABY I LOVE YOUR WA Y Compact Disc 7332233000902 300093 LEGENDS, T/FACTS AND FIGURES Compact Disc 7332233000933 300097 INGENTING/MYC KET VASEN FOR IN Compact Disc 7332233000971 300098 LOVENINJAS/I WANNA BE LIKE JOH Compact Disc 7332233000988300106 SAM BASSADE/MIGRATION C ompact Disc 7332233001060 300107 SUBURBAN K/#4 Compact Disc 7332233001077300119 SOUND OF A/M.A.G .I.C. Compact Disc 7332233001190 300239 SOFT CELL/LIVE IN MILAN Digital Video Disc 801213002399300259 FATBOY SLIM/BEACH BOUTIQ UE 2 Digital Video Disc 801213002597 300269 USHER/LIVE IN CONCERT- 8701 EVO Digital Video Disc 801213002696 300379 ATOMIC KITTEN/RIGHT HERE ,RIGHT Digital Video Disc 801213003792 300539 JACKSON,J/THE VELVET ROPE-LIVE Digital Video Disc 801213005390300579 VAR/OUT OF IRELAND-FROM A WHIS Digital Video Disc 801213005796300819 KEYS,A/THE DIARY OF ALICIA KEY Digital Video Disc 801213008193300839 PET SHOP BOYS/SOMEWHERE Digital Video Disc 801213008391301049 CHER/EXTR AVAGANZA LIVE AT THE D igital Vi deo Disc 801213010493 301199 DE BURGH,C/LIVE IN CO NCERT Digital Video Disc 801213011995 301209 PUDDLE OF MUDD/STRIKING THAT F Digital Video Disc 8012130120917 332233 000568 7 332233 000704 7 332233 000780 7 332233 000865 8 01213 00089 0 7 332233 000902 7 332233 000933 7 332233 000971 7 332233 000988 7 332233 001060 7 332233 001077 7 332233 001190 8 01213 00239 9 8 01213 00259 7 8 01213 00269 6 8 01213 00379 2 8 01213 00539 0 8 01213 00579 6 8 01213 00819 3 8 01213 00839 1 8 01213 01049 3 8 01213 01199 5 8 01213 01209 1 Page 114 of 217Catalogue NumberArtist / Title Config Scannable UPC UPCNUMERICAL BY ARTIST / Numerique par artiste 301269 GIBB,R/LIVE W/FRANKFURT NEUE P Digital Video Disc 801213012695 302979 FREE/FOR EVER (DVDX2) Digit al Video Disc 801213029792 303041 MCCUTCHEON/LONGI NG Compact Disc 627843030416 304742 HARRISON, /ALL THINGS MUST PAS Compact Disc 724353047429 312542 HARRISON, /ALL THING MUST PASS Com pact Disc 724353125424 317739 FITZGERALD/YES - SIDE B Compact Disc EP's 627843177395318392 MILSAP, RO/SINGS HIS BEST Com pact Disc 724383183920 319257 TOM FUN OR/EARTHWORM HEART Compact Disc 793573192578320722 ECONOLINE /AFFLICTION Compact Disc 724383207220320962 SHORTER, W/SCHIZO PHRENIA Compact Disc 724383209620 327452 WILSON, NA/LUSH LIFE Compact Disc 724383274529328202 VENTURES, /L IVE IN JAPAN Co mpact Disc 724383282029 330469 PRINCE/R AVE UN2 THE YEAR Di gital Vi deo Disc 801213304691 332002 MARTIN, DE/HIS GREATEST HITS A Compact Disc 724383320028 333209 VAR/STRAT PACK - BLU-RAY BLU RAY 801213332090335802 GREEN, GRA/SOLID Compact Disc 724383358021337432 SINATRA, F/CLOSE TO YOU AND MO Compact Disc 724353374327349242 ROGERS, KE/HIS GREATEST & FINE Compact Disc 724383492428 350059 W EBBER,AL/MASTERPIECE (DVD ) Digital Video Disc 801213500598 350389 BEST OF THE OB LIVIOUS,THE Digit al Video Disc 801213503896 351249 MONTY PYTHON-ALMOST THE TRUTH Digital Video Disc 801213512492355392 RUSSELL, L/WILL O' TH E WHISP Com pact Disc 724383553921 358802 HARRISON, /CONCERT FO R BANGLAD Compact Disc 0946335880288 01213 01269 5 8 01213 02979 2 6 27843 03041 6 7 24353 04742 9 7 24353 12542 4 6 27843 17739 5 7 24383 18392 0 7 93573 19257 8 7 24383 20722 0 7 24383 20962 0 7 24383 27452 9 7 24383 28202 9 8 01213 30469 1 7 24383 32002 8 8 01213 33209 0 7 24383 35802 1 7 24353 37432 7 7 24383 49242 8 8 01213 50059 8 8 01213 50389 6 8 01213 51249 2 7 24383 55392 1 0 94633 58802 8 Page 115 of 217Catalogue NumberArtist / Title Config Scannable UPC UPCNUMERICAL BY ARTIST / Numerique par artiste 359002 SAXON/SACRIFICE Compact Disc 5099973590026 362312 CARTER, DE/GREATEST HITS Compact Disc 724353623128 365652 MCDERMOTT,/A TIME TO REMEMBER Compact Disc 724353656522375532 SWEETNAM, /S OUND SOLDIER C ompact Disc 094633755321 377542 GORDON, DE/A SWINGIN' AFFAIR Compact Disc 094633775428 0382652 SAMSA'RA/SAMSA'RA Compact Disc 044003826526 390129 KRALL,D/LIVE IN PARIS Digital Video Disc 801213901296390199 JEWEL/LIVE AT HUMPHREY'S BY TH Digital Video Disc 801213901999390349 COLE,NK/WHEN I FALL IN LOVE:TH Digital Video Disc 801213903498390369 BLIND BOYS OF ALABA/GO TELL(DV Digita l Video Disc 801213903696 390529 JACKSON,M/NORMAN GANTZ JAZZ LI Digital Video Disc 801213905294390559 BASIE,C & HIS ORCH/NORMAN GA NT Digital Video Disc 801213905591 390629 BASIE,C & HIS ORCH/NORMAN GA NT Digital Video Disc 801213906291 390719 CRABB FAMILY,THE/#1 HITS LIVE Digita l Video Disc 801213907199 390849 W EBBER,A/MASTERPIECE-LIVE FROM CD with DVD 801213908493 400309 CRENSHAW, /LIVE FROM THE STONE Digital Video Disc 826784003095409700 SELENA/SELENA MOTION PICTURE Compact Disc 724354097003417962 DOC WATSON/SONGS FROM HOME Compact Disc 724354179624422342 STONE, JOS/ SOUL SESSIONS,TH E Compact Disc 724354223426 426440 GAITHER, B/CANADIAN HOMECOMING Compact Disc 617884264406 445559 TE KANAWA,/DAME KIRI & FRIENDS Digital Video Disc 724354455599448999 STATLER BR/GOSPEL MUSIC OF TH E Digital Video Disc 617884489991 463292 THOROGOOD,/LIVE Compact Disc 0777746329285 099973 590026 7 24353 62312 8 7 24353 65652 2 0 94633 75532 1 0 94633 77542 8 0 44003 82652 6 8 01213 90129 6 8 01213 90199 9 8 01213 90349 8 8 01213 90369 6 8 01213 90529 4 8 01213 90559 1 8 01213 90629 1 8 01213 90719 9 8 01213 90849 3 8 26784 00309 5 7 24354 09700 3 7 24354 17962 4 7 24354 22342 6 6 17884 26440 6 7 24354 45559 9 6 17884 48999 1 0 77774 63292 8 Page 116 of 217Catalogue NumberArtist / Title Config Scannable UPC UPCNUMERICAL BY ARTIST / Numerique par artiste 473426 VARIOUS/WHEN SHAPES JOIN TOG/ 2 Compact Disc 5037454734262 484912 MARITIME J/NOW AND NOW AGAIN Compact Disc 068944849123485142 NOUVELLE V/NOUVELLE VAGUE Compact Disc 068944851423485282 NOUVELLE V/BANDE A PART Compact Disc 068944852826485322 WATSON, DA/EN DUO Compact Disc 068944853229 485562 NOUVELLE V/3 Compact Disc 068944855629497182 THOMPSON, /TEDDY THOMPSON Compact Disc 724384971823500515 FLEVANS/M AKE NEW FRIENDS Co mpact Disc 5036865005152 511955 TEA LEAF GREEN/RAISE UP THE TE Compact Disc 640424999919512780 SETZER BRIA N OR/CHRISTMAS RO CK Compact Disc 640424999872 512781 SETZER BRIAN/ULTIMATE CH(CD+DV CD wi th DVD 640424999865 515016 VARIOUS AR/TRU THOUGH TS 10TH A Compact Disc 5060205150165 524644 SETZER BRIA N OR/DON'T MESS( 2CD Compact Disc 640424999582 539302 VAN ZANDT,/HIGH, LOW A ND IN BE Com pact Disc 724385393020 545152 MARTINEZ, /L A HABANA VIVE Co mpact Disc 085365451520 545622 LYLE, BOBB/JOYFUL Compact Disc 085365456228546762 BUSHWICK/GUTTA MIXX Compact Disc 085365467620547552 STANLEY, A/I CAN DO ANYTHING Compact Disc 085365475526 549112 WHITE, KAR/CARPE DIEM Compact Disc 085365491120559062 VENTURES, /ALL-TIME GREATEST H Compact Disc 724385590627563622 FAUST/FAUST IV Compact Disc 094635636222574052 GAYLE,CRYS/GREATEST HITS Compact Disc 077775740523591452 SIMPLE MINDS/CRY Compact Disc 7669259145245 037454 734262 0 68944 84912 3 0 68944 85142 3 0 68944 85282 6 0 68944 85322 9 0 68944 85562 9 7 24384 97182 3 5 036865 005152 6 40424 99991 9 6 40424 99987 2 6 40424 99986 5 5 060205 150165 6 40424 99958 2 7 24385 39302 0 0 85365 45152 0 0 85365 45622 8 0 85365 46762 0 0 85365 47552 6 0 85365 49112 0 7 24385 59062 7 0 94635 63622 2 0 77775 74052 3 7 66925 91452 4 Page 117 of 217Catalogue NumberArtist / Title Config Scannable UPC UPCNUMERICAL BY ARTIST / Numerique par artiste 604422 CHRISTY, J/BALLADS FO R NIGHT P Com pact Disc 724356044227 605642 VARIOUS AR /CELTIC VOYAGE- CDN C Compact Disc 724386056429 632089 RUSSELL, A/LI VE IN PARIS Digi tal Video Disc 5060006320897 632126 QUANTIC/1 OFFS REMIX & B-SID 2 Compact Disc 5060006321269632129 QSO FT SPA/ LIVE IN PARIS Digi tal Video Disc 5060006321290 632682 DIESLER/DIGGIN IT SOME THIN RO Com pact Disc 5060006326820 633042 DIESLER/ KEEPIE UPPIES Co mpact Disc 5060006330421 633382 NOSTALGIA /BORDERL ANDS Compac t Disc 5060006333828 635302 BAMBOOS, T/SIDE STEPPER Compac t Disc 5060006353024 635902 VARIOUS AR/IMPOSSIBLE ARK:A CO Compact Disc 5060006359026 0644582 ISUNGSET,T/ICEMAN IS Compact Disc 044006445823 666070 ANBERLIN/ NEVER TAKE FRIENDS H Compact Disc 724386660701 674362 SHANKAR, R/RAVI SHANKAR IN SAN Compact Disc 724356743625685936 LENNON, JO/SHAVED FI SH (LTD) Compact Disc 4988006859364 0690282 VAR/JAZZLAND REMIXED 2 Compact Disc 044006902821 714032 RAGAN, CHU/GOLD CO UNTRY Compac t Disc 603967140323 723812 URIAH H EEP/WONDERWORLD Co mpact Disc 823107238127 0734068 VAR/DER RING DES NIBELUNG EN TH Digital Video Disc 044007340684 0743141 TAKAC S QUARTET/BARTOK:STRING Q Digital Video Disc 044007431412 779089 BLIND MELO/LETTERS FROM A PORC Digital Video Disc 724347790898779299 TOSH, PETE/COMPLETE - CAPTURED Digital Video Disc 724347792991779379 BEACH BOYS/ PET SOUNDS DV D Audio 724347793790 780034 TRIANGLE/TRIANGLE Compact Disc 37004778003457 24356 04422 7 7 24386 05642 9 5 060006 320897 5 060006 321269 5 060006 321290 5 060006 326820 5 060006 330421 5 060006 333828 5 060006 353024 5 060006 359026 0 44006 44582 3 7 24386 66070 1 7 24356 74362 5 4 988006 859364 0 44006 90282 1 6 03967 14032 3 8 23107 23812 7 0 44007 34068 4 0 44007 43141 2 7 24347 79089 8 7 24347 79299 1 7 24347 79379 0 3 700477 800345 Page 118 of 217Catalogue NumberArtist / Title Config Scannable UPC UPCNUMERICAL BY ARTIST / Numerique par artiste 780040 IL ETAIT UNE FOIS/R IEN QUUUN C Com pact Disc 3700477800406 780043 TRIANGLE/JAI VU Compact Disc 3700477800437780046 VARIATION S/TAKE IT OR LEAVE IT Compact Disc 3700477800468 780053 FRANCOIS,C/HIS HITS IN ENG(2CD Compact Disc 3700477800536 780054 FRANCOIS,C/EN PUBLIC 1965 MAUB Compact Disc 3700477800543 780055 FRANCOIS,C/EN PUBLIC 1971CAMBR Compact Disc 3700477800550 780056 FRANCOIS,C/EN PUBLIC 1974 CAMB Compact Disc 3700477800567 780057 FRANCOIS,C/EN PUBLIC 1978 LYON Compact Disc 3700477800574780258 VARTAN,S/SYLVIE Compact Disc 3700477802585780263 VARTAN,S/JE CHANTE PO UR SWANEE Com pact Disc 3700477802639 780264 VARTAN,S/A LOLYMPIA 1970 Compact Disc 3700477802646780265 VARTAN,S/ CANTA EN ESPANOL Compact Disc 3700477802653 780266 VARTAN,S/SYMPATHIE Compact Disc 3700477802660780267 VARTAN,S/TA SORCIERE BIEN AIME Compact Disc 3700477802677781983 VARTAN,S/2 MN 35 DU BO NHEUR 19 Com pact Disc 3700477819835 781984 VARTAN,S/BIENVENUE SO LITUDE Compact Disc 3700477819842 781985 VARTAN,S/COMME UN GARCON 1967 Compact Disc 3700477819859781986 VARTAN,S/DERAISO NNABLE Compact Disc 3700477819866 781987 VARTAN,S/LA MARITZA Compact Disc 3700477819873781988 VARTAN,S/DE CHOSES ET DAUTRE S Compact Disc 3700477819880 781989 VARTAN,S/A DOPPIA COPPIA Compact Disc 3700477819897781990 VARTAN,S/P UNTO E BASTA Com pact Disc 3700477819903 781991 VARTAN,S/AIME MOI Compact Disc 37004778199103 700477 800406 3 700477 800437 3 700477 800468 3 700477 800536 3 700477 800543 3 700477 800550 3 700477 800567 3 700477 800574 3 700477 802585 3 700477 802639 3 700477 802646 3 700477 802653 3 700477 802660 3 700477 802677 3 700477 819835 3 700477 819842 3 700477 819859 3 700477 819866 3 700477 819873 3 700477 819880 3 700477 819897 3 700477 819903 3 700477 819910 Page 119 of 217Catalogue NumberArtist / Title Config Scannable UPC UPCNUMERICAL BY ARTIST / Numerique par artiste 781992 VARTAN,S/A LOLYMPIA 1972 Compact Disc 3700477819927 781993 VARTAN,S/SYLVIE A TOKYO Compact Disc 3700477819934781994 VARTAN,S/LI VE IN JAPAN Co mpact Disc 3700477819941 781995 VARTAN,S/JAI UN PROBLEME Compact Disc 3700477819958781996 VARTAN,S/VIRAGE Compact Disc 3700477819965781997 VARTAN,S/SHANG SHANG A LANG Compact Disc 3700477819972781998 VARTAN,S/PALAIS DES CONGRES 75 Compact Disc 3700477819989781999 VARTAN,S/SHOW SYLVIE VARTAN Compact Disc 3700477819996782000 VARTAN,S/DANCING STAR Compact Disc 3700477820008 782001 VARTAN,S/QUESTCE QUI FAIT PLEU Compact Disc 3700477820015782002 VARTAN,S/DES HEURES DE DESIR Compact Disc 3700477820022 782003 VARTAN,S/GEORGES Compact Disc 3700477820039782004 VARTAN,S/PALAIS DES CONGRES 77 Compact Disc 3700477820046782005 VARTAN,S/FANTAISIE Compact Disc 3700477820053782006 VARTAN,S/LIVE IN LAS VEGAS Compact Disc 3700477820060782007 VARTAN,S/I DONT WANT THE NIGHT Compact Disc 3700477820077 782010 VARTAN,S/PALAIS DES SPORTS 81 Compact Disc 3700477820107782012 VARTAN,S/PALAIS DES CONGRES 83 Compact Disc 3700477820121782013 VARTAN,S/LA REINE DE SABA Co mpact Disc 3700477820138 782014 HEAD,M/MY BACK PAGES Compact Disc 3700477820145782029 WANG CHUNG/MOSAI C Compact Disc 3700477820299 795022 CARTER FAM/COUNTRY BY Compact Disc 015707950220 795302 CASH, JOHN/JUST AS I AM Compact Disc 0157079530233 700477 819927 3 700477 819934 3 700477 819941 3 700477 819958 3 700477 819965 3 700477 819972 3 700477 819989 3 700477 819996 3 700477 820008 3 700477 820015 3 700477 820022 3 700477 820039 3 700477 820046 3 700477 820053 3 700477 820060 3 700477 820077 3 700477 820107 3 700477 820121 3 700477 820138 3 700477 820145 3 700477 820299 0 15707 95022 0 0 15707 95302 3 Page 120 of 217Catalogue NumberArtist / Title Config Scannable UPC UPCNUMERICAL BY ARTIST / Numerique par artiste 797769 K'S CHOICE/10 Digital Video Disc 015707977692 797782 K'S CHOICE/10 Compact Disc 015707977821797982 SEEGER, PE/ESSENTIAL, THE C ompact Disc 015707979825 808632 SUMAC, YMA/MAMBO Compact Disc 077778086321823102 CARTEL/CYCLES Compact Disc 5099908231024825332 12 STONES/ONLY EASY DA Y WAS Y Com pact Disc 5099908253323 827699 FINGER ELE/US VS. THEN VS. NOW DVD + BNS CD 5099908276995827719 EVAN ESCENC/ANYWHERE BUT HOME D Digital Video Disc 5099908277190 838170 VARIOUS AR/HYMNS:ANCI ENT AND M Compact Disc 724358381702 841452 KRAVITZ, L/BAPTISM Com pact Disc 724358414523 842872 COLEMAN, O/NEW YORK IS NOW Compact Disc 077778428725849022 LUNCH AT A/CA TCH THE MOON Co mpact Disc 094638490227 861132 MOULD, BOB/WORKBOOK Compact Disc 077778611325870452 SEETHE R/DISCLAIMER II Compact Disc 5099968704520 880002 PENDERGRAS/FROM TEDDY, WITH LO Compact Disc 793018800020 894812 MCDERMOTT,/ON A WHIM:SONGS OF Compact Disc 094638948124895412 LAWS, RONN/FEVER Compact Disc 077778954125 901860 JANE'S ADD/STRA YS Compact Disc 724359018607 904142 MORGAN, LE/SONIC BOOM Compact Disc 724359041421906382 BLONDIE/EAT TO THE BEAT(CD/DVD CD with DVD 094639063826 923539 BEACH BOYS/E NDLESS HARMONY Digit al Video Disc 724349235397 924769 ENIGMA/REMEMBER THE FUTURE Digital Video Disc 724349247697925812 GR APES OF /NOW AND AG AIN Compact Disc 0777792581230 15707 97769 2 0 15707 97782 1 0 15707 97982 5 0 77778 08632 1 5 099908 231024 5 099908 253323 5 099908 276995 5 099908 277190 7 24358 38170 2 7 24358 41452 3 0 77778 42872 5 0 94638 49022 7 0 77778 61132 5 5 099968 704520 7 93018 80002 0 0 94638 94812 4 0 77778 95412 5 7 24359 01860 7 7 24359 04142 1 0 94639 06382 6 7 24349 23539 7 7 24349 24769 7 0 77779 25812 3 Page 121 of 217Catalogue NumberArtist / Title Config Scannable UPC UPCNUMERICAL BY ARTIST / Numerique par artiste 926912 MERCER, RO/DOUBLE WI DE VOL.1 Compact Disc 094639269129 938792 FLORATONE/FLORATONE Compact Disc 094639387922944752 MONTGOMERY/FAR WES Compact Disc 077779447527946652 HARRISON, /LIVE IN JAPAN Com pact Disc 724359466521 949552 VARIOUS AR/BLUE NOTE PLAYS THE Compact Disc 724359495521954492 BLOSSOM DE/MAY I COME IN Compact Disc 724349544925962652 WILSON, NA/YESTERDAY LOVE SONG Compact Disc 077779626526 980132 KRAVITZ, L/LET LOVE RULE(20TH Compact Disc 5099969801327984522 CHRISTY, J/MISTY MI SS CHRISTY Com pact Disc 077779845224 990049 VARIOUS AR/P UPPETRY OF THE PEN Digital Vi deo Disc 805239900493 993499 BEATLES, T/FI RST U.S. VISIT,TH Digital Vi deo Disc 724359934990 1708963 NEVE, JEF TRIO /NOBODY IS ILLE G Compact Disc 602517089631 2451388 TEA L EAF GREEN/SEEDS(3 CD) Compact Disc 640424999940 2511100 TEA LEAF GREEN/TAUGHT TO BE PR Compact Disc 6404249999332728088 SINATRA,F/SINATRA 65 Compact Disc 6025272808822747054 JAMIROQUAI/ROCK DUST LIGHT STA Compact Disc 602527470542 2750366 SINATRA,F/ SEPTEMBER OF MY Y EAR Compac t Disc 602527503660 2776036 PIERPO LJAK/BEST OF Co mpact Disc 602527760360 3711279 WARE,J/DEVOTION Compact Disc 6025371127913723392 ROLLING STONES/G RRR BLU RAY AUDIO 602537233922 3744274 NDIDI/DARK SWING Compact Disc 6025374427443747398 WHO,THE/TOMMY BLU RAY AUDIO 6025374739843753714 TAYLOR,R/THE LOT(12 CD+DVD) CD wi th DVD 6025375371430 94639 26912 9 0 94639 38792 2 0 77779 44752 7 7 24359 46652 1 7 24359 49552 1 7 24349 54492 5 0 77779 62652 6 5 099969 801327 0 77779 84522 4 8 05239 90049 3 7 24359 93499 0 6 02517 08963 1 6 40424 99994 0 6 40424 99993 3 6 02527 28088 2 6 02527 47054 2 6 02527 50366 0 6 02527 76036 0 6 02537 11279 1 6 02537 23392 2 6 02537 44274 4 6 02537 47398 4 6 02537 53714 3 Page 122 of 217Catalogue NumberArtist / Title Config Scannable UPC UPCNUMERICAL BY ARTIST / Numerique par artiste 3757048 SEET HER/SEETHE R 2002 TO 2013 Compact Disc 602537570485 4136882 MUS/AVE MA RIA Compact Disc 028941368829 4214402 FAURE/REQUIEM/DUTOITPELLEAS Compact Disc 0289421440264346952 HANDEL/M ESSIAH Compac t Disc 028943469524 4357052 BERG/LULU Compact Disc 0289435705274367192 PAVAROTTI/AMORE Co mpact Disc 028943671927 4433922 WORLD-OF/SOUSA MA RCHES Compac t Disc 028944339222 4453992 MYSTERY OF SANTA DOMINGO/MYSTE Compact Disc 0289445399294491632 RODGERS,HAMMER/SOMETHING/TERFE Compact Disc 0289449163244534642 HANDEL/M ESSIAH Compac t Disc 028945346427 4534972 LULLY/ACIS ET GALATEE Compact Disc 0289453497254541452 SYMPHONIC-LED-Z EPPELIN Co mpact Disc 028945414522 4595992 BACH/GOLDBERG/VARIATIONS/TUREC Compact Disc 0289459599244630742 TELEMANN/STRING CO NCERTOS Com pact Disc 028946307427 4669392 OST/AGNES BROWNE Compact Disc 0289466939264681862 STRAVINSKY/THE RITE OF SPRING Compact Disc 0289468186264698422 ZELENKA/ORCH ESTRAL WORKS C ompact Disc 028946984222 4702550 TOKIO HOTEL/KINGS OF SUBURBIA Compact Disc 6025470255004704432 WAGNER/DIE WALKURE Compact Disc 0289470443214713342 MOZART/ARIAS Compact Disc 0289471334214744382 TERFEL,B/BRYN TERFEL SINGS FAV Compact Disc 0289474438274745002 PREVIN &BERNSTEIN/VIOLIN CO NCER Compact Disc 028947450023 4745562 KAR AJAN/A CHRISTMAS CO NCERT Compac t Disc 0289474556226 02537 57048 5 0 28941 36882 9 0 28942 14402 6 0 28943 46952 4 0 28943 57052 7 0 28943 67192 7 0 28944 33922 2 0 28944 53992 9 0 28944 91632 4 0 28945 34642 7 0 28945 34972 5 0 28945 41452 2 0 28945 95992 4 0 28946 30742 7 0 28946 69392 6 0 28946 81862 6 0 28946 98422 2 6 02547 02550 0 0 28947 04432 1 0 28947 13342 1 0 28947 44382 7 0 28947 45002 3 0 28947 45562 2 Page 123 of 217Catalogue NumberArtist / Title Config Scannable UPC UPCNUMERICAL BY ARTIST / Numerique par artiste 4753972 TEBALDI,R/CL ASSIC RECITALS Co mpact Disc 028947539728 4756145 CANTELOUBE/SINGS CANT ELOUBE CH CD wi th DVD 028947561453 4756319 BEET HOVEN/STEPHEN KOVAC EVICH P Compac t Disc 028947563198 4756780 VAR/DECCA & PHILIPS REC:1951-6 Compact Disc 0289475678064757054 MELOSQUARTEET/MOZART;GREAT CHA Compact Disc 0289475705474758249 MARRINER,N/ ROSSINI:IL TURCO IN Compact Disc 028947582496 4758256 GARDINER,J/HANDEL:SAUL - 3 CD Compact Disc 028947582564 4758493 HORNE,M/VAR:SOUVENIR OF A GOLD Compact Disc 0289475849334767064 VAR/GRIEG;GREATEST HITS Compact Disc 0289476706434775145 HAYDN/STRING QUARTETS OP 51-74 Compact Disc 0289477514584775242 ASKENASE,S/THE COMPLETE 1950S Compact Disc 028947752424 4775384 VAR/AMERICAN CONTEMPO RARIES Compact Disc 028947753841 4775385 BOULEZ,P/EXPLOSANTE-FIXE...,NO Compact Disc 0289477538584775724 SEDARES,J/WAXMAN:JOSHUA Compact Disc 0289477572454775746 BERNSTEINWP/MOZART;LATE SYMPHO Compact Disc 0289477574674775938 LANGLANG/MEMORY Compact Disc 0289477593864777970 STADER,M/IN DULCI JUBILO-MARIA Compact Disc 0289477797044780076 MURAJI,K/RODRIGO:VIVA! RODRIGO Com pact Disc 028947800767 4790718 PHILHARMONIKER,THE/SYMPHONY,T Compact Disc 0289479071834791984 MUTTER,A S/DVORAK VIOL IN(CD+DV CD wi th DVD 028947919841 4800064 WUNDERLICH,F/ SACRED ARIAS C ompact Disc 028948000647 4800958 ALAGNA,D/LE DERNIER JOUR D'UN Com pact Disc 028948009589 5138302 PETERSON,O/EXCLUSIVELY FOR MY Compact Disc 7314513830210 28947 53972 8 0 28947 56145 3 0 28947 56319 8 0 28947 56780 6 0 28947 57054 7 0 28947 58249 6 0 28947 58256 4 0 28947 58493 3 0 28947 67064 3 0 28947 75145 8 0 28947 75242 4 0 28947 75384 1 0 28947 75385 8 0 28947 75724 5 0 28947 75746 7 0 28947 75938 6 0 28947 77970 4 0 28947 80076 7 0 28947 90718 3 0 28947 91984 1 0 28948 00064 7 0 28948 00958 9 7 31451 38302 1 Page 124 of 217Catalogue NumberArtist / Title Config Scannable UPC UPCNUMERICAL BY ARTIST / Numerique par artiste 5345685 VAR/HENRI DUTILLEUX ED ITIO(6CD Compact Disc 600753456859 5371432 JAM/DIRECTION,REACTI ON,CREAT Com pact Disc 731453714328 5422882 VAR/JAZZLAND REMIXED Compact Disc 7314542288245443812 VISAGE/THE DAMNED DO N'T CRY Com pact Disc 731454438124 5548982 ULTRAVOX/THE ISLAND YEARS Compact Disc 7314554898285592312 J.BREL/EN SCENES/ENREGISTREMEN Compact Disc 7314559231248122982 URIAH-H EEP/THE MAGICIAN'S BIRT Compac t Disc 042281229824 8394172 ALLMAN BROTHERS/DREAMS Compact Disc 0422839417249839326 ST EVENS,C/BOX SET (4 CD) Compact Disc 602498393260 9843157 COPE,J/JEHO VAKILL-DELUXE EDIT I Compact Disc 602498431573 9867896 HERBERT,G/BITTERSWEET AND BLUE Com pact Disc 602498678961 9875406 JOHNSON,J/LIVE IN JAPAN-UMD Univer sal Media Disc 602498754061 011026443 SWIFT,T/RED(SBX EXCL) Compact Disc 843930007080 0044504152 OST/BIKER BOYZ Compact Disc 6004450415230075313821 DEXYS MIDNIGH T RUNNERS/THE BES Compact Disc 600753138212 0114311172 THEY MIGHT BE GIANTS/THE ELSE Compact Disc 6011431117230121590542 CANIBUS/2000 B.C. Compact Disc 6012159054270246544132 KUHN&MCFA RLAND/OCTOBER SU ITE Compact Disc 602465441321 0249862534 PETERSON,O/A NIGHT IN VIENNA Digital Video Disc 6024986253470249872723 APOCALYPTICA/LIVE - DVD Digital Video Disc 6024987272320249883974 HEDLEY/ON MY OWN Compact Disc Singles 6024988397440249886693 DALA/A NGELS & THIEVES Compact Disc 602498866931 0251708287 CHILDREN OF BODO M/CHAOS RIDDEN Dig ital Video Disc 6025170828786 00753 45685 9 7 31453 71432 8 7 31454 22882 4 7 31454 43812 4 7 31455 48982 8 7 31455 92312 4 0 42281 22982 4 0 42283 94172 4 6 02498 39326 0 6 02498 43157 3 6 02498 67896 1 6 02498 75406 1 8 43930 00708 0 6 00445 04152 3 6 00753 13821 2 6 01143 11172 3 6 01215 90542 7 6 02465 44132 1 6 02498 62534 7 6 02498 72723 2 6 02498 83974 4 6 02498 86693 1 6 02517 08287 8 Page 125 of 217Catalogue NumberArtist / Title Config Scannable UPC UPCNUMERICAL BY ARTIST / Numerique par artiste 0251747135 RYANDAN/ RYANDAN Com pact Disc 602517471351 0252732799 GOULDING,E/LIGHTS Compact Disc 6025273279900252787832 DOWN WITH W EBSTER/TIME TO WI N2 Compact Disc 602527878324 0253799884 BENNETT,T/LA DY GA/CHEEK TO(D LX Compact Disc 602537998845 0694905402 IGLESIAS,E/ENRIQUE Compact Disc 6069490540210694906562 MXPX/THE EVER PASSING MOMENT Compact Disc 606949065621 0694931282 DR. DRE/THE WASH Compact Disc 6069493128240694932229 SUPERTRAMP/THE STORY SO FAR... Digital Video Disc 6069493222980881119602 WHO TH E/BBC SESSIONS C ompact Disc 008811196028 0881129032 VAR/LYRICIST LOUNGE VOL.1 Compact Disc 0088112903200881129852 HOWLIN WOLF/THE LONDON HOWLIN' Compact Disc 0088112985240881703252 CLARK,T/PAIN TO KILL Compact Disc 0088170325281166104842 WAYFARING STRANGERS/SHIFTING S Compact Disc 0116610484231166104892 BLUE HIGHWAY/STILL CLIMBING MO Compact Disc 0116610489281166105062 VAR/O SISTER 2:WOMEN BLUEGRASS Compact Disc 0116610506241166105082 DICKENS HAZEL TRIBUTE/TBD Compact Disc 0116610508221166105312 VAR/BLU EGRASS NUMBER 1' S Compact Disc 011661053120 1166105369 SCRUGG S&WATSON&SKAGGS/THE T HRE Digital Video Disc 011661053694 1166106222 DIFFIE,J/THE ULTIMATE COLLECTI Compact Disc 0116610622211166116142 THOROGOOD,G&THEDESTROYE RS/WHO Com pact Disc 011661161429 1166116162 VAR/BLU EGRASS MOUNTAIN ST YLE Compact Disc 011661161627 1166117692 LOMAX,A COLLE CTION/THE SPANIS H Compact Disc 011661176928 1166120742 BROWN,C/A LIFE IN THE BLUES Compact Disc 0116612074246 02517 47135 1 6 02527 32799 0 6 02527 87832 4 6 02537 99884 5 6 06949 05402 1 6 06949 06562 1 6 06949 31282 4 6 06949 32229 8 0 08811 19602 8 0 08811 29032 0 0 08811 29852 4 0 08817 03252 8 0 11661 04842 3 0 11661 04892 8 0 11661 05062 4 0 11661 05082 2 0 11661 05312 0 0 11661 05369 4 0 11661 06222 1 0 11661 16142 9 0 11661 16162 7 0 11661 17692 8 0 11661 20742 4 Page 126 of 217Catalogue NumberArtist / Title Config Scannable UPC UPCNUMERICAL BY ARTIST / Numerique par artiste 1166131662 NRBQ/NRBQ Compact Disc 011661316621 1166132209 GRIFFITH,N/WINTER MARQUEE Digital Video Disc 0116613220971166132799 VAR/RO UNDER RECORDS 40TH(DVD) Digital Vi deo Disc 011661327993 1166176492 VAR/HEAD SHOT:INSTRUMENTALS,DU Compact Disc 0116617649271166177192 VAR/VERSION DREAD Compact Disc 0116617719251166177692 HEPTON ES,THE/DEEP IN THE ROOTS Compact Disc 011661776920 1166178352 MARLEY,B & WAILERS/ANOTHER DAN Compact Disc 0116617835221166190732 WAITE,J/DOWNTOWN:JO URNEY OF A Compact Disc 011661907324 1166191052 MARTIN,S &STEEP CANYON RANG ERS Compact Disc 011661910522 1166196172 SMOKIN'JOE KUBEK/BITE ME Co mpact Disc 011661961722 1167112332 GRIFFITH,N/ONCE IN A VERY BLUE Compact Disc 0116711233251167112382 CL EAVES,S/WISHBONES C ompact Disc 011671123820 1167131309 WATSON,D/THE GUITAR ARTIST(DVD Digital Video Disc 0116713130921167180502 BRYAN,D/LUNAR ECLIPSE Compact Disc 0116718050231213670772 VAR/C AJUN HEAT, ZYDECO BEAT Compac t Disc 712136707721 1398501054 FIVE FING ER DEATH PUNCH/AMER IC Compact Disc 813985010540 2061611842 STRY PER/SOLDIERS UNDER CO MMAND Compact Disc 720616118424 2061611862 STRYPER/IN GOD WE TRUST Compact Disc 7206161186222061611872 STRYPER/AGAINST THE LAW Compact Disc 7206161187212061622692 BUTTHOLE SURFERS/WEIRD REVOLUT Compact Disc Enhanced 7206162269212061623982 VAR/VERONICA GUERIN Compact Disc 7206162398222061624072 OST/UNDE R THE TUSCAN SU N Compact Disc 720616240729 2061624652 QUEEN/GREATEST HITS-WE WILL RO Compact Disc 7206162465230 11661 31662 1 0 11661 32209 7 0 11661 32799 3 0 11661 76492 7 0 11661 77192 5 0 11661 77692 0 0 11661 78352 2 0 11661 90732 4 0 11661 91052 2 0 11661 96172 2 0 11671 12332 5 0 11671 12382 0 0 11671 31309 2 0 11671 80502 3 7 12136 70772 1 8 13985 01054 0 7 20616 11842 4 7 20616 11862 2 7 20616 11872 1 7 20616 22692 1 7 20616 23982 2 7 20616 24072 9 7 20616 24652 3 Page 127 of 217Catalogue NumberArtist / Title Config Scannable UPC UPCNUMERICAL BY ARTIST / Numerique par artiste 2061624712 OST/MOOG Compact Disc 720616247124 2061690179 QUEEN/GREATEST VIDEO HITS 2 Digital Video Disc 7206169017982539600202 MARIAN AS TRENCH/SAY ANYTHING(C Compact Disc Singles 825396002021 2539602692 MARIAN AS TRENCH/EVER (FANPAC K) Compac t Disc 825396026928 2547032645 ST EVE,S/SONIC SOUL S URFER Compac t Disc 602547032645 2547207906 MINI MANSIONS/THE GREAT PRETEN Compact Disc 6025472079062894709992 OST/STAR TREK:ENTERPRISE Compact Disc 0289470999252923163761 KALDOR,C/ UN PATO EN NUEVA YO RK Compact Disc 9782923163765 3020604012 VAR/D ESERT GROOVES Co mpact Disc 030206040128 3020604212 VAR/CAFE ROMA 2 Compact Disc 0302060421223020604332 VAR/P UER TECHNO 2 C ompact Disc 030206043327 3020604412 VAR/WHITE MARTINI Compact Disc 0302060441263020605222 VAR/T UNNEL TRANCE FORCE AM ERIC Compac t Disc 030206052220 3020605242 RYAN,K/STRONGER Compact Disc 0302060524283020605722 J ESSY/RAIN Com pact Disc 030206057225 3020605922 VAR/PURE FITNESS Compact Disc 0302060592293020606112 VAR/B REAKFAST CLUB PAR IS Compact Disc 030206061123 3020606262 VAR/TANTRA LOUNGE VOLUME 4 Compact Disc 0302060626253020606312 VAR/PURE PUNJABI Compact Disc 0302060631273020606372 VAR/A W EEKEND IN PARIS Co mpact Disc 030206063721 3020606492 VAR/W EEKEND IN IBIZA C ompact Disc 030206064926 3020606512 VAR/D ESERT GROOVES 2 C ompact Disc 030206065121 3020606612 VAR/ SENSUAL NIGHTS:THE ESSENTI Compac t Disc 0302060661287 20616 24712 4 7 20616 90179 8 8 25396 00202 1 8 25396 02692 8 6 02547 03264 5 6 02547 20790 6 0 28947 09992 5 9 782923 163765 0 30206 04012 8 0 30206 04212 2 0 30206 04332 7 0 30206 04412 6 0 30206 05222 0 0 30206 05242 8 0 30206 05722 5 0 30206 05922 9 0 30206 06112 3 0 30206 06262 5 0 30206 06312 7 0 30206 06372 1 0 30206 06492 6 0 30206 06512 1 0 30206 06612 8 Page 128 of 217Catalogue NumberArtist / Title Config Scannable UPC UPCNUMERICAL BY ARTIST / Numerique par artiste 3020607222 VAR/ ESSENTIAL COLLECTIO N 2 Compact Disc 030206072228 3020607322 VAR/IBIZA REVISITED Compact Disc 0302060732253020607512 VAR/CAFE EUROPA Compact Disc 0302060751203020608172 VAR/BHANGRA DANCE HITS Co mpact Disc 030206081725 3020608692 VAR/ALL STAR TRANCE Compact Disc 0302060869283020608732 VAR/VIN - LE LOUNGE Compact Disc 0302060873213020665192 DAY,D/W L ES BROWN & HIS O RCHES Compac t Disc 030206651928 3020667672 STORYVILLE/BLUEST EYES Compact Disc 0302066767233020670072 OST/THE GHOSTWRITER Compact Disc 0302067007253020670432 OST/N EVER LET ME GO Compact Disc 030206704327 3020672309 RABIN,T/LIVE IN L A Compact Disc 0302067230903145140452 BON JOVI/ KEEP T FAITH Com pact Disc 731451404528 3145178982 FITZGERALD,E/T FIRST LADY OF S Compact Disc 7314517898233145181992 VAUGHAN,S/JAZZ MASTERS V18 Compact Disc 7314518199263145198192 BASIE,C/VERVE JZZ MASTERS V.2 C ompact Disc 731451981920 3145214492 W EBSTER,B/SOULVILLE Compact Disc 731452144928 3145269932 MILLER,R/KING OF THE ROAD:THE Compact Disc 7314526993293145276552 FITZGERALD,E/VERVE JZ MAST #46 Compact Disc 7314527655293145298672 SIMONE,N/VJM#58/SINGS NINA Compact Disc 7314529867263145302382 WONDER,S/CONVERSATION PLACE Compact Disc 7314530238263145310422 TONIC/LEMON PARADE Compact Disc 7314531042283145360772 H.WILLIAMS/T COMPLETE HANK WIL Compact Disc 7314536077293145375622 EARL,R/& T BROADCASTERS/T COLO Compact Disc 7314537562290 30206 07222 8 0 30206 07322 5 0 30206 07512 0 0 30206 08172 5 0 30206 08692 8 0 30206 08732 1 0 30206 65192 8 0 30206 67672 3 0 30206 70072 5 0 30206 70432 7 0 30206 72309 0 7 31451 40452 8 7 31451 78982 3 7 31451 81992 6 7 31451 98192 0 7 31452 14492 8 7 31452 69932 9 7 31452 76552 9 7 31452 98672 6 7 31453 02382 6 7 31453 10422 8 7 31453 60772 9 7 31453 75622 9 Page 129 of 217Catalogue NumberArtist / Title Config Scannable UPC UPCNUMERICAL BY ARTIST / Numerique par artiste 3145381812 WHITE,B/HI S VERY BEST Com pact Disc 731453818125 3145390002 CREAM/THOSE WERE THE DAYS Compact Disc 7314539000283145390502 SIMONE,N/T ULTIMATE N SIMON Compact Disc 7314539050233145390622 MONTGOMERY,W/BUMPIN Compact Disc 7314539062283145416062 COCKER,J /THE BEST OF JOE COCKE Compact Disc 731454160629 3145433782 BONFA,L/T COMPOSER OF "BLACK O Compact Disc 7314543378233145471622 HORN,S/T ULTIMATE Compact Disc 7314547162223145490892 BL AKEY,A/KEN BURNS JAZZ: ART BL Com pact Disc 731454908924 3145494192 PAYTON,N/DEAR LOUIS Compact Disc 7314549419213145498842 BROWN,J/LIVE AT THE APOLLO V2 Compact Disc 7314549884213145560002 H.DANG ER/WHERE HAVE ALL T MERR Compact Disc 731455600025 3145571992 HORN,S/I REMEMBER MILES Compact Disc 7314557199253145589332 F.BROWN/CHYNA DOLL Compact Disc 7314558933283145609852 VAR/BUMP N' GRIND 3 Compact Disc 7314560985244391061329 FREDRI KSEN,F/ANY GIVEN MO MENT Compac t Disc 8024391061329 4391061527 ARC ANGEL/HARL EQUINS OF LIGHT Compact Disc 8024391061527 4400148322 US3/AN O RDINARY DAY IN A UNUSA Compac t Disc 044001483226 4400162982 HAYDEN/ SKYSCRAPER NATIONAL PAR Compac t Disc 044001629822 4400193542 T.A.T.U./ALL THE THINGS SHE SA CDSP Enhanced 0440019354284400600582 LIL' WAYNE/500 DEGREEZ Compact Disc 0440060058294400600762 BABY:AKA THE #1 STUNNA/BI RDMAN Compac t Disc 044006007625 4400633152 CRANBERRIES THE/STARS-THE (LIM CD with DVD 0440063315224400636832 APOCALYPTICA/REFLECTIONS Compact Disc 0440063683207 31453 81812 5 7 31453 90002 8 7 31453 90502 3 7 31453 90622 8 7 31454 16062 9 7 31454 33782 3 7 31454 71622 2 7 31454 90892 4 7 31454 94192 1 7 31454 98842 1 7 31455 60002 5 7 31455 71992 5 7 31455 89332 8 7 31456 09852 4 8 024391 061329 8 024391 061527 0 44001 48322 6 0 44001 62982 2 0 44001 93542 8 0 44006 00582 9 0 44006 00762 5 0 44006 33152 2 0 44006 36832 0 Page 130 of 217Catalogue NumberArtist / Title Config Scannable UPC UPCNUMERICAL BY ARTIST / Numerique par artiste 4400655972 PARKER,C/THE COMPLETE MASTER T Compact Disc 044006559728 4400663652 OST/STANDING IN THE SHADOWS(DE Compact Disc 0440066365285169000101 BROWN,D/DIVINE BROWN Compact Disc 8516900010195678683992 CLOUD CO NTROL/DREAM CAVE Compact Disc 075678683992 5678684029 SO SO GLOS,THE/BLOWOUT Compact Disc 0756786840295678766633 WHITE ARROWS/DRY LAND IS NOT A Compact Disc 075678766633 5678825613 BRITE FU TURES/DARK PAST Compact Disc 075678825613 5891410524 SUTTON,B/INTO MY OWN Compact Disc 0158914105246076846132 CRAY,R/TIME WILL TELL Compact Disc 0607684613216076852012 MOTORHEAD/T HE BEST OF MOTO RHEA Compact Disc 060768520127 6152810418 COLE,H/HOLLY COLE Compact Disc 0615281041827492793034 LOWEST OF T LO W/SHAKESPEARE MY Cassette 774927930343 7502165142 STYX/CAUGHT IN T ACT LIVE Compact Disc 0750216514257697425072 BLUE PETER/FALLING Compact Disc 7769742507267697425492 VAR/BORROWED TUNES II- A TRIBUT Compact Disc 776974254922 7884906825 AL ABAMA/ANGELS AMONG US Compact Disc 617884906825 7884911096 GAITHER VOCAL/SOMETIMES IT(DVD Digital Video Disc 6178849110968088904889 GAYE,M/GOLD(CD+LARGE T-SHIRT) FAN PACKS 6808890488908088905228 EST RADA,E/ROUND3 Co mpact Disc 680889052286 8088905347 GRANDE,A /MY EVERYTHING EX C WM FAN PACKS 680889053474 8088905818 TRAGICALLY HIP/FULLY COM(CD+T Compact Disc 6808890581898088905994 5 SECONDS OF/LIVE SOS(CD+GRL M FAN PACKS 6808890599408088905995 5 SECONDS OF/LIVE SOS(CD+GRL L FAN PACKS 6808890599570 44006 55972 8 0 44006 63652 8 8 51690 00101 9 0 75678 68399 2 0 75678 68402 9 0 75678 76663 3 0 75678 82561 3 0 15891 41052 4 0 60768 46132 1 0 60768 52012 7 0 61528 10418 2 7 74927 93034 3 0 75021 65142 5 7 76974 25072 6 7 76974 25492 2 6 17884 90682 5 6 17884 91109 6 6 80889 04889 0 6 80889 05228 6 6 80889 05347 4 6 80889 05818 9 6 80889 05994 0 6 80889 05995 7 Page 131 of 217Catalogue NumberArtist / Title Config Scannable UPC UPCNUMERICAL BY ARTIST / Numerique par artiste 8216105192 POWELL,D/TIME AGAIN Compact Disc 682161051925 8216118322 VAR/T ALAN LOMAX:DEEP RI VER:V2 Compac t Disc 682161183220 63855802752 JOHNSON,J/ORIGINAL MOTI ON PICT Com pact Disc 638558027523 82666310052 SLIGHTLY STOOPID/WINTER TOUR 0 Compact Disc 82666310052582666311043 KING,BB/B.B.KING LIVE IN AFRIC Digital Video Disc 82666311043282666311304 WATERS,M/LIVE AT CHICAGOFEST Digital Video Disc 82666311304482666311619 REDDING,O/T HE BEST:SEE & HEAR Compact Disc 826663116199 82666312075 EMERSON,L AKE & PALMER/A TIME A Compact Disc 826663120752 85420600110 BROOKS,G/GARTH BROOKS Compact Disc 85420600110785420600111 BROOKS,G/NO FENCES Compact Disc 85420600111485420600112 BROOKS,G/THE CHASE Compact Disc 85420600112185420600113 BROOKS,G/IN PIECES Compact Disc 85420600113885420600114 BROOKS,G/ROPIN' THE WIND Compact Disc 85420600114585420600115 BROOKS,G/FRESH HORSES Compact Disc 85420600115285420600118 BROOKS,G/SCARECROW Compact Disc 85420600118388751698009 BROTHE RS LANDRETH,THE/LET IT L Compact Disc 887516980091 848064000167 MEDLEY,B/BILL MEDLEY 100%/SOFT Compact Disc 848064000167848064000198 GRATEFUL DEAD/DICK'S PICKS V32 Compact Disc 848064000198848064000211 FERGUSON,M /THE NEW SOUNDS OF M Compact Disc 848064000211 848064000228 TYMES,TH E/SO MUCH IN LO VE Compac t Disc 848064000228 848064000235 VAR/THE RE D BIRD GIRLS C ompact Disc 848064000235 049002B GONZALES/SOLO PIANO:DELUXE E CD with DVD 827590490024 100182F VARIOUS/WHE N SHAPES JOIN TOG/ 3 Compact Disc 50504910018216 82161 05192 5 6 82161 18322 0 6 38558 02752 3 8 26663 10052 5 8 26663 11043 2 8 26663 11304 4 8 26663 11619 9 8 26663 12075 2 8 54206 00110 7 8 54206 00111 4 8 54206 00112 1 8 54206 00113 8 8 54206 00114 5 8 54206 00115 2 8 54206 00118 3 8 87516 98009 1 8 48064 00016 7 8 48064 00019 8 8 48064 00021 1 8 48064 00022 8 8 48064 00023 5 8 27590 49002 4 5 050491 001821 Page 132 of 217Catalogue NumberArtist / Title Config Scannable UPC UPCNUMERICAL BY ARTIST / Numerique par artiste 100772B VARIOUS AR/MON O-WHEN SHAPES JO Compact Disc 5050491007724 110032E STURR, JIM/WHEN IT'S POLKA TIM Com pact Disc 014921100329 110052F MILLER GLE/MOONLIGHT SERENADE Compact Disc 014921100527110062F STURR, JIM/LI VE AT GILLEY'S C ompact Disc 014921100626 110072G MILLER GLE/HERE WE GO AGAIN Compact Disc 014921100725110112G CROSS, MIK/HIGH POWERED, LOW F Compact Disc 015891101125 110112H FAITH, PER/THEME FROM A SUMMER Compact Disc 014921101128 110132G FAITH, PER/LATIN RHYTHMS Compact Disc 014921101326110152G CRAMER, FL/FAVORITE CO UNTRY HI Com pact Disc 014921101524 110172D MILLER GLE/YESTERDAYS Compact Disc 014921101722110182D FAITH, PER/GREAT MOVIE THEMES Compact Disc 014921101821110322C UNCLE WALT/GIRL ON TH E SUNNY S Com pact Disc 015891103228 130112D BOXCAR WIL/BOXCAR 'S BEST Com pact Disc 014921301122 130162C STURR, JIM/POLKA F AVORITES Com pact Disc 014921301627 140072C PARTON, DO/THOSE WERE THE DAYS Compact Disc 015891400723 140082E PARTON,D/ACOUSTIC COLL:99-02 Compact Disc 015891400822170552B MILLER GLE/SWING TIME Compact Disc 014921705524170602B STATLER BR/FLOWERS ON THE WALL Compact Disc 014921706026171102A SLOWCOASTE/FUTURE RADIO Compact Disc 778591711024 182352C BOXCAR WI L/BEST LOVED FAVORI TE Compact Disc 014921823525 182392C FOUR FRESH/FRESHMAS Compact Disc 014921823921 182402B STUR, JIMM/JIMMY ST URR CHRISTM Com pact Disc 014921824027 182412C FOUR FRESH/FRESH Compact Disc 0149218241265 050491 007724 0 14921 10032 9 0 14921 10052 7 0 14921 10062 6 0 14921 10072 5 0 15891 10112 5 0 14921 10112 8 0 14921 10132 6 0 14921 10152 4 0 14921 10172 2 0 14921 10182 1 0 15891 10322 8 0 14921 30112 2 0 14921 30162 7 0 15891 40072 3 0 15891 40082 2 0 14921 70552 4 0 14921 70602 6 7 78591 71102 4 0 14921 82352 5 0 14921 82392 1 0 14921 82402 7 0 14921 82412 6 Page 133 of 217Catalogue NumberArtist / Title Config Scannable UPC UPCNUMERICAL BY ARTIST / Numerique par artiste 182452B STURR, JIM/ STURR-IT-UP Com pact Disc 014921824522 182532C STURR, JIM/ SATURDAY NIGHT POLK Compact Disc 014921825321 182552D CRAMER,F/PIANO MAGIC OF, VOL.2 Compact Disc 014921825529 182582B CRAMER, FL/BLUE SKIES Compact Disc 014921825826 182632C ZAMFIR/SONGS OF ROMANCE, V.I Compact Disc 014921826328 182642B ZAMFIR/SONGS OF ROMANCE, V.II Compact Disc 014921826427200222E VARIOUS/PL EA FOR PEACE/TAKE V2 Compact Disc 790692002221 200251C EDISUN/EDISUN Compact Disc 852362002518 200278B TRAPT/REBORN(DLX) Compact Disc 852362002785200352E VARIOUS/T AKE ACTION! VOLUME 6 CD with DVD 790692003525 201982A CEREMONY/STILL, NOTHING MOVE Compact Disc 811772019820203342A MRS MILLER/WILD, COOL & SWINGI Compact Disc 724352033423296832B STARS OF T/CENTURIES BEFORE LO Compact Disc 5099902968322296862B STARS OF T/A TIME FOR LIONS Compact Disc 5099902968629296892B HAWTHORNE /SKELETONS Com pact Disc 5099902968926 300019C MONDIAL/ALWAYS DREAMING OF SOM Compact Disc 7332233000193300023C RONDERLIN/W AVE ANOTHER DAY GO Compact Disc 7332233000230 300024B DOUGLAS HE/DOUGLAS HEART Compact Disc 7332233000247300025B TRIBECA/KATE-97 Compact Disc 7332233000254300029B TRIBECA/SUN ALWAYS SHINES ON T Compact Disc 7332233000292300034B VARIOUS AR/3.. Compact Disc 7332233000346300040B LAUREL MUS/DREAMS AND LIES Compact Disc 7332233000407 300049C EDSON/KNOW.. Compact Disc 73322330004900 14921 82452 2 0 14921 82532 1 0 14921 82552 9 0 14921 82582 6 0 14921 82632 8 0 14921 82642 7 7 90692 00222 1 8 52362 00251 8 8 52362 00278 5 7 90692 00352 5 8 11772 01982 0 7 24352 03342 3 5 099902 968322 5 099902 968629 5 099902 968926 7 332233 000193 7 332233 000230 7 332233 000247 7 332233 000254 7 332233 000292 7 332233 000346 7 332233 000407 7 332233 000490 Page 134 of 217Catalogue NumberArtist / Title Config Scannable UPC UPCNUMERICAL BY ARTIST / Numerique par artiste 300052G VARIOUS/LABRADOR KINGSIZE V2 Compact Disc 7332233000520 300055B WAN LIGHT/LANDMARKS A ND HOUSE Com pact Disc 7332233000551 300059B TRIBECA/DRAGON DOWN Compact Disc 7332233000599300060B CORDUROY U/OH EIRA(REP OF 3300 Compact Disc 7332233000605 300062F INGENTING/HAR KOMME R SOLEN Compact Disc 7332233000629 300065B VARIOUS AR/4 Compact Disc 7332233000650 300069C SAM BASSADE/BETWEEN THE LI NES Compact Disc 7332233000698 300072G WAN LIGHT/THAT GRIM REALITY Compact Disc 7332233000728 300073D WAN LIGHT/CARMALINE Compact Disc 7332233000735300079C CARLBERG, /GO TO HELL, MISS RY Compact Disc 7332233000797 300082D LEGENDS, T/PUBLIC RADIO Compact Disc 7332233000827 300084B CARLBERG, /RIVERBANK Compact Disc 7332233000841300091B LEGENDS, T/PLAY IT FOR TODAY Compact Disc 7332233000919 300092D LEGENDS, T/LUCKY STAR Compact Disc 7332233000926 300094B IRENE/LITTLE THINGS(THAT TEAR Compact Disc 7332233000940 300099C LOVENINJAS/SECRET OF THE LOVEN Compact Disc 7332233000995 300101B CARLBERG, /IN A NUT SHELL Compact Disc 7332233001015 300102I MARY ONETT/VOID Compact Disc 7332233001022 300104B IRENE/LONG GONE SINCE LAST SUM Compact Disc 7332233001046 300112G SAM BASSADE/FINAL SAY Co mpact Disc 7332233001121 300114B SOUND OF A/DANG ER Compac t Disc 7332233001145 300115D CARLBERG, /LILAC TIME, THE Compact Disc 7332233001152 300116B LEGENDS, T/SECONDS AWAY Compact Disc 73322330011697 332233 000520 7 332233 000551 7 332233 000599 7 332233 000605 7 332233 000629 7 332233 000650 7 332233 000698 7 332233 000728 7 332233 000735 7 332233 000797 7 332233 000827 7 332233 000841 7 332233 000919 7 332233 000926 7 332233 000940 7 332233 000995 7 332233 001015 7 332233 001022 7 332233 001046 7 332233 001121 7 332233 001145 7 332233 001152 7 332233 001169 Page 135 of 217Catalogue NumberArtist / Title Config Scannable UPC UPCNUMERICAL BY ARTIST / Numerique par artiste 300122F LITTLE BIG/HATEFUL EYE EP, THE Compact Disc 7332233001220 300272G MURS/LOVE AND ROCKETS VOL.1 Compact Disc 857593002726 302202B VARIOUS AR/JEWEL PRESENTS:T IME Compact Disc 812623022020 302212B VARIOUS AR/EZ ROCK PRES:STU 97 Compact Disc 812623022129302322B VARIOUS AR/DANCE PARTY 2009 Compact Disc 812623023225302382B NIZLOPI/HALF THESE SONGS ARE A Compact Disc 812623023829 302402C ANDERSSON,/BUSY MISSI NG YOU Compact Disc 812623024024 302432B VARIOUS AR/ROCK PARTY ANTHEMS Compact Disc 812623024321302722B MADRID/ORIGINAL MESSAGE C ompact Disc 812623027223 302752B VARIOUS AR/ULTIMATE HITZ Compact Disc 812623027520302762B VARIOUS AR/SUMMER HITZ Compact Disc 812623027629 31222CD REFLECTIONS/IRISH CHRISTMAS Com pact Disc 096741087226 349212A BEACH BOYS/THEIR GREATEST HITS Compact Disc 724383492121 400012C CR EEPSHOW,/SELL YOUR SO UL Compact Disc 843204000120 400042B HUMBLE PIE/GREATEST HITS LIVE Compact Disc 826784000421 400052C KAN SAS/GREATEST HITS LI VE Compac t Disc 826784000520 400062B RUNDGREN,T/GR EATEST HITS LIVE Compact Disc 826784000629 400072B APRIL WINE/GREATEST HITS LIVE Compact Disc 826784000728400082B DIXIE DREG/GREATEST HI TS LIVE Compact Disc 826784000827 400092B ENTWISTLE,/GREATEST HITS LIVE Compact Disc 826784000926400112B GTR/GREATEST HITS LIVE Compact Disc 826784001121400122A KING, B B/GREATEST HITS LIVE Compact Disc 826784001220400132B URIAH H EEP/GREATEST HITS LI VE Compac t Disc 8267840013297 332233 001220 8 57593 00272 6 8 12623 02202 0 8 12623 02212 9 8 12623 02322 5 8 12623 02382 9 8 12623 02402 4 8 12623 02432 1 8 12623 02722 3 8 12623 02752 0 8 12623 02762 9 0 96741 08722 6 7 24383 49212 1 8 43204 00012 0 8 26784 00042 1 8 26784 00052 0 8 26784 00062 9 8 26784 00072 8 8 26784 00082 7 8 26784 00092 6 8 26784 00112 1 8 26784 00122 0 8 26784 00132 9 Page 136 of 217Catalogue NumberArtist / Title Config Scannable UPC UPCNUMERICAL BY ARTIST / Numerique par artiste 400152A AMERICA/GREATEST HITS LIVE Compact Disc 826784001527 400162B SQUIER, BI/GREATEST HITS LIVE Compact Disc 826784001626400172A B.T.O./GREATEST HITS LIVE Compact Disc 826784001725400182A RENAI SSANC/GREATEST HITS LIVE Compac t Disc 826784001824 400192A RAMONES, T/NYC 1978 Compact Disc 826784001923400212A RENAI SSANC/GRT'S HITS LI VE PT2 Compac t Disc 826784002128 400222B POP, IGGY/GREATEST HITS LIVE Compact Disc 826784002227400232A TRAVERS, P/GREATEST HITS LI VE Compac t Disc 826784002326 400252A CROSBY, DA/GREATEST HITS Compact Disc 826784002524 400272B LAKE, GREG/G REATEST HITS Co mpact Disc 826784002722 401792A JAMES, COL/THEN AGAIN Compact Disc 724384017927427062A SMASHING P/EARPHORIA Compact Disc 724354270628449642A BEACH BOYS/WARMTH OF THE SUN,T Compac t Disc 094634496421 45R013 AMOS THE TRANSPAREN T/GOODNIGHT Compact Disc 4400315066852 471742B SOUNDTRA CK/CRUEL INTENTIO NS Compact Disc 724384717421 484652A MARITIME J/SIREN'S SONG Compact Disc 068944846528485002A BOLDUC, RE/TCHA T Compact Disc 068944850020 485512A WILCOX, DA/BR EAKFAST AT THE CI Compact Disc 077774855129 4PRCD4426 VAR/PRESTIGE RECO RDS STORY Com pact Disc 025218442626 4TAY4036 RHYTHM AND HU/MUSIC OF GERSHWI Compact Disc 681585403624 500052M TM JUKE/M APS FROM THE WILDE RNE Compact Disc 827655000526 500562D LIMP TWINS/TALES FROM BEYOND T Compact Disc 827655005620 501222F RUSSELL, A/UNDER THE MUNKA MOO Compact Disc 8276550122228 26784 00152 7 8 26784 00162 6 8 26784 00172 5 8 26784 00182 4 8 26784 00192 3 8 26784 00212 8 8 26784 00222 7 8 26784 00232 6 8 26784 00252 4 8 26784 00272 2 7 24384 01792 7 7 24354 27062 8 0 94634 49642 1 4 400315 066856 7 24384 71742 1 0 68944 84652 8 0 68944 85002 0 0 77774 85512 9 0 25218 44262 6 6 81585 40362 4 8 27655 00052 6 8 27655 00562 0 8 27655 01222 2 Page 137 of 217Catalogue NumberArtist / Title Config Scannable UPC UPCNUMERICAL BY ARTIST / Numerique par artiste 5063D DIO, R J/IN MEMORY OF [DVD] Digital Video Disc 9120817150635 541282B ROSENSHONT/ROCK'N'ROLL TEDDY B Compact Disc 085365412828543512B FIREHOUSE/CATEGORY 5 Compact Disc 085365435124545022B VARIOUS AR/CUBA:I AM TIME(4 CD Compact Disc 085365450226548352B CHARLAMAGN/SOUT H CRACK - THE A Compact Disc 085365483521 564182B PARKENING,/GRACE LIKE A RIVER Compact Disc 094635641820 611262B MIRANDA SE/MADRA Compact Disc 724596112625632742B VARIOUS AR/SHAPES RED C ompact Disc 5060006327421 632872B RUSSELL, A/MY FAVOURITE LETTE R Compact Disc 5060006328725 633092B BROKEN KEY/GRAVITY Compact Disc 5060006330926633732B VARIOUS AR/SHAPES ( 2007) Compact Disc 5060006337321 635052B VARIOUS AR/SHAPES 08:01 Co mpact Disc 5060006350528 636462B ENO, BRIAN/MUSIC FOR FILMS Compact Disc 724356364622668992B HARRISON, /LIVING IN THE MATER Compact Disc 094636689920693042B GOLDFRAPP/NUM BER 1 Compact Disc EP' s 724596930427 700022K FARINA, MI/COMPLETE VANGUARD R Compact Disc 015707000222 700312D DILLARDS, /THERE IS A TIME Compact Disc 015707003124 700532C MUSSEL WHIT/BLUES NEVER DIE, TH Compact Disc 015707005326 705012C SEEGER, PE/BEST OF, THE C ompact Disc 015707050128 712012B SWINGIN' U/MORE SCARED Compact Disc 603967120127730102B VENOM/PO SSESSED Com pact Disc 823107301029 731302B GRAPPELLI,/ BEST OF, THE C ompact Disc 015707313025 737742C VARIOUS AR/NOW CO UNTRY 7 Com pact Disc 50999973774299 120817 150635 0 85365 41282 8 0 85365 43512 4 0 85365 45022 6 0 85365 48352 1 0 94635 64182 0 7 24596 11262 5 5 060006 327421 5 060006 328725 5 060006 330926 5 060006 337321 5 060006 350528 7 24356 36462 2 0 94636 68992 0 7 24596 93042 7 0 15707 00022 2 0 15707 00312 4 0 15707 00532 6 0 15707 05012 8 6 03967 12012 7 8 23107 30102 9 0 15707 31302 5 5 099997 377429 Page 138 of 217Catalogue NumberArtist / Title Config Scannable UPC UPCNUMERICAL BY ARTIST / Numerique par artiste 743372B LORBER, JE/KICKIN' IT Compact Disc 724387433724 754710B AS CITIES /SON, I LOVED YOU AT Compact Disc 724387547100758482A GOLUB, JEF/TEMPTATION Compact Disc 724387584822 770082D SEEGER,P/LI VE AT NEWPORT,63- 65 Compact Disc 015707700825 781822B GRAPPELLI,/ SATIN DOLL Co mpact Disc 015707818223 792202C GARLAND, J/VERY BEST OF JUDY G Compact Disc 094637922026 794502B KLEZMER CO/YI DDISHE RENAISSAN C Compact Disc 015707945028 795182C MONROE, BI/EARLY YEARS, THE Compact Disc 015707951821 795792B VARIOUS AR/CONCERTS FO R A LAND Compact Disc 015707957922 797352C VARIOUS AR/IT'LL COME TO YOU:S Compact Disc 015707973526 798412B BAYSIDE/KILLING TIME Compact Disc 5099967984121802372A UPSETTERS /DOUBLE SEVEN Co mpact Disc 060768023727 824042B 12 STONES/12 STONES Compact Disc 5099908240422846462B KENTON, ST/A MERRY CHRIST MAS Compact Disc 724358464627 860382A MARLEY, ZI/CONCIOUS PARTY Compact Disc 077778603825870362B CREED/GREATEST HITS CD/DVD CD wi th DVD 5099968703622 880012B MILLER, ST/KBF H PRESENTS.STEVE Compact Disc 793018800129 880032B STARR, RIN/RINGO STA RR & HIS A Compact Disc 793018800327 900012C VARIOUS AR/HIGH TIMES PRE:RIP Compact Disc 805239000124 900022B MON KEES, T/LIVE SUMMER TO UR Compact Disc 805239000223 900214B SIGEL, BEA/THIS TIME Co mpact Disc 899079002141 934462B HENDRIX, J/BAND OF GYPSY'S Compact Disc 724349344624 945072B RICH, BUDD/NEW ON E,THE Compact Disc 7243494507217 24387 43372 4 7 24387 54710 0 7 24387 58482 2 0 15707 70082 5 0 15707 81822 3 0 94637 92202 6 0 15707 94502 8 0 15707 95182 1 0 15707 95792 2 0 15707 97352 6 5 099967 984121 0 60768 02372 7 5 099908 240422 7 24358 46462 7 0 77778 60382 5 5 099968 703622 7 93018 80012 9 7 93018 80032 7 8 05239 00012 4 8 05239 00022 3 8 99079 00214 1 7 24349 34462 4 7 24349 45072 1 Page 139 of 217Catalogue NumberArtist / Title Config Scannable UPC UPCNUMERICAL BY ARTIST / Numerique par artiste 948072A CHARLAP, B/SOMEWHERE Compact Disc 724359480725 986672B MILSTEIN, /ICON: NATHAN MILSTE Compact Disc 5099969866722 AAA994 NOMEANSNO/ALL ROADS LEAD TO AU Compact Disc 689230099420AAA995 ALTAMONT/THE MON KEE'S UNCLE Com pact Disc 689230099529 AAA999 EAGLES OF DEATH META L/PEACE LO Com pact Disc 689230099925 ACD10042 KAESHAMMER,M/TELL YOU HO W I FE Compact Disc 776127077729 ACD10372 BOOMERS,T/MIDWAY Compact Disc 624481103724ACD10612 BOOMERS/25 THOUSAND DAYS Compact Disc 624481106121ACD14262 BOOMERS,T/ART OF LIVING Compact Disc 880504142624ACD14382 CARRINGTON,J&DWYER, P/ONE TAKE Compact Disc 880504143829 ACD66062 DURAN,H/FROM THE H EART Compact Di sc Enhanced 880504660623 ACD71215 SCHOCKER,G/VIEAUX,J/ DREAM TRAV Compact Disc 787867121528 ACD71230 SCHOCKER,G/VIEAUX, J/ARIOSO Compact Disc 787867123027 ACD71275 ARC DUO/NEW WORKS FOR FLUTE & Compact Disc 787867127520 ACD76192 THOMPSON,D/SCHWAGER,D/O NE TAKE Compact Disc Enhanced 880504761924 AFM0262 SQUEALER/THE PR OPHECY Com pact Disc 4009880465325 AFM0292 STEEL ATTACK/WHERE MANKIND FAI Compact Disc 4009880465820 AFM0422 PARADOX/COLLISION COURSE Compact Disc 4009880467329AFM0432 TRANTULA/DREAM MAKER Com pact Disc 4009880467428 AFM0482 NOSTRADAMEUS/PROPH ET OF EVIL Compact Disc 4009880467923 AFM0505 EDGUY/PAINTING ON THE WALL Compact Disc 4029758229255AFM0582 TANKARD/B-DAY Compact Disc 5099750784020AFM0589 TANKARD/B-DAY (LIMITED EDITION Compact Disc 50997507840997 24359 48072 5 5 099969 866722 6 89230 09942 0 6 89230 09952 9 6 89230 09992 5 7 76127 07772 9 6 24481 10372 4 6 24481 10612 1 8 80504 14262 4 8 80504 14382 9 8 80504 66062 3 7 87867 12152 8 7 87867 12302 7 7 87867 12752 0 8 80504 76192 4 4 009880 465325 4 009880 465820 4 009880 467329 4 009880 467428 4 009880 467923 4 029758 229255 5 099750 784020 5 099750 784099 Page 140 of 217Catalogue NumberArtist / Title Config Scannable UPC UPCNUMERICAL BY ARTIST / Numerique par artiste AFM0642 ANNIHILATOR/DOUBLE LIVE ANNIHI Co mpact Disc 5099751102823 AFM0692 DARK AT DAWN/OF DE CAY AND DESI Co mpact Disc 5099751369226 AFM0707 U.D.O./NAILED TO METAL (DVD+CD CD with DVD 5099720216896AFM0742 DIONYSUS/ANIMA MUNDI Com pact Disc 5099751504221 AFM0759 JORN/OUT TO EVERY NATION Com pact Disc 5099751546795 AFM0782 SHAMAN/RITUAL Compact Disc 5099751617921AFM0792 SHAMAN/RITUAL LIVE Compact Disc 5099751618027AFM0812 ANNIHILATOR/ALL FOR YOU Compact Disc 5099751547020AFM0819 ANNIHILATOR/ALL FOR YOU (DIGI) Co mpact Disc 5099751547099 AFM0822 NOSTRADAMEUS/HE LLBOUND Compact Disc 5099751712121 AFM0849 MASTERPLAN/AERONAUTICS (DIGI) Compact Disc 5099751943792AFM0889 EDGUY/HALL OF FLAMES (DIGI) Compact Disc 5099751924296 AFM0969DIGI DESTRUCTION/INVENTO R OF EVIL ( C ompact Disc 5099752006892 AFM1002 ANNIHILATOR/SCHIZO DELUXE Compact Disc 4046661009521 AFM1009 ANNIHILATOR/SCHIZO DELUX (DIGI Compact Disc 4046661009620 AFM1032 AXXIS/PARADISE IN FLAMES Compact Disc 4046661016321AFM1039 AXXIS/PARADISE IN FLAMES (DIGI Compact Disc 4046661016420AFM1062 JORN/THE DUKE Compact Disc 4046661012927AFM1072 DORO/WARRIOR SOUL Compact Disc 4046661022728 AFM1089 TANKARD/THE BEAUTY AND THE BEE Co mpact Disc 4046661031829 AFM1282 RAWHEAD REXX/BLACK DIARIES Compact Disc 4046661032529AFM1305 EISBRECHER/LEIDER Compact Disc 4046661038453AFM1315 EISBRECHER/VERGISSM EINNICHT Com pact Disc 40466610386515 099751 102823 5 099751 369226 5 099720 216896 5 099751 504221 5 099751 546795 5 099751 617921 5 099751 618027 5 099751 547020 5 099751 547099 5 099751 712121 5 099751 943792 5 099751 924296 5 099752 006892 4 046661 009521 4 046661 009620 4 046661 016321 4 046661 016420 4 046661 012927 4 046661 022728 4 046661 031829 4 046661 032529 4 046661 038453 4 046661 038651 Page 141 of 217Catalogue NumberArtist / Title Config Scannable UPC UPCNUMERICAL BY ARTIST / Numerique par artiste AFM1319 EISBRECHER/ANTIKOER PER (DIGI) Compact Disc 4046661038828 AFM1362 WICKED WISDOM/WICKED WISDOM Compact Disc 4046661039627AFM1389 KROKUS/HELLRAISER (LTD.EDIT) Compact Disc 4046661043327AFM1392 CRUACHAN/THE MORRIGA N'S CALL Com pact Disc 4046661044720 AFM1417 DORO/20 YEARS A WA RRIOR SOUL CD with DVD 4046661046076 AFM1522 ABSOLUTE/ABSOLU TE Compact Disc 4046661056327 AFM1552 POODLES,THE/METAL WILL STAND T Compact Disc 4046661051322AFM1599 U.D.O./MASTERCUTOR (LTD.EDIT) Compact Disc 4046661056594 AFM1632 AXXIS/DOOM OF DESTINY Compact Disc 4046661086522AFM1639 AXXIS/DOOM OF DESTINY (LTD.DIG Compact Disc 4046661086621AFM1722 DORO/ALL WE ARE Compact Disc 4046661073928AFM1872 MEKONG DELTA/THE MUSIC OF ERIC Compact Disc 4019521500551AFM1882 MEKONG DELTA/THE PRINCIPLE OF Compact Disc 4019521500537AFM1892 MEKONG DELTA/DANCES OF DEATH Compact Disc 4019521500544AFM1902 MEKONG DELTA/KALEIDASCOPE Compact Disc 4019521500599AFM1912 MEKONG DELTA/VISIONS FUGITIVES Compact Disc 4019521500582AFM1922 MEKONG DELTA/PICTUR ES AT AN EX Compact Disc 4046661087024 AFM2035 DORO/ANTHEMS FOR TH E CHAMPION Compact Disc EP's 4046661102727 AFM2443 MASTERPLAN + BEAUTI FUL SIN/MAS Compact Disc 4046661127324 AFM2463 TANKARD/BEASTS OF BEER Compac t Disc 4046661127522 AFM2549 VOODOO CIRCLE/VOODOO CIRCLE (L Compact Disc 4046661143720 AFM2552 NEW BLACK,THE/THE NEW BLACK Compact Disc 884860001724AFM2589 U.D.O./DOMINATOR LTD. DIGI Compact Disc 8848600062244 046661 038828 4 046661 039627 4 046661 043327 4 046661 044720 4 046661 046076 4 046661 056327 4 046661 051322 4 046661 056594 4 046661 086522 4 046661 086621 4 046661 073928 4 019521 500551 4 019521 500537 4 019521 500544 4 019521 500599 4 019521 500582 4 046661 087024 4 046661 102727 4 046661 127324 4 046661 127522 4 046661 143720 8 84860 00172 4 8 84860 00622 4 Page 142 of 217Catalogue NumberArtist / Title Config Scannable UPC UPCNUMERICAL BY ARTIST / Numerique par artiste AFM2733 CIRCLE II CIRCLE/LAST REVELATI Compac t Disc EP's 884860003926 AFM2783 DORO/DORO ANTHEMS (3EP SET) Compact Disc EP's 884860004428AFM2863 U.D.O./MISSION X SPECIAL PACK Com pact Disc 884860005227 AFMCD3042 ORDEN OGAN/EASTON HOPE Com pact Disc 884860017329 AFMD1293 JON OLIVAS PAIN/MANI ACAL RENDE Co mpact Disc 4046661037128 AFMD642 ANNIHILATOR/DOUBLE LIVE(LTD.DI Compact Disc 5099751102892 AFMFBX2643 EISBRECHER/EISZEIT CD with DVD 884860032223AFMFBX4626 MINISTRY/FROM BEER TO ETERNITY Co mpact Disc 884860087025 AFMSG1295 JON OLIVS'A PAIN/STRA IGHT JACK Com pact Disc EP's 4046661036954 ALP205 BROTZMANN,P/NIPPLES Compact Disc 735286220520ALP226 MCPHEE,J/UNDERGROUND RAILROAD Com pact Disc 735286222623 ALP232 SCHOOF,M/EUROPEAN ECHOES Com pact Disc 735286223224 ALP75 EIGHT EYED SPY/C OLLECTION Compact Disc 735286197525 ALP79 CHROME CRANKS/DIABOLI CAL BOOGI Com pact Disc 735286197921 AMG10122 MALEVOLENT CREATION/ENVENOMED Compact Disc 805019101225 ANSD1074 BUDDY RICH BIG /BURNI NG FOR BU Co mpact Disc 066825107423 ARCD8401 OMAR AND THE HOWLER S/I TOLD YO Compact Disc 684857010124 ARM251102 TARJA/COLOURS IN TH E DARK SPL Co mpact Disc 826992511023 ARMA322 SCHULZ,M/LOS ANGEL ES 12 (2CD) Com pact Disc 8717306984096 ARMA346 VAR/TRANCE 100 2013 VOL 1(4 CD Compact Disc 8718522011498 AVANTI04 STUDEBAKER,J/BETWEEN LIFE AND Compact Disc 620673230827 AVANTI08 STUDEBAKER,J & THE HA WKS/WAITI Com pact Disc 800492193583 AZ1101132100 THEO SAMPEL/SAMPEL THIS Compact Disc 7115746013258 84860 00392 6 8 84860 00442 8 8 84860 00522 7 8 84860 01732 9 4 046661 037128 5 099751 102892 8 84860 03222 3 8 84860 08702 5 4 046661 036954 7 35286 22052 0 7 35286 22262 3 7 35286 22322 4 7 35286 19752 5 7 35286 19792 1 8 05019 10122 5 0 66825 10742 3 6 84857 01012 4 8 26992 51102 3 8 717306 984096 8 718522 011498 6 20673 23082 7 8 00492 19358 3 7 11574 60132 5 Page 143 of 217Catalogue NumberArtist / Title Config Scannable UPC UPCNUMERICAL BY ARTIST / Numerique par artiste AZ1103131001 HOLLYWOOD/STUNTS Compact Disc 616822100721 AZ1103131004 CH EAP FREAKS/BURY THEM ALL Compact Disc 616822103227 B000037802 TEITUR/POETRY AND AEROPLANES Compact Disc 044003848825 B000066712 OST/CAMP Compact Disc 044003828025B000126802 LINCOLN,A/IT'S ME Compact Disc 044003817128B000132300 PRIMUS/ANIMALS SHOULD NOT TRY Digital Video Disc 602498609422B000163102 ALBRIGHT,G/KICKIN' IT UP Compact Disc 602498612736 B000228502 BACH/WELL TEMPERED VOL.1 Compact Disc 028947604822B000229202 ST ANKO,T QUARTET/SUSPE NDED NIG Com pact Disc 602498112441 B000245809 COMMODOR ES T/THE BEST OF THE C Digital Video Disc 602498622810 B000246009 VAR/T HE BEST OF LADIES OF THE Digital Video Disc 602498189221 B000313509 SLIM,M & WILLIAMSON/BLUES LEGE Digital Video Disc 602498632598B000326636 KEITH,T/SHOCK 'N Y'ALLSACD4Stereo/Surround/CDA ud602498631713 B000338502 LE TIGRE/THIS ISLAND Compact Disc 602498637005B000375882 KRALL,D/THE GIRL IN THE OTHER DUALDISC 602498648247B000376282 NINE I NCH NAILS/THE DOWN WARD S DUA LDISC 602498648353 B000377002 HOLIDAY,B/BILLY REMEMBERS BILL Compact Disc 602498648827B000386202 2PAC/LOYAL TO THE GAME (EDITE Compact Disc 075021032958B000392302 JOHNSON,J&FRAN KENREITER/SOME L Compact Disc EP's 075021034433 B000393702 GILL ESPIE,D/SITTIN' IN Compact Disc 075021034792 B000394502 WHIT ESNAKE/DEFINITIVE COLLE CTI Compact Disc 075021035034 B000456102 OST/CINDERELLA MAN Compact Disc 602498814109B000478402 MELLENCA MP,J/DANCE NAKED Compact Disc 6024988234916 16822 10072 1 6 16822 10322 7 0 44003 84882 5 0 44003 82802 5 0 44003 81712 8 6 02498 60942 2 6 02498 61273 6 0 28947 60482 2 6 02498 11244 1 6 02498 62281 0 6 02498 18922 1 6 02498 63259 8 6 02498 63171 3 6 02498 63700 5 6 02498 64824 7 6 02498 64835 3 6 02498 64882 7 0 75021 03295 8 0 75021 03443 3 0 75021 03479 2 0 75021 03503 4 6 02498 81410 9 6 02498 82349 1 Page 144 of 217Catalogue NumberArtist / Title Config Scannable UPC UPCNUMERICAL BY ARTIST / Numerique par artiste B000540002 PETERSON,O/REUNION BLUES Compact Disc 602498270127 B000553102 COCKER,J/MAD DOGS A ND ENGLISHM Co mpact Disc 602498860069 B000567509 TEARSFORFEARS/SCENES FROM THE Digital Video Disc 602498342725B000569802 PHARRELL/IN MY MIND Compact Disc 602498870167B000570909 U2/VERTIGO//2005;LIVE FROM CHI Digital Video Disc 602498746448B000571049 U2/VERTIGO//2005;LIVE FROM(DEL Digital Video Disc 602498746431B000578202 LOHAN,L/A LITTLE MORE PERSONAL Compact Disc 602498871935B000634302 THRICE/RED SKY - EP Compact Disc EP's 602498520376B000657202 SH EPP,A/THE IMPULSE ST ORY Compact Disc 602498551165 B000657302 TYNER,M/THE IMPULSE STORY Compact Disc 602498551172B000666302 SNIDER,T/THE DEVIL YOU KNOW Compact Disc 602498559161B000668002 VAR/HOUSE THAT TRANE BUILT(4CD Compact Disc 602498562833B000719809 VAR/PURE 80'S VIDEO IDOLS Digital Video Disc 602498406540B000738302 M ASEKELA,H/BEST OF Co mpact Disc 602517046580 B000762102 HOLLOWAY,J/BACH:SONATAS & PART Compact Disc 028947631521B000804802 OST/DREAMGIRLS 25TH ANNIVERSAR Compact Disc 602517136526B000805602 C ASH,J/LEGEND OF JOHNNY CASH V Com pact Disc 602517138407 B000823902 QUASTHOFF,T/THE JAZZ ALBUM-WAT Compact Disc 028947765011B000835309 VAR/AMERICAN FOLK BLUES VOL.4 Digital Video Disc 602517205888B000940302 SMITH,J/WHO'S AFRAID OF VIRGIN Compact Disc 602517396937B000945102 TEMPTATIONS,THE/BACK TO FRONT Compact Disc 602517401983B000965102 FITZGERALD,E/ELLA IN HAMBURG Compact Disc 602517425286B001013502 COLTRANE,J/THE IMPULSE ALBUM V Compact Disc 6025174883286 02498 27012 7 6 02498 86006 9 6 02498 34272 5 6 02498 87016 7 6 02498 74644 8 6 02498 74643 1 6 02498 87193 5 6 02498 52037 6 6 02498 55116 5 6 02498 55117 2 6 02498 55916 1 6 02498 56283 3 6 02498 40654 0 6 02517 04658 0 0 28947 63152 1 6 02517 13652 6 6 02517 13840 7 0 28947 76501 1 6 02517 20588 8 6 02517 39693 7 6 02517 40198 3 6 02517 42528 6 6 02517 48832 8 Page 145 of 217Catalogue NumberArtist / Title Config Scannable UPC UPCNUMERICAL BY ARTIST / Numerique par artiste B001088809 SAM A ND DAVE/THE ORIGINAL SO UL Digital Video Disc 602517644052 B001118802 NOA/GENES & JEANS Compact Disc 602517639911B001160602 VAR/C ELTIC THUNDER ACT TWO Compact Disc 602517781900 B001186702 ABERCROMBIE,J/ANIMA TO Compact Disc 602517798700 B001200102 SOUNDT RACK/ROCKNROLLA Compact Disc 600753115800 B001218002 GETZ,S/IN STOCKHOLM Compact Disc 602517868847B001218302 SMITH,J/HOBO FLATS Compact Disc 602517868892B001218802 ST EVENS,C/TEA FOR TILLERM AN(DE Compact Disc 602517870888 B001238602 SOULJA BOY TELL EM/ISOULJABOYT Compact Disc 602517916821B001240302 COLTRANE,J/T HE JOHN COLTRANE Q Compact Disc 602517920323 B001295702 HOLLINGER,H/S CHUMANN:ROMANCEND Compact Disc 028947632252 B001308702 CELTIC THUNDER/TAKE ME HO ME Compact Disc 602527094489 B001308809 CELTIC T HUNDER/TAKE ME HOME-LI D igital Vi deo Disc 602527094496 B001329102 SONOS/SONOSINGS Compact Disc 602527147413B001335502 LISL EVAND,R/DIMINUITO Compact Disc 028947633174 B001349302 B SCHMIDT,T/EXPANDO Compact Disc 602527203461B001392402 CELTIC THUNDER/IT'S ENTERT AINM Compac t Disc 602527309071 B001392509 CELTIC T HUNDER/IT'S ENTERTAINM Digital Vi deo Disc 602527309088 B001427772 JAY-Z/HITS COLLECTION,THE VOL1 Compact Disc 602527388113B001464709 FLEMING,R/A MU SIC ODYSSEY IN S D igital Vi deo Disc 044007434055 B001467700 SOUNDG ARDEN/TELEPHANTASM -BEST CD with DVD 602527471297 B001477559 PETTY,T & THE HEARTBREAKER S/DA BLU RAY 602527494012 B001484502 DAMNED THINGS,THE/IR ONICLAST Compact Disc 6025275071256 02517 64405 2 6 02517 63991 1 6 02517 78190 0 6 02517 79870 0 6 00753 11580 0 6 02517 86884 7 6 02517 86889 2 6 02517 87088 8 6 02517 91682 1 6 02517 92032 3 0 28947 63225 2 6 02527 09448 9 6 02527 09449 6 6 02527 14741 3 0 28947 63317 4 6 02527 20346 1 6 02527 30907 1 6 02527 30908 8 6 02527 38811 3 0 44007 43405 5 6 02527 47129 7 6 02527 49401 2 6 02527 50712 5 Page 146 of 217Catalogue NumberArtist / Title Config Scannable UPC UPCNUMERICAL BY ARTIST / Numerique par artiste B001491502 CHARLES/GRYDELAND/WA LLUMROD/DA Compact Disc 602517625068 B001519502 CELTIC T HUNDER/HERITAGE Co mpact Disc 602527602431 B001520809 CELTIC T HUNDER (DVD) Digit al Video Disc 602527608181 B001590102 CELTIC T HUNDER / STORM C ompact Disc 602527782607 B001590209 CELTIC THUNDER/STORM (DVD) D igital Vi deo Disc 602527782935 B001593202 R AVA,Q/ ENRICO/TRI BE Compac t Disc 602527669700 B001630502 TYGA/C ARELESS WORLD C ompact Disc 602527874463 B001647102 CELTIC T HUNDER/VOYAGE Co mpact Disc 602527908106 B001647209 CELTIC T HUNDER/VOYAGE (DVD) D igital Vi deo Disc 602527908090 B001766202 ROLLINGSTON ES,THE/GRRR(3CD) Compact Disc 018771891826 B001766302 ROLLING STON E,THE/GRRR(3CD DL X Compact Disc 018771892328 B001766402 ROLLING ST,T HE/GRRR(5CD+7'' LP Compact Disc 018771891321 B001771302 ONE REPUBLIC/NATIVE Compact Disc 602537198047B001771402 ONE REPUBLIC/NATIVE(DLX) Compact Disc 602537198054B001785402 CELTIC T HUNDER/MYTHOLOGY Co mpact Disc 602537227303 B001785509 CELTIC THUNDER/MYTHOLOGY (DVD) Digital Video Disc 602537227310 B001911302 URBAN,K/FUSE(DLX) Compact Disc 602537515776B002019002 OST/DIVERGENT (OST) Compact Disc 602537741632B002039802 KID CUDI/KID CUDI PRESENTS SAT Compac t Disc 602537779352 B002050002 MCLACHLAN,S/SHINE ON(LTD DLX) Compact Disc 602537791088B002101602 OST/BEGIN AGAIN Compact Disc 602537885657B002139602 GRANDE ,A/MY EVERYTHING(D LX) Compact Disc 602537939527 B002148602 VAR/DEF JAM 30TH ANN(3CD+T SHI Compact Disc 6025379696546 02517 62506 8 6 02527 60243 1 6 02527 60818 1 6 02527 78260 7 6 02527 78293 5 6 02527 66970 0 6 02527 87446 3 6 02527 90810 6 6 02527 90809 0 0 18771 89182 6 0 18771 89232 8 0 18771 89132 1 6 02537 19804 7 6 02537 19805 4 6 02537 22730 3 6 02537 22731 0 6 02537 51577 6 6 02537 74163 2 6 02537 77935 2 6 02537 79108 8 6 02537 88565 7 6 02537 93952 7 6 02537 96965 4 Page 147 of 217Catalogue NumberArtist / Title Config Scannable UPC UPCNUMERICAL BY ARTIST / Numerique par artiste B002149702 MAROON 5/V(DLX) Compact Disc 602537957934 B002166402 ABBA/LIVE AT WEMBLEY AR ENA(2CD Com pact Disc 602537716067 B002168902 TOMLIN,C/LOVE RAN RED Compact Disc 5099908332929B002182500 LENNOX,A/NOSTALGIA(DL X CD+DVD) CD wi th DVD 602547012340 B002184202 DIAMOND,N/MELODY ROAD(DLX) Compact Disc 602537991358B002184302 SEGER,B/RIDE OUT(DLX) Compact Disc 602537918904B002201710 TWAIN,S/STILL THE ONE L(CD+DVD CD with DVD 602547038371B002228002 VAR/SHADYXV Compact Disc 602547069009 BC005 INSANE/WAIT AND PRAY Compact Disc 4042133010446 BDWH2 CLIKS,THE/BLACK TI E ELEVATOR Com pact Disc 602537367870 BLASTCD001 THERAPY?/WE'RE HERE TO THE END Compact Disc 5065001991004 BLIS018 VOODOO CIRCLE/VOOD OO CIRCLE Compact Disc 896825002172 BLK0031 KILLING TIME/UNAVOIDABLE CDEP Compact Disc EP's 723631003126BLK0044 VAR/PUNK ROCK JUKE BOX VOL 2 Compact Disc 723631004420 BLK0051 BLIND SOCIETY/OUR FU TURE IS LO Compact Disc 823819006120 BLK0052 BLINDSOCIETY/CONTRAR Y TO POPUL Compact Disc 823819005222 BLK0055 VAR/PUNK ROCK JUKE BOX VOL 1 Compact Disc 823819005529 BLK0059 PROTAGONIST/HOPE AND RAGE Com pact Disc 823819005925 BLK0065 ENSIGN/LOVE THE MUSIC HATE THE Compact Disc 823819006526BLK0069 BANNER/YOUR MURDER MIX TAPE Com pact Disc 823819006922 BLK0080 GALE,G/FEW EASY ST EPS TO SECUR Co mpact Disc 823819008025 BLK0084 DANGER O'S/LITTLE MACHINES Compact Disc 823819008421 BLK067 AT A LOSS/A FALLING AWAY FROM Compact Disc 8238190067246 02537 95793 4 6 02537 71606 7 5 099908 332929 6 02547 01234 0 6 02537 99135 8 6 02537 91890 4 6 02547 03837 1 6 02547 06900 9 4 042133 010446 6 02537 36787 0 5 065001 991004 8 96825 00217 2 7 23631 00312 6 7 23631 00442 0 8 23819 00612 0 8 23819 00522 2 8 23819 00552 9 8 23819 00592 5 8 23819 00652 6 8 23819 00692 2 8 23819 00802 5 8 23819 00842 1 8 23819 00672 4 Page 148 of 217Catalogue NumberArtist / Title Config Scannable UPC UPCNUMERICAL BY ARTIST / Numerique par artiste BLK076 COMMERCIALS/SHADOW AGENCY/THE Co mpact Disc 823819007622 BLR0049 OUTBURST/MILES TO GO Compact Disc 723631004925BLR0074 FINALE/THINGS CAN ST ILL GET BE Compact Disc 823819007424 BLR0077 PLOW UNITED/GOODNIGH T SELLOUT! Compact Disc 823819007721 BLR0079 KILL YOUR IDOLS/LIVE AT CBGB'S Compact Disc 823819007929BLR0086 BARRICADE/BE HEARD Compact Disc 823819008629 BLUEBLOOD00 1MARTIN,E/SOLO IN SOHO Compact Disc 805201000121 BLUEBLOOD00 3MARTIN,E/BLUE TO TH E BONE Compact Disc 805201000329 BLUEBLOOD00 5MARTIN,E/LIVE IN TH E USA Compact Disc 805201000527 BLUEBLOOD00 6MARTIN,E/KEEP ON WO RKING Compac t Disc 805201000626 BLUEBLOOD00 7MARTIN,E/PILLOWCASE BLUES Compac t Disc 805201000725 BLUEBLOOD00 8MARTIN,E/ICE CREAM Compact Disc 805201000923 BLUEBLOOD00 9MARTIN,E/PLAY THE BLUES WITH F Compact Disc 805201001029 BLUEBLOOD01 1MARTIN,E/CONTRARY MARY Compact Disc 805201001128 BLUEBLOOD01 2MARTIN,E/LIVE AT THE WHARF Digital Video Disc 805201001227 BLUEBLOOD01 3MARTIN,E/FOLK & BLUES Compact Disc 805201000138 BMRBD0550E SWIFT,T/1989(DLX) Compact Disc 843930013869 BRS6 HERSEY,B/WAKING TH E COBRA Compact Disc 634479150678 BRS7 HERSEY, B&P/THE ETERNA L EMBRAC Com pact Disc 807207030423 BURN005 VAGABOND OPERA/SING FOR YOUR L Compact Disc 751937412823 BURN292 BLACK 47/BITTERSWEET SIXTEEN Compact Disc 076605229221 BWFCD1039 BOWFIRE/LIVE IN CONCERT Com pact Disc 895834001039 BWFDV1022 BOWFIRE/BOWFIRE BOWFIRE (DVD Digital Video Disc 8958340010228 23819 00762 2 7 23631 00492 5 8 23819 00742 4 8 23819 00772 1 8 23819 00792 9 8 23819 00862 9 8 05201 00012 1 8 05201 00032 9 8 05201 00052 7 8 05201 00062 6 8 05201 00072 5 8 05201 00092 3 8 05201 00102 9 8 05201 00112 8 8 05201 00122 7 8 05201 00013 8 8 43930 01386 9 6 34479 15067 8 8 07207 03042 3 7 51937 41282 3 0 76605 22922 1 8 95834 00103 9 8 95834 00102 2 Page 149 of 217Catalogue NumberArtist / Title Config Scannable UPC UPCNUMERICAL BY ARTIST / Numerique par artiste C101007 DEAD PETS,THE/TOO LITTLE TOO L Compact Disc 744773006127 C101008 DEAD PETS,THE/REVENGE OF THE V Compact Disc 744773006325 CADIZCD106 JOHNSON,W/THE BEST OF VOLUME 2 Compact Disc 844493061069 CAMO052 SNAK THE RIPPER/WHITE DYNAMITE Co mpact Disc 614511800426 CCDCD1029 BURTON,G & COREA,C/LIKE MINDSSACD4Stereo/Surround/CDA ud013431102960 CCDCD4188 GETZ,S/PURE GE TZ Compact Disc 013431418825 CCDCD4354 PUENTE T & WOODS,P/ SALSA MEETS Com pact Disc 013431435426 CCDCD4468 BYRD,C &PEPLOWSKI,K/BO SSA NOVA Com pact Disc 013431446828 CCDCD4655 CAPP,F & JUGGERNAUT/IN A HEFTI Com pact Disc 013431465522 CCDCD4743 ALDEN,H/TAKE YOUR PICK Compac t Disc 013431474326 CCDCD4745 MCPARTLAND,M/SILENT POOL Compact Disc 013431474524 CCDCD4775 POTTER,C/UNSPO KEN Compac t Disc 013431477525 CCDCD4778 SANCHEZ,P/FREEDOM SOUND Compac t Disc 013431477822 CCDCD4812 CLOONEY,R/HERITAGE SER IES:ROSE Com pact Disc 013431481225 CCDCD4815 BROWN,R/HERITAGE SER IES:RAY BR Co mpact Disc 013431481522 CCDCD5304 VAR/COLORS OF LATI N JAZZ:SABRO Com pact Disc 013431530428 CCDCD9007 COLAIUTA,V/VINNIE OLAIUTA Compact Disc 013431900726 CCDCD9009 COREA,C/LIVE IN MO NTREUX Com pact Disc 013431900924 CCDCD9014 COREA,C & BURTON,G/N ATIVE SENS Com pact Disc 013431901426 CCM21072 CROSBY,B/BING ON BROA DWAY (CD) Co mpact Disc 617742210729 CD101 I WILL I/ POPE'S RING IS MADE Compact Disc 755491021729 CD2135 ADAMS,J/T VERDI CT Compact Disc 011661213524 CD2152 BALL,M/SING IT! Compact Disc 0116612152217 44773 00612 7 7 44773 00632 5 8 44493 06106 9 6 14511 80042 6 0 13431 10296 0 0 13431 41882 5 0 13431 43542 6 0 13431 44682 8 0 13431 46552 2 0 13431 47432 6 0 13431 47452 4 0 13431 47752 5 0 13431 47782 2 0 13431 48122 5 0 13431 48152 2 0 13431 53042 8 0 13431 90072 6 0 13431 90092 4 0 13431 90142 6 6 17742 21072 9 7 55491 02172 9 0 11661 21352 4 0 11661 21522 1 Page 150 of 217Catalogue NumberArtist / Title Config Scannable UPC UPCNUMERICAL BY ARTIST / Numerique par artiste CD3151 BALL,M/LET ME PLAY WITH YOUR P Compact Disc 011661315129 CD5083 DE BURGH,C/BEST MOVES Compac t Disc 075021508323 CD80066 MAHLER/SYMPHONY NO.1 "TITAN" Compact Disc 089408006623CD80125 WALTON/SYMPHONY NO. 1 Compact Disc 089408012525CD80246 SIBELIUS/SYMPHONIES NOS. 1 & 5 Compact Disc 089408024627CD80254 VERDI/SACRED PIECES/SHAWPSAL M Compact Disc 089408025426 CD80281 VAR/TRAVELIN'LIG HT Compact Disc 089408028120 CD80432 VAR/FROM THE HEART: ITALIAN AR Compact Disc 089408043222CD80483 KUNZEL,E/MAGICAL MUSICALS Compact Disc 089408048326CD83314 PETERSON,O/LAST CALL AT T BLUE Compact Disc 089408331428 CD83320 HENDRICKS,J/BO PPIN'AT T BLUE N Compact Disc 089408332029 CD83340 BROWN,R/BASS FA CE Compact Disc 089408334023 CD83430 BROWN,R/SUMMERTIME Compact Disc 089408343025CD83431 LOUSSIER,J/PLAYS SATIE Compact Disc 089408343124CD83465 RUBIN,V/T LANGUAGE OF LOVE Compact Disc 089408346521 CD83473 VAR/CELEBRATING THE MUSIC OF Compact Disc 089408347320 CD83527 ALEXANDER,M/GOIN' YARD Compact Disc 089408352720 CD83570 DAVE B RUBEK QUARTET/PARK AVENU Compac t Disc 089408357022 CD83592 SUTTON,T/DANCING IN THE DARK Com pact Disc 089408359224 CD83600 HIROMI/BRAIN Compact Disc 089408360022 CD83624 THACKERY,J/HEALIN' GROUND Com pact Disc 089408362422 CD83629 BIBB,E/A SHIP CALLED LOVE Compact Disc 089408362927 CD9041 DELEVANTES/LONG ABOUT THAT TIM C ompact Disc 0116619041250 11661 31512 9 0 75021 50832 3 0 89408 00662 3 0 89408 01252 5 0 89408 02462 7 0 89408 02542 6 0 89408 02812 0 0 89408 04322 2 0 89408 04832 6 0 89408 33142 8 0 89408 33202 9 0 89408 33402 3 0 89408 34302 5 0 89408 34312 4 0 89408 34652 1 0 89408 34732 0 0 89408 35272 0 0 89408 35702 2 0 89408 35922 4 0 89408 36002 2 0 89408 36242 2 0 89408 36292 7 0 11661 90412 5 Page 151 of 217Catalogue NumberArtist / Title Config Scannable UPC UPCNUMERICAL BY ARTIST / Numerique par artiste CDAN1617 VAR/HILLS OF HOME 25YRS FOLK M Compact Disc 011661851627 CDBB9600 KUBEK,SMOKIN-JOE/T AKE YOUR BES Com pact Disc 011661960022 CDBEYE9534 WILSON, SMOKEY /SMOKE 'N' FIRE Compact Disc 011661953420CDBEYE9570 LEVY,R/ZIM ZAM ZOOM: ACID BLUE Compact Disc 011661957022 CDED7053 VAR/BAYOU BEAT Compac t Disc 712136705321 CDEDIS7063 VARIOUS ARTISTS/ BLUES GUMBO Compact Disc 712136706328 CDFLY231 HOT RIZE /RADIO BOOGIE Compact Disc 018964023126CDFLY535 GRUPO AYMARA/ALIRINA -LIVE & IN Compact Disc 018964053529 CDFLY634 HUMMEL, MARK /FEEL LIKE ROCK Compact Disc 018964063429 CDHB150 P.TOSH/THE TOUG HEST Compac t Disc 011661765023 CDHB209 E.BLENDER/PIECE OF T BLENDER Com pact Disc 011661770928 CDHBAN024 VAR/URBAN BEAT REGG AE/MASSIVE Com pact Disc 011661852426 CDHBEA11 BURNING SPEAR /FAR OVER Com pact Disc 011661751125 CDHBEA3511 ELLIS,A/SUNDAY COMING Compact Disc 011661351127 CDHBEA86 VARIOUS ARTISTS/SKA BONANZA -- Co mpact Disc 011661758629 CDPH1116 RUSSELL,T/ROAD TO BAYAMON Com pact Disc 011671111629 CDPHIL1193 NEWCOMER,C/VISIONS AND DREAMS C ompact Disc 011671119328 CDROUN0013 BROTHER OSWALD /BRO THER OSWALD Co mpact Disc 011661001329 CDROUN0078 SHAKERS, UNITED/EARLY SHAKER S Com pact Disc 011661007826 CDROUN0170 RIDERS IN T SKY/PRA IRIE SERENA C ompact Disc 011661017023 CDROUN0258 DRY BRANCH FIRE/FERTI LE GROUND Co mpact Disc 011661025820 CDROUN0283 MCCUTCHEON,J/LIVE AT WOLF TRAP Compact Disc 011661028326 CDROUN0284 STECHER,J&BRISLIN,K/ BLUE LIGHT C ompact Disc 0116610284250 11661 85162 7 0 11661 96002 2 0 11661 95342 0 0 11661 95702 2 7 12136 70532 1 7 12136 70632 8 0 18964 02312 6 0 18964 05352 9 0 18964 06342 9 0 11661 76502 3 0 11661 77092 8 0 11661 85242 6 0 11661 75112 5 0 11661 35112 7 0 11661 75862 9 0 11671 11162 9 0 11671 11932 8 0 11661 00132 9 0 11661 00782 6 0 11661 01702 3 0 11661 02582 0 0 11661 02832 6 0 11661 02842 5 Page 152 of 217Catalogue NumberArtist / Title Config Scannable UPC UPCNUMERICAL BY ARTIST / Numerique par artiste CDROUN0313 SEEGER,M/3RD ANNUAL FAREWELL R Compact Disc 011661031326 CDROUN11508 TRISCHKA, TONY /DUS T ON THE NE Co mpact Disc 011661150829 CDROUN1728 VAR/CARIBBEAN VOYAGE :GRENADA:C Co mpact Disc 011661172821 CDROUN2097 CHAVIS, BOOZOO /THE LAKE CHARL Co mpact Disc 011661209725 CDROUN2113 MARDI GRAS INDIANS/ SUPER SUNDA Co mpact Disc 011661211322 CDROUN2156 CHAVIS, BOOZOO /WHO STOLE MY M C ompact Disc 011661215627 CDROUN6071 BALFA TOUJOURS /D EUX VOYAGES C ompact Disc 011661607125 CDROUN6077 STURR, JIMMY /POL KA! ALL NIG C ompact Disc 011661607729 CDROUN8083 VALERI, MICHELE/THE GREAT DINO Co mpact Disc 011661808324 CDSGP4019 VAR/BACK TO THE 50'S (CDX4) Compact Disc 5032427401929 CDSMC100072 CIRQUE DU SOLEIL /ALEGRIA Compact Disc 874751000172 CDSMC100102 CIRQUE DU SOLEIL /QUIDAM Compact Disc 874751000103 CDSMCD10019 2CIRQUE DU SOLEIL/TAPI S ROUGE Compact Disc 874751000066 CDSMCD10021 2CIRQUE DU SOLEIL/SOLAR IUM/DELI Compact Disc 874751000127 CDSMCJ100092 CIRQUEDUSOLEIL/MY STERE LIVE Compact Disc 874751000011 CDSMCJ100132 CIRQUEDUSOLEI L/"O" Compact Disc 874751000288 CDSMCJ100152 CIRQUEDUSOLEIL/ LA NOUBA Compact Disc 874751000301 CDSMCJ100162 CIRQUEDUSOLEIL/ DRALION Compact Disc 874751000158 CDSMCJ100172 CIRQUE DUSOLEIL/VAREKAI Co mpact Disc 874751000257 CDSMCJ100222 CIRQUE DU SOLEIL /LE BEST OF Co mpact Disc 874751000134 CDSMCJ100232 CIRQUE DU SOLEIL /ZUMANITY Compact Disc 874751000264 CDSMCJ100242 CIRQUEDUSOLEI L/KA Compact Disc 874751000387 CDSMCJ100252 CIRQUEDUSOLEIL/ CORTEO Compact Disc 8747510004000 11661 03132 6 0 11661 15082 9 0 11661 17282 1 0 11661 20972 5 0 11661 21132 2 0 11661 21562 7 0 11661 60712 5 0 11661 60772 9 0 11661 80832 4 5 032427 401929 8 74751 00017 2 8 74751 00010 3 8 74751 00006 6 8 74751 00012 7 8 74751 00001 1 8 74751 00028 8 8 74751 00030 1 8 74751 00015 8 8 74751 00025 7 8 74751 00013 4 8 74751 00026 4 8 74751 00038 7 8 74751 00040 0 Page 153 of 217Catalogue NumberArtist / Title Config Scannable UPC UPCNUMERICAL BY ARTIST / Numerique par artiste CDSMCJ100262 CIRQUEDUSOLEIL/ DELIRIUM Com pact Disc 874751000431 CFU007 MOON MARTIN/SHOTS FROM A COLD Compact Disc 850703003064CFU010 MINK DEVILLE/RETURN TO MAGENTA C ompact Disc 850703003095 CFU011 MOTELS,THE/MOTELS Compact Disc 850703003101CFU023 WILDE,K/KIM WILDE Compact Disc 850703003224CFU024 WILDE,K/SELECT Compact Disc 850703003231CFU030 PALMER,R/PRIDE Compact Disc 850703003293 CFU0307 MOON MARTIN/STR EET FEVER Com pact Disc 850703003071 CFU0318 PAUL COLLINS BEAT/THE KIDS ARE C ompact Disc 850703003187 CFU0375 EGAN,W/FUNDAMENTAL ROLL Compact Disc 850703003750 CJ08 WILBER,B/NEW CLARINET IN TOWN Compact Disc 077712700085 CJ09 BOB WILBER QUINTET,THE/BLOWIN Compact Disc 077712700092CJ13 ZINN'S RAGTIME STRING /GREAT SC Compact Disc 077712700139 CJ17 RED BALABAN AND CATS/A NIGHT A Compact Disc 077712700177 CJ25 TIM LAUGHLIN S N/NE W ORLEANS Compact Disc 077712700252 CJ30 BABY LAURENCE/DANCE MASTER Com pact Disc 077712700306 CJ31 HINES,E/EARL PLAYS GE ORGE GERS Co mpact Disc 077712700313 CJ34 DEAN,P/ONLY TIME WILL TELL Compact Disc 077712700344 CL012312 SCOTT BRASILEIRA,J/SONHO MEU Compact Disc 875531008326CL022011 TURNER BRAD Q/ITS THAT TIME Compact Disc 875531007169 CL051411 MCCALSIN,J/SUNALTA Compact Disc 884501694674CL070109 EBY,C/BROKEN SHADOWS Compact Disc 884501233606CL091812 WEEDS,CORY/BILL CO/WITH BENEFI Compact Disc 8845018350468 74751 00043 1 8 50703 00306 4 8 50703 00309 5 8 50703 00310 1 8 50703 00322 4 8 50703 00323 1 8 50703 00329 3 8 50703 00307 1 8 50703 00318 7 8 50703 00375 0 0 77712 70008 5 0 77712 70009 2 0 77712 70013 9 0 77712 70017 7 0 77712 70025 2 0 77712 70030 6 0 77712 70031 3 0 77712 70034 4 8 75531 00832 6 8 75531 00716 9 8 84501 69467 4 8 84501 23360 6 8 84501 83504 6 Page 154 of 217Catalogue NumberArtist / Title Config Scannable UPC UPCNUMERICAL BY ARTIST / Numerique par artiste CL100533 CAMPBELL,W/ THINK TANK Co mpact Disc 875531005332 CLR007 GUS BLACK/AUTUMN DAYS Compact Disc 875929000727 CLR012 FROBERG,T/SOMEWHERE IN THE CIT Compact Disc 875929001229CLR018 LEWIS,S/TRANSLATIONS Compact Disc 875929001823CLR026 FROBERG,T/TURN HEADS Compac t Disc 875929002622 CLR027 GUS BLACK/TODAY IS NOT THE DAY Compact Disc 875929002721 CLR029 DON'T BE A STRANGER /FRUTTI DI Co mpact Disc 875929002929 CLR030 GRAMERCY ARMS/GRA MERCY ARMS Compact Disc 875929003025 CMCD001 VAR/CELTIC T HUNDER Compac t Disc 602517624504 CMCD002 VAR/CELTIC T HUNDER Compac t Disc 602517665620 CMDVD002 VAR/CELTIC THUNDER TH E SHOW Digita l Video Disc 602517665637 COOLIDGE32 PLOW UNITED/THE DUS TBIN OF HIS Compact Disc 708874003225 COZ17452 VAR/CLASSICAL LOVE Compac t Disc 795041745224 CR10012 APRIL WINE/GREATEST HITS LIVE Compact Disc 802076100123 CRCD30 PAUL DELAY BAND/LAST OF THE BE Co mpact Disc 619981233521 CRE32929 SINATRA,F/RING-A-D ING DING! Compact Disc 888072329294 CREEP046 BOILS/WHEN THE SUN GO ES DOWN E Compact Disc EP's 881182104621 CREEP062 CRANKED UP!/A CALL FOR SOLIDAR Compact Disc 685747021923 CREEP065 A YEAR TO FORGET/APOSTASY Compact Disc 685747025020CREEP066 WILLIAM'S EVE/FIRS T CLASS GUN Com pact Disc 685747025426 CREEP067 RANGER,A/FORMULA IMPERATIVE Compact Disc 881182006727 CRP023 BERNIE BERNIE HEAD FLAP/CHEESE Com pact Disc 881182102320 CRP030 DUTCHLAND DIESEL/ALL NE W POLIC Compact Disc 8811820030238 75531 00533 2 8 75929 00072 7 8 75929 00122 9 8 75929 00182 3 8 75929 00262 2 8 75929 00272 1 8 75929 00292 9 8 75929 00302 5 6 02517 62450 4 6 02517 66562 0 6 02517 66563 7 7 08874 00322 5 7 95041 74522 4 8 02076 10012 3 6 19981 23352 1 8 88072 32929 4 8 81182 10462 1 6 85747 02192 3 6 85747 02502 0 6 85747 02542 6 8 81182 00672 7 8 81182 10232 0 8 81182 00302 3 Page 155 of 217Catalogue NumberArtist / Title Config Scannable UPC UPCNUMERICAL BY ARTIST / Numerique par artiste CRP041 VARIOUS CREEP RECORDS / DESTROY Com pact Disc 121097004129 CRP050 VAR/LAST STAKE HAS BEEN DRIVEN Com pact Disc 600668700023 CRP054 MAN WITHOUT PLAN/ I FEEL BADLY Compact Disc 881182005423CRP057 SUPER HI-FIVE/SONGS FOR WORKIN Co mpact Disc 823819115723 CRP059 PILOT AROUND THE SUN/ PILOT ARO Com pact Disc 881821705929 CRP060 COUGARS/NOW SER VING Compact Disc 685747013225 CRP068 2.5 CHILDREN/COURAGE/N ON MACHI Compact Disc 881182006826 CRP072 MURRAY,T/THE BROKEN SOUND Com pact Disc 881182007229 CRP083 A WELL THOUGHT TRAGED Y/DYING F Compact Disc 823819008322 CRP101 HEARTLAND/STARS OUT NUMBER THE Compact Disc 881182010120 CRP104 VENOMOUS/PRESERVED EM ERGENCIES Com pact Disc 881182010427 CRP107 DOMINO THEORY/L ANGUAGE Compact Disc 881182010724 CRP110CD HIGHER GIANT/FIRS T FIVE Compact Disc 881182011028 CRP118 VIOLENT SOCIETY/WE DON'T BELIE Co mpact Disc 881821011822 CRP123 SCAREHO/INTERNATIONAL BROTHERH Co mpact Disc 881821112321 CRP31893 I AM I SEE/ADAMAN TIUM Compact Disc 881821318938 CRP3348 DUTCHLAND DIESEL/ STAG ING GRAC Com pact Disc 881182334820 CRP78 PLOW UNITED/NARCO LEPSY Compac t Disc 823819007820 CRP82 I FARM/ SO MY KIDS WON'T HAVE Compact Disc 881182103723 CRSEG001 BROWNE,D/GIVE ME TAKE YOU Com pact Disc 5013929180123 CRSEG002 ELASTIC BAND/EXPANSI ONS ON LIF Compact Disc 5013929180222 CRSEG003 BULLDOG BREED/MADE IN ENGLAND Compact Disc 5013929180321CRSEG007 VALENTINE,H/ALL IN YOUR HEAD Com pact Disc 50139291807271 21097 00412 9 6 00668 70002 3 8 81182 00542 3 8 23819 11572 3 8 81821 70592 9 6 85747 01322 5 8 81182 00682 6 8 81182 00722 9 8 23819 00832 2 8 81182 01012 0 8 81182 01042 7 8 81182 01072 4 8 81182 01102 8 8 81821 01182 2 8 81821 11232 1 8 81821 31893 8 8 81182 33482 0 8 23819 00782 0 8 81182 10372 3 5 013929 180123 5 013929 180222 5 013929 180321 5 013929 180727 Page 156 of 217Catalogue NumberArtist / Title Config Scannable UPC UPCNUMERICAL BY ARTIST / Numerique par artiste CRSEG009 EDWARDS HAND/EDWA RDS HAND Com pact Disc 5013929180925 CRSEG010 EDWARDS HAND/ST RANDED Compac t Disc 5013929181021 CRSEG011 LINCOLN, P/NORTH WI ND BLEW SOU Compact Disc 5013929181120 CRSEG013 ASHKAN/IN FROM THE COLD Compact Disc 5013929181328CRSEG019 LEAVES, THE/ALL THE GOOD THAT Com pact Disc 5013929181922 CRSEG024 HOTLEGS/YOU DIDN'T LIKE IT BEC Compact Disc 5013929182424 CRTREE002 DAVE & ARTHUR,T/MORNI NG STANDS Co mpact Disc 5013929690226 CRTREE005 UNICORN/UPHILL A LL THE WAY Compact Disc 5013929690523 CRTREE007 JAN DUKES DE GREY/S TRANGE TERR Co mpact Disc 5013929690721 CRTREE011 COVINGTON,J/THE BEAUTIFUL CHAN C ompact Disc 5013929691124 CSR2003 ILL NINO/ENIGMA Compact Disc 891146001033 CT39 DECIMATION/ANTHEMS OF AN EMYRE Compact Disc 0827166183923 CT52 BLOODSOAKED/DEATH OF HOPE Com pact Disc 827166202129 CT60 EXECRATION/ACCEPTANCE OF ZERO Compact Disc 827166230122 CT62 INFECTED FLESH/CONCA TENATION O Compact Disc 827166237220 CUNCD750017 PR ESENT/TRISKAIDEKAPHOBIE /LE P Compact Disc 045775001722 CUNCD750113 THINKING PLAGUE/IN EXTREMIS Com pact Disc 045775011325 CUNCD750262 CHRIS MCGREGOR S BR/ECLIPSE AT Compact Disc 045775026220 CV010 MAYOR,M/CUE ARE ES TEA YOU Compact Disc 5060115510219 CVIS394 QUEEN/UNDER REVIEW 1973-1980 D Digital Video Disc 823564507095 D000563102 VAR/FAMILY JAMS 3 Compact Disc 050087160142D001911302 CARPENTER,S/ CAN'T BLAME A GI RL Compact Disc 050087296285 D001915892 JOYW AVE/HOW DO YOU FEEL NOW Compact Disc 0500872967355 013929 180925 5 013929 181021 5 013929 181120 5 013929 181328 5 013929 181922 5 013929 182424 5 013929 690226 5 013929 690523 5 013929 690721 5 013929 691124 8 91146 00103 3 0 827166 183923 8 27166 20212 9 8 27166 23012 2 8 27166 23722 0 0 45775 00172 2 0 45775 01132 5 0 45775 02622 0 5 060115 510219 8 23564 50709 5 0 50087 16014 2 0 50087 29628 5 0 50087 29673 5 Page 157 of 217Catalogue NumberArtist / Title Config Scannable UPC UPCNUMERICAL BY ARTIST / Numerique par artiste D002014802 OST/GUARDIANS OF THE GA(DLX Compact Disc 050087306830 D002054602 OST/GUARDIANS OF THE GALAXY V1 Compact Disc 050087310851D002082702 BATES,T/GUARDIANS OF THE GALAX Compact Disc 050087313708D002090302 OST/GUARDIANS OF THE GALAXY(2C Compact Disc 050087314477D002109704 OST/GUARDIANS OF THE GALAXY V1 Cassette 050087316471 D0816 ELIOT GARDINER,J/BACH CA NT(DVD Digital Video Disc 032031081697 D1322 FEINSTEIN,M/MICHAEL FEINSTE(DV Digital Video Disc 032031132290D2933 MENDELSSOHN,F/THE DREAM(DVD) Digital Video Disc 032031293397D3164 RICHARDS,C/ON THE BEACH( DVD) Digital Video Disc 032031316492 D4K37441 VAR/DOCTORS PROFESSORS KING S Compact Disc 826663744125 DCD001 DEMONONOMONOPOTOPIUM /DEMONONOM Co mpact Disc 829410644020 DDN21950 DESNOYERS,D & CLAMAR AN,A/TANDE Co mpact Disc 619061195022 DDN22060 DESNOYERS,D/LE NIGH TCLUB 01 Compact Disc 619061206025 DDN22061 DESNOYERS,D/POWER SPIN VOL.2 Compact Disc 619061206124 DDN22065 DESNOYERS,D/LE NIGH TCLUB 02 Compact Disc 619061206520 DDN22066 DESNOYERS,D/POWER SPIN VOL.3 Compact Disc 619061206629 DDN22086 VAR/LES 15 ANS DU 6 A 6-FRANCO Compact Disc 619061208623DDN22088 VAR/LES 15 ANS DU 6 A 6-ANGLOP Compact Disc 619061208821DDN22180 DESNOYERS,D/LE NIGH TCLUB 03 Compact Disc 619061218028 DDN22230 DESNOYERS,D/IN DA HO USE VOL. 1 Compact Disc 619061223022 DDN23333 DESNOYERS,D/DAN DESN OYERS LIVE CD with DVD 619061333325 DDN23357 DESNOYERS,D/IN DA HOUSE VOL.2 Compact Disc 619061335725 DDN23446 DESNOYERS,D/CLUB SOUND VOL.1 Com pact Disc 6190613446280 50087 30683 0 0 50087 31085 1 0 50087 31370 8 0 50087 31447 7 0 50087 31647 1 0 32031 08169 7 0 32031 13229 0 0 32031 29339 7 0 32031 31649 2 8 26663 74412 5 8 29410 64402 0 6 19061 19502 2 6 19061 20602 5 6 19061 20612 4 6 19061 20652 0 6 19061 20662 9 6 19061 20862 3 6 19061 20882 1 6 19061 21802 8 6 19061 22302 2 6 19061 33332 5 6 19061 33572 5 6 19061 34462 8 Page 158 of 217Catalogue NumberArtist / Title Config Scannable UPC UPCNUMERICAL BY ARTIST / Numerique par artiste DDN23489 DESNOYERS,D/LIVE AT PACHA CLUB CD with DVD 619061348923 DDN23650 DESNOYERS,D/SUMMER SESSION 08 Com pact Disc 619061365029 DDN23704 DESNOYERS,D/IN DA HOUSE VOL.3 Compact Disc 619061370429 DDN23742 DESNOYERS,D/LIVE AT PACHA CLUB CD with DVD 619061374229 DEMCD101 HATRED/THE O FFERING Compact Disc 5060011191017 DEMCD102 WYKKED WYTCH/SOME THING WYKKED Co mpact Disc 5060011191024 DEMCD103 HERESIARH/MYTH ICAL BEASTS Com pact Disc 5060011191031 DEMCD104 COMP/TASTE TH E HATE Compact Disc 5060011191048 DEMCD105 VEIL OF SORROW/DARK RIVERS OF Compact Disc 5060011191055 DEMCD107 SCARIOT/DEATHF ORLORN Compact Disc 5060011191079 DEMCD110 WYTCHFYNDE/THE AWAKENING Com pact Disc 5060011191109 DEMCD111 SACRED SIN/TRANSLUCI D DREAM MI Compact Disc 5060011191116 DEMCD112 SKYCLAD/ANOTHER FINE MESS Compact Disc 5060011191123 DEMCD114 WYKKED WYTCH/ANGELI C VENGEANCE Co mpact Disc 5060011191147 DEMCD115 SKYCLAD/NO DAYLIGHT S,NOR HEELT C ompact Disc 5060011191154 DEMCD117 SACRED SIN/H EKATON Compac t Disc 5060011191178 DEMCD136 QUIREBOYS,THE/100% LIVE 2002 Compact Disc 5060011191369 DEMCD137 WYKKED WYTCH/ NEFRET Com pact Disc 5060011191376 DEMCD138 FIST/THE STORM Compact Disc 5060011191383 DEMCD139 MANTAS/ZERO TO LERANCE Com pact Disc 5060011191390 DEMCD140 SPIKE/IT'S A TREAT TO BE ALIVE Compact Disc 5060011191406 DEMCD142 SKYCLAD/A SEMBLANCE OF NORMALI Compact Disc 5060011191420 DEMCD152 HANOI ROCKS/ANOTHE R HOSTILE TA Compact Disc 50600111915296 19061 34892 3 6 19061 36502 9 6 19061 37042 9 6 19061 37422 9 5 060011 191017 5 060011 191024 5 060011 191031 5 060011 191048 5 060011 191055 5 060011 191079 5 060011 191109 5 060011 191116 5 060011 191123 5 060011 191147 5 060011 191154 5 060011 191178 5 060011 191369 5 060011 191376 5 060011 191383 5 060011 191390 5 060011 191406 5 060011 191420 5 060011 191529 Page 159 of 217Catalogue NumberArtist / Title Config Scannable UPC UPCNUMERICAL BY ARTIST / Numerique par artiste DEMCD155 TIGERTAILZ/BEZ ERK II Compact Disc 5060011191550 DEMCD164 QUIET RIOT/REHAB A ND LIVE & RA Co mpact Disc 5060011191642 DEMCDD158 MCQUEEN/BREAK TH E SILENCE Com pact Disc 5060011199587 DEMOUS004 TWISTED SISTER/LI VE AT THE AST CD with DVD 667348100023 DEMUS001 HUGHES,G/MUSIC FO R THE DRIVE Co mpact Disc 893776001018 DEMUS003 TEMPLE OF BRUTALITY/LETHAL AGE Compact Disc 893776001032DEMUS004 NAZARETH/THE NEWS Compact Disc 5060181430046 DG54 AVENGER/FEAST OF ANGE R JOY OF Compact Disc 827166005423 DG61 ABOMINANT/WHERE DEMO NS DWELL Compact Disc 827166006123 DGATE1255 MORTAL LOOM/ALCHEMY THROUGH DR Co mpact Disc 675604600125 DGATE1256 MORTAL LOOM/AMERICAN EDITION Compact Disc 675604125710DGATE1277 MORTAL LOOM/ADDICTED TO THE TR Compact Disc 675604175029 DIG116 COLD BLOOD/TRANS FUSION Compact Disc 766057026829 DIG121 GREENE,J/THE DIG YEARS Compact Disc 766057034220 DIS607797 VAR/CHILDREN'S F AVOURITES Compact Disc 050086077977 DJ865 SUN RA/CRY OF JA ZZ Digital Video Disc 022891986591 DK34132 PRETTY THINGS,THE/ BEST OF THE C ompact Disc 826663413229 DMT880092 KOOLKEITH&KU TMASTAKURT/DIESEL Compact Disc 790058800928 DMT880192 SQUEAK RU/FAT WORLD Compact Disc 790058801925 DNY22005 DESNOYERS,D/POWE R SPIN Compact Disc 619061200528 DO12852 O'KEEFE,D/RUNNIN' FROM THE DEV Com pact Disc 712657128524 DR2CD001 SOUND EX,THE/PAL OMINO Compact Disc 5060011195015 DR2CD007 DEAR SUPERSTAR/H EARTLESS Compact Disc 50600111950775 060011 191550 5 060011 191642 5 060011 199587 6 67348 10002 3 8 93776 00101 8 8 93776 00103 2 5 060181 430046 8 27166 00542 3 8 27166 00612 3 6 75604 60012 5 6 75604 12571 0 6 75604 17502 9 7 66057 02682 9 7 66057 03422 0 0 50086 07797 7 0 22891 98659 1 8 26663 41322 9 7 90058 80092 8 7 90058 80192 5 6 19061 20052 8 7 12657 12852 4 5 060011 195015 5 060011 195077 Page 160 of 217Catalogue NumberArtist / Title Config Scannable UPC UPCNUMERICAL BY ARTIST / Numerique par artiste DR2CD008 MARSHALL LAW/RA ZORHEAD Compact Disc 5060011195084 DR2CD009 THERAPY?/CROOKED TIMBER Compact Disc 5060011195091 DR2CD011 CHELSEA SMIL ES,THE/THE CHELSEA Compact Disc 5060011195114 DR2CD012 WARWICK,R/BELFAST CONFETTI Compact Disc 5060011195121 DR2CD015 GLITTERATI,THE/ARE YOU ONE OF Co mpact Disc 5060011195152 DR2CD017 DIE SO FLUID/THE WO RLD IS TOO Compact Disc 5060011195176 DR2CD018 MARYA ROXX/PAYBACK TIME Compact Disc 5060011195183 DR2US001 HYDROGEN/DEADLY PASSI ON(DIGI-P Compact Disc 5060011195046 DR2US002 HARRIS,L/CALM BEFOR E THE STORM Compact Disc 5060011195053 DR4449 MARILLION/MARBLES ON THE ROAD Digital Video Disc 022891444992 DS501642 BEAT PHARMACY/CONSTAN T PRESSUR Com pact Disc 790185016421 DSBBD31052 HARDY HAGOOD /A LL MY BEST Com pact Disc 057623105223 DSBBD31069 MANT ECA/EXTRA EXTR A Compact Disc 057623106923 DSRBD31054 ROSS,D/ BEARING STRAIGHT Compact Disc 057623105421 DTRBDW3 DREASE WILLIAMS,B/GOOD MORNING Com pact Disc 654367020456 DTRLD010 PSEUDO INTELLECTUALS /DOPE GRIN Compact Disc 886788202504 DW0402 WRIGHT,D/CHRISTMAS BY CANDLELI Com pact Disc 854666004021 DW0403 WRIGHT,D/AUTUMN DREAM S(DIGIPAC Compact Disc 854666004038 DW0404 WRIGHT,D/CURTAIN CALL Compact Disc 854666004045 DW0405 WRIGHT,D/REMEMBERIN G CHRISTMAS Com pact Disc 854666004052 DW0407 WRIGHT,D/SHADO WS Compact Disc 854666004076 DWT70088 MAJOR LAZER/GUNS DON'T KILL PE Compact Disc 878037008821 E2CD1001 EDWARD II/THE DEFINI TIVE COLLE Compact Disc 8444930922475 060011 195084 5 060011 195091 5 060011 195114 5 060011 195121 5 060011 195152 5 060011 195176 5 060011 195183 5 060011 195046 5 060011 195053 0 22891 44499 2 7 90185 01642 1 0 57623 10522 3 0 57623 10692 3 0 57623 10542 1 6 54367 02045 6 8 86788 20250 4 8 54666 00402 1 8 54666 00403 8 8 54666 00404 5 8 54666 00405 2 8 54666 00407 6 8 78037 00882 1 8 44493 09224 7 Page 161 of 217Catalogue NumberArtist / Title Config Scannable UPC UPCNUMERICAL BY ARTIST / Numerique par artiste EARCD613439 GAMMA RAY/TO THE METAL(2CD) Compact Disc 628586134393 EARCD613442 URIAH HEEP/CELEBRATION(RE G ED) Compact Disc 628586134423 EARCD613470 URI AH HEEP/LIVE AT SWEDEN ROCK Com pact Disc 628586134706 EARCD861343 GAMMA RAY/TO THE METAL Compact Disc 628586134324 ELLCD012CH1L HORTENSIA,C /PAPILLONS Com pact Disc 822685601224 ENT21607 LAST,J/SEDUCT ION Compact Disc 619061160723 ER203132 CROSS,C/A NIGHT IN PAR (2CD+DVD CD wi th DVD 826992031323 EV306959 ROLLING STONES/LA FORUM(3LP+DV vinyl with dvd 801213069590 EVB334929 GABRIEL,P/BACK TO FRONT(DLX 2B BLU RAY + BNS CD 801213349296 EXP211 CELIA,D/THIS IS N'T HERE Com pact Disc 722056021128 FAN3603102 GOLLIWOGS,THE/FIGHT FIRE COMPL Compact Disc 888072360310 FCD697 GUARALDI,V/CHARLIE BROWN XMAS Compact Disc 025218669726 FIRK114 GUY/MCCOY/TORME/EVIL TWIN Compact Disc 5060066551149 FLOATB6067 LENOIR,J.B/THE MOJO Compact Disc 805772606722 FLOATD6018 HOT TUNA/RELIX COLLECTION Compact Disc 805772601826 FNZ900002 SPOOKIE DALY/MARSHMALLOW PIE Compact Disc 881159000024FNZ900022 FURTADO, T/THESE CHAINS C ompact Disc 881159000222 FNZ900042 SPOOKIE DALY PRIDE/ MEDICINE CH Co mpact Disc 881159000420 FNZ900082 WHITE,A/BLACK DOVES Compact Disc 881159000826FNZ900132 GREEN PITCH/ACE OF HEARTS Compact Disc 881159008020FNZ900142 BR EAKERS DK,THE/HERE FOR A LAU Compac t Disc 881159009027 FNZ900192 MOSTLY BEAR S/THE ED MITCHE LL C Compact Disc 881159009430 FNZ900212 SHEAR,J/MORE Compact Disc 8811590095466 28586 13439 3 6 28586 13442 3 6 28586 13470 6 6 28586 13432 4 8 22685 60122 4 6 19061 16072 3 8 26992 03132 3 8 01213 06959 0 8 01213 34929 6 7 22056 02112 8 8 88072 36031 0 0 25218 66972 6 5 060066 551149 8 05772 60672 2 8 05772 60182 6 8 81159 00002 4 8 81159 00022 2 8 81159 00042 0 8 81159 00082 6 8 81159 00802 0 8 81159 00902 7 8 81159 00943 0 8 81159 00954 6 Page 162 of 217Catalogue NumberArtist / Title Config Scannable UPC UPCNUMERICAL BY ARTIST / Numerique par artiste FNZ900222 FURTADO, T/DEEP WATER C ompact Disc 881159010085 FNZ900262 COAL MEN,THE/BEAUTY IS A MOMEN C ompact Disc 881159100113 FNZ900302 SIRSY/REVOLUTION Compact Disc 881159301213FNZ900312 FURTADO,T/GOLDEN Compact Disc 881159401319FNZ900602 FURTADO,T/THIRTEEN Compact Disc 881159006026FNZ902686 SIRSY/COMING INTO FAME Compact Disc 881159026864 FR00242 JAMES,M/CALABASH BLUES Compac t Disc 754971002425 FRANCHIELI20 MINUCCI,C& SPECIAL EFX/WITHOUT C ompact Disc 626570612520 FRBCD112 BLACK RIBBONS/N EUROMANCER Compact Disc 039911011225 FRBCD21 BEL,M/DISTA NCE Compact Disc 039911002124 FRBCD5222 BOWFIRE/HOLIDAY H EART STRINGS Compact Disc 625712522222 FRBEE137 BEL,M/DON'T FORGET TO BREATHE Compact Disc 039911013724 FSM10 BARRY,J/BORN FREE OR IGINAL MOT Compact Disc 638558018026 GARUDACD002 EMERY,G/NORTHE RN LIGHTS Com pact Disc 8715576133886 GARUDACD003 EMERY,G/NORTHERN LI GHTS RE-LIT Co mpact Disc 8715576137433 GRA12802 DJIN/DESTINY OF AQUARIUS Com pact Disc 646413128025 GSE756 WU BLOCK/HIDDE N GEMS Compact Disc 887158746710 HARV0050 TURMOIL/FRAGMENTS OF SUFFERING Compact Disc 881821712125HARV0070 SHADOW SEASON/ST ARSHINE Com pact Disc 881821712224 HARV0080 BRODY/WORTH DY ING FOR Compact Disc 881821712026 HESY001 SIDNEY YORK/3'S HEARTS Compact Disc 628855004068 HH47042 AMB/GOD'S HA ND Compact Disc 756504470428 HLM24079 ORANGE ORANGE/TRO PICAL PASSION Co mpact Disc 6190614079278 81159 01008 5 8 81159 10011 3 8 81159 30121 3 8 81159 40131 9 8 81159 00602 6 8 81159 02686 4 7 54971 00242 5 6 26570 61252 0 0 39911 01122 5 0 39911 00212 4 6 25712 52222 2 0 39911 01372 4 6 38558 01802 6 8 715576 133886 8 715576 137433 6 46413 12802 5 8 87158 74671 0 8 81821 71212 5 8 81821 71222 4 8 81821 71202 6 6 28855 00406 8 7 56504 47042 8 6 19061 40792 7 Page 163 of 217Catalogue NumberArtist / Title Config Scannable UPC UPCNUMERICAL BY ARTIST / Numerique par artiste HM00675 MARCEL,Q/JUMP Compact Disc 619586006759 HM06562 WILLIAMS,S/UNDEFI NED Compact Disc 619586065626 HM09111 NZABA KHARYSMA,A/IN ATTENDU Com pact Disc 3775000091118 HM572 LIVEONES,THE/SHES COLD BLOODED Compact Disc 619586005721 HM61001 CANDY ROSE/A ROLLERCO ASTER LOV Compact Disc 5060215610017 HNECD003 MCAULEY SCHENKER GROUP/MSG Compact Disc 5013929910324 HNECD008 MARSDEN,B/AND ABOUT TIME TOO Compact Disc 5013929910829 HNECD009 MARSDEN,B/LOOK AT ME NOW Compact Disc 5013929910928 HNECD010 WAYSTED/VI CES Compact Disc 5013929911024 HNEDCD001 PIGI RON/PIG IR ON IV Compact Disc 5013929910126 HR21312 ALL TIME LOW/FUTURE HEARTS HMV Compact Disc 790692213122 HR622002 QUEEN/T CROWN JEWELS Compact Disc 720616220028 HRM31405 SIA/TV IS MY PARENT Digital Video Disc 888072314054HSCD2107 NIX,J/BRIGHT LIGHTS & COUNTRY Co mpact Disc 821252210722 HSM50652 JBS,THE/GROOVE MACHINE Compact Disc 809842506523 HT6501 BURNSIDE,RL/SOUNDMA CHINEGROOVE Com pact Disc 012928650120 HT6502 HEMPHILL,J/FEELIN' GOOD Compact Disc 012928650229 HTMN00622 DASH MONE,M/STEPPIN UP TO THE Compact Disc 619586006223 HTMN22734 MUZIK,R/REELECTION Compact Disc 837101227346 HUCD3067 MCBRIDE,J/KEEPIN' IT REAL Com pact Disc 053361306724 HUCD3074 SPYRO GYRA/ORIGINA L CINEMA Compact Disc 053361307424 HUCD3088 ZONJIC,A/SELDOM BLUES Compac t Disc 053361308827 HUCD3137 AFRO-BOP A LLIANCE BIG BAND/ CAR Compact Disc 0533613137226 19586 00675 9 6 19586 06562 6 3 775000 091118 6 19586 00572 1 5 060215 610017 5 013929 910324 5 013929 910829 5 013929 910928 5 013929 911024 5 013929 910126 7 90692 21312 2 7 20616 22002 8 8 88072 31405 4 8 21252 21072 2 8 09842 50652 3 0 12928 65012 0 0 12928 65022 9 6 19586 00622 3 8 37101 22734 6 0 53361 30672 4 0 53361 30742 4 0 53361 30882 7 0 53361 31372 2 Page 164 of 217Catalogue NumberArtist / Title Config Scannable UPC UPCNUMERICAL BY ARTIST / Numerique par artiste HUSA9097 YELLOWJACKETS/ALTERED STATESACD4Stereo/Surround/CDA ud053361909765 HVBX005 VAR/SOCA GOLD 2( 3CD) Compact Disc 5035980113926 HYP4230 ROCKER,L/BURNIN'LO VE-THE BEST Com pact Disc 4011586423028 HYP5235 URE,M/RELIVE-THE DV D SOUNDTRA Com pact Disc 4011586523520 HYP5236 BLUES BAND,THE/BEST OF..THE RE Co mpact Disc 4011586523629 HYP6245 CUTTING CREW/GRINNI NG SOULS Compact Disc 4011586624524 HYP6247 LOFGREN,N/SACRE D WEAPON Com pact Disc 4011586624722 HYP6249 URE,M/MOVE ME+ (2CD SET) Compact Disc 4011586624920HYP7253 SEAGAL,S/MOJO PR IEST Compac t Disc 4011586725320 HYP7258 REILLY,M/ROWAN (LTD .EDITION 2C Compact Disc 4011586725825 HYP8263 MICK FLEETWOOD BLU ES BAND/BLUE Co mpact Disc 4011586826324 HYP8264 URE,M/10 Compact Disc 4011586826423 IC1002 WOODS,P/AND HIS EURO PEAN TIME Com pact Disc 077712710022 IC1004 NAKASIAN,S/BILLIE RE MEMBERED Com pact Disc 077712710046 IC1012 SULLIVAN,C/GENESIS Compact Disc 077712710121IC1016 JEFFERSON,E/THE JAZZ SINGER Compact Disc 077712010160IC1019 FRIESEN,D/STAR DANCE Compac t Disc 077712710190 IC1030 STOWELL,J/GOLDEN DE LICIOUS Compact Disc 077712710305 IC1031 KRIVDA,E/SATANIC Compact Disc 077712710312IC1033 JEFFERSON,E/THE MAIN MAN Compact Disc 077712710336IC1036 URBANIAK,M/URBANIAK Compact Disc 077712710367IC1042 LEE WILSON,J/SECRETS FROM THE Compact Disc 077712710428IC1043 KRIVDA,E/THE AL CHEMIST Compact Disc 0777127104350 53361 90976 5 5 035980 113926 4 011586 423028 4 011586 523520 4 011586 523629 4 011586 624524 4 011586 624722 4 011586 624920 4 011586 725320 4 011586 725825 4 011586 826324 4 011586 826423 0 77712 71002 2 0 77712 71004 6 0 77712 71012 1 0 77712 01016 0 0 77712 71019 0 0 77712 71030 5 0 77712 71031 2 0 77712 71033 6 0 77712 71036 7 0 77712 71042 8 0 77712 71043 5 Page 165 of 217Catalogue NumberArtist / Title Config Scannable UPC UPCNUMERICAL BY ARTIST / Numerique par artiste IC1059 NEWTON,C/THE MOTIVE BEHIND THE Compact Disc 077712710596 IC1061 FRIESEN,D/STOWELL,J/T HROUGH TH Com pact Disc 077712710619 IC1063 DRY JACK/MAGICAL ELEMENTS Compact Disc 077712710633 IC1072 HANNA,R/ROLAND HANNA PLAYS THE Compact Disc 077712710725 IC1073 HAIG,A/AL HAIG PLAYS THE MUSIC Compact Disc 077712710732IC1079 NEWTONCAM,C/WELCOM E ALIENS Compact Disc 077712710794 IC1086 FRIESEN,D/STOWELL,J/OT HER MANS Com pact Disc 077712710862 IC1094 BURTON,A/NEW YORK ST ATE OF MIN Compact Disc 077712710947 IC1138 ROBERTS,J/NIGHTS IN BRAZIL Compact Disc 077712711388 IC1143 ANDERSON,C/CAT A NDERSON Com pact Disc 077712711432 IC1163 DEAN,P/RADIO Compact Disc 077712711630IC7001 BROWN,C/THE PARIS CO LLECTIO V1 Compact Disc 077712770019 IC7002 ELDRIDGE,R/LITTLE JAZZ Compact Disc 077712770026IC7004 REINHARDT,D/THE VERSAT ILE GIAN Compact Disc 077712770040 IC7005 SIMS,Z/BROTHER IN SWING Compact Disc 077712770057IC7007 J J JOHNSON/JACKSON,M/ A DATE I Compact Disc 077712770071 IC7010 GILLESPIE,D/HAVIN A GOOD TIME Compact Disc 077712770101 IC7011 BROWN,C/THE PARIS CO LLECTIO V2 Compact Disc 077712770118 IC7012 ELDRIDGE,R/I REMEMBER HARLEM Compact Disc 077712770125 IC7013 JASPAR,B/REVISI TED Compact Disc 077712770132 IC7014 WITHERSPOON,J/OLYMPIA CONCERT Com pact Disc 077712770149 IC7016 THOMPSON,L/LUCKY THOMPSON Compact Disc 077712770163IC7017 MULLIGAN,G/GERRY MULLIGAN Compact Disc 0777127701700 77712 71059 6 0 77712 71061 9 0 77712 71063 3 0 77712 71072 5 0 77712 71073 2 0 77712 71079 4 0 77712 71086 2 0 77712 71094 7 0 77712 71138 8 0 77712 71143 2 0 77712 71163 0 0 77712 77001 9 0 77712 77002 6 0 77712 77004 0 0 77712 77005 7 0 77712 77007 1 0 77712 77010 1 0 77712 77011 8 0 77712 77012 5 0 77712 77013 2 0 77712 77014 9 0 77712 77016 3 0 77712 77017 0 Page 166 of 217Catalogue NumberArtist / Title Config Scannable UPC UPCNUMERICAL BY ARTIST / Numerique par artiste IC7020 MOODY,J/IN THE BEG INNING Com pact Disc 077712770200 IC7023 GILLESPIE,D/THE CHAMP Compact Disc 077712770231 IEG2169 CYRUS,M/THE WORLD ACCO RDING TO Digital Video Disc 617742216998 IEG2223 BEYONCE/SHINE (D VD) Digital Video Disc 617742222395 INAK6453DVD CARLTON,L&LUKATHER/NE W MORNING Digital Video Disc 707787645379 INN0003 HART,R/FEARLESS SHORES Com pact Disc 823118302220 INN0102 PRYBYLSKI,J/WINDOW SHOPPING Compact Disc 837101169240 INN0103 PRBYLSKI,J/OUT OF THE BOX Compact Disc 823118522529INN0201 AARON,B/WITH EVER Y TOUCH Compact Disc 823118888823 INN0202 AARON,B/BRINGIN' IT BACK Compact Disc 823118000027 INN0203 AARON,B/DESI RE Compact Disc 823118516825 INN0301 VAILG/EMOTION Compact Disc 809931022019INN0302 VAIL,G/SMOOTH JAZZ CLASSICS Com pact Disc 809931021050 INN0401 DONATO,W/WILLPOWER Compact Disc 634479077050INN0402 DONATO,W/WI LLCALL Compact Disc 823118100628 INN0403 DONATO,W/LAWS OF ATTRACTION Compact Disc 823118100826INN0405 DONATO,W/BEST OF THE SEASON Com pact Disc 823118945526 INN0507 SANSAVERINO,JJ/SUNSHI NE AFTER Com pact Disc 820637029522 INN0601 DALTONJ/GIFT Compact Disc 829757176925INN0602 DALTON,J TRIO/WARM GHOST IN A Compact Disc 823118325823 INN0701 BOLVIN,E/NO BO UNDARIES Com pact Disc 823118663024 INN0705 MARTIN,P/GOOD DAY AT WORK Compact Disc 823118999420 INN0801 YANDELL,P/THE WINDOW Compact Disc 8231189999250 77712 77020 0 0 77712 77023 1 6 17742 21699 8 6 17742 22239 5 7 07787 64537 9 8 23118 30222 0 8 37101 16924 0 8 23118 52252 9 8 23118 88882 3 8 23118 00002 7 8 23118 51682 5 8 09931 02201 9 8 09931 02105 0 6 34479 07705 0 8 23118 10062 8 8 23118 10082 6 8 23118 94552 6 8 20637 02952 2 8 29757 17692 5 8 23118 32582 3 8 23118 66302 4 8 23118 99942 0 8 23118 99992 5 Page 167 of 217Catalogue NumberArtist / Title Config Scannable UPC UPCNUMERICAL BY ARTIST / Numerique par artiste INN0902 SHARMAT,C/BLEU HORIZONS Compact Disc 823118999321 INN802 YANDELL,P/SOUL GRIND Compact Disc 823118999932 INTSD90152 BLACK EY ED PEAS/BEHIND THE FRO Compact Disc 606949015220 IPC01 FANTOMAS/FANTOMAS Compact Disc 689230000129IPC02 MELVINS,T/MA GGOT Compact Disc 689230000228 IPC03 MALDOROR/SH E Compact Disc 689230000327 IPC04 MELVINS,T/BOOTLI CKER Compact Disc 689230000426 IPC05 KIDSOFWIDNEYHIGH/LET'S GET BUS Compact Disc 689230005254IPC08 LUCKYSTARS,T/HOLLYW OOD & WESTE Compact Disc 689230000822 IPC10 HAMBURGER,N/GREAT PHONE CALLS Compact Disc 689230001027 IPC100 PATTON,M/A PERFECT PLACE CD with DVD 689230010029IPC101 FARMERS MARKET/SURFIN'USSR Compact Disc 689230010128IPC102 FANTOMAS/MELVINS BIG BAND/LIVE Digital Video Disc 689230010296IPC103 TIPSY/BUZZZ Compact Disc 689230010326IPC104 MUGISON/MUGI BOOGIE Compact Disc 689230010425 IPC105 MELVINS,THE/NUDE WI TH BOOTS Compact Disc 689230010524 IPC106 HILL,Z/ASTROLOGICAL STRAITS Compact Disc 689230010623IPC108 BOHERN & DER CLUB OF GORE/DELO Compact Disc 689230010821 IPC109 DALEK/GUTTER TA CTICS Compact Disc 689230010920 IPC110 ZU/CARBONIFEROUS Compact Disc 689230011026IPC112 MELVINS/THE BRIDE SCREAMED MUR Compact Disc 689230011224IPC113 ISIS/WAVERING RA DIANT Compac t Disc 689230011323 IPC114 SAX RUINS/YAW IQUO Compact Disc 6892300114228 23118 99932 1 8 23118 99993 2 6 06949 01522 0 6 89230 00012 9 6 89230 00022 8 6 89230 00032 7 6 89230 00042 6 6 89230 00525 4 6 89230 00082 2 6 89230 00102 7 6 89230 01002 9 6 89230 01012 8 6 89230 01029 6 6 89230 01032 6 6 89230 01042 5 6 89230 01052 4 6 89230 01062 3 6 89230 01082 1 6 89230 01092 0 6 89230 01102 6 6 89230 01122 4 6 89230 01132 3 6 89230 01142 2 Page 168 of 217Catalogue NumberArtist / Title Config Scannable UPC UPCNUMERICAL BY ARTIST / Numerique par artiste IPC115 MADLOVE/WHITE WITH FOAM Compact Disc 689230011521 IPC116 MELVINS/CHICKEN SWITCH Compact Disc 689230011620 IPC117 SWIFT,R/THE A RCHITECT Com pact Disc 689230011729 IPC118 BEAK>/BEAK> Co mpact Disc 689230011828 IPC119 PATTON,M/MONDO CANE Compac t Disc 689230011927 IPC12 MELVINS,T/GLUEY PO RCH TREATMEN Com pact Disc 689230001225 IPC120 LUPPI,D/MALOS HABITO S(BAD HABI Compact Disc 689230012023 IPC121 BIRD,MT/SOME PLACE SIMPLE Compact Disc 689230012122IPC122 MINI MANSIONS/MIN I MANSIONS Compact Disc 689230012221 IPC123 JOHANNES,A/ SPARK Compac t Disc 689230012320 IPC125 GANGPOL & MIT/THE 1000 SOFTCOR Compact Disc 689230012528IPC126 MELVINS,THE/SUGAR DADDY LIVE Co mpact Disc 689230012627 IPC128 BOHREN & DER CLUB OF GORE/BEIL Compact Disc 689230012825 IPC13 DJ EDDIE DEF/INNER SCRATCH DEM C ompact Disc 689230001324 IPC130 RETOX/UGLY ANIMALS Compact Disc 689230013020IPC131 PATTON,M/THE SOLITUDE OF PRIME Compact Disc 689230013129IPC133 PATTON,M/BERIO,L/LABO RINTUS II Co mpact Disc 689230013327 IPC134 SOUNDTRACK/PORTAL 2 SONGS TO Com pact Disc 689230013426 IPC136 MELVINS LITE/FR EAK PUKE Com pact Disc 689230013624 IPC139 PALMS/PALMS Compact Disc 689230013921 IPC14 MELVINS,T/COLLOSUS OF DESTINY Compact Disc 689230001423 IPC140 ISIS/TEMPORAL Compact Disc 689230014027IPC141 TOMAHAWK/STONE LETTER Compact Disc 6892300141196 89230 01152 1 6 89230 01162 0 6 89230 01172 9 6 89230 01182 8 6 89230 01192 7 6 89230 00122 5 6 89230 01202 3 6 89230 01212 2 6 89230 01222 1 6 89230 01232 0 6 89230 01252 8 6 89230 01262 7 6 89230 01282 5 6 89230 00132 4 6 89230 01302 0 6 89230 01312 9 6 89230 01332 7 6 89230 01342 6 6 89230 01362 4 6 89230 01392 1 6 89230 00142 3 6 89230 01402 7 6 89230 01411 9 Page 169 of 217Catalogue NumberArtist / Title Config Scannable UPC UPCNUMERICAL BY ARTIST / Numerique par artiste IPC142 TOMAHAWK/ODDFELLOWS Compact Disc 689230014225 IPC143 LANEGAN,M/GARWOOD,D/B LACK PUDD Co mpact Disc 689230014324 IPC144 MELVINS/EVERYBODY LOVE SAUSAGE Com pact Disc 689230014423 IPC145 ISIS/CELESTIAL Compact Disc 689230014522IPC148 ISIS/OCEANIC Compact Disc 689230014829IPC149 MUTATION/ERRO R 500 Compact Disc 689230014928 IPC15 EXGIRL/BACK TO THE MONO KERO Compact Disc 689230001522 IPC150 MELVINS/TRES CABRONES Compact Disc 689230015024IPC155 BOHREN AND DER CLUB/P IANO NIGH Compact Disc 689230015529 IPC156 UNSEMBLE,THE/THE UNSEMBLE Compact Disc 689230015628IPC157 ISIS/PANOPTICON Compact Disc 689230015727IPC159 KING BUZZO/THIS MACHINE KILLS Compact Disc 689230015925 IPC16 SENSATIONAL/GET ON MY PAGE Compact Disc 689230001621 IPC161 LE BUTCHERETTES/CRY IS FOR THE Compact Disc 689230016120 IPC162 SLEAFORD MODS/CHU BBED UP Com pact Disc 689230016229 IPC163 GUANO PADANO/AMERICANA Compact Disc 689230016328IPC164 MELVINS,THE/HOLD IT IN Compact Disc 689230016427IPC167 TETEMA/GEOCIDAL Compact Disc 689230016724 IPC17 FANTOMAS/DIRECT ORS CUT Com pact Disc 689230001720 IPC18 TOMAHAWK/TOMAHAWK Compact Disc 689230001829IPC19 FANTOMAS&MEL VINSBIGBAND/MILLE N Compact Disc 689230001928 IPC20 MELVINS,T/HOSTILE AM BIENT TAKE Compact Disc 689230002024 IPC28 STEROIDMAXIMUS/ECTOPIA Compact Disc 6892300028266 89230 01422 5 6 89230 01432 4 6 89230 01442 3 6 89230 01452 2 6 89230 01482 9 6 89230 01492 8 6 89230 00152 2 6 89230 01502 4 6 89230 01552 9 6 89230 01562 8 6 89230 01572 7 6 89230 01592 5 6 89230 00162 1 6 89230 01612 0 6 89230 01622 9 6 89230 01632 8 6 89230 01642 7 6 89230 01672 4 6 89230 00172 0 6 89230 00182 9 6 89230 00192 8 6 89230 00202 4 6 89230 00282 6 Page 170 of 217Catalogue NumberArtist / Title Config Scannable UPC UPCNUMERICAL BY ARTIST / Numerique par artiste IPC29 SKELETONKEY/OBTAI NIUM Compac t Disc 689230002925 IPC30 DALEK/FROM FILTHY TONGUE OF GO Compact Disc 689230003021IPC31 PHANTOMSMASHER/PHANT OM SMASHER Compact Disc 689230003120 IPC33 MOISTBOYZ/III Compact Disc 689230003328IPC34 YOSHIMI&YUKA/FLOWER WITH NO C0 Co mpact Disc 689230003427 IPC37 KAADA/THAN YOU FOR YOUR VALUAB Com pact Disc 689230003724 IPC38 MELVINS,T/26 SONGS Compact Disc 689230003823IPC39 PINKANVIL/HALLOWEEN PARTY Compact Disc 689230003922IPC41 MONDOGENERATOR/A DRUG PROBLEM Com pact Disc 689230004127 IPC42 CURSEOFTHEGOLDENVAM PIRE/MASS D Com pact Disc 689230004226 IPC45 FANTOMAS/DELIRIUM CORDIA Compact Disc 689230004523 IPC48 BOHREN&DERCLUBOFGORE/ BLACK EAR Compact Disc 689230004820 IPC49 END/THE SOUNDS OF DISASTER Com pact Disc 689230004929 IPC50 EYVINDKANG/VIRGINAL CO ORDINAT C ompact Disc 689230005025 IPC51 VENOMOUSCONCEPT/RET ROACTIVE AB Compact Disc 689230005124 IPC52 TREVORDUNNSTRIO/SISTE R PHANTOM Com pact Disc 689230005223 IPC53 FLATEARTHSOCIETY/ISMS Compact Disc 689230005322IPC54 MELVINS/LUSTMORD/PIGS OF THE R Compact Disc 689230005421 IPC55 VINCENT&MRGREEN/VINCE NT & MR.G Compact Disc 689230005520 IPC56 DALEK/ABSENCE Compact Disc 689230005629 IPC57 ISIS/PANOPTICON Compact Disc 689230005728IPC58 KAADA/PATTON/RO MANCES Compac t Disc 689230005827 IPC60 GENERALPATTONVSTHEXE CUTIONERS/ Com pact Disc 6892300060226 89230 00292 5 6 89230 00302 1 6 89230 00312 0 6 89230 00332 8 6 89230 00342 7 6 89230 00372 4 6 89230 00382 3 6 89230 00392 2 6 89230 00412 7 6 89230 00422 6 6 89230 00452 3 6 89230 00482 0 6 89230 00492 9 6 89230 00502 5 6 89230 00512 4 6 89230 00522 3 6 89230 00532 2 6 89230 00542 1 6 89230 00552 0 6 89230 00562 9 6 89230 00572 8 6 89230 00582 7 6 89230 00602 2 Page 171 of 217Catalogue NumberArtist / Title Config Scannable UPC UPCNUMERICAL BY ARTIST / Numerique par artiste IPC61 LOCUST,T/SAFETY SECOND, BODY LA Compact Disc EP's 689230006121 IPC62 FANTOMAS/SUSPENDED AN IMATION-L Compact Disc 689230006220 IPC63 MELVINS,T/MANGLED DEMOS FROM 1 Compact Disc 689230006329IPC64 ORTHEIM/O V Compact Disc 689230006428 IPC65 FANTOMAS/SUSPENDED ANIMATION Compact Disc 689230006527 IPC66 MORRICONE.E/CRIME AND DISSONAN C ompact Disc 689230006626 IPC67 MESSERCHUPS/CRAZY PRICE Compac t Disc 689230006725 IPC68 EATWESTBLASTTEST/POPULAR MUSIC Compact Disc 689230006824IPC69 MUGISON/MUGIMAMA,IS THIS MONKE Compact Disc 689230006923 IPC70 GHOSTIGITAL/IN COD WE TRUST Compact Disc 689230007029 IPC71 MUGISON/LITTLE TRIP Compact Disc 689230007128 IPC72 DALEK/A PURGE OF DI SSIDENTS CD wi th DVD 689230007296 IPC73 VONSCHIRACH,O/MAXIPAD DETENTIO Co mpact Disc 689230007326 IPC74 MOUSE ON MARS/ VARCHARZ Com pact Disc 689230007425 IPC75 TANGOSALOON,T/THE TA NGO SALOON Compact Disc 689230007524 IPC76 MELVINS,T/HOUDINI LIVE 2005 Compact Disc 689230007623 IPC77 PEEPINGTOM/PEEPING TOM Compact Disc 689230007722 IPC78 GOLDINGINSTITUTE,T/ FINAL RELAX Compact Disc 689230007821 IPC79 KAADA/MUSIC FOR MO VIEBIKERS Com pact Disc 689230007920 IPC80 ISIS/CLEARING THE EYE Digital Video Disc 689230008095IPC81 ISIS/IN THE ABSENCE OF TRUTH Compact Disc 689230008125 IPC82 MELVINS/SENILE ANIMAL (A) Compact Disc 689230008224IPC83 HELLA/THERE'S NO 666 IN OUTER Compact Disc 6892300083236 89230 00612 1 6 89230 00622 0 6 89230 00632 9 6 89230 00642 8 6 89230 00652 7 6 89230 00662 6 6 89230 00672 5 6 89230 00682 4 6 89230 00692 3 6 89230 00702 9 6 89230 00712 8 6 89230 00729 6 6 89230 00732 6 6 89230 00742 5 6 89230 00752 4 6 89230 00762 3 6 89230 00772 2 6 89230 00782 1 6 89230 00792 0 6 89230 00809 5 6 89230 00812 5 6 89230 00822 4 6 89230 00832 3 Page 172 of 217Catalogue NumberArtist / Title Config Scannable UPC UPCNUMERICAL BY ARTIST / Numerique par artiste IPC84 DALEK/ABANDONED LA NGUAGE Compact Disc 689230008422 IPC85 UNSANE/VISQU EEN Compact Disc 689230008521 IPC86 GOON MOON/LICKER'S LAST LEG Compact Disc 689230008620IPC87 EYVIND KANG/ATHL ANTIS Compact Disc 689230008729 IPC88 YOUNG GODS/SUPER READY/FRAGMEN Compact Disc 689230008828IPC89 TOMAHAWK/ANONYMUS Compact Disc 689230008927IPC90 CIRCUS DEVILS/SGT .DISCO Com pact Disc 689230009023 IPC92 NORTHERN STATE/CAN I KEEP THIS Com pact Disc 689230009221 IPC93 QUI/LOVE'S MIRACLE Compact Disc 689230009320IPC94 COPPOLA,I/THE BLACK & WHITE AL Compact Disc 689230009429 IPC96 KAADA PATTON/LIVE (D VD) Digital Video Disc 689230009696 IPC97 DUB TRIO/ANOTHER SO UND IS DYIN Co mpact Disc 689230009726 IPC98 SOUNDTRACK/30 DAYS OF NIGHT Compact Disc 689230009825 IPC99 ISIS/NOT IN RIVERS, BUT IN DROP Compact Disc 689230009924 ISBCD2057 WOOD,R/SLIDE ON LIVE Compact Disc 068584205723 ISBCD5065 SASH/TRILENI UM Compact Disc 620323506524 J3137 CHAMBERLAND,C/SERENDIPI TY STRE Compact Disc 775584231729 JATTA0052 WEEKES,T/ADOWA/LOVE, HERB AND Com pact Disc 603408100527 JJCD7009 JORGENSON,J/FRANCO-A MERICAN SW Co mpact Disc 800633700922 JST070CD NOISE BY NUMBERS/O VER LEAVITT Co mpact Disc 689222007020 JST071CD ALL EYES WEST/ALL EYES WEST Compact Disc 689222007129 JST089 PLOW UNITED/MARCHI NG BAND Com pact Disc 689222008928 K001 OUR EARTH/OUR EAR TH Compact Disc 8013422001236 89230 00842 2 6 89230 00852 1 6 89230 00862 0 6 89230 00872 9 6 89230 00882 8 6 89230 00892 7 6 89230 00902 3 6 89230 00922 1 6 89230 00932 0 6 89230 00942 9 6 89230 00969 6 6 89230 00972 6 6 89230 00982 5 6 89230 00992 4 0 68584 20572 3 6 20323 50652 4 7 75584 23172 9 6 03408 10052 7 8 00633 70092 2 6 89222 00702 0 6 89222 00712 9 6 89222 00892 8 8 01342 20012 3 Page 173 of 217Catalogue NumberArtist / Title Config Scannable UPC UPCNUMERICAL BY ARTIST / Numerique par artiste K002 L APPUNTAMENTO/L APP UNTAMENTO Compact Disc 801342200222 K006 BLUE OCEAN SUITE/BLUE OCEAN SU Compact Disc 801342200628 K014 FRANJO,M/SOLO POR TU AMOR Compact Disc 801342201427K022 LIVING THEATER/ACT ONE MODERN Co mpact Disc 801342202226 K023 LIVING THEATER/ACT TWO Compact Disc 801342202325K024 LIVING THEATER/ACT THREE Compact Disc 801342202424 K025 LIVING THEATER PR/G ROOVE GURU Co mpact Disc 801342202523 K026 LIVING THEATER/TRILOGY(3CD) Compact Disc 801342202622 KFR58621 VANDALS,THE /PEACE THRU VAND(LP Compact Disc 610337586216 KFR787612 OST/GLORY DAYS Compact Disc 610337876126KFR787662 APOCALY PSE HOB/HOUSE OF T Compact Disc 610337876621 KFR787712 VANDALS,THE/SWEATIN TO THE VAN Compact Disc 610337877123 KFR787719 VANDALS,THE/SWEATIN TO THE(DVD Digital Video Disc 610337877192 KFR787732 VAR/NO STARS JUST TALENT Compact Disc 610337877321KFR787762 VANDALS,THE/PLAY REALLY BAD OR Compact Disc 610337877628KFR787772 VANDALS,THE/OI TO TH E WORLD RE Co mpact Disc 610337877727 KFR787782 VANDALS,THE/FEAR OF A PUNK PLA Compact Disc 610337877826KFR787802 VAR/THAT DARN PUNK Compact Disc 610337878021 KFR787809 MOVIE/THAT DARN PUNK(DVD) Digital Video Disc 610337878090KFR787842 ANTIFREEZE/FOUR LE TTER WORDS Com pact Disc 610337878427 KFR787852 U SELESS ID/BAD STORY H APPY END Com pact Disc 610337878526 KFR787862 MI6/LUNCHBOX Compact Disc 610337878625 KFR787899 VAR/FEAR OF A PUNK PLAN V1(DVD Digital Video Disc 6103378789918 01342 20022 2 8 01342 20062 8 8 01342 20142 7 8 01342 20222 6 8 01342 20232 5 8 01342 20242 4 8 01342 20252 3 8 01342 20262 2 6 10337 58621 6 6 10337 87612 6 6 10337 87662 1 6 10337 87712 3 6 10337 87719 2 6 10337 87732 1 6 10337 87762 8 6 10337 87772 7 6 10337 87782 6 6 10337 87802 1 6 10337 87809 0 6 10337 87842 7 6 10337 87852 6 6 10337 87862 5 6 10337 87899 1 Page 174 of 217Catalogue NumberArtist / Title Config Scannable UPC UPCNUMERICAL BY ARTIST / Numerique par artiste KFR787922 AUDI O KARATE/SPACE CAMP Compact Disc 610337879226 KFR787932 VAR/PUNK ROCK IS YOUR FRIEND Co mpact Disc 610337879325 KFR787949 VAR/ SECRET WEAPONS OF KUNG (DVD Digital Video Disc 610337879493 KFR787959 VAR/C AKEBOY(DVD) Digita l Video Disc 610337879592 KFR787962 VANDALS,THE/INTERNET DATING SU Co mpact Disc 610337879622 KFR787972 OZMA/THE DOUBLE DO NKEY DISC Compact Disc 610337879721 KFR787989 VANDALS,THE/OI TO THE WORLD(DV Digital Video Disc 610337879899 KFR788062 U SELESS ID/NO VACATION FR OM TH Compact Disc 610337880628 KFR788072 OZMA/SPENDING TIME ON THE BORD Co mpact Disc 610337880727 KFR788089 MEST/THE SHOW MUST GO OFF(DVD Digital Video Disc 610337880895KFR788112 GUTTERMOUTH/HOUSE OF BLU(CD+DV CD with DVD 610337881120 KFR788119 GUTTERMOUTH/HOUSE OF BL(DVD+CD DVD + BNS CD 610337881199 KFR788129 ONE MAN ARMY/LIVE AT THE T(DVD Digital Video Disc 610337881298KFR788172 VAR/PUNK ROCK IS YOUR FRIEND V C ompact Disc 610337881724 KFR788182 ANTIFR EEZE/THE SEARCH FOR SO ME Compact Disc 610337881823 KFR788192 GOD AWFULS,THE/NEXT STOP, ARMA Compact Disc 610337881922KFR788209 PISTOL GRIP/LIVE AT THE GL(DVD Digital Video Disc 610337882097KFR788219 REEL BIG FISH/LIVE AT THE(DVD Digital Video Disc 610337882196KFR788222 VANDALS,THE/LIVE AT THE(CD+DVD CD with DVD 610337882226 KFR788229 VANDALS,THE/LIVE AT TH E HOU(DV Digital Video Disc 610337882295 KFR788239 GOLDFINGER/LIVE AT THE HOUSE(D Digital Video Disc 610337882394KFR788242 ADOLESCENTS/HOUSE OF BLU(CD+DV CD with DVD 610337882424 KFR788249 ADOLESCENTS/HOUSE OF BL(DVD+CD DVD + BNS CD 6103378824936 10337 87922 6 6 10337 87932 5 6 10337 87949 3 6 10337 87959 2 6 10337 87962 2 6 10337 87972 1 6 10337 87989 9 6 10337 88062 8 6 10337 88072 7 6 10337 88089 5 6 10337 88112 0 6 10337 88119 9 6 10337 88129 8 6 10337 88172 4 6 10337 88182 3 6 10337 88192 2 6 10337 88209 7 6 10337 88219 6 6 10337 88222 6 6 10337 88229 5 6 10337 88239 4 6 10337 88242 4 6 10337 88249 3 Page 175 of 217Catalogue NumberArtist / Title Config Scannable UPC UPCNUMERICAL BY ARTIST / Numerique par artiste KFR788252 AUDIO KARATE/LADY MELODY Compact Disc 610337882523 KFR788279 MATCHES,THE/LIVE AT THE HO(DVD Digital Video Disc 610337882790KFR788289 BLEEDING THROU/THIS IS LIV(DVD Digital Video Disc 610337882899KFR788292 VANDALS,THE/HOLLYWOOD POTATO C Compact Disc 610337882929KFR788309 VAR/ SECRET WEAPONS OF K V1 (DVD Digital Video Disc 610337883094 KFR788322 VAR/PUNK ROCK IS YO UR FRIEN V5 Co mpact Disc 610337883223 KFR788342 U SELESS ID/REDEMPTIO N Compact Disc 610337883421 KFR788352 UNDERMINDED/HAIL UNAMERICAN Com pact Disc 610337883520 KFR788369 CIRCLE JERKS/LIVE AT THE H(DVD Digital Video Disc 610337883698KFR788379 THROWRAG/THE SHOW MUST GO(DVD Digital Video Disc 610337883797KFR788392 TSUNAMI BOMB/LIVE AT THE GL(DV Digital Video Disc 610337883995KFR788412 RIGHTEOUS JAMS/RAGE OF DISCIPL Compact Disc 610337884121KFR788422 VANDALS,THE/WHEN IN ROME Compact Disc 610337586124 KFR788442 VANDALS,THE/SHIN GO REMIXES Compact Disc 610337884428 KFR788509 DANCE HALL CRA/THE SHOW MU(DVD Digital Video Disc 610337885098 KFR788512 VAR/PUNK ROCK IS YO UR FRIEN V6 Co mpact Disc 610337885128 KFR788529 VAR/ SECRET WEAPONS OF K V3 (DVD Digital Video Disc 610337885296 KFR788572 VERSUS THE WORLD/VERSUS THE WO Compact Disc 610337885722 KIN17597 VOLLENWEIDER,A/MAGI CAL JOURNEY Com pact Disc 795041759726 KLEZTETCD1 KLEZTET,A/Y2KLEZMER Compact Disc 791022108026KLEZTETCD2 KLEZTET,A/DELUSIONS OF KLEZMER Compact Disc 783707525822 LATEXCD35 SKYDIGGERS/NORTH ERN SHORE Compact Disc 823674008222 LBMCD233149 MOB RUL ES/SAVAGE LAND Co mpact Disc 6937233149216 10337 88252 3 6 10337 88279 0 6 10337 88289 9 6 10337 88292 9 6 10337 88309 4 6 10337 88322 3 6 10337 88342 1 6 10337 88352 0 6 10337 88369 8 6 10337 88379 7 6 10337 88399 5 6 10337 88412 1 6 10337 58612 4 6 10337 88442 8 6 10337 88509 8 6 10337 88512 8 6 10337 88529 6 6 10337 88572 2 7 95041 75972 6 7 91022 10802 6 7 83707 52582 2 8 23674 00822 2 6 93723 31492 1 Page 176 of 217Catalogue NumberArtist / Title Config Scannable UPC UPCNUMERICAL BY ARTIST / Numerique par artiste LBMCD234142 MOB RULES/TEMPLE OF TWO SUNS Compact Disc 693723414225 LBMCD234157 ADAGIO/SANCTUS IGNIS Compact Disc 693723415727 LBMCD234838 BLACK MAJESTY/SILENT COMPANY Compact Disc 693723483825LBMCD236544 GALLOGL ASS/LEGENDS FROM NO W AN Compac t Disc 693723654423 LBMCD236563 DUNGEON/ A RISE TO POWE R Compact Disc 693723656328 LDCD1035 SCRAPOMATIC/ALLIGA TOR LOVE CRY Co mpact Disc 012886103522 LFJ1010 VAR/LIFE FORCE JAZZ & BLU(2 CD Compact Disc 606987001025LFJ1011 STEVENS,G QUINTET/HO MECOMING Com pact Disc 606987000929 LFJ1015 MUHAMMAD,D/RADIO FREE SOUL Compact Disc 069870010205 LFJ1020 MUHAMMAD,D/HEREAF TER(2CD) Compact Disc 606987002022 LFJ1021 MUHAMMAD,D/CONSIDER THE SOURCE Co mpact Disc 606987002121 LFJ1022 GIBSON,E/GENERATI ON DANCE Com pact Disc 606987002220 LFJ33418 CARVIN,M/L OST AND FOUND PROJ EC Compac t Disc 884501334181 LFR1024 ELMER GIBSON TRIO/LIVE Compact Disc 606987002244LFR1026 HOFF,D/MEMORY FROM BELOW Compact Disc 606987002268LFR1044 E SMITH,C/BLUES FOR C Compact Disc 606987002442LFR1045 TC III/LIVE! MEGA JAZZ EXPLOSI Compact Disc 606987002459LG51592 LOS GRISWOLDS/BRING THE ROCK Compact Disc 825346515922 LM049 NELSON,W/LIVE(DV D) Digital Video Disc 5883007136492 LTS10012 LATIMORE/BACK 'ATCHA Compact Disc 809842100127LTS10022 LATIMORE/ALL ABOUT THE RHYTHM Compact Disc 809842100226LTS10032 LATIMORE/LIVE IN VIENNA Compact Disc 809842100325LTS10042 LATIMORE/LADIES CHOICE Compact Disc 8098421004246 93723 41422 5 6 93723 41572 7 6 93723 48382 5 6 93723 65442 3 6 93723 65632 8 0 12886 10352 2 6 06987 00102 5 6 06987 00092 9 0 69870 01020 5 6 06987 00202 2 6 06987 00212 1 6 06987 00222 0 8 84501 33418 1 6 06987 00224 4 6 06987 00226 8 6 06987 00244 2 6 06987 00245 9 8 25346 51592 2 5 883007 136492 8 09842 10012 7 8 09842 10022 6 8 09842 10032 5 8 09842 10042 4 Page 177 of 217Catalogue NumberArtist / Title Config Scannable UPC UPCNUMERICAL BY ARTIST / Numerique par artiste LV126 RONNIE DIO/RONNIE DI O AND THE Compact Disc 609465980041 MA250198 TOGNONI,R/CAPITAL WAH Compact Disc 5413992501984 MAD115 VAR/BLOW YOUR HEAD-DIPLO PRESE Compact Disc 891063002359 MAHACD17 ETE/ETE Compact Disc 5038044814623MAHACD23 BAKA BEYOND/ORCHEST RE BAKA GBI Com pact Disc 5060108321129 MAHACD24 PEOPLE OF THE SOUT HERN NATION/ C ompact Disc 5060115940245 MAHACD26 BAKA BEYOND & BAKA GB INE/BAKA Com pact Disc 5060108322423 MAHACD27 SU(BAKA BEYOND)/WORTH IT AFTER C ompact Disc 8421080289888 MCAD80090 BEETHOVEN/SYM 9 " CHORAL" Com pact Disc 602438009022 MCAMD10400 MCENTIRE,R/FOR MY BROKEN HEART Compact Disc 008811040024 MCBBD37170 MOM AND DADS/ BEST OF Com pact Disc 076741717026 MCGJ1009 GILLESPIE,D ALUMNI/T HINGS TO C C ompact Disc 612262100925 MCGJ1012 MANN,H & WOODS,P/BEY OND BROOKL Compact Disc 612262101229 MCGJ1017 HAMILTON,C JAZZ ORCH/LIVE AT M Compact Disc 612262101724 MCGJ1021 SCOTT,T/BEBOP UNITED Compact Disc 612262102127 MCGJ1030 MITZER,B/SWING OUT Compact Disc 612262103025 METALLIC013 WRATHFUL PLAGUE/THEE WITHIN TH Compact Disc 827166240626 MIG00900CD FARLOWE,C/HOTEL EINGANG Compact Disc 885513009005 MJ016 SOFT MACHINE LEGACY/STEAM Compact Disc 692287901622MJ020 MAHOGANY FROG/DO5 Compact Disc 692287902025MJ041 MACHINE MASS TRIO/AS REAL AS T Com pact Disc 692287904128 MJ049 DOUBT/MERCY PITY PEAC E & LOVE Com pact Disc 692287904920 MJ90482 MAHOGANY FROG/SENNA Compact Disc 6922879048216 09465 98004 1 5 413992 501984 8 91063 00235 9 5 038044 814623 5 060108 321129 5 060115 940245 5 060108 322423 8 421080 289888 6 02438 00902 2 0 08811 04002 4 0 76741 71702 6 6 12262 10092 5 6 12262 10122 9 6 12262 10172 4 6 12262 10212 7 6 12262 10302 5 8 27166 24062 6 8 85513 00900 5 6 92287 90162 2 6 92287 90202 5 6 92287 90412 8 6 92287 90492 0 6 92287 90482 1 Page 178 of 217Catalogue NumberArtist / Title Config Scannable UPC UPCNUMERICAL BY ARTIST / Numerique par artiste MJNCD2087 COPERNICUS/D EEPER Compac t Disc 723616208720 MJR028 MORAINE/MANIFEST DESTINY Compact Disc 692287902827MJR030 CROVELLA,B/WHATS RATTL IN ON TH Compact Disc 692287903022 MJR033 CLEVELAND,B/HOLOGR AMATRON Com pact Disc 692287903329 MJR042 SAVOLDELLI,B/INSANOL OGY(FEATUR Com pact Disc 692287904227 MJR045 BERTIGA,T/RIOT Compact Disc 692287904524MJR046 SH TG N/SH TG N Compact Disc 692287904623MJR047 LIGRO/DICTIONA RY 2 Compact Disc 692287904722 MJR058 JEVTOVIC,D/AM I WA LKING WRONG Compact Disc 692287905828 MM7 HALO OF FLYS/BLOODIER SHADE OF Compact Disc 827166227122 MMPCD0112 DECAPITATED/THE FI RST DAMNED Co mpact Disc 5907785017092 MODCD165 POND/HOBO RO CKET Compact Disc 602537359196 MODCD169 CEO/WONDERL AND Compact Disc 602537634514 MOJR1950 RISHELL,P & RAINES, A/A NIGHT I Compact Disc 687474836429 MOJRDVD1951 RISHELL,P & RAINES,A/ A NIGHT I Digital Video Disc 687474853624 MOOD4609CD MANGELSDORFF DAUNE R QUINTETTE/ C ompact Disc 707787460927 MOOD4610CD ROOYEN,AV/HOMEWARD PICTURES FR Compact Disc 707787461023 MOONCD101 BIG,THE/WHATEVER MAKES YOU HAP C ompact Disc 664813310123 MOONCD102 UPSESSIONS,THE/THE NEW HEAVYWE Co mpact Disc 664813310222 MOONCD103 GO JIMMY GO/(THE GIRL WITH THE Compact Disc 664813410328MOONCD104 SKAVILLE UK/ 1973 Compact Disc 664813310420 MOONCD110 RIFFS,THE/LIVE AT CLUB SKA Compact Disc 664813311021 MOTORCD1003 NEUWORTH,B/HAVANA MIDNIGHT:A T C ompact Disc 50162728933207 23616 20872 0 6 92287 90282 7 6 92287 90302 2 6 92287 90332 9 6 92287 90422 7 6 92287 90452 4 6 92287 90462 3 6 92287 90472 2 6 92287 90582 8 8 27166 22712 2 5 907785 017092 6 02537 35919 6 6 02537 63451 4 6 87474 83642 9 6 87474 85362 4 7 07787 46092 7 7 07787 46102 3 6 64813 31012 3 6 64813 31022 2 6 64813 41032 8 6 64813 31042 0 6 64813 31102 1 5 016272 893320 Page 179 of 217Catalogue NumberArtist / Title Config Scannable UPC UPCNUMERICAL BY ARTIST / Numerique par artiste MOTORCD1013 ELLIOT,R/HEP Compact Disc 827565003426 MOTORCD1033 TORMES,L/LIMELIGHT Compact Disc 844493010333 MR801692 SQUIRREL NUT ZIPPERS/PERENNIAL Compact Disc 035498016929 MR801732 FU MANCHU/THE ACTION IS GO Compact Disc 035498017322 MRCD4152 DOWNIE,G/COKE MACHI NE GLOW Compact Disc 823674641528 MRCD6402 SLAINTE MHAT H/VA Compact Disc 823674640224 MRCD6408 STARR,K/SUN AGAIN Compact Disc 823674640828 MRCD6409 DEARS T/NO CITIES LEFT Compact Disc 823674640927MRCD6435 MICHEL,D/LOVING THE ALIEN:DANN Co mpact Disc 823674643522 MRCD6437 PILATE/THE WI NDOW Compact Disc EP's 823674643720 MRE020 MUTHSPIEL WOLFGANG/BLADE/FRIEN CD with DVD 9005321800200MRE021 MUTHSPIEL WOLFGANG/4TET/EARTH Compact Disc 9005321800217MRE022 JAHNEL.B/TRIO/MODUL AR CONCEPTS Compact Disc 9005321800224 MSK2416 CONFESSION/LIFE A ND DEATH Com pact Disc 661278241627 MURCD3 HARDSHIP POST/H ACK Compact Disc 777488000326 MUSND38 ELEVATOR THROUGH/MUSI C FROM T Compac t Disc EP's 777488003822 MVDA4648 OBLIVION SUN/OBLIVION SUN Compact Disc 022891464822MVDA4684 PLASTIC CRIMEWAVE SO UND/NO WON Com pact Disc 022891468424 MVDA4818 PLASTIC CRIMEWAVE SOUND/PLASTI Com pact Disc 760137481829 MVDA4819 YAHOWA 13/SONIC PORTATION Compact Disc 760137481928 MVDA4820 AMERICAN SPEEDWAY/SHIP OF FOOL Compact Disc 760137482024 MVDV4915 VAR/PAGAN METAL:A DOCUMENTARY Digital Video Disc 760137491590 MW070 OCHS,P/ON MY WAY (1963 DEMO SE Compact Disc 8134110107008 27565 00342 6 8 44493 01033 3 0 35498 01692 9 0 35498 01732 2 8 23674 64152 8 8 23674 64022 4 8 23674 64082 8 8 23674 64092 7 8 23674 64352 2 8 23674 64372 0 9 005321 800200 9 005321 800217 9 005321 800224 6 61278 24162 7 7 77488 00032 6 7 77488 00382 2 0 22891 46482 2 0 22891 46842 4 7 60137 48182 9 7 60137 48192 8 7 60137 48202 4 7 60137 49159 0 8 13411 01070 0 Page 180 of 217Catalogue NumberArtist / Title Config Scannable UPC UPCNUMERICAL BY ARTIST / Numerique par artiste MWM0982 STAMPLEY,M/ONE VOICE Compact Disc 879645009828 MWM5617 VAR/ESSENCE MUSIC F ESTIVAL V3 DV D + BN S CD 879645001617 MY005CD LINDY/5 TRACK UK SAMPLER Compact Disc EP's 880121000727 N55833 LAWTON,J AND DIANA/ THE POWER Compact Disc 3800227080048 NA1 NEGATIVE APPROACH/FAIR WARNING Digita l Video Disc 616822032824 NA2 NEGATIVE APPROACH/FAIR WARNING Digita l Video Disc 616822002193 NA3 NEGATIVE APPROACH/CAN'T TELL N Digital Video Disc 616822002599 NBA32162 SONATA ARCTICA/PAR IAHS CHILD Co mpact Disc 727361321628 NE05452 OZARK MOUNTAIN DARED EVILS/MEN Compact Disc 606949054526 NE61046 OZARK MOUNTAIN DARED EVILS/IT'L Compact Disc 602498610466 NE63933 OZARK MOUNTAIN DARED EVILS/IT'S Compact Disc 602498639337 NE83131 OZARK MOUNTAIN DARED EVILS/DON' Compact Disc 602498831311 NIBL003 MORAY,J/SWEET ENGLAND Compact Disc 5038622108021NIBL005 MORAY,J/JIM MORAY Compact Disc 5038622112127NIBL007 MORAY,J/LOW CUL TURE Compact Disc 844493092131 NOT50202 3RD MATINEE/MEANWHILE Compact Disc 617742502022 NPR156 MIDNATTSOL/WHERE TWIL IGHT DWEL Co mpact Disc 693723370323 NPR170 BESEECH/SUNLESS DA YS Compact Disc 693723373027 NPR178 NAIO SSAION/OUT LOUD Compact Disc 693723374123 NPR195 ELIS/GRIEFSH IRE Compact Disc 693723502724 NPR219 VESANIA/DISTRACTIVE KILLUSION Com pact Disc 693723505824 NPR255 OTYG/ALVEFARD + SAGOV INDARS BO Co mpact Disc 693723511627 NPR270 GRAVE DIGGER/PR AY Compac t Disc 6937233081288 79645 00982 8 8 79645 00161 7 8 80121 00072 7 3 800227 080048 6 16822 03282 4 6 16822 00219 3 6 16822 00259 9 7 27361 32162 8 6 06949 05452 6 6 02498 61046 6 6 02498 63933 7 6 02498 83131 1 5 038622 108021 5 038622 112127 8 44493 09213 1 6 17742 50202 2 6 93723 37032 3 6 93723 37302 7 6 93723 37412 3 6 93723 50272 4 6 93723 50582 4 6 93723 51162 7 6 93723 30812 8 Page 181 of 217Catalogue NumberArtist / Title Config Scannable UPC UPCNUMERICAL BY ARTIST / Numerique par artiste NPR314 HOLLENTHON/TYRANTS AND WRAITHS Compact Disc 782124000479 NPR349LTD GRAVE DIGGE R/CLANS WILL RISE A Compact Disc 885470001296 NPR352LTD BATTLELORE/DOOMBO UND(CD+DVD) CD wi th DVD 885470001838 NPR365 GRAVE DIGGER/BALLAD OF MARY (C Compac t Disc EP's 885470001913 NPR366LTD KAMPFAR/MARE Compact Disc 885470002064 NPR392 HATESPHERE/THE GREAT BLUDGEONI Co mpact Disc 885470002736 NPR399 LONELY KAMEL/LONELY KAMEL Compact Disc 885470002859NPR421 ATROCITY/DIE GOTTLO SEN(2DVD+CD DV D + BNS CD 885470003788 NPR439LTD EX DEO/CALIGVLA(LTD) Compact Disc 885470004471 NPR443 GRAVE DIGGER/HOME AT LAST Com pact Disc 885470004358 NPR513LTD L EAVES EYES/SYMPHONIES OF THE Compact Disc 819224016786 NPR518LTD UNGUIDED,THE/FRAGIL E IMMORTALI Compact Disc 819224018056 NPR525 VAN CANTO/DAWN OF THE BRAVE Compact Disc 819224018001 NR004 VAR/RESISTOR Compact Disc 751937134725NR005 FICTION 8/CHAOT ICA Compact Disc 751937157526 NR007 DISSONANCE/REINCA RNATE Compact Disc 751937175926 NR009 BACKLASH/IMPETUS Compact Disc 751937188629NR010 DISTORTED REALITY/TH E FINE LIN Compact Disc 628740684825 NR012 FICTION 8/FOREVER NEVERAFTER Com pact Disc 628740705124 NR013 NULL DEVICE/A MILLION DIFFEREN Compact Disc 628740711729 NR015 BLIND FAITH AND/TH E CHARMING Com pact Disc 628740715529 NR018 AZOIC,THE/ILLUMI NATE Compact Disc 628740738122 NR021 LIQUID DIVINE/IN TERFACE Compact Disc 6287407582297 82124 00047 9 8 85470 00129 6 8 85470 00183 8 8 85470 00191 3 8 85470 00206 4 8 85470 00273 6 8 85470 00285 9 8 85470 00378 8 8 85470 00447 1 8 85470 00435 8 8 19224 01678 6 8 19224 01805 6 8 19224 01800 1 7 51937 13472 5 7 51937 15752 6 7 51937 17592 6 7 51937 18862 9 6 28740 68482 5 6 28740 70512 4 6 28740 71172 9 6 28740 71552 9 6 28740 73812 2 6 28740 75822 9 Page 182 of 217Catalogue NumberArtist / Title Config Scannable UPC UPCNUMERICAL BY ARTIST / Numerique par artiste NR022 GASR/SURVIVAL OF THE FITTEST Compact Disc 628740757529 NR023 CONETIK/CARBON ELEKT RIQ V2 0 Compact Disc 628740763421 NR024 INVISIBLE BALL/ESCAPING LIGHT Compact Disc 628740773925NR025 XP8/HRS MIN SEC Compact Disc 628740774021 NR026 MUSCLE AND HATE/A TRIBUTE TO Compact Disc 628740778326 NR028 INTERFACE/BEYOND HUMANITY Compact Disc 628740790724 NR029 DISTORTED REAL/DAY DREAMS AND Compact Disc 628740790922 NR030 FROZEN PLASMA/ARTIFICIAL Compact Disc 628740793725NR031 VAR/FOURPLAY V1 Compact Disc 628740816325NR032 NULL DEVICE/EXCURS IONS Compact Disc 628740838426 NR033 AZOIC,THE/RE ILLUMI NATION(THE Co mpact Disc 628740112021 NR034 GASR/REPTILE Compact Disc 628740843321NR037 INTERFACE/DESTINAT ION FOCUS Com pact Disc 628740109922 NR038 INTERFACE/VISIONS OF MODERN LI Co mpact Disc 628740117828 NR040 BOW EVER DOWN/THE PR ODUCT OF M C ompact Disc 628740126325 NR041 LEVEL 2 0/ARMA GEDDON Compact Disc 628740136324 NR042 INTERFACE/BODY FLOW Compact Disc 628740141021NR043 SILENT AUCTION/H ON EARTH Compact Disc 843310036723 NR045 XMH/STATE OF MIND Compact Disc 843310037027NR046 AD INFERNA/D SM Compact Disc 843310037423 NR057 AZOIC,THE/CORRUP TION Compact Disc 884501851718 OBR6913001 BELLER,B/VIEW Compact Disc 829757206325OBR6913002 BELLER,B/THANKS IN ADVANCE Compact Disc 6431573981416 28740 75752 9 6 28740 76342 1 6 28740 77392 5 6 28740 77402 1 6 28740 77832 6 6 28740 79072 4 6 28740 79092 2 6 28740 79372 5 6 28740 81632 5 6 28740 83842 6 6 28740 11202 1 6 28740 84332 1 6 28740 10992 2 6 28740 11782 8 6 28740 12632 5 6 28740 13632 4 6 28740 14102 1 8 43310 03672 3 8 43310 03702 7 8 43310 03742 3 8 84501 85171 8 8 29757 20632 5 6 43157 39814 1 Page 183 of 217Catalogue NumberArtist / Title Config Scannable UPC UPCNUMERICAL BY ARTIST / Numerique par artiste OBR6913003 BELLER,B/TO NOTHING, THE THANK Digital Video Disc 804879124795 OBR6913005 BELLER,B/WEDNESDAY NIGHT LIVE Digital Video Disc 700261326979 ODOPE1001 RUTHLESS RAP ASSASSINS /KILLER Compact Disc 5013929870123 ODOPE1002D BLADE/THE LION GOES FROM STREN Compact Disc 5013929870222 ODOPE1003 MC DUKE/ORGANI SED RHYME Compact Disc 5013929870321 ODOPE1004 MC MELL O/ THOUGHTS RELEASED (R Compact Disc 5013929870420 ODOPE1005 SILVER BULLET/BRING DOWN THE W Compact Disc 5013929870529 OGL400042 METRO/AMERICA IN MY HEAD Compact Disc 809394000425OGL400052 BARNES & BARNES/KODOVONER Compact Disc 809394000524OGL400062 BARNES & BARNES/AMAZING ADULT Compact Disc 809394000623OGL815862 WILLIS,W/ROCK & ROLL WILL NEVE Compact Disc 790058158623OGL820272 GEORGEWBUSHSINGERS/SON GS IN TH Compact Disc 790058202722 OGL820402 SCHNEID ER,R/REGISTERED O FFENDE Compact Disc 790058204023 OGL840069 GASS,C/ THE WORST COMEDY SH(D VD Digital Video Disc 790058400692 OGL891232 MUMY,B/AFTER DREAMS COME TRUE Compact Disc 790058912324OGL891242 LOPEZ,G/RIGHT NOW RIGHT NOW Compact Disc 790058912423 OGL891322 BUDELUV/DIARY OF A LOUNGEMAN Compact Disc 790058913222OGL891392 DICK,A/DO YOUR SHOWS ALWAYS SU Compact Disc 790058913925 OGL891402 LOPEZ,G/EL MAS CHINGON Compact Disc 790058914021OGL891522 SCHELETTER,E/WITCHI NG HOUR Com pact Disc 790058915226 OGL891592 MARTLING,J/SNART( CD+DVD) CD wi th DVD 790058915929 OGL891616 COUNTRYMAN,D/MOOG TASTIC Compact Disc 790058916162 OGL891622 BAKER,K/GOT IT COVER ED Compac t Disc 7900589162238 04879 12479 5 7 00261 32697 9 5 013929 870123 5 013929 870222 5 013929 870321 5 013929 870420 5 013929 870529 8 09394 00042 5 8 09394 00052 4 8 09394 00062 3 7 90058 15862 3 7 90058 20272 2 7 90058 20402 3 7 90058 40069 2 7 90058 91232 4 7 90058 91242 3 7 90058 91322 2 7 90058 91392 5 7 90058 91402 1 7 90058 91522 6 7 90058 91592 9 7 90058 91616 2 7 90058 91622 3 Page 184 of 217Catalogue NumberArtist / Title Config Scannable UPC UPCNUMERICAL BY ARTIST / Numerique par artiste OGL891652 BAKER,K/ROCKIN FOR A LI VING Compac t Disc 790058916520 OGL89166 MANZAREK,R/MCCLURE,M/THE PIANO Compact Disc 790058916629 OHMCD007 ODEL/MIND & BO DY SOLD Compact Disc 634479087141 OJCCD444 SIMS,Z/AND T GERSHW IN BROS Compact Disc 025218644426 OLG816192 GURYAN,M/THE CHOPST ICKS VARIAT Compact Disc 790058161920 OMM300382 PEOPLE UNDER THE STAI/THE CA T Compact Disc 600353003828 OMM302202 KASKADE/IT S YOU IT S ME Compact Disc 600353022027 OMM303412 DJ MARK FARINA/AIR FARINA Compact Disc 600353034129OMM303462 VAR/OM LOUNGE V8 Compact Disc 600353034624OMM305882 KASKADE/HOUSE OF OM PR ESENTS K Com pact Disc 600353058828 ONE24208 J7/LE JOUR J Compact Disc 619061420827 OOTA03 ROMANCE,M/1000 CA RATS Compact Disc 619061425525 OPM6601 DANKO,R/CRYIN'HEAR T BLUES Compact Disc 623235660124 ORCD7230 BENT, R/THE BLOOD TRILOGY Compact Disc EP's 823674723002 ORNG0008CD PITRE,L/SHA TTERED Compact Disc 880121000826 ORNG0010 JOHNSON,A/SONGS FROM INSTANT S Compact Disc 880121001120 ORNG0015CD JOHNSON,A/SONGS FR OM INSTANT S Compact Disc 880121002028 ORNG0053CD HOLLOW,J/DIRT Y HANDS Com pact Disc 880121005623 OT803032 ROY,P/ISSUES+OPTIONS Compact Disc 826798030322 PAE24328 ALTER EGO/ALTER EGO Compact Disc 619061432820 PCC4911 VAR/PLATINUM CHRISTM AS COLLECT Com pact Disc 884739491120 PDROPCD13 BAD MANNERS /SKA N B Com pact Disc 5013929681323 PDROPCD14 BAD MANNERS/LOON EE TUNES! Compact Disc 50139296814227 90058 91652 0 7 90058 91662 9 6 34479 08714 1 0 25218 64442 6 7 90058 16192 0 6 00353 00382 8 6 00353 02202 7 6 00353 03412 9 6 00353 03462 4 6 00353 05882 8 6 19061 42082 7 6 19061 42552 5 6 23235 66012 4 8 23674 72300 2 8 80121 00082 6 8 80121 00112 0 8 80121 00202 8 8 80121 00562 3 8 26798 03032 2 6 19061 43282 0 8 84739 49112 0 5 013929 681323 5 013929 681422 Page 185 of 217Catalogue NumberArtist / Title Config Scannable UPC UPCNUMERICAL BY ARTIST / Numerique par artiste PDROPCD15 BAD MANNERS/ GOSH IT'S Compact Disc 5013929681521 PDROPCD16 BAD MANNERS/FOR GING AHEAD Compact Disc 5013929681620 PHCD7002 HELLECASTERS,THE/ESC APE FROM H Com pact Disc 800633700229 PIASA45CD OBEL,A/PHILHAR MONICS Compact Disc 843798000476 PM070623 CORVUS CORAX/VENUS VI NA MUSICA Co mpact Disc 4046661037425 PM070724 CORVAS CORAX/KATLENBERG ANNO M CD with DVD 4046661082425 PMCD1 MAKOTO,K AND MOTHER S OF INVASI Co mpact Disc 022891910121 PMCD1102 AMERICAN SPEEDWAY/A BIGGER BOA Com pact Disc 881182110226 PMCD9992 ANGELBATH,J/GYPSY WOMAN Compact Disc 760137999225PMCD9994 DARK SEA DREAM/DAR K SEA DREAM Com pact Disc 760137999423 PMCD9995 NOTEKILLERS/WE'RE HE RE TO HELP Co mpact Disc 760137999522 PP007 BEATLES,THE/SHE LOVES YO U -DVD Digita l Video Disc 603777900797 PP2163 ROXSY TYLER S CARNIVAL OF HORR Digital Video Disc 885007216322 PPD0026CD PLOW UNITED/SL EEPWALK Compac t Disc 823819130924 PPD022CD JUNIOR BATTLES/IDLE AGES Compact Disc 823819133420 PR01891 CORVUS CORAX/ANTE C ASU PECCATI Co mpact Disc 5099751714927 PR03954 CORVUS CORAX/TR ITONUS Com pact Disc 5099751715221 PR05008 CORVUS CORAX/TEMPI ANTIQUII Compact Disc 5099751716129 PR050512 CORVUS CORAX/IN ELEC TRONICA(RE Co mpact Disc 4046661005028 PR07986 CORVUS CORAX/LIVE AU F DEM WASH Compact Disc 5099751715320 PR10009 CORVUS CORAX/MILLE ANNI PASSI Com pact Disc 5099751715528 PR100213 CORVUS CORAX/SEI KILOS Compact Disc 5099715715823 PR10987 CORVUS CORAX/VI ATOR Compact Disc 50997517154295 013929 681521 5 013929 681620 8 00633 70022 9 8 43798 00047 6 4 046661 037425 4 046661 082425 0 22891 91012 1 8 81182 11022 6 7 60137 99922 5 7 60137 99942 3 7 60137 99952 2 6 03777 90079 7 8 85007 21632 2 8 23819 13092 4 8 23819 13342 0 5 099751 714927 5 099751 715221 5 099751 716129 4 046661 005028 5 099751 715320 5 099751 715528 5 099715 715823 5 099751 715429 Page 186 of 217Catalogue NumberArtist / Title Config Scannable UPC UPCNUMERICAL BY ARTIST / Numerique par artiste PR110317 CORVUS CORAX/GAUDIA VITE(LIVE Compact Disc 5099751716020 PR120011 CORVUS CORA X/MARCHEN AUS ALTE R Compact Disc 5099751715627 PR20 THEODORE/TEARS FROM A GLASS EY Com pact Disc 077712000208 PR22 FIELDS,W C AND WES/HI S ONLY RE Compact Disc 077712000222 PR66 CHAPIN BROTHERS ,THE Compact Disc 077712000666 PRCCD0442 A FOREST OF S/O PPORTUNISTIC Co mpact Disc 884388404434 PRCCD0452 A FOREST OF ST/THE CORPSE OF R C ompact Disc 884388404533 PRCCD090 ALCEST/SOUVENIRS DUN AUTRE Com pact Disc 4039053709024 PRCCD1132 LIFELOVER/SJU KDOM Compact Disc 884388711341 PRE008 BLACKMORE'S/WINTER CAROLS Compact Disc 4046661045826 PRFCD006 OAKENFOLD,P/TRANCE MISSION Com pact Disc 8718522041075 PROPERBOX10 VAR/BEBOP SPO KEN HERE Com pact Disc 604988991024 PROPERBOX10 9GOODMAN,B/THE ESSENTIAL BG Compac t Disc 805520021098 PROPERBOX11 6FITZGERALD,E/DEARLY BELOVED Compact Disc 805520021166 PROPERBOX13 3CHARLES,R/THE WAY I F EEL(4CD S Compact Disc 805520021333 PROPERBOX15 HERMAN,W/WOODY HERMAN STORY Compact Disc 604988991529PROPERBOX22 HOWELL,B/TEMPUS FUGUE-IT Compact Disc 604988992229 PRTB70442 DAVIS,M/COLLECTORS' ITEMS Compact Disc 025218488327 PSTGE0905 CHAMELEON CLUB/A FILM BY ALLEN Digital Video Disc 793573090591 PUR253 DEEP PURPLE/LIVE IN DENMARK 19 Co mpact Disc 5022911253318 PUR256 DEEP PURPLE/LIVE IN SAN DIEGO C ompact Disc 5022911256319 PUR304 DEEP PURPLE/GEMINI SUITE(LIVE) Co mpact Disc 5022911304317 PUR321 DEEP PURPLE/THIS TI ME AROUND(L C ompact Disc 50229113213145 099751 716020 5 099751 715627 0 77712 00020 8 0 77712 00022 2 0 77712 00066 6 8 84388 40443 4 8 84388 40453 3 4 039053 709024 8 84388 71134 1 4 046661 045826 8 718522 041075 6 04988 99102 4 8 05520 02109 8 8 05520 02116 6 8 05520 02133 3 6 04988 99152 9 6 04988 99222 9 0 25218 48832 7 7 93573 09059 1 5 022911 253318 5 022911 256319 5 022911 304317 5 022911 321314 Page 187 of 217Catalogue NumberArtist / Title Config Scannable UPC UPCNUMERICAL BY ARTIST / Numerique par artiste PUR338 DEEP PURPLE/LIVE IN STOCKHOLM C ompact Disc 5022911338312 PUR340 COVERDALE,D/WHITESN AKE/NORTHWI Com pact Disc 5022911340315 PVCD137 CHARLES,R/MESS AR OUND Compact Disc 805520051378 PW302062414 GOMEZ,E/PER SEMPRE Compact Disc 030206241426 PWACD71280 ATTACCA QUARTET/FELLOW TRAVE Compact Disc 787867128022 PWAJD72208 CUNLIFFE,B/SATIS FACTION Compact Disc 787867220825 PWAJD72215 DOC SEVERINSEN/SWINGIN TH E BLU Compac t Disc 787867221525 PWAJD72221 BILL CUNLIFFE SE/LI VE AT ROCCO Co mpact Disc 787867222126 PWAJD72231 HERSHMAN,J/PARTNER S IN CRIME Compact Disc 787867223123 PWAJD72232 ROSENE,B/ALL MY LIFE Compact Disc 787867223222PWAJD72238 HASHIMOTO,A/INTRO DUCING ATSUKO Co mpact Disc 787867223826 PWAJD72241 HOT CLUB OF SAN,T HE/BOHEMIAN M C ompact Disc 787867224120 PWAJD72243 OBRIEN,T/OUT OF A DREAM Compact Disc 787867224328 PWAJD72250 BILL CUNLIFFE TRIO/R IVER EDGE Co mpact Disc 787867225028 PWAZ23001 DELEON,S /CON SALSA Y SABO R Compact Disc 787867300121 PWCL010807 CHRI S DAVIS SEXTET/A NIGH T REM Compact Disc 875531003666 PWCL020510 DAVIS,C/BAILE BONITA Compact Disc 875531005806PWCL051407 DANDERFER,J S/ACCE;E RATED DEVE Co mpact Disc 875531002652 PWCL102212 ROBBINS,D/ZAP Compact Disc 884501890403PWCL110707 HU BERT BRUNO TRIO/LIVE THE CEL Com pact Disc 875531003741 PWDTRMD004 MAD DUKEZ/THE OPEN AFFAIRS EP Compact Disc 884501876797 PWFNZ900202 MOTHER TRUCKERS,TH E/LET'S ALL C ompact Disc 881159009447 PWHTMN00796 I4AI/PLAY Compact Disc 6195860079615 022911 338312 5 022911 340315 8 05520 05137 8 0 30206 24142 6 7 87867 12802 2 7 87867 22082 5 7 87867 22152 5 7 87867 22212 6 7 87867 22312 3 7 87867 22322 2 7 87867 22382 6 7 87867 22412 0 7 87867 22432 8 7 87867 22502 8 7 87867 30012 1 8 75531 00366 6 8 75531 00580 6 8 75531 00265 2 8 84501 89040 3 8 75531 00374 1 8 84501 87679 7 8 81159 00944 7 6 19586 00796 1 Page 188 of 217Catalogue NumberArtist / Title Config Scannable UPC UPCNUMERICAL BY ARTIST / Numerique par artiste PWHTMN02267 FRIDAY/EUPHORIC ST ATE OF MIND Compact Disc 619586022674 PWJAM2005 PAUL BOURELLY,J/BOOM BOP Compact Disc 692287200527 PWMG5007 VAR/THE TRADITIONAL SONGS Compact Disc 096094500724 PWMJR009 DEAN,ELTON/THE WR ON/THE UNBELI C ompact Disc 692287900922 PWMJR038 MARBIN/RODBY/WERTI CO/BREAKING Co mpact Disc 692287903824 PWMJR054 DIALETO/THE LAST TRIBE Compact Disc 692287905422PWMJR055 WRONG OBJECT,THE/A FTER THE EXH Compact Disc 692287905521 PWNCD2093 COPERNICUS/WORTH LESS Compact Disc 723616209321 PWRCD6 FAMBROUGH ,C/LIVE AT ZANZIBAR Co mpact Disc 806013000620 PWRSR0209 BLAZE OF PERDITION /TOWARDS THE Compact Disc 666616020926 PWSNCD10172 LYNCH,B/TRIBUTE TO THE TRUMPET Co mpact Disc 601917101721 PWSRM002 FIERE/JOY DUNLOP & TWELFTH DAY Compact Disc 609728286217 PWSRM004 DUNLOP,J/FAILEASAN REFLECTIONS C ompact Disc 609613821561 PWWH0232 DISSENT/DISSEN T Compact Disc 698873023228 PWWH0258 RANELIN,P/INSPI RATION Compact Disc 698873025826 PWWH0262 PLATE FORK KNIFE SPOON/PLATE F Compact Disc 698873026229PWWH0269 KEYS,C/VERTICAL CL EARANCE Compact Disc 698873026922 PWWH0290 RANELIN,P/LIVE REMI NISCENCE Com pact Disc 698873029022 PWWH0294 RINTA,M/EPONY MOUS Compact Disc 698873029428 PWWH0299 WIDE HIVE PLAYERS/WI DE HIVE PL Co mpact Disc 698873029626 Q201268 CHROMEO/BUSIN ESS CASUAL (DLX E Compact Disc 060270126824 QLDVD6024 BALDREY,LJ/IT AIN'T EASY:LIVE Digital Video Disc 760137602491 QRDVD3112N MCKENNITT,L/A MOVEABLE MUSICAL Digital Video Disc 7742133411126 19586 02267 4 6 92287 20052 7 0 96094 50072 4 6 92287 90092 2 6 92287 90382 4 6 92287 90542 2 6 92287 90552 1 7 23616 20932 1 8 06013 00062 0 6 66616 02092 6 6 01917 10172 1 6 09728 28621 7 6 09613 82156 1 6 98873 02322 8 6 98873 02582 6 6 98873 02622 9 6 98873 02692 2 6 98873 02902 2 6 98873 02942 8 6 98873 02962 6 0 60270 12682 4 7 60137 60249 1 7 74213 34111 2 Page 189 of 217Catalogue NumberArtist / Title Config Scannable UPC UPCNUMERICAL BY ARTIST / Numerique par artiste RCD94382 BLAKEY,A & JAZZ MESSENGERS/C AR Compac t Disc 025218484527 RGM0051 GRATEFUL DEAD/DICK'S P V30(4CD Compact Disc 848064000518RGM0052 GRATEFUL DEAD/DICK'S V31(4CD Compact Disc 848064000525RGM0060 GRATEFUL DEAD/DICK'S P V29(6CD Compact Disc 848064000600RGM0066 YURO,T/THE COMPLETE LIBERT(2CD Compact Disc 848064000662RGM0069 TOKENS,THE/IT'S A HAPPENING WO Co mpact Disc 848064000693 RGM0071 GRATEFUL DEAD/DICK' S PICKS(3CD Compact Disc 848064000716 RGM0072 GRATEFUL,D/DICK'S PICKS VOL.28 Compact Disc 848064000723RGM0084 MATHIS,J/LOVE IS EVER YTHING PL Co mpact Disc 848064000846 RGM0102 GRATEFUL DEAD/DICK' S PICKS(2CD Compact Disc 848064001027 RGM0108 MATHIS,J/SO NICE/J OHNNY/MATHIS C ompact Disc 848064001089 RGM0116 SAMUDIO,S/HARD A ND HEAVY Com pact Disc 848064001164 RGM0120 BORDERLINE/SWEET DR EAMS & QUI Compact Disc 848064001201 RGM0123 GRATEFUL DE/DICKS PICKS 25(4CD Compact Disc 848064001232RGM0129 CAT MOTHER/ALL NIGH/T HE STREET Compact Disc 848064001294 RGM0220 BROTHERHOOD/THE COMP LETE R(2CD Compact Disc 848064002208 RGM0328 MAIN INGRED/L T D AND BLACK SE Compact Disc 848064003281 RGM9982 ANIMALS,THE/MICKIE MOST(5CD+T Compact Disc 018771899822 RIVCD1802 EVANS,B/THE COMPLETE RIVERSIDE Co mpact Disc 025218001823 RLB1812 MALONE,M/LET THE S UNSHINE IN Co mpact Disc 5060139270076 RLT1114 HANCOCK,B/WEST TEXAS WALTZES & Compact Disc 614511704328 RNTA9308 REFLECTIONS/CELT IC CHRISTMA S Cassette 096741930843 RPMSH219 ADAMS,J/RELEASED-A MEMORIAL AL Co mpact Disc 50139295219260 25218 48452 7 8 48064 00051 8 8 48064 00052 5 8 48064 00060 0 8 48064 00066 2 8 48064 00069 3 8 48064 00071 6 8 48064 00072 3 8 48064 00084 6 8 48064 00102 7 8 48064 00108 9 8 48064 00116 4 8 48064 00120 1 8 48064 00123 2 8 48064 00129 4 8 48064 00220 8 8 48064 00328 1 0 18771 89982 2 0 25218 00182 3 5 060139 270076 6 14511 70432 8 0 96741 93084 3 5 013929 521926 Page 190 of 217Catalogue NumberArtist / Title Config Scannable UPC UPCNUMERICAL BY ARTIST / Numerique par artiste RPMSH238 TEX,J/HAPPY SOUL/B UYING A BOOK Co mpact Disc 5013929523821 RRCD02 ASHTON,G/FANG IT Compact Disc 614511714921 RRCD03 ASHTON,G/BEG,BORROW & STEEL Com pact Disc 614511715027 RS121 BETHLEHEM/REFLEKTIONEN AUF STE Compact Disc 666616012129RS124 NECROPHAGIA/SEASON OF THE DEAD Com pact Disc 666616012426 RS131 NECROPHAGIA/BLACK BL OOD VOMITO Compact Disc 666616013126 RS136 ISCARIOT,J/HEAVEN IN FLAMES Com pact Disc 666616013621 RS158 ISCARIOT,J/TO EMBRAC E THE CORP Compact Disc 666616015823 RS166 DARKFORTRESS/PROFANE GENOCIDAL Com pact Disc 666616016622 RS167 FOREST OF IMPALED/FORWARD THE Compact Disc 666616016721 RS1809 SHINDELL,R/SOUTH OF DELIA Compact Disc 700261213132 RS181 NECROPHAGIA/VOL1 HAR VEST RITUA Com pact Disc 666616018121 RS186 BLOODTHORN/GENO CIDE Compact Disc 666616018725 RS188 MIRRORTHRONE/CARRIER S OF DUST Compact Disc 666616018824 RS192 FOREST OF IMPALED/R ISE AND CON C ompact Disc 666616019227 RS203 KOPP,H/NEKRONOLOGY MU SIC FROM Compact Disc 666616020322 RS205 BLODFEST/LEJRES FALD Compact Disc 666616020520 RSR0208 RITUAL COMBAT/OCCUL TUS REQUIEM C ompact Disc 666616020827 RVCP001 CENTRAL PARK/REFLEC TED (DIGI) Compact Disc 884860034128 RVDP004 PAVLOV'S DOG/PAMPERED MENIAL(N Compact Disc 884860015028 RVDP005 PAVLOV'S DOG/AT TH E SOUND OF T C ompact Disc 4018996212679 RVKR001 REID,K/THE COMMO N THREAD Com pact Disc 4046661115826 RVPD001 PAVLOV'S DOG/HAS ANYO NE HERE S C ompact Disc 40189962125875 013929 523821 6 14511 71492 1 6 14511 71502 7 6 66616 01212 9 6 66616 01242 6 6 66616 01312 6 6 66616 01362 1 6 66616 01582 3 6 66616 01662 2 6 66616 01672 1 7 00261 21313 2 6 66616 01812 1 6 66616 01872 5 6 66616 01882 4 6 66616 01922 7 6 66616 02032 2 6 66616 02052 0 6 66616 02082 7 8 84860 03412 8 8 84860 01502 8 4 018996 212679 4 046661 115826 4 018996 212587 Page 191 of 217Catalogue NumberArtist / Title Config Scannable UPC UPCNUMERICAL BY ARTIST / Numerique par artiste RVPD002 PAVLOV'S DOG/LOST IN AMERICA C ompact Disc 4018996212594 RVPD003 SURKAMP,D/DANCING ON THE EDGE Compact Disc 4018996212570 RVPD009 PAVLOVS DOG/LIVE A ND UNLEASHED Com pact Disc 884860035026 RVRX012 ROXX,THE/IRONIC TRUTH Compact Disc 0884860014328 SACD60437 KUNSEL,E & CPO/THE BIG PICTURESACD4Stereo/Surround/CDA ud089408043765 SACD60571 VAR/A CELT IC SPECTACULAR SASACD4Stereo/Surround/CDA ud089408057106 SACD60592 KUNZEL & CPO/GOT SWING! (SACD)SACD4Stereo/Surround/CDA ud089408059209 SACD60598 LOS ANGELES GUITAR QUARTET/GUISACD4Stereo/Surround/CDA ud089408059865 SACD60600 VAR/EPICSSACD4Stereo/Surround/CDA ud089408060069 SC0002 BLANK & JONES/THE LOGIC OF PLE Compact Disc 4260154680114 SC01 NO MORE SAINTS/ CONSUME Compact Disc 072011010026 SC0101 BLANK & JONES/RELAX EDITION ON Co mpact Disc 4046661057027 SC0103 BLANK & JONES/RELAX EDITION TH Co mpact Disc 4046661057225 SC0109 BLANK & JONES/EDIT ION FOUR Com pact Disc 4260154680343 SDE1957 SWAMP DOGG/EXCELLENT SIDE OF S Compact Disc 722247195720 SE20102 ORIG.GAME SND/HITMAN CONTRACTS C ompact Disc 669311201027 SE20512 OGST/RESIDENT EVIL 5 Compact Disc 669311205124SE20542 OGS/BEST OF THE BEST-COLLECTOR Compact Disc 669311205421 SE20572 OGST/STREET FIGHTER 4 Compact Disc 669311205728SE20692 OGS/INFAMOUS Compact Disc 669311206923SE30682 OST/METRO LAST NIGHT Compact Disc 669311306821 SERCD3060 HAKEN/VISIO NS Compact Disc 763232306028 SERCD3061 DIABLO SWING OR/PA NDORAS PINAT C ompact Disc 7632323061274 018996 212594 4 018996 212570 8 84860 03502 6 0 884860 014328 0 89408 04376 5 0 89408 05710 6 0 89408 05920 9 0 89408 05986 5 0 89408 06006 9 4 260154 680114 0 72011 01002 6 4 046661 057027 4 046661 057225 4 260154 680343 7 22247 19572 0 6 69311 20102 7 6 69311 20512 4 6 69311 20542 1 6 69311 20572 8 6 69311 20692 3 6 69311 30682 1 7 63232 30602 8 7 63232 30612 7 Page 192 of 217Catalogue NumberArtist / Title Config Scannable UPC UPCNUMERICAL BY ARTIST / Numerique par artiste SERCD3062 DELAIN/WE ARE TH E OTHERS Com pact Disc 763232306226 SERCD3064 KINGCROW/IN CR ESCENDO Compact Disc 763232306424 SERCD3067 LALU/ATOMIC ARK Compact Disc 763232306721 SERCD323025 REDEMPTION/RED EMPTION Compact Disc 763232301825 SERCD323029 WUTHERING HEIGH/FAR FROM THE M Compact Disc 763232302228SERCD323033 CIRCUS MAXIMUS/THE FIRST CHAPT Compac t Disc 763232302624 SERCD323045 CIRCUS MA XIMUS/ISOLATE C ompact Disc 763232303829 SERCD323049 DELAIN/APRIL RAIN Compact Disc 763232304925 SERCD323050 DIABLO SWING OR/SIN G ALONG SON Compact Disc 763232305021 SERCD323051 H AKEN/AQUARIUS C ompact Disc 763232305120 SERCD323053 DELAIN/LUCIDI TY Compact Disc 763232305328 SF10881 BROWN,J/LIVE AT THE BOSTON(DVD Digital Video Disc 826663108811 SFE003 SOMERVILLE,J /SUDDENLY LAST SU M CD with DVD 5013929841321 SFE005 ALMOND,M/VARIETE Compact Disc 5013929841529SFE006 ALMOND,M/STRANGER THINGS Compact Disc 5013929841628 SFE010T JOHNSON,H/DREAMS THAT MONEY CA CD with DVD 5013929842021 SFE013 JOHNSON,H/SOULSTREAM : DLX EXPA Compact Disc 5013929842328 SFE014 FREEEZ/GONNA GET YOU (DLX EXPA Co mpact Disc 5013929842427 SFE015 ALMOND,M AND CASHMO RE,M/FEASTI Com pact Disc 5013929842526 SFE016 IMAGINATION/FASCINATION OF THE Compact Disc 5013929842625SFE017 FREEEZ/SOUTHERN FREEEZ -EXPANDE Com pact Disc 5013929842724 SFE018 O'CONNOR,H/I GIVE YO U MY SUNSH Compact Disc 5013929842823 SFE020D ROCK STEADY CREW/R EADY(CD+DVD CD with DVD 50139298430287 63232 30622 6 7 63232 30642 4 7 63232 30672 1 7 63232 30182 5 7 63232 30222 8 7 63232 30262 4 7 63232 30382 9 7 63232 30492 5 7 63232 30502 1 7 63232 30512 0 7 63232 30532 8 8 26663 10881 1 5 013929 841321 5 013929 841529 5 013929 841628 5 013929 842021 5 013929 842328 5 013929 842427 5 013929 842526 5 013929 842625 5 013929 842724 5 013929 842823 5 013929 843028 Page 193 of 217Catalogue NumberArtist / Title Config Scannable UPC UPCNUMERICAL BY ARTIST / Numerique par artiste SFE023 REED,J/THE GINGER LIG/BIG CITY Compact Disc 5013929843325 SFM0001 MINK/MINK Compact Disc 899451001007 SHOUT33 BLUE,B & THE PHANTOM BLUES BAN Compact Disc 5013929503328SHOUT34 FIVE BLIND BOYS OF MISSISSIPPI Compact Disc 5013929503427 SHOUT37 WALKER,T-BONE/GOOD FEELIN Compact Disc 5013929503724SHOUT52 HUTCH,W/SOUL PO RTRAIT Com pact Disc 5013929505223 SHOUT57 RADCLIFFE,J & FRIE NDS/SUPER BA Co mpact Disc 5013929505728 SHOUT58 FOUR TOPS/SOMETHING TO REMEMBE Compact Disc 5013929505827SHOUT62 VAR/THE GOSPEL SOUND Com pact Disc 5013929506220 SHOUT65 7TH WONDER/WORDS DO N'T SAY ENO Compact Disc 5013929506527 SHOUT69 CURTIS,K/MUSIC FOR DANCING/THE Co mpact Disc 5013929506923 SHOUT75 STEWART,B/UNBELI EVABLE/CROSS M Com pact Disc 5013929507524 SHOUT76 TEX,J/SINGLES A'S & B'S VOL.4 Compact Disc 5013929507623SHOUT77 OJAY'S, THE/WE'LL NEVER FORGET Co mpact Disc 5013929507722 SHOUT78 SPELLMAN,B/FORTUNE TELLER A SI Compact Disc 5013929507821 SHOUT80 KENNER,C/I LIKE IT LIKE THAT Compact Disc 5013929508026 SHOUTD36 ADAMS,J/CHASING RAINBOWS Com pact Disc 5013929503625 SJPCD034 WARHOUSE/WA RHOUSE Compac t Disc 5016272883420 SJPCD134 IAN GILLAN BAND/RA RITIES 1975- Compact Disc 5055011701342 SJPCD170 WARMAN,J/FROM THE JUNGLE TO TH Compact Disc 5055011701700SJPCD347 GREENSLADE/LIVE 1973/1975 Compact Disc 5055011703476SLAM1111 EXTERIO/L'ALBUM MONSTRE-1ERE P Compact Disc 620953345920SLAM1511 SMASH HIT COMBO/GENE RATION TES Compact Disc 6543670272025 013929 843325 8 99451 00100 7 5 013929 503328 5 013929 503427 5 013929 503724 5 013929 505223 5 013929 505728 5 013929 505827 5 013929 506220 5 013929 506527 5 013929 506923 5 013929 507524 5 013929 507623 5 013929 507722 5 013929 507821 5 013929 508026 5 013929 503625 5 016272 883420 5 055011 701342 5 055011 701700 5 055011 703476 6 20953 34592 0 6 54367 02720 2 Page 194 of 217Catalogue NumberArtist / Title Config Scannable UPC UPCNUMERICAL BY ARTIST / Numerique par artiste SM34 HEART-SET SELF DEST RUCT/OF NIG Compact Disc 736211693464 SMASH003 NARASIRATO/TANGIO TUMAS Compact Disc 844493092421SMASH004 NARASIRATO/WARATO'O Compact Disc 844493092490 SMCR25003 DYNAMIC SUPERIORS/T HE DYNAMIC C ompact Disc 5013929070332 SMCR25004 CHI-LITES/HAPPY BEING LONELY/F Compact Disc 5013929070431 SMCR25006 PHILLIPS,E/YOU'VE COME A LONG Compact Disc 5013929070639SMCR25007 PHILLIPS,E/HERE'S ESTHER..ARE Co mpact Disc 5013929070738 SMCR25010 WILSON,N/ALL IN LOVE IS FAIR/C Compact Disc 5013929071032SMCR25067 SUN/WANNA MAKE LOVE/ SUN-POWER Com pact Disc 5013929076730 SMCR5001D MTUME/KISS THIS WO RLD GOODBYE/ Co mpact Disc 5013929070134 SMCR5002 MTUME/THEATER OF THE MIND Compact Disc 5013929070233 SMCR5005D STYLISTICS,THE/IN F ASHION/LOVE Compact Disc 5013929070530 SMCR5008 SHAW,M/TAKE A BITE Compact Disc 5013929070837 SMCR5009D COLE,N/NATALIE..LI VE (CDX2) Compact Disc 5013929070936 SMCR5011D WARWICK,D/SINGS COLE PORTER/AQ Compact Disc 5013929071131 SMCR5012D BRYSON,P/REACHING FOR THE SKY/ Compact Disc 5013929071230 SMCR5013 PRESTON,B/EVERYBODY LIKES SOME Com pact Disc 5013929071339 SMCR5014 HOLLIDAY,J/I'M ON YOUR SIDE Com pact Disc 5013929071438 SMCR5015 MASON,H/MARCHING IN THE STREET Co mpact Disc 5013929071537 SMCR5016 VEGA,T/FULL SPEED AHEAD (EXP E Compact Disc 5013929071636 SMCR5018 MASON,H/GROOVIN YO U-EXPANDED E C ompact Disc 5013929071834 SMCR5019 HUMPHREY,B/FREESTYL E-EXPANDED Com pact Disc 5013929071933 SMCR5020 JOHNSON,A/BACK FO R MORE Com pact Disc 50139290720397 36211 69346 4 8 44493 09242 1 8 44493 09249 0 5 013929 070332 5 013929 070431 5 013929 070639 5 013929 070738 5 013929 071032 5 013929 076730 5 013929 070134 5 013929 070233 5 013929 070530 5 013929 070837 5 013929 070936 5 013929 071131 5 013929 071230 5 013929 071339 5 013929 071438 5 013929 071537 5 013929 071636 5 013929 071834 5 013929 071933 5 013929 072039 Page 195 of 217Catalogue NumberArtist / Title Config Scannable UPC UPCNUMERICAL BY ARTIST / Numerique par artiste SMCR5021 PAYNE,F/STARES A ND WHISPERS Com pact Disc 5013929072138 SMCR5022 TAVARES/IN THE CITY (EXPANDED E C ompact Disc 5013929072237 SMCR5023 TAVARES/SKY HIGH (E XPANDED EDI C ompact Disc 5013929072336 SMCR5024 MASON,H/EARTHMOVER: EXPANDED E Com pact Disc 5013929072435 SMCR5026 MASON,H/M.V.P.: EX PANDED EDITI C ompact Disc 5013929072633 SMCR5028 COLE,N/THANKFUL-EX PANDED EDITI C ompact Disc 5013929072831 SMCR5030 DUKE,G/MASTER OF THE GAME-EXPA Compact Disc 5013929073036SMCR5031 DUKE,G/DREAM ON Compact Disc 5013929073135 SMCR5032 DUKE,G/RENDEZV OUS Compact Disc 5013929073234 SMCR5033 AYERS,R/I'M THE ON E(FOR YOUR L C ompact Disc 5013929073333 SMCR5036 POINTER,N/FEEL IT Compact Disc 5013929073630 SMCR5037 POINTER,N/CA LLING Compact Disc 5013929073739 SMCR5038 STAPLE SINGERS/TURNI NG POINT Com pact Disc 5013929073838 SMCR5045 TAVARES/SUPERCHA RGED Compac t Disc 5013929074538 SMCR5046 DELLS,THE/THEY SAID IT COULDN Co mpact Disc 5013929074637 SMCR5047 DELLS,THE/LOVE CO NNECTION Com pact Disc 5013929074736 SMCR5048 MARIE,T/RO BBERY Compac t Disc 5013929074835 SMCR5050 RUSHEN,P/PATRI CE Compact Disc 5013929075030 SMCR5051 DYNAMIC SUPERIORS/YOU NAME IT Compact Disc 5013929075139 SMCR5052 DYNAMIC SUPERIORS/G IVE & TAKE Compact Disc 5013929075238 SMCR5053 WARWICK,D D/FOOLISH FOOL(EXPAN Compact Disc 5013929075337 SMCR5056 DELLS,THE/ONE ST EP CLOSER Compact Disc 5013929075634 SMCR5057 FOSTER,R/LOVE SATELLITE (EXPAN Compact Disc 50139290757335 013929 072138 5 013929 072237 5 013929 072336 5 013929 072435 5 013929 072633 5 013929 072831 5 013929 073036 5 013929 073135 5 013929 073234 5 013929 073333 5 013929 073630 5 013929 073739 5 013929 073838 5 013929 074538 5 013929 074637 5 013929 074736 5 013929 074835 5 013929 075030 5 013929 075139 5 013929 075238 5 013929 075337 5 013929 075634 5 013929 075733 Page 196 of 217Catalogue NumberArtist / Title Config Scannable UPC UPCNUMERICAL BY ARTIST / Numerique par artiste SMCR5058 FOSTER,R/DELIGHT (E XPANDED EDI C ompact Disc 5013929075832 SMCR5059 MARIE,T/EMERALD CITY (EXPANDED Compact Disc 5013929075931 SMCR5060 MARIE,T/NAKED TO TH E WORLD (EX C ompact Disc 5013929076037 SMCR5062 STAPLE SINGERS,THE/THE STAP(EP Compact Disc 5013929076235SMCR5064 TAVARES/MADAM BUTTERF LY(EXPAND Com pact Disc 5013929076433 SMCR5065 TAVARES/LOVE UPRISING (EXPANDED Com pact Disc 5013929076532 SMCR5066 SHAW,M/WHO IS THIS BITCH ANYWA Compact Disc 5013929076631 SMCR5069 JUNIOR/J I Compact Disc 5013929076938 SMCR5070D WELLS,M/COMPLETE 20TH,THE(2CD Compact Disc 5013929077034 SMCR5071 SYREETA/ONE TO ONE Compact Disc 5013929077133SMCR5072 HOUSTON,T/THE MOW EST ALBUM Compact Disc 5013929077232 SMCR5076 BRECKER BROTHERS B, THE/BACK TO Compact Disc 5013929077638 SMCR5081 MILLS,S/I'VE GOT TH E CURE(EXPA Com pact Disc 5013929078130 SMCR5082 GUTHRIE,G/GOOD TO GO LOVER(EXP Compact Disc 5013929078239 SMCR5084 PAYNE,F/SUPERNATURA L HIGH(EXPA Compact Disc 5013929078437 SMM2004 LEWIS,L AND THE RIGHT HAND/LIV Compact Disc 796873062077SMM2006 LEWIS,L/SKIPPIN' AND FLYIN Compact Disc 700261338453 SNCD10222 ROTONDI,J/DESTINAT ION UP Com pact Disc 601917102223 SNCD10272 LYNCH,B/MEETS BILL CHARLAP Com pact Disc 601917102728 SNCD10292 ROTONDI,J/THE PLEAS URE DOME Com pact Disc 601917102926 SNCD10442 STEWART,G/PLAYS THE MUSIC OF D Compact Disc 601917104425 SPM5 SANDPEOPLE/HONEST PEOPLE Compact Disc 837101406635 SRR002 MIRABAL,R/IN TH E BLOOD Com pact Disc 7002612167515 013929 075832 5 013929 075931 5 013929 076037 5 013929 076235 5 013929 076433 5 013929 076532 5 013929 076631 5 013929 076938 5 013929 077034 5 013929 077133 5 013929 077232 5 013929 077638 5 013929 078130 5 013929 078239 5 013929 078437 7 96873 06207 7 7 00261 33845 3 6 01917 10222 3 6 01917 10272 8 6 01917 10292 6 6 01917 10442 5 8 37101 40663 5 7 00261 21675 1 Page 197 of 217Catalogue NumberArtist / Title Config Scannable UPC UPCNUMERICAL BY ARTIST / Numerique par artiste SS04 RANGER,A/ALISON RANGER Compact Disc 823819000425 SSR0012 JON AMOR BLUES GROU P/JON AMOR Compact Disc 609722944618 STB0022 EMAROSA/THIS IS YOUR WAY OUT Compact Disc EP's 635961090823 STX3599102 VAR/STAX SOUL SINGLES V 3(10CD Compact Disc 888072359918 SU2K8CD4 MARK RUFF RYDER PR ESENTS V1/UK C ompact Disc 5035937020048 SU2K8CD5 MARK RUFF RYDER PR ESENTS V1/AC C ompact Disc 5035937020055 SU2K8CD6 MARK RUFF RYDER PR ESENTS V1/JU C ompact Disc 5035937020062 SUMCD006 CREATURE FEATURE/T HE GREATEST Co mpact Disc 894587001068 SUMCD008 SEA OF TREACHERY/AT DAGGERS DR Co mpact Disc 894587001082 SUMCD009 STRAY FROM THE PATH/VILLAINS Compact Disc 894587001099SUMCD212 STICK TO YOUR GUNS /DIAMOND(FYE Compact Disc 817424011129 SUMCD51 BORN OF OSIRIS/THE DISCOVE(HOT Compact Disc 894587001518 SUMCD58 LOWER THAN ATLANTIS /WORLD RECO Co mpact Disc 894587001587 SUMCD60 ASKING AL EXANDRIA/RECKLESS AND Compact Disc 894587001600 SUMCD61 ASKING AL EXANDRIA/RECKLESS AND Compact Disc 894587001617 SUMCD65 BORN OF OSIRIS/THE DISCOVE(2CD Compact Disc 894587001655 SUMDV011 VAR/SUMMER SLAUGHTE R(DVD) Digital Video Disc 894587001112 SVY17598 VAR/REBOP-TH E SAVOY REMIXES C ompact Disc 795041759825 SYB1016 KARAOKE MALE/COUNTRY MALE Compact Disc 610017101630SYB1604 KARAOKE / GIRL CO UNTRY 1 Com pact Disc 610017160439 SYB1613 KARAOKE/ GIRL POP 3 Compact Disc 610017161337SYB1617 KARAOKE / GIRL POP 4 Compact Disc 610017161733SYB2014 KARAOKE/DVD CHRI STMAS SING ALO Dig ital Vi deo Disc 6100172014228 23819 00042 5 6 09722 94461 8 6 35961 09082 3 8 88072 35991 8 5 035937 020048 5 035937 020055 5 035937 020062 8 94587 00106 8 8 94587 00108 2 8 94587 00109 9 8 17424 01112 9 8 94587 00151 8 8 94587 00158 7 8 94587 00160 0 8 94587 00161 7 8 94587 00165 5 8 94587 00111 2 7 95041 75982 5 6 10017 10163 0 6 10017 16043 9 6 10017 16133 7 6 10017 16173 3 6 10017 20142 2 Page 198 of 217Catalogue NumberArtist / Title Config Scannable UPC UPCNUMERICAL BY ARTIST / Numerique par artiste SYB2017 KARAOKE/DVD LOVE SONGS Digital Video Disc 610017201729 SYB4840 CHRISTIN KARAOKE 12- CT PACK Com pact Disc 610017484023 TMI922 VAR/BENEATH THE TIDES Compact Disc 881821119221 TML007 BULLDOZE/FINAL BEATDOWN (CD+DVD CD wi th DVD 880270095124 TML008 ROBOTS AND EMPIRE /OMNIVORE Compact Disc 880270205523 TML009 TOURNAMENT/SWORDSWA LLOWER Compact Disc 881821130929 TML011 DISSOLVE/CAVEMAN OF THE FUTURE Co mpact Disc 616822069721 TML012 ROBOTS AND EMPIRE/C OLOR TOUCHE Co mpact Disc 845121005714 TON23671 POMERLO/CASA VO YAGEUR Com pact Disc 619061367122 TPCD114 HANDEL,GF/THE LIFE OF (CD) Compact Disc 604388705122 TPCD145 SHOSTAKOVICH,D/TEST IMONY:THE S Compact Disc 604388722624 TPCD160 IGOSHINA,V/THE STRA NGE CASE OF Co mpact Disc 604388735822 TPDVD102 GORECKI/SYMPHONY OF SORROWFUL Digital Video Disc 604388682621 TPDVD103 CALLAS,M/TONY PALMER'S FILM AB Digital Video Disc 604388691203TPDVD106 WILLIAMS,V/O THOU TR ANSCENDENT Digi tal Video Disc 604388698127 TPDVD114 HANDEL,GF/THE LI FE OF Digital Video Disc 604388704200 TPDVD115 PUCCINI/PUCCINI (D VD) Digital Video Disc 604388703401 TPDVD118 ORFF,C/O FORTUNA! Digital Video Disc 604388703708TPDVD120 MENUHIN,H/A FAMILY PO RTRAIT(DV Digit al Video Disc 604388703906 TPDVD124 FONTEYN,M/TONY PALMER'S FILM A Digital Video Disc 604388711000TPDVD125 VAR/BENJAMIN BRITTIN: A TIME TH Digital Video Disc 604388711109 TPDVD126 STRAVINSKY,I/ONCE AT A BORDER Digital Video Disc 604388711505 TPDVD128 PALMER,T/THE SALZBURG FESTIVAL Digital Video Disc 6043887182076 10017 20172 9 6 10017 48402 3 8 81821 11922 1 8 80270 09512 4 8 80270 20552 3 8 81821 13092 9 6 16822 06972 1 8 45121 00571 4 6 19061 36712 2 6 04388 70512 2 6 04388 72262 4 6 04388 73582 2 6 04388 68262 1 6 04388 69120 3 6 04388 69812 7 6 04388 70420 0 6 04388 70340 1 6 04388 70370 8 6 04388 70390 6 6 04388 71100 0 6 04388 71110 9 6 04388 71150 5 6 04388 71820 7 Page 199 of 217Catalogue NumberArtist / Title Config Scannable UPC UPCNUMERICAL BY ARTIST / Numerique par artiste TPDVD145 SHOSTAKOVICH,D/TESTIMONY-THE Digital Video Disc 604388722501 TPDVD161 IGOSHINA,V/THE STRA NGE CASE OF Digi tal Video Disc 604388735709 TR007 ETTES, THE/DANGER IS CD EP Com pact Disc 790168641923 TRBCD009 SUDDEN,N/GOLDE N VANITY Com pact Disc 823566450627 TRI330 L'AME IMMORTELLE/NAMENLOS Compact Disc 4260063943300TRI335 ASP/HORROR VACUI (2 CD) Compact Disc 4260063943355 TRI343 DBS/ONLY DBS IS P URE BODYBILLY Co mpact Disc 4260063943430 TRI345 L'AME IMMORTELLE/ DURCH FREMDE Com pact Disc 4260063943454 TRICD7340 GOYETTE,M/SWEET WARM JELLY Compact Disc 619061734023 TRO24048 CROONERS, THE/CROON ERS LIVE,TH Compact Disc 619061404827 TS007 SOMETHING SECRET/SOMETHING SEC Compact Disc 5060101380215 TS008X JUKES,THE/WE MIGH T DISAPPEAR Com pact Disc 5060101380222 TS009X FANDANGLE/FLY AWAY Compact Disc 5060101380239 TSCD918 VAR/SONGS & DANCES FROM PAPUA Com pact Disc 714822091824 TSQ2981 VAR/I HEARD THE ANGE LS SI(4CD) Compact Disc 894807002981 TSQ5074 JONES,B/GET IN UNION(2CD) Com pact Disc 856225005074 UM001 VINCENT,R/TAKEN Compact Disc 881034544094 UP23800 KURT,E/KITTEN WI TH WIT Compact Disc 706442380020 URBNET1008 POCKETDWELLERS/L IFECHECK Com pact Disc 624060953726 URBNET1065 D-SISIVE/LET THE CHILDREN DIE C ompact Disc 775020933828 USP20003 VAR/LCBO:SUMMER ENTE RTAINING Com pact Disc 776974316927 UWR002 VAR/UNIVERSAL WARNING RECORDS Com pact Disc 022891003021 UWR006 MANALIVE!/HEART HANDS AND MIND Co mpact Disc 6657761020226 04388 72250 1 6 04388 73570 9 7 90168 64192 3 8 23566 45062 7 4 260063 943300 4 260063 943355 4 260063 943430 4 260063 943454 6 19061 73402 3 6 19061 40482 7 5 060101 380215 5 060101 380222 5 060101 380239 7 14822 09182 4 8 94807 00298 1 8 56225 00507 4 8 81034 54409 4 7 06442 38002 0 6 24060 95372 6 7 75020 93382 8 7 76974 31692 7 0 22891 00302 1 6 65776 10202 2 Page 200 of 217Catalogue NumberArtist / Title Config Scannable UPC UPCNUMERICAL BY ARTIST / Numerique par artiste UWR007 AGAINST TOMORROW'S SKY/JUMP TH Compact Disc 665776106129 UWR009 SADAHARU/PUNISHMENT IN HI-FI Compact Disc 656605917924 UWR010 SNAKES AND MUSIC/T RUISIMS Compact Disc 022891000631 UWR011 VICTIM OF MODERN AGE/CHANNELS Co mpact Disc 665776107423 UWR012 RED TOPS/LEFT FO R DEAD Compact Disc 665776111727 UWR013 GEOGRAPHY/LIFE IN BINARY Com pact Disc 665776111222 UWR014 SADAHARU/NEW AND ALTERNA TE CAR Digital Video Disc 022891445098 UWR017 SNAKES & MUSIC/I SABELLE Compac t Disc 022891201724 UWR018 FIFTY CALIBER KISS/ARMOR CLASS Compact Disc 022891201823UWR020 WISDOM IN CHAINS/DIE FOR US LI Digital Video Disc 022891202097 UWR022 HOUSE OF FIRE/HOU SE OF FIRE Compact Disc 022891202226 UWR023 WATCHING THE MOON/ PERCEPTION I C ompact Disc 665776120422 UWR024 WISDOM IN CHAINS/WI SDOM IN CHA Co mpact Disc 665776121825 UWR026 UNITE.RESIST./UNITE .RESIST. Compact Disc 665776125540 UWR22613 FOOSE/SACRIFICE Compact Disc 884501226134 UWRFB004 FOOSE/ARE WE STRONGER Compact Disc 665776127759 VC20504 VAUGHAN,S & WASHINGT ON,D/VINTA Co mpact Disc 884739050426 VPCD3607 STRAWBS/HERO & HEROINE Com pact Disc 075021360723 VR4248 MARK LANEGAN,THE/PHANTOM RADIO Compact Disc 601091424852VR4249 MARK LANEGAN,THE/PHANTOM RADIO Compact Disc 601091424951 VROOM06 NEW BOMB TURKS/DRUNK ON COCK Co mpact Disc 723631200624 WAX700102 AUTUMN HILL/ CANT KEEP EP(EXC) Co mpact Di sc EP' s 185627001026 WH51 FRNKIERO ANDTHE C/ STOMACHACHES C ompact Disc 6010914235276 65776 10612 9 6 56605 91792 4 0 22891 00063 1 6 65776 10742 3 6 65776 11172 7 6 65776 11122 2 0 22891 44509 8 0 22891 20172 4 0 22891 20182 3 0 22891 20209 7 0 22891 20222 6 6 65776 12042 2 6 65776 12182 5 6 65776 12554 0 8 84501 22613 4 6 65776 12775 9 8 84739 05042 6 0 75021 36072 3 6 01091 42485 2 6 01091 42495 1 7 23631 20062 4 1 85627 00102 6 6 01091 42352 7 Page 201 of 217Catalogue NumberArtist / Title Config Scannable UPC UPCNUMERICAL BY ARTIST / Numerique par artiste WHES3001DVD FILM/JOHN LENNON:THE MESSENGER Digital Video Disc 805203300199 WMR286 VAR/PURE SPA TA HITI Compact Disc 065219428625 WR4613 JANISCH,M/PURPO SE BUILT Compact Disc 5060116573534 WR4614 CORNELIUS,P/FIE RCE Compact Disc 884501382229 WR4615 GARNETT,A/SERPENT Compact Disc 5060195512035WR4616 WILLIAMS,J/ANOTHER TIME Compact Disc 884501499439WR4617 MCKNIGHT,M/DO OR DIE Compact Disc 609613392566WR4618 PARTIKEL/COHESION Compact Disc 608938938480WR4619 ANDRE CANNIERE GROUP/ FORWARD S Com pact Disc 610696501783 WR4620 ROBSON,P/THE IMMEASUR ABLE CODE Com pact Disc 610696501776 WR4621 BURTON,E/OCCURE NCES Compact Disc 610585454794 WR4622 GEORGE CROWLEY QUAR TET/PAPER U Com pact Disc 610696501790 WR4623 VAYENAS,N/NICK VAYENAS Compact Disc 884501699426WR4624 STRIGALE,Z/SMILING ORGANIZM V1 Compact Disc 610696501806 WYATT004 WYATT/SHOULDA BEEN HERE LAST N C ompact Disc 488581014973 XXICD21479 DA COSTA & FROHN/DUO S FOR VIOL Compact Disc 722056147927 Z281010 MITCHELL,K/ROCKLAND Compact Disc 061528101020Z281018 COLE,H TRIO/BLAME IT ON MY YOU Compact Disc 061528101822Z281020 COLE,H TRIO/DON'T SMOKE IN BED Compact Disc 061528102027Z281024 MITCHELL,K/ITCH Compact Disc 061528102423Z281030 COLE,H/IT H APPENED ONE NIGH T Compact Disc 061528103024 ZMC6 ANNETTE/SAUTER DE HAUT Cassette 7771790006428 05203 30019 9 0 65219 42862 5 5 060116 573534 8 84501 38222 9 5 060195 512035 8 84501 49943 9 6 09613 39256 6 6 08938 93848 0 6 10696 50178 3 6 10696 50177 6 6 10585 45479 4 6 10696 50179 0 8 84501 69942 6 6 10696 50180 6 4 88581 01497 3 7 22056 14792 7 0 61528 10102 0 0 61528 10182 2 0 61528 10202 7 0 61528 10242 3 0 61528 10302 4 7 77179 00064 2 Page 202 of 217Catalogue NumberArtist / Title Config Scannable UPC UPC 000161 MORRIS, KE/BANSHEE Vinyl LP's 795550001613 000211ADRIAN YOU/ADRIAN YOUNGE P(LP)Vinyl LP's 795550002115 18013CAMPBELL,G/SEE YOU THERE(LP)Vinyl LP's 822685180132 073001 GONZALES, /SOLO PIANO II Vinyl LP's 827590730014110042VAR/DAVID LYNCH FOUNDATION(4LPVinyl LP's 632467253035 120561JACKSON,W/ROCKIN THE WANDA(LP)Vinyl LP's 5099991205612 163191HENDRIX, J/BAND OF GYPSY'S (VIVinyl LP's 077771631917 201501BECK,J/PERFORMING THIS WEEK(12Vinyl LP's 826992015019 206841AGAINST AL/RESTORATION OF CHAOVinyl LP's 790692068418 290800BENSON,B/YOU WERE RIGHT(LP)Vinyl LP's 748252908001 325301 CHEMICAL B/FURTHER Vinyl Singles 5099963253016397075ACID HOUSE/SING ALONG WITH ACIVinyl LP's 7332233970755 436231LENNON, JO/LIVE PEACE IN TORONVinyl LP's 5099924362313 443791 WINTERSLEE/HELLO HUM Vinyl LP's 5099964437910NUMERICAL BY ARTIST / Numerique par artisteUNIVERSAL MUSIC DISCONTINUED LISTING / Liste de produits discontinues The following titles are no longer distributed by Universal Music Canada and are not returnable effective immediately. À compter de maintenant les titres suivants ne sont plus distribués par Universal Music Canada et ne sont pas retournables. 7 95550 00161 3 7 95550 00211 5 8 22685 18013 2 8 27590 73001 4 6 32467 25303 5 5 099991 205612 0 77771 63191 7 8 26992 01501 9 7 90692 06841 8 7 48252 90800 1 5 099963 253016 7 332233 970755 5 099924 362313 5 099964 437910 Page 203 of 217Catalogue NumberArtist / Title Config Scannable UPC UPCNUMERICAL BY ARTIST / Numerique par artiste 515372 QUANTIC AN/MAGDALENA Vinyl LP's 5060205153722 518011 CLAPTON,E/OLD SOCK(2LP) Vinyl LP's 822685180163531471SETZER,B/ROCKABILLY RIOT L(3LPVinyl LP's 640424999346 632611 ME & YOU/FLOATING HEAVY Vinyl LP's 5060006326110632661SARAVAH SO/SARAVAH SOUL (LP+CDVinyl LP's 5060006326615 632701TM JUKE AN/BOTO AND THE 2ND LIVinyl LP's 5060006327018 632711BAMBOOS, T/SIDE STEPPER (LP+CDVinyl LP's 5060006327117 679341HARPER, BE/THERE WILL BE A LIGVinyl LP's 5099926793412 714491BIG D AND /FOR THE DAMNED,THEVinyl LP's 603967144918 714531REVEREND P/PEYTON ON PATTONVinyl LP's 603967145311 714761ANTI-FLAG/GENERAL STRIKE,THEVinyl LP's 603967147612 715111SUPERDRAG/REGRETFULLY YOURSVinyl LP's 603967151114 715171SMOKING POPES/BORN TO QUITVinyl LP's 603967151718 777731 JOHNSON, E/UP CLOSE Vinyl LP's 828527777317781901INDIGO GIR/BEAUTY QUEEN SISTERVinyl LP's 015707819015 782121ISAAK, CHR/BEYOND THE SUN (LP)Vinyl LP's 015707821216 798261BROUSSARD,/S.O.S.: SAVE OUR SOVinyl LP's 015707982610 798621 BOXMASTERS/BOXMASTERS Vinyl LP's 0157079862125 060205 153722 8 22685 18016 3 6 40424 99934 6 5 060006 326110 5 060006 326615 5 060006 327018 5 060006 327117 5 099926 793412 6 03967 14491 8 6 03967 14531 1 6 03967 14761 2 6 03967 15111 4 6 03967 15171 8 8 28527 77731 7 0 15707 81901 5 0 15707 82121 6 0 15707 98261 0 0 15707 98621 2 Page 204 of 217Catalogue NumberArtist / Title Config Scannable UPC UPCNUMERICAL BY ARTIST / Numerique par artiste 799051 NATHANSON,/MODERN LOVE Vinyl LP's 015707990516 800359DATSUNS, T/DEATH RATTLE BOOGIEVinyl LP's 850358003594 853901CLARK, SON/COOL STRUTTIN' (VYLVinyl LP's 5099968539016 853911 DOLPHY, ER/OUT TO LUNCH Vinyl LP's 5099968539115860161 KLAATU/RAARITIES Vinyl LP's 778578601614933851 HARPER, BE/LIFELINE Vinyl LP's 094639338511953261 COLTRANE, /BLUE TRAIN Vinyl LP's 724349532618953291 ADDERLEY C/SOMETHIN' ELSE Vinyl LP's 724349532915953311 HANCOCK, H/MAIDEN VOYAGE Vinyl LP's 724349533110 3711006ROLLING STONES,THE/GRRR(5LP)Vinyl LP's 602537110063 3740247EVANESCENCE/FALLEN(LP)(10 TH LTVinyl LP's 602537402472 3791074QUEEN/LIVE AT THE RAINBOW 74(4Vinyl LP's 602537910748 3794936 PORTISHEAD/DUMMY(LP) Vinyl LP's 6025379493665271011SETZER,B/SETZER GOES INSTRU(LPVinyl LP's 640424999483 5273987 RUSH/CARAVAN.BU2B (7"YL) 7" Vinyl Singles 0756788268565277691 STONE,J/LP1(LP) Vinyl LP's 6404249994695284961CAMPBELL,G/GHOST ON THE CAN(LPVinyl LP's 640424999445 5345888PARKER,C/CHARLIE PARKER WIT(LPVinyl Singles 6007534588840 15707 99051 6 8 50358 00359 4 5 099968 539016 5 099968 539115 7 78578 60161 4 0 94639 33851 1 7 24349 53261 8 7 24349 53291 5 7 24349 53311 0 6 02537 11006 3 6 02537 40247 2 6 02537 91074 8 6 02537 94936 6 6 40424 99948 3 0 75678 82685 6 6 40424 99946 9 6 40424 99944 5 6 00753 45888 4 Page 205 of 217Catalogue NumberArtist / Title Config Scannable UPC UPCNUMERICAL BY ARTIST / Numerique par artiste 5345890GETZ,S/MCFARLAND,G/BIG BAND(LPVinyl Singles 600753458907 5345891EVANS,B/CONVERSATIONS WITH (LPVinyl Singles 600753458914 5345892 JONES,Q/BIG BAND BOSS(LP) Vinyl LP's 6007534589215351090 DAN,S/GREATEST HITS(2LP) Vinyl LP's 6007535109025351106 ABBA/GOLD(2LP) Vinyl LP's 6007535110605351442APHRODITES CHILD/666 THE A(2LPVinyl LP's 600753514429 5351473BURNING SPEAR/MARCUS GARVEY(LPVinyl LP's 600753514733 9799611 HARPER,B/BY MY SIDE(LP) Vinyl LP's 5099997996118 75344167CASH,J/AMERICAN VI AIN'T NO GRVinyl LP's 600753441671 0205154712QUANTIC/GONGOR,N/MUEVEL O(LP)Vinyl Singles 5060205154712 0205155696NOSTALGIA 77/THE MO/MEASURES(LVinyl LP's 5060205155696 0889055300ILL SCARLETT/ILL SCARLETT(LP)Vinyl LP's 680889055300 1166106361FLECK,B AND THE FLE/JINGLE A(LVinyl LP's 011661063617 1412000228DELTRON 3030/EVENT II INST(2LPVinyl Singles 641412000198 1412000532DELTRON 3030/DELTRON 3030 L(LPVinyl LP's 641412000532 1772029010 LEMURIA/THE DISTANCE IS(LP) Vinyl LP's 8117720290101772030115IRON CHIC/THE CONSTANT ONE(LP)Vinyl Singles 811772030115 1790022482 ADAMS,R/BLUE LIGHT(7'') 7" Vinyl Singles 8117900224826 00753 45890 7 6 00753 45891 4 6 00753 45892 1 6 00753 51090 2 6 00753 51106 0 6 00753 51442 9 6 00753 51473 3 5 099997 996118 6 00753 44167 1 5 060205 154712 5 060205 155696 6 80889 05530 0 0 11661 06361 7 6 41412 00019 8 6 41412 00053 2 8 11772 02901 0 8 11772 03011 5 8 11790 02248 2 Page 206 of 217Catalogue NumberArtist / Title Config Scannable UPC UPCNUMERICAL BY ARTIST / Numerique par artiste 2537919871ADAMS ,R/DO YOU LAUGH WHILE(7"7" Vinyl Singles 602537919871 2547065797LOS CAMPESINOS/A LOS CAMPE(LPVinyl LP's 602547065797 5678677410SO SO GLOS,THE/BLOWOUT(LP)Vinyl LP's 075678677410 5678683718 AUGUSTINES/CRUEL CITY 7'' 7" Vinyl Singles 0756786837185678732010 YOUNG BUFFALO/UPSTAIRS 7'' 7" Vinyl Singles 0756787320105678762260WHITE ARROWS/DRY LAND IS NO(LPVinyl LP's 075678762260 5678825163BRITE FUTURES/DARK PAST(LP)Vinyl LP's 075678825163 6892094142YOU BLEW IT/THE PAST IN PR(LP)Vinyl Singles 616892094142 6892141341 TOE/NEW SENTIMENTALITY Vinyl Singles 6168921413416892141440ENEMIES/EMBARK EMBRACE(LPVinyl LP's 616892141440 7454334172 QUANTIC/THE 5TH EXOTIC(LP) Vinyl LP's 50374543341727593002672WORDYSOULSPEAK/LET THE RYTH(LPVinyl LP's 857593002672 8088904663 CLASSIFIED/HIGHER(LP) Vinyl LP's 6808890466369301835921PRETTY RECKLESS,THE/GOING T(LPVinyl LP's 793018359214 300101C JULY TALK/JULY TALK Vinyl LP's 858713001018 45R013VAMOS THE TRANSPAREN T/GOODN(VYLVinyl LP's 680889019494 6S229001MAGIC SAM/WEST SIDE SOUL (LP)Vinyl LP's 8712618900116 6S229003 JONES,N/PENGUIN EGGS (LP) Vinyl LP's 87126189003146 02537 91987 1 6 02547 06579 7 0 75678 67741 0 0 75678 68371 8 0 75678 73201 0 0 75678 76226 0 0 75678 82516 3 6 16892 09414 2 6 16892 14134 1 6 16892 14144 0 5 037454 334172 8 57593 00267 2 6 80889 04663 6 7 93018 35921 4 8 58713 00101 8 6 80889 01949 4 8 712618 900116 8 712618 900314 Page 207 of 217Catalogue NumberArtist / Title Config Scannable UPC UPCNUMERICAL BY ARTIST / Numerique par artiste 870915B RUSSELL,A/TO DUST(LP) Vinyl LP's 3700398709154 AES003KOPP,H/NEKRONOLOGY: MUSIC FROMVinyl LP's 881821003193 AFM1473DESTRUCTION/THRASH ANTHEMS(LTDVinyl LP's 4046661050431 AFM1731MEKONG DELTA/LURKING FEAR (2LPVinyl LP's 4046661070613 AFM2231DESTRUCTION/D.E.V.O.L.U.T.I. O.Vinyl LP's 4046661124712 AFM2281HELSTAR/THE KING OF HELL (LP)Vinyl LP's 4046661137910 AFM2321DESTRUCTION/THE CURSE OF THE AVinyl LP's 884860007719 AFM2331 DORO/FEAR NO EVIL(PICT-LP) Vinyl LP's 884860000611AFM2581 U.D.O./DOMINATOR Vinyl LP's 884860006019 AFMLP2121THEATRE OF TRAGEDY/FOREVER ISVinyl LP's 884860009218 AFMLP2341MASTERPLAN/TIME TO BE KING (LPVinyl LP's 884860020015 AFMLP2881JON OLIVIA'S PAIN/FESTIVAL (LPVinyl LP's 884860017916 AFMLP2961 LAKE OF TEARS/ILLWILL (LP) Vinyl LP's 884860042017AFMLP3261 U.D.O./REV-RAPTOR (LP) Vinyl LP's 884860043229AFMLP3891ORDEN OGAN/TO THE END(2LP)(BLAVinyl LP's 884860052412 AFMLP3894ORDEN OGAN/TO THE END(LP CLEARVinyl LP's 884860065924 AFMLP3991 MINISTRY/RELAPSE (LP) Vinyl LP's 884860052818AFMLP4171MOB RULES/CANNIBAL NATION(LP LVinyl LP's 8848600658253 700398 709154 8 81821 00319 3 4 046661 050431 4 046661 070613 4 046661 124712 4 046661 137910 8 84860 00771 9 8 84860 00061 1 8 84860 00601 9 8 84860 00921 8 8 84860 02001 5 8 84860 01791 6 8 84860 04201 7 8 84860 04322 9 8 84860 05241 2 8 84860 06592 4 8 84860 05281 8 8 84860 06582 5 Page 208 of 217Catalogue NumberArtist / Title Config Scannable UPC UPCNUMERICAL BY ARTIST / Numerique par artiste AFMLP4421VOODOO CIRCLE/MORE THAN ON(2LPVinyl LP's 884860078214 AFMLP4621MINISTRY/FROM BEER TO ETER(2LPVinyl LP's 884860093019 ARM250911 SLASH/MADE IN STOKE(3LP) Vinyl LP's 826992509112 AZ1103421005FATAL FIGURES/CATERWAUL(LP)Vinyl LP's 613285866720 B000276901CASH,J/AMERICAN V A HUNDRED(LPVinyl LP's 602517005099 B001395401CASH,J/AMERICAN VI AINT NO(LPVinyl LP's 602527315645 B001812801BOB MARLEY & THE WAILE/KAYA(LPVinyl LP's 602537315567 B001919501CASH,J/AMERICAN RECORDINGS(LP)Vinyl LP's 602537530304 B001919601 CASH,J/AMERICAN II(LP) Vinyl LP's 602537530311B001919701 CASH,J/AMERICAN III(LP) Vinyl LP's 602537530328B001950701 CASH,J/AMERICAN IV(2LP) Vinyl LP's 602537596386B002148501VAR/DEF JAM 30TH A(6LP+T SHIRTVinyl LP's 602537969630 B002156801DR OCTAGON/DR OCTAGONECOLO(2LPVinyl LP's 602537982813 BLK0039 VAR/OUR OWN WAY V/A (LP) Vinyl LP's 823819103928BLK0841DANGER O'S/LITTLE MACHINES (LPVinyl LP's 823819008414 BLK0851GUNS ON THE RUN/FOR GLORY (LP)Vinyl LP's 823819008513 BLK29 GOOPS/LUCKY (LP) Vinyl LP's 823819002917 BPR01FIGHT AMP/HUNGRY FOR NOTHINGVinyl LP's 8818211104268 84860 07821 4 8 84860 09301 9 8 26992 50911 2 6 13285 86672 0 6 02517 00509 9 6 02527 31564 5 6 02537 31556 7 6 02537 53030 4 6 02537 53031 1 6 02537 53032 8 6 02537 59638 6 6 02537 96963 0 6 02537 98281 3 8 23819 10392 8 8 23819 00841 4 8 23819 00851 3 8 23819 00291 7 8 81821 11042 6 Page 209 of 217Catalogue NumberArtist / Title Config Scannable UPC UPCNUMERICAL BY ARTIST / Numerique par artiste CC001VAR/HARDCORE CONNECTION 7 (LP)Vinyl LP's 881182030111 CC005WISDOM IN CHAINS/DIE YOUNG (LPVinyl LP's 881182030517 CREEP116COLD WORLD/STRENGTH FOR A REASVinyl LP's 665776121146 CRP001LP REJECT/REJECT (LP) Vinyl LP's 881182110912 CRP002MAO AND THE CHINESE REVOLUTIONVinyl LP's 881182100210 CRP006HALFLINGS/MEMORY LAPSE (LP)Vinyl LP's 881182100616 CRP009 CRASH/GROOVN HARD (LP) Vinyl LP's 881182100913CRP011 SUPER HI FIVE/BETH (LP) Vinyl LP's 881182101118CRP013BUGLITE/MARCIA BRADY FANCLUBVinyl LP's 881182101316 CRP014 PEEPSHOW/PEEPSHOW (LP) Vinyl LP's 881182101415CRP017WALLY/THIRD YEAR FRESHMAN SPLIVinyl LP's 881182101712 CRP019BRODY(FRED MASCHERINO OF TAKINVinyl LP's 881182101910 CRP020DUTCHLAND DIESEL/NO RULES (LP)Vinyl LP's 881182102016 CRP021HALFLINGS/FRABBA JABBA (LP)Vinyl LP's 881182102115 CRP022ORPHANS,THE/ANTHEMS FOR DOOMEDVinyl LP's 881182102214 CRP027WALLY/ERIC CLAPTON IS DEAD (LPVinyl LP's 881182102818 CRP031JOHNNY X AND THE CONSPIRACY/JOVinyl LP's 881182103112 CRP034SUPER HI FIVE/SUPER HI FIVE(LPVinyl LP's 8811821034198 81182 03011 1 8 81182 03051 7 Page 210 of 217Catalogue NumberArtist / Title Config Scannable UPC UPCNUMERICAL BY ARTIST / Numerique par artiste CRP048ALL ELSE FAILED/IN MY GODS EYEVinyl LP's 881182104812 CRP106DANGER O'S/NINETEEN NINETY FOUVinyl LP's 881182110615 CRP110 HIGHER GIANT/FIRST FIVE (LP) Vinyl LP's 881182111018 CRP11112POPULATION ZERO/LUDLOW (VYL)Vinyl LP's 823819111121 CRP112DANGER O'S/MASSIVELY INTIMIDATVinyl LP's 881821111218 CRP114LIVE NOT ON EVIL/COMING BACK TVinyl LP's 881821011419 CRP119RUMBLERS/BRING ME BACK (LP)Vinyl LP's 881821711913 CRP120SUPER HI- FIVE/SACFACE/SPLIT 7Vinyl LP's 881821712019 CRP210BACKWOODS PAYBACK/USE MAGIC TOVinyl LP's 881821210010 CRP701 BARRICADE/BARRICADE (LP) Vinyl LP's 881821701013 CRPLP123SCAREHO/INTERNATIONAL BROTHERHVinyl LP's 881821112314 D001992901OST/THE LION KING(LP/PICTURE DVinyl LP's 050087304607 D002121121FALL OUT BOY/IMMORTALS FROM(LPVinyl LP's 050087317645 DAV018BJORK,B/PUNK ROCK GUILT (2LP)Vinyl LP's 821826001824 DAV033RSDCITY AND COLOUR/SOMETIMES (LP)Vinyl LP's 821826003026 DWR008ANTISEEN/LIVE IN AUSTIN, TX(LPVinyl LP's 760137000891 ER203021 GALLAGHER,R/TATTOO(LP) Vinyl LP's 826992030210ER203701 DEEP PURPLE/GRAZ 1975(2LP) Vinyl LP's 826992037011 Page 211 of 217Catalogue NumberArtist / Title Config Scannable UPC UPCNUMERICAL BY ARTIST / Numerique par artiste ES13MOPAR MOUNTAIN DAREDEVILS/MOPAVinyl LP's 881821110518 EXF802NEOMYTHICS/NEW CORPORATE RE(LPVinyl LP's 698873080214 FAN3433201BRUBECK ,D/FANTASY 3 2(10'' LP10" Vinyl 888072343320 FB005LPFURY OF FIVE/MUSHMOUTH/EAST COVinyl LP's 665776129951 FOE12PLOW UNITED/TEXAS CRIFFER (LP)Vinyl LP's 881182111216 FRBLP124BLACK RIBBONS/NEUROMANCER(LP)Vinyl LP's 039911012420 FREUDLP116THUNDERS,J/LOOKING FOR JOHN(2LVinyl LP's 5013145211632 FTN17825ROBERTSON,R/HOW TO BECOME CLAIVinyl LP's 795041782519 HARV0040SCREW 32/WHY ARE WE SO FCKD UVinyl LP's 881821004015 HARV0120DOUBLEDEALER/DEMO MIX- 7"VINYL7" Vinyl Singles 823819119011 HARV0150WRONG ANSWER/THE WORLD IS EMPT7" Vinyl Singles 823819015016 HARV0160LPTROUBLESOME/LOSE CONTROL (LP)Vinyl LP's 823819112111 HARV0190 LIFELESS/NLFTW (LP) Vinyl LP's 823819110513HARV0200ROCK BOTTOM/YOUR DEMISE- 7"VINY7" Vinyl Singles 823819020010 HARV0220DOUBLEDEALER/WHOSE WORLD I(VYLVinyl LP's 823819112210 HESY0002SIDNEY YORK/3'S HEARTS(10 7")7" Vinyl Singles 823674022013 HNV0011TIRED PONY/THE GHOST OF THE(LPVinyl Singles 857223004069 HP7901 BAYSIDE/CULT(LP Vinyl LP's 790692079018 Page 212 of 217Catalogue NumberArtist / Title Config Scannable UPC UPCNUMERICAL BY ARTIST / Numerique par artiste HP7964 BAYSIDE/TIME HAS COME(LP) Vinyl LP's 790692079674 HP7971TAKING BACK SUNDAY AN/SPLIT(LPVinyl LP's 790692979714 HR67647SILVERSTEIN/AUGUST/FOUR(7' 'LP7" Vinyl Singles 790692676477 HRM32812MCCARTNEY,P/MCCARTNEY- SPL EDITVinyl LP's 888072328129 HRM3671801MCCARTNEY,P/HOPE FOR THE FU(LPVinyl LP's 888072367180 IMG00613HIEROGLYPHICS/THE KITCHEN(2LP)Vinyl LP's 887158807152 IPC103LP TIPSY/BUZZZ (LP) Vinyl LP's 689230010319 IPC111EAGLES OF DEATH METAL/HEART ONVinyl LP's 689230011118 IPC122LPMINI MANSIONS/MINI MANSIONS(LPVinyl LP's 689230012214 IPC130LP RETOX/UGLY ANIMALS (LP) Vinyl LP's 689230013013 IPC138 GUANO PADANO/2 (LP) Vinyl LP's 689230013822 IPC139LP PALMS/PALMS(LP) Vinyl LP's 689230013914IPC142LP TOMAHAWK/ODDFELLOWS(LP) Vinyl LP's 689230014218IPC143LPLANEGAN,M/GARWOOD,D/BLA CK P(LPVinyl LP's 689230014317 IPC156LPUNSEMBLE,THE/THE UNSEMBLE(LP)Vinyl LP's 689230015611 IPC158 TOMAHAWK/M E A T(7'') 7" Vinyl Singles 689230015819 IPC161LPLE BUTCHERETTES/CRY IS FOR(LPVinyl LP's 689230016113 IPC162LPSLEAFORD MODS/CHUBBED UP(LP)Vinyl LP's 689230016212 Page 213 of 217Catalogue NumberArtist / Title Config Scannable UPC UPCNUMERICAL BY ARTIST / Numerique par artiste IPC164LP MELVINS,THE/HOLD IT IN(LP) Vinyl LP's 689230016410 IPC165LPHAMBURGER,N/GREAT PHONE CAL(LPVinyl LP's 689230016519 IPC166FANTOMAS/WUNDERKAMMER( 5LP+CASSVinyl LP's 689230016618 IPC167LP TETEMA/GEOCIDAL(LP) Vinyl LP's 689230016717 IPC91QUEENS OF THE STONE AGE/ERA VUVinyl LP's 689230009115 JST070LPNOISE BY NUMBERS/OVER LEAVI(LPVinyl LP's 689222007013 JST071LPALL EYES WEST/ALL EYES WEST(LPVinyl LP's 689222007112 JST080LPMXPX/PLANS WITHIN PLANS (LP)Vinyl LP's 689222008010 KFR787611 OST/GLORY DAYS(LP) Vinyl LP's 610337876119KFR787671ASSORTED JELLY/WHATS REALLY(LPVinyl LP's 610337876713 KFR787701ASSORTED JELLYB/ WWW Y2KTHEO(LPVinyl LP's 610337877017 KFR878221ATARIS,THE/END IF FOREVER(LP)Vinyl LP's 610337878212 KSCOP818WILSON,S/GRACE FOR DROWNING(2LVinyl LP's 802644581811 KSCOPE802PORCUPINE TREE/UP THE DOWN(2LPVinyl LP's 802644880211 KSCOPE818BLACKFIELD/WELCOME TO MY(2LPVinyl LP's 802644581712 LDP1973BJORK,B/PUNK ROCK GUILT (2XLP)Vinyl LP's 829707197314 MIG80211PETERSON/WEBSTER/DURING TH(2LPVinyl LP's 885513802118 MM002SMASHING PUMPKINS,/OCEANIA(2LPVinyl LP's 818610010018 Page 214 of 217Catalogue NumberArtist / Title Config Scannable UPC UPCNUMERICAL BY ARTIST / Numerique par artiste MODVL156 POND/BEARD WIVES DENI(LP) Vinyl LP's 602527969312 MODVL172 CUT COPY/BRIGHT LIKE N(LP) Vinyl LP's 602537291946MODVL176 POND/HOBO ROCKET(LP) Vinyl LP's 602537359219 MRG484 ARCADE FIRE/REFLEKTOR(12') Vinyl Singles 673855048413 OGL820351BIGBANG/FROM ACID TO ZEN(LP)Vinyl LP's 790058203514 OJC088EVANS,B/PORTRAIT IN JAZZ(LP)Vinyl LP's 025218108812 OJC266RUMSEY,H/LIGHTHOUSE ALLSTRS(LPVinyl LP's 025218026611 OJC636RUMSEY,H/MUSIC 4 LIGHTHOUSE(LPVinyl LP's 025218663618 PAPER082LPSAM ROBERTS BAN/LO FANTASY(2LPVinyl LP's 880893008211 PM7S01AMERICAN SPEEDWAY/HOWL YA DOINVinyl LP's 760137999638 PMLP1102AMERICAN SPEEDWAY/A BIGGER BOAVinyl LP's 881182110219 PMLP1103SERPENT THRONE/WHITE SUMMER BLVinyl LP's 881182110318 PMLP9990KOHOUTEK/LOSSLESS LOSS (LP)Vinyl LP's 760137999010 PMLP9992ANGEL BATH,J/GYPSY WOMAN (LP)Vinyl LP's 760137999218 PMLP9994DARK SEA DREAM/DARK SEA DREAMVinyl LP's 760137999416 PMLP9995NOTEKILLERS/WE'RE HERE TO HELPVinyl LP's 760137999515 PPD0026LPPLOW UNITED/SLEEPWALK(2LP)Vinyl LP's 823819130917 PPD0031LPRIVERBOAT GAMBL/SMASH/GRAB(LP)Vinyl LP's 823819130818 Page 215 of 217Catalogue NumberArtist / Title Config Scannable UPC UPCNUMERICAL BY ARTIST / Numerique par artiste PPD022LPJUNIOR BATTLES/IDLE AGES(LP)Vinyl LP's 823819136810 PWDWR001HOOKERS/HORROR RISES FROM T(LPVinyl LP's 760137569510 Q100944HAINES,E & SOFT SKETE/WHAT ISVinyl LP's 060270094413 QE002SDEAD MILKMEN/PRETTY MUSIC F(LPVinyl LP's 786851486285 RBLLP004LEGENDARY PINK D/10 TO THE(LPVinyl LP's 4250137202952 RGM0075BUKOWSKI,C/READS HIS POETRY(LPVinyl LP's 848064000754 SMALP972 MARILLION/MARBLES [2LP] Vinyl LP's 636551597210SMALP996MARILLION/RADIATION 2013(2LP)Vinyl LP's 636551599610 STX8549 VAR/SWEET SOUL MUSIC(LP) Vinyl LP's 025218854917 SUMLP197STRAY FROM THE PATH/RISING(LP)Vinyl LP's 817424010979 SUMLP251 MESTIS/BASAL GANGLIA(LP) Vinyl LP's 817424011518 SUMLP74BORN OF OSIRIS/THE NEW REIG(LPVinyl LP's 894587001747 SUMLP75BORN OF OSIRIS/A HIGHER PLA(LPVinyl LP's 894587001754 SUMLP81 VEIL OF MAYA/ID(LP) Vinyl LP's 894587001815SUMLP88ASKING ALEXANDRIA/RECKLESS(LP)Vinyl LP's 894587001884 SWSHT003ONLY ATTITUDE COUNTS/TRIUMPH OVinyl LP's 881182040318 SWSHT007VAR/THIS IS SUCK CITY NOT L.A.Vinyl LP's 881182040714 TML016 LIVING HELL/OBLIVION(LP) Vinyl LP's 881821131018 Page 216 of 217Catalogue NumberArtist / Title Config Scannable UPC UPCNUMERICAL BY ARTIST / Numerique par artiste UWR025WISDOM IN CHAINS./WISDOM IN CHVinyl LP's 665776121924 UWR027QUEERS/LIVE IN PHILLY 2006 (LPVinyl LP's 881182102719 UWRFB002SPUDMONSTERS/STAND UPµ(LP)Vinyl LP's 665776126653 VILELP354DARKTHRONE/SEMPITERNAL PAS(2LPVinyl LP's 801056835413 WARPLP249XENO/HY/SOMEDAY WORLD INDIE(2LPVinyl LP's 801061824914 WARPLP256XFLYING LOTUS/YOU'RE DEAD(4LP BVinyl LP's 801061825614 WH0306CORYELL,L/THE WILD HIVE PLA(LPVinyl LP's 698873030615 WH0308THROTTLE ELEVATOR MUSIC/THROTTVinyl LP's 698873030813 WRP1641BORN RUFFIANS/RED YELLOW & BLUVinyl LP's 801061016418 Page 217 of 217	[ "disc", "compact", "com", "pact", "lp", "b", "co", "mpact", "video", "c" ]	{ "summary": " \n2450 Victoria Park Ave., Suite 1, Willowdale, Ontario M2J 5H3 Phone: (416) 718.4000 \nMay 18, 2" }
Universal-Music-Canada-2017-Discontinued-Letter-and-List.pdf	2450 Victoria Park Ave., Suite 1, Willowdale, Ontario M2J 5H3 Phone: (416) 718.4000 December 4, 2017 / 4, decembre 2014 To: All Universal Music Commercial Partners/ À tous les partenaires commerciaux de Universal Music Please note these discontinued selections from the Universal Music domestic catalogue. We have prepared an alphabetical listing (by artist) as well as a numeric listing. A customer must be in current standing with Universal Music in order to receive full credit. Please forward all discontinued return requests to your local Universal Music Sales Representative by Friday, March 2, 2018. All authorized discontinued products must be returned to our distribution centre no later than Friday, April 6, 2018. A complete list of titles is available at http://www.umcreleasebooks.ca Please contact your local Universal Music Canada representative should you have any questions. Veuillez prendre note que la liste suivante représente les sélections discontinuées du catalogue domestique de Universal Music. Nous avons préparé une liste par ordre alphabétique (par artiste) ainsi qu’une liste par ordre numérique. Un client se doit d’avoir un crédit courant en bonne et due forme avec Universal afin d’être admissible à ce crédit. Veuillez faire parvenir toutes les demandes de retour des produits discontinués à votre vendeurs chez Universal Music avant le vendredi 2 mars 2018. Toutes les autorisations de produits discontinués doivent être retournées au centre de distribution avant le vendredi 6 avril 2018. Une liste complète des titres est disponible au http://www.umcreleasebooks.ca Si vous avez des questions, contactez votre représentant chez Universal Music, Kind regards / Bien à vous, Regards, Adam Abbasakoor Vice President, Commercial Affairs Universal Music Canada Catalogue Numb er Artist & Title Description Configuration Scannable UPC UPC 847992 1000 FOOT /PHENOMENON Compact Disc 724358479928 724358479928 FRANNWP0002 10CC/LIVE IN CONCERT Compact Disc 805520212830 805520212830 B001261802 16 FRAMES/WHERE IT ENDS Compact Disc 602517975170 602517975170 522232A 1996 BROAD/A FUNNY THING HAPPE Compact Disc 724385222320 724385222320 5454508722 2 LIVE JEWS/CHRISTMAS JEWS Compact Disc 654545087226654545087226 BBGCD31 7L & ESOTERIC/DC2:BARS OF DEAT Compact Disc 823979003120823979003120 TEG4501CD 7L & ESOTERIC/SPEAKING REAL WO Compact Disc 829357450128829357450128 TEGBRK051CD 7L&BEYOND/WELCOME TO SHAFTVILL Compact Disc 765481005127765481005127 B001166302 88,THE/NOT ONLY..BUT ALSO Compact Disc 602517764668 602517764668 4400143242 A CAMP/A CAMP Compact Disc 044001432422 044001432422 DOG162 A LOT LIKE BIRDS/CONVERSATION Compact Disc 790168955921 790168955921 9866378 AARSET,E/CONNECTED Compact Disc 602498663783 602498663783 5581282 AARSET,E/ELECTRONIQUE NOIRE Compact Disc 731455812824 731455812824 B000622202 ABAIR,M/LIFE LESS ORDINARY Compact Disc 602498509579 602498509579 UOPJ35 ABANDON ALL SHIPS/GEEVING Compact Disc 626570605638 626570605638 ETLCD101 ABATTOIR/VICIOUS ATTACK Compact Disc 741812914047 741812914047 3734944 ABBA/RING RING(CD+ DVD) CD with DVD 602537349449 602537349449 0249824507 ABBA/SUPER TROUPERS Digital Video Disc 602498245071 602498245071 5234722 ABBA/THANK YOU FOR T MUSIC Compact Disc 731452347220 731452347220 4791046 ABBADO,C/THE SYMPHONY EDI(40CD Compact Disc 028947910466 028947910466 860672A ABDUL PAUL/FOREVER YOUR GIRL Compact Disc 077778606727 077778606727 TAO026 ABRAHAMS,L/GRAPE AND THE GRAIN Compact Disc 677603003723 677603003723 131282 ABSU/ABZU Compact Disc 803341312821 803341312821 4782243 ACCADEMIA BIZANTINA/HA YDN:CONC Compact Disc 028947822431 028947822431ALPHABETICAL BY ARTIST / Alphabetique par artisteUNIVER SAL MU SIC DISCONTINUED LISTING / Liste de produits discontinues The following titles have been discontinued effective immediately. Please have all return requests submitted by Friday March 2 , 2018. All authorized disconti nued products must be returned to our distribution centre no later than Friday April 6, 2018. À compter de maintenant les titres suivants ont été discontinués. Veuillez s'il vous plait avoir soumis toutes demandes de reto urs pour ces produits au plus tard le vendredi 2 ma rs 2018. Tous les produits discontinués autorisés doi vent être retournés à notre centre de distribution au plus tard le vendredi 6 avril 2018. 6 02537 34944 97 24385 22232 07 24358 47992 8 0 28947 82243 10 28947 91046 66 02498 50957 96 02517 76466 8 7 31452 34722 0 8 03341 31282 10 44001 43242 2 6 26570 60563 8 0 77778 60672 77 31455 81282 46 02498 66378 36 02517 97517 08 05520 21283 0 6 77603 00372 38 29357 45012 8 7 65481 00512 76 54545 08722 6 8 23979 00312 0 7 90168 95592 1 7 41812 91404 7 6 02498 24507 1Catalogue Numb er Artist & Title Description Configuration Scannable UPC UPC 3145405512 ADAMS,B/18'TIL I DIE Compact Disc 731454055123 731454055123 3795592 ADAMS,B/TRACKS OF MY YEARS(DLX Compact Disc 602537955923 602537955923 CDROUN2145 ADAMS,J W/MOOD INDIGO Compact Disc 011661214521 011661214521 CDROUN2049 ADAMS,J/AFTER DARK Compact Disc 011661204928 011661204928 CDROUN2044 ADAMS,J/FROM THE HEART Compact Disc 011661204423 011661204423 0881703332 ADAMS,R/DEMOLITION Compact Disc 008817033327 008817033327 CDROUN0539 ADAMS,T & CLEVELAND/LIVE AT TH Compact Disc 682161053929 682161053929 315722 ADDERLEY C/AT THE LIGHTHOUSE Compact Disc 724353157227 724353157227 423092 ADDERLEY C/FIDDLER ON THE ROOF Compact Disc 724354230929 724354230929 PROPERBOX157 ADDERLEY,C/DIS HERE (CDX4) Compact Disc 805520021579 805520021579 372222A ADKINS, TR/DREAMIN' OUT LOUD Compact Disc 724383722228 724383722228 734412 ADKINS, TR/SONGS ABOUT ME Compact Disc 724387344129 724387344129 445579 ADKINS, TR/VIDEO HITS - VOL.2 Digital Video Disc 724354455797 724354455797 B001942202 ADKINS,T/5 CLASSIC ALBUMS(5CD) Compact Disc 602537570874 602537570874 NSR052 AFICIONADO/AFICIONADO Compact Disc 603111932026 603111932026 CDRWG96 AFRO CELT SOUND SYSTEM/VOL 3:F Compact Disc 884108001219 884108001219 OM115 AFROMYSTIK/MORPHOLOGY Compact Disc 600353021525 600353021525 861042A AFTER 7/AFTER 7 Compact Disc 077778610427 077778610427 1836 AGASEE,R/HOME AT LAST Compact Disc 776127264020776127264020 9867165 AGUADULCE/TOMATITO Compact Disc 602498671658 602498671658 OHH308952 AHMAD,R/THE PUSH Compact Disc 600353089525 600353089525 318682B AHN, PRISC/WHEN YOU GROW UP Compact Disc 5099963186826 5099963186826 0743300 ALAGANA,R/VERDI:AIDA - BLU-RAY BLU RAY 044007433003 044007433003 4802562 ALAGNA,R/LES 100 PLUS BEAU(5CD Compact Disc 028948025626 028948025626 4776278 ALAGNA,R/SACRED SONGS Compact Disc 028947762782 028947762782 4776275 ALAGNA,R/SERENADES Compact Disc 028947762751 028947762751 8216118172 ALAN LOMAX COLLECTION/ITALIAN Compact Disc 682161181721 682161181721 XXICD21459 ALARIE,P & SIMONEAU,L/ANTHOLOG Compact Disc 722056145923 722056145923 FWDCD001 ALASCA/ACTORS & LIARS Compact Disc 8714835091882 8714835091882 TB16922 ALBER,M/HIDE NOTHING Compact Disc 661868169225 6618681692250 44007 43300 37 31454 05512 3 5 099963 186826 7 24354 23092 97 24353 15722 7 0 28948 02562 6 0 28947 76275 10 28947 76278 26 02537 57087 47 24383 72222 8 7 24387 34412 90 08817 03332 76 02537 95592 3 6 02498 67165 80 77778 61042 7 7 22056 14592 38 84108 00121 9 8 714835 091882 8 05520 02157 9 7 76127 26402 06 03111 93202 6 6 00353 08952 56 00353 02152 5 6 82161 18172 16 82161 05392 90 11661 20442 30 11661 20492 80 11661 21452 1 6 61868 16922 57 24354 45579 7Catalogue Numb er Artist & Title Description Configuration Scannable UPC UPC 4581292 ALBINONI/12 CONCERTOS, OP9 Compact Disc 028945812922 028945812922 TSCD523 ALBION BAND,THE/ROAD MOVIES Compact Disc 714822952323 714822952323 939082A ALIAS/ALIAS Compact Disc 077779390823 077779390823 369412 ALIAS/NEVER SAY NEVER Compact Disc 5099923694125 5099923694125 B000682302 ALIEN ANT FARM/UP IN THE ATTIC Compact Disc 602498571491 602498571491 BAI0302 ALL IN/TEAM U S A Compact Disc 790168622021 790168622021 RECINDIE002 ALL PURPOSE VOLT AGE HEROES/ALR Compact Disc 775020650527775020650527 110772 ALLEN, TER/JUAREZ Compact Disc 015891107721 015891107721 110472D ALLEN, TER/LUBBOCK ON EVERYTHI Compact Disc 015891104720 015891104720 CD83598 ALLEN,G/THE LIFE OF A SONG Compact Disc 089408359828 089408359828 B001937702 ALLMAN BROTHE,THE/5 CLASSIC(5C Compact Disc 602537570676 602537570676 B000058002 ALLMAN BROTHERS BAND/ MARTIN SC Compact Disc 602498010396 602498010396 B000243936 ALLMAN BROTHERS THE/EAT A PEAC SACD4Stereo/Surround/CDAud 602498622506 602498622506 8237082 ALLMAN BROTHERS/THE BEST OF Compact Disc 042282370822 042282370822 1166191782 ALLMAN,D/SKYDOG THE DUANE (7CD Compact Disc 011661917828 011661917828 CCDCD4773 ALLYSON,K/DAYDREAM Compact Disc 013431477327 013431477327 CCDCD4389 ALMEIDA,L/MUSIC OF THE BRAZILI Compact Disc 013431438922 013431438922 CJA31441 ALPERT,H & HALL,L/ANYTHING GOE Compact Disc 888072314412 888072314412 391039 ALPERT,H & LORBER,J/LIVE AT MO Digital Video Disc 801213910397 801213910397 4921500525 AMARANTE,R/CAVALO Compact Disc 014921500525 014921500525 330189 AMERICA/LIVE Digital Video Disc 801213301898 801213301898 B001856102 AMERICAN AUTH/AMERICA N A(CD EP Compact Disc EP's 602537515967 602537515967 5340502 AMMONS,G/THE SOULFUL MOODS/NIC Compact Disc 600753405024 600753405024 PCR011 AMOS THE TRANSPARENT/EVERYTHIN Compact Disc 625989570025625989570025 CP359 AMP LIVE/MURDER AT THE DISCOTE Compact Disc 600353095922 600353095922 CDFLY094 AMRAM,D/AT HOME - AROUND THE W Compact Disc 018964009427 018964009427 125637 ANAAL NATHRAKH/IN THE CONSTELL Compact Disc 803341256378 803341256378 122732 ANAAL NATHRAKH/PASSION Compact Disc 803341227323 803341227323 B001379110 ANBERLIN/NEW SURRENDER DELUXE CD with DVD 602527273587 602527273587 CDPHIL9006 ANCIENT FUTURE/NAT URAL RHYTHM Compact Disc 011671900629 0116719006296 02527 27358 70 28945 81292 2 5 099923 694125 0 77779 39082 3 6 02537 57067 6 6 02498 01039 6 0 42282 37082 2 8 03341 25637 8 8 03341 22732 36 02498 57149 1 6 00753 40502 47 14822 95232 3 6 25989 57002 57 75020 65052 7 6 00353 09592 27 90168 62202 1 0 15891 10472 00 15891 10772 1 0 13431 43892 20 13431 47732 7 8 88072 31441 20 11661 91782 8 0 18964 00942 7 0 11671 90062 90 89408 35982 8 0 14921 50052 5 6 02537 51596 78 01213 30189 88 01213 91039 76 02498 62250 6Catalogue Numb er Artist & Title Description Configuration Scannable UPC UPC B000700802 ANDERSON,B/BEST OF Compact Disc 602498596395 602498596395 MIR005 ANDERSON/SLOSKI/FOOTWORK Compact Disc 775020516724775020516724 COZ17643 ANDIAMO/LOVE FROM ITAL Compact Disc 795041764324 795041764324 COZ17644 ANDIAMO/LOVE FROM ITALY (DVD) Digital Video Disc 795041764492 795041764492 940782 ANDREWS SI/CAP COLLECTORS SERI Compact Disc 077779407828 077779407828 0044502482 ANDREWS,J/WHO I AM Compact Disc Enhanced 600445024823 600445024823 MA251061 ANGELWITCH/ANGELOFDEATH Compact Disc 5413992510610 5413992510610 4781536 ANSERMET/OSR/STRAVINSKY:SYMPHO Compact Disc 028947815365 028947815365 382082 ANTHONY, L/BEST OF,THE Compact Disc 724383820825 724383820825 CID1286 ANTHRAX/PERSISTENCE OF TIME Compact Disc 060439128621 060439128621 GRSD9910 ANTOINE,M/URBAN GYPSY Compact Disc 011105991025 011105991025 4780319 ANTONINI,G/HANDEL:12 CONCERTI Compact Disc 028947803195 028947803195 4781466 ANTONINI,G/THE VIRGIN 'S LAMENT Compact Disc 028947814665 028947814665 ISBCD5098 APERFECTDAY/ALL OVER EVERYTHIN Compact Disc 620323509822 620323509822 WAPCA391 APHEX TWIN/CHEETAH EP(CASSETTE Cassette EP's 801061939144801061939144 5327072 APOCALYPTICA/PLAYS ME TALLICA B Compact Disc 731453270725 731453270725 CR10482 APRIL WINE/BACK TO THE MANSION Compact Disc 802076104824 802076104824 L200109 APRIL WINE/FRIGATE Compact Disc 774505010924 774505010924 TAO014 ARBORISE,D/AROUND IN CIRCLES Compact Disc 677603000029 677603000029 MBDCD860133M ARCHGOAT/THE LIGHT DEVOURING Compact Disc 768586013325 768586013325 MBDCD860121 ARCKANUM/ANTIK OSMOS Compact Disc 768586012120 768586012120 MBDCD860141 ARCKANUM/ PPPPPPPPPP Compac t Disc 768586014124 768586014124 7502103953 ARDEN,J/JANN A RDEN Compact Disc 075021039537 075021039537 TSQ2554 ARDOIN,A/MAMA, I'LL BE LONG GO Compact Disc 894807002554 894807002554 4758520 ARGERICH,M/FREIRE,N/RACHMANINO Compact Disc 028947585206 028947585206 SPECD7832 ARIOLI,S/ALL THE WAY Compact Disc 622406783228 622406783228 SPECD7821 ARIOLI,S/CHRISTMAS DREAMING Compact Disc 622406782122 622406782122 SPECD7806 ARIOLI,S/NIGHT LIGHTS Compact Disc 064027780628 064027780628 SPECD7854 ARIOLI,S/SPRING Compact Disc 619061785421 619061785421 CDFLY557 ARMSTRONG,F&D V/LET NO ONE DEC Compact Disc 018964055721 0189640557218 01061 93914 46 02498 59639 5 0 77779 40782 8 0 28947 58520 60 28947 81466 50 28947 80319 50 28947 81536 5 7 24383 82082 5 0 11105 99102 50 60439 12862 1 7 31453 27072 5 0 75021 03953 7 0 64027 78062 86 22406 78212 26 22406 78322 8 6 19061 78542 16 20323 50982 2 8 02076 10482 4 7 74505 01092 45 413992 510610 6 77603 00002 97 75020 51672 4 8 94807 00255 47 68586 01212 07 68586 01332 5 7 68586 01412 4 0 18964 05572 17 95041 76432 4 6 00445 02482 37 95041 76449 2Catalogue Numb er Artist & Title Description Configuration Scannable UPC UPC PROPERBOX24 ARMSTRONG,L/C'EST CI BON-SACHM Compact Disc 604988992427 604988992427 3734980 ARMSTRONG/FITZGER/ELLA & LOUIS BLU RAY AUDIO 602537349807 602537349807 PROPERBOX67 ARNOLD,E/EDDY'S SONG Compact Disc 805520020671 805520020671 TAO031 AROBORISE,D/OF TIDE & TAIL Compact Disc 677603006021 677603006021 4782368 ARRAU,C/CHOPIN:TWILIGHT-CHOPIN Compact Disc 028947823681 028947823681 PABCD440102 ART TATUM/THE COMPLETE PABLO G Compact Disc 025218440127 025218440127 PABCD440402 ART TATUM/THE COMPLETE PABLO S Compact Disc 025218440424 025218440424 5899622 ARTHUR H/PIANO SOLO Compact Disc 731458996224 731458996224 1166180852 ARTHUR&FRIENDS/BLISTER PK Compact Disc 011661808522 011661808522 CDRWG64 ARTHUR,J/BIG CITY SECRETS Compact Disc 884108006320 884108006320 1166180842 ARTHUR/ARTHUR & FRIENDS Compact Disc 011661808423 011661808423 ETLCD98 ARTILLERY/DON'T BELIEVE KHOMAN Compact Disc 741812914016 741812914016 ISBCD005108 ARTISRESVARIES/ SILVER Compact Disc 620323510828 620323510828 D000068802 ARTIST KARAOKE /QUEEN - KARAOK Compact Disc 050087107918 050087107918 829082 AS CITIES /COME NOW SLEEP Compact Disc 094638290827 094638290827 485412 ASA (PRONO/ASA Compact Disc 068944854127068944854127 485682 ASA/BEAUTIFUL IMPERFECTION Compact Disc 068944856824068944856824 0249813125 ASHANTI/RAIN ON ME Compact Disc Singles 602498131251 602498131251 B000002702 ASHBY,D/AFRO-HARPING Compact Disc 044007603727 044007603727 494942B ASHCROFT, /ALONE WITH EVERYBOD Compact Disc 724384949426 724384949426 4783637 ASHKENAZY,V/BALLET EDITION,PRO Compact Disc 028947836377 028947836377 4783106 ASHKENAZY,V/BALLET EDITION-TCH Compact Disc 028947831068 028947831068 4781090 ASHKENAZY/DEBUSSY & R AVEL:MUSI Compact Disc 028947810902 028947810902 TSCD526 ASHLEY,S/EVERYDAY LIVES Compact Disc 714822052627 714822052627 FAB1002 ASHTON,G/RADIOGRAM Compact Disc 5052442002123 5052442002123 B000052402 ASTAIRE,F/FINEST HOUR Compact Disc 044007621820 044007621820 MLLCD133 ASTRAL DOORS/BLACK EYED CHILDR Compact Disc 4250444156801 4250444156801 1213690192 ATHENIANS,T/GREEK SONGS, DANCE Compact Disc 712136901921 712136901921 CDROUN1077 ATILLA T HUN&OTHERS/CALYPSO CA Compact Disc 011661107724 011661107724 0382642 ATOMIC/BOOM-BOOM Compact Disc 044003826427 0440038264276 02537 34980 7 0 94638 29082 7 0 28947 81090 20 28947 82368 1 0 28947 83106 80 28947 83637 70 50087 10791 87 31458 99622 4 0 44007 60372 7 0 44007 62182 07 24384 94942 6 0 44003 82642 76 20323 51082 88 84108 00632 08 05520 02067 1 5 052442 002123 6 04988 99242 7 6 77603 00602 1 7 14822 05262 70 68944 85412 7 0 68944 85682 40 25218 44042 40 25218 44012 7 7 41812 91401 60 11661 80842 30 11661 80852 2 7 12136 90192 1 0 11661 10772 44 250444 156801 6 02498 13125 1Catalogue Numb er Artist & Title Description Configuration Scannable UPC UPC 2733411 ATOMIC/THEATRE TILTERS (CDX2) Compact Disc 602527334110 602527334110 ETLCD100 ATROPHY/SOCIALIZED HATE Compact Disc 741812914030 741812914030 2786310 ATTAQUE,L/DU MONDE TOUT AUTOUR CD with DVD 602527863108 602527863108 BAI0482 ATTENDING,THE/ARE YOU WATCHING Compact Disc 612851595521 612851595521 789412 AUF DER MA/AUF DE R MAUR Compact Disc 724357894128 724357894128 2786755 AUFRAY,H/TROUBADOUR SINCE 1948 Compact Disc 602527867557 602527867557 CDFLY029 AULDRIDGE,M/MIKE AULDRIDGE Compact Disc 018964002923 018964002923 TWO22452 AUTRY,G AND IVES,B/ULTIMAT(2CD Compact Disc 778325224523 778325224523 INTROCD2028 AUTRY,G/A PROPER INTRO TO:GENE Compact Disc 805520060288 805520060288 CD80391 AUTUMN-SONGS/O'CONOR Compact Disc 089408039126 089408039126 36550 AVALON/CALMING MASSAGE Compact Disc 096741134722 096741134722 10864 AVALON/ELEGANCE OF PACHELBE Compact Disc 096741805523 096741805523 12882 AVALON/ROB CRABTREE/ T PIPER Compact Disc 096741808029 096741808029 31997 AVALON/TUSCANY:A ROMANTIC JOUR Compact Disc 096741089428 096741089428 202352 AVERAGE WHITE BAND/LIVE AT MON Compact Disc 826992023526 826992023526 390859 AVERAGE WHITE BAND/LIVE AT MON Digital Video Disc 801213908592 801213908592 B001584502 AVI,Z/GHOSTBIRD Compact Disc 602527769875 602527769875 MRBCD059 AWADI/SUNUGAAL Compact Disc 50240170064235024017006423 B001103702 AWESOME COLOR/ELECTRIC ABORIGI Compact Disc 602517656529 602517656529 B001411002 AWESOME COLOR/MASSA HYPNOS Compact Disc 837654529119 837654529119 B000686702 AWESOMECOLOR/AWESOME COLOR Compact Disc 602498576151 602498576151 QM103 AZ/THE FORMAT CD with DVD 587432010321587432010321 MBDCD178 AZAGHAL/NEMESIS Compact Disc 768586017828 768586017828 MBDCD860104 AZAGHAL/OMEGA Compact Disc 768586010423 768586010423 MBDCD860139M AZAGHAL/TERAPHIM Compact Disc 768586013929 768586013929 B002509002 AZALEA ,I/DIGITAL DISTORTI ON Compac t Disc 602547924322 602547924322 710009 AZNAVOUR C/ANTHOLOG V2(1973-99 Digital Video Disc 5099907100093 5099907100093 290362A AZNAVOUR C/CHARLES AZNAVOUR ET Compact Disc 5099922903624 5099922903624 349662 AZNAVOUR C/HIER ENCORE Compact Disc 724383496624 724383496624 349622A AZNAVOUR C/JE M'VOYAIS DEJA Compact Disc 724383496228 7243834962286 02527 86310 8 5 87432 01032 17 24357 89412 8 8 26992 02352 6 5 099922 903624 7 24383 49622 87 24383 49662 46 02527 86755 7 6 02527 76987 56 02527 33411 0 6 02547 92432 28 05520 06028 8 5 024017 006423 7 78325 22452 3 6 02517 65652 9 8 37654 52911 96 12851 59552 1 6 02498 57615 17 41812 91403 0 7 68586 01782 8 7 68586 01042 3 7 68586 01392 90 18964 00292 3 0 96741 80552 3 0 96741 80802 9 0 96741 08942 80 96741 13472 20 89408 03912 6 8 01213 90859 2 5 099907 100093 Catalogue Numb er Artist & Title Description Configuration Scannable UPC UPC 997829 AZNAVOUR C/LIVE PALAIS DE 97-8 Digital Video Disc 724359978291 724359978291 FARO170CD AZYMUTH/LIGHT AS A FEATHER(REM Compact Disc 5060211501043 5060211501043 BJLP17 B.BRAVO/PARADI SE(LP) Compact Disc 711623409810 711623409810 197272 B-52'S, TH/FUNPLEX Compact Disc 5099951972721 5099951972721 MRBCD044 BABALOLA/BABALOLA Compact Disc 50240170028215024017002821 KAY24763 BABINS/BABINS Compact Disc 619061476329 619061476329 FRANHIT12CD BABYHEAD/HEAVY WEATHER Compact Disc 5052442000518 5052442000518 4297372 BACH J/ARIAS Compact Disc 028942973725 028942973725 NPD85582 BACH,JS/BACH TENORS ARIAS WITH Compact Disc 032466558221 032466558221 4775228 BACH/6 SUITES FOR CELLO Compact Disc 028947752288 028947752288 CD80286 BACH/BACH AT ST. BAVO'S Compact Disc 089408028625 089408028625 CD80412 BACH/BRANDEN CTO/BOSTON Compact Disc 089408041228 089408041228 4176212 BACH/CANTATAS NOS. 202 - 211 Compact Disc 028941762122 028941762122 ELQT005 BACH/GREATEST HITS Compact Disc 776974228220 776974228220 4630212 BACH/ITALIAN CONCERTO, 4 DUETS Compact Disc 028946302125 028946302125 4696802 BACH/MUSICAL OFFERING Compact Disc 028946968024 028946968024 CD80127 BACH/ORGAN @ HILDESHEIM/MURRAY Compact Disc 089408012723 089408012723 4696162 BACH/TOCCATA & FUGUE Compact Disc 028946961629 028946961629 4198552 BACH/VIOLIN CONCERTOS 1-2 Compact Disc 028941985521 028941985521 4596212 BACH/WEDDING CANTATAS Compact Disc 028945962122 028945962122 4554102 BACH/XMAS ORATOR-MUNCHINGE Compact Disc 028945541020 028945541020 4664122 BACHELORS,T/DECCA YEAR S '62-72 Compact Disc 028946641224 028946641224 ILSDV0034 BACHMAN,R/EVERY SONG T(DVD+CD) CD with DVD 039911003435 039911003435 ILSCD161 BACHMAN,R/EVERY SONG TELLS A S Compact Disc 039911016121 039911016121 ILSDV0036 BACHMAN,R/EVERY SONG TELLS(BR) BLU RAY 039911003633 039911003633 ILSDV0035 BACHMAN,R/EVERY SONG TELLS(DVD Digital Video Disc 039911003534 039911003534 KAR23672 BAD FLIRT/VIRGIN TALK Compact Disc 619061367221 619061367221 HUCD3125 BAD PLUS,THE/PROG Compact Disc 053361312527 053361312527 MODOUT007 BAD VEINS/THE MESS WE'VE MADE Compact Disc 616892033547 616892033547 424392 BADFINGER/ASS Compact Disc 5099964243924 50999642439240 39911 00363 30 39911 00343 55 099951 972721 0 28946 64122 40 28941 76212 2 0 28946 30212 5 0 28945 96212 20 28942 97372 5 0 28947 75228 8 0 28941 98552 17 76974 22822 0 0 28946 96162 90 28946 96802 4 5 099964 243924 0 28945 54102 06 19061 47632 97 11623 40981 0 6 19061 36722 10 32466 55822 15 060211 501043 5 052442 000518 5 024017 002821 6 16892 03354 70 89408 04122 8 0 89408 01272 30 89408 02862 5 0 53361 31252 70 39911 01612 17 24359 97829 1 0 39911 00353 4Catalogue Numb er Artist & Title Description Configuration Scannable UPC UPC 424382 BADFINGER/MAGIC CHRISTIAN MUS Compact Disc 5099964243825 5099964243825 CD69922 BAEZ,J/BEST OF JO AN BAEZ Compact Disc 075026992226 075026992226 0694904182 BAEZ,J/THE BEST OF JOAN BAEZ Compact Disc 606949041823 606949041823 B000082802 BAEZ,J/THE COMPLETE A&M RECORD Compact Disc 602498604793 602498604793 NVR008 BAHAMAS/PINK STRAT Compact Disc 621617301412 621617301412 085102 BAILEY RAE/SEA,TH E Compact Disc 5099960851024 5099960851024 PROPERBOX57 BAILEY,M/MR S.SWING Compact Disc 805520020572 805520020572 SACD69068 BAILEY,P/SOUL ON JAZZ (SACD) SACD4Ster eo/Surround/CDAud 053361906801 053361906801 MRCD6499 BAJADA,J/LOVESHIT Compact Disc 823674649920823674649920 053062 BAKER, CHE/BEST OF CHE T BAKER Compact Disc 5099990530623 5099990530623 400392A BAKER, CHE/DEFINITIVE SERIES,T Compact Disc 724354003929 724354003929 414292A BAKER, CHE/EACH DAY IS VALENTI Compact Disc 094634142922 094634142922 316762 BAKER, CHE/EMBRACEABLE YOU Compact Disc 724383167623 724383167623 ML24652 BAKER,B/FACING CANYONS Compact Disc 619061465224 619061465224 INTROCD2008 BAKER,C/A PROPER INTRO TO:CHET Compact Disc 805520060080 805520060080 3145383282 BAKER,C/BABY BREEZE Compact Disc 731453832824 731453832824 B000027602 BAKER,C/CHET FOR LOVERS Compact Disc 044006557724 044006557724 UMMC22722 BAKER,C/THE BEST OF CHET BA(2C Compact Disc 778325227227 778325227227 PROPERBOX84 BAKER,C/THE EAR LY YEARS Compact Disc 805520020848 805520020848 2712803 BAKKEN,R/MO RNING HOUR Compact Disc 602527128030 602527128030 FRANMRE0042 BAKKEN,R/MUTHSPIEL /BELOVED Compact Disc 9005321100423 9005321100423 5293742 BALAVOINE,D/L'INTEGRALE Compact Disc 731452937421 731452937421 557502 BALDRY, LO/BALDRY'S OUT Compact Disc 724385575020 724385575020 CDROUN0028 BALL,E.C. & OTHERS/HIGH ATMOSP Compact Disc 011661002821 011661002821 0249869413 BAND AID 20/DO THEY KNOW IT'S Compact Disc Singles 602498694138 602498694138 501042 BAND,THE/HIGH ON THE HOG Compact Disc 854750001042 854750001042 FARO159CD BANDA BLACK RIO/SUPER NOVA SAM Compact Disc 5060211500633 5060211500633 B001717102 BANDA CARNAVAL/MAXIMO NIVEL Compact Disc 602537097562 602537097562 3775978 BANG,J/NARRATIVE FROM THE SUBT Compact Disc 602537759781 602537759781 B000702302 BANKS,L/ROTTEN APPLE Compact Disc 602517000490 6025170004906 06949 04182 30 75026 99222 6 6 02498 60479 3 0 94634 14292 2 7 24383 16762 37 24354 00392 9 7 24385 57502 05 099960 851024 5 099964 243825 6 02517 00049 05 099990 530623 6 02537 09756 27 31452 93742 16 02527 12803 00 44006 55772 47 31453 83282 46 21617 30141 2 6 02537 75978 16 19061 46522 4 8 05520 06008 08 05520 02057 2 5 060211 500633 9 005321 100423 8 05520 02084 88 23674 64992 0 7 78325 22722 7 8 54750 00104 20 11661 00282 1 6 02498 69413 80 53361 90680 1Catalogue Numb er Artist & Title Description Configuration Scannable UPC UPC FNCD5606 BANKS,V/INDIGO Compact Disc 823674016227823674016227 B000031202 BANNER,D/MISSISSIPPI:THE ALBUM Compact Disc Enhanced 044003834323 044003834323 3145241192 BANTON,B/'TIL SHILOH Compact Disc 731452411921 731452411921 5468402 BARBARA/BALLADES ET MO TS D'AMO Compact Disc 731454684026 731454684026 3724981 BARBARA/LAIGLE NOIR (BR) BLU RAY AUDIO 602537249817 602537249817 5108982 BARBARA/MA PLUS BELLE HISTOIRE Compact Disc 731451089824 731451089824 014682 BARBER, PA/COLE PORTER MIX,THE Compact Disc 5099950146826 5099950146826 595642B BARBER, PA/MYTHOLOGIES Compact Disc 094635956429 094635956429 PRPCD073 BARBER,C/MEMORIES OF MY TRIP Compact Disc 805520030731 805520030731 B000967502 BARBIERI,G/RUBY,RUBY Compact Disc 602517426696 602517426696 CDVARR013 BARE NECESSITIES/ENGLISH COUNT Compact Disc 011671001326 011671001326 XXICD21583 BAREIL & LEPINE/WORKS FOR VIOL Compact Disc 722056158329 722056158329 CDROUN11534 BARENBERG,R/HALLOWEEN REHEARSA Compact Disc 011661153424 011661153424 CDROUN0249 BARENBERG,R/MOVING PICTURES Compact Disc 011661024922 011661024922 B001539402 BARKER,T/GIVE THE DRUMMER SOME Compact Disc 602527550572 602527550572 5308731 BAROUH,P/LES ANNEES DOSC'AZ CD with DVD 600753087312 600753087312 BMC20061 BARRA MACNEILS,THE/CHRISTMAS A Compact Disc 775020750623775020750623 509672B BARRA MACNEILS,THE/THE CHRISTM Compact Disc 627915096722627915096722 3145211062 BARRA MACNEILS/CLOSER TO PARAD Compact Disc 731452110626 731452110626 4732114 BARRIER,R/COLLECTION CHANSON Compact Disc 602547321145 602547321145 B002175702 BARRY WHITE/5 CLASSIC ALBU(5CD Compact Disc 602547005588 602547005588 4596392 BARTOK/VLN CTO/BOULEZ Compact Disc 028945963921 028945963921 4785277 BARTOLETTI,B/PONCHIELLI LA(3CD Compact Disc 028947852773 028947852773 4672482 BARTOLI,C/GLUCK ITALIAN ARIAS Compact Disc 028946724828 028946724828 0743326 BARTOLI,C/HANDEL:SEMELE (BLU-R BLU RAY 044007433263 044007433263 B001619700 BARTOLI,C/SACRIFICIUM (2CD/DVD Compact Disc 028947833901 028947833901 B000129019 BARTOLI,C/THE VIVALDI ALBUM DVD Audio 028946656990 028946656990 5394882 BASHUNG,A/FANTAISIE MILITAIRE Compact Disc 731453948822 731453948822 9821459 BASHUNG,A/LA TOURNEE DES GRAND Digital Video Disc 602498214596 602498214596 3701798 BASHUNG,A/ROULETTE RUSSE+PIZZA Compact Disc 602537017980 6025370179800 44007 43326 36 02537 24981 7 6 00753 08731 20 94635 95642 95 099950 146826 0 28946 72482 80 28947 85277 3 0 28947 83390 10 28945 96392 16 02547 00558 86 02527 55057 27 31452 41192 1 7 31452 11062 6 7 31453 94882 27 31454 68402 6 6 02537 01798 06 02547 32114 57 31451 08982 4 6 02517 42669 6 7 22056 15832 98 05520 03073 1 6 27915 09672 27 75020 75062 38 23674 01622 7 0 11661 02492 20 11661 15342 40 11671 00132 60 44003 83432 3 6 02498 21459 60 28946 65699 0Catalogue Numb er Artist & Title Description Configuration Scannable UPC UPC TEGAVX1501CD BASIC VOCAB/THE GENERAL DYNAMI Compact Disc 829357150127829357150127 3145198522 BASIE,C&WILLIAMS,J/SWINGS Compact Disc 731451985225 731451985225 B001269902 BASIE,C/BASIE LAND Compact Disc 602517995727 602517995727 CDFLY539 BASIN BROTHERS/LET'S GET CAJUN Compact Disc 018964053925 018964053925 FARO154CD BASSINI,R/LATINO FANTASTICO Compact Disc 5060211500398 5060211500398 AMO15 BASSNECTAR/FREESTYLE/ WILDSTYLE Compact Disc 881034121127 881034121127 B000874302 BATTAGLIA,S/RE:PASOLINI - 2CD Compact Disc 602517167384 602517167384 ILBHS111305 BAUHAUS/US TOUR (BOSTON) Compact Disc 827823027829827823027829 ILBHS110805 BAUHAUS/US TOUR (CHICAGO 2) Compact Disc 827823027423827823027423 ILBHS110905 BAUHAUS/US TOUR (CHICAGO 2) Compact Disc 827823027522827823027522 ILBHS103005 BAUHAUS/US TOUR (LOS ANGELES 2 Compact Disc 827823026020827823026020 ILBHS102905 BAUHAUS/US TOUR (LOS ANGELES 3 Compact Disc 827823025924827823025924 ILBHS102805 BAUHAUS/US TOUR (LOS ANGELES) Compact Disc 827823025825827823025825 ILBHS111205 BAUHAUS/US TOUR (N EW YORK 2) Compact Disc 827823027720827823027720 ILBHS111105 BAUHAUS/US TOUR (NEW YORK) Compact Disc 827823027621827823027621 ILBHS102605 BAUHAUS/US TOUR ( SAN FRANCISCO Compact Disc 827823025726827823025726 4726366 BAY,J/HOLD BACK THE RIVER(HMV Compact Disc 602547263667 602547263667 349702C BAYLESS, J/CIRCLE OF LIFE:THE Compact Disc 724353497026 724353497026 B002473100 BEACH BO,THE/PET SOU(BR AUD+4C Blu Ray Audio + CD 602547822536 602547822536 279452 BEACH BOYS/15 BIG ONES / I LOV Compact Disc 724352794522 724352794522 988552 BEACH BOYS/CLASSIC ALBU MS(TODA Compact Disc 5099909885523 5099909885523 572412 BEACH BOYS/GREATEST CAR SONGS Compact Disc 077775724127 077775724127 044242 BEACH BOYS/LITTLE DEUCE COUPE( Compact Disc 5099940442426 5099940442426 044272 BEACH BOYS/SHUT DOWN V.2 (MONO Compact Disc 5099940442723 5099940442723 044332 BEACH BOYS/SUMMER DAYS (MONO & Compact Disc 5099940443324 5099940443324 1758385 BEADY BELLE/BELVEDERE Compact Disc 602517583856 602517583856 BOFL002 BEARS OF LEGEND/GHOSTWRITTEN C Compact Disc 629048196621 629048196621 BOFL001 BEARS OF LE GEND/GOOD MORNING M Compact Disc 088907210814 088907210814 942392C BEASTIE BO/HELLO NAST Y (S.E) Compact Disc 5099969423925 5099969423925 336032A BEASTIE BO/ROOT DOWN Compact Disc 724383360321 7243833603216 02547 82253 67 24353 49702 6 7 24383 36032 15 099940 442426 5 099940 442723 5 099940 443324 5 099969 423925 5 099909 885523 7 24352 79452 2 0 77775 72412 76 02517 16738 4 6 02547 26366 77 31451 98522 5 6 02517 99572 7 6 02517 58385 6 0 88907 21081 46 29048 19662 15 060211 500398 8 29357 15012 7 8 27823 02572 68 27823 02582 58 27823 02592 48 27823 02602 08 27823 02742 3 8 27823 02752 2 8 27823 02762 18 27823 02772 08 27823 02782 98 81034 12112 70 18964 05392 5Catalogue Numb er Artist & Title Description Configuration Scannable UPC UPC 898432 BEASTIE BO/SOME OLD BULLSHIT Compact Disc 077778984320 077778984320 866910 BEATLES, T/ABBEY ROAD(K RATE KI CD with DVD 5099968669102 5099968669102 866940 BEATLES, T/LET IT BE(KR ATE KIT CD with DVD 5099968669409 5099968669409 8285072 BEAUTIFUL SOUTH/MIAOW Compact Disc 042282850720 042282850720 8420802 BEAUTIFUL SOUTH/WELCOME TO T.. Compact Disc 042284208024 042284208024 0694905272 BECK/MIDNITE VULTURES Compact Disc 606949052720 606949052720 5344451 BECK/SEA CHANGE BLU RAY AUDIO 600753444511 600753444511 4790838 BECZALA,P/HEARTS DELIGHT THE S Compact Disc 028947908388 028947908388 FRAN50667 BEDOUIN JERRY CAN BAND/COFFEE Compact Disc 5065001057014 5065001057014 CD80414 BEET/STR QRT OP18/CLEVELAND Compact Disc 089408041426 089408041426 4122272 BEETHOVEN/EROICA VARIATIONS Compact Disc 028941222725 028941222725 4685302 BEETHOVEN/ESSENTIAL BEET HOVEN Compact Disc 028946853023 028946853023 4760954 BEETHOVEN/LE PETIT ME NESTREL Compact Disc 028947609544 028947609544 4356172 BEETHOVEN/NEW YEAR'S CONCERT Compact Disc 028943561723 028943561723 4646812 BEETHOVEN/PIANO CONCERTO NO.4 Compact Disc 028946468128 028946468128 4681132 BEETHOVEN/PIANO CONCERTOS NOS Compact Disc 028946811320 028946811320 4716412 BEETHOVEN/SPRING & KREUTZER SO SACD4Stereo/Surround/CDAud 028947164128 028947164128 4681022 BEETHOVEN/SYMPHONIES 5 & 6 PAS Compact Disc 028946810224 028946810224 4702562 BEETHOVEN/SYMPHONY NO.7 Compact Disc 028947025627 028947025627 4681122 BEETHOVEN/SYMPHONY NO.9 Compact Disc 028946811221 028946811221 4470582 BEETHOVEN/THE VIOLIN SONA Compact Disc 028944705829 028944705829 4716332 BEETHOVEN/VIOLIN CONCERTO;ROMA SACD4Stereo/Surround/CDAud 028947163329 028947163329 4197872 BEETHOVEN/VLN/PNO SON. 4-5 Compact Disc 028941978721 028941978721 MBDCD860110 BEHEXEN/MY SOUL FOR HIS GLORY Compact Disc 768586011024 768586011024 PROPERBOX66 BEIDERBECKE,B/TH E BIX BEIDERBE C ompact Disc 805520020664 805520020664 3145243842 BELAFONTE,H/AN EVENING WITH HA Compact Disc 731452438423 731452438423 B000035309 BELAFONTE,H/AN EVENING WITH HA Digital Video Disc 044007733691 044007733691 KLRCD13 BELAKOR/OF BREATH AND BONE Compact Disc 8033712040998 8033712040998 WBR002 BELIEF/DEDICATION Compact Disc 094922605412094922605412 MA250172 BELL,E/THIN LIZZY BLUES Compact Disc 5413992501724 54139925017246 00753 44451 15 099968 669102 5 099968 669409 0 42284 20802 40 77778 98432 0 0 28946 85302 3 0 28947 02562 70 28947 90838 8 0 28941 97872 10 28943 56172 3 0 28944 70582 90 28946 81022 4 0 28946 81122 10 28946 81132 06 06949 05272 0 7 31452 43842 30 42282 85072 0 0 28941 22272 5 0 28946 46812 80 28947 60954 4 5 413992 501724 8 05520 02066 45 065001 057014 0 94922 60541 28 033712 040998 7 68586 01102 40 89408 04142 6 0 44007 73369 10 28947 16412 8 0 28947 16332 9Catalogue Numb er Artist & Title Description Configuration Scannable UPC UPC 4787163 BELL,J/3 CLASSIC ALBUMS PRE(LT Compact Disc 028947871637 028947871637 6626307029 BELLE,A/BLACK BEAR Compact Disc 786626307029 786626307029 9870458 BELLE,B/CLOSER Compact Disc 602498704585 602498704585 0135092 BELLE,B/HOME Compact Disc 044001350924 044001350924 5498262 BELLE,M/MARIE-PAULE BELLE (CD Compact Disc 731454982627 731454982627 1906146292 BELLFLOWER/THE SEASON SPELL Compact Disc 619061462926 619061462926 4704132 BELLINI/NORMA Compact Disc 028947041320 028947041320 FRAN87132 BELLOWHEAD/BURLESQUE (CD) Compact Disc 4015698801927 4015698801927 5327457 BEN L'ONCLE SOUL/BEN L'ONCLE S Compact Disc 600753274576 600753274576 827002A BENATAR, P/CLASSIC M ASTERS Compact Disc 724358270020 724358270020 349142 BENATAR, P/GREATEST HITS Compact Disc 5099923491427 5099923491427 PRMCD2008 BENEDICTINE MONKS OF ST.JAMES Compact Disc 805520290081 805520290081 906969 BENETAR, P/BEST OF,THE Digital Video Disc 724349069695 724349069695 TEG9921CD BENSON,G/EROTIC MOODS Compact Disc 829357992123829357992123 391109 BENSON,G/LIVE AT MONTREUX 1986 Digital Video Disc 801213911097 801213911097 MRCD6422 BENT,R/BLAM Compact Disc 823674642228823674642228 664750 BENTLEY, D/MODERN DAY DRIFTER Compact Disc 724386647504 724386647504 CD83606 BENTYN,C/LET ME OFF UPTOWN Compact Disc 089408360626 089408360626 CCDCD9008 BERG,B/RIDDLES SACD1Stereo 013431900825 013431900825 ARMA328 BERLIN,D/MUSICISLIFE Compact Disc 87185220042928718522004292 CDFLY227 BERLINE, BYRON /OUTRAGEOUS Compact Disc 018964022723 018964022723 4674792 BERLIOZ/REQUIEM,CHANTS POUR CH Compact Disc 028946747926 028946747926 4553612 BERLIOZ/SYMPHONIE FANTASTIQUE Compact Disc 028945536125 028945536125 MSGR25 BERN,D/BREATHE Compact Disc 632662102527632662102527 MSGR12 BERN,D/FLEETING DAYS Compact Disc 632662101223632662101223 MSGR19 BERN,D/MY COUNTRY II Compact Disc 632662101926632662101926 MSGR11 BERN,D/THE SWASTIKA EP Compact Disc 632662101124632662101124 568122 BERNADETE /ANNIE GET YOUR GUN Compact Disc 724355681225 724355681225 838582 BERNADETE /GYPSY ( 2003 BROADWA Compact Disc 724358385823 724358385823 4455382 BERNSTEIN / IPO/STRAVINSKY: PE Compact Disc 028944553826 0289445538267 24355 68122 5 7 24358 38582 35 099923 491427 7 24358 27002 00 28947 87163 7 0 28947 04132 0 0 28944 55382 60 28946 74792 67 24386 64750 4 0 28945 53612 56 00753 27457 67 31454 98262 70 44001 35092 46 02498 70458 5 6 19061 46292 6 8 05520 29008 14 015698 801927 8 23674 64222 88 29357 99212 3 6 32662 10112 46 32662 10122 3 6 32662 10192 66 32662 10252 78 718522 004292 7 86626 30702 9 0 18964 02272 30 89408 36062 67 24349 06969 5 8 01213 91109 7 0 13431 90082 5Catalogue Numb er Artist & Title Description Configuration Scannable UPC UPC 0734501 BERNSTEIN,L/BEETHOVEN:MISSA SO Digital Video Disc 044007345016 044007345016 0734498 BERNSTEIN,L/BEETHOVEN:SYMPHONI Digital Video Disc 044007344989 044007344989 4776697 BERNSTEIN,L/MOZART:THE LATE SY Compact Disc 028947766971 028947766971 B000306402 BERNSTEIN,L/THE BEST OF LEONAR Compact Disc 028947624622 028947624622 NPD85641 BERNSTEIN,L/TROUBLE IN TAHITI Compact Disc 032466564123 032466564123 4698292 BERNSTEIN/BERNSTEIN CONDUCTS B Compact Disc 028946982921 028946982921 0734170 BERNSTEIN/WP/SHOSTAKOVICH:SYMP Digital Video Disc 044007341704 044007341704 PRMCD2016 BERRY,C/YOW Compact Disc 805520290166 805520290166 FP002 BERUBE,M/THIS CHRISTMAS Compact Disc 775020690424775020690424 HATMAN2007 BIBB,E & LEON/FAM ILT AFFAIR Compact Disc 5038787200721 5038787200721 CD83619 BIBB,E/FRIENDS Compact Disc 089408361920 089408361920 B001508402 BIEBER,J/MY WORLDS ACOUSTIC Compact Disc 602527562452 602527562452 B002404302 BIEBER,J/PURPOSE(DLX) Compact Disc 602547576439 602547576439 B001437702 BIG BOI/SIR LUSCIOUS LEFT FOOT Compact Disc 602527400853 602527400853 TEG2432CD BIG NOYD/THE CODEFENDANTS V1 Compact Disc 829357243225829357243225 TEG2430CD BIG NOYD/THE STICK UP KID Compact Disc 829357243027829357243027 TEG2453CD BIG SHUG/OTHER SIDE OF THE GAM Compact Disc 829357245328829357245328 CDHBEA46 BIG YOUTH /MANIFESTATION Compact Disc 011661754621 011661754621 CDHBEA08 BIG YOUTH /THE CHANTING D Compact Disc 011661750821 011661750821 7884877828 BILL AND GAITHER,G/BILL GAITHE Compact Disc 617884877828 617884877828 MA250364 BILL,H/HUNGRY Compact Disc 5413992503643 5413992503643 3341446632 BIO-CANCER/TORMENTING THE INNO Compact Disc 803341446632 803341446632 682512 BIRD AND T/BIRD AND THE BEE,TH Compact Disc 094636825120 094636825120 059592 BIRD AND T/PLEASE CLAP YOUR HA Compact Disc EP's 5099950595921 5099950595921 9299090727 BIRDMONSTER/FROM THE MOUNTAIN Compact Disc 829299090727 829299090727 4696302 BIZET/CARMEN HIGHLIGHTS Compact Disc 028946963029 028946963029 2894582042 BIZET/CARMEN HI-LIGHTS/SOLTI Compact Disc 028945820422 028945820422 DUNA17CD BJORK,B & THE BROS/SOMERA SOL Compact Disc 829707001727829707001727 LERCD321048 BLACK BONZO/SOUND OF THE APOCA Compact Disc 763232104822 763232104822 TEG2434CD BLACK CHINEY/DRUMLINE RIDDIM T Compact Disc 8293572434238293572434230 28947 62462 2 0 94636 82512 06 17884 87782 86 02527 40085 36 02547 57643 90 28946 98292 10 28947 76697 1 0 28946 96302 96 02527 56245 2 0 28945 82042 28 03341 44663 20 32466 56412 3 5 038787 200721 5 413992 503643 8 05520 29016 6 8 29357 24302 78 29357 24322 5 8 29357 24342 38 29357 24532 87 75020 69042 4 8 29707 00172 78 29299 09072 7 7 63232 10482 20 11661 75082 10 11661 75462 10 89408 36192 0 5 099950 595921 0 44007 34170 40 44007 34498 90 44007 34501 6Catalogue Numb er Artist & Title Description Configuration Scannable UPC UPC 333039 BLACK CROWES,THE/FREAK'N'ROLL BLU RAY 801213330393 801213330393 200952 BLACK CROWES,THE/FREAK'N'ROLL Compact Disc 826992009520 826992009520 301519 BLACK CROWES,THE/FREAK'N'ROLL Digital Video Disc 801213015191 801213015191 VEGA24106 BLACK DIVAS/BLAC K DIVAS Compact Disc 619061410620 619061410620 MICR004CD BLACK PUSSY/ON BLONDE Compact Disc 633914028329 633914028329 OHH307822 BLACK SPADE/TO SERVE WITH LOVE Compact Disc 600353078222 600353078222 0881128062 BLACKALICIOUS/BLAZING ARROW Compact Disc Enhanced 008811280628 008811280628 B001261302 BLADE,B/MAMA ROSA Compact Disc 602517974579 602517974579 AC119CD BLAIS,J M/II Compact Disc 827590119123 827590119123 LEEDZ006 BLAK MADEEN/SACRED DEFENSE Compact Disc 197702000626197702000626 CDROUN0254 BLAKE, NORMAN &/BLIND DOG Compact Disc 011661025424 011661025424 CDROUN11505 BLAKE, NORMAN &/THE NORMAN AND Compact Disc 011661150522 011661150522 3793181 BLAKE,R/COCKTAILS AT DUSK A NO Compact Disc 602537931811 602537931811 214552 BLAKEY, AR/DRUMS AROUND THE CO Compact Disc 724352145522 724352145522 PVCD140 BLAKEY,A/HARD BOP Compact Disc 805520051408 805520051408 PROPERBOX132 BLAKEY,A/THE PRIME SOURCE Compact Disc 805520021326 805520021326 782732 BLANCHARD,/FLOW Compact Disc 724357827324 724357827324 4777453 BLECHACZ,R/HAYDEN/MOZART/BEETH Compact Disc 028947774532 028947774532 CDHBEA169 BLENDER, EVERTO/LI FT UP YOUR H Compact Disc 011661766921 011661766921 B000095602 BLIGE,M/LOVE & LIFE Compact Disc 602498606117 602498606117 MCSSD11619 BLIGE,M/SHARE MY WORLD Compact Disc 008811161927 008811161927 CDRWG107 BLIND BOYS OF ALABAMA,T/HIGHER Compact Disc 884108000854 884108000854 560282 BLIND GUAR/MEMORIES OF A TIME Compact Disc 5099995602820 5099995602820 374510 BLIND MELO/NICO Compact Disc 724383745104 724383745104 9284202 BLIND MELON/BLIND MELON SIPPIN Compact Disc 5099992842021 5099992842021 B000607877 BLINK182/GREATEST HITS (UMD) Universal Media Disc 602498897027 602498897027 4400538309 BLINK182/THE URETHRA CHRONI II Digital Video Disc 044005383096 044005383096 CDROUN3061 BLOCK, RORY /HIGH HEELED BL Compact Disc 011661306127 011661306127 CDROUN3097 BLOCK, RORY /I'VE GOT A ROC Compact Disc 011661309722 011661309722 CDROUN3085 BLOCK, RORY /RHINESTONES & Compact Disc 011661308527 0116613085278 01213 33039 3 7 24352 14552 2 7 24357 82732 4 5 099992 842021 7 24383 74510 46 02537 93181 1 0 28947 77453 28 26992 00952 0 5 099995 602820 6 02498 60611 7 0 08811 16192 76 02517 97457 96 19061 41062 0 6 33914 02832 9 8 84108 00085 48 05520 05140 8 8 05520 02132 61 97702 00062 66 00353 07822 2 8 27590 11912 3 0 11661 76692 10 11661 02542 4 0 11661 15052 2 0 11661 30612 7 0 11661 30852 70 11661 30972 20 08811 28062 88 01213 01519 1 0 44005 38309 66 02498 89702 7Catalogue Numb er Artist & Title Description Configuration Scannable UPC UPC 330199 BLONDIE/LIVE 1978 (DVD) Digital Video Disc 801213301997 801213301997 1763550 BLOOD RED SHOES/BOX OF SECRETS Compact Disc 602517635500 602517635500 BAI0262 BLUE LETTER/PRIMA FACIE Compact Disc 790168596629 790168596629 TSCD537 BLUE MURDER/NO ONE STANDS ALON Compact Disc 714822053723 714822053723 173002 BLUE NILE,THE/HAT S(DLX) Compact Disc 5099901730029 5099901730029 CDROUN11536 BLUE SKY BOYS /IN CONCERT, 19 Compact Disc 011661153622 011661153622 115372 BLUT AUS N/WORK WHICH TRANSFOR Compact Disc 803341153721 803341153721 122372 BLUT AUS NO/MEMORIA VETUSTA II Compact Disc 803341223721 803341223721 116842 BLUT AUS NORD/MORT Compact Disc 803341168428 803341168428 118532 BLUT AUS NORD/ULTIMA THULEE Compact Disc 803341185326 803341185326 CDROUN2077 BO, EDDIE /CHECK MR. POPE Compact Disc 011661207721 011661207721 SFH006 BOBNOXIOUS/HO HO HO Compact Disc 778980008216778980008216 B001120202 BOBO,W/BOBO MOTION Compact Disc 602517685734 602517685734 B000060102 BOBO,W/FINEST HOUR Compact Disc 602498072004 602498072004 4681532 BOCCHERINI/GUITAR QUINTETS Compact Disc 028946815328 028946815328 B000351302 BOCELLI,A/ANDREA Compact Disc 602498685303 602498685303 308892 BODEANS/HOMEBREWED:LIVE FROM Compact Disc 094633088924 094633088924 ESACD700006 BODY COUNT/MURDER 4 HIRE Compact Disc 878667000066 878667000066 TEG3306CD B OGGIE DOWN PROD/THE BEST OF T Compact Disc 829357330628829357330628 958472 B OGGUSS, S/ACES Co mpact Disc 077779584727 077779584727 CDFLY311 BOGLE, ERIC /SCRAPS OF PAPE Compact Disc 018964031121 018964031121 4783482 BOHM,K/DECCA OPERA WAGNER:GOTT Compact Disc 028947834823 028947834823 0170192 BOINE,M/8 SEASONS Compact Disc 044001701924 044001701924 0147602 BOINE,M/REMIXED Compact Disc 044001476020 044001476020 5454507662 BOLSHOI THEATRE/TCHAIKOVSKY/TH Compact Disc 654545076626654545076626 0734252 BOLT ON,I/MOZART:ZAIDE -2 DV D S Digital Video Disc 044007342527 044007342527 3761816 BOMBAY BICYCLE CLUB/SO LONG SE Compact Disc 602537618163 602537618163 4400533319 BON JOVI/THE CRUSH TOUR Digital Video Disc 044005333190 044005333190 B002564502 BON JOVI/THIS HOUSE IS NOT(DLX Compact Disc 602557129960 602557129960 B000201936 BON JOVI/THIS LEFT FEELS RIGHT SACD4Stereo/Surround/CDAud 602498616888 6024986168880 28947 83482 30 28946 81532 8 6 02557 12996 06 02537 61816 30 77779 58472 76 02517 63550 0 0 94633 08892 46 02498 68530 38 03341 15372 1 8 03341 16842 8 8 03341 18532 68 03341 22372 1 6 02517 68573 4 6 02498 07200 4 0 44001 70192 4 0 44001 47602 07 14822 05372 3 8 29357 33062 8 6 54545 07662 67 78980 00821 67 90168 59662 9 8 78667 00006 65 099901 730029 0 18964 03112 10 11661 15362 2 0 11661 20772 1 0 44007 34252 78 01213 30199 7 0 44005 33319 0 6 02498 61688 8Catalogue Numb er Artist & Title Description Configuration Scannable UPC UPC B001188402 BONFA,L/PLAYS AND SI NGS BOSSA Compact Disc 602517823938 602517823938 B001126602 BONFA,L/THE BRAZILIAN SCENE Compact Disc 602517690790 602517690790 OHMCD004 BOOGIEWALL/SUPER MY OWN BAND C ompact Disc 634479983221 634479983221 MPSCD8552 BOOKER T. & MG'S /MCLEMORE AVEN Compact Disc 025218855228 025218855228 UMMC81122 BOONE,P/ULTIMATE LEGENDS Compact Disc 778325811228 778325811228 1166121662 BOOZOO CHAVIS/DOWN HOME ON DOG Compact Disc 011661216624 011661216624 4808139 BORKH ,I/LONDON SYM/OPERATIC RE Compac t Disc 028948081394 028948081394 3AQ76763 BORN JAMERICANS/KID S FROM FORE Compact Disc 081227676322081227676322 3AQ76764 BORN JAMERICANS/YARDCORE Compact Disc 081227676421081227676421 B002266902 BORNS/CANDY(HMV EXCL/CD EP) Compact Disc EP's 602547196736 602547196736 4366512 BORODIN/BORODIN SYMPHONY COMPL Compact Disc 028943665124 028943665124 PROPERBOX112 BOSTIC,E/THE EAR L BOSTIC STORY Compact Disc 805520021128 805520021128 PROPERBX5112 BOSTIC,E/THE EARL BOSTIC(4 CD Compact Disc 805520221122 805520221122 B000306002 BOSTON POPS THE/THE BEST OF TH Compact Disc 028947622154 028947622154 4791081 BOSTON SYMP/STEINBERG/STRAUSS BLU RAY AUDIO 028947910817 028947910817 XXICD21561 BOTTENBERG,W/WOLFGANG BOTTENBE Compact Disc 722056156127 722056156127 XXICD21626 BOUCHER,J & ROBERT,A/VIOLIN AN Compact Disc 722056162623 722056162623 XXICD21716 BOUCHER,J/MUSIQUE FRANCAISE PO Compact Disc 722056171625 722056171625 XXICD21718 BOUCHER,J/VAR:ITINERAIRE Compact Disc 722056171823 722056171823 XXICD21720 BOUCHER,J/WIDOR:INTEGRALE DES Compact Disc 722056172028 722056172028 XXICD21705 BOUCHER,M/DUPARC:INTEGRALE DES Compact Disc 722056170529 722056170529 XXICD21504 BOUCHER,M/FAURE Compact Disc 722056150422 722056150422 XXICD21590 BOUCHER,M/GODIN,O/LES FLEURS D Compact Disc 722056159029 722056159029 XXICD21473 BOUCHER,M/REYNALDO HAHN Compact Disc 722056147323 722056147323 XXICD21570 BOUCHER,M/THEODORE DUBOIS Compact Disc 722056157025 722056157025 CDFLY527 BOULDING, PHILI/HARP -- SONG F Compact Disc 018964052720 018964052720 CDFLY091 BOWERS, BRYAN /HOME, HOME ON Compact Disc 018964009120 018964009120 826811000127 BOY/BOY Compact Disc 826811000127826811000127 1166181442 BOYNTON,S/BLUE MOO:17 JUKEBOX Compact Disc 011661814424 011661814424 1166181212 BOYNTON,S/RHINOCEROS TAP Compact Disc 011661812123 0116618121230 28947 91081 70 28947 62215 40 28948 08139 4 0 28943 66512 46 02517 69079 06 02517 82393 8 7 22056 17052 97 22056 17162 5 7 22056 17182 3 7 22056 17202 8 7 22056 14732 37 22056 15042 27 22056 15612 7 7 22056 15702 57 22056 15902 97 22056 16262 38 05520 22112 28 05520 02112 8 8 26811 00012 70 81227 67632 2 0 81227 67642 17 78325 81122 80 25218 85522 8 0 11661 21662 4 0 11661 81212 30 11661 81442 40 18964 00912 00 18964 05272 06 34479 98322 1 6 02547 19673 6Catalogue Numb er Artist & Title Description Configuration Scannable UPC UPC CDROUN5026 BOYOYO BOYS /BACK IN TOWN Compact Disc 011661502628 011661502628 CDROUN5036 BOYOYO BOYS /TJ TODAY Compact Disc 011661503625 011661503625 3145308192 BOYZ-II-MEN/EVOLUTION Compact Disc 731453081925 731453081925 PVCD101 BRADSHAW,T/BREAKIN'UP THE HOUS Compact Disc 805520051019 805520051019 BDMB02 BRAGG,M/BEAR MUSIC Compact Disc 653496111127653496111127 4334772 BRAHMS&MAHLER/ALTO RHAPSODY, V Compact Disc 028943347723 028943347723 4696582 BRAHMS/GERMAN REQUIEM Compact Disc 028946965825 028946965825 4376452 BRAHMS/SYM 3,4/KARAJAN Compact Disc 028943764520 028943764520 4317902 BRAHMS/SYMPHONY 1 Compact Disc 028943179027 028943179027 4705192 BRAHMS/THE PIANO CONCERTOS;VAR Compact Disc 028947051923 028947051923 4681722 BRAHMS/VIOLIN CONCERTO Compact Disc 028946817223 028946817223 MLM001 BRAIDED/CASEY,ASHLEY AND AMBER Compact Disc 653496114920653496114920 9820898 BRANCO,C/ULISSES Compact Disc 602498208984 602498208984 5454508502 BRAND,O/OSCAR BRAND Compact Disc 654545085024654545085024 74321899522 BRANDT,P/SMALL TOWN & BIG DREA Compact Disc 743218995224743218995224 5318394 BRANT,M/MASTER SERIE Compact Disc 600753183946 600753183946 9826252 BRASSENS,G/ELLE EST A TOI CETT Digital Video Disc 602498262528 602498262528 8342292 BRASSENS,G/MASTER SERIE 2003 V Compact Disc 042283422926 042283422926 5863522 BRASSENS,G/SUPPLIQUE POUR ETRE Compact Disc 731458635222 731458635222 B000652102 BRATZ/GENIE MAGIC Compact Disc 602498544129 602498544129 CDROUN9019 BRAVE COMBO /HUMANSVILLE Compact Disc 011661901926 011661901926 B000828302 BRAVERY,THE/THE SUN AND THE MO Compact Disc 602517175570 602517175570 DPTDV269 BRAVO,L/FOREVER TANGO LIVE(DVD Digital Video Disc 796539026962 796539026962 2061626532 BREAKING BENJAMIN/PHOBIA Compact Disc 720616265326 720616265326 HUCD3095 BRECKER,M/PILGRIMAGE Compact Disc 053361309527 053361309527 PPCD09 BREIT,K/BURNT BULB ON BROADWAY Compact Disc 676868140228676868140228 9810519 BREL,J/COMME QUAND ON ETAIT BE Digital Video Disc 602498105191 602498105191 54774913 BREL,J/OLYMPIA 1964 1966(2CD) Compact Disc 602547749130 602547749130 4757185 BRENDEL,A/BRENDLE PLAYS HAYDEN Compact Disc 028947571858 028947571858 XXICD21445 BRENDEL,A/L'ARBE DE NOEL-THE C Compact Disc 722056144520 7220561445200 28943 34772 3 0 28943 17902 70 28943 76452 0 0 28946 81722 30 28946 96582 5 6 02498 20898 4 7 20616 26532 66 02517 17557 00 28947 05192 37 31453 08192 5 0 28947 57185 80 42283 42292 6 6 02547 74913 06 00753 18394 6 7 31458 63522 2 6 02498 54412 9 7 22056 14452 08 05520 05101 9 7 43218 99522 46 54545 08502 4 6 76868 14022 86 53496 11112 7 6 53496 11492 00 11661 50262 8 0 11661 50362 5 0 11661 90192 6 0 53361 30952 7 6 02498 10519 16 02498 26252 8 7 96539 02696 2Catalogue Numb er Artist & Title Description Configuration Scannable UPC UPC 0734146 BRENDEL,A/LISZT:ANNEES DE PELE Digital Video Disc 044007341469 044007341469 4757050 BRENDEL/ASMIF/MARRINE R/MOZART; Compact Disc 028947570509 028947570509 FCD30030 BRICKELL,E & NEW BO HEMIANS/STR Compact Disc 888072300309 888072300309 SLG17705 BRICKMAN,J/HOMECOMING-DELUXE CD with DVD 795041770523 795041770523 DIS613807 BRICKMAN,J/JIM BRICKMAN AT THE Compact Disc 050086138074 050086138074 736712 BRIGHTMAN,/DIVA: THE SINGLES C Compact Disc 094637367124 094637367124 778949A BRIGHTMAN,/LA LUNA - LIVE IN C Digital Video Disc 724347789496 724347789496 578012 BRIGHTMAN,/LIVE FROM LAS VEGAS Compact Disc 724355780126 724355780126 8415632 BRIGHTMAN,S/AS I CAME OF A Compact Disc 042284156325 042284156325 B000557002 BRIGHTMAN,S/LOVE CHANGES EVERY Compact Disc 602498742822 602498742822 4174282 BRITTEN/BILLY BUDD Compact Disc 028941742827 028941742827 4256722 BRITTEN/TURN OF T SCREW/PEARS Compact Disc 028942567221 028942567221 MAGE0009 BROBDINGNAGIAN BARDS/MEMORIES Compact Disc 806747000927806747000927 MAGE0008 BROBDINGNAGIAN BARDS/SONGS OF Compact Disc 806747000828806747000828 CDROUN3110 BROMBERG, DAVID/SIDEMAN SERENA Compact Disc 011661311022 011661311022 1167131179 BROMBERG,D & HIS BIG BAND/IN C Digital Video Disc 011671311791 011671311791 B002059102 BROODS/EVERGREEN Compact Disc 602537802463 602537802463 600124 BROOKS,G/BLAME IT ALL ON(6CD+2 CD with DVD 854206001244 854206001244 CDBEYE9521 BROWN, CHARLES /JUST A LUCKY S Compact Disc 011661952126 011661952126 138912 BROWN, CLA/BLACKJACK Compact Disc 015891389127 015891389127 233732 BROWN, CLI/BEST OF,THE Compact Disc 724382337324 724382337324 INTROCD2023 BROWN,C/A PROPER INTRO TO:CLIF Compact Disc 805520060233 805520060233 PROPERBOX86 BROWN,C/JOY SPRING Compact Disc 805520020862 805520020862 3145898452 BROWN,C/THE DEFINITIVE CLIFFOR Compact Disc 731458984528 731458984528 RCL2016 BROWN,D/REGGAE CLASSICS Compact Disc 609955201625609955201625 3145488342 BROWN,F/BROKEN SILENCE Compact Disc 731454883429 731454883429 3145891702 BROWN ,I/MUSIC OF THE SPH ERES Compac t Disc 731458917021 731458917021 B002124502 BROWN,J/5 CLASSIC ALBUMS(5CD Compact Disc 602537921614 602537921614 B000904402 BROWN,J/JAZZ Compact Disc 602517346871 602517346871 B000851002 BROWN,J/THE SINGLES VOL.2-1960 Compact Disc 602517236455 6025172364558 54206 00124 47 95041 77052 3 0 94637 36712 4 7 24355 78012 6 7 24382 33732 46 02537 80246 36 02498 74282 2 0 28942 56722 10 28941 74282 7 7 31454 88342 90 28947 57050 9 0 50086 13807 4 6 02517 23645 56 02537 92161 47 31458 91702 1 6 02517 34687 10 42284 15632 5 7 31458 98452 88 05520 06023 3 8 05520 02086 2 6 09955 20162 58 06747 00082 88 06747 00092 78 88072 30030 9 0 15891 38912 70 11661 95212 60 11661 31102 27 24347 78949 60 44007 34146 9 0 11671 31179 1Catalogue Numb er Artist & Title Description Configuration Scannable UPC UPC PRPCD055 BROWN,P & RYAN,P/ROAD OF COBRA Compact Disc 805520030557 805520030557 CCDCD1027 BROWN,R TRIO/SUMMER WIND-LIVE SACD4Stereo/Surround/CDAud 013431102762 013431102762 CDROUN3119 BROZMAN, BOB /A TRUCKLOAD OF Compact Disc 011661311923 011661311923 CDROUN11557 BROZMAN, BOB /DEVIL'S SLIDE Compact Disc 011661155725 011661155725 PVCD132 BRUBECK,D/EARLY CONCEPTS Compact Disc 805520051323 805520051323 PROPERBOX90 BRUBECK,D/TIME WAS Compact Disc 805520020909 805520020909 CD80244 BRUCKNER/SYM 4/LOPEZ-COBOS Compact Disc 089408024429 089408024429 CD80299 BRUCKNER/SYM 9/LOPEZ-COBOS Compact Disc 089408029929 089408029929 300407 BRYANT,T/WILD CHILD Compact Disc 852623004077 852623004077 4388232 BRYARS/JESUS BLOOD FAILED ME Compact Disc 028943882323 028943882323 MRCD6530 BRYSON,J & THE WEAKERTHANS/THE Compact Disc 823674653026823674653026 8360132 BUARQUE, CHICO /CONSTRUCAO Compact Disc 042283601321 042283601321 B000114702 BU BBA SPAR XXX/DELIVERANCE Compact Disc 602498608029 602498608029 1166132322 BUCARO,C/SENSE OF LIGHT Compact Disc 011661323223 011661323223 MA250347 BUCHANAN,R/SHAKE, RA TTLE AND R Compact Disc 5413992503476 5413992503476 1166116022 BUCKWHEAT ZYDECO/BUCK WHEAT'S Z Compact Disc 011661160224 011661160224 B000050502 BUDDEN,J/JOE BUDDEN Compact Disc 044007737521 044007737521 MCAMD11247 BUFFETT JIMMY /BAROMETER SOUP Compact Disc 008811124724 008811124724 MCAD31168 BUFFETT JIMMY /SOMEW HERE OVER Compact Disc 076731116822 076731116822 MRBCD039 BUKKY LEO/BLACK EGYPT/AFROBEAT Compact Disc 50240170008275024017000827 4791077 BUMBRY,GRACE/RADIO/STRAVINSKY BLU RAY AUDIO 028947910770 028947910770 BAI0172 BURDEN OF A DAY/PILOTS AND PAP Compact Disc 790168538827 790168538827 CDROUN2053 BURKE, SOLOMON /A CHANGE IS GO Compact Disc 011661205321 011661205321 8488782 BURNING SPEAR /HARDER THAN TH Compact Disc 042284887823 042284887823 CDHBEA22 BURNING SPEAR /THE FITTEST OF Compact Disc 011661752221 011661752221 PRCD24025 BURRELL,K/ALL DAY LONG,ALL NIG Compact Disc 888072240254 888072240254 CCD2278 BURRELL,K/BALLAD ESSENTIALS Compact Disc 013431227823 013431227823 NJSA8276 BURRELL,K/KENNY BURRELL AND JO SACD4Stereo/Surround/CDAud 025218731461 025218731461 5405532 BURTON, JAMES /THE GUITAR SOU Compact Disc 731454055321 731454055321 4400141952 BURTON,G/RARUM-SELECTE D RECORD Compact Disc 044001419522 0440014195220 28947 91077 00 28943 88232 3 0 44007 73752 1 0 44001 41952 26 02498 60802 9 0 42284 88782 30 08811 12472 4 0 76731 11682 2 7 31454 05532 10 42283 60132 1 5 413992 503476 8 05520 02090 98 05520 05132 38 05520 03055 7 8 23674 65302 6 5 024017 000827 7 90168 53882 78 52623 00407 7 0 13431 22782 38 88072 24025 40 11661 16022 40 11661 32322 3 0 11661 75222 10 11661 15572 5 0 11661 20532 10 11661 31192 3 0 89408 02442 9 0 89408 02992 9 0 25218 73146 10 13431 10276 2Catalogue Numb er Artist & Title Description Configuration Scannable UPC UPC 277722 BUSH, KATE/DIRECTOR'S CUT Compact Disc 5099902777221 5099902777221 CDROUN0195 BUSH, SAM /LATE AS USUAL Compact Disc 011661019522 011661019522 277732 BUSH,K/DIRECTOR'S CUT(DLX. Compact Disc 5099902777320 5099902777320 B000674802 BUSTA RHYMES/THE BIG BANG Compact Disc 602498784365 602498784365 TEG76520CD BUSY BEE/RUNNING THANGS Compact Disc 829357652027829357652027 CDBEYE9518 BUTLER, GEORGE /THESE MEAN OLD Compact Disc 011661951822 011661951822 3781283 BUTLER,H AND BER/VIPER'S DR(DI Compact Disc 602537812837 602537812837 CDHBEA208 BYLES, JUNIOR /CURLY LOCKS: T Compact Disc 011661770829 011661770829 MWM5916 BYNUM,J/THE PLUMBLINE(LIFE UND Compact Disc 879645007916 879645007916 CCDCD4715 BYRD,C & ELLIS,H & LOW,M/RETUR Compact Disc 013431471523 013431471523 CCDCD4779 BYRD,C/AU COURANT Compact Disc 013431477921 013431477921 4775910 CABALLE,M/STRAUSS:SCENES FROM Compact Disc 028947759102 028947759102 ESACD700005 CACTUS/V Compact Disc 878667000059 878667000059 4776572 CAFE DO LOS MAESTROS/CAFE DE L Compact Disc 028947765721 028947765721 B001765802 CAFE TACVBA/EL OBJETO ANTES LL Compact Disc 602537179510 602537179510 TEG4514 CAGE/MOVIES FOR THE BLIND Compact Disc 829357451422829357451422 MOSUSR02CD CALDWELL,A/OBSESSION Compact Disc 844711001624 844711001624 OM063 CALDWELL,A/SOUNDS OF OM 2 Compact Disc 600353006324 600353006324 MSR10500 CALL THE COPS/CALL THE COPS! Compact Disc 602527413037 602527413037 XXICD21430 CALLAS,M/RECITAL MONTREAL 1974 Compact Disc 722056143028 722056143028 CCDCD4856 CALLE,E/SUNSET HARBOR Compact Disc 013431485629 013431485629 CCDCD4942 CALLE,E/TWILIGHT Compact Disc 013431494225 013431494225 XXICD21592 CALLENDER,C/MESSE DU PARDON Compact Disc 722056159227 722056159227 INTROCD2007 CALLOWAY,C/A PROPER INTRO TO:C Compact Disc 805520060073 805520060073 5773320 CALOGERO/LIBERTE CHERIE Compact Disc 602557733204 602557733204 SFI9505 CAMP LO/ANOTHER HEIST Compact Disc 156871950521156871950521 315472 CAMP,J/I STILL BELIEVE THE NUM Compact Disc 5099973154723 5099973154723 014022 CAMP,J/RECKLESS Compact Disc 5099930140226 5099930140226 5454508282 CAMPBELL,G&FRIENDS/ANTHOLOGY O Compact Disc 654545082825654545082825 B000182502 CAMPBELL,G/LOVE IS THE ANSWER Compact Disc 602498615317 6024986153175 099930 140226 5 099973 154723 0 28947 75910 26 02498 78436 5 6 02537 81283 7 6 02537 17951 0 6 02498 61531 70 28947 76572 1 6 02527 41303 7 6 02557 73320 47 22056 14302 8 7 22056 15922 7 8 05520 06007 3 1 56871 95052 18 29357 65202 7 6 54545 08282 58 29357 45142 2 6 00353 00632 48 79645 00791 6 8 44711 00162 40 13431 47152 3 0 13431 47792 1 0 13431 48562 9 0 13431 49422 55 099902 777221 5 099902 777320 8 78667 00005 90 11661 95182 2 0 11661 77082 90 11661 01952 2Catalogue Numb er Artist & Title Description Configuration Scannable UPC UPC CDFLY518 CAMPI, RAY /W ITH FRIENDS I Compact Disc 018964051822 018964051822 4808141 CAMPORA,G/ORCH/OPERATIC RECITA Compact Disc 028948081417 028948081417 3145403722 CANO/AU NORD DE NOTRE VIE Compact Disc 731454037228 731454037228 3145403712 CANO/TOUS DANS L'ME ME BATEAU Com pact Disc 731454037129 731454037129 QMG10052 CANTOMA/CANTOMA Compact Disc 182784100524182784100524 B000569002 CANYON,G/HOME FOR CHRISTMAS Compact Disc 602498870006 602498870006 B000315902 CANYON ,G/ONE GOOD FRIE ND Compac t Disc 602498633557 602498633557 PTV08 CAPITOL YEARS,THE/DA NCE AWAY T Compact Disc 723721239459723721239459 CDFLY329 CARAWAN, GUY & /APPALACHIAN AN Compact Disc 018964032920 018964032920 3145235562 CARDIGANS/LIFE Compact Disc 731452355621 731452355621 LAM33837 CARDIO FEVER Digital Video Disc 619061383733 619061383733 LAM33735 CARDIO LATINO Digital Video Disc 619061373536 619061373536 B001333402 CAREY,M/3CD COLLECT ORS SET Compact Disc 602527157382 602527157382 721332B CARLEBACH,/AT THE VILLAGE GATE Compact Disc 015707213325 015707213325 EDMTDVD001 CARLISLE,B/LIVE FROM ME(DVD+CD DVD + BNS CD 5014797890121 5014797890121 B000694902 CARLTON,L/BEST OF Compact Disc 602498586396 602498586396 0694933072 CARLTON,V/BE NOT NOBODY Compact Disc 606949330729 606949330729 4776606 CARMIGNOLA,G/CONCERTO ITALIANO Compact Disc 028947766063 028947766063 ETLCD96 CARNIVORE/CARNIVORE(DLX) Compact Disc 741812913996 741812913996 RKG3360302 CAROLE,C/PEARLS:SONGS OF GOFFI Compact Disc 888072336032 888072336032 0694932589 CARPENTERS/GOLD-GREATEST HITS Digital Video Disc 606949325893 606949325893 7502166012 CARPENTERS/YESTERDAY O NCE MORE Compact Disc 075021660120 075021660120 CDFLY644 CARR, JOE & ALA/WINDY DAYS AND Compact Disc 018964064426 018964064426 XXICD21664 CARRE,A/COMPLETE WORKS FOR GUI Compact Disc 722056166423 722056166423 925472 CARTER, RO/DEAR MILES (INTL.VE Compact Disc 094639254729 094639254729 9824012 CARTER,B/LIVE IN MONTREAL Digital Video Disc 602498240120 602498240120 PROPERBOX68 CARTER,B/THE MU SIC MASTER Compact Disc 805520020688 805520020688 4400655542 CARTER,R/PAGANINI:AFTER A DREA Compact Disc 044006555423 044006555423 3145471772 CARTER,R/RHYTHMS OF T HEART Compact Disc 731454717724 731454717724 B000454402 CARTERFAMILY/BEST OF THE CARTE Compact Disc 602498814017 602498814017 6 02498 81401 70 75021 66012 06 06949 33072 9 0 28947 76606 3 0 94639 25472 90 28948 08141 7 6 02498 58639 66 02527 15738 26 02498 87000 6 6 02498 63355 7 7 31452 35562 17 31454 03712 97 31454 03722 8 0 44006 55542 3 7 31454 71772 47 22056 16642 3 8 05520 02068 87 23721 23945 91 82784 10052 4 8 88072 33603 20 15707 21332 5 7 41812 91399 60 18964 03292 00 18964 05182 2 0 18964 06442 66 06949 32589 3 6 02498 24012 06 19061 37353 66 19061 38373 3 5 014797 890121 Catalogue Numb er Artist & Title Description Configuration Scannable UPC UPC TSCD571 CARTHY,E/DREAMS OF BREATHING Compact Disc 714822057127 714822057127 TSCD482 CARTHY,E/HEAT LIGHT & SOUND Compact Disc 5016272482029 5016272482029 TSCD489 CARTHY,E/KINGS OF CALICUTT Compact Disc 714822048927 714822048927 TSCD493 CARTHY,E/RED Compact Disc 714822049320 714822049320 TSCD494 CARTHY,E/RICE Compact Disc 714822049429 714822049429 TSCD554 CARTHY,E/ROUGH MUSIC Compact Disc 714822055420 714822055420 HPO6005 CARTHY,E/THE DEFINI TIVE COLECT Compact Disc 714822600521 714822600521 TSCD750 CARTHY,M/A COLLECTION Compact Disc 714822075022 714822075022 TSCD340 CARTHY,M/MARTIN CARTHY Compact Disc 5016272340022 5016272340022 TSCD452 CARTHY,M/RIGHT OF PASSAGE Com pact Disc 5016272452046 5016272452046 HPO6001 CARTHY,M/THE DEFI NITIVE COLLEC Compact Disc 714822600125 714822600125 SID014 CASE,P/PERALES,D/THAN K YOU ST. Compact Disc 793962000149 793962000149 TEG76526CD CASH MONEY & MAR VELOUS/WHERE'S Compact Disc 829357652621829357652621 427322 CASH, JOHN/GOSPEL MUSIC OF JOH Compact Disc 617884273224 617884273224 300529 CASH,J/BEHIND PRISON WALLS 197 Digital Video Disc 801213005291 801213005291 390329 CASH,J/BEHIND PRISON WALLS(CD+ CD with DVD 801213903290 801213903290 B000872702 CASH,J/BEST OF JOHNNY CASH V.2 Compact Disc 602517268784 602517268784 3020664882 CASH,J/THE ORIGINAL SUN SOUND Compact Disc 030206648829 030206648829 NSR063 CASKET LOTTERY/REAL FEAR Compact Disc 603111806327 603111806327 D2971 CASSIDY,D/GREATEST HITS LIV(DV Digital Video Disc 032031297197 032031297197 693522B CAVE/NICK/THE BA/THE AB(CD+DVD CD with DVD 724596935224 724596935224 693762B CAVE/NICK/THE BAD/T HE ASSASSIN Com pact Disc 724596937624 724596937624 694362 CAVE/NICK/WARREN/THE ROAD ORIG Compact Disc 724596943625 724596943625 MBDCD860113 CELESTIAL BLOODSHED/CURSED SCA Compact Disc 768586011321 768586011321 XXICD1723 CELIA,D/I TRIED Compact Disc 722056172325 722056172325 028099 CELTIC WOM/A CHRISTMAS CELEBRA Digital Video Disc 5099950280995 5099950280995 602342A CELTIC WOM/CELTIC WOMAN Compact Disc 724386023421 724386023421 CD80667 CELTICTENORS/REMEMBER ME Compact Disc 089408066726 089408066726 XXICD21647 CEYSSON,E/VERNEY,E/INSOLITE L' Compact Disc 722056164726 722056164726 4756149 CHACKSFIELD,F/BEYOND THE SEA/T Compact Disc 028947561491 0289475614918 01213 90329 0 7 24596 93522 46 02517 26878 4 7 24386 02342 16 17884 27322 4 0 28947 56149 17 22056 17232 5 7 22056 16472 67 14822 04942 9 7 93962 00014 97 14822 60012 57 14822 60052 1 5 016272 340022 5 016272 452046 5 016272 482029 7 14822 04892 7 7 14822 04932 0 7 14822 05542 07 14822 05712 7 7 14822 07502 2 8 29357 65262 1 6 03111 80632 7 7 24596 93762 4 7 24596 94362 5 7 68586 01132 1 0 89408 06672 60 30206 64882 9 5 099950 280995 8 01213 00529 1 0 32031 29719 7Catalogue Numb er Artist & Title Description Configuration Scannable UPC UPC 4441342 CHAILLY / OTCB /ROSSINI: MESSE Compact Disc 028944413427 028944413427 4756939 CHAILLY,R/CHAILLY IN LEIPZIG Compact Disc 028947569398 028947569398 4783470 CHAILLY,R/DECCA OPER A VERDI:MA Compact Disc 028947834700 028947834700 B001328002 CHAILLY,R/MENDELSSHON :PIANO CO Compact Disc 028947815259 028947815259 4757722 CHAILLY,R/PUCCINI:ORCHESTRAL M Compact Disc 028947577225 028947577225 4737672 CHAILLY,R/VERDI DISCOVERIES Compact Disc 028947376729 028947376729 0249833381 CHALKCIRCLE/BEST OF Compact Disc 602498333815 602498333815 INTROCD2071 CHALOFF,S/A PROPER INTRO TO:SE Compact Disc 805520060714 805520060714 651442 CHAMBERS, /QUINTET/RVG SERIES Compact Disc 5099926514420 5099926514420 SAB009 CHAMPION/CHILL'EM ALL Compact Disc 777078911209777078911209 CDRWG24 CHANDRA,S/WEAVING MY ANCESTORS Compact Disc 884108002421 884108002421 5711483 CHAPLIN,T/THE WAVE(DLX) Compact Disc 602557114836 602557114836 121732D CHAPMAN, S C/ICON Compact Disc 5099991217325 5099991217325 TSQ2530 CHAPMAN,M/TRAINSONG:GUITAR COM Compact Disc 894807002530 894807002530 606692 CHARLAP, B/BILL CHARLAP PLAYS Compact Disc 724386066923 724386066923 COS33332 CHARLES,R/IN CONCERT-RECORDED Digital Video Disc 619061333233 619061333233 PROPERBOX133 CHARLES,R/THE WAY I FEEL(4CD S Compact Disc 805520021333 805520021333 PROPERBX5133 CHARLES,R/THE WAY I FEEL(4CD) Compact Disc 805520221337 805520221337 UMMC32542 CHARLES,R/ULTIMATE LEGENDS Compact Disc 778325325428 778325325428 4756528 CHAUSSON/SYMPHONY IN B FLAT;PO Compact Disc 028947565284 028947565284 CDROUN2069 CHAVIS, BOOZOO /ZYDECO LIVE!, Compact Disc 011661206922 011661206922 CCDCD4837 CHEATHAM, J/HERITAGE SERIES:JE Compact Disc 013431483724 013431483724 GEBBD24164 CHER /CHER Compact Disc 720642416426 720642416426 540772C CHERISH/UNAPPRECIATED Compact Disc 094635407723 094635407723 638232 CHERRY, DO/SYMPHONY FOR IMPROV Compact Disc 724356382329 724356382329 138722 CHESAPEAKE/PIER PRESS URE Compact Disc 015891387222 015891387222 DRND70006 CHESTNUTT,M/THANK GOD FOR BELI Compact Disc 008817000626 008817000626 390939 CHIC W/RODGERS,N/LIVE AT MONTR Digital Video Disc 801213909391 801213909391 CAMO008 CHICHARONES,T/PORK RIND DISCO Compact Disc EP's 655035000824655035000824 CAMO009 CHICHARONES,T/WHEN PIGS FLYLY Compact Disc 6550350009236550350009236 02498 33381 5 7 24356 38232 97 24386 06692 35 099926 514420 0 94635 40772 35 099991 217325 0 28947 56528 40 28947 83470 00 28947 56939 80 28944 41342 7 0 28947 57722 5 0 28947 37672 90 28947 81525 9 0 08817 00062 67 20642 41642 66 02557 11483 68 84108 00242 18 05520 06071 4 8 05520 02133 3 8 05520 22133 77 77078 91120 9 6 55035 00092 37 78325 32542 88 94807 00253 0 0 15891 38722 20 13431 48372 40 11661 20692 2 6 55035 00082 48 01213 90939 16 19061 33323 3Catalogue Numb er Artist & Title Description Configuration Scannable UPC UPC RRR001 CHICKENS,THE/BRING IT ON Compact Disc 777320117526777320117526 FLN00915 CHIEF/COLLABO COLLECTION Compact Disc 764011091524764011091524 131022B CHIPMUNKS,/CHIPMUNKS SING THE Compact Disc 5099921310225 5099921310225 870202C CHIPMUNKS,/CHRISTMAS WITH THE Compact Disc 5099908702029 5099908702029 429612 CHLOE (CEL/WALKING IN THE AIR Compact Disc 094634296120 094634296120 61310722 CHOIR VANDALS/COLLE CTION Compact Disc 612851595125 612851595125 002 CHOKLATE/CHOKLATE Compact Disc 844185011730 844185011730 4646942 CHOPIN,F/THE NOCTURNES NO.1-14 Compact Disc 028946469422 028946469422 4461452 CHOPIN/BEST OF CHOPIN Compact Disc 028944614527 028944614527 4775430 CHOPIN/COMPLETE POLONAISES Compact Disc 028947754305 028947754305 4480862 CHOPIN/MAZURKAS Compact Disc 028944808629 028944808629 4693502 CHOPIN/NOCTURNES,WALTZES,BALLA Compact Disc 028946935026 028946935026 ISBCD5107 CHOQUETTE,N/AETERNA Compact Disc 620323510729 620323510729 ISBDVD002 CHOQUETTE,N/LA DIVA Digital Video Disc 619061366835 619061366835 ISBCD5086 CHOQUETTE,N/LA DIVA ET LE MAES Compact Disc 620323508627 620323508627 ISBCD5097 CHOQUETTE,N/LE NOEL DE LA DIVA Compact Disc 620323509723 620323509723 ISBCD5112 CHOQUETTE,N/LUX AETERNA,LA TRI Compact Disc 619061347629 619061347629 ISBCD5109 CHOQUETTE,N/ROMANTICA Compact Disc 620323510927 620323510927 ISBACD5118 CHOQUETTE,N/TE RRA BELLA Compact Disc 619061382521 619061382521 ISBCD5114 CHOQUETTE,N/TERRA MIA! Compact Disc 619061371327 619061371327 5454507182 CHORDS/THE GARDEN AROUNF THE M Compact Disc 654545071829654545071829 775482 CHRISTY, J/JANE'S GOT RHYTHM Compact Disc 724347754821 724347754821 ETLCD86 CHRONOSPHERE/EMBRACING OBLIVIO Compact Disc 784672294089 784672294089 3737558 CHTHONIC/BU-TIK Compact Disc 602537375585 602537375585 2772782 CHTHONIC/SEEDIQ BALE Compact Disc 602527727820 602527727820 TWO22322 CHUCK BERRY/BO DID/THE ULT(2CD Compact Disc 778325223229 778325223229 OMM307732 CHUCK LOVE/BRING ENOUGH TO SPI Compact Disc 600353077324 600353077324 FRANMCD33 CHUMBAWAMBA/ABCDEFG (CD) Compact Disc 5020393903325 5020393903325 XXICD21682 CHUNG,L/SAINT-SAENS:PIANO TRAN Compact Disc 722056168229 722056168229 MA251114 CINDERELLA/CAUGHT IN THE ACT CD with DVD 5413992511143 5413992511143 5 413992 511143 7 24347 75482 15 099921 310225 5 099908 702029 0 28946 93502 60 28947 75430 5 0 28944 80862 90 28946 46942 2 0 28944 61452 7 6 02527 72782 06 02537 37558 50 94634 29612 0 6 20323 50862 7 6 20323 50972 3 6 19061 38252 16 20323 51072 9 6 20323 51092 76 19061 34762 9 6 19061 37132 7 7 22056 16822 98 44185 01173 0 5 020393 903325 7 64011 09152 4 6 54545 07182 97 77320 11752 6 7 78325 22322 9 6 00353 07732 46 12851 59512 5 7 84672 29408 96 19061 36683 5Catalogue Numb er Artist & Title Description Configuration Scannable UPC UPC UMMC81142 CINDERELLA/LIVE Compact Disc 778325811426 778325811426 B000400209 CINDERELLA/ROCKED, WIRED AND B Digital Video Disc 075021036024 075021036024 CDSMC100072 CIRQUE DU SOLEIL /ALEGRIA Compact Disc 874751000172 874751000172 CDSMCJ100222 CIRQUE DU SOLEIL/LE BEST OF Compact Disc 874751000134 874751000134 CDSMC100102 CIRQUE DU SOLEIL /QUIDAM Compact Disc 874751000103 874751000103 CDSMCD100212 CIRQUE DU SOLEIL/S OLARIUM/DELI Compact Disc 874751000127 874751000127 CDSMCD100192 CIRQUE DU SOLEIL /TAPIS ROUGE Compact Disc 874751000066 874751000066 CDSMCJ100232 CIRQUE DU SOLEIL /ZUMANITY Compact Disc 874751000264 874751000264 CDS33685 CIRQUE DU SOLEIL:CORTEO Digital Video Disc 619061368532 619061368532 CDS33365 CIRQUE DU SOLEIL:FIRE WIT Digital Video Disc 619061336531 619061336531 CDS33600 CIRQUE DU SOLEIL:LA NOUBA Digital Video Disc 619061360031 619061360031 CDS33366 CIRQUE DU SOLEIL:SANS FIL Digital Video Disc 619061336630 619061336630 CDS33367 CIRQUE DU SOLEIL:SOLEIL DE MIN Digital Video Disc 619061336739 619061336739 CDSMCJ100132 CIRQUEDUSOLEI L/"O" Compact Disc 874751000288 874751000288 CDSMCJ100252 CIRQUEDUSOLEIL/ CORTEO Compact Disc 874751000400 874751000400 CDSMCJ100262 CIRQUEDUSOLEIL/ DELIRIUM Compact Disc 874751000431 874751000431 CDSMCJ100162 CIRQUEDUSOLEIL/ DRALION Compact Disc 874751000158 874751000158 CDSMCJ100242 CIRQUEDUSOLEI L/KA Compact Disc 874751000387 874751000387 CDSMCJ100152 CIRQUEDUSOLEIL/ LA NOUBA Compact Disc 874751000301 874751000301 CDSMCJ100092 CIRQUEDUSOLEIL/MYSTERE LIVE Compact Disc 874751000011 874751000011 CDSMCJ100172 CIRQUEDUSOLEIL/VAREKAI Compact Disc 874751000257 874751000257 4400631002 CKY/INFILTRATE,DESTROY,R EBUILD Compact Disc Enhanced 044006310022 044006310022 3145471792 CLAPTON,E/BLUES Compact Disc 731454717922 731454717922 MA250168 CLARENCEGATEMOUTHBRO THERS/ROCK Compact Disc 5413992501687 5413992501687 MCAD20800 CLARK ROY & TRE/BANJO BANDITS Compact Disc 076742080020 076742080020 973672 CLARK, SON/SONNY'S CRIB Compact Disc 724349736726 724349736726 853552 CLARK, TER/LONG WAY HOME,THE Compact Disc 5099968535520 5099968535520 0254736060 CLARK,A/GREYHOUND(CDEP/HMV) Compact Disc EP's 602547360601 602547360601 0209700560 CLARK,C/COREY CLARK CD with DVD 802097005605 802097005605 PROPERBOX161 CLARK,S/SONNY ÂS CONCEPTION Compact Disc 805520021616 8055200216168 02097 00560 55 099968 535520 7 24349 73672 60 76742 08002 07 31454 71792 28 74751 00017 2 8 74751 00010 3 8 74751 00006 68 74751 00012 7 8 74751 00001 18 74751 00028 8 8 74751 00030 18 74751 00015 8 8 74751 00025 78 74751 00013 4 8 74751 00026 4 8 74751 00038 78 74751 00040 0 8 74751 00043 1 5 413992 501687 8 05520 02161 67 78325 81142 6 0 44006 31002 2 6 02547 36060 10 75021 03602 4 6 19061 33653 1 6 19061 33663 0 6 19061 33673 96 19061 36003 16 19061 36853 2Catalogue Numb er Artist & Title Description Configuration Scannable UPC UPC B000257902 CLARK,T/LIFE GOES ON Compact Disc 602498624227 602498624227 B001046502 CLARK,T/THE DEFINITIVE COLLECT Compact Disc 602517544970 602517544970 WRP1492 CLARK.BODY RIDDLE Compact Disc 801061014926801061014926 PROPERBOX120 CLARKE,K/KLOOK 'S THE MAN Compact Disc 805520021203 805520021203 4788 CLARKE,W/BLOWIN' LIKE HELL Compact Disc 014551478829014551478829 PVCD139 CLAYTON,B/SWINGIN'WITH BUCK Compact Disc 805520051392 805520051392 DC318822 CLAYTON-THOMAS,D/THE EVERGREEN Compact Disc 620673318822 620673318822 300779 CLEGG,J/LIVE!WITH SAVULKA & JA Digital Video Disc 801213007790 801213007790 CDFLY592 CLEMENTS, V/ONCE IN A WHILE Compact Disc 018964059224 018964059224 4757574 CLEVELANDQUARTET/SCHUBERT:TROU Compact Disc 028947575740 028947575740 B001815002 CLIFF JIMMY/THE KCRW SESSION Compact Disc 602537320363 602537320363 0253708100 CLIFF,J/REBIRTH Compact Disc 602537081004 602537081004 CDROUN1021 CLIFTON, BILL /THE EARLY YEAR Compact Disc 011661102125 011661102125 B001452702 CLINE,P/ICON (2CD) Compact Disc 602527438115 602527438115 MCABD1467 CLINE,P/REMEMBERING Compact Disc 076732146729 076732146729 UMMC81082 CLINE,P/ULTIMATE LEGENDS Compact Disc 778325810825 778325810825 139094 CLINTON,G & PARLIMENT/LIVE AT Digital Video Disc 801213909490 801213909490 INTROCD2014 CLOONEY,R/A PROPER INTRO TO:RO Compact Disc 805520060141 805520060141 CCDCD4496 CLOONEY,R/GIRL SINGER Compact Disc 013431449621 013431449621 CCDCD2163 CLOONEY,R/ROSEMARY CLOONEY SHO Compact Disc 013431216322 013431216322 CCDCD64933 CLOONEY,R/SONGBOOK COLLECTION Compact Disc 013431493327 013431493327 MRBCD028 CLUBE DO BALANCO/SAMBA SWING Compact Disc 711969105025711969105025 426382 C-MURDER/TRAPPED IN CRIME Compact Disc 5099964263823 5099964263823 SID017 COAL PORTERS,THE/HOW DARK THIS Compact Disc 793962000170 793962000170 SID013 COAL PORTERS,THE/THE CHRIS HIL Compact Disc 793962000132 793962000132 SID010 COAL PORTERS,THE/TH E GRAM PARS Compact Disc 793962000101 793962000101 SID020 COAL PORTERS,THE/TURN THE WATE Compact Disc 793962000200 793962000200 INTROCD2070 COBB,A/A PROPER INTRO TO:ARNET Compact Disc 805520060707 805520060707 PRMCD6075 COCHRAN,E/FOREVER EDDIE Compact Disc 805520090759 805520090759 372390 COCHRANE, /SONGS OF A CIRCLING Compact Disc 724383723904 7243837239045 099964 263823 7 24383 72390 46 02537 32036 3 0 76732 14672 96 02517 54497 06 02498 62422 7 0 28947 57574 0 6 02527 43811 56 02537 08100 4 8 05520 09075 98 05520 02120 3 7 93962 00017 0 7 93962 00020 08 05520 06014 1 8 05520 06070 78 05520 05139 2 7 93962 00010 17 93962 00013 27 11969 10502 58 01061 01492 6 0 14551 47882 9 7 78325 81082 5 0 13431 21632 20 13431 44962 1 0 13431 49332 76 20673 31882 2 0 18964 05922 4 0 11661 10212 58 01213 00779 0 8 01213 90949 0Catalogue Numb er Artist & Title Description Configuration Scannable UPC UPC 929669 COCHRANE, /TRAPEZE,THE COLLECT Digital Video Disc 724349296695 724349296695 939242 COCHRANE, /X RAY SIERRA Compact Disc 724349392427 724349392427 0255738570 COCHRANE,T/MAD MAD WORLD(2CD+B CD + BLU RAY 602557385700 602557385700 B000382302 COCKER,J/HEART & SOUL Compact Disc 075021031142 075021031142 390809 COCKER,J/LIVE AT MONTREUX 1987 Digital Video Disc 801213908097 801213908097 268082 COCKER,J/NO ORDINARY WORLD Compact Disc 724352680825 724352680825 2751357 COCOON/WHERE THE OCEANS END Compact Disc 602527513577 602527513577 CCDCD9036 COHEN,A & INTERNATIONAL VAMP B Compact Disc 013431903628 013431903628 3733515 COHEN,R/A PARIS Compact Disc 602537335152 602537335152 TEG76516CD COLD CRUSH BROTHERS/TROOPERS Compact Disc 829357651624829357651624 3145408292 COLD/COLD Compact Disc 731454082921 731454082921 VIT9435 COLDPLAY TRIB/STRING QUARTET T Compact Disc 027297943520 027297943520 810572A COLE, NATA/ANTHOLOGY Compact Disc 724358105728 724358105728 FCD9674 COLE,F/A CIRCLE OF LOVE Compact Disc 025218967426 025218967426 Z281016 COLE,H TRIO/GIRL TALK Compact Disc 061528101624 061528101624 B000973909 COLE,K/THE WAY IT IS-SEASON 1 Digital Video Disc 602517440784 602517440784 9849504 COLE,L & COMMITIONS/LIVE AT TH Compact Disc 602498495049 602498495049 PRMCD6045 COLE,NK/SERIOUSLY SMOOTH Compact Disc 805520090452 805520090452 OJCCD163 COLEMAN,O/SOMETHING ELSE Compact Disc 025218616324 025218616324 CC50806 COLEPAUGH,C AND THE COSMIC CRE Compact Disc 625989534225625989534225 OM219 COLETTE AND HEATHE/HOUSE OF OM Compact Disc 600353061927 600353061927 OMM307772 COLETTE/PUSH Compact Disc 600353077720 600353077720 373312 COLIONNE, /KEEPIN' IT COOL Compact Disc 094633733121 094633733121 HPO6008 COLLINS,S/THE CLASSI C COLLECTI Compact Disc 714822600828 714822600828 TSCD1001 COLLISTER,C/AN EQUAL LOVE Compact Disc 714822100120 714822100120 2786542282 COLON,W/LAVOE,H/SELECCIONES FA Compact Disc 827865422828 827865422828 MA250158 COLOSSEUM/THEME FOR A REUNION Compact Disc 5413992501588 5413992501588 MA250236 COLOSSEUM/THEMEFORAREUNION Compact Disc 5413992502363 5413992502363 GRD4102 COLTRANE JOHN /LIVE IN JAPAN Compact Disc 011105010221 011105010221 189372 COLTRANE, /SPIRIT FICTION Compact Disc 5099991893727 50999918937276 02557 38570 0 7 31454 08292 1 5 099991 893727 0 94633 73312 17 24352 68082 57 24349 39242 7 0 11105 01022 16 02498 49504 90 75021 03114 2 7 24358 10572 8 8 27865 42282 86 02527 51357 7 6 02537 33515 2 0 27297 94352 0 5 413992 501588 5 413992 502363 8 05520 09045 2 7 14822 60082 8 7 14822 10012 08 29357 65162 4 6 25989 53422 5 6 00353 06192 7 6 00353 07772 00 61528 10162 40 25218 96742 6 0 25218 61632 40 13431 90362 88 01213 90809 77 24349 29669 5 6 02517 44078 4Catalogue Numb er Artist & Title Description Configuration Scannable UPC UPC 534280 COLTRANE, /ULTIMATE BLUE TRAIN Compact Disc 724385342806 724385342806 B001583002 COLTRANE,J/ SELFLESSNESS FEATU Compact Disc 602527768342 602527768342 PRMCD2013 COLTRANE,J/ABSOLUTELY OUT THER Compact Disc 805520290135 805520290135 PROPERBOX136 COLTRANE,J/EARLY TRANCE(4CD SE Compact Disc 805520021364 805520021364 3145434162 COLTRANE,J/IMPRESSIONS Compact Disc 731454341622 731454341622 IMPD198 COLTRANE,J/LIVE AT BIRDLAND Compact Disc 011105019828 011105019828 UMMC32522 COLTRANE,J/LIVE AT THE HALF NO Compact Disc 778325325220 778325325220 IMPD213 COLTRANE,J/LIVE AT THE VILL... Compact Disc 011105021326 011105021326 PRECD440502 COLTRANE,J/PRESTIG E RECORDINGS Compact Disc 025218440523 025218440523 IMPMD169 COLTRANE,J/STELLA R REGION Compact Disc 011105016926 011105016926 IMPMD167 COLTRANE,J/S UNSHIP Compact Disc 011105016728 011105016728 BT3017 COLTRANE,J/THE ABSOLUTELY ESSE Compact Disc 805520130172 805520130172 B001059102 COLTRANE,J/THE IMPULSE! ALBUMS Compact Disc 602517564336 602517564336 UMMC32532 COLTRANE,J/TRANE ING IN Compact Disc 778325325329 778325325329 OUT792796 COMBICHRIST/THIS IS WHER(3CD+D CD with DVD 4260158837927 4260158837927 291282A CONCRETE B/STILL IN HOLLYWOOD Compact Disc 724382912828 724382912828 3020667502 CONLEE,J/COUNTRY HEART Compact Disc 030206675023 030206675023 168273 CONNORS, S/SONGBOOK & MUSIC CO Compact Disc 5099941682739 5099941682739 0253787453 CONNORS,S T/IN LIVE CONCERT Compact Disc 602537874538 602537874538 1781900 CONTE/PSICHE Compact Disc 602517819009 602517819009 4400640402 CONTOURS THE/THE BEST OF THE C Compact Disc 044006404028 044006404028 492900 COOK, JESS/FREEFALL Compact Disc 724384929008 724384929008 638532B COOK, JESS/MONTREAL Compact Disc 724386385321 724386385321 896389 COOK, JESS/ONE NIGHT AT THE ME Digital Video Disc 094638963899 094638963899 459882 COOK, JESS/VERTIGO Compact Disc 724384598822 724384598822 907972B COOK,J/NOMAD Compact Disc 724359079721 724359079721 PVCD108 COOK,P/OVER AT RAINBOW'S Compact Disc 805520051088 805520051088 7181252 COOKE,S/PORTRAIT OF A LEGEND BLU RAY AUDIO 018771812524 018771812524 PRMCD6074 COOKE,S/THE GOSPEL SOUL OF SAM Compact Disc 805520090742 805520090742 445412 COOLING JO/REVOLVING DOOR Compact Disc 094634454124 0946344541240 18771 81252 44 260158 837927 0 44006 40402 87 24385 34280 6 0 11105 01672 80 11105 01982 8 0 11105 02132 6 0 11105 01692 6 6 02517 56433 6 7 24382 91282 8 7 24386 38532 17 24384 92900 8 7 24359 07972 1 0 94634 45412 47 24384 59882 26 02537 87453 8 6 02517 81900 96 02527 76834 2 7 31454 34162 2 5 099941 682739 8 05520 02136 4 8 05520 09074 28 05520 13017 28 05520 29013 5 8 05520 05108 87 78325 32522 0 7 78325 32532 90 25218 44052 3 0 30206 67502 3 0 94638 96389 9Catalogue Numb er Artist & Title Description Configuration Scannable UPC UPC 972252 COOLING JO/THIS GIRL'S GOT TO Compact Disc 724359722528 724359722528 300029 COOPER,A/BRUTALLY LIVE Digital Video Disc 801213000296 801213000296 300419 COOPER,A/BRUTALLY LIVE(CD+DVD) CD with DVD 801213004195 801213004195 200282 COOPER,A/THE EYES OF ALICE COO Compact Disc 826992002828 826992002828 FRAN87188 COOPER,R/TALES OF LOVE WAR AND Compact Disc 4047179437028 4047179437028 CDROUN11504 COPELAND, JOHNN/TEXAS TWISTER Compact Disc 011661150423 011661150423 5705811 CORBEL,C/VAGABONDE Compact Disc 602557058116 602557058116 GRD9582 COREA CHICK/AKOUSTIC BAND Compact Disc 011105958226 011105958226 391059 COREA,C ELEKTRIC BAND/LIVE AT Digital Video Disc 801213910595 801213910595 3145198202 COREA,C/JAZZ MASTERS V3 Compact Disc 731451982026 731451982026 4696542 CORELLI,A/CHRISTMAS CONCERTOS Compact Disc 028946965429 028946965429 FP010 CORMIER,JP/LOOKING BACK VOLUME Compact Disc 778591609024778591609024 FP012 CORMIER,JP/THE MESSENGER Compact Disc 778591778027778591778027 0694904122 CORNELL CHRIS /EUPHORIA MORNI Compact Disc 606949041229 606949041229 B002388302 CORNELL,C/HIGHER T RUTH(DLX) Compact Disc 602547524058 602547524058 MBDCD860099M CORPUS CHRIST II/RISING Com pact Di sc 768586009922 768586009922 8360142 COSTA,G/GAL COSTA CANTA CAYMMI Compact Disc 042283601420 042283601420 5149942 COSTA,G/INDIA Compact Disc 731451499425 731451499425 B000951402 COSTELLO,E/MY AIM IS TRUE(DELU Compact Disc 602517414785 602517414785 3145598652 COSTELLO-FRISELL/SWEETEST PUNC Compact Disc 731455986525 731455986525 B002125402 COUNTING CRO/SOMEWHERE UNDER W Compact Disc 602537919635 602537919635 2797366 COUNTING CROWS/UNDERWATER SUNS Compact Disc 602527973661 602527973661 B000833202 COX,D/DESTINATION MOON Compact Disc 602517200234 602517200234 PRPCD115 CRADOCK,S/TRAVEL WILD TRAVEL F Compact Disc 805520031158 805520031158 MBDCD860044N CRAFT/TERROR PROPAGA NDA SECOND Compact Disc 768586004422 768586004422 TEG2454CD CRAIG G MARLEY,M/OPERATION TAK Compact Disc 829357245427829357245427 1701163 CRAWFORD,R & SAMPLE,J/FEELING Compact Disc 602517011632 602517011632 798152B CRAY, ROBE/LIVE FROM ACROSS TH Compact Disc 015707981521 015707981521 B000536012 CRAZY FROG/PRESENTS CRAZY HITS Compact Disc Enhanced 602498846193 602498846193 4734561 CREAM/CLASSIC ALBUM(4A LBUM/5CD Compact Disc 602547345615 6025473456158 01213 00419 5 6 02537 91963 5 6 02517 20023 47 31455 98652 58 26992 00282 8 0 28946 96542 9 6 02517 01163 20 11105 95822 6 6 02517 41478 56 02547 52405 86 06949 04122 97 24359 72252 8 6 02547 34561 56 02557 05811 6 7 31451 49942 50 42283 60142 07 31451 98202 6 6 02527 97366 14 047179 437028 8 05520 03115 8 8 29357 24542 77 78591 60902 4 7 78591 77802 7 0 15707 98152 17 68586 00992 20 11661 15042 3 7 68586 00442 2 6 02498 84619 38 01213 00029 6 8 01213 91059 5Catalogue Numb er Artist & Title Description Configuration Scannable UPC UPC 5454508382 CRESTSVSFLAMINGOS/COLLECTORS G Compact Disc 654545083822654545083822 2764007 CRIMFALL/THE WRIT OF SWORD Compact Disc 602527640075 602527640075 INTROCD2005 CRISS,S/A PROPER INTRO TO:SONN Compact Disc 805520060059 805520060059 3145492312 CRISS,S/MR.BLUES POUR FLIRTER Compact Disc 731454923125 731454923125 VEGA24404 CROCHETIERE,J/COUNTING DREAMS Compact Disc 619061440429 619061440429 35541 CROCHETIERE,J/DISCOVER A BETTE Compact Disc 096741124921 096741124921 0881132222 CROSBY,B/A CENTENNIAL ANTHOLOG Compact Disc 008811322229 008811322229 INTROCD2073 CROSBY,B/A PROPER INTRO TO:BOB Compact Disc 805520060738 805520060738 PROPERBOX34 CROSBY,B/IT'S EASY TO REMEMBER Compact Disc 604988993424 604988993424 MA251126 CROSSFIRE/SECOND ATTACK Compact Disc 5413992511266 5413992511266 RIVER020 CROUCH,A/LIVE IN LOS ANGELES Compact Disc 815674010190 815674010190 XXICD21699 CROW,J/BRAHMS/LIGETI/SCHUMANN: Compact Disc 722056169929 722056169929 XXICD21668 CROW,J/WORKS FOR SOLO VIOLIN Compact Disc 722056166829 722056166829 5405922 CROW,S/SHERYL CROW + 2 Compact Disc 731454059220 731454059220 3145409592 CROW,S/T GLOBE SESSIONS Compact Disc Enhanced 731454095921 731454095921 B000522902 CROW,S/WILDFLOWER Compact Disc 602498841181 602498841181 XXICD21669 CROW/BERICK/BARTOK/BERIO:44 DU Compact Disc 722056166928 722056166928 FAN3225800 CROWDED HOUSE/INTRIGUER (DLX.E CD with DVD 888072322585 888072322585 926842 CROWDER, D/REMEDY Compact Disc 094639268429 094639268429 CDROUN0202 CROWE, J.D. & T/STRAIGHT AHEAD Compact Disc 011661020221 011661020221 B001269802 CRUSADERS,THE/IMAGES Compact Disc 602517995710 602517995710 B001196102 CRUSADERS,THE/PASS TH E PLATE Compact Disc 602517833333 602517833333 INTROCD2045 CRUZ,C/A PROPER INTRO TO:CELIA Compact Disc 805520060455 805520060455 BIR10052 CULPRITS,THE/NORA Compact Disc 776098142921 776098142921 IL30416 CULT,T/HOUSE OF BLUES:ATLANTIC Compact Disc 827823041627827823041627 IL30386 CULT,T/HOUSE OF BLUES:SAN DIEG Compact Disc 827823038627827823038627 CDHBEA173 CULTURE /CULTURE IN DUB Compact Disc 011661767324 011661767324 GKM321 CURD,J/LIMBO SESSIONS Compact Disc 884501028424 884501028424 333249 CURE,THE/TRILOGY (BLU RAY) BLU RAY 801213332496 801213332496 CDROUN3137 CURLESS, DICK /TRAVELING THRO Compact Disc 011661313729 0116613137298 01213 33249 68 88072 32258 56 02498 84118 17 31454 05922 0 0 94639 26842 90 08811 32222 96 02527 64007 5 7 31454 92312 5 6 02517 83333 36 02517 99571 06 19061 44042 9 7 22056 16992 9 7 22056 16682 9 7 22056 16692 85 413992 511266 8 05520 06005 9 8 05520 06045 58 05520 06073 8 6 04988 99342 46 54545 08382 2 8 27823 03862 78 27823 04162 78 15674 01019 0 8 84501 02842 47 76098 14292 1 0 11661 76732 40 11661 02022 1 0 11661 31372 90 96741 12492 1 7 31454 09592 1Catalogue Numb er Artist & Title Description Configuration Scannable UPC UPC B000016402 CURRINGTON,B/BILLY CURRINGTON Compact Disc 008817030722 008817030722 4778073 CURTIS,A/HANDEL:EZIO Compact Disc 028947780731 028947780731 4777106 CURTIS,A/HANDEL:TOLOMEO - 3CD Compact Disc 028947771067 028947771067 4775996 CURTIS,A/VIVALDI:MONTEZUMA Compact Disc 028947759966 028947759966 FRANHHCD01 CUTLER ,I/A FLAT MAN C ompact Disc 793573466808 793573466808 FRANHHCD02 CUTLER ,I/PRIVILEGE Co mpact Disc 793573642684 793573642684 0253707388 CYPRESS X RUSKO/CYPRESS X RUSK Compact Disc EP's 602537073887 602537073887 B000195509 CYRUS,B/THE BEST OF BILLY RAY Digital Video Disc 602498617120 602498617120 B000699702 CYRUS,BR/WANNA BE YOUR JOE Compact Disc 602498595046 602498595046 GRLCD158 CZUKAY,H/MOVIE Compact Disc 5060238632577 5060238632577 GRLCD134 CZUKAY,H/ON THE WAY TO THE PEA Compact Disc 5060238631815 5060238631815 USER2 D REAM/IN MEMORY OF Compact Disc 684340002261 684340002261 5213152 D.DUFRESNE/MAMAN SI TU M'VOYAI Compact Disc 731452131522 731452131522 5211962 D.DUFRESNE/MASTER SERIE VOL.2 Compact Disc 731452119629 731452119629 XXICD21423 DA COSTA,A/DA FALLA Compact Disc 722056142328 722056142328 XXICD21477 DA COSTA,A/TCHAIKOVSKI Compact Disc 722056147729 722056147729 XXICD21528 DA COSTA,A/VIVALDI Compact Disc 722056152822 722056152822 XXICD21552 DA COSTA,B/BRUCH DA COSTA Compact Disc 722056155229 722056155229 GRD9829 DAEMYON JERALD /THINKING ABOUT Compact Disc 011105982924 011105982924 CDROUN6026 DAIGREPONT, BRU/COEUR DES CAJU Compact Disc 011661602625 011661602625 5372882 DALIDA /LES ANNEES ORL Compact Disc 731453728820 731453728820 4756529 DALIDA/DALIDA(SUPER DLX 2CD+DV CD with DVD 602547465290 602547465290 5318404 DALIDA/MASTER SERIE VOL.2 Compact Disc 600753184042 600753184042 3773992 DALLE,B/DIPLOID LOVE Compact Disc 602537739929 602537739929 UMMC81092 DAMONE,V/ULTIMATE LEGENDS Compact Disc 778325810924 778325810924 315712A DANDY WARH/CAPITOL YEARS,THE Compact Disc 5099963157123 5099963157123 365052A DANDY WARH/DANDY WARHOLS COME Compact Disc 724383650521 724383650521 B001842302 DANDY WARHOLS/THIRTEEN TA(2CD Compact Disc 602537379736 602537379736 5454508272 DANE,B/ANTHOLOGY OF AMERICAN F Compact Disc 654545082726654545082726 4400184512 DANKO JONES/BORN A LION Compact Disc 044001845123 0440018451236 02547 46529 00 28947 75996 6 5 099963 157123 7 24383 65052 1 6 02537 37973 60 28947 78073 1 0 11105 98292 40 08817 03072 2 0 44001 84512 37 31452 11962 97 31452 13152 2 6 00753 18404 27 31453 72882 00 28947 77106 7 6 02498 59504 6 7 22056 14232 8 7 22056 14772 9 7 22056 15282 2 7 22056 15522 96 84340 00226 17 93573 64268 47 93573 46680 8 6 54545 08272 67 78325 81092 45 060238 631815 5 060238 632577 0 11661 60262 5 6 02537 73992 96 02537 07388 7 6 02498 61712 0Catalogue Numb er Artist & Title Description Configuration Scannable UPC UPC SPEC014 DANKWORTH,J/IT HAPPENS QUIETLY Compact Disc 805520070140 805520070140 SPEC018 DANKWORTH,J/LIVE TO LOVE Compact Disc 805520070188 805520070188 XXICD21609 D'AQUIN,LC/NOELS POUR ORGUE Compact Disc 722056160926 722056160926 203332 DARIN, BOB/WILD, COOL & SWINGI Compact Disc 724352033324 724352033324 UMMC96091 DARIN,B/MACK THE KNIFE Compact Disc 778325960919 778325960919 878482B DARIUS, ER/GOIN' ALL OUT Compact Disc 094638784821 094638784821 605562 DARIUS, ER/JUST GETTING STARTE Compact Disc 724386055620 724386055620 5311475 DARMON,G/ON S'AIME Compact Disc 600753114759 600753114759 PRECD1202 DAVIS ,M/CHRONICLE-THE COMPLET Compact Disc 025218440028 025218440028 851892B DAVIS, AND/HANDEL: MESSIAH Compact Disc 5099908518927 5099908518927 366332 DAVIS, MIL/BALLADS & BLUES Compact Disc 724383663323 724383663323 4759120 DAVIS,C/MOZART:LATE SYMPHONIES Compact Disc 028947591207 028947591207 OJCCD940 DAVIS,E/TENOR SCENE Compact Disc 025218694025 025218694025 TEG3308CD DAVIS,G/CHOCOLATER STAR THE VE Compact Disc 829357330826829357330826 INTROCD2011 DAVIS,M/A PROPER INTRO TO:MILE Compact Disc 805520060110 805520060110 UMMC81042 DAVIS,M/DAVIS, MILES Compact Disc 778325810429 778325810429 PROPERBOX17 DAVIS,M/YOUNG MILES Compact Disc 604988991727 604988991727 PRMCD6051 DAVIS,S.JR./MR.DYNAMITE Compact Disc 805520090513 805520090513 PVCD103 DAY,D/IT'S MAGIC Compact Disc 805520051033 805520051033 PROPERBOX105 DAY,D/SENTIMENTAL JOURNEY Compact Disc 805520021050 805520021050 3945162 DE BURGH,C/FAR BEYOND THESE CA Compact Disc 082839451628 082839451628 0694930322 DE BURGH,C/THE COLLECT ION-NOTE Compact Disc 606949303228 606949303228 4782420 DE LARROCHA,A/MOZART:PIANO CON Compact Disc 028947824206 028947824206 FRANIRR038 DE MOOR,D/WATER OF EUROPE Compact Disc 5036265000078 5036265000078 CD201301 DE PALMA,G/JAZZINHO/VELUDO Compact Disc 7266703486234 7266703486234 383802 DE SHANNON/CLASSIC MASTERS Compact Disc 724353838027 724353838027 RRR2011004 DEAD ROCK WEST/BRIGHT MORNING Compact Disc 616892127765 616892127765 4400653342 DEARIE,B/THE DIVA SERIES Compact Disc 044006533421 044006533421 3145299062 DEARIE.B/VERVE JZ MAST #51 Compact Disc 731452990624 731452990624 ILTD61205 DEARS,THE/US TOUR (BOSTON) Compact Disc 8278230123208278230123207 24383 66332 37 24352 03332 4 0 28947 59120 7 0 28947 82420 6 7 24353 83802 75 099908 518927 6 06949 30322 80 82839 45162 87 24386 05562 00 94638 78482 1 6 00753 11475 9 0 44006 53342 1 7 31452 99062 47 22056 16092 6 6 16892 12776 58 05520 09051 3 8 05520 02105 08 05520 06011 0 8 05520 05103 3 7 266703 486234 5 036265 000078 6 04988 99172 78 05520 07014 0 8 05520 07018 8 8 29357 33082 6 8 27823 01232 07 78325 81042 97 78325 96091 9 0 25218 69402 50 25218 44002 8Catalogue Numb er Artist & Title Description Configuration Scannable UPC UPC ILTD60505 DEARS,THE/US TOUR (DETROIT) Compact Disc 827823012221827823012221 ILTD52405 DEARS,THE/US TOUR (LOS ANGELES Compact Disc 827823011422827823011422 BAI0452 DEBTOR/BLOODSEEDS Compact Disc 612851595224 612851595224 4520222 DEBUSSY/COMPLETE PNO/THIBAUDET Compact Disc 028945202228 028945202228 CD80071 DEBUSSY/LA MER;PRELUDE A L'APR Compact Disc 089408007125 089408007125 4696842 DEBUSSY/PIANO MUSIC Compact Disc 028946968420 028946968420 4681932 DEBUSSY/PIANO MUSIC Compact Disc 028946819326 028946819326 FNCD5566 DECARLE,R/UNDER THE BIG BIG SK Compact Disc 621617276321621617276321 8358972 DEEP PURPLE/NOBODY'S PERFECT Compact Disc 042283589728 042283589728 200832 DEEP PURPLE/RAPTURE OF THE DEE Compact Disc 826992008325 826992008325 200892 DEEP PURPLE/RAPTURE OF THE DEE Compact Disc 826992008929 826992008929 PRMCD2001 DEEP PURPLE/THE D EEP PURPLE ST Compact Disc 805520290012 805520290012 JDM10282 DEFRANCESCO,J/HOME FOR THE HOL Compact Disc 880504102826 880504102826 MA250095 DEFUNKT/THE LEGEND CONTINUES Compact Disc 5413992500956 5413992500956 FARO176CD DEGIORGIO,K/SAMBATEK Compact Disc 5060211501593 5060211501593 3755685 DEL AMITRI/TWISTED(2CD) Compact Disc 602537556854 602537556854 B001776302 DEL REY,L/PARADISE(EDIT) Compact Disc 602537209699 602537209699 CDROUN2070 DELAFOSE, JOHN /ZYDECO LIVE!, Compact Disc 011661207028 011661207028 MDECD2007 D'ELIA,M/STAY ANOTHER NIGHT Compact Disc 778632901827778632901827 4254852 DELIBES/LAKME/BONYNGE,SUTHERLA Compact Disc 028942548527 028942548527 0741779 DELIUS/A VILLAGE ROMEO AND JUL Digital Video Disc 044007417799 044007417799 4757269 DELMONACO,M/VAR:MARIO DEL MONA Compact Disc 028947572695 028947572695 5318207 DELPECH,M/SEXA Compact Disc 600753182079 600753182079 MA250255 DELTA MOON/HELLBOUND TRAIN (CD Compact Disc 5413992502554 5413992502554 IRL068 DEMPSEY,D/ALMIGHTY LOVE Compact Disc 5060155721057 5060155721057 IRL080 DEMPSEY,D /IT'S ALL GOOD TH(2CD Co mpact Disc 5060155721439 5060155721439 RCL2012 DEMUS,C&PLIERS/DA NCEHALL CLASS Compact Disc 609955201229609955201229 5342893 DENY,S/THE NORTH STAR GRAS(2CD Compact Disc 600753428931 600753428931 BAI0382 DEPENDENCY/CONVICTED Compact Disc 707541225892 707541225892 BAI0512 DEPENDENCY/LOVE NOT WASTED Compact Disc 612851596627 6128515966270 28942 54852 7 0 28947 57269 50 28945 20222 8 8 26992 00832 5 8 26992 00892 90 28946 96842 0 0 28946 81932 6 6 02537 20969 96 02537 55685 40 42283 58972 8 6 00753 18207 9 6 00753 42893 15 413992 500956 5 413992 502554 5 060155 721057 5 060211 501593 8 05520 29001 2 5 060155 721439 7 78632 90182 78 27823 01142 28 27823 01222 1 6 09955 20122 96 21617 27632 1 7 07541 22589 26 12851 59522 4 6 12851 59662 78 80504 10282 6 0 11661 20702 80 89408 00712 5 0 44007 41779 9Catalogue Numb er Artist & Title Description Configuration Scannable UPC UPC 5340637 DEREK/THE DOMINOS/LAYLA BLU RAY AUDIO 600753406373 600753406373 MA250092 DERRINGER,R/HOOCHIE K OO ONCE M Compact Disc 5413992500925 5413992500925 5115872 DESCHAMPS,Y/DE 1969 A 1973 Compact Disc 731451158728 731451158728 900202A DESOLE/A STORY TO TELL Compact Disc 876929002025 876929002025 KAP24441 DEUXLUXES,LES/TRAITEMENT DEUXL Compact Disc 619061444120 619061444120 TEG2445CD DEV ROCKA/THE NIGHT SHIFT Compact Disc 829357244529829357244529 100062D DEVIL INSI/PRELUDE Compact Disc 727701000626 727701000626 SLR008 DEVILLERS,A/ANDREW DEVILLERS Compact Disc 653496121829653496121829 NDR0042 DEVIN TOWNSEND/TRANSC ENDEN(DLX Compact Disc 821826016866 821826016866 MRBCD058 DEWBURY/DEWBURY Compact Disc 50240170061265024017006126 5320197 DIAMOND HEAD/THE MCA YEARS (3C Compact Disc 600753201978 600753201978 B000290602 DIAMOND,N/GOLD Compact Disc 602498628652 602498628652 302569 DIAMOND,N/THANK YOU AUSTRALIA Digital Video Disc 801213025695 801213025695 CDROUN0054 DICKENS, HAZEL /HAZEL DICKENS Compact Disc 011661005426 011661005426 8216102262 DICKENS,H/IT'S HARD TO TELL TH Compact Disc 682161022628 682161022628 ESACD710025 DICTATORS,THE/VIVA DICTATORS Compact Disc 829571002523 829571002523 CHD9169 DIDDLEY,B&WATERS,M&WOLF,H/SUPE Compact Disc 076732916926 076732916926 DWT70312 DIE ANTWOORD/TENSION Compact Disc 878037026856 878037026856 4791066 DIEGO EL CIGALA/ROMA NCE DE LA Compact Disc 028947910664 028947910664 3020667682 DILLARDS,THE/A NIGHT IN THE(DV Digital Video Disc 030206676822 030206676822 FRANCHRCD002 DILLON,C/HILL OF THIEVES Compact Disc 805520212717 805520212717 872142 DIMINO, FA/PLATINUM Compact Disc 094638721420 094638721420 GRLCDGRON124 DINGER,K/JAPANDORF/JAPANDORF Compact Disc 5060238631037 5060238631037 5337835 DIO,R J/HOLY DIVER (2CD DLX) Compact Disc 600753378359 600753378359 301429 DIO/EVIL OR DEVINE? (CD+DVD) CD with DVD 801213014293 801213014293 300359 DIO/EVIL OR DEVINE? LIVE IN CO Digital Video Disc 801213003594 801213003594 301719 DIO/HOLY DIVER LIVE Digital Video Disc 801213017195 801213017195 333689 DIO/HOLY DIVER LIVE BLURAY BLU RAY 801213336890 801213336890 200882 DIO/HOLY DIVER LIVE! Compact Disc 826992008820 826992008820 0249823182 DIRE STRAITS/SULTANS OF SWING: Digital Video Disc 602498231821 6024982318218 01213 33689 06 00753 40637 3 8 01213 01429 30 28947 91066 4 8 26992 00882 00 94638 72142 00 76732 91692 66 00753 20197 8 6 00753 37835 97 31451 15872 8 6 02498 62865 2 8 78037 02685 66 19061 44412 05 413992 500925 8 05520 21271 75 024017 006126 8 29357 24452 9 6 53496 12182 97 27701 00062 68 76929 00202 5 8 21826 01686 6 8 29571 00252 3 5 060238 631037 6 82161 02262 80 11661 00542 6 8 01213 00359 4 8 01213 01719 58 01213 02569 5 6 02498 23182 10 30206 67682 2Catalogue Numb er Artist & Title Description Configuration Scannable UPC UPC 5763606 DISIZ LA PESTE/PACIFIQUE Compact Disc 602557636062 602557636062 D000300802 DISNEY KARAOKE/HIGH SCHOOL MUS Compact Disc 050087132798 050087132798 D000510302 DISNEY SONGS & STORY/SLEEPING Compact Disc 050087154530 050087154530 DIS616347 DISNEY'S KARAOKE SER/HIGH SCHO Compact Disc 050086163472 050086163472 D000068902 DISNEY'S KARAOKE SERIES/HIGH S Compact Disc 050087107925 050087107925 ESACD710014 DISSECTION/MAHA KALI Compact Disc 829571001427 829571001427 ESADVD700008 DISSECTION/REBIRTH OF DISS(DVD Digital Video Disc 878667000080 878667000080 9840112 DISTEL,S/BEST OF Compact Disc 602498401125 602498401125 4400632052 DISTURBING THA PEACE/GOLDEN GR Compact Disc 044006320526 044006320526 BAI0362 DIVIDE THE SEA/ MAN Compact Disc 707541159593 707541159593 4400167972 DIXIE DREGS/THE BEST OF DIXIE Compact Disc 044001679728 044001679728 OM060 DJ GARTH/SAN FRANCISCO SESSION Compact Disc 600353006027 600353006027 OMM307742 DJ HEATHER/ONIONZ/SUMMER SE V2 Compact Disc 600353077423 600353077423 OMM307512 DJ MARK FARINA/HOU SE OF OM MAR Compact Disc 600353075122 600353075122 OMM305752 DJ MARK FARINA/MUS HROOM JAZZ 5 Compact Disc 600353057524 600353057524 OMM399302 DJ MARK FARINA/SAN FRANCISCO S Compact Disc 600353993020 600353993020 TP190 DJ MFR/ROME DEPARTURE Compact Disc 600353059023 600353059023 TP225 DJ MFR/WEST COAST EXCURSIONS V Compact Disc 600353062528 600353062528 3145408672 DJ SHADOW/PREEMPTIVE STRIKE Compact Disc 731454086721 731454086721 3707324 DJ SHADOW/RECONSTRUCTED TH(2CD Compact Disc 602537073245 602537073245 3718380 DJAVAN/RUA DOS AMORES Compact Disc 602537183807 602537183807 482062 DJAVAN/SEDUZIR Compact Disc 077774820622 077774820622 1167130449 DOC/WATSON,M/DOC & MERLE(DVD) Digital Video Disc 011671304496 011671304496 MBDCD860093 DODSFERD/CURSING YOUR WILL TO Compact Disc 768586009328 768586009328 NDR030 DOIRON,J/DESORMAIS Compact Disc 624060720304624060720304 NDR034 DOIRON,J/HEART AND CRIME Compact Disc 624060720342624060720342 XXICD21602 DOLIN,E/FOUQUET,G/MOZART:CELLO Compact Disc 722056160223 722056160223 4776590 DOMINGO,P/VAR:PASION ESPANOLA Compact Disc 028947765905 028947765905 153712 DONALDSON,/LOU TAKES OFF/RVG S Compact Disc 5099921537127 5099921537127 0853576252 DONALDSON,B & THE H/ABSOLUTELY Compact Disc 708535762522 7085357625220 44001 67972 8 5 099921 537127 0 44006 32052 6 0 28947 76590 50 50087 10792 50 50087 15453 0 0 50086 16347 20 50087 13279 8 6 02537 18380 7 0 77774 82062 27 31454 08672 1 6 02537 07324 56 02498 40112 56 02557 63606 2 7 22056 16022 36 24060 72030 4 6 24060 72034 26 00353 00602 7 6 00353 05752 46 00353 07512 26 00353 07742 3 6 00353 99302 0 6 00353 05902 3 6 00353 06252 8 7 08535 76252 27 07541 15959 38 29571 00142 7 7 68586 00932 80 11671 30449 68 78667 00008 0Catalogue Numb er Artist & Title Description Configuration Scannable UPC UPC 4921500624 DONKEYS,THE/RIDE THE BLACK WAV Compact Disc 014921500624 014921500624 BSR927 DONOHUE,P/AMERICAN GUITAR Compact Disc 644179009275 644179009275 0251743944 DOODLEBOPS,THE/SUPERSTARS! Compact Disc 602517439443 602517439443 MLLDVF6 DORO/CALLING THE WILD Compact Disc 727361688301 727361688301 MLLCDF60 DORO/FIGHT Compact Disc 727361688103 727361688103 MLLDVF61 DORO/FUR IMMER(DVD) Digital Video Disc 727361688004 727361688004 CDROUN11535 DOUGLAS, JERRY /EVERYTHING IS Compact Disc 011661153523 011661153523 122322 DOVES/LAST BROADCAST,THE Compact Disc 724381223222 724381223222 651232 DOWN TO TH/SUPERCHARGED Compact Disc 094636512327 094636512327 685752 DOWN TO TH/URBAN GROOVES,THE Compact Disc 094636857527 094636857527 0252786364 DOWN WITH WEBSTER/TIME TO WIN2 Compact Disc 602527863641 602527863641 MRCD6411 DOWNIE,G/BATTLE OF THE NUDES Compact Disc 823674641122823674641122 936422 DOWNS, LIL/LA SANDUNGA Compact Disc 724359364223 724359364223 767572 DOWNS, LIL/UNA SANGRE (ONE BLO Compact Disc 724357675727 724357675727 ISBCD5116 DOZIER,M/HERE I AM Compact Disc 619061382422 619061382422 573972A DR. HOOK/GREATEST HITS Compact Disc 077775739725 077775739725 GRANDCD08 DR.FEEL GOOD/LIVE IN LONDO N Compact Disc 5018349800026 5018349800026 GRANDCD30 DR.FEEL GOOD/REPEAT PRESCRIPTIO Compact Disc 50600063341225060006334122 TRST5090 DRAG-ON/HOOD ENVIROMENT Compact Disc 603457509029603457509029 0249867969 DRAKE,N/A TREASURY SACD4Stereo/Surround/CDAud 602498679692 602498679692 2751551 DRAUGNIM/HORIZONS LOW Compact Disc 602527515519 602527515519 MBDCD860073 DRAWN AND QUARTE/HAIL INFERNA Compact Disc 768586007324 768586007324 130482A DREAD ZEPP/UN-LED-ED Compact Disc 022071304825 022071304825 CDROUN0177 DREADFUL SNAKES/THE DREADFUL S Compact Disc 011661017726 011661017726 ESR012 DREADFUL YAWNS,THE/REST Compact Disc 880270090822880270090822 78612730372 DREAM/IT WAS ALL A DREAM Compact Disc 786127303728 786127303728 2759079 DREAMSHADE/WHAT SILENCE HIDES Compact Disc 602527590790 602527590790 4703645 DREU,G/4 FOIS 20 ANS Compact Disc 602547036452 602547036452 742162 DREW, KENN/UNDERCURRENT Compact Disc 094637421628 094637421628 UMMC53163 DRIFTERS,THE/SPECIAL EDITI(3CD Compact Disc 778325531638 7783255316387 86127 30372 8 0 94637 42162 87 24381 22322 2 0 77775 73972 5 0 22071 30482 50 94636 51232 7 7 24357 67572 77 24359 36422 30 94636 85752 7 6 02527 51551 9 6 02527 59079 06 02517 43944 3 6 02527 86364 1 6 02547 03645 26 19061 38242 26 44179 00927 5 5 018349 800026 8 23674 64112 2 5 060006 334122 6 03457 50902 9 8 80270 09082 2 7 78325 53163 87 27361 68810 37 27361 68830 1 7 68586 00732 4 0 11661 01772 60 11661 15352 30 14921 50062 4 7 27361 68800 4 6 02498 67969 2Catalogue Numb er Artist & Title Description Configuration Scannable UPC UPC DRUM001 DRUM! CAST/EXPERIENCE DRUM! Digital Video Disc 621617302297621617302297 PRPCD024 DRUMBO/CITY OF REFUGE Compact Disc 805520030243 805520030243 CDROUN11519 DRY BRANCH FIRE/TRIED & TRUE Compact Disc 011661151925 011661151925 TEGBRK065CD D-TENSION/CONTACTS & CONTRACTS Compact Disc 765481006520765481006520 CDRW183 DUB COLOSSUS/ADDIS THROUGH THE Compact Disc 884108000137 884108000137 SBESTCD69 DUB PISTOLS/RETURN OF THE PIST Compact Disc 50510830893405051083089340 330409 DUBLINERS,THE/LIVE IN CONCERT Digital Video Disc 801213304097 801213304097 0004 DUBMATIX/CHAMPION SOUND CLASH Compact Disc 676868133725676868133725 FRANHEP001 DUCKS DELUXE/BOX OF SHORTS Compact Disc 5060167700019 5060167700019 B001201902 DUKE,G/LOVE THE BLUES, SHE HEA Compact Disc 600753115039 600753115039 243452 DULFER,H&C/DULFER & CANDY Compact Disc 766922434520 766922434520 2797196 DUNCAN,N/DEVIL IN ME Compact Disc 602527971964 602527971964 XXICD21603 DUO CARON/BRITISH MUSIC FOR PI Compact Disc 722056160322 722056160322 4540262 DUO/MOZART/MUS FOR 2 PNO/VAR Compact Disc 028945402628 028945402628 4540232 DUO/MOZART/STR TRIO/GRUMIAUX Compact Disc 028945402321 028945402321 4383502 DUO/STRAVINSKY/T GREAT BALLETS Compact Disc 028943835022 028943835022 1166115862 DUPREE,C/A PORTRAIT OF CHAMPIO Compact Disc 011661158627 011661158627 CDBEYE9502 DUPREE,C/BACK HOME IN N Compact Disc 011661950221 011661950221 CDBEYE9522 DUPREE,C/ONE LAST TIME Compact Disc 011661952225 011661952225 B001580202 DURBIN,J/AMERICAN ID OL SEASON Compact Disc 5060136136962 5060136136962 ARTFUL64 DURUTTI COLUMN,THE/LOVE IN THE Compact Disc 683430002037 683430002037 4757728 DUTOIT/OSM/SAENS:SYMPHONY NO.3 Compact Disc 028947577287 028947577287 4742662 DVORAK&SMETANA/SYMPHONI ES NOS. Compact Disc 028947426622 028947426622 4674632 DVORAK/CELLO CONCERTO Compact Disc 028946746325 028946746325 4602932 DVORAK/SLAVONIC DANCES Compact Disc 028946029329 028946029329 4674722 DVORAK/SYMPHONIES NOS. 5,7,8, Compact Disc 028946747223 028946747223 714102B DWELE/SOME KINDA Compact Disc 724357141024 724357141024 BAI0594 DWELL/DWELL Cassette 603111968841 603111968841 BAI0592 DWELL/DWELL Compact Disc 603111968827 603111968827 B002051502 DYBDAHL,T/WHATS LEFT IS FOREVE Compact Disc 602537774500 6025377745006 03111 96884 1 6 02537 77450 00 28947 57728 76 02527 97196 4 0 28947 42662 27 66922 43452 0 0 28946 74632 5 0 28946 74722 30 28946 02932 90 28945 40232 10 28945 40262 8 0 28943 83502 26 00753 11503 9 7 24357 14102 45 060136 136962 7 22056 16032 2 6 83430 00203 78 84108 00013 7 5 060167 700019 8 05520 03024 3 7 65481 00652 0 6 76868 13372 55 051083 089340 6 03111 96882 70 11661 15862 7 0 11661 95022 1 0 11661 95222 50 11661 15192 5 8 01213 30409 76 21617 30229 7Catalogue Numb er Artist & Title Description Configuration Scannable UPC UPC 3735091 EAGLES,THE/HISTORY OF(3DVD+BK Digital Video Disc 602537350919 602537350919 MCBBD31305 EARLE,S/GUITAR TOWN Compact Disc 076743130526 076743130526 333469 EARTH,WIND & FIRE/LIVE AT MONT BLU RAY 801213334698 801213334698 390399 EARTH,WIND & FIRE/LIVE AT MONT Digital Video Disc 801213903993 801213903993 413782A EAZY E/ETERNAL-E Compact Disc 724384137823 724384137823 CDHBEA71 ECCLES, CLANCY /CLANCY ECCLES Compact Disc 011661757127 011661757127 TAO018 ECHASKECH/SKECHBOOK Compact Disc 677603002122 677603002122 IL30310 ECHO&BUNNYMEN/HOUSE OF BLUES S Compact Disc 827823031024827823031024 IL30308 ECHO&BUNNYMEN/HOUSE OF BLUES W Compact Disc 827823030829827823030829 INTROCD2068 ECKSTINE,B/A PROPER INTRO TO:B Compact Disc 805520060684 805520060684 TEG4507CD ED O.G. & DA BULLDOGS/ACTING Compact Disc 829357450722829357450722 4921500822 EDJ/EDJ Compact Disc 014921500822 014921500822 B000849702 EL POTRO DE SINALOA/LOS MEJORE Compact Disc 602517234574 602517234574 B001106302 ELBOW/THE SELDOM SEEN KID Compact Disc 602517642522 602517642522 RPM070CD ELECTRIC EEL SHOCK/BEAT ME! Compact Disc 698715007027 698715007027 B001242602 ELECTRIK RED/HOW TO BE A LADY Compact Disc 602527099125 602527099125 4674442 ELGAR/ENIGMA VARIATIONS Compact Disc 028946744420 028946744420 4681812 ELGAR/ST.SAEN CELLO CONCERTO Compact Disc 028946818121 028946818121 4531032 ELGAR/SYMHONIES 1 AND 2 Compact Disc 028945310329 028945310329 843372 ELIAS, ELA/BRAZILIAN CLASSICS Compact Disc 724358433722 724358433722 082782B ELIAS, ELI/ELIANE EL IAS PLAYS Compact Disc 5099990827822 5099990827822 117952 ELIAS, ELI/SOMETHING FOR YOU Compact Disc 5099951179526 5099951179526 1781130 ELISA/DANCING Compact Disc 602517811300 602517811300 222112A ELLING, KU/LIVE IN CHICAGO Compact Disc 724352221127 724352221127 INTROCD2043 ELLINGTON,D/A PROPER INTRO TO: Compact Disc 805520060431 805520060431 TWO22312 ELLINGTON,D/BASIE,C/ULTIMA(2CD Compact Disc 778325223120 778325223120 GRLCD140 ELLINGTON,D/HIS OR/THE CONNY Compact Disc 5060238631709 5060238631709 CDHBEA106 ELLIS, ALTON /CRY TOUGH Compact Disc 011661760622 011661760622 CCDCD4821 ELLIS,H/HERITAGE SERIES :HERB Compact Disc 013431482123 013431482123 CD83608 ELLIS,T/THE HARD WAY Compact Disc 089408360824 0894083608248 01213 33469 8 5 099951 179526 7 24352 22112 77 24358 43372 2 6 02517 81130 06 02527 09912 5 0 28945 31032 90 28946 74442 0 0 28946 81812 16 02517 64252 20 76743 13052 6 7 24384 13782 3 5 099990 827822 6 02517 23457 4 6 98715 00702 7 8 05520 06043 18 05520 06068 46 77603 00212 2 8 29357 45072 28 27823 03082 98 27823 03102 4 7 78325 22312 0 0 13431 48212 35 060238 631709 0 11661 76062 20 11661 75712 7 0 89408 36082 40 14921 50082 26 02537 35091 9 8 01213 90399 3Catalogue Numb er Artist & Title Description Configuration Scannable UPC UPC 37036172 ELTON JO HN VS PNAU/GOOD MO RNIN Compac t Disc 602537036172 602537036172 100132D EMBRACE THE END/COUNTING HALLW Compact Disc 727701001326 727701001326 TEG2448CD EMC/THE SHOW Compact Disc 829357244826829357244826 0044502722 EMERSON DRIVE/EMERSON DRIVE Compact Disc 600445027220 600445027220 GARUDACD007 EMERY,G/DRIVE Compact Disc 50603846701025060384670102 866412A EMERY/I'M ONLY A MAN Compact Disc 094638664123 094638664123 3797862 EMIGRATE/SILENT SO LONG Compact Disc 602537978625 602537978625 B000377272 EMINEM/ENCORE (DELUXE EDITED) Compact Disc 602498646731 602498646731 302339 EMINEM/LIVE FROM NEW YORK CITY Digital Video Disc 801213023394 801213023394 333439 EMINEM/LIVEFROM NEW YORK CITY( BLU RAY 801213334391 801213334391 4400144722 EMMETT,R/THE BEST OF RIK EMMET Compact Disc 044001447228 044001447228 116742 EMPEROR/ANTHEMS TO THE WELKIN Compact Disc 803341167421 803341167421 3341336605 EMPEROR/IN THE NIGHTSIDE E(2CD Compact Disc 803341336605 803341336605 116722 EMPEROR/IN THE NIGHTSIDE ECLIP Compact Disc 803341167223 803341167223 110982 EMPEROR/PROMETHEUS:DIS OF FIRE Compact Disc 803341109827 803341109827 PRCCD084 EMPYRIUM/A RETROSPECTIVE Compact Disc 884388708426 884388708426 PRCCD704732 EMPYRIUM/WEILAND Compact Disc 884388704732 884388704732 FRBCD34 ENGEL/BLOOD OF SAINTS Compact Disc 039911003428 039911003428 738172 ENIGMA/A POSTERIORI Compact Disc 094637381724 094637381724 5711298 ENIGMA/LOVE SENSUALITY,DEVO(2C Compact Disc 602557112986 602557112986 BAI0152 ENLOW/THE RECOVERY Compact Disc 790168533525 790168533525 WARPCD214X ENO,B/DRUMS BETWEEN THE BELL(2 Compact Disc 801061821425801061821425 WARPCD272X ENO,B/THE SHIP(DLX) Compact Disc 801061827229801061827229 5323684 ERA/CLASSICS Compact Disc 600753236840 600753236840 2753376 ERA/CLASSICS II Compact Disc 602527533766 602527533766 4778979 ERDMANN,M/MOZART:MOSTLY MOZART Compact Disc 028947789796 028947789796 9876269 ERIKSEN,T/PRAYERS & OBSERVATIO Compact Disc 602498762691 602498762691 3744257 ERIKSEN,T/VISITS Compact Disc 602537442577 602537442577 509652B ESCOVEDO, /BOXING MIRROR,THE Compact Disc 094635096521 094635096521 824112 ESCOVEDO, /REAL ANIMAL Compact Disc 094638241126 0946382411268 01213 33439 1 0 44001 44722 8 0 94638 24112 60 94638 66412 3 0 28947 78979 66 00445 02722 0 6 02498 64673 1 6 02557 11298 66 02537 03617 2 0 94635 09652 18 03341 10982 78 03341 33660 56 02537 97862 5 8 03341 16722 38 03341 16742 1 6 00753 23684 0 6 02527 53376 60 94637 38172 4 6 02498 76269 1 6 02537 44257 78 29357 24482 6 8 01061 82142 5 8 01061 82722 95 060384 670102 7 90168 53352 57 27701 00132 6 0 39911 00342 88 84388 70842 6 8 84388 70473 28 01213 02339 4Catalogue Numb er Artist & Title Description Configuration Scannable UPC UPC CCDCD4748 ESCOVEDO,P/E STREET Compact Disc 013431474821 013431474821 3145181652 ESSENTIALS/N.SIMONE Compact Disc 731451816529 731451816529 0249826829 ESSEX,D/LIVE AT THE ROYAL ALBE Digital Video Disc 602498268292 602498268292 B001614202 ESTEFAN,G/MISS LITTL E HAVANA Compact Disc 602527832845 602527832845 B001730602 ETHERIDGE,M/4TH STREET FEE Compact Disc 602537123612 602537123612 CDHBEA127 ETHIOPIANS /OWNER FE DE YA Compact Disc 011661762725 011661762725 791542B EVANESCENC/EVANESCENCE Compact Disc 5099967915422 5099967915422 794952C EVANESCENC/EVANESCENCE (DELUXE CD with DVD 5099967949526 5099967949526 286732 EVANS, B/PARIS CONCERT,THE V.2 Compact Disc 724352867325 724352867325 583002 EVANS, GIL/COMPLETE PACIFIC JA Compact Disc 094635830026 094635830026 5340162 EVANS,B/MANNE,S/EMPATHY /A SIMP Compact Disc 600753401620 600753401620 OJCCD88 EVANS,B-TRIO/EVANS JA ZZ PORTRA Compact Disc 025218608824 025218608824 0694933802 EVE/EVE-OLUTION (EDITED) Compact Disc 606949338022 606949338022 050092 EVENING HY/SPIRIT GUIDES Compact Disc 827590500921 827590500921 ETLCD84 EVIL DEAD/ANNIHILATION OF C(DL Compact Disc 784672127394 784672127394 ETLCD83 EVIL DEAD/THE UNDERWORLD(DLX) Compact Disc 784672127400 784672127400 B000651109 EXTREME/VIDEOGRAFFITI Digital Video Disc 602498542422 602498542422 ETLCD14 EXUMER/POSSESSED BY FIRE Compact Disc 4030554005134 4030554005134 ETLCD15 EXUMER/RISING FROM THE SEA Compact Disc 4030554005141 4030554005141 8385312 F.BOCCARA/MASTER SERIES Compact Disc 042283853126 042283853126 413362A FACEMOB/OTHER SIDE OF THE LAW Compact Disc 724384133627 724384133627 SLR002 FACESONFILM/SEVEN SISTERS Compact Disc 837101072335837101072335 CDROUN5076 FADELA & SAHRAW/WALLI Compact Disc 011661507623 011661507623 CDVARR028 FAHEY, JOHN /I REMEMBER BLI Compact Disc 011671002828 011671002828 CDVARR019 FAHEY, JOHN /RAIN FORESTS, Compact Disc 011671001920 011671001920 SHIRTY3 FAIRPORT CONVENTIO/4PAY(2CD Compact Disc 5052442001959 5052442001959 MGCD052 FAIRPORT CONVENTION/BABBACOMBE Compact Disc 5051078923628 5051078923628 MGCD051 FAIRPORT CONVENTION/BY POPULAR Compact Disc 5051078923529 5051078923529 FRANMGCD050 FAIRPORT CONVENTION/FESTIVAL B Compact Disc 5051078919621 5051078919621 4921501225 FAITHFULL,M/GIVE MY LOVE TO LO Compact Disc 014921501225 0149215012255 099967 949526 0 94635 83002 67 24352 86732 5 6 06949 33802 26 02537 12361 2 0 42283 85312 67 31451 81652 9 6 02527 83284 5 6 00753 40162 0 7 24384 13362 7 5 052442 001959 5 051078 923529 5 051078 919621 5 051078 923628 8 37101 07233 58 27590 50092 15 099967 915422 0 25218 60882 40 13431 47482 1 4 030554 005141 7 84672 12740 07 84672 12739 4 4 030554 005134 0 11661 76272 5 0 11661 50762 3 0 11671 00192 00 11671 00282 8 0 14921 50122 56 02498 54242 26 02498 26829 2Catalogue Numb er Artist & Title Description Configuration Scannable UPC UPC 5301306 FAKOLY TIKEN JAH/L'AFRICAIN Compact Disc 600753013069 600753013069 5896132 FAKOLY,T/FRANCAFRIQUE Compact Disc 731458961321 731458961321 9847463 FALL,THE/EXTRICATE Compact Disc 602498474631 602498474631 4177712 FALLA/NIGHTS IN THE GARDENS Compact Disc 028941777126 028941777126 CD80149 FALLA/THE THREE CORNE RED HAT;H Compact Disc 089408014925 089408014925 OMM304582 FARINA,M/CARTER,D/LIVE AT OM Compact Disc 600353045828 600353045828 OMM307842 FARINA,M/LIVE IN TOKYO Compact Disc 600353078420 600353078420 OMM308152 FARINA,M/MUSHROOM JAZZ V6 Compact Disc 600353081529 600353081529 3145595152 FARLOW,T/T SWINGING GUITAR Compact Disc 731455951523 731455951523 CCD14042 FARMER,A-QT/BLAME IT ON MY YOU Compact Disc 025218144223 025218144223 2789543 FARMER,M/BEST OF Compact Disc 602527895437 602527895437 2789547 FARMER,M/BEST OF (3CD) Compact Disc 602527895475 602527895475 5310833 FARMER,M/POINT DE SUTURE Compact Disc 600753108338 600753108338 5325435 FARMER,M/STADE DE FRANCE Digital Video Disc 600753254356 600753254356 2786551342 FARRUKO/TMPR THE MOST POWERFUL Compact Disc 827865513427 827865513427 4780333 FASSBAENDER,B/STRAUSS:CAPRICCI Compact Disc 028947803331 028947803331 698249 FATBOY SLI/WHY TRY HARDER? GRT Digital Video Disc 094636982496 094636982496 662472A FATBOY SLI/YOU'VE COME ALONG W Compact Disc 017046624725 017046624725 TWO22292 FATS DOMINO/BILL HA/THE UL(2CD Compact Disc 778325222925 778325222925 XXICD21670 FAURE,G/LA MUSIQUE SACREE AVEC Com pact Disc 722056167024 722056167024 MBDCD860075 FEAR OF ETERNITY/SPIRIT OF SOR Compact Disc 768586007522 768586007522 3742720 FEFE/LE CHARME DES PREMIER JOU Compact Disc 602537427208 602537427208 2786542262 FELICIANO,C/SELECCIONES FANIA Compact Disc 827865422620 827865422620 853574762 FELICIANO,J/HITS AND FAVORITES Compact Disc 708535747628 708535747628 UMMC81402 FELICIANO,J/JOSE SINGS Compact Disc 778325814021 778325814021 974472 FERGUSON ,/A MESSAGE FROM BIRD Compact Disc 094639744725 094639744725 CCD30214 FERGUSON,M/ON A HIGH NOTE:THE Compact Disc 888072302143 888072302143 5329000 FERRAT,J/LA COLLECTIO N CHANSON Compact Disc 600753290002 600753290002 8436562 FERRAT,J/MASTER SERIE 2003 VOL Compact Disc 042284365628 042284365628 5431532 FERRE,L/BALLADES ET MOTS DAMOU Compact Disc 731454315326 7314543153260 94639 74472 50 28947 80333 10 28941 77712 66 02498 47463 1 8 27865 51342 7 8 27865 42262 06 02537 42720 86 00753 10833 8 7 31454 31532 60 42284 36562 86 02527 89547 56 02527 89543 76 00753 01306 9 6 00753 29000 27 31458 96132 1 7 31455 95152 3 0 17046 62472 5 7 22056 16702 47 78325 22292 5 7 78325 81402 16 00353 04582 8 6 00353 07842 0 6 00353 08152 9 7 08535 74762 80 25218 14422 3 8 88072 30214 37 68586 00752 20 89408 01492 5 6 00753 25435 6 0 94636 98249 6Catalogue Numb er Artist & Title Description Configuration Scannable UPC UPC CDROUN7018 FERREL, FRANK /BOSTON FIDDLE: Compact Disc 011661701823 011661701823 385642B FERRELL, R/LIVE AT MONTREUX Compact Disc 724353856427 724353856427 INTROCD2079 FERRIER,K/A PROPER INTRO TO:KA Compact Disc 805520060790 805520060790 4756411 FERRIER,K/CLASSIC RECITALS Compact Disc 028947564119 028947564119 365542B FERRO, TIZ/ROSSO RELATIVO Compact Disc 724353655426 724353655426 439819 FERRY, BRY/BETE NOIRE TOUR,THE Digital Video Disc 5099924398190 5099924398190 CDFLY303 FIDDLE FEVER /WALTZ OF THE W Compact Disc 018964030322 018964030322 LAPDV91276 FILM/BILINGUAL AM/PM YOGA Digital Video Disc 029956301702 029956301702 LAPDV91263 FILM/BILINGUAL YOGA FOR BEGINN Digital Video Disc 029956239807 029956239807 GTEDV881202 FILM/BILLY BLANKS:TAEBO CARDIO Digital Video Disc 767712812023 767712812023 LAPDV1540 FILM/CARDIO PILATES DVD Digital Video Disc 029956715202 029956715202 WF009DVD FILM/CINEMA 16:EUROPEAN SHORT Digital Video Disc 616892897828616892897828 LAPDV1541 FILM/EASY PILATES DVD Digital Video Disc 029956330702 029956330702 LAPDV1284 FILM/MEDIATION FOR BEGINNER Digital Video Disc 029956100008 029956100008 LAPDV1272 FILM/PILATED INTERMEDIATE MAT Digital Video Disc 029956908109 029956908109 LAPDV1498 FILM/PILATES ABS Digital Video Disc 029956104303 029956104303 LAPDV1259 FILM/PILATES BEGINNER MAT WORK Digital Video Disc 029956313408 029956313408 LAPDV1262 FILM/PILATES CONDITIONING FOR Digital Video Disc 029956902107 029956902107 LAPDV1497 FILM/PILATES LOWER BODY WORKOU Digital Video Disc 029956208001 029956208001 LAPDV1269 FILM/PRENATAL YOGA Digital Video Disc 029956088825 029956088825 LAPDV1252 FILM/YOGA CONDITIONING FOR WEI Digital Video Disc 029956110403 029956110403 LAPDV1504 FILM/YOGA FOR KIDS-ABCS Digital Video Disc 029956938601 029956938601 VEGA24571 FINAL STATE/C'EST LA VIE Compact Disc 619061457120 619061457120 4700598 FINCH/BACK TO OBLIVION Compact Disc 602547005984 602547005984 296702 FINGER ELE/TIP Compact Disc 5099902967028 5099902967028 1166131602 FINJAN/DANCING ON WATER Compact Disc 011661316027 011661316027 CDROUN8043 FINK, CATHY & M/BLANKET FULL O Compact Disc 011661804326 011661804326 BW4 FINLIN,J/BALLAD OF A PLAIN MAN Compact Disc 614511757522 614511757522 3775110 FINNTROLL/NATTEN MED DE LEVAND Compact Disc 602537751105 602537751105 FWDCD1 FIREWIND/FEW AGAINST MANY Compact Disc 628586156104 6285861561047 24353 85642 7 0 28947 56411 9 7 24353 65542 6 6 02537 75110 56 02547 00598 46 19061 45712 0 6 14511 75752 28 05520 06079 0 5 099902 967028 6 28586 15610 40 11661 31602 70 18964 03032 20 11661 70182 3 0 11661 80432 67 67712 81202 3 0 29956 11040 30 29956 31340 8 0 29956 90210 7 0 29956 08882 50 29956 90810 90 29956 10000 8 0 29956 20800 10 29956 10430 3 0 29956 93860 10 29956 71520 2 0 29956 33070 20 29956 23980 70 29956 30170 25 099924 398190 6 16892 89782 8Catalogue Numb er Artist & Title Description Configuration Scannable UPC UPC 41505 FISHER PRICE SER/RAINFOREST LU Compact Disc 096741204326 096741204326 37178 FISHER PRICE SER/TENDRE BERCEU Compact Disc 096741141126 096741141126 50124 FISHER PRICE/50 SING-ALONG CLA Compact Disc 096741282423 096741282423 22980 FISHER PRICE/BIRTHDAY PARTY FU Compact Disc 096741024726 096741024726 47913 FISHER PRICE/FP JEWEL-CELEBRIT Compact Disc 096741243424 096741243424 22976 FISHER PRICE/MOTHER GOOSE AND Compac t Disc 096741024528 096741024528 49128 FISHER PRICE/SONGS & GAMES FOR Compact Disc 096741272325 096741272325 34210 FISHERPRICE/WORLD BABY:PEACEFU Compact Disc 096741112324 096741112324 3145317622 FITZGERALD,E/ LOVE SONGS BEST Compact Disc 731453176225 731453176225 INTROCD2009 FITZGERALD,E/A PROPER INTRO TO Compact Disc 805520060097 805520060097 2759806 FITZGERALD,E/BEST OF THE BBC V CD with DVD 602527598062 602527598062 PROPERBX5116 FITZGERALD,E/DEARLY BELOV(4 CD Compact Disc 805520221160 805520221160 PROPERBOX116 FITZGERALD,E/DEARLY BELOVED Compact Disc 805520021166 805520021166 GRBD636 FITZGERALD,E/PURE ELLA Compact Disc 011105063623 011105063623 PROPERBOX74 FITZGERALD,E/ROMANCE AND RHYTH Compact Disc 805520020749 805520020749 3145218672 FITZGERALD,E/T BEST OF SONGBOO Compact Disc 731452186720 731452186720 8398382 FITZGERALD,E/T INTIMATE ELLA Compact Disc 042283983823 042283983823 B000914202 FITZGERALD,E/THE VERY BEST OF Compact Disc 602517314207 602517314207 5344963 FITZGERALD,E/THE VOICE OF(10CD Compact Disc 600753449639 600753449639 UMMC81052 FITZGERALD,E/ULTIMATE LEGENDS Compact Disc 778325810528 778325810528 8353132 FITZGERALD,E-ARMSTRONG/COMP JZ Compact Disc 042283531321 042283531321 3985011608 FIVE FINGER D/THE WRONG(CD+DVD CD with DVD 813985011608 813985011608 3985011158 FIVE FINGER DE/THE WRONG SI(2C Compact Disc 813985011158 813985011158 B000245309 FIXX,T/THE BEST OF THE FIXX Digital Video Disc 602498622759 602498622759 COS33313 FLACK,R/IN CONCERT Digital Video Disc 619061331338 619061331338 FL07DLB02 FLATLINED/DEAF LEADING THE BLI Compact Disc 829982095480829982095480 242562 FLEETWOOD MAC/THE BEST OF THE Compact Disc 766922425627 766922425627 4663142 FLEMING,R/STRAUSS HEROINES Compact Disc 028946631423 028946631423 0743327 FLEMING,R/VERDI:LA TRAVIATA (B BLU RAY 044007433270 044007433270 0743215 FLEMING,R/VERDI:LA TRAVIATA-DV Digital Video Disc 044007432150 0440074321500 44007 43327 06 02527 59806 2 8 13985 01160 8 0 28946 63142 37 66922 42562 70 11105 06362 3 0 42283 53132 16 02517 31420 77 31452 18672 07 31453 17622 5 6 00753 44963 90 42283 98382 38 05520 06009 7 8 05520 02116 6 8 05520 02074 98 05520 22116 0 8 29982 09548 07 78325 81052 8 8 13985 01115 80 96741 02452 80 96741 02472 6 0 96741 11232 40 96741 14112 60 96741 20432 6 0 96741 24342 4 0 96741 27232 50 96741 28242 3 6 02498 62275 9 0 44007 43215 06 19061 33133 8Catalogue Numb er Artist & Title Description Configuration Scannable UPC UPC B000143800 FLOETRY/FLOACISM Compact Disc 600445050631 600445050631 CDFLY463 FLOR DE CAA /¡MUEVETE! (MOV Compact Disc 018964046323 018964046323 2785014 FLORENCE & THE MACHINE /CEREMON Compact Disc 602527850146 602527850146 B002312202 FLORENCE AND THE MA/H OW BI(DLX Compact Disc 602547236050 602547236050 0743299 FLOR EZ,JD/ROSSINI:IL BAR BIERE BLU RAY 044007432990 044007432990 B002172002 FLORIDA GEORGIA/ANYTHING G(DLX Compact Disc 602537999019 602537999019 MRBCD056 FLOWRIDERS/R.U.E.D.Y. Compact Disc 50240170048255024017004825 UMMC31282 FLYING BURRITO BROT/THE FLYING Compact Disc 778325312824 778325312824 B001444102 FOGERTY,J/CENTERFIELD-25TH ANN Compact Disc 602527417622 602527417622 B000325702 FOGERTY,J/DEJA VU ALL OVER AGA Compact Disc 602498634684 602498634684 FCD30084 FOGERTY,J/THE LONG ROAD HOME - Compact Disc 888072300842 888072300842 DSP015 FOLEY,B/WANTED MORE DEAD THAN Compact Disc 825749025929 825749025929 PROPERBOX107 FOLEY,R/HILLBILLY FEVER Compact Disc 805520021074 805520021074 DA00239 FOND OF TIGERS/RELEASE THE SAV Compact Disc 875531002393875531002393 ISBCD5104 FONESCA,R/ELENGO Compact Disc 620323510422 620323510422 ISBCD5105 FONESCA,R/TIENE QUE VER Compact Disc 620323510521 620323510521 182372A FORD,TENNE/GREATEST HITS Compact Disc 724381823729 724381823729 BIR10102 FOREKNOWN/CALM SEAS DON'T MAKE Compact Disc 803847701020 803847701020 CDPHIL1164 FORSTER, JOHN /ENTERING MARIO Compact Disc 011671116426 011671116426 744202A FOUNTAINSO/TRAFFIC A ND WEATHER Compact Disc 094637442029 094637442029 INTROCD2080 FOUR ACES,THE/A PROPER INTRO T Compact Disc 805520060806 805520060806 SPIT0381 FOWLIS,J/UAM Compact Disc 844493070382 844493070382 KF001 FOX,K/COME ALIVE Compact Disc 775020538825775020538825 0075321704 FRAMPTON,P/BEST OF-SUPERSTAR S Compact Disc 600753217047 600753217047 B000721902 FRAMPTON,P/FINGERPRINTS Compact Disc 602517031203 602517031203 3145202892 FRAMPTON,P/FRAMPTON Compact Disc 731452028921 731452028921 B000454909 FRAMPTON,P/FRAMPTON COMES ALIV Digital Video Disc 602498814062 602498814062 0075330690 FRAMPTON,P/GOLD Compact Disc 600753306901 600753306901 XXICD21580 FRANCAIX,J/TRIO FOR CLARINET,V Compact Disc 722056158022 722056158022 UMMC96211 FRANCIS,C/MEMORIES Compact Disc 778325962111 7783259621110 44007 43299 0 7 24381 82372 96 00445 05063 1 7 31452 02892 16 02527 41762 2 6 02498 63468 46 02547 23605 06 02527 85014 6 6 00753 30690 16 00753 21704 70 94637 44202 9 6 02517 03120 36 20323 51042 2 6 20323 51052 1 7 22056 15802 28 25749 02592 9 8 44493 07038 28 05520 06080 68 05520 02107 45 024017 004825 8 75531 00239 3 7 75020 53882 57 78325 31282 4 7 78325 96211 18 03847 70102 06 02537 99901 9 8 88072 30084 2 0 11671 11642 60 18964 04632 3 6 02498 81406 2Catalogue Numb er Artist & Title Description Configuration Scannable UPC UPC 3770762 FRANCOIS,F/LAIMER ENCORE Compact Disc 602537707621 602537707621 CDFLY495 FRANKE,B/BRIEF HISTORIES Compact Disc 018964049522 018964049522 0251707193 FRATELLIS,THE/COSTELLO MUSIC Compact Disc 602517071933 602517071933 OMM308012 FRED EVERYTHING/LOST TOGETHER Compact Disc 600353080126 600353080126 OM434 FRED EVERYTHING/OM MASTERS Compact Disc 600353103429 600353103429 CDFLY540 FREE HOT LUNCH /EAT THIS Compact Disc 018964054021 018964054021 B00122302 FREE KITTEN/INHERIT Compact Disc 602517686328 602517686328 4783533 FREIRE,N/BRASILEIRO Compact Disc 028947835332 028947835332 XXICD21521 FREITAS/BRANCO/ALEXANDRE Compact Disc 722056152129 722056152129 289902 FREW, ALAN/HOLD ON Compact Disc 724382899020 724382899020 800309 FRIDAY, GA/CATHOLIC Compact Disc 850358003099 850358003099 B000145602 FRIGO,J/I LOVE JOHN FRIGO..HE Compact Disc 602498610619 602498610619 INTROCD2076 FRIZZELL,L/A PROPER INTRO TO:L Compact Disc 805520060769 805520060769 PROPERBOX119 FRIZZELL,L/GIVE ME MORE,MORE,M Compact Disc 805520021197 805520021197 TEG76517CD FROZEN EXPLOSION/FROZEN EXPLOS Compact Disc 829357651723829357651723 390779 FRP SLL-STARS/RITENOUR/GRUSIN/ Digital Video Disc 801213907793 801213907793 2061655152 FU MANCHU/CALIFORNIA CROSSING Compact Disc 720616551528 720616551528 MR801342 FU MANCHU/IN SEARCH OF... Compact Disc 035498013423 035498013423 FUCKFACE FUCKFACE/FUCK FACE Compact Disc 825576046227 825576046227 153702 FULLER, CU/OPENER,THE/RVG SERI Compact Disc 5099921537028 5099921537028 PCR009 FULLYDOWN,T/NO FATE..BUT WHAT Compact Disc 625989430923625989430923 CDROUN2088 FULSON, LOWELL /IT'S A GOOD DA Com pact Di sc 011661208827 011661208827 ISBCD5113 FUMANTI,G/JE SUIS Compact Disc 619061371921 619061371921 ISBCD5119 FUMANTI,G/MAGNIFICANT Compact Disc 619061382620 619061382620 4591352 FUR-ELISE/MY FIRST PNO RECITA Compact Disc 028945913520 028945913520 CDROUN0277 FURTADO, TONY /SWAMPED Compact Disc 011661027725 011661027725 B001504102 FURTADO,N/THE BEST OF NELLY FU Compact Disc 602527549132 602527549132 8205302 FURY, BILLY /THE BILLY FURY Compact Disc 042282053022 042282053022 TAO021 FUTURE LOOP FOUNDATION/FADING Compact Disc 677603002825 677603002825 CDROUN11571 FUZZY MOUNTAIN /THE FUZZY MOUN Compact Disc 011661157125 0116611571255 099921 537028 0 42282 05302 20 28947 83533 2 0 28945 91352 07 24382 89902 0 0 35498 01342 37 20616 55152 8 6 02527 54913 26 02517 07193 36 02537 70762 1 6 02498 61061 9 6 19061 37192 1 6 19061 38262 07 22056 15212 9 8 25576 04622 78 05520 06076 9 8 05520 02119 7 6 77603 00282 58 29357 65172 3 6 25989 43092 36 02517 68632 86 00353 10342 96 00353 08012 6 8 50358 00309 90 18964 04952 2 0 18964 05402 1 0 11661 02772 5 0 11661 15712 50 11661 20882 78 01213 90779 3Catalogue Numb er Artist & Title Description Configuration Scannable UPC UPC 0380172 FYGI,L/LIVE AT RONNIE SCOTT'S Compact Disc 044003801721 044003801721 9868590 FYGI,L/THE VERY BEST TIME OF Y Compact Disc 602498685907 602498685907 8320502 G.BRASSENS/MASTER SERIE 2003 V Compact Disc 042283205024 042283205024 1166130242 G. THOROGOOD/MOVE IT ON OVER SACD4Stereo/Su rround/CDAud 011661302426 011661302426 VEGA24570 GABRIELLA/THE STORY OF OAK(2CD Compact Disc 619061457021 619061457021 TPCD1 GAFFNEY,C & COLD HARD FACTS/LI Compact Disc 670899301122 670899301122 5318270 GAINSBOURG,S/MASTER SERIE VOL1 Compact Disc 600753182703 600753182703 460312 GAITHER VO/BETTER DAY Compact Disc 617884603120 617884603120 447349 GAITHER, B/HOMECOMING CHRISTMA Digital Video Disc 617884473495 617884473495 460092B GAITHER, B/RYMAN GOSPEL REUNIO Compact Disc 617884600921 617884600921 427092 GAITHER,B/BEST OF HOMECOM V2 Compact Disc 617884270926 617884270926 303189 GALLAGHER, R/GHOST BLUES & BES Digital Video Disc 801213031894 801213031894 201942 GALLAGHER,R/AGAINST THE GRAIN Compact Disc 826992019420 826992019420 201972 GALLAGHER,R/BBC SESSIONS (2CD) Compact Disc 826992019727 826992019727 201982 GALLAGHER,R/BLUEPRINT Compact Disc 826992019826 826992019826 201932 GALLAGHER,R/CALLING CARD Compact Disc 826992019321 826992019321 201622 GALLAGHER,R/CREST OF A WAVE:BE Compact Disc 826992016221 826992016221 201882 GALLAGHER,R/DEFENDER Compact Disc 826992018829 826992018829 201862 GALLAGHER,R/DEUCE Compact Disc 826992018621 826992018621 201952 GALLAGHER,R/IRISH TOUR Compact Disc 826992019529 826992019529 ER203752 GALLAGHER,R/IRISH TOUR 74(DLX Compact Disc 826992037523 826992037523 ER203272 GALLAGHER,R/KICKBACK CI(DLX)(3 Compact Disc 826992032726 826992032726 202002 GALLAGHER,R/LIVE IN EUROPE Compact Disc 826992020020 826992020020 200942 GALLAGHER,R/LIVE T MONTREUX(75 Compact Disc 826992009421 826992009421 201552 GALLAGHER,R/NOTES FROM SAN FRA Compact Disc 826992015521 826992015521 201852 GALLAGHER,R/RORY GALLAGHER Compact Disc 826992018522 826992018522 201992 GALLAGHER,R/TATTO Compact Disc 826992019925 826992019925 201912 GALLAGHER,R/TOP PRIORITY Compact Disc 826992019123 826992019123 ISBCD5091 GALLEON/GA LLEON Compact Disc 620323509129 620323509129 8484932 GALLIANO /IN PURSUIT OF Compact Disc 042284849326 0422848493266 17884 60092 16 17884 60312 0 6 17884 27092 6 8 26992 00942 1 8 26992 01552 1 8 26992 01852 28 26992 01882 9 8 26992 01912 38 26992 01932 18 26992 01942 0 8 26992 01952 98 26992 01972 7 8 26992 01982 6 8 26992 01992 58 26992 02002 08 26992 03272 68 26992 03752 30 44003 80172 1 0 42284 84932 66 00753 18270 30 42283 20502 46 02498 68590 7 8 26992 01622 1 8 26992 01862 16 19061 45702 1 6 20323 50912 96 70899 30112 2 6 17884 47349 5 8 01213 03189 40 11661 30242 6Catalogue Numb er Artist & Title Description Configuration Scannable UPC UPC 4775085 GALWAY,J/WINGS OF SONG Compact Disc 028947750857 028947750857 B000441309 GAME THE/THE DOCUMENTARY:THE M Digital Video Disc 602498808597 602498808597 STNVOL024C GARBAGE/STRANGE LITTLE BIRDS Compact Disc 4050538197495 4050538197495 4779112 GARDINER,J E/HANDEL:HERCULES T Compact Disc 028947791126 028947791126 4781374 GARDINER,JE/HANDEL:ISR AEL IN E Compact Disc 028947813743 028947813743 4727779 GARDOT,M/CURRENCY OF MAN(DLX) Compact Disc 602547277794 602547277794 594512 GARLAND, J/ESSENTIAL JUDY GARL Compact Disc 094635945126 094635945126 TWO22282 GARLAND,J/ASTAIRE/THE DOUBLE(2 Compact Disc 778325222826 778325222826 3145897752 GARNER,E/ERROLL GARNERS FINEST Compact Disc 731458977520 731458977520 LNKCD80 GAS HOUSE GORIL/PUNK AMERICANA Compact Disc 633090363870 633090363870 XXICD21622 GAUDET,M/RACHMANINOV:24 PRELUD Compact Disc 722056162227 722056162227 TSCD384 GAUGHAN,D/GAUGHAN Compact Disc 5016272384026 5016272384026 TSCD419 GAUGHAN,D/HANDFUL OF EARTH Compact Disc 5016272419025 5016272419025 HPO6014 GAUGHAND/THE DEFINI TIVE COLLEC Compact Disc 714822601429 714822601429 PVCD110 GAYE,M/LIVE Compact Disc 805520051101 805520051101 301789 GAYE,M/WHAT'S GOING ON Digital Video Disc 801213017898 801213017898 344492 GAYLE,CRYS/CERTIFIED HITS Compact Disc 724353444921 724353444921 3145590822 GAYNOR,G/T BEST OF Compact Disc 731455908220 731455908220 HWTCD747313 GAZPACHO/TICK TOCK Compact Disc 886974731429 886974731429 4823849 GENDRON,M/L'ART DE MAURICE(14C Compact Disc 028948238491 028948238491 IRL074 GENERAL PAOLINO FT M/SOUTH SUD Compact Disc 5060155721187 5060155721187 BAI0192 GENTLEMAN HOMICIDE/UNDERSTANDI Compact Disc 790168542121 790168542121 0743076 GERGIEV,V/PROKOFIEV:BETROTHAL Digital Video Disc 044007430767 044007430767 0743117 GERGIEV,V/SHOSTAKOVICH;SHOSTAK Digital Video Disc 044007431177 044007431177 4717372 GERSHWIN&BARBER/RHAPSODY IN BL Compact Disc 028947173724 028947173724 4792598 GERWIG,W/MUSIC FOR LUTE(4CD) Compact Disc 028947925989 028947925989 DOG0472 GET UP KIDS/FOUR MINUTE MILE Compact Disc 790168404726 790168404726 INTROCD2034 GETZ,S/A PROPER INTRO TO:STAN Compact Disc 805520060349 805520060349 5114682 GETZ,S/ARTISTRY OF VOL.1 Compact Disc 731451146824 731451146824 B001240802 GETZ,S/DYNASTY Compact Disc 602517920651 6025179206510 28947 92598 90 94635 94512 6 7 24353 44492 16 02547 27779 40 28947 81374 3 0 28948 23849 10 28947 75085 7 0 28947 17372 47 31455 90822 00 28947 79112 6 6 02517 92065 17 31458 97752 0 7 31451 14682 47 22056 16222 7 8 05520 06034 98 05520 05110 17 14822 60142 9 5 060155 721187 5 016272 384026 5 016272 419025 7 78325 22282 64 050538 197495 7 90168 40472 67 90168 54212 18 86974 73142 96 33090 36387 0 8 01213 01789 86 02498 80859 7 0 44007 43076 7 0 44007 43117 7Catalogue Numb er Artist & Title Description Configuration Scannable UPC UPC 3145214192 GETZ,S/FOCUS Compact Disc 731452141927 731452141927 B001079302 GETZ,S/JAZZ GIANTS '58 Compact Disc 602517621329 602517621329 3731767 GETZ,S/JOAO,G/GETZ GILBERTO BLU RAY AUDIO 602537317677 602537317677 8236112 GETZ,S/T BOSSA NOVA YEARS Compact Disc 042282361127 042282361127 PROPERBOX52 GETZ,S/TH E SOUND Compact Disc 805520020527 805520020527 303579 GIBB,R/IN CONCERT WITH THE DAN Digital Video Disc 801213035793 801213035793 CAMO020 GIGANTICS,THE/DIE ALREADY Compact Disc 655035003023655035003023 NPD85675 GILBERT & SULLIVAN/PRINCESS ID Compact Disc 032466567520 032466567520 9837700 GILBERTO,A/JAZZ CLUB:NON-STOP Compact Disc 602498377000 602498377000 9816847 GILBERTO,J/LIVE IN TOKYO Compact Disc 602498168479 602498168479 B001806602 GILL,V/ BALLADS Compact Disc 602537286454 602537286454 B000952402 GILLESPIE,D/AT NEWPORT Compact Disc 602517416079 602517416079 AMSC1028 GILLESPIE,D/FOUR CLASSIC AL(2C Compact Disc 5022810302827 5022810302827 3145214262 GILLESPIE,D/ROLLINS,S/SONNY SI Compact Disc 731452142627 731452142627 PROPERBOX30 GILLESPIE,D/THE DIZZY GILLESPI Compact Disc 604988993028 604988993028 UMMC63182 GILLEY,M/STAND BY ME(3CD) Compact Disc 778325631826 778325631826 1166131732 GILMORE,J/ONE ENDLESS NIGHT Compact Disc 011661317321 011661317321 FCCD132 GILMORE,T/JOHN WESLEY HARDING Compact Disc 684340002308 684340002308 FCCD158 GILMORE,T/REGARDLESS SPECIAL Compact Disc 684340002469 684340002469 ISBCD5106 GIOARIA/LIKE A DREAM Compact Disc 620323510620 620323510620 CD80525 GIULIANI/MUSIC OF/RUSSELL Compact Disc 089408052521 089408052521 4779628 GIULINI,C M/GIULINI IN AMERICA Compact Disc 028947796282 028947796282 4778840 GIULINI,C/GIULINI IN AMERICA Compact Disc 028947788409 028947788409 1166178362 GLADIATORS/STUDIO ONE SINGLES Compact Disc 011661783621 011661783621 CDFLY555 GLASER, MATT QU/PLAY, FIDDLE, Compact Disc 018964055523 018964055523 900292A GLASS CASKET/A DESPERAT E MAN'S Compact Disc 876929002926 876929002926 642022B GLASS TIGE/NO TURNING BA 98-04 Compact Disc 724386420220 724386420220 929222 GLASS TIGE/SIMPLE MI SSION Compact Disc 077779292226 077779292226 463132 GLASS TIGE/THIN RED LINE,THE Compact Disc 077774631327 077774631327 1166190742 GLASS,P/NOTES ON A SCANDAL SOU Compact Disc 011661907423 0116619074236 02537 31767 7 0 28947 79628 26 02498 16847 9 7 24386 42022 0 0 77774 63132 70 77779 29222 66 02537 28645 4 0 28947 78840 97 31452 14192 7 7 31452 14262 76 02517 41607 96 02517 62132 9 0 42282 36112 7 6 02498 37700 0 6 20323 51062 06 84340 00230 8 6 84340 00246 90 32466 56752 0 5 022810 302827 8 05520 02052 7 6 04988 99302 86 55035 00302 3 7 78325 63182 6 8 76929 00292 60 11661 78362 1 0 11661 90742 30 11661 31732 1 0 18964 05552 30 89408 05252 18 01213 03579 3Catalogue Numb er Artist & Title Description Configuration Scannable UPC UPC CD80609 GLIERE/SYMPHONY NO.3 Compact Disc 089408060922 089408060922 4596162 GLUCK/ARMIDE (COMPLETE) Compact Disc 028945961620 028945961620 UMMC81002 GO WEST/LIVE Compact Disc 778325810023 778325810023 2097108726 GODHEAD/THE SHADOW REALIGNED Compact Disc 802097108726 802097108726 MA251094 GODIVA/DESTRUCTION Compact Disc 5413992510948 5413992510948 MBDCD860089 GODLESS RISING/BATTLE LORDS Compact Disc 768586008925 768586008925 4776730 GOEBEL,R/HASSE:SALVE REGINA Compact Disc 028947767305 028947767305 4778624 GOEBEL,R/THE ORIGINALS-LE PAMA Compact Disc 028947786245 028947786245 UMMC11262 GOLD STAR BALLROOM/FOXTROT Compact Disc 778325112615778325112615 PTV35 GOLDEN BOOTS/WINTER OF OUR DIS Compact Disc 788377111320788377111320 B000602902 GOLDENSMOG/ANOTHER FINE DAY Compact Disc 602498890431 602498890431 692062A GOLDFRAPP/BLACK CHERRY Compact Disc 724596920626 724596920626 647402 GOLUB, JEF/GRAND CE NTRAL Compact Disc 094636474021 094636474021 D000462502 GOMEZ,S & TH SCENE/A YEAR WITH Compact Disc 050087149628 050087149628 B002418844 GOMEZ,S/REVIVAL JOURNAL(D2C) Compact Disc 602547628367 602547628367 INTROCD2052 GONZALES,B/A PROPER INTRO TO:B Compact Disc 805520060523 805520060523 INTROCD 2017 GOODMAN,B/A PROPER INTRO TO :BE Compac t Disc 805520060172 805520060172 PROPERBOX109 GOODMAN,B/THE ESSENTIAL BG Co mpact Disc 805520021098 805520021098 742282A GORDON, DE/CLUBHOUSE/RVG SERIE Compact Disc 094637422823 094637422823 924202 GORDON, DE/DEXTER CALLING RVG Compact Disc 724359242026 724359242026 965032A GORDON, DE/DOIN' ALLR IGHT RVG Compact Disc 724359650326 724359650326 463972A GORDON, DE/OTHER SIDE,THE Compact Disc 077774639729 077774639729 PROPERBOX16 GORDON,D/SETTIN'THE PACE Compact Disc 604988991628 604988991628 INTROCD2065 GORDON,R/A PROPER INTRO TO:ROS Compact Disc 805520060653 805520060653 LNKCD88 GORDON,R/I'M COMING HOME Compact Disc 633090364020 633090364020 546692 GOSPEK WON/GOSPEL WONDERS, THE Compact Disc 085365466920 085365466920 VEGA24697 GOULET,P H/FAUT QU ON BOUGE Compact Disc 619061469727 619061469727 XXICD21584 GOUNOD,C & FAURE,G/MELODIES FR Compact Disc 722056158428 722056158428 4705632 GOUNOD/FAUST Compact Disc 028947056324 028947056324 445402 GOVI/JEWEL BOX Compact Disc 094634454025 0946344540250 28945 96162 0 0 77774 63972 97 24359 24202 6 7 24359 65032 60 94637 42282 3 0 28947 05632 40 28947 78624 50 28947 76730 5 0 94634 45402 50 50087 14962 86 02498 89043 1 0 94636 47402 1 6 02547 62836 7 6 19061 46972 7 7 22056 15842 85 413992 510948 8 05520 06017 28 05520 06052 3 8 05520 06065 38 05520 02109 8 6 04988 99162 87 78325 11261 5 7 88377 11132 07 78325 81002 3 7 24596 92062 6 6 33090 36402 07 68586 00892 5 0 85365 46692 00 89408 06092 2 8 02097 10872 6Catalogue Numb er Artist & Title Description Configuration Scannable UPC UPC 79102215072 GOV'T MULE/THE DEEP END VOL.2 Compact Disc 791022150728791022150728 LNKCD95 GRACIE,C/ANGEL ON MY SHOULDER Compact Disc 633090363962 633090363962 RDRCD8463 GRACIE,J/ACOUSTIC JEEP Compact Disc 776127242820776127242820 BYGCD358 GRAE,J/THE ORCHEST RAL FILES:DL Compact Disc 823979035824823979035824 4339232 GRANADOS&ALBENIZ/DAN ZAS ESPANO Com pact Disc 028943392327 028943392327 URBNET1036 GRAND ANALOG/CA LLIGRAFFITI Compact Disc 775020784628775020784628 XXICD21465 GRAND CHOEUR DE MT L./DUBOIS & Compact Disc 722056146524 722056146524 XXICD21416 GRAND CHOEUR DE MTL./MOZART:RE Compact Disc 722056141628 722056141628 BMR10170507 GRAND THEFT BUS/FLIES IN THE N Compact Disc 775020621824775020621824 4787113 GRANDE,A/DANGEROUS WO MAN(DLX) Compact Disc 602547871138 602547871138 967942B GRANT, AMY/COLLECTION,THE Compact Disc 094639679423 094639679423 967922B GRANT, AMY/STRAIGHT AHEAD Compact Disc 094639679225 094639679225 LHR001 GRANT,D/SMOKIN' JAVA Compact Disc 614511706124 614511706124 MCAD20194 GRASS ROOTS THE/TEMP TATION EYE Compact Disc 076742019426 076742019426 884792 GRAY, DAVI/SHINE:THE BEST OF T Compact Disc 094638847922 094638847922 9619119923 GRAY,J/LOVE WILL HAVE THE FINA Compact Disc 829619119923 829619119923 PROPERBOX55 GRAY,W/THE WARDE LL GRAY STORY Compact Disc 805520020558 805520020558 NES20010 GREAT AUNT IDA/HOW THEY FLY Compact Disc 778224691921778224691921 844322 GREEN, GRA/BORN TO BE BLUE Compact Disc 077778443223 077778443223 931742 GREEN, GRA/LATIN BIT,THE/RVG S Compact Disc 094639317424 094639317424 635222B GREEN, GRA/LIVE AT THE CLUB MO Compact Disc 094636352220 094636352220 FRANBE115 GREEN,R/WILD LIFE Compact Disc 8437010194245 8437010194245 FTN17694 GREENE,J/GIVING UP THE GHOSTS Compact Disc 795041769428 795041769428 FTN17784 GREENE,J/TIL THE LIGHT COMES Compact Disc 795041778420 795041778420 CPL310322 GREENSKEEPERS/LIVE LIKE YOU WA Compact Disc 600353103221 600353103221 OM432 GREENSKEEPERS/LIVE LIKE YOU WA Compact Disc 600353090927 600353090927 B001864902 GREY,S/DON'T LOOK DOWN Compact Disc 602537430796 602537430796 XXICD21604 GRIEG,E/LYRICAL PIECES-INTEGRA Compact Disc 722056160421 722056160421 CDROUN0309 GRIER, DAVID /LONE SOLDIER Compact Disc 011661030923 011661030923 SID018 GRIFFIN,S/AS CERTAIN AS SUNRIS Compact Disc 793962000187 7939620001870 94639 31742 40 77778 44322 3 0 94636 35222 08 29619 11992 30 94639 67922 50 94639 67942 30 28943 39232 7 0 94638 84792 20 76742 01942 6 6 02537 43079 66 02547 87113 87 22056 14162 87 22056 14652 4 7 22056 16042 16 14511 70612 4 7 93962 00018 78 437010 194245 8 05520 02055 87 75020 62182 4 7 78224 69192 17 76127 24282 0 7 75020 78462 87 91022 15072 8 8 23979 03582 4 6 00353 10322 1 6 00353 09092 76 33090 36396 2 0 11661 03092 37 95041 76942 8 7 95041 77842 0Catalogue Numb er Artist & Title Description Configuration Scannable UPC UPC SID007 GRIFFIN,S/LITTLE VICTORIES Compact Disc 793962000729 793962000729 CDHBEA11554 GRIFFITHS, ALBE/A WHOLE HEAP Compact Disc 011661155428 011661155428 RRR003 GRINDER/GOTTA KEEP MOVIN' Compact Disc 709764300929709764300929 CDROUN0251 GRISMAN, DAVID /HOME IS WHERE Compact Disc 011661025127 011661025127 GRLCD863065 GRONEMEYER,H/I WALK Compact Disc 5060238630658 5060238630658 GRLDV863098 GRONEMEYER,H/I WALK LIVE(2DVD) Digital Video Disc 5060238630986 5060238630986 OM468 GROOVE ARMADA/WHITE LIGHT Compact Disc 600353106826 600353106826 OMM306172 GROOVE JUN/CHUCK LO/OM SUMMER Compact Disc 600353061729 600353061729 OMM305892 GROOVE JUNKIES/HOUSE OF OM PRE Compact Disc 600353058927 600353058927 787632B GROOVE, EU/BORN 2 GROOVE Compact Disc 094637876329 094637876329 B001711402 GRUPO MONTEZ/ICONOS/25EXIT(2CD Compact Disc 602537081783 602537081783 CDROUN9030 GRUSHECKY, JOE /SWIMMING WITH Compact Disc 011661903029 011661903029 FSA8430 GUARALDI,V/A BOY NAMED CHARLIE SACD4Stereo/Surround/CDAud 025218732765 025218732765 9840549 GUICHARD,D/UNIVERSAL MASTER Compact Disc 602498405499 602498405499 2756935 GUILLEMOTS/WALK THE RIVER Compact Disc 602527569352 602527569352 XXICD21524 GUITAR BAROQUE/DAVID JACQUES Compact Disc 722056152426 722056152426 0734376 GULDA,F/VAR:SO WHAT? FREDRICH Digital Video Disc 044007343760 044007343760 INTROCD2059 GUTHRIE,W/A PROPER INTRO TO:WO Compact Disc 805520060592 805520060592 UMMC81442 GUTHRIE,W/MEMBERS EDIT Compact Disc 778325814427 778325814427 PROPERBOX115 GUTHRIE,W/SOME FOLK Compact Disc 805520021159 805520021159 962162 GUTHRO, BR/OF YOUR SON Compact Disc 724349621626 724349621626 B000888402 GUY/GUY (SPECIAL EDITION) Compact Disc 602517325197 602517325197 4808161 GWYNETH JONES,D/ORC/GWYNETH JO Compact Disc 028948081615 028948081615 CDRWG85 GYURME,L & RYKIEL,J P/RAIN OF Compact Disc 884108000717 884108000717 602602C GYURME,LAM/LAMA'S CHA NTS SONGS Compact Disc 724386026026 724386026026 MBDCDDEAD230 H’RESIARCHS OF DIS/TRIA PRIMA Compact Disc 768586023027 768586023027 XXICD21440 HACKETT,S/GUITARE CLASSIQUE Compact Disc 722056144025 722056144025 EDMTDVD004 HADLEY,T/LIVE FROM METR(DVD+CD DVD + BNS CD 5014797890183 5014797890183 GEFMD24144 HAGAR SAMMY /I NEVER SAID G Compact Disc 720642414422 720642414422 TRKD11627 HAGAR SAMMY /MARCHING TO MA Compact Disc 008811162726 0088111627260 28948 08161 57 24349 62162 6 7 20642 41442 26 02517 32519 7 7 24386 02602 60 94637 87632 9 6 02527 56935 2 0 08811 16272 66 02537 08178 3 6 02498 40549 9 7 22056 14402 57 22056 15242 6 8 05520 02115 9 8 84108 00071 78 05520 06059 27 93962 00072 9 7 09764 30092 9 7 78325 81442 76 00353 10682 6 6 00353 05892 76 00353 06172 95 060238 630658 7 68586 02302 70 11661 15542 8 0 11661 02512 7 0 11661 90302 9 0 44007 34376 05 060238 630986 5 014797 890183 0 25218 73276 5Catalogue Numb er Artist & Title Description Configuration Scannable UPC UPC 4715802 HAGEN QUARTETT/WORKS FOR STRIN Compact Disc 028947158028 028947158028 4776146 HAGENQUART/SHOSTAKOVICH:STRING Compact Disc 028947761464 028947761464 B001940702 HAGGARD,M/5 CLASSIC ALBUMS(5CD Compact Disc 602537577163 602537577163 0881121102 HAGGARD,M/THE BEST OF MERLE HA Compact Disc 008811211028 008811211028 D002029002 HALE,L/ROAD BETWEEN Compact Disc 050087308261 050087308261 CDROUN1133 HALEY, ED /VOLUME 2, GREY Compact Disc 011661113329 011661113329 PROPERBX5118 HALEY,B/FROM WEST ERN SWING(4CD Compact Disc 805520221184 805520221184 330219 HALL & OATES/LIVE 1976-1977 Digital Video Disc 801213302192 801213302192 4801002 HALL,D & OATES,J/DO IT FOR LOV Compact Disc 826948010020826948010020 4801042 HALL,D & OATES,J/OUR KIND OF S Compact Disc 826948010426826948010426 CCDCD1003 HALL,J QUARTET/ALL ACROSS THE SACD4Stereo/Surround/CDAud 013431100362 013431100362 2752609 HALLYDAY,D/UN NOUVEAU MONDE Compact Disc 602527526096 602527526096 2792801 HALLYDAY,J/BEST OF Compact Disc 602527928012 602527928012 5317035 HALLYDAY,J/LES NO 1 DE JOHNNY Compact Disc 600753170359 600753170359 3724982 HALLYDAY,J/ROCK N ROLL ATT(BR BLU RAY AUDIO 602537249824 602537249824 CD83404 HAMILTON,E/PATH TO T HEARTLAND Compact Disc 089408340420 089408340420 CCDCD7016 HAMILTON,S & FEINSTEIN,M/AN EV Digital Video Disc 013431701699 013431701699 CCDCD4819 HAMILTON,S/HERITAGE SERIES:SCO Compact Disc 013431481928 013431481928 CDHBEA205 HAMMOND, BERES /GETTING STRONG Compact Disc 011661770522 011661770522 0249832663 HAMPSHIRE,K/BEST OF Compact Disc 602498326633 602498326633 PROPERBOX12 HAMPTON,L/THE LI ONEL HAMPTON S Compact Disc 604988991222 604988991222 3145896542 HANCOCK&BRECKER&HARGROVE/DIREC Compact Disc 731458965428 731458965428 911422 HANCOCK, H/BEST OF, THE Compact Disc 077779114221 077779114221 B001176302 HANCOCK,H/DEFINITIVE COLLECTIO Compact Disc 602517809666 602517809666 NPD85625 HANDEL,GF/ALEXANDE R BALUS Compact Disc 032466562525 032466562525 NPD85628 HANDEL,GF/DRAMATIC ARIAS:FURY, Compact Disc 032466562822 032466562822 NPD85515 HANDEL,GF/JOSHUA (CDX2) Compact Disc 032466551529 032466551529 4695322 HANDEL/HERCULES Compact Disc 028946953228 028946953228 4690652 HANDEL/ITALIAN CANTATAS Compact Disc 028946906521 028946906521 4700442 HANDEL/MESSIAH Compact Disc 028947004424 0289470044246 02537 24982 4 6 02498 32663 30 08811 21102 8 0 28946 90652 10 77779 11422 1 0 28946 95322 80 28947 15802 8 0 28947 76146 4 0 50087 30826 16 02537 57716 3 0 28947 00442 46 02527 92801 26 02527 52609 6 6 00753 17035 9 7 31458 96542 8 6 02517 80966 6 0 32466 55152 90 32466 56252 5 0 32466 56282 28 05520 22118 4 6 04988 99122 28 26948 01002 0 8 26948 01042 6 0 13431 48192 8 0 11661 77052 20 11661 11332 9 0 89408 34042 08 01213 30219 2 0 13431 70169 90 13431 10036 2Catalogue Numb er Artist & Title Description Configuration Scannable UPC UPC 4775391 HANDEL/RODELINDA Compact Disc 028947753919 028947753919 UMMC65112 HANDEL/WATER MUSIC Compact Disc 778325651121 778325651121 B000671902 HANSON/THE BEST OF HANSON Compact Disc 602498781906 602498781906 3145230192 HARGROVE,R/MEETS TENORS OF Compact Disc 731452301925 731452301925 FRBCD0015 HARM/THE NINE Compact Disc 039911001523 039911001523 GRLMC150 HARMONIA/COMPL ETE WORKS(C ASSET Cassette 5060238632034 5060238632034 GRLCD152 HARMONIA/DOCUMENTS Compact Disc 5060238632089 5060238632089 CDHBEA58 HARRIOTT, DERRI/RIDING THE MUS Compact Disc 011661755826 011661755826 PROPERBOX160 HARRIOTT,J/THE JO E HARRIOTT ST Compact Disc 805520021609 805520021609 223862 HARRIS, GE/ELEGANT SOUL Compact Disc 5099952238628 5099952238628 FRANETCD1033 HARRIS, H/GOLD STAR GUITAR Compact Disc 8437010194290 8437010194290 CCDCD1036 HARRIS,G & HAMILTON,S/AT LAST SACD4Stereo/Surround/CDAud 013431103660 013431103660 CCDCD1006 HARRIS,G/LISTEN HERE! SACD4Stereo/Surround/CDAud 013431100669 013431100669 432462 HARRISON, /BRAINWASHED (DIGI) Compact Disc 724354324628 724354324628 702762 HARRISON, /LIVING IN THE MATER CD with DVD 094637027622 094637027622 3791400 HARRISON,G/ALL THINGS MUST(2CD Compact Disc 602537914005 602537914005 3791398 HARRISON,G/DARK HORSE Compact Disc 602537913985 602537913985 3791410 HARRISON,G/LIVING IN THE MATER Compact Disc 602537914104 602537914104 3791395 HARRISON,G/WONDERWALL MUSIC Compact Disc 602537913954 602537913954 805662B HART, EMER/CIGARETTES AND GASO Compact Disc 094638056621 094638056621 CDFLY566 HARTFORD, JOHN /HARTFORD & HAR Compact Disc 018964056629 018964056629 5362120 HARVEY,A/THE LAST OF THE T(14C Compact Disc 600753621202 600753621202 LNKCD109 HARVEY,D B/LEWIS, A M/BARBWIRE C ompact Disc 633090364273 633090364273 0249853066 HARVEY,PJ/ON TOUR:PLEASE LEAVE Digital Video Disc 602498530665 602498530665 B000837802 HAVNEVIK,K.MELANKTON Compact Disc 602517206687 602517206687 125073 HAVOK/BURN Compact Disc 803341250734 803341250734 3341441118 HAVOK/TIME IS UP Compact Disc 803341441118 803341441118 3341441125 HAVOK/UNNATURAL SELECTION Compact Disc 803341441125 803341441125 8216104912 HAWKER,G/LETTERS FROM MY FATHE Compact Disc 682161049120 682161049120 PROPERBOX14 HAWKINS,C/THE BEBOP YEARS C ompact Disc 604988991420 6049889914205 060238 632034 0 94637 02762 26 02498 78190 6 7 24354 32462 8 6 02537 91395 46 02537 91398 56 02537 91400 5 6 02537 91410 40 28947 75391 9 5 099952 238628 0 94638 05662 1 8 03341 25073 4 8 03341 44112 58 03341 44111 86 00753 62120 2 6 02517 20668 77 31452 30192 5 6 04988 99142 08 437010 194290 8 05520 02160 97 78325 65112 1 0 39911 00152 3 5 060238 632089 6 33090 36427 3 6 82161 04912 00 18964 05662 90 11661 75582 6 6 02498 53066 50 13431 10066 90 13431 10366 0Catalogue Numb er Artist & Title Description Configuration Scannable UPC UPC NPD85664 HAYDN,FJ/THE SPIRIT'S SONG Compact Disc 032466566424 032466566424 4318182 HAYDN/SEASONS/GARDI NER Compact Disc 028943181822 028943181822 4646502 HAYDN/THE STRING QUARTETS Compact Disc 028946465028 028946465028 FCCD1340 HAYES,G/LET IT BREAK(SPECIAL E Compact Disc 684340002353 684340002353 STX3320202 HAYES ,I/ESSENTIAL ALBUMS:H OT B Compac t Disc 888072332027 888072332027 SCD86082 HAY ES,I/GROOVE-A-THON Compact Disc 025218860826 025218860826 STX31751 HAYES ,I/SHAFT (DELUXE EDIT ION) Compac t Disc 888072317512 888072317512 PROPERBOX176 HAYES,T/LITTLE GI ANT STEP(4 CD Compact Disc 805520021760 805520021760 PROPERBOX117 HAYES,T/THE LITTLE GIANT Compact Disc 805520021173 805520021173 PROPERBX5117 HAYES,T/THE LITTLE GIANT(4 CD) Compact Disc 805520221177 805520221177 8828822 HAYWARD&LODGE/BLUE JAYS Compact Disc 042288288220 042288288220 CMH8701 HEAD,ANTHONY STEWART & G/MUS Compact Disc 027297870123 027297870123 XXICD21620 HEALY,P & POULIN,B/CANTO DEL P Compact Disc 722056162029 722056162029 918202 HEART/BRIGADE Compact Disc 077779182022 077779182022 333739 HEART/NIGHT AT SKY CHURCH(BLUR BLU RAY 801213337392 801213337392 304892 HEART/ROAD HOME,THE Compact Disc 724383048922 724383048922 PVCD116 HEATH,T & HIS MUSIC/ BIG BEN BO Compact Disc 805520051163 805520051163 FRANTAO028 HEAVEN 17/NAKED AS ADVERTISED- Compact Disc 677603004522 677603004522 0254757942 HEDLEY/HELLO(DLX) Compact Disc 602547579423 602547579423 0251712551 HEDLEY/TRY THIS AT HOME Digital Video Disc 602517125513 602517125513 0253758621 HEDLEY/WILD LIFE(DLX) Compact Disc 602537586219 602537586219 GR8CD005 HEEBEEJEEBEES,T/XMAS NUTS Compact Disc 776098165920776098165920 4776269 HEITETZ,J/IT AIN'T NECESSARILY Compact Disc 028947762690 028947762690 9816282 HELENA/NEE DANS LE NATURE Compact Disc 602498162828 602498162828 265732 HELIX/BACK FOR ANOTHER TASTE Compact Disc 077772657329 077772657329 935712 HELIX/OVER 60 MINUTES WITH Compact Disc 077779357123 077779357123 640532 HELIX/ROCKIN' YOU FOR 30 YEARS Compact Disc 724386405326 724386405326 246992 HELIX/WALKIN THE RAZORS EDGE-N Compact Disc 724352469925 724352469925 469202 HELIX/WILD IN THE STREETS(NOTH Compact Disc 077774692021 077774692021 PHCD7003 HELLECASTERS,THE/ HELL III:NEW Compact Disc 800633700328 8006337003288 01213 33739 2 7 24352 46992 57 24383 04892 20 77779 18202 2 0 28947 76269 00 28943 18182 2 6 02498 16282 8 0 77772 65732 9 7 24386 40532 60 77779 35712 3 0 77774 69202 10 28946 46502 8 6 02547 57942 30 42288 28822 0 6 02537 58621 97 22056 16202 96 84340 00235 30 32466 56642 4 8 00633 70032 80 27297 87012 3 6 77603 00452 28 05520 02117 3 8 05520 05116 38 05520 02176 0 8 05520 22117 7 7 76098 16592 08 88072 31751 20 25218 86082 68 88072 33202 7 6 02517 12551 3Catalogue Numb er Artist & Title Description Configuration Scannable UPC UPC B000056002 HELMET/UNSUNG:THE BEST OF HELM Compact Disc 602498012260 602498012260 B000984409 HENDRIX,J/LIVE AT MONTEREY(DVD Digital Video Disc 602517455177 602517455177 4562932 HENRY, PIERRE //MESSE POUR LE Compact Disc 028945629322 028945629322 CDHBEA128 HEPTONES /SEA OF LOVE Compact Disc 011661762824 011661762824 AAO95292 HEPT ONES,THE/GOOD VIBES(2 CD) Compac t Disc 778325952921 778325952921 1166178282 HEPTONES,THE/ SWEET TALKING Compact Disc 011661782822 011661782822 CDFLY637 HERDMAN, PRISCI/FOREVER & ALWA Compact Disc 018964063726 018964063726 PROPERBOX15 HERMAN,W/WOODY HERMAN STORY Compact Disc 604988991529 604988991529 4301962 HEROLD/LA FILLE MA L GARDEE Compact Disc 028943019620 028943019620 XXICD21644 HERRMANN,B/CRIME MU SIC-BERNARD Compact Disc 722056164429 722056164429 SATSANG26001 HERSEY,B&P/GATHERIN G IN THE LI Compact Disc 807207053026 807207053026 5454508432 HESTER,C/THE TRADITION YEARS Compact Disc 654545084324654545084324 NAVIGATOR13 HEWERDINE,B/TOY BOX NO 1 Compact Disc 5060169470286 5060169470286 NAVIGATOR26 HEWERDINE,B/TOY BOX NO 2 Compact Disc 5060169470668 5060169470668 CCDCD4442 HICKS,J/LIVE AT MAYBECK RECITA Compact Disc 013431444220 013431444220 799242 HICKS,TAYL/EARLY WORKS Compact Disc 015707992428 015707992428 TSCD586 HIELD,F/HURRICANE PA,THE/ORFEO Compact Disc 714822058629 714822058629 944782 HIKARU,U/SINGLES COLLECTION V2 Compact Disc 5099909447820 5099909447820 638412B HILL, ANDR/JUDGEMENT Compact Disc 724356384125 724356384125 7697428341 HILL,D/INTIMATE Compact Disc 776974283410 776974283410 CDFLY671 HILLS, ANNE & C/NEVER GROW UP Compact Disc 018964067120 018964067120 093012 HILLSONG L/GOD IS ABLE (LIVE) Compact Disc 5099990930126 5099990930126 482872 HILLSONG U/LIVE IN MIAMI CD with DVD 5099994828726 5099994828726 B002268009 HILLSONG WORSH/OPEN HEAVEN(DVD Digital Video Disc 602547133007 602547133007 0252705666 HILLTOP HOODS/STATE OF THE ART Compact Disc 602527056661 602527056661 LAM33896 HI-LO CARDIO DANCE Digital Video Disc 619061389636 619061389636 B001200002 HILSON,K/IN A PERFECT WORLD Compact Disc 602517840409 602517840409 4752642 HINDEMITH/ORCHESTRAL WORKS Compact Disc 028947526421 028947526421 STE7002 HINDS,A/SOCA QUEEN Compact Disc 890531002020 890531002020 CDBEYE9504 HINTON, EDDIE /CRY AND MOAN Compact Disc 011661950429 0116619504295 099994 828726 7 24356 38412 5 5 099990 930126 0 28947 52642 10 28943 01962 0 5 099909 447820 6 02498 01226 0 6 02517 84040 96 02527 05666 10 28945 62932 2 7 22056 16442 9 8 07207 05302 6 5 060169 470286 5 060169 470668 7 14822 05862 96 04988 99152 9 6 54545 08432 47 78325 95292 1 0 15707 99242 80 13431 44422 0 7 76974 28341 00 11661 78282 2 0 11661 95042 90 18964 06372 6 0 18964 06712 00 11661 76282 4 8 90531 00202 06 02547 13300 76 02517 45517 7 6 19061 38963 6Catalogue Numb er Artist & Title Description Configuration Scannable UPC UPC CDBEYE9528 HINTON, EDDIE /VERY BLUE HIGH Compact Disc 011661952829 011661952829 OMM308922 HIPP E/STYLE OF EYE/ OM WINT V2 Compact Disc 600353089228 600353089228 GJ00102 HIPPO CAMPUS/BASHFUL CREATURES Compact Disc 855579005297 855579005297 SACD63600 HIROMI/BRAIN SA CD4Stereo/Surround/CDAud 089408360060 089408360060 SACD69076 HIROSHIMA/THE BRIDGE SACD4Stereo/Surround/CDAud 053361907662 053361907662 B000275602 HIVES,T/TYRANNOSAURUS HIVES Compact Disc 602498669907 602498669907 B001003002 HIVES,THE/THE BLACK AND WHITE Compact Disc 602517508071 602517508071 B001847702 HODGE,D/LIVE TODAY Compact Disc 5099968289225 5099968289225 RH33710 HODGSON,R/TAKE THE LONG WAY HO Digital Video Disc 619061371037 619061371037 CDSH12 HOGAN,S/CATALINA SUNRISE Compact Disc 776127258029776127258029 4780025 HOGWOOD/AAM/HAYDN:CELLO CONCER Compact Disc 028947800255 028947800255 INTROCD2015 HOLIDAY,B/A PROPER INTRO TO:BI Compact Disc 805520060158 805520060158 3145230032 HOLIDAY,B/FIRST ISSUE:T GREAT Compact Disc 731452300324 731452300324 B001563502 HOLIDAY,B/ICON Compact Disc 602527710099 602527710099 UMMC63742 HOLIDAY,B/THE BEST OF BILLIE Compact Disc 778325637422 778325637422 B000429102 HOLIDAY,B/THE COMPLETE VERVE S Compact Disc 602498803028 602498803028 B001062602 HOLIDAY,B/THE DEFINITIVE COLLE Compact Disc 602517576735 602517576735 UMMC81412 HOLIDAY,B/ULTIMATE LEGENDS Compact Disc 778325814120 778325814120 9842216 HOLLAND,D/CRITICAL MASS Compact Disc 602498422168 602498422168 4779990 HOLLIGER,H/DUO:THE EARLY VIENN Compact Disc 028947799900 028947799900 B001800602 HOLLYWOOD UND/NOTES FROM(DLX/E Compact Disc 602537269266 602537269266 B001624802 HOLLYWOOD UNDEAD/AMERICAN TR Compact Disc 602527859675 602527859675 1166177942 HOLT,J/I CAN'T GET YOU OFF MY Compact Disc 011661779426 011661779426 UMMC63172 HOLT,J/STICK BY ME (3CD) Compact Disc 778325631727 778325631727 ETLCD20 HOLY KNIGHTS/BETWEEN DAYLIGHT Compact Disc 045635183445 045635183445 CDROUN3163 HOLY MODAL ROUN/TOO MUCH FUN Compact Disc 018964316327 018964316327 130583 HOLY TERRO/TERROR AND SUBMI(2C Compact Disc 803341305830 803341305830 RRR004 HOLYMICROPHONE/GOODBYE TELEVIS Compact Disc 061297642632061297642632 OMM308982 HOME & GARDEN/DOMESTICATED Compact Disc 600353089822 600353089822 FMM001 HOME TEAM,THE/SEC OND DRAFT Compact Disc 619061467327 6190614673276 02527 85967 56 02537 26926 65 099968 289225 0 28947 80025 5 0 28947 79990 06 02498 42216 86 02517 50807 16 02498 66990 7 8 03341 30583 06 02517 57673 56 02527 71009 97 31452 30032 4 6 02498 80302 8 6 19061 46732 78 05520 06015 8 0 61297 64263 27 76127 25802 9 7 78325 63172 77 78325 81412 06 00353 08922 8 6 00353 08982 28 55579 00529 7 7 78325 63742 2 0 45635 18344 50 11661 77942 60 11661 95282 9 0 18964 31632 76 19061 37103 70 89408 36006 0 0 53361 90766 2Catalogue Numb er Artist & Title Description Configuration Scannable UPC UPC ESR007 HOMEANDGARDEN/HISTORY AND GEOG Compact Disc 880270059720880270059720 FRANETCD7022 HONEY BEES THE/IN THE KEY OF B Compact Disc 877319004209 877319004209 TAO008 HONEYROOT/SOUND ECHO LOCATION Compact Disc 677603000821 677603000821 PROPERBOX163 HOOKER,J L/MOTOR CITY BL(4CD Compact Disc 805520021630 805520021630 MCAD11955 HOOKER,J/THE BEST OF JOHN LEE Compact Disc 008811195526 008811195526 PRMCD6034 HOOKER,JL/DOWN CHILD Compact Disc 805520090346 805520090346 UMMC81452 HOPE,B/THANKS FOR TH E MEMORIES Compact Disc 778325814526 778325814526 SLR003 HOPEWELL/THE NOTBIRDS Compact Disc EP's 653496114821653496114821 B000406802 HORN,S/BUT BEAUTIFUL:THE BEST Compact Disc 075021038011 075021038011 5118792 HORN,S/HERE'S TO LIFE Compact Disc 031451187927 031451187927 5340808 HORN,S/TRAVELIN LIGHT/HORN OF Compact Disc 600753408087 600753408087 MBDCD860082 HORNA/AANIA YOSSA Compact Disc 768586008222 768586008222 MBDCD860086 HORNA/BEHEXEN/SPLIT Compact Disc 768586008628 768586008628 MBDCD860145 HORNA/MUSTA KAIPUU Compact Disc 768586014520 768586014520 MBDCD860126 HORNA/SANOJESI AARELLE(2CD) Compact Disc 768586012625 768586012625 MBDCD860097M HORNA/SOTAHUUTO Compact Disc 768586009724 768586009724 4792553 HOROWITZ,V/3 CLASSIC ALBUM(3CD Compact Disc 028947925538 028947925538 4776335 HOROWITZ/GRAND PRIX:STUDIO REC Compact Disc 028947763352 028947763352 DGS950544 HORROR MOVIE CLASSICS Digital Video Disc 628261054497 628261054497 B000772402 HORRORS,THE/THE HORRORS Compact Disc 602517058903 602517058903 CDFLY206 HOT RIZE /HOT RIZE Compact Disc 018964020620 018964020620 XXICD21427 HOUDY,P/LA MESSE QUEBECOISE Compact Disc 722056142724 722056142724 B001105202 HOUGH,J/JULIANNE HOUGH Compact Disc 602517658585 602517658585 5312944 HOUSE OF LOVE,THE/LIVE AT THE Compact Disc 600753129449 600753129449 BAI0582 HOUSEHOLD/WITH OR WITHOUT Compact Disc 603111968728 603111968728 0249848499 HOUSTON,T/BEST OF Compact Disc 602498484999 602498484999 PROPERBOX22 HOWELL,B/TEMPUS FUGUE-IT Compact Disc 604988992229 604988992229 CDROUNSS28 HOWLIN' WOLF /CADILLAC DADDY Compact Disc 011661552821 011661552821 INTROCD2001 HOWLIN WOLF/A PROPER INTRO TO: Compact Disc 805520060011 805520060011 B001372002 HOWLIN' WOLF/THE LONDON HOWLIN Compact Disc 602527256207 6025272562076 02498 48499 90 08811 19552 6 0 28947 92553 8 0 28947 76335 2 6 02527 25620 76 00753 12944 96 02517 65858 50 31451 18792 70 75021 03801 1 6 00753 40808 7 7 22056 14272 48 05520 02163 0 8 05520 06001 18 05520 09034 6 6 04988 99222 98 77319 00420 9 6 77603 00082 18 80270 05972 0 7 78325 81452 6 6 03111 96872 86 02517 05890 37 68586 00822 2 7 68586 00862 8 7 68586 00972 47 68586 01262 57 68586 01452 0 0 18964 02062 0 0 11661 55282 16 53496 11482 1 6 28261 05449 7Catalogue Numb er Artist & Title Description Configuration Scannable UPC UPC 908452 HUBBARD, F/BREAKING POINT RVG Compact Disc 724359084527 724359084527 NDV22004 HUDSON VALLEY SINGERS/SCHUMANN Digital Video Disc 032466200427 032466200427 XXICD21543 HUET,N/FLUTE ENCHANTEE Compact Disc 722056154321 722056154321 NCD60162 HUMMEL,JN/COMPLETE PIANO SONAT Compact Disc 032466016226 032466016226 0249816159 HUMPERDINCK,E/THE BEST OF ENGE Compact Disc 602498161593 602498161593 ISBCD5053 HUMPERDINCK,E/THE DANCE ALBUM Compact Disc 620323505329 620323505329 0743361 HUMPERDINCK/HOLLOWAY/HANSEL UN Digital Video Disc 044007433614 044007433614 805032 HUMPHREY, /BEST OF Compact Disc 077778050322 077778050322 797022C HURT, MISS/LIVE Compact Disc 015707970228 015707970228 411372 HURT/VOL. 1 Compact Disc 094634113724 094634113724 BAB9648 HUSHABYE BABY/CARRIE UNDERWOOD Compact Disc 027297964822 027297964822 BAB9650 HUSHABYE BABY/GEORGE STRAIT:LU Compact Disc 027297965027 027297965027 BAB9658 HUSHABYE BABY/PATSY CL INE:LULL Compact Disc 027297965829 027297965829 BAB9647 HUSHABYE BABY/RASCAL FLATTS:LU Compact Disc 027297964723 027297964723 BAB9649 HUSHABYE BABY/VINCE GILL:LULLA Compact Disc 027297964921 027297964921 BAB9657 HUSHABYE BABY/WILLIE NELSON:LU Compact Disc 027297965720 027297965720 626672 HUTCHERSON/HAPPENINGS/RVG SERI Compact Disc 094636266725 094636266725 174642 HUTCHERSON/HEAD ON Compact Disc 5099951746421 5099951746421 638332 HUTCHERSON/OBLIQUE Compact Disc 724356383326 724356383326 MA251089 HYADES/ANDTHEWORSTHASY ETTOCOME Compact Disc 5413992510894 5413992510894 989122A I MOTHER E/DIG Compact Disc 077779891221 077779891221 VEGA24105 I NO/HAUNTED HEARTS Compact Disc 619061410521 619061410521 701962C IAN & SYLV/COMPLETE VANGUARD S Compact Disc 015707019620 015707019620 539212B ICE CUBE/BOOTLEGS & B-SIDES Compact Disc 049925392128 049925392128 B001920502 ICE CUBE/ICON (ED) Compact Disc 602537531073 602537531073 779989 ICE CUBE/VIDEOS,THE VOL 1 Digital Video Disc 724347799891 724347799891 151422B IDOL, BILL/VERY BEST OF:IDOLIZ CD with DVD 5099921514227 5099921514227 369192B IDOL, BILL/VH-1 STORYTELLERS Compact Disc 724353691929 724353691929 302899 IDOL,B/IN SUPER OVERDRIVE (DVD Digital Video Disc 801213028993 801213028993 333499 IDOL,B/IN SUPER OVERDRIVE(BLUR BLU RAY 801213334995 801213334995 8 01213 33499 55 099921 514227 6 02498 16159 3 7 24356 38332 67 24359 08452 7 5 099951 746421 0 94636 26672 50 77778 05032 2 0 77779 89122 10 94634 11372 4 7 24353 69192 96 02537 53107 30 49925 39212 86 20323 50532 9 6 19061 41052 17 22056 15432 1 0 32466 01622 6 0 27297 96472 30 27297 96482 2 0 27297 96492 10 27297 96502 7 0 27297 96572 00 27297 96582 9 5 413992 510894 0 15707 01962 00 15707 97022 80 44007 43361 4 8 01213 02899 37 24347 79989 10 32466 20042 7Catalogue Numb er Artist & Title Description Configuration Scannable UPC UPC 0694931482 IGLESIAS,E/ESCAPE Compact Disc 606949314828 606949314828 130482B IHSAHN/AFTER Compact Disc 803341304826 803341304826 123142 IHSAHN/ANGL Compact Disc 803341231429 803341231429 3341405332 IHSAHN/DAS SEELENBRECHEN(DLX) Compact Disc 803341405332 803341405332 135073 IHSAHN/EREMITA(STD) Compact Disc 803341350731 803341350731 B001889509 IL VOLO/WE ARE LOVE LIVE F(DVD Digital Video Disc 602537473342 602537473342 D000357902 IMAGINATION MOVERS/FOR THOSE A Compact Disc 050087138745 050087138745 ECC006 IMAGINED VILLAGE/BENDING THE D Compact Disc 5060214040082 5060214040082 FRANECC002 IMAGINED VILLAGE/E MPIRE & LOVE Co mpact Disc 5060214040020 5060214040020 MBDCD860064 IN MEMORIUM/FROM MISERY COMES Compact Disc 768586006426 768586006426 B000533402 INDIA/BEST OF Compact Disc 602498836019 602498836019 B001439502 INFANT SORROW/GET HIM TO THE G Compact Disc 602527405315 602527405315 DA00253 INHABITANTS/THE FURNITURE MOVE Compact Disc 875531002539875531002539 MCBBD31347 INK SPOTS /G REATEST HITS Compact Disc 076743134722 076743134722 OMM308962 INLAND KN/DESMET,O/SAN FRANCIS Compact Disc 600353089624 600353089624 RAZ27817 INNERSPACE/THE VILLAGE Compact Disc 884501781725 884501781725 3145481752 INSANE CLOWN POSSE/BIZZAR 3D Compact Disc 731454817523 731454817523 125057 INSOMNIUM/ACROSS THE DARK Compact Disc 803341250574 803341250574 3341420489 INSOMNIUM/THE CANDLELIGHT Y(4C Compact Disc 803341420489 803341420489 TEG2425CD INSPECTAH DECK/RESIDENT PAITEN Compact Disc 829357242525829357242525 CD80384 INVISIBLE CITIES/OUINK Compact Disc 089408038426 089408038426 FARO151CD IPANEMAS,THE/QU E BELEZA Compact Disc 5060211500329 5060211500329 DPTCD75 IRISH ROVERS,THE/HOME IN IRELA Compact Disc 796539007527 796539007527 DPTDV316 IRISH ROVERS,THE/HOME IN IRELA Digital Video Disc 796539031669 796539031669 DPTDV324 IRISH ROVERS,THE/IRISH ROV(DVD Digital Video Disc 796539032468 796539032468 DPTCD87 IRISH ROVERS,THE/MERRY MERRY T Compact Disc 796539008722 796539008722 3020664222 IRISH ROVERS,THE/THE BOYS OF B Compact Disc 030206642223 030206642223 BAI0412 IRONWILL/UNTURNED Compact Disc 798546267628 798546267628 MBDCD21 ISCARIOT,J/DISTANT IN SOLITARY Compact Disc 768586002121 768586002121 MBDCD14 ISCARIOT,J/THE COLD EARTH SELP Compact Disc 768586001421 7685860014216 02498 83601 90 50087 13874 56 06949 31482 8 7 31454 81752 30 76743 13472 26 02527 40531 58 03341 30482 6 8 03341 40533 28 03341 23142 9 8 03341 35073 1 8 03341 42048 98 03341 25057 48 84501 78172 55 060214 040082 5 060214 040020 5 060211 500329 8 29357 24252 58 75531 00253 9 6 00353 08962 4 7 98546 26762 8 7 68586 00142 17 68586 00212 17 68586 00642 6 0 89408 03842 6 0 30206 64222 37 96539 00752 7 7 96539 00872 26 02537 47334 2 7 96539 03166 9 7 96539 03246 8Catalogue Numb er Artist & Title Description Configuration Scannable UPC UPC MBDCD24 ISCARIOT,J/THY DYING LIGHT Compact Disc 768586002428 768586002428 UMMC63102 ISLAND CHORAL/BIBLE SONGS(3CD Compact Disc 778325631024 778325631024 B000100502 ISLEY & BACHARACH/IS LEY MEETS Compact Disc 600445050075 600445050075 B001475002 ISLEY,R/MR. I Compact Disc 602527490090 602527490090 RCL2014 ISSACS,G/REGGAE CLASSICS Compact Disc 609955201427609955201427 ISBCD5092 IZZI,T/CHRISTMAS(CONNU FRANCO) Compact Disc 620323509228 620323509228 8322312 J.BIRKIN/MASTER SERIE 2003 VOL Compact Disc 042283223127 042283223127 3145349032 J.BON-JOVI/DESTINATION ANYWHER Compact Disc 731453490321 731453490321 CD69923 J.COCKER/GREATEST HITS Compact Disc 770301992327 770301992327 5119932 J.FERRAT/LES ANNEES BA RCLAY V2 Compact Disc 731451199325 731451199325 8205372 J.MAYALL&T BLUE BREAKERS/CRUSA Compact Disc 042282053725 042282053725 3145864372 JA RULE/PAIN IS LOVE Compact Disc 731458643722 731458643722 B001386602 JACKSON 5/MOVING VIOLATION Compact Disc 602527288512 602527288512 B000959902 JACKSON FIVE/NUMBER 1'S Compact Disc 602517421547 602517421547 995089 JACKSON, J/FROM JANET TO DAMIT Digital Video Disc 724359950891 724359950891 321402 JACKSON, M/MILT JACKSON (RVG) Compact Disc 724353214029 724353214029 361852 JACKSON, W/VINTAGE COLLECTIONS Compact Disc 724383618521 724383618521 B001122102 JACKSON,M/AT MUSEUM OF MODERN Compact Disc 602517686298 602517686298 PROPERBOX126 JACKSON,M/BAG S OF SOUL Compact Disc 805520021265 805520021265 PRMCD6037 JACKSON,M/SONGS OF HOPE AND FA Compact Disc 805520090377 805520090377 TEG2428CD JACKSON,O/THE ART OF LOVE Compact Disc 829357242822829357242822 CMH8708 JACKSON,W/HEART TROUBLE Compact Disc 027297870826 027297870826 4400143802 JACKSON5/DIANA ROSS PRESENTS/A Compact Disc 044001438028 044001438028 HUSA9110 JACOPASTORIOUSBIGBAND/TH E WORD SACD4Stereo/Surround/CDAud 053361911065 053361911065 XXICD21586 JACQUES,D/PIECES DE GUITATRRE Compact Disc 722056158626 722056158626 XXICD21530 JACQUES,D/ROBERT DEVISEE L'ANT Compact Disc 722056153027 722056153027 CDHBEA115 JAH MESSENGERS /RE GGAE TIME Compact Disc 011661761520 011661761520 MRE022 JAHNEL.B/TRIO/MODULAR CONCEPTS Compact Disc 9005321800224 9005321800224 GRCD001 JAL,E/SEE ME MAMA Compact Disc 680889022302 680889022302 4738610 JAM,THE/FIRE & SKILL(6CD) Compact Disc 602547386106 6025473861067 70301 99232 7 7 24353 21402 9 7 24383 61852 10 42282 05372 5 7 31458 64372 26 02527 49009 06 00445 05007 5 7 31453 49032 1 6 02527 28851 2 6 02517 42154 7 0 44001 43802 8 6 02547 38610 60 42283 22312 7 7 31451 19932 5 6 02517 68629 86 20323 50922 8 7 22056 15302 77 22056 15862 60 27297 87082 68 05520 02126 5 9 005321 800224 8 05520 09037 7 8 29357 24282 26 09955 20142 77 78325 63102 4 6 80889 02230 27 68586 00242 8 0 11661 76152 07 24359 95089 1 0 53361 91106 5Catalogue Numb er Artist & Title Description Configuration Scannable UPC UPC JC5006 JAMES CLARKE FIVE/SEX BOMBE UBE Compact Disc 700621494591 700621494591 CHSD9367 JAMES ETTA /H ER BEST VOL 1 Compact Disc 076732936726 076732936726 860622 JAMES, COL/COLIN JAMES Compact Disc 077778606222 077778606222 212242A JAMES, HAR/TRUPET BL UES -THE B Compact Disc 724352122424 724352122424 916302 JAMES, SON/COLLECTORS SERIES Compact Disc 077779163021 077779163021 UMMC63602 JAMES,E/BROWN,R/BAKERGREAT(3CD Compact Disc 778325636029 778325636029 B001554502 JAMES, E/HEART & SOUL-A RE TROSP Compact Disc 602527681351 602527681351 4228429262 JAMES,E/STICKIN' TO MY GUNS Compact Disc 042284292627 042284292627 B001812402 JAMES,J/DONT BE S A F E Compact Disc 602537291854 602537291854 B001320402 JAMES, J/JESSIE JAMES C ompact Disc 602527128573 602527128573 OM429 JAMES,S/SUBCONSCIOUS Compact Disc 600353102927 600353102927 JFB1711 JANISCH,M/THE VIBR APHONE ALBUM Compact Disc 700220305038 700220305038 4785001 JANSEN,J/VIVALDI THE FOUR SEAS BLU RAY AUDIO 028947850014 028947850014 630572 JAPAN/GENTLEMEN TAKE POLAROIDS Compact Disc 094636305721 094636305721 3145897772 JARREAU,A/ALL I GOT Compact Disc 731458977728 731458977728 4400187862 JARRETT,K TRIO/ALWAYS LET ME G Compact Disc 044001878626 044001878626 4228373422 JARRETT,K/DARK INTERVALS Compact Disc 042283734227 042283734227 B000656402 JARRETT,K/THE IMPUL SE STORY Compact Disc 602498551073 602498551073 SACD60681 JARVI,P/CSO/TCHAIKOCVSKY:R OMEO SACD4Stereo/Surround/CDAud 089408068164 089408068164 B001052202 JAY Z/AMERICAN GANGSTER(ACCAPE Compact Disc 602517548466 602517548466 B000029702 JAY-Z/BLUEPRINT 2.1 Compact Disc 044007729625 044007729625 4808002 JAZZ MANDOLIN PROJECT,THE/THE Compact Disc 826948080023826948080023 BBGCD1002 JEDI MIND TRICKS/SERVANTS IN H Compact Disc 823979100225823979100225 BBGCD1 JEDI MIND TRICKS/THE PSYCHO-SO Compact Disc 823979000129823979000129 864592 JELLYFISH/SPILT MILK Compact Disc 077778645924 077778645924 4763110 JENKIN,K/LIVING A DREAM Compact Disc 028947631101 028947631101 5454508552 JENKINS,G&ROYAL,M/GORDON JENKI Compact Disc 654545085529654545085529 FTN17820 JENNINGS,S/BLACK RIBBONS Compact Disc 795041782021 795041782021 B000888702 JENNINGS,S/THE WOLF Compact Disc 602517324947 602517324947 B001309502 JEREMIH/JERE MIH Compact Disc 602527094823 6025270948230 28947 85001 47 24352 12242 4 0 77779 16302 10 76732 93672 6 0 44007 72962 5 6 02527 09482 36 02517 54846 66 02537 29185 4 0 44001 87862 6 0 42283 73422 70 42284 29262 76 02527 68135 1 6 02498 55107 36 02527 12857 3 0 28947 63110 1 6 02517 32494 77 31458 97772 80 77778 60622 2 0 77778 64592 40 94636 30572 17 00621 49459 1 7 00220 30503 8 8 26948 08002 3 6 54545 08552 98 23979 00012 98 23979 10022 57 78325 63602 9 6 00353 10292 7 7 95041 78202 10 89408 06816 4Catalogue Numb er Artist & Title Description Configuration Scannable UPC UPC 9847047 JEROME,C/GOLD(2CD) Compact Disc 602498470473 602498470473 EV306179 JETHROTULL/AROUND THE WORL(4DV Digital Video Disc 801213061792 801213061792 3746504 JETTBLACK/BLACK GOLD Compact Disc 602537465040 602537465040 2737972 JETTBLACK/GET YOUR HA NDS DIRTY Compact Disc 602527379722 602527379722 CDROUN6032 JIMENEZ, FLACO /ARRIBA EL NORT Compact Disc 011661603226 011661603226 1701400 JOBIM,AC/PURE BOSSA NOVA Compact Disc 602517014008 602517014008 XXICD21452 JOBIN,R/ANTHOLOGIE (3CD) Compact Disc 722056145220 722056145220 XXICD21437 JOBIN,R/CANTIQUES DE NOEL ET C Compact Disc 722056143721 722056143721 JFT001 JOHN FAHEY TRIO/VOLUME ONE Compact Disc 821997000121 821997000121 9841801 JOHN MAYALL'S BLUESBREAKERS/BL Compact Disc 602498418017 602498418017 3711085 JOHN,E VS PNAU/GOOD MORNIN( DLX Compac t Disc 602537110858 602537110858 B001940902 JOHN,E/5 CLASSIC ALBUMS(5CD) Compact Disc 602537579075 602537579075 B000360636 JOHN,E/CAPTAIN FANTASTIC AND SACD4Stereo/Surround/CDAud 602498241202 602498241202 3758597 JOHN,E/ GOODBYE YELLOW BRICK RO BLU RAY AUDIO 602537585977 602537585977 B000157036 JOHN,E/ GOODBYE YELLOW...(2-DIS SA CD4Stereo/Su rround/CDAud 602498132067 602498132067 3145125324 JOHN,E/GREATEST HITS V.1 Cassette 731451253249 731451253249 5584792 JOHN,E/SLEEPING W/ T PAST (REM Compact Disc 731455847925 731455847925 B001866802 JOHN,E/THE DIVING BOARD Compact Disc 602537452804 602537452804 4765082 JOHN,E/WONDERFUL CRAZY(DLX) Compact Disc 602547650825 602547650825 MSGR05 JOHNNY SOCIETY/WOOD Compact Disc 632662100523632662100523 IMPD225 JOHNSON JJ/KAI/THE GREAT KAI Compact Disc 011105022521 011105022521 CDROUN0225 JOHNSON MOUNTAI/LET THE WHOLE Compact Disc 011661022522 011661022522 CDROUN0191 JOHNSON MOUNTAI/LIVE AT THE BI Compact Disc 011661019126 011661019126 798899 JOHNSON, E/ANAHEIM Digital Video Disc 015707988995 015707988995 321432 JOHNSON, J/EMINENT,THE VOL 1 Compact Disc 724353214326 724353214326 9866180 JOHNSON,E/VOYAGE Compact Disc 602498661802 602498661802 4744 JOHNSON,J/BAR ROOM PREACHER Compact Disc 014551474425014551474425 INTROCD2069 JOHNSON,JJ/A PROPER INTRO TO:J Compact Disc 805520060691 805520060691 1709099 JOHNSON,M/IF YOU KNOW LOVE(FRE Compact Disc 602517090996 602517090996 2751049 JOHNSON,S/74 Compact Disc 602527510491 6025275104916 02537 58597 7 7 31451 25324 9 7 24353 21432 66 02537 45280 46 02498 41801 7 6 02498 66180 26 02517 01400 8 6 02527 51049 10 11105 02252 16 02537 11085 8 7 31455 84792 56 02527 37972 26 02537 46504 06 02498 47047 3 6 02537 57907 5 6 02547 65082 57 22056 14372 17 22056 14522 0 8 21997 00012 1 8 05520 06069 16 32662 10052 3 0 14551 47442 50 11661 01912 60 11661 02252 20 11661 60322 6 6 02517 09099 68 01213 06179 2 0 15707 98899 56 02498 24120 2 6 02498 13206 7Catalogue Numb er Artist & Title Description Configuration Scannable UPC UPC CDBEYE9588 JONES, ANDREW J/I NEED TIME Compact Disc 011661958821 011661958821 124952 JONES, MIC/PIANOSCAPES: DELUXE Compact Disc 724381249529 724381249529 PRPCD070 JONES,D/HIGH ATMOSPHERE Compact Disc 805520030700 805520030700 PVCD135 JONES,G/JONES BY GEORGE Compact Disc 805520051354 805520051354 0881701102 JONES,G/TH E BEST OF GEORGE JON Compact Disc 008817011028 008817011028 FRAN87179 JONES,J/RISING ROAD Compact Disc 4047179318228 4047179318228 OJCCD869 JONES,J/THE MA IN MAN Compact Disc 025218686921 025218686921 3731764 JONES,Q/BIG BAND BOSSA NOVA BLU RAY AUDIO 602537317646 602537317646 0694904482 JONES,Q/THE BEST OF QUINCY JON Compact Disc 606949044824 606949044824 FRANBOROCD11 JONES,R/A SENTIMENTAL EDUCATIO Compact Disc 5065001218118 5065001218118 UMMC81072 JONES,S/COCKTAILS FOR TWO Compact Disc 778325810726 778325810726 PROPERBOX5 JONES,S/STRICTLY FOR MAGIC LOV Compact Disc 604988990522 604988990522 B000739002 JONES,T/BEST OF VOL.2 Compact Disc 602498418499 602498418499 1755836 JOPEK,AM/ID Compact Disc 602517558366 602517558366 460922 JORDAN, ST/MAGIC TOUCH Compact Disc 077774609227 077774609227 MRBCD054 JOSE CONDE Y OLA FRESCA/(R)EVO Compact Disc 711969108125711969108125 B001015902 JUANES/LA VIDA..ES UN RATICO Compact Disc 602517473928 602517473928 0694906642 JURASSIC 5/QUALITY CONTROL Compact Disc 606949066420 606949066420 TEG76518CD JUST ICE/THE DESOLATE ONE Compact Disc 829357651822829357651822 TAO023 JUST MUSIC CAFE ALBUM/VARIOUS Compact Disc 677603003327 677603003327 2537331604 KALMAH/SEVENTH SWAMPHONY Compact Disc 602537331604 602537331604 XXICD1614 KARAJAN,H/BEETHOVEN:LES NEUF(9 Compact Disc 722056161428 722056161428 4777160 KARAJAN,H/STRAVINSKY:THE RITE Compact Disc 028947771609 028947771609 4775754 KARAJANBERLIN/MOZART;GREAT MAS Compact Disc 028947757542 028947757542 SYB1615 KARAOKE / GIRL COUNTRY 2 Compact Disc 610017161535 610017161535 SYB1620 KARAOKE / OLDI ES 3 Compact Disc 610017162037 610017162037 SYB1071 KARAOKE / SOFT ROCK Compact Disc 610017107137 610017107137 SYB1062 KARAOKE / SUPER HITS 2 Compact Disc 610017106239 610017106239 SYB1064 KARAOKE / SUPER HITS 4 Compact Disc 610017106437 610017106437 SYB1081 KARAOKE /COUNTRY HITS 1 Compact Disc 610017108134 6100171081346 02537 31764 60 08817 01102 8 6 06949 04482 4 6 02498 41849 9 6 06949 06642 00 77774 60922 7 0 28947 75754 26 02517 55836 67 24381 24952 9 6 02537 33160 46 02517 47392 8 0 28947 77160 97 22056 16142 88 05520 03070 0 8 05520 05135 4 4 047179 318228 6 04988 99052 25 065001 218118 6 77603 00332 77 11969 10812 5 8 29357 65182 27 78325 81072 60 25218 68692 10 11661 95882 1 6 10017 10623 9 6 10017 10643 76 10017 10713 7 6 10017 10813 46 10017 16153 5 6 10017 16203 7Catalogue Numb er Artist & Title Description Configuration Scannable UPC UPC SYB1082 KARAOKE /COUNTRY HITS 2 Compact Disc 610017108233 610017108233 SYB1074 KARAOKE /DANCE REMIX 4 Compact Disc 610017107434 610017107434 SYB2631 KARAOKE /DVD CHRISTMAS 3 Digital Video Disc 610017263123 610017263123 SYB2632 KARAOKE /DVD CHRISTMAS 4 Digital Video Disc 610017263222 610017263222 SYB1602 KARAOKE /GIRL POP 2 Compact Disc 610017160231 610017160231 SYB1623 KARAOKE /GIRL POP 6 Compact Disc 610017162334 610017162334 SYB1626 KARAOKE /GUY COUNTRY 2 Compact Disc 610017162631 610017162631 SYB1621 KARAOKE /KID S 2 Compact Disc 610017162136 610017162136 SYB1096 KARAOKE /LOVE SO NGS 2 Compact Disc 610017109636 610017109636 SYB4403 KARAOKE /OLDIES PAR TY PACK Compact Disc 610017440326 610017440326 SYB4401 KARAOKE /POP PAR TY PACK Compact Disc 610017440128 610017440128 SYB1060 KARAOKE /SUPER HITS 1 Compact Disc 610017106031 610017106031 SYB1065 KARAOKE /SUPER HITS 5 Compact Disc 610017106536 610017106536 SYB1069 KARAOKE /SUPER HITS 9 Compact Disc 610017106932 610017106932 SYB1041 KARAOKE/ DANCE REMIX 1 Compact Disc 610017104136 610017104136 SYB1601 KARAOKE/ GIRL POP 1 Compact Disc 610017160132 610017160132 SYB4404 KARAOKE/ GIRL POP PARTY PACK Compact Disc 610017440425 610017440425 SYB1050 KARAOKE/ POP MALE Compact Disc 610017105034 610017105034 SYB1630 KARAOKE/BROADW AY 1 Compact Disc 610017163034 610017163034 SYB1017 KARAOKE/COUNTRY FEMALE Compact Disc 610017101739 610017101739 SYB1087 KARAOKE/COUNTRY HITS 7 Compact Disc 610017108738 610017108738 SYB4402 KARAOKE/COUNTRY PARTY PACK Compact Disc 610017440227 610017440227 SYB1040 KARAOKE/DISCO Compact Disc 610017104037 610017104037 D000204802 KARAOKE/DISNAY KARAOKE-CAMP RO Compact Disc 050087122690 050087122690 DIS613247 KARAOKE/DISNEY'S BEACH PARTY Compact Disc 050086132478 050086132478 SYB2005 KARAOKE/DVD COUNTRY HITS 1 Digital Video Disc 610017200524 610017200524 SYB2604 KARAOKE/DVD GIRL COUNTRY 1 Digital Video Disc 610017260429 610017260429 SYB2623 KARAOKE/DVD GIRL POP 6 Digital Video Disc 610017262324 610017262324 SYB2637 KARAOKE/DVD GIRL POP 7 Digital Video Disc 610017263727 610017263727 SYB2626 KARAOKE/DVD GUY COUNTRY 2 Digital Video Disc 610017262621 6100172626210 50086 13247 80 50087 12269 06 10017 10503 46 10017 10963 6 6 10017 44022 76 10017 10173 9 6 10017 10403 76 10017 10413 66 10017 10603 1 6 10017 10653 66 10017 10743 46 10017 10823 3 6 10017 44012 86 10017 44032 6 6 10017 16013 26 10017 16023 1 6 10017 16213 66 10017 16233 4 6 10017 16263 1 6 10017 44042 5 6 10017 16303 46 10017 10693 2 6 10017 10873 8 6 10017 20052 4 6 10017 26042 9 6 10017 26232 4 6 10017 26262 16 10017 26312 3 6 10017 26322 2 6 10017 26372 7Catalogue Numb er Artist & Title Description Configuration Scannable UPC UPC SYB2609 KARAOKE/DVD OLD COUNTRY 1 Digital Video Disc 610017260924 610017260924 SYB2001 KARAOKE/DVD POP HITS 1 Digital Video Disc 610017200128 610017200128 SYB2018 KARAOKE/DVD POP HITS 10 Digital Video Disc 610017201828 610017201828 SYB2002 KARAOKE/DVD POP HITS 2 Digital Video Disc 610017200227 610017200227 SYB2003 KARAOKE/DVD POP HITS 3 Digital Video Disc 610017200326 610017200326 SYB2010 KARAOKE/DVD POP HITS 7 Digital Video Disc 610017201026 610017201026 SYB1625 KARAOKE/GIRL COUNTRY 3 Compact Disc 610017162532 610017162532 SYB1657 KARAOKE/GIRL COUNTRY 6 Compact Disc 610017165731 610017165731 SYB1661 KARAOKE/GIRL COUNTRY 7 Compact Disc 610017166134 610017166134 SYB1654 KARAOKE/GIRL POP 10 - PARTY TI Compact Disc 610017165434 610017165434 SYB1660 KARAOKE/GIRL PO P 12 Compact Disc 610017166035 610017166035 SYB1662 KARAOKE/GIRL PO P 13 Compact Disc 610017166233 610017166233 SYB1637 KARAOKE/GIRL POP 7 Compact Disc 610017163737 610017163737 SYB1650 KARAOKE/GIRL POP 9 Compact Disc 610017165038 610017165038 SYB4441 KARAOKE/GIRL POP PAR TY PACK 3 Compact Disc 610017444126 610017444126 SYB1643 KARAOKE/GUY COUNTRY 3 Compact Disc 610017164338 610017164338 SYB4422 KARAOKE/GUY COUNTRY PARTY PACK Compact Disc 610017442221 610017442221 OPM2226 KARAOKE/I WANNA BE LI KE CASH:M Compact Disc 027297222625 027297222625 SYB1639 KARAOKE/LOVE SO NGS 2 Compact Disc 610017163935 610017163935 SYB1644 KARAOKE/LOVE SO NGS 3 Compact Disc 610017164437 610017164437 SYB1646 KARAOKE/LOVE SO NGS 4 Compact Disc 610017164635 610017164635 SYB1651 KARAOKE/MALE RO CK 1 Compact Disc 610017165137 610017165137 SYB1633 KARAOKE/OLDI ES 4 Compact Disc 610017163331 610017163331 SYB4439 KARAOKE/POP MEGA PACK Compact Disc 610017443921 610017443921 SYB1012 KARAOKE/R&B MA LE Compact Disc 610017101234 610017101234 SYB1641 KARAOKE/SHOW T UNES 1 Compact Disc 610017164130 610017164130 SYB1090 KARAOKE/SUPER HITS 11 -PARTY T Compact Disc 610017109032 610017109032 SYB1100 KARAOKE/SUPER HITS 13 Compact Disc 610017110038 610017110038 CR023 KARL SCHWONIK QUAR/VISIONS FRO Compact Disc 623667216852623667216852 OMM306142 KASKADE/HERE AND NOW Compact Disc 600353061422 6003530614220 27297 22262 5 6 23667 21685 2 6 00353 06142 26 10017 44392 16 10017 16443 7 6 10017 10123 46 10017 16253 2 6 10017 16333 16 10017 16373 7 6 10017 16393 5 6 10017 16413 06 10017 16433 8 6 10017 16463 56 10017 16503 8 6 10017 16513 76 10017 44222 1 6 10017 10903 26 10017 16543 46 10017 16573 1 6 10017 16603 5 6 10017 44412 6 6 10017 11003 86 10017 16613 4 6 10017 16623 36 10017 20012 8 6 10017 20022 7 6 10017 20032 66 10017 26092 4 6 10017 20102 66 10017 20182 8Catalogue Numb er Artist & Title Description Configuration Scannable UPC UPC OMM303442 KASKADE/SAN FRANCISC O SESSIONS Compact Disc 600353034426 600353034426 4830356 KATCHEN,J/COMPLETE RE CORDI(35C Compact Disc 028948303564 028948303564 4781727 KATCHEN/BEETHOVEN:DIABELLI VAR Compact Disc 028947817277 028947817277 2748054 KATERINE/PHILIPPE KAT ERINE Compact Disc 602527480541 602527480541 9827099 KATERINE/ROBOTS APRES TOUT Compact Disc 602498270998 602498270998 PRDP4001 KAVANA,R/IRISH WAYS (4CD SET) Compact Disc 805520990011 805520990011 B000739502 K-CI & JOJO/BEST OF Compact Disc 602517048317 602517048317 MCAD11937 K-CI & JOJO/IT S REAL Compact Disc 008811193720 008811193720 0209701042 K-CI/MY BOOK Compact Disc 802097010425 802097010425 B000250702 KEANE/HOPES AND FEARS Compact Disc 602498188248 602498188248 B001674002 KEANE/STRANGELAND (DELUXE) Compact Disc 602527992822 602527992822 3746142 KEENV/ANGE OU DEMON Compact Disc 602537461424 602537461424 4745706 KEENV/COFFRET PHENOM CARPE(5CD Compact Disc 602547457066 602547457066 4619512 KEITA,M/ELECTRO BAMAKO Compact Disc 028946195123 028946195123 3020670502 KEITH EMERSON BAND/MOSCOW(DVD Digital Video Disc 030206705027 030206705027 CDROUN0084 KEITH, BILL /SOMETHING AULD Compact Disc 011661008427 011661008427 B000229509 KEITH,T/THE BEST OF TOBY KEITH Digital Video Disc 602498620533 602498620533 B000627002 KEITH,T/WHITE TRASH WITH MONEY Compact Disc 602498519820 602498519820 ARMD00020 KENNARD,G/RANCH ROAD 12 Compact Disc 689974002021 689974002021 CRE36375 KENNY WAYNE SHEPH/A LITTLE SOM Compact Disc 888072363755 888072363755 984512 KENTON, ST/IN HI-FI Compact Disc 077779845125 077779845125 299142 KENTON, ST/WEST SIDE STORY Compact Disc 724382991427 724382991427 4779843 KERMES,S/SIMONE KERM ES SINGS V Compact Disc 028947798439 028947798439 NAVIGATOR041 KERR, & FAGAN,J/TWICE REFLECTE Compact Disc 5052442000129 5052442000129 0881703652 KERSHAW,S/THE BEST OF SAMMY KE Compact Disc 008817036526 008817036526 4447862 KETELBEY/IN A MONASTERY GARDEN Compact Disc 028944478624 028944478624 5398812 KHALED /HAFLA (LIVE) Compact Disc 731453988125 731453988125 5304573 KHALED/BEST OF Compact Disc 600753045732 600753045732 FARO158CD KHAN,S/SLOW BURNER Compact Disc 5060211500497 5060211500497 122162 KILLING JO/KILLING JOKE Compact Disc 094631221620 0946312216200 08817 03652 66 02517 04831 7 6 00753 04573 27 24382 99142 70 77779 84512 5 0 28944 47862 40 28947 81727 70 28948 30356 4 0 28947 79843 96 02498 51982 00 28946 19512 36 02527 99282 26 02498 18824 80 08811 19372 0 7 31453 98812 56 02527 48054 1 6 02537 46142 4 6 02547 45706 66 02498 27099 8 0 94631 22162 08 02097 01042 5 6 89974 00202 1 5 052442 000129 8 05520 99001 1 5 060211 500497 6 00353 03442 6 8 88072 36375 50 11661 00842 7 6 02498 62053 30 30206 70502 7Catalogue Numb er Artist & Title Description Configuration Scannable UPC UPC 2796310 KILLING JOKE/MMXII Compact Disc 602527963105 602527963105 301379 KILLING JOKE/XXV THE GATHERING Digital Video Disc 801213013791 801213013791 5338499 KING B B/MR. B.B. KING(10CD) Compact Disc 600753384992 600753384992 OM114 KING BRITT PRESENTS/HIDDEN TRE Compact Disc 600353021426 600353021426 FRANETCD4096 KING, J AND THE RIVERTOWN/OCAL Compact Disc 8437010194313 8437010194313 CDROUN0305 KING, JAMES /THESE OLD PICT Compact Disc 011661030527 011661030527 SXSA3009 KING,A/I'LL PLAY THE BLUES FOR SACD4Stereo/Surround/CDAud 025218732468 025218732468 SXSA7501 KING,A/IN SESSION SACD4Stereo/Surround/CDAud 025218731027 025218731027 MA250162 KING,A/THEHEATOFTHEBLUES Compact Disc 5413992501625 5413992501625 RKG3360102 KING,C/SIMPLE THINGS Compact Disc 888072336018 888072336018 RCD26200 KING,C/THE LIVING ROOM TOUR Compact Disc 807411620021 807411620021 RKG3359902 KING,C/TOUCH THE SKY Compact Disc 888072335998 888072335998 RKG3359702 KING,C/WELCOME HOME Compact Disc 888072335974 888072335974 MWR44 KING,F/MESSIN' AROUND THA HOUS Compact Disc 796873021166 796873021166 MA250318 KING,F/THE BLUES IS RISING Compact Disc 5413992503186 5413992503186 1166196122 KING,J/LIVE AT MONTEREY Compact Disc 011661961227 011661961227 MA251047 KINGKOBRA/NUMBER ONE Compact Disc 5413992510474 5413992510474 182492 KINGSTON T/GREATEST HITS Compact Disc 724381824924 724381824924 SRI00612D KINKY FRIEDMAN/UNDER THE DOUBL Compact Disc 802396006129 802396006129 PRPCD112 KIRCHEN,B/SEEDS AND STEMS Compact Disc 805520031127 805520031127 PRPCD053 KIRCHEN,B/WORD TO THE WISE Compact Disc 805520030533 805520030533 B001937602 KISS/5 CLASSIC ALBUMS(5CD Compact Disc 602537570690 602537570690 5148272 KISS/ ALIVE III (GERMAN VER SION Compac t Disc 731451482724 731451482724 5347252 KISS/GR EATEST KISS Co mpact Disc 731453472525 731453472525 0075305049 KISS/THE BEST OF-GREEN SER IES Compact Disc 600753050491 600753050491 730159 KITARO/DAAYLIGHT MOONLIGHT;LIV Digital Video Disc 794017301594794017301594 SBESTCD64 KITTY, DAISY & LEWIS/THE THIRD Compact Disc 50510830892725051083089272 4791106 KLEIBER/WIENER PHI/BEETHOVEN BLU RAY AUDIO 028947911067 028947911067 4781396 KLEIBER/WP/STRAUSS:DER ROSENKA Compact Disc 028947813965 028947813965 JMG180502 KLEZMATICS,THE/WOODY GUTHRIES Compact Disc 8577640015038577640015030 28947 91106 7 0 28947 81396 56 02537 57069 06 00753 38499 2 7 31453 47252 57 31451 48272 47 24381 82492 46 02527 96310 5 6 00753 05049 17 96873 02116 6 8 02396 00612 95 413992 501625 5 413992 510474 5 413992 503186 8 437010 194313 8 05520 03053 38 05520 03112 7 5 051083 089272 8 57764 00150 36 00353 02142 6 8 07411 62002 1 8 88072 33597 48 88072 33599 88 88072 33601 8 0 11661 96122 70 11661 03052 78 01213 01379 1 7 94017 30159 40 25218 73246 8 0 25218 73102 7Catalogue Numb er Artist & Title Description Configuration Scannable UPC UPC PM016 KLOSCHINSKY,P/WOODLANDS Compact Disc 844667014211844667014211 466252 KLUGH, EAR/BEST OF Compact Disc 077774662529 077774662529 805052 KLUGH, EAR/BEST OF VOL #2 Compact Disc 077778050520 077778050520 647242B KLUGH, EAR/MUSIC FOR LOVERS Compact Disc 724386472427 724386472427 2769944 KNONDA,M/NOUVEAUX HORIZONS Compact Disc 602527699448 602527699448 0251742073 KNOPFLER,M/KILL TO GET CRIMSON Compact Disc 602517420731 602517420731 3704323 KNOPFLER,M/PRIVATEERING(3CD+DV CD with DVD 602537043231 602537043231 4716979 KNOPFLER,M/TRACKER(DLX) Compact Disc 602547169792 602547169792 CDROUN0367 KOKEN, WALT /HEI-WA HOEDOWN Compact Disc 011661036727 011661036727 INTROCD2025 KONITZ,L/A PROPER INTROTO:LEE Compact Disc 805520060257 805520060257 CDROUN5001 KONTE, ALHAJI B/KORA MELODIES Compact Disc 011661500129 011661500129 330239 KOOL & THE GANG/LIVE! THE ENCO Digital Video Disc 801213302390 801213302390 B000883702 KOOL & THE GANG/NUMBER 1'S Compact Disc 602517320970 602517320970 B000196709 KOOL & THE GANG/THE BEST OF KO Digital Video Disc 602498617236 602498617236 OCD9217 KOOLKEITH/THE RETURN OF DR.OCT Compact Disc 027297921726 027297921726 4776145 KOPP,P/VIVALDI:DIZIT DOMINUS Compact Disc 028947761457 028947761457 038782 KORN/UNTITLED Compact Disc 5099950387823 5099950387823 0147242 KORNSTAD TRIO/SPACE AVAILABLE Compact Disc 044001472428 044001472428 2709710 KORNSTAD,H/DWELL TIME Compact Disc 602527097107 602527097107 2793924 KORNSTAD,H/SYMPHONIES IN MY HE Compact Disc 602527939247 602527939247 654362 K-OS/TRILL,THE:A JOURNEY SO FA Compact Disc 5099996543627 5099996543627 423122 KOTTKE, LE/INSTRUMENTALS THE B Compact Disc 724354231223 724354231223 778959 KOTTONMOUT/DOPEUMENTARY Digital Video Disc 724347789595 724347789595 4778365 KOZENA,M/JAN RYBA:CZECH CHRIST Compact Disc 028947783657 028947783657 4776665 KOZENA,M/SONGS MY MOTHER TAUGH Compact Disc 028947766650 028947766650 QMG10232 KRAAK & SMAAK/THE REMIX SESSIO Compact Disc 182784102320182784102320 QMG10102 KRAAK&SMAAK/ BOOGIE ANGST Compact Disc 182784101026182784101026 3731667 KRALL,D/THE LOOK OF LOVE BLU RAY AUDIO 602537316670 602537316670 4400653742 KRALL,D/WHEN I LOOK IN YOUR EY SACD4Stereo/Surround/CDAud 044006537429 044006537429 SLR011 KRAMDENS,THE/THE KRAMDENS Compact Disc 6060413646226060413646226 02537 31667 06 02537 04323 1 0 28947 78365 77 24354 23122 30 77774 66252 9 7 24386 47242 70 77778 05052 0 0 28947 76145 7 0 28947 76665 05 099996 543627 6 02517 32097 06 02517 42073 1 6 02547 16979 26 02527 69944 8 5 099950 387823 0 44001 47242 8 6 02527 09710 7 6 02527 93924 70 27297 92172 68 05520 06025 78 44667 01421 1 6 06041 36462 21 82784 10102 61 82784 10232 00 11661 03672 7 0 11661 50012 9 6 02498 61723 6 7 24347 78959 58 01213 30239 0 0 44006 53742 9Catalogue Numb er Artist & Title Description Configuration Scannable UPC UPC 1166105359 KRAUSS,A+UNION STATION/LIVE(JE Digital Video Disc 011661053595 011661053595 4779942 KREISLER,F/LIEBESFRE UD-LIEBESL Compact Disc 028947799429 028947799429 4776196 KREMER,B/SHOSTAKOVICK:VIOLIN S Compact Disc 028947761969 028947761969 SLR005 KRIEF/TAKE IT OR LEAVE IT Compact Disc 882796027924882796027924 TB1573 KRISTINE W/FLY AGAIN Compact Disc 661868157321 661868157321 MBDCD860070 KROHM/A WORLD THROUGH DEAD EYE Compact Disc 768586007027 768586007027 MBDCD860091 KROHM/HAUNTING PRESENCE Compact Disc 768586009120 768586009120 TEG76509CD KROWN RULES/PAPER CHASE Compact Disc 829357650924829357650924 CDBB9560 KUBEK,SMOKIN-JOE/CRYIN FOR T M Compact Disc 011661956025 011661956025 4775644 KUBELIK,R/BRSO/WEBER:OBERON Compact Disc 028947756446 028947756446 SACD60682 KUNZEL,E/CPO/MASTERS A ND COMMA SACD4Stereo/Surround/CDAud 089408068263 089408068263 SACD60141 KUNZEL,E/CPO/ROUND-UP:FAVORITE SACD4Stereo/Surround/CDAud 089408014161 089408014161 SACD60649 KUNZEL,E/CSO/HANSON:COLD MOUNT SACD4Stereo/Surround/CDAud 089408064968 089408064968 SACD60580 KUNZEL,E/SCARY MUSI C SACD4Stereo/Surround/CDAud 089408058004 089408058004 SACD60540 KUNZEL/BEATLES SA CD4Stereo/Surround/CDAud 089408054006 089408054006 CD80221 KUNZEL/CLASSICS:SILVER SCREEN Compact Disc 089408022128 089408022128 TEG2435CD KURUPT/TANGLED THOUGHTS PHILLY Compact Disc 829357243522829357243522 098542 KUTLESS/BELIEVER Compact Disc 5099960985422 5099960985422 977892 KUTLESS/SEA OF FACES Compact Disc 724359778921 724359778921 753910 KUTLESS/STRONG TOWER Compact Disc 724387539105 724387539105 XXICD21541 KUTZ/ABYSSE/THE JULIET LETTERS Compact Disc 722056154123 722056154123 MCAD10486 LA BOLDUC/HERITAGE QUEBECOIS Compact Disc 008811048624 008811048624 CDROUN3142 LABEEF,S/I'LL NEVER LAY MY GUI Compact Disc 011661314221 011661314221 0209701092 LABELLE,P/THE GOSPEL ACCORDING Compact Disc 802097010920 802097010920 4787597 LABEQUE,K/MARIELLE/3 CLASSIC(3 Compact Disc 028947875970 028947875970 ETLCD37 LACRIMOSA/LIVE (20TH ANNIV(2CD Compact Disc 045635732339 045635732339 ETLCD91 LACRIMOSA/LIVE IN MEXICO C(2CD Compact Disc 784672294164 784672294164 ETLCD92 LACRIMOSA/LIVE IN MEXICO(2CD+D CD with DVD 784672294171 784672294171 3752489 LADY GAGA/APPLAUSE Compact Disc 602537524891 602537524891 B002580102 LADY GAGA/JOANNE(DLX) Compact Disc 602557186444 6025571864447 84672 29417 17 24387 53910 57 24359 77892 15 099960 985422 0 28947 87597 00 28947 79942 9 0 28947 75644 60 28947 76196 9 6 02537 52489 1 6 02557 18644 40 08811 04862 4 8 02097 01092 07 22056 15412 38 29357 24352 28 29357 65092 48 82796 02792 4 0 45635 73233 9 7 84672 29416 47 68586 00702 7 7 68586 00912 0 0 11661 95602 5 0 11661 31422 10 89408 02212 86 61868 15732 10 11661 05359 5 0 89408 01416 1 0 89408 05400 60 89408 05800 40 89408 06496 80 89408 06826 3Catalogue Numb er Artist & Title Description Configuration Scannable UPC UPC 2772702 LADY GAGA/JUDAS(CDS) Compact Disc Singles 602527727028 602527727028 B001628559 LADY GAGA/MONSTER BALL TOUR-LI BLU RAY 602527869964 602527869964 B001416622 LADY GAGA/TELEPHONE THE REMIXE Compact Disc 602527361512 602527361512 B001266602 LAGE,J/SOUNDING POINT Compact Disc 602517914476 602517914476 MA251050 LAGUNS/LIVEAMMO Compact Disc 5413992510504 5413992510504 PVCD128 LAINE,F/HIGH NOON Compact Disc 805520051286 805520051286 8128202 LAMA,S/JE SUIS MALADE Compact Disc 042281282027 042281282027 5427502 LAMA,S/LE MEILLEUR DE SER(DEP) Compact Disc 731454275026 731454275026 5147152 LAMA,S/MASTER SERIE 2003 VOL.2 Compact Disc 731451471520 731451471520 0734158 LANCHBERY,J/HEROLD:LA FILLE MA Digital Video Disc 044007341582 044007341582 4790832 LANG LANG/CHOPIN Compact Disc 028947908326 028947908326 4790058 LANG LANG/COMPLETE RE (12CD LTD Compact Disc 028947900580 028947900580 4791500 LANG LANG/IT'S ME TH E CONC(4CD Compact Disc 028947915003 028947915003 4792236 LANG LANG/THE ROMANCE OF RACHM Compact Disc 028947922360 028947922360 4795440 LANG LANG/THE VIENNA ALB(2CD) Compact Disc 028947954408 028947954408 CDROUN2080 LANG,E & OTHERS/TROUBLES, TROU Compact Disc 011661208025 011661208025 391479 LANG,J/LIVE AT MONTREUX 1999 Digital Video Disc 801213914791 801213914791 FNCD5569 LANGLOIS,P/FIX THIS HEAD Compact Disc 823674004125823674004125 640052B LANZ, DAVI/RETURN TO THE HEART Compact Disc 083616400525 083616400525 119192 LANZ, DAVI/ROMANTIC Compact Disc 724381191927 724381191927 INTROCD2012 LANZA,M/A PROPER INTRO TO:MARI Compact Disc 805520060127 805520060127 2763224 LARA,C/UNE VOIX POUR FERRE Compact Disc 602527632247 602527632247 XXICD21701 LARE,P/HURDJIEFF/HARTMANN:MUSI Compact Disc 722056170123 722056170123 XXICD21533 LARE,P/LISZT:SONATA IN B MINOR Compact Disc 722056153324 722056153324 XXICD21443 L'ART LYRIQUE DU CA NADA/L'ART Compact Disc 722056144322 722056144322 9841850 LA'S, THE/BBC IN SESSION Compact Disc 602498418505 602498418505 8159842 LAST,J/THE ROSE OF TRALEE Compact Disc 042281598425 042281598425 CDBEYE9542 LAURY,B/NOTHIN' BUT THE BLUES Compact Disc 011661954229 011661954229 8377182 LAVILLIERS,B/IF Compact Disc 042283771826 042283771826 8319512 LAVILLIERS,B/MASTER SERIE 2003 Compact Disc 042283195127 0422831951276 02527 86996 4 6 02517 91447 66 02527 36151 2 7 24381 19192 70 83616 40052 5 0 42281 59842 56 02498 41850 56 02527 63224 77 31451 47152 07 31454 27502 60 42281 28202 7 0 42283 19512 70 42283 77182 60 28947 90058 00 28947 90832 6 0 28947 91500 3 0 28947 92236 0 0 28947 95440 8 7 22056 15332 4 7 22056 14432 27 22056 17012 35 413992 510504 8 05520 06012 78 05520 05128 6 8 23674 00412 5 0 11661 95422 90 11661 20802 56 02527 72702 8 0 44007 34158 2 8 01213 91479 1Catalogue Numb er Artist & Title Description Configuration Scannable UPC UPC 2786542362 LAVOE,H/SELECCIONES FANIA Compact Disc 827865423627 827865423627 775462 LAWS, RONN/EVERY GENERATION Compact Disc 724347754623 724347754623 465542A LAWS, RONN/PRESSURE SENSITIV(R Compact Disc 077774655422 077774655422 SVY17269 LAWS,H/MOONDANCE Compact Disc 795041726926 795041726926 4430122 LDD/BEET/PNO SNTS/GULDA Compact Disc 028944301229 028944301229 4430062 LDD/KODALY/HARY JANOS/DORATI Compact Disc 028944300628 028944300628 4557272 LDD/VIVALDI/GLORIA/HOGWOOD Compact Disc 028945572727 028945572727 5318415 LE FORESTIER,M/MASTER SERIE Compact Disc 600753184158 600753184158 CDROUN1046 LEADBELLY/LET IT SHINE ON ME - Compact Disc 011661104624 011661104624 457162 LEAHY/LAKEFIELD Compact Disc 724384571627 724384571627 MI21636 LEANDROS,V/L'AMOUR EST BLEU SU Compact Disc 619061163625 619061163625 3145400552 LEARY,D/NO CURE FOR CANCER Compact Disc 731454005524 731454005524 8464222 LECLERC,F/LE P'TIT BONHEUR Compact Disc 042284642224 042284642224 8380772 LECLERC,F/L'ENCAN LE TOUR DE Compact Disc 042283807723 042283807723 3702796 LECLERC,F/MASTER SERIE Compact Disc 602537027965 602537027965 2792202 LECLERC,F/SERIE CHANSON FRANCA Compact Disc 602527922027 602527922027 5462872 LECLERC,F/TALENTS DU SIECLE Compact Disc 731454628723 731454628723 423082 LEE, PEGGY/BEAUTY A ND THE BEAT Compact Disc 724354230820 724354230820 212042A LEE, PEGGY/BEST OF,THE Compact Disc 724382120421 724382120421 1122562 LEE,B/CLASSIC Compact Disc 008811225629 008811225629 9832294 LEE,L/VERY BEST OF Compact Disc 602498322949 602498322949 INTROCD2003 LEE,P/A PROPER INTRO TO:PEGGY Compact Disc 805520060035 805520060035 B000309302 LEE,P/BLACK COFFEE Compact Disc 602498631935 602498631935 INTROCD2018 LEE.J/A PROPER INTRO TO:JULIE Compact Disc 805520060189 805520060189 265952 LEGGAT BRO/ILLUMINATIONS-NORTH Compact Disc 077772659521 077772659521 OJCCD803 LEGRAND,M/AFTER T RAIN Compact Disc 025218680325 025218680325 9829081 LEGRAND,M/LE CINEMA DE MICHEL Compact Disc 602498290811 602498290811 CDROUN6013 LEJEUNE,E/CAJUN SOUL Compact Disc 011661601321 011661601321 5454508732 LEMAN,A/MELE KALIKIMAKA/MERRY Compact Disc 654545087325654545087325 4787159 LEMPER,U/3 CLASSIC ALBUMS(LTD Compact Disc 028947871590 0289478715907 31454 00552 40 77774 65542 27 24347 75462 3 7 24382 12042 17 24354 23082 0 0 77772 65952 1 0 28947 87159 00 28944 30062 8 6 02498 32294 90 28945 57272 70 28944 30122 98 27865 42362 7 7 31454 62872 30 42283 80772 30 42284 64222 46 19061 16362 5 6 02537 02796 5 6 02527 92202 76 00753 18415 8 6 02498 29081 10 08811 22562 9 6 02498 63193 57 24384 57162 7 8 05520 06003 5 8 05520 06018 9 6 54545 08732 50 25218 68032 50 11661 10462 4 0 11661 60132 17 95041 72692 6Catalogue Numb er Artist & Title Description Configuration Scannable UPC UPC 4589312 LEMPER,U/BEST OF UT E LEMPER Compact Disc 028945893129 028945893129 MRBCD042 LENINE/IN CITE Compact Disc 50240170025245024017002524 130102C LENNON SIS/BEST LOVED MELODIES Compact Disc 014921301023 014921301023 248582 LENNON, JO/IMAGINE (RE-MASTERE Compact Disc 724352485826 724352485826 990029 LENNON, JO/LEGEND Digital Video Disc 724359900292 724359900292 XXICD21569 LEPINE-ARTURO/SONATES ROMANTIQ Compact Disc 722056156929 722056156929 5323871 LEROY,N/LE CHESCHIRE CAT ET MO Compact Disc 600753238714 600753238714 3722200 LEROY,N/O FILLES DE LEAU Compact Disc 602537222001 602537222001 XXICD21678 LES CHANTRES MUSICIENS/SCHUBER Compact Disc 722056167826 722056167826 2785638 LES MARINS D'IROISE/LES MARINS Compact Disc 602527856384 602527856384 XXICD21505 LES VOIX D'ELLE/REQUIEM FAURE Compact Disc 722056150521 722056150521 XXICD21485 LES VOIX D'ELLES/A CEREMONY OF Compact Disc 722056148528 722056148528 IL30436 LESH,P & FRIENDS/NASHVILLE,TN Compact Disc 827823043621827823043621 HBL007EP LESLIE OVERDRIVE/WITH THE HAMM Compact Disc EP's 826556200721 826556200721 8413992 LEVEL 42/LEVEL BEST Compact Disc 042284139922 042284139922 EDMTDVD002 LEVEL 42/LIVE FROM METR(DVD+CD DVD + BNS CD 5014797890145 5014797890145 4400761072 LEVEL 42/THE BEST OF LEVEL 42 Compact Disc 044007610725 044007610725 9843573 LEVEL 42/THE PURSUIT OF ACCIDE Compact Disc 602498435731 602498435731 MBDCD860116 LEVIATHAN/A SILHOUETTE IN SPLI Compact Disc 768586011628 768586011628 MBDCD860066 LEVIATHAN/HOWL MOCKERY AT THE Compact Disc 768586006624 768586006624 MBDCD860107 LEVIATHAN/MASSIVE CONSPIRACY A Compact Disc 768586010720 768586010720 MBDCD860052 LEVIATHAN/TENTACLES OF WHORROR Compact Disc 768586005221 768586005221 MBDCD860043 LEVIATHAN/TENTH SUB LEVEL OF S Compact Disc 768586004323 768586004323 4779767 LEVINE,J/HAYDN: DIE SCHOPFUNG Compact Disc 028947797678 028947797678 4783053 LEVINE,J/PUCCINI: MANON LESCAU Compact Disc 028947830535 028947830535 0734532 LEVINE,J/VERDI:FALSTAFF - DVD Digital Video Disc 044007345320 044007345320 QMG10242 LEVINE,S/LOVE RHINO Compact Disc 182784102429182784102429 CDBEYE9532 LEVY,R/B-3 BLU ES & GROOVES Co mpact Disc 011661953222 011661953222 MRCD6451 LEWIS,A/FLOAT AWAY Compact Disc 823674645120823674645120 9079002394 LEWIS,G/MOMENT OF TRUTH Compact Disc 899079002394 8990790023940 44007 61072 57 24352 48582 6 0 28947 83053 50 28945 89312 9 0 28947 79767 86 02498 43573 10 42284 13992 26 02537 22200 1 6 02527 85638 46 00753 23871 4 7 22056 14852 87 22056 15052 17 22056 15692 9 7 22056 16782 6 8 23674 64512 05 024017 002524 8 27823 04362 1 1 82784 10242 90 14921 30102 3 7 68586 00432 37 68586 00522 17 68586 00662 4 7 68586 01072 07 68586 01162 8 0 11661 95322 2 8 99079 00239 48 26556 20072 17 24359 90029 2 0 44007 34532 05 014797 890145 Catalogue Numb er Artist & Title Description Configuration Scannable UPC UPC 330299 LEWIS,H & THE NEWS/LIVE 1984 Digital Video Disc 801213302994 801213302994 3145584962 LEWIS,J/HOLE LOTTA SHAKIN Compact Disc 731455849622 731455849622 CDROUN0318 LEWIS,L & KALLI,K/TOGETHER Compact Disc 011661031821 011661031821 CDFLY487 LEWIS,L/LOVE CHOOSES YOU Compact Disc 018964048723 018964048723 CDFLY406 LEWIS,L/RESTLESS RAMBLING HEAR Compact Disc 018964040628 018964040628 9838863 LEWIS,R/IN CROWD ANTHOLOGY Compact Disc 602498388631 602498388631 INTROCD2039 LEWIS,S/A PROPER INTRO TO:SMIL Compact Disc 805520060394 805520060394 0734079 LI,Y/LIVE IN CONCERT Digital Video Disc 044007340790 044007340790 775292B LIEBERT, O/BORRASCA Compact Disc 724387752924 724387752924 0044503972 LIFEHOUSE/STANLEY CLIMBFALL Compact Disc Enhanced 600445039728 600445039728 572752A LIGHTFOOT,/EARLY MORNING RAIN Compact Disc 077775727524 077775727524 488442 LIGHTFOOT,/OVER 60 MINUTES WIT Compact Disc 077774884426 077774884426 B000123502 LIMP BIZKIT/RESULTS MAY VARY Compact Disc 602498608920 602498608920 5320961 LINCOLN,A/THROUGH THE YEARS(3C Compact Disc 600753209615 600753209615 NCD601723 LIPKIN,S/BEETHOVEN:COMPELTE SO Compact Disc 032466017223 032466017223 NCD601733 LIPKIN,S/BEETHOVEN:COMPLETE SO Compact Disc 032466017322 032466017322 429642 LISA/CELTI/LISA Compact Disc 094634296427 094634296427 4623122 LISZT/ANNEES DE PERLE RINAGE/KO Compact Disc 028946231227 028946231227 4372522 LISZT/SONATA IN B MINOR Compact Disc 028943725224 028943725224 4761 LITTLE CHARLIE & THE NIGHTCATS Compact Disc 014551476122014551476122 4794 LITTLE CHARLIE & THE NIGHTCATS Compact Disc 014551479420014551479420 INTROCD2090 LITTLE ESTHER/A PROPER INTRO T Compact Disc 805520060905 805520060905 INTROCD2006 LITTLE WALTER/A PROPER INTRO T Compact Disc 805520060066 805520060066 RASSD11590 LIVE /SECRET SAMADHI Compact Disc 008811159023 008811159023 0881119662 LIVE/THE DISTANCE TO HERE Compact Disc 008811196622 008811196622 LM00282 LIVING LEGENDS/CRAPPY OLD SHT Compact Disc 693405002825693405002825 TSCD496 LLLOYDA/ENGLISH DRINKING SONGS Compact Disc 714822049627 714822049627 5342582 LOBO,E & JOBIM,AC/EDU & TOM Compact Disc 731453425828 731453425828 FAN3473100 LOFGREN,N/FACE THE MUSI(10CD+D CD with DVD 888072347311 888072347311 082552 LOMAX, JAC/IS THIS WHAT YOU WA Compact Disc 5099990825521 50999908255218 88072 34731 10 77775 72752 4 0 28943 72522 4 7 31453 42582 8 5 099990 825521 7 31455 84962 2 7 24387 75292 4 6 02498 60892 06 02498 38863 1 0 08811 19662 20 08811 15902 30 28946 23122 70 77774 88442 6 6 00753 20961 5 0 94634 29642 70 32466 01722 3 0 32466 01732 2 8 05520 06006 68 05520 06039 4 8 05520 06090 5 7 14822 04962 76 93405 00282 50 14551 47612 2 0 14551 47942 00 18964 04062 80 18964 04872 30 11661 03182 1 6 00445 03972 80 44007 34079 08 01213 30299 4Catalogue Numb er Artist & Title Description Configuration Scannable UPC UPC 1166117852 LOMAX,A/GAELIC SONGS OF SCOTLA Compact Disc 011661178526 011661178526 8216118052 LOMAX,A-COLL/ITALIAN TREASURY Compact Disc 682161180526 682161180526 8216118632 LOMAX,A-COLL/POPULAR SONGBOOK Compact Disc 082161186328 082161186328 015732 LONDON, JU/ALL THROUGH THE NIG Compact Disc 5099950157327 5099950157327 393962 LONDON, JU/CRY ME A RIVER Compact Disc 724353939625 724353939625 TAO030 LONER/WESTERN SCI-FI Compact Disc 677603005123 677603005123 0044502132 LONG BEACH DUB ALLSTA RS/RIGHT Compact Disc 600445021327 600445021327 SID021 LONG RYDERS,THE/STATE OF OUR R Compact Disc 793962000217 793962000217 SID016 LONG RYDERS,THE/THE BEST OF TH Compact Disc 793962000163 793962000163 SID015 LONG RYDERS,THE/THREE MINUTE W Compact Disc 793962000156 793962000156 FRANDVD022 LONG RYDERS/LIVE 2004:STATE OF Digital Video Disc 793962000224 793962000224 BAI0232 LOOKING FORWARD/WHAT THIS MEAN CD with DVD 790168554223 790168554223 CDROUN1840 LORD INVADER & DUKE/CALYPSO AT Compact Disc 011661184022 011661184022 5315880 LORD KOSSITY/LE BEST OF Compact Disc 600753158807 600753158807 135076 LORD MANTIS/PERVERTOR Compact Disc 803341350762 803341350762 B001686602 LOS ANGELES AZULES/ICONOS/25 E Compact Disc 602537031290 602537031290 B001713902 LOS FUGITIVOS/ICONOS/25EXI(2CD Compact Disc 602537085392 602537085392 EGR23975 LOS VAN VAN/ESTRELL AS DE CUBA Compact Disc 619061397525 619061397525 MA250111 LOS VAN VAN/VIVO EN AMERICA Compact Disc 5413992501113 5413992501113 XXL22036 LOTTI,H/FROM RUSSIA WITH LOVE Compact Disc 619061203628 619061203628 XXL33368 LOTTI,H/FROM RUSSIA WITH LOVE Digital Video Disc 619061336838 619061336838 XXL33544 LOTTI,H/THE BLUE ALBUM Digital Video Disc 619061354436 619061354436 XXL33723 LOTTI,H/THE CROONERS - DVD Digital Video Disc 619061372331 619061372331 024652A LOUEKE, LI/KARIBU Compact Disc 5099950246526 5099950246526 1575622 LOUSSIER,J/PLAY BACH NO.2 Compact Disc 601215756227 601215756227 1591942 LOUSSIER,J/PLAYS BACH NO. 5 Compact Disc 601215919424 601215919424 D000368500 LOVATO,D/DON'T FORGET (DELUXE CD with DVD 050087139957 050087139957 B001317402 LOVETT,L/NATURAL FORCES Compact Disc 602527121994 602527121994 B001638602 LOVETT,L/RELEASE ME Compact Disc 602527907864 602527907864 HBL010 LOW FIDELITY JET-SET ORCH/SEAR Compact Disc 826556201025 8265562010250 50087 13995 77 90168 55422 3 5 099950 246526 6 00445 02132 75 099950 157327 7 24353 93962 5 8 03341 35076 2 6 02537 08539 26 02537 03129 06 00753 15880 7 6 01215 75622 7 6 01215 91942 4 6 02527 12199 4 6 02527 90786 46 19061 20362 86 19061 39752 5 8 26556 20102 55 413992 501113 7 93962 00015 67 93962 00016 37 93962 00021 76 77603 00512 30 11661 17852 6 6 82161 18052 6 0 82161 18632 8 0 11661 18402 2 6 19061 35443 66 19061 33683 8 6 19061 37233 17 93962 00022 4Catalogue Numb er Artist & Title Description Configuration Scannable UPC UPC 485532A LUBA/OVER 60 MINUTES WITH Compact Disc 077774855327 077774855327 ETLCD95 LUCIFERIAN LIGHT/LUCIFERIAN LI Compact Disc 741812916898 741812916898 VEGA23896 LUCKY UKE/LUCKY UKE Compact Disc 619061389629 619061389629 VEGA24146 LUCKY UKE/SUNBURN Compact Disc 619061414628 619061414628 LM00302 LUCKYLAM.PSC/EXTRA CREDIT 2 Compact Disc 693405003020693405003020 LM01250 LUCKYLAM.PSC/JUSTIFY THE MEAN$ Compact Disc 631037075220631037075220 B001456502 LUDO/PREPARE THE PREPARATIONS Compact Disc 602527450063 602527450063 3780245 LULLACRY/LEGACY 1998 TO 20(2CD Compact Disc 602537802456 602537802456 IRL075 LUMIERE/MY DEAREST DEAR Compact Disc 5060155721224 5060155721224 PROPERBOX125 LUNCEFORD,J/STRICLY LUNCEFORD Compact Disc 805520021258 805520021258 5311097 LUNGHINI,E/ELSA LUNGHINI Compact Disc 600753110973 600753110973 BL6001 LUPKIN,B & THE CHICAGO BLUES C Compact Disc 614511739320 614511739320 4788772 LUPU,R/COMPLETE RECORDINGS(28C Compact Disc 028947887720 028947887720 MCAMD5943 LYNN LORETTA /20 GREATEST HI Compact Disc 076732594322 076732594322 B001399102 LYNN,L/50TH ANNIVERSARY COLLEC Compact Disc 602527322902 602527322902 COS33326 LYNN,L/IN CONCERT Digital Video Disc 619061332632 619061332632 8425632 LYNOTT,P/SOLO IN SOHO Compact Disc 042284256322 042284256322 B001937802 LYNYRD SK/5 CLASSIC ALBUMS(5CD Compact Disc 602537570782 602537570782 EV307209 LYNYRD SK/PRONOUNCED LEH(DVD+2 DVD + BNS CD 801213072095 801213072095 0075320043 LYNYRD SKYNYRD/LEGENDS OF ROCK Compact Disc 600753200438 600753200438 5303070 LYNYRD SKYNYRD/LYNYRD SKYNYRD Compact Disc 600753030707 600753030707 0075305217 LYNYRD SKYNYRD/THE BETS OF-GRE Compact Disc 600753052174 600753052174 3145240042 M.FAITHFULL/A COLLECTION OF HE Compact Disc 731452400420 731452400420 8492172 M.FARMER/L'AUTRE Compact Disc 042284921725 042284921725 5454508492 MACCOLL,E&LLOYD,AL/BLOW BOYS B Compact Disc 654545084928654545084928 HPO6006 MACCOLL,E/THE DEFINITIVE COLLE Compact Disc 714822600620 714822600620 RCL2009 MACGREGOR,F/RHYTHMS OF THE HEA Compact Disc 609955200925609955200925 PROPERBOX48 MACHITO & HIS AFRO CUBANS/RITM Compact Disc 805520020480 805520020480 5318387 MACIAS,E/MASTER SERIE Compact Disc 600753183878 600753183878 9844884 MACIAS,E/TALENTS Compact Disc 602498448847 6024984488470 28947 88772 00 77774 85532 7 6 00753 20043 86 02537 57078 26 02527 45006 3 7 31452 40042 06 00753 03070 70 76732 59432 2 6 02527 32290 2 0 42284 25632 26 02537 80245 6 6 00753 05217 4 0 42284 92172 56 00753 11097 3 6 00753 18387 8 6 02498 44884 76 19061 41462 86 19061 38962 9 6 14511 73932 08 05520 02125 8 8 05520 02048 07 14822 60062 05 060155 721224 6 54545 08492 86 93405 00302 0 6 31037 07522 0 6 09955 20092 57 41812 91689 8 6 19061 33263 2 8 01213 07209 5Catalogue Numb er Artist & Title Description Configuration Scannable UPC UPC 4228609682 MACK 10/BANG OR BALL Compact Disc 042286096827 042286096827 78612793722 MACK,CRAIG/FLAVA IN YA EAR Compact Disc Singles 786127937220 786127937220 989742 MACNEIL, R/A NIGHT AT THE ORPH Compact Disc 724349897427 724349897427 INTROCD2075 MADDOX BROTHERS & ROSE/A PROPE Compact Disc 805520060752 805520060752 350779 MADONNA/THE WILD ANGE L(DVD) Digital Video Disc 801213507795 801213507795 CDFLY631 MAGICAL STRINGS/BELL OFF THE L Compact Disc 018964063122 018964063122 CDFLY531 MAGICAL STRINGS/CROSSING TO SK Compact Disc 018964053123 018964053123 4681822 MAHLER/DAS LIED Compact Disc 028946818220 028946818220 4259952 MAHLER/KINDERTOTENLIEDER Compact Disc 028942599529 028942599529 CD80527 MAHLER/SYM NO.9 Compact Disc 089408052729 089408052729 B000475736 MAHLER/SYMPHONY NO. 6 SACD4Stereo/Surround/CDAud 028947756842 028947756842 SACD60586 MAHLER/SYMPHONY NO. 6 (SACD) SACD4Ster eo/Surround/CDAud 089408058608 089408058608 3CD80586 MAHLER/SYMPHONY NO.6 Compact Disc 089408058622 089408058622 0253783835 MAHONE,A/THE SE CRET Compact Disc 602537838356 602537838356 0253743575 MAHONE,A/WHAT ABOUT LOVE Compact Disc Singles 602537435753 602537435753 4777465 MAISKY,M/STRAUSS/DVOR AK:MORGEN Compact Disc 028947774655 028947774655 4775743 MAISKY,M/VOCALISE Compact Disc 028947757436 028947757436 NSR1252 MAJOR LEAGUE/THERE S NOTHIN WI Compact Disc 603111812526 603111812526 WRA062 MAKEBA,M/DEFINITIVE COLLECTION Compact Disc 506000127063506000127063 FARO161CD MALHEIROS,S/DREAMING Compact Disc 5060211500657 5060211500657 2753876 MALIK,AA/CHATEAU ROUGE Compact Disc 602527538761 602527538761 CDFF670 MALLETT,D/PARALLEL LIVES Compact Disc 018964067021 018964067021 5491992 MANAU/FEST NOZ DE PANAME Compact Disc 731454919920 731454919920 SACD1034 MANCINI,H/ULTIMATE MA NCINI SACD4Stereo/Surround/CDAud 013431103462 013431103462 4469192 MANCINI/VICTOR, VICTORIA Compact Disc 028944691924 028944691924 MDM129 MANDEVILLES,THE/WINDOWS AND ST Compact Disc 798304282221 798304282221 XXICD21605 MANDOZZI,O/GOLTERMA NN/JERAL/W Compact Disc 722056160520 722056160520 B000262002 MANERI&PHILLIPS&MANERI/ANGELS Compact Disc 602498067604 602498067604 DGCMD24956 MANN,A/WHATEVER Compact Disc 720642495629 720642495629 OJCCD10842 MANN,H & JASPER,B/FLUTE FLIGHT Compact Disc 025218708425 0252187084250 28942 59952 9 0 28947 75743 60 28947 77465 5 6 02498 06760 40 28946 81822 07 24349 89742 7 7 20642 49562 90 28944 69192 46 02527 53876 1 7 31454 91992 00 42286 09682 7 6 02537 83835 6 7 22056 16052 05 060211 500657 8 05520 06075 2 5 06000 12706 36 03111 81252 6 0 25218 70842 57 98304 28222 10 18964 06702 10 18964 05312 30 18964 06312 2 0 89408 05862 20 89408 05272 97 86127 93722 0 6 02537 43575 38 01213 50779 5 0 28947 75684 2 0 13431 10346 20 89408 05860 8Catalogue Numb er Artist & Title Description Configuration Scannable UPC UPC OJCCD1007 MANNE,S/THE GA MBIT Compact Disc 025218700726 025218700726 TEG76532CD MANTRONIX/MANTRONIX DELUXE EDI Compact Disc 829357653222829357653222 4760955 MANUEL,D/BACH RACONTE AUX ENFA Compact Disc 028947609551 028947609551 720312 MARANATHA MUSIC/HEART OF WORSH Compact Disc 738597203121 738597203121 TAO027 MARCONI UNION/A LOST CONNECTIO Compact Disc 677603004423 677603004423 XXICD21713 MARCOTTE,NA/BACH:ORGAN WORKS Compact Disc 722056171328 722056171328 B001549502 MARIE,T/LADY T:EXPA NDED EDITIO Compact Disc 602527668451 602527668451 CCDCD8503 MARIENTHAL,E/TURN UP THE HEAT Compact Disc 013431850328 013431850328 4779121 MARIN ,I/DONIZETTI: LUCIA DI LA Compac t Disc 028947791218 028947791218 RG013 MARK,C/COME BACK SPECIAL Compact Disc 823674048822823674048822 862172A MARLEY, ZI/JAHMEYKA Compact Disc 077778621720 077778621720 0249867761 MARLEY,B & T WAILERS/127 KING Compact Disc 602498677612 602498677612 0249867762 MARLEY,B & T WAILERS/AMMUNITIO Compact Disc 602498677629 602498677629 0249866805 MARLEY,B & T WAILERS/BEST OF T Compact Disc 602498668054 602498668054 1166176912 MARLEY,B & T WAILERS/DESTINY:R Compact Disc 011661769120 011661769120 3145244192 MARLEY,B & T WAILERS/DREAMS OF Compact Disc 731452441928 731452441928 0249813427 MARLEY,B & T WAILERS/FEEL ALRI Compact Disc 602498134276 602498134276 3145241032 MARLEY,B & T WAILERS/NATURAL M Compact Disc 731452410320 731452410320 4400634462 MARLEY,B & T WAILERS/ RASTAMAN Compact Disc 044006344621 044006344621 0249866751 MARLEY,B & T WAILERS/SOUL REVO Compact Disc 602498667514 602498667514 0249866806 MARLEY,B & T WAILERS/UPSETTER Compact Disc 602498668061 602498668061 B000198500 MARLEY,B & THE WAILERS/LEGEND- Compact Disc 602498125373 602498125373 1166177612 MARLEY,B&THE WAILERS/STUDIO 1 Compact Disc 011661776128 011661776128 B000578377 MARLEY,B&WAILERS ,T/LEGEND(UMD) Universal Media Disc 602498345726 602498345726 UMMC22332 MARLEY,B/A CELEBRATION(2CD) Compact Disc 778325223328 778325223328 UMMC32562 MARLEY,B/ISLAND MYSTIC Compact Disc 778325325626 778325325626 9867109 MARLEY,B/ORIGINAL CUTS Compact Disc 602498671092 602498671092 3145489052 MARLEY,B/REBEL MUSIC (REMASTER Compact Disc 731454890526 731454890526 5345317 MARLEY,B/THE WAILERS/KAYA BLU RAY AUDIO 600753453179 600753453179 5342379 MARLEY,B/THE WAILERS/LEGEND BLU RAY AUDIO 600753423790 600753423790 6 00753 42379 06 00753 45317 97 38597 20312 1 6 02527 66845 1 7 31452 41032 07 31452 44192 8 0 44006 34462 1 7 31454 89052 66 02498 12537 3 6 02498 67109 20 28947 79121 8 6 02498 13427 66 02498 67762 9 6 02498 66751 46 02498 66805 4 6 02498 66806 16 02498 67761 20 28947 60955 1 0 77778 62172 07 22056 17132 86 77603 00442 38 29357 65322 2 8 23674 04882 2 7 78325 22332 8 7 78325 32562 60 25218 70072 6 0 13431 85032 8 0 11661 76912 0 0 11661 77612 8 6 02498 34572 6Catalogue Numb er Artist & Title Description Configuration Scannable UPC UPC TGW0004 MARLEY,Z/FAMILY TIME Compact Disc 8048791834268.04879E+11 TGW0002 MARLEY,Z/LOVE IS MY RELIGION L Digital Video Disc 8048790919988.04879E+11 0249872682 MARLY,B&WAILERS/WAIL'N SOUL'M Compact Disc 602498726822 602498726822 INTROCD2055 MARMAROSA,D/A PROPER INTRO TO: Compact Disc 805520060554 805520060554 B002157702 MAROON 5/5 CLASSIC ALBUMS(5CD Compact Disc 602537943944 602537943944 B001152600 MAROON 5/IT WON'T BE SOON(DLX) CD with DVD 602517760325 602517760325 8287669952 MAROON 5/LIVE FRIDAY THE 13TH CD with DVD 828766995220 828766995220 B002149502 MAROON 5/V Compact Disc 602537957927 602537957927 100112D MAROON/ENDORSED BY HATE Compact Disc 727701001128 727701001128 4758237 MARRINER,N/BARBER:ADAGIO FOR S Compact Disc 028947582373 028947582373 0743152 MARRINER,N/DE FALLA:NIGHTS IN Digital Video Disc 044007431528 044007431528 4757781 MARRINER,N/ROSSINI:MESSA DI GL Compact Disc 028947577812 028947577812 0734242 MARRINER/ASM/STRAVINSKY:PULCIN Digital Video Disc 044007342428 044007342428 SFMCD298 MARRIOTT,S/LIVE FROM LONDON Compact Disc 5055544215378 5055544215378 103312 MARSALIS, /HE AND SHE Compact Disc 5099951033125 5099951033125 771322 MARSALIS, /LIVE AT TH E HOUSE O Compact Disc 724347713224 724347713224 BMD1200 MARSHALL,D/BUILT TO LAST Compact Disc 776127267021776127267021 960012 MARTHA & T/THEN AGAIN Compact Disc 724349600126 724349600126 CDFLY003 MARTIN BOGAN & ARMS TRONG/MARTI Compact Disc 018964000325 018964000325 CDFLY012 MARTIN,B/TENNESSEE JUBI Compact Disc 018964001223 018964001223 INTROCD2061 MARTIN,D/A PROPER INTRO TO:DEA Compact Disc 805520060615 805520060615 B001681900 MARTIN,D/COLLECTED CO(3CD/DVD) CD with DVD 602537018529 602537018529 974412A MARTIN,D/FOREVER COOL (COLL Compact Disc 094639744121 094639744121 PROPERBOX104 MARTIN,D/YOUNG DINO Compact Disc 805520021043 805520021043 FRANFV07 MARTIN,J/APARECID A/RIQUEZAS Compact Disc 5023100020728 5023100020728 FRANFV05 MARTIN,J/ARTE FLAMINCO PURO Compact Disc 5023100980527 5023100980527 FRANFV08 MARTIN,J/CAMINO LATINO Compact Disc 5023100020827 5023100020827 FRANFV06 MARTIN,J/EL ALQUIMISTA Compact Disc 5023100990625 5023100990625 DYB300250 MARTIN,J/GHETTOS & GARDENS Compact Disc 858333002501 858333002501 FRANFV09 MARTIN,J/LIVE EN DIRECTO Compact Disc 5023100040924 50231000409246 02517 76032 5 8 28766 99522 0 6 02537 01852 9 0 94639 74412 17 24349 60012 60 28947 58237 36 02537 94394 4 6 02537 95792 7 0 28947 57781 26 02498 72682 2 7 24347 71322 45 099951 033125 5 055544 215378 8 05520 06061 5 5 023100 040924 8 05520 06055 4 5 023100 980527 5 023100 990625 5 023100 020728 5 023100 020827 8 05520 02104 37 76127 26702 1 8 58333 00250 17 27701 00112 8 0 18964 00032 5 0 18964 00122 38 04879 16822 5 0 94922 60725 6 8 04879 18342 6 0 44007 43152 8 0 44007 34242 88 04879 09199 8Catalogue Numb er Artist & Title Description Configuration Scannable UPC UPC FRANFV11 MARTIN,J/SERENADE Compact Disc 5023100081125 5023100081125 FRANFV12 MARTIN,J/SOLO Compact Disc 5023100081224 5023100081224 SPM001 MARTIN,S/SHAPE,LINE & HARMONY Compact Disc 094922634931094922634931 964302 MARTINO, A/CAPITOL COLLECTORS Compact Disc 077779643028 077779643028 COS33316 MARTINO,A/IN CONCERT Digital Video Disc 619061331635 619061331635 5307987 MARTYN,J/AIN'T NO SAINT (4CD) Compact Disc 600753079874 600753079874 PRMCD2009 MARTYN,J/ANTHOLOGY Compact Disc 805520290098 805520290098 9842687 MARTYN,J/GRACE & DANG ER-DELUXE Compact Disc 602498426876 602498426876 IMCD320 MARTYN,J/THE TUMBLE R (REMASTER Compact Disc 602498307328 602498307328 8088900417 MARX,R & SCANNEL,M/DUO LIVE Compact Disc 680889004179 680889004179 8088900419 MARX,R & SCANNEL,R/DUO Compact Disc 680889004193 680889004193 TDF11001 MARX,R/STORIES TO TELL (2CD+DV CD with DVD 044003140868 044003140868 794752C MASSIVE AT/BLUE LIN ES(2012 REM Compact Disc 5099997947523 5099997947523 B001826602 MASSON/PIANCA/MANI/THIRD REEL Compact Disc 602537282692 602537282692 102640 MATSUI, KE/DEEP BLUE Compact Disc 724381026403 724381026403 979042 MATSUI, KE/WILDFLOWER Compact Disc 724359790428 724359790428 4400161842 MA TTHEW GOOD BAND/THE A UDIO OF Com pact Di sc 044001618420 044001618420 4780152 MATTILA,K/WEBER:DER FREISCHULT Compact Disc 028947801528 028947801528 5318393 MAURANE/MASTER SERIE Compact Disc 600753183939 600753183939 0636872 MAURIAT,P/BEST OF PAUL MAURIAT Compact Disc 044006368726 044006368726 4400143772 MAX WEBSTER/THE BEST OF MAX WE Compact Disc 044001437724 044001437724 FRANSECCD029 MAYALL,J & TAYLOR,M/HOWLING Compact Disc 5036436051526 5036436051526 8205382 MAYALL,J/BAREWIRES Compact Disc 042282053824 042282053824 0249818749 MAYALL,J/THE BEST OF JOHN MAYA Compact Disc 602498187494 602498187494 4781517 MAYER,A/BACH:ALBRECHT MAYER-BA Compact Disc 028947815174 028947815174 4780313 MAYER,A/IN VENICE Compact Disc 028947803133 028947803133 4783564 MAYER,A/SONG OF THE REEDS Compact Disc 028947835646 028947835646 B001088709 MAYFIELD,C & THE IMPR/MOVIN'ON Digital Video Disc 602517644076 602517644076 390419 MAYFIELD,C/LIVE AT MONTREUX 19 Digital Video Disc 801213904198 801213904198 SPCD30056 MAYFIELD,C/SPECIALTY PROFILES Compact Disc 888072300569 8880723005690 44003 14086 8 6 02498 18749 40 44001 43772 40 77779 64302 8 0 28947 83564 60 28947 80152 8 0 28947 80313 30 28947 81517 40 42282 05382 46 02537 28269 26 02498 42687 66 00753 07987 4 6 02498 30732 8 0 44006 36872 67 24381 02640 3 7 24359 79042 8 0 44001 61842 0 6 00753 18393 95 099997 947523 5 036436 051526 8 05520 29009 85 023100 081125 5 023100 081224 0 94922 63493 1 8 88072 30056 96 80889 00417 9 6 80889 00419 3 8 01213 90419 86 02517 64407 66 19061 33163 5Catalogue Numb er Artist & Title Description Configuration Scannable UPC UPC 0743289 MAZEL/1984 Digital Video Disc 044007432891 044007432891 2061624702 MCCARTNEY,J/BEAUTIFUL SOUL Compact Disc 720616247025 720616247025 CDPHIL1024 MCCASLIN,M/PRAIRIE IN THE SKY Compact Disc 011671102429 011671102429 CDPHIL1149 MCCASLIN,M/THE BEST OF MARY MC Compact Disc 011671114927 011671114927 CDPHIL1011 MCCASLIN,M/WAY OUT WEST Compact Disc 011671101125 011671101125 CD83528 MCCLAIN,S/SWEET DREAMS Compact Disc 089408352829 089408352829 CCDCD4458 MCCONNELL,R/BRASS IS BACK Compact Disc 013431445821 013431445821 CCDCD4722 MCCONNELL,R/EVEN CANA DIANS GET Compact Disc 013431472223 013431472223 1166177162 MCCOOK,T/TRIBUTE TO TOMMY .. Compact Disc 011661771628 011661771628 CCDCD1017 MCCORKLE,S/FROM BESSIE TO BRAZ SACD4Stereo/Surround/CDAud 013431101765 013431101765 CCDCD10033 MCCORKLE,S/OVER THE RAINBOW-TH Compact Disc 727489003321 727489003321 DPTDV345 MCCRYSTAL,E/THE MUSIC OF N(DVD Digital Video Disc 796539034561 796539034561 MSGR24 MCCUE,A/KOALA MOTEL Compact Disc 632662102428632662102428 MSGR15 MCCUE,A/ROLL Compact Disc 632662101520632662101520 NAVIGATOR3 MCCUSKER,J/UNDER ONE SKY Compact Disc 5060169470064 5060169470064 CD0411 MCCUTCHEON,J/DOING OUR JOB JOH Compact Disc 011661041127 011661041127 CDROUN8016 MCCUTCHEON,J/MAIL MYSELF TO YO Compact Disc 011661801622 011661801622 8216104762 MCCUTCHEON,J/THE WIND THAT SHA Compact Disc 682161047621 682161047621 CDROUN0192 MCCUTCHEON,J/WINTER SOLSTICE Compact Disc 011661019225 011661019225 213122 MCDERMOTT,/LOVE IS A VOYAGE Compact Disc 724352131228 724352131228 274672 MCDERMOTT,/OLD FRIENDS Compact Disc 724382746720 724382746720 334602 MCDERMOTT,/TIMELESS MEMORIES Compact Disc 094633346024 094633346024 968690 MCDONALD, /SIMPLY NOTHING Compact Disc 724359686905 724359686905 339192 MCDOWELL M/I DO NOT PLAY NO RO Compact Disc 724383391929 724383391929 CCDCD4893 MCDUFF BROTHER THE/BROTHERLY L Compact Disc 013431489320 013431489320 CCDCD4705 MCDUFF,J & DEFRANCESO,J/IT'S A Compact Disc 013431470526 013431470526 CCDCD4516 MCDUFF,J/COLOR ME BLUE Compact Disc 013431451624 013431451624 B001936702 MCENTIRE,R/5 CLASSIC ALBUM(5CD Compact Disc 602537570515 602537570515 MCAD10994 MCENTIRE,R/READ MY MIND Compact Disc 008811099428 008811099428 B000045102 MCENTIRE,R/ROOM TO BREATHE Compact Disc 008817038520 0088170385207 24383 39192 97 24359 68690 57 24352 13122 8 7 24382 74672 0 0 94633 34602 4 6 02537 57051 57 20616 24702 5 0 08817 03852 00 08811 09942 85 060169 470064 6 32662 10152 06 32662 10242 87 27489 00332 10 13431 44582 1 0 13431 45162 40 13431 47052 60 13431 47222 3 0 13431 48932 00 11661 04112 70 11661 77162 8 6 82161 04762 10 11671 10112 50 11671 10242 9 0 11671 11492 7 0 11661 01922 50 11661 80162 20 89408 35282 90 44007 43289 1 7 96539 03456 10 13431 10176 5Catalogue Numb er Artist & Title Description Configuration Scannable UPC UPC 342012 MCFERRIN, /BEYOND WORDS Compact Disc 724353420123 724353420123 9871763 MCFERRIN,B/LIVE IN MONTREAL-DV Digital Video Disc 602498717639 602498717639 1166178152 MCGREGOR,F/BOBBY BOBYLON Compact Disc 011661781528 011661781528 570632 MCGRIFF, J/GREATEST HITS Compact Disc 724385706325 724385706325 720342C MCKENNA, L/LORRAINE Compact Disc 701237203423 701237203423 0249840880 MCKNIGHT,B/BEST OF Compact Disc 602498408803 602498408803 4400661142 MCKNIGHT,B/FROM THERE TO HERE Compact Disc 044006611426 044006611426 3145282802 MCKNIGHT,B/I REMEMBER YOU Compact Disc 731452828026 731452828026 8415982 MCLAUGHLIN,J/EXTRAPOLATION Compact Disc 042284159821 042284159821 9839328 MCLAUGHLIN,J/INDUSTRIAL ZEN Compact Disc 602498393284 602498393284 4400141642 MCLAUGHLIN,J/SATURDAY NIGHT IN Compact Disc 044001416422 044001416422 924242 MCLEAN, JA/DESTINATION OUT Compact Disc 724359242422 724359242422 809082 MCLEAN, JA/LET FREEDOM RING Compact Disc 724358090826 724358090826 OJCCD098 MCLEAN,J/MCLEAN'S SCENE Compact Disc 025218609821 025218609821 UD53258 MCNARLAND,H/LIVE STUFF Compact Disc EP's 601215325829 601215325829 0251782065 MCNEIL,S/ROCK-N- ROLLER Compact Disc 602517820654 602517820654 CCDCD4086 MCPARTLAND,M/FROM THIS MOMENT Compact Disc 013431408628 013431408628 CCDCD4272 MCPARTLAND,M/WILLOW CREEK AND Compact Disc 013431427223 013431427223 B001423302 MCPHATTER,C/LOVER PLEASE-COMPL Compact Disc 602527371375 602527371375 3145437602 MCRAE,C/CARMEN MCRAE'S FINEST Compact Disc 731454376020 731454376020 CCDCD1005 MCRAE,C/FINE AND MELLOW-LIVE A SACD4Stereo/Surround/CDAud 013431100560 013431100560 DK30171 MCTELL,BW/PIG N'WHISTLE RED Compact Disc 826663017120826663017120 B001029109 MEAT LOAF/3 BATS LIVE (DVD) Digital Video Disc 602517509771 602517509771 358702B MEDESKI MA/UNINVISIBLE Compact Disc 724353587024 724353587024 784842 MEGADETH/COUNTDOWN TO EXTINC Compact Disc 5099997848424 5099997848424 B002435380 MEGADETH/DYSTOPIA(DLX) Compact Disc 602547683083 602547683083 986272 MEGADETH/MD45: CRAVING Compact Disc 724359862729 724359862729 0734188 MEHTA,Z/NEW YEAR'S CONCERT 200 Digital Video Disc 044007341889 044007341889 MSR10035 MEIKO/MEIKO Compact Disc 602517809925 602517809925 3759641 MELLENCAMP,J/1978 TO 2012(19CD Compact Disc 602537596416 6025375964166 02498 40880 3 7 24358 09082 67 24353 42012 3 7 24353 58702 47 24385 70632 5 7 24359 24242 2 5 099997 848424 7 24359 86272 96 02498 39328 4 6 02527 37137 5 6 02547 68308 3 6 02517 80992 57 31452 82802 60 44006 61142 6 0 42284 15982 1 6 02517 82065 4 6 02537 59641 67 31454 37602 00 44001 41642 2 8 26663 01712 00 25218 60982 1 0 13431 40862 8 0 13431 42722 37 01237 20342 30 11661 78152 8 6 01215 32582 9 0 44007 34188 96 02517 50977 16 02498 71763 9 0 13431 10056 0Catalogue Numb er Artist & Title Description Configuration Scannable UPC UPC 8420002 MEN WITHOUT HATS/IN THE 21ST C Compact Disc 042284200028 042284200028 4591562 MENDEL/SYM NO.4&5/G ARDINER Compact Disc 028945915623 028945915623 4681872 MENDELSSOHN/SYMPHONY 3 & 4 Compact Disc 028946818725 028946818725 3969072 MENDES & BRASIL/THE VERY BEST Compact Disc 082839690720 082839690720 B000269102 MENDES, & BRASIL '66/FOOL ON T Compact Disc 602498625828 602498625828 3145435152 MENDES,S&BRASIL 66/LOOK AROUND Compact Disc 731454351522 731454351522 B000750802 MENDES,S&BRASIL66/BEST OF Compact Disc 606949316624 606949316624 B001540902 MENDES,S/CELEBRATION- A MUSICAL Compact Disc 600753319017 600753319017 4906942 MENDES,S/CLASSIC Compact Disc 606949069421 606949069421 1701397 MENDES,S/PURE BOSSA NOVA Compact Disc 602517013971 602517013971 NPD85621 MENOTTI,GC/THE UNICORN,THE GOR Compact Disc 032466562129 032466562129 490702 MENUHIN/MENUHIN MEETS SHANKKA Compact Disc 077774907026 077774907026 FRANTAO039 MERA, L/THE PROXIMITY EFFECT Compact Disc 677603007622 677603007622 TAO053 MERA,L/TURN ALL MEMORY TO WHIT Compact Disc 677603009527 677603009527 MBDCD860138M MERRIMACK/GREY RIGORISM Compact Disc 768586013820 768586013820 MBDCD860077 MERRIMACK/OF ENTROP Y AND LIFE Compact Disc 768586007720 768586007720 METAVP0109 META/THE CORNERSTO NES/ANCIENT Compact Disc 673405010921 673405010921 ESADVD700015 METAL CHURCH/DYNAMO CLASSIC(DV Digital Video Disc 878667000158 878667000158 VIT8915 METALLICA TRIBUTE/BITE THE IVO Compact Disc 027297891524 027297891524 PAM9499 METALLICA/THE CELTIC TRIBUTE T Compact Disc 027297949928 027297949928 FRANFACTOR22 METCALFE,J/A DARKER SUNSET Compact Disc 5050693206529 5050693206529 B000180002 METHENY,P/RARUM:SELEC TED RECOR Compact Disc 044001416323 044001416323 3145484052 METHOD MAN/TICAL 0: THE PREQUE Compact Disc 731454840521 731454840521 3762582 METSATOLL/KARJAJUHT Compact Disc 602537625826 602537625826 604292A MEWITHOUTY/BROTHER, SISTER Compact Disc 094636042923 094636042923 KM100 MEZZOFORTE/VOLCANIC Compact Disc 767715010020 767715010020 XXICD21611 MG BLUES/AROUND SONNY BOY WILL Compact Disc 722056161121 722056161121 487402 MICHAEL, G/SONGS FROM THE LAST Compact Disc 724384874025 724384874025 3710020 MICHAEL,G/WHITE LIGHT CDS Compact Disc Singles 602537100200 602537100200 CDFLY673 MICHAEL,W/HAMMERE D DULCIMER Compact Disc 018964067328 0189640673280 82839 69072 0 6 06949 06942 1 0 94636 04292 37 31454 84052 10 28945 91562 3 0 44001 41632 30 28946 81872 5 6 02517 01397 1 0 77774 90702 60 42284 20002 8 6 02537 62582 67 31454 35152 26 02498 62582 8 6 00753 31901 7 7 24384 87402 57 22056 16112 10 32466 56212 9 0 27297 94992 80 27297 89152 4 5 050693 206529 6 77603 00762 2 7 67715 01002 06 77603 00952 7 6 73405 01092 16 06949 31662 4 0 18964 06732 87 68586 00772 07 68586 01382 0 6 02537 10020 08 78667 00015 8Catalogue Numb er Artist & Title Description Configuration Scannable UPC UPC B001321702 MICHAELSO N,I/EVERYBODY C ompact Disc 884502025712 884502025712 FRANSECCD030 MICK ABRAHAM'S BLODWYN PIG/ALL Compact Disc 5036436051625 5036436051625 B001491602 MICUS,S/BOLD AS LIGHT Compact Disc 602527430867 602527430867 713302B MIDON, RAU/STATE OF MIND Compact Disc 724357133029 724357133029 3145344722 MIGHTY MIGHTY BOSSTONES,THE/LE Compact Disc 731453447226 731453447226 OMM305952 MIGS,M/HOUSE OF OM PRESENTS V1 Compact Disc 600353059528 600353059528 UMMC81032 MIKE PENDER S SEARC/ SWEETS FOR Com pact Disc 778325810320 778325810320 9825561 MILLE,D/POEMES A LOU ET ALCOOL Compact Disc 602498255612 602498255612 898262 MILLER, ST/PEGASUS Compact Disc 077778982623 077778982623 ESR010 MILLER,B/TOGETHER WITH CATS Compact Disc 880270083527880270083527 GRSD2004 MILLER,G ORCHCHESTRA/IN THE DI Compact Disc 011105200424 011105200424 TWO22302 MILLER,G/ANDREWS/THE ULTIMATE Compact Disc 778325223021 778325223021 UMMC81322 MILLER,G/ULTIMATE LEGENDS Compact Disc 778325813222 778325813222 PVCD115 MILLINDER,L/APOLLO JUMP Compact Disc 805520051156 805520051156 468892 MILLS, FRA/OVER 60 MINUTES WIT Compact Disc 077774688925 077774688925 975672 MILLS, FRA/PRELUDE TO ROMANCE Compact Disc 077779756728 077779756728 787412B MILSTEIN, /BACH:SOLO SONATAS & Compact Disc 5099967874125 5099967874125 947972 MILSTEIN, /VERY BEST OF NATHAN Compact Disc 5099909479722 5099909479722 OM25 MING FS/HELL S KITCHEN Compact Disc 600353992528 600353992528 283532 MINGUS, CH/TOWN HALL Compact Disc 724382835325 724382835325 B000976802 MINGUS,C/BEST OF Compact Disc 602498421796 602498421796 B000268002 MINGUS,C/THE GREAT CONCERT CHA Compact Disc 602498069134 602498069134 PRMCD6019 MINGUS,C/THE INDIVIDUALIST Compact Disc 805520090193 805520090193 PROPERBOX77 MINGUS,C/THE YOUNG REBEL Compact Disc 805520020770 805520020770 CDHBEA206 MINOTT,S/COLLECTOR'S COLLECTIO Compact Disc 011661770621 011661770621 4776349 MINTZ,S/MENDELSSOHN:BRUCH:VIOL Compact Disc 028947763499 028947763499 FRANCHIELI20 MINUCCI,C& SPECIAL EFX/WITHOUT Compact Disc 626570612520 626570612520 2786542332 MIRANDA ,I/SELECCIONES FANI A Compact Disc 827865423320 827865423320 9848950 MISSION/CARVED IN SAND Compact Disc 602498489505 602498489505 MRBCD047 MITCHELL & DEWBURY BAND/BEYOND Compact Disc 502401700272250240170027226 02498 42179 67 24357 13302 9 7 24382 83532 50 77779 75672 80 77778 98262 3 0 28947 76349 96 02527 43086 7 0 77774 68892 5 5 099967 874125 5 099909 479722 0 11105 20042 47 31453 44722 6 6 02498 48950 58 27865 42332 06 02498 25561 28 84502 02571 2 6 02498 06913 45 036436 051625 6 26570 61252 08 05520 09019 38 05520 05115 6 8 05520 02077 0 5 024017 002722 8 80270 08352 7 7 78325 22302 17 78325 81032 0 7 78325 81322 2 6 00353 99252 86 00353 05952 8 0 11661 77062 1Catalogue Numb er Artist & Title Description Configuration Scannable UPC UPC CDFLY472 MITTERHOFF,B/SILK CITY Compact Disc 018964047221 018964047221 NSR0932 MIXTAPES/ORDINARY SILENCE Compact Disc 603111809328 603111809328 SC701 MOBB DEEP/THE INFAMOUS ARCHIVE Compact Disc 101997070127101997070127 626462 MOBLEY, HA/ANOTHER WORKOUT/RVG Compact Disc 094636264622 094636264622 082452 MODERN JAZ/UNDER THE JASMIN TR Compact Disc 5099990824524 5099990824524 INTROCD2084 MODERN JAZZ QUARTET/A PROPER I Compact Disc 805520060844 805520060844 B001812602 MODESTEP/EVOLUTION THEORY Compact Disc 602537297054 602537297054 CDPHIL1127 MOFFATT,H/TROUBADOUR Compact Disc 011671112725 011671112725 SCR64 MOFFATT,K/PLAYIN' FOOL (LIVE) Compact Disc 742451856422 742451856422 CDPHIL1128 MOFFATT,K/WALKIN' ON THE MOON Compact Disc 011671112824 011671112824 FRANCLKL11CD MOLINARI, P/A TRAIN BOUND FOR Compact Disc 5060234540029 5060234540029 CDROUN0361 MOLSKY,B/LOST BOY Compact Disc 011661036123 011661036123 HER06 MONDO PRIMO/2FN HOT Compact Disc 790168620423 790168620423 FRANIRR053 MONIQUE/ON THE BOULEVARD DES H Compact Disc 5036265000276 5036265000276 INTROCD2027 MONK,T/A PROPER INTRO TO:THELO Compact Disc 805520060271 805520060271 PROPERBOX101 MONK,T/MON K'S MOODS Compact Disc 805520021012 805520021012 956362 MONK,THELO/BEST OF Compact Disc 077779563623 077779563623 2752406 MONROE,M/ANOTHER NIGHT IN THE Compact Disc 602527524061 602527524061 2789695 MONROE,M/SENSORY OVERDRIVE (SP Compact Disc 602527896953 602527896953 8386812 MONTAND,Y/CHANTE JACQUES PREVE Compact Disc 042283868120 042283868120 9846691 MONTAND,Y/GOLD(2CD) Compact Disc 602498466919 602498466919 VEGA24017 MONTCALM,T/HERE'S TO YOU-SONG Compact Disc 619061401727 619061401727 8295782 MONTGOMERY,W/SMOKIN' AT THE HA Compact Disc 042282957825 042282957825 PRMCD6054 MONTOYA/SEGOVIA/MAGIC OF THE S Compact Disc 805520090544 805520090544 B000698302 MONTYAREI/WALL OF PEOPLE Compact Disc 602498583432 602498583432 4228201552 MOODY BLUES THE/VOICES IN THE Compact Disc 042282015525 042282015525 9845506 MOODY BLU ES,THE/EVERY GOOD BOY SA CD4Stereo/Su rround/CDAud 602498455067 602498455067 9845507 MOODY BLUES,THE/SEVENTH SOJOUR SACD4Stereo/Surround/CDAud 602498455074 602498455074 5342482 MOODY BLUES,THE/TIMELES(11CD+6 CD with DVD 600753424827 600753424827 B000198809 MOODY BLUES/THE BEST OF MOODY Digital Video Disc 602498617472 6024986174726 00753 42482 70 94636 26462 2 0 77779 56362 35 099990 824524 6 02537 29705 4 0 42282 01552 56 02527 52406 1 6 02527 89695 3 0 42283 86812 0 6 02498 46691 9 0 42282 95782 56 19061 40172 77 42451 85642 2 5 036265 000276 8 05520 06027 18 05520 06084 4 8 05520 09054 45 060234 540029 8 05520 02101 21 01997 07012 76 03111 80932 8 7 90168 62042 3 6 02498 58343 20 18964 04722 1 0 11671 11272 5 0 11671 11282 4 0 11661 03612 3 6 02498 61747 26 02498 45506 7 6 02498 45507 4Catalogue Numb er Artist & Title Description Configuration Scannable UPC UPC 9832153 MOODYBLUES,T/ON THE THRESHOLD SACD4Stereo/Surround/CDAud 602498321539 602498321539 CDBEYE9505 MOONEY,J/LATE L AST NIGHT Compact Disc 011661950528 011661950528 VMCJM0301A MOORE,J/POINT AT YO U & FOUR(EP Compact Disc EP's 843930009183 843930009183 TEG9920CD MOORE,RR/DOLEMITE IS ANOTHER C Compact Disc 829357992024829357992024 TEG9910CD MOORE,RR/PETEY WHEATSTRAW ORIG Compact Disc 829357991027829357991027 TEG9916CD MOORE,RR/THE PLAYER THE HUSTLE Compact Disc 829357991621829357991621 PRMCD6102 MOORE,S & GALLUP, C/THE ESSENTI Compact Disc 805520091022 805520091022 B000980402 MOORE,T/TREES OUTSIDE THE ACAD Compact Disc 602517449862 602517449862 398382B MORAN, JAS/MODERNISTIC Compact Disc 724353983826 724353983826 571862 MORAN, JAS/TEN Compact Disc 5099945718625 5099945718625 FARO141CD MORENO,C/MISS BALANCO Compact Disc 5060006358623 5060006358623 911382 MORGAN, LE/BEST OF,THE Compact Disc 077779113828 077779113828 931762B MORGAN, LE/CANDY/RVG SERIES Compact Disc 094639317622 094639317622 626762 MORGAN, LE/CITY LIGHTS/RVG SER Compact Disc 094636267623 094636267623 927462 MORGAN, LE/VOLUME 3/RVG SERIES Compact Disc 094639274628 094639274628 CDHBEA170 MORGAN,D/SKA MAN CLASSICS Compact Disc 011661767027 011661767027 ER203102 MORISSETTE,A/LIVE AT MONTREUX Compact Disc 826992031026 826992031026 PPDD12 MORLOCKS,THE/THE MO RLOCKS PLAY Compact Disc 626570609896 626570609896 CDROUN0328 MORRIS,L/MAMA'S HAND Compact Disc 011661032828 011661032828 234912 MORRISON, /BORN TO SING: NO PL Compact Disc 5099962349123 5099962349123 CDPHIL1145 MORRISSEY,B/INSIDE Compact Disc 011671114521 011671114521 1166115952 MORRISSEY,B/THE ESSENTIAL COLL Compact Disc 011661159525 011661159525 0253781655 MORRISSEY/WORLD PEACE IS NO(2C Compact Disc 602537816552 602537816552 PROPERBX5113 MORTON,J R/DOCTOR JAZZ (4 CD) Compact Disc 805520221139 805520221139 CDROUN1092 MORTON,JR/THE ANAMULE DANCE Compact Disc 011661109223 011661109223 CDROUN1093 MORTON,JR/THE PEARLS: THE LIBR Compact Disc 011661109322 011661109322 CDROUN1094 MORTON,JR/WININ' BOY BLUES Compact Disc 011661109421 011661109421 MRBCD040 MOTHERS, THE/TOWNSHIP SESSIONS Compact Disc 50240170009265024017000926 3145512692 MOTOWN-LEGENDS/MICHAEL JACKSON Compact Disc 731455126921 731455126921 9838324 MOUSKOURI,N/GOLD(2CD) Compact Disc 602498383247 6024983832477 24353 98382 6 5 099945 718625 0 94636 26762 30 77779 11382 8 0 94639 27462 80 94639 31762 2 8 26992 03102 6 7 31455 12692 1 6 02498 38324 75 099962 349123 6 02537 81655 26 26570 60989 68 05520 09102 2 8 05520 22113 95 060006 358623 5 024017 000926 8 29357 99102 7 8 29357 99162 18 29357 99202 4 6 02517 44986 2 0 11661 15952 50 11661 95052 8 0 11661 76702 7 0 11671 11452 10 11661 03282 8 0 11661 10922 3 0 11661 10932 2 0 11661 10942 18 43930 00918 36 02498 32153 9Catalogue Numb er Artist & Title Description Configuration Scannable UPC UPC 5323156 MOUSKOURI,N/LES NO 1 EDITION L Compact Disc 600753231562 600753231562 5582942 MOUSKOURI,N/LES TRIOMPHES DE Compact Disc 731455829426 731455829426 8464762 MOUSKOURI,N/MASTER SERIE VOL.2 Compact Disc 042284647625 042284647625 75375516 MOUSKOURI,N/OLYMPIA 1967 & (2C Compact Disc 600753755143 600753755143 2794961 MOUSTAKI,G/4 ALBUMS ORIGIN(4CD Compact Disc 602527949611 602527949611 9837125 MOUSTAKI,G/GOLD(2CD) Compact Disc 602498371251 602498371251 8276652 MOUSTAKI,G/MASTER SERIE 2003 v Compact Disc 042282766526 042282766526 4576522 MOZART&BEETHOVEN/CLARINET CONC Compact Disc 028945765228 028945765228 4489242 MOZART/4 GREAT SYMPHONIES 38-4 Compact Disc 028944892420 028944892420 4297832 MOZART/A LITTLE LIGHT MUSIC Compact Disc 028942978324 028942978324 4526022 MOZART/ARIAS/FLEMING Compact Disc 028945260228 028945260228 4233772 MOZART/CLARINET CONCERTO Compact Disc 028942337725 028942337725 4648502 MOZART/COMPLETE MOZART:PIANO M Compact Disc 028946485026 028946485026 4648202 MOZART/COMPLETE MOZART:QUINTET Compact Disc 028946482025 028946482025 4552412 MOZART/CONCERT ARIAS/TE KANAWA Compact Disc 028945524122 028945524122 4554762 MOZART/COSI FAN TUTTE/LUDWIG Compact Disc 028945547626 028945547626 4196352 MOZART/DON GIOVANNI Compact Disc 028941963529 028941963529 4700592 MOZART/DON GIOVANNI Compact Disc 028947005926 028947005926 CD80420 MOZART/DON GIOVANNI Compact Disc 089408042027 089408042027 4696572 MOZART/FLUTE CONCERTOS NOS. 1 Compact Disc 028946965726 028946965726 4751812 MOZART/GREAT P CON NO.16,24-27 Compact Disc 028947518129 028947518129 4761472 MOZART/GREATEST HITS Compact Disc 028947614722 028947614722 4316742 MOZART/IDOMENEO/GARDINER Compact Disc 028943167420 028943167420 4137932 MOZART/PIANO CONCERTI 19 - 23 Compact Disc 028941379320 028941379320 4492082 MOZART/PNO TRIOS/PIRES/WANG Compact Disc 028944920826 028944920826 4647202 MOZART/REQUIEM,CORONATION MASS Compact Disc 028946472026 028946472026 4681662 MOZART/SYMPHONY NOS.31,32,34,3 Compact Disc 028946816622 028946816622 4225412 MOZART-ED-PHL/V.41 GIOVANNI Compact Disc 028942254121 028942254121 FDW7704 MR.CHOP/FOR PETE'S SAKE Compact Disc 165212770421165212770421 4782731 MUHLY,N/SEEING IS BELIEVING:TH Compact Disc 028947827313 0289478273130 28943 16742 00 28945 26022 8 0 28945 52412 2 0 28947 82731 30 28947 51812 9 0 28944 92082 60 28945 76522 8 0 28941 37932 00 28941 96352 90 28942 33772 50 28942 97832 4 0 28946 81662 20 28947 61472 20 28946 96572 60 28945 54762 6 0 28947 00592 60 28944 89242 0 0 28946 48502 6 0 28946 48202 5 0 28946 47202 6 0 28942 25412 16 00753 23156 2 0 42282 76652 60 42284 64762 5 6 02498 37125 16 02527 94961 17 31455 82942 6 6 00753 75514 3 1 65212 77042 10 89408 04202 7Catalogue Numb er Artist & Title Description Configuration Scannable UPC UPC DK34343 MULDAUR,M/LOUISIANA LOVE CALL Compact Disc 826663434323826663434323 3145390552 MULLIGAN,G/G.MULLIGAN MEETS BE Compact Disc 731453905528 731453905528 PROPERBOX96 MULLIGAN,G/JERU Compact Disc 805520020961 805520020961 3771174 MULVEY,N/FIRST MIND Compact Disc 602537711741 602537711741 CDROUN0301 MUNDE,A/BLUE RIDGE EXPRESS Compact Disc 011661030121 011661030121 954122 MURRAY,A/LETS KEEP IT THAT W Compact Disc 724349541221 724349541221 954082 MURRAY,A/STRAIGHT, CLEAN/TALK Compact Disc 724349540828 724349540828 4400630782 MURVIN,J/POLICE AND THIEVES Compact Disc 044006307824 044006307824 0249807410 MUSICAL YOUTH/THE BEST OF MUSI Compact Disc 602498074107 602498074107 B000991902 MUSIQ/AIJUSWANASEING (SPEC.EDIT Compact Disc 602517464865 602517464865 4390132 MUSSORGSKY/PICTURES/KAR-GOLD Compact Disc 028943901321 028943901321 1166177562 MUTABARUKA/LIFE SQUARED Compact Disc 011661775626 011661775626 MRE021 MUTHSPIEL WOLFGANG/4TET/EARTH Compact Disc 9005321800217 9005321800217 MRE020 MUTHSPIEL WOLFGANG/BLADE/FRIEN CD with DVD 9005321800200 9005321800200 4779359 MUTTER,A-S/RIHM:LICHTES SPIEL Compact Disc 028947793595 028947793595 82876856619 MY MORNING JACKET/OKONOKOS-DVD Digital Video Disc 828768566190828768566190 EXP207 MYERS,D/DAVID MYERS PLAYS GENE Compact Disc 722056020725 722056020725 XXICD21581 MYERS,D/JOEL:FANT ASIES & DELUS C ompact Disc 722056158121 722056158121 2759405 MYGRAIN/MYGRAIN Compact Disc 602527594057 602527594057 ESR013 MYSTERY OF TWO/ARROWS ARE ALL Compact Disc 880270111329880270111329 CDUP038 N.LOWE/DIG MY MOOD Compact Disc 601143003820 601143003820 CDUP013 N.LOWE/IMPOSSIBLE BIRD Compact Disc 011671801322 011671801322 374232 N.W.A./N.W.A. FAMILY TREE Compact Disc 5099923742321 5099923742321 779589 N.W.A./THE NWA LEGACY VIDEO Digital Video Disc 724347795893 724347795893 HUCD3156 NAJEE/MIND OVER MATTER Compact Disc 053361315627 053361315627 250152 NAPALM DEATH/PUNISHMENT IN CAP Compact Disc 826992501529 826992501529 100022C NARCISSUS/CRAVE AND COLLAPSE Compact Disc 727701000220 727701000220 3145434852 NASCIMENTO,M/MILTON Compact Disc 731454348522 731454348522 148172B NASCIMENTO/NOVAS BOSSAS Compact Disc 5099921481727 5099921481727 CDFLY097 NASHVILLE SUPERPICKERS/LIVE FR Compact Disc 018604009725 0186040097259 005321 800200 6 02498 07410 7 5 099923 742321 0 44006 30782 4 6 02517 46486 5 0 28947 79359 50 28943 90132 1 8 26992 50152 97 24349 54082 87 24349 54122 1 5 099921 481727 6 02537 71174 1 6 02527 59405 7 7 31454 34852 27 31453 90552 8 7 22056 02072 5 7 22056 15812 19 005321 800217 8 05520 02096 1 8 80270 11132 98 26663 43432 3 7 27701 00022 00 11661 77562 6 6 01143 00382 0 0 18604 00972 50 11661 03012 1 0 11671 80132 2 0 53361 31562 77 24347 79589 38 28768 56619 0Catalogue Numb er Artist & Title Description Configuration Scannable UPC UPC 480662 NATURALLY /CHRISTMAS.IT'S A LO Compact Disc 094634806626 094634806626 MBDCD860136M NAZXUL/ICONOCLAST Compact Disc 768586013622 768586013622 4809 NEAL,K/BAYOU BLOOD Compact Disc 014551480921014551480921 CD83523 NEAL,K/ONE STEP CLOSER Compact Disc 089408352324 089408352324 HBR009 NEGRI,PA/A BIGGER TOMORROW Compact Disc 826556000925 826556000925 ZEDDCD026 NEGRO,J & THE SUNBURST BAND/TH Compact Disc 5060162571799 5060162571799 ZEDDCD011 NEGRO,J/MANY FACES OF V1 (2CD Compact Disc 5037454772608 5037454772608 ZEDDCD017 NEGRO,J/MANY FACES OF V2 (2CD Compact Disc 5060162570150 5060162570150 PRCCD0252 NEGURA BUNGET/FROM TRANSILVANI Compact Disc 884388402539 884388402539 PRCCD0232 NEGURA BUNGET/MAIASTRU SFETNIC Compact Disc 884388402331 884388402331 PRCCD0202 NEGURA BUNGET/MAIESTRIT Compact Disc 884388402041 884388402041 PRCCD0222 NEGURA BUNGET/SALA MOLKSA Compact Disc 884388402232 884388402232 PRCCD0242 NEGURA BUNGET/ZIRNINDU SA Compact Disc 884388402430 884388402430 FRANHIDECD01 NEIL COWLEY TRIO,THE/DISPLACED Compact Disc 5060124730004 5060124730004 FRANCACD7855 NEIL COWLEY TRIO ,THE/LOUD LOUD Compact Disc 708857855124 708857855124 TB005 NEILSON,R/EARLY GRAVE Compact Disc 778591741021 778591741021 4767392 NEKFEU/FEU(2CD) Compact Disc 602547673923 602547673923 MBDCDDEAD231 NEKRO DRUNKZ/LAVATORY CARNAGE Compact Disc 768586023126 768586023126 442269B NELSON, RI/RICK NELSON SINGS Digital Video Disc 094634422697 094634422697 UMMC81332 NELSON,W/COUNTRY BIOGRAPHY Compact Disc 778325813321 778325813321 UMMC2225 NELSON,W/JENNIN/THE ULTIMATE(2 Compact Disc 778325222529 778325222529 B000693902 NELSON,W/SONGBIRD Compact Disc 602498583531 602498583531 0147482 NERGARRD,S/AT FIRST LIGHT Compact Disc 044001474828 044001474828 BIR10132 NESHAMAH/COMMUNICATING IN Compact Disc 803847701327 803847701327 0734645 NETREBKO,A/DONIZETTI:DON PASQU BLU RAY 044007346457 044007346457 4777177 NETREBKO,A/VAR:THE OPERA GALA- Compact Disc 028947771777 028947771777 GRLCDGRONI NEU/NEU Compact Disc 5024545344929 5024545344929 GRLCDGRONII NEU/NEU 2 Compact Disc 5024545345025 5024545345025 GRLCDGRONIII NEU/NEU 75 Compact Disc 5024545345124 5024545345124 GRLCDGRONIV NEU/NEU '86 Compact Disc 5065001040856 50650010408560 44007 34645 70 94634 80662 6 6 02498 58353 16 02547 67392 3 0 28947 77177 70 44001 47482 88 26556 00092 5 5 037454 772608 5 060162 570150 5 060162 571799 7 08857 85512 45 060124 730004 7 78591 74102 10 14551 48092 1 7 78325 22252 97 78325 81332 1 8 03847 70132 7 5 024545 344929 5 024545 345025 5 024545 345124 5 065001 040856 7 68586 01362 2 7 68586 02312 60 89408 35232 4 8 84388 40223 28 84388 40233 1 8 84388 40243 08 84388 40253 9 8 84388 40204 1 0 94634 42269 7Catalogue Numb er Artist & Title Description Configuration Scannable UPC UPC SS005 NEVER MORE THAN L ESS/PEACE WAR Com pact Disc 619061467129 619061467129 ORC0501 NEVERENDINGWHITELIGHTS/ACT;1 G Compact Disc 653496109629653496109629 B001056902 NEVILLE,A/GOLD Compact Disc 602517555587 602517555587 2537378678 NEVILLE,A/ICON Compact Disc 602537378678 602537378678 359129 NEVILLE,A/MY TRUE STORY(DVD) Digital Video Disc 5099973591290 5099973591290 SBESTCD66 NEW BUILD/ Compact Disc 50510830834095051083083409 B000238312 NEW FOUND GLORY/CATALYST Compact Disc Enhanced 602498621424 602498621424 CDFLY083 NEW GRASS REVIVAL/BARREN COUNT Compact Disc 018964008321 018964008321 BAI0614 NEW HEART/TIME IS RUNNING OUT Cassette 603111701240 603111701240 8216104812 NEW LOST CITY RAMBLE RS/40 YEAR Compact Disc 682161048123 682161048123 ESR009 NEW LOU REEDS,THE/ TOP BILLIN' Compact Disc 880270076123880270076123 MCGJ1031 NEW YORK VOICES/A DAY LIKE THI Compact Disc 612262103124 612262103124 121712C NEWBOYS/ICON Compact Disc 5099991217127 5099991217127 ESR004 NEWLOUREEDS,T/SCREWED Compact Disc 880270003327880270003327 CDROUN6039 NEWMAN,JC/THE ALLIGATOR MAN Compact Disc 011661603929 011661603929 714542 NEWSBOYS/IN THE HANDS OF GOD Compact Disc 804147145422 804147145422 0253746218 NEWSTED/HEAVY METAL MUSIC Compact Disc 602537462186 602537462186 0253734784 NEWSTED/METAL(EP) Compact Disc EP's 602537347841 602537347841 557602B NEWTON-JOH/CHRISTMAS COLLECTIO Compact Disc 792755576021 792755576021 557702 NEWTON-JOH/GAIA: ONE WOMAN'S J Compact Disc 792755577028 792755577028 8357432 NIAGARA/QUEL ENFER! Compact Disc 042283574328 042283574328 8088901525 NICKELBACK/HERE AND NOW FAN PA Compact Disc 680889015250 680889015250 109663 NICKELBACK/LIVE AT HOME Videocassette VHS 016861096632 016861096632 CDVARR007 NIGHTHAWKS/ROCK & ROLL Compact Disc 011671000725 011671000725 0694960932 NINE INCH NAILS/FIXED Compact Disc EP's 606949609320 606949609320 INTDM95938 NINE INCH NAILS/MARCH OF PIGS Compact Disc 606949593827 606949593827 INTDM95007 NINE INCH NAILS/THE PERFECT DR Compact Disc EP's 606949500726 606949500726 B000658922 NINEINCHNAILS/EVERY DAY IS EXA Compact Disc EP's 602498551264 602498551264 RCL2011 NINJAMAN/DANCEHA LL CLASSICS Compact Disc 609955201120609955201120 5342384 NIRVANA/NEVERMIND BLU RAY AUDIO 600753423844 600753423844 6 00753 42384 46 03111 70124 0 5 099991 217127 7 92755 57602 1 7 92755 57702 88 04147 14542 26 02537 37867 86 02517 55558 7 6 06949 59382 70 42283 57432 86 02537 46218 66 19061 46712 9 8 80270 00332 78 80270 07612 3 6 09955 20112 06 53496 10962 9 5 051083 083409 6 80889 01525 06 82161 04812 30 18964 00832 1 0 11661 60392 9 0 11671 00072 56 12262 10312 46 02498 62142 4 6 06949 60932 0 6 02498 55126 46 06949 50072 66 02537 34784 15 099973 591290 0 16861 09663 2Catalogue Numb er Artist & Title Description Configuration Scannable UPC UPC B001026309 NIRVANA/UNPLUGGED IN NEW YORK Digital Video Disc 602517506305 602517506305 MBDCDDEAD002 NOCTURNUS/NOCTURNUS Compact Disc 768586000226 768586000226 5175982 NOIR DESIR/TOSTAKY Compact Disc 731451759826 731451759826 MS0001CD NOISESHAPER/REAL TO REEL Compact Disc 850656001056850656001056 61310682 NONA/THROUGH THE HEAD Compact Disc 612851597426 612851597426 4782121 NORMAN,J/PURCELL:THE ORIGINALS Compact Disc 028947821212 028947821212 4784141 NORMAN/OZAWA/BIZET CARMEN(2CD Compact Disc 028947841418 028947841418 4784151 NORMAN/TATE/OFFENBACH(3CD Compact Disc 028947841517 028947841517 CDFLY632 NORTHERN LIGHTS/WRONG HIGHWAY Compact Disc 018964063221 018964063221 LL01 NOT0ITS!,THE/WE ARE THE NOT-IT Compact Disc 884501159265 884501159265 HLM22115 NOVA,B/THE UNGANGSTER Compact Disc 619061211524 619061211524 QMG10112 NOVALIMA/AFRO Compact Disc 182784101125182784101125 CDROUN3109 NRBQ/DIGGIN' UNCLE Q Compact Disc 011661310926 011661310926 CDROUN3108 NRBQ/GOD BLESS US ALL Compact Disc 011661310827 011661310827 ETLCD63 NUCLEAR AGGRESSOR/CONDEMNED TO Compact Disc 820103590778 820103590778 UMMC63262 OAK RIDGE BOYS/GOSPEL GEMS(3CD Compact Disc 778325632625 778325632625 3749561 OCEAN COLOUR SCENE/OCEAN COL(D Compact Disc 602537495610 602537495610 3747661 OCEAN COLOUR/MARCHING ALREA(DL Compact Disc 602537476619 602537476619 0694931642 OCHS,P/THE BEST OF PHIL OCHS-2 Compact Disc 606949316426 606949316426 CDROUN0137 O'CONNOR,M/SOPPIN' THE GRAVY Compact Disc 011661013728 011661013728 300449 O'CONNOR,S/ GOODNIGHT,THANK YOU D igital Video Disc 801213004492 801213004492 91558686722 OCR/HAIR Compact Disc 915586867223 915586867223 MBDCD860122 OCTOBER FALLS/THE WO MB OF PRIM Compact Disc 768586012229 768586012229 TEGBRK049CD ODD COUPLE/ALCHOL/ISM Compact Disc 765481004922765481004922 GTS2512688 O'DONNELL,R/SONGS FROM THE SIL Compact Disc 093624983828093624983828 SPECD7814 OFFICER,J/JORDAN OFFICER Compact Disc 622406781422 622406781422 TSCD309 O'KEEFE/MURPHY/CLIFFORD/KERRY Compact Disc 5016272309029 5016272309029 GRRR0001 OLD SOUL,THE/GOLD Compact Disc 823674000127823674000127 390889 OLDFIELD,M/LIVE AT MONTREUX 19 Digital Video Disc 801213908899 801213908899 5725671 OLDFIELD,M/RETURN TO OMMA(CD+D CD with DVD 602557256710 602557256710 6 02557 25671 06 06949 31642 60 28947 84151 70 28947 82121 2 0 28947 84141 8 6 02537 49561 0 6 02537 47661 97 31451 75982 6 6 22406 78142 26 19061 21152 48 84501 15926 5 5 016272 309029 7 65481 00492 28 50656 00105 6 0 93624 98382 8 8 23674 00012 71 82784 10112 5 7 78325 63262 56 12851 59742 6 8 20103 59077 8 7 68586 01222 97 68586 00022 6 0 18964 06322 1 0 11661 01372 80 11661 31082 70 11661 31092 6 9 15586 86722 3 8 01213 90889 98 01213 00449 26 02517 50630 5Catalogue Numb er Artist & Title Description Configuration Scannable UPC UPC 2703550 OLDFIELD,M/TUBULAR BE LLS-THE C Compact Disc 602527035505 602527035505 CDBEYE9519 OMAR/BLUES BAG Compact Disc 011661951921 011661951921 FRAND009CD ONABULE,O/AMBITIONS FOR DEEPER Compact Disc 5028029000097 5028029000097 FRANRAM007CD ONABULE,O/FROM MEANING BEYOND Compact Disc 5028029000028 5028029000028 FRANRAMCD10 ONABULE,O/IN EM ERGENCY:BREAK S Compact Disc 5028029000103 5028029000103 FRANRAM008CD ONABULE,O/PRECIOU S LIBATIONS F Compact Disc 5028029000080 5028029000080 FRANRRAMCD13 ONABULE,O/SEVEN SHADES DARKER Compact Disc 5060124570938 5060124570938 FRANRRAMCD12 ONABULE,O/THE DEVOURED MAN Compact Disc 5028029000127 5028029000127 652562 ONE MORE G/BIG SKY Compact Disc 5099926525624 5099926525624 B002576102 ONE REPUBLIC/OH MY MY(DLX) Compact Disc 602557174601 602557174601 MCAD20562 ONE WAY/CUTIE PIE Compact Disc 076742056223 076742056223 0259464 ONISHI,J/BAROQUE Compact Disc 044002594648 044002594648 122707 ONSLAUGHT/IN SEARCH OF SANITY Compact Disc 803341227071 803341227071 122661 ONSLAUGHT/KILLING PEACE Compact Disc 803341226616 803341226616 122705 ONSLAUGHT/POWER FROM HELL Compact Disc 803341227057 803341227057 122706 ONSLAUGHT/THE FORCE Compact Disc 803341227064 803341227064 3145369882 ONYX/SHUT'EM DOWN Compact Disc 731453698826 731453698826 XXICD21420 OPERA SOUVENIRS/OPER A SOUVENIR Compact Disc 722056142021 722056142021 3341251120 OPETH/CANDLELIGHT YEARS T Compact Disc 803341251120 803341251120 112752B OPETH/MORNINGRISE + BONUS Compact Disc 803341127524 803341127524 5137492 ORB,T/U.F. ORB Compact Disc 731451374920 731451374920 FRANKD04 ORBIT,W/MY ORALCE LIVES UPTOWN Compact Disc 5060186920061 5060186920061 B000640102 OREAGAN,T/TIM O'REAGAN Compact Disc 602498529171 602498529171 795602 OREGON/BEST OF THE VANGUARD YR Compact Disc 015707956024 015707956024 4552902 ORFF/CARMINA BURANA /DUTOIT Compact Disc 028945529028 028945529028 B001570402 ORIGINAL CAST/BABY IT'S YOU Compact Disc 602527730691 602527730691 REVEAL017CDX OROURKE,A/HOTLINE Compact Disc 609224287046 609224287046 5454508472 ORQUESTASUPREMA/MUSICA ORIGINA Compact Disc 654545084720654545084720 CDHBEA3513 OSBOURNE,J/TRUTHS AND RIGTS Compact Disc 011661351325 011661351325 5270722 OSMONDS,T/THE VERY BEST OF T O Compact Disc 731452707222 7314527072220 28945 52902 87 31453 69882 65 099926 525624 6 02557 17460 1 7 31451 37492 00 76742 05622 36 02527 03550 5 7 31452 70722 28 03341 22705 7 8 03341 22706 48 03341 22707 1 8 03341 25112 08 03341 22661 6 8 03341 12752 40 44002 59464 8 6 02527 73069 16 02498 52917 17 22056 14202 1 5 060186 920061 5 028029 000097 5 028029 000028 5 028029 000080 5 028029 000103 5 028029 000127 5 060124 570938 6 09224 28704 6 6 54545 08472 00 15707 95602 40 11661 95192 1 0 11661 35132 5Catalogue Numb er Artist & Title Description Configuration Scannable UPC UPC 330319 OSMONDS,THE/LIVE 1977 Digital Video Disc 801213303199 801213303199 4400161912 OST/A BEAUTIFUL MIND Compact Disc 044001619120 044001619120 3145511032 OST/AMERICAN GIGOLO Compact Disc 731455110326 731455110326 4400144942 OST/AMERICAN PIE 2 Compact Disc Enhanced 044001449420 044001449420 B000074402 OST/AMERICAN WEDDING Compact Disc 602498076798 602498076798 B000286402 OST/ANCHORMAN Compact Disc 602498628270 602498628270 1166190672 OST/ANGEL:LIVE,FAST,DIE NEVER Compact Disc 011661906723 011661906723 DIS607137 OST/ATLANTIS Compact Disc 050086071371 050086071371 DIS607017 OST/BAMBI Compact Disc 050086070176 050086070176 DIS626247 OST/BEBE'S ENDORT Compact Disc 050086262472 050086262472 3020661592 OST/BEST OF TV QUIZ & GAME SHO Compact Disc 030206615920 030206615920 B000352402 OST/BRIDE AND PREJUDICE Compact Disc 602498640029 602498640029 3145866032 OST/BRIDGET JONES'S DIARY 2 Compact Disc 731458660323 731458660323 2061623862 OST/BRINGING DOWN THE HOUSE Compact Disc 720616238627 720616238627 SDN001 OST/BROKEN BRIDGES Compact Disc 852313001058 852313001058 DIS601277 OST/BROTHER BEAR Compact Disc 050086012770 050086012770 3020669682 OST/COCO AVANT CHANEL Compact Disc 030206696820 030206696820 3020671052 OST/COWBOYS & ALIENS Compact Disc 030206710526 030206710526 3020671202 OST/DOLPHIN TALE Compact Disc 030206712025 030206712025 3145403572 OST/DON JUAN DEMARCO Compact Disc 731454035729 731454035729 MCASD11449 OST/DRAGONHEART Compact Disc 008811144920 008811144920 3145291092 OST/FAME(ORIGINAL CAST RECORD) Compact Disc 731452910929 731452910929 PTV11 OST/FAST FOOD NATION Compact Disc 723721253653723721253653 B000525202 OST/FOUR BROTHERS Compact Disc 602498841976 602498841976 3020670672 OST/FRINGE SEASON 2 Compact Disc 030206706727 030206706727 RRR002 OST/GOLDIROCKS Compact Disc 777320118226777320118226 2894703872 OST/GOSFORD PARK Compact Disc 028947038726 028947038726 MCABD10301 OST/GUYS AND DOLLS Compact Disc 008811030124 008811030124 DIS600927 OST/HOLES Compact Disc 050086009275 050086009275 4228468132 OST/HOT SPOTS(MILES DAVIS/JOHN Compact Disc 042284681322 0422846813227 31454 03572 9 0 28947 03872 60 44001 61912 0 0 50086 01277 0 0 50086 00927 50 50086 07017 60 50086 07137 17 31455 11032 6 7 20616 23862 7 8 52313 00105 8 0 42284 68132 20 08811 03012 40 08811 14492 07 31458 66032 3 7 31452 91092 90 50086 26247 2 6 02498 64002 9 6 02498 84197 66 02498 07679 8 6 02498 62827 0 7 23721 25365 3 7 77320 11822 60 11661 90672 3 0 30206 61592 0 0 30206 71052 6 0 30206 71202 50 30206 69682 0 0 30206 70672 70 44001 44942 08 01213 30319 9Catalogue Numb er Artist & Title Description Configuration Scannable UPC UPC 0694936342 OST/HOUSE OF 1000 CORPSES Compact Disc 606949363420 606949363420 DIS609057 OST/JAMES & THE GIANT PEACH Compact Disc 050086090570 050086090570 MCBBD399 OST/JOSEPH & AMAZING TECHNICOL Compact Disc 076732039922 076732039922 DIS612817 OST/KIM POSSIBLE- REVISED Compact Disc 050086128174 050086128174 4400161922 OST/K-PAX Compact Disc 044001619229 044001619229 3145226552 OST/LA REINE MARGOT Compact Disc 731452265524 731452265524 WTM39426 OST/MAN OF STEEL(2CD)(STEEL BO Compact Disc 794043169137 794043169137 B000782202 OST/MARIE ANTOINETTE Compact Disc 602517084186 602517084186 3020668102 OST/MIKLOS ROZSA A CENTENA(3CD Compact Disc 030206681024 030206681024 3020668822 OST/MISS PETTIGREW Compact Disc 030206688221 030206688221 GEFD24621 OST/MISS SAIGON-HIGHLIGHTS Compact Disc 720642462126 720642462126 3020662662 OST/MISTS OF AVALON Compact Disc 030206626629 030206626629 MCAD6214 OST/MOONLIGHTING Compact Disc 076732621424 076732621424 B002026302 OST/ORANGE IS THE NEW BLACK Compact Disc 600753483831 600753483831 3020654132 OST/ORLANDO Compact Disc 030206541328 030206541328 D000037102 OST/PIRATES OF THE CARIBBEAN:A Compact Disc 050087104368 050087104368 DIS614477 OST/PIRATES OF THE CARIBBEAN-D Compact Disc 050086144778 050086144778 CD69988 OST/PRETTY IN PINK Compact Disc 075026998822 075026998822 DIS608977 OST/PRINCESS COLLECTION VOL 1 Compact Disc 050086089772 050086089772 3020669732 OST/PRISON BREAK SEASON 3 & 4 Compact Disc 030206697322 030206697322 2061624522 OST/RAISING HELEN Compact Disc 720616245229 720616245229 3020674512 OST/RETURN TO SNOWY RIVER Compact Disc 030206745122 030206745122 DIS608717 OST/RHYTHM OF THE PRIDELANDS Compact Disc 050086087174 050086087174 3020671732 OST/SINISTER Compact Disc 030206717327 030206717327 DIS608817 OST/SLEEPING BEAUTY Compact Disc 050086088171 050086088171 B000646202 OST/SOUTH PACIFIC Compact Disc 602498535851 602498535851 4400161902 OST/SPY GAME Compact Disc 044001619021 044001619021 3020682332 OST/STARMAN Compact Disc 030206823325 030206823325 DIS611007 OST/THE INCREDIBLES Compact Disc 050086110070 050086110070 3020668182 OST/THE LIVES OF OTHERS Compact Disc 030206681826 0302066818260 75026 99882 2 0 44001 61902 16 02498 53585 10 44001 61922 9 0 50087 10436 8 0 50086 14477 8 0 50086 08717 4 0 50086 08817 10 50086 09057 0 0 50086 11007 00 50086 12817 4 0 50086 08977 26 06949 36342 0 7 20642 46212 6 6 00753 48383 1 7 20616 24522 90 76732 03992 2 0 76732 62142 47 31452 26552 4 6 02517 08418 67 94043 16913 7 0 30206 54132 80 30206 62662 90 30206 68102 4 0 30206 68182 60 30206 68822 1 0 30206 69732 2 0 30206 71732 70 30206 74512 2 0 30206 82332 5Catalogue Numb er Artist & Title Description Configuration Scannable UPC UPC 4400160192 OST/THE MAN WHO WASN'T THERE Compact Disc 044001601927 044001601927 FVDD159 OST/THE MANY MOODS OF MAD M(CD Compact Disc 5055311001593 5055311001593 3145423952 OST/THE MILLION DOLLAR HOTEL Compact Disc 731454239523 731454239523 DIS614147 OST/THE MUPPET CHRISTMAS CAROL Compact Disc 050086141470 050086141470 DIS607317 OST/THE PRINCESS DIARIES Compact Disc 050086073177 050086073177 2061623472 OST/THE ROYAL TENENBAUMS Compact Disc 720616234728 720616234728 0121590032 OST/THE WILD PARTY Compact Disc 601215900323 601215900323 3020660872 OST/TWILIGHT ZONE Compact Disc 030206608724 030206608724 B001967902 OST/TYLER PERRYS A MADEA CHRIS Compact Disc 602537626953 602537626953 B002008302 OST/VAMPIRE ACADEMY Compact Disc 600753502266 600753502266 465612 OST/VARIOU/ROCKY 3 Compact Disc 077774656122 077774656122 DIS606767 OST/WOODY'S ROUND-UP Compact Disc 050086067671 050086067671 4472992 OSTERN/GREGORIAISCHER CHORAL Compact Disc 028944729924 028944729924 FRANHYP11275 O'SULLIVAN,G/GILBERTVILLE Compact Disc 4011586112755 4011586112755 337252B OTEP/JIHAD Compact Disc EP's 724353372521 724353372521 3020669072 OVERSTREET,T/20 CLASSIC SONGS Compact Disc 030206690729 030206690729 RUNMANCD101 OYSTERBAND/HERE I STAND Compact Disc 743216699629 743216699629 FRAN87105 OYSTERBAND/THE BIG SESSION V.1 Com pact Disc 4015698516722 4015698516722 FRANRMCD6 OYSTERBAND/THE OXFORD GIRL & O Compact Disc 5060084901339 5060084901339 AMSD80020 OZOMATLI/OZOMATLI Compact Disc 705178002022 705178002022 B001739002 OZONE/WATTS/MCBRIDE/MY WITCH'S Compact Disc 600406215673 600406215673 CAMO010 OZZBORN,O/IN BETWEEN Compact Disc 655035001029655035001029 5454508292 PADRONE,N/MUSICA ORIGINAL DE C Compact Disc 654545082924654545082924 MED24913 PAGLIARO,M/GREATEST HITS Compact Disc 619061491322 619061491322 4707146 PAGNY,F/VIEILLIR ENSEMBLE L(2C Compact Disc 602547071460 602547071460 NPD74402 PAIGE,J & RAMOS,S/GR AIL..THE R Compact Disc 032466440229 032466440229 2764024 PALLOT,N/YEAR OF THE WOLF Compact Disc 602527640242 602527640242 B000207502 PALMER,R/VERY BEST OF THE ISLA Compact Disc 602498147771 602498147771 FRANHIT13CD PAMA INT'L/MEET MAD PROFESSOR Compact Disc 5052442000549 5052442000549 B000748602 PAPA ROACH/THE PARAMOUR SESSIO Compact Disc 602517057388 6025170573887 05178 00202 20 77774 65612 20 44001 60192 7 6 01215 90032 3 6 00406 21567 30 28944 72992 40 50086 06767 10 50086 07317 7 6 00753 50226 67 20616 23472 8 6 02517 05738 86 02498 14777 17 31454 23952 3 6 02537 62695 3 6 02527 64024 26 02547 07146 00 50086 14147 0 6 19061 49132 2 0 32466 44022 95 055311 001593 5 060084 901339 7 43216 69962 9 4 015698 516722 5 052442 000549 4 011586 112755 6 55035 00102 9 6 54545 08292 40 30206 69072 90 30206 60872 4 7 24353 37252 1Catalogue Numb er Artist & Title Description Configuration Scannable UPC UPC 4921500426 PAPERCUTS/LIFE AMONG THE SAVAG Compact Disc 014921500426 014921500426 TP205 PAPP,J/MONTREAL DEPARTURE Compact Disc 600353060524 600353060524 5323324 PARADIS,V/BEST OF Compact Disc 600753233245 600753233245 5302749 PARADIS,V/DIVINIDYLLE Compact Disc 600753027493 600753027493 2753110 PARADIS,V/UNE NUIT A VERAILLES Compact Disc 602527531106 602527531106 900192A PARADISE L/PARADISE LOST Compact Disc 876929001929 876929001929 5431642 PARIS COMBO/PARIS COMBO Compact Disc 731454316422 731454316422 548532 PARKENING/ARTISTRY OF CHRISTO Compact Disc 077775485325 077775485325 567300 PARKENING/CHRISTOPHER PARKENI Compact Disc 724355673008 724355673008 INTROCD2077 PARKER,C/A PROPER INTRO TO:CHA Compact Disc 805520060776 805520060776 8371762 PARKER,C/BIRD,ORIGINAL RECORDI Compact Disc 042283717626 042283717626 3145274522 PARKER,C/BIRDS BEST BO P ON VER Compact Disc 731452745224 731452745224 PROPERBOX46 PARKER,C/BO SS BIRD Compact Disc 805520020466 805520020466 PROPERBOX99 PARKER,C/CHASI N'THE BIRD Compact Disc 805520020992 805520020992 8232502 PARKER,C/COLE PORTER SONGBOOK Compact Disc 042282325020 042282325020 090112C PARKS, AAR/INVISIBLE CINEMA Compact Disc 5099950901128 5099950901128 NMR0150 PARLOUR STEPS/AMBIGUOSO Compact Disc 621365103924 621365103924 NMR0151 PARLOUR STEPS/THE HIDDEN NAMES Compact Disc 830159005607 830159005607 YR002 PARSON RED HEADS/FIELD MOUSE C Compact Disc 634479280313 634479280313 4576472 PART/TABULA RASA Compact Disc 028945764726 028945764726 140082D PARTON,D/ACOUSTIC COLL:99-02 CD with DVD 015791400822 015791400822 0585900932 PARTON,D/BACKWOODS BARBIE Compact Disc 8058590093238.05859E+11 EO102CD PASHIM,M/NEVER MIND THE BALKAN Com pact Disc 5060161120301 5060161120301 OJCCD964 PASS,J/BLUES DUES: LI VE AT LON Compact Disc 025218696425 025218696425 B000259702 PATATO & TOTI CO/PATATO & TOTIC Compact Disc 602498624456 602498624456 XXICD21582 PATENAUDE,G/LES CHANTRES MUSIC Compact Disc 722056158220 722056158220 CCDCD9001 PATITUCCI,J/HEART OF THE BRASS Compact Disc 013431900122 013431900122 B001686102 PATRULLA 81/ICONOS/25 EXIT(2CD Compact Disc 602537030866 602537030866 PRMCD6073 PATTON,C/THIS IS THE BLUES Compact Disc 805520090735 805520090735 340642A PAUL, LES/LES PAUL & FRIENDS Compact Disc 094633406421 0946334064210 15791 40082 35 099950 901128 0 94633 40642 10 28945 76472 60 77775 48532 5 7 24355 67300 8 6 02537 03086 66 02527 53110 66 00753 02749 36 00753 23324 5 7 31454 31642 2 0 42283 71762 6 6 02498 62445 67 31452 74522 4 0 42282 32502 0 7 22056 15822 08 30159 00560 76 21365 10392 4 6 34479 28031 38 05520 02099 28 05520 06077 6 8 05520 09073 58 05520 02046 6 5 060161 120301 6 00353 06052 4 8 76929 00192 9 0 25218 69642 5 0 13431 90012 20 14921 50042 6 8 05859 00932 3Catalogue Numb er Artist & Title Description Configuration Scannable UPC UPC CDPHIL1191 PAUL,E/A CARNIVAL OF VOICES Compact Disc 011671119120 011671119120 DOG123 PAULSON/ALL AT ONCE Compact Disc 790168553929 790168553929 0711409 PAVAROTTI,L/30TH ANNIVERSARY Digital Video Disc 044007114094 044007114094 0743102 PAVAROTTI,L/THE LAST TENOR Digital Video Disc 044007431023 044007431023 4750002 PAVAROTTI,L/TI ADORO Compact Disc 028947500025 028947500025 4337062 PAVAROTTI/BEATRICE DI TONDA Compact Disc 028943370622 028943370622 4666002 PAVAROTTI/CHILDREN OF GUATEMAL Compact Disc 028946660027 028946660027 110532C PAXTON, TO/LIVE FOR THE RECORD Compact Disc 015891105321 015891105321 B000163212 PAYNE,J/YOUR LOVE, MY HOME Compact Disc 602498612743 602498612743 9423112262 PEARLY QUEEN/QUIT JIVIN'-A FUN Compact Disc 894231122620894231122620 730412 PEAS/FILTERS Compact Disc 794017304120794017304120 FRANCDBOG002 PEATBOG FAERIES/CROFTWORK (CD) Compact Disc 5031642626124 5031642626124 FRANCDBOG006 PEATBOG FAER IES/DUST Compact Disc 5060131890296 5060131890296 CDBOG005 PEATBOG FAERIES/PEATB OG FAERIE Compact Disc 5031642631227 5031642631227 FRANCDBOG001 PEATBOG FAERIES/WELCOME TO DUN Compact Disc 5031642623925 5031642623925 CDBOG003 PEATBOG FAERIES/WHAT MEN DESER Compact Disc 5031642629620 5031642629620 5324624 PEIRPOLJAK/LEGENDAIRE SERENADE Compact Disc 600753246245 600753246245 MSR10013 PENNYWISE/REASON TO BELIEVE Compact Disc 602517632776 602517632776 4776617 PEPE,R/WAGNER:ARIAS Compact Disc 028947766179 028947766179 2301052 PEPLOVE/ASCENSION Compact Disc 655323010528 655323010528 OJCCD816 PEPPER,A/ART PEPPER QUARTET Compact Disc 025218681629 025218681629 PVCD130 PEPPER,A/YOUNG ART Compact Disc 805520051309 805520051309 0652938 PERFUME/LEVEL3 Compact Disc 600406529381 600406529381 XXICD21671 PERGOLESI,GB/SALVE RE GINA-STAB Compact Disc 722056167123 722056167123 4256922 PERGOLESI/STABAT MATER/HOGWOOD Compact Disc 028942569225 028942569225 2747443 PERRETTA,J/STITCH ME UP Compact Disc 602527474434 602527474434 086342 PERRY, KAT/5 HITS Compact Disc 5099930863422 5099930863422 CDHBEA65 PERRY,L/LORD GOD MUZICK Compact Disc 011661756526 011661756526 5332886 PERRY,L/REGGAE GENIUS 20 UPSET Compact Disc 600753328866 600753328866 CDHBEA37 PERRY,L/SOME OF THE BEST Compact Disc 011661753723 0116617537235 099930 863422 0 28947 50002 5 6 00406 52938 10 28946 66002 70 28943 37062 2 0 28947 76617 9 0 28942 56922 5 6 02527 47443 4 6 00753 32886 66 00753 24624 56 02498 61274 3 6 02517 63277 6 7 22056 16712 38 05520 05130 95 031642 629620 5 031642 631227 5 031642 623925 5 031642 626124 5 060131 890296 7 94017 30412 08 94231 12262 07 90168 55392 9 6 55323 01052 80 15891 10532 1 0 25218 68162 9 0 11661 75372 30 11661 75652 60 11671 11912 0 0 44007 11409 4 0 44007 43102 3Catalogue Numb er Artist & Title Description Configuration Scannable UPC UPC IWRCD83031 PERSUADERS/THE FICTION MAZE Compact Disc 4018996237450 4018996237450 CDROUN3053 PERSUASIONS/ GOOD NEWS Com pact Di sc 011661305328 011661305328 CDBEYE9576 PERSUASIONS/SI NCERELY Compact Disc 011661957626 011661957626 IL30449 PESH,P & FRIENDS/DARIEN CENTRE Compact Disc 827823044925827823044925 BT3013 PETERSON, O/PIANO COLOSSUS Compact Disc 805520130134 805520130134 0249862535 PETERSON,O/A NIGHT IN VIENNA Compact Disc 602498625354 602498625354 CD83617 PETERSON,O/A NIGHT IN VIENNA Compact Disc 089408361722 089408361722 3145296982 PETERSON,O/GERSHWIN SONGBOOKS Compact Disc 731452969828 731452969828 390509 PETERSON,O/NORMAN GANTZ'JAZZ Digital Video Disc 801213905096 801213905096 B001079602 PETERSON,O/PLAYS COUNT BASIE Compact Disc 602517621367 602517621367 3145597852 PETERSON,O/PLAYS T DUKE ELLING Compact Disc 731455978520 731455978520 B001270302 PETERSON,O/PL AYS THE JEROME KE Compact Disc 602517995765 602517995765 5110362 PETERSON,O/'ROUND MIDNIGHT Compact Disc 731451103629 731451103629 4787601 PETRI,M/3 CLASSIC ALBUMS(3CD) Compact Disc 028947876014 028947876014 0134312 PETRUCCIANI,M/MICHEL PETRUCCIA Compact Disc 044001343124 044001343124 PROLUXE5002 PETTIFORD,O/OSCAR RIDES AGAIN Compact Disc 805520120029 805520120029 540982B PHAIR, LIZ/WHIP-SMART Compact Disc 724385409820 724385409820 HBR008CD PHAT FRED/DON'T SPOIL THE SOUP Compact Disc 826556000826 826556000826 1570522 PHILIPPE,G/LE PETIT PRINCE Compact Disc 601215705225 601215705225 B001776602 PHILLIPS,P/WORLD FROM,THE(DLX Compact Disc 602537209750 602537209750 CDPHIL1076 PHILLIPS,U/WE HAVE FED YOU ALL Compact Disc 011671107622 011671107622 8321892 PIAF,E/MASTER SERIE 2003 Compact Disc 042283218925 042283218925 0734319 PIAZOLLA,A/THE NEXT TANGO-DVD Digital Video Disc 044007343197 044007343197 XXICD21715 PIERNE,G/TOURNEMIRE,C/SONATES Compact Disc 722056171526 722056171526 WONDERCD05 PIMPS OF JOYTIME,THE/HIGH STEP Compact Disc 808764301520808764301520 5290282 PINE,C/MODERN DAY JAZZ STORIES Compact Disc 731452902825 731452902825 5895512 PINK FAIRIES THE/WHAT A BUNCH Compact Disc 731458955122 731458955122 4775747 PIRES,M/MOZART;GREAT PIANO CON Compact Disc 028947757474 028947757474 3145240852 PJ-HARVEY/TO BRING YOU MY LOVE Compact Disc 731452408525 731452408525 8264472 PLATTERS/GOLDEN HITS Compact Disc 042282644725 0422826447257 24385 40982 00 28947 87601 4 0 28947 75747 46 02537 20975 0 7 31452 40852 5 0 42282 64472 50 44001 34312 4 0 42283 21892 56 01215 70522 5 7 31458 95512 27 31455 97852 0 7 31452 90282 56 02498 62535 4 7 31452 96982 8 7 31451 10362 96 02517 62136 7 6 02517 99576 5 7 22056 17152 68 26556 00082 68 05520 13013 4 8 05520 12002 98 27823 04492 5 8 08764 30152 00 11661 95762 6 0 11671 10762 20 11661 30532 8 0 89408 36172 24 018996 237450 0 44007 34319 78 01213 90509 6Catalogue Numb er Artist & Title Description Configuration Scannable UPC UPC MUNP002 PLAY THE ANGEL/PLAY THE ANGEL Compact Disc 859701586296 859701586296 CD80468 PLAY-BALL!/KUNZEL Compact Disc 089408046827 089408046827 B001268002 PLAYZ CIRCLE/FLIGHT 360:THE TA Compact Disc 602517814165 602517814165 4776417 PLETNEV,M/BEETHOVEN:PIANO CONC Compact Disc 028947764175 028947764175 4776409 PLETNEV,M/BEETHOVEN:THE NINE S Compact Disc 028947764090 028947764090 4775788 PLETNEV,M/MOZART:PIANO SONATAS Compact Disc 028947757887 028947757887 MA250127 POCO/ALIVE IN THE HEART OF THE Compact Disc 5413992501274 5413992501274 0881122242 POCO/THE BEST OF POCO-20TH CEN Compact Disc 008811222420 008811222420 895432 POINTER, N/PHANTAZIA Compact Disc 077778954323 077778954323 779019A POISON/GREATEST HITS VIDEO Digital Video Disc 724347790195 724347790195 938152 POISON/POISON'D Compact Disc 094639381524 094639381524 B001194450 POLICE,THE/CERTIFIABLE 2DVD+2C DVD + BNS CD 602517830462 602517830462 B000617809 POLICE,THE/EVERYONE STARES-THE Digital Video Disc 602498799963 602498799963 4776353 POLLINI,M/BARTOK:GRAND PRIX-PI Compact Disc 028947763536 028947763536 4776594 POLLIN I.,/BEETHOVEN:PIANO SO NA Compac t Disc 028947765943 028947765943 MSR10005 POLYSICS/POLYSICS OR DIE:VISTA Compact Disc 602517454033 602517454033 MSR10027 POLYSICS/WE ATE TH E MACHINE Compact Disc 602517826656 602517826656 XXICD21681 PONTICELLO QUARTET/QUATUOR DE Compact Disc 722056168120 722056168120 961052A POP, IGGY/A MILION IN PRIZES Compact Disc 724359610528 724359610528 2736888 PORT ISAAC'S FISHERMAN'S FRIEN Compact Disc 602527368887 602527368887 CDRWX174 PORTICO QUARTET/ISLA Compact Disc 180030000529 180030000529 3145896519 PORTISHEAD/PNYC Digital Video Disc 731458965190 731458965190 0251766400 PORTISHEAD/THIRD Compact Disc 602517664005 602517664005 CDFLY419 POST,J/JIM POST & FRIENDS Compact Disc 018964041922 018964041922 D001773492 POTTER,G & THE NOCTUR/THE LION Compact Disc 050087282134 050087282134 5119642 POW WOW/REGAGNER LES PLAINES Compact Disc 731451196423 731451196423 355852 POWELL, BU/BUD! VOL 3 (RVG) Compact Disc 724353558529 724353558529 809072 POWELL, BU/SCENE CHANGES,THE Compact Disc 724358090727 724358090727 CDROUN0444 POWELL,D/HAND ME DOWN Compact Disc 018964444426 018964444426 INTROCD2041 PRADO,P/A PROPER INTRO TO:PERE Compact Disc 805520060417 8055200604170 08811 22242 0 0 77778 95432 3 7 24358 09072 77 24353 55852 90 94639 38152 40 28947 75788 76 02517 81416 5 0 28947 76594 30 28947 76353 6 0 50087 28213 46 02527 36888 7 6 02517 66400 5 7 31451 19642 30 28947 76409 00 28947 76417 5 7 24359 61052 86 02517 45403 3 6 02517 82665 68 59701 58629 6 7 22056 16812 05 413992 501274 1 80030 00052 9 8 05520 06041 70 18964 04192 2 0 18964 44442 60 89408 04682 7 6 02498 79996 37 24347 79019 5 7 31458 96519 06 02517 83046 2Catalogue Numb er Artist & Title Description Configuration Scannable UPC UPC XXICD21607 PRATS,JL/SHOSTAKOVICH:PIANO CO Compact Disc 722056160728 722056160728 CHK1002 PRESLEY,E/40 ORIGINAL RECORDIN Compact Disc 805520160025 805520160025 HELCD9714 PRESLEY,E/75TH ANNIVERSARY(2CD Compact Disc 064027971422 064027971422 PRPCD119 PRIESTMAN,H/LAST MAD SURGE OF Compact Disc 805520031196 805520031196 2097165323 PRIMA JR,L/BLOW Compact Disc 802097165323 802097165323 759372A PRIMA,LOUI/LIVE AT THE SAHARA Compact Disc 724387593725 724387593725 TEG2429CD PRINCE PO/PRETTYBACK Compact Disc 829357242921829357242921 426002A PRISM/PRISM Compact Disc 724354260025 724354260025 323362 PRISM/SEE FOREVER EYES-NORTHER Compact Disc 724353233624 724353233624 211862A PRISM/YOUNG & RESTLESS Compact Disc 724382118626 724382118626 2742273 PRITCHARD,L/WASTED IN JACKSON Compact Disc 602527422732 602527422732 330249 PROCOL HAREM/LIVE Digital Video Disc 801213302499 801213302499 300739 PROCOL HAREM/LIVE AT THE UNION Digital Video Disc 801213007394 801213007394 200062 PROCOL HAREM/THE WELL'S ON FIR Compact Disc 826992000626 826992000626 201592 PROCOL HARUM/IN CONCERT WITH T Compact Disc 826992015927 826992015927 302759 PROCOL HARUM/IN CONCERT WITH T Digital Video Disc 801213027590 801213027590 333839 PROCOL HARUM/LIVE AT THE UNION BLU RAY 801213338399 801213338399 TEG2412CD PROCUSSIONS/AS IRON SHARPENS I Compact Disc 829357241221829357241221 AAO40707 PROD IGY/H.N.I.C. PT.2/CO LLECTO Compac t Disc 778325407070 778325407070 3759061 PROFANE OMEN/RESET Compact Disc 602537590612 602537590612 649282C PROJECT 86/PICKET FENCE CARTEL Compact Disc 5099996492826 5099996492826 TEG2427 PROJECT MOVE/LOVE GONE WRONG/B Compact Disc 829357242716829357242716 4748172 PROKOFIEV&RAVEL/CINDERELLA/MA Compact Disc 028947481720 028947481720 4674592 PROKOFIEV/BALLET MUSIC-ROMEO & Compact Disc 028946745922 028946745922 4398982 PROKOFIEV/PNO CTO 1,3/KISSIN Compact Disc 028943989824 028943989824 4250032 PROKOFIEV/VIOLIN CONCERTO NO.1 Compact Disc 028942500327 028942500327 2894529702 PROKOFIEVSER/ROMEO & JULIET Compact Disc 028945297026 028945297026 509180 PRYNE, SER/GOODNIGHT GOLDEN SU Compac t Disc 8714835091806 8714835091806 PBRD1063 PS I LOVE YOU/FIGURE IT OUT Compact Disc 880893106320880893106320 4235672 PUCCINI/BUTTERFLY/SINOPLI Compact Disc 028942356726 0289423567268 01213 33839 97 24382 11862 67 24353 23362 47 24354 26002 57 24387 59372 5 5 099996 492826 0 28942 50032 7 0 28942 35672 60 28947 48172 0 0 28943 98982 48 26992 00062 6 8 26992 01592 7 0 28946 74592 26 02527 42273 2 0 28945 29702 66 02537 59061 20 64027 97142 27 22056 16072 8 8 05520 16002 5 8 05520 03119 6 8 29357 24122 1 8 29357 24271 68 29357 24292 1 8 80893 10632 07 78325 40707 08 02097 16532 3 8 714835 091806 8 01213 02759 08 01213 00739 48 01213 30249 9Catalogue Numb er Artist & Title Description Configuration Scannable UPC UPC 4487252 PUCCIN I/IA BOHEME/SERAF IN Compac t Disc 028944872521 028944872521 4674662 PUCCINI/MADAMA BUTTERFLY Compact Disc 028946746622 028946746622 4525942 PUCCINI/MADAMA BUTTERFLY/SERAF Compact Disc 028945259420 028945259420 4739972 PUCCINI/THE PUCCINI OPERA BOX Compact Disc 028947399728 028947399728 2894582022 PUCCINI/TURANDOT HIGHTLIGHTS Compact Disc 028945820224 028945820224 CDED7040 PULIDO,R/ROBERTO PULIDOY LOS C Compact Disc 712136704027 712136704027 OGL816122 PULLMYFINGER/JINGLE SMELLS Compact Disc 790058161227 790058161227 3145241652 PULP/DIFFERENT CLASS Compact Disc 731452416520 731452416520 CCDCD4973 PURIM,F & AIRTO/WINGS OF IMAGI Compact Disc 013431497325 013431497325 250542 PUSHKING/THE WORLD AS WE LOVE Compact Disc 826992505428 826992505428 B000572109 PUSSY CAT DOLLS,THE/PCD LIVE F Digital Video Disc 602498871096 602498871096 0249840889 QUARTERFLASH/BEST OF Compact Disc 602498408896 602498408896 4788824 QUARTETTO/COMPLETE DECCA(37CD Compact Disc 028947888246 028947888246 4777433 QUASTHOFF,T/BRAHMS/LISZT:LIEDE Compact Disc 028947774334 028947774334 4776591 QUASTOFF,T/BACH:DIALOGUE CONTA Compact Disc 028947765912 028947765912 8178902 QUATRO,S/T BEST OF Compact Disc 042281789021 042281789021 XXICD21589 QUATUOR ABYSSE/ARGENTINA REVIS Compact Disc 722056158923 722056158923 XXICD21447 QUATUOR LA FLUTE ENCHANTEE/NOE Compact Disc 722056144728 722056144728 927832 QUEBEC, IK/BOSSA NOVA SO UL SAM Compact Disc 094639278329 094639278329 INTROCD 2004 QUEBEC ,I/A PROPER INTRO TO:IKE Compac t Disc 805520060042 805520060042 TEG9914CD QUEEN CONSTANCE BAND/UNIVERSIT Compact Disc 829357991423829357991423 3732771 QUEEN/A NIGHT AT THE OPERA BLU RAY AUDIO 602537327713 602537327713 327711BS05 QUEEN/LIVE AT WEMBLEY(2CD+2DVD CD with DVD 671734423252 671734423252 HR612672 QUEEN/LIVE MAGIC Compact Disc 720616126726 720616126726 EV306149 QUEEN/ON FIRE LIVE AT THE(DVD Digital Video Disc 801213061495 801213061495 HR610362 QUEEN/SHEER HEART ATTACK Compact Disc 720616103628 720616103628 B000432202 QUEENS OF TH E STONE AGE/LULLA B Compact Disc 602498804216 602498804216 331539 QUEENSRYCH/BUILDING EMPIRES Digital Video Disc 077773315396 077773315396 066862 QUEENSRYCH/EMPIRE (20TH ANNIVE Compact Disc 5099990668623 5099990668623 805292 QUEENSRYCH/PROMISED LAND Compact Disc 724358052923 7243580529236 02537 32771 3 6 71734 42325 26 02498 40889 6 0 94639 27832 90 28947 88824 60 28947 39972 8 0 28947 77433 48 26992 50542 80 28946 74662 2 7 24358 05292 35 099990 668623 7 20616 10362 87 20616 12672 6 6 02498 80421 67 31452 41652 00 28945 25942 00 28944 87252 1 0 28945 82022 4 0 42281 78902 10 28947 76591 2 7 22056 15892 3 7 22056 14472 8 8 05520 06004 2 8 29357 99142 37 90058 16122 7 0 13431 49732 57 12136 70402 7 8 01213 06149 5 0 77773 31539 66 02498 87109 6Catalogue Numb er Artist & Title Description Configuration Scannable UPC UPC 38600 R E M/IN VIEW THE BEST OF(DVD Digital Video Disc 075993860023 075993860023 520142A R E M/LIVE AT THE OLYMP(2CD+DV CD with DVD 093624974819 093624974819 38426 R E M/PARALLEL(DVD) Digital Video Disc 075993842623 075993842623 38608 R E M/PERFECT SQUARE(DVD) Digital Video Disc 075993860825 075993860825 38156 R E M/POP SCREEN(DVD) Digital Video Disc 075993815627 075993815627 76539 R E M/REVEAL(CD+DVD-A,DIGIPAK) CD with DVD 081227653927 081227653927 38443 R E M/ROAD MOVIE(DVD) Digital Video Disc 075993844320 075993844320 38254 R E M/THE FILM IS ON(DVD) Digital Video Disc 075993825428 075993825428 38184 R E M/TOURFILM(DVD) Digital Video Disc 075993818420 075993818420 1166196132 R.BROWN/ A GOOD DAY FOR T BL UES Compac t Disc 011661961326 011661961326 699422A R.E.M./AND I FEEL FINE:BEST OF Compact Disc 094636994222 094636994222 720062B R.E.M./DOCUMENT (ANN/ EDIT Compact Disc 5099997200628 5099997200628 460712B R.E.M./FABLES OF THE RECONSTRU Compact Disc 5099964607122 5099964607122 824472B R.E.M./LIFE'S RICH PAGEANT(DLX Compact Disc 5099908244727 5099908244727 4453292 R.STRAUSS/ELEKTRA/BOHM Compact Disc 028944532920 028944532920 CD69859 R.WAKEMAN/T SIX WIVES OF HENRY Compact Disc 075026985921 075026985921 4400660932 RA/FROM ONE Compact Disc 044006609324 044006609324 ELQT002 RACHMANINOV/GREATEST HITS Compact Disc 776974227926 776974227926 4630752 RACHMANINOV/SYMPHONY NO.1/THE Compact Disc 028946307526 028946307526 4710292 RACHMANINOV/THE BELLS /TANEYEV Compact Disc 028947102922 028947102922 4752272 RACHMANINOV/VESPERS,LIT URGY OF Compact Disc 028947522720 028947522720 4455902 RACHMANINOVS/3 SYMPHONIES Compact Disc 028944559026 028944559026 MCAD10775 RADGERS&HAMMERSTEIN /COLLECTION Compact Disc 008811077525 008811077525 MCAD11115 RAFFI/BANANAPHONE Compact Disc 008811111526 008811111526 6321403022 RAFFI/LET'S PLAY Compact Disc 663214030227 663214030227 MCAD10040 RAFFI/ONE LIGHT ONE SUN Compact Disc 008811004026 008811004026 MCAD10042 RAFFI/RISE AND SHINE Compact Disc 008811004224 008811004224 3145267832 RAINBOW BUTT MONKEYS/LETTERS F Compact Disc 731452678324 731452678324 3145491382 RAINBOW/THE BEST OF RAINBOW-20 Compact Disc 731454913829 731454913829 318162A RAITT, BON/SILVER LINING Compact Disc 724353181628 7243531816280 93624 97481 9 0 81227 65392 7 7 31454 91382 90 75026 98592 1 7 24353 18162 85 099964 607122 5 099908 244727 0 94636 99422 2 5 099997 200628 0 28944 53292 0 0 28947 10292 20 28946 30752 6 0 28944 55902 67 76974 22792 6 0 08811 07752 5 7 31452 67832 40 28947 52272 00 44006 60932 40 11661 96132 6 0 08811 11152 6 6 63214 03022 7 0 08811 00402 6 0 08811 00422 40 75993 81562 7 0 75993 81842 00 75993 82542 80 75993 84262 3 0 75993 84432 00 75993 86002 3 0 75993 86082 5Catalogue Numb er Artist & Title Description Configuration Scannable UPC UPC 0251705068 RAMMSTEIN/VOLKERBALL(SPECIAL E CD with DVD 602517050686 602517050686 0114310042 RAMONE,M&T-INTRUDERS/ANSWER TO Compact Disc 601143100420 601143100420 445129 RANDLE, LY/BEST OF LYNDA RANDL Digital Video Disc 617884451295 617884451295 B001421702 RANDY ROGERS BAND/BURNING THE Compact Disc 602527370347 602527370347 CD83632 RANGLIN,E/SURFIN' Compact Disc 089408363221 089408363221 FRANHOR21948 RANGO/BRIDE OF THE ZAR Compact Disc 5065001057052 5065001057052 323482 RANKIN FAM/ENDLESS SEASONS Compact Disc 724383234820 724383234820 MRCD6510 RANKIN FAMILY/THESE ARE THE MO Compact Disc 823674651022823674651022 ISBCD101 RANKS,S/MR.MAXIMUM Compact Disc 068584010129 068584010129 WIPD503 RANKS,S/RAPPIN'WITH THE LADIES Compact Disc 068584050323 068584050323 D000463602 RASCAL FLATTS/GREATEST HITS V1 Compact Disc 050087149734 050087149734 HL650112 RASCAL FLATTS/RASCAL FLATTS Compact Disc 720616501127 720616501127 0252724307 RASMUS,THE/BEST OF 2001-2009 Compact Disc 602527243078 602527243078 B002079400 RAT PACK,THE/THE RAT PA(2CD+DV CD with DVD 602537826094 602537826094 211872 RATIONAL Y/COLD WAR NIGHT LIFE Compact Disc 724382118725 724382118725 B001718002 RAVA,E/ON THE DANCE FLOOR Compact Disc 602537066544 602537066544 4455192 RAVEL/DAPHNIS AND CHLOE Compact Disc 028944551921 028944551921 SACD60601 RAVEL/DAPHNIS ET CHLOE, PAVANE SACD2Stereo/CD Audio 089408060168 089408060168 4524482 RAVEL/PNO CTI/THIBAUDET/DUTOIT Compact Disc 028945244822 028945244822 PVCD126 RAVENS,THE/BIRDS OF A FEATHER Compact Disc 805520051262 805520051262 549562 RAWLS, LOU/BEST OF LOU RAWLS,T Compact Disc 094635495621 094635495621 COS33329 RAWLS,L/IN CONCERT Digital Video Disc 619061332939 619061332939 9423110152 RAY & HIS COURT/COOKIE CRUMBS Compact Disc 894231101526894231101526 STUM35 RAYGUN COWBOYS/COWBOY UP Compact Disc 844667026481 844667026481 LNKCD84 REACH AROUND RO/ROCKABILLY(DLX Compact Disc 633090363924 633090363924 IAKCD677760 REACH AROUND RODEO/DARK DAYS D Compact Disc 633367776020 633367776020 IAKCD360056 REACH AROUND RODEO/GREATEST HI Compact Disc 880336005630 880336005630 REVEAL024CDX READER,E/SIMPLE SOUL Compact Disc 609224286865 609224286865 350549 REAL JAMES DEAN,THE Digital Video Disc 801213505494 801213505494 CDROUN5029 REAL SOUNDS/WENDE ZAKO Compact Disc 011661502925 0116615029256 02537 82609 46 02517 05068 6 0 94635 49562 17 24382 11872 5 0 28945 24482 20 28944 55192 16 02537 06654 47 24383 23482 0 0 50087 14973 4 7 20616 50112 76 02527 37034 7 6 02527 24307 8 8 44667 02648 10 68584 01012 9 0 68584 05032 3 8 05520 05126 25 065001 057052 6 09224 28686 58 23674 65102 2 8 94231 10152 6 8 80336 00563 06 33367 77602 06 33090 36392 46 01143 10042 0 0 11661 50292 50 89408 36322 16 17884 45129 5 8 01213 50549 46 19061 33293 90 89408 06016 8Catalogue Numb er Artist & Title Description Configuration Scannable UPC UPC GSE703 REAVERS,T/TERROR FIRMA Compact Disc 822720770328822720770328 BVR002 REBELMEETSREBEL/REBEL MEETS RE Compact Disc 854863001229 854863001229 CDROUN2093 REBIRTH BRASS BAND/FEEL LIKE F Compact Disc 011661209329 011661209329 CDROUN2106 REBIRTH BRASS BAND/REBIRTH KIC Compact Disc 011661210622 011661210622 BAI0272 RECESSION/TIME, AR ITHMETIC Compact Disc 790168598821 790168598821 2733094 RECKLESS.LOVE/RECKLESS LOVE Compact Disc 602527330945 602527330945 3762273 RECORD,J/PILLARS Compact Disc 602537622733 602537622733 BAI0322 RED BARON,THE/MY FIRST LOVE Compact Disc 790168638428 790168638428 MIA1015 RED GIANT/ ULTRA-MAGNETIC GLOW Compact Disc 657674101528657674101528 143752 REDD, FRED/SHADES OF REDD/RVG Compact Disc 5099951437527 5099951437527 MPSCD8579 REDDING ,O/GOOD TO ME Compact Disc 025218857925 025218857925 CDPHIL1126 REDPATH,J/SONGS OF ROBERT BURN Compact Disc 011671112626 011671112626 CDPHIL1188 REDPATH,J/THE SONGS OF ROBERT Compact Disc 011671118826 011671118826 CDPHIL1189 REDPATH,J/THE SONGS OF ROBERT Compact Disc 011671118925 011671118925 802522B REEVES, DI/A LITTLE M OONLIGHT Compact Disc 724358025224 724358025224 733442B REEVES, DI/CHRISTMAS TIME IS H Compact Disc 724347334429 724347334429 902642 REEVES, D I/I REMEMBER Co mpact Disc 077779026425 077779026425 8360782 REEVES,J/T LEGENDARY JI M REEVE Compact Disc 042283607828 042283607828 41316 REFLECTIONS/BONUS SENTIMENTAL Compact Disc 096741199929 096741199929 30613 REFLECTIONS/CARDIO SALSA Compact Disc 096741071423 096741071423 57435 REFLECTIONS/CELTIC MIST FR WT Compact Disc 096741404627 096741404627 35520 REFLECTIONS/CHRISTMAS CHEER Compact Disc 096741126727 096741126727 28084 REFLECTIONS/CHRISTMAS DINNER Compact Disc 096741062025 096741062025 35522 REFLECTIONS/CHRISTMAS PARTY MI Compact Disc 096741126925 096741126925 36560 REFLECTIONS/FLUTE DREAMS Compact Disc 096741135729 096741135729 36559 REFLECTIONS/GENTLE WORLD:AFRIC Compact Disc 096741135620 096741135620 33969 REFLECTIONS/PARIS CAFE Compact Disc 096741108624 096741108624 XXICD21691 REGER,M/FOUR SONATINAS-2CD Compact Disc 722056169127 722056169127 5328941 REGGIANI,S/LA COLLECTION CHANS Compact Disc 600753289419 600753289419 9840029 REGGIANI,S/LES 100 PLUS BELLES Compact Disc 602498400296 6024984002965 099951 437527 7 24358 02522 4 7 24347 33442 9 0 77779 02642 5 0 42283 60782 8 6 02498 40029 66 00753 28941 96 02527 33094 5 6 02537 62273 38 22720 77032 8 6 57674 10152 87 90168 59882 1 7 90168 63842 88 54863 00122 9 0 25218 85792 5 0 11671 11262 6 0 11671 11882 6 0 11671 11892 50 11661 20932 9 0 11661 21062 2 0 96741 06202 50 96741 07142 3 0 96741 10862 40 96741 12672 7 0 96741 12692 5 0 96741 13562 00 96741 13572 90 96741 19992 9 0 96741 40462 7 7 22056 16912 7Catalogue Numb er Artist & Title Description Configuration Scannable UPC UPC 8153632 REGGIANI,S/MA LIBERTE ET AUTRE Compact Disc 042281536328 042281536328 8276632 REGGIANI,S/MASTER SERIE 2003 Compact Disc 042282766328 042282766328 4743232 REICH/DRUMMING Compact Disc 028947432326 028947432326 CDHBEA95 REID,D/DUKE REID'S TREASURE CH Compact Disc 011661759527 011661759527 CD83396 REID,S/WATER SIGN Compact Disc 089408339622 089408339622 PROPERBOX53 REINHARDT,D/SWING DE PARIS Compact Disc 805520020534 805520020534 705922A RELIENT K/FIVE SCORE AND SEVE Compact Disc 094637059227 094637059227 5318417 RENAUD/MASTER SERIE Compact Disc 600753184172 600753184172 CDFLY466 RENBOURN,J/JOHN RENBOURN'S SHI Compact Disc 018964046620 018964046620 B000524602 REVERENDHORTONHEAT,THE/BEST OF Compact Disc 602498841341 602498841341 4400651922 RH FACTOR/HARD GROOVE Compact Disc 044006519227 044006519227 4581912 RICCI,R/VIRTUOSO VIOLIN Compact Disc 028945819129 028945819129 CDROUN0286 RICE BROTHERS /RICE BROTHERS Compact Disc 011661028623 011661028623 CDROUN0256 RICE BROTHERS /THE RICE BROTH Compact Disc 011661025622 011661025622 575682A RICH, BUDD/BEST OF,THE Compact Disc 724385756825 724385756825 8269872 RICH,B/RICH VERSUS ROACH Compact Disc 042282698728 042282698728 PROLUXE5001 RICH,B/STRIKE IT RICH! Compact Disc 805520120012 805520120012 8088902802 Richard Marx/Christm as Spirit Compact Disc 6808890280216.80889E+11 302929 RICHARD,C & THE SHADOWS/THE FI Digital Video Disc 801213029297 801213029297 5340643 RICHIE,L/CAN'T SLOW DOWN BLU RAY AUDIO 600753406434 600753406434 1166115962 RICHMAN,J/ACTION PACKE:THE BES Compact Disc 011661159624 011661159624 4793065 RICHTER,M/RETROSPECTIVE(4CD) Compact Disc 028947930655 028947930655 SACD60532 RIDDLE/NICE'N'EASY:CELEBRATING SACD4Stereo/Surround/CDAud 089408053207 089408053207 CDROUN0102 RIDERS IN T SKY/THREE ON TRAIL Compact Disc 011661010222 011661010222 SLR001 RIDETHEORY,T/IN THIS CITY Compact Disc 061297345991061297345991 3145474562 RIEU,A/100 YEARS OF STRAUSS Compact Disc 731454745628 731454745628 3753707 RIEU,A/ANDRE & FRIENDS LIVE(BR BLU RAY 602537537075 602537537075 3728096 RIEU,A/HAPPY BIRTHDAY A CEL(BR BLU RAY + DVD 602537280964 602537280964 BWR104 RILEY,D & CORRITORE,B/TRAVELIN Compact Disc 724101728228 724101728228 4745642 RIMSKY-KORSAKOV/MODEST E MOUSSK Compact Disc 028947456421 0289474564216 02537 53707 5 6 02537 28096 46 00753 40643 46 02498 84134 1 7 24385 75682 50 94637 05922 7 0 28947 45642 10 28947 43232 6 0 28947 93065 50 28945 81912 9 7 31454 74562 80 42282 76632 8 6 00753 18417 20 42281 53632 8 0 44006 51922 7 0 42282 69872 8 7 24101 72822 88 05520 12001 28 05520 02053 4 0 61297 34599 10 11661 15962 40 18964 04662 00 11661 75952 7 0 11661 01022 20 11661 02562 20 11661 02862 30 89408 33962 2 6 80889 02802 1 8 01213 02929 7 0 89408 05320 7Catalogue Numb er Artist & Title Description Configuration Scannable UPC UPC 4455582 RIMSKY-KORSAKOV/SCHEHE R/MAAZEL Compact Disc 028944555820 028944555820 B000352502 RINGSIDE/RINGSIDE Compact Disc 602498640104 602498640104 EEB334139 RITENOUR,L/OVERTIME(BR) BLU RAY 801213341399 801213341399 GRSD9697 RITENOUR,L/WES BOUND Compact Disc 011105969727 011105969727 OM294 RITHMA/SEX SELLS Compact Disc 600353089426 600353089426 563572 RIVARD, MI/DE LONGUEUIL A BERL Compact Disc 077775635720 077775635720 2786542272 RIVERA ,I/SELECCIONES FANI A Compact Disc 827865422729 827865422729 359762 RIVERS, JO/GREATEST HITS Compact Disc 724383597628 724383597628 2795679 RIZZLE KICKS/STEREO TYPICAL Compact Disc 602527956794 602527956794 B001270202 ROACH,M/AS QUIET AS IT'S KEPT Compact Disc 602517995758 602517995758 PDR021 ROBB,T/MUDDYVISHNU Compact Disc 619981332521 619981332521 B000593102 ROBER TS,H/GOOD PICKIN 'S Compac t Disc 602498880241 602498880241 542432 ROBERTSON,/CONTACT FROM THE UN Compact Disc 724385424328 724385424328 B001441302 ROBYN/BODY TALK PT.1 Compact Disc 602527409795 602527409795 9839197 ROCE/DENTITE EN CRESCENDO Compact Disc 602498391976 602498391976 CDROUN5059 ROCHEREAU,T/MUZINA Compact Disc 011661505926 011661505926 BAB9690 ROCKABYE BABY!/DAVE MA TTHEWS B Compact Disc 027297969025 027297969025 BAB9681 ROCKABYE BABY!/FLAMIN G LIPS:LU Compact Disc 027297968127 027297968127 BAB9679 ROCKABYE BABY!/MADONNA : LULLAB Compact Disc 027297967922 027297967922 BAB9685 ROCKABYE BABY!/TRAGIC ALLY HIP Compact Disc 027297968523 027297968523 BAB9677 ROCKABYE BABY!/VAN HALEN:LULLA Compact Disc 027297967724 027297967724 BAB9631 ROCKABYE BABY/AC/DC:LULLABY RE Compact Disc 027297963122 027297963122 BAB9664 ROCKABYE BABY/AEROSMI TH:LULLAB Compact Disc 027297966420 027297966420 BAB9613 ROCKABYE BABY/BEACH BO YS:LULLA Compact Disc 027297961326 027297961326 BAB9616 ROCKABYE BABY/BEATLES, THE:LULL Compact Disc 027297961623 027297961623 BAB9607 ROCKABYE BABY/BJORK:LU LLABY RE Compact Disc 027297960725 027297960725 BAB9625 ROCKABYE BABY/BLACK SABBATH:LU Com pact Disc 027297962521 027297962521 BAB9695 ROCKABYE BABY/BLUR LU LLABY REN Compact Disc 027297969520 027297969520 BAB9623 ROCKABYE BABY/BOB MARL EY:LULLA Compact Disc 027297962323 027297962323 BAB9670 ROCKABYE BABY/BON JOV I:LULLABY Compact Disc 027297967021 0272979670218 01213 34139 9 0 77775 63572 0 7 24385 42432 80 28944 55582 0 6 02498 39197 67 24383 59762 80 11105 96972 76 02498 64010 4 6 02527 40979 56 02527 95679 48 27865 42272 9 6 02498 88024 16 02517 99575 8 6 19981 33252 1 0 27297 96852 3 0 27297 96232 30 27297 96072 50 27297 96132 6 0 27297 96252 10 27297 96312 2 0 27297 96642 00 27297 96772 40 27297 96792 20 27297 96812 70 27297 96902 5 0 27297 96952 0 0 27297 96702 10 27297 96162 36 00353 08942 6 0 11661 50592 6Catalogue Numb er Artist & Title Description Configuration Scannable UPC UPC BAB9701 ROCKABYE BABY/BRUCE SPR INGSTEE Compact Disc 027297970120 027297970120 BAB9604 ROCKABYE BABY/COLDPLA Y:LULLABY Compact Disc 027297960428 027297960428 BAB9614 ROCKABYE BABY/CURE,THE :LULLABY Compact Disc 027297961425 027297961425 BAB9661 ROCKABYE BABY/DAVID BO WIE LUL Compact Disc 027297966123 027297966123 BAB9615 ROCKABYE BABY/EAGLES, THE:LULLA Compact Disc 027297961524 027297961524 BAB9704 ROCKABYE BABY/ELTON JOHN LULLA Compact Disc 027297970427 027297970427 BAB9703 ROCKABYE BABY/EMINEM LULLABY R Compact Disc 027297970328 027297970328 BAB9709 ROCKABYE BABY /GOOD BABY B(CD+ B Compact Disc 027297970922 027297970922 BAB9624 ROCKABYE BABY/GREEN DAY:LULLAB Compact Disc 027297962422 027297962422 BAB9617 ROCKABYE BABY/KANYE W EST:LULLA Compact Disc 027297961722 027297961722 BAB9678 ROCKABYE BABY/KISS LU LLABY REN Compact Disc 027297967823 027297967823 BAB9601 ROCKABYE BABY/LED Z EPPELIN:LUL Compact Disc 027297960121 027297960121 BAB9699 ROCKABYE BABY/LULLABY RENDITIO Compact Disc 027297969926 027297969926 BAB9700 ROCKABYE BABY/MAROON 5 LULLABY Compact Disc 027297970021 027297970021 BAB9600 ROCKABYE BABY/METALLI CA:LULLAB Compact Disc 027297960022 027297960022 BAB9702 ROCKABYE BABY/NICKELBAC K LULLA Compact Disc 027297970229 027297970229 BAB9621 ROCKABYE BABY/NINE I NCH NAILS: Compact Disc 027297962125 027297962125 BAB9609 ROCKABYE BABY/NIRVANA: LULLABY Compact Disc 027297960923 027297960923 BAB9608 ROCKABYE BABY/NO DOUB T:LULLABY Compact Disc 027297960824 027297960824 BAB9674 ROCKABYE BABY/PEARL JA M LULLAB Compact Disc 027297967427 027297967427 BAB9606 ROCKABYE BABY/PINK FLOYD:LULLA Compact Disc 027297960626 027297960626 BAB9706 ROCKABYE BABY/PINK LU LLABY REN Compact Disc 027297970625 027297970625 BAB9612 ROCKABYE BABY/PIXIES: LULLABY R Compact Disc 027297961227 027297961227 BAB9692 ROCKABYE BABY/PRINCE LULLABY Compact Disc 027297969223 027297969223 BAB9653 ROCKABYE BABY/QUEEN:LU LLABY RE Compact Disc 027297965324 027297965324 BAB9603 ROCKABYE BABY/RADIOH EAD:LULLAB Compact Disc 027297960329 027297960329 BAB9629 ROCKABYE BABY/ROLLING STONES:L Compact Disc 027297962927 027297962927 BAB9694 ROCKABYE BABY/RUSH LU LLABY REN Compact Disc 027297969421 027297969421 BAB9705 ROCKABYE BABY/SILVERCHAIR LULL Compact Disc 027297970526 027297970526 BAB9660 ROCKABYE BABY/THE CL ASH LULLAB Compact Disc 027297966024 0272979660240 27297 96012 10 27297 96142 5 0 27297 96172 2 0 27297 96062 60 27297 96082 4 0 27297 96122 70 27297 96152 4 0 27297 96212 5 0 27297 96292 70 27297 96532 4 0 27297 96602 40 27297 96612 3 0 27297 96742 7 0 27297 96922 30 27297 96992 6 0 27297 97002 10 27297 97012 0 0 27297 97022 90 27297 97032 8 0 27297 97052 60 27297 97062 50 27297 97092 2 0 27297 96032 90 27297 96092 3 0 27297 96942 10 27297 96042 8 0 27297 96782 30 27297 97042 7 0 27297 96242 2 0 27297 96002 2Catalogue Numb er Artist & Title Description Configuration Scannable UPC UPC BAB9691 ROCKABYE BABY/THE SM ITH:LULLAB Compact Disc 027297969124 027297969124 BAB9693 ROCKABYE BABY/U2 MORE LULLABY Compact Disc 027297969322 027297969322 BAB9620 ROCKABYE BABY/U2:LULLABY RENDI Compact Disc 027297962026 027297962026 BAB9675 ROCKABYE BABY/WEEZER:L ULLABY R Compact Disc 027297967526 027297967526 BAB9697 ROCKABYE BABY/WHITE STRIPES LU Compact Disc 027297969728 027297969728 IAKCD36386 ROCKATS,THE/ROCKIN TOGETHER Compact Disc 633090363863 633090363863 ARMD00017 ROCKY ANTHAS GROUP,THE/MIRACLE Compact Disc 689974001727 689974001727 4307032 RODRIGO/CONCIERTO DE ARANJUEZ Compact Disc 028943070324 028943070324 B001684002 RODRIGUEZ,L/MI GENERACION-LOS Compact Disc 602537020140 602537020140 2786542352 RODRIGUEZ,P/SELECCIONES FANIA Compact Disc 827865423528 827865423528 GRLCD146 ROEDELIUS,M/IMAGORI Compact Disc 5060238631907 5060238631907 2786542382 ROENA,R/SELECCIONES FANIA Compact Disc 827865423825 827865423825 UMMC81432 ROGERS,K/COUNTRY BIOGRAPHY Compact Disc 778325814328 778325814328 HELCD9715 ROGERS,K/GREAT AMERICAN HITS Compact Disc 064027971521 064027971521 B000103702 ROGERS,K/THE BEST OF KENNY ROG Compact Disc 602498606766 602498606766 CDFLY409 ROGERS,S/T UNCLAIMED PINT-IN T Compact Disc 018964040925 018964040925 PROPERBOX92 ROGERS,S/WEST COAST JAZZ Compact Disc 805520020923 805520020923 B000980502 ROGUE WAVE/ ASLEEP AT HEAVEN'S Compact Disc 602517449893 602517449893 B001396602 ROGUE WAVE/PERMALIGHT Compact Disc 602527319544 602527319544 B001593809 ROLLING STONES,THE/4 ED SULLIV Digital Video Disc 602527786858 602527786858 B001596709 ROLLING STONES,THE/6 ED S-2DVD Digital Video Disc 602527797717 602527797717 7181242 ROLLING STONES,THE/LET IT BLEE BLU RAY AUDIO 018771812425 018771812425 997952 ROLLINS, S/A NIGHT AT THE VILL Compact Disc 724349979529 724349979529 809112A ROLLINS, S/SONNY ROLLINS VOL 1 Compact Disc 724358091120 724358091120 INTROCD2021 ROLLINS,S/A PROPER INTRO TO:SO Compact Disc 805520060219 805520060219 PROPERBOX124 ROLLINS,S/SAX SYMBOL Compact Disc 805520021241 805520021241 5182642 ROMANO,A/NON DIMENTICAR Compact Disc 731451826429 731451826429 CDBB66001 ROOMFUL OF BLUES/TURN IT ON! T Compact Disc Enhanced 712136600121 712136600121 B000567002 ROOTS,T/HOME GROWN!THE B EXPV1 Compact Disc 602498869352 602498869352 CDHB144 ROSE,M/MICHAEL ROSE Compact Disc 011661764422 0116617644220 18771 81242 56 02498 60676 6 7 24358 09112 07 24349 97952 90 28943 07032 4 6 02498 86935 28 27865 42352 8 8 27865 42382 56 02537 02014 0 6 02527 31954 46 02517 44989 3 7 31451 82642 90 64027 97152 16 89974 00172 70 27297 96752 60 27297 96202 60 27297 96912 4 0 27297 96932 2 0 27297 96972 8 8 05520 06021 9 8 05520 02124 18 05520 02092 37 78325 81432 85 060238 631907 6 33090 36386 3 0 11661 76442 20 18964 04092 5 7 12136 60012 16 02527 78685 8 6 02527 79771 7Catalogue Numb er Artist & Title Description Configuration Scannable UPC UPC 5893322 ROSENBERG TRIO THE/BEST OF THE Compact Disc 731458933229 731458933229 5495812 ROSENBERG TRIOS/SUENOS GITANOS Compact Disc 731454958127 731454958127 5230302 ROSENBERG-TRIO/CARAVAN Compact Disc 731452303028 731452303028 B000073202 ROSENWINKEL,K/HEARTCORE Compact Disc 731458977629 731458977629 346342 ROSNES, RE/ANCESTORS Compact Disc 724383463428 724383463428 472182 ROSS, DON/PASSION SESSION Compact Disc 724384721824 724384721824 5300482 ROSS,D/DIANA & MARVIN Compact Disc 731453004825 731453004825 4674272 ROSSINI/OVERTURES Compact Disc 028946742723 028946742723 B001015702 ROSSUM,E/INSIDE OUT Compact Disc 602517474475 602517474475 4776505 ROSTOPOVICH,M/EARLY RECORDINGS Compact Disc 028947765059 028947765059 4777476 ROSTROPOVICH,M/OM2-ORIGINAL MA Compact Disc 028947774761 028947774761 CDROUN11538 ROTH,A/GUITAR Compact Disc 011661153820 011661153820 PRPCD061 ROTHERAY,D/THE LIFE OF BIRDS Compact Disc 805520030618 805520030618 MWCD3025 ROUDANIYAT ENSEMBLE/AL-HAL (IN Compact Disc 8712618302521 8712618302521 ESR006 ROUE/UPWARD HEROIC MOTIVE Compact Disc 880270030224880270030224 4759107 ROUSSET,C/RAMEAU:OVERTURES Compact Disc 028947591078 028947591078 CDFLY071 ROWAN,P/PETER ROWAN Compact Disc 018964007126 018964007126 BS4509 ROWE,S/LIVE IN MONTREAL Compact Disc 620953304620 620953304620 402172C ROXY MUSIC/COMPLETE STUDIO REC Compact Disc 5099944021726 5099944021726 330169 ROXY MUSIC/T.REX/LIVE Digital Video Disc 801213301690 801213301690 778949B ROXY MUSIC/THRILL OF IT ALL:A Digital Video Disc 094637789490 094637789490 B000978602 ROY AYERS UBIQUITY/LIFELINE Compact Disc 602517448230 602517448230 2743629 ROY HARGROVE QUINT/LIVE AT THE Digital Video Disc 602527436296 602527436296 FNCD5583 ROY/ROSEMARY/ONCE UPON A DREAM Compact Disc 823674008826823674008826 ACX142CD ROYKSOPP AND ROBYN/DO IT AGAIN Compact Disc 5060236632234 5060236632234 ISBCD5008 RUBBERBAND/BEATMAS Compact Disc 620323500829 620323500829 DSRD310801 RUBBERNECK/SMOKE THIS! Compact Disc 057623180121057623180121 B001683802 RUIZ,F/MI GENERACION-LOS CLASI Compact Disc 602537020164 602537020164 PM012 RUN WITH SCISSORS/SHARE THE PA Compact Disc 777320144027777320144027 B001748000 RUSH/2112(BR+CD) BLU RAY + BNS CD 602537150168 602537150168 6 02537 15016 80 28947 59107 80 28947 76505 9 0 28947 77476 10 28946 74272 37 24383 46342 8 5 099944 021726 6 02517 47447 57 31453 00482 57 24384 72182 47 31458 93322 9 6 02537 02016 47 31458 97762 9 6 02517 44823 07 31452 30302 87 31454 95812 7 6 20323 50082 96 20953 30462 08 712618 302521 8 05520 03061 8 8 23674 00882 6 0 57623 18012 18 80270 03022 4 7 77320 14402 75 060236 632234 0 18964 00712 60 11661 15382 0 8 01213 30169 0 6 02527 43629 60 94637 78949 0Catalogue Numb er Artist & Title Description Configuration Scannable UPC UPC 0114311549 RUSH/CLOCKWORK ANGEL(2DVD+T SH Digital Video Disc 601143115493 601143115493 0114311629 RUSH/CLOCKWORK ANGELS(BR+T SHI BLU RAY 601143116292 601143116292 B001536100 RUSH/MOVING PICTURES (CD+BR) CD with DVD 602527636986 602527636986 340292B RUSSELL, L/ASYLUM CHOIR II Compact Disc 724383402922 724383402922 259112 RUSSELL, L/BEST OF Compact Disc 724352591121 724352591121 0743139 RUSSIAN ALL STARS/SLEEPING BEA Digital Video Disc 044007431399 044007431399 B000886909 RUSTED ROOT/RUSTED ROOT Digital Video Disc 602517322967 602517322967 2717116 RYAN,K/FRENCH CONNECTION Compact Disc 602527171166 602527171166 766812 RYDER, SER/IF YOUR MEMORY SERV Compact Disc 094637668122 094637668122 CDPH1201 S.CLEAVES/NO ANGE L KNOWS Compact Disc 011671120126 011671120126 B000025502 S.T.U.N./EVOLUTION OF ENERGY Compact Disc 606949368920 606949368920 CD69886 S.TERRY&MCGEE/SONNY & MCGEE Compact Disc 075026988625 075026988625 TAKCD6507 SAHM,D/HELL OF A SPELL Compact Disc 025218650724 025218650724 1781211 SAINT ETIENNE/LONDON CONVERSAT CD with DVD 602517812116 602517812116 2711899 SAINT ETIENNE/SO TOUGH (CDX2) Compact Disc 602527118994 602527118994 4230632 SAINT SAENS/RONDO CAPRICCIOSO Compact Disc 028942306325 028942306325 XXICD21704 SAINT-DENIS,A/DUBOIS:WORLD PRE Compact Disc 722056170420 722056170420 BAI0242 SAINTS NEVER SURRENDER/HOPE FO Compact Disc 790168578823 790168578823 BAI0292 SAINTS NEVER/BRUTUS Compact Disc 790168617621 790168617621 0209701472 SAINTS OF THE UNDERGROUND/LOVE Compact Disc 802097014720 802097014720 4575992 SAINT-SAENS/CELLO CONCERT Compact Disc 028945759920 028945759920 4358542 SAINT-SAENS/L'ASCENCION Compact Disc 028943585422 028943585422 CD80634 SAINT-SAENS/SYMPHONY NO 3;VARI Compact Disc 089408063428 089408063428 4400631532 SALIVA/BACK INTO YOUR SYSTEM Compact Disc 044006315324 044006315324 5497422 SALVADOR,H/JAZZE! Compact Disc 731454974226 731454974226 MA250366 SAM,D AND HIS MAGN/K NOCK KNOCK Compact Disc 5413992503667 5413992503667 CDFLY630 SANABRIA,B/¡NEW YORK CITY Compact Disc 018964063023 018964063023 B001710302 SANCHEZ,J/AMERICAN IDOL S11 HI Compact Disc 818486011676 818486011676 CCDCD2290 SANCHEZ,P/DO IT! Compact Disc 013431229025 013431229025 CCDCD4825 SANCHEZ,P/HERITAGE SERIES:PONC Compact Disc 013431482529 0134314825296 01143 11629 2 6 02517 81211 66 02527 63698 6 0 75026 98862 57 24352 59112 17 24383 40292 2 0 28943 58542 20 28945 75992 00 28942 30632 50 94637 66812 2 6 06949 36892 0 8 18486 01167 60 44006 31532 46 02527 17116 6 7 31454 97422 66 02527 11899 4 8 02097 01472 07 22056 17042 0 5 413992 503667 7 90168 57882 3 7 90168 61762 10 25218 65072 4 0 13431 22902 5 0 13431 48252 90 18964 06302 30 11671 12012 6 0 89408 06342 80 44007 43139 9 6 02517 32296 76 01143 11549 3Catalogue Numb er Artist & Title Description Configuration Scannable UPC UPC B000170002 SANDOVAL,A/THE VERY BEST OF AR Compact Disc 602498613580 602498613580 SS001 SANDVEISS/SCREAM QUEEN Compact Disc 858526000734 858526000734 3341420410 SANITY DAYS,THE/EVIL BEYOND BE Compact Disc 803341420410 803341420410 NSR048 SANTAH/WHITE NOISE BED Compact Disc 603111926520 603111926520 CCDCD4781 SANTAMARIA,M/AFRO BLUE-PICANTE Compact Disc 013431478126 013431478126 4400882579 SANTANA/SACRED FIRE:LIVE IN ME Digital Video Disc 044008825791 044008825791 5454508482 SANTI,L/MUSICA ORIGINAL DE CUB Compact Disc 654545084829654545084829 B001683602 SANTIAGO,E/MI GENERACION-LOS C Compact Disc 602537020133 602537020133 5318411 SARDOU,M/MASTER SERIE VOL 1 Compact Disc 600753184110 600753184110 MBDCD860057 SARGEIST/HORNED ALM/SPLIT Compact Disc 768586005726 768586005726 MBDCD156 SARGEIST/LET THE DEVIL IN Compact Disc 768586015626 768586015626 MBDCD860042 SARGEIST/SATANIC BLACK DEVOTIO Compact Disc 768586004224 768586004224 SING204 SARSTEDT,P/THE LO ST ALBUM Compact Disc 094922898616 094922898616 ISBCD5065 SASH/TRILENIUM Compact Disc 620323506524 620323506524 CDFLY623 SATAN & ADAM/MOTHER MOJO Compact Disc 018964062323 018964062323 MBDCD196 SATAN'S HOST/VIRGIN SAILS Compact Disc 768586019624 768586019624 ETLCD26 SAUROM/VIDA Compact Disc 045635494749 045635494749 MA250173 SCAGGS,B/RUNNINBLUE Compact Disc 5413992501731 5413992501731 DOG158 SCENE AESTHETIC/BROTHER(DLX) Compact Disc 790168955624 790168955624 CDFLY361 SCHMIDT,C/OUT OF TH E DARK (198 Compact Disc 018964036126 018964036126 4640462 SCHOENBERG/T STRING QUARTET Compact Disc 028946404621 028946404621 CD80372 SCHOENBERG/VERKLARTE NACHT, PE Compact Disc 089408037221 089408037221 4756569 SCHOLL,A/ARIAS FOR SENESINO Compact Disc 028947565697 028947565697 4151862 SCHUBERT/DIE SCHONE VOL. 1 Compact Disc 028941518620 028941518620 4614192 SCHUBERT/GREATEST HITS Compact Disc 028946141922 028946141922 4523932 SCHUBERT/PIANO QUINTET "THE TR Compact Disc 028945239323 028945239323 4710302 SCHUBERT/SCHWANENGESAND D. 957 Compact Disc 028947103028 028947103028 4455142 SCHUBERT/SYMP NO.8 Compact Disc 028944551426 028944551426 4236552 SCHUBERT/SYMPHONY NO.8 Compact Disc 028942365520 028942365520 2894581392 SCHUBERT/THE IMPROMPTUS Compact Disc 028945813929 0289458139290 28947 56569 7 0 28947 10302 80 28941 51862 0 0 28942 36552 00 28944 55142 60 28946 14192 2 0 28945 81392 90 28945 23932 30 28946 40462 18 03341 42041 0 6 02537 02013 3 6 00753 18411 06 02498 61358 0 8 58526 00073 4 6 20323 50652 4 5 413992 501731 0 94922 89861 66 54545 08482 96 03111 92652 0 7 90168 95562 40 13431 47812 6 0 45635 49474 97 68586 01562 6 7 68586 01962 47 68586 00422 47 68586 00572 6 0 18964 03612 60 18964 06232 3 0 89408 03722 10 44008 82579 1Catalogue Numb er Artist & Title Description Configuration Scannable UPC UPC 4717402 SCHUBERT/TROUT QUIN, STR QUAR Compact Disc 028947174028 028947174028 4713692 SCHUMANN/DAVIDSBUNDLERTANZE OP Compact Disc 028947136927 028947136927 4471112 SCHUMANN/PNO QNT,STRING QRTET Compact Disc 028944711127 028944711127 4575912 SCHUMANN/T SYM/GARDINER Compact Disc 028945759128 028945759128 9824058 SCOFIELD,J/LIVE IN MONTREAL Digital Video Disc 602498240588 602498240588 B001265602 SCOFIELD,J/PIETY STREET Compact Disc 602517911369 602517911369 2097165224 SCOT ISLATE/GOOD FIGH T Compact Disc 802097165224 802097165224 B001218402 SCOTT,J/EVERYB ODY'S SOMEBOSY'S Compact Disc 602517868908 602517868908 EK62137 SCOTT,J/WHO IS JILL SCOTT Compact Disc 074646213728 074646213728 PROPERBOX131 SCOTT,R/BOPPIN'WITH SCOTT Compact Disc 805520021319 805520021319 344502 SEALS, DAN/CERTIFIED HITS Compact Disc 724353445027 724353445027 VEGA24392 SEASONS,THE/PULP Compact Disc 619061439225 619061439225 5304193 SEBASTIEN,P/MASTER SERIE Compact Disc 600753041932 600753041932 988452 SECADA, JO/JON SECADA Compact Disc 077779884520 077779884520 PCR010 SECONDSTOGO/SECONDS TO GO Compact Disc 625989543920625989543920 673092B SECRET & W/TEENAGE FANTASY Compact Disc 5099926730929 5099926730929 B000299402 SECRET GARDEN/THE BEST OF SECR Compact Disc 602498203538 602498203538 PM0005 SECRET SUBURBIA/MIDI GRITTY Compact Disc 676868164224676868164224 5388382 SECRET-GARDEN/DAWN OF A NEW CE Compact Disc 731453883826 731453883826 COS33793 SEDAKA,N/IN CONCERT Digital Video Disc 619061379330 619061379330 CDFLY104 SEEGER,P/CARRY IT ON -- SONGS Compact Disc 018964010423 018964010423 295432 SEETHER/HOLDING ON TO STRING B CD with DVD 5099902954325 5099902954325 3757047 SEETHER/SEETHER 2002 TO 20(2CD Compact Disc 602537570478 602537570478 5326672 SEGARA,H/MASTER SERIE Compact Disc 600753266724 600753266724 284093 SEGER, BOB/LIVE BULLET(CD+LG.T Compact Disc 5099902840932 5099902840932 B000642002 SEIM,T/BR AEKKE/EILERTSEN/THE S Compact Disc 602498751527 602498751527 B001491902 SEIM/UTNEM/PURCOR Compact Disc 602527432274 602527432274 HSCD1001 SERATT,K/BEST OF KE NNY SERATT Compact Disc 821252100122 821252100122 525730 SETZER BRIAN OR/IT'S GONNA(DVD Digital Video Disc 640424999544 640424999544 FRBCD1 SEVEN WITCHES/CALL UPON THE WI Compact Disc 039911000014 0399110000145 099902 954325 6 02498 20353 87 24353 44502 7 5 099926 730929 0 28945 75912 80 28947 13692 70 28947 17402 8 0 28944 71112 7 6 02527 43227 46 02498 75152 76 02517 91136 9 7 31453 88382 60 77779 88452 06 00753 04193 2 6 00753 26672 46 02517 86890 8 5 099902 840932 6 19061 43922 5 8 21252 10012 28 05520 02131 9 6 25989 54392 0 6 76868 16422 4 6 02537 57047 8 0 39911 00001 40 74646 21372 8 0 18964 01042 38 02097 16522 46 02498 24058 8 6 19061 37933 0 6 40424 99954 4Catalogue Numb er Artist & Title Description Configuration Scannable UPC UPC FRBCD131 SEVEN WITCHES/REBIRTH Compact Disc 039911013120 039911013120 INTD90299 SEXSMITH,R/WHEREABOUTS Compact Disc 606949029920 606949029920 0249826516 SEXTON,C/THE BEST OF CHARLIE S Compact Disc 602498265161 602498265161 LAM33843 SEXY DANCE Digital Video Disc 619061384334 619061384334 FARO169CD SEXY FI/NUNCA TE VI DE BOA Compact Disc 5060211500992 5060211500992 JDNCCD008X SHACK/TIME MACHINE Compact Disc 50550591008005055059100800 472982 SHAGGY/MR LOVER, LOVER-BEST OF Compact Disc 724384729820 724384729820 953922 SHANKAR, A/BREATHING UNDER WAT Compact Disc 094639539222 094639539222 802952A SHANKAR, A/RISE Compact Disc 724358029529 724358029529 669192 SHANKAR, R/LIVE IN MONTEREY Compact Disc 724356691926 724356691926 669182 SHANKAR, R/PORTRAIT OF A GENIU Compact Disc 724356691827 724356691827 670242 SHANKAR, R/RAVI SHANKAR IN LON Compact Disc 724356702424 724356702424 673092A SHANKAR, R/SOUND OF THE SITAR Compact Disc 724356730922 724356730922 673102B SHANKAR, R/THREE RAGAS Compact Disc 724356731028 724356731028 CDBEYE9545 SHANNON,P/BREAK THE ICE Compact Disc 011661954526 011661954526 CDBEYE9575 SHANNON,P/MIDNIGHT IN MEMPHIS Compact Disc 011661957527 011661957527 SRI00512D SHAVE/FREIDMAN/LIVE FROM DOWN Compact Disc 802396005122 802396005122 FRANSPR008 SHAW,I/SOMEWHERE TO WARDS LOVE Co mpact Disc 5060161950045 5060161950045 B001004202 SHE WANTS REVENGE/THIS IS FORE Compact Disc 602517475861 602517475861 INTROCD2002 SHEARING,G/A PROPER INTRO TO:G Compact Disc 805520060028 805520060028 PROPERBOX40 SHEARING,G/FROM BATTERSEA TO B Compact Disc 805520020404 805520020404 3790891 SHED SEVEN/A MAXIMUM HIGH(2CD) Compact Disc 602537908912 602537908912 3790883 SHED SEVEN/CHANGE GIVER(2CD) Compact Disc 602537908837 602537908837 B001297002 SHEPPARD,A QUINTET/MOVEMENTS I Compact Disc 602517950429 602517950429 MSR10001 SHERWOOD/A DIFFERENT LIGHT Compact Disc 602517238824 602517238824 CMH5240 SHERYL CROW TRIBUTE/BLUEGRASS Compact Disc 027297524026 027297524026 CDROUN2020 SHINES,J/HEY BA-BA-RE-BOP Compact Disc 011661202023 011661202023 B001220902 SHINY TOY GUNS/SEASON OF POISO Compact Disc 602517876347 602517876347 B000761502 SHINY TOY GUNS/WE ARE PILOTS Compact Disc 602517072046 602517072046 MJFR30313 SHIRLEY HORN TRIO/LIVE AT THE Compact Disc 888072303133 8880723031336 02498 26516 1 7 24356 73102 80 94639 53922 2 7 24356 73092 27 24356 69182 77 24358 02952 9 6 02517 95042 97 24356 69192 6 7 24356 70242 4 6 02517 47586 16 06949 02992 0 6 02517 07204 66 02517 87634 76 02537 90883 76 02537 90891 27 24384 72982 0 6 02517 23882 48 02396 00512 2 0 27297 52402 68 05520 06002 8 8 05520 02040 45 060211 500992 5 060161 950045 5 055059 100800 8 88072 30313 30 39911 01312 0 0 11661 95452 6 0 11661 95752 7 0 11661 20202 36 19061 38433 4Catalogue Numb er Artist & Title Description Configuration Scannable UPC UPC MS04 SHOCKED,M/SHORT SHARP SHOCKED Compact Disc 820692100426 820692100426 9869254 SHORT,JD/THE SONET BLUES STORY Compact Disc 602498692547 602498692547 245432 SHORTER, W/ALL SEEING EYE,THE Compact Disc 724352454327 724352454327 335812 SHORTER, W/ETCETERA Compact Disc 724383358120 724383358120 843322 SHORTER, W/SUPER NOVA Compact Disc 077778433224 077778433224 3145896792 SHORTER,W/FOOTPRINTS LIVE! Compact Disc 731458967927 731458967927 4660662 SHOSTAKOVICH/24 PRELUDES & FUG Compact Disc 028946606629 028946606629 4775442 SHOSTAKOVICH/CHAMBER SYMPHONIE Compact Disc 028947754428 028947754428 4674782 SHOSTAKOVICH/SYMPHONIES NOS. 5 Compact Disc 028946747827 028946747827 601392A SHOUT OUT /HOWL HOWL GAFF GAFF Compact Disc 724356013926 724356013926 HAB029 SHOWERS,THE/THE SHOWERS Compact Disc 810775010841 810775010841 9846811 SHUMAN,M/GOLD(2C) Compact Disc 602498468111 602498468111 B000296202 SHYNE/GODFATHER, BURIED ALIVE Compact Disc 602498629567 602498629567 900252A SICK OF IT/DEATH TO TYRANTS Compact Disc 876929002520 876929002520 SID33740 SID'S CYCLE SHOW Digital Video Disc 619061374038 619061374038 SID33911 SID'S CYCLE SHOW S2 PACK Digital Video Disc 619061391134 619061391134 SID33908 SID'S CYCLE SHOW V2 Digital Video Disc 619061390830 619061390830 B001118902 SIE7E/PARA MI Compact Disc 602517681989 602517681989 DSM7554 SIEGAL,D/SPHERE Compact Disc 859701975540 859701975540 PRCCD0092 SILENCER/DEATH PIERCE ME Compact Disc 884388400931 884388400931 4778186 SILLS,B/BELLINI:NORMA Compact Disc 028947781868 028947781868 TSCD450 SILLY SISTERS/PRIOR/TABOR/NO Compact Disc 714822045025 714822045025 SUSHI49CD SILVER OCEAN/LONESOME ECHO PRO Compact Disc 711969107012711969107012 626822 SILVER, HO/DOIN' THE THING AT Compact Disc 094636268224 094636268224 377752 SILVER, HO/HORACE-SCOPE Compact Disc 094633777521 094633777521 651462 SILVER, HO/TOKYO BLUES/RVG SER Compact Disc 5099926514628 5099926514628 PACD53162 SILVER,H/PARIS BLUES Compact Disc 025218531627 025218531627 INTROCD2088 SILVER,S/A PROPER INTRO TO:HOR Compact Disc 805520060882 805520060882 ORCD208 SILVERSTEIN,S & DAILEY,P/UNDER Compact Disc 793447020822 793447020822 0252766913 SILVERSTEIN/RESCUE (DLX) Compact Disc 602527669137 6025276691377 24383 35812 0 0 94633 77752 10 94636 26822 4 5 099926 514628 0 77778 43322 47 24352 45432 7 7 24356 01392 60 28946 60662 9 6 02498 62956 7 0 28947 78186 80 28947 75442 8 0 28946 74782 76 02498 69254 7 6 02527 66913 76 02517 68198 96 02498 46811 17 31458 96792 7 7 93447 02082 28 59701 97554 08 20692 10042 6 8 05520 06088 27 14822 04502 5 7 11969 10701 28 10775 01084 1 8 76929 00252 0 0 25218 53162 78 84388 40093 16 19061 37403 8 6 19061 39083 06 19061 39113 4Catalogue Numb er Artist & Title Description Configuration Scannable UPC UPC 4400316781 SILVERSTEIN/THIS IS HOW THE WI Compact Disc 044003167810 044003167810 XXICD21632 SIMARD,MJ/FABI,M/DVO RAK:VIBRAP Compact Disc 722056163224 722056163224 2785518 SIMON,E/SONGS FOR FRANCKY KNIG Compact Disc 602527855189 602527855189 370429 SIMON,P/LIVE FROM PHILDELPHIA Digital Video Disc 801213704293 801213704293 3735662 SIMONE,N/I PUT A SPELL ON YOU BLU RAY AUDIO 602537356621 602537356621 3145896532 SIMONE,N/THE DIVA SERIES Compact Disc 731458965329 731458965329 131712A SIMPLE MIN/NEW GOLD DREAM(81-2 Compact Disc 724381317129 724381317129 2703208 SIMPLE MINDS/GRAFFITI SOUL Compact Disc 602527032085 602527032085 4766615 SIMPLE MINDS/NEW GOLD DREAM(2C Compact Disc 602547666154 602547666154 0249809841 SIMPLY RED/FAKE Compact Disc EP's 602498098417 602498098417 TSCD553 SIMPSON,M/KIND LETTERS Compact Disc 714822055321 714822055321 TSCD584 SIMPSON,M/PURPOSE GRACE Compact Disc 714822058421 714822058421 TSCD513 SIMPSON,M/THE BRAM BLE BRIAR Compact Disc 714822051323 714822051323 HPO6009 SIMPSON,M/THE DEFINITIVE COLLE Compact Disc 714822600927 714822600927 PVCD138 SIMS,Z/SWING KING Compact Disc 805520051385 805520051385 DTR011 SIMS/LIGHTS OUT PARIS Compact Disc 789577196223 789577196223 992252 SINATRA, F/BEST OF 'CAPITOL' B Compact Disc 077779922529 077779922529 337392A SINATRA, F/COME SWING WITH ME Compact Disc 724353373924 724353373924 804072C SINATRA, F/SINATRA:BEST OF BES Compact Disc 5099968040727 5099968040727 INTROCD2081 SINATRA,F/A PROPER INTRO TO:FR Compact Disc 805520060813 805520060813 CRE3315202 SINATRA,F/COMPLETE SINATRA-BAS Co mpact Disc 888072331525 888072331525 CRE31404 SINATRA,F/MY WAY-40TH ANNIVERS Compact Disc 888072314047 888072314047 CRE31910 SINATRA,F/STRANGERS IN THE NIG Compact Disc 888072319103 888072319103 CRE32026 SINATRA/JOBIM/THE CO MPLETE REP Compact Disc 888072320260 888072320260 BAI0182 SINCE REMEMBERED/COM ING ALIVE Compact Disc 790168540226 790168540226 4376892 SINOPOLI / SKD /SCHUBERT: SYMP Compact Disc 028943768924 028943768924 4775621 SINOPOLI/PO/VERDI;LA FORZA DEL Compact Disc 028947756217 028947756217 0249832578 SIOUSXIE AND THE BANSHEES/GOLD Compact Disc 602498325780 602498325780 0249833194 SIOUXSIE&TH EBANSHEES/THE BEST Co mpact Disc 602498331941 602498331941 TEG2420CD SIR MENELIK/EINSTEIN ROSEN BRI Compact Disc 8028172420208028172420206 02537 35662 1 6 02498 33194 15 099968 040727 7 24353 37392 40 77779 92252 9 0 28947 75621 70 28943 76892 46 02527 03208 5 6 02498 32578 06 02527 85518 9 7 31458 96532 9 7 24381 31712 9 6 02547 66615 47 22056 16322 4 7 89577 19622 3 8 05520 06081 38 05520 05138 57 14822 60092 77 14822 05132 37 14822 05532 1 7 14822 05842 1 8 02817 24202 07 90168 54022 68 88072 31404 7 8 88072 32026 08 88072 33152 5 8 88072 31910 30 44003 16781 0 6 02498 09841 78 01213 70429 3Catalogue Numb er Artist & Title Description Configuration Scannable UPC UPC B000208002 SISSEL/MY HEART Compact Disc 602498165966 602498165966 CDHBEA93 SISTER CAROL/CALL MI SISTER CA Compact Disc 011661759329 011661759329 CDHBEA213 SISTER CAROL/LYRICALLY POTENT Compact Disc 011661771321 011661771321 UMMC81152 SISTER SLEDGE AND TAV/SISTER S C ompact Disc 778325811525 778325811525 PRMCD2015 SKATALITES,THE/ANTHOLOGY Compact Disc 805520290159 805520290159 PVCD109 SKATALITES,THE/L UCKY SEVENS Compact Disc 805520051095 805520051095 BAI0162 SKYLINES/IDENTITY Compact Disc 790168534522 790168534522 CD80418 SKY-MUSIC/YOLANDA KONDONASSIS Compact Disc 089408041822 089408041822 QMG10182 SLOWTRAINSOUL/SANTIMANITAY Compact Disc 182784101828182784101828 CDHBEA39 SLY & ROBBIE/TAXI FARE Compact Disc 011661753921 011661753921 UMMC81132 SLY AND THE FAMILY/SLY AND THE Compact Disc 778325811327 778325811327 RCL2002 SLY&ROBBIE/ROMANTIC REGGAE Compact Disc 609955200222609955200222 8449422 SMALL FACES THE/CLASSIC Compact Disc 042284494229 042284494229 792892B SMASHING P/SIAMESE DREAM (DLX. CD with DVD 5099967928927 5099967928927 905169 SMASHING P/VIEUPHORIA Digital Video Disc 724349051690 724349051690 4674092 SMETANA/MA VL AST Compact Disc 028946740927 028946740927 CD80265 SMETENABENDRI/MA VLAST Compact Disc 089408026522 089408026522 400382A SMITH, JIM/DEFINITIVE SERIES,T Compact Disc 724354003820 724354003820 INTROCD2087 SMITH,J/A PROPER INTRO TO:JOHN Compact Disc 805520060875 805520060875 3145214452 SMITH,J/W.MONTGOMERY/DYNAMIC Compact Disc 731452144522 731452144522 B000852309 SNIDER,T/THE DEVIL YOU KNOW Digital Video Disc 602517239470 602517239470 B001943202 SN OOP DOGG/5 CLASSIC ALBU MS(5C Compac t Disc 602537581078 602537581078 B000376402 SN OOP DOGG/R&G (RHYTHM & GANGS Com pact Di sc 602498648438 602498648438 0249853178 SNOW PATROL/EYES OPEN Compact Disc 602498531785 602498531785 SBESTCD70 SOLAR BEARS/ADVANCEMENT Compact Disc 50510830970175051083097017 B001703759 SOLIS,M A/UNA NOCHE DE LUNA(BR BLU RAY 602537074662 602537074662 27412 SOLITUDES/ASIAN SPA Compact Disc 096741053726 096741053726 41649 SOLITUDES/COSTA RICA Compact Disc 096741206528 096741206528 35661 SOLITUDES/DOLPHIN DREAMS Compact Disc 096741128929 096741128929 48010 SOLITUDES/DREAMING BY THE STRE Compact Disc 096741250125 0967412501256 02537 07466 25 099967 928927 7 24354 00382 00 42284 49422 96 02498 16596 6 0 28946 74092 7 6 02498 64843 86 02537 58107 8 6 02498 53178 57 31452 14452 28 05520 06087 58 05520 29015 9 8 05520 05109 5 6 09955 20022 21 82784 10182 8 5 051083 097017 7 78325 81132 77 78325 81152 5 7 90168 53452 20 11661 77132 1 0 11661 75392 10 11661 75932 9 0 96741 05372 6 0 96741 12892 90 96741 20652 8 0 96741 25012 50 89408 02652 20 89408 04182 2 7 24349 05169 0 6 02517 23947 0Catalogue Numb er Artist & Title Description Configuration Scannable UPC UPC 35660 SOLITUDES/GENTLE WORLD:SANTORI Compact Disc 096741129025 096741129025 41647 SOLITUDES/INDIA Compact Disc 096741206320 096741206320 48013 SOLITUDES/ISLAND SPA Compact Disc 096741250422 096741250422 11873 SOLITUDES/LAND OF T LOON Compact Disc 096741416026 096741416026 43349 SOLITUDES/MUSIC TO INSPIRE POS Compact Disc 096741448386 096741448386 12157 SOLITUDES/NATURAL STRESS RELIE Compact Disc 096741414329 096741414329 12236 SOLITUDES/OCEAN SURF:TIMELESS Compact Disc 096741101427 096741101427 12267 SOLITUDES/PACHELBEL FOREVER BY Compact Disc 096741412127 096741412127 12305 SOLITUDES/PIANO CASCADES Compact Disc 096741415227 096741415227 27418 SOLITUDES/PIANO SONGBIRDS Compact Disc 096741054020 096741054020 48803 SOLITUDES/REFRESH Compact Disc 096741266621 096741266621 48012 SOLITUDES/RELAXING NATURALLY Compact Disc 096741250323 096741250323 33351 SOLITUDES/ROCKY MOUNTAIN RETRE Compact Disc 096741103322 096741103322 35662 SOLITUDES/SLEEP DEEPLY Compact Disc 096741128820 096741128820 12631 SOLITUDES/SONGBIRDS AT SUNRISE Compact Disc 096741412523 096741412523 12921 SOLITUDES/THUNDERSTORM IN THE Compact Disc 096741101328 096741101328 50403 SOLITUDES/ZEN Compact Disc 096741286520 096741286520 35663 SOLITUDES/ZEN RELAXATION Compact Disc 096741128721 096741128721 4777582 SOLLSCHER,G/CAVATINA Compact Disc 028947775829 028947775829 4780351 SOLTI/CSO/MAHLER:SYMPHONY NO.7 Compact Disc 028947803515 028947803515 0881128872 SOMETHING CORPORATE/LEAVING TH Compact Disc 008811288723 008811288723 2729446 SONATA ARCTICA/TAKATAVI Compact Disc 602527294469 602527294469 XXICD21665 SONG,W/BEETHOVEN:PIANO SONATAS Compact Disc 722056166522 722056166522 XXICD21553 SONG,W/MUSSORGSKI Compact Disc 722056155328 722056155328 3020667372 SONS OF THE PIONE/CLASSIC COWB Compact Disc 030206673722 030206673722 3020659352 SOT/IN LIKE FLINT OUR MAN FLIN Compact Disc 030206593525 030206593525 5338598 SOUNDGARDEN/5 CLASSIC ALBUM SE Compact Disc 600753385982 600753385982 B001944902 SOUNDGARDEN/5 CLASSIC ALBUMS(5 Compact Disc 602537581610 602537581610 B001020002 SOUNDTRACK/AMERICAN GANGSTER Compact Disc 602517496828 602517496828 D001355092 SOUNDTRACK/LEMONADE MOUTH Compact Disc 050087239732 0500872397320 28947 80351 5 6 02517 49682 80 28947 77582 9 0 50087 23973 20 08811 28872 3 6 02527 29446 9 6 00753 38598 2 6 02537 58161 07 22056 16652 2 7 22056 15532 80 96741 41602 6 0 96741 41432 9 0 96741 10142 7 0 96741 41212 7 0 96741 41522 7 0 96741 41252 3 0 96741 10132 80 96741 05402 0 0 96741 10332 20 96741 12902 5 0 96741 12882 0 0 96741 12872 10 96741 20632 0 0 96741 44838 6 0 96741 25032 30 96741 25042 2 0 96741 26662 1 0 96741 28652 0 0 30206 59352 50 30206 67372 2Catalogue Numb er Artist & Title Description Configuration Scannable UPC UPC 968112 SOUNDTRACK/LES TRIPLETTES DE B Compact Disc 724359681122 724359681122 D000651192 SOUNDTRACK/PIRATES OF THE CARI Compact Disc 050087169169 050087169169 TB1616 SOUNDTRACK/QUEER AS FOLK-CLUB Compact Disc 661868161625 661868161625 857382B SOUNDTRACK/ROMEO & JULIET 10 A Compact Disc 094638573821 094638573821 4781541 SOUNDTRACK/SEX AND THE CITY-TH Compact Disc 028947815419 028947815419 5327543 SOUNDTRACK/STREETDANCE 3D Compact Disc 600753275436 600753275436 WTM39313 SOUNDTRACK/THE DARK KNIGHT RIS Compact Disc 794043160417 794043160417 BPF1047 SOUNDTRACK/ZACK AND MIRI MAKE Compact Disc 805859104721805859104721 D001824492 SOUNDTRACK-TV/AUSTIN & ALLY Compact Disc 050087287351 050087287351 D000045802 SOUNDTRACK-TV/GREY'S ANATOMY 3 Compact Disc 050087105396 050087105396 CDROUN9027 SPANIC BOYS/STRANGE WORLD Compact Disc 011661902725 011661902725 9843417 SPARKS/KIMONO MY HOU SE(REMASTE Com pact Disc 602498434178 602498434178 5315423 SPENCER DAVIS GROUP,TH E/CLASSI Compact Disc 600753154236 600753154236 5468252 SPENCER, D/CLASSIC SPE NCER DAV Compact Disc 731454682527 731454682527 139559 SPICE GIRL/GIRL POWER! LIVE IN Digital Video Disc 5099951395599 5099951395599 MAJ100053 SPIDER/ROCK N ROLL GYPSIES Compact Disc 842051000536 842051000536 CD83305 SPIES/BY WAY OF T WORLD Compact Disc 089408330520 089408330520 6682521152 SPINNERETTE/SPINNERETTE Compact Disc 066825211526 066825211526 CDRW204 SPIRO/POLE STAR Compact Disc 884108002506 884108002506 9843562 SPRINGFIELD,D/THE COMPLETE BBC Compact Disc 602498435625 602498435625 4812032 SPRINGFIELD,R/SHOCK,ANGER,DENI Compact Disc 766929999923766929999923 4812002 SPRINGFIELD,R/THE DAY AFTER YE Compact Disc 826948120026826948120026 EV306649 SPRINGSTEEN,B/SPRINGSTEEN AN(D Digital Video Disc 801213066490 801213066490 HUCD3127 SPYRA GYRA/ GOOD TO GO-GO Co mpact Disc 053361312725 053361312725 HUCD3154 SPYRO GYRA/DOWN THE WIRE Compact Disc 053361315429 053361315429 HUCD3061 SPYRO GYRA/IN MODERN TIMES Compact Disc 053361306120 053361306120 HUCD3085 SPYRO GYRA/THE DEEP END Compact Disc 053361308520 053361308520 HUSA9107 SPYROGYRA/WRAPPED IN A DREAM SACD4Stereo/Surround/CDAud 053361910761 053361910761 BRE49CD SQUAREPUSHER/MUSIC FOR ROBOTS Compact Disc 45231321854914523132185491 0249832575 SQUEEZE/GOLD Compact Disc 602498325759 602498325759 6 02498 32575 90 94638 57382 1 0 28947 81541 9 0 50087 28735 10 50087 16916 9 0 50087 10539 6 6 02498 43417 8 6 02498 43562 57 31454 68252 76 00753 15423 66 00753 27543 67 24359 68112 2 7 94043 16041 7 8 42051 00053 6 8 84108 00250 68 05859 10472 1 8 26948 12002 67 66929 99992 3 4 523132 185491 0 11661 90272 5 0 89408 33052 0 0 53361 30612 00 53361 31542 9 0 53361 30852 00 53361 31272 56 61868 16162 5 0 66825 21152 6 8 01213 06649 05 099951 395599 0 53361 91076 1Catalogue Numb er Artist & Title Description Configuration Scannable UPC UPC 573562B ST.LAWRENC/GOLIJOV: YIDDISHBUK Compact Disc 724355735621 724355735621 4400141192 ST.LUNATICS/FREE CITY Compact Disc 044001411922 044001411922 916382 STAFFORD, /COLLECTORS SERIES Compact Disc 077779163823 077779163823 PROPERBOX36 STAFFORD,J/YES INDEED! Compact Disc 604988993622 604988993622 CDROUN11580 STAINES,B/THE FIRST MILLION Compact Disc 011661158023 011661158023 FPRNCD15 STAMPFEL,P & BABY GR AMPS/OUTER Compact Disc 751937391623 751937391623 FPRNCD24 STAMPFEL,P & THE ETH/SOUND OF Compact Disc 672617066627 672617066627 3020662152 STANELY,R/ECHOES OF THE STANEL Compact Disc 030206621525 030206621525 3020666692 STANLEY BRO,THE/ESSENTIAL GOSP Compact Disc 030206666922 030206666922 B000758002 STANLEY,P/LIVE TO WIN Compact Disc 602517068162 602517068162 265072 STARFIELD/SAVING ONE,THE Compact Disc 5099922650726 5099922650726 PVCD121 STARR,K/FOR REEL Compact Disc 805520051217 805520051217 CD69832 STARR,L/FRENCH SONGS Compact Disc 075026983224 075026983224 BAI0222 STARS ARE FALLING/C ONSEQUENCES Compact Disc 790168547720 790168547720 BIR10112 STARS ARE/SKYLINE/ SPLIT SERIES Compact Disc 803847701129 803847701129 536132 STARTING L/DIRECTION Compact Disc 094635361322 094635361322 REVEAL018CDX STATE OF THE UNI ON/SNAKE OIL Compact Disc 609224287060 609224287060 7884882327 STATLER BROT,THE/THE BEST FROM Compact Disc 617884882327 617884882327 5330643 STATUS QUO/LIVE AT TH E BBC (2C Compact Disc 600753306437 600753306437 5330661 STATUS QUO/LIVE AT THE BBC (DV Digital Video Disc 600753306611 600753306611 3739854 STATUS QUO/STATUS QUO LIVE(4CD Compact Disc 602537398546 602537398546 3735764 STAY GOLD/RAIN ON OUR PA(INTER Compact Disc 602537357642 602537357642 WJR12 STEAGALL,R/WAGON TRACKS Compact Disc 016351606129 016351606129 CD0424 STECHER,J&BRISLEN,K/HEART SONG Compact Disc 011661042421 011661042421 4664092 STEELE,MERRILL,BART/DECCA YEAR Compact Disc 028946640920 028946640920 B000749702 STEELY DAN/BEST OF Compact Disc 602517058705 602517058705 B000086836 STEELY DAN/GAUCHO SACD4Stereo/Surround/CDAud 602498605103 602498605103 264862 STEINBERG,/WILLIAM ST EINBERG-T Compact Disc 5099902648620 5099902648620 SUSHICD54 STEINER/STEINER Compact Disc 50240170014285024017001428 1789866 STEREOPHONICS/DECADE IN THE SU Compact Disc 602517898660 6025178986606 02517 05870 50 75026 98322 4 6 17884 88232 70 77779 16382 3 5 099922 650726 0 28946 64092 0 5 099902 648620 7 24355 73562 1 6 02517 89866 06 02537 39854 66 00753 30643 76 02517 06816 20 44001 41192 2 6 02537 35764 20 94635 36132 2 0 16351 60612 96 72617 06662 77 51937 39162 36 04988 99362 2 6 09224 28706 08 05520 05121 7 5 024017 001428 7 90168 54772 0 8 03847 70112 9 0 11661 04242 10 11661 15802 3 0 30206 62152 5 0 30206 66692 2 6 00753 30661 1 6 02498 60510 3Catalogue Numb er Artist & Title Description Configuration Scannable UPC UPC 5501082 STEVENS,C/EARLY TAPES Compact Disc 731455010824 731455010824 9810822 STEVENS,C/NEW MASTERS (REMASTE Compact Disc 602498108222 602498108222 501022 STILLS,S/MAN ALIVE Compact Disc 854750001028 854750001028 PRCD242762 STITT,S/GOIN'S DOWN SLOW Compact Disc 025218527620 025218527620 EF30225 STOIC - RED TAG Digital Video Disc 776974302258 776974302258 EF30264 STOIC - SPINDLE Digital Video Disc 776974302647 776974302647 957132C ST OKOWSKI,/BACH BY STOK OWSKI Compac t Disc 5099909571327 5099909571327 RSRCD033 STORM,RY/HURRICANES,THE/LIVE A Compact Disc 5017932000331 5017932000331 B001941202 STRAIT,G/5 CLASSIC ALBUMS(5CD) Compact Disc 602537579082 602537579082 MCBBD6415 STRAIT,G/LIVIN IT UP Compact Disc 076732641521 076732641521 B002567802 STRAIT,G/STRAIT OUT OF THE(3CD Compact Disc 602557141665 602557141665 0881702202 STRAIT,G/THE ROAD LESS TRAVELE Compact Disc 008817022024 008817022024 PRMCD2004 STRANGLERS,THE/THE STRANGLERS Compact Disc 805520290043 805520290043 4647422 STRAUSS & WAGNER/FOUR LAST SON Compact Disc 028946474228 028946474228 NPD85661 STRAUSS,J/NIGHT IN VENICE(CDX2 Compact Disc 032466566127 032466566127 5409382 STRAWBS /JUST A COLLECT Compact Disc 731454093828 731454093828 537282 STRAY CATS/RUNAWAY BOYS: A RET Compact Disc 724385372827 724385372827 INTROCD2046 STRAYHORN,B/A PROPER INTRO TO: Compact Disc 805520060462 805520060462 ETLCD82 STREAM OF PASSION/A WAR OF OUR Compact Disc 784672127356 784672127356 1799546 STREISAND,B/THE CONCERTS (3-DV Digital Video Disc 602517995468 602517995468 1779588 STREISAND,B/THE CONCERTS (BLU- BLU RAY 602517795884 602517795884 5302679 STRWABS/STRAWBS Compact Disc 600753026793 600753026793 B000737602 STUART,M/COMPADRES AN ANTHOLOG Compact Disc 602517045163 602517045163 B001957802 STUDDARD,R/UNCONDITIONAL LOVE Compact Disc 602537606177 602537606177 1166161152 STURR,J/POLKA IN PARADISE Compact Disc 011661611528 011661611528 8216161042 STURR,J/TOP OF THE WORLD Compact Disc 682161610429 682161610429 8378962 STYLE-COUNCIL/T.SINGULAR ADV Compact Disc 042283789623 042283789623 B001943502 STYX/5 CLASSIC ALBUMS(5CD) Compact Disc 602537581061 602537581061 B000441402 STYX/BIG BANG THEORY Compact Disc 602498808610 602498808610 CD69878 STYX/GRAND ILLUSION Compact Disc 075026987826 0750269878266 02517 79588 4 0 75026 98782 66 02498 10822 2 7 24385 37282 75 099909 571327 6 02537 57908 2 6 02537 58106 16 02557 14166 50 76732 64152 1 0 08817 02202 4 6 00753 02679 3 6 02498 80861 06 02517 04516 30 28946 47422 8 0 42283 78962 37 31454 09382 87 31455 01082 4 6 02537 60617 70 32466 56612 7 8 05520 06046 28 05520 29004 35 017932 000331 8 54750 00102 8 0 25218 52762 0 7 84672 12735 6 0 11661 61152 8 6 82161 61042 97 76974 30225 8 7 76974 30264 7 6 02517 99546 8Catalogue Numb er Artist & Title Description Configuration Scannable UPC UPC 0075305246 STYX/THE BEST OF-GREEN SERIES Compact Disc 600753052464 600753052464 734122 SUBDUDES, /BEHIND THE LEVEE Compact Disc 724387341227 724387341227 986512 SUBDUDES, /MIRACLE MULE Compact Disc 724359865126 724359865126 887082 SUBDUDES, /STREET SYMPHONY Compact Disc 094638870821 094638870821 B002454604 SUBLIME/JAH WON'T PAY THE(CASS Cassette Singles 602547756084 602547756084 0249815293 SUGABABES/TOO LOST IN YOU Compact Disc Singles 602498152935 602498152935 MA250228 SUHLER,J&HAYNES,A/ LIVEATTHEBLU Compact Disc 5413992502288 5413992502288 PROPERBOX130 SULLIVAN,M/IT'S WONDERFUL Compact Disc 805520021302 805520021302 214342 SUMAC, YMA/ULTIMATE,THE Compact Disc 724352143429 724352143429 912172B SUMAC, YMA/VOICE OF XTABAY Compact Disc 077779121724 077779121724 GSE705 SUNZOFMAN/THE OLD TESTAMENT Compact Disc 822720770526822720770526 GSE716 SUPER CHRON FLIGHT BROTHERS/EM Compact Disc 822720771622822720771622 EAGDV048 SUPERTRAMP/LIVE IN PAR(2CD+DVD CD with DVD 5051300204822 5051300204822 EREDV891 SUPERTRAMP/LIVE IN PARIS 79 Digital Video Disc 5034504989177 5034504989177 ERBRD5086 SUPERTRAMP/LIVE IN PARIS 79(BR BLU RAY 5051300508678 5051300508678 B001730802 SUPREMES THE/I HEAR A SYMP(2CD Compact Disc 602537123742 602537123742 B001664402 SUPREMES,T/AT THE CO PA EXP(2CD Compact Disc 602527966854 602527966854 4778017 SUTHERLAND,J/HANDEL:ALCINA Compact Disc 028947780175 028947780175 4783243 SUTHERLAND,J;VAR/JOAN SUTHERLA Compact Disc 028947832430 028947832430 SDE1984 SWAMP DOGG/ THE WHITE MAN MA DE Compac t Disc 722247198424 722247198424 100142D SWARM OF T/SIRENS OF SILENCE Compact Disc 727701001425 727701001425 MA251017 SWARM/BEYOND THE END Compact Disc 5413992510177 5413992510177 CDFLY375 SWEET HONEY IN /FEEL SOMETHING Compact Disc 018964037529 018964037529 CDFLY022 SWEET HONEY IN /SWEET HONEY IN Compact Disc 018964002220 018964002220 NSR1082 SWELLERS,T/THE LIGHT UNDER CLO Compact Disc 603111810829 603111810829 BMRTS0340C SWIFT,T/SPEAK NOW WORL D (BR+CD BLU RAY + BNS CD 843930005987 843930005987 8382932 SWING OUT SISTE/KALEI DOSCOPE W Compact Disc 042283829329 042283829329 EMT33538 SWISS FAMILY ROBINSON Digital Video Disc 619061353835 619061353835 517362 SWITCHFOOT/LEARNING TO BREATHE Compact Disc 724385173622 724385173622 0251705486 SWOLLEN MEMBERS/BLACK MAGIC Compact Disc 602517054868 6025170548685 051300 508678 8 43930 00598 76 02547 75608 4 5 051300 204822 0 77779 12172 47 24352 14342 9 7 24385 17362 20 28947 83243 00 28947 78017 56 02527 96685 46 02537 12374 2 0 42283 82932 97 24387 34122 7 0 94638 87082 17 24359 86512 6 6 02517 05486 86 00753 05246 4 7 22247 19842 45 413992 502288 5 413992 510177 8 05520 02130 2 8 22720 77052 6 8 22720 77162 2 6 03111 81082 97 27701 00142 5 0 18964 00222 00 18964 03752 96 02498 15293 5 6 19061 35383 55 034504 989177 Catalogue Numb er Artist & Title Description Configuration Scannable UPC UPC 80086710092 SWOLLENMEMBERS/BAD DREAMS VOL2 Compact Disc 800867100925 800867100925 80086710132 SWOLLENMEMBERS/MONSTERS IN THE Compact Disc 800867101328 800867101328 XXICD21717 SYLVESTRE,S/BRAHMS: OEUVRES POU Compact Disc 722056171724 722056171724 CD80476 SYMPHONIC-ROCK/AME RICAN/LSO Compact Disc 089408047626 089408047626 B000427202 SZABOR,G/SPELLBINDER Compact Disc 602498802755 602498802755 4400641072 T.A.T.U./200 KM/H IN THE WRONG Compact Disc Enhanced 044006410722 044006410722 3145348362 T.KEITH/DREAM WALKING Compact Disc 731453483620 731453483620 TSCD298 TABOR,J/AIRS AND GRACES Compact Disc 5016272298026 5016272298026 TSCD449 TABOR,J/AQABA Compact Disc 5016272449022 5016272449022 TSCD360 TABOR,J/ASHES AND DIAMONDS Compact Disc 5016272360020 5016272360020 TSCD410 TABOR,J/SIMPSON,M/ A CUT ABOVE Compact Disc 5016272410022 5016272410022 HPO6003 TABOR,J/THE DEFINITIVE COLLECT Compact Disc 714822600323 714822600323 CDWRES2001 TAILGATORS /SWAMP ROCK Compact Disc 027524200129 027524200129 CDWRES1987 TAILGATORS /TORE UP Compact Disc 027524198723 027524198723 HPO6015 TAMS,J/THE DEFINI TIVE COLLECTI Compact Disc 714822601528 714822601528 TSCD551 TAMS,J/THE RE CKONING Compact Disc 714822055123 714822055123 0251750950 TARJA/MY WINTER STORM(DELUXE) CD with DVD 602517509504 602517509504 XXICD21666 TARREGA,F/COMPLETE GUITAR WORK Compact Disc 722056166621 722056166621 250489 TASHI LHUNPO MONKS/DAWN TILL D Compact Disc 5065001057021 5065001057021 402252A TATUM, ART/DEFINITIVE SERIES,T Compact Disc 724354022524 724354022524 PROPERBOX60 TATUM,A/PIANO GRAND MASTER Compact Disc 805520020602 805520020602 842372 TAYLOR, CE/UNIT STRUCTURES Compact Disc 077778423720 077778423720 058112 TAYLOR, JA/JAMES TAYLOR Compact Disc 5099990581120 5099990581120 CDROUN0011 TAYLOR, TUT /FRIAR TUT Compact Disc 011661001121 011661001121 FRANTCD6046 TAYLOR,G W/CC JEROME'S JET SET Compact Disc 8437010194382 8437010194382 CD80124 TCH/P CON NO.1 - PRO/P CON 3 Compact Disc 089408012426 089408012426 4174132 TCHAIK/EUGENE ONEGIN/SOLTI Compact Disc 028941741325 028941741325 DVDA70541 TCHAIKOVSKY/1812 OVER TURE (DVD DVD Audio 089408054198 089408054198 0741949 TCHAIKOVSKY/MAZEPPA Digital Video Disc 044007419496 044007419496 4717422 TCHAIKOVSKY/SYMPHONY NO.6 Compact Disc 028947174226 0289471742266 02517 50950 4 7 24354 02252 4 0 77778 42372 0 0 28941 74132 5 0 28947 17422 65 099990 581120 7 31453 48362 08 00867 10092 5 8 00867 10132 8 6 02498 80275 5 7 22056 16662 17 22056 17172 4 5 016272 410022 5 065001 057021 7 14822 60032 3 8 437010 194382 7 14822 60152 8 8 05520 02060 25 016272 298026 5 016272 360020 5 016272 449022 7 14822 05512 3 0 11661 00112 10 27524 19872 30 27524 20012 90 89408 04762 6 0 89408 01242 60 44006 41072 2 0 44007 41949 60 89408 05419 8Catalogue Numb er Artist & Title Description Configuration Scannable UPC UPC 4362862 TE KANAWA/T ESSENTIAL.... Compact Disc 028943628624 028943628624 297212 TEA PAR TY,/INTERZONE MANT RAS Compac t Disc 724352972128 724352972128 954772B TEA PARTY,/SEVEN CIRCLES Compact Disc 724359547725 724359547725 553082 TEA PARTY,/TRANSMISSION Compact Disc 724385530821 724385530821 965452B TEA PARTY,/TRIP TYCH Compact Disc 724349654525 724349654525 372400 TEA PARTY/ALHAMBRA Compact Disc 724383724000 724383724000 4781393 TEABALDI,R/PUCCINI:MADAME BUTT Compact Disc 028947813934 028947813934 2796646 TEARDROP EXPLODE/WILDER(2CD) Compact Disc 602527966465 602527966465 3794991 TEARS FOR F/SONGS FROM(4CD+DVD BLU RAY+CD+DVD 602537949915 602537949915 3743330 TEARS FOR F/THE HURTING(CD+DVD CD with DVD 602537433308 602537433308 3145424922 TEARS FOR FEARS/THE BEST OF TE Compact Disc 731454249225 731454249225 4126292 TE-KANAWA/AVE MA RIA Compact Disc 028941262929 028941262929 4472962 TELEMANN/TAFELMUSIK/GOEBEL Compact Disc 028944729627 028944729627 BIR10082 TEN 33/EMERGENCY EMERGENCY Compact Disc 776098155426 776098155426 BIR10122 TEN 33/NIGHTMARE ON GRACE STRE Compact Disc 803847701228 803847701228 TYACD790020T TEN YEARS AFTER/EVOLUTION Compact Disc 899079002059 899079002059 TYADVD900207 TEN YEARS AFTER/LIVE AT FI(DVD Digital Video Disc 899079002073 899079002073 SFMDVD109 TEN YEARS AFTER/LIVE FROM L(DV Digital Video Disc 5055544201364 5055544201364 TYACD900206 TEN YEARS AFTER/ROADWORKS(2CD) Compact Disc 899079002066 899079002066 B001985602 TENCH,B/YOU SHOULD BE SO LUCKY Compact Disc 602537652167 602537652167 0114310772 TENG,V/WARM STRANGERS Compact Disc 601143107726 601143107726 PRCCD0172 TENHI/KAUAN Compact Disc 884388701731 884388701731 4776358 TERFEL,B/SCHUBERT:AN DIE MUSIK Compact Disc 028947763581 028947763581 4776686 TERFEL,B/WILLIAMS/IRELAND/MOZA Compact Disc 028947766865 028947766865 CDHBEA3506 TERMITES /DO THE ROCK ST Compact Disc 011661350625 011661350625 B001091102 TERNHEIM,A/HALFWAY TO FIVEPOIN Compact Disc 602517627826 602517627826 8485782 TEXAS /MOTHER HEAVEN Compact Disc 042284857826 042284857826 909879 THALIA/GREATEST HITS Digital Video Disc 724349098794 724349098794 3764398 THERAPY/INFERNAL LOVE(2CD) Compact Disc 602537643981 602537643981 3764338 THERAPY/TROUBLEGUM (3CD) Compact Disc 602537643387 6025376433876 02537 94991 5 6 02537 43330 8 7 31454 24922 5 0 28944 72962 7 6 02537 65216 70 28943 62862 4 0 28947 81393 4 0 28947 76686 50 28947 76358 1 6 02517 62782 67 24352 97212 8 7 24383 72400 07 24385 53082 17 24359 54772 5 7 24349 65452 5 6 02527 96646 5 6 02537 64338 76 02537 64398 10 42284 85782 60 28941 26292 9 7 76098 15542 6 8 03847 70122 8 8 99079 00205 9 8 99079 00206 6 8 84388 70173 16 01143 10772 6 0 11661 35062 5 7 24349 09879 45 055544 201364 8 99079 00207 3Catalogue Numb er Artist & Title Description Configuration Scannable UPC UPC 4775797 THIELEMANN,C/MOZART:REQUIEM Compact Disc 028947757979 028947757979 0147222 THIELEMANS,T & WERNER,K/TOOTS Compact Disc 044001472220 044001472220 8250862 THIELEMANS,T/T SILVER COLLN Compact Disc 042282508621 042282508621 3145352712 THIELEMANS,T/VJM #59 Compact Disc 731453527126 731453527126 8205282 THIN LIZZY /THIN LIZZY Compact Disc 042282052827 042282052827 2772700 THIN LIZZY/BLACK ROSE(2CD) Compact Disc 602527727004 602527727004 2772696 THIN LIZZY/CHINATOWN(2CD) Compact Disc 602527726960 602527726960 5332073 THIN LIZZY/LIVE AND DANGEROUS( CD with DVD 600753320730 600753320730 2792639 THIN LIZZY/LIVE AT THE NATIONA Digital Video Disc 602527926391 602527926391 5343100 THIN LIZZY/SHADES OF A BLUE(2C Compact Disc 600753431009 600753431009 5333405 THIN LIZZY/WAITING FOR AN ALIB Compact Disc 600753334058 600753334058 GSE711CD THIRSTON HOWL III & RACK LO/LO Compact Disc 822720771127822720771127 0249870153 THIRTEEN SENSES/THE INVITATION Compact Disc 602498701539 602498701539 BAI0532 THIRTYSEVEN/THIS IS WH AT I WAN Compact Disc 603111968124 603111968124 0209701182 THOMAS,C/SO MUCH BETTER Compact Disc 802097011828 802097011828 SLR010 THOMAS,P/PRIYA THOMAS IS BLOOD Compact Disc 094922980373094922980373 CDROUN2161 THOMPSON, JOE /FAMILY TRADITI Compact Disc 018964216122 018964216122 NAVIGATOR35 THOMSON,I/SHIPWRE CKS AND STATI C ompact Disc 5060169470842 5060169470842 130512 THORN, PAU/MISSION TEMPLE FIRE Compact Disc 724381305126 724381305126 INTROCD2078 THORNTON,BM/A PROPER INTRO TO: Compact Disc 805520060783 805520060783 XXICD21702 THOUIN,O/FAURE:L'OEUVRE POUR V Compact Disc 722056170222 722056170222 882472 THOUSAND F/FLAME INSIDE US ALL Compact Disc 094638824725 094638824725 B001908502 THOUSAND FOOT/MADE IN CANADA T Compact Disc 602537444380 602537444380 4788601 THREE TENORS/25TH ANNIVE(CD+DV CD with DVD 028947886013 028947886013 B000542802 THRICE/VHEISSU Compact Disc 602498852453 602498852453 0209701462 THRILLVILLE/STRAIGHT UP,NO CHA Compact Disc 802097014621 802097014621 BAI0624 TIGERWINE/LULL Cassette 603111969046 603111969046 3020667412 TILLOTSON,J/SINGS HIS GREA(DVD Digital Video Disc 030206674125 030206674125 CCDCD4813 TJADER,C/HERITAGE SERIES:CAL T Compact Disc 013431481324 013431481324 B001188502 TJADER,C/PLAYS CONTEMPORARY MU Compact Disc 602517823952 6025178239526 03111 96904 60 28947 88601 36 00753 32073 0 0 94638 82472 5 6 02537 44438 00 42282 05282 70 28947 75797 9 6 02498 85245 36 02527 72700 4 6 02498 70153 96 02527 72696 0 7 24381 30512 66 00753 33405 86 00753 43100 9 6 02517 82395 20 44001 47222 0 7 31453 52712 60 42282 50862 1 8 02097 01182 8 8 02097 01462 17 22056 17022 25 060169 470842 8 05520 06078 38 22720 77112 7 0 94922 98037 36 03111 96812 4 0 13431 48132 40 18964 21612 26 02527 92639 1 0 30206 67412 5Catalogue Numb er Artist & Title Description Configuration Scannable UPC UPC 9874154 TOKIO HOTEL/SCHREI Compact Disc 602498741542 602498741542 1723094 TOKIO HOTEL/ZIMMER 483 Compact Disc 602517230941 602517230941 5305208 TOMATITO/TOMATITO (ANTHOLOGY) Compact Disc 600753052082 600753052082 IEG3042 TOMMY CHONG-USA V THOMAS B KIN Digital Video Disc 623667304207 623667304207 VEGA24552 TOMMY T/SOULMATE Compact Disc 619061455225 619061455225 SPEC008 TONY KOFI QUARTET/THE SILENT T Compact Disc 805520070089 805520070089 CDROUN2090 TORKANOWSKY, DA/STEPPIN' OUT Compact Disc 011661209022 011661209022 CCDCD4248 TORME,M & SHEARING,G/AN EVENIN Compact Disc 013431424826 013431424826 PROPERBOX73 TORME,M/JAZZ AND VELVET Compact Disc 805520020732 805520020732 UMMC96251 TORME,M/PURE VELVET Compact Disc 778325962517 778325962517 CCDCD4542 TORME,M/SING SING SING Compact Disc 013431454229 013431454229 CDROUN8015 TORRENCE, JACKI/CL ASSIC CHILDR Compact Disc 011661801523 011661801523 ETLCD71 TORTURE SQUAD/ESCUA DRAO DE TOR Compact Disc 820103590969 820103590969 8482892 TOUPS & ZYDECAJ/FISH OUT OF WA Compact Disc 042284828925 042284828925 8465842 TOUPS & ZYDECAJ/ZYDECAJUN Compact Disc 042284658423 042284658423 3145438142 TOWNER,R/ANTHEM Compact Disc 731454381420 731454381420 B000685702 TOWNSHEND,P/ALL THE BEST COWBO Compact Disc 602498574751 602498574751 B000647102 TOWNSHEND,P/ANOTHER SCOOP(2CD) Compact Disc 602498539538 602498539538 B000644409 TOWNSHEND,P/PSYCHO DERELICT LI Digital Video Disc 602498233696 602498233696 B000677602 TOWNSHEND,P/PSYCHODE RELICT Compact Disc 602498789698 602498789698 B000647202 TOWNSHEND,P/SCOOP 3(2CD) Compact Disc 602498539569 602498539569 B000713302 TOWNSHEND,P/THE IRON MAN THE M Compact Disc 602517015494 602517015494 B000684102 TOWNSHEND,P/WHITE CITY Compact Disc 602498572375 602498572375 TB07TA002 TOY BOX/THE ASSASSINATION OF Compact Disc 829982095503829982095503 CIDM9180 TRAFFIC/LOW SPARK OF HIGHHEELE Compact Disc 075679002624 075679002624 5105532 TRAFFIC/SMILING PHASES Compact Disc 731451055324 731451055324 0249884292 TRAGICALLYHIP,T/HIPEPONYMOUS L CD with DVD 602498842928 602498842928 SIXLP00068 TRAMPLED BY TURT LES/STARS AND C ompact Disc 794504674422 794504674422 ETLCD85 TRANSMETAL/PEREGRINACION A LA Compact Disc 784672294096 784672294096 MA250140 TRAVERS & APPICE/ BAZOOKA Compact Disc 5413992501403 54139925014036 02498 84292 87 31454 38142 06 00753 05208 2 6 02498 57237 56 02498 57475 1 6 02498 53953 8 6 02498 53956 96 02498 78969 8 6 02517 01549 46 02517 23094 16 02498 74154 2 0 75679 00262 40 42284 65842 30 42284 82892 5 7 31451 05532 46 19061 45522 5 5 413992 501403 8 05520 02073 28 05520 07008 9 8 29982 09550 37 78325 96251 70 13431 42482 6 0 13431 45422 9 8 20103 59096 9 7 84672 29409 60 11661 20902 2 0 11661 80152 3 7 94504 67442 26 02498 23369 66 23667 30420 7Catalogue Numb er Artist & Title Description Configuration Scannable UPC UPC MA250299 TRAVERS AND APPICE/BOOM(CD+DVD CD with DVD 5413992502998 5413992502998 PVCD123 TRAVIS,M/HOT PICKIN' Compact Disc 805520051231 805520051231 NSR0892 TRC/NATION Compact Disc 603111808925 603111808925 CDROUN9028 TREAT HER RIGHT/WHAT'S GOOD FO Com pact Di sc 011661902824 011661902824 3765694 TREATMENT,THE/RUNNING WITH THE Compact Disc 602537656943 602537656943 4781535 TREBALDI,R/VOCE D'ANGELO(64CD Compact Disc 028947815358 028947815358 CMH9531 TRIBUTE/BLUEGRASS TRIB:NEIL YO Compact Disc 027297953123 027297953123 MA251053 TRIBUTETOGUNSNROSES/UNCIVILWAR Compact Disc 5413992510535 5413992510535 CDROUN0171 TRISCHKA, TONY /A ROBOT PLANE Compact Disc 011661017122 011661017122 1896401242 TRISCHKA,T/FIDDLE TUNES FOR BA Compact Disc 018964012427 018964012427 PROPERBOX64 TRISTANO,L/INTUITION Compact Disc 805520020640 805520020640 MA250103 TR OGGS,THE/GODFATHERS OF PUNK Com pact Di sc 5413992501038 5413992501038 MCBBD2377 TROOPER/THICK AS THIEVES Compact Disc 076732237724 076732237724 ESADVD700000 TROUBLE/LIVE IN STOCKHOLM(DVD) Digital Video Disc 878667000004 878667000004 ESACD700017 TROUBLE/PLASTIC GREEN HEAD(2CD Compact Disc 878667000172 878667000172 ESACD700011 TROUBLE/PSALM 9 Compact Disc 878667000110 878667000110 ESACD700012 TROUBLE/THE SKULL Compact Disc 878667000127 878667000127 082432 TROY, DORI/DORIS TROY Compact Disc 5099990824326 5099990824326 8216104262 TROY,L/THE OLD GREY MARE Compact Disc 682161042626 682161042626 426372 TRU CRIME/DA CRIME FAMILY Compact Disc 5099964263724 5099964263724 CDROUN1124 TSITSANIS, VASS/1936-1946 Compact Disc 011661112421 011661112421 3145287312 T-T.HALL/COUNTRY SONGS FOR CHI Compact Disc 731452873125 731452873125 PROPERBOX54 TUBB,E/THE TEX AS TROUBADOUR Compact Disc 805520020541 805520020541 0694907662 TUBES T/THE BEST OF THE TUBES- Compact Disc 606949076627 606949076627 4778796 TUKUR,U/MEZZANOTTE Compact Disc 028947787969 028947787969 PTV19 TULSA/I WAS SUBMERGED Compact Disc 723721323851723721323851 100152D TURMOIL/STARING BACK Compact Disc 727701001524 727701001524 4742868 TURNER,F/POSITIVE SONGS FO(DLX Compact Disc 602547428684 602547428684 QMG10072 TURNER,G/GU APAPASEA! Compact Disc 182784100722182784100722 UMMC81012 TURNER,I AND TINA/IKE & TINA T Compact Disc 778325810122 7783258101225 413992 502998 6 06949 07662 75 099964 263724 0 28947 81535 8 0 28947 78796 95 099990 824326 0 76732 23772 4 7 31452 87312 5 6 02547 42868 46 02537 65694 3 0 27297 95312 3 5 413992 501038 5 413992 510535 8 05520 02054 18 05520 05123 1 8 05520 02064 0 7 23721 32385 1 1 82784 10072 2 7 78325 81012 26 03111 80892 5 7 27701 00152 48 78667 00011 0 8 78667 00012 78 78667 00017 20 18964 01242 7 6 82161 04262 60 11661 01712 2 0 11661 11242 10 11661 90282 4 8 78667 00000 4Catalogue Numb er Artist & Title Description Configuration Scannable UPC UPC 330229 TURNER,IKE & T/LIVE Digital Video Disc 801213302291 801213302291 MA250182 TURNER,IKE&TINA/SIMP LYTHEVERYB Compact Disc 5413992501823 5413992501823 114942A TURRENTINE/THAT'S WHERE IT'S A Compact Disc 094631149429 094631149429 250132 TWISTED SISTER/STILL HUNGRY Compact Disc 826992501321 826992501321 250482 TWISTED SISTER/U CAN'T STOP RO Compact Disc 826992504827 826992504827 250472 TWISTED SISTER/UNDER THE BLADE CD with DVD 826992504728 826992504728 MCBBD31238 TWITTY CONWAY /VERY BEST OF Compact Disc 076731123820 076731123820 3020669742 TWITTY,C/12 NUMBER ONE HITS Compact Disc 030206697421 030206697421 PSY42082 TWIZTID/CRYPTIC COLLECTION 4 Compact Disc 7565044208297.56504E+11 FRANIRL047 TWO SPOT GOBI/THE SUN WILL RIS Compact Disc 5060155720708 5060155720708 SACD63576 TYNER,M/LAND OF GIAN TS SACD4Stereo/Surround/CDAud 089408357664 089408357664 DIS614417 TYRELL,S/THE DISNEY ST ANDARDS Compact Disc Enhanced 050086144174 050086144174 2778833 U2/ACHTUNG BABY (UBER DELUXE) CD with DVD 602527788333 602527788333 1761670 U2/BOY (REMASTERED) Compact Disc 602517616707 602517616707 7162256 U2/I'LL GO CRAZY IF I DON'T GO Compact Disc 602527162256 602527162256 1764193 U2/OCTOBER (DLX.REMASTERED) Compact Disc 602517641938 602517641938 0249811969 U2/U2 GO HOME-LIVE(LONG DIGIPA Digital Video Disc 602498119693 602498119693 1761675 U2/WAR (DELUXE REMASTERED) Compact Disc 602517616752 602517616752 330329 UB40/LIVE Digital Video Disc 801213303298 801213303298 3145125712 UGLY-KID-JOE/AMERICA 'S LEAST Compact Disc 731451257124 731451257124 712372B UNDEROATH/CHANGING OF THE TIM Compact Disc 647077123722 647077123722 3792926 UNDERWORLD/DUBNOBASSWITHMYHEAD BLU RAY AUDIO 602537929269 602537929269 UMMC53673 UNITED STUDIO ORC/MUSICALS(3CD Compact Disc 778325536732 778325536732 91033 UNIVERSAL HONEY/CAN'T STOP HON Compact Disc 652419103324652419103324 910062 UNIVERSAL HONEY/FEARLESS Compact Disc 652419100620652419100620 910412 UNIVERSAL HONEY/INVINCIBLE Compact Disc 652419104123652419104123 910032 UNIVERSAL HONEY/UNIVERSAL HONE Compact Disc 652419100323652419100323 91099 UNIVERSAL HONEY/VICIOUS CIRCLE Compact Disc 652419109920652419109920 3145409702 UNKLE/PSYENCE FI CTION Compact Disc 731454097024 731454097024 4790778 URMANA,V/OTTER/QUAST/MAHLER BLU RAY AUDIO 028947907787 028947907787 0 28947 90778 76 02537 92926 98 26992 50472 8 6 02527 78833 3 7 31454 09702 40 94631 14942 9 6 47077 12372 28 26992 50132 1 8 26992 50482 7 6 02517 61670 7 6 02517 61675 26 02517 64193 80 76731 12382 0 6 02527 16225 6 7 31451 25712 45 413992 501823 5 060155 720708 6 52419 10032 36 52419 10062 06 52419 10332 4 6 52419 10412 3 6 52419 10992 07 78325 53673 20 30206 69742 1 7 56504 42082 9 0 50086 14417 48 01213 30229 1 8 01213 30329 86 02498 11969 30 89408 35766 4Catalogue Numb er Artist & Title Description Configuration Scannable UPC UPC MRBCD049 V.A./BOTTLETOP SOUND AFFECTS:B Compact Disc 50240170032245024017003224 MRBCD021 V.A./BRAZILIAN BEATS 3 Compact Disc 711969103427711969103427 MRBCD038 V.A./BRAZILIAN BEATS 3 & 4 Compact Disc 50240170001245024017000124 MRBCD029 V.A./BRAZILIAN BEATS 4 Compact Disc 711969105124711969105124 MRBCD036 V.A./BRAZILIAN BEATS 6 Compact Disc 711969109429711969109429 MRBDVD02 V.A./BRAZILIAN BEATS DVD Digital Video Disc 50240170006985024017000698 MRBCD048 V.A./BRAZILIAN BEATS N PIECES Compact Disc 50240170038285024017003828 MRBCD035 V.A./FUNK CARIOCA Compact Disc 711969108514711969108514 MRBCD024 V.A./FUTEBOL-THE SOUND OF BRAS Compact Disc 711969104424711969104424 MRBCD065 V.A./MR BONGO-THE BEST OF Compact Disc 711969111729711969111729 CDROUN8081 VALERI, MICHELE/DINOSAUR ROCK Compact Disc 011661808126 011661808126 61310662 VALES/WILT AND RISE Compact Disc 612851595880 612851595880 AC193735 VAN BUUREN,A/ASOT YEARMIX(8CD) Compact Disc 87185210097248718521009724 ARMA433 VAN BUUREN,A/CLUB EMBRACE(2CD) Compact Disc 87185221087548718522108754 ARMA285 VAN BUUREN,ARMIN/A STATE OF TR Compact Disc 87173069734108717306973410 3732983 VAN DE WOUW,R/NEON Compact Disc 602537329830 602537329830 CDPHIL1036 VAN RONK, DAVE /SUNDAY STREET Compact Disc 018964103620 018964103620 5368207 VANGELIS/DELECTUS TH E 73-85(13 Compact Disc 600753682074 600753682074 ESACD700020 VANILLA FUDGE/OUT THROUGH THE Compact Disc 878667000202 878667000202 MA250159 VANILLAFUDG E/GOODGOODROCKIN Co mpact Disc 5413992501595 5413992501595 VIT8495 VAR/ THE STRING QUARTET TRIBUT Compact Disc 027297849525 027297849525 61688 VAR/100 PROOF SOUTHERN ROCK Compact Disc 096741472022 096741472022 CMH4904 VAR/16 GREATEST BLUEGRASS HITS Compact Disc 027297490420 027297490420 799682 VAR/2013 GRAMMY NOMINEES Compact Disc 5099997996828 5099997996828 CD8558 VAR/25 GREATEST BLUEGRASS HIT Compact Disc 027297855823 027297855823 CDAN25 VAR/25 YEARS OF ROUNDER RECORD Compact Disc 011661852525 011661852525 4662412 VAR/40 FAMOUS MARCHES Compact Disc 028946624128 028946624128 B001937102 VAR/5 CLASSIC ALBUMS(5CD) Compact Disc 602537570621 602537570621 B001946602 VAR/5 CLASSIC ALBUMS(5CD) Compact Disc 602537583829 602537583829 FVDD168 VAR/50 SONGS THAT THE BEAC(2CD Compact Disc 5055311001685 50553110016855 099997 996828 6 02537 57062 1 6 02537 58382 90 28946 62412 86 00753 68207 46 02537 32983 0 0 27297 85582 30 27297 49042 00 27297 84952 5 5 055311 001685 5 413992 501595 7 11969 10342 7 7 11969 10442 47 11969 10512 4 7 11969 10851 47 11969 10942 95 024017 000124 5 024017 003828 5 024017 003224 7 11969 11172 9 8 718521 009724 8 717306 973410 8 718522 108754 6 12851 59588 0 8 78667 00020 2 0 11661 85252 50 18964 10362 00 11661 80812 6 0 96741 47202 25 024017 000698 Catalogue Numb er Artist & Title Description Configuration Scannable UPC UPC CD9045 VAR/50 YRS OF BLUEGRASS V1 Compact Disc 027297904521 027297904521 CD9046 VAR/50 YRS OF BLUEGRASS V2 Compact Disc 027297904620 027297904620 CD9048 VAR/50 YRS OF BLUEGRASS V4 Compact Disc 027297904828 027297904828 UMMC63492 VAR/60 1 POP HITS(4CD) Compact Disc 778325634926 778325634926 UMMC63472 VAR/60 HAPPY TODDLER HITS(4CD) Compact Disc 778325634728 778325634728 84782 VAR/80'S LOVE SONGS Compact Disc 724358478228 724358478228 8824009 VAR/A CELLARFUL OF MOTOWN V4 Compact Disc 042288240099 042288240099 PRMCD6057 VAR/A HISTORY OF JAZZ FROM BRA Compact Disc 805520090575 805520090575 3020630302 VAR/A LOUNGED OUT HOMAGE TO TH Compact Disc 030206303025030206303025 EGR24032 VAR/A MI MANERA ESE NCIA DE CUB Compact Disc 619061403226 619061403226 PRPS2008 VAR/A PROPER TASTE OF 2008 Compact Disc 805520990028 805520990028 50792 VAR/A STARRY NIGHT IN THE WEST Compact Disc 682161507927 682161507927 PRPCD092 VAR/A TREASURY OF SHANTIES AND Compact Disc 805520030922 805520030922 HBRCD10422 VAR/A TRIP IN TRANCE 6 Compact Disc 772408104221772408104221 UMMC22522 VAR/A YEAR IN YOUR LIFE -1(2CD Compact Disc 778325225223 778325225223 UMMC22422 VAR/A YEAR IN YOUR LIFE 19(2CD Compact Disc 778325224226 778325224226 UMMC22502 VAR/A YEAR IN YOUR LIFE 19(2CD Compact Disc 778325225025 778325225025 UMMC22512 VAR/A YEAR IN YOUR LIFE 19(2CD Compact Disc 778325225124 778325225124 UMMC22592 VAR/A YEAR IN YOUR LIFE 1959(2 Compact Disc 778325225926 778325225926 UMMC22472 VAR/A YEAR IN YOUR LIFE-1952 Compact Disc 778325224721 778325224721 TB17002 VAR/AGE OF CONAN:HYBORIAN ADVE Compact Disc 661868170023 661868170023 UMMC81252 VAR/ALL I WANT FOR CHRISTMAS I Compact Disc 778325812522 778325812522 UMMC63222 VAR/ALL TIME GREATEST JAZZ(3C Compact Disc 778325632229 778325632229 PRMCD6039 VAR/ALL-TIME GREAT SINGING COW Compact Disc 805520090391 805520090391 5454508442 VAR/AMERICAN FOLK & BLUES-THE Compact Disc 654545084423654545084423 B000075109 VAR /AMERICAN FOLK...VOL 2 Digital Video Disc 602498604137 602498604137 QMG10122 VAR/AMERICAN RAG 2 Compact Disc 182784101224182784101224 QMG10012 VAR/AMERICAN RAG CIE Compact Disc 182784100128182784100128 FARO128CD VAR/ANDY VOTEL S BRAZILIKA Compact Disc 5060088048160 5060088048160 CDROUN5106 VAR/ANTHOLOGY OF WORLD MUSIC:R Compact Disc 018964510626 0189645106260 42288 24009 97 24358 47822 8 6 19061 40322 60 27297 90452 1 0 27297 90462 0 0 27297 90482 8 8 05520 09039 18 05520 09057 5 8 05520 99002 8 5 060088 048160 8 05520 03092 20 30206 30302 5 6 54545 08442 3 1 82784 10012 81 82784 10122 47 72408 10422 1 7 78325 22422 6 7 78325 22472 17 78325 22502 5 7 78325 22512 47 78325 22522 3 7 78325 63222 97 78325 63472 87 78325 63492 6 7 78325 81252 27 78325 22592 66 82161 50792 7 0 18964 51062 66 61868 17002 3 6 02498 60413 7Catalogue Numb er Artist & Title Description Configuration Scannable UPC UPC VIT9093 VAR/ARCADE FIRE TRIBUTE:STRING Compact Disc 027297909328 027297909328 4702962 VAR/ARCADIA Compact Disc 028947029625 028947029625 4791045 VAR/ARCHIV PRODUKTION 194(55CD Compact Disc 028947910459 028947910459 4782970 VAR/BACH 101-6 CD SET Compact Disc 028947829706 028947829706 4782984 VAR/BALLET 101-6 CD SET Compact Disc 028947829843 028947829843 58472 VAR/BARBIE CHRISTMAS(EXC) Compact Disc 096741422621 096741422621 CDED7044 VAR/BAYOU HOT SAUCE Compact Disc 712136704423 712136704423 TEG3311CD VAR/B-BOY RECORDS THE ARCHIVES Compact Disc 829357331120829357331120 PROPERBOX10 VAR/BEBOP SPO KEN HERE Compact Disc 604988991024 604988991024 SCF8481 VAR/BECK TR IBUTE:BOOGALOO TO B Compac t Disc 027297848122 027297848122 4756646 VAR/BEETHOVEN ADAGIOS Compact Disc 028947566465 028947566465 XXICD21489 VAR/BEETHOVEN X9 Compact Disc 722056148924 722056148924 0249848804 VAR/BEST OF ALL TIME FAV.VOL.3 Compact Disc 602498488041 602498488041 0249838979 VAR/BEST OF BLUES VOL.2 Compact Disc 602498389799 602498389799 433522 VAR/BEST OF BOND JA MES BON Com pact Disc 5099924335225 5099924335225 0075319290 VAR/BEST OF CANADA 20T H CENTUR Compact Disc 600753192900 600753192900 UMMC62652 VAR/BEST OF CLASSICAL(3CD) Compact Disc 778325626525 778325626525 CMH9418 VAR/BEST OF PICKIN'ON THE EAGL Compact Disc 027297941823 027297941823 UNT1001 VAR/BEST OF THE SOUTH Compact Disc 678643901826678643901826 UMMC81192 VAR/BIG BAND BEST V.1 Compact Disc 778325811921 778325811921 3020630272 VAR/BIG BAND REMIXES+REINVENTE Compact Disc 030206302721030206302721 CDED7017 VAR/BIG CITY BLUES WEST COAST Compact Disc 712136701729 712136701729 B000391100 VAR/BILLY CRYSTAL PRESENTS THE CD with DVD 075021035522 075021035522 CDED7057 VAR/BLUE CAT BLUES INSTRUMENTA Compact Disc 712136705727 712136705727 CMH5227 VAR/BLUEGRASS INTER:BRUCE SPRI Compact Disc 027297522725 027297522725 CMH5224 VAR/BLUEGRASS INTERPRET: CCR Compact Disc 027297522428 027297522428 OPM2223 VAR/BLUEGRASS KARAO KE VOL.2 Compact Disc 027297222328 027297222328 CDED7027 VAR/BLUES AFTER HOURS: INSTRUM Compact Disc 712136702726 712136702726 9423110122 VAR/BLUES GOLD Compact Disc 894231101229894231101229 CDED7049 VAR/BLUES GUITAR DUELS Compact Disc 712136704928 7121367049280 75021 03552 26 00753 19290 06 02498 38979 96 02498 48804 10 28947 91045 9 5 099924 335225 0 28947 56646 50 28947 02962 5 0 28947 82970 6 0 28947 82984 3 7 22056 14892 4 0 27297 22232 80 27297 52242 80 27297 52272 50 27297 94182 30 27297 84812 20 27297 90932 8 6 04988 99102 48 29357 33112 0 0 30206 30272 1 8 94231 10122 96 78643 90182 67 78325 62652 5 7 78325 81192 1 7 12136 70172 9 7 12136 70272 67 12136 70442 3 7 12136 70492 87 12136 70572 70 96741 42262 1Catalogue Numb er Artist & Title Description Configuration Scannable UPC UPC CDED7023 VAR/BLUES HARP GREATS Compact Disc 712136702320 712136702320 CDED7048 VAR/BLUES HARP POWER Compact Disc 712136704829 712136704829 CDED7047 VAR/BLUES SAX POWER Compact Disc 712136704720 712136704720 CDED7019 VAR/BLUES T-BONE STYLE Compact Disc 712136701927 712136701927 FRANETCDCH15 VAR/B OOGIE WOOGIE FEVER-CO LLEC Compac t Disc 8437010194009 8437010194009 FRANETCDCH16 VAR/BOPPIN' HIT PARADE-COLLECT Compact Disc 8437010194306 8437010194306 RSRCD032 VAR/BOY MEETS GIRLS TV SHOW V1 Compact Disc 5017932000324 5017932000324 PROPERBOX7 VAR/BROKE,BLACK & BLUE:AN ANTH Compact Disc 604988990720 604988990720 PROPERBOX173 VAR/BROKEN HEARTS(4CD) Compact Disc 805520021739 805520021739 TEGBRK040CD VAR/BUILDING WITH BRICKS V.2 Compact Disc 765481004021765481004021 5652282 VAR/CAFE DEL MAR VOLUMEN CINCO Compact Disc 731456522821 731456522821 5454508542 VAR/CAFECITO CUBANO Compact Disc 654545085420654545085420 CDED7043 VAR/CAJUN COOKIN' Compact Disc 712136704324 712136704324 CDED7031 VAR/CAJUN MUSIC INSTRUMENTALS Compact Disc 712136703129 712136703129 EGR24033 VAR/CANCIONES DE SI EMPRE ESENC Com pact Disc 619061403325 619061403325 CDROUN1723 VAR/CARIBBEAN VOYAGE:EAST INDI Compact Disc 011661172326 011661172326 CDROUN1730 VAR/CARIBBEAN VOYAGE:MARTINIQU Compact Disc 011661173026 011661173026 2061625752 VAR/CASANOVA Compact Disc 720616257529 720616257529 4228609332 VAR/CASH MONEY:PLATINUM HITSV1 Compact Disc 042286093321 042286093321 4228609339 VAR/CASH MONEY:PLATINUM HITSV1 Digital Video Disc 042286093390 042286093390 CMH9165 VAR/CELTIC TRIB:ALISON KRAUSS Compact Disc 027297916524 027297916524 UMMC63302 VAR/CERTIFIED 1 CO VOL II(3 CD Compact Disc 778325633028778325633028 4755232 VAR/CHAMBER & ORCH WORKS Compact Disc 028947552321 028947552321 PROPERBOX151 VAR/CHARLIE PATTON-75 YEAR ANN CD with DVD 805520021517 805520021517 MA250151 VAR/CHICAGO BLUES UNION Compact Disc 5413992501519 5413992501519 XXICD21710 VAR/CHOEUR DES MOINS/CANTUS AE Compact Disc 722056171021 722056171021 XXICD21635 VAR/CJPX RADIO CLASSIQUE 2CD S Compact Disc 722056163521 722056163521 B002170002 VAR/CLASSIC CHRISTMAS (TARGET) Compact Disc 602537997435 602537997435 56653 VAR/CLASSIC COUNTRY JUKEBOX Compact Disc 096741395024 096741395024 UMMC32602 VAR/CLASSIC LATIN LOUNGE Compact Disc 778325326029 7783253260298 05520 02151 70 28947 55232 17 20616 25752 97 31456 52282 1 0 42286 09332 1 6 02537 99743 56 19061 40332 5 7 22056 16352 17 22056 17102 10 27297 91652 4 5 413992 501519 5 017932 000324 6 04988 99072 08 437010 194009 8 437010 194306 8 05520 02173 9 7 65481 00402 1 7 78325 63302 86 54545 08542 0 7 78325 32602 97 12136 70232 0 7 12136 70482 9 7 12136 70192 7 7 12136 70312 97 12136 70432 47 12136 70472 0 0 11661 17232 6 0 11661 17302 6 0 96741 39502 40 42286 09339 0Catalogue Numb er Artist & Title Description Configuration Scannable UPC UPC 4665632 VAR/CLASSIC LOVE AT TH E MOVIES Com pact Disc 028946656327 028946656327 UMMC53682 VAR/CLASSIC MALT SHOP MEMO(3CD Compact Disc 778325536824 778325536824 4782349 VAR/CLASSIC YOGA - 2CD SET Compact Disc 028947823490 028947823490 4499652 VAR/CLASSICAL XMAS ALBUM Compact Disc 028944996524 028944996524 MSG21869 VAR/CLASSICALLY YOURS Compact Disc 619061186921 619061186921 5307682 VAR/CLEOPATRE LA DERNI ERE REIN Compact Disc 600753076828 600753076828 ISBCD5100 VAR/CLUB ANTHEMS 2003 Compact Disc 620323510026 620323510026 CCDCD5307 VAR/COLORS OF LATIN JAZZ:MAMBO Compact Disc 013431530725 013431530725 4400673142 VAR/CONCEPTION-A MUSICAL TRIBU Compact Disc 044006731421 044006731421 UMMC40073 VAR/COUNTRY GIRLS AT HEART Compact Disc 778325400736 778325400736 5444942 VAR/COUNTRY LADIES Compact Disc 731454449427 731454449427 UMMC34852 VAR/CROONERS JUKE BO X HITS(4CD Compact Disc 778325348526778325348526 0853576262 VAR/DALL'ITALIA CON AMORE(FROM Compact Disc 708535762621 708535762621 QMG10022 VAR/DA-NANG Compact Disc 182784100227182784100227 RCL2010 VAR/DANCEHALL HITS Compact Disc 609955201021609955201021 UMMC95372 VAR/DAVID BOWIE T RE X AS P(2CD Compact Disc 778325953720 778325953720 PROPERBOX4 VAR/DEEP SKA:80 ORIG INAL SKA R Compact Disc 604988990423 604988990423 ZEDDCD009 VAR/DESTINATION B OOGIE (JO(2CD C ompact Disc 5030820044255 5030820044255 5326822 VAR/DINNER JAZZ Compact Disc 600753268223 600753268223 D000024002 VAR/DISNEY/PIXAR BUDDY SONGS Compact Disc 050087102845 050087102845 DIS610047 VAR/DISNEYMANIA 2 Compact Disc 050086100477 050086100477 DIS609417 VAR/DISNEY'S DANCE ALONG Compact Disc 050086094172 050086094172 UMMC81222 VAR/DIXIELAND FAVORITES Compact Disc 778325812225 778325812225 UMMC53712 VAR/DOO WOP(3CD) Compact Disc 778325537128 778325537128 UMMC22542 VAR/DOO WOP-GREAT LOVE SON(2CD Compact Disc 778325225421 778325225421 5454508462 VAR/DOO-WOP FOREVER VOL.2 Compact Disc 654545084621654545084621 4400188639 VAR/DOWN FROM THE MOUNTAIN Digital Video Disc 044001886393 044001886393 PRMCD6022 VAR/DRINKIN'TNT & SMOKIN'DYNOM Compact Disc 805520090223 805520090223 UMMC53702 VAR/DRIVE TIME(3CD) Compact Disc 778325537029 778325537029 QMG10142 VAR/DUB SELECTOR 3 Compact Disc 1827841014221827841014220 28946 65632 7 0 28947 82349 0 0 28944 99652 4 0 50087 10284 5 0 50086 09417 20 50086 10047 70 44006 73142 1 7 31454 44942 7 6 00753 26822 36 00753 07682 86 19061 18692 1 6 20323 51002 6 8 05520 09022 36 04988 99042 3 5 030820 044255 6 54545 08462 16 09955 20102 11 82784 10022 7 1 82784 10142 27 78325 34852 6 7 78325 22542 17 78325 40073 67 78325 53682 4 7 78325 53702 97 78325 53712 87 78325 81222 57 78325 95372 07 08535 76262 10 13431 53072 5 0 44001 88639 3Catalogue Numb er Artist & Title Description Configuration Scannable UPC UPC 2786453 VAR/DVD LES DIEUX DU STADE Digital Video Disc 602527864532 602527864532 B001567109 VAR/ED SULLIVAN PRESENTS: ROCK Digital Video Disc 602527721699 602527721699 EGR24034 VAR/EL POP Y EL ROCK CUBANO ES Compact Disc 619061403424 619061403424 B000487609 VAR/EMINEM PRESENTS:THE ANGER Digital Video Disc 602498828137 602498828137 MAJCD058 VAR/EMPIRE OF THUNDER Compact Disc 842051005821 842051005821 TSCD480 VAR/ENGLISH & SCOTTISH FOLK BA Compact Disc 714822048026 714822048026 CMH9450 VAR/ERIC CLAPTON TRIBUTE:BEST Compact Disc 027297945029 027297945029 UMMC96351 VAR/ESSENTIAL HARD ROCK HITS Compact Disc 778325963514 778325963514 0881701372 VAR/EVERLASTING LOVE SONGS Compact Disc 008817013725 008817013725 5311211 VAR/FABUBOURG 36 Compact Disc 600753112113 600753112113 4594452 VAR/FAMOUS BALLET MUSIC Compact Disc 028945944524 028945944524 4696772 VAR/FAMOUS CHORUSES Compact Disc 028946967720 028946967720 4640282 VAR/FAMOUS CLASSICAL TRUMPET Compact Disc 028946402825 028946402825 4527072 VAR/FANT ON GREENSLEEVES Compact Disc 028945270722 028945270722 CMH12 VAR/FANTASTIC PICKIN'/BLUEGRAS Compact Disc 027297001220 027297001220 FARO146CD VAR/FAR OUT JAZZ AND AFRO FUNK Compact Disc 5060211500206 5060211500206 PROPERBOX3 VAR/FAREWELL TO IRELAND Compact Disc 6049889903242 6049889903242 3755533 VAR/FILTH MUSIC FROM MOTION PI Compact Disc 602537555338 602537555338 9807717 VAR/FLAMENCO Compact Disc 602498077177 602498077177 UMMC63392 VAR/FOLK LEGENDS(3CD) Compact Disc 778325633929 778325633929 PRMCD2012 VAR/FOLK-ROCK FOUNDERS Compact Disc 805520290128 805520290128 3145409192 VAR/FOR T MASSES (DEPECHE MODE Compact Disc 731454091923 731454091923 ISBCD5081 VAR/FRAT Compact Disc 620323508122 620323508122 4756709 VAR/FRENCH CHAMBER MUSIC-MUSIC Compact Disc 028947567097 028947567097 4775448 VAR/FRENCH VIOLIN CONCERTOS Compact Disc 028947754480 028947754480 PROPERBOX103 VAR/FROM BOPPIN'TO RED HOT ROC Compact Disc 805520021036 805520021036 1166178022 VAR/FULL UP;BEST OF STUDIO ONE Compact Disc 011661780224 011661780224 5454506372 VAR/GAY CLASSICS-NUEVO DISCO L Compact Disc 654545063725654545063725 PROPERBOX28 VAR/GETTIN'FUNKY:THE BIRTH OF Compact Disc 604988992823 604988992823 XXICD21653 VAR/GIACOMO PUCCINI 150 Compact Disc 722056165327 7220561653277 31454 09192 3 0 28947 56709 70 28945 94452 4 0 28947 75448 00 28946 96772 0 6 02537 55533 80 28945 27072 20 08817 01372 5 0 28946 40282 56 00753 11211 3 6 02498 07717 7 6 20323 50812 26 19061 40342 4 7 22056 16532 70 27297 00122 00 27297 94502 98 42051 00582 1 8 05520 29012 8 6 04988 99282 35 060211 500206 8 05520 02103 66 049889 903242 7 14822 04802 6 6 54545 06372 57 78325 63392 97 78325 96351 4 0 11661 78022 46 02498 82813 76 02527 86453 2 6 02527 72169 9Catalogue Numb er Artist & Title Description Configuration Scannable UPC UPC TSCD914 VAR/GIPSY MUSIC FROM MACEDONIA Compact Disc 714822914024 714822914024 4786899 VAR/GLUCK THE GREAT OPERA(15CD Compact Disc 028947868996 028947868996 B000739102 VAR/GOLD 80'S SOUL GOLD Compact Disc 602517048225 602517048225 PRMCD6021 VAR/GOLD STANDARDS -40 CLASSIC Compact Disc 805520090216 805520090216 PROPERBOX42 VAR/GOOD NEWS: 100 GOSPEL GREAT Co mpact Disc 805520020428 805520020428 UMMC22562 VAR/GREAT 1 R&B HITS OF TH(2CD Compact Disc 778325225629 778325225629 4529132 VAR/GREAT OPERA CHORUSES Compact Disc 028945291321 028945291321 UMMC22702 VAR/GREATEST JAZZ STANDARD(2CD Compact Disc 778325227029 778325227029 UMMC63442 VAR/GREATEST SONGS OF 1930(4CD Compact Disc 778325634421 778325634421 UMMC63432 VAR/GREATEST SWING ERA 2(3CD) Compact Disc 778325634322 778325634322 4696552 VAR/GREGORIAN CHANT:T GREATEST Compact Disc 028946965528 028946965528 TSCD923 VAR/GUMBOOT GUITAR ZULU STREET Compact Disc 714822092326 714822092326 UMMC19402 VAR/HAPPY HOLIDAYS FROM TH(3CD Compact Disc 778325194024 778325194024 4756652 VAR/HARP ADAGIOS Compact Disc 028947566526 028947566526 4525852 VAR/HARP CONCERTOS Compact Disc 028945258522 028945258522 0209701372 VAR/HEARTBREAKERS Compact Disc 802097013723 802097013723 3145559842 VAR/HEATWAVE SUMMER SOUND Compact Disc 731455598421 731455598421 ISBCD5103 VAR/HECHO EN CUBA VOL.3 Compact Disc 620323510323 620323510323 PROPERBOX50 VAR/HILLBI LLY BOOGIE Com pact Di sc 805520020503 805520020503 PRMCD2002 VAR/HISTORIC ROOTS OF SKA Compact Disc 805520290029 805520290029 UMMC63232 VAR/HIT BOX V2 1959 1979(3CD Compact Disc 778325632328 778325632328 UMMC63422 VAR/HIT THE ROAD-ROUTE 66(3CD) Compact Disc 778325634223 778325634223 B001246902 VAR/HITSVILLE USA:MOTOWN SINGL Compact Disc 602517940857 602517940857 253760738 VAR/HOCKEY ANTHEMS 1ST PERIOD Compact Disc 602537607389 602537607389 CRR9465 VAR/HOLIDAY TRIB: TO AC/DC Compact Disc 027297946521 027297946521 CRR9466 VAR/HOLIDAY TRIB:TO GREEN DAY Compact Disc 027297946620 027297946620 1166110122 VAR/HULA BLUES:VINTAG E STEEL G Compact Disc 011661101227 011661101227 5454508122 VAR/I LOVE 80'S DANCE Compact Disc 654545081224654545081224 ISBCD5082 VAR/IBIZA 2001 Compact Disc 620323508221 620323508221 4696522 VAR/IN DULCI JUBILO-BEAUTIFUL Compact Disc 028946965221 0289469652210 28947 56652 60 28947 86899 6 0 28946 96522 10 28946 96552 8 7 31455 59842 16 02517 04822 5 0 28945 25852 20 28945 29132 1 6 02517 94085 7 6 02537 60738 98 02097 01372 3 6 20323 50822 16 20323 51032 3 0 27297 94652 1 0 27297 94662 08 05520 29002 98 05520 09021 6 8 05520 02050 38 05520 02042 87 14822 91402 4 7 14822 09232 6 6 54545 08122 47 78325 19402 47 78325 22562 9 7 78325 63232 8 7 78325 63422 37 78325 63432 27 78325 63442 17 78325 22702 9 0 11661 10122 7Catalogue Numb er Artist & Title Description Configuration Scannable UPC UPC VIT9157 VAR/IRON MAIDEN:HAND OF DOOM O Compact Disc 027297915725 027297915725 ISBCD5067 VAR/ISLA DEL SOL Compact Disc 620323506722 620323506722 B000455502 VAR/ISLAND DEFJAM RE CORDINGS P Compact Disc 602498809495 602498809495 5318341 VAR/ISLAND RECORDS FLOK BOX SE Compact Disc 600753183410 600753183410 EGR24035 VAR/JAZZ DE CUBA ESENCIA DE CU Compact Disc 619061403523 619061403523 UMMC63482 VAR/JAZZ DIVAS JUKE BOX(4CD) Compact Disc 778325634827 778325634827 SVY17175 VAR/JAZZ FOR A RAINY AFTERNOON Compact Disc 795041717528 795041717528 9423110132 VAR/JAZZ GOLD Compact Disc 894231101328894231101328 PROPERBOX88 VAR/JAZZ IN BERLIN 1919-1950 Compact Disc 805520020886 805520020886 0644632 VAR/JAZZLAND TRACKS Compact Disc 044006446325 044006446325 ZEDDCD022 VAR/JOEY NEGRO PRESENTS V3(2CD Compact Disc 5060162570716 5060162570716 ZEDDCD008 VAR/JOEY NEGRO:IN THE BEGI(2CD Compact Disc 5030820042732 5030820042732 UMMC53552 VAR/JUKE BOX HITS(3CD) Compact Disc 778325535520 778325535520 UMMC63452 VAR/JUST GREAT JAZZ(3CD) Compact Disc 778325634520 778325634520 4742052 VAR/KARAJAN FOREVER:THE GREATE Compact Disc 028947420521 028947420521 OPM2222 VAR/KARAOKE TO RAMO NES:GABBA G Com pact Disc 027297222229 027297222229 CMH8731 VAR/KID ROCK TRIBUTE:PICKIN'ON Compact Disc 027297873124 027297873124 PROPERBOX72 VAR/KINGS OF KOMEDY Compact Disc 805520020725 805520020725 CD83538 VAR/LABOUR OF LOVE, TRIBUTE TO Compact Disc 089408353826 089408353826 1167131298 VAR/LEGENDARY COUNTRY BLUE(DVD Digital Video Disc 011671312989 011671312989 DIS629397 VAR/LES MUSIQUES EX C VOL 2 Compact Disc 050086293971 050086293971 4724392 VAR/LITURGIES DU 24 & 25 DECEM Compact Disc 028947243922 028947243922 4711572 VAR/LIVE AT CARNEGIE HALL Compact Disc 028947115724 028947115724 4596422 VAR/LIVE FROM BUDAPEST Compact Disc 028945964225 028945964225 ZEDDCD015 VAR/LOCKED IN THE VINYL CE(2CD Compact Disc 5060162570112 5060162570112 EGR23893 VAR/LOCOS POR EL MAMBO Compact Disc 619061389322 619061389322 PROPERBOX168 VAR/LONESOME WHIS TLE/AN AN(4CD Compact Disc 805520021685 805520021685 0853576282 VAR/LOOSE THE FUNK RARE SOUL F Compact Disc 708535762829 708535762829 0853575322 VAR/LOOSE THE FUNK RARITIES FR Compact Disc 708535753223 708535753223 UMMC96341 VAR/LOVE & ROMANCE Compact Disc 778325963415 7783259634156 02498 80949 5 0 28945 96422 50 28947 11572 40 28947 42052 16 00753 18341 0 0 44006 44632 5 0 50086 29397 1 0 28947 24392 26 20323 50672 2 6 19061 38932 26 19061 40352 3 0 27297 87312 40 27297 22222 90 27297 91572 5 8 05520 02072 58 05520 02088 6 5 030820 042732 5 060162 570112 5 060162 570716 8 05520 02168 58 94231 10132 8 7 78325 53552 0 7 78325 63452 07 78325 63482 7 7 78325 96341 57 08535 75322 37 08535 76282 97 95041 71752 8 0 89408 35382 6 0 11671 31298 9Catalogue Numb er Artist & Title Description Configuration Scannable UPC UPC 4696792 VAR/LUTE MUSIC:EUROPEAN LUTE M Compact Disc 028946967928 028946967928 4681382 VAR/MAGIC OF THE PANPIPES Compact Disc 028946813829 028946813829 B001444700 VAR/MALFUNKSHUN:THE ANDR(2CD+D CD with DVD 602527420127 602527420127 PRMCD6023 VAR/MAMBO JAMBO:TH E EARLY MAST Compact Disc 805520090230 805520090230 ETLCD48 VAR/MATENLOS A TO DOS KILL 'EM Compact Disc 045635732537 045635732537 OM193 VAR/MATRIXFILLMORE 2 Compact Disc 600353059320 600353059320 XXL21955 VAR/MEMORIES OF NORMANDY-60TH Compact Disc 619061195527 619061195527 UMMC95282 VAR/METALLICA AS PERFORMED BY Compact Disc 778325952822 778325952822 VIT9143 VAR/METALLICA:SCORCHED EARTH O Compact Disc 027297914322 027297914322 EGR23891 VAR/MI SALSA TIENE SANDUNGA (F Compact Disc 619061389124 619061389124 4750042 VAR/MIDNIGHT ADAGIOS Compact Disc 028947500421 028947500421 UMMC63402 VAR/MISSISSIPPI BLU ESMEN(3CD) Compact Disc 778325634025 778325634025 5303385 VAR/MISTER MELODY(SERGE GAINSB Compact Disc 600753033852 600753033852 CMH9444 VAR/MODEST MOUSE TRIB:SOMETHIN Compact Disc 027297944428 027297944428 KIN17540 VAR/MORE MOST RELAXI NG NEW AGE Compact Disc 795041754028 795041754028 CCDCD52082 VAR/MORNING CUP OF JAZZ Compact Disc 013431520825 013431520825 COZ17380 VAR/MOST POPULAR TV THEMES (2C Compact Disc 795041738028 795041738028 COZ17426 VAR/MOST UPLIFTING CLASSICS Compact Disc 795041742629 795041742629 UMMC53642 VAR/MOTOR CITY 50(3CD) Compact Disc 778325536428 778325536428 B001567009 VAR/MOTOWN GOLD FROM THE ED SU Digital Video Disc 602527721675 602527721675 FRANFACTOR17 VAR/MR.SCRUFF'S BUG CHILL CLAS Compact Disc 5029684087126 5029684087126 0075340656 VAR/MUCH DANCE 2013 Compact Disc 600753406564 600753406564 0249825466 VAR/MUCH DANCE 80S Compact Disc 602498254660 602498254660 PROPERBOX152 VAR/MUDDY WATERS-STEPPING STON CD with DVD 805520021524 805520021524 301539 VAR/MUSIC CARES:A TRIBUTE TO B Digital Video Disc 801213015399 801213015399 4717312 VAR/MUSIC OF THE GOTHIC ERA Compact Disc 028947173120 028947173120 CD80474 VAR/NATURE OF AMERICA Compact Disc 089408047428 089408047428 CDBBAN27 VAR/NEW BLUES HITS FR.BULLSEYE Compact Disc 011661852723 011661852723 PRMCD6016 VAR/NEW ORLEANS R'N'B PARTY Compact Disc 805520090162 805520090162 0743246 VAR/NEW YEAR'S CONCERT 2008DVD Digital Video Disc 044007432464 0440074324646 02527 42012 7 8 05520 02152 4 0 28947 17312 00 28947 50042 10 28946 81382 90 28946 96792 8 6 00753 40656 4 6 02498 25466 06 00753 03385 26 19061 38912 46 19061 19552 7 0 27297 94442 80 27297 91432 2 5 029684 087126 8 05520 09016 28 05520 09023 0 7 78325 53642 87 78325 63402 57 78325 95282 26 00353 05932 0 0 13431 52082 50 45635 73253 7 0 11661 85272 37 95041 75402 8 7 95041 73802 8 7 95041 74262 9 0 89408 04742 8 0 44007 43246 48 01213 01539 96 02527 72167 5Catalogue Numb er Artist & Title Description Configuration Scannable UPC UPC 0730979 VAR/NEW YEARS'S CONCERT 2004 Digital Video Disc 044007309797 044007309797 FARO174CD VAR/NICOLA CONTE PRESENTS VI 5 Compact Disc 5060211501487 5060211501487 UMMC63512 VAR/NIGHT AT THE OPERA(4CD) Compact Disc 778325635121 778325635121 0075325073 VAR/NOW! 15 Compact Disc 600753250730 600753250730 0075341801 VAR/NOW! 21 Compact Disc 600753418017 600753418017 UMMC63372 VAR/NURSERY RHYMES(3CD) Compact Disc 778325633721 778325633721 QMG10042 VAR/OLIVER PEOPLES 4 Compact Disc 182784100425182784100425 OMM309612 VAR/OM 15 CELEBRATING 15 YEARS Compact Disc 600353096127 600353096127 OMM305872 VAR/OM BEACHED Compact Disc 600353058729 600353058729 OMM307482 VAR/OM CHILLED Compact Disc 600353074828 600353074828 OMM308932 VAR/OM CHILLED V2 Compact Disc 600353089327 600353089327 OHH307492 VAR/OM HIP HOP V1 Compact Disc 600353074927 600353074927 OM017 VAR/OM LOUNGE Compact Disc 600353981720 600353981720 OMM306222 VAR/OM LOUNGE 10 Compact Disc 600353062221 600353062221 OMM300372 VAR/OM LOUNGE 3 Compact Disc 600353003729 600353003729 OM047 VAR/OM LOUNGE 4 Compact Disc 600353004726 600353004726 OMM301772 VAR/OM LOUNGE 5 Compact Disc 600353017726 600353017726 OMM303272 VAR/OM LOUNGE V7 Compact Disc 600353032729 600353032729 OMM308402 VAR/OM MIAMI 09 Compact Disc 600353084025 600353084025 OMM307502 VAR/OM MIAMI 2007 Compact Disc 600353075023 600353075023 OMM308972 VAR/OM MIAMI 2008 Compact Disc 600353089723 600353089723 4441202 VAR/OPERAMANIA Compact Disc 028944412024 028944412024 4751352 VAR/ORCHESTRAL FIREWORKS Compact Disc 028947513520 028947513520 ZEDDCD028 VAR/OVERDOSE OF THE HOST(2CD) Compact Disc 5060162572062 5060162572062 TSCD603 VAR/PADDY IN THE SMOKE IRISH D Compact Disc 714822060325 714822060325 1166181222 VAR/PHILADELPHIA CHICKEN Compact Disc 011661812222 011661812222 4784614 VAR/PHILIPS ORIGINAL JACK(55CD Compact Disc 028947846147 028947846147 4783683 VAR/PIANO 101 (6CD SET) Compact Disc 028947836834 028947836834 CMH8855 VAR/PICKIN' ON MELISSA ETHERID Compact Disc 027297885523 027297885523 CMH8878 VAR/PICKIN' ON MODEST MOUSE Compact Disc 027297887824 0272978878240 28944 41202 4 0 28947 84614 7 0 28947 83683 40 28947 51352 06 00753 25073 0 6 00753 41801 7 0 27297 88552 3 0 27297 88782 45 060211 501487 5 060162 572062 7 14822 06032 51 82784 10042 57 78325 63372 17 78325 63512 1 6 00353 07492 7 6 00353 98172 0 6 00353 00472 66 00353 00372 9 6 00353 03272 96 00353 05872 9 6 00353 06222 16 00353 07482 8 6 00353 07502 36 00353 08402 56 00353 08932 7 6 00353 08972 36 00353 09612 7 6 00353 01772 6 0 11661 81222 20 44007 30979 7Catalogue Numb er Artist & Title Description Configuration Scannable UPC UPC ZON22176 VAR/PINK FLOYD REDUX Compact Disc 619061217625 619061217625 DWL1071 VAR/POST MORTEM: TRIBUTE TO S Compact Disc 027297107120 027297107120 3783931 VAR/POSTMAN PAT OST Compact Disc 602537839315 602537839315 B000719709 VAR/PURE 80'S TOTALLY NEW WAVE Digital Video Disc 602498406533 602498406533 5454506102 VAR/QUEER FOR THE EAR Compact Disc 654545061028654545061028 5454506572 VAR/QUEER FOR THE EAR VOL.2 Compact Disc 654545065729654545065729 EGR23929 VAR/QUIERO HABLAR CONTIGO COLE Compact Disc 619061392926 619061392926 TC53022 VAR/R&B #1 HITS (TIN PK) Compact Disc 778325530228778325530228 UMMC63352 VAR/R&B HIT BOX (3CD) Compact Disc 778325633523 778325633523 5334704 VAR/R&B THE COLLECTION SUMMER Compact Disc 600753347041 600753347041 COZ17342 VAR/RADIANCE-A CLASSIC WEDDING Compact Disc 795041734228 795041734228 COZ17462 VAR/RADIANCE-CLASSIC TO UNWIND Compact Disc 795041746221 795041746221 COZ17460 VAR/RADIANCE-DINNER PARTY CLAS Compact Disc 795041746023 795041746023 COZ17341 VAR/RADIANCE-FAVORITE MARCHES Compact Disc 795041734129 795041734129 COZ17339 VAR/RADIANCE-LULLABY Compact Disc 795041733924 795041733924 COZ17338 VAR/RADIANCE-MORNING BLEND Compact Disc 795041733825 795041733825 COZ17461 VAR/RADIANCE-MORNING LIFT Compact Disc 795041746122 795041746122 COZ17345 VAR/RADIANCE-MOST RE LAXING CLA Compact Disc 795041734525 795041734525 COZ17347 VAR/RADIANCE-SACRE D CLASSICS Compact Disc 795041734723 795041734723 PRMCD6078 VAR/RADIO FUN-FIFTY FOR THE OV Compact Disc 805520090780 805520090780 UMMC22262 VAR/RADIO'S BEST TOP HITS(2CD Compact Disc 778325222628 778325222628 PROPERBOX170 VAR/RAMBLERS, GA MBLERS, VA(4CD Compact Disc 805520021708 805520021708 ISBCD5079 VAR/RAP ESSENTIALS 2001 Compact Disc 620323507927 620323507927 PROPERBOX146 VAR/RARE ROCK 'N' ROLL RAMPAGE Compact Disc 805520021463 805520021463 D000055002 VAR/RATATOUILLE:WHAT'S COOKING Compact Disc 050087106454 050087106454 B000579802 VAR/RAWKUS RECORDS-THE CLASSIC Compact Disc 602498872932 602498872932 PRMCD6055 VAR/RAZOR SHARPE ROCKABILLY Compact Disc 805520090551 805520090551 CDRW203 VAR/REAL WORLD 25(3CD) Compact Disc 884108002513 884108002513 OM183 VAR/REBOOT NOTES FOR THE NEXT Compact Disc 600353058323 600353058323 ISBCD5089 VAR/REGGAE AN THEMS 2 Compact Disc 620323508924 6203235089240 50087 10645 4 6 02498 87293 26 02537 83931 5 6 00753 34704 1 6 20323 50792 7 6 20323 50892 46 19061 39292 66 19061 21762 5 0 27297 10712 0 8 05520 09055 1 8 84108 00251 38 05520 09078 0 8 05520 02146 38 05520 02170 87 78325 53022 86 54545 06102 8 6 54545 06572 9 7 78325 22262 87 78325 63352 3 6 00353 05832 37 95041 73382 57 95041 73392 47 95041 73412 97 95041 73422 8 7 95041 73452 5 7 95041 73472 37 95041 74602 3 7 95041 74612 27 95041 74622 16 02498 40653 3Catalogue Numb er Artist & Title Description Configuration Scannable UPC UPC RCL2018 VAR/REGGAE FOR ROMANCE 2 Compact Disc 609955201823609955201823 UMMC63322 VAR/REGGAE ROOTS(3CD) Compact Disc 778325633226 778325633226 CDHB3603 VAR/REGGAE'S GREATEST VOL.3 Compact Disc 011661360327 011661360327 CDHB3605 VAR/REGGAE'S GREATEST VOL.5 Compact Disc 011661360525 011661360525 CDHB3606 VAR/REGGAE'S GREATEST VOL.6 Compact Disc 011661360624 011661360624 778325636227 VAR/RELAXATION WITH NATURE(3CD Compact Disc 778325636227 778325636227 UMMC63532 VAR/RELAXATION WITH THE SO(4CD Compact Disc 778325635329 778325635329 236292 VAR/REMEMBERING JOHN LEE HOOKE Compact Disc 766922362922 766922362922 0881702972 VAR/REMEMBERING PATSY CLINE Compact Disc 008817029726 008817029726 ZEDDCD030 VAR/REMIXED WITH LOVE BY J(2CD Compact Disc 5060162572390 5060162572390 5454508452 VAR/RENDEZVOUS-A FTER DUSK Compact Disc 654545084522654545084522 HBRCD10092 VAR/RETRO:ACTIVE Compact Disc 772408100926772408100926 HBRCD10162 VAR/RETRO:ACTIVE 2 Compact Disc 772408101626772408101626 HBRCD10262 VAR/RETRO:ACTIVE 3 Compact Disc 772408102623772408102623 HBRCD10442 VAR/RETRO:ACTIVE 5 RARE & REMI Compact Disc 772408104429772408104429 HBRCD10542 VAR/RETRO:ACTIVE 6 RARE & REMI Compact Disc 772408105426772408105426 PROPERBOX143 VAR/ROCKIN' MEMPHIS Compact Disc 805520021432 805520021432 PROPERBOX135 VAR/ROCK'N'SKIFFL E:BRIT BEAT(4 Co mpact Disc 805520021357 805520021357 COZ17749 VAR/ROMANTIC ADIAGOS (CDX2) Compact Disc 795041774927 795041774927 EGR23928 VAR/RUMBEROS DE CUBA COLECCION Compact Disc 619061392827 619061392827 VIT9405 VAR/RUSH TRIBUTE:THROUGH THE P Compact Disc 027297940529 027297940529 4738072 VAR/RUSSIAN CELLO SONATAS Compact Disc 028947380726 028947380726 4466622 VAR/RUSSIAN EASTER/KORNIEV Compact Disc 028944666229 028944666229 HPO6007 VAR/SAILORS SONGS & SEA SHANTI Compact Disc 714822600729 714822600729 PRMCD6047 VAR/SCAT Compact Disc 805520090476 805520090476 PAPER018 VAR/SEE YOU ON THE MOON Compact Disc 880893001823880893001823 4748812 VAR/SEMPRE LIBERA SACD4Stereo/Surround/CDAud 028947488125 028947488125 8216111072 VAR/SHANGO,SHOUTER & OBEAH SUP Compact Disc 682161110721 682161110721 0743138 VAR/SHOSTAKOVICH:CHERRY TOWN Digital Video Disc 044007431382 044007431382 PRMCD6017 VAR/SHOUT IT OUT SISTER Compact Disc 805520090179 8055200901797 66922 36292 2 0 28947 38072 60 08817 02972 6 0 28944 66622 96 19061 39282 7 0 27297 94052 9 8 05520 09017 98 05520 09047 68 05520 02135 75 060162 572390 7 14822 60072 98 05520 02143 26 54545 08452 26 09955 20182 3 7 72408 10542 6 8 80893 00182 37 72408 10092 6 7 72408 10162 6 7 72408 10262 3 7 72408 10442 97 78325 63622 77 78325 63322 6 7 78325 63532 90 11661 36032 7 6 82161 11072 10 11661 36052 5 0 11661 36062 4 7 95041 77492 7 0 44007 43138 20 28947 48812 5Catalogue Numb er Artist & Title Description Configuration Scannable UPC UPC 4715862 VAR/SHUBERT LIEDER WITH ORCHES Compact Disc 028947158622 028947158622 4775336 VAR/SILENT NOON-ENGLISH SONGS Compact Disc 028947753360 028947753360 UMMC63462 VAR/SINGERS & ACTORS V1(3CD) Compact Disc 778325634629 778325634629 UMMC63412 VAR/SINGERS & ACTRESSES1(3CD) Compact Disc 778325634124 778325634124 1166176172 VAR/SKA ALL MIGHTY:TOP SKA CLA Compact Disc 011661761728 011661761728 PRMCD6125 VAR/SKA: THE ESSENTI AL EARLY R Compact Disc 805520091251 805520091251 B001656702 VAR/SOMEDAY THIS PAIN W Compact Disc 602527952130 602527952130 EGR23892 VAR/SON DE LA LOMA (FIESTA EDI C ompact Disc 619061389223 619061389223 FRANSPLCD004 VAR/SONGLINES MUSIC AWARDS Compact Disc 5052442000761 5052442000761 4715812 VAR/SONGS Compact Disc 028947158127 028947158127 TSCD918 VAR/SONGS & DANCES FROM PAPUA Compact Disc 714822091824 714822091824 CD83521 VAR/SONGS OF ROBERT JOHNSON Compact Disc 089408352126 089408352126 TSCD935D VAR/SONGS OF SURVIVAL TRAD(2CD Compact Disc 714822093521 714822093521 UMMC40162 VAR/SOUL EMOTIONS Compact Disc 778325401627 778325401627 OM004 VAR/SOUL MOTION Compact Disc 600353950429 600353950429 PRMCD6106 VAR/SOUL MUSIC:THE FIRST GENER Compact Disc 805520091060 805520091060 GSE715 VAR/SOUNDCHRONICLES VOL.1 Compact Disc 855052001327855052001327 B001593609 VAR/SOUNDS AND SILENCE-TRAVELS Digital Video Disc 602527698861 602527698861 OMM308002 VAR/SOUNDS OF OM V6 Compact Disc 600353080027 600353080027 OM002 VAR/SPIRITUAL HIGH Compact Disc 600353950221 600353950221 PROPERBOX114 VAR/SQUEEZE ME:THE JAZZ & SWIN Compact Disc 805520021142 805520021142 PROPERBOX142 VAR/STEELIN'IT:TH E STEEL GUITA Compact Disc 805520021425 805520021425 PROPERBOX83 VAR/STOMPIN'SINGE RS & WESTERN Compact Disc 805520020831 805520020831 ISBCD5096 VAR/STREETMIX Compact Disc 620323509624 620323509624 VIT9082 VAR/STRING QUAR/TRIB;GWEN STEF Compact Disc 027297908222 027297908222 VIT9131 VAR/STRING QUARTET TRIB.-TOOL Compact Disc 027297913127 027297913127 VIT8792 VAR/STRING QUARTETE/THE BEATLE Compact Disc 027297879225 027297879225 VIT8658 VAR/STRING TRIB: TO NINE INCH Compact Disc 027297865822 027297865822 VIT9486 VAR/STRING TRIB: TO SMASHING P Compact Disc 027297948624 027297948624 VIT9144 VAR/STRUNG OUT ON THREE DAYS G Compact Disc 027297914421 0272979144210 28947 15812 70 28947 15862 2 0 28947 75336 0 6 02527 95213 0 6 20323 50962 46 19061 38922 3 0 27297 86582 20 27297 87922 50 27297 90822 2 0 27297 91312 7 0 27297 91442 10 27297 94862 48 05520 02114 27 14822 09352 1 8 05520 02142 55 052442 000761 8 05520 09106 0 8 05520 02083 17 14822 09182 48 05520 09125 1 8 55052 00132 77 78325 40162 77 78325 63412 47 78325 63462 9 6 00353 95022 16 00353 95042 9 6 00353 08002 70 11661 76172 8 0 89408 35212 6 6 02527 69886 1Catalogue Numb er Artist & Title Description Configuration Scannable UPC UPC ISBCD5068 VAR/SUMMER CLUB MIX Compact Disc 620323506821 620323506821 ISBCD5090 VAR/SUNSHINE MIX Compact Disc 620323509020 620323509020 5564082 VAR/SUPER DISCO (2 CD) Compact Disc 731455640823 731455640823 CDED7036 VAR/SURF GUITAR GREATS Compact Disc 712136703624 712136703624 UMMC40301 VAR/SWING Compact Disc 778325403010 778325403010 PROPERBOX56 VAR/SWING TANZEN VERBOTEN:SWIN Compact Disc 805520020565 805520020565 UMMC53233 VAR/SWINGING BIG BANDS(3CD) Compact Disc 778325532338 778325532338 1166117252 VAR/T ALAN LOMAX COLL:CARIBBEA Compact Disc 011661172524 011661172524 1166117752 VAR/T ALAN LOMAX COLLECTIO:V1 Compact Disc 011661177529 011661177529 1166117782 VAR/T ALAN LOMAX COLLECTION:SO Compact Disc 011661177826 011661177826 1166118422 VAR/T ALAN LOMAX:CAJ UN & CREOL Compact Disc 011661184220 011661184220 1166118232 VAR/T ALAN LOMAX:DEEP RIVER OF Compact Disc 011661182325 011661182325 CD1717 VAR/T ALAN LOMAX:GROWLING TIGE Compact Disc 011661171725 011661171725 1166118112 VAR/T ALAN LOMAX:ITALIAN TREAS Compact Disc 011661181120 011661181120 1166118082 VAR/T ALAN LOMAX:ITALIAN TREAS Compact Disc 011661180826 011661180826 CD1704 VAR/T ALAN LOMAX:SOUTHERN JOUR Compact Disc 011661170421 011661170421 CD1705 VAR/T ALAN LOMAX:SOUTHERN JOUR Compact Disc 011661170520 011661170520 1166117592 VAR/T ALAN LOMAX:WORLD LIBRARY Compact Disc 011661175921 011661175921 5330642 VAR/T VERY BEST A.L.WEBBER/BRO Compact Disc 731453306424 731453306424 CMH9153 VAR/TAKE ME HOME-TRIB:GUNS N R Compact Disc 027297915329 027297915329 4775419 VAR/TANEYEV;QUINTET FOR 2 VIOL Compact Disc 028947754190 028947754190 4756658 VAR/TCHAIKOVSKY ADAGIOS - 2CD Compact Disc 028947566588 028947566588 OMM399312 VAR/TEKTONICS Compact Disc 600353993129 600353993129 SACD63010 VAR/TELARC/HEADS UP SACD SAM 5 SACD4Stereo/Surround/CDAud 089408301063 089408301063 CDED7039 VAR/TEX-MEX FIESTA Compact Disc 712136703921 712136703921 UMMC22482 VAR/THE 70'S(2CD) Compact Disc 778325224820 778325224820 SACD60011 VAR/THE ABSOLUTE SOUND SA CD SA SACD4Stereo/Surround/CDAud 089408001161 089408001161 PROPERBOX76 VAR/THE ARRANGER'S TOUCH Compact Disc 805520020763 805520020763 4756302 VAR/THE ART OF JOAN SUTHERLAND Compact Disc 028947563020 028947563020 4716272 VAR/THE BERLIN ALBUM Compact Disc 028947162728 0289471627280 28947 56302 00 28947 56658 80 28947 75419 0 0 28947 16272 87 31453 30642 47 31455 64082 36 20323 50682 1 6 20323 50902 0 0 27297 91532 98 05520 02056 5 8 05520 02076 37 78325 22482 07 78325 40301 0 7 78325 53233 8 6 00353 99312 90 11661 18112 0 0 11661 17042 10 11661 17252 4 0 11661 17592 10 11661 17752 9 0 11661 17782 6 0 11661 18082 60 11661 18232 50 11661 18422 0 0 11661 17052 00 11661 17172 57 12136 70362 4 7 12136 70392 1 0 89408 00116 10 89408 30106 3Catalogue Numb er Artist & Title Description Configuration Scannable UPC UPC 4400687732 VAR/THE BEST OF 80'S NEW WAVE Compact Disc 044006877327 044006877327 0249823517 VAR/THE BEST OF AFRICA Compact Disc 602498235171 602498235171 4400684102 VAR/THE BEST OF BLUES-20TH CEN Compact Disc 044006841021 044006841021 1701401 VAR/THE BEST OF BO SSA NOVA Compact Disc 602517014015 602517014015 TWO22402 VAR/THE BEST OF COUNTRY(2CD) Compact Disc 778325224028 778325224028 PROPERBOX154 VAR/THE BEST OF HOWLIN' WOLF CD with DVD 805520021548 805520021548 4400180822 VAR/THE BEST OF MOTOWN 80S V.1 Compact Disc 044001808227 044001808227 0249809689 VAR/THE BEST OF THE 40'S Compact Disc 602498096895 602498096895 330149 VAR/THE BEST OF THE BEAT CLUBV Digital Video Disc 801213301492 801213301492 330369 VAR/THE BEST OF THE BEAT CLUBV Digital Video Disc 801213303694 801213303694 4400395732 VAR/THE BEST OF WOMEN OF COUNT Compact Disc 044003957329 044003957329 PROPERBOX165 VAR/THE BIG BL AST/100 CLAS(4CD Compact Disc 805520021654 805520021654 TEG9908CD VAR/THE BIG BREAK RAPPER PARTY Compact Disc 829357990822829357990822 PROPERBOX61 VAR/THE BIG HORN:THE HISTORY O Compact Disc 805520020619 805520020619 PRMCD6009 VAR/THE BLUES HAD A BAY-THEY C C ompact Disc 805520090094 805520090094 PROPERBOX44 VAR/THE DAWN OF DOO-WOP Compact Disc 805520020442 805520020442 PRMCD6029 VAR/THE DOO WOP ALBUM Compact Disc 805520090292 805520090292 PROPERBOX2 VAR/THE ENGINE R OOM-A HISTORY Compact Disc 604988990225 604988990225 HPO6010 VAR/THE ENGLISH COLLECTION A D Compact Disc 714822601023 714822601023 4733202 VAR/THE ESSENTIAL COLLECTION Compact Disc 028947332022 028947332022 MMC10CDR VAR/THE EXHIBITION SERIES Compact Disc 647063621720 647063621720 0853575312 VAR/THE FIRE FURY RE CORDS DOO Compact Disc 708535753124 708535753124 4400750929 VAR/THE GOLDEN AGE OF PIANO Digital Video Disc 044007509296 044007509296 UMMC32582 VAR/THE IRVING BERLIN SONGBOOK Compact Disc 778325325824 778325325824 UMMC32612 VAR/THE IRVING BERLIN SONGBOOK Compact Disc 778325326128 778325326128 UMMC32622 VAR/THE IRVING BERLIN SONGBOOK Compact Disc 778325326227 778325326227 ETLCD70 VAR/THE KEEPERS OF JERICHO(2CD Compact Disc 820103590914 820103590914 8216160082 VAR/THE MUSIC OF ED REAVY Compact Disc 682161600826 682161600826 B000074009 VAR/THE ROAD TO MEMPHIS Digital Video Disc 602498604038 602498604038 UMMC22362 VAR/THE ROARING TWENTIES(2CD) Compact Disc 778325223625 7783252236258 05520 02154 8 6 02498 09689 56 02498 23517 1 0 44003 95732 90 44006 84102 10 44006 87732 7 0 44001 80822 7 0 28947 33202 26 02517 01401 5 6 47063 62172 08 05520 02165 4 8 05520 02044 2 7 14822 60102 38 05520 09009 4 8 05520 09029 2 6 04988 99022 58 05520 02061 98 29357 99082 27 78325 22402 8 7 78325 22362 57 78325 32582 4 7 78325 32612 8 7 78325 32622 77 08535 75312 4 8 20103 59091 4 6 82161 60082 68 01213 30149 2 8 01213 30369 4 6 02498 60403 80 44007 50929 6Catalogue Numb er Artist & Title Description Configuration Scannable UPC UPC ZEDDCD007 VAR/THE SOUL OF DISCO V1(2CD) Compact Disc 5030820041476 5030820041476 ZEDDCD010 VAR/THE SOUL OF DISCO V2(2CD) Compact Disc 5037454772400 5037454772400 PRMCD6067 VAR/THE SOUND OF 50'S AMERICA Compact Disc 805520090674 805520090674 UMMC63612 VAR/THE SOUNDS OF SUMMER Compact Disc 778325636128 778325636128 QMG10192 VAR/THE STANDARD 4:19 Compact Disc 182784101927182784101927 UMMC95382 VAR/THIN LIZZY UFO-AS PERF(2CD Compact Disc 778325953829 778325953829 PROPERFOLK13 VAR/THIS IS PROPER FOLK TOO Compact Disc 5052442001928 5052442001928 8216150912 VAR/THIS IS SAMBA! VOLUME 1 Compact Disc 682161509129 682161509129 8216150922 VAR/THIS IS SAMBA! VOLUME 2 Compact Disc 682161509228 682161509228 440202A VAR/TO MOMMY:I LOVE YOU Compact Disc 801464402023801464402023 UMMC63292 VAR/TOP 40 COUNTRY V1(3CD) Compact Disc 778325632922 778325632922 CMH7202 VAR/TOTALLY BLUEGRASS Compact Disc 027297720220 027297720220 ARMA423 VAR/TRANCE 100 2016(4CD) Compact Disc 87185220845398718522084539 2751920 VAR/TROIS POETES:BREL -BRASSENS Compact Disc 602527519203 602527519203 4758058 VAR/ULTIMATE BACH Compact Disc 028947580584 028947580584 RCL2023 VAR/ULTIMATE CHILLOUT Compact Disc 609955202325609955202325 UMMC22442 VAR/ULTIMATE DOUBLES COUNT(2CD Compact Disc 778325224424 778325224424 UMC40051 VAR/ULTIMATE LEGENDS OF ROCK N Compact Disc 778325400514 778325400514 COZ17673 VAR/ULTIMATE MOST ROMANTIC STR Compact Disc 795041767325 795041767325 RCL2024 VAR/ULTIMATE TECHNO Compact Disc 609955202424609955202424 ZEDDCD024 VAR/UNDER THE INFLUENCE V1(2CD Compact Disc 5060162571096 5060162571096 ZEDDCD029 VAR/UNDER THE INFLUENCE V3(2CD Compact Disc 5060162572079 5060162572079 VIT9179 VAR/UNDEROATH:PAINTED RED:STRU Compact Disc 027297917927 027297917927 3020630312 VAR/UPTOWN SOUL,DOWNTOWN FUNK Compact Disc 030206303124030206303124 B002134402 VAR/VH1 LOVE & HIP HOP MUS(EDI Compact Disc 602537935147 602537935147 4783662 VAR/VIOLIN 101 (6CD SET) Compact Disc 028947836629 028947836629 VIT9550 VAR/VITAMIN STRING QUARTET PER Compact Disc 027297955028 027297955028 TSCD654 VAR/VOICE OF THE PEOPLE FAREWE Compact Disc 714822065429 714822065429 TSCD652 VAR/VOICE OF THE PEO PLE MY SHI Compact Disc 714822065221 714822065221 TSCD653 VAR/VOICE OF THE PEOPLE OER HI Compact Disc 714822065320 7148220653200 28947 58058 4 0 28947 83662 96 02537 93514 76 02527 51920 3 0 27297 91792 70 27297 72022 0 0 27297 95502 88 05520 09067 45 037454 772400 5 060162 571096 5 060162 572079 5 052442 001928 7 14822 06522 1 7 14822 06532 07 14822 06542 95 030820 041476 0 30206 30312 46 09955 20232 5 6 09955 20242 41 82784 10192 7 8 718522 084539 8 01464 40202 3 7 78325 22442 47 78325 63292 27 78325 63612 8 7 78325 95382 9 7 78325 40051 46 82161 50912 9 6 82161 50922 8 7 95041 76732 5Catalogue Numb er Artist & Title Description Configuration Scannable UPC UPC TSCD751 VAR/VOICE OF THE PEOPLE VOICE C ompact Disc 714822075121 714822075121 TSCD662 VAR/VOICE OF THE PEOPLE WEVE R C ompact Disc 714822066228 714822066228 5723706 VAR/WE LOVE DISNEY 3 Compact Disc 602557237061 602557237061 PROPERBX5100 VAR/WE RE GONNA ROCK WE RE(4CD Compact Disc 805520221009 805520221009 TP178 VAR/WEST COAST EXCURSIONS V2 Compact Disc 600353057821 600353057821 TSQ5081 VAR/WHEN I REACH THAT HEAV(3CD Compact Disc 856225005081 856225005081 GRLCD123 VAR/WHO'S THAT MAN A TRIBU(4CD Compact Disc 5060238631006 5060238631006 4786756 VAR/WIENER PHILHARMONIKE(64CD Compact Disc 028947867562 028947867562 CMH8801 VAR/WILLIAMS JR.,HANK:PICKIN' Compact Disc 027297880122 027297880122 CMH5913 VAR/WORLD GREATEST BLUEGRAS Compact Disc 027297591325 027297591325 4338692 VAR/WORLD OF T HARP Compact Disc 028943386920 028943386920 4801297 VAR/ZOOMER'S CHOICE-CLASSICAL Compact Disc 028948012978 028948012978 CDED7045 VAR/ZYDECO PARTY Compact Disc 712136704522 712136704522 714522B VARIOUS AR/2011 WARPED TOUR CO Compact Disc 603967145229 603967145229 639302 VARIOUS AR/AFRICAN VOICES Compact Disc 083616393025 083616393025 433529 VARIOUS AR/BEST OF BOND...J AME CD with DVD 5099924335294 5099924335294 132362B VARIOUS AR/BEST OF CELTIC CHRI Compact Disc 724381323625 724381323625 648992 VARIOUS AR/BRIDE'S MA GAZINE GU Compact Disc 077776489926 077776489926 071852 VARIOUS AR/CHRISTMAS IN CANADA Compact Disc 5099950718528 5099950718528 795852 VARIOUS AR/EVANGELINE MADE: A Compact Disc 015707958523 015707958523 701692 VARIOUS AR/FROM SPIRITUALS TO Compact Disc 015707016926 015707016926 074732 VARIOUS AR/HALLOWEEN'S GRAVEST Compact Disc 5099930747326 5099930747326 317742 VARIOUS AR/HOORAY FOR LOVE,/GR Compact Disc 724383177424 724383177424 428799 VARIOUS AR/LIVE 8 TORONTO Digital Video Disc 094634287999 094634287999 484092 VARIOUS AR/MIDNIGHT COWBOY Compact Disc 077774840927 077774840927 501272D VARIOUS AR/NARADA GUITAR 2 Compact Disc 724385012723 724385012723 079412 VARIOUS AR/NOW COUNTRY 3 Compact Disc 5099930794122 5099930794122 189582 VARIOUS AR/SALSA: HOT & SPICY Compact Disc 724381895825 724381895825 268822 VARIOUS AR/SNOOP DOGG PR ESENTS Compac t Disc 5099962688222 5099962688222 285512 VARIOUS AR/ULTIMATE ROMANTIC G Compact Disc 5099962855129 50999628551295 099924 335294 0 77776 48992 6 5 099962 855129 0 77774 84092 75 099930 747326 7 24383 17742 4 7 24381 89582 50 28948 01297 80 28947 86756 2 5 099950 718528 5 099930 794122 0 83616 39302 5 7 24381 32362 5 7 24385 01272 3 5 099962 688222 6 02557 23706 1 0 28943 38692 00 27297 88012 2 0 27297 59132 58 05520 22100 97 14822 06622 87 14822 07512 1 8 56225 00508 16 00353 05782 1 0 15707 01692 60 15707 95852 35 060238 631006 7 12136 70452 2 6 03967 14522 9 0 94634 28799 9Catalogue Numb er Artist & Title Description Configuration Scannable UPC UPC 024982A VARIOUS AR/ULTRA LOUNGE: BEST Compact Disc 5099950249824 5099950249824 957052B VARIOUS AR/ULTRA LOUNGE:COCKTA Compact Disc 724359570525 724359570525 276192 VARIOUS AR/WOW GOSPEL ESSENTIA Compact Disc 5099922761927 5099922761927 B001688402 VARIOUS ARTIST/A&M 50:THE(3CD) Compact Disc 600753388723 600753388723 CDROUN1088 VARIOUS ARTISTS/AFRO-CUBA: A M Compact Disc 011661108820 011661108820 GRD2629 VARIOUS ARTISTS/AN ANTHOLOGY O Compact Disc 011105062923 011105062923 CDROUN1511 VARIOUS ARTISTS/ANGLO-AMERICAN Compact Disc 018964151126 018964151126 CDROUN5119 VARIOUS ARTISTS/ANTHOLOGY OF W Compact Disc 018964511920 018964511920 CDEDIS9014 VARIOUS ARTISTS/BL UEGRASS BREA Compact Disc 712136901426 712136901426 CDEDIS7066 VARIOUS ARTISTS/BLUES CROSSROA Compact Disc 712136706625 712136706625 CDEDIS7061 VARIOUS ARTISTS/BLUES ORGAN GR Compact Disc 712136706120 712136706120 CDROUN2075 VARIOUS ARTISTS/CARNIVAL TIME! Compact Disc 011661207523 011661207523 CDEDIS9011 VARIOUS ARTISTS/CE LTIC WINDS: Compact Disc 712136901129 712136901129 CHD49340 VARIOUS ARTISTS/CHESS BLUES BO Compact Disc 076732934029 076732934029 CDHBEA20 VARIOUS ARTISTS/CHURCHICAL CHA Compact Disc 011661752023 011661752023 CDROUN6024 VARIOUS ARTISTS/CONJUNTO ! (D6 Compact Disc 011661602427 011661602427 MCBBD11025 VARIOUS ARTISTS/CRAZY FOR GERS Compact Disc 008811102524 008811102524 CDROUN1050 VARIOUS ARTISTS/EARLY MANDOLIN Compact Disc 011661105027 011661105027 CDROUN5028 VARIOUS ARTISTS/HOMELAND 2 -- Compact Disc 011661502826 011661502826 CDROUN5017 VARIOUS ARTISTS/JUJU ROOTS: 19 Compact Disc 011661501720 011661501720 CDROUN1089 VARIOUS ARTISTS/KLEZMER PIONEE Compact Disc 011661108929 011661108929 CDROUN5156 VARIOUS ARTISTS/MUSIC FROM YEM Compact Disc 018964515621 018964515621 CDHBEA118 VARIOUS ARTISTS/REGGAE CHRISTM Compact Disc 011661761827 011661761827 CDHBEAAN13 VARIOUS ARTISTS/REGGAE CULTURE Compact Disc 011661851320 011661851320 MCAMD80325 VARIOUS ARTISTS/TARANTINO CONN Compact Disc 602438032525 602438032525 CDFLY068 VARIOUS ARTISTS/THE FESTIVAL T Compact Disc 018964006822 018964006822 CDFLY522 VARIOUS ARTISTS/THE HEART OF S Compact Disc 018964052225 018964052225 CDROUN0439 VARIOUS ARTISTS/THE NORTH CARO Compact Disc 011661043923 011661043923 CDROUN0435 VARIOUS ARTISTS/TRADITIONAL FI Compact Disc 018964443528 018964443528 CDROUN1053 VARIOUS ARTISTS/VINTAGE HAWAII Compact Disc 011661105324 0116611053246 00753 38872 35 099950 249824 7 24359 57052 5 0 76732 93402 95 099922 761927 0 11105 06292 3 0 08811 10252 4 6 02438 03252 57 12136 70612 07 12136 70662 5 7 12136 90112 97 12136 90142 6 0 18964 00682 2 0 18964 05222 50 11661 76182 70 11661 75202 3 0 11661 85132 0 0 18964 44352 80 11661 04392 30 11661 10502 7 0 11661 10532 40 11661 10882 0 0 11661 10892 90 18964 15112 6 0 11661 20752 3 0 11661 50172 00 11661 50282 60 18964 51192 0 0 18964 51562 10 11661 60242 7Catalogue Numb er Artist & Title Description Configuration Scannable UPC UPC 383762 VARIOUS UL/FUZZY-SAMPLER (LTD) Compact Disc 724383837625 724383837625 978532 VARIOUS,/MY BLUEBERRY NIGHTS Compact Disc 094639785322 094639785322 978022A VARIOUS/GRT LADIES OF SONG V1 Compact Disc 077779780228 077779780228 TAO034 VARIOUS/JUST MUSIC CAFE VOL 2 Compact Disc 677603007028 677603007028 5381172 VARTAN, SYLVIE /SENSIBLE Compact Disc 731453811720 731453811720 FARO177CD VASCONCELOS,N/4 ELEMENTOS Compact Disc 5060211501609 5060211501609 INTROCD2082 VAUGHAN,S/A PROPER INTRO TO:SA Compact Disc 805520060820 805520060820 UMMC81422 VAUGHAN,S/ULTIMATE LEGENDS Compact Disc 778325814229 778325814229 HUCD3062 VEASLEY,G/ON THE FAST TRACK Compact Disc 053361306229 053361306229 132292 VEE, BOBBY/VERY BEST OF,THE Compact Disc 5099921322921 5099921322921 5319710 VEGA,CM/CARMEN MARI A VEGA Compact Disc 600753197103 600753197103 XXICD21525 VELITCHKA YOTCHEVA/VELITCHKA Y Compact Disc 722056152525 722056152525 XXICD21531 VELITCHKA,Y/SUITE BACH VIOLONC Compact Disc 722056153126 722056153126 3145141372 VELOSO,C/PERSONALIDADE Compact Disc 731451413728 731451413728 VEGA24698 VELVET BLACK/OR LEANS Compact Disc 619061469826 619061469826 3145895882 VELVET UNDERGROUND & NICO/VELV Compact Disc 731458958826 731458958826 5342997 VELVET UNDERGROUND,THE/THE VEL BLU RAY AUDIO 600753429976 600753429976 B001387402 VELVET UNDERGROUND,THE/THE VEL Compact Disc 602527293073 602527293073 BAI0342 VENIA/FROZEN HANDS Compact Disc 790168651120 790168651120 PROPERBOX41 VENTURA,C/BOP FOR THE PEOPLE Compact Disc 805520020411 805520020411 CDFLY077 VENUTI, JOE /JOE IN CHICAGO Compact Disc 018964007720 018964007720 NPD85649 VERDE,G/COMPLETE O PERA OVERTUR Compact Disc 032466564925 032466564925 4607652 VERDI/AIDA/VICKERS/GORR/SOLTI Compact Disc 028946076521 028946076521 4552872 VERD I/I LOMBARDI Co mpact Disc 028945528724 028945528724 4607592 VERDI/LA TRAVIATA/BERGONZI Compact Disc 028946075920 028946075920 B000947702 VERONA GROVE/ THE STORY THOUGHT Compact Disc 602517408920 602517408920 404372 VERVE, THE/A NORTHERN SOUL Compact Disc 724384043728 724384043728 879502 VERVE, THE/STORM IN HEAVEN Compact Disc 077778795025 077778795025 5328924 VIAN,B/LA COLLECTION CHANSON F Compact Disc 600753289242 600753289242 FARO155CD VILAR,R/STUDIES IN BOSSA Compact Disc 5060211500466 50602115004666 00753 42997 60 94639 78532 27 24383 83762 5 0 77779 78022 8 0 28945 52872 45 099921 322921 0 28946 07592 00 28946 07652 1 6 02517 40892 07 31458 95882 6 6 02527 29307 36 00753 19710 3 6 00753 28924 27 31453 81172 0 7 31451 41372 8 0 77778 79502 57 24384 04372 86 19061 46982 67 22056 15252 5 7 22056 15312 6 0 32466 56492 58 05520 06082 0 5 060211 500466 5 060211 501609 8 05520 02041 16 77603 00702 8 7 78325 81422 9 7 90168 65112 0 0 18964 00772 00 53361 30622 9Catalogue Numb er Artist & Title Description Configuration Scannable UPC UPC MA251024 VILLAIN/ONLYTIMEWILLTELL Compact Disc 5413992510245 5413992510245 4237002 VILLA-LOBOS/GUITAR CTO/YEPES Compact Disc 028942370029 028942370029 3772505 VILLARD,H/SALUT LES COPAINS(2C Compact Disc 602537725052 602537725052 465122 VILLEGAS,L/CAFE' OLE Compact Disc 724384651220724384651220 940742A VINCENT, G/CAPITOL COLLECTORS Compact Disc 077779407422 077779407422 QMG10172 VINCENTVAN GOGO/DO U KNOW? Compact Disc 182784101729182784101729 CDSMN100022 VINET,A/MOUVEMENT Compact Disc 874751000370 874751000370 INTROCD2056 VINSON,E/A PROPER INTRO TO:EDD Compact Disc 805520060561 805520060561 ADDITUP01 VIOLENTFEMMES/LIVE IN ICELAND Compact Disc EP's 634479307843634479307843 3341421455 VISION OF DISORDER/RAZED TO TH Compact Disc 803341421455 803341421455 CMH9562 VITAMIN STRING QUARTET/PERFORM Compact Disc 027297956223 027297956223 4742872 VIVALDI&BACH Compact Disc 028947428725 028947428725 4609502 VIVALDI/ADAGIOS Compact Disc 028946095027 028946095027 4760948 VIVALDI/LE PETIT ME NESTREL Compact Disc 028947609483 028947609483 0252772313 VOEGELE, K/GRAVITY HAPPENS( LTD Compact Disc 602527723136 602527723136 FARO171CD VOGEL,H/TURN UP THE QUIET Compact Disc 5060211501203 5060211501203 B002495802 VOLBEAT/SEAL THE DEAL A(DLX 2C Compact Disc 602547883742 602547883742 XXICD21588 VON BINGEN,H/ORDO VIRTUTUM-2CD Compact Disc 722056158824 722056158824 3732722 VON HERTZEN BROTHERS/NINE LIVE Compact Disc 602537327225 602537327225 3739309 VOODOO SIX/SONGS TO INVADE COU Compact Disc 602537393091 602537393091 CID846264 W.BURROUGHS/DEAD CITY RADIO Compact Disc 042284626422 042284626422 4713482 WAGNER/ARIAS Compact Disc 028947134824 028947134824 4607382 WAGNER/DER FLIEGENDE HOLLANDER Compact Disc 028946073827 028946073827 4555592 WAGNER/DIE WALKURE Compact Disc 028945555928 028945555928 4406062 WAGNER/OVERATRUES & PRELUDES Compact Disc 028944060621 028944060621 4435812 WAGNER/RING(NARRATIVE)/SOLTI Compact Disc 028944358124 028944358124 CDROUN3076 WAINWRIGHT, LOU/FAME & WEALTH Compact Disc 011661307629 011661307629 CDROUN3096 WAINWRIGHT, LOU/I'M ALRIGHT Compact Disc 011661309623 011661309623 CDROUN3106 WAINWRIGHT, LOU/MORE LOVE SONG Compact Disc 011661310629 011661310629 0044503692 WAINWRIGHT,R/POSES (NEW VERSIO Compact Disc 600445036925 6004450369250 77779 40742 2 6 02527 72313 6 0 28944 35812 40 28945 55592 80 28946 07382 70 28946 09502 70 28942 37002 9 0 28947 42872 5 0 28947 13482 4 6 00445 03692 50 42284 62642 2 0 28944 06062 16 02537 39309 18 03341 42145 56 02537 72505 2 0 28947 60948 3 6 02537 32722 56 02547 88374 2 7 22056 15882 48 74751 00037 0 0 27297 95622 35 413992 510245 8 05520 06056 1 5 060211 501203 7 24384 65122 0 1 82784 10172 9 0 11661 30762 9 0 11661 30962 3 0 11661 31062 96 34479 30784 3Catalogue Numb er Artist & Title Description Configuration Scannable UPC UPC MSR469A WALKER,D & THE AMBULATORS/MOST Compact Disc 634479071652 634479071652 DOR084 WALKER,N/URBAN ANGEL Compact Disc 182784108421182784108421 DOR090CD WALKER,N/WITH YOU Compact Disc 182784109022182784109022 5454508392 WALKER,S/HUMBLE BEGINNINGS-THE Compact Disc 654545083921654545083921 FRANETCD1026 WALKER,W/HOW DO YOU THINK I FE Compact Disc 8437010194221 8437010194221 862932A WALLFLOWER/WALLFLOWERS Compact Disc 077778629320 077778629320 B000469382 WALLFLOWERS,THE/REBEL SWEETHE DUALDISC 602498819722 602498819722 RRCD105 WALSH,D/THE SAME BUT DIFFERENT Compact Disc 5052442002055 5052442002055 0881122312 WALSH,J/THE BEST OF JOE WALSH Compact Disc 008811223120 008811223120 ETLCD67 WARCRY/ALFA Compact Disc 820103590853 820103590853 ETLCD66 WARCRY/INMORTAL Compact Disc 820103590709 820103590709 SPEC009 WARDELL,A/KINDA BLUE Compact Disc 805520070096 805520070096 COS33324 WARWICK,D/IN CONCERT Digital Video Disc 619061332434 619061332434 B000945302 WASHINGTON,D/GOLD Compact Disc 602517402164 602517402164 PRMCD6088 WASHINGTON,D/THE GOLD COLLECTI Compact Disc 805520090889 805520090889 PROPERBOX43 WASHINGTON,D/THE QUEEN SINGS Compact Disc 805520020435 805520020435 B001186502 WASHINGTON,G/ALL THE KINGS HOR Compact Disc 602517822894 602517822894 INTROCD2066 WATERS,M/A PROPER INTRO TO:MUD Compact Disc 805520060660 805520060660 TSCD488 WATERSON CARTHY/COMMON TONGUE Compact Disc 714822048828 714822048828 TSCD562 WATERSON CARTHY/HOLY HEATHENS Compact Disc 714822056229 714822056229 HPO6012 WATERSON CARTHY/THE DEFINITIVE Compact Disc 714822601221 714822601221 TSCD475 WATERSON CARTHY/WATERSON CARTH Compact Disc 5016272475021 5016272475021 TSCD505 WATERSON,L/KNIGHT,O/A BED OF R Compact Disc 714822050524 714822050524 TSCD478 WATERSON,L/KNIGHT,O/ONCE IN A Compact Disc 5016272478022 5016272478022 TSCD579 WATERSON,N/CARTHY,E/GIFT Compact Disc 714822057929 714822057929 TSCD574 WATERSONS,THE/FOR PENCE & SPIC Compact Disc 714822057424 714822057424 HPO6004 WATERSONS,THE/THE DEFINITIVE C Compact Disc 714822600422 714822600422 782772 WATSKY/CARDBOARD CASTLES Compact Disc 015707827720 015707827720 CDFLY651 WATSON, DOC & M/WATSON COUNTRY Compact Disc 018964065126 018964065126 INTROCD2083 WATSON,J/A PROPER INTRO TO:JOH Compact Disc 805520060837 8055200608370 08811 22312 0 6 02517 40216 4 6 02517 82289 40 77778 62932 06 34479 07165 2 7 14822 60042 28 05520 06066 0 8 05520 06083 78 05520 02043 55 052442 002055 8 437010 194221 7 14822 60122 18 05520 09088 98 05520 07009 6 5 016272 475021 5 016272 478022 7 14822 04882 8 7 14822 05052 47 14822 05622 9 7 14822 05742 47 14822 05792 91 82784 10842 1 1 82784 10902 2 6 54545 08392 1 0 15707 82772 08 20103 59070 98 20103 59085 3 0 18964 06512 66 19061 33243 46 02498 81972 2Catalogue Numb er Artist & Title Description Configuration Scannable UPC UPC 5724477 WATTS,C/CHARLIE WATTS MEETS TH Compact Disc 602557244779 602557244779 279682 WE THE KIN/WE THE KINGS Compact Disc 5099922796820 5099922796820 0254727300 WEAVER,R/PROMISES HMV EX(CDEP) Com pact Disc EP's 602547273000 602547273000 1709755 WEBBER,A/GOLD:THE DEFINITIVE H CD with DVD 602517097551 602517097551 PROPERBOX37 WEBSTER,B/B IG BEN Compact Disc 805520020374 805520020374 AMSC1038 WEBSTER,B/THREE CLASSI C AL(2CD Compact Disc 5022810303824 5022810303824 NPD85581 WEIDINGER,C/VERDI:VERDI ARIAS Compact Disc 032466558122 032466558122 4594422 WEILL/SUITE FROM T THREEPENNY Compact Disc 028945944227 028945944227 4364172 WEILL/UTE LEMPER SINGS KURT,V2 Compact Disc 028943641722 028943641722 3145423942 WELLER,P/HELIOCENTRIC Compact Disc 731454239424 731454239424 2755898 WELLER,P/LIVE AT THE ROYAL ALB Compact Disc 602527558981 602527558981 B001728502 WELLS,M/SOMETHING NEW MOTOWN Compact Disc 602537117758 602537117758 B002280202 WELSH,L/SOFT CONTROL Compact Disc 602547143440 602547143440 CDRWG52 WEMBA,P/EMOTION Compact Disc 884108000694 884108000694 0385002 WESSELCROFT,B/NEW CONCEPTION Compact Disc 044003850026 044003850026 0135342 WESSELTOFT,B/MOVING Compact Disc 044001353420 044001353420 5372512 WESSELTOFT,B/NEW CONCEPTION OF Compact Disc 731453725126 731453725126 1788021 WESSELTOFT,B/NEW CONCETION OF CD with DVD 602517880221 602517880221 3768678 WESSELTOFT,B/OK WORLD(2CD) Compact Disc 602537686780 602537686780 3786601 WESSELTOFT,B/TRIALOGUE Compact Disc 602537866014 602537866014 B000481402 WEST,K/LATE REGISTRA TIONS(EDIT Compact Disc 602498824030 602498824030 240302 WESTSIDE C/TERRORIST THREATS Compact Disc 724352403028 724352403028 3798185 WET WET WET/GREATEST HITS(BR+C BLU RAY + BNS CD 602537981854 602537981854 600115 WHITE BUFF/ONCE UPON A TIME IN Compact Disc 898336001156898336001156 5454508532 WHITE,J&BIGBILLBOONZY /COMES A- Compact Disc 654545085321654545085321 GEFMD24620 WHITESNAKE /GREATEST HITS Compact Disc 720642462027 720642462027 GEFBD4018 WHITESNAKE /SLIDE IT IN Compact Disc 720642401828 720642401828 GEBBD24249 WHITESNAKE /SLI P OF THE TO Compact Disc 720642424926 720642424926 GEFBD24099 WHITESNAKE /WHITESNAKE Compact Disc 720642409923 720642409923 B001521902 WHITESNAKE/ICON Compact Disc 602527611754 6025276117546 02537 98185 46 02517 09755 1 6 02517 88022 15 099922 796820 0 28943 64172 2 6 02498 82403 00 28945 94422 7 6 02537 11775 86 02557 24477 9 7 31454 23942 4 6 02527 55898 1 6 02547 14344 0 7 24352 40302 8 7 20642 40992 37 20642 40182 87 20642 46202 7 7 20642 42492 60 44001 35342 0 7 31453 72512 60 44003 85002 6 6 02537 68678 0 6 02537 86601 4 6 02527 61175 40 32466 55812 25 022810 303824 8 05520 02037 4 8 84108 00069 4 6 54545 08532 18 98336 00115 66 02547 27300 0Catalogue Numb er Artist & Title Description Configuration Scannable UPC UPC B001306900 WHITESNAKE/SLIDE IT IN-25TH AN CD with DVD 602527090580 602527090580 B001306800 WHITESNAKE/SLIP OF THE TONGUE CD with DVD 602527089126 602527089126 0694906572 WHITESNAKE/THE BEST OF WHITESN Compact Disc 606949065720 606949065720 B001382500 WHITESNAKE/WHITESNAKE DELUXE E CD with DVD 602527283272 602527283272 CDROUN9017 WHITFIELD, BARR/LIVE EMULSIFIE Compact Disc 011661901728 011661901728 MSGR14 WHITLEY,C/HOTEL VAST HORIZON Compact Disc 632662101421632662101421 MSGR22 WHITLEY,C/SOFT DANGEROUS SHORE Compact Disc 632662102220632662102220 COS33371 WHITTAKER,R/IN CONCERT Digital Video Disc 619061337132 619061337132 MCBBD37003 WHO THE /WHO ARE YOU Compact Disc 076741700325 076741700325 MCBBD31221 WHO THE /WHO S MISSING Compact Disc 076731122120 076731122120 0881128772 WHO THE/THE ULTIMATE COLLECTIO Compact Disc 008811287726 008811287726 5372740 WHO,THE/MY GENERATION(5CD) Compact Disc 600753727409 600753727409 3780813 WHO,THE/QUADROPHENIA LIVE IN L BLU RAY AUDIO 602537808137 602537808137 B001398859 WHO,THE/THE KIDS ARE ALRIGHT BLU RAY 602527320960 602527320960 B001247109 WHO,THE/THE KIDS ARE ALRIGHT(D Digital Video Disc 602517942189 602517942189 3747405 WHO,THE/TOMMY BLU RAY AUDIO 602537474059 602537474059 4764498 WHUN CHUNG,M/DEBUSSY LA MER/RA Compact Disc 028947644989 028947644989 4751309 WIGMORE,G/BLOOD TO BONE Compact Disc 602547513090 602547513090 065222 WILCOX, DA/BEST OF,THE Compact Disc 077770652227 077770652227 4700473 WILD CLUB/YOUTH Compact Disc 602547004734 602547004734 SBESTCD63 WILD SMILES/ALWAYS TOMORROW Compact Disc 50510830805455051083080545 PVCD141 WILEY,L/S'WONDERFUL Compact Disc 805520051415 805520051415 926909 WILLIAMS, /LIVE AT THE ALBERT Digital Video Disc 724349269095 724349269095 CDROUN0414 WILLIAMS, PAUL /AIN'T GOD GOOD Compac t Disc 011661041424 011661041424 135070 WILLIAMS,A/BECOMING Compact Disc 803341350700 803341350700 SSR01 WILLIAMS,D DELROY/SINGER MAN Compact Disc 5052442001973 5052442001973 0075310025 WILLIAMS,D/BEST O F- SUPERSTAR Compact Disc 600753100257 600753100257 CHK1003 WILLIAMS,H/40 ORIGINAL RECORDI Compact Disc 805520160032 805520160032 INTROCD2064 WILLIAMS,H/A PROPER INTRO TO:H Compact Disc 805520060646 805520060646 PROPERBOX39 WILLIAMS,H/HILLBILLY HERO Compact Disc 805520020398 8055200203986 02527 32096 06 02537 80813 7 6 02537 47405 96 02527 08912 66 02527 09058 0 6 02527 28327 2 0 28947 64498 9 0 77770 65222 76 02547 51309 00 76731 12212 00 76741 70032 5 0 08811 28772 6 6 00753 72740 9 8 03341 35070 0 6 00753 10025 76 02547 00473 46 06949 06572 0 8 05520 02039 88 05520 06064 68 05520 05141 5 5 052442 001973 8 05520 16003 26 32662 10142 1 6 32662 10222 0 5 051083 080545 0 11661 04142 40 11661 90172 8 7 24349 26909 56 02517 94218 96 19061 33713 2Catalogue Numb er Artist & Title Description Configuration Scannable UPC UPC B000391900 WILLIAMS,H/THE ULTIMATE COLLEC CD with DVD 075021034013 075021034013 B000534802 WILLIAMS,H/TURN BACK THE YEARS Compact Disc 602498845394 602498845394 CRE31000 WILLIAMS,J/INDIANA JONES:COMPL Compact Disc 888072310001 888072310001 3145898462 WILLIAMS,J/THE DEFINITIVE JOE Compact Disc 731458984627 731458984627 B001518902 WILLIAMS,L/BLESSED Compact Disc 602527595900 602527595900 B000737802 WILLIAMS,L/CAR WHEELS ON A GRA Compact Disc 602517045347 602517045347 3145391182 WILLIAMS,T/LIFETIME TURN IT Compact Disc 731453911826 731453911826 4732412 WILLIAMS/COMPLETE SYMPHONIES Compact Disc 028947324126 028947324126 CDBEYE9550 WILLSON, MICHEL/EVIL GAL BLUES Compact Disc 011661955028 011661955028 350722 WILSON, CA/BELLY OF THE SUN Compact Disc 724353507220 724353507220 813572A WILSON, CA/BLUE LIGHT 'TIL DAW Compact Disc 077778135722 077778135722 CDHBEA3507 WILSON, DELROY /BEST OF -- ORI Compact Disc 011661350724 011661350724 244272 WILSON, NA/ANTHOLOGY (2 CD) Compact Disc 724352442720 724352442720 775622B WILSON, NA/GREAT AMERICAN SONG Compact Disc 724347756221 724347756221 755462B WILSON, NA/MUSIC FOR LOVERS Compact Disc 094637554623 094637554623 015712 WILSON, NA/NANCY WILS ON SHOW,T Compact Disc 5099950157129 5099950157129 CDBEYE9559 WILSON, SMOKEY /THE REAL DEAL Compact Disc 011661955929 011661955929 TSQ2684 WILSON,B/EVER CHANGING MINSTRE Compact Disc 894807002684 894807002684 1166177232 WILSON,D/ORIGINAL EDITION:THE Compact Disc 011661772328 011661772328 DA00206 WILSON/LEE/BENTLEY/ESCONDIDO D Compact Disc 875531002065875531002065 920782 WINANS, BE/DIFFERENT LIFESTYLE Compact Disc 077779207824 077779207824 909592 WINANS, BE/HEAVEN Compact Disc 077779095926 077779095926 7697429037 WINSTON,C/HOBO Compact Disc 776974290371 776974290371 0252789300 WINSTON,C/RUNNING STILL Compact Disc 602527893006 602527893006 55581 WINSTON,G/GEORGE WINSTON: DECE Compact Disc 096741371226 096741371226 CHARCD005 WINTER MOUNTAIN/WINTER MOUNTAI Compact Disc 5052442004448 5052442004448 7085357478 WINTER,J/GANGSTER OF LOVE(2CD Compact Disc 708535747826 708535747826 135074 WINTERFYLL/THE GHOST OF HERITA Compact Disc 803341350748 803341350748 134903 WINTERFYLL/THE THRENODY OF TRI Compact Disc 803341349032 803341349032 720012B WINTERSLEE/SELF-TITLED Compact Disc 621617200128 6216172001280 75021 03401 3 7 24347 75622 10 77778 13572 2 5 099950 157129 0 94637 55462 37 24353 50722 0 0 77779 09592 60 77779 20782 40 28947 32412 6 6 21617 20012 86 02517 04534 76 02527 59590 06 02498 84539 4 6 02527 89300 67 76974 29037 1 8 03341 34903 28 03341 35074 87 24352 44272 07 31458 98462 7 7 31453 91182 6 5 052442 004448 8 75531 00206 5 7 08535 74782 68 94807 00268 48 88072 31000 1 0 11661 77232 80 11661 95502 8 0 11661 95592 90 11661 35072 4 0 96741 37122 6Catalogue Numb er Artist & Title Description Configuration Scannable UPC UPC 720022B WINTERSLEE/UNTITLED Compact Disc 621617200227 621617200227 358442 WINTERSLEE/WELCOME TO THE NIGH Compact Disc 5099923584426 5099923584426 LIB33469 WINWOOD,S/SOUNDSTAGE - DVD Digital Video Disc 619061346936 619061346936 PRMCD2003 WISHBONE ASH/WISHBONE ASH Compact Disc 805520290036 805520290036 SFMDVD111 WISHBONE,A/LIVE FROM LONDO(DVD Digital Video Disc 5055544201388 5055544201388 BAI0202 WITH BLOOD COMES CLEANSI/GOLGO Compact Disc 790168543524 790168543524 PROPERBOX179 WITHERSPOON,J/HARD WORKING(4CD Compact Disc 805520021791 805520021791 MJFR30638 WITHERSPOON,J/LIVE AT THE MONT Compact Disc 888072306387 888072306387 291422B WOMACK, BO/FACTS OF LIFE Compact Disc 724382914228 724382914228 IRL072 WONDER STUFF,THE/OH NO ITS(2CD Compact Disc 5060155721118 5060155721118 FRANTWS1 WONDER STUFF/EIGHT-LEGGED GROO Compact Disc 5060155720388 5060155720388 FRANTWS2 WONDER STUFF/HUP- 21ST ANNIVERS Compact Disc 5060155720562 5060155720562 RCL2001 WONDER,W/GREY SKIES TO BLUE Compact Disc 609955200123609955200123 NAVIGATOR29 WOODS,C/ALBION AN ANTHOLOG(2CD Compact Disc 5060169470750 5060169470750 CDROUN11520 WOODSTOCK MOUNT/WOODSTOCK MOUN Compact Disc 011661152021 011661152021 FRBCD29 WORLD FIRE BRIGADE/SPREADING Compact Disc 039911002926 039911002926 4300962 WORLD-OF/KATHLEEN FERRIER Compact Disc 028943009621 028943009621 4332222 WORLD-OF/PIANO Compact Disc 028943322225 028943322225 4364022 WORLD-OF/WEDDING MUSIC Compact Disc 028943640220 028943640220 B002014502 WORSHIP TOGET/10,000 REASONS K Compact Disc 602537687039 602537687039 3341391727 WOUNDED KING,THE/CONSOLAMENTUM Compact Disc 803341391727 803341391727 B000813402 WRIGHT,C/DEFINITIVE COLLECTION Compact Disc 602517167056 602517167056 B000406902 WRIGHT,L/DREAMING WIDE AWAKE Compact Disc 075021038028 075021038028 FNCD5501 WRIGHT,M/EVERYTHING AND MORE Compact Disc 653496114722653496114722 SID012 WYNN,S/DAZZLING DISPLAY(DLX.ED Compact Disc 793962000125 793962000125 MBDCD860051 XASTHUR/TELEPATHIC WITH THE DE Compact Disc 768586005122 768586005122 MBDCD860060 XASTHUR/TO VIOLATE THE OBLIVIO Compact Disc 768586006020 768586006020 MBDCD860080 XASTHUR/XASTHUR Compact Disc 768586008024 768586008024 ETLCD97 XENTRIX/DILUTE TO TASTE(DLX) Compact Disc 741812914009 741812914009 506532A XTC/DRUMS & WIRES Compact Disc 724385065323 7243850653237 24382 91422 8 6 02537 68703 95 099923 584426 6 21617 20022 7 6 02517 16705 68 03341 39172 7 0 75021 03802 8 7 24385 06532 30 28943 32222 5 0 28943 64022 00 28943 00962 15 060155 721118 8 05520 02179 18 05520 29003 6 5 060155 720388 5 060155 720562 7 93962 00012 55 060169 470750 6 09955 20012 3 6 53496 11472 27 90168 54352 4 8 88072 30638 7 0 39911 00292 6 7 41812 91400 97 68586 00602 00 11661 15202 1 7 68586 00512 2 7 68586 00802 45 055544 201388 6 19061 34693 6Catalogue Numb er Artist & Title Description Configuration Scannable UPC UPC 506602A XTC/ENGLISH SETTLEMENT Compact Disc 724385066023 724385066023 506832 XTC/ORANGES & LEMONS Compact Disc 724385068324 724385068324 506902 XTC/SKYLARKING Compact Disc 724385069024 724385069024 5312284 YAMANAKA,C/ABYSS Compact Disc 600753122846 600753122846 B001029302 YANDEL,WY/LOS EXTRATERRESTRES Compact Disc 602517496859 602517496859 815160 YANNI/ETHNICITY Compact Disc 724358151602 724358151602 498932 YANN I/IF I COULD TELL YOU Com pact Di sc 724384989323 724384989323 5454508422 YARBROUGH,G/COME SIT BY MY SID Compact Disc 654545084225654545084225 B000487302 YAYO,T/THOUGHTS OF A PRED(EXPL Compact Disc 602498828069 602498828069 694522B YAZ/RECONNECTED LIVE(2CD) Compact Disc 724596945223 724596945223 B000938102 YEAH YEAH YEAHS/IS IS Compact Disc EP's 602517393875 602517393875 B001282302 YEAH YEAH YEAHS/IT'S BLITZ Compact Disc 602527016009 602527016009 B000359109 YEAH YEAH YEAHS/TELLME WHAT RO Digital Video Disc 602498637258 602498637258 BMR020302 YEARWOOD,T/HEAVEN,HEARTACHE AN Compact Disc 843930000203 843930000203 4760257 YELLO/TOY(DLX) Compact Disc 602547602572 602547602572 HUCD3075 YELLOWJACKETS/TIME SQUARED Compact Disc 053361307523 053361307523 RCL2003 YELLOWMAN/DANCEHALL CLASSICS Compact Disc 609955200321609955200321 RCL2019 YELLOWMANVSNINJAMAN/ROUND ONE Compact Disc 609955201922609955201922 10108089 YO GOTTI/IN THE MI X Compact Disc 802061808928802061808928 CDFLY503 YOLOCAMBA I TA /CARA O CRUZ (H Compact Disc 018964050320 018964050320 XXICD21587 YOTCHEVA,V/FRANCK/B RAHMS:CELLO Compact Disc 722056158725 722056158725 XXICD21700 YOTCHEVA,V/RACHMANINOV:COMPLET Compact Disc 722056170024 722056170024 PBRD1022 YOU SAY PARTY WE SAY D/REMIK'S Compact Disc 880893102223880893102223 10107982 YOUNG DRO/RIP (PRESENTED BY DO Compact Disc 802061798229802061798229 PRMCD6018 YOUNG,L/THE IMORTAL LESTER YOU Compact Disc 805520090186 805520090186 UMMC81022 YOUNG,P/LIVE-LOVE HURTS Compact Disc 778325810221 778325810221 0205154293 YOUNGBLOOD BRASS B/PAX VOLUMNI Compact Disc 5060205154293 5060205154293 BID0012 YOURS FOR MINE/DEAR CHILDREN Compact Disc 790168637421 790168637421 2729556 YOUSSEF,D/ABU NAWAS RHAPSODY Compact Disc 602527295565 602527295565 9877224 YOUSSEF,D/DIVINE SHADOWS Compact Disc 602498772249 6024987722496 00753 12284 6 6 02498 82806 9 6 02527 01600 9 6 02547 60257 26 02517 49685 9 7 24384 98932 37 24358 15160 27 24385 06602 3 7 24385 06832 4 7 24385 06902 4 6 02498 77224 96 02527 29556 57 22056 17002 47 22056 15872 5 8 05520 09018 68 02061 79822 96 54545 08422 5 6 09955 20032 1 6 09955 20192 2 8 80893 10222 38 02061 80892 8 7 78325 81022 1 7 90168 63742 17 24596 94522 3 8 43930 00020 3 0 18964 05032 00 53361 30752 3 5 060205 154293 6 02517 39387 5 6 02498 63725 8Catalogue Numb er Artist & Title Description Configuration Scannable UPC UPC 801822A YURO, TIMI/LEGENDARY - BEST OF Compact Disc 077778018223 077778018223 BZZ24464 ZAMFIR,G/CHRISTMAS AT NOTRE DA Compact Disc 619061446421 619061446421 VR20111 ZAPPA,F/CARNEGIE HALL(4CD) Compact Disc 824302011126 824302011126 ZR3893 ZAPPA,F/LATHER(3CD) Compact Disc 824302389324 824302389324 ZR3886 ZAPPA,F/PLAYGROUND PSYCHOT(2CD Compact Disc 824302388624 824302388624 ZR3888 ZAPPA,F/THE YELLOW SHARK Compact Disc 824302388822 824302388822 ZR3871 ZAPPA,F/THING-FISH(2CD) Compact Disc 824302387122 824302387122 485522A ZAPPACOSTA/OVER 60 MINUTES WIT Compact Disc 077774855228 077774855228 WONDERCD04 ZEB/STOP THE EARTH, I WANT TO Compact Disc 808764301421808764301421 D002125802 ZELLA DAY/ZELLA DAY( HMV EXCL) Compact Disc 050087318116 050087318116 CDROUN6054 ZLATNE USTE BAL/NO STRINGS ATT Compact Disc 011661605428 011661605428 0251754455 ZUCCHERO/ALL THE BEST DVD VIDE Digital Video Disc 602517544550 602517544550 VIT9052 ZVA/BREAKING BENJAMI N:STRING Q Compact Disc 027297905221 027297905221 CMH7210 ZZVA/THE GAITHERS:BLUEGRASS GO Compact Disc 027297721029 0272977210290 77774 85522 80 77778 01822 3 8 24302 01112 6 8 24302 38712 28 24302 38862 48 24302 38932 4 8 24302 38882 2 0 50087 31811 66 19061 44642 1 0 27297 72102 90 27297 90522 18 08764 30142 1 0 11661 60542 8 6 02517 54455 0Catalogue Numb er Artist & Title Description Configuration Scannable UPC UPC 002 CHOKLATE/CHOKLATE Compact Disc 844185011730 844185011730 0004 DUBMATIX/CHAMPION SOUND CLASH Compact Disc 676868133725676868133725 1836 AGASEE,R/HOME AT LAST Compact Disc 776127264020776127264020 4744 JOHNSON,J/BAR ROOM PREACHER Compact Disc 014551474425014551474425 4761 LITTLE CHARLIE & THE NIGHTCATS Compact Disc 014551476122014551476122 4788 CLARKE,W/BLOWIN' LIKE HELL Compact Disc 014551478829014551478829 4794 LITTLE CHARLIE & THE NIGHTCATS Compact Disc 014551479420014551479420 4809 NEAL,K/BAYOU BLOOD Compact Disc 014551480921014551480921 10864 AVALON/ELEGANCE OF PACHELBE Compact Disc 096741805523 096741805523 11873 SOLITUDES/LAND OF T LOON Compact Disc 096741416026 096741416026 12157 SOLITUDES/NATURAL STRESS RELIE Compact Disc 096741414329 096741414329 12236 SOLITUDES/OCEAN SURF:TIMELESS Compact Disc 096741101427 096741101427 12267 SOLITUDES/PACHELBEL FOREVER BY Compact Disc 096741412127 096741412127 12305 SOLITUDES/PIANO CASCADES Compact Disc 096741415227 096741415227 12631 SOLITUDES/SONGBIRDS AT SUNRISE Compact Disc 096741412523 096741412523 12882 AVALON/ROB CRABTREE/ T PIPER Compact Disc 096741808029 096741808029 12921 SOLITUDES/THUNDERSTORM IN THE Compact Disc 096741101328 096741101328 014022 CAMP,J/RECKLESS Compact Disc 5099930140226 5099930140226 014682 BARBER, PA/COLE PORTER MIX,THE Compact Disc 5099950146826 5099950146826 015712 WILSON, NA/NANCY WILS ON SHOW,T Compact Disc 5099950157129 5099950157129 015732 LONDON, JU/ALL THROUGH THE NIG Compact Disc 5099950157327 5099950157327 22976 FISHER PRICE/MOTHER GOOSE AND Compac t Disc 096741024528 096741024528 22980 FISHER PRICE/BIRTHDAY PARTY FU Compact Disc 096741024726 096741024726 27412 SOLITUDES/ASIAN SPA Compact Disc 096741053726 096741053726NUMERICAL BY ARTIST / Numerique par artisteUNIVER SAL MU SIC DISCONTINUED LISTING / Liste de produits discontinues The following titles have been discontinued effective immediately. Please have all return requests submitted by Friday March 2 , 2018. All authorized disconti nued products must be returned to our distribution cen tre by no later than Friday April 6, 2018. À compter de maintenant les titres suivants ont été discontinués. Veuillez s'il vous plait avoir soumis toutes demandes de reto urs pour ces produits au plus tard le vendredi 2 ma rs 2018. Tous les produits discontinués autorisés doi vent être retournés à notre centre de distribution au plus tard le vendredi 6 avril 2018. 5 099950 157129 5 099950 146826 5 099930 140226 5 099950 157327 8 44185 01173 0 6 76868 13372 5 7 76127 26402 0 0 14551 48092 10 14551 47442 5 0 14551 47612 2 0 14551 47882 9 0 14551 47942 0 0 96741 80552 3 0 96741 41602 6 0 96741 41432 9 0 96741 10142 7 0 96741 41212 7 0 96741 41522 7 0 96741 41252 3 0 96741 80802 9 0 96741 10132 8 0 96741 02452 8 0 96741 02472 6 0 96741 05372 6Catalogue Numb er Artist & Title Description Configuration Scannable UPC UPC 27418 SOLITUDES/PIANO SONGBIRDS Compact Disc 096741054020 096741054020 28084 REFLECTIONS/CHRISTMAS DINNER Compact Disc 096741062025 096741062025 028099 CELTIC WOM/A CHRISTMAS CELEBRA Digital Video Disc 5099950280995 5099950280995 30613 REFLECTIONS/CARDIO SALSA Compact Disc 096741071423 096741071423 31997 AVALON/TUSCANY:A ROMANTIC JOUR Compact Disc 096741089428 096741089428 33351 SOLITUDES/ROCKY MOUNTAIN RETRE Compact Disc 096741103322 096741103322 33969 REFLECTIONS/PARIS CAFE Compact Disc 096741108624 096741108624 34210 FISHERPRICE/WORLD BABY:PEACEFU Compact Disc 096741112324 096741112324 35520 REFLECTIONS/CHRISTMAS CHEER Compact Disc 096741126727 096741126727 35522 REFLECTIONS/CHRISTMAS PARTY MI Compact Disc 096741126925 096741126925 35541 CROCHETIERE,J/DISCOVER A BETTE Compact Disc 096741124921 096741124921 35660 SOLITUDES/GENTLE WORLD:SANTORI Compact Disc 096741129025 096741129025 35661 SOLITUDES/DOLPHIN DREAMS Compact Disc 096741128929 096741128929 35662 SOLITUDES/SLEEP DEEPLY Compact Disc 096741128820 096741128820 35663 SOLITUDES/ZEN RELAXATION Compact Disc 096741128721 096741128721 36550 AVALON/CALMING MASSAGE Compact Disc 096741134722 096741134722 36559 REFLECTIONS/GENTLE WORLD:AFRIC Compact Disc 096741135620 096741135620 36560 REFLECTIONS/FLUTE DREAMS Compact Disc 096741135729 096741135729 37178 FISHER PRICE SER/TENDRE BERCEU Compact Disc 096741141126 096741141126 38156 R E M/POP SCREEN(DVD) Digital Video Disc 075993815627 075993815627 38184 R E M/TOURFILM(DVD) Digital Video Disc 075993818420 075993818420 38254 R E M/THE FILM IS ON(DVD) Digital Video Disc 075993825428 075993825428 38426 R E M/PARALLEL(DVD) Digital Video Disc 075993842623 075993842623 38443 R E M/ROAD MOVIE(DVD) Digital Video Disc 075993844320 075993844320 38600 R E M/IN VIEW THE BEST OF(DVD Digital Video Disc 075993860023 075993860023 38608 R E M/PERFECT SQUARE(DVD) Digital Video Disc 075993860825 075993860825 038782 KORN/UNTITLED Compact Disc 5099950387823 5099950387823 41316 REFLECTIONS/BONUS SENTIMENTAL Compact Disc 096741199929 096741199929 41505 FISHER PRICE SER/RAINFOREST LU Compact Disc 096741204326 096741204326 41647 SOLITUDES/INDIA Compact Disc 096741206320 0967412063205 099950 387823 0 96741 05402 0 0 96741 06202 5 0 96741 07142 3 0 96741 08942 8 0 96741 10332 2 0 96741 10862 4 0 96741 11232 4 0 96741 12672 7 0 96741 12692 5 0 96741 12492 1 0 96741 12902 5 0 96741 12892 9 0 96741 12882 0 0 96741 12872 1 0 96741 13472 2 0 96741 13562 0 0 96741 13572 9 0 96741 14112 6 0 96741 19992 9 0 96741 20432 6 0 96741 20632 05 099950 280995 0 75993 81562 7 0 75993 81842 0 0 75993 82542 8 0 75993 84262 3 0 75993 84432 0 0 75993 86002 3 0 75993 86082 5Catalogue Numb er Artist & Title Description Configuration Scannable UPC UPC 41649 SOLITUDES/COSTA RICA Compact Disc 096741206528 096741206528 43349 SOLITUDES/MUSIC TO INSPIRE POS Compact Disc 096741448386 096741448386 044242 BEACH BOYS/LITTLE DEUCE COUPE( Compact Disc 5099940442426 5099940442426 044272 BEACH BOYS/SHUT DOWN V.2 (MONO Compact Disc 5099940442723 5099940442723 044332 BEACH BOYS/SUMMER DAYS (MONO & Compact Disc 5099940443324 5099940443324 47913 FISHER PRICE/FP JEWEL-CELEBRIT Compact Disc 096741243424 096741243424 48010 SOLITUDES/DREAMING BY THE STRE Compact Disc 096741250125 096741250125 48012 SOLITUDES/RELAXING NATURALLY Compact Disc 096741250323 096741250323 48013 SOLITUDES/ISLAND SPA Compact Disc 096741250422 096741250422 48803 SOLITUDES/REFRESH Compact Disc 096741266621 096741266621 49128 FISHER PRICE/SONGS & GAMES FOR Compact Disc 096741272325 096741272325 050092 EVENING HY/SPIRIT GUIDES Compact Disc 827590500921 827590500921 50124 FISHER PRICE/50 SING-ALONG CLA Compact Disc 096741282423 096741282423 50403 SOLITUDES/ZEN Compact Disc 096741286520 096741286520 50792 VAR/A STARRY NIGHT IN THE WEST Compact Disc 682161507927 682161507927 053062 BAKER, CHE/BEST OF CHE T BAKER Compact Disc 5099990530623 5099990530623 55581 WINSTON,G/GEORGE WINSTON: DECE Compact Disc 096741371226 096741371226 56653 VAR/CLASSIC COUNTRY JUKEBOX Compact Disc 096741395024 096741395024 57435 REFLECTIONS/CELTIC MIST FR WT Compact Disc 096741404627 096741404627 058112 TAYLOR, JA/JAMES TAYLOR Compact Disc 5099990581120 5099990581120 58472 VAR/BARBIE CHRISTMAS(EXC) Compact Disc 096741422621 096741422621 059592 BIRD AND T/PLEASE CLAP YOUR HA Compact Disc EP's 5099950595921 5099950595921 61688 VAR/100 PROOF SOUTHERN ROCK Compact Disc 096741472022 096741472022 065222 WILCOX, DA/BEST OF,THE Compact Disc 077770652227 077770652227 066862 QUEENSRYCH/EMPIRE (20TH ANNIVE Compact Disc 5099990668623 5099990668623 071852 VARIOUS AR/CHRISTMAS IN CANADA Compact Disc 5099950718528 5099950718528 074732 VARIOUS AR/HALLOWEEN'S GRAVEST Compact Disc 5099930747326 5099930747326 76539 R E M/REVEAL(CD+DVD-A,DIGIPAK) CD with DVD 081227653927 081227653927 079412 VARIOUS AR/NOW COUNTRY 3 Compact Disc 5099930794122 5099930794122 082432 TROY, DORI/DORIS TROY Compact Disc 5099990824326 50999908243260 81227 65392 75 099940 442426 5 099940 442723 5 099940 443324 5 099930 747326 0 77770 65222 7 5 099950 718528 5 099930 794122 5 099990 668623 5 099990 824326 5 099990 581120 5 099990 530623 8 27590 50092 1 6 82161 50792 70 96741 20652 8 0 96741 44838 6 0 96741 24342 4 0 96741 25012 5 0 96741 25032 3 0 96741 25042 2 0 96741 26662 1 0 96741 27232 5 0 96741 28242 3 0 96741 28652 0 0 96741 37122 6 0 96741 39502 4 0 96741 40462 7 0 96741 42262 1 0 96741 47202 25 099950 595921 Catalogue Numb er Artist & Title Description Configuration Scannable UPC UPC 082452 MODERN JAZ/UNDER THE JASMIN TR Compact Disc 5099990824524 5099990824524 082552 LOMAX, JAC/IS THIS WHAT YOU WA Compact Disc 5099990825521 5099990825521 84782 VAR/80'S LOVE SONGS Compact Disc 724358478228 724358478228 085102 BAILEY RAE/SEA,TH E Compact Disc 5099960851024 5099960851024 086342 PERRY, KAT/5 HITS Compact Disc 5099930863422 5099930863422 91033 UNIVERSAL HONEY/CAN'T STOP HON Compact Disc 652419103324652419103324 91099 UNIVERSAL HONEY/VICIOUS CIRCLE Compact Disc 652419109920652419109920 093012 HILLSONG L/GOD IS ABLE (LIVE) Compact Disc 5099990930126 5099990930126 098542 KUTLESS/BELIEVER Compact Disc 5099960985422 5099960985422 102640 MATSUI, KE/DEEP BLUE Compact Disc 724381026403 724381026403 103312 MARSALIS, /HE AND SHE Compact Disc 5099951033125 5099951033125 109663 NICKELBACK/LIVE AT HOME Videocassette VHS 016861096632 016861096632 110772 ALLEN, TER/JUAREZ Compact Disc 015891107721 015891107721 110982 EMPEROR/PROMETHEUS:DIS OF FIRE Compact Disc 803341109827 803341109827 115372 BLUT AUS N/WORK WHICH TRANSFOR Compact Disc 803341153721 803341153721 116722 EMPEROR/IN THE NIGHTSIDE ECLIP Compact Disc 803341167223 803341167223 116742 EMPEROR/ANTHEMS TO THE WELKIN Compact Disc 803341167421 803341167421 116842 BLUT AUS NORD/MORT Compact Disc 803341168428 803341168428 117952 ELIAS, ELI/SOMETHING FOR YOU Compact Disc 5099951179526 5099951179526 118532 BLUT AUS NORD/ULTIMA THULEE Compact Disc 803341185326 803341185326 119192 LANZ, DAVI/ROMANTIC Compact Disc 724381191927 724381191927 122162 KILLING JO/KILLING JOKE Compact Disc 094631221620 094631221620 122322 DOVES/LAST BROADCAST,THE Compact Disc 724381223222 724381223222 122372 BLUT AUS NO/MEMORIA VETUSTA II Compact Disc 803341223721 803341223721 122661 ONSLAUGHT/KILLING PEACE Compact Disc 803341226616 803341226616 122705 ONSLAUGHT/POWER FROM HELL Compact Disc 803341227057 803341227057 122706 ONSLAUGHT/THE FORCE Compact Disc 803341227064 803341227064 122707 ONSLAUGHT/IN SEARCH OF SANITY Compact Disc 803341227071 803341227071 122732 ANAAL NATHRAKH/PASSION Compact Disc 803341227323 803341227323 123142 IHSAHN/ANGL Compact Disc 803341231429 8033412314295 099951 179526 5 099930 863422 7 24381 22322 25 099990 930126 5 099960 985422 5 099990 824524 5 099990 825521 5 099960 851024 7 24381 19192 77 24381 02640 3 8 03341 10982 7 8 03341 22705 7 8 03341 22706 4 8 03341 22707 18 03341 15372 1 8 03341 16842 8 8 03341 18532 6 8 03341 22372 1 8 03341 22661 6 8 03341 23142 98 03341 16722 3 8 03341 16742 1 8 03341 22732 30 94631 22162 05 099951 033125 7 24358 47822 8 6 52419 10332 4 6 52419 10992 0 0 15891 10772 10 16861 09663 2Catalogue Numb er Artist & Title Description Configuration Scannable UPC UPC 124952 JONES, MIC/PIANOSCAPES: DELUXE Compact Disc 724381249529 724381249529 125057 INSOMNIUM/ACROSS THE DARK Compact Disc 803341250574 803341250574 125073 HAVOK/BURN Compact Disc 803341250734 803341250734 125637 ANAAL NATHRAKH/IN THE CONSTELL Compact Disc 803341256378 803341256378 130512 THORN, PAU/MISSION TEMPLE FIRE Compact Disc 724381305126 724381305126 130583 HOLY TERRO/TERROR AND SUBMI(2C Compact Disc 803341305830 803341305830 131282 ABSU/ABZU Compact Disc 803341312821 803341312821 132292 VEE, BOBBY/VERY BEST OF,THE Compact Disc 5099921322921 5099921322921 0134312 PETRUCCIANI,M/MICHEL PETRUCCIA Compact Disc 044001343124 044001343124 134903 WINTERFYLL/THE THRENODY OF TRI Compact Disc 803341349032 803341349032 135070 WILLIAMS,A/BECOMING Compact Disc 803341350700 803341350700 135073 IHSAHN/EREMITA(STD) Compact Disc 803341350731 803341350731 135074 WINTERFYLL/THE GHOST OF HERITA Compact Disc 803341350748 803341350748 135076 LORD MANTIS/PERVERTOR Compact Disc 803341350762 803341350762 0135092 BELLE,B/HOME Compact Disc 044001350924 044001350924 0135342 WESSELTOFT,B/MOVING Compact Disc 044001353420 044001353420 138722 CHESAPEAKE/PIER PRESS URE Compact Disc 015891387222 015891387222 138912 BROWN, CLA/BLACKJACK Compact Disc 015891389127 015891389127 139094 CLINTON,G & PARLIMENT/LIVE AT Digital Video Disc 801213909490 801213909490 139559 SPICE GIRL/GIRL POWER! LIVE IN Digital Video Disc 5099951395599 5099951395599 143752 REDD, FRED/SHADES OF REDD/RVG Compact Disc 5099951437527 5099951437527 0147222 THIELEMANS,T & WERNER,K/TOOTS Compact Disc 044001472220 044001472220 0147242 KORNSTAD TRIO/SPACE AVAILABLE Compact Disc 044001472428 044001472428 0147482 NERGARRD,S/AT FIRST LIGHT Compact Disc 044001474828 044001474828 0147602 BOINE,M/REMIXED Compact Disc 044001476020 044001476020 153702 FULLER, CU/OPENER,THE/RVG SERI Compact Disc 5099921537028 5099921537028 153712 DONALDSON,/LOU TAKES OFF/RVG S Compact Disc 5099921537127 5099921537127 168273 CONNORS, S/SONGBOOK & MUSIC CO Compact Disc 5099941682739 5099941682739 0170192 BOINE,M/8 SEASONS Compact Disc 044001701924 044001701924 173002 BLUE NILE,THE/HAT S(DLX) Compact Disc 5099901730029 50999017300295 099951 437527 5 099921 537127 5 099921 537028 5 099921 322921 7 24381 24952 9 7 24381 30512 6 0 44001 34312 48 03341 25073 4 8 03341 25637 8 8 03341 31282 1 8 03341 34903 2 8 03341 35070 0 8 03341 35073 1 8 03341 35074 8 8 03341 35076 28 03341 25057 4 8 03341 30583 0 0 44001 70192 40 44001 47602 00 44001 47222 0 0 44001 47482 80 44001 35092 4 0 44001 35342 0 0 44001 47242 8 5 099941 682739 0 15891 38722 2 0 15891 38912 7 5 099901 730029 8 01213 90949 0 5 099951 395599 Catalogue Numb er Artist & Title Description Configuration Scannable UPC UPC 174642 HUTCHERSON/HEAD ON Compact Disc 5099951746421 5099951746421 182492 KINGSTON T/GREATEST HITS Compact Disc 724381824924 724381824924 189372 COLTRANE, /SPIRIT FICTION Compact Disc 5099991893727 5099991893727 189582 VARIOUS AR/SALSA: HOT & SPICY Compact Disc 724381895825 724381895825 197272 B-52'S, TH/FUNPLEX Compact Disc 5099951972721 5099951972721 200062 PROCOL HAREM/THE WELL'S ON FIR Compact Disc 826992000626 826992000626 200282 COOPER,A/THE EYES OF ALICE COO Compact Disc 826992002828 826992002828 200832 DEEP PURPLE/RAPTURE OF THE DEE Compact Disc 826992008325 826992008325 200882 DIO/HOLY DIVER LIVE! Compact Disc 826992008820 826992008820 200892 DEEP PURPLE/RAPTURE OF THE DEE Compact Disc 826992008929 826992008929 200942 GALLAGHER,R/LIVE T MONTREUX(75 Compact Disc 826992009421 826992009421 200952 BLACK CROWES,THE/FREAK'N'ROLL Compact Disc 826992009520 826992009520 201552 GALLAGHER,R/NOTES FROM SAN FRA Compact Disc 826992015521 826992015521 201592 PROCOL HARUM/IN CONCERT WITH T Compact Disc 826992015927 826992015927 201622 GALLAGHER,R/CREST OF A WAVE:BE Compact Disc 826992016221 826992016221 201852 GALLAGHER,R/RORY GALLAGHER Compact Disc 826992018522 826992018522 201862 GALLAGHER,R/DEUCE Compact Disc 826992018621 826992018621 201882 GALLAGHER,R/DEFENDER Compact Disc 826992018829 826992018829 201912 GALLAGHER,R/TOP PRIORITY Compact Disc 826992019123 826992019123 201932 GALLAGHER,R/CALLING CARD Compact Disc 826992019321 826992019321 201942 GALLAGHER,R/AGAINST THE GRAIN Compact Disc 826992019420 826992019420 201952 GALLAGHER,R/IRISH TOUR Compact Disc 826992019529 826992019529 201972 GALLAGHER,R/BBC SESSIONS (2CD) Compact Disc 826992019727 826992019727 201982 GALLAGHER,R/BLUEPRINT Compact Disc 826992019826 826992019826 201992 GALLAGHER,R/TATTO Compact Disc 826992019925 826992019925 202002 GALLAGHER,R/LIVE IN EUROPE Compact Disc 826992020020 826992020020 202352 AVERAGE WHITE BAND/LIVE AT MON Compact Disc 826992023526 826992023526 203332 DARIN, BOB/WILD, COOL & SWINGI Compact Disc 724352033324 724352033324 211872 RATIONAL Y/COLD WAR NIGHT LIFE Compact Disc 724382118725 724382118725 213122 MCDERMOTT,/LOVE IS A VOYAGE Compact Disc 724352131228 7243521312285 099951 746421 5 099991 893727 7 24382 11872 57 24352 03332 47 24381 89582 5 5 099951 972721 8 26992 00282 8 8 26992 00832 58 26992 00062 6 8 26992 00882 0 8 26992 00892 9 8 26992 00942 1 8 26992 00952 0 8 26992 01552 1 8 26992 01592 7 8 26992 01852 2 8 26992 01882 9 8 26992 01912 3 8 26992 01932 1 8 26992 01942 0 8 26992 01952 9 8 26992 01972 7 8 26992 01982 6 8 26992 01992 5 8 26992 02002 0 8 26992 02352 6 7 24352 13122 87 24381 82492 4 8 26992 01622 1 8 26992 01862 1Catalogue Numb er Artist & Title Description Configuration Scannable UPC UPC 214342 SUMAC, YMA/ULTIMATE,THE Compact Disc 724352143429 724352143429 214552 BLAKEY, AR/DRUMS AROUND THE CO Compact Disc 724352145522 724352145522 223862 HARRIS, GE/ELEGANT SOUL Compact Disc 5099952238628 5099952238628 233732 BROWN, CLI/BEST OF,THE Compact Disc 724382337324 724382337324 234912 MORRISON, /BORN TO SING: NO PL Compact Disc 5099962349123 5099962349123 236292 VAR/REMEMBERING JOHN LEE HOOKE Compact Disc 766922362922 766922362922 240302 WESTSIDE C/TERRORIST THREATS Compact Disc 724352403028 724352403028 242562 FLEETWOOD MAC/THE BEST OF THE Compact Disc 766922425627 766922425627 243452 DULFER,H&C/DULFER & CANDY Compact Disc 766922434520 766922434520 244272 WILSON, NA/ANTHOLOGY (2 CD) Compact Disc 724352442720 724352442720 245432 SHORTER, W/ALL SEEING EYE,THE Compact Disc 724352454327 724352454327 246992 HELIX/WALKIN THE RAZORS EDGE-N Compact Disc 724352469925 724352469925 248582 LENNON, JO/IMAGINE (RE-MASTERE Compact Disc 724352485826 724352485826 250132 TWISTED SISTER/STILL HUNGRY Compact Disc 826992501321 826992501321 250152 NAPALM DEATH/PUNISHMENT IN CAP Compact Disc 826992501529 826992501529 250472 TWISTED SISTER/UNDER THE BLADE CD with DVD 826992504728 826992504728 250482 TWISTED SISTER/U CAN'T STOP RO Compact Disc 826992504827 826992504827 250489 TASHI LHUNPO MONKS/DAWN TILL D Compact Disc 5065001057021 5065001057021 250542 PUSHKING/THE WORLD AS WE LOVE Compact Disc 826992505428 826992505428 259112 RUSSELL, L/BEST OF Compact Disc 724352591121 724352591121 0259464 ONISHI,J/BAROQUE Compact Disc 044002594648 044002594648 264862 STEINBERG,/WILLIAM ST EINBERG-T Compact Disc 5099902648620 5099902648620 265072 STARFIELD/SAVING ONE,THE Compact Disc 5099922650726 5099922650726 265732 HELIX/BACK FOR ANOTHER TASTE Compact Disc 077772657329 077772657329 265952 LEGGAT BRO/ILLUMINATIONS-NORTH Compact Disc 077772659521 077772659521 268082 COCKER,J/NO ORDINARY WORLD Compact Disc 724352680825 724352680825 268822 VARIOUS AR/SNOOP DOGG PR ESENTS Compac t Disc 5099962688222 5099962688222 274672 MCDERMOTT,/OLD FRIENDS Compact Disc 724382746720 724382746720 276192 VARIOUS AR/WOW GOSPEL ESSENTIA Compact Disc 5099922761927 5099922761927 277722 BUSH, KATE/DIRECTOR'S CUT Compact Disc 5099902777221 50999027772218 26992 50472 87 24352 48582 67 24382 33732 47 24352 14552 2 5 099952 238628 7 24352 45432 7 0 77772 65952 17 24352 46992 5 7 24352 59112 17 24352 14342 9 5 099922 650726 5 099922 761927 7 66922 42562 7 7 66922 43452 0 7 24352 68082 57 66922 36292 2 8 26992 50132 1 8 26992 50152 9 8 26992 50482 7 8 26992 50542 8 0 77772 65732 9 7 24382 74672 05 099902 648620 7 24352 40302 8 5 099962 688222 7 24352 44272 0 0 44002 59464 85 099962 349123 5 065001 057021 5 099902 777221 Catalogue Numb er Artist & Title Description Configuration Scannable UPC UPC 277732 BUSH,K/DIRECTOR'S CUT(DLX. Compact Disc 5099902777320 5099902777320 279452 BEACH BOYS/15 BIG ONES / I LOV Compact Disc 724352794522 724352794522 279682 WE THE KIN/WE THE KINGS Compact Disc 5099922796820 5099922796820 283532 MINGUS, CH/TOWN HALL Compact Disc 724382835325 724382835325 284093 SEGER, BOB/LIVE BULLET(CD+LG.T Compact Disc 5099902840932 5099902840932 285512 VARIOUS AR/ULTIMATE ROMANTIC G Compact Disc 5099962855129 5099962855129 286732 EVANS, B/PARIS CONCERT,THE V.2 Compact Disc 724352867325 724352867325 289902 FREW, ALAN/HOLD ON Compact Disc 724382899020 724382899020 295432 SEETHER/HOLDING ON TO STRING B CD with DVD 5099902954325 5099902954325 296702 FINGER ELE/TIP Compact Disc 5099902967028 5099902967028 297212 TEA PAR TY,/INTERZONE MANT RAS Compac t Disc 724352972128 724352972128 299142 KENTON, ST/WEST SIDE STORY Compact Disc 724382991427 724382991427 300029 COOPER,A/BRUTALLY LIVE Digital Video Disc 801213000296 801213000296 300359 DIO/EVIL OR DEVINE? LIVE IN CO Digital Video Disc 801213003594 801213003594 300407 BRYANT,T/WILD CHILD Compact Disc 852623004077 852623004077 300419 COOPER,A/BRUTALLY LIVE(CD+DVD) CD with DVD 801213004195 801213004195 300449 O'CONNOR,S/ GOODNIGHT,THANK YOU D igital Video Disc 801213004492 801213004492 300529 CASH,J/BEHIND PRISON WALLS 197 Digital Video Disc 801213005291 801213005291 300739 PROCOL HAREM/LIVE AT THE UNION Digital Video Disc 801213007394 801213007394 300779 CLEGG,J/LIVE!WITH SAVULKA & JA Digital Video Disc 801213007790 801213007790 301379 KILLING JOKE/XXV THE GATHERING Digital Video Disc 801213013791 801213013791 301429 DIO/EVIL OR DEVINE? (CD+DVD) CD with DVD 801213014293 801213014293 301519 BLACK CROWES,THE/FREAK'N'ROLL Digital Video Disc 801213015191 801213015191 301539 VAR/MUSIC CARES:A TRIBUTE TO B Digital Video Disc 801213015399 801213015399 301719 DIO/HOLY DIVER LIVE Digital Video Disc 801213017195 801213017195 301789 GAYE,M/WHAT'S GOING ON Digital Video Disc 801213017898 801213017898 302339 EMINEM/LIVE FROM NEW YORK CITY Digital Video Disc 801213023394 801213023394 302569 DIAMOND,N/THANK YOU AUSTRALIA Digital Video Disc 801213025695 801213025695 302759 PROCOL HARUM/IN CONCERT WITH T Digital Video Disc 801213027590 801213027590 302899 IDOL,B/IN SUPER OVERDRIVE (DVD Digital Video Disc 801213028993 8012130289938 01213 00419 5 8 01213 01429 35 099902 954325 5 099962 855129 7 24382 83532 5 7 24382 99142 77 24352 86732 55 099922 796820 7 24352 79452 2 7 24382 89902 0 7 24352 97212 85 099902 840932 8 52623 00407 75 099902 967028 5 099902 777320 8 01213 00529 1 8 01213 00779 0 8 01213 01379 1 8 01213 01539 9 8 01213 02759 08 01213 00029 6 8 01213 00359 4 8 01213 00449 2 8 01213 00739 4 8 01213 01519 1 8 01213 01719 5 8 01213 01789 8 8 01213 02339 4 8 01213 02569 5 8 01213 02899 3Catalogue Numb er Artist & Title Description Configuration Scannable UPC UPC 302929 RICHARD,C & THE SHADOWS/THE FI Digital Video Disc 801213029297 801213029297 303189 GALLAGHER, R/GHOST BLUES & BES Digital Video Disc 801213031894 801213031894 303579 GIBB,R/IN CONCERT WITH THE DAN Digital Video Disc 801213035793 801213035793 304892 HEART/ROAD HOME,THE Compact Disc 724383048922 724383048922 308892 BODEANS/HOMEBREWED:LIVE FROM Compact Disc 094633088924 094633088924 315472 CAMP,J/I STILL BELIEVE THE NUM Compact Disc 5099973154723 5099973154723 315722 ADDERLEY C/AT THE LIGHTHOUSE Compact Disc 724353157227 724353157227 316762 BAKER, CHE/EMBRACEABLE YOU Compact Disc 724383167623 724383167623 317742 VARIOUS AR/HOORAY FOR LOVE,/GR Compact Disc 724383177424 724383177424 321402 JACKSON, M/MILT JACKSON (RVG) Compact Disc 724353214029 724353214029 321432 JOHNSON, J/EMINENT,THE VOL 1 Compact Disc 724353214326 724353214326 323362 PRISM/SEE FOREVER EYES-NORTHER Compact Disc 724353233624 724353233624 323482 RANKIN FAM/ENDLESS SEASONS Compact Disc 724383234820 724383234820 330149 VAR/THE BEST OF THE BEAT CLUBV Digital Video Disc 801213301492 801213301492 330169 ROXY MUSIC/T.REX/LIVE Digital Video Disc 801213301690 801213301690 330189 AMERICA/LIVE Digital Video Disc 801213301898 801213301898 330199 BLONDIE/LIVE 1978 (DVD) Digital Video Disc 801213301997 801213301997 330219 HALL & OATES/LIVE 1976-1977 Digital Video Disc 801213302192 801213302192 330229 TURNER,IKE & T/LIVE Digital Video Disc 801213302291 801213302291 330239 KOOL & THE GANG/LIVE! THE ENCO Digital Video Disc 801213302390 801213302390 330249 PROCOL HAREM/LIVE Digital Video Disc 801213302499 801213302499 330299 LEWIS,H & THE NEWS/LIVE 1984 Digital Video Disc 801213302994 801213302994 330319 OSMONDS,THE/LIVE 1977 Digital Video Disc 801213303199 801213303199 330329 UB40/LIVE Digital Video Disc 801213303298 801213303298 330369 VAR/THE BEST OF THE BEAT CLUBV Digital Video Disc 801213303694 801213303694 330409 DUBLINERS,THE/LIVE IN CONCERT Digital Video Disc 801213304097 801213304097 331539 QUEENSRYCH/BUILDING EMPIRES Digital Video Disc 077773315396 077773315396 333039 BLACK CROWES,THE/FREAK'N'ROLL BLU RAY 801213330393 801213330393 333249 CURE,THE/TRILOGY (BLU RAY) BLU RAY 801213332496 801213332496 333439 EMINEM/LIVEFROM NEW YORK CITY( BLU RAY 801213334391 8012133343918 01213 33039 3 8 01213 33249 6 8 01213 33439 17 24353 21402 97 24353 15722 7 7 24383 16762 3 7 24353 21432 6 7 24353 23362 47 24383 04892 2 7 24383 17742 45 099973 154723 7 24383 23482 00 94633 08892 48 01213 02929 7 8 01213 30149 2 8 01213 30169 0 8 01213 30189 8 8 01213 30319 98 01213 03189 4 8 01213 03579 3 8 01213 30199 7 8 01213 30219 2 8 01213 30229 1 8 01213 30239 0 8 01213 30249 9 8 01213 30299 4 8 01213 30329 8 8 01213 30369 4 8 01213 30409 7 0 77773 31539 6Catalogue Numb er Artist & Title Description Configuration Scannable UPC UPC 333469 EARTH,WIND & FIRE/LIVE AT MONT BLU RAY 801213334698 801213334698 333499 IDOL,B/IN SUPER OVERDRIVE(BLUR BLU RAY 801213334995 801213334995 333689 DIO/HOLY DIVER LIVE BLURAY BLU RAY 801213336890 801213336890 333739 HEART/NIGHT AT SKY CHURCH(BLUR BLU RAY 801213337392 801213337392 333839 PROCOL HARUM/LIVE AT THE UNION BLU RAY 801213338399 801213338399 334602 MCDERMOTT,/TIMELESS MEMORIES Compact Disc 094633346024 094633346024 335812 SHORTER, W/ETCETERA Compact Disc 724383358120 724383358120 339192 MCDOWELL M/I DO NOT PLAY NO RO Compact Disc 724383391929 724383391929 342012 MCFERRIN, /BEYOND WORDS Compact Disc 724353420123 724353420123 344492 GAYLE,CRYS/CERTIFIED HITS Compact Disc 724353444921 724353444921 344502 SEALS, DAN/CERTIFIED HITS Compact Disc 724353445027 724353445027 346342 ROSNES, RE/ANCESTORS Compact Disc 724383463428 724383463428 349142 BENATAR, P/GREATEST HITS Compact Disc 5099923491427 5099923491427 349662 AZNAVOUR C/HIER ENCORE Compact Disc 724383496624 724383496624 350549 REAL JAMES DEAN,THE Digital Video Disc 801213505494 801213505494 350722 WILSON, CA/BELLY OF THE SUN Compact Disc 724353507220 724353507220 350779 MADONNA/THE WILD ANGE L(DVD) Digital Video Disc 801213507795 801213507795 355852 POWELL, BU/BUD! VOL 3 (RVG) Compact Disc 724353558529 724353558529 358442 WINTERSLEE/WELCOME TO THE NIGH Compact Disc 5099923584426 5099923584426 359129 NEVILLE,A/MY TRUE STORY(DVD) Digital Video Disc 5099973591290 5099973591290 359762 RIVERS, JO/GREATEST HITS Compact Disc 724383597628 724383597628 361852 JACKSON, W/VINTAGE COLLECTIONS Compact Disc 724383618521 724383618521 366332 DAVIS, MIL/BALLADS & BLUES Compact Disc 724383663323 724383663323 369412 ALIAS/NEVER SAY NEVER Compact Disc 5099923694125 5099923694125 370429 SIMON,P/LIVE FROM PHILDELPHIA Digital Video Disc 801213704293 801213704293 372390 COCHRANE, /SONGS OF A CIRCLING Compact Disc 724383723904 724383723904 372400 TEA PARTY/ALHAMBRA Compact Disc 724383724000 724383724000 373312 COLIONNE, /KEEPIN' IT COOL Compact Disc 094633733121 094633733121 374232 N.W.A./N.W.A. FAMILY TREE Compact Disc 5099923742321 5099923742321 374510 BLIND MELO/NICO Compact Disc 724383745104 7243837451048 01213 33739 2 8 01213 33839 98 01213 33469 8 8 01213 33689 08 01213 33499 5 7 24383 35812 0 7 24383 66332 37 24353 42012 3 0 94633 73312 17 24353 50722 0 7 24353 55852 97 24383 39192 9 5 099923 742321 5 099923 491427 7 24383 74510 47 24353 44502 7 7 24383 61852 17 24353 44492 1 7 24383 46342 8 5 099923 584426 5 099923 694125 7 24383 72390 4 7 24383 72400 00 94633 34602 4 7 24383 59762 87 24383 49662 4 5 099973 591290 8 01213 50549 4 8 01213 70429 38 01213 50779 5Catalogue Numb er Artist & Title Description Configuration Scannable UPC UPC 377752 SILVER, HO/HORACE-SCOPE Compact Disc 094633777521 094633777521 0380172 FYGI,L/LIVE AT RONNIE SCOTT'S Compact Disc 044003801721 044003801721 382082 ANTHONY, L/BEST OF,THE Compact Disc 724383820825 724383820825 0382642 ATOMIC/BOOM-BOOM Compact Disc 044003826427 044003826427 383762 VARIOUS UL/FUZZY-SAMPLER (LTD) Compact Disc 724383837625 724383837625 383802 DE SHANNON/CLASSIC MASTERS Compact Disc 724353838027 724353838027 0385002 WESSELCROFT,B/NEW CONCEPTION Compact Disc 044003850026 044003850026 390329 CASH,J/BEHIND PRISON WALLS(CD+ CD with DVD 801213903290 801213903290 390399 EARTH,WIND & FIRE/LIVE AT MONT Digital Video Disc 801213903993 801213903993 390419 MAYFIELD,C/LIVE AT MONTREUX 19 Digital Video Disc 801213904198 801213904198 390509 PETERSON,O/NORMAN GANTZ'JAZZ Digital Video Disc 801213905096 801213905096 390779 FRP SLL-STARS/RITENOUR/GRUSIN/ Digital Video Disc 801213907793 801213907793 390809 COCKER,J/LIVE AT MONTREUX 1987 Digital Video Disc 801213908097 801213908097 390859 AVERAGE WHITE BAND/LIVE AT MON Digital Video Disc 801213908592 801213908592 390889 OLDFIELD,M/LIVE AT MONTREUX 19 Digital Video Disc 801213908899 801213908899 390939 CHIC W/RODGERS,N/LIVE AT MONTR Digital Video Disc 801213909391 801213909391 391039 ALPERT,H & LORBER,J/LIVE AT MO Digital Video Disc 801213910397 801213910397 391059 COREA,C ELEKTRIC BAND/LIVE AT Digital Video Disc 801213910595 801213910595 391109 BENSON,G/LIVE AT MONTREUX 1986 Digital Video Disc 801213911097 801213911097 391479 LANG,J/LIVE AT MONTREUX 1999 Digital Video Disc 801213914791 801213914791 393962 LONDON, JU/CRY ME A RIVER Compact Disc 724353939625 724353939625 404372 VERVE, THE/A NORTHERN SOUL Compact Disc 724384043728 724384043728 411372 HURT/VOL. 1 Compact Disc 094634113724 094634113724 423082 LEE, PEGGY/BEAUTY A ND THE BEAT Compact Disc 724354230820 724354230820 423092 ADDERLEY C/FIDDLER ON THE ROOF Compact Disc 724354230929 724354230929 423122 KOTTKE, LE/INSTRUMENTALS THE B Compact Disc 724354231223 724354231223 424382 BADFINGER/MAGIC CHRISTIAN MUS Compact Disc 5099964243825 5099964243825 424392 BADFINGER/ASS Compact Disc 5099964243924 5099964243924 426372 TRU CRIME/DA CRIME FAMILY Compact Disc 5099964263724 5099964263724 426382 C-MURDER/TRAPPED IN CRIME Compact Disc 5099964263823 50999642638238 01213 90329 0 7 24354 23122 30 94633 77752 1 7 24354 23082 0 7 24354 23092 97 24383 83762 5 0 94634 11372 4 5 099964 263724 5 099964 263823 0 44003 80172 1 7 24353 83802 77 24383 82082 5 5 099964 243924 5 099964 243825 7 24353 93962 5 7 24384 04372 80 44003 85002 60 44003 82642 7 8 01213 90509 6 8 01213 90779 3 8 01213 90809 7 8 01213 90889 98 01213 90399 3 8 01213 90419 8 8 01213 90859 2 8 01213 90939 1 8 01213 91039 7 8 01213 91059 5 8 01213 91109 7 8 01213 91479 1Catalogue Numb er Artist & Title Description Configuration Scannable UPC UPC 427092 GAITHER,B/BEST OF HOMECOM V2 Compact Disc 617884270926 617884270926 427322 CASH, JOHN/GOSPEL MUSIC OF JOH Compact Disc 617884273224 617884273224 428799 VARIOUS AR/LIVE 8 TORONTO Digital Video Disc 094634287999 094634287999 429612 CHLOE (CEL/WALKING IN THE AIR Compact Disc 094634296120 094634296120 429642 LISA/CELTI/LISA Compact Disc 094634296427 094634296427 432462 HARRISON, /BRAINWASHED (DIGI) Compact Disc 724354324628 724354324628 433522 VAR/BEST OF BOND JA MES BON Com pact Disc 5099924335225 5099924335225 433529 VARIOUS AR/BEST OF BOND...J AME CD with DVD 5099924335294 5099924335294 439819 FERRY, BRY/BETE NOIRE TOUR,THE Digital Video Disc 5099924398190 5099924398190 445129 RANDLE, LY/BEST OF LYNDA RANDL Digital Video Disc 617884451295 617884451295 445402 GOVI/JEWEL BOX Compact Disc 094634454025 094634454025 445412 COOLING JO/REVOLVING DOOR Compact Disc 094634454124 094634454124 445579 ADKINS, TR/VIDEO HITS - VOL.2 Digital Video Disc 724354455797 724354455797 447349 GAITHER, B/HOMECOMING CHRISTMA Digital Video Disc 617884473495 617884473495 457162 LEAHY/LAKEFIELD Compact Disc 724384571627 724384571627 459882 COOK, JESS/VERTIGO Compact Disc 724384598822 724384598822 460312 GAITHER VO/BETTER DAY Compact Disc 617884603120 617884603120 460922 JORDAN, ST/MAGIC TOUCH Compact Disc 077774609227 077774609227 463132 GLASS TIGE/THIN RED LINE,THE Compact Disc 077774631327 077774631327 465122 VILLEGAS,L/CAFE' OLE Compact Disc 724384651220724384651220 465612 OST/VARIOU/ROCKY 3 Compact Disc 077774656122 077774656122 466252 KLUGH, EAR/BEST OF Compact Disc 077774662529 077774662529 468892 MILLS, FRA/OVER 60 MINUTES WIT Compact Disc 077774688925 077774688925 469202 HELIX/WILD IN THE STREETS(NOTH Compact Disc 077774692021 077774692021 472182 ROSS, DON/PASSION SESSION Compact Disc 724384721824 724384721824 472982 SHAGGY/MR LOVER, LOVER-BEST OF Compact Disc 724384729820 724384729820 480662 NATURALLY /CHRISTMAS.IT'S A LO Compact Disc 094634806626 094634806626 482062 DJAVAN/SEDUZIR Compact Disc 077774820622 077774820622 482872 HILLSONG U/LIVE IN MIAMI CD with DVD 5099994828726 5099994828726 484092 VARIOUS AR/MIDNIGHT COWBOY Compact Disc 077774840927 0777748409275 099924 335294 5 099994 828726 7 24354 32462 8 0 77774 60922 7 0 77774 66252 9 0 77774 84092 70 77774 65612 25 099924 335225 6 17884 60312 06 17884 27092 6 6 17884 27322 4 0 77774 63132 7 0 77774 68892 5 0 94634 80662 60 77774 69202 1 0 77774 82062 20 94634 45402 5 7 24384 72182 40 94634 45412 4 7 24384 59882 27 24384 57162 7 7 24384 72982 00 94634 29612 0 0 94634 29642 7 7 24384 65122 07 24354 45579 76 17884 45129 5 6 17884 47349 50 94634 28799 9 5 099924 398190 Catalogue Numb er Artist & Title Description Configuration Scannable UPC UPC 485412 ASA (PRONO/ASA Compact Disc 068944854127068944854127 485682 ASA/BEAUTIFUL IMPERFECTION Compact Disc 068944856824068944856824 487402 MICHAEL, G/SONGS FROM THE LAST Compact Disc 724384874025 724384874025 488442 LIGHTFOOT,/OVER 60 MINUTES WIT Compact Disc 077774884426 077774884426 490702 MENUHIN/MENUHIN MEETS SHANKKA Compact Disc 077774907026 077774907026 492900 COOK, JESS/FREEFALL Compact Disc 724384929008 724384929008 498932 YANN I/IF I COULD TELL YOU Com pact Di sc 724384989323 724384989323 501022 STILLS,S/MAN ALIVE Compact Disc 854750001028 854750001028 501042 BAND,THE/HIGH ON THE HOG Compact Disc 854750001042 854750001042 506832 XTC/ORANGES & LEMONS Compact Disc 724385068324 724385068324 506902 XTC/SKYLARKING Compact Disc 724385069024 724385069024 509180 PRYNE, SER/GOODNIGHT GOLDEN SU Compac t Disc 8714835091806 8714835091806 517362 SWITCHFOOT/LEARNING TO BREATHE Compact Disc 724385173622 724385173622 525730 SETZER BRIAN OR/IT'S GONNA(DVD Digital Video Disc 640424999544 640424999544 534280 COLTRANE, /ULTIMATE BLUE TRAIN Compact Disc 724385342806 724385342806 536132 STARTING L/DIRECTION Compact Disc 094635361322 094635361322 537282 STRAY CATS/RUNAWAY BOYS: A RET Compact Disc 724385372827 724385372827 542432 ROBERTSON,/CONTACT FROM THE UN Compact Disc 724385424328 724385424328 546692 GOSPEK WON/GOSPEL WONDERS, THE Compact Disc 085365466920 085365466920 548532 PARKENING/ARTISTRY OF CHRISTO Compact Disc 077775485325 077775485325 549562 RAWLS, LOU/BEST OF LOU RAWLS,T Compact Disc 094635495621 094635495621 553082 TEA PARTY,/TRANSMISSION Compact Disc 724385530821 724385530821 557502 BALDRY, LO/BALDRY'S OUT Compact Disc 724385575020 724385575020 557702 NEWTON-JOH/GAIA: ONE WOMAN'S J Compact Disc 792755577028 792755577028 560282 BLIND GUAR/MEMORIES OF A TIME Compact Disc 5099995602820 5099995602820 563572 RIVARD, MI/DE LONGUEUIL A BERL Compact Disc 077775635720 077775635720 567300 PARKENING/CHRISTOPHER PARKENI Compact Disc 724355673008 724355673008 568122 BERNADETE /ANNIE GET YOUR GUN Compact Disc 724355681225 724355681225 570632 MCGRIFF, J/GREATEST HITS Compact Disc 724385706325 724385706325 571862 MORAN, JAS/TEN Compact Disc 5099945718625 50999457186257 24355 68122 57 24385 34280 6 0 94635 49562 1 7 24385 70632 5 5 099945 718625 0 77775 63572 07 24385 42432 87 24385 17362 2 7 92755 57702 87 24385 57502 07 24385 37282 7 7 24385 53082 10 77775 48532 5 7 24355 67300 80 77774 90702 6 5 099995 602820 7 24384 92900 80 77774 88442 6 7 24384 98932 3 0 94635 36132 27 24384 87402 5 7 24385 06832 4 7 24385 06902 40 68944 85412 7 0 68944 85682 4 8 54750 00102 8 8 54750 00104 2 0 85365 46692 08 714835 091806 6 40424 99954 4Catalogue Numb er Artist & Title Description Configuration Scannable UPC UPC 572412 BEACH BOYS/GREATEST CAR SONGS Compact Disc 077775724127 077775724127 578012 BRIGHTMAN,/LIVE FROM LAS VEGAS Compact Disc 724355780126 724355780126 583002 EVANS, GIL/COMPLETE PACIFIC JA Compact Disc 094635830026 094635830026 594512 GARLAND, J/ESSENTIAL JUDY GARL Compact Disc 094635945126 094635945126 600115 WHITE BUFF/ONCE UPON A TIME IN Compact Disc 898336001156898336001156 600124 BROOKS,G/BLAME IT ALL ON(6CD+2 CD with DVD 854206001244 854206001244 605562 DARIUS, ER/JUST GETTING STARTE Compact Disc 724386055620 724386055620 606692 CHARLAP, B/BILL CHARLAP PLAYS Compact Disc 724386066923 724386066923 626462 MOBLEY, HA/ANOTHER WORKOUT/RVG Compact Disc 094636264622 094636264622 626672 HUTCHERSON/HAPPENINGS/RVG SERI Compact Disc 094636266725 094636266725 626762 MORGAN, LE/CITY LIGHTS/RVG SER Compact Disc 094636267623 094636267623 626822 SILVER, HO/DOIN' THE THING AT Compact Disc 094636268224 094636268224 630572 JAPAN/GENTLEMEN TAKE POLAROIDS Compact Disc 094636305721 094636305721 0636872 MAURIAT,P/BEST OF PAUL MAURIAT Compact Disc 044006368726 044006368726 638232 CHERRY, DO/SYMPHONY FOR IMPROV Compact Disc 724356382329 724356382329 638332 HUTCHERSON/OBLIQUE Compact Disc 724356383326 724356383326 639302 VARIOUS AR/AFRICAN VOICES Compact Disc 083616393025 083616393025 640532 HELIX/ROCKIN' YOU FOR 30 YEARS Compact Disc 724386405326 724386405326 0644632 VAR/JAZZLAND TRACKS Compact Disc 044006446325 044006446325 647402 GOLUB, JEF/GRAND CE NTRAL Compact Disc 094636474021 094636474021 648992 VARIOUS AR/BRIDE'S MA GAZINE GU Compact Disc 077776489926 077776489926 651232 DOWN TO TH/SUPERCHARGED Compact Disc 094636512327 094636512327 651442 CHAMBERS, /QUINTET/RVG SERIES Compact Disc 5099926514420 5099926514420 651462 SILVER, HO/TOKYO BLUES/RVG SER Compact Disc 5099926514628 5099926514628 652562 ONE MORE G/BIG SKY Compact Disc 5099926525624 5099926525624 0652938 PERFUME/LEVEL3 Compact Disc 600406529381 600406529381 654362 K-OS/TRILL,THE:A JOURNEY SO FA Compact Disc 5099996543627 5099996543627 664750 BENTLEY, D/MODERN DAY DRIFTER Compact Disc 724386647504 724386647504 669182 SHANKAR, R/PORTRAIT OF A GENIU Compact Disc 724356691827 724356691827 669192 SHANKAR, R/LIVE IN MONTEREY Compact Disc 724356691926 7243566919268 54206 00124 4 0 77776 48992 67 24355 78012 6 7 24356 69182 77 24356 38232 9 7 24356 38332 60 94635 83002 6 7 24386 06692 3 0 94636 26462 2 0 94636 26672 5 0 94636 26762 3 0 94636 26822 4 5 099926 514420 5 099926 514628 0 94635 94512 60 77775 72412 7 6 00406 52938 17 24386 40532 6 5 099926 525624 5 099996 543627 7 24356 69192 60 44006 44632 5 7 24386 64750 40 44006 36872 67 24386 05562 0 0 83616 39302 5 0 94636 51232 70 94636 47402 10 94636 30572 18 98336 00115 6Catalogue Numb er Artist & Title Description Configuration Scannable UPC UPC 670242 SHANKAR, R/RAVI SHANKAR IN LON Compact Disc 724356702424 724356702424 682512 BIRD AND T/BIRD AND THE BEE,TH Compact Disc 094636825120 094636825120 685752 DOWN TO TH/URBAN GROOVES,THE Compact Disc 094636857527 094636857527 694362 CAVE/NICK/WARREN/THE ROAD ORIG Compact Disc 724596943625 724596943625 698249 FATBOY SLI/WHY TRY HARDER? GRT Digital Video Disc 094636982496 094636982496 701692 VARIOUS AR/FROM SPIRITUALS TO Compact Disc 015707016926 015707016926 702762 HARRISON, /LIVING IN THE MATER CD with DVD 094637027622 094637027622 710009 AZNAVOUR C/ANTHOLOG V2(1973-99 Digital Video Disc 5099907100093 5099907100093 0711409 PAVAROTTI,L/30TH ANNIVERSARY Digital Video Disc 044007114094 044007114094 714542 NEWSBOYS/IN THE HANDS OF GOD Compact Disc 804147145422 804147145422 720312 MARANATHA MUSIC/HEART OF WORSH Compact Disc 738597203121 738597203121 730159 KITARO/DAAYLIGHT MOONLIGHT;LIV Digital Video Disc 794017301594794017301594 730412 PEAS/FILTERS Compact Disc 794017304120794017304120 0730979 VAR/NEW YEARS'S CONCERT 2004 Digital Video Disc 044007309797 044007309797 0734079 LI,Y/LIVE IN CONCERT Digital Video Disc 044007340790 044007340790 734122 SUBDUDES, /BEHIND THE LEVEE Compact Disc 724387341227 724387341227 0734146 BRENDEL,A/LISZT:ANNEES DE PELE Digital Video Disc 044007341469 044007341469 0734158 LANCHBERY,J/HEROLD:LA FILLE MA Digital Video Disc 044007341582 044007341582 0734170 BERNSTEIN/WP/SHOSTAKOVICH:SYMP Digital Video Disc 044007341704 044007341704 0734188 MEHTA,Z/NEW YEAR'S CONCERT 200 Digital Video Disc 044007341889 044007341889 0734242 MARRINER/ASM/STRAVINSKY:PULCIN Digital Video Disc 044007342428 044007342428 0734252 BOLT ON,I/MOZART:ZAIDE -2 DV D S Digital Video Disc 044007342527 044007342527 0734319 PIAZOLLA,A/THE NEXT TANGO-DVD Digital Video Disc 044007343197 044007343197 0734376 GULDA,F/VAR:SO WHAT? FREDRICH Digital Video Disc 044007343760 044007343760 734412 ADKINS, TR/SONGS ABOUT ME Compact Disc 724387344129 724387344129 0734498 BERNSTEIN,L/BEETHOVEN:SYMPHONI Digital Video Disc 044007344989 044007344989 0734501 BERNSTEIN,L/BEETHOVEN:MISSA SO Digital Video Disc 044007345016 044007345016 0734532 LEVINE,J/VERDI:FALSTAFF - DVD Digital Video Disc 044007345320 044007345320 0734645 NETREBKO,A/DONIZETTI:DON PASQU BLU RAY 044007346457 044007346457 736712 BRIGHTMAN,/DIVA: THE SINGLES C Compact Disc 094637367124 0946373671240 44007 34645 70 94637 02762 2 0 94637 36712 40 94636 82512 0 8 04147 14542 2 7 38597 20312 17 24356 70242 4 7 24387 34412 97 24387 34122 70 94636 85752 7 7 94017 30412 07 24596 94362 5 0 15707 01692 6 0 44007 11409 4 0 44007 34170 4 0 44007 34319 7 0 44007 34532 00 44007 34498 90 44007 30979 7 0 44007 34079 0 0 44007 34146 9 0 44007 34158 2 0 44007 34188 9 0 44007 34242 8 0 44007 34252 7 0 44007 34501 65 099907 100093 0 44007 34376 00 94636 98249 6 7 94017 30159 4Catalogue Numb er Artist & Title Description Configuration Scannable UPC UPC 738172 ENIGMA/A POSTERIORI Compact Disc 094637381724 094637381724 0741779 DELIUS/A VILLAGE ROMEO AND JUL Digital Video Disc 044007417799 044007417799 0741949 TCHAIKOVSKY/MAZEPPA Digital Video Disc 044007419496 044007419496 742162 DREW, KENN/UNDERCURRENT Compact Disc 094637421628 094637421628 0743076 GERGIEV,V/PROKOFIEV:BETROTHAL Digital Video Disc 044007430767 044007430767 0743102 PAVAROTTI,L/THE LAST TENOR Digital Video Disc 044007431023 044007431023 0743117 GERGIEV,V/SHOSTAKOVICH;SHOSTAK Digital Video Disc 044007431177 044007431177 0743138 VAR/SHOSTAKOVICH:CHERRY TOWN Digital Video Disc 044007431382 044007431382 0743139 RUSSIAN ALL STARS/SLEEPING BEA Digital Video Disc 044007431399 044007431399 0743152 MARRINER,N/DE FALLA:NIGHTS IN Digital Video Disc 044007431528 044007431528 0743215 FLEMING,R/VERDI:LA TRAVIATA-DV Digital Video Disc 044007432150 044007432150 0743246 VAR/NEW YEAR'S CONCERT 2008DVD Digital Video Disc 044007432464 044007432464 0743289 MAZEL/1984 Digital Video Disc 044007432891 044007432891 0743299 FLOR EZ,JD/ROSSINI:IL BAR BIERE BLU RAY 044007432990 044007432990 0743300 ALAGANA,R/VERDI:AIDA - BLU-RAY BLU RAY 044007433003 044007433003 0743326 BARTOLI,C/HANDEL:SEMELE (BLU-R BLU RAY 044007433263 044007433263 0743327 FLEMING,R/VERDI:LA TRAVIATA (B BLU RAY 044007433270 044007433270 0743361 HUMPERDINCK/HOLLOWAY/HANSEL UN Digital Video Disc 044007433614 044007433614 753910 KUTLESS/STRONG TOWER Compact Disc 724387539105 724387539105 766812 RYDER, SER/IF YOUR MEMORY SERV Compact Disc 094637668122 094637668122 767572 DOWNS, LIL/UNA SANGRE (ONE BLO Compact Disc 724357675727 724357675727 771322 MARSALIS, /LIVE AT TH E HOUSE O Compact Disc 724347713224 724347713224 775462 LAWS, RONN/EVERY GENERATION Compact Disc 724347754623 724347754623 775482 CHRISTY, J/JANE'S GOT RHYTHM Compact Disc 724347754821 724347754821 778959 KOTTONMOUT/DOPEUMENTARY Digital Video Disc 724347789595 724347789595 779589 N.W.A./THE NWA LEGACY VIDEO Digital Video Disc 724347795893 724347795893 779989 ICE CUBE/VIDEOS,THE VOL 1 Digital Video Disc 724347799891 724347799891 782732 BLANCHARD,/FLOW Compact Disc 724357827324 724357827324 782772 WATSKY/CARDBOARD CASTLES Compact Disc 015707827720 015707827720 784842 MEGADETH/COUNTDOWN TO EXTINC Compact Disc 5099997848424 50999978484240 44007 43326 3 0 44007 43327 00 44007 43300 30 44007 43299 0 7 24347 75462 3 7 24347 75482 1 7 24357 82732 40 94637 42162 8 5 099997 848424 7 24387 53910 5 0 94637 66812 2 7 24357 67572 70 94637 38172 4 7 24347 71322 4 0 15707 82772 07 24347 78959 50 44007 43138 2 0 44007 43152 8 0 44007 43289 10 44007 41779 9 0 44007 43102 3 0 44007 43139 9 0 44007 43215 0 0 44007 43246 4 0 44007 43361 40 44007 43076 70 44007 41949 6 0 44007 43117 7 7 24347 79989 17 24347 79589 3Catalogue Numb er Artist & Title Description Configuration Scannable UPC UPC 789412 AUF DER MA/AUF DE R MAUR Compact Disc 724357894128 724357894128 795602 OREGON/BEST OF THE VANGUARD YR Compact Disc 015707956024 015707956024 795852 VARIOUS AR/EVANGELINE MADE: A Compact Disc 015707958523 015707958523 798899 JOHNSON, E/ANAHEIM Digital Video Disc 015707988995 015707988995 799242 HICKS,TAYL/EARLY WORKS Compact Disc 015707992428 015707992428 799682 VAR/2013 GRAMMY NOMINEES Compact Disc 5099997996828 5099997996828 800309 FRIDAY, GA/CATHOLIC Compact Disc 850358003099 850358003099 805032 HUMPHREY, /BEST OF Compact Disc 077778050322 077778050322 805052 KLUGH, EAR/BEST OF VOL #2 Compact Disc 077778050520 077778050520 805292 QUEENSRYCH/PROMISED LAND Compact Disc 724358052923 724358052923 809072 POWELL, BU/SCENE CHANGES,THE Compact Disc 724358090727 724358090727 809082 MCLEAN, JA/LET FREEDOM RING Compact Disc 724358090826 724358090826 815160 YANNI/ETHNICITY Compact Disc 724358151602 724358151602 824112 ESCOVEDO, /REAL ANIMAL Compact Disc 094638241126 094638241126 829082 AS CITIES /COME NOW SLEEP Compact Disc 094638290827 094638290827 838582 BERNADETE /GYPSY ( 2003 BROADWA Compact Disc 724358385823 724358385823 842372 TAYLOR, CE/UNIT STRUCTURES Compact Disc 077778423720 077778423720 843322 SHORTER, W/SUPER NOVA Compact Disc 077778433224 077778433224 843372 ELIAS, ELA/BRAZILIAN CLASSICS Compact Disc 724358433722 724358433722 844322 GREEN, GRA/BORN TO BE BLUE Compact Disc 077778443223 077778443223 847992 1000 FOOT /PHENOMENON Compact Disc 724358479928 724358479928 853552 CLARK, TER/LONG WAY HOME,THE Compact Disc 5099968535520 5099968535520 860622 JAMES, COL/COLIN JAMES Compact Disc 077778606222 077778606222 864592 JELLYFISH/SPILT MILK Compact Disc 077778645924 077778645924 866910 BEATLES, T/ABBEY ROAD(K RATE KI CD with DVD 5099968669102 5099968669102 866940 BEATLES, T/LET IT BE(KR ATE KIT CD with DVD 5099968669409 5099968669409 872142 DIMINO, FA/PLATINUM Compact Disc 094638721420 094638721420 879502 VERVE, THE/STORM IN HEAVEN Compact Disc 077778795025 077778795025 882472 THOUSAND F/FLAME INSIDE US ALL Compact Disc 094638824725 094638824725 884792 GRAY, DAVI/SHINE:THE BEST OF T Compact Disc 094638847922 0946388479225 099968 669102 5 099968 669409 7 24358 38582 3 5 099968 535520 0 77778 05052 0 7 24358 09082 60 77778 05032 2 7 24358 09072 7 0 94638 24112 6 0 77778 42372 0 0 77778 43322 4 7 24358 43372 2 0 77778 44322 37 24357 89412 8 5 099997 996828 0 94638 82472 57 24358 47992 80 94638 29082 77 24358 05292 3 0 94638 72142 0 0 94638 84792 20 77778 60622 27 24358 15160 2 0 77778 64592 4 0 77778 79502 50 15707 95602 4 0 15707 99242 80 15707 95852 3 8 50358 00309 90 15707 98899 5Catalogue Numb er Artist & Title Description Configuration Scannable UPC UPC 887082 SUBDUDES, /STREET SYMPHONY Compact Disc 094638870821 094638870821 895432 POINTER, N/PHANTAZIA Compact Disc 077778954323 077778954323 896389 COOK, JESS/ONE NIGHT AT THE ME Digital Video Disc 094638963899 094638963899 898262 MILLER, ST/PEGASUS Compact Disc 077778982623 077778982623 898432 BEASTIE BO/SOME OLD BULLSHIT Compact Disc 077778984320 077778984320 902642 REEVES, D I/I REMEMBER Co mpact Disc 077779026425 077779026425 905169 SMASHING P/VIEUPHORIA Digital Video Disc 724349051690 724349051690 906969 BENETAR, P/BEST OF,THE Digital Video Disc 724349069695 724349069695 908452 HUBBARD, F/BREAKING POINT RVG Compact Disc 724359084527 724359084527 909592 WINANS, BE/HEAVEN Compact Disc 077779095926 077779095926 909879 THALIA/GREATEST HITS Digital Video Disc 724349098794 724349098794 910032 UNIVERSAL HONEY/UNIVERSAL HONE Compact Disc 652419100323652419100323 910062 UNIVERSAL HONEY/FEARLESS Compact Disc 652419100620652419100620 910412 UNIVERSAL HONEY/INVINCIBLE Compact Disc 652419104123652419104123 911382 MORGAN, LE/BEST OF,THE Compact Disc 077779113828 077779113828 911422 HANCOCK, H/BEST OF, THE Compact Disc 077779114221 077779114221 916302 JAMES, SON/COLLECTORS SERIES Compact Disc 077779163021 077779163021 916382 STAFFORD, /COLLECTORS SERIES Compact Disc 077779163823 077779163823 918202 HEART/BRIGADE Compact Disc 077779182022 077779182022 920782 WINANS, BE/DIFFERENT LIFESTYLE Compact Disc 077779207824 077779207824 924202 GORDON, DE/DEXTER CALLING RVG Compact Disc 724359242026 724359242026 924242 MCLEAN, JA/DESTINATION OUT Compact Disc 724359242422 724359242422 925472 CARTER, RO/DEAR MILES (INTL.VE Compact Disc 094639254729 094639254729 926842 CROWDER, D/REMEDY Compact Disc 094639268429 094639268429 926909 WILLIAMS, /LIVE AT THE ALBERT Digital Video Disc 724349269095 724349269095 927462 MORGAN, LE/VOLUME 3/RVG SERIES Compact Disc 094639274628 094639274628 927832 QUEBEC, IK/BOSSA NOVA SO UL SAM Compact Disc 094639278329 094639278329 929222 GLASS TIGE/SIMPLE MI SSION Compact Disc 077779292226 077779292226 929669 COCHRANE, /TRAPEZE,THE COLLECT Digital Video Disc 724349296695 724349296695 931742 GREEN, GRA/LATIN BIT,THE/RVG S Compact Disc 094639317424 0946393174240 77778 95432 3 7 24359 08452 7 0 94639 25472 9 0 94639 27832 9 0 94639 31742 40 77779 02642 5 0 77779 11382 8 0 77779 11422 1 7 24359 24202 6 7 24359 24242 2 0 94639 27462 80 77779 18202 20 77778 98262 3 0 77778 98432 0 0 77779 16302 1 0 77779 16382 30 77779 09592 6 0 77779 20782 4 0 94639 26842 9 0 77779 29222 60 94638 87082 1 6 52419 10032 3 6 52419 10062 0 6 52419 10412 37 24349 06969 5 7 24349 26909 5 7 24349 29669 50 94638 96389 9 7 24349 09879 47 24349 05169 0Catalogue Numb er Artist & Title Description Configuration Scannable UPC UPC 935712 HELIX/OVER 60 MINUTES WITH Compact Disc 077779357123 077779357123 936422 DOWNS, LIL/LA SANDUNGA Compact Disc 724359364223 724359364223 938152 POISON/POISON'D Compact Disc 094639381524 094639381524 939242 COCHRANE, /X RAY SIERRA Compact Disc 724349392427 724349392427 940782 ANDREWS SI/CAP COLLECTORS SERI Compact Disc 077779407828 077779407828 944782 HIKARU,U/SINGLES COLLECTION V2 Compact Disc 5099909447820 5099909447820 947972 MILSTEIN, /VERY BEST OF NATHAN Compact Disc 5099909479722 5099909479722 953922 SHANKAR, A/BREATHING UNDER WAT Compact Disc 094639539222 094639539222 954082 MURRAY,A/STRAIGHT, CLEAN/TALK Compact Disc 724349540828 724349540828 954122 MURRAY,A/LETS KEEP IT THAT W Compact Disc 724349541221 724349541221 956362 MONK,THELO/BEST OF Compact Disc 077779563623 077779563623 958472 B OGGUSS, S/ACES Co mpact Disc 077779584727 077779584727 960012 MARTHA & T/THEN AGAIN Compact Disc 724349600126 724349600126 962162 GUTHRO, BR/OF YOUR SON Compact Disc 724349621626 724349621626 964302 MARTINO, A/CAPITOL COLLECTORS Compact Disc 077779643028 077779643028 968112 SOUNDTRACK/LES TRIPLETTES DE B Compact Disc 724359681122 724359681122 968690 MCDONALD, /SIMPLY NOTHING Compact Disc 724359686905 724359686905 972252 COOLING JO/THIS GIRL'S GOT TO Compact Disc 724359722528 724359722528 973672 CLARK, SON/SONNY'S CRIB Compact Disc 724349736726 724349736726 974472 FERGUSON ,/A MESSAGE FROM BIRD Compact Disc 094639744725 094639744725 975672 MILLS, FRA/PRELUDE TO ROMANCE Compact Disc 077779756728 077779756728 977892 KUTLESS/SEA OF FACES Compact Disc 724359778921 724359778921 978532 VARIOUS,/MY BLUEBERRY NIGHTS Compact Disc 094639785322 094639785322 979042 MATSUI, KE/WILDFLOWER Compact Disc 724359790428 724359790428 984512 KENTON, ST/IN HI-FI Compact Disc 077779845125 077779845125 986272 MEGADETH/MD45: CRAVING Compact Disc 724359862729 724359862729 986512 SUBDUDES, /MIRACLE MULE Compact Disc 724359865126 724359865126 988452 SECADA, JO/JON SECADA Compact Disc 077779884520 077779884520 988552 BEACH BOYS/CLASSIC ALBU MS(TODA Compact Disc 5099909885523 5099909885523 989742 MACNEIL, R/A NIGHT AT THE ORPH Compact Disc 724349897427 7243498974270 94639 53922 2 7 24349 73672 6 0 94639 74472 50 77779 56362 3 0 94639 78532 2 0 77779 84512 50 77779 75672 80 94639 38152 4 0 77779 40782 8 0 77779 64302 8 7 24359 86272 9 5 099909 885523 7 24359 77892 17 24359 68690 57 24349 60012 60 77779 35712 3 7 24349 39242 7 7 24349 54082 8 7 24349 54122 1 7 24349 62162 6 7 24349 89742 75 099909 479722 5 099909 447820 0 77779 58472 77 24359 36422 3 7 24359 72252 8 7 24359 79042 8 7 24359 86512 6 0 77779 88452 07 24359 68112 2Catalogue Numb er Artist & Title Description Configuration Scannable UPC UPC 990029 LENNON, JO/LEGEND Digital Video Disc 724359900292 724359900292 992252 SINATRA, F/BEST OF 'CAPITOL' B Compact Disc 077779922529 077779922529 995089 JACKSON, J/FROM JANET TO DAMIT Digital Video Disc 724359950891 724359950891 997829 AZNAVOUR C/LIVE PALAIS DE 97-8 Digital Video Disc 724359978291 724359978291 997952 ROLLINS, S/A NIGHT AT THE VILL Compact Disc 724349979529 724349979529 1122562 LEE,B/CLASSIC Compact Disc 008811225629 008811225629 1570522 PHILIPPE,G/LE PETIT PRINCE Compact Disc 601215705225 601215705225 1575622 LOUSSIER,J/PLAY BACH NO.2 Compact Disc 601215756227 601215756227 1591942 LOUSSIER,J/PLAYS BACH NO. 5 Compact Disc 601215919424 601215919424 1701163 CRAWFORD,R & SAMPLE,J/FEELING Compact Disc 602517011632 602517011632 1701397 MENDES,S/PURE BOSSA NOVA Compact Disc 602517013971 602517013971 1701400 JOBIM,AC/PURE BOSSA NOVA Compact Disc 602517014008 602517014008 1701401 VAR/THE BEST OF BO SSA NOVA Compact Disc 602517014015 602517014015 1709099 JOHNSON,M/IF YOU KNOW LOVE(FRE Compact Disc 602517090996 602517090996 1709755 WEBBER,A/GOLD:THE DEFINITIVE H CD with DVD 602517097551 602517097551 1723094 TOKIO HOTEL/ZIMMER 483 Compact Disc 602517230941 602517230941 1755836 JOPEK,AM/ID Compact Disc 602517558366 602517558366 1758385 BEADY BELLE/BELVEDERE Compact Disc 602517583856 602517583856 1761670 U2/BOY (REMASTERED) Compact Disc 602517616707 602517616707 1761675 U2/WAR (DELUXE REMASTERED) Compact Disc 602517616752 602517616752 1763550 BLOOD RED SHOES/BOX OF SECRETS Compact Disc 602517635500 602517635500 1764193 U2/OCTOBER (DLX.REMASTERED) Compact Disc 602517641938 602517641938 1779588 STREISAND,B/THE CONCERTS (BLU- BLU RAY 602517795884 602517795884 1781130 ELISA/DANCING Compact Disc 602517811300 602517811300 1781211 SAINT ETIENNE/LONDON CONVERSAT CD with DVD 602517812116 602517812116 1781900 CONTE/PSICHE Compact Disc 602517819009 602517819009 1788021 WESSELTOFT,B/NEW CONCETION OF CD with DVD 602517880221 602517880221 1789866 STEREOPHONICS/DECADE IN THE SU Compact Disc 602517898660 602517898660 1799546 STREISAND,B/THE CONCERTS (3-DV Digital Video Disc 602517995468 602517995468 2301052 PEPLOVE/ASCENSION Compact Disc 655323010528 6553230105286 02517 79588 46 02517 09755 1 6 02517 81211 6 6 02517 88022 17 24349 97952 90 77779 92252 9 6 02517 81130 06 02517 01397 1 6 02517 01400 8 6 02517 01401 5 6 02517 55836 66 02517 01163 2 6 02517 23094 1 6 02517 61670 7 6 02517 61675 2 6 02517 64193 8 6 02517 89866 06 02517 63550 0 6 02517 81900 96 01215 70522 50 08811 22562 9 6 01215 75622 7 6 01215 91942 4 6 02517 58385 6 6 55323 01052 86 02517 09099 67 24359 90029 2 7 24359 97829 17 24359 95089 1 6 02517 99546 8Catalogue Numb er Artist & Title Description Configuration Scannable UPC UPC 2703208 SIMPLE MINDS/GRAFFITI SOUL Compact Disc 602527032085 602527032085 2703550 OLDFIELD,M/TUBULAR BE LLS-THE C Compact Disc 602527035505 602527035505 2709710 KORNSTAD,H/DWELL TIME Compact Disc 602527097107 602527097107 2711899 SAINT ETIENNE/SO TOUGH (CDX2) Compact Disc 602527118994 602527118994 2712803 BAKKEN,R/MO RNING HOUR Compact Disc 602527128030 602527128030 2717116 RYAN,K/FRENCH CONNECTION Compact Disc 602527171166 602527171166 2729446 SONATA ARCTICA/TAKATAVI Compact Disc 602527294469 602527294469 2729556 YOUSSEF,D/ABU NAWAS RHAPSODY Compact Disc 602527295565 602527295565 2733094 RECKLESS.LOVE/RECKLESS LOVE Compact Disc 602527330945 602527330945 2733411 ATOMIC/THEATRE TILTERS (CDX2) Compact Disc 602527334110 602527334110 2736888 PORT ISAAC'S FISHERMAN'S FRIEN Compact Disc 602527368887 602527368887 2737972 JETTBLACK/GET YOUR HA NDS DIRTY Compact Disc 602527379722 602527379722 2742273 PRITCHARD,L/WASTED IN JACKSON Compact Disc 602527422732 602527422732 2743629 ROY HARGROVE QUINT/LIVE AT THE Digital Video Disc 602527436296 602527436296 2747443 PERRETTA,J/STITCH ME UP Compact Disc 602527474434 602527474434 2748054 KATERINE/PHILIPPE KAT ERINE Compact Disc 602527480541 602527480541 2751049 JOHNSON,S/74 Compact Disc 602527510491 602527510491 2751357 COCOON/WHERE THE OCEANS END Compact Disc 602527513577 602527513577 2751551 DRAUGNIM/HORIZONS LOW Compact Disc 602527515519 602527515519 2751920 VAR/TROIS POETES:BREL -BRASSENS Compact Disc 602527519203 602527519203 2752406 MONROE,M/ANOTHER NIGHT IN THE Compact Disc 602527524061 602527524061 2752609 HALLYDAY,D/UN NOUVEAU MONDE Compact Disc 602527526096 602527526096 2753110 PARADIS,V/UNE NUIT A VERAILLES Compact Disc 602527531106 602527531106 2753376 ERA/CLASSICS II Compact Disc 602527533766 602527533766 2753876 MALIK,AA/CHATEAU ROUGE Compact Disc 602527538761 602527538761 2755898 WELLER,P/LIVE AT THE ROYAL ALB Compact Disc 602527558981 602527558981 2756935 GUILLEMOTS/WALK THE RIVER Compact Disc 602527569352 602527569352 2759079 DREAMSHADE/WHAT SILENCE HIDES Compact Disc 602527590790 602527590790 2759405 MYGRAIN/MYGRAIN Compact Disc 602527594057 602527594057 2759806 FITZGERALD,E/BEST OF THE BBC V CD with DVD 602527598062 602527598062 6 02527 59806 26 02527 51049 16 02527 36888 7 6 02527 42273 2 6 02527 55898 16 02527 03550 56 02527 03208 5 6 02527 47443 4 6 02527 56935 26 02527 52406 16 02527 29446 9 6 02527 37972 2 6 02527 51551 9 6 02527 59079 0 6 02527 59405 76 02527 17116 6 6 02527 48054 1 6 02527 51357 7 6 02527 53110 6 6 02527 53876 16 02527 53376 66 02527 51920 3 6 02527 52609 66 02527 11899 4 6 02527 12803 0 6 02527 33094 56 02527 09710 7 6 02527 29556 5 6 02527 33411 0 6 02527 43629 6Catalogue Numb er Artist & Title Description Configuration Scannable UPC UPC 2763224 LARA,C/UNE VOIX POUR FERRE Compact Disc 602527632247 602527632247 2764007 CRIMFALL/THE WRIT OF SWORD Compact Disc 602527640075 602527640075 2764024 PALLOT,N/YEAR OF THE WOLF Compact Disc 602527640242 602527640242 2769944 KNONDA,M/NOUVEAUX HORIZONS Compact Disc 602527699448 602527699448 2772696 THIN LIZZY/CHINATOWN(2CD) Compact Disc 602527726960 602527726960 2772700 THIN LIZZY/BLACK ROSE(2CD) Compact Disc 602527727004 602527727004 2772702 LADY GAGA/JUDAS(CDS) Compact Disc Singles 602527727028 602527727028 2772782 CHTHONIC/SEEDIQ BALE Compact Disc 602527727820 602527727820 2778833 U2/ACHTUNG BABY (UBER DELUXE) CD with DVD 602527788333 602527788333 2785014 FLORENCE & THE MACHINE /CEREMON Compact Disc 602527850146 602527850146 2785518 SIMON,E/SONGS FOR FRANCKY KNIG Compact Disc 602527855189 602527855189 2785638 LES MARINS D'IROISE/LES MARINS Compact Disc 602527856384 602527856384 2786310 ATTAQUE,L/DU MONDE TOUT AUTOUR CD with DVD 602527863108 602527863108 2786453 VAR/DVD LES DIEUX DU STADE Digital Video Disc 602527864532 602527864532 2786755 AUFRAY,H/TROUBADOUR SINCE 1948 Compact Disc 602527867557 602527867557 2789543 FARMER,M/BEST OF Compact Disc 602527895437 602527895437 2789547 FARMER,M/BEST OF (3CD) Compact Disc 602527895475 602527895475 2789695 MONROE,M/SENSORY OVERDRIVE (SP Compact Disc 602527896953 602527896953 2792202 LECLERC,F/SERIE CHANSON FRANCA Compact Disc 602527922027 602527922027 2792639 THIN LIZZY/LIVE AT THE NATIONA Digital Video Disc 602527926391 602527926391 2792801 HALLYDAY,J/BEST OF Compact Disc 602527928012 602527928012 2793924 KORNSTAD,H/SYMPHONIES IN MY HE Compact Disc 602527939247 602527939247 2794961 MOUSTAKI,G/4 ALBUMS ORIGIN(4CD Compact Disc 602527949611 602527949611 2795679 RIZZLE KICKS/STEREO TYPICAL Compact Disc 602527956794 602527956794 2796310 KILLING JOKE/MMXII Compact Disc 602527963105 602527963105 2796646 TEARDROP EXPLODE/WILDER(2CD) Compact Disc 602527966465 602527966465 2797196 DUNCAN,N/DEVIL IN ME Compact Disc 602527971964 602527971964 2797366 COUNTING CROWS/UNDERWATER SUNS Compact Disc 602527973661 602527973661 3701798 BASHUNG,A/ROULETTE RUSSE+PIZZA Compact Disc 602537017980 602537017980 3702796 LECLERC,F/MASTER SERIE Compact Disc 602537027965 6025370279656 02527 78833 3 6 02527 86310 8 6 02527 97196 46 02527 95679 46 02527 85014 66 02527 72700 4 6 02527 96646 56 02527 72696 06 02527 64024 26 02527 64007 5 6 02527 72782 0 6 02527 89695 3 6 02527 96310 56 02527 63224 7 6 02527 69944 8 6 02527 85518 9 6 02527 92801 26 02527 86755 7 6 02527 89547 5 6 02537 02796 56 02527 85638 4 6 02527 89543 7 6 02527 92202 7 6 02527 94961 1 6 02537 01798 06 02527 93924 7 6 02527 97366 16 02527 72702 8 6 02527 92639 16 02527 86453 2Catalogue Numb er Artist & Title Description Configuration Scannable UPC UPC 3704323 KNOPFLER,M/PRIVATEERING(3CD+DV CD with DVD 602537043231 602537043231 3707324 DJ SHADOW/RECONSTRUCTED TH(2CD Compact Disc 602537073245 602537073245 3710020 MICHAEL,G/WHITE LIGHT CDS Compact Disc Singles 602537100200 602537100200 3711085 JOHN,E VS PNAU/GOOD MORNIN( DLX Compac t Disc 602537110858 602537110858 3718380 DJAVAN/RUA DOS AMORES Compact Disc 602537183807 602537183807 3722200 LEROY,N/O FILLES DE LEAU Compact Disc 602537222001 602537222001 3724981 BARBARA/LAIGLE NOIR (BR) BLU RAY AUDIO 602537249817 602537249817 3724982 HALLYDAY,J/ROCK N ROLL ATT(BR BLU RAY AUDIO 602537249824 602537249824 3728096 RIEU,A/HAPPY BIRTHDAY A CEL(BR BLU RAY + DVD 602537280964 602537280964 3731667 KRALL,D/THE LOOK OF LOVE BLU RAY AUDIO 602537316670 602537316670 3731764 JONES,Q/BIG BAND BOSSA NOVA BLU RAY AUDIO 602537317646 602537317646 3731767 GETZ,S/JOAO,G/GETZ GILBERTO BLU RAY AUDIO 602537317677 602537317677 3732722 VON HERTZEN BROTHERS/NINE LIVE Compact Disc 602537327225 602537327225 3732771 QUEEN/A NIGHT AT THE OPERA BLU RAY AUDIO 602537327713 602537327713 3732983 VAN DE WOUW,R/NEON Compact Disc 602537329830 602537329830 3733515 COHEN,R/A PARIS Compact Disc 602537335152 602537335152 3734944 ABBA/RING RING(CD+ DVD) CD with DVD 602537349449 602537349449 3734980 ARMSTRONG/FITZGER/ELLA & LOUIS BLU RAY AUDIO 602537349807 602537349807 3735091 EAGLES,THE/HISTORY OF(3DVD+BK Digital Video Disc 602537350919 602537350919 3735662 SIMONE,N/I PUT A SPELL ON YOU BLU RAY AUDIO 602537356621 602537356621 3735764 STAY GOLD/RAIN ON OUR PA(INTER Compact Disc 602537357642 602537357642 3737558 CHTHONIC/BU-TIK Compact Disc 602537375585 602537375585 3739309 VOODOO SIX/SONGS TO INVADE COU Compact Disc 602537393091 602537393091 3739854 STATUS QUO/STATUS QUO LIVE(4CD Compact Disc 602537398546 602537398546 3742720 FEFE/LE CHARME DES PREMIER JOU Compact Disc 602537427208 602537427208 3743330 TEARS FOR F/THE HURTING(CD+DVD CD with DVD 602537433308 602537433308 3744257 ERIKSEN,T/VISITS Compact Disc 602537442577 602537442577 3746142 KEENV/ANGE OU DEMON Compact Disc 602537461424 602537461424 3746504 JETTBLACK/BLACK GOLD Compact Disc 602537465040 602537465040 3747405 WHO,THE/TOMMY BLU RAY AUDIO 602537474059 6025374740596 02537 28096 46 02537 24981 7 6 02537 24982 4 6 02537 47405 96 02537 31667 0 6 02537 35662 16 02537 31764 6 6 02537 31767 7 6 02537 34980 76 02537 32771 36 02537 04323 1 6 02537 43330 86 02537 34944 96 02537 18380 76 02537 07324 5 6 02537 39854 66 02537 11085 8 6 02537 39309 1 6 02537 46504 06 02537 37558 5 6 02537 42720 86 02537 22200 1 6 02537 33515 2 6 02537 46142 46 02537 32722 5 6 02537 35764 26 02537 32983 0 6 02537 44257 76 02537 10020 0 6 02537 35091 9Catalogue Numb er Artist & Title Description Configuration Scannable UPC UPC 3747661 OCEAN COLOUR/MARCHING ALREA(DL Compact Disc 602537476619 602537476619 3749561 OCEAN COLOUR SCENE/OCEAN COL(D Compact Disc 602537495610 602537495610 3752489 LADY GAGA/APPLAUSE Compact Disc 602537524891 602537524891 3753707 RIEU,A/ANDRE & FRIENDS LIVE(BR BLU RAY 602537537075 602537537075 3755533 VAR/FILTH MUSIC FROM MOTION PI Compact Disc 602537555338 602537555338 3755685 DEL AMITRI/TWISTED(2CD) Compact Disc 602537556854 602537556854 3757047 SEETHER/SEETHER 2002 TO 20(2CD Compact Disc 602537570478 602537570478 3758597 JOHN,E/ GOODBYE YELLOW BRICK RO BLU RAY AUDIO 602537585977 602537585977 3759061 PROFANE OMEN/RESET Compact Disc 602537590612 602537590612 3759641 MELLENCAMP,J/1978 TO 2012(19CD Compact Disc 602537596416 602537596416 3761816 BOMBAY BICYCLE CLUB/SO LONG SE Compact Disc 602537618163 602537618163 3762273 RECORD,J/PILLARS Compact Disc 602537622733 602537622733 3762582 METSATOLL/KARJAJUHT Compact Disc 602537625826 602537625826 3764338 THERAPY/TROUBLEGUM (3CD) Compact Disc 602537643387 602537643387 3764398 THERAPY/INFERNAL LOVE(2CD) Compact Disc 602537643981 602537643981 3765694 TREATMENT,THE/RUNNING WITH THE Compact Disc 602537656943 602537656943 3768678 WESSELTOFT,B/OK WORLD(2CD) Compact Disc 602537686780 602537686780 3770762 FRANCOIS,F/LAIMER ENCORE Compact Disc 602537707621 602537707621 3771174 MULVEY,N/FIRST MIND Compact Disc 602537711741 602537711741 3772505 VILLARD,H/SALUT LES COPAINS(2C Compact Disc 602537725052 602537725052 3773992 DALLE,B/DIPLOID LOVE Compact Disc 602537739929 602537739929 3775110 FINNTROLL/NATTEN MED DE LEVAND Compact Disc 602537751105 602537751105 3775978 BANG,J/NARRATIVE FROM THE SUBT Compact Disc 602537759781 602537759781 3780245 LULLACRY/LEGACY 1998 TO 20(2CD Compact Disc 602537802456 602537802456 3780813 WHO,THE/QUADROPHENIA LIVE IN L BLU RAY AUDIO 602537808137 602537808137 3781283 BUTLER,H AND BER/VIPER'S DR(DI Compact Disc 602537812837 602537812837 3783931 VAR/POSTMAN PAT OST Compact Disc 602537839315 602537839315 3786601 WESSELTOFT,B/TRIALOGUE Compact Disc 602537866014 602537866014 3790883 SHED SEVEN/CHANGE GIVER(2CD) Compact Disc 602537908837 602537908837 3790891 SHED SEVEN/A MAXIMUM HIGH(2CD) Compact Disc 602537908912 6025379089126 02537 53707 5 6 02537 80813 76 02537 58597 76 02537 52489 1 6 02537 55533 8 6 02537 61816 36 02537 49561 0 6 02537 64338 76 02537 47661 9 6 02537 55685 4 6 02537 64398 1 6 02537 71174 1 6 02537 83931 5 6 02537 90883 7 6 02537 90891 26 02537 59061 2 6 02537 62582 6 6 02537 65694 3 6 02537 75110 5 6 02537 80245 6 6 02537 81283 76 02537 70762 1 6 02537 72505 26 02537 59641 6 6 02537 62273 3 6 02537 68678 0 6 02537 75978 1 6 02537 86601 46 02537 57047 8 6 02537 73992 9Catalogue Numb er Artist & Title Description Configuration Scannable UPC UPC 3791395 HARRISON,G/WONDERWALL MUSIC Compact Disc 602537913954 602537913954 3791398 HARRISON,G/DARK HORSE Compact Disc 602537913985 602537913985 3791400 HARRISON,G/ALL THINGS MUST(2CD Compact Disc 602537914005 602537914005 3791410 HARRISON,G/LIVING IN THE MATER Compact Disc 602537914104 602537914104 3792926 UNDERWORLD/DUBNOBASSWITHMYHEAD BLU RAY AUDIO 602537929269 602537929269 3793181 BLAKE,R/COCKTAILS AT DUSK A NO Compact Disc 602537931811 602537931811 3794991 TEARS FOR F/SONGS FROM(4CD+DVD BLU RAY+CD+DVD 602537949915 602537949915 3795592 ADAMS,B/TRACKS OF MY YEARS(DLX Compact Disc 602537955923 602537955923 3797862 EMIGRATE/SILENT SO LONG Compact Disc 602537978625 602537978625 3798185 WET WET WET/GREATEST HITS(BR+C BLU RAY + BNS CD 602537981854 602537981854 3945162 DE BURGH,C/FAR BEYOND THESE CA Compact Disc 082839451628 082839451628 3969072 MENDES & BRASIL/THE VERY BEST Compact Disc 082839690720 082839690720 4122272 BEETHOVEN/EROICA VARIATIONS Compact Disc 028941222725 028941222725 4126292 TE-KANAWA/AVE MA RIA Compact Disc 028941262929 028941262929 4137932 MOZART/PIANO CONCERTI 19 - 23 Compact Disc 028941379320 028941379320 4151862 SCHUBERT/DIE SCHONE VOL. 1 Compact Disc 028941518620 028941518620 4174132 TCHAIK/EUGENE ONEGIN/SOLTI Compact Disc 028941741325 028941741325 4174282 BRITTEN/BILLY BUDD Compact Disc 028941742827 028941742827 4176212 BACH/CANTATAS NOS. 202 - 211 Compact Disc 028941762122 028941762122 4177712 FALLA/NIGHTS IN THE GARDENS Compact Disc 028941777126 028941777126 4196352 MOZART/DON GIOVANNI Compact Disc 028941963529 028941963529 4197872 BEETHOVEN/VLN/PNO SON. 4-5 Compact Disc 028941978721 028941978721 4198552 BACH/VIOLIN CONCERTOS 1-2 Compact Disc 028941985521 028941985521 4225412 MOZART-ED-PHL/V.41 GIOVANNI Compact Disc 028942254121 028942254121 4230632 SAINT SAENS/RONDO CAPRICCIOSO Compact Disc 028942306325 028942306325 4233772 MOZART/CLARINET CONCERTO Compact Disc 028942337725 028942337725 4235672 PUCCINI/BUTTERFLY/SINOPLI Compact Disc 028942356726 028942356726 4236552 SCHUBERT/SYMPHONY NO.8 Compact Disc 028942365520 028942365520 4237002 VILLA-LOBOS/GUITAR CTO/YEPES Compact Disc 028942370029 028942370029 4250032 PROKOFIEV/VIOLIN CONCERTO NO.1 Compact Disc 028942500327 0289425003276 02537 98185 46 02537 92926 9 6 02537 94991 5 0 82839 69072 06 02537 91395 4 6 02537 91398 5 6 02537 91400 5 6 02537 91410 4 0 28941 74132 56 02537 93181 1 0 28941 76212 2 0 28942 50032 70 28941 74282 7 0 28941 77712 6 0 28942 35672 6 0 28942 37002 90 28941 37932 0 0 28941 51862 0 0 28941 96352 9 0 28941 97872 1 0 28941 98552 1 0 28942 30632 5 0 28942 33772 5 0 28942 36552 00 82839 45162 8 0 28941 26292 90 28941 22272 5 0 28942 25412 16 02537 95592 3 6 02537 97862 5Catalogue Numb er Artist & Title Description Configuration Scannable UPC UPC 4254852 DELIBES/LAKME/BONYNGE,SUTHERLA Compact Disc 028942548527 028942548527 4256722 BRITTEN/TURN OF T SCREW/PEARS Compact Disc 028942567221 028942567221 4256922 PERGOLESI/STABAT MATER/HOGWOOD Compact Disc 028942569225 028942569225 4259952 MAHLER/KINDERTOTENLIEDER Compact Disc 028942599529 028942599529 4297372 BACH J/ARIAS Compact Disc 028942973725 028942973725 4297832 MOZART/A LITTLE LIGHT MUSIC Compact Disc 028942978324 028942978324 4300962 WORLD-OF/KATHLEEN FERRIER Compact Disc 028943009621 028943009621 4301962 HEROLD/LA FILLE MA L GARDEE Compact Disc 028943019620 028943019620 4307032 RODRIGO/CONCIERTO DE ARANJUEZ Compact Disc 028943070324 028943070324 4316742 MOZART/IDOMENEO/GARDINER Compact Disc 028943167420 028943167420 4317902 BRAHMS/SYMPHONY 1 Compact Disc 028943179027 028943179027 4318182 HAYDN/SEASONS/GARDI NER Compact Disc 028943181822 028943181822 4332222 WORLD-OF/PIANO Compact Disc 028943322225 028943322225 4334772 BRAHMS&MAHLER/ALTO RHAPSODY, V Compact Disc 028943347723 028943347723 4337062 PAVAROTTI/BEATRICE DI TONDA Compact Disc 028943370622 028943370622 4338692 VAR/WORLD OF T HARP Compact Disc 028943386920 028943386920 4339232 GRANADOS&ALBENIZ/DAN ZAS ESPANO Com pact Disc 028943392327 028943392327 4356172 BEETHOVEN/NEW YEAR'S CONCERT Compact Disc 028943561723 028943561723 4358542 SAINT-SAENS/L'ASCENCION Compact Disc 028943585422 028943585422 4362862 TE KANAWA/T ESSENTIAL.... Compact Disc 028943628624 028943628624 4364022 WORLD-OF/WEDDING MUSIC Compact Disc 028943640220 028943640220 4364172 WEILL/UTE LEMPER SINGS KURT,V2 Compact Disc 028943641722 028943641722 4366512 BORODIN/BORODIN SYMPHONY COMPL Compact Disc 028943665124 028943665124 4372522 LISZT/SONATA IN B MINOR Compact Disc 028943725224 028943725224 4376452 BRAHMS/SYM 3,4/KARAJAN Compact Disc 028943764520 028943764520 4376892 SINOPOLI / SKD /SCHUBERT: SYMP Compact Disc 028943768924 028943768924 4383502 DUO/STRAVINSKY/T GREAT BALLETS Compact Disc 028943835022 028943835022 4388232 BRYARS/JESUS BLOOD FAILED ME Compact Disc 028943882323 028943882323 4390132 MUSSORGSKY/PICTURES/KAR-GOLD Compact Disc 028943901321 028943901321 4398982 PROKOFIEV/PNO CTO 1,3/KISSIN Compact Disc 028943989824 0289439898240 28943 16742 00 28942 54852 7 0 28942 59952 9 0 28943 07032 4 0 28943 34772 3 0 28943 64172 20 28942 56722 1 0 28943 62862 4 0 28943 88232 30 28943 01962 0 0 28943 37062 2 0 28943 39232 7 0 28943 66512 40 28943 58542 2 0 28943 90132 10 28942 97372 5 0 28942 97832 4 0 28943 17902 7 0 28943 18182 2 0 28943 56172 3 0 28943 76452 0 0 28943 76892 4 0 28943 98982 40 28943 72522 40 28942 56922 5 0 28943 83502 20 28943 32222 5 0 28943 64022 00 28943 00962 1 0 28943 38692 0Catalogue Numb er Artist & Title Description Configuration Scannable UPC UPC 4406062 WAGNER/OVERATRUES & PRELUDES Compact Disc 028944060621 028944060621 4430062 LDD/KODALY/HARY JANOS/DORATI Compact Disc 028944300628 028944300628 4430122 LDD/BEET/PNO SNTS/GULDA Compact Disc 028944301229 028944301229 4435812 WAGNER/RING(NARRATIVE)/SOLTI Compact Disc 028944358124 028944358124 4441202 VAR/OPERAMANIA Compact Disc 028944412024 028944412024 4441342 CHAILLY / OTCB /ROSSINI: MESSE Compact Disc 028944413427 028944413427 4447862 KETELBEY/IN A MONASTERY GARDEN Compact Disc 028944478624 028944478624 4453292 R.STRAUSS/ELEKTRA/BOHM Compact Disc 028944532920 028944532920 4455142 SCHUBERT/SYMP NO.8 Compact Disc 028944551426 028944551426 4455192 RAVEL/DAPHNIS AND CHLOE Compact Disc 028944551921 028944551921 4455382 BERNSTEIN / IPO/STRAVINSKY: PE Compact Disc 028944553826 028944553826 4455582 RIMSKY-KORSAKOV/SCHEHE R/MAAZEL Compact Disc 028944555820 028944555820 4455902 RACHMANINOVS/3 SYMPHONIES Compact Disc 028944559026 028944559026 4461452 CHOPIN/BEST OF CHOPIN Compact Disc 028944614527 028944614527 4466622 VAR/RUSSIAN EASTER/KORNIEV Compact Disc 028944666229 028944666229 4469192 MANCINI/VICTOR, VICTORIA Compact Disc 028944691924 028944691924 4470582 BEETHOVEN/THE VIOLIN SONA Compact Disc 028944705829 028944705829 4471112 SCHUMANN/PNO QNT,STRING QRTET Compact Disc 028944711127 028944711127 4472962 TELEMANN/TAFELMUSIK/GOEBEL Compact Disc 028944729627 028944729627 4472992 OSTERN/GREGORIAISCHER CHORAL Compact Disc 028944729924 028944729924 4480862 CHOPIN/MAZURKAS Compact Disc 028944808629 028944808629 4487252 PUCCIN I/IA BOHEME/SERAF IN Compac t Disc 028944872521 028944872521 4489242 MOZART/4 GREAT SYMPHONIES 38-4 Compact Disc 028944892420 028944892420 4492082 MOZART/PNO TRIOS/PIRES/WANG Compact Disc 028944920826 028944920826 4499652 VAR/CLASSICAL XMAS ALBUM Compact Disc 028944996524 028944996524 4520222 DEBUSSY/COMPLETE PNO/THIBAUDET Compact Disc 028945202228 028945202228 4523932 SCHUBERT/PIANO QUINTET "THE TR Compact Disc 028945239323 028945239323 4524482 RAVEL/PNO CTI/THIBAUDET/DUTOIT Compact Disc 028945244822 028945244822 4525852 VAR/HARP CONCERTOS Compact Disc 028945258522 028945258522 4525942 PUCCINI/MADAMA BUTTERFLY/SERAF Compact Disc 028945259420 0289452594200 28944 72962 70 28944 41202 4 0 28945 24482 20 28944 35812 4 0 28944 41342 7 0 28944 47862 40 28944 30062 8 0 28945 20222 80 28944 53292 0 0 28944 55582 0 0 28944 92082 6 0 28944 99652 40 28944 55142 6 0 28944 55192 1 0 28944 55382 6 0 28944 70582 9 0 28944 71112 7 0 28944 72992 40 28944 55902 6 0 28945 25852 2 0 28945 25942 00 28944 06062 1 0 28944 80862 9 0 28944 87252 1 0 28945 23932 30 28944 30122 9 0 28944 89242 00 28944 69192 40 28944 66622 90 28944 61452 7Catalogue Numb er Artist & Title Description Configuration Scannable UPC UPC 4526022 MOZART/ARIAS/FLEMING Compact Disc 028945260228 028945260228 4527072 VAR/FANT ON GREENSLEEVES Compact Disc 028945270722 028945270722 4529132 VAR/GREAT OPERA CHORUSES Compact Disc 028945291321 028945291321 4531032 ELGAR/SYMHONIES 1 AND 2 Compact Disc 028945310329 028945310329 4540232 DUO/MOZART/STR TRIO/GRUMIAUX Compact Disc 028945402321 028945402321 4540262 DUO/MOZART/MUS FOR 2 PNO/VAR Compact Disc 028945402628 028945402628 4552412 MOZART/CONCERT ARIAS/TE KANAWA Compact Disc 028945524122 028945524122 4552872 VERD I/I LOMBARDI Co mpact Disc 028945528724 028945528724 4552902 ORFF/CARMINA BURANA /DUTOIT Compact Disc 028945529028 028945529028 4553612 BERLIOZ/SYMPHONIE FANTASTIQUE Compact Disc 028945536125 028945536125 4554102 BACH/XMAS ORATOR-MUNCHINGE Compact Disc 028945541020 028945541020 4554762 MOZART/COSI FAN TUTTE/LUDWIG Compact Disc 028945547626 028945547626 4555592 WAGNER/DIE WALKURE Compact Disc 028945555928 028945555928 4557272 LDD/VIVALDI/GLORIA/HOGWOOD Compact Disc 028945572727 028945572727 4562932 HENRY, PIERRE //MESSE POUR LE Compact Disc 028945629322 028945629322 4575912 SCHUMANN/T SYM/GARDINER Compact Disc 028945759128 028945759128 4575992 SAINT-SAENS/CELLO CONCERT Compact Disc 028945759920 028945759920 4576472 PART/TABULA RASA Compact Disc 028945764726 028945764726 4576522 MOZART&BEETHOVEN/CLARINET CONC Compact Disc 028945765228 028945765228 4581292 ALBINONI/12 CONCERTOS, OP9 Compact Disc 028945812922 028945812922 4581912 RICCI,R/VIRTUOSO VIOLIN Compact Disc 028945819129 028945819129 4589312 LEMPER,U/BEST OF UT E LEMPER Compact Disc 028945893129 028945893129 4591352 FUR-ELISE/MY FIRST PNO RECITA Compact Disc 028945913520 028945913520 4591562 MENDEL/SYM NO.4&5/G ARDINER Compact Disc 028945915623 028945915623 4594422 WEILL/SUITE FROM T THREEPENNY Compact Disc 028945944227 028945944227 4594452 VAR/FAMOUS BALLET MUSIC Compact Disc 028945944524 028945944524 4596162 GLUCK/ARMIDE (COMPLETE) Compact Disc 028945961620 028945961620 4596212 BACH/WEDDING CANTATAS Compact Disc 028945962122 028945962122 4596392 BARTOK/VLN CTO/BOULEZ Compact Disc 028945963921 028945963921 4596422 VAR/LIVE FROM BUDAPEST Compact Disc 028945964225 0289459642250 28945 96162 00 28945 52902 80 28945 26022 8 0 28945 52872 40 28945 52412 2 0 28945 89312 90 28945 55592 8 0 28945 81292 20 28945 76472 6 0 28945 91562 3 0 28945 96212 20 28945 31032 9 0 28945 94422 7 0 28945 94452 40 28945 75912 8 0 28945 75992 0 0 28945 76522 8 0 28945 91352 0 0 28945 96392 1 0 28945 96422 50 28945 27072 2 0 28945 54102 00 28945 29132 1 0 28945 53612 5 0 28945 54762 6 0 28945 57272 7 0 28945 81912 90 28945 40232 1 0 28945 40262 8 0 28945 62932 2Catalogue Numb er Artist & Title Description Configuration Scannable UPC UPC 4602932 DVORAK/SLAVONIC DANCES Compact Disc 028946029329 028946029329 4607382 WAGNER/DER FLIEGENDE HOLLANDER Compact Disc 028946073827 028946073827 4607592 VERDI/LA TRAVIATA/BERGONZI Compact Disc 028946075920 028946075920 4607652 VERDI/AIDA/VICKERS/GORR/SOLTI Compact Disc 028946076521 028946076521 4609502 VIVALDI/ADAGIOS Compact Disc 028946095027 028946095027 4614192 SCHUBERT/GREATEST HITS Compact Disc 028946141922 028946141922 4619512 KEITA,M/ELECTRO BAMAKO Compact Disc 028946195123 028946195123 4623122 LISZT/ANNEES DE PERLE RINAGE/KO Compact Disc 028946231227 028946231227 4630212 BACH/ITALIAN CONCERTO, 4 DUETS Compact Disc 028946302125 028946302125 4630752 RACHMANINOV/SYMPHONY NO.1/THE Compact Disc 028946307526 028946307526 4640282 VAR/FAMOUS CLASSICAL TRUMPET Compact Disc 028946402825 028946402825 4640462 SCHOENBERG/T STRING QUARTET Compact Disc 028946404621 028946404621 4646502 HAYDN/THE STRING QUARTETS Compact Disc 028946465028 028946465028 4646812 BEETHOVEN/PIANO CONCERTO NO.4 Compact Disc 028946468128 028946468128 4646942 CHOPIN,F/THE NOCTURNES NO.1-14 Compact Disc 028946469422 028946469422 4647202 MOZART/REQUIEM,CORONATION MASS Compact Disc 028946472026 028946472026 4647422 STRAUSS & WAGNER/FOUR LAST SON Compact Disc 028946474228 028946474228 4648202 MOZART/COMPLETE MOZART:QUINTET Compact Disc 028946482025 028946482025 4648502 MOZART/COMPLETE MOZART:PIANO M Compact Disc 028946485026 028946485026 4660662 SHOSTAKOVICH/24 PRELUDES & FUG Compact Disc 028946606629 028946606629 4662412 VAR/40 FAMOUS MARCHES Compact Disc 028946624128 028946624128 4663142 FLEMING,R/STRAUSS HEROINES Compact Disc 028946631423 028946631423 4664092 STEELE,MERRILL,BART/DECCA YEAR Compact Disc 028946640920 028946640920 4664122 BACHELORS,T/DECCA YEAR S '62-72 Compact Disc 028946641224 028946641224 4665632 VAR/CLASSIC LOVE AT TH E MOVIES Com pact Disc 028946656327 028946656327 4666002 PAVAROTTI/CHILDREN OF GUATEMAL Compact Disc 028946660027 028946660027 4672482 BARTOLI,C/GLUCK ITALIAN ARIAS Compact Disc 028946724828 028946724828 4674092 SMETANA/MA VL AST Compact Disc 028946740927 028946740927 4674272 ROSSINI/OVERTURES Compact Disc 028946742723 028946742723 4674442 ELGAR/ENIGMA VARIATIONS Compact Disc 028946744420 0289467444200 28946 63142 3 0 28946 64122 4 0 28946 65632 70 28946 64092 00 28946 07382 7 0 28946 60662 9 0 28946 66002 7 0 28946 72482 80 28946 09502 7 0 28946 30212 5 0 28946 30752 60 28946 14192 2 0 28946 74092 7 0 28946 74272 3 0 28946 74442 00 28946 19512 3 0 28946 62412 80 28946 02932 9 0 28946 07592 0 0 28946 07652 1 0 28946 46502 8 0 28946 48502 60 28946 48202 50 28946 47202 60 28946 46812 8 0 28946 46942 2 0 28946 47422 80 28946 40282 5 0 28946 40462 10 28946 23122 7Catalogue Numb er Artist & Title Description Configuration Scannable UPC UPC 4674592 PROKOFIEV/BALLET MUSIC-ROMEO & Compact Disc 028946745922 028946745922 4674632 DVORAK/CELLO CONCERTO Compact Disc 028946746325 028946746325 4674662 PUCCINI/MADAMA BUTTERFLY Compact Disc 028946746622 028946746622 4674722 DVORAK/SYMPHONIES NOS. 5,7,8, Compact Disc 028946747223 028946747223 4674782 SHOSTAKOVICH/SYMPHONIES NOS. 5 Compact Disc 028946747827 028946747827 4674792 BERLIOZ/REQUIEM,CHANTS POUR CH Compact Disc 028946747926 028946747926 4681022 BEETHOVEN/SYMPHONIES 5 & 6 PAS Compact Disc 028946810224 028946810224 4681122 BEETHOVEN/SYMPHONY NO.9 Compact Disc 028946811221 028946811221 4681132 BEETHOVEN/PIANO CONCERTOS NOS Compact Disc 028946811320 028946811320 4681382 VAR/MAGIC OF THE PANPIPES Compact Disc 028946813829 028946813829 4681532 BOCCHERINI/GUITAR QUINTETS Compact Disc 028946815328 028946815328 4681662 MOZART/SYMPHONY NOS.31,32,34,3 Compact Disc 028946816622 028946816622 4681722 BRAHMS/VIOLIN CONCERTO Compact Disc 028946817223 028946817223 4681812 ELGAR/ST.SAEN CELLO CONCERTO Compact Disc 028946818121 028946818121 4681822 MAHLER/DAS LIED Compact Disc 028946818220 028946818220 4681872 MENDELSSOHN/SYMPHONY 3 & 4 Compact Disc 028946818725 028946818725 4681932 DEBUSSY/PIANO MUSIC Compact Disc 028946819326 028946819326 4685302 BEETHOVEN/ESSENTIAL BEET HOVEN Compact Disc 028946853023 028946853023 4690652 HANDEL/ITALIAN CANTATAS Compact Disc 028946906521 028946906521 4693502 CHOPIN/NOCTURNES,WALTZES,BALLA Compact Disc 028946935026 028946935026 4695322 HANDEL/HERCULES Compact Disc 028946953228 028946953228 4696162 BACH/TOCCATA & FUGUE Compact Disc 028946961629 028946961629 4696302 BIZET/CARMEN HIGHLIGHTS Compact Disc 028946963029 028946963029 4696522 VAR/IN DULCI JUBILO-BEAUTIFUL Compact Disc 028946965221 028946965221 4696542 CORELLI,A/CHRISTMAS CONCERTOS Compact Disc 028946965429 028946965429 4696552 VAR/GREGORIAN CHANT:T GREATEST Compact Disc 028946965528 028946965528 4696572 MOZART/FLUTE CONCERTOS NOS. 1 Compact Disc 028946965726 028946965726 4696582 BRAHMS/GERMAN REQUIEM Compact Disc 028946965825 028946965825 4696772 VAR/FAMOUS CHORUSES Compact Disc 028946967720 028946967720 4696792 VAR/LUTE MUSIC:EUROPEAN LUTE M Compact Disc 028946967928 0289469679280 28946 90652 10 28946 85302 3 0 28946 95322 80 28946 93502 60 28946 74632 5 0 28946 96522 10 28946 74792 6 0 28946 81022 4 0 28946 81122 1 0 28946 81662 2 0 28946 81722 3 0 28946 81872 5 0 28946 96542 9 0 28946 96772 00 28946 74662 2 0 28946 81382 9 0 28946 96162 9 0 28946 96552 80 28946 74592 2 0 28946 74722 3 0 28946 74782 7 0 28946 81132 0 0 28946 81532 8 0 28946 81812 1 0 28946 81822 0 0 28946 81932 6 0 28946 96302 9 0 28946 96572 6 0 28946 96582 5 0 28946 96792 8Catalogue Numb er Artist & Title Description Configuration Scannable UPC UPC 4696802 BACH/MUSICAL OFFERING Compact Disc 028946968024 028946968024 4696842 DEBUSSY/PIANO MUSIC Compact Disc 028946968420 028946968420 4698292 BERNSTEIN/BERNSTEIN CONDUCTS B Compact Disc 028946982921 028946982921 4700442 HANDEL/MESSIAH Compact Disc 028947004424 028947004424 4700473 WILD CLUB/YOUTH Compact Disc 602547004734 602547004734 4700592 MOZART/DON GIOVANNI Compact Disc 028947005926 028947005926 4700598 FINCH/BACK TO OBLIVION Compact Disc 602547005984 602547005984 4702562 BEETHOVEN/SYMPHONY NO.7 Compact Disc 028947025627 028947025627 4702962 VAR/ARCADIA Compact Disc 028947029625 028947029625 4703645 DREU,G/4 FOIS 20 ANS Compact Disc 602547036452 602547036452 4704132 BELLINI/NORMA Compact Disc 028947041320 028947041320 4705192 BRAHMS/THE PIANO CONCERTOS;VAR Compact Disc 028947051923 028947051923 4705632 GOUNOD/FAUST Compact Disc 028947056324 028947056324 4707146 PAGNY,F/VIEILLIR ENSEMBLE L(2C Compact Disc 602547071460 602547071460 4710292 RACHMANINOV/THE BELLS /TANEYEV Compact Disc 028947102922 028947102922 4710302 SCHUBERT/SCHWANENGESAND D. 957 Compact Disc 028947103028 028947103028 4711572 VAR/LIVE AT CARNEGIE HALL Compact Disc 028947115724 028947115724 4713482 WAGNER/ARIAS Compact Disc 028947134824 028947134824 4713692 SCHUMANN/DAVIDSBUNDLERTANZE OP Compact Disc 028947136927 028947136927 4715802 HAGEN QUARTETT/WORKS FOR STRIN Compact Disc 028947158028 028947158028 4715812 VAR/SONGS Compact Disc 028947158127 028947158127 4715862 VAR/SHUBERT LIEDER WITH ORCHES Compact Disc 028947158622 028947158622 4716272 VAR/THE BERLIN ALBUM Compact Disc 028947162728 028947162728 4716332 BEETHOVEN/VIOLIN CONCERTO;ROMA SACD4Stereo/Surround/CDAud 028947163329 028947163329 4716412 BEETHOVEN/SPRING & KREUTZER SO SACD4Stereo/Surround/CDAud 028947164128 028947164128 4716979 KNOPFLER,M/TRACKER(DLX) Compact Disc 602547169792 602547169792 4717312 VAR/MUSIC OF THE GOTHIC ERA Compact Disc 028947173120 028947173120 4717372 GERSHWIN&BARBER/RHAPSODY IN BL Compact Disc 028947173724 028947173724 4717402 SCHUBERT/TROUT QUIN, STR QUAR Compact Disc 028947174028 028947174028 4717422 TCHAIKOVSKY/SYMPHONY NO.6 Compact Disc 028947174226 0289471742260 28947 17312 00 28947 05632 40 28947 02962 5 0 28947 04132 00 28947 02562 70 28946 98292 1 0 28947 10302 8 0 28947 17422 60 28947 10292 2 0 28947 11572 4 0 28947 13482 4 0 28947 13692 7 0 28947 15802 8 0 28947 15812 7 0 28947 15862 2 0 28947 17372 4 0 28947 17402 80 28947 16272 80 28946 96842 00 28946 96802 4 0 28947 00592 6 0 28947 05192 3 6 02547 16979 20 28947 00442 4 6 02547 00598 4 6 02547 07146 06 02547 03645 26 02547 00473 4 0 28947 16412 80 28947 16332 9Catalogue Numb er Artist & Title Description Configuration Scannable UPC UPC 4724392 VAR/LITURGIES DU 24 & 25 DECEM Compact Disc 028947243922 028947243922 4726366 BAY,J/HOLD BACK THE RIVER(HMV Compact Disc 602547263667 602547263667 4727779 GARDOT,M/CURRENCY OF MAN(DLX) Compact Disc 602547277794 602547277794 4732114 BARRIER,R/COLLECTION CHANSON Compact Disc 602547321145 602547321145 4732412 WILLIAMS/COMPLETE SYMPHONIES Compact Disc 028947324126 028947324126 4733202 VAR/THE ESSENTIAL COLLECTION Compact Disc 028947332022 028947332022 4734561 CREAM/CLASSIC ALBUM(4A LBUM/5CD Compact Disc 602547345615 602547345615 4737672 CHAILLY,R/VERDI DISCOVERIES Compact Disc 028947376729 028947376729 4738072 VAR/RUSSIAN CELLO SONATAS Compact Disc 028947380726 028947380726 4738610 JAM,THE/FIRE & SKILL(6CD) Compact Disc 602547386106 602547386106 4739972 PUCCINI/THE PUCCINI OPERA BOX Compact Disc 028947399728 028947399728 4742052 VAR/KARAJAN FOREVER:THE GREATE Compact Disc 028947420521 028947420521 4742662 DVORAK&SMETANA/SYMPHONI ES NOS. Compact Disc 028947426622 028947426622 4742868 TURNER,F/POSITIVE SONGS FO(DLX Compact Disc 602547428684 602547428684 4742872 VIVALDI&BACH Compact Disc 028947428725 028947428725 4743232 REICH/DRUMMING Compact Disc 028947432326 028947432326 4745642 RIMSKY-KORSAKOV/MODEST E MOUSSK Compact Disc 028947456421 028947456421 4745706 KEENV/COFFRET PHENOM CARPE(5CD Compact Disc 602547457066 602547457066 4748172 PROKOFIEV&RAVEL/CINDERELLA/MA Compact Disc 028947481720 028947481720 4748812 VAR/SEMPRE LIBERA SACD4Stereo/Surround/CDAud 028947488125 028947488125 4750002 PAVAROTTI,L/TI ADORO Compact Disc 028947500025 028947500025 4750042 VAR/MIDNIGHT ADAGIOS Compact Disc 028947500421 028947500421 4751309 WIGMORE,G/BLOOD TO BONE Compact Disc 602547513090 602547513090 4751352 VAR/ORCHESTRAL FIREWORKS Compact Disc 028947513520 028947513520 4751812 MOZART/GREAT P CON NO.16,24-27 Compact Disc 028947518129 028947518129 4752272 RACHMANINOV/VESPERS,LIT URGY OF Compact Disc 028947522720 028947522720 4752642 HINDEMITH/ORCHESTRAL WORKS Compact Disc 028947526421 028947526421 4755232 VAR/CHAMBER & ORCH WORKS Compact Disc 028947552321 028947552321 4756149 CHACKSFIELD,F/BEYOND THE SEA/T Compact Disc 028947561491 028947561491 4756302 VAR/THE ART OF JOAN SUTHERLAND Compact Disc 028947563020 0289475630200 28947 50002 5 0 28947 55232 10 28947 32412 6 0 28947 56302 06 02547 27779 4 0 28947 52642 10 28947 33202 2 0 28947 39972 8 0 28947 50042 1 0 28947 51812 9 0 28947 56149 10 28947 37672 9 0 28947 45642 10 28947 43232 60 28947 42872 50 28947 42052 1 0 28947 42662 2 0 28947 48172 0 0 28947 51352 06 02547 51309 00 28947 38072 6 0 28947 52272 06 02547 34561 5 6 02547 38610 6 6 02547 42868 40 28947 24392 2 6 02547 32114 5 6 02547 45706 66 02547 26366 7 0 28947 48812 5Catalogue Numb er Artist & Title Description Configuration Scannable UPC UPC 4756411 FERRIER,K/CLASSIC RECITALS Compact Disc 028947564119 028947564119 4756528 CHAUSSON/SYMPHONY IN B FLAT;PO Compact Disc 028947565284 028947565284 4756529 DALIDA/DALIDA(SUPER DLX 2CD+DV CD with DVD 602547465290 602547465290 4756569 SCHOLL,A/ARIAS FOR SENESINO Compact Disc 028947565697 028947565697 4756646 VAR/BEETHOVEN ADAGIOS Compact Disc 028947566465 028947566465 4756652 VAR/HARP ADAGIOS Compact Disc 028947566526 028947566526 4756658 VAR/TCHAIKOVSKY ADAGIOS - 2CD Compact Disc 028947566588 028947566588 4756709 VAR/FRENCH CHAMBER MUSIC-MUSIC Compact Disc 028947567097 028947567097 4756939 CHAILLY,R/CHAILLY IN LEIPZIG Compact Disc 028947569398 028947569398 4757050 BRENDEL/ASMIF/MARRINE R/MOZART; Compact Disc 028947570509 028947570509 4757185 BRENDEL,A/BRENDLE PLAYS HAYDEN Compact Disc 028947571858 028947571858 4757269 DELMONACO,M/VAR:MARIO DEL MONA Compact Disc 028947572695 028947572695 4757574 CLEVELANDQUARTET/SCHUBERT:TROU Compact Disc 028947575740 028947575740 4757722 CHAILLY,R/PUCCINI:ORCHESTRAL M Compact Disc 028947577225 028947577225 4757728 DUTOIT/OSM/SAENS:SYMPHONY NO.3 Compact Disc 028947577287 028947577287 4757781 MARRINER,N/ROSSINI:MESSA DI GL Compact Disc 028947577812 028947577812 4758058 VAR/ULTIMATE BACH Compact Disc 028947580584 028947580584 4758237 MARRINER,N/BARBER:ADAGIO FOR S Compact Disc 028947582373 028947582373 4758520 ARGERICH,M/FREIRE,N/RACHMANINO Compact Disc 028947585206 028947585206 4759107 ROUSSET,C/RAMEAU:OVERTURES Compact Disc 028947591078 028947591078 4759120 DAVIS,C/MOZART:LATE SYMPHONIES Compact Disc 028947591207 028947591207 4760257 YELLO/TOY(DLX) Compact Disc 602547602572 602547602572 4760948 VIVALDI/LE PETIT ME NESTREL Compact Disc 028947609483 028947609483 4760954 BEETHOVEN/LE PETIT ME NESTREL Compact Disc 028947609544 028947609544 4760955 MANUEL,D/BACH RACONTE AUX ENFA Compact Disc 028947609551 028947609551 4761472 MOZART/GREATEST HITS Compact Disc 028947614722 028947614722 4763110 JENKIN,K/LIVING A DREAM Compact Disc 028947631101 028947631101 4764498 WHUN CHUNG,M/DEBUSSY LA MER/RA Compact Disc 028947644989 028947644989 4765082 JOHN,E/WONDERFUL CRAZY(DLX) Compact Disc 602547650825 602547650825 4766615 SIMPLE MINDS/NEW GOLD DREAM(2C Compact Disc 602547666154 6025476661546 02547 46529 0 0 28947 56646 5 0 28947 56709 7 0 28947 59120 70 28947 56652 6 0 28947 58058 4 0 28947 58237 30 28947 56528 4 0 28947 58520 60 28947 56569 7 0 28947 56939 8 0 28947 59107 80 28947 56411 9 0 28947 56658 8 0 28947 57269 5 0 28947 57722 5 0 28947 57728 7 0 28947 64498 90 28947 57050 9 0 28947 61472 20 28947 57185 8 0 28947 57574 0 0 28947 57781 2 6 02547 60257 2 0 28947 63110 10 28947 60948 3 0 28947 60954 4 0 28947 60955 1 6 02547 66615 46 02547 65082 5Catalogue Numb er Artist & Title Description Configuration Scannable UPC UPC 4767392 NEKFEU/FEU(2CD) Compact Disc 602547673923 602547673923 4775085 GALWAY,J/WINGS OF SONG Compact Disc 028947750857 028947750857 4775228 BACH/6 SUITES FOR CELLO Compact Disc 028947752288 028947752288 4775336 VAR/SILENT NOON-ENGLISH SONGS Compact Disc 028947753360 028947753360 4775391 HANDEL/RODELINDA Compact Disc 028947753919 028947753919 4775419 VAR/TANEYEV;QUINTET FOR 2 VIOL Compact Disc 028947754190 028947754190 4775430 CHOPIN/COMPLETE POLONAISES Compact Disc 028947754305 028947754305 4775442 SHOSTAKOVICH/CHAMBER SYMPHONIE Compact Disc 028947754428 028947754428 4775448 VAR/FRENCH VIOLIN CONCERTOS Compact Disc 028947754480 028947754480 4775621 SINOPOLI/PO/VERDI;LA FORZA DEL Compact Disc 028947756217 028947756217 4775644 KUBELIK,R/BRSO/WEBER:OBERON Compact Disc 028947756446 028947756446 4775743 MAISKY,M/VOCALISE Compact Disc 028947757436 028947757436 4775747 PIRES,M/MOZART;GREAT PIANO CON Compact Disc 028947757474 028947757474 4775754 KARAJANBERLIN/MOZART;GREAT MAS Compact Disc 028947757542 028947757542 4775788 PLETNEV,M/MOZART:PIANO SONATAS Compact Disc 028947757887 028947757887 4775797 THIELEMANN,C/MOZART:REQUIEM Compact Disc 028947757979 028947757979 4775910 CABALLE,M/STRAUSS:SCENES FROM Compact Disc 028947759102 028947759102 4775996 CURTIS,A/VIVALDI:MONTEZUMA Compact Disc 028947759966 028947759966 4776145 KOPP,P/VIVALDI:DIZIT DOMINUS Compact Disc 028947761457 028947761457 4776146 HAGENQUART/SHOSTAKOVICH:STRING Compact Disc 028947761464 028947761464 4776196 KREMER,B/SHOSTAKOVICK:VIOLIN S Compact Disc 028947761969 028947761969 4776269 HEITETZ,J/IT AIN'T NECESSARILY Compact Disc 028947762690 028947762690 4776275 ALAGNA,R/SERENADES Compact Disc 028947762751 028947762751 4776278 ALAGNA,R/SACRED SONGS Compact Disc 028947762782 028947762782 4776335 HOROWITZ/GRAND PRIX:STUDIO REC Compact Disc 028947763352 028947763352 4776349 MINTZ,S/MENDELSSOHN:BRUCH:VIOL Compact Disc 028947763499 028947763499 4776353 POLLINI,M/BARTOK:GRAND PRIX-PI Compact Disc 028947763536 028947763536 4776358 TERFEL,B/SCHUBERT:AN DIE MUSIK Compact Disc 028947763581 028947763581 4776409 PLETNEV,M/BEETHOVEN:THE NINE S Compact Disc 028947764090 028947764090 4776417 PLETNEV,M/BEETHOVEN:PIANO CONC Compact Disc 028947764175 0289477641750 28947 75996 60 28947 75391 9 0 28947 75788 7 0 28947 76269 00 28947 75621 70 28947 75085 7 0 28947 75442 8 0 28947 75747 40 28947 75228 8 0 28947 75336 0 0 28947 75419 0 0 28947 75430 5 0 28947 75448 0 0 28947 75644 6 0 28947 75743 6 0 28947 75754 2 0 28947 75797 9 0 28947 75910 2 0 28947 76145 7 0 28947 76146 4 0 28947 76196 9 0 28947 76275 1 0 28947 76278 2 0 28947 76358 10 28947 76335 2 0 28947 76349 9 0 28947 76353 66 02547 67392 3 0 28947 76409 0 0 28947 76417 5Catalogue Numb er Artist & Title Description Configuration Scannable UPC UPC 4776505 ROSTOPOVICH,M/EARLY RECORDINGS Compact Disc 028947765059 028947765059 4776572 CAFE DO LOS MAESTROS/CAFE DE L Compact Disc 028947765721 028947765721 4776590 DOMINGO,P/VAR:PASION ESPANOLA Compact Disc 028947765905 028947765905 4776591 QUASTOFF,T/BACH:DIALOGUE CONTA Compact Disc 028947765912 028947765912 4776594 POLLIN I.,/BEETHOVEN:PIANO SO NA Compac t Disc 028947765943 028947765943 4776606 CARMIGNOLA,G/CONCERTO ITALIANO Compact Disc 028947766063 028947766063 4776617 PEPE,R/WAGNER:ARIAS Compact Disc 028947766179 028947766179 4776665 KOZENA,M/SONGS MY MOTHER TAUGH Compact Disc 028947766650 028947766650 4776686 TERFEL,B/WILLIAMS/IRELAND/MOZA Compact Disc 028947766865 028947766865 4776697 BERNSTEIN,L/MOZART:THE LATE SY Compact Disc 028947766971 028947766971 4776730 GOEBEL,R/HASSE:SALVE REGINA Compact Disc 028947767305 028947767305 4777106 CURTIS,A/HANDEL:TOLOMEO - 3CD Compact Disc 028947771067 028947771067 4777160 KARAJAN,H/STRAVINSKY:THE RITE Compact Disc 028947771609 028947771609 4777177 NETREBKO,A/VAR:THE OPERA GALA- Compact Disc 028947771777 028947771777 4777433 QUASTHOFF,T/BRAHMS/LISZT:LIEDE Compact Disc 028947774334 028947774334 4777453 BLECHACZ,R/HAYDEN/MOZART/BEETH Compact Disc 028947774532 028947774532 4777465 MAISKY,M/STRAUSS/DVOR AK:MORGEN Compact Disc 028947774655 028947774655 4777476 ROSTROPOVICH,M/OM2-ORIGINAL MA Compact Disc 028947774761 028947774761 4777582 SOLLSCHER,G/CAVATINA Compact Disc 028947775829 028947775829 4778017 SUTHERLAND,J/HANDEL:ALCINA Compact Disc 028947780175 028947780175 4778073 CURTIS,A/HANDEL:EZIO Compact Disc 028947780731 028947780731 4778186 SILLS,B/BELLINI:NORMA Compact Disc 028947781868 028947781868 4778365 KOZENA,M/JAN RYBA:CZECH CHRIST Compact Disc 028947783657 028947783657 4778624 GOEBEL,R/THE ORIGINALS-LE PAMA Compact Disc 028947786245 028947786245 4778796 TUKUR,U/MEZZANOTTE Compact Disc 028947787969 028947787969 4778840 GIULINI,C/GIULINI IN AMERICA Compact Disc 028947788409 028947788409 4778979 ERDMANN,M/MOZART:MOSTLY MOZART Compact Disc 028947789796 028947789796 4779112 GARDINER,J E/HANDEL:HERCULES T Compact Disc 028947791126 028947791126 4779121 MARIN ,I/DONIZETTI: LUCIA DI LA Compac t Disc 028947791218 028947791218 4779359 MUTTER,A-S/RIHM:LICHTES SPIEL Compact Disc 028947793595 0289477935950 28947 76606 3 0 28947 78365 70 28947 76590 50 28947 76505 9 0 28947 76686 5 0 28947 78186 8 0 28947 79359 50 28947 76697 10 28947 76594 3 0 28947 78624 50 28947 76617 9 0 28947 76665 0 0 28947 77453 2 0 28947 77465 5 0 28947 77476 1 0 28947 77582 9 0 28947 78017 5 0 28947 78073 1 0 28947 78796 9 0 28947 78979 60 28947 76730 5 0 28947 77433 4 0 28947 79112 6 0 28947 79121 80 28947 77160 9 0 28947 77177 7 0 28947 78840 90 28947 77106 70 28947 76572 1 0 28947 76591 2Catalogue Numb er Artist & Title Description Configuration Scannable UPC UPC 4779628 GIULINI,C M/GIULINI IN AMERICA Compact Disc 028947796282 028947796282 4779767 LEVINE,J/HAYDN: DIE SCHOPFUNG Compact Disc 028947797678 028947797678 4779843 KERMES,S/SIMONE KERM ES SINGS V Compact Disc 028947798439 028947798439 4779942 KREISLER,F/LIEBESFRE UD-LIEBESL Compact Disc 028947799429 028947799429 4779990 HOLLIGER,H/DUO:THE EARLY VIENN Compact Disc 028947799900 028947799900 4780025 HOGWOOD/AAM/HAYDN:CELLO CONCER Compact Disc 028947800255 028947800255 4780152 MATTILA,K/WEBER:DER FREISCHULT Compact Disc 028947801528 028947801528 4780313 MAYER,A/IN VENICE Compact Disc 028947803133 028947803133 4780319 ANTONINI,G/HANDEL:12 CONCERTI Compact Disc 028947803195 028947803195 4780333 FASSBAENDER,B/STRAUSS:CAPRICCI Compact Disc 028947803331 028947803331 4780351 SOLTI/CSO/MAHLER:SYMPHONY NO.7 Compact Disc 028947803515 028947803515 4781090 ASHKENAZY/DEBUSSY & R AVEL:MUSI Compact Disc 028947810902 028947810902 4781374 GARDINER,JE/HANDEL:ISR AEL IN E Compact Disc 028947813743 028947813743 4781393 TEABALDI,R/PUCCINI:MADAME BUTT Compact Disc 028947813934 028947813934 4781396 KLEIBER/WP/STRAUSS:DER ROSENKA Compact Disc 028947813965 028947813965 4781466 ANTONINI,G/THE VIRGIN 'S LAMENT Compact Disc 028947814665 028947814665 4781517 MAYER,A/BACH:ALBRECHT MAYER-BA Compact Disc 028947815174 028947815174 4781535 TREBALDI,R/VOCE D'ANGELO(64CD Compact Disc 028947815358 028947815358 4781536 ANSERMET/OSR/STRAVINSKY:SYMPHO Compact Disc 028947815365 028947815365 4781541 SOUNDTRACK/SEX AND THE CITY-TH Compact Disc 028947815419 028947815419 4781727 KATCHEN/BEETHOVEN:DIABELLI VAR Compact Disc 028947817277 028947817277 4782121 NORMAN,J/PURCELL:THE ORIGINALS Compact Disc 028947821212 028947821212 4782243 ACCADEMIA BIZANTINA/HA YDN:CONC Compact Disc 028947822431 028947822431 4782349 VAR/CLASSIC YOGA - 2CD SET Compact Disc 028947823490 028947823490 4782368 ARRAU,C/CHOPIN:TWILIGHT-CHOPIN Compact Disc 028947823681 028947823681 4782420 DE LARROCHA,A/MOZART:PIANO CON Compact Disc 028947824206 028947824206 4782731 MUHLY,N/SEEING IS BELIEVING:TH Compact Disc 028947827313 028947827313 4782970 VAR/BACH 101-6 CD SET Compact Disc 028947829706 028947829706 4782984 VAR/BALLET 101-6 CD SET Compact Disc 028947829843 028947829843 4783053 LEVINE,J/PUCCINI: MANON LESCAU Compact Disc 028947830535 028947830535 0 28947 83053 50 28947 82731 30 28947 81466 5 0 28947 81535 8 0 28947 82349 00 28947 80025 5 0 28947 80152 8 0 28947 80313 3 0 28947 80319 5 0 28947 80333 1 0 28947 80351 5 0 28947 81090 2 0 28947 81374 3 0 28947 81393 4 0 28947 81517 4 0 28947 81541 9 0 28947 81727 7 0 28947 82121 2 0 28947 82243 1 0 28947 82368 1 0 28947 82420 6 0 28947 82970 6 0 28947 82984 30 28947 79942 9 0 28947 81396 5 0 28947 81536 50 28947 79628 2 0 28947 79843 90 28947 79767 8 0 28947 79990 0Catalogue Numb er Artist & Title Description Configuration Scannable UPC UPC 4783106 ASHKENAZY,V/BALLET EDITION-TCH Compact Disc 028947831068 028947831068 4783243 SUTHERLAND,J;VAR/JOAN SUTHERLA Compact Disc 028947832430 028947832430 4783470 CHAILLY,R/DECCA OPER A VERDI:MA Compact Disc 028947834700 028947834700 4783482 BOHM,K/DECCA OPERA WAGNER:GOTT Compact Disc 028947834823 028947834823 4783533 FREIRE,N/BRASILEIRO Compact Disc 028947835332 028947835332 4783564 MAYER,A/SONG OF THE REEDS Compact Disc 028947835646 028947835646 4783637 ASHKENAZY,V/BALLET EDITION,PRO Compact Disc 028947836377 028947836377 4783662 VAR/VIOLIN 101 (6CD SET) Compact Disc 028947836629 028947836629 4783683 VAR/PIANO 101 (6CD SET) Compact Disc 028947836834 028947836834 4784141 NORMAN/OZAWA/BIZET CARMEN(2CD Compact Disc 028947841418 028947841418 4784151 NORMAN/TATE/OFFENBACH(3CD Compact Disc 028947841517 028947841517 4784614 VAR/PHILIPS ORIGINAL JACK(55CD Compact Disc 028947846147 028947846147 4785001 JANSEN,J/VIVALDI THE FOUR SEAS BLU RAY AUDIO 028947850014 028947850014 4785277 BARTOLETTI,B/PONCHIELLI LA(3CD Compact Disc 028947852773 028947852773 4786756 VAR/WIENER PHILHARMONIKE(64CD Compact Disc 028947867562 028947867562 4786899 VAR/GLUCK THE GREAT OPERA(15CD Compact Disc 028947868996 028947868996 4787113 GRANDE,A/DANGEROUS WO MAN(DLX) Compact Disc 602547871138 602547871138 4787159 LEMPER,U/3 CLASSIC ALBUMS(LTD Compact Disc 028947871590 028947871590 4787163 BELL,J/3 CLASSIC ALBUMS PRE(LT Compact Disc 028947871637 028947871637 4787597 LABEQUE,K/MARIELLE/3 CLASSIC(3 Compact Disc 028947875970 028947875970 4787601 PETRI,M/3 CLASSIC ALBUMS(3CD) Compact Disc 028947876014 028947876014 4788601 THREE TENORS/25TH ANNIVE(CD+DV CD with DVD 028947886013 028947886013 4788772 LUPU,R/COMPLETE RECORDINGS(28C Compact Disc 028947887720 028947887720 4788824 QUARTETTO/COMPLETE DECCA(37CD Compact Disc 028947888246 028947888246 4790058 LANG LANG/COMPLETE RE (12CD LTD Compact Disc 028947900580 028947900580 4790778 URMANA,V/OTTER/QUAST/MAHLER BLU RAY AUDIO 028947907787 028947907787 4790832 LANG LANG/CHOPIN Compact Disc 028947908326 028947908326 4790838 BECZALA,P/HEARTS DELIGHT THE S Compact Disc 028947908388 028947908388 4791045 VAR/ARCHIV PRODUKTION 194(55CD Compact Disc 028947910459 028947910459 4791046 ABBADO,C/THE SYMPHONY EDI(40CD Compact Disc 028947910466 0289479104660 28947 85001 4 0 28947 90778 70 28947 88601 3 0 28947 91045 90 28947 83243 0 0 28947 83564 6 0 28947 86756 2 0 28947 88824 60 28947 84151 7 0 28947 84614 70 28947 83662 9 0 28947 86899 6 0 28947 87159 0 0 28947 87163 70 28947 83470 0 0 28947 83533 2 0 28947 83683 4 0 28947 84141 8 0 28947 85277 3 0 28947 87597 0 0 28947 87601 4 0 28947 88772 00 28947 83106 8 0 28947 83482 3 0 28947 83637 7 0 28947 91046 60 28947 90838 86 02547 87113 8 0 28947 90058 0 0 28947 90832 6Catalogue Numb er Artist & Title Description Configuration Scannable UPC UPC 4791066 DIEGO EL CIGALA/ROMA NCE DE LA Compact Disc 028947910664 028947910664 4791077 BUMBRY,GRACE/RADIO/STRAVINSKY BLU RAY AUDIO 028947910770 028947910770 4791081 BOSTON SYMP/STEINBERG/STRAUSS BLU RAY AUDIO 028947910817 028947910817 4791106 KLEIBER/WIENER PHI/BEETHOVEN BLU RAY AUDIO 028947911067 028947911067 4791500 LANG LANG/IT'S ME TH E CONC(4CD Compact Disc 028947915003 028947915003 4792236 LANG LANG/THE ROMANCE OF RACHM Compact Disc 028947922360 028947922360 4792553 HOROWITZ,V/3 CLASSIC ALBUM(3CD Compact Disc 028947925538 028947925538 4792598 GERWIG,W/MUSIC FOR LUTE(4CD) Compact Disc 028947925989 028947925989 4793065 RICHTER,M/RETROSPECTIVE(4CD) Compact Disc 028947930655 028947930655 4795440 LANG LANG/THE VIENNA ALB(2CD) Compact Disc 028947954408 028947954408 4801002 HALL,D & OATES,J/DO IT FOR LOV Compact Disc 826948010020826948010020 4801042 HALL,D & OATES,J/OUR KIND OF S Compact Disc 826948010426826948010426 4801297 VAR/ZOOMER'S CHOICE-CLASSICAL Compact Disc 028948012978 028948012978 4802562 ALAGNA,R/LES 100 PLUS BEAU(5CD Compact Disc 028948025626 028948025626 4808002 JAZZ MANDOLIN PROJECT,THE/THE Compact Disc 826948080023826948080023 4808139 BORKH ,I/LONDON SYM/OPERATIC RE Compac t Disc 028948081394 028948081394 4808141 CAMPORA,G/ORCH/OPERATIC RECITA Compact Disc 028948081417 028948081417 4808161 GWYNETH JONES,D/ORC/GWYNETH JO Compact Disc 028948081615 028948081615 4812002 SPRINGFIELD,R/THE DAY AFTER YE Compact Disc 826948120026826948120026 4812032 SPRINGFIELD,R/SHOCK,ANGER,DENI Compact Disc 766929999923766929999923 4823849 GENDRON,M/L'ART DE MAURICE(14C Compact Disc 028948238491 028948238491 4830356 KATCHEN,J/COMPLETE RE CORDI(35C Compact Disc 028948303564 028948303564 4906942 MENDES,S/CLASSIC Compact Disc 606949069421 606949069421 5105532 TRAFFIC/SMILING PHASES Compact Disc 731451055324 731451055324 5108982 BARBARA/MA PLUS BELLE HISTOIRE Compact Disc 731451089824 731451089824 5110362 PETERSON,O/'ROUND MIDNIGHT Compact Disc 731451103629 731451103629 5114682 GETZ,S/ARTISTRY OF VOL.1 Compact Disc 731451146824 731451146824 5115872 DESCHAMPS,Y/DE 1969 A 1973 Compact Disc 731451158728 731451158728 5118792 HORN,S/HERE'S TO LIFE Compact Disc 031451187927 031451187927 5119642 POW WOW/REGAGNER LES PLAINES Compact Disc 731451196423 7314511964230 28947 91106 70 28947 91077 0 0 28947 91081 7 6 06949 06942 10 28947 92598 9 0 28948 01297 8 0 28948 08139 4 0 28948 08161 50 28948 08141 70 28947 91066 4 0 28948 23849 1 0 28948 30356 40 28947 93065 5 0 28948 02562 60 28947 92553 8 7 31451 05532 4 7 31451 15872 87 31451 08982 4 7 31451 19642 30 31451 18792 77 31451 14682 47 31451 10362 90 28947 91500 3 0 28947 92236 0 0 28947 95440 8 8 26948 01002 0 8 26948 08002 3 8 26948 12002 6 7 66929 99992 38 26948 01042 6Catalogue Numb er Artist & Title Description Configuration Scannable UPC UPC 5119932 J.FERRAT/LES ANNEES BA RCLAY V2 Compact Disc 731451199325 731451199325 5137492 ORB,T/U.F. ORB Compact Disc 731451374920 731451374920 5147152 LAMA,S/MASTER SERIE 2003 VOL.2 Compact Disc 731451471520 731451471520 5148272 KISS/ ALIVE III (GERMAN VER SION Compac t Disc 731451482724 731451482724 5149942 COSTA,G/INDIA Compact Disc 731451499425 731451499425 5175982 NOIR DESIR/TOSTAKY Compact Disc 731451759826 731451759826 5182642 ROMANO,A/NON DIMENTICAR Compact Disc 731451826429 731451826429 5211962 D.DUFRESNE/MASTER SERIE VOL.2 Compact Disc 731452119629 731452119629 5213152 D.DUFRESNE/MAMAN SI TU M'VOYAI Compact Disc 731452131522 731452131522 5230302 ROSENBERG-TRIO/CARAVAN Compact Disc 731452303028 731452303028 5234722 ABBA/THANK YOU FOR T MUSIC Compact Disc 731452347220 731452347220 5270722 OSMONDS,T/THE VERY BEST OF T O Compact Disc 731452707222 731452707222 5290282 PINE,C/MODERN DAY JAZZ STORIES Compact Disc 731452902825 731452902825 5293742 BALAVOINE,D/L'INTEGRALE Compact Disc 731452937421 731452937421 5300482 ROSS,D/DIANA & MARVIN Compact Disc 731453004825 731453004825 5301306 FAKOLY TIKEN JAH/L'AFRICAIN Compact Disc 600753013069 600753013069 5302679 STRWABS/STRAWBS Compact Disc 600753026793 600753026793 5302749 PARADIS,V/DIVINIDYLLE Compact Disc 600753027493 600753027493 5303070 LYNYRD SKYNYRD/LYNYRD SKYNYRD Compact Disc 600753030707 600753030707 5303385 VAR/MISTER MELODY(SERGE GAINSB Compact Disc 600753033852 600753033852 5304193 SEBASTIEN,P/MASTER SERIE Compact Disc 600753041932 600753041932 5304573 KHALED/BEST OF Compact Disc 600753045732 600753045732 5305208 TOMATITO/TOMATITO (ANTHOLOGY) Compact Disc 600753052082 600753052082 5307682 VAR/CLEOPATRE LA DERNI ERE REIN Compact Disc 600753076828 600753076828 5307987 MARTYN,J/AIN'T NO SAINT (4CD) Compact Disc 600753079874 600753079874 5308731 BAROUH,P/LES ANNEES DOSC'AZ CD with DVD 600753087312 600753087312 5310833 FARMER,M/POINT DE SUTURE Compact Disc 600753108338 600753108338 5311097 LUNGHINI,E/ELSA LUNGHINI Compact Disc 600753110973 600753110973 5311211 VAR/FABUBOURG 36 Compact Disc 600753112113 600753112113 5311475 DARMON,G/ON S'AIME Compact Disc 600753114759 6007531147596 00753 08731 26 00753 04573 2 6 00753 05208 27 31451 37492 0 6 00753 03070 7 6 00753 07987 47 31451 48272 4 6 00753 02679 37 31453 00482 57 31452 34722 0 7 31452 70722 27 31451 47152 0 7 31452 11962 9 7 31452 13152 2 7 31452 93742 1 6 00753 02749 3 6 00753 07682 8 6 00753 10833 8 6 00753 11211 36 00753 11097 37 31451 19932 5 7 31451 75982 6 6 00753 01306 9 6 00753 03385 2 6 00753 04193 2 6 00753 11475 97 31451 49942 5 7 31451 82642 9 7 31452 30302 8 7 31452 90282 5Catalogue Numb er Artist & Title Description Configuration Scannable UPC UPC 5312284 YAMANAKA,C/ABYSS Compact Disc 600753122846 600753122846 5312944 HOUSE OF LOVE,THE/LIVE AT THE Compact Disc 600753129449 600753129449 5315423 SPENCER DAVIS GROUP,TH E/CLASSI Compact Disc 600753154236 600753154236 5315880 LORD KOSSITY/LE BEST OF Compact Disc 600753158807 600753158807 5317035 HALLYDAY,J/LES NO 1 DE JOHNNY Compact Disc 600753170359 600753170359 5318207 DELPECH,M/SEXA Compact Disc 600753182079 600753182079 5318270 GAINSBOURG,S/MASTER SERIE VOL1 Compact Disc 600753182703 600753182703 5318341 VAR/ISLAND RECORDS FLOK BOX SE Compact Disc 600753183410 600753183410 5318387 MACIAS,E/MASTER SERIE Compact Disc 600753183878 600753183878 5318393 MAURANE/MASTER SERIE Compact Disc 600753183939 600753183939 5318394 BRANT,M/MASTER SERIE Compact Disc 600753183946 600753183946 5318404 DALIDA/MASTER SERIE VOL.2 Compact Disc 600753184042 600753184042 5318411 SARDOU,M/MASTER SERIE VOL 1 Compact Disc 600753184110 600753184110 5318415 LE FORESTIER,M/MASTER SERIE Compact Disc 600753184158 600753184158 5318417 RENAUD/MASTER SERIE Compact Disc 600753184172 600753184172 5319710 VEGA,CM/CARMEN MARI A VEGA Compact Disc 600753197103 600753197103 5320197 DIAMOND HEAD/THE MCA YEARS (3C Compact Disc 600753201978 600753201978 5320961 LINCOLN,A/THROUGH THE YEARS(3C Compact Disc 600753209615 600753209615 5323156 MOUSKOURI,N/LES NO 1 EDITION L Compact Disc 600753231562 600753231562 5323324 PARADIS,V/BEST OF Compact Disc 600753233245 600753233245 5323684 ERA/CLASSICS Compact Disc 600753236840 600753236840 5323871 LEROY,N/LE CHESCHIRE CAT ET MO Compact Disc 600753238714 600753238714 5324624 PEIRPOLJAK/LEGENDAIRE SERENADE Compact Disc 600753246245 600753246245 5325435 FARMER,M/STADE DE FRANCE Digital Video Disc 600753254356 600753254356 5326672 SEGARA,H/MASTER SERIE Compact Disc 600753266724 600753266724 5326822 VAR/DINNER JAZZ Compact Disc 600753268223 600753268223 5327072 APOCALYPTICA/PLAYS ME TALLICA B Compact Disc 731453270725 731453270725 5327457 BEN L'ONCLE SOUL/BEN L'ONCLE S Compact Disc 600753274576 600753274576 5327543 SOUNDTRACK/STREETDANCE 3D Compact Disc 600753275436 600753275436 5328924 VIAN,B/LA COLLECTION CHANSON F Compact Disc 600753289242 6007532892426 00753 12284 6 6 00753 18341 0 6 00753 20197 8 7 31453 27072 56 00753 12944 9 6 00753 15423 6 6 00753 26822 3 6 00753 27543 66 00753 18207 9 6 00753 18270 3 6 00753 18393 9 6 00753 23156 2 6 00753 23324 5 6 00753 23684 0 6 00753 27457 66 00753 18411 0 6 00753 18417 26 00753 15880 7 6 00753 17035 9 6 00753 18387 8 6 00753 18394 6 6 00753 18404 2 6 00753 18415 8 6 00753 19710 3 6 00753 23871 4 6 00753 24624 5 6 00753 26672 4 6 00753 28924 26 00753 20961 5 6 00753 25435 6Catalogue Numb er Artist & Title Description Configuration Scannable UPC UPC 5328941 REGGIANI,S/LA COLLECTION CHANS Compact Disc 600753289419 600753289419 5329000 FERRAT,J/LA COLLECTIO N CHANSON Compact Disc 600753290002 600753290002 5330642 VAR/T VERY BEST A.L.WEBBER/BRO Compact Disc 731453306424 731453306424 5330643 STATUS QUO/LIVE AT TH E BBC (2C Compact Disc 600753306437 600753306437 5330661 STATUS QUO/LIVE AT THE BBC (DV Digital Video Disc 600753306611 600753306611 5332073 THIN LIZZY/LIVE AND DANGEROUS( CD with DVD 600753320730 600753320730 5332886 PERRY,L/REGGAE GENIUS 20 UPSET Compact Disc 600753328866 600753328866 5333405 THIN LIZZY/WAITING FOR AN ALIB Compact Disc 600753334058 600753334058 5334704 VAR/R&B THE COLLECTION SUMMER Compact Disc 600753347041 600753347041 5337835 DIO,R J/HOLY DIVER (2CD DLX) Compact Disc 600753378359 600753378359 5338499 KING B B/MR. B.B. KING(10CD) Compact Disc 600753384992 600753384992 5338598 SOUNDGARDEN/5 CLASSIC ALBUM SE Compact Disc 600753385982 600753385982 5340162 EVANS,B/MANNE,S/EMPATHY /A SIMP Compact Disc 600753401620 600753401620 5340502 AMMONS,G/THE SOULFUL MOODS/NIC Compact Disc 600753405024 600753405024 5340637 DEREK/THE DOMINOS/LAYLA BLU RAY AUDIO 600753406373 600753406373 5340643 RICHIE,L/CAN'T SLOW DOWN BLU RAY AUDIO 600753406434 600753406434 5340808 HORN,S/TRAVELIN LIGHT/HORN OF Compact Disc 600753408087 600753408087 5342379 MARLEY,B/THE WAILERS/LEGEND BLU RAY AUDIO 600753423790 600753423790 5342384 NIRVANA/NEVERMIND BLU RAY AUDIO 600753423844 600753423844 5342482 MOODY BLUES,THE/TIMELES(11CD+6 CD with DVD 600753424827 600753424827 5342582 LOBO,E & JOBIM,AC/EDU & TOM Compact Disc 731453425828 731453425828 5342893 DENY,S/THE NORTH STAR GRAS(2CD Compact Disc 600753428931 600753428931 5342997 VELVET UNDERGROUND,THE/THE VEL BLU RAY AUDIO 600753429976 600753429976 5343100 THIN LIZZY/SHADES OF A BLUE(2C Compact Disc 600753431009 600753431009 5344451 BECK/SEA CHANGE BLU RAY AUDIO 600753444511 600753444511 5344963 FITZGERALD,E/THE VOICE OF(10CD Compact Disc 600753449639 600753449639 5345317 MARLEY,B/THE WAILERS/KAYA BLU RAY AUDIO 600753453179 600753453179 5347252 KISS/GR EATEST KISS Co mpact Disc 731453472525 731453472525 5362120 HARVEY,A/THE LAST OF THE T(14C Compact Disc 600753621202 600753621202 5368207 VANGELIS/DELECTUS TH E 73-85(13 Compact Disc 600753682074 6007536820746 00753 42379 06 00753 40637 3 6 00753 44451 16 00753 40643 4 6 00753 42384 4 6 00753 42997 6 6 00753 45317 96 00753 32073 0 6 00753 42482 7 7 31453 42582 86 00753 38499 2 7 31453 47252 56 00753 30643 7 6 00753 37835 97 31453 30642 4 6 00753 68207 46 00753 32886 6 6 00753 33405 8 6 00753 62120 26 00753 28941 9 6 00753 29000 2 6 00753 38598 26 00753 34704 1 6 00753 42893 1 6 00753 43100 96 00753 40162 0 6 00753 40808 76 00753 40502 4 6 00753 44963 96 00753 30661 1Catalogue Numb er Artist & Title Description Configuration Scannable UPC UPC 5372512 WESSELTOFT,B/NEW CONCEPTION OF Compact Disc 731453725126 731453725126 5372740 WHO,THE/MY GENERATION(5CD) Compact Disc 600753727409 600753727409 5372882 DALIDA /LES ANNEES ORL Compact Disc 731453728820 731453728820 5381172 VARTAN, SYLVIE /SENSIBLE Compact Disc 731453811720 731453811720 5388382 SECRET-GARDEN/DAWN OF A NEW CE Compact Disc 731453883826 731453883826 5394882 BASHUNG,A/FANTAISIE MILITAIRE Compact Disc 731453948822 731453948822 5398812 KHALED /HAFLA (LIVE) Compact Disc 731453988125 731453988125 5405532 BURTON, JAMES /THE GUITAR SOU Compact Disc 731454055321 731454055321 5405922 CROW,S/SHERYL CROW + 2 Compact Disc 731454059220 731454059220 5409382 STRAWBS /JUST A COLLECT Compact Disc 731454093828 731454093828 5427502 LAMA,S/LE MEILLEUR DE SER(DEP) Compact Disc 731454275026 731454275026 5431532 FERRE,L/BALLADES ET MOTS DAMOU Compact Disc 731454315326 731454315326 5431642 PARIS COMBO/PARIS COMBO Compact Disc 731454316422 731454316422 5444942 VAR/COUNTRY LADIES Compact Disc 731454449427 731454449427 5462872 LECLERC,F/TALENTS DU SIECLE Compact Disc 731454628723 731454628723 5468252 SPENCER, D/CLASSIC SPE NCER DAV Compact Disc 731454682527 731454682527 5468402 BARBARA/BALLADES ET MO TS D'AMO Compact Disc 731454684026 731454684026 5491992 MANAU/FEST NOZ DE PANAME Compact Disc 731454919920 731454919920 5495812 ROSENBERG TRIOS/SUENOS GITANOS Compact Disc 731454958127 731454958127 5497422 SALVADOR,H/JAZZE! Compact Disc 731454974226 731454974226 5498262 BELLE,M/MARIE-PAULE BELLE (CD Compact Disc 731454982627 731454982627 5501082 STEVENS,C/EARLY TAPES Compact Disc 731455010824 731455010824 5564082 VAR/SUPER DISCO (2 CD) Compact Disc 731455640823 731455640823 5581282 AARSET,E/ELECTRONIQUE NOIRE Compact Disc 731455812824 731455812824 5582942 MOUSKOURI,N/LES TRIOMPHES DE Compact Disc 731455829426 731455829426 5584792 JOHN,E/SLEEPING W/ T PAST (REM Compact Disc 731455847925 731455847925 5652282 VAR/CAFE DEL MAR VOLUMEN CINCO Compact Disc 731456522821 731456522821 5705811 CORBEL,C/VAGABONDE Compact Disc 602557058116 602557058116 5711298 ENIGMA/LOVE SENSUALITY,DEVO(2C Compact Disc 602557112986 602557112986 5711483 CHAPLIN,T/THE WAVE(DLX) Compact Disc 602557114836 6025571148367 31454 05922 0 6 02557 11298 6 6 02557 11483 67 31456 52282 17 31455 84792 57 31453 88382 66 00753 72740 9 7 31453 98812 5 7 31454 05532 1 7 31454 09382 8 7 31454 68252 77 31454 44942 7 7 31455 01082 47 31453 94882 2 7 31454 27502 6 7 31454 31532 6 7 31454 62872 3 7 31454 68402 6 7 31454 97422 6 6 02557 05811 67 31453 72882 0 7 31453 81172 0 7 31454 31642 2 7 31454 91992 0 7 31454 98262 7 7 31455 82942 67 31455 64082 37 31454 95812 7 7 31455 81282 47 31453 72512 6Catalogue Numb er Artist & Title Description Configuration Scannable UPC UPC 5723706 VAR/WE LOVE DISNEY 3 Compact Disc 602557237061 602557237061 5724477 WATTS,C/CHARLIE WATTS MEETS TH Compact Disc 602557244779 602557244779 5725671 OLDFIELD,M/RETURN TO OMMA(CD+D CD with DVD 602557256710 602557256710 5763606 DISIZ LA PESTE/PACIFIQUE Compact Disc 602557636062 602557636062 5773320 CALOGERO/LIBERTE CHERIE Compact Disc 602557733204 602557733204 5863522 BRASSENS,G/SUPPLIQUE POUR ETRE Compact Disc 731458635222 731458635222 5893322 ROSENBERG TRIO THE/BEST OF THE Compact Disc 731458933229 731458933229 5895512 PINK FAIRIES THE/WHAT A BUNCH Compact Disc 731458955122 731458955122 5896132 FAKOLY,T/FRANCAFRIQUE Compact Disc 731458961321 731458961321 5899622 ARTHUR H/PIANO SOLO Compact Disc 731458996224 731458996224 7162256 U2/I'LL GO CRAZY IF I DON'T GO Compact Disc 602527162256 602527162256 7181242 ROLLING STONES,THE/LET IT BLEE BLU RAY AUDIO 018771812425 018771812425 7181252 COOKE,S/PORTRAIT OF A LEGEND BLU RAY AUDIO 018771812524 018771812524 8128202 LAMA,S/JE SUIS MALADE Compact Disc 042281282027 042281282027 8153632 REGGIANI,S/MA LIBERTE ET AUTRE Compact Disc 042281536328 042281536328 8159842 LAST,J/THE ROSE OF TRALEE Compact Disc 042281598425 042281598425 8178902 QUATRO,S/T BEST OF Compact Disc 042281789021 042281789021 8205282 THIN LIZZY /THIN LIZZY Compact Disc 042282052827 042282052827 8205302 FURY, BILLY /THE BILLY FURY Compact Disc 042282053022 042282053022 8205372 J.MAYALL&T BLUE BREAKERS/CRUSA Compact Disc 042282053725 042282053725 8205382 MAYALL,J/BAREWIRES Compact Disc 042282053824 042282053824 8232502 PARKER,C/COLE PORTER SONGBOOK Compact Disc 042282325020 042282325020 8236112 GETZ,S/T BOSSA NOVA YEARS Compact Disc 042282361127 042282361127 8237082 ALLMAN BROTHERS/THE BEST OF Compact Disc 042282370822 042282370822 8250862 THIELEMANS,T/T SILVER COLLN Compact Disc 042282508621 042282508621 8264472 PLATTERS/GOLDEN HITS Compact Disc 042282644725 042282644725 8269872 RICH,B/RICH VERSUS ROACH Compact Disc 042282698728 042282698728 8276632 REGGIANI,S/MASTER SERIE 2003 Compact Disc 042282766328 042282766328 8276652 MOUSTAKI,G/MASTER SERIE 2003 v Compact Disc 042282766526 042282766526 8285072 BEAUTIFUL SOUTH/MIAOW Compact Disc 042282850720 0422828507200 18771 81242 5 0 18771 81252 46 02557 25671 0 0 42282 05282 7 0 42282 05302 2 0 42282 05372 5 0 42282 05382 46 02557 24477 9 0 42282 37082 2 0 42282 64472 56 02527 16225 6 0 42282 85072 00 42281 59842 57 31458 93322 9 0 42281 78902 17 31458 99622 4 0 42282 76632 8 0 42282 76652 66 02557 23706 1 6 02557 63606 2 7 31458 63522 2 7 31458 96132 1 0 42281 28202 7 0 42281 53632 87 31458 95512 2 0 42282 69872 80 42282 36112 70 42282 32502 0 0 42282 50862 16 02557 73320 4Catalogue Numb er Artist & Title Description Configuration Scannable UPC UPC 8295782 MONTGOMERY,W/SMOKIN' AT THE HA Compact Disc 042282957825 042282957825 8319512 LAVILLIERS,B/MASTER SERIE 2003 Compact Disc 042283195127 042283195127 8320502 G.BRASSENS/MASTER SERIE 2003 V Compact Disc 042283205024 042283205024 8321892 PIAF,E/MASTER SERIE 2003 Compact Disc 042283218925 042283218925 8322312 J.BIRKIN/MASTER SERIE 2003 VOL Compact Disc 042283223127 042283223127 8342292 BRASSENS,G/MASTER SERIE 2003 V Compact Disc 042283422926 042283422926 8353132 FITZGERALD,E-ARMSTRONG/COMP JZ Compact Disc 042283531321 042283531321 8357432 NIAGARA/QUEL ENFER! Compact Disc 042283574328 042283574328 8358972 DEEP PURPLE/NOBODY'S PERFECT Compact Disc 042283589728 042283589728 8360132 BUARQUE, CHICO /CONSTRUCAO Compact Disc 042283601321 042283601321 8360142 COSTA,G/GAL COSTA CANTA CAYMMI Compact Disc 042283601420 042283601420 8360782 REEVES,J/T LEGENDARY JI M REEVE Compact Disc 042283607828 042283607828 8371762 PARKER,C/BIRD,ORIGINAL RECORDI Compact Disc 042283717626 042283717626 8377182 LAVILLIERS,B/IF Compact Disc 042283771826 042283771826 8378962 STYLE-COUNCIL/T.SINGULAR ADV Compact Disc 042283789623 042283789623 8380772 LECLERC,F/L'ENCAN LE TOUR DE Compact Disc 042283807723 042283807723 8382932 SWING OUT SISTE/KALEI DOSCOPE W Compact Disc 042283829329 042283829329 8385312 F.BOCCARA/MASTER SERIES Compact Disc 042283853126 042283853126 8386812 MONTAND,Y/CHANTE JACQUES PREVE Compact Disc 042283868120 042283868120 8398382 FITZGERALD,E/T INTIMATE ELLA Compact Disc 042283983823 042283983823 8413992 LEVEL 42/LEVEL BEST Compact Disc 042284139922 042284139922 8415632 BRIGHTMAN,S/AS I CAME OF A Compact Disc 042284156325 042284156325 8415982 MCLAUGHLIN,J/EXTRAPOLATION Compact Disc 042284159821 042284159821 8420002 MEN WITHOUT HATS/IN THE 21ST C Compact Disc 042284200028 042284200028 8420802 BEAUTIFUL SOUTH/WELCOME TO T.. Compact Disc 042284208024 042284208024 8425632 LYNOTT,P/SOLO IN SOHO Compact Disc 042284256322 042284256322 8436562 FERRAT,J/MASTER SERIE 2003 VOL Compact Disc 042284365628 042284365628 8449422 SMALL FACES THE/CLASSIC Compact Disc 042284494229 042284494229 8464222 LECLERC,F/LE P'TIT BONHEUR Compact Disc 042284642224 042284642224 8464762 MOUSKOURI,N/MASTER SERIE VOL.2 Compact Disc 042284647625 0422846476250 42284 20802 4 0 42284 49422 90 42283 60782 8 0 42284 20002 80 42283 82932 9 0 42284 25632 20 42283 58972 8 0 42283 78962 3 0 42284 15982 10 42284 13992 2 0 42284 15632 50 42283 20502 4 0 42283 21892 5 0 42283 22312 7 0 42283 42292 6 0 42283 80772 3 0 42283 85312 6 0 42284 36562 8 0 42284 64222 4 0 42284 64762 50 42283 19512 7 0 42283 57432 8 0 42283 77182 6 0 42283 86812 00 42283 60142 00 42283 53132 1 0 42283 71762 60 42282 95782 5 0 42283 60132 1 0 42283 98382 3Catalogue Numb er Artist & Title Description Configuration Scannable UPC UPC 8465842 TOUPS & ZYDECAJ/ZYDECAJUN Compact Disc 042284658423 042284658423 8482892 TOUPS & ZYDECAJ/FISH OUT OF WA Compact Disc 042284828925 042284828925 8484932 GALLIANO /IN PURSUIT OF Compact Disc 042284849326 042284849326 8485782 TEXAS /MOTHER HEAVEN Compact Disc 042284857826 042284857826 8488782 BURNING SPEAR /HARDER THAN TH Compact Disc 042284887823 042284887823 8492172 M.FARMER/L'AUTRE Compact Disc 042284921725 042284921725 8824009 VAR/A CELLARFUL OF MOTOWN V4 Compact Disc 042288240099 042288240099 8828822 HAYWARD&LODGE/BLUE JAYS Compact Disc 042288288220 042288288220 9284202 BLIND MELON/BLIND MELON SIPPIN Compact Disc 5099992842021 5099992842021 9807717 VAR/FLAMENCO Compact Disc 602498077177 602498077177 9810519 BREL,J/COMME QUAND ON ETAIT BE Digital Video Disc 602498105191 602498105191 9810822 STEVENS,C/NEW MASTERS (REMASTE Compact Disc 602498108222 602498108222 9816282 HELENA/NEE DANS LE NATURE Compact Disc 602498162828 602498162828 9816847 GILBERTO,J/LIVE IN TOKYO Compact Disc 602498168479 602498168479 9820898 BRANCO,C/ULISSES Compact Disc 602498208984 602498208984 9821459 BASHUNG,A/LA TOURNEE DES GRAND Digital Video Disc 602498214596 602498214596 9824012 CARTER,B/LIVE IN MONTREAL Digital Video Disc 602498240120 602498240120 9824058 SCOFIELD,J/LIVE IN MONTREAL Digital Video Disc 602498240588 602498240588 9825561 MILLE,D/POEMES A LOU ET ALCOOL Compact Disc 602498255612 602498255612 9826252 BRASSENS,G/ELLE EST A TOI CETT Digital Video Disc 602498262528 602498262528 9827099 KATERINE/ROBOTS APRES TOUT Compact Disc 602498270998 602498270998 9829081 LEGRAND,M/LE CINEMA DE MICHEL Compact Disc 602498290811 602498290811 9832153 MOODYBLUES,T/ON THE THRESHOLD SACD4Stereo/Surround/CDAud 602498321539 602498321539 9832294 LEE,L/VERY BEST OF Compact Disc 602498322949 602498322949 9837125 MOUSTAKI,G/GOLD(2CD) Compact Disc 602498371251 602498371251 9837700 GILBERTO,A/JAZZ CLUB:NON-STOP Compact Disc 602498377000 602498377000 9838324 MOUSKOURI,N/GOLD(2CD) Compact Disc 602498383247 602498383247 9838863 LEWIS,R/IN CROWD ANTHOLOGY Compact Disc 602498388631 602498388631 9839197 ROCE/DENTITE EN CRESCENDO Compact Disc 602498391976 602498391976 9839328 MCLAUGHLIN,J/INDUSTRIAL ZEN Compact Disc 602498393284 6024983932845 099992 842021 6 02498 10822 2 6 02498 16847 9 6 02498 39197 6 6 02498 39328 46 02498 16282 8 6 02498 20898 40 42284 65842 3 0 42284 82892 5 0 42284 88782 3 6 02498 32294 9 6 02498 38863 10 42284 84932 6 0 42284 85782 6 0 42288 24009 90 42284 92172 5 6 02498 37125 16 02498 25561 2 6 02498 27099 8 6 02498 29081 1 6 02498 38324 70 42288 28822 0 6 02498 07717 7 6 02498 37700 06 02498 24012 0 6 02498 24058 86 02498 10519 1 6 02498 21459 6 6 02498 26252 8 6 02498 32153 9Catalogue Numb er Artist & Title Description Configuration Scannable UPC UPC 9840029 REGGIANI,S/LES 100 PLUS BELLES Compact Disc 602498400296 602498400296 9840112 DISTEL,S/BEST OF Compact Disc 602498401125 602498401125 9840549 GUICHARD,D/UNIVERSAL MASTER Compact Disc 602498405499 602498405499 9841801 JOHN MAYALL'S BLUESBREAKERS/BL Compact Disc 602498418017 602498418017 9841850 LA'S, THE/BBC IN SESSION Compact Disc 602498418505 602498418505 9842216 HOLLAND,D/CRITICAL MASS Compact Disc 602498422168 602498422168 9842687 MARTYN,J/GRACE & DANG ER-DELUXE Compact Disc 602498426876 602498426876 9843417 SPARKS/KIMONO MY HOU SE(REMASTE Com pact Disc 602498434178 602498434178 9843562 SPRINGFIELD,D/THE COMPLETE BBC Compact Disc 602498435625 602498435625 9843573 LEVEL 42/THE PURSUIT OF ACCIDE Compact Disc 602498435731 602498435731 9844884 MACIAS,E/TALENTS Compact Disc 602498448847 602498448847 9845506 MOODY BLU ES,THE/EVERY GOOD BOY SA CD4Stereo/Su rround/CDAud 602498455067 602498455067 9845507 MOODY BLUES,THE/SEVENTH SOJOUR SACD4Stereo/Surround/CDAud 602498455074 602498455074 9846691 MONTAND,Y/GOLD(2CD) Compact Disc 602498466919 602498466919 9846811 SHUMAN,M/GOLD(2C) Compact Disc 602498468111 602498468111 9847047 JEROME,C/GOLD(2CD) Compact Disc 602498470473 602498470473 9847463 FALL,THE/EXTRICATE Compact Disc 602498474631 602498474631 9848950 MISSION/CARVED IN SAND Compact Disc 602498489505 602498489505 9849504 COLE,L & COMMITIONS/LIVE AT TH Compact Disc 602498495049 602498495049 9866180 JOHNSON,E/VOYAGE Compact Disc 602498661802 602498661802 9866378 AARSET,E/CONNECTED Compact Disc 602498663783 602498663783 9867109 MARLEY,B/ORIGINAL CUTS Compact Disc 602498671092 602498671092 9867165 AGUADULCE/TOMATITO Compact Disc 602498671658 602498671658 9868590 FYGI,L/THE VERY BEST TIME OF Y Compact Disc 602498685907 602498685907 9869254 SHORT,JD/THE SONET BLUES STORY Compact Disc 602498692547 602498692547 9870458 BELLE,B/CLOSER Compact Disc 602498704585 602498704585 9871763 MCFERRIN,B/LIVE IN MONTREAL-DV Digital Video Disc 602498717639 602498717639 9874154 TOKIO HOTEL/SCHREI Compact Disc 602498741542 602498741542 9876269 ERIKSEN,T/PRAYERS & OBSERVATIO Compact Disc 602498762691 602498762691 9877224 YOUSSEF,D/DIVINE SHADOWS Compact Disc 602498772249 6024987722496 02498 41801 7 6 02498 66180 26 02498 42216 8 6 02498 69254 7 6 02498 74154 26 02498 42687 6 6 02498 43417 8 6 02498 67109 26 02498 49504 96 02498 43562 5 6 02498 47463 1 6 02498 48950 56 02498 43573 16 02498 41850 56 02498 40029 6 6 02498 40112 5 6 02498 46811 16 02498 40549 9 6 02498 44884 7 6 02498 46691 9 6 02498 47047 3 6 02498 67165 8 6 02498 68590 76 02498 66378 3 6 02498 70458 5 6 02498 76269 1 6 02498 77224 96 02498 71763 96 02498 45506 7 6 02498 45507 4Catalogue Numb er Artist & Title Description Configuration Scannable UPC UPC 10107982 YOUNG DRO/RIP (PRESENTED BY DO Compact Disc 802061798229802061798229 10108089 YO GOTTI/IN THE MI X Compact Disc 802061808928802061808928 37036172 ELTON JO HN VS PNAU/GOOD MO RNIN Compac t Disc 602537036172 602537036172 0044502132 LONG BEACH DUB ALLSTA RS/RIGHT Compact Disc 600445021327 600445021327 0044502482 ANDREWS,J/WHO I AM Compact Disc Enhanced 600445024823 600445024823 0044502722 EMERSON DRIVE/EMERSON DRIVE Compact Disc 600445027220 600445027220 0044503692 WAINWRIGHT,R/POSES (NEW VERSIO Compact Disc 600445036925 600445036925 0044503972 LIFEHOUSE/STANLEY CLIMBFALL Compact Disc Enhanced 600445039728 600445039728 54774913 BREL,J/OLYMPIA 1964 1966(2CD) Compact Disc 602547749130 602547749130 61310662 VALES/WILT AND RISE Compact Disc 612851595880 612851595880 61310682 NONA/THROUGH THE HEAD Compact Disc 612851597426 612851597426 61310722 CHOIR VANDALS/COLLE CTION Compact Disc 612851595125 612851595125 0075305049 KISS/THE BEST OF-GREEN SER IES Compact Disc 600753050491 600753050491 0075305217 LYNYRD SKYNYRD/THE BETS OF-GRE Compact Disc 600753052174 600753052174 0075305246 STYX/THE BEST OF-GREEN SERIES Compact Disc 600753052464 600753052464 0075310025 WILLIAMS,D/BEST O F- SUPERSTAR Compact Disc 600753100257 600753100257 0075319290 VAR/BEST OF CANADA 20T H CENTUR Compact Disc 600753192900 600753192900 0075320043 LYNYRD SKYNYRD/LEGENDS OF ROCK Compact Disc 600753200438 600753200438 0075321704 FRAMPTON,P/BEST OF-SUPERSTAR S Compact Disc 600753217047 600753217047 0075325073 VAR/NOW! 15 Compact Disc 600753250730 600753250730 0075330690 FRAMPTON,P/GOLD Compact Disc 600753306901 600753306901 0075340656 VAR/MUCH DANCE 2013 Compact Disc 600753406564 600753406564 0075341801 VAR/NOW! 21 Compact Disc 600753418017 600753418017 75375516 MOUSKOURI,N/OLYMPIA 1967 & (2C Compact Disc 600753755143 600753755143 0114310042 RAMONE,M&T-INTRUDERS/ANSWER TO Compact Disc 601143100420 601143100420 0114310772 TENG,V/WARM STRANGERS Compact Disc 601143107726 601143107726 0114311549 RUSH/CLOCKWORK ANGEL(2DVD+T SH Digital Video Disc 601143115493 601143115493 0114311629 RUSH/CLOCKWORK ANGELS(BR+T SHI BLU RAY 601143116292 601143116292 0121590032 OST/THE WILD PARTY Compact Disc 601215900323 601215900323 0205154293 YOUNGBLOOD BRASS B/PAX VOLUMNI Compact Disc 5060205154293 50602051542936 01143 11629 26 00753 19290 0 6 01215 90032 36 00445 02722 06 00445 02132 7 6 00445 03692 5 6 00753 20043 86 02537 03617 2 6 00753 05246 4 6 00753 10025 7 6 00753 25073 0 6 00753 30690 1 6 00753 40656 4 6 00753 41801 76 00753 05049 1 6 00753 05217 4 6 00753 21704 76 02547 74913 0 6 00753 75514 38 02061 79822 9 8 02061 80892 8 6 12851 59512 56 12851 59588 0 6 12851 59742 6 6 01143 10772 66 01143 10042 0 5 060205 154293 6 00445 02482 3 6 00445 03972 8 6 01143 11549 3Catalogue Numb er Artist & Title Description Configuration Scannable UPC UPC 0209700560 CLARK,C/COREY CLARK CD with DVD 802097005605 802097005605 0209701042 K-CI/MY BOOK Compact Disc 802097010425 802097010425 0209701092 LABELLE,P/THE GOSPEL ACCORDING Compact Disc 802097010920 802097010920 0209701182 THOMAS,C/SO MUCH BETTER Compact Disc 802097011828 802097011828 0209701372 VAR/HEARTBREAKERS Compact Disc 802097013723 802097013723 0209701462 THRILLVILLE/STRAIGHT UP,NO CHA Compact Disc 802097014621 802097014621 0209701472 SAINTS OF THE UNDERGROUND/LOVE Compact Disc 802097014720 802097014720 0249807410 MUSICAL YOUTH/THE BEST OF MUSI Compact Disc 602498074107 602498074107 0249809689 VAR/THE BEST OF THE 40'S Compact Disc 602498096895 602498096895 0249809841 SIMPLY RED/FAKE Compact Disc EP's 602498098417 602498098417 0249811969 U2/U2 GO HOME-LIVE(LONG DIGIPA Digital Video Disc 602498119693 602498119693 0249813125 ASHANTI/RAIN ON ME Compact Disc Singles 602498131251 602498131251 0249813427 MARLEY,B & T WAILERS/FEEL ALRI Compact Disc 602498134276 602498134276 0249815293 SUGABABES/TOO LOST IN YOU Compact Disc Singles 602498152935 602498152935 0249816159 HUMPERDINCK,E/THE BEST OF ENGE Compact Disc 602498161593 602498161593 0249818749 MAYALL,J/THE BEST OF JOHN MAYA Compact Disc 602498187494 602498187494 0249823182 DIRE STRAITS/SULTANS OF SWING: Digital Video Disc 602498231821 602498231821 0249823517 VAR/THE BEST OF AFRICA Compact Disc 602498235171 602498235171 0249824507 ABBA/SUPER TROUPERS Digital Video Disc 602498245071 602498245071 0249825466 VAR/MUCH DANCE 80S Compact Disc 602498254660 602498254660 0249826516 SEXTON,C/THE BEST OF CHARLIE S Compact Disc 602498265161 602498265161 0249826829 ESSEX,D/LIVE AT THE ROYAL ALBE Digital Video Disc 602498268292 602498268292 0249832575 SQUEEZE/GOLD Compact Disc 602498325759 602498325759 0249832578 SIOUSXIE AND THE BANSHEES/GOLD Compact Disc 602498325780 602498325780 0249832663 HAMPSHIRE,K/BEST OF Compact Disc 602498326633 602498326633 0249833194 SIOUXSIE&TH EBANSHEES/THE BEST Co mpact Disc 602498331941 602498331941 0249833381 CHALKCIRCLE/BEST OF Compact Disc 602498333815 602498333815 0249838979 VAR/BEST OF BLUES VOL.2 Compact Disc 602498389799 602498389799 0249840880 MCKNIGHT,B/BEST OF Compact Disc 602498408803 602498408803 0249840889 QUARTERFLASH/BEST OF Compact Disc 602498408896 6024984088968 02097 00560 5 6 02498 07410 7 6 02498 09689 5 6 02498 18749 4 6 02498 23517 1 6 02498 32663 36 02498 26516 1 6 02498 33194 1 6 02498 33381 5 6 02498 38979 9 6 02498 40880 3 6 02498 40889 66 02498 16159 3 6 02498 32575 9 6 02498 32578 06 02498 13427 6 6 02498 25466 08 02097 01042 5 8 02097 01182 88 02097 01092 0 8 02097 01372 3 8 02097 01462 1 8 02097 01472 0 6 02498 09841 7 6 02498 13125 1 6 02498 15293 56 02498 11969 3 6 02498 24507 1 6 02498 26829 26 02498 23182 1Catalogue Numb er Artist & Title Description Configuration Scannable UPC UPC 0249848499 HOUSTON,T/BEST OF Compact Disc 602498484999 602498484999 0249848804 VAR/BEST OF ALL TIME FAV.VOL.3 Compact Disc 602498488041 602498488041 0249853066 HARVEY,PJ/ON TOUR:PLEASE LEAVE Digital Video Disc 602498530665 602498530665 0249853178 SNOW PATROL/EYES OPEN Compact Disc 602498531785 602498531785 0249862535 PETERSON,O/A NIGHT IN VIENNA Compact Disc 602498625354 602498625354 0249866751 MARLEY,B & T WAILERS/SOUL REVO Compact Disc 602498667514 602498667514 0249866805 MARLEY,B & T WAILERS/BEST OF T Compact Disc 602498668054 602498668054 0249866806 MARLEY,B & T WAILERS/UPSETTER Compact Disc 602498668061 602498668061 0249867761 MARLEY,B & T WAILERS/127 KING Compact Disc 602498677612 602498677612 0249867762 MARLEY,B & T WAILERS/AMMUNITIO Compact Disc 602498677629 602498677629 0249867969 DRAKE,N/A TREASURY SACD4Stereo/Surround/CDAud 602498679692 602498679692 0249869413 BAND AID 20/DO THEY KNOW IT'S Compact Disc Singles 602498694138 602498694138 0249870153 THIRTEEN SENSES/THE INVITATION Compact Disc 602498701539 602498701539 0249872682 MARLY,B&WAILERS/WAIL'N SOUL'M Compact Disc 602498726822 602498726822 0249884292 TRAGICALLYHIP,T/HIPEPONYMOUS L CD with DVD 602498842928 602498842928 0251705068 RAMMSTEIN/VOLKERBALL(SPECIAL E CD with DVD 602517050686 602517050686 0251705486 SWOLLEN MEMBERS/BLACK MAGIC Compact Disc 602517054868 602517054868 0251707193 FRATELLIS,THE/COSTELLO MUSIC Compact Disc 602517071933 602517071933 0251712551 HEDLEY/TRY THIS AT HOME Digital Video Disc 602517125513 602517125513 0251742073 KNOPFLER,M/KILL TO GET CRIMSON Compact Disc 602517420731 602517420731 0251743944 DOODLEBOPS,THE/SUPERSTARS! Compact Disc 602517439443 602517439443 0251750950 TARJA/MY WINTER STORM(DELUXE) CD with DVD 602517509504 602517509504 0251754455 ZUCCHERO/ALL THE BEST DVD VIDE Digital Video Disc 602517544550 602517544550 0251766400 PORTISHEAD/THIRD Compact Disc 602517664005 602517664005 0251782065 MCNEIL,S/ROCK-N- ROLLER Compact Disc 602517820654 602517820654 0252705666 HILLTOP HOODS/STATE OF THE ART Compact Disc 602527056661 602527056661 0252724307 RASMUS,THE/BEST OF 2001-2009 Compact Disc 602527243078 602527243078 0252766913 SILVERSTEIN/RESCUE (DLX) Compact Disc 602527669137 602527669137 0252772313 VOEGELE, K/GRAVITY HAPPENS( LTD Compact Disc 602527723136 602527723136 0252786364 DOWN WITH WEBSTER/TIME TO WIN2 Compact Disc 602527863641 6025278636416 02517 05068 66 02498 84292 8 6 02517 50950 46 02498 48499 9 6 02498 48804 1 6 02527 72313 66 02517 66400 56 02517 07193 3 6 02517 42073 16 02498 70153 96 02498 53178 5 6 02527 66913 76 02517 05486 86 02498 67762 96 02498 66751 4 6 02498 66805 4 6 02498 66806 1 6 02498 67761 2 6 02498 72682 2 6 02517 82065 46 02517 43944 3 6 02527 86364 16 02527 05666 16 02498 62535 4 6 02527 24307 86 02498 69413 86 02498 53066 5 6 02517 12551 3 6 02517 54455 06 02498 67969 2Catalogue Numb er Artist & Title Description Configuration Scannable UPC UPC 0252789300 WINSTON,C/RUNNING STILL Compact Disc 602527893006 602527893006 0253707388 CYPRESS X RUSKO/CYPRESS X RUSK Compact Disc EP's 602537073887 602537073887 0253708100 CLIFF,J/REBIRTH Compact Disc 602537081004 602537081004 0253734784 NEWSTED/METAL(EP) Compact Disc EP's 602537347841 602537347841 0253743575 MAHONE,A/WHAT ABOUT LOVE Compact Disc Singles 602537435753 602537435753 0253746218 NEWSTED/HEAVY METAL MUSIC Compact Disc 602537462186 602537462186 0253758621 HEDLEY/WILD LIFE(DLX) Compact Disc 602537586219 602537586219 253760738 VAR/HOCKEY ANTHEMS 1ST PERIOD Compact Disc 602537607389 602537607389 0253781655 MORRISSEY/WORLD PEACE IS NO(2C Compact Disc 602537816552 602537816552 0253783835 MAHONE,A/THE SE CRET Compact Disc 602537838356 602537838356 0253787453 CONNORS,S T/IN LIVE CONCERT Compact Disc 602537874538 602537874538 0254727300 WEAVER,R/PROMISES HMV EX(CDEP) Com pact Disc EP's 602547273000 602547273000 0254736060 CLARK,A/GREYHOUND(CDEP/HMV) Compact Disc EP's 602547360601 602547360601 0254757942 HEDLEY/HELLO(DLX) Compact Disc 602547579423 602547579423 0255738570 COCHRANE,T/MAD MAD WORLD(2CD+B CD + BLU RAY 602557385700 602557385700 0585900932 PARTON,D/BACKWOODS BARBIE Compact Disc 8058590093238.05859E+11 0694904122 CORNELL CHRIS /EUPHORIA MORNI Compact Disc 606949041229 606949041229 0694904182 BAEZ,J/THE BEST OF JOAN BAEZ Compact Disc 606949041823 606949041823 0694904482 JONES,Q/THE BEST OF QUINCY JON Compact Disc 606949044824 606949044824 0694905272 BECK/MIDNITE VULTURES Compact Disc 606949052720 606949052720 0694906572 WHITESNAKE/THE BEST OF WHITESN Compact Disc 606949065720 606949065720 0694906642 JURASSIC 5/QUALITY CONTROL Compact Disc 606949066420 606949066420 0694907662 TUBES T/THE BEST OF THE TUBES- Compact Disc 606949076627 606949076627 0694930322 DE BURGH,C/THE COLLECT ION-NOTE Compact Disc 606949303228 606949303228 0694931482 IGLESIAS,E/ESCAPE Compact Disc 606949314828 606949314828 0694931642 OCHS,P/THE BEST OF PHIL OCHS-2 Compact Disc 606949316426 606949316426 0694932589 CARPENTERS/GOLD-GREATEST HITS Digital Video Disc 606949325893 606949325893 0694933072 CARLTON,V/BE NOT NOBODY Compact Disc 606949330729 606949330729 0694933802 EVE/EVE-OLUTION (EDITED) Compact Disc 606949338022 606949338022 0694936342 OST/HOUSE OF 1000 CORPSES Compact Disc 606949363420 6069493634206 02557 38570 0 6 06949 04182 3 6 06949 31642 66 06949 04482 4 6 06949 07662 76 06949 06642 0 6 06949 33072 9 6 06949 36342 06 06949 05272 06 06949 04122 9 6 06949 31482 8 6 06949 33802 26 06949 30322 86 02527 89300 6 6 02537 60738 9 6 02547 57942 36 02537 87453 86 02537 58621 9 6 06949 06572 06 02537 08100 4 6 02537 46218 6 6 02537 83835 66 02537 81655 2 8 05859 00932 36 02537 07388 7 6 02547 27300 0 6 02547 36060 16 02537 34784 1 6 02537 43575 3 6 06949 32589 3Catalogue Numb er Artist & Title Description Configuration Scannable UPC UPC 0694960932 NINE INCH NAILS/FIXED Compact Disc EP's 606949609320 606949609320 853574762 FELICIANO,J/HITS AND FAVORITES Compact Disc 708535747628 708535747628 0853575312 VAR/THE FIRE FURY RE CORDS DOO Compact Disc 708535753124 708535753124 0853575322 VAR/LOOSE THE FUNK RARITIES FR Compact Disc 708535753223 708535753223 0853576252 DONALDSON,B & THE H/ABSOLUTELY Compact Disc 708535762522 708535762522 0853576262 VAR/DALL'ITALIA CON AMORE(FROM Compact Disc 708535762621 708535762621 0853576282 VAR/LOOSE THE FUNK RARE SOUL F Compact Disc 708535762829 708535762829 0881119662 LIVE/THE DISTANCE TO HERE Compact Disc 008811196622 008811196622 0881121102 HAGGARD,M/THE BEST OF MERLE HA Compact Disc 008811211028 008811211028 0881122242 POCO/THE BEST OF POCO-20TH CEN Compact Disc 008811222420 008811222420 0881122312 WALSH,J/THE BEST OF JOE WALSH Compact Disc 008811223120 008811223120 0881128062 BLACKALICIOUS/BLAZING ARROW Compact Disc Enhanced 008811280628 008811280628 0881128772 WHO THE/THE ULTIMATE COLLECTIO Compact Disc 008811287726 008811287726 0881128872 SOMETHING CORPORATE/LEAVING TH Compact Disc 008811288723 008811288723 0881132222 CROSBY,B/A CENTENNIAL ANTHOLOG Compact Disc 008811322229 008811322229 0881701102 JONES,G/TH E BEST OF GEORGE JON Compact Disc 008817011028 008817011028 0881701372 VAR/EVERLASTING LOVE SONGS Compact Disc 008817013725 008817013725 0881702202 STRAIT,G/THE ROAD LESS TRAVELE Compact Disc 008817022024 008817022024 0881702972 VAR/REMEMBERING PATSY CLINE Compact Disc 008817029726 008817029726 0881703332 ADAMS,R/DEMOLITION Compact Disc 008817033327 008817033327 0881703652 KERSHAW,S/THE BEST OF SAMMY KE Compact Disc 008817036526 008817036526 1166105359 KRAUSS,A+UNION STATION/LIVE(JE Digital Video Disc 011661053595 011661053595 1166110122 VAR/HULA BLUES:VINTAG E STEEL G Compact Disc 011661101227 011661101227 1166115862 DUPREE,C/A PORTRAIT OF CHAMPIO Compact Disc 011661158627 011661158627 1166115952 MORRISSEY,B/THE ESSENTIAL COLL Compact Disc 011661159525 011661159525 1166115962 RICHMAN,J/ACTION PACKE:THE BES Compact Disc 011661159624 011661159624 1166116022 BUCKWHEAT ZYDECO/BUCK WHEAT'S Z Compact Disc 011661160224 011661160224 1166117252 VAR/T ALAN LOMAX COLL:CARIBBEA Compact Disc 011661172524 011661172524 1166117592 VAR/T ALAN LOMAX:WORLD LIBRARY Compact Disc 011661175921 011661175921 1166117752 VAR/T ALAN LOMAX COLLECTIO:V1 Compact Disc 011661177529 0116611775290 08811 21102 8 0 08811 22242 0 0 08811 22312 0 0 08817 01102 8 0 08817 03652 60 08817 03332 70 08811 19662 2 0 08811 28772 6 0 08811 28872 3 0 08811 32222 9 0 08817 02972 60 08817 02202 40 08817 01372 57 08535 75312 4 7 08535 75322 3 7 08535 76252 2 7 08535 76262 1 7 08535 76282 97 08535 74762 8 0 11661 15952 5 0 11661 16022 40 11661 10122 7 0 11661 15862 7 0 11661 15962 4 0 11661 17252 4 0 11661 17592 1 0 11661 17752 90 08811 28062 86 06949 60932 0 0 11661 05359 5Catalogue Numb er Artist & Title Description Configuration Scannable UPC UPC 1166117782 VAR/T ALAN LOMAX COLLECTION:SO Compact Disc 011661177826 011661177826 1166117852 LOMAX,A/GAELIC SONGS OF SCOTLA Compact Disc 011661178526 011661178526 1166118082 VAR/T ALAN LOMAX:ITALIAN TREAS Compact Disc 011661180826 011661180826 1166118112 VAR/T ALAN LOMAX:ITALIAN TREAS Compact Disc 011661181120 011661181120 1166118232 VAR/T ALAN LOMAX:DEEP RIVER OF Compact Disc 011661182325 011661182325 1166118422 VAR/T ALAN LOMAX:CAJ UN & CREOL Compact Disc 011661184220 011661184220 1166121662 BOOZOO CHAVIS/DOWN HOME ON DOG Compact Disc 011661216624 011661216624 1166130242 G. THOROGOOD/MOVE IT ON OVER SACD4Stereo/Su rround/CDAud 011661302426 011661302426 1166131602 FINJAN/DANCING ON WATER Compact Disc 011661316027 011661316027 1166131732 GILMORE,J/ONE ENDLESS NIGHT Compact Disc 011661317321 011661317321 1166132322 BUCARO,C/SENSE OF LIGHT Compact Disc 011661323223 011661323223 1166161152 STURR,J/POLKA IN PARADISE Compact Disc 011661611528 011661611528 1166176172 VAR/SKA ALL MIGHTY:TOP SKA CLA Compact Disc 011661761728 011661761728 1166176912 MARLEY,B & T WAILERS/DESTINY:R Compact Disc 011661769120 011661769120 1166177162 MCCOOK,T/TRIBUTE TO TOMMY .. Compact Disc 011661771628 011661771628 1166177232 WILSON,D/ORIGINAL EDITION:THE Compact Disc 011661772328 011661772328 1166177562 MUTABARUKA/LIFE SQUARED Compact Disc 011661775626 011661775626 1166177612 MARLEY,B&THE WAILERS/STUDIO 1 Compact Disc 011661776128 011661776128 1166177942 HOLT,J/I CAN'T GET YOU OFF MY Compact Disc 011661779426 011661779426 1166178022 VAR/FULL UP;BEST OF STUDIO ONE Compact Disc 011661780224 011661780224 1166178152 MCGREGOR,F/BOBBY BOBYLON Compact Disc 011661781528 011661781528 1166178282 HEPTONES,THE/ SWEET TALKING Compact Disc 011661782822 011661782822 1166178362 GLADIATORS/STUDIO ONE SINGLES Compact Disc 011661783621 011661783621 1166180842 ARTHUR/ARTHUR & FRIENDS Compact Disc 011661808423 011661808423 1166180852 ARTHUR&FRIENDS/BLISTER PK Compact Disc 011661808522 011661808522 1166181212 BOYNTON,S/RHINOCEROS TAP Compact Disc 011661812123 011661812123 1166181222 VAR/PHILADELPHIA CHICKEN Compact Disc 011661812222 011661812222 1166181442 BOYNTON,S/BLUE MOO:17 JUKEBOX Compact Disc 011661814424 011661814424 1166190672 OST/ANGEL:LIVE,FAST,DIE NEVER Compact Disc 011661906723 011661906723 1166190742 GLASS,P/NOTES ON A SCANDAL SOU Compact Disc 011661907423 0116619074230 11661 18112 0 0 11661 76172 8 0 11661 76912 0 0 11661 77232 8 0 11661 77562 6 0 11661 77612 8 0 11661 77942 6 0 11661 78022 4 0 11661 78152 8 0 11661 78362 1 0 11661 90672 30 11661 32322 3 0 11661 80842 3 0 11661 80852 2 0 11661 81222 2 0 11661 90742 30 11661 17782 6 0 11661 17852 6 0 11661 18082 6 0 11661 18232 5 0 11661 18422 0 0 11661 21662 4 0 11661 31602 7 0 11661 31732 1 0 11661 61152 8 0 11661 77162 8 0 11661 78282 2 0 11661 81212 3 0 11661 81442 40 11661 30242 6Catalogue Numb er Artist & Title Description Configuration Scannable UPC UPC 1166191782 ALLMAN,D/SKYDOG THE DUANE (7CD Compact Disc 011661917828 011661917828 1166196122 KING,J/LIVE AT MONTEREY Compact Disc 011661961227 011661961227 1166196132 R.BROWN/ A GOOD DAY FOR T BL UES Compac t Disc 011661961326 011661961326 1167130449 DOC/WATSON,M/DOC & MERLE(DVD) Digital Video Disc 011671304496 011671304496 1167131179 BROMBERG,D & HIS BIG BAND/IN C Digital Video Disc 011671311791 011671311791 1167131298 VAR/LEGENDARY COUNTRY BLUE(DVD Digital Video Disc 011671312989 011671312989 1213690192 ATHENIANS,T/GREEK SONGS, DANCE Compact Disc 712136901921 712136901921 1896401242 TRISCHKA,T/FIDDLE TUNES FOR BA Compact Disc 018964012427 018964012427 1906146292 BELLFLOWER/THE SEASON SPELL Compact Disc 619061462926 619061462926 2061623472 OST/THE ROYAL TENENBAUMS Compact Disc 720616234728 720616234728 2061623862 OST/BRINGING DOWN THE HOUSE Compact Disc 720616238627 720616238627 2061624522 OST/RAISING HELEN Compact Disc 720616245229 720616245229 2061624702 MCCARTNEY,J/BEAUTIFUL SOUL Compact Disc 720616247025 720616247025 2061625752 VAR/CASANOVA Compact Disc 720616257529 720616257529 2061626532 BREAKING BENJAMIN/PHOBIA Compact Disc 720616265326 720616265326 2061655152 FU MANCHU/CALIFORNIA CROSSING Compact Disc 720616551528 720616551528 2097108726 GODHEAD/THE SHADOW REALIGNED Compact Disc 802097108726 802097108726 2097165224 SCOT ISLATE/GOOD FIGH T Compact Disc 802097165224 802097165224 2097165323 PRIMA JR,L/BLOW Compact Disc 802097165323 802097165323 2537331604 KALMAH/SEVENTH SWAMPHONY Compact Disc 602537331604 602537331604 2537378678 NEVILLE,A/ICON Compact Disc 602537378678 602537378678 2786542262 FELICIANO,C/SELECCIONES FANIA Compact Disc 827865422620 827865422620 2786542272 RIVERA ,I/SELECCIONES FANI A Compact Disc 827865422729 827865422729 2786542282 COLON,W/LAVOE,H/SELECCIONES FA Compact Disc 827865422828 827865422828 2786542332 MIRANDA ,I/SELECCIONES FANI A Compact Disc 827865423320 827865423320 2786542352 RODRIGUEZ,P/SELECCIONES FANIA Compact Disc 827865423528 827865423528 2786542362 LAVOE,H/SELECCIONES FANIA Compact Disc 827865423627 827865423627 2786542382 ROENA,R/SELECCIONES FANIA Compact Disc 827865423825 827865423825 2786551342 FARRUKO/TMPR THE MOST POWERFUL Compact Disc 827865513427 827865513427 2894529702 PROKOFIEVSER/ROMEO & JULIET Compact Disc 028945297026 0289452970266 02537 37867 87 20616 23472 8 7 20616 23862 7 7 20616 24522 9 7 20616 24702 5 7 20616 26532 6 7 20616 55152 87 20616 25752 9 0 28945 29702 66 02537 33160 4 8 27865 42272 9 8 27865 42282 8 8 27865 42332 0 8 27865 42352 8 8 27865 42382 5 8 27865 51342 78 27865 42262 0 8 27865 42362 76 19061 46292 60 11661 91782 8 0 11661 96122 7 0 11661 96132 6 7 12136 90192 1 0 18964 01242 7 8 02097 10872 6 8 02097 16522 4 8 02097 16532 30 11671 30449 6 0 11671 31298 90 11671 31179 1Catalogue Numb er Artist & Title Description Configuration Scannable UPC UPC 2894581392 SCHUBERT/THE IMPROMPTUS Compact Disc 028945813929 028945813929 2894582022 PUCCINI/TURANDOT HIGHTLIGHTS Compact Disc 028945820224 028945820224 2894582042 BIZET/CARMEN HI-LIGHTS/SOLTI Compact Disc 028945820422 028945820422 2894703872 OST/GOSFORD PARK Compact Disc 028947038726 028947038726 3020630272 VAR/BIG BAND REMIXES+REINVENTE Compact Disc 030206302721030206302721 3020630302 VAR/A LOUNGED OUT HOMAGE TO TH Compact Disc 030206303025030206303025 3020630312 VAR/UPTOWN SOUL,DOWNTOWN FUNK Compact Disc 030206303124030206303124 3020654132 OST/ORLANDO Compact Disc 030206541328 030206541328 3020659352 SOT/IN LIKE FLINT OUR MAN FLIN Compact Disc 030206593525 030206593525 3020660872 OST/TWILIGHT ZONE Compact Disc 030206608724 030206608724 3020661592 OST/BEST OF TV QUIZ & GAME SHO Compact Disc 030206615920 030206615920 3020662152 STANELY,R/ECHOES OF THE STANEL Compact Disc 030206621525 030206621525 3020662662 OST/MISTS OF AVALON Compact Disc 030206626629 030206626629 3020664222 IRISH ROVERS,THE/THE BOYS OF B Compact Disc 030206642223 030206642223 3020664882 CASH,J/THE ORIGINAL SUN SOUND Compact Disc 030206648829 030206648829 3020666692 STANLEY BRO,THE/ESSENTIAL GOSP Compact Disc 030206666922 030206666922 3020667372 SONS OF THE PIONE/CLASSIC COWB Compact Disc 030206673722 030206673722 3020667412 TILLOTSON,J/SINGS HIS GREA(DVD Digital Video Disc 030206674125 030206674125 3020667502 CONLEE,J/COUNTRY HEART Compact Disc 030206675023 030206675023 3020667682 DILLARDS,THE/A NIGHT IN THE(DV Digital Video Disc 030206676822 030206676822 3020668102 OST/MIKLOS ROZSA A CENTENA(3CD Compact Disc 030206681024 030206681024 3020668182 OST/THE LIVES OF OTHERS Compact Disc 030206681826 030206681826 3020668822 OST/MISS PETTIGREW Compact Disc 030206688221 030206688221 3020669072 OVERSTREET,T/20 CLASSIC SONGS Compact Disc 030206690729 030206690729 3020669682 OST/COCO AVANT CHANEL Compact Disc 030206696820 030206696820 3020669732 OST/PRISON BREAK SEASON 3 & 4 Compact Disc 030206697322 030206697322 3020669742 TWITTY,C/12 NUMBER ONE HITS Compact Disc 030206697421 030206697421 3020670502 KEITH EMERSON BAND/MOSCOW(DVD Digital Video Disc 030206705027 030206705027 3020670672 OST/FRINGE SEASON 2 Compact Disc 030206706727 030206706727 3020671052 OST/COWBOYS & ALIENS Compact Disc 030206710526 0302067105260 28947 03872 60 28945 81392 9 0 28945 82022 4 0 28945 82042 2 0 30206 30272 1 0 30206 30302 5 0 30206 30312 4 0 30206 54132 8 0 30206 59352 5 0 30206 61592 0 0 30206 62152 5 0 30206 62662 9 0 30206 64222 3 0 30206 64882 9 0 30206 66692 2 0 30206 67372 2 0 30206 67502 3 0 30206 68102 4 0 30206 68182 6 0 30206 68822 1 0 30206 69072 9 0 30206 69732 2 0 30206 69742 1 0 30206 71052 60 30206 60872 4 0 30206 69682 0 0 30206 70672 70 30206 67412 5 0 30206 67682 2 0 30206 70502 7Catalogue Numb er Artist & Title Description Configuration Scannable UPC UPC 3020671202 OST/DOLPHIN TALE Compact Disc 030206712025 030206712025 3020671732 OST/SINISTER Compact Disc 030206717327 030206717327 3020674512 OST/RETURN TO SNOWY RIVER Compact Disc 030206745122 030206745122 3020682332 OST/STARMAN Compact Disc 030206823325 030206823325 3145125324 JOHN,E/GREATEST HITS V.1 Cassette 731451253249 731451253249 3145125712 UGLY-KID-JOE/AMERICA 'S LEAST Compact Disc 731451257124 731451257124 3145141372 VELOSO,C/PERSONALIDADE Compact Disc 731451413728 731451413728 3145181652 ESSENTIALS/N.SIMONE Compact Disc 731451816529 731451816529 3145198202 COREA,C/JAZZ MASTERS V3 Compact Disc 731451982026 731451982026 3145198522 BASIE,C&WILLIAMS,J/SWINGS Compact Disc 731451985225 731451985225 3145202892 FRAMPTON,P/FRAMPTON Compact Disc 731452028921 731452028921 3145211062 BARRA MACNEILS/CLOSER TO PARAD Compact Disc 731452110626 731452110626 3145214192 GETZ,S/FOCUS Compact Disc 731452141927 731452141927 3145214262 GILLESPIE,D/ROLLINS,S/SONNY SI Compact Disc 731452142627 731452142627 3145214452 SMITH,J/W.MONTGOMERY/DYNAMIC Compact Disc 731452144522 731452144522 3145218672 FITZGERALD,E/T BEST OF SONGBOO Compact Disc 731452186720 731452186720 3145226552 OST/LA REINE MARGOT Compact Disc 731452265524 731452265524 3145230032 HOLIDAY,B/FIRST ISSUE:T GREAT Compact Disc 731452300324 731452300324 3145230192 HARGROVE,R/MEETS TENORS OF Compact Disc 731452301925 731452301925 3145235562 CARDIGANS/LIFE Compact Disc 731452355621 731452355621 3145240042 M.FAITHFULL/A COLLECTION OF HE Compact Disc 731452400420 731452400420 3145240852 PJ-HARVEY/TO BRING YOU MY LOVE Compact Disc 731452408525 731452408525 3145241032 MARLEY,B & T WAILERS/NATURAL M Compact Disc 731452410320 731452410320 3145241192 BANTON,B/'TIL SHILOH Compact Disc 731452411921 731452411921 3145241652 PULP/DIFFERENT CLASS Compact Disc 731452416520 731452416520 3145243842 BELAFONTE,H/AN EVENING WITH HA Compact Disc 731452438423 731452438423 3145244192 MARLEY,B & T WAILERS/DREAMS OF Compact Disc 731452441928 731452441928 3145267832 RAINBOW BUTT MONKEYS/LETTERS F Compact Disc 731452678324 731452678324 3145274522 PARKER,C/BIRDS BEST BO P ON VER Compact Disc 731452745224 731452745224 3145282802 MCKNIGHT,B/I REMEMBER YOU Compact Disc 731452828026 7314528280267 31451 25324 9 7 31452 02892 1 7 31452 41032 0 7 31452 41192 1 7 31452 44192 87 31452 43842 37 31452 40042 0 7 31452 40852 5 7 31452 41652 0 7 31452 67832 47 31451 25712 4 7 31452 82802 67 31452 11062 6 7 31452 35562 17 31452 26552 47 31451 81652 9 7 31452 14192 7 7 31452 14262 7 7 31452 14452 2 7 31452 30192 57 31451 98522 57 31451 41372 8 7 31452 30032 47 31451 98202 6 7 31452 18672 0 7 31452 74522 40 30206 71202 5 0 30206 71732 7 0 30206 74512 2 0 30206 82332 5Catalogue Numb er Artist & Title Description Configuration Scannable UPC UPC 3145287312 T-T.HALL/COUNTRY SONGS FOR CHI Compact Disc 731452873125 731452873125 3145291092 OST/FAME(ORIGINAL CAST RECORD) Compact Disc 731452910929 731452910929 3145296982 PETERSON,O/GERSHWIN SONGBOOKS Compact Disc 731452969828 731452969828 3145299062 DEARIE.B/VERVE JZ MAST #51 Compact Disc 731452990624 731452990624 3145308192 BOYZ-II-MEN/EVOLUTION Compact Disc 731453081925 731453081925 3145317622 FITZGERALD,E/ LOVE SONGS BEST Compact Disc 731453176225 731453176225 3145344722 MIGHTY MIGHTY BOSSTONES,THE/LE Compact Disc 731453447226 731453447226 3145348362 T.KEITH/DREAM WALKING Compact Disc 731453483620 731453483620 3145349032 J.BON-JOVI/DESTINATION ANYWHER Compact Disc 731453490321 731453490321 3145352712 THIELEMANS,T/VJM #59 Compact Disc 731453527126 731453527126 3145369882 ONYX/SHUT'EM DOWN Compact Disc 731453698826 731453698826 3145383282 BAKER,C/BABY BREEZE Compact Disc 731453832824 731453832824 3145390552 MULLIGAN,G/G.MULLIGAN MEETS BE Compact Disc 731453905528 731453905528 3145391182 WILLIAMS,T/LIFETIME TURN IT Compact Disc 731453911826 731453911826 3145400552 LEARY,D/NO CURE FOR CANCER Compact Disc 731454005524 731454005524 3145403572 OST/DON JUAN DEMARCO Compact Disc 731454035729 731454035729 3145403712 CANO/TOUS DANS L'ME ME BATEAU Com pact Disc 731454037129 731454037129 3145403722 CANO/AU NORD DE NOTRE VIE Compact Disc 731454037228 731454037228 3145405512 ADAMS,B/18'TIL I DIE Compact Disc 731454055123 731454055123 3145408292 COLD/COLD Compact Disc 731454082921 731454082921 3145408672 DJ SHADOW/PREEMPTIVE STRIKE Compact Disc 731454086721 731454086721 3145409192 VAR/FOR T MASSES (DEPECHE MODE Compact Disc 731454091923 731454091923 3145409592 CROW,S/T GLOBE SESSIONS Compact Disc Enhanced 731454095921 731454095921 3145409702 UNKLE/PSYENCE FI CTION Compact Disc 731454097024 731454097024 3145423942 WELLER,P/HELIOCENTRIC Compact Disc 731454239424 731454239424 3145423952 OST/THE MILLION DOLLAR HOTEL Compact Disc 731454239523 731454239523 3145424922 TEARS FOR FEARS/THE BEST OF TE Compact Disc 731454249225 731454249225 3145434162 COLTRANE,J/IMPRESSIONS Compact Disc 731454341622 731454341622 3145434852 NASCIMENTO,M/MILTON Compact Disc 731454348522 731454348522 3145435152 MENDES,S&BRASIL 66/LOOK AROUND Compact Disc 731454351522 7314543515227 31454 24922 57 31454 05512 3 7 31454 09192 37 31454 00552 4 7 31454 09702 47 31454 03572 9 7 31454 08292 17 31453 69882 6 7 31454 08672 1 7 31454 23942 4 7 31454 23952 37 31453 49032 17 31453 44722 67 31452 87312 5 7 31453 48362 07 31453 08192 57 31452 91092 9 7 31454 03712 9 7 31454 03722 87 31453 91182 6 7 31454 34852 2 7 31454 35152 27 31452 99062 4 7 31453 90552 8 7 31454 34162 27 31452 96982 8 7 31453 17622 5 7 31453 52712 6 7 31453 83282 4 7 31454 09592 1Catalogue Numb er Artist & Title Description Configuration Scannable UPC UPC 3145437602 MCRAE,C/CARMEN MCRAE'S FINEST Compact Disc 731454376020 731454376020 3145438142 TOWNER,R/ANTHEM Compact Disc 731454381420 731454381420 3145471772 CARTER,R/RHYTHMS OF T HEART Compact Disc 731454717724 731454717724 3145471792 CLAPTON,E/BLUES Compact Disc 731454717922 731454717922 3145474562 RIEU,A/100 YEARS OF STRAUSS Compact Disc 731454745628 731454745628 3145481752 INSANE CLOWN POSSE/BIZZAR 3D Compact Disc 731454817523 731454817523 3145484052 METHOD MAN/TICAL 0: THE PREQUE Compact Disc 731454840521 731454840521 3145488342 BROWN,F/BROKEN SILENCE Compact Disc 731454883429 731454883429 3145489052 MARLEY,B/REBEL MUSIC (REMASTER Compact Disc 731454890526 731454890526 3145491382 RAINBOW/THE BEST OF RAINBOW-20 Compact Disc 731454913829 731454913829 3145492312 CRISS,S/MR.BLUES POUR FLIRTER Compact Disc 731454923125 731454923125 3145511032 OST/AMERICAN GIGOLO Compact Disc 731455110326 731455110326 3145512692 MOTOWN-LEGENDS/MICHAEL JACKSON Compact Disc 731455126921 731455126921 3145559842 VAR/HEATWAVE SUMMER SOUND Compact Disc 731455598421 731455598421 3145584962 LEWIS,J/HOLE LOTTA SHAKIN Compact Disc 731455849622 731455849622 3145590822 GAYNOR,G/T BEST OF Compact Disc 731455908220 731455908220 3145595152 FARLOW,T/T SWINGING GUITAR Compact Disc 731455951523 731455951523 3145597852 PETERSON,O/PLAYS T DUKE ELLING Compact Disc 731455978520 731455978520 3145598652 COSTELLO-FRISELL/SWEETEST PUNC Compact Disc 731455986525 731455986525 3145864372 JA RULE/PAIN IS LOVE Compact Disc 731458643722 731458643722 3145866032 OST/BRIDGET JONES'S DIARY 2 Compact Disc 731458660323 731458660323 3145891702 BROWN ,I/MUSIC OF THE SPH ERES Compac t Disc 731458917021 731458917021 3145895882 VELVET UNDERGROUND & NICO/VELV Compact Disc 731458958826 731458958826 3145896519 PORTISHEAD/PNYC Digital Video Disc 731458965190 731458965190 3145896532 SIMONE,N/THE DIVA SERIES Compact Disc 731458965329 731458965329 3145896542 HANCOCK&BRECKER&HARGROVE/DIREC Compact Disc 731458965428 731458965428 3145896792 SHORTER,W/FOOTPRINTS LIVE! Compact Disc 731458967927 731458967927 3145897752 GARNER,E/ERROLL GARNERS FINEST Compact Disc 731458977520 731458977520 3145897772 JARREAU,A/ALL I GOT Compact Disc 731458977728 731458977728 3145898452 BROWN,C/THE DEFINITIVE CLIFFOR Compact Disc 731458984528 7314589845287 31454 91382 9 7 31455 98652 57 31454 88342 97 31454 84052 1 7 31458 64372 27 31454 38142 0 7 31455 59842 1 7 31455 84962 2 7 31455 90822 07 31455 11032 6 7 31455 12692 17 31454 81752 3 7 31454 89052 6 7 31458 66032 37 31454 74562 8 7 31458 91702 1 7 31458 95882 67 31454 71792 2 7 31454 92312 5 7 31455 95152 3 7 31458 96542 8 7 31458 98452 87 31455 97852 07 31454 37602 0 7 31458 96532 9 7 31458 97752 07 31454 71772 4 7 31458 96792 7 7 31458 97772 87 31458 96519 0Catalogue Numb er Artist & Title Description Configuration Scannable UPC UPC 3145898462 WILLIAMS,J/THE DEFINITIVE JOE Compact Disc 731458984627 731458984627 3341251120 OPETH/CANDLELIGHT YEARS T Compact Disc 803341251120 803341251120 3341336605 EMPEROR/IN THE NIGHTSIDE E(2CD Compact Disc 803341336605 803341336605 3341391727 WOUNDED KING,THE/CONSOLAMENTUM Compact Disc 803341391727 803341391727 3341405332 IHSAHN/DAS SEELENBRECHEN(DLX) Compact Disc 803341405332 803341405332 3341420410 SANITY DAYS,THE/EVIL BEYOND BE Compact Disc 803341420410 803341420410 3341420489 INSOMNIUM/THE CANDLELIGHT Y(4C Compact Disc 803341420489 803341420489 3341421455 VISION OF DISORDER/RAZED TO TH Compact Disc 803341421455 803341421455 3341441118 HAVOK/TIME IS UP Compact Disc 803341441118 803341441118 3341441125 HAVOK/UNNATURAL SELECTION Compact Disc 803341441125 803341441125 3341446632 BIO-CANCER/TORMENTING THE INNO Compact Disc 803341446632 803341446632 3985011158 FIVE FINGER DE/THE WRONG SI(2C Compact Disc 813985011158 813985011158 3985011608 FIVE FINGER D/THE WRONG(CD+DVD CD with DVD 813985011608 813985011608 4228201552 MOODY BLUES THE/VOICES IN THE Compact Disc 042282015525 042282015525 4228373422 JARRETT,K/DARK INTERVALS Compact Disc 042283734227 042283734227 4228429262 JAMES,E/STICKIN' TO MY GUNS Compact Disc 042284292627 042284292627 4228468132 OST/HOT SPOTS(MILES DAVIS/JOHN Compact Disc 042284681322 042284681322 4228609332 VAR/CASH MONEY:PLATINUM HITSV1 Compact Disc 042286093321 042286093321 4228609339 VAR/CASH MONEY:PLATINUM HITSV1 Digital Video Disc 042286093390 042286093390 4228609682 MACK 10/BANG OR BALL Compact Disc 042286096827 042286096827 4400141192 ST.LUNATICS/FREE CITY Compact Disc 044001411922 044001411922 4400141642 MCLAUGHLIN,J/SATURDAY NIGHT IN Compact Disc 044001416422 044001416422 4400141952 BURTON,G/RARUM-SELECTE D RECORD Compact Disc 044001419522 044001419522 4400143242 A CAMP/A CAMP Compact Disc 044001432422 044001432422 4400143772 MAX WEBSTER/THE BEST OF MAX WE Compact Disc 044001437724 044001437724 4400143802 JACKSON5/DIANA ROSS PRESENTS/A Compact Disc 044001438028 044001438028 4400144722 EMMETT,R/THE BEST OF RIK EMMET Compact Disc 044001447228 044001447228 4400144942 OST/AMERICAN PIE 2 Compact Disc Enhanced 044001449420 044001449420 4400160192 OST/THE MAN WHO WASN'T THERE Compact Disc 044001601927 044001601927 4400161842 MA TTHEW GOOD BAND/THE A UDIO OF Com pact Di sc 044001618420 0440016184208 13985 01160 8 0 44001 43772 4 0 44001 44722 8 0 44001 60192 70 44001 41952 20 42283 73422 7 0 42284 29262 7 0 42284 68132 2 0 44001 43802 80 42282 01552 58 03341 25112 0 8 03341 33660 5 8 03341 39172 7 8 03341 40533 2 8 03341 42145 5 8 03341 44112 58 03341 42041 0 8 03341 42048 9 8 03341 44111 8 8 03341 44663 2 0 44001 43242 2 0 44001 61842 00 42286 09332 1 0 42286 09682 7 0 44001 41192 27 31458 98462 7 0 44001 41642 28 13985 01115 8 0 44001 44942 00 42286 09339 0Catalogue Numb er Artist & Title Description Configuration Scannable UPC UPC 4400161902 OST/SPY GAME Compact Disc 044001619021 044001619021 4400161912 OST/A BEAUTIFUL MIND Compact Disc 044001619120 044001619120 4400161922 OST/K-PAX Compact Disc 044001619229 044001619229 4400167972 DIXIE DREGS/THE BEST OF DIXIE Compact Disc 044001679728 044001679728 4400180822 VAR/THE BEST OF MOTOWN 80S V.1 Compact Disc 044001808227 044001808227 4400184512 DANKO JONES/BORN A LION Compact Disc 044001845123 044001845123 4400187862 JARRETT,K TRIO/ALWAYS LET ME G Compact Disc 044001878626 044001878626 4400188639 VAR/DOWN FROM THE MOUNTAIN Digital Video Disc 044001886393 044001886393 4400316781 SILVERSTEIN/THIS IS HOW THE WI Compact Disc 044003167810 044003167810 4400395732 VAR/THE BEST OF WOMEN OF COUNT Compact Disc 044003957329 044003957329 4400533319 BON JOVI/THE CRUSH TOUR Digital Video Disc 044005333190 044005333190 4400538309 BLINK182/THE URETHRA CHRONI II Digital Video Disc 044005383096 044005383096 4400630782 MURVIN,J/POLICE AND THIEVES Compact Disc 044006307824 044006307824 4400631002 CKY/INFILTRATE,DESTROY,R EBUILD Compact Disc Enhanced 044006310022 044006310022 4400631532 SALIVA/BACK INTO YOUR SYSTEM Compact Disc 044006315324 044006315324 4400632052 DISTURBING THA PEACE/GOLDEN GR Compact Disc 044006320526 044006320526 4400634462 MARLEY,B & T WAILERS/ RASTAMAN Compact Disc 044006344621 044006344621 4400640402 CONTOURS THE/THE BEST OF THE C Compact Disc 044006404028 044006404028 4400641072 T.A.T.U./200 KM/H IN THE WRONG Compact Disc Enhanced 044006410722 044006410722 4400651922 RH FACTOR/HARD GROOVE Compact Disc 044006519227 044006519227 4400653342 DEARIE,B/THE DIVA SERIES Compact Disc 044006533421 044006533421 4400653742 KRALL,D/WHEN I LOOK IN YOUR EY SACD4Stereo/Surround/CDAud 044006537429 044006537429 4400655542 CARTER,R/PAGANINI:AFTER A DREA Compact Disc 044006555423 044006555423 4400660932 RA/FROM ONE Compact Disc 044006609324 044006609324 4400661142 MCKNIGHT,B/FROM THERE TO HERE Compact Disc 044006611426 044006611426 4400673142 VAR/CONCEPTION-A MUSICAL TRIBU Compact Disc 044006731421 044006731421 4400684102 VAR/THE BEST OF BLUES-20TH CEN Compact Disc 044006841021 044006841021 4400687732 VAR/THE BEST OF 80'S NEW WAVE Compact Disc 044006877327 044006877327 4400750929 VAR/THE GOLDEN AGE OF PIANO Digital Video Disc 044007509296 044007509296 4400761072 LEVEL 42/THE BEST OF LEVEL 42 Compact Disc 044007610725 0440076107250 44003 95732 9 0 44006 84102 1 0 44006 87732 70 44001 80822 7 0 44006 40402 8 0 44007 61072 50 44001 67972 8 0 44006 30782 40 44001 61902 1 0 44001 61912 0 0 44001 61922 9 0 44006 32052 60 44001 87862 6 0 44006 34462 10 44006 31532 4 0 44006 73142 10 44006 61142 60 44001 84512 3 0 44006 60932 40 44006 51922 7 0 44006 53342 1 0 44006 55542 30 44003 16781 0 0 44006 41072 20 44006 31002 20 44005 33319 0 0 44005 38309 6 0 44007 50929 60 44001 88639 3 0 44006 53742 9Catalogue Numb er Artist & Title Description Configuration Scannable UPC UPC 4400882579 SANTANA/SACRED FIRE:LIVE IN ME Digital Video Disc 044008825791 044008825791 4921500426 PAPERCUTS/LIFE AMONG THE SAVAG Compact Disc 014921500426 014921500426 4921500525 AMARANTE,R/CAVALO Compact Disc 014921500525 014921500525 4921500624 DONKEYS,THE/RIDE THE BLACK WAV Compact Disc 014921500624 014921500624 4921500822 EDJ/EDJ Compact Disc 014921500822 014921500822 4921501225 FAITHFULL,M/GIVE MY LOVE TO LO Compact Disc 014921501225 014921501225 5454506102 VAR/QUEER FOR THE EAR Compact Disc 654545061028654545061028 5454506372 VAR/GAY CLASSICS-NUEVO DISCO L Compact Disc 654545063725654545063725 5454506572 VAR/QUEER FOR THE EAR VOL.2 Compact Disc 654545065729654545065729 5454507182 CHORDS/THE GARDEN AROUNF THE M Compact Disc 654545071829654545071829 5454507662 BOLSHOI THEATRE/TCHAIKOVSKY/TH Compact Disc 654545076626654545076626 5454508122 VAR/I LOVE 80'S DANCE Compact Disc 654545081224654545081224 5454508272 DANE,B/ANTHOLOGY OF AMERICAN F Compact Disc 654545082726654545082726 5454508282 CAMPBELL,G&FRIENDS/ANTHOLOGY O Compact Disc 654545082825654545082825 5454508292 PADRONE,N/MUSICA ORIGINAL DE C Compact Disc 654545082924654545082924 5454508382 CRESTSVSFLAMINGOS/COLLECTORS G Compact Disc 654545083822654545083822 5454508392 WALKER,S/HUMBLE BEGINNINGS-THE Compact Disc 654545083921654545083921 5454508422 YARBROUGH,G/COME SIT BY MY SID Compact Disc 654545084225654545084225 5454508432 HESTER,C/THE TRADITION YEARS Compact Disc 654545084324654545084324 5454508442 VAR/AMERICAN FOLK & BLUES-THE Compact Disc 654545084423654545084423 5454508452 VAR/RENDEZVOUS-A FTER DUSK Compact Disc 654545084522654545084522 5454508462 VAR/DOO-WOP FOREVER VOL.2 Compact Disc 654545084621654545084621 5454508472 ORQUESTASUPREMA/MUSICA ORIGINA Compact Disc 654545084720654545084720 5454508482 SANTI,L/MUSICA ORIGINAL DE CUB Compact Disc 654545084829654545084829 5454508492 MACCOLL,E&LLOYD,AL/BLOW BOYS B Compact Disc 654545084928654545084928 5454508502 BRAND,O/OSCAR BRAND Compact Disc 654545085024654545085024 5454508532 WHITE,J&BIGBILLBOONZY /COMES A- Compact Disc 654545085321654545085321 5454508542 VAR/CAFECITO CUBANO Compact Disc 654545085420654545085420 5454508552 JENKINS,G&ROYAL,M/GORDON JENKI Compact Disc 654545085529654545085529 5454508722 2 LIVE JEWS/CHRISTMAS JEWS Compact Disc 6545450872266545450872266 54545 06102 8 6 54545 06372 5 6 54545 06572 9 6 54545 07182 9 6 54545 07662 6 6 54545 08122 4 6 54545 08272 6 6 54545 08282 5 6 54545 08292 4 6 54545 08382 2 6 54545 08392 1 6 54545 08422 5 6 54545 08432 4 6 54545 08442 3 6 54545 08452 2 6 54545 08462 1 6 54545 08472 0 6 54545 08482 9 6 54545 08492 8 6 54545 08502 4 6 54545 08532 1 6 54545 08542 0 6 54545 08552 9 6 54545 08722 60 14921 50042 6 0 14921 50052 5 0 14921 50062 4 0 14921 50082 2 0 14921 50122 50 44008 82579 1Catalogue Numb er Artist & Title Description Configuration Scannable UPC UPC 5454508732 LEMAN,A/MELE KALIKIMAKA/MERRY Compact Disc 654545087325654545087325 6321403022 RAFFI/LET'S PLAY Compact Disc 663214030227 663214030227 6626307029 BELLE,A/BLACK BEAR Compact Disc 786626307029 786626307029 6682521152 SPINNERETTE/SPINNERETTE Compact Disc 066825211526 066825211526 7085357478 WINTER,J/GANGSTER OF LOVE(2CD Compact Disc 708535747826 708535747826 7502103953 ARDEN,J/JANN A RDEN Compact Disc 075021039537 075021039537 7502166012 CARPENTERS/YESTERDAY O NCE MORE Compact Disc 075021660120 075021660120 7697428341 HILL,D/INTIMATE Compact Disc 776974283410 776974283410 7697429037 WINSTON,C/HOBO Compact Disc 776974290371 776974290371 7884877828 BILL AND GAITHER,G/BILL GAITHE Compact Disc 617884877828 617884877828 7884882327 STATLER BROT,THE/THE BEST FROM Compact Disc 617884882327 617884882327 8088900417 MARX,R & SCANNEL,M/DUO LIVE Compact Disc 680889004179 680889004179 8088900419 MARX,R & SCANNEL,R/DUO Compact Disc 680889004193 680889004193 8088901525 NICKELBACK/HERE AND NOW FAN PA Compact Disc 680889015250 680889015250 8088902802 Richard Marx/Christm as Spirit Compact Disc 6808890280216.80889E+11 8216102262 DICKENS,H/IT'S HARD TO TELL TH Compact Disc 682161022628 682161022628 8216104262 TROY,L/THE OLD GREY MARE Compact Disc 682161042626 682161042626 8216104762 MCCUTCHEON,J/THE WIND THAT SHA Compact Disc 682161047621 682161047621 8216104812 NEW LOST CITY RAMBLE RS/40 YEAR Compact Disc 682161048123 682161048123 8216104912 HAWKER,G/LETTERS FROM MY FATHE Compact Disc 682161049120 682161049120 8216111072 VAR/SHANGO,SHOUTER & OBEAH SUP Compact Disc 682161110721 682161110721 8216118052 LOMAX,A-COLL/ITALIAN TREASURY Compact Disc 682161180526 682161180526 8216118172 ALAN LOMAX COLLECTION/ITALIAN Compact Disc 682161181721 682161181721 8216118632 LOMAX,A-COLL/POPULAR SONGBOOK Compact Disc 082161186328 082161186328 8216150912 VAR/THIS IS SAMBA! VOLUME 1 Compact Disc 682161509129 682161509129 8216150922 VAR/THIS IS SAMBA! VOLUME 2 Compact Disc 682161509228 682161509228 8216160082 VAR/THE MUSIC OF ED REAVY Compact Disc 682161600826 682161600826 8216161042 STURR,J/TOP OF THE WORLD Compact Disc 682161610429 682161610429 8287669952 MAROON 5/LIVE FRIDAY THE 13TH CD with DVD 828766995220 828766995220 9079002394 LEWIS,G/MOMENT OF TRUTH Compact Disc 899079002394 8990790023948 28766 99522 00 75021 66012 0 6 17884 88232 76 17884 87782 87 76974 29037 10 75021 03953 76 54545 08732 5 7 08535 74782 67 86626 30702 9 7 76974 28341 0 6 80889 01525 0 6 82161 02262 8 6 82161 04262 6 6 82161 04762 1 6 82161 04812 3 6 82161 04912 0 6 82161 11072 1 6 82161 18052 6 6 82161 18172 1 0 82161 18632 8 6 82161 50912 9 6 82161 50922 8 6 82161 60082 6 6 82161 61042 96 63214 03022 7 8 99079 00239 46 80889 00417 9 6 80889 00419 30 66825 21152 6 6 80889 02802 1Catalogue Numb er Artist & Title Description Configuration Scannable UPC UPC 9299090727 BIRDMONSTER/FROM THE MOUNTAIN Compact Disc 829299090727 829299090727 9423110122 VAR/BLUES GOLD Compact Disc 894231101229894231101229 9423110132 VAR/JAZZ GOLD Compact Disc 894231101328894231101328 9423110152 RAY & HIS COURT/COOKIE CRUMBS Compact Disc 894231101526894231101526 9423112262 PEARLY QUEEN/QUIT JIVIN'-A FUN Compact Disc 894231122620894231122620 9619119923 GRAY,J/LOVE WILL HAVE THE FINA Compact Disc 829619119923 829619119923 74321899522 BRANDT,P/SMALL TOWN & BIG DREA Compact Disc 743218995224743218995224 78612730372 DREAM/IT WAS ALL A DREAM Compact Disc 786127303728 786127303728 78612793722 MACK,CRAIG/FLAVA IN YA EAR Compact Disc Singles 786127937220 786127937220 79102215072 GOV'T MULE/THE DEEP END VOL.2 Compact Disc 791022150728791022150728 80086710092 SWOLLENMEMBERS/BAD DREAMS VOL2 Compact Disc 800867100925 800867100925 80086710132 SWOLLENMEMBERS/MONSTERS IN THE Compact Disc 800867101328 800867101328 82876856619 MY MORNING JACKET/OKONOKOS-DVD Digital Video Disc 828768566190828768566190 91558686722 OCR/HAIR Compact Disc 915586867223 915586867223 778325636227 VAR/RELAXATION WITH NATURE(3CD Compact Disc 778325636227 778325636227 826811000127 BOY/BOY Compact Disc 826811000127826811000127 024652A LOUEKE, LI/KARIBU Compact Disc 5099950246526 5099950246526 024982A VARIOUS AR/ULTRA LOUNGE: BEST Compact Disc 5099950249824 5099950249824 082782B ELIAS, ELI/ELIANE EL IAS PLAYS Compact Disc 5099990827822 5099990827822 090112C PARKS, AAR/INVISIBLE CINEMA Compact Disc 5099950901128 5099950901128 100022C NARCISSUS/CRAVE AND COLLAPSE Compact Disc 727701000220 727701000220 100062D DEVIL INSI/PRELUDE Compact Disc 727701000626 727701000626 100112D MAROON/ENDORSED BY HATE Compact Disc 727701001128 727701001128 100132D EMBRACE THE END/COUNTING HALLW Compact Disc 727701001326 727701001326 100142D SWARM OF T/SIRENS OF SILENCE Compact Disc 727701001425 727701001425 100152D TURMOIL/STARING BACK Compact Disc 727701001524 727701001524 110472D ALLEN, TER/LUBBOCK ON EVERYTHI Compact Disc 015891104720 015891104720 110532C PAXTON, TO/LIVE FOR THE RECORD Compact Disc 015891105321 015891105321 112752B OPETH/MORNINGRISE + BONUS Compact Disc 803341127524 803341127524 114942A TURRENTINE/THAT'S WHERE IT'S A Compact Disc 094631149429 0946311494297 86127 30372 8 5 099950 246526 5 099950 901128 0 94631 14942 95 099950 249824 8 29619 11992 3 8 03341 12752 48 00867 10092 5 8 00867 10132 8 5 099990 827822 7 43218 99522 48 94231 10122 9 8 94231 10132 8 8 94231 10152 6 8 94231 12262 0 8 26811 00012 77 91022 15072 8 7 78325 63622 7 7 27701 00022 0 7 27701 00062 6 7 27701 00142 57 27701 00112 8 7 27701 00132 6 7 27701 00152 48 29299 09072 7 0 15891 10532 10 15891 10472 09 15586 86722 37 86127 93722 0 8 28768 56619 0Catalogue Numb er Artist & Title Description Configuration Scannable UPC UPC 121712C NEWBOYS/ICON Compact Disc 5099991217127 5099991217127 121732D CHAPMAN, S C/ICON Compact Disc 5099991217325 5099991217325 130102C LENNON SIS/BEST LOVED MELODIES Compact Disc 014921301023 014921301023 130482A DREAD ZEPP/UN-LED-ED Compact Disc 022071304825 022071304825 130482B IHSAHN/AFTER Compact Disc 803341304826 803341304826 131022B CHIPMUNKS,/CHIPMUNKS SING THE Compact Disc 5099921310225 5099921310225 131712A SIMPLE MIN/NEW GOLD DREAM(81-2 Compact Disc 724381317129 724381317129 132362B VARIOUS AR/BEST OF CELTIC CHRI Compact Disc 724381323625 724381323625 140082D PARTON,D/ACOUSTIC COLL:99-02 CD with DVD 015791400822 015791400822 148172B NASCIMENTO/NOVAS BOSSAS Compact Disc 5099921481727 5099921481727 151422B IDOL, BILL/VERY BEST OF:IDOLIZ CD with DVD 5099921514227 5099921514227 182372A FORD,TENNE/GREATEST HITS Compact Disc 724381823729 724381823729 211862A PRISM/YOUNG & RESTLESS Compact Disc 724382118626 724382118626 212042A LEE, PEGGY/BEST OF,THE Compact Disc 724382120421 724382120421 212242A JAMES, HAR/TRUPET BL UES -THE B Compact Disc 724352122424 724352122424 222112A ELLING, KU/LIVE IN CHICAGO Compact Disc 724352221127 724352221127 290362A AZNAVOUR C/CHARLES AZNAVOUR ET Compact Disc 5099922903624 5099922903624 291282A CONCRETE B/STILL IN HOLLYWOOD Compact Disc 724382912828 724382912828 291422B WOMACK, BO/FACTS OF LIFE Compact Disc 724382914228 724382914228 315712A DANDY WARH/CAPITOL YEARS,THE Compact Disc 5099963157123 5099963157123 318162A RAITT, BON/SILVER LINING Compact Disc 724353181628 724353181628 318682B AHN, PRISC/WHEN YOU GROW UP Compact Disc 5099963186826 5099963186826 327711BS05 QUEEN/LIVE AT WEMBLEY(2CD+2DVD CD with DVD 671734423252 671734423252 336032A BEASTIE BO/ROOT DOWN Compact Disc 724383360321 724383360321 337252B OTEP/JIHAD Compact Disc EP's 724353372521 724353372521 337392A SINATRA, F/COME SWING WITH ME Compact Disc 724353373924 724353373924 340292B RUSSELL, L/ASYLUM CHOIR II Compact Disc 724383402922 724383402922 340642A PAUL, LES/LES PAUL & FRIENDS Compact Disc 094633406421 094633406421 349622A AZNAVOUR C/JE M'VOYAIS DEJA Compact Disc 724383496228 724383496228 349702C BAYLESS, J/CIRCLE OF LIFE:THE Compact Disc 724353497026 7243534970266 71734 42325 25 099921 514227 0 15791 40082 3 7 24353 49702 65 099963 186826 7 24382 12042 1 7 24352 22112 77 24382 11862 65 099921 310225 7 24353 18162 8 7 24383 36032 1 7 24353 37392 45 099991 217127 5 099991 217325 7 24352 12242 4 7 24382 91422 8 5 099963 157123 7 24383 40292 2 0 94633 40642 17 24381 82372 95 099921 481727 0 22071 30482 5 7 24382 91282 87 24381 32362 58 03341 30482 6 5 099922 903624 7 24383 49622 87 24381 31712 90 14921 30102 3 7 24353 37252 1Catalogue Numb er Artist & Title Description Configuration Scannable UPC UPC 358702B MEDESKI MA/UNINVISIBLE Compact Disc 724353587024 724353587024 365052A DANDY WARH/DANDY WARHOLS COME Compact Disc 724383650521 724383650521 365542B FERRO, TIZ/ROSSO RELATIVO Compact Disc 724353655426 724353655426 369192B IDOL, BILL/VH-1 STORYTELLERS Compact Disc 724353691929 724353691929 372222A ADKINS, TR/DREAMIN' OUT LOUD Compact Disc 724383722228 724383722228 385642B FERRELL, R/LIVE AT MONTREUX Compact Disc 724353856427 724353856427 398382B MORAN, JAS/MODERNISTIC Compact Disc 724353983826 724353983826 3AQ76763 BORN JAMERICANS/KID S FROM FORE Compact Disc 081227676322081227676322 3AQ76764 BORN JAMERICANS/YARDCORE Compact Disc 081227676421081227676421 3CD80586 MAHLER/SYMPHONY NO.6 Compact Disc 089408058622 089408058622 400382A SMITH, JIM/DEFINITIVE SERIES,T Compact Disc 724354003820 724354003820 400392A BAKER, CHE/DEFINITIVE SERIES,T Compact Disc 724354003929 724354003929 402172C ROXY MUSIC/COMPLETE STUDIO REC Compact Disc 5099944021726 5099944021726 402252A TATUM, ART/DEFINITIVE SERIES,T Compact Disc 724354022524 724354022524 413362A FACEMOB/OTHER SIDE OF THE LAW Compact Disc 724384133627 724384133627 413782A EAZY E/ETERNAL-E Compact Disc 724384137823 724384137823 414292A BAKER, CHE/EACH DAY IS VALENTI Compact Disc 094634142922 094634142922 426002A PRISM/PRISM Compact Disc 724354260025 724354260025 440202A VAR/TO MOMMY:I LOVE YOU Compact Disc 801464402023801464402023 442269B NELSON, RI/RICK NELSON SINGS Digital Video Disc 094634422697 094634422697 460092B GAITHER, B/RYMAN GOSPEL REUNIO Compact Disc 617884600921 617884600921 460712B R.E.M./FABLES OF THE RECONSTRU Compact Disc 5099964607122 5099964607122 463972A GORDON, DE/OTHER SIDE,THE Compact Disc 077774639729 077774639729 465542A LAWS, RONN/PRESSURE SENSITIV(R Compact Disc 077774655422 077774655422 485522A ZAPPACOSTA/OVER 60 MINUTES WIT Compact Disc 077774855228 077774855228 485532A LUBA/OVER 60 MINUTES WITH Compact Disc 077774855327 077774855327 494942B ASHCROFT, /ALONE WITH EVERYBOD Compact Disc 724384949426 724384949426 501272D VARIOUS AR/NARADA GUITAR 2 Compact Disc 724385012723 724385012723 506532A XTC/DRUMS & WIRES Compact Disc 724385065323 724385065323 506602A XTC/ENGLISH SETTLEMENT Compact Disc 724385066023 7243850660237 24353 85642 7 7 24353 98382 6 7 24354 02252 4 0 77774 63972 9 0 77774 65542 27 24353 58702 4 7 24354 00382 0 0 94634 14292 27 24354 00392 9 7 24354 26002 5 0 77774 85522 85 099964 607122 7 24383 65052 1 6 17884 60092 17 24353 69192 9 0 77774 85532 77 24353 65542 6 5 099944 021726 7 24383 72222 8 7 24385 01272 37 24384 13782 37 24384 13362 7 7 24384 94942 6 7 24385 06532 3 7 24385 06602 30 81227 67632 2 0 81227 67642 1 8 01464 40202 30 89408 05862 2 0 94634 42269 7Catalogue Numb er Artist & Title Description Configuration Scannable UPC UPC 509652B ESCOVEDO, /BOXING MIRROR,THE Compact Disc 094635096521 094635096521 509672B BARRA MACNEILS,THE/THE CHRISTM Compact Disc 627915096722627915096722 520142A R E M/LIVE AT THE OLYMP(2CD+DV CD with DVD 093624974819 093624974819 522232A 1996 BROAD/A FUNNY THING HAPPE Compact Disc 724385222320 724385222320 539212B ICE CUBE/BOOTLEGS & B-SIDES Compact Disc 049925392128 049925392128 540772C CHERISH/UNAPPRECIATED Compact Disc 094635407723 094635407723 540982B PHAIR, LIZ/WHIP-SMART Compact Disc 724385409820 724385409820 557602B NEWTON-JOH/CHRISTMAS COLLECTIO Compact Disc 792755576021 792755576021 572752A LIGHTFOOT,/EARLY MORNING RAIN Compact Disc 077775727524 077775727524 573562B ST.LAWRENC/GOLIJOV: YIDDISHBUK Compact Disc 724355735621 724355735621 573972A DR. HOOK/GREATEST HITS Compact Disc 077775739725 077775739725 575682A RICH, BUDD/BEST OF,THE Compact Disc 724385756825 724385756825 595642B BARBER, PA/MYTHOLOGIES Compact Disc 094635956429 094635956429 601392A SHOUT OUT /HOWL HOWL GAFF GAFF Compact Disc 724356013926 724356013926 602342A CELTIC WOM/CELTIC WOMAN Compact Disc 724386023421 724386023421 602602C GYURME,LAM/LAMA'S CHA NTS SONGS Compact Disc 724386026026 724386026026 604292A MEWITHOUTY/BROTHER, SISTER Compact Disc 094636042923 094636042923 635222B GREEN, GRA/LIVE AT THE CLUB MO Compact Disc 094636352220 094636352220 638412B HILL, ANDR/JUDGEMENT Compact Disc 724356384125 724356384125 638532B COOK, JESS/MONTREAL Compact Disc 724386385321 724386385321 640052B LANZ, DAVI/RETURN TO THE HEART Compact Disc 083616400525 083616400525 642022B GLASS TIGE/NO TURNING BA 98-04 Compact Disc 724386420220 724386420220 647242B KLUGH, EAR/MUSIC FOR LOVERS Compact Disc 724386472427 724386472427 649282C PROJECT 86/PICKET FENCE CARTEL Compact Disc 5099996492826 5099996492826 662472A FATBOY SLI/YOU'VE COME ALONG W Compact Disc 017046624725 017046624725 673092A SHANKAR, R/SOUND OF THE SITAR Compact Disc 724356730922 724356730922 673092B SECRET & W/TEENAGE FANTASY Compact Disc 5099926730929 5099926730929 673102B SHANKAR, R/THREE RAGAS Compact Disc 724356731028 724356731028 692062A GOLDFRAPP/BLACK CHERRY Compact Disc 724596920626 724596920626 693522B CAVE/NICK/THE BA/THE AB(CD+DVD CD with DVD 724596935224 724596935224 7 24596 93522 40 93624 97481 9 7 24385 22232 0 7 24386 02342 1 7 24356 73102 87 24356 73092 27 24385 75682 5 7 24386 47242 70 94635 95642 9 7 24356 38412 50 94636 35222 00 94635 40772 3 7 24356 01392 67 24385 40982 0 0 77775 72752 4 0 77775 73972 5 5 099996 492826 5 099926 730929 7 92755 57602 1 0 94636 04292 3 7 24386 42022 07 24355 73562 1 7 24386 38532 17 24386 02602 60 94635 09652 1 0 83616 40052 5 0 17046 62472 50 49925 39212 86 27915 09672 2 7 24596 92062 6Catalogue Numb er Artist & Title Description Configuration Scannable UPC UPC 693762B CAVE/NICK/THE BAD/T HE ASSASSIN Com pact Disc 724596937624 724596937624 694522B YAZ/RECONNECTED LIVE(2CD) Compact Disc 724596945223 724596945223 699422A R.E.M./AND I FEEL FINE:BEST OF Compact Disc 094636994222 094636994222 701962C IAN & SYLV/COMPLETE VANGUARD S Compact Disc 015707019620 015707019620 705922A RELIENT K/FIVE SCORE AND SEVE Compact Disc 094637059227 094637059227 712372B UNDEROATH/CHANGING OF THE TIM Compact Disc 647077123722 647077123722 713302B MIDON, RAU/STATE OF MIND Compact Disc 724357133029 724357133029 714102B DWELE/SOME KINDA Compact Disc 724357141024 724357141024 714522B VARIOUS AR/2011 WARPED TOUR CO Compact Disc 603967145229 603967145229 720012B WINTERSLEE/SELF-TITLED Compact Disc 621617200128 621617200128 720022B WINTERSLEE/UNTITLED Compact Disc 621617200227 621617200227 720062B R.E.M./DOCUMENT (ANN/ EDIT Compact Disc 5099997200628 5099997200628 720342C MCKENNA, L/LORRAINE Compact Disc 701237203423 701237203423 721332B CARLEBACH,/AT THE VILLAGE GATE Compact Disc 015707213325 015707213325 733442B REEVES, DI/CHRISTMAS TIME IS H Compact Disc 724347334429 724347334429 742282A GORDON, DE/CLUBHOUSE/RVG SERIE Compact Disc 094637422823 094637422823 744202A FOUNTAINSO/TRAFFIC A ND WEATHER Compact Disc 094637442029 094637442029 755462B WILSON, NA/MUSIC FOR LOVERS Compact Disc 094637554623 094637554623 759372A PRIMA,LOUI/LIVE AT THE SAHARA Compact Disc 724387593725 724387593725 775292B LIEBERT, O/BORRASCA Compact Disc 724387752924 724387752924 775622B WILSON, NA/GREAT AMERICAN SONG Compact Disc 724347756221 724347756221 778949A BRIGHTMAN,/LA LUNA - LIVE IN C Digital Video Disc 724347789496 724347789496 778949B ROXY MUSIC/THRILL OF IT ALL:A Digital Video Disc 094637789490 094637789490 779019A POISON/GREATEST HITS VIDEO Digital Video Disc 724347790195 724347790195 787412B MILSTEIN, /BACH:SOLO SONATAS & Compact Disc 5099967874125 5099967874125 787632B GROOVE, EU/BORN 2 GROOVE Compact Disc 094637876329 094637876329 791542B EVANESCENC/EVANESCENCE Compact Disc 5099967915422 5099967915422 792892B SMASHING P/SIAMESE DREAM (DLX. CD with DVD 5099967928927 5099967928927 794752C MASSIVE AT/BLUE LIN ES(2012 REM Compact Disc 5099997947523 5099997947523 794952C EVANESCENC/EVANESCENCE (DELUXE CD with DVD 5099967949526 50999679495265 099967 928927 5 099967 949526 7 24357 13302 9 7 24347 75622 17 24347 33442 9 0 94637 55462 30 94637 42282 30 94637 05922 7 7 24387 59372 50 94636 99422 2 5 099997 200628 6 47077 12372 2 6 21617 20012 8 6 21617 20022 7 5 099967 874125 7 24387 75292 4 0 94637 87632 97 24357 14102 4 0 94637 44202 9 5 099997 947523 7 24596 93762 4 7 24596 94522 3 0 15707 01962 0 0 15707 21332 5 5 099967 915422 7 01237 20342 36 03967 14522 9 7 24347 78949 6 7 24347 79019 50 94637 78949 0Catalogue Numb er Artist & Title Description Configuration Scannable UPC UPC 797022C HURT, MISS/LIVE Compact Disc 015707970228 015707970228 798152B CRAY, ROBE/LIVE FROM ACROSS TH Compact Disc 015707981521 015707981521 801822A YURO, TIMI/LEGENDARY - BEST OF Compact Disc 077778018223 077778018223 802522B REEVES, DI/A LITTLE M OONLIGHT Compact Disc 724358025224 724358025224 802952A SHANKAR, A/RISE Compact Disc 724358029529 724358029529 804072C SINATRA, F/SINATRA:BEST OF BES Compact Disc 5099968040727 5099968040727 805662B HART, EMER/CIGARETTES AND GASO Compact Disc 094638056621 094638056621 809112A ROLLINS, S/SONNY ROLLINS VOL 1 Compact Disc 724358091120 724358091120 810572A COLE, NATA/ANTHOLOGY Compact Disc 724358105728 724358105728 813572A WILSON, CA/BLUE LIGHT 'TIL DAW Compact Disc 077778135722 077778135722 824472B R.E.M./LIFE'S RICH PAGEANT(DLX Compact Disc 5099908244727 5099908244727 827002A BENATAR, P/CLASSIC M ASTERS Compact Disc 724358270020 724358270020 851892B DAVIS, AND/HANDEL: MESSIAH Compact Disc 5099908518927 5099908518927 857382B SOUNDTRACK/ROMEO & JULIET 10 A Compact Disc 094638573821 094638573821 860672A ABDUL PAUL/FOREVER YOUR GIRL Compact Disc 077778606727 077778606727 861042A AFTER 7/AFTER 7 Compact Disc 077778610427 077778610427 862172A MARLEY, ZI/JAHMEYKA Compact Disc 077778621720 077778621720 862932A WALLFLOWER/WALLFLOWERS Compact Disc 077778629320 077778629320 866412A EMERY/I'M ONLY A MAN Compact Disc 094638664123 094638664123 870202C CHIPMUNKS,/CHRISTMAS WITH THE Compact Disc 5099908702029 5099908702029 878482B DARIUS, ER/GOIN' ALL OUT Compact Disc 094638784821 094638784821 900192A PARADISE L/PARADISE LOST Compact Disc 876929001929 876929001929 900202A DESOLE/A STORY TO TELL Compact Disc 876929002025 876929002025 900252A SICK OF IT/DEATH TO TYRANTS Compact Disc 876929002520 876929002520 900292A GLASS CASKET/A DESPERAT E MAN'S Compact Disc 876929002926 876929002926 907972B COOK,J/NOMAD Compact Disc 724359079721 724359079721 912172B SUMAC, YMA/VOICE OF XTABAY Compact Disc 077779121724 077779121724 931762B MORGAN, LE/CANDY/RVG SERIES Compact Disc 094639317622 094639317622 939082A ALIAS/ALIAS Compact Disc 077779390823 077779390823 940742A VINCENT, G/CAPITOL COLLECTORS Compact Disc 077779407422 0777794074227 24358 02952 97 24358 02522 4 0 77778 13572 27 24358 09112 0 0 94639 31762 25 099968 040727 5 099908 244727 5 099908 702029 0 77779 40742 27 24358 27002 0 0 94638 57382 1 0 77779 12172 40 94638 05662 1 0 94638 66412 3 0 77779 39082 35 099908 518927 0 77778 01822 3 0 94638 78482 1 7 24359 07972 17 24358 10572 8 0 77778 60672 7 0 77778 61042 7 0 77778 62932 00 77778 62172 0 8 76929 00192 9 8 76929 00202 5 8 76929 00252 0 8 76929 00292 60 15707 98152 10 15707 97022 8Catalogue Numb er Artist & Title Description Configuration Scannable UPC UPC 942392C BEASTIE BO/HELLO NAST Y (S.E) Compact Disc 5099969423925 5099969423925 954772B TEA PARTY,/SEVEN CIRCLES Compact Disc 724359547725 724359547725 957052B VARIOUS AR/ULTRA LOUNGE:COCKTA Compact Disc 724359570525 724359570525 957132C ST OKOWSKI,/BACH BY STOK OWSKI Compac t Disc 5099909571327 5099909571327 961052A POP, IGGY/A MILION IN PRIZES Compact Disc 724359610528 724359610528 965032A GORDON, DE/DOIN' ALLR IGHT RVG Compact Disc 724359650326 724359650326 965452B TEA PARTY,/TRIP TYCH Compact Disc 724349654525 724349654525 967922B GRANT, AMY/STRAIGHT AHEAD Compact Disc 094639679225 094639679225 967942B GRANT, AMY/COLLECTION,THE Compact Disc 094639679423 094639679423 974412A MARTIN,D/FOREVER COOL (COLL Compact Disc 094639744121 094639744121 978022A VARIOUS/GRT LADIES OF SONG V1 Compact Disc 077779780228 077779780228 989122A I MOTHER E/DIG Compact Disc 077779891221 077779891221 AAO40707 PROD IGY/H.N.I.C. PT.2/CO LLECTO Compac t Disc 778325407070 778325407070 AAO95292 HEPT ONES,THE/GOOD VIBES(2 CD) Compac t Disc 778325952921 778325952921 AC119CD BLAIS,J M/II Compact Disc 827590119123 827590119123 AC193735 VAN BUUREN,A/ASOT YEARMIX(8CD) Compact Disc 87185210097248718521009724 ACX142CD ROYKSOPP AND ROBYN/DO IT AGAIN Compact Disc 5060236632234 5060236632234 ADDITUP01 VIOLENTFEMMES/LIVE IN ICELAND Compact Disc EP's 634479307843634479307843 AMO15 BASSNECTAR/FREESTYLE/ WILDSTYLE Compact Disc 881034121127 881034121127 AMSC1028 GILLESPIE,D/FOUR CLASSIC AL(2C Compact Disc 5022810302827 5022810302827 AMSC1038 WEBSTER,B/THREE CLASSI C AL(2CD Compact Disc 5022810303824 5022810303824 AMSD80020 OZOMATLI/OZOMATLI Compact Disc 705178002022 705178002022 ARMA285 VAN BUUREN,ARMIN/A STATE OF TR Compact Disc 87173069734108717306973410 ARMA328 BERLIN,D/MUSICISLIFE Compact Disc 87185220042928718522004292 ARMA423 VAR/TRANCE 100 2016(4CD) Compact Disc 87185220845398718522084539 ARMA433 VAN BUUREN,A/CLUB EMBRACE(2CD) Compact Disc 87185221087548718522108754 ARMD00017 ROCKY ANTHAS GROUP,THE/MIRACLE Compact Disc 689974001727 689974001727 ARMD00020 KENNARD,G/RANCH ROAD 12 Compact Disc 689974002021 689974002021 ARTFUL64 DURUTTI COLUMN,THE/LOVE IN THE Compact Disc 683430002037 683430002037 B000002702 ASHBY,D/AFRO-HARPING Compact Disc 044007603727 0440076037277 05178 00202 27 24359 65032 6 0 77779 89122 10 94639 74412 15 099969 423925 7 24359 57052 5 0 77779 78022 80 94639 67922 5 0 94639 67942 37 24359 54772 5 7 24349 65452 55 099909 571327 0 44007 60372 77 24359 61052 8 6 83430 00203 76 89974 00202 16 89974 00172 75 022810 302827 5 022810 303824 8 718521 009724 8 717306 973410 8 718522 004292 8 718522 084539 8 718522 108754 7 78325 95292 1 8 81034 12112 77 78325 40707 0 5 060236 632234 8 27590 11912 3 6 34479 30784 3Catalogue Numb er Artist & Title Description Configuration Scannable UPC UPC B000016402 CURRINGTON,B/BILLY CURRINGTON Compact Disc 008817030722 008817030722 B000025502 S.T.U.N./EVOLUTION OF ENERGY Compact Disc 606949368920 606949368920 B000027602 BAKER,C/CHET FOR LOVERS Compact Disc 044006557724 044006557724 B000029702 JAY-Z/BLUEPRINT 2.1 Compact Disc 044007729625 044007729625 B000031202 BANNER,D/MISSISSIPPI:THE ALBUM Compact Disc Enhanced 044003834323 044003834323 B000035309 BELAFONTE,H/AN EVENING WITH HA Digital Video Disc 044007733691 044007733691 B000045102 MCENTIRE,R/ROOM TO BREATHE Compact Disc 008817038520 008817038520 B000050502 BUDDEN,J/JOE BUDDEN Compact Disc 044007737521 044007737521 B000052402 ASTAIRE,F/FINEST HOUR Compact Disc 044007621820 044007621820 B000056002 HELMET/UNSUNG:THE BEST OF HELM Compact Disc 602498012260 602498012260 B000058002 ALLMAN BROTHERS BAND/ MARTIN SC Compact Disc 602498010396 602498010396 B000060102 BOBO,W/FINEST HOUR Compact Disc 602498072004 602498072004 B000073202 ROSENWINKEL,K/HEARTCORE Compact Disc 731458977629 731458977629 B000074009 VAR/THE ROAD TO MEMPHIS Digital Video Disc 602498604038 602498604038 B000074402 OST/AMERICAN WEDDING Compact Disc 602498076798 602498076798 B000075109 VAR /AMERICAN FOLK...VOL 2 Digital Video Disc 602498604137 602498604137 B000082802 BAEZ,J/THE COMPLETE A&M RECORD Compact Disc 602498604793 602498604793 B000086836 STEELY DAN/GAUCHO SACD4Stereo/Surround/CDAud 602498605103 602498605103 B000095602 BLIGE,M/LOVE & LIFE Compact Disc 602498606117 602498606117 B000100502 ISLEY & BACHARACH/IS LEY MEETS Compact Disc 600445050075 600445050075 B000103702 ROGERS,K/THE BEST OF KENNY ROG Compact Disc 602498606766 602498606766 B000114702 BU BBA SPAR XXX/DELIVERANCE Compact Disc 602498608029 602498608029 B000123502 LIMP BIZKIT/RESULTS MAY VARY Compact Disc 602498608920 602498608920 B000129019 BARTOLI,C/THE VIVALDI ALBUM DVD Audio 028946656990 028946656990 B000143800 FLOETRY/FLOACISM Compact Disc 600445050631 600445050631 B000145602 FRIGO,J/I LOVE JOHN FRIGO..HE Compact Disc 602498610619 602498610619 B000157036 JOHN,E/ GOODBYE YELLOW...(2-DIS SA CD4Stereo/Su rround/CDAud 602498132067 602498132067 B000163212 PAYNE,J/YOUR LOVE, MY HOME Compact Disc 602498612743 602498612743 B000170002 SANDOVAL,A/THE VERY BEST OF AR Compact Disc 602498613580 602498613580 B000180002 METHENY,P/RARUM:SELEC TED RECOR Compact Disc 044001416323 0440014163236 02498 60676 66 02498 60479 30 44007 73752 10 44007 72962 5 6 00445 05007 5 6 00445 05063 1 0 44001 41632 36 02498 60611 76 06949 36892 0 6 02498 60802 96 02498 01226 0 6 02498 60892 00 08817 03852 0 6 02498 01039 60 08817 03072 2 6 02498 07679 87 31458 97762 9 6 02498 61061 9 6 02498 61274 3 6 02498 61358 06 02498 07200 40 44006 55772 4 0 44007 62182 00 44003 83432 3 0 44007 73369 1 6 02498 60403 8 6 02498 60413 7 0 28946 65699 0 6 02498 13206 76 02498 60510 3Catalogue Numb er Artist & Title Description Configuration Scannable UPC UPC B000182502 CAMPBELL,G/LOVE IS THE ANSWER Compact Disc 602498615317 602498615317 B000195509 CYRUS,B/THE BEST OF BILLY RAY Digital Video Disc 602498617120 602498617120 B000196709 KOOL & THE GANG/THE BEST OF KO Digital Video Disc 602498617236 602498617236 B000198500 MARLEY,B & THE WAILERS/LEGEND- Compact Disc 602498125373 602498125373 B000198809 MOODY BLUES/THE BEST OF MOODY Digital Video Disc 602498617472 602498617472 B000201936 BON JOVI/THIS LEFT FEELS RIGHT SACD4Stereo/Surround/CDAud 602498616888 602498616888 B000207502 PALMER,R/VERY BEST OF THE ISLA Compact Disc 602498147771 602498147771 B000208002 SISSEL/MY HEART Compact Disc 602498165966 602498165966 B000229509 KEITH,T/THE BEST OF TOBY KEITH Digital Video Disc 602498620533 602498620533 B000238312 NEW FOUND GLORY/CATALYST Compact Disc Enhanced 602498621424 602498621424 B000243936 ALLMAN BROTHERS THE/EAT A PEAC SACD4Stereo/Surround/CDAud 602498622506 602498622506 B000245309 FIXX,T/THE BEST OF THE FIXX Digital Video Disc 602498622759 602498622759 B000250702 KEANE/HOPES AND FEARS Compact Disc 602498188248 602498188248 B000257902 CLARK,T/LIFE GOES ON Compact Disc 602498624227 602498624227 B000259702 PATATO & TOTI CO/PATATO & TOTIC Compact Disc 602498624456 602498624456 B000262002 MANERI&PHILLIPS&MANERI/ANGELS Compact Disc 602498067604 602498067604 B000268002 MINGUS,C/THE GREAT CONCERT CHA Compact Disc 602498069134 602498069134 B000269102 MENDES, & BRASIL '66/FOOL ON T Compact Disc 602498625828 602498625828 B000275602 HIVES,T/TYRANNOSAURUS HIVES Compact Disc 602498669907 602498669907 B000286402 OST/ANCHORMAN Compact Disc 602498628270 602498628270 B000290602 DIAMOND,N/GOLD Compact Disc 602498628652 602498628652 B000296202 SHYNE/GODFATHER, BURIED ALIVE Compact Disc 602498629567 602498629567 B000299402 SECRET GARDEN/THE BEST OF SECR Compact Disc 602498203538 602498203538 B000306002 BOSTON POPS THE/THE BEST OF TH Compact Disc 028947622154 028947622154 B000306402 BERNSTEIN,L/THE BEST OF LEONAR Compact Disc 028947624622 028947624622 B000309302 LEE,P/BLACK COFFEE Compact Disc 602498631935 602498631935 B000315902 CANYON ,G/ONE GOOD FRIE ND Compac t Disc 602498633557 602498633557 B000325702 FOGERTY,J/DEJA VU ALL OVER AGA Compact Disc 602498634684 602498634684 B000351302 BOCELLI,A/ANDREA Compact Disc 602498685303 602498685303 B000352402 OST/BRIDE AND PREJUDICE Compact Disc 602498640029 6024986400290 28947 62215 46 02498 20353 8 0 28947 62462 26 02498 16596 6 6 02498 62956 76 02498 06760 4 6 02498 63468 46 02498 18824 86 02498 14777 16 02498 12537 3 6 02498 62422 7 6 02498 63355 7 6 02498 68530 36 02498 66990 7 6 02498 64002 96 02498 61531 7 6 02498 62827 06 02498 62445 6 6 02498 06913 4 6 02498 62582 8 6 02498 63193 56 02498 62865 26 02498 62142 46 02498 61747 26 02498 61712 0 6 02498 62053 3 6 02498 62275 96 02498 61723 6 6 02498 62250 66 02498 61688 8Catalogue Numb er Artist & Title Description Configuration Scannable UPC UPC B000352502 RINGSIDE/RINGSIDE Compact Disc 602498640104 602498640104 B000359109 YEAH YEAH YEAHS/TELLME WHAT RO Digital Video Disc 602498637258 602498637258 B000360636 JOHN,E/CAPTAIN FANTASTIC AND SACD4Stereo/Surround/CDAud 602498241202 602498241202 B000376402 SN OOP DOGG/R&G (RHYTHM & GANGS Com pact Di sc 602498648438 602498648438 B000377272 EMINEM/ENCORE (DELUXE EDITED) Compact Disc 602498646731 602498646731 B000382302 COCKER,J/HEART & SOUL Compact Disc 075021031142 075021031142 B000391100 VAR/BILLY CRYSTAL PRESENTS THE CD with DVD 075021035522 075021035522 B000391900 WILLIAMS,H/THE ULTIMATE COLLEC CD with DVD 075021034013 075021034013 B000400209 CINDERELLA/ROCKED, WIRED AND B Digital Video Disc 075021036024 075021036024 B000406802 HORN,S/BUT BEAUTIFUL:THE BEST Compact Disc 075021038011 075021038011 B000406902 WRIGHT,L/DREAMING WIDE AWAKE Compact Disc 075021038028 075021038028 B000427202 SZABOR,G/SPELLBINDER Compact Disc 602498802755 602498802755 B000429102 HOLIDAY,B/THE COMPLETE VERVE S Compact Disc 602498803028 602498803028 B000432202 QUEENS OF TH E STONE AGE/LULLA B Compact Disc 602498804216 602498804216 B000441309 GAME THE/THE DOCUMENTARY:THE M Digital Video Disc 602498808597 602498808597 B000441402 STYX/BIG BANG THEORY Compact Disc 602498808610 602498808610 B000454402 CARTERFAMILY/BEST OF THE CARTE Compact Disc 602498814017 602498814017 B000454909 FRAMPTON,P/FRAMPTON COMES ALIV Digital Video Disc 602498814062 602498814062 B000455502 VAR/ISLAND DEFJAM RE CORDINGS P Compact Disc 602498809495 602498809495 B000469382 WALLFLOWERS,THE/REBEL SWEETHE DUALDISC 602498819722 602498819722 B000475736 MAHLER/SYMPHONY NO. 6 SACD4Stereo/Surround/CDAud 028947756842 028947756842 B000481402 WEST,K/LATE REGISTRA TIONS(EDIT Compact Disc 602498824030 602498824030 B000487302 YAYO,T/THOUGHTS OF A PRED(EXPL Compact Disc 602498828069 602498828069 B000487609 VAR/EMINEM PRESENTS:THE ANGER Digital Video Disc 602498828137 602498828137 B000522902 CROW,S/WILDFLOWER Compact Disc 602498841181 602498841181 B000524602 REVERENDHORTONHEAT,THE/BEST OF Compact Disc 602498841341 602498841341 B000525202 OST/FOUR BROTHERS Compact Disc 602498841976 602498841976 B000533402 INDIA/BEST OF Compact Disc 602498836019 602498836019 B000534802 WILLIAMS,H/TURN BACK THE YEARS Compact Disc 602498845394 602498845394 B000536012 CRAZY FROG/PRESENTS CRAZY HITS Compact Disc Enhanced 602498846193 6024988461930 75021 03401 30 75021 03552 2 6 02498 81401 7 6 02498 84134 1 6 02498 83601 96 02498 84118 16 02498 80949 5 6 02498 82403 06 02498 64843 86 02498 64010 4 6 02498 82806 96 02498 64673 1 6 02498 80421 6 6 02498 84539 40 75021 03114 2 6 02498 80861 0 6 02498 84197 60 75021 03801 1 0 75021 03802 8 6 02498 80275 5 6 02498 80302 8 6 02498 84619 30 75021 03602 4 6 02498 80859 76 02498 63725 8 6 02498 82813 76 02498 81406 2 6 02498 81972 2 0 28947 75684 26 02498 24120 2Catalogue Numb er Artist & Title Description Configuration Scannable UPC UPC B000542802 THRICE/VHEISSU Compact Disc 602498852453 602498852453 B000557002 BRIGHTMAN,S/LOVE CHANGES EVERY Compact Disc 602498742822 602498742822 B000567002 ROOTS,T/HOME GROWN!THE B EXPV1 Compact Disc 602498869352 602498869352 B000569002 CANYON,G/HOME FOR CHRISTMAS Compact Disc 602498870006 602498870006 B000572109 PUSSY CAT DOLLS,THE/PCD LIVE F Digital Video Disc 602498871096 602498871096 B000578377 MARLEY,B&WAILERS ,T/LEGEND(UMD) Universal Media Disc 602498345726 602498345726 B000579802 VAR/RAWKUS RECORDS-THE CLASSIC Compact Disc 602498872932 602498872932 B000593102 ROBER TS,H/GOOD PICKIN 'S Compac t Disc 602498880241 602498880241 B000602902 GOLDENSMOG/ANOTHER FINE DAY Compact Disc 602498890431 602498890431 B000607877 BLINK182/GREATEST HITS (UMD) Universal Media Disc 602498897027 602498897027 B000617809 POLICE,THE/EVERYONE STARES-THE Digital Video Disc 602498799963 602498799963 B000622202 ABAIR,M/LIFE LESS ORDINARY Compact Disc 602498509579 602498509579 B000627002 KEITH,T/WHITE TRASH WITH MONEY Compact Disc 602498519820 602498519820 B000640102 OREAGAN,T/TIM O'REAGAN Compact Disc 602498529171 602498529171 B000642002 SEIM,T/BR AEKKE/EILERTSEN/THE S Compact Disc 602498751527 602498751527 B000644409 TOWNSHEND,P/PSYCHO DERELICT LI Digital Video Disc 602498233696 602498233696 B000646202 OST/SOUTH PACIFIC Compact Disc 602498535851 602498535851 B000647102 TOWNSHEND,P/ANOTHER SCOOP(2CD) Compact Disc 602498539538 602498539538 B000647202 TOWNSHEND,P/SCOOP 3(2CD) Compact Disc 602498539569 602498539569 B000651109 EXTREME/VIDEOGRAFFITI Digital Video Disc 602498542422 602498542422 B000652102 BRATZ/GENIE MAGIC Compact Disc 602498544129 602498544129 B000656402 JARRETT,K/THE IMPUL SE STORY Compact Disc 602498551073 602498551073 B000658922 NINEINCHNAILS/EVERY DAY IS EXA Compact Disc EP's 602498551264 602498551264 B000671902 HANSON/THE BEST OF HANSON Compact Disc 602498781906 602498781906 B000674802 BUSTA RHYMES/THE BIG BANG Compact Disc 602498784365 602498784365 B000677602 TOWNSHEND,P/PSYCHODE RELICT Compact Disc 602498789698 602498789698 B000682302 ALIEN ANT FARM/UP IN THE ATTIC Compact Disc 602498571491 602498571491 B000684102 TOWNSHEND,P/WHITE CITY Compact Disc 602498572375 602498572375 B000685702 TOWNSHEND,P/ALL THE BEST COWBO Compact Disc 602498574751 602498574751 B000686702 AWESOMECOLOR/AWESOME COLOR Compact Disc 602498576151 6024985761516 02498 78190 66 02498 53585 16 02498 74282 2 6 02498 51982 0 6 02498 75152 76 02498 87293 26 02498 86935 2 6 02498 50957 9 6 02498 57237 5 6 02498 57475 16 02498 53953 8 6 02498 53956 9 6 02498 78969 86 02498 55107 3 6 02498 78436 56 02498 85245 3 6 02498 89043 16 02498 87000 6 6 02498 57149 16 02498 88024 1 6 02498 54412 96 02498 52917 1 6 02498 57615 16 02498 55126 46 02498 54242 26 02498 79996 3 6 02498 23369 66 02498 87109 6 6 02498 89702 76 02498 34572 6Catalogue Numb er Artist & Title Description Configuration Scannable UPC UPC B000693902 NELSON,W/SONGBIRD Compact Disc 602498583531 602498583531 B000694902 CARLTON,L/BEST OF Compact Disc 602498586396 602498586396 B000698302 MONTYAREI/WALL OF PEOPLE Compact Disc 602498583432 602498583432 B000699702 CYRUS,BR/WANNA BE YOUR JOE Compact Disc 602498595046 602498595046 B000700802 ANDERSON,B/BEST OF Compact Disc 602498596395 602498596395 B000702302 BANKS,L/ROTTEN APPLE Compact Disc 602517000490 602517000490 B000713302 TOWNSHEND,P/THE IRON MAN THE M Compact Disc 602517015494 602517015494 B000719709 VAR/PURE 80'S TOTALLY NEW WAVE Digital Video Disc 602498406533 602498406533 B000721902 FRAMPTON,P/FINGERPRINTS Compact Disc 602517031203 602517031203 B000737602 STUART,M/COMPADRES AN ANTHOLOG Compact Disc 602517045163 602517045163 B000737802 WILLIAMS,L/CAR WHEELS ON A GRA Compact Disc 602517045347 602517045347 B000739002 JONES,T/BEST OF VOL.2 Compact Disc 602498418499 602498418499 B000739102 VAR/GOLD 80'S SOUL GOLD Compact Disc 602517048225 602517048225 B000739502 K-CI & JOJO/BEST OF Compact Disc 602517048317 602517048317 B000748602 PAPA ROACH/THE PARAMOUR SESSIO Compact Disc 602517057388 602517057388 B000749702 STEELY DAN/BEST OF Compact Disc 602517058705 602517058705 B000750802 MENDES,S&BRASIL66/BEST OF Compact Disc 606949316624 606949316624 B000758002 STANLEY,P/LIVE TO WIN Compact Disc 602517068162 602517068162 B000761502 SHINY TOY GUNS/WE ARE PILOTS Compact Disc 602517072046 602517072046 B000772402 HORRORS,THE/THE HORRORS Compact Disc 602517058903 602517058903 B000782202 OST/MARIE ANTOINETTE Compact Disc 602517084186 602517084186 B000813402 WRIGHT,C/DEFINITIVE COLLECTION Compact Disc 602517167056 602517167056 B000828302 BRAVERY,THE/THE SUN AND THE MO Compact Disc 602517175570 602517175570 B000833202 COX,D/DESTINATION MOON Compact Disc 602517200234 602517200234 B000837802 HAVNEVIK,K.MELANKTON Compact Disc 602517206687 602517206687 B000849702 EL POTRO DE SINALOA/LOS MEJORE Compact Disc 602517234574 602517234574 B000851002 BROWN,J/THE SINGLES VOL.2-1960 Compact Disc 602517236455 602517236455 B000852309 SNIDER,T/THE DEVIL YOU KNOW Digital Video Disc 602517239470 602517239470 B000872702 CASH,J/BEST OF JOHNNY CASH V.2 Compact Disc 602517268784 602517268784 B000874302 BATTAGLIA,S/RE:PASOLINI - 2CD Compact Disc 602517167384 6025171673846 02517 05870 5 6 02517 26878 46 02498 59639 5 6 02498 41849 9 6 02517 04831 7 6 02517 20023 4 6 02517 16738 46 02498 58639 6 6 02517 04822 56 02517 01549 4 6 02517 23645 56 02517 00049 0 6 02517 05738 86 02517 04534 7 6 02517 07204 6 6 02517 17557 06 02517 16705 66 02498 58353 1 6 02517 04516 3 6 02517 06816 2 6 02517 23457 46 02517 20668 76 02517 08418 66 02498 59504 6 6 02517 03120 36 02498 58343 2 6 02517 05890 36 06949 31662 46 02498 40653 3 6 02517 23947 0Catalogue Numb er Artist & Title Description Configuration Scannable UPC UPC B000883702 KOOL & THE GANG/NUMBER 1'S Compact Disc 602517320970 602517320970 B000886909 RUSTED ROOT/RUSTED ROOT Digital Video Disc 602517322967 602517322967 B000888402 GUY/GUY (SPECIAL EDITION) Compact Disc 602517325197 602517325197 B000888702 JENNINGS,S/THE WOLF Compact Disc 602517324947 602517324947 B000904402 BROWN,J/JAZZ Compact Disc 602517346871 602517346871 B000914202 FITZGERALD,E/THE VERY BEST OF Compact Disc 602517314207 602517314207 B000938102 YEAH YEAH YEAHS/IS IS Compact Disc EP's 602517393875 602517393875 B000945302 WASHINGTON,D/GOLD Compact Disc 602517402164 602517402164 B000947702 VERONA GROVE/ THE STORY THOUGHT Compact Disc 602517408920 602517408920 B000951402 COSTELLO,E/MY AIM IS TRUE(DELU Compact Disc 602517414785 602517414785 B000952402 GILLESPIE,D/AT NEWPORT Compact Disc 602517416079 602517416079 B000959902 JACKSON FIVE/NUMBER 1'S Compact Disc 602517421547 602517421547 B000967502 BARBIERI,G/RUBY,RUBY Compact Disc 602517426696 602517426696 B000973909 COLE,K/THE WAY IT IS-SEASON 1 Digital Video Disc 602517440784 602517440784 B000976802 MINGUS,C/BEST OF Compact Disc 602498421796 602498421796 B000978602 ROY AYERS UBIQUITY/LIFELINE Compact Disc 602517448230 602517448230 B000980402 MOORE,T/TREES OUTSIDE THE ACAD Compact Disc 602517449862 602517449862 B000980502 ROGUE WAVE/ ASLEEP AT HEAVEN'S Compact Disc 602517449893 602517449893 B000984409 HENDRIX,J/LIVE AT MONTEREY(DVD Digital Video Disc 602517455177 602517455177 B000991902 MUSIQ/AIJUSWANASEING (SPEC.EDIT Compact Disc 602517464865 602517464865 B001003002 HIVES,THE/THE BLACK AND WHITE Compact Disc 602517508071 602517508071 B001004202 SHE WANTS REVENGE/THIS IS FORE Compact Disc 602517475861 602517475861 B001015702 ROSSUM,E/INSIDE OUT Compact Disc 602517474475 602517474475 B001015902 JUANES/LA VIDA..ES UN RATICO Compact Disc 602517473928 602517473928 B001020002 SOUNDTRACK/AMERICAN GANGSTER Compact Disc 602517496828 602517496828 B001026309 NIRVANA/UNPLUGGED IN NEW YORK Digital Video Disc 602517506305 602517506305 B001029109 MEAT LOAF/3 BATS LIVE (DVD) Digital Video Disc 602517509771 602517509771 B001029302 YANDEL,WY/LOS EXTRATERRESTRES Compact Disc 602517496859 602517496859 B001046502 CLARK,T/THE DEFINITIVE COLLECT Compact Disc 602517544970 602517544970 B001052202 JAY Z/AMERICAN GANGSTER(ACCAPE Compact Disc 602517548466 6025175484666 02498 42179 6 6 02517 49682 86 02517 46486 5 6 02517 54846 66 02517 47586 1 6 02517 47447 56 02517 41478 5 6 02517 50807 16 02517 32097 0 6 02517 32519 7 6 02517 54497 06 02517 42154 76 02517 40892 06 02517 34687 1 6 02517 49685 96 02517 47392 86 02517 32494 7 6 02517 44989 36 02517 31420 7 6 02517 40216 4 6 02517 41607 9 6 02517 44823 06 02517 42669 6 6 02517 44986 26 02517 39387 5 6 02517 44078 4 6 02517 50630 5 6 02517 50977 16 02517 32296 7 6 02517 45517 7Catalogue Numb er Artist & Title Description Configuration Scannable UPC UPC B001056902 NEVILLE,A/GOLD Compact Disc 602517555587 602517555587 B001059102 COLTRANE,J/THE IMPULSE! ALBUMS Compact Disc 602517564336 602517564336 B001062602 HOLIDAY,B/THE DEFINITIVE COLLE Compact Disc 602517576735 602517576735 B001079302 GETZ,S/JAZZ GIANTS '58 Compact Disc 602517621329 602517621329 B001079602 PETERSON,O/PLAYS COUNT BASIE Compact Disc 602517621367 602517621367 B001088709 MAYFIELD,C & THE IMPR/MOVIN'ON Digital Video Disc 602517644076 602517644076 B001091102 TERNHEIM,A/HALFWAY TO FIVEPOIN Compact Disc 602517627826 602517627826 B001103702 AWESOME COLOR/ELECTRIC ABORIGI Compact Disc 602517656529 602517656529 B001105202 HOUGH,J/JULIANNE HOUGH Compact Disc 602517658585 602517658585 B001106302 ELBOW/THE SELDOM SEEN KID Compact Disc 602517642522 602517642522 B001118902 SIE7E/PARA MI Compact Disc 602517681989 602517681989 B001120202 BOBO,W/BOBO MOTION Compact Disc 602517685734 602517685734 B001122102 JACKSON,M/AT MUSEUM OF MODERN Compact Disc 602517686298 602517686298 B001126602 BONFA,L/THE BRAZILIAN SCENE Compact Disc 602517690790 602517690790 B001152600 MAROON 5/IT WON'T BE SOON(DLX) CD with DVD 602517760325 602517760325 B001166302 88,THE/NOT ONLY..BUT ALSO Compact Disc 602517764668 602517764668 B001176302 HANCOCK,H/DEFINITIVE COLLECTIO Compact Disc 602517809666 602517809666 B001186502 WASHINGTON,G/ALL THE KINGS HOR Compact Disc 602517822894 602517822894 B001188402 BONFA,L/PLAYS AND SI NGS BOSSA Compact Disc 602517823938 602517823938 B001188502 TJADER,C/PLAYS CONTEMPORARY MU Compact Disc 602517823952 602517823952 B001194450 POLICE,THE/CERTIFIABLE 2DVD+2C DVD + BNS CD 602517830462 602517830462 B001196102 CRUSADERS,THE/PASS TH E PLATE Compact Disc 602517833333 602517833333 B001200002 HILSON,K/IN A PERFECT WORLD Compact Disc 602517840409 602517840409 B001201902 DUKE,G/LOVE THE BLUES, SHE HEA Compact Disc 600753115039 600753115039 B001218402 SCOTT,J/EVERYB ODY'S SOMEBOSY'S Compact Disc 602517868908 602517868908 B001220902 SHINY TOY GUNS/SEASON OF POISO Compact Disc 602517876347 602517876347 B00122302 FREE KITTEN/INHERIT Compact Disc 602517686328 602517686328 B001240802 GETZ,S/DYNASTY Compact Disc 602517920651 602517920651 B001242602 ELECTRIK RED/HOW TO BE A LADY Compact Disc 602527099125 602527099125 B001246902 VAR/HITSVILLE USA:MOTOWN SINGL Compact Disc 602517940857 6025179408576 02517 76032 5 6 02527 09912 56 02517 62782 6 6 02517 64252 26 02517 55558 7 6 02517 56433 6 6 02517 84040 96 02517 76466 86 02517 65858 5 6 02517 94085 76 02517 87634 76 02517 68198 96 02517 57673 5 6 02517 62132 9 6 02517 82289 4 6 02517 83333 3 6 02517 86890 8 6 02517 92065 16 02517 68573 4 6 02517 69079 0 6 02517 82395 2 6 00753 11503 96 02517 62136 7 6 02517 68629 8 6 02517 80966 6 6 02517 82393 86 02517 65652 9 6 02517 68632 86 02517 64407 6 6 02517 83046 2Catalogue Numb er Artist & Title Description Configuration Scannable UPC UPC B001247109 WHO,THE/THE KIDS ARE ALRIGHT(D Digital Video Disc 602517942189 602517942189 B001261302 BLADE,B/MAMA ROSA Compact Disc 602517974579 602517974579 B001261802 16 FRAMES/WHERE IT ENDS Compact Disc 602517975170 602517975170 B001265602 SCOFIELD,J/PIETY STREET Compact Disc 602517911369 602517911369 B001266602 LAGE,J/SOUNDING POINT Compact Disc 602517914476 602517914476 B001268002 PLAYZ CIRCLE/FLIGHT 360:THE TA Compact Disc 602517814165 602517814165 B001269802 CRUSADERS,THE/IMAGES Compact Disc 602517995710 602517995710 B001269902 BASIE,C/BASIE LAND Compact Disc 602517995727 602517995727 B001270202 ROACH,M/AS QUIET AS IT'S KEPT Compact Disc 602517995758 602517995758 B001270302 PETERSON,O/PL AYS THE JEROME KE Compact Disc 602517995765 602517995765 B001282302 YEAH YEAH YEAHS/IT'S BLITZ Compact Disc 602527016009 602527016009 B001297002 SHEPPARD,A QUINTET/MOVEMENTS I Compact Disc 602517950429 602517950429 B001306800 WHITESNAKE/SLIP OF THE TONGUE CD with DVD 602527089126 602527089126 B001306900 WHITESNAKE/SLIDE IT IN-25TH AN CD with DVD 602527090580 602527090580 B001309502 JEREMIH/JERE MIH Compact Disc 602527094823 602527094823 B001317402 LOVETT,L/NATURAL FORCES Compact Disc 602527121994 602527121994 B001320402 JAMES, J/JESSIE JAMES C ompact Disc 602527128573 602527128573 B001321702 MICHAELSO N,I/EVERYBODY C ompact Disc 884502025712 884502025712 B001328002 CHAILLY,R/MENDELSSHON :PIANO CO Compact Disc 028947815259 028947815259 B001333402 CAREY,M/3CD COLLECT ORS SET Compact Disc 602527157382 602527157382 B001372002 HOWLIN' WOLF/THE LONDON HOWLIN Compact Disc 602527256207 602527256207 B001379110 ANBERLIN/NEW SURRENDER DELUXE CD with DVD 602527273587 602527273587 B001382500 WHITESNAKE/WHITESNAKE DELUXE E CD with DVD 602527283272 602527283272 B001386602 JACKSON 5/MOVING VIOLATION Compact Disc 602527288512 602527288512 B001387402 VELVET UNDERGROUND,THE/THE VEL Compact Disc 602527293073 602527293073 B001396602 ROGUE WAVE/PERMALIGHT Compact Disc 602527319544 602527319544 B001398859 WHO,THE/THE KIDS ARE ALRIGHT BLU RAY 602527320960 602527320960 B001399102 LYNN,L/50TH ANNIVERSARY COLLEC Compact Disc 602527322902 602527322902 B001411002 AWESOME COLOR/MASSA HYPNOS Compact Disc 837654529119 837654529119 B001416622 LADY GAGA/TELEPHONE THE REMIXE Compact Disc 602527361512 6025273615126 02527 32096 06 02527 27358 76 02527 08912 6 6 02527 09058 0 6 02527 28327 20 28947 81525 96 02527 09482 36 02517 81416 5 6 02517 95042 96 02517 91447 66 02517 91136 9 6 02527 25620 76 02527 01600 9 6 02527 36151 26 02527 15738 2 6 02527 32290 26 02527 12857 3 6 02527 28851 2 6 02527 29307 38 84502 02571 2 6 02527 31954 46 02517 99571 0 6 02517 99572 7 6 02517 99575 8 6 02517 99576 56 02517 97517 06 02517 97457 9 6 02527 12199 4 8 37654 52911 96 02517 94218 9Catalogue Numb er Artist & Title Description Configuration Scannable UPC UPC B001421702 RANDY ROGERS BAND/BURNING THE Compact Disc 602527370347 602527370347 B001423302 MCPHATTER,C/LOVER PLEASE-COMPL Compact Disc 602527371375 602527371375 B001437702 BIG BOI/SIR LUSCIOUS LEFT FOOT Compact Disc 602527400853 602527400853 B001439502 INFANT SORROW/GET HIM TO THE G Compact Disc 602527405315 602527405315 B001441302 ROBYN/BODY TALK PT.1 Compact Disc 602527409795 602527409795 B001444102 FOGERTY,J/CENTERFIELD-25TH ANN Compact Disc 602527417622 602527417622 B001444700 VAR/MALFUNKSHUN:THE ANDR(2CD+D CD with DVD 602527420127 602527420127 B001452702 CLINE,P/ICON (2CD) Compact Disc 602527438115 602527438115 B001456502 LUDO/PREPARE THE PREPARATIONS Compact Disc 602527450063 602527450063 B001475002 ISLEY,R/MR. I Compact Disc 602527490090 602527490090 B001491602 MICUS,S/BOLD AS LIGHT Compact Disc 602527430867 602527430867 B001491902 SEIM/UTNEM/PURCOR Compact Disc 602527432274 602527432274 B001504102 FURTADO,N/THE BEST OF NELLY FU Compact Disc 602527549132 602527549132 B001508402 BIEBER,J/MY WORLDS ACOUSTIC Compact Disc 602527562452 602527562452 B001518902 WILLIAMS,L/BLESSED Compact Disc 602527595900 602527595900 B001521902 WHITESNAKE/ICON Compact Disc 602527611754 602527611754 B001536100 RUSH/MOVING PICTURES (CD+BR) CD with DVD 602527636986 602527636986 B001539402 BARKER,T/GIVE THE DRUMMER SOME Compact Disc 602527550572 602527550572 B001540902 MENDES,S/CELEBRATION- A MUSICAL Compact Disc 600753319017 600753319017 B001549502 MARIE,T/LADY T:EXPA NDED EDITIO Compact Disc 602527668451 602527668451 B001554502 JAMES, E/HEART & SOUL-A RE TROSP Compact Disc 602527681351 602527681351 B001563502 HOLIDAY,B/ICON Compact Disc 602527710099 602527710099 B001567009 VAR/MOTOWN GOLD FROM THE ED SU Digital Video Disc 602527721675 602527721675 B001567109 VAR/ED SULLIVAN PRESENTS: ROCK Digital Video Disc 602527721699 602527721699 B001570402 ORIGINAL CAST/BABY IT'S YOU Compact Disc 602527730691 602527730691 B001580202 DURBIN,J/AMERICAN ID OL SEASON Compact Disc 5060136136962 5060136136962 B001583002 COLTRANE,J/ SELFLESSNESS FEATU Compact Disc 602527768342 602527768342 B001584502 AVI,Z/GHOSTBIRD Compact Disc 602527769875 602527769875 B001593609 VAR/SOUNDS AND SILENCE-TRAVELS Digital Video Disc 602527698861 602527698861 B001593809 ROLLING STONES,THE/4 ED SULLIV Digital Video Disc 602527786858 6025277868586 02527 42012 7 6 02527 63698 66 02527 40085 3 6 02527 49009 0 6 02527 43086 7 6 02527 43227 46 02527 41762 26 02527 37137 5 6 02527 66845 1 6 02527 68135 16 02527 54913 2 6 02527 55057 26 02527 40979 5 6 02527 45006 3 6 02527 56245 2 6 02527 59590 06 02527 37034 7 6 02527 40531 5 6 02527 43811 5 6 02527 76987 56 02527 71009 9 6 02527 76834 26 02527 73069 16 00753 31901 7 5 060136 136962 6 02527 61175 4 6 02527 69886 16 02527 72169 96 02527 72167 5 6 02527 78685 8Catalogue Numb er Artist & Title Description Configuration Scannable UPC UPC B001596709 ROLLING STONES,THE/6 ED S-2DVD Digital Video Disc 602527797717 602527797717 B001614202 ESTEFAN,G/MISS LITTL E HAVANA Compact Disc 602527832845 602527832845 B001619700 BARTOLI,C/SACRIFICIUM (2CD/DVD Compact Disc 028947833901 028947833901 B001624802 HOLLYWOOD UNDEAD/AMERICAN TR Compact Disc 602527859675 602527859675 B001628559 LADY GAGA/MONSTER BALL TOUR-LI BLU RAY 602527869964 602527869964 B001638602 LOVETT,L/RELEASE ME Compact Disc 602527907864 602527907864 B001656702 VAR/SOMEDAY THIS PAIN W Compact Disc 602527952130 602527952130 B001664402 SUPREMES,T/AT THE CO PA EXP(2CD Compact Disc 602527966854 602527966854 B001674002 KEANE/STRANGELAND (DELUXE) Compact Disc 602527992822 602527992822 B001681900 MARTIN,D/COLLECTED CO(3CD/DVD) CD with DVD 602537018529 602537018529 B001683602 SANTIAGO,E/MI GENERACION-LOS C Compact Disc 602537020133 602537020133 B001683802 RUIZ,F/MI GENERACION-LOS CLASI Compact Disc 602537020164 602537020164 B001684002 RODRIGUEZ,L/MI GENERACION-LOS Compact Disc 602537020140 602537020140 B001686102 PATRULLA 81/ICONOS/25 EXIT(2CD Compact Disc 602537030866 602537030866 B001686602 LOS ANGELES AZULES/ICONOS/25 E Compact Disc 602537031290 602537031290 B001688402 VARIOUS ARTIST/A&M 50:THE(3CD) Compact Disc 600753388723 600753388723 B001703759 SOLIS,M A/UNA NOCHE DE LUNA(BR BLU RAY 602537074662 602537074662 B001710302 SANCHEZ,J/AMERICAN IDOL S11 HI Compact Disc 818486011676 818486011676 B001711402 GRUPO MONTEZ/ICONOS/25EXIT(2CD Compact Disc 602537081783 602537081783 B001713902 LOS FUGITIVOS/ICONOS/25EXI(2CD Compact Disc 602537085392 602537085392 B001717102 BANDA CARNAVAL/MAXIMO NIVEL Compact Disc 602537097562 602537097562 B001718002 RAVA,E/ON THE DANCE FLOOR Compact Disc 602537066544 602537066544 B001728502 WELLS,M/SOMETHING NEW MOTOWN Compact Disc 602537117758 602537117758 B001730602 ETHERIDGE,M/4TH STREET FEE Compact Disc 602537123612 602537123612 B001730802 SUPREMES THE/I HEAR A SYMP(2CD Compact Disc 602537123742 602537123742 B001739002 OZONE/WATTS/MCBRIDE/MY WITCH'S Compact Disc 600406215673 600406215673 B001748000 RUSH/2112(BR+CD) BLU RAY + BNS CD 602537150168 602537150168 B001765802 CAFE TACVBA/EL OBJETO ANTES LL Compact Disc 602537179510 602537179510 B001776302 DEL REY,L/PARADISE(EDIT) Compact Disc 602537209699 602537209699 B001776602 PHILLIPS,P/WORLD FROM,THE(DLX Compact Disc 602537209750 6025372097506 02527 86996 4 6 02537 07466 2 6 02537 15016 86 02537 01852 96 02527 85967 5 6 00753 38872 30 28947 83390 1 6 00406 21567 36 02537 06654 46 02527 96685 4 6 02537 11775 8 6 02537 12374 2 6 02537 20975 08 18486 01167 66 02527 99282 2 6 02537 20969 96 02537 12361 26 02537 02013 3 6 02537 02016 4 6 02537 02014 0 6 02537 08539 26 02537 03086 6 6 02537 03129 0 6 02537 09756 2 6 02537 17951 06 02537 08178 36 02527 83284 5 6 02527 90786 4 6 02527 95213 06 02527 79771 7Catalogue Numb er Artist & Title Description Configuration Scannable UPC UPC B001800602 HOLLYWOOD UND/NOTES FROM(DLX/E Compact Disc 602537269266 602537269266 B001806602 GILL,V/ BALLADS Compact Disc 602537286454 602537286454 B001812402 JAMES,J/DONT BE S A F E Compact Disc 602537291854 602537291854 B001812602 MODESTEP/EVOLUTION THEORY Compact Disc 602537297054 602537297054 B001815002 CLIFF JIMMY/THE KCRW SESSION Compact Disc 602537320363 602537320363 B001826602 MASSON/PIANCA/MANI/THIRD REEL Compact Disc 602537282692 602537282692 B001842302 DANDY WARHOLS/THIRTEEN TA(2CD Compact Disc 602537379736 602537379736 B001847702 HODGE,D/LIVE TODAY Compact Disc 5099968289225 5099968289225 B001856102 AMERICAN AUTH/AMERICA N A(CD EP Compact Disc EP's 602537515967 602537515967 B001864902 GREY,S/DON'T LOOK DOWN Compact Disc 602537430796 602537430796 B001866802 JOHN,E/THE DIVING BOARD Compact Disc 602537452804 602537452804 B001889509 IL VOLO/WE ARE LOVE LIVE F(DVD Digital Video Disc 602537473342 602537473342 B001908502 THOUSAND FOOT/MADE IN CANADA T Compact Disc 602537444380 602537444380 B001920502 ICE CUBE/ICON (ED) Compact Disc 602537531073 602537531073 B001936702 MCENTIRE,R/5 CLASSIC ALBUM(5CD Compact Disc 602537570515 602537570515 B001937102 VAR/5 CLASSIC ALBUMS(5CD) Compact Disc 602537570621 602537570621 B001937602 KISS/5 CLASSIC ALBUMS(5CD Compact Disc 602537570690 602537570690 B001937702 ALLMAN BROTHE,THE/5 CLASSIC(5C Compact Disc 602537570676 602537570676 B001937802 LYNYRD SK/5 CLASSIC ALBUMS(5CD Compact Disc 602537570782 602537570782 B001940702 HAGGARD,M/5 CLASSIC ALBUMS(5CD Compact Disc 602537577163 602537577163 B001940902 JOHN,E/5 CLASSIC ALBUMS(5CD) Compact Disc 602537579075 602537579075 B001941202 STRAIT,G/5 CLASSIC ALBUMS(5CD) Compact Disc 602537579082 602537579082 B001942202 ADKINS,T/5 CLASSIC ALBUMS(5CD) Compact Disc 602537570874 602537570874 B001943202 SN OOP DOGG/5 CLASSIC ALBU MS(5C Compac t Disc 602537581078 602537581078 B001943502 STYX/5 CLASSIC ALBUMS(5CD) Compact Disc 602537581061 602537581061 B001944902 SOUNDGARDEN/5 CLASSIC ALBUMS(5 Compact Disc 602537581610 602537581610 B001946602 VAR/5 CLASSIC ALBUMS(5CD) Compact Disc 602537583829 602537583829 B001957802 STUDDARD,R/UNCONDITIONAL LOVE Compact Disc 602537606177 602537606177 B001967902 OST/TYLER PERRYS A MADEA CHRIS Compact Disc 602537626953 602537626953 B001985602 TENCH,B/YOU SHOULD BE SO LUCKY Compact Disc 602537652167 6025376521676 02537 26926 6 6 02537 65216 75 099968 289225 6 02537 45280 46 02537 37973 6 6 02537 44438 06 02537 29185 4 6 02537 28269 26 02537 32036 3 6 02537 57062 1 6 02537 57716 3 6 02537 58107 86 02537 28645 4 6 02537 57051 5 6 02537 57069 0 6 02537 57067 6 6 02537 57078 2 6 02537 57908 2 6 02537 57087 4 6 02537 58106 1 6 02537 58382 96 02537 43079 66 02537 29705 4 6 02537 62695 36 02537 53107 3 6 02537 57907 5 6 02537 58161 0 6 02537 60617 76 02537 51596 7 6 02537 47334 2Catalogue Numb er Artist & Title Description Configuration Scannable UPC UPC B002008302 OST/VAMPIRE ACADEMY Compact Disc 600753502266 600753502266 B002014502 WORSHIP TOGET/10,000 REASONS K Compact Disc 602537687039 602537687039 B002026302 OST/ORANGE IS THE NEW BLACK Compact Disc 600753483831 600753483831 B002051502 DYBDAHL,T/WHATS LEFT IS FOREVE Compact Disc 602537774500 602537774500 B002059102 BROODS/EVERGREEN Compact Disc 602537802463 602537802463 B002079400 RAT PACK,THE/THE RAT PA(2CD+DV CD with DVD 602537826094 602537826094 B002124502 BROWN,J/5 CLASSIC ALBUMS(5CD Compact Disc 602537921614 602537921614 B002125402 COUNTING CRO/SOMEWHERE UNDER W Compact Disc 602537919635 602537919635 B002134402 VAR/VH1 LOVE & HIP HOP MUS(EDI Compact Disc 602537935147 602537935147 B002149502 MAROON 5/V Compact Disc 602537957927 602537957927 B002157702 MAROON 5/5 CLASSIC ALBUMS(5CD Compact Disc 602537943944 602537943944 B002170002 VAR/CLASSIC CHRISTMAS (TARGET) Compact Disc 602537997435 602537997435 B002172002 FLORIDA GEORGIA/ANYTHING G(DLX Compact Disc 602537999019 602537999019 B002175702 BARRY WHITE/5 CLASSIC ALBU(5CD Compact Disc 602547005588 602547005588 B002266902 BORNS/CANDY(HMV EXCL/CD EP) Compact Disc EP's 602547196736 602547196736 B002268009 HILLSONG WORSH/OPEN HEAVEN(DVD Digital Video Disc 602547133007 602547133007 B002280202 WELSH,L/SOFT CONTROL Compact Disc 602547143440 602547143440 B002312202 FLORENCE AND THE MA/H OW BI(DLX Compact Disc 602547236050 602547236050 B002388302 CORNELL,C/HIGHER T RUTH(DLX) Compact Disc 602547524058 602547524058 B002404302 BIEBER,J/PURPOSE(DLX) Compact Disc 602547576439 602547576439 B002418844 GOMEZ,S/REVIVAL JOURNAL(D2C) Compact Disc 602547628367 602547628367 B002435380 MEGADETH/DYSTOPIA(DLX) Compact Disc 602547683083 602547683083 B002454604 SUBLIME/JAH WON'T PAY THE(CASS Cassette Singles 602547756084 602547756084 B002473100 BEACH BO,THE/PET SOU(BR AUD+4C Blu Ray Audio + CD 602547822536 602547822536 B002495802 VOLBEAT/SEAL THE DEAL A(DLX 2C Compact Disc 602547883742 602547883742 B002509002 AZALEA ,I/DIGITAL DISTORTI ON Compac t Disc 602547924322 602547924322 B002564502 BON JOVI/THIS HOUSE IS NOT(DLX Compact Disc 602557129960 602557129960 B002567802 STRAIT,G/STRAIT OUT OF THE(3CD Compact Disc 602557141665 602557141665 B002576102 ONE REPUBLIC/OH MY MY(DLX) Compact Disc 602557174601 602557174601 B002580102 LADY GAGA/JOANNE(DLX) Compact Disc 602557186444 6025571864446 02547 82253 66 02547 75608 46 02537 82609 46 02537 80246 3 6 02537 91963 56 02537 77450 06 02537 68703 9 6 02537 93514 7 6 02547 57643 96 00753 48383 16 00753 50226 6 6 02537 92161 4 6 02547 00558 86 02537 94394 4 6 02547 52405 8 6 02547 68308 3 6 02557 14166 56 02537 95792 7 6 02557 17460 1 6 02557 18644 46 02547 23605 0 6 02557 12996 06 02547 14344 0 6 02547 62836 76 02537 99743 5 6 02547 88374 2 6 02547 92432 26 02537 99901 9 6 02547 19673 6 6 02547 13300 7Catalogue Numb er Artist & Title Description Configuration Scannable UPC UPC BAB9600 ROCKABYE BABY/METALLI CA:LULLAB Compact Disc 027297960022 027297960022 BAB9601 ROCKABYE BABY/LED Z EPPELIN:LUL Compact Disc 027297960121 027297960121 BAB9603 ROCKABYE BABY/RADIOH EAD:LULLAB Compact Disc 027297960329 027297960329 BAB9604 ROCKABYE BABY/COLDPLA Y:LULLABY Compact Disc 027297960428 027297960428 BAB9606 ROCKABYE BABY/PINK FLOYD:LULLA Compact Disc 027297960626 027297960626 BAB9607 ROCKABYE BABY/BJORK:LU LLABY RE Compact Disc 027297960725 027297960725 BAB9608 ROCKABYE BABY/NO DOUB T:LULLABY Compact Disc 027297960824 027297960824 BAB9609 ROCKABYE BABY/NIRVANA: LULLABY Compact Disc 027297960923 027297960923 BAB9612 ROCKABYE BABY/PIXIES: LULLABY R Compact Disc 027297961227 027297961227 BAB9613 ROCKABYE BABY/BEACH BO YS:LULLA Compact Disc 027297961326 027297961326 BAB9614 ROCKABYE BABY/CURE,THE :LULLABY Compact Disc 027297961425 027297961425 BAB9615 ROCKABYE BABY/EAGLES, THE:LULLA Compact Disc 027297961524 027297961524 BAB9616 ROCKABYE BABY/BEATLES, THE:LULL Compact Disc 027297961623 027297961623 BAB9617 ROCKABYE BABY/KANYE W EST:LULLA Compact Disc 027297961722 027297961722 BAB9620 ROCKABYE BABY/U2:LULLABY RENDI Compact Disc 027297962026 027297962026 BAB9621 ROCKABYE BABY/NINE I NCH NAILS: Compact Disc 027297962125 027297962125 BAB9623 ROCKABYE BABY/BOB MARL EY:LULLA Compact Disc 027297962323 027297962323 BAB9624 ROCKABYE BABY/GREEN DAY:LULLAB Compact Disc 027297962422 027297962422 BAB9625 ROCKABYE BABY/BLACK SABBATH:LU Com pact Disc 027297962521 027297962521 BAB9629 ROCKABYE BABY/ROLLING STONES:L Compact Disc 027297962927 027297962927 BAB9631 ROCKABYE BABY/AC/DC:LULLABY RE Compact Disc 027297963122 027297963122 BAB9647 HUSHABYE BABY/RASCAL FLATTS:LU Compact Disc 027297964723 027297964723 BAB9648 HUSHABYE BABY/CARRIE UNDERWOOD Compact Disc 027297964822 027297964822 BAB9649 HUSHABYE BABY/VINCE GILL:LULLA Compact Disc 027297964921 027297964921 BAB9650 HUSHABYE BABY/GEORGE STRAIT:LU Compact Disc 027297965027 027297965027 BAB9653 ROCKABYE BABY/QUEEN:LU LLABY RE Compact Disc 027297965324 027297965324 BAB9657 HUSHABYE BABY/WILLIE NELSON:LU Compact Disc 027297965720 027297965720 BAB9658 HUSHABYE BABY/PATSY CL INE:LULL Compact Disc 027297965829 027297965829 BAB9660 ROCKABYE BABY/THE CL ASH LULLAB Compact Disc 027297966024 027297966024 BAB9661 ROCKABYE BABY/DAVID BO WIE LUL Compact Disc 027297966123 0272979661230 27297 96012 1 0 27297 96142 5 0 27297 96172 2 0 27297 96232 30 27297 96062 6 0 27297 96072 5 0 27297 96082 4 0 27297 96122 7 0 27297 96132 6 0 27297 96152 4 0 27297 96202 6 0 27297 96212 5 0 27297 96252 1 0 27297 96292 7 0 27297 96312 2 0 27297 96472 3 0 27297 96482 2 0 27297 96492 1 0 27297 96502 7 0 27297 96532 4 0 27297 96572 0 0 27297 96582 9 0 27297 96602 4 0 27297 96612 30 27297 96032 9 0 27297 96092 30 27297 96042 8 0 27297 96242 20 27297 96162 30 27297 96002 2Catalogue Numb er Artist & Title Description Configuration Scannable UPC UPC BAB9664 ROCKABYE BABY/AEROSMI TH:LULLAB Compact Disc 027297966420 027297966420 BAB9670 ROCKABYE BABY/BON JOV I:LULLABY Compact Disc 027297967021 027297967021 BAB9674 ROCKABYE BABY/PEARL JA M LULLAB Compact Disc 027297967427 027297967427 BAB9675 ROCKABYE BABY/WEEZER:L ULLABY R Compact Disc 027297967526 027297967526 BAB9677 ROCKABYE BABY!/VAN HALEN:LULLA Compact Disc 027297967724 027297967724 BAB9678 ROCKABYE BABY/KISS LU LLABY REN Compact Disc 027297967823 027297967823 BAB9679 ROCKABYE BABY!/MADONNA : LULLAB Compact Disc 027297967922 027297967922 BAB9681 ROCKABYE BABY!/FLAMIN G LIPS:LU Compact Disc 027297968127 027297968127 BAB9685 ROCKABYE BABY!/TRAGIC ALLY HIP Compact Disc 027297968523 027297968523 BAB9690 ROCKABYE BABY!/DAVE MA TTHEWS B Compact Disc 027297969025 027297969025 BAB9691 ROCKABYE BABY/THE SM ITH:LULLAB Compact Disc 027297969124 027297969124 BAB9692 ROCKABYE BABY/PRINCE LULLABY Compact Disc 027297969223 027297969223 BAB9693 ROCKABYE BABY/U2 MORE LULLABY Compact Disc 027297969322 027297969322 BAB9694 ROCKABYE BABY/RUSH LU LLABY REN Compact Disc 027297969421 027297969421 BAB9695 ROCKABYE BABY/BLUR LU LLABY REN Compact Disc 027297969520 027297969520 BAB9697 ROCKABYE BABY/WHITE STRIPES LU Compact Disc 027297969728 027297969728 BAB9699 ROCKABYE BABY/LULLABY RENDITIO Compact Disc 027297969926 027297969926 BAB9700 ROCKABYE BABY/MAROON 5 LULLABY Compact Disc 027297970021 027297970021 BAB9701 ROCKABYE BABY/BRUCE SPR INGSTEE Compact Disc 027297970120 027297970120 BAB9702 ROCKABYE BABY/NICKELBAC K LULLA Compact Disc 027297970229 027297970229 BAB9703 ROCKABYE BABY/EMINEM LULLABY R Compact Disc 027297970328 027297970328 BAB9704 ROCKABYE BABY/ELTON JOHN LULLA Compact Disc 027297970427 027297970427 BAB9705 ROCKABYE BABY/SILVERCHAIR LULL Compact Disc 027297970526 027297970526 BAB9706 ROCKABYE BABY/PINK LU LLABY REN Compact Disc 027297970625 027297970625 BAB9709 ROCKABYE BABY /GOOD BABY B(CD+ B Compact Disc 027297970922 027297970922 BAI0152 ENLOW/THE RECOVERY Compact Disc 790168533525 790168533525 BAI0162 SKYLINES/IDENTITY Compact Disc 790168534522 790168534522 BAI0172 BURDEN OF A DAY/PILOTS AND PAP Compact Disc 790168538827 790168538827 BAI0182 SINCE REMEMBERED/COM ING ALIVE Compact Disc 790168540226 790168540226 BAI0192 GENTLEMAN HOMICIDE/UNDERSTANDI Compact Disc 790168542121 7901685421210 27297 96852 30 27297 96752 60 27297 96642 0 0 27297 96742 7 0 27297 96772 4 0 27297 96792 2 0 27297 96812 7 0 27297 96902 5 0 27297 96912 4 0 27297 96922 3 0 27297 96932 2 0 27297 96952 0 0 27297 96972 8 0 27297 96992 6 0 27297 97002 1 0 27297 97012 0 0 27297 97022 9 0 27297 97032 8 0 27297 97052 6 0 27297 97062 5 0 27297 97092 20 27297 96702 1 0 27297 96942 10 27297 96782 3 0 27297 97042 7 7 90168 53352 5 7 90168 53452 2 7 90168 53882 7 7 90168 54022 6 7 90168 54212 1Catalogue Numb er Artist & Title Description Configuration Scannable UPC UPC BAI0202 WITH BLOOD COMES CLEANSI/GOLGO Compact Disc 790168543524 790168543524 BAI0222 STARS ARE FALLING/C ONSEQUENCES Compact Disc 790168547720 790168547720 BAI0232 LOOKING FORWARD/WHAT THIS MEAN CD with DVD 790168554223 790168554223 BAI0242 SAINTS NEVER SURRENDER/HOPE FO Compact Disc 790168578823 790168578823 BAI0262 BLUE LETTER/PRIMA FACIE Compact Disc 790168596629 790168596629 BAI0272 RECESSION/TIME, AR ITHMETIC Compact Disc 790168598821 790168598821 BAI0292 SAINTS NEVER/BRUTUS Compact Disc 790168617621 790168617621 BAI0302 ALL IN/TEAM U S A Compact Disc 790168622021 790168622021 BAI0322 RED BARON,THE/MY FIRST LOVE Compact Disc 790168638428 790168638428 BAI0342 VENIA/FROZEN HANDS Compact Disc 790168651120 790168651120 BAI0362 DIVIDE THE SEA/ MAN Compact Disc 707541159593 707541159593 BAI0382 DEPENDENCY/CONVICTED Compact Disc 707541225892 707541225892 BAI0412 IRONWILL/UNTURNED Compact Disc 798546267628 798546267628 BAI0452 DEBTOR/BLOODSEEDS Compact Disc 612851595224 612851595224 BAI0482 ATTENDING,THE/ARE YOU WATCHING Compact Disc 612851595521 612851595521 BAI0512 DEPENDENCY/LOVE NOT WASTED Compact Disc 612851596627 612851596627 BAI0532 THIRTYSEVEN/THIS IS WH AT I WAN Compact Disc 603111968124 603111968124 BAI0582 HOUSEHOLD/WITH OR WITHOUT Compact Disc 603111968728 603111968728 BAI0592 DWELL/DWELL Compact Disc 603111968827 603111968827 BAI0594 DWELL/DWELL Cassette 603111968841 603111968841 BAI0614 NEW HEART/TIME IS RUNNING OUT Cassette 603111701240 603111701240 BAI0624 TIGERWINE/LULL Cassette 603111969046 603111969046 BBGCD1 JEDI MIND TRICKS/THE PSYCHO-SO Compact Disc 823979000129823979000129 BBGCD1002 JEDI MIND TRICKS/SERVANTS IN H Compact Disc 823979100225823979100225 BBGCD31 7L & ESOTERIC/DC2:BARS OF DEAT Compact Disc 823979003120823979003120 BDMB02 BRAGG,M/BEAR MUSIC Compact Disc 653496111127653496111127 BID0012 YOURS FOR MINE/DEAR CHILDREN Compact Disc 790168637421 790168637421 BIR10052 CULPRITS,THE/NORA Compact Disc 776098142921 776098142921 BIR10082 TEN 33/EMERGENCY EMERGENCY Compact Disc 776098155426 776098155426 BIR10102 FOREKNOWN/CALM SEAS DON'T MAKE Compact Disc 803847701020 8038477010206 03111 96884 1 6 03111 70124 0 6 03111 96904 67 90168 55422 3 6 53496 11112 78 23979 00012 9 8 23979 10022 5 8 23979 00312 07 90168 54352 4 7 90168 54772 0 7 90168 57882 3 7 90168 59662 9 7 90168 59882 1 7 90168 61762 1 7 90168 62202 1 7 90168 63842 8 7 90168 65112 0 7 07541 15959 3 7 07541 22589 2 7 98546 26762 8 6 12851 59522 4 6 12851 59552 1 6 12851 59662 7 6 03111 96812 4 6 03111 96872 8 6 03111 96882 7 7 90168 63742 1 7 76098 14292 1 7 76098 15542 6 8 03847 70102 0Catalogue Numb er Artist & Title Description Configuration Scannable UPC UPC BIR10112 STARS ARE/SKYLINE/ SPLIT SERIES Compact Disc 803847701129 803847701129 BIR10122 TEN 33/NIGHTMARE ON GRACE STRE Compact Disc 803847701228 803847701228 BIR10132 NESHAMAH/COMMUNICATING IN Compact Disc 803847701327 803847701327 BJLP17 B.BRAVO/PARADI SE(LP) Compact Disc 711623409810 711623409810 BL6001 LUPKIN,B & THE CHICAGO BLUES C Compact Disc 614511739320 614511739320 BMC20061 BARRA MACNEILS,THE/CHRISTMAS A Compact Disc 775020750623775020750623 BMD1200 MARSHALL,D/BUILT TO LAST Compact Disc 776127267021776127267021 BMR020302 YEARWOOD,T/HEAVEN,HEARTACHE AN Compact Disc 843930000203 843930000203 BMR10170507 GRAND THEFT BUS/FLIES IN THE N Compact Disc 775020621824775020621824 BMRTS0340C SWIFT,T/SPEAK NOW WORL D (BR+CD BLU RAY + BNS CD 843930005987 843930005987 BOFL001 BEARS OF LE GEND/GOOD MORNING M Compact Disc 088907210814 088907210814 BOFL002 BEARS OF LEGEND/GHOSTWRITTEN C Compact Disc 629048196621 629048196621 BPF1047 SOUNDTRACK/ZACK AND MIRI MAKE Compact Disc 805859104721805859104721 BRE49CD SQUAREPUSHER/MUSIC FOR ROBOTS Compact Disc 45231321854914523132185491 BS4509 ROWE,S/LIVE IN MONTREAL Compact Disc 620953304620 620953304620 BSR927 DONOHUE,P/AMERICAN GUITAR Compact Disc 644179009275 644179009275 BT3013 PETERSON, O/PIANO COLOSSUS Compact Disc 805520130134 805520130134 BT3017 COLTRANE,J/THE ABSOLUTELY ESSE Compact Disc 805520130172 805520130172 BVR002 REBELMEETSREBEL/REBEL MEETS RE Compact Disc 854863001229 854863001229 BW4 FINLIN,J/BALLAD OF A PLAIN MAN Compact Disc 614511757522 614511757522 BWR104 RILEY,D & CORRITORE,B/TRAVELIN Compact Disc 724101728228 724101728228 BYGCD358 GRAE,J/THE ORCHEST RAL FILES:DL Compact Disc 823979035824823979035824 BZZ24464 ZAMFIR,G/CHRISTMAS AT NOTRE DA Compact Disc 619061446421 619061446421 CAMO008 CHICHARONES,T/PORK RIND DISCO Compact Disc EP's 655035000824655035000824 CAMO009 CHICHARONES,T/WHEN PIGS FLYLY Compact Disc 655035000923655035000923 CAMO010 OZZBORN,O/IN BETWEEN Compact Disc 655035001029655035001029 CAMO020 GIGANTICS,THE/DIE ALREADY Compact Disc 655035003023655035003023 CC50806 COLEPAUGH,C AND THE COSMIC CRE Compact Disc 625989534225625989534225 CCD14042 FARMER,A-QT/BLAME IT ON MY YOU Compact Disc 025218144223 025218144223 CCD2278 BURRELL,K/BALLAD ESSENTIALS Compact Disc 013431227823 0134312278238 43930 00598 77 11623 40981 0 6 19061 44642 10 88907 21081 4 6 29048 19662 16 14511 73932 0 6 20953 30462 0 6 44179 00927 5 6 14511 75752 2 7 24101 72822 88 05520 13013 4 8 05520 13017 28 05859 10472 1 6 55035 00092 3 6 55035 00102 9 6 55035 00302 3 6 25989 53422 57 75020 62182 47 75020 75062 3 7 76127 26702 1 4 523132 185491 8 23979 03582 48 03847 70112 9 8 03847 70122 8 8 03847 70132 7 8 54863 00122 98 43930 00020 3 0 25218 14422 3 0 13431 22782 36 55035 00082 4Catalogue Numb er Artist & Title Description Configuration Scannable UPC UPC CCD30214 FERGUSON,M/ON A HIGH NOTE:THE Compact Disc 888072302143 888072302143 CCDCD1003 HALL,J QUARTET/ALL ACROSS THE SACD4Stereo/Surround/CDAud 013431100362 013431100362 CCDCD10033 MCCORKLE,S/OVER THE RAINBOW-TH Compact Disc 727489003321 727489003321 CCDCD1005 MCRAE,C/FINE AND MELLOW-LIVE A SACD4Stereo/Surround/CDAud 013431100560 013431100560 CCDCD1006 HARRIS,G/LISTEN HERE! SACD4Stereo/Surround/CDAud 013431100669 013431100669 CCDCD1017 MCCORKLE,S/FROM BESSIE TO BRAZ SACD4Stereo/Surround/CDAud 013431101765 013431101765 CCDCD1027 BROWN,R TRIO/SUMMER WIND-LIVE SACD4Stereo/Surround/CDAud 013431102762 013431102762 CCDCD1036 HARRIS,G & HAMILTON,S/AT LAST SACD4Stereo/Surround/CDAud 013431103660 013431103660 CCDCD2163 CLOONEY,R/ROSEMARY CLOONEY SHO Compact Disc 013431216322 013431216322 CCDCD2290 SANCHEZ,P/DO IT! Compact Disc 013431229025 013431229025 CCDCD4086 MCPARTLAND,M/FROM THIS MOMENT Compact Disc 013431408628 013431408628 CCDCD4248 TORME,M & SHEARING,G/AN EVENIN Compact Disc 013431424826 013431424826 CCDCD4272 MCPARTLAND,M/WILLOW CREEK AND Compact Disc 013431427223 013431427223 CCDCD4389 ALMEIDA,L/MUSIC OF THE BRAZILI Compact Disc 013431438922 013431438922 CCDCD4442 HICKS,J/LIVE AT MAYBECK RECITA Compact Disc 013431444220 013431444220 CCDCD4458 MCCONNELL,R/BRASS IS BACK Compact Disc 013431445821 013431445821 CCDCD4496 CLOONEY,R/GIRL SINGER Compact Disc 013431449621 013431449621 CCDCD4516 MCDUFF,J/COLOR ME BLUE Compact Disc 013431451624 013431451624 CCDCD4542 TORME,M/SING SING SING Compact Disc 013431454229 013431454229 CCDCD4705 MCDUFF,J & DEFRANCESO,J/IT'S A Compact Disc 013431470526 013431470526 CCDCD4715 BYRD,C & ELLIS,H & LOW,M/RETUR Compact Disc 013431471523 013431471523 CCDCD4722 MCCONNELL,R/EVEN CANA DIANS GET Compact Disc 013431472223 013431472223 CCDCD4748 ESCOVEDO,P/E STREET Compact Disc 013431474821 013431474821 CCDCD4773 ALLYSON,K/DAYDREAM Compact Disc 013431477327 013431477327 CCDCD4779 BYRD,C/AU COURANT Compact Disc 013431477921 013431477921 CCDCD4781 SANTAMARIA,M/AFRO BLUE-PICANTE Compact Disc 013431478126 013431478126 CCDCD4813 TJADER,C/HERITAGE SERIES:CAL T Compact Disc 013431481324 013431481324 CCDCD4819 HAMILTON,S/HERITAGE SERIES:SCO Compact Disc 013431481928 013431481928 CCDCD4821 ELLIS,H/HERITAGE SERIES :HERB Compact Disc 013431482123 013431482123 CCDCD4825 SANCHEZ,P/HERITAGE SERIES:PONC Compact Disc 013431482529 0134314825290 13431 22902 5 0 13431 48252 98 88072 30214 3 7 27489 00332 1 0 13431 21632 2 0 13431 40862 8 0 13431 42482 6 0 13431 42722 3 0 13431 43892 2 0 13431 44422 0 0 13431 44582 1 0 13431 44962 1 0 13431 45162 4 0 13431 45422 9 0 13431 47052 6 0 13431 47152 3 0 13431 47222 3 0 13431 47482 1 0 13431 47732 7 0 13431 47792 1 0 13431 47812 6 0 13431 48132 4 0 13431 48192 8 0 13431 48212 30 13431 10036 2 0 13431 10056 0 0 13431 10066 9 0 13431 10176 5 0 13431 10276 2 0 13431 10366 0Catalogue Numb er Artist & Title Description Configuration Scannable UPC UPC CCDCD4837 CHEATHAM, J/HERITAGE SERIES:JE Compact Disc 013431483724 013431483724 CCDCD4856 CALLE,E/SUNSET HARBOR Compact Disc 013431485629 013431485629 CCDCD4893 MCDUFF BROTHER THE/BROTHERLY L Compact Disc 013431489320 013431489320 CCDCD4942 CALLE,E/TWILIGHT Compact Disc 013431494225 013431494225 CCDCD4973 PURIM,F & AIRTO/WINGS OF IMAGI Compact Disc 013431497325 013431497325 CCDCD52082 VAR/MORNING CUP OF JAZZ Compact Disc 013431520825 013431520825 CCDCD5307 VAR/COLORS OF LATIN JAZZ:MAMBO Compact Disc 013431530725 013431530725 CCDCD64933 CLOONEY,R/SONGBOOK COLLECTION Compact Disc 013431493327 013431493327 CCDCD7016 HAMILTON,S & FEINSTEIN,M/AN EV Digital Video Disc 013431701699 013431701699 CCDCD8503 MARIENTHAL,E/TURN UP THE HEAT Compact Disc 013431850328 013431850328 CCDCD9001 PATITUCCI,J/HEART OF THE BRASS Compact Disc 013431900122 013431900122 CCDCD9008 BERG,B/RIDDLES SACD1Stereo 013431900825 013431900825 CCDCD9036 COHEN,A & INTERNATIONAL VAMP B Compact Disc 013431903628 013431903628 CD0411 MCCUTCHEON,J/DOING OUR JOB JOH Compact Disc 011661041127 011661041127 CD0424 STECHER,J&BRISLEN,K/HEART SONG Compact Disc 011661042421 011661042421 CD1704 VAR/T ALAN LOMAX:SOUTHERN JOUR Compact Disc 011661170421 011661170421 CD1705 VAR/T ALAN LOMAX:SOUTHERN JOUR Compact Disc 011661170520 011661170520 CD1717 VAR/T ALAN LOMAX:GROWLING TIGE Compact Disc 011661171725 011661171725 CD201301 DE PALMA,G/JAZZINHO/VELUDO Compact Disc 7266703486234 7266703486234 CD69832 STARR,L/FRENCH SONGS Compact Disc 075026983224 075026983224 CD69859 R.WAKEMAN/T SIX WIVES OF HENRY Compact Disc 075026985921 075026985921 CD69878 STYX/GRAND ILLUSION Compact Disc 075026987826 075026987826 CD69886 S.TERRY&MCGEE/SONNY & MCGEE Compact Disc 075026988625 075026988625 CD69922 BAEZ,J/BEST OF JO AN BAEZ Compact Disc 075026992226 075026992226 CD69923 J.COCKER/GREATEST HITS Compact Disc 770301992327 770301992327 CD69988 OST/PRETTY IN PINK Compact Disc 075026998822 075026998822 CD80071 DEBUSSY/LA MER;PRELUDE A L'APR Compact Disc 089408007125 089408007125 CD80124 TCH/P CON NO.1 - PRO/P CON 3 Compact Disc 089408012426 089408012426 CD80127 BACH/ORGAN @ HILDESHEIM/MURRAY Compact Disc 089408012723 089408012723 CD80149 FALLA/THE THREE CORNE RED HAT;H Compact Disc 089408014925 0894080149257 70301 99232 70 75026 98322 4 0 75026 98592 1 0 75026 98782 6 0 75026 98862 5 0 75026 99222 6 0 75026 99882 27 266703 486234 0 13431 52082 50 13431 48372 4 0 13431 48562 9 0 13431 48932 0 0 13431 49422 5 0 13431 49732 5 0 13431 53072 5 0 13431 49332 7 0 13431 85032 8 0 13431 90012 2 0 13431 90362 8 0 11661 04242 10 11661 04112 7 0 11661 17042 1 0 11661 17052 0 0 11661 17172 5 0 89408 01492 50 89408 00712 5 0 89408 01272 30 89408 01242 60 13431 70169 9 0 13431 90082 5Catalogue Numb er Artist & Title Description Configuration Scannable UPC UPC CD80221 KUNZEL/CLASSICS:SILVER SCREEN Compact Disc 089408022128 089408022128 CD80244 BRUCKNER/SYM 4/LOPEZ-COBOS Compact Disc 089408024429 089408024429 CD80265 SMETENABENDRI/MA VLAST Compact Disc 089408026522 089408026522 CD80286 BACH/BACH AT ST. BAVO'S Compact Disc 089408028625 089408028625 CD80299 BRUCKNER/SYM 9/LOPEZ-COBOS Compact Disc 089408029929 089408029929 CD80372 SCHOENBERG/VERKLARTE NACHT, PE Compact Disc 089408037221 089408037221 CD80384 INVISIBLE CITIES/OUINK Compact Disc 089408038426 089408038426 CD80391 AUTUMN-SONGS/O'CONOR Compact Disc 089408039126 089408039126 CD80412 BACH/BRANDEN CTO/BOSTON Compact Disc 089408041228 089408041228 CD80414 BEET/STR QRT OP18/CLEVELAND Compact Disc 089408041426 089408041426 CD80418 SKY-MUSIC/YOLANDA KONDONASSIS Compact Disc 089408041822 089408041822 CD80420 MOZART/DON GIOVANNI Compact Disc 089408042027 089408042027 CD80468 PLAY-BALL!/KUNZEL Compact Disc 089408046827 089408046827 CD80474 VAR/NATURE OF AMERICA Compact Disc 089408047428 089408047428 CD80476 SYMPHONIC-ROCK/AME RICAN/LSO Compact Disc 089408047626 089408047626 CD80525 GIULIANI/MUSIC OF/RUSSELL Compact Disc 089408052521 089408052521 CD80527 MAHLER/SYM NO.9 Compact Disc 089408052729 089408052729 CD80609 GLIERE/SYMPHONY NO.3 Compact Disc 089408060922 089408060922 CD80634 SAINT-SAENS/SYMPHONY NO 3;VARI Compact Disc 089408063428 089408063428 CD80667 CELTICTENORS/REMEMBER ME Compact Disc 089408066726 089408066726 CD83305 SPIES/BY WAY OF T WORLD Compact Disc 089408330520 089408330520 CD83396 REID,S/WATER SIGN Compact Disc 089408339622 089408339622 CD83404 HAMILTON,E/PATH TO T HEARTLAND Compact Disc 089408340420 089408340420 CD83521 VAR/SONGS OF ROBERT JOHNSON Compact Disc 089408352126 089408352126 CD83523 NEAL,K/ONE STEP CLOSER Compact Disc 089408352324 089408352324 CD83528 MCCLAIN,S/SWEET DREAMS Compact Disc 089408352829 089408352829 CD83538 VAR/LABOUR OF LOVE, TRIBUTE TO Compact Disc 089408353826 089408353826 CD83598 ALLEN,G/THE LIFE OF A SONG Compact Disc 089408359828 089408359828 CD83606 BENTYN,C/LET ME OFF UPTOWN Compact Disc 089408360626 089408360626 CD83608 ELLIS,T/THE HARD WAY Compact Disc 089408360824 0894083608240 89408 03912 60 89408 02212 8 0 89408 02442 9 0 89408 02992 9 0 89408 03722 1 0 89408 03842 6 0 89408 04122 8 0 89408 04142 6 0 89408 04202 7 0 89408 04682 7 0 89408 04742 8 0 89408 04762 6 0 89408 05272 9 0 89408 06342 80 89408 02652 2 0 89408 02862 5 0 89408 04182 2 0 89408 05252 1 0 89408 06092 2 0 89408 33052 0 0 89408 33962 2 0 89408 34042 0 0 89408 35212 6 0 89408 35232 40 89408 06672 6 0 89408 35282 9 0 89408 35382 6 0 89408 35982 8 0 89408 36062 6 0 89408 36082 4Catalogue Numb er Artist & Title Description Configuration Scannable UPC UPC CD83617 PETERSON,O/A NIGHT IN VIENNA Compact Disc 089408361722 089408361722 CD83619 BIBB,E/FRIENDS Compact Disc 089408361920 089408361920 CD83632 RANGLIN,E/SURFIN' Compact Disc 089408363221 089408363221 CD8558 VAR/25 GREATEST BLUEGRASS HIT Compact Disc 027297855823 027297855823 CD9045 VAR/50 YRS OF BLUEGRASS V1 Compact Disc 027297904521 027297904521 CD9046 VAR/50 YRS OF BLUEGRASS V2 Compact Disc 027297904620 027297904620 CD9048 VAR/50 YRS OF BLUEGRASS V4 Compact Disc 027297904828 027297904828 CDAN25 VAR/25 YEARS OF ROUNDER RECORD Compact Disc 011661852525 011661852525 CDBB66001 ROOMFUL OF BLUES/TURN IT ON! T Compact Disc Enhanced 712136600121 712136600121 CDBB9560 KUBEK,SMOKIN-JOE/CRYIN FOR T M Compact Disc 011661956025 011661956025 CDBBAN27 VAR/NEW BLUES HITS FR.BULLSEYE Compact Disc 011661852723 011661852723 CDBEYE9502 DUPREE,C/BACK HOME IN N Compact Disc 011661950221 011661950221 CDBEYE9504 HINTON, EDDIE /CRY AND MOAN Compact Disc 011661950429 011661950429 CDBEYE9505 MOONEY,J/LATE L AST NIGHT Compact Disc 011661950528 011661950528 CDBEYE9518 BUTLER, GEORGE /THESE MEAN OLD Compact Disc 011661951822 011661951822 CDBEYE9519 OMAR/BLUES BAG Compact Disc 011661951921 011661951921 CDBEYE9521 BROWN, CHARLES /JUST A LUCKY S Compact Disc 011661952126 011661952126 CDBEYE9522 DUPREE,C/ONE LAST TIME Compact Disc 011661952225 011661952225 CDBEYE9528 HINTON, EDDIE /VERY BLUE HIGH Compact Disc 011661952829 011661952829 CDBEYE9532 LEVY,R/B-3 BLU ES & GROOVES Co mpact Disc 011661953222 011661953222 CDBEYE9542 LAURY,B/NOTHIN' BUT THE BLUES Compact Disc 011661954229 011661954229 CDBEYE9545 SHANNON,P/BREAK THE ICE Compact Disc 011661954526 011661954526 CDBEYE9550 WILLSON, MICHEL/EVIL GAL BLUES Compact Disc 011661955028 011661955028 CDBEYE9559 WILSON, SMOKEY /THE REAL DEAL Compact Disc 011661955929 011661955929 CDBEYE9575 SHANNON,P/MIDNIGHT IN MEMPHIS Compact Disc 011661957527 011661957527 CDBEYE9576 PERSUASIONS/SI NCERELY Compact Disc 011661957626 011661957626 CDBEYE9588 JONES, ANDREW J/I NEED TIME Compact Disc 011661958821 011661958821 CDBOG003 PEATBOG FAERIES/WHAT MEN DESER Compact Disc 5031642629620 5031642629620 CDBOG005 PEATBOG FAERIES/PEATB OG FAERIE Compact Disc 5031642631227 5031642631227 CDED7017 VAR/BIG CITY BLUES WEST COAST Compact Disc 712136701729 7121367017290 27297 85582 3 0 27297 90452 1 0 27297 90462 0 0 27297 90482 8 5 031642 629620 5 031642 631227 0 11661 85252 5 7 12136 70172 90 11661 95602 5 0 11661 85272 3 0 11661 95022 1 0 11661 95042 9 0 11661 95052 8 0 11661 95182 2 0 11661 95192 1 0 11661 95212 6 0 11661 95222 5 0 11661 95282 9 0 11661 95322 2 0 11661 95422 9 0 11661 95452 6 0 11661 95502 8 0 11661 95592 9 0 11661 95752 7 0 11661 95762 6 0 11661 95882 10 89408 36172 2 0 89408 36322 10 89408 36192 0 7 12136 60012 1Catalogue Numb er Artist & Title Description Configuration Scannable UPC UPC CDED7019 VAR/BLUES T-BONE STYLE Compact Disc 712136701927 712136701927 CDED7023 VAR/BLUES HARP GREATS Compact Disc 712136702320 712136702320 CDED7027 VAR/BLUES AFTER HOURS: INSTRUM Compact Disc 712136702726 712136702726 CDED7031 VAR/CAJUN MUSIC INSTRUMENTALS Compact Disc 712136703129 712136703129 CDED7036 VAR/SURF GUITAR GREATS Compact Disc 712136703624 712136703624 CDED7039 VAR/TEX-MEX FIESTA Compact Disc 712136703921 712136703921 CDED7040 PULIDO,R/ROBERTO PULIDOY LOS C Compact Disc 712136704027 712136704027 CDED7043 VAR/CAJUN COOKIN' Compact Disc 712136704324 712136704324 CDED7044 VAR/BAYOU HOT SAUCE Compact Disc 712136704423 712136704423 CDED7045 VAR/ZYDECO PARTY Compact Disc 712136704522 712136704522 CDED7047 VAR/BLUES SAX POWER Compact Disc 712136704720 712136704720 CDED7048 VAR/BLUES HARP POWER Compact Disc 712136704829 712136704829 CDED7049 VAR/BLUES GUITAR DUELS Compact Disc 712136704928 712136704928 CDED7057 VAR/BLUE CAT BLUES INSTRUMENTA Compact Disc 712136705727 712136705727 CDEDIS7061 VARIOUS ARTISTS/BLUES ORGAN GR Compact Disc 712136706120 712136706120 CDEDIS7066 VARIOUS ARTISTS/BLUES CROSSROA Compact Disc 712136706625 712136706625 CDEDIS9011 VARIOUS ARTISTS/CE LTIC WINDS: Compact Disc 712136901129 712136901129 CDEDIS9014 VARIOUS ARTISTS/BL UEGRASS BREA Compact Disc 712136901426 712136901426 CDFF670 MALLETT,D/PARALLEL LIVES Compact Disc 018964067021 018964067021 CDFLY003 MARTIN BOGAN & ARMS TRONG/MARTI Compact Disc 018964000325 018964000325 CDFLY012 MARTIN,B/TENNESSEE JUBI Compact Disc 018964001223 018964001223 CDFLY022 SWEET HONEY IN /SWEET HONEY IN Compact Disc 018964002220 018964002220 CDFLY029 AULDRIDGE,M/MIKE AULDRIDGE Compact Disc 018964002923 018964002923 CDFLY068 VARIOUS ARTISTS/THE FESTIVAL T Compact Disc 018964006822 018964006822 CDFLY071 ROWAN,P/PETER ROWAN Compact Disc 018964007126 018964007126 CDFLY077 VENUTI, JOE /JOE IN CHICAGO Compact Disc 018964007720 018964007720 CDFLY083 NEW GRASS REVIVAL/BARREN COUNT Compact Disc 018964008321 018964008321 CDFLY091 BOWERS, BRYAN /HOME, HOME ON Compact Disc 018964009120 018964009120 CDFLY094 AMRAM,D/AT HOME - AROUND THE W Compact Disc 018964009427 018964009427 CDFLY097 NASHVILLE SUPERPICKERS/LIVE FR Compact Disc 018604009725 0186040097257 12136 70232 0 7 12136 70402 7 7 12136 70482 9 0 18964 06702 17 12136 70192 7 7 12136 70272 6 7 12136 70312 9 7 12136 70362 4 7 12136 70392 1 7 12136 70432 4 7 12136 70442 3 7 12136 70452 2 7 12136 70472 0 7 12136 70492 8 7 12136 70572 7 7 12136 70612 0 7 12136 70662 5 7 12136 90112 9 7 12136 90142 6 0 18964 00032 5 0 18964 00122 3 0 18964 00222 0 0 18964 00292 3 0 18964 00682 2 0 18964 00712 6 0 18964 00772 0 0 18964 00832 1 0 18964 00912 0 0 18964 00942 7 0 18604 00972 5Catalogue Numb er Artist & Title Description Configuration Scannable UPC UPC CDFLY104 SEEGER,P/CARRY IT ON -- SONGS Compact Disc 018964010423 018964010423 CDFLY206 HOT RIZE /HOT RIZE Compact Disc 018964020620 018964020620 CDFLY227 BERLINE, BYRON /OUTRAGEOUS Compact Disc 018964022723 018964022723 CDFLY303 FIDDLE FEVER /WALTZ OF THE W Compact Disc 018964030322 018964030322 CDFLY311 BOGLE, ERIC /SCRAPS OF PAPE Compact Disc 018964031121 018964031121 CDFLY329 CARAWAN, GUY & /APPALACHIAN AN Compact Disc 018964032920 018964032920 CDFLY361 SCHMIDT,C/OUT OF TH E DARK (198 Compact Disc 018964036126 018964036126 CDFLY375 SWEET HONEY IN /FEEL SOMETHING Compact Disc 018964037529 018964037529 CDFLY406 LEWIS,L/RESTLESS RAMBLING HEAR Compact Disc 018964040628 018964040628 CDFLY409 ROGERS,S/T UNCLAIMED PINT-IN T Compact Disc 018964040925 018964040925 CDFLY419 POST,J/JIM POST & FRIENDS Compact Disc 018964041922 018964041922 CDFLY463 FLOR DE CAA /¡MUEVETE! (MOV Compact Disc 018964046323 018964046323 CDFLY466 RENBOURN,J/JOHN RENBOURN'S SHI Compact Disc 018964046620 018964046620 CDFLY472 MITTERHOFF,B/SILK CITY Compact Disc 018964047221 018964047221 CDFLY487 LEWIS,L/LOVE CHOOSES YOU Compact Disc 018964048723 018964048723 CDFLY495 FRANKE,B/BRIEF HISTORIES Compact Disc 018964049522 018964049522 CDFLY503 YOLOCAMBA I TA /CARA O CRUZ (H Compact Disc 018964050320 018964050320 CDFLY518 CAMPI, RAY /W ITH FRIENDS I Compact Disc 018964051822 018964051822 CDFLY522 VARIOUS ARTISTS/THE HEART OF S Compact Disc 018964052225 018964052225 CDFLY527 BOULDING, PHILI/HARP -- SONG F Compact Disc 018964052720 018964052720 CDFLY531 MAGICAL STRINGS/CROSSING TO SK Compact Disc 018964053123 018964053123 CDFLY539 BASIN BROTHERS/LET'S GET CAJUN Compact Disc 018964053925 018964053925 CDFLY540 FREE HOT LUNCH /EAT THIS Compact Disc 018964054021 018964054021 CDFLY555 GLASER, MATT QU/PLAY, FIDDLE, Compact Disc 018964055523 018964055523 CDFLY557 ARMSTRONG,F&D V/LET NO ONE DEC Compact Disc 018964055721 018964055721 CDFLY566 HARTFORD, JOHN /HARTFORD & HAR Compact Disc 018964056629 018964056629 CDFLY592 CLEMENTS, V/ONCE IN A WHILE Compact Disc 018964059224 018964059224 CDFLY623 SATAN & ADAM/MOTHER MOJO Compact Disc 018964062323 018964062323 CDFLY630 SANABRIA,B/¡NEW YORK CITY Compact Disc 018964063023 018964063023 CDFLY631 MAGICAL STRINGS/BELL OFF THE L Compact Disc 018964063122 0189640631220 18964 01042 3 0 18964 02062 0 0 18964 02272 3 0 18964 03032 2 0 18964 03112 1 0 18964 03292 0 0 18964 03612 6 0 18964 03752 9 0 18964 04062 8 0 18964 04092 5 0 18964 04192 2 0 18964 04632 3 0 18964 04662 0 0 18964 04722 1 0 18964 04872 3 0 18964 04952 2 0 18964 05032 0 0 18964 05182 2 0 18964 05222 5 0 18964 05272 0 0 18964 05312 3 0 18964 05392 5 0 18964 05402 1 0 18964 05552 3 0 18964 05572 1 0 18964 05662 9 0 18964 05922 4 0 18964 06232 3 0 18964 06302 3 0 18964 06312 2Catalogue Numb er Artist & Title Description Configuration Scannable UPC UPC CDFLY632 NORTHERN LIGHTS/WRONG HIGHWAY Compact Disc 018964063221 018964063221 CDFLY637 HERDMAN, PRISCI/FOREVER & ALWA Compact Disc 018964063726 018964063726 CDFLY644 CARR, JOE & ALA/WINDY DAYS AND Compact Disc 018964064426 018964064426 CDFLY651 WATSON, DOC & M/WATSON COUNTRY Compact Disc 018964065126 018964065126 CDFLY671 HILLS, ANNE & C/NEVER GROW UP Compact Disc 018964067120 018964067120 CDFLY673 MICHAEL,W/HAMMERE D DULCIMER Compact Disc 018964067328 018964067328 CDHB144 ROSE,M/MICHAEL ROSE Compact Disc 011661764422 011661764422 CDHB3603 VAR/REGGAE'S GREATEST VOL.3 Compact Disc 011661360327 011661360327 CDHB3605 VAR/REGGAE'S GREATEST VOL.5 Compact Disc 011661360525 011661360525 CDHB3606 VAR/REGGAE'S GREATEST VOL.6 Compact Disc 011661360624 011661360624 CDHBEA08 BIG YOUTH /THE CHANTING D Compact Disc 011661750821 011661750821 CDHBEA106 ELLIS, ALTON /CRY TOUGH Compact Disc 011661760622 011661760622 CDHBEA115 JAH MESSENGERS /RE GGAE TIME Compact Disc 011661761520 011661761520 CDHBEA11554 GRIFFITHS, ALBE/A WHOLE HEAP Compact Disc 011661155428 011661155428 CDHBEA118 VARIOUS ARTISTS/REGGAE CHRISTM Compact Disc 011661761827 011661761827 CDHBEA127 ETHIOPIANS /OWNER FE DE YA Compact Disc 011661762725 011661762725 CDHBEA128 HEPTONES /SEA OF LOVE Compact Disc 011661762824 011661762824 CDHBEA169 BLENDER, EVERTO/LI FT UP YOUR H Compact Disc 011661766921 011661766921 CDHBEA170 MORGAN,D/SKA MAN CLASSICS Compact Disc 011661767027 011661767027 CDHBEA173 CULTURE /CULTURE IN DUB Compact Disc 011661767324 011661767324 CDHBEA20 VARIOUS ARTISTS/CHURCHICAL CHA Compact Disc 011661752023 011661752023 CDHBEA205 HAMMOND, BERES /GETTING STRONG Compact Disc 011661770522 011661770522 CDHBEA206 MINOTT,S/COLLECTOR'S COLLECTIO Compact Disc 011661770621 011661770621 CDHBEA208 BYLES, JUNIOR /CURLY LOCKS: T Compact Disc 011661770829 011661770829 CDHBEA213 SISTER CAROL/LYRICALLY POTENT Compact Disc 011661771321 011661771321 CDHBEA22 BURNING SPEAR /THE FITTEST OF Compact Disc 011661752221 011661752221 CDHBEA3506 TERMITES /DO THE ROCK ST Compact Disc 011661350625 011661350625 CDHBEA3507 WILSON, DELROY /BEST OF -- ORI Compact Disc 011661350724 011661350724 CDHBEA3513 OSBOURNE,J/TRUTHS AND RIGTS Compact Disc 011661351325 011661351325 CDHBEA37 PERRY,L/SOME OF THE BEST Compact Disc 011661753723 0116617537230 11661 76442 2 0 11661 36032 70 18964 06322 1 0 18964 06372 6 0 18964 06442 6 0 18964 06512 6 0 18964 06712 0 0 18964 06732 8 0 11661 36052 5 0 11661 36062 4 0 11661 75082 1 0 11661 76062 2 0 11661 76152 0 0 11661 15542 8 0 11661 76182 7 0 11661 76272 5 0 11661 76282 4 0 11661 76692 1 0 11661 76702 7 0 11661 76732 4 0 11661 75202 3 0 11661 77052 2 0 11661 77062 1 0 11661 77082 9 0 11661 77132 1 0 11661 75222 1 0 11661 35062 5 0 11661 35072 4 0 11661 35132 5 0 11661 75372 3Catalogue Numb er Artist & Title Description Configuration Scannable UPC UPC CDHBEA39 SLY & ROBBIE/TAXI FARE Compact Disc 011661753921 011661753921 CDHBEA46 BIG YOUTH /MANIFESTATION Compact Disc 011661754621 011661754621 CDHBEA58 HARRIOTT, DERRI/RIDING THE MUS Compact Disc 011661755826 011661755826 CDHBEA65 PERRY,L/LORD GOD MUZICK Compact Disc 011661756526 011661756526 CDHBEA71 ECCLES, CLANCY /CLANCY ECCLES Compact Disc 011661757127 011661757127 CDHBEA93 SISTER CAROL/CALL MI SISTER CA Compact Disc 011661759329 011661759329 CDHBEA95 REID,D/DUKE REID'S TREASURE CH Compact Disc 011661759527 011661759527 CDHBEAAN13 VARIOUS ARTISTS/REGGAE CULTURE Compact Disc 011661851320 011661851320 CDPH1201 S.CLEAVES/NO ANGE L KNOWS Compact Disc 011671120126 011671120126 CDPHIL1011 MCCASLIN,M/WAY OUT WEST Compact Disc 011671101125 011671101125 CDPHIL1024 MCCASLIN,M/PRAIRIE IN THE SKY Compact Disc 011671102429 011671102429 CDPHIL1036 VAN RONK, DAVE /SUNDAY STREET Compact Disc 018964103620 018964103620 CDPHIL1076 PHILLIPS,U/WE HAVE FED YOU ALL Compact Disc 011671107622 011671107622 CDPHIL1126 REDPATH,J/SONGS OF ROBERT BURN Compact Disc 011671112626 011671112626 CDPHIL1127 MOFFATT,H/TROUBADOUR Compact Disc 011671112725 011671112725 CDPHIL1128 MOFFATT,K/WALKIN' ON THE MOON Compact Disc 011671112824 011671112824 CDPHIL1145 MORRISSEY,B/INSIDE Compact Disc 011671114521 011671114521 CDPHIL1149 MCCASLIN,M/THE BEST OF MARY MC Compact Disc 011671114927 011671114927 CDPHIL1164 FORSTER, JOHN /ENTERING MARIO Compact Disc 011671116426 011671116426 CDPHIL1188 REDPATH,J/THE SONGS OF ROBERT Compact Disc 011671118826 011671118826 CDPHIL1189 REDPATH,J/THE SONGS OF ROBERT Compact Disc 011671118925 011671118925 CDPHIL1191 PAUL,E/A CARNIVAL OF VOICES Compact Disc 011671119120 011671119120 CDPHIL9006 ANCIENT FUTURE/NAT URAL RHYTHM Compact Disc 011671900629 011671900629 CDROUN0011 TAYLOR, TUT /FRIAR TUT Compact Disc 011661001121 011661001121 CDROUN0028 BALL,E.C. & OTHERS/HIGH ATMOSP Compact Disc 011661002821 011661002821 CDROUN0054 DICKENS, HAZEL /HAZEL DICKENS Compact Disc 011661005426 011661005426 CDROUN0084 KEITH, BILL /SOMETHING AULD Compact Disc 011661008427 011661008427 CDROUN0102 RIDERS IN T SKY/THREE ON TRAIL Compact Disc 011661010222 011661010222 CDROUN0137 O'CONNOR,M/SOPPIN' THE GRAVY Compact Disc 011661013728 011661013728 CDROUN0171 TRISCHKA, TONY /A ROBOT PLANE Compact Disc 011661017122 0116610171220 11671 11642 60 11661 75392 1 0 11661 75462 1 0 11661 75582 6 0 11661 75652 6 0 11661 75712 7 0 11661 75932 9 0 11661 75952 7 0 11661 85132 0 0 11671 12012 6 0 11671 10112 5 0 11671 10242 9 0 18964 10362 0 0 11671 10762 2 0 11671 11262 6 0 11671 11272 5 0 11671 11282 4 0 11671 11452 1 0 11671 11492 7 0 11671 11882 6 0 11671 11892 5 0 11671 11912 0 0 11671 90062 9 0 11661 00112 1 0 11661 00282 1 0 11661 00542 6 0 11661 00842 7 0 11661 01022 2 0 11661 01372 8 0 11661 01712 2Catalogue Numb er Artist & Title Description Configuration Scannable UPC UPC CDROUN0177 DREADFUL SNAKES/THE DREADFUL S Compact Disc 011661017726 011661017726 CDROUN0191 JOHNSON MOUNTAI/LIVE AT THE BI Compact Disc 011661019126 011661019126 CDROUN0192 MCCUTCHEON,J/WINTER SOLSTICE Compact Disc 011661019225 011661019225 CDROUN0195 BUSH, SAM /LATE AS USUAL Compact Disc 011661019522 011661019522 CDROUN0202 CROWE, J.D. & T/STRAIGHT AHEAD Compact Disc 011661020221 011661020221 CDROUN0225 JOHNSON MOUNTAI/LET THE WHOLE Compact Disc 011661022522 011661022522 CDROUN0249 BARENBERG,R/MOVING PICTURES Compact Disc 011661024922 011661024922 CDROUN0251 GRISMAN, DAVID /HOME IS WHERE Compact Disc 011661025127 011661025127 CDROUN0254 BLAKE, NORMAN &/BLIND DOG Compact Disc 011661025424 011661025424 CDROUN0256 RICE BROTHERS /THE RICE BROTH Compact Disc 011661025622 011661025622 CDROUN0277 FURTADO, TONY /SWAMPED Compact Disc 011661027725 011661027725 CDROUN0286 RICE BROTHERS /RICE BROTHERS Compact Disc 011661028623 011661028623 CDROUN0301 MUNDE,A/BLUE RIDGE EXPRESS Compact Disc 011661030121 011661030121 CDROUN0305 KING, JAMES /THESE OLD PICT Compact Disc 011661030527 011661030527 CDROUN0309 GRIER, DAVID /LONE SOLDIER Compact Disc 011661030923 011661030923 CDROUN0318 LEWIS,L & KALLI,K/TOGETHER Compact Disc 011661031821 011661031821 CDROUN0328 MORRIS,L/MAMA'S HAND Compact Disc 011661032828 011661032828 CDROUN0361 MOLSKY,B/LOST BOY Compact Disc 011661036123 011661036123 CDROUN0367 KOKEN, WALT /HEI-WA HOEDOWN Compact Disc 011661036727 011661036727 CDROUN0414 WILLIAMS, PAUL /AIN'T GOD GOOD Compac t Disc 011661041424 011661041424 CDROUN0435 VARIOUS ARTISTS/TRADITIONAL FI Compact Disc 018964443528 018964443528 CDROUN0439 VARIOUS ARTISTS/THE NORTH CARO Compact Disc 011661043923 011661043923 CDROUN0444 POWELL,D/HAND ME DOWN Compact Disc 018964444426 018964444426 CDROUN0539 ADAMS,T & CLEVELAND/LIVE AT TH Compact Disc 682161053929 682161053929 CDROUN1021 CLIFTON, BILL /THE EARLY YEAR Compact Disc 011661102125 011661102125 CDROUN1046 LEADBELLY/LET IT SHINE ON ME - Compact Disc 011661104624 011661104624 CDROUN1050 VARIOUS ARTISTS/EARLY MANDOLIN Compact Disc 011661105027 011661105027 CDROUN1053 VARIOUS ARTISTS/VINTAGE HAWAII Compact Disc 011661105324 011661105324 CDROUN1077 ATILLA T HUN&OTHERS/CALYPSO CA Compact Disc 011661107724 011661107724 CDROUN1088 VARIOUS ARTISTS/AFRO-CUBA: A M Compact Disc 011661108820 0116611088200 11661 01772 6 0 11661 01912 6 0 11661 01922 5 0 11661 01952 2 0 11661 02022 1 0 11661 02252 2 0 11661 02492 2 0 11661 02512 7 0 11661 02542 4 0 11661 02562 2 0 11661 02772 5 0 11661 02862 3 0 11661 03012 1 0 11661 03052 7 0 11661 03092 3 0 11661 03182 1 0 11661 03282 8 0 11661 03612 3 0 11661 03672 7 0 11661 04142 4 0 18964 44352 8 0 11661 04392 3 0 18964 44442 6 6 82161 05392 9 0 11661 10212 5 0 11661 10462 4 0 11661 10502 7 0 11661 10532 4 0 11661 10772 4 0 11661 10882 0Catalogue Numb er Artist & Title Description Configuration Scannable UPC UPC CDROUN1089 VARIOUS ARTISTS/KLEZMER PIONEE Compact Disc 011661108929 011661108929 CDROUN1092 MORTON,JR/THE ANAMULE DANCE Compact Disc 011661109223 011661109223 CDROUN1093 MORTON,JR/THE PEARLS: THE LIBR Compact Disc 011661109322 011661109322 CDROUN1094 MORTON,JR/WININ' BOY BLUES Compact Disc 011661109421 011661109421 CDROUN1124 TSITSANIS, VASS/1936-1946 Compact Disc 011661112421 011661112421 CDROUN1133 HALEY, ED /VOLUME 2, GREY Compact Disc 011661113329 011661113329 CDROUN11504 COPELAND, JOHNN/TEXAS TWISTER Compact Disc 011661150423 011661150423 CDROUN11505 BLAKE, NORMAN &/THE NORMAN AND Compact Disc 011661150522 011661150522 CDROUN11519 DRY BRANCH FIRE/TRIED & TRUE Compact Disc 011661151925 011661151925 CDROUN11520 WOODSTOCK MOUNT/WOODSTOCK MOUN Compact Disc 011661152021 011661152021 CDROUN11534 BARENBERG,R/HALLOWEEN REHEARSA Compact Disc 011661153424 011661153424 CDROUN11535 DOUGLAS, JERRY /EVERYTHING IS Compact Disc 011661153523 011661153523 CDROUN11536 BLUE SKY BOYS /IN CONCERT, 19 Compact Disc 011661153622 011661153622 CDROUN11538 ROTH,A/GUITAR Compact Disc 011661153820 011661153820 CDROUN11557 BROZMAN, BOB /DEVIL'S SLIDE Compact Disc 011661155725 011661155725 CDROUN11571 FUZZY MOUNTAIN /THE FUZZY MOUN Compact Disc 011661157125 011661157125 CDROUN11580 STAINES,B/THE FIRST MILLION Compact Disc 011661158023 011661158023 CDROUN1511 VARIOUS ARTISTS/ANGLO-AMERICAN Compact Disc 018964151126 018964151126 CDROUN1723 VAR/CARIBBEAN VOYAGE:EAST INDI Compact Disc 011661172326 011661172326 CDROUN1730 VAR/CARIBBEAN VOYAGE:MARTINIQU Compact Disc 011661173026 011661173026 CDROUN1840 LORD INVADER & DUKE/CALYPSO AT Compact Disc 011661184022 011661184022 CDROUN2020 SHINES,J/HEY BA-BA-RE-BOP Compact Disc 011661202023 011661202023 CDROUN2044 ADAMS,J/FROM THE HEART Compact Disc 011661204423 011661204423 CDROUN2049 ADAMS,J/AFTER DARK Compact Disc 011661204928 011661204928 CDROUN2053 BURKE, SOLOMON /A CHANGE IS GO Compact Disc 011661205321 011661205321 CDROUN2069 CHAVIS, BOOZOO /ZYDECO LIVE!, Compact Disc 011661206922 011661206922 CDROUN2070 DELAFOSE, JOHN /ZYDECO LIVE!, Compact Disc 011661207028 011661207028 CDROUN2075 VARIOUS ARTISTS/CARNIVAL TIME! Compact Disc 011661207523 011661207523 CDROUN2077 BO, EDDIE /CHECK MR. POPE Compact Disc 011661207721 011661207721 CDROUN2080 LANG,E & OTHERS/TROUBLES, TROU Compact Disc 011661208025 0116612080250 11661 10892 9 0 11661 10922 3 0 11661 10932 2 0 11661 10942 1 0 11661 11242 1 0 11661 11332 9 0 11661 15042 3 0 11661 15052 2 0 11661 15192 5 0 11661 15202 1 0 11661 15342 4 0 11661 15352 3 0 11661 15362 2 0 11661 15382 0 0 11661 15572 5 0 11661 15712 5 0 11661 15802 3 0 18964 15112 6 0 11661 17232 6 0 11661 17302 6 0 11661 18402 2 0 11661 20202 3 0 11661 20442 3 0 11661 20492 8 0 11661 20532 1 0 11661 20692 2 0 11661 20702 8 0 11661 20752 3 0 11661 20772 1 0 11661 20802 5Catalogue Numb er Artist & Title Description Configuration Scannable UPC UPC CDROUN2088 FULSON, LOWELL /IT'S A GOOD DA Com pact Di sc 011661208827 011661208827 CDROUN2090 TORKANOWSKY, DA/STEPPIN' OUT Compact Disc 011661209022 011661209022 CDROUN2093 REBIRTH BRASS BAND/FEEL LIKE F Compact Disc 011661209329 011661209329 CDROUN2106 REBIRTH BRASS BAND/REBIRTH KIC Compact Disc 011661210622 011661210622 CDROUN2145 ADAMS,J W/MOOD INDIGO Compact Disc 011661214521 011661214521 CDROUN2161 THOMPSON, JOE /FAMILY TRADITI Compact Disc 018964216122 018964216122 CDROUN3053 PERSUASIONS/ GOOD NEWS Com pact Di sc 011661305328 011661305328 CDROUN3061 BLOCK, RORY /HIGH HEELED BL Compact Disc 011661306127 011661306127 CDROUN3076 WAINWRIGHT, LOU/FAME & WEALTH Compact Disc 011661307629 011661307629 CDROUN3085 BLOCK, RORY /RHINESTONES & Compact Disc 011661308527 011661308527 CDROUN3096 WAINWRIGHT, LOU/I'M ALRIGHT Compact Disc 011661309623 011661309623 CDROUN3097 BLOCK, RORY /I'VE GOT A ROC Compact Disc 011661309722 011661309722 CDROUN3106 WAINWRIGHT, LOU/MORE LOVE SONG Compact Disc 011661310629 011661310629 CDROUN3108 NRBQ/GOD BLESS US ALL Compact Disc 011661310827 011661310827 CDROUN3109 NRBQ/DIGGIN' UNCLE Q Compact Disc 011661310926 011661310926 CDROUN3110 BROMBERG, DAVID/SIDEMAN SERENA Compact Disc 011661311022 011661311022 CDROUN3119 BROZMAN, BOB /A TRUCKLOAD OF Compact Disc 011661311923 011661311923 CDROUN3137 CURLESS, DICK /TRAVELING THRO Compact Disc 011661313729 011661313729 CDROUN3142 LABEEF,S/I'LL NEVER LAY MY GUI Compact Disc 011661314221 011661314221 CDROUN3163 HOLY MODAL ROUN/TOO MUCH FUN Compact Disc 018964316327 018964316327 CDROUN5001 KONTE, ALHAJI B/KORA MELODIES Compact Disc 011661500129 011661500129 CDROUN5017 VARIOUS ARTISTS/JUJU ROOTS: 19 Compact Disc 011661501720 011661501720 CDROUN5026 BOYOYO BOYS /BACK IN TOWN Compact Disc 011661502628 011661502628 CDROUN5028 VARIOUS ARTISTS/HOMELAND 2 -- Compact Disc 011661502826 011661502826 CDROUN5029 REAL SOUNDS/WENDE ZAKO Compact Disc 011661502925 011661502925 CDROUN5036 BOYOYO BOYS /TJ TODAY Compact Disc 011661503625 011661503625 CDROUN5059 ROCHEREAU,T/MUZINA Compact Disc 011661505926 011661505926 CDROUN5076 FADELA & SAHRAW/WALLI Compact Disc 011661507623 011661507623 CDROUN5106 VAR/ANTHOLOGY OF WORLD MUSIC:R Compact Disc 018964510626 018964510626 CDROUN5119 VARIOUS ARTISTS/ANTHOLOGY OF W Compact Disc 018964511920 0189645119200 11661 20882 7 0 11661 20902 2 0 11661 20932 9 0 11661 21062 2 0 11661 21452 1 0 18964 21612 2 0 11661 30532 8 0 11661 30612 7 0 11661 30762 9 0 11661 30852 7 0 11661 30962 3 0 11661 30972 2 0 11661 31062 9 0 11661 31082 7 0 11661 31092 6 0 11661 31102 2 0 11661 31192 3 0 11661 31372 9 0 11661 31422 1 0 18964 31632 7 0 11661 50012 9 0 11661 50172 0 0 11661 50262 8 0 11661 50282 6 0 11661 50292 5 0 11661 50362 5 0 11661 50592 6 0 11661 50762 3 0 18964 51062 6 0 18964 51192 0Catalogue Numb er Artist & Title Description Configuration Scannable UPC UPC CDROUN5156 VARIOUS ARTISTS/MUSIC FROM YEM Compact Disc 018964515621 018964515621 CDROUN6013 LEJEUNE,E/CAJUN SOUL Compact Disc 011661601321 011661601321 CDROUN6024 VARIOUS ARTISTS/CONJUNTO ! (D6 Compact Disc 011661602427 011661602427 CDROUN6026 DAIGREPONT, BRU/COEUR DES CAJU Compact Disc 011661602625 011661602625 CDROUN6032 JIMENEZ, FLACO /ARRIBA EL NORT Compact Disc 011661603226 011661603226 CDROUN6039 NEWMAN,JC/THE ALLIGATOR MAN Compact Disc 011661603929 011661603929 CDROUN6054 ZLATNE USTE BAL/NO STRINGS ATT Compact Disc 011661605428 011661605428 CDROUN7018 FERREL, FRANK /BOSTON FIDDLE: Compact Disc 011661701823 011661701823 CDROUN8015 TORRENCE, JACKI/CL ASSIC CHILDR Compact Disc 011661801523 011661801523 CDROUN8016 MCCUTCHEON,J/MAIL MYSELF TO YO Compact Disc 011661801622 011661801622 CDROUN8043 FINK, CATHY & M/BLANKET FULL O Compact Disc 011661804326 011661804326 CDROUN8081 VALERI, MICHELE/DINOSAUR ROCK Compact Disc 011661808126 011661808126 CDROUN9017 WHITFIELD, BARR/LIVE EMULSIFIE Compact Disc 011661901728 011661901728 CDROUN9019 BRAVE COMBO /HUMANSVILLE Compact Disc 011661901926 011661901926 CDROUN9027 SPANIC BOYS/STRANGE WORLD Compact Disc 011661902725 011661902725 CDROUN9028 TREAT HER RIGHT/WHAT'S GOOD FO Com pact Di sc 011661902824 011661902824 CDROUN9030 GRUSHECKY, JOE /SWIMMING WITH Compact Disc 011661903029 011661903029 CDROUNSS28 HOWLIN' WOLF /CADILLAC DADDY Compact Disc 011661552821 011661552821 CDRW183 DUB COLOSSUS/ADDIS THROUGH THE Compact Disc 884108000137 884108000137 CDRW203 VAR/REAL WORLD 25(3CD) Compact Disc 884108002513 884108002513 CDRW204 SPIRO/POLE STAR Compact Disc 884108002506 884108002506 CDRWG107 BLIND BOYS OF ALABAMA,T/HIGHER Compact Disc 884108000854 884108000854 CDRWG24 CHANDRA,S/WEAVING MY ANCESTORS Compact Disc 884108002421 884108002421 CDRWG52 WEMBA,P/EMOTION Compact Disc 884108000694 884108000694 CDRWG64 ARTHUR,J/BIG CITY SECRETS Compact Disc 884108006320 884108006320 CDRWG85 GYURME,L & RYKIEL,J P/RAIN OF Compact Disc 884108000717 884108000717 CDRWG96 AFRO CELT SOUND SYSTEM/VOL 3:F Compact Disc 884108001219 884108001219 CDRWX174 PORTICO QUARTET/ISLA Compact Disc 180030000529 180030000529 CDS33365 CIRQUE DU SOLEIL:FIRE WIT Digital Video Disc 619061336531 619061336531 CDS33366 CIRQUE DU SOLEIL:SANS FIL Digital Video Disc 619061336630 6190613366308 84108 00121 98 84108 00013 7 8 84108 00251 3 8 84108 00250 6 8 84108 00085 4 8 84108 00242 1 8 84108 00069 4 8 84108 00632 0 8 84108 00071 7 1 80030 00052 90 18964 51562 1 0 11661 60132 1 0 11661 60242 7 0 11661 60262 5 0 11661 60322 6 0 11661 60392 9 0 11661 60542 8 0 11661 70182 3 0 11661 80152 3 0 11661 80162 2 0 11661 80432 6 0 11661 80812 6 0 11661 90172 8 0 11661 90192 6 0 11661 90272 5 0 11661 90282 4 0 11661 90302 9 0 11661 55282 1 6 19061 33653 1 6 19061 33663 0Catalogue Numb er Artist & Title Description Configuration Scannable UPC UPC CDS33367 CIRQUE DU SOLEIL:SOLEIL DE MIN Digital Video Disc 619061336739 619061336739 CDS33600 CIRQUE DU SOLEIL:LA NOUBA Digital Video Disc 619061360031 619061360031 CDS33685 CIRQUE DU SOLEIL:CORTEO Digital Video Disc 619061368532 619061368532 CDSH12 HOGAN,S/CATALINA SUNRISE Compact Disc 776127258029776127258029 CDSMC100072 CIRQUE DU SOLEIL /ALEGRIA Compact Disc 874751000172 874751000172 CDSMC100102 CIRQUE DU SOLEIL /QUIDAM Compact Disc 874751000103 874751000103 CDSMCD100192 CIRQUE DU SOLEIL /TAPIS ROUGE Compact Disc 874751000066 874751000066 CDSMCD100212 CIRQUE DU SOLEIL/S OLARIUM/DELI Compact Disc 874751000127 874751000127 CDSMCJ100092 CIRQUEDUSOLEIL/MYSTERE LIVE Compact Disc 874751000011 874751000011 CDSMCJ100132 CIRQUEDUSOLEI L/"O" Compact Disc 874751000288 874751000288 CDSMCJ100152 CIRQUEDUSOLEIL/ LA NOUBA Compact Disc 874751000301 874751000301 CDSMCJ100162 CIRQUEDUSOLEIL/ DRALION Compact Disc 874751000158 874751000158 CDSMCJ100172 CIRQUEDUSOLEIL/VAREKAI Compact Disc 874751000257 874751000257 CDSMCJ100222 CIRQUE DU SOLEIL/LE BEST OF Compact Disc 874751000134 874751000134 CDSMCJ100232 CIRQUE DU SOLEIL /ZUMANITY Compact Disc 874751000264 874751000264 CDSMCJ100242 CIRQUEDUSOLEI L/KA Compact Disc 874751000387 874751000387 CDSMCJ100252 CIRQUEDUSOLEIL/ CORTEO Compact Disc 874751000400 874751000400 CDSMCJ100262 CIRQUEDUSOLEIL/ DELIRIUM Compact Disc 874751000431 874751000431 CDSMN100022 VINET,A/MOUVEMENT Compact Disc 874751000370 874751000370 CDUP013 N.LOWE/IMPOSSIBLE BIRD Compact Disc 011671801322 011671801322 CDUP038 N.LOWE/DIG MY MOOD Compact Disc 601143003820 601143003820 CDVARR007 NIGHTHAWKS/ROCK & ROLL Compact Disc 011671000725 011671000725 CDVARR013 BARE NECESSITIES/ENGLISH COUNT Compact Disc 011671001326 011671001326 CDVARR019 FAHEY, JOHN /RAIN FORESTS, Compact Disc 011671001920 011671001920 CDVARR028 FAHEY, JOHN /I REMEMBER BLI Compact Disc 011671002828 011671002828 CDWRES1987 TAILGATORS /TORE UP Compact Disc 027524198723 027524198723 CDWRES2001 TAILGATORS /SWAMP ROCK Compact Disc 027524200129 027524200129 CHARCD005 WINTER MOUNTAIN/WINTER MOUNTAI Compact Disc 5052442004448 5052442004448 CHD49340 VARIOUS ARTISTS/CHESS BLUES BO Compact Disc 076732934029 076732934029 CHD9169 DIDDLEY,B&WATERS,M&WOLF,H/SUPE Compact Disc 076732916926 0767329169260 76732 93402 9 0 76732 91692 68 74751 00017 2 8 74751 00010 3 8 74751 00006 6 8 74751 00012 7 8 74751 00001 1 8 74751 00028 8 8 74751 00030 1 8 74751 00015 8 8 74751 00025 7 8 74751 00013 4 8 74751 00026 4 8 74751 00038 7 8 74751 00040 0 8 74751 00043 1 8 74751 00037 0 5 052442 004448 7 76127 25802 9 6 01143 00382 00 11671 80132 2 0 11671 00072 5 0 11671 00132 6 0 11671 00192 0 0 11671 00282 8 0 27524 19872 3 0 27524 20012 96 19061 33673 9 6 19061 36003 1 6 19061 36853 2Catalogue Numb er Artist & Title Description Configuration Scannable UPC UPC CHK1002 PRESLEY,E/40 ORIGINAL RECORDIN Compact Disc 805520160025 805520160025 CHK1003 WILLIAMS,H/40 ORIGINAL RECORDI Compact Disc 805520160032 805520160032 CHSD9367 JAMES ETTA /H ER BEST VOL 1 Compact Disc 076732936726 076732936726 CID1286 ANTHRAX/PERSISTENCE OF TIME Compact Disc 060439128621 060439128621 CID846264 W.BURROUGHS/DEAD CITY RADIO Compact Disc 042284626422 042284626422 CIDM9180 TRAFFIC/LOW SPARK OF HIGHHEELE Compact Disc 075679002624 075679002624 CJA31441 ALPERT,H & HALL,L/ANYTHING GOE Compact Disc 888072314412 888072314412 CMH12 VAR/FANTASTIC PICKIN'/BLUEGRAS Compact Disc 027297001220 027297001220 CMH4904 VAR/16 GREATEST BLUEGRASS HITS Compact Disc 027297490420 027297490420 CMH5224 VAR/BLUEGRASS INTERPRET: CCR Compact Disc 027297522428 027297522428 CMH5227 VAR/BLUEGRASS INTER:BRUCE SPRI Compact Disc 027297522725 027297522725 CMH5240 SHERYL CROW TRIBUTE/BLUEGRASS Compact Disc 027297524026 027297524026 CMH5913 VAR/WORLD GREATEST BLUEGRAS Compact Disc 027297591325 027297591325 CMH7202 VAR/TOTALLY BLUEGRASS Compact Disc 027297720220 027297720220 CMH7210 ZZVA/THE GAITHERS:BLUEGRASS GO Compact Disc 027297721029 027297721029 CMH8701 HEAD,ANTHONY STEWART & G/MUS Compact Disc 027297870123 027297870123 CMH8708 JACKSON,W/HEART TROUBLE Compact Disc 027297870826 027297870826 CMH8731 VAR/KID ROCK TRIBUTE:PICKIN'ON Compact Disc 027297873124 027297873124 CMH8801 VAR/WILLIAMS JR.,HANK:PICKIN' Compact Disc 027297880122 027297880122 CMH8855 VAR/PICKIN' ON MELISSA ETHERID Compact Disc 027297885523 027297885523 CMH8878 VAR/PICKIN' ON MODEST MOUSE Compact Disc 027297887824 027297887824 CMH9153 VAR/TAKE ME HOME-TRIB:GUNS N R Compact Disc 027297915329 027297915329 CMH9165 VAR/CELTIC TRIB:ALISON KRAUSS Compact Disc 027297916524 027297916524 CMH9418 VAR/BEST OF PICKIN'ON THE EAGL Compact Disc 027297941823 027297941823 CMH9444 VAR/MODEST MOUSE TRIB:SOMETHIN Compact Disc 027297944428 027297944428 CMH9450 VAR/ERIC CLAPTON TRIBUTE:BEST Compact Disc 027297945029 027297945029 CMH9531 TRIBUTE/BLUEGRASS TRIB:NEIL YO Compact Disc 027297953123 027297953123 CMH9562 VITAMIN STRING QUARTET/PERFORM Compact Disc 027297956223 027297956223 COS33313 FLACK,R/IN CONCERT Digital Video Disc 619061331338 619061331338 COS33316 MARTINO,A/IN CONCERT Digital Video Disc 619061331635 6190613316350 76732 93672 6 0 60439 12862 1 0 75679 00262 40 42284 62642 2 0 27297 87082 6 0 27297 88012 2 0 27297 95312 30 27297 00122 0 0 27297 49042 0 0 27297 52242 8 0 27297 52272 5 0 27297 52402 6 0 27297 59132 5 0 27297 72022 0 0 27297 72102 9 0 27297 87012 3 0 27297 87312 4 0 27297 88552 3 0 27297 88782 4 0 27297 91532 9 0 27297 91652 4 0 27297 94182 3 0 27297 94442 8 0 27297 94502 9 0 27297 95622 38 05520 16002 5 8 05520 16003 2 8 88072 31441 2 6 19061 33133 8 6 19061 33163 5Catalogue Numb er Artist & Title Description Configuration Scannable UPC UPC COS33324 WARWICK,D/IN CONCERT Digital Video Disc 619061332434 619061332434 COS33326 LYNN,L/IN CONCERT Digital Video Disc 619061332632 619061332632 COS33329 RAWLS,L/IN CONCERT Digital Video Disc 619061332939 619061332939 COS33332 CHARLES,R/IN CONCERT-RECORDED Digital Video Disc 619061333233 619061333233 COS33371 WHITTAKER,R/IN CONCERT Digital Video Disc 619061337132 619061337132 COS33793 SEDAKA,N/IN CONCERT Digital Video Disc 619061379330 619061379330 COZ17338 VAR/RADIANCE-MORNING BLEND Compact Disc 795041733825 795041733825 COZ17339 VAR/RADIANCE-LULLABY Compact Disc 795041733924 795041733924 COZ17341 VAR/RADIANCE-FAVORITE MARCHES Compact Disc 795041734129 795041734129 COZ17342 VAR/RADIANCE-A CLASSIC WEDDING Compact Disc 795041734228 795041734228 COZ17345 VAR/RADIANCE-MOST RE LAXING CLA Compact Disc 795041734525 795041734525 COZ17347 VAR/RADIANCE-SACRE D CLASSICS Compact Disc 795041734723 795041734723 COZ17380 VAR/MOST POPULAR TV THEMES (2C Compact Disc 795041738028 795041738028 COZ17426 VAR/MOST UPLIFTING CLASSICS Compact Disc 795041742629 795041742629 COZ17460 VAR/RADIANCE-DINNER PARTY CLAS Compact Disc 795041746023 795041746023 COZ17461 VAR/RADIANCE-MORNING LIFT Compact Disc 795041746122 795041746122 COZ17462 VAR/RADIANCE-CLASSIC TO UNWIND Compact Disc 795041746221 795041746221 COZ17643 ANDIAMO/LOVE FROM ITAL Compact Disc 795041764324 795041764324 COZ17644 ANDIAMO/LOVE FROM ITALY (DVD) Digital Video Disc 795041764492 795041764492 COZ17673 VAR/ULTIMATE MOST ROMANTIC STR Compact Disc 795041767325 795041767325 COZ17749 VAR/ROMANTIC ADIAGOS (CDX2) Compact Disc 795041774927 795041774927 CP359 AMP LIVE/MURDER AT THE DISCOTE Compact Disc 600353095922 600353095922 CPL310322 GREENSKEEPERS/LIVE LIKE YOU WA Compact Disc 600353103221 600353103221 CR023 KARL SCHWONIK QUAR/VISIONS FRO Compact Disc 623667216852623667216852 CR10482 APRIL WINE/BACK TO THE MANSION Compact Disc 802076104824 802076104824 CRE31000 WILLIAMS,J/INDIANA JONES:COMPL Compact Disc 888072310001 888072310001 CRE31404 SINATRA,F/MY WAY-40TH ANNIVERS Compact Disc 888072314047 888072314047 CRE31910 SINATRA,F/STRANGERS IN THE NIG Compact Disc 888072319103 888072319103 CRE32026 SINATRA/JOBIM/THE CO MPLETE REP Compact Disc 888072320260 888072320260 CRE3315202 SINATRA,F/COMPLETE SINATRA-BAS Co mpact Disc 888072331525 8880723315258 02076 10482 46 23667 21685 26 00353 09592 2 6 00353 10322 1 8 88072 31000 1 8 88072 31404 7 8 88072 32026 0 8 88072 33152 58 88072 31910 37 95041 73382 5 7 95041 73392 4 7 95041 73412 9 7 95041 73422 8 7 95041 73452 5 7 95041 73472 3 7 95041 73802 8 7 95041 74262 9 7 95041 74602 3 7 95041 74612 2 7 95041 74622 1 7 95041 76432 4 7 95041 76732 5 7 95041 77492 76 19061 33713 26 19061 33243 4 6 19061 33263 2 6 19061 33293 9 6 19061 33323 3 6 19061 37933 0 7 95041 76449 2Catalogue Numb er Artist & Title Description Configuration Scannable UPC UPC CRE36375 KENNY WAYNE SHEPH/A LITTLE SOM Compact Disc 888072363755 888072363755 CRR9465 VAR/HOLIDAY TRIB: TO AC/DC Compact Disc 027297946521 027297946521 CRR9466 VAR/HOLIDAY TRIB:TO GREEN DAY Compact Disc 027297946620 027297946620 D000024002 VAR/DISNEY/PIXAR BUDDY SONGS Compact Disc 050087102845 050087102845 D000037102 OST/PIRATES OF THE CARIBBEAN:A Compact Disc 050087104368 050087104368 D000045802 SOUNDTRACK-TV/GREY'S ANATOMY 3 Compact Disc 050087105396 050087105396 D000055002 VAR/RATATOUILLE:WHAT'S COOKING Compact Disc 050087106454 050087106454 D000068802 ARTIST KARAOKE /QUEEN - KARAOK Compact Disc 050087107918 050087107918 D000068902 DISNEY'S KARAOKE SERIES/HIGH S Compact Disc 050087107925 050087107925 D000204802 KARAOKE/DISNAY KARAOKE-CAMP RO Compact Disc 050087122690 050087122690 D000300802 DISNEY KARAOKE/HIGH SCHOOL MUS Compact Disc 050087132798 050087132798 D000357902 IMAGINATION MOVERS/FOR THOSE A Compact Disc 050087138745 050087138745 D000368500 LOVATO,D/DON'T FORGET (DELUXE CD with DVD 050087139957 050087139957 D000462502 GOMEZ,S & TH SCENE/A YEAR WITH Compact Disc 050087149628 050087149628 D000463602 RASCAL FLATTS/GREATEST HITS V1 Compact Disc 050087149734 050087149734 D000510302 DISNEY SONGS & STORY/SLEEPING Compact Disc 050087154530 050087154530 D000651192 SOUNDTRACK/PIRATES OF THE CARI Compact Disc 050087169169 050087169169 D001355092 SOUNDTRACK/LEMONADE MOUTH Compact Disc 050087239732 050087239732 D001773492 POTTER,G & THE NOCTUR/THE LION Compact Disc 050087282134 050087282134 D001824492 SOUNDTRACK-TV/AUSTIN & ALLY Compact Disc 050087287351 050087287351 D002029002 HALE,L/ROAD BETWEEN Compact Disc 050087308261 050087308261 D002125802 ZELLA DAY/ZELLA DAY( HMV EXCL) Compact Disc 050087318116 050087318116 D2971 CASSIDY,D/GREATEST HITS LIV(DV Digital Video Disc 032031297197 032031297197 DA00206 WILSON/LEE/BENTLEY/ESCONDIDO D Compact Disc 875531002065875531002065 DA00239 FOND OF TIGERS/RELEASE THE SAV Compact Disc 875531002393875531002393 DA00253 INHABITANTS/THE FURNITURE MOVE Compact Disc 875531002539875531002539 DC318822 CLAYTON-THOMAS,D/THE EVERGREEN Compact Disc 620673318822 620673318822 DGCMD24956 MANN,A/WHATEVER Compact Disc 720642495629 720642495629 DGS950544 HORROR MOVIE CLASSICS Digital Video Disc 628261054497 628261054497 DIS600927 OST/HOLES Compact Disc 050086009275 0500860092750 50087 13995 70 50087 10436 8 0 50086 00927 50 50087 10284 5 0 50087 10645 4 0 50087 10791 8 0 50087 10792 5 0 50087 12269 0 0 50087 13874 5 0 50087 15453 0 0 50087 23973 2 0 50087 28735 1 0 50087 30826 10 50087 13279 8 0 50087 16916 9 7 20642 49562 90 50087 28213 40 50087 14962 80 50087 10539 6 0 50087 31811 60 50087 14973 40 27297 94652 1 0 27297 94662 0 8 75531 00206 5 8 75531 00239 3 8 75531 00253 98 88072 36375 5 6 20673 31882 2 6 28261 05449 70 32031 29719 7Catalogue Numb er Artist & Title Description Configuration Scannable UPC UPC DIS601277 OST/BROTHER BEAR Compact Disc 050086012770 050086012770 DIS606767 OST/WOODY'S ROUND-UP Compact Disc 050086067671 050086067671 DIS607017 OST/BAMBI Compact Disc 050086070176 050086070176 DIS607137 OST/ATLANTIS Compact Disc 050086071371 050086071371 DIS607317 OST/THE PRINCESS DIARIES Compact Disc 050086073177 050086073177 DIS608717 OST/RHYTHM OF THE PRIDELANDS Compact Disc 050086087174 050086087174 DIS608817 OST/SLEEPING BEAUTY Compact Disc 050086088171 050086088171 DIS608977 OST/PRINCESS COLLECTION VOL 1 Compact Disc 050086089772 050086089772 DIS609057 OST/JAMES & THE GIANT PEACH Compact Disc 050086090570 050086090570 DIS609417 VAR/DISNEY'S DANCE ALONG Compact Disc 050086094172 050086094172 DIS610047 VAR/DISNEYMANIA 2 Compact Disc 050086100477 050086100477 DIS611007 OST/THE INCREDIBLES Compact Disc 050086110070 050086110070 DIS612817 OST/KIM POSSIBLE- REVISED Compact Disc 050086128174 050086128174 DIS613247 KARAOKE/DISNEY'S BEACH PARTY Compact Disc 050086132478 050086132478 DIS613807 BRICKMAN,J/JIM BRICKMAN AT THE Compact Disc 050086138074 050086138074 DIS614147 OST/THE MUPPET CHRISTMAS CAROL Compact Disc 050086141470 050086141470 DIS614417 TYRELL,S/THE DISNEY ST ANDARDS Compact Disc Enhanced 050086144174 050086144174 DIS614477 OST/PIRATES OF THE CARIBBEAN-D Compact Disc 050086144778 050086144778 DIS616347 DISNEY'S KARAOKE SER/HIGH SCHO Compact Disc 050086163472 050086163472 DIS626247 OST/BEBE'S ENDORT Compact Disc 050086262472 050086262472 DIS629397 VAR/LES MUSIQUES EX C VOL 2 Compact Disc 050086293971 050086293971 DK30171 MCTELL,BW/PIG N'WHISTLE RED Compact Disc 826663017120826663017120 DK34343 MULDAUR,M/LOUISIANA LOVE CALL Compact Disc 826663434323826663434323 DOG0472 GET UP KIDS/FOUR MINUTE MILE Compact Disc 790168404726 790168404726 DOG123 PAULSON/ALL AT ONCE Compact Disc 790168553929 790168553929 DOG158 SCENE AESTHETIC/BROTHER(DLX) Compact Disc 790168955624 790168955624 DOG162 A LOT LIKE BIRDS/CONVERSATION Compact Disc 790168955921 790168955921 DOR084 WALKER,N/URBAN ANGEL Compact Disc 182784108421182784108421 DOR090CD WALKER,N/WITH YOU Compact Disc 182784109022182784109022 DPTCD75 IRISH ROVERS,THE/HOME IN IRELA Compact Disc 796539007527 7965390075270 50086 01277 0 0 50086 13247 8 0 50086 14477 80 50086 06767 1 0 50086 07017 6 0 50086 07137 1 0 50086 07317 7 0 50086 08717 4 0 50086 08817 1 0 50086 09057 0 0 50086 09417 2 0 50086 10047 7 0 50086 11007 0 0 50086 12817 4 0 50086 13807 4 0 50086 16347 20 50086 08977 2 0 50086 26247 2 0 50086 29397 10 50086 14147 0 1 82784 10842 1 1 82784 10902 28 26663 01712 0 8 26663 43432 3 7 90168 40472 6 7 90168 55392 9 7 90168 95562 4 7 90168 95592 1 7 96539 00752 70 50086 14417 4Catalogue Numb er Artist & Title Description Configuration Scannable UPC UPC DPTCD87 IRISH ROVERS,THE/MERRY MERRY T Compact Disc 796539008722 796539008722 DPTDV269 BRAVO,L/FOREVER TANGO LIVE(DVD Digital Video Disc 796539026962 796539026962 DPTDV316 IRISH ROVERS,THE/HOME IN IRELA Digital Video Disc 796539031669 796539031669 DPTDV324 IRISH ROVERS,THE/IRISH ROV(DVD Digital Video Disc 796539032468 796539032468 DPTDV345 MCCRYSTAL,E/THE MUSIC OF N(DVD Digital Video Disc 796539034561 796539034561 DRND70006 CHESTNUTT,M/THANK GOD FOR BELI Compact Disc 008817000626 008817000626 DRUM001 DRUM! CAST/EXPERIENCE DRUM! Digital Video Disc 621617302297621617302297 DSM7554 SIEGAL,D/SPHERE Compact Disc 859701975540 859701975540 DSP015 FOLEY,B/WANTED MORE DEAD THAN Compact Disc 825749025929 825749025929 DSRD310801 RUBBERNECK/SMOKE THIS! Compact Disc 057623180121057623180121 DTR011 SIMS/LIGHTS OUT PARIS Compact Disc 789577196223 789577196223 DUNA17CD BJORK,B & THE BROS/SOMERA SOL Compact Disc 829707001727829707001727 DVDA70541 TCHAIKOVSKY/1812 OVER TURE (DVD DVD Audio 089408054198 089408054198 DWL1071 VAR/POST MORTEM: TRIBUTE TO S Compact Disc 027297107120 027297107120 DWT70312 DIE ANTWOORD/TENSION Compact Disc 878037026856 878037026856 DYB300250 MARTIN,J/GHETTOS & GARDENS Compact Disc 858333002501 858333002501 EAGDV048 SUPERTRAMP/LIVE IN PAR(2CD+DVD CD with DVD 5051300204822 5051300204822 ECC006 IMAGINED VILLAGE/BENDING THE D Compact Disc 5060214040082 5060214040082 EDMTDVD001 CARLISLE,B/LIVE FROM ME(DVD+CD DVD + BNS CD 5014797890121 5014797890121 EDMTDVD002 LEVEL 42/LIVE FROM METR(DVD+CD DVD + BNS CD 5014797890145 5014797890145 EDMTDVD004 HADLEY,T/LIVE FROM METR(DVD+CD DVD + BNS CD 5014797890183 5014797890183 EEB334139 RITENOUR,L/OVERTIME(BR) BLU RAY 801213341399 801213341399 EF30225 STOIC - RED TAG Digital Video Disc 776974302258 776974302258 EF30264 STOIC - SPINDLE Digital Video Disc 776974302647 776974302647 EGR23891 VAR/MI SALSA TIENE SANDUNGA (F Compact Disc 619061389124 619061389124 EGR23892 VAR/SON DE LA LOMA (FIESTA EDI C ompact Disc 619061389223 619061389223 EGR23893 VAR/LOCOS POR EL MAMBO Compact Disc 619061389322 619061389322 EGR23928 VAR/RUMBEROS DE CUBA COLECCION Compact Disc 619061392827 619061392827 EGR23929 VAR/QUIERO HABLAR CONTIGO COLE Compact Disc 619061392926 619061392926 EGR23975 LOS VAN VAN/ESTRELL AS DE CUBA Compact Disc 619061397525 6190613975258 01213 34139 95 051300 204822 0 08817 00062 6 8 78037 02685 6 6 19061 38912 4 6 19061 38922 3 6 19061 38932 2 6 19061 39282 7 6 19061 39292 6 6 19061 39752 58 59701 97554 0 8 25749 02592 9 7 89577 19622 3 0 27297 10712 0 5 060214 040082 0 57623 18012 1 8 29707 00172 7 8 58333 00250 17 96539 00872 2 6 21617 30229 77 96539 02696 2 7 96539 03166 9 7 96539 03246 8 7 96539 03456 1 7 76974 30225 8 7 76974 30264 75 014797 890145 5 014797 890121 5 014797 890183 0 89408 05419 8Catalogue Numb er Artist & Title Description Configuration Scannable UPC UPC EGR24032 VAR/A MI MANERA ESE NCIA DE CUB Compact Disc 619061403226 619061403226 EGR24033 VAR/CANCIONES DE SI EMPRE ESENC Com pact Disc 619061403325 619061403325 EGR24034 VAR/EL POP Y EL ROCK CUBANO ES Compact Disc 619061403424 619061403424 EGR24035 VAR/JAZZ DE CUBA ESENCIA DE CU Compact Disc 619061403523 619061403523 EK62137 SCOTT,J/WHO IS JILL SCOTT Compact Disc 074646213728 074646213728 ELQT002 RACHMANINOV/GREATEST HITS Compact Disc 776974227926 776974227926 ELQT005 BACH/GREATEST HITS Compact Disc 776974228220 776974228220 EMT33538 SWISS FAMILY ROBINSON Digital Video Disc 619061353835 619061353835 EO102CD PASHIM,M/NEVER MIND THE BALKAN Com pact Disc 5060161120301 5060161120301 ER203102 MORISSETTE,A/LIVE AT MONTREUX Compact Disc 826992031026 826992031026 ER203272 GALLAGHER,R/KICKBACK CI(DLX)(3 Compact Disc 826992032726 826992032726 ER203752 GALLAGHER,R/IRISH TOUR 74(DLX Compact Disc 826992037523 826992037523 ERBRD5086 SUPERTRAMP/LIVE IN PARIS 79(BR BLU RAY 5051300508678 5051300508678 EREDV891 SUPERTRAMP/LIVE IN PARIS 79 Digital Video Disc 5034504989177 5034504989177 ESACD700005 CACTUS/V Compact Disc 878667000059 878667000059 ESACD700006 BODY COUNT/MURDER 4 HIRE Compact Disc 878667000066 878667000066 ESACD700011 TROUBLE/PSALM 9 Compact Disc 878667000110 878667000110 ESACD700012 TROUBLE/THE SKULL Compact Disc 878667000127 878667000127 ESACD700017 TROUBLE/PLASTIC GREEN HEAD(2CD Compact Disc 878667000172 878667000172 ESACD700020 VANILLA FUDGE/OUT THROUGH THE Compact Disc 878667000202 878667000202 ESACD710014 DISSECTION/MAHA KALI Compact Disc 829571001427 829571001427 ESACD710025 DICTATORS,THE/VIVA DICTATORS Compact Disc 829571002523 829571002523 ESADVD700000 TROUBLE/LIVE IN STOCKHOLM(DVD) Digital Video Disc 878667000004 878667000004 ESADVD700008 DISSECTION/REBIRTH OF DISS(DVD Digital Video Disc 878667000080 878667000080 ESADVD700015 METAL CHURCH/DYNAMO CLASSIC(DV Digital Video Disc 878667000158 878667000158 ESR004 NEWLOUREEDS,T/SCREWED Compact Disc 880270003327880270003327 ESR006 ROUE/UPWARD HEROIC MOTIVE Compact Disc 880270030224880270030224 ESR007 HOMEANDGARDEN/HISTORY AND GEOG Compact Disc 880270059720880270059720 ESR009 NEW LOU REEDS,THE/ TOP BILLIN' Compact Disc 880270076123880270076123 ESR010 MILLER,B/TOGETHER WITH CATS Compact Disc 8802700835278802700835275 051300 508678 8 26992 03102 6 8 26992 03272 6 8 26992 03752 37 76974 22792 6 7 76974 22822 06 19061 40322 6 6 19061 40332 5 6 19061 40342 4 6 19061 40352 3 5 060161 120301 8 80270 00332 7 8 80270 03022 4 8 80270 05972 0 8 80270 07612 3 8 80270 08352 70 74646 21372 8 8 78667 00005 9 8 78667 00006 6 8 78667 00011 0 8 78667 00012 7 8 78667 00017 2 8 78667 00020 2 8 29571 00142 7 8 29571 00252 36 19061 35383 5 5 034504 989177 8 78667 00000 4 8 78667 00008 0 8 78667 00015 8Catalogue Numb er Artist & Title Description Configuration Scannable UPC UPC ESR012 DREADFUL YAWNS,THE/REST Compact Disc 880270090822880270090822 ESR013 MYSTERY OF TWO/ARROWS ARE ALL Compact Disc 880270111329880270111329 ETLCD100 ATROPHY/SOCIALIZED HATE Compact Disc 741812914030 741812914030 ETLCD101 ABATTOIR/VICIOUS ATTACK Compact Disc 741812914047 741812914047 ETLCD14 EXUMER/POSSESSED BY FIRE Compact Disc 4030554005134 4030554005134 ETLCD15 EXUMER/RISING FROM THE SEA Compact Disc 4030554005141 4030554005141 ETLCD20 HOLY KNIGHTS/BETWEEN DAYLIGHT Compact Disc 045635183445 045635183445 ETLCD26 SAUROM/VIDA Compact Disc 045635494749 045635494749 ETLCD37 LACRIMOSA/LIVE (20TH ANNIV(2CD Compact Disc 045635732339 045635732339 ETLCD48 VAR/MATENLOS A TO DOS KILL 'EM Compact Disc 045635732537 045635732537 ETLCD63 NUCLEAR AGGRESSOR/CONDEMNED TO Compact Disc 820103590778 820103590778 ETLCD66 WARCRY/INMORTAL Compact Disc 820103590709 820103590709 ETLCD67 WARCRY/ALFA Compact Disc 820103590853 820103590853 ETLCD70 VAR/THE KEEPERS OF JERICHO(2CD Compact Disc 820103590914 820103590914 ETLCD71 TORTURE SQUAD/ESCUA DRAO DE TOR Compact Disc 820103590969 820103590969 ETLCD82 STREAM OF PASSION/A WAR OF OUR Compact Disc 784672127356 784672127356 ETLCD83 EVIL DEAD/THE UNDERWORLD(DLX) Compact Disc 784672127400 784672127400 ETLCD84 EVIL DEAD/ANNIHILATION OF C(DL Compact Disc 784672127394 784672127394 ETLCD85 TRANSMETAL/PEREGRINACION A LA Compact Disc 784672294096 784672294096 ETLCD86 CHRONOSPHERE/EMBRACING OBLIVIO Compact Disc 784672294089 784672294089 ETLCD91 LACRIMOSA/LIVE IN MEXICO C(2CD Compact Disc 784672294164 784672294164 ETLCD92 LACRIMOSA/LIVE IN MEXICO(2CD+D CD with DVD 784672294171 784672294171 ETLCD95 LUCIFERIAN LIGHT/LUCIFERIAN LI Compact Disc 741812916898 741812916898 ETLCD96 CARNIVORE/CARNIVORE(DLX) Compact Disc 741812913996 741812913996 ETLCD97 XENTRIX/DILUTE TO TASTE(DLX) Compact Disc 741812914009 741812914009 ETLCD98 ARTILLERY/DON'T BELIEVE KHOMAN Compact Disc 741812914016 741812914016 EV306149 QUEEN/ON FIRE LIVE AT THE(DVD Digital Video Disc 801213061495 801213061495 EV306179 JETHROTULL/AROUND THE WORL(4DV Digital Video Disc 801213061792 801213061792 EV306649 SPRINGSTEEN,B/SPRINGSTEEN AN(D Digital Video Disc 801213066490 801213066490 EV307209 LYNYRD SK/PRONOUNCED LEH(DVD+2 DVD + BNS CD 801213072095 8012130720957 84672 29417 18 80270 09082 2 8 80270 11132 9 0 45635 18344 5 0 45635 73253 7 8 20103 59096 9 7 84672 29409 67 41812 91403 0 7 41812 91404 7 4 030554 005141 7 84672 12735 6 7 84672 12740 0 7 84672 12739 4 7 84672 29408 9 7 41812 91399 6 7 41812 91400 9 7 41812 91401 64 030554 005134 0 45635 49474 9 0 45635 73233 9 8 20103 59077 8 8 20103 59070 9 8 20103 59085 3 8 20103 59091 4 7 84672 29416 4 7 41812 91689 8 8 01213 06149 5 8 01213 06649 08 01213 06179 2 8 01213 07209 5Catalogue Numb er Artist & Title Description Configuration Scannable UPC UPC EXP207 MYERS,D/DAVID MYERS PLAYS GENE Compact Disc 722056020725 722056020725 FAB1002 ASHTON,G/RADIOGRAM Compact Disc 5052442002123 5052442002123 FAN3225800 CROWDED HOUSE/INTRIGUER (DLX.E CD with DVD 888072322585 888072322585 FAN3473100 LOFGREN,N/FACE THE MUSI(10CD+D CD with DVD 888072347311 888072347311 FARO128CD VAR/ANDY VOTEL S BRAZILIKA Compact Disc 5060088048160 5060088048160 FARO141CD MORENO,C/MISS BALANCO Compact Disc 5060006358623 5060006358623 FARO146CD VAR/FAR OUT JAZZ AND AFRO FUNK Compact Disc 5060211500206 5060211500206 FARO151CD IPANEMAS,THE/QU E BELEZA Compact Disc 5060211500329 5060211500329 FARO154CD BASSINI,R/LATINO FANTASTICO Compact Disc 5060211500398 5060211500398 FARO155CD VILAR,R/STUDIES IN BOSSA Compact Disc 5060211500466 5060211500466 FARO158CD KHAN,S/SLOW BURNER Compact Disc 5060211500497 5060211500497 FARO159CD BANDA BLACK RIO/SUPER NOVA SAM Compact Disc 5060211500633 5060211500633 FARO161CD MALHEIROS,S/DREAMING Compact Disc 5060211500657 5060211500657 FARO169CD SEXY FI/NUNCA TE VI DE BOA Compact Disc 5060211500992 5060211500992 FARO170CD AZYMUTH/LIGHT AS A FEATHER(REM Compact Disc 5060211501043 5060211501043 FARO171CD VOGEL,H/TURN UP THE QUIET Compact Disc 5060211501203 5060211501203 FARO174CD VAR/NICOLA CONTE PRESENTS VI 5 Compact Disc 5060211501487 5060211501487 FARO176CD DEGIORGIO,K/SAMBATEK Compact Disc 5060211501593 5060211501593 FARO177CD VASCONCELOS,N/4 ELEMENTOS Compact Disc 5060211501609 5060211501609 FCCD132 GILMORE,T/JOHN WESLEY HARDING Compact Disc 684340002308 684340002308 FCCD1340 HAYES,G/LET IT BREAK(SPECIAL E Compact Disc 684340002353 684340002353 FCCD158 GILMORE,T/REGARDLESS SPECIAL Compact Disc 684340002469 684340002469 FCD30030 BRICKELL,E & NEW BO HEMIANS/STR Compact Disc 888072300309 888072300309 FCD30084 FOGERTY,J/THE LONG ROAD HOME - Compact Disc 888072300842 888072300842 FCD9674 COLE,F/A CIRCLE OF LOVE Compact Disc 025218967426 025218967426 FDW7704 MR.CHOP/FOR PETE'S SAKE Compact Disc 165212770421165212770421 FL07DLB02 FLATLINED/DEAF LEADING THE BLI Compact Disc 829982095480829982095480 FLN00915 CHIEF/COLLABO COLLECTION Compact Disc 764011091524764011091524 FMM001 HOME TEAM,THE/SEC OND DRAFT Compact Disc 619061467327 619061467327 FNCD5501 WRIGHT,M/EVERYTHING AND MORE Compact Disc 6534961147226534961147228 88072 32258 5 8 88072 34731 1 6 19061 46732 77 22056 02072 5 6 84340 00230 8 6 84340 00235 3 6 84340 00246 95 060211 500657 5 060211 501043 5 060211 501487 5 052442 002123 5 060088 048160 5 060006 358623 5 060211 500206 5 060211 500329 5 060211 500398 5 060211 500466 5 060211 500497 5 060211 500633 5 060211 500992 5 060211 501203 5 060211 501593 5 060211 501609 1 65212 77042 1 7 64011 09152 48 29982 09548 0 6 53496 11472 28 88072 30084 28 88072 30030 9 0 25218 96742 6Catalogue Numb er Artist & Title Description Configuration Scannable UPC UPC FNCD5566 DECARLE,R/UNDER THE BIG BIG SK Compact Disc 621617276321621617276321 FNCD5569 LANGLOIS,P/FIX THIS HEAD Compact Disc 823674004125823674004125 FNCD5583 ROY/ROSEMARY/ONCE UPON A DREAM Compact Disc 823674008826823674008826 FNCD5606 BANKS,V/INDIGO Compact Disc 823674016227823674016227 FP002 BERUBE,M/THIS CHRISTMAS Compact Disc 775020690424775020690424 FP010 CORMIER,JP/LOOKING BACK VOLUME Compact Disc 778591609024778591609024 FP012 CORMIER,JP/THE MESSENGER Compact Disc 778591778027778591778027 FPRNCD15 STAMPFEL,P & BABY GR AMPS/OUTER Compact Disc 751937391623 751937391623 FPRNCD24 STAMPFEL,P & THE ETH/SOUND OF Compact Disc 672617066627 672617066627 FRAN50667 BEDOUIN JERRY CAN BAND/COFFEE Compact Disc 5065001057014 5065001057014 FRAN87105 OYSTERBAND/THE BIG SESSION V.1 Com pact Disc 4015698516722 4015698516722 FRAN87132 BELLOWHEAD/BURLESQUE (CD) Compact Disc 4015698801927 4015698801927 FRAN87179 JONES,J/RISING ROAD Compact Disc 4047179318228 4047179318228 FRAN87188 COOPER,R/TALES OF LOVE WAR AND Compact Disc 4047179437028 4047179437028 FRANBE115 GREEN,R/WILD LIFE Compact Disc 8437010194245 8437010194245 FRANBOROCD11 JONES,R/A SENTIMENTAL EDUCATIO Compact Disc 5065001218118 5065001218118 FRANCACD7855 NEIL COWLEY TRIO ,THE/LOUD LOUD Compact Disc 708857855124 708857855124 FRANCDBOG001 PEATBOG FAERIES/WELCOME TO DUN Compact Disc 5031642623925 5031642623925 FRANCDBOG002 PEATBOG FAERIES/CROFTWORK (CD) Compact Disc 5031642626124 5031642626124 FRANCDBOG006 PEATBOG FAER IES/DUST Compact Disc 5060131890296 5060131890296 FRANCHIELI20 MINUCCI,C& SPECIAL EFX/WITHOUT Compact Disc 626570612520 626570612520 FRANCHRCD002 DILLON,C/HILL OF THIEVES Compact Disc 805520212717 805520212717 FRANCLKL11CD MOLINARI, P/A TRAIN BOUND FOR Compact Disc 5060234540029 5060234540029 FRAND009CD ONABULE,O/AMBITIONS FOR DEEPER Compact Disc 5028029000097 5028029000097 FRANDVD022 LONG RYDERS/LIVE 2004:STATE OF Digital Video Disc 793962000224 793962000224 FRANECC002 IMAGINED VILLAGE/E MPIRE & LOVE Co mpact Disc 5060214040020 5060214040020 FRANETCD1026 WALKER,W/HOW DO YOU THINK I FE Compact Disc 8437010194221 8437010194221 FRANETCD1033 HARRIS, H/GOLD STAR GUITAR Compact Disc 8437010194290 8437010194290 FRANETCD4096 KING, J AND THE RIVERTOWN/OCAL Compact Disc 8437010194313 8437010194313 FRANETCD7022 HONEY BEES THE/IN THE KEY OF B Compact Disc 877319004209 8773190042096 72617 06662 77 51937 39162 3 4 047179 318228 5 060214 040020 8 437010 194245 6 26570 61252 05 065001 057014 4 015698 516722 4 015698 801927 4 047179 437028 5 065001 218118 7 08857 85512 4 5 031642 623925 5 031642 626124 5 060131 890296 8 05520 21271 7 5 060234 540029 5 028029 000097 8 437010 194221 8 437010 194290 8 437010 194313 8 77319 00420 98 23674 00882 6 7 75020 69042 4 7 78591 60902 4 7 78591 77802 76 21617 27632 1 8 23674 00412 5 8 23674 01622 7 7 93962 00022 4Catalogue Numb er Artist & Title Description Configuration Scannable UPC UPC FRANETCDCH15 VAR/B OOGIE WOOGIE FEVER-CO LLEC Compac t Disc 8437010194009 8437010194009 FRANETCDCH16 VAR/BOPPIN' HIT PARADE-COLLECT Compact Disc 8437010194306 8437010194306 FRANFACTOR17 VAR/MR.SCRUFF'S BUG CHILL CLAS Compact Disc 5029684087126 5029684087126 FRANFACTOR22 METCALFE,J/A DARKER SUNSET Compact Disc 5050693206529 5050693206529 FRANFV05 MARTIN,J/ARTE FLAMINCO PURO Compact Disc 5023100980527 5023100980527 FRANFV06 MARTIN,J/EL ALQUIMISTA Compact Disc 5023100990625 5023100990625 FRANFV07 MARTIN,J/APARECID A/RIQUEZAS Compact Disc 5023100020728 5023100020728 FRANFV08 MARTIN,J/CAMINO LATINO Compact Disc 5023100020827 5023100020827 FRANFV09 MARTIN,J/LIVE EN DIRECTO Compact Disc 5023100040924 5023100040924 FRANFV11 MARTIN,J/SERENADE Compact Disc 5023100081125 5023100081125 FRANFV12 MARTIN,J/SOLO Compact Disc 5023100081224 5023100081224 FRANHEP001 DUCKS DELUXE/BOX OF SHORTS Compact Disc 5060167700019 5060167700019 FRANHHCD01 CUTLER ,I/A FLAT MAN C ompact Disc 793573466808 793573466808 FRANHHCD02 CUTLER ,I/PRIVILEGE Co mpact Disc 793573642684 793573642684 FRANHIDECD01 NEIL COWLEY TRIO,THE/DISPLACED Compact Disc 5060124730004 5060124730004 FRANHIT12CD BABYHEAD/HEAVY WEATHER Compact Disc 5052442000518 5052442000518 FRANHIT13CD PAMA INT'L/MEET MAD PROFESSOR Compact Disc 5052442000549 5052442000549 FRANHOR21948 RANGO/BRIDE OF THE ZAR Compact Disc 5065001057052 5065001057052 FRANHYP11275 O'SULLIVAN,G/GILBERTVILLE Compact Disc 4011586112755 4011586112755 FRANIRL047 TWO SPOT GOBI/THE SUN WILL RIS Compact Disc 5060155720708 5060155720708 FRANIRR038 DE MOOR,D/WATER OF EUROPE Compact Disc 5036265000078 5036265000078 FRANIRR053 MONIQUE/ON THE BOULEVARD DES H Compact Disc 5036265000276 5036265000276 FRANKD04 ORBIT,W/MY ORALCE LIVES UPTOWN Compact Disc 5060186920061 5060186920061 FRANMCD33 CHUMBAWAMBA/ABCDEFG (CD) Compact Disc 5020393903325 5020393903325 FRANMGCD050 FAIRPORT CONVENTION/FESTIVAL B Compact Disc 5051078919621 5051078919621 FRANMRE0042 BAKKEN,R/MUTHSPIEL /BELOVED Compact Disc 9005321100423 9005321100423 FRANNWP0002 10CC/LIVE IN CONCERT Compact Disc 805520212830 805520212830 FRANRAM007CD ONABULE,O/FROM MEANING BEYOND Compact Disc 5028029000028 5028029000028 FRANRAM008CD ONABULE,O/PRECIOU S LIBATIONS F Compact Disc 5028029000080 5028029000080 FRANRAMCD10 ONABULE,O/IN EM ERGENCY:BREAK S Compact Disc 5028029000103 50280290001035 060186 920061 5 051078 919621 8 05520 21283 07 93573 64268 45 029684 087126 5 023100 040924 5 060167 700019 7 93573 46680 8 5 036265 000276 8 437010 194009 8 437010 194306 5 050693 206529 5 023100 980527 5 023100 990625 5 023100 020728 5 023100 020827 5 023100 081125 5 023100 081224 5 060124 730004 5 052442 000518 5 052442 000549 5 065001 057052 4 011586 112755 5 060155 720708 5 036265 000078 5 020393 903325 9 005321 100423 5 028029 000028 5 028029 000080 5 028029 000103 Catalogue Numb er Artist & Title Description Configuration Scannable UPC UPC FRANRMCD6 OYSTERBAND/THE OXFORD GIRL & O Compact Disc 5060084901339 5060084901339 FRANRRAMCD12 ONABULE,O/THE DEVOURED MAN Compact Disc 5028029000127 5028029000127 FRANRRAMCD13 ONABULE,O/SEVEN SHADES DARKER Compact Disc 5060124570938 5060124570938 FRANSECCD029 MAYALL,J & TAYLOR,M/HOWLING Compact Disc 5036436051526 5036436051526 FRANSECCD030 MICK ABRAHAM'S BLODWYN PIG/ALL Compact Disc 5036436051625 5036436051625 FRANSPLCD004 VAR/SONGLINES MUSIC AWARDS Compact Disc 5052442000761 5052442000761 FRANSPR008 SHAW,I/SOMEWHERE TO WARDS LOVE Co mpact Disc 5060161950045 5060161950045 FRANTAO028 HEAVEN 17/NAKED AS ADVERTISED- Compact Disc 677603004522 677603004522 FRANTAO039 MERA, L/THE PROXIMITY EFFECT Compact Disc 677603007622 677603007622 FRANTCD6046 TAYLOR,G W/CC JEROME'S JET SET Compact Disc 8437010194382 8437010194382 FRANTWS1 WONDER STUFF/EIGHT-LEGGED GROO Compact Disc 5060155720388 5060155720388 FRANTWS2 WONDER STUFF/HUP- 21ST ANNIVERS Compact Disc 5060155720562 5060155720562 FRBCD0015 HARM/THE NINE Compact Disc 039911001523 039911001523 FRBCD1 SEVEN WITCHES/CALL UPON THE WI Compact Disc 039911000014 039911000014 FRBCD131 SEVEN WITCHES/REBIRTH Compact Disc 039911013120 039911013120 FRBCD29 WORLD FIRE BRIGADE/SPREADING Compact Disc 039911002926 039911002926 FRBCD34 ENGEL/BLOOD OF SAINTS Compact Disc 039911003428 039911003428 FSA8430 GUARALDI,V/A BOY NAMED CHARLIE SACD4Stereo/Surround/CDAud 025218732765 025218732765 FTN17694 GREENE,J/GIVING UP THE GHOSTS Compact Disc 795041769428 795041769428 FTN17784 GREENE,J/TIL THE LIGHT COMES Compact Disc 795041778420 795041778420 FTN17820 JENNINGS,S/BLACK RIBBONS Compact Disc 795041782021 795041782021 FUCKFACE FUCKFACE/FUCK FACE Compact Disc 825576046227 825576046227 FVDD159 OST/THE MANY MOODS OF MAD M(CD Compact Disc 5055311001593 5055311001593 FVDD168 VAR/50 SONGS THAT THE BEAC(2CD Compact Disc 5055311001685 5055311001685 FWDCD001 ALASCA/ACTORS & LIARS Compact Disc 8714835091882 8714835091882 FWDCD1 FIREWIND/FEW AGAINST MANY Compact Disc 628586156104 628586156104 GARUDACD007 EMERY,G/DRIVE Compact Disc 50603846701025060384670102 GEBBD24164 CHER /CHER Compact Disc 720642416426 720642416426 GEBBD24249 WHITESNAKE /SLI P OF THE TO Compact Disc 720642424926 720642424926 GEFBD24099 WHITESNAKE /WHITESNAKE Compact Disc 720642409923 7206424099237 20642 41642 6 7 20642 40992 37 20642 42492 68 25576 04622 7 5 055311 001685 5 055311 001593 5 036436 051526 5 060084 901339 5 036436 051625 6 77603 00452 25 052442 000761 5 028029 000127 5 060124 570938 5 060161 950045 6 77603 00762 2 8 437010 194382 5 060155 720388 5 060155 720562 8 714835 091882 5 060384 670102 0 39911 00001 40 39911 00152 3 0 39911 01312 0 0 39911 00292 6 0 39911 00342 8 6 28586 15610 47 95041 78202 17 95041 76942 8 7 95041 77842 00 25218 73276 5Catalogue Numb er Artist & Title Description Configuration Scannable UPC UPC GEFBD4018 WHITESNAKE /SLIDE IT IN Compact Disc 720642401828 720642401828 GEFD24621 OST/MISS SAIGON-HIGHLIGHTS Compact Disc 720642462126 720642462126 GEFMD24144 HAGAR SAMMY /I NEVER SAID G Compact Disc 720642414422 720642414422 GEFMD24620 WHITESNAKE /GREATEST HITS Compact Disc 720642462027 720642462027 GJ00102 HIPPO CAMPUS/BASHFUL CREATURES Compact Disc 855579005297 855579005297 GKM321 CURD,J/LIMBO SESSIONS Compact Disc 884501028424 884501028424 GR8CD005 HEEBEEJEEBEES,T/XMAS NUTS Compact Disc 776098165920776098165920 GRANDCD08 DR.FEEL GOOD/LIVE IN LONDO N Compact Disc 5018349800026 5018349800026 GRANDCD30 DR.FEEL GOOD/REPEAT PRESCRIPTIO Compact Disc 50600063341225060006334122 GRBD636 FITZGERALD,E/PURE ELLA Compact Disc 011105063623 011105063623 GRCD001 JAL,E/SEE ME MAMA Compact Disc 680889022302 680889022302 GRD2629 VARIOUS ARTISTS/AN ANTHOLOGY O Compact Disc 011105062923 011105062923 GRD4102 COLTRANE JOHN /LIVE IN JAPAN Compact Disc 011105010221 011105010221 GRD9582 COREA CHICK/AKOUSTIC BAND Compact Disc 011105958226 011105958226 GRD9829 DAEMYON JERALD /THINKING ABOUT Compact Disc 011105982924 011105982924 GRLCD123 VAR/WHO'S THAT MAN A TRIBU(4CD Compact Disc 5060238631006 5060238631006 GRLCD134 CZUKAY,H/ON THE WAY TO THE PEA Compact Disc 5060238631815 5060238631815 GRLCD140 ELLINGTON,D/HIS OR/THE CONNY Compact Disc 5060238631709 5060238631709 GRLCD146 ROEDELIUS,M/IMAGORI Compact Disc 5060238631907 5060238631907 GRLCD152 HARMONIA/DOCUMENTS Compact Disc 5060238632089 5060238632089 GRLCD158 CZUKAY,H/MOVIE Compact Disc 5060238632577 5060238632577 GRLCD863065 GRONEMEYER,H/I WALK Compact Disc 5060238630658 5060238630658 GRLCDGRON124 DINGER,K/JAPANDORF/JAPANDORF Compact Disc 5060238631037 5060238631037 GRLCDGRONI NEU/NEU Compact Disc 5024545344929 5024545344929 GRLCDGRONII NEU/NEU 2 Compact Disc 5024545345025 5024545345025 GRLCDGRONIII NEU/NEU 75 Compact Disc 5024545345124 5024545345124 GRLCDGRONIV NEU/NEU '86 Compact Disc 5065001040856 5065001040856 GRLDV863098 GRONEMEYER,H/I WALK LIVE(2DVD) Digital Video Disc 5060238630986 5060238630986 GRLMC150 HARMONIA/COMPL ETE WORKS(C ASSET Cassette 5060238632034 5060238632034 GRRR0001 OLD SOUL,THE/GOLD Compact Disc 8236740001278236740001275 060238 632034 7 20642 46212 6 7 20642 41442 2 0 11105 95822 60 11105 01022 10 11105 06362 3 0 11105 06292 3 0 11105 98292 47 20642 40182 8 7 20642 46202 7 5 018349 800026 5 060006 334122 8 23674 00012 77 76098 16592 08 84501 02842 48 55579 00529 7 6 80889 02230 2 5 060238 631815 5 060238 631709 5 060238 631907 5 060238 632089 5 060238 631006 5 060238 630658 5 060238 631037 5 024545 344929 5 024545 345025 5 024545 345124 5 065001 040856 5 060238 632577 5 060238 630986 Catalogue Numb er Artist & Title Description Configuration Scannable UPC UPC GRSD2004 MILLER,G ORCHCHESTRA/IN THE DI Compact Disc 011105200424 011105200424 GRSD9697 RITENOUR,L/WES BOUND Compact Disc 011105969727 011105969727 GRSD9910 ANTOINE,M/URBAN GYPSY Compact Disc 011105991025 011105991025 GSE703 REAVERS,T/TERROR FIRMA Compact Disc 822720770328822720770328 GSE705 SUNZOFMAN/THE OLD TESTAMENT Compact Disc 822720770526822720770526 GSE711CD THIRSTON HOWL III & RACK LO/LO Compact Disc 822720771127822720771127 GSE715 VAR/SOUNDCHRONICLES VOL.1 Compact Disc 855052001327855052001327 GSE716 SUPER CHRON FLIGHT BROTHERS/EM Compact Disc 822720771622822720771622 GTEDV881202 FILM/BILLY BLANKS:TAEBO CARDIO Digital Video Disc 767712812023 767712812023 GTS2512688 O'DONNELL,R/SONGS FROM THE SIL Compact Disc 093624983828093624983828 HAB029 SHOWERS,THE/THE SHOWERS Compact Disc 810775010841 810775010841 HATMAN2007 BIBB,E & LEON/FAM ILT AFFAIR Compact Disc 5038787200721 5038787200721 HBL007EP LESLIE OVERDRIVE/WITH THE HAMM Compact Disc EP's 826556200721 826556200721 HBL010 LOW FIDELITY JET-SET ORCH/SEAR Compact Disc 826556201025 826556201025 HBR008CD PHAT FRED/DON'T SPOIL THE SOUP Compact Disc 826556000826 826556000826 HBR009 NEGRI,PA/A BIGGER TOMORROW Compact Disc 826556000925 826556000925 HBRCD10092 VAR/RETRO:ACTIVE Compact Disc 772408100926772408100926 HBRCD10162 VAR/RETRO:ACTIVE 2 Compact Disc 772408101626772408101626 HBRCD10262 VAR/RETRO:ACTIVE 3 Compact Disc 772408102623772408102623 HBRCD10422 VAR/A TRIP IN TRANCE 6 Compact Disc 772408104221772408104221 HBRCD10442 VAR/RETRO:ACTIVE 5 RARE & REMI Compact Disc 772408104429772408104429 HBRCD10542 VAR/RETRO:ACTIVE 6 RARE & REMI Compact Disc 772408105426772408105426 HELCD9714 PRESLEY,E/75TH ANNIVERSARY(2CD Compact Disc 064027971422 064027971422 HELCD9715 ROGERS,K/GREAT AMERICAN HITS Compact Disc 064027971521 064027971521 HER06 MONDO PRIMO/2FN HOT Compact Disc 790168620423 790168620423 HL650112 RASCAL FLATTS/RASCAL FLATTS Compact Disc 720616501127 720616501127 HLM22115 NOVA,B/THE UNGANGSTER Compact Disc 619061211524 619061211524 HPO6001 CARTHY,M/THE DEFI NITIVE COLLEC Compact Disc 714822600125 714822600125 HPO6003 TABOR,J/THE DEFINITIVE COLLECT Compact Disc 714822600323 714822600323 HPO6004 WATERSONS,THE/THE DEFINITIVE C Compact Disc 714822600422 7148226004220 11105 99102 50 11105 20042 4 0 11105 96972 7 7 20616 50112 70 64027 97142 2 0 64027 97152 1 6 19061 21152 48 26556 20102 5 8 26556 00082 6 8 26556 00092 55 038787 200721 7 14822 60032 3 7 14822 60042 27 14822 60012 50 93624 98382 88 22720 77032 8 8 22720 77052 6 8 22720 77112 7 8 55052 00132 7 8 22720 77162 2 7 72408 10422 1 7 72408 10542 67 72408 10092 6 7 72408 10162 6 7 72408 10262 3 7 72408 10442 98 10775 01084 1 7 90168 62042 38 26556 20072 17 67712 81202 3Catalogue Numb er Artist & Title Description Configuration Scannable UPC UPC HPO6005 CARTHY,E/THE DEFINI TIVE COLECT Compact Disc 714822600521 714822600521 HPO6006 MACCOLL,E/THE DEFINITIVE COLLE Compact Disc 714822600620 714822600620 HPO6007 VAR/SAILORS SONGS & SEA SHANTI Compact Disc 714822600729 714822600729 HPO6008 COLLINS,S/THE CLASSI C COLLECTI Compact Disc 714822600828 714822600828 HPO6009 SIMPSON,M/THE DEFINITIVE COLLE Compact Disc 714822600927 714822600927 HPO6010 VAR/THE ENGLISH COLLECTION A D Compact Disc 714822601023 714822601023 HPO6012 WATERSON CARTHY/THE DEFINITIVE Compact Disc 714822601221 714822601221 HPO6014 GAUGHAND/THE DEFINI TIVE COLLEC Compact Disc 714822601429 714822601429 HPO6015 TAMS,J/THE DEFINI TIVE COLLECTI Compact Disc 714822601528 714822601528 HR610362 QUEEN/SHEER HEART ATTACK Compact Disc 720616103628 720616103628 HR612672 QUEEN/LIVE MAGIC Compact Disc 720616126726 720616126726 HSCD1001 SERATT,K/BEST OF KE NNY SERATT Compact Disc 821252100122 821252100122 HUCD3061 SPYRO GYRA/IN MODERN TIMES Compact Disc 053361306120 053361306120 HUCD3062 VEASLEY,G/ON THE FAST TRACK Compact Disc 053361306229 053361306229 HUCD3075 YELLOWJACKETS/TIME SQUARED Compact Disc 053361307523 053361307523 HUCD3085 SPYRO GYRA/THE DEEP END Compact Disc 053361308520 053361308520 HUCD3095 BRECKER,M/PILGRIMAGE Compact Disc 053361309527 053361309527 HUCD3125 BAD PLUS,THE/PROG Compact Disc 053361312527 053361312527 HUCD3127 SPYRA GYRA/ GOOD TO GO-GO Co mpact Disc 053361312725 053361312725 HUCD3154 SPYRO GYRA/DOWN THE WIRE Compact Disc 053361315429 053361315429 HUCD3156 NAJEE/MIND OVER MATTER Compact Disc 053361315627 053361315627 HUSA9107 SPYROGYRA/WRAPPED IN A DREAM SACD4Stereo/Surround/CDAud 053361910761 053361910761 HUSA9110 JACOPASTORIOUSBIGBAND/TH E WORD SACD4Stereo/Surround/CDAud 053361911065 053361911065 HWTCD747313 GAZPACHO/TICK TOCK Compact Disc 886974731429 886974731429 IAKCD360056 REACH AROUND RODEO/GREATEST HI Compact Disc 880336005630 880336005630 IAKCD36386 ROCKATS,THE/ROCKIN TOGETHER Compact Disc 633090363863 633090363863 IAKCD677760 REACH AROUND RODEO/DARK DAYS D Compact Disc 633367776020 633367776020 IEG3042 TOMMY CHONG-USA V THOMAS B KIN Digital Video Disc 623667304207 623667304207 IL30308 ECHO&BUNNYMEN/HOUSE OF BLUES W Compact Disc 827823030829827823030829 IL30310 ECHO&BUNNYMEN/HOUSE OF BLUES S Compact Disc 8278230310248278230310247 20616 10362 8 7 20616 12672 6 8 21252 10012 27 14822 60102 37 14822 60052 1 7 14822 60062 0 7 14822 60072 9 7 14822 60082 8 7 14822 60092 7 7 14822 60122 1 7 14822 60142 9 7 14822 60152 8 8 27823 03082 9 8 27823 03102 48 86974 73142 9 8 80336 00563 0 6 33090 36386 3 6 33367 77602 00 53361 30622 9 0 53361 30952 7 0 53361 31562 70 53361 30612 0 0 53361 30752 3 0 53361 31252 7 0 53361 31542 90 53361 30852 0 0 53361 31272 5 6 23667 30420 70 53361 91076 1 0 53361 91106 5Catalogue Numb er Artist & Title Description Configuration Scannable UPC UPC IL30386 CULT,T/HOUSE OF BLUES:SAN DIEG Compact Disc 827823038627827823038627 IL30416 CULT,T/HOUSE OF BLUES:ATLANTIC Compact Disc 827823041627827823041627 IL30436 LESH,P & FRIENDS/NASHVILLE,TN Compact Disc 827823043621827823043621 IL30449 PESH,P & FRIENDS/DARIEN CENTRE Compact Disc 827823044925827823044925 ILBHS102605 BAUHAUS/US TOUR ( SAN FRANCISCO Compact Disc 827823025726827823025726 ILBHS102805 BAUHAUS/US TOUR (LOS ANGELES) Compact Disc 827823025825827823025825 ILBHS102905 BAUHAUS/US TOUR (LOS ANGELES 3 Compact Disc 827823025924827823025924 ILBHS103005 BAUHAUS/US TOUR (LOS ANGELES 2 Compact Disc 827823026020827823026020 ILBHS110805 BAUHAUS/US TOUR (CHICAGO 2) Compact Disc 827823027423827823027423 ILBHS110905 BAUHAUS/US TOUR (CHICAGO 2) Compact Disc 827823027522827823027522 ILBHS111105 BAUHAUS/US TOUR (NEW YORK) Compact Disc 827823027621827823027621 ILBHS111205 BAUHAUS/US TOUR (N EW YORK 2) Compact Disc 827823027720827823027720 ILBHS111305 BAUHAUS/US TOUR (BOSTON) Compact Disc 827823027829827823027829 ILSCD161 BACHMAN,R/EVERY SONG TELLS A S Compact Disc 039911016121 039911016121 ILSDV0034 BACHMAN,R/EVERY SONG T(DVD+CD) CD with DVD 039911003435 039911003435 ILSDV0035 BACHMAN,R/EVERY SONG TELLS(DVD Digital Video Disc 039911003534 039911003534 ILSDV0036 BACHMAN,R/EVERY SONG TELLS(BR) BLU RAY 039911003633 039911003633 ILTD52405 DEARS,THE/US TOUR (LOS ANGELES Compact Disc 827823011422827823011422 ILTD60505 DEARS,THE/US TOUR (DETROIT) Compact Disc 827823012221827823012221 ILTD61205 DEARS,THE/US TOUR (BOSTON) Compact Disc 827823012320827823012320 IMCD320 MARTYN,J/THE TUMBLE R (REMASTER Compact Disc 602498307328 602498307328 IMPD198 COLTRANE,J/LIVE AT BIRDLAND Compact Disc 011105019828 011105019828 IMPD213 COLTRANE,J/LIVE AT THE VILL... Compact Disc 011105021326 011105021326 IMPD225 JOHNSON JJ/KAI/THE GREAT KAI Compact Disc 011105022521 011105022521 IMPMD167 COLTRANE,J/S UNSHIP Compact Disc 011105016728 011105016728 IMPMD169 COLTRANE,J/STELLA R REGION Compact Disc 011105016926 011105016926 INTD90299 SEXSMITH,R/WHEREABOUTS Compact Disc 606949029920 606949029920 INTDM95007 NINE INCH NAILS/THE PERFECT DR Compact Disc EP's 606949500726 606949500726 INTDM95938 NINE INCH NAILS/MARCH OF PIGS Compact Disc 606949593827 606949593827 INTROCD2001 HOWLIN WOLF/A PROPER INTRO TO: Compact Disc 805520060011 8055200600110 39911 00363 30 39911 00343 5 0 11105 02252 1 0 11105 01672 80 11105 01982 8 0 11105 02132 6 0 11105 01692 6 6 06949 59382 76 06949 02992 06 02498 30732 8 8 05520 06001 18 27823 03862 7 8 27823 04162 7 8 27823 04362 1 8 27823 04492 5 8 27823 02572 6 8 27823 02582 5 8 27823 02592 4 8 27823 02602 0 8 27823 02742 3 8 27823 02752 2 8 27823 02762 1 8 27823 02772 0 8 27823 02782 9 8 27823 01142 2 8 27823 01222 1 8 27823 01232 00 39911 01612 1 6 06949 50072 60 39911 00353 4Catalogue Numb er Artist & Title Description Configuration Scannable UPC UPC INTROCD2002 SHEARING,G/A PROPER INTRO TO:G Compact Disc 805520060028 805520060028 INTROCD2003 LEE,P/A PROPER INTRO TO:PEGGY Compact Disc 805520060035 805520060035 INTROCD 2004 QUEBEC ,I/A PROPER INTRO TO:IKE Compac t Disc 805520060042 805520060042 INTROCD2005 CRISS,S/A PROPER INTRO TO:SONN Compact Disc 805520060059 805520060059 INTROCD2006 LITTLE WALTER/A PROPER INTRO T Compact Disc 805520060066 805520060066 INTROCD2007 CALLOWAY,C/A PROPER INTRO TO:C Compact Disc 805520060073 805520060073 INTROCD2008 BAKER,C/A PROPER INTRO TO:CHET Compact Disc 805520060080 805520060080 INTROCD2009 FITZGERALD,E/A PROPER INTRO TO Compact Disc 805520060097 805520060097 INTROCD2011 DAVIS,M/A PROPER INTRO TO:MILE Compact Disc 805520060110 805520060110 INTROCD2012 LANZA,M/A PROPER INTRO TO:MARI Compact Disc 805520060127 805520060127 INTROCD2014 CLOONEY,R/A PROPER INTRO TO:RO Compact Disc 805520060141 805520060141 INTROCD2015 HOLIDAY,B/A PROPER INTRO TO:BI Compact Disc 805520060158 805520060158 INTROCD 2017 GOODMAN,B/A PROPER INTRO TO :BE Compac t Disc 805520060172 805520060172 INTROCD2018 LEE.J/A PROPER INTRO TO:JULIE Compact Disc 805520060189 805520060189 INTROCD2021 ROLLINS,S/A PROPER INTRO TO:SO Compact Disc 805520060219 805520060219 INTROCD2023 BROWN,C/A PROPER INTRO TO:CLIF Compact Disc 805520060233 805520060233 INTROCD2025 KONITZ,L/A PROPER INTROTO:LEE Compact Disc 805520060257 805520060257 INTROCD2027 MONK,T/A PROPER INTRO TO:THELO Compact Disc 805520060271 805520060271 INTROCD2028 AUTRY,G/A PROPER INTRO TO:GENE Compact Disc 805520060288 805520060288 INTROCD2034 GETZ,S/A PROPER INTRO TO:STAN Compact Disc 805520060349 805520060349 INTROCD2039 LEWIS,S/A PROPER INTRO TO:SMIL Compact Disc 805520060394 805520060394 INTROCD2041 PRADO,P/A PROPER INTRO TO:PERE Compact Disc 805520060417 805520060417 INTROCD2043 ELLINGTON,D/A PROPER INTRO TO: Compact Disc 805520060431 805520060431 INTROCD2045 CRUZ,C/A PROPER INTRO TO:CELIA Compact Disc 805520060455 805520060455 INTROCD2046 STRAYHORN,B/A PROPER INTRO TO: Compact Disc 805520060462 805520060462 INTROCD2052 GONZALES,B/A PROPER INTRO TO:B Compact Disc 805520060523 805520060523 INTROCD2055 MARMAROSA,D/A PROPER INTRO TO: Compact Disc 805520060554 805520060554 INTROCD2056 VINSON,E/A PROPER INTRO TO:EDD Compact Disc 805520060561 805520060561 INTROCD2059 GUTHRIE,W/A PROPER INTRO TO:WO Compact Disc 805520060592 805520060592 INTROCD2061 MARTIN,D/A PROPER INTRO TO:DEA Compact Disc 805520060615 805520060615 8 05520 06061 58 05520 06002 8 8 05520 06003 5 8 05520 06004 2 8 05520 06005 9 8 05520 06006 6 8 05520 06007 3 8 05520 06008 0 8 05520 06009 7 8 05520 06011 0 8 05520 06012 7 8 05520 06014 1 8 05520 06015 8 8 05520 06017 2 8 05520 06018 9 8 05520 06021 9 8 05520 06023 3 8 05520 06025 7 8 05520 06027 1 8 05520 06028 8 8 05520 06034 9 8 05520 06039 4 8 05520 06041 7 8 05520 06043 1 8 05520 06045 5 8 05520 06046 2 8 05520 06052 3 8 05520 06055 4 8 05520 06056 1 8 05520 06059 2Catalogue Numb er Artist & Title Description Configuration Scannable UPC UPC INTROCD2064 WILLIAMS,H/A PROPER INTRO TO:H Compact Disc 805520060646 805520060646 INTROCD2065 GORDON,R/A PROPER INTRO TO:ROS Compact Disc 805520060653 805520060653 INTROCD2066 WATERS,M/A PROPER INTRO TO:MUD Compact Disc 805520060660 805520060660 INTROCD2068 ECKSTINE,B/A PROPER INTRO TO:B Compact Disc 805520060684 805520060684 INTROCD2069 JOHNSON,JJ/A PROPER INTRO TO:J Compact Disc 805520060691 805520060691 INTROCD2070 COBB,A/A PROPER INTRO TO:ARNET Compact Disc 805520060707 805520060707 INTROCD2071 CHALOFF,S/A PROPER INTRO TO:SE Compact Disc 805520060714 805520060714 INTROCD2073 CROSBY,B/A PROPER INTRO TO:BOB Compact Disc 805520060738 805520060738 INTROCD2075 MADDOX BROTHERS & ROSE/A PROPE Compact Disc 805520060752 805520060752 INTROCD2076 FRIZZELL,L/A PROPER INTRO TO:L Compact Disc 805520060769 805520060769 INTROCD2077 PARKER,C/A PROPER INTRO TO:CHA Compact Disc 805520060776 805520060776 INTROCD2078 THORNTON,BM/A PROPER INTRO TO: Compact Disc 805520060783 805520060783 INTROCD2079 FERRIER,K/A PROPER INTRO TO:KA Compact Disc 805520060790 805520060790 INTROCD2080 FOUR ACES,THE/A PROPER INTRO T Compact Disc 805520060806 805520060806 INTROCD2081 SINATRA,F/A PROPER INTRO TO:FR Compact Disc 805520060813 805520060813 INTROCD2082 VAUGHAN,S/A PROPER INTRO TO:SA Compact Disc 805520060820 805520060820 INTROCD2083 WATSON,J/A PROPER INTRO TO:JOH Compact Disc 805520060837 805520060837 INTROCD2084 MODERN JAZZ QUARTET/A PROPER I Compact Disc 805520060844 805520060844 INTROCD2087 SMITH,J/A PROPER INTRO TO:JOHN Compact Disc 805520060875 805520060875 INTROCD2088 SILVER,S/A PROPER INTRO TO:HOR Compact Disc 805520060882 805520060882 INTROCD2090 LITTLE ESTHER/A PROPER INTRO T Compact Disc 805520060905 805520060905 IRL068 DEMPSEY,D/ALMIGHTY LOVE Compact Disc 5060155721057 5060155721057 IRL072 WONDER STUFF,THE/OH NO ITS(2CD Compact Disc 5060155721118 5060155721118 IRL074 GENERAL PAOLINO FT M/SOUTH SUD Compact Disc 5060155721187 5060155721187 IRL075 LUMIERE/MY DEAREST DEAR Compact Disc 5060155721224 5060155721224 IRL080 DEMPSEY,D /IT'S ALL GOOD TH(2CD Co mpact Disc 5060155721439 5060155721439 ISBACD5118 CHOQUETTE,N/TE RRA BELLA Compact Disc 619061382521 619061382521 ISBCD005108 ARTISRESVARIES/ SILVER Compact Disc 620323510828 620323510828 ISBCD101 RANKS,S/MR.MAXIMUM Compact Disc 068584010129 068584010129 ISBCD5008 RUBBERBAND/BEATMAS Compact Disc 620323500829 6203235008296 20323 51082 8 0 68584 01012 9 6 20323 50082 96 19061 38252 15 060155 721118 8 05520 06069 1 8 05520 06078 3 5 060155 721057 8 05520 06064 6 8 05520 06065 3 8 05520 06066 0 8 05520 06068 4 8 05520 06070 7 8 05520 06071 4 8 05520 06073 8 8 05520 06075 2 8 05520 06076 9 8 05520 06077 6 8 05520 06079 0 8 05520 06080 6 8 05520 06081 3 8 05520 06082 0 8 05520 06083 7 8 05520 06084 4 8 05520 06087 5 8 05520 06088 2 8 05520 06090 5 5 060155 721187 5 060155 721439 5 060155 721224 Catalogue Numb er Artist & Title Description Configuration Scannable UPC UPC ISBCD5053 HUMPERDINCK,E/THE DANCE ALBUM Compact Disc 620323505329 620323505329 ISBCD5065 SASH/TRILENIUM Compact Disc 620323506524 620323506524 ISBCD5067 VAR/ISLA DEL SOL Compact Disc 620323506722 620323506722 ISBCD5068 VAR/SUMMER CLUB MIX Compact Disc 620323506821 620323506821 ISBCD5079 VAR/RAP ESSENTIALS 2001 Compact Disc 620323507927 620323507927 ISBCD5081 VAR/FRAT Compact Disc 620323508122 620323508122 ISBCD5082 VAR/IBIZA 2001 Compact Disc 620323508221 620323508221 ISBCD5086 CHOQUETTE,N/LA DIVA ET LE MAES Compact Disc 620323508627 620323508627 ISBCD5089 VAR/REGGAE AN THEMS 2 Compact Disc 620323508924 620323508924 ISBCD5090 VAR/SUNSHINE MIX Compact Disc 620323509020 620323509020 ISBCD5091 GALLEON/GA LLEON Compact Disc 620323509129 620323509129 ISBCD5092 IZZI,T/CHRISTMAS(CONNU FRANCO) Compact Disc 620323509228 620323509228 ISBCD5096 VAR/STREETMIX Compact Disc 620323509624 620323509624 ISBCD5097 CHOQUETTE,N/LE NOEL DE LA DIVA Compact Disc 620323509723 620323509723 ISBCD5098 APERFECTDAY/ALL OVER EVERYTHIN Compact Disc 620323509822 620323509822 ISBCD5100 VAR/CLUB ANTHEMS 2003 Compact Disc 620323510026 620323510026 ISBCD5103 VAR/HECHO EN CUBA VOL.3 Compact Disc 620323510323 620323510323 ISBCD5104 FONESCA,R/ELENGO Compact Disc 620323510422 620323510422 ISBCD5105 FONESCA,R/TIENE QUE VER Compact Disc 620323510521 620323510521 ISBCD5106 GIOARIA/LIKE A DREAM Compact Disc 620323510620 620323510620 ISBCD5107 CHOQUETTE,N/AETERNA Compact Disc 620323510729 620323510729 ISBCD5109 CHOQUETTE,N/ROMANTICA Compact Disc 620323510927 620323510927 ISBCD5112 CHOQUETTE,N/LUX AETERNA,LA TRI Compact Disc 619061347629 619061347629 ISBCD5113 FUMANTI,G/JE SUIS Compact Disc 619061371921 619061371921 ISBCD5114 CHOQUETTE,N/TERRA MIA! Compact Disc 619061371327 619061371327 ISBCD5116 DOZIER,M/HERE I AM Compact Disc 619061382422 619061382422 ISBCD5119 FUMANTI,G/MAGNIFICANT Compact Disc 619061382620 619061382620 ISBDVD002 CHOQUETTE,N/LA DIVA Digital Video Disc 619061366835 619061366835 IWRCD83031 PERSUADERS/THE FICTION MAZE Compact Disc 4018996237450 4018996237450 JC5006 JAMES CLARKE FIVE/SEX BOMBE UBE Compact Disc 700621494591 7006214945916 20323 50532 9 6 20323 50652 4 6 20323 50672 2 6 20323 50682 1 6 20323 50792 7 6 20323 50812 2 6 20323 50822 1 6 20323 50862 7 6 20323 50892 4 6 20323 50902 0 6 20323 50912 9 6 20323 50922 8 6 20323 50962 4 6 20323 50972 3 6 20323 50982 2 6 20323 51002 6 6 20323 51032 3 6 20323 51042 2 6 20323 51052 1 6 20323 51062 0 6 20323 51072 9 6 20323 51092 7 6 19061 34762 9 6 19061 37192 1 6 19061 37132 7 6 19061 38242 2 6 19061 38262 0 7 00621 49459 14 018996 237450 6 19061 36683 5Catalogue Numb er Artist & Title Description Configuration Scannable UPC UPC JDM10282 DEFRANCESCO,J/HOME FOR THE HOL Compact Disc 880504102826 880504102826 JDNCCD008X SHACK/TIME MACHINE Compact Disc 50550591008005055059100800 JFB1711 JANISCH,M/THE VIBR APHONE ALBUM Compact Disc 700220305038 700220305038 JFT001 JOHN FAHEY TRIO/VOLUME ONE Compact Disc 821997000121 821997000121 JMG180502 KLEZMATICS,THE/WOODY GUTHRIES Compact Disc 857764001503857764001503 KAP24441 DEUXLUXES,LES/TRAITEMENT DEUXL Compact Disc 619061444120 619061444120 KAR23672 BAD FLIRT/VIRGIN TALK Compact Disc 619061367221 619061367221 KAY24763 BABINS/BABINS Compact Disc 619061476329 619061476329 KF001 FOX,K/COME ALIVE Compact Disc 775020538825775020538825 KIN17540 VAR/MORE MOST RELAXI NG NEW AGE Compact Disc 795041754028 795041754028 KLRCD13 BELAKOR/OF BREATH AND BONE Compact Disc 8033712040998 8033712040998 KM100 MEZZOFORTE/VOLCANIC Compact Disc 767715010020 767715010020 L200109 APRIL WINE/FRIGATE Compact Disc 774505010924 774505010924 LAM33735 CARDIO LATINO Digital Video Disc 619061373536 619061373536 LAM33837 CARDIO FEVER Digital Video Disc 619061383733 619061383733 LAM33843 SEXY DANCE Digital Video Disc 619061384334 619061384334 LAM33896 HI-LO CARDIO DANCE Digital Video Disc 619061389636 619061389636 LAPDV1252 FILM/YOGA CONDITIONING FOR WEI Digital Video Disc 029956110403 029956110403 LAPDV1259 FILM/PILATES BEGINNER MAT WORK Digital Video Disc 029956313408 029956313408 LAPDV1262 FILM/PILATES CONDITIONING FOR Digital Video Disc 029956902107 029956902107 LAPDV1269 FILM/PRENATAL YOGA Digital Video Disc 029956088825 029956088825 LAPDV1272 FILM/PILATED INTERMEDIATE MAT Digital Video Disc 029956908109 029956908109 LAPDV1284 FILM/MEDIATION FOR BEGINNER Digital Video Disc 029956100008 029956100008 LAPDV1497 FILM/PILATES LOWER BODY WORKOU Digital Video Disc 029956208001 029956208001 LAPDV1498 FILM/PILATES ABS Digital Video Disc 029956104303 029956104303 LAPDV1504 FILM/YOGA FOR KIDS-ABCS Digital Video Disc 029956938601 029956938601 LAPDV1540 FILM/CARDIO PILATES DVD Digital Video Disc 029956715202 029956715202 LAPDV1541 FILM/EASY PILATES DVD Digital Video Disc 029956330702 029956330702 LAPDV91263 FILM/BILINGUAL YOGA FOR BEGINN Digital Video Disc 029956239807 029956239807 LAPDV91276 FILM/BILINGUAL AM/PM YOGA Digital Video Disc 029956301702 0299563017026 19061 47632 96 19061 44412 0 7 74505 01092 46 19061 36722 18 21997 00012 17 00220 30503 8 7 67715 01002 07 75020 53882 55 055059 100800 8 57764 00150 38 80504 10282 6 8 033712 040998 7 95041 75402 8 0 29956 11040 3 0 29956 31340 8 0 29956 90210 7 0 29956 08882 5 0 29956 90810 9 0 29956 10000 8 0 29956 20800 1 0 29956 10430 3 0 29956 93860 1 0 29956 71520 2 0 29956 33070 2 0 29956 23980 7 0 29956 30170 26 19061 37353 6 6 19061 38373 3 6 19061 38433 4 6 19061 38963 6Catalogue Numb er Artist & Title Description Configuration Scannable UPC UPC LEEDZ006 BLAK MADEEN/SACRED DEFENSE Compact Disc 197702000626197702000626 LERCD321048 BLACK BONZO/SOUND OF THE APOCA Compact Disc 763232104822 763232104822 LHR001 GRANT,D/SMOKIN' JAVA Compact Disc 614511706124 614511706124 LIB33469 WINWOOD,S/SOUNDSTAGE - DVD Digital Video Disc 619061346936 619061346936 LL01 NOT0ITS!,THE/WE ARE THE NOT-IT Compact Disc 884501159265 884501159265 LM00282 LIVING LEGENDS/CRAPPY OLD SHT Compact Disc 693405002825693405002825 LM00302 LUCKYLAM.PSC/EXTRA CREDIT 2 Compact Disc 693405003020693405003020 LM01250 LUCKYLAM.PSC/JUSTIFY THE MEAN$ Compact Disc 631037075220631037075220 LNKCD109 HARVEY,D B/LEWIS, A M/BARBWIRE C ompact Disc 633090364273 633090364273 LNKCD80 GAS HOUSE GORIL/PUNK AMERICANA Compact Disc 633090363870 633090363870 LNKCD84 REACH AROUND RO/ROCKABILLY(DLX Compact Disc 633090363924 633090363924 LNKCD88 GORDON,R/I'M COMING HOME Compact Disc 633090364020 633090364020 LNKCD95 GRACIE,C/ANGEL ON MY SHOULDER Compact Disc 633090363962 633090363962 MA250092 DERRINGER,R/HOOCHIE K OO ONCE M Compact Disc 5413992500925 5413992500925 MA250095 DEFUNKT/THE LEGEND CONTINUES Compact Disc 5413992500956 5413992500956 MA250103 TR OGGS,THE/GODFATHERS OF PUNK Com pact Di sc 5413992501038 5413992501038 MA250111 LOS VAN VAN/VIVO EN AMERICA Compact Disc 5413992501113 5413992501113 MA250127 POCO/ALIVE IN THE HEART OF THE Compact Disc 5413992501274 5413992501274 MA250140 TRAVERS & APPICE/ BAZOOKA Compact Disc 5413992501403 5413992501403 MA250151 VAR/CHICAGO BLUES UNION Compact Disc 5413992501519 5413992501519 MA250158 COLOSSEUM/THEME FOR A REUNION Compact Disc 5413992501588 5413992501588 MA250159 VANILLAFUDG E/GOODGOODROCKIN Co mpact Disc 5413992501595 5413992501595 MA250162 KING,A/THEHEATOFTHEBLUES Compact Disc 5413992501625 5413992501625 MA250168 CLARENCEGATEMOUTHBRO THERS/ROCK Compact Disc 5413992501687 5413992501687 MA250172 BELL,E/THIN LIZZY BLUES Compact Disc 5413992501724 5413992501724 MA250173 SCAGGS,B/RUNNINBLUE Compact Disc 5413992501731 5413992501731 MA250182 TURNER,IKE&TINA/SIMP LYTHEVERYB Compact Disc 5413992501823 5413992501823 MA250228 SUHLER,J&HAYNES,A/ LIVEATTHEBLU Compact Disc 5413992502288 5413992502288 MA250236 COLOSSEUM/THEMEFORAREUNION Compact Disc 5413992502363 5413992502363 MA250255 DELTA MOON/HELLBOUND TRAIN (CD Compact Disc 5413992502554 54139925025546 14511 70612 4 8 84501 15926 5 5 413992 501687 5 413992 500956 5 413992 501038 5 413992 501113 5 413992 501274 5 413992 501403 5 413992 501519 5 413992 501588 5 413992 501595 5 413992 501625 5 413992 501724 5 413992 502288 5 413992 502363 5 413992 502554 5 413992 501731 5 413992 501823 5 413992 500925 1 97702 00062 6 6 93405 00282 5 6 93405 00302 0 6 31037 07522 0 6 33090 36427 3 6 33090 36387 0 6 33090 36392 4 6 33090 36402 0 6 33090 36396 27 63232 10482 2 6 19061 34693 6Catalogue Numb er Artist & Title Description Configuration Scannable UPC UPC MA250299 TRAVERS AND APPICE/BOOM(CD+DVD CD with DVD 5413992502998 5413992502998 MA250318 KING,F/THE BLUES IS RISING Compact Disc 5413992503186 5413992503186 MA250347 BUCHANAN,R/SHAKE, RA TTLE AND R Compact Disc 5413992503476 5413992503476 MA250364 BILL,H/HUNGRY Compact Disc 5413992503643 5413992503643 MA250366 SAM,D AND HIS MAGN/K NOCK KNOCK Compact Disc 5413992503667 5413992503667 MA251017 SWARM/BEYOND THE END Compact Disc 5413992510177 5413992510177 MA251024 VILLAIN/ONLYTIMEWILLTELL Compact Disc 5413992510245 5413992510245 MA251047 KINGKOBRA/NUMBER ONE Compact Disc 5413992510474 5413992510474 MA251050 LAGUNS/LIVEAMMO Compact Disc 5413992510504 5413992510504 MA251053 TRIBUTETOGUNSNROSES/UNCIVILWAR Compact Disc 5413992510535 5413992510535 MA251061 ANGELWITCH/ANGELOFDEATH Compact Disc 5413992510610 5413992510610 MA251089 HYADES/ANDTHEWORSTHASY ETTOCOME Compact Disc 5413992510894 5413992510894 MA251094 GODIVA/DESTRUCTION Compact Disc 5413992510948 5413992510948 MA251114 CINDERELLA/CAUGHT IN THE ACT CD with DVD 5413992511143 5413992511143 MA251126 CROSSFIRE/SECOND ATTACK Compact Disc 5413992511266 5413992511266 MAGE0008 BROBDINGNAGIAN BARDS/SONGS OF Compact Disc 806747000828806747000828 MAGE0009 BROBDINGNAGIAN BARDS/MEMORIES Compact Disc 806747000927806747000927 MAJ100053 SPIDER/ROCK N ROLL GYPSIES Compact Disc 842051000536 842051000536 MAJCD058 VAR/EMPIRE OF THUNDER Compact Disc 842051005821 842051005821 MBDCD14 ISCARIOT,J/THE COLD EARTH SELP Compact Disc 768586001421 768586001421 MBDCD156 SARGEIST/LET THE DEVIL IN Compact Disc 768586015626 768586015626 MBDCD178 AZAGHAL/NEMESIS Compact Disc 768586017828 768586017828 MBDCD196 SATAN'S HOST/VIRGIN SAILS Compact Disc 768586019624 768586019624 MBDCD21 ISCARIOT,J/DISTANT IN SOLITARY Compact Disc 768586002121 768586002121 MBDCD24 ISCARIOT,J/THY DYING LIGHT Compact Disc 768586002428 768586002428 MBDCD860042 SARGEIST/SATANIC BLACK DEVOTIO Compact Disc 768586004224 768586004224 MBDCD860043 LEVIATHAN/TENTH SUB LEVEL OF S Compact Disc 768586004323 768586004323 MBDCD860044N CRAFT/TERROR PROPAGA NDA SECOND Compact Disc 768586004422 768586004422 MBDCD860051 XASTHUR/TELEPATHIC WITH THE DE Compact Disc 768586005122 768586005122 MBDCD860052 LEVIATHAN/TENTACLES OF WHORROR Compact Disc 768586005221 7685860052215 413992 511143 5 413992 502998 8 42051 00053 6 8 42051 00582 15 413992 503643 5 413992 503667 5 413992 510177 5 413992 510245 5 413992 510474 5 413992 510504 5 413992 510535 5 413992 510610 5 413992 510894 5 413992 510948 5 413992 511266 5 413992 503186 5 413992 503476 8 06747 00082 8 8 06747 00092 7 7 68586 00142 1 7 68586 01562 6 7 68586 01782 8 7 68586 01962 4 7 68586 00212 1 7 68586 00242 8 7 68586 00422 4 7 68586 00432 3 7 68586 00522 17 68586 00512 27 68586 00442 2Catalogue Numb er Artist & Title Description Configuration Scannable UPC UPC MBDCD860057 SARGEIST/HORNED ALM/SPLIT Compact Disc 768586005726 768586005726 MBDCD860060 XASTHUR/TO VIOLATE THE OBLIVIO Compact Disc 768586006020 768586006020 MBDCD860064 IN MEMORIUM/FROM MISERY COMES Compact Disc 768586006426 768586006426 MBDCD860066 LEVIATHAN/HOWL MOCKERY AT THE Compact Disc 768586006624 768586006624 MBDCD860070 KROHM/A WORLD THROUGH DEAD EYE Compact Disc 768586007027 768586007027 MBDCD860073 DRAWN AND QUARTE/HAIL INFERNA Compact Disc 768586007324 768586007324 MBDCD860075 FEAR OF ETERNITY/SPIRIT OF SOR Compact Disc 768586007522 768586007522 MBDCD860077 MERRIMACK/OF ENTROP Y AND LIFE Compact Disc 768586007720 768586007720 MBDCD860080 XASTHUR/XASTHUR Compact Disc 768586008024 768586008024 MBDCD860082 HORNA/AANIA YOSSA Compact Disc 768586008222 768586008222 MBDCD860086 HORNA/BEHEXEN/SPLIT Compact Disc 768586008628 768586008628 MBDCD860089 GODLESS RISING/BATTLE LORDS Compact Disc 768586008925 768586008925 MBDCD860091 KROHM/HAUNTING PRESENCE Compact Disc 768586009120 768586009120 MBDCD860093 DODSFERD/CURSING YOUR WILL TO Compact Disc 768586009328 768586009328 MBDCD860097M HORNA/SOTAHUUTO Compact Disc 768586009724 768586009724 MBDCD860099M CORPUS CHRIST II/RISING Com pact Di sc 768586009922 768586009922 MBDCD860104 AZAGHAL/OMEGA Compact Disc 768586010423 768586010423 MBDCD860107 LEVIATHAN/MASSIVE CONSPIRACY A Compact Disc 768586010720 768586010720 MBDCD860110 BEHEXEN/MY SOUL FOR HIS GLORY Compact Disc 768586011024 768586011024 MBDCD860113 CELESTIAL BLOODSHED/CURSED SCA Compact Disc 768586011321 768586011321 MBDCD860116 LEVIATHAN/A SILHOUETTE IN SPLI Compact Disc 768586011628 768586011628 MBDCD860121 ARCKANUM/ANTIK OSMOS Compact Disc 768586012120 768586012120 MBDCD860122 OCTOBER FALLS/THE WO MB OF PRIM Compact Disc 768586012229 768586012229 MBDCD860126 HORNA/SANOJESI AARELLE(2CD) Compact Disc 768586012625 768586012625 MBDCD860133M ARCHGOAT/THE LIGHT DEVOURING Compact Disc 768586013325 768586013325 MBDCD860136M NAZXUL/ICONOCLAST Compact Disc 768586013622 768586013622 MBDCD860138M MERRIMACK/GREY RIGORISM Compact Disc 768586013820 768586013820 MBDCD860139M AZAGHAL/TERAPHIM Compact Disc 768586013929 768586013929 MBDCD860141 ARCKANUM/ PPPPPPPPPP Compac t Disc 768586014124 768586014124 MBDCD860145 HORNA/MUSTA KAIPUU Compact Disc 768586014520 7685860145207 68586 00572 6 7 68586 00602 0 7 68586 00642 6 7 68586 00662 4 7 68586 00702 7 7 68586 00732 4 7 68586 00752 2 7 68586 00822 2 7 68586 00862 8 7 68586 00892 5 7 68586 00912 0 7 68586 00932 8 7 68586 00972 4 7 68586 00992 2 7 68586 01042 3 7 68586 01072 0 7 68586 01102 4 7 68586 01132 1 7 68586 01162 8 7 68586 01212 0 7 68586 01222 9 7 68586 01262 5 7 68586 01332 5 7 68586 01362 2 7 68586 01392 9 7 68586 01412 4 7 68586 01452 07 68586 00772 0 7 68586 00802 4 7 68586 01382 0Catalogue Numb er Artist & Title Description Configuration Scannable UPC UPC MBDCDDEAD002 NOCTURNUS/NOCTURNUS Compact Disc 768586000226 768586000226 MBDCDDEAD230 H’RESIARCHS OF DIS/TRIA PRIMA Compact Disc 768586023027 768586023027 MBDCDDEAD231 NEKRO DRUNKZ/LAVATORY CARNAGE Compact Disc 768586023126 768586023126 MCABD10301 OST/GUYS AND DOLLS Compact Disc 008811030124 008811030124 MCABD1467 CLINE,P/REMEMBERING Compact Disc 076732146729 076732146729 MCAD10040 RAFFI/ONE LIGHT ONE SUN Compact Disc 008811004026 008811004026 MCAD10042 RAFFI/RISE AND SHINE Compact Disc 008811004224 008811004224 MCAD10486 LA BOLDUC/HERITAGE QUEBECOIS Compact Disc 008811048624 008811048624 MCAD10775 RADGERS&HAMMERSTEIN /COLLECTION Compact Disc 008811077525 008811077525 MCAD10994 MCENTIRE,R/READ MY MIND Compact Disc 008811099428 008811099428 MCAD11115 RAFFI/BANANAPHONE Compact Disc 008811111526 008811111526 MCAD11937 K-CI & JOJO/IT S REAL Compact Disc 008811193720 008811193720 MCAD11955 HOOKER,J/THE BEST OF JOHN LEE Compact Disc 008811195526 008811195526 MCAD20194 GRASS ROOTS THE/TEMP TATION EYE Compact Disc 076742019426 076742019426 MCAD20562 ONE WAY/CUTIE PIE Compact Disc 076742056223 076742056223 MCAD20800 CLARK ROY & TRE/BANJO BANDITS Compact Disc 076742080020 076742080020 MCAD31168 BUFFETT JIMMY /SOMEW HERE OVER Compact Disc 076731116822 076731116822 MCAD6214 OST/MOONLIGHTING Compact Disc 076732621424 076732621424 MCAMD11247 BUFFETT JIMMY /BAROMETER SOUP Compact Disc 008811124724 008811124724 MCAMD5943 LYNN LORETTA /20 GREATEST HI Compact Disc 076732594322 076732594322 MCAMD80325 VARIOUS ARTISTS/TARANTINO CONN Compact Disc 602438032525 602438032525 MCASD11449 OST/DRAGONHEART Compact Disc 008811144920 008811144920 MCBBD11025 VARIOUS ARTISTS/CRAZY FOR GERS Compact Disc 008811102524 008811102524 MCBBD2377 TROOPER/THICK AS THIEVES Compact Disc 076732237724 076732237724 MCBBD31221 WHO THE /WHO S MISSING Compact Disc 076731122120 076731122120 MCBBD31238 TWITTY CONWAY /VERY BEST OF Compact Disc 076731123820 076731123820 MCBBD31305 EARLE,S/GUITAR TOWN Compact Disc 076743130526 076743130526 MCBBD31347 INK SPOTS /G REATEST HITS Compact Disc 076743134722 076743134722 MCBBD37003 WHO THE /WHO ARE YOU Compact Disc 076741700325 076741700325 MCBBD399 OST/JOSEPH & AMAZING TECHNICOL Compact Disc 076732039922 0767320399220 08811 19552 6 0 76742 01942 60 08811 03012 4 0 08811 10252 4 0 76732 23772 4 0 76731 12212 0 0 76743 13472 2 0 76741 70032 5 0 76732 03992 20 08811 19372 0 0 76732 62142 4 0 08811 12472 4 0 08811 14492 00 08811 07752 5 0 76742 05622 3 0 76742 08002 0 0 76731 11682 2 0 76732 59432 20 76732 14672 9 0 76731 12382 0 0 76743 13052 60 08811 09942 8 6 02438 03252 50 08811 04862 47 68586 00022 6 7 68586 02302 7 7 68586 02312 6 0 08811 11152 60 08811 00402 6 0 08811 00422 4Catalogue Numb er Artist & Title Description Configuration Scannable UPC UPC MCBBD6415 STRAIT,G/LIVIN IT UP Compact Disc 076732641521 076732641521 MCGJ1031 NEW YORK VOICES/A DAY LIKE THI Compact Disc 612262103124 612262103124 MCSSD11619 BLIGE,M/SHARE MY WORLD Compact Disc 008811161927 008811161927 MDECD2007 D'ELIA,M/STAY ANOTHER NIGHT Compact Disc 778632901827778632901827 MDM129 MANDEVILLES,THE/WINDOWS AND ST Compact Disc 798304282221 798304282221 MED24913 PAGLIARO,M/GREATEST HITS Compact Disc 619061491322 619061491322 METAVP0109 META/THE CORNERSTO NES/ANCIENT Compact Disc 673405010921 673405010921 MGCD051 FAIRPORT CONVENTION/BY POPULAR Compact Disc 5051078923529 5051078923529 MGCD052 FAIRPORT CONVENTION/BABBACOMBE Compact Disc 5051078923628 5051078923628 MI21636 LEANDROS,V/L'AMOUR EST BLEU SU Compact Disc 619061163625 619061163625 MIA1015 RED GIANT/ ULTRA-MAGNETIC GLOW Compact Disc 657674101528657674101528 MICR004CD BLACK PUSSY/ON BLONDE Compact Disc 633914028329 633914028329 MIR005 ANDERSON/SLOSKI/FOOTWORK Compact Disc 775020516724775020516724 MJFR30313 SHIRLEY HORN TRIO/LIVE AT THE Compact Disc 888072303133 888072303133 MJFR30638 WITHERSPOON,J/LIVE AT THE MONT Compact Disc 888072306387 888072306387 ML24652 BAKER,B/FACING CANYONS Compact Disc 619061465224 619061465224 MLLCD133 ASTRAL DOORS/BLACK EYED CHILDR Compact Disc 4250444156801 4250444156801 MLLCDF60 DORO/FIGHT Compact Disc 727361688103 727361688103 MLLDVF6 DORO/CALLING THE WILD Compact Disc 727361688301 727361688301 MLLDVF61 DORO/FUR IMMER(DVD) Digital Video Disc 727361688004 727361688004 MLM001 BRAIDED/CASEY,ASHLEY AND AMBER Compact Disc 653496114920653496114920 MMC10CDR VAR/THE EXHIBITION SERIES Compact Disc 647063621720 647063621720 MODOUT007 BAD VEINS/THE MESS WE'VE MADE Compact Disc 616892033547 616892033547 MOSUSR02CD CALDWELL,A/OBSESSION Compact Disc 844711001624 844711001624 MPSCD8552 BOOKER T. & MG'S /MCLEMORE AVEN Compact Disc 025218855228 025218855228 MPSCD8579 REDDING ,O/GOOD TO ME Compact Disc 025218857925 025218857925 MR801342 FU MANCHU/IN SEARCH OF... Compact Disc 035498013423 035498013423 MRBCD021 V.A./BRAZILIAN BEATS 3 Compact Disc 711969103427711969103427 MRBCD024 V.A./FUTEBOL-THE SOUND OF BRAS Compact Disc 711969104424711969104424 MRBCD028 CLUBE DO BALANCO/SAMBA SWING Compact Disc 7119691050257119691050250 35498 01342 30 08811 16192 70 76732 64152 1 6 19061 16362 5 6 19061 46522 46 19061 49132 2 6 47063 62172 06 33914 02832 95 051078 923529 5 051078 923628 7 11969 10342 7 7 11969 10442 4 7 11969 10502 57 78632 90182 7 7 75020 51672 4 6 53496 11492 06 57674 10152 86 73405 01092 1 6 16892 03354 7 8 44711 00162 4 0 25218 85522 8 0 25218 85792 58 88072 30638 78 88072 30313 3 7 27361 68810 3 7 27361 68830 17 98304 28222 16 12262 10312 4 4 250444 156801 7 27361 68800 4Catalogue Numb er Artist & Title Description Configuration Scannable UPC UPC MRBCD029 V.A./BRAZILIAN BEATS 4 Compact Disc 711969105124711969105124 MRBCD035 V.A./FUNK CARIOCA Compact Disc 711969108514711969108514 MRBCD036 V.A./BRAZILIAN BEATS 6 Compact Disc 711969109429711969109429 MRBCD038 V.A./BRAZILIAN BEATS 3 & 4 Compact Disc 50240170001245024017000124 MRBCD039 BUKKY LEO/BLACK EGYPT/AFROBEAT Compact Disc 50240170008275024017000827 MRBCD040 MOTHERS, THE/TOWNSHIP SESSIONS Compact Disc 50240170009265024017000926 MRBCD042 LENINE/IN CITE Compact Disc 50240170025245024017002524 MRBCD044 BABALOLA/BABALOLA Compact Disc 50240170028215024017002821 MRBCD047 MITCHELL & DEWBURY BAND/BEYOND Compact Disc 50240170027225024017002722 MRBCD048 V.A./BRAZILIAN BEATS N PIECES Compact Disc 50240170038285024017003828 MRBCD049 V.A./BOTTLETOP SOUND AFFECTS:B Compact Disc 50240170032245024017003224 MRBCD054 JOSE CONDE Y OLA FRESCA/(R)EVO Compact Disc 711969108125711969108125 MRBCD056 FLOWRIDERS/R.U.E.D.Y. Compact Disc 50240170048255024017004825 MRBCD058 DEWBURY/DEWBURY Compact Disc 50240170061265024017006126 MRBCD059 AWADI/SUNUGAAL Compact Disc 50240170064235024017006423 MRBCD065 V.A./MR BONGO-THE BEST OF Compact Disc 711969111729711969111729 MRBDVD02 V.A./BRAZILIAN BEATS DVD Digital Video Disc 50240170006985024017000698 MRCD6411 DOWNIE,G/BATTLE OF THE NUDES Compact Disc 823674641122823674641122 MRCD6422 BENT,R/BLAM Compact Disc 823674642228823674642228 MRCD6451 LEWIS,A/FLOAT AWAY Compact Disc 823674645120823674645120 MRCD6499 BAJADA,J/LOVESHIT Compact Disc 823674649920823674649920 MRCD6510 RANKIN FAMILY/THESE ARE THE MO Compact Disc 823674651022823674651022 MRCD6530 BRYSON,J & THE WEAKERTHANS/THE Compact Disc 823674653026823674653026 MRE020 MUTHSPIEL WOLFGANG/BLADE/FRIEN CD with DVD 9005321800200 9005321800200 MRE021 MUTHSPIEL WOLFGANG/4TET/EARTH Compact Disc 9005321800217 9005321800217 MRE022 JAHNEL.B/TRIO/MODULAR CONCEPTS Compact Disc 9005321800224 9005321800224 MS0001CD NOISESHAPER/REAL TO REEL Compact Disc 850656001056850656001056 MS04 SHOCKED,M/SHORT SHARP SHOCKED Compact Disc 820692100426 820692100426 MSG21869 VAR/CLASSICALLY YOURS Compact Disc 619061186921 619061186921 MSGR05 JOHNNY SOCIETY/WOOD Compact Disc 6326621005236326621005239 005321 800200 6 19061 18692 18 20692 10042 69 005321 800217 9 005321 800224 8 23674 64112 2 8 23674 64222 8 8 23674 64992 0 8 23674 65102 2 8 23674 65302 68 23674 64512 07 11969 10512 4 7 11969 10851 4 7 11969 10942 9 5 024017 000124 5 024017 000827 5 024017 000926 5 024017 002524 5 024017 002821 5 024017 002722 5 024017 003828 5 024017 003224 7 11969 10812 5 5 024017 004825 5 024017 006126 5 024017 006423 7 11969 11172 9 8 50656 00105 6 6 32662 10052 35 024017 000698 Catalogue Numb er Artist & Title Description Configuration Scannable UPC UPC MSGR11 BERN,D/THE SWASTIKA EP Compact Disc 632662101124632662101124 MSGR12 BERN,D/FLEETING DAYS Compact Disc 632662101223632662101223 MSGR14 WHITLEY,C/HOTEL VAST HORIZON Compact Disc 632662101421632662101421 MSGR15 MCCUE,A/ROLL Compact Disc 632662101520632662101520 MSGR19 BERN,D/MY COUNTRY II Compact Disc 632662101926632662101926 MSGR22 WHITLEY,C/SOFT DANGEROUS SHORE Compact Disc 632662102220632662102220 MSGR24 MCCUE,A/KOALA MOTEL Compact Disc 632662102428632662102428 MSGR25 BERN,D/BREATHE Compact Disc 632662102527632662102527 MSR10001 SHERWOOD/A DIFFERENT LIGHT Compact Disc 602517238824 602517238824 MSR10005 POLYSICS/POLYSICS OR DIE:VISTA Compact Disc 602517454033 602517454033 MSR10013 PENNYWISE/REASON TO BELIEVE Compact Disc 602517632776 602517632776 MSR10027 POLYSICS/WE ATE TH E MACHINE Compact Disc 602517826656 602517826656 MSR10035 MEIKO/MEIKO Compact Disc 602517809925 602517809925 MSR10500 CALL THE COPS/CALL THE COPS! Compact Disc 602527413037 602527413037 MSR469A WALKER,D & THE AMBULATORS/MOST Compact Disc 634479071652 634479071652 MUNP002 PLAY THE ANGEL/PLAY THE ANGEL Compact Disc 859701586296 859701586296 MWCD3025 ROUDANIYAT ENSEMBLE/AL-HAL (IN Compact Disc 8712618302521 8712618302521 MWM5916 BYNUM,J/THE PLUMBLINE(LIFE UND Compact Disc 879645007916 879645007916 MWR44 KING,F/MESSIN' AROUND THA HOUS Compact Disc 796873021166 796873021166 NAVIGATOR041 KERR, & FAGAN,J/TWICE REFLECTE Compact Disc 5052442000129 5052442000129 NAVIGATOR13 HEWERDINE,B/TOY BOX NO 1 Compact Disc 5060169470286 5060169470286 NAVIGATOR26 HEWERDINE,B/TOY BOX NO 2 Compact Disc 5060169470668 5060169470668 NAVIGATOR29 WOODS,C/ALBION AN ANTHOLOG(2CD Compact Disc 5060169470750 5060169470750 NAVIGATOR3 MCCUSKER,J/UNDER ONE SKY Compact Disc 5060169470064 5060169470064 NAVIGATOR35 THOMSON,I/SHIPWRE CKS AND STATI C ompact Disc 5060169470842 5060169470842 NCD60162 HUMMEL,JN/COMPLETE PIANO SONAT Compact Disc 032466016226 032466016226 NCD601723 LIPKIN,S/BEETHOVEN:COMPELTE SO Compact Disc 032466017223 032466017223 NCD601733 LIPKIN,S/BEETHOVEN:COMPLETE SO Compact Disc 032466017322 032466017322 NDR0042 DEVIN TOWNSEND/TRANSC ENDEN(DLX Compact Disc 821826016866 821826016866 NDR030 DOIRON,J/DESORMAIS Compact Disc 6240607203046240607203046 02517 80992 56 02517 23882 4 6 02517 45403 3 6 02517 63277 6 6 02517 82665 6 6 02527 41303 7 8 59701 58629 66 34479 07165 2 8 712618 302521 7 96873 02116 6 0 32466 01622 6 0 32466 01722 3 0 32466 01732 25 052442 000129 5 060169 470286 5 060169 470668 5 060169 470842 5 060169 470064 5 060169 470750 6 24060 72030 46 32662 10112 4 6 32662 10122 3 6 32662 10142 1 6 32662 10152 0 6 32662 10192 6 6 32662 10222 0 6 32662 10242 8 6 32662 10252 7 8 79645 00791 6 8 21826 01686 6Catalogue Numb er Artist & Title Description Configuration Scannable UPC UPC NDR034 DOIRON,J/HEART AND CRIME Compact Disc 624060720342624060720342 NDV22004 HUDSON VALLEY SINGERS/SCHUMANN Digital Video Disc 032466200427 032466200427 NES20010 GREAT AUNT IDA/HOW THEY FLY Compact Disc 778224691921778224691921 NJSA8276 BURRELL,K/KENNY BURRELL AND JO SACD4Stereo/Surround/CDAud 025218731461 025218731461 NMR0150 PARLOUR STEPS/AMBIGUOSO Compact Disc 621365103924 621365103924 NMR0151 PARLOUR STEPS/THE HIDDEN NAMES Compact Disc 830159005607 830159005607 NPD74402 PAIGE,J & RAMOS,S/GR AIL..THE R Compact Disc 032466440229 032466440229 NPD85515 HANDEL,GF/JOSHUA (CDX2) Compact Disc 032466551529 032466551529 NPD85581 WEIDINGER,C/VERDI:VERDI ARIAS Compact Disc 032466558122 032466558122 NPD85582 BACH,JS/BACH TENORS ARIAS WITH Compact Disc 032466558221 032466558221 NPD85621 MENOTTI,GC/THE UNICORN,THE GOR Compact Disc 032466562129 032466562129 NPD85625 HANDEL,GF/ALEXANDE R BALUS Compact Disc 032466562525 032466562525 NPD85628 HANDEL,GF/DRAMATIC ARIAS:FURY, Compact Disc 032466562822 032466562822 NPD85641 BERNSTEIN,L/TROUBLE IN TAHITI Compact Disc 032466564123 032466564123 NPD85649 VERDE,G/COMPLETE O PERA OVERTUR Compact Disc 032466564925 032466564925 NPD85661 STRAUSS,J/NIGHT IN VENICE(CDX2 Compact Disc 032466566127 032466566127 NPD85664 HAYDN,FJ/THE SPIRIT'S SONG Compact Disc 032466566424 032466566424 NPD85675 GILBERT & SULLIVAN/PRINCESS ID Compact Disc 032466567520 032466567520 NSR048 SANTAH/WHITE NOISE BED Compact Disc 603111926520 603111926520 NSR052 AFICIONADO/AFICIONADO Compact Disc 603111932026 603111932026 NSR063 CASKET LOTTERY/REAL FEAR Compact Disc 603111806327 603111806327 NSR0892 TRC/NATION Compact Disc 603111808925 603111808925 NSR0932 MIXTAPES/ORDINARY SILENCE Compact Disc 603111809328 603111809328 NSR1082 SWELLERS,T/THE LIGHT UNDER CLO Compact Disc 603111810829 603111810829 NSR1252 MAJOR LEAGUE/THERE S NOTHIN WI Compact Disc 603111812526 603111812526 NVR008 BAHAMAS/PINK STRAT Compact Disc 621617301412 621617301412 OCD9217 KOOLKEITH/THE RETURN OF DR.OCT Compact Disc 027297921726 027297921726 OGL816122 PULLMYFINGER/JINGLE SMELLS Compact Disc 790058161227 790058161227 OHH307492 VAR/OM HIP HOP V1 Compact Disc 600353074927 600353074927 OHH307822 BLACK SPADE/TO SERVE WITH LOVE Compact Disc 600353078222 6003530782226 21617 30141 28 30159 00560 76 21365 10392 4 0 32466 44022 9 0 32466 55152 9 0 32466 55812 2 0 32466 55822 1 0 32466 56212 9 0 32466 56252 5 0 32466 56282 2 0 32466 56412 3 0 32466 56492 5 0 32466 56612 7 0 32466 56642 4 0 32466 56752 0 0 27297 92172 66 24060 72034 2 7 78224 69192 1 6 03111 80892 56 03111 92652 0 6 03111 93202 6 6 03111 80632 7 6 03111 80932 8 6 03111 81082 9 6 03111 81252 6 6 00353 07492 7 6 00353 07822 27 90058 16122 70 32466 20042 7 0 25218 73146 1Catalogue Numb er Artist & Title Description Configuration Scannable UPC UPC OHH308952 AHMAD,R/THE PUSH Compact Disc 600353089525 600353089525 OHMCD004 BOOGIEWALL/SUPER MY OWN BAND C ompact Disc 634479983221 634479983221 OJCCD098 MCLEAN,J/MCLEAN'S SCENE Compact Disc 025218609821 025218609821 OJCCD1007 MANNE,S/THE GA MBIT Compact Disc 025218700726 025218700726 OJCCD10842 MANN,H & JASPER,B/FLUTE FLIGHT Compact Disc 025218708425 025218708425 OJCCD163 COLEMAN,O/SOMETHING ELSE Compact Disc 025218616324 025218616324 OJCCD803 LEGRAND,M/AFTER T RAIN Compact Disc 025218680325 025218680325 OJCCD816 PEPPER,A/ART PEPPER QUARTET Compact Disc 025218681629 025218681629 OJCCD869 JONES,J/THE MA IN MAN Compact Disc 025218686921 025218686921 OJCCD88 EVANS,B-TRIO/EVANS JA ZZ PORTRA Compact Disc 025218608824 025218608824 OJCCD940 DAVIS,E/TENOR SCENE Compact Disc 025218694025 025218694025 OJCCD964 PASS,J/BLUES DUES: LI VE AT LON Compact Disc 025218696425 025218696425 OM002 VAR/SPIRITUAL HIGH Compact Disc 600353950221 600353950221 OM004 VAR/SOUL MOTION Compact Disc 600353950429 600353950429 OM017 VAR/OM LOUNGE Compact Disc 600353981720 600353981720 OM047 VAR/OM LOUNGE 4 Compact Disc 600353004726 600353004726 OM060 DJ GARTH/SAN FRANCISCO SESSION Compact Disc 600353006027 600353006027 OM063 CALDWELL,A/SOUNDS OF OM 2 Compact Disc 600353006324 600353006324 OM114 KING BRITT PRESENTS/HIDDEN TRE Compact Disc 600353021426 600353021426 OM115 AFROMYSTIK/MORPHOLOGY Compact Disc 600353021525 600353021525 OM183 VAR/REBOOT NOTES FOR THE NEXT Compact Disc 600353058323 600353058323 OM193 VAR/MATRIXFILLMORE 2 Compact Disc 600353059320 600353059320 OM219 COLETTE AND HEATHE/HOUSE OF OM Compact Disc 600353061927 600353061927 OM25 MING FS/HELL S KITCHEN Compact Disc 600353992528 600353992528 OM294 RITHMA/SEX SELLS Compact Disc 600353089426 600353089426 OM429 JAMES,S/SUBCONSCIOUS Compact Disc 600353102927 600353102927 OM432 GREENSKEEPERS/LIVE LIKE YOU WA Compact Disc 600353090927 600353090927 OM434 FRED EVERYTHING/OM MASTERS Compact Disc 600353103429 600353103429 OM468 GROOVE ARMADA/WHITE LIGHT Compact Disc 600353106826 600353106826 OMM300372 VAR/OM LOUNGE 3 Compact Disc 600353003729 6003530037296 00353 08952 5 6 00353 95022 1 6 00353 95042 9 6 00353 98172 0 6 00353 00472 6 6 00353 00602 7 6 00353 00632 4 6 00353 02142 6 6 00353 02152 5 6 00353 05832 3 6 00353 05932 0 6 00353 06192 7 6 00353 99252 8 6 00353 08942 6 6 00353 10292 7 6 00353 09092 7 6 00353 10342 9 6 00353 10682 6 6 00353 00372 90 25218 70842 5 0 25218 60882 4 0 25218 69642 50 25218 60982 1 0 25218 70072 6 0 25218 61632 4 0 25218 68032 5 0 25218 68162 9 0 25218 68692 1 0 25218 69402 56 34479 98322 1Catalogue Numb er Artist & Title Description Configuration Scannable UPC UPC OMM301772 VAR/OM LOUNGE 5 Compact Disc 600353017726 600353017726 OMM303272 VAR/OM LOUNGE V7 Compact Disc 600353032729 600353032729 OMM303442 KASKADE/SAN FRANCISC O SESSIONS Compact Disc 600353034426 600353034426 OMM304582 FARINA,M/CARTER,D/LIVE AT OM Compact Disc 600353045828 600353045828 OMM305752 DJ MARK FARINA/MUS HROOM JAZZ 5 Compact Disc 600353057524 600353057524 OMM305872 VAR/OM BEACHED Compact Disc 600353058729 600353058729 OMM305892 GROOVE JUNKIES/HOUSE OF OM PRE Compact Disc 600353058927 600353058927 OMM305952 MIGS,M/HOUSE OF OM PRESENTS V1 Compact Disc 600353059528 600353059528 OMM306142 KASKADE/HERE AND NOW Compact Disc 600353061422 600353061422 OMM306172 GROOVE JUN/CHUCK LO/OM SUMMER Compact Disc 600353061729 600353061729 OMM306222 VAR/OM LOUNGE 10 Compact Disc 600353062221 600353062221 OMM307482 VAR/OM CHILLED Compact Disc 600353074828 600353074828 OMM307502 VAR/OM MIAMI 2007 Compact Disc 600353075023 600353075023 OMM307512 DJ MARK FARINA/HOU SE OF OM MAR Compact Disc 600353075122 600353075122 OMM307732 CHUCK LOVE/BRING ENOUGH TO SPI Compact Disc 600353077324 600353077324 OMM307742 DJ HEATHER/ONIONZ/SUMMER SE V2 Compact Disc 600353077423 600353077423 OMM307772 COLETTE/PUSH Compact Disc 600353077720 600353077720 OMM307842 FARINA,M/LIVE IN TOKYO Compact Disc 600353078420 600353078420 OMM308002 VAR/SOUNDS OF OM V6 Compact Disc 600353080027 600353080027 OMM308012 FRED EVERYTHING/LOST TOGETHER Compact Disc 600353080126 600353080126 OMM308152 FARINA,M/MUSHROOM JAZZ V6 Compact Disc 600353081529 600353081529 OMM308402 VAR/OM MIAMI 09 Compact Disc 600353084025 600353084025 OMM308922 HIPP E/STYLE OF EYE/ OM WINT V2 Compact Disc 600353089228 600353089228 OMM308932 VAR/OM CHILLED V2 Compact Disc 600353089327 600353089327 OMM308962 INLAND KN/DESMET,O/SAN FRANCIS Compact Disc 600353089624 600353089624 OMM308972 VAR/OM MIAMI 2008 Compact Disc 600353089723 600353089723 OMM308982 HOME & GARDEN/DOMESTICATED Compact Disc 600353089822 600353089822 OMM309612 VAR/OM 15 CELEBRATING 15 YEARS Compact Disc 600353096127 600353096127 OMM399302 DJ MARK FARINA/SAN FRANCISCO S Compact Disc 600353993020 600353993020 OMM399312 VAR/TEKTONICS Compact Disc 600353993129 6003539931296 00353 03272 9 6 00353 03442 6 6 00353 04582 8 6 00353 05752 4 6 00353 05872 9 6 00353 05892 7 6 00353 05952 8 6 00353 06142 2 6 00353 06172 9 6 00353 06222 1 6 00353 07482 8 6 00353 07502 3 6 00353 07512 2 6 00353 07732 4 6 00353 07742 3 6 00353 07772 0 6 00353 07842 0 6 00353 08002 7 6 00353 08012 6 6 00353 08152 9 6 00353 08402 5 6 00353 08922 8 6 00353 08932 7 6 00353 08962 4 6 00353 08972 3 6 00353 08982 2 6 00353 09612 7 6 00353 99302 0 6 00353 99312 96 00353 01772 6Catalogue Numb er Artist & Title Description Configuration Scannable UPC UPC OPM2222 VAR/KARAOKE TO RAMO NES:GABBA G Com pact Disc 027297222229 027297222229 OPM2223 VAR/BLUEGRASS KARAO KE VOL.2 Compact Disc 027297222328 027297222328 OPM2226 KARAOKE/I WANNA BE LI KE CASH:M Compact Disc 027297222625 027297222625 ORC0501 NEVERENDINGWHITELIGHTS/ACT;1 G Compact Disc 653496109629653496109629 ORCD208 SILVERSTEIN,S & DAILEY,P/UNDER Compact Disc 793447020822 793447020822 OUT792796 COMBICHRIST/THIS IS WHER(3CD+D CD with DVD 4260158837927 4260158837927 PABCD440102 ART TATUM/THE COMPLETE PABLO G Compact Disc 025218440127 025218440127 PABCD440402 ART TATUM/THE COMPLETE PABLO S Compact Disc 025218440424 025218440424 PACD53162 SILVER,H/PARIS BLUES Compact Disc 025218531627 025218531627 PAM9499 METALLICA/THE CELTIC TRIBUTE T Compact Disc 027297949928 027297949928 PAPER018 VAR/SEE YOU ON THE MOON Compact Disc 880893001823880893001823 PBRD1022 YOU SAY PARTY WE SAY D/REMIK'S Compact Disc 880893102223880893102223 PBRD1063 PS I LOVE YOU/FIGURE IT OUT Compact Disc 880893106320880893106320 PCR009 FULLYDOWN,T/NO FATE..BUT WHAT Compact Disc 625989430923625989430923 PCR010 SECONDSTOGO/SECONDS TO GO Compact Disc 625989543920625989543920 PCR011 AMOS THE TRANSPARENT/EVERYTHIN Compact Disc 625989570025625989570025 PDR021 ROBB,T/MUDDYVISHNU Compact Disc 619981332521 619981332521 PHCD7003 HELLECASTERS,THE/ HELL III:NEW Compact Disc 800633700328 800633700328 PM0005 SECRET SUBURBIA/MIDI GRITTY Compact Disc 676868164224676868164224 PM012 RUN WITH SCISSORS/SHARE THE PA Compact Disc 777320144027777320144027 PM016 KLOSCHINSKY,P/WOODLANDS Compact Disc 844667014211844667014211 PPCD09 BREIT,K/BURNT BULB ON BROADWAY Compact Disc 676868140228676868140228 PPDD12 MORLOCKS,THE/THE MO RLOCKS PLAY Compact Disc 626570609896 626570609896 PRCCD0092 SILENCER/DEATH PIERCE ME Compact Disc 884388400931 884388400931 PRCCD0172 TENHI/KAUAN Compact Disc 884388701731 884388701731 PRCCD0202 NEGURA BUNGET/MAIESTRIT Compact Disc 884388402041 884388402041 PRCCD0222 NEGURA BUNGET/SALA MOLKSA Compact Disc 884388402232 884388402232 PRCCD0232 NEGURA BUNGET/MAIASTRU SFETNIC Compact Disc 884388402331 884388402331 PRCCD0242 NEGURA BUNGET/ZIRNINDU SA Compact Disc 884388402430 884388402430 PRCCD0252 NEGURA BUNGET/FROM TRANSILVANI Compact Disc 884388402539 8843884025394 260158 837927 7 93447 02082 2 6 19981 33252 1 8 00633 70032 8 6 26570 60989 60 27297 22232 8 0 27297 22262 50 27297 22222 9 0 27297 94992 8 6 76868 14022 86 25989 43092 3 6 25989 54392 0 6 25989 57002 5 6 76868 16422 4 7 77320 14402 7 8 44667 01421 16 53496 10962 9 8 80893 00182 3 8 80893 10222 3 8 80893 10632 00 25218 44042 4 0 25218 53162 70 25218 44012 7 8 84388 40093 1 8 84388 70173 1 8 84388 40223 2 8 84388 40233 1 8 84388 40243 0 8 84388 40253 98 84388 40204 1Catalogue Numb er Artist & Title Description Configuration Scannable UPC UPC PRCCD084 EMPYRIUM/A RETROSPECTIVE Compact Disc 884388708426 884388708426 PRCCD704732 EMPYRIUM/WEILAND Compact Disc 884388704732 884388704732 PRCD24025 BURRELL,K/ALL DAY LONG,ALL NIG Compact Disc 888072240254 888072240254 PRCD242762 STITT,S/GOIN'S DOWN SLOW Compact Disc 025218527620 025218527620 PRDP4001 KAVANA,R/IRISH WAYS (4CD SET) Compact Disc 805520990011 805520990011 PRECD1202 DAVIS ,M/CHRONICLE-THE COMPLET Compact Disc 025218440028 025218440028 PRECD440502 COLTRANE,J/PRESTIG E RECORDINGS Compact Disc 025218440523 025218440523 PRMCD2001 DEEP PURPLE/THE D EEP PURPLE ST Compact Disc 805520290012 805520290012 PRMCD2002 VAR/HISTORIC ROOTS OF SKA Compact Disc 805520290029 805520290029 PRMCD2003 WISHBONE ASH/WISHBONE ASH Compact Disc 805520290036 805520290036 PRMCD2004 STRANGLERS,THE/THE STRANGLERS Compact Disc 805520290043 805520290043 PRMCD2008 BENEDICTINE MONKS OF ST.JAMES Compact Disc 805520290081 805520290081 PRMCD2009 MARTYN,J/ANTHOLOGY Compact Disc 805520290098 805520290098 PRMCD2012 VAR/FOLK-ROCK FOUNDERS Compact Disc 805520290128 805520290128 PRMCD2013 COLTRANE,J/ABSOLUTELY OUT THER Compact Disc 805520290135 805520290135 PRMCD2015 SKATALITES,THE/ANTHOLOGY Compact Disc 805520290159 805520290159 PRMCD2016 BERRY,C/YOW Compact Disc 805520290166 805520290166 PRMCD6009 VAR/THE BLUES HAD A BAY-THEY C C ompact Disc 805520090094 805520090094 PRMCD6016 VAR/NEW ORLEANS R'N'B PARTY Compact Disc 805520090162 805520090162 PRMCD6017 VAR/SHOUT IT OUT SISTER Compact Disc 805520090179 805520090179 PRMCD6018 YOUNG,L/THE IMORTAL LESTER YOU Compact Disc 805520090186 805520090186 PRMCD6019 MINGUS,C/THE INDIVIDUALIST Compact Disc 805520090193 805520090193 PRMCD6021 VAR/GOLD STANDARDS -40 CLASSIC Compact Disc 805520090216 805520090216 PRMCD6022 VAR/DRINKIN'TNT & SMOKIN'DYNOM Compact Disc 805520090223 805520090223 PRMCD6023 VAR/MAMBO JAMBO:TH E EARLY MAST Compact Disc 805520090230 805520090230 PRMCD6029 VAR/THE DOO WOP ALBUM Compact Disc 805520090292 805520090292 PRMCD6034 HOOKER,JL/DOWN CHILD Compact Disc 805520090346 805520090346 PRMCD6037 JACKSON,M/SONGS OF HOPE AND FA Compact Disc 805520090377 805520090377 PRMCD6039 VAR/ALL-TIME GREAT SINGING COW Compact Disc 805520090391 805520090391 PRMCD6045 COLE,NK/SERIOUSLY SMOOTH Compact Disc 805520090452 8055200904528 05520 09039 18 05520 29009 8 8 05520 29012 8 8 05520 09018 6 8 05520 09045 28 05520 99001 1 8 05520 29002 9 8 05520 29003 6 8 05520 29004 3 8 05520 29008 1 8 05520 29013 5 8 05520 29015 9 8 05520 29016 6 8 05520 09009 4 8 05520 09016 2 8 05520 09017 9 8 05520 09019 3 8 05520 09021 6 8 05520 09022 3 8 05520 09023 0 8 05520 09029 2 8 05520 09034 6 8 05520 09037 78 05520 29001 20 25218 52762 0 0 25218 44002 88 88072 24025 4 0 25218 44052 38 84388 70842 6 8 84388 70473 2Catalogue Numb er Artist & Title Description Configuration Scannable UPC UPC PRMCD6047 VAR/SCAT Compact Disc 805520090476 805520090476 PRMCD6051 DAVIS,S.JR./MR.DYNAMITE Compact Disc 805520090513 805520090513 PRMCD6054 MONTOYA/SEGOVIA/MAGIC OF THE S Compact Disc 805520090544 805520090544 PRMCD6055 VAR/RAZOR SHARPE ROCKABILLY Compact Disc 805520090551 805520090551 PRMCD6057 VAR/A HISTORY OF JAZZ FROM BRA Compact Disc 805520090575 805520090575 PRMCD6067 VAR/THE SOUND OF 50'S AMERICA Compact Disc 805520090674 805520090674 PRMCD6073 PATTON,C/THIS IS THE BLUES Compact Disc 805520090735 805520090735 PRMCD6074 COOKE,S/THE GOSPEL SOUL OF SAM Compact Disc 805520090742 805520090742 PRMCD6075 COCHRAN,E/FOREVER EDDIE Compact Disc 805520090759 805520090759 PRMCD6078 VAR/RADIO FUN-FIFTY FOR THE OV Compact Disc 805520090780 805520090780 PRMCD6088 WASHINGTON,D/THE GOLD COLLECTI Compact Disc 805520090889 805520090889 PRMCD6102 MOORE,S & GALLUP, C/THE ESSENTI Compact Disc 805520091022 805520091022 PRMCD6106 VAR/SOUL MUSIC:THE FIRST GENER Compact Disc 805520091060 805520091060 PRMCD6125 VAR/SKA: THE ESSENTI AL EARLY R Compact Disc 805520091251 805520091251 PROLUXE5001 RICH,B/STRIKE IT RICH! Compact Disc 805520120012 805520120012 PROLUXE5002 PETTIFORD,O/OSCAR RIDES AGAIN Compact Disc 805520120029 805520120029 PROPERBOX10 VAR/BEBOP SPO KEN HERE Compact Disc 604988991024 604988991024 PROPERBOX101 MONK,T/MON K'S MOODS Compact Disc 805520021012 805520021012 PROPERBOX103 VAR/FROM BOPPIN'TO RED HOT ROC Compact Disc 805520021036 805520021036 PROPERBOX104 MARTIN,D/YOUNG DINO Compact Disc 805520021043 805520021043 PROPERBOX105 DAY,D/SENTIMENTAL JOURNEY Compact Disc 805520021050 805520021050 PROPERBOX107 FOLEY,R/HILLBILLY FEVER Compact Disc 805520021074 805520021074 PROPERBOX109 GOODMAN,B/THE ESSENTIAL BG Co mpact Disc 805520021098 805520021098 PROPERBOX112 BOSTIC,E/THE EAR L BOSTIC STORY Compact Disc 805520021128 805520021128 PROPERBOX114 VAR/SQUEEZE ME:THE JAZZ & SWIN Compact Disc 805520021142 805520021142 PROPERBOX115 GUTHRIE,W/SOME FOLK Compact Disc 805520021159 805520021159 PROPERBOX116 FITZGERALD,E/DEARLY BELOVED Compact Disc 805520021166 805520021166 PROPERBOX117 HAYES,T/THE LITTLE GIANT Compact Disc 805520021173 805520021173 PROPERBOX119 FRIZZELL,L/GIVE ME MORE,MORE,M Compact Disc 805520021197 805520021197 PROPERBOX12 HAMPTON,L/THE LI ONEL HAMPTON S Compact Disc 604988991222 6049889912228 05520 09067 48 05520 09051 3 8 05520 02114 28 05520 02105 08 05520 09075 98 05520 09055 1 8 05520 09074 2 8 05520 09102 2 8 05520 02115 98 05520 09047 6 8 05520 09054 4 8 05520 09057 5 8 05520 09073 5 8 05520 09078 0 8 05520 09106 0 8 05520 12001 2 6 04988 99102 4 8 05520 02107 4 8 05520 02109 8 8 05520 02112 8 8 05520 02116 6 8 05520 02117 3 8 05520 02119 78 05520 09088 9 8 05520 02101 2 8 05520 02103 6 8 05520 02104 38 05520 09125 1 8 05520 12002 9 6 04988 99122 2Catalogue Numb er Artist & Title Description Configuration Scannable UPC UPC PROPERBOX120 CLARKE,K/KLOOK 'S THE MAN Compact Disc 805520021203 805520021203 PROPERBOX124 ROLLINS,S/SAX SYMBOL Compact Disc 805520021241 805520021241 PROPERBOX125 LUNCEFORD,J/STRICLY LUNCEFORD Compact Disc 805520021258 805520021258 PROPERBOX126 JACKSON,M/BAG S OF SOUL Compact Disc 805520021265 805520021265 PROPERBOX130 SULLIVAN,M/IT'S WONDERFUL Compact Disc 805520021302 805520021302 PROPERBOX131 SCOTT,R/BOPPIN'WITH SCOTT Compact Disc 805520021319 805520021319 PROPERBOX132 BLAKEY,A/THE PRIME SOURCE Compact Disc 805520021326 805520021326 PROPERBOX133 CHARLES,R/THE WAY I FEEL(4CD S Compact Disc 805520021333 805520021333 PROPERBOX135 VAR/ROCK'N'SKIFFL E:BRIT BEAT(4 Co mpact Disc 805520021357 805520021357 PROPERBOX136 COLTRANE,J/EARLY TRANCE(4CD SE Compact Disc 805520021364 805520021364 PROPERBOX14 HAWKINS,C/THE BEBOP YEARS C ompact Disc 604988991420 604988991420 PROPERBOX142 VAR/STEELIN'IT:TH E STEEL GUITA Compact Disc 805520021425 805520021425 PROPERBOX143 VAR/ROCKIN' MEMPHIS Compact Disc 805520021432 805520021432 PROPERBOX146 VAR/RARE ROCK 'N' ROLL RAMPAGE Compact Disc 805520021463 805520021463 PROPERBOX15 HERMAN,W/WOODY HERMAN STORY Compact Disc 604988991529 604988991529 PROPERBOX151 VAR/CHARLIE PATTON-75 YEAR ANN CD with DVD 805520021517 805520021517 PROPERBOX152 VAR/MUDDY WATERS-STEPPING STON CD with DVD 805520021524 805520021524 PROPERBOX154 VAR/THE BEST OF HOWLIN' WOLF CD with DVD 805520021548 805520021548 PROPERBOX157 ADDERLEY,C/DIS HERE (CDX4) Compact Disc 805520021579 805520021579 PROPERBOX16 GORDON,D/SETTIN'THE PACE Compact Disc 604988991628 604988991628 PROPERBOX160 HARRIOTT,J/THE JO E HARRIOTT ST Compact Disc 805520021609 805520021609 PROPERBOX161 CLARK,S/SONNY ÂS CONCEPTION Compact Disc 805520021616 805520021616 PROPERBOX163 HOOKER,J L/MOTOR CITY BL(4CD Compact Disc 805520021630 805520021630 PROPERBOX165 VAR/THE BIG BL AST/100 CLAS(4CD Compact Disc 805520021654 805520021654 PROPERBOX168 VAR/LONESOME WHIS TLE/AN AN(4CD Compact Disc 805520021685 805520021685 PROPERBOX17 DAVIS,M/YOUNG MILES Compact Disc 604988991727 604988991727 PROPERBOX170 VAR/RAMBLERS, GA MBLERS, VA(4CD Compact Disc 805520021708 805520021708 PROPERBOX173 VAR/BROKEN HEARTS(4CD) Compact Disc 805520021739 805520021739 PROPERBOX176 HAYES,T/LITTLE GI ANT STEP(4 CD Compact Disc 805520021760 805520021760 PROPERBOX179 WITHERSPOON,J/HARD WORKING(4CD Compact Disc 805520021791 8055200217918 05520 02151 7 8 05520 02152 4 8 05520 02154 88 05520 02136 48 05520 02126 5 8 05520 02163 0 8 05520 02179 18 05520 02165 48 05520 02130 28 05520 02120 3 8 05520 02142 58 05520 02124 1 8 05520 02125 8 8 05520 02133 3 8 05520 02135 7 6 04988 99142 0 6 04988 99162 88 05520 02131 9 8 05520 02132 6 8 05520 02143 2 8 05520 02146 3 8 05520 02157 9 8 05520 02160 9 8 05520 02161 6 8 05520 02168 5 6 04988 99172 7 8 05520 02170 8 8 05520 02173 9 8 05520 02176 06 04988 99152 9Catalogue Numb er Artist & Title Description Configuration Scannable UPC UPC PROPERBOX2 VAR/THE ENGINE R OOM-A HISTORY Compact Disc 604988990225 604988990225 PROPERBOX22 HOWELL,B/TEMPUS FUGUE-IT Compact Disc 604988992229 604988992229 PROPERBOX24 ARMSTRONG,L/C'EST CI BON-SACHM Compact Disc 604988992427 604988992427 PROPERBOX28 VAR/GETTIN'FUNKY:THE BIRTH OF Compact Disc 604988992823 604988992823 PROPERBOX3 VAR/FAREWELL TO IRELAND Compact Disc 6049889903242 6049889903242 PROPERBOX30 GILLESPIE,D/THE DIZZY GILLESPI Compact Disc 604988993028 604988993028 PROPERBOX34 CROSBY,B/IT'S EASY TO REMEMBER Compact Disc 604988993424 604988993424 PROPERBOX36 STAFFORD,J/YES INDEED! Compact Disc 604988993622 604988993622 PROPERBOX37 WEBSTER,B/B IG BEN Compact Disc 805520020374 805520020374 PROPERBOX39 WILLIAMS,H/HILLBILLY HERO Compact Disc 805520020398 805520020398 PROPERBOX4 VAR/DEEP SKA:80 ORIG INAL SKA R Compact Disc 604988990423 604988990423 PROPERBOX40 SHEARING,G/FROM BATTERSEA TO B Compact Disc 805520020404 805520020404 PROPERBOX41 VENTURA,C/BOP FOR THE PEOPLE Compact Disc 805520020411 805520020411 PROPERBOX42 VAR/GOOD NEWS: 100 GOSPEL GREAT Co mpact Disc 805520020428 805520020428 PROPERBOX43 WASHINGTON,D/THE QUEEN SINGS Compact Disc 805520020435 805520020435 PROPERBOX44 VAR/THE DAWN OF DOO-WOP Compact Disc 805520020442 805520020442 PROPERBOX46 PARKER,C/BO SS BIRD Compact Disc 805520020466 805520020466 PROPERBOX48 MACHITO & HIS AFRO CUBANS/RITM Compact Disc 805520020480 805520020480 PROPERBOX5 JONES,S/STRICTLY FOR MAGIC LOV Compact Disc 604988990522 604988990522 PROPERBOX50 VAR/HILLBI LLY BOOGIE Com pact Di sc 805520020503 805520020503 PROPERBOX52 GETZ,S/TH E SOUND Compact Disc 805520020527 805520020527 PROPERBOX53 REINHARDT,D/SWING DE PARIS Compact Disc 805520020534 805520020534 PROPERBOX54 TUBB,E/THE TEX AS TROUBADOUR Compact Disc 805520020541 805520020541 PROPERBOX55 GRAY,W/THE WARDE LL GRAY STORY Compact Disc 805520020558 805520020558 PROPERBOX56 VAR/SWING TANZEN VERBOTEN:SWIN Compact Disc 805520020565 805520020565 PROPERBOX57 BAILEY,M/MR S.SWING Compact Disc 805520020572 805520020572 PROPERBOX60 TATUM,A/PIANO GRAND MASTER Compact Disc 805520020602 805520020602 PROPERBOX61 VAR/THE BIG HORN:THE HISTORY O Compact Disc 805520020619 805520020619 PROPERBOX64 TRISTANO,L/INTUITION Compact Disc 805520020640 805520020640 PROPERBOX66 BEIDERBECKE,B/TH E BIX BEIDERBE C ompact Disc 805520020664 8055200206646 04988 99362 2 8 05520 02054 18 05520 02037 4 8 05520 02044 2 8 05520 02052 78 05520 02039 86 04988 99022 5 6 04988 99222 9 6 04988 99282 3 6 04988 99302 8 6 04988 99342 4 6 04988 99042 3 8 05520 02040 4 8 05520 02043 5 8 05520 02046 6 8 05520 02048 0 6 04988 99052 2 8 05520 02050 3 8 05520 02056 5 8 05520 02057 2 8 05520 02066 46 04988 99242 7 6 049889 903242 8 05520 02041 1 8 05520 02042 8 8 05520 02053 4 8 05520 02055 8 8 05520 02060 2 8 05520 02061 9 8 05520 02064 0Catalogue Numb er Artist & Title Description Configuration Scannable UPC UPC PROPERBOX67 ARNOLD,E/EDDY'S SONG Compact Disc 805520020671 805520020671 PROPERBOX68 CARTER,B/THE MU SIC MASTER Compact Disc 805520020688 805520020688 PROPERBOX7 VAR/BROKE,BLACK & BLUE:AN ANTH Compact Disc 604988990720 604988990720 PROPERBOX72 VAR/KINGS OF KOMEDY Compact Disc 805520020725 805520020725 PROPERBOX73 TORME,M/JAZZ AND VELVET Compact Disc 805520020732 805520020732 PROPERBOX74 FITZGERALD,E/ROMANCE AND RHYTH Compact Disc 805520020749 805520020749 PROPERBOX76 VAR/THE ARRANGER'S TOUCH Compact Disc 805520020763 805520020763 PROPERBOX77 MINGUS,C/THE YOUNG REBEL Compact Disc 805520020770 805520020770 PROPERBOX83 VAR/STOMPIN'SINGE RS & WESTERN Compact Disc 805520020831 805520020831 PROPERBOX84 BAKER,C/THE EAR LY YEARS Compact Disc 805520020848 805520020848 PROPERBOX86 BROWN,C/JOY SPRING Compact Disc 805520020862 805520020862 PROPERBOX88 VAR/JAZZ IN BERLIN 1919-1950 Compact Disc 805520020886 805520020886 PROPERBOX90 BRUBECK,D/TIME WAS Compact Disc 805520020909 805520020909 PROPERBOX92 ROGERS,S/WEST COAST JAZZ Compact Disc 805520020923 805520020923 PROPERBOX96 MULLIGAN,G/JERU Compact Disc 805520020961 805520020961 PROPERBOX99 PARKER,C/CHASI N'THE BIRD Compact Disc 805520020992 805520020992 PROPERBX5100 VAR/WE RE GONNA ROCK WE RE(4CD Compact Disc 805520221009 805520221009 PROPERBX5112 BOSTIC,E/THE EARL BOSTIC(4 CD Compact Disc 805520221122 805520221122 PROPERBX5113 MORTON,J R/DOCTOR JAZZ (4 CD) Compact Disc 805520221139 805520221139 PROPERBX5116 FITZGERALD,E/DEARLY BELOV(4 CD Compact Disc 805520221160 805520221160 PROPERBX5117 HAYES,T/THE LITTLE GIANT(4 CD) Compact Disc 805520221177 805520221177 PROPERBX5118 HALEY,B/FROM WEST ERN SWING(4CD Compact Disc 805520221184 805520221184 PROPERBX5133 CHARLES,R/THE WAY I FEEL(4CD) Compact Disc 805520221337 805520221337 PROPERFOLK13 VAR/THIS IS PROPER FOLK TOO Compact Disc 5052442001928 5052442001928 PRPCD024 DRUMBO/CITY OF REFUGE Compact Disc 805520030243 805520030243 PRPCD053 KIRCHEN,B/WORD TO THE WISE Compact Disc 805520030533 805520030533 PRPCD055 BROWN,P & RYAN,P/ROAD OF COBRA Compact Disc 805520030557 805520030557 PRPCD061 ROTHERAY,D/THE LIFE OF BIRDS Compact Disc 805520030618 805520030618 PRPCD070 JONES,D/HIGH ATMOSPHERE Compact Disc 805520030700 805520030700 PRPCD073 BARBER,C/MEMORIES OF MY TRIP Compact Disc 805520030731 8055200307318 05520 03070 08 05520 22112 28 05520 02090 9 8 05520 02099 2 8 05520 03073 18 05520 02068 88 05520 02067 1 6 04988 99072 0 8 05520 02072 5 8 05520 02076 3 8 05520 02083 1 8 05520 02088 6 8 05520 02092 3 8 05520 02096 1 8 05520 22113 98 05520 02073 2 8 05520 02074 9 8 05520 02077 0 8 05520 02084 8 8 05520 02086 2 8 05520 22100 9 8 05520 22117 7 8 05520 22118 4 8 05520 22133 7 5 052442 001928 8 05520 03024 3 8 05520 03053 3 8 05520 03055 7 8 05520 03061 88 05520 22116 0Catalogue Numb er Artist & Title Description Configuration Scannable UPC UPC PRPCD092 VAR/A TREASURY OF SHANTIES AND Compact Disc 805520030922 805520030922 PRPCD112 KIRCHEN,B/SEEDS AND STEMS Compact Disc 805520031127 805520031127 PRPCD115 CRADOCK,S/TRAVEL WILD TRAVEL F Compact Disc 805520031158 805520031158 PRPCD119 PRIESTMAN,H/LAST MAD SURGE OF Compact Disc 805520031196 805520031196 PRPS2008 VAR/A PROPER TASTE OF 2008 Compact Disc 805520990028 805520990028 PSY42082 TWIZTID/CRYPTIC COLLECTION 4 Compact Disc 7565044208297.56504E+11 PTV08 CAPITOL YEARS,THE/DA NCE AWAY T Compact Disc 723721239459723721239459 PTV11 OST/FAST FOOD NATION Compact Disc 723721253653723721253653 PTV19 TULSA/I WAS SUBMERGED Compact Disc 723721323851723721323851 PTV35 GOLDEN BOOTS/WINTER OF OUR DIS Compact Disc 788377111320788377111320 PVCD101 BRADSHAW,T/BREAKIN'UP THE HOUS Compact Disc 805520051019 805520051019 PVCD103 DAY,D/IT'S MAGIC Compact Disc 805520051033 805520051033 PVCD108 COOK,P/OVER AT RAINBOW'S Compact Disc 805520051088 805520051088 PVCD109 SKATALITES,THE/L UCKY SEVENS Compact Disc 805520051095 805520051095 PVCD110 GAYE,M/LIVE Compact Disc 805520051101 805520051101 PVCD115 MILLINDER,L/APOLLO JUMP Compact Disc 805520051156 805520051156 PVCD116 HEATH,T & HIS MUSIC/ BIG BEN BO Compact Disc 805520051163 805520051163 PVCD121 STARR,K/FOR REEL Compact Disc 805520051217 805520051217 PVCD123 TRAVIS,M/HOT PICKIN' Compact Disc 805520051231 805520051231 PVCD126 RAVENS,THE/BIRDS OF A FEATHER Compact Disc 805520051262 805520051262 PVCD128 LAINE,F/HIGH NOON Compact Disc 805520051286 805520051286 PVCD130 PEPPER,A/YOUNG ART Compact Disc 805520051309 805520051309 PVCD132 BRUBECK,D/EARLY CONCEPTS Compact Disc 805520051323 805520051323 PVCD135 JONES,G/JONES BY GEORGE Compact Disc 805520051354 805520051354 PVCD138 SIMS,Z/SWING KING Compact Disc 805520051385 805520051385 PVCD139 CLAYTON,B/SWINGIN'WITH BUCK Compact Disc 805520051392 805520051392 PVCD140 BLAKEY,A/HARD BOP Compact Disc 805520051408 805520051408 PVCD141 WILEY,L/S'WONDERFUL Compact Disc 805520051415 805520051415 QM103 AZ/THE FORMAT CD with DVD 587432010321587432010321 QMG10012 VAR/AMERICAN RAG CIE Compact Disc 1827841001281827841001285 87432 01032 18 05520 05130 9 8 05520 05135 48 05520 99002 8 8 05520 05101 9 8 05520 05103 3 8 05520 05109 5 8 05520 05110 1 8 05520 05115 6 8 05520 05116 3 8 05520 05121 7 8 05520 05123 1 8 05520 05126 2 8 05520 05128 6 8 05520 05132 3 8 05520 05138 5 8 05520 05139 2 8 05520 05140 8 8 05520 05141 58 05520 03092 2 8 05520 03112 7 8 05520 03115 8 8 05520 03119 6 8 05520 05108 87 23721 23945 9 7 23721 25365 3 7 23721 32385 1 7 88377 11132 0 1 82784 10012 87 56504 42082 9Catalogue Numb er Artist & Title Description Configuration Scannable UPC UPC QMG10022 VAR/DA-NANG Compact Disc 182784100227182784100227 QMG10042 VAR/OLIVER PEOPLES 4 Compact Disc 182784100425182784100425 QMG10052 CANTOMA/CANTOMA Compact Disc 182784100524182784100524 QMG10072 TURNER,G/GU APAPASEA! Compact Disc 182784100722182784100722 QMG10102 KRAAK&SMAAK/ BOOGIE ANGST Compact Disc 182784101026182784101026 QMG10112 NOVALIMA/AFRO Compact Disc 182784101125182784101125 QMG10122 VAR/AMERICAN RAG 2 Compact Disc 182784101224182784101224 QMG10142 VAR/DUB SELECTOR 3 Compact Disc 182784101422182784101422 QMG10172 VINCENTVAN GOGO/DO U KNOW? Compact Disc 182784101729182784101729 QMG10182 SLOWTRAINSOUL/SANTIMANITAY Compact Disc 182784101828182784101828 QMG10192 VAR/THE STANDARD 4:19 Compact Disc 182784101927182784101927 QMG10232 KRAAK & SMAAK/THE REMIX SESSIO Compact Disc 182784102320182784102320 QMG10242 LEVINE,S/LOVE RHINO Compact Disc 182784102429182784102429 RASSD11590 LIVE /SECRET SAMADHI Compact Disc 008811159023 008811159023 RAZ27817 INNERSPACE/THE VILLAGE Compact Disc 884501781725 884501781725 RCD26200 KING,C/THE LIVING ROOM TOUR Compact Disc 807411620021 807411620021 RCL2001 WONDER,W/GREY SKIES TO BLUE Compact Disc 609955200123609955200123 RCL2002 SLY&ROBBIE/ROMANTIC REGGAE Compact Disc 609955200222609955200222 RCL2003 YELLOWMAN/DANCEHALL CLASSICS Compact Disc 609955200321609955200321 RCL2009 MACGREGOR,F/RHYTHMS OF THE HEA Compact Disc 609955200925609955200925 RCL2010 VAR/DANCEHALL HITS Compact Disc 609955201021609955201021 RCL2011 NINJAMAN/DANCEHA LL CLASSICS Compact Disc 609955201120609955201120 RCL2012 DEMUS,C&PLIERS/DA NCEHALL CLASS Compact Disc 609955201229609955201229 RCL2014 ISSACS,G/REGGAE CLASSICS Compact Disc 609955201427609955201427 RCL2016 BROWN,D/REGGAE CLASSICS Compact Disc 609955201625609955201625 RCL2018 VAR/REGGAE FOR ROMANCE 2 Compact Disc 609955201823609955201823 RCL2019 YELLOWMANVSNINJAMAN/ROUND ONE Compact Disc 609955201922609955201922 RCL2023 VAR/ULTIMATE CHILLOUT Compact Disc 609955202325609955202325 RCL2024 VAR/ULTIMATE TECHNO Compact Disc 609955202424609955202424 RDRCD8463 GRACIE,J/ACOUSTIC JEEP Compact Disc 7761272428207761272428200 08811 15902 3 8 84501 78172 5 7 76127 24282 06 09955 20012 3 6 09955 20022 2 6 09955 20032 1 6 09955 20092 5 6 09955 20102 1 6 09955 20112 0 6 09955 20122 9 6 09955 20142 7 6 09955 20162 5 6 09955 20182 3 6 09955 20192 2 6 09955 20232 5 6 09955 20242 41 82784 10022 7 1 82784 10042 5 1 82784 10052 4 1 82784 10072 2 1 82784 10102 6 1 82784 10112 5 1 82784 10122 4 1 82784 10142 2 1 82784 10172 9 1 82784 10182 8 1 82784 10192 7 1 82784 10232 0 1 82784 10242 9 8 07411 62002 1Catalogue Numb er Artist & Title Description Configuration Scannable UPC UPC RECINDIE002 ALL PURPOSE VOLT AGE HEROES/ALR Compact Disc 775020650527775020650527 REVEAL017CDX OROURKE,A/HOTLINE Compact Disc 609224287046 609224287046 REVEAL018CDX STATE OF THE UNI ON/SNAKE OIL Compact Disc 609224287060 609224287060 REVEAL024CDX READER,E/SIMPLE SOUL Compact Disc 609224286865 609224286865 RG013 MARK,C/COME BACK SPECIAL Compact Disc 823674048822823674048822 RH33710 HODGSON,R/TAKE THE LONG WAY HO Digital Video Disc 619061371037 619061371037 RIVER020 CROUCH,A/LIVE IN LOS ANGELES Compact Disc 815674010190 815674010190 RKG3359702 KING,C/WELCOME HOME Compact Disc 888072335974 888072335974 RKG3359902 KING,C/TOUCH THE SKY Compact Disc 888072335998 888072335998 RKG3360102 KING,C/SIMPLE THINGS Compact Disc 888072336018 888072336018 RKG3360302 CAROLE,C/PEARLS:SONGS OF GOFFI Compact Disc 888072336032 888072336032 RPM070CD ELECTRIC EEL SHOCK/BEAT ME! Compact Disc 698715007027 698715007027 RRCD105 WALSH,D/THE SAME BUT DIFFERENT Compact Disc 5052442002055 5052442002055 RRR001 CHICKENS,THE/BRING IT ON Compact Disc 777320117526777320117526 RRR002 OST/GOLDIROCKS Compact Disc 777320118226777320118226 RRR003 GRINDER/GOTTA KEEP MOVIN' Compact Disc 709764300929709764300929 RRR004 HOLYMICROPHONE/GOODBYE TELEVIS Compact Disc 061297642632061297642632 RRR2011004 DEAD ROCK WEST/BRIGHT MORNING Compact Disc 616892127765 616892127765 RSRCD032 VAR/BOY MEETS GIRLS TV SHOW V1 Compact Disc 5017932000324 5017932000324 RSRCD033 STORM,RY/HURRICANES,THE/LIVE A Compact Disc 5017932000331 5017932000331 RUNMANCD101 OYSTERBAND/HERE I STAND Compact Disc 743216699629 743216699629 SAB009 CHAMPION/CHILL'EM ALL Compact Disc 777078911209777078911209 SACD1034 MANCINI,H/ULTIMATE MA NCINI SACD4Stereo/Surround/CDAud 013431103462 013431103462 SACD60011 VAR/THE ABSOLUTE SOUND SA CD SA SACD4Stereo/Surround/CDAud 089408001161 089408001161 SACD60141 KUNZEL,E/CPO/ROUND-UP:FAVORITE SACD4Stereo/Surround/CDAud 089408014161 089408014161 SACD60532 RIDDLE/NICE'N'EASY:CELEBRATING SACD4Stereo/Surround/CDAud 089408053207 089408053207 SACD60540 KUNZEL/BEATLES SA CD4Stereo/Surround/CDAud 089408054006 089408054006 SACD60580 KUNZEL,E/SCARY MUSI C SACD4Stereo/Surround/CDAud 089408058004 089408058004 SACD60586 MAHLER/SYMPHONY NO. 6 (SACD) SACD4Ster eo/Surround/CDAud 089408058608 089408058608 SACD60601 RAVEL/DAPHNIS ET CHLOE, PAVANE SACD2Stereo/CD Audio 089408060168 0894080601686 16892 12776 56 98715 00702 7 7 43216 69962 95 017932 000324 6 09224 28706 0 5 017932 000331 5 052442 002055 6 09224 28704 6 6 09224 28686 5 7 77078 91120 97 75020 65052 7 7 77320 11752 6 7 77320 11822 6 7 09764 30092 9 0 61297 64263 28 23674 04882 2 8 15674 01019 0 8 88072 33597 4 8 88072 33599 8 8 88072 33601 8 8 88072 33603 26 19061 37103 7 0 89408 06016 80 13431 10346 2 0 89408 00116 1 0 89408 01416 1 0 89408 05320 7 0 89408 05400 6 0 89408 05800 4 0 89408 05860 8Catalogue Numb er Artist & Title Description Configuration Scannable UPC UPC SACD60649 KUNZEL,E/CSO/HANSON:COLD MOUNT SACD4Stereo/Surround/CDAud 089408064968 089408064968 SACD60681 JARVI,P/CSO/TCHAIKOCVSKY:R OMEO SACD4Stereo/Surround/CDAud 089408068164 089408068164 SACD60682 KUNZEL,E/CPO/MASTERS A ND COMMA SACD4Stereo/Surround/CDAud 089408068263 089408068263 SACD63010 VAR/TELARC/HEADS UP SACD SAM 5 SACD4Stereo/Surround/CDAud 089408301063 089408301063 SACD63576 TYNER,M/LAND OF GIAN TS SACD4Stereo/Surround/CDAud 089408357664 089408357664 SACD63600 HIROMI/BRAIN SA CD4Stereo/Surround/CDAud 089408360060 089408360060 SACD69068 BAILEY,P/SOUL ON JAZZ (SACD) SACD4Ster eo/Surround/CDAud 053361906801 053361906801 SACD69076 HIROSHIMA/THE BRIDGE SACD4Stereo/Surround/CDAud 053361907662 053361907662 SATSANG26001 HERSEY,B&P/GATHERIN G IN THE LI Compact Disc 807207053026 807207053026 SBESTCD63 WILD SMILES/ALWAYS TOMORROW Compact Disc 50510830805455051083080545 SBESTCD64 KITTY, DAISY & LEWIS/THE THIRD Compact Disc 50510830892725051083089272 SBESTCD66 NEW BUILD/ Compact Disc 50510830834095051083083409 SBESTCD69 DUB PISTOLS/RETURN OF THE PIST Compact Disc 50510830893405051083089340 SBESTCD70 SOLAR BEARS/ADVANCEMENT Compact Disc 50510830970175051083097017 SC701 MOBB DEEP/THE INFAMOUS ARCHIVE Compact Disc 101997070127101997070127 SCD86082 HAY ES,I/GROOVE-A-THON Compact Disc 025218860826 025218860826 SCF8481 VAR/BECK TR IBUTE:BOOGALOO TO B Compac t Disc 027297848122 027297848122 SCR64 MOFFATT,K/PLAYIN' FOOL (LIVE) Compact Disc 742451856422 742451856422 SDE1984 SWAMP DOGG/ THE WHITE MAN MA DE Compac t Disc 722247198424 722247198424 SDN001 OST/BROKEN BRIDGES Compact Disc 852313001058 852313001058 SFH006 BOBNOXIOUS/HO HO HO Compact Disc 778980008216778980008216 SFI9505 CAMP LO/ANOTHER HEIST Compact Disc 156871950521156871950521 SFMCD298 MARRIOTT,S/LIVE FROM LONDON Compact Disc 5055544215378 5055544215378 SFMDVD109 TEN YEARS AFTER/LIVE FROM L(DV Digital Video Disc 5055544201364 5055544201364 SFMDVD111 WISHBONE,A/LIVE FROM LONDO(DVD Digital Video Disc 5055544201388 5055544201388 SHIRTY3 FAIRPORT CONVENTIO/4PAY(2CD Compact Disc 5052442001959 5052442001959 SID007 GRIFFIN,S/LITTLE VICTORIES Compact Disc 793962000729 793962000729 SID010 COAL PORTERS,THE/TH E GRAM PARS Compact Disc 793962000101 793962000101 SID012 WYNN,S/DAZZLING DISPLAY(DLX.ED Compact Disc 793962000125 793962000125 SID013 COAL PORTERS,THE/THE CHRIS HIL Compact Disc 793962000132 7939620001328 52313 00105 8 5 055544 215378 7 22247 19842 48 07207 05302 6 7 42451 85642 20 27297 84812 2 5 052442 001959 7 93962 00072 9 7 93962 00010 1 7 93962 00012 5 7 93962 00013 21 56871 95052 11 01997 07012 75 051083 080545 5 051083 089272 5 051083 083409 5 051083 089340 5 051083 097017 7 78980 00821 60 25218 86082 6 5 055544 201388 5 055544 201364 0 89408 06496 8 0 89408 06816 4 0 89408 06826 3 0 89408 30106 3 0 89408 35766 4 0 89408 36006 0 0 53361 90680 1 0 53361 90766 2Catalogue Numb er Artist & Title Description Configuration Scannable UPC UPC SID014 CASE,P/PERALES,D/THAN K YOU ST. Compact Disc 793962000149 793962000149 SID015 LONG RYDERS,THE/THREE MINUTE W Compact Disc 793962000156 793962000156 SID016 LONG RYDERS,THE/THE BEST OF TH Compact Disc 793962000163 793962000163 SID017 COAL PORTERS,THE/HOW DARK THIS Compact Disc 793962000170 793962000170 SID018 GRIFFIN,S/AS CERTAIN AS SUNRIS Compact Disc 793962000187 793962000187 SID020 COAL PORTERS,THE/TURN THE WATE Compact Disc 793962000200 793962000200 SID021 LONG RYDERS,THE/STATE OF OUR R Compact Disc 793962000217 793962000217 SID33740 SID'S CYCLE SHOW Digital Video Disc 619061374038 619061374038 SID33908 SID'S CYCLE SHOW V2 Digital Video Disc 619061390830 619061390830 SID33911 SID'S CYCLE SHOW S2 PACK Digital Video Disc 619061391134 619061391134 SING204 SARSTEDT,P/THE LO ST ALBUM Compact Disc 094922898616 094922898616 SIXLP00068 TRAMPLED BY TURT LES/STARS AND C ompact Disc 794504674422 794504674422 SLG17705 BRICKMAN,J/HOMECOMING-DELUXE CD with DVD 795041770523 795041770523 SLR001 RIDETHEORY,T/IN THIS CITY Compact Disc 061297345991061297345991 SLR002 FACESONFILM/SEVEN SISTERS Compact Disc 837101072335837101072335 SLR003 HOPEWELL/THE NOTBIRDS Compact Disc EP's 653496114821653496114821 SLR005 KRIEF/TAKE IT OR LEAVE IT Compact Disc 882796027924882796027924 SLR008 DEVILLERS,A/ANDREW DEVILLERS Compact Disc 653496121829653496121829 SLR010 THOMAS,P/PRIYA THOMAS IS BLOOD Compact Disc 094922980373094922980373 SLR011 KRAMDENS,THE/THE KRAMDENS Compact Disc 606041364622606041364622 SPCD30056 MAYFIELD,C/SPECIALTY PROFILES Compact Disc 888072300569 888072300569 SPEC008 TONY KOFI QUARTET/THE SILENT T Compact Disc 805520070089 805520070089 SPEC009 WARDELL,A/KINDA BLUE Compact Disc 805520070096 805520070096 SPEC014 DANKWORTH,J/IT HAPPENS QUIETLY Compact Disc 805520070140 805520070140 SPEC018 DANKWORTH,J/LIVE TO LOVE Compact Disc 805520070188 805520070188 SPECD7806 ARIOLI,S/NIGHT LIGHTS Compact Disc 064027780628 064027780628 SPECD7814 OFFICER,J/JORDAN OFFICER Compact Disc 622406781422 622406781422 SPECD7821 ARIOLI,S/CHRISTMAS DREAMING Compact Disc 622406782122 622406782122 SPECD7832 ARIOLI,S/ALL THE WAY Compact Disc 622406783228 622406783228 SPECD7854 ARIOLI,S/SPRING Compact Disc 619061785421 6190617854217 95041 77052 3 0 64027 78062 8 6 22406 78142 2 6 22406 78212 2 6 22406 78322 8 6 19061 78542 17 93962 00017 0 7 93962 00018 7 7 93962 00020 07 93962 00014 9 7 93962 00015 6 7 93962 00016 3 7 93962 00021 7 0 94922 89861 6 8 05520 07008 9 8 05520 07009 6 8 05520 07014 0 8 05520 07018 88 82796 02792 40 61297 34599 1 8 37101 07233 5 6 53496 12182 9 0 94922 98037 3 6 06041 36462 2 8 88072 30056 97 94504 67442 2 6 53496 11482 16 19061 37403 8 6 19061 39083 0 6 19061 39113 4Catalogue Numb er Artist & Title Description Configuration Scannable UPC UPC SPIT0381 FOWLIS,J/UAM Compact Disc 844493070382 844493070382 SPM001 MARTIN,S/SHAPE,LINE & HARMONY Compact Disc 094922634931094922634931 SRI00512D SHAVE/FREIDMAN/LIVE FROM DOWN Compact Disc 802396005122 802396005122 SRI00612D KINKY FRIEDMAN/UNDER THE DOUBL Compact Disc 802396006129 802396006129 SS001 SANDVEISS/SCREAM QUEEN Compact Disc 858526000734 858526000734 SS005 NEVER MORE THAN L ESS/PEACE WAR Com pact Disc 619061467129 619061467129 SSR01 WILLIAMS,D DELROY/SINGER MAN Compact Disc 5052442001973 5052442001973 STE7002 HINDS,A/SOCA QUEEN Compact Disc 890531002020 890531002020 STNVOL024C GARBAGE/STRANGE LITTLE BIRDS Compact Disc 4050538197495 4050538197495 STUM35 RAYGUN COWBOYS/COWBOY UP Compact Disc 844667026481 844667026481 STX31751 HAYES ,I/SHAFT (DELUXE EDIT ION) Compac t Disc 888072317512 888072317512 STX3320202 HAYES ,I/ESSENTIAL ALBUMS:H OT B Compac t Disc 888072332027 888072332027 SUSHI49CD SILVER OCEAN/LONESOME ECHO PRO Compact Disc 711969107012711969107012 SUSHICD54 STEINER/STEINER Compact Disc 50240170014285024017001428 SVY17175 VAR/JAZZ FOR A RAINY AFTERNOON Compact Disc 795041717528 795041717528 SVY17269 LAWS,H/MOONDANCE Compact Disc 795041726926 795041726926 SXSA3009 KING,A/I'LL PLAY THE BLUES FOR SACD4Stereo/Surround/CDAud 025218732468 025218732468 SXSA7501 KING,A/IN SESSION SACD4Stereo/Surround/CDAud 025218731027 025218731027 SYB1012 KARAOKE/R&B MA LE Compact Disc 610017101234 610017101234 SYB1017 KARAOKE/COUNTRY FEMALE Compact Disc 610017101739 610017101739 SYB1040 KARAOKE/DISCO Compact Disc 610017104037 610017104037 SYB1041 KARAOKE/ DANCE REMIX 1 Compact Disc 610017104136 610017104136 SYB1050 KARAOKE/ POP MALE Compact Disc 610017105034 610017105034 SYB1060 KARAOKE /SUPER HITS 1 Compact Disc 610017106031 610017106031 SYB1062 KARAOKE / SUPER HITS 2 Compact Disc 610017106239 610017106239 SYB1064 KARAOKE / SUPER HITS 4 Compact Disc 610017106437 610017106437 SYB1065 KARAOKE /SUPER HITS 5 Compact Disc 610017106536 610017106536 SYB1069 KARAOKE /SUPER HITS 9 Compact Disc 610017106932 610017106932 SYB1071 KARAOKE / SOFT ROCK Compact Disc 610017107137 610017107137 SYB1074 KARAOKE /DANCE REMIX 4 Compact Disc 610017107434 6100171074346 19061 46712 98 58526 00073 4 8 44667 02648 18 02396 00512 2 8 02396 00612 98 44493 07038 2 5 052442 001973 7 11969 10701 2 5 024017 001428 0 94922 63493 1 4 050538 197495 8 88072 31751 2 8 88072 33202 7 7 95041 71752 8 7 95041 72692 6 6 10017 10503 48 90531 00202 0 6 10017 10123 4 6 10017 10173 9 6 10017 10403 7 6 10017 10413 6 6 10017 10603 1 6 10017 10623 9 6 10017 10643 7 6 10017 10653 6 6 10017 10713 7 6 10017 10743 46 10017 10693 20 25218 73246 8 0 25218 73102 7Catalogue Numb er Artist & Title Description Configuration Scannable UPC UPC SYB1081 KARAOKE /COUNTRY HITS 1 Compact Disc 610017108134 610017108134 SYB1082 KARAOKE /COUNTRY HITS 2 Compact Disc 610017108233 610017108233 SYB1087 KARAOKE/COUNTRY HITS 7 Compact Disc 610017108738 610017108738 SYB1090 KARAOKE/SUPER HITS 11 -PARTY T Compact Disc 610017109032 610017109032 SYB1096 KARAOKE /LOVE SO NGS 2 Compact Disc 610017109636 610017109636 SYB1100 KARAOKE/SUPER HITS 13 Compact Disc 610017110038 610017110038 SYB1601 KARAOKE/ GIRL POP 1 Compact Disc 610017160132 610017160132 SYB1602 KARAOKE /GIRL POP 2 Compact Disc 610017160231 610017160231 SYB1615 KARAOKE / GIRL COUNTRY 2 Compact Disc 610017161535 610017161535 SYB1620 KARAOKE / OLDI ES 3 Compact Disc 610017162037 610017162037 SYB1621 KARAOKE /KID S 2 Compact Disc 610017162136 610017162136 SYB1623 KARAOKE /GIRL POP 6 Compact Disc 610017162334 610017162334 SYB1625 KARAOKE/GIRL COUNTRY 3 Compact Disc 610017162532 610017162532 SYB1626 KARAOKE /GUY COUNTRY 2 Compact Disc 610017162631 610017162631 SYB1630 KARAOKE/BROADW AY 1 Compact Disc 610017163034 610017163034 SYB1633 KARAOKE/OLDI ES 4 Compact Disc 610017163331 610017163331 SYB1637 KARAOKE/GIRL POP 7 Compact Disc 610017163737 610017163737 SYB1639 KARAOKE/LOVE SO NGS 2 Compact Disc 610017163935 610017163935 SYB1641 KARAOKE/SHOW T UNES 1 Compact Disc 610017164130 610017164130 SYB1643 KARAOKE/GUY COUNTRY 3 Compact Disc 610017164338 610017164338 SYB1644 KARAOKE/LOVE SO NGS 3 Compact Disc 610017164437 610017164437 SYB1646 KARAOKE/LOVE SO NGS 4 Compact Disc 610017164635 610017164635 SYB1650 KARAOKE/GIRL POP 9 Compact Disc 610017165038 610017165038 SYB1651 KARAOKE/MALE RO CK 1 Compact Disc 610017165137 610017165137 SYB1654 KARAOKE/GIRL POP 10 - PARTY TI Compact Disc 610017165434 610017165434 SYB1657 KARAOKE/GIRL COUNTRY 6 Compact Disc 610017165731 610017165731 SYB1660 KARAOKE/GIRL PO P 12 Compact Disc 610017166035 610017166035 SYB1661 KARAOKE/GIRL COUNTRY 7 Compact Disc 610017166134 610017166134 SYB1662 KARAOKE/GIRL PO P 13 Compact Disc 610017166233 610017166233 SYB2001 KARAOKE/DVD POP HITS 1 Digital Video Disc 610017200128 6100172001286 10017 16443 76 10017 10963 66 10017 10813 4 6 10017 10823 3 6 10017 16013 2 6 10017 16023 1 6 10017 16153 5 6 10017 16203 7 6 10017 16213 6 6 10017 16233 4 6 10017 16253 2 6 10017 16263 1 6 10017 16303 4 6 10017 16333 1 6 10017 16373 7 6 10017 16393 5 6 10017 16413 0 6 10017 16433 8 6 10017 16463 5 6 10017 16503 8 6 10017 16513 76 10017 10903 2 6 10017 16543 4 6 10017 16573 1 6 10017 16603 56 10017 11003 86 10017 10873 8 6 10017 16613 4 6 10017 16623 3 6 10017 20012 8Catalogue Numb er Artist & Title Description Configuration Scannable UPC UPC SYB2002 KARAOKE/DVD POP HITS 2 Digital Video Disc 610017200227 610017200227 SYB2003 KARAOKE/DVD POP HITS 3 Digital Video Disc 610017200326 610017200326 SYB2005 KARAOKE/DVD COUNTRY HITS 1 Digital Video Disc 610017200524 610017200524 SYB2010 KARAOKE/DVD POP HITS 7 Digital Video Disc 610017201026 610017201026 SYB2018 KARAOKE/DVD POP HITS 10 Digital Video Disc 610017201828 610017201828 SYB2604 KARAOKE/DVD GIRL COUNTRY 1 Digital Video Disc 610017260429 610017260429 SYB2609 KARAOKE/DVD OLD COUNTRY 1 Digital Video Disc 610017260924 610017260924 SYB2623 KARAOKE/DVD GIRL POP 6 Digital Video Disc 610017262324 610017262324 SYB2626 KARAOKE/DVD GUY COUNTRY 2 Digital Video Disc 610017262621 610017262621 SYB2631 KARAOKE /DVD CHRISTMAS 3 Digital Video Disc 610017263123 610017263123 SYB2632 KARAOKE /DVD CHRISTMAS 4 Digital Video Disc 610017263222 610017263222 SYB2637 KARAOKE/DVD GIRL POP 7 Digital Video Disc 610017263727 610017263727 SYB4401 KARAOKE /POP PAR TY PACK Compact Disc 610017440128 610017440128 SYB4402 KARAOKE/COUNTRY PARTY PACK Compact Disc 610017440227 610017440227 SYB4403 KARAOKE /OLDIES PAR TY PACK Compact Disc 610017440326 610017440326 SYB4404 KARAOKE/ GIRL POP PARTY PACK Compact Disc 610017440425 610017440425 SYB4422 KARAOKE/GUY COUNTRY PARTY PACK Compact Disc 610017442221 610017442221 SYB4439 KARAOKE/POP MEGA PACK Compact Disc 610017443921 610017443921 SYB4441 KARAOKE/GIRL POP PAR TY PACK 3 Compact Disc 610017444126 610017444126 TAKCD6507 SAHM,D/HELL OF A SPELL Compact Disc 025218650724 025218650724 TAO008 HONEYROOT/SOUND ECHO LOCATION Compact Disc 677603000821 677603000821 TAO014 ARBORISE,D/AROUND IN CIRCLES Compact Disc 677603000029 677603000029 TAO018 ECHASKECH/SKECHBOOK Compact Disc 677603002122 677603002122 TAO021 FUTURE LOOP FOUNDATION/FADING Compact Disc 677603002825 677603002825 TAO023 JUST MUSIC CAFE ALBUM/VARIOUS Compact Disc 677603003327 677603003327 TAO026 ABRAHAMS,L/GRAPE AND THE GRAIN Compact Disc 677603003723 677603003723 TAO027 MARCONI UNION/A LOST CONNECTIO Compact Disc 677603004423 677603004423 TAO030 LONER/WESTERN SCI-FI Compact Disc 677603005123 677603005123 TAO031 AROBORISE,D/OF TIDE & TAIL Compact Disc 677603006021 677603006021 TAO034 VARIOUS/JUST MUSIC CAFE VOL 2 Compact Disc 677603007028 6776030070286 77603 00082 1 6 77603 00002 9 6 77603 00212 2 6 77603 00282 5 6 77603 00332 7 6 77603 00372 3 6 77603 00442 3 6 77603 00512 3 6 77603 00602 1 6 77603 00702 80 25218 65072 46 10017 44392 16 10017 44022 76 10017 44012 8 6 10017 44032 6 6 10017 44042 5 6 10017 44222 1 6 10017 44412 66 10017 20022 7 6 10017 20032 6 6 10017 20052 4 6 10017 26042 9 6 10017 26092 46 10017 20102 6 6 10017 26232 4 6 10017 26262 1 6 10017 26312 3 6 10017 26322 2 6 10017 26372 76 10017 20182 8Catalogue Numb er Artist & Title Description Configuration Scannable UPC UPC TAO053 MERA,L/TURN ALL MEMORY TO WHIT Compact Disc 677603009527 677603009527 TB005 NEILSON,R/EARLY GRAVE Compact Disc 778591741021 778591741021 TB07TA002 TOY BOX/THE ASSASSINATION OF Compact Disc 829982095503829982095503 TB1573 KRISTINE W/FLY AGAIN Compact Disc 661868157321 661868157321 TB1616 SOUNDTRACK/QUEER AS FOLK-CLUB Compact Disc 661868161625 661868161625 TB16922 ALBER,M/HIDE NOTHING Compact Disc 661868169225 661868169225 TB17002 VAR/AGE OF CONAN:HYBORIAN ADVE Compact Disc 661868170023 661868170023 TC53022 VAR/R&B #1 HITS (TIN PK) Compact Disc 778325530228778325530228 TDF11001 MARX,R/STORIES TO TELL (2CD+DV CD with DVD 044003140868 044003140868 TEG2412CD PROCUSSIONS/AS IRON SHARPENS I Compact Disc 829357241221829357241221 TEG2420CD SIR MENELIK/EINSTEIN ROSEN BRI Compact Disc 802817242020802817242020 TEG2425CD INSPECTAH DECK/RESIDENT PAITEN Compact Disc 829357242525829357242525 TEG2427 PROJECT MOVE/LOVE GONE WRONG/B Compact Disc 829357242716829357242716 TEG2428CD JACKSON,O/THE ART OF LOVE Compact Disc 829357242822829357242822 TEG2429CD PRINCE PO/PRETTYBACK Compact Disc 829357242921829357242921 TEG2430CD BIG NOYD/THE STICK UP KID Compact Disc 829357243027829357243027 TEG2432CD BIG NOYD/THE CODEFENDANTS V1 Compact Disc 829357243225829357243225 TEG2434CD BLACK CHINEY/DRUMLINE RIDDIM T Compact Disc 829357243423829357243423 TEG2435CD KURUPT/TANGLED THOUGHTS PHILLY Compact Disc 829357243522829357243522 TEG2445CD DEV ROCKA/THE NIGHT SHIFT Compact Disc 829357244529829357244529 TEG2448CD EMC/THE SHOW Compact Disc 829357244826829357244826 TEG2453CD BIG SHUG/OTHER SIDE OF THE GAM Compact Disc 829357245328829357245328 TEG2454CD CRAIG G MARLEY,M/OPERATION TAK Compact Disc 829357245427829357245427 TEG3306CD B OGGIE DOWN PROD/THE BEST OF T Compact Disc 829357330628829357330628 TEG3308CD DAVIS,G/CHOCOLATER STAR THE VE Compact Disc 829357330826829357330826 TEG3311CD VAR/B-BOY RECORDS THE ARCHIVES Compact Disc 829357331120829357331120 TEG4501CD 7L & ESOTERIC/SPEAKING REAL WO Compact Disc 829357450128829357450128 TEG4507CD ED O.G. & DA BULLDOGS/ACTING Compact Disc 829357450722829357450722 TEG4514 CAGE/MOVIES FOR THE BLIND Compact Disc 829357451422829357451422 TEG76509CD KROWN RULES/PAPER CHASE Compact Disc 8293576509248293576509240 44003 14086 86 77603 00952 7 7 78591 74102 1 8 29357 24122 1 8 02817 24202 0 8 29357 24252 5 8 29357 24271 6 8 29357 24282 2 8 29357 24292 1 8 29357 24302 7 8 29357 24322 5 8 29357 24342 3 8 29357 24352 2 8 29357 24452 9 8 29357 24482 6 8 29357 24532 8 8 29357 24542 7 8 29357 33062 8 8 29357 33082 6 8 29357 33112 0 8 29357 45012 8 8 29357 45072 2 8 29357 65092 47 78325 53022 88 29982 09550 3 8 29357 45142 26 61868 15732 1 6 61868 16162 5 6 61868 16922 5 6 61868 17002 3Catalogue Numb er Artist & Title Description Configuration Scannable UPC UPC TEG76516CD COLD CRUSH BROTHERS/TROOPERS Compact Disc 829357651624829357651624 TEG76517CD FROZEN EXPLOSION/FROZEN EXPLOS Compact Disc 829357651723829357651723 TEG76518CD JUST ICE/THE DESOLATE ONE Compact Disc 829357651822829357651822 TEG76520CD BUSY BEE/RUNNING THANGS Compact Disc 829357652027829357652027 TEG76526CD CASH MONEY & MAR VELOUS/WHERE'S Compact Disc 829357652621829357652621 TEG76532CD MANTRONIX/MANTRONIX DELUXE EDI Compact Disc 829357653222829357653222 TEG9908CD VAR/THE BIG BREAK RAPPER PARTY Compact Disc 829357990822829357990822 TEG9910CD MOORE,RR/PETEY WHEATSTRAW ORIG Compact Disc 829357991027829357991027 TEG9914CD QUEEN CONSTANCE BAND/UNIVERSIT Compact Disc 829357991423829357991423 TEG9916CD MOORE,RR/THE PLAYER THE HUSTLE Compact Disc 829357991621829357991621 TEG9920CD MOORE,RR/DOLEMITE IS ANOTHER C Compact Disc 829357992024829357992024 TEG9921CD BENSON,G/EROTIC MOODS Compact Disc 829357992123829357992123 TEGAVX1501CD BASIC VOCAB/THE GENERAL DYNAMI Compact Disc 829357150127829357150127 TEGBRK040CD VAR/BUILDING WITH BRICKS V.2 Compact Disc 765481004021765481004021 TEGBRK049CD ODD COUPLE/ALCHOL/ISM Compact Disc 765481004922765481004922 TEGBRK051CD 7L&BEYOND/WELCOME TO SHAFTVILL Compact Disc 765481005127765481005127 TEGBRK065CD D-TENSION/CONTACTS & CONTRACTS Compact Disc 765481006520765481006520 TGW0002 MARLEY,Z/LOVE IS MY RELIGION L Digital Video Disc 8048790919988.04879E+11 TGW0004 MARLEY,Z/FAMILY TIME Compact Disc 8048791834268.04879E+11 TP178 VAR/WEST COAST EXCURSIONS V2 Compact Disc 600353057821 600353057821 TP190 DJ MFR/ROME DEPARTURE Compact Disc 600353059023 600353059023 TP205 PAPP,J/MONTREAL DEPARTURE Compact Disc 600353060524 600353060524 TP225 DJ MFR/WEST COAST EXCURSIONS V Compact Disc 600353062528 600353062528 TPCD1 GAFFNEY,C & COLD HARD FACTS/LI Compact Disc 670899301122 670899301122 TRKD11627 HAGAR SAMMY /MARCHING TO MA Compact Disc 008811162726 008811162726 TRST5090 DRAG-ON/HOOD ENVIROMENT Compact Disc 603457509029603457509029 TSCD1001 COLLISTER,C/AN EQUAL LOVE Compact Disc 714822100120 714822100120 TSCD298 TABOR,J/AIRS AND GRACES Compact Disc 5016272298026 5016272298026 TSCD309 O'KEEFE/MURPHY/CLIFFORD/KERRY Compact Disc 5016272309029 5016272309029 TSCD340 CARTHY,M/MARTIN CARTHY Compact Disc 5016272340022 50162723400220 08811 16272 66 70899 30112 2 7 14822 10012 0 5 016272 298026 5 016272 309029 5 016272 340022 8 29357 65162 4 8 29357 65172 3 8 29357 65182 2 8 29357 65202 7 8 29357 65262 1 8 29357 65322 2 8 29357 99082 2 8 29357 99102 7 8 29357 99142 3 8 29357 99162 1 8 29357 99202 4 8 29357 99212 3 8 29357 15012 7 7 65481 00402 1 7 65481 00492 2 7 65481 00512 7 7 65481 00652 0 6 03457 50902 96 00353 05782 1 6 00353 05902 3 6 00353 06052 4 6 00353 06252 88 04879 16822 5 0 94922 60725 6 8 04879 18342 68 04879 09199 8Catalogue Numb er Artist & Title Description Configuration Scannable UPC UPC TSCD360 TABOR,J/ASHES AND DIAMONDS Compact Disc 5016272360020 5016272360020 TSCD384 GAUGHAN,D/GAUGHAN Compact Disc 5016272384026 5016272384026 TSCD410 TABOR,J/SIMPSON,M/ A CUT ABOVE Compact Disc 5016272410022 5016272410022 TSCD419 GAUGHAN,D/HANDFUL OF EARTH Compact Disc 5016272419025 5016272419025 TSCD449 TABOR,J/AQABA Compact Disc 5016272449022 5016272449022 TSCD450 SILLY SISTERS/PRIOR/TABOR/NO Compact Disc 714822045025 714822045025 TSCD452 CARTHY,M/RIGHT OF PASSAGE Com pact Disc 5016272452046 5016272452046 TSCD475 WATERSON CARTHY/WATERSON CARTH Compact Disc 5016272475021 5016272475021 TSCD478 WATERSON,L/KNIGHT,O/ONCE IN A Compact Disc 5016272478022 5016272478022 TSCD480 VAR/ENGLISH & SCOTTISH FOLK BA Compact Disc 714822048026 714822048026 TSCD482 CARTHY,E/HEAT LIGHT & SOUND Compact Disc 5016272482029 5016272482029 TSCD488 WATERSON CARTHY/COMMON TONGUE Compact Disc 714822048828 714822048828 TSCD489 CARTHY,E/KINGS OF CALICUTT Compact Disc 714822048927 714822048927 TSCD493 CARTHY,E/RED Compact Disc 714822049320 714822049320 TSCD494 CARTHY,E/RICE Compact Disc 714822049429 714822049429 TSCD496 LLLOYDA/ENGLISH DRINKING SONGS Compact Disc 714822049627 714822049627 TSCD505 WATERSON,L/KNIGHT,O/A BED OF R Compact Disc 714822050524 714822050524 TSCD513 SIMPSON,M/THE BRAM BLE BRIAR Compact Disc 714822051323 714822051323 TSCD523 ALBION BAND,THE/ROAD MOVIES Compact Disc 714822952323 714822952323 TSCD526 ASHLEY,S/EVERYDAY LIVES Compact Disc 714822052627 714822052627 TSCD537 BLUE MURDER/NO ONE STANDS ALON Compact Disc 714822053723 714822053723 TSCD551 TAMS,J/THE RE CKONING Compact Disc 714822055123 714822055123 TSCD553 SIMPSON,M/KIND LETTERS Compact Disc 714822055321 714822055321 TSCD554 CARTHY,E/ROUGH MUSIC Compact Disc 714822055420 714822055420 TSCD562 WATERSON CARTHY/HOLY HEATHENS Compact Disc 714822056229 714822056229 TSCD571 CARTHY,E/DREAMS OF BREATHING Compact Disc 714822057127 714822057127 TSCD574 WATERSONS,THE/FOR PENCE & SPIC Compact Disc 714822057424 714822057424 TSCD579 WATERSON,N/CARTHY,E/GIFT Compact Disc 714822057929 714822057929 TSCD584 SIMPSON,M/PURPOSE GRACE Compact Disc 714822058421 714822058421 TSCD586 HIELD,F/HURRICANE PA,THE/ORFEO Compact Disc 714822058629 7148220586295 016272 410022 7 14822 04942 95 016272 360020 5 016272 384026 5 016272 419025 5 016272 449022 7 14822 04502 5 5 016272 452046 5 016272 475021 5 016272 478022 7 14822 04802 6 5 016272 482029 7 14822 04882 8 7 14822 04892 7 7 14822 04932 0 7 14822 04962 7 7 14822 05052 4 7 14822 05132 3 7 14822 95232 3 7 14822 05262 7 7 14822 05372 3 7 14822 05512 3 7 14822 05532 1 7 14822 05542 0 7 14822 05622 9 7 14822 05712 7 7 14822 05742 4 7 14822 05792 9 7 14822 05842 1 7 14822 05862 9Catalogue Numb er Artist & Title Description Configuration Scannable UPC UPC TSCD603 VAR/PADDY IN THE SMOKE IRISH D Compact Disc 714822060325 714822060325 TSCD652 VAR/VOICE OF THE PEO PLE MY SHI Compact Disc 714822065221 714822065221 TSCD653 VAR/VOICE OF THE PEOPLE OER HI Compact Disc 714822065320 714822065320 TSCD654 VAR/VOICE OF THE PEOPLE FAREWE Compact Disc 714822065429 714822065429 TSCD662 VAR/VOICE OF THE PEOPLE WEVE R C ompact Disc 714822066228 714822066228 TSCD750 CARTHY,M/A COLLECTION Compact Disc 714822075022 714822075022 TSCD751 VAR/VOICE OF THE PEOPLE VOICE C ompact Disc 714822075121 714822075121 TSCD914 VAR/GIPSY MUSIC FROM MACEDONIA Compact Disc 714822914024 714822914024 TSCD918 VAR/SONGS & DANCES FROM PAPUA Compact Disc 714822091824 714822091824 TSCD923 VAR/GUMBOOT GUITAR ZULU STREET Compact Disc 714822092326 714822092326 TSCD935D VAR/SONGS OF SURVIVAL TRAD(2CD Compact Disc 714822093521 714822093521 TSQ2530 CHAPMAN,M/TRAINSONG:GUITAR COM Compact Disc 894807002530 894807002530 TSQ2554 ARDOIN,A/MAMA, I'LL BE LONG GO Compact Disc 894807002554 894807002554 TSQ2684 WILSON,B/EVER CHANGING MINSTRE Compact Disc 894807002684 894807002684 TSQ5081 VAR/WHEN I REACH THAT HEAV(3CD Compact Disc 856225005081 856225005081 TWO22282 GARLAND,J/ASTAIRE/THE DOUBLE(2 Compact Disc 778325222826 778325222826 TWO22292 FATS DOMINO/BILL HA/THE UL(2CD Compact Disc 778325222925 778325222925 TWO22302 MILLER,G/ANDREWS/THE ULTIMATE Compact Disc 778325223021 778325223021 TWO22312 ELLINGTON,D/BASIE,C/ULTIMA(2CD Compact Disc 778325223120 778325223120 TWO22322 CHUCK BERRY/BO DID/THE ULT(2CD Compact Disc 778325223229 778325223229 TWO22402 VAR/THE BEST OF COUNTRY(2CD) Compact Disc 778325224028 778325224028 TWO22452 AUTRY,G AND IVES,B/ULTIMAT(2CD Compact Disc 778325224523 778325224523 TYACD790020T TEN YEARS AFTER/EVOLUTION Compact Disc 899079002059 899079002059 TYACD900206 TEN YEARS AFTER/ROADWORKS(2CD) Compact Disc 899079002066 899079002066 TYADVD900207 TEN YEARS AFTER/LIVE AT FI(DVD Digital Video Disc 899079002073 899079002073 UD53258 MCNARLAND,H/LIVE STUFF Compact Disc EP's 601215325829 601215325829 UMC40051 VAR/ULTIMATE LEGENDS OF ROCK N Compact Disc 778325400514 778325400514 UMMC11262 GOLD STAR BALLROOM/FOXTROT Compact Disc 778325112615778325112615 UMMC19402 VAR/HAPPY HOLIDAYS FROM TH(3CD Compact Disc 778325194024 778325194024 UMMC2225 NELSON,W/JENNIN/THE ULTIMATE(2 Compact Disc 778325222529 7783252225297 14822 09352 17 14822 09182 47 14822 06032 5 7 14822 06522 1 7 14822 06532 0 7 14822 06542 9 7 14822 06622 8 7 14822 07502 2 7 14822 07512 1 7 14822 91402 4 7 14822 09232 6 7 78325 11261 57 78325 22282 6 7 78325 22292 5 7 78325 22302 1 7 78325 22312 0 7 78325 22322 9 7 78325 22402 8 7 78325 22452 3 7 78325 19402 4 7 78325 22252 98 94807 00253 0 8 94807 00255 4 8 94807 00268 4 8 56225 00508 1 7 78325 40051 48 99079 00205 9 8 99079 00206 6 6 01215 32582 98 99079 00207 3Catalogue Numb er Artist & Title Description Configuration Scannable UPC UPC UMMC22262 VAR/RADIO'S BEST TOP HITS(2CD Compact Disc 778325222628 778325222628 UMMC22332 MARLEY,B/A CELEBRATION(2CD) Compact Disc 778325223328 778325223328 UMMC22362 VAR/THE ROARING TWENTIES(2CD) Compact Disc 778325223625 778325223625 UMMC22422 VAR/A YEAR IN YOUR LIFE 19(2CD Compact Disc 778325224226 778325224226 UMMC22442 VAR/ULTIMATE DOUBLES COUNT(2CD Compact Disc 778325224424 778325224424 UMMC22472 VAR/A YEAR IN YOUR LIFE-1952 Compact Disc 778325224721 778325224721 UMMC22482 VAR/THE 70'S(2CD) Compact Disc 778325224820 778325224820 UMMC22502 VAR/A YEAR IN YOUR LIFE 19(2CD Compact Disc 778325225025 778325225025 UMMC22512 VAR/A YEAR IN YOUR LIFE 19(2CD Compact Disc 778325225124 778325225124 UMMC22522 VAR/A YEAR IN YOUR LIFE -1(2CD Compact Disc 778325225223 778325225223 UMMC22542 VAR/DOO WOP-GREAT LOVE SON(2CD Compact Disc 778325225421 778325225421 UMMC22562 VAR/GREAT 1 R&B HITS OF TH(2CD Compact Disc 778325225629 778325225629 UMMC22592 VAR/A YEAR IN YOUR LIFE 1959(2 Compact Disc 778325225926 778325225926 UMMC22702 VAR/GREATEST JAZZ STANDARD(2CD Compact Disc 778325227029 778325227029 UMMC22722 BAKER,C/THE BEST OF CHET BA(2C Compact Disc 778325227227 778325227227 UMMC31282 FLYING BURRITO BROT/THE FLYING Compact Disc 778325312824 778325312824 UMMC32522 COLTRANE,J/LIVE AT THE HALF NO Compact Disc 778325325220 778325325220 UMMC32532 COLTRANE,J/TRANE ING IN Compact Disc 778325325329 778325325329 UMMC32542 CHARLES,R/ULTIMATE LEGENDS Compact Disc 778325325428 778325325428 UMMC32562 MARLEY,B/ISLAND MYSTIC Compact Disc 778325325626 778325325626 UMMC32582 VAR/THE IRVING BERLIN SONGBOOK Compact Disc 778325325824 778325325824 UMMC32602 VAR/CLASSIC LATIN LOUNGE Compact Disc 778325326029 778325326029 UMMC32612 VAR/THE IRVING BERLIN SONGBOOK Compact Disc 778325326128 778325326128 UMMC32622 VAR/THE IRVING BERLIN SONGBOOK Compact Disc 778325326227 778325326227 UMMC34852 VAR/CROONERS JUKE BO X HITS(4CD Compact Disc 778325348526778325348526 UMMC40073 VAR/COUNTRY GIRLS AT HEART Compact Disc 778325400736 778325400736 UMMC40162 VAR/SOUL EMOTIONS Compact Disc 778325401627 778325401627 UMMC40301 VAR/SWING Compact Disc 778325403010 778325403010 UMMC53163 DRIFTERS,THE/SPECIAL EDITI(3CD Compact Disc 778325531638 778325531638 UMMC53233 VAR/SWINGING BIG BANDS(3CD) Compact Disc 778325532338 7783255323387 78325 34852 67 78325 22262 8 7 78325 22332 8 7 78325 22362 5 7 78325 22422 6 7 78325 22442 4 7 78325 22472 1 7 78325 22482 0 7 78325 22502 5 7 78325 22512 4 7 78325 22522 3 7 78325 22542 1 7 78325 22562 9 7 78325 31282 4 7 78325 32522 0 7 78325 32532 9 7 78325 32542 8 7 78325 32562 6 7 78325 32582 4 7 78325 32602 9 7 78325 32612 8 7 78325 32622 7 7 78325 40073 6 7 78325 40162 7 7 78325 40301 0 7 78325 53163 8 7 78325 53233 87 78325 22592 6 7 78325 22702 9 7 78325 22722 7Catalogue Numb er Artist & Title Description Configuration Scannable UPC UPC UMMC53552 VAR/JUKE BOX HITS(3CD) Compact Disc 778325535520 778325535520 UMMC53642 VAR/MOTOR CITY 50(3CD) Compact Disc 778325536428 778325536428 UMMC53673 UNITED STUDIO ORC/MUSICALS(3CD Compact Disc 778325536732 778325536732 UMMC53682 VAR/CLASSIC MALT SHOP MEMO(3CD Compact Disc 778325536824 778325536824 UMMC53702 VAR/DRIVE TIME(3CD) Compact Disc 778325537029 778325537029 UMMC53712 VAR/DOO WOP(3CD) Compact Disc 778325537128 778325537128 UMMC62652 VAR/BEST OF CLASSICAL(3CD) Compact Disc 778325626525 778325626525 UMMC63102 ISLAND CHORAL/BIBLE SONGS(3CD Compact Disc 778325631024 778325631024 UMMC63172 HOLT,J/STICK BY ME (3CD) Compact Disc 778325631727 778325631727 UMMC63182 GILLEY,M/STAND BY ME(3CD) Compact Disc 778325631826 778325631826 UMMC63222 VAR/ALL TIME GREATEST JAZZ(3C Compact Disc 778325632229 778325632229 UMMC63232 VAR/HIT BOX V2 1959 1979(3CD Compact Disc 778325632328 778325632328 UMMC63262 OAK RIDGE BOYS/GOSPEL GEMS(3CD Compact Disc 778325632625 778325632625 UMMC63292 VAR/TOP 40 COUNTRY V1(3CD) Compact Disc 778325632922 778325632922 UMMC63302 VAR/CERTIFIED 1 CO VOL II(3 CD Compact Disc 778325633028778325633028 UMMC63322 VAR/REGGAE ROOTS(3CD) Compact Disc 778325633226 778325633226 UMMC63352 VAR/R&B HIT BOX (3CD) Compact Disc 778325633523 778325633523 UMMC63372 VAR/NURSERY RHYMES(3CD) Compact Disc 778325633721 778325633721 UMMC63392 VAR/FOLK LEGENDS(3CD) Compact Disc 778325633929 778325633929 UMMC63402 VAR/MISSISSIPPI BLU ESMEN(3CD) Compact Disc 778325634025 778325634025 UMMC63412 VAR/SINGERS & ACTRESSES1(3CD) Compact Disc 778325634124 778325634124 UMMC63422 VAR/HIT THE ROAD-ROUTE 66(3CD) Compact Disc 778325634223 778325634223 UMMC63432 VAR/GREATEST SWING ERA 2(3CD) Compact Disc 778325634322 778325634322 UMMC63442 VAR/GREATEST SONGS OF 1930(4CD Compact Disc 778325634421 778325634421 UMMC63452 VAR/JUST GREAT JAZZ(3CD) Compact Disc 778325634520 778325634520 UMMC63462 VAR/SINGERS & ACTORS V1(3CD) Compact Disc 778325634629 778325634629 UMMC63472 VAR/60 HAPPY TODDLER HITS(4CD) Compact Disc 778325634728 778325634728 UMMC63482 VAR/JAZZ DIVAS JUKE BOX(4CD) Compact Disc 778325634827 778325634827 UMMC63492 VAR/60 1 POP HITS(4CD) Compact Disc 778325634926 778325634926 UMMC63512 VAR/NIGHT AT THE OPERA(4CD) Compact Disc 778325635121 7783256351217 78325 63302 87 78325 53552 0 7 78325 53642 8 7 78325 53673 2 7 78325 53682 4 7 78325 53702 9 7 78325 53712 8 7 78325 62652 5 7 78325 63102 4 7 78325 63172 7 7 78325 63182 6 7 78325 63222 9 7 78325 63232 8 7 78325 63262 5 7 78325 63292 2 7 78325 63322 6 7 78325 63352 3 7 78325 63372 1 7 78325 63392 9 7 78325 63402 5 7 78325 63412 4 7 78325 63422 3 7 78325 63432 2 7 78325 63442 1 7 78325 63452 0 7 78325 63462 9 7 78325 63472 8 7 78325 63482 7 7 78325 63492 6 7 78325 63512 1Catalogue Numb er Artist & Title Description Configuration Scannable UPC UPC UMMC63532 VAR/RELAXATION WITH THE SO(4CD Compact Disc 778325635329 778325635329 UMMC63602 JAMES,E/BROWN,R/BAKERGREAT(3CD Compact Disc 778325636029 778325636029 UMMC63612 VAR/THE SOUNDS OF SUMMER Compact Disc 778325636128 778325636128 UMMC63742 HOLIDAY,B/THE BEST OF BILLIE Compact Disc 778325637422 778325637422 UMMC65112 HANDEL/WATER MUSIC Compact Disc 778325651121 778325651121 UMMC81002 GO WEST/LIVE Compact Disc 778325810023 778325810023 UMMC81012 TURNER,I AND TINA/IKE & TINA T Compact Disc 778325810122 778325810122 UMMC81022 YOUNG,P/LIVE-LOVE HURTS Compact Disc 778325810221 778325810221 UMMC81032 MIKE PENDER S SEARC/ SWEETS FOR Com pact Disc 778325810320 778325810320 UMMC81042 DAVIS,M/DAVIS, MILES Compact Disc 778325810429 778325810429 UMMC81052 FITZGERALD,E/ULTIMATE LEGENDS Compact Disc 778325810528 778325810528 UMMC81072 JONES,S/COCKTAILS FOR TWO Compact Disc 778325810726 778325810726 UMMC81082 CLINE,P/ULTIMATE LEGENDS Compact Disc 778325810825 778325810825 UMMC81092 DAMONE,V/ULTIMATE LEGENDS Compact Disc 778325810924 778325810924 UMMC81122 BOONE,P/ULTIMATE LEGENDS Compact Disc 778325811228 778325811228 UMMC81132 SLY AND THE FAMILY/SLY AND THE Compact Disc 778325811327 778325811327 UMMC81142 CINDERELLA/LIVE Compact Disc 778325811426 778325811426 UMMC81152 SISTER SLEDGE AND TAV/SISTER S C ompact Disc 778325811525 778325811525 UMMC81192 VAR/BIG BAND BEST V.1 Compact Disc 778325811921 778325811921 UMMC81222 VAR/DIXIELAND FAVORITES Compact Disc 778325812225 778325812225 UMMC81252 VAR/ALL I WANT FOR CHRISTMAS I Compact Disc 778325812522 778325812522 UMMC81322 MILLER,G/ULTIMATE LEGENDS Compact Disc 778325813222 778325813222 UMMC81332 NELSON,W/COUNTRY BIOGRAPHY Compact Disc 778325813321 778325813321 UMMC81402 FELICIANO,J/JOSE SINGS Compact Disc 778325814021 778325814021 UMMC81412 HOLIDAY,B/ULTIMATE LEGENDS Compact Disc 778325814120 778325814120 UMMC81422 VAUGHAN,S/ULTIMATE LEGENDS Compact Disc 778325814229 778325814229 UMMC81432 ROGERS,K/COUNTRY BIOGRAPHY Compact Disc 778325814328 778325814328 UMMC81442 GUTHRIE,W/MEMBERS EDIT Compact Disc 778325814427 778325814427 UMMC81452 HOPE,B/THANKS FOR TH E MEMORIES Compact Disc 778325814526 778325814526 UMMC95282 VAR/METALLICA AS PERFORMED BY Compact Disc 778325952822 7783259528227 78325 63532 9 7 78325 63602 9 7 78325 63612 8 7 78325 65112 1 7 78325 81002 3 7 78325 81012 2 7 78325 81022 1 7 78325 81032 0 7 78325 81042 9 7 78325 81052 8 7 78325 81072 6 7 78325 81082 5 7 78325 81092 4 7 78325 81122 8 7 78325 81132 7 7 78325 81142 6 7 78325 81152 5 7 78325 81192 1 7 78325 81222 5 7 78325 81252 2 7 78325 81322 2 7 78325 81332 1 7 78325 81402 1 7 78325 81412 0 7 78325 81422 9 7 78325 81432 8 7 78325 81442 7 7 78325 81452 6 7 78325 95282 27 78325 63742 2Catalogue Numb er Artist & Title Description Configuration Scannable UPC UPC UMMC95372 VAR/DAVID BOWIE T RE X AS P(2CD Compact Disc 778325953720 778325953720 UMMC95382 VAR/THIN LIZZY UFO-AS PERF(2CD Compact Disc 778325953829 778325953829 UMMC96091 DARIN,B/MACK THE KNIFE Compact Disc 778325960919 778325960919 UMMC96211 FRANCIS,C/MEMORIES Compact Disc 778325962111 778325962111 UMMC96251 TORME,M/PURE VELVET Compact Disc 778325962517 778325962517 UMMC96341 VAR/LOVE & ROMANCE Compact Disc 778325963415 778325963415 UMMC96351 VAR/ESSENTIAL HARD ROCK HITS Compact Disc 778325963514 778325963514 UNT1001 VAR/BEST OF THE SOUTH Compact Disc 678643901826678643901826 UOPJ35 ABANDON ALL SHIPS/GEEVING Compact Disc 626570605638 626570605638 URBNET1036 GRAND ANALOG/CA LLIGRAFFITI Compact Disc 775020784628775020784628 USER2 D REAM/IN MEMORY OF Compact Disc 684340002261 684340002261 VEGA23896 LUCKY UKE/LUCKY UKE Compact Disc 619061389629 619061389629 VEGA24017 MONTCALM,T/HERE'S TO YOU-SONG Compact Disc 619061401727 619061401727 VEGA24105 I NO/HAUNTED HEARTS Compact Disc 619061410521 619061410521 VEGA24106 BLACK DIVAS/BLAC K DIVAS Compact Disc 619061410620 619061410620 VEGA24146 LUCKY UKE/SUNBURN Compact Disc 619061414628 619061414628 VEGA24392 SEASONS,THE/PULP Compact Disc 619061439225 619061439225 VEGA24404 CROCHETIERE,J/COUNTING DREAMS Compact Disc 619061440429 619061440429 VEGA24552 TOMMY T/SOULMATE Compact Disc 619061455225 619061455225 VEGA24570 GABRIELLA/THE STORY OF OAK(2CD Compact Disc 619061457021 619061457021 VEGA24571 FINAL STATE/C'EST LA VIE Compact Disc 619061457120 619061457120 VEGA24697 GOULET,P H/FAUT QU ON BOUGE Compact Disc 619061469727 619061469727 VEGA24698 VELVET BLACK/OR LEANS Compact Disc 619061469826 619061469826 VIT8495 VAR/ THE STRING QUARTET TRIBUT Compact Disc 027297849525 027297849525 VIT8658 VAR/STRING TRIB: TO NINE INCH Compact Disc 027297865822 027297865822 VIT8792 VAR/STRING QUARTETE/THE BEATLE Compact Disc 027297879225 027297879225 VIT8915 METALLICA TRIBUTE/BITE THE IVO Compact Disc 027297891524 027297891524 VIT9052 ZVA/BREAKING BENJAMI N:STRING Q Compact Disc 027297905221 027297905221 VIT9082 VAR/STRING QUAR/TRIB;GWEN STEF Compact Disc 027297908222 027297908222 VIT9093 VAR/ARCADE FIRE TRIBUTE:STRING Compact Disc 027297909328 0272979093286 26570 60563 8 6 19061 46972 76 19061 40172 7 6 19061 41062 0 6 19061 41462 8 6 19061 44042 9 6 19061 45712 0 6 19061 46982 66 19061 43922 5 6 19061 45702 16 19061 45522 56 19061 38962 9 6 19061 41052 16 84340 00226 1 0 27297 84952 5 0 27297 86582 2 0 27297 87922 5 0 27297 89152 4 0 27297 90522 1 0 27297 90822 2 0 27297 90932 86 78643 90182 6 7 75020 78462 87 78325 95372 0 7 78325 95382 9 7 78325 96091 9 7 78325 96211 1 7 78325 96251 7 7 78325 96341 5 7 78325 96351 4Catalogue Numb er Artist & Title Description Configuration Scannable UPC UPC VIT9131 VAR/STRING QUARTET TRIB.-TOOL Compact Disc 027297913127 027297913127 VIT9143 VAR/METALLICA:SCORCHED EARTH O Compact Disc 027297914322 027297914322 VIT9144 VAR/STRUNG OUT ON THREE DAYS G Compact Disc 027297914421 027297914421 VIT9157 VAR/IRON MAIDEN:HAND OF DOOM O Compact Disc 027297915725 027297915725 VIT9179 VAR/UNDEROATH:PAINTED RED:STRU Compact Disc 027297917927 027297917927 VIT9405 VAR/RUSH TRIBUTE:THROUGH THE P Compact Disc 027297940529 027297940529 VIT9435 COLDPLAY TRIB/STRING QUARTET T Compact Disc 027297943520 027297943520 VIT9486 VAR/STRING TRIB: TO SMASHING P Compact Disc 027297948624 027297948624 VIT9550 VAR/VITAMIN STRING QUARTET PER Compact Disc 027297955028 027297955028 VMCJM0301A MOORE,J/POINT AT YO U & FOUR(EP Compact Disc EP's 843930009183 843930009183 VR20111 ZAPPA,F/CARNEGIE HALL(4CD) Compact Disc 824302011126 824302011126 WAPCA391 APHEX TWIN/CHEETAH EP(CASSETTE Cassette EP's 801061939144801061939144 WARPCD214X ENO,B/DRUMS BETWEEN THE BELL(2 Compact Disc 801061821425801061821425 WARPCD272X ENO,B/THE SHIP(DLX) Compact Disc 801061827229801061827229 WBR002 BELIEF/DEDICATION Compact Disc 094922605412094922605412 WF009DVD FILM/CINEMA 16:EUROPEAN SHORT Digital Video Disc 616892897828616892897828 WIPD503 RANKS,S/RAPPIN'WITH THE LADIES Compact Disc 068584050323 068584050323 WJR12 STEAGALL,R/WAGON TRACKS Compact Disc 016351606129 016351606129 WONDERCD04 ZEB/STOP THE EARTH, I WANT TO Compact Disc 808764301421808764301421 WONDERCD05 PIMPS OF JOYTIME,THE/HIGH STEP Compact Disc 808764301520808764301520 WRA062 MAKEBA,M/DEFINITIVE COLLECTION Compact Disc 506000127063506000127063 WRP1492 CLARK.BODY RIDDLE Compact Disc 801061014926801061014926 WTM39313 SOUNDTRACK/THE DARK KNIGHT RIS Compact Disc 794043160417 794043160417 WTM39426 OST/MAN OF STEEL(2CD)(STEEL BO Compact Disc 794043169137 794043169137 XXICD1614 KARAJAN,H/BEETHOVEN:LES NEUF(9 Compact Disc 722056161428 722056161428 XXICD1723 CELIA,D/I TRIED Compact Disc 722056172325 722056172325 XXICD21416 GRAND CHOEUR DE MTL./MOZART:RE Compact Disc 722056141628 722056141628 XXICD21420 OPERA SOUVENIRS/OPER A SOUVENIR Compact Disc 722056142021 722056142021 XXICD21423 DA COSTA,A/DA FALLA Compact Disc 722056142328 722056142328 XXICD21427 HOUDY,P/LA MESSE QUEBECOISE Compact Disc 722056142724 7220561427248 01061 93914 48 24302 01112 6 7 94043 16913 77 94043 16041 7 7 22056 17232 50 68584 05032 3 7 22056 16142 8 7 22056 14162 8 7 22056 14202 1 7 22056 14232 8 7 22056 14272 40 16351 60612 90 27297 91792 7 0 27297 94352 00 27297 91312 7 0 27297 91432 2 0 27297 91442 1 0 27297 91572 5 0 27297 94052 9 0 27297 94862 4 0 27297 95502 8 0 94922 60541 2 8 08764 30142 1 8 08764 30152 08 01061 82142 5 8 01061 82722 9 5 06000 12706 3 8 01061 01492 68 43930 00918 3 6 16892 89782 8Catalogue Numb er Artist & Title Description Configuration Scannable UPC UPC XXICD21430 CALLAS,M/RECITAL MONTREAL 1974 Compact Disc 722056143028 722056143028 XXICD21437 JOBIN,R/CANTIQUES DE NOEL ET C Compact Disc 722056143721 722056143721 XXICD21440 HACKETT,S/GUITARE CLASSIQUE Compact Disc 722056144025 722056144025 XXICD21443 L'ART LYRIQUE DU CA NADA/L'ART Compact Disc 722056144322 722056144322 XXICD21445 BRENDEL,A/L'ARBE DE NOEL-THE C Compact Disc 722056144520 722056144520 XXICD21447 QUATUOR LA FLUTE ENCHANTEE/NOE Compact Disc 722056144728 722056144728 XXICD21452 JOBIN,R/ANTHOLOGIE (3CD) Compact Disc 722056145220 722056145220 XXICD21459 ALARIE,P & SIMONEAU,L/ANTHOLOG Compact Disc 722056145923 722056145923 XXICD21465 GRAND CHOEUR DE MT L./DUBOIS & Compact Disc 722056146524 722056146524 XXICD21473 BOUCHER,M/REYNALDO HAHN Compact Disc 722056147323 722056147323 XXICD21477 DA COSTA,A/TCHAIKOVSKI Compact Disc 722056147729 722056147729 XXICD21485 LES VOIX D'ELLES/A CEREMONY OF Compact Disc 722056148528 722056148528 XXICD21489 VAR/BEETHOVEN X9 Compact Disc 722056148924 722056148924 XXICD21504 BOUCHER,M/FAURE Compact Disc 722056150422 722056150422 XXICD21505 LES VOIX D'ELLE/REQUIEM FAURE Compact Disc 722056150521 722056150521 XXICD21521 FREITAS/BRANCO/ALEXANDRE Compact Disc 722056152129 722056152129 XXICD21524 GUITAR BAROQUE/DAVID JACQUES Compact Disc 722056152426 722056152426 XXICD21525 VELITCHKA YOTCHEVA/VELITCHKA Y Compact Disc 722056152525 722056152525 XXICD21528 DA COSTA,A/VIVALDI Compact Disc 722056152822 722056152822 XXICD21530 JACQUES,D/ROBERT DEVISEE L'ANT Compact Disc 722056153027 722056153027 XXICD21531 VELITCHKA,Y/SUITE BACH VIOLONC Compact Disc 722056153126 722056153126 XXICD21533 LARE,P/LISZT:SONATA IN B MINOR Compact Disc 722056153324 722056153324 XXICD21541 KUTZ/ABYSSE/THE JULIET LETTERS Compact Disc 722056154123 722056154123 XXICD21543 HUET,N/FLUTE ENCHANTEE Compact Disc 722056154321 722056154321 XXICD21552 DA COSTA,B/BRUCH DA COSTA Compact Disc 722056155229 722056155229 XXICD21553 SONG,W/MUSSORGSKI Compact Disc 722056155328 722056155328 XXICD21561 BOTTENBERG,W/WOLFGANG BOTTENBE Compact Disc 722056156127 722056156127 XXICD21569 LEPINE-ARTURO/SONATES ROMANTIQ Compact Disc 722056156929 722056156929 XXICD21570 BOUCHER,M/THEODORE DUBOIS Compact Disc 722056157025 722056157025 XXICD21580 FRANCAIX,J/TRIO FOR CLARINET,V Compact Disc 722056158022 7220561580227 22056 15332 47 22056 14302 8 7 22056 14372 1 7 22056 14402 5 7 22056 14432 2 7 22056 14452 0 7 22056 14472 8 7 22056 14522 0 7 22056 14592 3 7 22056 14652 4 7 22056 14732 3 7 22056 14772 9 7 22056 14852 8 7 22056 14892 4 7 22056 15042 2 7 22056 15052 1 7 22056 15212 9 7 22056 15242 6 7 22056 15252 5 7 22056 15282 2 7 22056 15302 7 7 22056 15312 6 7 22056 15412 3 7 22056 15432 1 7 22056 15522 9 7 22056 15532 8 7 22056 15612 7 7 22056 15692 9 7 22056 15702 5 7 22056 15802 2Catalogue Numb er Artist & Title Description Configuration Scannable UPC UPC XXICD21581 MYERS,D/JOEL:FANT ASIES & DELUS C ompact Disc 722056158121 722056158121 XXICD21582 PATENAUDE,G/LES CHANTRES MUSIC Compact Disc 722056158220 722056158220 XXICD21583 BAREIL & LEPINE/WORKS FOR VIOL Compact Disc 722056158329 722056158329 XXICD21584 GOUNOD,C & FAURE,G/MELODIES FR Compact Disc 722056158428 722056158428 XXICD21586 JACQUES,D/PIECES DE GUITATRRE Compact Disc 722056158626 722056158626 XXICD21587 YOTCHEVA,V/FRANCK/B RAHMS:CELLO Compact Disc 722056158725 722056158725 XXICD21588 VON BINGEN,H/ORDO VIRTUTUM-2CD Compact Disc 722056158824 722056158824 XXICD21589 QUATUOR ABYSSE/ARGENTINA REVIS Compact Disc 722056158923 722056158923 XXICD21590 BOUCHER,M/GODIN,O/LES FLEURS D Compact Disc 722056159029 722056159029 XXICD21592 CALLENDER,C/MESSE DU PARDON Compact Disc 722056159227 722056159227 XXICD21602 DOLIN,E/FOUQUET,G/MOZART:CELLO Compact Disc 722056160223 722056160223 XXICD21603 DUO CARON/BRITISH MUSIC FOR PI Compact Disc 722056160322 722056160322 XXICD21604 GRIEG,E/LYRICAL PIECES-INTEGRA Compact Disc 722056160421 722056160421 XXICD21605 MANDOZZI,O/GOLTERMA NN/JERAL/W Compact Disc 722056160520 722056160520 XXICD21607 PRATS,JL/SHOSTAKOVICH:PIANO CO Compact Disc 722056160728 722056160728 XXICD21609 D'AQUIN,LC/NOELS POUR ORGUE Compact Disc 722056160926 722056160926 XXICD21611 MG BLUES/AROUND SONNY BOY WILL Compact Disc 722056161121 722056161121 XXICD21620 HEALY,P & POULIN,B/CANTO DEL P Compact Disc 722056162029 722056162029 XXICD21622 GAUDET,M/RACHMANINOV:24 PRELUD Compact Disc 722056162227 722056162227 XXICD21626 BOUCHER,J & ROBERT,A/VIOLIN AN Compact Disc 722056162623 722056162623 XXICD21632 SIMARD,MJ/FABI,M/DVO RAK:VIBRAP Compact Disc 722056163224 722056163224 XXICD21635 VAR/CJPX RADIO CLASSIQUE 2CD S Compact Disc 722056163521 722056163521 XXICD21644 HERRMANN,B/CRIME MU SIC-BERNARD Compact Disc 722056164429 722056164429 XXICD21647 CEYSSON,E/VERNEY,E/INSOLITE L' Compact Disc 722056164726 722056164726 XXICD21653 VAR/GIACOMO PUCCINI 150 Compact Disc 722056165327 722056165327 XXICD21664 CARRE,A/COMPLETE WORKS FOR GUI Compact Disc 722056166423 722056166423 XXICD21665 SONG,W/BEETHOVEN:PIANO SONATAS Compact Disc 722056166522 722056166522 XXICD21666 TARREGA,F/COMPLETE GUITAR WORK Compact Disc 722056166621 722056166621 XXICD21668 CROW,J/WORKS FOR SOLO VIOLIN Compact Disc 722056166829 722056166829 XXICD21669 CROW/BERICK/BARTOK/BERIO:44 DU Compact Disc 722056166928 7220561669287 22056 15842 8 7 22056 16662 17 22056 15892 3 7 22056 16032 2 7 22056 16202 9 7 22056 16222 7 7 22056 16322 4 7 22056 16352 1 7 22056 16472 6 7 22056 16532 7 7 22056 16652 2 7 22056 16682 97 22056 15812 1 7 22056 15822 0 7 22056 15832 9 7 22056 15862 6 7 22056 15872 5 7 22056 15882 4 7 22056 15902 9 7 22056 15922 7 7 22056 16022 3 7 22056 16042 1 7 22056 16052 0 7 22056 16072 8 7 22056 16092 6 7 22056 16112 1 7 22056 16262 3 7 22056 16442 9 7 22056 16642 3 7 22056 16692 8Catalogue Numb er Artist & Title Description Configuration Scannable UPC UPC XXICD21670 FAURE,G/LA MUSIQUE SACREE AVEC Com pact Disc 722056167024 722056167024 XXICD21671 PERGOLESI,GB/SALVE RE GINA-STAB Compact Disc 722056167123 722056167123 XXICD21678 LES CHANTRES MUSICIENS/SCHUBER Compact Disc 722056167826 722056167826 XXICD21681 PONTICELLO QUARTET/QUATUOR DE Compact Disc 722056168120 722056168120 XXICD21682 CHUNG,L/SAINT-SAENS:PIANO TRAN Compact Disc 722056168229 722056168229 XXICD21691 REGER,M/FOUR SONATINAS-2CD Compact Disc 722056169127 722056169127 XXICD21699 CROW,J/BRAHMS/LIGETI/SCHUMANN: Compact Disc 722056169929 722056169929 XXICD21700 YOTCHEVA,V/RACHMANINOV:COMPLET Compact Disc 722056170024 722056170024 XXICD21701 LARE,P/HURDJIEFF/HARTMANN:MUSI Compact Disc 722056170123 722056170123 XXICD21702 THOUIN,O/FAURE:L'OEUVRE POUR V Compact Disc 722056170222 722056170222 XXICD21704 SAINT-DENIS,A/DUBOIS:WORLD PRE Compact Disc 722056170420 722056170420 XXICD21705 BOUCHER,M/DUPARC:INTEGRALE DES Compact Disc 722056170529 722056170529 XXICD21710 VAR/CHOEUR DES MOINS/CANTUS AE Compact Disc 722056171021 722056171021 XXICD21713 MARCOTTE,NA/BACH:ORGAN WORKS Compact Disc 722056171328 722056171328 XXICD21715 PIERNE,G/TOURNEMIRE,C/SONATES Compact Disc 722056171526 722056171526 XXICD21716 BOUCHER,J/MUSIQUE FRANCAISE PO Compact Disc 722056171625 722056171625 XXICD21717 SYLVESTRE,S/BRAHMS: OEUVRES POU Compact Disc 722056171724 722056171724 XXICD21718 BOUCHER,J/VAR:ITINERAIRE Compact Disc 722056171823 722056171823 XXICD21720 BOUCHER,J/WIDOR:INTEGRALE DES Compact Disc 722056172028 722056172028 XXL21955 VAR/MEMORIES OF NORMANDY-60TH Compact Disc 619061195527 619061195527 XXL22036 LOTTI,H/FROM RUSSIA WITH LOVE Compact Disc 619061203628 619061203628 XXL33368 LOTTI,H/FROM RUSSIA WITH LOVE Digital Video Disc 619061336838 619061336838 XXL33544 LOTTI,H/THE BLUE ALBUM Digital Video Disc 619061354436 619061354436 XXL33723 LOTTI,H/THE CROONERS - DVD Digital Video Disc 619061372331 619061372331 YR002 PARSON RED HEADS/FIELD MOUSE C Compact Disc 634479280313 634479280313 Z281016 COLE,H TRIO/GIRL TALK Compact Disc 061528101624 061528101624 ZEDDCD007 VAR/THE SOUL OF DISCO V1(2CD) Compact Disc 5030820041476 5030820041476 ZEDDCD008 VAR/JOEY NEGRO:IN THE BEGI(2CD Compact Disc 5030820042732 5030820042732 ZEDDCD009 VAR/DESTINATION B OOGIE (JO(2CD C ompact Disc 5030820044255 5030820044255 ZEDDCD010 VAR/THE SOUL OF DISCO V2(2CD) Compact Disc 5037454772400 50374547724006 19061 19552 7 6 19061 20362 87 22056 16992 9 7 22056 17002 4 7 22056 17042 0 7 22056 17052 9 7 22056 17132 8 7 22056 17152 6 7 22056 17162 5 7 22056 17172 4 7 22056 17182 3 7 22056 17202 87 22056 16782 6 7 22056 16812 0 7 22056 16822 9 7 22056 17012 3 7 22056 17022 2 7 22056 17102 17 22056 16702 4 7 22056 16712 3 6 34479 28031 3 5 030820 042732 5 030820 044255 5 037454 772400 5 030820 041476 0 61528 10162 47 22056 16912 7 6 19061 35443 66 19061 33683 8 6 19061 37233 1Catalogue Numb er Artist & Title Description Configuration Scannable UPC UPC ZEDDCD011 NEGRO,J/MANY FACES OF V1 (2CD Compact Disc 5037454772608 5037454772608 ZEDDCD015 VAR/LOCKED IN THE VINYL CE(2CD Compact Disc 5060162570112 5060162570112 ZEDDCD017 NEGRO,J/MANY FACES OF V2 (2CD Compact Disc 5060162570150 5060162570150 ZEDDCD022 VAR/JOEY NEGRO PRESENTS V3(2CD Compact Disc 5060162570716 5060162570716 ZEDDCD024 VAR/UNDER THE INFLUENCE V1(2CD Compact Disc 5060162571096 5060162571096 ZEDDCD026 NEGRO,J & THE SUNBURST BAND/TH Compact Disc 5060162571799 5060162571799 ZEDDCD028 VAR/OVERDOSE OF THE HOST(2CD) Compact Disc 5060162572062 5060162572062 ZEDDCD029 VAR/UNDER THE INFLUENCE V3(2CD Compact Disc 5060162572079 5060162572079 ZEDDCD030 VAR/REMIXED WITH LOVE BY J(2CD Compact Disc 5060162572390 5060162572390 ZON22176 VAR/PINK FLOYD REDUX Compact Disc 619061217625 619061217625 ZR3871 ZAPPA,F/THING-FISH(2CD) Compact Disc 824302387122 824302387122 ZR3886 ZAPPA,F/PLAYGROUND PSYCHOT(2CD Compact Disc 824302388624 824302388624 ZR3888 ZAPPA,F/THE YELLOW SHARK Compact Disc 824302388822 824302388822 ZR3893 ZAPPA,F/LATHER(3CD) Compact Disc 824302389324 8243023893248 24302 38712 2 8 24302 38862 4 8 24302 38932 48 24302 38882 26 19061 21762 55 037454 772608 5 060162 570112 5 060162 570150 5 060162 570716 5 060162 571096 5 060162 571799 5 060162 572062 5 060162 572079 5 060162 572390 Catalogue Number Artist & Title Description Configuration Scannable UPC UPC 000161 MORRIS, KE/BANSHEE Vinyl LP's 795550001613 795550001613 401 TWO BEARS/BEARS IN SPACE(LP) Vinyl LP's 50600655909275060065590927 002305 CONSTANTINES/OUR AGE + FUCKIN Vinyl Singles 827590023055 827590023055005001 BROKEN SOCIAL SCENE/FEEL GOOD Vinyl LP's 827590050013 827590050013 33361 HAYNES,W/RIVERS GONNA RISE Vinyl Singles 888072333611 888072333611 044541 NELSON, WI/TWO MEN W/THE BLUES Vinyl LP's 5099950445417 5099950445417050211 TASSEOMANC/ULALUME Vinyl LP's 827590502116 827590502116051001 ZEUS/SAY US (VINYL) Vinyl LP's 827590510012 827590510012072007 BLOC PARTY/FOUR Vinyl LP's 827590720077 827590720077120531 ROGERS,K/THE GAMBLER(LP) Vinyl LP's 5099991205315 5099991205315120551 HAGGARD,M/SWINGING DOORS(LP) Vinyl LP's 5099991205513 5099991205513144021 VARIOUS AR/DROPPIN' SCIENCE Vinyl LP's 5099951440213 5099951440213174017 BEATLES, T/LOVE ME DO Vinyl LP's 5099901740172 5099901740172201631 MAYALL,J/TOUGH (12"VYL X2) Vinyl Singles 826992016313 826992016313202191 DEAD SWANS/SLEEPWALKERS Vinyl LP's 811772021915 811772021915212901 GREEN, GRA/STREET OF DREAMS Vinyl LP's 724382129011 724382129011220591 R.E.M./DOCUMENT Vinyl LP's 076742205911 076742205911250191 BLACK LABEL SOCIETY/SKULLAGE(L Vinyl Singles 826992501918 826992501918270271 GO GO'S/BEAUTY & THE BEAT(30T Vinyl LP's 5099902702711 5099902702711277731 BUSH, KATE/DIRECTOR'S CUT Vinyl LP's 5099902777313 5099902777313395211 NITTY GRIT/WILL THE CE(3LP+EP Vinyl LP's 5099973952114 5099973952114397035 RADIO DEPT/LESSER MATTERS Vinyl LP's 7332233970359 7332233970359427791 CONNORS,S/BALLAD OF STOMPI(LP Vinyl LP's 5099924277914 5099924277914UNIVERSAL MUSIC DISCONTINUED LISTING / Liste de produits discontinues The following titles are no longer distributed by Universal Music Canada and are not returnable effective immediately. À compter de maintenant les titres suivants ne sont plus distribués par Universal Music Canada et ne sont pas retournables. NUMERICAL BY ARTIST / Numerique par artiste 5 099901 740172 5 099950 445417 5 099951 440213 7 24382 12901 15 099991 205315 0 76742 20591 1 5 099902 702711 5 099973 952114 5 099991 205513 5 099924 277914 5 060065 590927 8 27590 51001 2 8 27590 72007 78 27590 05001 3 8 27590 50211 6 8 11772 02191 5 5 099902 777313 7 332233 970359 7 95550 00161 3 8 26992 01631 3 8 26992 50191 88 27590 02305 5 8 88072 33361 1430081 BAND, THE/BAND,THE Vinyl LP's 5099924300810 5099924300810 441781 HARPER, BE/WILL TO LIVE Vinyl LP's 724384417819 724384417819513588 CLAPTON,E/I STILL DO(USB+DENIM USB STICK 822685135804 822685135804 515057 BAMBOOS, T/4 (LP VERSION) Vinyl LP's 5060205150578 5060205150578632681 NATURAL SE/ART OF VIBRATION (L Vinyl LP's 5060006326813 5060006326813653151 BASHUNG,A/LIMPRUDENCE(LP) Vinyl LP's 044006531519 044006531519714131 FLOGGING M/LIVE AT THE GREEK T Vinyl LP's 603967141313 603967141313714251 FAKE PROBL/REAL GHOSTS CAUGHT Vinyl LP's 603967142518 603967142518714871 REVEREND P/BETWEEN THE DITCHES Vinyl LP's 603967148718 603967148718780351 HAGGARD, M/I AM WHAT I AM Vinyl LP's 015707803519 015707803519782081 HAGGARD, M/WORKING IN TENNESSE Vinyl LP's 015707820813 015707820813782551 JONES, NOR/LITTLE BROKEN HEART Vinyl LP's 5099997825517 5099997825517818601 WILSON, CA/GLAMOURED Vinyl LP's 724358186017 724358186017822867 SWORD,THE/JOHN THE REVELAT(7'' 7" Vinyl Singles 793018228671 793018228671854101 BENTLEY,D/UP ON THE RIDGE(LP) Vinyl LP's 5099968541019 5099968541019862281 MASSIVE AT/BLUE LINES Vinyl LP's 077778622819 077778622819873181 ARCHITECTS/LOST TOGETHER(LP) Vinyl LP's 045778731817 045778731817886251 BAND, THE/CAHOOTS Vinyl LP's 5099968862510 5099968862510886531 SINATRA, F/COME FLY WITH ME Vinyl LP's 5099968865313 5099968865313953431 MOBLEY, HA/SOUL STATION Vinyl LP's 724349534315 724349534315981741 BEACH BOYS/SUNFLOWER Vinyl LP's 5099969817410 5099969817410990021 SILVER, HO/SONG FOR MY FATHER Vinyl LP's 724349900219 724349900219994261 BEATLES, T/SGT. PEPPER'S LONEL Vinyl LP's 5099969942617 5099969942617 1350110 MCKENNITT,L/NIGHTS FROM TH(2LP Vinyl LP's 774213501103 7742135011032301211 O.C./SMOKE AND MIRRORS Vinyl LP's 655323012119 6553230121192729662 RAMMSTEIN/XXI THE VINYL BO(7LP Vinyl LP's 602527296623 6025272966232735477 ROLLING STONES,THE/PLUNDERED M 7" Vinyl Singles 602527354774 6025273547742756839 WHITE LIES/RITUAL (LP) Vinyl LP's 602527568393 602527568393 6 02527 35477 47 93018 22867 1 5 099969 942617 0 44006 53151 9 5 099997 825517 7 24358 18601 7 7 24349 53431 5 7 24349 90021 95 099968 862510 5 099969 817410 5 099968 865313 5 099924 300810 5 099968 541019 6 02527 56839 36 02527 29662 37 24384 41781 9 0 77778 62281 9 6 55323 01211 90 15707 80351 9 0 15707 82081 3 0 45778 73181 7 7 74213 50110 36 03967 14131 3 6 03967 14251 8 6 03967 14871 85 060205 150578 5 060006 326813 8 22685 13580 42760729 CHILDREN OF BODOM/RELENTLESS R Vinyl LP's 602527607290 602527607290 2765299 FRANCOIS,C/COMME D'HABITUDE(LP Vinyl LP's 602527652993 6025276529932778827 U2/ACHTUNG BABY (4-LP VINYL BO Vinyl LP's 602527788272 6025277882723216861 LYNYRD SKYNYRD/SECOND HELPING Vinyl LP's 076732168615 0767321686153715573 WHO THE/THE STUDIO ALBUMS(11LP Vinyl LP's 602537155736 6025371557363716806 WILLIAMS,R/TAKE THE CROWN(DLX) Vinyl LP's 602537168064 6025371680643732604 DRAKE,N/NICK DRAKE(12''LP) Vinyl LP's 602537326044 6025373260443735863 MARLING,L/ONCE I WAS AN EA(2LP Vinyl LP's 602537358632 6025373586323736790 FALTSKOG,A/A(LP) Vinyl LP's 602537367900 6025373679003740257 THICKE,R/BLURRED LINES EP(LP) Vinyl LP's 602537402571 6025374025713742897 DISCLOSURE/YOU & ME THE(12''LP Vinyl Singles 602537428977 6025374289773744156 MONROE,M/HORNS AND HALOS(LP) Vinyl LP's 602537441563 6025374415633745917 JAM,THE/STUDIO ALBUMS BOX(LP) Vinyl LP's 602537459179 6025374591793747988 STROMAE/RACINE CARREE(2LP) Vinyl LP's 602537479887 6025374798873754045 MAGAZINE/THE CORRECT USE OF(LP Vinyl LP's 602537540457 6025375404573754049 HILLAGE,S/FISH RISING(LP) Vinyl LP's 602537540495 6025375404953754050 SOUL II S/CLUB CLASSICS V1(LP) Vinyl LP's 602537540501 6025375405013754067 VERVE,THE/BITTERSWEET SYMP(7'' 7" Vinyl Singles 602537540679 6025375406793754069 INNER CITY/GOOD LIFE(12") Vinyl Singles 602537540693 6025375406933757285 COSTELLO/THE ROOT/WISE(12''EP Vinyl EP 602537572854 6025375728543764813 DISLOSURE KEABLE,S/VOICES(LP) Vinyl LP's 602537648139 6025376481393769215 TENSNAKE/GLOW(LP) Vinyl LP's 602537692156 6025376921563770015 IAM/IAM NOIR(LP) Vinyl LP's 602537700158 6025377001583771005 GAINSBOURG,S/DOUBLE BEST OF(2L Vinyl LP's 602537710058 6025377100583771021 FRANCOIS,C/DOUBLE BEST OF(2LP) Vinyl LP's 602537710218 6025377102183771607 ABBA/LIVE AT WEMBLEY AREN(3LP) Vinyl LP's 602537716074 6025377160743772035 LA GRANDE SOPHIE/DOUBLE BES(2L Vinyl LP's 602537720354 6025377203543773993 DALLE,B/DIPLOID LOVE(LP) Vinyl LP's 602537739936 602537739936 6 02537 54067 9 6 02537 57285 4 6 02537 70015 80 76732 16861 5 6 02537 15573 6 6 02537 40257 1 6 02537 47988 76 02527 78827 2 6 02537 16806 4 6 02537 64813 9 6 02537 71021 86 02537 71005 86 02537 36790 0 6 02537 72035 46 02537 44156 36 02527 60729 0 6 02537 71607 46 02527 65299 3 6 02537 45917 9 6 02537 54045 7 6 02537 54049 5 6 02537 54050 16 02537 32604 4 6 02537 35863 2 6 02537 69215 6 6 02537 73993 66 02537 42897 7 6 02537 54069 33778292 IMELDAMAY/TRIBAL(2LP) Vinyl LP's 602537782925 602537782925 3779740 DAHO,E/LES CHANSONS DE LINN(LP Vinyl LP's 602537797400 6025377974003780364 DALLE,B/DONT MESS WITH ME(7'') 7" Vinyl Singles 602537803644 6025378036443780518 CHARLES AZNAVOUR/90E ANNIV(2LP Vinyl LP's 602537805181 6025378051813782570 BEATLES,THE/PLEASE PLEASE ME(L Vinyl LP's 602537825707 6025378257073782572 BEATLES,THE/A HARD DAY'S NI(LP Vinyl LP's 602537825721 6025378257213782574 BEATLES,THE/HELP(LP) Vinyl LP's 602537825745 6025378257453782576 BEATLES,THE/REVOLVER(LP) Vinyl LP's 602537825769 6025378257693782577 BEATLES,THE/SGT PEPPER'S L(LP) Vinyl LP's 602537825776 6025378257763782591 BEATLES,THE/MAGICAL MYSTERY(LP Vinyl LP's 602537825912 6025378259123783738 COUTURE,C/IMMORTEL(LP) Vinyl LP's 602537837380 6025378373803787241 RICHARD/THOMPSON,L/I WANT TO(L Vinyl LP's 602537872411 6025378724113789440 TEARS FOR FEARS/THE HURTING(LP Vinyl LP's 602537894406 6025378944063797933 JAMIE T/ZOMBIE(LP) Vinyl LP's 602537979332 6025379793324186201 R E M/ACCELERATE(2LP+7'') Vinyl LP's 093624987741 0936249877414718845 LANE,R/RONNIE LANE'S SLIM C(LP Vinyl LP's 602547188458 6025471884584719045 MOORE,C/PADDY ON THE ROAD(LP) Vinyl LP's 602547190451 6025471904514732839 LOUANE/CHAMBRE 12(2LP) Vinyl LP's 602547328397 6025473283974743235 PLACEBO/MEDS(LP PINK) Vinyl LP's 602547432353 6025474323534743240 PLACEBO/SLEEPING WITH GHOST(LP Vinyl LP's 602547432407 6025474324074743247 PLACEBO/BLACK MARKET MUSIC(BRO Vinyl LP's 602547432476 6025474324764743360 SINATRA,F/SEPTEMBER OF MY Y(LP Vinyl LP's 602547433602 6025474336024743361 SINATRA,F/SINATRA '65(LP) Vinyl LP's 602547433619 6025474336194748075 LOUIS/MATHIEU/JOS/LOUIS/MA(3LP Vinyl LP's 602547480750 6025474807504754820 PAGE,J/SHE JUST SATISFIES(7'') 7" Vinyl Singles 602547548207 6025475482074754998 KOOKS,THE/INSIDE IN INSIDE(LP Vinyl LP's 602547549983 6025475499834760131 JAMES/GREENPEACE PALACE CO(2LP Vinyl LP's 602547601315 6025476013154760392 JOHN,E/WONDERFUL CR(LP+2CD) Vinyl + CD 602547603920 602547603920 6 02547 54820 76 02537 80364 4 6 02547 60392 06 02537 82570 7 6 02537 82572 1 6 02537 82576 9 6 02537 82591 26 02537 82574 5 6 02537 82577 66 02537 80518 1 6 02547 48075 06 02547 43240 7 6 02547 43360 2 6 02547 43361 96 02537 87241 1 6 02537 89440 66 02537 83738 0 6 02547 32839 7 6 02547 60131 56 02537 79740 0 6 02547 18845 8 6 02547 43247 66 02537 78292 5 6 02547 43235 3 6 02547 54998 36 02537 97933 2 6 02547 19045 10 93624 98774 14761060 FERRY,B/THE ISLAND SINGLE(6X7" 7" Vinyl Singles 602547610607 602547610607 4761451 JOHN,E/THE THOM BELL SESSI(7'' 7" Vinyl Singles 602547614513 6025476145134763230 OLDFIELD,M/NUCLEAR(7'' PICTURE 7" Vinyl Singles 602547632302 6025476323024766321 SLITS,THE/I HEARD IT THROU(10" 10" Vinyl 602547663214 6025476632144766329 SOFT CELL/SEX DWARF(12") Vinyl Singles 602547663290 6025476632904767882 BLUESOLOGY/COME BACK BABY(7'') 7" Vinyl Singles 602547678829 6025476788294767894 OCEAN COLOUR/MOSELEY SHOAL(2LP Vinyl LP's 602547678942 6025476789424768931 BASTILLE/HANGIN(7'') 7" Vinyl Singles 602547689313 6025476893134770458 SINATRA,F/SINATRA AT THE SA(2L Vinyl LP's 602547704580 6025477045804773660 FLORENCE AND THE/DELILAH(12" Vinyl Singles 602547736604 6025477366044774133 TRAFFIC/TRAFFIC(LP) Vinyl LP's 602547741332 6025477413324774317 GOGO PENGUIN/LIVE AT ABBE(10'' 10" Vinyl 602547743176 6025477431764774708 TURNER,F/POSITIVE SONGS FOR(LP Vinyl LP's 602547747082 6025477470824776658 JONES,Q/THE DUDE(LP) Vinyl LP's 602547766588 6025477665884782250 PARADIS/RECTO VERSO(2LP) Vinyl LP's 602547822505 6025478225054784712 CALLEJA,J/BE MY LOVE A TRIB(LP Vinyl LP's 028947847120 0289478471204785104 BUGG,J/ON MY ONE BOX(D2C EXCL Vinyl LP's 602547851048 6025478510484789746 LA'S,THE/THE LA'S(LP) Vinyl LP's 602547897466 6025478974664790083 DUDAMEL,G/MENDELSSOHN SYMPHONY Vinyl LP's 028947900832 0289479008324790918 MCCARTNEY,P AND WINGS/NINETEEN Vinyl Singles 602547909183 6025479091834794385 RICHTER,S/BERLI/TCHAIKOVSKY(LP Vinyl LP's 028947943853 0289479438534794389 MUTTER,A S/WIENER/LE/CARMEN(LP Vinyl LP's 028947943891 0289479438914794705 ZUKERMAN/STERN/MI/VIVALDI(2LP Vinyl LP's 028947947059 0289479470594795016 NETREBKO,A/VERISMO(2LP) Vinyl LP's 028947950165 0289479501654797282 COCKER,J/GONZALES,C/ROOM 29(LP Vinyl LP's 028947972822 0289479728224797824 WELLER,P/PAUL WELLER(LP) Vinyl LP's 602547978240 6025479782404797825 WELLER,P/WILD WOOD(LP) Vinyl LP's 602547978257 6025479782574797827 WELLER,P/HEAVY SOUL(LP) Vinyl LP's 602547978271 6025479782716 02547 66321 4 6 02547 74317 66 02547 61451 3 6 02547 63230 2 6 02547 67882 9 6 02547 68931 36 02547 61060 7 6 02547 76658 8 6 02547 82250 56 02547 70458 0 0 28947 84712 0 0 28947 94705 9 0 28947 95016 50 28947 90083 2 0 28947 94385 3 0 28947 94389 1 0 28947 97282 2 6 02547 97825 76 02547 67894 2 6 02547 74133 2 6 02547 89746 66 02547 74708 2 6 02547 97827 16 02547 97824 06 02547 85104 86 02547 73660 46 02547 66329 0 6 02547 90918 34812052 BOCELLI,A/CINEMA(2LP) Vinyl LP's 028948120529 028948120529 5292601 FARMER,M/ANAMORPHOSEE Vinyl LP's 731452926012 7314529260125307094 BASHUNG,A/BLEU PETROLE (LPX2) Vinyl LP's 600753070949 6007530709495308577 BARDOT,B/GAINSBOURG/BONNIE(LP Vinyl LP's 600753085776 6007530857765309212 NOIR DESIR/666667 CLUB(2LP) Vinyl LP's 600753092125 6007530921255310126 FARMER,M/POINT DE SUTURE(2LP) Vinyl LP's 600753101261 6007531012615345454 SOUNDTRACK/O BROTHER WHERE(2LP Vinyl LP's 600753454541 6007534545415346143 CASH,J/AMERICAN II UNCHAINE(LP Vinyl LP's 600753461433 6007534614335351007 STEREO MCS/CONNECTED BACK(LP Vinyl LP's 600753510070 6007535100705351452 FAUST/FAUST(LP) Vinyl LP's 600753514528 6007535145285351584 PARAGONS,THE/THE PARAGONS B(LP Vinyl LP's 600753515846 6007535158465351878 TANGERINE DREAM/PHAEDRA(LP) Vinyl LP's 600753518786 6007535187865353561 THIN LIZZY/JOHNNY THE FOX(LP) Vinyl LP's 600753535615 6007535356155353565 THIN LIZZY/VAGABONDS OF THE(LP Vinyl LP's 600753535653 6007535356535353567 THIN LIZZY/SHADES OF A BL(12"S Vinyl Singles 600753535677 6007535356775353586 RAINBOW/RITCHIE BLACKMORE'S(LP Vinyl LP's 600753535868 6007535358685353631 RAINBOW/LONG LIVE ROCK 'N'(LP Vinyl LP's 600753536315 6007535363155353635 THIN LIZZY/NIGHTLIFE(LP) Vinyl LP's 600753536353 6007535363535354254 THIN LIZZY/CHINATOWN(LP) Vinyl LP's 600753542545 6007535425455354274 THIN LIZZY/LIVE AND DANGER(2LP Vinyl LP's 600753542743 6007535427435354452 RAINBOW/RAINBOW STUDIO ALB(8LP Vinyl LP's 600753544525 6007535445255354739 SUPERTRAMP/CRIME OF THE CENT(3 Vinyl LP's 600753547397 6007535473975354841 CREAM/CREAM 1966 TO 1972(6LP B Vinyl LP's 600753548417 6007535484175359286 ORB,THE/ADVENTURES BEYOND(4LP) Vinyl LP's 600753592861 6007535928615362973 B B KING/LADIES & GENTLEME(2LP Vinyl LP's 600753629734 6007536297345366083 ISLEY BROTHERS,THE/THIS OLD(LP Vinyl LP's 600753660836 6007536608365369109 WINEHOUSE,A/BACK TO BLACK(2LP) Vinyl LP's 600753691090 6007536910905370306 GAYE,M/WHAT'S GOING ON(4LP) Vinyl LP's 600753703069 600753703069 6 00753 54739 76 00753 09212 56 00753 07094 9 6 00753 62973 46 00753 46143 3 6 00753 53586 8 6 00753 53631 5 6 00753 59286 16 00753 51584 66 00753 08577 6 6 00753 53565 3 6 00753 53635 3 6 00753 66083 6 6 00753 70306 97 31452 92601 2 6 00753 10126 1 6 00753 53561 5 6 00753 54254 5 6 00753 54274 3 6 00753 54841 76 00753 51007 00 28948 12052 9 6 00753 45454 1 6 00753 51878 6 6 00753 54452 5 6 00753 69109 06 00753 51452 8 6 00753 53567 75370447 STING/THE A & M STUDIO(11XLP Vinyl LP's 600753704479 600753704479 5371805 LOUISE ATTAQUE/DO MONDE TOUT(2 Vinyl LP's 600753718056 6007537180565371845 GAINSBOURG,S/VU DE L' EXTER(LP Vinyl LP's 600753718452 6007537184525371893 NIAGARA/FLAMMES(2LP) Vinyl LP's 600753718933 6007537189335374810 AQUA/BARBIE GIRL(7'' PINK) 7" Vinyl Singles 600753748107 6007537481075375071 BLACKSTREET/NO DIGGITY(12''SIN Vinyl Singles 600753750711 6007537507115375520 VAR/MOTOWN FUNK(2LP COLOR) Vinyl LP's 600753755204 6007537552045375777 PLACEBO/WITHOUT YOU I'M N(12'' Vinyl Singles 600753757772 6007537577725488941 MARLEY,B&WAILERS/BURNIN' (REMA Vinyl LP's 731454889414 7314548894145594241 PORTISHEAD/PNYC (LP) Vinyl LP's 731455942415 7314559424155709040 HARRISON,G/ALL THINGS MUST(3LP Vinyl LP's 602557090406 6025570904065717752 ROLLING STONES,T/RIDE 'EM(10'' 10" Vinyl 602557177527 6025571775275717785 CHEMICAL BR/C H E M I C A L(12 Vinyl Singles 602557177855 6025571778555722671 HER/TAPE 1 LIVE(LP) Vinyl LP's 602557226713 6025572267135726671 BUGGLES,THE/VIDEO KILLED TH(12 Vinyl Singles 602557266719 6025572667195726672 DEF LEPPARD/BLUDGEAN RIFFOL(LP Vinyl EP 602557266726 6025572667265726719 SANDE,E/LIVE AT THE ROYAL(2LP Vinyl LP's 602557267198 6025572671985728207 SMALL FACES/IN SESSIONS AT(2LP Vinyl LP's 602557282078 6025572820785728537 JOHN,E/17 11 70(2LP) Vinyl LP's 602557285376 6025572853765729094 AIRBOURNE/IT'S ALL FOR RO(12'' Vinyl Singles 602557290943 6025572909435729760 BLOSSOMS/UNPLUGGED AT FES(10'' 10" Vinyl 602557297607 6025572976075730255 KEANE/TEAR UP THIS TOWN(7'') 7" Vinyl Singles 602557302554 6025573025545732125 JAMIROQUAI/AUTOMATION(10'') 10" Vinyl 602557321258 6025573212585732422 CATFISH AND THE BO/THE BALCONY Vinyl LP's 602557324228 6025573242285732868 WHO,THE/QUADROPHENIA(2LP COLOR Vinyl LP's 602557328684 6025573286845733475 BASTILLE/COMFORT OF STRANG(7'' 7" Vinyl Singles 602557334753 6025573347535734035 I AM/REVOLUTION(3XLP) Vinyl LP's 602557340358 6025573403585734084 AQUA/AQUARIUM(LIGHT BLUE LP Vinyl LP's 602557340846 602557340846 6 02557 17752 7 6 02557 29760 7 6 02557 32125 86 02557 30255 46 00753 74810 7 6 02557 33475 36 02557 26672 66 00753 70447 9 6 02557 09040 66 00753 71805 6 6 00753 71893 3 6 02557 22671 3 6 02557 28207 8 6 02557 34035 87 31454 88941 46 00753 75520 4 6 02557 32422 86 00753 71845 2 6 02557 28537 67 31455 94241 5 6 02557 32868 4 6 02557 34084 66 02557 26719 86 00753 75071 1 6 02557 26671 9 6 02557 29094 36 00753 75777 2 6 02557 17785 55735401 COCTEAU TWINS/MILK AND KIS(2LP Vinyl LP's 602557354010 602557354010 5735405 COCTEAU TWINS/FOUR CALENDA(2LP Vinyl LP's 602557354058 6025573540585737292 SLAVES/TAKE CONTROL(LP) Vinyl LP's 602557372922 6025573729225738561 BEATLES,THE/PENNY LANE/STR(7'' 7" Vinyl Singles 602557385618 6025573856185739213 U2/RED HILL MINING TOW(12''SGL Vinyl Singles 602557392135 6025573921355744394 ALLEN,T/A TRIBUTE TO ART(10") 10" Vinyl 602557443943 602557443943 75344170 CASH,J/AMERICAN III SOLITAR(LP Vinyl LP's 600753441701 600753441701 0205156389 HOT 8 BRAS/VICENNIAL 20 YE(2LP Vinyl LP's 5060205156389 50602051563890251779432 ROBERTS,S/LOVE AT THE END OF T Vinyl Singles 602517794320 6025177943200252772260 GOOD,M/LIGHTS OF ENDANGERED SP Vinyl LP's 602527722603 6025277226030252782684 LIGHTS/SIBERIA (VINYL) Vinyl LP's 602527826844 6025278268440253776104 BACHMAN-TURNER OVE/NOT FRAGI(L Vinyl LP's 602537761043 6025377610430253790975 ARKELLS/HIGH NOON(LP) LTD Vinyl LP's 602537909759 6025379097590254703851 MOTHER MOTHER/VERY GOOD BAD(LP Vinyl LP's 602547038517 6025470385170254792040 TRAGICALLY,THE/MAN MACH(DLX LP Vinyl + CD 602547920409 6025479204090255712984 ARKELLS/MORNING REPORT(LP SPLI Vinyl LP's 602557129847 6025571298470255716843 TRAGICALLY HIP,TH/TIRED AS(7'' 7" Vinyl Singles 602557168433 602557168433 0882233419 LEE,A/LIVE AT RED ROCKS(LP) Vinyl LP's 880882233419880882233419 1166106601 MARTIN,S & STEEP CANYON RANGER Vinyl LP's 011661066014 0116610660141166111641 GUTHRIE,W/WOODY'S ROOTS (LP) Vinyl LP's 011661116412 0116611164121166111651 GUTHRIE,W/WOODY THE AGITATOR(L Vinyl LP's 011661116511 0116611165111166136408 FLECK,B/WASHBUR/MODERN TIME(LP Vinyl LP's 888072364080 8880723640801166137009 THOROGOOD,G/AND THE DELAWAR(LP Vinyl LP's 888072370098 8880723700981166187611 MCPHERSON,JD/FIREBUG(7'' LP)(L Vinyl LP's 011661876118 0116618761181166190991 PLANT,R/BAND OF JOY (LPX2) Vinyl LP's 011661909915 0116619099151166191501 MARTIN,S/BRICKELL,E/LOVE HA(LP Vinyl LP's 011661915015 0116619150151772033611 BOY SETS FIRE/BOY SETS FIRE(LP Vinyl LP's 811772033611 8117720336112233901520 CLUB 8/PLEASURE(LP) Vinyl LP's 7332233901520 73322339015206 02557 44394 36 02557 38561 8 6 02557 16843 36 02547 92040 96 00753 44170 1 6 02547 03851 76 02527 72260 3 6 02527 82684 4 6 02537 76104 3 6 02537 90975 9 6 02557 12984 76 02557 35401 0 6 02557 35405 8 6 02557 37292 2 8 80882 23341 9 8 11772 03361 18 88072 37009 88 88072 36408 0 7 332233 901520 0 11661 06601 4 0 11661 11641 2 0 11661 87611 8 0 11661 90991 5 0 11661 91501 50 11661 11651 15 060205 156389 6 02557 39213 5 6 02517 79432 02357160277 CHEMICAL BROTH,THE/DIG YOUR(2L Vinyl LP's 602557160277 602557160277 2537706655 ARTHUR,S/SOUND MIRROR(LP) Vinyl LP's 602537706655 6025377066552537723973 BABES/BABES(12"SINGLE) Vinyl Singles 602537723973 6025377239732537919864 ADAMS,R/NO SHADOW(7") 7" Vinyl Singles 602537919864 6025379198642547005847 HYNDE,C/STOCKHOLM(LP) Vinyl LP's 602547005847 6025470058472547625793 BEST COAST/LATE 20S B/W BI(7'' 7" Vinyl Singles 602547625793 6025476257932547730602 ANTI FLAG/LIVE ACOUSTIC AT(LP Vinyl LP's 602547730602 6025477306022547976185 KT TUNSTALL/KIN(LP) Vinyl LP's 602547976185 6025479761852557160222 CHEMICAL BROTHERS,THE/EXIT(2LP Vinyl LP's 602557160222 6025571602222557160314 CHEMICAL BROTHERS,THE/COMES(2L Vinyl LP's 602557160314 6025571603142557160345 CHEMICAL BROTHERS,THE/PUSH(2LP Vinyl LP's 602557160345 6025571603452557160413 CHEMICAL BROTHERS,THE/WE ARE(2 Vinyl LP's 602557160413 6025571604132557160482 CHEMICAL BROTHERS,TH/FURTHER(2 Vinyl LP's 602557160482 6025571604822557173260 CHEMICAL BROTH,THE/SURRENDER(2 Vinyl LP's 602557173260 6025571732602557252699 AVALANCHES,THE/SINCE I LEF(2LP Vinyl LP's 602557252699 6025572526993020632061 ZOMBIES,THE/A ROSE FOR EMILY(L Vinyl LP's 030206320619 0302063206193020674181 EASY BEATS,THE/GOOD FRIDAY(LP) Vinyl LP's 030206741810 0302067418103145334701 REDMAN/MUDDY WATERS(2LP) Vinyl LP's 731453347014 7314533470144400361202 RUSH/MOVING PICTURES(LP+T SHIR Vinyl LP's 044003612020 0440036120204400361729 RUSH/MOVING PICT(LP+T SHIRT XL Vinyl LP's 044003617292 0440036172924833752991 JETT,J AND THE BLACK/SINNER(LP Vinyl LP's 748337529916 7483375299164921500112 PAPERCUTS/RODRIGO AMAR(7'')(LT 7" Vinyl Singles 014921500112 0149215001124921500211 VETIVER/EDJ EASY SOUN(7'')(LTD 7" Vinyl Singles 014921500211 0149215002114921500310 HOWLIN RAIN/THE DONKEYS EA(7'' 7" Vinyl Singles 014921500310 0149215003104921500419 PAPERCUTS/LIFE AMONG THE SA(LP Vinyl LP's 014921500419 0149215004194921500518 AMARANTE,R/CAVALO(LP) Vinyl LP's 014921500518 0149215005184921500617 DONKEYS,THE/RIDE THE BLACK(LP Vinyl LP's 014921500617 0149215006174921500815 EDJ/EDJ(LP) Vinyl LP's 014921500815 014921500815 6 02547 62579 36 02537 91986 4 0 14921 50011 2 0 14921 50021 1 0 14921 50031 06 02537 70665 5 6 02557 25269 9 7 31453 34701 46 02547 73060 26 02557 16027 7 6 02557 16022 2 6 02557 16031 4 6 02557 16034 5 6 02557 16041 3 6 02557 16048 2 6 02557 17326 06 02547 97618 5 7 48337 52991 60 30206 32061 9 0 30206 74181 0 0 14921 50041 9 0 14921 50051 8 0 14921 50061 7 0 14921 50081 56 02547 00584 7 0 44003 61202 0 0 44003 61729 26 02537 72397 34921501218 FAITHFULL,M/GIVE MY LOVE TO(LP Vinyl LP's 014921501218 014921501218 4921501416 THOSE DARLINS/DI/LIVE AT PI(LP Vinyl LP's 014921501416 0149215014165678683985 CLOUD CONTROL/DREAM CAVE(LP) Vinyl LP's 075678683985 0756786839855707657617 DOC/WATSON,M/BALLADS FROM T(LP Vinyl LP's 015707657617 0157076576175707828819 BROWNE,C & THE BA/BABY CAUG(LP Vinyl LP's 015707828819 0157078288195707837514 JOHN BUTLER TRIO/OCEAN(LP) Vinyl LP's 015707837514 0157078375145707838610 WATSKY/ALL YOU CAN DO(LP) Vinyl LP's 015707838610 0157078386105707838917 HALL,T/CHAPTER OF THE FORE(2LP Vinyl LP's 015707838917 0157078389175707923118 WELLS,J/IT'S MY LIFE BABY(LP) Vinyl LP's 015707923118 0157079231185707923217 MUSSELWHITE,C/STAND BACK!(LP) Vinyl LP's 015707923217 0157079232175707928311 COTTON,J/CUT YOU LOOSE(LP) Vinyl LP's 015707928311 0157079283115891104416 KEEN,R E/GRINGO HONEYMOON(LP) Vinyl LP's 015891104416 0158911044165891390017 PARTON,D/THE GRASS IS BLUE(LP) Vinyl LP's 015891390017 0158913900175891409818 DONNA THE BUF/TONIGHT TOMOR(LP Vinyl LP's 015891409818 0158914098187669000235 KOBRA AND THE/HIGH PRIESTES(LP Vinyl LP's 867669000235 8676690002357669000457 KOBRA AND THE/WORDS OF THE(LP Vinyl LP's 867669000457 8676690004577669000525 KOBRA AND THE/ZOMBIE B/W RE(LP Vinyl LP's 867669000525 8676690005259299090819 MATT AND KIM/GRAND(LP) Vinyl LP's 829299090819 8292990908199299091212 NEON INDIAN/MIND CTRL PSYCH(LP Vinyl LP's 829299091212 8292990912129299092219 MATT AND KIM/LIGHTNING(LP) Vinyl LP's 829299092219 829299092219 88088217721 BEES,THE/EVERY STEP'S A YES(LP Vinyl LP's 880882177218880882177218 88697814211 CAGE THE ELEPHANT/THANK YOU HA Vinyl LP's 886978142115 88697814211588807236141 EARLS OF LEICESTER/EARLS OF(LP Vinyl LP's 888072361416 888072361416 066001B DARCY'S, T/AJA Vinyl LP's 827590660014 827590660014 10WAP399 BROWN,D/AIN'T IT FUNNY(10") Vinyl LP's 801061939915801061939915 390145B MARY ONETTES,THE/HIT THE WA(L Vinyl LP's 7332233901452 7332233901452 6S229005 COLLINS, S/ADIEU TO OLD ENGLAN Vinyl LP's 8712618900512 87126189005126S229009 KING,I/PANIC GRASS & FEVER FEW Vinyl LP's 8712618900918 8712618900918 8 86978 14211 5 8 712618 900918 8 712618 900512 8 01061 93991 58 80882 17721 8 8 27590 66001 48 29299 09081 9 8 29299 09121 2 8 29299 09221 98 67669 00023 5 8 67669 00045 7 8 67669 00052 50 75678 68398 5 0 15707 65761 7 0 15707 83751 4 0 15707 92311 8 0 15707 92321 7 0 15707 92831 1 0 15891 39001 70 15891 10441 60 15707 82881 9 0 15707 83861 0 0 15707 83891 7 0 15891 40981 8 8 88072 36141 6 7 332233 901452 0 14921 50121 8 0 14921 50141 66S229010 RED HORSE/RED HORSE (LP) Vinyl LP's 8712618901014 8712618901014 782001B LASWELL, G/LANDLINE Vinyl LP's 015707820011 015707820011 AMIG009LP GROW,D & THE PASTORS WIVES/GRO Vinyl LP's 859704285844 859704285844AMIG011LP SCHAEFER,K/GHOST OF THE BEAST Vinyl LP's 859705318190 859705318190 ARM250901 WYLDE,Z/PRIDE & GLORY(2LP) Vinyl LP's 826992509013 826992509013 ATO00871 WIDESPREAD PANIC/DIRTY SIDE DO Vinyl LP's 880882171117880882171117 ATO00891 WIDESPREAD PANIC/LIVE IN THE C Vinyl LP's 880882171711880882171711 ATO0288DLP KING GIZZARD AND/PAPER MACHE(L Vinyl LP's 880882242657880882242657 ATO0400LPX KING GIZZARD AND THE/MURDER(LP Vinyl LP's 880882301316880882301316 B000479911 BLACK EYED PEAS/DON'T PHUNK WI Vinyl Singles 602498824283 602498824283B000548011 STEFANI,G/COOL Vinyl Singles 602498856666 602498856666B000615501 GHOSTFACEKILLAH/FISHSCALE Vinyl LP's 602498799048 602498799048B000698601 METHOD MAN/4:21 THE DAY AF(2LP Vinyl LP's 602498594193 602498594193B000899011 RIHANNA/UMBRELLA FEAT: JAY-Z Vinyl Singles 602517340954 602517340954B000986101 SIMIAN MOBILE DISCO/ATTACK DEC Vinyl LP's 602517457638 602517457638B001033301 BLIGE,MJ/GROWING PAINS Vinyl LP's 602517524217 602517524217B001115911 CAREY,M/TOUCH MY BODY(DANCE RE Vinyl EP 602517676459 602517676459B001129811 LADY GAGA/JUST DANCE (12" LP) Vinyl Singles 602517717411 602517717411B001169701 NINE INCH NAILS/THE DOWNWARD S Vinyl LP's 731452212610 731452212610B001185301 JAMES/HEY MA Vinyl LP's 602517814875 602517814875B001252201 BLACK JOE LEWIS & THE HONE/TEL Vinyl LP's 602517953550 602517953550B001262601 LONELY ISLAND,THE/INCREDIBAD ( Vinyl LP's 602517976573 602517976573B001271611 LADY GAGA/POKER FACE REMIXES(1 Vinyl Singles 602517965379 602517965379B001276201 VAR/25:DJ BRING THAT BACK V1&2 Vinyl LP's 602527006055 602527006055B001291301 WEEZER/PINKERTON (LPX4) Vinyl LP's 602527535623 602527535623B001299001 CROSS CANADA RAGWEED/HAPPINESS Vinyl LP's 602527134734 602527134734B001306311 LADY GAGA/LOVEGAME (12"EP) Vinyl EP 602527088877 602527088877B001379201 STARR,R/Y NOT (LP) Vinyl LP's 602527295213 602527295213 6 02527 08887 76 02517 67645 9 6 02517 81487 56 02498 59419 36 02498 79904 8 6 02527 00605 58 26992 50901 3 6 02527 53562 36 02517 52421 7 6 02527 29521 36 02517 45763 8 6 02517 95355 07 31452 21261 0 6 02517 97657 3 6 02527 13473 48 59704 28584 4 8 59705 31819 08 712618 901014 8 80882 24265 7 8 80882 30131 68 80882 17111 7 8 80882 17171 10 15707 82001 1 6 02517 34095 46 02498 85666 6 6 02517 71741 1 6 02517 96537 96 02498 82428 3B001410101 FOUR YEAR STRONG/ENEMY OF THE Vinyl LP's 602527342474 602527342474 B001410901 SONIC YOUTH/HITS ARE FOR SQUAR Vinyl LP's 602527343815 602527343815B001421701 ROGERS,R BAND/BURNING THE DAY Vinyl LP's 602527451749 602527451749B001425301 WE ARE THE FALLEN/TEAR THE WOR Vinyl LP's 602527464046 602527464046B001450401 BIG BOI/SIR LUSCIOUS LEFT FOOT Vinyl LP's 602527433806 602527433806B001463301 LADY GAGA/THE REMIX Vinyl LP's 602527471020 602527471020B001467801 SOUNDGARDEN/TELEPHANTASM-BEST Vinyl LP's 602527471303 602527471303B001475801 SUGARLAND/THE INCREDIBLE MACHI Vinyl LP's 602527504704 602527504704B001481701 GUSTER/EASY WONDERFUL (LP) Vinyl LP's 602527501987 602527501987B001487901 JOHN,E & RUSSELL,L/THE UNION(L Vinyl LP's 602527504759 602527504759B001502101 MINAJ,N/PINK FRIDAY (LPX2) Vinyl LP's 602527595030 602527595030B001521501 BLACK JOE LEWIS/SCANDALOUS (2L Vinyl LP's 602527610078 602527610078B001547611 LADY GAGA/BORN THIS WAY (7"LP) 7" Vinyl Singles 602527664019 602527664019B001554301 CAILLAT,C/ALL OF YOU (LP) Vinyl LP's 602527680996 602527680996B001558001 LONELY ISLAND,THE/TURTLENECK & Vinyl LP's 602527692425 602527692425B001581901 LYNNE,S/JUST A LITTLE LOVIN Vinyl LP's 602527767192 602527767192B001605701 LIL WAYNE/THA CARTER IV (2LP) Vinyl LP's 602527816241 602527816241B001613301 STEEL PANTHER/BALLS OUT (2LP) Vinyl LP's 602527856704 602527856704B001634301 ROSS,R/GOD FORGIVES, I DONT(LP Vinyl LP's 602527896441 602527896441B001668201 VOLBEAT/BEYOND HELL/ABOVE(2LP Vinyl LP's 602527976297 602527976297B001687301 LADYHAWKE/ANXIETY (LP) Vinyl LP's 602527932637 602527932637B001688721 GASLIGHT ANTHEM/45/YOU GO(7"LP 7" Vinyl Singles 602537038152 602537038152B001695401 KIWANUKA,M/HOME AGAIN(LP) Vinyl LP's 602537136599 602537136599B001701301 OWLCITY/THE MIDSUMMER(VYL) Vinyl LP's 602537083817 602537083817B001705301 NAS/LIFE IS GOOD(LP) Vinyl LP's 602537080052 602537080052B001709301 ZOMBIE,R/MONDO SEX HEAD (VYL) Vinyl LP's 602537079551 602537079551B001781701 BLACK VEIL BRID/WRETCHED AN(2L Vinyl LP's 602537220977 602537220977B001796401 HINDER/WELCOME TO THE FREAL(LP Vinyl LP's 602537258925 602537258925 6 02527 66401 9 6 02537 03815 26 02527 47130 3 6 02527 93263 76 02527 50475 9 6 02527 89644 16 02527 43380 6 6 02537 08005 2 6 02537 07955 16 02527 34381 5 6 02527 47102 0 6 02537 13659 96 02527 61007 8 6 02527 76719 26 02527 50470 46 02527 45174 9 6 02537 08381 76 02527 97629 76 02527 50198 7 6 02527 59503 0 6 02527 69242 56 02527 34247 4 6 02527 46404 6 6 02527 68099 6 6 02527 81624 1 6 02527 85670 4 6 02537 22097 7 6 02537 25892 5B001827521 ZOMBIE,R/DEAD CITY RADIO(10''L 10" Vinyl 602537341764 602537341764 B001865501 GILL,V/BAKERSFIELD(LP) Vinyl LP's 602537455096 602537455096B001866901 JOHN,E/THE DIVING BO(2LP) Vinyl Singles 602537439157 602537439157B001876401 PLACEBO/LOUD LIKE LOVE(LP) Vinyl LP's 602537450251 602537450251B001888001 MOWGLI S,THE/WAITING FOR T(2LP Vinyl LP's 602537471652 602537471652B001906701 SUMMER,D/LOVE TO LOVE YOU(2LP Vinyl Singles 602537506583 602537506583B001911501 PAPA/TENDER MADNESS(LP) Vinyl LP's 602537515899 602537515899B002006001 DOLPHY,E/OUT TO LUNCH(LP) Vinyl LP's 602537714131 602537714131B002006801 KISS/ANIMALIZE(LP) Vinyl LP's 602537715473 602537715473B002011311 T LA ROCK AND JAY/ITS YOUR(12" Vinyl Singles 602537723720 602537723720B002013801 RUSH/RE DISCOVERED (LP) Vinyl LP's 602537727858 602537727858B002014901 RAC/STRANGERS(2LP) Vinyl LP's 602537730551 602537730551B002022801 NIGHTMARE AND THE CAT/SIMPLE(L Vinyl LP's 602537737482 602537737482B002042801 TYNER,M/THE REAL MCCOY(LP) Vinyl LP's 602537782116 602537782116B002043101 HUTCHERSON,B/TOTAL ECLIPSE(LP) Vinyl LP's 602537782147 602537782147B002094301 LA ROUX/TROUBLE IN PARADISE(LP Vinyl LP's 602537863990 602537863990B002110901 DREW,K/UNDERCURRENT(LP) Vinyl LP's 602537898947 602537898947B002111101 TURRENTINE,S/THAT'S WHERE I(LP Vinyl LP's 602537898985 602537898985B002113001 BEACH BOYS,THE/LOVE YOU(LP) Vinyl LP's 602537899340 602537899340B002151901 MEGADETH/RUST IN PEACE(LP PICT Vinyl LP's 602537976492 602537976492B002176321 CASH,R/THE SUNKEN LANDS(7'') 7" Vinyl Singles 602537996827 602537996827B002187301 HASSELL,J/LAST NIGHT THE MO(2L Vinyl LP's 602527475950 602527475950B002200901 EMINEM/THE VINYL LP'S(10 LP) Vinyl LP's 602547036995 602547036995B002202801 VELVET UNDERG,THE/45TH ANNI(LP Vinyl LP's 602547038678 602547038678B002222011 WELSH,L/LAURA WELSH EP(10'') 10" Vinyl 602547073839 602547073839B002263601 ADAMS,R/LIVE AT CARNEGIE H(6LP Vinyl LP's 602547181497 602547181497B002276901 OST/JUICE(LP) Vinyl LP's 602547117762 602547117762B002309301 OF MONSTERS/BENEATH THE(2 12" Vinyl Singles 602547306456 6025473064566 02537 34176 4 6 02547 07383 96 02537 99682 76 02537 71413 1 6 02537 89898 56 02537 89894 76 02537 78211 6 6 02537 78214 76 02537 73748 2 6 02537 97649 2 6 02547 18149 76 02537 89934 0 6 02527 47595 0 6 02547 03867 86 02537 45025 1 6 02547 11776 26 02547 03699 56 02537 73055 1 6 02537 86399 06 02537 47165 26 02537 45509 6 6 02537 71547 36 02537 51589 9 6 02537 72785 86 02537 43915 7 6 02537 72372 0 6 02547 30645 66 02537 50658 3B002375001 DEL REY,L/HONEYMOON(2 LP RED Vinyl LP's 602547488299 602547488299 B002393801 MELLENCAMP,J/SCARECROW(LP) Vinyl LP's 602547543745 602547543745B002398001 STAPLES,V/SUMMERTIME 06(2LP Vinyl LP's 602547552167 602547552167B002414501 MEGADETH/DYSTOPIA(PICTURE DISC Vinyl LP's 602547613950 602547613950B002442801 BORNS/LIVE AT KCRW'S MORNIN(LP Vinyl LP's 602547739155 602547739155B002447901 SUBLIME/JAH WON'T PAY THE BI(L Vinyl LP's 602547731821 602547731821B002448301 1975,THE/I LIKE IT WHEN YOU(LP Vinyl LP's 602547739377 602547739377B002449211 MALONE,P/WHITE IVERSON(12'' S Vinyl Singles 602547741264 602547741264B002450801 LOGIC/THE INCREDIBLE TRUE(2LP Vinyl LP's 602547746382 602547746382B002450901 BIEBER,J/PURPOSE(LP) Vinyl LP's 602547746399 602547746399B002451301 BAY,J/CHAOS AND THE CALM(LP) Vinyl LP's 602547746733 602547746733B002454701 ZOMBIE,R/WELL EVERYBODY S F(10 10" Vinyl 602547759085 602547759085B002455001 OST/ACROSS THE UNIVERSE(LP) Vinyl LP's 602547759405 602547759405B002456201 LIL WAYNE/THA CARTER LENTU(2LP Vinyl LP's 602547764973 602547764973B002458001 FALLON,B/GEORGIA(10'') 10" Vinyl 602547768698 602547768698B002465901 LIL WAYNE/THA CARTER II(2LP LE Vinyl LP's 602547804594 602547804594B002467501 SUBLIME/ROBBIN THE HOOD(LTD 2L Vinyl LP's 602547811691 602547811691B002521501 VAR/A VERY SPECIAL(HMV EXCL LP Vinyl LP's 602547961648 602547961648B002531401 BLACK,A/THE SHADOW SIDE(LP) Vinyl LP's 602557013498 602557013498B002531701 MOTHER LOVE BONE/ON EARTH(3LP Vinyl LP's 602557015317 602557015317B002536101 CHIPMUNKS,THE/CHRISTMAS(HMV EX Vinyl LP's 602557037494 602557037494B002536201 COLE,N K/THE CHRISTMAS(HMV EXC Vinyl LP's 602557037593 602557037593B002541801 KRALL,D/CHRISTMAS SONGS(HMV EX Vinyl LP's 602557057140 602557057140B002542211 SOUNDGARDEN/SATANOSCILLA(12''S Vinyl Singles 602557069167 602557069167B002547501 BADU,E/BUT YOU CAN'T USE(12''S Vinyl Singles 602557086072 602557086072B002550001 BRIGGS,B/BISHOP BRIGGS(LP) Vinyl LP's 602557095302 602557095302B002553301 YACHTY,L/LIL BOAT(12'' RED SIN Vinyl Singles 602557096026 602557096026B002561901 OST/LA LA LAND(BLUE LP) Vinyl LP's 602557117783 602557117783 6 02547 75908 5 6 02547 76869 8 6 02547 96164 86 02547 61395 0 6 02557 03749 4 6 02557 03759 36 02547 55216 7 6 02547 74638 2 6 02547 74639 9 6 02547 81169 16 02547 73182 1 6 02547 75940 56 02547 73937 76 02547 48829 9 6 02547 73915 5 6 02557 11778 36 02547 54374 5 6 02547 74673 3 6 02557 01531 76 02547 76497 3 6 02547 80459 4 6 02557 01349 8 6 02557 09530 26 02557 05714 0 6 02557 06916 7 6 02557 08607 2 6 02557 09602 66 02547 74126 4B002566101 BAY,J/CHAOS AND THE CALM LIV(L Vinyl LP's 602557139044 602557139044 B002568501 CHURCH,E/ON THE ROCKS LIVE(LP) Vinyl LP's 602557143126 602557143126B002584421 RUSH/THE TWILIGHT ZONE(7" D2C 7" Vinyl Singles 602557204889 602557204889B002594901 ADAMS,R/PRISONER(LP) Vinyl LP's 602557235548 602557235548B002622801 SUBLIME/BADFISH(LP EP) Vinyl EP 602557357028 602557357028B002627001 RUSH/CYGNUS X 1(LP) Vinyl LP's 602557365665 602557365665B002662301 CHURCH,E/CAUGHT IN THE ACT(2LP Vinyl LP's 602557565591 602557565591 BB0212LP FRANCKE,S/LOVE IMPLIED(2LP) Vinyl LP's 614511808828 614511808828 BCR007LP LOCH LOMOND/THE BUILDERS AND T Vinyl LP's 634479748011 634479748011BCR011LP LOVE LANGUAGE,THE/THE LOVE (LP Vinyl LP's 751937389811 751937389811 BMC00013 SUNNY DAY REAL/THE RISING(2LP Vinyl LP's 888072021891 888072021891BMC00014 COUNT FIVE/PSYCHOTIC REACTI(LP Vinyl LP's 888072021907 888072021907BMC00015 MUSIC MACHINE,THE/TURN ON THE Vinyl LP's 888072021914 888072021914BMC37004 WOOD,B/OOGUM BOOGUM(LP) Vinyl LP's 888072370043 888072370043BMC37875 NINE INCH NAILS/HALO 1 IV(LP) Vinyl LP's 888072378759 888072378759 BMG15037V VAR/TROJAN SOUL REGGAE V1(LP Vinyl LP's 881034134646 881034134646BMG15039V VAR/TROJAN INSTRUMENTAL REG(LP Vinyl LP's 881034134660 881034134660BMG15041V VAR/TROJAN RUDE BOY V1(LP Vinyl LP's 881034134684 881034134684 BMRCT0050A CHEAP TRICK/FOUND NEW PART(10" 10" Vinyl 843930022427 843930022427 BPR1230 ZAPPA,F/ROLLO PORTLAND IMP(10" 10" Vinyl 824302123072 824302123072 BREDD702 VAR/SCARED TO GET HAPPY(2LP) Vinyl LP's 5013929170216 5013929170216BREDD703 VAR/CLOSE TO THE NOISE FLO(2LP Vinyl LP's 5013929170315 5013929170315 BURVIN011 GRAND DUCHY/NINE REMIXES BY(LP Vinyl LP's 755491593318 755491593318 C8S4012 CRAZY 8S/NERVOUS IN SUBURBIA(L Vinyl LP's 614511775526 614511775526C8S4013 CRAZY 8S/OUT OF THE WAY (LP) Vinyl LP's 614511775625 614511775625C8S4014 CRAZY 8S/DOGGAPOTAMUS (LP) Vinyl LP's 041958401419 041958401419C8S8888 CRAZY 8S/BIG LIVE NUT PACK (LP Vinyl LP's 041958888821 041958888821 CAMO063LP SAPIENT/SLUMP SAPIENT SPECI(LP Vinyl LP's 614511812726 614511812726 8 24302 12307 28 43930 02242 76 02557 20488 9 6 02557 35702 86 02557 23554 86 02557 14312 6 6 02557 56559 16 02557 13904 4 6 14511 80882 8 7 55491 59331 8 6 14511 77552 6 6 14511 77562 5 0 41958 40141 9 0 41958 88882 1 6 14511 81272 67 51937 38981 16 34479 74801 1 5 013929 170216 5 013929 170315 8 81034 13464 6 8 81034 13466 0 8 81034 13468 48 88072 02189 1 8 88072 02190 7 8 88072 02191 4 8 88072 37004 3 8 88072 37875 96 02557 36566 5CANDLE711066 OPETH/ORCHID(2LP) Vinyl LP's 602557110661 602557110661 CANDLE722135 EMPEROR/ANTHEMS TO THE WELK(LP Vinyl LP's 602557221350 602557221350 CBR012LP JAKE MANN AND THE UPPER HAND/P Vinyl LP's 711574677016 711574677016CBR013LP BAUER,M/THE JESSAMINE COUNTY B Vinyl LP's 711574685318 711574685318CBR014LP APPETITE/SCATTERED SMOTHERED C Vinyl LP's 711574690213 711574690213CBR016LP LOOM,THE/TEETH (LP) Vinyl LP's 711574695713 711574695713 CFR001LP DAWSON ,K/THUNDER THIGHS (2LP) Vinyl LP's 614511789028 614511789028 CLEFT007V CROWELL ,C/CHELSEA CROWELL (LP Vinyl LP's 614511796729 614511796729 CLF019 CROWELL,C/CRYSTAL CITY Vinyl LP's 091037092533 091037092533CLF020 WAGNER,K AND THE ALTERED/SOMET Vinyl EP 091037126542 091037126542 CLT0151 CEREBRAL BALLZY/JADED AND F(LP Vinyl LP's 616892209645 616892209645 COOKLP554 MANSON,M/BORN VILLAIN(2LP) Vinyl LP's 711297495416 711297495416COOKLP580 BRAGG,B/TOOTH & NAIL(LP) Vinyl LP's 711297498011 711297498011COOKLP594 COHEN,A/WE GO HOME(LP) Vinyl LP's 711297499414 711297499414 CRE36376 KENNY WAYN/A LITTLE SO V2(12"S Vinyl Singles 888072363762 888072363762 CV0001LP GREAT BOOK OF JOHN,THE/LET ME Vinyl LP's 633914025410 633914025410CV0002LP BOHLKE,S/QUIET YE VOICES/THE W Vinyl LP's 633910425313 633910425313CV0003LP JOHNSTON, DUQUETTE AND THE REB Vinyl LP's 633914025212 633914025212 CVL0012 ISIDORE/LIFE SOMEWHERE ELSE(LP Vinyl LP's 882167000105 882167000105 CVLP0011 GREAT BOOK OF JOHN,THE/GREAT Vinyl LP's 882167000037 882167000037CVLP0014 GRENADINES,THE/THE GRENADIN(LP Vinyl LP's 882167000143 882167000143CVLP0015 LOVINGGOOD,P/SUN SONGS(LP) Vinyl LP's 882167000181 882167000181 CVLP0016CD BOHLKE,S/GHOST BOY(LP) Vinyl LP's 882167000198 882167000198 D000261801 QUEEN/QUEEN 2 (LP) Vinyl LP's 050087128746 050087128746D000261901 QUEEN/SHEER HEART ATTACK (LP) Vinyl LP's 050087128753 050087128753D000436301 QUEEN/QUEEN (LP) Vinyl LP's 050087146924 050087146924D000436401 QUEEN/NEWS OF THE WORLD (LP) Vinyl LP's 050087146931 050087146931D000436501 QUEEN/FLASH GORDON (LP) Vinyl LP's 050087146948 0500871469480 91037 12654 2 0 50087 12874 6 0 50087 12875 3 0 50087 14692 4 0 50087 14693 1 0 50087 14694 86 02557 11066 1 6 02557 22135 0 7 11297 49941 46 14511 79672 9 0 91037 09253 37 11574 67701 6 7 11574 68531 8 7 11574 69021 3 7 11574 69571 3 6 14511 78902 8 6 33914 02541 0 6 33910 42531 3 6 33914 02521 2 8 82167 00010 5 8 82167 00003 7 8 82167 00014 3 8 82167 00018 1 8 82167 00019 86 16892 20964 5 7 11297 49541 6 7 11297 49801 1 8 88072 36376 2D000436601 QUEEN/A KIND OF MAGIC(LP) Vinyl LP's 050087146955 050087146955 D002161021 KINER,K/REBELS THEME(LP) Vinyl LP's 050087321659 050087321659D002233001 QUEEN/QUEEN II(2LP) Vinyl LP's 050087328856 050087328856D002233301 QUEEN/A DAY AT THE RACES(LP) Vinyl LP's 050087328887 050087328887D002233501 QUEEN/JAZZ(LP) Vinyl LP's 050087328900 050087328900D002346511 VAR/SILLY SYMPHONY COLLEC(10'' 10" Vinyl 050087340346 050087340346D002367111 OST/STAR WARS FORCE AWAKAN(10" 10" Vinyl 050087342449 050087342449 DAV068 AT THE DRIVE IN/ACROBATIC T(LP Vinyl LP's 821826004801 821826004801DAV089 ARKELLS/COME TO LIGHT(7") 7" Vinyl Singles 602547025661 602547025661 DAV129X MONSTER TRUCK/SITTIN' HEAV(HMV Vinyl LP's 821826014176 821826014176 DBR057LP IRON CHIC/NOT LIKE THIS (LP) Vinyl LP's 823819139118 823819139118 DEB37509 PARKER,C/DIZZY/JAZZ AT(3 10" 10" Vinyl 888072375093 888072375093 DGB121 DEARS,THE/TIMES INFINITY V1(LP Vinyl LP's 842803012114842803012114 DIV043LP LANOIS,D/ACADIE(2LP) Vinyl LP's 50601870003425060187000342 DMR006LP MALONE,B/AIN'T WHAT YOU KNOW(L Vinyl LP's 724101743726 724101743726 DNR3447 ANDERSON,TERRY & THE OLYMPI(LP Vinyl LP's 091037003447 091037003447 DOG047LP GET UP KIDS,THE/FOUR MINUTE(LP Vinyl LP's 790168629211 790168629211 DOG066 GET UP KIDS,THE/SOMETHING T(LP Vinyl LP's 762186487913 762186487913DOG092 ALL AMERICAN REJE/ALL AMERI(LP Vinyl LP's 790168409219 790168409219DOG108 SAY ANYTHING/IS A REAL BOY(LP) Vinyl LP's 790168596018 790168596018 DOG1201 ALL AMERICAN REJECTS/MOVE A(LP Vinyl LP's 790168525216 790168525216 DOG120RSD ALL AMERICAN,THE/MOVE ALONG(L Vinyl LP's 790168960413 790168960413 DOG129SP SAY ANYTHING/IS A REAL BOY(2LP Vinyl LP's 790168960314 790168960314 DSBR018LP PHARMACY/ WEEKEND LP Vinyl LP's 609465347622 609465347622 DSBR019 TELEPATHIC LIBERATION ARMY/PHA Vinyl LP's 609465347608 609465347608DSBR021 TRIUMPH OF LETHARGY SKINNED AL Vinyl LP's 609465347639 609465347639 DSBR022LP STRONG KILLINGS/ STRONG KILLIN Vinyl LP's 609465347660 609465347660 DTC012 PLANET SMASHERS,THE/MIGHTY(LP Vinyl LP's 777913000020 7779130000200 50087 34034 6 0 50087 34244 9 8 88072 37509 36 02547 02566 10 50087 32165 90 50087 14695 5 0 50087 32885 6 0 50087 32888 7 0 50087 32890 0 7 77913 00002 00 91037 00344 7 6 09465 34762 2 6 09465 34760 87 24101 74372 6 6 09465 34763 9 6 09465 34766 08 23819 13911 8 8 42803 01211 4 5 060187 000342 7 90168 96041 37 90168 62921 1 7 62186 48791 3 7 90168 40921 9 7 90168 59601 8 7 90168 52521 6 7 90168 96031 48 21826 01417 68 21826 00480 1DTC54563 COEUR DE PIRATE/ROSES(LP) Vinyl LP's 619061456352 619061456352 DTC6408 WE ARE WOLVES/INVISIBLE VIO(LP Vinyl LP's 064027640816 064027640816DTC6427 SLEEPOVER/SOCALLED(LP) Vinyl LP's 622406642716 622406642716 DUA16741 DELTA SPIRIT/INTO THE WIDE(LP) Vinyl LP's 803020167414 803020167414DUA18061 LUMINEERS,THE/SONG SEEDS(LP) Vinyl LP's 803020180611 803020180611 DUHFLP33 CAVERN OF ANTI/VOID BEATS(3LP Vinyl LP's 50603846106105060384610610 DV9045LP ILLA J/YANCEY BOYS (LP) Vinyl LP's 829357904515829357904515 DWT700551 MOS DEF/THE ECSTATIC (LP) Vinyl LP's 878037005516878037005516 DWT700851 SNOW,M/MIIKE SNOW (LP) Vinyl LP's 878037008517878037008517 DWT700881 MAJOR LAZER/GUNS DON'T KILL PE Vinyl LP's 878037008814878037008814 DWT70364 COLD WAR KIDS/DEAR MISS(LP)(LT Vinyl LP's 878037027778 878037027778 DWT70382P CHET FAKER/BUILT ON GLASS(LP) Vinyl LP's 878037028294 878037028294 ECLECLP2178 BROWN,A/THE CRAZY WORLD OF(LP) Vinyl LP's 5013929467811 5013929467811 ER202941 MOORE,G/BLUES FOR JIMI LIV(2LP Vinyl LP's 826992029412 826992029412ER203211 DIO/FINDING THE SACRED HEAR(LP Vinyl LP's 826992032115 826992032115ER203771 ALABAMA AND FRIE/AT THE RYM(2L Vinyl LP's 826992037714 826992037714ER204041 RITCHIE BLACKMORE'S/MEMORIES(3 Vinyl LP's 826992040417 826992040417 ES1014V EASY STAR ALL-STARS/RADIOREAD: Vinyl LP's 657481101414657481101414 ESALP700032 TROUBLE/PSALM 9(LP) Vinyl LP's 878667000325 878667000325ESALP700033 TROUBLE/THE SKULL(LP) Vinyl LP's 878667000332 878667000332ESALP700035 DISSECTION/LIVE IN STOCKHO(2LP Vinyl LP's 878667000356 878667000356ESALP700038 TROUBLE/SIMPLE MIND CONDITI(LP Vinyl LP's 878667000387 878667000387 ESC005LP DAVIS,J/THE CUTTING ROOM FLOOR Vinyl LP's 614511770620 614511770620 EV307389 ROLLING ST,THE/TOKYO DOME 1990 vinyl with dvd 801213073894 801213073894EV307399 CLAPTON,E/SLOWHAND AT 70(DVD+3 vinyl with dvd 801213073993 801213073993EV307549 ROLLING STONES,T/TOTALLY(2LP+D vinyl with dvd 801213075492 801213075492 FAN00061 JAZZ DISPENSARY,THE/HOLIDAY(LP Vinyl LP's 888072008779 888072008779 FAN31868 CREEDENCE CLEA/THE SINGLE(15 L Vinyl LP's 888072318687 8880723186878 78037 02777 8 8 78037 02829 4 8 26992 02941 2 8 26992 03211 5 8 26992 03771 4 8 26992 04041 76 19061 45635 2 0 64027 64081 6 6 22406 64271 6 6 14511 77062 0 8 88072 00877 95 013929 467811 5 060384 610610 8 29357 90451 5 8 78037 00551 6 8 78037 00851 7 8 78037 00881 4 6 57481 10141 4 8 88072 31868 78 03020 18061 18 03020 16741 4 8 78667 00032 5 8 78667 00033 2 8 78667 00035 6 8 78667 00038 7 8 01213 07399 3 8 01213 07549 28 01213 07389 4FAN3532901 CREEDENCE CLEAR/THE 69 SING(10 10" Vinyl 888072353299 888072353299 FAN37435 CREEDENCE CLEARW/COSMO'S FA(LP Vinyl LP's 888072374355 888072374355 FFR001LP VAR/SPOKANARCHY ORIGINAL SO(LP Vinyl LP's 855376003007 855376003007 FFR003EP TOMTEN/TA TA DANA (LP) Vinyl LP's 855376003076 855376003076 FFR004LP TOMTE/WEDNESDAY'S CHILDREN(LP) Vinyl LP's 855376003083 855376003083 FINLE12046LP RED JACKET MINE/SOMEONE ELS(LP Vinyl LP's 854891004490 854891004490 FINLE12053 LONG DISTANCE/GLIESE TR(LP+DVD vinyl with dvd 854891004063 854891004063FINLE12063 PIGEONHED/THE POWER COME OV(LP Vinyl LP's 854891004629 854891004629 FITB28LP ECID/WEREWOLF HOLOGRAM D(2LP) Vinyl LP's 789577678712 789577678712 FNG003LP DRUNKEN PRAYER/INTO THE MIS(LP Vinyl LP's 857674003055 857674003055FNG005LP COYKENDALL,M/CHASING AWAY T(LP Vinyl LP's 857674003062 857674003062FNG006LP SASSPARILLA/MAGPIE(LP) Vinyl LP's 857674003079 857674003079 FR2055LP GEISSMAN,G/BOP BANG BOOM(2LP Vinyl LP's 859516001038 859516001038 FREUDLP096 IGGY AND THE STO/METALLIC KO(L Vinyl LP's 5013145209615 5013145209615 GDP033V HELIGOATS,THE/THE END OF AL(LP Vinyl LP's 751937416616 751937416616GDP044V HELIGOATS,THE/GOODNESS GRAC(LP Vinyl LP's 616892043140 616892043140 GDP048LP I WAS TOTALLY DESTROYING IT/PR Vinyl LP's 619981316118 619981316118GDP055LP SOUTHERLY/YOUTH (LP) Vinyl LP's 619981325714 619981325714GDP056LP TROPHY FIRE,THE /MODERN HEA LP Vinyl LP's 751937413516 751937413516 GDP058 SHIPBUILDING CO/FROM MANSIO(LP Vinyl LP's 751937416814 751937416814 GDP060VLP HELIGOATS,THE/BACK TO THE AC(L Vinyl LP's 616892089049 616892089049 GDP061LP I WAS TOTALLY D/VEXATIONS (LP) Vinyl LP's 751937415312 751937415312 GGML0166 BANTON,B/RASTA GOT SOUL (2LP) Vinyl LP's 856481001674 856481001674GMR005LP SPARKS,T/UNTIL MORNING/COME OU Vinyl LP's 711574687619 711574687619 GP004LP LUCAS,S AND THE MARRIED MEN/AB Vinyl Singles 751937397311 751937397311GPLP003 SCOTT LUCAS AND THE MARRIED ME Vinyl LP's 614511766326 614511766326 GRIM002LP RED BUTTON,THE/AS FAR AS YESTE Vinyl LP's 614511786126 614511786126 GRL10133 LES VAMPYRETTES/LES VAM(3 10'' 10" Vinyl 5060238631266 50602386312668 88072 35329 9 5 060238 631266 7 51937 41531 28 57674 00306 2 8 59516 00103 8 7 51937 41351 68 55376 00300 7 8 55376 00307 6 8 55376 00308 3 7 89577 67871 2 8 57674 00305 5 8 57674 00307 9 7 51937 41661 6 6 16892 04314 0 6 19981 32571 4 7 51937 41681 4 6 16892 08904 9 6 14511 76632 68 54891 00449 0 8 54891 00462 9 6 19981 31611 8 7 11574 68761 9 6 14511 78612 65 013145 209615 8 88072 37435 5 8 56481 00167 4 7 51937 39731 18 54891 00406 3GRL10137 CZUKAY,H/DER OSTEN IST RO(10'' 10" Vinyl 5060238631570 5060238631570 GRL12123 VAR/THE CONNY PLANK REWORK(LP Vinyl LP's 5060238631167 5060238631167GRL12133 LES VAMPYRETTES/LES VAMPYRE(LP Vinyl LP's 5060238631426 5060238631426 GRLLP123 VAR/WHO'S THAT MAN A TRIBU(2LP Vinyl LP's 5060238631020 5060238631020GRLLP134 CZUKAY,H/ON THE WAY TO THE(LP Vinyl LP's 5060238631402 5060238631402 GRLLP134P CZUKAY,H/ON THE WAY TO THE(LP Vinyl LP's 5060238631334 5060238631334 GRLLP140 ELLINGTON,D/HIS OR/THE CONNY(L Vinyl LP's 5060238631716 5060238631716GRLLP146 ROEDELIUS,M/IMAGORI(LP) Vinyl LP's 5060238631914 5060238631914GRLLP150 HARMONIA/COMPLETE WORKS(5XLP) Vinyl LP's 5060238632065 5060238632065GRLLP152 HARMONIA/DOCUMENTS(LP COLOUR) Vinyl LP's 5060238632614 5060238632614GRLLP158 CZUKAY,H/MOVIE(LP COLOUR) Vinyl LP's 5060238632584 5060238632584 GRLLP863095 GRONEMEYER,H/I WALK(2LP) Vinyl Singles 5060238630955 5060238630955 GRLLPGRON124 DINGER,K/JAPAN/JAPANDORF(12"L Vinyl Singles 5060238631044 5060238631044 GRLLPGRONI NEU/NEU(12" LP) Vinyl Singles 5065001040733 5065001040733 GRLLPGRONII NEU/NEU(2LP) Vinyl LP's 5065001040740 5065001040740 GRLLPGRONIII NEU/NEU 75(12"LP) Vinyl Singles 5065001040757 5065001040757 GRLLPGRONIV NEU/NEU '86(12'' LP) Vinyl LP's 5065001040764 5065001040764 GTD001 MONOGAMY PARTY/PUS CITY (LP) Vinyl LP's 879198007906 879198007906 GTD004LP ABSOLUTE MONARCH/1 (LP) Vinyl LP's 879198008668 879198008668 GTD007 GAYTHEIST/STEALTH BEATS (LP) Vinyl LP's 879198009504 879198009504GTD008 RABBITS/BITES RITES(LP) Vinyl LP's 879198009634 879198009634 HAD001LP GRAND LAKE/BLOOD SEA DREAM (LP Vinyl LP's 013964136234 013964136234HAD003LP HEAVENLY STATES,THE/OUI CAMERA Vinyl LP's 751937407218 751937407218 HH001LP HOLY HAIL/THE DYING(AFTER)PART Vinyl LP's 614511770125 614511770125 HHI001V COHEED AND CAM/THE AFTERMAN(LP Vinyl LP's 881034151674 881034151674HHI005V COHEED AND/THE AFTERMAN BIG LP Vinyl LP's 793573187765 793573187765 HJALTALIN003 HJALTALIN/ENTER 4(LP) Vinyl LP's 4024572637040 4024572637040 HR7641 SILVERSTEIN/THIS IS HOW THE(LP Vinyl LP's 790692076413 7906920764135 060238 631570 8 81034 15167 4 7 93573 18776 57 51937 40721 88 79198 00866 8 8 79198 00950 48 79198 00790 6 8 79198 00963 4 0 13964 13623 4 6 14511 77012 5 4 024572 637040 5 060238 631716 5 060238 631914 5 060238 632614 5 060238 632584 5 060238 631167 5 060238 631426 5 060238 631402 5 060238 631334 5 065001 040740 5 065001 040764 5 060238 632065 5 060238 631020 7 90692 07641 35 060238 630955 5 060238 631044 5 065001 040733 5 065001 040757 HR7647 SILVERSTEIN/THIS IS HO(7'' 8LP 7" Vinyl Singles 790692076475 790692076475 HRM32700 COSTELLO,E/NATIONAL RANSOM(LP) Vinyl LP's 888072327009 888072327009 HRM3345201 MCCARTNEY,P/RAM VINYL EDITION Vinyl LP's 888072334526 888072334526 HRM38269 MCCARTNEY,P/SAY SAY SAY(12"S) Vinyl Singles 888072382695 888072382695 HTLP0023 SLAY,G C/HORSETHIEF BEATS/ LP Vinyl LP's 633914022518 633914022518 HUI3376201 SPALDING,E/RADIO MUSIC SOC(2LP Vinyl LP's 888072337626 888072337626 HULP8148 BAD PLUS,THE/FOR ALL I CARE (2 Vinyl LP's 053361814816 053361814816 HXC0101 SINGLE MOTHERS/NEGATIVE QUA(LP Vinyl LP's 634904070717 634904070717 IF1034LP CUBENX/ELEGIAC(LP) Vinyl LP's 37003987144933700398714493 IWRLP83037 RED DRAGON CARTEL/RED DRAGON(L Vinyl LP's 4018996237610 4018996237610IWRLP83047 ECLIPSE/ARMAGEDDONIZE Vinyl LP's 4018996237856 4018996237856 J21004LP OST/THE GUEST(LP) Vinyl LP's 881034105233 881034105233 JAM91411 MUDDY WATERS/HOOCHIE COOCHIE(L Vinyl LP's 068944914210068944914210 KMGLP4402 KAMELOT/POETRY FOR THE POI(2LP Vinyl LP's 665331440217 665331440217 KMGLP4402L KAMELOT/POETRY FOR THE POIS(LP Vinyl LP's 628586156005 628586156005 L638RLP1 VISQUEEN/MESSAGE TO GARCIA (LP Vinyl LP's 879198005025 879198005025 LFR27LP NERVOUS CURTAINS/OUT OF SYNC W Vinyl LP's 825576044827 825576044827LFR31LP POLICE TEETH/AWESOMER THAN THE Vinyl Singles 825576097021 825576097021LFR32LP TROPHY WIVES/OLD SCRATCH (LP) Vinyl LP's 825576110324 825576110324LFR33LP IFIHADAHIFI/NADA SURF EP+3 (LP Vinyl LP's 825576110126 825576110126 LJX045LP STRINGFELLOW,K/DANZIG IN(2LP Vinyl LP's 5060156659977 5060156659977 LMD24LP TALKDEMONIC/MUTINY SUNSHINE(LP Vinyl LP's 619981132916 619981132916 LMD38 DYKERITZ/REARRANGEROLOGYISTICS Vinyl LP's 751937330929 751937330929LMD43 IN MONO/ARK OF WAR(LP Vinyl LP's 723721584153 723721584153 LNIO001LP PRAIRIE CARTEL,THE/WHERE DID A Vinyl LP's 614511763127 614511763127 LNKLP84LP REACH AROUND ROD/ROCKABILLY(LP Vinyl LP's 633090364006 633090364006LNKLP86LP MY DARLING CLEMENT/HOW DO Y(LP Vinyl LP's 633090364051 633090364051 LNKLP91 GORDON ,R/I'M COMING HOME(LP) Vinyl LP's 633090364068 6330903640687 90692 07647 5 6 33914 02251 8 8 79198 00502 5 6 19981 13291 6 7 51937 33092 9 6 14511 76312 78 25576 04482 7 8 25576 11032 4 5 060156 659977 8 25576 11012 6 7 23721 58415 30 68944 91421 03 700398 714493 8 81034 10523 38 88072 33762 68 88072 32700 9 6 34904 07071 7 6 33090 36400 6 6 33090 36405 1 6 33090 36406 84 018996 237610 4 018996 237856 6 65331 44021 7 6 28586 15600 58 88072 33452 6 0 53361 81481 6 8 25576 09702 18 88072 38269 5LPHBEA214 ROSE,M/DANCE WICKED Vinyl LP's 011661771413 011661771413 LS3LP LUDWICK,R/OUT OF THESE BLUES Vinyl LP's 641444081714 641444081714 LVR00071 IGGY POP/POST POP DEPRESSION(3 Vinyl LP's 888072015401 888072015401 LVR3640701 ST VINCENT/PIETA RSD EXLUSI(LP Vinyl LP's 888072364073 888072364073 LVR37726 SPOON/TV SET(10") 10" Vinyl 888072377264 888072377264 MB0011 SAINTSENECA/LAST(LP) Vinyl LP's 711574692415 711574692415 MB003LP DENVER/DENVER(LP) Vinyl LP's 616892053545 616892053545 MCA26896 DIAMOND,N/HOT AUGUST NIGHT(2LP Vinyl LP's 076732689615 076732689615 MFR133 SPIRAL STAIRS/THE LONG WINTER/ 7" Vinyl Singles 650384013372 650384013372 MFR136LP POINT JUNCTURE,W/HANDSOME ORDE Vinyl LP's 650384013617 650384013617 MLLLP47V ASTRAL DOORS/NOTES FROM THE(LP Vinyl LP's 727361691004 727361691004MLLLP76V ARCHITECTS OF CH/THE LEAGUE(LP Vinyl LP's 727361694807 727361694807MLLLP86V UGLY KID JOE/UGLIER THAN TH(LP Vinyl LP's 727361692605 727361692605 MNE006 TWIZTID/BACK TO HELL(7'') 7" Vinyl Singles 881034113245 881034113245 MON003LP WOODEN INDIAN BUR/HOLY MOUN(LP Vinyl LP's 822685051821 822685051821MON006LP WOODEN INDIAN BUR/WOODEN IN(LP Vinyl LP's 613505530028 613505530028 MOVLP1611 RESIDENTS,THE/PLEASE DO NOT(LP Vinyl LP's 8719262000445 8719262000445 MPS8551 VAR/SUPER BLUES VOL 1 Vinyl LP's 025218855112 025218855112 MSWM2003LP WRIGHT,/HIGH MAINTENANCE WOMAN Vinyl LP's 758794200327 758794200327 MVD6980LP O WILLIAMS,W/FUCK N RO(12" S) Vinyl Singles 760137698012 760137698012MVD8174LP CASALE,G/IT'S ALL DEVO(12" S) Vinyl Singles 760137817413 760137817413MVD8181LP VAR/ONE VOICE(12" SGL) Vinyl Singles 760137818113 760137818113MVD8220LP HUSKER DU/IN A FREE LAND(7'') 7" Vinyl Singles 760137822011 760137822011MVD8224LP HELLO KITTY/HELLO WORLD(LP) Vinyl LP's 760137822417 760137822417MVD8253LP MOTHERSBAUGH,M/HELLO MY(12" S Vinyl Singles 760137825319 760137825319MVD9637LP SOUTHSIDE JOHNNY/THE A/LIVE(LP Vinyl LP's 760137963714 760137963714 MW0002 WOODS,D/HARD SETTLE,AIN'T TR(L Vinyl LP's 823674038410823674038410 NCR006 BLACK WHALES/RATTLE YER BONES 7" Vinyl Singles 614511774024 6145117740248 88072 37726 4 6 14511 77402 46 50384 01337 2 7 60137 82201 18 81034 11324 50 76732 68961 56 16892 05354 56 41444 08171 4 7 11574 69241 5 8 22685 05182 1 6 13505 53002 8 7 58794 20032 76 50384 01361 7 8 719262 000445 7 60137 82241 7 7 60137 96371 4 8 23674 03841 08 88072 01540 1 8 88072 36407 3 0 25218 85511 27 27361 69100 4 7 27361 69480 7 7 27361 69260 50 11661 77141 3 7 60137 69801 2 7 60137 81741 3 7 60137 81811 3 7 60137 82531 9NSR0482 SANTAH/WHITE NOISE BED(12" LP) Vinyl Singles 603111926513 603111926513 NTO00001 OFFSPRING,THE/THE OFFSPRING(LP Vinyl LP's 888072021860 888072021860 NVR0101 YUKON BLONDE/EVERYTHING IN EVE Vinyl LP's 621617297210621617297210 OCL303LP OLD CALIFORNIO/SUNDRUNK ANGELS Vinyl LP's 804879326014 804879326014 ONULP131 NISENNENMONDAI/N A(LP) Vinyl LP's 50602637215365060263721536 ORLP7271 HICKS,T/SHAKE THESE WALLS(LP) Vinyl LP's 823674727116823674727116 OUTSIDER29 JUKEBOX ZEROS/CITY OF BOTHER & 7" Vinyl Singles 614511774123 614511774123 PAPER020LP TOKYO POLICE CLU/A LESSON IN(L Vinyl LP's 880893002011880893002011 PAPER044LP ROCK PLAZA CENTR/AT THE MOME(L Vinyl LP's 880893004411880893004411 PAPER051LP YOUNG GALAXY/INVISIBLE REPU(2L Vinyl LP's 880893005128880893005128 PAPER054LP RURAL ALBERTA AD,THE/HOMETOW(L Vinyl LP's 880893005418880893005418 PAPER058LP AUSTRA/FEEL IT BREAK(2LP) Vinyl LP's 880893005814880893005814 PAPER060LP RURAL ALBERTA ADVANTA/DEPART(L Vinyl LP's 880893006019880893006019 PAPER079LP HECKER,T/VIRGINS(LP) Vinyl LP's 880893007917880893007917 PAPER080LP MOONFACE/JULIA WITH BLUE JE(LP Vinyl LP's 880893008013880893008013 PAPER081LP YAMANTAKA/SONIC TITAN/UZU(LP) Vinyl LP's 880893008129880893008129 PAPER102LP YOU SAY PARTY/YOU SAY PARTY(LP Vinyl LP's 880893010214880893010214 PAPER103LP NEUFELD,S/THE RIDGE(LP) Vinyl LP's 880893010313880893010313 PBRD1079 ROBERTS,S/THE INHUMAN CONDI(LP Vinyl LP's 880893107921880893107921 PBRD1104 BROOD,E/TIN TYPE(LP) Vinyl LP's 880893110426880893110426 PBRD1124 MOONFACE/CITY WRECKER(12" EP) Vinyl EP 880893112420880893112420 PBV008 TOKYO POLICE CLUB/A LESSON(LP) Vinyl LP's 880893500814880893500814 PGLPR11X GABRIEL,P/UP(3LP) Vinyl LP's 884108004432 884108004432 PGLPR1X GABRIEL,P/PETER GABRIEL 1(2LP) Vinyl LP's 884108003206 884108003206PGLPR3X GABRIEL,P/PETER GABRIEL 3(2LP) Vinyl LP's 884108003282 884108003282PGLPR4X GABRIEL,P/PETER GABRIEL 4(2LP) Vinyl LP's 884108003350 884108003350PGLPR5X GABRIEL,P/SO(2LP) Vinyl LP's 884108004340 884108004340PGLPR7X GABRIEL,P/US(3LP) Vinyl LP's 884108004388 8841080043886 14511 77412 3 8 80893 11242 08 04879 32601 46 21617 29721 0 8 80893 00201 1 8 80893 00441 1 8 80893 00512 8 8 80893 00541 8 8 80893 00581 4 8 80893 00601 9 8 80893 00791 7 8 80893 00801 3 8 80893 00812 9 8 80893 01021 4 8 80893 01031 3 8 80893 10792 1 8 80893 11042 6 8 80893 50081 45 060263 721536 8 23674 72711 68 88072 02186 0 8 84108 00320 6 8 84108 00328 2 8 84108 00335 0 8 84108 00434 0 8 84108 00438 88 84108 00443 26 03111 92651 3PH00021P NOBLE THIEFS,THE/IT S TOUGH(LP Vinyl LP's 823674043919823674043919 PRS3600901 DAVIS,M/THE PRESTIGE CO(5 10" 10" Vinyl 888072360099 888072360099 PRS36036 DAVIS,M/THE PRESTIGE V02(5X10" 10" Vinyl 888072360365 888072360365 PTK121451 VIOLENTS AND MARTIN,M/AWAKE(LP Vinyl LP's 720841214519720841214519 PTKF21111 AMAZING,THE/PICTURE YOU(LP) Vinyl LP's 720841211112 720841211112PTKF21161 PHOX/PHOX(LP) Vinyl LP's 720841211617 720841211617PTKF21201 HEARTLESS BASTARDS/RESTLESS(LP Vinyl LP's 720841212010 720841212010 Q102025 WE ARE THE CITY/VIOLENT(LP) Vinyl LP's 060270202511 060270202511 R7542141 VAR/SIDE BY SIDE(RSD 12" SGL) Vinyl Singles 081227959890 081227959890 RBR001LP DIANE,A/ABOUT FAREWELL(LP) Vinyl LP's 723175798878 723175798878 RCR112L NIGHT DRIVE/NIGHT DRIVE(LP) Vinyl LP's 858824002874858824002874 REVLP636 STONE ROSES/SALLY CINNAMON(LP) Vinyl LP's 5016681663668 5016681663668 RMP076LP SPUNKS,THE/YELLOW FEVER BLUES( Vinyl LP's 698715007614 698715007614 RMR024 HOLLERADO/111 SONGS(7") 7" Vinyl Singles 680889064852 680889064852RMR032 PKEW PKEW PKEW/PKEW PKEW PK(LP Vinyl LP's 680889082542 680889082542 ROC3389 HOUSE,S/LIVE AT OBERLIN COL(LP Vinyl LP's 089353338923 089353338923 RPM015LP RED PLANET/LET'S GET RIPPED (7 7" Vinyl Singles 698715001513 698715001513RPM016LP RED PALNET/REVOLUTION 33 (LP) Vinyl LP's 698715001612 698715001612RPM026LP NADS, THE/SAIGON HOOKER (7"VYL 7" Vinyl Singles 698715002619 698715002619RPM028LP RED PLANET/LET'S DEGENERATE(LP Vinyl LP's 698715002817 698715002817RPM037LP HYPNOMEN, THE/ALTAMONT BOOGALO 7" Vinyl Singles 698715003715 698715003715RPM038LP MAGGOTS, THE/LET'S GO IN '69 7" Vinyl Singles 698715003814 698715003814RPM039LP DEMONICS, THE/DUNE BUGGY GANG 7" Vinyl Singles 698715003913 698715003913 RPM054 DRAGONS,THE/ROCK'N'ROLL KAMAKA Vinyl LP's 698715005412 698715005412RPM059 ROCK N ROLL SOLDIERS,THE/HIGHS Vinyl Singles 698715005917 698715005917 RPM067LP BOTTLES AND SKULLS/SCREAM SCRE 7" Vinyl Singles 698715006716 698715006716RPM072LP DT'S, THE/LIGHT'S OUT (7"VYL) 7" Vinyl Singles 698715007218 698715007218RPM073LP THUNDER BOYS, THE/CAN'T STOP D 7" Vinyl Singles 698715007317 6987150073178 88072 36009 9 8 88072 36036 5 6 98715 00371 5 6 98715 00721 8 6 98715 00731 76 98715 00151 3 6 98715 00261 9 6 98715 00381 4 6 98715 00671 66 98715 00391 36 80889 06485 27 23175 79887 8 6 98715 00161 2 6 98715 00281 76 98715 00761 4 6 98715 00541 25 016681 663668 0 89353 33892 38 23674 04391 9 8 58824 00287 47 20841 21451 9 7 20841 21111 2 7 20841 21161 7 7 20841 21201 0 0 60270 20251 1 6 80889 08254 2 6 98715 00591 70 81227 95989 0RPM075LP WHITE BARONS/UP ALL NIGHT WITH Vinyl LP's 698715007515 698715007515 RPM0781 BURNS,B AND THE BREAKUPS/TERMI Vinyl LP's 698715007812 698715007812 RPMLP987 MORTIMER/ON OUR WAY HOME(LP Vinyl LP's 5013929589872 5013929589872 RR77091 NICKELBACK/HERE AND NOW (VYL) Vinyl LP's 016861770914 016861770914 RUB62 GOGOL BORDELLO/EAST INFECTION Vinyl LP's 676180006219676180006219 RZR00214 SWORD,THE/LOW COUNTRY(LP) Vinyl LP's 888072023093 888072023093 SA001 ALL SMILES/OH FOR THE GETTING Vinyl LP's 614511764025 614511764025 SB0037LP FREDDIE STEADY 5,THE/1000 M(LP Vinyl LP's 614511793827 614511793827 SBESTLP63 WILD SMILES/ALWAYS TOMORROW(LP Vinyl LP's 50510830833175051083083317 SBESTLP64 KITTY,DAISY & LEWIS/THE THI(LP Vinyl LP's 50510830854725051083085472 SBESTLP64W KITTY,DAISY & LE/THE THIRD(WHI Vinyl LP's 50510830865925051083086592 SBESTLP66 NEW BUILD/POUR IT ON(2LP) Vinyl LP's 50510830848885051083084888 SBESTLP69 DUB PISTOLS/RETURN OF THE(LP) Vinyl LP's 50510830893575051083089357 SBESTLP70 SOLAR BEARS/ADVANCEMENT(LP) Vinyl LP's 50510830970245051083097024 SBLP0032 SOUNDLINERS SECT/DANGEROUS GRO Vinyl LP's 614511775120 614511775120 SCR075LPX BARR BROTHERS,THE/QUEENS OF(LP Vinyl LP's 680341750040680341750040 SCR08 WHITE, T.H./HOW BAD DO YOU LP Vinyl LP's 847108027757 847108027757 SD15351 DRESSES/SUN SHY(LP) Vinyl Singles 603967153514 603967153514SD15371 GASLIGHT ANT,THE/THE B SIDE(LP Vinyl LP's 603967153712 603967153712SD15831 FLOGGING MOLLY/DRUNKEN LULLA(L Vinyl LP's 603967158311 603967158311SD15841 FLOGGING MOLLY/SWAGGER(LP) Vinyl LP's 603967158410 603967158410SD15851 GOGOL,B/GYPSY PUNKS(LP) Vinyl LP's 603967158519 603967158519 SD1592 VIOLENT SOHO/SPRAYNA/SPLIT(7'' 7" Vinyl Singles 603967159271 603967159271 SD16671 AJJ/DECADE OF REGRESSION LI(LP Vinyl LP's 603967166712 603967166712 SE001LP LIGHT FOR FIRE/LIGHT FOR FIRE Vinyl LP's 614511783729 614511783729 SEX1301LP BEAUMONTS,THE/WHERE DO(10''LP 10" Vinyl 614511809221 614511809221 SEX1304 HICKOIDS/THE GRANN/300 YEAR(LP Vinyl LP's 614511813921 614511813921 SEX1305LP PINATA PROTEST/EL VALIENTE(LP) Vinyl LP's 614511815420 614511815420 6 14511 80922 16 03967 15927 16 98715 00751 5 6 98715 00781 2 6 14511 76402 5 6 14511 77512 0 8 47108 02775 7 6 14511 78372 9 6 14511 81392 1 6 14511 81542 06 14511 79382 75 013929 589872 6 80341 75004 06 76180 00621 9 5 051083 083317 5 051083 085472 5 051083 086592 5 051083 084888 5 051083 089357 5 051083 097024 8 88072 02309 30 16861 77091 4 6 03967 15371 2 6 03967 15851 96 03967 15841 0 6 03967 16671 26 03967 15831 16 03967 15351 4SEX20111V HICKOIDS/KICKING IT WITH THE T Vinyl LP's 614511777827 614511777827 SHIP003LP EARLIMART/SYSTEM PREFERENC(2LP Vinyl LP's 614511805421 614511805421 SIXLP00055 RHEOSTATICS/WHALE MUSIC(2LP) Vinyl LP's 836766005511 836766005511SIXLP00089 TAGAQ,T/ANIMISM(LP) Vinyl LP's 836766008666 836766008666 SKY2251 THUNDERS,J/VIVE LA REVOLUTIO(L Vinyl LP's 5013145825112 5013145825112 SMALP991 MARILLION/ANORAKNOPHOBIA(2LP) Vinyl LP's 636551599115 636551599115 SML2013 SUBURBS,THE/SI SAUVAGE(LP) Vinyl LP's 789577713710 789577713710 SPC3533001 LITTLE RICHARD/LITTLE RICHA(LP Vinyl LP's 888072353305 888072353305 SPRKSHN013 AMAKER,B AND THE RODEO/PLEASE Vinyl LP's 751937394419 751937394419 SPRKSHN016LP THEE SGT MAJOR III/THE IDEA FA Vinyl LP's 751937396925 751937396925SPRKSHN023LP AMAKER,B AND THE RODEO/CAPTAIN Vinyl LP's 751937411574 751937411574SPRKSHN027LP MALDIVES,THE/MUSCLE FOR THE WI Vinyl LP's 751937415411 751937415411 SPRKSHN10 MOORE,I & LOSSY COILS/EL SONID Vinyl LP's 751937390213 751937390213 SR1228LP WHALE OR,THE/THE WHALE OR (LP) Vinyl LP's 724101602412 724101602412 SRW16351 PETERSON,O/CANADIAN SUITE(LP) Vinyl LP's 602547084866 602547084866 SS001LP SANDVEISS/SCREAM QUEEN(LP) Vinyl LP's 619061300150 619061300150SS002LP SANDVEISS/SAVE US ALL(7") 7" Vinyl Singles 619061300259 619061300259SS005LP NEVER MORE THAN LE/PEACE WAR(L Vinyl LP's 619061467150 619061467150 SS863LP MEADE,T/TOMORROW IN PROGRES(LP Vinyl LP's 614511824927 614511824927 STNVOL024L GARBAGE/STRANGE LITTLE BIRDS(L Vinyl LP's 4050538198942 4050538198942 STX00021 REDDING,O/LIVE AT THE WHISKY(2 Vinyl LP's 888072008793 888072008793 STX3164501 VAR/STAX SOUL OF HIP HOP(LP) Vinyl LP's 888072316454 888072316454STX3449201 BOOKER T/SOUND THE ALARM(LP) Vinyl LP's 888072344921 888072344921 SUGLP04094 DEEP DARK WOO,THE/JUBILEE(2LP) Vinyl LP's 015891409412 015891409412 SVY16068 GILLESPIE,D/THE CHAMP(LP) Vinyl LP's 795041606815 795041606815SVY16069 YOUNG,L/BLUE LESTERR(LP) Vinyl LP's 795041606914 795041606914 TCR001 DIMES, THE/THE KING CAN DRINK Vinyl LP's 614511769921 614511769921 TFC003 AT THE DRIVE/RELATIONSHIP O(LP Vinyl LP's 634457605510 6344576055106 19061 30025 96 02547 08486 6 6 19061 30015 0 6 19061 46715 0 6 14511 82492 77 89577 71371 06 14511 80542 1 7 51937 41541 16 14511 77782 7 7 51937 39692 5 7 51937 41157 4 7 24101 60241 2 6 14511 76992 17 51937 39441 9 7 51937 39021 35 013145 825112 6 36551 59911 5 4 050538 198942 8 88072 35330 5 8 88072 00879 3 0 15891 40941 28 88072 34492 18 88072 31645 4 6 34457 60551 07 95041 60681 5 7 95041 60691 48 36766 00551 1 8 36766 00866 6TIGER1 LOVESORES, THE/FAST FRIENDS(LP Vinyl LP's 614511802123 614511802123 TNB010LP HUNTING ACCIDENT,THE/THE HUNTI Vinyl LP's 614511785129 614511785129 TNB012 NETSON,B/SIMPLE WORK FOR (LP Vinyl LP's 614511788823 614511788823TNB014 HUNTING ACCIDENT,THE/TREES (LP Vinyl LP's 614511802529 614511802529TR007B ETTES,THE/NO HOME (7" BLACK VI 7" Vinyl Singles 614511765428 614511765428 TR008LP FRENCH MIAMI/FRENCH MIAMI (LP) Vinyl LP's 790168653414 790168653414 TSQ5234 KID MILLIONS/BEYOND THE CONF(L Vinyl LP's 856225005234 856225005234 TT01 SANDOVAL,H/THE WAR/ISN'T IT(7" 7" Vinyl Singles 881034187987 881034187987TT02 SANDOVAL,H & THE WAR/LET ME(10 10" Vinyl 881034123091 881034123091 U53027 BADU,E/BADUIZM(LP) Vinyl LP's 601215302714 601215302714 ULRLP14 STRYPER/FALLEN(2LP) Vinyl LP's 4018996238068 4018996238068 VEGA52023 SEASONS,THE/PULP(LP) Vinyl LP's 619061202355 619061202355 VH00135 ANVIL/THIS IS THIRTEEN (LP) Vinyl LP's 894316001352 894316001352 VILELP372 AUTOPSY/ALL TOMORROW'S FUN(2LP Vinyl LP's 801056837219 801056837219 VJR37597 HOOKER,J E/TWO SIDES OF(LP) Vinyl LP's 888072375970 888072375970 VL12025 JIGSAW SEEN,THE/WINTERLAND LP Vinyl LP's 663281202510 663281202510 VOX52003 THEY CALL ME RICO/THEY CALL ME Vinyl LP's 619061200351 619061200351 VVLP006 HOLLY,B/THE ESSENTIAL TRAC(2LP Vinyl LP's 805520550062 805520550062VVLP007 CHUCK B/THE ESSENTIAL TRAC(2LP Vinyl LP's 805520550079 805520550079VVLP008 DOMINO F/THE ESSENTIAL TRAC(2L Vinyl LP's 805520550086 805520550086VVLP009 LEWIS,J L/THE ESSENTIAL TR(2LP Vinyl LP's 805520550093 805520550093VVLP010 LITTLE RICHA/THE ESSENTIAL(2LP Vinyl LP's 805520550109 805520550109 WAP20912 NIGHTMARESONWAX/AFRICANPIRATES Vinyl EP 801061920913801061920913 WAP22112 CLARK/TEDEP(12"VYL) Vinyl EP 801061922115801061922115 WAP395 NIGHTMARES ON WAX/GROUND FLO(L Vinyl LP's 801061939519801061939519 WARP286LP GONJASUFI/MANDELA EFFECT(LP) Vinyl LP's 801061028619801061028619 WARP9369 NOZINGJA/TSEKELEKE(LP) Vinyl LP's 801061936914801061936914 WARPLP195R FLYING LOTUS/COSMOGRAMMA ALT T Vinyl LP's 080106181951408010618195148 81034 12309 16 14511 76542 8 8 81034 18798 7 8 01061 92091 3 8 01061 92211 56 01215 30271 4 6 19061 20035 16 19061 20235 56 14511 78512 9 6 14511 80252 9 6 63281 20251 06 14511 80212 3 6 14511 78882 3 7 90168 65341 4 8 05520 55008 6 8 05520 55010 98 05520 55007 98 05520 55006 2 8 05520 55009 38 01056 83721 9 8 01061 93951 9 8 01061 02861 9 0 801061 819514 8 01061 93691 48 56225 00523 4 8 94316 00135 2 8 88072 37597 04 018996 238068 WARPLP205 SEEFEEL/SEEFEEL (LP) Vinyl LP's 801061020514801061020514 WARPLP208 PREFUSE 73/THE ONLY SHE CHAPTE Vinyl LP's 801061020811801061020811 WARPLP209 BIBIO/MIND BROKEH(LP) Vinyl LP's 801061020910801061020910 WARPLP222 CLARK/IRADELPHIC (LP) Vinyl LP's 801061022211801061022211 WARPLP228X SQUAREPUSHER/UFABULUM (2LP) Vinyl LP's 801061022815801061022815 WARPLP230X FLYING LOTUS/UNTIL THE (2VYL Vinyl LP's 801061823016801061823016 WARPLP234 AUTECHRE/EXAI(4LP) Vinyl LP's 801061023416801061023416 WARPLP235 BIBIO/SILVER WILKINSON(LP) Vinyl LP's 801061023515801061023515 WARPLP241 NIGHTMARES ON WAX/FEELIN Vinyl LP's 801061024116801061024116 WARPLP254X MOHAWKE,H/LANTERN(LTD 2LP) Vinyl LP's 801061825416801061825416 WARPLP271 RUSTIE/EVENIFUDONTBELIEVE(2LP) Vinyl LP's 801061027117801061027117 WARPLP272X ENO,B/THE SHIP(DLX LP) Vinyl LP's 801061827212801061827212 WARPLP276X BROWN,D/ATROCITY EXHIB(DLX 2LP Vinyl LP's 801061827618801061827618 WARPLP3 LFO/FREQUENCIES (REISSUE 2LP) Vinyl LP's 801061800314801061800314 WRP1401 PREFUSE73/SECURITYSCREENINGS Vinyl LP's 801061014018801061014018 WRP1471 GRIZZLY BEAR/YELLOW HOUSE (LP) Vinyl LP's 801061014711801061014711 WRP1611 SQUAREPUSHER/JUSTASOUVENIR(LP) Vinyl LP's 801061016111801061016111 WRP1621 CLARK/TURNING DRAGON (2LP) Vinyl LP's 801061016210801061016210 WRP1791 PREFUSE 73/EVERYTHING SHE TOUC Vinyl LP's 801061017910801061017910 WU00021 REVIVALISTS,THE/STRANGERS IN(L Vinyl LP's 888072008908 888072008908 ZR38941 ZAPPA,F/FINER MOMENTS(2LP) Vinyl LP's 824302389416 824302389416 8 24302 38941 68 01061 82721 2 8 01061 82761 88 01061 02051 4 8 01061 02081 1 8 01061 02091 0 8 01061 02221 1 8 01061 02281 5 8 01061 82301 6 8 01061 02341 6 8 01061 02351 5 8 01061 02411 6 8 01061 02711 7 8 01061 80031 4 8 01061 01401 8 8 01061 01471 1 8 01061 01611 1 8 01061 01621 0 8 01061 01791 08 01061 82541 6 8 88072 00890 8Catalogue Number Artist & Title Description Configuration Scannable UPC UPC B002448301 1975,THE/I LIKE IT WHEN YOU(LP Vinyl LP's 602547739377 602547739377 3771607 ABBA/LIVE AT WEMBLEY AREN(3LP) Vinyl LP's 602537716074 602537716074 GTD004LP ABSOLUTE MONARCH/1 (LP) Vinyl LP's 879198008668 879198008668 B002263601 ADAMS,R/LIVE AT CARNEGIE H(6LP Vinyl LP's 602547181497 602547181497 2537919864 ADAMS,R/NO SHADOW(7") 7" Vinyl Singles 602537919864 602537919864 B002594901 ADAMS,R/PRISONER(LP) Vinyl LP's 602557235548 602557235548 5729094 AIRBOURNE/IT'S ALL FOR RO(12'' Vinyl Singles 602557290943 602557290943 SD16671 AJJ/DECADE OF REGRESSION LI(LP Vinyl LP's 603967166712 603967166712 ER203771 ALABAMA AND FRIE/AT THE RYM(2L Vinyl LP's 826992037714 826992037714 DOG092 ALL AMERICAN REJE/ALL AMERI(LP Vinyl LP's 790168409219 790168409219 DOG1201 ALL AMERICAN REJECTS/MOVE A(LP Vinyl LP's 790168525216 790168525216 DOG120RSD ALL AMERICAN,THE/MOVE ALONG(L Vinyl LP's 790168960413 790168960413 SA001 ALL SMILES/OH FOR THE GETTING Vinyl LP's 614511764025 614511764025 5744394 ALLEN,T/A TRIBUTE TO ART(10") 10" Vinyl 602557443943 602557443943 SPRKSHN023LP AMAKER,B AND THE RODEO/CAPTAIN Vinyl LP's 751937411574 751937411574 SPRKSHN013 AMAKER,B AND THE RODEO/PLEASE Vinyl LP's 751937394419 751937394419 4921500518 AMARANTE,R/CAVALO(LP) Vinyl LP's 014921500518 014921500518 PTKF21111 AMAZING,THE/PICTURE YOU(LP) Vinyl LP's 720841211112 720841211112 DNR3447 ANDERSON,TERRY & THE OLYMPI(LP Vinyl LP's 091037003447 091037003447 2547730602 ANTI FLAG/LIVE ACOUSTIC AT(LP Vinyl LP's 602547730602 602547730602 VH00135 ANVIL/THIS IS THIRTEEN (LP) Vinyl LP's 894316001352 894316001352 CBR014LP APPETITE/SCATTERED SMOTHERED C Vinyl LP's 711574690213 711574690213 5734084 AQUA/AQUARIUM(LIGHT BLUE LP Vinyl LP's 602557340846 602557340846UNIVERSAL MUSIC DISCONTINUED LISTING / Liste de produits discontinues The following titles are no longer distributed by Universal Music Canada and are not returnable effective immediately. À compter de maintenant les titres suivants ne sont plus distribués par Universal Music Canada et ne sont pas retournables. ALPHABETICAL BY ARTIST / Alphabetique par artiste 6 02557 44394 36 02537 91986 4 6 02557 23554 86 02547 18149 7 8 26992 03771 46 02547 73937 7 6 02547 73060 26 02537 71607 4 6 02557 34084 68 79198 00866 8 7 11574 69021 30 91037 00344 76 14511 76402 5 7 51937 41157 4 7 51937 39441 97 90168 96041 3 8 94316 00135 27 90168 40921 9 7 90168 52521 6 7 20841 21111 26 03967 16671 2 0 14921 50051 86 02557 29094 35374810 AQUA/BARBIE GIRL(7'' PINK) 7" Vinyl Singles 600753748107 600753748107 MLLLP76V ARCHITECTS OF CH/THE LEAGUE(LP Vinyl LP's 727361694807 727361694807 873181 ARCHITECTS/LOST TOGETHER(LP) Vinyl LP's 045778731817 045778731817 DAV089 ARKELLS/COME TO LIGHT(7") 7" Vinyl Singles 602547025661 602547025661 0253790975 ARKELLS/HIGH NOON(LP) LTD Vinyl LP's 602537909759 6025379097590255712984 ARKELLS/MORNING REPORT(LP SPLI Vinyl LP's 602557129847 6025571298472537706655 ARTHUR,S/SOUND MIRROR(LP) Vinyl LP's 602537706655 602537706655 MLLLP47V ASTRAL DOORS/NOTES FROM THE(LP Vinyl LP's 727361691004 727361691004 DAV068 AT THE DRIVE IN/ACROBATIC T(LP Vinyl LP's 821826004801 821826004801 TFC003 AT THE DRIVE/RELATIONSHIP O(LP Vinyl LP's 634457605510 634457605510 PAPER058LP AUSTRA/FEEL IT BREAK(2LP) Vinyl LP's 880893005814880893005814 WARPLP234 AUTECHRE/EXAI(4LP) Vinyl LP's 801061023416801061023416 VILELP372 AUTOPSY/ALL TOMORROW'S FUN(2LP Vinyl LP's 801056837219 801056837219 2557252699 AVALANCHES,THE/SINCE I LEF(2LP Vinyl LP's 602557252699 602557252699 5362973 B B KING/LADIES & GENTLEME(2LP Vinyl LP's 600753629734 600753629734 2537723973 BABES/BABES(12"SINGLE) Vinyl Singles 602537723973 6025377239730253776104 BACHMAN-TURNER OVE/NOT FRAGI(L Vinyl LP's 602537761043 602537761043 HULP8148 BAD PLUS,THE/FOR ALL I CARE (2 Vinyl LP's 053361814816 053361814816 U53027 BADU,E/BADUIZM(LP) Vinyl LP's 601215302714 601215302714 B002547501 BADU,E/BUT YOU CAN'T USE(12''S Vinyl Singles 602557086072 602557086072 515057 BAMBOOS, T/4 (LP VERSION) Vinyl LP's 5060205150578 5060205150578430081 BAND, THE/BAND,THE Vinyl LP's 5099924300810 5099924300810886251 BAND, THE/CAHOOTS Vinyl LP's 5099968862510 5099968862510 GGML0166 BANTON,B/RASTA GOT SOUL (2LP) Vinyl LP's 856481001674 856481001674 5308577 BARDOT,B/GAINSBOURG/BONNIE(LP Vinyl LP's 600753085776 600753085776 SCR075LPX BARR BROTHERS,THE/QUEENS OF(LP Vinyl LP's 680341750040680341750040 5307094 BASHUNG,A/BLEU PETROLE (LPX2) Vinyl LP's 600753070949 600753070949 653151 BASHUNG,A/LIMPRUDENCE(LP) Vinyl LP's 044006531519 0440065315196 02547 02566 16 00753 74810 7 6 00753 07094 9 0 44006 53151 96 02537 70665 5 5 099968 862510 5 099924 300810 6 02557 25269 9 6 00753 62973 4 6 00753 08577 66 02537 76104 36 02537 90975 9 6 02557 12984 7 6 01215 30271 48 01056 83721 9 6 80341 75004 08 80893 00581 4 8 01061 02341 60 45778 73181 7 8 21826 00480 1 6 34457 60551 07 27361 69100 47 27361 69480 7 0 53361 81481 6 8 56481 00167 45 060205 150578 6 02537 72397 3 6 02557 08607 25733475 BASTILLE/COMFORT OF STRANG(7'' 7" Vinyl Singles 602557334753 602557334753 4768931 BASTILLE/HANGIN(7'') 7" Vinyl Singles 602547689313 602547689313 CBR013LP BAUER,M/THE JESSAMINE COUNTY B Vinyl LP's 711574685318 711574685318 B002566101 BAY,J/CHAOS AND THE CALM LIV(L Vinyl LP's 602557139044 602557139044B002451301 BAY,J/CHAOS AND THE CALM(LP) Vinyl LP's 602547746733 602547746733B002113001 BEACH BOYS,THE/LOVE YOU(LP) Vinyl LP's 602537899340 602537899340 981741 BEACH BOYS/SUNFLOWER Vinyl LP's 5099969817410 5099969817410174017 BEATLES, T/LOVE ME DO Vinyl LP's 5099901740172 5099901740172994261 BEATLES, T/SGT. PEPPER'S LONEL Vinyl LP's 5099969942617 5099969942617 3782572 BEATLES,THE/A HARD DAY'S NI(LP Vinyl LP's 602537825721 6025378257213782574 BEATLES,THE/HELP(LP) Vinyl LP's 602537825745 6025378257453782591 BEATLES,THE/MAGICAL MYSTERY(LP Vinyl LP's 602537825912 6025378259125738561 BEATLES,THE/PENNY LANE/STR(7'' 7" Vinyl Singles 602557385618 6025573856183782570 BEATLES,THE/PLEASE PLEASE ME(L Vinyl LP's 602537825707 6025378257073782576 BEATLES,THE/REVOLVER(LP) Vinyl LP's 602537825769 6025378257693782577 BEATLES,THE/SGT PEPPER'S L(LP) Vinyl LP's 602537825776 602537825776 SEX1301LP BEAUMONTS,THE/WHERE DO(10''LP 10" Vinyl 614511809221 614511809221 88088217721 BEES,THE/EVERY STEP'S A YES(LP Vinyl LP's 880882177218880882177218 854101 BENTLEY,D/UP ON THE RIDGE(LP) Vinyl LP's 5099968541019 5099968541019 2547625793 BEST COAST/LATE 20S B/W BI(7'' 7" Vinyl Singles 602547625793 602547625793 WARPLP209 BIBIO/MIND BROKEH(LP) Vinyl LP's 801061020910801061020910 WARPLP235 BIBIO/SILVER WILKINSON(LP) Vinyl LP's 801061023515801061023515 B002450901 BIEBER,J/PURPOSE(LP) Vinyl LP's 602547746399 602547746399B001450401 BIG BOI/SIR LUSCIOUS LEFT FOOT Vinyl LP's 602527433806 602527433806B000479911 BLACK EYED PEAS/DON'T PHUNK WI Vinyl Singles 602498824283 602498824283B001252201 BLACK JOE LEWIS & THE HONE/TEL Vinyl LP's 602517953550 602517953550B001521501 BLACK JOE LEWIS/SCANDALOUS (2L Vinyl LP's 602527610078 602527610078 250191 BLACK LABEL SOCIETY/SKULLAGE(L Vinyl Singles 826992501918 826992501918 6 14511 80922 16 02557 38561 8 6 02547 62579 36 02547 68931 36 02557 33475 3 5 099901 740172 6 02537 82570 76 02537 82572 1 6 02537 82576 96 02537 82591 25 099969 942617 6 02537 82574 5 6 02537 82577 65 099969 817410 6 02537 89934 0 5 099968 541019 6 02527 43380 66 02547 74639 9 6 02527 61007 86 02517 95355 06 02547 74673 36 02557 13904 47 11574 68531 8 8 01061 02091 0 8 01061 02351 58 80882 17721 8 8 26992 50191 86 02498 82428 3B001781701 BLACK VEIL BRID/WRETCHED AN(2L Vinyl LP's 602537220977 602537220977 NCR006 BLACK WHALES/RATTLE YER BONES 7" Vinyl Singles 614511774024 614511774024 B002531401 BLACK,A/THE SHADOW SIDE(LP) Vinyl LP's 602557013498 602557013498 5375071 BLACKSTREET/NO DIGGITY(12''SIN Vinyl Singles 600753750711 600753750711 B001033301 BLIGE,MJ/GROWING PAINS Vinyl LP's 602517524217 602517524217 072007 BLOC PARTY/FOUR Vinyl LP's 827590720077 827590720077 5729760 BLOSSOMS/UNPLUGGED AT FES(10'' 10" Vinyl 602557297607 6025572976074767882 BLUESOLOGY/COME BACK BABY(7'') 7" Vinyl Singles 602547678829 6025476788294812052 BOCELLI,A/CINEMA(2LP) Vinyl LP's 028948120529 028948120529 CVLP0016CD BOHLKE,S/GHOST BOY(LP) Vinyl LP's 882167000198 882167000198 CV0002LP BOHLKE,S/QUIET YE VOICES/THE W Vinyl LP's 633910425313 633910425313 STX3449201 BOOKER T/SOUND THE ALARM(LP) Vinyl LP's 888072344921 888072344921 B002442801 BORNS/LIVE AT KCRW'S MORNIN(LP Vinyl LP's 602547739155 602547739155 RPM067LP BOTTLES AND SKULLS/SCREAM SCRE 7" Vinyl Singles 698715006716 698715006716 1772033611 BOY SETS FIRE/BOY SETS FIRE(LP Vinyl LP's 811772033611 811772033611 COOKLP580 BRAGG,B/TOOTH & NAIL(LP) Vinyl LP's 711297498011 711297498011 B002550001 BRIGGS,B/BISHOP BRIGGS(LP) Vinyl LP's 602557095302 602557095302 005001 BROKEN SOCIAL SCENE/FEEL GOOD Vinyl LP's 827590050013 827590050013 PBRD1104 BROOD,E/TIN TYPE(LP) Vinyl LP's 880893110426880893110426 ECLECLP2178 BROWN,A/THE CRAZY WORLD OF(LP) Vinyl LP's 5013929467811 5013929467811 10WAP399 BROWN,D/AIN'T IT FUNNY(10") Vinyl LP's 801061939915801061939915 WARPLP276X BROWN,D/ATROCITY EXHIB(DLX 2LP Vinyl LP's 801061827618801061827618 5707828819 BROWNE,C & THE BA/BABY CAUG(LP Vinyl LP's 015707828819 015707828819 4785104 BUGG,J/ON MY ONE BOX(D2C EXCL Vinyl LP's 602547851048 6025478510485726671 BUGGLES,THE/VIDEO KILLED TH(12 Vinyl Singles 602557266719 602557266719 RPM0781 BURNS,B AND THE BREAKUPS/TERMI Vinyl LP's 698715007812 698715007812 277731 BUSH, KATE/DIRECTOR'S CUT Vinyl LP's 5099902777313 5099902777313 88697814211 CAGE THE ELEPHANT/THANK YOU HA Vinyl LP's 886978142115 8869781421156 02557 29760 7 6 02547 67882 96 14511 77402 4 6 98715 00671 6 8 86978 14211 56 02517 52421 7 6 02547 73915 50 28948 12052 96 02557 01349 8 6 02557 09530 26 02537 22097 7 6 02547 85104 86 33910 42531 38 82167 00019 8 6 98715 00781 25 013929 467811 8 01061 82761 88 80893 11042 6 8 01061 93991 58 27590 72007 7 8 27590 05001 38 11772 03361 1 0 15707 82881 98 88072 34492 1 7 11297 49801 1 5 099902 777313 6 00753 75071 1 6 02557 26671 9B001554301 CAILLAT,C/ALL OF YOU (LP) Vinyl LP's 602527680996 602527680996 4784712 CALLEJA,J/BE MY LOVE A TRIB(LP Vinyl LP's 028947847120 028947847120 B001115911 CAREY,M/TOUCH MY BODY(DANCE RE Vinyl EP 602517676459 602517676459 MVD8174LP CASALE,G/IT'S ALL DEVO(12" S) Vinyl Singles 760137817413 760137817413 5346143 CASH,J/AMERICAN II UNCHAINE(LP Vinyl LP's 600753461433 600753461433 75344170 CASH,J/AMERICAN III SOLITAR(LP Vinyl LP's 600753441701 600753441701 B002176321 CASH,R/THE SUNKEN LANDS(7'') 7" Vinyl Singles 602537996827 602537996827 5732422 CATFISH AND THE BO/THE BALCONY Vinyl LP's 602557324228 602557324228 DUHFLP33 CAVERN OF ANTI/VOID BEATS(3LP Vinyl LP's 50603846106105060384610610 CLT0151 CEREBRAL BALLZY/JADED AND F(LP Vinyl LP's 616892209645 616892209645 3780518 CHARLES AZNAVOUR/90E ANNIV(2LP Vinyl LP's 602537805181 602537805181 BMRCT0050A CHEAP TRICK/FOUND NEW PART(10" 10" Vinyl 843930022427 843930022427 5717785 CHEMICAL BR/C H E M I C A L(12 Vinyl Singles 602557177855 602557177855 2357160277 CHEMICAL BROTH,THE/DIG YOUR(2L Vinyl LP's 602557160277 6025571602772557173260 CHEMICAL BROTH,THE/SURRENDER(2 Vinyl LP's 602557173260 6025571732602557160482 CHEMICAL BROTHERS,TH/FURTHER(2 Vinyl LP's 602557160482 6025571604822557160314 CHEMICAL BROTHERS,THE/COMES(2L Vinyl LP's 602557160314 6025571603142557160222 CHEMICAL BROTHERS,THE/EXIT(2LP Vinyl LP's 602557160222 6025571602222557160345 CHEMICAL BROTHERS,THE/PUSH(2LP Vinyl LP's 602557160345 6025571603452557160413 CHEMICAL BROTHERS,THE/WE ARE(2 Vinyl LP's 602557160413 602557160413 DWT70382P CHET FAKER/BUILT ON GLASS(LP) Vinyl LP's 878037028294 878037028294 2760729 CHILDREN OF BODOM/RELENTLESS R Vinyl LP's 602527607290 602527607290 B002536101 CHIPMUNKS,THE/CHRISTMAS(HMV EX Vinyl LP's 602557037494 602557037494 VVLP007 CHUCK B/THE ESSENTIAL TRAC(2LP Vinyl LP's 805520550079 805520550079 B002662301 CHURCH,E/CAUGHT IN THE ACT(2LP Vinyl LP's 602557565591 602557565591B002568501 CHURCH,E/ON THE ROCKS LIVE(LP) Vinyl LP's 602557143126 602557143126 513588 CLAPTON,E/I STILL DO(USB+DENIM USB STICK 822685135804 822685135804 EV307399 CLAPTON,E/SLOWHAND AT 70(DVD+3 vinyl with dvd 801213073993 8012130739938 43930 02242 76 02537 99682 76 02517 67645 9 6 02537 80518 1 6 02557 03749 4 6 02557 14312 66 02557 56559 10 28947 84712 0 8 78037 02829 46 00753 46143 3 6 00753 44170 1 6 02557 32422 8 6 02527 60729 06 02527 68099 6 6 02557 16027 7 6 02557 16022 26 02557 16031 4 6 02557 16034 5 6 02557 16041 36 02557 16048 26 02557 17326 0 8 05520 55007 95 060384 610610 6 16892 20964 5 6 02557 17785 57 60137 81741 3 8 01213 07399 38 22685 13580 4WARPLP222 CLARK/IRADELPHIC (LP) Vinyl LP's 801061022211801061022211 WAP22112 CLARK/TEDEP(12"VYL) Vinyl EP 801061922115801061922115 WRP1621 CLARK/TURNING DRAGON (2LP) Vinyl LP's 801061016210801061016210 5678683985 CLOUD CONTROL/DREAM CAVE(LP) Vinyl LP's 075678683985 0756786839852233901520 CLUB 8/PLEASURE(LP) Vinyl LP's 7332233901520 7332233901520 4797282 COCKER,J/GONZALES,C/ROOM 29(LP Vinyl LP's 028947972822 0289479728225735405 COCTEAU TWINS/FOUR CALENDA(2LP Vinyl LP's 602557354058 6025573540585735401 COCTEAU TWINS/MILK AND KIS(2LP Vinyl LP's 602557354010 602557354010 DTC54563 COEUR DE PIRATE/ROSES(LP) Vinyl LP's 619061456352 619061456352 HHI001V COHEED AND CAM/THE AFTERMAN(LP Vinyl LP's 881034151674 881034151674HHI005V COHEED AND/THE AFTERMAN BIG LP Vinyl LP's 793573187765 793573187765 COOKLP594 COHEN,A/WE GO HOME(LP) Vinyl LP's 711297499414 711297499414 DWT70364 COLD WAR KIDS/DEAR MISS(LP)(LT Vinyl LP's 878037027778 878037027778 B002536201 COLE,N K/THE CHRISTMAS(HMV EXC Vinyl LP's 602557037593 602557037593 6S229005 COLLINS, S/ADIEU TO OLD ENGLAN Vinyl LP's 8712618900512 8712618900512 427791 CONNORS,S/BALLAD OF STOMPI(LP Vinyl LP's 5099924277914 5099924277914002305 CONSTANTINES/OUR AGE + FUCKIN Vinyl Singles 827590023055 827590023055 HRM32700 COSTELLO,E/NATIONAL RANSOM(LP) Vinyl LP's 888072327009 888072327009 3757285 COSTELLO/THE ROOT/WISE(12''EP Vinyl EP 602537572854 602537572854 5707928311 COTTON,J/CUT YOU LOOSE(LP) Vinyl LP's 015707928311 015707928311 BMC00014 COUNT FIVE/PSYCHOTIC REACTI(LP Vinyl LP's 888072021907 888072021907 3783738 COUTURE,C/IMMORTEL(LP) Vinyl LP's 602537837380 602537837380 FNG005LP COYKENDALL,M/CHASING AWAY T(LP Vinyl LP's 857674003062 857674003062 C8S8888 CRAZY 8S/BIG LIVE NUT PACK (LP Vinyl LP's 041958888821 041958888821C8S4014 CRAZY 8S/DOGGAPOTAMUS (LP) Vinyl LP's 041958401419 041958401419C8S4012 CRAZY 8S/NERVOUS IN SUBURBIA(L Vinyl LP's 614511775526 614511775526C8S4013 CRAZY 8S/OUT OF THE WAY (LP) Vinyl LP's 614511775625 614511775625 5354841 CREAM/CREAM 1966 TO 1972(6LP B Vinyl LP's 600753548417 6007535484176 02537 57285 48 01061 92211 5 6 02557 03759 30 28947 97282 2 8 78037 02777 8 5 099924 277914 8 81034 15167 4 7 93573 18776 5 6 02537 83738 0 6 00753 54841 77 11297 49941 46 02557 35401 06 02557 35405 8 6 19061 45635 2 8 57674 00306 2 6 14511 77552 6 6 14511 77562 50 41958 40141 90 41958 88882 18 712618 900512 8 01061 02221 1 8 01061 01621 0 0 75678 68398 5 0 15707 92831 1 8 88072 02190 78 88072 32700 97 332233 901520 8 27590 02305 5FAN31868 CREEDENCE CLEA/THE SINGLE(15 L Vinyl LP's 888072318687 888072318687 FAN3532901 CREEDENCE CLEAR/THE 69 SING(10 10" Vinyl 888072353299 888072353299 FAN37435 CREEDENCE CLEARW/COSMO'S FA(LP Vinyl LP's 888072374355 888072374355 B001299001 CROSS CANADA RAGWEED/HAPPINESS Vinyl LP's 602527134734 602527134734 CLEFT007V CROWELL ,C/CHELSEA CROWELL (LP Vinyl LP's 614511796729 614511796729 CLF019 CROWELL,C/CRYSTAL CITY Vinyl LP's 091037092533 091037092533 IF1034LP CUBENX/ELEGIAC(LP) Vinyl LP's 37003987144933700398714493 GRL10137 CZUKAY,H/DER OSTEN IST RO(10'' 10" Vinyl 5060238631570 5060238631570 GRLLP158 CZUKAY,H/MOVIE(LP COLOUR) Vinyl LP's 5060238632584 5060238632584GRLLP134 CZUKAY,H/ON THE WAY TO THE(LP Vinyl LP's 5060238631402 5060238631402 GRLLP134P CZUKAY,H/ON THE WAY TO THE(LP Vinyl LP's 5060238631334 5060238631334 3779740 DAHO,E/LES CHANSONS DE LINN(LP Vinyl LP's 602537797400 6025377974003773993 DALLE,B/DIPLOID LOVE(LP) Vinyl LP's 602537739936 6025377399363780364 DALLE,B/DONT MESS WITH ME(7'') 7" Vinyl Singles 602537803644 602537803644 066001B DARCY'S, T/AJA Vinyl LP's 827590660014 827590660014 ESC005LP DAVIS,J/THE CUTTING ROOM FLOOR Vinyl LP's 614511770620 614511770620 PRS3600901 DAVIS,M/THE PRESTIGE CO(5 10" 10" Vinyl 888072360099 888072360099 PRS36036 DAVIS,M/THE PRESTIGE V02(5X10" 10" Vinyl 888072360365 888072360365 CFR001LP DAWSON ,K/THUNDER THIGHS (2LP) Vinyl LP's 614511789028 614511789028 202191 DEAD SWANS/SLEEPWALKERS Vinyl LP's 811772021915 811772021915 DGB121 DEARS,THE/TIMES INFINITY V1(LP Vinyl LP's 842803012114842803012114 SUGLP04094 DEEP DARK WOO,THE/JUBILEE(2LP) Vinyl LP's 015891409412 015891409412 5726672 DEF LEPPARD/BLUDGEAN RIFFOL(LP Vinyl EP 602557266726 602557266726 B002375001 DEL REY,L/HONEYMOON(2 LP RED Vinyl LP's 602547488299 602547488299 DUA16741 DELTA SPIRIT/INTO THE WIDE(LP) Vinyl LP's 803020167414 803020167414 RPM039LP DEMONICS, THE/DUNE BUGGY GANG 7" Vinyl Singles 698715003913 698715003913 MB003LP DENVER/DENVER(LP) Vinyl LP's 616892053545 616892053545 MCA26896 DIAMOND,N/HOT AUGUST NIGHT(2LP Vinyl LP's 076732689615 0767326896158 88072 35329 9 8 88072 36009 9 8 88072 36036 55 060238 631570 6 98715 00391 36 02537 80364 4 6 02557 26672 6 6 02547 48829 9 0 76732 68961 56 02537 79740 06 02527 13473 4 6 16892 05354 56 14511 79672 9 0 91037 09253 3 6 14511 78902 86 14511 77062 0 8 42803 01211 43 700398 714493 8 27590 66001 4 8 11772 02191 5 0 15891 40941 28 88072 31868 7 8 88072 37435 5 8 03020 16741 45 060238 632584 5 060238 631402 5 060238 631334 6 02537 73993 6RBR001LP DIANE,A/ABOUT FAREWELL(LP) Vinyl LP's 723175798878 723175798878 TCR001 DIMES, THE/THE KING CAN DRINK Vinyl LP's 614511769921 614511769921 GRLLPGRON124 DINGER,K/JAPAN/JAPANDORF(12"L Vinyl Singles 5060238631044 5060238631044 ER203211 DIO/FINDING THE SACRED HEAR(LP Vinyl LP's 826992032115 826992032115 3742897 DISCLOSURE/YOU & ME THE(12''LP Vinyl Singles 602537428977 6025374289773764813 DISLOSURE KEABLE,S/VOICES(LP) Vinyl LP's 602537648139 602537648139 ESALP700035 DISSECTION/LIVE IN STOCKHO(2LP Vinyl LP's 878667000356 878667000356 5707657617 DOC/WATSON,M/BALLADS FROM T(LP Vinyl LP's 015707657617 015707657617 B002006001 DOLPHY,E/OUT TO LUNCH(LP) Vinyl LP's 602537714131 602537714131 VVLP008 DOMINO F/THE ESSENTIAL TRAC(2L Vinyl LP's 805520550086 805520550086 4921500617 DONKEYS,THE/RIDE THE BLACK(LP Vinyl LP's 014921500617 0149215006175891409818 DONNA THE BUF/TONIGHT TOMOR(LP Vinyl LP's 015891409818 015891409818 RPM054 DRAGONS,THE/ROCK'N'ROLL KAMAKA Vinyl LP's 698715005412 698715005412 3732604 DRAKE,N/NICK DRAKE(12''LP) Vinyl LP's 602537326044 602537326044 SD15351 DRESSES/SUN SHY(LP) Vinyl Singles 603967153514 603967153514 B002110901 DREW,K/UNDERCURRENT(LP) Vinyl LP's 602537898947 602537898947 FNG003LP DRUNKEN PRAYER/INTO THE MIS(LP Vinyl LP's 857674003055 857674003055 RPM072LP DT'S, THE/LIGHT'S OUT (7"VYL) 7" Vinyl Singles 698715007218 698715007218 SBESTLP69 DUB PISTOLS/RETURN OF THE(LP) Vinyl LP's 50510830893575051083089357 4790083 DUDAMEL,G/MENDELSSOHN SYMPHONY Vinyl LP's 028947900832 028947900832 LMD38 DYKERITZ/REARRANGEROLOGYISTICS Vinyl LP's 751937330929 751937330929 SHIP003LP EARLIMART/SYSTEM PREFERENC(2LP Vinyl LP's 614511805421 614511805421 88807236141 EARLS OF LEICESTER/EARLS OF(LP Vinyl LP's 888072361416 888072361416 3020674181 EASY BEATS,THE/GOOD FRIDAY(LP) Vinyl LP's 030206741810 030206741810 ES1014V EASY STAR ALL-STARS/RADIOREAD: Vinyl LP's 657481101414657481101414 FITB28LP ECID/WEREWOLF HOLOGRAM D(2LP) Vinyl LP's 789577678712 789577678712 IWRLP83047 ECLIPSE/ARMAGEDDONIZE Vinyl LP's 4018996237856 4018996237856 4921500815 EDJ/EDJ(LP) Vinyl LP's 014921500815 0149215008156 98715 00721 86 02537 71413 1 6 02537 89894 7 0 28947 90083 28 26992 03211 5 6 02537 64813 9 6 02537 32604 4 6 14511 80542 1 7 89577 67871 28 57674 00305 5 7 51937 33092 97 23175 79887 8 6 14511 76992 1 6 98715 00541 28 05520 55008 6 5 051083 089357 6 57481 10141 40 15707 65761 7 0 15891 40981 8 8 88072 36141 68 78667 00035 6 4 018996 237856 0 30206 74181 00 14921 50061 7 0 14921 50081 56 02537 42897 75 060238 631044 6 03967 15351 4GRLLP140 ELLINGTON,D/HIS OR/THE CONNY(L Vinyl LP's 5060238631716 5060238631716 B002200901 EMINEM/THE VINYL LP'S(10 LP) Vinyl LP's 602547036995 602547036995 CANDLE722135 EMPEROR/ANTHEMS TO THE WELK(LP Vinyl LP's 602557221350 602557221350 WARPLP272X ENO,B/THE SHIP(DLX LP) Vinyl LP's 801061827212801061827212 TR007B ETTES,THE/NO HOME (7" BLACK VI 7" Vinyl Singles 614511765428 614511765428 4921501218 FAITHFULL,M/GIVE MY LOVE TO(LP Vinyl LP's 014921501218 014921501218 714251 FAKE PROBL/REAL GHOSTS CAUGHT Vinyl LP's 603967142518 603967142518 B002458001 FALLON,B/GEORGIA(10'') 10" Vinyl 602547768698 602547768698 3736790 FALTSKOG,A/A(LP) Vinyl LP's 602537367900 6025373679005292601 FARMER,M/ANAMORPHOSEE Vinyl LP's 731452926012 7314529260125310126 FARMER,M/POINT DE SUTURE(2LP) Vinyl LP's 600753101261 6007531012615351452 FAUST/FAUST(LP) Vinyl LP's 600753514528 6007535145284761060 FERRY,B/THE ISLAND SINGLE(6X7" 7" Vinyl Singles 602547610607 602547610607 1166136408 FLECK,B/WASHBUR/MODERN TIME(LP Vinyl LP's 888072364080 888072364080 714131 FLOGGING M/LIVE AT THE GREEK T Vinyl LP's 603967141313 603967141313 SD15831 FLOGGING MOLLY/DRUNKEN LULLA(L Vinyl LP's 603967158311 603967158311SD15841 FLOGGING MOLLY/SWAGGER(LP) Vinyl LP's 603967158410 603967158410 4773660 FLORENCE AND THE/DELILAH(12" Vinyl Singles 602547736604 602547736604 WARPLP195R FLYING LOTUS/COSMOGRAMMA ALT T Vinyl LP's 08010618195140801061819514 WARPLP230X FLYING LOTUS/UNTIL THE (2VYL Vinyl LP's 801061823016801061823016 B001410101 FOUR YEAR STRONG/ENEMY OF THE Vinyl LP's 602527342474 602527342474 BB0212LP FRANCKE,S/LOVE IMPLIED(2LP) Vinyl LP's 614511808828 614511808828 2765299 FRANCOIS,C/COMME D'HABITUDE(LP Vinyl LP's 602527652993 6025276529933771021 FRANCOIS,C/DOUBLE BEST OF(2LP) Vinyl LP's 602537710218 602537710218 SB0037LP FREDDIE STEADY 5,THE/1000 M(LP Vinyl LP's 614511793827 614511793827 TR008LP FRENCH MIAMI/FRENCH MIAMI (LP) Vinyl LP's 790168653414 790168653414 PGLPR1X GABRIEL,P/PETER GABRIEL 1(2LP) Vinyl LP's 884108003206 884108003206PGLPR3X GABRIEL,P/PETER GABRIEL 3(2LP) Vinyl LP's 884108003282 8841080032826 02547 76869 8 6 02547 61060 76 14511 76542 86 02547 03699 5 6 02537 71021 86 02537 36790 0 7 31452 92601 2 6 00753 10126 16 02557 22135 0 6 02527 65299 36 00753 51452 8 6 02527 34247 4 6 14511 80882 8 6 14511 79382 7 7 90168 65341 48 01061 82721 2 0 801061 819514 8 01061 82301 68 88072 36408 05 060238 631716 8 84108 00320 6 8 84108 00328 26 03967 14131 3 6 03967 15841 06 03967 14251 80 14921 50121 8 6 03967 15831 1 6 02547 73660 4PGLPR4X GABRIEL,P/PETER GABRIEL 4(2LP) Vinyl LP's 884108003350 884108003350 PGLPR5X GABRIEL,P/SO(2LP) Vinyl LP's 884108004340 884108004340 PGLPR11X GABRIEL,P/UP(3LP) Vinyl LP's 884108004432 884108004432 PGLPR7X GABRIEL,P/US(3LP) Vinyl LP's 884108004388 884108004388 3771005 GAINSBOURG,S/DOUBLE BEST OF(2L Vinyl LP's 602537710058 6025377100585371845 GAINSBOURG,S/VU DE L' EXTER(LP Vinyl LP's 600753718452 600753718452 STNVOL024L GARBAGE/STRANGE LITTLE BIRDS(L Vinyl LP's 4050538198942 4050538198942 SD15371 GASLIGHT ANT,THE/THE B SIDE(LP Vinyl LP's 603967153712 603967153712 B001688721 GASLIGHT ANTHEM/45/YOU GO(7"LP 7" Vinyl Singles 602537038152 602537038152 5370306 GAYE,M/WHAT'S GOING ON(4LP) Vinyl LP's 600753703069 600753703069 GTD007 GAYTHEIST/STEALTH BEATS (LP) Vinyl LP's 879198009504 879198009504 FR2055LP GEISSMAN,G/BOP BANG BOOM(2LP Vinyl LP's 859516001038 859516001038 DOG047LP GET UP KIDS,THE/FOUR MINUTE(LP Vinyl LP's 790168629211 790168629211 DOG066 GET UP KIDS,THE/SOMETHING T(LP Vinyl LP's 762186487913 762186487913 B000615501 GHOSTFACEKILLAH/FISHSCALE Vinyl LP's 602498799048 602498799048B001865501 GILL,V/BAKERSFIELD(LP) Vinyl LP's 602537455096 602537455096 SVY16068 GILLESPIE,D/THE CHAMP(LP) Vinyl LP's 795041606815 795041606815 270271 GO GO'S/BEAUTY & THE BEAT(30T Vinyl LP's 5099902702711 5099902702711 4774317 GOGO PENGUIN/LIVE AT ABBE(10'' 10" Vinyl 602547743176 602547743176 RUB62 GOGOL BORDELLO/EAST INFECTION Vinyl LP's 676180006219676180006219 SD15851 GOGOL,B/GYPSY PUNKS(LP) Vinyl LP's 603967158519 603967158519 WARP286LP GONJASUFI/MANDELA EFFECT(LP) Vinyl LP's 801061028619801061028619 0252772260 GOOD,M/LIGHTS OF ENDANGERED SP Vinyl LP's 602527722603 602527722603 LNKLP91 GORDON ,R/I'M COMING HOME(LP) Vinyl LP's 633090364068 633090364068 BURVIN011 GRAND DUCHY/NINE REMIXES BY(LP Vinyl LP's 755491593318 755491593318 HAD001LP GRAND LAKE/BLOOD SEA DREAM (LP Vinyl LP's 013964136234 013964136234 CVLP0011 GREAT BOOK OF JOHN,THE/GREAT Vinyl LP's 882167000037 882167000037CV0001LP GREAT BOOK OF JOHN,THE/LET ME Vinyl LP's 633914025410 6339140254106 02547 74317 66 02537 03815 2 5 099902 702711 6 02498 79904 8 6 02537 45509 66 00753 71845 26 02537 71005 8 6 00753 70306 9 6 02527 72260 38 59516 00103 88 79198 00950 4 7 55491 59331 8 6 33914 02541 08 82167 00003 70 13964 13623 46 76180 00621 9 8 01061 02861 94 050538 198942 7 90168 62921 1 7 62186 48791 3 6 33090 36406 88 84108 00335 0 8 84108 00434 0 8 84108 00438 8 7 95041 60681 56 03967 15371 2 6 03967 15851 98 84108 00443 2212901 GREEN, GRA/STREET OF DREAMS Vinyl LP's 724382129011 724382129011 CVLP0014 GRENADINES,THE/THE GRENADIN(LP Vinyl LP's 882167000143 882167000143 WRP1471 GRIZZLY BEAR/YELLOW HOUSE (LP) Vinyl LP's 801061014711801061014711 GRLLP863095 GRONEMEYER,H/I WALK(2LP) Vinyl Singles 5060238630955 5060238630955 AMIG009LP GROW,D & THE PASTORS WIVES/GRO Vinyl LP's 859704285844 859704285844 B001481701 GUSTER/EASY WONDERFUL (LP) Vinyl LP's 602527501987 602527501987 1166111651 GUTHRIE,W/WOODY THE AGITATOR(L Vinyl LP's 011661116511 0116611165111166111641 GUTHRIE,W/WOODY'S ROOTS (LP) Vinyl LP's 011661116412 011661116412 780351 HAGGARD, M/I AM WHAT I AM Vinyl LP's 015707803519 015707803519782081 HAGGARD, M/WORKING IN TENNESSE Vinyl LP's 015707820813 015707820813120551 HAGGARD,M/SWINGING DOORS(LP) Vinyl LP's 5099991205513 5099991205513 5707838917 HALL,T/CHAPTER OF THE FORE(2LP Vinyl LP's 015707838917 015707838917 GRLLP150 HARMONIA/COMPLETE WORKS(5XLP) Vinyl LP's 5060238632065 5060238632065GRLLP152 HARMONIA/DOCUMENTS(LP COLOUR) Vinyl LP's 5060238632614 5060238632614 441781 HARPER, BE/WILL TO LIVE Vinyl LP's 724384417819 724384417819 5709040 HARRISON,G/ALL THINGS MUST(3LP Vinyl LP's 602557090406 602557090406 B002187301 HASSELL,J/LAST NIGHT THE MO(2L Vinyl LP's 602527475950 602527475950 33361 HAYNES,W/RIVERS GONNA RISE Vinyl Singles 888072333611 888072333611 PTKF21201 HEARTLESS BASTARDS/RESTLESS(LP Vinyl LP's 720841212010 720841212010 HAD003LP HEAVENLY STATES,THE/OUI CAMERA Vinyl LP's 751937407218 751937407218 PAPER079LP HECKER,T/VIRGINS(LP) Vinyl LP's 880893007917880893007917 GDP060VLP HELIGOATS,THE/BACK TO THE AC(L Vinyl LP's 616892089049 616892089049 GDP044V HELIGOATS,THE/GOODNESS GRAC(LP Vinyl LP's 616892043140 616892043140GDP033V HELIGOATS,THE/THE END OF AL(LP Vinyl LP's 751937416616 751937416616 MVD8224LP HELLO KITTY/HELLO WORLD(LP) Vinyl LP's 760137822417 760137822417 5722671 HER/TAPE 1 LIVE(LP) Vinyl LP's 602557226713 602557226713 SEX20111V HICKOIDS/KICKING IT WITH THE T Vinyl LP's 614511777827 614511777827 SEX1304 HICKOIDS/THE GRANN/300 YEAR(LP Vinyl LP's 614511813921 6145118139216 02557 09040 6 6 02557 22671 37 24382 12901 1 5 099991 205513 6 02527 47595 06 02527 50198 7 7 24384 41781 9 7 51937 40721 88 59704 28584 48 82167 00014 3 7 51937 41661 66 16892 04314 06 16892 08904 9 6 14511 81392 16 14511 77782 77 60137 82241 78 80893 00791 78 01061 01471 1 0 15707 83891 70 15707 80351 9 0 15707 82081 3 7 20841 21201 05 060238 632614 5 060238 632065 0 11661 11641 20 11661 11651 1 8 88072 33361 15 060238 630955 ORLP7271 HICKS,T/SHAKE THESE WALLS(LP) Vinyl LP's 823674727116823674727116 3754049 HILLAGE,S/FISH RISING(LP) Vinyl LP's 602537540495 602537540495 B001796401 HINDER/WELCOME TO THE FREAL(LP Vinyl LP's 602537258925 602537258925 HJALTALIN003 HJALTALIN/ENTER 4(LP) Vinyl LP's 4024572637040 4024572637040 RMR024 HOLLERADO/111 SONGS(7") 7" Vinyl Singles 680889064852 680889064852 VVLP006 HOLLY,B/THE ESSENTIAL TRAC(2LP Vinyl LP's 805520550062 805520550062 HH001LP HOLY HAIL/THE DYING(AFTER)PART Vinyl LP's 614511770125 614511770125 VJR37597 HOOKER,J E/TWO SIDES OF(LP) Vinyl LP's 888072375970 888072375970 0205156389 HOT 8 BRAS/VICENNIAL 20 YE(2LP Vinyl LP's 5060205156389 5060205156389 ROC3389 HOUSE,S/LIVE AT OBERLIN COL(LP Vinyl LP's 089353338923 089353338923 4921500310 HOWLIN RAIN/THE DONKEYS EA(7'' 7" Vinyl Singles 014921500310 014921500310 TNB010LP HUNTING ACCIDENT,THE/THE HUNTI Vinyl LP's 614511785129 614511785129 TNB014 HUNTING ACCIDENT,THE/TREES (LP Vinyl LP's 614511802529 614511802529 MVD8220LP HUSKER DU/IN A FREE LAND(7'') 7" Vinyl Singles 760137822011 760137822011 B002043101 HUTCHERSON,B/TOTAL ECLIPSE(LP) Vinyl LP's 602537782147 602537782147 2547005847 HYNDE,C/STOCKHOLM(LP) Vinyl LP's 602547005847 602547005847 RPM037LP HYPNOMEN, THE/ALTAMONT BOOGALO 7" Vinyl Singles 698715003715 698715003715 5734035 I AM/REVOLUTION(3XLP) Vinyl LP's 602557340358 602557340358 GDP061LP I WAS TOTALLY D/VEXATIONS (LP) Vinyl LP's 751937415312 751937415312GDP048LP I WAS TOTALLY DESTROYING IT/PR Vinyl LP's 619981316118 619981316118 3770015 IAM/IAM NOIR(LP) Vinyl LP's 602537700158 602537700158 LFR33LP IFIHADAHIFI/NADA SURF EP+3 (LP Vinyl LP's 825576110126 825576110126 FREUDLP096 IGGY AND THE STO/METALLIC KO(L Vinyl LP's 5013145209615 5013145209615 LVR00071 IGGY POP/POST POP DEPRESSION(3 Vinyl LP's 888072015401 888072015401 DV9045LP ILLA J/YANCEY BOYS (LP) Vinyl LP's 829357904515829357904515 3778292 IMELDAMAY/TRIBAL(2LP) Vinyl LP's 602537782925 602537782925 LMD43 IN MONO/ARK OF WAR(LP Vinyl LP's 723721584153 723721584153 3754069 INNER CITY/GOOD LIFE(12") Vinyl Singles 602537540693 6025375406936 98715 00371 57 60137 82201 16 80889 06485 2 0 14921 50031 0 6 02537 78214 7 6 02557 34035 8 6 02537 70015 86 02537 54049 5 6 02537 25892 5 6 02537 78292 57 51937 41531 26 14511 77012 5 6 14511 78512 9 6 14511 80252 9 6 19981 31611 8 8 25576 11012 6 7 23721 58415 35 013145 209615 0 89353 33892 34 024572 637040 8 05520 55006 2 8 29357 90451 58 23674 72711 6 8 88072 01540 18 88072 37597 0 5 060205 156389 6 02547 00584 7 6 02537 54069 3DBR057LP IRON CHIC/NOT LIKE THIS (LP) Vinyl LP's 823819139118 823819139118 CVL0012 ISIDORE/LIFE SOMEWHERE ELSE(LP Vinyl LP's 882167000105 882167000105 5366083 ISLEY BROTHERS,THE/THIS OLD(LP Vinyl LP's 600753660836 600753660836 CBR012LP JAKE MANN AND THE UPPER HAND/P Vinyl LP's 711574677016 711574677016 3745917 JAM,THE/STUDIO ALBUMS BOX(LP) Vinyl LP's 602537459179 6025374591794760131 JAMES/GREENPEACE PALACE CO(2LP Vinyl LP's 602547601315 602547601315 B001185301 JAMES/HEY MA Vinyl LP's 602517814875 602517814875 3797933 JAMIE T/ZOMBIE(LP) Vinyl LP's 602537979332 6025379793325732125 JAMIROQUAI/AUTOMATION(10'') 10" Vinyl 602557321258 602557321258 FAN00061 JAZZ DISPENSARY,THE/HOLIDAY(LP Vinyl LP's 888072008779 888072008779 4833752991 JETT,J AND THE BLACK/SINNER(LP Vinyl LP's 748337529916 748337529916 VL12025 JIGSAW SEEN,THE/WINTERLAND LP Vinyl LP's 663281202510 663281202510 5707837514 JOHN BUTLER TRIO/OCEAN(LP) Vinyl LP's 015707837514 015707837514 B001487901 JOHN,E & RUSSELL,L/THE UNION(L Vinyl LP's 602527504759 602527504759 5728537 JOHN,E/17 11 70(2LP) Vinyl LP's 602557285376 602557285376 B001866901 JOHN,E/THE DIVING BO(2LP) Vinyl Singles 602537439157 602537439157 4761451 JOHN,E/THE THOM BELL SESSI(7'' 7" Vinyl Singles 602547614513 6025476145134760392 JOHN,E/WONDERFUL CR(LP+2CD) Vinyl + CD 602547603920 602547603920 CV0003LP JOHNSTON, DUQUETTE AND THE REB Vinyl LP's 633914025212 633914025212 782551 JONES, NOR/LITTLE BROKEN HEART Vinyl LP's 5099997825517 5099997825517 4776658 JONES,Q/THE DUDE(LP) Vinyl LP's 602547766588 602547766588 OUTSIDER29 JUKEBOX ZEROS/CITY OF BOTHER & 7" Vinyl Singles 614511774123 614511774123 KMGLP4402 KAMELOT/POETRY FOR THE POI(2LP Vinyl LP's 665331440217 665331440217 KMGLP4402L KAMELOT/POETRY FOR THE POIS(LP Vinyl LP's 628586156005 628586156005 5730255 KEANE/TEAR UP THIS TOWN(7'') 7" Vinyl Singles 602557302554 602557302554 5891104416 KEEN,R E/GRINGO HONEYMOON(LP) Vinyl LP's 015891104416 015891104416 CRE36376 KENNY WAYN/A LITTLE SO V2(12"S Vinyl Singles 888072363762 888072363762 TSQ5234 KID MILLIONS/BEYOND THE CONF(L Vinyl LP's 856225005234 8562250052346 02557 32125 8 6 02557 30255 46 02547 61451 3 6 14511 77412 36 02547 60392 0 6 02547 76658 85 099997 825517 6 02517 81487 5 6 02527 50475 96 02547 60131 5 6 02557 28537 66 00753 66083 6 6 02537 45917 9 6 02537 97933 27 11574 67701 6 6 33914 02521 28 82167 00010 5 6 63281 20251 08 88072 00877 98 23819 13911 8 8 56225 00523 47 48337 52991 6 0 15707 83751 4 0 15891 10441 66 65331 44021 7 6 28586 15600 56 02537 43915 7 8 88072 36376 2D002161021 KINER,K/REBELS THEME(LP) Vinyl LP's 050087321659 050087321659 ATO0400LPX KING GIZZARD AND THE/MURDER(LP Vinyl LP's 880882301316880882301316 ATO0288DLP KING GIZZARD AND/PAPER MACHE(L Vinyl LP's 880882242657880882242657 6S229009 KING,I/PANIC GRASS & FEVER FEW Vinyl LP's 8712618900918 8712618900918 B002006801 KISS/ANIMALIZE(LP) Vinyl LP's 602537715473 602537715473 SBESTLP64W KITTY,DAISY & LE/THE THIRD(WHI Vinyl LP's 50510830865925051083086592 SBESTLP64 KITTY,DAISY & LEWIS/THE THI(LP Vinyl LP's 50510830854725051083085472 B001695401 KIWANUKA,M/HOME AGAIN(LP) Vinyl LP's 602537136599 602537136599 7669000235 KOBRA AND THE/HIGH PRIESTES(LP Vinyl LP's 867669000235 8676690002357669000457 KOBRA AND THE/WORDS OF THE(LP Vinyl LP's 867669000457 8676690004577669000525 KOBRA AND THE/ZOMBIE B/W RE(LP Vinyl LP's 867669000525 867669000525 4754998 KOOKS,THE/INSIDE IN INSIDE(LP Vinyl LP's 602547549983 602547549983 B002541801 KRALL,D/CHRISTMAS SONGS(HMV EX Vinyl LP's 602557057140 602557057140 2547976185 KT TUNSTALL/KIN(LP) Vinyl LP's 602547976185 602547976185 3772035 LA GRANDE SOPHIE/DOUBLE BES(2L Vinyl LP's 602537720354 602537720354 B002094301 LA ROUX/TROUBLE IN PARADISE(LP Vinyl LP's 602537863990 602537863990B001547611 LADY GAGA/BORN THIS WAY (7"LP) 7" Vinyl Singles 602527664019 602527664019B001129811 LADY GAGA/JUST DANCE (12" LP) Vinyl Singles 602517717411 602517717411B001306311 LADY GAGA/LOVEGAME (12"EP) Vinyl EP 602527088877 602527088877B001271611 LADY GAGA/POKER FACE REMIXES(1 Vinyl Singles 602517965379 602517965379B001463301 LADY GAGA/THE REMIX Vinyl LP's 602527471020 602527471020B001687301 LADYHAWKE/ANXIETY (LP) Vinyl LP's 602527932637 602527932637 4718845 LANE,R/RONNIE LANE'S SLIM C(LP Vinyl LP's 602547188458 602547188458 DIV043LP LANOIS,D/ACADIE(2LP) Vinyl LP's 50601870003425060187000342 4789746 LA'S,THE/THE LA'S(LP) Vinyl LP's 602547897466 602547897466 782001B LASWELL, G/LANDLINE Vinyl LP's 015707820011 015707820011 0882233419 LEE,A/LIVE AT RED ROCKS(LP) Vinyl LP's 880882233419880882233419 GRL10133 LES VAMPYRETTES/LES VAM(3 10'' 10" Vinyl 5060238631266 5060238631266 5 060238 631266 6 02527 66401 9 6 02527 08887 7 6 02527 93263 70 50087 32165 9 6 02527 47102 06 02537 13659 9 6 02537 86399 06 02537 71547 3 6 02547 89746 66 02537 72035 4 6 02547 18845 86 02557 05714 0 6 02547 97618 56 02547 54998 38 712618 900918 5 060187 000342 8 80882 24265 78 80882 30131 6 5 051083 085472 5 051083 086592 8 80882 23341 98 67669 00023 5 8 67669 00045 7 8 67669 00052 5 0 15707 82001 16 02517 71741 1 6 02517 96537 9GRL12133 LES VAMPYRETTES/LES VAMPYRE(LP Vinyl LP's 5060238631426 5060238631426 VVLP009 LEWIS,J L/THE ESSENTIAL TR(2LP Vinyl LP's 805520550093 805520550093 WARPLP3 LFO/FREQUENCIES (REISSUE 2LP) Vinyl LP's 801061800314801061800314 SE001LP LIGHT FOR FIRE/LIGHT FOR FIRE Vinyl LP's 614511783729 614511783729 0252782684 LIGHTS/SIBERIA (VINYL) Vinyl LP's 602527826844 602527826844 B002465901 LIL WAYNE/THA CARTER II(2LP LE Vinyl LP's 602547804594 602547804594B001605701 LIL WAYNE/THA CARTER IV (2LP) Vinyl LP's 602527816241 602527816241B002456201 LIL WAYNE/THA CARTER LENTU(2LP Vinyl LP's 602547764973 602547764973 VVLP010 LITTLE RICHA/THE ESSENTIAL(2LP Vinyl LP's 805520550109 805520550109 SPC3533001 LITTLE RICHARD/LITTLE RICHA(LP Vinyl LP's 888072353305 888072353305 BCR007LP LOCH LOMOND/THE BUILDERS AND T Vinyl LP's 634479748011 634479748011 B002450801 LOGIC/THE INCREDIBLE TRUE(2LP Vinyl LP's 602547746382 602547746382B001262601 LONELY ISLAND,THE/INCREDIBAD ( Vinyl LP's 602517976573 602517976573B001558001 LONELY ISLAND,THE/TURTLENECK & Vinyl LP's 602527692425 602527692425 FINLE12053 LONG DISTANCE/GLIESE TR(LP+DVD vinyl with dvd 854891004063 854891004063 CBR016LP LOOM,THE/TEETH (LP) Vinyl LP's 711574695713 711574695713 4732839 LOUANE/CHAMBRE 12(2LP) Vinyl LP's 602547328397 6025473283974748075 LOUIS/MATHIEU/JOS/LOUIS/MA(3LP Vinyl LP's 602547480750 6025474807505371805 LOUISE ATTAQUE/DO MONDE TOUT(2 Vinyl LP's 600753718056 600753718056 BCR011LP LOVE LANGUAGE,THE/THE LOVE (LP Vinyl LP's 751937389811 751937389811 TIGER1 LOVESORES, THE/FAST FRIENDS(LP Vinyl LP's 614511802123 614511802123 CVLP0015 LOVINGGOOD,P/SUN SONGS(LP) Vinyl LP's 882167000181 882167000181 GP004LP LUCAS,S AND THE MARRIED MEN/AB Vinyl Singles 751937397311 751937397311 LS3LP LUDWICK,R/OUT OF THESE BLUES Vinyl LP's 641444081714 641444081714 DUA18061 LUMINEERS,THE/SONG SEEDS(LP) Vinyl LP's 803020180611 803020180611 B001581901 LYNNE,S/JUST A LITTLE LOVIN Vinyl LP's 602527767192 602527767192 3216861 LYNYRD SKYNYRD/SECOND HELPING Vinyl LP's 076732168615 0767321686153754045 MAGAZINE/THE CORRECT USE OF(LP Vinyl LP's 602537540457 6025375404576 00753 71805 66 02547 48075 06 02547 74638 2 0 76732 16861 56 02527 76719 26 02547 32839 76 02527 82684 4 6 02537 54045 76 02547 76497 36 02547 80459 4 6 02517 97657 3 6 02527 69242 56 02527 81624 1 7 11574 69571 3 8 82167 00018 1 6 41444 08171 46 14511 78372 9 7 51937 38981 1 6 14511 80212 36 34479 74801 18 05520 55010 98 05520 55009 3 8 01061 80031 4 8 88072 35330 5 8 03020 18061 15 060238 631426 7 51937 39731 18 54891 00406 3RPM038LP MAGGOTS, THE/LET'S GO IN '69 7" Vinyl Singles 698715003814 698715003814 DWT700881 MAJOR LAZER/GUNS DON'T KILL PE Vinyl LP's 878037008814878037008814 SPRKSHN027LP MALDIVES,THE/MUSCLE FOR THE WI Vinyl LP's 751937415411 751937415411 DMR006LP MALONE,B/AIN'T WHAT YOU KNOW(L Vinyl LP's 724101743726 724101743726 B002449211 MALONE,P/WHITE IVERSON(12'' S Vinyl Singles 602547741264 602547741264 COOKLP554 MANSON,M/BORN VILLAIN(2LP) Vinyl LP's 711297495416 711297495416 SMALP991 MARILLION/ANORAKNOPHOBIA(2LP) Vinyl LP's 636551599115 636551599115 5488941 MARLEY,B&WAILERS/BURNIN' (REMA Vinyl LP's 731454889414 7314548894143735863 MARLING,L/ONCE I WAS AN EA(2LP Vinyl LP's 602537358632 602537358632 1166106601 MARTIN,S & STEEP CANYON RANGER Vinyl LP's 011661066014 0116610660141166191501 MARTIN,S/BRICKELL,E/LOVE HA(LP Vinyl LP's 011661915015 011661915015 390145B MARY ONETTES,THE/HIT THE WA(L Vinyl LP's 7332233901452 7332233901452 862281 MASSIVE AT/BLUE LINES Vinyl LP's 077778622819 077778622819 9299090819 MATT AND KIM/GRAND(LP) Vinyl LP's 829299090819 8292990908199299092219 MATT AND KIM/LIGHTNING(LP) Vinyl LP's 829299092219 829299092219 201631 MAYALL,J/TOUGH (12"VYL X2) Vinyl Singles 826992016313 826992016313 4790918 MCCARTNEY,P AND WINGS/NINETEEN Vinyl Singles 602547909183 602547909183 HRM3345201 MCCARTNEY,P/RAM VINYL EDITION Vinyl LP's 888072334526 888072334526 HRM38269 MCCARTNEY,P/SAY SAY SAY(12"S) Vinyl Singles 888072382695 888072382695 1350110 MCKENNITT,L/NIGHTS FROM TH(2LP Vinyl LP's 774213501103 774213501103 1166187611 MCPHERSON,JD/FIREBUG(7'' LP)(L Vinyl LP's 011661876118 011661876118 SS863LP MEADE,T/TOMORROW IN PROGRES(LP Vinyl LP's 614511824927 614511824927 B002414501 MEGADETH/DYSTOPIA(PICTURE DISC Vinyl LP's 602547613950 602547613950B002151901 MEGADETH/RUST IN PEACE(LP PICT Vinyl LP's 602537976492 602537976492B002393801 MELLENCAMP,J/SCARECROW(LP) Vinyl LP's 602547543745 602547543745B000698601 METHOD MAN/4:21 THE DAY AF(2LP Vinyl LP's 602498594193 602498594193B001502101 MINAJ,N/PINK FRIDAY (LPX2) Vinyl LP's 602527595030 602527595030 953431 MOBLEY, HA/SOUL STATION Vinyl LP's 724349534315 7243495343156 98715 00381 4 7 24349 53431 56 02537 97649 26 02547 61395 0 6 02498 59419 37 31454 88941 4 6 02547 54374 5 6 02527 59503 06 02537 35863 2 0 77778 62281 9 6 14511 82492 77 51937 41541 1 7 24101 74372 6 6 36551 59911 58 78037 00881 4 8 29299 09081 9 8 29299 09221 97 11297 49541 6 7 332233 901452 7 74213 50110 30 11661 06601 4 0 11661 87611 80 11661 91501 5 8 88072 33452 68 26992 01631 36 02547 74126 4 6 02547 90918 3 8 88072 38269 5WARPLP254X MOHAWKE,H/LANTERN(LTD 2LP) Vinyl LP's 801061825416801061825416 GTD001 MONOGAMY PARTY/PUS CITY (LP) Vinyl LP's 879198007906 879198007906 3744156 MONROE,M/HORNS AND HALOS(LP) Vinyl LP's 602537441563 602537441563 DAV129X MONSTER TRUCK/SITTIN' HEAV(HMV Vinyl LP's 821826014176 821826014176 PBRD1124 MOONFACE/CITY WRECKER(12" EP) Vinyl EP 880893112420880893112420 PAPER080LP MOONFACE/JULIA WITH BLUE JE(LP Vinyl LP's 880893008013880893008013 4719045 MOORE,C/PADDY ON THE ROAD(LP) Vinyl LP's 602547190451 602547190451 ER202941 MOORE,G/BLUES FOR JIMI LIV(2LP Vinyl LP's 826992029412 826992029412 SPRKSHN10 MOORE,I & LOSSY COILS/EL SONID Vinyl LP's 751937390213 751937390213 000161 MORRIS, KE/BANSHEE Vinyl LP's 795550001613 795550001613 RPMLP987 MORTIMER/ON OUR WAY HOME(LP Vinyl LP's 5013929589872 5013929589872 DWT700551 MOS DEF/THE ECSTATIC (LP) Vinyl LP's 878037005516878037005516 B002531701 MOTHER LOVE BONE/ON EARTH(3LP Vinyl LP's 602557015317 602557015317 0254703851 MOTHER MOTHER/VERY GOOD BAD(LP Vinyl LP's 602547038517 602547038517 MVD8253LP MOTHERSBAUGH,M/HELLO MY(12" S Vinyl Singles 760137825319 760137825319 B001888001 MOWGLI S,THE/WAITING FOR T(2LP Vinyl LP's 602537471652 602537471652 JAM91411 MUDDY WATERS/HOOCHIE COOCHIE(L Vinyl LP's 068944914210068944914210 BMC00015 MUSIC MACHINE,THE/TURN ON THE Vinyl LP's 888072021914 888072021914 5707923217 MUSSELWHITE,C/STAND BACK!(LP) Vinyl LP's 015707923217 015707923217 4794389 MUTTER,A S/WIENER/LE/CARMEN(LP Vinyl LP's 028947943891 028947943891 LNKLP86LP MY DARLING CLEMENT/HOW DO Y(LP Vinyl LP's 633090364051 633090364051 RPM026LP NADS, THE/SAIGON HOOKER (7"VYL 7" Vinyl Singles 698715002619 698715002619 B001705301 NAS/LIFE IS GOOD(LP) Vinyl LP's 602537080052 602537080052 632681 NATURAL SE/ART OF VIBRATION (L Vinyl LP's 5060006326813 5060006326813044541 NELSON, WI/TWO MEN W/THE BLUES Vinyl LP's 5099950445417 5099950445417 9299091212 NEON INDIAN/MIND CTRL PSYCH(LP Vinyl LP's 829299091212 829299091212 LFR27LP NERVOUS CURTAINS/OUT OF SYNC W Vinyl LP's 825576044827 825576044827 4795016 NETREBKO,A/VERISMO(2LP) Vinyl LP's 028947950165 0289479501656 98715 00261 98 80893 11242 0 5 099950 445417 6 02537 08005 2 0 28947 95016 50 28947 94389 18 26992 02941 2 6 02537 47165 26 02547 03851 76 02537 44156 3 6 02557 01531 76 02547 19045 18 79198 00790 6 8 25576 04482 77 51937 39021 3 5 013929 589872 0 68944 91421 08 78037 00551 68 80893 00801 38 01061 82541 6 8 29299 09121 20 15707 92321 78 88072 02191 48 21826 01417 6 6 33090 36405 1 5 060006 326813 7 95550 00161 3 7 60137 82531 9TNB012 NETSON,B/SIMPLE WORK FOR (LP Vinyl LP's 614511788823 614511788823 GRLLPGRONIII NEU/NEU 75(12"LP) Vinyl Singles 5065001040757 5065001040757 GRLLPGRONIV NEU/NEU '86(12'' LP) Vinyl LP's 5065001040764 5065001040764 GRLLPGRONI NEU/NEU(12" LP) Vinyl Singles 5065001040733 5065001040733 GRLLPGRONII NEU/NEU(2LP) Vinyl LP's 5065001040740 5065001040740 PAPER103LP NEUFELD,S/THE RIDGE(LP) Vinyl LP's 880893010313880893010313 SS005LP NEVER MORE THAN LE/PEACE WAR(L Vinyl LP's 619061467150 619061467150 SBESTLP66 NEW BUILD/POUR IT ON(2LP) Vinyl LP's 50510830848885051083084888 5371893 NIAGARA/FLAMMES(2LP) Vinyl LP's 600753718933 600753718933 RR77091 NICKELBACK/HERE AND NOW (VYL) Vinyl LP's 016861770914 016861770914 RCR112L NIGHT DRIVE/NIGHT DRIVE(LP) Vinyl LP's 858824002874858824002874 B002022801 NIGHTMARE AND THE CAT/SIMPLE(L Vinyl LP's 602537737482 602537737482 WARPLP241 NIGHTMARES ON WAX/FEELIN Vinyl LP's 801061024116801061024116 WAP395 NIGHTMARES ON WAX/GROUND FLO(L Vinyl LP's 801061939519801061939519 WAP20912 NIGHTMARESONWAX/AFRICANPIRATES Vinyl EP 801061920913801061920913 BMC37875 NINE INCH NAILS/HALO 1 IV(LP) Vinyl LP's 888072378759 888072378759 B001169701 NINE INCH NAILS/THE DOWNWARD S Vinyl LP's 731452212610 731452212610 ONULP131 NISENNENMONDAI/N A(LP) Vinyl LP's 50602637215365060263721536 395211 NITTY GRIT/WILL THE CE(3LP+EP Vinyl LP's 5099973952114 5099973952114 PH00021P NOBLE THIEFS,THE/IT S TOUGH(LP Vinyl LP's 823674043919823674043919 5309212 NOIR DESIR/666667 CLUB(2LP) Vinyl LP's 600753092125 600753092125 WARP9369 NOZINGJA/TSEKELEKE(LP) Vinyl LP's 801061936914801061936914 MVD6980LP O WILLIAMS,W/FUCK N RO(12" S) Vinyl Singles 760137698012 760137698012 2301211 O.C./SMOKE AND MIRRORS Vinyl LP's 655323012119 6553230121194767894 OCEAN COLOUR/MOSELEY SHOAL(2LP Vinyl LP's 602547678942 602547678942 B002309301 OF MONSTERS/BENEATH THE(2 12" Vinyl Singles 602547306456 602547306456 NTO00001 OFFSPRING,THE/THE OFFSPRING(LP Vinyl LP's 888072021860 888072021860 OCL303LP OLD CALIFORNIO/SUNDRUNK ANGELS Vinyl LP's 804879326014 8048793260148 01061 92091 36 00753 71893 3 6 00753 09212 56 02537 73748 2 5 099973 952114 6 02547 67894 27 31452 21261 06 19061 46715 0 8 04879 32601 46 14511 78882 3 8 23674 04391 98 58824 00287 45 051083 084888 8 80893 01031 3 5 060263 721536 8 01061 93951 98 01061 02411 6 8 01061 93691 4 6 55323 01211 98 88072 37875 9 8 88072 02186 05 065001 040740 5 065001 040764 0 16861 77091 4 6 02547 30645 67 60137 69801 25 065001 040733 5 065001 040757 4763230 OLDFIELD,M/NUCLEAR(7'' PICTURE 7" Vinyl Singles 602547632302 602547632302 CANDLE711066 OPETH/ORCHID(2LP) Vinyl LP's 602557110661 602557110661 5359286 ORB,THE/ADVENTURES BEYOND(4LP) Vinyl LP's 600753592861 600753592861 B002455001 OST/ACROSS THE UNIVERSE(LP) Vinyl LP's 602547759405 602547759405B002276901 OST/JUICE(LP) Vinyl LP's 602547117762 602547117762B002561901 OST/LA LA LAND(BLUE LP) Vinyl LP's 602557117783 602557117783 D002367111 OST/STAR WARS FORCE AWAKAN(10" 10" Vinyl 050087342449 050087342449 J21004LP OST/THE GUEST(LP) Vinyl LP's 881034105233 881034105233 B001701301 OWLCITY/THE MIDSUMMER(VYL) Vinyl LP's 602537083817 602537083817 4754820 PAGE,J/SHE JUST SATISFIES(7'') 7" Vinyl Singles 602547548207 602547548207 B001911501 PAPA/TENDER MADNESS(LP) Vinyl LP's 602537515899 602537515899 4921500419 PAPERCUTS/LIFE AMONG THE SA(LP Vinyl LP's 014921500419 0149215004194921500112 PAPERCUTS/RODRIGO AMAR(7'')(LT 7" Vinyl Singles 014921500112 014921500112 4782250 PARADIS/RECTO VERSO(2LP) Vinyl LP's 602547822505 6025478225055351584 PARAGONS,THE/THE PARAGONS B(LP Vinyl LP's 600753515846 600753515846 DEB37509 PARKER,C/DIZZY/JAZZ AT(3 10" 10" Vinyl 888072375093 888072375093 5891390017 PARTON,D/THE GRASS IS BLUE(LP) Vinyl LP's 015891390017 015891390017 SRW16351 PETERSON,O/CANADIAN SUITE(LP) Vinyl LP's 602547084866 602547084866 DSBR018LP PHARMACY/ WEEKEND LP Vinyl LP's 609465347622 609465347622 PTKF21161 PHOX/PHOX(LP) Vinyl LP's 720841211617 720841211617 FINLE12063 PIGEONHED/THE POWER COME OV(LP Vinyl LP's 854891004629 854891004629 SEX1305LP PINATA PROTEST/EL VALIENTE(LP) Vinyl LP's 614511815420 614511815420 RMR032 PKEW PKEW PKEW/PKEW PKEW PK(LP Vinyl LP's 680889082542 680889082542 4743247 PLACEBO/BLACK MARKET MUSIC(BRO Vinyl LP's 602547432476 602547432476 B001876401 PLACEBO/LOUD LIKE LOVE(LP) Vinyl LP's 602537450251 602537450251 4743235 PLACEBO/MEDS(LP PINK) Vinyl LP's 602547432353 6025474323534743240 PLACEBO/SLEEPING WITH GHOST(LP Vinyl LP's 602547432407 6025474324075375777 PLACEBO/WITHOUT YOU I'M N(12'' Vinyl Singles 600753757772 6007537577720 50087 34244 9 8 88072 37509 36 02547 54820 76 02547 63230 2 0 14921 50011 2 6 02547 82250 5 6 02547 43240 76 02537 45025 16 02547 11776 26 02547 75940 5 6 02557 11778 36 00753 59286 1 6 00753 51584 66 02557 11066 1 6 02547 43247 66 02537 08381 7 6 02547 08486 6 6 02547 43235 36 09465 34762 2 6 14511 81542 08 54891 00462 98 81034 10523 3 0 15891 39001 76 02537 51589 9 7 20841 21161 7 6 80889 08254 20 14921 50041 9 6 00753 75777 2DTC012 PLANET SMASHERS,THE/MIGHTY(LP Vinyl LP's 777913000020 777913000020 1166190991 PLANT,R/BAND OF JOY (LPX2) Vinyl LP's 011661909915 011661909915 MFR136LP POINT JUNCTURE,W/HANDSOME ORDE Vinyl LP's 650384013617 650384013617 LFR31LP POLICE TEETH/AWESOMER THAN THE Vinyl Singles 825576097021 825576097021 5594241 PORTISHEAD/PNYC (LP) Vinyl LP's 731455942415 731455942415 LNIO001LP PRAIRIE CARTEL,THE/WHERE DID A Vinyl LP's 614511763127 614511763127 WRP1791 PREFUSE 73/EVERYTHING SHE TOUC Vinyl LP's 801061017910801061017910 WARPLP208 PREFUSE 73/THE ONLY SHE CHAPTE Vinyl LP's 801061020811801061020811 WRP1401 PREFUSE73/SECURITYSCREENINGS Vinyl LP's 801061014018801061014018 D002233301 QUEEN/A DAY AT THE RACES(LP) Vinyl LP's 050087328887 050087328887D000436601 QUEEN/A KIND OF MAGIC(LP) Vinyl LP's 050087146955 050087146955D000436501 QUEEN/FLASH GORDON (LP) Vinyl LP's 050087146948 050087146948D002233501 QUEEN/JAZZ(LP) Vinyl LP's 050087328900 050087328900D000436401 QUEEN/NEWS OF THE WORLD (LP) Vinyl LP's 050087146931 050087146931D000436301 QUEEN/QUEEN (LP) Vinyl LP's 050087146924 050087146924D000261801 QUEEN/QUEEN 2 (LP) Vinyl LP's 050087128746 050087128746D002233001 QUEEN/QUEEN II(2LP) Vinyl LP's 050087328856 050087328856D000261901 QUEEN/SHEER HEART ATTACK (LP) Vinyl LP's 050087128753 050087128753 4186201 R E M/ACCELERATE(2LP+7'') Vinyl LP's 093624987741 093624987741 220591 R.E.M./DOCUMENT Vinyl LP's 076742205911 076742205911 GTD008 RABBITS/BITES RITES(LP) Vinyl LP's 879198009634 879198009634 B002014901 RAC/STRANGERS(2LP) Vinyl LP's 602537730551 602537730551 397035 RADIO DEPT/LESSER MATTERS Vinyl LP's 7332233970359 7332233970359 5353631 RAINBOW/LONG LIVE ROCK 'N'(LP Vinyl LP's 600753536315 6007535363155354452 RAINBOW/RAINBOW STUDIO ALB(8LP Vinyl LP's 600753544525 6007535445255353586 RAINBOW/RITCHIE BLACKMORE'S(LP Vinyl LP's 600753535868 6007535358682729662 RAMMSTEIN/XXI THE VINYL BO(7LP Vinyl LP's 602527296623 602527296623 LNKLP84LP REACH AROUND ROD/ROCKABILLY(LP Vinyl LP's 633090364006 633090364006 0 76742 20591 1 6 00753 53586 86 00753 53631 50 50087 12874 6 0 50087 12875 30 50087 14692 40 50087 14693 10 50087 14694 80 50087 14695 5 0 50087 32885 60 50087 32888 7 0 50087 32890 0 6 02537 73055 17 31455 94241 5 6 02527 29662 36 00753 54452 57 77913 00002 0 8 79198 00963 46 14511 76312 76 50384 01361 7 8 01061 02081 1 8 01061 01401 88 01061 01791 0 0 93624 98774 1 6 33090 36400 67 332233 970359 0 11661 90991 5 8 25576 09702 1GRIM002LP RED BUTTON,THE/AS FAR AS YESTE Vinyl LP's 614511786126 614511786126 IWRLP83037 RED DRAGON CARTEL/RED DRAGON(L Vinyl LP's 4018996237610 4018996237610 6S229010 RED HORSE/RED HORSE (LP) Vinyl LP's 8712618901014 8712618901014 FINLE12046LP RED JACKET MINE/SOMEONE ELS(LP Vinyl LP's 854891004490 854891004490 RPM016LP RED PALNET/REVOLUTION 33 (LP) Vinyl LP's 698715001612 698715001612RPM028LP RED PLANET/LET'S DEGENERATE(LP Vinyl LP's 698715002817 698715002817RPM015LP RED PLANET/LET'S GET RIPPED (7 7" Vinyl Singles 698715001513 698715001513 STX00021 REDDING,O/LIVE AT THE WHISKY(2 Vinyl LP's 888072008793 888072008793 3145334701 REDMAN/MUDDY WATERS(2LP) Vinyl LP's 731453347014 731453347014 MOVLP1611 RESIDENTS,THE/PLEASE DO NOT(LP Vinyl LP's 8719262000445 8719262000445 714871 REVEREND P/BETWEEN THE DITCHES Vinyl LP's 603967148718 603967148718 WU00021 REVIVALISTS,THE/STRANGERS IN(L Vinyl LP's 888072008908 888072008908 SIXLP00055 RHEOSTATICS/WHALE MUSIC(2LP) Vinyl LP's 836766005511 836766005511 3787241 RICHARD/THOMPSON,L/I WANT TO(L Vinyl LP's 602537872411 6025378724114794385 RICHTER,S/BERLI/TCHAIKOVSKY(LP Vinyl LP's 028947943853 028947943853 B000899011 RIHANNA/UMBRELLA FEAT: JAY-Z Vinyl Singles 602517340954 602517340954 ER204041 RITCHIE BLACKMORE'S/MEMORIES(3 Vinyl LP's 826992040417 826992040417 0251779432 ROBERTS,S/LOVE AT THE END OF T Vinyl Singles 602517794320 602517794320 PBRD1079 ROBERTS,S/THE INHUMAN CONDI(LP Vinyl LP's 880893107921880893107921 RPM059 ROCK N ROLL SOLDIERS,THE/HIGHS Vinyl Singles 698715005917 698715005917 PAPER044LP ROCK PLAZA CENTR/AT THE MOME(L Vinyl LP's 880893004411880893004411 GRLLP146 ROEDELIUS,M/IMAGORI(LP) Vinyl LP's 5060238631914 5060238631914 120531 ROGERS,K/THE GAMBLER(LP) Vinyl LP's 5099991205315 5099991205315 B001421701 ROGERS,R BAND/BURNING THE DAY Vinyl LP's 602527451749 602527451749 EV307389 ROLLING ST,THE/TOKYO DOME 1990 vinyl with dvd 801213073894 801213073894 5717752 ROLLING STONES,T/RIDE 'EM(10'' 10" Vinyl 602557177527 602557177527 EV307549 ROLLING STONES,T/TOTALLY(2LP+D vinyl with dvd 801213075492 801213075492 2735477 ROLLING STONES,THE/PLUNDERED M 7" Vinyl Singles 602527354774 602527354774 6 02557 17752 7 6 02527 35477 46 98715 00151 3 5 099991 205315 7 31453 34701 4 0 28947 94385 3 8 26992 04041 76 02537 87241 1 6 02527 45174 98 712618 901014 8 54891 00449 0 6 98715 00161 2 6 98715 00281 76 14511 78612 6 8 719262 000445 8 80893 00441 18 80893 10792 18 88072 00879 3 8 88072 00890 8 5 060238 631914 4 018996 237610 6 03967 14871 8 8 36766 00551 1 6 02517 34095 4 6 02517 79432 0 6 98715 00591 7 8 01213 07549 28 01213 07389 4LPHBEA214 ROSE,M/DANCE WICKED Vinyl LP's 011661771413 011661771413 B001634301 ROSS,R/GOD FORGIVES, I DONT(LP Vinyl LP's 602527896441 602527896441 PAPER054LP RURAL ALBERTA AD,THE/HOMETOW(L Vinyl LP's 880893005418880893005418 PAPER060LP RURAL ALBERTA ADVANTA/DEPART(L Vinyl LP's 880893006019880893006019 B002627001 RUSH/CYGNUS X 1(LP) Vinyl LP's 602557365665 602557365665 4400361729 RUSH/MOVING PICT(LP+T SHIRT XL Vinyl LP's 044003617292 0440036172924400361202 RUSH/MOVING PICTURES(LP+T SHIR Vinyl LP's 044003612020 044003612020 B002013801 RUSH/RE DISCOVERED (LP) Vinyl LP's 602537727858 602537727858B002584421 RUSH/THE TWILIGHT ZONE(7" D2C 7" Vinyl Singles 602557204889 602557204889 WARPLP271 RUSTIE/EVENIFUDONTBELIEVE(2LP) Vinyl LP's 801061027117801061027117 MB0011 SAINTSENECA/LAST(LP) Vinyl LP's 711574692415 711574692415 5726719 SANDE,E/LIVE AT THE ROYAL(2LP Vinyl LP's 602557267198 602557267198 TT02 SANDOVAL,H & THE WAR/LET ME(10 10" Vinyl 881034123091 881034123091TT01 SANDOVAL,H/THE WAR/ISN'T IT(7" 7" Vinyl Singles 881034187987 881034187987 SS002LP SANDVEISS/SAVE US ALL(7") 7" Vinyl Singles 619061300259 619061300259SS001LP SANDVEISS/SCREAM QUEEN(LP) Vinyl LP's 619061300150 619061300150 NSR0482 SANTAH/WHITE NOISE BED(12" LP) Vinyl Singles 603111926513 603111926513 CAMO063LP SAPIENT/SLUMP SAPIENT SPECI(LP Vinyl LP's 614511812726 614511812726 FNG006LP SASSPARILLA/MAGPIE(LP) Vinyl LP's 857674003079 857674003079 DOG129SP SAY ANYTHING/IS A REAL BOY(2LP Vinyl LP's 790168960314 790168960314 DOG108 SAY ANYTHING/IS A REAL BOY(LP) Vinyl LP's 790168596018 790168596018 AMIG011LP SCHAEFER,K/GHOST OF THE BEAST Vinyl LP's 859705318190 859705318190 GPLP003 SCOTT LUCAS AND THE MARRIED ME Vinyl LP's 614511766326 614511766326 VEGA52023 SEASONS,THE/PULP(LP) Vinyl LP's 619061202355 619061202355 WARPLP205 SEEFEEL/SEEFEEL (LP) Vinyl LP's 801061020514801061020514 GDP058 SHIPBUILDING CO/FROM MANSIO(LP Vinyl LP's 751937416814 751937416814 990021 SILVER, HO/SONG FOR MY FATHER Vinyl LP's 724349900219 724349900219 HR7647 SILVERSTEIN/THIS IS HO(7'' 8LP 7" Vinyl Singles 790692076475 7906920764758 81034 12309 1 6 19061 30025 98 81034 18798 7 7 90692 07647 56 02557 20488 9 7 24349 90021 96 02527 89644 1 6 02557 26719 8 6 19061 30015 0 6 19061 20235 58 59705 31819 06 14511 81272 6 8 57674 00307 9 7 51937 41681 46 14511 76632 67 11574 69241 58 80893 00541 8 8 80893 00601 9 8 01061 02051 48 01061 02711 7 7 90168 59601 87 90168 96031 40 11661 77141 3 0 44003 61202 00 44003 61729 2 6 02537 72785 86 02557 36566 5 6 03111 92651 3HR7641 SILVERSTEIN/THIS IS HOW THE(LP Vinyl LP's 790692076413 790692076413 B000986101 SIMIAN MOBILE DISCO/ATTACK DEC Vinyl LP's 602517457638 602517457638 886531 SINATRA, F/COME FLY WITH ME Vinyl LP's 5099968865313 5099968865313 4743360 SINATRA,F/SEPTEMBER OF MY Y(LP Vinyl LP's 602547433602 6025474336024743361 SINATRA,F/SINATRA '65(LP) Vinyl LP's 602547433619 6025474336194770458 SINATRA,F/SINATRA AT THE SA(2L Vinyl LP's 602547704580 602547704580 HXC0101 SINGLE MOTHERS/NEGATIVE QUA(LP Vinyl LP's 634904070717 634904070717 5737292 SLAVES/TAKE CONTROL(LP) Vinyl LP's 602557372922 602557372922 HTLP0023 SLAY,G C/HORSETHIEF BEATS/ LP Vinyl LP's 633914022518 633914022518 DTC6427 SLEEPOVER/SOCALLED(LP) Vinyl LP's 622406642716 622406642716 4766321 SLITS,THE/I HEARD IT THROU(10" 10" Vinyl 602547663214 6025476632145728207 SMALL FACES/IN SESSIONS AT(2LP Vinyl LP's 602557282078 602557282078 DWT700851 SNOW,M/MIIKE SNOW (LP) Vinyl LP's 878037008517878037008517 4766329 SOFT CELL/SEX DWARF(12") Vinyl Singles 602547663290 602547663290 SBESTLP70 SOLAR BEARS/ADVANCEMENT(LP) Vinyl LP's 50510830970245051083097024 B001410901 SONIC YOUTH/HITS ARE FOR SQUAR Vinyl LP's 602527343815 602527343815 3754050 SOUL II S/CLUB CLASSICS V1(LP) Vinyl LP's 602537540501 602537540501 B002542211 SOUNDGARDEN/SATANOSCILLA(12''S Vinyl Singles 602557069167 602557069167B001467801 SOUNDGARDEN/TELEPHANTASM-BEST Vinyl LP's 602527471303 602527471303 SBLP0032 SOUNDLINERS SECT/DANGEROUS GRO Vinyl LP's 614511775120 614511775120 5345454 SOUNDTRACK/O BROTHER WHERE(2LP Vinyl LP's 600753454541 600753454541 GDP055LP SOUTHERLY/YOUTH (LP) Vinyl LP's 619981325714 619981325714 MVD9637LP SOUTHSIDE JOHNNY/THE A/LIVE(LP Vinyl LP's 760137963714 760137963714 HUI3376201 SPALDING,E/RADIO MUSIC SOC(2LP Vinyl LP's 888072337626 888072337626 GMR005LP SPARKS,T/UNTIL MORNING/COME OU Vinyl LP's 711574687619 711574687619 MFR133 SPIRAL STAIRS/THE LONG WINTER/ 7" Vinyl Singles 650384013372 650384013372 LVR37726 SPOON/TV SET(10") 10" Vinyl 888072377264 888072377264 RMP076LP SPUNKS,THE/YELLOW FEVER BLUES( Vinyl LP's 698715007614 6987150076146 02547 66321 4 8 88072 37726 46 50384 01337 26 02527 47130 36 02547 70458 05 099968 865313 6 02557 28207 8 6 02527 34381 56 02547 43360 2 6 02547 43361 96 02517 45763 8 6 00753 45454 16 02537 54050 16 02557 37292 2 6 22406 64271 6 6 19981 32571 46 33914 02251 8 6 14511 77512 0 7 11574 68761 9 6 98715 00761 47 60137 96371 45 051083 097024 8 78037 00851 7 8 88072 33762 66 34904 07071 77 90692 07641 3 6 02557 06916 76 02547 66329 0WRP1611 SQUAREPUSHER/JUSTASOUVENIR(LP) Vinyl LP's 801061016111801061016111 WARPLP228X SQUAREPUSHER/UFABULUM (2LP) Vinyl LP's 801061022815801061022815 LVR3640701 ST VINCENT/PIETA RSD EXLUSI(LP Vinyl LP's 888072364073 888072364073 B002398001 STAPLES,V/SUMMERTIME 06(2LP Vinyl LP's 602547552167 602547552167B001379201 STARR,R/Y NOT (LP) Vinyl LP's 602527295213 602527295213B001613301 STEEL PANTHER/BALLS OUT (2LP) Vinyl LP's 602527856704 602527856704B000548011 STEFANI,G/COOL Vinyl Singles 602498856666 602498856666 5351007 STEREO MCS/CONNECTED BACK(LP Vinyl LP's 600753510070 6007535100705370447 STING/THE A & M STUDIO(11XLP Vinyl LP's 600753704479 600753704479 REVLP636 STONE ROSES/SALLY CINNAMON(LP) Vinyl LP's 5016681663668 5016681663668 LJX045LP STRINGFELLOW,K/DANZIG IN(2LP Vinyl LP's 5060156659977 5060156659977 3747988 STROMAE/RACINE CARREE(2LP) Vinyl LP's 602537479887 602537479887 DSBR022LP STRONG KILLINGS/ STRONG KILLIN Vinyl LP's 609465347660 609465347660 ULRLP14 STRYPER/FALLEN(2LP) Vinyl LP's 4018996238068 4018996238068 B002622801 SUBLIME/BADFISH(LP EP) Vinyl EP 602557357028 602557357028B002447901 SUBLIME/JAH WON'T PAY THE BI(L Vinyl LP's 602547731821 602547731821B002467501 SUBLIME/ROBBIN THE HOOD(LTD 2L Vinyl LP's 602547811691 602547811691 SML2013 SUBURBS,THE/SI SAUVAGE(LP) Vinyl LP's 789577713710 789577713710 B001475801 SUGARLAND/THE INCREDIBLE MACHI Vinyl LP's 602527504704 602527504704B001906701 SUMMER,D/LOVE TO LOVE YOU(2LP Vinyl Singles 602537506583 602537506583 BMC00013 SUNNY DAY REAL/THE RISING(2LP Vinyl LP's 888072021891 888072021891 5354739 SUPERTRAMP/CRIME OF THE CENT(3 Vinyl LP's 600753547397 600753547397 822867 SWORD,THE/JOHN THE REVELAT(7'' 7" Vinyl Singles 793018228671 793018228671 RZR00214 SWORD,THE/LOW COUNTRY(LP) Vinyl LP's 888072023093 888072023093 B002011311 T LA ROCK AND JAY/ITS YOUR(12" Vinyl Singles 602537723720 602537723720 SIXLP00089 TAGAQ,T/ANIMISM(LP) Vinyl LP's 836766008666 836766008666 LMD24LP TALKDEMONIC/MUTINY SUNSHINE(LP Vinyl LP's 619981132916 619981132916 5351878 TANGERINE DREAM/PHAEDRA(LP) Vinyl LP's 600753518786 600753518786 7 93018 22867 16 02557 35702 8 6 00753 54739 76 00753 70447 96 02547 55216 7 6 02527 29521 3 6 02547 81169 16 02547 73182 16 02537 47988 7 6 02527 50470 46 00753 51007 0 6 00753 51878 66 02527 85670 4 7 89577 71371 0 6 19981 13291 66 09465 34766 05 060156 659977 5 016681 663668 8 01061 02281 58 01061 01611 1 8 88072 02189 18 88072 36407 3 8 88072 02309 34 018996 238068 8 36766 00866 66 02537 72372 06 02498 85666 6 6 02537 50658 3050211 TASSEOMANC/ULALUME Vinyl LP's 827590502116 827590502116 3789440 TEARS FOR FEARS/THE HURTING(LP Vinyl LP's 602537894406 602537894406 DSBR019 TELEPATHIC LIBERATION ARMY/PHA Vinyl LP's 609465347608 609465347608 3769215 TENSNAKE/GLOW(LP) Vinyl LP's 602537692156 602537692156 SPRKSHN016LP THEE SGT MAJOR III/THE IDEA FA Vinyl LP's 751937396925 751937396925 VOX52003 THEY CALL ME RICO/THEY CALL ME Vinyl LP's 619061200351 619061200351 3740257 THICKE,R/BLURRED LINES EP(LP) Vinyl LP's 602537402571 6025374025715354254 THIN LIZZY/CHINATOWN(LP) Vinyl LP's 600753542545 6007535425455353561 THIN LIZZY/JOHNNY THE FOX(LP) Vinyl LP's 600753535615 6007535356155354274 THIN LIZZY/LIVE AND DANGER(2LP Vinyl LP's 600753542743 6007535427435353635 THIN LIZZY/NIGHTLIFE(LP) Vinyl LP's 600753536353 6007535363535353567 THIN LIZZY/SHADES OF A BL(12"S Vinyl Singles 600753535677 6007535356775353565 THIN LIZZY/VAGABONDS OF THE(LP Vinyl LP's 600753535653 600753535653 1166137009 THOROGOOD,G/AND THE DELAWAR(LP Vinyl LP's 888072370098 8880723700984921501416 THOSE DARLINS/DI/LIVE AT PI(LP Vinyl LP's 014921501416 014921501416 RPM073LP THUNDER BOYS, THE/CAN'T STOP D 7" Vinyl Singles 698715007317 698715007317 SKY2251 THUNDERS,J/VIVE LA REVOLUTIO(L Vinyl LP's 5013145825112 5013145825112 PAPER020LP TOKYO POLICE CLU/A LESSON IN(L Vinyl LP's 880893002011880893002011 PBV008 TOKYO POLICE CLUB/A LESSON(LP) Vinyl LP's 880893500814880893500814 FFR004LP TOMTE/WEDNESDAY'S CHILDREN(LP) Vinyl LP's 855376003083 855376003083 FFR003EP TOMTEN/TA TA DANA (LP) Vinyl LP's 855376003076 855376003076 4774133 TRAFFIC/TRAFFIC(LP) Vinyl LP's 602547741332 602547741332 0255716843 TRAGICALLY HIP,TH/TIRED AS(7'' 7" Vinyl Singles 602557168433 6025571684330254792040 TRAGICALLY,THE/MAN MACH(DLX LP Vinyl + CD 602547920409 602547920409 DSBR021 TRIUMPH OF LETHARGY SKINNED AL Vinyl LP's 609465347639 609465347639 GDP056LP TROPHY FIRE,THE /MODERN HEA LP Vinyl LP's 751937413516 751937413516 LFR32LP TROPHY WIVES/OLD SCRATCH (LP) Vinyl LP's 825576110324 825576110324 ESALP700032 TROUBLE/PSALM 9(LP) Vinyl LP's 878667000325 878667000325 6 02557 16843 36 98715 00731 7 6 02547 92040 96 02537 40257 1 6 02547 74133 26 02537 89440 6 6 00753 53565 36 00753 53635 36 00753 53561 56 00753 54254 5 6 00753 54274 36 02537 69215 6 6 19061 20035 1 7 51937 41351 66 09465 34760 8 8 55376 00307 68 55376 00308 37 51937 39692 5 6 09465 34763 9 8 25576 11032 45 013145 825112 8 80893 00201 1 8 80893 50081 48 27590 50211 6 8 88072 37009 8 8 78667 00032 50 14921 50141 66 00753 53567 7ESALP700038 TROUBLE/SIMPLE MIND CONDITI(LP Vinyl LP's 878667000387 878667000387 ESALP700033 TROUBLE/THE SKULL(LP) Vinyl LP's 878667000332 878667000332 4774708 TURNER,F/POSITIVE SONGS FOR(LP Vinyl LP's 602547747082 602547747082 B002111101 TURRENTINE,S/THAT'S WHERE I(LP Vinyl LP's 602537898985 602537898985 MNE006 TWIZTID/BACK TO HELL(7'') 7" Vinyl Singles 881034113245 881034113245 401 TWO BEARS/BEARS IN SPACE(LP) Vinyl LP's 50600655909275060065590927 B002042801 TYNER,M/THE REAL MCCOY(LP) Vinyl LP's 602537782116 602537782116 2778827 U2/ACHTUNG BABY (4-LP VINYL BO Vinyl LP's 602527788272 6025277882725739213 U2/RED HILL MINING TOW(12''SGL Vinyl Singles 602557392135 602557392135 MLLLP86V UGLY KID JOE/UGLIER THAN TH(LP Vinyl LP's 727361692605 727361692605 B001276201 VAR/25:DJ BRING THAT BACK V1&2 Vinyl LP's 602527006055 602527006055B002521501 VAR/A VERY SPECIAL(HMV EXCL LP Vinyl LP's 602547961648 602547961648 BREDD703 VAR/CLOSE TO THE NOISE FLO(2LP Vinyl LP's 5013929170315 5013929170315 5375520 VAR/MOTOWN FUNK(2LP COLOR) Vinyl LP's 600753755204 600753755204 MVD8181LP VAR/ONE VOICE(12" SGL) Vinyl Singles 760137818113 760137818113 BREDD702 VAR/SCARED TO GET HAPPY(2LP) Vinyl LP's 5013929170216 5013929170216 R7542141 VAR/SIDE BY SIDE(RSD 12" SGL) Vinyl Singles 081227959890 081227959890 D002346511 VAR/SILLY SYMPHONY COLLEC(10'' 10" Vinyl 050087340346 050087340346 FFR001LP VAR/SPOKANARCHY ORIGINAL SO(LP Vinyl LP's 855376003007 855376003007 STX3164501 VAR/STAX SOUL OF HIP HOP(LP) Vinyl LP's 888072316454 888072316454 MPS8551 VAR/SUPER BLUES VOL 1 Vinyl LP's 025218855112 025218855112 GRL12123 VAR/THE CONNY PLANK REWORK(LP Vinyl LP's 5060238631167 5060238631167 BMG15039V VAR/TROJAN INSTRUMENTAL REG(LP Vinyl LP's 881034134660 881034134660BMG15041V VAR/TROJAN RUDE BOY V1(LP Vinyl LP's 881034134684 881034134684BMG15037V VAR/TROJAN SOUL REGGAE V1(LP Vinyl LP's 881034134646 881034134646 GRLLP123 VAR/WHO'S THAT MAN A TRIBU(2LP Vinyl LP's 5060238631020 5060238631020 144021 VARIOUS AR/DROPPIN' SCIENCE Vinyl LP's 5099951440213 5099951440213 B002202801 VELVET UNDERG,THE/45TH ANNI(LP Vinyl LP's 602547038678 6025470386780 50087 34034 68 81034 11324 5 6 02547 96164 86 02537 89898 5 5 099951 440213 6 02537 78211 6 6 02527 00605 5 6 02547 03867 86 02527 78827 2 6 00753 75520 46 02547 74708 2 8 55376 00300 75 013929 170216 5 013929 170315 5 060065 590927 8 81034 13464 68 81034 13466 0 8 81034 13468 40 25218 85511 28 88072 31645 48 78667 00033 28 78667 00038 7 5 060238 631167 7 27361 69260 5 5 060238 631020 6 02557 39213 5 7 60137 81811 3 0 81227 95989 03754067 VERVE,THE/BITTERSWEET SYMP(7'' 7" Vinyl Singles 602537540679 602537540679 4921500211 VETIVER/EDJ EASY SOUN(7'')(LTD 7" Vinyl Singles 014921500211 014921500211 SD1592 VIOLENT SOHO/SPRAYNA/SPLIT(7'' 7" Vinyl Singles 603967159271 603967159271 PTK121451 VIOLENTS AND MARTIN,M/AWAKE(LP Vinyl LP's 720841214519720841214519 L638RLP1 VISQUEEN/MESSAGE TO GARCIA (LP Vinyl LP's 879198005025 879198005025 B001668201 VOLBEAT/BEYOND HELL/ABOVE(2LP Vinyl LP's 602527976297 602527976297 CLF020 WAGNER,K AND THE ALTERED/SOMET Vinyl EP 091037126542 091037126542 5707838610 WATSKY/ALL YOU CAN DO(LP) Vinyl LP's 015707838610 015707838610 Q102025 WE ARE THE CITY/VIOLENT(LP) Vinyl LP's 060270202511 060270202511 B001425301 WE ARE THE FALLEN/TEAR THE WOR Vinyl LP's 602527464046 602527464046 DTC6408 WE ARE WOLVES/INVISIBLE VIO(LP Vinyl LP's 064027640816 064027640816 B001291301 WEEZER/PINKERTON (LPX4) Vinyl LP's 602527535623 602527535623 4797827 WELLER,P/HEAVY SOUL(LP) Vinyl LP's 602547978271 6025479782714797824 WELLER,P/PAUL WELLER(LP) Vinyl LP's 602547978240 6025479782404797825 WELLER,P/WILD WOOD(LP) Vinyl LP's 602547978257 602547978257 5707923118 WELLS,J/IT'S MY LIFE BABY(LP) Vinyl LP's 015707923118 015707923118 B002222011 WELSH,L/LAURA WELSH EP(10'') 10" Vinyl 602547073839 602547073839 SR1228LP WHALE OR,THE/THE WHALE OR (LP) Vinyl LP's 724101602412 724101602412 RPM075LP WHITE BARONS/UP ALL NIGHT WITH Vinyl LP's 698715007515 698715007515 2756839 WHITE LIES/RITUAL (LP) Vinyl LP's 602527568393 602527568393 SCR08 WHITE, T.H./HOW BAD DO YOU LP Vinyl LP's 847108027757 847108027757 3715573 WHO THE/THE STUDIO ALBUMS(11LP Vinyl LP's 602537155736 6025371557365732868 WHO,THE/QUADROPHENIA(2LP COLOR Vinyl LP's 602557328684 602557328684 ATO00871 WIDESPREAD PANIC/DIRTY SIDE DO Vinyl LP's 880882171117880882171117 ATO00891 WIDESPREAD PANIC/LIVE IN THE C Vinyl LP's 880882171711880882171711 SBESTLP63 WILD SMILES/ALWAYS TOMORROW(LP Vinyl LP's 50510830833175051083083317 3716806 WILLIAMS,R/TAKE THE CROWN(DLX) Vinyl LP's 602537168064 602537168064 818601 WILSON, CA/GLAMOURED Vinyl LP's 724358186017 7243581860176 02547 07383 96 02537 54067 9 0 14921 50021 1 6 03967 15927 1 0 91037 12654 2 7 24358 18601 76 02527 53562 3 6 02537 15573 66 02547 97825 7 6 02537 16806 46 02527 56839 36 02547 97827 1 6 02557 32868 46 02547 97824 06 02527 97629 7 6 02527 46404 6 0 64027 64081 68 79198 00502 5 6 98715 00751 5 8 47108 02775 77 24101 60241 2 5 051083 083317 8 80882 17111 7 8 80882 17171 17 20841 21451 9 0 15707 92311 80 15707 83861 0 0 60270 20251 15369109 WINEHOUSE,A/BACK TO BLACK(2LP) Vinyl LP's 600753691090 600753691090 BMC37004 WOOD,B/OOGUM BOOGUM(LP) Vinyl LP's 888072370043 888072370043 MON003LP WOODEN INDIAN BUR/HOLY MOUN(LP Vinyl LP's 822685051821 822685051821MON006LP WOODEN INDIAN BUR/WOODEN IN(LP Vinyl LP's 613505530028 613505530028 MW0002 WOODS,D/HARD SETTLE,AIN'T TR(L Vinyl LP's 823674038410823674038410 MSWM2003LP WRIGHT,/HIGH MAINTENANCE WOMAN Vinyl LP's 758794200327 758794200327 ARM250901 WYLDE,Z/PRIDE & GLORY(2LP) Vinyl LP's 826992509013 826992509013 B002553301 YACHTY,L/LIL BOAT(12'' RED SIN Vinyl Singles 602557096026 602557096026 PAPER081LP YAMANTAKA/SONIC TITAN/UZU(LP) Vinyl LP's 880893008129880893008129 PAPER102LP YOU SAY PARTY/YOU SAY PARTY(LP Vinyl LP's 880893010214880893010214 PAPER051LP YOUNG GALAXY/INVISIBLE REPU(2L Vinyl LP's 880893005128880893005128 SVY16069 YOUNG,L/BLUE LESTERR(LP) Vinyl LP's 795041606914 795041606914 NVR0101 YUKON BLONDE/EVERYTHING IN EVE Vinyl LP's 621617297210621617297210 ZR38941 ZAPPA,F/FINER MOMENTS(2LP) Vinyl LP's 824302389416 824302389416 BPR1230 ZAPPA,F/ROLLO PORTLAND IMP(10" 10" Vinyl 824302123072 824302123072 051001 ZEUS/SAY US (VINYL) Vinyl LP's 827590510012 827590510012 B001827521 ZOMBIE,R/DEAD CITY RADIO(10''L 10" Vinyl 602537341764 602537341764B001709301 ZOMBIE,R/MONDO SEX HEAD (VYL) Vinyl LP's 602537079551 602537079551B002454701 ZOMBIE,R/WELL EVERYBODY S F(10 10" Vinyl 602547759085 602547759085 3020632061 ZOMBIES,THE/A ROSE FOR EMILY(L Vinyl LP's 030206320619 030206320619 4794705 ZUKERMAN/STERN/MI/VIVALDI(2LP Vinyl LP's 028947947059 0289479470596 02537 34176 4 6 02547 75908 58 24302 12307 2 0 28947 94705 98 26992 50901 3 6 02537 07955 18 24302 38941 66 00753 69109 0 8 22685 05182 1 6 13505 53002 8 7 58794 20032 78 23674 03841 0 6 21617 29721 08 80893 00512 88 80893 00812 9 8 80893 01021 4 8 27590 51001 28 88072 37004 3 7 95041 60691 4 0 30206 32061 96 02557 09602 6	[ "disc", "compact", "vinyl", "lp", "b", "upc", "video", "digital", "cd", "er" ]	{ "summary": " \n2450 Victoria Park Ave., Suite 1, Willowdale, Ontario M2J 5H3 Phone: (416) 718.4000 \nDecember " }
Music- strategy.pdf	Making Leaders Successful Every DayJanuary 22, 2010 Music Industry Meltdown: Recasting The Mold by Mark Mulligan for Consumer Product Strategy Professionals© 2010, Forrester Research, Inc. All rights reserved. Unauthorized reproduction is strictly prohibited. Information is based on best available resources. Opinions reflect judgment at the time and are subject to change. Forrester®, Technographics®, Forrester Wave, RoleView, TechRadar, and Total Economic Impact are trademarks of Forrester Research, Inc. All other trademarks are the property of their respective companies. To purchase reprints of this document, please email [email protected]. For additional information, go to www.forrester.com.For Consumer Product Strategy Professionals Includes Forrester research panel data and data from Consumer Technographics® ExECuTIvE SuMM aRy The first 10 years of the 21st century may have been the decade in which music went digital, but it was also a truly horrible decade for the music industry. By the end of 2009, US and European recorded music revenues were just 42% of what they had been at the start of the decade — down from €25.6 billion to €10.8 billion. The digital experience of the “noughties” was a rocky one, but the next 10 years will be characterized by the innovation and experimentation that has risen to prominence during the past few years. Brands and product strategists expect to invest more money in digital music in 2010 than they did in 2009. Such investment will bring a welcome impetus to the music industry, but it will also continue the value chain changes that will ultimately reshape the balance of power and recast the mold of the music business. TablE oF ConTEnTS The Painful Digital Transition Of The Music Business Digital Music Business Models Are Playing Catch-Up With Consumer Behavior The Move To The Consumption Era Will Realign The Music Industry Value Chain The Future Of Digital Music Will Be A Rich Tapestry Of Targeted Offerings REC oMMEnda TIonS Build A Series Of New Music Businesses Supplemental MaterialnoTES & RESouRCES Forrester used data from its European Technographics Media, Marketing, and Social Computing online Survey, Q3 2009 and the Q4 2009 Global Music Research Panel online Survey for this report. Related Research Documents “Media Product Innovation: building Products That Thrive In The Media Meltdown ” december 15, 2009 “Music Product Manifesto: The Product Features That Will Save Recorded Music ” September 29, 2009 “Music Release Windows: The Product Innovation That The Music business Can’t d o Without ” September 4, 2009January 22, 2010 Music Industry Meltdown: Recasting The Mold by Mark Mulligan with laura Wiramihardja 2 4 9 12 16 17 © 2010, Forrester Research, Inc. Reproduction Prohibited January 22, 2010 Music Industry Meltdown: Recasting The Mold For Consumer Product Strategy Professionals2 ThE PAINFUl DIgITAl TRANSITION OF ThE MUSIC BUSINESS In 2000, the recorded music industry was an elegantly simple business built almost entirely upon sales of little shiny discs. Revenues were buoyant, the construct of the multimillion-selling artist was still common currency, and — most pertinent of all — digital hardly featured in the equation. After just 10 years of the 21st century, it is clear that those days are gone for good and that the music industry will never be the same again. The 1990s were the recorded music industry’s high-water mark, with the CD at its height as a product. The CD now finds itself in terminal decline and with no heir apparent, and 21st-century music revenues have declined year on year as consumers have fallen out of love with the CD and struck up a whirlwind romance with free music. This is an affair that has changed forever how people perceive music as a product. Revenues Slump As The Music Fan Wrests Control The fundamentals of the music business have been turned on their heads and the recorded music industry kicked into meltdown as: · Digitization puts power firmly in the hands of the audience. The advent of CD ripping and its inevitable bedfellow, file sharing, ended the music industry’s ability to exercise control via a monopoly of supply. It had created monetary value by virtue of the fact that music fans could only acquire music to own via music shops.1 By ripping CDs, consumers could conveniently create high-quality copies; with Napster, they could then make those copies instantly available to millions of other music fans. · The meltdown plays out in three acts. Digitization itself didn’t cause the meltdown; instead, it was the enabler and the first act in a three-act play. “ Act 1: Digitization” brought with it the contagion of free. Once consumers could get all the music they wanted for free from Kazaa or Y ouTube, they started to wonder why they would ever pay for music. “ Act 2: Meltdown” began, and music sales plummeted while free prospered; the contagion became epidemic. At the start of the 21st century’s second decade, we find ourselves listening to the opening lines of “ Act 3: Rebuild. ” Although it’s far too early to say whether this story will have a happy ending, change is happening.2 · On-demand replaces on-command. Perhaps the single most important dynamic of the music industry meltdown is that consumers decide what, when, where, and how they get their music. Record labels used to dictate what music consumers could buy and when. Now, music fans dissect albums, preempt release schedules, and mash-up, share, acquire, and discard music with the voracious appetite of a foodie at an all-you-can-eat buffet. The problem with all of this is that virtually none of it generates much revenue and much of it occurs outside of the legitimate domain. Music fans have created a new consumption-based usage paradigm; the music industry now needs to create a series of new music businesses around it. © 2010, Forrester Research, Inc. Reproduction Prohibited January 22, 2010 Music Industry Meltdown: Recasting The Mold For Consumer Product Strategy Professionals3 · Consumer behavior shapes business models. In the 20th century’s distribution era of selling units of music, the music industry effectively shaped consumer music behavior. But in the consumption era, in which the audience is king, business models are playing catch-up, chasing emerging behavior patterns. The ”Noughties”: The Digital Decade That Shook The Music Industry To The Core The first 10 years of the 21st century may have been the decade in which music went digital, but it was also a terrible decade for the music industry. By the end of 2009, US and European recorded music revenues were just 42% of what they had been at the start of the decade, down from €25.6 billion to €10.8 billion (see Figure 1). Although recorded music revenues actually grew in 2001, the seeds of the forthcoming trouble were already well and truly sown, most notably with the launches of Napster, MP3.com, and the PMP300.3 Napster is both a symbol of the transition from the distribution era to the consumption paradigm and the crucible of the music industry’s 21st-century meltdown. The story of music’s digital decade maps neatly to the four stages of the music industry’s digital strategy: · Stage 1: Denial. As the music industry’s revenues began to crumble, the major record labels had already gone a long way to casting the die for the first half of the noughties; they failed to see the true importance of Napster and refused to license music to the likes of CDuctive, Listen. com, and MP3.com. Instead of nipping peer-to-peer (P2P) activities in the bud by meeting burgeoning digital demand with legitimate supply, the labels focused their energies on fighting file sharing. Although a number of people within the major labels began to think differently, their voices weren’t yet loud enough to shape strategy. · Stage 2: Confusion. By late 2001, the digital supporters within the majors had grown sufficiently loud to result in the licensing of services like Rhapsody; we also saw the ill-advised launch of two major-label distribution platforms, MusicNet and Duet (later pressplay), with which the labels hoped to control digital music distribution. It was now also clear that P2P activity was more than just Napster, and the RIAA commenced high-profile legal action against individual file sharers. Despite the rise of MP3 downloads on P2P networks, the legal music services were shackled by restrictive licenses that tethered purchased digital music to the PC. Unsurprisingly, digital music fans continued to opt for P2P downloads. · Stage 3: Acceptance. The impact of Apple on digital music cannot be overstated: Steve Jobs’ masterstroke of persuading the labels to license for portable downloads in the beta lab of the Mac platform single-handedly transformed the legitimate digital music market. Of course, the core reason for the success of the iTunes Store was the iPod: It wasn’t the first MP3 player, but it was the best, and it pulled millions of consumers into the digital music arena. However, it soon became clear that the paid download market wasn’t coming close to offsetting the impact of declining CD sales and that music piracy was in rude health. The iTunes 99-cent model proved to be a transition model — albeit a useful one — between the distribution and consumption eras.4 It was time for plan B.© 2010, Forrester Research, Inc. Reproduction Prohibited January 22, 2010 Music Industry Meltdown: Recasting The Mold For Consumer Product Strategy Professionals4 · Stage 4: Rebuilding. Plan B saw the music labels grant licenses to diverse and potentially disruptive services, including Comes With Music, imeem, MySpace Music, SpiralFrog, Spotify, and Virgin Media. Not all of them have succeeded, and more will fail, but some will succeed in the coming years. Rather than representing desperation, this “throwing everything at the wall to see what sticks” approach recognizes that it would be foolish to assume that we now know the answer to the question that Napster first posed in 1999. Figure 1 The 2000s: Music’s digital d ecade Source: Forrester Research, Inc. 56147Sony launches “The Stor e” Rise of Napster (P2P ) Long-ter m music revenue decline beginsRuling against MP3.comRuling against Napster (P2P) RIAA pursues ﬁle sharers Rise of K azaaIFPI pursues ﬁle sharers (EU) Rulings against Grokster and Kazaa Rise of BitT orren tRIAA launches “early settlements ” PRS/Y ouTube disput e Ruling against The Pirate Ba yiPod launchesiTunes Store launches (US) Napster (LL C) launches (US) iTunes Stor e and Napster (LL C) launch (EU)YouTube signs deal with labels Nok ia announces Comes With MusicVirgin M edia announces unlimited MP3 ser viceRhapsody subscribe r declineMySpace buys imeem and iLike; Apple buys Lala Spotify launches (EU)eMusic launches (EU) Virgin closes service (UK )News Corporation buys MySpac e Vivendi buy s MP3.comRhapsody launches (US) MusicNet and Duet launch 2000 2001 2002 2003 2004 2005 2006 2007 2008 2009US and EU re corded music revenues (billions) HADOPI bill passed (FR) €0€5€10€15€20€25€30 Source: Forrester Research Internet Music Forecast, 12/09 (US) & Forecast: European Digital Music, 2008 To 2014 DIgITAl MUSIC BUSINESS MODElS ARE PlAyINg CATCh-UP WITh CONSUMER BEhAVIOR From the comparatively bleak perspective of the 21st century, the 1990s look distinctly golden; with the luxury of hindsight, it could be argued that record labels should have invested in the next generation of music products while the CD was at its peak. In defense of the labels, there was no precedent for the way that digital transformed consumers’ relationship with music. But whatever the reasoning, the net result is that digital music is nowhere near where it should be by now.© 2010, Forrester Research, Inc. Reproduction Prohibited January 22, 2010 Music Industry Meltdown: Recasting The Mold For Consumer Product Strategy Professionals5 · Digital music adoption is still niche. Most music fans still don’t listen to digital music. The car and the radio still dominate listening for 74% and 71% of European online consumers, respectively, with the iPod accounting for just 37%.5 Despite its prolonged demise, CD buying is more widespread among European online consumers than any digital music activity, paid or free (see Figure 2). · Next-generation music services are not yet unseating the incumbents. Interactivity, social utility, the cloud, and ubiquitous access will define the future of digital music. Right now, though, the forward-looking services are little more than a niche within digital music’s niche: Just 6% of European online consumers visit social music sites like Last.fm, and only 13% visit artist pages on social networks. · A demographic time bomb is ticking. The digital music generational divide is pronounced. Although overall digital music adoption is modest, youth are avid users. A whopping 72% of European online 12- to 15-year-olds use MP3 players; more than half watch music videos; and, most significantly, 20% download music via P2P networks, rising to 24% for 16- to 24-year- olds — in Spain, these figures are 43% and 48%, respectively.6 A generation of young music fans is growing up with the expectation that music should be instantly available, with near-limitless choice and access, and, of course, free. The initial effects are being keenly felt but will be even more pronounced over the coming decade as this generation gains spending power but opts not to spend on music, leaving a gaping hole in future recorded music revenues. Figure 2 buying Cds Remains The Most Popular Music a ctivity, d espite Sales b eing In Freefall Source: Forrester Research, Inc. 56147Buy CDs Visit ar tist pages on social network sWatch music videos online Watch music DVDsGo to gigs and concer ts Download music via P2PWatch live concer ts on TV Buy digital music Visit social music sites like Last.fm17% 10%28%31% 14%27% 13% 6%48% Source: European Technographics® Media, Marketing , And Social C omputing Online Sur vey, Q3 2009Base: European online consumers (multiple responses accepted)With the ex ception of music video , online music ac tivity is fundamentally niche in reach.“Thinking about y our music listening habits, which of the following apply to y ou?” ”What type of online video , if an y, have you view ed in the past month?”© 2010, Forrester Research, Inc. Reproduction Prohibited January 22, 2010 Music Industry Meltdown: Recasting The Mold For Consumer Product Strategy Professionals6 Free Music Is here To Stay Like it or loathe it, the legacy of Napster is that people expect music to be free on the Internet — not all people, perhaps, but certainly more than pay for music online. Free is not about to disappear; indeed, the fact that it is synonymous with online music grants it a central role in future digital music strategy. · File sharing has always remained one step ahead of industry countermeasures. Ever since the first legal proceedings were initiated against Napster, online music piracy has played a game of cat and mouse with the music industry. And just as Jerry always evades Tom’s grasp, so music piracy has evaded the law. The simple fact is that technology moves at light speed compared with the methodical mechanisms of the judiciary and legislature. As Audiogalaxy, Grokster, Kazaa, Morpheus, and Napster closed down, their more sophisticated successors already had scale. Ironically, file sharing has perfected the art of the format replacement cycle just as the music industry has forgotten it. · Online music piracy is going off-network. Over the past few years, an increasing number of consumers have opted for non-network alternatives to P2P file sharing, such as instant messaging (IM), email, music blogs, forums, file storage sites, and binary groups. Part of their motivation may be to evade industry policing of P2P networks — it is much more problematic to monitor personal communication channels such as IM and email. Remote storage services like RapidShare and Megaupload are also gaining traction. While none of these alternatives are as convenient as P2P networks for sharing large numbers of files, they illustrate how technology will always evolve. P2P networks are not the issue; downloading free music is. · Combating music piracy requires a multilayered approach. File sharing can’t be defeated through enforcement alone. Enforcement and legislation are necessary cogs in the wheel — consumers need to know the rules and that there are consequences for breaking them — but the stick will only work with a big fat carrot and with cooperation across the value chain. ISPs clearly have a major role to play; in the UK, the labels and ISPs are working more closely together than elsewhere. The ISP’s role should be that of business partner, not just enforcer. Just 38% of the digital music executives we interviewed for this report believe that ISPs should be responsible for the traffic on their networks.7 · The industry is fighting free with free. Since the major labels signed a licensing deal with Y ouTube in 2006, they have tacitly recognized that the only truly effective way to fight free is with free itself — via services that are either free to the consumer or that “feel like free. ” The policy really came into effect with the licensing of services like Nokia’s Comes with Music, imeem, and SpiralFrog. Although these aren’t exactly a list of successful services, they were strategically brave moves and represent the essential experimentation that underpins evolution. And Last.fm, MySpace, Pandora, Spotify, and Y ouTube represent the much more successful side of free.8 The fortunes of individual services aside, free is here to stay: It is the best way to address the generation weaned on file sharing.© 2010, Forrester Research, Inc. Reproduction Prohibited January 22, 2010 Music Industry Meltdown: Recasting The Mold For Consumer Product Strategy Professionals7 Introducing Forrester’s Music Industry Meltdown Consumer Segmentation The transition between the distribution and consumption eras manifests itself in polarized consumer behavior. To see how the transition is defining the digital music audience, Forrester designed a proprietary music industry meltdown segmentation (see Figure 3 and see Figure 4). This segmentation divides European online consumers into four groups based upon their free online music activities and music-buying behavior. · Music buyers still dominate — for now. Although more than half of European online consumers buy music, this isn’t the most useful way of looking at the audience: They’re clearly spending a lot less than they used to, and this will be exacerbated as consumers increasingly fall out of the habit of buying units of media. Whereas Music Mavens are highly engaged with online music in addition to being strong spenders, Strictly Spenders are not and so, despite their current value, are vulnerable. Many of these consumers will be near-term casualties in the shift to the consumption era. · Y outh is where the action is. Unsurprisingly, the digitally engaged Music Mavens and Freeloading Fans are also the youngest segments; 60% of Freeloading Fans are younger than 35. One key issue is whether the behavior of these consumers will prove to be based on demographics or cohort — i.e., will they grow out of the activity. The answer is almost certainly no. They may lessen in intensity, but their current activity is laying the foundations of tomorrow’s mainstream. Business models will evolve to successfully monetize this predominantly free activity and will thus turn the Freeloading Fans into cash cows. 9 · Portable music is only part of the story. Portable music — both dedicated MP3 players and, in particular, mobile phones — is niche even among the Music Mavens and Freeloading Fans (see Figure 5). The traditional locations for listening to music, such as the car, radio, and home hi-fi, still dominate across all consumers. This matters because digital music has thus far been obsessed with portable music; as such, it fails to cater for not only the mass market but also the majority of those digitally engaged consumers who listen to music. iPod docking stations are a clumsy fix to a problem that shouldn’t even exist. If digital music is to jump out of its niche, it needs to wholeheartedly enter the home and the car.10© 2010, Forrester Research, Inc. Reproduction Prohibited January 22, 2010 Music Industry Meltdown: Recasting The Mold For Consumer Product Strategy Professionals8 Figure 3 Forrester’s Music Industry Meltdown Consumer Segmentation Source: Forrester Research, Inc. 56147Source: European Technographics® Media, Marketing , And Social C omputing Online Sur vey, Q3 2009Base: 13,279 European online consumers ages 16 or older Stric tly Spenders Passiv e Populus31% 33% Freeloading F ansMusic Ma vens 21% 15%Buy music Do not buy musicDo not download/stream for free Download/stream for freeKey distribution- era audienc e Key consumption-era audienc e Figure 4 Freeloading Fans d on’t Spend Much on live Music Either but are The Core youth Market Source: Forrester Research, Inc. 56147 Buy music Do not buy musicDo not download/stream for free Download/stream for freeStric tly Spenders Passiv e Populus Freeloading F ansMusic Ma vens • Like classical/opera, rock ‘n’ roll, and danc e • 28% younger than 35 (average age is 44), 49% male • 35% go to gigs and concerts • 26% would pay f or online music• Like danc e, R&B , and ambient/chillout • 50% younger than 35 (average age is 36), 55% male • 53% go to gigs and concerts• 39% would pay f or online music • Like other , danc e, and classical/oper a • 29% younger than 35 (average age is 45) , 50% male • 12% go to gigs and concerts• 13% would pay f or online music• Like danc e, R&B , and rap/hip -hop • 60% younger than 35 (average age is 33), 53% male • 25% go to gigs and concerts• 26% would pay f or online music Source: European Technographics® Media, Marketing , And Social C omputing Online Sur vey, Q3 2009Base: European online consumers ages 16 or older© 2010, Forrester Research, Inc. Reproduction Prohibited January 22, 2010 Music Industry Meltdown: Recasting The Mold For Consumer Product Strategy Professionals9 Figure 5 Consumption-driven Music Consumers Coalesce around digital Platforms Source: Forrester Research, Inc. 56147In the car Radio Home hi-ﬁ/stereo iPod/MP3 playe r Mobile phone81% 78% 69% 32% 14%79% 78% 73% 55% 36%71% 66% 43% 19% 11%70% 67% 49% 44% 33% Source: European Technographics® Media, Marketing , And Social C omputing Online Sur vey, Q3 2009Base: European online consumers ages 16 or older (multiple responses accepted)“Thinking about y our music listening habits, which of the following apply to y ou?” Digital platf orms are strongly adopted by “consumption ” consumers but shunned by “distribution- only ” consumers . Music Mavens Stric tly Spenders Freeloading F ans Passive Populus ThE MOVE TO ThE CONSUMPTION ERA WIll REAlIgN ThE MUSIC INDUSTR y VAl UE ChAIN Consumer behavior can only drive business if the supply side is willing to be driven. To help gauge the extent to which this is the case, Forrester fielded a survey to European and US digital music executives. The results offer some encouragement. · The consumption era is coming — and the music industry knows it. When we asked music industry executives how they expect the roles of channel partners to change, it is clear that they understand that the balance of power is shifting from retailers to social and on-demand services (see Figure 6).11 They anticipate the big losers to be radio and digital stores and services. While we agree with the sentiment, we think that the case is somewhat overstated. Although the majority of digital music fans will increasingly seek out ad-supported and subsidized music, digital stores and services will still deliver the highest average revenue per user (ARPU). The importance of radio will not dissipate to such an extent, particularly when we factor in digital radio. © 2010, Forrester Research, Inc. Reproduction Prohibited January 22, 2010 Music Industry Meltdown: Recasting The Mold For Consumer Product Strategy Professionals10 Figure 6 In The Shift To The Consumption Era, Streaming Services Gain a t The Expense o f Stores Source: Forrester Research, Inc. 56147Streaming music ser vices RadioDigital stores and ser vices Media retailersSocial network s Technology companiesISPs and mobile operators Brands Don’t know10%45%32%90% 16%42%16% 0%26% 26% 16%39%52% 26%35% 16% 3%61% Source: Q4 2009 Global Music Research P anel Online Sur veyBase: 86 US and European digital music ex ecutives at record labels , publishers , and industr y bodies“In y our opinion, which of the following are the most impor tant channel par tners for the music industr y?” (Please selec t three , both f or “now” and “in ﬁve years ’ time ”) 2015 Now* Base: 85 US and European digital music ex ecutives at record labels , publishers , and industr y bodies (multiple responses accepted) · A new hierarchy of value chain relationships will evolve. Interestingly, music industry executives only expected ISPs to become significant channel partners; they didn’t expect much more from technology companies or brands. While ISPs will certainly become key conduits as providers of subsidized household music subscription services, technology companies like Apple and Nokia will continue to play a pivotal role — even more so than now. The importance of brands is also set to grow. Bacardi’s signing of Groove Armada and RIM’s large-scale sponsorship of U2 are precursors of wider trends, not temporary anomalies. As the revenues from music sales decline, those revenues that increasingly come from elsewhere mean that those partners will become increasingly important. · Artists and their managers will become more powerful. It is also apparent that the partners with whom music industry executives do business expect more value chain transformation than © 2010, Forrester Research, Inc. Reproduction Prohibited January 22, 2010 Music Industry Meltdown: Recasting The Mold For Consumer Product Strategy Professionals11 they do (see Figure 7). These partners expect the role of artists and artist managers to grow at the expense of labels and music publishers — an entirely feasible byproduct of the decline in music sales. Indeed, as artists increasingly seek out additional revenue sources, some will even opt out of label relationships. Although we believe that labels and publishers will remain the main investors in creative talent, a tier of established artists — especially those late in their career and seeking one last payday — will seek out brands instead.12 Big brands will need to be careful that they don’t just become pension plans for aging artists. Figure 7 The Role o f artists, Managers, and a gents Is Expected To Increase a t The labels’ Expense Source: Forrester Research, Inc. 56147Music publishersArtist managers/agents Reco rd labelsArtists Concer t promoters Don’t know16%41%70%45%57% 7%64% 20%45%68% 30% 16% Source: Q4 2009 Global Music Research P anel Online Sur veyBase: 104 US and European digital music ex ecutives who are not at record labels or publishers or trade bodies Base: 107 US and European digital music ex ecutives who are not at record labels or publishers or trade bodies (multiple responses accepted)“In y our opinion, which of the following do y ou think will be the most impor tant fac tors in the future of the digital music mark et?” 2015 Now* Cracks Are Emerging In The Digital Music Value Chain That Need Fixing Any process of change necessitates shifts in the organizations and systems that it affects. As CD sales tank and digital download revenues fail to get into top gear, retailers are the obvious losers — all the more so as labels focus on licensing to consumption-based services.13 The changes that digital music is heralding go much further, though, and are nothing short of tectonic shifts in the value chain. · Artists are beginning — but only beginning — to understand music piracy’s impact. Many artists see little or no income from actual sales of their music after their labels have recouped their costs, making tours and merchandise their bread and butter. It was inevitable that many artists would soon regard file sharing as a great way of getting punters through the doors, caring © 2010, Forrester Research, Inc. Reproduction Prohibited January 22, 2010 Music Industry Meltdown: Recasting The Mold For Consumer Product Strategy Professionals12 little for what it might do to CD sales of their albums.14 Although Lily Allen’s recent — and short-lived — spell as an artist crusader against music piracy shows that artists are beginning to change their tune, there is a long way to go. Every one of the artists we interviewed considered file-sharing sites to be a crucial tool for helping people discover music, and few were convinced that losses from file sharing were important.15 · Digital shines a light on artist and label differences. When we asked digital music executives what they thought was holding back the sector, the labels and publishers placed much of the blame on consumers — while artists and their managers thought the industry was at fault.16 Music industry execs consider file sharing to be the No. 1 problem, but the other respondents cite the inflexibility of labels and collection societies and the financial demands of rights owners. These trends are, of course, to be expected, but they highlight the fact that it is difficult to make money in the digital music marketplace unless you have the financial might of a MySpace or Y ouTube to negotiate competitive licensing terms. · Artists and their managers are finding their voices. Publishing and live music revenues didn’t nosedive between 2000 and 2010 in the way that recorded music revenues did. This shift threatens the degree of importance of record labels, and the major labels’ shift to 360 contracts is not enough to redress the changing balance.17 Artists and their managers are taking tentative first steps toward defining stronger roles for themselves. Organizations like the Featured Artists Coalition may be some way yet from real power, but they illustrate the changing trends. These are the early skirmishes as the two opposing forces size each other up. ThE FUTURE OF DIgITAl MUSIC WIll BE A RICh TAPESTR y OF TAR gETED OFFERINgS The current meltdown does not spell the end of music business, just the slow demise of the 20th- century music business. Music retains a core cultural relevance, and more people are consuming more music across more digital platforms and technology than ever before. If the first 10 years of the 21st century were the years when the music industry cleared its throat, in the next 10 years it needs to find its new voice. · Monetization will follow a three-tier hierarchy. Digital music offerings will become even more diverse, but they will sit within a three-tier structure, with premium at the top, subsidized in the middle, and free-to-consumer at the bottom. While the ARPU lessens as you move down the ladder, audience size increases.18 The larger the addressable audience, the lower the customer value opportunity. Careful positioning of these tiers will be crucial and is currently absent.19 · Ad-supported services won’t pay the bills. Making ad-supported music pay is a tough business, as Qtrax, SpiralFrog, Spotify, we7, and Y ouTube will attest. Not only are the economics tough for the services — and in need of revision — but the revenues from such services fall far short of filling the gaping chasm left by declining CD sales.© 2010, Forrester Research, Inc. Reproduction Prohibited January 22, 2010 Music Industry Meltdown: Recasting The Mold For Consumer Product Strategy Professionals13 · Subsidized services will become the crucial “third way. ” Premium digital services will continue to drive the strongest revenues — €5.8 billion in 2014 in the US and Europe, representing 56% of all recorded music revenues — but the sweet spot between niche premium customers and mass-market free music fans remains untapped.20 We believe that ISPs, mobile operators, and device manufacturers will fill the gap, providing music services for which they subsidize some or all of the cost for their customers. Consider a portable Apple device with unlimited music streaming and a monthly allowance of free downloads — or a home Internet tariff that includes unlimited household access to music downloads. Nokia may not have set the subsidized world alight with Comes With Music — at least not yet — but the subsidized model is the best means of generating meaningful mass-market digital revenues.21 And telcos may not be the best programmers of content, but then neither was Apple when it launched its music store. · Music product innovation will be key to future prosperity. If one thing stands out above all else as key to the success of the 21st-century music business, it is product innovation. We’ve been stuck with the same “linear collection of songs” product for a century — the commercial album celebrated its 100th birthday in 2009. A radical music product overhaul is required. Currently, there is too little difference between the iTunes 99-cent download and a BitTorrent download. Unless music products improve their game, they can’t expect to genuinely compete with free illegal alternatives. Future music products need to adopt a platform-agnostic world view that encompasses powerful and social interactivity to empower consumers to create their own unique experiences.22 The Digital Music Strategy Of Non-Music Companies Will Become Increasingly Influential Underpinning the multiplicity of consumer experiences and business models that will be core to future success will be an ever richer mix of commercial partners. These partners will bring much- needed financial investment and routes to market, but they additionally bring their own agendas and priorities, which in turn will contribute to the recasting of the music industry mold. · New entrants are filling the space vacated by traditional retailers. Of course, much has already changed, as Apple’s position as the No. 1 music retailer in the US shows. But Apple’s role represents much more. The major record labels have tried and failed at being distributors — witness MusicNet and Duet/pressplay — and traditional media retailers across the globe are scrambling for alternative revenue streams. Future revenue growth will depend upon the success of ventures launched by new channel partners picking up where traditional players have failed. · New channel partners bring new and often competing priorities. The bitter pill for the music industry to swallow is that most of the new partners are simply using music as a way of selling their other core products. Music becomes bits and bytes to fill the pipes and devices of ISPs, mobile operators, and device manufacturers. Content’s throne is no longer undisputed; it is © 2010, Forrester Research, Inc. Reproduction Prohibited January 22, 2010 Music Industry Meltdown: Recasting The Mold For Consumer Product Strategy Professionals14 instead busy fighting off the republican advances of the channel. For example, while Nokia and RIM might invest heavily in music and in building music DNA into their organizations, they are doing so in order to sell more phones. This doesn’t preclude these sorts of companies becoming crucial partners — particularly for subsidized services and sponsorships — but it does change many fundamental value chain dynamics. · Digital music has more pulling power than ever. Value chain tensions aside, it is clear that digital music will be an even more appealing proposition for brands and product strategists in 2010 than it was in 2009. Of the executives we interviewed, the majority expects to invest more in 2010, believes that digital music helped them meet their strategic objectives in 2009, and believes that digital music remains a valuable tool for differentiation (see Figure 8). Partners as diverse as drinks companies, car manufacturers, ISPs, and hardware firms will continue to invest more in digital music and will expect more from it. Of course, the more companies that work with digital music, the more difficult it becomes to differentiate, so labels and publishers will need to work ever harder to enable differentiated offerings for their partners.© 2010, Forrester Research, Inc. Reproduction Prohibited January 22, 2010 Music Industry Meltdown: Recasting The Mold For Consumer Product Strategy Professionals15 Figure 8 The Popularity o f digital Music among brands and Product Managers Is Clear Source: Forrester Research, Inc. 56147Source: Q4 2009 Global Music Research P anel Online Sur vey“To what degree do y ou c onsider digital music to still be a useful tool for diﬀerentiation?”“To what degree did digital music help y ou meet y our str ategic objec tives in 2009?”“What priority will y our c ompan y’s digital music str ategy take in 2010 compared with 2009?”“What will y our c ompan y’s investment in y our digital music str ategy be in 2010 compared with 2009?” Not useful Neutral UsefulNo help Neutral HelpedLowe r Same HigherLess Same More 8% 8% 7% 23%27% 52% 27% 14%65% 40% 66% 64%Base: 48 US and European digital music ex ecutives who ar e not at record labels or publishers or trade bodies Base: 48 US and European digital music ex ecutives who ar e not at record labels or publishers or trade bodies Base: 44 US and European digital music ex ecutives who ar e not at record labels or publishers or trade bodies Base: 44 US and European digital music ex ecutives who ar e not at record labels or publishers or trade bodies© 2010, Forrester Research, Inc. Reproduction Prohibited January 22, 2010 Music Industry Meltdown: Recasting The Mold For Consumer Product Strategy Professionals16 REC oMMEnda TIonS BUIlD A SERIES OF NEW MUSIC BUSINESSES In the age of The X Factor and America’s Got Talent, it is easy to view the music industry as being in a race to the bottom in pursuit of safe bets that play to the lowest common denominator. Given the climate for music sales, the labels’ need to minimize their already sizeable risks is understandable. but a successful music business depends not only upon the mainstream but also upon variety, the counterintuitive, and the left field. The digital music sector requires exactly the same diversity of approach and a bold willingness to experiment, even if it means getting it wrong — again. · Innovate like it’s 1999.23 a lot of mistakes were made during the digital decade. If we could turn the clock back to 1999 while retaining labels’ present-day licensing mentality, it is probable that we would see very similar innovation to what we see now — and that we lacked in the first half of the “noughties. ” The key difference? Services would get a headstart on file sharing, thus prompting much greater consumer uptake, and more of these services would be successfully charging for music. This doesn’t mean that the digital decade was wasted, but it is clear that the lessons learned toward the end of it will be the key ones that inform the next 10 years. 24 · Focus on building great consumer experiences. Seventy-seven percent of the digital music executives we interviewed believe that business model innovation will be the most important factor in the future of the digital music market. They are only partly right: If anything, too strong a focus on business models held back progress during the past 10 years. The focus now must be on great consumer experiences. We’re not saying that you should forget business models, but get the experience right first. an economically sound business model is of little value without a good product. · Don’t fall for the lure of the levy. The argument for replacing music business innovation with a flat-rate levy has sustained surprising momentum, most recently via the so-called “Google Tax” in France. but the levy argument is flawed: not only is it virtually impossible to implement but it also discourages innovation.25 In a world with a flat-rate levy, technology companies would have much more limited incentive to innovate, and consumers would ultimately be left with inferior experiences. · Empower artists as stakeholders. Radiohead’s spurning of EMI in favor of going direct to consumers remains the big success story of this strategy, but others will come.26 Record labels need to work hard at giving artists real value, but it must be a two-way street: artists also need to behave responsibly. artists should become partners in their success, not just employees. EMI boss Guy Hand’s suggestion of 50:50 net receipts as standard practice — echoing much of the independent sector — is a smart tactic that would drive this strategy. If artists have more skin in the game, more to gain, and thus more to lose, they’ll work harder to make themselves — and their labels — a success.© 2010, Forrester Research, Inc. Reproduction Prohibited January 22, 2010 Music Industry Meltdown: Recasting The Mold For Consumer Product Strategy Professionals17 · Embrace social media and social tools. one of the more significant trends in recent years has been the rise of semi-pro sites and services such as My Major Company, Sellaband, and TuneCore. When you add them to artist pages on social networks — especially MySpace — social crowdsourcing tools like last.fm’s Scrobbler, music blogs like The Hype Machine, and fan forums, you get an incredibly rich social picture. Social media has reinvented the artist/ fan relationship, it has revolutionized discovery, and it has created new routes to market for emerging artists and new a&R sources for record labels. The success of future music products and services will rely heavily upon the continued and increased leveraging of audiences via the social Web. a fter all, if music isn’t for the fans, who is it for? SUPPlEMENTAl MATERIAl Methodology The European Technographics Media, Marketing, And Social Computing Online Survey, Q3 2009, surveyed 14,536 respondents in the seven markets of France, Germany, Italy, the Netherlands, Spain, Sweden, and the UK. This survey is based on online adults ages 12 and older who are members of the Ipsos-MORI online panel. Ipsos weighted the data by age, sex, online frequency, and hours spent online to demographically represent the online adult European population per country. Ipsos fielded the survey in June and July 2009 and motivated respondents with various incentives. For results based on a randomly chosen sample of this size (N = 14,536), there is 95% confidence that the results have a statistical precision of plus or minus 1.1% of what they would be if the entire online adult population of Western Europe had been polled. This confidence interval can widen to 3.1% when the data is analyzed at a country level. The sample used by Ipsos is not a random sample; while individuals have been randomly sampled from the Ipsos panel for this survey, they have previously chosen to take part in the Ipsos online panel. Forrester fielded its Q4 2009 Global Music Research Panel Online Survey to 173 consumer product strategy professionals from our ongoing Marketing & Strategy Research Panel. However, only a portion of survey results are illustrated in this document. The panel consists of volunteers who join on the basis of interest and familiarity with specific music topics. For quality assurance, panelists are required to provide contact information and answer basic questions about their firms’ revenues and budgets. Forrester fielded the survey in early December 2009. Respondents were given a summary of the survey results, in report form, as an incentive for completing the survey. Exact sample sizes are provided in this report on a question-by-question basis. Panels are not guaranteed to be representative of the population. Unless otherwise noted, statistical data is intended to be used for descriptive and not inferential purposes. If you’re interested in joining one of Forrester’s research panels, you may visit us at http://Forrester. com/Panel.© 2010, Forrester Research, Inc. Reproduction Prohibited January 22, 2010 Music Industry Meltdown: Recasting The Mold For Consumer Product Strategy Professionals18 ENDNOTES 1 Of course, they could tape from the radio and from their friends, but the home taping experience was both clumsy and time-consuming. It was always a markedly inferior experience to the genuine article. For a detailed description of the three pillars of value, see the December 15, 2009, “ Media Product Innovation: Building Products That Thrive In The Media Meltdow n” report. 2 We have proclaimed the death of the music industry, the decline of print journalism, and the radical overhaul of the TV and movie business. And while each industry is being remade in its own unique way, there is a fundamental similarity in the way that these media industries are being remade: They are all suffering from media digitization, which removes distribution scarcity. This ultimately alters how content is produced, distributed, and consumed. In this report, we lay out three phases that media industries have begun to pass through: digitization, meltdown, and rebuild. Most media businesses are in meltdown. It’s time to rebuild. Product strategists in all the phases of media production, distribution, or consumption — including device makers — must prepare for a world in which media are characterized by multiplatform access, increased audiences, and diverse revenue sources. See the October 9, 2009, “ How To Rebuild The Media Industrie s” report. 3 These were, respectively, the first music peer-to-peer network, the first large-scale music download site, and the first portable MP3 player. 4 Just 10% of European online consumers buy digital music, compared with 48% who still buy physical CDs. Source: Forrester’s European Technographics Media, Marketing, And Social Computing Online Survey, Q3 2009. 5 Source: Forrester’s European Technographics Media, Marketing, And Social Computing Online Survey, Q3 2009. 6 Source: Forrester’s European Technographics Media, Marketing, And Social Computing Online Survey, Q3 2009. P2P behavior is typically significantly underreported in consumer surveys due to consumer reluctance to admit to the activity. This is particularly true in markets where high-profile industry countermeasures are in place. 7 Taxing the likes of Google, Facebook, and Microsoft certainly isn’t the answer either, as has recently been proposed in France. Source: Mark Mulligan, “Taxing the Net Won’t Stop the Media Meltdown, ” The Forrester Blog For Consumer Strategy Professionals, January 7, 2010 (http://blogs.forrester.com/consumer_ product_strategy/2010/01/taxing-the-net-wont-stop-the-media-meltdown.html). 8 The difficulty that Spotify has had in securing licenses for the US market and the fact that subsequent free- to-consumer on-demand services like MSN Music in the UK have much smaller catalogs from the majors suggests a change in strategic outlook. Although Spotify has proven to be a major consumer success, with 6 million users in September 2009, it has not done well at converting users to the premium tier — which accounts for no more than a few percent of total users. Record labels see a service that promised to use free as a tool to pull in consumers to pay for music doing an even better job than BitTorrent in educating mass- market music fans that music should be free. 9 Fundamental shifts in consumers’ perceptions of value underpin the current period of crisis in which the media industries find themselves. Consumers are not falling out of love with media but instead with its © 2010, Forrester Research, Inc. Reproduction Prohibited January 22, 2010 Music Industry Meltdown: Recasting The Mold For Consumer Product Strategy Professionals19 20th-century product iterations. Those consumers who currently spend extensively but consume modestly will be most exposed as the media distribution paradigm is superseded by the consumption era. A new framework for media product innovation is required to align media industry content assets with 21st- century consumer behavior and demand. The exhaustive process of product innovation and rebuilding that this entails will be media businesses’ ticket out of the media meltdown. See the December 15, 2009, “ Media Product Innovation: Building Products That Thrive In The Media Meltdow n” report. 10 The iPod heralded a new paradigm in music consumption, but it has done little to counter the impact of the CD’s terminal decline; it may even have helped accelerate it. Although mobile music now looks set to start delivering on some of its promises, it shares a core failing with MP3 players: They both deliver individual experiences and largely fail to address the decline of music technology in the home. See the November 6, 2009, “ Taking Digital Music To The Mainstream: The Music Product Features For The Living Roo m” report. 11 Respondents to Forrester’s Q4 2009 Global Music Research Panel Online Survey were from record labels, music publishers, music rights bodies, and music trade bodies. 12 In the late 20th century, music business artist contracts, development cycles, release schedules, and promotional activity were all shaped around getting a little shiny disc of a dozen or so tracks into the stores. Now in the 21st century, the album straightjacket can be thrown off and releases can become part of a continual artist-fan relationship. Sure, the die-hard artists of the album era will bemoan the death of a creative construct. But that ignores the immensity of the new creative opportunities that will accompany the radical product innovation that the music industry so desperately needs. And the benefits go far beyond the artists and labels; they open up core new revenue opportunities for mobile carriers, ISPs, device manufacturers, and even brands. Perceptions of value and scarcity must be rebuilt along new lines, creating a blueprint for product strategists across all content genres. See the September 4, 2009, “ Music Release Windows: The Product Innovation That The Music Business Can’t Do Withou t” report. 13 Media retailers have spent most of the 21st century shifting more and more of their floor space from CDs to other media and products. But the media meltdown affects all media industries, not just music. DVD sales are already being hit as well. The smart media retailers are investing in businesses that monetize consumption. A best-practice example is HMV in the UK, which has invested in boutique movie theaters and live music venues. 14 High-profile file-sharing fans include Robbie Williams and Travis’ Fran Healy. Metallica’s Lars Ulrich was an early exception to the rule, and U2’s Bono is currently doing his best to pick up Ulrich’s baton — due in no small part due to the influence of his vociferous manager Paul McGuinness. 15 File sharing and non-network music piracy, such as sharing via instant messaging, music blogs, and email, are indeed strong discovery mechanisms for many digital consumers — but they are also detrimental to music sales. While teenage file sharers may discover and consume far more music due to file sharing than their equivalents 10 years ago, their spending is much lower. Because music is free, they have shifted their — now larger — disposable income to other items, such as console games. Music retains an intrinsic cultural value for youth but has lost its monetary value. As one teenager in a focus group said, “If I could download my Nike, I would buy music. ” 16 Source: Q4 2009 Global Music Research Panel Online Survey.© 2010, Forrester Research, Inc. Reproduction Prohibited January 22, 2010 Music Industry Meltdown: Recasting The Mold For Consumer Product Strategy Professionals20 17 360 contracts are those in which an artist grants the record label the right to participate in additional nonrecorded music revenues, such as live performances and merchandizing. To date, they have created more animosity among artists and artist managers than they have revenues for record labels. 18 Prices and paying audiences will continue to decline. Although free will play a key role in the business model and user experience revision process, it needs careful positioning within a clear strategic framework. Successful monetization of digital content will follow a three-tier hierarchy. See the December 15, 2009, “Media Product Innovation: Building Products That Thrive In The Media Meltdow n” report. 19 For example, a UK basic Napster customer pays ₤9.99 a month for on-demand streaming music, while other UK consumers get virtually the same on-demand experience from Spotify for free. The absence of a few audio ads falls far short of establishing ₤10 of value. 20 This data excludes ring tones. Source: Forrester Research Internet Music Forecast, 12/09 (US) and see the January 20, 2009, “ How Digital Licensing Will Help Save The Music Industr y” report. For more information on Forrester’s new ForecastView offering, including access to additional details and metrics not included in this report, please contact us at [email protected]. 21 TDC’s Play service in Denmark remains the industry benchmark for subsidized music services, but the pace will quicken over the coming years. Spotify’s recently announced partnerships with mobile operator 3 in the UK and ISP Telia in Sweden add a further twist, presenting the subsidized model as the most realistic means of making the premium tier of the ad-supported service pay. 22 In 2009, the album celebrated its 100th birthday and yet remains the centerpiece of the recorded music product portfolio. The time has come for a radical overhaul of the recorded music product range. Forrester proposes a music product manifesto of consumer rights that music products should embrace. Future music products will need to adopt a platform-agnostic world view that encompasses powerful and social interactivity to empower consumers to create their own unique experiences. See the September 29, 2009, “Music Product Manifesto: The Product Features That Will Save Recorded Musi c” report. 23 This echoes the lyrics of Prince, who has done more than his fair share of business model innovation — ranging from the innovative but ultimately unsuccessful New Power Generation subscription service to the hugely successful newspaper cover mount in the UK that enabled him to sell out his “residency” at the O2. 24 If the “noughties” were the original 1970s’ run of Battlestar Galactica, the next decade needs to be the 2004 remake. 25 The key issues are who gets paid and how much? Many industries could make a strong case for revenue loss due to piracy. Where should we draw the line? Music? Movies? TV? Books? Games? Software? News? Magazines? Software? Pornography? Is revenue share based on how much the industries have lost? Or on how big a portion of their revenue has declined? Or on how many files are downloaded? For example, music companies have lost a larger share of revenues to piracy than movies, but the absolute loss for movies is probably larger. Who gets paid more — movie studios or record labels? 26 Other high-profile moves — such as Paul McCartney to Starbucks, Madonna to Live Nation, and Groove Armada to Bacardi — are all exceptions rather than rules. Each instance is a new player making as big an entrance as possible by overinvesting in a high-profile and disaffected major-label artist.Forrester Research, Inc. (Nasdaq: FORR) is an independent research company that provides pragmatic and forward- thinking advice to global leaders in business and technology. Forrester works with professionals in 20 key roles at major companies providing proprietary research, customer insight, consulting, events, and peer-to-peer executive programs. For more than 26 years, Forrester has been making IT, marketing, and technology industry leaders successful every day. For more information, visit www.forrester.com.Headquarters Forrester Research, Inc. 400 Technology Square Cambridge, MA 02139 USA Tel: +1 617.613.6000 Fax: +1 617.613.5000 Email: [email protected] Nasdaq symbol: FORR www.forrester.comMaking l eaders Successful Every day 56147For information on hard-copy or electronic reprints, please contact Client Support at +1 866.367.7378, +1 617.613.5730, or [email protected] . We offer quantity discounts and special pricing for academic and nonprofit institutions.For a complete list of worldwide locations visit www.forrester.com/about.Research and Sales Offices Forrester has research centers and sales offices in more than 27 cities internationally, including Amsterdam; Cambridge, Mass.; Dallas; Dubai; Foster City, Calif.; Frankfurt; London; Madrid; Sydney; Tel Aviv; and Toronto.	[ "music", "digital", "consumer", "industry", "product", "research", "online", "forrester", "label", "medium" ]	{ "summary": "Making Leaders Successful Every DayJanuary 22, 2010 \nMusic Industry Meltdown: \nRecasting The Mold\nby" }
WMG-Business-Model-Summary.pdf	The Busin ess Model Canvas Warner Music Group Key Partners - Artists - Itunes - Cinram (Physical Media Distribution) - Physical Media Distributors (Retailers, wholesalers etc.) - Online and Mobile providers - Venues - Paraphernalia manufacturing (expanded rights ) - Synchronisation (Spotify, MTV network, TV, radio etc.) Key Activities - Music recording - Music publishing - Marketing & promoting - Licensing - Managing cash flow extraction & debt reduction - Attracting, developing & retaining artists and songwriters - creating new business models & products (eg. Remixes, digital distribution) Key Resources - Artists & Songwriters - Goodwill & brand - Copyrights (songs) - Fan clubs websites (expanded rights) Value Propositions - Music Experience (ie. New artists, live shows) - Provides Music (including specific artists), recorded live, digital, synchronised formats (ie. Part of TV shows, movies, radio etc.) - Paraphernalia (ie. Manages specific well -known artists, fan clubs, live shows and expanded rights) Custome r Relationship s Customer Segments - Artist s websites - Individual Customers/fans - fan clubs Segment 1: Digital, physical, - Synchronisation agency live customers Segment 2: Baby boomers, Gen X, Gen Y) - Licensees - Synchronisers - Expan ded rights (selling paraphernalia ) - Publishers ( generate royalties) - Older fans (buying pre -recorded Channels music – i.e. The Stones; account - Digital channel (eg. Internet, for 40% of recorded music sales) online and mobile); i.e. Itunes. - Physical channels (eg. Retailers & wholesalers) - Live venues (eg. concerts) - Free int ernet radio (eg. Spotify) Cost Structu re - Royalties (Artists, producers, song writers, other copyright holders) - A&R (artist & repertoire), fan club costs. - Product costs (manufacturing) - Distribution & selling costs - Marketing & promotion costs - General administration costs Revenue Streams 1. Recorded Music (82% of revenue) – Physical, live, broadcasted Performances etc. 2. Music publishing (18% of revenue) – Synchronisation, radiogram, TV, merchandising etc. 3. Licensing fees Note: 58% of reve nue generated from international sources	[ "music", "artist", "live", "cost", "physical", "etc", "eg", "fan", "ie", "right" ]	{ "summary": " \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n The Busin ess Model Canvas Warner Music Group \n \n \n \n \n \nKey " }
Investing-in-Music.pdf	contentsInvesting In Music 2012 4 Introduction by Plácido Domingo 5 Commentary by Frances Moore and Alison Wenham 6 The Cycle of Investment 12 Discovering and Signing Talent 18 Nurturing Talent 22 Promoting TalentI am fortunate to have had a career of more than 50 years in music. I have worked with people of exceptional artistic talent and I continue to work today to try and help young musicians fulfil their ambitions and creative potential as opera singers. There are many qualities required to develop a successful career in music. Talent, of course, tops the list. Also crucial are ambition, passion, boundless energy and a relentless commitment to hard work. This is true across the different musical genres, from opera to folk music, from jazz to pop, from the rock band to the chamber ensemble. The sheer effort and drive needed by an artist in search of success are illustrated in many of the case studies detailed in this report. But there is another story to tell as well. It is about collaboration and investment. Working behind the scenes for many a great performer is a supporting infrastructure offering funding, expertise, resources and advice. Oftentimes this infrastructure is provided by a record company that advances recording funds and royalties that most artists need, especially early in their career. The recording industry also offers artists the assistance of professionals to help promote the artists, produce their recordings, license the distribution of the finished product and find opportunities for funding, be it in sponsorship, live performance or brand partnerships. Other collaborations are also possible, for example between the artist and a management company. But all these efforts to promote music depend on the protection of the copyrights and intellectual property of the musicians and the producers of the music. Without such protection, investment will not be forthcoming. Collaboration and investment are defining qualities of the music industry and play a vital role in helping artists pursue their career. Of course, the digital era has brought dramatic changes, but I do not believe it has made the investors in music any less important. Even in the age of the internet, where self-publishing is so much easier for artists than in the past, technology alone cannot ensure an artist’s work is heard and appreciated. That is why artists continue to work in partnership with record companies, management and others to develop their careers and bring their music to the widest possible audience. This report by IFPI tells the story of those who invest in and support artists. It is also about the economic importance of a sector whose investments have an enormous ripple effect in society, bringing growth and jobs to many industries and enriching national music cultures across the world. There is important material for governments in this report as well. Copyright laws protecting artists’ and producers’ rights are being reviewed in many countries. Investing in Music reminds us of the endeavour, creativity and industry that goes into producing culture. This can never be taken for granted or produced for free. That is why the rights of artists and producers must be paramount in the continuing debate over copyright in the digital age. As chairman of IFPI, I am pleased to introduce a report illuminating an industry that remains an important and vital investor in artists and talent. introduction by Plácido Domingo, chairman of IFPI 2012 Investing In Music 4A video introduction to Investing in Music from Plácido Domingo can be seen at www.ifpi.orgInvesting in Music highlights what, for those working inside the music business, will seem a simple truth – that behind the highly visible world of artists and performers who touch people’s lives is a less visible industry of enormous diversity, creativity and economic value. This report shows in particular the role record companies, major and independent, play around the world in discovering, nurturing and promoting artistic talent. Investing in music is, quite simply, what record companies do. No other parties in the music business do it with the same scale or focus, or take the same responsibilities and risks for backing artists – seeking the benefits of shared success but also accepting the financial consequences of failure. At a time when record companies remain under great pressure from digital piracy, they continue to be committed to investing in talent. In a highly competitive market, breaking new artists is the ultimate ambition for many working in record labels. Artistic talent has and will always need investment and funding. History has provided different means to achieve this, from the private patronage of earlier centuries to the heyday of large advances and global superstars of the late 20th century. Today, the relationship between the artists performing music and the investors supporting them has subtly changed and is continuing to evolve. The traditional model of significant advances and marketing support from larger recorded companies to artists remains widely in place, but there is now a greater emphasis on partnership, shared skills and shared revenues. Record companies’ services and skill sets are adapting to what most artists want and need to sustain a career. Within record companies, digital marketing and promotional activity is now a mainstream function. While many record companies have been forced to reduce their workforce as overall revenues have declined, the shift to digital has also created new jobs and business models across the sector. Some claim that artists can forge a career in music through live performance alone. There is little empirical evidence to support this argument. While some established artists, who have benefited from years of investment by record labels, can enjoy a successful career by performing their back catalogue, few developing artists can achieve scalable success without the attention generated by their recorded music. It is true that the digital world has helped empower artists and greatly widened their options and opportunities without a label. Yet a glance at the charts in every market worldwide shows that if an artist wishes to sell their music in significant volume and attract large audiences, they need the support of a major or independent record company. This is not surprising for anyone working in this business, who understands the fundamental and lasting relevance of companies whose expertise is in unlocking commercial value from the talent of artists. Investing in Music sets out how major and independent record companies use all the tools at their disposal to help develop artists’ careers. It explains why artists need help and support from a dedicated team that will champion them and their music. It shows how record companies operate today, so that people can clearly see how they have transformed to meet the digital age. Commentary By Frances Moore, CEO of IFPI and Alison Wenham, chairman of WINInvesting In Music 2012 56Record companies discover, nurture and promote artistic talent. They are by far the largest upfront financial investors in artists’ careers. They also bring a huge range of expertise and experience to bear in any campaign to bring a new artist to a broad audience. No other industry player currently offers access to such levels of investment or skills. Behind the breaking of a new artist is a dynamic combination of creativity, talent, teamwork, strategy, finance and, of course, luck. Each project requires significant investment in research and development, as well as marketing and promotion. In 2011, record companies are estimated to have invested US$4.5 billion worldwide in artists and repertoire (A&R) combined with marketing. This represented 26 per cent of industry revenues. The four major labels combined have around 5,000 artists on their rosters and tens of thousands more artists are signed to independent labels. New talent is the lifeblood of the industry and one in four of these artists (23%) are new signings (signed in the last 12 months). Record labels are able to reinvest the proceeds of successful campaigns in the discovery and nurturing of the next generation of talent. The majority of artists still aspire to be signed by a major or independent record company. Both research and a multitude of anecdotal evidence support this. A 2011 survey of unsigned artists in the US by ReverbNation and Digital Music News found that three-quarters (75%) wanted to sign to a record label. In May 2012, IFPI partnered with The Unsigned Guide – an almanac of information for unsigned artists. Seven in ten of the unsigned artists in the UK (71 per cent) said they wanted a record deal, while three-quarters (75 per cent) believe a record deal is important to an artist’s career. The most cited factors for wanting to be signed included promotional support (76%), tour support (46%) and payment of an advance (35%).Very similar evidence of the importance of a record company to unsigned artists comes from Germany. In September 2012, IFPI’s affiliate Bundesverband MusikIndustrie conducted a similar study in cooperation with five independent bodies – Popbüro Region Stuttgart, VW Sound Foundation, Popakademie Baden- Württemberg, Local Heroes and SoundGroundBerlin. They found 80 per cent of unsigned artists with professional ambitions wanted a recording deal. The top reasons cited as ‘very important’ were marketing and promotional support (71%), TV and radio contacts (58%), the ability to focus on the creative process (50%), tour support (46%) and payment of a financial advance (45%). The findings are supported by countless personal accounts provided in this report and articulated by the editor of The Unsigned Guide addressing its thousands of members: “Without significant investment, industry expertise and creativity (the business) and obviously your talent (the music), it is extremely difficult to break an artist or band into popular culture or the mainstream music markets. So where DIY demonstrates your ability to approach the industry in the correct manner, there is still no substitute for the experience of the industry to move your project forward.” Artists approach labels wanting different types of support. This may be career development, financial support or a team to champion their creations. Hugo Scherman, creative director of Cosmos Music Group, the biggest independent music company in the Nordic region, says: “We want to help, whether it is assisting in the creative process, opening doors for them to work with great producers or supporting them with the right marketing campaign or distribution strategy.” US$4.5 billion invested in new talent: 26% of revenues • 5,000 artists on major labels, tens of thousands with indies • One in four is a new signing • Seven out of ten unsigned artists want a record deal • Breaking an artist in a major market can cost US$1.4 millionthe cycle of investmentInvesting In Music 2012 7“ Any manager could put a team of people together around their artist to do the various roles of a record company. But then they’d just be a record company.” Hamish Harris, artist manager, UKA record deal matters, say unsigned artists Unsigned artists aiming to be signed by record company71% Unsigned artists thinking a record deal is important in developing a career75% Source: Survey of unsigned artists in the UK compiled by IFPI and The Unsigned Guide, May 2012Ed SheeranShakira 8Filippo Sugar, president of Italian independent label Sugar Music, believes artists benefit from the support of a label across the breadth of their career. “Artists need a lot of people to help them create a record and then promote it. They need champions. They need people who believe in them. It is the recorded music we produce and the synch deals we strike that drive our awareness of our artists and interest in their live performances.” The financial muscle of record companies enables them to invest in artists that could not finance themselves. Atlantic Records UK has signed artists including Ed Sheeran, Plan B and Rumer. “Our artists come from every section of society” , says its chairman, Max Lousada. “We give artists a shot and a chance to change their lives, which is an incredible opportunity for a society to have.” While the way artists are marketed and promoted has changed in the last decade, the costs involved in breaking an act remain high. Julie Greenwald, chairman and COO of Atlantic Records in the US, who works with artists including Bruno Mars and B.o.B, explains: “We’re involved in every part of our artist’s career. There are so many more avenues we have to go down now, including digital and social marketing.” The costs involved in breaking an artist also remain constant according to Greenwald. “Our costs have not reduced dramatically because we’ve reallocated the funding and now, for example, we are spending more than ever on tour support. Atlantic believes in long term artist development and keeping artists out on the road, connecting with their fans – but that is not a cheap ticket.” Record companies have adapted to a changing environment in the last 10 years and there is no sign this process will slow down. Martin Mills is chairman of the independent Beggars Group of record labels,including XL Recordings, to whom Adele, the world’s biggest album seller, is signed. Adele achieved spectacular success in 2011, with the album 21 topping the charts in more than 30 countries. Mills foresees a mix of continuity and change for record labels. “Artists will always need people to do the things that record companies currently do for them. The market could become more diverse. You could see companies working with artists that you wouldn’t currently define as a record company. You could see record companies becoming something new.” Hamish Harris, owner of Twist Management, who works with artists including Tyson and Jamie Woon, believes that while labels are evolving, performers will always need support. “Any manager could put a team of people together around their artist to do the various roles of a record company. But then they’d just be a record company.” New services to artists As the industry changes, so too does the model for investing in music. A new generation of deals between labels and artists is evolving, with record companies maintaining their ability to invest in talent by securing a share of a broad range of revenue streams. For many decades, most record labels operated a model that saw them pay an advance to an artist and hope to recoup that investment through sales of albums and singles. The label would also spend heavily on marketing and promotion to drive sales and maximise the possibility of recouping their investment. Today, label investment incorporates a much wider range of services, such as live or merchandising, and the relationship has evolved into a more flexible “partnership” , with revenues shared across a wide range of new activities. New broader rights partnerships reflect an expanded role for record companies and recognition that the upfront investment required by artists is less likely to be recouped from sales of albums and singles alone. Local repertoire, global reach The recording industry is global in scale, but it is local repertoire in which it predominantly invests. In seven of the top 10 markets for recorded music, local repertoire accounts for more than half the sales of the top 100 albums (see table opposite). The industry is also increasingly investing in new parts of the world, focusing on artists in developing countries, and using its skills to aim for international audiences. Max Hole, chief operating officer, Universal Music Group International, “ If you stop investing, you kill the business.” Jesus Lopez, chairman and chief executive, Universal Music Latin America“ In the last 30 years, we made more than 80 per cent of our revenues in 10 countries. That will all change in the next 30 years as emerging economies overtake established markets.” Max Hole, chief operating officer, Universal Music Group International9How music’s global 16% A&R investment compares with other sectors’ R&D investment Rank SectorOverall sector R&D intensity % 1Pharmaceuticals & Biotechnology15.3 2Software & Computer Services9.6 3Technology Hardware & Equipment7.8 4 Leisure Goods 6.2 5Healthcare Equipment & Services6.1 6Electronic & Electrical Equipment4.2 7 Automobiles & Parts 4.1 8 Aerospace & Defence 4.0 9 Chemicals 3.1 10 Industrial Engineering 3.0 Source: The 2011 EU Industrial R&D Investment Scoreboard. European CommissionInvesting in local repertoire CountryLocal repertoire as a percentage of top 100 album sales 2011 USA 62 Japan 77 Germany 55 UK 53 France 54 Brazil 88* Italy 74 Source: Nielsen SoundScan US, Oricom (all CDs), Media Control, Official Chart Company (all albums), SNEP , ABPD and GFK *Based on top 20 Rumer Sa Dingding says investing in local repertoire in emerging markets is a key priority. “In the last 30 years, the industry made more than 80 per cent of its revenues in 10 countries. That will all change in the next 30 years as emerging economies overtake established markets.” One example of this developing investment strategy is China, which has been hampered by high levels of digital piracy. Universal Music has operated for some time in Beijing and has built a significant roster of artists singing in Mandarin, which helps to develop local production and A&R expertise. Hole says: “The best way to prepare for a better environment is to invest in our Mandarin artist roster. We’re thinking and investing on a five to 10 year basis.” Maintaining investment in A&R New talent is the lifeblood of the music industry and A&R is one of its crown jewels. A&R budgets are fiercely defended from budget cuts that have been forced on record companies due to declines in revenue in recent years. Jesus Lopez, chairman and chief executive, Universal Music Latin America and Iberian Peninsula, explains: “If you stop investing, you kill the business. The margins may be lower and we have had to go through a painful process of reducing our overheads and losing staff, but we have struck the right balance.” This approach has been replicated by record companies in key markets around the world. Nick Gatfield, chief executive, Sony Music UK, and a former member of the band Dexy’s Midnight Runners, says: “Nothing has changed in terms of our level of investment in artists. In fact, in some countries we’re increasing investment in new talent. It’s the lifeblood of the business, building the catalogue, building the legacy. No other industry even begins to take the level of R&D risk that we do.” Recorded music is an investment-intensive business. The proportion of revenues invested by record companies in A&R activity remains exceptionally high compared to almost any other industry’s investment in R&D. According to data from its members, IFPI estimates that record companies worldwide invested 16 per cent of their revenues in A&R activity in 2011. By comparison, an EU study published in 2011 – The EU Industrial R&D Investment Scoreboard, covering industries in the EU, US and Japan – showed that even the pharmaceutical and biotechnology sector globally only invested 15.3 per cent of its revenues in R&D in 2010.“ No other industry even begins to take the level of R&D risk that we do”. Nick Gatfield, chief executive, Sony Music UKTour support can cost a major record company US$100,000 or more if a backing band or orchestra is required 10B.o.B AdeleInvesting In Music 2012 11The funding of talent – how it breaks down While each recording deal is different, there are common areas of investment that usually feature, particularly in an agreement involving emerging artists. These are the payment of an advance, the funding of a recording, music video production, tour support and promotional costs. Pop acts usually require the largest investment to develop. They tend to involve multiple songwriters, higher recording costs, more expensive photos and videos, the placing of stylists on the payroll and often higher travel costs, perhaps covering parents and chaperones as well as the artists. Other genres, such as dance, urban and classical music, have different cost profiles. In contrast with pop is the development of artists performing folk, alternative and rock music. It is cheaper to record; there are smaller marketing costs, no stylists and generally less expensive videos to produce. In addition, fans of these genres usually buy albums, rather than singles, so it can be easier to secure a return on investment in a folk act. Payment of advances Competition between record labels to sign certain artists can be intense. This inevitably drives up the levels of advance on offer. The payment of an advance typically enables an artist to give up their day job and concentrate on writing, rehearsing, recording and performing music. Advances are recoupable against an artist’s royalties from sales, but they are not recouped if sales fail to reach a certain level. Thus it is the record company that primarily bears the risk on the investment. A typical advance from a major label for a new pop act in a major market is estimated to be around US$200,000 and can go much higher in competitive situations. In other cases, advances can be very small or non-existent, with the artist benefiting more from revenue-sharing than upfront expenditure by the record company. Financing of recording costs Recording costs can vary widely between individual projects. The involvement of producers, session musicians, professional mixers and studio engineers can all have an effect on the costs. Investment in recordings benefits a wide community of musicians and technicians. Recording costs incurred in major markets can vary between US$200,000 and US$300,000 on a significant project. Production of videos Video costs can range widely from project to project. Some of the most expensive can involve high-profile directors, large crews and days of filming. It can cost between US$50,000 and US$300,000 to produce two or three videos to promote tracks from an album in major markets. Such high expenditure is not always needed and videos can be produced much more cheaply. The approach will depend on the needs of the individual project. Tour support Emerging artists often need to be heavily supported by record companies. The level of tour support required is highly dependent on the nature of the artist. Typically, tour support is the one area where rock acts require greater investment than pop acts. Artists who require a backing band or orchestra can drive the highest costs in this area. Tour support can cost a major record company upwards of US$100,000. Marketing and promotion Marketing and promotional costs are usually the largest expense for a record company. It is this heavy promotion that brings an act to a wide audience, enabling them to develop a broad fan base and opening up the opportunity for an artist to secure revenue from a wide range of sources from live touring to merchandising. A record company can spend between US$200,000 and US$500,000 trying to break an artist in a major market. A competitive market The recorded music market is competitive and high-risk. Only a minority of acts who are signed achieve significant commercial success. Estimates of the ‘success ratio’ vary across the industry. However, the most common estimate cited by senior music company management is a success ratio of one in five. This is more than the commonly estimated one in ten ratio of a decade ago, reflecting a generally higher success rate than was previously the norm. The definition of commercial success varies. Some say it is breaking an artist to Gold or Platinum status in an individual market, others believe a campaign is only a success when the upfront advance has been recouped. Others believe success is simply a satisfied artist and the bills paid.Typical investment by a major record company in a newly-signed artist The investment made by record companies in new artists will vary widely from country to country and in individual cases. A typical range of the cost of breaking a new pop act in a major market is set out below. Advance US$200,000 Recording US$200,000-300,000 Two or Three Videos US$50,000-300,000 Tour Support US$100,000 Marketing and PromotionUS$200,000-500,000 TOTAL US$750,000-1.4 million12Discovering and signing the best artistic talent is the motor that keeps a record company running. “Breaking acts and protecting A&R will always be the lifeblood of our culture. It’s at the heart of every conversation we have” , says David Joseph, chairman and CEO of Universal Music UK. There is fierce competition between record companies to discover and sign the best new artistic talent. A&R teams are constantly scouting for performers that have the potential to develop their career in music to the highest level. Traditional A&R methods are today complemented by other ways of finding and signing talent. “The way to find talent nowadays is completely different from 25 years ago when bars or small venues were the places to find artists and musicians” , says Afo Verde, Sony Music’s chairman and CEO for the Latin Region, Spain and Portugal. “Now there are a multitude of different ways. But at the end of the day, no matter how we find talent, it’s about someone making music and someone feeling the emotion that it creates.” The internet is often the first port of call for an A&R executive looking to find the top performers of tomorrow. Andreas Weitkämper is A&R director for Warner Music Germany whose artists include Peter Fox and Udo Lindenberg. He says: “The internet has made pre-selection much easier. Instead of travelling to every gig, you can do a lot of the groundwork online, checking out bands on their homepage, Myspace or YouTube.” Beggars Group is an international independent group of record labels, with a range of artists, including XL Recordings’ Adele, who had the best global selling album of 2011. Simon Wheeler, director of strategy, says: “The internet is where you first hear of a buzz around an artist. We’re not the sort of label that looks for someone who’s got two million hits on YouTube, but we do look for an online buzz.” While the internet can cut out some of the legwork for an A&R executive, viewing artists online is no substitute for seeing them live and developing a personal relationship with them. Evaluating artistic talent is a subjective process, but label executives agree they are looking for something beyond technical competence when searching for an act to sign. Glen Barros, president and chief executive of Concord Music Group, a US independent label whose artists range from The Jayhawks to Esperanza Spalding to Sir Paul McCartney, says he is looking for an artist that can move music fans. “I’m looking for empirical evidence of a connection between the audience and the artist.” Teresa LaBarbera Whites, senior vice president of A&R at Columbia Records, who has worked with artists including Beyoncé, Britney Spears and P!nk, says it is vital that an artist has ‘star appeal’ . “You want to not be able to take your eyes off them. You want to hear everything they are going to sing. Those with star appeal have a raw emotional and human connection that makes them a star regardless of formal music training.” Andreas Weitkämper of Warner Music Germany also looks for signs of drive in an artist. “First and foremost you need a distinctive voice, but you also need to have the right personality and a strong will to push forward your career.” DISCOVERING and SIGNING TALENT “ No matter how we find talent, it’s about someone making music and someone feeling the emotion that it creates.” Afo Verde, chairman and CEO, Latin Region, Spain and Portugal, Sony MusicInvesting In Music 2012 13“ The internet has made pre-selection much easier. Instead of having to travel to every gig, you can do a lot of the groundwork online, checking out bands on their homepage, Myspace or YouTube.” Andreas Weitkämper, A&R director, Warner Music GermanyThe internet is no substitute for seeing artists live and developing a personal relationshipSome record labels specialise in a particular genre of music, while others want a broad roster of artists. Colin Barlow, managing director of RCA UK, says: “My belief is that a great record label is broad. I’ve got a varied record collection and I think it is important that my label has a variety of artists signed to it.” Signing a deal Most ambitious artists are looking for a record deal. “There is an invisible line in this business between amateur and professional” , says Keith Harris, who has more than 30 years’ experience in artist management, working with performers such as Stevie Wonder. “Until someone has invested time and money in you – it could be an agent, a manager or a record company – you are on the amateur side of the line. And the truth is, no one is interested in an amateur, they’re interested in a professional.” Artists typically have both a manager and a lawyer in place to help them negotiate the best recording contract possible. These deals have evolved fast in the last few years. Many record labels now offer greater upfront support in a variety of artists’ activities in exchange for a share of revenues from a broad range of income streams. Andreas Weitkämper of Warner Music Germany sets out the thinking behind such contracts. “All measures used to build and establish an artist – from recording to live concerts and merchandising – interlock and promote the overall product. Every investment by a label is a risk that needs to be justified. So you need to consider all sources of income from the start.” Tony Wadsworth, BPI chairman and formerly chairman and CEO, EMI Music UK & Ireland, echoes the point. “Once an artist is successful, the label earns more on recorded music sales, but the artist can generate many types of income: synch deals, live touring, performance rights, corporate gigs, merchandising and others. Yet the pivotal act is the breaking of the artist on record. Once that happens, the Aladdin’s Cave is open, 2012 Investing In Music 14“ Until someone has invested time and money in you – it could be an agent, a manager or a record company – you are on the amateur side of the line.” Keith Harris, artist manager“ Digital channels help in gaining a first impression of artists, but ultimately your network, or a personal impression are still crucial.” Ute Fesquet, vice president, artists and repertoire, Deutsche GrammophonNo substitute for personal contact Digital channels enable A&R executives to cut out some of the legwork in their jobs, but there is still no substitute for personal recommendation as the case of Jan Lisiecki proves. Lisiecki is a Canadian classical pianist who, at age 14, came to the attention of Berlin-based Ute Fesquet, vice president, A&R, Deutsche Grammophon, after being alerted by a talent scout. Fesquet says: “After we received a tip-off about Jan, we checked him out online and then established contact. Digital channels help in gaining a first impression of artists, but ultimately your network or a personal impression are still crucial.” After attending numerous concerts and meeting with Jan personally, she signed Lisiecki to the Deutsche Grammophon roster. The label worked to nurture his talent. “We are involved in building artists from the ground up and strive for a long-term partnership, hand-in-hand with their stage career. We have a great responsibility to the artists, which we strive to live up to.” Jan was delighted to be signed to a label with such heritage. “I feel happy and privileged to record with a company that has a catalogue reaching back over 100 years, containing the names of some great performers that have left some of their artistic souls with us.” Now 17, he has performed in venues from Carnegie Hall to the Seoul Arts Centre, sharing the stage with artists including Emanuel Ax and Pinchas Zukerman. His debut album features Mozart piano concertos performed with the Symphonieorchester des Bayerischen Rundfunks. Other performance highlights include performing in the Orchestre de Paris season opening concert with Paavo Jarvi, making his New York Philharmonic subscription debut and performing recital debuts in Berlin, Brussels, Hamburg, Munich and Zurich.Investing In Music 2012 15unlocking talent in France Sexion D’Assaut is a French urban hip-hop collective. They came to the attention of Stéphane Le Tavernier, managing director of Sony Music France, after releasing a mix tape. Le Tavernier says: “Sexion D’Assaut is one of the most creative, innovative bands I have seen for a very long time. I was delighted when they signed with us and pleased we were able to help take them from a mix tape that sold 10,000 copies to a first album that sold more than 300,000 copies.” Sony Music France ran a conventional media and marketing campaign, but also helped them create videos to bring their music to fans using online social networks. The band has a massive online social media presence, with one of the largest Facebook followings in France of more than 3.2 million. The record company also financed their fashion venture Wati B, which has become one of the most talked about youth fashion brands in France. Le Tavernier says: “The band has just released their second album and it’s on track to sell more than 800,000 copies. We’re looking to use our position as a global company to partner them with the best international talent to advance their career beyond France. These guys are so talented the sky is the limit. It is very exciting to be in at the start of the story with such artists.” “ We’re looking to use our position as a global company to partner them with the best international talent to advance their career beyond France.” Stéphane Le Tavernier, managing director, Sony Music FranceEliza Doolittle Professor Green2012 Investing In Music 16for the artist and label.” Despite the rise of broader rights deals, there is still no homogenous model for the deals done between artists and labels. Not all record companies have chosen to adopt broader rights and, in fact, artists now have more choice than ever, as to how they want to kick-start their careers. Some record companies place great emphasis on the “tailoring” of services to the needs of individual artists, whether it is help for established artists with the new areas of brand engagement or the traditional full-service support required by developing artists. Andria Vidler, chief executive, EMI UK & Ireland, says: “Our deals range from our work with Professor Green, where every aspect of the campaign is handled in-house, to the artists that we work with through our Music Services team, such as Noel Gallagher and Peter Gabriel, who don’t need A&R support, but who see a real benefit from the other services we can offer them.” Marketing without a label? Myth vs Reality There is a misconception by some that in the age of digital self-publishing, a developing artist no longer needs a record company to build a career in music. In fact, it is still extremely rare to see an artist build a career without the support of a label. Established acts have, of course, long been able to generate income simply from live touring, benefiting from a brand that had been built up throughout their recording career. Max Lousada of Atlantic Records UK says most artists are realistic about the need for support from a record company. “The new generation of artists understand the value and amplification that record companies can provide. They see that internet buzz doesn’t generate a career and realise they need expert help to break them out of that environment and reach a mainstream audience.” It is true that some artists now approach record labels at a slightly later stage in their career, having generated interest in their performances and maybe having released their own recordings. “You can see videos on YouTube put together by young artists that have been using this technology since they were 11” , says Teresa LaBarbera Whites of Columbia Records. “This generation has unprecedented resources at their fingertips to help develop their craft.” One well-worn myth is that artists can survive on live performance income without needing to pursue a recording career at all. Yet in reality recording is the springboard to a successful live music career, and the overwhelming beneficiaries of live music income are established legacy acts. Manager Keith Harris says: “The live industry has thrived on established artists that have benefited from investment to take them to that level. If you took those artists out of the live industry, it would collapse.” It is a view echoed by Martin Mills of Beggars Group. “You can make a career from live music, but promoters want to see artists have a record deal, they want to see activity; it makes it easier for them to sell tickets.” Recorded music also offers an artist the chance to build a legacy. Glen Barros of Concord Music says: “Some artists can survive on live performance, but if they want to leave a legacy that endures, that survives past their lifetime, it’s through their recordings.”“ The pivotal act is the breaking of the artist on record. Once that happens, the Aladdin’s Cave is open, for the artist and label.” Tony Wadsworth, chairman, BPI “ You can see videos on YouTube put together by young artists that have been using this technology since they were 1 1.” Teresa LaBarbera Whites, senior vice president, A&R, Columbia RecordsTop live acts of 2011 Rank ArtistY ear first album was released 1 U2 1980 2 Bon Jovi 1984 3 Take That 1992 4 Roger Waters 1967 (as a member of Pink Floyd) 5 Taylor Swift 2006 Source: Billboard Recording is the springboard to a successful live music career17Signing Frida Gold Warner Music discovered four-piece pop band Frida Gold thanks to a tip-off from its A&R man Stephan Mattner. After looking at the band’s website, the label realised it was dealing with an exceptional sound and a unique voice, as well as great German lyrics that captured the spirit of the times. The team went to see Frida Gold open a concert for Bosse. Andreas Weitkämper, director of A&R for Warner Music Germany, says “Even today, seeing artists live is an irreplaceable experience.” After a demo deal, Warner and Frida Gold agreed to produce an album together. The label then used its network to further develop the act. It found the right producer who suited both parties and actively involved the band in the process. Weitkämper says: “With Frida Gold we were looking for a unique international pop sound that no other bands have.” Warner Music uses its network - songwriters, publishers, producers, bookers and live experts – to play a vital role in the long-term career planning for its artists. The company actively promotes artistic encounters by introducing performers to each other, such as Udo Lindenberg and Jennifer Rostock. Weitkämper says: “Whether they eventually end up working together is of course up to the artists.” Frida Gold18While record companies are always looking to discover and break new talent, they also want to develop long-term relationships with the artists they sign. Part of the role of an A&R team is to help its successful artists develop their career in music. Record labels can help developing artists by opening the door for them to work with the best talent in the music business. Their backing can reassure studio producers, session musicians and other featured artists that a project is worth becoming involved with. Max Lousada of Atlantic Records UK explains: “Others in the industry know that we will bring a serious, thoughtful and creative campaign, and that gives confidence to the outside world.” In the US, Atlantic Records decided to partner Bruno Mars with B.o.B. and Travie McCoy, in projects that would introduce him to the public. Julie Greenwald of Atlantic says: “Our A&R guys heard Bruno in the studio and thought he would be great to pair up with B.o.B, which then helped to generate a lot of interest in him. People wanted to know more about the man with the great voice singing the hooks on the song Nothin’ on You. The process was repeated with Travie McCoy when they recorded Billionaire. It meant we could start a digital campaign around Bruno a year before his debut album was released.” Such collaborations can transcend geographical borders as well as artistic boundaries. In Brazil, country singer Paula Fernandes had achieved a number one hit in her home country, but is now working with overseas artists to expand her fan base. “She performed a duet with American singer Taylor Swift, which helped introduce Taylor’s music to Brazilian fans and built awareness of Paula in the Anglo world,” says Jesus Lopez of Universal Music Latin America and Iberian Peninsula. “She also performed a duet with Colombian artist Juanes, helping her reach Spanish-speaking Latin America and increasing his profile in Portuguese-speaking Brazil.” Paula Fernandes says: “The experience of singing with Taylor and Juanes was very important to me. Seeing how music moves and unites people of different cultures is groundbreaking for an artist. And when there’s that click, both personal and musically with the artists, the writing process flows and it shows on the final result. This exchange with the artists and conquering new markets strengthens your song writing. It was a pleasure working with such talented and sensitive people, with brilliant and successful careers. My fans received them with a warm welcome; our paths now are a two way street.” Juanes adds: “To work with Paula Fernandes has been a wonderful, unique experience. Her powerful and sweet voice; in addition to her charisma and professionalism, have made this an unforgettable experience.” Record labels can put promising young performers in a studio with established producers who can help develop their craft. In the UK, Colin Barlow, president of RCA UK, cites the example of Rebecca Ferguson who had come second in the X Factor television series in 2010. Barlow says: “What we unearthed with her was that she was an incredible narrator for her life. You didn’t see it in the TV series because she sang covers. To take someone from the TV series and believe in her as a songwriter is a huge risk.” “We put her together with Eg White, an incredibly talented songwriter and producer. After four days in a studio with Rebecca, he said she’s interesting and agreed to executive produce the whole album. Now she’s sold more than half a million records in the UK and is breaking globally in countries from Italy to Australia.” nurturing talent “ A&R is the most important part of our process. This is so important that you’re never not going to spend the money on this.” Julie Greenwald, chairman and COO, Atlantic RecordsInvesting In Music 2012 19“ Others in the industry know that we will bring a serious, thoughtful and creative campaign, and that gives confidence to the outside world.” Max Lousada, chairman, Atlantic Records, UKRecord labels can help developing artists by opening the door for them to work with the best talentJulie Greenwald of Atlantic Records says this process is at the heart of what record companies do. “A&R is the most important part of our process. It is the ability to allow artists to go in with fantastic songwriters and producers, or even just to have the time to write on their own, as was the case with Bruno Mars. This is so important that you’re never not going to spend the money on this.” Shaping an album Record labels work with developing artists and help them put together a body of work. This may involve developing tracks the artist has written, commissioning new music from songwriters offered by music publishers, or creating a cover version in which the artist brings their qualities to a track that has been previously recorded. Sometimes this process can involve a frank exchange of views. Glen Barros of Concord Music says: “Sometimes people around an artist will be afraid to speak up if they believe the artist is heading in the wrong direction. But we feel that we have to give them open and honest – but respectful - feedback. There has to be an objective view. It’s the only way we’ll achieve mutually aligned goals and, quite simply, it’s in everyone’s best interests.” Developing long-term relationships Record companies want to develop long-term relationships with the artists they sign. The role of successful A&R teams is to help the artists they work with develop their musical careers. Many labels are also conscious that they want to further develop a historic catalogue that has been built up over many years. Colin Barlow of RCA says: “We are building on a heritage that includes Elvis and Louis Armstrong. Today, we’re working in America with artists such as Alicia Keys, Beyoncé and P!nk who will all be around for a long time. In the UK, look at Paloma Faith, an artist who I believe could be signed to RCA for the next 20 years. We need artists with longevity who are constantly evolving and that you want to go on that journey with.”Atlantic Records is building a relationship with singer-songwriter Ed Sheeran, a British artist who had released on his own and grown up with social media, but understood he could not convert millions of YouTube views into a career without the support of a label. Max Lousada says: “Our role is to understand the artists’ wishes and the opportunities available to them and make our global infrastructure work for them.” Helping artists break into new markets is a major way in which labels can add value to artists’ careers. Alejandro Sanz, a Spanish artist who Universal Music signed in 2011, wanted to break in Latin America. The decision was taken to launch an album there in autumn 2012, but in the meantime Sanz became a coach on the Mexican version of television show The Voice. Jesus Lopez says: “He was able to build revenues from that role and a series of private performances, putting him in a strong position to launch his album.” Partnership in action: A Swedish indie speaks Hugo Scherman, creative director of Cosmos Music Group, the biggest independent music company in the Nordic region, and previously of Family Tree Music, has been involved in discovering, nurturing and breaking great talent for more than 10 years. Scherman says the companies he has worked for appeal to artists who want to deal with one broad ranging company which takes a small proportion of a wide range of revenue streams, rather than several companies that need to take a greater share of individual revenue streams to be economically viable. Conversely, some artists prefer not to rely on the opinion of one person or company when forging their career. He works with a large number of mixers and producers, as well as performers which means he is in an ideal position to bring talented musicians and producers together. “If we have a project that doesn’t have a big budget, we can ask the mixers and producers that we work with and aren’t engaged elsewhere to get involved. They know that we’ll do all we can to push and promote the album, so will get involved.” An example of this approach was the recent collaboration between Swedish singer Andrea Kellerman, known as Firefox AK, who was signed to Family Tree Music and has a worldwide licensing deal with Four Music, and producers Lasse Mårtén and Björn Yttling, who had produced hit albums for Lykke Li and Sarah Blasko. The resulting album Color the Trees attracted Four Music in Germany to sign an international distribution deal. Scherman says: “It was a symbiosis between us, the artist and the producer. It was a creative process of people helping each other and also giving each other time to develop. “ They know that we’ll do all we can to push and promote the album.” Hugo Scherman, creative director, Cosmos Music Group 202012 Investing In Music Paloma Faith Firefox AK Rafael GualazziInvesting In Music 2012 21The right partnership: An Italian case study Raphael Gualazzi was 28 when he signed a deal with the Italian independent Sugar Records. Filippo Sugar, chairman and CEO of Sugar Music, says: “He had worked with another label, but they tried to package him too tightly as an Italian cliché. We realised he was an incredible talent and enabled him to make the sort of record he wanted.” Gualazzi made a jazz influenced album and Sugar Records worked with him to find the right song to bring his music to a broader audience. The resulting single, Follia d’Amore, won and received critical acclaim at the Sanremo music festival. The label secured three synch deals for Gualazzi; partnering him with oil and gas company Eni; car manufacturer Fiat and Telecom Italia. It also entered him for the Eurofestival, where his music stood out because it was so different, winning him second place. The label coordinated more than 100 live performances across Europe. As a result of the attention generated by his live performances, the synch deals set up by Sugar Records and an appearance in the Eurovision Song Contest, Gualazzi’s album Reality and Fantasy went Platinum in Italy and sold well across France and Germany. Sugar says: “It was the first time in several years that a new Italian artist had broken outside of Italy. He has come a long way in a short time. We’re looking forward to working with him on his next album.” “ We realised he was an incredible talent and enabled him to make the sort of record he wanted.” Filippo Sugar, chairman and CEO, Sugar Music By helping artists break into new markets, labels can add value to an artist’s career22The marketing and promotion of artists is one of the largest items of spending in a record company’s budget. In a competitive market it is essential for an artist to enjoy promotional support if they are to have an opportunity to connect with a wide audience. The media mix used to promote artists to existing and potential fans has changed dramatically over the last few years. Social media channels now complement traditional gatekeeper media such as radio and television. The head of one record label estimates that just four years ago 80 per cent of his marketing spend was aimed at broadcast advertising, but this proportion has now fallen to 60 per cent as resources are diverted to online promotion and that he expected the balance between broadcast and online would be 50:50 before long. Dion Singer, senior vice president, international artist development at Warner Music, who has worked with artists including Michael Bublé, Green Day and Josh Groban, reflects on the change. “Social marketing is constantly evolving. When we released Green Day’s album, 21st Century Breakdown in 2009 we drew up a list of the top ten things we needed to do to promote it – the YouTube video, the Facebook campaign, certain kinds of viral marketing. Seven of the channels did not exist when their previous album, American Idiot had been released five years earlier. This was also true when we released their latest album ¡Uno! In September, we again had to add several more new platforms to the mix.” The growth of online media has meant that record companies have to spend increasing resources to supply the content that these channels need. Colin Barlow of RCA says: “The content that you have to create in the digital world is probably double what it was four years ago; people are so hungry for it.” Julie Greenwald of Atlantic Records agrees. “You have to be clever when you do social marketing for an artist, it has to be real, it has to be organic. It has to come from the artist. It can’t be just what a corporation feeds out to the fans. What’s the message, who is it coming from, how does it get to the consumer? We used to have 25 in the digital department, we now have 50 people. There is so much we can be doing with our artists, their content and their music.” David Joseph of Universal Music notes that new media channels offer the opportunity for a dialogue with fans. “The internet has become the new television, with immediate feedback and reaction.” No two promotional campaigns are the same. Colin Barlow of RCA says: “The wonderful thing about the music industry is there is no formula. It’s about instinct and it’s about taking risks. Why record companies are so relevant is that these bastions of music can take more risks than anybody else can.” Promotional activity can often cover a broader range of activity than was traditionally the case. Many artists want to become involved in a range of areas, according to Andria Vidler of EMI. “Some of our artists want to create clothing ranges, so we’re bringing in fashion experts. Tinie Tempah, Pro Green, Swedish House Mafia, they all wanted this sort of advice. So we invested. We’re testing and learning.” The investment has worked well for Tinie Tempah and his involvement in the Disturbing London fashion range. “I’m overwhelmed and delighted at the response and feedback from the public, my contemporaries and people I admire in the world of fashion” , says the artist. New skills in marketing classical music Record companies are extending successful techniques of pop to other genres – including classical. Max Hole of Universal Music says: “The marketing of classical music was old fashioned in many ways. Those involved were great at marketing to the promoting talent “ If it were so simple to promote an artist and get their music heard then everyone would be doing it.” Martin Mills, chairman, Beggars Group Investing In Music 2012 23“ The wonderful thing about the music industry is there is no formula. It’s about instinct and it’s about taking risks.” Colin Barlow, president, RCA The global success of music television programming has provided a new platform to promote artists24“ I work for months to record an album, putting my energy, heart and soul into it. I then work with my team to ensure it resonates with the public.” Shy’m “ We wouldn’t sign a branding deal just for the money. It’s not worth it.” Andrea Vidler, chief executive, EMI UK & IrelandGotye One Direction core audience, but were not promoting artists to new audiences. We’re trying to rejuvenate the way we promote classical music, reaching a wider audience without sacrificing quality.” This approach seems to being paying dividends for young classical artists such as Montenegrin guitarist Miloš Karadaglić, who is on the company’s Deutsche Grammophon label. Hole says: “We’re bringing more orthodox pop promotion to bear. Miloš recorded an album, promoted it and then toured it. That didn’t always happen in the classical world. His debut album, The Guitar, sold more than 165,000 copies, while debut classical artists used to typically sell about 10,000 copies of their album.” Creating content for new media channels involves a partnership between artists and labels. Antoine Gouiffes-Yan, marketing director at Warner Music France, cites the example of the pop and R&B singer Shy’m who has worked with the label to create Shi’Minutes, a dedicated web TV channel that is present on YouTube and social networking sites. “Shy’m has committed to keeping the channel fresh and updated. It’s about regularly producing great content that can go viral.” The artist praises the collaboration: “I work for months to record an album, putting my energy, heart and soul into it. I then work with my team to ensure it resonates with the public. Such teams make record companies a vital ally for artists.” The potential of social networks as a means of promotion is particularly visible in Asia, where use of social media has exploded in recent years. Sandy Monteiro, president of Universal Music South East Asia says: “We’ve signed distribution deals with Korean indies and taken their artists into other markets where there has been no airplay, but where music and concert sales have gone through the roof.” It is a phenomenon that has also been noticed by Hugo Scherman of Nordic independent company Cosmos Music Group. He says a promotional push on digital platforms such as Spotify or WiMP can help a song surge on those services. “If you push a song through banner ads on Spotify and people start linking to it from their Facebook page or Twitter feed you can see a surge in interest. It was this effect on Spotify and social networks that helped break Swedish language R&B; radio only picked up on it once it was popular.”Growth of brand partnerships Brand partnerships are increasingly important to artists and record companies, not just as a source of revenue, but as a way of positioning a performer and introducing them to new audiences. Andria Vidler of EMI Music is convinced this approach can pay dividends. “The right placement with the right brands can really help an artist. Artists such as Professor Green and Eliza Doolittle made money before their first albums were released, and their brand partnerships helped position them with fans. Now Pro Green is an iconic British urban act that is looking to go global, and brand partnerships were part of the mix to help him achieve that. The PUMA deal is not accidental.” Professor Green says of the brand partnership: “My relationship with PUMA UK continues to grow and develop, but of late I’m seeing increasing interest from outside the UK. From my side, it increases my international exposure and allows me to enter markets I may not have the opportunity to do so regularly.” Vidler cautions that this is not a market for record labels to become involved in without a clear idea of what they want to achieve for their artists. “It’s not easy; you reject as many deals as you accept. We wouldn’t sign a branding deal just for the money. If it’s not right for the artist’s career, it’s just not worth it.” Antoine Gouiffes-Yan of Warner Music France takes a similar stance. He notes that when Shy’m won Dance Avec Les Stars and a NRJ Music Award many brands became very interested in her, but that the company was only interested in ones that gave her creative input. “We signed a deal with Yot, the watch company, and Shy’m became a brand ambassador and worked with them to create Shy’m branded watches. She has been fully involved in the deal and engaged creatively. We weren’t interested in signing deals with brands that just wanted to use her image.” Brand partnerships are not only struck by major labels. Martin Mills of Beggars Group says: “We want to see brand partnerships deliver value for our artists and there has to be a decent level of compensation all round. The credibility of the artist is the most important thing and it cannot be undermined.” 25“ The right synch deal can take an artist or a song at warp speed, when otherwise it might have taken a longer time to break them.” Andrew Kronfeld, president, global marketing, Universal Music Group “ We’ve taken One Direction to become a global phenomenon based on our worldwide platform.” Nick Gatfield, chief executive, Sony Music UKAlejandro Sanz Miloš Karadaglić Synchronisation deals go mainstream Synchronisation deals have grown dramatically in the last few years. These commercial arrangements see music used in films and television programmes, as well as advertisements. Record companies’ income from synchronisation deals increased in 2011 by 5.7 per cent to US$342 million, accounting for 2 per cent of their overall revenues. Andrew Kronfeld, president, global marketing, Universal Music Group says: “Synch deals are a good platform. The right synch deal can take an artist or a song at warp speed, when otherwise it might have taken a longer time to break them.” The case of Ellie Goulding highlights the power of synchronisation deals. Her first album, Lights, went Platinum in the UK but had started to come to the end of its initial sales cycle. Universal Music then sold department store chain John Lewis the concept of Goulding singing a cover of Sir Elton John’s Your Song as part of a bespoke synchronisation deal. The track was added to the album which went on to sell another 400,000 copies and go triple Platinum. Dion Singer notes that synchronisation deals can also provide greater financial security for an artist. “One of the most synched bands we work with was sitting in the camper van, touring the States, when we landed them a US$100,000 deal. They said that turning that down would be crazy and have since used synch deals to help boost their financial security.” In Malaysia, independent label KRU Studios benefits from being an entertainment company that also produces films. Norman Halim, an artist who is now also executive president of the KRU Studios, says this means he can synch his artists’ music to the latest films he is producing. “We signed Jaclyn Victor, a former winner of Malaysia Idol, and were able to put her music on two films. One was an English-language film aimed at the international market, offering her the opportunity to reach a new audience.” The success of TV platforms Record companies have played a key role in the rise of global music television franchises that are effective platforms for new talent and also showcase established artists. Music on television was rebooted in 2001 with the modernisation of the talent show format by the programme Pop Idol. The Idol franchise is now established in almost 40 countries, with programmes ranging from American Idol to Vietnam Idol. “The Voice, Idol and any number of developing platforms enable us to discover new talent, take existing talent and put them in front of new eyeballs” , says Andrew Kronfeld, president, global marketing, Universal Music Group. The X Factor franchise launched in 2004 and is now in 40 countries, including India where its audience tops 200 million. The Voice, which originated in the Netherlands, is one of the latest international franchises and it airs in almost 40 countries worldwide. Nick Gatfield of Sony Music notes that TV platform acts are also capable of breaking in to more than one market. He cites the recent success of the band One Direction, put together for the X Factor in the UK, who went on to top the Billboard album chart in the US. “We’ve seen successes from television shows before, but they are often confined to their own markets. We’ve taken One Direction to become a global phenomenon based on our worldwide platform.” Norman Halim of KRU Studios says an increasing amount of artist discovery in Malaysia involves TV platforms such as Akademi Fantasia with which he was involved. He has introduced artists who sung cover versions on such shows to his in-house team of songwriters and producers, enabling them to forge a career by performing original material. “Talent scouts recognise the role of reality TV in Malaysia and are riding that wave. In the future, there may be other sources and record companies will continue to adapt to reflect that.” Breaking the US market: “You need an army” David Guetta is an international superstar, but that didn’t mean it was easy to break him in America, the world’s largest music market. Greg Thompson, executive vice president, marketing and promotion, EMI Music North America says: “Electronic dance hadn’t enjoyed the same success in the US as it had in Europe, so we had a process of continuous investment in promotion. To break an artist in the US, you need an army of executives to focus on it, sometimes for a couple of years.” EMI worked across the traditional broadcast and print media, as well as engaging music fans through social networking channels. Thompson says: “The fragmentation and geography of the US make it more difficult to cross the sales threshold needed to break. We bring the best research to bear, finding out where artists connect and we analyse different groups to look for the next opportunity.” Guetta toured the US, performing at festivals such as Coachella in California. Thompson adds: “We helped make his performances events that were seen by lots of gatekeepers. We signed retail partnerships and released numerous singles to show he is the ultimate hit producer.” One hurdle that had to be overcome was Guetta’s own diary. Thompson explains: “David has a massive global franchise and worldwide touring commitments. It was a question of balancing out his time.” The campaign paid off with Guetta’s fifth studio title Nothing But The Beat becoming his first top five album in the US. 26Major record companies have the infrastructure to deliver a global campaign for artistsDavid GuettaTaking talent to a global audience Many artists signed to record companies want to have an international career. International success is also vital to the commercial music economy, helping create the revenues that can be ploughed back into developing new acts. Artists want global success, says Afo Verde of Sony Music Latin Region, Spain and Portugal, who has helped bring artists including Shakira and Ricky Martin to a worldwide audience. “It’s the dream of every artist to have his work known all over the world. It is the enthusiasm and hard work of the rest of the company worldwide that helps make this a reality.” Artists often perform in more than one language to help them build an international fan base. Hugo Scherman of Cosmos Music Group says artists that approach his independent label want to reach the broadest possible audience. “If Swedish artists sing in English their ultimate aim is to get their music released internationally. If they want to be an artist, they want to be an artist worldwide, not just in Sweden.” Many artists want to break in the US, the world’s largest music market. Sandy Monteiro of Universal Music South East Asia says that Girls’ Generation became the first K-Pop band to sell in the US, when they released their first single there in late 2011 and PSY has enjoyed massive success with his hit Gangnam Style in 2012. K-Pop stars and their record labels are also looking at breaking into other significant music markets worldwide. Universal Music recently brought a large number of K-Pop artists to venues in Brazil and the UK. Many Spanish artists want to break into the Latin American market and can benefit from the infrastructure of an international record company An example cited by EMI Latin America is Pablo Alborán, who had a successful career in Spain, but wanted to boost his profile in Latin America. EMI worked with the management company to crack the Latin American market. They invested in touring, promotion, merchandising, live tours and publishing rights. 27Pablo Alborán says: “My debut album, Pablo Alborán, has been promoted with a lot of hard work and close attention to detail resulting in achievements that perhaps would not have been possible without such support. I secured three Latin GRAMMY nominations and saw songs from the album placed in TV programmes in Argentina, such as El Elegido and La Que No Podía Amar. We made promotional visits to Argentina, Chile, Mexico, Puerto Rico and Miami, meeting with a great reception. My label has gone all out for me and truly believed in my music from the beginning. I will soon be visiting all these countries for the second or third time and there is an upcoming tour in the works. This is a dream come true.” The nature of modern communications means it is easier to break artists internationally and there is additional demand to do so according to Greg Thompson, executive vice president, marketing and promotion, EMI Music North America. “We live in a global market thanks to the internet. Once an act has mass appeal they can’t live in a bubble.” Record companies large and small have the ability to deliver a global campaign for artists. Belgian born singer-songwriter Wouter De Backer, known as Gotye, was signed to Eleven, an Australian independent label that Universal Music has a global distribution deal with. Andrew Kronfeld, president, global marketing at Universal Music, says: “We have a great relationship with the label and at an early stage they said he looks really good and our guys signed him for the rest of the world. He went on to have a number one single all over Europe and North America and it’s started to happen for him in Asia. It shows what happens when our global network of A&R and marketing people take something from one market and make it global.” Somebody That I Used To Know, Gotye’s duet with New Zealand singer Kimbra Johnson, became the first single by an Australian-based artist to top the Billboard Hot100 US singles chart in 12 years. “ We live in a global market thanks to the internet. Once an act has mass appeal they can’t live in a bubble.” Greg Thompson, executive vice president, marketing and promotion, EMI Music Michael Bublé Going global: “Music is sold by people that turn up” Michael Bublé hails from British Columbia in Canada, but his path to global fame was routed through South Africa. Dion Singer, now senior vice president, international artist development, Warner Music, was working for the company in South Africa when he first heard Bublé’s music. “I thought we have nothing like this. Some people wrongly identified him as a jazz singer, but he’s not, he’s a pop artist.” Bublé’s album reached Gold status in South Africa and sold in Canada, Singapore, Australia and New Zealand. Singer thought the Canadian performer, with his quirky sense of humour, had an appeal in Commonwealth countries, but might not connect in Europe. Then Bublé’s manager Bruce Allen, credited by Singer as one of the best in the business, said that his tour in Asia was wrapping up and he was sending him back to Vancouver. “I called my people across Europe. I said: ‘If I can get you Michael Bublé this weekend, what can you do with him?’ My Italian guy called back and said he didn’t have anything lined up, but he didn’t want to miss the chance and would set something up. I trusted him and we put Bublé on a plane. We got him onto a leading Italian radio show. They loved his song and used it to promote the show. Suddenly Moondance was number one in Italy!” “He became a real pop star in Italy. There were teenage girls screaming for him! So we figured, if he works in Italy, he might work in Spain. And sure enough, he did. And then we were able to use that momentum to go into even more markets.” Michael Bublé has gone on to enjoy global success, selling more than 40 million albums worldwide. Singer stresses his mantra is: “Music is sold by people that turn up. If you like an artist, we’ll move heaven and earth to get them to you.” 28New digital services Digital has added a new dimension to the services record companies provide for artists. Digital accounted for 31 per cent of record companies’ trade revenues in 2011 and the major services expanded their reach from 23 to 58 countries in the same year. While some services, such as AmazonMP3 or iTunes, effectively replicate the physical format market with consumers buying albums or singles, others, such as Deezer, Spotify and VEVO, rely on either advertising income, people paying a monthly subscription fee or some combination of both. Such services are still in the early stages of development but offer the opportunity of global scale. Subscription services in June 2012 had an estimated 16 million subscribers globally, a number that has almost doubled in the last 18 months. Many streaming services are relatively recent start-ups. One of the largest services, Spotify, only opened in Germany, the world’s third largest music market, in March 2012.Spotify is most developed in Sweden, where large numbers of consumers use the paid-for subscription tier of the service. Hugo Scherman of Cosmos Music Group believes it has had a positive effect. “In Sweden, Spotify has changed the music business and made it a happy place to work again. Now large numbers of people have a premium account, the revenue stream is fantastic. People listen to an album or song and put it on their playlist. They won’t stop listening to it. It’ll be giving the artist and record company a revenue stream for years.” “ People listen to an album or song and put it on their playlist. They won’t stop listening to it. It’ll be giving the artist and record company a revenue stream for years.” Hugo Scherman, creative director, Cosmos Music GroupKorea and the K-Pop Explosion K-Pop is a phenomenon that has swept Asia and is now being promoted worldwide, bringing K-Pop acts such as Girls’ Generation and the recent phenomenon of Gangnam Style from PSY to a huge global audience. Four years ago, the South Korean government introduced comprehensive measures to tackle digital piracy, creating a more positive investment environment. This helped labels to begin signing the acts that formed the second wave of K-Pop. Many record companies are active in investing in K-Pop. In one example, Universal Music struck a partnership with independent label Cube in January 2010. Sandy Monteiro, president, Universal Music South East Asia, says: “The timing was perfect. The measures brought in by the government had created a positive environment and it was at the start of the K-Pop explosion. We saw a return on investment within a year.” Universal concentrated on boy band Beast and girl group 4minute. They both went multi-Platinum in South Korea and sold Platinum and Gold across five markets in Asia on their first album. The second albums sold even more widely. Monteiro says: “We helped these bands by investing in the recordings, the music videos, marketing campaigns and distribution across Asia. K-Pop is all about the styling and fashion that goes with the music.” One recent phenomenon has been the emergence of K-Pop bands with non-Korean members, such as Miss-A, a K-Pop girl group signed to independent media entertainment company JYP , which consists of four members, two of whom are Chinese. 4minuteInvesting In Music 2012 29Performance rights income to artists and record companies has increased sharply in the last few years. Music licensing companies, licensed by record labels, collect revenues from broadcasters and other commercial operators that use recorded music and distribute it to artists and producers. Performance rights income now accounts for 6 per cent of record companies’ trade revenues worldwide and is of particular importance in some developing regions. In Latin America, revenues increased by 18 per cent in 2011 alone, although there are big disparities among some of the major markets. Performance rights income in Brazil and Argentina account for significant shares of overall revenues (15 and 8 per cent respectively). By contrast in Mexico, due to difficulties in enforcing rights, performers and producers earn much less from public performance and broadcasting. For record companies and performers alike, receiving a fair return on the use of their music can never be taken for granted. Nowhere has the continuous fight for recognition of the value of music been better illustrated than in Australia. Australian artists seeking to benefit from their performance rights when commercial third parties use their music can register with the Phonographic Performance Company of Australia (PPCA). The organisation collects royalty payments and distributes them to the relevant record companies and registered Australian artists. PPCA has undertaken a number of high-profile campaigns in recent years to ensure registered artists and labels fairly benefit when commercial third parties use their music. It has secured increased payments from nightclubs, fitness centres, restaurants and free-to-air telecasters that use recorded music, enabling it to significantly increase its payments to registered artists and record companies. It is currently working to secure fairer payments from Australian subscription television broadcasters. Lynne Small, general manager, PPCA, says the system can help artists unlock revenues they would not be able to access independently. “Most artists and smaller record labels would not have the administrative capacity to handle the 55,000 venues licensed for public performance in Australia. Equally, businesses such as the thousands of restaurants and hairdressing salons licensed by PPCA would not be able to identify, locate and deal with the hundreds of artists and labels covered by PPCA’s blanket licence.” Small notes developing artists might find it difficult to separately negotiate fair payment from the corporate radio sector. “It would be hard for these performers to individually negotiate royalty rates with commercial radio stations, which use their music to attract listeners and generate advertising revenues, but who have the capacity to drop individual artists from their playlists. Conversely, it would be impractical and inefficient for radio stations to negotiate licences on a track-by-track basis. The breadth of the PPCA blanket licence allows them enormous flexibility to tailor and amend their playlists at a moment’s notice.” Artist Lindy Morrison, formerly of the Go-Betweens, adds: “Performance rights income is increasingly important to recording artists and those that invest in their recorded performances. When we create music that is then used by businesses to draw in customers and increase their revenues, it is only fair that we are paid a reasonable amount for the benefits we have delivered.”performance rights “ Performance rights income is increasingly important to recording artists and those that invest in their recorded performances.” Lindy Morrison Swedish House Mafia2012 Investing In Music 30The managers view Keith Harris has worked in artist management for more than 30 years. He is perhaps best known for managing the legendary Stevie Wonder. His son Hamish has run his own company, Twist Management, for five years, working with artists such as Tyson and Jamie Woon. Keith has spent much of his career across the negotiating table with record companies and believes they are transforming themselves to adapt to a new environment. “As a manager, I’ve had my fair share of run-ins with record companies, but it is very easy to quote the industry as it was years ago, not as it is now.” “You have to do something to cut through in a crowded market. The assumption that you’ll reach people just because you’ve put something out there is wrong. Record companies still inject considerable money, but also expertise about where it should be spent to have an impact.” Hamish says: “As a manager you can identify what needs to be done, but try doing it while answering the phone and dealing with all the emails. Having a record company’s offices in different countries around the world can help too; they know their local market.” Keith believes record companies have changed their business models to adapt to the digital environment. “Record companies have started to develop a new business model built around the idea you can sell fewer records and still be financially successful.Hamish adds: “Even if you go back five years, we’re in a totally new era right now. Even when Amy Winehouse’s Back to Black was out you could still work to the old model. Spend a lot of money on making albums and then go out and sell them. Today, you need to go out and build the fan base even as you’re making the record.” Both men believe the evolving nature of record deals is positive. Hamish says: “I think the natural move is towards partnership with management companies. They can look together at the structure of a deal on an individual basis. They don’t need everyone to be a global superstar. An artist could tour to 15,000 fans and sell limited edition merch and CDs to them. It can be profitable and the artist could have a career.” Keith adds: “Until recently, deals were set in stone. Out of necessity, record companies have become more flexible and in doing so they have seen they can make money in other areas. Flexibility enables the creation of commercial deals that make sense for all of us.” Father and son agree that record company funding is still vital for an artist with aspirations. Hamish says: “I think investment from record companies is just as important in my generation as my father’s. You need investment to develop an artist.” Keith concludes: “It was easier to get the investment in my day, there was a lot more money around, but it is as important today as it ever was.”Picture credits Cover art: James Andrews Page 4: Plácido Domingo (John Marshall) Page 5: Frances Moore (Marek Paczynski) Page 6: Bruno Mars (Andreas Laszlo Konrath) Page 8: Shakira (Jaume Iguana), Ed Sheeran (WMG) Page 9: Rumer (WMG), Sa Dingding (UM China) Page 10: Adele (Mari Sarii), B.o.B. (WMG) Page 12: Rebecca Ferguson (Jason Bell)Page 15: Eliza Doolittle (Brooke Nipar), Professor Green (Desmond Muckian)Page 17: Frida Gold (Robert Wunsch) Page 18: Paula Fernandes (Guto Costa) Page 21: Raphael Gualazzi (Marco Craig), Firefox AK (Razzia Records), Paloma Faith (Sony Music Entertainment Ltd)Page 22: David Guetta (Rick Guest) Page 24: Gotye (elevenmusic), One Direction (Sony Music)Page 25: Alejandro Sanz (UMG), Miloš Karadaglić (© Margaret Malandruccolo/DG)Page 26: David Guetta (Rick Guest) Page 27: Michael Bublé (WMG)Page 28: 4minute (UM Korea) Page 29: Swedish House Mafia (Carl Linstromm) © IFPI 2012 All data, copy and images are subject to copyright and, subject to statutory exception, may not be reproduced, transmitted or made available without written permission from IFPI.Design by Band London bandlondon.co.uk Twitter: @bandlondonifpi.org Twitter: @IFPI_org © IFPI 2012 winformusic.org	[ "artist", "music", "record", "company", "label", "say", "album", "new", "deal", "talent" ]	{ "summary": "contentsInvesting In Music 2012\n 4 Introduction by Plácido Domingo\n 5 Commentary by Frances Moore an" }
Secrets-to-Finishing-Music.pdf	8 SECRETS TO FINISHING MUSICABOUT HYPERBITS I’m obsessed. Seriously. I’m completely and hopelessly obsessed with making music on a computer and teaching what I’ve learned along the way. A few years ago, before I ever remixed artists like Beyonce, Tove Lo, Nick Jonas or Laidback Luke, I was a miserable, disgruntled, cubicle-slaving 9-to-5er. Today, I’ve worked as a producer, remixer or engineer for some of the biggest labels in the world, like Universal, Sony, Island Records, Virgin-EMI and Ultra. I’ve had almost 30 million streams across Spotify, Soundcloud and Youtube, and over 100,000+ fans across social media. With all this real-world experience, I couldn’t believe how much misguided music production and industry knowledge was scattered throughout the internet. That’s where the Hyperbits Masterclass comes in. I started it for one simple reason: to discount those myths and share the truth. And in that process, a few other things happened: I was able to connect with hungry, up and coming music producers dedicated to honing their craft. And I fucking loved it. I want to show you how to conquer advanced music production by learning to mix and master like the pros, rapidly increase your output, improve your workﬂow & creativity — and have fun doing it — with fellow producers in a cutting-edge online school. It really doesn’t matter if I’m remixing Beyonce, or working with you — the fundamentals are the same.So look – my parents are teachers, my sister is a teacher, my grandmother was a teacher – it’s literally in my blood. Teaching music production is what I was meant to do, and hopefully, you’ll see that in my energy and teaching style when you watch one of my free production workshops. Enjoy those free resources, and please, hit me up if you have any questions about music, business or life. I’m looking forward to getting to know you. All the best on your music journey! Cheers, Hyperbits P.S. Outside of music, I’m a health enthusiast, ﬁtness lover, 8-handicap golfer, avid plant-eater, and an inspired world traveler. I try to let my genuine love for life inform everything I do — in music, business, friendship & community. “You can’t think yourself out of a writing block; you have to write yourself out of a thinking block.” – John Rogers THE LIFELINE OF PROJECT The entire point of the ‘Lifeline of a Project’ is to showcase exactly how emotionally rocky the journey of making a single song can be. And because it’s so emotionally complex and draining, there is really only one solution. You need to ﬁnish music faster — you need to get from that ﬁrst initial spark, that initial point of inspiration – to the ﬁnishing line in less time. That’s what this is all about. Speed. This entire PDF is going to help you take advantage of what the best producers have already ﬁgured out. You need to move fast. In the same light that entrepreneurs and startup culture follows a ‘fail fast’ attitude, music producers that are at the top of their game can make a track in only a few hours. They too, ‘fail fast’. And we’re not talking about just any track — we’re talking commercially viable hits. Songs that sound incredible and have billions of plays. At the end of the day, the best artists in the world know they have no choice — they have to keep making music. And because of that, they have tried and true systems and techniques that solve for individual, speciﬁc problems. This PDF attempts to share the best solutions to any problems that slow down a producer’s ﬁnal output, which is their completed, ﬁnished work).*Steal Like An Artist by Austin KleonCREATE & MAINTAIN AN INSPIRATION BINSECRET #1 In order to be excited to create music, you need to be collecting and nurturing your love for music. There are lots of ways to do this, but what worked for me is consistently listening to radio shows and podcasts, and keeping an up to date inspiration bin. There is an insane amount of music out there. No producer needs a playlist with 100+ songs on it to help inspire them, in fact, it’s the opposite. You want to pull out at least 3 songs, but no more than 5 songs, and this small selection of music will act as the perfect guide to inspire each track you make moving forward. That way, you’ve pulled out your absolute favorite music, the stuff that inspires you the most, and you can borrow from it or get inspired from pieces of each of the songs in your inspiration bin. Creating an organized, current inspiration bin should be something you keep up with as religiously as the actual music production itself. Create an inspiration bin with 3-5 current tracks that inspire you. Reference these every time you are struggling to come up with a new idea. SUMMARYBE RUTHLESS WITH DEADLINESSECRET #2 Real quick, I want to share a story about the power of deadlines. I remember I had my ﬁrst opportunity to do an ofﬁcial remix for a major label back in 2013. I was beyond amped. I couldn't wait to get started. This was my chance to take advantage of a HUGE opportunity which I'd been working for years towards, just to have this chance. The only catch was that I had less than 24 hours to submit the remix. Yikes. So after a minor panic attack, I sat down and got to work. And it wasn't easy. I stayed up half the night. I questioned everything. Things were looking bleak for a while (see the dark night of the soul in the ‘lifeline of the project’ earlier). But eventually, I ﬁnished the song, and it got approved. And looking back, my biggest takeaway was this: I ﬁnished an entire track in a day because I had no choice. That’s why deadlines are incredible. I don’t care how you implement deadlines into your schedule and workﬂow, but they have to exist. Make your friends hold you accountable to deadlines. Build a team that holds you accountable. Sign up for one of those accountability apps. Make a bet with someone where you have to pay them $100 if you don’t ﬁnish something on a consistent schedule. In fact, that’s the best form of accountability because it combines social and ﬁnancial pressure. Being ruthless about setting deadlines will force you to make decisions. It will force you to commit to progressing a song, and hopefully, get away from that terrible p-word. I call it the p-curse. Yep, you guessed it - perfectionism. Deadlines will help you put the idea of ﬁnishing a song in front of the idea of creating a perfect song, and that’s a really, really big distinction. Deadlines will also help you get into the habit of deleting everything that isn’t 100% necessary to the track. Don’t save 1000 versions of every idea. If you really liked it, you’ll ﬁnd a way to recreate it later. I started out saving all these different versions of tracks, but I never went back to all those different versions! So once I stopped doing that all together, I didn’t miss them. And ﬁnally, don’t forget about printing to audio. Printing to audio is the non-DAW speciﬁc way of saying “exporting” or “bouncing to audio”. This will save CPU, and it will help you to move forward with ideas and commit to whatever is in front of you. Plus, editing in audio has a ton of more freedom and malleability. Be ruthless about deadlines by placing the idea of ﬁnishing before anything else. Yes, this means quantity over quality. Commit to your decisions by printing to audio and delete, delete, delete if anything is not necessary! “Time will multiply whatever you feed it. Good habits make time your ally.Bad habits make time your enemy.” – James Clear SUMMARYMAKE SOUND SELECTION A PRIORITYSECRET #3 THE TIME DEVOTION PROBLEM The main issue with pursuing sound design from the ground up is the time devotion problem. And on top of that, there are TWO time-related issues here — ﬁrst is the time it would take to learn how to get good at designing sounds, and then even once you’ve gotten really good, there is the time that it takes to design each sound that you’re using or making entirely from scratch. Which, if you’re trying to focus on making and ﬁnishing music fast, this will slow you down exponentially. So much so, in fact, that you might not be able to ﬁnish music at all. And that’s a real problem. THE QUALITY OF SOUND PROBLEM Even if you got really good at sound design, and then also got really good at quickly creating sounds from scratch, there is the issue that the quality of your sounds won’t be as good as the people and companies who are doing this for a living. You know, the guys that do this professionally. There are professionals and companies out there that are really good at this one particular skill set. so it’s really hard, even if you got became proﬁcient at this, to even remotely compete with the companies that are doing this on the highest level. So the fact of the matter is, you won’t be able to get an amazing sounding patch created from scratch as good as the professionals, unless you spend the majority of your time, designing sounds and doing nothing else, which would leave things like composition, mixing, mastering, and of course, ﬁnishing music by the wayside. ABUNDANCE OF PRESETS Now the positive thing that comes out of all of this, is that there is a huge abundance of presets, with super high-quality sounds that you can be using. You don’t need to make them from scratch, in fact, you shouldn’t make them from scratch — you can just go get them and you should really take pride in that process. You should take pride in ﬁnding the best quality sounds, samples and sound banks out there, because that will be your lifeblood — and that will be the best way to consistently make high quality sounding music. Start with amazing sounds, and you make the overall process a lot easier for yourself. Spending your time doing nothing but getting good at sound design takes away from the main goal, which is ﬁnishing music. Even if you were able to become very talented at designing sounds, you most likely will fall short of the quality that professionals & companies are able to achieve. There is an insane abundance of presets with super-high quality sounds that are affordable and easy to get access to that are better than anything you’ll make completely from scratch. "You can’t use up creativity. The more you use, the more you have." – Maya Angelou SUMMARYMINIMIZE DISTRACTIONS AT ALL COSTSSECRET #4 This may seem somewhat basic, but I’m always surprised at how few people actually do this. Anyone who is successful in this industry has to learn to minimize distractions. They have to learn to focus. For me, this means turning off my wiﬁ when I’m composing or mixing. And it also means making my phone out of arm's reach. If I have to move away from the computer just to check my messages or emails or socials — I will become hyper-aware of how often I’m sabotaging my workﬂow because I’ll keep walking away from the actual work. This is a perfect example of training yourself to apply and keep productive habits in your day to day. And just to add to this, collaboration is a nice little bonus inside of the minimizing distraction idea here. What ends up happening, assuming the other person your work is also generally focused, is that you will not allow your monkey-brain to run wild with distractions. Think about it, if someone is sitting next to you, the societal pressure of that person being there alone will stop you from tweaking a snare for 46 minutes and 22 seconds. Turn off your wiﬁ when working, put your phone in another room and make sure to not isolate yourself as this stagnate your growth. Also, make sure to collaborate. Nothing will stagnate your growth more than isolation. SUMMARYGET ORGANIZED LIKE YOUR LIFE DEPENDS ON ITSECRET #5 This isn’t meant to satisfy your inner OCD or anything, this is so that you can minimize the mental effort necessary to accomplish each and every tiny little production decision you’ll be making throughout a track. It can become mentally exhausting to make thousands of little decisions every time you make a song. Which is why, if you’re organized, you’ll be able to save that mental capacity to tackle more important problems. CREATE & MAINTAIN A FAVORITES FOLDER The absolute best thing you can possibly do for yourself is create a favorites folder for your samples. The only thing you put in here (and I repeat, the ONLY thing) is your absolute favorite, best sounding samples. A great way to start this is to go through some of your recent songs, and just pull out anything you plan on reusing again. My general rule of thumb, if I have done something more than 2-3 times, it belongs in my favorites folder. This means that when you want to get a song going quickly, you won’t break the ﬂow state that you’re in just to go sample hunting. SAVE PRESETS & CHANNEL STRIPS FOR LATER USE Saving presets, similarly to the favorites folder, is an absolute must-have when it comes to your workﬂow. This will help deﬁne your sound because you’ll start to reuse speciﬁc patches and stop resorting to something completely new and different every time you make a track. How you go about organizing this is up to you, just make sure it’s sustainable and something you can keep up with. For me, I found it was easiest to save presets inside of my DAW instead of inside of each individual synth — I kept my soundbanks organized in each synth, but I actually pulled out my favorite patches in the DAW so they were more easily accessible. But again, this is dependent on what you like most. On top of that, you can also create channel strips of entire processing chains you ﬁnd yourself using often. You can even set certain plugins to default to a certain setting every time you open them, so if you almost always do something with a given plugin or synth, just set that setting as a default and you’ll save yourself loads of time every single instance you open a speciﬁc synth or plugin because it will be in your ideal starting position. UTILIZE TEMPLATES I don’t believe templates are a saving grace or anything, but again, when it comes to getting started, the few minutes you save at the start of each track by using a template can be ridiculously valuable for the process of capitalizing on inspiration. I like to keep templates simple. My composition template has a synth, a piano, and an empty audio track ready to go, with my sidechain trigger already set up, and a few reverbs and effects already bussed out. That’s it. Anything beyond that I have found to be overkill. Create & maintain a favorites folder of your absolute best sounds. Make sure to save presets and channel strips for future use. Utilize templates, but don’t overdo it. Make sure to save presets and channel strips for future use. Utilize templates to help quick-start your productions, but don’t rely too much on templates — this can actually hinder creativity. “If you have one person you’re influenced by, everyone will say you’re the next whoever. But if you rip off a hundred people, everyone will say you’re so original..." – Gary Panter SUMMARYBORROW OR STEAL ARRANGEMENTSSECRET #6 I know the word ‘steal’ is a super loaded word, but if it helps, think of it as borrowing, or stealing that no one will ever know about. Because when it comes to arrangements and song structure, there is no better way to stop that 8-bar looping phase (which some people call Loopitis, you know — when you create an idea and play it on repeat and never progress the song) than to simply drop a track from that inspiration bin (secret #1) directly into your DAW. And once you’ve done that, you can map your song directly to the reference track. This allows the reference track to become a guide for what is going to happen in your song. And naturally, that will create a lot of gaps in your production, and that’s a good thing because it will force you to ﬁll those gaps until the song is complete. You’ll have transitionary gaps, entire sections like breaks or pre-choruses or intros and outros...and again because you now have a guide or a map to what your song will become, you will be working towards solving that speciﬁc problem or need instead of aimlessly looping your music. And please, please, PLEASE — don’t worry about plagiarism or stealing when using reference tracks as structure guides — no one will ever pick up on this. There’s just so many other things to worry about in music production, and this shouldn’t be one of them. Drop reference track into the DAW, map your song to the reference, and ﬁll in the gaps!SUMMARYLEARN SHORTCUTS FOR SPEEDSECRET #7 When it comes to speed, you simply can’t get around the fact that nothing will dramatically quicken your workﬂow more than shortcuts. I’m not even talking advanced Jedi professor stuff, I’m talking about simple, easy to learn shortcuts that will dramatically improve your workﬂow. Each DAW has speciﬁc shortcuts (I’ve included the manuals of each of the most popular DAWs for your reference below) so I’m not going to get into the technicalities here, but simple things like a shortcut for saving your project ﬁle, shortcuts for duplicating audio ﬁles, or copying automation, or switching between your DAWs mixer vs. arrangement window, or even correcting midi, duplicating midi, or moving midi around — this will go very, very far in improving your day to day workﬂow. SPEND A DAY OF YOUR LIFE LEARNING YOUR PIANO ROLL That said, you are going to be spending a TON of time inside of your DAW working in midi. There’s just no avoiding it. That’s the reality of the situation. And because of that, it’s probably worth spending one full day of your life learning everything there is to know about midi editing in your DAW. That one day will pay off for years to come.SUMMARYSPEND A DAY OF YOUR LIFE LEARNING AUDIO EDITING And on that same note, do the same for audio editing. You’ll be manipulating, warping, chopping, cutting, and stretching audio relentlessly when making music, so you might as well know how to do all that like the back of your hand. Spend another full day doing nothing but learning shortcuts and audio editing techniques. Luckily, it’s relatively simple to execute this stuff, but a lot of producers never learn it because they didn’t take the time out of their ﬁrst few months or even years to get to know the basics. Learn your DAWs most important shortcuts. Spend one day of your life learning the piano roll shortcuts. Spend one day of your life learning audio editing shortcuts. For easy reference, we’ve included links to the manuals for each of the most popular DAWs Ableton Shortcuts Manual \| Search Shortcuts Logic X Manual \| Search Key Commands FL Studio Manual \| Search Shortcuts "Don’t think about making art, just get it done. Let everyone else decide if it’s good or bad, whether they love it or hate it. While they are deciding, make even more art." – Andy WarholGET GOOD AT ENTERING A FLOW STATESECRET #8 A ﬂow state is also referred to as ‘being in the zone’ or ‘a creative ﬂow’ but the best deﬁnition that I could come up with is this: A mental state of relaxed, high performance, a mental state of energized focus, full involvement, and enjoyment in the process. Quite honestly, it’s really the most rewarding part of creating music, hands down. What’s most interesting about a ﬂow state is that we only a enter a ﬂow state when two conditions are met: 1. When the work we’re doing is challenging enough to keep our minds occupied and busy. 2. When the work we’re doing is easy enough to avoid frustration and boredom. And that’s a really important point because that means that in order to consistently achieve or enter a “ﬂow state”, you need to arm yourself with the proper tools and education to not get bogged down by all the difﬁculties music producers face. You literally need to have enough technical knowledge to be able to challenge yourself in your next composition, sound design session, mixdown or master (or whatever facets you plan on tackling next). This means that the formula for entering a ﬂow state is: Learn Something + Apply & Practice + Rest And then rinse and repeat.It’s important to always be learning and always be fueling your mind with new information. But whatever you do, don’t become that person that literally never does anything other than learn. Take in some new information, apply it, practice it, but most importantly — use it. Then, and only then, should you rest and repeat :-) To enter a ﬂow state, the formula is simple. Learn something, apply and practice it, make sure to rest, and then repeat the process. Make no mistake, ﬂow states are THE goal we’re seeking. And it also happens to be the most fun and rewarding part of the musical process. "What separates the superstars from the average? They seek criticism, and actually listen to it..." – Alex Alvarez SUMMARYHYPERBITS HYPERBITS HYPERBITS HYPERBITS HYPERBITS www .hyper bitsmus ic.c om	[ "music", "make", "song", "sound", "time", "track", "get", "one", "really", "day" ]	{ "summary": "8 SECRETS TO\nFINISHING MUSICABOUT HYPERBITS\nI’m obsessed. Seriously. I’m completely and hopelessly o" }
tL-design-47-Ways-To-Make-Money-as-a-Music-Producer.pdf	47 WAYS TO MAKE MONEY AS A MUSIC PRODUCER What Could You Do to Generate Full Time Income While Focusing on Your Craft? INTRODUCTION I’m so glad that this copy of “Producer Money Making Secrets” has reached you and now it’s ready to be revealed. But before you dive your head into the 47 opportunities, I want to share a little story of how the idea of this book came out and what inspired me to make it. You probably already know who I am… If not… I’m the guy on the internet who geek out marketing and music all day long and helps music producers to reach their goals. No matter if it’s financially, mentally or spiritually… Helping you to become the best version of yourself is my duty! So… After talking with hundreds of music producers (the power of social media!) one strong pattern occurred. Most of them have no clue how to actually make money from their skills and abilities so they have to apply for low pay unrelated jobs just to sustain their passion of being a music producer… and that’s the saddest part. Music producers are the one of the most creative people in the entire world with many different skills and talents, however, many fail to fully utilize it. My goal with this E-Book to show you how many opportunities there are around you and how you could take advantage of them. Hopefully after reading this book you see that there are countless of money-making opportunities while still focusing on your craft. Generating full time income is not a dream. In fact, it’s a reality which is more than attainable. I hope you will find a lot of value in this E-Book and it will help you to see that there are a lot more opportunities to make money while focusing on your craft than you imagine. Thank you once again for getting your copy of “Producer Money Making Secrets”! Let’s dive into it! -JMPRZ CONTENTS 1. Sell Beats 2. Ghost Producing 3. Spotify Playlist Placements 4. Sell Mixing Services 5. Sell Mastering Services 6. Edit Podcasts For Entrepreneurs 7. Sell Sample Packs 8. Paid Promotions on Instagram 9. Royalties 10. Sell Project Files 11. Mentor Someone 12. Start A Record Label 13. Sell Merchandise 14. Play Live Shows 15. Create A Plugin & Sell Subscription 16. Teach Online 17. Start A Blog 18. Become Sound Designer 19. Content Creation For Artists 20. Audio Editing Services 21. Become a Foley Artist 22. Become a Composer 23. Become a Vocalist 24. DJing 25. Start a Youtube Channel 26. Instagram Services 27. Affiliate Marketing 28. Become an Artist Manager 29. Promote Events 30. Kickstarter (Start Something New) 31. Become a VA For Another Music Producer 32. Provide Recording Services 33. Start an Event 34. Sell a Course 35. Platform to Connect 36. Patreon 37. Email Marketing 38. Manage Ads For Music Producers 39. Dropshipping 40. Sell Track Artworks 41. Edit Music Videos 42. Start A Podcast 43. Publish A Book/E-book 44. Sponsorships 45. Create Producer Tags 46. Write Melodies For Others 47. Create Websites For Other Artists SELL BEATS First of them all is selling beats. Beat selling game is fun, exciting and very lucrative. You can start with $5 per beat to $10,000 (no joke). There are platforms like Beatstars, Airbit, Soundgine which provide you with tons of artists who already looking to buy beats. You only need to create professional beats consistently so you build an authority and position yourself as a leader in beat making world. Using those platforms has many benefits as you don’t need to have a huge fanbase or be a celebrity. All you need to do is create amazing beats consistently and put them out on a platform. If you’re a beat maker and looking for a way to earn money with your craft, definitely give this a shot. Even if you have a following you can use those platforms to provide as a safe place to get paid. Downside of using platforms like these is that there is a kind of set price which you would expect to pay so you’re not in control of the pricing and those platforms take a fee so you’re not making the full amount of the beat you sell. Other than that, I think you should definitely give it a shot if you’re interested in making money with your beats. GHOST PRODUCING This has a kind of negative name for it in the music producer world but it’s a serious money maker. Imagine you would get paid $150 - $900 per track you make when STARTING OUT. You don’t need any fans, no content creating and marketing stuff. Just creating music and getting paid for it. Well, of course your music has to be good otherwise no one would buy it but still it’s worth to give it a shot. Best part about it that there are tons of artists in various genres so you can create music you like. Doesn’t matter if you’re a big room or trance producer. You can do them all! If you’re interested in that kind of stuff popular platforms are EDMGhostProducer, YourGhostProducers, HouseOfTracks. Of course you can create music for other artists specifically and make it exclusive for them but you have to have a name for yourself in order for this to work. Advantage of this is that you set the price and can charge thousands of dollars for your work. I also think that it’s kind of ridiculous when using someone else's music in beat making world is cool and all but in dance music it’s has a negative name for it… I personally never tried to make money ghost producing but I want to give it a shot (maybe it will work out, right?) If you’ve tried it send me a DM! I would love to hear your experience! SPOTIFY PLAYLISTS PLACEMENTS This is a kind of new way to make money with Spotify by leveraging your playlists followers. It’s actually against Spotify Terms of Service but I had to include it here. Basically all you do is you provide a chance for artists to be featured on your playlists for a fee. So if you have a solid fan base around your Spotify playlists you can use websites like SubmitHub or PlaylistPush to monetize your playlist. People send you their music and pay a small fee for it. You receive that fee and have to decide if you want to put their music on your playlist or not. This method won’t make you rich but it could be an additional cash flow to fund your music career. I know a few people who do that and they earn $50-$200 per month with it! Not bad for just a playlist! Best part of it is that you only need like 500 playlists followers to start monetizing. So if you have a playlists with already existing fanbase or you think you can grow it give it a shot! It might work for you! SELL MIXING SERVICES One of the oldest and most popular ways to earn money as a music producer - selling mixing services. I bet you’re familiar with what it is… basically you make someones track sound good. You adjust the volume and use various techniques with effects to make separate sounds work together. Your main goal is to make track as flat as possible so it distributes well on all types of speakers. Entry point mixing engineer usually earn somewhat $50 per song (really beginner) and top ones can go up to $5,000 per song! Insane! SELL MASTERING SERVICES Basically the same as selling mixing services, however, your goal is to make already well mixed track sound loud and commercial ready. You just give an extra little push for existing mix to really top it off. A lot of people who do this type of service also offer mixing services together as they really correlate. With mastering you usually earn a bit less as you have to do less work. As I know $35 per song is standard rate. EDIT PODCASTS FOR ENTREPRENEURS You won’t believe the opportunity right here… What seems like a simple task for a producer is a huge problems for others… As you may know podcasts are really catching up the momentum right now. A lot of influencers and brands started podcasts. Why? They are literally are in your ear! It’s so effective for marketing and building a relationship with your audience. Many entrepreneurs started a podcast, however their audio simply sucks… And you know what happens when audio sucks, right? People turn it off. Entrepreneurs have a problem. You have a solution. Offer them it and get paid especially when most of them have the funds to do so. Also, most of the stuff you have to do is set audio levels correct, put-desser, remove hum or other unnecessary noise and that’s it! They will be grateful for it. Trust me. If you want to try it out, find podcast which have a low quality audio and tell them that a lot of people turn it off since it’s not pleasing to hear their podcast in low quality. Offer them to edit a one podcast for free to hear the results for themselves and then ask if they would want to get professional sounding podcast every time. There are a lot of places where you can find them. SoundCloud, Spotify, Anchor, Lybsin, Buzzsprout, Podbean and many more. Just google “platforms for podcasts” and you will get tons of results! Also, entrepreneurs are great audience to target since they have a different kind of mindset than others and they know that it would be better to hire someone else to do it professionally rather than themselves. SELL SAMPLE PACKS Many music producers dream to make money by selling sample packs but only few attain it. I mean you basically sell sound and get paid haha. Sounds like a dream to me! You create unique samples. Make them sound professional. Organize everything and present them to other producers. If they like it, they buy it. Simple as that. Especially I love the fact that it’s a digital product and cost of distributing it practically ZERO (except some fees) Disadvantage of selling sample packs that is that the competition is VERY high. You would have to compete with sample pack giants like Vengeance, KSHMR, Cymatics and many more… and don’t forget about Splice too… If you never made money as music producer I would not recommend you to start with this one as you have to be really good understanding of the business side of this world. Knowing your competition, their strong and weak sides, your advantages, excellent customer research… tons of stuff. I’m not saying that you won’t make money with it. In fact it’s really doable. I’m saying that you probably won’t be the top player in this niche (that’s your goal should be with everything). However, if you still want to do it, please pick a exact genre. Do not make “sounds for everyone”, it will not work for you. The more specific the better! Also, sample pack is great thing to giveaway to your audience for free! People love them if it’s quality stuff and you give more value to your audience. More value = more trust = more money for you. PAID PROMOTIONS ON INSTAGRAM This is probably the easiest way how you can earn money on Instagram. You simply leverage your audience size and offer other people to promote something, whenever it’s their product, music or an event, on your page. How much do you earn? It all depends on how big is your Instagram page, are you more like reposting page or personal brand. Also how engaged your audience is also plays a big factor. Roughly with 10,000 followers you can expect to earn $10-$50 per story or post promotion. (Btw I sold my first shoutout on my profile when I was only 700 followers haha. It was $10!) You might think it’s not that great money maker. Well, it only takes a couple seconds to post that story so $50 in few seconds is not bad in my opinion. Considering the fact that you keep 100% of it (except some transaction fees which vary). The only downside of this method is that you have to have a following already or ready to grow it. Honestly, it’s not that hard to grow a page on Instagram. You can create a page geared towards music producers and simply repost other people content (make sure to credit the original creator!) On my page I grew my first 1,000 followers in 14 days so it’s definitely not that hard. Let’s say if you repost 4 posts a day (reposting is easy, trust me) you could get 1,000 followers four times faster, assuming that you know what you’re doing. So it’s definitely attainable. Bonus tip for those who already have a decent following and want to earn some money NOW. Go into similar pages as yours and look if they are already promoting something on their stories or posts. If they do, DM who they are promoting and offer your promotion too. If they are already spending money on promotion, there is a high chance that they will buy your promotion too. ROYALTIES One of the oldest ways to earn money directly with your music. You release your music on different platforms and collect royalties for the streams. Each platform pay different amounts per stream but in general you earn less than a cent per stream. I did a little bit of research, however, I don’t know how true it is but according to Google: “ Spotify pays about $0.006 to $0.0084 per stream”. So if we do a little math and get the best case scenario, you need to get around 12,000 streams to earn $100. Well it’s not that bad if you release music independently, however, a lot of artists cannot get this amounts by themselves so labels take a hefty cut too. Anyway it could be serious money maker if you get TONS of streams and release independently. However, I would not rely on this method only since it’s not that “stable” as you may say. There are much more sustainable and easier ways to make money as a music producer but royalties could be a great addition to your main income stream, considering the fact that you earn it by doing what you love. SELL PROJECT FILES Honestly, I genuinely think this is an excellent way to earn your fist money online. You improve your production skills and make money at the same time. All you have to to basically is to produce music, which you do anyway, and offer people to buy your project so they could learn from you. Of course, you track and project must be really good, otherwise no one would buy it but still… Improving your producing skills and earning money at the same time? Yes, please! This method is pretty popular on YouTube. People make templates of different genres and/or styles and set up a website where their audience could buy it Downside of this is that if you’re probably bound to one DAW. So it you’re selling your Fl Studio project files, people who use other DAW won’t be able to use it. How much do you earn? It all depends on you but standard is $5 - $40 per generic project file. Awesome part about this method is that you’re selling digital product and your distribution cost is zero. Which means all profit to you. MENTOR SOMEONE Commonly overlooked but one of the lowest hanging fruits out there. If you have something achieved really cool definitely use this one. You don’ t need to create a product or whatever it may be. You’re selling your time. Mentoring is different than just teaching online or selling courses since it usually have a specific training period. Usually it’s from one to six weeks for training. You work specifically with someone one on one to help him/her to get the results. Not just broad information or one specific topic. You help with every decision so he or she could reach their goals fast and do not make the same mistakes as you do. You can easily charge from $1,000 to $12,000 or beyond for mentoring. If you provide enough value and have achieved something really cool people will be willing to pay that amount. START A RECORD LABEL Many producers dream about it but usually don’t start. Why? All the bulsh*t excuses keep them from starting. No money, no connections, no one will like our label, I have a different taste than majority and many more. Well, if you’re one of those just listen… With the power of social media you don’t need any of those basically. You have YouTube, Spotify, Soundcloud, Instagram and other platforms to distribute music for free, you can network for free there too, no one like the artist until it pops, the more unique you are the better. Stop those excuses! Just do it! Honestly, if you want to have your own label. Just start. Don’t overthink. You will figure out things as you go. You earn by getting a cut on artist royalties and sold tracks. Bigger labels organize their events too, so serious money here. SELL MERCHANDISE This one will probably work for those who already have an established audience and have true fans. If you have true fans, who will buy anything you present to them, this is a serious money maker and can really create nice cashflow for you. T-Shirts, hoodies, caps, mugs, pillows… You name it. It may sound like simple unnecessary expense for you but if people truly love the artist those pillows with their logo mean much for them and it doesn’t matter if it's $30 or $100. It has an emotional value attached to it. People buy because of the emotions, not logic. Also, with the possibilities we have today you don’t even need to have an inventory of your merchandise. There is a business model called Print On Demand (POD) so you only create your merchandise when you get an order. No upfront cost, no risk involved. Awesome, right? There are even websites which offer you to make a free mockups for you so your fans could see how your merchandise would look. No need for photographers or even having a merchandise item yourself! We live in a golden era! All you need is a computer and access to the internet. PLAY LIVE SHOWS This one applies to more established artists too but it’s definitely possible for people who are less known. If you produce really good music, have a raving fanbase, strong branding, venues are looking for you. Doesn’t matter which type of music do you produce, whenever it’s EDM or hip hop, there are tons of places which are looking for new artists to play. If you already have an audience, brand and produce great music but never played life shows and want to try it out. Find venues which play similar music as you. Offer them to play for free at first. If you like it and they are satisfied, ask for a pay next time. CREATE A PLUGIN & SELL SUBSCRIPTION If you’re a real nerd or have a lot of money, start doing this. There are so many opportunities in this field and if you really into that technical side of music production definitely take this into consideration. Audio geeks are always looking for new, slick plugins to try out. If you can make life easier with a plugin for a producers, they will buy. Do not believe? Endless Smile by Dada Life is a prime example. What does this plugin do? Adds filter, eq, reverb and stereo separation effect on your track with one knob. You can definitely do that with default plugins with come native with your DAW but Endless Smile saves tons of time. Especially when it comes to automating all these things. You can sell plugins for couple hundred dollars with one time fee but what I would do is create a monthly fee for using this plugin. Few bucks. More people can afford that and feel more confident about buying it. Also awesome thing is that it is a recurring revenue stream. Which means that you sell once and receive payments many times. TEACH ONLINE It’s really similar to mentorship but usually you teach one specific topic for a short period of time and it cost way less. Let’s say you’re good at mixing. Offer people to get an hour consultation about exact process how to mix tracks and make them sound the best. Or maybe you’re good and creating marketing plan from artists, or a genius at music theory. You name it... The possibilities are endless. You’re saving them a lot of time since you cram your countless years of experience and failures and present them directly so they could succeed fast. Usually consultations start from $50 - $200 per hour but it totally depends on your skill level and how much you value yourself. Even if you have 4 consultations per month for $50, extra $200 is not bad. Also, if you ever wanted to create and sell a course, I would suggest you to do 1 on 1 consultations first. You will have a better understanding of what are people struggling with so you could create a better course and help more later on. START A BLOG If you don’t like to talk to the camera, or you feel like you can express yourself better than words then blogging is what you need… Personally, I like to write (well I wrote this whole book myself haha) even though it’s not my passion. I can completely zone out from reality, press those buttons on my keyboard and it write for hours. For some reason it makes me feel relaxed. Also, if you’re not naitive English speaker I would highly recommend to write at least a few articles about the topics you love. You will improve your English skills by a lot! (if you want to of course). There are many different platforms which let you do this for free. My favorite one is Medium. You don’t need to make a website or any of that stuff, just register and start writing. People are already there so if your articles are good it has a chance to blow up. In terms of monetization, the possibilities are endless! You can sell courses, beats, your services or simply promote your song and make money with royalties. If you choose to have your own website you can also earn with AdSense, however, your blog has to be pretty big to earn reasonable amount this way. BECOME SOUND DESIGNER If you like being in the studio for hours and tweak knobs you may consider becoming a sound designer. In terms of earning money, you either create sounds and sell it to your audience or simply someone hire you to create sounds for them. Creating your own sounds and selling them yourself can an advantage that you can scale infinitely as your product is digital. Disadvantage is that you have to market it properly and test until you become profitable. If you don’t want to be really entrepreneurial and just want to earn some money doing what you love creating sounds may be the right fit for you. People who sell soundbanks are constantly looking for new sound designers to take their packs to the next level! Also, learning sound design will improve your production skills a lot! CONTENT CREATION Lowest hanging fruit out there. There are tons of pages on Instagram and Facebook who has thousands of followers but they just simply repost other people content. What you would do is you reach out to them and offer your content creation services. You would pitch them the idea that having your own branded content is way better since you position yourself as an authority, leader and it’s better for long term success. Most of them already know that, they are just too lazy to create it. Branding yourself also helps you to get more sales indirectly, network and create more opportunities since that content is YOURS, not just someone else. If you don’t believe just open Instagram and click on someone’s repost page around music niche. Well, it has tons of content but that’s just it. Now open someone else's page which posts their original content. It feels more natural and you have a better connection with the content creator. What I would do is reach out to music producer pages which post like infographics n stuff and offer them that. AUDIO EDITING SERVICE We have talked a bit around that topic in “Editing Podcasts for Entrepreneurs” section but there is more to that. There are a lot of people who start their companies, products, singers who have no idea how to deal with audio. So they desperately looking for someone who knows how to deal with that since it can be tricky. Not everyone knows about clipping issues or why their audio sucks compared to other people. That’s where you help them. You can find gigs for yourself on websites like Fiverr, Freelancer, Upwork and many more! BECOME A FOLEY ARTIST If you don’t know what foley artist is, it’s basically a person who create sounds for movies. When you see a horse running in the film and hear the “horse sounds”, it’s the job of the foley artist to create them. Yes, movies usually do not record sound when they shoot it. It happens afterwards. You can earn money with it in two ways. Get hired by some company or freelance. I would choose to freelance since it’s more fun but the downside of this is that you have to have a huge collections of random items. I mean TONS of them. I look at also as a pretty fun and interesting full time job opportunity if you don’t want to follow entrepreneurial journey. BECOME A COMPOSER Technically speaking, composer is the musician who is an author of music in any form. Usually when we hear the word “composer” we think about a musician who writes music and scores for films. And that’s true! If you’re into film scoring ( those orchestral type music like Hans Zimmer) definitely look into this one. As the previous one, you can earn by either freelancing and making orchestral scores for smaller projects on websites like Fiverr, Upwork or get a job in this type of field and work for big companies. BECOME A VOCALIST I know this probably will not apply for 90% of you since you can't sing like me but there are producers which actually know how to do that (yes, they exist lol). Most of the time they use those abilities for their own productions which is amazing but why not earn some money too? There is a huge demand for vocalists so it would be stupid not to take an advantage. If you haven't done this before here is how I would do that. First find 10-30 producers which you like and ask if they need a vocal for their tracks. Do it for free of course. Most of them would agree on this. I would haha. By doing it for free you get credibility, trust and position yourself as a leader. After that, ask if they would want to collab again but this time you ask for a small pay. DJ FOR SPECIAL OCCASIONS DJing is tightly connected with producing. Before you start screaming that it's different... YES, THERE IS DIFFERENCE. However, a lot of producers want to play live shows with their music and tour so they want to do that anyway. If you're good at producing DJing shouldn't be hard. All you need to do is to feel the music, rhythm and pick the right song. Basic DJing knowledge is required to DJ at clubs. People here don't really care about fancy tricks, all they want is good music and smooth transitions so music is playing without breaks. Also you may DJ at weddings, birthdays and other special occasions but that's a different story. If you're a beginner you usually may earn from $0 to $200 per night. All depends on the location, venue and your communication skills. START A YOUTUBE CHANNEL This is an excellent way to earn money, learn more and network. By having a YouTube channel with solid fan base you can earn from AdSense itself, take brand deals, promote your own or somebody else's products for a commission. I would suggest to post tutorials and teach other producers. This way you create a lot of value for them and they will remember you. More recognition = bigger brand. But most importantly by teaching others will improve your own skills as you learn for two. Of course you could post funny meme videos and I think you should but do not really on them. Earnings completely depend on how you're going to monetize. If you want to get from views itself (AdSense) it would be $0.5 - $1 per 1000 views. Or you could promote your own products. All depends on you. INSTAGRAM SERVICES Ohhh I love this one! Imagine getting paid for using Instagram. Dream haha. Well, not just using brainlessly but with a strategy to help other people gain exposure. I've been doing this for a while and I'm happy with this method! You could consult others artists in terms of a strategy to gain followers, do it for them or offer some sort of software service (SaaS). Many artists do not get enough exposure for their art so you would offer it to them. I've done it many times and it works (as long as your offer is really good) All you need is to have some knowledge on Instagram and few thousand followers for proof (preferably) Easiest would be to do a consulting. From one hour consultation you can expect to get $50-$300 and more depending on your skill level. AFFILIATE MARKETING Amazing opportunity if you don't have your own product but have an audience. If you're not familiar with affiliate marketing here is a brief explanation. You promote someone else's products and get a commission for it. You don't have to deliver that product or service. All you have to do is sell. This is an amazing opportunity if you want get start earning money fast and have an audience for it. All you have to be good at is selling. Honestly if you want to learn how to sell start with affiliate marketing. You don't have to focus on delivering anything, just selling. In terms of earnings it totally depends on the affiliate program you're promoting. Most affiliate programs offer 10%-40% of the sale. Yes, you earn less than your own products but the beauty of it is that you don't have to have a product and can test many different ones fast. BECOME AN ARTIST MANAGER If you’re more into the business side of the music industry and/or you have great connections with many different people you should consider becoming an artist. Your job would be to develop an artist and meet his goals. Whenever it’s playing live, reaching millions of people or simply making a living out of his music. I think it’s a great way to develop yourself as an artist too since you’re getting all of that valuable experience which you can implement on your future career. In terms of earnings, 15%-20% of artists earnings is typical range for your fee. Of course it completely depends on the contract. Some may ask a flat fee some a percentage. PROMOTE EVENTS Promoting events could be a great opportunity for you to learn more about the whole structure of them (if you want to play live), network and get some valuable life experience. Some may think that this is unrelated job which has nothing to do with music but if your goal is to play live at different kinds of venues, becoming a promoter puts you really close to the organizer of that event. You learn the whole infrastructure of music events, how they operate, gain valuable contacts and most of the time get free tickets too (which you can you to network too) There are events which offer you a fee per sale but they often require to have a contract with them. KICKSTARTER Have you ever felt that there is something missing in the music producer environment? Something that could help you and others to produce music faster? Easier? Or maybe you’ve been facing some kind of issue lately and found a new solution for it? If so… Present it to the world! We live in a world where you can create a product and distribute it the next day. All you need is a phone/laptop and internet access. Nobody knew about Subpac few years ago… A device which you put on your back or a chair so you could feel the bass instead of hearing it. It helps you to mix low frequencies better since you’re mixing based on how does is feel. Also, it's common to have problematic low end in your mix. Subpac helps you to solve this problem. BECOME A VA Let’s say you really want to work with particular artist… But there is no way you he would agree since your production skills are low or you don’t have a strong brand (whatever it might be). What you could do is to become a VA (Virtual Assistant). Basically you would do stuff that he or she is too lazy/busy to do. Most of the times it’s monotonous tasks. This is not a huge money maker but it’s really strategic play if you manage to pull it off. If you want to take it a step further and improve your chances drastically offer to do it for free. You won’t earn any money but you will get closer to him and maybe one day this will lead to making a song together. Who knows. There are tons of opportunities PROVIDE RECORDING SERVICES I think this is pretty straightforward. Songwriters, businesses, entrepreneurs and even other music producers have a particular project in mind and to execute it they need a professional gear and trained people. You would provide this type of service for a pay (of course). It all depends on the clients needs what exactly you would do but most of the time you would come to their place to record something or help to set-up their gear. Also you could rent your studio if you have one. This will create a nice cashflow for you and tons of networking opportunities. This requires a lot of investments for gear and years of experience to really be good at it but I know a lot of producers who already have both of those boxes checked. START AN EVENT I know it’s not that easy as it sounds but I you’re really passionate about that it will work. It doesn’t have to be a massive event with thousand people. Start with 10 close friends and your house. Next time invite 10 more people. Ask if they have friends who would like to join too. Later on you can rent a place and invite even more people. Make it awesome and people will join. Word of mouth is a powerful tool. When you have quite a few people going to your event look for sponsors. Beverages, food all that type of stuff (email hundreds off them). I know friends who do this type of events and energy drink companies sponsor them really often. Google Tomorrowland first year and you will see that everybody starts low. Don’t be afraid to do. It sounds intimidating until you start doing. SELL A COURSE If you’re skilled music producer or have one specific skill which you’re really good at why not teach others at scale? I’ve talked about teaching others previously (and still recommend to do that before creating a course) but when you see that people get great results with your help you could create a course and help an infinite amount of people. You put all your knowledge into one course and sell it to people. If people trust you and see your results they will buy since they want to achieve it too. Courses start from $5 to $5,000 or even more. All depends on your level of influence. So it’s definitely an amazing money maker. Most beautiful part about it is that you create it once and can distribute it as many times as you want. This is especially good for producers since we want to spend as much time producing. Imagine producing and get those dollars rolling in! PLATFORM TO CONNECT What you could do is to create a platform for other producers where they can connect, network and get value from. There are quite a few of them already. SKIO, Spinnin Records, etc… They host remix contests, a place where you can show your tracks and get feedback, look for DJ’s and many more! It doesn’t need to be a brand new app or website. You could literally use something like discord and invite other producers here. Later on create some kind of premium subscription where they will get access to even more amazing limited edition stuff. It literally could cost like $2-$9 per month but think about this way. If you can make 100 people pay only $2 per month for something really cool… That’s $200 for you passively. Now imagine 1000 people. Great! PATREON I bet you already know about this one. If not, Patreon it’s a platform where creators such as (producers, artists, videographers, etc…) sell exclusive access to their newest piece of work, video, song or something like that. It’s especially popular among YouTubers so if you decided to make a YouTube channel where you would teach others about music producing or whatever it may be, Patreon would be an amazing addition to that. You set up your own rates but usually starting point subscription costs a few bucks. It may not sound a lot but remember previous method? What if you could get 100 patrons? 1,000? 10,000? EMAIL MARKETING Email is one of the biggest assets of online world. With email you have the power to connect with people directly. Companies had been successfully using emails to drive traffic to their platforms where they sell their products. Even if all the social media platforms collapse tomorrow you will keep your email list because it’s YOURS. That’s why it’s so valuable nowadays. Also you can use it an infinite amount of times. There are companies which are ready to pay around $1-$4 per email (depending on your quality of traffic) so they could use it to sell their own products. What you could do is to create something amazing (like this ebook) and ask people for an email address in return so you could sell it for companies which are looking for that. Make sure to have a consent stating that their email will be used by other companies since otherwise it’s illegal to do so. I DO NOT SELL, RENT OR GIVE AWAY YOUR EMAIL. YOU’RE SAFE :) MANAGE ADS FOR MUSIC PRODUCERS If you know how to successfully run a campaign on Facebook Ad platform, you’re golden. This is a really high income skill which really has high demand right now. It’s nowhere close to being easy but that’s why it’s so valuable. Offer this service for artists so you could see how people react to different kinds of music and creatives so you could implement it to yourself. Also, this is an amazing opportunity to network. To get your first clients offer to do your work for free and they would only cover the ad budget. What you could also do is to reach out to other producers and offer your service. Show them your results and ask if they would want to try it for one month. If you manage to bring results for them and you price yourself accordingly they will hire you. Quick little tip: Look for those who sell some kind of service or a product. It will be much easier since they can get a return on their investment and make money. This makes both sides happy. They get sales and make money, you provide amazing service and get paid. I have a ton of friends who offer this type of service and their price starts from $400 to $2000 per month. So it’s definitely a huge money maker if you’re into analytical side of it. DROPSHIPPING Okay that the hell does it have to do with music? Well, if you’re trying to create your own brand and make money on the side and don’t want to sell any other service you could sell other people products and put your own branding on it. Let’s say you’re hip hop artist and really into chain type of necklaces. You could easily create online store around that. People would see you wearing it and would want it too. That's why branding is important! Or to make it even more awesome, they would get a free CD with your album (yes, people still use that) Just make it really personal and with a “touch of you”. With the possibilities we have today it’s so easy to do that. You don’t even need to hold an inventory to pull it off. People order on your website, you fulfill the order and your suppliers ships it out to your customer. Just make it really personal and with a “touch of you”. SELL TRACK ARTWORKS If you’re good at graphics and want to earn money I don’t know what you’re doing. Creating art is in your blood anyways, so monetize it! You could easily get paid around $20 - $100 per track artwork! Especially if you’re good at it. There are websites like Fiverr, Upowork, Freelancer where you could sell your service and people are ALREADY here or you could simply message people and offer it. Plus you will create amazing track artworks for yourself since you will master making it! EDIT MUSIC VIDEOS I know that music producers are very versatile and have a lot of skills. Also, I know that they do not realize that and take advantage of it. There is a high chance is you’re creating music you’re making music videos too. Why not offer it to other producers? It would work better if you could film too but it’s definitely doable without it. As mentioned previously there are websites where you could sell your services. Make sure to niche it down since there are tons of “video editors” but there are not many people who focus let’s say on editing music videos for hip hop artists. If you focus on specific niche people know that you’re serious about it and you’re the right fit for them. START A PODCAST Podcasts are on the rise right now. Many producers, entrepreneurs and other influential people realise the power of it and the market is really moving towards audio content (YAY!) It’s really convenient since you can do other stuff while listening to a podcast and get a lot of value from it. You’re literally in the ear other person. It’s as close as it can get in the online world. Also people started using things like Alexa, Siri and other voice things more. So it's definitely a good move to start a podcast. Similar to YouTube you could earn from sponsors, promoting your own or other people's products. Also, you can invite other bigger artists for an interview and leverage their audience to get attention for yourself. It’s a win - win situation for both. PUBLISH A BOOK/E-BOOK If you have expertise in a subject why not write a book? Of course you kind of have to like writing but if you do, go for it! There are many different places where you could sell your book/e-book. Most popular of them Amazon, Google Play or simply do it manually. By writing a book you put yourself as an authority too. This could mean more exposure for your brand and your music. Books are usually in $9-$30 range and if you have an e-book you can sell them an infinite amount of times. Also by writing you learn more since you’re basically re-learning everything from the scratch. SPONSORSHIPS If you have an amazing brand and loyal follower base reach out to the sponsors you want to collaborate with! Sponsors are definitely looking for ways to reach more people and get more awareness and sales to their products. Just make sure you’re actually have the right type of audience for their products. Also many people make a mistake where they just wait and hope sponsors will find them. Sadly, we live in a world where there is too much noise to be noticed so it’s smarter to reach out to them by yourself. CREATE PRODUCER TAGS Honestly, this is so easy to sell and make and if you want money tomorrow try this! Producer tags is little snippet of sound which usually I like to call “audio logo”. Usually it’s a few seconds of someone shouting your name or something like that. It’s extremely popular in hip hop/rap scene. Most producers can create one by themselves but most of the rappers don’t. So there is an opportunity right here. What you could do is to DM a bunch of rappers and offer them to create one for like $5. Sell few of them a day and that’s a nice little cashflow for you! Also, if you’re a beatmaker, you can create one for free to put your name out there and have a higher chance of rappers actually buying a beat from you since you provided them value upfront. CREATE MELODIES FOR OTHERS Another not so common way you could earn money is by creating melodies for other producers. We all know that sometimes we hit a roadblock and just can’t get anything done. What you would do is to help with that. You could work personally or create a huge collection of melodies and sell them. Make sure to niche it down as much as possible because you don’t want to sell hardstyle melodies to tropical house artists… (or maybe that’s a new genre?) CREATE WEBSITES FOR OTHER ARTISTS You won’t believe how many artists want to have their websites. I mean it’s cool to have one and could be a great way to showcase your work. Some want to sell beats through it, some show their music, some sell merchandise. Everyone has their needs so help them! You might be wondering that you could not do it since you have zero experience with coding websites but don’t worry about that. If you know how to drag and drop elements you’re good to go. There are platforms like Wix, Wordpress, Shopify, Clickfunnels and many others which offer you to create a website without any coding knowledge. You just select what you want to have on your website and drag it where it should be placed. That’s it. If you have an eye for a good design you could literally crush this one. So why don’t they create websites themselves? Most people overcomplicate things and think that it’s really hard to do so, others just don’t want to do it so they would rather hire someone to do it for them. You could easily sell a simple website for $100 (which is pretty low for a website creation) and move your pricing up later as you progress. If you look at other artists who are successful all of them have a website where they show their work, have contact information and maybe even sell something. So it’s definitely in demand. THANK YOU! If you came this far I’m really proud of you! I hope you got a lot of value from this e-book and learned at least a few methods how you could potentially create a cashflow as a music producer. There are many more opportunities in the music industry than most people believe! Luckily, now you’re ahead of the game :)	[ "music", "people", "could", "sell", "youre", "money", "make", "producer", "would", "create" ]	{ "summary": " \n \n \n \n \n47 WAYS TO MAKE MONEY AS A\n \n \nMUSIC PRODUCER\n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \nWh" }
tL-design-album-cover-instructions.pdf	Album Cover Art You have been hired to design a new album cover for your favorite song or record! A great album cover can draw in new listeners, so what you put in the limited space needs to count! Here’ s what you should include in your artwork: ● The artist and album name ● Style (colors, images) that properly represents the content inside ● A picture, drawing, or visual representation of the artist themselves Thinking About C O L O R Color is a very important element of design! Choosing the right colors to match the style and message of the music can make or break an album design! **Think about color this way: When you get dressed in the morning, how do you choose the various pieces of your outfit? Do you consider the combinations of colors you wear? Do you feel any combinations look particularly good on you? Are there any colors you won’t put together? Why? Album cover designs can range from simple, monochromatic (one-color) backgrounds - to vibrant, one-of-a kind illustrations. Examine the 4 album cover examples, and consider how each design compliments the music or artist. Album Cover Art Use pencils, markers, crayons, paint, or collage to create your album cover . Feel free to use images of the artist printed from the computer or from magazines - just make sure your album design is original and not copied (plagiarised). Remember - your design should compliment the emotion/feeling and vibe of the song or artist you have chosen. Artist: ______________________________________________________________________ _____ Song or Album: ____________________________________________________ _ _ _ _ _ _ _ _ _ _ _ _ _	[ "album", "cover", "design", "artist", "color", "song", "art", "new", "put", "style" ]	{ "summary": "Album Cover Art\nYou have been hired to design a new album cover for your favorite song or record! A " }
tL-dersignGetting-Your-Album-Art-Ready-3-Things-To-Know-About-Cover-Art.pdf	30/8/2020 Getting Y our Album Art Ready: 3 Things T o Know About Cover Art https://www .tunecore.com/guides/3-things-you-should-know-about-cover -art 1/5 In order to distribute music to digital stores and streaming services, there are a few things you need: Audio ﬁles, metadata (album title, track titles, artist names, release date, etc.), and cover art. And these required components must be up to store specs. Today we’re talking cover art: getting your artwork in the appropriate format so it ﬂies through to digital store shelves. COVER ART In order for the stores to accept your artwork, its format needs to meet several technical criteria: JPG or GIF Perfect square Aspect ratio at least 1600 x 1600 pixels in size Best quality RGB Color Mode (this includes black and white images)30/8/2020 Getting Y our Album Art Ready: 3 Things T o Know About Cover Art https://www .tunecore.com/guides/3-things-you-should-know-about-cover -art 2/5SIGN UP NOWIf you’re distributing your music to the Amazon On Demand store (for printing physical CD covers), you need a resolution of 300 DPI. ALL ABOUT FORMAT We’ve talked about the requirements for formatting the text in an album, single, or ringtone. Well, the same applies to artwork. There are certain rules the stores have that dictate what can and cannot be included on your artwork. For example, even a resolution or dimensions short of requirements could result in store rejection. Here’s what you CAN’T include: Email addresses, URLS/websites, contact info (this includes social handles), or pricing Stickers from your artwork from a scanned copy of physical CD Something that suggests format of the release “CD, DVD, Digital Exclusive, disc” Cut off text or images An image that’s compressed into one corner with white space Names of digital stores or their logos Words that express temporality, like “new”, “latest single”, “limited edition” or “exclusive”30/8/2020 Getting Y our Album Art Ready: 3 Things T o Know About Cover Art https://www .tunecore.com/guides/3-things-you-should-know-about-cover -art 3/5SIGN UP NOW Album cover size 4.724 inches square Also, this may sound like a given, but make sure the image isn’t blurry or pixilated (this can be adjusted via aspect ratio by the number of pixels your cover art is). No one, including the stores, wants to have to squint to see your art. This is where cover art size (1600×1600 pixels) is important. Keep in mind that stores and their requirements around cover art format can vary – for example just because Spotify albums / Spotify covers require a 1500×1500 pixel format, you shouldn’t discount how it might look elsewhere. If you do include some of those things in the list above, the digital stores will likely reject your release, and it’s tough to generate sales when your music isn’t in stores! DON’T DO IT! It’s really important that the text on your artwork match your artist name and album title.30/8/2020 Getting Y our Album Art Ready: 3 Things T o Know About Cover Art https://www .tunecore.com/guides/3-things-you-should-know-about-cover -art 4/5Don’t have your own artwork? Not to worry! We’ve got you covered. When you get to the ‘My Artwork” step in creating your release, just click the green button that says MAKE MY ART. Then you can comb through pages of art options until you ﬁnd one that speaks to you. You’ll be able to add text to customize your release.Sometimes artists release a single off an upcoming album, in advance of the album release. If you do this, you just need to make sure the artwork for the single is speciﬁc to that single. Here’s what we mean: You’re distributing a single “I Can’t Remember“ off your upcoming album A m n e s i a. The artwork for your single MUST say “I Can’t Remember “ as the title, NOT “Amnesia”, even though it’s a single from the upcoming release A m n e s i a. Also, make sure that the artist name on the artwork matches the artist name in the release information. Adding extra artists to the cover art who aren’t actually performing on the release isn’t a good idea. For example, if you’re covering a song by John Lennon, his name can’t be on your artwork. Your artwork can also just include the song/album title or just the artist’s name—it can even have no text at all. Whatever you do, just make sure there isn’t a mismatching situation going on. GAME. SET. MATCH. Do you have a digital booklet to include with your release? iTunes accepts digital booklets, and we can attach them for you so long as they meet iTunes’ speciﬁcations. Head over here for all the information you may need about booklets. IF YOU HAVE A BOOKLET… NEED SOME ART?30/8/2020 Getting Y our Album Art Ready: 3 Things T o Know About Cover Art https://www .tunecore.com/guides/3-things-you-should-know-about-cover -art 5/5If you have any trouble while you’re uploading your artwork, make sure to contact our artist support team BEFORE you ﬁnish distribution. We’ll help you out and get your music on its way.	[ "art", "cover", "artwork", "album", "store", "release", "artist", "single", "thing", "digital" ]	{ "summary": "30/8/2020 Getting Y our Album Art Ready: 3 Things T o Know About Cover Art\nhttps://www .tunecore.com" }
tL-design--Album-Covers-analysis.pdf	Album Cover Album Cover AnalysisAnalysis MerouaneMerouaneSkepta – Microphone ChampionSkepta – Microphone Champion The album artist is centered and The album artist is centered and appears prepared to fight , thus appears prepared to fight , thus depicting him in an aggressive nature , depicting him in an aggressive nature , which indicates that he is asserting his which indicates that he is asserting his dominance in the relatively dominance in the relatively competitive Grime genre and is competitive Grime genre and is prepared to take challenges.prepared to take challenges. Despite the fact that he is sweating , Despite the fact that he is sweating , Skepta maintains a boxing stance and Skepta maintains a boxing stance and is making "eye contact" with the is making "eye contact" with the camera. As well as this the album was camera. As well as this the album was released after a period in which Skepta released after a period in which Skepta feuded with other Grime artists (most feuded with other Grime artists (most notably Wiley) over the title "Grime notably Wiley) over the title "Grime King" thus it can be argued that the King" thus it can be argued that the photo was intended to showcase the photo was intended to showcase the artists relentlessness as well as his artists relentlessness as well as his readiness to contest other artists.readiness to contest other artists. A different font is used for the title as it A different font is used for the title as it allows potential buyers / the audience to allows potential buyers / the audience to differentiate it from the artists namedifferentiate it from the artists name The title of the album “Microphone The title of the album “Microphone Champion” is describing the artist , Champion” is describing the artist , intending to hyperbolise his skill as well as intending to hyperbolise his skill as well as give references to his past victories. The give references to his past victories. The title therefore upholds the apparent theme title therefore upholds the apparent theme of competition.of competition. The white background allows the The white background allows the audience to initially focus on the artist audience to initially focus on the artist featured on the cover due to its featured on the cover due to its contrasting with the red gloves and contrasting with the red gloves and darker skin of the artist.darker skin of the artist.Eminem - RelapseEminem - Relapse The red and black colour scheme gives connotations of anger , danger and suffering , themes the artist is known for exploring in his controversial lyrics. The themes are also conventional of the rap/hip-hop genre. This suggests that the artist intentionally intends to depict himself and his content in such a manner in order to appeal to fans of his work and fans of the hip-hop genre.The term “Relapse” is a the term is used here as the album addresses the artist’s relapse into prescription drugs (which he was abusing at the time of production) and illegal substances. The album name is also unconventionally positioned here in order for the cover to resemble a prescribed medicine packet.An image of the artist’s face is made of a collage of prescription pills , implying the artists dependency on drugs as well as hinting at the lyrical content of the album.Bob Marley - SurvivalBob Marley - Survival The colour white contrasts well against the black background and the traditional-style African pattern , the difference in size and the positioning helps us differentiate between the bands name and the albums name. The colour white connotates purity therefore it can be implied that the album aims to spread a positive messageA military-esque font is used to create a serious atmosphere towards theme of uniting Africa and the concept of Pan- Africanism that Bob Marley is known for singing about. The font was also chosen due to the criticism that Bob Marley's previous album, Kaya was weak in it's lyrics relating to these issues. (Source Wikipedea) The flags of Africa are Featured in a montage, implying that the artists are pro-Africa and conveys the message that the album intends to address the issues faced by it's people and is ultimately about the ‘survival’ of African Nations against the Western world. Tyler the Creator - GoblinTyler the Creator - Goblin The upside-down crucifix is commonly associated with the biblical concept of the “antichrist” , a being of pure evil.This creates a tense atmosphere around the content of the album and the artist.This is conventional of the hip-hop genre as artists aim tostand out from others by exxagerating certain aspects of themselves. Here the colour pink is being used for aesthetics rather that connotative purposes as the colour contrasts well against the grayscale image of the artist.The grayscale photograph of the artist gives prominence to vibrant pink text as well as providing connotations of emotionlessness or depressionDevlin – The Art Of RollingDevlin – The Art Of Rolling The design of the album art intends to promote the content using audience familiarity. Here thee cover resembles the popular Rizla brand rolling papers a product that the audience (working class at year of release) are familiar with.The title is a play on the phrase featured in the packaging , using the term rolling in the colloquial/vernacular sense meaning the correct way to conduct oneself.	[ "artist", "album", "well", "title", "cover", "grime", "audience", "used", "theme", "colour" ]	{ "summary": "Album Cover Album Cover \nAnalysisAnalysis\nMerouaneMerouaneSkepta – Microphone ChampionSkepta – Micro" }
tL-design-yr-9-album-art-2.pdf	WEEK 1 –LO: BE ABLE TO GA THER AND PRESENT A RANGE OF INSPIRATION, RESEARCHING BOTH ARTISTS AND TYPOGRAPHYCreate a visual mind map (mood board) of artists, graphic design, typography and album covers you like.Consider how you will present this. –The CompositionInclude images, ideasand artist names GROUP MIND MAPPING ACTIVITY5 mins to individually mind map as many ideas you have5 mins to share your ideas into a group mind map with your table adding extra ideas in5 mins to steal other tables ideas and be the table with the most words.Begin your mood board and complete for homework. Include an in depth analysis of one album cover.WWW.UDISCOVERMUSIC.COM/STORIES/ICONIC-ALBUM-COVER-DESIGNERS/WWW.SHORTLIST .COM/ENTERTAINMENT/MUSIC/50-COOLEST-ALBUM-COVERS/77005WWW.CANVA.COM/LEARN/FAMOUS-GRAPHIC-DESIGNERS/LINKS FOR ALBUM ARTISTS AND GRAPHIC DESIGNERSHomework –collect example images of album covers, graphic design and typography and make a mood boardALBUM ARTISTSWORTH LOOKING ATREID MILESSHEPPARD FAIREYPETER SAVILLEPETER BLAKEHIPGNOSIS(STORM THORGERSONAND AUBREY POWELL)ROGERDEANVAUGHAN O LIVERSTANLEY‘MOUSE’ MILLERKALSCHENKALHR GEIGERJEFF KOONSJULIEN OPIE SHEPPARD FAIREYANALYSE 1 ALBUM COVERJEFF KOONS 1.What is your eye drawn to first in this image? Explain why your eye is drawn here.2.Describe the composition. How are the elements/objects arranged? Foreground/background, big/small, high/low, left/right3.How would you describe the colours and tones? Bright, vibrant, warm, cool, dull, contrasting, monochromatic, tonal4.How would you describe the shapes and space? Soft, hard, geometric, organic, repeating, symmetrical, dense, sparse, negative, positive5.Describe the use of typography6.Describe the mood and what gives it that mood.7.Why do you like it/why did you choose it?	[ "album", "artist", "mind", "mood", "idea", "map", "graphic", "image", "min", "table" ]	{ "summary": "WEEK 1 –LO: BE ABLE TO GA THER AND PRESENT A RANGE OF INSPIRATION, RESEARCHING BOTH ARTISTS AND TYPO" }
tL-Music-Industry.pdf	Music Industry Case Study4 Major Producers Sony Corporation •Sony Corporation is a multinational conglomeration based in Tokyo, Japan. •Sony corporation is the electronics unit and parent company of Sony Group. •Sony Group consists of Sony (electronics), Sony Pictures Entertainment, Sony Computer Entertainment, Sony Music Entertainment, Sony Mobile Communications and Sony Financial. •They produce consumer elctronics, telecommunications, communications and information equipment, semiconductor, electronic devices, battery chemicals, Play Station, films, television and music. Sony Music Entertainment •Sony is the second largest of the ‘big four’ producers. •Founded in 1929 as the American Record Corporation. •Renamed the company Sony Music Entertainment in 1991. •In 2004 entered joint venture with Bertelsmann by merging to create Sony BMG Music Entertainment. •In 2008 Sony bought Bertelsmann's 50% stake in Sony BMG and became Sony Music Entertainment again. •Their headquarters are in New York but they have a total of 42 offices across the globe from Chile to Thailand to the UK so produce music worldwide. •The executives of the company are Doug Morris, Chief Executive Officer, and Kevin Kelleher, Executive Vice President and Chief Financial Officer. •Morris was previously the head of Universal Music but became Chairman and CEO on July 1st 2011 and reconstructed Sony upon arrival. •It has a revenue of $5,672 million and an operating income of $469 million in 2010. Labels They have a number of labels across the world such as these major ones: •Columbia Records •Epic Records •RCA Records •Sony Music Nashville •Provident Label Group •Verity Gospel Music Group •Sony Music Latin •Sony Masterworks •Legacy Recordings •Columbia Records UK •RCA Label Group •Syco Music •RED Distribution •JG3 Records What do they produce? •Sony Music produces hundreds of artists from around the globe through their numerous labels and studios that they own. •Their artists include:•ACDC •Michael Jackson •Foo Fighters •Franz Ferdinand •One Direction •Shakira •Jimi Hendrix •Oasis •Mariah Carey Distribution •Sony aim to use ‘vertical integration’ within their company. They do this by having complete control of where their products are distributed and producing their own physical copies of music such as CD’s and by producing music software and devices such as the walkman in the late 90’s. This means that they have control over the distribution of their products and have to pay no expenses to outside companies. •However as the music industry has changed drastically with the increase of downloading music through online stores such as Itunes Sony now has to distribute through other corporations such as Apple. •To combat this issue Sony uses new media technology and creates it’s own software and online programs. •For example Sony has recently made Music Unlimited. It offers instant access to millions of songs on Sony devices such as Play Station 3, Android, Xperia phones, Bravios TV’s, Blu-Ray disc players, PSP’s and any PC’s. This is used to combat software such as Spotify which shows that Sony is adapting to the rapidly changing industry. Universal Music Group •Universal Music group is the largest of the ‘big four’ music corporations after acquiring BMG Music Publishing in 2007. •Owned by the French media conglomeration Vivendi and completely separate from Universal Studios. •It’s headquarters are located in California USA. •It has a revenue of $4449 million and an operating income of $140 million in 2010. •Founded in 1934 as Deca Records and became Universal Music Group in 1996. Divisions Universal Music Group is a multinational conglomeration and has a number of divisions such as: •Universal Music Publishing Group •Universal Music Group Distribution •Interscope-Geffen-A&M •The Island Def Jam Music Group •Universal Republic Records •Universal Music Group Nashville •Verve Music Group •Decca Label Group •Universal Music Latin Entertainment •Universal Music Enterprises •Universal Strategic Marketing •Show Dog-Universal Music•V2/Co-operative Music •Polydor Records •Mercury Music Group •Island Records Group •Universal Music TV •London Records •Bravado •Twenty-First Artists •eLabs •Silver ScopeLabels Universal Music Group has a number of labels across the globe with 38 labels outside of the US and 10 in the US. Labels include: •Interscope Geffen A&M •The Island Def Jam Music Group •Universal Republic Records •Universal Music Group Nashville •Decca Label Group •The Verve Music Group •Universal Music UK Universal Music Publishing •Universal Music Publishing is a music publishing group which is part of UMG. •UMP owns or administrates over 1 million copyrights and are the largest music publishing business in the world. •They have more than 47 offices in 41 countries. Artists They produce a wide range of international and local artists of all genres across the globe. Their current top artists are: Other artists include:1. Lady Gaga 2. Lil Wayne 3. Eminem 4. Justin Bieber 5. Keri Hilson 6. Kid Cudi 7. Enrique Iglesias 8. Rihanna 9. Taylor Swift 10. Nicki Minaj•Florence + the Machine •Bombay Bicycle Club •Lana Del Ray •LMFAO •U2 •The Chemical Brothers •Prince •Stereophonics Universal & New Media Technology •Universal Music Group co-developed Vevo, a site designed for music videos. •It allows free ad-supported streaming of music videos at a higher quality than found on youtube. EMI •EMI is the fourth largest of the ‘big four’ and is a British owned multinational music company with it’s headquarters in London. •It was set up in 1931 by the merging of Columbia Graphophone Company and the Gramophone Company with its record label. •It’s owned by Citigroup and has a revenue of $1.65 billion in 2009. It was taken over by Citigroup in 2011 when it was in more than $4 billion in debt. •In 2011 Citigroup announced a deal to sell off the music part to Sony and the publishing business selling to UMG for a total $4.1 billion.Labels EMI again has a number of labels across the globe such as: •Angel •Astralwerks •Blue Note •Capitol •Capitol Latin •Capitol Records Nashville•EMI Classics •EMI CMG •EMI Records •EMI Records Nashville •Manhattan •Parlophone •Virgin Classics •Virgin Records Artists EMI also has a wide variety of artists such as: • Lily Allen •Bat For Lashes • The Beatles • Beastie Boys •Luke Bryan •Coldplay •Gorillaz •David Guetta •Iron Maiden•Norah Jones • Lady Antebellum • Massive Attack •Kylie Minogue •Katy Perry • Pink Floyd •Snoop Dogg •Tinie Tempah •Thirty Seconds To Mars Production •EMI also owns EMI Music Publishing. •Billboard’s Publisher of the Year for the last 12 years in the United States. •1.3 million songs in it’s publishing catalogue. EMI and New Media Technology •History of EMI linked to the very beginnings of recorded sound. •When digital music began to take off in the 90’s EMI’s first music websites went live in 1993/4. •In 1998 EMI streamed first complete album. •In 1999 it was the first company to release a digital album download. •Launched the first internet single in 2001. •In 2007 EMI was the first major music company to make its music available without digital rights management software. •Has agreements with hundreds of digital partners to distribute music across the globe. Warner Music Group •Warner Music Group is the third largest of the ‘big four’. •It’s headquarters are based in New York, USA and it has a net income of $56 million in 2009. •It was founded in 1958 as Warner Bros. Records then later became Warner Bros.-Elektra-Atlantic Records in 1978. It became Warner Music Group in 2004 when it was made completely separate from Time Warner despite the name. •In 2011 the company was sold to Access Industries Inc.Labels WMG has a number of labels across the globe such as these main ones: •Atlantic Records Group •Warner Bros. Recording Group •Rhino Entertainment •Warner Music Nashville •Independent Label Group Production •Warner Music Group's music publishing business includes Warner/Chappell Music (which includes Non-Stop Music, a music production library) and Word Music Publishing. •“Music publishing is an integral component of WMG's broader digital strategy and a key element in our effort to redefine the role of the modern music company.” - WMGArtists WMG produces work from a vast array of artists such as: •Aerosmith •Gnarls Barkley •Michele Buble •Johnny Cash •Dragon Force •Led Zepplin •Morrissey •Muse •Panic At The Disco •Ramones •Red Hot Chilli Peppers	[ "music", "group", "sony", "universal", "record", "label", "emi", "company", "publishing", "artist" ]	{ "summary": "Music \nIndustry Case \nStudy4 Major Producers\nSony Corporation\n•Sony Corporation is a multinational \n" }
tL-Manager-mini-lesson-music-business-data-analytics-pdf.pdf	1Meet the Data Pyramid: The Key to Processing Music Industry Data by Liv Buli The following is excerpted from the Berklee Online graduate course Data Analytics in the Music Business. The end goal of working with data is to reach actionable insights and intelligent recommendations. In other words, we want to be able to use this data and information in a manner that allows us to confidently predict outcomes and take action based on what we think will happen. We want to reach larger audiences while spending less money, market our artists in the most efficient way possible, sell more albums, and rack up more streams. We can use data to get us there, but first we have to access and process that data responsibly. Exactly how we get from unstructured data to actionable intelligence is presented in a simple (though surprisingly complex once you start digging in) chart known as the Data Pyramid. Let’s get into it! Mini Lesson Liv Buli Liv Buli is a data journalist and author living in Olive, New York. Previously a senior music data journalist with Pandora Media and Next Big Sound, Buli has spent most of her career working at the intersection of storytelling, data science, and visualization, thinking about how best to tell stories with data and speaking at conferences around the world. She is also the author of Penelope Pie’s Pizza Party , the first book in the Vizkidz series: a collection of books that teach the fundamental concepts of data visualization and analysis to children.Music Business2Data Pyramid Each layer of the pyramid represents a stage in the analysis or application of data, from the raw data we start with (where we will inevitably spend most of our time), to the actionable insights we can derive once we arrive at the intelligence level. In order to truly understand its value as a framework, let’s take a closer look at each individual layer and its meaning. The fundamental layer of the data pyramid is, perhaps unsurprisingly, data . At this point we are talking about how we collect unstructured, raw data points, and how we evolve that collection when DSPs (digital service providers, like Spotify, iTunes, etc.) or social networks become mainstream. Let’s not forget that MySpace was the most popular (legal) online network for music-sharing when companies like Next Big Sound got their start, that Spotify only just launched in the US in 2012, and that Instagram only really took off as a platform for artists in 2015. Data Pyramid - Data Layer In the music industry, we’re generally talking about the following data: • Artist or album endpoints, so Lady Gaga’s Twitter handle and Facebook username • Time-series data, such as Instagram likes over the past 30 days, etc. • Event data, meaning album release dates or concert dates • Metadata, for instance defining Lady Gaga as a female singer, genre: pop, label: Interscope At this layer of the data pyramid, there is plenty of work to be done before we can move data up towards deriving informa- tion, knowledge, or intelligence. We’ll learn more about the different raw forms of data we might dig up in the next topic. The next level of the pyramid is information . Here we are starting to talk about structuring our data, perhaps 3visualizing it in some graphical manner or performing cursory analysis in order to begin to understand what data we actually have, and find clues as to what value it might eventually have for our work. In other words: what questions we might be able to answer with it. Data Pyramid - Information Layer Platforms like Next Big Sound, Soundcharts, and others provide web applications that allow us to play around with our data in the information layer. Alternatively, you can upload your raw data to an industry-agnostic reporting tool like Tableau or Plot.ly. It is possible to learn a lot from your data at this level of the pyramid, though making sense of our more structured data will require industry-specific knowledge and context. From information we derive knowledge , making our way up the data pyramid. It is the industry-specific context that will help us convert our information into knowledge. For instance: through setting benchmarks and milestones that are unique to the music industry, within specific genres, or tailored to a particular label or artist. This descriptive, contextual information can be derived from our data, and lends itself to generalized insights about the environment an artist is working within. For instance, we can study the data of thousands of artists that have performed on late-night television shows and understand what impact that tends to have on online engagement, whether it varies from show to show, and what point in the artist development is ideal for a performance of this sort. Data Pyramid - Knowledge Layer During my tenure at Next Big Sound we spent a significant amount of time learning from users what context they would typically apply to their analysis, and aimed to build data-driven benchmarks and valuable groupings such as “artist stages” in order to meet these needs. It doesn’t make sense to compare performance for your indie artist to that of Beyoncé, unless you are looking to demoralize and disappoint. Keep in mind that this does not mean we can prescribe an action and know exactly 4what the outcome will be for your artists. We cannot say that if your artist with x number of followers performs on Jimmy Fallon , they are going to sell x number of albums. We can say, however, that artists of this size have, on average, sold x number of albums after performing on Jimmy Fallon . You can use this information to benchmark performance and set expectations against. The top tier of the pyramid, intelligence , is relevant when we are able to be more prescriptive with our analysis, but this is also a far riskier endeavor. Data Pyramid - Intelligence Layer The intelligence layer indicates that we are able to predict outcomes and recommend actions with a high level of confidence. This high level of confidence is extremely important as we are talking about prescribing specific actions in business decisions that can be worth millions of dollars, if not more: which artist to sign, when to release music for maximum impact, whether to send an artist on an arena tour. It can be very expensive to make the wrong prediction. It should almost go without saying that fundamental to all of this is clean and accurate data. You can’t build valuable charts, reasonable benchmarks, or accurate predictions if your data is corrupted or lacking in some way. And believe me, you are about as likely to find a pot of gold at the end of the rainbow as you are to find a clean and consistent raw set of data. This is why we will spend the majority of our time at the data layer, familiarizing ourselves with the data and its characteristics, thinking about how best to structure this data, and searching for any inconsistencies or inaccuracies that will snowball into bigger problems later. Let’s take a closer look at what that raw data might look like. 5THE TROUBLE WITH DATA The following is a high-level overview of what it looks like when a platform like Next Big Sound endeavors to collect and process a combination of public (Facebook page likes, Wikipedia page views, etc.) and proprietary (Point of Sale, ticket sales) data, and ultimately deliver insights back to users. The whole process would be fairly straightforward if only the raw files that we import into a database were clean and consistent. Unfortunately, that’s rarely the case. Let’s look at how we imagine data will be presented: Now let’s turn to the next page to see how data is usually presented. 6As we learned when reviewing the data pyramid, we know that if we were to go ahead and process data that is rife with inconsistencies and issues, we will ultimately end up delivering insights that are inherently flawed. Common Issues with Music Industry Data Some of the common issues we might come across with music industry data include: Data is simply missing or doesn’t update: • Looking at a data set we will often find unpopulated cells. Assuming we are collecting data daily, one reason for this could simply be that not all artists are seeing activity every day. • For instance, a new band playing local shows and just getting their start is not likely to see consistent activity on social media. No activity, no data.• In fact, looking across all artists, the average number of new Facebook page likes is less than one. • Alternatively, did your data indexer break or fail in some manner? An artist changes their social handle or username: • As mentioned earlier, artist and album endpoints are an important data source in the music industry. • What happens when Tyler the Creator changes his Twitter handle from @fucktyler to @tylerthecreator? • If we are hitting the endpoint “twitter.com/fucktyler,” attempting to collect data for Tyler the Creator, we are suddenly unable to collect time-series data for the artist. • Unless the switch is highly publicized, it can take a while to notice and 7update the artist endpoint, as a result we will be missing data unless we can access a historic record and backfill. The characteristics of your data can be confusing: • Different data is available in different formats and over different periods of time. • Are we looking at deltas or totals? Is the value you are collecting an updated tally of 100 million followers in total, or 200,000 new followers added today? • For instance, Facebook page likes are reported on the Facebook Application Programmable Interface as totals; Facebook PTAT (People Talking About This) is reported as a rolling average of the last seven days.Are network-wide spikes and dips accurate? • From time to time you might come across massive spikes or dips in data. • These can be network-wide, or for a specific group of artists. • Has the network made some sort of update to how they report data? During the “great Instagram purge” of 2015, the platform shut down a whole slew of spam accounts in a single day, causing poor Justin Bieber to dip below a billion followers (as well as a massive dip in deltas across the majority of artists on the platform). • In fact, the top artists on various networks tend to be “losing” followers on a daily basis as they consistently work to clear out spam accounts across platforms. • Or has a widely publicized industry- event like the Grammys caused a legitimate spike in activity? • Did P . Diddy just buy a bunch of Twitter followers? Is TIDAL fudging play counts? Did Kanye delete his account again? Time-related issues: • Have you considered for which timezone you are collecting data, and whether this is consistent across 8sources? Does your data source update at a certain time of day? • Is data reported on a weekly or a daily basis? For instance, Soundscan still reports Point of Sales data on a weekly basis. As platforms move towards more immediate data reporting this is typically less of an issue, but still worth looking into. • There are several reasons why the solution is not simply to divide the weekly number by seven to get a daily count. • Periodicity is one factor. For instance, Facebook could overall see more activity on Mondays. • Weekly data reporting also makes it more difficult to capture the big events (assuming they happen on a single day) that drive sales and streams for an artist. It is clear that industry-specific knowledge is extremely valuable in determining the quality and accuracy of your data. Often when these issues crop up, it will be the analyst’s responsibility to uncover the cause and eventual remedy for messy data. KEY CONCEPTS • The layers of the data pyramid are Data, Information, Knowledge, and Intelligence. • Raw data needs attention before it is useful at any layer of the data pyramid. • To collect data directly, you need to consider whether to use an archive of public data sets, scrape a website, or query an API. • Music industry data is trickier than most businesses because it’s not unusual for an artist to change a key component of their brand (their Instagram handle, their stance on any given issue, etc.). • Always carefully consider the source of your data. Discover more great content at online.berklee.edu /takenote	[ "data", "artist", "pyramid", "layer", "like", "music", "information", "industry", "next", "raw" ]	{ "summary": "1Meet the Data Pyramid: The Key \nto Processing Music Industry Data\nby Liv Buli\nThe following is exc" }
tL-manager-AWAL-2018-ULTIMATE-RELEASE-GUIDE-pdf.pdf	1 2018 ULTIMATE RELEASE GUIDE 2018 ULTIMATE RELEASE GUIDE2 2018 ULTIMATE RELEASE GUIDE Times have changed for independent artists. Today, success isn’t just about making great music, it’s about understanding the fundamentals of marketing and release planning to get your music out there and find the right audiences. That said, we still see artists making the same mistake – devoting all their time and energy into creating music (that’s the fun part), only to rush through their release. That’s why we created the Ultimate Release Guide for 2018.3 INTRODUCTION This best-practice guide will keep you organized, help you focus on what matters most, and give you industry tips from our artist marketing team with years of experience releasing music. We’ve also included some real case studies from AWAL artists on how they approach the release process. The guide breaks down the release process into three stages: Pre-Release Release DayPost-ReleaseTo really get the best results from this guide, you need to start planning early. Running out of time is one of the most common mistakes we see artists make. So, start planning at least two months before Release Day to make sure you’re covered.4 PRE-RELEASE PLANNING PRE-RELEASE PLANNING5 PRE-RELEASE PLANNING As we said at the start of this journey — organization is key. There are a million things for you to keep track of, so before you start anything, begin with making a clean, easy-to-follow timeline. This will be your guide during your entire release process, highlighting all major milestones and important dates. Organize your timeline in three major buckets: Pre-release Release dayPost-release1 Make a Release Timeline PRO TIP Keep in mind that your personal timeline might include some, all, or a completely different set of milestones. Customize your plans to your release.1 TIMELINE6 PRE-RELEASE PLANNING Then, break those three into specific events you can use to not only earmark as goals to work towards (or backwards from) but also use in all of your planning and strategizing. These might include: Single and/or album release date Live show dates and release partiesVideo premieres or teaser releasesStreaming sessions Press release servicing date1 TIMELINE7 PRE-RELEASE PLANNING Before you make any major decisions about your release plans, make sure you have the budget to cover all of your expenses — including a cushion for any unforeseen charges or last-minute opportunities. Depending on your particular strategy, and what responsibilities your team has, you may need to pay for: Social media promotion Digital advertisingPublicity (including hiring a publicist)Show/release partyPromotional materials PRO TIP Always be realistic with how much you can do yourself. Even if you’re currently handling all of your marketing and promotion yourself, will you feasibly be able to maintain social media while prepping and promoting your release? Though hiring someone to help out might require spending a bit of money, the benefit of being able to properly spread the word about your music while focusing on big-picture release execution might be worth it.2 Set a Budget2 BUDGET8 PRE-RELEASE PLANNING A stream or MP3 is great, but obviously not the only way to share your music. Depending on what works best for your brand and budget, you could consider releasing a music video, lyric video, or even a live video of you playing the song in a venue as a post-release strategy. The reason why we’re mentioning this in your pre-release plan is because the time to think about creating any kind of visual content is well before your music ever comes out. In some cases, more elaborate videos may take a few weeks or months to finish, so get any plans in this arena rolling well before your release happens.3 Plan to Create Music Videos, Lyric Videos, and More3 VIDEOS9 PRE-RELEASE PLANNING Visuals are everything. You need to make sure you’ve got visuals that are compelling and really grab an onlooker’s attention. So, make sure you’re planning and preparing your photo and video content well beyond your release date. It can be extremely useful to create a downloadable folder to make it easy for industry contacts, your publicist, and/or team to help lock in any premieres, shows, or partnerships. Here are just a few of the digital assets you’ll want to have on hand for your release: Artist bio Any album liner notesHi-res press photosTrack or album artworkAudio/visual teasers Music or lyric videosAnimated GIFs 4 Organize Your Creative Assets4 CREATIVE ASSETS10 PRE-RELEASE PLANNING Depending on your budget, build out some ideas of marketing and promotion that might be effective for your new release. Would local radio be a logical vehicle for your music? What about an interview or premiere on a small, niche blog? Pretend social media doesn’t exist for a hot second (difficult, we know), and think about how you’d spread the word in the before-times. Social media, however, does exist, as we all know, so don’t neglect it when you’re thinking about marketing and promotion. Platforms like Facebook, Twitter, Instagram, YouTube, Tumblr, and more are your direct channels to engage and communicate with your fans to share music and build loyalty. Even if you’re deep in the throes of promoting your latest release, make sure to keep 80% of your posts “personal” and 20% (or less, ideally) “salesy” pushes for your music. When digitally advertising or sponsoring posts on social media, make sure to check in with native analytics tools (like Facebook and Twitter Insights) that can help you better target whatever ads you decide to run. Also, use trackable links from Linkfire or SmartURL to point to your music on DSPs (i.e., Apple Music, Spotify, etc.). You can use these links not only on social media, but also for tracking clicks to your music, mailing list, and more. PRO TIP Don’t forget about social media — keep yourself on track and organized by creating a comprehensive social media calendar to plan your posts across Twitter, Facebook, Instagram, and other platforms.5 Create a Marketing and Promotion Strategy5 MARKETING / PROMOTION STRATEGY11 PRE-RELEASE PLANNING As we’ve mentioned before, your website is your central hub for any big news . It’s where many of your existing and prospective fans will be looking to for any new releases. So, it’s important to plan ahead with that in mind. Before a new release, you want to make sure your website is looking its best or create one if you don’t already have one. Make it easy for people to learn more about you, and ensure your fans can get the key info in one place, including: Tour dates StoreContactsBioSocialsListening links 6 Create or Update Your Website6 YOUR WEBSITE12 PRE-RELEASE PLANNING More importantly, make sure news about your upcoming release is front and center, with pre-order call to actions taking precedence. Beyond that, think about matching the aesthetics of your website to that of your upcoming release. Updating hero visuals across your digital channels with the artwork and information about your arriving music is definitely a good idea. See how AWAL artist Tom Misch updated the aesthetics of his website to highlight his upcoming album release and tour.6 YOUR WEBSITE13 PRE-RELEASE PLANNING Your website isn’t the only digital real estate you want to update in advance of your release. Consider updating your social media headers and profile images with release information. This is something you may want to plan having both pre- and post-launch. Additionally, finesse your biography and contact information to work in the date of your release. If you have a Wikipedia page, make sure that’s current also.7 Update Your Social Media Pages7 SOCIAL MEDIA Tom Misch also updated the heroe images of all his social pages to help promote the news of Geography’s arrival.14 PRE-RELEASE PLANNING Maintenance is only half the battle. Think about creating a content plan and teaser campaigns. It’s a great way to build hype around a release. Release images from the studio, promo shots, video clips, tracklists, GIFs, etc. throughout your release cycle. Tag partners and the people involved on social media. As your release campaign rolls out, you’ll be able to see which channels are growing faster than others; this can really help you decide where to spend that marketing budget. AWAL artist Emma McGann gets extra social engagement by tagging all those involved in her release.7 SOCIAL MEDIA 15 PRE-RELEASE PLANNING First, put some effort into your mailing list. You want to make it as easy as possible to sign up. Consider putting email captures on all your digital real estate like your website and social pages. You can even have a physical mailing list at shows for people to sign up. It’s also a good idea to include some kind of incentive, like sending a free MP3 or a ticket giveaway in exchange for email addresses. VÉRITÉ added a subscribe option on her website so she can start capturing fans’ email addresses to stay in contact with them.8 Work on Your Mailing List8 MAILING LIST16 PRE-RELEASE PLANNING Second, for your upcoming release, build out a flow of comms to send to your list that will keep them in the know about any important details. Email is a bit more invasive as a means of communication, so be cautious about the frequency that you contact your fanbase. You want to keep people engaged, but you don’t want to be annoying. There’s a balance to maintain. As anyone will tell you, owning your audience is extremely important. It’s not only beneficial to “own your audience” for comms around your release, but it’s just a best practice, overall.8 MAILING LIST17 PRE-RELEASE PLANNING Influencer marketing is a huge aspect to start thinking about before your release. Think about the key people to involve ahead of time who might share your music or your news. Consider press, industry contacts, or even just peers, fans, and/or any partners. Ideally, you want to shoot for individuals and/or organizations who have a substantial following. It’s best to approach them in advance and onboard them within your timeline; that way, you can benefit from their following.9 Think SocialInfluencers PRO TIP Consider partnering with music companies that not only distribute your music but promote its success to their followers as well! 9 INFLUENCES18 PRE-RELEASE PLANNING If you decide that radio will be part of your release strategy, start approaching stations, hosts, or shows with your release before its street date. Common collabs with radio include pre- or post-release interviews and airplay, day-of premieres, or even live, in-studio acoustic performances. Regardless of what your ideal radio situation looks like, it’s another element that requires thought and planning as far out as possible to maximize time to make it happen.10 Hit Up Local Radio Shows10 LOCAL RADIO19 PRE-RELEASE PLANNING How are you getting your music to major services? There are tons of music distributors that will take that burden off your shoulders and can really maximize your exposure. For example, AWAL distributes to different stores and services covering 190 territories across the world such as Spotify, Apple Music, Amazon, and YouTube Red. Due to its curated roster, AWAL has formed strong relationships with DSPs, getting artists on more popular playlists more frequently.11 Partner with a Music Distributor Newly welcomed singer/songwriter Rupert Stroud knew it was time to find a partner in preparation of a big 2018 release.11 MUSIC DISTRIBUTORS PRO TIP Need help finding the best digital music distribution service for you and your music? Here are the major considerations to evaluate before coming to a final decision, including the right time to start looking for one and the qualifications that really matter.20 PRE-RELEASE PLANNING Just like with your websites and social pages, your streaming profiles should reflect and champion your upcoming music as well. Two of the biggest you absolutely want to prepare are your Spotify and Apple Music profiles. Make sure all your hero and profile images are updated to reflect your song art, your bio with release info is updated, and that you’re posting content on your Apple Music Connect profile about the news with teaser content.12 Prep with Digital Services12 DIGITAL SERVICES PRO TIP If you’re looking for some tips to get the most out of your Spotify or Apple Music profile in preparation of your release, we’ve got you covered with everything you need to know to update your profiles and get yourself noticed on these crucial platforms.21 PRE-RELEASE PLANNING Selling merch is a great way to generate some extra buzz around your release. Think hats, shirts, backpacks — whatever seems reasonable within your budget. Regardless of what you end up going with, just make sure it accentuates the aesthetic of your new release.You not only need to contemplate inventory, but it’s also important for you to plan out how you’re going to sell everything. An easy solution is to use a platform like Music Glue . They’re a specialist e-commerce platform specifically for artists, where you can create a free website and store to sell merchandise, experiences, tickets, music, and more direct to fans in one simple transaction. If your budget is limited, their print-on-demand T-shirt feature is an easy way to stock your store for free; it’s money in your pocket when you make a sale.13 Create Custom Merch AWAL artists Sea Girls know how to showcase and sell their customized merch from their website! 13 MUSIC DISTRIBUTORS22 PRE-RELEASE PLANNING Part promotional strategy, part rallying cry for your new music, live shows are a great way to not only premiere new tracks but also generate buzz around upcoming releases. Get creative with these shows, whether that means playing the entire album start to finish (while bookending with songs your fans love to sing along to, of course), creating a custom takeaway item for every person in the audience or even giving them a free download when your music is officially unleashed. 14 Use Live Shows to Create Buzz14 DIGITAL SERVICES23 PRE-RELEASE PLANNING 15 RELEASE DAY Think of release day like your birthday. If you want it to be a success, you’ve got to do it big. There are tons of fun and creative ways for you to capture as much attention as possible around your release during the big day.15 Plan Something Special for Release Day24 RELEASE DAY RELEASE DAY25 RELEASE DAY Contests are a great way to drive organic engagement and draw attention to your new release. They can be as simple or as elaborate as you want; you know your fanbase better than anyone, so make sure you tailor your strategy specifically to what you think they’d interact with. Starting early in the day, post across every channel encouraging fans to share their favorite tracks from your new release with a specific hashtag and to tag you in their posts. Your custom hashtag should relate directly back to your new album or single; try keeping it simple by transforming your release title into an easy-to-remember tag. Alternatively, create your own promotional post and encourage followers to share it on their own profiles along with your custom hashtag.1 Throw a Social Media Contest1 SOCIAL MEDIA CONTEST26 RELEASE DAY Don’t be afraid to think outside the box when brainstorming contest ideas. For example, if your band has a rocking, guitar-heavy sound, invite fans to record and share videos of themselves jamming out air-guitar style. Anything fun and engaging will capture your fans’ imaginations and get them excited about participating — and about your new record. Like the contest concepts themselves, prizes really run the gamut. Something as simple as a retweet, follow, or direct message from you is probably enough to motivate some fans to share, but giving away signed CDs, concert tickets, or merch isn’t a bad idea either. Whatever you do, make sure to clearly indicate the stakes at the beginning of the contest so there’s no disagreement about who won later on. PRO TIP Wondering which social media platform is right for your release-day contest? Here are some important factors to consider in general when choosing where to spend your time and place importance when it comes to your socials. Use this evaluation to help determine where fans will most likely flock to your contest.1 SOCIAL MEDIA CONTEST AWAL artist Grabbitz promoted the release of his single “Things Changed” by launching an official hashtag and social contest to complement his release day. 27 RELEASE DAY As you brainstorm your release-day marketing tactics, which may very well center on social media, make sure you’re also thinking of ways to make sure people actually see your posts and promotions. Consider methods that come with a notification for friends and followers in real time, like livestreaming on Facebook and Instagram. Otherwise, create a specific budget to promote your posts and ensure they’ll escape algorithmic traps , which plague artists at every level from DIY to mega-superstar.2 Set Up Real-Time Notifications for Your Fans2 REAL-TIME NOTIFICATIONS28 RELEASE DAY Chances are, you’ve got friends in similar-sounding bands or within your particular genre and scene. You might even share pockets of fans with these artists. Give your fellow musicians a heads up that your release day is approaching, and ask if they’d be willing to share a link and/or a track with their fans and followers via social media. (Bonus: Offer to do the same for them when they release new music.) Sometimes it’s really that easy. You just have to ask! On release day, shoot them a DM with the link to your album or lead track. You can even draft a line or two of “suggested text” for a post; make sure to switch it up a bit for each person you’re tweeting so their fans aren’t seeing the exact same post from multiple bands. Think about asking your friend to tag you in their posts so you can share or retweet. Likewise, you’re probably a member of at least one or two genre-related groups on Facebook or via forums, independent mailing lists, etc. Make sure to share a link with these folks on release day and encourage them to pass it along to their listeners and followers. Just be sure the group applies to your music; if a metal artist pops into a folk-music group and posts a link to his or her new screamo EP , it probably won’t gain any traction (and will probably be deleted). A group catering to metalheads, however, will probably run with it and help increase your exposure.3 Ask for Support From Friends3 SUPPORT FROM FRIENDS29 RELEASE DAY If you’re working with a publicist, you may already have a press strategy in place for your release, but if not, try to secure an exclusive premiere with a music blog on release day by contacting them directly. Not only will a public premiere help attract that blog’s readers to your tunes, but it’ll also give your release a bit of media cred; after all, you’ll be kind of a big deal if your lead single warrants a write-up and earns the respect of a hip blog. If you manage to wrangle a premiere, make sure you parcel out your other promotional efforts so that outlet has a true exclusive for a set amount of time. Also, remember to share your write-up multiple times across your various channels including via your website. Not only will it remind your followers you’ve got a new release and maximize your reach (i.e., if someone missed your first post, they’ll see it the second time you share it), but any extra promotion will also ingratiate you with the publication.4 Maximize Exposure From Blog and Media Outlets4 MEDIA EXPOSURE30 RELEASE DAY AWAL artists Now, Now received great publicity from NPR Music around their latest release “Yours” and made sure to pin it to the top of their social channels for maximum exposure. PRO TIP When reaching out to press for any reason, make sure to include everything they might need for a review or feature, including a current bio, one-sheet, hi-res photos, and streaming links and/or downloadable tracks. Try sending everything together via a virtual EPK or even a Dropbox folder.4 MEDIA EXPOSURE31 RELEASE DAY It’s your release day, so that’s reason enough to celebrate, right? Consider giving your music some love by planning a special release show or other event to promote your new music. Many artists opt to throw a release bash complete with a live set at a venue they’ve frequented in the past (such as one that served as their “home base” in the early days) or jump on a bill with friends and keep the party rolling all night. If you’re playing live, especially if you’re performing with other acts, it’s a great opportunity to earn new listeners and move some copies. Chances are, you’re going to be pretty stoked anyway (who wouldn’t be?), so be sure to shake some hands between sets, let everyone there know it’s your big release day, and personally invite them to hear your new release. Take selfies, and ask fans to post photos with your release’s custom hashtag. Even better: Consider sending attendees home with free, custom merchandise promoting your album. Attempt to theme your merch to the title of your album or single to jog their memories later.5 Plan a Special Release Show or Party AWAL artists Glassio threw an epic release party to celebrate the release of their summer hit Papaya.5 RELEASE PARTY 32 RELEASE DAY What if the bulk of your fanbase is elsewhere (for example, if you just moved from Los Angeles to New York City and aren’t able to travel back for your release day) or the type of music you make isn’t exactly conducive to playing live? Hold a virtual release party via one of these platforms: Google Hangouts Concert WindowStageitDaCastSharkStreamIBM Cloud Video (formerly Ustream) LivestreamGigee (currently in the process of re-launching)Also consider simply going live on your Facebook, Instagram, Twitter (via Periscope), or YouTube channel. If anyone purchases your album during the party (which you may or may not be able to see depending on which platforms you’re using for distribution), make sure to thank them. For an added bonus, you can even think about telling anyone who buys a song or full album you’ll make up a tune using their name live during the party. Get fun and get creative! Any incentive to engage your audience will help you achieve your ultimate release-day goals.6 Livestream a Release Party or Live Set6 LIVESTREAM A SET33 RELEASE DAY Even if you’re also planning a show in real life, invite your hardcore listeners, friends, family, and fellow artists to join you from the comfort of their own living rooms earlier in the day via Facebook Live or a Twitter chat. Shake up the traditional release-party format and consider holding a Q&A session where you can share some of the stories behind the songs on your album. Believe it or not, they might be a little intimidated, but by showing your goofy side, you’ll put them at ease. If they’re still radio-silent, go with it and shift into concert mode by playing acoustic versions of your tunes. By bringing people who love your music into your world in such an intimate way, as opposed to a straight-up concert experience, you’re deepening the already existing bond there and breaking down walls. You’re also creating a connection between your listeners and your new material; they’re getting to know the heart and soul behind your album and forge a relationship with it the very first time they hear it. Even in a virtual arena, having a direct conversation with fans about what your music means and the intention behind it adds gravitas to your efforts and makes it resonate. Okay, you’ve successfully put out your album and had a killer release day. Congrats! The hard work is over now, right? Not quite. Once you’ve put something out there into the world, you want it to remain relevant and fresh for as long as possible. It’d be a tragedy to share something you’ve worked so hard on to only have it be forgotten over the course of a week. That’s why an artist’s work is never really done, and it’s important to keep engagement with your listeners alive well past your actual release day. Here are some of the best ways to do just that.7 Hold a Real-Time Q&A PRO TIP If you’re feeling ambitious or want to turn your release day into an online marathon, consider combining a full live set with a Q&A session for the ultimate virtual bash!7 Q&A34 POST-RELEASE DAY POST-RELEASE DAY35 POST-RELEASE DAY In the previous section, we mentioned the importance of having paid ads. This is a surefire way to make sure your fans realize when you’ll be releasing a new track or album. Of course, there’s a chance they’ve seen your ad, but forgotten to actually stream your music. Changing up your paid advertisements to share different content surrounding the release is a gentle way to remind your fans to listen to your music. For example, you could throw some advertising dollars behind a link to some great press like a review to make sure your share gets noticed. Having a post-release day timeline and content plan is just as important as having a pre-release plan.1 Change Up Your Ad Content PRO TIP Ensure that you’re not wasting your advertising dollars by creating ads that speak to the people who matter most (and who are most likely to engage with your ads)! Follow these tips for ads that connect with fans on Facebook and Instagram.1 AD CONTENT36 POST-RELEASE DAY AWAL members Coasts did a fantastic job putting a little promotional backing behind the release of their summer album This Life to grab some extra listeners. 1 AD CONTENT37 POST-RELEASE DAY If you planned for these elements in your pre-release strategy, now’s the time to unveil them to the world. Videos are a great way to essentially reintroduce your music to the world after it’s already been released. It gives music you may have released two weeks ago a fresh, new feel. You could also try sharing other people playing your track, whether as a cover or as played by a DJ at a club. Covers and remixes are another great way to resurface music which has already been released.2 Post and Promote Your Video Content AWAL member Madison Beer released the audio to her newest release on Nov. 2 but dropped the official music video two weeks later on Nov. 15, keeping the track “fresh” longer. 2 POSTING VIDEO CONTENT 38 POST-RELEASE DAY Just as we recommended you to do a social media contest encouraging users to share feedback on your song or release via a custom hashtag, you could also encourage your followers to share their own personal covers, edits, or remixes of your song in exchange for retweets and support on your end. It’s a way to garner support for both you and lesser known artists.3 Encourage Fans to Share Their Own Covers or Remixes3 FAN COVERS / REMIXES39 POST-RELEASE DAY We can’t say enough how important it is to thank everyone who supports you every step along the way. Shoutout all the publications, writers, photographers, die-hard fans, and anyone else who you feel is seriously backing you up throughout your career. This shows humility and gratitude, and the fans will notice. It also works as an excuse to bring good news to the surface again. 4 Say “Thanks” for the Press4 THANK THE PRESS AWAL artists Aly and AJ did a spectacular job thanking Nylon magazine for the press coverage on the release of their latest EP , Ten Years. 40 POST-RELEASE DAY Now that you have a new release and are (hopefully) getting tons of attention, the time is right to pitch yourself to talent bookers, promoters, agents, other bands, and more to showcase your talent in a live space. It doesn’t matter if you’re playing music at a large venue, coffee shop, art show, music festival, or in your local subway station — you’re still getting noticed and have a reason to be there, which is to promote your newest release. As we’ve said before, performing live shows is a great way to bring music which you have already released back to the forefront of everyone’s mind. Your release plan doesn’t have to stop there; your new release is now an important part of your catalogue and story. For the foreseeable future, you’ll still be promoting it as your latest music, so keep brainstorming new and exciting ways to promote it using the above tips and techniques.5 Use Your Spotlight to Book Shows5 BOOKING SHOWS41 P.S. FROM AWAL P .S. FROM AWAL42 P.S. FROM AWAL If you’re releasing new music in the next few months, use this comprehensive plan to start preparing now! With some of these action items, lead time is key (especially for things like press and booking a release show at a venue), so don’t delay in at least making a timeline of what you need to have accomplished when. Then, your best bet is staying as far ahead of that timeline as you possibly can. Above all, have fun! This is a super exciting time, and you should make the time to simply enjoy sharing your music with the world. You’ve not only recorded (what we’re sure is) great, new music, but if you follow the steps in this guide you’ll also be ready to thoroughly plan your campaigns leading up to release, conquer the actual big day, and keep the momentum moving long afterwards! Apply to AWAL today see how we can help you to better release your music in the new year! APPLY NOW	[ "release", "music", "day", "make", "planning", "social", "prerelease", "sure", "new", "fan" ]	{ "summary": "1 2018 ULTIMATE RELEASE GUIDE\n2018 ULTIMATE \nRELEASE GUIDE2 2018 ULTIMATE RELEASE GUIDE\nTimes hav" }
tL-Music(design--Branding.pdf	SongSeekers™ 48Broadly Terrace, London UK NW16LG TEL020-7724-2420 [email protected] www.songseekers.co.uk MusicEquity The Power of Music in BrandingSongSeekers™15.05.03 \|2 Song Seekers ™Music Equity The Power of Music in Branding The erosion of mass markets and consumer trends towards customisation and personalisation is driving marketing towardsan experience-based economy.’ (Steven J. Heyer, COO, Coca-Cola – Madison + Vine Conference, February, 2003) Music is a powerful medium that can bring the emotional qualities of products and services to life and help activate a Brand promise. The beat of the music canliterally connect with the heartbeat of the consumer. The power of music and how to use it to achieve greater success in the brand arena, however, is currently misunderstood and undervalued. This paper discussesfour principles that will help companies recognise the value of music in the context of branding. It will also address how to evaluate music opportunities andsuccessfully integrate them into a wider, long-term business strategy. The four concepts discussed are as follows: Music Identity, Music Strategy, Music Equity and Music Differentiation.‘15.05.03 \|3 Song Seekers ™Music Identity Brand identity carried through music In recent years, consumer purchase decisions have become more weighted towards emotional attributes rather than functional benefits. As we become increasingly ‘hightech’, we crave personalisation and ‘high touch.’ Subsequently, experienced-basedmarketing that focuses on communicating the emotional values of Brands is the current trend and way forward. The true marketing potential of music is that without any other stimulus, it can access a mood, emotion, and deeply move specific demographics within a target market in just a few seconds. In addition, the heritage of music, through the artist,genre,etc., can reflect a culture, a time period and lifestyle without even playing a note! Musicians and songwriters themselves have an innate talent for making connections and distilling a message into its essence. They are often dreamers and visionaries who operate on an emotional level - natural drivers of direction and catalysts for expressing complex social issues in contemporary voice. In addition, with new multimedia platforms such as interactive mobile phones, music can further extend its reach and ability to impact the consumer on a multitude of levels. The television commercial has historically been the initial platform where Brands have used music to support a visual idea. It is therefore a logical first place in creating a Brand’s Music Identity. The GAPcreative teams have excelled with this approach. The GAPhas a very clear and compelling music DNA: fun, edgy, innovative, approachable and personal. The consistency of the style of its television commercials, plain white backdrops with young energetic multicultural people, with bold exciting music, is The GAP identity glue under which a host of different products have been successfully launched.They have created a formula that clicks in the consumer’s mind. The GAPclearly understands that building a Brand by ‘tone of voice’ requires repetition and exposure. 15.05.03 \|4 Song Seekers ™The GAPhave repeatedly used this format and as a result helped promote artists’ new tracks in seasonal commercials. When singer-songwriter Rufus Wainright appeared in a Christmascommercial, the record company began promoting him as “that guy who appeared in The GAPcommercial.” Macy Gray got her break in a Baby GAPcommercial and more recently Mariannne Faithful and Taryn Manning closed the generation gap demonstrating once again how a strong Music Strategy could be used to convey a message on a powerful z and continue to reach the right markets. What then emerged is the most interesting and significant dimension to all of the above. The public started to talk about The GAPcommercials outside of the environment of the commercial - its reach was extended and other media started to contribute to its PR strategy without it costing the Brand a penny. Rather than The GAPcommercials looking like a rip off from something from MTV, artists from Brandy to Britney Spears and The Backstreet Boys copied The GAPstyle and looked like a GAPad. The company had developed it’s own aesthetic, which spilled out into music and other advertisements. By creating great commercials that placed trust in the music to provide something more compelling than any close up on the logo or expensive shoot, The GAPhave created a music metaphor for consumers to feel great about their products. A Brand is essentially a promise. The GAPhas used music to help define their promise and carry it to consumers. Many companies, however, make the mistake of having a multitude of music messages sent out at one time or over a period of time, without any coherent connection. Every time a Brand uses music in any area of it’s marketing it will create an asset or a liability for theBrand depending on the success of music selection and usage: the artist, the arena and theplatform. If this is true, then it surely it follows that every time a Brand is considering usingmusic, every customer touchpoint, every B2B communication and B2E dialogue should bespoken in the voice of the Brand reflecting its core values, lifestyle and essence of the Brand. “What does my Brand sound like?” is the key question that every Brand intending to use music should ask and be able to answer. This is not to be confused with “Sonic Branding”which is more of about the audio identity best demonstrated by Intel Inside 4 note melody orthe angelic sounds that every computer sings out from Bill Gates’ Microsoft as it is opened. The “Sound of a Brand” is more complex. It is the emotional response to the Brand that is evoked universally, from the commercial players in the management of the acquisition ofmusic content/property right through to the consumer on the street at the receiving end. The“Sound of the Brand” is about the initial connection made by the consumer on a conscious or subconscious level between the Brand and the music being used.15.05.03 \|5 Song Seekers ™One of the intangible qualities of music is that it can say something about the power of a Brand simply by association. Consider the message from Microsoft whenthey used The Rolling Stones copyright “Start Me Up” for the Windows 2000launch. Almost every newspaper headlined the story with the alleged $8,000,000paid for this track. Microsoft were forgiven for not using the original Rolling Stonemaster sound recording, (a fact this was never openly communicated.) All that thepublic remembered was that Microsoft paid more than ANY other company for asong for a commercial from one of the biggest bands in the world. The initial message from Microsoft was “ We are the biggest players in town”But whilst Microsoft paid this legendary sum of money for the use of the copyright, the question is, with this kind of capital investment, what did it do for their longterm Music Equity , was it measured and what was subsequently leveraged from the association? (The author would like to define Music Equity as ‘the net com- mercial value of the Brand’s relationship to music taking into account its assets and liabilities that can be commercially leveraged and measured in otherareas of its marketing activities’.) As Brands experience rapid globalisation and try to extend across cultural differences the need for vehicles that can consistently convey an organisation’s core values and defined associations becomes increasingly pressing. A clear andstrong music identity can represent what an organisation wants their Brand to stand for now and in the future. Music can provide an external picture for customersand can act as the internal pulse of business strategy.15.05.03 \|6 Song Seekers ™Music Strategy Music Industry gets Commercial Given that CD sales are plummeting as more and more people are downloading music and that it is becoming increasingly expensive to promote artists, the Music Industry is beginning to really embrace the importance of their music beingused in a commercial and the benefits of the exposure. Currently, however, both parties approach the Brand – Music relationship with their own individual agendas and the question remains open as to who benefits more fromthe association. This results in neither party fully leveraging the power of their partnership. The Music Industry is also very unpredictable and entrepreneurial, movingso quickly when an opportunity does arise that it leaves little space for third partiesoutside of the inner sanctum to participate, other than by default unless they werepartners in the initial process. The Music Industry should look to recent success stories of where music in a commercial has directly helped their bottom line. A great example is Nike’s recent use of an old, relatively unknown Elvis track as the soundtrack to a commercial. The commercial gave the track huge airtime on broadcast media, something that theradio stations would not give to an artist who had been dead for 25 years. The PRmachines than moved than into action. The hype was not about the quality of thecommercial or the cost of the shoot but the fact that the Elvis estate had been persuaded to allow a modern remix of the track by a popular DJ, JXL and that this was the 25th anniversary of the death of a superstar. The amount of column inchesthat the partnership produced was beyond the wildest PR expectations. BMG, the record company that own the Elvis catalogue, have spent the last 25 years repackaging and reinventing the Elvis back catalogue with a very steady but modestlevel of success. Off the back of this commercial and the subsequent No 1 single hit in 22 territories, they were able to produce and release a new CD of the Elvis No1’s over the last 25 years and shifted tens of millions of copies of the album. Whatmade this CD so powerful was that it included the latest hit No 1 “A Little LessConversation” which charted in the year of the 25th anniversary. 15.05.03 \|7 Song Seekers ™It is relatively simple to see who were the principle financial beneficiaries of the Elvis partnership. The key question is what more could have been leveraged forNike, had this been part of an overall Music Strategy with objectives, aspirations and financial opportunities clearly mapped out. So what are the issues? Why, if there are two major industries willing to work together does there need to be a change in cultural and business practices? If there is to be acollaboration between content and marketing, there has to be a longer term strategythat is about creating value and relevance to the consumer, a connection that hasintegrity on both sides and which in the short term satisfies shareholders. A symbiot-ic convergence between Brand, ad agency and record-company needs to occur. In the past, disparate divisions of the Music Industry have been given second-handed insights to work with i.e. music ideas that have been attached onto the conceptualand finished stages of a promotional idea or even after the commercial has been onair. The problem arising from this pattern of ‘partnership’ is because the music parties are not part of the thinking that defines a Brands core values, target audienceetc., it can be difficult for them to develop promotional activities that tap into theessence of the Brand. This leads to a lack of synergy between overall Brand strategyand music identity. A vast amount of time and money is then spent trying to marrythe two. This can create a negative experience for the Brand, not understanding why the music route was chosen in the first place but also with neither party qualifying whatwent wrong. Exceptions to this rule ( GAP, Levis, Target, Pepsi etc.) can be spectacular. Dirty Vegas “Days Go By’ might have been a flop if it had never been featured in a spot for the Mitsubishi Eclipse, but the commercial launched the previously obscuresong into the music charts and helped it receive a Grammy nomination for BestDance Recording. “The most powerful proof is when a DJ comes onto the radio andsays, ‘And now, the Mitsubishi song.’ It’s hard to explain the phenomenon,” saysPierre Gagnon, Mitsubishi Motors N.A. president and CEO. “What we’re so pleasedwith is we know we’re breaking through when these songs become more popular.” They key issue Mitsubishi should now be addressing is how to convert PR attention into commercial buys. How do you make the success of music translate into more car sales?15.05.03 \|8 Song Seekers ™In order for a Brand to fully leverage the power of music they need to ask a fundamental question before saying yes to any opportunity to use music. Do we have a Music Strategy? Can we clearly answer these four questions? i) What can music say about the Brand? ii) What types of music activities will carry the Brand’s positioning, personality and core attributes? iii) What music ventures will be mutually beneficial for the Brand and for a Music Industry partner? iv) How is the Brand going to achieve this? If a Brand cannot answer these four questions with a clear and consistent response then they do not have a clearly defined Music Strategy. A Music Strategy shouldactively seek to engrain a co-ordinated music identity within a Brand’s cultural fabric. Every audio representation of the organisation – from television commercialto elevator music - should powerfully convey the company’s music “DNA.” Integrating music into the whole marketing strategy is the key. “If your marketing is intrusive, you’re going to lose them, so you have to provide entertainment that’san asset to their life” (Jarrod Moses CEO Grey World Alliance on behalf of P&GPringles latest entertainment partnership July 2002)15.05.03 \|9 Song Seekers ™Music Equity Measuring the Value of Music to Brands One of the reasons that music is currently undervalued by many organisations is because it is difficult to directly measure its impact and influence on sales. When researching the success of music in a campaign, its value is often measuredusing the following parameters: “How will it facilitate communication of a rational message specific to the campaign?’ But is this an adequate benchmark? The Music Industry measures its success by Billboard Charts. Brands and agencies are often seduced to use this standard to measure the secondary benefits of a Brand using music, because their ‘partners’, The Music Industry, set this as theircriteria. Being a No 1 record is sexy and carries with it a certain amount of kudos,but what does it say about the Brand itself? Naturally, companies know through sales when a product or service is successful, but how much analysis is done to measure the extent to which these results can be attributed to music. The following questions should be answered: What isthe Music Equity of an Artist, track, genre etc.? What is the heritage of this music? What intangible benefits could this music inject in the Brand? Is the music creating a Brand liability or a future asset that I can leverage? What opportunitiescan the Brands’ equity create for the Music Industry? The fundamental underlying question that needs to be introduced into the decision making process is “What is the current Music Equity of my Brand and how will the use of this music affect it?” David Aaker uses five dimensions when measuring Brand Equity: Lifestyle, awareness, perceived quality, associations and loyalty. Interestingly. David Heronreasoned that music effectively contributes to a Brand’s marketing strength through: Entertainment value, structure and continuity, memorability, lyrical language, targeting and authority establishment. In today’s Brand profiling, is Music Equity a concept that is even considered let alone a value that is actually measured and how would this evaluation add tomarketing solutions? Brands should be able to make informed decisions aboutmusic usage with the same confidence that it assesses every other aspect of it’s promotional and communications activities. 15.05.03 \|1 0 Song Seekers ™With a valuation of the Music Equity a Brand can begin to ask the questions that must be answered to create intellectual music properties that move beyond the box,the can, the bottle, the logo and help create consumer relevance and consolidateconsumer loyalty.15.05.03 \|1 1 Song Seekers ™Music Differentiation Designing emotions that make ‘the difference’ in the marketplace Music is in essence emotional and there are few other elements of a Brand that have the power to be as responsive to people’s needs for sensory pleasure and to promises of delivery. Research has shown that people relate to Brands in a verysimilar way that they relate to people. They form relationships based on personality,appearances (style and image) and trust. Great music can create yearning for aBrand, self-confidence and security through ownership, and make us feel as if webelong to a larger group. Arguably, it is not just the music that evokes the emotionbut rather the whole Brand or image of that music entity. Music can define a relevant, differentiated and credible value proposition. Especially in markets where there is a high degree of competitive convergence,music is often the deciding factor as whether the customer buys your product orservice or your competitors. “What a customer hears may make the differencebetween their choosing and not choosing your Brand” (Gerald J. Gorn The Effects ofMusic In Advertising on Choice Behaviour 1982). Music can make the difference. 15.05.03 \|1 2 Song Seekers ™Conclusion What will create the impetus for change? “Economic pain and economic opportunity. On an intellectual macro level, both industries are already there. But the thoughtisn’t being translated into action just yet, because some are afraid of missing outon important pieces of cultural connection. But in time the fear will subside, or thefearful will lose their jobs. And if a new model isn’t developed, the old one will simply collapse” (Steven J. Heyer, COO, Coca-Cola) In a marketplace where compelling messages, consistent delivery and emotional experiences are at the heart of a Brand’s success, organisations need to activelydevelop fully integrated and powerful multimedia music strategies. A shift in currentthinking from regarding music as a soft service function to a cornerstone of business strategy needs to occur. More understanding is vital so that each party in the collaboration appreciates the value of each other’s strengths, with each partner looking at the other as one to work with over a period of time and not for a one-off transaction. If self-interest is replaced with collaboration and respect, win-win benefits will result for both the Brands and the Music Industry. Music is an incredibly powerful vehicle that has the power to convey the emotional attributes of products and services while simultaneously creating layered,textural experiences in our lives, and it is there for the taking for the marketers. 15.05.03 \|1 3 Song Seekers ™Contributor Ruth Simmons, BSc, Managing Director, SongSeekers International Ltd With over 22 years experience of running her own strategic music consultancy, Ruth is constantly fascinated by the ways that music is used to sell products andservices. The new division of SongSeekers, ‘ Music Equity ’ is the result of a lifetime of her experience in observing the ways in which Brands, Agencies and theMusic Industry continue to transact in music and yet miss the true currency of their exchange. It is also the direct result of continuous dialogue and collaborationwith her amazing children, Daniel and Rachel, who are now Brand Strategists intheir own right, in Music and Design respectively Email: [email protected] AcknowledgementsThe author is also appreciative for the support and insight given to her by John Bartle (Former Chairman of BBH), Bruce Haines (Chairman Leo Burnett) –Andy Tilley (Managing Partner of Unity), Mark Collier (Managing Director DareDigital), Nigel Foster (Head of European TV –JWT) Jane Rattle (Head of TV LeagasDelaney), Frances Royale (Head of TV BBH), Nick Raphael (Managing Director Epic Records – Sony), Catherine Davies (Head of Product – Sony), Alex Myers(International Product Manager-Universal Records) Mark Crossingham (Commercial Product development -Universal Records) and the many other of her colleagues who have patiently listened and offered their “two pennith.” Notes: Aaker, David, “Brand Leadership,” (New York: The Free Press, 2000) Bedbury, Scott, “A New Brand World,” (New York: Viking Penguin, 2002)Braithewaite, Farrell and O’Donoghue “Cum on Feel The Noize” (2002)Branthwaite and Ware “Music In Advertising” (50th Esomar Conference 1997) Gobe, Marc, “Emotional Branding,” (New York: Allworth Press, 2001) Gorn, Gerald “The Effects of Music In Advertising on Choice Behaviour” (Journal of Marketing Vol. 46, 94-101 Winter 1982) Heron, David “Music in Advertising: An Analytic Paradigm” (Music Quarterly Vol. 73 No 4 1989) Kelley, Tom, “The Art of Innovation,” (New York: Random House, 1995)Klein, Naomi “No Logo,” (New York: Picador,1999)	[ "music", "brand", "commercial", "song", "value", "strategy", "industry", "seeker", "equity", "consumer" ]	{ "summary": "SongSeekers™\n48Broadly Terrace, London UK NW16LG\nTEL020-7724-2420 [email protected]" }
tl-MANGER2.pdf	SECRETSDIRTY LITTLE RECORDBUSINESSSECRETS HANK BORDOWITZHANK BORDOWITZWhy So Much Music You Hear Sucks Why So Much Music You Hear SucksDIRTY LITTLE RECORDBUSIN ESSof theof the BUSINESS /MUSIC $24.95 (CAN $33.95) W hat happened to the record business? It used to be wildly successful, selling outstanding music that showcased the performer’s creativity and individuality. Now it’s in rapid decline, and the bestmusic lies buried under the swill. This unprecedented book answers this question with a detailed examination of how the record business fouled itsown livelihood—through shortsighted-ness, stubbornness, power plays, sloth,and outright greed. Dirty Little Secrets of the Record Business takes you on a hard-headed tour thr ough the corridors of the major labels and rides the wav es of corporate radio to explain just why so much of the music you hear sucks. Here is a close look at just how the machinery behind the popular songbroke down, including: ΩThe corporatization of the record business ΩWhy stockholders play an important role in what you hear ΩHow radio went from an art to a science, and what was lost in thechange ΩHow the record companies alienated their core audience ΩWhy file sharing may not be the bogey- man the r ecord industry would have you think it is ΩTechnology’s effect on what you hear and how you hear it ΩAnd dozens of other reasons that all add up to the record industry’s currentfinancial and artistic woesHank Bordowitz is a veteran music journalist, former recording artist, musicbusiness consultant, adjunct professor ofthe music business, and the author ofseven critically hailed books, including Bad Moon Rising: The Unauthorized History ofCreedence Clearwater Revival, Every LittleThing Gonna Be Alright: The Bob MarleyReader , Turning Points of Rock and Roll, andBilly Joel: The Life & Times of an Angry Young Man. He liv es in the exurbs of New Y or k City with his wife of 25 years and three children. Jacket design: Rattray Design Front jacket photo: Getty ImagesAuthor photo: Gene Gaus Printed in the United States of AmericaISBN-13: 978-1-55652-643-5 ISBN-10: 1-55652-643-1$24.95 (CAN $33.95)$24.95 (CAN $33.95)DIRTY LITTLE SE CRETS of the RE CORD BUSINESS DIRTY LITTLE SE CRETS of the RE CORD BUSINESS“An accurate and well-researched exposé of the surreptitious, undisclosed, and covert activities of the music industry. Hank Bordowitz spares no one while exposing every aspect of the business.” —Tony Bongiovi , producer of Talking Heads, Aerosmith, and the Ramones “ This is the book that any one of us who once did time in the music business for more than fifteen minutes and are now out of the life wish we had written. We who lie awake at nights mentally washing our handsas assiduously yet with as much success as Lady Macbeth have a voicein Hank Bordowitz. . . . Now I have a big book that I can throw at theliars, the cheats, and the bastards who have fooled me twice.” — Hugo Burnham ,drummer for Gang of Four, former manager and major-label A&R ex ecutive “Nobody should ever even think about signing any kind of music industry contract without reading this book. Reading it may not save lives but itwill certainly save some careers.” — Dave Marsh , author of Bruce Springsteen: Two Hearts “Through my decades as an artist and producer working with both major and indie labels, I have nev er r ead as comprehensive a history of how the recorded music and broadcast worlds arrived at their sorry artisticstate. I’ve lived the quicksand economics and conflicting intra-industrymotivations that Hank Bordowitz so succinctly explains. If you want tounderstand how and why we got here, this is the book to read.” — Larry F ast, keyboar dist for Peter Gabriel and For eigner “Brilliantly written, insightful, a good history, and a great read.” —Jack Ponti , songwriter , producer, manager , and record company presidentBORDO WITZ BORDO WITZ SECRETS of theDIRTY LITTLE RECORDBUSINESS HANK BORDOWITZ An A Cappella Book Library of Congress Cataloging-in-Publication Data Bordowitz, Hank. Dirty li ttle secrets of the record business : why so much music you hear sucks / Hank Bordowitz. p. cm. Includes bibliographical references (p. ) and index. ISBN-13: 978-1-55652-643-5ISBN-10: 1-55652-643-11. Sound recording industry—History. 2. Music trade—History. 3. Music and technology. I. Title. ML3790.B678 2006338.4 ′7781640973—dc22 2006023253 Cover a nd interior design: Rattray Design Front cover image: Getty Images © 2007 by Hank Bordowitz All rights reserved Published by Chicago Review Press, Incorporated 814 North Franklin Street Chicago, Illinois 60610 ISBN-13: 978-1-55652-643-5 ISBN-10: 1-55652-643-1 Printed in the United States of America 5 4 3 2 1This book is dedicated to: Dick Thompson, who opened my impressionable eyes to the wider world of music out there Steve Julty and my cousin Harold, for exposing me to cool stuff early on all the people who attempted to teach me the guitar, Ron Andriuli and Tom Conners in particular Kenny Barron, Dan Goode, Joe Zitt, and the Opium Den Mothers, who refined and redefined music for me John Swenson, Dave Marsh, Dave Sprague, and all my other colleagues who turned me on to so much good music Marc J affee, a music teacher in the mold of Dick Thompson my wife, Caren, who once accused Ornette Coleman of playing “that cat-swinging music” to his face, in public (I guess you had to be there) my son Mike, who keeps bringing home these arcane Japanese bands my son Larry, who has the potential to be a real keyboard prodigy my son Bill, who, at s even years old, wants to write songs my l ate Grandma Goldie, who always wanted to hear me practice my folks, who a lways encouraged my music, even though they couldn’t stand it anyone who has ever told me, “Man, you’ve got to hear this.” As long as there are people like this in the world, music will not suck.“The music business has always had the nurturing instinct of a great white shark.” —Paul Taylor, Manchester Evening News “The music business is a cruel and shallow money trench, a long pla stic hallway where thieves and pimps run free, and good men die like dogs. There’s also a negative side.” —Dr. Hunter S. Thompson “That’s not a dirty little secret. It’s a fact. Take away the incentive for major or minor financial reward and you dilute the pool of musicians.” —Courtney Love “When a forest catches fire, you have death, but there’s also birth that comes from it. I think that’s what we’re seeing.” —Shar on Corbitt, Ocean Way Recording —Studio, NashvilleContents Acknowledgments.......................................................................xi Introduction..............................................................................xiii Part I \|Playback and Payback: How the Record Business Drowned in Its Own Success 1 Who’s in Charge Here? Y ou’re Kidding!..............................3 2 Answering to the Stockholders, Not the Audience ............10 3 Who Does What to Whom: A Brief Tour of a Fictitious Record Company .............................................................18 4 Q: How Ma ny A&R Guys Do es It Take to Screw in a Lightbulb? A: We Can’t Screw Anymore—They Cut Off Our Balls! .........................................................................28 5 Char ting the Co urse: How Ch anges in t he Charts Changed t he Biz ...............................................................34 6 Control Issues: Did Home Taping Kill Music? ................41 7 Panic in the Suites: Napster, Grokster, and the Last Kaz aa.......................................................................47 8 150 Records = 50 Percent of Revenue...............................66 9 The Fable of the Elephant and the Rabbit: How the Indies Are Eating the Majors’ Lunch ..............................72 Part II \|The Messy Suicide of Commercial Radio 10 Airwaves of the People, for the People . . . Y eah, Sure ......83 11 Regul ations? We Don’t Need No Steenking Regulations .....8712 The Death of the DJ: The Curse of Selector ....................92 13 The Process: How Songs Really Get on the Radio .........98 14 Payola Isn’t Dead. It Always Smelled Like That...............105 15 We Don’t Do Payola. We Let the Independent Promotion Companies Handle It ......................................................119 16 Arbitron Rated #1 in Symphonic-Punk-Country-Disco: Fragging the Format ......................................................129 17 Are Y ou Sirius? Can Satellite Radio, Webcasting, and Podcasting Save Broadcasting (or Even Themselves)? ..................................................................134 Part III \|Retailing Recor ds 18 Rock and the Hard Place: Records Become a Commodity and Face Real Estate Prices and Profit Margins ...........145 19 Censorship: Wal-Mart Tippers the Scales ......................158 20 A Voyage Down the Amazon.com...................................165 Part IV \|Technology 21 We Recorded This in Only Three Months! From One Mic to 128 T racks ..........................................................173 22 The In ternet: Friend, Foe, or Just a Tool? .....................185 23 Hardwar e and Softw are: On Demand and o n Your Hip ........................................................................197 Part V \|We, the Audience 24 A Touch of Grey: Boomers Grow Up and Grow Old ...211 25 The Lost A udience: How the Music Business Broke Faith with Its Main Supp orters ..............................................216 26 An Em barrassme nt of Riches: Entertainme nt Op tions Today —“Hey, Kid, Wanna Buy a Record or a Video Game?” ..........................................................................223Part VI \|Money 27 Music Education: Buddy, Can You Spare a Dime? ........231 28 The Orlando Phenomenon: Boy Bands and Bad Girls Made to Order ...............................................................237 29 Breaking the Star = Breaking the Bank............................245 30 The Video Revolution: Looks Aren’t Everything; They’re the Only Thing ..............................................................251 31 Contacts and Contracts: Why an Artist Can Go Gold One Day and Be Flipping Burgers the Next ................259 Conclusion: The Bilious Stew of the Music Business at the Turn of the Millennium—and Hope for Deliverance ....................................................................271 Source Notes...................................................................285 Bibliography....................................................................303 Original Sources .............................................................319Index...............................................................................321Acknowledgments I’d like to thank: Jim Fitzgerald, my extraordinary agent, who went to bat for this book in a big way. Yuval Taylor, my editor, who had a lot of ideas that I didn’t think of, and a lot of ideas I wouldn’t think of, but who made sure th at this book didn’t suck; and Devon Freeny, who nitpicked the copy until it made sense, dammit! The late, great Juggy Gayles, a central character in this book, as he started telling me dirty little secrets and home truths about the music business when I was quite naive. I miss him. Doug Howard, for vetting some of the stuff that I really needed to know I got right. Doug was always there with a prompt response and a kind word, and he’ll never know how much Ineeded them at the time. He also titled chapter 13 on payola. Beth Kr akow er, who unwittingly helped write chapter 12, based on a dog and pony show we’ve been perfecting for our classes over the course of several years. Jerry Lembo, Bar ry Bergman, Dave Seitz, Jack Ponti, and Ed Majewski, for information and issues I hadn’t thought of. Denni s D’Amico, of Lost Audience Records, for the framing concept of chapter 24. A very special thank you to Vic Steffens, who over a holiday weekend answered a question so thoroughly and thoughtfully, Iwas in tears. Ian Coyne, who rescued some critical information at the 11th hour. xiJeff Jacobson, of Jacobson and Colfin, PC, LLC, my legal guardians, for his help on the contracts chapter. My class on Marketing and Management in the Music Busi- ness and Music in Our Time at Ramapo College of New Jersey, for bringing all sorts of information to my attention. Burt Goldstein at Big Daddy Distribution, my first long-term boss in the biz when he ran Ben-El, who helped with SoundScannumbers, too. The cast and crew at the New Y ork Public Library for the Per- forming Arts Dorothy and Lewis B. Cullman Center, Hammer-stein Archives of Recorded Sound and Music Division, the sine qua no nres earch facility for all matters musical, and the George T. Po t ter Library, electric and acoustic. Dasher, May, J-mo and J-9, Laurie, Bego, Top Cat, Meliss, and on for all the encouragement. The good netizens of the Velvet Rope, whose informed opin- ions over the course of the years shaped parts of this book.xii AcknowledgmentsIntroduction My friends and acquaintances know that for the past 30 years or so, I ha ve worked in one aspect or another of the music busi- ness—as a performer, recording artist, journalist, promotion per- son, marketer, engineer, producer, A&R scout, retailer, critic,crony, gadfly, and guide. Over the last decade, the question mostpeople ask me is “Whatever became of good music?” Now, I realize “good music” is a pretty subjective phrase, but I also understand the sentiment. Once upon a time, as so manystories begin, you could tune into the radio and hear great things,musical revelations. As “Little Steven” Van Zandt said in the fore-word to Richard Neer’s excellent (and much cited here) FM: Rock music had become my religion. Radio my church. And these DJs my priests, rabbis, and gurus. They would preach fromthe gospel of Dylan, Lennon and McCartney, Jagger and Richards, the Book of Townshend, the Song of the Byrds, and the Acts of Davies. . . . Righteous Rock Radio would continue on a bit longer, struggling valiantly into the eighties, and die quietlyin the nineties like a spent stick of incense. In its place, anybodytwenty-one years old or younger inherited a wasteland of cor- porate conservatism tightly controlling lifeless depersonalizedderegionalized homogenized DJs spewing out depersonalizedderegionalized homogenized playlists. Now, the real answer to these people is that there is probably more good music available now for the average person’s con- sumption than at any time in history. The problem is hearing it, findin g it, getting access to it, because no one is going to lay it in your ear any more, though they might try. On the surface, Little xiiiSteven’s “wasteland of corporate conservatism” would seem to be in control. But for anyone willing to scratch a little beyond thesurface, there’s a wealth of great sounds. In this book I explain just what happened to easily accessible good music, music that fans of WNEW in New Y ork and KSANin the Ba y Are a remember. It sometimes still exists in odd enclaves like public radio in L.A. and Newark, but you gotta get hippedto know that programs like Morning Becomes Eclectic or Rhythm Revieware o ut t here. Music isn’t going anywhere, but music fans who kn o w what they like will have to go into hunter-gatherer mode to get it. Not long ago, I had the opportunity to poll several classes full of undergraduate college students from a good-sized state collegein suburban New Jersey as to their favorite radio stations. Theanswer genuinely surprised me. Over half of them said that whenthey listened to the radio at all, they usually listened to the clas-sic rock station out of New Y ork City, which plays much of themusic Steve Van Zandt was talking about. This means that many of these people, just entering their third decade of life, listen to music recorded largely before they were born. It breaks a paradigm that goes back to Socrates andbefore —that every generation listens to music their parents hate. This generation is listening to the same music their parents lis- tened to and finds it superior to the music of their contemporaries. “Classic rock” is one of the most successful formats on radio today for more reasons than just parental nostalgia. When we examined why, the answer came down to quality, musicianship, and a message. They said that, by and large, the music of their generation lacks these qualities. This boils down to a large num-ber of disenfranchised, shell-shocked music fans who want toknow what happened. The book you hold in your hands willexplain that, offering dissatisfied music lovers a reason for the fallof popular music.xiv IntroductionThis book lays out, in very specific terms, how the system that turned music into a commodity ultimately failed, trivializing its product and the user of that product (that would be us, the musicfans). Once you finish reading, you will have a better idea of whytoday’s popular music sucks, and maybe even a reason or two tohope that things will improve. The music business has come up with some fascinating ratio- nales for their slumping sales. Imagine if General Motors startedto assess some of the reasons for declining sales and it came upwith: ®people selling used cars ®people buying third-party parts ®people buying parts at junk yards So it started to lobby for laws against the secondhand sale of itsproducts. Or envision the post office declaring that mail was its intel- lectual property and starting to sue the providers and users of e-mail. Sounds ridiculous? It’s what the record business has been up to for years. It has spent the last decade trying to find a fall guy to accoun t for declining sales. The upstart technology of the Inter- net did throw the music business for a loop, but the music busi-ness’s reaction to this disruptive technology bears scrutiny, if only for how it mir rors the fortunes of other businesses. Is it possible that in reacting like a business—and like many businesses before it had acted—the music industry really couldn’t help trying to maintain the status quo? With several down years behind it, the industry is in big trou- ble. The powers-that-be blame digital file sharing and CD burn-ing for the business’s woes. Y et evidence shows that file sharingmight actually help sell physical copies.Introduction xvThe record industry’s finger-pointing hides the multifaceted reason for the industry’s decline, the dirty little secrets of the record business. The amount of money and energy used to createthis smokescreen is just one of the reasons why so much musicyou hear sucks. Cognoscenti in the music business point to a host of problems of much longer standing than the World Wide Web to account fortheir waning fortunes: ®There has been consolidation in all aspects of the musicbusiness, including ®the PolyGram-Universal merger ®the rumored future sale or merger of EMI ®the buying spree that led to Clear Channel owning nearlyhalf of the U.S. radio business and its offshoot, LiveNation, close to 80 percent of the live music industry ®would-be songwriter and booze heir Edgar Bronfmangetting squeezed out of Universal, “buying” thevenerable Warner Music Group, and taking it public ®the merger of Sony Music and the Bertelsmann Music Group, a record company initially run by a formertelevision executive ®The rise of t hese publicly held companies requires that record labels, as competing parts of these entertainment congl omerates, seek short-term profits to answer quarterly to stockholders. They do this in lieu of developing the career artists that traditionally fueled the business. ®Independent promoters maintain a stranglehold on both the radio and record business. ®The business continues to concentrate on what they havealways regarded as their demographic—12- to 25-year-olds—and ignoring ®the plethora of entertainment and leisure choices this agegroup now enjoysxvi Introduction®the people who grew up in an era without so many options, who consider music part of their being. There are many more reasons, though, including systemic problems with the way the record industry does business. Thisbook reveals and analyzes these factors, many of which evenindustry professionals don’t know about, since one facet of thebusiness often doesn’t know how the other facets operate. For example, I once had a student in my Introduction to the Music Business class in New Y ork who worked as the director ofA&R for a large, popular, successful record company, run by oneof the top young music business entrepreneurs of the 1990s. Afterthe first class I asked him if this might be too basic for him, ashe likely made more money from the music business than all theother people in the room—including me—combined. He said thatmight be true, but he still had no idea what the people in the officenext to him were doing. With one hand not knowing what the other is doing, is it any wonder that the popular music business faces big trouble? Of course, many take the position that actually making money from music somehow dilutes the music’s “purity,” that the bestmusic gets made under the rubric of “art for art’s sake.” And while plent y of the p refabricated music, made only to keep the sluices of the machine lubricated, contributes to why so much music we hear sucks, making music for money is not inherently evil or even a bad thing. The r eason the subtitle of this tome reads “Why So Much Music Y ou Hear Sucks” and not “Why Allthe Music Y ou Hear Suck s” is that some commercial music actually speaks to peo- ple artistically, and some independent music is utter crap. One ofthe great things about art is that there are no absolutes. Music thatignores the audience defines self-indulgence and often borders on (or goes right off into) pretentiousness, while popular—that is, what the people like—defines popular music, and sometimes thereason might even be the music rather than the marketing. Introduction xviiPeople have made money from music for millennia. Music itself has been around nearly as long as humans have been thinking ani- mals. There are paintings of flute players in Neolithic caves in Tan-zania, and it stands to reason that before developing a specializedtool like the flute, people would use their voices, and hit thingsto keep time for dancing and ceremonies. Playing music wouldhave been mostly an “amateur” activity, dating from the dayswhen humanity began to have time for recreation. Even these earlyinstruments were generally created by the musicians, again asrecreation. So when did music “go pro”? When I pose this question in class, students will often cite Edi- son, or even point to the advent of rock and roll in the 1950s.But actually, the Bible refers to musicians playing in the courts ofKing David and Solomon, and one would imagine that such per-formers would get paid. A millennium after that, the Greek the-ater used music and paid the musicians who played there. Somusic became a profession sometime before the Common Era.That’s at least 2,500 and probably more like 4,000 years of pro-fessional music. The theater tradition spread to Rome and the entirety of the Roman Empire. The theaters were often used for animal fightsand large meetings too, and beyond the tragedy and comedy of the da y, ballets and musical performances were held, once again using people who were paid to play. In all of these settings, musi- cians were divided into two classes—people who played it for money a nd people who played it for recreation. Very few of the people who played for money could do it as their sole means of support. (Sound familiar?) In the Middle Ages, there were two chief means of making money, even a living, as a musician. Jongleurs and minstrels tendedto be vagabonds, going from town to town, entertaining at wed-dings and the like. If they were lucky, they could find a wealthypatron. Some of these relationships became longstanding—theformer minstrel could become a manor’s music master, if thexviii Introductionmanor could afford such a luxury. Sometimes the relationship would last through the winter, the minstrel entertaining aftermeals and for company, perhaps giving lessons to other (usuallyyounger) members of the household for room, board, and perhapsa small stipend. Another major employer of musicians during the Middle Ages was the Church. Their musicians could be from the various ordersor from the laity. Johann Sebastian Bach, for example, played andcomposed church music. Indeed, musical notation as we know itemerged so that music could be sent from church to church, coun-try to country, a sort of lingua franca among musicians. This started h a ppening across Europe around the 13th century. So through the Middle Ages, several classes of musicians emerged, each beholden to one master or another—the courtmusicians, the direct descendent of the manor musicians, whowere treated like servants by the nobility; church musicians, whooften pursued other lines of work as well (Bach, for example, soldspirits); and itinerant musicians, the minstrels and klezmorim , who we nt about playing weddings and other events wherever they could. With the emergence of the Renaissance and a European mid- dle class, and as the craft of playing music well became more rar- ified and musicians emancipated themselves from the courts, musicians’ guilds sprang up across Europe. These guilds weeded out poor musicians (an audition was required to join), offered their members some l egal protection and clout, helped them get work, and furthered their training. But mostly they offered a certain level of prestige that allowed musicians to emerge as part of the rising middle class. The guilds set payment standards, stabilizing themarket. About the same time, a goldsmith by the name of Johan Gutenberg created a method for setting type. It was soon dis-covered that movable type could be set for other symbols, includ-ing musical notation. At that point the question became whoIntroduction xixowns the music, the person who wrote it or the person who printed it? Publishers started to buy compositions from com-posers, but ultimately the publishers and composers agreed on aroyalty situation, splitting the proceeds 50/50, a foreshadowingof the current relationship. This led to the question of how to protect the creator’s inter- ests and how to keep creators creating. In France, the concept ofprotecting ideas become codified about midway through the 18thcentury. Nascent America followed suit with its first nationwideset of laws, the Constitution. In article 1, it states that Congressshall have the ability “to promote the Progress of Science and use-ful Arts, by securing for limited Times to Authors and Inventorsthe exclusive Right to their respective Writings and Discoveries.”With this one line, the concept of copyright and intellectual prop-erty came to the New World. Musically, this was not of much consequence. No major intel- lectual property issues arose in the music business until 1850,when a piano mechanic named John McTammany invented the“pianola,” or player piano. He discovered, however, that makingthe instrument and marketing it were two different matters, and the pianola didn’t really catch on until he sold his patents to theAeolia n Organ Company in 1888. It took 11 years, but at the turn of the c entury, the pedal-operated player piano, using music “recorded” onto a perforated roll of thick paper, hit the market. Within a few years, you could find them in 75,000 homes and business es. Over one million piano rolls were sold. By 1920, the pianola had turned into a $20 million annual business. In 1921, of the 341,652 pianos sold, nearly 60 percent were mechanical. This created a question within the music business: how to pay the composers for these perforated rolls of paper that were play-ing their music? It wasn’t the same thing as sheet music or foliosof songs. This was a mechanical reproduction. Eventually, eachroll sold entitled the composer and publisher to a mechanical roy-alty. In a few more years, this concept would become even moreimportant, as we’ll see when we deal with contracts and rights.xx IntroductionSo music has meant money for millennia. As much as the phrase “music business” defines what has turned into a giant ruminant digestive system for sound, it also functions as an equa-tion: music =~business. Even the artists who play only for them- selves and friends get involved in musical commerce: they buyinstruments, sheet music, and especially records. But even beforeEdison embedded sound on tinfoil, music and business had anuneasy partnership. Whether the music sucks or doesn’t—a highlysubjective and personal matter—a ton of money gets spent in theproduction, promotion, and ultimately the sale of all things musi-cal. Where money goes, greed and all of greed’s henchmen—avarice, bullshit, corruption, deceit—come out to play. Which gets us to the meat of the matter—all ruminant diges- tive systems produce meat, after all. Because as much as the artistgets the music into the fan/consumer’s hands and ears, the busi-ness creates the context for the commerce, and as it works today,it only builds on what has worked before. Throughout this book,I’ll be picking points in history when certain practices became par-adigms, showing how they became part of the popular musicmindset. The precarious tightrope team of art and commerce play few more dangerous venues than popular music. For music to stayhealthy, for musicians to both thrive and have the time to create, money m ust grease the wheels. However, when the money becomes hidebound, can the other side of the equation avoid getting affected? Will the music busi- ness pull an o uroboros, swallowing its own tail and threatening to consume itself until it simply disappears? Or will it emulate the phoenix, growing old and burning itself out, only to arise, better and more beautiful, from the ashes?Introduction xxiPart I \|Playback and Payback How the Record Business Drowned in Its Own Success 31 Who’s in Charge Here? You’re Kidding! In1955, English EMI purchased Capitol Records, a 12-year-old compa ny that had been founded in the midst of World War II. Get- ting the raw materials for the manufacture of records had verged on impossible then, due to wartime restrictions on purchasing thelacquer used to hold the grooves on the 78 rpm record, and thecopper used to cut the masters from which the glass-and-lacquerrecords were made. These obstacles didn’t stop songwriter JohnnyMercer, lyricist–turned–movie mogul Buddy DeSylva, and someassocia tes from forming the company, which they started with two major hits, Mercer’s own “Strip Polka” and Ella Mae Morse’s ver-sion of “Cow Cow Boogie.” In the record business, the most suc-cessful businesspeople are often the most contrarian. Y et a dozen years after starting, Capitol submitted to foreign domination. Not that EMI was the first multinational record company—not by a long shot. In 1902, as the craze for sound recording spreadbeyond America, the Victor Talking Machine Company made thefirst international alliance, joining forces with British GramophoneCompany. Victor had already pulled a contrarian move, switchingfrom the wax cylinder sold by Edison and Columbia, and selling the new (at the time) glass-and-lacquer disc and the hardware toplay it. British Gramophone became disc based, and Victor startedto useBritis hGramophone’s logo, a little terrier with its ear cocked toward the horn, listening to “His Master’s Voice.” What EMI knew from experience dawned on the rest of the business world by observation: the record business, as it stood inthe early 1960s, lacked schooling. The people running the busi- ness possessed a lot of native smarts, but very few had formal busi-ness training—guys like Artie Ripp, who hadn’t even finished highschool, were running record companies and making a fortune. By1967, record company revenues topped the billion-dollar mark,spiking that year on the crest of EMI’s wave of Beatlemania andthe subsequent invasion of the musical redcoats that segued intothe Summer of Love—youth culture beginning to reach its full eco-nomic flower. Now, by the tail end of the 1960s, the thinking in the corpo- rate suites went something like this: if these uneducated guys,often working just this side of the law, could rake in all this bigmoney, imagine what we, with our MBAs and JDs, could do ifwe brought some standard business practices to the party. It waspretty easy to see their point of view when you looked at someof the people in charge of many of the big hits of the mid-1960s: Artie Ripp had ripped up the market with his own Kama Sutra label and his big act, the Loving Spoonful. Ripp had worked hisway up after dropping out of high school: Istarted walking around Broadway and I’d see these kids who were making records and not getting paid. They could have a number one record on the charts and end up owing the record company a half a million dollars. . . . I thought, “This businesshas some system.” . . . Every party was charged to the artist. “I’ve got a hundred hookers. Charge them to the artist.” Phil Spector, together with Lester Sill, ran the Philles label, home o fthe Righteous Brothers’ “Y ou’ve Lost That Lovin’ Feelin’.” Even before he left high school, Spector had enjoyed a rapid rise to chart success with his group the Teddy Bears and theirhit “To Know Him Is to Love Him,” which topped the charts, soldmillions of copies, and earned the group about $3,000 in total.He had one year of college (working toward a degree as a courtstenographer) before he headed to New Y ork for a job as an4Dirty Little Secrets of the Record Businessinterpreter. He never made the interview, falling in with a bunch of other musicians and doing studio work for songwriters JerryLieber and Mike Stoller. Having worked with Sill during his daysas an artist, Spector rejoined him as a partner some four yearslater, after working his way up in the Lieber/Stoller organizationto become a prodigious producer of hit records for artists like BenE. King and Gene Pitney. With the Philles label, he and Sill helpedintroduce the world to the girl-group sound that dominated popmusic before the British invasion took hold. Simon Waronker had started out as a violin prodigy, a first- call violinist in Hollywood. He founded Liberty Records in 1955,at the age of 40, with the help of 20th Century Fox. Beginningwith orchestral pop like Julie London, he moved into noveltyrecords by Ross (Dave Seville) Bagdasarian, scion of the Chip-munks dynasty; rock and roll with Eddie Cochran; and R&Bwith Billy Ward and the Dominoes. He even signed a very youngWillie Nelson. Berry Gordy started Motown in 1958, and his story has come to be Horatio Alger–style folklore, especially in the African Amer-ican community. After dropping out of high school to box, Gordy was drafted to fight in Korea. On his demobilization, he openeda recor d shop to support his songwriting. When neither made him enough m oney, he w ent towork on one of Detroit’s many auto- mobile assembly lines. His luck began to change when a family friendintroduced him to Jackie Wilson, who took one of the songs Gord ywrote, “R eet Petite,” into the Billboar dHot100 S ingles chart. W ilson recorded four more Gordy songs over the next few years. This gave Gordy the latitude to get off the assembly line and begin to produce music instead. He started a record label toput out the music he produced. He had early, influential hits likeBarrett Strong’s version of Gordy’s song “Money” and SmokeyRobinson and the Miracles’ “Shop Around.” The Temptations’“My Girl,” the Supremes’ “Stop in the Name of Love,” and anumber of other hits from Motown made Gordy a major force inWho’s in Charge Here? You’re Kidding! 5the music business. At the height of the British invasion, he gave the English acts a run for the pop music dollar. Ahmet Ertegun, son of a Turkish ambassador, formed Atlantic Records in 1947 with his friend Herb Abramson, funded by a loanfrom their dentist. “When I first started Atlantic Records,” hesaid, “I intended to make good blues and jazz music, as well assome pop music. We did it for one main reason. We wanted tomake the kind of records we wanted to buy.” Even some of the Beatles’ biggest hits early in their career were not on Capitol in the United States but on the indies Vee-Jay, Tol-lie, and Swan. James Bracken and Vivian Carter Bracken hadstarted Vee-Jay with a loan of $500 from a pawnbroker; Tollie wasan imprint of Vee-Jay; Dick Clark co-owned Swan Records withSi Waronker. Clark was the only one in this crowd with a collegedegree. Similarly, Ertegun’s Atco got into the act, reaching the Top20 with an early Beatles recording of “ Ain’t She Sweet.” So, to the MBAs and JDs looking in, the record business seemed like it was just this side of gangland. They imagined whatthe business might look like if considerations like profit and lossstatements entered into the equation. What the corporations failed to account for was that the music business hadbeen built on an often-entropic foundation that the assorted mi screants wh ogrew up with the business understood and made peace with. The entropy worked on several levels. The m usicbusiness of the time (and much of it even now) woul d not do w ell in answering the key question of the Rotary: “Is itfair for all concerned?” Instead it operated on more of an everyone-for-themselves level. In many ways, it resembled (and perhaps continues to resemble) high-stakes gambling more thanany particular business model. And like high-stakes gambling, thepeople who were the best at it knew how to stack the deck sothat nobody noticed, had mastered the deadpan poker face innegotiations, and never, ever let anyone see them sweat.6Dirty Little Secrets of the Record BusinessStacking the deck predominantly affected the way that artists were remunerated. Particularly in the early days of rock, as Ripp pointed out, musicians could sell millions of records and not makeapenny from it, in fact owing the record company money. This went on until the lawyers began to take an interest in that end ofthe record business, representing artists to make sure that they gotarelatively fair shake (and the lawyer got their percentage). Later on, we’ll take a look at one of these chillingly one-sided contracts. Independent blues and proto-rock-and-roll label Chess Records was notorious for this sort of behavior. “I got stranded in Chicagoand Leonard Chess found me, picked me up, and put me on hislabel,” recalled urban blues legend Etta James. He paid the balance of the money that [her previous record com- pany] wanted. Chess had a check on his desk. He said, “I wantyou with Chess records. Let me show you what my artists get.”Because I was kind of looking, I could see there was a checkthere. He lifted this check up to me and it was for 90-some thou-sand dollars, and it was made out to Chuck Berry and Alan Freed. I was about to faint, there were so many zeros there. Andhesaid, “This is just for six months’ payment for ‘Maybelline.’ ” Ihad one hit record, “ All I Do Is Cry,” and then I had “Stop the Wedding” and then I had “My Dearest . . .”—they were goingin layers. So, it w as about a year later; when it would be time for me to rec eive some royalties, I went down there. I knew I was going to l ook down there and see a nice fat figure. I looked and I saw that it w aswritten in red. And I said, “$14,000! All right!” And Leonardsaid, “Ho ldit, hold it.” I just looked like, wow, that’s really good for me. But he said, “Don’t get all bent out of shape.” And I was kind of confused, like “What is he saying that for?” And he says, “Look, Etta, don’t worry about what that says. What do you need?” Now, I’m really confused. “Here’swhat I need, in big red numbers.” And that’s when Etta James learned what red ink on a ledger meant. Between her housing expenses, recording expenses, and, most important, the money it took to buy her contract from theWho’s in Charge Here? You’re Kidding! 7previous record company, even a year of hits couldn’t get her into positive numbers the way the contract she signed was stacked up. “Now, Leonard Chess did take care of quite a few things,” she adds, “but those things could never add up to what my roy-alties were.” “Everybody that you talk to who came from Chess Records will tell you, almost like a broken record, the same thing,” notesanother Chess artist, Elias “Bo Diddley” McDaniels. We got ripped! It’s bad, man. I appreciate Chess Records giving me the opportunity to become Bo Diddley and do all the greatthings I’ve done, but I don’t appreciate being ripped off becauseIhad to trust them with the money that comes in and they have to pay me. I ain’t got shit. I’ve been waiting all these years likeagood Samaritan, thinking that one day I’ll look in the mailbox and say, “Oh wow! There’s a check in here that will make mypockets look like footballs.” It never happened. Y ou dig whatI’m saying? I’m very upset about it. They made a pit bull out ofme, with an extra set of teeth. Is that bad enough? They pokedat me and poked at me and made me an evil dude. Beyond this, Ripp, Spector, Sill, Gordy, Chess, et al. all knew that they could, through no fault of their own, lose millions as easily as they could make them, and on occasion they did just that. Few of them go tinto the music business to get rich; it just hap- pened t hat they did. Ma ny, many others made a living, and some lost everything. “It was a labor of love,” noted Bob Weinstock, who made aliving with Prestige Records, in the process record- ingimmortal sides by Miles Davis, Sonny Rollins, John Coltrane, and dozens of others. Most of the people involved in the business at the time—Orrin Keepnews [Riverside], Les Koenig [Contemporary], Alfred Lion[Blue Note]—were collectors and fans. We loved the music. Forthe musicians, too, it was no joke; they were very serious aboutwhat they were doing. It was a pleasure to work with them. Ourshared goal was to make good music—which we did.8Dirty Little Secrets of the Record BusinessOf course, one of the ways Prestige Records made money was keeping recording costs down. It was notorious as the “junkie’s label,” paying off its addicted artists with a fix. It certainly hadits pick of some of the finest: John Coltrane, Thelonious Monk,Miles Davis, Sonny Stitt, and Sonny Rollins were all addicted, allliving in New Y ork, and all recording for Prestige. Another aspect of the record business on which the MBAs could not get a solid handle was the actual profits and losses. Thelosses, because the businesses were private, were private as well.The gains were visible for anyone to see (and hear). The winnerswere as obvious as the losers flew below the radar, so it was easyto believe, if you weren’t inside it, that everything that came intoarecord store flew out to the tune of singing cash registers. Beyond that, the “record guys” demonstrated, even with their failures, an innate knowledge of what people wanted to hear. Itwas an era when the perception of music largely selling itself wasnot as far fetched as it seems now, though the mechanics of howthe music “sold itself” would appall the MBAs when they startedto make their move to capitalize on the gold on vinyl that theysawin records. Who’s in Charge Here? You’re Kidding! 9102 Answering to the Stockholders, Not the Audience Public losses were not all that visible if the company didn’t want them t o be. Even the gonifs knew enough to hire clever accoun- tants. T he corporations had them on staff. For instance, carefully hidden in the Warner Bros.’ film paperwork was the fact that in 1963, its f ive-year-old record division was losing about three mil- lion dollars a year. Despite this, in the mid-1960s Seven Arts, a small distributor and producer, doing its best corporate approximation of a tiny mongoose eating an enormous cobra (or the same cobra eating a cow), swallowed Warner Bros.’ film and record companies. This gave Seven Arts enormous amounts of debt. Unable to sustain it, in 1967 Seven Arts sold out the entire company, which at thatpoint included Atlantic Records. The buyer—the first major nonmusical company to take the plunge into the deep, cold, murky waters of the record business—was the Kinney Corporation. Kinney had built its business on lim-ousines, parking lots, and chains of funeral parlors. The head of the business, Steve Ross, had a lot in common with the self-mademusic people he’d be working with, one of the reasons WarnerBros. would actually work well for nearly two decades after itbecame a public company in the early 1960s. A Brooklyn guy withagreat head for figures, a disarming personality, and a mastery of the art of the deal, Ross had married well, but had proved hismettle in the way he ran his wife’s family business, building it intoapublic company by 1962. Answering to the Stockholders, Not the Audience 11 Earlier in 1967, he had acquired a small talent agency, and he enjoyed working in show business. When the Seven Arts deal came up, he saw no downside. “If you’re not a risk taker,” he said, “youshould get the hell out of business.” Ross was not a musician, or even particularly musical. He had the dubious honor of pioneering the era in the record business inwhich business acumen meant more than musical acumen. Forexample, at the CBS Record group in the “Black Rock” building,the 2001 -like mock obsidian monolith at the corner of 52nd Street and S ixth Avenue that housed the company at the time, a similar change took place. Goddard Lieberson, the conservatory-educatedpresident of Columbia Records, retired, turning over the recordcompany president’s office to one of the company’s lawyers, CliveDavis. Da visrecalled: It took several years to break down the barriers of suspicion that existed against lawyers and people who couldn’t read music. . . . I was not a rock ’n’ roller, by any means. I came to my position at CBS as someone who loved Broadway, someone who loved songs. I was a lawyer and I wore my suits and ties in New Y orkand I never tried to be “with it.” Within a few years at Warner, Ross had sold off all the nonen- tertainment assets of his company and, 10 years after he took Kin- ney p ublic, Ross renamed the company Warner Communications, Inc. Fo r the first 10 y ears, Warner’s record division was the envy of the music business, mostly because it was run as if it were aprivately held company. Ross put experienced music businesspeo- ple like Mo Ostin and Joe Smith in charge while keeping other music business legends like Atlantic Records honcho Ahmet Erte-gun doing what they did best—finding music they liked and sell-ing it. Business as usual put Warner on top of the music businessheap and kept it there. “Warner ’s Mo Ostin and Joe Smith had clout, but Steve Ross was the big boss,” recalled Walter Y etnikoff, who replaced Davisas head of Columbia about the time Warners moved in across thestreet from Black Rock, into its new Rockefeller Center digs in 1975. With Warner movies and Warner music at his command, Ross was a smooth operator, a much beloved leader who, unlike CBS,paid his underlings well. With the Grateful Dead, Van Morrison,Black Sabbath and James Taylor, Warner was winning marketshares left and right. Ross also had a selling tool that I lacked:Ross told artists he could put them in the movies. I had no movies to put them in. “Steve Ross realized it was music, not film, that was the engine of growth,” said Jac Holzman, who headed the Warner-owned label Elektra Records at the time. “We threw off so much cash that we were self-funding as we went along. Jerry Levin [the for-mer Time Warner CEO who succeeded Ross] didn’t have a clueabout wh atthe music business was about. He didn’t respect it. He didn’t care, and it showed.” Because of that disrespect, the record companies Time Warner heldstarted falling into disrepair, suffering from their own suc- cess. The nature of publicly traded companies is inherently verydifferent from that of privately held companies. Because a pub-licly traded company sells stock to the public, it has to publish financial information quarterly via the Securities and ExchangeCommission (SEC), and provide a corporate report annually to allof the people who hold its stock. Before the record divisions became so v isible and the profits became such a driving force within the web of corporate holdings for already public compa-nieslike RCA and CBS, the performance of those divisions flew largely under the radar. By the 1980s, however, the music divisions accounted for a much larger percentage of their corporate parent’s profits. As thepeople in charge went from old-line professional music people likeJoe Smith to corporate appointees, accountants, and MBAs, thenature of the business began to change. Those quarterly reports12 Dirty Little Secrets of the Record BusinessAnswering to the Stockholders, Not the Audience 13 became more and more important, and the method of generating the profits less and less essential. In the 1950s, ’60s, and ’70s, before the corporate reports spotlighted the cash laid out for the practice, record companieshad the leisure to develop artists. It took Bruce Springsteen threealbums to develop a reputation beyond the Jersey Shore and hisrecord company. Today he probably would never get the time heneeded to make his breakout albums and become one of Colum-bia’s biggest sources of income from 1975 onward. However, even the more successful independent record com- panies, where this talent could develop, saw fit to sell out to thecorporate interests. There were many reasons why the smaller,independent record companies succumbed to the siren song of themajors, but whe nboiled down to their essence it was all reduced to one: money. Independent distribution left a lot to be desired,especially when a company wanted to compete toe to toe against the big b oys. “In 1967 or ’68, we sold [Atlantic Records] to what was then Warner Seven Arts,” recalled Ahmet Ertegun. When we f irst came, we didn’t have any distribution. That was created after the group got together, after Warners and our- selves, and then Asylum and Elektra, solidified. Then we set up our owndistribution. Then my brother set up our international distribution, which is now one of the most formidable in the world. Companies that relied mostly on deep catalog often did well— Fantasy wasindependent for nearly half a century before being acquired by another, wealthier independent company, and thenonly after the company’s owner decided he’d rather make movies.But f or the most part, independent record companies capitulated to either the lure of incredible amounts of money—like the halfabillion paid to Herb Alpert and Jerry Moss for their A&M Records—or overextension of their assets, which is how the SonyMusic Group came into possession of the CTI catalog. For those who are unfamiliar with the strange and somewhat melancholy tale of CTI: after leaving the ABC/Impulse Label that he founded, Creed Taylor started his own string of jazz labels inthe late 1960s (CTI, Kudu, and Salvation), with moderate suc-cesses by George Benson, Milt Jackson, Chet Baker, Bob James,Freddy Hubbard, and dozens of others. With engineer par excel-lence Rudy Van Gelder behind the board and Taylor making themusical decisions, they managed to do quite well for about fiveyears. Then they started to do even better. “Deodato’s Prelude was the start of the success of the label, and the failure,” noted the label’s former operations manager Didier Deutsch. The success of [Deodato’s] “ Also Sprach Zarathustra” created the dri ve thatpropelled the label to the forefront, and also was the causefor the label’s eventual demise, because they overex- panded a t that time. They tried, but with very few exceptions theydid not succeed. This is to say that they never again achieved the status of the Deodato single, which spent two weeks just shy of the top of the Billboard charts. Rather than accepting the single’s success as the frea k occurrence that it was, Taylor made the fatal error of think- ing it was precedent. Deutsch said: It’s very nice to sell 250,000 albums, but for a small label, it’s quite a burden to have that kind of money. They got too muchmoney at one time, and they decided to expand and go inde- pendent. In nine months, they opened something like nine branches, and all the money was gone. They spent money theydidn’t have after a while. They were not able to sustain the suc- cess of Deodato’s album with other albums. Ultimately, the CTI catalog was absorbed into the vast CBS Records archives of recorded sound. There, it became further fodder for the reissue mills that helped grease the corporation’s14 Dirty Little Secrets of the Record BusinessAnswering to the Stockholders, Not the Audience 15 more successful distribution channels. As the profitability of these channels became more and more evident, more and more of thebig boys came out to play. Beyond corporate entities that got the entertainment bug, like Ross’s Kinney, record companies had a certain appeal to compa-nies that made the hardware for their music. Philips Electronics,for example, had long been in bed, corporately speaking, with therecord business. It brought the technology to the relationship,manufacturing records and inventing the compact cassette and theCD. By 1980, along with its original holdings like Deutsche Gram-mophon, it owned Mercury Records, MGM Records, VerveRecords, RSO Records, Casablanca Records, Decca Records, andLondon Records, all of which had become part of Philips’s record-ingarm, Po lyGram. While a 1983 merger with Warner Bros. got thrown out by both the German Cartel Office and the U.S. Federal Trade Commission over fears t hat it would create a monopoly, 15 years later the stan- dards seemed to relax. At that point, the sale of Philips’s music soft-ware division to Seagram went through with much gnashing ofmusicbusiness teeth, but just a whisper at the FTC. Seagram, the liquor giant, had bought MCA—the entertainment conglomeratethat had started in 1929 as a talent agency—in 1995. By that time,MCA h ad already bought out (or acquired the assets of) such noted indies as Def Jam Records, Motown Records, Uptown Records, Gef-fen Records, Chess Records, and Universal Pictures. PolyGram, inthe interim, had made high-profile purchases of A&M and Island Recor ds. Seagram acquired PolyGram for a bit over $10 billion, and its music labels were put under the umbrella of the Universal MusicGroup. Only two years later, all of Seagram was acquired by theFrenchmedia conglomerate Vivendi. “Everything that’s wrong with the record industry today amplifies itself out of the hallways of Universal, and has since thecompany was glued together,” said one West Coast media exec-utive. Helping to explain why he left the record business, he randown alist of the company’s change-resistant key executives:Zach Horowitz, Doug Morris, Jimmy Iovine, Jordon Schur, Polly Anthony, and L. A. Reid are all dopes that are hanging on to anoutdated model delivered on a 20-year-old format, that mostpeople could care less about, now sold in stores that worry moreabout selling tires and washing machines. . . . If you’re a majorlabel senior executive, why would you want anything to change,especially the perks and the salary? Like Philips, Sony manufactured entertainment hardware and wanted a foothold in the software end of things, especially after the fall of its Betamax standard as a consumer format for video.One of the reasons it failed is that Sony’s main competitor, Mat-sushita, owned film rights; Sony did not. “Sony wanted their ownsoftware,” Walter Y etnikoff said of the company’s 1988 purchaseof the CBS Record group, in part to feed the burgeoning marketSony had recently cultivated with the Walkman. “In that depart-ment, CBS Records was a gold mine.” Two years earlier, the privately held German publishing and entertainment conglomerate Bertelsmann AG bought RCARecords and changed the company’s name to BMG Music. The sale included RCA Video, the company’s direct-marketing arm,and its custom pressing service, which would make CDs featur-ing mostly RCA a cts for various companies (for example, songs about smoking for a tobacconist). The sale did not affect the joint- ventureRCA Columbia Home Video club. The video cl ub, however, prefigured on a smaller scale the shape of things to come. On August 5, 2004, BMG and Sony announced the merger of their music divisions. “By pooling the resources of two of the most creative companies in the music industry we are perfectly positioned to help our artists realize theircreative goals,” the new hybrid company’s CEO Andrew Lack (atelevision executive up until a couple of years earlier) said, “whileat the same time providing greater value to music consumersaround the world.” One of the reasons for the merger was, of course, to remain competitive with the Universal Music Group, which took over the16 Dirty Little Secrets of the Record BusinessAnswering to the Stockholders, Not the Audience 17 #1 record manufacturer position upon its merger. (Sony/BMG still fell short of pulling ahead by about half a billion dollars.) Anotherreason was to jettison about 2,000 employees, cut its payroll, andenjoy savings of about $350 million. EMI remains unmerged as of this writing, though rumors of an EMI/Warner Bros. merger (just so they don’t feel left out) keepflying. EMI owns or distributes the Virgin, Blue Note, and Capi-tol labels, to name a few. With EMI’s recent successful years andajump on the digital marketing of music (more on this later), how- ever, a Warner/EMI merger may not be necessary, and in factmight be a drag on EMI. In 2004, it had something most of theother major global record companies did not: a profit. All this corporate bedfellowing left Warner Bros. as the only U.S.-ba sed m ajorinternational record company, a distinction it maintains as of this writing. This is not to say that the companyhas not changed hands and corporate identities perhaps half a dozen times since Steve Ross passed on in 1992. Warner Enter- tainment became a part of the Time Warner empire, then part ofthe AOL Time Warner family, before getting sold to former Sea-grams head Edgar Bronfman, who took the company public. As this is written, rumors swirl about Bronfman unloading his (andhis investors) shares in the company. So the “big six” that started the 1980s has dwindled down to the big four “major” record companies, record companies withglobal distribution and clout: Universal, Sony/BMG, EMI, andWarner. In terms of the economics of the new millennium, this is not unusual. “Like the major players in many industries,” Patri- cia Seybold, author of The Customer Revolution ,observed, “these com panies are in the process of consolidating.” But ev en people in the record business agree this is not a great thing. “The consolidation has made the record business moreabout business,” said record exec Tom Corson. “Before, it wasmore about records.”183 Who Does What to Whom ABrief Tour of a Fictitious Record Company Welcome to fun with flowcharts. In this episode, we play Sherpa, foll owing a piece of music from the artist’s brain to the consumer and through all the steps in between. While this tour does not rep- resent any specific record company, all of them work somethinglike this, and have for eons. These are the broad strokes that helpexplain how music gets turned into a corporate commodity—andone reason the business has hit ebb tide. Startingat the top, we have the artist. This may be one of the few instances in which the artist is at the top of the corporatestructure, but for our purposes, it all starts here. The artist cre-atesmusic and needs to communicate it. This is the kind of artist who would not be content for the work to get circulated onlyamong friends and family—this artist wants the world to knowand hear. Our artist can be a male or female or a group, making any kind of music and attempting to find an audience. In theprocess, an artist will often find an advocate and avatar, other-wise known as a personal manager. Artist Personal ManagerLawyerBusiness ManagerThe TeamWho Does What to Whom 19 The Major Label Paradigm Artist Personal ManagerLawyer Production Distribution SalesRetail MarketingBusiness Manager Product Manager Promotion Promotion: radio by format Independent or Local Promotion Radio ConsumerPublicity Newspapers/ Magazines/ TV,etc.Video Promotion: includes contracting promotional video Video Outlets: MTV, video showsWholesaler/ One StopChain Warehouse Store/ RetailerRecord Club Aword of warning—anyone can be a manager. Unlike, say, booking agents or automotive mechanics who in some states need licenses and must follow certain regulations to stay in busi- ness, artist managers need no license, no credentials, no experi-ence, only a contract. No one regulates them. For you artists outthere, it behooves you to make sure the manager can deliver, thatthe manager knows people in the music business who can help propel your music. (Keep in mind, artists from Christina Aguil-era to Leonard Cohen to INXS have found it necessary to suetheir management. And within one week in 2006 the managersof both INXS and the Killers sued their bands. Especially whenmoney gets involved, an artist needs a manager they can trust.’Nuff said.) In addition to contacts in the music business (preferably with every A&R person in creation), a manager will often have alawyer on retainer. The only time the artists should need their ownattorney is to read through (and possibly negotiate) the manage-ment contract. Many managers have affiliations with a business manager . This person makes s ure that the business of being an artist gets handled like a business—taxes filed, money invested, rent paid,employees (if the artist gets so lucky) paid, etc. Lately, agreat deal of artist development, which used to be the purview of the record company, has fallen into the lap of man-agers. Record companies do not want to hear from an artist whodoesn’t have several release-ready songs and a “story”—the unique selling points that explain why the record company should take achance on this artist. Many of the majors will not sign artists whohavenot previously sold 20,000 units of a record, either via an independent record company, or on their own. That actuallybecomes part of the “story.” Sometimes, the story is evident—theBacon Brothers didn’t need to work too hard to generate a story when one of the br others, Kevin, is also a movie star. (On the other hand, it doesn’t help them sell earth-shattering numbers ofrecords.) For the sake of this chapter, we’re going to assume our artist’s sales and story are convincing, else our Sherpa won’t have verymuch reason to guide. The manager gets the artist on the A&Rradar and signed to a major label.20 Dirty Little Secrets of the Record BusinessWho Does What to Whom 21 Occasionally, artists will get onto the A&R radar without ben- efit of a manager. If the artist gets signed, the first thing the A&R person in charge will do is find the artist a manager. The reasonis pretty simple: in most cases, record companies would rather dobusine ss with a manager than have an artist running amok in their hallways. A manager ostensibly knows the “rules of the game.” Agoodone knows how to play the rules as well as play by them. Managers will push to keep an artist in a record company’s face rather than its rearview mirror. And believe it or not, that’s whatthe record companies want—they realize that without someoneholding acattle prod there would be no motion at all. All the little boys and girls intent on getting into the music business wanna do A&R. There is a certain amount of glamourand p ower there. Theoretically, the A&R department decides which artists get in. They are the gatekeepers, the maw of thedigestive system of a record company. However, as we’ll see lateron, itain’t necessarily so. A&R people work insane hours, learn- ing to live without sleep. Their day usually finds them at their office by 10 A.M., sifting through CDs and paperwork. Each CD generally gets about 30 seconds a track unless: 1. it has too many tracks—circular file and not even a note2. the track is so unengaging the A&R person forgets to forward to the next trackGetting Signed Artist Personal Manager A & R Department3. the A&R person actually likes the track, in which case it goes into a pile for further review The paperwork involves making sure all of the projects the A&R person currently has on tap are working properly—the pro- ducer the A&R person hooked up with the artist is working out,the artist is living up to contractual obligations, the company isliving up to contractual obligations, negotiations with managersand the label brass are moving forward, and other issues involvedin feeding the hungry maw of the record label are being handled. Ultimately, an artist and manager who go the major label route sign a record deal offered through the A&R department. A majorrecord company generally will pay the artist an advance againstfuture r oyalties (usually between 10 and 20 percent of gross sales). The manager gets a 15–20 percent cut of this off the top. The restofthe advance will pay for making the record—studio time and hiring producers and engineers and the like—as well as giving the artist something to live on while the record is being made. In the meantime, the A&R department will get busy. The A&R p erson oversees the initial steps of the artist through the record company and recording process. If the artist did notcome to the company by way of a production deal (a deal wherea producer takes the artist into the studio initially and records three tracks; if those tracks land the artist a record deal, then theproducer gets a piece of the action and produces all or part of thefull album), the A&R person will suggest producers. If the artist or producer doesn’t have a studio, the A&R person might help find the best one to suit the artist’s needs. For artists who don’t writetheir own material, the A&R person might also suggest songs. Beyond that, though, the A&R person is the artist’s champion within the record company. Often, if an A&R person leaves thecompany, that person’s artists get divvied up among the peoplewho are still there. These artists are called “orphans,” and some-times they get adopted by someone who loves their work and willcontinue to be their champion, and sometimes they wind up with the wicked stepparent of A&R. 22 Dirty Little Secrets of the Record BusinessWho Does What to Whom 23 This is not an atypical event, nor does it only happen to new artists, nor only in the record business. As Pete Townshend said, “When I was doing The Iron Giant with Warner Bros., the peo- ple in c harge of the company and the line producers changed five times! Five times! So every time it was like a new group of peo-ple to deal with. The project remained, but the people changed.” Those poor orphaned artists frequently don’t last long, unless they manage to rise above the neglect (usually with the aid of agood manager) and actually sell enough records to let them makedemands of the record company. Ultimately, all this activity by the A&R person, the artist, et al., will result in the producer and the artist delivering some form of digital recording medium to the A&R person. This master thenmake s the rounds of the record company. The heads of the com- panylisten to i t to makesure they want to sign off on it (whether ornot they know a thing about music) and the promotion depart- mentlistensto it to see if they hear a hit, something they can work with to get the r ecording some attention. It really doesn’t matter, asthe deck is stacked against everyone—conventional wisdom in the record business says that only about 5 percent of the records released actually recoup their advances eventually. Only perhaps15 percent turn a profit for the record company. This is not forlack of trying, and more’s the pity. Once everyone has signed off on the recording, the A&R department hands it off to the product manager and the produc-tion department. At this step of the process, the recording goesfrom a raw tape to the package that you would find at your localrecord retailer. The Handoff Product ManagerA & R DepartmentThe production process involves deciding what artwork will appear on the cover, how many pages the booklet inside the CD package will run, what kind of packaging it will use, what willbe printed on the CD itself, etc. Beyond this, the productiondepartment will also come up with promotional copies of the CD, usuallypackaged in cardboard, paper, or plastic, as the record company has two systems through which the recording will pass—the“front office” promotion machine and the “back office” dis- tribution machine. 24 Dirty Little Secrets of the Record Business Front Office and Back Office DistributionProductionProduct Manager Promotion Production Distribution SalesRetail MarketingProduct Manager Wholesaler/ One StopChain Warehouse Store/ RetailerRecord ClubWho Does What to Whom 25 At its most basic, the distribution side gets the recording places where a consumer can buy it—a record club or catalog, a store, a Web site, anywhere a CD can be bought. At most record compa-nies, distribution occupies a separate space from the front officefunctions of A&R, promotion, product management, legal, etc.,although at the remote branches, sometimes the local sales and mar-keting force will share office space with the local promotion force.(The actual manufacturing of the CD takes place at a third loca-tion, separate from both the front office and the distribution team.) The first thing that gets done is the sales department creates a“one sheet.” This document will have the name of the artist, title of the record, order number, bar code, and the artist’s “story.”This might be the first exposure anyone, including the sales force,has to the artist’s CD, which they will refer to as “the product.”They go out to the chain warehouses and offices, determine howmany copies of each CD the buyers want. Some recordings don’tget ordered at all. After all, over 30,000 CDs have been releasedevery year since the mid-1990s, many more than will fit in moststores, as we’ll see. In the meantime the marketing people prepare artwork and budgets for the displays at the base of each row of records, or“endcaps,” counter displays, and other point-of-purchase tech- niques at retail. At the l east, they make one-foot-square “slicks” ofthe product cover available for display by the retailers. If there is a b udget for it, the department might sponsor a contest for retailers tocreate a di splay. The manager of the store with the best display selected by the marketing department wins an appro- priate prize—usually a play on the artist’s name or the title of the album. The marketing people’s job is to make the product morevisible, within budget constraints. Slightly before the release date, the initial shipments go out to the stores or the wholesalers. Almost all CDs come out on Tues-days, mainly because that allows them to report a full week ofsales to the SoundScan sales-tracking service, which runs fromTuesday to Tuesday. That way Billboard ,the music industry’s main t rade magazine, can compile the charts based on the Sound- Scan information and go to print by Friday.26 Dirty Little Secrets of the Record Business Product Manager Promotion Promotion: radio by format Independent or Local Promotion RadioPublicity Newspapers/ Magazines/ TV, etc.Video Promotion: includes contracting promotional video Video Outlets: MTV, video showsPromotion While all this is going on in the back office, the front office iscrankingup the promotion machine to get the artist’s “story” out to as many peopleas possible. The main source of exposure for music since the 1920s has been radio, but economic dynam- ics and the relationships between the record companies, con- sumers, a nd radio havechanged radically over this last decade or so—so much so that an entire section of this book is dedicated to dealing with those particular dirty little secrets. The entire promotion department at an indie might be one or two people, calling radio stations, writing press releases, going online to get their artists’ names out there virally. At a major, it’savery different story. There is the senior vice president of pro- motion, who quarterbacks the promotional team. In the mainoffice, there is a head of promotion for pretty much every genreWho Does What to Whom 27 and format of radio—the national head of classic rock promotion, national head of rhythmic Top 40 promotion, and so forth. Theytake care of business on a nationwide basis. In most of the branchoffices, two or three local promotion people work the radio sta-tions in their area under looser guidelines—in one office one per-son might handle Southwestern rock promotion—all the rock asopposed to the more specialized promotion people in the backoffice—while in another office someone else handles R&B pro-motion for New England. A record company might employ over100 promotion people nationwide, working to get the company’srecords played by the local radio stations in their genre. The publicity department tries to secure whatever media cov- erage on the artist it can garner—reviews of the artist’s record-ing, news stories about the artist, etc.—again within constrictionsof its budget. This is frequently where the buzz for an artist getsstarted. However, the publicity department is often the RodneyDangerfield of the record company; it gets no respect at all. Onepublicist of my acquaintance recalled that the promotion depart-ment of the major record company for which he worked justusurped about half the publicity department’s budget one year when promotion ran over. With the riseof MTV in the 1980s, video promotion became a veryimportantmeans of breaking an artist. Some artists that could never get a break on radio broke big at MTV. The network’s influenc estarted to ebb in the 1990s as it lost track of what the Min its n ame st ood for andremade itself as a teen and young adult lifestyle channel. Another promotional outlet that runs in waves of importance is the club scene. In the disco 1970s, the new wave ’80s and themoshing ’90s, club promotion broke artists on a regular basis. All of this to get the consumers into the store to spend their $16 on a CD.284 Q: How Many A&R Guys Does It Take to Screw in a Lightbulb? A: We Can’t Screw Anymore— They Cut Off Our Balls! Vic Steffens and Mike Caplan sat in Caplan’s office in the Sony Building o n Madison Avenue one day in the early part of the 21st century. Caplan, at the time, was a respected A&R guy at Epic Records. His bands got love from the critics, but usually not the number of sales that it took to succeed at the “majors” level. Thathas never been too unusual—we’ll see that such a small percent-ageof bands get the level of sales needed to succeed at the “majors” level, it’s a wonder the “majors” level exists at all. ButI’m getting ahead of myself. One o fthe bands Caplan had signed, Moe, had at first seemed like a natural. They had a huge following nationwide, and werean integral part of what many touted as the “next big thing” inpopular music, the jam band movement that had started to wellup from what the major-record economy regarded as the under-ground. Like so many recordings at the major label level, Moe’s potential outstripped the reality of their sales. The label brassfound the number of units Moe shifted so disappointing that theydropped the ba nd. However, Caplan’s signing of Moe still inspired Steffens to set up the meeting.Q: How Many A&R Guys Does It Take to Screw in a Lightbulb? 29 Steffens has a well-earned reputation as a producer and engi- neer. His credits include recordings by Lita Ford, Blue Sarceno, Matt “Guitar” Murphy, Sly Stone, and dozens of other artistsfrom blues to gospel to jam bands. He also owns his own studio,Horizon Music, and his own record company, Horizon Records,and manages several of the bands on Horizon as well (prototyp-ical, as we’ll see, of a possible future of the music biz). One ofthe bands with Steffen’s company, the Mighty Purple, had simi-lar roots and fans as Moe. Despite Moe’s dismissal from the com-pany roster, Caplan still apparently saw potential for the jambands, and had some interest in signing the Mighty Purple to Epic. Polly Anthony, at that time the president of Epic Records, came into Caplan’s office. She said hello to Steffens and chattedfor a few minutes. As she left, Anthony called to Caplan over hershoulder, almost as an afterthought, “Just so you’re not signinganother one of those jam bands.” At which point all Caplan could do was smile sheepishly. Even if he wanted to bring in the Mighty Purple, now he couldn’t. Hehad just been overruled. In A&R, nothing fails like failure, and nothing succeeds like success. When one band in a “movement” or “genre” fails to liveup to the title of “next big thing,” that genre and all artists painted w ith that genre’s brush (or even those that just come in contact with the paint) will likely never get the opportunity to reach a v ast audience suddenly. They’ll have to build—or, even worse, rebuil d—their audience more organically. When an artist does catch the public’s fancy, half a dozen nearl y identical artists will spring up after. Those artists’ stories are based on how much like the hit artist they are. (This appealsto radio, which has come to thrive on flavor-of-the-month same-ness to keep its audience from switching stations.) This situation is nothing new. From the “sweet bands” of the early 1940s to the “boy bands” of the late 1990s, when someonefound a formula that worked, everyone tried to capitalize on it, and when a formula failed they dropped it with equal or greaterrapidity. As 1950s record company owner Bob Marcucci recalledof the heady early days of rock and roll, “I just knew the idolswere going to come in. Presley was very, very big. He and RickyNelson were really the two big artists, and I felt that if I couldfind kids like that and put them on my label, I could have somebig stars, too.” He did, signing Fabian and Frankie Avalon to his label. With the help of American Bandstand ,these became two of the most po pular performers of the late 1950s and early 1960s, and laid a path for others just like them: Bobby Vee, Sal Mineo, even BobbyDarin, before he became one of the first adult contemporaryswingers for the Baby Boomer era. What has changed over the years is the role of the A&R department. In the early days, they still went out and found tal-ent, but, as the acronym would have it, they took that talent—the A stands for Artist—and put it together with songs—the Rstands for Repertoire. They even booked the studio time andhired the musicians and arrangers (although some of the era’s A&R people, like Mitch Miller or Goddard Lieberson, were quitecapable ofwriting the arrangements themselves, thanks). “In the da ys ofdirect todisc,” noted Miller, the renowned anti- rock head of A&R for Columbia Records during the waning hey- day of the “g reat American songbook,” “you went into the studio and people h ad toknow their business. If you didn’t get it on the take you were doing, you had to throw it all out and do it again.” Jerry Wexler, the legendary head of A&R for Atlantic Records ageneration after Miller, concurred, tongue firmly in cheek: “Nobody really knew how to make a record when I started. Y ousimply went into the studio, turned on the mic and said, ‘Play.’ ” Most of the people who said “Play” worked for the record company until rock and roll came along. Even after that, SamPhillips owned Sun when he started producing Elvis. George Mar-30 Dirty Little Secrets of the Record BusinessQ: How Many A&R Guys Does It Take to Screw in a Lightbulb? 31 tin was an EMI employee when he went to work with the Beat- les. Ahmet Ertegun and Tom Dowd were both on the Atlantic pay-roll (Ahmet, of course, as the boss) when they made all the greatearly Ray Charles sides. Maxwell Davis ran seminal L.A. blues andR&B companies Aladdin and Modern, in addition to bringing inmost of the artists and making most of the records. “Maxwell Davis is an unsung hero of early rhythm and blues,” noted Mike Stoller. “He produced, in effect, all of the record ses-sions for Aladdin Records, Modern Records, all the local inde-pendent rhythm and blues companies in the early ’50s, late ’40sin Los Angeles.” Ertegun pretty much created the idea of the independent pro- ducer with his relationship with Jerry Leiber, Mike Stoller, andthe Coasters. “They had this group who we later called the Coast-ers,” said the Atlantic founder. They were called the Robins at the time they were recording for Jerry and Mike’s label. We wanted to sign that group, and wealso wanted them to continue producing them. So we signed thegroup, and we made a production deal with Lieber and Stoller. I guess they were the first so-called independent producers. We had a long series of hits with them. “We figured w eknew h ow to m ake records,” adds Stoller, “because we had watched people make records, good people like Maxwell Da vis, and so on. We learned a lot by watching him, becaus ehe w as on a lot of the sessions where our songs were being done.” As record company owners during the 1950s who actually signed the artists and then went into the recording studio to make the actual records, Davis, and even to an extent Ertegun, expandedthe definition of A&R even as they contracted the role. Asrespected “ears,” if they didn’t hear it, they didn’t sign it. Thatwas as true when they were the point men as it was later whenthey appointed other people to bring in the talent. Even as timewent by, people they hired to do A&R often were little more than the boss’s talent hounds and retrievers, bringing home the musicfor the boss’s decision, a more postitive spin on what went on withAnthony and Caplan. The Lieber and Stoller deal opened the floodgates to the point that today most recording is done by independent producers. Ofcourse, the recording process has become much more involved;whereas Miller would record single takes onto a transcription disc,effectively recording a three-minute song in three minutes, nowproducers capture hundreds of digital tracks per recording in aprocess that might take weeks or months per song to finish. Whilewe’ll explore the economic upshot of that change in technologylater, for our current purposes let’s just say that, under these cir-cumstances, if an A&R person had to produce records, that A&Rperson wouldn’t be able to do anything but record. Sometimes the contemporary A&R person does have studio chops. Some, like Paul Atkinson, did time in bands before theystarted signing them. But for the most part, major label A&R hasbecome the domain of glorified, hamstrung talent scouts. Nowmore than ever, A&R people are limited largely to the flavor of the week. Sometimes, someone will get lucky, find an artist min-ing anew vein o f the same old same old, and pique first radio and then the public’sinterest. Suddenly all the other groups on the scene, all the other artists that sound like this, have a chance of findin g themselves and their managers in the crosshairs of at least one A&R d epartment andembroiled in a strange, Byzantine courtship ritual with the record industry. While they have become fewer and further between, a bidding war between companies is what managers live for; being able to predict the next big thingis what keeps them in business. Take, for example, when Nirvana broke, selling 10 million copies of their sophomore album. Suddenly, all you needed wasto be from the Seattle area and play the guitar and you could atleast get an audience with A&R people. Groups like Pearl Jam,32 Dirty Little Secrets of the Record BusinessQ: How Many A&R Guys Does It Take to Screw in a Lightbulb? 33 Soundgarden (who’d had some indie success even before Nir- vana), and Stone Temple Pilots all scored on Nirvana’s coattails. Similarly, for a while there has been what amounts to a boy- band farm down in Orlando, which produced certain teen girlsingers as well (more on them anon). Likewise, during the shortreign of funk, George Clinton had placed variations on essentiallythe same band with every major record label. During the late1950s, the Philly scene, thanks to American Bandstand ,bur- geo ned. During the early 1960s, when Bandstand moved to Los Ang eles, the show performed the same service for surf music. The main thing that has changed is just how risk-averse record companies have become. Polly Anthony’s distaste of jam bandswas just the tip of the iceberg. The stakes have become so high,the stockholders so demanding, that there is no longer time todevelop artists, cultivate sounds, or even create trends. It has allbecome very reactive. Between this and the regular personnelbloodbaths used to keep the bottom line down, the glamour ofA&R has waned considerably. Aformer A&R guy who moved on to better things put it this way: Budgets all over are much less than they’ve been in the past, which affects all areas of an A&R guy’s life and work, meaning that the salaries are much lower (as much as 50+ percent) than they were five years ago, expense accounts have been massivelyscaled back (no perks like in the past), and bands aren’t gener-ally getting anything close to what they used to from labels intheir contracts. It’s only gotten worse since I left. Yet the A&R department still performs a service, feeding the hungry maw of the record company with equally hungry artists ready to be eaten. They keep the distribution wheels greased, keepthe records coming out. For the major record companies to retainthat element that makes them “major,” the ability to distributetheir o wnproduct, they need to keep these channels open. 345 Charting the Course How Changes in the Charts Changed the Biz One of my early full-time professional experiences in the music bus iness was an internship at the late, lamented trade periodical Record World .It came about because of a summer job I had at a radiop roduction company in the same building. I went up the ele- vator at1700 Broadway and introduced myself to the editor, Mike Sigman. After I explained the concept of an internship to him (basically “slave labor with an educational component, though you canpaymy train fare and feed me”), we struck a deal. I’m proud to say that for as long as the magazine existed afterward, it had anintern from the journalism department at Rutgers. I learned a hell o f alot about journalism, magazine produc- tion, and the mechanics of the music business during my timethere. Some of it I learned the hard way (like by not quite twig-ging exactly where ASCAP got its money—it sounded like a pro- tection racket to me at the time), some by observation, some byinference, and some by actually being told, “This is the way thingswork.”(I also met Michael Zilkha through Reco rd World,an d wou nd up being signed as an artist to his Ze Records imprint about a year later, for my hot minute as a recording artist.) As one of my main jobs at the magazine, I helped to gather information on the charts every week. The chart department inNew Y ork consisted of four people (including me). We also hadour correspondents in the L.A. office. Every person in charge ofaspecific genre (the dance music columnist and R&B editor, forCharting the Course 35 example) was responsible for compiling his or her department’s chart information. I helped with the jazz and dance music chartsand gathered information for the main sales chart as well. Thisinvolved calling various retailers, radio stations, and clubs andentering their sales information or playlists onto a graph, with the#1 song or record getting 10 points, #2 getting 9 and so on downthe line. A similar method was used about a half mile downBroadway and across the street, where Billboard had its offices. The de partment spent Monday and Tuesday compiling the charts. This often involved working until close to midnight everyTuesday. The heads of the chart department went into their officesand closed their doors and got on a conference call with the LosAngeles office until they had settled on the numbers. On Wednes-day, we tallied up our information and created the actual charts.One of my jobs, every Wednesday afternoon, was to copy thecharts and distribute them to everyone in the office. At 4 P.M., we sat down and fielded calls from consultants, record companies,managers, radio station groups, and other journalists requestingthe coming week’s chart numbers on specific albums (“Last weekitwas #4 on the pop chart. It was #1 on the dance chart?”) or Top 10s. What Iinferr ed from the closed doors in the offices of the chartheads, especially after hearing all the indistinct arguing that seeped through, was that these charts, while mathematical, were also a p rocess of compromise. Even the information-gathering proce ss di dn’tstrike me as thoroughly accurate. What if the retailer didn’t give precise numbers? I would learn several years later,as a record-store manager for a fair-sized chain of stores in the New Y ork metro area, that sometimes stores improvise theirinventory counts. If the information was compromised even at thatearly stage of the gathering, how accurate could the final tallyreally be? For example, there was great consternation and gnashing of teeth in the chart department the first week of October 1979,when the Eagles’ The Long Run ,their long-awaited follow-up to Ho tel California ,came out. All indications said that it should de but at #1, but that just didn’t happen. The conventional wis- dom at the music business trades said that albums needed a slow build, a climb up the charts. That’s what made every week in thecharts exciting. It was kind of like a horse race (a sport that asurprising number of music business people enjoyed—I know ofone who told me about losing a publishing company at the trackone sunny spring afternoon). In the end, the sales were too strongto ignore—the chart department felt they had no choice but todebut The Long Run on the chart at #1. The er a o f compromise and deliberation over the chart num- bers all changed on May 25, 1991. On that day, Billboard pub- lisher Ho ward Lander wrote: For more than 30 years, our sales charts have relied on rankings of best-selling records obtained from stores, over the telephoneor by messenger service. Until now, the only technologicalchanges have been the introduction of computers to tally thedata more quickly and the recent usage of fax machines—butthe basic methodology has remained the same. In the last few years, the introduction of point-of-sale sys- tems that scan bar codes at retail checkout counters has made possible a wh ole new degree of accuracy for measuring record sales: the a bility to count precisely the number of units sold, rather t han just ranking the titles. Billboar dhas worked dili- gently over the l ast two years to take advantage of this new tech- nology toproduce more accurate charts. With this issue, we are proud to begin using actual piece counts for two of our leading charts: Top Pop Albums and Top Country Albums. The source of this information was a year-old company called SoundScan. The charts, however, were ancillary to the company’s mission. “We wanted to create a management information system,” said company cofounder Michael Shallet, “a tool that would allowindustry people—be they record executives, concert promoters,36 Dirty Little Secrets of the Record BusinessCharting the Course 37 artists, managers, booking agents—to measure the cause and effect of the various marketing things that they did.” To do this, SoundScan hooked up its computers to the point- of-sale computers at retailers across the country, mostly the bigchains that already had the point-of-sale computers to scan thebar codes of the recordings they sold. As the system rolled out,the company also started equipping independent stores with point-of-sale systems so it could monitor their sales as well. As far asthe charts were concerned, this replaced preconceived notions ofhow records sold with solid, statistically significant sales figures. Said Shallet: Before, you had a mentality as far as the chart was concerned that said sales should look like a bell curve—that the curveshould start slowly, it should rise and the time frame would bedifferent, how long it took to rise to its apex. Then, as gently asit rose, that’s how gently it would fall off again. But that reallywas never the sales pattern of a record. They keep stores openuntil after midnight so they can sell after the street date, andyou see people dying to get a hold of the product. That is the realsales pattern. Chaos erupted in the record business. Not only had the gen- tle bell curve disappeared, but suddenly every assumption in the business disappeared as well. Hardly a month went by withoutone or another blockbuster album entering the charts at #1. Gen- res that the industry regarded as “marginal,” like country, proved every bit as popular as pop. The mainstream record businessseemed surprised by this, as if Nashville was another planet and the tastes in New Y ork and Los Angeles totally reflected the tastes of the rest of the nation. (While they’ve gotten over the shock,they still don’t seem to have let go of that notion.) One executive at Time Warner described another upshot of SoundScan as “the multiplier effect,” or, as in A&R, nothing suc-ceedinglike success. When a record hits the charts, many retail- ers routinely discount the price. Some put the top albums in apreferential display, which makes sense; when an album makes the Top 10, that means people want it. Therefore, until it reaches a satur ation point, an album that reaches the top of the charts sells even more, and the charts are dominated by the same records weekafter week—i.e., the discounted ones. “Records slipped to the low-est common denominator,” the executive noted. “The resultingmarket lock-ins led to mediocrity.” AColumbia University study backs up this observation with empirical evidence. A group of 14,000 people were given accessto a Web site where they could download music and rate its“quality.” The ratings, however, were rigged; for example, oneband was ranked 26 out of 48 in terms of quality. But the studyshowed that when a lot of people downloaded a song, more peo-ple continued to download it, whereas when there were few ini-tial downloads, the song became one of the least downloaded inthe study. The study suggests, the sociology professors at Colum-bia concluded, that people make their musical choices based onpopularity rather than “quality.” “It turns out that when youlet people know what other people think, the popular thingsbecome more popular,” said Columbia sociology professor Dun- can Watts. Soun dScanbrought other changes. At a very basic level, it chang ed the “r eporting day” from Wednesday to Tuesday, with all reports compiled on computer (we didn’t have one back in the Reco rd World days) and availa ble Tuesday evening. Other dig ital-age companies changed the process for compil- ingsingles and tracks charts, which rely on information on radio playas well as sales. In the old days, compilers got the informa- tion from the program or music director of the radio station, andthey trusted it (though as we’ll see later, there was a lot on theline that would make one question its veracity). However, a com-pany called Broadcast Data Systems (conveniently owned by thesame parent company as Billboard )found a way to offer a far mo re accurate picture of the songs on the air. In a similar man-38 Dirty Little Secrets of the Record BusinessCharting the Course 39 ner to the way SoundScan tracks the digital barcode of albums sold, BDS’s computers monitor the songs played on radio stationsand compare them to digital “thumbprints” of the second 30 sec-onds of every song release (stored in an enormous database). Theycheck the second 30 seconds to avoid the chance of on-the-air tal-ent talking over the record and fouling the sample. Similarly, acomputer program called Selector, which most professional sta-tions use to create their programming, can directly upload theplaylist for the week to anyone authorized to view it. Radio and Reco rdsus ed this method to track spins until Billboard bought it and s witched it to BDS. The songs that get the most spins chart higher. Terri Rossi, Billboard ’s director of operations, R&B music divi sion, said, “The singles chart must be both an accurate mea- sure of actual airplay and units sold, and also charted to the R&Bmusic marketplace in such a way that a single can go to No. 1 onthe R&B singles chart without necessarily crossing over to thegeneral market.” These new methods led to trepidation over the removal of the “human element” of the charts, and further fear of homogeneity, since reporting might become “more of a science which will uni-form the wh ole industry and take away from the individuality of markets. ” Of course, as we will see when we explore radio, this worry might h ave more to do with “phantom spins”—radio stations report ingsongs they didn’t actually play—than any individuality, save how much certain individuals got to line their pockets. Nor was t here any need to worry about radio becoming homogenous. That would happen, but it would come from a source far removedfrom the charts. What SoundScan did do was exactly what Shallet and his partner, Michael Fine, set out to accomplish. “We still get calls,”said Shallet. “ ‘Hey, what can I do to get my records up thecharts?’ The answer, of course, is sell records.” To which the Time Warner executive responded, “The Sound- Scan experience shows that businesspeople often settle for the least creative interpretation and manipulation of data.” This, of course, is a bind. Doubtless, SoundScan is a far more accurate measure of how records sell. It brings to mind somethingChurchill said about democracy: it’s the worst system in the world,except for all the others.40 Dirty Little Secrets of the Record Business416 Control Issues Did Home Taping Kill Music? “It’s a great scam if you think about it,” wrote David Shamah, an eco nomics reporter for the Jerusalem Post . You bought, say, Goodby e Yellow Bri ck Road by El tonJohn whe n it came out in 1973 (am I dating myself?) and you still like it. Y ou even still have the album, although the record player is long gone and they don’t make them anymore [actually, they do, but you have to look hard to find them]. Y ou like the album somuch you bought a cassette tape version to play in the car and later on a CD. Now you’ve got an iPod or similar MP3 player and you’re considering buying the MP3 version. Hmmm. Shelling out four times for the same product? From the time that Edison, Bell, and Berliner introduced recorded music as a consumable product until about the mid- 1970s, the record business was in control. Y ou wanted to own themusic, you had to go through it. Thatstarted to change, very slowly, around the end of World War II, w ith the advent of tape recording. The tape machine came toAmerica from Germany with a Colonel Richard Ranger, who dismantled it, figured out how it worked, put it back together, andarranged for people to see it. “He showed it to me and BingCrosby and [Hollywood sound engineer] Glen Glenn,” recordingpioneer (and inventor of the solid body electric guitar) Les Paulsaid. “He showed me the advantage of tape over disc and it imme-diately turned my head.”While the reel-to-reel tape machine became one of the music business’s best friends, ushering in the complex multitrack record- ing studio—another Les Paul invention—very few of the machine’sprivate owners were ever accused of trying to kill the music,though many committed music to their reels. Most of the ownersof reel-to-reel tape machines tended to be either affluent adults,younger music makers, or students recording lectures (my dad hadahuge, clunky Wollensak tape recorder, about the size of a piece of carry-on luggage and weighing 25 pounds if it weighed anounce—what masqueraded as a “portable” back in the 1950s).They were few and far enough between that the music industrydidn’t pay much attention to reel-to-reel recorders. The panic didn’t even start when Philips introduced the cas- sette deck in 1963. While far easier to use than the reel-to-reeltapes, which often required Byzantine threading, the cassettecouldn’t get rid of the sonic hiss inherent in its design. Like theearly Edison phonograph, it mostly found its way into offices asadictation medium. Then Ray Dolby’s labs introduced a consumer noise-reduction system that got built into cassette decks starting in the mid-1970s. Now a cassette could make a serviceable copy of an album, andFM r adiostarted tofeed the frenzy with Midnight Album blocks, duringwhich they w ould play a new album all the way through for the home-taping pleasure of their audience. By the early 1980s, the U.K. r ecord industry trade group, the British Phonographic Industry, had become so alarmed that it created this logo: 42 Dirty Little Secrets of the Record Business Control Issues 43 But what was it really scared of? More than anything else, it was lack of control. For the first time since one of Edison’s min- ions put a music cylinder on a phonograph for public consump-tion, the industry that controlled the music did not entirely controlthe medium on which people consumed the music (although we’vealready established that Philips, inventors of the cassette, ownedseveral record companies, including classical music monolithDeutsche Grammophon). As the technology became better, themusic business’s paranoia escalated. The palpable fear wasn’t limited to the record industry, either. Home taping scared the publishing business as well, because with-out the mechanical royalties that came from the record compa-nies, the publishers and songwriters were also out of business.When the digital tape recorder entered the picture in the early1980s, it only got worse. As songwriter and publisher GeorgeDavid Weiss, whose credits include the Louis Armstrong hit “WhataWonderful World” and the Tokens’ version of “The Lion Sleeps Tonight,” saw it: When you tape something analog, with a home taping machine, you are degrading the original, because the head is being touched. The copy is not so hot. It’s a copy. After you copy thefirst a bout six or s eventimes, you’ve got to go out and buy another ta pe. Another original. Y ou have to buy one more so maybe we g et out t wo, two and a half cents to take home. With copie s, we’regetting zero. But w ith the dig ital audio tape, forget it. Y ou buy a compact disc, put i tinto this machine and nothing touches. It’s all elec- tronic information that is being sent from one side to the other. Nothing is being degraded, and the second one that is made is a clone, not a copy. It’s exactly as good and as authentic and withas much fidelity as the original. Imagine what that means for us. . .this DAT machine is just going to devastate us: copy copy copy! Clone clone clone! The music industry as a whole grew so frightened, it lobbied Congress and got the Audio Home Recording Act of 1992, whichamounted to a levy on digital audiotape. It also pressured the man- ufacturers to include a serial copy-management system in theDAT recorders, which made it impossible for any one DATrecorder to make more than one copy of any given CD. The mainDAT recorder manufacturers—Philips, Sony, and Panasonic—allhad interests in the music business, so it wasn’t that hard to con-vince them to do this, but it also made the medium all but use-less as a consumer audio item, and limited the DAT market to theprofessional and semiprofessional music enthusiast. Once again,things were relatively under control. So the record industry continued to exploit and benefit from the new digital medium of the compact disc. However, as we’lldiscover in the next chapter, less than 40 percent of the recordssold in 2000 were new releases. If we can assume that it was moreor less a “normal” year in the record business, that means thatover 60 percent of the records sold are what the record businesscalls “catalog” albums. These albums were new once upon a time,and remain such consistent sellers that enough stores keep theminstock for the record companies to keep them in print. When they cease to sell, the record company will cut the record out of its catalog and take a band saw to the boxes of CDs left in itswarehouse, cutting a small slit through the carton and into the jewel box of the CD— not so far that it damages the actual disc, but far enough that the cut is evident. Then it sells the boxes to a recor dliquidator, who puts them into stores for 99¢ or $l.99. For the most part, the ar tist willnever see money on these CDs, asmost contracts don’t pay royalties for cut-rate and cutout albums. (But then most artists, more than likely, never saw money for their records beyond the advance anyway.) So catalog is a very important part of the record business. Because of catalog, the CD essentially saved the industry. Vinyl still ruled during the disco boom, which led to the disco debacle of 1980, sparked, in part, by the failure of the soundtrackto Sgt. Pepper’s Lonely Hearts Club Band , adog of a movie, a ye ar and a half earlier. By the turn of the decade, the music busi-44 Dirty Little Secrets of the Record BusinessControl Issues 45 ness was in piss-poor shape. Record sales slipped by close to 20 percent. With pirated, counterfeit copies, some records got morereturns than the company actually sold to the stores. These things happen in waves. Artie Ripp, who had a label with Gulf and Western, recalled: Gulf and Western Records put out this soundtrack by Elton John from a movie called Friends. I think it was the first album that shi pped platinum and came back double platinum. They took back that many returns with counterfeiters. They presented JimJones, the G&W president, with platinum and gold records andso on, and it was a total farce. Ayear after the great disco deflation, Philips introduced the CD, first in Europe, then in America. It was a revelation to some. “We knew that CDs would become the dominant format whenwe first saw a CD player in 1982,” said Don Rose, the founderof Rykodisc, the first CD-only record company. “We realizedthere was a potential for a lot of material to be reissued on com-pact disc, a lot of significant music that had more or less satu-rated its viability in the analog market.” Having recently mined the windfall of cassettes spawned by the adventof the Walkman, and having relied on dominance of LP for35 years b efore that, the record business moved on from the “saturated . . . analog market” and took advantage of this oppor tunity to once again exploit their catalogs. The allure of the CD w asclear to both the consumer and the record companies. Since it was a laser-read digital format, noth- ingever made contact with the actual recording. Unless you were very careful, most LPs developed scratches, attracted dust, anddeveloped hisses, clicks, pops, skips, and all manner of surfacenoise. CDs, on the other hand, theoretically had none of theseproblems. The actual music, encoded digitally into pits encasedinclear plastic, would supposedly last forever. The record com- panies sent interns and minor minions into the vaults to locate themaster tapes of their bestselling recordings so they could digitizethem and release their lucrative catalogs in the new format, once again capitalizing on recordings they had long ago paid for. Iworked in record retail when the CD first arrived in Amer- ica, managing one of the first stores in New Y ork City’s Green-wich Village to stock them—as imports initially, costing upwardof $30. People in the Village tended to be early adapters. Theybought their players (which cost in the neighborhood of $1,000in those early days) and needed the software to play on them. Dur-ing the onset of stocking CDs at the store, I had lunch with mydistrict manager, who asked me what I thought of this new for-mat. I told him I thought it was great, but I wondered if I wouldever see some of my favorite records, which tended toward theobscure, on the format. I needn’t have worried. Nearly everyrecord I ever owned on vinyl (with a few notable exceptions) cameout on CD. Doors producer Paul Rothchild didn’t even know that Elektra had rereleased the Doors records on CD until he wandered intoarecord store and actually saw them. He bought the CDs and put one into his player. “It was abysmal,” he said. “It had been takenfrom a minimum of fifth-generation master, perhaps even eighth- generation cassette-running master. It was noisy, distorted,obscene.” Rothchil d was not alone in this experience. “The first few CDs ofElton that came out were dreadful,” said Elton John producer Gus Du dgeo n. “They were just terrible because [the people who made the dig ital transfers] basically didn’t understand what they were doing.” It took a few years, but finally they got this issue straighte ned out, largely through the efforts of people like Rothchild and Dudgeon. The first decade and a half of the CD era were boom years for the record business. Indeed, even in the period from 1989 to1998, CD sales doubled in dollar value from $6,579,400 to$13,723,500. Seemingly, music managed to survive home tapingnicely.46 Dirty Little Secrets of the Record Business477 Panic in the Suites Napster, Grokster, and the Last Kazaa Strangely, the next great panic attack came as sort of a delayed reac tion, though one that Weiss foresaw, in terms of the ability to “clone” digital music, if not in the exact same medium. The cause of thispanic was another new format that initially started in the music business’s sister industry, the movie business. The movie business loved the whole idea of digital audio, but they couldn’t fit that much information onto the soundtrack of a film. Ger man engineer Karlheinz Brandenburg came up with a solution, a digital audio compression protocol that basicallytrimmed some of the frequencies that were beyond the power of the human ear to perceive and most speakers to reproduce, and fur- ther compacted the musical data so that a song that might take up30 megabytes of information on a CD (which generally could holdup to700 me gabytes of data) shrank down to about 3 megabytes of digital data. He brought this idea to the Motion Picture ExpertsGroup, which adopted Brandenburg’s Audio Layer 3 compressionprotocol—MPEG 3 for short, or MP3 for shorter, based on the file extension used for these pieces of compressed musical data—as thestandard for digital audio compression for film. Brandenburg’s company decided to make the protocol “open source.” Not that it mattered much in the early 1990s, when com-puters were comparatively puny and the code would have over-taxed them. Initially, it took a dedicated device to actuallycompress the files.There is an axiom in the computer world, however, called Moore’s Law, after Intel founder Gordon Moore. In 1965, Moore predicted that the number of transistors that would fit on a micro-processor chip would double every year, thereby doubling thepower and speed of the computer. Moore’s Law is a variation onthis idea; it basically states that computing power doubles everyone or two years. It took five years of this doubling before thehigher-powered personal computer could deal with the algorithmfor MP3, at which point (around 1995) high-end computer usershad the digital muscle needed to “rip” digital CD audio into MP3files on their own personal computers. By this time, another development in computing became more and more commonplace. Started as a means for scientists to senddata back and forth with relative rapidity, the Internet had beenin use by the academic and military communities since the mid-1970s. When the graphical Web browser Mosaic was introducedin 1993, however, this potential wellspring of data became moreaccessible to the computer literate. This included college students,especially those studying the burgeoning fields of computer engi-neering and science (in order to perpetuate Moore’s Law). These students discovered Brandenburg’s open-source algorithm, and sud-denly, between the high-speed connectivity available on college campuse s and this new ability to compress a song encoded onto a CD down to a tenth of its original size, digital music zinged backand forth between students’ computers over the campus networks. While aware of the phenomenon, the record companies didn’t care too much about it at first. After all, it was only a bunch of col- legekids, and they couldn’t get the songs away from the computer. People who don’t learn from history are doomed to repeat it. In the 1920s, when radio started its ascendance, the record com-panies took the attitude, “Why would anyone want to listen tosomeone else playing records for them when they could play theirown?” However, during the Depression if people had a radio, theydidn’t really need to spend 75¢ apiece on records. Radio provided48 Dirty Little Secrets of the Record BusinessPanic in the Suites 49 enough entertainment to make them forget their troubles for a few minutes. In 1921, record sales had topped $100 million. By 1931,they slid to under $20 million, a fall caused, in part, by the recordindustry’s own hubris in ignoring the appeal of radio. The industry hadn’t lost this hubris some 70 years later, which shouldn’t surprise people. It ignored the digital transfer of musicin 1995 just like it had the rise of radio in 1925—at its peril. If the record companies had embraced this technology back in 1995, figured out the many ways it could be exploited and thenexploited them, the music business might be a much healthier, hap-pier place (in economic terms). Everyone could easily access musicinstantly anywhere, either by subscription or per piece. Musicwould have the same kinds of business precautions that preventthe average person from “ripping” a DVD—though new pro-grams to circumvent these safeguards arise faster than the indus-try can retool to defeat them. Even so, sound recordings would become far less expensive, because the physical packaging, warehousing, and real estateexpenses would not exist. People would happily spend money ondigital copies of record companies’ catalogs once again. But that didn’t happen. Unfortunately for the record business, several thingsprevented this. For one thing, the open-source nature of the MP3 format put the computer literate way ahead of the curve. By the time the biz became aware that college computers overflowed with digital music files, the me ans of compressing music had become institutionalized. Record companies also failed to recognize the Internet as a meansof, once more, selling through their catalogs. Perhaps this was because they hadn’t yet milked the CD for all they could.Remember, the glass-and-lacquer disk had served them for over40 years. The vinyl disc reigned for 35. They had just finished thebrief decade of the cassette when the CD fell into their laps. TheCD had barely had 15 years in the recorded-medium throne whenthe challenge of the digital domain, of software that never actu-ally needed a permanent container like a CD or a tape, challenged both the assumptions and the dominance of the record business. The threat also came from outside the business (even the cas- sette had come from within—the invention of Philips), and itblindsided them. Worse, they had no control over it, or even anyidea how to control it. Coming to grips with the change wouldtake them a decade and a half, and by the time they did, the geniehad long escaped its bottle and the music business landscape wasforever altered. The record business’s first impulse was to try to use its lob- bying muscle to control the digital domain. By 1993 cable TV andsatellite systems were cablecasting digital music. Fearing that con-sumers’ ability to tape this digital music would allow them to makenear-digital-quality copies, the record companies began to lobbyCongress for new laws and amendments to the copyright code. So it’s not like they totally did not see the possibility. Most people in the industry just ignored its ramifications. Some peopledidn’t. Todd Rundgren was one of the first artists to put up hisown Web site with the option to pay a membership fee and heareverything he did as soon as it was done. He began to see that actual record stores would become a thing of the past (an ideawe’ll deal with in more depth later on): It will b eTower Records and Blockbuster Video, except they won’t have storefronts. They’ll have big, faceless buildings with giant mainframe computers in them, waiting for you to call up. Then they’ll download it to your house and they’ll charge you for it, just as if you walked into the record store to buy it. The dif- ference is that prerecorded media will disappear. And actually, the CEO of Sony agreed, to an extent. “Retail- ers have to be proactive,” said Michael Schulhof in 1995. “There are opportunities in the future that are not threats to retailers’business. Retailers have to do more to ensure their place in thefuture electronic marketplace.”50 Dirty Little Secrets of the Record BusinessPanic in the Suites 51 By 1997, users of the Internet began to probe the music busi- ness—and copyright law in general—in some rather tender areas, and the record business began to slowly take notice. On collegecampuses around America and the world, students were postingcopies of songs, along with “cracked” commercial software andimages of naked women (most of the users were male computerstudents). Anyone with Web access could find the song files, findaplayer for the files, and voilà! Instant music collection. Indeed, to the record business the World Wide Web had come to resemble the Spanish Main of the 18th century: it was a havenfor pirates. The reaction of the record business was to load can-nons and engage in battle. “Until the appropriate balance betweenfree-flowing information and intellectual property is struck,” saidthen-RIAA president Hilary Rosen, “the Internet will neverachieve its potential to become a viable medium for the sale ofmusic. We must not let a pirate market on the Internet get estab-lished before the legitimate one is ready.” She would sound this theme over and over again for nearly a decade. However, the industry she was representing seemed lessthan interested in turning the Internet into “a viable medium for the sale of music.” And by the time she’d said this, it was alreadytoo late. Some te ntativesteps were taken. Oasis asked fan sites to please take down unauthorized music and videos from their sites. Geffen Recor ds sent polite letters to the deans, provosts, presidents, and heads ofIT of the variouscolleges with some of the biggest and most visible bulletin boards, making them aware that by hosting thesebulletin boards, they were in violation of the copyright laws of the United States. “The Internet’s threat to the control of musichas caused the handful of interlocked global monopolies whichdominate the music industry to reveal their naked greed,” saidRock and Rap Confidential editor and social and music critic Dave Mars h. “T hi s new technology offers the potential to make all the music available to all the people all the time.” However, since this potential didn’t fit in with any of the record business’s current paradigms of distribution, it didn’t see the possibilities. For example, Oasis’s management, while it mighthave not wanted a downloadable version of the group’s currentalbum on the fan sites, might have actually thought twice. Afterall, fans of the band tended to visit these sites, and wouldn’t fans be apt t o buy a CD, especially after they heard it? Beyond that, if the management didn’t want unauthorized music on the site,wouldn’t it have been in Oasis’s best interest to, perhaps, autho-rize some non-LP B-sides, live tracks, or rarities? This offers a win-win situation: The fans have music—indeed, music that no oneelse would get if they didn’t visit the fan sites. Oasis earns thegoodwill of its fans and gets its music out to people who mightnot otherwise hear it. Of course, as it turned out, this all became a moot point. Now, pretty much anyone with a computer can download nearly any-thing Oasis ever recorded, either legally by paying between 80¢and a dollar, or in the legally gray to blatantly illegal area of P2Pdownloads. At the time, however, the record companies had bigissues with digital music. But the record companies’ anxiety stayed on a back burner at the time. M ore general sites for MP3 files had found their way onto the Net, lik eMP3.c om, and search engines like Lycos found thestill-more-common bulletin boards, but CD burners had not yet become widespread. As of 1996, the only way to get music files off the computer was to put them on a cassette: home tap- ingstrikes again. Over the course of the next year, the record business got a one-two punch worthy of Lennox Lewis. From the consumer’s viewpoint, chip technology once again provided the answer to immobile music files. Korean computerhardware manufacturer Saehan announced its newest innovation,the MPMan, in 1997. The product, in a limited way (it could only52 Dirty Little Secrets of the Record BusinessPanic in the Suites 53 hold about an hour of music), liberated the MP3 file from the com- puter and put it into the pockets of early adapters. Suddenly, themusic business sounded the alarm. At just around the same time that alarm sounded, a first-year student at Northeastern got into trading music files via InternetRelay Chat (IRC). He saw a way to extend IRC’s capabilities sonot only could the files be passed, but people could also searchone another’s computers for music and download it. He gave theprogram his IRC handle, and before long anyone with a musicjones and a modem had downloaded Napster and was using it toaccess music files, person to person, peer to peer. “It was rooted out of frustration not only with MP3.com, Lycos, and Scour.net, but also to create a music community,” for-mer Northeastern student Sean Fanning said of his innovation.“There really was nothing like it at the time.” Peer to peer remains a strange and troubling business model. Not only was Napster (and all the programs that followed in its wake) making music an essentially free commodity, but the programs themselves were also free. While nearly all of the high-profile P2P software and Internet music sites of the late 1990s managed to find investors, none had a really clear idea how tomake money from their digital creations. So, whil e the conversation continued around the record busi- ness, withinthe record business, the new notion of file sharing earned h ushed whi spers at best. “I think the [record] industry has basicallyignored the warning signs that were on the wall,” said Warner Bros. chief information officer Tsvi Gal. “We, as an indus- try,by and large ignored piracy in the hopes that it wouldn’t be widely accepted. Of course, it’s not going to go away so easily.” The record business’s ostrichlike procrastination made possi- ble a future in which music became a free good rather than a com-modity, via a means of distribution over which it had no control,and indeed one it had ignored for the previous decade. Now, hun-dreds of thousands of people could and did share songs online— and not just college students, either. Accountants, writers, grade-schoolers, attorneys, people from all walks of life tested the digi-tal waters of file sharing on Napster. Any mainstream song theycould think of, they could find, and even a few oddities. The word Napster became a curse word on the order of pay- olain the h alls of the major record companies. In fear, the record compa nies and their business and lobbying trade group, the RIAA, started a campaign of terror directed at Internet Web sites, fans,and even the artists themselves. Toward the end of 1998, Universalmade rap group Public Enemy take a downloadable track from itsnew album off its Web site. Capital Records then forced both theBeastie Boys and Billy Idol to remove music files from the Web,the Beastie from their own Web site, Billy Idol from the MP3.comsite that eventually bore the brunt of a nine-figure settlement forcopyright infringement. In Idol’s case, a source close to the singer’sinner business circle said, “Billy thought it was important to getsome music out to his fans.” The RIAA denied that its members had anything against MP3 files as such. “There is no music industry campaign against the use of MP3 files,” claimed Rosen. “Our concern is with the rampantpostin g of files without the copyright owners’ or artists’ autho- rization, free for the taking of their recordings online in the MP3 orany other format.” By 1999, w ith the dot-com boom booming and the Internet bubbl estill swelling, the battle lines were drawn. In the far cor- ner weighing 800 pounds was the gorilla called the record indus-try.In the near corner, weighing about three pounds, with a cute kitty cat face and headphones was Napster. Again, rather than try-ing to do anything constructive on its own, the record businessseemed to spend most of its time either trying to crush the Nap-ster or saying terrible things about it when Napster managed toavoid getting crushed. 54 Dirty Little Secrets of the Record BusinessPanic in the Suites 55 By fall 2000, the gorilla and its assistants, the weasels, had gotten a toehold on Napster, bringing Fanning and his associates to court. At the same time, all the major labels, scattershot, putup some form of Internet music service that they either boughtout or created out of whole cloth. In either case, the companies’self-confident miscalculations became quickly apparent. “Theproblem is twofold,” noted an anonymous Sony executive. First, everyone has their own proprietary technology and their own ideas of how it should be done, which is just confusing toconsumers. Then there’s the idea that people are interested inonly Sony or only Warner product. That might have been thecase back in the fifties when you knew that Atlantic recordspretty much had all the really cool R&B acts, but all these com-panies now cross genres and have no single, definable identity forcustomers. So the majors’ early efforts on the Web were once again doomed by hubris. It was also still much easier to download from Gnutella, Kazaa, Grokster, or any of the other peer-to-peer pro-grams on the Web (which the industry referred to as “pirate-to- pirate”). “It’s a complicated process,” admitted the RIAA’s DougCurry.“It’smuch easier for someone to upload thousands of CDs and put them online f or free as opposed to changing 60 years of a large industry’s practices overnight.” Mark et research analyst Mike McGuire from the Gartner Group agreed. The r ecord companies, he said, “have a 100-year- old business model that’s based on controlling distribution by controlling a physical thing. They can’t do that anymore, or they can’t rely on that entirely.” By 2001, the Copyright Control Services reported that music fans had downloaded a quarter of a billion tracks the previousyear. Another study found that during one 30-day period, over50 percent of the 12- to 24-year-olds surveyed had downloadedaP2P MP3 file, not only in the United States but in Canada, Swe- den, Taiwan, Italy, the Netherlands, South Korea, and even urban areas of Mexico. Then came the one-two punch of the early 2001 dot-bomb and the terrorist attacks of September 11, 2001. The former found thatmost of the for-profit Internet music sites (along with about 80percent of the other new Internet-based companies) had burnedthrough their public capital, sending their stock values plunging.At MCY, one of the vice presidents had to get a “bonus” fromthe company because the stock options he had to exercise after ayear would cost him more in taxes than the stocks were worth.Fortunately, it was a loan he would never have to pay off, as thecompany burned through its assets, instituted massive layoffs, andeventually shuttered. It was hardly an isolated case. Another reason that the record industry had trouble getting it together online was its control issues. These date back quitesome time, as we’ve seen; the record business simply does not playnice with others. For example, in the 1980s I worked with a com-pany called Personics. For around a dollar a track, it would makeyou a custom, high-quality cassette with any songs in its catalog of thousands. Unfortunately, very few of these songs came frommajo r labels and virtually none of them were hits. The major labels just didn’t trust these valuable properties to outsiders and thought that allowing them to be used in this manner would devalue them. However,by 2001, the Web had become a free-for-all Per- sonics, sq uared. Peo ple downloaded virtually any song they wanted and could then burn their favorite mixes onto CDs or download an hour’s worth of music to their portable MP3 play- ers, which had proliferated in penetration and grown in capacityover the previous two years. The record companies’ worst night-mares were coming true: chased by the interconnected monsterof the Internet, they jumped off a cliff of revenues and kept fallingand falling, only they didn’t wake up. The Pew Internet and Amer-ican Life Project drove this home. In a survey of people who down-56 Dirty Little Secrets of the Record BusinessPanic in the Suites 57 loaded music, 80 percent of them didn’t consider it stealing, and 60 percent didn’t care about copyright, nor did they even want tothink about paying for music over the Internet. The record companies were in the middle of a period of marked decline that would last through this writing, with a brief respitein 2004. They saw CD sales dip from a 1999 high of 942.5 mil-lion units to a 2003 low of 745.9 million units. Once again therecord business started wringing its collective hands and claimingthat the downloading activity would put them out of business—what University of Texas economics professor Stan Liebowitz calls“ Annihilation Theory.” Despite this, companies did actually try to sell songs over the Internet. MCY.com, before it crashed and burned, offered down-loads that could be bought and played on most portable file play-ers, although it used its own proprietary compression protocol.Former GRP Records president Larry Rosen and Grammy-win-ning producer Phil Ramone started N2K Encoded Music and theMusic Boulevard Web site, offering both hard goods and down-loads. Rather than use MP3, they opted for the easier-to-control(for them) Liquid Audio compression. Both sites offered limited access to music, however, as the major record companies were stillsuspi cious of the Internet. They would not trust what they regarded as their m ajor asset, their catalogs, to this wired devil. Ever the visionary, Ramone saw it differently: “We’re standing on the precipice of a new generation of technology and work.” “Traditiona lmusic distribution has grown over-burdened and outdated,” said Tony Stonefield, the CEO of another pioneer Inter net music distributor, the General Music Outlet and Elec- tronic Records. “Electronic distribution is clearly the next step forthe industry.” That next step, that precipice, loomed nearer with alarming speed. Not only were music consumers defecting to the Internetin droves, but so were artists. Prince, in the midst of major dis-agreements with his longtime record company, Warners, gave upon record companies altogether. He began using Rundgren’s model, making his music available online both as soft and hardgoods. Perhaps if a record company asked nicely and gave him alot of money, he might make some of the music available via moreconventional outlets. Who guitarist Pete Townshend, who made much of his solo output available as hard goods via his own site, concurred: “Fornew artists, it’s a direct line to the general mass of the popula-tion so they can get some early response to their finished work.” “Record companies stand between artists and their fans,” said Courtney Love. “We signed terrible deals with them because theycontrolled our access to the public. But in a world of total con-nectivity, record companies lose that control.” Not every artist felt this way about the new technology. Metal- lica, a band that encouraged the trading of live concert tapesamong its fans, felt threatened by its commercially recorded out-put being available for peer-to-peer trading online, and submit-ted a list of the e-mail addresses belonging to a third of a millionof its fans who had downloaded album tracks off Napster to theRIAA. “Why does Metallica, like so many other musicians, focus on contro l?” asked the editors of Rockand Rap Co nfidential . When aband starts out, it owns all its own music, but that music isvirtually worthless. The record industry alone has the capac- ity to turn it into something worth millions. But the price for this alchemy involves an assault on the ownership of the music, onits representation to the public, on the money that it gener- ates, on every single aspect of its postproduction circulation.Famous musicians do not become rich except by continually bat-tling the system that wants to keep everything for itself and givethe actual creators barely enough for subsistence. “ Artists standing up and saying, ‘Don’t download our music,’ ” said Wharton School of Business professor David Fader, “is really the same as movie stars saying ‘Don’t watch our previews.’ ”58 Dirty Little Secrets of the Record BusinessPanic in the Suites 59 Between the high-visibility campaigns of the RIAA, Metallica, and others, the case against Napster went to appeals court, where, in summer 2002, the gorilla’s full weight landed on the Napsterkitty and flattened it totally—the central hub of the Napster net-work would not permit certain “unauthorized” songs to passthrough, essentially removing the core of the music people weredownloading. As the major record companies’ music suddenlyvanished from the service, Napster faced the same problem asMusic Boulevard and MCY.com—it offered music with a limitedaudience. Ultimately, it closed up shop and sold what assets itcould. However, before its first iteration was shuttered, users haddownloaded 1.72 billion songs over the course of a month. Of course, this didn’t matter much to anyone but Fanning and the RIAA. In Napster’s wake, dozens of “hubless” P2P networkstook its places. Unlike Napster, which had a central nexus throughwhich the music had to flow, the hubless P2P software accessedthe users’ computers via tens of thousands of shifting “nodes” onthe Web. Most really didn’t have “owners” per se—Gnutella, forexample, had been set free on the world by a small team at AOL’sSpinner radio. Only available for about 18 minutes before AOL realized what it was, the company removed it, but Frankenstein’smonster w as already at large and amok. The program spread virally. The RIAA a ggressively pursued its anti-MP3 course. Not con- tent to just shut down sites that trafficked in MP3s, it started to seek legal relief from sites that directed people to MP3s, includ- ing a self-described “pioneer in the indexing, searching and link- ingof music-related sites and files on the Internet,” MP3Board. The MP3B oardposition was that it served as merely a guide to where any MP3, legal or “pirated,” could be found. It did not dis-tribute any actual music. If most of the sites it pointed to hap-pened to house “illegal” files, well, whose fault was that? The sitepointed right back at the RIAA and its client companies for notgetting with the program online. Beyond that, the MP3Boardattorneys suggested that rather than going after the pathfinder,maybe the RIAA should follow the path and go after the actual infringers. These infringers proliferated at a rate the record industry found alarming. Whereas a high-traffic evening on Napster hadfeatured a quarter of a million users, some five years after the ser-vice got ridden out of Dodge on a rail it was not unusual to seefive million users at a time logged in to the hubless P2P sites. Thisphenomenon was due partly to the fact that music fans felt enti-tled to their newfound ability to get music online, and partly tothe growing penetration of broadband Internet in homes via cablemodems, fiber optics, and DSL. Where even the fastest dial-upmodem might take 15 minutes to download a song, a really fastbroadband connection might finish in less than a minute. By2004, of the more than 75 percent of Americans connected to theInternet, over half of them took advantage of access to broadbandconnections, and that number continues to grow. By summer 2002, the RIAA had become desperate. It began to get agg ressive not just with the companies putting out the P2P soft- ware, but also with the users of that software—looking into legal action against individual downloaders. It subpoenaed over 250 musicfans, accusing them of getting MP3 files from one of the huble ss services, Kazaa, and claiming that the downloaders could befound to owe up to $150,000 per song. As of this writing, over 16,000 p eople have been subject to these lawsuits. “The end resul t ofthis,” noted Phil Leigh of the research firm Digital Media, “is that you’ve sued your customers and you’ve deterred peer-to-peer activity, but you haven’t improved sales. What have you accomplished other than frightening your cus-tomers and angering them?” “The music industry is estranging an entire generation of music listeners,” added Jerry Del Colliano of AudioRevolution.“Gen X and Y feel it is their right to download music despite copy-right infringement laws. The RIAA killing off Napster was a failed60 Dirty Little Secrets of the Record BusinessPanic in the Suites 61 experiment because new peer-to-peer networks like Gnutella rage on with files being swapped by the millions.” Leigh and Del Colliano were not alone in expressing these sen- timents. Lawyer Fred Goldring urged the record business to“abandon the ‘Shock and Awe’ tactics. . . . The strategy of suingcustomers (thieves) and building ever-better locks for CDs and dig-ital singles simply was not working and . . . everything we haddone thus far had in fact made the problem worse.” Since manyin the industry had become familiar with the 12-step programsthat dare not speak their names, Goldring suggested a six-steprecovery program for the record business: 1. Admit you’re powerless. File sharing is not going away. Downloading is already more popular than the CD. 2. Give up on anti-piracy technologies—they don’t work.3. Stop attacking your own customers (bad PR; worse business). 4. Focus less on finger-pointing and more on immediate, practical, fair solutions. 5.Give the people what they want, even if it requires thatlaws be changed. 6.Supportinitiatives that will allow unlimited access to every piece of music in the MP3 format, whenever and wher ever someone wants it, with no conditions or restrictions, in an easy-to-use interface. People will pay for this. “Her e’sthe social reason that [Digital Rights Management] fails,” concurred the Electronic Frontier Foundation’s Cory Doc-torow. “Keeping an honest user honest is like keeping a tall usertall. . . . At the end of the day, the user DRM is meant to defendagainst is the most unsophisticated and least capable among us.” “Lawsuits against file sharers are not going to save the music business,” PC Magazine gadfly John Dvorak added.In fact, the opposite is true. I’m convinced that the shuttering of the original, wide-open Napster . . . was the beginning of theend for the recording industry. This is because Napster was notjust an alternative distribution network; it was an alternativesampling system. . . . On Napster, people were not just tradingsongs by engaging in mutual discovery. . . . Y ou’d begin down-loading songs A, B, and C—your favorite songs ever—and you’dsee that one other trader had all three of these songs in his orher library. Y ou could then peruse that person’s entire collec-tions. Y ou’d notice the two of you had very similar taste! Butwait, you’d find some unknown bands in his or her collection,soyou’d download a few new songs and discover another band you liked. Another area of concern in the early 2000s became a rising global gray market in MP3s that began to emerge, taking advan- tage of one of the Web’s chief benefits, the often-dropped first partof its name—it is world wide. The Russian site allofmp3.comoffered the same downloads that iTunes offered, but for about 3¢each. The Future of Music Organization’s Brian Zisk observed: My understanding is that allofmp3.com might very well be legal in Russia, and though the IFPI [International Federation of thePhonographic Industry] exerted extreme influence on theMoscow City Police Computer Crimes Division to recommendto prosecutors that criminal charges be filed against this service,it was decided that no charges should or would be filed. Whileallofmp3.com might be liable in civil suits if they pay royaltiesincorrectly, this is no different than what U.S. labels and Websites face if they pay royalties incorrectly, and while it isunknown if they are paying correctly, it is reported that rates inRussia are minuscule compared to those in the U.S. So folks might be violating laws in the U.S. by using this ser- vice, and it’s possible that allofmp3.com might be liable under U.S. l aw as s hown by the recent legal victories against unautho- rized im ports, but my hunch is that if it were as clearly illegal as the IFPI is claimin g(allofmp3.com has been doing this since 2000) t hat charges or lawsuits would have been filed long ago.62 Dirty Little Secrets of the Record BusinessPanic in the Suites 63 Foreign jurisdiction is a quite tricky area, and while it’s easy to state that they should be nailed under U.S. laws, I don’t thinkwe’d want our Internet publishers held to the laws of all foreigncountries—say, Saudi Arabia, for example. While 2001 saw the beginning of legal sites with legitimate, licensed major label songs on them, with Apples iTunes leading the way (more on this in chapter 23), more people got songs from Kazaa, by a conservative ratio of 5:1 (though some peg it at 20:1or more). Indeed, the University of Texas’s Stan Liebowitz citesevidence that people download 300 million CDs worth of songs per month, while U.S. national sales run about 80 million CDsper month, a ratio of 3.75:1. On the other hand, there may actually be evidence that the P2P protocols help album sales. A 2005 Australian study from the Univ ersity of Western Sydney indicates that while nearly 40 per- cent of respondents copped to downloading music from one of the P2P services, nearly 70 percent of them still went out and boughtthe CDs. Said researcher Geoffrey Lee: The main re asons for downloading included: being able to listen to the so ngon their PC, being able to burn songs to a CD because it’s cheaper than the original CD, and being able to sam- ple the song before purchasing. . . . Sixty-eight percent of both generations surveyed [Baby Boomers and Generation Y] contin- ued t o buy albums through traditional retailers because they pre- fer the original copy, like being able to look at other CDs while shopping, or like being able to listen to new CDs. Similarly, the Organisation for Economic Co-operation and Development published a report stating, “It is very difficult to establish a basis to prove a causal relationship between the sizeof the drop in music sales and the rise of file sharing.” The studypoints to quality of the music, the growing number of entertain-ment choices, and physical (as opposed to digital) piracy as muchbigger culprits.Ajoint study by professors from Harvard Business School and the University of North Carolina at Chapel Hill came to a simi- lar conclusion. When they really dug into the statistics, they couldnot find any evidence that file sharing had an effect on people buy-ing CDs. Beyond that, they found that any effect it might have wou ld be extremely small compared to the precipitous drop in CD sales. Afew folks in the record business agreed. While they would certainly prefer collecting money on all their intellectual property,they saw the alienation of their customers as foolish and destruc-tive. Some even acted on these principles. Terry McBride, the pres-ident of Canada’s Nettwerk Records, picked up the legal tab forone of the file sharers targeted by the RIAA. “These same filesharers are great music fans and are breaking new artists with lit-tle or no mainstream media support.” Stepping back a bit, again this reflects the cassette controversy. Through my teen years, my buddies and I exchanged cassettes allthe time, turning friends on to favorite music, songs we wantedto do with our bands, etc. Almost universally, we would ultimatelybuy most of the music we liked from these compilations. In Jamaica, a tourist with two blank cassettes (and perhaps a U.S. d ollar) w ould often get one mix tape full of the latest hits on the islandin exchange. When I went, I came armed with a bunch of blanks and wound up with a handful of great mix tapes that, again, sent me off to a local record store pretty quickly. However, L iebowitz looked at the problem from the viewpoint of amarket economist and disagreed, concluding, “MP3 down- loads ar ecausing significant harm to the record industry. It is not clear, however, whether such downloading in our current legalenvironment will cause a mortal blow to the industry. I suspectthe worst damage to the industry is behind us.” In 2005, the U.S. Supreme Court ruled that the file sharing service Grokster could be held responsible for the illegal activi-ties of its users. This led to the hope in the corridors of the record64 Dirty Little Secrets of the Record BusinessPanic in the Suites 65 business that the long years of strife would soon end. “We will no longer have to compete with thieves in the night whose busi-nesses are built on larceny,” proclaimed the then-chief executiveof Sony/BMG Music Andrew Lack. Even so, by the middle of 2006, the digital music tracking company Big Champagne reported that at any given time 9.7 mil-lion file-sharers were on line, 6.7 million of them in the U.S. alone.This figure represented an 11 percent annual rise internationallyand a 7 percent rise domestically. To the record business, the issue still boils down to control. When John Lennon’s widow, Y oko Ono, made Lennon’s workavailable for sale digitally, Paul McCartney was asked whether theBeatles catalog would ever be available for download. He said hewas sure it would happen, but that with all the parties involved,it was bound to be difficult. “I get involved in stuff I can actu-ally control and do something about,” he said. “There’s a lot ofstrangeness in those areas, and I tend to keep out of them.” In a way, this is typical of many in the record business, who continue to run around, looking up and saying “the sky is falling,”despite an upturn in sales in 2004 (the first year that the RIAA took digital downloads sold into account, coincidentally—or is it?). They l ook everywhere b ut w ithin. “It’s nothing new to say the recording com panies are scared,” said Professor Steven E. Schoenherr from the University of San Diego. “They’ve always been scared.”668 150 Records = 50 Percent of Revenue Every now and again, Billboard columnist Ed Christman sits down wit h his SoundScan figures and a calculator and crunches the num- bers, determining what percentage of music released is really selling, and what actually makes a profit in the record business. These oftenalarming numbers offer a great insight into the business’s woes.And while the numbers seem to distress him, they don’t seem tosurprise him. In fact, they surprise him less every year. Christman determined that in 2000, 35,516 new titles (includ- ing reissues) hit the stores. The major record companies released 6,188 of them, and 29,328 came from independent labels. Thesenew releases accounted for 37.8 percent of the records sold thatyear, just less than 300 million scans. Of those titles, 24,585, or not quite 70 percent, sold less than 1,000 copies. In terms of per-unit sales, the figures look a little better, but still pretty bleak in terms of the overall picture. The average major label release in 2000 scanned 41,109 copies, while theaverage independent release garnered 1,438. As we’ll discover later on, much of this has to do with the way music is promoted. After all, how can we know we want topurchase a record if we don’t know it exists? The traditional means of promoting recordings, for nearly a century, has beenradio. The following cycle has made the recording world go’roun d sincethe 1920s: 1. the consumer (that’s us, folks) hears something on the radio2. the consumer likes it3. the consumer goes to the store and buys it 150 Records = 50 Percent of Revenue 67 But as radio stations tighten playlists, follow formats, and generally concentrate their programming centrally rather than locally, they become less and less willing to take a chance on any-thing new. The stakes are just too high. Unfortunately, the recordcompanies have only slowly woken up to this reality and startedto try to revise the promotion-equals-radio equation. Christman also analyzed the sales of all records in print for the year. During 2000, SoundScan tracked 288,591 albums, whichsold 784 million units. Now simple division tells us that the aver-age release, therefore, sold 2,717 copies. Of those nearly 300,000 albums SoundScan tracked: ®88 sold in excess of one million units ®114 had sales between 500,000 and 999,999 ®204 raked in sales of 250,000–499,999 units ®818 other albums sold over 100,000 units Added up, 1,224 albums accounted for 440.6 million sales. That means that, if SoundScan provides a statistically accurate sample (which it does, by all reckoning), 0.42 percent of all albums so ld accounted for 56 percent of album sales. For a long time, the c onventional wisdom in the music busi- ness has stated that most albums don’t pull their weight. “We esti- mate that80 percent of the 45 rpm singles do not recover their productio ncosts, and 75 percent of popular LPs don’t recover their costs,” former RIAA chief Stanley Gortikov said in the 1970s. “T hatleaves a very small percentage of albums and artists to pay for the records that don’t make it.” Conventional wisdom in the music business also states that for the average major label album to break even, it needs to sellbetween 250,000 and 500,000 copies. Albums that sell less thanthis don’t even make back their money for the record company, letalone bring the artist anything like royalties .Therefore, only 406 al bums (assuming that all or most of the CDs under discussion asselling over that 250,000 figure were part of a major label’s active catalog) broke even. The major labels in the year 2000 operatedon profits generated by about 0.14 percent of the records theyreleased. Granted, tracking the albums released in a calendar year includes some released in November and even December (thoughDecember releases are generally rare), leaving little time for themto hit the break-even mark. The November releases, however, aresome of the strongest of the year, the ones designed to feed the vast h oliday buying frenzy. These are the releases the record com- panies are counting on to get people into the stores before the end o f the year. Independent record companies, meanwhile, operate with far less overhead than the majors (more on this presently). Theaccepted independent average break-even range is 10,000–24,999sales, depending on the recording cost and overhead of the indie.But even this lower threshold is rarely met; only 3 percent of thetitles released in 2000 sold over 10,000 albums, accounting forjust less than 83 percent of CD sales that year. That’s less than 5percent of product accounting for nearly 85 percent of total sales. Five years later, Christman did these calculations again for new releas es. In 2005, over 60,000 albums came out, including reis- sues withnewbar c odesand digital-only releases. These new releases accounted for 243.1 million of the 618 million albums soldin 2005. Of t hoserecordings, only 32 garnered sales of over amillion units, accounting for 57.2 million copies, which means those 32 albums, 0.05 percent of the releases, accounted for more than10 percent of the record business. Another 62 albums went gold, selling between 500,000 and 999,999 copies; 103 soldbetween 250,000 and 499,999; and 213 others scanned between100,000 and 249,999. So a total of 410 albums sold a total of169.2 million copies—about 0.7 percent of the new records putout that year accounted for 70 percent of all new-release sales and27 percent of total sales that year.68 Dirty Little Secrets of the Record Business150 Records = 50 Percent of Revenue 69 While these figures account for “legal” digital downloads via iTunes, eMusic, and the like, digital sales still seem more a curios- ity than numbers of any consequence. The total number of digi-tal album sales ran to 410,863, which accounts for 0.067 percentof all album sales. Of the 16,580 digital-only albums released in2005, the majors issued 2,935 while 13,645 came from the inde-pendents. The majors’ digital-only releases sold an average of 155copies each, with the bestselling digital-only album selling about12,000. Independent digital-only releases scanned an average ofabout 30 sales per title. However, these digital releases may well become part of record retailing’s “long tail.” The long tail theory, proposed by Wired magazine’s editor-in-chief Chris Anderson, basically states that ifyou h ave unlimited space for an unlimited number of products, some will sell very well, and some might sell poorly but consis-tently. If you plot them on a graph, you get something that looksalot like a sleeping rat with a long, long tail representing those items that sell very few copies. However, taken in aggregate, thislong tail accounts for half of all sales, sort of the flip side of thefact that 0.35 percent of all albums represent over 50 percent of all sales. The long tail, so the theory says, over time might justmake thesemarginal recordings financially viable. Between1995 a nd2005, t hatpotential long tail grew sub- stantially. The number of major-record new releases jumped from around6,500 to over 11,000, and independent releases more than doubl ed from22,000 releases to nearly 50,000, bringing the indies’ share of releases from 75 percent to 81 percent. Sowhat’s the point? Well a few spring immediately to mind. Since the charts are gauged by sales, those 0.14 percent of albumsthat broke even are the ones that made the charts, got onto theradio, and got all the publicity. These are the albums from thatyear that everyone knows. And indeed, like the little girl with thecurl, when the record business was good that year, it was very,very good. In 2000, five albums sold over a million copies in theirfirst week in release, naturally zooming and booming to the top of the charts, bringing musical immortality and uncounted richesto such culturally important (and I’m only being half sarcastichere) artists as the Backstreet Boys, NSYNC, Britney Spears,Limp Bizkit, and Eminem. This leaves over a quarter of a million albums fighting for a little less than half of the recorded-sound portion of the nation’sdisposable income—a shrinking figure, as we’ll discover. Thesealbums, many on independents with little promotional budgetand little hope in the traditional avenues of promotion, generallyhave to count on press or word of mouth for exposure—certainly,for reasons we’ll get into later, they cannot count on the radio.Not even records from major companies with huge promotionbudgets can count on that anymore. More important, of those 35,000 or so albums released in 2000, the average person probably could only hear music fromabout 150 or so of them from generally available media, evenmusic a person would never actively listen to, heard walking downthe street, coming out of stores, via airport sound-systems, behindcommercials . . . there’s music everywhere! In the meantime, the record companies have consistently released in excess of 30,000recor dings onto the market each year for over a decade and twice that muchin 2005 a lone. What do you think are the chances that one of those tens of thousands of records might become your new favorite ofall time, if only you got the chance to hear it? And can a business in whi ch 5 p ercent of its product supports the other 95 percent afford not to figure out a way to get that music heardand bought? “In the pop-prism mentality of success in today’s world we are inundated with numbers, numbers, numbers,” Little Featpianist Bill Payne said, “as if that is representative of any kind ofquality.” That’s important to keep in mind. The charts have nothing to do with quality—chart numbers denote quantity, the number of70 Dirty Little Secrets of the Record Business150 Records = 50 Percent of Revenue 71 units of a particular product sold versus all the other products of that type, in this case compact discs. As we saw, the old sayingthat nothing succeeds like success takes on whole new dimensionsin a peer-driven, familiarity-motivated arena like music, wherecharting means more sales on any number of levels. This leavesthe vast majority of the music produced and recorded in anygiven year virtually unheard. When I tell my friends that they canhear more good music today than at any time in history, I’m talk-ing about these CDs, these bands, and this music that falls throughthe cracks.729 The Fable of the Elephant andthe Rabbit How the Indies Are Eating the Majors’ Lunch Consider the infrastructure of a major record company, as laid out in ch apter 3. On the profits from less than 7 percent of its releases, a major record company needs to support its front office operations—officers, promotion people, A&R people, in-housecounsel, publicists, etc., not to mention the space to house them inNew Y ork, Los Angeles, and Nashville as well. Then there are theback office operations, the sales and distribution nodes (and localpromotion people) located all across the country. A major recordcompany will employ thousands of people, all supported by less than 7 percent of the titles on which they work. The owner o f an independent label and I sat down with a group of potential students interested in the music business pro- gram at a New Y ork City college, where he and I both taught. The ev eninghad gone from an introduction of the courses to a seminar on the music business. The company president taught theclass about running an independent label. His own label wouldsign artists, often ones who had toiled and boiled on the rosterof major labels only to fall into the 93 percent that did not sellenough copies to break even, perhaps moving between 50,000 and125,000 CDs. The exposure garnered by the labels, however,The Fable of the Elephant and the Rabbit 73 expanded the fan bases these artists enjoyed. So the president of this indie label would sign them, agreeing to split all profits 50/50. How does this arrangement compare to the royalty system used by the major labels? Let’s do the math. Suppose that at amajor label, an artist receives a $125,000 advance against royal-ties with which to record an album. That artist sells around125,000 copies at, perhaps, a “15 percent of 90 percent” royaltyrate (many labels still figure in the pre-1950s glass-and-lacquerdisk breakage allowance in their contracts). The company figuresthe royalty based on a price of nine dollars: ®125,000 CDs at $9 each = $1,125,000 (the gross incomefrom the CD) ®$1,125,000 gross income on the CD multiplied by theroyalty rate of (0.15 0.9) = $151,875 (the gross income ofthe CD multiplied by the royalty rate multiplied by thebreakage allowance) Now, this doesn’t look too bad. The artist got an advance of $125,000 and seems to have recouped it and made $26,875 in roy- alties. But that’s only part of the story. As producer Steve Albinioutlined i t: Advance .................................................................$125,000 Manager’s cut ...................................................$18,750 Legal fees.........................................................$10,000 Recording Budget Producer’s advance ..................................$35,000 Studio fee ................................................$22,500 Drum, amp, mic, and phase “doctors”......$3,000Recording tape ..........................................$5,000 Equipment rental.......................................$3,000 Cartage and transportation .......................$2,000 continued on next pageCatering ....................................................$3,000 Mastering..................................................$7,500Tape copies, reference CDs, shipping tapes, misc. expenses.......................................$2,000 TOTAL COST.........................................$75,000 Video Budget Cameras ....................................................$4,000 Crew .........................................................$2,500 Processing and transfers ............................$1,000 Off-line .....................................................$1,000 On-line editing ..........................................$1,000 Catering .......................................................$500 Stage and construction ..............................$1,000 Copies, couriers, transportation ................$1,000 Director’s fee.............................................$3,000TOTAL COST.........................................$15,000 Album artwork...................................................$2,000 Promo photo shoot and duplication....................$2,000 Band fund...........................................................$5,000 New fancy professional drum kit........................$5,000 New fancy pro guitars (2) ..................................$3,000 New fancy pro guitar amp rigs (2) .....................$4,000 New fancy potato-shaped bass guitar .................$1,000 New fancy rack of lights and bass amp ..............$1,000 Rehearsa l space rental ...........................................$500 TOTALCOSTS ..............................................$132,250 So the artist pulled in $151,875. Subtract both the advance of $125,000 and the budget overage of $7,250 (i.e., $132,250),and the band actually realized $19,625—not too bad—in fact farbetter than most. For example, if the band had sold 25,000 pieces less (and remember, as we established in the previous chapter, only onealbum in about 15 to 30, depending on the year, achieve thosekinds of sales) and the figures look very different: 74 Dirty Little Secrets of the Record BusinessThe Fable of the Elephant and the Rabbit 75 ®100,000 CDs at $9 each = $900,000 (the gross income from the CD) ®$900,000 gross income on the CD multiplied by the royaltyrate of (0.15 * 0.9) = $121,500 (the gross income of the CDmultiplied by the royalty rate multiplied by the breakageallowance) For the sake of argument, we’ll assume the band had roughly the same expenses. If the artist netted $121,500, and we take away both the advance of $125,000 and the budget overage of $7,250(i.e., $132,250), the band still owes the record company $10,750before it can collect one dollar of royalties. Nor does that takeinto account contractual withholdings like a percentage forreserves against returned CDs and other items. It may take yearsfor the artist to actually see the royalties on that money. This also does not cover other costs that might get written off against the artist’s royalties according to the contract while thecompany “works” the record: in many cases promotional itemsand publicity junkets, not to mention the artist’s limousine, allneed to be recouped before the artist sees that first dollar of roy- alties (more on this later). Chances are, even the net income attrib-uted t o the ar tist in this exercise is high, and many of the other figurescited ar e low—many albums, especially major label albums, cost a lot more than that to produce, though as the bud- gets have shrunk so have the costs (with devastating effect on the recor ding industry, as we’ll later see). Needless to say, very few make their money back, and even fewer generate royalties for the artist. Now, by selling 125,000 copies of the CD, the record com- pany grossed $1,125,000. Which means after paying the advance,taking care of the extra $7,250 in production expenses, and evenputting the additional $19,625 in the reserve account, the recordcompany grossed $973,125. Out of this, all the front officeexpenses, salaries, warehousing, back office expenses, recordpressing, production, etc., etc., need to get paid. A little bit downthe line, we’ll find out that to mount a successful promotional campaign to radio stations can cost between $250,000 and $1 mil-lion per song .Remember, only about 1,000 albums of the 60,000 rel eased actually sell as many copies as this one during the course of any given year. This might have been one of the few CDs thatalmost pulled its weight, at least as far as the record company isconcerned. Now let’s look at the model that some of the indie labels espouse. The artist does not get an advance, or gets a fairly smallone. The recording is done at the label’s own studio, and is billednominally to the artist against royalties—figure a cost of $14,000to pay for the engineer, the rent, the wear and tear on the equip-ment, and the cost of the media used in the recording. So, betweenthese recording fees, legal fees in the contract negotiations (sincethese negotiations tend to be much simpler than the major labelkind, figure about half the price, or $5,000), and the cost of actu-ally pressing the CD (figure another $7,500 for an initial run of10,000 CDs), the artist would seem to be down about $26,500from the get-go. But now things start to get interesting—the indielabel sells the CDs to retail. If it goes through the first run of CDs,the numbers look something like this: ®10,000 CDs a t$9 each =$90,000 ®$90,000 minus $26,500 production costs = $43,500 profit ®Split that $43,500 50/50 (e.g., a 50 percent royalty) and the recor d compa ny and the band both come away with $21,750 ®$21,750 minus management’s 15 percent cut, $3,262.50,leaves the artist with $18,487.50 And that’s only from the first run of records. With an artist that has already had the major label development, the indie pres-ident estimates he can sell, conservatively, 60,000 CDs. So on thenext 50,000, artist and record company still split the manufac-turing costs of $37,500:76 Dirty Little Secrets of the Record BusinessThe Fable of the Elephant and the Rabbit 77 ®50,000 CDs at $9 each = $450,000 ®$450,000 minus $37,500 to press up 50,000 CDs = $412,500 ®Split that $412,500 50/50 and each party comes out with$206,250 ®$206,250 minus the manager’s 15 percent, $30,937.50, andthe artist realizes $175,312.50! That’s over 10 times what the artist made at the major. Of course, the major already did the heavy lifting, giving the artist the exposure needed to build a fan base that could support salesof 60,000 independent CDs. But, as Todd Rundgren put it: Record companies still have a function. They have to underwrite artists until they build a core audience. That’s what record com-panies used to be. They used to be artist development. It wasnot a hits machine all the time, everybody in the company ori-ented toward that one blockbuster that makes the bottom line.It used to be that you were trying to get artists to a point thatthey would generate a dependable level of income in sales of what they did. That’s what record companies can still do in this envi- ronment, underwrite and promote artists until they do have acore audience. . . . Branding is a very powerful thing. Y ou willbuy a s hitty product with a good brand name on it. The record business is driven a lotby that. “You don’tneed the major record companies,” said Barry Bergman, president of the Music Managers Forum U.S., “for any- thing but m ass media.” Indeed, for a “name brand” artist, the indie route could be the best, perhaps the only way to go. Stu Cook, former bassist for Creedence Clearwater Revival, now plays with his old buddyDoug Clifford in Creedence Clearwater Revisited. While it startedas just a way to play the old songs to an audience, they releasedarecord via major-distributed independent record company Fuel 2000. This represents the best of both worlds—an independentwith the distribution spank of a major. It works for the major, as well. After all, it has a lot of people on the payroll at those dis-tribution branches, and it needs to keep pushing product throughthat pipeline. And it’s a good deal for the artist, who participatesin the profits with a 25–50 percent royalty—that 50/50 split atthe high end. “We’re already into royalties,” said Cook. “Ourbreak-even point was $10,000. We get the same royalty rate asMichael Jackson. That’s the way to do business.” “These are great times for independent labels,” said David Sanger of Austin, Texas, indie Lazy SOB Recordings. “The rea-son is that manufacturing costs are within reach of anybody whowants to make a record.” Of course, the role indies play more often is as the farm club for the majors, doing the initial development that the major labelthen seeks to exploit and build on. Sometimes it works, as it didfor Nirvana, which got bought out of its contract with Seattle-based indie Sub-Pop Records. More often it doesn’t, but in mostcases the major will help expand the indie band’s following. Orsogoes the conventional wisdom. Of course conventional wisdom often fails in an unconventional environment like the record busi- ness. The emo band Thursday sold 357,000 copies of its debutalbum o nindependent Victory Records. Universal Music Group imprintIsland Def J am Records bought the band out of its Vic- tory contract. The IDJ record sold only 349,000 copies. Then con sider the case of another Victory band, Hawthorne Heights. The O hio-based hard rock band, with minimal radio sup- port, managed to sell over 750,000 copies of its debut (still on Billboar d’s Top 200 at this writing) and saw its sophomore effort mo ve more than 100,000 in its first week, debuting at #3 on the Billboard Top 200 Album chart. The band built its community of fans by p ursuing an incessant, grueling touring schedule and work- ing the Internet, particularly the online music-oriented social net-working Web communities. So by keeping lean and mean, by using promotion outside of the mainstream, and by making sure the artists they sign have the78 Dirty Little Secrets of the Record BusinessThe Fable of the Elephant and the Rabbit 79 determination to work to make it, independent labels might become a growth industry and perhaps even remind the majorlabels what the record business is all about: selling music thatreaches people. With an entire staff that would be small for a majorimprint’s promotion department, Victory Records managed tobeat the majors at their own game, getting into that rarified 200or so records out of 40,000 that sell gold or better. And while apercentage of Victory’s sales go to the independent distributor, thisway it only pays indirectly for all the sales and distribution nodesas opposed to the majors, which need to keep the product flow-ing to maintain the nodes. The majors have twigged this, open-ing up their own “independent” distribution companies, giving theindies access to their distribution nodes (thereby adding productto their flow), channeling the distribution fees into their corpo-rate bottom lines, and occasionally striking “upstreaming” dealsthat again use the indie as a farm club—when an album sells acertain amount, the indie sells the contract to the major that ownsthe distribution company. So Sony/BMG controls the independentdistributor RED, EMI bought independent distributor Caroline toserve this purpose, Universal revived their Fontana name as their independent distributor, and Warner has several, most notably theAlternative Distribution Aliance (ADA) and Rykodisc. Beyond these, therearestill several totally independent distributors, such asNew Jersey–based Big Daddy. As in so many things, each has its advantages and disadvantages to the indie company. When we sa t with the students, the indie record company pres- ident had an interesting metaphor for the way he worked versus the way amajor label worked. He said that major labels were like elephants. Elephants are very large, very willful animals. They tendto be difficult to turn once they’re heading in a particular direc-tion, and it takes a lot to bring one down. Independent labels aremore like rabbits. Rabbits are small and fast. They can respond tocircumstances and change direction quickly, and run circles aroundelephants. They just have to take care not to get caught under theelephant’s foot. Cunning rabbits, however, can do very well.The former head of Tommy Boy Records, Tom Silverman, sold his company to Warner Bros. and found himself starting his busi- ness from scratch once again. In response to the insanity of hav-ing to sell millions to maintain a major label relationship, he saidsomething to the effect of: “Great. If they want to send me allthe acts that will sell 250,000 copies, we’ll all make a mint.” 80 Dirty Little Secrets of the Record BusinessPart II \|The Messy Suicide of Commer cial Radio8310 Airwaves of the People, for the People . . . Yeah, Sure Who owns the airwaves? Who actually has the ultimate rights to all th ose broadcast frequencies? The airwaves in America (and indeed, in most of the world) are theoretically public property. As mandated by the Radio Act of1927 (HR 9971), whi ch established the Federal Communica- tions Commission, Congress empowered that commission to: from t ime t o time, as public convenience, interest or necessity require s . . . a. cl assify radio stations, b.prescribe the nature of the service rendered by each class of licensed station . . . c.assign bands of frequencies or wave lengths . . . It also d elineated a variety of other responsibilities, some of which have been obviated by the passage of time. The primary one, however, involved assigning frequencies for various functions andlicensing them. The FCC reminds us this doesn’t just pertain to commercial broadcasting on the AM, FM, and television fre-quencies. Toy cars run on radio control and those frequencies need to be licensed. Y our car remote is a small radio transmitter. Evenmicrowave ovens use radio frequencies (micro wavelengths, if youwill) and need to be licensed. Look at the back of your microwaveand you should see an FCC compliance statement. And, when you think of it, this is all good. Without someone watching out for these things, you might turn on your televisionand the popcorn would start popping, use your wireless modem and cause interference on all the car radios in your neighborhood,or broadcast your wireless phone calls to everyone’s FM stereo(now that’s entertainment!). Bef ore the creation of the FCC, things like that happened all the time. Many of the property squabbles over frequencies weredue to the idea that the frequencies were, in fact, up for grabs.According to attorney Krystilyn Corbett: After broadcast, or “wireless,” communication was first devel- oped, rights to use a particular frequency of the electromagneticspectrum were allocated through a “first-in-time” principle, aswere many private rights. . . . One who wanted to broadcast sim-ply appropriated a suitable frequency; one who came later foundanother, unused frequency. Rights established through the first-in-time principle were not, however, recognized and enforcedconsistently, and so many conflicts arose. On the one hand, the courts wouldn’t allow broadcasting to beregulated under the purview of the secretary of commerce. On the other hand, without regulation, there was nothing to say that one broadcaster could not use the frequency another broadcasterhad used first, stepping all over it with a more powerful trans-mitter. By the mid-1920s, things became so confused on the air- wave s that President Coolidge went to Congress and asked it to takesome a ction. The Radio Act in part proclaimed “that the air waves belonged to the people of the United States and were to be used by indi- viduals only with the authority of short term licenses granted by the government.” Back then, as opposed to now, “the govern-ment” still equated itself with “the people.” The next step in the process, the revised Communications Act of 1934, reaffirmed public ownership of the airwaves, stating thatradio stations were required to operate in the “public interest, con-venience, and necessity.” The act also turned the FCC into a per-manent body and prohibited anyone from “owning” the radiospectrum:84 Dirty Little Secrets of the Record BusinessAirwaves of the People, for the People . . . Yeah, Sure 85 It is the purpose of this chapter, among other things, to maintain the control of the United States over all the channels of radiotransmission, and to provide for the use of such channels, but not own ership thereof [italics mine], by persons for limited periods of time, under licenses granted by Federal authority, and no such license shall be construed to create any such right beyond theterms, conditions, and periods of the license. However, the University of Chicago’s Richard Posner described abroadcast license as, “for all practical purposes, perpetual.” And by making that license transferable, Congress and the FCC essen- tially turned the radio spectrum into a frequency auction. Sincethe people who possess licenses are able to sell them, the broad-cast spectrum has become, in essence, the property of those whocanpurchase a piece of it. As it became harder to revoke a broad- caster’slicense, that broadcasting license could stay in the owner’s hands until such time as they somehow transferred it, leaving theowners of the airwaves—us—out of the transaction completely. To try to p revent this situation from concentrating media access in the hands of the few and the wealthy, who could thenensure that only their own opinions were exposed to the public,some he avyrestrictions were placed on media ownership. For example, rules were established: ®in 1941, so one c ompany could reach only 35 percent of the nation ’s households ®in1964, to prohibit a broadcaster from owning more than one station in a single market, except in very large markets ®in1970, t oprevent ownership of both a radio station and a television station in the same market ®in1975, to prevent cross ownership of newspapers and television in the same market The public was also given the ability to challenge a station that they felt didn’t serve the “public convenience, interest, or neces- sity,” and prevent the renewal of that station’s license. The FCCcodified these policies in 1946, and again in 1960, when it estab- lished 14 criteria for maintaining a broadcast license. By 1965,the effort it took to vet the criteria for each renewal had turnedinto a real drag on the FCC’s time. Then the courts got involved,and several rulings began the process of handcuffing the FCC tothe standards required to confirm the renewal of a license. Fromthese cases came a flood of challenges to renewals, especiallyafter the FCC denied WHDH a renewal in 1970, citing publicdemand. In 1970, the FCC streamlined the process, stating itwould renew licenses if the station could show at least “substan-tial performance free of serious deficiencies.” Somewhere in there,the pendulum began to swing away from public ownership of theairwaves and more toward a model of private ownership. Theoretically, the airwaves have stayed in our hands. The sad fact is, somewhere toward the start of the 1980s, they slippedthrough our fingers.86 Dirty Little Secrets of the Record Business8711 Regulations? We Don’t Need No Steenking Regulations Starting in the Reagan administration, regulations that had held media owners hip in check for five decades began to get stripped away. By the mid-1990s, any company could own pretty near all the media o utlets it could afford. One o f the plankson the platform that brought Ronald Rea- gan to office was getting as much government as possible out ofpeople’s lives and businesses. One of the first major policy initia- tives toreach fruition, in 1981, was the official beginning of the deregulation of media. Gone were some of the more stringent rulesofownership and cross ownership. Rather than have the govern- ment dictate the rules, the FCC had decided to let the market gov- ern. According to an FCC report, “Given the status ofbroadcasting today, the marketplace and competitive forces aremorelikely to obtain these public interest objectives than are reg- ulatory guidelines.” Some of the rules that went by the board in the shakeup included: ®Radio stations no longer had to keep detailed programlogs—though, as we’ll see in the next chapter, that didn’treally matter, as radio stations were beginning to beprogrammed effectively from the logs. ®There was no longer any limit on the amount of advertising astation could air, whereas previously the limit was 18minutes (30 percent) per hour. If a station thought it could maintain listeners broadcasting nothing but commercials,nothing could stop it from doing so. ®The regulations requiring a certain amount of local interestnews and “public service” programming—a prime means forchallenging licenses—no longer applied. ®The broadcast ownership rules became far more relaxed. By 1984, the number of radio stations any one entity could own had nearly doubled, from seven FM and seven AM stations (limits set in the mid-1950s) to 12 FM and 12 AM stations. Thenumbers had risen to 20 each by 1994. (However, owners werestill limited to one station per band in any one market.) Thecourts got into the act, for example overturning the “fairness doc-trine,” requiring stations to give equal time to opposing view-points, in 1987. The trend came to a head with the Telecommunications Act, which Bill Clinton signed into law in 1996. Suddenly, it becameopen season on radio stations. The national cap on the numberofstations a company could own disappeared altogether. In a m arket with: A singl eent ity can control: 45 or morestations up to 8 sta t ions, no more than 5 in the same band 30–44 sta tions up to 7 stations, no more than 4in the same ba nd 15–29 stations up to 6 stations, no more than 4in the same band 14 or fewer stations up to 5 stations, no more than 3 in the same band The floodgates opened. In particular, radio and entertainment impresario Robert Sillerman began buying stations as if they wereMonopoly properties. Said Sillerman:88 Dirty Little Secrets of the Record BusinessRegulations? We Don’t Need No Steenking Regulations 89 The recent passage of the Telecommunications Act, in substan- tially the form which we anticipated . . . opens up significantopportunities for us, not only in our existing markets but in otherareas throughout the country. In Greenville-Spartanburg, we willbe operating a triopoly, three FM Stations and one AM station,and in Jackson we will have three FMs and two AMs. This highlevel of radio station ownership within a market has never beforebeen possible and we anticipate much greater operating efficien-cies and excellent results as a benefit of deregulation. Throughout 1996 and 1997, rarely did a month go buy with- out the announcement of some Sillerman acquisition. Then he sold off all his radio stations to the AM/FM chain and went off to cor-ner the market on concert promotions and venues. About two years later, another huge radio chain, Clear Chan- nel, bought Sillerman’s former stations in a deal for the 443-station AM/FM chain, creating the largest radio broadcasting com-pany in the United States. Then in March 2001, about five yearsafter deregulation began, Clear Channel bought out Sillerman’sconcert promotion and venue business for $2.7 billion in stock.When the sale was announced, David Lieberman proposed the fol- lowing scenario in USA Today : Consider what could happen when a big act such as KISS, Brit- ney S pears, Backstreet Boys, Marc Anthony, or Cher comes to your t own. Their songs will be virtually unavoidable, particularly on the radio station sponsoring the concert. If the radio’s off, or on a different station you won’t miss all the billboards [Clear Chan- nel’s original business and still a big one] advertising the event. The radio sponsor’s Web site will be one of the easiest places to buy tickets to the performance. Fans will probably go thereanyway when it hosts a cybercast or chat with the artist. Then, at the arena, you’ll find yourself surrounded by mer- chandise and ads—many of them for the radio station andupcomin gconcerts. In short, there’ll be no escape. Or, as one record company head summed it up, “Y ou cannot have a hit record without Clear Channel.” The most astonishing part of all this is that Clear Channel had to have a fire sale to bring itself within even the lenient owner- ship regulations. It sold off around 25 percent of all its stations.But even now, Clear Channel owns six stations in New Y ork Cityand nine in L.A., respectively the #1 and #2 markets in the UnitedStates, and over 1,200 stations total. Afew other major players also took advantage of deregula- tion, including: ®ABC Radio, with three stations in New Y ork and three inL.A., and over 60 total U.S. stations ®Emmis Broadcasting, which owns three stations in New Y orkand two in L.A., and 25 total U.S. stations ®CBS Radio, which owns six stations in New Y ork and sevenin L.A., and over 180 in the United States These are only four of the bigger players as of this writing. In 2002, 21 companies owned over 40 stations each. Clear Channel has as many as all 20 of these other chains combined. This centralized concentration of media and money has had a chillin g effect on m usic. With the high financial stakes of keep- ingdozens or hundreds of radio stations solvent, radio needs to guaranteeprofits. The music is flypaper and the listeners the flies, and the owners w ant tocatch as many flies on a strip as they can by programming to the lowest turn-off rate possible. “Radi ostations are becoming more and more homogenized,” Patricia Seybold observed, “so they are less interested in new orniche music.” This had led to disposable pop, regurgitated rock, and repet- itive rap; everything on the radio sounds the same, a seamlessstream of sonic syrup. Anything with a modicum of personality90 Dirty Little Secrets of the Record BusinessRegulations? We Don’t Need No Steenking Regulations 91 or potential to offend has to develop somewhere outside the broadcast frequencies. “In the next five or 10 years,” artist Todd Rundgren predicted in 1992, “I think that radio stations are going to continue thisdownward slide. What they’ll be good for is what they initiallywere good for, which is bringing live events, events that are notpart of the database, but being created extemporaneously.” He proved prescient, right down to referring to the recorded content on radio as “the database.”9212 The Death of the DJ The Curse of Selector Back in the 1970s, radio meant the world to me. An avid fan of alb um rock station WNEW-FM, I learned more about music from its disc jockeys than I had as a musician. They didn’t call the pro- gramdirector and afternoon DJ Scott Muni “the Professor” for nothing. One c ould hear a WNEW DJ, on a whim, play a set of Tom Lehrer, just because it was germane to something he or shehadsaid. Morning man Dave Herman could play something as stark ly not-rock as Claude Bolling and Jean-Pierre Rampal’s Suite for Flute and J azz Piano every morning. They made radio sponta- neous, in tere sting, and fun. Durin gfall 1977, a s a R utgers freshman in my first media and journalism class and already one of the main DJs on the campusradio station, I came upon an article in one of the music businesstrades about WYNY-FM in New Y ork, formerly WNBC-FM. The station had recently changed format to what it then called “adultpop.” I found the format more troubling than fascinating, but themethodof delivery rocked my world. NBC had decided to auto- mate the station. Computers would run the whole thing, evencuing the DJ, who would be known thereafter as an “announcer,”and later as “on-air talent.” The innovation became the topic ofmy first major college paper. Adearth of available literature on the subject meant that most of the paper would have to rely on firsthand observation. So I wentto the station, talked to the station’s GM (a very young—thoughnot as young as I was—Bob Pittman), and sat for an hour withThe Death of the DJ 93 the announcer. The announcer’s booth and the control room both showed signs of the recent construction. On one wall was theannouncer’s booth, with just a 12-inch-wide, square Plexiglasswindow as its link to the outside. The booth looked like someonehad just put it up; no one had even primed or painted the raw wall-board. Through the double pane, one could see the opposite wall,where about 20 feet of then-state-of-the-art radio automationmachinery stretched from one end of the room to the other. Twofloor-to-ceiling apparatuses held about 200 tape cartridges each.Every few minutes one of them would rotate a tape cartridge intothe “play” position. I recognized the tape cartridges from the col-lege radio station—we used these tapes for the songs that the pro-gram director deemed “in rotation.” This mechanism gave newmeaning to the terms “in rotation”—the songs literally rotated. In the center of all this was another device I recognized, a circa-1977 computer, complete with a half-inch drive transport-ing a reel of tape from spool to spool. It stood about six feet tall,and controlled the whole thing. It primarily operated a new pro-gram, created specially for automated stations, called Selector. In the booth, the announcer, who until several weeks earlier had actually had a hands-on relationship with the music he played,sat with a d ot-matrix-printed list of the songs that would play dur- inghis shift. Also listed w ere the commercials and breaks during which he had to back-announce the earlier tracks, read an adver- tisement, and then preannounce the next song. In hi s bookFM: Th eRise and Fall o f RockRadi o,Richard Neer reca lls when Selector came to WNEW: Computers were just beginning to be used to program stations. The knee-jerk reaction is that this represents a bad trend, andcertainly, given the direction radio has taken in the last decadethere is justification for that viewpoint. But the computer savesthe jocks and programmers a lot of work by replacing . . . paper-work with a mouse click. . . . Despite some initial bugs, Selectorworks at most radio stations where the music director simplyfeeds songs into it and the computer spits them out at random.The music could then be perfectly balanced according to the fac- tors the PD views as important. Nearly 30 years later, both Selector and automation have taken over radio. Between 85 and 90 percent of all radio stations use this program to create their playlists. Some maverick stationsremain free-form; some use other programs. The automation hasgone from a wall worth of equipment to a desktop PC with themusic on a hard drive. But it has changed the entire gestalt of com-mercial radio. As Neer notes, the program itself is not inherently evil. For six years I worked with Selector in what may well be the purposefor which it is best suited, programming an automated, 24/7/365music service with no advertising or “on-air talent.” At its heart, Selector is a database program. The director of programming or music at the radio station inputs information foreach song programmed, along with “rules” about how that songfits into the format of the radio station. This can be as complex or simple as it needs to be. As you can see, there are a lot of options. The most important one is the category (“Cat”). This is the song’s basic classification, the roleit plays in the station’s hierarchy.94 Dirty Little Secrets of the Record Business The Death of the DJ 95 Other rules could include whether the performance is by a group, m ale vocalist, or female vocalist, or if it’s an instrumental. Notice how the rules are set, so that there can’t be more than one duet in a row or two female vocalists in a row, and there must beat least four songs between every instrumental. Then the music director or program director can set the rules for the sound of each song. In this case, the station could only play four ska tracks over the course of an hour with at least three tracks between them; only two African language tracks with five songs between them,and no more than two cover songs with a minimum of four tracksin between. There are a variety of other rules under the soundcode as well—the system can handle as many as 52, twice throughthe alphabet. When the PD or MD finishes entering the information—putting new records into the playlist and taking records out or recodingthem—he or she presses a couple of keys and Selector goes through the da tabase ofsongs and rules, programming the station.96 Dirty Little Secrets of the Record Business The Death of the DJ 97 Once the program completes this task, it generates a list of songs in the order that the automated system will play them: On a station with “on-air talent,” that person gets a copy of the list. Unlike during the heyday of progressive rock stations some 25 years ago, rarely does the talent actually touch any recordedmedia on the air. It has all been preprogrammed. The term “discjockey” has become a nostalgic anachronism in contemporary radio. The on-air talent has little or no say over what goes overthe air a nymore. So how do reque sts get o n the air? Well, as a person listening tothe station, the requester probably wants to hear a song that’s on the playlist anyway. The talent knows when a song is going to come up, a nd announces the request when it does. The talent might even record the person making the request, to make it seemlike it’s happening at that moment. But the days of “Y ou say it, I’ll play it” are long gone. 9813 The Process How Songs Really Get on the Radio This scene takes place in a radio station programming department. Ring! Ring! “WHNK programming. Hank here.”“Hey , thisis Bet h from PoMo Promotions.” “What’s onyour mind?” “Oh, you know. Our records. Dave and the Marshes been lightin gup your nights and your phones?” “Youknow it. Got that spinning 14 times a week.” “Wow, that much? Y ou report it to Hits?” “Of c ourse. R&R will verif y it off my Selector feed, and so will BDS. ” “No w how about that baby band, the Booyahs?” “We’re not going there again. That turd wouldn’t float.” “C’m on. WTMI a cross town is on it.” “That must be why our listenership is up.”“Listen, the Booyahs are going to be on the road with Dave. I’vegot togive the banner to either you or ’TMI.” “Well, you know we’ve been on Dave since the first album. We broke him in this region.” “Y eah, but this is now. ’TMI is spinning both. They’re giving the Booyahs seven a week.” “I’ll bet. Do the owls and bats enjoy it?”“Okay, it is moonlight, but at least it’s on the air.”The Process 99 “C’mon, Beth, I’m playing fair with you. I always have. But I need to keep the gig, and spinning stuff like the Booyahs will land me on my ass pretty quick.” “Well, who was it who told you about the ’HNK gig to begin with?” “Y eah, I know. I owe you that. But the Booyahs? We did call- out on that record and people started snoring.” “Hey, I’m getting a lot of pressure from upstairs. The chair- man’s grandson plays the drums in the band. Can you do a smashor trash with them? Anything? Listen, we’re going to be doing co-op with the concert promoter, but we can’t give an ad to a sta-tion that isn’t playing the record, right?” “How much co-op?”“Haven’t decided yet.”Sigh. “Tell you what: I’ll give it two moonlight spins, and if it gets a ny phones at all, I’ll up it to three and do a smash or trash.” “Great. Talk to you next week.”“Oh, before I let you go. Those iPods we gave away last week. The contest was for 10. Y ou sent us a dozen. Should I ship them back?” “Nah, too m uchpaperwork to put them back in inventory. It’s easierif you keep ’em.” “OK. ” “OK. ” Click. Variations on this theme go on over the phone every week betweenprog ram directors and people promoting records to radio, every- where commercial radio exists. To clarify some of the jargon: ®WhenBeth asks if an album has been “lighting up his phones,” she refers to both requests and people actuallycomplaining about a song. Programmers like it either way. It means that people are actually listening .Although songs peo ple hate may lead them to tune out the station, most won’t unless the station plays two or three songs they can’tstand in a row. The opposite of love, after all, isn’t hate; it’sindifference. What a programmer would find worse is asong that zones people out so they’re not listening, becausethat means that they will zone out the advertisers’ messagesas well. Even worse is a record that causes the audienceto—gasp! —switch stations. If that happens, a program direct or will have to send out a lot of résumés to find a new job. Is it any wonder that a radio programmer makessuch an effort to test songs before they go on the air? Orthat proven artists take precedent over even the mosttalented unknowns? People like familiar things, so that’swhat radio gives them, especially when losing a ratingspoint means potentially having to cut advertising rates orlose advertisers. “ As much as people say, ‘We’d love to hearnew music and local music,’ ” said WWDC’s JoeBevilacqua, “whenever anybody’s attempted that in the past couple of years we’ve fallen flat on our faces in theratings.” ®Hits andR&R (aka Radi oand Reco rds)are two trade magazine s that publish charts of airplay in various musical forma ts and genres. R&R usesBDS, the te chnolo gy that “hears ” the second30 seconds of a song (see chapter 5) to determine its airplay charts. Hits lets the station simply re port adds and spins. ®“Moonlight” is moonlight rotation, scheduling a record sothat it will play only between the hours of midnight and 5 A.M., when losing listeners matters least. ®The relationship between promoters and programmers issuch that the promoters willingly provide a wide variety offavors (more on this anon), not the least of which is keeping100 Dirty Little Secrets of the Record BusinessThe Process 101 track of job openings. Radio is a very transitory and fickle business. ®“Call-out” is call-out research, in which the station callspeople in their listening audience, plays snippets of songsfor them over the phone, and gets an opinion on thosesongs. Then often ignores the opinions. “Call-out hasbecome dominant,” noted J Records head of promotionRichard Palmese. “Very few program directors rotaterecords by gut.” ®“Smash or trash” is a contest run by some radio stations toget the phones lit up and get the listeners involved in helpingto “program” a station. Listeners vote whether a song is “asmash” or if it should be “trashed.” ®“Co-op” is short for cooperative advertising, which isadvertising the record company “splits” with other partnerslike record retailers and concert promoters. Since radio sellsads on commission, the program director will take home apercentage, often between 20 and 25 percent. ®The bit with the iPods is self-explanatory, but notuncommon. Often promoters send items for contests that never happen. The general manager of a Midwestern Top 40stationcut a p romotion deal and suddenly managed to take several vacations a year. “Theoretically, those trips were for promotional purposes at the station,” said a radio professional, “but the GM decides to take his family instead.” The bottom line is that radio and records have become big business, and as the business gets bigger, the players seem to become more conservative, as will anyone who has a lot to lose.Thus, getting anything added to a playlist, particularly anythingnew, causes problems at every level of promotion, even the majorlabel level. “The real problem is that, as record labels and radiostations become more averse to risk, they shrink the number ofartists they invest in (in terms of both money and time),” saidauthor James Surowiecki. “That may be rational in the short term, but it’s bad for the culture, and interestingly I’m not reallyconvinced it’s good for business, either.” These conversations are preludes to the Maalox moment of any promotion person’s week, the conference call. Usually heldright after Billboard releases the chart numbers for the coming week’ s issue, it serves the legitimate purpose of shoring up weak areas and dealing with problem records. The record company’ssenior vice president of promotion gets all the heads of the pro-gramming departments, all the local promotion people, and evensome of the independent promotion people on the phone together.These calls can last upwards of six hours and become abusive, andhave led to firings, raises, promotions, ulcers, and perhaps drugaddiction and suicide. “Okay, how are we doing with that Booyah’s record in your area, Beth? I’m not seeing as many spins on that as I’d like.” “I know, boss. It’s a tough sell out here. I’m getting it added to WHNK, though. The street team is going to be staying up latelistening for it, calling and e-mailing. Hank wants phones, anddamned if he’s not going to get them.” “Good. How much is he giving?”“Coup le of s pins this week.” “What will ittake to get him t oup it?” “Well, we’ve got the banner when they open for Dave and the Marshe s at the Bumphouque Arena. Then there’s the co-op for the shows. Ho w much can I offer?” “I think we can do seven large for a month of ads in antici- pation of the show.” “That should put us over.”“Glad to hear it.”And Beth puts the phone on mute for a moment and lets out along sigh of relief. She’s dodged the bullet for another week. The VP is happy, too. As stressful as he makes this call on his team,the call he has to make next, to report adds to superiors in the102 Dirty Little Secrets of the Record BusinessThe Process 103 company, makes the pressure he puts on his staff seem mild, because he has to give the folks running the company the big pic-ture, and that picture had better include a lot of airplay. Both Beth and her boss know the radio truism Richard Neer stated: One always had to be wary of stations that were too malleable to record company inducements. Heavy airplay may accompanyapromotion, based on a large schedule of advertising and free concerts that may have nothing to do with a record’s potential.No smaller-market programmer was immune to such enticementsbecause revenue is so critical. “Getting on the radio is like mounting a military campaign,” said promotion head Palmese. “We try to identify who our ‘heroes’ are, the program directors who like the song enough tostep out and add it to their rotation.” Ring! Ring!“WHNK programming. Hank here.”“Beth f rom PoMo. Now, what about those Booyahs?” “Man, those college students do stay up late. Got a dozen calls from the campus at three in the morning on Tuesday and aboutfour in the morning on Friday. Three were from the same num-ber. You’vegot your three spins and a Thursday drive time smash or trash.” “Ver y cool. ”She writes a note to herself to warn her street teams to use their damn c ell phones. “By the way, I got the co- opbudget. We’re going to want about $7,000.” “Great! Ca n Iwrite you up on that?” “That’s why I mentioned it.” “Excellent.”“Still on Dave and the Marshes?”“Holding steady at 14 spins a week. We may actually up it or start playing another song from the album as the show gets closer,especially if we get the banner, the announce, and Dave comes uphere for an interview and to do some bumpers.”“Well, I know the last one is no problem. I’ll see about the other two.” “Cool.” “Well, that’s all for this week. Talk to you next week.”“ Always a pleasure.”And why is it always a pleasure? Well, PoMo just bought $7,000 worth of advertising. If Hank’s commission is 20 percent,he just pocketed $1,400. So why do major labels dominate commercial radio? Because the major labels have the deep pockets to employ street teams, buyco-op advertising, and build their acts’ profiles. Is any of this ille-gal? Well, maybe the iPods fall into a gray area, but nothing herein this chapter is really actionable. But that’s not to say thatrecord companies and labels don’t engage in actionable behavior.104 Dirty Little Secrets of the Record Business10514 Payola Isn’t Dead. It Always Smelled Like That At the turn of the 20th century, phonograph records were not the onl y game in town. As America became more affluent, every well-heeled home had to have a piano, and generally someone in the house could play and read music. It became a sign of refine- ment, a majo rstatus symbol in parlors and living rooms, not unlike agood stereo system toward the tail end of the century. Sowhilethe record business took its first baby steps, sheet music, established back in the day of Gutenberg, also turned into amajor commodity. In 1892, for example, Stephen Foster’s “ After the Ball” sold one million copies of sheet music—just in the course of the year. Nothing sells that well in a vacuum. The selling of songs fell to a new form of music businessman, the “song plugger.” The precursor of the record company promotion department, asong plugger earned his keep by enticing people to buy sheet music. He accomplished this in several ways. The most basic wayinvolved going from large sheet music retailer to large sheet music retailer around a prescribed territory, sitting down at a piano, andplaying both the music that potential customers handed him (sothey could hear it before they bought it) and his company’s songs.This required the publishing companies to have regional officesall across the country. A more profitable way to entice buyersinvolved getting performers to sing the publisher’s songs on stage.By the late 19th century, various areas of the country had showcircuits that presented minstrel shows, early vaudeville, and even burlesque. In places where there was segregation, there were segregated vaudeville circuits. The late boogie-woogie piano legend SammyPrice recalled his early years as a performer on one of these black-only circuits: The TOBA was a theatrical circuit that was organized in the ’20s and they had about 26 cities where black artists could travel,like the Plantation Circuit and the other circuits. It started in St.Louis, from St. Louis to Kansas City, Kansas City to Dallas, Dal-las to Houston, Houston to Shreveport, Louisiana, Jacksonville,Florida, all around to Baltimore, which is where they would dis-continue that show. These traveling shows enjoyed across-the-board popularity wherever a theater could support them. A song performed by a vaudeville headliner nearly guaranteed a publisher a hit. So pay-ing the headliner to perform a song was not uncommon. The rootsof this practice were deep, and even respected to an extent. Gilbertand Sullivan did it. The performance of “subsidized” songs helpedmany a vaudevillian make ends meet. Of course, other factors than subsidization influenced a vaude- villian’s decision to perform or not perform a song, just as other factors in fluenc e a radio programmer’s decision to spin or not to spin. A radio programmer wants to avoid losing listeners and a job. The v audevillian wanted to avoid getting pelted with over- ripe vegetablesand other projectiles. As time went on, people continued to pay for play. They tell some great stories about artists who beat the system this way. Dave Cousins got his British progressive rock band the Strawbs on theradio in England by finding out which stores reported to theBBC. He gave the price of the single to all of his friends and fam- ily and their friends and family and sent them to those shops. Not-ing the rise in sales, the BBC started playing the song, andsuddenly it began to sell without Cousins having to underwrite it.106 Dirty Little Secrets of the Record BusinessPayola Isn’t Dead. It Always Smelled Like That 107 The story is great because it is so rare. Throughout the rock era, getting a record on radio has been a major, and often dirty, chore. As former Columbia head Walter Y etnikoff put it, “The music business—and especially the cutthroat business of generatinghits—has always had its shady side. What else is new?” For the better part of a century, the equation in the record business has read “S = R + P,” where “S” represents sales, “R”stands for radio and “P” means promotion—or the other “P”word. While once in a blue moon record companies domanage to se ll records that don’t get radio play—the soundtrack to O Brot her Where Art Thou? or bands like Anthrax, Hawthorne Heights, an d Ma nnheim Steamroller sell considerable numbers without benefit of a hit—generally the path of least resistance togetting a hit involves getting a song on the radio (if you can callthat least resistance). The symbiosis between radio and the music business began very nearly with the introduction of radio to a popular audience.In 1924, the New York Times trumpeted: QUESTIONNAIRE REVEALS RADIO BENEFICIAL TOMUSICINDUSTR Y. Broadcasting has in many instances created a desire on the part oflisteners to buy records. This is clearly shown in the case of Wendell Hall, an instrumentalist and singer, who visited many of the large broadcasting stations. When singing from WEAF, herendered some songs that were more than three years old andfor which there had been no recent demand in record form. Sev-eral music stores in Brooklyn reported a sudden demand forrecords of these songs, and upon questioning, it was found that the renewed popularity was caused by the broadcasting of the selections. This led to a rapid change in the role of the song pluggers. Suddenly they didn’t need to bring their music directly to the peo- ple. They could reach the people with much more ease by just get-ting a song on the radio.“Iwas a song plugger 50 years ago,” said Juggy Gayles, one of the people who invented and developed the idea of promoting music to the radio as a means of selling records back in the dayswhen it involved getting the big bands to play it on their regularbroadcasts. “In those days we looked to get our songs played onradio. Today, we look to get our records played on radio.” By 1955, Billboard was reporting that 2,700 radio stations nat ionwide accounted for 300,000 songs played per day: The cry that radio “killed” music—shortened the life of songs— was already being heard in the late 1930s. Network radio, thesystem of “remote” broadcasts by bands coupled with the virtualdeath of vaudeville (once the chief source of song promotion)had already worked a major change in the business. . . . In thisremarkable statistic lies the answer to what has happened to themusic-record business, the answer why it has grown rougher andmore competitive than ever before on all levels. Several developments point up the fact that the deejay’s role has increased in stature over the past few years. First of these isthe fact that station management tend more than ever to give thejockey complete freedom of selection of records. The power of the DJ led to some of the more interesting courtshi prituals in c orporate America. The record companies catered to vices the DJs didn’t even know they had. “I had to get the br oads to the hotel,” said Artie Ripp of his early days in the record b usine ss, “and then make sure the disc jockey who had just finished with the redhead knew that the blonde was down the hall.” Joe Smith, who was a DJ in Boston before rising to the pres- idency of Elektra Records, knows about this practice from both ends: Aguy who will go unnamed was the music director up at WINS when Alan Freed was there. It was a hot radio station. The guy was making $125 a week as the music director. And he was liv-ing over on Sutton Place, wearing fancy suits, driving a fancycar, going off to Europe, on his $125 a week. The station man-ager, oblivious to all this, said, “Y ou’re doing a great job. We’re108 Dirty Little Secrets of the Record BusinessPayola Isn’t Dead. It Always Smelled Like That 109 going to promote you to the news department and give you $200 aweek.” He begged him, “Please! Don’t do that to me!” Payola was a modus operandi, a way of life in the golden age of rock and roll, in the ’50s. In 95 percent of the cases, the bestdisc jockeys didn’t play records for money. They played recordsand they got money. A distributor or a label would give a discjockey $500 a month or $1,000 a month, and you would pickfrom their records. If there was nothing there, you didn’t play it.Everyone was in such fierce competition for ratings and businessthat you couldn’t make up a program of stiffs, just because yougot paid. “Guys at the radio stations got money, of course,” Ripp agreed, “but the interesting thing was that most of them were tak- ing money to play records they would play anyway.” In its own way, this might represent capitalism at its finest, a study in supply and demand that even Adam Smith would admire.On the one hand, the disc jockeys and music directors wanted tokeep that $1,000 a month coming in. At a time when a good salary in radio was $125 a week, that $1,000 nearly doubled whatmost made. However, to keep that money coming in, you had tokeep the audience listening, and audiences know when a songsucks as well as the DJ, and probably even better. So it involveda delicate balance, and more than likely Smith and Ripp’s rose- color ed versionof the bad old days of radio on the take has a smack of truth. In the l ate 1950s, h owever, the U.S. Congress took an inter- est in l eveling the media p laying fields. It started with hearings on “the TV game show scandal,” wherein a major winner revealedhe had received the answers in advance of the show. When the congressmen saw the kind of media play this got them, theylooked for another high-profile target, and found a way to killtwo birds (or more) with one stone. Neither the mainstream record industry or the performance royalty organizations, companies that collected money for thesong owners and payed them (theoretically) every time a song wasplayed, particularly liked rock and roll at its outset—especiallyASCAP, which was still pretty snooty about who it let join (the reason one of the other performance royalty companies, BMI, rep-resents so much early rock and roll). Since the major record com-panies had yet to finish milking the careers of the Doris Days andFrankie Laines, they let the independent companies break rock androll, and these independents made a fortune. Both ASCAP and the RIAA had been lobbying Congress about rock and roll. By convening hearings about radio taking bribes toplay music, congressmen could answer these lobbyists and main-tain their high profiles in the media at the same time. It takes money to make money, and some feel that—especially at this juncture in the rise of popular music and rock and roll—payola actually helped level the playing field for the new per- for mers. “Black artists got far more exposure than ever before,” author James Surowiecki noted, “and small labels put out recordsthat everyone was listening to. I’m not convinced that would havehappened without payola.” The records that “had a beat and you could dance to” came out largely via the indies, and payola almost served to vet them.After all, a record company must have had the funds to get a record distributed if it had the funds to grease the DJs. The m ajor companies missed the point in a lot of ways, ignor- ing the emergingbaby boom generation and the idea that these kids didn’t want to listen to the same music as their parents, that PattiPageand Perez Prado and Perry Como didn’t appeal to the kids wh olistened t o their p ortable radios, bought the Coca-Cola the stations sold via advertising, and went to the dances and con- certs the radio stations sponsored. They failed by not targeting the kids, the same way they would fail by only targeting the kids 50 years l ater—the further irony of this being that it was largely the same audience being ignored! But subpoenas were dispatched and the radio and rock and roll record industries were summoned to Washington to testify.“I was out with Jimmy Van Heusen and Dick Clark was out with110 Dirty Little Secrets of the Record BusinessPayola Isn’t Dead. It Always Smelled Like That 111 his wife,” Juggy Gayles recalled of the days before the hearings. “Clark and Van Heusen were impressed with each other. Clarktold us that his lawyers told him to keep his cool. If they ask youaquestion they already know the answer.” He watched the hearings and followed them. He saw Dick Clark handle the congressional hot seat with aplomb, basically telling thehearing that, as the owner of several record companies himself, ifsuch a thing as payola existed, he would probably pay more thanhe would ever receive. One of Juggy’s bittersweet memories involvedhis subpoena to appear before the payola hearings. It was issued forGeorge Resnick, Juggy’s given name. No one knew George Resnick,so the summons didn’t get served, sparing Juggy the agony of tes-tifying against friends and associates, like Alan Freed, who shot offhis mouth like a bottle rocket in front of the committee. “ Alan could be his own worst enemy,” Juggy said of the late dean of disk jockeys, whom he helped lure from Cleveland to bringhis inimitable style to New Y ork. George Furness and me, we got him brought to New Y ork. When the payola thing happened, he was taken. He saw what Dick Clark did and thought, ‘I’ll show him headlines.’ He blew his cool and shot off his mouth. He didn’t want to hurt anyone. He was a beautiful guy, a genius. He got taken by a lot of people. I never gave Alan Freed a dime in my life. He used to pick up the tabs when we went out. As a r esult ofthe hearings, Clark was forced to divest him- self of many of his side businesses, ancillary to his hit television show American Bandstand .He so ld off several record and music pu blishing companies that were deemed a conflict of interest with his main business. Alan Freed, one of the most powerful DJs onthe air, got the brunt of the committee’s ire. Although the finesdidn’t amount to much, he could no longer find work. His testi-mony made him an industry pariah. Within seven years, he haddrunk himself to death.After the hearings, the government quickly passed a law against payola. The 86th Congress voted in the Communications Act Amendments on September 13, 1960, with the stated purpose of [promoting] the public interest by amending the Communica- tions Act of 1934…to impose limitations on payoffs betweenapplicants; to require disclosure of payments made for the broad-casting of certain matter; to grant authority to impose forfei-tures in the broadcast service, and to prohibit deceptive practicesin contests of intellectual knowledge, skill, or chance; and forother purposes. At the level of the individual radio station, this legislation had achilling effect on the DJs. Since the individual DJs were the recip- ients of the payola, they no longer got to pick their own music to prevent even the appearance of influence on the individual shows.The era of the powerful DJ ebbed for about a decade, until free-form FM became a popular format (after which that fell by thewayside due to Selector). Instead, the responsibility fell to the pro-gram director and outside consultants. This actually made therecord promoter’s job easier. Instead of taking care of six discjockeys, the payoffs just went to the program director, actually cutting the payola budgets for a while. In addition, the methodsbecome so mewhat more subtle. Into the 1960s, whe nhe joined Atl antic Records’ promotion team, Juggy Gayles continued to give out money for airplay. “They all took andeverybody paid!” he said. “They used to give me money t ogo on the road and‘take care of the guys.’ Some of the [program directors] would say, ‘I don’t want money from you.’ Itoldthem they gave it to me to give to you. Take it.” How deeply ingrained was payola? Consider the reaction of Coed Records when its own payoffs were discovered. Through thelate 1950s and early 1960s, Coed had a slew of hits with modi-fied doo-wop songs like the Crests’ “16 Candles,” “Y ou Belongto Me” by the Duprees, and “The Last Dance” by the Harptones.When it came to light in U.S. Tax Court in 1967 that the label112 Dirty Little Secrets of the Record BusinessPayola Isn’t Dead. It Always Smelled Like That 113 had deducted almost $19,000 from its taxes in the two years before the Communications Act Amendments were passed, moneyit had paid “to disk jockeys and other employees of various radiostations for the purpose of influencing such individuals to givepreference to the playing” of its singles, the label argued that “thepractice of payola was common in the industry for many years.It said a company that failed to make these payments would nothave its records played.” This view of the relationship between radio and record sales persisted as the conventional wisdom of the record industry. “Wehave become, year by year, so dependent on radio exposure of ourrecords that without that play, we’re cooked,” said Warner Bros.VP of creative services Stan Cronyn in 1973. “In the last 10 years,and dramatically in the last five, the record business has sold onlywhat it could get played.” Payola remained like a boil under the skin of the entertain- ment business. Y ou couldn’t help but be aware of it if you werein the business, but it wasn’t evident to anyone outside. As oneFTC official had predicted at the end of the 1959 investigations,“It may not be exactly payola, but it’ll be something else, some-thing subsurface.” In the 1970s, i terupted a gain in a series of angry pustules. A Newark fed eral court began to investigate the industry’s mob connections, pay for play, sex for play, and a new variation on the theme, dr ugs for play, which was dubbed “drugola.” One o f the in vestigation’s chief sources from within the record business was a former vice president of Columbia Records named DavidWynshaw. Wynshaw had been the right-hand man for for- mer company president Clive Davis, whom the company had dis-missed under a cloud of financial malfeasance that involvedmisappropriation of nearly $100,000 of Columbia money for homedecorating and his son’s bar mitzvah. Within the company, Wyn-shaw had a number of unflattering nicknames, like “the Royal Pro-curer,” but he loved his job. “I took all the artists around townwhen they came in. I’m known at the Copa and the Waldorf. . . . Iliked the action.” Wynshaw claimed that Columbia spent at least a quarter of a million dollars a year just on payola to R&B stations, which itdistributed through the promotion company run by Kal Rudman,who also published the highly influential tip sheet The Friday Morn ing Quarterback . Wyns haw allegedly also had ties to a reputed member of the Gambino crime family, Pasquale Falcone, who worked as a talentmanager and was accused of trafficking heroin on the side. Once again, the airplay the company purchased primarily ben- efitted African American performers, as the scandal centeredaround the Columbia-distributed custom label Philadelphia Inter-national Records, purveyors of records by the O’Jays and dancehits like “The Hustle.” In the wake of these investigations, the Los Angeles district attorney’s office began to look into allegations that record com-panies in the city used cocaine to promote their records. “It’s anice way to make headlines,” observed MCA Records presidentMikeMaitland. David Geffen, president of Asylum Records, had more prosaic concerns than just headlines. He feared a chilling effect, that even the whif f of ahint of “ cokeola” would cause radio stations to cut back their playlists, and hurt the chances of getting new talent on the air .“If Joni Mitchell were just starting out today,” he said, “she’d have trouble getting radio air play in this climate. Radio stations are afraid to take a chance on new artists unless they have hugehits because they’re afraid they’ll be questioned about whether they were paid off to play them.” Through 2005 and 2006, coincidental with announcing his aspi- rat ions to run for governor of New Y ork, the state’s attorney gen- eral, Eliot Spitzer, launched several high-visibility, sound-bite- friendly campaigns, the most ballyhooed one an investigation into114 Dirty Little Secrets of the Record BusinessPayola Isn’t Dead. It Always Smelled Like That 115 that old standard of the music business: payola. Instead of inves- tigating the receivers of payola, as Congress had in the 1950s and’60s when it targeted Dick Clark and Alan Freed—Spitzer wentafter the record companies. He caught Sony/BMG, Warner MusicGroup, EMI, and Universal Music Group like kids with their handsstuck in a cookie jar, unable to get loose because that would meanletting go of some cookies. Spitzer characterized the practice of payola as: corrosive to the integrity of competition. It is corrosive to the music industry. It is corrosive to the radio industry. . . . It is essen-tially the same scam where instead of airing music based uponthe quality, based upon artistic competition, based upon aes-thetic judgments or other judgments that are being made at radiostations—radio stations are airing music because they have beenpaid to do so in a way that has not been disclosed to the public.This is wrong and it is illegal. During that investigation, several Sony/BMG promotion department memos became public: ®“Please be advised that in this week’s Jennifer Lopez Top 40 Spin Increase of 236 we bought approximately 63 spins at acost o f$3,600.” ®“Please be advised that in this week’s Good Charlotte Top 40 Spin Incr ease of61, w e bought approximately 250 spins at acost of $17K.” ®“We ordered a laptop for Donnie Michaels at WFLY in Albany.He h as since moved to WYHI in Miami. We need to change the shipping address. . . . Can you work with Donnieto see what kind of digital camera he wants us to order?” ®Michaels proved to be a problem for Sony/BMG promotionin general. In addition to the computer, apparently theybooked him on a junket to Las Vegas. The Sony execplanning the trip sent a memo warning, “Make sure Donnieis not staying in a room too high; he has a fear of heights.” Sony agreed to stop paying for play, hire a compliance offi- cer, and pay a $10 million fine, which the attorney general’s office turned over to the Rockefeller Philanthropy Advisers for distri-bution among New Y ork nonprofit organizations. It also paid theattorney general’s office $100,000 toward the cost of Spitzer’sinvestigation. In an internal memo, it announced the “promo-tion” of company attorney Gil Aronow to the post of compli-ance officer. It further warned all employees against: ®Misrepresenting “their identities in order to influence theselection of music on radio or television programming, andthat includes, of course, calling a radio station posing as amember of the general public to request airplay forSony/BMG tracks.” This would, effectively, defeat thepurpose of street teams, however. ®Providing radio stations with CDs, DVDs, concert tickets, or“other product” if you didn’t work in the promotionsdepartment. Not long afterward, the Warner Music Group paid a $5 mil- lion “fine” andmade similar concessions to settle the investiga- tioninto its radiopayoffs. EMI settled for $3.75 million, while the largest major record company, the Universal Music Group, got hit for$12 milli on. Certainly these are semiserious fines, but they were levied against corporations. No one, to this date, has done real time for payola violations, despite the federal statute that pro- vided penalties of up to $10,000 and/or incarceration for up to ayear. One way to get around any legal prohibitions is to simply think of the song as an advertisement. Some promoters bought three- minute blocks of airtime to get certain songs on the radio. Theradio stations preceded those songs with an announcement thatthey were brought to the listener by whoever paid to have them116 Dirty Little Secrets of the Record BusinessPayola Isn’t Dead. It Always Smelled Like That 117 played. And, of course, the PD—as salesperson for the ad—pock- eted the commission. “The difference between what’s legal andillegal mostly boils down to disclosure,” noted Surowiecki. If a radio station announces that it’s been paid to play a song— which it can do by saying something like “This song is spon-sored by Arista”—then it can take the money. If it doesn’t, thenit can’t. But, although this rule is hard and fast, there are all sortsof loopholes in determining whether there’s been a quid pro quo,and independent promoters take advantage of them. Even paying for play in this manner doesn’t guarantee a hit. All the promotion in the world, all the payola in the world, and all the airplay in the world will not turn a terrible record that noone wants to hear into a hit. As Dick Clark said: Iran a test once to prove that you couldn’t break a record by playing it if the record just didn’t have it. I played a record every day for seven months. It was a record by Tommy Sands, I’ve for-gotten the title. It had all the earmarks of a hit. . . . I wrote a let-ter to myself and sealed it. It’s still sealed, I never opened it. Ienclosed a copy of the record and I wrote, “Capitol Records,one of the largest companies in the world, is promoting thisrecord by this young singer who has several hits, the writers aregood, the p romotion behind the record is good, there is every indication that the record could be a hit except it stinks. It will not be ahit. However, I will play it every day . . . to prove that you can not make a record by exposure alone.” And it never was ahit. I ranintoTommy Sands years later and he said, “I always wondered why you played [that song] every day.” I told him thestory. The letter still resides in a briefcase I’ve got sealed up for posteri ty. But the important part is that you can’t make a record ahit by playing the hell out of it. Surowiecki agreed. “ A well-worn truism in the music indus- try is that you can’t buy a hit, and I still believe that, for the most part, is true. People can’t really be fooled or bludgeoned into lik-ing something they don’t.”But beyond that, during the heyday of the 1950s payola scan- dal, it would seem that Spitzer’s criteria of “quality . . . artistic competition” and “aesthetic judgments” were more in play thanthey were when he went after the record companies. As we’veseen, broadcasting had already become pretty homogenized. Theonly quality radio seems to value currently is sameness, familiar-ity. Spitzer’s stated quest for eliminating payola in the hope of alevel artistic playing field didn’t necessarily correspond to the cri-teria radio programmers looked for in the music they put on theair. They just wanted better flypaper for attracting more flies. So the latest payola “scandal” boiled down to some slapped wrists, some bitten sound, and a lot of publicity putting the can-didate for governor on a national stage.118 Dirty Little Secrets of the Record Business11915 We Don’t Do Payola. We Let the Independent Promotion Companies Handle It Acouple friends of mine promote records independently. They use t heir contacts and experience in specialized markets to get music released by their clients in those markets in front of as many people as possible. Not long ago, some major record companieshired them to work certain recordings. They received an annualcontract that set down the rules of conduct the companies expectpromoters they hire to follow. My friends both called me laughingat one of the paragraphs, which basically read, the promoter is notto pay for play, and if the promoter does pay for play, the record compa ny knows nothing about it. In Washington, D.C., they call this “plausible deniability.” Every record company has a promotion department (even if it’s one of the hats worn by the president and sole proprietor of anartist-runindie). E ven the most skilled promoters, however, findmarkets they can’t crack. Often they’ll get help from spe- cialists, in dependent promotion people who can get the right record to the right person to get a buzz started. After JuggyGayles left Atlantic, whenever record companies reached animpasse in New Y ork, he became one of these go-to guys: Iworked for Epic; I worked for Columbia; I worked for Atlantic; I worked for Warner. All they wanted from me was New Y ork City. As long as I knew what the winners were, andIwasn’t picking losers, I could get it played. I had some credi- bility around the stations here. By the late 1970s and early 1980s, it took more than credi- bility to get records played. A network of independent promot- ers, appropriately called the Network, controlled radio promotion.“I know what radio wants,” one of the Network heads, Joe Isgro,told Columbia Records president Walter Y etnikoff. “Radio is hitwith so much product they need to weed. Radio knows I canweed. Radio respects me. Radio listens to me. What I bring them,they play. I’m the maitre d’ who decides who gets in the restau-rant. Give me a hit record, I’ll make sure it’s played.” The main difference between Isgro and your average maitre d’ was that Isgro gave out the tips in order to receive the best(turn)tables. And these were not the “$50 handshakes” that JoeSmith or Alan Freed might have accepted during the “bad olddays” of payola. Isgro dealt in serious money. One radio generalmanager claimed that Isgro paid him in excess of $100,000 a yearfor four years. The estimates for the independent promotion bud-gets at the major record companies at the time range from $10 million to $80 million a year for each company (there were sixmajors then). It seemed as if only the independent promoterscould get a r ecordon any station on which it was worth getting airplay. At the time the sta kes in the record business were extraordi- narilyhigh. The b ottom h ad started to fall out of the business with the ignominious death of disco as a “popular” music. The majors were either owned or had been acquired by public parentorganizations (until GE sold RCA Records to privately held Ber- telsmann in 1986) that demanded upward trends in sales everyquarter. By S = R + P, getting the music on the radio by any meansnecessary was essential. So if it took $10 million a quarter to keepcash flow high and the books looking good, that’s what theyspent. And if it took having bands that sounded like everythingelse so that the promoters would handle them, well, so be it.120 Dirty Little Secrets of the Record BusinessWe Don’t Do Payola. We Let the Independent Promotion Companies Handle It 121 When the record company revenues went into freefall in the early 1980s, however, someone in the corporate suite at Warner Communications began to look at the budgets. The item thatstood out on the left side of the expense column was those tensof millions going to the independent promoters. The guys in cor-porate paid the in-house promotion department’s salaries to get reco rds on the radio. Why should they also have to pay inde- pendent promoters? In a rare (at the time) edict to the recordcompanies, Warner Corporate told its three record labels to stopusing independent promotion. This seemed like a good idea tothe folks at CBS Corporate as well, so Columbia and all the CBS-affiliated labels declared a boycott on independent promot-ers, too. It turned out to be a boycott in name only. Y etnikoff recalled: The artists were furious when they learned that indies would be eliminated. Artists hunger for hits with as much, if not more,desperation than the labels. To get around the ban, the labels,including our own, would give extra money to the artists or theirmanagers so that they, and not us, would hire the indies. Anyway you looked at it, independent promoters were in the game. So it didn’t turn the spigot off, just reallocated the money to adiffer ent budget line, but i t seemed to appease the corporate offices, at least for a minute or two. However, the game didn’t last longfor Isgro and the Network. In the dead of winter 1986, NBC News aired a s egment on what it called “The New Pay- ola”—interestingly, only months after NBC’s parent company GE divested itself of RCA Records. The segment showed pictures of Isgro and his associate Fred Disipio attending the Rock and Roll Hall of Fame inauguration ceremony. It also showed Isgro with a reputed associate of the Gambino crime family, Joseph Armone,whom wiretaps revealed was on Isgro’s speed dial and whomIsgro referred to as “his partner.” Up at the Columbia Recordsoffices at Black Rock, Walter Y etnikoff fumed and sputtered withamixture of fear, loathing, and white-hot fury:When I saw a tape of the show the next day, I dropped every- thing and stormed up to [CBS president Thomas] Wyman’soffice. I was enraged. “It’s bullshit,” I said. “Not a shred ofproof. No substantiation. They film these guys getting out oftheir cars like they’re convicted killers. As president of CBS yougotta do something. Y ou gotta put out a press release and call itwhat it is—a journalistic scandal worse than the scandal it pur-ports to expose. Y ou need to defend Columbia Records and youneed to defend me.” Meanwhile, the industry ran for the hills. Disipio and Isgro were dropped by every label, including ours. I had no choice.[CBS chairman William] Paley gave the order. If NBC had wanted to shut down the Network, it couldn’t have succeeded more thoroughly. If it had wanted to wipe out payola and corruption in the record business, it couldn’t have done worse. Asit turned out, Y etnikoff was right. It took three years for the U.S.attorney’s office to deliver any sort of indictment, after a long andarduous investigation. Isgro, former CBS VP Ray Anderson, andIsgro’s associate Jeffery Monka faced 57 counts, including violationsofthe Racketeering Influenced and Corrupt Organizations (RICO) Act, defrauding the record companies, payola, money laundering,and kickbacks. However, after a trial that presented a parade ofwitnessestalking about payola, drugs, threats, and other illicit incentives to play certain records; nearly 10 years of legal wran- gling thatinvolved three appeals; spectacular legal gaffes by the gov- ernme nt prosecutors; and God knows how much taxpayer money, the cases against Isgro, Anderson, and Monka were dismissed. Chargeswere never brought against Disipio, and in 1993, whileIsgro et al. were still caught up in the legal morass of appeals and dismissals, EMI president Charles Koppelman hiredhim as a consultant to teach his promotion department promo-tion strategy. Koppelman likened it to hiring Joe DiMaggio as ahitting coach. Still, for all intents and purposes, their credibility and useful- ness as promoters evaporated. Their careers went on. Andersonbecame president of independent R&B label Dr. Dream. Isgro122 Dirty Little Secrets of the Record BusinessWe Don’t Do Payola. We Let the Independent Promotion Companies Handle It 123 went into movies, producing the film Hoffa .He also started an other label, Private I, and consulted through a company called Raging Bull Productions. Private I and Dr. Dream were among the first labels to start signing artists dropped by the majors andcapitalizing on their followings. Isgro signed Rick James, BootsyCollins, and the Gap Band to Private I, while Anderson’s label fea-tured Dash Rip Rock, Rich Little, and Paul Kelly. And musically, what did the end of the Network era augur? Well consider the #1 records in 1985, the year before the Net-work hit the fan. That year Phil Collins topped the charts threetimes and Wham! twice, and John Parr and A-ha had their onlyreal hits. By buying music onto the air, the Network ushered insonic homogeneity, a musical malaise that still afflicts popularmusic. As most of the music the Network worked tended towardthe middle of the road, radio started to regard rock as a nicheformat, and the height of R&B was Whitney Houston and theCommodores. The Network disappeared, but it branded popularmusic, and the scars remain. While the Network was finished, independent promotion didn’t go away. It did, however, mutate. At the height of the influ- ence of the Network, and just before it came crashing down, ayoun g promoter in Chicago, who had worked independent pro- motio nin Ne w York andtoiled in various Midwestern cities as anemployee of CBS, came up with his own idea. “In 1983 or ’84, I went to an FCC attorney and laid out this promotional assis- tance/revenue sharing opportunity,” said Jeff McClusky. The idea was to take a portion of our income and go to one of the two or three Top-40 stations in various medium and small markets and supply that station with promotional assistance, if they would work with us and not other independents. That’swhere it started, and it’s the standard [as I speak]. By the timeother companies caught on to this way of doing business, we’dbecome the dominant company in our area. The basic model for promotion that McClusky invented worked like this:1. He signed up a station as a McClusky station. 2. The station agreed not to work with any other indepen- dent promoters. 3. He provided the station with a promotional budget, which it used for things like the station van, because themore the station could increase its profile, the more valueit would hold for McClusky and his clients. And if thebudget offered a few more dollars than the van cost, noone was the wiser. 4. Every week, McClusky sent the records he wanted “his” stations to add. Usually there’d be around 10. Of therecords the station added that week, a certain percentagehad to be McClusky’s. 5. McClusky charged the record companies a relatively small weekly fee, and bonus fees for: ®getting the record on the chart ®getting into the Top 20 ®getting into the Top 10 ®getting into the Top 5 ®topping the chart ®reaching gold status ®reaching platinum status ®and, of cours e, each level of multiplatinum Ironically, this method proved, in its own twisted sort of way, to be more democratic than the Network. It aided the first com- mercial wave of rap music, as the independent companies that put out rapcould afford dealing with McClusky, while the members of the Network were far pricier. If McClusky didn’t bring homethe bacon, the record company had to pay only the relatively smallretainer, and if he did, the company was likely making enoughmoney that it was happy to give McClusky his share. While theNetwork built from the top down, McClusky’s method couldbuild from the middle up. As the Network began to crumble,124 Dirty Little Secrets of the Record BusinessWe Don’t Do Payola. We Let the Independent Promotion Companies Handle It 125 McClusky’s power began to accrue, and many other companies started to use his method. For one thing, McClusky didn’t have to count on stations report- ing one thing and playing another. He offered enough music thatmost McClusky stations could find sufficient McClusky records toadd every week that fit their formats. This proved useful a few yearsdown the line when, as we’ve seen, the chart methodology becamemore sophisticated and publications such as Billboard and Radio and Reco rds sto pped relying on station reports. “There i s a g reater reliance on verifiable information,” noted independent promoter, radio consultant, and talent advisor JerryLembo. “Today’s benchmarks are monitored airplay (Mediabaseand BDS), Soundscan, and call-out research.” As all this was building, Joe Isgro ran into trouble again—out- side of the record business. On March 30, 2000, a federal grandjury indicted him on charges of loan sharking. They must havecaught him red-handed, as he pleaded guilty to two counts andwas sentenced to 50 months in prison. No longer the dapper, tan,successful music businessman of his Network days, Joe Isgrofaced the judge in shackles. He wore a prison windbreaker and blue chinos. His hairpiece was gone, and what was left of his nat-ural hair w as a sparse gray. In the me antime, Isg ro’s successor as the 800-pound gorilla ofnational promotion, Jeff McClusky and Associates, grew more and morepowerful. In 2001, Billboar dcelebrated McClusky’s mo re-or-less-20t hanniversary with an advertising supplement that ran nearly 40 pages, most of them ads paid for by the major record companies and many of the larger indies, film companies, local press, service providers McClusky did business with—like travelagencies, florists, and limousine services—lawyers, managers,other radio-specific trades and tip sheets, and even some artiststhemselves. Once again, the scourge of independent promotion became a watchword around the industry, the only way to get anythingplayed. The indies had all the major radio stations contracted to work with them, to the exclusion of even the record company pro-motion staff. Once again the infection began threatening to breakthrough the surface in a nasty rash of boils. “Record companiesthat want to suggest music to radio stations have to now gothrough the independent promoter that has been hired by the radiostation to be the exclusive source of access to the radio station,”said Carey Sherman, president of the RIAA. “ And independentpromoters pay the radio stations large amounts of money in orderto have that exclusive relationship.” Unlike Isgro, however, McClusky maintained at least the appearance of propriety. He had none of the alleged mob ties. Hismethods were a lot slicker than any previous indie promotionscompanies, and his paper trail tended to at least look aboveboard.He had legal contracts with the radio stations. He invoiced therecord companies like any other service business. The companymaintained an efficient, businesslike demeanor. Things began to change, however, when another 800-pound gorilla, in this case the recently coalesced 1,200-station-strongClear Channel chain, began to question the need for McClusky. It had enough spank on its own and could afford the vans andother p erks that McClusky brought to the table. “We now rec- ognize t hat these rela tionships [with independent promoters] may appear to be something they’re not,” said Clear Channel presi- dent andCOO Mark Mays. “We have zero tolerance for ‘pay for play,’ but w ant toavoid even the suggestion that such a practice takes place within our company.” WhenClear Channel’s contracts with the indies ran out, they were not renewed. Clear Channel began using the clout of over1,200 stations to go directly to the labels for contests, promotions,and marketing. “Strong relationships with artists and record labelsare a priority for our business,” said Clear Channel CEO JohnHogan. “Eliminating these relationships with middlemen should. . .provide opportunities for us to create better ways to market126 Dirty Little Secrets of the Record BusinessWe Don’t Do Payola. We Let the Independent Promotion Companies Handle It 127 and promote music for all concerned.” Suddenly, the services of McClusky became far less valuable to the record companies. And when New Y ork attorney general Spitzer unveiled the results of his payola investigations, he targeted McClusky, describ-ing his business model as an effort to “dodge the payola laws”and a means to “perpetuate the fiction” that stations were notreceiving money or gifts from record companies in exchange forairplay. The investigation found that the independent promotioncompanies like McClusky allowed the record companies to con-tinue to pay radio to play their songs, keeping the price of a hithigh. Instead of the record company’s own employees making thepayoffs, they could filter the money through the independents. For the major record companies, keeping the price of a hit high was part of the idea. It allowed them to maintain a lock on mostcommercial radio by dint of their deep corporate pockets. Whileaseries of $50 handshakes might have vetted the indies, giving them the appearance of enough prosperity to get a record to thepublic in the 1950s and ’60s, the price of independent promotionkept them pretty well out of the game through the late 1980s,’90s, and beyond, as McClusky and his peers priced themselvesever higher. Anyone who couldn’t afford it got shut out of theupper echelons of the charts, except in those rare instances when public deman d outranked corporate money. Hits by independent record companies became as scarce as foiegras atMcDonald’s. In 2005 McCl uskysawhispr omotion business go from 175 stations that were his to 30. Having lost most of his business to Clear Channel’s withdrawal, he shuttered that portion of his com- pany,calling the remaining 30 client stations and telling them that he would not renew their contracts or fund their annual promo-tional budgets as he had in the past. He did hope that they wouldcontinue to use him, however, as a “valuable source of informa-tion and advice about new music.” He had diversified his inter-ests in the music business. He claimed that the other areas of JMAhad become even more lucrative than his promotion business,saying he made more money, for example, by consulting for pub- lishers and merchandising companies looking for new talent, andventure capital firms who wanted to buy some glamour by invest-ing in the music business. Nor did he plan to totally stop work-ing with the record companies on promoting their records; hewould go back to the old way of doing it and work for a flat feerather than the multi-tiered bonus system. Indie promoter Lembo reflected on promotion post-McClusky: Some things we think about now when promoting a record . . . is there marketing support, Internet activity, video (MTV, VH1,BET, Fuse, CMT, etc.), print media, touring, television appear-ances, satellite radio play (Sirius and XM), Music Choice [the dig-ital music channels on certain cable systems], motion picturesoundtracks, use of a song in a television show or advertisingcampaign? Is the artist top of mind when it comes to popular cul-ture (e.g., American Idol )? AsClear Channel ascended and McClusky fell, the record business scrambled. On the one hand, the broadcast frequencies remained as monolithic, homogenous, and monotonous as ever. In reaction to this, new choices like those outlined by Lembosprang up. So, didEliot Spitzer succeed where the Isgro trial failed? Did he wash awaythe “corrosive” influence on “the integrity of com- petition . . . t he m usic industry . . .” and “the radio industry” allowing “artistic competition, based upon aesthetic judgments or other judgments that are being made at radio stations”? Or did the in fection ofindependent promotion and payola just once again go subcutaneous? One thing is likely, and that is that the half-century-old (or older) rules for getting a hit record won’t changeany time soon. “ A song without significant record company sup-port,” noted the New York Times ’s Jon Pareles, “stands about as muc h chance as a congressional candidate without campaign funds.”128 Dirty Little Secrets of the Record Business12916 Arbitron Rated #1 in Symphonic- Punk-Country-Disco Fragging the Format It bears repeating :in commercial radio the format is flypaper, an d all of us are the flies. To extend the metaphor a bit, the for- mat is specialized flypaper, and it targets specific flies. The sta- tions you listen to know (generally) who you are and are set up tokeep you listening and sell you their advertisers’ products. Where television has Nielsen tracking viewers, radio has Arbi- tron tracking its listeners. Up until very recently (and still in somemarkets), both Nielsen and Arbitron accomplished this featthrough fairly similar means. Both solicited people randomly andasked if, for a small stipend, they would be willing to have theirviewing or listening habits tracked. “Whe nyou agree to keep a diary, you pretty much open your life toArbitron,” said radio and television columnist Larry Bonko. There is a page of “quick questions” to answer: What is your age? Where do you live? Thinking back six months, what radio station did you listen to most of the time? Arbitron asks about your income, the amount of schooling you’ve had and the zip codes of the places where you live and work. . . . Upon beingselected, you are promised by Arbitron that the survey is easyand fun. Easy? Y ep. Fun? That’s a stretch. It’s work. Arbitronpaid me $5 to listen to the radio, fill in the diaries with the brightblue covers and mail them back in a postage-paid envelope. 130 Dirty Little Secrets of the Record Business Arbitron then collects this information and creates an elaborate demographic breakdown of who listens to what when and where. However, in other markets, Arbitron has started to use “peoplemeters.” These devices are worn by the consumer and registerinaudible signals broadcast as part of the radio station signals.When the devices are turned in, the data in them is put into a com-puter. The consumers still have to fill in the demographic infor-mation, but the meters make the listeners’ diary entries for them. While it makes general information available to the public, like the overall radio station ratings—what the company calls“topline” ratings—the big news gets collected in what radio andadvertisers refer to as “the book.” The book not only shows howone station compares to another overall, but also breaks it downby the part of day and the listener’s age, income, sex, and race.So a station might be rated #6 overall and have a full point andahalf fewer ratings than the #1 station in the market, but still demand more per minute in advertising because that #6 station’sminute reaches a much more affluent listener than the #1 station’sminute. Howdetailed does Arbitron research get? A recent report revealed such fascinating nuggets as: ®82.5 percent of Chinese-speaking Asian Americans in NewY ork and Los Angeles ages 12 and over listen to the radio foran average of 16 hours a week. ®56.2 percent of that listening was done to the Chinese-language stations. The English-language formats Chinese-speaking Americans listened to were: ®adult contemporary (6.4 percent) ®news (6.2 percent) ®popCHR [c ontemporary hit radio] (5.2 percent) ®53.6 p ercent of them attended some college. ®23.1 percent live in households with income greater than$75,000.Arbitron Rated #1 in Symphonic-Punk-Country-Disco 131 There was much more, but you get the general drift: Arbitron knows a lot about the people who take its surveys. One of the things this report points out is that different for- mats reach different people. For example, in New Y ork City, as of this writing, Clear Channel Entertainment owns adult contempo-rary station WLTW, urban station WWPR, CHR station WHTZ,classic rock station WQCD, rhythmic CHR station WKTU, andadult contemporary station WALK (actually a suburban station, buttracked with the NYC stations). These formats are designed ,via their S elector databases, to reach different listeners. Joe Smith noted: Wha thas happened is that radio has fragmented so much, to deal w ithspecial audiences, girls 15–19 who are left-handed. I could, on the radio [in the 1950s]—as could any disc jockey in the country—play a range of Bo Diddley to Doris Day, without ever considering that you were crossing unknown lines. Y ou were programming hit records, and hit records seemed to have a com- monali ty of interest. I was not looking to a black audience or a girls’ a udience or an older audience. Consider that the fast-diminishing oldies formats are the only stations that would dare segue from James Brown to CreedenceClearwater Revival to the Ronettes with no one thinking twiceabout it, because radio during the era they try to recapturesounded like that. Today, when formats tend to run all R&B orall contemporary hits, that sounds astonishingly egalitarian—andtry finding a non-oldies station that plays the Ronettes or JamesBrown at all. Programmers would have you believe that older hitshave neither relevance nor resonance outside of specific formatsgeared toward older music. Beyond that, if a station’s Arbitron ratings fall below a cer- tain ar ea, or it d oesn’t seem to reach the demographic it craves, it will flip formats. Often this causes such an outcry from fans of the “failed” format that they write to the FCC for relief. How-ever, the FCC’ sstand on the issue is as follows:The Commission is authorized by law—the Communications Act of 1934, as amended—to license broadcast stations and to reg-ulate their operations in some respects, but the act prohibits theCommission from censoring broadcast matter and from takingany action that would interfere with free speech in broadcasting,afreedom also guaranteed in our Constitution’s First Amend- ment. [I wonder what pre-Sirius Howard Stern and CBS wouldsay about that.] Therefore, although there are limited statutoryexceptions, in general neither the FCC nor any other govern-mental agency has the authority to direct broadcasters in theselection and presentation of programming. . . . No federal lawor regulation requires that the Commission’s permission beobtained for a change in a radio station’s entertainment format. A2000 report found that there are about 10,000 commercial radio stations in the U.S. Although, as just noted, formats can change at the drop of an Arbitron point, at the time the popularmusic formats on radio (excluding news, talk, classical, and sportsradio) broke down like this: #of Format S tations Rock and modern rock (formerly known as album-oriented r ock) 1,990 Adul t con temporary (contemporary without hard rock or hip-hop) 692 Rhythmic Top 40 (pop, R&B, and hip-hop) 495 Contempor ary(all new) 376 Hot adult contemporary (“soft rock” with a beat) 335Contemporary hit radio [CHR] (Top 40 with a 20-song playlist; all [the same] hits, all the time) 306 Adult album alternative (music for former album-rock fans who still wanna rawk; modern rock without the synthesizers) 176 Urban (modern R&B and hip-hop) 103 Spanish (actually a bunch of different genres, from tropical to Tejano, but the survey didn’t subdivide) 103132 Dirty Little Secrets of the Record BusinessArbitron Rated #1 in Symphonic-Punk-Country-Disco 133 Alternative (the breeding ground for rock and [especially] modern rock, but edgier, with fewer sythesizers) 85 Country (another variegated species of radio that didn’t get subdivided) 80 Soft adult contemporary (all-new so-soft-it’s-squishy music) 75 Urban adult (modern R&B without the hip-hop) 61 Modern adult (“soft rock without the oldies”) 59 Smooth jazz (aka instrumental pop) 36 Jazz 32 Smith lamented this new fragmentation: Now there are people who do a lot of research, phone-outs, phone-ins, and again, narrow banding in terms of their outreachto what they play. It’s ludicrous to me that a record doesn’t makeit into the AOR [album-oriented rock, what is now called mod-ern rock] world. What is the AOR world? Have we invented agroup of people who won’t listen to this hit record by Kenny Rogers? That’s awful. Kenny Rogers makes some wonderful records that last a long time; people dance to them and hear them. If the guy’s got a #1 record of “Lady,” why couldn’t thatbe played on a radio station? But the narrowcasting, and the per-ceptions that programmers have of putting people in bags, is what’sdifferent f rom where it was back in the radio of the ’50s. Of course, this is all powered by advertising. If a format like adult contemporary appeals predominantly to women—and Arbi- tron co nsistently reports that it does—where do you want to advertise tampons? If a format consistently appeals to men 25–54, where do you want to advertise beer? If your medium is radio, Arbitron tells you which flypaper attracts which flies, how manyof them, and how often. “It’s a tool,” said one station owner, “that we use in our busi- ness every day.”13417 Are You Sirius? Can Satellite Radio, Webcasting, and Podcasting Save Broadcasting (or Even Themselves)? When I told one of my former students the subtitle of this book, he said, “Radi o! Radio, radio, radio sucks!” We now have a pretty good idea why standard terrestrial broadcasting has this reputation. With the broadcast frequency spectrum full in many urban areas, the keen competition really doesn’t help; it has a homogenizing effect, and very few stationstake the leap to sound different. The stakes are just too high. One o f the adages of business has it that the way to get rich is to fill a niche. Find a problem and solve it. Build the proverbial“better mousetrap.” In radio, these solutions have taken three spe-cific shapes: satellite radio, webcasting, and webcasting’s kissing cousin, podcasting. Unfortunately, as of this writing, none ofthem have proven financially viable, though all are getting close. While a relatively recent development in the broadcast world, the idea for satellite radio has been brewing for over a decade,since the FCC decided to allocate the 2.3-gigahertz band of fre- quencies to satellite-based audio broadcasting. The set price for alicense to broadcast on these bands was $80 million, and the FCChad four ta kers. S ofar, three companies are in the sky and on the air: S iriusSatellite Radio, XM Satellite Radio, and WorldSpace. WorldSpace operates in Asia, Africa, and Europe, while XM andSirius com pete for the North American market. Are You Sirius? 135 Where “terrestrial” radio stations (i.e.; the AM and FM sta- tions we’re notdiscussing in this chapter) broadcast analog sig- nals o n their carriers, the satellite broadcasters use a digital signal, similar to the encoding on a CD. (Recently, to combat the com- petition from the satellite providers, many terrestrial stationsstarted piggybacking a digital “high-definition” version of theirprogramming. As of this writing, the jury still has not come inon whether the new format will capture consumers’ cash.) Each of the satellite systems has its own proprietary chip to decode the digital signal coming down from its orbiting trans-mitter. XM and WorldSpace each have two satellites in geosta-tionary orbit over the equator. WorldSpace’s satellites are calledAfriStar and AsiaStar, while XM’s are named Rock and Roll. Aslong as you have a view of the southern sky (and you have areceiver with the proper chipset) you can generally get the digitalsignal from these two stations. This works well for WorldSpace, which is aimed mostly at sta- tionary objects such as houses, offices, and the like. The servicemakes information, education, and entertainment available toplaces that, heretofore, had no available radio programming—hard to imagine for Westerners, but many places in Africa and Asiadon’t have local broadcasters. WorldSpace sees itself as a means of empow erme nt, bringing the communications age where it never went before. Sirius took aslightly different tactic, launching three satellites in higher , elliptical orbits. This cuts down on—but does not elim- inate—one of XM’s prime problems. XM and Sirius design hard- ware tomove with the listener. They make home/office sets, sets for the car, and even sets that can be carried around like a per-sonal stereo. However, if the XM listeners lose sight of the south-ern sky, they potentially lose their signal. So XM and—to thelesser extent that it’s necessary—Sirius both use strategicallyplaced antennae called repeaters to get the signal where the satel-lite won’t reach. Like conventional radio, the satellite sets tend tobe useless in tunnels and other underground places like garages where the signal can’t penetrate. As of this writing, XM offers 150 channels; Sirius offers 130. In an area where all the terrestrial frequencies were taken, a non-satellite radio listener would theoretically have about the samenumber of choices (based on 100 active frequencies on each spec-trum, but some out of reach of certain parts of every listening area).But, as we’ve seen, many terrestrial stations would overlap and com-pete, and be programmed to the lowest common denominator. Both XM and Sirius have the advantage of diversity, albeit nar- rowcast diversity. They have stations that broadcast just 1970s rockor ’70s pop; stations that broadcast classic country, contemporarycountry, or bluegrass; stations for Afropop, reggae, and Asianmusic. XM has every Major League Baseball game while Siriusbroadcasts the NFL, NHL, and NBA. All of XM and most of Sir-ius’s stations are commercial free. Both charge (as of this writing)about $13 a month for the service. Only 6.2 million people actu-ally subscribe to the satellite services, accounting for an approxi-mately 4 percent penetration of U.S. households—spit in the oceancompared to terrestrial radio. XM also offers some of its service to subscribers of satellite television broadcasters DirecTV, for peo-plewho wantto listen to radio on their televisions. Bothfeature the human element of announcers. When they have a guest programmer, like Sirius’s Underground Garage chan- nel, “produced by Little Steven,” the producer creates his or her own Selecto rdatabase of songs. The stations sound quite a bit like terrestrial stations, complete with bumpers—the little spots between songs that identify the station and offer some hint as to what it plays. The satellite-casts bring local-hero jocks like MarkCoppola to a national audience, and give rinsed-out (as opposedto washed-out) personalities like original MTV VJ Mark Good-man a home. Some of the personalities on satellite are downrightsurprising—Bob Dylan did a show. Rolling Stones producerAndrew Loog Oldham and rocker Joan Jett have regular slots.136 Dirty Little Secrets of the Record BusinessAre You Sirius? 137 Like cable television, satellite radio is only censored by the end user, the listener, by the time-honored method of changing the sta- tion. This appeals to personalities like shock jocks Opie andAnthony (XM) and Howard Stern (Sirius). Stern made the jumpto satellite radio after getting the boot from CBS/Infinity Radio’sbroadcast stations; Sirius offered him a reported half a billion dol-lar contract. The service was counting on at least a million ofStern’s 12 million listeners to make the jump with him, the num-ber of new subscribers it claimed it would need to cover Stern’spayday. In the end it got 2.7 million. Some cite Stern’s presenceon Sirius as the element that could turn the satellite service intoaviable brand. The wealth of choices is satellite radio’s key selling point, though the digital clarity doesn’t hurt either. However, with therise in cellular Web access and widespread Wi-Fi, within a fewyears satellite radio could have a run for its money from more thanjust the terrestrial stations. While the satellite stations offer per-haps 300 programming choices, mobile access to Internet radiooffers tens of thousands, with about 100 new ones going live everymonth. Web or Internet radio is nothing new. In 1999, I got a mes- sage frommy friend Sam Pocker saying that he’d just tried out the audio-streamingsoftware SHOUTcast and “I’m still shaking.” Samhas been a webcaster ever since; he currently creates pod- casts (m oreon that anon) for bargain hunters. For hobbyists andevencollege stations, webcasting avoids the most expensive and hardest-to-maintain aspects of broadcasting: the actual license, purchase, and upkeep of the broadcasting equip- ment that sends the signal through the air. A professional, com-mercial radio transmitter can cost in excess of $10,000 (if you canfind a frequency for it), and getting a license is a difficult, and insome areas impossible, process in itself. Beyond that, transmitterstend to be temperamental technology. Web radio obviates all thatoverhead. Arbitron reported that 37 million Americans listened to radio on the Web in June 2005 (six times the number of satellite radio subscribers), up from 11 million four years previous. “The growthpotential is huge,” said John Potter of the Digital Media Associ-ation, “but there are still significant challenges. The record indus-try is doing their best to keep Internet radio in a box.” By law, webcasters have to follow far more rules than either terrestrial or satellite broadcasters owing to the record industry’songoing fear of the online space as a place for their product toget pirated. These rules came to the table as part of the DigitalMillennium Copyright Act of 1998. For example, Internet radiostations cannot play more than four songs by any one artist overthe course of three hours. They are prohibited from mentioningthe idea of recording their content. AWeb radio station can find itself with requests from Balti- more, Bangkok, Boston, and Baghdad. Location becomes irrele-vant, although some stations like to keep things local. OneConnecticut station will let anyone with Web access listen, butonly people with in-state telephone exchanges can actually regis-ter for membership. And what does the membership get you? Theability to make requests and use the interactive elements of thestation, lik e weather, traffic, concerts, and the like, all geared to a local a udience. Infinity Radio’s vice president of streaming media, Matt Tim- othy, noted that Internet radio needs to use the Web’s interactiv- ity.“To win,”he said, “ wehave to give as much control to the user as possible.” Webcasting allows KEXP, a 4,700-watt FM station in Seattle funded by former Microsoft honcho Paul Allen’s Experience MusicProject, to reach well beyond the 10 or 15 miles its transmitterwould allow. A throwback to the days when DJs roamed theearth, before the takeover of Selector, the art of the segue con-tinues to be practiced at KEXP. “It’s all about creating contextfor the music,” said Kevin Cole, one of the DJs. “Take Clap Y our138 Dirty Little Secrets of the Record BusinessAre You Sirius? 139 Hands Say Y eah—if you can mix that into some early Talking Heads, you can see, ‘Oh, yeah, that’s what’s going on here.’ ” One of the services KEXP provides to its listeners in Cyberia is hour-long podcasts—broadcasts recorded and saved as MP3files to be downloaded to computers and portable listeningdevices, predominantly the iPod (more on the iPod later). A grow-ing segment of webcasters have opted for this method. Podcastsrange from shows like Sam’s to National Public Radio broadcasts;podcasters range from amateur DJs to the pros at KEXP. According to Potter, most webcasters continue to operate at a loss, however. Unlike KEXP, they don’t have Paul Allen to subsi-dize them (though KEXP expects to be completely donor-sponsoredby the end of 2006). Commercial radio is now looking at the phenomenon. In a study, Bridge Media polled 4,000 radio listeners in six marketswho also listened to podcasts from their favorite station. Accord-ing to Bridge president Dave Van Dyke: It’s apparent that a regular schedule of podcast listening is a key element in order for a radio station to receive the benefits of increased listening. The study revealed that people listening to two or more pod- casts a month increased the frequency of regular listening. On the other hand, like webcasters, as of this writing very few podcasters make a profit. Another technological innovation at KEXP is a low-bandwidth stream for Web-enabled cell phones and pocket computers. SomeKEXP personalities have gotten calls and e-mails from peoplestreaming their Internet signal from their phones to their carstereos. This points to the next step in webcasting—widespreadavailability of Internet radio. And as I write this, the first steps toward remote-access Web radio have already started. The entire cities of Philadelphia and San Francisco, and entire counties inMichigan(Muskegon) and Arizona (Cruz) plan on becoming digital hotspots. The first generations of cell phones and receivers utilizing Wi-Fi will have hit the street by the time this book does.“Once Internet radio’s available everywhere and you’ll have ‘Inter-net Walkmen,’ it will be a watershed moment,” said Bryan Millerfrom WOXY, a former terrestrial radio station that made theswitch to the Internet. At least, that’s his commercial hope. Certain hardware manufacturers have the same vision. Motorola announced a technology initiative called iRadio thatwould do essentially what the KEXP fans did: play Internet radioover a car radio. Ford and Microsoft announced a pickup truck with similar technology built into it. While the main reason is to give con-tractors who work out of their trucks more than their offices theability to use a computer and the Internet while at work sites,both companies stress the broadcasting implications. “The Fordmobile office system,” they claim, “is also an entertainment unitto play MP3 files or listen to Internet radio over the vehicle’sstereo system.” So before long, a person might be able to program several hun- dred URLs for favorite webcasts into a device he or she plugs into the dashboard or steering wheel, giving access to the sites at thetouch of adialor button (or voice command). In the mood for zouk? A URL s uch aswww.r adioantilles.com might have nonstop zouk online. Gotta hear some Mozart? Someone might set up the domain www .stolzvonwien.com to fill that Mozart jones. The hardwar e coul deven Web crawl to find a particular piece you want to hear—call it out to the voice recognition element in the car andthe Google Songsearch software built into the car will find it and put it onto the car stereo, in nanoseconds. None ofthis technology exists now, but don’t bet against it. The rise of Web radio could have one of two ramifications for the record business. On the one hand, it could totally obviate it—the artists get their music directly to the Web stations and get roy-alties every time the song gets played on line. Or it could offer a140 Dirty Little Secrets of the Record BusinessAre You Sirius? 141 new opportunity for record companies to profit. As radio spreads out and gets far wider but thinner audiences, more of the artistsmaking music will get a chance for exposure, the S = R + P equa-tion on both steroids and a diet—longer, stronger, and way, wayleaner, the long tail comes to radio. The sheer abundance of Web stations and the ease in creating them might turn into a goldmine for aggregators, who put the sta-tion into an easier-to-use format than just millions and millionsof choices. Companies like Live365 have actually done this foryears, attracting advertisers and sharing the wealth. That wealth is a key issue here. Terrestrial radio and satellite radio have a lot of heavy backers. For terrestrial radio, there’snearly a century of history, and public companies that own hun-dreds of (or in the case of Clear Channel, over a thousand) sta-tions. Billions have already been spent to launch the hard goodsof satellite radio—not to mention the people required to program,staff, maintain, and actually DJ. By contrast, pretty nearly any-one can put together an Internet radio station. And live Internetradio on the verge of broad penetration is just the kind of thingthat scares the debentures off the companies with big money invested in high-overhead technology.Part III \|Retailing Records14518 Rock and the Hard Place Records Become a Commodity and Face Real Estate Prices and Profit Margins One o fthe biggest problems the record business faces, besides let ting people know that their product exists at all, is actually get- ting that product to the people who might want to buy it. The quandariesfacing record retailers get more difficult daily. As with so many of the problems within the music business, “doing things the way we always did it” creates far more static than it clears up. Changenever comes easily, but failure to change can cause disas- ter. While retail uses a more recent business model than, say, therecord companies, the model has remained largely the same for over half a century. In the early part of the 1950s, the main buyers for sound recordings weren’t stores. Record salesmen made the bulk of theirmoney s ervicing the owners of jukeboxes. There were over 300,000 of them, each held 50–100 singles, and the machineswent through the popular discs pretty quickly. In those days, before big stores carried large inventories of music, people would buy their records at variety stores, musicalinstrument stores, appliance stores, and the like. The recordswould sit in racks—at the appliance store, they’d put them nextto the phonographs. This gave the salesmen who serviced thesestores their appellation—“rack jobbers.” Sam Gutowitz didn’t even get serviced by a rack jobber. In the years prior to World War II, he ran a novelty and magic shop indowntown Manhattan’s financial district. In the 1930s, as radio began its ascendancy as the entertainment medium of choice andthe Depression had the world in a choke hold, the record busi-ness took a dive just like the bankers in the area surroundingGutowitz’s store—falling from a high of $105.6 million gross salesin 1921 to $5.5 million in 1933. So when a customer walked intothe store and asked whether Gutowitz had any records, Gutowitzwas surprised. “I thought [records] had gone out with the dodobirds,” he would later recall. He remembered actually stepping on a glass-and-lacquer 78 in the basement of his Washington Heights apartment building,so he told the guy to come back in a couple of days. He negoti-ated a deal with the building superintendent—the pile of recordsfor either a can of beer or three cigars (the story would changewith the telling)—cleaned them up, and resold the stack for $25.Like so many before him, Gutowitz realized the joys of music. “Isaid to myself, this is a beautiful business. What am I doing wast-ing time with toys and novelties?” Seeing that records were a hot commodity, he got a good deal onsome singles that had previously done time in jukeboxes, so he started stocking and selling them. These recordings did so well thathe m oved hi s shop to Midtown, settled on 49th Street, and opened astore using a ni ckname he’d acquired as a kid, Sam Goody. Goody’s name now hangs over the front doors of hundreds of recor dstores around the world. His adventures in record retail- ing make agoodstudy,as he led the way in discount record retailing and came to epitomize the business. He lived the ups and downs of record retail and the music business in general, as he represented the business’s ultimate goal—selling records. Goody began selling records using merchandising techniques common to the novelty market but heretofore unheard of inrecord retailing. In the late 1940s, he saw the future in vinyl LPs.One of the staunchest advocates of the LP in retail, he once gaveaway 40,000 turntables that operated at the new microgroove146 Dirty Little Secrets of the Record BusinessRock and the Hard Place 147 speeds—331⁄3and 45 rpm—one to anyone who bought $25 worth of LPs. He lost money in the short run, but recognized it meant he had 40,000 new customers. For his next major merchandizing maneuver he marked all his new LPs down 30 percent off retail list price. He could sell a 10-inch long-playing disk that listed for $3.98 at $2.80. Since hebought disks for $1.85, he still made nearly a dollar on everythingthat he sold. By keeping his overhead to 15 percent, and carrying300,000 LPs, Sam Goody made his record store into a sensation,hosting 4,000 customers a day. By 1955, Goody’s store accountedfor 7 percent of all U.S. LP sales, grossing close to four milliondollars that year. Around this same time, the record companies saw a new source of revenue. Why rely on the Sam Goodys of the world whenyou could take your wares directly to the customer? Columbiastarted the Columbia Record Club in summer 1955, offeringretailers 20 percent of the revenue from every member it signedup (a deal it still makes with the magazines that run its ads andthe college students that post its application cards around cam-pus). In a survey by TheBillboard (asit was known at the time), ama jority of retailers naturally opposed this idea. Most reported that it hadn’t affected their sales, though over 30 percent said that it hadcut in to their b ottom lines. One of the methods the clubs used to recruit suckers—I mean, members—w as to give away records as a premium, another prac- tice that con tinues unabated. Thus, new artists and even more ven- erable artists without star-powered negotiating leverage (or a competent lawyer) found language similar to this in their contracts: No royalty shall be payable with respect to records given to members of record clubs as bonus or free records as a result of joining clubs and/or purchasing a required number of records. The record business knew the clubs wouldn’t replace the record stores, though. On the cover of the same issue of TheBillboard as the record-club story, the magazine predicted another recor d-breaking year of record sales. It partially attributed this rise to more advertising, especially display advertising. Another thing that might have accounted for the rise was the perceptionof value. As New York Times music specialist Robert Shelton poin ted out, in the change from the 78 rpm glass-and-lacquer disk to microgroove vinylite, “ A minute of music on a record today[1958] costs less than one-third of what it did before 1948, cer-tainly a key factor in giving record and phonograph sales theirgreat impetus in a period when prices for nearly every other prod-uct in the economy rose.” Indeed, record sales did rise to new highs, from $182.7 mil- lion in 1954 to $235.2 in 1955, and in two more years they hadrisen to $360 million. Shelton predicted: The happy tunes that have been playing on the nation’s cash reg- isters during the age of vinylite are by no means ended. Theindustry is at the brink of a new era, the age of stereophonicsound, and observers feel that the addition of a new dimensionin music reproduction on disks and tape will add another dimen-sion to the cash sales of a flourishing industry. This kind of p rediction might have led to some irrational exu- berance. By 1959, G oody had expanded aggressively, so aggres- sively that that he was forced into Chapter 11 bankruptcy. Partially,it was a disaster of his own design. Discount retailing had caught o n across the board, so Goody was no longer the only game in town for marked-down music. The retail record business had rapidly turned into what then–RIAA head Henry Brief described as “a low margin, high turnover business. . . . Where once a typical consumer was able to buy, say, one album for $4or $5, now he can often afford two albums with a total outlayof $5 or $6. . . . Such discount price records make natural traf-fic builders or loss leaders for stores.” So they didn’t necessarily have to go to Goody.148 Dirty Little Secrets of the Record BusinessRock and the Hard Place 149 Astudy commissioned by John Wiley of Columbia Records said that the business had grown 250 percent in the decade between 1955 and 1965. It predicted the record business woulddouble in size again within the next decade. “The end of theupward trend is not yet in sight,” added Wiley. “Our future hasnever held more promise.” Even at that rate, it took seven years for Sam Goody to clean up his debts, but two years after he pulled his company out ofbankruptcy, he floated stock over the counter. By 1969, at the ageof 62, he was rebuilding an empire. He had eight stores and a new,computerized warehouse in Queens to get product to them. Thecompany turned over a third of a million dollars in profit basedon sales of $14.3 million, and things continued to look up. Hehad expanded into cassettes, both blank and prerecorded, an itemhe saw as having high sales-per-square-foot potential—a conceptthat would become increasingly important. He also franchised hisname. He even looked into videotape rental, though the VCRwould not arrive home for another five years. By 1977, the Sam Goody chain had 28 stores and grossed about $60 million a year. In his 70s, Goody decided it had been agood run, but it was time to go. Unfortunately, he couldn’t leave the companyto his children. “They loved each other,” he said, “and they still do, but they c ompeted with each other on every- thing and soon even the help was taking sides. I could only see thembreaking it all apart, so I sold the company.” The buyer was, unlikelyas it sounds, the American Can Com- pany, which had bought record distributor and retailer Pickwick Inter national a year or so earlier. American Can merged the two music companies. “I agreed to this transaction,” Goody said atthe time, “so that the company would perpetuate itself and grow.Ihave my two sons with me, Howard, 35, and Barry, 33, and a lot of young eager beavers who have put a lot of effort into build-ing this business with me.” At the time of the sale, over 1,000people worked for the chain. In the nearly 40 years he ruled the roost in retail records, Sam Goody had revolutionized the way America bought sound record- ings. Now he would see what that revolution had wrought. Like Sam Goody, Jack Eugster once sold tchotchkes, albeit as the head of a department store chain. Also like Goody, RussSolomon started selling records as an ancillary to another busi-ness, in this case his father’s drugstore at the base of Sacra-mento’s venerable Tower Theater. Both, in their own ways, wereGoody’s heirs. Solomon took his success in the “record department” of his dad’s store and moved it to its own space in 1960. By 1968, hewas opening the sort of store contemporary record buyers havecome to associate with Tower Records: a freestanding (as opposedto mall) store. Located in San Francisco, it capitalized on the musicof the Summer of Love, and became a favorite place for thedenizens of the Haight to hang out. The store became a huge suc-cess, and Solomon started to expand. At the height of TowerRecords’ success as a chain, Solomon owned (the companyremained private until very recently, and even now does not offerstock) and oversaw almost 180 stores on four continents, with over $1 billion dollars in gross annual sales. Part of this success had to do with staying ahead of the curve ofwhatcustomers w ant—but only slightly. Said Solomon: Our company policy is to support new technologies, or, for that matter, to support anything the record companies come out with.It’s a natural thing for us to go along with the program, what-ever it is. We don’t have an awful lot of risk, either, if you ana-lyze it. If it doesn’t sell, we send it back. As for Jack Eugster, when he took over the Musicland record chain in 1980, i t waspartof the American Can (Primerica by that time) retail music division that included Sam Goody. He led a leveraged buyout of the chain eight years later and by 1993 con- trolled 8 percent of U.S. music business sales, harking back to Goody’s similar achievement some 38 years earlier. However,150 Dirty Little Secrets of the Record BusinessRock and the Hard Place 151 Eugster played a considerably higher-stakes game. In 1955, Goody accounted for 7 percent of the market with about four million dol-lars in sales. In 1992, Eugster accounted for 8 percent with salesof about one billion dollars. Fast forward a decade, and both Musicland and Tower are in deep trouble, along with almost all record retail. Not only havesales plummeted, but so have margins and foot traffic. The RIAAreported that between 1989 and 2004, the people who actuallybought records did it . . . differently. Record-store sales hadaccounted for 71.7 percent of total record sales; that number fellto 32.5 percent. Those that went to “other stores” rose from 15.6percent to 53.8 percent. (This was even before online stores likeCDNow and Amazon dug out a significant niche; online sales asof 2004 still only accounted for 5.9 percent of total business.) Theonly thing that had not gone down at specialty retail record storeswas the overhead. Anyone who has been in a modern record store will tell you it takes up a lot of prime retail space. A freestanding store—thekind Solomon specialized in—might use 10,000–20,000 squarefeet or more. Even mall stores have had to grow to carry enough music to compete, especially if the mall has a discount departmentstore thatmight use music as a loss leader. At a time whe n this retail s pace canaverage $40 per square foot in a mall, can cost upward of $200 per square foot along a main shopping drag in New Y ork to as low as $35 per square foot in the ci ty’sGarme ntDistrict (not the fanciest neighborhood); and range between $180 per square foot on the Strip in Las Vegas to an average of about $20 off the Strip; some thought has to be given to the profit margin of a CD, especially in the context of astore that sells little else. Not that the contemporary record store concentrates solely on CDs. Y ou might find DVDs, cases, blank CDs, players, books,magazines, and even memorabilia in many of these stores. Theycarry what the traffic demands. And it all takes up space they payfor by the square foot.Now, let’s do a little math. At even the lower end of the rental spectrum, say $50 a square foot in New Y ork, a 10,000-square- foot store costs half a million dollars a month in rental overheadalone. Which brings us to margin. In 2003 Universal Music Group’s Jump Start program started a trend toward a lower CD whole-sale price, but even so, a CD generally costs a retailer somewherebetween $11 and $13 for a new-hit, major-artist release, andaround $10 for “midline” CDs. The Jump Start program’s effortsproved to be too little, too late. When CDs first came out, theycost about 50 percent more than the vinyl albums they would ulti-mately replace. The record companies assured consumers that asthe manufacturing prices came down, so would the prices of CDs.Only they never did. For years, the cognoscenti knew that it onlycost about a buck to manufacture and package a CD, but the priceof CDs continued to rise. Since the retail competition is fierce, most stores cannot charge more than $15.98 for a new hit, or $12.98 for a midline CD. Thisgives the store a $2–$3 margin per CD, much less a percentagethan Goody made when he devised the method of marketing music at retail. Divide an average margin of $2.50 into the$500,000 r ent and the merchant has to sell 200,000 CDs a month just topay the rent. Thisdoesn’t include salaries, interest, or inventory, or even keeping the lights on. Clearly, this business mode l becomes more difficult to sustain every year. MikeDreese, CEO o fNewEngland specialty record chain Newbury Comics, offered more specific details: On Fiona Apple, we are getting an 11 percent profit margin. On Nickelback, 10 points; Sevendust, 3.9 percent margin;Kanye West, 8 percent margin; and on Green Day, 9 percentmargin. On the new Depeche Mode, we are sowing costs of$11.51 with a 6 percent margin. . . . The majors’ titles are com-ing out at crazy costs. Y ou almost wonder what planet these guysareon.152 Dirty Little Secrets of the Record BusinessRock and the Hard Place 153 Rather than making things easier, Universal’s Jump Start pro- gram made things even more difficult. To get a discount on CD prices, retailers not only had to dedicate 25 percent of their shelfspace to UMG product (not a hardship, as UMG accounted forclose to 30 percent of sales), but also had to provide a third ofthe stores’ prime marketing space to UMG for free. This spaceincluded the endcaps, hit walls, and listening stations, all thingsthat record retail used to beef up its bottom line; a month worthof space on an endcap could cost a record distributor thousandsof dollars, which added to a store’s net and helped keep the lightson. And even if a retailer did not join the Jump Start programand get the discount, Universal wouldn’t buy that space again. Fur-ther, UMG would no longer provide co-op advertising dollars. Justlike in radio, these “split” ads helped the retailer get traffic intothe store. The record company paid for space on the store’s orchain’s advertising, each company promoting its hot programrecords for the month or week. With the largest record company in the world stopping the practice, retail was well and truly screwed. So while the Jump Startprogram looked good for retailers on paper at first blush, it mostly benefited Universal. It no longer paid for space that used to costit. If retail ers c hose to get the discount, Universal got the space for providing the discount. If they didn’t give Universal the space, they didn’t get the fee anyway. It might have left them with more space forthe other three companies, assuming the other three majors sa w fit to pick up the slack. It was a lot of slack, however, in a time of diminished returns. The proof of the problem’s seriousness lies in the obvious financial trouble that retail is facing. The phrase Fortune Maga- zineco rrespondent Andy Serwer used to describe the situation at Tow er is “hemorrhaging money. . . . Solomon and his family are surrendering 85 percent of the company’s equity to the bond-holders. And the company is for sale. And it sure beats the heckout of me how this company will make a go of it long term.”Add to this the devastating effect of the terrorist attacks on New Y ork and Washington, D.C., on September 11, 2001. Sales growth had already started to slip, falling from a 9.3 percentincrease the previous year to a 3.3 percent decrease. The attacksshut down virtually everything in America for a week. The emo-tional vulnerability, shock, and sadness the nation felt was cou-pled with the physical problems of all air traffic being groundedso checks could not be transported, the stock markets closing (andthe commodities exchange effectively getting wiped out in the col-lapse of the World Trade Center), and certain financial recordsbeing lost. The record business had ceased to continue sales gainsthe previous year, slipping from a 1999 peak of $14.6 billion to$14.3 billion. In 2001, the slide continued to $13.7 billion. Thus, when Best Buy purchased Musicland in 2001 for $685 million, it thought it had bought at the bottom of the trough. Itwas wrong. In 2003, it basically gave the chain to a Florida invest-ment firm in exchange for assuming the company’s debt. Anotherchain, Wherehouse Entertainment, filed for bankruptcy twice overthe course of nine years. Still other chains fight the good fight, clos-ingstores to try and shore up their profits. By 2003, total recorded music sales slid to $11.9 billion, lower than 10 years earlier. Thisslump doesn’t only affect the chains. The independent recor d store hasnearly fallen by the wayside. Many of the own- ers o fthe stores that remain open think about shutting down on adailybasis. “This industry is in trouble,” said the owner of a 14-year-oldIllinoisshop. “I’m scared. I love what I do.” Some stores and chains have survived, through the writing of this book at least, by filling a niche market. A small California chain, Amoeba Records, beat the larger chains at their own gameby actually paying a staff for their musical knowledge. Chicago’sDusty Groove put much of its inventory online, leading some todescribe it as “one of the most exciting record stores in the coun-try.” Gary’s Record Paradise in Escondido, California, caters toan audience that wants rarities, oddities, and specialties. “Where-154 Dirty Little Secrets of the Record BusinessRock and the Hard Place 155 house and Sam Goody have a fast-food mentality,” Gary’s owner Eustaquio Kirby said. “They are not really record stores.” Science of Shopping author Paco Underhill agreed. “The indus- try v iews music as a consumable product: Y ou consume music in the same way that you’d drink a Pepsi. Amoeba thinks of musicas a tradable commodity, a durable good that has long-termvalue.” What this means is that these stores carry used records and CDs. With a 70 percent margin on a used CD, they can moder-ate the margin needed on their new albums. But even these stores may feel the pinch as the rental rates for retail (and all other) properties spike. By fall 2005 in New Y ork,the rents drove even revered specialty stores out of business, notedthe ARChive of Contemporary Music’s Bob George: CBGB’s was not the only East Village institution to disappear at the end of August, as venerable soundtrack and theatrical shopFootlight Records closed down the bricks part of their opera-tion. While the store is now dark, this vast historic collectiondocumenting the lively arts will be largely kept intact through agenerous donation of over 25,000 recordings to New Y ork’sARChive of Contemporary Music. For nearly 30 years Footlighthas been one of America’s most important sources of out-of- print and hard-to-find LPs and CDs. As the name implies, the- ater and film m aterials were their primary focus, but the store also st ocked one of the largest inventories of recordings by cabaret s ingers, big bands, crooners, and pop vocalists from the ’20s t o the present time. Fans, collectors, and the music indus- try itself often combed the bins for just the right satisfying sound. RonSaja, Footlight’s owner since 1993, tells of the time film director Nora Ephron came by to search for music to enliven thesoundtrack to Sleepless in Seattle .However, as early as 1991 sa les were inching toward 50 percent online at Footlight, herald- ing the eventual demise of their high-rent physical space. The same issues caused huge international record seller HMV to pull out of the U.S. market after five years. “In our case it wasabout the fact we had very poor real estate deals,” said the chain’s CEO Alan Giles, “where the majority of the stores we had wereeither poorly located or over-rented and that always gave us amountain to climb.” Had the music business thought ahead far enough, it might have found in MP3s (or some other digital compression format)the answer to many of its most expensive problems—but, then, ithas those infamous control issues. “Prerecorded media will dis-appear,” Todd Rundgren postulated early in the 1990s, notaccounting for the record industry’s stubborn, backward reactionto the digital retail space. Y ou will never go out to buy a prerecorded CD. All you will do is buy blank media and say, “Okay, I want this particular record,or I want these songs off of this record, or I want to buy sixpounds of Michael Jackson.” They’ll just download it to you andit will appear on something like a MiniDisc, and you can listento it at home, or you can pop it into your portable player or lis-ten to it in your car. It’s just the delivery medium will be differ-ent. It will be much more efficient, I think. They won’t have tosend the record to the pressing plant and press and send it to therecord store. All the packaging that you just throw away anywaywill just disappear. With the dig ital transfer of music files, the medium becomes whatever bottle the end user chooses to keep the lightning in. “The Web eliminates two-thirds of the cost factors,” the Smith- sonia nInstitute’s Richard Kurin pointed out. “Y ou don’t have to produc e a h ardproduct and you don’t have to pay a middleman. The prospect is for greater dissemination.” Of course, the digital space still accounts for less than 10 per- cent of the record industry’s sinking sales. We’ll see, however, as stores close down, people have fewer and fewer choices aboutwhere they can actually buy records, and those stores offer fewerand fewer choices as to the kinds of records customers can buy.It turns into a vicious cycle—the fewer places to buy records, thefewer potential sales.156 Dirty Little Secrets of the Record BusinessRock and the Hard Place 157 Then there are the space considerations. Retail density ranges from 5.5 CDs per square foot of floor space at a Tower location to 20 per square foot at a smaller independent store. That meansthe 10,000-square-foot store (with the half-a-million-dollar rent)we looked at earlier would carry between 55,000 and 200,000titles if it stocked nothing but CDs. Of course, most record storescarry far more than just CDs, if only for the margin. And as DougMashkas, owner of a store at the high end of the density spec-trum (carrying 30,000 CDs and 10,000 DVDs in a 1,500-square-foot space) admitted, the effect is “not very pretty.” Figure most stores stock less than 10 CDs per square foot, and carry an inventory of between 10,000 and 100,000 CDs,depending on floor space and inclination. Even if they carried onlyone copy of each title (not a likely scenario) and crammed theracks at the high end of this inventory, they could still only fit one-third of all available titles. Certainly the department stores sell only the hits. And as the dedicated record stores give up more space to higher-margin items,they can devote less space to marginal music and catalog items.The fewer stores selling deep catalog, the less deep catalog gets sold. And if you wondered why 0.45 percent of the records soldaccoun ted for over 50 percent of the sales, just try and find some of the other 99.55 p ercent ofthe available titles with any regu- larity at most record stores.15819 Censorship Wal-Mart Tippers the Scales Specialty record stores —even the huge chains such as Tower, Tra ns World, or Musicland—pale in penetration when compared to Wal-Mart. With more than 2,300 locations around the country, the hugediscount department store often represents the only choic e people have to buy records within an hour of where they live, particularly in rural areas. Since the mid-1990s, Wal-Marthassold more pop music than any other retailer in America, accou nting for around 52 million of the 615 million compact discs sold per year on average. Not bad for a store that stocks recordsas apart of a mix that runs from pillowcases to shotguns. Not only does Wal-Mart sell the most records of any retailer in America, but often it sells them cheapest, too, which makessense: get a customer into the record department (usually in theback of the store) and maybe he or she will buy a toaster, a trac- tor, a television, or some towels as well. For a department store,margin cuts both ways—it’s willing to gamble on a slight loss ona product to lure customers in to buy higher-margin items. Records are the classic loss leader. But Brian K. Smith of Value Music Concepts explained the downside: For the sake of a possible big first-week ranking, some front- page flier exposure, and power-aisle placement (next to the greet-ing cards or candle rack), the labels have sold their souls to asector that has not developed an act, will not develop an act,and has no desire to develop an act. All the [high-volume depart-Censorship 159 ment stores] care about is loss-leading and add-on transactions, and they do not care where the add-ons come from. In theprocess, the labels have allowed their product to be devalued inthe eyes of the consumer thereby creating a situation where thetraditional players look like thieves for expecting the same mar-gin on sales as the [department stores] get—only we have to doit without the benefit of a lawn-and-garden department. In addition to marketing its store brand as a place for bar- gains, Wal-Mart takes great pains to promote and maintain an image as a “family” store. In certain areas, the local Wal-Martserves as a social center. Even where I live, in an exurb-cum- suburb of New Y ork City, one of the larger religious communitiesin the area uses the local Wal-Mart as a place to get together,schmooze, and, of course, shop. It even has elements of a pick-upbar—I’ve seen dates made by people who meet there. “Our customers understand our music and video merchan- dising decisions are based on a common-sense attempt to provide the type of merchandise they might want to purchase,” a Wal-Mart spokesperson explained. And what type of merchandise might they want to purchase? The answer is actually more what they don’t want to purchase, or per haps what Wal-Mart doesn’t want to sell—entertainment with curse words, nudity, or violence—in short, no CD conve-niently decorated with a “Parental Advisory Warning” sticker, oth-erwise known as “Tippa Stickas.” Which brings us to a point where we need to back up. The sticker itself is a bit of “self-policing” by the record business; itresulted from an accident that started an avalanche. The contro-versy over the lyrics in popular music and what’s appropriatefamily entertainment made for some of the most entertainingmoments in c ongressional history, but bloomed into one of the record business’s worst cases of agita and angst. The simple beginnings involved an Ohio family named the Alleys, wh oliked the song “1999” from the Prince album of the same name. So one day in 1984 (how appropriately Orwellian),Mrs. Alley went to the store and bought a copy. So far, the record business approves and everybody’s happy. While playing the album that evening, however, Mr. and Mrs. Alley stumbled on “Let’s Pretend We’re Married.” They found thelyrics so explicit that they turned down the volume lest their just-prepubescent daughter or seven-year-old son catch them. It would have stopped right there, with Prince getting rele- gated to the hours after the kids went to bed, except that theAlleys were members of the Delshire Elementary School PTA.They proposed that some sort of warning be put on records tomake parents aware of profanity, sex, violence, or vulgarity. InJune of that year the PTA’s National Convention passed a reso-lution to that effect. The mayor of San Antonio, Texas, saw this as an opportunity and made a lot of noise about a similar ratings system for con-certs. All this was disturbingly reminiscent of the sort of filmfootage you can see from the 1950s, wherein Klansmen and WhiteCitizen’s Council members talk about the evil influence of rock,and claim it as a conspiracy of communists, African Americans(not exactly in those words), and Jews. But the PTA’s resolution was relatively toothless—it really had no enforcement power andstopped short of calling for a boycott of all recordings. However, before all controversy over Prince’s alleged “profan- ity, sex, violence, or vulgarity” (pick one or two) had a chance to blow over, Mary Elizabeth “Tipper” Gore, wife of then-freshman Tenness ee senator Al Gore, overheard her daughter listening, once again, to Prince. This time the sonic culprit was his somewhat less innocuous song “Darling Nikki” (whom the singer finds “mas- turbating with a magazine”). Mrs. Gore compared notes withSusan Baker, the wife of Treasury Secretary James Baker, and thetwo of them formed the Parents Music Resource Center. Bolsteredby the PTA mandate, this group used their clout in Washington,and convinced the U.S. Senate to convene a hearing on the issueof monitoring the music industry with a ratings system similar tothe one used by the film industry. 160 Dirty Little Secrets of the Record BusinessCensorship 161 On one side of the room were the members of the PMRC, sev- eral senators, and foes of “porn rock,” as the subject of the hear- ing came to be referred to. On the other side sat one of the mostunlikely troikas of performers from the world of popular music:Dee Snider of the theatrical heavy metal band Twisted Sister; mel-low, middle-of-the-road pop star John Denver; and virtuoso icon-oclast Frank Zappa. The festivities kicked off with Senator Paula Hawkins playing the videos for Van Halen’s “Hot for Teacher” and Twisted Sis-ter’s “We’re Not Gonna Take It,” before giving a symposium onalbum covers she claimed glorified sex and other “unacceptablebehavior” for young people. Snider countered this by describing himself as a practicing Christian who didn’t drink, smoke, or use drugs, and saying thateverything he did professionally as the leader of Twisted Sister wasconsistent with his beliefs. He remarked that the violence in thevideo of “We’re Not Going to Take It,” which shows a teenageboy throwing his father against a brick wall, down the stairs, andout a window, “was simply meant to be a cartoon. It was basedon my extensive personal collection of Road Runner and Wile E. Coyote cartoons.” The R everen dJeff Ling, a PMRC advisor, recited lyrics to songshe found objectionable by such “popular” bands as the Mentors (which has not sold more than 5,000 copies of any record it’s released to date, even after all the publicity from the hearings), quoting lyri cs like “Sme ll my anal vapors/Y our face my toilet paper.” This inspired committee member John Danforth to inform Ling that his time was up. Denver countered by pointing out that the amount, availabil- ity, and indeed the market for some of the songs Ling had quotedwas a very small part of the pop music universe, small enoughthat “it’s not going to affect our children to a degree that we needto be fearful of.” The star of the day, however, was Frank Zappa, whose life mis- sion always seemed to be hoisting jerks on their own petard any-way. After refreshing the committee’s memory with a reading of the First Amendment to the U.S. Constitution (ostensibly for themembers of the foreign press), he began: The PMRC proposal is an ill-conceived piece of nonsense which fails to deliver any real benefits to children, infringes the civilliberties of people who are not children, and promises to keep thecourts busy for years, dealing with interpretational and enforce-ment problems inherent in the proposal’s design. . . . No one hasforced Mrs. Baker or Mrs. Gore to bring Prince or Sheena Eas-ton into their homes. . . . A teenager might go into a record storeunescorted with $8.98 in his pocket, but very young children donot. If they go into a record store, the $8.98 is in mom or dad’spocket, and they can always say, ‘Johnny, buy a book.’ . . . Theparent can ask or guide the child . . . away from Sheena Easton,Prince, or whoever else you have been complaining about. Zappa really got to the heart of matters, noting the smoke and mirrors surrounding the Reagan tax reform package that was working its way through Congress, designed to raise the nationaldebt while lining the already well-laden pockets of America’s wealthiest. Zappa pointed out that while the PMRC circus wasgoing on, “people in high places work on a tax bill that is soridicu lous, the o nly way to sneak it through is to keep the pub- lic’smind on something else: ‘Porn Rock.’ ” Indeed, the hearings and his high-profile wife brought Al Gore into the limelight, a s well as1984 presidential aspirant Ernest Hollings. But beyond that, they caused the RIAA to fold like a bad poker hand. The record companies capitulated and adapted the Parental Advisory Sticker.162 Dirty Little Secrets of the Record Business Censorship 163 This brings us back to the aisles of Wal-Mart, where albums dressed in Parental Advisory Stickers are taboo. Since Wal-Mart represents such a large percentage of the records sold, recordcompanies and bands redesigned (or created alternative) covers foralbums, released versions of CDs with masked lyrics, changedlyrics, or removed songs altogether. Artists who will not give in to this sort of self-censorship will not get into the racks at Wal-Mart. Not getting into the rackscould cost artists 10 percent of their sales, estimated Al Cafaro,former head of A&M Records. Beyond the sales, however, this has had a chilling effect on the artists. When Perry Farrell created a papier-mâché sculpturefor the cover of Jane’s Addiction’s Ritual de lo Habitual album, he hadn ’t given Wal-Mart a second thought. Until he had a pre- release meeting with his record company. “They said they thoughtIshould consider a second cover, because we’d probably only sell athousand copies.” The Ritual de lo Habitual albums in Wal-Mart had a whi te cover with the band’s name on it, along with the First Amendment. “Ifyou’re an artist,” noted retailer Don Rosenberg, “and want to write something about race, religion, politics, or sex, andyouknow it’s not going to be carried by a large percentage of retailers, y ou’rein the p osition of either singing what’s on your mindor selling records.” “You mayneed to show ID,” wrote Rockand Rap Co nfi- dential editorDaveMars h, “to buy re cor ds that make any mean- ingful commentary on the world.” Or youmight not be able to buy them at all if the only place near your home that sells CDs is Wal-Mart. But then, there’s anawful lot of music that you cannot buy at Wal-Mart. Wal-Martstocks its stores like the retail reflection of radio. Even online, thechain stocks only 80,000 titles, not quite a quarter of the num-ber available. Many artists needed to expurgate a goodly chunkof those albums to get them on the shelves. Some artists don’t need to bother, as their company couldn’t get the records into Wal-Martregardless—they’re too small, too low-profile, too anything, really.As with most of its merchandise, the music at Wal-Mart tendstoward inoffensive, middle-of-the-road blandness. The quirky orcontroversial need not apply.164 Dirty Little Secrets of the Record Business16520 AVoyage Down the Amazon.com Fortunately, there are alternatives for those who cannot get to areco rd store besides Wal-Mart but don’t want the expurgated version of their music. The age of McLuhan has arrived, we live in aglobal village, and anywhere in the world you can find an Inter- net connection, you can access one of the dozens of online recordretailers and booksellers. Indeed, CDNow cofounder Jason Olim saw this need for an alternative as the main reason people would come to his onlinestore. “Breadth of selection,” he said of his store that sold a quar- ter of a million different items, “is the most important thing.” This wasn’t always an option. E-mail and usegroups and other Internet (as opposed to Web) functions had been available gener- ally since 1969, when Compu-Serv (as it was called then) went intobusiness; however not many people were even aware of it. Modemscertainly were not standard equipment for the few people who had a home computer before the 1980s, and most people who hadmodems had them crawling along at about 300 baud (in contrast,amodern home DSL line exchanges information at about a thou- sand times that rate). The trend toward personal computers becoming truly personal had only slightly improved by 1998, when home computer pene-tration in the United States was a mere 42.1 percent, and of thosea scant26.2 p ercent had Internet access. It took until 1993 and the advent of Mosaic (a forerunner of Netscape) to move the Web out of the hands of solely the geekerati and into the realm of tech-nological early adapters. Where previously navigating the Webinvolved “knowing the code” of Universal Resource Locators (or URLs), with the hypertext features Mosaic’s graphical interfaceadded, new information was just a mouse click away. Within a year, the number of Web servers had risen from 500 to 10,000, and the number of netizens was doubling every fewmonths. It didn’t take long for businesses to smell money and startswarming around the Web like sharks at a chumfest. By the endof 1994, you could tour Graceland, book airline tickets, and seeclips from Fox television shows online. And, of course, buy CDs. In August 1994, 26-year-old twins Jason and Matthew Olim opened CDNow for business on theInternet. “CDNow was founded because of a disastrous search forsome jazz albums after I first listened to Miles Davis,” said JasonOlim. “Unable to get good advice on how to introduce myself tothe genre, I decided to build a music store that provided customersnot only with discs, but also reviews, related band information,personalized e-mail recommendations, and Real Audio samples. Ibuilt CDNow to help people discover music.” By December 1994, companies such as Geffen Records were linking their Web sites to CDNow. In addition to finding infor- mation about a record on a company’s Web site, visitors could nowclick a b uttonthat said, “I want to buy this now,” and open up a window to that record’s page on CDNow. By November 1995, 210,000 people were checking out the Olims’ site every month,bringing themmonthly sales of about 8,000 CDs, monthly rev- enues of$325,000, a nd monthly profits of between $20,000 and $40,000. Seeingthat, New England retailer Newbury Comics set up its own “virtual storefront.” In another sector of the music business,former GRP Records owner Larry Rosen opened a virtual store-front called Music Boulevard. All this action had people predict-ing that the Web would become a nexus of commerce, and soonthe larger retailers would have to get online just to compete withthe upstarts. Music became the most popular item to purchase via166 Dirty Little Secrets of the Record BusinessAVoyage Down the Amazon.com 167 the Web. By 1998, CDNow stocked more than half a million dif- ferent CD titles. Part of the reason for the popularity of buying music online was that you could actually hear the music on most of the sites.While “fair use” proscriptions required that the clips be no longerthan 30 seconds, a Web surfer could listen to pretty much anysong on any record CDNow and Music Boulevard sold. Beyondthat, both sites (and all the others that followed) offered a vastamount of editorial content, including short artist profiles andreviews. Even at low bandwidth (at the time, most people surfingat home used a 28.8K baud dial-up modem) music streamed withacceptable enough fidelity that a listener knew the song to whichhe or she was listening. Music didn’t take up much bandwidth. This led Music Boulevard to start an experiment in 1997. It was aware of the collegiates using MP3 to exchange music files.Why not, the company asked, try to actually sellmusic online? It hook ed up with a proprietary music compression technology called Liquid Audio and started to sell tracks on its Web site for 99¢.Most of them were either advances of more conventional CDs, ornon-CD tracks. It was not an idea whose time had quite come yet, and even Music Boulevard realized it. For one thing, it was stillveryinconvenient to download a song at that speed. “ A three- minute so ng,” Liquid Audio’s Scott Burnett said, “with a 28.8 modem, you’re looking at somewhere around 12 minutes.” However, with the introduction of secure Web connections that made financial transactions possible without endangering your credit rating, the online marketplace boomed. Amazon.com, already one of the biggest sellers of books on the planet, expanded into music during summer 1998. Its site, like CDNow, was infor-mation rich. Said Amazon’s David Risher: If you don’t know the difference between, say, acid jazz, tradi- tional jazz, free jazz, or ambient jazz, we describe each of these,plus we list the essential CDs for each genre, with reviews. It’saway of learning about a genre so you don’t wind up with acouple of ridiculous easy-listening jazz discs that’ll embarrass you in front of serious jazz listeners. The ability to preview records, a hallmark of the days of glass and lacquer, when most record shops had listening booths, became such a popular aspect of the online buying experience that brick-and-mortar retailers started to install listening kiosks in theirstores. Some discovered that record companies were willing to payfor them to put certain artists in their listening stations. Othershad their entire selection of recordings available for listening byputting on a pair of headphones and waving a CD’s barcodeunder a scanner. The competition became intense as the online CD stores had at it on the battlefield of commerce. Columbia House bought outCDNow in 1999, making it the online arm of its mail-order oper-ation. Similarly, Bertelsmann wound up buying out Music Boule-vard, putting it under the aegis of the RCA record club by theearly years of the new millennium. Despite the fact that a consumer can buy pretty nearly every CD in print and quite a few out-of-print CDs online, not manypeople seem so inclined. While online sales of physical CDs con-tinued to climb over the course of the last five years, they stillaccoun t for less than 6 percent of total physical CDs sold. Why? Perhaps simply because of the culture of instant gratification—we wantwhatwe want and we want it NOW! Some people do not trust online c ommer ce, feeling a little suspicious about putting credit card information into cyberspace. And perhaps people just don’thave enough information to take advantage of all the choices the Internet provides, an ironic situation for the information superhighway. Beyond this, technology has taken hold in a different way as more and more people gained access to more and more speed onthe Internet. At 28.8K or even 56.6K baud, downloading musicwas a painful process, but as broadband started to penetratedeeper and deeper into U.S. households via DSL lines and cable168 Dirty Little Secrets of the Record BusinessAVoyage Down the Amazon.com 169 television company online services, suddenly you could download asong in less time than it would take to listen to it. Many peo- ple began to explore the possibility of eliminating (or reducingtheir intake of) physical product, choosing a new digital con-tainer for their digital music. “Five years out,” Scott Burnett predicted of downloading music in 1997, “you may look at this as becoming a mainstreamdistribution alternative.” He didn’t know how prescient he was.Part IV \|Technology17321 We Recorded This in Only Three Months! From One Mic to 128 Tracks Imet Frank Filipetti while he was working as an engineer on Foreigner’ s Agent Provocateur at Electric Lady Studios in Green- wic h Village in New Y ork. We got to know each other, not because Ihad been an engineer, but because I was managing a music and video store about a block from the studio on Sixth Avenue. He would rent four or five videos at a time for his wife, who was ail-ing, while he tracked the album. He became a regular, and oncewhen I asked him for a progress report (on Foreigner, not hiswife), he told me that he wasn’t sure. They had been working fornearly a year, twelve hours a day, and he really didn’t feel anycloser to finishing than he had six months earlier. The processeventually took about a year and a half. Imentioned this to Todd Rundgren some time later on. “Some people think t hat unless it takes a certain amount of time, it isn’t good, ”he said. That’s not necessarily true. I don’t know how many times peo- ple have done their best take on the first take, if you can ignorethe glaring errors. Then, what happens is people try to get rid ofthe errors; they concentrate more on precision and less and lesson performance. It may be more perfectly played, but the feel ofit will be less pleasant, less human. Y ou have to realize that by the time the second month rolls around, you’re not looking forward to it any more. Y ou’re sup-posed to be creating pleasurable and meaningful stuff, and what happens is it’s the last thing in the world you want to do, to gointo the studio and go through that grind again. I don’t compre-hend it myself, but I guess the ends can justify the means. If any-body does it and they manage to get the sales, that’s fine. “ A lot of guys couldn’t possibly think that way,” Les Paul, inventor of the multi-track technology, noted about the trend to cold, faultless recording. “They let it go until they get it perfectwith no feeling.” In the early days, this was not possible. The entire nature of recording was different. Of course the record company wanted thebest-sounding, best-recorded music. But up until the very late1940s, everything had to be recorded direct to disk (remember,the tape recorder really didn’t even come to these shores before1946). If someone made a mistake, the engineer in the controlroom had to scrap the transcription disk and start over. Itbehooved the musicians not to make mistakes, to get it right thefirst time. To achieve that, the producers relied on great musicians,some rehearsal, and good charts. Sessions only lasted three hours back then, with the objective of leaving the studio with three orfour serviceable sides. “The wh ole point,”saidMitch Miller, who spent a lot of time making these recordings as an artist, A&R man, and ultimately presi dent of Columbia Records, “was to be ready when you did the ta ke. Otherwise, it became an exercise in exhaustion. Nobody wanted to be the one who screwed up the record.” Initially, in the days of the wax cylinder, recordings weren’t even made electronically; captured acoustic energy dug the grooves into the wax. One of the hardest aspects of recording then wasarranging the musicians to achieve the balance that would presentthe music at its optimum. When electronic recording and tran-scription were initially introduced, there was still only one micro-phone, so the musicians all had to arrange themselves toward thatone locus. Even the initial tape recorders were monaural and so174 Dirty Little Secrets of the Record BusinessWe Recorded This in Only Three Months! 175 were the records that were made on them—though tape certainly offered a less expensive, simpler means of recording than cuttingadisc on a lathe, especially when it came to multiple takes. The tape recorder led to a major economic shift in the record business. No longer did each track involve cutting a master. Now,recording merely required some relatively inexpensive tape, andbad takes could either be fast-forwarded over or erased entirely.With the advent of the LP, as Robert Shelton pointed out earlier,suddenly the perceived value of recorded music shot up even asthe cost of producing it came down. This spurred some 133 newindependent record companies to open for business by 1952. But as in Miller’s day, it was important that the artists came in prepared. Sessions for a recording were still a matter of hoursrather than a matter of days or weeks. As legendary English pro-ducer and manager Mickie Most recalled of his first recordingwith the Animals, circa 1964: Ipaid for the production of the records. Of course in those days they w eren’t that expensive. . . . The Animals’ first record was “House ofthe Rising Sun.” They had been playing it onstage. Y ou’dhave to be deaf not to hear that as a hit record. It was magi cand we made the record. They had been on tour with ChuckBerry, and they took an all-night train. We picked them up at seven fifteen in the morning. Took their equipment and themin a truck around to the recording studio. We started recording at around eight o’clock in the morning and by eight fif- teen, “The House of the Rising Sun” was finished. The studio cost eight pounds an hour, which was about twenty dollars in those days. And we recorded the song in fifteen minutes, so you’re talking about five dollars. And because they were sched-uled to catch a twelve thirty train to Southampton to continuewith the tour, I said, “Let’s do an album.” We finished the albumby eleven, and they made their twelve thirty train. For Les Paul, however, this would not do. Paul’s career spans almost the e ntire history of sound recording, from “gouging arecord out like a farmer with an ox” with transcription turntables to building and recording in modern digital studios. Early on, hecame up with the idea of “sound on sound,” playing one trackonto one transcription turntable then plugging his electric guitar(another of his innovations) andthe first turntable into a second turn table and playing along with the first transcription to add a track. In the process, he broke another bit of prevailing conven-tional audio engineering wisdom: since he was the only one record-ing, he decided it was silly to stand three feet from themicrophone. He moved it to six inches away and found that thesound he got was a lot cleaner—the technique is now called “closemicing.” He found that it worked even when he was recordingseveral people. And he discovered that if he put several micro-phones into a preamplifier, each with its own volume control, hecould close mic a bunch of people at the same time. In such ways,he improved the sound of records. However, some of his biggest innovations came with the advent of tape. Already legendary for his technical prowess, Paul procuredone of the first tape recorders to come to the United States. Imme-diately, he started tinkering with it, putting in an extra record head so he could do sound on sound with just one machine. However,thatmethodwas risky. If he made a serious mistake at any time, he had tostart t he wh ole thingover. This is illustrated by a scene in the film Th eBuddy H oll y Story in which Holly, after crediting Les Paul for the idea, blows a sound-on-sound dub, causing the band to have to go back anddo the initial track again. In answer to this problem of his own making, Paul came up withanother idea. Instead of recording with the head onto what had already been recorded, how about stacking several tape headstogether and then recording onto different areas of a larger tape?He took this idea to Ampex. What it came up with Paul affec-tionately nicknamed “the Octopus and the Monster.” an eight-track mixer with a set of eight cables (the “octopus”) leading toasix-foot-tall set of pre-amplifiers that attached to a reel-to-reel176 Dirty Little Secrets of the Record BusinessWe Recorded This in Only Three Months! 177 tape machine with a two-inch-tall tape head where the quarter- inch head used to be, that transported an oversized reel of two-inch-thick (as opposed to quarter-inch-thick) tape. For many years, however, if you wanted to use an eight-track recorder, you had to venture to Paul’s home and studio in Mah-wah, New Jersey. The Beatles’ first studio recordings, nearly adecade after Paul’s studio was up and running (albeit not quitedebugged), were still done on a three-track recorder at AbbeyRoad. They would play live in the studio, using Paul’s multipleclose micing, onto two tracks, and the third track could be usedto fill in anything else or to “bounce” the first two tracks—tak-ing the material on those tracks and mixing them to the opentrack—giving the group two additional tracks on which to record.As a famous engineer and producer once said, “Who needs morethan three tracks?” Four-track recording became de rigueur around 1964. With each subsequent bump in technology, the process of making arecord became both potentially more complex and, consequently,more time consuming and costly. In 1971, Beatles producerGeorge Martin said: Icannot see the need for any more than sixteen tracks for record- ing. In b uilding o ur new studios in the center of London, I had to decide how sophisticated our facilities should be, and while 24 and32 tracks are possible, I think it makes the whole business of recording far too expensive. Multi-track recording does not give you a better sound; it only postpones the moment of truth and then y ou have to decide what your mix is going to be. I use 16-track quite a lot because I have all these facilities at [my own] AIR St udios, but I would be quite happy with less. Sorry to repeat myself on [the Beatles’ Sgt.] Pepper ,but I think it is wo rthwhile mentioning that this was done on four track. I think the main point about recording studios today is that they should provide modern facilities instantly and with great comfort sothat the artist is made to feel at home. After that, it is up to theartist and the producer.If you have never seen a 16-track recording console, it looks something like the controls for a spaceship, and while each track has essentially the same controls, depending on the board thesecontrols can look intimidating and off-putting. The recordingengineer’s job is making sense of this world of gear and getting asound from one place to another place as transparently (to every-one else) as possible. However, progress didn’t stop at 16 tracks. By the early 1990s in the Power Station recording studio, a room geared for soundfor the film industry had in excess of 100 tracks on a recordingconsole that was over 16 feet wide. “I started when four trackwas in,” noted the Power Station’s owner, Tony Bongiovi,“Through 8-track, 16, 24, and 32. In my generation, I spent a lotof time in the studio. I watched the technical side of our industryevolve.” Pictured below is a 48-track console.178 Dirty Little Secrets of the Record Business We Recorded This in Only Three Months! 179 The problem for each particular studio is striking the correct balance. How much equipment does the studio need to own? How much can it rent at the client’s behest and expense without losingthe client? Can a facility be state of the art and charge top-lineprices, or can it book enough hours with equipment merely adequateto the client’s needs and still turn a profit? How does a studio bringin the clients in the first place? How much needs to be spent onadvertising and promotion to keep the room or rooms filled? When I cut my teeth as an engineer at a small eight-track stu- dio in Manhattan, we faced these challenges on a daily basis. Thestudio had a good-to-great location in a relatively shabby build-ing on 49th Street, by Eighth Avenue, with a rehearsal studio twofloors above us. Sadly, the owner proved not much of a businessman (he initially opened the studio in the hope of promoting hisown musical career through the record company attached to thestudio), and after expanding to 16 tracks, then renting out thespace for video production, eventually the sheriff came around,chained the door, and auctioned off the contents for nonpaymentto any number of creditors. In the recording studio business, this is a pretty familiar sce- nario. “We invested millions of dollars into the business,” notedanother st udio owner as he shut his doors and sold off his assets, “only to t urn aroundand charge peanuts. We did 85 percent book- ingat full rate, which must be a record, so we really couldn’t make it better. We reached the top for us, and the top wasn’t good enough.” The trouble at this studio began when the console it installed, one of the first of that particular kind in its city, became com- monplace. Then the console company started to lower the price ofthe console—the cost of being an early adapter. Said the studioowner of people in his position, “Y ou never win. Y ou put in [a con-sole] and you sell your room for $2,000. Then the next guy putsone in and charges $1,800. Then the next guy charges $1,600.”Producer, artist, and studio owner Larry Fast noted: During the heyday of big-format studios like the Record Plant, Power Station, Hit Factory, Media Sound, etc.—all now goneout of business—the big console and tape machine manufactur-ers extended easy credit at the prevailing interest rates (9–13 per-cent) to buy (actually infinitely lease) their products. Theyflooded the market with product, but their money was made onthe lease-to-buy arrangements where a $750,000 console couldeasily cost $2 million over the life of the lease. And they’d sell toanyone, forcing rate wars among the studios which the labelsleveraged to drive their own recording budgets downward. An illustrative example from House of Music: In 1976 we had an MCI console on lease purchase, which cost $60,000. Wecould get a book rate of $200 an hour for studio A. As you canimagine other costs for staff health coverage, property taxes,energy, etc. were pretty low by comparison back then. By 1994,we had a $600,000 Neve “V” series console in that studio andwere lucky to get the labels to cough up $80 an hour. Othercosts had gone through the roof. The biggest monthly hit was toNeve’s parent organization, Siemen’s Financial Services, whichheld the lease purchase paper. As I write this, a good console could cost a million dollars or more. Withthe cost of the audio accessories not included on the board, designin g and building a room, buying the actual tape and/or digital recording system, and lease or mortgage payments, agood studioin a goo dlocation could set the owner back two million dollars b efore it ever books an hour. And then it has to startbooking those hours, no mean trick in itself. “The folks that . . . u seA-list studios are among the most conservative in the world,” said producer Vic Steffens, a studio owner in his own right. “They generally do not take chances unless they absolutelycannot get another place.” Beyond building a clientele for a studio, you need to maintain your customers. As with any business, the prevailing wisdom saysthat retaining a customer is about 90 percent easier (and more cost180 Dirty Little Secrets of the Record BusinessWe Recorded This in Only Three Months! 181 effective) than getting a new one. For many studios, retaining cus- tomers meant keeping their prices low so that a similarly equippedspace could not woo away hours with severely undercut rates.However, in keeping up with the competition, rising rents in themost desirable areas, rising salary requirements for staff, and allthe other costs of doing business, this could squeeze a studio’smargin like an old whalebone corset. Billboard columnist Paul Verna elaborated: One studio owner recently told me that he was looking at early- 1970s receipts of one of New Y ork’s top facilities and wasastounded to learn that the top rates were exactly the same thenas they are now, a quarter-century later. However, the averageinvestment necessary to construct and equip a top-notch roomhas increased more than tenfold in that time, according tosources, from approximately $150,000 to at least $1.5 million.. . . A big reason for the increasing costs, besides inflation, has been the need for an ever-growing number of tracks in record-ing/mixing situations. Whereas recording projects in the ’70sand ’80s seldom exceeded 24 tracks, today it is not unusual foramajor mix to require up to 96 tracks. Accordingly, consoles and tape recorders—which account for the bulk of a studio’s invest-ment—are bigger and therefore expensive. “In some c ases,”Steffensconcurred, “having an SSL or a Nevemight make the difference between being booked or not.” Kit Rebhun, studio manager at Glenwood Place Studios in L.A., also a greed on the im portance of having a board people know: “Right now, the market wants tried-and-true. People aren’t comfortable with new consoles, even if they’re absolutely incred- ible. They don’t want to sit down with a learning curve; there just isn’t time for it.” However, all those tracks lead to several issues for the musi- cian, the record company, and the music. Where the Animalscould get off the train at eight in the morning, load their equip-ment off the train and onto a lorry, get to the studio, load theirequipment off the lorry and into the studio, set up, record an entire album ,tear down their equipment, load it back onto the lorry, and get o n a train again all in about five hours, these days it might take that much time just to mic the drums properly. The record- ing process has become long and drawn out, and lacks the spon-taneity and energy that powered an adrenaline-fueled,well-rehearsed three-hour session. While recordings have becomefar more precise ,precision was never really a hallmark of popu- lar m usic until very recently. As Paul and Rundgren pointed out, the human element gets lost. Then there’s the cost. Most’s sessionfor the Animal’s first album, by his own estimates, including stu-dio time, tape, and hauling equipment, probably cost around$100. At that rate, releasing an album had very, very little in theway of up-front costs, compared to even a couple of weeks at amodern recording studio, which could cost tens of thousands ofdollars, even at the discounted rates fueled by the intense com-petition in the business. The rise of home studios and inexpensive digital equipment wrought yet another major change in the recording business. Atmy right elbow on my desk is a digital four-track recording stu-dio on which a competent musician can make a serviceable demo.It cost j ust under $200. Most new Macintosh computers—even the under-$500 Ma cminis—come with Mac’s Garage Band, a functional digital recording program. For about 10 times that, an artist canassemble state-of-the-art equipment for a digital audio worksta tion. The big dog in digital audio workstations is Pro Tools, a pro- gramthat works on both Mac and PC. An artist or entrepreneur can purchase Pro Tools at several levels, from a free sample pro-gram that the parent company, Digidesign, offers on its Web site,to a program that comes with a recording and mixing console andsoftware emulators for just about any kind of effects equipmentany studio could want, all for less than $5,000. A few days in anA-list studio could cost that easily.182 Dirty Little Secrets of the Record BusinessWe Recorded This in Only Three Months! 183 “When computer and hard-disk recording really got cheap and better at the same time,” lamented Wolf Stephenson, owner of leg- endary Muscle Shoals studios, “it just knocked the socks off a lotof studios, [Muscle Shoals] included.” To exacerbate the current financial bind the recording studios find themselves in, recording advances have gone way down.Many artists opt to do at least the initial recording for theiralbums using digital workstation equipment, even if it means hir-ing an engineer to run it—or even better, hiring an engineer whoowns the equipment to do the tracking. “Y ou can buy a 24-trackdigital machine now for four grand,” railed Green Street Record-ing studio manager David Harrington. “It’s insane!” “Many producers and artists feel that if you get a $30,000 to $50,000 budget to make a record, a home studio is a better invest-ment,” noted one of the owners of the now-defunct Unique Stu-dios in New Y ork as they shut their doors. “If the record flops,at least you still have a home studio.” The recording industry economy forced Unique to close up shop after 26 years in business. Still, the studio’s owners didn’tleave the business entirely. They invented several software tools for the digital audio workstations. In 2004 a nd2005, the fa llout began in earnest, as some of the b iggest-name r ecording studios shut their doors. Unique, Power Station, Muscle Shoals Sound Studios, Cello Studios, the Enterpri seStudios, and the venerable, renowned Hit Factory all closed down. Beyondthe home studios and the equipment wars, the recording studios had a similar fight at the beginning of the process of making a record as the retail stores had at the end of the process of bringing music to market. “In a rising market,” saidGeorge Petersen, editorial director of the recording industry trademagazine Mix,“a studio space’s land value can far exceed its busi- ness v alue.” Other, surviving studios added Pro Tools rooms, figuring that even if artists record entire albums at home, if the record com-pany is providing a budget, they might want to get it mixed pro- fessionally. But this still can lead to a loss of the spark that leads to great music. Even more so than at a recording studio, where you knowevery minute spent eats away a bit of your budget, when you asan artist own the means of production, you can spend as long asyou can stand it to get the sound just right ,even if all real feel- ing g ets lost in the process. Digital effects can even tweak the sound to make it more precise. Still, if this is how the artist hears the music, and more impor- tantly feels the music, then that’s the way the music should be recor ded. For some artists, particularly in electronic, synthesizer- driven music, precision is the hallmark of their sound. It may notwork for everyone, but it works for them. As Bongiovi said (albeit,before he sold The Power Station): It is the musicians and singers who make the music. Not the engi- neers. I’m a producer and mixer myself. I’ve produced a lot of hitrecords, and I’m smart enough to know that the musicians I get around me are the people who make the records, not how much bass or treble I put on the record or what kind of microphone I use. It’s the song you’re selling and the musicians who are play-ing it. That’swhat this business is all about.184 Dirty Little Secrets of the Record Business18522 The Internet Friend, Foe, or Just a Tool? We’ve already established that the record industry likes to blame new techn ology for its woes. In the 1930s, the culprit that nearly drove the record business out of business was radio. In the 1970s, it wasthe compact cassette. And from the late 1990s through to the wri ting of this book, it’s been the Internet. It brings to mind two great quotes from two members of the Who. One i s attributed to the late Who bass player John Entwistle. Durin g the slump of1979, he was asked whether he thought that the reason for record sales falling nearly 30 percent had anythingtodo with home taping. He thought about it for a moment and replied, “No. I think it’s because the record business has put out 30 percent less good music.” The other quote is from the bard of rock, Pete Townshend, the W ho’sguitarist and primary songwriter. It came from a series of interviews related to a webcast of his Lifehouse concert fromSadler’s Wells. Townshend is often credited with being one of thepredictors of the Internet (the concept of Lifehouse is a concert that everyone can experience live through a communications web,an idea Townshend proposed in 1971), so in 1999 we wonderedif he still thought the Internet was a good idea. He replied: The Internet is definitely a friend to the music industry in so many ways. The growing new Internet companies need estab-lished artists like me to focus their activities on. For new artists,it’s a direct line to the general mass of the population so they canget some early response to their finished work. “The Web is a fabulous marketing channel with a built in feed- back loop that never existed before,” recording artist–turned–web entrepreneur Thomas “Dolby” Robertson agreed. “Both world-class acts and wannabes alike can reap the benefits.” Case in point: the meteoric rise of the English band Arctic Monkeys. From Sheffield, England, the band made its Londondebut not long after New Y ear’s 2005. By fall 2005, it had the #1single on the English charts. When the record hit the United States,it debuted at #24, based on nothing but the residual British buzz. What caused that buzz? The band made over a dozen of its songs available for free on the Internet, and the music spreadvirally. (It helped that the Monkeys make intriguing music, ofcourse.) Using the Internet, it built its following on a grassrootslevel, reaching directly to fans and potential fans. When it finallyreleased its first physical product, via U.K. independent companyDomino Records, it sold 360,000 copies in Britain in the firstweek, the best first week by any album ever sold there. Faced with the scenario of losing not only their audience to downloading but their artists as well, some record companies, par-ticularly independent ones, discovered that peer-to-peer down- loading actually helped them promote their artists, especially asthe radio noosetightened. Richard Egan, a principal at Vagrant Recor ds, figured t hat his label would have gone out of business without peer-to-peer downloading. Peer to peer, after all, is like that most convincing form of marketing, word of mouth. Taking enough o wnershi p of aband or a song to introduce a friend to it is abig risk and responsibility. That’s powerfully persuasive. “In ar tist development,” said Chris Blackwell, former head of Island Records and owner of Palm Pictures, “file sharing—it’s notreally hurting you. Y ou want people to discover your artists.Y ou’re building for the future.” Todd Rundgren is another very technical fellow, an early adapter of most things technological. In the early 1990s, he pre-saged the way the music business would shake out a decade later:186 Dirty Little Secrets of the Record BusinessThere will be a lot of hidden channels for people who aren’t tra- ditionally musicians, or haven’t signed a record deal with some-body—in other words, they don’t have a company bankrollingthe record. The cost of equipment is coming down further andfurther. Y ou get yourself an ADAT and a couple of synthesizersand make your own records and completely do an end runaround the record companies. Y ou could go to some kind ofequivalent of public access on the data lines. This revelation came about as Rundgren began to seriously reevaluate his career. In 1992, after 19 years with Warner Bros. (through Bearsville Records), a half dozen or so moderate hits, agold record early on, and a reputation as both an innovator andapain in the ass to deal with professionally, the label and Rund- gren came to a parting of the ways. Ever the fan of technology,he had been actively involved in the Internet as early as 1985. Hesaw it as a way to disseminate his information, and anticipatedthe concept of a FAQ site: “I’d rather have someone dial up mycomputer terminal, punch in the questions, and the answers wouldall be online.” His adventures in technology took him to an experiment with interactive music on the abortive CD-I format and pioneering work in d esktop video, and finally led him back to the Internet. Durin gspring 1997, he opened up a Web site that, for an annual subscript ion, made his music available as he made it, and offered access to online c hats and e-mail messages. He found a lot of things attractive about the idea. “I can write music all the time, because I have the assurance that it will get distributed and heard,” he said. “I also show up in the chat room just to see how every-one’s experience of the site is going and what it is they’d like tohave happen.” Rundgren’s idea became a recurring theme in the late 1990s and the early years of the 21st century, at the height of Internetgiddiness, when investors would throw money at anything thatThe Internet 187required a modem and had dot com in the name, and Web music companies had public capital to burn. “I’m leaving the majorlabel system and there are hundreds of artists who are going tofollow me,” said Courtney Love. There’s an unbelievable opportunity for new companies that dare toget it right. . . . Since I’ve basically been giving my music away for free under the old system, I’m not afraid of wireless, MP3 files, or any other threats to my copyrights. Anything that makes my music more available to more people is great. Prince changed his name to a glyph and the Artist Formerly Known as Prince set up a Web site, the NPG Music Club. There, members could download unreleased songs and videos. He alsosold his album Crystal Ball to a quarter of a million fans, more tha n half of them directly to the public through his Web site. “People are under the collective hallucination that you have tosell X amounts of records to be a success,” he said, noting thathe made more money selling 25 percent of the volume of a majorlabel and keeping all of the profits than he had under the recordcompany’s system. “The exciting part of music on the Internet is the impact it could have on delivery systems,” added David Bowie, another early Web adapter via BowieNet and several other multifaceted and multifariousWeb presences. “Record companies may resist the Web until the last minute before being forced into action. My reco rd company isn’t exactly jumping on board, but I’m indifferen t to it. Y ou don’t have to stay with a record company forever.” Y ounger bands started discovering this in a big way. “Clap Y our Hands Say Y eah, the Arcade Fire, and Sufjan Stevens—not to men-tion Arctic Monkeys in the United Kingdom—all can thank thisgrassroots community for the fact that they are selling hundredsof thousands of albums,” noted Nettwork Records president TerryMcBride.188 Dirty Little Secrets of the Record BusinessNor is viral marketing on the Internet the sole domain of rock and pop bands. Country artist Michael Lee Austin created an Internet-based fan club, giving away memberships and music.Armand Morin, from Austin’s record company, Alive, explained: With the creation of the Internet, it is more about relationships now than ever before. A high-tech marketing strategy needs to be supplemented with a high-touch system to stay in constant contact with your customers and fan base and build that relationship. In marketing, there’s a buzzword for this sort of relationship: branding. It allows the customers to take ownership of an artist as “their band” and develop an emotional attachment. What judi-cious use of the Internet has changed is that now artists don’t nec-essarily need radio or even vast resources to create thisrelationship. One of the leading tools costs nothing for the useror the artist: the Web-based community, epitomized as of this writ-ing by MySpace.com. The site allows artists to post tour dates,bios, information, and most importantly, music. They can com-municate back and forth with existing, new, or potential fans. AsHawthorne Heights lead singer JT Woodruff recalled, “When we were trying to get going, all of us would spend at least four hourseveryday just adding MySpace friends.” As w ith anydiscourse, especially in the record business, even veteran artists with similar points of view disagree. David Bowie feels that“the lack of control which people criticize the Internet for iswhatI’ve found most attractive about it. . . . The idea of formalizing the Net is awful—and it won’t happen.” Pete T ownshend, on the other hand, noted, “What bothers me about the Internet is that rapidity of change. That speed of changemeans that there’s no academy, there’s no process. Nobody canteach anybody anything. In 1985, just before the Internet becameestablished, I did a lecture at the Royal College of Arts. It’s theonly one I’ve ever done. . . . At this particular lecture, I said thatmusic would be sold down telephone lines. The audience got upThe Internet 189and walked out. The couple that remained, remained only to heckle, to say why would anyone want to do that?” However, as the 1990s matured, music down phone lines and through personal computers became the hot topic around therecord business. Especially as most of the music going down thosephone lines had only been paid for once and shared dozens, hun-dreds, or even thousands of times. The Internet music genie wasout of the bottle and devising new ways of creating mischief. Not that everyone in the record business thought file sharing was necessarily a bad thing. “We should thank the heavens if wecome up with a record kids want badly enough that they’re will-ing to waste their precious, hormonally infused minutes down-loading them on their Internet,” chided one independent recordcompany president. “Internet music sites don’t threaten the recordindustry nearly as much as greed and stupidity.” Some companies tried to develop an online business model, like the Liquid Audio partnership with Larry Rosen and PhilRamone’s Music Boulevard. They made live tracks from variousartists on their N2K label available on the Internet only, thingslikeRichard Barone doing the closest thing his old band the Bon- gos ever had to a hit, “Barbarella,” live. They had the right ideabut they w ere too far ahead of the curve. In the me antime, the fe arless prognosticators began to fear- lessly prognosticate, saying that four years down the road, direct digital delivery of music would account for between 7 and 13.5 percent of the m usic business. Lighting up at these suggestions, dozens of legitimate companies tried their hand at the online music business. As it happened, from 1999 through 2000 I worked for one of these “legitimate” online music sites, MCY.com. Aswith Liquid Audio, the key was encryption, along with high sam-pling rates and compression. The company had its own propri-etary software player, and the purchaser could also load the musicinto an early MP3 player, the Rio. Before we changed our busi-ness model to proprietary webcasts, and made the online musicsales a secondary part of the business, we had sold dozens of190 Dirty Little Secrets of the Record Businessdownloads. Consumer thinking, by that point, was why buy when you could swap? AsWarner’s chief information officer Tsvi Gal said: Now there is a generation of people who are not used to paying for intellectual property, not because they are bad people, butbecause we never insisted on teaching them that it has to be paidfor. So the industry is now trying to reconcile its mistakes. Some wonder if the record business can come back from these mistakes. Many fear that a decade of free downloads, coupled with the sense of entitlement that brings, may have killed any intrinsic market value of recorded music. One o f the major problems for the record business that led to this situation was that even at the turn of the millennium, over adecade into the Internet age, it was still far easier and certainlycheaper (as in free) to get digital music from the “pirate to pirate”sites than it was to deal with anything legal the music business had set up. A Red Herring Research study on the topic concluded: The only successful companies will be those that can license a database of digital music, that can successfully syndicate onlinemusic technology or that can develop a subscribership whosemonthly remittances to the online music firm are great enoughto cover both the demand for profits from the recording indus-try and music artists, and the costs of operations. . . . They mustget users to pay for content, and as we know, there are very fewInter net e ntities that have been able to make that successful. In the meantime nearly all the major record companies, and some in dependent firms, tried to get the pay service right. Ulti- mately, it took Apple Computer founder Steve Jobs to do the job. First Apple introduced the hardware, a player called the iPod thatcould hold upward of 10,000 songs. The device took off, the hotelectronic gadget of 2001. Then Apple introduced a place to buysongs for the iPod, one at a time, for 99¢ each—iTunes. Jobs hadmanaged to convince the major record companies, many inde-pendent labels, and even some unaffiliated artists to put theirThe Internet 191music onto Apple’s iTunes music service. Unleashed on the pub- lic in April 2003, by the end of its first week iTunes had sold amillion downloads at 99¢ each. And that was only to the 5–10percent of the computing public that used Apple computers. Thechief downside to iTunes initially was that PC users couldn’t useit. By October, Apple programmers, no doubt holding their noses the whole time, had come up with a Windows version of the pro-gram so the 90+ percent of humanity subservient to Microsoft’ssoftware whims and wiles could use the iPod and iTunes. Theycame into a market that suddenly had a bunch of competitors:Real Network’s Rhapsody, MusicNet, BuyMusic, a relaunchedNapster (in name only—you couldn’t share files this time, only buythem), the dreaded Microsoft itself, and even Wal-Mart (which,in typical fashion, undercut everyone by selling its downloads for88¢). Apple partnered with AOL, did promotions with Pepsi, andsoon iTunes became the most popular online music store in theUnited States. Another answer came from sites that allowed users to sub- scribe and stream music to computers and devices (albeit not the iPod)—more like the model Red Herring suggested. For $5–$10a month, these sites offered access to millions of songs, with the recor d com panies’ and music publishers’ blessings, provided the sites paid royalties. The customer could stream nearly any song he or she could name, and recent initiatives made even long-out- of-prin t music accessible to the music fan. By February 2006, iTunes had sold a billion songs—the bil- lionth being Coldplay’s “Speed of Sound.” Now, as early as 1997, people had predicted that the death of the CD to the digital domain was inevitable. A generation thatgrew up downloading MP3 files might feel about going to a storeto buy music the same way people in their 20s feel about vinyl—it’s a pleasant little anachronism that older people enjoy. However,this same generation that gave up the object fetish item of themusical hard good like CDs also grew up in a “mall culture.” They192 Dirty Little Secrets of the Record Businessmeet and mingle in malls and bring a significant social standing to shopping, especially shopping for entertainment software. Soeven if accessing music via the Internet ultimately becomes easierthan going to the store, it might not be as much fun. “It’s like saying home shopping networks will keep you out of the stores,” said Phil Ramone. “It’s the old story about dancing.People will never stay home and dance. They go out to dance, soyou have to have a club with personality. I think that’s whatmakes the musical world tick.” “Human nature requires interaction with other people,” con- curred Sony CEO Michael Schulhof, “the kind of interactionwhich specifically occurs in record stores. I believe people will stillwant to experience firsthand the emotional aspect of stores, malls,etc. It’s a destination as well as a social experience.” However, after years of threats and lobbying, the retail com- munity finally joined the digital fray. In a way, you could hear thesighs of relief all up and down the record industry grotto on SixthAvenue. Now the manufacturers didn’t have to worry about anyaspect of distribution of digital files except getting paid—businessasusual. Of course, just because legal downloads were now available, it didn’tstoppeople from downloading from P2P sites. Estimates put the r atio of legal to P2P downloads between 1:14 and 1:150 in 2004. The biggest downloaders, naturally, are younger people,who have a l arger time-to-budget ratio and are generally more Inter net sa vvy than their elders. A survey of Canadians showed that while 12- to 24-year-olds composed about 21 percent of the Canadian population, they accounted for 78 percent of P2P down- loading, and that Canada had the largest per capita percentage offile sharers in the world. However, another study revealed thatamong that same demographic, the heaviest downloaders are alsothe most apt to buy. Despite (or perhaps because of) all this, record sales rose 2.3 percent in 2004. So the downturn that the industry placedsquarely on the shoulders of P2P may well have had to do withThe Internet 193the general global economy, as a report from Pricewaterhouse- Coopers observed: In mid-2004, the entertainment and media industry is in an upswing following three years of sluggish growth in reaction toeconomic weakness and terrorism. While terrorism remains agrave threat, economic conditions in most countries haveimproved, and the entertainment and media industry isexpanding. Or maybe not. Early indications are that sales dropped pre- cipitously in 2005, falling close to 8 percent. By the middle of 2006, CD sales had fallen over 5 percent comparable to the same periodin 2005, and even digital sales were reportedly slowing down. One of the positive signs in all of this is that after over a decade of first sticking their heads in the sand, and then becom-ing the ninja ostrich and going on the attack, the record compa-nies finally seem willing to explore, if not embrace, the possibilitiesof the Internet, and show signs of beginning to accept that agoodly hunk of their future involves the electronic transmissionoftheir “product.” Evidence of this could be seen in the industry’s reaction to the shutdown of Grokster in 2005, as compared to the victorydanc e surrounding Napster only four years earlier. “However valid the industry’s desire to protect its products,” reported the New Y ork T imes, “trying to stop fil e sharing has become a Sisyphean exerci se.” Even Hilary Rosen, who in her former role as head of the RIAA had been the single most vocal anti-downloading champion on the planet, noted with a certain air of resignation that while the Grokster ruling might have been “important psychologically, itreally won’t matter in the marketplace. . . . [Knowing] we were rightlegally still isn’t the same thing as being right in the real world.” The Internet, via sites like MySpace, which offers exposure to half a million aspiring artists, has become a key tool in findingnew talent for both record companies and managers. That194 Dirty Little Secrets of the Record Businessassumes, of course, that the bands want to get involved in the musical industrial process at all. Artists can sell downloads, ring-tones (more on this also in the next chapter), and CDs, and buildafollowing worldwide via Web sites and Internet affiliations. “Fifteen years ago bands would have had to build up that audi-ence with constant touring,” said Paul Smernicki of FictionRecords. “Now you’ll see groups without a record out and 300people will turn up for a gig.” “Sales of 20,000 on a major label would have you kicked off because of the enormous overheads,” said David Cool of StandAlone Records. “But as indie musicians, that’s a good living. . . .More and more artists are realizing they can do it themselves,build up a fan base and keep control over their art as well.” Aiding in this endeavor are sites like CD Baby, an online record store for independent artists that sells both hard productand downloads, keeping $4 on the sale of each CD and 9 percenton the sale of each download. The site offers a free Web page foreach artist, along with practical advice and a weekly check (pro-vided, of course, the CD sells). It claims to get 150,000 hits a day. In hi suse of and attitude toward the Internet, as in so many things, Rundgren proved about 10 years ahead of his time. In1997, whe nhe opened up hi s subscription Web site, he recom- mended i t to recor dcompanies as a means of subsidized artist development: A recor dcompany can underwrite a band, promote them through the Internet, and build a core audience of even as few as one or twothousand people. Let’s say they get 5,000 people to commitat a level of $20 [a year]. That’s $100,000 in cost defray- ment right up front, $100,000 that would essentially be loaned to the artist to do production or whatever. All they have to dois build that small, core audience who are willing to pay aroundthe cost of a CD. If I’m distributing electronically, I can make music that I might not normally put on a CD. It wouldn’t fit the concept, it’sonly a minute long, or it’s 20 minutes long. All kinds of restric-The Internet 195tions to giving up real estate on the CD don’t exist when you’re distributing electronically. This sounded surprisingly similar to an announcement his for- mer record company, Warner Bros., made nearly a decade later, in summer 2005, about the coming of its e-label subsidiary. “ Anartist is not required to have enough material for an album,”noted Warner Music Group chairman Edgar Bronfman when hemade the announcement, “only just enough to excite our ears.Rather than releasing an album every couple of years, every fewmonths the label will release clusters—three or more songs—bythe artist.” Additionally, the artists signed to the e-label retain ownership of their masters and copyrights. The parent company saw this asaway to exploit the Web as a means of talent development, slash- ing the cost of marketing a new artist from millions to minimal. By November 2005, that label had taken shape and hit the Web as Cordless Records, headed by Jac Holzman, who had foundedElektra Records 40 years earlier. “Physical product has its placein the world,” Holzman said, before pointing out that using theWeb let him find and test artists with greater speed and far lesscost. With the same money that it would take to make, market,anddistri bute a s ingleCD, Cordless could release songs by between 7 and 10 artists. Even duringthe darkest days of the Internet’s relationship with the recor dbusiness, there have been cheerleaders for the dig- ital music business. EMI’s former senior vice president of digital development Ted Cohen took his record company position rather than a similar one offered by the emergent Napster in 1999. In that position he cajoled and needled the business to the pointwhere it now teeters on the brink of dealing with online music asbusinesspeople rather than combatants—and he has started hisown consultancy to further and broaden that effort. “The futurehas never been more exciting,” he said. “We’re going to figure outhow to make this work!” 196 Dirty Little Secrets of the Record Business19723 Hardware and Software On Demand and on Your Hip Say what you will about his music or his politics, Ice-T is smart. When he a ddressed the MP3.com convention in San Diego in 2000, he offered a funny, biting, and ultimately very true reading of the state of digital music. Among his comments on the subject, he succinctl ygotto the heart of why people weren’t getting wealthy from downloadable digital music files yet: Right n ow, you can’t get MP3 two feet off your computer. How many people got their computers hooked up to their stereo sys- tem? It ’s notreally happening. The In ternet, m usic, MP3 is not going to move until the hard- ware c atches up. The Christmas of the MP3 car stereo, the Christ masof the MP3 home system, the Christmas when the Rio player is playing six and eight hours, when that shit happens, sitesaregoing to be bombarded because people are going to need conte nt. Christ mas that year was supposed to be when hardwired dig- ital m usic players would be introduced to people’s homes, the year downloadable files would start to migrate off the computer and onto entertainment systems. However, with the exception of thealready available digital music players like the Brujo, which hadallowed early adapters to burn CDs of MP3s and play them backas MP3s (as opposed to reconstituted CD audio files), and, ofcourse, the Rio, a prospective marketplace full of brio andbrouhaha fueled by hyperbolic press releases in May had turnedsuspiciously quiet by September. This didn’t bode well for the kind of quick penetration into the marketplace that people promoting digital music anticipated. And, as T pointed out, it had more to do with the hardware thanthe software. Files using MP3, A2B, NetTrax, and a bunch ofother proprietary compression systems could have gotten ontostereos around the world but for the lack of actual players. People wanted the convenience of digital music on demand; they wanted the ability to put 11 hours of music on a CD-R orload thousands of songs onto a player and not have to worry aboutchanging the record. “I had my record out on MP3 download,”Ice-T told the convention audience, “but it’s stuck on my fuckingcomputer. I’m not burning no fucking CD. I’ll go out and buy thegoddamn thing.” Some people, however, would sooner burn thanbuy, even—perhaps especially—now. At the time, several pieces of audio equipment allowed compressed music files to migrate away from the computer andinto the realm of home audio as components of a home audiosystem. The aforementioned Brujo MP3/CD player came outduring summer 1999 and sold for around $300—not a bad pricepoint for early-adapter technology. The first player of its kind, it played traditional compact discs, but also CD-ROMs, CD-Rs,CD-R Ws, a ndISO-9660s, a s well as MP3s. This allowed a listener to put 11 h ours’ w orthof music on one CD with the CD burner on their computer and play it on a home sound system. Several similar players came along and upped the ante, allowing people withDVD b urners to play DVDs and SVCDs, as well as all CD formats and MP3s. For people who preferred to take that 11-hour CD on the road, there were the portable CD players, starting with a player calledthe Genica, which had all of the functions of most popular porta-bles with the additional advantage of playing MP3 discs. More tra-ditionally, if anything about MP3 players could be considered“traditional,” the chip-based Rio, introduced in the latter part ofthe 1990s, continued to allow for MP3 play and music repro-198 Dirty Little Secrets of the Record BusinessHardware and Software 199 duction without moving parts. However, as T pointed out in his speech, it only held about two hours of music, and that at alower-fidelity setting. Around this same time, hard-drive-based iPod progenitors began to show up as well. The portable Personal JukeBox and thehome-stereo-compatible SongBank were both based on hard-drivetechnology. The JukeBox used a very small-sized six-gig harddrive that held 1,500 songs. The unit was about six inches longby three inches wide and an inch thick, weighing in at a little overhalf a pound, about the size of a paperback book, and sold forabout $750. Unfortunately, while downloadable digital music had broken through the underground like spring crocuses, via the peer-to-peerservices on the one hand and Liquid Audio and MCY and theirilk on the other, the hardware that would take digitally down-loaded music off the computer and onto the living room (and thecar) stereo remained buried. Very few mainstream audio mer-chants carried the Brujo, and you could only use it for digital filesif you had a CD burner on your computer—still a fairly expen-sive option in 2000, rather than the standard equipment it has become. All of the products for playing digital files available inAmerica required a computer at some point in the process. In other w ords, they might a llow the music to be takenaway from the co mp uter, but they didn’t necessarily get music away from the comp uter y et. While the w ord“music” doesn’t even appear in the index to hisbook TheInnovator’s Dilemma ,Clayton M. Christensen might a swell h ave been writing the book for the emerging digital music business; digital music files and players exemplify what hecalls a “disruptive technology.” The example he cites is the hard-drive industry and the developments that allowed the drives to getsmaller yet have more available disk space. Each time this kind of change occurred, the company that brought on the changechallenged the market leaders and ultimately toppled them. “Disruptive technology should be framed as a marketing chal- lenge, ”Christe nsen wrote (though the italics are mine), “not a tec hnological one.” Unless you can: ®identify potential customers ®convince those potential customers that they need the technology ®find a price point that works then the gear is destined for the great technological scrap heap. On a consumer level, entertainment technology develops in a pretty standard curve, particularly hardware. When a new com-ponent or format comes out, initially only well-to-do gadgeteerscan even touch it. Eventually, depending on marketing and howwell the product does among the first-wave, early-adapter gadgetbuyers, the price starts to come down and the item becomes main-stream; think of DVD in the mid-1990s. Or else it doesn’t sell andvanishes; think DAT or digital compact cassettes before that. “Y ou’ll always have a certain amount of—I don’t want to call them elitists, but people who are on the cutting edge of new tech- nology,” Russ Solomon, head of Tower Records, mused. “ A lot ofbrand-new electronic machinery gets bought for that reason. It’s just ne w.People buy it. That’s their hobby. But that doesn’t cre- ate a mass market. They actually sold an awful lot of DAT machines. I’v egot one. I never use it, but I’ve got it.” Of course, for thiscurveto even have a chance to develop, the product has to come to market. Take the aforementioned SongBank. In June 2000, its creators announced their revolution- ary system that would allow you to make compressed digitalcopies of your own CDs. The unit also would come with a modemand network connection to allow you to eliminate the computerfrom the process, downloading music directly from the Web toyour stereo. In all, you could create a possible database of 7,000songs on a SongBank, almost 500 CDs’ worth of music, whichwould blow the capacity of CD carousels—up to that point the200 Dirty Little Secrets of the Record BusinessHardware and Software 201 only way of getting even close to that much music onto your stereo—out of the water, especially when you consider that youwouldn’t have to put an entire CD on the system, only thosesongs you wanted. By August 2000, however, the company had begun to have sec- ond thoughts. Dwight Griesman, the head of marketing for Lyd-strom, the parent company of the SongBank, explained: Rather than rush to market with a product that was good but perhaps not outstanding for the consumer state, we decided tofinish, if you will, and integrate other improvements and tech-nology. While we’re doing that, we’re also working with con-sumer electronic manufacturers in hopes that we can compresssome of this traditional product lifecycle, so that perhaps it won’tbe two to three years before some of these products come tomarket at reasonable price points. Another piece of musical techno-geek wet-dream hardware announced in May that became vaporware by September was the Indrema. While on paper it would have had most of the musiccapacity of the SongBank, the Indrema would have added digital video—not unlike Panasonic’s then-new set-top digital video unitor TiVo—as well as video game capabilities, making it a virtualdigital home entertainment center in a box. “Personal TV is just beginning to take off,” Indrema market- ing manager Yana Kushner said. “ And you know MP3 is an enor-mous potential market. We are offering an entertainment systemthat does it all, and it does it very well. The graphics subsystemis mind-blowing.” Instead of tallying up holiday sales, by the spring of 2001 the company closed up shop, the victim, like so many technologycompanies at that time, of more burn than capital. As for the SongBank, a product with that name finally came out in 2005, but it hardly resembled what Griesman described. In the inter-vening half a decade, the digital music hardware marketplace had grown a little more conservative, but it still had all the stability of plutonium. “The reality of the marketplace is, it moves awfully damn quick,” Griesman almost prognosticated. We are arranging or trying to arrange a variety of different part- nerships that will give us the flexibility to adapt to how the mar-ket unfolds. So, for example, should the market turn out to besubscription based, we’ll be able to support some sort of sub-scription service. Should it turn out to be a more traditionaldownload basis—purchase albums, purchase tracks, whatever—we can do that. We’re working on streaming capabilities, as well.. . . Everything we’ve done comes from the consumer music lover’s perspective. The automotive frontier presented the largest array of options for early adapters. Using a direct wire or an adapter, any of the portable devices could be used for car audio. In addition, by 2000there were several hard-drive-based MP3 players for the car, eachcosting around $1,000 and holding between 2,000 and 7,000songs. These systems were basically removable hard drivesinstalled in the trunk of a car that you could plug into your com-puter and transfer files. One of the early adapters in this market was Ted Cohen, who marveled at the ability to have 20 gigabytesof music—larger than many people’s record collections—at his fin- gertips ashe dr ove through L.A. Automaker Ford and digital wireless phone technologist Qual- comm b egan working on a product called Wingcast, a way to allow the consumer to, among other things, access Internet music in hisor her car, as well as integrate with the car’s onboard com- puter sy stem. They expected it to be available in 2002 models and projected that it would become as common as the proverbialAM/FM/cassette package by 2004. Instead, by 2002, they had dis-solved the partnership, and by 2005, GM was still the only automanufacturer using telematics—as the system was called—albeitwithout the Internet component, via its OnStar system. In a move similar to the Qualcomm venture, though geared to pedestrians rather than automobiles, Korean LG Information202 Dirty Little Secrets of the Record BusinessHardware and Software 203 and Communications, best known in the States for monitors, had put out an integrated cell phone and digital MP3 player. The CyonMP3 allowed the consumer to download music right to flashmemory on his or her phone, without having to access a computer.Asimilar phone finally came out in America late in 2005. The bastard-stepchild status of the digital music files them- selves slowed the hardware process to a crawl. Legal download-ing of files remained in a state of hit-or-miss chaotic flux. Therecord companies were upset unto legal action with P2P users, andwere none too happy about people using readily available con-sumer software to “rip” songs from CDs on to their hard driveas MP3 files (they regarded this as a prelude to P2P—more oftenthan not, correctly). This software element, the MP3 file, was a true disruptive technology—everyone had MP3s and for the most part they wereat everyone’s favorite price point: free. The brouhaha surround-ing the very act of downloading had spread the word in a waythat should be the envy of any marketing professional. Y et thehardware failed to be the disruptive technology it could havebecome, mostly because investors became risk averse during and after the dot-bomb. Until the music’s owners found some legal wayof distributing their product over the Internet, very few pieces of MP3-fri endly hardwar e came to market, and those that did had a lot of difficulty finding retail space, especially at the “big box” stores that sold both audio equipment and CDs. For the most part, the c ompanies that made these products tended to be small. They also were generally run by technologists intenton inventing the better musical mousetrap without any clue how to get retailers excited about them and get the product intostores. In other cases, all the money went to R&D and manufac-turing, leaving little for the necessary sales and marketing. Somealso point to the musical-industrial complex—the big-box storeslive and die by brands like Philips, Sony, and Panasonic, which allhave convenient ties to the record business. These companies werenot about to put out one product that would actively undermineanother, nor would they happily and cooperatively do business with stores that did. So while sheer customer demand got the Riointo some stores—more computer-oriented retailers than audiodealers—the Brujo was generally available through the samemeans as most of the music played on it—the Internet. It took the exceedingly deep pockets of Apple founder and CEO Steve Jobs to create the first truly disruptive technology inthe digital music hardware world, ironically making use of one ofChristensen’s favorite examples of disruptive technology—the ever-shrinking size and ever-growing capacity of hard disk drives.Whereas his competitors had done very little consumer outreachin the market, Jobs had the wherewithal to create a masterful pieceof marketing: the iPod The iPod was a $500 toy, and its signature white headphones became a status symbol, a sign of the discretionary income, musi-cal taste, and technological savvy the piece came to represent.Introduced toward the end of 2001, when the SongBank and somany other pieces of digital music hardware had turned to vapor,the device demonstrated that timing was not the problem. Indeed,several other players did come to market, but with limited suc- cess—Sony had a smaller player, but it only held a couple ofdozensongs. The Creative Nomad was a large, unwieldy piece of equipment. By c ombining apocket-sized footprint with a capac- ity for thousands of songs and ergonomic controls, most people regarded it as the most advanced digital music player on the mar- ket. The iPod b ecame the generic name in MP3 players very quickly, perhaps this one object replacing the space-consuming fetishobject represented by the record collection. It helped that Jobs threw all of the company’s marketing muscle behind the product. A series of television commercialscombined with 22 million magazine inserts. The slogan for theaccompanying iTunes software made digital music fans cheerwhile making record executives’ blood run cold: “Rip. Mix.Burn.” Where, before the introduction of the iPod, the other204 Dirty Little Secrets of the Record BusinessHardware and Software 205 hard-drive-based players had sold 26,000 pieces, within three years, Apple had released four generations of iPod and sold over10 million units. It did everything Ice-T had wished for—it could play nearly two weeks’ worth of music, go anywhere, and attach to a homeor car stereo. The hardware had finally caught up with the revo-lution, and now the revolution was going mainstream. As noted in the last chapter, it took until 2004 before the major labels allowed the consolidation of their copyrights onto onesystem, and that feat took Jobs to accomplish it. This kicked thelegal genie out of the bottle, and before long, consumers coulddownload music from the major record companies legally fromover a dozen places. According to a 2005 survey by ForresterResearch, 25 percent of 12- to 17-year-olds planned to buy anMP3 player during the course of that year. Forrester further foundthat 20 percent of the people in that same demographic actuallybuy their downloads, but pointed out that better than half also“share” music via CD exchanges, e-mails, blogs, and local net-works. However, the “promoters” who do the most sharing, theyfound, also do the most buying. Another disruptive technology was advancing by leaps and boun ds alongside the digital music world. Cell phones had gone from expensiv eluxury item for the very wealthy to a mainstream item that achieved about a 66 percent market penetration in the United Sta tes and over 100 percent per capita penetration in Swe- den, Ita ly, Austria, and the United Kingdom, with many people owning multiple phones. Many people use their cell phone as their p rimary (or even their only) phone. As sales increased, the technology also followed Moore’s Law, doubling in power every couple of years. One area where thisbecame highly evident was the development of the ringtone. Ring-tones initially just played a melody line, then they gained thecapacity for entire computer-generated arrangements, and finallythey were able to play actual digital recordings of favorite songs.Record producers not only had to concentrate on where to edit hit singles, but also had to separate out 15-second snippets ofsongs for potential ringtones. “Once considered a passing craze,”trumpeted one ringtone Web site, “ringtones now account formore than 10 percent of the global music market and are over-taking CD sales sooner than expected.” “That’s something the artists are really into, especially pro- ducers,” said Greg Clayman, MTV’s VP of wireless strategy andoperations. “They begin to think about all the different placeswhere their music is heard—booming from cars, computers,stereos, iPods, and also from phones.” In slightly less than a year, for example, a company called Bling Tones sold over four million ringtones. “ Artists are playingwith a medium that isn’t fully formed,” said Bling Tones’ VP ofA&R Jonathan Dworkin. “Mobile content can be used for retailand promotion. . . . It’s a powerful promotional tool they builtinto an actual product.” On an episode of the hit television show CSI: New York for exam ple, one of the characters’ cell phones rang with the song “Let’s Talk” by the band Coldplay, and the public availability of the ring- tone was announced in a commercial aired right after the scene. Artists havealso started exploring other digital means of deliv- ery. Ted Co henhelped m ake the Rolling Stones’ ABigge rBang available not only on CD, but also on a memory card for phones and computers. Similarly, Canadian pop stars the Barenaked Ladies relea sed a recording that was only available on a USB flash drive. Called Barenaked on a Stick ,the d evice contained 29 songs, al bum art, photos, videos, and a variety of other goodies. While it took half a decade, MP3 players in general have gone mainstream in the wake of the iPod. For one thing, the big boxstores have finally seen the digital light. For under $40, a con-sumer can buy a CD player that will spin that 11-hour CD ofMP3s, or a disc player compatible with DVDs, CDs, and burnedMP3 discs that will hook up to a television and stereo. 206 Dirty Little Secrets of the Record BusinessHardware and Software 207 For the record companies, the mainstreaming of digital music almost felt like capitulation, succumbing to the inevitable. Since hardware manufacturers owned so many of the software compa-nies, they opted to play so carefully that the upstart technologynearly walked away with the business. Some predict that Applewill become the dominant player in the music business, from boththe hardware and the software perspective, taking over a major-ity of retail market share and perhaps even acquiring its own con-tent for distribution. In an almost symbolic victory, the company retained the right to use its logo on its digital music products, though the Beatles’Apple Corps said that Apple Computer had violated a 15-year-old agreement that gave Apple Corps the exclusive use of its sim-ilar trademark in the music business. Perhaps the upstart Apple’sconquest of the former upstart Beatles’ corporate interest indicatedthe record business’s inevitable course. Back when we were in high school, my friend Mike had the good fortune and good grades to spend his summers working atBell Labs. He would come home very excited about the stuff he’dseen. “Man,” he would tell us, “they have things there that they’re doing with computers that you aren’t going to even see for another25 years, u ntil everyone catches up to the technology.” Unfortuna tely, it took the record business more than 35 years, and it has yet to get up to speed. In spring 2006, many record labels, including all of the majors, renewed their licensing agree- ments withiTunes. Fo rmonths before that—in the fashion typ- ical of a business that either kills all the geese that lay golden eggs, or exhausts them until they start laying lead—they lobbied to raise the price on “front line,” new, hit recordings from the99¢ the Web site charged to $1.49, leaving everything else at the99¢ price point. Jobs laid into them mightily, chiding them for being greedy (really, Steve?). He insisted that the 99¢ price point was essentialto the continued success of iTunes, and that the service held the208 Dirty Little Secrets of the Record Business record business’s only possible hope of success in the digital domain. It certainly marked the first time that anything even madeadent in the “free music” ethos, and did it by creating a simple, comprehensive, and legal way of getting content for digital players. The revolution finally became portable, with absolutely no thanks to the record industry. Ice-T must be pleased.Part V \|We, the Audience21124 ATouch of Grey Boomers Grow Up and Grow Old Pete Townshend ,at the tender age of 23, wrote an anthem for his ag e called “My Generation.” One of the most controversial lines in the song had the Who’s lead singer Roger Daltrey stuttering, “Hope Idiebefore I get old.” When I last saw the Who, with Pete and Roger both facing their 60s along with the other members of their g-g-g-g-g-generation, they still did the song. It says a lotabout baby boomers. “Whe n the W hofirst sang the lyric, ‘Hope I die before I get old’ it was a generation gap anthem,” asserted Sun-Sentinel book editor Chauncey Mabe, “meaning ‘Hope I die rather than become afat old hypocrite.’ Now it seems to mean, ‘Hope I stay young until I die of old age.’ ” Would the music business be where it is without the boomers, the post–World War II generation born approximately between 1946 and 1964? Author and former Mercury Records presidentDanny Goldberg calls himself “a baby boomer and an aging hip-pie.”This would describe many of the people who work in the record business, and indeed, the people who work for, and espe-cially lead,most businesses. These are the people who have the skill, ta lent, and experience . In ad di tion to forming the foundation of the record business itself, the baby boomers are the original rock audience, and to alesser extent rock’s driving creative force (though not its innova-tors—that would fall to the generation before). If not for the babyboomers’ embrace of rock, it might have been a small, localized phenomenon, and the record business might have never grown toits present proportions. As historian Donald J. Mabry asserted: Rock ’n’ roll became the dominant musical genre in the United States in the 1950s because young people between the ages of 13and 19 listened to the radio, bought rock ’n’ roll records, andwatched American Bandstand on national television in the after- noon a nd movies which featured rock ’n’ roll music. NYU professor Herb London claimed that “a revolution in sensibilities,” the core of which was rock and roll, happened in America during the 1950s, to the benefit of the baby boom gen-eration. According to London, the rock revolution rivals suchpolitical upheavals as the French Revolution (although it was lessbloody). The revolution, he argued, followed all the classic soci-ological stages of a “proper” revolution—incipient change, reform,active revolt, equilibrium, reaction, and restoration. As onereviewer put it, Professor London characterized rock as the lit-mus paper of contemporary culture. Clearly, the baby boom caused a major social upheaval. Sud- denly, questioning authority, social mores, and the status quowent from verboten to an almost mandatory right of passage.Boomers could do this based on sheer numbers—between 1940 and1960 the n umber of live births nearly doubled. Of cours e, whil e this enormous percentage of people happen tobe the same age, it didn’t necessarily make us a consolidated, mono lithic bloc. For example where the extremes of youth cul- ture, like the liberalism of “the movement,” did not represent the majority of young people by any stretch of the imagination, it didset in motion the counterculture of music, drugs, long hair, freelove, and not respecting authority for authority’s sake that playedan important role in what our society turned into, creating anovert generation gap and giving the masses of youth a voice it hadnever known before.212 Dirty Little Secrets of the Record BusinessATouch of Grey 213 Baby boomers continue to make up an enormous percentage of the population. By 1990, when America began to feel the full impact of the tail end of the baby boom, boomers born over thecourse of 18 years accounted for more than 30 percent of the pop-ulation, but the age group’s self-referential gestalt outweighs eventheir sheer numbers. As much as they are self-aware as individu-als, boomers also enjoy the power of being boomers, of havingthe sheer strength of numbers behind them. Dartmouth econo-mist Joyce Manchester wrote in 1988: The baby boom generation is now in the prime of its young adult years, ranging from 23 to 41 with the biggest cluster around 31.The behavior of this cohort as it swarms into the labor force,clamors for home ownership, and borrows to finance commodi-ties as well as children has far reaching effects on the economicpatterns in the United States. Nearly 20 years later, the leading edge of this key demo- graphic faces turning 60, and the bulk are in their 40s. The gen- eration that created the notion of youth as a separate realm of experience and knowledge now had children and even grandchil-dren of their own, yet still equate themselves and their peers withyouth—the “baby” part of the “baby boomers.” Not only don’twe want to grow old gracefully, we don’t want to grow old atall. “Baby boomers li terally think they ’re go ing to die before they get old,” said a pollster, confirming Mabe’s contention. A study done by the p ollster ’sresearch firm found that baby boomers defined “old age” as beginning at 85, three years after the actuarial tables say the average American dies. When the boomers reach 85, wecan only wonder where the concept of “old” will lie. Most important for this book’s purposes is that music played such an important, often defining, role in the baby boomer expe-rience that the boomers never stopped listening. Where the boomers’parents might listen to Glenn Miller and get nostalgic, boomers goto see Creedence Clearwater Revisited and dance in the aisles.“People like us, who grew up in the ’60s, we took our music with us,” said Allan Pepper, owner of the late, lamented Bottom Linenight club in New Y ork. “When our parents grew up, with big bandmusic and Tin Pan Alley, they put the music aside when they gotmarried and raised a family. My generation kept buying records andkept listening.” Beyond all else, baby boomers hold the economic reins in the U.S. (and around the world). There is no doubt that the approx-imately 78 million boomers still represent the 800-pound demo-graphic gorilla. Demographer William H. Frey noted, “Now inmiddle age and their prime earning years, baby boomers’ economicclout is reaching its peak and, as in the past, the group continuesto shatter the precedents set by earlier age groups: boomers rein-vent . . . lifestyles [and] consumer patterns.” This, of course, made the baby boomers a prime target of mar- keting and advertising, and what better way to reach them thanvia rock and its icons? So in 2005, artists of unimpeachable musi-cal and personal integrity like Bob Dylan and Paul McCartneyappeared in advertisements for Kaiser Permanente and FidelityInvestments respectively. In the meantime, the Rolling Stones, who had taken an alleged $15 million from Microsoft to appearin various promotions of Windows 95 (which in turn promoted theband’s song“Star t MeUp”), appeared in ads for Ameriquest Mortgage, who also sponsored the Stones’ 2005–2006 world tour. The campaign swere, by all appearances, successful. The baby b oomers c onsistently bought more recordings over thepast decade than their younger compatriots. In 2004, 40- year-olds and older accounted for over 37 percent of sales, ver- sus a little over 30 percent for people 15–29 years old. In 1992,the difference was even more pronounced—boomers bought 42percent of the music and 26 percent was bought by people under20. This predates downloading from the Internet, and points topossible roots of the decline in prerecorded music sales. However,what happens when the music doesn’t speak to us, when no music214 Dirty Little Secrets of the Record BusinessATouch of Grey 215 that we hear lures us into the record stores? Could it possibly be that the nearly 20 percent decrease in CD sales over the lastdecade has more to do with the fact that boomers have less to goto the stores for than it does their children (and them as well)swapping music files? “The older demographic is missing,” Cana-dian Record Industry Association head Brian Robertson observedin 1996, “the one that has the most disposable income.” Over the past decade it hasn’t gotten much better.21625 The Lost Audience How the Music Business Broke Faith with Its Main Supporters When I was akid (we’re talking Bedrock here, folks: stone cars yo u drove with your feet, birds on perches using their beaks to play rock music on real rocks) I spent my “discretionary money” on two main things—guitar accessories and records. These werethe black plastic kind that you could scratch and stuff. Oh, yeah—I also b ought concert tickets. And snacks. . . . Iwas the poster child for music business marketers. I heard a song on the FM rock station; it moved me. I cracked open thepiggy bank, begged Mom and Dad for more money (piggy was invariably empty), and bought it. The record industry rose overthe 1970s and 1980s because it was largely the only way for 12-to25-year-olds like me to use our discretionary funds, money that ran into the tens of billions. Ihave two teenagers now. I’m also in the music industry. I can get them pretty much any record they want by asking for it, andthey know it. Y ou know how many records they’ve asked me forrecently? None. For the music fans in my children’s demographic, download- ing music has become de rigueur. Many 12-year-olds have neverbought a CD. They think o f music as a free commodity. This early branding could devastate the business, but if it does, the business deserves it. The Lost Audience 217 During my childhood, and even for several generations before that, the music business owned the 12- to 25-year-olds. From Sina- tra to Elvis to the Beatles, and even through Mötley Crüe and BonJovi, “the kids,” as the music business liked to call its core cus-tomers and constituency, bought music at the rate of billions ofdollars a year. The record companies still see this 12–25 demographic as theirs, despite all the evidence to the contrary. They wallow in thisparticular fallacy, gearing their promotional dollars to radio sta-tions focused on the “youth market,” despite the increasing dif-ficulty of getting music onto these stations’ decreasing playlists.Y et they ignore folks like me, hard-core fans raised on records, infavor of a generation of kids raised on robbery. How do you convince the record industry that this older demo- graphic is the one more worth targeting? It becomes hard, becausethe business sees teens as a group that breaks into easy-to-reachmonoliths: X percent listen to rap, Y percent pop/boy bands/girlgroups, Z percent punk-pop/metal. It perceives the kids as easilyswayed by peer pressure, so if their friends own a record, chancesarethey will want to own it as well. While this becomes less and less true every year, sales of Eminem, Nickelback, Destiny’s Child,etc. s how the logic can still work if enforced with a ramrod. Conversely, the m usical interests of 30- to 56-year-olds gen- erally expand as they get older; travels through life and time expos e these listeners to more and different sounds. Less influ- enced by o thers, t hese music fans develop their own, continually changing personal tastes. The teen who wouldn’t listen to Sina- tra, opera, or John Coltrane on a bet may count one or all as pas- sions at 30. Sure, peer pressure still exerts a subtle influence on adults, as the coolness factor still applies. One record exec explained this tome in terms of “the dinner party album du jour.” The CD gets puton during dinner and everyone goes, who is that! The exec’s exam-ple was Norah Jones, and this is how she gained the traction thateventually led to her eight Grammy Awards and sales of over 14 million albums. However, you can no longer sell adults all the same things that their friends buy. Their diffuse tastes make the record companiesless interested in this group as a whole. The reasons are obvious.To feed the behemoth that the business has become, conventionalwisdom says a major label has to sell 250,000–500,000 copies ofany given CD, just to break even (I’ve seen this figure cited as highas two million). This creates the alarming situation in which 5 per-cent of the albums the major record companies release supportthe other 95 percent. Unfortunately, for it and us, right now themajor music business is retrenching. This happens in waves. Amajor one of these declining cycles happened in 1979. That lastedafew years, until the introduction of the CD pulled us out of it. But this wave might just capsize the major record business. Not since the Depression have we seen 20 percent decreases in recordsales. The majors seem busier looking for a scapegoat than try-ing to find an actual solution to this problem, save scaling backon employees and signees. Independent record labels can create the music that will reach the rock-and-roll adult, and they already do. Putumayo does verywell with its world music, making tidy profits on CDs that sell between15 and90 thousand copies. Concord, fundamentally a jazz label of long standing, has recognized part of this lost audi-ence andrisen to the occasion by signing artists like Barry Manil ow andRayCharl es, who had fallen out of favor with the major labels they once supported. Barry sold 160,000 for Con- cordand Ray Charles did even better, selling in excess of three million copies and earning eight Grammy Awards in the process.With his momentum, Barry went back “home” to major labelArista and topped the charts. So some music reaches this demographic, when the demo- graphic becomes aware of it. The problem, of course, is that forevery boomer buying Barry Manilow there are six that might like218 Dirty Little Secrets of the Record BusinessThe Lost Audience 219 to burn it, for every buyer of a Putumayo world collection there are dozens who wouldn’t let “that music” get played in their car,and for every fan of the Band there are a dozen groups on inde-pendent labels that they would love if only the label could get themusic to them. The question becomes, how do you market to adiverse group that would sooner listen to “oldies” and “newsradio” than any of the major-market stations? How do you getthem to renew their passion for music? How do you reach a nichein a business that has a century old history of mass marketing? Can the business create a promotional channel to reach adults, beyond R + P = S? Especially since, as we’ve seen, even gettingpop product over the airwaves has turned into a fierce and bloodycompetition, taking no prisoners and leaving few survivors? Therecord business seems to have missed or misinterpreted the wide-spread changes in the symbiotic relationship between it and radioin its trip down denial. As we have seen, radio, once a beacon ofmedia independence, now answers to central control, in largepart, by four or five major media companies. Local programdirectors have less and less power over what they program. Thedays of the “local hit” dwindled to nothing some time ago. We have entered an era when local programmers hardly have anypower at all. W here diversity once ruled, constriction has become the name o f the game. Ironically, as we have also seen, worldwide, centrally con- trolled stations may offer part of the answer to the dilemma of playlists controlled so tightly they can barely move. XM, Sirius, and digital cable radio reach out to the adult demographic, with centrally programmed channels, but hundreds of them, each speaking to a specific audience. Their logic, that only people inthis demographic would likely spend the money on subscriptionsto radio with programming diverse enough to speak to them,seems sound. Paid subscription radio reaches out to people withdiscretionary income who have become disenfranchised by radioin general. Internet radio also has this chance, but the recent CARP (Copy- right Arbitration Royalty Panel) decision on Web radio royalty rates sent a lot of Internet radio programmers reeling out of thegame, and only recently have they started regrouping. Recogniz-ing the viability of this medium, Artemis Records stated that it willissue free licenses to nonprofit Internet-only radio stations thatwant to webcast its music. With adult-oriented artists like RickieLee Jones and Warren Zevon on the label, that might be one ofthe smartest promotional moves of this young millennium. The Internet offers other viable possibilities. Record compa- nies could mine lists of fans of people who buy their music, cre-ating opt-in direct e-mail marketing for music from a listener’sfavorite artist and other artists of the same ilk. A record companycould send a song or a link to a song to likely listeners. This, ofcourse, begs the question of how you find those likely listeners.The initial research would cost a fortune, though the Internet,again, might make it simpler. Information mining, if done right,could turn into a valuable ancillary source of income once some-one figures out how to generate the mining stream in the firstplace. Once companies or artists figure out how to get the audi- ence to a site, they have won at least half the battle. There i s aWebsite called Pa ndora.com, fo r example. They use a proprietary database called the Music Genome Project as its core. Created by p rogrammers and musicologists, it breaks songs down by hundreds o f musical attributes and then matches up elements likemelody, harmony, rhythm, orchestration, lyrics, and vocal style withother similar music. When you access the site, it asks you to input the name of a favorite band and starts streaming music by other bands with a similar “genome” that it thinks you might like.It even gives you the reason it thinks you might like it. If you dolike the music, you give it a thumbs-up, and Pandora plays morein that vein. If you don’t, you give it a thumbs-down, and it stopsplaying that song and adjusts accordingly. The technology rocks220 Dirty Little Secrets of the Record BusinessThe Lost Audience 221 my world, and it’s an amazing source of music I have not previ- ously heard—and that, I humbly add, takes some doing. Now,what if the company could mine this information? Suddenly, it hasawhole profile on me that it can sell to record company marketers about the kind of music I want to hear. Those marketers in turncould reach out to me with promotional offers to make me awareof their artists. And unlike some of the spam I now get, I mighteven want to hear what they have to offer. Tel evision presents another possibility for reaching the “lost audience,” especially as two things happen: Web technology andtelevision start to converge and niche cable/satellite networks con-tinue to spring up like crocuses in spring. Broadcast advertisingcosts a fortune, but cable advertising costs less—still pricey, butyou can buy 30 seconds in the wee hours of the morning on somecable stations for under $30. Sell a handful of CDs, bring peopleto your Web site, get the word out, and you could reap some returnon investment. Of course, there’s the old standby, print. Especially in these post–September 11 days, when print ad revenues have fallenthrough the floor, magazines, newspapers, and zines certainly remain the most cost-effective advertising vehicles. And even if amusician or record company trying to reach this audience lacks an advertising budget, a good PR campaign with the correct hook can get people onto the Internet or into the record store. Perhaps the record business is beginning to get it. In 2003, a terrible year in g eneral for the record business, CD purchases actu- ally went up by 6 percent among consumers between the ages of 55 and 64. A nalysts credited the phenomenon of Norah Jones, and Rod Stewart’s Great American Songbook . The earl y years of the new millennium have seen many busi- nesses go through cataclysmic changes. People who continue todo business as if nothing has changed in the last 20 years will getleft in the dust eventually. That’s just the nature of things. Ironi-cally, as things in the music business change, the landscape beginsto look more like it did 50 years ago, with many small compa- nies in the early stages of reaching, or at least reaching out to,their niche audiences and making a living by doing so. Of course,the methods of marketing are very different now, and my sug-gestions offer just the sketchiest outline of how to approach this.I’d be marketing right now instead of writing this book if I knewdefinitively how to get it done. The person who gets this to a sci-ence might become the wealthiest person in the forthcoming econ-omy, at least as far as the record business is concerned. Theaudience is out there, just waiting to be reached.222 Dirty Little Secrets of the Record Business22326 An Embarrassment of Riches Entertainment Options Today— “Hey, Kid, Wanna Buy a Record or a Video Game?” The music business still counts on “the kids.” That phrase has been on the lips of every record executive for at least as long as I’ve beenin the b usiness: “We’re putting out music, and we’re doing it for the kids.” Thanks, Dad. “Ifkids aren’t clamoring for music,” said Russ Crupnick of the m arket research company NPD Group, “not only do we lose sales to younger consumers, but also parents will be less likely to shop the music section on behalf of their children.” Thesedays, youthful dollars inspire heavy competition. The number of leisure-time options on which 8- to 25-year-olds canspend their money has risen exponentially since I last personallyinhabited that demographic. My teens would rather play video games than just listen to music—and the younger aspires to acareer as a musician. The boys also spend a lot of time on the Internet. They rarely listen to music when they surf. They down- load music even more infrequently, although they still do it (andconsidering who dad is, maybe I just don’t know about the num-ber of songs on their hard drive . . .), and certainly don’t havemuch in the way of hard good music CDs that I either got themor they went out and bought. And according to statistics, they’repretty average in terms of media use—if every teen with Internetaccess only downloads “a few” tracks, that still amounts to a lot of music. Areport by DFC Intelligence claimed that by 2010, the world- wide interactive entertainment market—which includes consolevideo games, games for the personal computer, online games, andportable gaming systems—would equal or eclipse the music busi-ness, with gross assets of over $40 billion dollars. To put that into perspective, the RIAA reported that in 2004, the record business sold a bit over $12 billion dollars worth ofgoods, a mild upswing of 2.5 percent over 2003. The video gamebusiness, meanwhile, had sales of $7.3 billion, a 4 percent rise overthe previous year. And while CD sales have risen almost imper-ceptibly since 1996, video game sales have doubled. It doesn’t takean abacus to figure out that maybe there’s a connection. Vid eo games are but one of the hellhounds on the record busi- ness’s trail. According to a report by the National Association ofRecord Merchandisers, college students spend more on video andcell phones than they do on music. The average college studentpurchases but one CD a month. (This might bode worse for theretail business than music or even the record business in general, as some of the money students used to spend on CDs now goesto devicesfor portable “digital content,” some of which is likely to be music.) Recent data on younger consumers by several reputable research organizations (Kaiser Family Foundation, Forrester Research, Alexander and Associates) revealed a ton of interesting information on the way younger Americans use entertainment media: Television ®99 percent of U.S. children between the ages of 2 and 18 lived in homes with televisions. ®60 percent had three or more in the home.224 Dirty Little Secrets of the Record BusinessAn Embarrassment of Riches 225 ®Over half had a television in their bedroom. ®Television accounts for more than 40 percent of media exposure for the 8–18 age group, over half if you factor inmovies and other videos. Video Gaming ®70 percent of U.S. youth between 2 and 18 had video gameconsoles. ®55 percent of boys would rather play games than watchtelevision. ®Males spend an average of 12 hours a week playing videogames. ®25 percent of a gamer’s leisure time is spent playing videogames. PCs ®By 2005, 86 percent of U.S. homes with children betweenthe ages of 8 and 18 had PCs. ®74 percent had Internet connections. ®Americans spend an average of three hours a day online. ®Instant messaging has become the most popular onlineactivi ty among 8- to 18-year-olds. ®87 percent ofteens15 and older, and 83 percent of the broader 12-to-21-year-old age group use IM (as opposed to 32 percentof adults). ®Over 25 p ercent of12- t o17-year-olds said they could not live without their PC, twice as many as those who couldn’t live without their mobile phones. ®Y oung people between the ages of 12 and 17 spend anaverage of between 11 and 20 hours per week online. ®8- to 18-year-olds consume about six hours of media daily,unless you count double for the 16 percent of the time theyuse two media simultaneously. Then it rises to eight hours. Cellular phones ®Nearly 50 percent of 12- to 14-year-olds have mobile phones. ®Active mobile phone users spend 13 hours a week on theirphones talking and four hours a week using data services. ®Y oung females spend 23.5 hours per week on their mobilephones, more than the 20.9 hours a week they spendwatching television. ®21 percent of teens downloaded at least 10 ringtones in thethree months preceding the survey. ®60 percent of all people surveyed said they paid for textmessa ging; 48 p ercent for custom ringtones; 22 percent for games. ®18 percent of active gamers have downloaded a game to theircell phone. All this is to say that the modern consumer faces an unprece- dented number of choices for his or her entertainment and media dollar. And this doesn’t only affect the youthful dollar. Accord-ing to the Entertainment Software Association, the average videogame player is 30 years old and has been playing for a dozen years. Around 20 percent of Americans over 50 years old play videogames, and women comprise 43 percent of video gamers. Indeed,women over 18 years old represent a bigger share of video game players than boys between 6 and 17 years old. “We’ll see a time,” said Rob Smith, editor-in-chief of Xbox Magazine ,“maybe not in eight y e ars, but in 12, where we’ll have someone in the White Housewho grew up playing [video] games.” The music market has stagnated in the face of the other draws on discretionary entertainment income. Part of the reason why hasto do with perceived value. While a new video game can cost per-haps twice or three times what a CD sells for, it offers between20 and40 hours of game play, and the experience often bears226 Dirty Little Secrets of the Record BusinessAn Embarrassment of Riches 227 repeating. I know my family have all played pretty nearly every game in Nintendo’s Legend’s of Zelda franchise several times, andMario is timeless. In addition, the perceived value of prerecorded music itself has changed since Robert Shelton compared the cost of one minuteof music on LP to one minute on glass and lacquer in the 1950s.Now, fifty years down the road, economist Barry Ritholtz sees thatDVDs are a far better investment than CDs: It’s pretty obvious to any intelligent consumer that CDs are a lousy deal. For $18 suggested retail price, you get about 45 min-utes of pre-recorded music. Sometimes, you even get more thanapage of liner notes. It comes in a cheap jewel case which is all but certain to break eventually. . . . Now, compare CDs withDVDs. For about the same amount of money—and often less—aDVD delivers: ®Two hour+ feature of audio and video; ®Gorgeous video quality; ®An informative booklet and/or decorative case; ®Pristine audio; ®Extra features, outtakes, deleted scenes, “making of the film”documentaries, interviews with director, actors, writers. So for your entertainme ntdollar, what delivers more bang for the buck, the CD o rDVD? . . . The “ central planners” of the music [business] failed t o rec ognize that their oligopoly was not imper- vious to e conomic pressures. Of course, the r ecordindustry would argue that a CD deliv- ers an experience that people often want to repeat on a daily basis—people play their favorite music over and over, something they might not do with a piece of media as linearly demanding asaDVD, especially of a movie. However, in 2003, as the record business sagged like an aging weight lifter, Adams Media Researchreported that consumers spent $14.4 billion on movies for thehome (exceeding the gross take at theaters and rental shops byfive billion dollars).The record business is keenly aware of its losses to all these sources, but it has just started to twig, over the past few years, how to join ’em since it can’t beat ’em. The record companies andthe video companies, after all, are gunning for the same demo-graphic—people with disposable income that they want to spendon entertainment. In that time, video games have benefited fromthe record industry’s willingness to license songs. And recordcompanies have benefited from the extra exposure. My 14-year-old son was singing along to “That’s Life,” to the astonishmentof both my wife and me. He told us he had learned it from Tony Hawk Unde r ground 2. That game also features the Doors’ “Rid- ers on t he St orm.” “Our central strategy,” said EMI Music EVP Adam Klein, “is to get music to where people are and, in thatsense, video games are a key part of our strategy.” “The impact of musical introduction that MTV and radio have had,” added Steve Schnur, a music executive at video game pub-lisher Electronic Arts, “video games have now.” Record executives bemoan the fact that they have failed to teach “the consumer the value of the CD.” However, as Billboard ’s Ed Christ ma n pointed out, “Maybe I’m slow off the mark, but it seems to me that what is going on in the pricing of other enter-tainme nt formats matters more to the consumer than label execu- tives’ justifications for the current CD pricing structure.” 228 Dirty Little Secrets of the Record BusinessPart VI \|Money23127 Music Education Buddy, Can You Spare a Dime? If a person eats only swill, then the only judgment he can make is wha t kind of swill he likes. If a person only hears the music that’s played on the radio, she is only exposed to that small por- tion of a much greater musical spectrum, and can only make judg- ments based on that small universe of music she hears. Now, the record business, especially the major companies, counts on this. In a way, radio stations have done the business afavor by limiting the amount and kinds of music they’ll play. Asmuch as the record companies bitch and moan about limitedplaylists, it allows them to limit the kinds of music they try to bring to market. And as radio’s musical content grows more uni-formly banal, the gravitas of the artists on the radio—the sameartists who will receive the marketing dollars from the record com-panies—continues to diminish. Sure, the major companies continue to pay lip service to their marginal divisions. All of them have a classical department and a©King Features Syndicatejazz department, but they never count on them for sales, and con- sequently the budget behind the entire jazz and classical divisionsof most major record companies might equal the money they putbehind one highly touted pop recording. That’s good business butit’s bad music. Avril Lavigne and Kanye West, while fine pop performers, do not represent the apex of musical creativity. But because of thelimited exposure to other sounds, an entire generation has comeup thinking they do. Very few have heard of the likes of KarlheinzStockhausen or Ronnie Gilbert or Sonny Rollins. Where does one gain such exposure? Well, like sex, you can learn it at home, you can learn it on the street, you can learn aboutit from friends, or you can learn it in the classroom. However,unlike sex, there’s no guarantee that anyone will necessarily learnanything about music at all. Sadly, government money to schools has started trickling down, as opposed to flowing. Y ou can’t spend the same dollartwice, and the U.S. dollar has other places to go. To fund the once-more-expanding military-industrial complex (now there’s a phraseredolent of nostalgia and terror), funding for nearly every human service in the federal budget, including music education, has plum-meted, t hough the Bu shadministration prefers to call it “modest reduction sin the rate of growth.” Compound this with a reduc- tion in arts funding nearly to the point of nonexistence, and the prospect for cultural deprivation lurks around the corner. And as the R esiden ts used to say in one of their posters, “Ignorance of your culture is not considered cool.” The loss o fmusic education deprives students of other bene- fits as well. When I was a substitute science teacher in a Bronxgrade school, I would bring in my guitar and explain the mathe-matics and physics of how strings work. Because the guitar is fret-ted based on mathematics and physics, this is fairly easy andallowed me to introduce concepts like fractions and how soundtravels through the air in a way that stuck with the kids. “Music232 Dirty Little Secrets of the Record BusinessMusic Education 233 is a specialized science which deals with the quality of sound, acoustics, and timbre,” said educator William H. Y oh. Extensive training is given to the aural discrimination between like pitches and those that are different. . . . Although it is a sim-plified form of arithmetic, counting in groups of two, three, four,and higher are used consistently in all music repertoire. Whenteaching the values of rhythmic notation, we develop and rein- force the concepts of addition, subtraction, multiplication, and division. This effect is not necessarily a conscious phenomenon, either. In a study of first and second graders in a Rhode Island school distri ct, they performed better in reading and math when their curriculum included just an hour of music and an hour of art aweek. There was a 22 percent difference in test scores between the st udents who enjoyed this exposure to music and art, and those who did not receive it. According to a profile of SAT Program test takers: Students with coursework/experience in music performance and music appreciation scored higher on the SAT: Students in musicperformance scored 57 points higher on the verbal and 41 pointshigher on the math, and students in music appreciation scored 63points higher on verbal and 44 points higher on the math thandid students with no arts participation. Schools that produced the highest academic achievement in the United Sta tes spent 20–30 percent of the day on arts, with a spe- cial emphasis on music. A parochial elementary school in the Bronx that was about to lose its accreditation implemented anintensive music program into its day. Within eight years, 90 per- cent of students were reading at or above grade level. And finally, the Texas Commission on Drug and Alcohol Abuse noted that “secondary students who participated in bandor orchestra reported the lowest lifetime and current use of allsubstances (alcohol, tobacco, and illicit drugs).”So we should all agree that music education is important, per- haps even vital—and most of us do. In a 2004 Gallup poll, 95 percent of the people questioned felt that music was essential toeducation. Of those who answered the nationwide survey, 80 per-cent responded that music education made a child smarter. So thequestion becomes, do we want a nation of dumb kids? School systems find themselves between a curricular rock and abudgetary hard place when it comes to music. Said one Cali- fornia school superintendent, after effectively eliminating musicfrom his system’s program of study, “The other choices wereworse: cutting reading teachers, closing schools, or (cutting backon) class size reduction.” The Pittsburgh Post-Gazette reported that schools in Cali- for nia had a 50 percent decline in the number of music education programs because of financial constraints. In Wisconsin, teachersclaimed the No Child Left Behind law foisted on the nation isthreatening music and art programs throughout the state: “Schooldistricts statewide are slashing the music and art programs in orderto reduce the budget. They feel pressured to cut these programsfirst, because unlike math, writing, and reading, music and art are not government tested.” One o f those Wisconsin schools might actually have to return funds fromVH-1’ sSave the Music program because it doesn’t have a full-time music teacher to supervise the piano lab set up with the cablenetwork’s $25,000 grant. It could buy the instruments, but once it had them, it couldn’t afford to hire anyone to use them. One music teacher noted that as time went on, student atten- danc e atevents like orchestral concerts and ballets had dwindled. “The reason for that,” he pointed out, “is that they are not receiv-ing that kind of education in schools. I’ll bet that nine times outof ten, if you asked those who do attend a concert they will say,‘Oh, yes, I had music in school.’” What to do to save some sem-blance of music education in our schools, as the federal govern-ment “modestly reduces the rate of its growth” and throughlegislation forces state and local governments into a “Sophie’s234 Dirty Little Secrets of the Record BusinessMusic Education 235 Choice” between meeting federal testing standards and actually enriching their student’s cultural education experience? Well, thereare sources for grants, like the aforementioned Save the Music pro-gram. When the National Academy of Recording Arts and Sci-ences collects dues, and license fees for the annual telecast of theGrammy Awards, it channels some of the money into grants formusic education. Even Paul McCartney has gotten involved; viahis previously mentioned relationship with Fidelity Investments,he formed the Music Lives Foundation, although the bankersseeded it with a mere million dollars (they probably found itbetween the cushions of their couch). “ After years and years ofplaying in a band and making a living doing what I love,” Sir Paulsaid, “I can honestly say: where would I be without music?” “Children in the vulnerable age bracket have a natural love for music,” Frank Zappa said in his testimony before Congress. If, as a parent, you believe they should be exposed to something more uplifting than “Sugar Walls,” support music appreciation programs in schools. Why have you not considered your child’s need for consumer information? Music appreciation costs very little compared to sports expenditures. Y our children have a right toknow that something besides pop music exists. Mem bers of Congress have vilified spending money on the arts, claiming it funds degenerates who think putting crosses in bottles of urine is uplifting. But art does not necessarily need pos-itivity to inspire or edify. And a government frightened of edify- ing its peoplehas something serious to hide. Music and art in general are hallmarks of civilization. When did Homo sapiens make the break that made us sapient? Some say the bre ak c ame when we could not only use tools (many other species use tools), but also start creating things for the sake ofcreation. For a lack of money, will we allow civilization to devolve? Education in the humanities, meaning those things that make us uniquely human, has started to fall by the wayside in favor ofmathand science. Math and science are, of course, exceptionallyimportant. I have a child who is studying to be an engineer. But he also has attended philharmonic concerts and the opera, can singGilbert and Sullivan, plays a little brass and a little bass. He readsfor enjoyment, and his love of manga and anime has started himlearning Japanese. In other words, it takes more than leaving nochild behind in math and science to educate him or her; it takesmore than just teaching what words look like on paper to instillalove of reading into a child. It takes more than academics to make a well-rounded human being. Eliot Spitzer seems to recognize this. The settlements from his payola investigations—over $30 million as of this writing—willgo to a nonprofit organization supporting art and music educa-tion. By doing bad, it would seem the major record companies didgood.236 Dirty Little Secrets of the Record Business23728 The Orlando Phenomenon Boy Bands and Bad Girls Made to Order Since the days of Sam Goody and long before—since the days of Gilber t and Sullivan, of Johann Sebastian Bach, of the traveling minstrels, of the Greek theater—music has been a commodity as well asan art. For the professional musician, singer, or composer— or the wannabe—the trick has always been to find the balance of art and commerce that you can live with. It turns into a sort of yin-yang exercise. There havealways been musicians, too, who took no part in this balancing act, who either accepted their roles as products orwere simply treated as such. However, as music became more and more commodified during the era of corporate co-option, the per- former as product has become an increasingly common phenom-enon. And in the future the pop-as-commodity will consume moreand more musicians. For example, in 2005, the London-based ad agency Saatchi and Saatchi set out to find a way of reaching people in their teen yearsand early 20s. It did this by creating its own all-woman hip-hop group, making them employees of the agency, and offering theirservices to advertisers as a sort of human billboard. The client gotto brand the group and have its products seen or used or worn onstage and in videos, and—for a few dollars more—mentioned inthe song lyrics. TV marketing guru Cynthia Turner wrote: The band made its first appearance last evening at Saatchi & Saatchi offices, and unless you knew any better, you’d neverknow it was a marketing device. The agency calls this Branded Entertainment, and finds masking advertising within entertain-ment is a better way to reach this tough young demo. Also com-ing . . . commissioned entertainment for other media includingTV, film, cell phones, and video games. The Saatchi and Saatchi idea builds on an even older record business warhorse, the made-to-order pop star. It dates back at least to the days of American Bandstand ,when producers would tak e kids off the street and out of the schools and turn them into stars. Bob Marcucci was the acknowledged expert during the1950s and early 1960s, the inspiration for the 1980 film The Idol- maker.His f irst project along these lines had taken trumpet pr odigy Francis Avallone and turned him into singing teen idol Frankie Avalon. He figured that if he’d done it once, he could doit again, and he did. Marcucci recounted the experience: Idecided I needed a star like Presley. Frankie wasn’t that star. He didn’t have that kind of look. He wasn’t in that genre. Ricky Nel- son was very hot. Sal Mineo was very hot. I did a searchthroughout the country. Big search. I had disc jockeys do pro-motions. I asked for people to send me pictures. But I couldn’tfindhim. . . . One da y,I’m dri ving home, and I go past the street wher emy b est friend lives and there is a big . . . police ambulance in front of my friend’s house. Turns out the ambulance was for the housenext door, and out walks Fabian. He had the look. I went up t omy friend and asked him if he knew whether that guy coul dsing. My friend said he had no idea. It turned out the ambulance was for the guy’s father. The guy, Fabiano Forte, picked up the story: “The strategy was for me to be a male teen performer. . . . They said, ‘Y ou’re going to have apompadour, and . . . you’re going to dress in a certain shirt andpants.’ . . . Bob would say, ‘Move this way, move that way,’ untilit became second nature.” Fabian had never even thought aboutbeing a performer until Marcucci approached him. He was moldedin Marcucci’s musical image.238 Dirty Little Secrets of the Record BusinessThe Orlando Phenomenon 239 Thus the prefabricated pop star became something of an insti- tution. Reviled by people who still think popular music should have some integrity and credibility (predominantly musicians, crit-ics, and serious fans), the manufactured performer remains a fix-ture on the pop music landscape. As prevalent, the crossover pop star continues to have enor- mous appeal, and with current technology—from television to theInternet—and a little luck is even easier to manufacture. Marcuccihad his finger on this particular pulse as well, when he mentionedactor-turned-singer Sal Mineo. An actor who can sing, a singerwho can act, or an actor who can carry a tune well enough thatstudio wizardry like the autotuner (which takes out-of-tune vocalsand puts them into key electronically) has a big advantage over aperson who only acts or sings, as working in several markets canhave a synergistic effect on his or her career. Several 1950s actorslike Ed “Kookie” Byrnes had their one hit record. And the Mickey Mouse Club sp un off TV stars from Annette Funicello to Christina Aguil er a. Not to mention the media phenomena that are Jessica and Ashlee Simpson—the latter of whom was embarrassed infront of a live, national TV audience when she tried to lip synch to the wrong track on Saturday Night Live .Oddly, it didn’t seem tohurther c areer t oo much—being the butt of jokes kept her in the spotlight. Her s ister sta yed thereas much due to her talent (and other assets), as to her tabloid-worthy exploits and relation- ships. The m ore media they can hit, the more marketable they seem to become. Actors who can sing became extremely important to both tele- vision and records as the rock era took hold. With the success of the Beatles in 1964, both on records and in the movies, and espe-cially with the ratings they drew on The Ed Sullivan Show ,nat- ura lly TV sought to bring them to their audience in an effort to garner those kinds of ratings on a regular basis. When the Beat-les wouldn’t commit to doing a television show of their own, TVproducer Bob Rafelson took a page from Marcucci’s playbook:he recruited four young actors who could sing and turned theminto the Monkees. Rafelson then enlisted music publisher Don Kir- shner to give the band a musical identity. Paired with some of thebest songwriters of the day (Neil Diamond, Carol King, Jerry Gof-fin, etc.), the actors became a pop phenomenon almost on parwith the band they emulated. This led the producers of an animated series based on the long- running popular comic book Archie to call on Kirshner to supply mus ic for the cartoon’s fictional teens. The Archies revealed some- thing that independent rock and roll knew but the corporationswere still clueless about: 8- to 11-year-olds liked popular music. Although the musicians who played and sung as the Archies were not kids themselves, they definitely appealed to kids. Theirsong “Sugar, Sugar” sold 3 million copies, and Billboard named it the #1 s ingle of 1969. Not bad, considering “real” groups like the Beatles, the Rolling Stones, and the Temptations all toppedthe charts that year, too. Not bad, also, for a group that didn’tactually exist. This led to an entire movement in popular music geared toward the demographic that has come to be called the “tweens”:8- to12-year-olds. Its songs became known as “bubblegum music,” because they were a favorite confection of the tweenaudience and because they were sweet and sticky and ultimately insubstantial. Ma ny ofthe bubblegum bands originated on tele- vision shows—the Partridge Family, the Banana Splits, and Lancelot Link, a band made up of lip-synching chimpanzees (Ash- lee Simpson, anyone?). Of course, there were real studio per- formers behind them. While it didn’t exactly rule the charts, bubblegum had a substantial sales impact and made people like Artie Ripp, whose Kama Sutra records (despite the— ahem —adult conno tations of its name) sold millions of singles to kids through the late 1960s and early 1970s. “The incredible thing is,” noted Artie Ripp, “the majors at the time—Columbia, RCA, Decca—were not in the business of sell-ing music by kids to kids. The independent guys, like [Ripp’s men-240 Dirty Little Secrets of the Record BusinessThe Orlando Phenomenon 241 tor] George [Goldner], discovered kids actually had creative value. And what’s more, you could put that value on record.” Bubblegum also had built-in promotion that could completely change the labels’ relationship with radio. Television made thismusic popular, and radio actually had to come to the record com-panies for it because people wanted to hear it. By the 1980s, this relationship became more codified, albeit more subtle. The performers got on TV and became popular. The1981 advent of MTV certainly accelerated this process. One ofthe biggest stars to spring forth from MTV’s copious navel wasMadonna, who promoted an image at the time that was safeenough for TV yet sleazy enough to make parents of youngwomen look twice before their girls went off to school. Thisbecame the way, the Zen of pop star development. Nowhere was this effect more evident than with the New Mickey Mouse Club ,which turned out two of the hottest female perform- ers in t he re cord business, Christina Aguilera and Britney Spears. Both bounce around between a bad-girl image, a stab at “artisticintegrity,” and even occasional moments of quasi-humanity (Brit-ney posing naked and pregnant). The teen idol had transformed. In the wake of the success of young hip-hop groups (some called them“bubblegum soul”) like New Edition (Bobby Brown’s first r ecording group), came the pop phenomenon New Kids on the Block. Produced by Maurice Starr, who had also done the hon- ors on the Ne wEdition albums, and managed by Johnny Wright, between 1986 a nd1994 the band managed to land two chart- topping albums and three #1 singles, selling millions of records. This impressed Lou Pearlman, who took note of the group when he booked them a private jet through his company. Amazedat what looked like a billion-dollar business built around the NewKids on the Block, Pearlman called his cousin Art Garfunkel toconfirm it. “ Artie told me, ‘Y ou’re in business; you like music. Y oushould do something like that.’ So, as a weekend goof, we decidedto do a little audition, and one thing led to another.” The main thing it led to was a group of Orlando kids he dubbed the Backstreet Boys. Breaking them in Europe before unleashing them on America, Pearlman discovered the formulaalchemists had been searching for since time immemorial—heturned dross into gold . . . and platinum. Continuing to draw fromthis Orlando talent pool, many members of which had performedat the theme parks (Justin Timberlake of the Pearlman creationNSYNC had once played Frankenstein’s monster in the MonsterRevue at Universal Studios theme park) and—like Spears andAguilera—in Disney properties like The New Mickey Mouse Club , Pearlma n’s Trans Continental Entertainment became a teen pop factory, and remains one as of this writing. “The Mickey Mouse Club was a big source for a lot of big thing s,” Pearlman said, “and we’re going to help keep cultivating talent. . . . A lot of people want to be singers but can’t withoutthe right help.” Again, Pearlman recognized the advantage ofmomentum: keeping something rolling takes a lot less effort thangetting something rolling. By using former Mickey Mouse Club stars, he already had traction and recognition among the targetdemog raphic. It cost less to realize more. Pearlman has fallen onto a basic, even open secret that Mar- cucci, Ri pp, K irshner, and so many others have known but guarded: te en pop idols will not go away, at least, as Pearlman is often quoted as saying, “until God stops making little girls. . . . These kids, they’re fanatics. We don’t have any fans. We have fanati cs. They’ll buy anything that has to do with the band or their picture on it. And they have loyalty. If they love somebody, they’ll stay with them.” The idol phenomenon took on a new dimension in 2001, however. A former Chrysalis Records A&R man and artist man-ager named Simon Fuller took the concept out of the exclusivepurview of teens, with the ITV show Pop Idol in the UK. The sho w, a riff on the old talent-show formula that dates back at least to the Major Bowles Amateur Hour in the 1930s, had singers com- petin g for a recording contract. It became such a phenomenon that242 Dirty Little Secrets of the Record BusinessThe Orlando Phenomenon 243 Fox TV signed it and Fuller to duplicate the show (and hopefully the success) in the U.S. American Idol debuted in 2002, and bec ame every inch the spectacle that it was in England, making apop culture hero of the “nasty” judge, Simon Cowell. Nearly 35 million people tuned in for the premier season’s finale, morethan had watched the Oscars. “American Idol amounts to much more than the aggregated needine ss o f its most eager participants,” Simon Dumenco observed in The New Yorker . As a mass phenomenon it suggests multiple, intertwined orders of psychopathology: The culture at large gorging on hordes offresh “talent.” A populace parodying the idea of democracy bychoosing exactly the entertainment it wants (and deserves). And,perhaps most pointedly, the fame factory engaging in a sort ofritualized cycle of binging and purging. . . . The core productitself not only shows every sign of being unstoppable, but mayjust permanently alter the way the music industry molds andmarkets talent. . . . American Idol . . .harnessed the reality TV ge nre to show the fast-fading recording industry a new path to riches, turning poorly paid nobodies into overnight pop-culturalicons, with virtually none of the usual behind the scenes primp-ing and preening. Turns out the record industry’s star-makingmachiner y becomes entirely irrelevant when you really let the market decide. For the winners, and even the runners-up, it gave the artists the sortof toehold that television had given the Archies or the Band- stand boys or the Mo nke es or Christina and Britney. Of course, “the record industry’s star-making machinery” becoming “entirely irrelevant” is what many in the record business feared. They likedto think they owned the machinery behind the popular star. It has long been their be-all and end-all, with “talent” being disposablefodder for the star-making sausage mills. Letting television createthe demand, and worse, letting the people pick their personal per-formers seemed to violate business as usual—until the actualalbums by the performers came out. Then the record companieshad to remind the fans who these performers were and why the fans should care, allowing them to pump them through their ownstar-making channels, albeit more for a refresher than trying to cutagold record out of whole cloth. To the disenfranchised music fan, American Idol and its ilk repre sented the final betrayal, the last word in processed pop music. “The industry is only interested in prepackaged goods,”said English technologist Gavin Alexander, “there’s no room fordevelopment or growth if you’re an artist.” This leaves fans of more organic music—music that relies on the sinews, brains, and talent of the performers; music that sayssomething to us, that dares —feeling like whole-food devotees at aMcDo na ld’s every time we turn on a radio or walk into a record store. It also makes Lou Pearlman and Simon Fuller the reigningRay “McDonald’s” Krocs of contemporary pop. But the boy-band mills and the ready-made pop stars feed many of the major record companies’ needs. They ensure a quickprofit, bringing up the numbers on the investor’s quarterly cor-porate reports. They keep CDs pumping through the distributionhubs. They keep product on the shelves for the young people who actually deign to purchase records. But, while a major commod-ity, this type of popular music has proven time and time again not to be a lasting one. Fo ran industry that relies on its catalog, wher ewill the catalog come from 10 years from now?244 Dirty Little Secrets of the Record Business24529 Breaking the Star = Breaking the Bank Once upon a time there was an artist named Bruce. He was signed wi th great fanfare to a major record company. He had a tremendous reputation up and down the mid-Atlantic Coast, con- centrated on his home turf in New Jersey, as an amazing live per-former. He got a tremendous buildup by his record company as abrilliant songwriter, the second coming of Bob Dylan (which wasstrange, as Dylan wasn’t—still isn’t—quite through with his firstcoming). His first record sold only 23,000 copies in its first year,andeven after he was proclaimed “rock and roll future” both his first and second albums together didn’t reach 200,000. Now, if Bruce were recording today, chances are he wouldn’t have gotten a third chance (at least at that record company). In fact, chances are he wouldn’t have gotten a second chance andwould have been cut loose after the disappointing sales of his firstalbum. He would not have gotten the opportunity to redeem him- self with his breakthrough third album (indeed, one of rock’sgreatest albums, period), Born to Run .Yes, that Bruce. The re cord company did a lot of work to build Bruce Spring- steen into a success, just as record companies did for countless otherartists that made it (and didn’t) throughout the first three decades of the rock revolution. These days, that work either doesn’t getdone, or is done before an artist signs to a record company. Withalittle over a t housand albums accounting for more than 50 per- centof all records sold, and perhaps only 150 new ones making money during any given year; with the actual costs involved inthe cr eation, manufacture, and promotion of the recordings; andwith companies now responsible to stockholders and business conglomerates for their bottom lines, the stakes have made thatkind of long-term effort impossible. Today’s artists must createmusic that will reach a maximum number of people in the mini-mum amount of time, or scale back the expectations of theircareers. Today’s record companies have to struggle just to get themusic in front of potential fans. As we’ve seen, the conventional way to reach an audience has long been radio, to the point that payola has become institution-alized. These days getting an artist onto the charts, depending onwhat kind of music the artist plays and which chart the recordwould get on (many get on “genre charts” like R&B/Hip-Hop,Country, or Dance before they get onto the Hot 100) could costfrom $100,000 up to a quarter of a million dollars. That’s justfor one song. Take the admittedly extreme case of Carly Hennessy, signed by MCA to compete with Britney Spears. Her debut album costnearly a million dollars to make, and over $1.2 million to promote.After three months, the album had sold fewer than 400 copies. “We’ve never been one to spout that major labels no longer practice artist development,” wrote Billboard columnist Melinda Newm an, “it’sjust t hat they now limit it to acts that they believe (and hope and pray) can turn into huge moneymakers down the line. And that line is getting shorter and shorter.” Much of the work that used to go into artist development woul d seem to have fallen to artists’ managers or even the artists themselves. “Labels used to thrive on demo deals and development deals but the machine is not what it used to be,” noted music busi- ness veteran Jack Ponti of the Platform Group. “Managers of anyworth or stature also want to see/hear a developed act before theycommit.” Of course, while it used to fall to the record company to groom the artist during and after recording the demo, that whole processhas fallen to the manager. A developed act in terms of having songs246 Dirty Little Secrets of the Record BusinessBreaking the Star = Breaking the Bank 247 and beginning to develop a following has to be further groomed for success in the mainstream of the record business. This aspectof bringing an artist to the fore makes or breaks both the artistand the manager in the current record business environment. “I’d say managers do most of the artist development these days, if not all of it,” Barry Bergman, president of the Music Man-agers Forum–US, stated. “It’s not that the record companies wantareadymade product. They want an artist that can sell tickets, they want an act with a following, they want it on the radio some-where. There has to be something going on. Or you have to bean act that’s selling a lot on your own.” Of course, taking on the task of developing an artist involves enormous potential risks. This was hammered home for me notlong ago when it nearly killed a friend of mine, now a former artistmanager. One evening, we sat down to drink and enjoy one of hisbands at a New Y ork City showcase dive called Arlene’s GroceryStore. After his band finished up, we thought about moving on toanother, quieter venue to continue our imbibing and talking, whenthe next band came on. They were brilliant—a group, as it turnedout, that included two former members of a gold-record band on amajor label that had broken up about six years earlier. I kidded w ith my friend that he should see if they had a man- ager.He tookme seriously, approached them, and discovered that although they had this pedigree and had won a radio station’s “best unsigned band” contest, they still had no management. It tookhim s ix months, but my friend convinced them to let him and his partner do the job. Now,most managers limit the amount of money they will put into a band. While this investment, like most things in the recordbusiness, is recoupable by the manager from the band, most man-agers just don’t have pockets that deep. My friend and his part-ner put nearly every penny they had into this group, paying forpictures, press kits, CD duplication, studio time, the works. Andthey actually got the band an offer, not from a major, but fromthe closest thing in the independent record world to a major—the record company arm of one of the world’s largest independent dis-tributors. However, having already recorded for a major, the bandregarded this as a step backward. They severed relations with themanagement company. As far as I know, the legalities are stillpending. In the meantime, my friend lost his wife, his family, and his house. He called me up one evening in the throes of what soundedvery much like a heart attack (turned out to be acute angina). Hebailed out of the music business and got back into software sales.Last I talked with him, he seemed a lot happier. One thing that many managers seem to have discovered in this process is that downloading files may not be the bogeyman thatthey’ve feared for the past decade. It can actually eliminate theneed for the hundreds of thousands or millions of dollars that ittraditionally has taken to break an artist. And as music consumersbegin to veer away from “hard product,” there are ancillary con-sumables that they crave. Ed Majewski of Majic Management said: The group I am managing are on MySpace. In less than eight months, we have over 13,000 friends, almost 52,000 plays andcloseto 50,000 views. . . . What I have learned through this is the voice/opinion of the kids out there today. Many, many e-mail me o nthe page, “How come we can’t download your music?” Weare on the cusp of saying, “Why not?” This may go against everything that has been believed in the industry thus far, but we all do realize that the game is changing. So what are artists to do while they are “developing”? Beyond burning the candle at both ends and working a day job while play- ing at night, how can an artist make a living if not through sell-ing CDs to fans? If some are just going to download and notbuy—though, as we’ve seen, the most avid downloaders are alsothe biggest paying consumers—how does an artist pick up theslack and shortfall? “Fans cannot download a T-shirt, hoodie, cof-fee mug, poster, or whatever else you can market,” Majewski said.248 Dirty Little Secrets of the Record BusinessBreaking the Star = Breaking the Bank 249 When we were young, we used to brag about our record collec- tion. For me, before I was 21, 1982, I owned over 1,000 LPs. Itwas a status symbol. My collection kicked ass! Today, it may bedifferent. It may be “I have this shirt, you don’t.” I wonder ifkids wearing/owning something you can’t download may be thenew status symbol? To survive, the record business will have to either get a grip on the new technology and the new ways consumers actually con- sume music or succumb to artists owning and exploiting their ownintellectual property, in essence becoming their own record com-panies. Then they would outsource the services the record com-panies traditionally performed, like promotion, publicity,marketing, and hiring experts to do that one thing the record com-panies allegedly do best—promoting and creating a brand namearound an artist. These independent contractors would find theartists’ unique selling point and exploit it for the benefit of theartists (and likely the managers who will wind up footing the billsfor this service initially), who would reap the kind of financial rewards outlined in chapter 9, obviating the need for the majorlabels. Some see the failure to develop artists as a symptom of themodern record companies’ size and scope. When dealing withbusiness on a macroeconomic level, a lot of the nitty-gritty things that used tohappen every day have fallen by the wayside. “Major labels can’ t afford to do artist development because they can’t scale down enough to do so,” Ponti said. “The indie model is total artist development but they have no idea that that is what they are actu- ally doing.” Clearly, in a changing business, the big question becomes how to get artists in front of people who might love them, pay to seethem, pay for the T-shirts so they can become walking billboardsfor them, even perhaps buy a copy of the CDs to go with the filesthey already downloaded. For the 93 percent of recording artistsselling less than a thousand copies of any given release, what dothey really have to lose by getting themselves in the public eye inany way possible?Of course, one of the words for this is promotion, and pro- motion costs money, potentially a lot of it. Especially for artists or managers not able or inclined to do some of the expensive stuffthemselves, like building Web sites, putting together and mailingout press kits, and the like. Beyond that, developing an artist means helping to find the thing that makes recording artists artists in the first place, the thing t hat makes each of them unique, good for more than a few seconds’ pleasure; the thing that helps them stand up to repeatedlistening, inspiring people to go out and buy their art and developan attachment to it and to them. Very few artists can find this bythemselves. In the past mentors, teachers, friends, even competi-tors aided in this development. In the professional recording andrecord company world, when demo deals allowed artists to dis-cover elements of this unique voice—to do their own thing andbe known for themselves—artists could nurture and communicatethose elements that made them special, the thing that made whatthey did art. Late soul singer Lou Rawls explained it this way: “People want something that they can put into their hip pocket and say, ‘Y eah, this is going to last.’ Something I can pull out my pocket twoweeks fromnow and still like it.” Certainl y there was, as there isnow, a truckload of dispos- able pop, of performers not up to the task of making a lasting contribution. But at least the environment once offered artists the opportu nityto get there and try. Now, often no one will take the chance because the risk is so great.250 Dirty Little Secrets of the Record Business25130 The Video Revolution Looks Aren’t Everything; They’re the Only Thing Joe Jackson, one of the perfo rmers from the class of ’77, became apunk (actually, he called himself a “spiv rocker” back then) out of the conservatory. He went on to have a long and varied career, but ashe aged (a ndlost his hair), he faced the decision of whether he wanted to undergo cosmetic procedures so that he could con- tinue to make pop hits and videos. When he decided “no,” he effectively gave up playing rock for money. He did try one last rock hurrah, signing with Virgin. At the time, pretty nearly every Virgin artist had a video budget—it was one of the label’s prime means of promotion. Joe had not made aclip in six years, but Virgin coaxed, cajoled, and cudgeled him into doing a couple. “He said, ‘I d on’t mind doing music videos if I can give MTV the finger,’ ” recalled director Marcus Nispel. How an artist looked was starting to take precedence over how anartist sounded or the quality of an artist’s songs. This caused Joe Jackson to, for all intents and purposes, abandon pop: Things which used to count, such as being a good composer, player, or singer, are getting lost in the desperate rush to visual-ize everything. It is now possible to be all of the above and stillget nowhere simply by not looking good in a video, or, worsestill, not making one.Jackson put his finger on an attitude that has led to a marked fall in the quality of music. He quit playing rock at one of the peaks of importance for music videos, when the conventional wis-dom said you couldn’t have a hit without one. Fortunately, he had his conservatory training to lean on, and he started making composed albums of postmodern “classical”music with rock instrumentation, winning a Grammy for his 1999Symphony 1 .The classical albums didn’t sell the hundreds of th ousands that Look Sharp or Night and Day sold, but he main- tained a care er , and he didn’t have to do videos. While it might be a chicken-or-egg situation, in 1981 only 23 perce nt of the singles in Billboard ’s Hot 100 hit singles had accom- panyin g videos. By 1986, that number had risen to 86 percent. By 1989, fully 97 percent of the Hot 100 hits had a video version. Therecord companies regard music video as essential, and it becomesahuge draw on their assets. Even an inexpensive music video costs thousands of dollars, which, as we’ve seen, very few records make.The ideal recording artist, from a music video standpoint, is anunderwear model with a great voice, but some very talented musi- cians just aren’t very attractive. Some just look awkward. WouldJanis Joplin or Joe Cocker even stand a chance in today’s market- place? Would anyone download their clips to watch on their video iPod? “I have twobands that I’m managing now that would have been signed f our years ago,” manager Larry Mazer complained in 1990, “Now, nobody will commit. The labels tell me theywon’t get on MTV.” “There’s a band from Chicago called Rebels Without Applause that I did shows with when I lived in the Midwest,” said JasonLekberg of the band Wraith. Mudva yne, SOiL, and many of the bands that got signed from the Mi dwest opened for them yet they never got a deal. Greg, the singer, and I talked about it and he didn’t really go into too much252 Dirty Little Secrets of the Record BusinessThe Video Revolution 253 detail, but I know they had meetings with a few labels. The prob- lem is, he’s a very large black man. Unfortunately, I think theshallow industry couldn’t see past it. Conversely, being videogenic has made many careers. Grace Jones was a model before taking the mic. Madonna became the original video diva, her career kicking off and growing up along-side MTV and the “video revolution”; her videogenic appearancehas allowed her to slip in and out of personas. Paula Abdul wasadancer and choreographer before releasing a slew of hit records. Some years back, on the strength of her kinetic video per- sonality, Abdul was hired to do a commercial for Diet Pepsi.When the ad came on the radio one afternoon as we were dri-ving, my wife asked me, “What is that on her voice?” “What is what?”“Her voice. It never sounds natural.”“ Ah, that’s called gated reverb. It gives her voice more pres- ence in the mix.” “In other words, she really can’t sing.”“Well, yeah.”“Then why is she such a big star?” The answer, of course, is that she looked so good on MTV, and waspackaged so well. Some ar tists took this a udio manipulation to the extreme. The actual voice of the dance groups C&C Music Factory and Black Boxwas Martha Wash, one of the Two Tons of Fun/Weather Girls a nd a st udio vocalist of some note. Although Wash’s soul- ful alto rattled the walls of dance halls and rang out of radioseverywhere, commanding “Everybody Dance Now,” the slimmer Zelma Davis lip-synched the lines in the group’s videos. Milli Vanilli was a group made for video in the same way that the Monkees were made for TV. The main difference is that all ofthe members of the Monkees could, to one degree or another, sing.After Milli Vanilli won a Grammy Award for Best New Artist in1990, it was revealed that neither of the two fronting members ofthe group had that skill. They were forced to give the award back. The scandal eventually drove one member of the duo to suicide. This obsession with appearance is not solely an issue in pop- ular music. Opera singer Deborah Voigt claimed that she was dis-missed from a production at the Royal Opera House in Londonbecause of her weight. Conversely, young, photogenic Scottish vio-linist Nicola Benedetti got a one-million-pound contract fromvenerable classical label Deutsche Grammophon at the age of 17.Said Welsh broadcaster and singer Beverley Humphries: I’m very uncomfortable with the way that we’ve gone down the avenue of believing, or being led to believe that physical imageis more important than talent. It takes years of working on yourinstrument to become a great musician. The danger of singersand musicians being taken up because they look good—andmaking them an immediate, overnight success—is that itdemeans and reduces the true greatness of performers. The reality is that in the past two decades, video has become amajor part of the promotion and artist development process. “Wewant to break new acts and sustain important artists,” noted MTV’s COO and president Michael J. Wolf in 2005. “MTV is a juggernaut. MTV today is different from MTV 36 months ago.” Despite thisever-c hanging landscape, MTV has consistently helped to sell records. In its early days, it built the careers of unknownslike Duran Duran, Madonna, and Cyndi Lauper. Dur- ing the da ys of the “Buzz Bin ” in t he early 1990s, careers of acts likeJane’s Addiction and the Red Hot Chili Peppers were made by MT V. Temple of the Dog sold over a million copies of its album two years after its release, due to delayed video exposure. The band’s record company attributed most of the album’s success toMTV. Bottom line—an artist that can look and sound compellingon MTV will sell records. Note the artist does not necessarily need to look good ,just com pelling in one way or another. No one would call Kid Rock one of the beautiful people, but he has a persona that translates254 Dirty Little Secrets of the Record BusinessThe Video Revolution 255 very well into video. Billy Joel’s older clips and even Elton John’s more recent videos remain stalwarts on VH-1, MTV’s sister chan-nel, capitalizing on their long careers, and established personas. However, there came a time when videos alone could not bring in the increased ratings MTV needed to sustain the busi-ness. So the channel split into several channels. Now there’s theoriginal MTV, which has become more of a lifestyle channel thanamusic channel. There’s the aforementioned VH-1, which skews toward the aging original audience of MTV, as MTV still staystargeted at teens and tweens. MTV-2 picked up the musical slack.In all, many cable and/or satellite systems have half a dozen musicchannels associated with MTV, and several independent, more spe-cialized video outlets like Fuse, CMT, and Much Music. MTV mayno longer directly stand for Music Television, but a dozen otherchannels continue to rely on videos for their core programming,and the record companies continue to fund the creation of the clipsthat feed them. As MTV became the “juggernaut” Wolf describes, if an act had any chance of achieving any kind of buzz, it had to have avideo. After payola, this is one of the most expensive lines on most artists’ ledgers, including indie artists. The budgets of the videostend to reflect their importance in the artist’s overall financial pic- ture, a c ost-to-reward ratio that, if not necessarily scientific, is the result of experienced intuition on the part of the record company. Anindependently distributed heavy metal act might have a bud- get of between$2,500 a nd$6,000 to spend on a video. A video for a large-budget album or major-selling artist could still cost upwar ds of amillion dollars, although as the record business has contracted so have the budgets. In 1981, a major video might have cost $15,000. By 1984, as MTV became a proven selling tool and the stakes got higher, sodid the video budgets, which averaged out at about $50,000–$60,000. Four years later, that range had risen another $10,000,and through the 1990s, that generally fell in the $60,000–$80,000range. These days, a video for a major record company might run anywhere from $10,000 to $250,000; the average is around$40,000. This cut in available funds is a circumstance that some direc- tors find very frustrating. “Y ou do music videos, you deal withcertain budgets,” Nispel said. “Usually they don’t allow you, atleast the budgets that I’m still having, to go over two days ofshooting.” Of course, some artists don’t need video exposure, feel they don’t benefit from video exposure, or have record companies whochoose to limit the expense of video exposure. “Certain artistswith less of a video audience,” said video producer Lara Schwartz,“like Clapton or BB King, make less videos and for a lot lessmoney than other pop artists who rely heavily on videos, such asMadonna or Kanye West or Britney Spears.” As with so many recordings, many artists are taking the do- it-yourself route for video as well. One of the pioneers of this con-cept (and music video in general) was Todd Rundgren (himagain?), who helped develop desktop video editing and effects inthe early 1990s. His video for “I Can’t Change Myself” was “all done on desktop computers; it wasn’t done with any expensivemainframe equipment,” he said. “ As a matter of fact, I bought all the eq uipment and produced the piece within what would have been a relatively slim video budget. This kind of stuff can be done by anyone if you have the perspicacity to undertake such a thing.” Alittle less than a decade later, Pete Townshend was just amazed by what a person could accomplish with a digital camera and adesktop computer. “From now on the whole thing is going to be movies,” he said. Music is going to disappear. Everybody is going to become a filmmaker. Y ou know, anybody that’s got an iMac, they’re away!They’re going to be making movies. A musician today has to beso visually oriented. So, there’s going to be an explosion of that.My kid, Joseph, got an iMac for Christmas. He’s ten. He madehis first proper skateboard movie, just like the ones that come outof Seattle. He spent an afternoon doing it with a friend.256 Dirty Little Secrets of the Record BusinessThe Video Revolution 257 By capturing video directly to the hard drive of a laptop, and using the artist’s apartment as a set, director Jacob Rosenberg cre- ated a professionally crewed video for L.A. singer/songwriter johngold to promote his DIY album the eastside shake and the lead tra ck “Cactusflower.” Using a borrowed Panavision camera (ostensibly so they could demonstrate the viability of recordingdirect to computer), professional lighting, and ultimately, specialeffects, they made a video that would not seem out of place onMTV for literally next to nothing. While the DIY videos might not get on MTV, much like the DIY records, that’s sort of the point. They have a different tar- get. The videos do get used in clubs, on local channels, even inclothing stores. Nor are they free. The equipment costs money. Ifyou don’t have to necessarily hire a crew (e.g., you have friendsshoot the video, take care of the lighting, etc.), you at least haveto feed them. Then there’s the time it takes to do a DIY produc-tion, a heavy investment, although not directly a monetary one. If the tightening of radio had started to commoditize music, MTV finished the job. “Videos are nothing but commercials,” saidNispel. “The only difference is you have a product that sings and dances if you’re lucky.” “You’re making a three-minute marketing tool,” agreed a vice presiden t of v ideo at Warner Brothers Records. “It’s like design- ingan album cover. We’re not making Gone with the Wind .” However, asthe Inter net has started to change the average per- son’s access to any kind of music he or she can imagine, and as the bandwidth constraints become less and less of an issue in most of the industrialized world, visualized music has found a second life. Internet sites like Launch, Y ou Tube, and AOL, to name someof the largest among dozens—perhaps hundreds—that streammusic videos on demand, have become an exceedingly importantpart of the video promotion mix. Add to that the advent of thevideo iPod, Pocket PCs with the power to play videos, and evencell phones with video capacity, and people have begun to pay$1.99 or more to download their favorites. Townshend seems tohave once again predicted the future—everything is movies.In fall 2005 iTunes began selling music videos, and by mid- December 2005, MTV had arranged with Microsoft to integrate anew service into the popular Windows Media Player that would offer downloads of music and videos. Thanks to the technologythat the record business spent so much time resisting, what oncewas a promotional expense has become a potential source of rev-enue. Provided anyone wants to pay to see it. 258 Dirty Little Secrets of the Record Business25931 Contacts and Contracts Why an Artist Can Go Gold One Day and Be Flipping Burgers the Next “Tod ay Iwant totalk about piracy and music,” Courtney Love told the industry-ites, artists, and computer music gurus at the DigitalHollywood Online Entertainment Conference (ironically, heldin Ne w York Ci ty). What is piracy? Piracy is the act of stealing an artist’s work with- out any intention of paying for it. I’m not talking about Napster- type software. I’m talking about major label recording contracts. Artists want to believe that we can make lots of money if we’re successful. But there are hundreds of stories about artists in their 60s and 70s who are broke because they never made adime from their hit records. And real success is still a long shotfor new artists today. Hank Shocklee had similar things to say. The producer of albums like Public Enemy’s It Takes a Nati o n of Millions to Hold Us Ba ck,Shockle e took a p os ition as the senior VP of A&R for MCA Records. Then after a few years he left the post: Igot tired of signing these kids, watching them make the record, then start taking limousines and stuff on the record company’sdime, forgetting that it was getting billed back to them out oftheir royalties. Six months later, they’d be sitting in my officesaying, “Y o, what the fuck is up with this? My record went goldand I’m back flipping burgers.”It all comes down to the contract, the holy grail of so many unsigned musicians. Many younger, less experienced artists get slammed here. Shocklee himself recalled getting grossly underpaidby the standards of the day for his first production. But it was ashort-term contract, and he could regard it as a learning experi-ence in his career. A recording artist’s contract can last seven yearsor longer, which doesn’t allow for much of a learning curve if theartist expects to earn something from recording, even a name. “One has to be very careful in contractual arrangements,” warned veteran music business attorney Jeffrey Jacobson. “Littleprovisions like mechanical royalties [the money paid to songwrit-ers for every song on every album sold] not being subject torecoupment [of advances] can result in significant income to theartist. Cautions in these seemingly minor provisions can enable thedebut artist with sales to eat.” “Signing isn’t trivial,” added English music business visionary Rob Cumberland. “It can tie up your songs, your recordings, andyour band (or you) for years if you get it wrong.” For most artists, getting offered a contract is like a ballplayer making it into the big leagues. It tells artists that after however many years of struggling, honing their craft, finding their voice,someo ne w ants tohelp them get their art to the masses, someone with the proven ability to do so. What might not occur to the artist is that the only reason for a recor dcompany to sign an artist, from the days of Enrico Caruso, the first ar tist to demand and receive royalties in the early 1900s, until noon tomorrow, is that the record company is con-vinced itcan make a profit. Record companies, like art galleries, are not in business for the art. For them, a contract has to makesense from a financial standpoint. Since many artists don’t thinkin terms of a financial standpoint, the contract is a means to anend. Sometimes, their end. The following contract came into my possession along with a box of other legal papers when I did research for another project.260 Dirty Little Secrets of the Record BusinessContacts and Contracts 261 It has haunted the artists who signed it for the rest of their careers. While we’ve discussed the economics of being a recording artist,here we’re going to get down and funky, digging into the poten-tial practical pitfalls and pratfalls inherent in signing a recordingcontract. I’m going to walk you through some of the contract’smost notable elements, both common and unusual. These piecesof paper and ink can, as Jacobson noted, determine whether artistsget to develop their art, reputation, and bank accounts. When I first went through the specific document we’ll be looking at, I couldn’t believe the terms. I sent it to Jacobson justto confirm that it was as bad as I thought it was. He read it overand told me, “This is the Steven King novel of recording contracts.It made the small hairs on the back of my neck stand up it wasso scary.” The names, of course, will be changed, but the essence will be in there. Suffice to say, the artists that signed it were huge, anddespite not having played together for a while, they continue toenjoy a massive following. It’s one of those groups that some radiostation somewhere will have on the air every moment of every day.Yes, it’s an older contract, and today a record company might not be able to get away with a lot of the terms, at least not all of themin a s ingle document. But it might, for two reasons: the artist might sign w ithout benefit of legal counsel (a foolish move under the best of circumstances), or the artist might just not care so long as a reco rd comes out (a shortsighted move, but one many artists make). Even getting legal counsel sometimes isn’t enough. Cumberland reminded the artists who would learn from the past that “your lawyer doesn’t sign the contract, you do. Y our lawyer doesn’t sitat home for seven years while a bad contract runs out [or as we’llsee in this case, doesn’t run out], you do. Y our lawyer doesn’t workfor nothing if he gets it wrong, you do.” As with so many music business contracts, the artists and record company agreed to and signed this one in California. Inanswer to the days of the motion picture studio system, when the major movie companies put actors under contract and kept useof their services forever at a pittance compared to what theymade the studio when they became stars, California instituted astatute saying that a personal service contract (like a recording ormovie studio contract) can last no longer than seven years. How-ever, this contract devised a way of circumventing that law, bystarting with the phrase, “The Artists agree to record for therecord company a minimum number (as hereinafter set forth) ofmasters (as hereinafter defined) embodying performances by theArtists . . . in each year of the term hereof.” By the definition of the contract (found some 22 pages later) a “master” is five and a half minutes of recording, basically the max-imum that would fit on a 45 rpm single, an anachronism that, likeso many provisions in contemporary contracts, remains part of theboilerplate. According to the terms of the contract (this located 16pages after the referring paragraph), the artists had to put out: ®12 masters a year for the first two years, for which theyreceived the princely sum of $100 each as an advance royalty. ®24 masters a year for the next two years, this time for $200each. ®24 m asters a y ear for the ne xt two years at $400 each. ®“such additional number of masters (not to exceed ten (10)) as the record company may elect upon written notice to the artist no later thanthree (3) months from the end of each year in which such election is made by the record company, and such additional number of masters shall increase the minimum number of masters as required.” Now, if you do the math on this, the artist must record between 120 and 180 masters, depending on if the record com- pany notifies them for the extra 10, to satisfy this provision ofthe contract. While pretty onerous in its own right, it gets even262 Dirty Little Secrets of the Record BusinessContacts and Contracts 263 more interesting about seven pages on, under the heading of “Fail- ure to Perform”: “The record company, in addition to all otherrights and remedies available to it, shall have the absolute right inits sole discretion to extend the then current year and/or the termof this agreement until such failure to perform is so corrected.” Therefore, if the artists don’t record and release those 120–180 songs in the course of six years (an average, then, of 20–30 songsayear), the clock stops. A contract that legally cannot run for more than seven years can go on until doomsday. Nor does it matter why they could not record: The cause of such failure, whether caused by sickness of or acci- dent to the Artists or any of them or due to any delay or impos- sibility orcommercial impracticability because of any act of God, fire, e arthquake, strike, civil commotion, act of any government or any order, regulation, ruling or any action of any labor union or associa tion of artists affecting the Artists, the record com- pany or a ll orany portion of the phonograph record industry generallyor specifically, shall not affect the applicability of this Agreement. So, in legal terms, the contract could go on beyond doomsday. Like so m any things in this contract, the provision does not cut both ways. While the record company could obligate the artists to record as many as 180 masters, nothing contained in this agreement shall obligate the record company to record the minimum number of sides or mastersspecified herein or to make or sell records manufactured fromsuch masters. The record company shall fulfill its entire obliga-tion as to unrecorded masters by paying the Artists the amountspecified under the terms of this agreement for such masters,even if such masters are never recorded. In other words, if it wants to cut the artists loose, the record company has to pay the $100, $200, and $400 per master for which it contracted, which amounts to $31,200. Then buh-bye.“It’s the story of the recording industry over the past 100 years,” Cumberland said. “Labels can’t make commitments to their artists,but the artists make exclusive commitments to the labels.” Even if they do record, “all material recorded by the Artists shall be selected mutually by the record company and the Artists,and all masters shall be subject to the record company’s approvalas commercially satisfactory.” So if the record company doesn’tthink it can sell the record, the company doesn’t have to press itand it doesn’t count as one of the contracted masters. Of course, the artists have to pay to make the record, albeit not directly: All recording costs incurred by the record company under this Agreement with respect to masters as to which royalties arepayable (or the proportionate share of costs allocable withrespect to masters embodying the performance of the Artistshereunder and the performance of other artist or artists) shall becharged against royalties, payable hereunder. All advance pay-ments made to the Artists by the record company under thisAgreement shall also be charged against royalties hereunder.” So, as we’ve already seen, any costs the artists incur in mak- ing their “masters” get charged back against the artists at the rate of the royalty. The docume nt I have, bad as it seems, is actually a renegoti- ated contrac t made after the artists became a mighty force in pop- ular music. This made deciding the royalty rate a somewhat contentious issue. What the parties ultimately agreed to is actu- ally prettyinteresting. The earlier contract had had a sliding scale, and all music recorded before the new contract was signed andfor a year afterward still fell on that scale, which started at 10.5percent and went to 12 percent. However, all music that wasrecorded after that time gave the artists “a royalty of twenty per-cent (20%) with respect to so-called singles and a royalty rate ofeighteen percent (18%) on albums, except the royalty rate on salesof albums subsequent to [the theoretical expiration date of the264 Dirty Little Secrets of the Record BusinessContacts and Contracts 265 contract] shall be twenty percent (20%).” Of course, albums that combined music recorded before the agreement accrued royaltiesat the old rate of 10.5–12 percent. Since the band broke up nottoo long after the 20 percent rate kicked in, they didn’t get to enjoythat greater rate for very long. Now, one of the things I found most interesting about this con- tract is that it paid the royalty based on 100 percent. Back in theglass-and-lacquer days, only 90 percent of any given shipmentactually arrived in sellable condition, so royalties were generallycalculated based on 90 percent of sales. Long after the glass andlacquer disappeared from the recording scene, and even into thedays of plastic-coated aluminum (i.e., CDs), that 90 percent fig-ure continues to appear in contracts. So that 100 percent seemedlike a bright spot in an overwhelmingly dismal contract until I readafew words further. Where most contracts say that they pay based on the domestic gross sales, this one paid on domestic net sales. Now , in Hollywood, they have a phrase for percentage points paid on the net. They call them “monkey points,” because you’dhave to be a monkey to take them. A careful accountant canmake sure nearly any but the most profitable projects doesn’t show a net profit. Beyond this, there is a grocery list of things on which the recor d com panywill not pay royalties: ®“Noroyalties both for records and publishing shall be payableon sales of promotional records.” ®“No royalti es, both for records and publishing, will be paid by the record company on records given to distributors inthe ratios of the normal industry practice on one hundredfifty (150) ‘free’ records with every five hundred (500)records purchased.” ®“No royalties . . . shall be payable with respect to recordsgiven away or furnished for promotional purposes on anonprofit basis to disc jockeys, radio and television stationsand networks, motion picture companies, distributors, reviewers, customers, and others.” ®“No royalty shall be payable with respect to records given tomembers of record clubs as bonus or free records as a resultof joining clubs and/or purchasing a required number ofrecords.” This last one is particularly telling. One of the first things most artists do when they have the clout to renegotiate their contracts is to get that clause out of there. For example, Hootie and theBlowfish’s major label debut Cracked Rear View sold 16 million copi es or so. They never made a cent from at least three million of them that were sold through record clubs because they had thisclause in their contract. It was removed before they released theirsophomore effort. Nor does the artist always get a full royalty: As to sales of prerecorded magnetic tapes . . . the royalty payable to the Artist shall be one-half (1/2) of the royalty rate applicablein the respective period to sales of phonograph records. . . . Asto any device utilizing a new medium of sound and/or sight andsound reproduction, the royalty payable the Artists shall be com-puted in the manner hereinabove provided for prerecorded mag-netic tapes. Now,when they drew up this contract, the compact disc still had not come to market. That would make the CD “a new medium of sound and/or sight and sound reproduction.” The artists in question continue to sell hundreds of thousands, or even millions of CDs a year. While they have since made concessions, giving up certain rights that the company let them retain and rene-gotiated that point, for quite some time they received half royal-ties on CDs. The 50 percent royalty also applies to “all sales outside the United States, its territories and possessions, and Canada.” This, too, is not an unusual clause. 266 Dirty Little Secrets of the Record BusinessContacts and Contracts 267 Another common clause involves who owns the actual record- ings, or masters: All recordings made by the Artists or any of them during the term hereof . . . and the copyrights and/or copyright renewalrights therein and thereto shall be entirely the property or therecord company, free and clear of any claims of the Artists. . . .The record company shall have exclusive and perpetual rightthroughout the world to edit, cut and otherwise control suchmasters and recordings and performances and may manufacture,advertise, sell, lease, license, or otherwise exploit the same. Some artists manage to hold onto their masters and lease them to the record company—Frank Zappa (and his estate) and David Bowie notably retain these rights. Some of the conditions of the contract are almost laughable. For example, under the heading of “ Advertising”: “The rightsgranted under this section shall include any professional name bywhich the Artists are or may be known and shall allow the recordcompany to fictionalize any biographical material to the extent that the record company so desires.” The artist is a mutant Venu-sian come to Earth to make it safe for sound. However, most of this contract is no laughing matter, partic- ularly this passage: Any and all originalmusical compositions, and original arrange- ments o f musical compositions in the public domain, including the title, words, a ndmusic of such compositions authored, co- authored, comp osed, or co-composed by the Artists or any of them . . . herein after shall be the subject of a copyright and shall beassigned by the Artists and/or any publishing affiliate of the Artists or any of them to any publishing company or companies designated by the record company, with statutory fees applying. What just happened in that paragraph is that the artists gave away their publishing rights. The relationship between the com- poser and the publisher generally calls for a 50/50 split of the rev-enues. Mechanical royalties get paid directly to the publisher (inthis case, the record company pays mechanical royalties over to its publishing division) and the publisher is responsible for pay-ing the songwriter it represents. The performance royalty orga-nizations (ASCAP, BMI, and SESAC in the United States) payequal amounts to the publishing company and the composer.However, many composers retain all or a portion of their pub-lishing, cutting out the outside publisher, as an added stream ofincome. They can have a publisher administer the songs throughasubpublishing deal that earns the subpublisher a cut of the pub- lishing in exchange for doing all the paperwork, collecting for-eign royalties, and trying to exploit the copyrights. After signingthis contract, these artists no longer had that option. Again, this is not an uncommon ploy for record companies, especially independent ones, to attempt. In the same way that thesongwriter might want to form her own publishing company toget both the songwriter’s share and the publisher’s share of the roy alties, the record company wants to hold onto the stream of potential income these rights offer: All recording costs incurred by the record company under this agreement with respect to masters to which royalties are payable. . .shall be charged against royalties, payable hereunder. All advance payments made to the Artists by the record companyunder this Agreement shall also be charged against the royaltiespayable hereunder. These royalties include the mechanical publishing royalties that Jacobson mentioned earlier, so the move to retain the pub- lishing covers the record company’s financial assets against the lia- bilities of records that sell too little to recoup on their own. Sometimes even the extra stream of revenue from the pub- lishing royalties against the advance is not enough, for either party. Certain well-established bands have tried to create a newmode l forthe relationship between the record company and the artist, with EMI leading the way for the record companies. As of this writing, EMI’s most recent deal was with the hard rock band268 Dirty Little Secrets of the Record BusinessContacts and Contracts 269 Korn. The artists received a $25 million advance, far larger than most. More than just a piece of the publishing, this large advancegives EMI’s Virgin Records imprint a 30 percent stake in every-thing Korn makes—touring, licensing, merchandising, publish-ing, endorsements, the works—over the course of two albums andtwo tours. Billboard estimated that it would take $84 million in gross p rofits for the record company to break even. Dave Marsh, however, wasn’t so sure EMI got a bad deal: Korn not only loses economic independence, its revenue streams are further compromised by the specter of what’s known ascross-collateralization—the lumping together of all an artist’sroyalty income on a statement. Imagine that Korn’s last album onthe deal sells so few copies that the band is now $3 million in thered on its record royalties. But its worldwide concert tour asso-ciated with the record has a profit of $6 million. Of that, therecord company is entitled to something more than 25 percent,that is, at least $1.5 million. Doesn’t the $3 million in recordroyalties come out of the $6 million, too? (Why else would thelabel make this deal?) $3 million plus $1.5 million is $4.5 mil-lion, plus a bit more—that is, the company keeps almost all themoney from the tour plus all the money from the record sales. .. .It’s even a good deal for Korn, presuming they break up quickly enough. While the sta kesare higher, it bears a striking resemblance to the reason the record company in our contract wanted to main- tain control of the artists’ publishing. Pretty much the polar opposite of this strategy is the one used by label Fake Science. With 15 bands on its roster, this Oakland, California–based company offers artists production, engineering,and marketing. The artists get 60 percent of the revenue from allsongs downloaded from the Fake Science Web site, and keep therights to all their material, both the songs and the recordings thatFake Science funded. Basically, the label puts the band at no finan-cial or creative risk. That said, no one involved—not the artistsor the label’s owners—seems to have given up his or her day job.But then, Fake Science has the luxury of their day jobs. To them, the label is a flyer, something they do because they can, a hobby, even. Virgin Records is a full-time record company, andas such needs to make a profit by selling records and any otherway it can within its purview. Y ou see, unlike with so many ofthe “dirty little secrets” we’ve uprooted, the reason why therecord company would want to foist a contract like this onto itsartists should not seem mysterious. When only 5 percent of therecords released make a profit, the record company needs everyedge it can get. However, the music business, as we saw right upfront, begins with the artist. Without the artist, why make recordsin the first place? And if it all begins with the artist, doesn’t itmake sense to look after and develop that investment? The con-tract is a crapshoot. The artist can be eternal.270 Dirty Little Secrets of the Record Business271Conclusion The Bilious Stew of the Music Business at the Turn of the Millennium—and Hope for Deliverance “The Record industry has come back, bigger and better than ever. . . .It hasbeen on the verge of disaster . . . but each time the sob- bing requiems were premature.” It sounds like something someone could have written in 1983 or the early 1970s, or even last week,but actually it comes from a New Y ork Times article circa 1942. Peop le have predicted the death of the record business since its formation. And it’s been true every time. The music business con-sistently demonstrates the resilience of Mr. Bill or Gumby—youcan crush it, reshape it, twist it, but somehow it always managesto survive, largely due to one truism: music is not going away. Peo-ple will always want music, and they will get it, whether it involvescommerce or not. The record business is notthe music business. People made money w ith music thousands of years before Edison conceived of storing sound, and will continue to make money with music thou-sands of years hence, until the concept of money itself becomesquaint (come the grand and glorious revolution). And consider-ablymore will make music just for the sheer pleasure of it, as they’ve done pretty much since humankind could call itself that.It bears repeating: music is one of the hallmarks of humanity.272 Conclusion Isuspect, however, that until the revolution comes and money becomes irrelevant, people will continue earning money by mak- ing and marketing music, one way or another. In the short term,this will require making music better or marketing oneself betteror just, for whatever reason, being more appealing to a wider audi-ence. The good news for musicians and audiences is that thepotential for more people to make a living appealing to their ownniche is greater now than at any time before. Thanks largely tothe rise of communications technologies that allow instant accessto information from anywhere on the planet, we grow closer andcloser to Marshall McLuhan’s “global village” with every passingday. Musicians and marketing people are beginning to use theseresources to reach their audiences, thinking locally, but also think-ing globally. With over six billion people on the planet, finding60,000 or 600,000 or even six million who like a particular soundshouldn’t be that hard. However, as the technology exists today,audiences still have to meet them halfway. This is a problem, as audiences have become spoiled. In this era of fast food, instant access, and media on demand, people havegotten used to having music dropped into their lap by radio, MTV, friends’ recommendations, etc. Musicians and marketersneed to figure o ut ways to painlessly bring the music to this audi- ence that don’tinvolve the traditional mass methods of dissemi- nation that have simply stopped working efficiently. The process has already begun, and I expect it to snowball as more and more people inventnewer and better methods for getting music to the people who need to hear it. Moreyears ago than I care to think about, my buddy and col- league Dave Sprague told me that rock was dead in the same sensethat jazz was dead: both have broken off into offshoots and muta-tions. It’s all a bunch of hybrid styles or substyles—punk rock,emo, jam band rock, electronica rock, death metal, heavy metal,hard rock, folk rock, Lilith rock, etc., etc., ad nauseum. In theprocess, the focus and the music may have improved, but theConclusion 273 artists creating it have limited their audiences. Y ou can’t generally consider it a mass media anymore, because there’s neither a mono-lithic jazz audience nor a monolithic rock audience anymore. It’spart of the process of the music developing, of feeling itself as anart rather than a product. Being better than everything else onthe charts doesn’t matter when it comes to art. The charts dealin commerce, not quality. They don’t measure what sounds thebest (as if such a thing were possible), but what sells the best. So, as I sta ted in the introduction, probably more great music—music that youwill like—is available today than at any other t ime. Surely something released among the over 60,000 alb ums that came out the year before I wrote this will appeal to you, even if you’re just one of 50 or 100 people who appreciateit. The difference between now and a quarter century ago is thatnow the audience has to find the scent, hunt for it, and perhapseven dig a bit. Unfortunately, a business geared around selling mil-lions of a thing to make a profit requires that the thing be easilyaccessible. Irun into people every day who would love to sell a gazillion records. The hip-hop artists still have an audience they can tap, and, for the time being, enough of a monolith to mass market.And there will always be pop stars who, for whatever reason, incite enough e xciteme nt tobecome mass merchandise. But oth- ers have started to become more realistic about the times. Withlittle that can be considered monolithic in music any more, music becomesdifficult for the behemoths to market. I think the fact that only 32 albums went platinum in 2005 points to that. With radiocutting back on the amount of music it plays, narrowcast- ing, and programming to a lower and lower common denomina-tor, less gets heard via that traditional avenue of musicalpromotion. Ivisualize the current landscape as a large, sticky funnel—any- thing of substance sticks to the inside walls, leaving only thethinnest, slickest stuff to find its way out, sometimes taking with274 Conclusion it the odd, occasional glob of something substantial that just hap- pens to work its way through. The rest of it doesn’t come outthrough the narrow end of the funnel. To get to it, you need aspoon. The situation the record business finds itself in is not without precedent. Media columnist Michael Wolff sees parallels betweenthe contemporary state of the record business and the earlier daysof the book publishing business. In the 1930s, young, creativecommunicators aspired to write the great American novel; nowthey aspire to record the next great international-hit album. Wolffpointed to a time when Hemingway was Kurt Cobain (right downto the shotgun), John Steinbeck was Bruce Springsteen (and nowBruce is returning the favor—more than one person has referredto him as Steinbeck with a guitar), and Norman Mailer wasEminem (language, boys, language). “They made lots of money,they lived large (and self-medicated). They were the generationalvoice.” Rock stars, Wolff wrote, once would only be happy if they sold hundreds of thousands or millions of records, but as in the bookbusiness, those days are waning. “Soon you’ll be grateful if you have a release that sells 30,000 or 40,000 units—that will be yourbread and butter. Y ou’ll sweat every sale and dollar . . . it will be a low-mar gin, consolidated, quaintly anachronistic business, cater- ingto an aging clientele, without much impact on an otherwise thriving culture awash in music that only incidentally will come from the m usic industry.” As w e’ve seen, a lot of this has already begun to happen. As early a sthe 1990s, baby boomers bought more CDs than their kids, the graying population forming the record business’s key clientele,whether catered to or not. The low margins have made record retailas it has existed for half a century almost untenable today. Con-solidation has affected nearly every aspect of the business, fromretail to radio to the record companies themselves. If only 0.35 per-cent of all records sell more than 100,000 units and 96 percentsell less than a thousand copies, the day is swiftly coming whenConclusion 275 an artist will be happy with a CD that sells 30,000 copies, espe- cially on an independent label. The vertical integration of the record business has been break- ing down for years, but the business would seem to have becomeaware of the rust and wear on the chain only as the links startedto fall apart. The process was gradual and subtle, but eventuallythe chain has to break. The main links, the symbiosis between the radio business and the record business, continue to break down. Radio getting freecontent in exchange for giving that content free promotion hadbecome a public canard by the late 1950s. Nothing is free. Themusic business has paid for play since long before the days of pay-ola, perhaps even before the days of the song plugger. The busi-ness’s own organ, the RIAA, hinted at this when it tried to justifythe cost of a CD: Market ing and promotion costs [are] perhaps the most expensive part ofthe music business today. They include . . . promotion to get the songs played on the radio. When you hear a song played on the radio—that didn’t just happen! Labels make investments in artists by paying for both the production and the promotion ofthe album, and promotion is very expensive. Some estimate that the record companies spend more than twice as much on promotion as they do on actual recording costs. That recording costs have remained static for the last two decades has put the recording studios’ balls into a vise. Squeez- ing from one side are the rising costs of competitive technology— 96- and 120-track consoles and “studio quality” digital recording systems. Squeezing from the other side is the falling cost of com-petingtechnology, the computer-based home digital recording studio. Turning the handle is the falling revenue of the record com-panies. It all boils down to this: the record business reached a tipping point, probably somewhere in the 1980s. It became just too largeto support itself, but also too large to realize how close it was to276 Conclusion collapsing in on itself like a black hole. The CD saved it from hav- ing to face this realization for another decade and a half. How-ever, it seems slowly to have arrived at a place where expectationsexceed reality, where an album that sells 10 million copies isn’tregarded as an anomaly but a benchmark, and everything else theartist does subsequently needs to reflect it. So when an artist thatsells 14 million of one album “only” sells two or three million ofthe next, the record business is disappointed, at best. At worst,the company has geared up with the anticipation of huge sales thatdidn’t happen. That record causes massive layoffs, and other artistssuffer from lack of resources due to the marketing and promo-tional priority given to the star. The record industry’s current problems started with consoli- dation and corporatization. At one time, radio, retail, and even,to a certain extent, the record companies themselves were mom-and-pop operations. Chess Records passed from father to son;Atlantic was started by a pair of music-loving brothers; Vee-Jaywas owned by a husband and wife who got the name from theinitials of their first names—Vivian and James. Similarly, before the ownership rules were all but removed, many radio stations and even small chains of radio stations werefamil y owned. As c orporations consolidated ownership, they con- solidated p rogrammin gmethods and even content. The stakes became too high for the possible eccentricities of individual pro- grammers (i.e., DJs), g iving way to programming by computer. Some sta tions —Internet, cable, satellite, and even broadcast— have given up on on-the-air talent (formerly known as the disc jockey) altogether. The mom-and-pop independent record store still exists, but more as the exception than the rule, a business that has discoveredaway to draw consumers that the big stores or chains don’t—by specializing in a particular genre, or used and out-of-print records.Even many of these stores, like show-music specialist FootlightConclusion 277 Records, have decided they can better serve their audience and themselves by giving up their physical space for cyberspace. As the record business got sucked into the vortex of larger and larger companies, as, more and more, a certain level of commer-cial performance became expected and mandated, it ultimatelyreached the point of diminishing returns. Reflecting the way con-temporary society as a whole reacts in times of stress, the indus-try took no responsibility for these diminishing returns, preferringto blame its customers. When it came to people taping theirrecords for use elsewhere, or even for friends, the record compa-nies started a campaign about home taping killing the recordbusiness. People laughed. Then came file sharing, and lawsuits, and suddenly no one was laughing anymore. To date, the record industry, via the RIAA, hassued over 16,000 customers—some say they might be (or mighthave been) their best customers—for trading songs online. So far3,000 people have settled the suits for in the neighborhood of$5,000 each. One New Y ork woman has spent $22,000 in legalfees; she’s one of the few people actively challenging the deep legalpockets of the RIAA. “The recording industry,” said a staff lawyer with the Electronic Frontier Foundation, “has basically been ableto run this operation like a shakedown.” The RIAA h as com pared the p ractice of downloading songs “without permission” to shoplifting, but whose permission do the downloaders need? Many artists, including stars like Courtney Love andPete T ownshend, are happy to have people download- ingsongs if only to keep people listening—to use downloads, as Wharton School of Business’s David Fader described it, the way the movie business uses film trailers: as a preview of and promo-tion for their music. Unfortunately, contractually, the artists generally don’t own these tracks. The entities whose permission the downloaders requireare the record companies themselves, and they are generally so278 Conclusion scared of the new technology they didn’t invent and do not con- trol that they won’t even consider it. “Part of the reason for themajor label decline is that there are a lot of old-school people stillrunning the show,” noted manager Ed Majewski. Ithink their train of thought is they will/can run the system to the ground. Basically, they are still going to do business like it was in the ’70s. But the business has changed. One would thinkthat they should change with the times. But why? Their mindsetis, even if they run all the bigs right into the ground, they stillcan’t lose. If the big labels all were to be out of business nextweek, what upstart “new model” wouldn’t want to hire a CliveDavis or Donnie Ienner as a consultant? So there are people inpower who know, no matter what happens, their ass is safe. So if things go the way Wolff sees them, the way of the book business, can the record business scale back to a place where it can sustain itself on sales of 30,000 and 40,000 and the occasionalbestseller? It would certainly take a good amount of the romanceout of it, make the record business, like the book business, onlymarginally sexy. It would also require a major downsizing in the record companies, both in actual manpower and in clout. As inthe days before the corporations descended on the record busi-ness, the in depende nt companies would have a bigger piece of the pie. And due to the advances and changes in technology, in both the production and the distribution of music, DIY artists would likely have a m uchbetter shot at making a living with their music and reaching the fans who actually like the kind of music they make. “Henceforth,” Todd Rundgren said when he announced his A2P (artist to public) Internet subscription service, “I’m creating at the mercy of kindhearted fans.” Of course, Rundgren realizedthat he’d been at the mercy of his fans for the previous twodecades anyway. He now just has the means to rely on their mercy(and patronage) more directly.Conclusion 279 Many more artists are seeing the advantage of owning their means of production. This doesn’t just mean the custom label deals like Madonna’s now-defunct Maverick Records or the Isley Broth-ers’ T-Neck Records, which affiliate the artists with a major whilegiving them the illusion of autonomy. The new artist-owned and-operated labels are often companies either for artists who havedeveloped a following on their own through touring and can sellCDs regionally or directly to fans along with T-shirts and otherswag at shows or on their Web site, or for the artist who has pre-viously developed a following via releases on a major label, andcan capitalize on that following with their own label. We’ve donethe math on this and seen that they can do very well for them-selves selling a fraction of what they sold via a major label,because the margin of profit is so much higher. For example, the band Hanson had a massive, chart-topping hit with “MMMbop” in 1997 from its major label debut on Mer-cury Records, but by the time it came to make a third album forthe label (actually for Island/Def Jam, as Mercury effectively ceasedto exist in one of the Universal Music Group consolidations andreorganizations), the group parted ways with UMG and formed its own independent label. This was not unknown territory forHanson, whi ch had started out recording for its own DIY label some seven years earlier. The new album, Unde rneath , peaked at #25 a nd s old a respectable 130,000 copies. The whole four-year adven ture was captured in a film called StrongEnough to Br eak. Other ar tists, lik e veteranfolk -rocker Dean Friedman, do all their business on the Web. Friedman had one fair hit in the late 1970s, a so ng called “ Ariel” that, because it was set amid land- marks familiar to New Y ork suburbanites, became much biggerin the New Y ork metropolitan area than anywhere else, but man-aged to go top 30 nationwide as well. His subsequent musicalendeavors didn’t go quite so well commercially, at least at homein the U.S. He remained something of a legend in England, but280 Conclusion quickly discovered that you can’t feed a family of four on legend. He moved on to interactive design, creating games for computersand working on the Nickelodeon TV show Arcade .When the Web ca me along, he put up deanfriedman.com and suddenly his fans had a nexus. Said Friedman: Iknew they were out there, I just didn’t have the means to reach them or they me. The Internet allows artists and audience to communicate directly and pass over the middlemen—the recordcompanies, the distributors, etc. . . . I am selling CDs directly tothese fans. I have sort of a cottage industry. For his last CD, Friedman solicited advance sales from his coterieof fans worldwide on the World Wide Web. He used the funds to put together a studio and record the album. Fans that ordered it in advance got their names in the liner notes, a cer- tificate of thanks, and a copy of the CD. Certain movements in music, after a short time in the major label limelight as the next big thing, continue via artist-owned labels orindependents. The poster children for these artists are the “jam bands” who tour incessantly, play to avid crowds in clubs andsmall auditoriums, and generally fly under the radar of the main-stream record business. Producer and label owner Vic Steffens said: Istill contend that if you watch the developments in the jam scene, you can see that there is plenty of support for high-quality live music. If you think groups like Widespread Panic and Moe don’tmake money, you are mistaken. These groups are not going totank because their last CD slipped below 500K. Not that I haveANY problem with 500K and up of CDs. . . . It’s just not theonly way. Many of these DIY artists have discovered that the best way to get the word out is one contact at a time. To that end, some have even started to eschew clubs in favor of house concerts,where they perform for 40–80 people in a living room or familyroom. “I know artists who make a living doing just that!” saidConclusion 281 singer/songwriter Jenny Bruce; some of her compatriots might play 100 of these kinds of dates a year. “Y es, a living. From$30,000 to $150,000.” Acircuit of some 300 of these “venues” has sprung up across North America, a genuine grassroots movement, linked via theInternet (check out houseconcerts.com). The door charge is $10or $15 per person, most of which goes to the artist (the host servessnacks and drinks for money). That $400–$1,200 a night is a lotmore than most artists could make in clubs. For the fans, this kindof concert offers something that music used to be the center of:community. Some of the homeowners who host these shows haverepeat customers, and mostly these customers are people in their30s to 50s, that lost audience, looking for an early night out closeto home. Those who can’t host a concert can always host a listening party. These events take place in homes and dorms, as a means ofgetting people to preorder CDs. The host gets swag—T-shirts, CDs,concert tickets. The attendees get to hear some possibly cool musicand hang out with friends in a party atmosphere. “The best pro-motion a band can ever get is for a fan to talk about them,” said one band manager who uses these events to promote his bands’releas es. “If a hard-core fan will spread the word to their com- munity of friends, that’s better than radio or MTV or anything.” Artists have begun finding nontraditional ways to sell their music tonontraditional niches. Tim and Ryan O’Neil, from New Prague, Minne sota, call themselves the Piano Brothers. They have found a niche audience of women 35 years of age and older. They’ve sold these women over a million CDs on their own Shamrock-N- Roll label. Having nothing to do with the traditional means of dis-tribution, they sell their records through gift shops, grocery stores,craft shows, and wedding boutiques. As indie labels proliferate, they have begun to take advantage of new media as well. In addition to selling their wares via thetraditional means to the best of their ability—hiring independent282 Conclusion distributors to get them into the chains that have room for them— they also sell them directly through their Web sites, often offer-ing downloads as enticements or providing special deals directlyto their known customers via e-mail. Note also that some predict that the record industry might not merely become marginalized, but disappear altogether, Wolff’s“quaintly anachronistic business, catering to an aging clientele,dying out as the clientele does.” Music would still exist, of course,but would be ancillary to things like advertisements and movies.Recordings might still exist as stand-alone items, but in this sce-nario they would more likely be part of marketing campaigns, likethe current one Toyota uses to promote its “youth brand,” Scion.The company pays for the recording and production of youngartists and distributes the records to clubs and college radio sta-tions (where the DJ is still surviving, if not always thriving) andgives away compilations to potential customers. Companies willuse music as branding and enticement. Some artists will have larger ambitions, and we need artists like this. We need the Green Days of the world, the U2s, even theHawthorne Heights, the groups that want to reach the most peo- ple with their music, and consequently sell truckloads of recordswitho ut compromising what makes them special. I suspect, how- ever, theseartists will become fewer and further between. When theydo build out of their niches and grow organically, to all but the most ja ded music fans, they will be welcome. Still, the o dds ar e that most artists who put themselves out there won’t make it. It may be because they don’t market well, they c an’t reach their audience, or nobody appreciates the par- ticular gift they think they might have. This, of course, is noth-ing new; it’s as old as the music business itself. Even during theboom time for the record business, “The turnover rate of artistsat large companies can approach 40 percent annually; that trans-lates into a lot of broken dreams and box-loads of unsold records,”Paul Bernstein observed in the New York Times in 1973. Conclusion 283 The turnover rate has grown in the intervening quarter cen- tury, with the added twist that record company employees turn over far more frequently, leaving artists stranded at record com-panies without an advocate. Even major record companies facethe turnover problem—a major part of Hanson’s problems withUMG was that while the group was away, Mercury Records ceasedto exist. Consider the fate of another UMG band, Edenstreet. Theysigned with A&M in 1997 and recorded a debut album, whichwas even sent out to press and radio. Three days before the albumwas set to ship, UMG shut down A&M Records entirely—verymuch the same way Mercury met its demise. No other UMG labelpicked up Edenstreet, sending the album to the limbo of unwantedrecordings. “There are five guys sitting in Louisville,” said one ofthe band members, “whose dreams have just been taken away onawhim. And it was so close—just three days.” The record business would seem to be entering a phase of what Dickens might call lesser expectations. As the greater part of thebusiness struggles to deal with this, it trickles down to the artistsas well. Even over 200 years ago, when the U.S. Constitution waswritten, its framers recognized the necessity of offering creative people an incentive to create, “[t]o promote the progress of sci-ence and useful arts, by securing for limited times to authors and invento rs the e xclusive right to their respective writings and dis- coveries.” The question now becomes, how little incentive is the least forwhich an artist will create? At what point does an artist have to put asidecreation for the business of making a living? Are “the useful arts” like music being “promoted” enough to ensure thatthey’ll even exist on a professional level in 50 years? The balance of art and commerce has always been a sticky problem for the creative person. Y et, to paraphrase Mark Twain,rumors of the record business’s death have been greatly exagger-ated. It is a time of radical change for the record business, andnot many people are ready to step up and place their bets on theway things will shake out. But as Steffens put it:284 Conclusion At some point we are going to have to realize that the industry is never going to be the way it was. The old deals won’t work,the old methods of delivery won’t work. The old ways of sup-porting companies won’t work, but music will find its way tothe consumer, if the music is worthy and the people behind ithave the desire. “I really do believe,” Majewski added, “that these are the most interesting times the industry has ever seen.” And as the old Chinese curse would have it, “May you live in interesting times.”285Source Notes Introduction “Rock music had . . .”: Neer, Richard, 2001. Greek theater: Trumbull, Dr. Eric, 2001.Roman theater: Boatwright, Mary T., 1990.Minstrels: Frederickson, Jon, and James F. Rooney, 1990.Church: Szendrei, Janka, 1986.Guilds: Frederickson, Jon, and James F. Rooney, 1990.“To promote the Progress . . .”: U.S. Constitution.Pianolas: Sanjek, Russell, and David Sanjek, 1996. PartI: Playback and Payback: How the Record Business Drowned in Its Own Success Chapter 1: Who’s in Charge Here? You’re Kidding! 1967 Record revenues: Sanjek, Russell, and David Sanjek, 1996. “I started walking . . .”: Smith, Joe, Off the Record . Phil S pec tor: World Musicians , 1998. L ester S ill: Lichtman, Irv, November 1994. Liberty Records: Edwards, David, and Michael Callahan, 2001.“I go tstranded . . .”: James, Etta, author’s interview, 1988. “Now, Leonard Chess . . .”: James, Etta, author’s interview, 1988.“We got ripped . . .”: Diddley, Bo, author’s interview, 1996.“It was a labor of love . . .”: Hinte, Teri, October 16, 2005.Prestige Records: Bowden, Marshall, 2003. Chapter 2: Answering to the Stockholders, Not the Audience “If you’re not . . .”: Cohen, Roger, 1992. “It took several years . . .”: Smith, Joe, 1988.286 Source Notes “Warner’s Mo Ostin . . .”: Y etnikoff, Walter, and David Ritz, 2004. “Steve Ross realized . . .”: Lowry, Tom, 2005.Springsteen sales figures: Hagen, Mark, 1999.“In 1967 or ’68 . . .”: Ertegun, Ahmet, author’s interview, 1991.“Deodato’s Prelude . ..”: Deutsch, Didier, author’s interview, 1991. “It’ s very nice . . .”: Deutsch, Didier, author’s interview, 1991. PolyGram/Universal merger: Caslon Analytics, 2004.“Everything that’s wrong . . .”: “Pointer,” author’s correspondence, 2006.“Sony wanted their own software . . .”: Y etnikoff, Walter, and David Ritz, 2004. BMG buys RCA: Communications Daily , 1986. “By pooling . . . ”: Sony Music, 2004. UMG payroll cuts: Christman, Ed, 2004.“Like the major . . .”: Seybold, Patricia B., 2001. Chapter 3: Who Does What to Whom: A Brief Tour of a Fictitious Record Company “When I was doing . . .”: Cohen, Stephanie, 2000. CD release figures: “Optical Storage Media,” 2003. Chapter 4: Q: How Many A&R Guys Does It Take to Screw in a Lightbulb? A: We Can’t Screw Anymore— They Cut Off Our Balls! “Just so you’re not . . .”: Steffens, Vic, author’s correspondence, 2005. “I just knew . . .”: Smith, Joe, 1988. “In the da ys of . . . ”: Smi th, Joe, 1988. “Nobod y really knew . . .”: Smith, Joe, 1988. “Maxwell Davis is . . .” Stoller, Mike, author’s interview, 1995.“They had this group . . .”: Ertegun, Ahmet, author’s interview, 1991.“We figured we . . . : Stoller, Mike, author’s interview, 1995.“Budg ets all over . . .”: Anonymous former A&R person, author’s cor- respondence, 2005. Chapter 5: Charting the Course: How Changes in the Charts Chan ged the Biz Billboard chartmethod: Mayfield, Geoff, 2002. “Formo re than 30 . . .”: Lander, Howard, 1991.Source Notes 287 “We wanted to create . . .”: Shallet, Michael, and Michael Fine, author’s interview, 1992. “Before you had . . .”: Shallet, Michael, and Michael Fine, author’s inter- view, 1992. “Records slipped . . .”: Shandler, Geoff, 2001. Columbia University Study: Red Herring, 2006.“The singles chart . . .” McAdams, Janine, 1992.“We still get calls . . .”: Shallet, Michael, and Michael Fine, author’s interview, 1992. “The SoundScan experience . . .”: Shandler, Geoff, 2001. Chapter 6: Control Issues: Did Home Taping Kill Music? “It’s a great scam . . .”: Shamah, David, 2005.“He showed it” Paul, Les, author’s interview, 1992.“When you tape something . . .”: Weiss, George David, 1991.Congress’s reaction to DAT: Wikipedia, 2005. “Gulf and Western Records . . .”: Ripp, Artie, author’s interview, May 8, 2004. “We knew that CDs . . .”: Rose, Don, author’s interview, 1986.“It was abysmal . . .”: Rothchild, Paul, author’s interview, 1992.“The first few CDs . . .”: Clark, Rick, 2002.Sales figures: RIAA, 1999. Chapter 7: Panic in the S uites: Napster ,Grokster ,and the Last Kazaa “It will be Tower . . .”: Rundgren, Todd, author’s interview, 1997.“Retail ers h aveto be . . .”: Gillen, Marilyn A., 1995. “Until the appropriate balance . . .”: Rosen Hilary, MCY Press release, July 1999. “The Internet’s threat . . .”: Marsh, Dave, 1997. “It w as rooted . . .”: Varanini, Giancarlo, 2000. “I think the [record] . . .”: Gal, Tsvi, op cite.“Billy thought . . .”: Crowly, Nina, 1999.“There is no music . . .”: Crowly, Nina, 1999.Public perc eption of downloading: Rainie, Lee, Susannah Fox, and Amanda Lenhart, 2000. CD sa lesfigures: RIAA, 2004. 288 Source Notes Annihilation Theory: Liebowitz, Stan, 2003. “We’re standing . . .”: Ramone, Phil, author’s interview, 1997.“Traditional music distribution . . .”: Bordowitz, Hank, 1999.“The Internet is . . .”: Cohen, Stephanie, 2000.“Record companies stand . . .”: Love, Courtney, 2000.“Why does Metallica . . .”: Rock and Rap Confidential , 2000. “ Art ists standing up . . .”: Knowledge@Wharton, 2002. “Pione er in the indexing . . .”: MP3Board, 2000. Figures on Internet and broadband penetration: Nielsen/Net Ratings sur- vey, 2004. Number of people subject to RIAA lawsuits: Rock and Rap Confidential, July 2005. “The e nd result . . .”: Greenblatt, Alan, 2003. “The music industry . . .”: Del Colliano, Jerry, PR Newswire, 2002.“My understanding . . .”: Zisk, Brian, author’s correspondence, 2005.Ratio of legal to P2P downloads: Hayes, Simon, 2005.Ratio of CD sales to P2P downloads: Liebowitz, Stan, 2003. “The main reasons . . .”: Australian Associated Press, 2005.Organisation for Economic Co-operation and Development Study: The Economist, 2005. Harvard st udy: Oberholzer, Felix, and Koleman Strumpf, 2004. “These same file sharers . . .”: McBride, Terry, 2006. “MP3 downloads . . .”: Liebowitz, Stan, 2003. “ Abandon the ‘Shock and Awe’ . . .”: Goldring, Fred, Billboard, 2005. “Here ’s the so cial reason . . .”: Doctorow, Cory, Address, 2004. “Lawsuits against file sharers . . .”: Dvorak, John, PC Magazine, 2004. “We will no longer . . . ”: Laek, Andrew, Press Release, 2004. “I get involved . . .”: Cohen, Jonathan, 2005.“It’s nothing new . . .”: Napoli, Lisa, 2003. Chapter 8: 150 Records = 50 Percent of Revenue Much of this chapter is based on Christman, Ed, 2001.“We estimate . . .”: Lindsey, Robert, 1975.2005 f igures: Christman, Ed, 2006. Long tail: Anderson, Chris 2004.“In the pop-prism . . .”: Hinte, Terri, October 31, 2005. Source Notes 289 Chapter 9: The Fable of the Elephant and the Rabbit: How the Indies Are Eating the Majors’ Lunch The math in this chapter is based on Albini, Steve, 1993. “Record companies still . . .”: Rundgren, Todd, author’s interview, 1997.“Y ou don’t need . . .”: Bergman, Barry, author’s interview, 2005.“We’re already into . . .”: Cook, Stu, author’s interview, 1997.Victory Records figures on Thursday: Martens, Todd, 2006. “These are great times . . .”: Brancaccio, David, and Beatrice Black, 2002. PartII: The Messy Suicide of Commercial Radio Chapter 10: Airwaves of the People, for the People . . . Yeah, S ure “ After broadcast . . .”: Corbett, Krystilyn, 1996. Coolidge go esto Congress: Gruber, Frederick C., 1952. The Radio Act “proclaimed that . . .”: Gruber, Frederick C., 1952. “It isthe purpose . . .”: Shelanski, Howard A., and Peter W. Huber, 1998. Timeline of media ownership: Consumer’s Union.License renewal criteria: Shelanski, Howard A., and Peter W. Huber, 1998. Chapter 11: Regulations? We Don’t Need No Steenking Regulations “Given the status . . .”: Bates, Dr. Benjamin J., 1995. Deregulation facts: Bates, Dr. Benjamin J., 1995.Stationsper market: DiCola, Peter, and Kristin Thompson, 2002. Dere gulation chart: DiCola, Peter, and Kristin Thompson, 2002. “The recent passage . . .”: SFX, 1996. “Consider what could happen . . .”: Lieberman, David, 2000.“You cannot have . . .”: Bohlert, Eric, 2002. Radio stations are . . .”: Seybold, Patricia B., 2001.“In the next five . . .”: Rundgren, Todd, author’s interview, 1992. Chapter 12: The Death of the DJ: The Curse of Selector “Computers were just . . .”: Neer, Richard, 2001.290 Source Notes Chapter 13: The Process: How Songs Really Get on the Radio “ As much as people . . .”: Ahrens, Frank, 2004. “Call-out has become . . .”: Palmese, Richard.“Theoretically, those trips . . .”: Bohlert, Eric, 2001.“The real problem . . .”: Greenman, Ben, 2004.“One always had to be wary . . .”: Neer, Richard, 2001. Chapter 14: Payola Isn’t Dead. It Always Smelled Like That “The TOBA was . . .”: Price, Sammy, author’s interview, October 1989.Strawbs story: Neer, Richard, 2001.“The music business . . .”: Y etnikoff, Walter, and David Ritz, 2004.“Questionnaire . . .”: New York Times, 1924. “I was asong pl ugger . . .”: Gayles, Juggy, author’s interview, 1988. “The cry that . . .”: Ackerman, Paul, 1955.“I had to get . . .”: Smith, Joe, 1988. “A guy wh owill go unnamed . . .”: Smith, Joe, author’s interview, 1988. “Guys at the radio . . .”: Smith, Joe, author’s interview, 1988.“Black artists . . .”: Greenman, Ben, 2004.“I was out . . .”: Gayles, Juggy, author’s interview, 1988.“George Furness and me . . .”: Gayles, Juggy, author’s interview, 1994.Promoting “the public interest . . .”: Communications Act Ammendment of 1960. “The radio formats . . .”: Smith, Joe, author’s interview, 1988. “They a ll took . . .”: Gayles, Juggy, author’s interview, 1988. “The practice of payola . . .”: Associated Press, 1967.“We have become . . .”: Lindsey, Robert, 1975. “It m ay not be e xactly . . .”: Halberstam, David, 1961. David Wynshaw: Lichtenstein, Grace, January 20, 1973.“I took all the artists . . .”: Dannen, Fredric, 1991.“It’s a nice way . . .”: Lichtenstein, Grace, July 22, 1973.“If Joni Mitchell . . .”: Lichtenstein, Grace, July 22, 1973. Payola penalties: Communications Act Ammendment of 1960. Payola “corrosive to the integrity . . .”: Morris, Chris, and Alexander Woodson, 2005. “Please be advised . . .”: Rock and Rap Confidential ,October 2005. “Mak e sure Donnie . . .”: Gross, Daniel, 2005. Misrepresenting “their identities . . .”: Sony/BMG, 2005.Source Notes 291 “The difference between . . .”: Greenman, Ben, 2004. “I ran a test . . .”: Lotz, I. C. “ A well-worn truism . . .”: Greenman, Ben, 2004. Chapter 15: We Don’t Do Payola. We Let the Independent Promotion Companies Handle It “I worked for Epic . . .”: Gayles, Juggy, author’s interview, 1988. “I know what . . .”: Y etnikoff, Walter, and David Ritz, 2004.Claims against Isgro: Rohter, Larry, 1990.“The artists were furious . . .”: Y etnikoff, Walter, and David Ritz, 2004. “When I saw . . .”: Y etnikoff, Walter, and David Ritz, 2004. Koppleman hiring Isgro: Lichtman, Irv, 1993.“In 1983 o r’84 . . .”: W aller,Don, 2001. “There is a greater reliance . . .”: Zuckerman, Steven, 2004.Isgro sent to jail: Morris, Chris, 2000.“Record companies that want . . .”: Brancaccio, David, and Beatrice Black, 2002. McClusky as businesslike: Bohlert, Eric, 2001.“We now recognize . . .”: Clear Channel, 2003.“Strong relationships . . .”: Clear Channel, 2003.An effort to “dodge. . .”: Leeds, Jeff, 2005.Upper echelon management involvement: Morris, Chris, and Alexander Woodson, 2005. McCl usky’s other in terests: Leeds, Jeff, 2005. “Some things we think about now . . .”: Zuckerman, Steven, 2004.“ A song without significant . . .”: Pareles, Jon, 1990. Chapter 16: Arbi tron R ated #1 in Sym phonic-Punk-Countr y- Disco—Fragging the Format “When y ou agree . . .”: Bonko, Larry, 2005. Chinese listener figures: Arbitron, 2005.Clear Channel’s New Y ork City stations: Arbitron ratings via Radio and Reco rds Online, 2005. “Wha t has happened . . .”: Smith, Joe, author’s interview, 1988. “The Commission is . . .”: Federal Communications Commission, 1934.Number of stations by format: Farrish, Bryan, 2000.292 Source Notes “Now there are people who . . .”: Smith, Joe, author’s interview, 1988. “It’s a tool . . .”: Bonko, Larry, 2005. Chapter 17: Are you Sirius? Can Satellite Radio, Webcasting, and Podcasting Save Broadcasting (or Even Themselves)? WorldSpace’s satellites: Sarma, Ripunjoy Kumar, 2005. XM’s satellites: Margolis, Lynne, 2005.WorldSpace mission: Sarma, Ripunjoy Kumar, 2005.XM and Sirius’s terrestrial signals: Sarma, Ripunjoy Kumar, 2005.Satellite subscriber perks: Margolis, Lynne, 2005.Satellite penetration figures: Heine, Paul, July 22, 2005. Stern’s Sirius contract: Westfeldt, Amy, 2005. Stern subscribers: Heine, Paul, July 22, 2005, and Wilkowe, Ellen S., 2005. Growing number of Web radio stations: Okoli, Christina. “The growth potential . . .”: Zeidler, Sue, 2005.“To win . . .”: Heine, Paul, November 11, 2005.Paul Allen: Johnson, Gene, 2005.“It’s all about creating context . . .”: Johnson, Gene, 2005.More rules for webcasters: Digital Millennium Copyright Act . Opera ting at a loss: Zeidler, Sue, 2005. KEXP podcasts: Johnson, Gene, 2005.“It’s apparent . . .”: FMQB, 2005. Podcast a nd profit: Shields, Mike, 2005. KEXP c ell signal: Johnson, Gene, 2005. “Once Internet radio’s . . .”: UPI, 2005.Ford car radio: Microsoft and Ford, 2005. PartIII: Retailing Records Chapter 18: Rock and the Har dPlace: Records Become a Commo dity and Face Real Estate Prices and Profit Margins Description of late ’40s record stores: Mabry, Donald J., 1990.Recor d sales in the ’20s and ’30s: Shelton, Robert, 1958. “I thought [records] . . .”: Barron, James, 1991.Source Notes 293 “I said to myself . . .”: Barron, James, 1991. Turntable giveaway: Barron, James, 1991.Number of customers in Goody’s store: Sanjek, Russell, and David San- jek, 1996. Goody’s sales by 1955: Barron, James, 1991.Record clubs: The Billboard, 1955. “No ro yalty . . .”: “Independent Record Company Contract. Advertising: Horowitz, Is, November 1955.“ A minute of music . . .”: Shelton, Robert, 1958.“The happy tunes . . .”: Shelton, Robert, 1958.Goody in Chapter 11: Barmash, Isadore, 1969.“Alow margin . . .”: Rood, George, 1965. Industry growth: Rood, George, 1965.“The end of the upward . . .”: Rood, George, 1965.Goody out of bankruptcy: Barmash, Isadore, 1969.“They loved each other . . .”: Barmash, Isadore, 1988.“I agreed . . .”: Barmash, Isadore, 1977.Jack Eugster: Palmieri, Christopher, 1993.Russ Solomon: Serwer, Andy, 2004.Tower ’s growth: Serwer, Andy, 2004. “Our company policy . . .”: Solomon, Russ, author’s interview, 1993.Eugster’s sales: Palmieri, Christopher, 1993.Record-store sales percentages: RIAA, 1999, and RIAA, 2005 (profile).NYC retail rental costs: Fashion Center, 2003.Vegas retail rental costs: Kirk, Patricia L., 2004. Mall retail rental costs: Hazlett, Curt, January 1, 2003.CD margins: Christman, Ed, 2003–2005, and Podmolic, Mary Ellen, 2003. “On Fi ona Apple . . .”: Christman, Ed, 2005. “Hemorrhaging money . . .”: Serwer, Andy, 2004. Sales figures pre-9/11: National Association of Record Merchandisers “Dev iceOwnership,” October, 2001. Sales figures post 9/11: RIAA, 2005 (profile). Best Buy buys Musicland: Serwer, Andy, 2004.Sales figures lower than 10 years earlier: RIAA, 1999, and RIAA, 2005 (profile). “This industry . . .”: Podmolic, Mary Ellen, 2003.294 Source Notes “Wherehouse and Sam Goody . . .”: Green, Frank, 2005. “The industry views. . .”: Breen, Bill, 2003. “CBGB’s was not. . .”: Archives of Contemporary Music, 2005.“In our case . . .”: Williams, Paul, 2004.“Y ou will never . . .”: Rundgren, Todd, author’s interview, 1992.“The Web eliminates . . .”: Napoli, Lisa, 2003. Chapter 19: Censorship: Wal-Mart Tippers the Scales Wal-Mart record sales figures: Strauss, Neil, 1996.“For the sake . . .”: Smith, Brian K., 2005.“Our customers . . .”: Strauss, Neil, 1996.The Alleys, Prince, and the PTA: Marsh, Dave, 1985.Twisted Sister video “was simply meant . . .”: Harrigan, Richard, 1985.“It’s not going to affect . . .”: Harrigan, Richard, 1985.“The PMRC proposal . . .”: Zappa, Frank, 1985.Ritual de l o Habitual cover: St rauss, Neil, 1996. “If yo u’re an artist . . .”: Browne, David, 1990. “Y ou may need to show . . .”: Marsh, Dave, 1985. Chapter 20: A Voyage Down the Amazon.com “Brea dthof selection . . .”: Williams, Mark London, 1998. Computer penetration: U.S. Census Bureau, 2004. Num ber of Web servers and people on the net: Lewis, Peter H., 1994. Online in 1994: Lewis, Peter H., 1994.“CDNow was founded . . .”: CDNow, 1997.Geffen linking to CDNow: Lichtman, Irv, December 1994. CDNow revenues: Advertising Age, 1995. Newbury a nd Rosen online: Billboard, 1995. Musi cas the m ost popular thing to buy on the Web: Pelline, Jeff, 1995. “ A three-minute song . . .”: Burnett, Scott, author’s interview, 1997.“If you don’t know . . .”: Evenson, Laura, 1998.Webnoize study: Seybold, Patricia B., 2001.“Five years out . . .”: Burnett, Scott, author’s interview, 1997.Source Notes 295 Part IV: Technology Chapter 21: We Recorded This in Only Three Months! From One Mic to 128 Tracks “Some people think . . .”: Rundgren, Todd, author’s interview, 1985. “ A lot of guys . . .”: Paul, Les, author’s interview, 1992.“The whole point . . .”: Smith, Joe, 1988.New independent record companies: Parmenter, Ross, 1952.“I paid for production . . .”: Smith, Joe, 1988.“Gouging a record . . .”: Paul, Les, author’s interview, 1992. “The Octopus . . .”: Paul, Les, author’s interview, 1992.“Who needs . . .”: Credited to Phil Ramone. Beatles recording and three track: Morin, Cari, 1988. “I cannot see . ..”: Reco rd World Ma gazine, 1971. “I started . . .”: B ongiovi, Tony, author’s interview, 1985. “We invested millions . . .”: Verna, Paul, 1998.“Y ou never win . . .”: Verna, Paul, 1998.“During the heyday . . .”: Fast, Larry, author’s correspondence, 2005.“The folks that . . .”: Steffens, Vic, author’s correspondence, 2005.Customer retention: Costello, Daniel, 2000. “One studio owner . . .”: Verna, Paul, 1998.“In some cases . . .”: Steffens, Vic, author’s correspondence, 2005.“Right n ow,the market . . .”: Droney, Maureen, 2002. “When computer and hard-disk . . .”: Walsh, Christopher, 2005. “You can buy . . .”: W alsh, Christopher, 2000. “Many producers and artists . . .”: Walsh, Christoper, 2004.Unique Studios: Walsh, Christopher, 2004.“In a rising market . . .”: Petersen, George, 2005.“It is the musicians and singers . . .”: Bongiovi, Tony, author’s interview, 1985. Chapter 22: The Internet: Friend, Foe, or Just a Tool? “The Internet is definitely . . .”: Cohen, Stephanie, 2000.Arctic Monkeys: Pfanner, Eric, 2006.“The W eb is afabulous . . .”: Robertson, Thomas Dolby, 2000. “In artist development . . .”: Nelson, Chris, New York Times, 2003.296 Source Notes “There will be a lot of hidden . . .”: Rundgren, Todd, author’s interview, 1992. “I’d rather have . . .”: Rundgren, Todd, author’s interview, 1985. “I can write music . . .”: Rundgren, Todd, author’s interview, 1997.“I’m leaving . . .”: Love, Courtney, 2000.“People are under the collective . . . : Top 40 Charts.com, 2005.“The exciting part . . .”: Bowie, David, and Emma Brockes, 1999.“Clap Y our Hands . . .”: McBride, Terry, 2006.“With the creation . . .”: Morin, Armand, PR Newswire, 2005.“When we were trying . . .”: Matens, Todd, Billboard, 2006. “The la ck of control . . .”: Bowie, David, and Emma Brockes, 1999. “What bothers me . . .”: Cohen, Stephanie, 2000. “In 1985 . . .”: Cohen, Stephanie, 2000.“We should thank the heavens . . .”: Sutton, Dan, author’s correspon- dence, 1997. “Now there is a generation . . .”: D’Agostino, Debra, 2005.“The only successful . . .”: Wells, Matt, 2001. The shopping pleasure principle: Manning, Robert D., Derek V. Price, and Henry J. Rich, 1997. “It’slike sa ying home shopping . . .”: Ramone, Phil, author’s interview, 1997. “Human nature requires . . .”: Gillen, Marilyn A., 1995.P2P ratios: Orlowski, Andrew, 2005. Canadian P2P figures: Canadian Recording Industry Association, 2005.Downloaders buy: Miller, Karen Lowry, 2005. Rise in sales: BBC News, 2005.“In mid 2004 . . .”: Winkler, Peter, and Laura Schooler, 2005.“However valid . . .”: Goldring, Fred, 2005. Grokster ruling “important psychologically . . .”: Goldring, Fred, 2005. MySpace: Ahrens, Frank, 2004. “Fifteen years ago . . .”: Pepper, Tara, 2005.“Salesof 20,000 . . .”: Pepper, Tara, 2005. “ A record company can underwrite . . .”: Rundgren, Todd, author’s inter- view, 1997. “ An artist is not required . . .”: Keefe, Bob, 2005.“Physical product has . . .”: Noguchi, Yuki, 2005. “The future has never been . . .”: Duhigg, Charles, 2004.Source Notes 297 Chapter 23: Hardware and Software: On Demand and on Your Hip “Right now, you can’t . . .”: Ice-T, 2000. “I had my record out . . .”: Ice-T, 2000.“Disruptive technology should . . .”: Christensen, Clayton M., 2000.“Y ou’ll always have a certain . . .”: Solomon, Russ, author’s interview, 1993. “Rather than rush . . .”: Griesman, Dwight, author’s interview, 2000.“Perso nal TV . . .”: InfoGuia Juegos, 2000. Idrema’ s closing: Hall, Michael, 2001. SongBank: Wild, 2005.“The reality of the marketplace . . .”: Griesman, Dwight, author’s inter- view, 2000. Ted Cohen’s car stereo: Cohen, Ted, author’s interview, 2002. Four generations of iPod: Self, Jonathan, and Jason Snell, 2004.IPod sales: Top 40 Charts.com, 2005.Two weeksof music based on a 20-gig iPod. MP3 p layer penetration: Schadler, Ted, and Sally M. Cohen, 2005. Purchased downloads: Schadler, Ted, Josh Bernoff, Sally Cohen, and Jen- nifer Joseph, 2005. Mobile phone penetration in U.S.: Wikipedia entry on Mobile Phones. Mobile phone penetration in Europe: Telecomworldwire, 2005.Developing ringtones for sale: Simon, Ralph, 2005. “Once considered . . .”: Ringtones.It, 2005.“That’ssomething the artists . . .”: Bruno, Anthony, 2005. “Artists are playing . . .”: Bruno, Anthony, 2005. CSI: New York promotion: Turner, Cynthia, November 2005. Stones a lbum o n card: Duhigg, Ch arles, 2004. Barenaked on a Stick: Seattle Post-Intelligencer , 2005. Part V: We, the Audience Chapter 24: A Touch of Grey: Boomers Grow Up and Grow Old “Whe nthe Who . . .”: Mabe, Chauncey, 2005. “ A baby boomer and. . .”: Goldberg, Danny, 2005.298 Source Notes “Rock ’n’ roll became . . .”: Mabry, Donald J., 2004. Herb London: Cockrell, Dale, 1986.“The baby boom generation . . .” Manchester, Joyce, 1988.“Baby boomers literally . . .”: Adler, Jerry, 2005.“People like us, who grew up . . .”: Bauder, David, 1992.“Now in middle age . . .”: Frey, William H., 2001.Dylan and McCartney: Paoletta, Michael, November 19, 2005.CD sales to boomers: RIAA, 2005 (profile).“The older demographic . . .”: Goddard, Peter, 1996. Chapter 25: The Lost Audience: How the Music Business Broke Faith with Its Main Supporters Norah Jones Grammys: GRAMMY.com. Norah Jonessales: RIAA.com. Putumayo and Barry Manilow sales figures: SoundScan. Sales to adults in 2003: Consumer profile RIAA.com. Chapter 26: An Embarrassment of Riches: Entertainment Options Today—“Hey, Kid, Wanna Buy a Record or a Video Game?” “If kids aren’t . . .”: Amdur, Meredith, 2004. Video games to overtake music business: Industry Analyst Reporter , 2005. Record sa les figures: RIAA, 2005 (statistics). Video game sales figures: Entertainment Software Association, 2005.College survey: N ational Association of Record Merchandisers, “College Market, ”October 2001. Homes with TVs: Roberts, Donald F., Ulla G. Foehr, and Victoria Ride- out, 2005. Boys and video games: Billings, Gwen, November 22, 2005.Kids and PCs: Roberts, Donald F., Ulla G. Foehr, and Victoria Rideout, 2005. Americans online: Stone, Brad, 2005.IMs: R oberts, Donald F., Ulla G. Foehr, and Victoria Rideout, 2005, and Billings, Gwen, December 7, 2005. Mobile phones: Schadler, Ted, and Sally M. Cohen, 2005.Source Notes 299 Time online: Lopez, Maribel D., Ted Schadler, Jennifer Joseph, and Sally Cohen, 2005. Media consumption: Roberts, Donald F., Ulla G. Foehr, and Victoria Rideout, 2005. Two media: Billings, Gwen, December 7, 2005. Kids with mobile phones: Billings, Gwen, November 22, 2005.Cell accessories: Billings, Gwen, November 22, 2005.“We’ll see a time . . .”: Alterio, Julie Moran, 2005.Video game value: Allan, Keri, and David Cole, 2004.“It’s pretty obvious . . .”: Ritholtz, Barry, 2004.DVD consumer figures: Rothman, Wilson, 2004.“Our central strategy . . .”: High, Mamau, 2005. “The impact . . .”: High, Mamau, 2005.“Maybe I’m slow . . .”: Christman, Ed, 2005. PartVI: Money Chapter 27: Music Education: Buddy, Can You Spare a Dime? Government funding: Associated Press, 2006.“Music is a specialized . . .”: Y oh, William H., Jr., 1996.First- grade study: Gardiner, Martin, Alan Fox, Faith Knowles, and Donna Jeffery, 1996. “Students w ith coursework . . .”: Nelson, T. J., 2005. Bronx parochial school: Dickinson, Dee, 1993.Texas commission and Gallup: Nelson, T. J., 2005.“The other choices . . .”: Lindelof, Bill, 2004. “School districts statewide . . .”: Carr, Lynette, 2005.VH-1 pianos: Nelson, T. J., 2005.“The reason for that . . .”: Lindelof, Bill, 2004. “Children in the vulnerable . . .”: Zappa, Frank, 1985. Chapter 28: The Orlando Phenomenon: Boy Bands and Bad Girls Made to Order “The band made its . . .”: Turner, Cynthia, September 2005. “I decided I needed . . .”: Smith, Joe, 1988. “The strategy was . . .”: Smith, Joe, 1988.300 Source Notes The Archies: Jahn, Mike, 1969. The Archies in 1969: Bronson, Fred, 1985.“The incredible thing is . . .”: Smith, Joe, 1988.“ Artie told me . . .”: Passy, Charles, 2001.“The Mickey Mouse Club was. . .”: Abbot, Jim, 2002. “Unt il God stops . . .” Rayner, Ben, 2001. “American Idol amounts. . .”: Dumenco, Simon, 2003. “The ind ustry is only . . .”: Llewellyn Smith, Caspar, 2005. Chapter 29: Breaking the Star = Breaking the Bank Bruce’s first record: Bordowitz, Hank, 2004.Cost of breaking a hit: G, Scott, 2005.Carly Hennessy: Ordoñez, Jennifer, 2002. “We’ve never been . . .”: Newman, Melinda, 2005.“Labels used to thrive . . .”: Ponti, Jack, author’s correspondence, 2005.“I’d sa y managers . . .”: Bergman, Barry, author’s interview, 2005. “The group I am managing . . .”: Majewski, Ed, Author’s correspon- dence, 2005. “Fans cannot download . . .”: Majewski, Ed, author’s correspondence, 2005. “Major labels can’t . . .”: Ponti, Jack, author’s correspondence, 2005.“People want something . . .”: Rawls, Lou, author’s interview, 1989. Chapter 30: The Video R evolut ion: Looks Ar en’t Everythin g; They’re the Only Thing “He said, ‘I don’t mind . . .’ ”: Nispel, Marcus, author’s interview, 1991.“Thin gswhichused to count . . .”: Banks, Jack, 1997. Video statistics: Banks, Jack, 1997. “There’s a band . . .”: Lekberg, Jason, author’s correspondence, 2005. “I have two bands . . .”: Banks, Jack, 1997.“I’m v ery u ncomfortable . . .”: Clark, Rhodri, 2005. “We want to break . . .”: Paoletta, Michael, November 12, 2005.Temple of the Dog video: Woletz, Robert G., 1992.Cost of indie video: Banks, Jack, 1997.Cost o f a m ajor video: Banks, Jack, 1997, and Schwartz, Lara, 2007. “Y ou do music videos . . .”: Nispel, Marcus, author’s interview, 1991.“Cer tain ar tists . . .”: Schwartz, Lara, author’s correspondence, 2006. Source Notes 301 Video “all done on desktop . . .”: Rundgren, Todd, author’s interview, 1992. “From now on . . .”: Cohen, Stephanie, 2000. “Cactusflower” video: Rickwood, Lee, 2005. “Videos are nothing but . . .”: Nispel, Marcus, author’s interview, 1991. “Y ou’re making . . .”: Banks, Jack, 1997.MTV/Microsoft joint venture: Tymkiw, Catherine, 2005. Chapter 31: Contacts and Contracts: Why an Artist Can Go Gold One Day and Be Flipping Burgers the Next. “Today I want . . .”: Love, Courtney, 2000.“I go ttired . . .”: Shocklee, Hank, author’s interview, 2002. “One has to be . . .”: Jacobson, Jeffrey, author’s correspondence, March 2006. “Signing isn’t trivial . . .”: “…Get Signed” Cumberland, Rob, 2005.“Y our lawyer doesn’t . . .”: “…Get Signed” Cumberland, Rob, 2005.“It’s the story . . .”: “Sponge” Cumberland, Rob, 2005.Monkey points: Adler, Tim, 2004.Hootie and the Blowfish: Fisher, Anne B., 1996. Korn/EMI deal: Garrity, Brian, 2005.“Korn not only loses . . .”: Marsh, Dave, 2005.Fake Science: Delvecchio, Rick, 2005. Conclusion: The Bilious Stew of the Music Business at the Turn of the Millennium—and Hope for Deliverance “The Record industry . . .”: Taubman, Howard, 1942. “They made lots . . .”: Wolff, Michael, 2002.“Soon y ou’ll be grateful . . .”: Wolff, Michael, 2002. “Marketing and promotion costs . . .”: RIAA.com, 2003.Marketing vs promotion costs: Washington Post , 1995. “The reco rding industry . . .”: O’Connor, Timothy, 2005. “Part of the reason . . .”: Majewski, Ed, author’s correspondence, 2004.“Henceforth . . .”: Rundgren, Todd, author’s interview, 1997.Hanson: Levine, Robert, 2005.“I knew they were out there . . .”: Friedman, Dean, 2003.“I still conte nd . . .”: Steffens, Vic, author’s correspondence, 2005.302 Source Notes “I know artists . . .”: Bruce, Jenny, author’s correspondence, 2005. House concerts: Strauss, Neil, 1999.“The best promotion . . .”: Soukup, Elise, 2005.Piano Brothers: Nelson, Lizz, 2004.Scion record: Halliday, Jean, 2005.“The turnover rate . . .”: Bernstein, Paul, 1973.“There are five guys . . .”: Bauder, David, 1999.“ At some point . . .”: Steffens, Vic, author’s correspondence, 2005. “I really do believe . . .”: Majewski, Ed, author’s correspondence, 2005.303Bibliography Abbot, Jim. “Orlando: Best Known as a Breeding Ground for Boy Bands, the City Has Plenty More Talent to Offer.” Billboard ,December 21, 2002. Ackerm an, Paul. “300,000 Spins a Day Throw Music Industry into Whirl.” The Billboard, November 12, 1955. Adl er, Jerry. “Turning 60.” Newsweek, November 14, 2005. Adl er, Tim. “Net Profits Make a Monkey Out of Producers.” Screen Finance ,August 25, 2004. Adve rtising Age. “Selling CDs Successfully.” November 20, 1995. Ahre ns, Frank. “Technology Repaves Road to Stardom.” Washington Post ,May 2, 2004. Al bini, Steve. “The Problem with Music.” Maximum Rock and Roll 166 (1993). Allan, K eri, and David Cole. “Up, Up, and Away! Game Industry Fore- casts Stay Bright. ”Electronic Gami ng Busi ness, March 10, 2004. Amdur , Meredith. “Teens Spent 15% Less on CDs.” Daily Variety, Feb- ruary 11, 2004. Arbi tron. “ Arbitron Releases Results of Chinese Language Radio Lis- tening in New Y ork and Los Angeles.” Press release, June 1, 2005. Archives of Contemporary Music. Press release, October 6, 2005. Associa ted Press. “New Budget Plan Squeezes Education, Medicare.” February 6, 2006. Associa ted Press. “Tax Court Rules Payola Is Not Deductible Expense.” January 24, 1967. Australian Associated Press. “People Prefer to Buy CDs—Survey.” August 9, 2005. Anderson, Chris, “The Long Tail” Wired, October 2004 Bank s, Jack. “Video in the Machine: The Incorporation of Music Video into the Recording Industry.” Popu lar Musi c,October 1997.304 Bibliography Barmash, Isadore. “ American Can Plans to Buy Sam Goody.” New York Times ,December 14, 1977. Barma sh, Isadore. “ At 85, Sam Goody Longs for a New Business.” New York T imes, June 13, 1988. Barma sh, Isadore. “Music Merchant Bullish on Y outh and Technology.” New York Times, July 9, 1969. Barro n, James. “Sam Goody, Who Started Chain of Record Stores, Is Dead at 87.” New Y ork Times, August 9, 1991. Bates, Dr. Benjamin J. “The Economic Basis for Radio Deregulation.” Paper presented at Popular Culture Association, Philadelphia, April 1995. Bauder, David. “ Adapting to a Graying Marketplace.” Associated Press, February 14, 1992. Bauder, David. “The Hard Realities of a New World in the Music Busi- ness.” Associated Press, April 22, 1999. BBC News. “US Sees Growth in CD Sales Market.” January 6, 2005.Bernstein, Paul. “What Happens to Rockers Who Don’t Make It?” New York T imes, November 4, 1973. Billboard .“In teractive Briefs: Boston Retailer Goes Online.” October 14,1995. TheBillboard. “Results of Clubs Jell Slowly. 61 Percent Still Opposed to Proj ect.” December 3, 1955. Billings, Gwen. “Benchmark Mobile Entertainment Study.” Cynopsis: Kids, November 22, 2005. Billin gs, Gwe n. “The First Amendment Reigned Supreme.” Cynopsis: Kids, December 5, 2005. Billing s, Gwen. Cynopsis: Kids, December 7, 2005. Boatwright, Mar y T.“Thea ters in the Roman Empire.” Bibli cal Ar chae- ologist, Dece mber 1990. Bohl ert, Eric. “Fighting Pay-for-Play.” Salon,April 3, 2001. Bohl ert, Eric. “Is Clear Channel Selling Hit Singles?” Salon ,June 25, 2002. Bo nko, Larry. “ A Radio Listener Is Heard by Arbitron.” Virginian, Augu st 13, 2005. Bordowitz, Hank. The Bruce Springsteen Scrapbook .New Y ork: Kens- ingt on/Citadel Books, 2004. Bordowitz, Hank. “The Future Is Here: Goodbye CDs?” Gallery, 1999.Bibliography 305 Bowden, Marshall. “Visions of Miles (review of The Miles Davis Story on DVD)” Po pMatters.com, November 26, 2003. Bow ie, David, and Emma Brockes. “David Bowie in His Own Words: Not Afraid of the Internet.” Guardian, January 20, 1999. Bra ncaccio, David, and Beatrice Black. Marketplace, American Public Media (Radi o), June 27, 2002. Breen, Bill. “What’s Selling in America.” Fast Company, January 2003. Bro nson, Fred. The Billboard Book of Number One Hits .New Y ork: Billb oard Books, 1985. Browne, David. “The Music Business Watches Its Own Step.” New York Times ,September 23, 1990. Bru no, Anthony. “Ringtones Still Have Plenty of Room to Grow.” Bill- board, September 24, 2005. Cana dian Recording Industry Association. “Recording Industry Launches Campaign to Protect and Promote Products of the Mind, Citing Results of Two National Polls.” September 29, 2005. Carr, Lynette. “Keep the Arts in School.” Pittsburgh Post-Gazette , Jun e 22, 2005. Casl on Analytics. “Ketupa.net Media Profile: PolyGram, Decca and DG.”www.k etupa.net/polygram2.htm, June 2004. CDN ow. “CDNow Announces Free Music for Life.” Press release, Octo- ber 21, 1997. Christensen, Clayton M. The Innovator’s Dilemma. New Y ork: Harper- Bus iness Books, 2000. Christ man, Ed. “2005 Sales Data: Long Tail Is Wagging.” Billboar d, March 18, 2006. Christ man, Ed. “FTC Removes Final Hurdle to Merger of Sony and BMG. ”Billboard , August 7, 2004. Christ man, Ed. “N ot Much Yule Cheer for Music Business.” Billboard , Januar y 11, 2003. Christman, Ed. “Retail Pays for UMG’s Price Cut.” Billboard, Septem- ber 12, 2003. Christ man, Ed. “Retail Track, Margins Shrink as CDs Vie with Other Media.” Billboard, November 19, 2005. Christ man, Ed. “Retail Track: SoundScan Numbers show .35 percent of Albums Ac count for More Than Half of All Units Sold.” Billboard , April 28, 2001.306 Bibliography Clark, Rhodri. “Talent or Looks.” Western Mail ,June 18, 2005. Clark, Ri ck. “Gus Dudgeon, 1942–2002.” Mix, October 2002. Cle ar Channel. “Clear Channel Cuts Ties with Independent Promoters.” Press release, April 9, 2003. Cockrell, Dale. “Review: Closing the Circle: A Cultural History of the Rock Revolution.” American Music ,Winter 1986. Cohe n, Jonathan. “Lennon Catalog to Make Digital Debut.” Bill- board.biz, November 8, 2005. Cohe n, Roger. “ A $78 Million Y ear: Steve Ross Defends His Paycheck.” New York Times Magazine ,March 22, 1992. Cohe n, Stephanie. “Peter Townshend Interview.” Edited by Hank Bor- dowitz. MCY.com, 2000. Communications Act Ammendment of 1960 86 P.L. 752. 74 Stat. 889. Communications Daily .“Bertelsmann AG Buys Rest of RCA Records fr om GE.” September 10, 1986. Costello, Daniel. “New Measures of CRM Performance” CRM Maga- zine,October 2000. Con sumer’s Union, “History.” hearusnow.org. “Contract Between King David Distributors and Galaxy Records.” June 5, 1969. Corbett, Krystilyn. “The Rise of Private Property Rights in the Broadcast Spectrum.” Duke Law Review ,December 1996. Cro wly, Nina. “ Mass Mic Responds to RIAA E-mail Re: mp3.” Mass Mic, J anuary 5, 1999. Cum b erland, Rob. “How Do I Get Signed? What Y ou Should Know About Contracts.” Bemuso.com, 2005. Cumberland, Rob. “The Money Sponge: Why Can’t the Major Labels Sell Enough Records?” Bemuso.com, 2005. D’Agostin o, Debra. “The Sound of Change.” CIOInsig ht, January 5, 2005. Danne n, Fredric. Hit Men ,New Y ork: Vintage Press, 1991. Delve cchio, Rick. “Fake Science Searches for New Stars.” San Fr ancisco Chron icle,November 11, 2005. Dic kinson, Dee. “Music and the Mind.” New Horizons for Learning, 1993.Bibliography 307 DiCola, Peter, and Kristin Thompson. Radio Deregulation: Has It Served Citizens and Music ians? Washington, DC: Future of Music Coali- tio n, 2002. Digital Millennium Copyright Act .Public Law 105-304, U.S. Sta tutes at Large 112 (1998): 2860. Doct orow, Cory. “Cory Responds to Wired Editor on DRM” boing boin g.com, December 29, 2004. Droney, Maureen. “Survival of the Fittest.” Mix, October 2002. Duhigg , Charles. “Music Is Listening to Him.” Los Angeles Times , Nov ember 23, 2004. Du Lac, J. Freedom. “ ‘Hey Jude’? Duude.” Washington Post, November 14, 2005. Dumenco, S imon: “The Un-Star System.” The New Yorker ,September 8, 2003. Dvo rak, John C. “Ode to Napster, Music’s Last Hope.” PC Magazine, March 16, 2004. The Economist. “ AMarket for Ideas.” October 20, 2005. Edwar ds, David, and Michael Callahan. “The Liberty Records Story.” Liberty.com, January 20, 2001. Entertainme ntSoftware Association. Y ear End Figures (Report). 2005. Evangelista, Benny. “Hell Freezes Over as Jobs Crosses PC Line.” San Francis co Chronicle ,October 17, 2003. Ev enson, Laura. “ Amazon.com Makes Major Music Push.” San Fran- cisco Chr onicle ,June 11, 1998. Farri sh, Bryan. “Radio Airplay 101.” Music Biz Academy.com, October 2000. Fashion Center. “Economic Profile 2003.” Feder alCommunications Commission. “Radio Entertainment Format Changes.” Mass Media Bureau, publication 40. Fidelity Investments. “Music Icon and Investment Leader Team Up to Help Keep Music Education Alive in Schools.” Press release, Octo-ber 18, 2005. Fisher, Anne B. “Record Clubs Face the Music.” Fortune ,April 29, 1996. FMQB. “Bri dge Ratings Study: Podcasting Elevates Litening.” Novem- ber 14, 2005.308 Bibliography Frederickson, Jon, and James F. Rooney. “How the Music Occupation Failed to Become a Profession.” International Review of Aesthetics and Soci ology of Music ,December 1990. Frey, W illiam H. “Boomer Havens and Y oung Adult Magnets.” Ameri- can Dem ographics, September 2001. Friedm an, Dean. “Fan Funded DIY Records.” Panel at the Global Enter- tainment and Media Summit, May 2003. G., Scott. “Indie Artists Meet Clear Channel Execs.” Ezine @rticles (ezin- earticles.com), October 25, 2005. Gardiner, Martin, Alan Fox, Faith Knowles, and Donna Jeffery. “Learn- ing Improved by Art Training.” Nature, May 23, 1996. Garri ty, Brian. “Korn’s ‘Twisted’ Deal.” Billboard, N ovember 12, 2005. Gille n, Marilyn A. “Sony CEO Stresses Retail Role in Digital Future.” Billboard, January 7, 1995. Go ddard, Peter. “Boom Gloom Makes Music Business Nervous.” Toronto Star, February 21, 1996. Gol dberg, Danny. “Excerpt of New Introduction from Forthcoming Paperback Edition of My Book.” DannyGoldberg.com, January 10, 2005. Goldring, Fred. “Editorial: After Grokster, Can Music Business Save Itself?” Billboard, J uly 16, 2005. GRAMMY.co m. Grammy Award Winners. Graser, Marc. “Did Some- body Sing McDonald’s? Adversongs Urge Fast Food into Hip-hopLyrics.” Crain’s Chicago Business, April 4, 2005. Gree n, Frank. “Q&A Eustaquio Kirby, Owner of Gary’s Record Par- adise.” Escondido (CA) Union-Tribune ,October 23, 2005. Gree nblatt, Alan. “Will the Major Music Labels Survive the Digital Age?” CQResearch er, Novem ber 21, 2003. Gree nman, Ben. “Q&A: The Price of Payola.” Th e New Yorker Online Only, Ju ly 5, 2004. Gross, Da niel. “What’s Wrong with Payola?” Slate, July 27, 2005. Gru ber, Frederick C. “Radio and Television Ethical Standards.” An nals of th e American Academy of Political and Social Science ,March 1952. Hag en, Mark. “Interview.” Mojo, January 1999. Halbersta m, Da vid. “Some in FTC Say Payola Is Ended.” New Y ork Times ,February 5, 1961.Bibliography 309 Hall, Michael. “Indrema CEO Discusses the Close of His Company.” Linux Today, April 12, 2001. Halli day, Jean. “Scion Brand Enters the Music Business.” Crain’s Auto- motiv e News ,April 4, 2005. Harriga n, Richard. “The Capitol Hill Rock War. Emotions Run High as Musicians Confront Parents’ Group at Hearing.” Washington Post , Septe mber 20, 1985. Hayes, Simon. “Music for a Song, Quick Sharp or Web Piracy Contin- ues.” The Australian ,September 10, 2005. Hazlet t, Curt. “More Bad News for Retailers: Rising Rent.” Retail Traf- fic,January 1, 2003. Heine, Pau l. “Satellite Stampede: The Competition Zone.” Billboard Radio Mon itor, July 22, 2005. Heine, Pau l. “Winning on the Web.” Billboard Radio Monitor ,Novem- ber 11, 2005. High, Ma mau. “In Search of All the Y oung Men with Big Bulging Wal- lets.” Financial Times, May 24, 2005. Hinte, Teri. Be rkeley Item 265 (October 16, 2005). Hinte, Teri. Be rkeley Item 266 (October 31, 2005). Horowitz, Is. “Go ing to Be a Record Fight. Independents Smack Big Labels.” TheBillboard, N ovember 19, 1955. Hor owitz, Is. “Long-Play Records to Chalk Up Peak Volume This Y ear.” The Billboard, December 3, 1955. Ice-T . “Speech to MP3 Summit.” June 20, 2000. Indust ryAnalyst Re porter .“Inter active Entertainment Industry to Rival Size o f Global Music Business, Says DFC.” November 9, 2005. InfoGuia Juegos .“Interview with Yana Kushner About the Indrema L600 En tertainme n t System.” March 26, 2000. Jahn, Mike. “The Archies Are Fictional, but Their Success Is Not.” New York Ti mes, N ovember 5, 1969. Jo hnson, Gene. “Internet Helps Indie Radio Spread Out.” Associated Press, October 27, 2005. Ke efe, Bob. “Napster Verdict: Music Business Changed Forever.” Atlanta Jour nal-Constitution ,October 2, 2000. Ke efe, Bob. “Warner to Start Digital ‘E-label.’ ” Atlanta Journal-Consti- tution, August 23, 2005.310 Bibliography Kiley, David. “Is Mickey D Getting a Bad Rap?” Edited by Ira Sager. Business Week ,April 18, 2005. Kirk, Pa tricia L. “ A Tale of Two Markets.” Retail Traffic , May 1, 2004. Knowledge@Wharton. “Peer-to-Peer Music Trading: Good Publicity or Bad Pre cedent?” October 2002. Lander, Howard. “ A Letter from the Publisher. Billboard Debuts Piece Coun ts on Two Music Sales Charts” Billboard, May 25, 1991. Le eds, Jeff. “Music Promoter to Abandon a Radio Policy He Developed.” New York Times, November 3, 2005. Lev ine, Robert. “Rage Against the Record Label: The Hanson Brothers Make a Film.” New York Times, October 21, 2005. Lewi s, Peter H. “Companies Rush to Set Up Shop in Cyberspace.” New York T imes, November 2, 1994. Li chtenstein, Grace. “Payola Jury Asks Testimony on Tips.” New York Times ,January 20, 1973. Li chtenstein, Grace. “Record Industry on Coast Shaken by Payola Scan- dal.” New York Times, J u ly 22, 1973. Li chtman, Irv. “Lester Sill, Rock Era Publishing Great, Dies at 76.” Bill- board, November 12, 1994. Li chtman, Irv. The Billboard Bulletin. Billboard ,December 3, 1994. Lic htman, Irv. The Billboard Bulletin. Billboard , March 13, 1993. Li eberman, David. “Entertainment Clout Builds: Clear Channel’s Pur- chase of SFX Entertainment Creates a Radio, Billboard and Live Per- formance Titan.” USA Today, March 1, 2000. Lie bowitz, Stan. “Will MP3 Downloads Annihilate the Record Industry? The Evidence So Far.” Paper, School of Management, University ofTexas at Dallas, June 2003. Lindelof, Bill. “Budget Knell for the Arts.” Sacrame nto Bee, March 20, 2004. Lindsey , Robert. “Payola Threatens Recording Profits.” New York Times , Jul y 23, 1975. Llewellyn Smith, Caspar. “Feelin’ Free.” Obse rver Music Monthly, S ep - temb er 18, 2005. Lopez, Maribel D., Ted Schadler, Jennifer Joseph, and Sally Cohen. “Entertainment Grabs Y ouths’ Online Time.” Y oung Consumers andTechn ology, Forrester Research, July 29, 2005. Lotz, I. C. “Dick Clark over a Chinese Luncheon.” Fusion Magazine .Bibliography 311 Love, Courtney. “Speech to Digital Hollywood Online Entertainment Conference.” May 16, 2000. Lowry, Tom. “Jamming with Jac, Seymour, and Ahmet.” Business Week Online ,August 8, 2005. Mab e, Chauncey. “Why Can’t Baby Boomers Learn How to Age Grace- fully?” Sun-Sentinel, November 20, 2005. Mabry , Donald J. “Rise and Fall of Ace Records: A Case Study in the Independent Record Business.” Business History Review ,Autumn 1990. Mabr y, Donald J. “Rock ’n’ Roll: The Beginnings.” Historical Text Archive (www.historicaltextarchive.com), April 30, 2004. Manchester, Joyce. “The Baby Boom, Housing, and Financial Flows.” American Economic Review ,May 1988. Mannin g, Robert D., Derek V. Price, and Henry J. Rich. “Concierge or Information Desk: Teaching Social Stratification Through the Malling of America.” Teaching Sociology ,January 1997. Margoli s, Lynne. “Why Satellite Radio Is Beaming.” Cox News Service, August 10, 2005. Marsh, Dave. “The Cradle Will Rock.” Rock and Roll Confidential ,Feb- ruary 1985. Mars h, Dave. “Deal Memo: Korn.” Holler If Ya Hear Me hollerif.blogspot.com/ September 27, 2005. Marsh, Dave. Rock and Rap Confidential ,August 1997. Mart ins, Todd. “Lonely No More” Billboard, February 25, 2006. Mayf i eld, Geoff. “How the Music Charts Are Compiled.” Billboard , Dece mber 28, 2002. McAdams, Janine. “BDS, SoundScan Now Form Basis for R&B Charts.” Billboard ,Decemb er 5, 1992. McBri de, Terry . “Editorial: The New Frontier.” Billboard ,April 15, 2006. Microso ft and Ford. Joint press release, November 1, 2005. Miller, Karen Lowry. “EMI: Inside a Makeover.” Newsweek, S eptember 26, 2005. Mo rin, Cari. “The Evolution of Beatles’ Recording Technology.” Paper, Northwestern University, Evanston, IL, 1988. Morris, Chris. “Labels’ Future in Doubt After Isgro’s Sentencing.” Bill- board, September 23, 2000.312 Bibliography Morris, Chris, and Woodson, Alexander. “News. Music.” Hollywood Repo rter.com ,July 27, 2005. MP3Boar d. “MP3Board Files Counter Claim Against RIAA. Creates New Digital Rights Technology.” Press release, July 7, 2000. Napoli, Lisa. “Think the Debate on Music Property Rights Began with Napster? Hardly.” New York Times, September 22, 2003. Na tional Association of Record Merchandisers. “The College Market: Content Spending and Device Ownership.” NARM Research Briefs , Octo ber 2001. National Association of Record Merchandisers. “Retail Sales: Terrorism Alters the Outlook.” NARM Research Briefs ,October 2001. Neer, Ri chard. FM: The Rise and Fall of Ro ck Radio .New Y ork: Villard Boo ks, 2001. Nelson, Chris. “Upstart Labels See File Sharing as Ally, Not Foe.” New York T imes, September 22, 2003. Nelso n, Lizz. “Building Up into a Crescendo of Successful Sales: How Two Brothers from a Small Town Sold Over 1 Million CDs—With- out a Major Label.” PR Newswire, December 13, 2004. Nelson, T. J. “Dumbing Down, the Dwindling Funding of the Arts.” World Music Central (www.worldmusiccentral.org), March 9, 2005. Newman, Melinda. “The Beat—Savoy Plucks Vollenweider.” Billboard, March 25, 2005. New Y ork Times. “The Indelible Pietro.” June 19, 2005. New Y ork Times .“Questionnaire Reveals Radio Beneficial to Music Indust ry.” March 23, 1924. Nielsen/Net Ratings survey, 2004. Noguchi, Yuki. “Warner Music Turns to Web.” Washington Post , Novem ber 11, 2005. Ober h olzer, Felix, and Koleman Strumpf. TheEffect of File Sharing on Reco rd Sales: An Empiri cal Analysis .Cambridge, MA: Harvard Busi- ness Sc hool, 2004. O’Conn or, Timothy. “File Share Plaintiff Plans Own Defense.” Journal News ,December 11, 2005. Oko li, Christina. “What Is Web Radio?” Answer Bank UK. www.the answerbank.co.uk. “Opt icalStorage Media.” In How Much Inf ormati on? 2003 . Rege nts of t he University of California, October 27, 2003.Bibliography 313 Ordonez, Jennifer. “Pop Singer Fails to Strike a Chord Despite the Mil- lions Spent by MCA.” Wall Street Journal ,February 26, 2002. Orlo wski, Andrew. “For Every DRM Download, 16 P2P Swaps.” The Register ,June 23, 2005. Palmi eri, Christopher. “Media Merchant to the Baby Boomers.” Forbes, March 15, 1993. Paol etta, Michael. “Making the Brand: Financial Firms See Payoff in Aging Stars.” Billboard, November 19, 2005. Paol etta, Michael. “MTV Taps Consultant as President/COO.” Bill- board, November 12, 2005. Paol etta, Michael. “Q&A: Christina Norman.” Billboard ,August 27, 2005. Parel es, Jon. “Money Talks, Top 40 Listens.” New York Times, Septem- ber 2, 1990. Parme nter, Ross. “Economics of Records.” New York Times ,March 9, 1952. Passy, Ch arles. “Waiting for Lou Pearlman.” Palm Beach Post , Ju ly 29, 2001. Pelline, Je ff. “Marketers Flocking to Sell Music on the Internet.” San Francis co Chr oni cle, N ovember 28, 1995. Pepp er, Tara. “Making Their Own Breaks.” Newsweek, S eptember 26, 2005. Peterse n, George. “What’s Going On?” Mix, April 2005. Pfanner , Eric. “ A British Invasion for the Digital Age.” International Her- ald T ribun e, March 12, 2006. Podmo lic, Mary Ellen. “Music Retailers Hear Sour Notes.” Crain’s Chic ago Business ,May 26, 2003. PRNews wir e. “Instead of Suing over Downloadable Music—the Music Business Should Take the High Road.” August 27, 2002. Radi oand Records Online (www.r an dr.com). Ratings for New Y ork. Accessed November 14, 2005. Raini e, Lee,Susannah Fox, and Amanda Lenhart. “13 Million Americans ‘Freeload’ Music on the Internet. One Billion Free Music Files Now Sit on Napster Users’ Computers.” Internet Tracking Report, PewInternet and American Life Project, June 8, 2000. Rayner , Ben. “Ma nufacturing Music for Teenage Fanatics.” Toronto St ar, April 1, 2001.314 Bibliography Record World Magazine .“George Martin Speaks Out.” January 30, 1971. Red He rrin. “Herd Shapes Music Tastes.” February 9, 2006. RIAA. Press Re lease on DiMA, 2000. RIAA. “1998 Consumer Profile.” Recording Industry Association of America, 1999. RIAA. “2003 Consumer Profile.” Recording Industry Association of America, 2004. RIAA. “2003 Y ear End Statistics.” Recording Industry Association of America, 2004. RIAA. “2004 Consumer Profile.” Recording Industry Association of America, 2005. RIAA. “2004 Y ear End Statistics.” Recording Industry Association of America, 2005. RIAA.com. “Cost of a CD.” 2003. RIAA.com. Gold and platinum searchable database. Rickwood, Lee. “John Gold’s ‘Cactusflower’ Video.” Video Systems , Nov ember 2005. Ritholtz, Barry. “DVD Sales Cannibalizing CD Sales.” The Big Picture (bigp icture.typepad.com), March 1, 2004. Roberts, Donald F., Ulla G. Foehr, and Victoria Rideout. Generation M: Media in t he Lives of 8–18 Year-Olds .Henry J. Kaiser Family Foun- dat ion, 2005. Robertson, Thomas Dolby. “The Upside of Music on the Web.” RIAA.com, 2000. Rock and Rap Confidential .“R.U.A. Criminal?” J uly 2005. Rock and Rap Confidential .October 2005. Rockand Rap Co nfidential . 2000. Rohter, Larr y. “Payola Case Dismissed by Judge.” New York Times , Sep- tem ber 5, 1990. R ood, George. “Holiday Expands Recording Sales.” New York Times, December 19, 1965. R othman, Wilson. “I Don’t Rent. I Own.” New York Times, February 26, 2004. Sa njek, Russell, and David Sanjek. Pennies from Heaven .New Y ork: Da Capo Pr ess, 1996.Bibliography 315 Sarma, Ripunjoy Kumar. “Why Should I Tune in to Satellite Radio?” Economic Times ,July 26, 2005. Sch adler, Ted, Josh Bernoff, Sally Cohen, and Jennifer Joseph. “Musical Y outh: Still Stealing, but Also Buying.” Y oung Consumers and Tech- nology, Forrester Research, September 15, 2005. Schadler, Ted, and Sally M. Cohen. “Y oung Consumers Love Their Devices.” Y oung Consumers and Technology, Forrester Research,July 28, 2005. Schwartz, Lara. The Billboard Guide to Music Video. New Y ork: Wat- son Gupt il Books, 2007 (from the manuscript). Seattle Post-Intelligencer .“Barenaked Ladies Distributing New Release via USB Fla sh Drive.” November 22, 2005. Self, Jonathan, and Jason Snell. “Rock and Scroll.” Macworld, October 2004. Ser wer, Andy. “Music Retailers Are Really Starting to Sing the Blues.” Fortune, March 8, 2004. Seybo ld, Patricia B. The Customer Revolution .New Y ork: Crown Busi- ness B ooks, 2001. SFX. “SFX Broadcasting and Multi-Market Radio Announce Final Acqui sitions to Complete the $223 Million Liberty Broadcasting Transaction.” Press release, February 9, 1996. Shamah, David. “Exposed! The Dark Side of 8-Tracks and CDs.” Jerusalem Post ,July 12, 2005. Sha ndler, Geoff. “Book Scandal.” The Industry Standard, July 2, 2001. Shelan ski, Howard A., and Peter W. Huber. “ Administrative Creation of Property Rights to the Radio Spectrum.” Law and Economics, Octo- ber 1998. Shelt on, Robert. “Happy Tunes on Cash Registers.” N ew Y ork T imes, March 16, 1958. Shields, Mik e. “Tracking Down the Podcast People.” Mediaweek , Nov ember 15, 2005. Silverman, Tom. “ Addressing B’nai B’rith Panel Discussion on Indepen- dent Record Companies.” 1996. Simon, Ralph. “Commentary: Sounding Off on Ringtones.” Billboard, Octo ber 1, 2005. Smith, Bria nK. “AnAssault on Retailers.” Billboar d, Novem ber 26, 2005.316 Bibliography Smith, Joe. Off the Record. New Y ork: Warner Books: 1988. Son y/BMG. Memo to all employees, October 24, 2005. Sony Music. “Sony Music Entertainment and BMG Unite to Create Sony BMG Music Entertainment.” Press release, August 5, 2004. Soukup, Elise. “Bands: An Idea as Fresh as Mom’s Tupperware.” Newsweek, June 20, 2005. So undscan Album Sales Report. April 29, 2005. Stone, Brad. “Hi-Tech’s New Day.” Newsweek, April 11, 2005. Str auss, Neil. “ Acoustic Music, Live from the Living Room.” New York Times ,November 8, 1999. Str auss, Neil. “Wal-Mart’s CD Standards Are Changing Pop Music.” New York Times, N o vember 12, 1996. Szen drei, Janka. “The Introduction of Staff Notation into Middle Europe.” Studia Musicologica Academiae Scientiarum Hungaricae , 1986. Tau bman, Howard. “Black Discs by Millions.” New York Times, Janu- ary18, 1942. T elecomworldwire. “Global Cellular Connections Reach Two Billion.” September 19, 2005. Top 40 Ch arts.com. “MP3 and More.” October 25, 2005. Trumbull, Dr. Eric W. “ Ancient Greek Theater.” Introduction to Theatre Online Course (novaonline.nv.cc.va.us/eli/spd130et/ancientgreek.htm), Northern Virginia Community College, 2001. Turner, Cynthia. Cynopsis, November 30, 2005. Turner, Cyn thia. Cynopsis, S eptember 9, 2005. Tymk iw, Catherine. “MTV, Microsoft Plan Service to Rival iTunes.” Crain’s New York Business (online), December 12, 2005. UPI. “M otorola A dding Internet Radio to Phones.” July 25, 2005. U.S. Ce nsus Bureau. Statistical Abstract of the United States: 2004–2005 . Washin gton, DC, 2004. U.S. Constitution art. I, sec. 8, cl. 8.VanZandt, “Little” Steven. Little Stev en’s Unde rground Garage 44, WQXD Februar y 2, 2003. Varanini, Giancarlo. “Q&A: Napster Creator Shawn Fanning.” ZDnet Music, Marc h 2, 2000. Verna, Pa ul, “Stu dio Monitor: Room with a View’s Closing Illustrates Harsh Realities.” Billboard, October 24, 1998.Bibliography 317 Waller, Don. “The JMA Q&A.” Billboard, August 18, 2001. Wa lsh, Christopher. “Studio Monitor: 2005 Turns Rough on Pro Audio Field.” Billboard, March 12, 2005. Wa lsh, Christopher. “Studio Monitor: Behind the Severe Drop in Studio Bookings.” Billboard, December 30, 2000. Wa lsh, Christoper. “Studio Monitor: DAW Advances Challenge Business Model.” Billboard, December 25, 2004. Was hington Post .“Why It Costs . . . for a Hit CD.” February 15, 1995. Wei ss, George David. “ Address to the B’nai B’rith Music Entertainment and Media Unit.” 1991. Wells, Matt. “Red Herring Research Study Doubts Napster Success.” Red Herring Research, May 31, 2001. Westfeldt, Amy. “Stern Taken Off the Air after Promoting Move to Sir- ius.” Associated Press ,November 7, 2005. Wik ipedia. “Digital Audio Tape.” Accessed October 26, 2005. Wikipedia. “Mobile Phones.” Accessed February 9, 2006. Wild. “MediaGear SongBank Review.” GeekExtreme.com, May 24, 2005. Wilk owe, Ellen S. “Many Morris Fans Plan to Follow Howard Stern in Move to Satellite.” Daily Record , No vember 20, 2005. Willia ms, Mark London. “Online Shipping Enters Comfort Zone.” Daily Variety ,May 19, 1998. Willia ms, Paul. “HMV to Close Final US Store.” Music Week, Novem- ber 6, 2004. Wink ler, Peter, and Lara Schooler, eds. “Global Entertainment and Media Outlook: 2004–2008” PricewaterhouseCooper, 2005. Woletz, R obert G. “ A New Formula: Into the ‘Bin.’ Out Comes a Hit.” New York Times, August 2, 1992. Wolf f, Michael. “Facing the Music.” New York, J une 10, 2002. Wo rld Musicians: Current Biography. H. W. Wilson Company: Bronx, NY,1998. Y etnikoff, Walter, and David Ritz. Howling at the Moon .New Y ork: Broa dway Books, 2004. Y oh, William H., Jr. “Music Education: The Cornerstone to Developing a Well-Rounded Individual.” Massachuset ts Musi c News, W inter 1996.318 Bibliography Zappa, Frank. “Statement to Congress.” Testimony in “Record Label- ing,” hearing before the Senate Committee on Commerce, Science, and Transportation, 99th Cong., 1st sess., September 19, 1985. Zeidler, Sue. “Casting the Net.” Reuters, June 26, 2005. Zimmerma n, Kevin. “Who Fears Peer-to-Peer?” Cablevision, February 12, 2001. Zuc kerman, Steven. “Interview with Jerry Lembo.” Totalaccesslive.com, 2004.319Original Sources “ Anonymous former A&R person.” Author’s correspondence, October 18, 2005. Bergman, Barry. Author’s interview, December 12, 2005. Bongiovi, Tony. Author’s interview, 1985.Bruce, Jenny. Author’s correspondence, December 14, 2005. Burnett, Scott. Author’s interview, July 17, 1997.Cohe n, Ted. A uthor’s interview, March 2002. Cook, Stu. Author’s interview, 1997. Deutsch, Didier. Author’s interview, 1991.Ertegun, Ahmet. Author’s interview, June 13, 1991.Fast, Larry. Author’s correspondence, June 17 and 18, 2005.Gayles, Juggy. Author’s interview, November 5, 1988. Griesman, Dwight. Author’s interview, August 2000.James, Etta. Author’s interview; October 1988. Lekber g, Jason. Author’s correspondence, 2005. Majewski, Ed. Author’s correspondence, April 7, 2004, and October 24, 2005. McDani el, Elias (a.k.a. B o Diddley). Authors interview, 1996. Nispel, Marcu s. Author’s interview, August 16, 1991. Paul, Les. Author’s interviews, 1992.“Pointer” (anonymous West Coast media executive). Author’s corre- spondence, 2006. Ponti, Jack. Author’s correspondence, December 9 and 10, 2005. Ramone, Phil. Author’s interview, July 17, 1997.Rawls, Lou. Author’s interview, August 1989.Rose, Don; Author’s interview, 1986. Rundgren, Todd. Author’s interviews, 1985, June 20, 1992, and July 1997.320 Original Sources Schwartz, Lara. Author’s correspondence, 2006. Shallet, Michael, and Michael Fine. Author’s interview, June 1992.Shocklee, Hank. Author’s interview, 2002.Smith, Joe. Author’s interview, November 1988.Solomon, Russ. Author’s interview, September 1993.Steffens, Vic. Author’s correspondence, September 11, October 15, and November 26, 2005. Sutton, Dan. Author’s correspondence, 1997.Zisk, Brian, Author’s correspondence, 2005.A&M Records, 13, 163 A&R (Artist & Repertoire) changing role of, 30role of, 21–22, 32, 33 success and failure in, 29 A2P Internet subscription service (artist to public), 278. See also In ternet; online business model Abd ul, Paula, 253 Abramson, Herb (Atlantic Records), 6actors, popularity of singing actors, 239–240ADA (Alternative Distribution Alliance), 79Adams Media Research report, 227 adult demographic, targeting, 219–222 “adult pop” format, explanation of, 91advances decrease in, 183example of, 73 payment of, 22recouping, 23 African American artists exposure of, 110success of, 114 AfriStar satellites, use of, 135 “After the Ball” (Stephen Foster), 105 Aguilera, Christina, 239, 241 A-ha, 123 “Ain’t She Sweet” (the Beatles), 6 airwaves, ownership of, 83–85 Aladdin (Maxwell Davis), 31 Albini, Steve (producer), 73–74 albums breaking even on major labels, 68 low sales of, 44recovery of production costs from sales of, 67 Alexander,Gavin (technologist), 243 Alive, (Ar mand Morin), 188–189 Allen, Pa ul(Experi enceMusic Project), 138 Alleys, relationship to “1999” (Prince), 159–160 allofmp3.com, potential violations related to, 62–63 Alpert, Herb a ndJerry Moss (A&M Records), 13 “ Also S prachZarathustra” (Deodato), 14 Alternativ eDistribution Alliance (ADA), 79 AM sta tions, ownership of, 88 Amazon(DavidRisher), 167–168 Ameri can Bandst and, significance of, 30, 33 AmericanCanCompany, purchase of Sam Goody by, 149 Ameri can Id ol, debut of, 243 Amoe ba R ecords, suc cess of, 154–155 Ampe x, relationship to Les Paul, 176–177 Anderson, Chri s (W ired magazine), 69 And erson, Ray, 122–123 Animals, 175, 181–182“announcers,” DJs as, 91–92Anthony, Polly, 29, 33Apple, Fiona, 152Apple Computer (Steve Jobs), 191–192, 205Apple Corps versus Apple Computer trademark, 207Arbitron report on radio listeners on Web, 138tracking radio listeners with, 129–133 Arcade Fire, 188Archie comic books, 240 Archi es, (“Sugar, Sugar”), 240 ARChive of Contemporary Music (Bob George), 155Arctic Monkeys, success on Internet, 186“ Ariel” (Dean Friedman), 279–280Armone, Joseph, 121Armstrong, Louis (“What a Wonderful World”), 43Artist Formerly Known as Prince “1999,” 159availability of music online, 57–58Crystal Ball ,188 NPG Mus ic Club, 188 artists cost of getting on charts, 246 deals for, 78 development of, 20, 247–250exposure of black artists, 110 failure of, 282net payments to, 74–75ownership of labels by, 279relationships with record companies, 268–269role of, 18 success and failure in, 29 ASCAP, position on rock and roll, 109–110AsiaStar satellites, use of, 135Asylum Records (David Geffen), 114Atco Records (Ahmet Ertegun), 6Atkinson, Paul, 32Atlantic Records, 6, 13, 30audiences, reaching, 246Audio Home Recording Act of 1992, 43–44Audio Layer 3 compression protocol, adoption of, 47AudioRevolution (Jerry Del Colliano), 60–61 Austin, Michael Lee, 188 Avallone, Francis, 238 Avalon, Frankie, 30, 238 baby boomers, impact on music business, 211–215 Bach, Johann Sebastian, xix backoffice and front office flowchart, 24 Backstreet Boys, 70, 242 Bagda sarian, Ross, 5 Baker, Chet, 13bands, budgeting, 74–75Barenaked Ladies (Bar enak ed on aStick), 206 Barenak ed on aStick(Barenaked Ladies), 206 Barone, Ri chard(the Bongos), 190 BDS (Br oadcast Data Sy ste ms) monitoring ofsongs by, 38–39 relevance to radio, 100 Beastie Boys, 54 Beatles, 31 “Ain’tShe S weet,” 6 first st udio reco rdings of, 177 Beatles catalog, availability of, 65 benchm arksin radio, examples of, 125 Benedetti, Nicola (violinist), 254 Benson, Geo rge, 13 Bergmann, Bar ry(Music Managers Forum-US), 77, 247 Bernstein, Pa ul (New Y ork Times) on t urnover rate of ar tists, 282 Bertelsmann Music Group acquisition of Music Boulevard by, 168acquisition of RCA Records by, 16 Best Buy, purchase of Musicland by, 154Betamax (Sony), failure of, 16Big Champagne digital music tracking company, 65Big Daddy, 79“big six,” reduction to “big four,” 17Billboard Christman, Ed on music sales analysis, 66–69Lan der, Howard, 36 Newman, Melinda, 246Rossi, Terri, 39celebration of Jeff McClusky’s 20th anniversary, 125location of, 35music videos on, 252Paul Verna on recording studios, 181relationship to SoundScan, 26 Billboard releases, conference calls held after, 102–103 321IndexBilly Ward and the Dominoes, 5 black artists exposure of, 110success of, 114 Black Box, 253“Black Rock” building, significance of, 11Blackwell, Chris (Island Records), 186Bling Tones, 206BMG Music. See also Sony/BMG cr eation of, 16 merger with Sony, 16 Bolling, Claude, 91Bongiovi, Tony (Power Station recording studio), 178, 184 Bongos, 190 Bonko, Larry (TV columnist), 129“the book,” explanation of, 130book publishing versus record business, 274 boomers, impact on music business, 211–215 Bottom Line night club (Allan Pepper), 214Bowie, David, 188Bracken and Bracken (Vee-Jay records), 6Branded Entertainment, explanation of, 238Brandenburg, Karlheinz (MP3), 47branding, relationship to Internet, 189break-even ranges for independent record companies, 68 for major label albums, 68 Bridge Media poll of radio listeners, 139Brief, Henry (RIAA), 148British Gramophone, alliance with Victor Talking Machine, 3 British Phonographic Industry, position on home tap- ing, 42 Broadcast Data Systems (BDS), monitoring of songs by, 38–39 broadcast licenses description of, 85maintaining, 86for satellite radio, 134 Bronfman, Edgar (Warner), 17, 196Brown, Bobby, 241Bruce, Jenny, 280–281Brujo player, capability of, 197–198The Buddy Holly Story ,175 bud gets decrease in, 33example of, 73–74 Burnett, Scott (Liquid Audio), 167, 169 business manager, role of, 20 C&C M usic Factory, 253 “Cactusflower” (john gold), 257 Cafaro, Al (A&M Records), 163 California schools, music education in, 234 “call-out” research, relevance to radio, 101 Canadian Record Industry Association (Brian Robert- son), 215 Capitol Records purchase by EMI, 3 response to music piracy, 54 Caplan, Mike (Epic Records), 28car audio, devices for, 202Caroline independent distributor, purchase by Sony/BMG, 79 CARP (Copyright Arbitration Royalty Panel), 220cassette deck, introduction of, 42catalog, importance of, 44CD Baby, 195CD players advent of, 46availability of, 198 CDNow, 165–168CDs appeal of, 45–46decline in sales of, 57versus DVDs, 227getting discounts on, 153initial cost of, 46introduction of, 45justifying costs of, 275low online sales of, 168 low sales of, 44 lower wholesale prices of, 152making compressed digital copies of, 200–201monthly purchase by college students, 224 pricing, 27 pricing by record liquidators, 44release day of, 25–26retail space occupied by, 157 sales in 1980s–1990s, 46storage capacity of, 47types of, 198typical length of, 21–23 cell phones access by youth demographic, 226 as disruptive technology, 205 Charles, Ray, 31chart information, gathering at Record World ,34–35. See als oSoundScan chart-tracking service cha rts cost of getting artists on, 246versus quality, 70–71 Chess Records, recording of Etta James by, 6–7chip technology, impact of, 52–53 Chipmunks (Ross Bagdasarian), 5Christensen, Clayton M. ( The Innovator’s Dilemma ), 199–200 Christ man, Ed ( Billboard )on music sales analysis, 66–67, 228 Cl ap Y our Hands Say Y eah, 188 Clark, Dick, 6 on payola, 117on payola hearings, 111 “classic rock,” popularity of, xiv Clayman, Greg (MTV), 206Clear Channel acquisition of radio stations by, 89ascendance of, 128impact of, 90radio stations owned by, 131relationship to McClusky, 126–128 Clinton, George, 33club scene, significance of, 27Coasters, 31Cochran, Eddie (rock and roll), 5Coed Records, payola related to, 112–113Cohen, Ted (EMI), 196, 202, 205–206Coldplay “Let’s Talk,” 206 “Speed of Sound,” 192 Cole, Kevin (DJ), 138 college students, monthly CDs purchased by, 224 Collins, Bootsy, 123 Collins, Phil, 123 Coltrane, John (Prestige Records), 8 Columbia House, acquisition of CDNow by, 168 Columbia Record Club, start of, 147 Columbia Records Davis, Clive, 113 Lieberson, Goddard, 11 Riley, John, 149Wynshaw, David, 113–114Y etnikoff, Walter, 120–122 Columbia University study of music “quality,” 38Commodores, 123Communications Act of 1934, 84composers, original payment of, xx–xxicomputers, impact on radio stations, 92–94computing power, increase in, 48Concord label, sales by, 218Congress, opposition to spending on arts, 235consoles, supplying for recording studios, 179–180contracts, 259 dealing with, 260length of, 262masters clause in, 262–263ownership of masters clause in, 267publishing rights clause in, 267–268recording costs clause in, 264royalties clauses in, 264–266 Cook, Stu (Creedence Clearwater Revival), 77322 IndexCool, David (Stand Alone Records), 195 “co-op” advertising, relevance to radio, 101 Coppola, Mark, 136Copyright Arbitration Royalty Panel (CARP), 220Copyright Control Services, reporting on music piracy by, 55–56 Corbett, Krystilyn (attorney) on broadcast communi- cation, 84 Cordless Records, 196Corson, Tom, 17country format, broadcast of, 133Cousins, Dave (Strawbs), 106“Cow Cow Boogie” (Ella Mae Morse), 3Cowell, Simon ( American Idol), 243 Cr acked Rear View (Hoo tie and the Blowfish), 266 Crea tive Nomad MP3 player, description of, 204 Creedence Clearwater Revival (Stu Cook), 77Crests (“16 Candles”), 112Cronyn, Stan (Warner Bros.) on payola, 113Crosby, Bing, 41Crupnick, Russ (NPD Group), 223Crystal Ball (the Artist Formerly Known as Prince), 188 CTI ca talog absorption into CBS Records archives, 14acquisition by Sony Music Group, 13 Cumberland, Rob on signing contracts, 260–261, 264 Curry, Doug (RIAA), 55The Customer Revolution (Patricia Seybold), 17 Cyon MP3, c apabilities of, 202–203 Daltrey, Roger, 211Danforth, John, 161Darin, Bobby, 30Dash Rip Rock, 123DAT recorders, serial copy-management system in, 44Davis, Clive (Columbia Records), 11–12, 113Davis, Maxwell, 31Davis, Miles (Prestige Records), 8Davis, Zelma, 253Del Colliano, Jerry (AudioRevolution), 60–61demographics, targeting, 217Denver, John, 161Deodato, “ Also Sprach Zarathustra” ( Prelude ), 14 Dep eche Mode, 152 deregulation of radio stations, impact of, 90desktop editing, development of, 256DeSyl va, Buddy (lyricist/movie mogul), 3 Deuts ch, Didier (CTI), 14 Deuts che Grammophon, 254 DFC In telligence projection on interactive entertain- mentmarket, 224 diagrams. Seeflowcharts Didd ley, Bo on Chess Records, 8 digital delivery, projections for, 190 Digital Media Association (John Potter), 138–139 Digital Media (Phil Leigh), 60–61 Digital Millenium Copyright Act of 1998, 138 digital music cablecasting, 50 cloning, 47commentary by Ice-T on, 197–199getting from “pirate to pirate” sites, 191licensing, 191mainstreaming of, 206–207 digital music files and players as “disruptive technol- ogy,” 199–200 Digital Rights Management, failure of, 61. See also music piracy dis co, demise of, 120 disco debacle, occurrence of, 44–45Disipio, Fred, 121disruptive technologies. See also technology cell p hones, 205 iPods, 204MP3 files, 203significance of, 199–200 distribution flowchart, 24distribution process, explanation of, 25DIY album by john gold, promotion of, 257DIY artists, examples of, 279–280DJs power of, 108 receipt of payola by, 112transition to “announcers,” 92transition to “on-air talent,” 92, 97 Doctorow, Cory (Electronic Frontier Foundation), 61Dolby, Ray, 42“Dolby” Robertson, Thomas, 186Doors, (“Riders on the Storm”), 228Doors records, release on CDs, 46dot-com boom, significance of, 54Dowd, Tom, 31Dr. Dream (Ray Anderson), 122–123Dreese, Mike (Newbury Comics), 152Dudgeon, Gus (Elton John’s producer), 46Dumenco, Simon ( The New Yorker )on American Id ol,243 D upre es, (“Y ou Belong to Me”), 112 Duran Duran, 254Dusty Groove, success of, 154DVDs versus CDs, 227Dvorak, John ( PC Magazine )on music piracy, 61–62 D workin, Jonathan (Bling Tones), 206 Dylan, Bob, 136 Eagles Hotel California ,36 The Long Run ,36 the eastside shake (john gold), 257 The Ed Sullivan Show ,239 Egan, Ri chard (Vagrant Records), 186 8–12-year-olds, targeting, 240 8–25 demographic, significance of, 223eight-track recorders, use of, 177Electronic Arts (Steve Schnur), 228Electronic Frontier Foundation (Cory Doctorow), 61Elektra RecordsHolzman, Jac, 12Smith, Joe, 108–109Elvis, producing of, 30EMI Cohen, Ted, 196Klein, Adam, 228Koppelman, Charles, 122Martin, George, 30–31potential merger with Warner Bros., 17purchase of Capitol Records by, 3 Emine m, 70 Enter tainment Software Association, 226 entertainment technology, development of, 200 Entwistle, John (Who), 185 Epic Records Caplan, Mike, 28 Anthony, Polly, 29 Ertegun, Ahmet (Atlantic Records), 6, 13, 31 Eugster, Jack (Musicland), 150–151 “Everybody Dance Now” (Martha Wash), 253 Experience Music Project (Paul Allen), 138 Fabian, signing of, 30Fader, David (Wharton School of Business), 58, 277Fake Science label, contract offered by, 269–270Falcone, Pasquale, 114Fanning, Sean, 53Fantasy Records, independence of, 13Farrell, Perry, 163Fast, Larry on recording studios, 179–180FCC (Federal Communications Commission) establishment of, 83on “failed” radio formats, 131–132significance of, 85–86 Federal Communications Commission (FCC) establishment of, 83significance of, 85–86 file sharing controversy about, 277impact on music sales, 63–64perceptions of, 190pros of, 248statistics related to, 65Index 323Filipetti, Frank, 173 Fine, Michael, 39flowcharts of distribution, 24offront office and back office, 24 getting signed, 21 of handoff, 23of major label paradigm, 19ofpromotion, 26 ofteam, 18 FM stations, ownership of, 88FM: The Rise and Fall of Rock Radio (Richard Neer), x iii–xiv, 93–94, 103 Footlight Records, 276–277Ford, Lita, 29formulas, success and failure of, 29–30Forrester Research study on MP3 player sales, 205 Forte, Fabiano, 238Fortune Magazine (Andy Serwer), 153 Foster, Step hen (“ After the Ball”), 105 four-track recording, use of, 177Freed, Alan (payola hearings), 111Frey, William H. (demographer), 214The Friday Morning Quarterback (Kal Rudman), 114 Fried man, Dean (“ Ariel”), 279–280 front office and back office flowchart, 24 Fuller, Simon ( Pop Idol ), 242–243 Fun icello, Annette, 239 Gal, Tsvi (Warner Bros.), 53, 191Gallup poll on music education, 234 Gambino crime family, 114, 121 game show scandal, hearings on, 109 GapBand, 123 Garfunkel, Art, 241 Gartner Group (Mike McGuire) on music piracy, 55 Gary’s Record Paradise, success of, 154 Gayles, Juggy, 108, 112 onindependent promotion, 119–120 onpayola hearings, 110–111 Geffen, David, 114 Geffen Records link t oCDNow, 166 reaction to Internet threat, 51 General Music Outlet and Electronic Records (Tony Stonefield), 57 Genica CD player, availability of, 198 George, Bob (ARChive of Contemporary Music), 155 Gilbert and Sullivan, 106 Giles, Alan (HMV), 155–156glass-and-lacquer disks, duration of, 49Glenn, Glen, 41Glenwood Place Studios (Kit Rebhun), 181gold, john, “Cactusflower” ( the eastside shake ), 257 Gol dberg, Danny (Mercury Records), 211 Goldring, Fred (six-step recovery program), 61“good music,” perceptions of, xiiiGoodbye Yellow Brick Road (Elton John), 41 Good man, Mark, 136 Goody. SeeSamGoody Gor dy, Berry (Motown), 5–6 Gore, “Tipper” and Parents Music Resource Center, 160 Gortikov, Stanley (RIAA), 67grants for music education, availability of, 234–235Great American Songbook (RodStewart), 221 Green Da y, 152 Green Street Recording studio (David Harrington), 183 Griesman, Dwight (Lydstrom), 201–202 Grokster shut down of, 194 U.S. S upreme Court ruling on, 65 GRP Records (Larry Rosen), 57 Gulf and Western (Artie Ripp), 45 Gute nberg, Johan (typesetting), xix–xx Gutowitz, Sam. See SamGoody Hale n, Van (“Hot for Teacher”), 161 handoff flowchart, 23Hanson “MMMbop,” 279problems with UMG, 283Underneath ,279 hardw are Brujo MP/CD player, 198–199Creative Nomad, 204Cyon MP3, 202–203development of, 200 Genica CD player, 198Indrema, 201iPods, 199, 204Rio MP3 player, 197Wingcast, 202 Harptones, (“The Last Dance”), 112Harrington, David (Green Street Recording studio), 183 Harvard Business School, study by, 64Hawk Underg round 2 ,228 Hawk ins, Paula (Senator), 161 Hawthorne Heights, 78, 189heavy metal acts, budgets of, 255Hennessy, Carly, 246Herman, Dave, 91Hits magazine, relevance to radio, 100 HMV (Ala n Giles), 155–156 Hoffa,123 Holz man, Jac, 12, 196 home taping, controversy about, 43Hootie and the Blowfish ( Cracked Rear View ), 266 Horizon M usic (Vic Steffens), 29 “Hot for Teacher” (Van Halen), 161Hotel California ,(the Eagles), 36 ho use concerts, popularity of, 280–281 Houston, Whitney, 123HR 9971 (Radio Act of 1927), 83Hubbard, Freddy, 14Humphries, Beverley (broadcaster/singer), 254“The Hustle,” 114 “I Can’t Change Myself” video, creation of, 256 Ice-T, commentary on digital music, 197–199ideas, protection of, xxIdol, Billy, 54idol phenomenon, significance of, 242The Idolmaker ,238 IFPI (In ternat ional Federation of the Phonographic Industry), 62–63 independent labels. See als olabels; major label alb ums break-even ranges for, 68 budgeting model for, 76–77 versus major label albums, 77–79 recording with, 32 sales by, 13 sales target for, 218 independent promotion banby Warner Communications, 121 handling, 119 power of, 126 Indrema hardware (Yana Kushner), 201Infinity Radio (Matt Timothy), 138The Innovator’s Dilemma (Clayton M. Christensen), 199–200 Int el (Gordon Moore), 48 intellectual property free access to, 191origin of, xx interactive entertainment market, projection for, 224International Federation of the Phonographic Industry (IFPI), 62–63 Internet. See also A2P Internet subscription service (arti st to public); online business model finding talent on, 194–195impact of, 48perceptions of, 185–196potential of, 49, 51streaming music videos on, 257 Internet downloads, ratio between P2P and legal access, 193324 IndexInternet radio, availability of, 139 Internet Relay Chat (IRC), trading music files on, 53iPod introduction of, 191–192, 199symbolism of, 204 iRadio (Motorola), 140IRC (Internet Relay Chat), trading music files on, 53 The Iron Giant (Pete T ownshend), 23 Isg ro, Joe, 120, 123, 125 Island Def Jam Records, 78Island Records, 186Isley Brothers (T-Neck Records), 279ItTakes a Nation of Millions to Hold Us Back (Pu b- li c Enemy), 259 iTunes introduction of, 191–192purchasing music videos from, 258 Jackson, Joe (Virgin), 251–252 Jackson, Milt, 13 Jacobson, Jeffrey (business attorney) on contracts, 260 “jamband,” explanation of, 280 James, Bob, 13 James, Etta on Chess Records, 6–7 James, Rick, 123 Jane’s Addiction, 163, 254jazz and rock, hybridization of, 272–273jazz format, broadcast of, 133Jerusalem Post (David Shamah), 41 Jett, Joan, 136 Jobs, Stev e(Appl e Computer), 191–192, 205 Joel, Billy, 255 John, Elton, 255 earlyCDs released by, 46 Goodby e Yell ow Brick Road ,41 Jones, Gr ace, 253 Jones, Norah, 217–218, 221 JukeBox, capability of, 199 jukeboxes, availability in 1950s, 145 JumpStart program (Universal Music Group), 152–153 “junkie’s label,” Prestige Records as, 9 Kama Sutra, 4, 240 Kelly, Paul, 123 KEXP hour-long podcasts on, 139 low-bandwidth stream for pocket computers on, 139 low-bandwidth stream for Web-enabled cell phones on, 139 webcasting, 138 Kid Rock, 254–255King, Ben E. (artist), 5Kinney Corporation, acquisition of Seven Arts by, 10Kirshner, Don (music publisher), 240Klein, Adam (EMI), 228Koppelman, Charles (EMI), 122Korn, advance received by, 268–269 Kudu (Creed Taylor), 13 Kurin, Richard (Smithsonian Institute), 156Kushner, Yana (Indrema), 201 labels, ownership by artists, 279. See also indepen- dent labels; major label albums Lack, Andrew (BMG/Sony), 16, 65 Lander, Howard ( Billboar d),36 lapto ps, capturing music videos on, 257 “The Last Dance” (the Harptones), 112 Lauper, Cyndi, 254 Lavigne, Avril, 232 lawsuits, examples of, 20, 277 lawyers, role of, 20 Lazy SOB Recordings (Davis Sanger), 78 Lee, Geoffrey (researcher), 63 legal budget, example of, 73 Lehrer, Tom, 91 Leigh, Phil (Digital Media), 60–61 Lekberg, Jason (Wraith), 252–253Lembo, Jerry, 125, 128 Lennon, John, 65 “Let’s Talk” (Coldplay), 206 Levin, Jerry (Time Warner), 12LGInformation and Communications, 202–203 Liberty Records (Simon Waronker), 5 Lieber, Jerry (songwriter), 5Lieberman, David on radio stations, 89Lieberson, Goddard (Columbia Records), 11, 30 Limp Bizkit, 70 Ling, Jeff (ReverendMentors), 161“The Lion Sleeps Tonight” (George David Weiss), 43Liquid Audio Burnett, Scott, 167, 169online business attempted by, 190 relationship to Music Boulevard, 167use of, 57 listening parties, hosting, 281Little, Rich, 123 Little Feat (Bill Payne), 70–71Little Seven, xiii–xiv, 136Live365, 141London, Herb (NYU), 212 London, Julie (orchestral pop), 5 The Long Run (the Eagles), 36 lon g tail theory, explanation of, 69 Loog Oldham, Andrew, 136 Love, Courtney, 58, 188, 259, 277Loving Spoonful, 4LPs, popularity of, 146–147Lydstrom (Dwight Griesman), 201–202 Mabe, Chauncey ( Sun-Sentinel ), 211 Mabry , Donald J. (historian), 212 Madonna, 241, 253, 254, 279 Maitland, Mike (MCA Records), 114Majewski, Ed, 248, 278, 284Majic Management, 248Major Bowles Amateur Hour ,242 maj or label albums. See also independent labels; labels break ing even on, 68 budgeting model for, 73–76domination of commercial radio, 103versus independent labels, 77–79sales target for, 218 managers budgeting, 73percentage paid to, 22 role of, 19–21 Manchester, Joyce (Dartmouth), 213 Marcucci, Bob, 30, 238 Mars h, Da ve onKorn advance, 269 Rock and Rap Confidential ,52, 163 Martin, Geor ge, 30–31, 177 Mashkas, Doug, 157 masters contract obligations related to, 262–263 delivering to A&R, 23 ownership of, 267 Maverick Records (Madonna), 279Mazer, Larry, 252MCA Records acquisition by Seagram, 15Maitland, Mike, 114Shocklee, Hank, 259–260 McBride, Terry (Nettwerk Records), 64, 188McCartney, Paul, 65, 235McClusky, Jeff (promotion model), 123–125 decline of, 127–128relationship to Clear Channel, 126–128targeting by Spitzer, 127 McGuire, Mike (Gartner Group) on music piracy, 55McTammany, John (player piano), xxMCY.com, 57, 190media, deregulation of, 87media ownership, restrictions imposed on, 85Mercer, Johnny (“Strip Polka”), 3Mercury Records (Danny Goldberg), 211Metallica, 58Mickey Mouse Club ,239, 242Index 325Middle Ages, ability of musicians to make money in, xviii–xix Mighty Purple, 29 Miller, Bryan (WOXY), 140Miller, Mitch, 30, 174Mineo, Sal, 30, 239Mix magazine (George Peterson), 183 “MMMbop ” (Hanson), 279 Modern (Maxwell Davis), 31 Moe, signing by Caplan, 28–29 “Money” (Barrett Strong), 5money, making from music, xviii–xxiMonka, Jeffery, 122Monkees, 239–240 “monkey point,” explanation of, 265“moonlight,” relevance to radio, 100Moore, Gordon (Intel), 48Moore’s Law applying to technology, 205 explanation of, 48 Morin, Armand (Alive), 188–189Morse, Ella Mae (“Cow Cow Boogie”), 3Mosaic Web browser, introduction of, 48 Moss, Jerry and Herb Alpert (A&M Records), 13 Most, Mickie on length of recording process, 175Motorola (iRadio), 140Motown, beginning of, 5 movies, sales in 2003, 227MP3 files as disruptive technology, 203RIAA’s anti-MP3 position, 59sites for, 52 MP3 players, availability of, 198, 204MP3Board, position on music piracy, 59–60MPEG 3 (Brandenburg), adoption of, 47MPMan, introduction of, 53MTV, 27 advent of, 241Clayman, Greg, 206relationship to VH-1, 255Wolf, Michael J., 254 Muni, Scott (“the Professor”), 91Murphy, Matt “Guitar,” 29Muscle Shoals studios (Wolf Stephenson), 182music buying online, 167definition of popular music, xviidownloading, 168–169 origins of, xviii–xxi perceptions of “good music,” xiii popularity of “classic rock,” xiv promotion of, 66–67 subscribing and streaming, 192 Music Boulevard acquisition by Bertelsmann, 168 beginning of, 57, 166–167 online business attempted by, 190 Ramone, Phil, 190 relationship to Liquid Audio, 167 Rosen, Larry, 190 music business. See also record business decline o f sales in, xv–xvii versus record business, 271stagnation of, 226–227symbiosis with radio stations, 107on World Wide Web, 51 music education. See also schools imp ortance of, 234 loss of, 232–233 Music Genome Project, 220–221Music Lives Foundation, Paul McCartney’s involve- ment in, 235 Music Managers Forum-US (Barry Bergmann), 77, 247 music notation, origin of, xixmusic piracy. See also Digital Rights Management cont rol issues related to, 56 explanations of, 259impact of, 55–56perceptions of, 57responses to, 54music sales, impact of file sharing on, 63–64 music videos capturing on laptops, 257as commercials, 257costs of, 255–256 popularity of, 252 purchasing from iTunes, 258streaming on Internet, 257 Musicland, 150–151 purchase by Best Buy, 154 sales in 1992, 151 “My Generation” (Peter Townshend), 211“My Girl” (the Temptations), 5MySpace.com, features of, 189 N2K Encoded Music, starting of, 57Napster case against, 59 controversy about, 53, 54–55 culture of, 62origin of, 54 National Association of Record Merchandisers report, 224 NBC News, airing of “The New Payola,” 121Neer, Richard (FM: The Rise and Fall of Rock Radio ), xiii–xiv, 93–94 net, per centage points paid on, 265–266 Nettwerk Records, 64, 188Network independent promoters development of, 120end of, 123 New Edition, 241New Kids on the Block, 241New Mickey Mouse Club ,241–242 “The New Pa yola,” airing by NBC News, 121 New York Times on radio and music business in 1924, 107Ber nstein, Paul on turnover rate of artists, 282 Shelton, Robert on 78 glass-and-lacquer versus vinylite, 148 The New Yorker , Simon Dumenco on American Idol,243 N ew bury Comics, 152, 166 Newman, Melinda ( Billboard ), 246 Nic kelback, 152 1980s CD sa les in, 46 introduction of CD players in, 45 number 1 records in, 123 promoting records in, 120 record business in, 12 1950s buyers of sound recordings in, 145 record business in, 12 record sales in, 148 songs played on radio in, 108 1990s CD sales in, 46decline of CD sales in, 57 dot-com boom in, 54low record sales in, 45 “1999” (Prince), 1591970s promoting records in, 120record business in, 12 1960s record business in, 3–4, 12record company revenues in, 4 1930s ascendancy of radio in, 146record sales in, 49 1921, record sales in, 49Nirvana, success of, 32, 78Nispel, Marcus, 251 on music video budgets, 256on music videos as commercials, 257 NPD Group (Russ Crupnick), 223NPG Music Club (the Artist Formerly Known as Prince), 188 NSYNC, 70326 IndexOasis’s reaction to Internet threat, 51–52 O’Jays, 114older demographic, targeting, 217–222Olim, Jason (CDNow), 165–167“on-air talent,” DJs as, 91, 97 “one sheet,” creating, 25O’Neil, Tim and Ryan (Piano Brothers), 281online business model, attempts at, 190. See also A2P I nte rnet subscription service; Internet online music piracy. Seemusic piracy Ono, Y oko, 65 “open source,” significance of, 47, 49Opie and Anthony (XM), 137Organisation for Economic Co-operation and Devel- opment, 63–64 Orlando, talent in, 242 Pandora.com, description of, 220–221 Parental Advisory Sticker, use of, 162Parents Music Resource Center (PMRC), 160, 162Parr, John, 123Paul, Les, 41–42 onlength of recording process, 174–176 relationship to Ampex, 176–177 Payne, Bill (Little Feat), 70–71payola. See also radio airing o f “The New Payola” on NBC News, 121 at Coed Records, 112hearings on, 111investigation by Eliot Spitzer, 114–115investigations by Los Angeles district attorney, 114 law against, 112receipt by DJs, 112 PC Magazine (John Dvorak) on music piracy, 61–62 PCs, acc ess by youth demographic, 225 Pearl Jam, success of, 32Pearlman, Lou, 241–242peer-to-peer downloading, use by Arctic Monkeys, 186 peer-to-peer programs, downloading from, 55“people meters,” use by Arbitron, 130Pepper, Allan (Bottom Line night club), 214percentages of album sales in 2005, 69of listeners reported by Arbitron, 130paid to managers, 22 of profits from album sales, 68 of profits to record companies, 23 of record sales, 274–275 of records recouping advances, 23 ofrecords sold in 2000 as new releases, 44 ofsingles recovering production costs, 67 performance royalty organizations, examples of, 268 Perso nal JukeBox, capability of, 199 Perso nics, 56 Peterso n, George ( Mix magazine), 183 PewIn ternet and American Life Project, 57 “phantom spin,” explanation of, 39 Philips holdings of, 15introduction of CDs by, 45 Philles label (Phil Spector et al), 4Phillips, Sam (Sun), 30Philly scene, significance of, 33Piano Brothers (Tim and Ryan O’Neil), 281pianola, invention of, xxpiracy. Seemusic piracy “pir ate to pirate” sites, getting digital music from, 191 Pitney, Gene (artist), 5Pittman, Bob (GM of WYNY-FM), 91–92Pittsburgh Post-Gazette report on music education, 234 Pla tform Group (Jack Ponti), 246 player piano, invention of, xxPMRC (Parents Music Resource Center), 160, 162podcasts, availability on KEXP, 139PolyGram, acquisition by Seagram, 15Ponti, Jack (Platform Group), 246Pop Idol ,242–243 pop stars, orig in of, 239 popular music, definition of, xviiPosner, Richard (University of Chicago) on broadcast licensing, 85 Potter, John (Digital Media Association), 138–139Power Station recording studio (Tony Bongiovi), 178, 184 Prelude (D eodato), 14Pre sley, Elvis, 30 Prestige Records (Bob Weinstock), 8–9Price, Sammy (pianist), 106PricewaterhouseCoopers on industry downturn, 193–194 Prince “1999”, 159availability of music online, 57–58Crystal Ball ,188 NPG M us ic Club, 188 Private I (Joe Isgro), 123Pro Tools affordability of, 182use of, 183 producers, recording with independents, 32 production process, explanation of, 24“the Professor” (Scott Muni), 91profits, percentages of, 23 programmers versus promoters on radio, 100–101promoters versus programmers on radio, 100–101promotion department, role of, 26–27promotion flowchart, 26promotion model, development by Jeff McClusky, 123–125 P2P sites, controversy about, 60, 63, 193Public Enemy, 54, 259publicity department, role of, 27publishing rights, inclusion in contracts, 267–268Putumayo, 218 quality versus charts, 70–71R&R magazine, relevance to radio, 100 “rac k jobber,” explanation of, 145 Racketeering Influenced and Corrupt Organizations (RICO), 122 radio. See also payola acq uisition by Clear Channel, 89 advertising songs on, 116–117 ascendance of, 48–49, 146 automation of, 92–94 availability of Internet radio, 139 cost o fbroadcasting satellite radio, 134 deregulation of, 90–91 domination by major labels, 103 getting songs on, 98–104 listening to on Web, 138 number in U.S., 132 ownership by Clear Channel, 131 ownership of, 88 promotion on, 26, 67, 76 symbiosis with music business, 107 taking chances on new artists, 114“terrestrial” type of, 135, 141use of Selector program by, 93–94WNBC-FM, 91WNEW-FM, 91WYNY-FM, 91 Radio Act of 1927 (HR 9971), 83–84Radio and Records ,tracking of spins by, 39 ra dio formats, examples of, 132–133 radio listeners poll by Bridge Media, 139tracking by Arbitron, 129 radio transmitters, cost of, 137Rafelson, Bob (TV producer), 239–240Raging Bull Productions, 123Ramone, Phil, 57, 190, 193Rampal, Jean-Pierre ( Suite for Flute and Jazz Piano ), 91 Rang er, Richard (Colonel), 41 Rapp, Artie (Kama Sutra label), 4Index 327ratings, tracking by Arbitron, 129–133 Rawls, Lou, 250 RCA Records, acquisition by Bertelsmann AG, 16RCA Video, sale of, 16Rebhun, Kit (Glenwood Place Studios), 181 record business. See also music business in 1950s, 12in 1960s, 3–4, 12in1970s, 12 in1980s, 12 vers us book publishing business, 274 consolidation of, 17forecast for, 282versus music business, 271 payola investigations by Eliot Spitzer, 115source of problems in, 276survival of, 249taking risks in, 33 record clubs, beginning of, 147 record companies classical and jazz departments in, 231–232function of, 77relationships with artists, 268–269 revenues of, 4, 75 turnover in, 283 record label paradigm flowchart, 19record labels. See labels rec ord liquidators, selling to, 44 record sales in 1921, 49in 1931, 49in2004, 224 decline of, 185drop in 2005–2006, 194per year, 245percentage of, 274–275rise in 2004, 193 record stores, size of, 151–152Record World ,34 reco rded music, introduction of, 41 recording, process of, 173–177, 181–182recording budget, example of, 73recording studios closing of, 183planning, 178–180 records independent promotion of, 119promoting in 1970s–1980s, 120 Red Herring Research study licensing digital music, 191 Red Ho tChili Peppers, 254 reel-to-reel tape machines, advent of, 42 “Reet Petite” (Jackie Wilson), 5 “reporting day,” changing, 38 retail space cost of, 151–152 number of square feet for CDs in, 157 RIAA Curry, Doug, 55 Brief, Henry, 148 Gortikov, Stanley, 67justification of CD costs by, 275position on rock and roll, 109–110report on records sales in 2004, 224response to Napster, 54, 59–60Rosen, Hilary, 51, 54, 194Sherman, Carey, 126 RICO (Racketeering Influenced and Corrupt Organi- zations), 122 “Riders on the Storm” (the Doors), 228Righteous Brothers (“Y ou’ve Lost That Lovin’ Feelin’ ”), 4 ringtones, development of, 205–206Rio MP3 player introduction of, 198–199use of, 190 Ripp, Artie, 45, 240, 240–241Risher, David (Amazon), 167–168Ritholtz, Barry (economist), 227Ritual de lo Habitual (Jane’s Addiction), 163Robe rtson, Brian (Canadian Record Industry Associa- tion), 215 Robinson, Smokey and the Miracles (“Shop Around”), 5 rock and jazz, hybridization of, 272–273 Rock and Rap Confidential ,52, 58, 163 rock an d roll recollection by Bob Marcucci, 30rise of, 109–110 Rock and Roll satellites, use of, 135 rock format, broadcast of, 132Rolling Stones, 206Rollins, Sonny (Prestige Records), 8Rosen, Hilary (RIAA), 51, 54, 194 Rosen, Larry, 57, 166, 190 Rosenberg, Don (retailer), 163Rosenberg, Jacob (director), 257Ross, Steve (Kinney Corporation), 10–12 Rossi, Terri ( Billboard ),39 Rot hchild, Paul (Doors producer), 46 royalties example of, 73language in contracts, 264–266 paying advances against, 22 Rudman, Kal ( The Friday Morning Quarterback ), 114 rule s, using with Selector program, 94–97 Rundgren, Todd, 50, 77 A2P Internet subscription service, 278on deregulation of radio stations, 91on desktop video editing and effects, 256on future of music business, 186–187on length of recording process, 173–174on prerecorded media, 156subscription Web site started by, 195 Rykodisc, 79 S = R + P formula applying to Web radio, 140–141 explanation of, 107, 120 Saatchi and Saatchi, 237–238Saehan hardware, significance of, 52–53Sam Goody bankruptcy of, 148history of, 146–147rebuilding of, 149sale to American Can Company, 149sales in 1955, 151 Sanger, David (Lazy SOB Recordings), 78 Sarceno, Blue, 29 SATProgram test takers, profile of, 233 satellite radio chips used by, 135 choices on, 137 cost of, 134 versus terrestrial radio, 141 satellite services, subscribers to, 136 Save the Music, grant offered by, 234–235 Schnur, Steve (Electronic Arts), 228 Schoenherr, Steven E., 65 schools, music education in, 234. See also music edu- catio n Schulhof, Michael (CEO of Sony), 50–51, 193Schwartz, Lara (video producer), 256Science of Shopping (Paco Underhill), 155 Seag ram acquisition of MCA by, 15acquisition of PolyGram by, 15sales of Philips’s music software division to, 15 Selector program, use by radio stations, 93–97September 11, 2001, impact on record sales, 154Sergeant Pepper’s Lonely Hearts Club Band ,failed sou ndtrack of, 44–45 Serwer, Andy (Fortune Magazine ), 153 Seve n Arts, debt of, 10 Sevendust, 152Seville, Dave, 5Seybold, Patricia The Customer Revolution ,17 on de regulation of radio stations, 90328 IndexShallet, Michael, 36–37, 39 Shamah, David ( Jerusalem Post ),41 she et music, sale of, 105 Shelton, Robert ( New York Times )on 78 glass-and- lac quer versus vinylite, 148, 227 Sherman, Carey (RIAA), 126Shocklee, Hank (MCA Records), 259–260“Shop Around” (Smokey Robinson and the Miracles), 5SHOUTcast, 137Sigman, Mike (editor), 34 signing flowchart, 21Sill, Lester (Philles label), 4Sillerman, Robert (radio and entertainment), 88–89Silverman, Tom (Tommy Boy Records), 80 Simpson, Ashlee, 239 Simpson, Jessica, 239singing actors, popularity of, 239–240singles and tracks charts, compiling, 38–39 Sirius (Howard Stern), 137 Sirius satellites, use of, 135–136“16 Candles” (the Crests), 11216-track recording console, description of, 178“smash or trash” contest, relevance to radio, 101 Smith, Brian K. (Value Music Concepts), 158–159Smith, Joe, 108–109, 131, 133Smith, Rob ( Xbox Magazine ), 226 Smithso nian Institute (Richard Kurin), 156 smooth jazz format, broadcast of, 133Snider, Dee (Twisted Sister), 161software MP3 files, 203ringtones, 205–206 Solomon, Russ (Tower Records), 150, 153, 200song plugger, role of, 105, 107–108SongBank, capability of, 199, 200songs advertising on radio, 116–117downloading, 168–169getting on radio, 98–104sharing online, 54 Sony merger with BMG Music, 16Schulhof, Michael, 50–51 Sony Betamax, failure of, 16Sony Music Group, acquisition of CTI catalog, 13Sony/BMG. See also BMG Music payo la investigations by Eliot Spitzer, 115–116 purchase of Caroline independent distributor, 79 “sound on sound,” explanation of, 175 Soundgarden, success of, 33 SoundScan chart-tracking service, 25–26. See als o chart information ana lysis for 2000, 67 impact of, 38, 40 management information system created by, 37 significance of, 36 Spanish format, broadcast of, 132 Spears, Britney, 70, 241 Spector, Phil, 4–5 “Speed of Sound” (Coldplay), 192 spins, tracking, 39Spitzer, Eliot, 114–115 settlements from payola investigations, 235success of, 128targeting of McClusky by, 127 Springsteen, Bruce, 12–13, 245Stand Alone Records (David Cool), 195Starr, Maurice, 241statistics. Seepercentages Steff ens, Vic, 28–29, 280, 283–284 Stephenson, Wolf (Muscle Shoals studios), 182Stern, Howard (Sirius), 137Stevens, Sufjan, 188Stewart, Rod (Great American Songbook ), 221 Sto ller, Mike (songwriter), 5, 31–32 Stone, Sly, 29Stone Temple Pilots, success of, 33Stonefield, Tony (General Music Outlet and Elec- tronic Records), 57 “Stop in the Name of Love” (the Supremes), 5stores cost of, 151–152 number of square feet for CDs in, 157 “story” explanation of, 20 including on “one sheet,” 25promoting, 26 Strawbs (Dave Cousins), 106“Strip Polka” (Johnny Mercer), 3Strong, Barrett (“Money”), 5Strong Enough to Break ,279 Sub-Po p Records, 78 substance abuse, impact of music education on, 233“Sugar, Sugar” (the Archies), 240Suite for Flute and Jazz Piano (Jean-Pierre Rampal), 91 Summer o f Love, significance of, 4 Sun (Sam Phillips), 30 Supremes, “Stop in the Name of Love,” 5 Surowiecki, James on exposure of black artists, 110on payola, 117onradio, 102 Swan Records (Clark and Waronker), 6 Symphony 1 (Joe Jackson), 252 tale nt, finding on Internet, 194–195 tape recording advent of, 41impact of, 175 Taylor, Creed (jazz labels), 13–14team member flowchart, 18technology, development of, 200. See also disruptive tech nologies Teddy Bears (“To Know Him Is to Love Him”), 4teen–20s demographic, targeting, 237–238Telecommunications Act (1996), passage of, 88–89television, access by youth demographic, 224–225 Temple of the Dog, 254Temptations, (“My Girl”), 5terrestrial versus satellite radio, 141Texas Commission on Drug and Alcohol Abuse, 23330–56 demographic, significance of, 217Timberlake, Justin, 242Time Warner (Jerry Levin), 12Timothy, Matt (Infinity Radio), 138“Tippa Sticka,” explanation of, 159 T-Neck Records (Isley Brothers), 279 “To Know Him Is to Love Him” (Teddy Bears), 4 TOBA t heatrical circuit, significance of, 106 Tokens (“The Lion Sleeps Tonight”), 43 Tollie records, beginning of, 66 Tommy Boy Records (Tom Silverman), 80 top 10, making, 38 “topline rating,” explanation of, 130 Tower Records financial trouble of, 153 Solomon, Russ, 150 space taken up by CDs at, 157 on technology, 200 Townshend, Peter (guitarist), 22, 58, 185, 277 on digital cameras and desktop computers, 256on Internet, 189The Iron Giant ,22 “My Gener ation,” 211 tracks, playing into transcription turntables, 175tracks and singles charts, compiling, 38–39transcription turntables, playing tracks into, 175Tuesday releasing CDs on, 25–26as “reporting day,” 38 Turner, Cynthia (TV marketing guru), 237–238TV game show scandal, hearings on, 109“tweens,” the, 24012–25 demographic, significance of, 217Twisted Sister Snider, Dee, 161“We’re Not Gonna Take It,” 161 2000, titles produced in, 66–69, 70Index 3292003 decline of CD sales in, 57 movies sold in, 227 2004 record sales in, 224 rise of record sales in, 193–194 video sales in, 224 2005 album sales in, 68–69 platinum albums released in, 273 Two Tons of Funk/Weather Girls (Martha Wash), 253 UMG. SeeUniversal Music Group Unde rground Garage channel (Sirius), 136 Underhill, Paco ( Science of Shopping ),155 Under neath (Hanson), 279 Uni que Studios, 183 Universal Music Group competition with Sony/BMG, 16–17 Jump Start program, 152–153 University of North Carolina at Chapel Hill, study by, 64 U.S. Supreme Court ruling on Grokster, 65Vagrant Records (Richard Egan), 186 Value Music Concepts (Brian K. Smith), 158–159Van Dyke, Dave (Bridge Media), 139 Van Gelder, Rudy, 14Vanilli, Milli, 253–254Vee, Bobby, 30Vee-Jay records (Bracken and Bracken), beginning of, 6 Verna, Paul ( Billboard )on recording studios, 181 VH-1, rel ationship to MTV, 255 VH-1 Save the Music, grant offered by, 234–235Victor Talking Machine, alliance with British Gramo- phone, 3 Victory Records, success of, 79video, promoting and developing artists with, 254video budgets example of, 74at Virgin, 251 video game players, demographics of, 226video games access by youth demographic, 225sales in 2004, 224 video outlets, formation of, 255video promotion, importance of, 27 video revolution, origin of, 251–252 videogenics, importance of, 253 videos. Seemusic videos vinyl disk s, duration of, 49 vinyl LPs, popularity of, 146–147 Virgin, video budgets at, 251 “virtual storefront,” establishment by Newbury Comics, 166 Voigt, Deborah (opera singer), 254 Walkman, advent of, 45 Wal-Mart as “family” store, 159number of titles stocked by, 163power of, 163sales of pop music by, 158 Warner Bros. The Iron Giant (Pete Townshend), 23 losse s to, 10 potential merger with EMI, 17Tsvi Gal on music piracy, 53 Warner Brothers Records, 257Warner Communications ban on independent promo- tion, 121 Warner Entertainment, sale to Edgar Bronfman, 17Warner Music Group Bronfman, Edgar, 196settlement of radio payoffs, 116 Warner Seven Arts, sale of Atlantic Records to, 13Waronker, Simon Liberty Records, 5 Swan Records, 6 Wash, Martha (Two Tons of Funk/Weather Girls), 253 Web doing business on, 279–280 listening to radio on, 138perceptions of, 186 Web radio, rise of, 140Web royalty rates, CARP decision on, 220 webcasting popularity of, 137rules required for, 138 Weinstock, Bob (Prestige Records), 8Weiss, George David “The Lion Sleeps Tonight,” 43“What a Wonderful World,” 43 “We’re Not Gonna Take It” (Twisted Sister), 161West, Kanye, 152, 232 Wexler, Jerry (Atlantic Records), 30Wham!, 123“What a Wonderful World” (George David Weiss), 43WHDH, denial of broadcast license renewal to, 86Wherehouse Entertainment, 154Who (Entwistle, John), 185Wiley, John (Columbia Records), 149Wilson, Jackie (“Reet Petite”), 5Wingcast, development of, 202Wired magazine (Chris Anderson), 69 Wis consin schools, music and art programs in, 234 WNBC-FM, 91WNEW-FM, 91Wolf, Michael J. (MTV), 254Wolff, Michael (media columnist), 274, 282Wollensak tape recorder, description of, 42Woodruff, JT (Hawthorne Heights), 189World Wide Web, music business on, 51WorldSpace satellites, use of, 135WOXY (Bryan Miller), 140Wraith (Jason Lekberg), 252–253 Wynshaw, David (Columbia Records), 113–114 WYN Y-FM, automation of, 91–92 Xbox Ma gazine,226 XM channe ls offered by, 136 Opie and Anthony, 137 use of, 135 Yetnikoff, Walter, 16, 107, 120–122 Yoh, William H. (educator), 233 “You Belong to Me” (Duprees), 112 youth demographic, use of entertainment media by, 224–226 “Y ou’ve Lost That Lovin’ Feelin’ ” (Righteous Broth- ers), 4 Zappa, Frank, 161–162, 235Ze Records (Michael Zilkha), 340.35 percent dilemma explanation of, 69impact of, 274–275330 Index	[ "record", "music", "company", "business", "artist", "radio", "one", "people", "new", "get" ]	{ "summary": "SECRETSDIRTY LITTLE\nRECORDBUSINESSSECRETS\nHANK BORDOWITZHANK BORDOWITZWhy So Much Music You Hear Suc" }
tL-Manager-Music-the-Business-Ann-Harrison-pdf.pdf	ContentsCoverAbout the BookAbout the AuthorPraiseTitle PagePrefaceIntroductionChapter 1: Getting StartedIntroductionCreating a buzzThe band nameTrade mark searchShowcasing your talentPresenting yourself wellShort cutsThe demo recordingGetting help and putting together your teamConclusionsChapter 2: Management DealsIntroductionHow to find a managerThe principlesWhat to look for in a managerWhat does a manager do for you?What is in a management contract?The manager’s roleConclusionsChapter 3: What Is A Good Record Deal?IntroductionNew business modelsThe hype of the million pound record signingThe legal principlesCreative control versus large advancesTypes of dealOther aspects of recording contractsWhat happens in a production deal when a bigger company comes along?ConclusionsChapter 4: What is A Good Publishing Deal?IntroductionHow to find a music publisherWhat does a publisher do?What are music publishing rights?Where does the money come from?Record deal before publishing?Types of publishing dealRestraint of tradeWhat is in a typical publishing contract?New business modelsConclusionsChapter 5: Getting A Record MadeIntroductionProduction deals versus direct signingsFinding a studioThe recording budgetThe producerMixingMix contractsMasteringDelivery requirementsArtworkConclusionsChapter 6: Manufacture, Distribution And MarketingIntroductionManufacturingP&D dealsCatalogue or single item distribution dealExclusive versus non-exclusiveMarketingEPQsVideogramsLong-form DVDsConclusionsChapter 7: Online Sales And DistributionIntroductionOverviewReproduction and distributionStreaming and online broadcastingSo how has the music industry sought to cope or adapt to these changes?PiracyAnti-piracy measures and digital rights managementGowers ReviewNew business modelsTerritorial issuesPhysical CDsMobiles and mobile music playersMove away from albumsSocial networking sitesMarketing onlineWebsite design rights and copyrightHosting agreementData protectionMarketingThe futureConclusionsChapter 8: BrandingIntroductionBranding of artistsMerchandising dealsHow to apply for a trade markPassing offOther remediesConclusions on protecting your nameUnauthorised, unofficial merchandiseHow do you go about getting a merchandise deal?The merchandising dealWhat is in a typical merchandising deal?ConclusionsChapter 9: SponsorshipIntroductionHow do you find a sponsor?Ethical considerationsScope of the sponsorship dealWhat’s in a typical sponsorship deal?ConclusionsChapter 10: TouringIntroductionMadonna and Live NationMama GroupGetting startedGetting a booking agentPromotersGetting funding for live workOther issuesOther personnelConclusionsChapter 11: Band ArrangementsIntroductionWho owns the band name?Band structuresBand incomeAccounting and taxLeaving member provisionsWhat happens to a band’s assets on a split?ConclusionsChapter 12: Moral Rights And The Privacy Of The IndividualIntroductionWhat are these rights?Privacy of the individualConfidentiality agreementsHarassment actionsConclusionsChapter 13: Sampling And PlagiarismIntroductionHow much is a sample?How do you clear a sample?PlagiarismSound-a-likesSession musicians’ claimsConclusionsChapter 14: PiracyIntroductionWhat is piracy?How do you spot a counterfeit, pirate or bootleg record?How can you stop piracy?EnforcementChapter 15: Collection SocietiesIntroductionWhat are collection societies?Blanket licencesAdministrationRights grantedOther collective bodiesThe societiesChapter 16: AppendixWorking in the music businessHigher educationBecoming a solicitorBecoming a barristerBecoming a legal executiveNon-legal jobsChapter 17: Useful AddressesIndexAcknowledgementsCopyrightAbout the BookFully revised and updated including the latest information on the impact ofdigital technology, Music: The Business remains the essential referenceguide to the business of music.Whether you’re a recording artist, songwriter, music business manager,industry executive, publisher, journalist, media student, accountant, lawyeror are simply fascinated by the music industry, Music: The Business will tellyou what you need to know about how the UK music industry works.Authoritative and indispensable, Ann Harrison’s essential work answers allthe questions, decodes the jargon, gives the facts behind the headlines andreveals the real figures underlying the multi-million pound deals. Citingcase studies of the biggest recording artists and songwriters, Ann uses herextensive expertise as a music lawyer to describe the precedents that haveshaped the law today, to outline what you can expect to find in musicbusiness contracts and, in an age of rapid technological change, to show theoptions for the future.From recording and publishing deals, making a record, manufacture,distribution and marketing, to ways to harness the new media, branding,merchandising, moral rights and working in the music industry, thisfascinating, practical and comprehensive guide could be one of the mostimportant books you ever buy.About the AuthorAnn Harrison runs her own successful legal consultancy and wasformerly head of the music group at a leading media and entertainmentlaw firm.PraiseFully revised and updated including the latest information on the impact ofdigital technology, Music: The Business remains the essential referenceguide to the business of music.FULLY REVISED AND UPDATED 4TH EDITIONANN HARRISON PrefaceI QUALIFIED AS a solicitor in 1983 and began working for a firm that didgeneral work but also had a good reputation as entertainment lawyers. Atfirst I just did general commercial litigation but found that I was naturallyattracted to the entertainment cases. Somehow they seemed more ‘sexy’.When I moved to another firm to get more experience of theentertainment business I made a big mistake. The firm I joined was good atentertainment work, but in fact wanted someone to clear people off a largeholiday camp in the North of England. I spent most of the next two yearsrunning 180 separate property cases with no connection to the entertainmentbusiness at all.Luckily for me I’d kept in touch with a former flatmate who had becomea very successful music lawyer at Harbottle & Lewis. He spent some timetrying to persuade me to do the same work that he did. I thought my futurelay in sorting out disputes in court and wasn’t convinced. Then the law firmI was working for closed and that decided it. Luckily, the job at Harbottle &Lewis was still open and I joined the music group in March 1988.At first I was convinced that this had been the second big mistake I hadmade in my career. My litigation training made it almost impossible for meto appear friendly towards lawyers on the other side, signing letters ‘Kindregards’ when often I could cheerfully have strangled them. I did get overthat and stayed for about fifteen years, becoming a partner and head of themusic group.In May 2003 I left that firm to set up my own legal consultancy business,Harrisons Entertainment Law Limited. Yes the acronym does mean that I amtruly a lawyer from HELL. I wanted to have the freedom to continue torepresent artists and songwriters, managers and small record labels andpublishers. I like working for the creative end of the business and now havethe freedom to do so on my own terms. I’ve been lucky over the last 25 yearsto work with some of the leading players in the business. My clients comefrom every part of the music spectrum from hip hop and electronica musicvia classical, rock, indie and chart-topping ‘pop’ acts.In writing this book I hope I will be able to convey some of theexcitement of the music business to you. I have used ‘he’ throughout. This isnot intended as a slur on female artists or on the many excellent womenworking at all levels in the music business. Indeed, how could it be whenthey were so kind as to give me an Accolade award at the Women of theYear awards ceremony a few years ago, something I will always cherish.Recognition by your peers and clients is just the best.Ann Harrison2 January 2008IntroductionWHEN I STARTED work in the music business I had very little idea how itworked. Record and publishing companies were a mystery to me. It felt alittle like trying to do a very hard jigsaw puzzle without the benefit of apicture on the lid of the box. I looked for books that might help me but thereweren’t many around. Those that were, were mostly out of date or applied tothe USA and not to the UK music business. I had to learn from mycolleagues as I went along. I was lucky in that they were very knowledgeableand very generous with their time.Now there are many more sources of information available on the UKmusic business and there are several good full- and part-time media and lawcourses available to give you a head start. But we still lacked an easy-to-readguide to how the business works from a legal viewpoint – one that explainswhat a publisher does and what copyright is. Many of the books on thebusiness are written from the US perspective. I wanted to write one based onthe UK music industry which could be read as a road map through theindustry. Where I’ve used technical expressions I have tried to give a non-technical explanation alongside. For the legally minded among you thedetail is in the footnotes. This book is not, however, intended to be asubstitute for legal textbooks on copyright, other intellectual property rightsor contract. There are many good examples of these sorts of books around.The music business is a dynamic one and each new edition involves a re-working of most of the chapters. In particular anything to do with new mediais difficult to keep up-to-date. The chapter on New Media has beencompletely rewritten under the new title of Online Sales and Distribution ashave the chapters on Touring, Getting a Record Made and Branding andSponsorship. Video is now a dying format and references to it have beenreplaced with DVD as a revenue source.Wherever possible I have tried to illustrate points with practicalexamples. I have to add a health warning that the examples produced and theguidelines given are mine alone and others may not agree or may have haddifferent experiences.We’ve all been fascinated by newspaper reports of this or that artist incourt over disputes with their ex-managers, record companies or even othermembers of the band. Are these reports accurate? Do these cases have anylong-term effect? Do they matter? The facts of some of the more importantcases have been highlighted, what was decided and the effects of thesedecisions on the music business. I’ve included several new cases in thisedition, particularly in the chapters on band agreements, session musicians,piracy, plagiarism and publishing.What I’ve tried to do is to let you in to some of the things I have learnedover the last 24 years in the music business. There is, however, no substitutefor legal advice on the particular facts of your case. Chapter 1 deals withchoosing your advisers. Please read it. Good advisers will help to save youfrom what can be expensive mistakes. Most artists only have one chance of asuccessful career in this business – make sure you don’t lose it through pooradvice. Chapter 1Getting Started INTRODUCTIONHOW DO YOU get into the music business as a performing artist or songwriter?How do you get your foot in the door and how and when do you startgathering your team of advisers around you?Maybe you want to be a manager or set up your own record label orpublishing company. This book is all about understanding the musicbusiness, the deals and how you get yourself started.CREATING A BUZZHow do you get your work noticed? The idea is to create a ‘buzz’ bywhatever means you can. We’ll see later that lawyers and accountants canhelp you to get noticed but you also need to work out your own plan andmake it unique to you.You can play as many gigs as you can and hope to be recognised by ascout on the lookout for a record or music publishing company or you canmake a demo of your performances or songs and send it to an A&R personand hope. However, more and more companies, particularly the bigger ones,the ‘majors’, are refusing to accept unsolicited demos. They are followingtheir US colleagues in this respect and many now only accept demos from atried and tested or well-known source. Others are streamlining theirsubmissions policy and asking for MP3s rather than CDs through the post.There’s no guarantee of success. No one is ‘owed’ a living in thisbusiness. You have to earn it often through sheer hard slog.Many try and improve their chances by coming up with a previouslyuntried marketing ploy. We all remember the famous online concerts givenby Sandi Thom from her basement in Tooting. Sure got her noticed didn’t it?Occasionally you still hear of artists pitching up at record companies withtheir guitar and doing an impromptu audition at which they are ‘discovered’but the chances are very slim. These days you’d be lucky to get past thesecurity guards.You can also shamelessly exploit any and all contacts you have withanyone who has even the remotest connection with the music business. Youcan pester these hapless souls to ‘get their mate to the next gig’ or to listento your demo or visit your MySpace page. This can improve your chances ofat least getting your work listened to, but still isn’t any guarantee it will leadto a record or publishing deal.The live side of the industry is important and increasingly so in the lastfew years as traditional record sales have declined. Record and publishingcompanies send scouts out to find undiscovered talent playing in out-of-the-way pubs. If you happen to be based outside the M25 your chances of beingspotted are slimmer than if you are in London. However, there are otherareas of the country that get the attention of scouts – Sheffield, Liverpool,Manchester, Birmingham, Bristol, South Wales and Glasgow among them.Sometimes you get an ambitious scout who goes and checks out what ishappening in a part of the country not on the traditional circuit. When thishappens you can get a rash of signings from that area. Who knows, your areacould be next.A&R people live a precarious existence. They are only as good as theirlast successful signing. So they tend to like to have their hunches about anartist confirmed by someone else whose opinion they respect. This could besomeone in their own company but, somewhat surprisingly, they will oftentalk to A&R people from rival companies. You would think that if theyfound someone they thought was good they would keep it to themselves untilthe deal was done. Some do, but many seem to need to be convinced thatthey have got it right even though this might push up the cost of the deal ifthe rival company also gets in the running to sign the same artist. For theartist this is a dream come true. He can choose the company that works bestfor him, and his lawyer will negotiate between the companies to get a betterdeal. This is what we call using your bargaining power. The more bargainingpower you have the better your overall deal is likely to be. In the last coupleof years the trend has been for several successful artists to make their markelsewhere before becoming big with a major record company. Keane weresigned to BMG Music Publishing for about three years before they got arecord company interested in their brand of music. The Kaiser Chiefs withB-Unique and Domino Records with Franz Ferdinand are other goodexamples of independent labels punching above their weight. More and moreit seems that the A&R people at major record companies want actualevidence of an artist’s ability to complete recording an album and promote itbefore they come on board. This can be a depressing thought for a band juststarting out, but it could also be seen as an opportunity to create and developyour own style on a smaller independent label first. Indeed one of thebiggest growth areas of the business is that of independent labels makingtheir own story and either feeding artists in to the bigger labels or releasingrecords themselves before the acts are picked up by the bigger labels. Anexample of an artist who made it big independently before being picked upby a major is Sounds Under Radio who was the only unsigned artist on theSpider-Man 3 film soundtrack and went on to sign a multi-album deal withEpic Records.THE BAND NAMEThe name a band chooses is a vital part of its identity, its brand. It’s a verydifficult thing to get right and it’s quite common for bands to go throughvarious name changes before they settle on one they’re happy with. It shouldbe memorable, because if you combine a good name with a clever logo thenyou are already halfway to having the basis of a good advertising campaign.However you decide to market yourself, a distinctive name makes it thatmuch easier. If it’s a name that you can do some wordplay with, so much thebetter.Finding a good name is easier said than done. I’m sure you’ve all sataround at some time in the pub after a beer or three and tried to come upwith good band names. Despite all my advice on branding, I suspect thatmost bands choose their name for much more down-to-earth reasons, like itsounds cool, or it is the only one they can think of that is not naff and that noone else has already nabbed. Raiding books, old films and song titles areother good sources, for example, All About Eve, His Latest Flame and JanusStark (from a comic). History is also a fertile source, Franz Ferdinand beinga good example.You might decide on a name not knowing that anyone else has alreadyclaimed it. You may then invest a lot of time and maybe some money instarting to develop a reputation in that name. You’re not going to be veryhappy if you then find out that someone else has the same name. So how doyou check if someone else is already using a band name?There are some easy and cheap means of doing this. First, go to thenearest large record store and ask to borrow their catalogue listing allavailable records. Have a look if the name you want to use appears – the listsare usually alphabetical by artist name so that’s not as horrible a task as itmight seem.If you’ve access to the Internet you can widen your search. Using a goodsearch engine check to see if the name you’ve chosen appears. You couldjust do a UK search but if you plan to sell records overseas (and you do,don’t you?) then you should do a worldwide search. You could apply toregister a domain name and see if anyone has claimed any of the main top-line domain categories for that name. If it is available do register it quickly.There are band registers online, including one called bandname.com,which claims to be the biggest online band names registry. You couldconsider registering with them or searching first for an existing band name.It is not, however, free and so you may want to consider other free onlinesearches first. Bear in mind though that just because a band is listed on aband register database doesn’t mean that they will automatically succeed instopping you from using the same name. You have to also look at whetherthey have an existing name or reputation, whether they have registered atrademark or a domain name, and whether they had a reputation in the samearea of the business as you.If you choose a name and another artist objects to you continuing to useit because it is the same as one they have been using for a while, they maysue you. This could be for a breach of their trademark (see Chapter 8) or, ifthey haven’t registered a trademark, they would have to argue that they had areputation in the same area of music, in the same country as you and thatyou were creating confusion in the mind of the public and trading on theirreputation. This is called ‘passing off’ (see Chapter 8).1 If they can establishthese things (and that is not always easy to do) and they can also show thatthey are losing or are likely to lose out financially as a result, then they canask the court to order you to stop using the name and also to award themdamages against you. They would have to establish a number of things,including an existing reputation. Just because a band has done a gig or twounder the same name as you doesn’t necessarily mean that they have areputation or that they can satisfy the other tests of ‘passing off’. You mayhave the greater reputation or the greater bargaining power or the othergroup may have split up. If you’ve already got a record deal or are about torelease a single or album under that name you may be able to persuade themthat they are in fact trading on your reputation and that they should stopusing the name. A word of warning though, if you have a US label or intendto license recordings for sale in the US it is quite likely that the US companywill be unhappy at the existence of another artist with the same or a verysimilar name. They may well put considerable pressure on you either tochange the name or to do a deal whereby you can definitively get the rightsto use that name from the other artist. US labels tend to be risk adverse and apotential threat to stop their sales will have them running scared.If you do find another band with the same name then you could do a dealwith them to buy the right to use the name from them. You pay them a smallamount (or a big amount if you really want the name) and they stop using it,allowing you to carry on. If you’re going to do these sorts of deals youshould also make sure that you get from them any domain name that theyhave registered in the band name and, if they have a trademark, anagreement to assign the registration to you.The law can be somewhat confusing on this question of band names asshown by two band name cases. The first involves the members of Liberty,the band formed from the runners-up in the television programme Popstarsand the second a Scottish rock group and a pop boy band both called Blue.The decisions in the two cases could not have been more different.The Liberty X Case2V2 Music, the record company, had an exclusive recording contract withthe members of Liberty and was preparing to release and promote theirfirst album. The claimants were a funk band formed in the late 1980swho also went by the name Liberty. This band had had a lot of publicityand played a number of live concerts in the period up to 1996 but nevergot a record contract. Their three independent releases made between1992 and 1995 sold only a few thousand copies. The public interest inthem had become virtually nonexistent by the mid-1990s, although theykept going in the business, where they were known and respected, andappeared as session musicians on other people’s work.The question was whether they had sufficient residual goodwill leftin 2001 to be entitled to be protected against passing off.The pop group Liberty argued that even if there was residualgoodwill their activities could not be seen to interfere with the oldLiberty as they were in different areas of music.The court found that the amount of residual goodwill had to be morethan trivial which was a question of fact. The judge found that while thecase was ‘very close to the borderline’ there was a small residualgoodwill that deserved protection. He granted an injunction against thenew Liberty band’s continued use of the name. The band renamed itselfLiberty X and went on to commercial success.The Blue CaseIn complete contrast, in June 2003 a case brought by the original bandBlue – a Scottish rock group – came before the courts. Their last hit wasin 1977 when a single by them reached number eighteen in the charts.They did have a long career spanning sixteen singles and seven albums.They had a fan base and nowadays sold records mostly be mail order orover the Internet. The new Blue was a boy band formed in 2000 who hadhad 3 number 1 singles. The old Blue sued new Blue and its recordcompany EMI/Virgin for substantial damages for passing off arguingthat there was confusion over the name leading to damage to theirreputation and recording career. The case came before Judge Laddie,who is known for his forthright approach. He made it very clear at thebeginning of the case that he found these claims somewhat dubious. Heis quoted as saying, ‘Are you seriously saying that fans of one groupwould mistake one for the other.’ The judge also commented on thedifference in their appearance saying that ‘one is aged like you and me,the other is a boy band’. These are comments that could just as easilyhave been made in the Liberty case but different times, differentoutcomes. In this case the early indication of the judge’s view led to thetwo sides having discussions outside the court which led to an out-of-court settlement. Both bands were to be permitted to continue to use thesame name. Old Blue was ordered to pay the costs of new Blue whoagreed not to enforce this for so long as old Blue didn’t try to apply toregister a trademark or otherwise try to regularise ownership of thename.TRADE MARK SEARCHYou can run a trade mark search to see if there is someone else with thesame or a very similar name in the classes of goods or services that youwould be interested in (for example, Class 9 for records). In the US therecord company often makes it a condition of the record deal that they run atrade mark search and charge you for it by adding the cost on to youraccount. If the search reveals another band or artist with the same name, therecord company will usually insist on you changing your name before theywill sign the contract.SHOWCASING YOUR TALENTLet’s assume you’ve got a name, can legitimately use it and are getting someinterest from the business. Record companies have had their fingers burnedby signing artists for large sums of money that they haven’t seen performand then discovering that they can’t play or sing at all. This was a particularproblem at the height of the dance music boom when behind the scenesproducers were making the music and using front people to perform them onstage – often not live but mimed to backing tapes. So most record companieswill insist on seeing you play live. If you are already playing the club circuitthey may just turn up to a gig. If you aren’t then they may pay for the hire ofa venue or ask you to arrange one. This is called a showcase. The venue willeither be a club or a rehearsal studio. These showcases may be open to thepublic but more often they will be by invitation only. It might pay for you toget at least some of your mates/fans invited so there are a few friendly facesthere as an industry showcase can be a daunting affair.You could hire a venue yourself and send invitations out to all the recordcompanies. However, just because you’ve invited them doesn’t mean they’llcome. Don’t be at all surprised if they say they’re coming and then don’tshow up. It’s a very fickle business. They probably got a better offer on theday. The more of a ‘buzz’ there is about you the more likely it is that theywill turn up, as they won’t want to miss out on what could be ‘the next bigthing’.I once asked the MD of a major record company why he was paying foran artist to do a showcase which would be open to the public when he knewthat the artist would then be seen by the A&R people from rival recordcompanies. His answer was quite revealing. He said that he knew how far hewas prepared to go on the deal and so was not worried that it would be hypedup. He felt that if this artist really wanted to be with his record company hewouldn’t be influenced by the interest from other companies. Confidenceindeed. In fact the artist did sign to his company and remained on the labelfor a number of albums. In these days of independent labels or productioncompanies working with artists it is likely that they will set up theshowcases and either invite a broad selection of bigger labels along or onlythose with whom they have a special relationship, maybe ones for whomthey already act as a talent out-source.PRESENTING YOURSELF WELLHere are some tips that may help you showcase your talents successfully.First, do your homework. Read the music press. Find out the current‘happening’ venues, the places that regularly get written up in the musicpress. Pester that venue to give you a spot, even if it’s the opening spot, andget all your mates to come along so that it looks like you’ve already got aloyal following. Before you get to that stage you may need to start out in theclubs outside the main circuit and work your way in.You should also find out what nights the venue features your kind ofmusic. If you play radio-friendly, commercial pop you don’t want to get agig on a heavy metal night.Make sure the songs you play (your set) are a good cross-section of whatyou do. What goes down well with your mates in the local may not work fora more urban audience (but you’ll want to play one or two of the firmfavourites to give you a confidence boost).Be professional. Rehearse, rehearse, rehearse. Think about your imageand style. Don’t send mixed messages. Think about your relationship withthe audience. If yours is the ‘say nothing, the music will speak for itself’style, that’s fine – but make sure you’re sending that message clearly to youraudience. We all like a ‘personality’. If your band has got one make sure youuse him or her to their best advantage.Always tell your audience who you are at the beginning and end of yourset. You’d think this was obvious but you’d be surprised how many gigs I’vebeen to where it’s been impossible to tell who the artist is unless you’veseen them before. The line-up of the bands on the night can change and nogig ever starts at the time it’s supposed to, so you can’t even make anintelligent guess. Make life easier for us – tell us clearly who you are, this isnot the time for a shoe-gazing mumble.Try and get your local press behind you. I know of one Nottingham bandthat did this very successfully. They made a fan of the arts reporter on thelocal newspaper and kept him up to date on what they were up to and whenthey were playing. This made sure they got good reviews. A scout read oneof these and went to the next gig, which was on the outer-London circuit.The band took ‘rent-a-crowd’ with them and were spotted by an A&R mantipped off by the scout. A record deal followed. The local reporter was thefirst one they told – after their mum, of course. In an innovative marketingspin of the kind I was advocating earlier, The Other used SMS to let fansknow of their next gig relying on word of mouth and multiple texts to ensurea good turn-out at their ‘secret’ gigs and attention from the press for theirinnovative technique. It’s a wonder that they didn’t go further and sign up asponsorship deal with a telecoms company for a cut of the SMS charges.SHORT CUTSIt’s a long haul and it needs determination and dedication to plug away onthe gig circuit like this. Are there any short cuts? Yes, there are some. Thereare ‘battle of the bands’-type competitions, and if you get through to thefinal three or even win then that will give you valuable exposure and shouldensure a number of follow-up gigs in the local area and some usefulpublicity. They don’t often lead directly to deals although, if you win, youmay get free studio time to make a demo (see below). One band of under 18year olds called The Flaming Monkeys won the Kerrang! unsigned bandsaward at the Vodafone Awards in 2007 and used that as a spring board to aspot at Glastonbury and (hopefully) to a record deal. Glastonbury now has anEmerging Performers Competition for bands to play on its main stage.Indeed the under 18s market is a booming one with venues turning over theirclubs to promoters of special gigs aimed at the younger audience andobviously without the booze.Then of course there are online band competitions – such as thosepromoted by the web-based slicethepie.com. For more on these socialnetworking sites and different use of technology see Chapter 7.There are also ‘open mike’ evenings at clubs, when anyone can turn upand ask to play one or two numbers. Tony Moore’s unsigned acts nights atThe Bedford pub in Balham, South London are a regular stopping off spotfor scouts as is 014 in Baron’s Court, West London and clubs in Soho suchas Punk or pubs like The Betsy Trottwood. Tony Moore also opened anadditional live acoustic venue, The Regal Room in December 2006, based atThe Distillers in Fulham Palace Road, London.Music industry organisations such as the Performing Rights SocietyLimited (PRS) or its US equivalents, The American Society of Composersand Publishers (ASCAP), or Broadcast Music, Inc. (BMI), occasionallyarrange nights at a Central London venue to showcase two or three acts whoare either unsigned or have signed a record deal but not a publishing deal (orvice versa). ASCAP sends out a CD containing a track by each of the actsit’s promoting. These are popular with A&R people because someone hasalready filtered out a lot of the rubbish for them. See Useful Addresses forcontact details.There is also an annual UK music industry convention called ‘In theCity’. Attached to it is a series of showcases for unsigned acts at venues inthe city where the conference is being held. Its regular home is Manchesterbut it does move around. The death of one of its founders, Tony Wilson, in2007 did not stop his partner Yvette Livesey from continuing the tradition afew months later and it looks to continue for the foreseeable future. It’squite expensive to register for the conference but it’s often possible to getinto the bar of the main conference hotel where the executives meet to relax.You could get lucky and meet one or two A&R people and get your demo tothem. Remember, however, that they get given many CDs, often late at nightand possibly after several pints of beer, and they will probably need to bereminded who you are in a follow-up call a few days later. If you’re chosenfor one of the unsigned showcases, it should guarantee that at least one A&Rperson will be at your gig. In past years Suede, Oasis and The Darkness haveall played ‘In the City Unsigned’ and more recent successes include TheAutomatic and Muse.THE DEMO RECORDINGFor most people making progress in the music business means having ademo recording of your work. This is your calling card, your way ofintroducing a stranger to your work. It should be recorded to the beststandard you can afford.STUDIO DEALSWhat if you haven’t any money? How do you afford to make a recording?One way is to beg ‘down-time’ from your local recording studio. This istime when the studio is not being hired out commercially. It may be at reallyunsociable hours such as 2 a.m. to 8 a.m. But who needs sleep when you’vegot a record deal to get?The studio may give you the time cheaply or even free, but they are morelikely to let you have the time in return for promises of what they will getwhen you get your first deal. The studio owner may want some of theincome (the royalty) you earn from the sale of your records. This issometimes called an override royalty. This is fair if you get a deal usingrecordings made at the studio, but take care that the studio is not asking fortoo much. A 1–1.5% override royalty is usually enough. By that I mean thatif you are offered an 18% royalty you have to give 1–1.5% to the studioowner, leaving you with 16.5–17%. Some studios try to get royalties on yoursecond and third album too. They argue that you wouldn’t have got yourchance to record at all without their generosity. This is true, but there comesa time when your success has nothing to do with that original generosity.One album is plenty in most cases or if it goes beyond that then the royaltypercentage should reduce to say 0.5–0.75%.The studio may also want a guarantee that you use their facilities whenyou make your album. Or the studio owner may want to produce your firstcommercial album. You should be careful about agreeing to these sorts ofconditions. Record companies don’t like package deals on studio andproducer. They like to have some say on these things themselves. If theproducer is a proven talent they may be less concerned but you should tryand build in flexibility.The demo should feature a good cross-section of your work. Most peoplethink that it should contain no more than three or four different pieces, withyour best one first, your second-best one last and contrasting style pieces inthe middle, but be careful of sending a confusing message by mixing toomany different styles on one CD. The opening number should haveimmediate impact in case the listener fast-forwards it before you’ve got intoyour stride. Many A&R people listen to demo CDs in their car or MP3s ontheir MP3 player. If you don’t grab their attention they’ll move on to thenext track or CD. If you are sending a CD then the case and the CD itselfshould both contain details of who you are, the names of the pieces, whowrote them and, most importantly, a contact number, otherwise when,inevitably, the case gets separated from the CD, there is no way of tellingwho the band are and how to get hold of them. This is harder to do with anMP3 so it is important that the file name is distinctive and that the metatagson the recording itself identify the artist and the name of the track. If youcan include an email or webpage contact address so much the better. Makeyourself as easy as possible to find.FINDER’S AGREEMENTThese go in and out of popularity. At the moment they seem to have beenovertaken by the production deal but they are still used where someone justwants to find a deal and not be further involved at any level. A studio owner,producer or an established writer that you may be working with might likewhat they hear but may not have the resources or the inclination to sign youup to a record deal themselves. They may also not wish to become involvedin your career longer-term as a manager but might spot an opportunity to usetheir contacts to further your and their own prospects. Such people mightoffer to find a deal for you and if you agree in principle they may then wantyou to sign a finder’s agreement.This is usually a short document where you appoint them for a period oftime to get you a record or publishing deal. The period varies from sixmonths up to eighteen months and may be non-exclusive, in which case theperiod is of less concern, or exclusive, in which case you might want to keepthe period quite short. On an exclusive deal you pass through any interestyou get to the finder who is in overall charge. If it’s non-exclusive you andothers can go on looking for a deal but you need to have a mechanism forhow to tell who actually made the successful introduction. This is why mostfinders favour an exclusive arrangement.If the finder gets a deal within the agreed time span then that usuallyends the ongoing relationship between you and the finder, unless, assometimes happens, it changes into a different type of deal such as that ofartist/manager/artist/producer or co-writer.The fee that the finder gets varies. It may be a percentage of what youget on signing the deal, a percentage of all monies paid you in the firstcontract period of the deal or a share of these monies and of future royalties.The percentage is usually somewhere between 5% and 10%. Sometimes thefinder argues for a percentage of monies beyond the initial contract period.This is less usual and I would want to see strong grounds to justify that andeven then might well argue for the percentage to be reduced to say 2.5–5%.DEMO DEALIf an A&R man gets to hear of your music through the demo or indeed in alive gig he will undoubtedly want to hear some more.If this is not a situation where there is an existing production companywith access to studio facilities he may pay for some studio time for you torecord more material or to try out different versions of what you’ve alreadyrecorded on your demo. In that case he may offer you a demo deal.The deal will usually guarantee you a certain amount of time in aprofessional or in-house recording studio. Many record and publishingcompanies have their own studio facilities, which they may offer to makeavailable. Perhaps you shouldn’t look a gift horse in the mouth, but if thestudio doesn’t have the equipment you need to show yourself off to bestadvantage you should say so, and either ask for that equipment to be hired inor ask to go into a commercial studio. Cheeky, yes, but you can do it politely– it’s your chance, so don’t blow it.The record or publishing company will expect to own the copyright inwhat you record (see Chapter 3). The company will want to own the right tocontrol what happens to the recording. A record company will not usuallyexpect to own rights in the song but a music publisher might. Try and takeadvice before you agree to give away rights in the song. At the very leastthey shouldn’t own the song unless they offer you a proper publishing deal(see Chapter 4). The company offering you the deal will also own thephysical recording or ‘master’. This is fine as long as they don’t stop yourecording the same song for someone else if they don’t offer you a deal.They should also agree that they won’t do anything with the master withoutfirst getting your permission. This is important. When you finally sign yourrecord deal you will be asked to confirm that no one else has the right torelease recordings of your performances. The record company will not findit funny if a rival company releases the very track that they had planned asyour first single. The company who paid for the demo will usually agree thatyou can play it to other companies if they decide not to offer you a dealwithin a reasonable period of time.The record or publishing company will normally want some exclusivityin return for the studio time they are giving you. They may want you toagree not to make demos for anyone else or not to negotiate with anothercompany for a period of time.They may be slightly more flexible and want the right of first negotiationor refusal. This means that they will want either to have the first chance totry to negotiate a deal with you or they will want to have the right to say yesor no first before you sign to another company. This is a difficult call. Youwill no doubt be excited and perhaps desperate not to risk losing the dealbut, before agreeing to exclusivity or these negotiating options, you need tobe sure that the exclusive time period is not too long. If they tie you up formonths you may miss your moment. If they have first negotiating orrejection rights then they should tell you as soon as possible where youstand. If they’re not interested then you need to move on as quickly aspossible.Bear in mind, though, that the record company has to go through anumber of stages before they can make a decision. They have to listen to therecording, probably then discuss it at an A&R meeting and then maybe alsowith their immediate bosses or even overseas colleagues. All this takes timeand they may not want to risk losing you to a rival company. So you need toget a balance between the needs of the two sides.Don’t be surprised or depressed if, after you make the demo, thecompany decides not to offer you a deal. I know several artists who gotdemo time from two or three record companies and ended up with anexcellent set of demos that they took to another company who then signedthem up. What you don’t want to happen is that people feel that you’ve beenaround for a while and are sounding a bit stale. This is a difficult balance tostrike.On a more positive note, the first company may love what you’verecorded. The demos may confirm the A&R man’s faith in your abilities andhe may be ready to do a deal with you. You’ve passed go and, once you’veread the rest of this chapter on getting yourself some good advisers, youshould go straight to Chapter 3 (What Is A Good Record Deal?).GETTING HELP AND PUTTING TOGETHER YOURTEAMAll of this may seem a bit daunting. Don’t worry about negotiating orsigning a studio or demo deal. There are people that you can turn to for help.You should be looking to put your team of advisers in place as soon as youstart to get a bit of a ‘buzz’ about you so that you are ready to move quickly.THE LAWYERA good lawyer with experience of the business can be of enormous help toyou. So where do you find one and what can they do for you?Finding a lawyerGeneralYou can ask the Law Society for their suggestions (see the Useful Addressessection for details). They have entertainment firms on their referral lists butmake no judgement on the quality of the advice.Many law firms have their own websites, which will tell you a bit aboutthe firm and its areas of expertise. It will usually contain an email address,so you could try sending them a message asking for further information.Some websites contain details of the last big deals the firm did and,where their clients allow them to, list the names of some of their clients. It isnot necessarily a bad thing if there aren’t many clients mentioned.Professional rules mean we have to keep client information confidential andnot even say that someone is a client without the client’s permission orunless it is public knowledge. If a client is kind enough to give me a crediton their album artwork, I take it that he’s happy for people to know I’m hislawyer, but if in doubt I have to ask.Other sources could be the Musicians’ Union and the Music ManagersForum. The PRS runs a legal referral scheme where firms of music lawyersagree to give preliminary advice free or at a reduced rate. See UsefulAddresses.DirectoriesNot all law firms have websites, so you could also look in the two mainbooks listing UK legal firms – Chambers and Legal 500 (See UsefulAddresses). The general guides can be found in most of the larger publiclibraries and are both available online. Both have a similar approach,breaking down the lists into areas of the country and particularspecialisations. Most UK music lawyers are based in London, but there areone or two in places like Manchester, Liverpool and Glasgow. Chamberswrites short pieces on those it thinks are the leading players in a particularfield and now also boasts a USA guide. Legal 500 operates on a leagueprinciple. When it interviews lawyers it notes which names are mentionedmost frequently by others in the business and grades the firms accordingly.It also does some checking with individual clients.In addition to these general legal guides the Music Week Directory alsolists UK law firms and is a good first stop for an overview of lawyers whoclaim to have expertise in the music business. Music Week is the leadingtrade journal for the music industry in the UK. You need to take out asubscription to get the directory and online access but you may find it inbigger reference libraries or a contact in the business might lend you a copy.As with the more general guides an entry in the directory is not anyguarantee that they are any good.Managers and AccountantsIf you already have a manager or an accountant they may be able torecommend a lawyer to you. You should check if your manager has the samelawyer. Most managers realise that for some things (for example,negotiating the management contract) you have to have a separate lawyerfrom your manager. There is a conflict in the interests of the two of you thatmeans you must be separately advised. Where there is no conflict of interestthere is usually nothing wrong in you and your manager having the samelawyer. You may, however, still feel more comfortable having your ownlawyer on board.Other bandsOther bands or contacts in the business may be able to recommend someoneto you. This may be their own lawyer or someone they have heard others sayis good. We lawyers love personal recommendations as a source of newwork. It means we must be doing something right.How do you go about choosing and employing a lawyer?Occasionally lawyers are in the public eye because of a particularly high-profile piece of work they have done and everyone wants to have them astheir lawyer. You must, however, try to find out whether the lawyer isexperienced and not a one-hit wonder. How do you do that? Ideally youshould have two or three names on your list, possibly gathered from avariety of sources. You should call them, tell them you are looking for alawyer and ask to meet with them. Be wary of lawyers who promise theearth. We don’t have all the answers. Before you meet up with the lawyershave some questions ready for them. Ask how long they’ve been doing thisand who their main clients are. As we saw, they may be a bit coy about thisbecause of their duty to keep clients and their business confidential. A s kthem how their firm is structured. Will they be doing the work for you orwill it be handed over to a more junior person? Can you call up the lawyeryou are meeting at any time to discuss your case or are you expected to workwith the junior person?You should also ask the lawyers the all-important question of what theycharge, when they expect to send you a bill and when they expect it to bepaid. Will they accept payment in instalments and, if so, do they chargeinterest on the balance like you would on a credit card bill that you werepaying off monthly? Can you pay by credit card? Beware of a lawyer who isreluctant to discuss his costs. If he tells you what he charges by the hour youmay need to sit down. But quoting hourly rates doesn’t really help you tocompare two firms, as one lawyer may work faster than the other. A betterway to do it is to ask them to give you a ballpark figure for what it usuallycosts for them to do a record or publishing deal. If you ask each lawyer thesame question you’ll have a better basis for a comparison. Don’t necessarilygo for the lowest price. It may be that the deal gets done faster but it’s ashort-term view. Where the lawyer really comes into his own is whensomething goes wrong in six months’ or a year’s time. Then thethoroughness with which he has done his job in protecting your interestsreally gets put to the test. Some lawyers will agree to do a piece of work fora fixed price. Since setting up my own business I often work in that way as itgives the client certainty but as with any job of work if it turns out to be farmore complicated than it appeared at first I reserve the right to come backand revisit that fixed fee.The lawyer you finally choose should send you a letter setting out thebasis on which he is going to work for you, including details of what heexpects to charge and who you should complain to if you have a problem.Your lawyer is a fundamental part of your team. Take your time in choosingone and don’t be afraid to say if you’re not happy with a piece of work,including voting with your feet and changing lawyers if it doesn’t work out.Although you may want to give the lawyer the chance to explain his positionbefore you leave. As a last resort you can sue but this is all very negative. Inthe majority of cases there isn’t a problem that can’t be sorted out with aphone call.Conflicts of interestThere are firms of lawyers that work mostly for record and publishingcompanies and others that work for what we call the ‘talent’ (the creativeend of the business). It is important to know this. If the record labelinterested in you uses the same firm for their own legal advice there will bea conflict of interest which will make it difficult for that lawyer to work foryou if you’re ever in a dispute with the record company. Some say it’spossible to build Chinese Walls (artificial barriers where, in theory, onelawyer within a firm knows nothing about what another is doing, so can’t beinfluenced in any negotiation). When things are going well this can work,provided everyone knows it is happening. When things aren’t going so wellwill you feel confident that your lawyer is looking after your interests?Beauty paradesWhen you go to meet lawyers it’s only fair that you tell them that you’reseeing lawyers from other firms. Lawyers call these meetings ‘beautyparades’ when we set out to impress you. There’s nothing worse thanspending an hour giving advice to someone you think has already chosen youas their lawyer only to be told as they walk out of the door, ‘Thanks for that,I’ll get back to you when I have seen the other firms on my list.’If you’re asked what other firms you’ve seen you don’t have to say, butif you do it helps that lawyer, who then knows who he is in competition withand can adjust his ‘sales pitch’ accordingly.When you’ve decided who you want to work with, you should tell theothers who’ve given up an hour or more of their valuable time that they areout of luck. You never know, you may want to change lawyers at some pointand there’s no harm in keeping things civil.What does your lawyer do for you?A trite answer may be to say whatever you instruct him to do (provided it islegal). We do work ‘on instructions’ from you, but that’s really not a truepicture of all that we can do for you. We’re there to advise you, to help youdecide what the best deal is for you. We give you the benefit of ourexperience of similar situations. We know who’s doing what deals and howmuch would be a good deal.If you want, we can help you to target companies that our experiencetells us should be interested in your type of music. This can help you to bemore focused. This doesn’t mean to say that we act as A&R people, althoughI have come across one or two lawyers who do think they are and indeedthere are some law firms that employ young lawyers as quasi scouts lookingfor up and coming artists who might be future clients. The type of musicyou’re into shouldn’t influence your lawyer, who should be able to representyou whatever style of music you make, provided it’s not so far out of hisarea of expertise that he doesn’t have the necessary experience orcommercial knowledge of whether the deal is good, bad or indifferent.There’s also a growing band of lawyers who, following the Americantrend, are acting as quasi-managers, only taking on clients who they thinkthey can get a deal for. Managers seem a little uncomfortable about this, asit blurs the edges between their respective roles. It also means that thelawyer is making a judgement call, and those who really need advice may belosing out. With this breed of lawyer you need to be very clear what they areexpecting to charge you. Is it their normal rate or is there a premium for thisservice? Are they charging a percentage of the deal they get for you? If sodoes that mean that they only focus on getting the most money and to hellwith the small print?Our role can be as wide or as narrow as you want it to be. If you arealready clued-up on the type of deal you want, or have a manager who is,then you won’t need that sort of advice. If you’re quite happy aboutnegotiating a deal direct with the record or publishing company, then youbring your lawyer in later when the commercial terms are agreed and youneed to get the legal contract in place. On the other hand, if you are new tothe business and aren’t confident enough to negotiate commercial terms,you’ll want to involve your lawyer at a much earlier stage.I work differently with different types of clients. If it’s a new artist whoeither doesn’t have a manager or has a manager who isn’t very experienced Irun with things right from the beginning when a record company says itwants to do a deal. I contact the record company, get their deal proposal and,after talking to the client, I go back to the record company with any counter-proposals, continuing this process until the deal is in its final form. I thenget the draft contract, check it, make any necessary changes, and negotiatethose with the company until the contract is ready for me to recommend tothe client for signature.With other clients there may be an experienced manager on board whoknows exactly what his bargaining power is and what sort of deal he wouldideally like to end up with. My role at the beginning is more that of anadviser or sounding board. The manager will usually make sure I get a copyof the proposal and any counter-proposals, but won’t want to involve medirectly in the negotiations. He may telephone from time to time to ask if Ithink company X can do better than what they are offering. I’ll tell him whatI think based on other deals I have done with that company. I keep the namesof the clients confidential, but I can say whether I know they can do betteron a particular point or not. Once this type of client is happy with thecommercial terms I’m then brought in to do the negotiation of the contractitself.You should establish with your lawyer what kind of relationship youwant to have. This may well change from deal to deal as you grow inexperience.I like to take an interest in my clients’ work. I’m delighted to be sent acopy of the new album or single. It helps to cement the relationship betweenus. I also like to go and see my clients play live. I have to admit, though, thatwhen I’m in the middle of a very long week at work and a client rings up andsays, ‘Hi, I’m on stage tonight at the Laughing Cow at 10.30 p.m.’ (whichmeans 11 p.m. at the earliest) then my wish to support the client is tested tothe full.What you don’t want to happen is for your advisers to embarrass you.And yes, it does happen. I can still remember a gig a few years ago whenfour members of a top entertainment accountancy firm were standingproudly in the front row wearing the band’s T-shirt over their work suits.New breed of lawyersThere is a new breed of lawyers in the UK, of which I am now one. These arelawyers, usually qualified solicitors or barristers who, for one businessreason or another, have decided not to practise as solicitors and be regulatedby the Law Society. Instead, they practise as legal or business affairsconsultants. In practice you will probably not notice any difference. Intheory, because they are not bound by the Law Society’s rules they can bemore flexible in how they get paid for their work, for example, working on apercentage of your advances or royalties. Most however, including myself,stick to the rules we have operated for much of our working lives assolicitors even whilst not calling ourselves that. It does mean that we aremore restricted in that we cannot do contentious work involving representingyou in court. However, most legal consultants have arrangements in place torefer such work to lawyers who do contentious work and as it is a specialistfield even if you were using a solicitor they would probably also refer you toa colleague if it became litigious. Of course, because we are not regulated bythe Law Society you couldn’t complain to the Society about us. But we arestill open to being sued by you if we screw up and most of us carryprofessional indemnity insurance like solicitors as we are all human.When should you get a lawyer?There are a number of different views on this. Some say that there’s no needto get a lawyer until you’ve a contract in front of you. I think you should geta lawyer earlier than this. I think that the whole process of getting a deal isso much of a lottery that anything you can do to reduce the odds must beworth doing. Most of us are happy to give initial advice and guidance forfree, or only charge you when your first deal is in place. Just be careful andcheck this before going ahead.Your lawyer can also help you to find a good accountant.ACCOUNTANTSThis leads me neatly on to discuss how you find a good accountant and whatthey can do for you. How do you find one?The InstitutesThe Institutes of Chartered Accountants in England & Wales, Scotland orNorthern Ireland and the Association of Chartered and Certified Accountantscan recommend firms to you (see Useful Addresses). It’s important that theaccountant is qualified, preferably a Chartered or Certified accountant.Anyone can set up in business giving financial advice, so you should checkthat they’re properly regulated. You shouldn’t allow them to keep yourmoney in an account to which they can have access without your knowledge.If they are to have signing rights on cheques make sure there are sufficientcontrols in place.DirectoriesThere isn’t any general guide similar to the legal directories. Theaccountancy profession is broken down into the big international firms likeErnst & Young and Deloitte, medium-sized national firms with internationalnetworks like BDO Stoy Hayward, and smaller local firms.The Music Week Directory has a section on accountants. The directory isnot a recommendation that they’re any good, but it is a good starting point.AMIAYou could always try the Association of Music Industry Accountants (seeUseful Addresses). They will be happy to recommend accountants fromwithin their own membership and, as their name suggests, they are allassociated with the music business.Music Managers ForumThe MMF can give you recommendations for accountants as well as forlawyers. They have firms of accountants who are corporate members (seeUseful Addresses) as well as individual accountants who provide business orquasi-management services.LawyersYour lawyer should have had dealings with a number of accountants andshould be able to recommend two or three to you that they know haveexperience in the music business.Other sources of informationYour A&R or other record or publishing company contacts or friends in themusic business may be able to suggest some names. It’s always good to get arecommendation from someone who rates a particular accountant highly.How to choose an accountantAs I suggested when choosing your lawyer, you should see more than oneaccountant. You should ask them the type of work they can do for you. Someare strong on tour accounting or in auditing (inspecting) the books andrecords of companies. They may also do general bookkeeping and taxadvice, but they may not, so ask.If you expect to do a lot of touring, it’s worth having an accountantwho’s experienced in putting together tour accounts and is familiar with tourbudgets and all the necessary arrangements to deal with VAT on overseastours and taxes on overseas income (see Chapter 10).It’s less important that your accountant’s offices are in the same city asthe record and publishing companies. They don’t have to be in London. Themain thing is that they are familiar with the music business and how itworks. They must know the sources of income and how and when it’s paid.They need to know how to read and understand a royalty statement. Thesethings are often, literally, written in code. You need to know what country Ais and what the code for CD sales is. Your local family accountant can, ofcourse, do the basic accounting work as well as the next man, but thisprobably isn’t enough once you start getting deals. Just as you need a lawyerwith specialised music business knowledge, so you need the same expertisefrom your accountant if he’s to be able to look after your interests properly.The basic accountancy and tax rules do, of course, apply to artists andsongwriters, but there are a number of specialised rules and regulationsaimed at them. Your accountant must be up to date on these rules.Some accountants don’t claim to be experts in tax planning or adviceand, if that is an area that you need to have covered, you would be bestadvised to go to an accountant that can provide that and then get a specialistaccountant in to do the tour accounting or auditing.As your accountant will have intimate knowledge of your finances andmay have some control over your bank account, it is vitally important thatyou trust them, that they have a good reputation and that there are suitablechecks and balances in place to protect you and your money.Business ManagersThere is another breed of accountant that could provide the sort of servicesyou are looking for, and that is a business manager. This is a term that hascome across from the US, where they are quite common. In the US theygenerally act as the business and financial adviser alongside a personalmanager who looks after the day-to-day and creative aspects of the artist’scareer (see Chapter 2). In the UK the term means something slightlydifferent. They provide day-to-day business advice and bookkeepingservices. They’ll do your VAT and tax returns for you. They can providebusiness plans and advice and some also do tour accounts. Most don’tprovide international tax planning or audits. Their argument is that thismakes them more cost effective as you are not paying for a full tax planningand audit service when you don’t need it. This means they can charge lessthan the bigger firms of accountants do. When specialist tax or internationaladvice is required, they have relationships with more than one of the biggeraccountancy firms and other financial advisers and can refer you to the rightcompany for you, to get the advice you need when you need it.How do they charge?Accountants usually charge fees rather than commission. They may quoteyou a rate per annum for advising you. Some of the bigger accountancyfirms run special schemes where the first year’s work for you is done at aspecial, discounted rate. You don’t have to stay with them after the firstyear. If you are tempted by these schemes you should ask what exactly iscovered by the discount rate. It’s likely that you won’t get the same serviceas the full-price one. You should also ask what the non-discounted ratewould be after the first year so that you can decide whether you think you’dbe able to stay with them afterwards or will have to start the search for a newaccountant, which could be disruptive.You should ask them what their experience is and who will be doing thework. Often you find that the person who sees you and does the hard sell isthe partner or even the marketing person. Someone quite different andpossibly much less experienced may be doing the work. This sort of thing ismore likely to happen in the bigger firms, particularly those that are offeringa discount rate. You can be reasonably sure that it will not be a partner thatwill be doing the cut-price work.What does an accountant do?Accountants can do a number of things for you. They do the accounts booksfor you, advise and help you to complete your tax return. They register youfor VAT, if necessary, and can do your quarterly VAT returns. Depending onyour accountant, they may also do your tour accounts and help prepare a tourbudget. Your accountant will advise you on whether you should be a soletrader, in partnership or a limited company or limited liability partnership(see Chapter 11). He can prepare partnership or company accounts. Someaccountants can also act as the auditor of your company books; many canalso act as the company secretary and can arrange for the company’sregistered office to be at their offices.Your accountant can act as your financial adviser, telling you where thebest place to invest your money is. Because this area is very closelyregulated, not all accountants are authorised to provide financial servicesadvice. You should ask if your accountant is. If he isn’t you will need aseparate financial adviser.Your accountant can be your tax adviser and help plan with you thingssuch as whether you could consider putting your income in an offshore taxhaven or, indeed, if you could, or should, become a tax exile or non-domiciled. There are signs that the Government is tightening up on the taxbenefits of being non-domiciled so this may not be an attractive option formuch longer. Another reason why it’s important your accountant is up tospeed in this area.Can your accountant help you get a record deal?Yes, he can. You can use accountants in the same way as lawyers. Use theircontacts and pick their brains for information on companies and A&Rpeople. Some accountants also send out selected demo tapes on behalf ofartists and songwriters.If your accountant does find you a deal then he shouldn’t charge you acommission for doing so. He should just charge for any accountancy advicethat he gives you on that deal. If your accountant offers to get you a deal, askhim on what basis he is doing it before you give him the go-ahead.The accountant should be able to work as part of the team with you, yourmanager and your lawyer. It’s important that you keep your accountant inthe loop about the deal so that he can advise how it can be structured as tax-effectively as possible before you sign anything.All accountants should give you a letter of engagement, setting out thebasis on which they will work for you and how they will charge. They shouldgive you the name of someone in their firm that you can complain to ifyou’ve a problem with your accountant. If the complaint is about fees youcan ask for a breakdown of the bill. The professional body that youraccountant belongs to is the first port of call for complaints about youraccountant. If they don’t deal with the complaint to your satisfaction you cantake it to court. This is looking at the negative side and most relationshipsproceed smoothly.An accountant can have conflicts of interest just as your lawyer can. Ifyour accountants act for one of the major record or publishing companies,and you then want to do a deal with that company, the conflict may or maynot arise at that stage. However, if later on you aren’t sure whether thecompany is accounting to you properly and you want to send someone in tolook at (audit) the books, then your accountant will have a conflict ofinterest and you will probably have to take that work elsewhere. There are,in fact, specialist firms of accountants who only do audits. Sometimes it’sbest to use their specialised knowledge even if there isn’t a conflict ofinterest with your own accountant.So now you’ve got your lawyer and your accountant lined up. You havetwo members of your team, getting a manager could be the critical thirdstage. I’ll deal with this in the next chapter.CONCLUSIONSIf you hope to get noticed through doing live work, do your homeworkfirst. Investigate your venues and rehearse thoroughly. Tailor yourmaterial to your audience and tell your audience who you are.Consider short cuts like industry-organised showcases, open mikeevenings or music conventions as well as competitions.Make sure your demo is the best quality that you can afford and that ithas a good cross-section of your work. Put your name and contactnumber on the CD as well as the packaging or make sure they have youremail on any MP3 submission.If you do a deal with a studio for studio time, make sure it’s for nomore than 1–1.5% and don’t agree they can be the producer of your firstalbum unless there are excellent reasons to do so.If you do a demo deal, keep the exclusive period as short as possibleand make sure that no one can do anything with the recordings withoutyour agreement.If you do a finders deal keep the percentages to 5–10% and for as shorta period as you reasonably can get away with.When picking a lawyer or accountant, arrange to see two or threedifferent firms and ask them for estimates of their charges for aparticular piece of work. Find out their expertise and, if possible, whotheir clients are.When you appoint a lawyer or accountant, get written confirmationfrom them of their charges.Your accountant and lawyer are vital members of your team – take yourtime to choose the right ones.1 For a more academic overview of branding, see ‘Copinger and Skone-James on Copyright’, 15th edition. Sweet & Maxwell, 2005.2 Keith Floyd Sutherland v. V2 Music and others Chancery Division (2002). Chapter 2Management Deals INTRODUCTIONIN THIS CHAPTER I’m going to look at how to find a good manager, what toexpect from a manager, and what you have to think about when entering intoa management contract. I’m going to look at it from the artist’s point ofview, but when we get to the part on contracts I’m also going to put themanager’s side of the argument. The section on what to expect from amanager should also be useful to managers. It’ll give them an idea of whatmight be expected from them.It gives me a real buzz to team up the right manager with the right artist;it’s like watching a well-oiled machine going into action. It’s also great towork with a good artist/manager team, as everyone’s pulling in the samedirection. A good example of this in action recently has been the relationshipbetween Danny D and Tim Blackhurst as managers of the writing/productionteam of Norwegian writers ‘Stargate’. They won ‘Song of the Year’ and‘Songwriter of the Year’ awards from ASCAP in 2007 and at the ceremonycredited their managers with having the faith to encourage them to take theirskills to America. That leap of faith and the skill with which they thenexploited the new market place was a direct cause of their subsequentsuccess. What was slightly unusual was that the writers acknowledged thisopenly. Much more common is an artist who once they are successful beginsto resent the monies being paid to the manager and forgets their origins andthe crucial role played by the manager at the beginning.HOW TO FIND A MANAGERDIRECTORIESOne of the main music business directories in the UK is the Music WeekDirectory. It lists managers and the acts they manage. The Music ManagersForum also issues a directory of its managers and who they manage, whichcan be an excellent starting point for finding a manager who looks afterartists who are similar to you or who share a particular musical genre.The drawback with all directories is that they don’t give you any clues asto whether the managers listed are any good. The information you get fromthem needs to be backed up from other sources.MUSIC MANAGERS FORUMOne such source is the Music Managers Forum (MMF).1 The MMF doesn’tact as a dating agency for setting managers up with artists. It does, however,publish a directory of its members and is helpful in putting you in contactwith individual managers.Membership of the MMF is not a recommendation that a manager is anygood but, if a manager is a member, it shows that he is interested in talkingto other managers and in keeping up to date with what is going on in theoutside world that can affect the music business and their or your livelihood.The MMF also runs training courses for wannabe managers, mostly inLondon and Manchester, but occasionally regional courses in conjunctionwith other organisations such as the Welsh Music Foundation and usually atquite reasonable rates.It can be lonely out there so, if you are a manager yourself looking forlike-minded individuals, the MMF has Associate Membership at a reducedrate for new managers of as yet unsigned artists and there is also a categoryfor self-managed artists.RECOMMENDATIONSYou may by now have quite a lot of information about various managers, butyou still may not know if they’re any good or even if they’re looking for newartists to manage. What you need are personal recommendations (references,if you like) from people who have worked with a particular manager or knowhim by reputation. Where do you get these? You can ask around among otherbands to see if they have any good or bad experiences of particularmanagers. Bad reports can be as useful to you as good ones. At the end of theday you’ll have to make up your own mind whether to trust a particularmanager, but if people who know him keep saying bad things about him, youcan’t say you weren’t warned.LAWYERS AND ACCOUNTANTSIf you’ve already found yourself a lawyer or accountant then they should beable to tell you what sort of reputation a particular manager has. They arealso good sources of information and can put you in contact with managersthat you may not have discovered on your own. They may know that aparticular manager is looking for more acts to manage or, conversely, is toobusy to devote the necessary time to a new artist.As with all major decisions you shouldn’t rush into anything. Inparticular, if a lawyer or accountant has recommended someone, you shouldtry and find out what the relationship is between him or her and thatmanager. If, for example, they get most of their work from that manager,how independent are they and is there any conflict of interest? They can’tadvise you independently if the rest of the time they are advising themanager. But just because a lawyer recommends a manager that theyregularly work with doesn’t mean that there is necessarily a conflict ofinterest. You just have to be clear who is looking after your interests.SURGERIESThe Performing Right Society Limited (PRS) and the songwriter’s body, TheAcademy, hold occasional ‘surgeries’. These are meetings where musicbusiness professionals such as lawyers, managers and A&R people discussparticular topics and answer your questions. They are sociable events, oftenheld in a pub or club, and are a good place to meet other songwriters andmusic business people. Details of their meetings are given in the PRSNewsletter or direct from the PRS. ASCAP (one of the equivalent societiesin the US) also holds informal evening sessions when writers get together.A&R CONTACTSRecord or publishing company scouts or A&R people can be an excellentsource of information on managers and whether a particular manager islooking for new artists to manage. They can put you in contact withmanagers. In fact, they may insist on you getting a manager before they areprepared to discuss a possible deal with you, because they’re happier dealingwith a middleman (and preferably someone with a track record).MANAGERSThere is always the possibility that a manager will approach you direct. Theymay have heard about you from an A&R man, a lawyer or accountant, orthey may have seen you play live. It’s not unheard of for a manager to comeup to you after a gig to say that he wants to manage you. A word of warning– just because a manager approaches you doesn’t mean they’re any good, nordoes it mean that you’ve to leap at the chance of being managed by anyoneregardless of who they are. You still have to do your homework and make assure as you can that this is the right manager for you.You should always ask for a trial period to make sure that therelationship is working. It takes time to build up the necessary trust betweenyou. The manager should agree to that, but he will be looking forcommitment from you before he spends any significant amounts of his owntime or money on you. He’ll certainly be looking for you to confirm that youwant him to manage you before he approaches record and publishingcompanies on your behalf. If he’s prepared to commit time and spend moneyon you then it’s reasonable to expect some commitment from you in return.Sometimes managers ask you to sign a short agreement to cover theirexpenses and any deals they may get for you during the short trial period. Aswith any legal agreement, if in doubt – get it checked out by a lawyer.Having discussed how to find managers we should now look at one ortwo of the principles behind the artist/manager relationship. Many of theseprinciples have been developed and applied to management contractsthrough a series of cases involving some of the leading players of the time.THE PRINCIPLESThe first thing you have to understand is that it’s a relationship based ontrust. If the trust is lost then there’s little hope for the relationship. Thecontract won’t hold you together if the trust isn’t there. All that amanagement contract will then do is tell you what your rights are and whathappens if you part company.This loss of trust has led to many disputes between managers and artistsover the years. Some end up in court, many more settle before they get thatfar – even at the doors of the court. Most people don’t want to air their dirtylinen in public. It’s not a pretty sight when you’re sitting in court and thereporters are all lined up on the benches behind you ready to take downevery sordid detail. One time I was in court and found myself sitting next toa journalist from one of the tabloid newspapers. He was obviously boredwith the lack of juicy scandal and kept popping in and out of court. In one ofthe gaps in the proceedings I asked him if he’d been going out for acigarette. ‘Nah, love,’ came the reply, ‘I’m checking with my bookie whowon the last two races at Sandown Park.’ He then asked me if I fancied a beton the outcome of the trial and could I tell him what he’d missed while hewas outside on the phone. British journalism at its finest.Anyway, the cases described below did get to court. The judgements inthese cases helped to establish what lies behind the relationship in legalterms, what duties the manager has towards an artist, and what is acceptablein a management contract.Gilbert O’Sullivan Case2Gilbert O’Sullivan signed a management contract with ManagementAgency and Music Limited (MAM) in 1970. He was young and unknownat the time and had no business experience (this theme comes up timeand time again in music disputes). MAM and the man behind it, GordonMills, already had an international reputation. Mills managed thesuperstars Tom Jones and Engelbert Humperdinck. Through MAM Millsalso had interests in a number of other music companies.O’Sullivan trusted his manager completely and, at Mills’ suggestion,he also signed recording and publishing contracts with those relatedmusic companies.O’Sullivan didn’t have any independent legal advice on thesecontracts. He wasn’t told that it would be a good idea for him to get suchadvice. It seems that he trusted Gordon Mills to such an extent that itdidn’t cross his mind to get a second opinion. If his manager told him todo something, then he did it.The agreements tied O’Sullivan to Mills and to his companiescompletely, and the terms were far worse than if O’Sullivan had donethe deals with independent companies and if he had taken independentadvice.O’Sullivan’s debut single on MAM was the very successful ‘NothingRhymed’. Early UK successes were followed by a Top 10 hit in the USwith ‘Alone Again (Naturally)’. In 1972 he had two No. 1 singles in theUK with ‘Clair’ and ‘Get Down’. His second album reached No. 1 in theUK and he had a number of further hits.By 1976 O’Sullivan’s relationship with Mills had broken down; he’dlost his trust in him. This might have been because, for all these hits, hedidn’t seem to be making much money. He sued Mills, arguing that thevarious contracts should be treated as if they’d never happened (that theywere void), because Mills had used his position of trust with O’Sullivanto wrongly influence him to sign them. He also argued that the terms ofthe contracts were so unreasonable that they unfairly restricted hisability to earn a living. These concepts of undue influence andunreasonable restraint of trade come up often in music contract disputes.The court decided that Mills did owe a duty to O’Sullivan. This iscalled a fiduciary duty – a duty to act in good faith. Mills had a duty toput O’Sullivan’s interests first. The court also decided that the contractswere void and could not be enforced. If O’Sullivan chose to ignore them,Mills couldn’t do anything about it. The court tried to put O’Sullivanback in the position he would have been in had the contracts not beensigned. It ordered all copyrights that had been transferred (assigned) byO’Sullivan to be returned to him as well as all master recordings of hisperformances.This was a dramatic decision and it caused uproar in the musicbusiness. Record and publishing companies were afraid that, if thisdecision were allowed to stand, there would be a rush of other artistsmaking the same claims and trying to get their rights back. They knewthat many of the contracts around at the time were no better than thosethat O’Sullivan had signed. They were really worried that all the dealsthey had done for the records or songs would be void and unenforceable.It’s no exaggeration to say that the whole basis of the music business,and the financial security of many companies, was at risk.The AppealUnsurprisingly, Mills and his associated companies wanted to have thisdangerous precedent overturned. They appealed against the decision thatthe companies owed any duty to O’Sullivan. They argued that the recordand publishing companies had not used any influence over O’Sullivan.They also argued that the contracts should be declared void able and notvoid from the outset. If the Court of Appeal agreed with them, thecontracts would be valid but could be set aside later if they were foundto have been signed through undue influence or to be in unreasonablerestraint of trade. Because the companies had already acted as if thecontracts were valid, they argued it would be impossible to returneveryone to the position they would have been in had the contracts notexisted. They said that the copyrights and master recordings shouldn’t bereturned to O’Sullivan, but that he should be compensated by payment ofdamages.In a very important decision for the music business, the Court ofAppeal decided that the associated companies did owe a fiduciary dutyto O’Sullivan, because Mills was effectively in control of thosecompanies and was acting in the course of his employment by thesecompanies when he used his undue influence over O’Sullivan. The courtalso confirmed that it was possible to set these contracts aside, even ifthe parties couldn’t be put in exactly the same position they would havebeen in had the contracts not been signed. The court thought that thiscould be done if it was possible to reach a ‘practically just’ result forO’Sullivan.So far so good for O’Sullivan, you might think. His lawyers musthave thought they were home and dry, but there was a sting in the tail.The Court of Appeal decided that a ‘practically just’ solution would befor the copyright in the songs and master recordings already in existenceto remain with the publishing and record companies, subject to suitablecompensation for O’Sullivan. They also said that the contracts were voidable rather than void, that they were an unreasonable restraint of histrade and that O’Sullivan was freed from them but only for the future.What he’d written and recorded before stayed with the record andpublishing companies.The music business breathed a collective sigh of relief. The refusalof the Court of Appeal to order the return of the copyrights has made itvery difficult, if not impossible, to successfully argue for a return ofcopyrights in cases of undue influence or unreasonable restraint of trade.Joan Armatrading3At about the same time, another important case was reaching the courts.It involved Joan Armatrading.Joan Armatrading is a singer-songwriter who is still recording andperforming today. The case was about an agreement that Armatradingsigned when she was young and relatively inexperienced and before shebecame famous. There’s that theme again.Stone was a partner in the Copeland Sherry Agency, which hadsigned a management agreement with Armatrading in March 1973. Thiswas shortly after she released her debut album Whatever’s For Us,which was produced by Gus Dudgeon, who also worked with Elton John.Copeland is Miles Copeland, who managed The Police and Sting forsome time. Stone advised Armatrading on business matters. She tookcharge of most creative issues herself. It seems she was confidentenough to select the studios and producers she wanted to work withwithout needing advice from her managers, but didn’t have a clue whenit came to the business end of things.In 1975 Armatrading released her second album Back To The Night.It didn’t reach the charts. She then began work on an album that turnedout to be the first to bring her properly to the public’s attention.In February 1976, as the term of the original management contractwas about to run out, she signed a new contract under which Stone wasto manage her on his own. He may have been worried she would go offto another manager when the original contract ran out and just as hercareer was starting to take off. Although he denied that in his evidence,the album that she released in 1976, Joan Armatrading, went into theTop 20 in the UK and one of the singles released off it became her mostfamous and successful song. It was called ‘Love And Affection’ and itreached the Top 10.Things continued to go well for her at first and in 1980 she releasedher most successful album to date, Me Myself I, which also contained thehit single ‘All The Way From America’. Shortly after that she seems tohave become disillusioned with Stone and commenced proceedings forthe management contract to be declared void on the grounds that Stonehad used undue influence to get her to sign the contract and that theterms were unreasonable and a restraint of her trade.It became clear from the evidence given in the case that the lawyerwho drew up the contract had been introduced to Armatrading by Stoneand had done some work for her. Coincidentally, I worked with thatsame firm of lawyers for a couple of years. The contract was done beforemy time there, but the court case was going on when I was there and Iknow it caused a lot of strain on everyone concerned. When preparingthe management contract, it seems the lawyer acted on the instructionsof Stone and not Armatrading. In particular, Stone asked for two specificthings to be added to the draft contract. The lawyer billed Stone for thework and it’s clear from the description on the bill that he thought hewas acting as Stone’s lawyer.At a meeting on 4 February 1976 at the lawyers’ offices,Armatrading received a copy of the draft contract to take away with her.She returned the next day to sign it. She didn’t ask for any changes to bemade to it.Stone claimed that the lawyer acted as lawyer for both of them.When he gave evidence the lawyer said that he thought he was justacting as lawyer to Stone. A very confusing state of affairs. Stone andArmatrading were both present at the meeting with the lawyer on 4February when the contract was discussed. That must have been veryawkward. If a manager turns up at a meeting I’m due to have with anartist to discuss a management contract, I insist on him staying outsidewhile I take the meeting. I can’t be open with the artist about what Ithink about the contract or the manager if the manager is in the sameroom. The same would apply the other way around.The contract was strongly biased in Stone’s favour. It was for fiveyears and during that time Armatrading was exclusively tied to Stone asher manager. The contract didn’t say that Stone had to do very much atall for her. He could manage other artists. He was to be paid amanagement commission of 20% (which, as we will see, is quitecommon) but 25% on any new recording or publishing deals she signed(which is not). He got 20% commission on touring whether or not thetour made a profit. The court thought this was particularly harsh, as wasthe fact that Stone’s right to commission was open-ended. For example,if Armatrading signed a new record deal in year three of the five-yearmanagement term, Stone would be entitled to 25% commission. H emight stop being her manager two years later, but he’d still go onearning at 25%. If Armatrading got herself a new manager and henegotiated some improvements to the recording contract in return for,say, a two-year extension on the record deal, then Stone and not the newmanager would get commission at 25% on the extended term. Not muchof an incentive for the new manager (or expensive for Armatrading ifshe had to pay out two lots of commission to the original and the newmanager).When he gave evidence, Stone agreed that he knew that he had a dutyto act in Armatrading’s best interests and that she had trust andconfidence in him. This fiduciary duty already existed when the 1976management contract was being discussed. Stone knew that his interestsunder this contract were not the same as Armatrading’s and yet he stillseemed to think that the same lawyer could act for both of them.Stone admitted that it was very likely that Armatrading didn’t realiseshe should have separate legal advice. Even though he accepted hisfiduciary duties existed, he didn’t seem to accept the idea of a conflict ofinterest and couldn’t seem to see that if something in the managementcontract was in his interests it would not necessarily be in Armatrading’sbest interests. This doesn’t mean that a manager can’t look out for hisown interests just that it’s up to him to make sure that the artist hasseparate advice and is able to come to an informed decision.The court found Stone’s evidence very contradictory. It decided thatArmatrading relied heavily on Stone in business matters. She trustedhim and he’d told her that he would look after her. The court thought itwas clear that he had influence over her. She didn’t look at the detail ofthe contract. She relied on Stone, who told her that it was a standard andfair contract, even though he had asked for two specific changes to bemade to the draft.The court decided that the contract should be set aside by reason ofundue influence by Stone. The terms of the contract were said to beunreasonable (‘unduly onerous and unconscionable’ in the words of thejudgement). The contract was void able and not void from the outset. Onthis point they came to the same conclusion as in the O’Sullivan case.The fact that Armatrading didn’t have separate legal advice was seenas very important. On its own this wouldn’t have been enough to setaside the contract. For example, if the contract had been a perfectlyreasonable one, so that any lawyer who advised on it would say it was allright to sign it, then the absence of that advice wouldn’t have been fatal.The absence of separate legal advice coupled with the particularly harshterms of the contract was enough to convince the court to set it aside.The court found that, although she had some experience of the musicbusiness, because she concentrated on the creative side it was importantthat she be given a proper understanding of the business side of thecontract. She hadn’t understood the implications of the open-endedcommission clause and hadn’t been able to form an independent viewafter full, free and informed thought. She had signed the contract relyingon her manager’s claim that it was fine. He had failed in his fiduciaryduty to her. She was freed from the contract and went on to recordseveral more successful albums.Although this case wasn’t reported in the Law Reports, it had a verysignificant and practical effect on management contracts. We lawyersstill use it as a yardstick to measure the reasonableness of managementcontract terms. It’s also quoted as an authority for saying that artist andmanager should have separate lawyers when discussing the managementcontract and whenever their interests are not the same.After this case it became usual to add a clause to managementcontracts saying that the artist has been advised to take independentlegal advice. I don’t think this goes far enough. Just advising someonethey should get advice and then not making sure that they do is not goodenough. I think that the manager should insist on the artist havingseparate legal advice from a lawyer who understands the music business,and should make sure he understands what he’s being asked to sign.The Armatrading case also cast doubt on whether a five-year contractterm was reasonable. After the case, some managers decided to go for ashorter term or otherwise tried to make their contracts more reasonable.No manager wants to risk having an artist walk away from amanagement contract at the height of his or her success. However, as weshall see below, the trend these days is back to longer minimummanagement terms.The judge was also quite critical of the 25% commission rate on newrecord and publishing deals (25% rates are now rare, but do stilloccasionally occur). He was even more concerned about the fact thatStone took commission on touring money even if the tour made a loss.Music business lawyers reacted to these criticisms by introducing newprotections for artists in this area.Elton John4Another case on management contracts that was reported in the tabloidsas well as the Law Reports involved Elton John.Elton John signed a series of publishing, management and recordingcontracts starting in 1967, when he was still under age and unknown.Although these themes come up quite often in these cases, each caseplayed its own part in developing how the business operates and howcontracts have to be adapted to deal with criticisms made by the judges.Elton John and his lyricist, Bernie Taupin were originally taken on asin-house writers for James’s new publishing company, DJM. It’s saidthey were on wages of £10 per week. It took quite a while for them to becommercially successful. The first successful album was produced byGus Dudgeon and was called Elton John. The 1972 album contained thenow-classic work ‘Your Song’. Seven consecutive No. 1 albumsfollowed in the next seven years.Although Elton was making a lot of very successful records, hedidn’t seem to be seeing much of the proceeds. For example, thepublishing set-up consisted of a number of interrelated companies, eachtaking its own slice of the income, so that a very small amount was leftfor Elton. What he did get he had to pay management commission on.He sued to try and recover his copyrights and damages for backroyalties. He relied on the tried and true arguments that he had signedthe contracts under undue influence and that they were an unreasonablerestraint of his trade.He hadn’t taken separate legal advice before signing any of thecontracts. He’d placed trust and confidence in James. The contractsweren’t as beneficial for him as they could have been had they been withindependent companies. The publishers could take rights in his songsand not have to do anything with them. They could be shut away in adrawer and never seen again and Elton couldn’t do anything about it. Hewas also signed up exclusively, so he couldn’t take his songs to anothermusic publisher.The court decided that in these circumstances it was to be assumedthat there was undue influence at work and that it was up to the managerto show that he didn’t use his influence in the wrong way. The courtfound that James had failed in his fiduciary duties to Elton. It felt thatJames couldn’t be acting in the best interest of Elton if James’spublishing and recording companies were also entering into contractswith him. How could James be advising Elton as his manager while healso had an interest in making as much money as possible for his recordand publishing companies out of those contracts?Once again, the decision in this case had a knock-on effect on themusic business. It was fully reported in the Law Reports, so hadauthority and it confirmed the existence of the fiduciary duty owed notonly by the manager, but also any companies under his control. It alsobrought home the importance of separate legal advice.The other important thing it changed was what happens where yourmanager also has a record or publishing contract that he wants you tosign up to. If your manager also has an interest in a record or publishingcompany, the management contract will now usually ask the artists toconfirm that he won’t consider it a failure of the manager’s fiduciaryduty to him if he signs up to the record or publishing company on themanager’s advice. I don’t think this would be enough to get the manageroff the hook if he did, in fact, break his duty to the artist especially if theartist hadn’t had separate legal advice. There’s also usually a clause thatsays the manager can’t take a double hit on the income from the recordor publishing deals. For example, if the artist releases a record on themanager’s record label, the manager should get his money from therecord label’s profits on the record sales. He shouldn’t also take amanagement commission on the artist’s record royalties. As we shall seebelow this blurring of the edges between the roles of managers isbecoming a key issue and a potential future problem area.WHAT TO LOOK FOR IN A MANAGERThis all depends on what you expect your manager to do for you. You mayonly need a manager to advise you on business matters. You may want thatbut are also looking for creative advice, comment and guidance. Some artistsalready have a clear idea of what they are doing creatively and have a goodbusiness sense and grasp of contracts. They don’t want an all-round managerand may only be looking for a good organiser. We saw in the Armatradingcase (above) that Stone only looked after Armatrading’s business interests.She looked after the creative side herself. This tends to only apply to moreestablished artists. Those who are new to the business tend to look for all thehelp they can get from a manager.You may be looking for a svengali, someone who will come up with thecast-iron plan for world domination in three years. Such managers do exist,for example, people like Tom Watkins, who has successfully managed actslike The Pet Shop Boys and Bros to considerable success and Nigel Martin-Smith who masterminded the early days of Take That and Jonathan Shalit anearly manager of Charlotte Church and now behind several successful R’n’Bacts. Then there are managers like Simon Fuller, whose marketingbackground meant that he could see the worldwide possibilities of an act likeThe Spice Girls and S Club 7 and more recently the first album by AmyWinehouse and the career of Will Young.When you expect a manager to devise an all-encompassing game planand then to implement it, you can’t expect to get away with no effort on yourpart. You and your manager will have to put enormous amounts of time andenergy into making the plan work and both of you must completely buy intothe whole idea behind it. There is, of course, also the type of artist who’sbeen formed for a particular purpose, such as TV-based acts like S Club, orthose who have won reality TV competitions such as The X Factor. Providedthe artist fits in with this game plan then all is well. It’s only when the artist,or one or more members of the group, starts to rebel or baulk at the situationthat problems occur. Bands that have come together for the purpose of a TVshow struggle when it comes to the cut and thrust of the music industry andit is rare for them to have a career beyond the album that comes out quicklywhen they win the competition. Interestingly, most of the successful artistsfrom these shows have been solo stars like Lemar, Kelly Clarkson and morerecently, Leona Lewis.IS IT ESSENTIAL TO HAVE AN EXPERIENCED MANAGER?Someone who hasn’t managed anyone before can make a good manager ifthey have the flair for it. They may have been a musician themselves, a tourmanager, a producer or may have worked in-house at a record or publishingcompany. Those with a marketing background can be very useful indeveloping a strategy to get you noticed. These people will have seen howthe music business works and can bring valuable experience to the job ofmanager. However, their skills are not necessarily those that make a goodmanager, so be careful. On the other hand, a manager may be experiencedand still not right for you because his experience is in a different arena (forinstance, as a tour manager) rather than skilled in managing an artist’scareer. So take your time before making up your mind.QUALITIES TO LOOK FOR IN A MANAGERThe manager has to be a diplomat, motivator, salesman and strategic planner– and has to have the patience of a saint.Record and publishing companies like to have managers around to act asmiddlemen so they don’t have to have unpleasant conversations with you.They’d like you to choose someone who’s already successfully steered anartist through getting a deal, getting a record made and who’s already donethe whole touring and promotion side of things. This doesn’t mean to saythat they won’t work with an inexperienced manager, just that they wouldprefer one who was not. They would also like you to be managed bysomeone they already know, someone they know they can work with. Thisdoesn’t necessarily mean that that manager will be in their pocket. It couldmean that they have a healthy respect for him for being tough but fair,someone that gets the job done, but if you are being pushed by your recordcompany towards a particular manager, take the time to stop and ask whyand to do some research of your own before meekly accepting their choice.There is a growing trend amongst major labels to seek to reduce their risksby only working with artists who have a manager on board that they like orwith whom they have an existing relationship. This can work well but youneed to be sure the manager has the necessary degree of independence.WHAT DOES A MANAGER DO FOR YOU?PERSONAL MANAGERSA personal manager looks after your day-to-day needs. This usually includessome advice on the creative side of things. The personal manager also actsas go-between with the record and publishing companies and the outsideworld. This might involve working with you on creative issues such as thechoice of songs. A personal manager is also usually someone who organisesyour life and tries to make everything run smoothly. They put into actionplans others have come up with. They don’t necessarily get involved in day-to-day business decisions or strategic plans.BUSINESS MANAGERSA business manager doesn’t usually involve himself in the day-to-daybusiness of running your life. It’s the job of the business manager to workout where you should be in terms of business planning and to help you putthe plan into action. He will liaise with the record and publishing company,but usually more at the level of negotiating deals, changes to the contracts,setting video and recording budgets and getting tour support when it’sneeded.It’s much more common in the US to have a separate business andpersonal manager. There the business manager is often an accountant orfinancial adviser. The idea of these roles being filled by different peoplehasn’t yet become popular in the UK. What tends to happen here is that oneperson will do both jobs, sometimes with the assistance of a personalassistant (see below) or you have co-managers with complementary skills.If you do have separate business and personal managers, you need to besure that you’re not paying too much by having two people on board insteadof one.Don’t assume that because you have a business manager you can doaway with the need for an accountant. You will need one to oversee your taxand possibly VAT returns and someone to prepare company or partnershipaccounts. Bear this in mind when you agree what to pay your businessmanager. If you’re paying your business manager 20% of your income, yourpersonal manager another 10% and then paying an accountant, that’s not agreat bargain.The manager is there to advise you, to guide you through your career inthe music business. A successful career as a performer or composer can leadinto other areas such as films, television, writing or modelling. One of themany things you have to consider in choosing your manager is whether themanager can also look after these other areas of your life.The manager should spend a reasonable amount of time on your affairsand your career. He should help you to get a record and/or publishing deal,live appearances, sponsorship and merchandising deals.The manager should advise you whether or not you should take up aparticular offer. It may not fit in with the game plan that you and themanager have worked out. Putting together that game plan is a veryimportant job for your manager. You and he need to be on the samewavelength on it.PERSONAL ASSISTANTSAs you become more successful, so the manager may employ someone to actas your personal assistant (PA). If the PA is working full-time for you, themanager will expect you to pay their wages. If they work some of the timefor you and the rest on general work for the manager or for other acts that hemanages, then the cost is likely to be shared between you. If the PA worksmost of the time for the manager and only occasionally runs errands for you,then you would expect the manager to bear all the cost.FIDUCIARY DUTIES AND PROBLEMS WITH BANDSAs we saw in the section on the cases (above), the manager has to always actin your best interests. He has a fiduciary duty to you, which means that hehas to always act with the utmost good faith towards you.This duty can cause problems when dealing with a band. Something thatmay be good for the band as a whole may not be good for one of the bandmembers. There’s a very narrow line that the manager has to tread.Sometimes you may feel that the manager has stepped the wrong side of thatline.This issue was one of several behind a dispute between Nigel Martin-Smith and Robbie Williams.5The Robbie Williams management caseI have to declare an interest here, as this was a case I inherited when Ibecame Robbie’s lawyer a few years ago. Martin-Smith was the managerof Take That from the early days to the height of their success. TakeThat was made up of five members, including Robbie. He became fed upat the direction his life was taking and was thinking about leaving theband. His version of events is that he was prepared to see hiscommitments to a major tour through to the end before leaving the band.He says that, on advice from Martin-Smith, the band sacked him. Theother members and Martin-Smith say he walked out.When Martin-Smith later sued Robbie for unpaid commission(Robbie had refused to pay him), one of the arguments that Robbie usedwas that Martin-Smith had failed in his fiduciary duty to Robbie and wasnot acting in his best interests in advising the band to sack him.Martin-Smith acknowledged that it was very difficult in suchcircumstances to advise a band when he also had a duty to each of themas individuals. He admitted that he had had discussions with the otherband members about Robbie and how disillusioned he was, but he saidhe also tried to advise Robbie on what was best for him. He said that hehad acted in the best interests of the band as a whole, while trying tobalance this against the interests of the individual members. He deniedthat he’d advised the band to sack Robbie.The judge accepted his evidence that he had acted in good faith andwas not in breach of his fiduciary duty to Robbie. The judgeacknowledged the difficulties that a manager faces in suchcircumstances, but decided that in this case Martin-Smith had stayed theright side of the line.If you’re in any doubts as to the good faith of your manager, you should seekindependent advice, if only to be aware of your legal position.NEW BUSINESS MODELSThere is a growing trend for managers to also take a financial interest andpossibly ownership of rights in some other capacity. For example, a managermay say that he also wishes to act as your record label or your publisher.These are big issues and are driven by the fact that as manager he doesn’thave any ownership of rights and can only take a financial cut on cataloguesales of records or songs for so long as his management contract allows.Some managers now feel that is not enough. They say it is taking longer toget an artist a deal and each album is taking longer to make and thepromotion associated with it is even longer. On a basic three or even fiveyear management term the manager may, at best, only get paid on songs andrecordings on a couple of albums. Some managers want more. They are alsoaware of the personal nature of management contracts and that their artistmay leave so they seek to gain some future security through ownership ofrecordings or of rights in your songs. Whilst the commercial reasoningbehind these actions is easy to see it doesn’t necessarily mean it’s a goodthing. The skills that a manager brings to bear may not be the same ones thatare needed to successfully release and sell records or promote uses of songs.If the manager has to bring in others to fill some of his skills gaps or to fillthese roles overseas then the artist./songwriter may lose out financiallyand/or have to wait longer to be paid.There is also the big problem of potential conflicts of interest. As amanager he has to put your interests ahead of his own. What would happen ifhe felt, as your publisher, that it would be best for you to put one of yoursongs in an advert for a particular brand of lager as it would earn a lot ofmoney but you feel that this would jeopardise your image as an artistpopular with the 12–15 year age group. Who would fight your corner?Finally, there is also the issue of the manager having more than one sourceof income i.e. he has his management commission on your earnings but alsohis profits as your record label or publisher. It is very important that themanagement contract doesn’t allow the manager to take commission on anysource of income that he has other interest in e.g. record sales or incomefrom songs.Seal v. Wardlow6A recent case on this point is that of Seal v. Wardlow. John Wardlowbegan working with Seal who was then an unknown artist in 1987. MrWardlow provided studio time, instruments and musicians free ofcharge. Over the next two years he helped Seal to record some demosand in time his role grew into that of a manager. He had very littleexperience of management but that in itself is no bar to being a goodmanager in this industry. The efforts of Mr Wardlow did not at this timeresult in any deal from a record label or publisher and in 1988 MrWardlow went into business as a music publisher himself as part ownerof the company Beethoven Street Music. That company entered into apublishing agreement with Seal to publish his songs. Seal had legaladvice before signing that deal. The following year Seal collaboratedwith Adamski and they had a number one hit single with ‘Killer’. In1990 Seal signed a record deal with ZTT Records and a couple of monthslater finally signed a written management agreement with Mr Wardlow.That deal allowed for Mr Wardlow to receive commission at 20% onSeal’s income including publishing monies. As we will see below as MrWardlow also benefited as publisher it is usually unacceptable for him toalso then take commission on the publishing money paid to the writer. Inthis case this so-called ‘double-dipping’ went on for some time. By 1995Seal felt he had outgrown Wardlow’s capabilities as a manager andended the management agreement. Seal continued with moreexperienced US management and a settlement agreement was enteredinto between him and Wardlow in 1995. He continued to pay MrWardlow in accordance with that settlement through to 2000 when hestopped. Mr Wardlow sued for what he said was properly due to him.Seal was trying to get out of his agreement to pay on the basis amongstother things that Mr Wardlow had used undue influence when in 1988 hehad gone behind Seal’s lawyers back direct to Seal to persuade him toenter into the publishing agreement and accept the double-dipping. Thejudge said that Wardlow had not convinced him that he had not usedundue influence in relation to that agreement. But the judge thought itwas academic as the settlement that they had entered into in 1995 put inplace new arrangements, was not a variation of the original agreementand superseded it. The settlement had not been entered into using undueinfluence; Seal has independent advice and the help of his moreexperienced new manager. It was a settlement by which Mr Wardlowgave up rights to income from future albums and the settlement wasmeant to draw a line under these issues.Seal did not accept the decision and appealed to the Court of Appeal.In February 2007 the Court of Appeal upheld the earlier decision of Mr JGray and went slightly further to say that it did not matter if thesettlement was a variation of the original agreement or a new set ofarrangements; it was intended to replace the earlier agreement and wasnot entered into through undue influence. The Court of Appeal judgesfelt that by 1995 Mr Wardlow could not have been in a position of trustand confidence with Seal to exercise undue influence; by that time hewas no longer the manager.Some commentators have suggested that this case now takes overfrom the Armstrong v. Stone case (above) as the definitive view onundue influence in management cases. In fact the two continue to existside by side as the judge in this later case found that there was a cleardistinction between the two cases on their facts and on what was in thetwo management contracts so a direct comparison could not be made.Some managers are better than others at walking the delicate tight-rope here.For example, the 19 Entertainment Group, (formerly owned by Simon Fullerand sold in March 2005 to a US investor on condition that Fuller remains onboard and which he is apparently now in the process of buying back), hasmanagement contracts with artists but often also acts as record label andmusic publisher and sometimes as a merchandising/sponsorship company.But the management contract is then only for the remaining activities e.g.live work and there is therefore no conflict of interest or double-dip of themoney. In theory the artist can bring in other managers to look afterrecording, songwriting, merchandising activities etc., in practice few artistsdo so.There are other managers who are not so fastidious in keeping the linesclearly drawn as the Seal case shows.It is a fact of the current business that such arrangements exist and youmay well be offered such a deal and may have no alternative than to accept itif you want to work with a particular manager. Many of these arrangementswork very well but before you go into them take legal advice and be awareof potential pitfalls.WHAT IS IN A MANAGEMENT CONTRACT?Once you’ve found yourself a manager you think you can trust and who willdo a good job for you, you need to think about putting a contract togetherbetween you.What you want out of this contract will be different depending onwhether you are an artist or a manager. In what follows I’m going to look atthings from the artist’s viewpoint, but in my time as a music lawyer I’veacted for both artists and managers and so I’ll try to present both sides of theargument.INDEPENDENT LEGAL ADVICEAs we’ve already seen, when negotiating a management contract the artistmust have separate legal advice. The manager may decide not to take legaladvice at all but this is rare. He may be experienced enough to feelcomfortable with the deal he’s prepared to do and doesn’t need advice. Ifhe’s experienced with management contracts this isn’t really a problem. Ifthe artist decides that he doesn’t want legal advice, then this is a problem forthe manager. The manager should insist on you getting separate advice fromsomeone who is familiar with the music business and with managementcontracts.What if you haven’t got the money to pay for a lawyer? The Musicians’Union (MU) has a limited free legal advice service for its members, but youcan’t expect it to be as detailed as if you were paying proper rates for it andit may take some time for you to get the advice (contact details are in UsefulAddresses). The Music Managers Forum has forms of management contractsthey recommend to their members, and which are drafted from themanager’s perspective and so may need adjusting if you are looking at itfrom the artist’s viewpoint.Some managers will lend you the money to take independent legaladvice, because it’s in the manager’s interests to make sure you’re properlyadvised. If the manager does lend you money to get a lawyer, he will usuallyput a limit on how much he’ll contribute. You’ll either have to get thelawyer to agree to do the work for that much or you’ll have to put some in aswell. The manager will get his contribution back out of your first earnings.Your lawyer may agree to accept payment by instalments if you ask and ifhe thinks he’ll get more work from you in the future.TERRITORYThe first thing you have to decide is what countries the contract will cover.We call this the territory of the deal.The manager will probably want to manage you for the world. This isn’tjust so that he can get as much commission as possible, although that is afactor. He may want to keep overall control of the game plan, which hewon’t be able to do very easily if he only manages you for part of the world.You may be fine about this because you’re confident that he can lookafter your interests around the world. But you must bear in mind that theway the music business operates, in the US in particular, is very differentfrom the UK. Does the manager have an office in the States? Does he havean associate there? Or will he be spending half his time on planes crossingthe Atlantic? If he is, who’s going to end up paying for that? Sometimes it’llbe the record company, sometimes it’ll be part of a tour budget, butsometimes it’ll be you.If you don’t think that the manager can successfully look after yourinterests worldwide, you could insist that he only manage you for part of theworld, for example, the world outside North America.Even if you aren’t sure he’s up to being a worldwide manager you couldinitially give him the benefit of the doubt. You could make it a worldwidedeal to start with and, if he’s not up to it, you could insist that he appoint aco-manager, probably for the US but possibly for other parts of the world,like Japan, to look after your interests there. This is a very personal thingand both you and your manager should agree the identity of this person.The co-manager is usually paid out of the commission you pay to themanager. Apart from the co-manager’s expenses, you shouldn’t end uppaying out more in total commission just because there’s a co-manager onboard.There are several ways that the manager and co-manager can split thecommission between them. They could just take the total worldwidecommission and split it down the middle. They could each just takecommission on the income earned by you in their particular areas of theworld. For example, the co-manager could take commission on the incomeyou earn in North America and your original manager on the rest of theworld income. The manager could decide not to share his commission but toput the co-manager on a retainer or pay him a fee. It’s a complex subject andthe manager should take legal advice on it.ACTIVITIES COVEREDThe next thing to think about is whether the contract will cover everythingyou do in the entertainment business or just your activities in the musicbusiness. You might start out as a songwriter or performer and later moveinto acting or writing books. The manager may be perfectly capable ofmanaging you for all those activities, or he may be an expert at the musicbusiness and know nothing about the business of writing books or acting. Ifyou’re not convinced he can look after your interests across the whole of theentertainment industry you should limit it to the music business only. Themanager may be unhappy about this. He may think that it will be hismanagement skills that will help turn you into a success in the musicbusiness which will in turn open doors to acting or writing books. He mayfeel that he should share in your income from those other activities. On theother hand, you may be concerned that he’s not up to representing yourinterests and may want a specialised acting or literary agent involved.Many managers will agree to compromise and say they have noobjection to you bringing in specialised acting or literary agents if you areacting in roles or writing books that have nothing to do with you being asuccessful musician or songwriter first. If the acting role or book is directlyconnected to the fact that you are an artist, they will want to share thatincome and manage those projects. For example, if you are asked to write abehind-the-scenes look at your time out on the road with the band, themanager will expect to take commission on your income from that book. If,however, you are asked to write a book on climbing in the Himalayas thatclearly has nothing to do with your fame as a successful musician orsongwriter, the manager may agree not to take commission on that income.By the time you get a manager you may already have establishedyourself in another part of the entertainment business. For example, you mayalready be a successful TV actor or model. The manager may agree not tomanage those areas of activity. He may also agree not to manage or takecommission on work that comes from a particular contact or source of work,such as a recording studio, that was in place before he came along. If,however, you ask him to manage projects that come from that source,perhaps by chasing them for payment for you, then it’s only reasonable thatthe manager should be allowed to take commission on that work.EXCLUSIVITYOnce you’ve decided what activities he’s going to manage and in what partsof the world, the manager will expect to be your only manager for thoseactivities and those areas. He will want to be your exclusive manager. Youwill not be able to manage yourself or to ask someone else to manage aparticular project unless he agrees. This is not only reasonable it’s practical.You can’t go around accepting work without referring it to your manager asit might clash with something he is putting together for you.KEY-MAN PROVISIONSWhat happens if your manager manages other acts or is part of amanagement company that manages a number of people? How can you makesure he’ll be there for you when you need advice? How do you make sureyou aren’t fobbed off on to someone else because your manager is busy withthe others he manages? Well, first of all you make sure that yourmanagement contract says that he has to spend a reasonable amount of timeon a regular basis on managing you.You could possibly go further and insist on what we call a ‘key-man’clause being put into the contract. I believe this term comes from insurancepolicies that are taken out on the life of key individuals in an organisation,which pay out if the key-man dies or is unable to work. You name themanager as a key-man and say that if he’s not available to you as and whenyou need him, you can bring the contract to an end.Your manager may be very flattered at being named as a key-man, but heor his bosses may feel that it’s a bit harsh to allow you to end the contract soabruptly. He may want to say that you can only terminate the contract if hehas regularly not been available to you or has been unavailable to you forover, say, six weeks at a time. You have to be sensible about this. If you’reburied in a residential studio in the depths of the country, writing orrehearsing material for your next album, it may not be reasonable to expectyour manager to be there all the time. If you’re in the middle of a majorrenegotiation of your record contract, however, you can reasonably expecthim to be around.These key-man clauses are also sometimes put into record or publishingcontracts, but the companies hate them because they give the artist and thekey-man a huge amount of power. If they sack the key-man you can end thecontract. Unconfirmed rumour has it that the band Oasis had a key-manclause in their record contract with Creation Records. When Sony firstlooked to buy the remaining shares in Creation that they didn’t already own,they are said to have had to rethink things because Oasis could have walkedout of their contracts at the height of their success if the key-man at CreationRecords, Alan McGee, was no longer in control at the label. So it seems theyhad to do a deal with either Oasis at Creation or Alan McGee or with both. Itis becoming increasingly difficult to get such provisions as the industrybecomes more uncertain as to its future profitability and instances like thisdon’t help.HOW LONG SHOULD THE CONTRACT RUN?The contract could be open-ended and carry on until one side or the otherdecides it’s over. This is a very confident position for the manager to take asin theory the artist could dump him just as things are starting to come goodand few are this brave.It could be for a fixed period of, say, one or two years and then, ifeverything is going well, could continue until one party wanted to end therelationship.More usually it’s for a fixed period of three to five years and at the endof that time the contract is renegotiated or it just ends.Until the early 1980s, terms of five years or longer were common, butthe Armatrading case cast some doubt on that. This is not the case in the US,where terms of five years or longer are still common and given that artistsseem to take longer to record and promote each album terms of five yearsare becoming very common In the UK too.I can usually be persuaded to agree to a three-year term with the managerhaving an option to extend it for one or two years. The right to exercise thatoption should be linked to the manager achieving something for the artist –what I call hurdles.HURDLESA hurdle could be that the artist has to have a record or publishing deal orhave earned a minimum amount of money within the first three years,although it’s difficult to say what the right minimum level of income is.It’s also possible to put hurdles in at an earlier stage of the contract. Youcould have a get-out if the manager hasn’t got you a decent record orpublishing deal in the first twelve to eighteen months. Or if he got you a dealin that time and it’s come to an end and he hasn’t got you another onewithin, say, six to nine months.ALBUM CYCLESThis is a US concept, but has gained ground among a number of UK lawyers,where the length of the contract is linked to an album cycle. An album cyclestarts with the writing of the songs to be recorded on an album, and runsthrough the recording of the album and all the promotion that then goes onafter its release. The cycle ends with the last piece of promotional work forthat album.My problem with it is that it’s very difficult to say how long it will last.You don’t know at the beginning how long it will take to write, record andpromote an album. I’m uncomfortable with agreeing to two- or three-album-cycle deals, which could easily run for five years or longer. If you’re offeredthis type of deal, I advise you to put a time backstop on it, for example, twoalbum cycles or three years, whichever comes first.ENDING THE TERM EARLYSometimes an artist or a manager wish to part company whilst the term ofthe contract still has some time to run. If it’s all amicable then that’s onething and an agreement on the manager’s share, if any, of future incomeearned by the artist can be reached and put in writing as you would in say anamicable divorce.If, however, one party wants to go (usually the artist) and the other(usually the manager) doesn’t agree or think there are any grounds for anearly termination, then the matter is more complicated. In such cases if asettlement can’t be reached by negotiation the matter ends up in court. Arecent case on this involved Australian singer, Holly Valance.Holly Valance caseIn November, 2003 the case brought by Holly Valance’s formermanager, Scott Michaelson, came to court. Michaelson was arguing thatValance had wrongly terminated the management contract with him inJanuary 2002 just as her career was taking off. Valance argued that shewas in the right in terminating the contract because Michaelson was ill-equipped to manage her burgeoning music career. Like her, Michaelsonwas a former actor in the Neighbours television soap. The court sidedwith Michaelson and found that the contract was unfairly terminated.Michaelson was claiming £160,000 in lost income plus a 20% cut ofincome from sales of her second album and exemplary damages.Sometimes you get a settlement which one party then becomes discontentedwith as in the Seal case above. That old adage of ‘where there’s a hit there’sa writ’ certainly seems to hold true.THE MANAGER’S ROLEI’ve already explained a little of what you can expect the manager to do foryou. What you can’t do, though, is list every single thing that you expect amanager to do. Murphy’s Law says that it will be the very thing that isn’tlisted that causes the problem. There are still some contracts around that tryto list things the manager is expected to do: for example, the manager willadvise on clothes, image, voice training etc. I think these have an old-fashioned feel about them. I end up imagining what the reaction would be ifthe Scissor Sisters’ or Magic Numbers’ manager tried to advise them ontheir stage image. My management contracts just say that the manager willdo all he reasonably can to further the artist’s career and to do all the thingsexpected of a manager in the entertainment or music business.WHAT IS THE MANAGER PAID?Some would say too much, but if you ever saw a manager working round theclock, seven days a week to make an artist successful, with not even a thankyou from him, you’d say it wasn’t enough. It is a measure of the fact thatmany managers are branching into publishing or setting up as productioncompanies that they are unable to make a good living from an averagelysuccessful artist once they’ve paid the staff, overheads and taxes.The average rate of commission for a manager is 20%. If you’re verysuccessful the 20% could be negotiated down to 10–15%. Some record-producer managers only charge 15% because, arguably, there is lessmanagement of projects or a career than there is with performing artists.Very few managers try for a 25% rate though there are some circumstancesin which it could be justified. The manager may have invested a lot of hisown money in making an artist successful and may want to get that back incommission as soon as possible. He may agree to reduce his commissiondown to 20% when the artist becomes successful and he’s got his investmentback.PERCENTAGE OF WHAT?A percentage of your gross income but net of some expenses is the simpleanswer. For example, if you were paid a £100,000 personal advance onsigning a record deal, the manager on a commission of 20% would take£20,000.What if you have to use some of that money to record your album or paya producer? What happens if you are advanced money by your recordcompany (which they get back or recoup from your royalties) to make avideo or to underwrite losses on a tour? Is it fair that the manager takes 20%off the top? The answer is no, it’s not. There are a number of exceptions. It’snot usual for the manager to take commission on monies advanced to you asrecording costs, video costs, and payments to record producers or mixers,sums used to underwrite tour losses and sometimes monies advanced to youto buy equipment.Example: The record company sets a budget of £200,000 for you to makean album, £50,000 to make a video and £100,000 for you to live on for thenext year. The manager usually won’t take commission on the £200,000 orthe £50,000, but will take commission on the £100,000, i.e. £20,000.Depending on the manager and the contract, he may say that if youdecide to use £20,000 of your £100,000 to buy some equipment, then that’syour choice and he’s still going to take commission on the full £100,000. Orhe might treat the £20,000 spent on equipment as an exception and take hiscommission on the balance of £80,000.Commission on earnings from live work can be a problem. The managerusually has to work very hard putting together and running a successful tour.He may feel that he should take his 20% off the top from the income thatcomes in from that tour. What if the expenses of putting on the tour are sohigh that the tour makes little or no profit? For example, you take £50,000 inticket sales and the expenses are £40,000. If the manager took his 20% offthe £50,000 (i.e. £10,000) there’d be £40,000 profit left, which would bewiped out by the expenses. As an artist performing every night of the touryou may start to resent the manager making £10,000 when you are gettingnothing. As we saw in the Armatrading case, the judge was very critical thatStone took 20% of gross income on touring regardless of whether the tourmade a profit.What tends to happen is that the manager takes his commission on netincome on live work after some or all of the expenses are taken off. Thereare various formulas to arrive at a fair compromise, your lawyer will advise.Trent Reznor Management DisputeIn June 2007 a US court awarded Trent Reznor of ‘Nine Inch Nails’approx. $2.9million in his claim against his former manager John Malm.He brought the case back in 2004 alleging that Malm had mismanagedhis finances and in effect defrauded the band out of money by trickingthem into signing a contract that gave Malm the rights to 20% of theband’s gross income as opposed to the net income. The manager claimedto have not taken advantage of this and that he had not actually collectedthe additional money. He also pointed out (presumably as evidence ofhis bona fides) that he had worked for no money for many years. Thecourt nevertheless found that he had taken funds that he was not entitledto and awarded the damages to Mr Reznor.This case shows the difficulties managers get into when they step outside theestablished norms.POST-TERM COMMISSIONThis means how long after the end of the management contract the managercontinues to get paid commission. It has two sides to it. Firstly, should themanager take commission on albums made or songs written after the end ofthe management term? Secondly, for how long should he earn commissionon albums made or songs written while he was the manager?WHAT IS COMMISSIONABLE?Until the early 1980s it was quite usual to see management contracts thatallowed a manager to go on earning on things the artist did long after he’dstopped being the manager. If he negotiated a five-album record deal whilehe was the manager and he stopped being the manager after two albums,he’d still take commission on the remaining three albums because thatcontract was done while he was the manager. Some contracts also allowedhim to continue to take commission after he stopped being manager ifsomeone else negotiated an extension of or substitution for that originalcontract. Again, because he had done the original work. This led to somevery unfair situations. The new manager had no incentive to improve upondeals because it was the former manager who got the commission. Artistsfound it difficult to get new managers and were forced to stay with theoriginal manager or the artist ended up paying out two lots of commission.This situation was strongly criticised in the Armatrading case and leddirectly to a change in the way UK managers operated and it is this aspectthat the judge distinguished in the Seal case in saying that the facts of thetwo cases were not the same. Managers now accept that they only getcommission on work done, recordings made and songs written while they arethe manager.How long should the manager continue to receive commission?After it was established that managers should only take commission on whatwas recorded or written while they were the manager, the question thencame up of how long they should go on earning commission on thoserecordings and songs.Some managers, notably Sanctuary and other ‘old-school’ managers, stilltake the view that they should go on earning commission as long as the artistgoes on earning income from a particular song or recording. It remains to beseen whether Sanctuary will continue to take this stance now that it is ownedby the Universal Music Group. I can see the logic in this but again it canlead to some unfairness. A manager might have only been around for onealbum’s worth of recordings. It may be a second manager that makes theartist successful. Fans of successful artists want to own all the artists’ backcatalogue of records and so buy the first album, or a track from the firstalbum may go on a Greatest Hits album. The first manager has done nothingto help ongoing sales of that first album. Should he get full commission onit? Most managers accept that after a period of time their influence cannotbe affecting continuing sales of early records, so they agree to a reduction intheir commission rate. Most also agree that it should stop altogether after agiven period. For example, the first manager could agree that hiscommission on the first album drops to 10% after five years after the end ofthe management term and stops altogether after ten years. This means theartist can give the second manager an incentive by giving him 10% of theincome on the first album after five years and 20% after ten years. Or theartist could keep the saving himself and give nothing to the second manager.These periods of time are negotiable. Some music lawyers insist that thecommission stop after two or three years. In my view this is far too short fora manager to be properly compensated for the work he has done. It may,however, be acceptable if the artist is established and successful and hasgreater bargaining power than the manager.WHAT HAPPENS IF THERE’S NO WRITTEN CONTRACT?A few managers prefer to work without any written contract. They saythey’d rather work on a good-faith basis, trusting you to do the right thing bythem. This is a comparatively rare situation but it is also possible for amanager to work for a trial period and then not carry on. Sometimes themanager just can’t get the artist to commit to a contract and carries onreluctantly without one. Even where there is no written deal you still have todeal with what the manager gets paid for the work he did. It is, of course,perfectly possible for there to be a verbal contract in place. The difficultywith verbal contracts is that it’s very hard to prove what exactly was agreed.If it’s not possible to show that there was any sort of agreement, themanager has to rely on what would be a fair price for the work he has done(a quantum merit claim). If you and the manager can’t agree this and there isa court case, the judge will take expert evidence of what’s usual in the musicbusiness and will make an order of what he thinks the manager should bepaid. The court will order payment for the work already done, but it’s rarefor them to order payments going forward. For example, if the manager got arecord deal for you then the court might order that he’s paid a percentage ofthe money payable on signing that deal; but rarely does it order that themanager is paid a share of ongoing royalties. So the manager wouldn’tusually get post-term commission. For these reasons it’s usually moreimportant for the manager to have a written contract to protect hiscommission on future royalty income than it is for the artist. However, bothsides may want the certainty of knowing where they stand and want to reachsome form of agreement.WHO COLLECTS THE MONEY?It’s very important to know who’s looking after the money. The managermay be unhappy at the thought of you looking after the money just becauseyou’re an artist. Artists are notoriously bad at hanging on to money (theysay). ‘They can’t even keep the money back to pay the VAT or the taxman;how can I trust them to keep enough back to pay me?’On the other hand, you may be very responsible with your money. Youmay not want your manager controlling your money, but also may not wantto have the bother of looking after it yourself.A compromise would be for you to appoint an accountant (see Chapter1). The money is paid into a bank account in your name that the accountantlooks after. The manager sends in an invoice for his commission andexpenses. The accountant checks the sums are right and writes out a chequefor you to sign. The accountant may also deal with the VAT and he’ll almostcertainly advise keeping some money back for tax. What happens with therest of the money depends on what you’ve told him to do. He could pay itinto another account for you or leave some in the bank account to meetexpenses.EXPENSESOn top of his commission, the manager is entitled to be repaid his expenses.That doesn’t mean everything he spends. The costs of running his business,his office, staff, computers etc. are all paid for by him. These are calledoffice overheads. If he pays for a taxi to pick you up from the recordingstudio or for a courier to deliver your demo recording to an interested A&Rman, then he will probably reclaim that money from you.He should keep receipts and bills and have them available for you oryour accountant to check. He should also agree that he won’t run upexpensive items in expenses without checking with you first. I wouldn’texpect him to buy a plane ticket to New York without checking that you’reall right with him spending your money in that way. On the other hand, it’snot practical for him to have to come running to you for every small item ofexpenses, in which case you might agree a float account. This is a specialaccount with a fixed sum of money, say £500, in it. The manager isauthorised to draw money out of that account for expenses and the account isthen topped back up to £500 on a regular basis, like a float in a till of a pubor shop.TAXYou are responsible for your own tax and National Insurance and for payingyour VAT. Don’t expect the manager to do it for you. As we saw in Chapter1, your accountant is a very important part of your team. Your accountantmay keep the books, do the VAT returns and prepare the tax return for you.This doesn’t mean you can sit back and do nothing. You have to tell youraccountant what has come in and give him receipts for anything he might beable to reclaim or recharge. Your accountant will also advise what you canexpect to have to pay in tax and ways in which you can, legitimately, pay aslittle tax as possible. But remember, there are, they say, only two certaintiesin this world – death and taxes.SIGNING AGREEMENTSIt’s practical to allow the manager to sign one-off short-term contracts in theartist’s name. For example, when you do an appearance on Later with JoolsHolland or The Jonathan Ross Show, the television company needs the artistto sign a short release or consent form before he can appear and get paid. Ifyou are busy rehearsing, it’s all right for the manager to sign that form foryou.What isn’t acceptable is for the manager to sign a long-term contract, orindeed anything more than a one-off. It’s dangerous for the artist – whowon’t know what’s in it or what’s been agreed. It’s also dangerous for themanager. You may not object at the time, but when you find something inthe contract that’s not to your liking you can be sure you’ll blame themanager for not telling you.CONCLUSIONSDifferent lawyers must advise the artist and the manager on themanagement contract.Treat with caution any management contract capable of running forlonger than five years.20% is the average management commission for artist managers.Commission is on gross income net only of certain exceptions whichshould be set out in the contract.Commission on ‘live’ work should be after deduction of some or all ofthe expenses.The management deal doesn’t need to be for the whole world.Make sure it is clear who is handling the money.Only the artist should be able to sign potentially long-term contracts.1 The MMF was formed in the mid-1990s by a group of like-mindedmanagers who felt that they could achieve more both for their artists andfor themselves if they grouped together. They act as a lobbying group onbehalf of their members in relation to national and international issuesfacing the music industry. The MMF has also established links withmanagers in other parts of the world. For contact details see UsefulAddresses.2 O’Sullivan v. Management Agency and Music Limited [1985] QBD 428.3 Armatrading v. Stone and Another (1985), unreported.4 John v. James (1991) FSR 397.5 Martin-Smith v. Williams (1997), unreported.6 John Wardlow v. Henry Olusegun Adeola Samuel [2006] EWHC 1492(QB) 22 June 2006. Chapter 3What Is A Good Record Deal? INTRODUCTIONEVERYBODY’S IDEA OF what’s a good deal is different. For some it’s a questionof how much money is on offer. For others it’s how much commitment thereis from the record company. Some artists are more interested in how muchcontrol they have over what sort of record they make. We call this creativecontrol.I’m going to look at these different ideas of what’s a good deal. I’mgoing to do it from the artists’ point of view because that’s what I know best.But, because I’ve negotiated so many record deals over the years, I’ve heardall the arguments from the record companies, so I’ll try and put their sidetoo.There’s more than one type of record deal. I’m going to look at fourbasic types of deal – the licence, the development deal, the exclusiverecording contract and the production deal. As we will see it’s this last typewhich is gaining ground fast in the music industry at the moment.To understand record deals properly you also need to know some law, soI’m going to look at the basic performer’s rights, at copyright and at whatrights a record company needs in order to exploit recordings.Incidentally, in the music business we use the word ‘exploit’ a lot. Somepeople don’t like this word because they associate it with exploitation in thebad sense – misuse of the weak and that sort of thing. When we use it in thecontext of music business contracts we generally mean ‘to use’, ‘to sell’ or‘to make money from’ recordings or songs. It’s a positive use of the wordnot a negative one.You won’t be surprised to learn that there have been some celebratedcases over the years to do with recording contracts. I’m going to look at fourin this chapter to see what the problem was, what the court decided and whatthe music business learned from them. I will be concentrating on differentmodels for recording deals involving the company that is releasing therecords sharing in the artist’s other income streams. This trend was begun bythe Robbie Williams/EMI deal in 2002 but has been taken further byMadonna’s new deal with Live Nation.NEW BUSINESS MODELSConsolidation and change amongst the major record labels continues. Sonyand BMG merged their record operations at the beginning of 2005 but thatmerger was later challenged by European independent label pressure groupImpala, which resulted in the decision to allow the merger beingreinvestigated by the European Commission. Impala argued that theCommission’s original decision to allow the merger did not look sufficientlyclosely at the effect on the monopoly position in the market place if thecatalogues and power of two major labels were merged. The decision to re-open the review led to considerable uncertainly in the two companiesconcerned and some commentators believe it also led to unwillingness toconsummate the long mooted merger between Warners and EMI on the basisthat this merger would also be closely scrutinised in Europe. In autumn 2007the European Commission completed its reinvestigation and once again gavethe merger the go-ahead, thereby reducing the number of major record labelsto four: Sony/BMG; EMI Group; Warner Group and Universal. As a knock-on effect of these mergers, BMG had to divest itself of its publishingdivision, which was bought by Universal. That also caused complaints of amonopoly position arising in Universal but the Commission has given its go-ahead to that take-over. Universal Music Group has been on a bit of a buyingspree recently buying up the rump of the Sanctuary Group, supposedly toconcentrate on its special projects catalogue and on the managementactivities of the Sanctuary Group. It also acquired independent V2. In themeantime EMI has been bought by a consortium of venture capitalistslargely from outside the industry and headed up by Guy Hands. Mr Handstook over the reins in mid-2007 and most of the old level of seniormanagement has gone, including the Chairman Eric Nicoli. Mr Hands is nowlearning all about the company he has bought and rumours abound that oneway he intends to increase the value for his investors is to securitise (a kindof mortgage) the income earned by the music publishing business or even tosell off that part of the business. And it’s not only the majors who have beendoing deals; Beggars Banquet has bought up the independent label RoughTrade – the home of The White Stripes.All these labels are focusing on fewer acts and even then it is estimatedthat only 5% of their signings are successful, which is a pretty poor strikerate. So they are trying to improve the odds, by taking fewer risks andfocusing on tried and tested teams of people. The upshot of this is a safersigning policy with more focus on the sure-fire bigger sellers. This makes itmore difficult for the more innovative acts to get signed to big deals with thefull-blown international support of a major label. Indeed, even those who doget signed to majors will rarely get a cast-iron guarantee that they will getreleases outside their home market. Job insecurity in a rapidly shiftingmarket place has also led to ‘safe’ signings. No one wants to stick his or herneck out and be associated with a ‘duff’ artist when it comes to the annualjob appraisal.As a direct consequence of this, there has been a growth in the number ofindependent labels such as Beggars Banquet, B-Unique and Domino,although many of these have financial support from bigger companies eitherthrough distribution deals, international licensing deals or actual assistancewith overhead funding and provision of a signing fund. There has also been aproliferation of small studio-based production companies whose aim is todevelop an artist to the stage where he becomes of interest to the biggerlabels who can inject investment to take the artist to the next level whetherthat be moving from recording an EP to a full album or in marketing orreleasing the album overseas. A good example of an artist that came throughfrom the ground level is the 2007 Mercury Prize nominee Fionn Regan.Fionn financed the recording of the Mercury nominated album The End ofHistory himself. He then did a licensing deal with independent label, BellaUnion and with Damien Rice’s label in Ireland. The album was released tocritical acclaim if not huge initial sales. This led to interest in the albumfrom US label, Lost Highway, a sub-label of Universal, and ultimately to aworld deal with that label.The idea behind these smaller labels is to act as a nursery or feeder forbigger labels. These independents find the new talent early, sign them up onmodest deals, make some recordings either to master or demo quality,depending on the game plan and then hope to attract the attention of thebigger labels whether in the UK or in overseas markets. Often theseindependent labels have arrangements of a more or less formal nature withbigger labels to act as scouts for them. For the majors some of the risk hasbeen taken away and for the smaller label they get to retain some ownershipof copyright and to build their companies on the back of support formarketing and distribution from the bigger company. It is also often the casenow that record producers are acting as talent scouts and in the role ofdeveloping an artist, building on song-writing skills, rehearsing the artistand making master recordings with them. Their aim is to use theirconnections to sell the artist on to a label who, they hope, will use them toproduce the first album by the artist. The development role used to be oneundertaken by the record label but the cutbacks and conservatism, which ispervading the industry, has led to producers and studio owners having totake the initiative. There is more on this subject later in this chapter.THE HYPE OF THE MILLION POUND RECORD SIGNINGWe have all read in the press about new, unknown acts being signedsupposedly to million-pound deals. Can you believe what you read? Well, Iguess in one or two cases it could be true, but it’s pretty unlikely if it’s acompletely unknown artist. Also have you noticed how it’s always a millionpound deal not 1.2 million or one and a half million?What is much more likely is that the deal has been hyped up in the pressto make it seem bigger than it is. If you add up all the money that the recordcompany could spend on making an album you could get to a millionpounds. That would include the recording costs, the cost of making one ortwo videos, marketing and touring costs. The artist might only see a fractionof that money himself.When the record company is making up its mind about what to offer you,it will look at a number of things. First, and most importantly, how much itwants to sign you to the company. If they desperately want you, they’ll payover the odds to get the deal done. If you’ve got more than one companyfighting over you then you’ve much greater bargaining power. Your managerand lawyer can play one company off against the other and get you a betterdeal. There is less of that going on at the moment than previously what withthe overall uncertainty in the business, the drop in the profits and sales andthe reduction in the number of major labels from five down to four but youdo still get major companies trying to outbid each other.If the record company is doing it scientifically they’ll use variousformulas to work out what’s a reasonable deal to offer you. There arecomputer models that they can use. They look at the type of act you are, athow much they think it’s going to cost to record the album and to makevideos. They also look at other commitments, possibly to touring. They putthese estimates into the model and it tells them how many records you’dhave to sell before they break even. If they think that’s an unrealistic numberthey may scale down the offer. This is the theory anyway. I suspect thatwhile they do this number crunching they then go with their hunches anywayas to how well they think you’re going to do. There are also other factors atplay such as whether it is a good deal to sign in order to get a good slice ofthe market (so-called ‘market share’) in a forthcoming quarter so as to lookgood for the shareholders. Sometimes a deal is done for strategic reasons inorder for a particular label or label head to set out their stall as being animportant player or wanting to attract a particular type of artist. There aresome who believe that Live Nation did the deal with Madonna in order tosend the message to other artists of a similar stature that this was a potentialnew home for them. For more on the Madonna deal see the chapter onTouring below.We saw in Chapter 1 some of the ways in which you can get a ‘buzz’going for you. The ‘hotter’ you are, the more the record company is likely topay or the better overall deal you’ll be offered. The better your lawyer is, theless likely it is that the record company will get away with paying below theodds – a very good reason to get a good lawyer on your side.Your manager should sit down with you and discuss what’s important toyou. Are you only interested in big-money advances, or would you prefer togo for a smaller advance in return for creative control or more commitmentfrom the record company? Once he knows what you want, your manager canmake his ‘pitch’ to the record company along those lines.It should be a balanced contract, where the record company canreasonably protect its investment, but also one where you get somecommitment from the company and the chance to earn a decent living fromthe deal.THE LEGAL PRINCIPLESBefore I look in more detail at these questions of money, commitment andcreative control, I need to run through with you one of the guiding legalprinciples in deciding what’s a good record deal.RESTRAINT OF TRADEWe have already seen in the cases of O’Sullivan v. MAM, Armatrading v .Stone and John v. James that the courts can be highly critical of clauses incontracts that are unfair on the artist.In deciding whether a contract is fair, the court looks at a number ofthings. It looks at the bargaining power of the artist and the company. It willalso look at whether the artist had independent specialist advice before hesigned the contract, and at how experienced the artist was in the musicbusiness at the time the contract was signed. It does this against thebackground of what was the norm for these contracts at the time.Another guiding principle behind the court’s decisions is that of restraintof trade. The basic principle behind the doctrine is that, where someone hasto provide services or be exclusively employed and the contract containsrestrictions on what someone can and cannot do, that contract isautomatically a restriction on the ability to earn a living, or trade. Becauseit’s an exclusive arrangement, the person concerned can’t earn money in anyother way than through that contract.In the UK it was decided long ago that these contracts were contrary topublic policy. A person should be free to earn his living wherever he can.That said, the courts recognised that there would be circumstances where itwas commercially necessary to have restrictions in contracts. They decidedthat such restrictions would be allowed if they were reasonably necessary toprotect the legitimate business interests of the person imposing therestrictions. If the restrictions were unreasonable they couldn’t be enforced –the contract would be unenforceable.Because it was so important to the music business, the case of Macaulayv. Schroeder1 went all the way to the House of Lords before it was finallyclear that the doctrine did apply to recording and publishing agreements.Macaulay v. SchroederMacaulay was a young and unknown songwriter who entered into amusic publishing agreement with Schroeder Music Publishing Ltd. Itwas an exclusive agreement for his services for five years. The contractwas in a standard form used by the music publisher. Macaulay’scopyrights in the songs he wrote were assigned for the life of copyrightthroughout the world. The contract specifically prevented him fromworking as a songwriter for any other music publishers during this five-year period. There’s nothing wrong in signing someone up to anexclusive deal, but because it restricts that person’s ability to go andwork for anyone else, we have to look at whether as a whole such acontract is fair, at whether the restrictions still allow him to earn areasonable living. The House of Lords looked at the specific terms of theagreement to see if, taken as a whole, they were reasonable. It found, infact, that they were unduly restrictive and an unreasonable restraint oftrade. Macaulay didn’t have a reasonable chance to earn a decent livingfrom his trade of song writing.In contrast, the George Michael case described below is an exampleof an exclusive contract that was found to contain reasonablerestrictions.CREATIVE CONTROL VERSUS LARGE ADVANCESEarlier in this chapter I spoke of getting the right balance in the contractterms. Behind that statement lies this principle that any restrictions in anexclusive services contract should be fair and only go so far as to protect therecord company’s interest and not unreasonably restrict an artist’s ability toearn a living. So let’s look at some of these terms.DO YOU GO FOR THE MONEY OR TRY TO PROTECT THEINTEGRITY OF YOUR ART?Of course it’s important for you to be able to eat, to have somewhere to live,and transport to get you to and from gigs, rehearsals and the recordingstudio, but it may not just be a question of money. For many artists, creativecontrol of their work is at least as important. Being able to make a recordwith minimal interference from the record company is crucial to someartists.If creative control is the most important thing for you, then getting thatcontrol would mean you had a ‘good’ deal, even if there was less money onthe table as a result. Some record companies are more flexible than others onquestions of creative control. If this is an important issue for you, you needto look at this at the point when various record companies are still courtingyou. You should ask each of them what their attitude is to this issue. What istheir track record? If you can, you should talk to other artists signed to therecord company to find out their experiences. You should also ask if therecord company is prepared to guarantee creative control in the recordcontract. Sometimes they’ll say it but won’t put it in the contract so youcan’t rely on it.Your wish to have creative control must be balanced against putting somany restrictions on what the record company can do that they can’t sellyour records properly. They may in such circumstances choose to useanother artist’s recordings – one who isn’t so particular about creativecontrol. For example, a proposal comes in from an advertising company toput one of two tracks into a major new jeans campaign. Artist A has fullcreative control in his contract and is known to be completely against theidea of his work being used in ads. Artist B, on the other hand, has an eye tothe integrity of his work but realises that a campaign like this, if doneproperly, can really help him break into the big-time. Artist B says yes andthe record company puts their track forward not Artist A’s.You may be very interested in getting as much commitment as possiblefrom a record company. If so, then you’ll concentrate on getting acommitment from them to a specific figure in marketing ‘spend’ or tounderwrite tour losses up to a fixed amount. The record company may bereluctant to go this far. They’d be in difficulties under the contract if, forexample, there weren’t enough suitable tour dates or they were unable tofind the money to pay for the full marketing spend. It used to be the case thatartists were concerned that there’d be a commitment to make at least onepromotional video per single release, or to get a commitment to the releaseof a minimum number of singles. Now with the increase in popularity ofsingle track downloads release of singles is rarely the issue. The problem ishow to make sure that you make money from some source whether that’sactual record sales or as a taster to drive the fans to buy the album, a ticketto your live show and a T-shirt at the show. Because of the continuingimportance of radio play in promoting a new release (and to some extent ingetting the artist to perform the single on TV or radio shows like thosehosted by Jonathan Ross, Paul O’Grady or Russell Brand), A&R people arevery interested in hearing tracks that they know will get radio play topromote the artist. There is a strong belief amongst labels that in order to getcommercial success in terms of number of sales you need to get radioexposure, preferably ‘A’ or ‘B’ list at Radio 1 or 2. To some extent,therefore, marketing is driving creativity and artists that are not necessarilyradio friendly have to look for other ways to attract the attention of thepublic.The attitude to videos is also changing. The decline in musicprogrammes on television which are likely to show a promotional video hasled to a down-sizing in the number of and spend on promotional videos. Nowit’s much more likely to be a ‘behind the scenes’ long form DVD on themaking of the album or out on the road with the artist. It’s expensive tomake videos and record companies may not want to commit to making onethat only gets played once or twice. That said there has been a growinginterest in the availability of visual images in recent years to feed thedemand for DVD and online content, so you may find it isn’t necessary toinsist on a commitment to make videos because it will happen in practice.Whatever the issue may be and no matter what big statements andpromises they make when they want you, if it’s not specifically in thecontract you won’t have a chance of making them keep their promises ifthey go back on what they said or if the person who said it is no longer withthe company.Whatever your particular needs (and it may be a mixture of all of thesethings), if you get a reasonable number of them in your record contractyou’ll have what is a good deal for you.This whole issue of creative control versus money has caused a lot ofproblems over the years. It’s one of the reasons why Prince became‘Symbol’ became The Artist Formerly Known As Prince, then The Artist,before finally reverting to Prince for a sell-out 21-date concert series at thenew live venue, O2, in the former Millennium Dome in Docklands. He mayhave believed that by changing his name he could use a loophole to get outof his record contract. He was probably also hoping that it would show hisrecord company, Warner Bros., the strength of his feeling over the type ofrecords he wanted to make. He was in the news again in 2007 when it wasannounced that he had done a ground-breaking deal with newspaperpublishers of the Mail on Sunday to offer the whole album ‘free’ with thenewspaper ahead of traditional retail distribution. It is said he received$500,000 for the deal. Plans for a traditional physical CD release werecancelled. Unsurprisingly, many more copies of the newspaper were boughtthan on a normal Sunday and Prince got exceptional publicity out of thismarketing coup. More people bought tickets to see him live than mightotherwise have done so and he presumably got a good financial return firstlyfrom the price he got off the Mail on Sunday and secondly in his increasedshare of ticket sales and extra merchandising sales. There is a growth in theuse of cover mounts to market artists. The practice was decried by recordcompanies and artists because it seemed to be a way of getting a large one-off payment for the record company in the licence deal with the newspaperwithout having to share that necessarily with the artist (depending on thedeal). It was also felt to be devaluing the artist’s work. Now we are seeingthis practice evolve into one where perhaps ahead of an artist’s new albumrelease they may bring that artist back into the public eye by a cover mountDVD or album of some of their old material or previously unavailable filmfootage of a tour. Sometimes it works, other times it doesn’t. The recordcompany behind Ray Davies’ latest release thought to do this by releasing acover mount album of versions of his old material but it didn’t have thehoped for boost in first week sales of the new album.Disputes as to issues like this or as to how an artist is presentedcreatively, as well of course as to whether the artist is getting paid a fairprice take place on a daily basis between record company and artist ormanager. It is part of the daily cut and thrust between them. I regularly haveto arbitrate or advise on issues like who has final say on choice of single, orthe look of the artwork for the new album because artist and label havedifferent views. Another area of common dispute is what happens when alabel decides after hearing the finished album that they don’t want to releaseit. This is part of my daily working life but most of these disputes don’t getto court. One that did was the acrimonious case between George Michael andhis record company, Sony Records.The George Michael CaseTo understand the case2 and the decision you need to know a bit aboutthe background.As we all know, George Michael was part of the very successful popduo Wham! along with Andrew Ridgeley. The first exclusive record dealthat George and Andrew signed was with the record companyInnervision, owned by Mark Dean, in 1982. As is often the case, theywere young, unknown and inexperienced. The record deal was for up toten albums, which was a lot even in those days. They were exclusivelytied to the company until they’d delivered all the albums thatInnervision wanted from them. Applying the doctrine of restraint oftrade, the restrictions in the contract were immediately contrary topublic policy and were unenforceable unless they were reasonable.Innervision was a small record company. It had a deal with Sonywhereby Sony provided funding and facilities for the manufacture, saleand marketing of Innervision’s records. The Innervision contract withGeorge and Andrew, therefore, also included Sony’s standard businessterms. If the Innervision contract was criticised as being unenforceableand an unreasonable restraint of trade, this could also have been anindirect criticism of Sony’s terms of business.At first things went well, and their second release, ‘Young Guns’,was a UK Top 10 hit in 1982. This was followed by ‘Bad Boys’, ‘ClubTropicana’ and the chart-topping album Fantastic. By 1983, however,the relationship between Wham! and Innervision had broken down. Theysued the company to get out of the contract, arguing that it was anunreasonable restraint of trade. The case was settled before it got tocourt. It was part of the settlement that George and Andrew signed anexclusive recording contract direct with Sony label Epic Records. Again,that contract contained Sony’s business terms, but an experienced musicbusiness lawyer negotiated it on George and Andrew’s behalf.Once again things went well at first. Their first single on Epic –‘Wake Me Up Before You Go Go’ – went to No. 1 in the UK and wasfollowed by four further No. 1s in quick succession.In 1986, George and Andrew parted company. George embarked on asolo career with Sony. And it was a very successful one, although notuntil 1988 with the release of ‘I Want Your Sex’, which was a deliberatemove to break with the playboy Wham! image. His first solo album,Faith, was a huge success, selling over 10 million copies. On the back ofthat success, George renegotiated his contract with Sony again with thehelp of that experienced music business lawyer.In return for a substantial sum of money, George agreed to recordthree solo albums in the first contract period and gave Sony options forup to five more albums. Faith counted as the first of the three albumsand he went on to record and release a second hugely successful album,Listen Without Prejudice (Vol. 2), which also sold millions. His star wasalso rising in the US, where he had a No. 1 with ‘Praying For Time’ offthat album.Not surprisingly, Sony wanted George to continue in the same stylewith his third solo album. By this time, George wanted to move awayfrom the out-and-out commercial pop style of records. He wanted to beregarded as a serious artist.Because the contract ran until he had delivered up to six morealbums, or for a maximum period of fifteen years, George couldn’trecord for anyone else. Sony also had the final say on whether an albumby him met the necessary artistic and commercial criteria. They could goon rejecting more serious material from him, so a deadlock existed.George sued, arguing that the record contract was an unreasonablerestriction on his ability to earn a living, and as such was anunenforceable contract.He refused to record for Sony and instead did a number of projectswith other artists that were within the terms of his contract, just. Forexample, he did guest spots on other people’s albums. He alsoconcentrated on live work.The case finally came to court in 1994. The decision to throw outGeorge’s case was made on somewhat surprising grounds. The judgeruled that, in order to decide if the 1988 renegotiation of the contractwas an unreasonable restraint of trade, he would also have to considerthe earlier 1984 contract. He decided that he could not reopen a reviewof the 1984 contract because it had been entered into as a result of asettlement of a dispute. It’s contrary to public policy to reopensomething that was agreed by the parties as being a final settlement of adispute.It wasn’t difficult to imagine that George would appeal. Perhaps thejudge realised this because, even though he had decided that he could notlook at the 1988 contract, he went on to say what his conclusions wouldhave been if he had done so.The contract was an exclusive worldwide deal. It was for potentiallya very long time and Sony had the absolute right to reject recordings anda limited obligation in the contract to do much with any recordings thatit did accept. Obviously, Sony argued that the contract represented onlythe contractual obligations that it had and that, in fact, it would havedone far more to help sell as many records as possible. In decidingwhether the contract was unfair and unenforceable as being anunreasonable restraint of trade, the judge looked at the relativebargaining power of the two sides. By 1988 George Michael was a verysuccessful and powerful artist and well able to stand up to Sony. He hadhad the benefit of advice from his long-standing lawyer, who was veryexperienced in music business contracts. Finally, the judge looked atwhat George would get out of the contract. Financially, he stood to get agreat deal.Balancing out all these factors, the judge decided that the benefitsGeorge got out of the contract meant that the restrictions in it werereasonable to protect Sony’s investment and its legitimate businessinterests.Sony, of course, was delighted, but it was nevertheless seen by mostof the ‘talent’ in the business as a blow for creative freedom.While the case was going on it was much easier to get improvementsin record contracts, particularly those parts of the contracts that Georgewas specifically attacking. For example, on CD sales, Sony was onlypaying 75–80% of the royalty at the time. While the case was going onSony was much more inclined to agree a 100% royalty rate. As soon asSony won the case it was business as usual. George, as expected,appealed. The thought of prolonged, expensive litigation with an artistwho clearly wasn’t going to record for Sony, and who could see his ownrecording career stalling with all the delays, led to a settlement beforethe appeal was heard. George was released from the contract and signedto Virgin/Dreamworks in return for a payment back to Sony. As part ofthe settlement, he later recorded some new tracks or new versions of oldtracks for a Greatest Hits album that was released on Sony.Aston Barrett v. Universal Island Records and othersIn a dispute over monies due the bass player for ‘Bob Marley and theWailers, Aston Barrett sued Island Records and the Marley family onbehalf of himself and his brother, Carlton (who was the drummer withthe band and was murdered in 1985). Aston argued that he had notreceived the money they were due after Marley’s death in 1981. Astonand Carlton had played on a number of Marley albums. They had hadtheir own successful act The Upsetters and joined Marley after PeterTosh and Bunny Livingstone left. Their claim for royalties arose out of acontract made in 1974. Ashton was also suing separately for his propershare of song-writing royalties on songs he co-wrote with Marley.Originally Marley and the two Barrett brothers had shared royaltiesequally. It was alleged that under a new agreement made in 1976 Marleytook 50% and the Barrett brothers shared the remaining 50% betweenthem. In 1994 Aston took part in a settlement where it was said heagreed to forego any right to future royalties in return for a share of a$500,000 settlement paid by Island Records. At the trial Marley’s widowand the founder of Island Records both played down the role played bythe Barrett brothers and said that the 1994 settlement represented a fairshare to them for what they had done. The judge accepted that andrefused Aston’s claim. He also did not accept his claim that he had co-written several of the songs. Aston was something of a serial litigatorhaving sued three or four times before. The judge ruled that he would notbe allowed to start any more litigation unless allowed to do so by acourt.TYPES OF DEALWhat types of deal may be on offer, what basic rights does a performingartist have, what is copyright and what rights does the record company needin order to release records?Although there are many variations, some of which will be looked atbelow, there are two basic types of record deal – the licence and theexclusive long-term recording contract. Variations include the productiondeal, which contains elements of the latter two types, the partnership or jointventure between record label and artist, and the so-called 360 degree modelwhich embraces not only recordings but also other areas such as publishing,live and endorsements under the one umbrella deal. The latter are currently‘flavour of the month’ with the Madonna deal being the most highlypublicised. More on these below. Let’s look first at the basic types.LICENCE DEALSLegal PrinciplesLicensor is the technical term for a person or company who owns rights,which it is licensing to someone else. Licensee is the person or company towhom the rights are licensed.A licence is an agreement to allow the Licensee to do certain things withthe rights that the Licensor has to a particular product – a recording, a songand so on. A licence can be for as long as the life of copyright (see below)but is usually for a shorter period. The Licensor continues to own the rightsbut gives someone else permission to use some or all of those rights.In contrast an assignment is an outright transfer of ownership of rightsby an owner to someone else. It’s usually for the life of copyright, althoughsometimes the rights are returned (reassigned) to the owner sooner than that.The assignment can be of some or all rights and can have conditionsattached. The assignor is the owner of the rights being assigned. Theassignor no longer owns the rights once they have been assigned. Theassignee is the person or company to whom the rights are assigned.You will often see in agreements a reference to rights being granted forthe life of copyright. This is now the same period throughout the EU. Forliterary and musical works (e.g. songs) it’s seventy years from the end of theyear in which the author dies. For sound recordings and performer’s rightsit’s fifty years from the end of the year in which the recording was releasedor the performance was made.3 The situation is different in the US where inmany cases the sound recording copyright can run for up to 99 years.There was considerable political lobbying going on with the UKGovernment and to some extent in Europe, whereby interested parties triedto further extend the life of copyright. A detailed report was prepared by MrGowers, which was published in 2007. It declined to recommend anyextension and only offered up a small amount of comfort for the musicindustry e.g. an increase in the budget for Trading Standards to assist themin their anti-piracy efforts. The political battle has now moved to Europe.Part of the reason for the fuss is that many recordings including those byartists such as Elvis Presley and Cliff Richard are coming out of copyrightand as such any future uses of those recordings will not be subject to thepayment of record royalties to the artists or to their record label.Representative bodies for the lesser performers were also seeking paritywith their song-writing colleagues by getting an extension to seventy years.For the moment this plan has failed and re-issue labels are already cashingin with early 1950s recordings which are already out of copyright. Therecord company who owned the original recordings will find that its marketis no longer protected. Some argue that this is a good thing as fifty years islong enough to have achieved a reasonable return on the investment inmaking and promoting the records and it is right that they are then madefreely available. However, there are also others who believe that the loss ofrevenue from these recordings will result in yet another nail in the coffin ofthe record industry and mean less investment in new artists. There are somepractical difficulties in the way of companies seeking to take advantage ofthis, for example, in getting hold of original recordings or good qualitycopies of the same. The artwork or sleeve notes and the songs may still be incopyright so use of the artwork or changes to the original songs will not bepossible without consent. But if the re-issue label is willing to invest insome new artwork and will pay the mechanical royalties to the owners ofany songs that are still in copyright (see publishing chapter) then the re-issuelabel is still making a good profit by not having to pay for the recording northe artist for the performances or the record label for the right to licensethose recordings. The record companies are running scared – hence the rushof re-releases of Beatles box sets and wholesale re-releases of the Elvissingles in order to cash in on what may be their last chance before theirmarket is undermined as copyright ends. This is also why they are doing newversions such as remixes or mashups of the Elvis songs so that they canclaim a new copyright in the new version and hang on to rights in that foranother fifty years.The author is the first owner of the copyright.4 The CDPA 1988 saysthat in the case of sound recordings it’s the producer. This could beconfusing, and for a time record producers were claiming they were thecopyright owners. The position is in fact the same as before the 1988 Act.The copyright owner of a sound recording is the person ‘who made thearrangements for the recording to be made’. This is generally taken to meanthe person who paid for the recording to be made. With the changing role ofmanagers and producers in making independent recordings there will beissues about whether the artist, the manager, the producer or even the studioowns the copyright. I am already dealing with situations of multipleownership of copyright with the attendant problems of trying to decidemechanisms for what is to happen to the copyrights when it comes tocommercial exploitation. The artist may need to rely more than ever on theirperformance rights to ensure a measure of control and also through song-writing where they are writers of the songs being recorded.Copyright is the right that an author has to prevent anyone else doingcertain things with his work without his permission. It underlines all creativeaspects of the music industry so it is important to try and get to grips with it.The basic rights of copyright are the right to copy the work; the right to issuecopies of the work to the public; the right to rent or lend out copies of thework to the public; the right to perform, show or play the work in public; theright to broadcast the work or include it in a cable programme; the right tomake an adaptation of the work and the right to do any of these acts inrelation to that adaptation.5 Before anyone can do any of these things with acopyright work, they have to get the permission of the owner of thecopyright. This may be the author as first owner or he may have assigned hisrights to someone else or given someone else an exclusive licence to dealwith the copyright instead of him. There was some doubt until 2001 as towhether the copyright laws of the EU extended to digital, online or Internet-based uses of the copyright. A 2001 European Directive confirmed thatcopyright did indeed extend to such new media. The Directive wasimplemented into UK law late in 2003. The UK Government took the viewthat the existing UK law already covered many of the key aspects of theDirective so the changes to UK law were more to clarify than to extend thelaw. The definition of what constituted communicating and making availablea copyright work to the public was clarified as including Internet, cable andsatellite broadcasts, including on-demand services. The law was confirmedas applying to authors, record labels, film producers, broadcasters andperformers. There was much debate about the exemptions to the basic rulerequiring the copyright owners’ permission to reproduce the whole or part ofa copyright work. These are the so-called fair dealing exemptions where, forexample, an excerpt from a recording or part of a video could be reproducedfor purposes of a critical review or commentary. It was felt that there wasgreater scope for abuse of this exemption in the widespread and fast movingonline world. In the end the exemptions were not extended and quoting of a‘reasonable amount’ will still be permitted. We will see in Chapter 7 a naspect of this debate in connection with social networking sites likeYouTube or MySpace. Are they allowed to rely on these fair-dealingexemptions to put up copyright works on these sites without consent of theowner?As I mentioned above with the growing complexity of record deals andmultiple potential copyright owners the issue of performing rights willbecome more important. Performing rights are the rights performers haveto prevent someone else from doing certain things with their performances,or with recordings of their performances, without their permission. Thebasic performing rights are in some respects similar to the rights ofcopyright. They are the right to prevent someone making a recording of alive performance; the right to prevent the making of a broadcast or itsinclusion live in a cable service programme. It is also a performer’s right toprevent someone from making a recording of his performance directly froma broadcast or cable programme. The performer’s permission has to beobtained to do any of the above. Recordings of performances for personaluse are allowed. The performer also has the right to refuse to let someonemake a copy of a recording; to issue a copy of a recording to the public; torent or lend copies of the recording to the public; to play a recordedperformance in public; or to include it in a broadcast or cable programmeservice. As we’ve seen above the performer’s rights also extend to onlinemethods of making their work available to the public. The performer shouldmake sure he only grants his performing rights when he is reasonably surethat the agreement gives him either control or sufficient financial reward forlosing control.Licence versus assignmentWhen deciding on whether to license or assign rights it is important to makea distinction between a licence and an assignment. When an owner grants alicence, he keeps the underlying copyright. He only gives the licenseepermission to do certain things with the copyright for a period of time (thelicence term). In contrast when rights are assigned then ownership andcontrol of the copyright has passed from the owner to the assignee.It is clear from the Gilbert O’Sullivan case that, even where the courtfinds that a contract is unenforceable, it won’t usually order the return ofcopyrights or other rights that have been assigned. If it’s a licence then theunderlying copyright has not been assigned; there is nothing that needs to bereturned to the original owner because it never left him. If O’Sullivan hadlicensed his rights rather than assigned them he wouldn’t have had such aproblem. The licence would have come to an end because MAM were inbreach of its terms and he would still have had his copyright in his songs andmasters. So from the point of view of an artist, a licence should always bepreferable to an assignment, all other things being equal.There are two problems with this. The first is that the record companywill in many cases be the one who made the arrangements for the recordingto be made (i.e. paid for it) and so will be the first owner of copyright. Theartist may have his performing rights, but will probably not own thecopyright in the sound recording. The second is that record companies don’twant to do licence deals if they can take an assignment of rights instead.They have investments to protect. It can take up to a million pounds or morefor a major record company to launch a new act. They will want to own thecopyright outright. They don’t want to lose their rights when a licence ends,because these rights represent assets of the company and have money valueto the company. The longer they have them and the more secure theownership is the more value they have.The more successful an artist is, the more chance he has of being theowner of the copyright in the sound recording and in a position to license itto the record company. In production or partnership deals or joint ventures itis more likely that the artist and label will jointly own the copyright and maywell be in a position to keep that copyright and license it on rather thanassigning these rights away. The argument would be that the bigger label hadnot taken the commercial risk in investing in the making of the recordings soshould not take ownership either at all or unless the money paid issignificant.Exclusive and non-exclusive dealsYou might licence rights in a recording that you own to a record companyfor inclusion on a particular compilation only and probably on a non-exclusive basis. You might want to put the recording out yourself or licenseit to another company for a different compilation. You couldn’t do that ifyou’d given the first record company an exclusive licence. The sameprinciple applies to the grant of the right to put a recording in a film oradvert.On the other hand, you may be an artist or a small label that has recordeda track or an album yourself and own the copyright in it. You may not havethe financial resources to do anything with that recording. Perhaps you can’tafford to press up copies of it to sell or you can’t promote it properly. Youmight go to another record company for those resources. If they agree, thelicence is likely to be an exclusive one to protect their investment.The licence termHow long should the licence last? If it’s non-exclusive it doesn’t matter asmuch. An exclusive licence could be as long as the life of copyright or asshort as a year. Three- to five-year licence terms are common. The licenseewants to have long enough to get a reasonable return on his investment, butif it is a short licence term the licensor will get the rights back sooner andmay be able to re-license them to someone else (perhaps with a new mix) orrelease them himself. Most licence deals I’m doing at the moment are forfive years or longer with European and US companies often wanting seven toten years. As usual it’s down to knowing and using your bargaining power.TerritoryIt could be a worldwide licence or it could be limited to particular countries.If, for example, you’ve already licensed the rights exclusively to a companyin the US, you can only then grant other licences in the same recordings forthe rest of the world outside the US.A distinction used to be made between the UK and other Europeancounties, but one of the consequences of closer European integration hasmeant that Europe-wide deals, including the UK, are now more commonthan UK-only deals.There are people who specialise in trying to get you licence deals forparticular countries. They usually take a commission (called a finder’s fee)of 2–5% of the advances or royalties. Sometimes they also take a finder’sfee off the licensee for bringing the recording to them and so are rewardedby both sides. Nice work if you can get it.The main problem with individual-country deals is keeping on top of anumber of different licensees. Record releases and marketing campaignshave to be co-ordinated and there isn’t just one company to chase forpayment of royalties. The main advantage is that there is the chance tolicense the recording to the company that most wants it in each country. Youmay also be in the fortunate position of ending up with more in totaladvances from individual-country deals than you’d get from one multi-territory deal, and may also receive more than you need in contributions tomake videos or do remixes.OptionsWhen you’re doing a non-exclusive licence of a single track for acompilation, you don’t usually give the licensee any options to any furtherrecordings you may make. It’s usually a one-off.If it’s an exclusive licence for something other than just on acompilation, the licensee may be keen to get follow-up products. Thelicensee may be encouraged to invest more in promoting the first track oralbum if he knows he’s going to get the follow-up.When doing your exclusive licence deal, you can agree up-front the basison which you are going to give them any follow-up product or you can leaveit to be agreed at the time they exercise the option. This can be to theowner’s advantage if the first track has been successful, as his bargainingpower will be higher. It’s not a very certain state of affairs though and oftenleads to problems, so I don’t generally recommend it.Another possibility would be to give the licensee an option, which giveshim the opportunity to be the first to try and do a deal with you for thefollow-up. For example, you might deliver a demo of the follow-up and givethe licensee the exclusive right for a month to try and negotiate a deal withyou. If no deal is done in that time you can take it into the market place. Thisis called a first negotiating right.You could give the licensee a matching right. This is the right to matchany offer for the follow-up that you get from someone else. You have to tellthe licensee the details of the offer, and if the licensee matches or betters itwithin a given period of time then you must do the deal with him. This hasto be handled very diplomatically if you are not to seriously upset the firstrecord company making the offer that has been ‘matched’.Sometimes you do a combination of the two known as a ‘first and lastmatching right’ i.e. they get the first option to negotiate, if that fails you cango into the market place to seek a deal, if you get one you must first give thefirst company a chance to match it, if they do they get to do the deal. Againdiplomacy is the order of the day.EXCLUSIVE RECORDING CONTRACTThis type of deal may give you the greatest potential investment andcommitment from a record company but in return, of course, the recordcompany will expect to be able to protect its investment and is likely to seekgreater financial and creative controls.Development DealA variation on the exclusive recording deal is a development deal where therecord label signs an artist up exclusively for a period of time during whichthey may record some demos or enough tracks for an EP. The artist is givena recording budget and the means to pay for a producer but not usually muchby way of money to live on. It is not yet time to give up the day job. If thingsgo well with the development stage then the record label usually has theoption to decide to go on to make the rest of the album and probably thenhave options to more albums as in a normal record deal. If you get offeredone of these deals you may be disappointed that it isn’t a commitment to thewhole deal. But it is a foot in the door and if you make the most of it you canuse it as a stepping stone to your end goal. If they don’t proceed with thedeal you can ask for the demos back so you have at least got some wellrecorded material with which to continue your search for fame and fortune.It will be up to your advisers to make sure that whatever contract you areoffered is a fair one. It should also be in the record company’s interest. If thecontract is so unfair that it’s an unreasonable restraint of trade it will beunenforceable and you can walk away from it. Most major record companieshave now moderated their contracts to deal with this issue and, whileindividual cases will still arise of unenforceable contracts, you should neverenter into a contract thinking you can tear it up if it no longer suits you.Quite apart from this being a very negative approach it is likely that you willnot just be allowed to walk away and may get embroiled in a lengthy disputeor court case. Whilst this is going on it will be difficult for you to carry onwith your career and could stall it permanently.It’s likely under an exclusive recording contract that the sound-recordingcopyright will be owned by the record company, and the contract willusually confirm this. The contract will also make sure that the recordcompany will be able to exploit the performances by getting all necessaryperformers’ consents. So it is important that the contract is also balanced bysuitable controls over what the record company can do with the recordingsand performances.One thing you might not want them to do is to put your recording with anadvert for a product that you don’t approve of. I was once involved in a casewhere Sting was furious that a recording of his track ‘Don’t Stand So CloseTo Me’ was used in an advert for deodorant. Tom Waits also took exceptionto a use of one of his songs in a Levi ad. Not everyone wants, or perhapsneeds, to make money at any cost. In fact Tom Waits is something of a serialdefender of his image and creative output. You would have thought by nowthat advertising companies thinking of using his work or that of a sound-alike would have learned that he does not take kindly to this but yet againthis year he has had to take a company to court to protect his position.Term of the contractThe contract will usually run for an initial period of one year. The recordcompany will usually have a number of options to extend the contract term.In each contract period they’ll expect the artist to record a minimum numberof tracks. It could be single tracks or enough tracks to make up an album.The commitment is generally for an album unless it’s a development dealwhen they might call for five or six tracks to start with and then decidewhether to go for the balance of an album. Despite the fact that there hasbeen a growth in downloads of single tracks with over 2 billion dollars ofrevenue generated for record companies in 2006 according to the IFPI theemphasis is still very much on the delivery of enough tracks to make analbum. Indeed some artists/labels are refusing to allow their music to beavailable on the Apple websites because Apple will not commit to sellingtracks as a bundled together album as opposed to unbundling the tracks forsingle track downloads. About forty years ago singles were the norm andalbums consisted mostly of collections of previously successful singles.Whilst there is no sign at present that record labels are returning to thesedays the traditional seventy minute plus CD album consisting ofsingles/album tracks and tracks which quite frankly are ‘fillers’ may evolveinto something new – maybe a hybrid of a singles and an album deal. Eachcontract period is usually extended by up to six months after the artistdelivers the last of the recordings the record company wants. The moreslowly these are recorded and delivered, or the longer it takes to releasethem, the longer each contract period will be. It is however generallyaccepted that there should be a maximum backstop for how long each periodcan be extended. Otherwise the fear is that the contracts will beunenforceable as they are too open-ended and potentially a restraint of tradeThree or four year backstop dates are common.Why is it only the record company that has options?The record company will have invested a lot of money in making therecords. It will probably also have made videos and may have supported theartist while he’s been out touring. These costs are recoupable (i.e. the recordcompany gets some or all of them back from royalty from sales of records)but, if they don’t sell enough records, or the artist were to walk out of thecontract before the record company had the chance to recoup theirinvestment, then all these unrecouped costs would be down to the recordcompany.Then there are the promotional and marketing costs, which for a majorrelease can run into hundreds of thousands of pounds, as well as themanufacturing and distribution costs. In most deals these costs are non-recoupable from the artist’s royalties. If the artist could just up and walkaway from the contract whenever he felt like it the record company wouldn’tbe able to protect its investment, its business interests. This is why theoptions are in their favour not the artist’s.Why can’t you get your copyright back?It is easy to understand why a record company justifies its ownership ofcopyright in the recording by the fact that it’s invested a lot of money.What’s less easy to understand is why the company won’t transfer thatcopyright to the artist once they’ve recouped that investment. GeorgeMichael argued this point in his case with Sony, but the way the case wentmeant that there is no definitive decision on the point. Given the reluctanceof the courts in cases like Gilbert O’Sullivan’s to upset the economic order,it seems that the courts would be very unlikely to order a return ofcopyrights.Record companies claim that the vast majority of artists don’t recouptheir investment. Recent statistics suggest that as many as 95% of all artistsfail to achieve profitability. This is a depressing thought, and it is one of thereasons why the record industry is having such a massive rethink about howit makes money from artists who are successful. Falling CD sales because ofthe problems of free downloads means that unless they can either improvethe number of successful artists or get more money for the number who aresuccessful and preferably both then the doom mongers declare the end of therecord industry is nigh. I speculate a little more about this in Chapter 7 but ifanyone did have the magic answer then they would presumably already beapplying it and making themselves a fortune. In the meantime the rest of usstruggle on earning what we can and in my case facilitating the contractsthat provide the financial support for artists to sell records. Those contractsare for the foreseeable future going to insist that the record companies hangon to the copyrights of the small minority of artists who are successful aswithout these assets their companies become almost worthless. Recordcompanies also say that they have to spend a lot of money in researching anddeveloping new talent. If they had to return the copyrights of successfulartists they say they wouldn’t be able to invest as much in new artists in thefuture and that the culture of the nation would suffer as a result. Well, I canthink of a few bands that made barely a dent in the cultural richness of mylife, can’t you? But seriously though that is also not so true as it once was asmore and more record companies are not developing artists but are waitinguntil they are presented to them almost fully formed with a body of songs,many of which will have been recorded and produced to a high standard andwith an artist with professional managers or production companies in place.So this argument too is getting to look quite spurious. The reality is that youjust aren’t going to get those copyrights back unless you are a David Bowieor a Rolling Stone and even they would be less likely to achieve that if theytried it in the current climate.How many options should the record company have for future albums?Most major record companies in the UK want options on four or five furtheralbums.6 Independent record companies may accept less. That said, everynow and again one or two unusual deals occur where record companies havebeen so keen to sign up particular artists that they have done non-exclusive,one-album deals, with no options. In some cases the deals are seen as purelyshort-term deals to improve the record company’s share of the record salesin a particular quarter or before a company’s financial year end. A good orimproved slice of market share can significantly improve the company’sshare price and the A&R or label head’s end-of-year bonus, but in othercases it’s because the artist may not be perceived as having a five albumcareer ahead of them. If this turns out to be wrong and they wish torenegotiate then the boot will be on the other foot.The number of options, and therefore the overall length of the contract,is a key issue when considering if a contract is an unreasonable restraint oftrade.This issue was at the heart of a major court case between Holly Johnsonof Frankie Goes To Hollywood and his record company ZTT.7 (He also had asimilar dispute with the sister publishing company, Perfect Songs, which Iwill deal with in Chapter 4 on publishing deals.)ZTT v. Holly JohnsonHolly Johnson and the other members of Frankie Goes To Hollywoodwere unknown when they attracted the interest of the directors of ZTT,Jill Sinclair and her husband, the highly successful record producer,Trevor Horn. The band was broke and very keen to work with Mr Horn.They were told that ZTT would only do the record deal if they alsosigned an exclusive publishing deal with Perfect Songs. Now you mightdetect a whiff of undue influence here but, in fact, this point was notseriously argued in this case. The band signed up to both deals. Althoughthey were inexperienced and had very little bargaining power, they wererepresented by a lawyer who was experienced in music businesscontracts.Frankie Goes To Hollywood had two very successful singles with‘Relax’ and ‘Two Tribes’, both of which attracted a great deal ofcontroversy because of the subject matter in the case of the first and thevideo for the second. At one stage the tracks were Nos. 1 and 2 in the UKsingles charts. The band’s first album Welcome To The Pleasure Domesold well and produced two more hit singles. They failed to make asuccess in the US and by 1986 the pressure was on them for the secondalbum to be a success.The band had a lot of trouble with the recording of this album, to becalled Liverpool. Trevor Horn controlled the recording costs, he was therecord producer and the recordings were being made in his studios. Thecosts were escalating alarmingly and the band was horrified by howmuch they would have to recoup. After a lot of problems the band splitup but ZTT (and Perfect Songs) wanted to hang on to Holly Johnson.Johnson didn’t want to continue with them and sued on the grounds thatboth the recording and publishing contracts were an unreasonablerestraint of trade.The term of the record contract was for an initial period of sixmonths and was extendable by two option periods and up to five contractperiods, all in favour of the record company. Each contract period was tobe for a minimum of one year and extendable until 120 days after theyfulfilled their minimum obligations to the record company (known asthe Minimum Commitment). There was also no maximum extension ofthe contract period. It was open-ended and depended entirely on whenthe band fulfilled its Minimum Commitment.The Minimum Commitment was one single in each of the initialperiod, first and second option periods and one album in each of thethird through to seventh option contract periods. This is a very odd wayof structuring a contract, but basically it meant that if the recordcompany exercised every option the band had to record three singles andfive albums.The record company was free to bring the contract to an end at anytime. The record company also had the right to reject recordingsdelivered to it by the band. As the term continued until after delivery ofrecordings that were satisfactory to the record company, this meant thatthe record company controlled how long the contract lasted. There areechoes of this in the George Michael case.The court decided that the contract was one-sided and unfair and wasan unreasonable restraint of trade and unenforceable. It thought that thepotential term of the contract was far too long, as it could easily lasteight or nine years. In that time the court felt that the band wouldn’thave had the opportunity to earn a decent living from their work. Therecord company wasn’t obliged to do very much with the recordings.There was no commitment to release them. The court freed Mr Johnsonfrom the contracts and awarded him substantial compensation.As a result of this case, UK record contracts now almost invariably contain aclause committing the record company to releasing records in at least thehome country. If records are not released the contract usually gives the artistthe right to end the contract and sometimes to get the recordings back,possibly in return for an override royalty. This is not always the case outsidethe UK and I recently had to fight for a release commitment in a US deal Iwas doing.TWO-ALBUM FIRM DEALSIf you’ve enough bargaining power, it is possible to get a record company tocommit in advance to a second album. These types of deal are called ‘two-album firm’ deals. They are not currently very common. Record companiesare more likely to agree to these when they’re in competition with anotherrecord company or perhaps where they are licensing in a finished album (soknow what they are getting there) and are then more inclined to take the riskon committing to a second one but most record companies don’t want togive this commitment. They want to see how the first album does beforecommitting to a second. Some artists and managers favour them becausethey believe they provide commitment and certainty, which allows them todo some forward planning. Others feel they only work if things are goingwell. If things aren’t going well, the record company will probably try andget out of it after the first album. If your only alternative is to sue thecompany for failing to honour their side of the bargain, you’ll probablyagree to accept the offer they make to end the contract, so the commitmentmay not mean much in the end. Sometimes the record label will give thecommitment but will insert what is sometimes called a ‘disaster clause’where if the first album does not sell over a given number of units the recordcompany does not have to make the second album. To my mind this type ofclause negates the whole point of seeking the certainty of a ‘two-albumfirm’ deal.TERRITORY AND SPLIT-TERRITORY DEALSLong-term exclusive record deals will usually be offered on a worldwidebasis. This may be perfectly acceptable, particularly if the record companyhas a strong presence in most major markets of the world. However, becausethe US is a very different marketplace from that of the UK, an artistsometimes asks for what is known as a ‘split-territory deal’.This means that you do one deal with a record company for the worldexcluding the US and another deal with a different record company for theUS. To make these types of deal work the artist and his manager have tojuggle the demands of two record companies. Record companies don’t likedoing these sort of deals, because they say they need a worldwide market inwhich to recover their investment. They also say that their own companiesare strong worldwide and should be given the chance.Split-territory deals are therefore usually offered to artists withconsiderable bargaining power. Sometimes these deals are done because therecord company has a strong reputation in one part of the world but not inanother. A US branch of a UK record company may not have a track recordin ‘breaking’ non-US artists in the US. However, it is doubtful that withoutsome strong bargaining power behind you you will succeed in getting a split-territory deal even in this situation.Smaller record companies may not have their own offices in all parts ofthe world. They may have a network of licensees in different countries.Those licensees might take all the records they produce. These are calledcatalogue licence deals. Alternatively, the UK company may look fordifferent licensees for each artist. For example, the UK record companycould do a deal with Atlantic Records in the US for all its acts or it could doa deal with Atlantic for its mainstream acts and with a smaller label for itsindie acts. Whatever the situation, you need to know who the licensees aregoing to be. They need to be well-established, trustworthy companies thatwill do a reasonable job of selling your records in the country concerned. If alicence deal isn’t in place in a particular country when you do your recorddeal, you should have the right to approve that part of the licence deal thataffects you at the time the licence deal is done. I recently successfullyargued for this right of approval when the label my client was signing to wasin the process of renegotiating its international licensing set-up and socouldn’t tell us who would be releasing the album overseas.Smaller companies use overseas licence deals to help to fund theiroperation in the UK. For example, a company in Germany could pay anadvance against the royalty it expects to pay on sales of records in Germany.It may also pay a contribution to the cost of doing a remix in return for theright to use the remix in Germany. If the artist does a promotional or concerttour in Germany, the German licensee may provide some financial back-up.If you have a small low-key deal in the UK with a label that can’t afford topay you very much up-front, you could ask that some of the advances paidby overseas licensees of your recordings should be paid through to you. Forexample, if the German licensee paid an advance against royalties of!100,000 you might get 25% (i.e. !25,000). This will help to make up for thelow advances in the UK. This is something that should be negotiated at thetime the original UK record deal is done.NEW FORMS OF RECORD DEAL360 dealsAt the time of writing these are the ‘flavour of the month’ deals. They arenot new – variations on them have been around for years. The RobbieWilliams deal done in 2002 was a particularly striking example of one ofthese deals but only now, some six years later, are they starting to filterdown into the mainstream. Very few artists have been able to attract dealswith the big numbers involved in the Robbie deal and most of these deals areat a much lower level. The one that is causing considerable discussion at themoment is the deal Madonna has struck with promoters Live Nation. This isdealt with in more detail in Chapter 10 dealing with touring.So what are these deals? They have acquired the name 360 because theyinvolve all important aspects of an artist’s career. A record label may say toan artist – in effect – ‘We cannot make enough money just from selling yourrecords to justify the level of advances, royalties and recording costs youwant us to pay. We cannot invest the kind of marketing budget this recordneeds because we can’t make enough money from record sales alone. So ifwe are going to sign/extend your record deal we can only do so on the basisthat we also get a share of the money you make from other activities.’ Theseactivities might be song-writing but more commonly it means they want ashare of the money the artist makes from selling tickets to their live concertsand selling merchandise at those concerts. Sometimes it also extends to anysponsorship deals the artist may do for that concert tour. The reason therecord labels have latched on to this is because at the moment the liveindustry is doing well in relative terms. Prices of tickets to live eventscontinue to rise and with fans spending another £20 or more a head onmerchandise once they get to the concert this is currently proving a verylucrative business for the artists. The record companies have convincedthemselves on the rightness of their stance by the fact that they feel it istheir work in promoting the album and the artist that is at least in partresponsible for the artist being able to sell so many concert tickets andtherefore they should share in that money.These 360 deals can take a number of forms. The record company mightjust tack on to their already long recording contract clauses which give thema share of income from things like the artist’s website, merchandising,sponsorship and ticket sales. The artist agrees to pay over a percentage ofthis income together with supporting statements which the label can check.The percentages are variable with figures around 10–20% being common but50% not being unheard of. In these types of deals the record label doesn’tinterfere, but just selects a share of the money. In other cases the recordlabel may insist that it controls things like the merchandising andsponsorship deals which the artist does. It is here that many artist advisersstart to get more nervous as this gives the record company a great deal ofcontrol over the artist’s wider career. The Madonna deal outlined in Chapter10 goes still further as she has signed such a deal not with a traditionalrecord label but with her live promoter who will in future be releasing herrecords.One deal that I did in the last year was an innovative variation on this360 model which involved the artist and the label setting up a partnershipwhich would hold assets like recording, trademarks, videos, artwork, butwhich the artist ultimately owned. These assets were licensed to thepartnership for a period of time before going back to the artist. Thepartnership embraced records and all other activities that the artistundertook in the entertainment industry excluding song writing as that dealhad already been done. There was however no other reason why song writingcould not form part of such an arrangement if all agreed. The partnershipwas initially funded by the record label ‘partners’ and it is a net profits deal.So far reasonably similar to other production deals with added income-producing areas. Where it got innovative was after the contract term ended.The artist would then be free to go off and sign to another company if hewished but for a period of time after that the artist would continue to pay apercentage of his profits from live work and other non-song writingactivities back to the record label ‘partners’. This deal is not for everyonebut it has now been picked up by an influential US label and so we may seemore of them in future.Many managers are up in arms at the 360 model because they see it asthe record label taking slices of income that traditionally they are notentitled to and arguably therefore reducing the monies that the artist receivesand which are then commissionable by the managers. However, as I saidabove in relation to production deals, these deals are very common at themoment and it is rare these days for new start-up labels not to at least beadvised to consider whether they should spread their risk by taking a shareof other income. This must not however be confused with deals where theartist is signed exclusively for recording, song writing, merchandise andsponsorship to one or more companies controlled by the same people whomay also manage the artist. These are variations on the production dealsdescribed below and should be very carefully handled as unless conflicts ofinterest are adequately addressed they are deals just waiting for an artistwith a bit of money to challenge in the courts.Production DealsAs I’ve already mentioned a type of recording deal that has grownsignificantly in importance over the last five years is the production deal.This is usually a form of an exclusive recording agreement for the world butwhere the record label is an offshoot business of a record producer orrecording studio owner or a manager who has access to cheap recordingfacilities or a fan or a song writer who has decided to set up his own ‘label’to record an artist he has found who he thinks is talented. These productioncompanies may be partially funded by a bigger company and act as a talentoutsource e.g. their studio rent and other office overheads may be wholly orpartially met by the record label (Heavenly is one of these labels and issupported by EMI) or they may be self-financed. Sometimes the fundingcomes from venture capitalists that set up schemes to invest in artists andlabels and in so doing exploit legitimate tax arrangements to maximise theinvestors’ tax breaks. Companies such as Ingenious are heavily involved inthis and amongst Ingenious’s recent investments have been a label ventureby IE the managers of Robbie Williams and the label appropriately namedIndependiente. Many more are self-financed or use what we call ‘friends andfamily’ funding – which as its name suggests means funding provided not byofficial financial institutions but by people known to the label owner. Theseproduction companies aim to exclusively sign up artists at an early stage intheir careers before there is too much interest in the industry leading to abidding frenzy. So the advances and recording budgets are likely to be low.The production company will expect to own the copyright for life ofcopyright and to have at least a couple of options to extend the contractbeyond an initial period. The aim of these production companies is either torecord up to say five tracks to good demo or master quality and use these totempt a bigger company to come on board or the production companyrecords and releases some tracks themselves in order to hopefully create abuzz and have the bigger company come along and either buy the contractoff them or license the rights off them exclusively in return for aninvestment into marketing and promotion and reimbursement of recordingcosts. The production company will obviously also hope to make a profit onthe dealThere is some debate amongst managers and their legal representativesas to whether these production deals are a good thing. I tend to take thepragmatic view that these structures are here to stay and if this is the onlytype of deal on offer you should think carefully before turning one down.There may seem to be a distinct advantage in signing direct to a bigger label,not through a small production label. On the other hand at least you are veryimportant for the small production company who is likely to give you moreattention and perhaps more creative control than you might expect from abigger label with other artists to also deal with. The big potential downsideis that many of these deals are on the basis that they share net profits withthe production company and usually that will be a 50:50 equal split.Sometimes it is a little more in the artist’s favour but in the early stagesmany are 50:50.In an ordinary royalties deal only the recording, video costs and personaladvances and possibly a percentage of independent promotion and toursupport is recoupable from royalty earnings. With a net profits or netreceipts deal all costs are recoupable.With an ordinary royalties deal the record company recoups therecoupable sums just from sums earned in royalties. With a net profits or netreceipts deal all costs are recouped from all income attributable to therecording i.e. including advances/fees paid by licensees, the recordcompany’s share of earnings etc.So all the income generated by the recordings goes to recoup all theexpenses and any profits or receipts left at the end are divided betweenrecord company and artist in the agreed proportions. The division is usuallya minimum of 50:50 but can go considerably higher in the artist’s favourwith 75:25 splits being not unheard of.At the outset, net profit or net receipts deals can work quite well for therecord company, as that is when costs are high. The record company s t i l lbears the risk on costs initially, but it doesn’t pay out anything to the artistuntil the deal goes into profit. Also, the record company gets to recoup costsit wouldn’t normally be entitled to offset against you, such as manufacturingcosts. You can still receive an advance to live on. Where these deals start tobecome less attractive to a record company and much more attractive to theartist is when the initial costs have been recouped and ongoing costs aregoing down. If the record continues to sell well and you’re on 50% of moreof profits, you’re doing considerably better than you would be if you were ona straight royalty basis.Such deals almost inevitably benefit the label in the early days becausethey do not have to pay the artist anything until the deal goes into profit.This means they have all their costs of recording, manufacturing anddistributing the records repaid first as well as things like press andpromotion costs. Only once all those costs have been recovered and theproject goes into profit do profits start to get shared. If the artist has had anadvance against his share of profits he will have to also repay that before hesees anything more. Once the costs have been recouped and start to tail offthen if the records continue to sell the label in theory should be makinglarger profits. These profits are then shared with the artist who stands to domuch better out of it than he would if he were on a royalty from a biggerlabel. So if costs are kept under control and the record sells both sides standto do very well.Where the scales tend to tip away from the artist is if the productioncompany sells on the contract to a bigger label. The production companymay then recover some or all of the costs it has paid out for recording and sois doing quite well but may not yet be in profit so perhaps the artist may nothave seen any more money at this point. The bigger label is not likely to do anet profits deal. They are much more likely to pay a royalty to theproduction company – let’s say 22% of the dealer price of the records. Thatthen is the ‘net income’ that comes into the production company for sales ofthese records. That 22% is then what the production company shares withthe artist. If it splits it 50:50 the artist is, if you like, on the equivalent of a11% royalty deal. Now that doesn’t sound so good does it? So it is often thecase that the lawyer for the artist will ask for an increase in the sharepayable to the artist to say 70% if a deal like this is put in place to give theartist a better ‘royalty equivalent’ deal. Even though it may seem that theartist has not done as well here as he would have with the bigger label thatbigger label was not showing any interest at the time the artist signed; theproduction company invested in the future of the artist and maybe helpednurture their creativity – so is it wrong to say they shouldn’t get a fairreward for that investment? You decide.OTHER ASPECTS OF RECORDING CONTRACTSNow that I’ve looked at the main types of deal and some of the things thatdistinguish them, I want to look at some aspects of contracts that arecommon to all types.DELIVERY REQUIREMENTS – MINIMUM COMMITMENTEach type of record contract has a minimum that is required from the artist.Licence deals can be for single tracks or albums. Development deals maystart out as being for four or five tracks and then develop into a commitmentto record albums. Exclusive album deals can either be for a single track oran album initially, usually with options to acquire further product.Production deals will be either for four or five tracks with options on furtherrecordings or an album commitment with options. One of the artist’sobligations is to deliver the required minimum number of recordings.This obligation may be simply to deliver the masters of these recordingsto the record company. More often, however, the commitment is notfulfilled until the record company has agreed that the recordings meet therequired standards. As we saw in the George Michael and Holly Johnsoncases, if these standards are not met the company can reject the recordingsand make the artist re-record them until they are satisfied. It’s important thatthese standards are realistic and that they’re set out in the contract. Theycould be technical requirements or commercial ones or a combination ofboth. What you should try and avoid is a subjective standard. This issomeone else’s view of whether the recordings meet the required standard orwhether the recording is commercially satisfactory. What a record companyexecutive thinks is commercially acceptable may not be anything like yourown views on the subject. It’s best if you can try and set an objectivestandard, a standard against which the quality of your recording can bemeasured. For example, measuring it against a recording of the artist’s thatthe record company has previously accepted as being satisfactory.It’s also usual to try and put a time limit on when the record companyhas to give an answer as to whether a recording is satisfactory. It must be arealistic time period, as the company may have to go through various stagesand processes before it can give an answer. The A&R man will have to listento it and probably play it to his colleagues at the weekly A&R meeting. Hemay talk to record producers to get their view of the recording. He’llprobably talk to the artist’s manager for his views. He may have a hunch thatthe record could be improved if one or more tracks are remixed by someoneother than the record producer or original mixer. Depending on the contract,he may have to get the artist’s permission before he does that. The contractwith the record producer may mean that he has to give him the first chanceto remix the track in question. Now obviously it’s unlikely that the A&Rman will be hearing the recordings for the very first time. He is likely tohave been involved in the process to a greater or lesser extent at an earlierstage but nevertheless this approvals process takes time.Once the record company is happy with the standard of the recordings itmay say that the recordings have been accepted and that the MinimumCommitment has been fulfilled, but most companies want more informationfrom you before they do that.Acceptance or fulfilment of Minimum Commitment usually means thatthe record company has to start planning the release and maybe has to pay afurther instalment of the artist advance. The record contract may set a lastdate by which the record must be released. The record company won’t wantthat time to start running until they’re in a position to start the processes fora release. This means that they usually require you to hand over a number ofother things before delivery is said to have taken place and before theyaccept the recordings. This could be artwork for the packaging of therecords, details of who performed on the masters, and confirmation thatthose performers have given their performer’s consents. If there are samplesof anyone else’s recordings or songs in the masters, the record company willwant to know that you have permission from the copyright owners of thoserecordings or songs to use the samples (see Chapter 13). If permission to usethe samples hasn’t been agreed then the record company can’t put therecordings out without being in breach of copyright. With a production dealit is likely that the delivery of the five or more tracks will start the timerunning for when the production company has to get a bigger company onboard, release the records themselves, or release you from the contract. Sothey are going to be pretty sure they have all they need before they officially‘accept’ the recordings.Because it’s important to know when a recording has been accepted, Ioften ask the record company to agree that the recordings are said (deemed)to be accepted if the record company has not said that they aren’t within fourto six weeks of delivery of the masters, artwork etc. to them. Depending onhow long they think it will take for them to go through the acceptanceprocess, they may agree to this or they may not. With a production deal youare more likely to be closely involved in the whole process with the labeland you choosing songs, producer, remixer etc. together. There is less likelyto be a very formal procedure for notification of delivery and acceptance insuch cases but they will still want to know they have all the parts theyrequire to get a release and the artist will still want to know that he has doneall that is required of him for the moment.ADVANCESFor many artists this is one of the most important issues. Remember thatthese monies will have to be recouped out of the royalties earned from salesor other uses of the recordings. Unlike a loan, however, advances aren’tusually repayable if the record company doesn’t sell enough of the records.That’s the record company’s risk. If, however, the artist takes their moneyand then doesn’t deliver any recordings, the record company may try andcome after you to get the advance back. If it’s all gone, they may not botherto sue because it would cost them more in legal fees than they would getback. I wouldn’t like to rely on them not suing though.What’s a good advance on an exclusive recording agreement?A good advance is one that meets your needs. You may only care aboutgetting as much money as possible and aren’t concerned if you never sellenough records to recoup. There are a lot of cynical managers with that viewin the business – take the money and run. In that case you’ll just be lookingfor the most money you can get up-front. It’s a short-term view because thegreater the record company’s investment in advances, the more pressurethere is going to be on you to perform and the more likely it is that therecord company will want to dictate to you. If you go for a more reasonableadvance payable in reasonable instalments, the record company may put youunder less pressure to deliver. You should also recoup the advances soonerout of your royalties. Because so few artists recoup advances and costs, thiswill put you in a strong bargaining position with the record company. I have,however, recently heard a very successful and influential music managertake completely the opposite position. His view is that an artist who hasproved that he can sell records if the record company does its job properlycan get more commitment out of a record company by being unrecouped, asthis will encourage the company to work harder. This could well be the casewith certain labels or individuals, but I’m not convinced that this applies toeveryone, particularly in the current climate when so few artists are gettingbeyond their first album. One of the reasons the contract does not go furtheris because overall it is just too expensive. A prudent manager wouldconsider renegotiating if the label was otherwise a good bet to stay with. Ifhowever the A&R or MD who signed the act is no longer there then you maybe better off cutting your losses, walking away from the debt and trying tostart again.Whatever the position on recoupment, a good advance is going to be onethat allows the artist to live and have a roof over his head for at least a year(preferably eighteen months) while the recordings are being made and thenpromoted. It’s a good idea for the artist or his manager to do an outlinebudget of what he may need.If a manager is only interested in getting as much of the advance aspossible as early as possible as an artist I would be suspicious. Is he onlyconcerned about his commission? Is he only in it for the short term? Doesn’the expect to be around when the record is finished or when it’s time for theoption to be exercised? Whose interests is he looking after – the artist’s orhis own? It may be a perfectly legitimate approach, but don’t accept itwithout question. If he’s pushing for a very short deal with most of themoney up-front, is it an agreed approach of ‘take the money and run’ ordoesn’t he have faith that you can cut it beyond one album? You may accepta lower advance in return for other things such as greater creative control.It’s possible to get both, but usually only when you have a lot of bargainingpower. If you go for a lower advance you should also be able to argue for ahigher royalty and this argument also holds good in production deals but donot expect the production company to necessarily move beyond a 50:50 dealin the early stages.Min-max formulaThe level of advances payable could be calculated according to a formula(called a ‘min-max formula’). Under this formula a minimum advance ispayable to the artist and a limit is also set on the maximum the companywill pay. The actual amount is calculated as a percentage of the royalties theartist earns. The formula usually applies from the second contract period oralbum onwards. This method of calculating option period advances is oftenfavoured by production companies as it allows them to reward sales success.At the beginning of the second contract period, the record company looksat how much the artist has earned from sales of the recordings he made inthe first contract period. It then takes a percentage of that and, if the amountthen arrived at is more than the minimum and less than the maximum, thenthat is the advance payable for that period. For example, in the twelvemonths following the release of the first album the artist may have earned£100,000 in royalties. The formula for calculating the advance for thesecond contract period is linked to 66% of those earnings; 66% of £100,000is £66,666. The minimum advance payable in the next contract period is,say, £50,000. This is above that. The maximum advance payable is, say,£100,000, but it’s not got to that point so the advance payable is £66,666.This formula can work and many record companies favour them becausethey give them a degree of certainty for budgeting purposes and a paymentlinked to success. The artist needs to make sure that the minimums areenough to meet his minimum living requirements. In the example I gaveabove, could he live on £50,000 for a year or longer in the second contractperiod?The maximums are usually double the minimum, but may be more inlater contract periods. Is the maximum a reasonable advance if the artist isdoing very well? To be honest, I don’t worry about the maximums as muchas the minimums. If you’re hitting the maximums it’s because the artist isdoing well and the record company is more likely to want to keep him happyby renegotiating these figures upwards.Payment termsAdvances are normally paid in instalments, usually one on signing the deal,another when the artist starts recording the Minimum Commitment for thatcontract period, and the final instalment either on delivery of the completedrecordings to the record company or on commercial release of therecordings. With a production deal the later instalments may be linked to theproduction company getting a bigger company on board. As the releasecould be some months after delivery, the artist will want the final instalmentto be paid on delivery. The record company may want to protect itself byonly paying the last instalment when the record is released, when there is areasonable prospect of record sales reducing its financial exposure.However, a lot can happen between delivery of the finished masters and theirrelease. A client of mine once delivered finished masters to the recordcompany and they were accepted. A few months later, and before the lastdate on which the record company had to release the recordings, thecompany closed down and the copyright in the client’s recordings wastransferred to another record company. That record company then hesitatedfor a few months more about whether or not they were going to release thealbum. In the end the artist’s manager asked me to send the record companya formal notice under the terms of the record contract requiring the recordcompany to release the album and pay the final instalment due under thedeal. When the record company got the notice it rang me up and said that ithad decided that it didn’t want to release the album. It offered to give myclient the copyright in the album back in return for an override royalty untilsuch time as it had recovered the recording costs that had been spent on thealbum. The client and his manager decided to take this offer, but more thanseven months had passed since the recordings were delivered and the artistdidn’t get the advance due on release of the album. From the artist’sperspective therefore it would have been better to have payment linked todelivery of recordings not their release.Costs-inclusive advancesThe advances I have been describing so far are called personal advances.They go towards the artist’s personal needs. The costs of making therecording are separate recoupable amounts (see Chapter 5). The recordcompany may offer an advance, which includes the costs of making therecordings. These costs-inclusive deals are often called ‘recording-funddeals’. Both artist and the record company have to be quite careful that theamounts advanced under a recording-fund deal are at the right level. Theartist has to be sure that he can make the album he wants to make with theavailable funds and still have something over to live on. Often, costs-inclusive deals work out at less money than one for a personal advance plusrecording costs, unless the artist can record very cheaply. The recordcompany has to know it’s not being too generous but also that the artistwon’t run out of money before the recording is finished. If he does, therecord company inevitably ends up paying out more money if it wants to getthe recording finished. Recording-fund deals can work for establishedartists, for those with their own recording facilities or more mature artistswho can be relied on to make the recording without spending all the moneyon themselves. I have recently successfully negotiated just such a deal with acompany in the EMI Group. The artist had a track record of making recordsand the manager was very experienced and respected by the record company.It’s worked out well for the artist, as much of the recording was done in ahome studio.RECORD BUDGETSIf a record company is not offering a recording-fund deal you’ll need to havesome idea of how much it’s going to cost to make the recordings. You needto know that the record company is committed to spending that amount ofmoney. If you’re doing a licence deal you’ll usually have already finishedmaking recordings, and so the issue is whether they will compensate you forthe costs you’ve incurred. So you need to know what you’ve spent.The budget must take into account how much it will cost to rehearse thematerial, to do any necessary pre-production (preparation for recording andprogramming), to record the material in the studio, to have it produced,mixed and edited. Some record companies include the cost of cutting ordigitally mastering the recording in the budget. This can add thousands tothe deal so, if the budget is tight, try and get them to pay for that separately.You also have to bear in mind the cost of hiring in specialist equipment andengaging the services of additional musicians and vocalists. The budget alsousually includes what are called per diems, an expression meaning a dailyexpenses payment to cover food and drink and sometimes also transport toand from the studio.The record company may commit to a guaranteed minimum spend onrecording costs in the contract, but most are reluctant to do that. This iseither because they’re afraid they may get it wrong, or because setting aminimum figure means you tend to spend that amount of money whether it’snecessary or not. On the other hand, you’ll want to know the record companyis committed to a particular level of spend so that you know that you canmake the kind of record you want. Both sides have to be realistic. It’s nogood a record company thinking you can make an album for five pence, butneither is it any good you thinking the record company will let you have ablank cheque. This is where a decent recording budget is invaluable.Recording costs are usually fully recoupable. There are, however, someelements of the recording cost budget that may be wholly or partially non-recoupable. A classic example is the costs of remixing. Mixing costs arevery expensive. If you’re on a tight budget these costs can take a lot out ofthe total. The record company may want to commission a remix that youdon’t think is necessary. Who is to pay for this and are the costs to berecoupable? Some record companies will agree that the first mix comes outof the recording budget as does any remix that you want to do, but if therecord company wants to do additional remixes they pay that on top of therecording budget. So, you know what to do – make sure it’s the recordcompany that asks for the remix, not you.ROYALTIESThis could be the subject of a whole book in itself. No two companiescalculate royalties in exactly the same way. This is an area where there isreally no escaping the need for experience and legal advice.Record company executives usually have guidelines as to what is or isnot allowed. Certain top artists may have been given ‘favoured nations’terms. This means that they have the best deal that the record company canoffer on that particular point. If any other artist is offered better terms bythat record company, the artist with the ‘favoured nations’ provision mustalso be given these better terms. As this has potentially huge financialimplications for the record company, an executive crosses these boundariesat his peril. It may be impossible to do so and will definitely requireagreement from someone high up the corporate ladder.Retail versus dealer priceYou need to know what price basis the record company is using to account toyou. An 18% royalty on the retail price of a CD would be good, but 18% onthe dealer price of the CD would be just average.Until about ten years ago, the majority of UK record companiescalculated their royalties as a percentage of the retail price of the record inquestion. However, the retail price is not within the record company’scontrol and varies considerably. Most UK companies have, therefore, movedover to using the dealer price of the record as the basis of calculation.Outside the UK and in particular in countries like Japan and the UnitedStates, they have very different methods of arriving at a dealer or‘wholesale’ price basis. In order to make a proper comparison, you shouldask the record company to give you the actual figures they are talking aboutso you can do what is sometimes known as a ‘pennies’ calculation. Thismeans that you can calculate roughly what you’ll get from each record sold.This calculation is essential when you’re trying to compare offers from morethan one record company. It’s also important for a record companyexecutive trying to make a deal to know how much he will have to pay inrecord royalties per record sold. He or his finance officer will need tocalculate how many records will need to be sold before the advance theyoffer will be recouped. It has to make some kind of commercial sense evenif the A&R man is so determined to do the deal that he wants to pay over theodds. At least he’ll know what he has to aim at in terms of record sales.What percentage of sales?Is the royalty calculated on all records sold or a lesser percentage? Manyrecord companies build in a ‘free goods’ allowance of up to 15% of totalsales on which they do not pay a royalty.Packaging and other deductionsThe most common deductions are packaging deductions, sometimes alsoreferred to as container charges. This is a charge supposedly to cover thecost of making the cases or other packaging in which the record is sold. Inreality, the actual cost is usually far less than the average packagingdeduction and is a way by which the record company artificially reduces theroyalty paid to you. These deductions must be taken into account in order tocompare offers from different companies. An average packaging deductionfor CDs is 20%, although many companies charge 25%. More and morecompanies – including EMI and BMG before it was merged with Sony –dispensed with packaging deductions altogether as part of a drive for simplercontracts and greater transparency. Whilst I am all for that the problem isthat, because not all labels have adopted this approach, many are stillmaking a packaging deduction and therefore comparing like with like is verydifficult. A royalty rate offered by a company which does not deduct apackaging allowance may seem low and uncompetitive until you take thisinto account.Other traps for the unwary are the reductions that some recordcompanies apply to certain types of records. For instance, sales by mailorder, through record clubs or at budget prices will be at a lower royalty rate.The principle behind all these deductions is that, where the record companygets less than the full price for a sale, it will reduce the amount payable tothe artist on that sale. A record sold as a budget record will usually attract a50% reduction in the royalty rate. A 50% reduction also applies to recordsadvertised on television, sold by mail order or through record clubs. Thereduction in the royalty for mail-order sales is important when you think thatmany companies will now offer mail-order sales over the Internet. If thisbecomes the established method of selling records then we ought to lookagain at whether or not a 50% reduction is appropriate.A detailed exploration of all the royalty reductions is beyond the scopeof this book. Your lawyer and accountant will be familiar with these. MostUK record companies usually apply the principles behind the reductions in asimilar way, but the details will differ a great deal.What’s a good royalty?As a very general guideline, a basic royalty of more than 18% of the dealerprice calculated on 100% of records sold with no reduction for CDs and apackaging deduction of no more than 20% would be acceptable. It’s unusualto see royalty rates of more than 24% of the dealer price for new signings toexclusive record deals. However, royalties on licence deals could wellexceed 24% on the above basis, because the record company is getting afinished recording and can assess the commercial potential upfront. Therecord company also hasn’t taken any risk on the recording costs. On non-exclusive licence deals between record companies, for example for acompilation, the royalty may well be more than 24% of the dealer price withno packaging deductions, because they recognise the deduction for what it is.RELEASE COMMITMENTSObviously, once the album has been delivered and accepted it would be goodto have some kind of assurance that it’s going to see the light of day and notjust sit on the shelf. You need a commitment from the record company torelease the record in at least the home market and preferably also the mainoverseas markets. The release should usually take place within four to sixmonths of delivery of the masters. If it doesn’t, the usual remedy is to servea notice telling the record company that if it doesn’t release the recordwithin another two to three months then the artist has the right to end thecontract and not have to deliver any more masters. Even better would be acommitment from them to return the unreleased masters to the artist(perhaps in return for an override royalty until the recording costs have beenrecouped).Some record companies don’t want to do this, because they would rathernegotiate such things at the time. They may also want to hold on to themasters in case another company has better luck in making you successful.They then have back catalogue material they try to release to cash in on thissuccess. I think this is pretty daft because, although the tried and true fanswill buy all records, there’s no artist to promote the record so it’s unlikely togo very far. Sometimes they hold on to the unreleased masters in order to tryand sell it to the artist’s new record company at a later date and this strategyis often successful.Overseas, if the record isn’t released within four to six months of the UKrelease (depending on the contract – it might be longer if it’s a small label)you can serve another notice of thirty to sixty days; if there hasn’t been arelease the artist may have the chance to find a licensee and make the recordlabel then license it to that company to release. They’re unlikely toautomatically give the masters back, as they know it’s difficult to make theiroverseas companies or licensees release recordings. It’s mad though if youthink about it – why bother to do a worldwide deal if you can’t evenguarantee that your sister companies overseas will even release the recordsin their territory? It’s all part of that argument, ‘We have to do this becausefor the few that are international artists we would look stupid and get fired ifwe didn’t have world rights.’ACCOUNTINGThe artist should get paid at least twice a year, possibly four times withsmaller companies doing their own distribution. The accounts statementswill be sent out sixty to ninety days after the accounting date. If all advancesare recouped (oh happy day!) the statement will have a cheque with it –yippee! If you aren’t certain what the statement says, check it with youraccountant. If he doesn’t think it’s right you should challenge it, but don’tleave it too long as you probably can’t object after a period of time, say oneto three years. You have the right to audit (inspect) the books at least once ayear. Send accountants in to audit if you’ve had a successful period or at theend of a deal that has gone well.WHAT HAPPENS IN A PRODUCTION DEAL WHEN ABIGGER COMPANY COMES ALONG?Well, first the production company either sells or licenses on the rights ithas in its deal with the artist and the rights it has in any recordings it hasalready made, to the bigger label. This is either an outright sale where theproduction company steps out of the picture on an active level and passivelycontinues to earn its income from future sales or it remains as an activemiddleman. The decision is usually made between the bigger company andthe production company but as we will see below the artist may have anindirect say. If the production company stays in the picture the biggercompany does a contract with the production company and not direct withthe artist. It pays the production company an advance, maybe reimbursementof specific costs such as recording costs already incurred and a percentage offuture royalties. Out of these monies the production company pays what isdue to the artist under its separate contract with the artist.If the production company drops out of the picture the bigger label doesthe deal direct with the artist and a separate deal with the productioncompany for its share of future earnings. In the latter case the artist is free tonegotiate new terms. In the former case where the production company staysin the middle the artist is generally stuck with the original production dealhe did so it is important that that contract anticipates that this is going tohappen and ensures the artist gets a fair share going forward. This mayinvolve a bigger percentage of the profits going forward and/or a slice of theadvances paid by the bigger company.There is also a small window of opportunity for the artist to attempt arenegotiation of his deal. The bigger company will usually want the artist toconfirm that it won’t lose out if the artist and the production company fallout at a later stage; or if the production company goes bust or doesn’t wantto continue with the artist whilst the bigger company does. This document,called an inducement letter, allows the artist a little bargaining power as it isimportant to the bigger company that it is signed. Therefore the artist has anopportunity to try and improve his terms a little bit.CONCLUSIONSThere are four main types of record deal – licences, development deals,production deals and exclusive recording agreements.With each type of contract you need to work out how much exclusivityyou’re going to give and what territory the contract is to cover.Advances against royalties can include recording costs or these can bedealt with separately. Recording and personal advance budgets areuseful in setting the level of the deal.Royalties can be calculated on the retail or the dealer price of therecord. It’s important to establish which, as it makes a great deal ofdifference to the deal.Some record labels no longer deduct the cost of packaging. It isimportant to know this as it can explain what may otherwise seem apoor royalty.Record contracts often contain reductions in royalties on certain typesof sale or method of distribution.Net profits deals work for the record company at the beginning but thescales can tip in favour of the artist after the initial costs have beenrecouped.New types of recording deals based on the artist sharing income fromhis other activities (360 models) are emerging which may work for youeither once you are a successful artist or as alternatives.1 Macaulay v. Schroeder Music Publishing Co. Limited (1974) 1WLR 1308,HL.2 Panayiotou v. Sony Music Entertainment (UK) Limited (1994) EMLR 220.3 Section 16(2) CDPA.4 Sections 17-27 CDPA.5 Directive 2001/29/EC.6 In the US options for six or seven further albums are commonplace.7 Zang Tumb Tum Records Limited and Perfect Songs Limited v. HollyJohnson [1983] EMLR 6. Chapter 4What Is A Good Publishing Deal? INTRODUCTIONIN THIS CHAPTER I’m going to look at what rights a songwriter has and whathe can expect from the various types of publishing deals. I’m going to askwhether you need to do a publishing deal at all. If so, whether, ideally, itshould be before or after you’ve done your record deal. Just as we have seenwith recording deals there have also been changes in how publishing isviewed by the smaller operators and there has been a move amongstmanagers and smaller record labels to also take an interest in publishingrights. I will explore how they do this and whether or not I think this is agood idea.Before I go into any detail about the contract, I need to look at how youfind a music publisher, what a music publisher actually does, and what rightsa songwriter has. You will not be surprised by now to learn that the doctrineof restraint of trade comes up here too. Since the last edition of this bookthere have been a number of significant cases to do with publishing rightspossibly reflecting the greater interest in songwriting as a source of income.As well as looking at some restraint of trade cases these new cases will bedealt with in full below.HOW TO FIND A MUSIC PUBLISHERMusic publishers employ A&R people and scouts in the same way as recordcompanies do. They’re on the lookout for talented songwriters who eitherperform in a band or as a solo artist, or who mostly write songs for otherpeople. Hopeful songwriters send demos to publishing companies in thesame way as record companies.You can find lists of UK music publishers in the Music Week Directory(see Useful Addresses). All the major record companies also have well-established music publishing companies within their group of companies.For example, there is an EMI Records and EMI Music Publishing. There hasbeen a spate of mergers in the major music publishers in the last few yearsand threats of significant changes with others. Universal Music Publishinghas acquired BMG Music Publishing in a move which was initiallyscrutinised by the European Commission but which was subsequentlycleared on the condition that Rondor UK, Zomba UK, 19 Songs and BBCMusic were sold off. When Guy Hands’ private equity group Terra Firmabought EMI for £2.4billion in 2007 there was rampant speculation that thedeal would be funded at least in part by the sale or securitisation(mortgaging) of the EMI publishing catalogue. So far this has not happenedand the focus seems to have moved away from this as a source of revenuebut it must remain a significant possibility. There is also talk that if Warnersand EMI were to ever conclude their long on-off, love-hate courtship thatthis too might result in the sale of certain assets such as the Warner Chappellpublishing catalogue either to raise funds or to reduce the likelihood of themerger being rejected on monopoly grounds. So we are now down to fourmajor music publishers: Warner Chappell, Universal, Sony and EMI. Thereare also independent music publishers that aren’t associated with recordcompanies, for example PeerMusic or Bucks Music Group, as w e l l a sadministrators such as Kobalt and Bug Music amongst others. Your lawyer,accountant and manager can all refer you to publishers they think will besuitable for your style of songwriting.WHAT DOES A PUBLISHER DO?Have you ever wondered why we call them publishers? As far as I can workout, it comes from the early days of the music business when music waspublished in the form of sheet music in the same way as a book is published.Nowadays, of course, sheet music forms only a small part of the income thata songwriter and a publisher can make. These days the largest share ofincome comes from the use of songs on sound recordings (mechanicals) orwith TV, film or other moving images (synchronisation). As digitaldistribution of music develops, the rights in a song may well be far morevaluable than a physical sound recording like a CD as we will see in Chapter7 on digital media.Publishers have traditionally had three main roles. Firstly, they issuelicences to people who want to use music. Secondly, they actively look forways to use music – for example, putting it in an advert or on a filmsoundtrack. Thirdly, they collect the income from those licences and uses.The first of these roles is often done in conjunction with the collectionsocieties (see Chapter 15), including now the area of online uses where, afterinitially feeling their way, the societies have now begun to establish linkswith international societies and to have mandates from their members togrant commercial licences for online uses. Their position has beenstrengthened legally by the bringing into UK law late in 2003 of the EUDirective which confirmed the extension of rights of copyright owners andperformers to online, digital uses which has removed the previousuncertainty.Some publishers are better than others in finding uses for music andcollecting the money earned. Obviously, a songwriter has to be satisfied thatthey can do a reasonable job of collecting in the money. Whether he alsoneeds them to be good at finding uses for his songs will depend on the typeof songwriter he is (although most songwriters probably wouldn’t turn downadditional ways of making money).So that people know who to approach when they want to ask to use asong, and in order to track the money and collect it properly, the publisherhas to register the songs with all the main collection societies around theworld. Sometimes this just requires that the songwriter fills in a form andfiles it with the society. Sometimes they also have to send in a recording anda written copy of the words and music, called a lead sheet.If the music publisher is one of the bigger publishers, it will have its owncompanies in each of the major countries in the world. One or two of theindependent publishers, most notably PeerMusic, also have their owncompanies worldwide too. Most of the independent and smaller publishersdon’t have the resources to set up overseas companies. They appoint localpublishers in the country concerned to look after their interests there. This iscalled sub-publishing.The traditional roles of the publisher are however changing as they toolook for different ways of making money in a difficult market place. If oneof their traditional main sources of income has been mechanical royalties onrecord sales and if, as is the case, CD sales are declining then their income isalso dropping so they have to supplement it in other ways as well asbecoming better at collecting it and more efficient in running theircompanies. Publishers will also now do some of the things that wereoriginally only done by record companies. They will provide studio time foran artist or songwriter to record demos. In order to get interest from recordcompanies to sign singer–songwriters, some publishers act almost likerecord companies, putting records out in limited editions as a way to attractrecord company interest. There are even some that will provide financialsupport for you when you’re out on the road promoting your records, orextra funds for promotion or press coverage. These costs and payments areusually recoupable from your publishing income as and when it comesthrough. The main reason they do these things is in order to give you a bit ofa boost, a head start, or to top up funding that may or may not be providedby your record company. EMI was one of the first publishers to look atlicensing song lyrics for inclusion on merchandise like mugs and T-shirts.EMI has also developed an arm of its UK company which is involved in themanagement of songwriters – many of whom are producers and notnecessarily performers. These artists do not have to be signed to EMI forpublishing. With the decline in mechanical income licensing songs for use inads and films has become more important and many publishers arestrengthening their synchronisation departments.WHAT ARE MUSIC PUBLISHING RIGHTS?Before you can have any rights in a literary or musical work1 (i.e. in lyricsor music) you have to establish that the words and music are original andthat they have been recorded in some way. This could be sheet music, withthe words and music written down, or a demo of someone singing the wordsand music.2HOW DO YOU PROVE THAT YOU HAVE COPYRIGHT IN AWORK?There are a number of recognised ways of doing this.You could put the sheet music or demo recording in a safe deposit boxmarked with your name and the date on which you wrote it and get a receipt.You could send it to your lawyer and ask him to write back to confirmwhen he received it from you. Some lawyers aren’t happy about doing this.They don’t want trouble later if they lose the CD in among the one hundredand one others in their office. Also, they can’t really confirm something thatthey have no direct knowledge of. They don’t know who wrote it or when.They can only say that you sent a tape to them on a particular day.The most popular way is to put the lyric sheet and recording in anenvelope addressed to yourself that you then post to yourself by recordedmail (so you have a receipt). When it arrives you keep it unopened in a safeplace. The postmark and the fact that it’s still sealed means that you haveproof that that recording/lyric/sheet must have existed some time before thepostmark date. So, if someone later copies the song illegally, there isevidence that your version was written before theirs.WHO OWNS THESE RIGHTS?The first owner of the copyright in a musical or literary work is the personwho is the ‘author’ or creator of an original work and records it in a tangibleform.3There can be more than one writer or composer.4 These are called co-writers. One person might write the words and the other the music, or the co-writers might all work on both elements.Famous examples of successful co-writing partnerships are Elton Johnand Bernie Taupin, Andrew Lloyd Webber and Tim Rice and, more recently,Robbie Williams and Guy Chambers. It’s perfectly possible for two separatepublishers to control parts of the same song.Where there are co-writers the song is jointly owned, and it’s veryimportant to record who owns what part of the music or lyrics. When youfinish a new song and give it to your publisher, they fill in a form on yourbehalf called a Joint Registration Form. This is the form needed to recordthe details about the song, which is then sent to the collecting societies,MCPS and PRS (the Mechanical Copyright Protection Society Limited/thePerforming Rights Society Limited). The form contains the title of the song,who wrote it, what shares of it they wrote and if there are any restrictions onwhat can be done with it. If you don’t have a publisher and you’re a memberof PRS or MCPS or both, you should complete and file that form yourself.Most publishing agreements will say that all songs are assumed to bewritten in equal shares by all co-writers unless the publisher is toldsomething different when the work is completed and details given to themfor registration. The whole question of who wrote what can be the cause ofmajor arguments between co-writers, who are often members of the sameband or the producer of the album. This can be the case even where not allmembers of a band contribute to the writing. Those members that do writeresent those that don’t. These issues ought to be sorted out at an early stagebefore it becomes a real issue (see Chapter 11).You won’t be surprised to learn that disputes over ownership arecommonplace. A well-publicised 1999 case over songwriting sharesinvolved members of Spandau Ballet.5Spandau Ballet caseSpandau Ballet’ was formed in 1979 and made up of the two K e m pbrothers, Martin and Gary, together with Tony Hadley, John Keeble andSteve Norman. They were part of the New Romantic movement and,after turning down a record deal with Island Records, they set up theirown label that they eventually licensed to Chrysalis Records. Their firstsingle, ‘To Cut A Long Story Short’, went Top 5 in the UK. Theyreleased a couple more singles before having a Top 3 hit with ‘ChantNumber’. They released six albums plus a Greatest Hits compilation.The last album, Heart Like A Sky, was released in 1989. Ten years laterthey were in court arguing over song royalties. Martin Kemp was notinvolved in this case.Everyone agreed that Gary Kemp had written the lyrics to all thesongs. The dispute was over who composed the music. Gary Kemp’scompany received all the publishing income from the songs. Hevolunteered to give half of this money to the other band members, butstopped this arrangement in 1987. The other band members sued, sayingthat there was a legally binding agreement to continue to pay thismoney. They also argued that, if there was not a binding agreement, theywere entitled to the money anyway because they were co-writers of thesongs and therefore co-owners of the copyright. They said they’dcontributed enough to the music to make them co-writers. The judgedecided that there was no binding legal agreement. Gary Kemp was solewriter of all the music save for a song called ‘Glow’. The judge alsoconfirmed that to be a co-owner you have to have contributed to thesong’s creation, not just to its interpretation. So if a drummer just adds ashort drum loop that doesn’t make any material difference to the song,that won’t qualify for a claim that he has co-written that song. A bassistwho takes the melody line and just converts it into a part that is suitablefor his instrument will also probably not have claim to being a co-writer.More recently there are threats of a court case against James Blunt by recordproducer Lukas Barton who claims to have co-written a number of songs byBlunt which feature on his album Back to Bedlam, which has so far sold over14 million copies worldwide. Blunt denies Barton was a co-writer and saysthat he wrote all the songs in dispute himself, either whilst he was serving inKosovo or before that at his parents’ home. It is not certain that this casewill come to court; it is possible it will settle beforehand.Mark Taylor v. Rive Droit Music LimitedOne case that did make it to court was a claim by Mark Taylor, co-writerof Cher’s hit record ‘Believe’ against music publishers Rive Droit MusicLimited (RDM).6 Many of the problems that surround this case turn onbad drafting of a publishing agreement and a dispute as to who ownedtwo songs which Mark Taylor co-wrote and which were recorded by theartist Enrique Iglesias.In 1995 Mark Taylor entered into two agreements with RDM, thesecond of which was a written publishing agreement which was renewedtwice, the second time in 1998. At the end of November 2000 Mr Taylorstopped working for RDM and joined a rival set-up Brian RawlingProductions Limited (BRP). Brian Rawling had originally been recruitedby RDM to bring together a stable of songwriters. Songs written by thesesongwriters would be pitched to other record labels and artists. The ideawas that RDM would produce the subsequent recordings of those songsand receive both a production fee and royalties from sales of the recordsand a share of the songwriting royalties.Mr Taylor collaborated with Paul Barry (another songwriter signedto RDM) and together they wrote a number of songs including ‘Believe’which made their name. Mr Taylor entered into the third publishingagreement with RDM in about December 1998.Two years later in early December 2000 Mr Taylor and Mr Barrywent to America and worked on songs which were to be recorded byEnrique Iglesias. On 6 December Mr Taylor decided to end theproduction arrangements with RDM with effect from 1 December 2000and sent the owner of the company a fax to that effect. Over the courseof December 2000 all of the producers and most of the administrativestaff left RDM for BRP.In April 2000 Mr Taylor sought a declaration from the court that his1998 publishing agreement had expired on 30 November 2000 and thathe was due royalties. RDM disputed this interpretation of the contractand said that the term of it was three years not two. Presumably on thebasis that they may have been found to be wrong on this they tried toargue that they had the rights in the two Iglesias songs which Mr Taylorwas arguing were written after the end of the 1998 publishing agreementbecause he had in fact not created new works but adapted parts of songswritten by Mr Barry (who was presumably still under contract). RDMalleged this amounted to an infringement of their copyrights and askedthe court to award them damages.At the first hearing the judge found that it had been a two yearcontract and that Mr Taylor was under no obligation to deliver to RDMany song written in whole or in part after 1 December 2000. However,Mr Taylor did not have it all his own way because the judge also foundthat some of the two Iglesias songs had in fact been in existence on 1December 2000 and the copyright in those parts belonged to RDM.Taylor felt that RDM didn’t acquire the copyright until he had delivereda completed song. So both parties appealed to the Court of Appeal whichfinally gave judgment on the case in November 2005. Well you do knowthat saying ‘Where there’s a hit there’s a writ’. It might have beencoined for just such a case as this.There were considerable difficulties in deciding what the publishingcontract on 1998 actually meant. The Term appeared to be for two yearsbut then in another clause this was contradicted by a reference to threetwelve-month periods not two. Eventually the judges agreed that it wastwo years not three and that the earlier clause which defined the Termwas stronger than the later, contradictory one. The court also decidedthat the relevant point for determining the ownership of the copyrightwas when copyright subsisted and when it was intended that thatcopyright could transfer to another. The judges accepted this was notalways easy to determine but in this case decided that copyright vestedin RDM at the moment there was a complete work. Now this could haveimplications for drafting of publishing agreements in future as manypublishers take the view that even if a song is a work in progress theystill own rights in it. There were also echoes of our old friend thedoctrine of restraint of trade in that if they were to decide that thismeaning of composition included ALL of the writer’s output then thatcould be seen as a restraint of his trade.As a post script to this case, in late 2007 Rive Droit Music Limited went intoadministration. Whilst the arguments surrounding these cases may suggestthey turn on their own facts there are clearly lessons to be learned: be clearin your drafting, and make sure all rights of session musicians and bandmembers are clearly set out. This point will emerge again in a later chapterwhen we look at the rights of session musicians but before we leave this arealet’s look at a recent case (currently under appeal) which seems to throwsome doubt on what rights the original composer of a song has when part ofthat song is then replayed by a member of the band.Matthew Fisher v. Gary Brooker – The ‘Whiter Shade of Pale’ Case7This was a case decided some forty years after the song was originallywritten and recorded and turned into a massive hit by the band ProculHarum. Mr Fisher was the band’s ex-organist and he argued that he wasentitled to a share in the musical copyright (not the lyrics). The band’spianist Gary Brooker argued that Mr Fisher’s organ solo was essentiallythe same as the original piano composition. The judge preferred MrFisher’s version of events and ordered that Mr Fisher was entitled toclaim a 40% share in the music. It is sometimes difficult to follow ajudge’s logic as in this case, having decided that Mr Fisher had made asignificant contribution to the original musical work so as to make him aco-author with Mr Brooker he decided that that contribution was not as‘substantial’ as Mr Brooker’s contribution so awarded him a 40% not50% share. The judge also ordered that Mr Fisher was not entitled to anyroyalties for the time before he brought the case. The song wasoriginally released as a single on 12 May 1967 and was a huge hit, goingon to sell over 6 million copies worldwide. Around the time of therelease the two authors Mr Brooker and a Mr Reid assigned theircopyright in the words and music to Essex Music Limited, those rightsare now owned by the successor to Essex Music Limited, Onward MusicLimited. When the song was being written the two were forming a bandwhich Mr Fisher joined as Hammond organist. In rehearsals Mr Brookerand Mr Fisher improvised their respective piano and organ parts over theoriginal chord sequence that Mr Brooker had composed. It is thisimprovised organ accompaniment that formed the basis of Mr Fisher’sclaim for a declaration that he owned 50% of the copyright in the music.In a further twist in law the furthest back Mr Fisher could go in hisclaim for back royalties would be six years from the date of his claim.However, the judge decided that ignorance of his rights to claim was nodefence to the fact that Mr Fisher had sat back for over forty years andallowed the collection societies and publishers to collect the money anddistribute it on the basis of a 50:50 split between Mr Brooker and MrReid. The judge therefore only allowed Mr Fisher damages in unpaidroyalties from the date of his claim saying that if he allowed thecollection societies to collect and pay out despite his view that he wasentitled to a share then he must have in effect granted a free licence forall this time to use his share of the song. As it was a licence he wasentitled to end it and is deemed to have done so by bringing this claim.The music publishers who stand to lose their publisher’s share of the40% interest in the music now attributed to Mr Fisher are appealing thedecision.The lesson to be learned from this case is to make it quite clear at the timewhat claims any interested parties may have in the work. If at the time it wasfirst written Mr Fisher had signed an acknowledgement that he had no rightsin the composition then this claim would never have arisen.DURATION OF COPYRIGHTThe copyright in a musical or literary work lasts for seventy years from theend of the calendar year in which the author dies.8 If a song has been co-written, the rights last until seventy years from the end of the calendar yearin which the last surviving co-writer dies.9 This was not always so and thisextension to seventy years is a relatively recent one. When dealing witholder compositions it is essential to also look at the laws which pertained atthe time and what effect subsequent laws have had on the position.Solomon Linda’s caseThe family of South African composer Solomon Linda brought a casealleging infringement of copyright on the basis that copyright in a songhad reverted to Mr Linda under British Commonwealth laws ofcopyright 25 years after the death of the author. The song in question isbest known to us at ‘The Lion Sleeps Tonight’ but which was originallywritten by Linda with the title ‘Mbube’ (meaning ‘Lion’ in Zulu) in1939. It was a hit but as Linda and his wife had sold their rights in thesong to a local company they never properly benefited from the song’ssuccess. Mr Linda died in poverty in 1962. The song ‘Mbube’ wasadapted and covered by American folk legend Pete Seeger whotranslated the lyrics and renamed the song ‘Wimoweh’. It sold over 4million records in different versions and was covered over 150 times. Inthe 1960s another writer, George Davis Weiss, added new lyrics andcalled the new version ‘The Lion Sleeps Tonight’ and it is this versionthat was subsequently licensed to Disney for inclusion in the box officesmash film The Lion King. Linda’s widow received only 3/24ths of theincome. Lawyers for the family argued that the rights in the originalsong, on which these later versions were based, had reverted to MrSolomon Linda and thence to his family and were able to bring thecompany who had licensed the song to Disney, Abilene Music, to thenegotiating table and agreed a settlement which remains secret but atleast part of which now allowed Mrs Linda to receive 100% of thecomposer’s share of the performance income. The settlement is alsothought to include a back payment of royalties and future royalties as an‘equitable share’ of the version ‘The Lion Sleeps Tonight’.As more works come out of copyright and into the public domain (andtherefore can be freely used without payment of royalties) questions willinevitably arise as to whether a work is out of copyright. It has long beenthought in the classical recording world that an editor of a work to beperformed by musicians which was out of copyright didn’t acquire any newcopyright in what he edited.Hyperion Records v. Dr Lionel Sawkins10This view was challenged by Dr Sawkins. He has spent time and effortediting three performing editions of works by the court composer toLouis XIV and Louis XV, Richard de Lalande. Clearly de Lalande’soriginal works were out of copyright but was the effort, skill and timewhich Dr Sawkins spent in making three modern performing editions ofhis work give him any new rights as ‘original musical works’. DrSawkins thought it did but classical label, Hyperion Records, disagreedand made sound recordings of Dr Sawkins’ editions in 2002 withoutacknowledging him as having any rights of authorship and withoutpaying him any royalties. Dr Sawkins sued. He was successful in thefirst instance. The judge agreed that the Hyperion’s recordings infringedhis rights in the performing editions originated by Dr Sawkins and alsofound that his moral rights had been infringed because he was notidentified as the author of those editions. The court ordered an inquiryinto the amount of damages which should be paid to Dr Sawkins.Hyperion appealed on the basis that these editions were neither originalnor musical with the meaning of the 1988 Copyright Act. In this case theAppeal Court judges also considered that just because Dr Sawkinssought to get as close to the original as possible and had no intention ofadding any new music he could still claim to have created an neworiginal copyright in edition. He did edit, transcribe them into modernnotation, make them playable, correct errors and omissions and include afigured base. Hyperion also tried to argue that creating an edition to beplayed did not amount in itself to the creation of a new musical work.They also said that to allow Dr Sawkins to claim a new copyright wouldhave the effect of greatly extending copyright and that this was contraryto public policy in making ancient music available to modern listeners.It is this latter point which seems to have been the basis for theopprobrium that was heaped on Dr Sawkins from many quarters of theclassical music world, who clearly thought his action was ‘not on’. Thereis however also the fact that Hyperion had a vested commercial interestin arguing against Dr Sawkins claim as it may open the flood gates toother editors doing the same thing resulting in Hyperion having to paycomposer royalties that they had not budgeted for. The classical worldfeared that a consequence of this action might be that fewer classicalrecordings might get made. The Appeal Court judges rejectedHyperion’s argument that what Dr Sawkins had done could not be a newmusical work as he had added no new music just corrected errors andomissions. The judges thought this the wrong approach as a musicalwork was not just notes but the overall structure of the musicalcompositions, including how the notes were to be played. Theydismissed Hyperion’s appeal. Overall this is a case which turns on whatis mere copying and what is the application of sufficient original skilland labour to create a new copyright. It is both a qualitative and aquantitative test.WHAT RIGHTS COME WITH OWNERSHIP OF COPYRIGHT?The copyright owner of a literary or musical work (i.e. a song) has rightsvery similar to the recording copyright rights we looked at in the lastchapter. The main ones are the right to authorise the reproduction of amusical or literary work with or without visual images (mechanical andsynchronisation rights);11 the right to authorise distribution of the work;12the right to rent or lend the work to members of the public;13 the right toauthorise public performance of the work or its making available to thepublic14 and the right to make an adaptation of the work or to do any of theabove in relation to an adaptation.15 As the copyright owner, you can allowor prevent someone from doing all or any of these things either throughoutthe world or in a particular country. When you do a publishing deal you aregiving someone else the right to deal with some or all of these matters onyour behalf. The publisher might do this itself throughout the world or maysubcontract the rights to a sub-publisher.WHERE DOES THE MONEY COME FROM?MECHANICAL LICENCES AND ROYALTIESOriginally, when a recording was reproduced it was literally donemechanically, using mechanical piano-rolls. So the licence to reproduce thesong on a sound recording is called a mechanical licence. It remains thebiggest source of income for most songwriters. For example, if a recordcompany wants to record a performance of a song, it has to ask permissionfrom the author or the publisher or the person who administers the song.This may seem a bit strange where you’ve written a song that your bandwants to record. It seems odd to have to ask permission from someone elseto record your band performing it. But remember that different people aregoing to control the rights in the sound recording and the rights in the song.They are separate copyrights and the same people will probably not controlboth. The record company has to pay a licence fee to the owner of the rightsin the song. The fee for this, the mechanical royalty, is either fixed bynegotiation between representatives of the record and publishing companiesin the country concerned or set by law or legal tribunal.The present licensing system in the UK was the result of a referral to theCopyright Tribunal in 1992. The record and publishing companies couldn’tagree on what was a proper licence fee. The 1988 Copyright Designs andPatents Act states that the solution in such situations is to refer the dispute tothe Copyright Tribunal. The scheme approved by the Copyright Tribunal isoperated by the MCPS on behalf of most of the music publishers in the UK.The current licence fee is 8.5% of the dealer price of the record. The MCPScan only licence the mechanical reproduction of a song if it’s a straight‘cover’, i.e. a faithful reproduction of the original by someone other than theoriginal performers. If it’s not a faithful reproduction then the MCPS doesnot have the authority to issue a licence and permission has to be asked fromthe writers or their publishers.Until recently, mechanical reproduction took the form of physicalproduct such as a vinyl record, a cassette tape or a CD, with new formatssuch as DAT, DCC and Mini-disc added from time to time. With the comingof the digital era of music being delivered by means other than physicalreproduction the law has had to adapt to deal with this new means ofdistribution. The download of a computer file containing music on to anMP3 or similar player or a computer hard disc is treated as a reproductionakin to a physical reproduction such as a CD and this is now accepted in theEU and confirmed in UK legislation by the 2003 amendment to the Act.16Since 2002 MCPS/PRS have issued blanket licences to use music onlineand to download music off the Internet and, through its reciprocalarrangements, offered these worldwide. There is now a whole range oflicences available for other uses such as CDROMs, music in toys and incomputer games and most recently for DVDs and digital radio stations.However, they failed to reach a negotiated settlement with some recordcompanies and significantly with some Internet service providers like Yahooand the matter had to be referred to the Copyright Tribunal in a long andvery expensive hearing. The outcome is discussed in more detail in thechapter on Collection Societies but suffice it to say that it was not that farremoved from the rate applicable to physical reproduction which makessome of us at least wonder what all the fuss was about. The Tribunal’sdecision did at least end the uncertainty over whether or not you could get ablanket licence for downloads of music.CONTROLLED COMPOSITIONSAlthough in this book I’m mostly dealing with UK copyright and licensingschemes, the situation in North America is important as it can have a hugeimpact on publishing income coming from the United States (and to a lesserextent, Canada, as it is a much smaller marketplace).In the UK we have a licensing scheme and a fixed rate that has to be paidfor a licence. In the US the law also sets a fixed rate (currently 9.1 cents atrack) for the right to reproduce a song on a record, but in the US the recordindustry has more bargaining power than the music publishers. It lobbied thelegislators and got a clause included in the law that allows a different rate tobe set by agreement. Well, surprise, surprise, the record companies haveinsisted on a different rate. And is it higher? What do you think? The almostuniversal position in the US is that the record companies will only pay 75%of the fixed rate. This is referred to as a ‘controlled compositions’ or‘reduced mechanical royalty’ clause. They are called ‘controlledcompositions’ because the compositions and what happens to them are underthe control of the writer or his publishers. Obviously, you can only agree to areduced rate if you’re the owner or controller of the song. Most US recorddeals start from the standpoint that you will agree to this 75% rate. Thismeans that you’re losing a quarter of your US publishing income from thereproduction of your songs on records. The pressure will be on to accept thisand if you really want to do the US deal then there may be little you or youradvisers can do about it. However, if you already have a publishing deal, youprobably won’t be allowed to accept this reduction without your publisher’sagreement. You can use this to get your publisher to fight on your and itsbehalf to get improvements on this rate. If you’ve a lot of bargaining poweryou can get a 100% rate. If you’ve medium bargaining power you can getthem to agree to increase the 75% rate to 85% and then to 100% based onsales of a given number of records. Sometimes they will not budge at all andin most cases you have to give in or not do the deal.Most US record companies try to further reduce their liability to pay fullmechanical royalties by limiting the number of tracks on a record that theywill pay royalties on. This is usually no more than ten or eleven. If you havetwelve tracks on your album you won’t get a mechanical royalty in the USon at least one or two of those tracks with such a limitation in place. Perhapsyet another reason for aiming to keep the number of tracks on your recordwithin the ten or eleven track limit.These controlled compositions clauses cause problems in every recorddeal negotiation. There are some improvements that your lawyer can try toget for you, but this is usually one of the most keenly fought clauses in thewhole recording contract. A lot of money is potentially at stake for bothsides.SYNCHRONISATION LICENCES AND ROYALTIESIf you’re a songwriter who writes mostly music for films, adverts orcomputer games, then your main source of income may not be mechanicalroyalties but fees from the issue of licences to use your music with visualimages. This licence is called a synchronisation licence, because it gives theright to synchronise music with visual images. The publisher also licensesand collects income from these licences. The fee for this use is called thesynchronisation fee. The growth in DVD sales (now tailing off again) a l s osaw a big growth in this as a source of income. MCPS has authorised a DVDrate on a sliding scale up to 8.5% ppd depending on the amount of music inthe DVD. There is some evidence that synchronisation income is becomingmore important as a source of revenue with the decline in mechanicalroyalties on declining album and single sales but at the moment mechanicalroyalties remains the main source of income for most songwriters.We can all think of artists who have broken into the big time via anadvert or indeed where a flagging career has been boosted by a track used ina particularly good ad campaign or in a film. The Fine Young Cannibalstrack ‘She Drives Me Crazy’ regularly appears in car adverts. Devo re-recorded their biggest hit ‘Whip It Up Good’ as ‘Swiff It Up Good’ for a TVad for the floor cleaner Swiffer and seminal punk band Violent Femmestrack ‘Blister In The Sun’ was used in an ad campaign for Wendy’shamburgers. Now you might argue that some of these uses did the originalartists no favours at all in the credibility stakes but for the right music anadvertising company will pay a lot of money – £70–100,000 or more as asynchronisation fee for the right work isn’t unheard of. I should just say,though, before you all rush to get your music into adverts or films, thatmany advertising companies pay a lot less than this. Many also commissionwriters to write songs that sound like, but aren’t, famous songs or which arein the then current music style. Some songwriters make a career of writingjingles for adverts or in composing sound-alike songs. For some this is theirmain source of income. Others do it as a way to fund them writing theirmasterwork – that film soundtrack or concerto they otherwise wouldn’t havethe money to do.In some countries there’s a fixed rate for synchronisation licences. Inmost cases, though, it has to be fixed on a case-by-case basis. So this againis an area where your publisher or lawyer can get a good deal for you.If you want to put one of your songs in a promotional video for one ofyour singles your publisher will probably give you a free synchronisationlicence. If there is any chance that it will earn income commercially thenthey will want a separate fee for the commercial use. They will definitelywant a separate licence fee for a DVD.If there is a synchronisation fee payable, it is usual that the writer’s shareof the income goes towards recouping any advances which have already beenpaid to the writer. The publishers will keep their publisher’s share of theincome. For example, if the writer is on a 75:25 split of royalties in hisfavour, the publisher would keep 25% of the fee for itself and use theremaining 75% to help recoup the advances. Different scenarios to this arealso possible in individual circumstances where some of the publisher’sshare also goes to recoupment of advances or some of the writer’s share ispaid through to the writer, but in the current fairly difficult economicclimate it does not happen often.A situation may arise where a writer is commissioned to write somemusic or a song for a specific project like a film soundtrack. Publishingcontracts will often say that, even though they may have an exclusivearrangement with the writer, he can do these deals and keep the commissionfee, provided the synchronisation fee (which is also required) is paid throughto them. Now, it doesn’t take much intelligence to work out that, as asongwriter, you may want to increase the commission fee and decrease thesynchronisation fee. Publishers are obviously wise to this and may try anddirect some of this money to recoupment.PERFORMING RIGHTSWe have looked so far at two main sources of publishing income – themechanical licence and the synchronisation licence. The third significantsource of income is the right to publicly perform a song. Public performancedoesn’t just mean live concerts – it includes the playing of music in shops,restaurants and clubs, in fact anywhere that music is played in public.Most songwriters who have had some success become members of thePRS or one of its overseas affiliates. The PRS is the only UK performingright society for the administration of the right to perform a work in public,and it is responsible for the collection of income generated by the publicperformance of the music. The income comes largely from licences takenout by broadcasters, shops, pubs and so on. When you become a member ofthe PRS the rules say that you have to assign your performing rights in yoursongs to the PRS. If you send your membership the performing rights arereturned to you or as you direct. The performing rights controlled by thePRS are the right to publicly perform a work, the right to broadcast it and tomake it available to the public, and the right to authorise others to do any orall of the above. The PRS monitors use of music on TV and radioprogrammes by means of cue sheets. These are lists of music played on eachprogramme, which the station producers complete after each show. The PRShas a random sampling policy for live shows. They couldn’t possibly coverall live gigs, but do monitor the main venues and a selection of the smallerones and they keep the type of venues monitored under review.So that there doesn’t have to be a separate licence every time a song isplayed in public, the PRS has entered into licences with most of thebroadcasters. They have done the same with major places of entertainmentlike clubs and restaurant chains. These are called ‘blanket licences’ becausethey cover all songs controlled by the PRS. If you’ve a blanket licence youdon’t have to worry about whether you can play a particular song providedyou’ve paid the annual licence fee negotiated with the PRS. So every timeyour song is played on television, radio, cable or satellite you’ll receive(eventually) some income from that use of your song. Gradually blanketlicences are also becoming available for a variety of uses of music onwebsites where the PRS now licences use of extracts, Internet radio,podcasts and a variety of other online uses. Their website is very useful ingiving you to the right licence for what you want to do and in many cases theapplication form can be downloaded. It is however still too early to say howeffective they are going to be in collecting in this new source of revenuewhich explains why in many cases the licences require an upfront advancepayment. If you plan to use music in a way which is not covered by one ofthe current licences you can apply to their commercial committee withdetails of your proposal and ask them to propose an appropriate rate whichin many cases is open to some negotiation particularly whilst you areestablishing the commercial violability of your scheme.Through the cue sheets and samplings and the data they collect fromonline uses the PRS gets a good idea of what music has been performed andcalculates the amount due under the various blanket licences. The share dueto the songwriter members of PRS is paid out at regular intervals (four timesa year) after the PRS has deducted its fee for doing the administration. ThePRS rules require that at least six-twelfths (i.e. 50%) of the performingincome is paid to the songwriter direct. This money does not therefore gothrough the publisher’s hands to be used to recoup any advances but comesdirect to the writer. This can be a valuable source of income for animpoverished songwriter who is unrecouped and can’t expect any royaltiesor further advances from his publisher for some time. The other 50% can bepaid to a publisher nominated by the writer as having the right to publish hissongs. This ‘publisher’s share’ can be divided between the songwriter andthe publisher. If they do share any of it with the songwriter, that shareusually goes first towards recouping any outstanding advances. If there isn’ta publisher the songwriter can collect 100% of the income himself but mayhave difficulties in collecting or administering it and may need to get anadministrator on board to help. The PRS’s role is not a proactive one. It doesnot actively seek ways in which to exploit the performing rights in yoursongs but is there to make sure that public places playing records do sounder a proper licence scheme so that there is a chance of earning somemoney from this use of music. The PRS acts as a sort of clearing housecollecting in this money and paying it out to its members, both songwritersand publishers. The publishers are happy to allow the PRS to do this job forthem, provided, that is, that they don’t charge too much – there areperiodical renegotiations of the collection fee.PRINTAlthough not as relevant these days, the publisher also has the right to issuelicences for a song to be reproduced in printed form as sheet music. Inrelatively few cases do they do this themselves now; usually it’s third partyspecialist print companies who do it under licence. The exceptions tend to beclassical music publishers. Whilst print income from sales of sheet musicisn’t a large source of income for a popular-music songwriter, for classicalcomposers it can be a very lucrative source of income. Included in this printcategory is the hire-out charge the publisher makes to orchestras wishing tohave access to the ‘parts’ of the work, i.e. the sections written for thedifferent instruments in the orchestra – £30–40,000 fees for the hire out ofparts for a large orchestral or operatic piece aren’t unheard of. This of coursehelps to shed a little more light on the Hyperion case above as if thepublisher had to pay royalties to the editors of the scores that generate thisincome then that would significantly eat into their profit.As publishers look for new ways to make money from the songs theycontrol we may find that this print music royalty or other miscellaneousroyalties payable to the songwriters increase importance. I am thinking hereof plans to license lyrics for merchandise. The publisher would presumablycharge the merchandiser either a flat fee or a royalty per unit sold and thesongwriter ought to be entitled to a share of such income.RECORD DEAL BEFORE PUBLISHING?It used to be invariably the case that you did your record deal first and got apublishing deal later. Nowadays the publisher fills many of the same roles asa record company in finding the right co-writers and producers, and evenrecording and releasing limited edition single records. The decisiontherefore becomes much more of a personal one. For some, it’s importantthat they have got a deal, any deal. So if the publishers come courting firstthey will do the publishing deal first. Others stick to the tried and truemethod of getting a record deal first and then hoping that that deal and thesuccess of their first release will push the bidding up for their publishingrights. This can be a dangerous game as, if the first release doesn’t prove tobe a success, the publishing offers may dry up. You may be a songwriterwho wants to hang on to your publishing rights for as long as you can, inwhich case you’re going to be concerned to get a record deal that will giveyou enough by way of personal advances to live on for a reasonable periodof time without having to go looking for money from a publisher.If a songwriter doesn’t need to do a publishing deal in order to get somemoney or other form of ‘leg-up’ he can become self-published. This way hefully controls the copyright in his songs and how they are used. How do youdo this? Usually by becoming a member of the various collecting societieslike MCPS and PRS. The collection societies fulfil a lot of theadministrative functions of a publisher, but a self-published songwriter stillhas to do a lot of work himself. The collection societies don’t always notifyall foreign societies of their interest in a particular song or chase upindividual payments. The songwriter will have to track down where themusic is being used and check if the song is registered locally and if theright amount of money has been paid.Most creative people aren’t known for being organised enough orinclined to do this, nor will they necessarily have the resources. This is oneof the reasons that most new songwriters look for some form of supportfrom a publishing company. If you’re a more established songwriter, youmay be more comfortable with this kind of arrangement or will appointsomeone to administer it for you.TYPES OF PUBLISHING DEALIf being self-published isn’t an option then there are three basic types ofmusic publishing agreement that can provide outside support: theadministration deal, the sub-publishing deal and the fully exclusivesongwriting deal. Within the category of exclusive songwriting deals there isa sub-category where rights are just assigned in a single song. This is calledthe single song assignment.THE ADMINISTRATION DEALAdministration deals are popular with songwriters who have a small butpotentially lucrative catalogue or collection of songs. It may not beworthwhile for them to join the collection societies and be self-published.They may not have the necessary time, energy or organisational abilities togo tracking down the income. They may prefer to employ someone to do itfor them.These types of deal also appeal to established songwriters. They may notneed a publisher to try to exploit their songs. They may be disillusioned withexclusive publishing deals or want to own their copyrights. They may notneed up-front advances against income and may relish the increased controlthat they would have if there were no publisher breathing down their neck.The same comments I made in Chapter 3 still apply to these assignments asthey do with sound recordings.The administrator doesn’t usually take an assignment of any interest inthe copyright, but is granted a licence for a period of time. If anadministrator asks to take an assignment of rights outright, I would need tobe convinced that there was a very good business reason to do it. If youassign your rights you aren’t in a position of control and there isn’t verymuch of a difference between this and exclusive publishing deals, exceptyou’re likely to see only small or no up-front advances. So what’s theadvantage? At least if it’s for a licence term then you retain control of theunderlying copyright. A licence term can vary greatly from one yearupwards but with a three- to five-year licence term common. Many are formuch longer. I have concluded ones that were for the life of copyright. Evenwith such a long term the client was still comfortable to do it, because thedeal overall worked for him and at least if it was a licence and things wentwrong he wouldn’t have to worry about getting his copyrights back, as he’dheld on to ownership of them.As the name suggests, the administrator administers the songs for theowner of the copyright. The administrator registers the songs with thevarious collection societies and licences others to use the songs. They alsodeal with the collection of the income from these licences and prepareaccounts showing how much has been earned. The terms of the contractdictate whether the administrator has complete freedom to issue whateverlicences he thinks right for the songs, or whether he must first consult withthe songwriter. It may say that commonplace licences, such as the right forthe writer to record his own songs, can be issued without asking him first,but if someone wants to use a song in an advert or a film the songwriter hasto first give permission. Don’t put too many restrictions on what licences theadministrator can grant if you want to maximise what can be earned fromthe songs. By all means put a stop to something that is a real issue, forexample if the songwriter is a vegan he may quite rightly not want his workused in adverts for beefburgers, but think carefully before you block all usesof the songs in adverts, because you are cutting off a potentially veryvaluable source of income.The administrator could be an individual, perhaps an ex-musician orsongwriter himself, or it could be a company that specialises just inadministration. Most but not all music publishers who sign up songwriters toexclusive deals will also do administration deals in the right circumstances.The administrator will usually charge 10–15% of the gross income as hisfee. You wouldn’t usually expect an administrator to pay any advances.Payment will only be made when the administrator has collected in somemoney. It’s therefore very important to know how often the administratorwill account. They should pay at least every three months. It’s alsoimportant to check out their reputation for efficient collection of money,particularly outside the UK. The administrator may be very good in the UK,but overseas he may not have the necessary resources or contacts. In whichcase, it’s likely that all he will do is to collect what comes through collectionsocieties overseas that are affiliated to the MCPS and PRS. If this is the casethen you have to ask yourself whether it’s worth it, because you can get thisincome yourself through direct membership of MCPS and PRS. You oughtto be getting some kind of added value by having the administrator on board.It may be as little as taking the load off you, but it wouldn’t be unreasonableto ask the administrator to try and track down unpaid licence fees orroyalties on your behalf, and if he has a worldwide deal with you heshouldn’t just limit his activities to the UK.A songwriter will often do an administration deal when he isn’t tooconcerned about getting other uses for his songs. If you know people willeither not want to put your songs in a film or advert, or if they do you’re sowell known you don’t have to sell yourself and they will come to you, thenyou won’t worry about someone going out and actively looking for theseextra uses. Administrators will look after the administration side but won’tnormally be out there pitching your songs to advertising agencies or filmcompanies. However, even those who have old catalogues of songs which aremore or less dormant can still be tempted by promises of a bit of an extrapush on their songs and a bit of extra cash.THE SUB-PUBLISHING DEALThe sub-publishing deal is a mixture of an administration deal and anexclusive publishing agreement. The owner of the copyrights sub-licensessome or all of these rights to a publisher. The original owner usually keepsthe copyright, so it’s normally a licence rather than an assignment of rights.These types of deal come up in two very different circumstances.Established songwriters or songwriters who want to own or control theircopyrights may want something more than a pure administration deal. If so,a sub-publishing deal may suit. They may not need an advance or may beprepared to do without an advance in return for keeping control of thecopyrights. That isn’t to say that a sub-publisher won’t pay any advance atall. They may pay modest sums in advances, but they may not be as big asyou’d get under an exclusive publishing deal. Why? Because the sub-publisher doesn’t get as much ownership or control from a sub-publishingdeal as he would from an exclusive songwriting deal.If a songwriter needs someone to go and search out deals for him then hewon’t get that from an administrator, so a sub-publishing deal may work forhim. Under a sub-publishing deal the songwriter gets someone activelylooking for other ways of earning money from his songs.In some cases the publisher will want an assignment of the copyright.17As you know, my advice is to avoid this if you can but, if you don’t havemuch choice, then try and get them to agree that this is only for a limitedperiod of time. This period is called ‘the Rights Period’ or ‘the RetentionPeriod’. The shorter you can make it, the better in terms of control of thecopyrights. Bear in mind, though, that the shorter the period of time that thesub-publisher controls the copyrights, the fewer opportunities he has tomake money from the songs and this may be reflected in the type of deal heoffers. If you do get a publisher to agree a licence term then this could be asshort as a year, but is more likely to be for at least three years and in somecases much longer.The sub-publishing deal also appeals to smaller publishers, ones thatdon’t have their own established systems overseas. Instead of the cost ofsetting up their own companies in each of the main overseas countries, suchpublishers do sub-publishing deals in those countries. They keep the rightsthey have, but grant the overseas publisher the right to use some or all ofthose rights in their country for a period of time.Whichever type of deal we are talking about, the sub-publisher needs tohave the right to register the songs, to license some or all of the mainpublishing rights such as mechanical and synchronisation rights, and tocollect in the income.The sub-publishing contract will set out the extent to which thesongwriter or small publisher has the right to grant licences to exploit thepublishing rights. Don’t be surprised if the sub-publisher presses for overallcontrol and only wants to have to get approval on certain very specificmatters. You may have approval over alterations to the songs or over thegrant of licences to include them in adverts for products that you maydisapprove of. If you tie the sub-publisher’s hands too much then they can’teasily get further uses for the songs. You’re employing a sub-publisher andpaying them a large fee to be pro-active on your behalf, so you need tobalance the need for creative control against commercial realities.How much you have to pay a sub-publisher will depend on a number offactors such as your bargaining power, how much the sub-publisher wants tocontrol your catalogue of songs (whether for market share or income or tohave the kudos of having you on their books), and how much you areexpecting them to do. I recently had a bidding war going on for an oldcatalogue of songs because they were very iconic and ‘of their period’ and ithappened that this was a period that is popular at the moment for films andads and so the publishers involved in the bidding war could easily see howthere was a lot of money to be earned from licensing these songs. The fee islikely to be more than you would pay under an administration deal butprobably a little less than under a fully exclusive songwriting agreement. Asub-publishing fee of 15% of the gross income received is common. If youexpect a big advance then that may increase to 20% to compensate for theadditional risk the sub-publisher is taking. The sub-publisher has paid outsome money to you on the strength of what it knows about you and yourpotential. If you don’t live up to that then that’s the sub-publisher’s risk. Thecontract very rarely allows the sub-publisher to demand that money back.What does a sub-publisher do?A sub-publisher should provide the same basic services as under anadministration deal, including registering the songs, granting licences,collecting income and accounting on a regular basis.Some larger publishers can account and pay you what you’re due in thesame accounting period that they receive the monies from overseas. Forexample, the sub-publisher grants a mechanical licence to reproduce yoursong on a record in the US. The record sales take place in the period betweenMarch and June 2007. The US record company will probably pay themechanical royalty in the next three months, so it will be in the sub-publishers account by the end of September 2007. The deal with the sub-publisher says that it accounts in September for income received in theperiod up to the end of June. On the scenario I have given, the income won’thave come in until after the end of June. If the deal were that you got paid inthe same accounting period, you would get it in September. If it’s not thenyou’ll get it at the next accounting date, which would normally be March2008. This is a six-month delay which, when you’re first expecting yourmoney from overseas, can seem a very long time to wait. If prompt paymentand cash flow are important to you, and let’s face it, they are to most of us,then you need to check this out carefully. Needless to say, the sub-publisheris usually the one earning interest on the money sitting in their bank accountfor six months and not you.In addition to the basic administration services, the sub-publisher shouldgive you more for the extra money it’s getting. This could just be paymentof an advance, but the sub-publisher should also be more proactive, goingout and looking for other uses for the songs, suggesting co-writers, findingfilm projects or adverts and so on.A smaller publishing company appointing a sub-publisher overseaswould expect them to act as if they were a branch of their company overseas.If you are a songwriter with your own publishing company you may notnotice any difference between what a sub-publisher does and what you’dexpect from an exclusive publishing agreement. The sub-publisher willusually expect exclusive rights to sub-publish your songs and will charge asimilar fee to an exclusive publisher. The crucial difference is that youretain the copyright in your songs and have more control.THE SINGLE SONG ASSIGNMENTThe single song assignment is a bit of a halfway house. It’s not an exclusivepublishing agreement. The songwriter is free to publish individual songshimself or through a variety of different publishers. Unlike under a sub-publishing agreement, he assigns the rights in a song to a publisher; hedoesn’t license them. The assignment could be for the life of copyright or itcould be for a shorter Rights or Retention Period. There may be an advance,but it’s likely to be small. The publisher is likely to get a fee of about 20–25% of the gross income received.Deals such as these would be attractive to a songwriter who only writes asmall number of songs on an irregular basis, or who wants to keep hisoptions open. The publisher still gets the rights it needs in the particularsong and market share in that song. Because the publisher controls thecopyright in the song, it’s in its interests to get as many other uses for thework as possible. The publisher will also carry out all the usualadministrative functions and should account regularly. The same commentsthat I made above about accounting delays apply here. The song assignmentwill decide how much control the songwriter has over how the song is used.Because it’s a one-off, he may not have as much control as with an exclusivedeal for all his songs, but if he has enough bargaining power he shouldcertainly be able to prevent major changes to the words or music and somecontrol over the use of the song in films or adverts.EXCLUSIVE PUBLISHING AGREEMENTIf none of the above options appeal or are on offer then there is the exclusivepublishing agreement. For most songwriters this is important at some stagein their careers. Getting an established publisher behind them means thatthey’ve arrived, that someone else has faith in their work and is prepared toput money and commitment behind that conviction. In many cases apublisher is instrumental in getting record company interest. There arestories of music publishers of songwriters who are now household nameswho spent months knocking on record company doors trying to convincethem of the strength of the songs. Sometimes it’s just a case of waiting untilyour time has come whilst honing your craft in the meantime. It can be goodto have a music publisher supporting you during this time in the wilderness.RESTRAINT OF TRADEAs we saw in Chapter 3, whenever there is an exclusive arrangementcontaining restrictions on what you can and can’t do, there is an assumptionthat it is in restraint of trade. We also saw that the leading case in this area,Schroeder v. Macaulay,18 had decided that this doctrine also applied t oexclusive record and publishing contracts. We know that the contract wasfound to be an unreasonable restraint of trade and, as such, unenforceable,but so far I have not gone into any details as to what in the contract wasfound to be unreasonable. It was a publishing contract so it is better dealtwith here.Maucalay v. SchroederThe particular parts of the contract that led the court to decide that it wasunenforceable were that it was an exclusive arrangement – it requiredabsolute commitment from Macaulay, but there was no correspondingcommitment on the part of the publishers to do anything with the songs.They could accept them and tuck the copies away in a drawer or putthem on a shelf and forget about them. The term was for five years, butSchroeder could extend it for a further five years if more than £5,000worth of royalties had been earned in the first five years. This was not alot of money even then. Macaulay had had to assign the copyright for thelife of copyright. Even though in those days this was fifty years after theend of the year in which he died not seventy years, it was still a longperiod of time to have a publisher controlling the copyright in his songsexclusively without having any obligation to do anything with them. Theadvance that he received was very low. It was £50 with further paymentsof £50 as each earlier advance was recouped. This was almost likeputting him on a wage, but with no guarantee of when he would receivehis next pay cheque. The court felt that, taken as a whole, the contractwas an unreasonable restraint of trade.As a result of this and later cases there was a change in UK music publishingcontracts. The length of the term is now limited and there is a maximumbackstop – usually no more than three years per contract period. There isalso usually a requirement that the publisher has to do something with thesongs. For example, the contract will often say that if the publisher has notgranted a mechanical or synchronisation licence for a song, or no sheetmusic has been printed of it or it has not been performed in public within,say, a year or two of the song being delivered or the end of the contract term,then the songwriter has the right to ask the publisher to do something with it.If nothing happens within another three to six months then the songwritercan usually get the copyright in the song back. I have recently completed adeal where a songwriter got rights back after a wait of two years from hisfirst publisher and used that as the basis of a catalogue of material to offer tohis new publisher.WHAT IS IN A TYPICAL PUBLISHING CONTRACT?ExclusivityIf you sign an exclusive publishing deal, you are usually agreeing that thepublisher will own and control all your output as a songwriter during theterm of that contract. In return for that exclusivity you can expect acommitment from the publishing company to do something with your songs.You can also usually expect that your publisher will be reasonably proactiveon your behalf.Even though it’s an exclusive deal, you can sometimes have exceptionsto this. As I explained above, the exclusivity may not apply where you’recommissioned to write a song or some music specifically for a film. Thefilm company will usually want to own the copyright in that piece of musicor song. Your exclusive publisher may agree that these commissioned worksare excluded from your publishing deal. This could be agreed at the time thecontract is done as a blanket exception or your publisher could agree toconsider specific requests on a case-by-case basis.If you are regularly commissioned to write music for films, yourpublisher isn’t going to want to automatically exclude all these from youragreement. By not automatically agreeing that the film company can ownthe copyright, your publisher may gain some bargaining power with the filmcompany to get a better deal. As the terms of the contract should say thatyou benefit one way or another from income from these deals, it should be inyour interests for the publisher to argue on your behalf.Occasionally a publisher will agree that the songs you write for aparticular project are excluded from the deal. For example, you might writesome songs for a largely uncommercial project that the publisher isn’tinterested in. In a recent deal I did the songwriter did a bit of ‘bread andbutter’ work writing for a library music company and it was agreed thatthese songs, which earned very little money, could be excluded. If you’ve alot of bargaining power, you could insist that songs you write for a particularcommercial project are excluded from the deal but this is pretty rare. Justbear in mind that the more songs you keep back from your publisher, themore it is likely to reduce the size of the deal on offer.Rights grantedThe publisher will expect to have assigned to it the copyright in all yoursongs already in existence that no one else has the right to publish. Theassignment is usually of all rights in those works, subject to the performingrights that you may have already assigned to the PRS.If you have done a publishing deal before then another company maystill have the right to act as publisher of those songs. If the Rights orRetention Period of that earlier deal runs out while your new publishing dealis still running, the new publisher will expect to get the right to publish thosesongs too. If you don’t think they should then you need to argue for this atthe time the new publishing deal is done.It’s possible to grant a publisher some but not all of the rights of acopyright owner. I have tried in the past to hold back rights to exploit musiconline from a few publishers, but it’s true to say that they felt veryuncomfortable about it and, now that there’s a licence scheme for downloadsin place and an emerging online marketplace as a legitimate source ofincome, publishers are now unlikely to agree to exclude online rights. Inother deals I’ve done I’ve given a publisher the right to issue mechanicallicences but not synchronisation licences. Obviously you can do this ifyou’ve the necessary bargaining power, but there’s no point in doing itunless you can do something with the rights you’ve kept back. Rememberalso that the more rights you hold back the more likely it is that you’ll get aless attractive deal from the publishing company.TerritoryThe rights that you assign could be for a particular country or worldwide.We saw in Chapter 3 that it was reasonably common to have one deal for theUS and another deal for the rest of the world. Split-territory deals aren’t atall common in exclusive publishing contracts. Depending on who thepublisher is and what its overseas set-up is like it may have sub-publishingdeals in some countries. As a songwriter you should find out what thesituation is overseas. You need to know that the sub-publishers are good,efficient companies and that there won’t be any accounting delays.Rights PeriodYou could assign rights for the life of copyright or for a shorter Rights orRetention Period, which runs from the end of the term of the publishingcontract. This period can vary considerably from anything as short as two tothree years to more than twenty years. For the last three or four years theaverage deal on offer from the major publishers has been twelve to fifteenyears.The Rights Period often gets shorter when there is a more positiveeconomic climate and if there is a lot of competition to sign goodsongwriters. Ten years ago I could get Retention Periods from some of themajor music publishers as short as five years. This was when there were lotsof good songwriters and a lot of money around. Publishers were going forshort-term market share and weren’t as concerned about hanging on tocopyrights for any length of time. Many of the copyrights were for dancemusic songs and I guess they gambled that most of these would have a shortlifespan. Now there’s less money around, songwriters are expected to provetheir worth over a longer period of time and it’s difficult to get RightsPeriods of less than ten years unless you’ve got a lot of bargaining power.There are, however, always the one-off crazy deals for one album or song atludicrously high levels, but these are usually for short-term market share toboost a publisher’s standing in a particular quarter, possibly to impress theirshareholders or other investors.TermThe term of a UK music-publishing contract is usually shorter than that of arecord contract. It’s quite common to find a music-publishing contract withan initial period of one year and then options in the music publisher’s favourfor a further two or three option periods. Each contract period is usually fora minimum of twelve months, but can be longer depending on how long ittakes you to fulfil the minimum requirements that a publisher has for eachcontract period. For similar reasons to those given for record contracts, theoptions are in the publisher’s favour not the songwriter. The publisher hastoo much invested to allow the songwriter to just walk out the door when hewants to.Rolling contractsSome publishers use a different basis for the term of the publishing contract.Instead of a term made up of a number of optional contract periods, thepublisher fixes the term upfront and says it will run for, say, three or fiveyears with no options. That fixed period may be extended until you havefulfilled a minimum requirement. Sometimes, but not often, there is nominimum requirement; the publisher just publishes anything you do in thefixed term. This is a big risk for the publisher to take. You could take theadvance payable on signing the deal and then not write another thing. Tooffer this kind of deal, the publisher has to know you well and be convincedthat you are going to continue to write good songs. For a songwriter thisisn’t only a great show of faith from the publisher, it’s also a relief. Youdon’t have to worry about fulfilling a minimum requirement or deliveringsongs to order.With a rolling term you get an advance when you sign the deal and this isrecouped from your earnings. When the initial advance has been wholly orpartly recouped you are paid a further advance. This is called a rollingadvance. The publisher won’t usually pay you an advance in the last twelveto eighteen months of the fixed term because it won’t have enough time torecoup it before the deal runs out. When working out how recouped you are,to see if you should get a further advance, you should try to get the publisherto take into account income that’s been earned from your songs but hasn’tyet come through to its or your account in the UK. This is called ‘pipelineincome’.Minimum CommitmentThere are a number of different types of Minimum Commitment. Thesimplest is where you’re just required to write a minimum number of songs.If you co-write, your share of all the co-written works must add up to anequivalent number of whole songs. For example, if the MinimumCommitment is to write five new songs and you always only write the lyrics,so only control at best 50% of each song, then you’ll have to write ten half-songs to add up to the five whole ones. This type of commitment works bestfor a pure songwriter who writes for others and doesn’t perform and recordhis own material.There may be an additional requirement that, in order to count towardsthe Minimum Commitment, the song must be exploited in some way, forinstance commercially released as an A-side of a single or as an album track.This puts a greater burden on you if you’re a pure songwriter who can’teasily control whether anyone else will want to record your songs. Thepublisher usually insists on this when it wants to be certain there will besome form of exploitation (and hopefully some income) before it commitsto any more advances or decides whether to exercise an option to extend theterm.There may be a requirement that you have to write a minimum numberof the songs on an album. That percentage varies depending on thesongwriter and the style of music. For a band, the requirement is usually thatyou have to write at least 80% of the songs on your own album. There is alsousually a requirement that that album has to be commercially released. Thissort of arrangement works better for a songwriter who also performs andrecords his own material.A much less common commitment is one that you get when you have asongwriter who records some of his own material, writes to commissionsfrom others, or writes for a number of different styles of music, for example,film, TV, classical and popular. The Minimum Commitment could be anumber of ‘points’, with a different value being given to each type of usage,genre, format and so on. For example, two points for a ballet commission,five for a track on a popular-music album, with, say, thirty points in totalrequired per contract period. The publisher is only likely to agree to this sortof commitment where you’re already established in a number of these areasand they are not common.AdvancesIt’s usual under an exclusive publishing agreement for the publisher to payadvances. As we saw with record contracts, this is a pre-payment of yourshare of the gross income from the use of your songs. It’s not a loan andisn’t repayable to the publishing company if you never earn enough from thesongs it controls to cover the amount of the advance then you usually don’thave to pay it back, but if you take the money and run, never delivering asingle song, your publisher may get a bit upset and may sue for return oftheir money on the basis that you’ve failed to fulfil your side of the bargain.What size of advance can you expect? This will change withcircumstances. Your bargaining power, the number of co-writers there are,how much is your own material and how much is sampled from others willall help to determine the figure. It will also depend on how much thepublisher thinks it’s likely to earn from your songs on average. If the recorddeal has already been done, the publisher may take its lead from what itknows of the level of that deal. If that was a particularly ‘hot’ deal thepublisher will know that it probably has to increase the overall terms of itsoffer. There are also financial models that help a publisher to decide howmuch they can realistically risk. Some publishers rely on these models,while others work on more of a gut instinct or a combination of the two. Youalso have to factor in market forces. If the publisher really wants to sign youup, whether to increase the profile of the company, for market share or justbecause the A&R man wants it, then that publisher will pay whatever ittakes.The higher the advance, the more the publisher will expect from you inreturn and the larger percentage of the income that the publisher will keep astheir fee. The publisher will be more reluctant to give you a higher thanaverage royalty if they’ve had to pay out a high advance – £75,000 for awriter for 80% or more of the songs on an album isn’t unreasonable from amajor publisher. Much higher figures can be expected if there is ‘hype’ or ifyou have a proven track record. If the publisher knows that there is alreadysome income out there from your catalogue waiting to be collected, or thatyou have a song on the next album to be released by a chart-topping act,they’re more likely to risk paying higher advances. A recent deal doubled invalue when in the course of the negotiation it was confirmed that one of thesongs was to be covered by a top artist and included on her next albumwhich was expected to sell in the millions. A smaller publishing companycannot usually hope to compete just on money and if you are considering adeal with a smaller publisher you have to weigh up things like the greaterdegree of control versus advances.The publishing deal is likely to recoup a lot faster than the record dealbecause, with a publishing deal, you only have to recoup the personaladvances and maybe some money in demo costs – there aren’t the additionalrecoupable expenses like recording costs, video costs and tour support. Also,the publisher pays through to you a much larger percentage of the incomeearned for the use of your songs than most record companies do with theincome from sales of your records.RoyaltiesThe publishing advance is recouped from your royalty earnings after firstdeducting the publisher’s fee. For an exclusive publishing deal this willusually be about 20–25% of the gross income.Royalties can be calculated in one of two ways, either ‘at source’ or on‘receipts’. ‘At source’ means that there have been no deductions made byanyone (after the collection societies, the VAT man and payments to anyarranger or translator) from the gross income earned from your songs. Thisis an ‘at source’ means of calculation. In a ‘receipts’ deal in addition tothese deductions the publisher’s sub-publisher’s overseas have to be paidand these fees are deducted from the gross before the income is paid throughto you.Let me give you an example. Ten thousand euros are earned in France inmechanical income from use of your songs on a record after paying thecollection society and the tax. If you are on a ‘source’ deal then, as far asyou’re concerned, nothing else gets deducted from that 10,000 by the sub-publisher in France before it’s paid through to your publisher in the UK. TheUK publisher would then deduct this fee of say 2,500 euros from the 10,000euros and pay through 7,500 euros (or the sterling equivalent) to you. If youare on a ‘receipts’ deal then the sub-publisher in France would first taketheir ‘cut’ of, say, 15% (1,500 euros) leaving 8,500 euros to be sent throughto your publisher in the UK. They then take their 25% of that 8,500 euros,leaving you with just 6,300 euros.As a songwriter you should try and get an ‘at source’ deal, but yourpublisher may not have any choice. The deals done with their sub-publishersmay mean they have to do deals on a ‘receipts’ basis in order to make anymoney out of use of your songs overseas. If you’re offered a ‘receipts’ deal,the very least you should do is to try and limit the amount the sub-publisherscan take off the ‘gross’ income. For example, you might want to say in thecontract that the sub-publishers can’t deduct any more than 15–20%. Wesaw in the Elton John v. Dick James case that the sub-publishers were spreadall over the world and many were associated with Dick James and his UKcompanies. There was no limit on what these sub-publishers could take offthe top as their cut. As Elton was on a ‘receipts’ deal he could have, and didin some cases, find himself in a situation where the sub-publisher took 50%or more, leaving small amounts to come into the UK, where a furtherpercentage fee was deducted by Dick James – leaving very little over forElton. Putting a ‘cap’ on the deductions would have gone some way toreduce these problems.Synchronisation and Cover RoyaltiesSometimes the publisher justifies taking a larger piece of the pie by sayingthat, in order to do certain work for you, it needs the incentive of gettingmore of a fee. Part of me says that getting 20–25% of your income should beenough for most purposes. The reality is that the business has accepted thatpublishers will get a larger fee for these types of work and it’s hard to buckagainst the trend unless you have a great deal of bargaining power. Whatareas am I talking about? The two usual areas where the publisher takes alarger fee are synchronisation licences and covers.They usually look to get about another 5–10% for obtainingsynchronisation licences for your songs, so if you were paying yourpublisher a fee on mechanical royalties of 25%, you would see that increaseto 30–35% for synchronisation royalties.If you find that the publisher won’t move on this point, the best thing isto make sure that they don’t get this increased percentage on projects thatyou or someone other than the publisher introduces. For example, if one ofyour mates from drama school brings a film project to you, you wouldn’texpect the publisher to take a bigger fee because it didn’t go out and findthat work.The same sort of rules should apply to a cover. A cover is a recording ofa song done by someone other than the songwriter. So, for example, if atrack were first recorded by U2 and is later recorded by Sinead O’Connor,Sinead’s version would be the cover. Once again, the publisher will probablywant an increased fee for finding other artists keen to cover your works. Theanswer is to make sure that something doesn’t count as a cover unless thepublisher has actually done something positive to get it. For example, if youbumped into an artist at an awards show and he was raving about what hethought he could do with your song, if he then goes on to cover that song, ithasn’t happened because of anything the publisher has done. The publishershould not get an increased fee for that cover.You have to be particularly careful where you’re a songwriter whodoesn’t perform his own songs. Otherwise, you’ll find that you’re paying thehigher fee for most of what you’re doing, because the recording will alwaysbe by someone other than the person who wrote it, i.e. you, and everythingwill be a cover. In these cases I always push for all recordings to be treatedin the same way and not as covers. The publishers are sometimes reluctant todo this, saying that getting anyone to record a song requires effort and thatit’s harder if the songwriter isn’t the performing artist. You have to standyour ground on this. If you’re a songwriter you’ll be paying a publisher tofind ways to use your songs. You shouldn’t expect them to increase their feejust because you aren’t going to record your own songs.Performing incomeThe PRS rules require that at least six-twelfths (50%) of the performingincome has to go to the writer/composer. This is called ‘the writer’s share’.The other six-twelfths is called ‘the publisher’s share’. Depending on thedeal you have, the publisher will either say that they intend to keep thewhole of the publisher’s share or they will agree to share some of it withyou. You get to keep the writer’s share and don’t have to put it towardsrecoupment of your advances. Your share of the publisher’s share will gotowards recoupment of any unrecouped advance.When you’re dealing with contracts for the use of music in a film or TVprogramme, it’s still common for the publisher to insist on keeping theentire ‘publisher’s share’ and not putting any of it towards recoupment. TVand film publishing deals have lagged behind popular-music deals, whereit’s usual for the publisher to share up to 50% of the publisher’s share withthe songwriter.AccountingThe publishing company will usually account to you every six months.You’ll be sent a statement of what use has been made of your songs in theprevious six months and how much income has been received. It shouldshow the percentage that your publisher has kept as their fee and the amountthat has been credited to your account. Your share of income will go first torecoup advances. After that your publisher should send a cheque with thestatement for the royalties due to you. Even if the account isn’t recouped,you or your representatives should check these accounting statements to seeif they seem right and that the correct fee has been deducted. If, for example,you know that your music was used in an advert in the last six months butthere is no mention of income from this in the statement, you should askyour publisher to explain. It also pays for you to audit the books of thepublishing company from time to time. You don’t want to be doing thisevery five minutes, but you may want to run a check after you’ve had aparticularly successful time. You’ll probably also want to think about doingan audit when the deal comes to an end, as that is going to be your lastpractical chance to check up on your publisher. Because it can be veryexpensive to carry out an audit (£10,000 plus isn’t unusual), you only wantto do it when you think there is a reasonable chance of getting somethingback from it. If the audit shows up serious errors in your favour, you shouldexpect them to reimburse you the main costs of doing the audit as well aspaying you whatever sums the audit has shown are due to you.You shouldn’t delay in raising any concerns you might have about anaccounting statement, as the publishing contract will probably put a timelimit on you doing so. Usually, if a statement hasn’t been challenged forthree years, sometimes less, then it’s said to have been accepted and noobjection can be raised to it after that time.WHAT CAN YOU EXPECT FROM A PUBLISHER UNDER ANEXCLUSIVE PUBLISHING AGREEMENT?We’ve already seen that there is a presumption that an exclusive songwritingagreement is in restraint of trade and it’s up to the publisher to show that thecontract, taken as a whole, is reasonable to protect its interests and fair to thesongwriter. As we saw in the Macaulay v. Schroeder case, a publishingcontract should require the publisher to do something with your songs that itcontrols, and if the publisher doesn’t manage to do so within a reasonableperiod of time you should be able to get those songs back. The publisher hasto ensure that it does what it can to get the songs used, to maximise theincome from all uses and to make sure the songs are properly registered, andincome properly collected and accounted through to the writer.Your publisher should also take steps to protect your songs fromunauthorised uses. Sampling of songs is rife and it’s up to the publishereither to prevent such uses by court action or, if you and your publisher areprepared to allow the sample use, to ensure a proper amount is paid incompensation (see Chapter 13).Open-ended contracts are likely to be seen as unfairly restrictive, as wesee in the case of Holly Johnson and Perfect Songs.19Frankie Goes To HollywoodThis case came to court at the same time as the related case involvingJohnson’s record contract. Both the record and publishing companieswere trying to get an injunction to bind Holly Johnson to the contracts,even though the band he was a member of, Frankie Goes To Hollywood,had disbanded. Holly Johnson argued that both agreements wereunenforceable as being an unreasonable restraint of his trade.When the court looked at the publishing contract, it found that it waspotentially a very long contract and that it was exclusive but there hadnot been equal bargaining power when it was entered into. It found thatthe restrictions in the contract were not reasonable and declared that thepublishing agreement was unenforceable. The judge was concerned thatHolly Johnson and his fellow band members had not had any choice inwhether they did the publishing deal. It was offered as a package withthe record deal. There was also no obligation on the publisher to doanything with the songs. There was no re-assignment of the rights in thesongs if the publisher failed to exploit them in any way. The judge alsothought that it was unfair that Perfect Songs had full control over whathappened to the songs once they were delivered. The songwriters hadlittle or no creative control. The judge considered what financial benefitsthe songwriters got out of the deal and found that the 35% fee retainedby the publisher was too much.Stone Roses publishing disputeAnother case that has had an effect on the form of publishing contracts isthe Stone Roses publishing dispute.20The Stone Roses were a Manchester band that had a hit with analbum called The Stone Roses, released in 1989. They were signed to theSilvertone label, part of the Zomba Group. The members of the StoneRoses were also offered a package deal. They couldn’t do the record dealwithout also signing the publishing deal. As we saw in the case ofArmatrading v. Stone, it’s very important that the songwriter getsindependent advice from his own lawyer, someone who is familiar withthe music business and its contracts. In this case, the songwriters hadtheir own lawyer but he was not experienced in music contracts andmade hardly any changes to the terms of the contract from the initialdraft that the publishing company’s lawyer gave to him. There was noequality of bargaining power. The agreement was an exclusive one andthe rights were assigned for the life of copyright. There was a limitedobligation on the publisher to do something with the songs under itscontrol. After five years the Stone Roses could ask for the rights back inany of their songs that hadn’t been exploited. The first contract periodwas linked to that of the record deal. The court found that the firstcontract period of the record deal was capable of being extendedindefinitely. As the two were linked, this meant that the publishingagreement was similarly open-ended and, as such, unreasonable. Thecourt also found that the advances were not reasonable and objected tothe lack of artistic or creative control by the songwriters. BecauseZomba had obtained an injunction preventing the band from recordingfor anyone else, they couldn’t bring out any more records until this casehad been decided. When it was they signed a big deal with US labelGeffen. The band went on to release another album called, appropriatelyenough, The Second Coming, but split up shortly afterwards.As a result of this and similar cases it’s now common to have clauses in UKpublishing agreements making it clear that the publisher has to do somethingwith the rights it has. Also that the songwriter should have some say on whathappens to the songs once they’re delivered. It’s usual to say that no majorchanges to the music or any change to the lyrics can be made without thesongwriter’s approval. The criticism of the 65:35 split has led to the averagepublishing royalty rising to at least 70% in the songwriter’s favour and inmany cases to 75% with the publisher keeping no more than 25–30% but thisis by no means universal and 65:35 deals are still being done with 50:50deals in the TV and film industry still being common.MORAL RIGHTS AND CREATIVE CONTROLA songwriter may have strong views on what he wants or doesn’t want t ohappen to his songs. For example, a songwriter may believe passionatelythat no one should be allowed to alter the words or music without hisapproval. This doesn’t usually extend to straight translations. Those aretaken to be a logical part of the exploitation process. But if, in thetranslation, the translator wanted to give the lyrics a different meaning andthe songwriter objected to this, he should be entitled to prevent thishappening. Obviously, I’m not talking about minor changes, but major onesthat change the meaning significantly. This contractual control overlaps witha songwriter’s moral rights. Moral rights are described in more detail inChapter 12. Where you’re able to retain your moral rights then you shoulddo so. The reality is that, because our copyright laws acknowledge theserights but allow you to waive them, all publishers have put clauses in theircontracts requiring you to waive these rights. What lawyers now do is to putcontract clauses in to give you the same or similar rights to what you wouldhave got from using your moral rights. So you might ask why we bother withthis farce. Why don’t we acknowledge that the songwriter has certain rightsto object to what is morally being done to his songs? Well, the essentialdifference is that the moral rights usually go a bit wider than what you getunder your contract and a moral right is capable of being enforced by youeven if your publishing company doesn’t want to take any action.Other creative controls may involve the songwriter reserving a song forhimself or his band to record and stopping another artist applying for andgetting a mechanical licence to record that song first. The publisher willusually agree not to issue a first mechanical licence to another artist wherethe songwriter wants to reserve it, but will usually require that there is atime limit of, say, six months on this. If it hasn’t been recorded in that timethen the restriction can be lifted.Finally, of course, the songwriter will want to ensure he is properlycredited.WHAT TYPE OF DEAL SHOULD YOU DO?How do you decide which deal is best for you? To some extent this may beout of your control. You may not be offered anything other than an exclusivepublishing agreement. You may not be able to afford to keep control of yourcopyrights. You may be able to afford to do so but haven’t got theorganisational talents necessary to make sure that your works are properlyprotected and the income collected. In these cases the exclusive songwriteragreement is for you. But if you aren’t bothered about getting an advanceand you do want to control your copyrights, you may want to go for either asub-publishing or an administration deal, depending on how much activityyou require from your publisher.NEW BUSINESS MODELSAs we saw in relation to management deals in Chapter 2, some managersnow insist on taking an interest in your publishing as well. There are alsomany more package deals involving a production company acquiring rightsin your recordings as well as your songs. You also have to consider the issueof a potential conflict of interest between his role as your manager and asyour publisher. Try to make sure that the set-up is a proper, arm’s lengthone; that the manager/publisher/production company has thought about howhe is going to administer the rights he is getting, and make sure that themanager does not take management commission on your publishingroyalties for so long as he is also acting as your publisher of those songs.And of course there are the 360 deals where not only publishing and recordrights are involved but also live and merchandising rights. Look back at thelast chapter for the reservations I have expressed about these deals.CONCLUSIONSDecide what type of deal would ideally suit you.Decide if you need an advance and, if so, how big an advance – this willhelp you decide whether to go for a sub-publishing or an administrationdeal.You should try and do deals where your share of the income iscalculated ‘at source’ – but if you have to have a ‘receipts’ deal thenmake sure you put a limit on what the overseas sub-publishers candeduct in their fees.If you’re receiving 75% or more of the gross fees you’re doing well.Look at the Minimum Commitment. Is it realistic? Can you achieve itwithin a reasonable period of time?If you’re a songwriter who doesn’t also record his own works, try not toagree to a contractual commitment that means your songs have to beexploited in some way, as this will be outside your control.If you’re a songwriter who doesn’t record his own songs, hold out forno reduction in the amount of royalty you receive on ‘covers’.Make sure there’s no delay in you receiving your money from overseas.1 Section 3(1) CDPA.2 Section 3(2) CDPA.3 Section 9(1) CDPA.4 Section 10(1) CDPA.5 Hadley and Others v. Kemp and Another (1999) Chancery Division.6 Mark Taylor v. Rive Droite Music Limited November 2005 (unreported).7 Matthew Fisher v. Gary Brooker [2006] EWHC 3239 (Ch) 20 December2006.8 Section 12(2) CDPA.9 Section 12(8) CDPA.10 Hyperion Records Limited v. Dr L Sawkins 19 May 2005 (unreported).11 Section 16(1) (a) and section 17 CDPA.12 Section 16(1) (b) and section 18 CDPA as amended.13 Section 16(1) (c) and (d) and sections 19 and 20 CDPA as amended.14 Section 16(1) (e) and section 21 CDPA as amended.15 Section 21 CDPA as amended.16 The Copyright and Related Rights Regulation 2003.17 Often this is in order to get ‘market share’, which is the measure of howmany copyrights a publisher controls either in terms of numbers or, moreoften, in terms of how much income they generate. Market share iswatched by the money markets and the analysts and is also keenlycontested by the publishers themselves as a measure of how well they aredoing.18 Macaulay v. A. Schroeder Music Publishing Co. Limited [1974] 1 WLR1308.19 Perfect Songs Limited v. Johnson and Others [1993] E.M.L.R 61.20 Zomba v. Mountfield and Others [1993] E.M.L.R 152. Chapter 5Getting A Record Made INTRODUCTIONJUST TO MAKE things a little clearer in this chapter I’m going to assume thatyou’ve signed a record deal and that the money for making your record willcome from the record company, either as a separate recording budget fund oras an all-inclusive advance. At the end of the chapter I’m going to look atother ways of making a record, for example, where you’re funding themaking of the record yourself.PRODUCTION DEALS VERSUS DIRECT SIGNINGSBefore I go into the process of getting a record made, I need to look at twodifferent ways of structuring a record deal. This has an impact on how therecording process is organised. We covered both types of signings inChapter 3 – the direct signing or a signing to a bigger company through aproduction company. Now we’re going to take a closer look at theproduction deal and compare the pros and cons of this versus a straightsigning.PRODUCTION DEALSDon’t confuse production with the process of producing a record by a recordproducer which I’ll deal with below. As we’ve seen a production deal is onewhere someone (whether it’s an individual, a partnership or a company) actsas a middleman between the record company and the artist. This middlemanis the production company.Sometimes a smaller label or someone who doesn’t want a full-time roleas a manager finds a talented artist. They may not have the necessary fundsto make the record or, even if they can afford to make it, may not have thenecessary clout to get decent manufacturing, distribution, marketing orpromotion. The label or individual could sign up the artist and then look fora company with more resources to fund the recording and all aspects ofputting out the record. In effect, they are selling on the rights they have tothe artist’s services, either by a licence of rights or an assignment of them.The contract between the production company and the artist is called aproduction deal.WHAT IS A PRODUCTION DEAL?The contract may look very similar to a record deal, more details of whichare in Chapter 3. The production company could sign the artist up to recordan album with options to make further albums. The number of options maybe less than in a straight record deal, perhaps two or three options instead offour or five. The money available will often be less than with an exclusiverecord deal with an established larger record company and, in some ways,may resemble a development deal. The deal may be a ‘net receipts’ deal asopposed to one where the artist is paid a royalty on record sales. It will alsoprobably say somewhere in the contract that the intention is to try to getanother company involved with greater resources.It’s a little difficult to agree up-front what sort of deal will be done withthe bigger company. If I’m acting for the artist I usually try to ensure he getsthe chance to be involved in the negotiations with the third party wheneverthat arises. After all, the bigger company needs to know the artist is on side,so should want to co-operate. If the bigger record company is going to payadvances to the production company, the artist will want to know that he’llget a decent share of them. Also, if the artist is on a ‘net receipts’ deal, hewill need to know that the royalty being paid is high enough when it’s splitbetween him and the production company. For example, if the artist is on a50:50 net receipts deal and the royalty is 18% then he’ll be on a 9% royalty,as will the production company. Maybe the artist’s percentage should behigher – 65% or 75% instead of 50:50. If you’re the production companyyou should work out what’s a good deal for you and should be looking atgetting a clear profit equal to a 3–4% royalty. Obviously each negotiation isdifferent so these percentages are guidelines only.WHAT’S IN IT FOR THE OTHER RECORD COMPANY?The bigger company has the advantage of having someone else find anddevelop a new artist. By the time the project is brought to them they can hearwhat it’s going to sound like. Some of the risk has been taken away. Ifthey’re licensing a finished record from a production company, they knowexactly what they are getting. There’s also a middleman to deal with theartist – who becomes someone else’s problem. One downside for the biggercompany is lack of control. They need to be confident that the productioncompany can deliver the goods, so they are more likely to trust someonewho already has a track record.WHAT’S IN IT FOR THE PRODUCTION COMPANY?The production company has a much closer involvement with the artist. Ithas the thrill of discovering an artist early and of developing them. It getsanother company to take the risk on manufacture, distribution and marketingcosts, but at that stage it loses control. If the bigger company then fails inwhat it has to do, all the production company’s work will have been wasted.For the production company it’s essential they choose a bigger companywith a good marketing department and that they try and get a clause in thecontract with the bigger company which allows them to insist on outsidepress and marketing people being brought in if necessary. If it works, theproduction company get their costs and expenses repaid, the financial risk onthe manufacture, distribution and marketing taken off their hands, and adecent royalty into the bargain.WHAT’S IN IT FOR THE ARTIST?If a production company is interested in an artist then it’s a step up theladder. If they know what they’re doing, there will be a second chance laterof getting a bigger company involved. There should also be greater artisticand creative freedom, unless the production team are control freaks. Thedownside for the artist is that, if he doesn’t get the deal right, he could endup sharing a larger than necessary piece of the pie with the productioncompany. He is also a further stage removed from the record company that’spromoting the record, so it’s that much harder to get his views heard andtherefore it’s important that there are plenty of creative controls in thecontract which flow through to the bigger deal.FINDING A STUDIOWhether you’re signed direct or via a production company, one thing you’llhave to do is to find a suitable recording studio. It could be as simple as thestudio in your back bedroom or as complex as a full-blown commercialstudio. Before you decide on a studio you should look at several – at theambience as well as whether it has the necessary equipment. If equipmenthas to be hired in, it will add to the recording costs. You should listen tomaterial produced in the studios and, if you can, talk to other artists whohave used them. You should also talk to any in-house engineer or producer.How enthusiastic are they about the place and how it’s run? If you have arecord producer in mind or a favourite engineer, ask them what they think ofthe various studios on your shortlist.You also need to think about where it is. Is it easy to get equipment in orout? Is it secure? You’ll have seen stories in the press of recordings being‘leaked’ from the studio and appearing on the Internet. Record companiesare doing what they can to tighten security but do check if the studio keepsrecordings safe and secure, and who is responsible for this. Can leaks betraced? Also, provided you can keep it safe yourself consider making abackup copy of the final versions of the recordings and keeping itsomewhere safe away from the studio. This might prove invaluable if thereare problems of security or if the studio proves difficult in releasing the finalrecordings. I have known studios hold artists to ransom asking for a biggerfee in return for release of the master recordings. Most do not descend tothis level but disputes can arise over what is properly due and the studio maylegitimately have a lien or hold over the recordings until this is resolved.A studio can either be one that you go to day to day or a residential onewhere you stay in accommodation at or near the studio. Your own personalarrangements might decide which is better for you. Some bands respond bestwhen they’re immersed in the project in a residential studio. For others, theidea of spending 24 hours a day, 7 days a week with the other band membersis their idea of hell.STUDIO PACKAGE DEALSThe recording studio may block out a period of time and the studio is yoursfor the whole of that time. These arrangements are sometimes called‘lockout’ deals. Other deals are for a fixed eight- or ten-hour day. If youoverrun, you may either find that the studio has been hired out to someoneelse or that there are heavy financial penalties. Some studios will give youdiscounts on their usual rate if you record at times when the studio wouldn’tnormally be in use, for example, in the early hours of the morning. This iscalled ‘down time’. It’s fine if you’re on a very tight budget or if you justwant to record some demo tracks. But if you’re planning to use down time torecord your whole album, you’re putting very great limitations on yourself.It’s mentally and physically tough recording an album without adding to thisby having to record it all at two in the morning.Some studios will offer a package deal that includes mixing andmastering of the finished recordings. There are two things to bear in mindhere. First, the studio must have the technical capabilities to do a good joband secondly, the price offered should represent good value.Your A&R man or production company representative is going to be animportant source of information on where you choose to record. Thesepeople also have a vital role to play in giving you feedback on how therecording is going. It’s far too easy to lock yourself away in a studio andbecome isolated from reality. You’ll need feedback and constructivecriticism. The A&R man won’t be sitting at your shoulder all the waythrough the recordings, but he will want to visit the studio regularly duringthe recording process. Don’t surround yourself with yes men – you’ll needpeople who can be objective and whose opinion and judgement you respect.Once you’ve chosen your studio you need to haggle on a price – or yourmanager, production company or A&R man will do it for you. Before youbook the time, make sure that any people you want to help with therecording, like a producer, engineer or session musicians, are available. Ifyou really want to work with a particular person then you may have to adjustyour recording schedule to work around their availability. If they liveoutside the UK they may need a permit to work in this country. This can taketime and has to be factored into the recording timetable. If you want torecord overseas you may need visas or work permits so allow time for thoseto be put in place too.Another key factor in the choice of the studio is whether you can affordit. Studio costs and fees to a producer usually make up most of the recordingcosts. You’ll have to recoup these, so it’s important that you keep an eye onthem.It is becoming quite common for a record producer to offer an all-in ratefor his services which includes studio costs. This of course assumes theproducer either has his own studio or open access to one. With these deals inparticular you need to be sure that the studio is up to the job in hand.THE RECORDING BUDGETWhen you or your manager were pitching for your record deal you may wellhave done a ‘back of an envelope’ calculation of how much it would costyou to record. Now you’re going to have to do a much more detailed budget.You and your manager are going to have to work out how long you thinkyou’re going to take to record the album, how many days of studio time andwhat that will cost at the studio of your choice. You need to know how muchyour producer of choice will charge, how long a mixer will take to mix it andwhat he’s likely to charge. If there are session vocalists or musicians whowill need to be there for all or part of the time, you need to know how muchthey will charge per day or session. There are minimum rates set by bodieslike the Musicians’ Union and Equity (see Chapter 17), but good people willwant more than the minimum rate. If special equipment is required, youneed to work out how much this will cost to hire and whether it’s more cost-effective to buy it. It may be a piece of equipment that you’ll need to havelater when you’re out on the road promoting the album. You may have anequipment budget as part of your deal or the cost may be built into therecording budget. Another possibility is that you’ll have to buy theequipment out of your personal advance.Don’t forget rehearsal time. You don’t want to spend expensive studiotime rehearsing the songs until you’re ready to record them. Do this beforeyou set foot in the studio. Whether you do this in a professional rehearsalroom or in a room over the local chip shop will depend on your budget.Once you’ve thought of everything you should add at least 10% to it.This is called a contingency. It’s to cover extra costs when you spendanother day in the studio or on mixing or when you have to hire inequipment because yours or the studios isn’t up to the job.If you have a recording fund deal, your total budget should not exceedabout 60% of the total advance to give you enough to live on. If you have adeal where you have an advance plus a recording budget, you’ll have to keepwithin the maximum set by the record company and you’ll have to take yourfinished outline budget to them for approval. Bear in mind that most recordcontracts say that if you overrun the agreed budget without first gettingclearance from the record company, you’ll be liable for the extra expense. Itwill be deducted from your royalties and possibly also from any furtheradvances due to you under the deal.MASTERING AND DIGITISATION COSTSThese are a grey area. Mastering costs are the costs that are involved ingetting the final mixed recordings into a state ready to be made into records.Where those records are to be made available as digital downloads then themasters have to be digitised. I’ll deal with the process in a little more detailbelow. The record contract will say whether these costs are to be included inthe recording budget or not. Mastering can cost several thousand pounds, soit’s important to know this when setting your financial budget. The situationwith recharge of digitisation costs is in a state of flux. Some companies treatthese as part of the costs of online distribution akin to the transport coststhey incur for physical distribution. Others pass on the costs as a recoupableamount.THE PRODUCERThe role of the producer has been described as getting the dynamics andemotion of the music on tape. The producer makes your material come alive.It’s possible for you to produce yourself and many successful artists do. Bythe same token most artists, particularly when they are starting out, mightfind it difficult to get the necessary distance in order to hear how the musicwill sound to an outsider. The producer can be your external critic. You’regoing to be working closely together, so it’s helpful if you have similarmusical tastes and influences. You have to like working with them, respectthem and have a common vision of how the music should sound.Your A&R man can be very helpful in pointing you in the direction ofpossible producers. They can do a lot of the filtering process. They may playyour demo to a series of different producers to see who’s interested. Theymay invite producers to come to your gigs to get a feel for how you sound.Some vocalists need a little help in the studio in keeping in tune. A goodproducer will realise that when he hears you play live. Increasingly theproducer is through necessity taking on the role of a finder and developer oftalent, sometimes as a formal production company but sometimes just bydefault as part of his role as record producer.WHAT DOES A PRODUCER GET PAID?Fee or advanceA producer will usually expect to be paid a fee per track that they produce.This could be a pure fee, which isn’t recouped. It could be an advanceagainst the producer’s royalty, or it could be part non-recoupable fees andpart advances. Good producers can charge £5,000 plus per track and many ofthose will expect some of it to be a non-recoupable fee. Whether they getthat will depend on the negotiation. If it’s being recorded in the producer’sstudio he may include recording costs in the fee so the total may be nearer£10,000 than £5,000.RoyaltyThe producers may just work for a fee, but they will often expect to receive aroyalty calculated in the same way as the artist’s record royalty iscalculated. A good producer may insist on a royalty of 4% of the dealer priceor 3% of the retail price. They may ask for increases in the royalty if salesexceed a given amount. Producers who work with very commercial acts seethemselves very much as key parts of the team and charge royaltiesaccordingly. Some producers charge over 5–6% of the dealer price and therates will definitely be higher if the advance is low.RECOUPMENT OF COSTSAnother big bone of contention is whether the producer receives the royaltyas soon as he has recouped any advance he has received, or if he has to alsowait until his royalty, together with the artist’s royalty, has also recouped therecording costs on the tracks he has produced. If he agrees to the latter, theproducer may say that once that’s achieved, his royalty is calculated as if hehad been paid from record one after recouping his advance. Let me give youan example:A producer is to be paid a 3% royalty and has received a £30,000advance. The recording costs on the tracks he worked on came to £200,000.The artist’s royalty together with the producer’s 3% is 12%. Say each recordsold makes the artist £1.25. He’d have to sell £230,000 ÷ £1.25 = 184,000copies of the record in order to recoup the advances. Say the producer’s 3%royalty earns him 31p. To recoup his £30,000 advance he’d have to sell£30,000 ÷ £0.31 = 96,774 copies. If he’s on a deal where he’s paidretrospectively he would then get paid on the number of copies sold between184,000 and 96,774 copies, i.e. 87,226 " £0.31 = another £27,040. If theartist sells 96,775 copies, the producer recoups his advance and receives theextra £27,040 but if the artist doesn’t sell more than 184,000 copies hedoesn’t recoup the recording costs and the producer gets no more royalties.So the producer is taking a risk, but if it pays off he gets a windfall.The producer is almost invariably expected to have to wait until allrecording costs have been recouped and often it’s only with great reluctancethat record companies accept that this should then be retroactive. Where theproducer doesn’t have to wait until any recording costs have been recoupedand is paid his royalty as soon as he has recouped his advance, this can be aproblem for the artist. He can only really do it if his record company agreesto advance him the money to pay the producer. The artist is unlikely to berecouped as he will have all the recording costs, video costs and so on torecoup first. This pushes the artist further into debt, but he will often agreeto this if it’s the only way he’s going to be able to do the deal and get thatparticular producer.WHO DOES THE CONTRACT?In the UK it’s usually the record or production company that will do the dealwith the producer, will issue the contract and negotiate its terms. In therecord contract it should say whether or not the record company has to getthe artist’s approval of the commercial terms. At the very least the artistshould have approval of the royalty, because it will usually come out of hisroyalty, and of the advance, which will usually be a recoupable recordingcost.In the US the artist issues the contract and negotiates the deal with theproducer – or his lawyer does. The contract isn’t with the record company,but between artist and producer. If the artist doesn’t pay, the producer canonly sue the artist, who may not have the money. In the UK the contract isbetween the record company and the producer, so if anything goes wrong therecord producer can sue the record company not the artist. This puts theproducer in a more secure position. The US record company will usually dothe royalty calculation and, if asked, will pay royalties direct to the produceras a favour not as a legal obligation.REMIX ROYALTY REDUCTIONThe royalty to the producer almost invariably comes out of the artist’sroyalty, so it’s in the artist’s interests to keep the royalty at a reasonablelevel. If the record is to be mixed or remixed then a good record mixer willalso want to be paid a royalty. You could try and get the record producer toagree that, if the mixer is paid a royalty, the producer’s royalty is reduced bythe same amount. Some producers will agree to this. Others are adamant thatif they’ve done a good job of production there shouldn’t be any reduction intheir royalty just because the record company or artist decides to bring inanother person to mix the records. If this becomes a real sticking point, it’ssometimes possible to get the record company to contribute to the royaltyfor the mixer, perhaps by paying another 0.5%. Producers who do agree to areduction will usually limit it to no more than half the total producer royaltyor 1%.CREDITSThe producer will usually want to receive a credit on the packaging of therecord and in marketing material.Sometimes a ‘name’ producer will insist on having the right to removehis name from the packaging if his work is remixed and he doesn’t like orwish to be associated with the end result.There isn’t any one way that I have come across to credit the producer inonline uses. It is of course possible to embed information in the data for therecording when it is digitised. You see this when you download music toyour MP3 player (totally legally of course) and the software you use to dothis ‘reads’ the metadata to identify artist and track. However, it still hasn’tbecome commonplace to demand this or any other form of credit fordownloadsSTANDARD OF WORKWhether it’s the artist or his record company that’s doing the contract,they’ll want to know that the producer’s work will be of a high standard.There will probably be instalment payments to the producer so that he isn’tpaid in full until recordings of the required standard have been delivered. Sowhat is that standard? Well, just as we saw with record contracts, it’s usuallya question of whether the producer has to deliver technically satisfactoryrecordings or whether they have to be commercially acceptable. The latteris, of course, a very subjective test and the producer may well argue that hehas no say in what the artist chooses to record, so it’s not his fault if thefinished recording isn’t commercial. A common compromise is to say that itmust be a first-class technical production and of at least the same highstandards as the producer’s previous productions.RIGHTSThe producer usually assigns any and all copyright he has in the soundrecordings he produces to the artist (US deals) or to the record or productioncompany (UK deals). The recordings may have been made in a studio ownedby the producer. In that case there is a possibility that the producer made thearrangements for the recording to be made. If so, the producer could claim tobe the first owner of copyright.1 The record company will therefore want tomake sure that it takes an assignment of any copyright the producer mayhave.In the US they deal with it slightly differently. There the contracts willsay that, for the purposes of copyright, the producer is employed by theartist. Under US copyright laws the artist owns the copyright in anything aproducer creates where he is employed by the artist. This is called a ‘workfor hire’. US record companies often adopt the same approach which youhave to watch out for if you are in fact doing a licence not an assignment ofcopyright. You will want to get rid of these ‘for hire’ clauses in a licencedeal.The producer may perform on the recordings. He may play an instrumentor programme a keyboard. He may therefore have the same rights as anyother performer.2 The record company will therefore want to know that hehas given all the necessary consents to his performances being used. The feeor advances that the producer is paid will usually include any fees for hisperformances.If the producer has made any original creative contribution to the writingor composing of the music or the words then he may have rights as a co-author of that song.3 If the artist and producer agree on what each hascontributed this isn’t usually a problem. The artist will want to know that amechanical licence will be available on standard industry terms so that theproducer’s share of that song can be included on the recording. If the artisthas agreed to reduced mechanical royalties in the US and Canada (the so-called Controlled Compositions clauses as explained in Chapter 4) then theartist should make sure the producer accepts the same reductions. He may,however, refuse to do this and there is no requirement that he do so. If theproducer co-writes a number of the songs on the album, this could affect theartist’s ability to fulfil the Minimum Commitment requirements that he mayhave in his publishing deal. This must also be taken into account whenagreeing what share is allocated to the producer. If a producer co-writes thesongs, he will have moral rights in his work. He may also have moral rightsas a performer. The contract will usually require him to waive those moralrights (for more on moral rights, see Chapter 12). If he hasn’t co-written anyof the songs or isn’t claiming any publishing rights, the contract will usuallyrequire him to confirm this on a warranty.PRODUCER’S DUTIESIn addition to making sure that the production is of the required standard,it’s also the job of the producer to try to keep the recording costs within thebudget and to let the artist/record company know if it’s likely to run overbudget. The contract may make the producer responsible for any overrun onthe budget that is his fault.The producer is responsible for getting all session musicians to completethe necessary forms, buying out their rights and getting all the necessaryperformers’ consents. He has to deliver these signed forms to the recordcompany with details of who did what on each recording. He also has to keepall recordings safe and deliver them up to the record company when asked todo so. It is usual to make one or more backups. The delivery up includes allouttakes, i.e. recordings that didn’t end up in the final mix on the record.One case in which these ‘outtakes’ then found their way onto acommercially released record involved Bruce Springsteen.4The Springsteen CaseBruce Springsteen had had agreements early in his career with a recordcompany called Flute. Those agreements had been declared to be voidfrom the outset in a previous court case. As we saw in other cases suchas Elton John v. Reed, this was unusual. Most courts won’t declareagreements to be void (i.e. as if they’d never been entered into) butvoidable (i.e. could be set aside as to future rights). Because therecording and publishing agreements were said to be void, Springsteenargued that he was the owner of the copyright in all previous recordings,including any outtakes or other unreleased material. He couldn’t produceany evidence in court to back up his claim that all copyrights had beenreassigned to him, but the court accepted that he was the owner of thesound recording copyright and therefore could control what happenedwith them. The court decided he was within his rights to claim that CDscontaining outtakes of his recordings released by Flute were aninfringement of his rights.While a record company is unlikely to risk upsetting an artist by releasingrecords containing outtakes while he is still under contract to them, theymay not have any such qualms after the end of the contract. The producerwill have handed those outtakes over to the record company, so the artist’sagreement with the record company should cover what can or can’t be donewith those outtakes.MIXINGThis is the stage between production (i.e. the recording and capturing of theessence of the song) and mastering (when the recording is made ready forduplication).The mixer selects from all the various recordings he has of a song thosethat will be mixed together to make up the final version. He also chooseswhich aspects to emphasise, for example a guitar part or a vocal might bebrought into more prominence.The producer might do the mix and, as he’s been close to the recordingprocess throughout, you’d think he would be best placed for the job. He maybe, but very particular talents are required for mixing and sometimes a fresh‘ear’ can hear things that the producer and the artist can’t.There are also mixers who take the finished, fully mixed recording andplay around with it – maybe changing the rhythm or bringing in elementseither sampled from the recordings themselves or from elsewhere. These arecalled remixers and the resulting recordings are called remixes. Whensamples are being introduced, the artist (in the US) or the record company(in the UK) has to make sure that all necessary rights have been cleared andthat the mixer has permission to include them (see Chapter 13). Remixes areoften done to create a different sound for radio or to play in the clubs.MIX CONTRACTSThe contracts for mixers and remixers are very similar to (and follow thesame format as) producer contracts.Fees and advancesA mixer or remixer may only receive a non-recoupable, one-off fee for hiswork. This can be as much as £10,000-plus for one track to be remixed by abig name.Increasingly mixers demand an advance, which as with producer deals issometimes partly non-recoupable, and partly on account of royalties. Thesame comments apply here as with producer deals above.RoyaltiesIf a mixer has enough bargaining power, he can ask for and get a royalty of1% or more. This is usually calculated in the same way as the artist’sroyalty. As we saw with producer deals, the artist has to work out if there isenough left for him after producers and mixers have received royalties,whether the producer will take a reduced royalty, and whether a royalty hasto be paid to a mixer or if he will take a fee instead.The same issues apply to mixer deals: who does the contract, whether themixer gets his royalty only after all mix costs have been recouped, and whatstandard of work is expected of him.RightsAs with producer deals, the record company will usually require the mixer toassign any sound recording copyright to the record company. When danceremixes were at their peak remixers argued for the right to retain a separatesound recording copyright in their mix. It’s possible, if they have addedenough original elements or have re-recorded the track as part of the remixprocess, to create a separate sound recording copyright. I think if I was theartist I would be nervous about some mixers owning a version of my track,and I’d want to have restrictions on what they could do with it. If theywanted to just put it on one of their own record compilations that might beall right. If I were the record company who had paid for the remixes, I’dwant to own them and perhaps license rights back to the mixers for thatcompilation.Mixers don’t usually contribute to the creative writing of the song. Someremixers may claim that they have added enough original elements to createa new work. This may be true, depending on what they have done, but morelikely they will be said to have made a new arrangement of it and canreceive performance income on that version. This eats into the writer’sperforming income and most publishers will expect it to come out of thewriter’s share. The remix contract could ask the mixer to confirm he has nointerest in the underlying song at all or, as we saw with producer contracts, ifhe is a co-author that licences to use the remixer’s part of the song will begranted without difficulties on usual industry terms.MASTERINGThis is part of the post-production process when the recordings have beenproduced and mixed to everyone’s satisfaction.The next stage before the recording goes to be manufactured into recordsis mastering. It straddles recording and manufacturing. It’s not just amechanical process of ensuring all the right digital notes are in the rightplaces. It’s the means to give it a final ‘tweaking’ before the record isreleased. A person skilled in mastering can make the sound punchier,warmer, deeper or louder. He can bring out details not already obvious.Mastering is a separate process from the mix and needs a different set ofears. Some bands swear by a particular person mastering their records i nmuch the same way as film directors have their favourite editors.The mastering process helps the recording sound great no matter whatmedium it’s manufactured in and whatever hardware it’s played on. I’m sureyou can think of albums that sound fantastic played over headphones on yourCD Walkman but awful on the car CD player. This could be a problem of themix, but it’s just as likely that someone didn’t get the mastering processright.When mastering a recording, equalising and compression of the soundsgives a consistency from track to track. Have you ever found yourselfconstantly having to adjust the volume between tracks on a compilation? It’seither earth-shatteringly loud or so quiet you’re straining to hear the words.That’s an example of bad mastering. Radio really brings out the difference,as the radio process itself compresses the material. If a recording hasn’tbeen properly mastered it can sound thin and weak.Purists also believe that the compression involved in creating an MP3loses a great deal of the original, in particular the top and/or bottomregisters. The average listener will not know what he is missing and mostpeople’s home hi-fi equipment is not of studio quality so no one is any thewiser.When you’ve spent a small fortune on making a recording, you shouldn’tspoil it for a few thousand pounds in mastering costs.The person doing the mastering is engaged to do the job by the record orproduction company. He either provides the mastering suite and equipmentor the company hires or pays for one. He is paid a fee for his work. Therecord company usually pays it and, depending on the contract, will eithertreat it as a recoupable recording cost or as a non-recoupable manufacturingcost. Some, but not all, artists credit the person who did the mastering,although the actual studios used are often referred to on the packaging.DELIVERY REQUIREMENTSThere are a number of things that have to be delivered to the record companybefore the artist can be said to have completed his side of the recordingprocess.As well as the finished, fully mixed and edited recordings, he will alsohave to deliver up all outtakes and all copies of the recordings. He may alsohave to deliver finished recordings of additional tracks to act as B-sides orsecond tracks on singles, and will definitely have to deliver up all signedsession forms and clearances for any samples that have been used in therecording.The artist will have to deliver a list of all the tracks on the record in theorder in which they appear (called a track-listing). He’ll probably also haveto provide ‘label copy’, that is all the information that has to appear on thelabel and packaging of the record. This includes things like who performedon each track, who wrote each track and who publishes those writers. If thereis an agreement to give credits to producers and mixers or a name check tothe studio, then those details will have to be given to the record company.This is also when the artist gets to say thanks to particular people who havebeen helpful or supportive.The contract will be very specific about what has to be delivered and towhom. It will also be quite technical about the form in which the recordingsare to be delivered. It’s very important that the artist does deliver all that isrequired of him. If he doesn’t, then he’ll find that all sorts of things don’thappen. He won’t get the instalment of advances due on delivery, themanufacturing process won’t start nor will time start running for when therecord company has to release the record.The artist should try to get written confirmation from the recordcompany confirming that everything has been delivered from the personidentified in the contract as the person to whom delivery has to be made, forinstance, the senior vice-president of A&R.ARTWORKOne key item that usually has to be delivered is the artwork for the cover ofthe album. Without the artwork the record can’t be released in its physicalform and rather naff generic ‘covers’ have to be used for digital downloads,so it may be reasonable to assume (depending on the contract and individualcircumstances) that delivery has not taken place until the record companyhas the finished artwork. The record company usually wants the artworkdelivered in a specific format, which these days is usually online, probablywith a hard copy to follow up.Some talented bands do the artwork themselves. Some leave it to therecord company’s art department. Most hire someone else to do a design totheir brief or specification.If the record company is doing it, the artist should try and make sure hehas final approval. If someone else is being brought in, make sure they havea good, professional reputation for their work. The artist should look atcovers he admires and who designed them. It’s wise to interview a fewdesigners and ask to see examples of their work. Remember that if apotential customer doesn’t know who you are, they may be attracted to pickup your CD over all the others by the striking artwork on the cover. Youcould use art students or friends to do it on the cheap, but then you could endup spending a lot of time supervising the work and would have been betteroff using a professional in the first place.The artist’s logo should be on the artwork as well as the label orproduction company logo and name. This is all part of making the packagelook inviting and identifiably part of your image. Striking artwork and logosrepeated on the website and in any other marketing and promotional materialnot only make the association easier but also help to brand the artist and tomake his work stand out from the crowd. Sometimes artwork is used as amarketing tool in itself either by design or by accident. Take the artwork forthe last Beck album. It was released with a variety of different stickers thatthe buyer could use to customise his own copy. The company in charge ofthe Charts decided that there were too many versions to count for the albumcharts and debarred the release. This potential disaster was turned into aclassic example of ‘marketing’ spin to raise awareness of the album in thepress and amongst the public. Brilliant.Once the artist has decided on a designer who he thinks can do a goodjob in the required time, terms need to be agreed. You need a contract settingout what they are going to do, by when and for how much. You may want tomake payment in two instalments, one when they start work and the otherwhen they deliver finished work that is satisfactory.If photographs are to be used, the artist needs to agree who is going to beresponsible for supplying those and at whose expense. The record companywill usually organise and pay for a photo-shoot, but it may not necessarily bewith the top-name photographer the artist would like to use.Whether or not there are to be photographs, there needs to be anagreement with the designer or photographer that confirms that thecommissioner is the owner of the copyright in the photographs and thecopyright and any design rights in the artwork and graphics. There should bean assignment of any copyright or design rights they might have acquired.Ideally, there should be no restrictions on what the commissioner can dowith those designs and photographs. However, designers and photographersare now wise to the fact that they can earn more money if you have to goback to them for permission to reuse their work. For example, they may nowagree to license the artwork or photo for the album cover only. If the artistwants to use it on a poster, T-shirt or other merchandise, or as a backdrop onlive stage shows, then he’ll have to come back to the photographer ordesigner for further permission. If they give it – and they don’t have to –then they will probably want another fee for it.The cost of commissioning someone to create original artwork dependson who you use, but record companies don’t usually want to pay more thanabout £2–3,000 for the basic design. They will go higher if it’s a topdesigner or ‘name’. The record company doesn’t usually have any rights touse the artwork in any form of merchandise other than sales of the album, sothey will only be interested in getting album cover rights. If the artist thinkshe’ll want it for other purposes, he’ll probably have to pay for those himself.The cost of originating the artwork is usually non-recoupable and the recordcompany will usually give the artist the right to use the artwork for otherpurposes, for example, for merchandising, if he pays to them 50% of theorigination costs.The value that attaches to a distinctive artwork design was highlightedby the application for an injunction made by Creation Records (Oasis’record label at the time) against the publishers of various newspapers,including the Sun.5The Oasis CaseOasis was going to release another album in the autumn of 1997 anddecided that the photograph of it should be taken at a country hotel. NoelGallagher, the lead guitarist and deviser of the band’s artwork, had aparticular idea in mind, a kind of homage to The Beatles and their coverof the Sergeant Pepper album. The hotel swimming pool was drainedand a number of different objects were delivered to the hotel, including awhite Rolls-Royce. This was lowered into the pool at an angle and NoelGallagher supervised how the other objects were to be placed. Aprofessional photographer took a number of photos from various anglesso that the band had a choice of different images in different lights.Oasis thought it was essential that the plans for the photography werekept secret, and only a few people were allowed in on it.Inevitably, perhaps, word leaked out and a couple of newspaperphotographers turned up including one freelancer attached to the Sun.One of the photos he took was published a few days later in the Sun. Itwas very similar to the one chosen for the album cover, but had beenshot from a different angle. The Sun offered copies of the photo for saleto readers in a poster form. Although other newspapers also publishedphotos it seems none were very clear and none were offering posters ofthem for sale.Creation got an immediate injunction restraining the Sun frompublishing any more photos or from offering copies for sale. The judgethen had to decide if that injunction should continue.Creation Records were arguing that the freelance photographer hadinfringed their copyright or had breached confidence.The judge rejected the argument that the way the scene was puttogether attracted a copyright as a dramatic work. He also rejected theargument that the scene was a work of artistic craftsmanship, a sculptureor a collage (those lawyers were trying hard, weren’t they!). A film setcan sometimes be said to be a work of artistic craftsmanship, but thejudge decided that this was just an assembly of disparate objects withoutthe necessary element of craftsmanship.Creation Records and Oasis might have been thought to be onstronger ground in arguing that there was copyright in it as an artisticwork of collage – being a collection of unrelated items. Their barristerargued that it should be put in the same category as the infamous CarlAndré bricks displayed at the Tate Gallery or Gilbert and George’sliving sculptures. The judge declined to follow that line of argument, asthe assembly of objects didn’t have the same degree of permanence – itwas going to be dismantled after a few hours. This is a very restrictedview of what would be entitled to copyright protection.The judge did find that there was copyright in the photograph, but theSun didn’t copy that original – the freelancer took his own photograph ofthe same scene. Which was why Creation Records was trying to establishsome kind of copyright in the scene.So, having failed on all their ingenious copyright arguments, thelawyers then argued that the freelance photographer had breachedconfidentiality. Here they had more luck. The judge decided that anyreasonable person would have assumed that, in viewing the scene, theywere getting confidential information and so the freelance photographerwas obliged not to photograph the scene. The Sun had admitted theirphotographer had to get around a security cordon to get the film out, sothey must have known it was intended to be confidential.On balance, the judge decided Oasis/Creation Records had more tolose if the Sun were to continue to be allowed to sell posters andcontinued the injunction on the basis of breach of confidence. If he hadnot then potentially huge sales of posters and other merchandise by theband and their record label would have been lost.Once the artwork is delivered the artist should then be in a position to pressfor a release date for the album. This will depend on a huge number offactors, some of which I’ll deal with in the next chapter, but once aprovisional date has been set then the manufacturing process can begin andthe whole marketing department should start to swing into action.If the artist or production company intends to release a recordthemselves then they will also attend to all the other formalities such assample and session work clearances, obtaining barcodes, getting amechanical licence and paying the licence fees. These are dealt with in moredetail in Chapter 6.CONCLUSIONSChoose your studios well. Decide if they’ll be residential or not.Set a reasonable recording budget and stick to it.Get the best producer and mixer you can afford.Don’t skimp on mastering costs, but keep an eye on remix costs, asthese can get very high.Check you’ve complied with the delivery requirements in your contract.Try to get copyright ownership of the artwork.1 Section 9(2) (aa) CDPA and Chapter 3.2 See section 191A ff CDPA for performers’ rights and Chapter 3 for moredetails on what these rights are.3 See section 9(2) (3) CDPA on authorship of words and music and section10 on co-authorship.4 Springsteen v. Flute International Limited and Others [1998] ChanceryDivision.5 Creation Records Limited v. News Group Limited EMLR 444 1997 16. Chapter 6Manufacture, Distribution and Marketing INTRODUCTIONUNTIL ABOUT TEN years ago there was no serious viable alternative to the triedand tested method of distribution. You finished your record, it was masteredand ‘cut’ – literally cut into the vinyl or digitally mastered, (i.e. put indigital form in a computer program from which digital records such as CDsand DATS could be made). The only discussion or change here was digitalversus analogue manufacturing methods. Once you had your physical CD,tape, vinyl record or whatever, you packaged it up and it was distributed outto the record stores on the back of a van.Over the last five years there has been a dramatic increase in the numberof tracks that are being sold online as digital downloads, although illegaldownloads remain a major problem and challenge (see Chapters 7 and 14).In 2004 the industry began to turn a corner commercially with the arrival ofservices such as iTunes and the iPod and new carriers such as mobile phonesalso helped to drive the legitimate side of use of music online. Most singlesare now being offered as downloads, many off aggregator sites like iTunesor off individual artists’ pages on social networking websites like MySpace.Indeed in 2007 I was involved in several releases that were digital only.Clients didn’t want to go to the expense of pressing up physical copies of thesingle; they waited first to see how well the release went in publicity terms.Major record companies are either pulling out of distribution (EMI) or arecombining their manufacturing operations either in one place in Europe orthrough deals with other companies. By pulling out of these two traditionalmeans of earning profits the record companies may be saving millions ofpounds but they are also focusing their money-making activities on the morerisky aspects of the business, the marketing and promotion of artists andtheir records. So the stakes will be higher in future to get those expensiveaspects right more often than they do at the moment. This of course feedsinto the more cautious outlook referred to in Chapter 3 on record contractsand on the greater use of middleman production companies to filter outsome of the artists less likely to succeed commercially.MANUFACTURINGThe compact disc is however still a significant carrier, even though year onyear sales are declining by as much as 20%. The cassette tape has prettymuch disappeared as a format just as the VHS tape has ceased to be a videoformat for new releases, and retailers like Curry’s have announced they willno longer sell VHS tape players. The prediction of the death of vinyl was,however, premature. It survives (albeit in a niche market), beloved by DJsand specialist collectors. Sterling efforts were made to establish theMinidisc format. It was first launched in the early 1990s but singularlyfailed to impress. A potentially much more serious threat to the musicbusiness was thought to be the phenomenal increase in sales of recordableCDs (CDR). Originally intended as an alternative to the floppy disc, theCDR became the format of choice for ‘burning’ copies of whole albums orfavourite compilations. But it was also a boon for the small producer, newartist or production company because with a little effort they were able toreproduce their own CD albums for sale at their gigs or for sending out torecord companies, publishers and managers. Then just as we were gettingused to this came the MP3 player and mobile phones which could store andplay music. It then became so easy to copy and send copies over the Internetthat the idea of an ordinary member of the public becoming a pirate becamea reality. This ability was manipulated to the full by peer-to-peer websitessuch as Napster, MP3.com, Grokster, Kazaa etc. These issues are discussedin more detail in Chapters 7 and 14.Most mainstream releases are made available in physical format as wellas downloads and so let’s have a look at the sort of legal agreements youwill come across. If you’ve paid for the recording yourself or via aproduction company then you won’t have a record company to organise themanufacturing for you. You’re going to have to go to specialist CDmanufacturers and shop around for a deal. Lists of manufacturers can befound in the Music Week Directory. Before you decide on a manufacturer,you’d be well advised to gather together as much information on what isavailable as you can. You also need to make your arrangements withmanufacturers at least four months before you intend to release physicalcopies of your record, and even longer at popular times such as Christmas.This is to try and ensure that the manufacturing/pressing plant has capacityand won’t squeeze your record out because a release by a big star is slottedin. Bear in mind in setting your timetable that it is usual to release records toradio stations (via pluggers if necessary – see below) at least a month beforethey are available in the shops.You also need to ask what service each company provides. Is it a full-service company that will produce a production master from which toreproduce the CDs, or will you have to find a company to make a productionmaster for you and deliver that together with film or discs for the artwork tothe manufacturer? If so, would it be cheaper, easier and quicker if youlooked for a full-service company? You’ll need to check the small print verycarefully. What hidden costs are there? Do they charge you to deliver thefinished records to you?What other services can they provide? Can they offer a distributionservice or any marketing services like sales teams? If they do, is it better touse them for these services or to look for separate companies to do them?Look at the quality of their work. Ask to see samples. Do they doeverything in-house or is it farmed out? Who else do they work for?Once you’ve narrowed down your choice you have to look at howquickly they can turn things around. They may have a minimum productionrun (say 5,000 copies). Is that all right for you or were you looking for amore modest 500 copies? To be honest, if you’re going for a very shortproduction run, possibly for promotional purposes, you might be better offburning the CDs and putting the finished product together yourself.Once you’ve decided on your manufacturer you’ll need to agree a price,the number of units to be produced and a time for delivery. You ought to tryto keep some of their fee back until you see things are running according toplan, but if you’re a small unknown company they’re likely to want cash up-front. Even so, keep an eye on things. Check the quality of the sound and ofthe artwork. Is the running order correct without any gaps in the songs? Haveall the names been spelled correctly and correct credits given? If anything iswrong pull them up on it immediately. Always check a sample of thefinished product.You also have to be sure that they can continue to manufacture repeatorders as your first batch, hopefully, sells out. You need to keep closecontact between your distributor and your manufacturer so that you can putyour repeat order in as soon as your distributor sees stocks are dwindling.This need for close co-operation is one of the reasons why some peopleprefer to keep production and distribution with the same company.P&D DEALSAs you can probably guess, ‘P’ stands for production (i.e. manufacture) and‘D’ for distribution. A P&D deal is one that combines both of these servicesin one contract with one company. Companies that offer P&D deals canoften also offer marketing services like a telephone sales team (telesales), astrike force (a specialised team targeting record stores to take your records)or pluggers, who try to persuade radio stations to play your record. Whetheryou want these additional services will depend on your overall marketingplan and on the price and reliability of the service.You should ask the same questions of P&D companies as you would of amanufacturer, but you’ll also have to ask another series of questions abouttheir distribution operation. Who do they supply records to? Is it just thesmall specialist stores or can they get into the major retail chain stores andvice versa?MAJORS VERSUS INDIESUntil recently, all the major record companies had their own distributionfacilities. Mergers in recent years have resulted in some of those facilitiesbeing combined to save costs by pooling operations. The independent sectoris now dominated by Pinnacle and PIAS (formerly Vital). Clearly, the risksare outweighing the possible profits from this activity. Without an efficientdistribution system, all your talents and efforts in making the record and themarketing people’s work in getting you noticed will mean nothing if thedistribution company doesn’t have the records in the stores for the public tobuy. In the last couple of years there has been a growth in the activities ofaggregators like Nova, Pebble Beach and Remote Control amongst others.These companies have arrangements with a larger distributor to put throughthat distributor all of the aggregators output under all the labels it looksafter. The aggregator then does individual deals with independent labels orartists to distribute their product and combines all of this with the one dealwith the larger distributor. The trick with this type of deal is to ensure thatthe labels’ accounts are kept separate and that profits from one label aren’tused to subsidise another label’s losses. Whatever the company you areusing try and check their financial viability – if it’s at all suspicious do notrisk your stock and your income from sales. Even the bigger distributors arenot immune from this but there are some things you can do in your contractsto protect against this – see below on retention of title.All distributors have to also balance efficiency with a speedy response. Ifthey can’t meet demand quickly, your records won’t be available, thecustomers won’t be able to buy them and you won’t get your chart position.The major record companies tend to manufacture their records locallyand then shop them to a centralised depot, usually somewhere in Europe, andfrom there to local distribution centres in different countries. It doesn’t takemuch thought to see how savings could be made by pooling the localdistribution centres.As well as dealing with their own artists’ records, some of the majors actas separate distribution companies for other companies’ records.If you aren’t signed to a major or can’t get a deal with a majordistribution company, you may not have any alternative but to go to anindependent distributor. The BPI has a useful guide to setting up your ownrecord label and distribution on its website www.bpi.co.uk.You also need to be aware that some smaller distributors are a bit likeproduction companies and pass on the job of actual distribution to anothercompany. You should ask if that’s what your chosen distributor does; if itdoes you should try to find out how reliable and financially stable that othercompany is. As we’ll see below, there are some things you can do to protectyourself by retaining ownership of the records until you’ve been paid.CATALOGUE OR SINGLE ITEM DISTRIBUTION DEALMost of what follows in this section is geared towards physical distributionbut for the last six months or so all new deals with Pinnacle have requiredthat you also give them exclusive online distribution rights alongside thephysical distribution. Existing clients are being sent variation agreements toextend their physical deals to online distribution as well. It is likely that alldistribution deals will offer both physical and online distribution in future.This can be a problem if you have an existing arrangement with an onlineaggregator like The Orchard or online retail sales outlets like 7Digital oriTunes. If that arrangement is already in place then you will have to excludethe online rights from the deal. If it’s non-exclusive there may be room forboth. Even if you haven’t already done a deal you should not just slavishlysign up to it without first thinking if the distributor has enough specialistknowledge to do a good job and get it out to all the decent online etailers.There are some signs that companies who have had a presence in physicaldistribution have a few teething problems with online releases and may needcloser supervision than you would imagine. I have also had an examplerecently of a client who only wanted the distributor to release online andwanted to reserve all the physical releases because they did not want tojeopardise a possible future record deal for that record. These are allpossibilities you have to consider.So are you doing a deal for all the records you’re likely to produce in thenext year or so? These are called ‘catalogue deals’ and would be suitable fora small record label or production company. They would also work for acompany that was going to license in rights to records by other artists, andalso for an artist who has decided that he doesn’t want or need the facilitiesof a record company and wants to distribute his own recordings. In recentmonths, some very successful artists have seriously considered bypassingrecord labels altogether and doing it all in-house. Simply Red announcedthey were doing so and more recently Radiohead looked like they were goingdown that road when they announced online sales of their new album atprices to be set by the customer. However, they have now also decided to usea traditional record label for first international and then physical distributionof this new albumIf you aren’t doing a catalogue deal, you could just give distributionrights to a single track to a distribution company. You might choose thisroute if you were just seeing this release as a stepping stone to getting arecord company interested in you. Just bear in mind, though, that if thedistributor is only dealing with one track for you, you’ll not have muchbargaining power and will have to push hard to ensure that you get any kindof priority.EXCLUSIVE VERSUS NON-EXCLUSIVECatalogue distribution deals are likely to be exclusive, but there may be oneor two exceptions to the exclusivity. For example, you could have the rightto put tracks on compilations to be distributed by another distributor or amajor record company. Or you could have the right to distribute smallquantities of the records yourself to one or two specialist outlets or onlinealthough mainly distributors or physical records are concerned to ensure thatthe record is not made available online before physical copies are in theshops.TermThis is really only relevant for exclusive catalogue deals.The distributor deals with your entire product over a period of time. Thiscould be open-ended, continuing until one or other of you gives notice,usually three months at least. Other possibilities are a fixed period of oneyear with the distributor having the option to extend the term for anotheryear, or the term could be for one year with further one-year extensionsunless you give notice before the end of that time that you don’t want it tocarry on. You have to be careful with this one because, unless you’re good atremembering when to give notice or have an efficient reminder system, youmight miss the relevant ‘window’ and find yourself locked in to anothertwelve months. Some distributors are now insisting on two years initially butthat is negotiable.If you think you might want to move your label and catalogue at somepoint to a bigger distributor or major, the more flexible the term is and theeasier it is for you to get out of it will be important. It could also be veryimportant if you aren’t sure how good the distributor is. On the other hand,the distributor might have greater commitment to you and be more inclinedto give you priority if they know you’re going to be with them for a pre-determined minimum period of time.TerritoryThe distribution deal could be a worldwide one, but is more likely to be for alimited number of countries, for example just for the UK or the UK andEurope. If you’re a UK artist or label looking to distribute your recordsbeyond Europe (for example to the US) then you’re much more likely to doit through licensing the rights to another record company with its owndistribution set-up (see Chapter 3). It is possible to have deals where youship finished records to them and they distribute them, but this is lesscommon. They are sometimes referred to as ‘consignment’ or ‘sale andreturn’ deals and Japanese labels are quite keen on them, as are someCanadian and US labels where it isn’t worth them manufacturing copieslocally and it is cheaper for them to do it on a sale or return basis.There is a problem, though, with distribution deals for just one country,for example the UK, its imports or, more particularly, what is often referredto as parallel imports. What are these? Let’s take an example. You have therights to distribute a particular track in the UK. Another record company hasthe rights to distribute the same record in France. If the record is released inFrance first, the French record company could export the records into theUK, where they might take some of your market from under you. You maythink that wouldn’t be allowed as they only have French distribution rights.Ah yes, that’s right, but there is the principle of a common marketplacethroughout the European Union (EU), which is meant to encourage the freemovement of goods. So, within the EU, it’s illegal for you to outlaw theseimports. You can tell the UK distributor that he isn’t to actively try and getorders from outside the UK, but it’s very difficult to police it. How do youknow who approached who?It’s easier, in theory, to prevent parallel imports coming in from outsidethe EU. For example, if you were giving one UK distributor Europeandistribution rights and licensed the rights to a record company in the US forNorth America, your contract with the US record company could specify thatthey aren’t allowed to ship records outside North America. The problem isthat there are specialised exporting companies who also act as genuinedomestic distributors. The US record label could legitimately sell records tosuch a company and then deny any knowledge or responsibility if thatcompany then exports the records to the UK.This is why there is a lot of pressure to ensure that a record is releasedsimultaneously in as many countries as possible, or to ensure that there issomething special about the release. For example, Japan, which has sufferedbadly from cheap imports, often insists that releases in Japan have extra‘bonus’ tracks to make the records more attractive to the domestic marketthan the imports.There is also pressure on price levels within the EU. The idea is that ifthe dealer prices are the same throughout the EU, there is less demand forimports brought in cheaper than the domestic product.There are, of course, new issues to be addressed by distributors as aresult of the possibility of buying records online. The Internet is a globalmarketplace and one challenge is to try to find new ways of dealing with thefact that it’s one big territory. Suppose you had a distribution deal with onecompany in the UK and another with a company in the US. Your licence dealwith each would have to say either that it was open house on export sales andboth could offer records for sale on their websites, for purchase anywhere inthe world, or you could limit the territory to the UK/US and put it in eachlicence that they aren’t to solicit offers or to fulfil orders from the other’scountry. For example, your email address is UK registered and you go onlineto try to buy a CD of an album that you know has been released in the US butisn’t yet on sale in the UK. If you went to a US website to try to buy the CDthey should refuse to accept orders for distribution outside the US. Thissolution is potentially off-putting for the consumer, which is the last thinganyone wants. Obviously, if you’d done a worldwide distribution deal withone company then that wouldn’t be necessary. It may be that any solution tothis territorial issue will have to be addressed by one-stop deals or reciprocalagreements between distributors in different countries. They could, forexample, agree to pay each other a percentage commission for salesgenerated in the other company’s territory. So far we’re seeing someattempts at reciprocal agreements for licensing via MCPS and PRS, butinternational co-operation between record companies or distributors istaking longer. The solutions being adopted seem to be practical – in the caseof physical sales you have to provide a delivery address in the countryconcerned. Although of course in the spirit of true enterprise there are nowcompanies who, for a fee, will give you a PO Box address in the country andforward the goods to you. Other solutions are technical in that you have tohave an email address in the country concerned to purchase goods online inthat country.Record companies and music publishers are now investing large amountsinto systems called rights management systems that will police where a fileis being downloaded to ensure that payment is being made, and which wouldalso enable them to track whether a distributor was breaking the terms of hisdistribution licence but, as we’ll see in Chapter 7, these systems are takingtime to deliver a fully workable solution.Rights grantedIf you’re doing a P&D deal you’ll be required to give the distributor theright to reproduce the sound recording and the right to distribute and sellthose copies whether that is as physical copies or in the form of onlinedownloads.PriceThe distributor will take a fee off the top of the price they get paid. So, forexample, if the distributor gets paid £7.49 for each record sold, they take apercentage of that as their fee.The percentage can vary a great deal depending on how many additionalservices they provide, for example, a telesales service or a strike forcededicated to pushing your records. It can be as high as 28–30% of the dealerprice if you’re unknown or only have one track to distribute. Deals of 15–18% or less are available to successful independent companies with a highturnover of successful product. Major record companies will usually paydistribution fees in single figures. Sometimes the percentage the distributorgets as a fee goes down as the turnover increases. An average amount for adistributor to charge would be 23–25% to independent record labels or artistproduction companies. For online distribution the opening price is around20% but all things are usually negotiable with the right level of bargainingpower.The distributor will also usually have a discount policy. This is a slidingscale of discounts on the dealer price that have to be given to the variousretail outlets. For example, major national chains like Woolworths or VirginMegastores would be able to command a discount on the price because theyorder in bulk and are such important outlets for the music. Supermarketchains such as Tesco and Asda are also now in this category and, indeed,often undercut the high-street chains. You’ll have little or no say on thesediscount rates, nor have a chance to change them. However, you shouldknow what they are in order to check you’re being paid properly. Discountshaven’t really established themselves in the online world but as volumeincreases then they may well follow. What does appear online is thededuction of whatever charges are laid against the distributor. For example,a distributor may first offer the tracks to an aggregator who acts as a kind ofclearing house and does a variety of deals with different etailers. Theseaggregators deduct a percentage from the gross revenue after the deductionof the etailer’s mark-up. So it is starting to mirror the physical world – evendown to ‘packaging deductions’ (see below).Payment termsThe distributor will often pay half of what is due within 30–45 days ofreceiving the payment from the retailers and the balance within 60–80 days.So if they get paid for a record sold on 28 February, the label might get halfof their money by the end of March and the rest by the middle of April.Make sure that for online sales all the necessary technical requirements ofthe online distributor are in place to ensure that you can track the number ofsales and check whether you are getting paid correctly, not just for onlinesales but also the payment of mechanical royalties for reproduction of yoursongs in the online copy downloaded. As we will see in the chapter onCollection Societies, there are now licensing systems and rates set for mostuses. The challenge now is to ensure that these rates are paid. So check whois responsible for ensuring mechanicals are paid – you or the distributor, orthe etailer.The distributor will probably keep back some of the money as a reserveagainst records that are returned. This of course only applies to physicalsales as in theory at least the customer should not pay for a download whichfails. Distributors usually have a fixed policy on this, but will sometimesnegotiate the level of reserves. The reserve on singles is generally higherthan for albums unless the album has been advertised on television. Retailstores may take copies of your record on a sale-or-return basis. So althoughthe distributors have sent out, say, 1,000 copies, they don’t know how manyhave actually been sold and won’t include these copies as sales until they’vebeen paid. They keep back a reserve against these returns and any otherreturns that appear to be sales (i.e. they’ve been shipped out but may bereturned to the distributor for some legitimate reason such as being damagedor faulty). The distributor has to hold back money against such aneventuality.The distributor won’t usually take responsibility for bad debts. I t a l s owon’t usually pay out before it gets paid, because that can lead to bigproblems. For example, you do a P&D deal with a local distributor whoagrees to pay out on the number of records it actually sends out, less areserve against returns. It ships out 1,000 copies of a record to the retailstores and pays you on 750 copies, keeping back a 25% reserve, before it hasreceived payment of the 1,000 sales. Months later, the stores return not 250but 500 copies; the distributor is then out of pocket by 250 copies and willlook to you to pay it back. Even worse for you is the case where you do adeal with a local distributor who pays you on what they get paid. They do adeal with a bigger distribution company and ship records to that biggercompany. The bigger company sells those records but, for whatever reason,fails to pay the smaller distributor, who can’t then pay you (even thoughrecords have been sold) because they haven’t been paid for them. Againthough this problem should not arise with online sales because once thecustomer has paid and received his download there is a very limitedopportunity for returns.Retention of titleA way of protecting yourself when you’re in a chain of deals like the onedescribed above is to retain your title (your ownership) of the records untilyou’ve been paid. These sections of the contract have to be very carefullydrafted in order to have a chance of working. Assuming the biggerdistribution company has gone bust, the liquidator of that company will wantto hold on to whatever stocks, i.e. records, that he can. He’ll want to sellthem to raise money for the creditors of the company, so he’ll want to getaround the retention of title if he can legitimately do so. Specialised legaladvice is needed on this and again it should not be necessary with onlinesales. There the issue should be making sure that once the deal has endedthey take down the copies off the Internet and do not continue to sell them.AdvancesBefore I leave this section, I just want to touch on the question of advances.Will a distributor give you an advance? Well they might if you’ve got agood track record for finding hit records or have a catalogue that has aregular turnover. The advances for small independent labels or individualartists aren’t likely to be high – possibly only a few thousand pounds. Aswith most advances, these sums aren’t usually returnable if you don’t sellenough records, but they are recoupable from monies you would otherwisereceive from sales.MARKETINGOnce you’ve got a record mastered, copies manufactured and you’ve found acompany to distribute it, another crucial step in the process is to let thepublic know about you and your record. The marketing process has manyelements to it and it’s an ongoing process. As soon as you’ve got somethingto sell – a record, live performance, merchandise – you need to let peopleknow about it.ARTWORKGetting the right artwork for the record is crucial – it should form part of thewhole campaign. It could be used as the backdrop to a stage show and on aposter campaign. It could appear on T-shirts and other merchandise. Makesure you own the copyright in the artwork and that there are no restrictionson what can be done with it. This still applies even though the artwork ismuch smaller being only for a CD booklet as opposed to 12” vinyl record.These days, however, the challenge for artists and graphic designers is adesign that works well online and uses the interactive technology of thedigital era and the global possibilities of the Internet to the fullest extent.There are also now ways to make simple versions of the artwork available asa download when you buy the record online so it is essential that you get theright from the designer of the artwork to use it in all these ways. Focus onstandard packaging that contains the correct copyright notices and the allimportant barcode. PPL has a leaflet explaining the copyright notices andBPI produces a leaflet explaining how to get a barcode. For online salesmake sure you have the correct metadata embedded in the digital copy andthat all necessary technical requirements of the online distributor are inplace to ensure sales are correctly tracked and fed back to you.PHOTOGRAPHS AND BIOGRAPHIESYou’re going to need to have some decent photographs. They’ll be neededfor information packs, for the press, for letting overseas licensees orassociated companies abroad know what you look like. You’ll also need topost photos or graphics up on your website or page on MySpace, Facebooketc. The costs the record company pays are not usually recoupable orrepayable by you unless you want to use the photographs for merchandising,for example on a T-shirt or poster, when they may expect you to repay halfthe costs.If there’s an exclusive record contract in place it will usually, but notalways, give the artist approval over which photographs are used. It will alsousually give the artist approval of the official biography. This is a bit like alife history. It also ensures that a consistent message or image is presentedof the artist, which forms part of the brand, as we’ll see in Chapter 8 onbranding. Some record contracts now also require the artist to contribute toonline diaries or blogs.If you give the record company photographs or biographical details theywill assume they are approved, so make sure you’re happy with them.IN-HOUSE OR EXTERNAL MARKETINGMost big record companies will have in-house marketing and pressdepartments. These are staffed by dedicated marketing and press people, oneor more of whom will be allocated to marketing your product. You need tobe sure that these people understand the game plan and, preferably, that theylove your music. At the very least they should like it, because otherwise theywon’t sound convincing when they try to sell you to the press, radio, TV andso on.If the marketing is to be done in-house it will normally be paid for by therecord company on a non-recoupable basis.The position changes if it’s a smaller company without its own in-housemarketing departments or outside specialists have been brought in forparticular aspects. The costs are then usually partly or wholly recoupablefrom the record income.Whether it’s being done in-house or with a number of outside specialists,the whole campaign has to be co-ordinated.The sales force and any special strike force have to be primed withartwork, photographs, biographies and campaign details. Promotion packshave to be sent out to any exporters, to clubs, DJs and to some retail outlets.For bigger releases the record company may arrange for a private ‘playthrough’ of the new album to selected key retailers.The fact that the record is being released has to be notified to the musicpress, to the chart compilers and to MCPS/PRS to get the relevantmechanical licence and details registered for when the record is performedpublicly. Each release has to have its own catalogue number. I once acted fora label called Produce Records and their catalogue identity was MILK 1, 2,3, etc. It is usual to prepare a summary of all the information known as‘presenters’ or ‘sales sheets’ of about a page long consisting of the name ofthe artist, the title of the record and a picture of it, its catalogue number,barcode, dealer price and release date. You should then add details of how toorder it and contact details plus some brief points on what the marketingcampaign is.The adverts for a co-ordinated advertising campaign will have to bedesigned and approved well in advance so that they’re ready for distributionat the same time as the promotional packs, posters, promotional items and soon.The strike or sales force goes into action several weeks before the releasedate, trying to get orders from the retail shops. These are called the ‘pre-sales’. Everyone is interested in getting these figures, as they’re a goodindicator of how well a particular record is being received. It will helpdetermine the chart position, it tells the marketing people how much morework they have to do, and pre-sales can give you some information to passon to your manufacturer and distributor to help them assess how manycopies of the record will be needed. The figures may also tell you in whatareas of the country the record is selling best, so the distributor can know tomake more copies available in those areas. There is also now a reason tocollect ‘pre-sales’ for online sales as these help to determine a chart positionin digital charts and greater exposure for the artist. A theme that I will returnto in the next chapter is how you come up with a marketing plan whichraises your music above the ‘noise’ of all the other competing releases thatweek. Why should a potential customer listen to and possibly buy yourrecord over anyone else’s? How do they even know you have a recordreleased? You need to come up with a marketing plan or idea that makesyour release stand out. This takes talent and you may need to bring inspecialist marketing people. As with all experts that you engage, make sureit is clear in writing what you want them to do, how they will be paid andwhat constitutes a successful outcome.TV ADVERTISINGIf you are on a major record label (or perhaps an independent one owned bya millionaire!) then part of the marketing campaign might be to advertise therecords on television. This is an expensive business. A basic televisioncampaign in four ITV regions can easily cost £75,000. The record companyis only going to want to spend this money if they think they will earn it backin extra record sales. To keep their risk to a minimum, the record companywill try and recoup some or all of these costs, either as a further advance orby reducing the royalty payable to the artist. How this works is that therecord company reduces by 50% the royalty they would otherwise have hadto pay on sales of the records until they have recouped (from that reducedroyalty) 50% or more of the costs of the TV ad campaign.We lawyers try and get artists the right of approval over whether anadvert is made but have to fight for this, as record companies know if youget the right of approval you’ll only give your approval if you get a betterdeal on recoupment. Then they don’t recoup so much of the cost. Otherwisewe try to limit the ways in which your income is affected, either byrestricting the reduction to sales in the country where the campaign is run, orlimiting the time over which they can recoup the costs from reducedroyalties, or both. Currently the trend is to just treat the cost of the campaignas a further recoupable advance which makes some of these restrictionsredundant and the arguments then tend to centre on how much is recoupable.Don’t rule out the idea of a television campaign without carefullylooking at the proposals. A good, targeted campaign could be what it takes tolift your record into the Top 20 albums chart, which could make all thedifference. However, be aware of the cynical attempt to reduce royalties toyou when your record has been particularly successful by rushing out acheap TV campaign in the same accounting period as your album wasreleased and achieved most of its sales. By doing this the record companycan add a further advance to the bottom line or halve royalties on all sales inthat accounting period even if they were before the ad campaign. Don’t thinkthis is fanciful. One of my colleagues found that a major record companywas trying to do this with an artist who had had a very successful debutalbum. A TV campaign wasn’t needed and the lawyer and manager had tofight hard to get a deal whereby the royalties were not artificially reduced. Itis also true that record company executives might panic into doing a TVcampaign when they fear that the sales are not at the level they expect. It isthe job of a good manager to try and decide whether the fear is real andwould be helped by a campaign. I know of one very experienced managerwho had to persuade their artist’s record label not to rush out a TV advert foran album at Christmas. They were afraid that they had over-supplied thestores and would get masses of returns in the New Year. The managers hadto fight long and hard to stop this happening but they did have an ace uptheir sleeve – they ‘knew’ that the next single was a winner, stood theirground, were found right and the artist went on to have a very successfulalbum. Guy Hands – of venture capitalist Terra Firma – has recentlyannounced that he wants to ship fewer records so there are fewer returns andlower overheads. This is a fine principle – the problem is that it is not anexact science which can determine in advance precisely how many peoplewill decide to go into their local record store one weekend and buy aparticular record. If the demand is higher than anticipated then the storeswill run out and the prospective purchaser – maybe an impulse buyer – willmove on to his next purchase.TV AND RADIO PLUGGERSEven in these days of the Internet it’s still important to the success of arecord that it gets exposure on radio. Unless the record gets a decent numberof radio plays, it’s unlikely to enter the charts. Although it is becoming alittle easier now that downloads count towards chart positions.The people who decide what is played on Radio 1 or 2, XfM, Heart andother pivotal regional radio stations are very powerful, and some feel thatthe records chosen for the playlists are towards the commercial pop end ofthe market. There was a big problem a couple of years ago when 27-year-oldartists were being thought of as too old! Now, however, Radio 2 has steppedinto the gap, picked up many of the ex-Radio 1 DJs who had been influentialopinion-formers and given them shows. Those who had grown up with thesepeople gravitated to Radio 2, which has become much more the station ofmainstream commercial releases by older artists as well as middle-of-the-road tracks by younger artists. Now, ironically, for many releases failure toget on the Radio 2 playlist is a kiss of death.The TV and radio pluggers who have the tough job of trying to getrecords playlisted are either employed in-house by the record company orare from outside agencies that specialise in this work. Their costs are dealtwith in similar ways to press agents (see below).WHAT DO YOU PAY EXTERNAL MARKETING AND PRESSPEOPLE?There are many different ways of paying for external marketing and presswork.RetainersPress people and pluggers could be on retainers. These are regular, monthlypayments that are made to keep them on board as the press agent, constantlyhaving an eye on press opportunities. When you aren’t actively doing anypromotion, for instance when you’re in the studio recording the next album,the level of retainer could be quite small. It would then increase whenpress/promotion activities rise around the time of the release of the record.However, as the economy slows down and competition among thesecompanies hots up, the number of people on retainers has declined and nowmany are only paid when they do some work.BonusesIf someone is on a retainer or a fixed fee they may be paid a bonus forachieving certain targets. For example, a press officer could get paid a bonusfor every front page/cover he gets that features you.A plugger might get a bonus if a record goes into the Top 10 or whatever.Fixed feesMarketing and press people could be on a fixed fee, possibly with bonuseslinked to success.RoyaltiesPress and pluggers could be on a retainer or a fixed fee with bonuses. Goodpluggers and those in great demand (usually the same ones) can insist on‘points’, i.e. a royalty (usually 0.5–1%) on each record sold. If you want thebest you may have to pay this. It will either come out of the artist royalty orbe paid by the record company, or a combination of the two.Where do you find them?The usual ways – word of mouth, those companies already on a retainerarrangement with your record company, those companies known to yourmanager as doing a good job in this area of music. The Music WeekDirectory carries a list of press and promotions companies, but it would be agood idea to get a recommendation from someone in the business before youchoose one.Do they want a contract?If they’re on a fixed fee they will probably just invoice you for the fee whenthe work is done. If you’ve agreed they’ll undertake something out of theordinary, or you’re putting them on a retainer, you’ll probably want a simplecontract. If they’re being paid a royalty you’ll definitely need a contractsetting out how that royalty will be calculated and when it will be paid. Thesimplest thing is to do this on the same basis as you get your royalties underyour record deal.EPQSThis is the name given to electronic press packages. That is pre-recordedinterviews, photos and biographies, together with promotional clips of yourlatest single release, that are put together by your in-house or external pressofficer. These usually take the form of a DVD and they’re sent out toreviewers, press reporters, DJs, radio station controllers and so on as anadditional means of promotion. Some companies are now sending them outas file attachments to emails. Most new record contracts contain a clausethat says that the record company can put one of these together and that theartist will co-operate with them. There seems to be no reason why youwouldn’t want to agree to the compiling of an EPQ, but you might wantsome creative control and you’ll need to agree whether some or all of thecosts can be recouped.VIDEOGRAMSPromotional videos were a key part of the marketing process for most artistswho were aiming for a commercial chart position. They are still importantfor the pop market and can be useful for putting something interesting onyour MySpace page and on YouTube; however there are limited outlets forpromotional videos other than music stations like MTV as well as all thecable and satellite channels.However, they can be very expensive to make and there’s no point inmaking one if your record doesn’t get radio plays or TV airtime. It will be awaste of money and you’ll end up paying for it in one way or another. It hasto fit in with the overall marketing plan so don’t overspend or make a videounnecessarily. If you can pull in some favours and get your mates who’vestudied film-making to make a cheap video for you – good enough forYouTube and maybe as a video mobile phone clip – then that may be worthdoing but again only if it is part of a well thought out campaign.The creative elements such as what the story is going to be (thestoryboard), who’s going to produce and direct it, and when and where it isto be shot will probably be agreed between artist and record company.Depending on the contract, the artist may have a final say on some of thesethings and the record company on others.LONG-FORM DVDSUnlike promo videos which are generally there to accompany a singlerelease, a DVD may well be a full-length 60–90 minute production. RobbieWilliams’s Live at Knebworth was an early example of how to use themedium as a marketing tool for the artist but also as a commercial productin its own right. Yet when it was first issued the record label didn’t get it andhad to be persuaded that it would sell enough to recoup. It went on to sellover half a million copies and recoupment was not an issue. Kylie Minoguehas released a DVD of her comeback ‘Diamond’ tour alongside her latestalbum X, and such releases can also help to keep the artist in the public eyein between album releases. For example, if no new album is expected for ayear then it might be worth putting out a DVD of the last tour to keep fansinterested. There is a separate DVD chart just like the Albums and Singlescharts. The VHS video format has been killed off and you should not makevideos in that format – DVD is now the format of choice. According to themajor record companies trade body BPI, commercial videos had a retailvalue of £93.5 million in 2006 outstripping the retail value of digitaldownloads which stood at £70million. But like the CD market 2007 provedto be a difficult market for DVDs too, with prices of DVDs fallingsignificantly but without the hoped for increase in sales. In the third quarterof 2007 the sector showed a 31% drop in sales over the corresponding periodin 2006 according to the Official Chart Company statistics. Part of theproblem seems to lie in customers being prepared to watch poorer qualityvideo films online than good quality DVDs in their living rooms. Again, asbandwidth increases and download times for films reduces there are alsogoing to be increasing pressures from piracy and illegal downloads. So in anattempt to capture some of this illegal market record companies are nowoffering video clips as downloads alongside or possible slightly ahead of anartist’s album release. The idea is that if they can see a clip of the video orcan download the video to go with the single then the customer may go outand buy the full-length DVD. Streaming of long-form DVDs on online TVstations is also being explored as a new outlet or revenue stream. Some alsosee a synergy between the fact that the new owners of EMI, Terra Firma,also have a stake in the chain of Odeon cinemas and speculate on DVDs incinemas as another possible outlet.RIGHTSThe record company will usually expect to own all rights in any audio-visualrecordings of the artist’s performances they have paid for.If you have a lot of bargaining power, you can limit the rights you givethem to audio-visual rights on recordings you make for them under therecord deal. Most major record companies won’t agree to this, as they wantto know that if someone else makes a recording of your live set they can’tthen put it out as a competing record or DVD. You might have to agree thatyou won’t do that with any recordings of your performances without theirapproval.Some artists or DJs have people who film them going about theirprofessional business, doing public appearances, backstage at gigs etc. anduse some of that footage in a DVD. The trick here is to ensure they have theright to use the footage of other people who may get on the film likebackstage crew or audience members but lawyers can advise how to do that.The record company may have the exclusive right to make long-formDVDs, or they may have the first option to bid for the right to make one, orthe right to match an offer that someone else may have made to make one.The cost of making a long-form DVD is usually mutually agreedbetween the artist and the record company and a separate account is set up.You usually get to dictate, or at least approve, all the creative aspects of thelong-form DVD.ROYALTYThe royalty rate will be the same or slightly lower than that for records.There may be an advance payable for the long-form or the record companymay have had to match any offer made by a third party. The advance and thecosts should only be recoupable from the royalties on this long-form DVD.Income from records or any commercial use of promotional videos shouldnot be used to recoup these costs.CONCLUSIONSDecide on whether you need separate manufacturing and distributiondeals.Check the returns and discounts policy of your distributor and for anyhidden costs.Try to retain ownership of the records until you’ve been paid.Get the marketing campaign organised well in advance.Agree whether the press and plugging is to be done in-house or byoutside agencies. If outsiders are doing press or promotion, try to get the recordcompany to agree that only 50% of the cost is recoupable.Get approval of any photos and biographies.Gets approval, if you can, of any television advertising campaigns forthe records – particularly if your royalty will be reduced. Chapter 7Online Sales and Distribution INTRODUCTIONDigital technology is changing the face of the music industry on every level.This is not of course the first time that it has done so. The development ofthe CD 25 years ago used digital technology to create a whole new mediumof music distribution free from the constraints of analogue media such asvinyl, which had severe limitations on the amount of music each recordcould store. CD sound quality was also ‘cleaner’ although not all agree thatthat was necessarily a good thing. So the current developments could be seenas the latest in a long line of changes wrought by technological advances.However, this time the changes are more fundamental. Improvements indigital reproduction mean music is now available via an almost bewilderingarray of carriers – mobile phones, PDAs, memory sticks, MP3 players and ofcourse streaming and downloading via the Internet. The availability ofbroadband in most homes and certainly all places of further education hasmade the distribution of music via the Internet fast and almostuncontrollable. I will review in this chapter and in the later one on piracysome of the issues that this has created.OVERVIEWThe vastly expanded digital market has highlighted the flaws in the majorrecord companies, whose monolithic structures were built around thedistribution of physical copies of music, over which the record companieshad a measure of control, and for which they could demand a high price. TheCD did not render this model redundant, it just meant there was a whole newset of hardware they could develop and sell and the marketing men had afield day persuading us to buy again in CD form records we already ownedon vinyl. Even the introduction of players which made music portable likethe Sony Walkman did not alter the model fundamentally as it still requiredthe distribution and sale of physical products.It is a different story with digital distribution which takes the form ofstreamed digital radio or podcasts and downloads where there is no physicalproduct at all and where the hardware development is not in the hands of thetraditional developers like Sony and Phillips but with outsiders like Appleand distribution in the hands of Internet Service Providers (ISPs), and otherproviders of online services, like Google and Yahoo and mobile phonecompanies and it is marketed by third parties like MySpace and YouTube.The major record companies may also have lost the battle to try and controlillegal copying through digital rights management (DRM) systems. Pricingtoo is no longer in the control of the record companies. Several monopolyenquires into the supposed high price of CDs may not have shown there wasan abuse of a dominant market position by the major record labels, but thewhole issue is redundant as the battle has moved to a different ground. Theissue now is how you get people to pay for music at all when they can get itso easily for free. This battle is one that the record companies are losinghand over fist. They are rapidly coming to the conclusion that they mustchange their business model or die. Let us hope they have not left it too late.The winners in this new digital world are not the traditional players.Outsiders, telecoms companies and technology whizz kids, have spotted anopportunity. Being new to this industry they are not hampered by the oldways of the record labels, but can approach matters with a fresh perspective.I am thinking here of the social networking and gambling websites or themultiplicity of services which use music as added value to drive customersand advertisers/investors to their services. Music is just another commodity,it is not the reason for the existence of these services in the first place. Theinroads that these new players are making into the music industry bring withthem new challenges of how to make music pay and how to find the musicyou want to listen to, particularly that of new artists where the breadth ofavailable music has never been greater.Piracy or free availability of music is a major problem. As we will see inmore detail in the later chapter on piracy, the organisations representingmajor record labels such as RIAA and the BPI continue to tackle Internetpiracy head on as opposed to embracing the technology as opening up amassive potential market. I have always taken the view that criminalisingordinary people who download music for free is counter-productive. Tacklethe large-scale pirates by all means, but otherwise I think it is far better toeducate people as to the law on copyright, which to be fair lately the BPI hasbeen doing, but also to use the new technology in a positive way to reachmore fans. For example, older users of the Internet, the so-called ‘silversurfers’, have proved to be a lucrative source of online purchasers of musicvia websites like Amazon. Until recently they have been buying physicalcopies for mail order but with Amazon expanding into the download marketwho is to say that they won’t also purchase downloads if the process is madestraightforward enough? These buyers may not have gone into a high streetrecord store as they can be quite intimidating places for the uninitiated andso could be seen as a potential whole new market.The changes in how we receive music via the Internet and on mobilephones have also given the lawyers and legislators a number of knotty legalproblems to resolve. As we will see below the law has finally caught up withthe online world and recognised that copyright is capable of protection andshould be given protection for online uses. The issue of piracy and illegalfile sharing remains problematic, as does the whole question of the licensingof rights across countries given the global nature of the Internet. Muchremains to be done to ensure cross border co-operation but the collectionsocieties at least are taking steps in the right direction across Europe as wewill see in the later chapter on collection societies.A key indicator of the reality and the growing importance of the digitalmusic business was the launch of the official UK Download Chart inSeptember 2004 when, for the first time, download formats wereacknowledged as a viable commercial format. This was followed by theincorporation of downloaded tracks into the Official Singles Chart on 17April 2005. Mobile phone plays will also count for chart positions as soon asthe technical difficulties are resolved. From 22 October 2007 sales of DigitalMemory Devices (DMDs) count towards both the singles and albums charts.They have been eligible for the singles chart since September 2007. DMDformats include SD memory cards for mobile phones, USB flash devices aswell as memory sticks, so greater marketing experimentation may follow.USB releases in 2007 included a single by Keane and limited releases byKanye West and Amy Winehouse. USBs can take many forms and designsso the possibility of creative artwork, design and marketing is there for all toseize. EMI has announced it plans to release the entire Radiohead backcatalogue on a limited edition USB stick in the shape of the band’s ‘FangedBear’ logo. Artists like Arctic Monkeys, Leona Lewis and Koopa have allused Internet chart positions to boost their own profile.Many new artists now only release singles online initially, moving to aphysical release only if online sales warrant it. Distributors like Pinnaclehave added online distribution to their standard distribution deals.There has been considerable progress in the penetration of newtechnology with greater uptake of broadband; portable players such as iPodsare now available at affordable prices; and mobile phones, including the newiPhone which can download both sound and video clips are within the pricerange of many more people. The growth of these new types of players anduses, in particular mobile ringtones, has led the major record companies toalter their contracts to give them rights to distribute music on these newplatforms and they are establishing business models for being paid on thesenew uses as well as a royalties system for paying the artists and songwriters.Dominic Pride writing in Impact magazine in 2007 claimed that therewas a potential market of 3 billion mobile phone owners compared to 1billion Internet users. He was advocating the growing importance of the songand claimed that as the song was no longer restricted by formats used by therecord industry, this opened the way for new partnerships with songwritersand publishers working together to monetise the use of music. He mentionedone use in particular: mobile caller ring-back tones and the potential to tailorthese to the market place or to personalise them to the individual customer.He emphasised the delivery of a service to the customer over mobile phones,Internet TV and broadband with music as a key constituent of the service. Ifhe is right then in the future artists and songwriters might get paid for musicnot as an element on its own but as part of the fee charged for access to aservice. This makes sense to me as a new business model and the basis ofnew partnerships with service providers, but accepting this view meansacceptance of the fact that the record company is no longer in full control.This will come hard to those who make their money from that business orperhaps more importantly those who are answerable to the shareholders ofthose companies.If the future is paying for access to a service rather than access toindividual artist downloads then we need to consider if giving away musicfor free is a way of tempting consumers into this new world? Many artistsbelieve strongly that their music should not be given away. Cover mountCDs are detested by many artists. Why would a consumer pay for a classicsong when, if they wait, they will be able to get it for nothing with theirSunday newspaper? And yet, for every artist that takes this stance you willfind others who embrace the idea of music for free. Artists like The Beeshave been making acoustic podcasts of material available and Ocean ColourScene gave away downloads of their last single free. There have beenattempts like the Spiral Frog website to get consumers to accept that theycan access music for free but have to first listen to a bunch of ads, but as aservice it may be struggling.At the opposite end of the spectrum from the music for free idea arethose deals which make the most of the idea of added value by offering fanspremium products like the CD with extra tracks, a free ticket to a show nearthe fan’s home, lyrics and additional background to the songs and so on butall at a premium price. There is more on this in the marketing section below.Of course, even if you accept the view of the growing importance of thesong and partnerships between publishers and service providers such asmobile phone companies, there is still the fact that in many cases the songhas to be recorded to a reasonable quality. Polyphonic ringtones and realtones are improving but not to the standard of a properly produced andmixed studio recording. It is possible that the mobile phone companies willcommission their own recordings of music or expect the publishers to stepup to the mark and pay for good quality recordings but that is not thetraditional role of the publisher and it is unlikely that the owners of thepublishing companies will sanction large expenditure on acquiring soundrecording facilities. The more obvious route would be to use the systemsalready in place at the record companies or perhaps the newer, leanerproduction companies.If the business model is to change to shares of revenue from access toservices then the publishers will suffer a drop in mechanical royalties, butthey hope that this will be balanced out by an increase in flat fee usages,performance and synchronisation royalties, and shares of income with newpartners like the telecoms companies. It is also important that the industry isable to move fast and a one-stop shop across territories and betweenrecordings and songs will be needed, and accurate payment tracking systemswill need to be put in place.The IFPI estimates that there are twenty illegal downloads for everylegitimate one. John Kennedy, chair of the IFPI, called for a united approachacross the industry to tackling the issue of greater co-operation from theISPs over piracy and illegal downloading. He described the ISPs as the‘gatekeepers’ and that their co-operation could make ‘the single biggestdifference’ to the music industry. What the industry wants is for the ISPs toaccept they have some responsibility for the content that is on the websitesthat they host. If the ISPs were to agree to share the data from websitesbelieved to be involved in illegal downloading then stopping those pirateswould become infinitely easier. Kennedy says a precedent has already beenset when the ISPs responded to a call from the Government to put in filteringsoftware to block access to child pornography websites. We will see more ofthis in the section on social network sites below.There are some pundits who claim that the growth in the number of newpotential partners means that the power has shifted towards the artist andaway from the traditional record company. The example is quoted of SirPaul McCartney leaving EMI after forty years and releasing his new albumthrough Starbucks’ label Hear Music. Other examples might be Madonna’sdeal with her promoters Live Nation or Radiohead going ahead with its owndigital release of its latest album. However, things are never quite so simple.What all these artists have in common is that they are well established andhave a large fan base. It would not be anything like as easy for a new,unknown artist to do the same thing. It is also true that whilst many of thesewell-known artists are using new and unusual partners they haven’tcompletely abandoned the traditional routes either. McCartney’s album wasmade available to traditional outlets through a distribution deal withUniversal. Radiohead signed to XL for physical release of their album andThe Eagles, who are quoted as one of the success stories of 2007, may beunsigned but they also used a major label (Universal again) to act as theirdistributor. There is a place for newer artists to do their own thing, but theyneed the means to attract attention to their music, which means a greaterthan ever emphasis on marketing.This brings me neatly on to the last significant development I want tohighlight in this overview and that is the phenomenal growth of socialnetworking sites in particular MySpace, YouTube, FaceBook and Bebo.Alongside these pure networking sites are those which use music as the‘hook’ to attract the consumer to some other aspect of their website such asthe website slicethepie which uses the discovery and finding of unsignedartists and the purchase of contracts in the future success of these artists as acommodity to be traded online. Once again these are examples of how musicis just one aspect of a bigger service. The challenge for the music industrywith these sites is to see how the artists, songwriters and rights owners canbenefit financially from this ‘free’ use of their music.REPRODUCTION AND DISTRIBUTIONThere have been some positive developments in the area or reproduction anddistribution. Record companies have entered into licensing agreements withonline music services, and are trying to establish systems which shouldfacilitate tracking of uses, collection and accounting to the artists. Manyrecord labels are now putting their entire catalogue online with WarnerMusic the latest to announce it is doing this in the US via the Amazon.comwebsite. If record companies can make enough money from these newsources then in theory at least they should be able to continue to invest innew music.Of course, online distribution threatens the bricks and mortar retailers asillustrated by number of artists issuing tracks only as downloads. Gorillaz’release of ‘Feel Good Inc.’ only as an Internet download was one of the firstto get the high street retailers claiming foul as did more recently the releaseof Prince’s new album as a cover mount on the Sunday Mail newspaper, forwhich he was said to have been paid £500,000. This particular marketing‘first’ attracted a great deal of interest. It undoubtedly led to increased salesof the newspaper that week and also helped to market the fact that Princewas about to embark on a record breaking 21 day residency at the new O2venue in East London (housed in the Millennium Dome). You might say thatwas his main aim, not record royalties or chart positions.The retail music stores have suffered, not only because of the difficultiescaused by illegal downloads, but also from enhanced competition on thehigh street and a slowdown in the economy. Some retailers, such as HMV,have experimented with in-store kiosks for burning custom-CDs and othershave sought to improve the retail experience as well as providing musicsubscription and legal downloads through their own branded websites.However, flexibility was not enough for chains like Fopp, which went intoadministration in 2007. Virgin Retail also sold its music stores in 2007,which have been rebranded with the name Zavvi. This sale, together w i t hVirgin effectively selling up its stake in the record label V2, now a labelwithin the Universal Group, means that Richard Branson has ended his longlove affair with the music business, at least for now. Interestingly theretailers association ERA is amongst those clamouring for DRM free musicdownloads as the retailers realise they have to compete with the illegalmusic download sites and adapt their own business practices to survive.In an attempt at winning back some of their lost business the traditionaldistributors of physical product are now expanding their operations toencompass online download distribution, with Pinnacle being the latest to doso. The new Pinnacle contracts include online rights and Pinnacle, like mostdistributors, tries to get these exclusively where it can. If you already havedeals with companies like The Orchard or iTunes then it will not be possibleto do an exclusive deal with your distributor so you will have to negotiatechanges. You may also want to maintain flexibility because if, for example,you do an online only distribution deal exclusively with one distributor andthe tracks are then included on an album that you do an exclusive licencedeal for or which forms the basis of the commitment under an exclusiverecording contract for your band then you are going to be in trouble as youwill have granted away the all important digital rights. So again you have tonegotiate exclusions or compromises.These new distribution deals seem to be taking the same form as fortraditional physical distribution, with the distributor putting the record outthrough aggregators or direct to retailers online, collecting the incomegenerated, and paying the rights owner after deducting its cut. Thepercentage the distributor keeps is open to negotiation and will often start ataround 20%. Do remember that the traditional physical product distributorsare relatively new to the world of online distribution. There may be teethingproblems. You may need to be more ‘hands on’ than you might expect.Make sure the tracks are correctly digitised and that the correct metadata isincluded with the online file to enable the downloads to be tracked andpayment made. If at all possible do a trial run or a ‘soft’ release, where youlet the track out a few days before the official release date or just throughone or two key outlets to test all is well. I had one client who was releasinghis latest track online in early November 2007. He had all his promotionlined up: a live date; some radio and some press ads and articles all directingthe fans to buy the release through certain websites and services. The releasedate came and with it a host of complaints from the fans that they could notget the record or that the download had failed but the company had stilltaken their money. The release was a disaster and the artist had to make up agreat deal of lost goodwill with his fans. The response of the distributor wasa very nonchalant: ‘Oh yes, we sometimes get teething problems but theysort themselves out in time. Complaints from fans help us find what’swrong.’ Well needless to say we were not impressed with this line and theclient will think twice about using that distributor again.STREAMING AND ONLINE BROADCASTINGAbout ten years ago webcasting was seen as the future of pay-per-viewtelevision to enable all fans to access an artist’s live concerts. But thismeans of distribution seems to have run out of steam due largely toproblems of poor reception and instability in the technology: if too manypeople tried to watch at once it often crashed the system. However,streaming of music has been given a new boost by the idea of podcastingmusic i.e. making it available to your iPod or other similar portable musicdevice at a time suitable to you. Radio led the way on this. There is alsodefinitely a move towards you being able to view your favourite televisionprogrammes or listen to a radio show you’ve missed or want to listen toagain at a time of your choice and some television programmes have startedto make highlights programmes available again as a listen again service.Evidence of the fact that this is becoming an established form of broadcast isthe establishment of a Podcasting Association and the granting of blanketlicences for use of some music in podcasts (see the chapter on collectionsocieties). At the moment most of these podcasts are free, so are essentiallyused as marketing tools, but I am sure that soon it will develop into a servicethat will try and generate revenue for the broadcaster concerned.But it is not all doom and gloom as the Internet has opened the way formore specialist or obscure genres of music to find a worldwide market.There was an initial bounce back effect on music sales as consumersdiscovered new artists and went searching for more tracks by the same artistor others in the same genre. This was, of course, the original intention of theP2P services. I know I am back on my soap box again but if the musicindustry had tried to understand these new services and embrace the thinkingbehind them rather than attacking them as a threat then possibly the saleslosses could have been minimised or changes to the record industry structureintroduced sooner. They might also have saved themselves millions ofpounds in legal fees. Instead they drove the problem underground, mademartyrs of schoolgirls and the average Joe consumer and created an ‘us andthem’ feeling with the music industry as the enemy. Bands like ArcticMonkeys might not have had the success they did (or perhaps had it later) ifthey hadn’t fully embraced the positive aspects of the Internet from theoutset.SO HOW HAS THE MUSIC INDUSTRY SOUGHT TOCOPE OR ADAPT TO THESE CHANGES?CONSOLIDATIONThere has been consolidation in the retail and distribution sectors. Many ofthe major record companies have pulled out of distribution with UniversalMusic being the latest to do so in 2005. The majors have struck deals eitherwith other majors or with distribution specialists like PIAS, (formerly Vital)and have centralised their operations in one European country.There has also been consolidation amongst the majors themselves withSony acquiring BMG’s record division and Universal snapping up V2 andSanctuary Group. On the publishing side Universal has merged with BMG.The on-off merger talks between Warner Music and EMI Group seem tohave gone on the back burner since the venture capitalists Terra Firma underGuy Hands took control of EMI Group but no one is betting against itcoming back on to the agenda at some point.COST-CUTTINGThe record and publishing companies have also become leaner. They havetried to offload non-essential personnel through a mixture of voluntary andcompulsory redundancies. Accounting and legal/business affairs functionshave been cut right back, sometimes on the back of supposed greatertransparency in their contracts. They argue that with easier to followaccounts and simplified legal contracts their costs will reduce as will thecontributions they often make to the fees of the lawyers advising artists theywish to sign. But there is only so far you can go and still function.Guy Hands made the newspapers in 2007 with a flurry of stories abouthow he intended to cut back on what he saw as waste in the record companyhe was now overseeing. He announced his intention to sell off a Mayfairproperty worth £6million which had been used infrequently by the companychairman. He challenged the amount of money paid by the major recordlabels to organisations such as RIAA, BPI and IFPI asking if there wasn’t anoverlap in their functions, particularly on piracy issues. On this issue therehas been some movement in a reduction in the subscriptions paid by themajors, but not, they say, as a result of Hands’ intervention. He alsoquestioned the ‘flowers and candles’ budget and the expensive Christmasgifts sent to the artists. All made for good headlines, but it feels to me liketinkering round the edges when the main problem remains how to monetisemusic in the digital age. More serious were his plans announced in January2008 to cut 2,000 staff and reorganise the company to separate the A&R andbusiness functions.The major record labels remain monolithic structures with physicaloffices in all major capitals with big corner offices and highly, some mightsay obscenely, paid executives many of whom are on bonuses linked to shareprice or sales or both. This remuneration system might militate againstpushing the niche artist with low levels of sales, but in reality the majorshave really only been there for the commercial artist for some time. Nicheartists do still occasionally have a place, but it is rare that an artist with lessthan 100,000 sales gets to make a second album for a major record company.The executives are fighting for their very existence and there is probably alot more pain to come before it gets better. They are up against leanoperations in the telecoms business that are financially superior and they canchoose not to work with record companies who decline to work with themand this threatens to leave them isolated and redundant. The new players canoperate at a low level of overhead and from almost anywhere in the world.They can remunerate and motivate their employees differently. They do nothave to carry the enormous overheads associated with physical distributionand can, therefore, in theory, move faster and react more swiftly to change.Their challenge remains how to monetise their activities at a level whichmakes sense for their investors. I think it is fairly certain that advertisingwill play an ever more important role.Of course major labels do still have a role to play, and the CD formatstill constitutes a significant percentage of global legitimate sales of music,but more partnerships and joint ventures are needed. Technology has to bethe driver. The record companies seem to some extent to have abdicatedtheir A&R function to production companies and trusted producers andmanagers, but in so doing their role is changing to just being finders ofradio-friendly commercial hits. Where are the mavericks, the Alan McGee’swho gave Welsh-speaking Super Furry Animals a start and supported KevinRowland in his wish to wear a dress on his album cover? Without risk thereis a danger of stagnation. Yes, you can try and expand your income bysigning all your artists up to the 360 models that we read about in thechapter on record deals, but they only work for so long as the live sectorremains buoyant. If there is a downturn in the economy on the back of thecredit crunch that began in the USA and which Britain started to experienceat the end of 2007, then will people have the money to pay for expensiveconcert tickets, and if they pay for the tickets will they still buy themerchandise when they get there? Come to that unless record companies aredeveloping acts who have a chance of a long-term career in the business andaren’t just one album wonders, where are the stadium-filling live acts of thefuture coming from to sustain these 360 models?LOWER VALUE DEALSSo far, in addition to the cost savings referred to above, and their focus at themoment on the holy grail of the 360 model, the major record companieshave tried to minimise their exposure by signing fewer acts and paying lessfor those they do sign. But despite these good intentions they do still allowthemselves to be carried away by hype and bidding wars and lawyers andmanagers must take some responsibility there too. We are trained to talk updeals and to seek the best deals for our clients and that often means thebiggest financial commitment and therefore playing one party off againstanother. Often these mega signings are done out of a wish by the recordcompanies for a short-term boost to sales to keep the shareholders or theCity investors happy. Sometimes it’s in order to convince the other labelsthat here is a label with money and power so they had better watch out: themetaphorical gauntlet is thrown down to rival labels. I do wonder thoughhow many of these deals are done dispassionately with a clear notion ofexactly how many records would have to be sold to recoup and how realisticthat is.NEW FORMS OF MARKETINGThe record labels are also looking at innovative marketing ideas to drivecustomers to their product as opposed to that of a rival. These include anumber of ‘firsts’ like Universal’s first digital only record signing, followedwithin the year by signing them up for all physical rights too but they got theinitial publicity. Then there were events like the artist Sandi Thom beingsigned to Sony/BMG on the back of webcasts from her basement flat inTooting, South London, or the first download-only number one etc.If I were a gambling woman then my money would not be going intorecord companies; it would be in technology looking at ways of filtering thevast array of information available online and in companies focusing onmarketing to consumers using new technology. One example of attemptswhich are already being made to filter stuff on the Internet is the servicelaunched by MySpace in December 2007 called Earwig. It is an Internetvideo channel. The idea is that it will feature short video clips on selectedartists in which they will talk about themselves, their musical influences andmusic. These videos are meant to be self-produced interviews by the artists.It is aimed at unsigned or newly signed artists. MySpace says it will selectan artist of the week who will feature on the front page of the website. Iknow I’m a cynic but what’s the betting on that space being available tolabels/advertisers for a fee in due course?PIRACYBut enough of the predictions for now – they have a nasty habit of comingback and biting you. Let’s look in more detail at some of these issues. Thebiggest area of concern remains that of piracy. As I have consistently saidthe music industry is probably fighting a lost cause with illegal downloadingwhich is after all an invidious form of piracy. Individuals are now pirates aswell as the large-scale commercial operations. The genie is already out ofthe bottle and isn’t going to go back in. Whilst there remains a hardcore oflaw-abiding members of the public who will pay for music, they are joinedby a younger generation who are used to free availability and exchange ofmusic. Even those who will pay for it are unwilling to pay at the levels theywere in the days of physical only carriers, and they may only be interested inpaying for single tracks rather than ‘bundled’ albums. Making legaldownloads easy to get and of a superior quality to the illegal versions maygo some way to help but not for those who do not care overmuch aboutquality and who just want the latest stuff for free. Educating these peoplemay help a bit, but probably not a great deal, so one way to get them may beto get them to pay for something else that they do value, such as a mobilephone service or a favourite website, and include in the price they pay anelement for the music content on that phone or website.Piracy has in fact always been a problem for the music business with CD,tape and video copying a huge business in the Far East and former easternbloc countries (see Chapter 14). The problem also manifests itself in theleaking of albums via the Internet ahead of their commercial release –albums by artists such as Oasis, Eminem, U2, Beck and PJ Harvey havesuffered from this. It is extremely difficult to track how or where the leakoccurs: it’s not as if someone were smuggling a large tape reel out of thestudio. That said, I do have one artist who is so against his music beingavailable online that all pre-release copies of his works were made availablein cassette tape versions only on the basis that these are more difficult tocopy and put up on the Internet. I suppose with the demise of cassette tapesthis will be replaced with lower grade digital copies, but here I wonder ifthis isn’t in fact damaging the artist if the reviewers listen to an inferiorcopy of the new album and write unflattering reviews as a consequence.There are also examples of almost ‘Mission Impossible’ style scenes wherereviewers are searched before entering dedicated rooms where they listen ona special machine to one numbered copy of the album. The intention beingthat if the reviewer makes an illegal copy it will be tracked back to him. Buteven such measures don’t stop the determined pirate. The long-awaitedColdplay album was available in full on the Internet days before the officiallaunch. This was despite strenuous efforts by their record company, EMI, toprevent this. EMI made the best of a bad job by bringing forward releaseplans. Record companies also try and get the websites offering the albumsshut down but they do not always get the co-operation of the ISPs and wherethey do it may already be too late.SABAM v. ScarletThere are, however, signs that European courts may be prepared to makeISPs responsible for what they carry. The first landmark case to take thisline was brought by Belgian collection society SABAM against Scarlet,formerly a branch of the Italian ISP Tiscali in 2007. A court of firstinstance in Belgium confirmed that an ISP must take responsibility forstopping illegal file-sharing on its network by using file filteringsystems. The ruling is the first of its kind in Europe and, as you mightimagine, was welcomed by the international record industry, which hasbeen pressing for action by ISPs to curb piracy on their networks. Thecase seems to have turned on a determination of which of two pieces ofEuropean legislation should have precedence. The first to beimplemented was the E-Commerce Directive which declared that ISPs asintermediaries were not liable for the content on the websites that theyhost. However, the later Copyright Directive amending the copyrightlaws to cover online uses said that in some circumstances copyrightowners could get court orders against ISPs if websites using theirservices were being used for piracy or infringed the rights of copyrightowners. In practice up to now once an ISP is notified that a particularwebsite contains illegal material it orders the owner of the website toremove the offending material. This was the first case to decide which ofthe two conflicting laws should have precedence. The ISPs are reluctantto accept unrestricted responsibility as they feel that this is shiftingresponsibility for control of piracy to them. However, it is undoubtedlythe case that it is much easier for an ISP to take action against users ofits websites than it is for rights owners to try and track down and takeaction against individual illegal file sharers.The case was decided at the lowest level of the Belgian court system and istherefore likely to be appealed to a higher court. It is also not known at thisstage if it will apply to other ISPs within Belgium or if it might have abroader European dimension. That must be a possibility as these twoconflicting Directives were to be implemented into the laws of all EuropeanUnion countries. Belgium does not follow a strict case-law precedent systemlike we do in the UK so it does not set a binding precedent for similaractions against other ISPs in Belgium. Naturally therefore the telecomscompanies and ISPs in Belgium are playing down its significance. However,the existence of such a judgement must be influential on judges tryingsimilar cases there. They certainly cannot be ignored and it is likely thatSABAM will try and press home its advantage and try and get the other mainBelgian ISPs to come into line without the need for them to bring separatelegal actions.The case also considered various methods of filtering and came down infavour of one particular piece of software called Audible Magic, but the ISPsare doubtful about the effectiveness of this software. The court’s expert saidthat it could identify material on P2P systems which infringed copyright.The ISP was given six months in which to implement the order, with apenalty of !2,500 for every day of delay beyond that date. The ISPs havereservations about the ability of Audible Magic to operate on the necessaryscale. They also say that it should not be forced to pay the bill for protectingthe assets of other private companies. They feel that they will have to passon this cost in some way to their users and that this also indirectly penalisesthose who are entirely law abiding users of their websites. However againthat argument could be used in many areas of life: we pay higher insurancepremiums because of other dangerous drivers or because our homes happento be in areas with a high crime rate.This all feels like the ISPs throwing all their arguments at what isundoubtedly a worrying decision for them.ANTI-PIRACY MEASURES AND DIGITAL RIGHTSMANAGEMENTAs their well-publicised actions against MP3.com and Napster showed,RIAA and the music industry generally took the view that attack was thebetter form of defence. Others, including me, believe that in doing so theyalienated consumers. Headlines highlighting legal actions againstschoolgirls downloading and sharing music with their school friends did thecause no favours. So alongside the legal actions various steps were taken totry and control the making of multiple copies or to track those who did so.There has been a three-pronged approach. Digital rights management i.e.technological protection measures (e.g. encryption), backed up by end-useragreements spelling out the restrictions on use, education, and legislation,such as the EU Copyright Directive prohibiting circumvention of suchprotection measures and devices/making illegal devices, including software,whose primary purpose is to enable or facilitate circumvention. There is,however, a growing sense that these digital rights management systems gobeyond what is necessary to protect copyright owners or indeed are holdingback the development of a legitimate download market. For example, someof the protection measures had the unforeseen side effect of preventinglegitimate owners of CDs from playing the CD on their PCs or making acopy for use in their cars.TECHNOLOGICAL METHODSConsiderable resources were put into anti-piracy devices such aswatermarking and ways to track the copying of music to control it or ensureproper payment. In the 1990s, the Secure Digital Media Initiative (SDMI)was hailed as an industry-backed secure system to control illegal copying. Infact, the creators of the SDMI system offered a reward to anyone who couldcrack it. Predictably, such is the power of the Internet to harness resourcesand minds, some computer programmers did so within 48 hours. Other ideasincluded a system of permanent and temporary ‘passwords’ on computerfiles, which only allow one copy of a file to be made and played on alegitimate player. Making one copy destroys one of the passwords and if youthen try to copy it again, the copy won’t play because the player can onlyfind one of the required two passwords.Considerable resources have also been put into developing systems totrack usage of music and to ensure that the legitimate rights owners get paidfor the use of their work. These content management systems included oneswhere there is a kind of pyramid selling at work where a legitimate user whointroduces a friend to a piece of music which the friend then pays todownload receives points which the first person can use to purchase moremusic downloads.Others were just interested in tracking when a piece of music wasdownloaded and feeding the information back to the rights owner. Effortswere made to make these systems as transparent as possible so that therights owner and the artist or his advisers could get comfortable with thewhole idea that if they grant these rights they will get paid, but there werealso privacy concerns as a result of personal information that is embedded inthese DRM systems and issues such as devices which monitor what a userdoes on his computer. The SonyBMG so-called ‘Root-kit’ fiasco outlined inthe chapter on piracy below may have done much to damage the efforts toget the public to accept these tracking systems.EDUCATIONAs a second string to their bow the BPI launched a series of leaflets aimed ateducating people, particularly the young, to the illegal nature of much of thecopying music off the Internet. There is some evidence that this is helpingpeople to understand that what they are doing is illegal, but less evidencethat it is stopping them doing it anyway. One of the recommendations of theGowers Review, which is considered in more detail below, is that themaking of a copy for your own use should not be illegal – yet at the momentit is. The music industry’s initial reaction was again one of protectionism.The feeling was that if this were allowed it would be the thin end of thewedge. A Government paper on the topic is expected early in 2008.LEGISLATIONNew laws now confirm beyond doubt that the rights of a copyright ownerextend to duplication or broadcast online. In Europe this was confirmed bythe European Copyright Directive, which was implemented into UK law inNovember 2003. After all the fuss that had preceded it the Governmentfinally elected to only do the bare minimum required to incorporate theDirective into UK law. The Government argued that in most cases the UKCopyright Act of 1988 already encompassed online uses. It did make achange to include the somewhat clumsy ‘making available right’ to extendthe right of a copyright owner to control broadcasts of his work to includeonline usage. The Government did not take up the option to extend thenumber of exceptions to what is known as ‘fair-dealing’ i.e. legitimate usesof copyright works for which no permission of the copyright owner isrequired. In the US the equivalent legislation is the Digital MillenniumCopyright Act 1998. Both pieces of legislation were the subject of intenselobbying. ISPs sought, and largely got, protection from liability for illegalmaterial not within their control. In most cases the ISP is only obliged to dosomething once it is brought to their attention but court orders can bebrought against an ISP if it is hosting sites used for illegal file sharing orother pirate activities.Concern was also voiced as to how you treat ‘transient’ copying i.e.technical copies or reproductions made as a side effect of, say, sending anemail from computer to computer around the world. The EU Directive andthe regulations incorporating it into the UK Copyright Act made it clear thattransient copying which had no commercial value was not a ‘reproduction’and therefore not an infringement of copyright.In order to support the efforts of the anti-piracy brigade, the legislationmade it an offence to circumvent, or make available the means tocircumvent, devices intended to protect copyright, but as yet there have beenno reported cases of legal actions under this provision.Finally there were the attempts to bring legislation in granting rightsholders greater control over illegal use of their copyrights. In particular theyare keen to ensure that the ISPs share data with them which will enable themto target Internet pirates more effectively. The ISPs did not come up with avoluntary code by the end of 2007 and a paper is expected from thegovernment to address this and other cultural issues in February 2008.DIGITAL RIGHTS MANAGEMENTThe debate over whether or not to place digital rights managementprotections into music formats rumbled on for most of 2007. Steve Jobs ofApple kicked off the debate in April 2007 by calling for all music to bemade available for licensing for services such as Apple iTunes free of DRM.The major label bosses then lined up for or against the idea. Eric Nicoli, thenchairman of EMI Group, announced in April 2007 that EMI Music would belicensing DRM-free superior quality downloads across its entire digitalrepertoire and Apple’s online music store iTunes would be the first to makeavailable these new downloads. EMI hoped that by providing superiorquality DRM free tracks they would tempt consumers towards legitimatedownloads as opposed to the often inferior quality illegal downloads. Therewas a slight catch in that the audio compression format they use is AAC, notthe more widely available MP3 format which is compatible with mostportable players. Software ‘fixes’ are available to decode the AAC formatfor those whose players don’t support it but this may put off the lesstechnically minded music fans.In contrast, Warner Music initially came out in favour of continued useof DRM. In April 2007 it demanded that the Anywhere CD service fordownloading of albums stopped offering DRM free albums from the WarnerMusic catalogue. In July 2007 Warners tried to get one up on Apple byputting much of its back catalogue online on the Lala.com website for freestreamed previews, but not download, with Lala paying a royalty fee toWarners each time a user listened to a track.The deal with the EMI DRM-free tracks unravelled a little when thetracks went on sale on 30 May 2007 under the iTunes Plus banner and apremium rate of 99p. It was discovered that the tracks downloaded byconsumers contained the name, account information and email address ofthe person who bought the download. This in itself was not new. Apparentlysuch information can be found on all tracks purchased from iTunes. Did youknow that? I didn’t although I imagine it is contained in the terms andconditions of the website. The objection was that if this was genuinelyintended as a DRM-free download then this information should not bepresent as it enabled Apple to track the subsequent use of that musicdownload. The privacy lobby was also concerned. What else may beembedded in these files and if it were that easily uncovered how mightunscrupulous users make use of the information?Universal Music seems to be playing a waiting game. It hasexperimented with DRM-free trials and has deals with companies likeAmazon and has not as yet committed full scale to iTunes.In November 2007 the retailers association ERA announced it would belobbying the record industry to press for the abolition of DRM in downloadreleases and for the use of the MP3 compression format as the universalstandard, thereby simplifying the whole process for the consumer buyinglegal downloads.Finally, on 27 December 2007 Warners announced that it had dropped itsopposition to making available music without DRM systems in place. Itconfirmed that its entire catalogue was going to be made available DRM-free in the United States off the download website of Amazon.com. It seemsthat Warners had bowed to the pressure in order to keep pace with itscompetitors. In contrast to the less common AAC format used by EMI andiTunes, Warners’ catalogue will be available through Amazon in the morepopular MP3 format. Although at the moment these arrangements apply onlyto the United States, it is expected that they will extend internationally soon.The Times reported on 28 December that Warners was also in talks withApple to release DRM-free tracks via iTunes. SonyBMG now remains theonly major decidedly in favour of DRM.It is too early to tell if the move to DRM-free music downloads will helpto stem the drop in album sales and record company revenues. It does seemas though the battleground has moved from DRM to persuading the ISPs totake more responsibility although that particular debate has, I fear, a longway to run as the ISPs will not give up their non-liable state as anintermediary without a fight.GOWERS REVIEWThe Andrew Gowers Review of Intellectual Property was published on 6December 2006. It contained little that was of comfort to the music industry,which had lobbied hard in particular for an extension in the duration of thesound recording copyright and performers’ rights beyond fifty years.Performers were looking for parity with songwriters with a copyrightprotection period of their lives plus seventy years. The recording industrywas looking for parity with the period of copyright protection in othercountries, in particular the United States at 95 years. Gowers recommendedthat the period stay as it is, asserting that it represented a fair balancebetween the right to protection of the intellectual property and the benefitsof having work come into the public domain after a period of time. Heremained unmoved by the fact that recordings by well-known artists such asSir Cliff Richard were coming out of copyright. In January 2008 re-issueslabel Delta Leisure will follow on from its re-releases of 1954, 1955 and1956 hits with a compilation of 1957 hits including Paul Anka’s ‘Diana’ andAndy Williams’ ‘Butterfly’.Despite a brief glimmer of hope when the House of Common’s SelectCommittee for Culture, Media and Sport urged the Government to lobby foran extension across the European Union the Government has acceptedGowers’ recommendation that the status quo be maintained.Other only slightly less controversial recommendations included one thatthere be a limited ‘format-shifting’ private copying right without any levysuch as the oft touted ‘blank tape’ levy on the hardware used. Contrary towhat many people think, it is illegal to copy a CD to your iPod, even whenyou own the CD in question. The Government accepted the recommendationthat this was confusing and should be rectified. The music industry view thisas the thin end of the wedge arguing that if making one copy for a differentformat is legal it will suggest copying for one’s mates is also allright.The other issue which I have already mentioned and which arises out ofthis Review is the extent to which the Government will use the law toenforce greater co-operation from ISPs. I await with interest the proposalsfor this expected in 2008.NEW BUSINESS MODELSBut I don’t want to suggest that the music industry is doing nothing in thisarea. As new means of delivery of music have begun to establish themselves,so record companies are moving with new business models for payment toartists for these new uses.It has been difficult to find business models that work financially forboth the consumer and the copyright owner. Models that were trialled butwhich did not survive include micro-billing, where download costs are addedto your phone bill. Per-download, pay-per-listen charges, and subscriptionsystems, where a regular payment secures delivery of music to thesubscriber online seem to be the ones that are emerging as workable models.HOW IS THE CONSUMER CHARGED?Track downloadsFirst there is the sale of single track downloads such as the system adoptedby iTunes, sometimes with a refinement that the customer can buy the rightto listen to a piece of music for a limited period of time before he has to buyit in order to keep it permanently. With these systems the customer ‘owns’the tracks downloaded and pays about 79p per track or 99p for the premiumversion. The tracks paid for are then transferable to portable devices and canbe burned to disk. 7Digital, an online store which offers to provide shop-fronts for smaller labels, as well as the facility for a label or artist to createits own online store using the 7Digital back room services and its deals withonline retailers, also offers tracks at 79p a download. Neither iTunes nor7Digital offers a subscription service.Napster offers 79p downloads but also has a subscription service (seebelow).MP3.com has a limited selection of music but offers it free for downloadand streaming.3 Mobile offers a per-track download rate of £1.29 and T-Mobile one at£1.00 per download. Neither offers a subscription service.Subscription servicesThen there is the subscription model. Subscription services (e.g. Napster)allow subscribers access to all the music they want for a monthly fee,sometimes with an option to purchase selected tracks (from 79p per track).Napster’s service has what it calls ‘tethered downloads’ where the track istransferable to portable players for as long as the consumer remains asubscriber. Once the subscription ends the music is no longer available. Willsuch a service appeal to the long-term collector? The Napster subscriptionrate is £9.95 per month to listen to music on a computer; £14.95 per monthfor Napster To Go membership which allows you to download unlimitedmusic to an MP3 player.Emusic offers a Basic package of £8.99 per month for up to 30downloads i.e 30p per song; the Plus package at £11.99 a month allows up to50 downloads i.e 24p per song and the Premium package at £14,99 permonth allows up to 75 downloads i.e. only 20p per song. It is difficult to seehow at these low levels a viable percentage can be paid back to the rightsowners after all other participants have taken their cut. However, if the takeup were high enough that would help to compensate for the low per trackaverage.Vodafone says it has 1.2 million tracks available and charges £1.99 perweek through its MusicStation service.But the jury is still out on the viability of subscription services. BothHMV and Virgin Retail (as it was known) withdrew their subscription dealsin 2007. Napster scaled back its offering and Yahoo and Real decidedagainst launching them in the UK. This may in part have been to do withdifficulties in blanket licensing of music as the Copyright Tribunal case wasstill ongoing in the first part of 2007. Now that that is settled we may seemore services venturing into the subscription market. The fact remainsthough that there is a long way to go in educating music fans to take up thesesubscription services and the price level has to be right. The £1.99 a weekthat Vodafone is looking for may prove too rich for the average music fan.In the US subscription models have been around for longer and the model isstronger but it is still in its early days here. It is perhaps significant that thefar out market leader Apple with its iTunes service has not embraced thesubscription model and none of the subscription model services currently inthe market work with Apple technology.If the pundits are correct that the consumer will pay for access to aservice which includes music amongst other content, then the subscriptionmodel may be the way forward, but there will be a challenge in getting thepercentage share for the music companies and publishers right.PAYING THE ARTISTOn the other side of the coin the debate continues as to how the copyrightowner – usually the record company – will account to the artist for these newtypes of usage.Net receiptsWhen online revenue first became a reality the royalties were generallytreated as similar to a flat fee per use charge that you might get fromlicensing a piece of music for a one-off use e.g. on a compilation. The shareof receipts from online was also generally the same as for flat fee uses ataround 50%. This way of calculating shares of income still tends to applywith income that is linked to subscriptions but I have yet to see anyonereceive a full and complete royalty accounting from such uses and I wouldlove to see someone carry out an audit as I fear that only a fraction of thisincome may be being picked up.Royalty basisThis was the model used in the early days of downloads, before the recordlabels began to realise that they should think again about how they accountto their artist if they weren’t going to end up paying out more than theywanted to to their artists. In other words, greed kicked in and the modelshifted to a royalty basis. The royalty rate was about the same as applied to aphysical CD sale and the price was that which the record label received fromthe online etailers or aggregators or from the mobile phone companies. Thismethod of calculating shares of income works for downloads or per usepayments but is not so effective for subscription revenue.DeductionsThen the record labels went a little further and decided that if they weregoing to apply the royalty method then why not calculate the royalties withsome of the same sorts of reductions that apply to physical sales, such as apackaging deduction. Don’t be ridiculous I here you say. How can therepossibly be a packaging deduction when there is no packaging in an onlinedownload? You are right, but try telling the record companies that. Ofcourse, it’s called something different like ‘back end fulfilment charges’ i.e.the cost of setting up an online payment system by credit card, or an‘administration’ charge, but curiously the percentage charged was almostalways the same as that which they used to deduct for packaging on aphysical CD sale.TERRITORIAL ISSUESI have a feeling that another battleground will be territorial restrictions. Atthe moment there are deals in place between Apple and individual recordcompanies restricting consumers to only buying music from the iTunesonline store in their country of residence. In this way prices can differ fromone country to the next. The first chink in this armour came in April 2007when the European Commission issued a Statement of Objections that sucharrangements violated a section of the EU treaty on the free movement ofgoods. It looks like more pressure will follow on the heels of the launch ofthe iPhone in November 2007. Apple has struck exclusive deals with onemobile phone operator in each country restricting access to the phone byusers of other networks. The German courts initially granted Vodafone atemporary injunction forcing T-Mobile to sell iPhones that were not tied to asingle network, despite Apple’s exclusive deal with T-Mobile. However, thetemporary injunction was subsequently overturned and the exclusivearrangements were reinstated.Vodafone objected to the exclusivity agreement and said customersshould be able to choose between networks. Apple has similar licensingagreements with O2 in the UK and AT&T in the US. In the two weeks sincethe temporary injunction was granted, the BBC reported that T-Mobile hadcomplied with the injunction and sold the handsets without a networkcontract for 999 euros (£719). Although strictly complying that price was ahefty premium to the 399 euro cost for a phone with a two year T-Mobilecontract. In response to complaints from customers, T-Mobile has nowpromised that at the end of the two year contracts it will unlock the phonesat no charge. However, as always with the Internet and technology, wherethere is a will there is a way and despite the best efforts of Apple and thephone companies to tie consumers to one provider, programmes have beencirculating online that allow users to unlock their iPhone so that it can beused on any network. In an attempt to dissuade people from using theseprogrammes Apple has warned that their use could render the phones‘permanently inoperable’ when it releases software updatesThis issue is unlikely to go away as in the US alone Apple still faces twolawsuits from people alleging that preventing users unlocking their iPhonesis an unreasonable restriction of consumer choice. It would also seem topotentially fall foul of European legislation encouraging free movement ofgoods but that would have to be balanced against the rights of individuals tomake contracts on commercial terms which are acceptable to them.PHYSICAL CDSWith the proliferation of online download services there is a parallel debateon how to prolong the appeal of physical CDs. The Enhanced CD format wasseen by some to be the answer as well as special edition releases, value-added content where extra or bonus tracks are added and fancier packagingor artwork. All major artists now tend to film additional material, whetherthat be a live concert or backstage interviews to be synchronised with audiomaterial to make a new package. This may be broadcast on television or soldas a package with a DVD being sold bundled together with the audio CD. Butthe hoped for boost of DVD sales was not sustained. After an initial burst,DVD sales are again falling away as consumers view more material onlineon their PCs or portable DVD players and new format mobile phones. At theend of December 2007, Apple seemed to be close to a deal with News Corpto offer Fox films through iTunes. At the moment the only films availableon the service are from the Disney Company, but if Fox comes on board thatmight help to open the doors to other film companies.There remains a feeling in the industry that if you have a good product itwill sell and it will sell in physical CD format. The 3 million CD sales ofThe Eagles’ new album in 2007 is often cited as an example. However,whilst I would agree that good music should always find its market, there isI think a case here of physical CDs appealing still to certain sectors of themarket. We know that CD singles by pop artists buck the trend and sell alarger percentage in CD form than the usual download sales. It may well alsobe the case that the fans who are likely to buy The Eagles product somethirty years after they last released an album are likely to be of an older agegroup more comfortable with the CD format than with the online versions.MOBILES AND MOBILE MUSIC PLAYERSAlongside the online download, the other major new carrier format has beenthe mobile phone. The consumption of music on mobile phones has evolvedfrom ringtones to full audio recordings in ringtones, ring-back tunes, full-track downloads and other media applications. There is still a big issue overhow to ensure that everyone gets a fair slice of the cake. The basic issue withthe ringtone model is that there are too many people sharing in that cake.Out of a £3.00 download, after the tax man has taken his share a largeproportion goes to the mobile phone service provider who gets to charge forthe time the call takes to download the material plus a bit extra for thecrucial element they provide to the story: without them the whole thingdoesn’t work. Then there is the middleman aggregator: usually a companythat does the deals with the individual rights owners employs the technologythat allows the conversion into a form that can be downloaded andadministers the collection and payment of the proceeds. These people takethe lion’s share. Then there are the rights owners: the publishers who own orcontrol the song and in the case of real audio ringtones where the soundrecording is also copied, the owners of the sound recording. Out of theamounts that these companies receive the songwriter and artist/performerget their share. That share is usually based on the net receipts that thepublisher or record company receives depending on the contract with theartists. In some cases this is a 50:50 split and in the case of the songwritersthe share could be even higher, but it still remains that out of every £3.00download the songwriter may receive less than 30p. Then there are the issuesof ensuring proper payment. The whole question of how e-commerce is to betaxed is also fraught with difficulties, which are, thankfully, outside thescope of this book. If you intend to venture into online distribution youshould take specialist tax advice.The challenge for lawyers is to see how we can ensure a fair balancebetween what the record company or the website company gets to keep andhow much is paid through to the artist.New developments include not only the much promoted iPhone but alsoservices such as Vodafone’s MusicStation subscription service whereby themobile phone owner gets unlimited music for £1.99 per week. All the majorrecord labels and many independents signed up to this service from theoutset. Nokia also has a music download store. More profile raising for thesemobile services is likely to come with the promise to include music playedvia the Napster and MusicStation services towards chart placings once theOfficial Chart Company has resolved the tracking issues. Vodafone claims itis aiming at 10 million subscribers by the end of 2008.MOVE AWAY FROM ALBUMSAre we seeing a potential switch away from traditional albums? The CD wasliberating in that it permitted over sixty minutes’ worth of material far morethan the traditional vinyl or tape formats. This was hard on artists who hadto maintain consistent quality across twelve or more tracks but not fillingthe CD felt like the consumer was being short-changed.Radio and TV and highlights on MySpace-type pages emphasiseindividual tracks. Traditionally this was as a precursor to persuading you tobuy the album but now a consumer is just as likely to be a single trackdownload as he is a bundled album. There is no sign at the moment that thetraditional album-based model is being abandoned and certainly allexclusive artist contracts still function round the album model, but lateralthinking may see the rise of commitments based on numbers of individualtracks.Single sales have risen to their highest yearly level since records begangrowing by nearly 40% in 2005/6 according to the BPI. Ninety per cent of allsingle sales are downloads (Source: Music Week article by Ben Larder10/11/07). However, pop artists like Leona Lewis, McFly and Take Thatcontinue to score significantly higher on physical CD sales at around 40–50%. In contrast sales of physical album CDs in October 2007 were down22% on the same month in 2006. But this may have been a particularly badmonth as by 17 December 2007, Music Week was reporting that sales ofalbums had bounced back to reach a new high for 2007 but it was still over amillion sales down over the same period in 2006 so the trend is still down.We should also bear in mind that although single sales may have increasedin volume by 40% that does not mean that the income generated hasincreased by the same percentage. The average download price is around79p, not the £1.99 plus the consumer may have paid for a physical CDsingle.SOCIAL NETWORKING SITESOne of the interesting effects of the growing influence on the music industryof the Internet is the extent to which the consumer is starting to drive thesort of music he wishes to listen to and purchase. Recommendations fromonline ‘friends’ are as influential as hearing a track on the radio. One of theside effects of this is that the majority of single tracks downloaded off theInternet are not, according to a Music Week survey, current releases but backcatalogue both recent and decades old. Interest in old tracks can be boostedby an appearance in a Hollywood film or on an influential television showlike Gray’ s Anatomy or Ugly Betty. The latest in the series of back to thefuture television series Life on Mars should see a similar rise in interest in80s music to that which the original series generated in the music of the 70s.The phenomenon of the social networking site is a key part of this spreadof knowledge of obscure or old releases as well as music by unsigned or newartists.Market analysts Jupiter Research reports that 40% of users of MySpaceand Facebook go on to buy music from artists they discover on these sites.This is a sitting target in marketing terms and so it should come as nosurprise that the big boys are investing in these sites as a potentially hugesource of advertising revenue.It is a measure of the popularity of these sites that as part of thecampaign surrounding the release of her album X, Kylie Minogue’s recordlabel, Parlophone, part of the EMI Group, announced she was setting up herown social networking site.Slightly more controversially, Facebook’s owners announced the launchof an advertising model which would enable advertisers to precisely target aparticular audience. This is not new, of course – loyalty card schemes suchas the Tesco Clubcard have for many years analysed the customers’purchases with the card in order to target special offers at them. Why it isslightly different is that it would appear to use information supplied by usersof the sites when they register. On sites like Facebook that can be verypersonal data indeed. So questions are being asked as to whether Facebookhas the right to use this information in this way under privacy and dataprotection legislation.On the positive side these sites do act as a new launch pad for artists andas an A&R resource for record label execs. It is invariably the case now thatA&R people want you to direct them to a MySpace page as opposed tosending them a CD of a new artist. The problem I come back to is that thesheer popularity of these sites means that it is increasingly difficult to findnew music and to sort the good from the bad. Some might argue that havinga method to target you with the music you like may not be a bad thing evenif it did bring with it some annoying banner ads.Of course, the next logical step for a site like MySpace would be tofacilitate the purchase of music direct from the website when you areviewing an artist’s profile online. At the moment it is only possible if youlink through to another site like iTunes. This seems to be missing a trick andwill, I am sure, be rectified soon. Much smaller site, Bebo, with only 34million users compared to MySpace’s 200 million users and rising, hasstruck a deal with iTunes to do just that. It also introduced the prospect of anartist or label customising their own page with advertising of their choice.Somewhat surprisingly it does not seem to be taking any share of theadvertising revenue. Will that last though, and if so how else is it going tomake money?Advertising revenue is the Holy Grail for most of these sites. In October2007, Microsoft invested $240 million in Facebook. This sum was said torepresent a 1.6% stake in the company which therefore values it at $15billion. But as yet the company has not broken even and its predictedrevenues for 2007 are put at only $150million. So Microsoft and otherpotential purchasers like Yahoo are clearly betting on an upswing inadvertising revenue. Microsoft wishes to become a major player in webadvertising to challenge the dominance of Google. Facebook has 50 millionplus active users worldwide according to Elizabeth Judge writing in TheTimes on 26 October 2007. Part of the deal is that Microsoft becomes theexclusive third party advertiser for the site. Once again suspicions have beenvoiced that Microsoft will get access to the personal data of the Facebookusers as another part of this deal. Facebook’s owners need to take care asthere are many who might be turned off by a closer association withMicrosoft.A slightly different variation on this theme is the networking siteslicethepie, launched in the first half of 2007. It is aimed at unsigned acts,whether new acts or more established ones without a current deal. The ideais that artists enter genre specific competitions online to generate sufficientvotes for them and their music to win a guaranteed £15,000 to use to makeand promote their own album. These who don’t win can still generateenough offers of support to raise the magic £15,000. The fans or users of thesite can speculate on the success of the bands by buying and selling contractsin their chosen artists. It has been described as a ‘stock exchange forunsigned acts’ by Dan Sabbagh in The Times on 17 October 2007. The fanswho have invested in bands get special access to the bands and the right to afree download copy of the album when it is finished.It’s meant as a source of funding albums without a traditional label andas a talent source for other labels. The artists have no exclusive tie-in to thewebsite, own the copyright in what they create but pay a distribution fee of£2 per album back to slicethepie. If an artist goes on to be signed by a biggerlabel the label has the option to buy out the distribution contract. Extrashares contracts are awarded to those who engage in reviewing artists on thesite.COPYRIGHT INFRINGEMENTSBut not all is sweetness and light in the world of social networking. Onseveral occasions music and video rights owners have cried foul withallegations of unlawful use of copyrights on these sites. YouTube andMySpace have faced several lawsuits from aggrieved copyright owners.YouTube is owned by Google who paid £837million for it in October2006. As you probably know YouTube’s USP is allowing users to upload anddownload content produced by the user – usually funny videos or still photosand occasionally disturbing images of the ‘happy slapping’ kind frommobile phones. There have also been examples of online bullying of bothpupils and teachers. Not of course to suggest that YouTube condones this butit is all part of the debate over how much control ISPs have or shouldexercise over the content on their sites.At the time that it was in talks with Google, YouTube faced a massivelawsuit from Universal Music which alleged the site engaged in copyrightinfringement on a large scale by making Universal Music videos and musicavailable on the site without the consent of the copyright owners.The lawsuit did not materialise at that time because for once the majorrecord labels decided not to spend their money on legal cases as they did inthe early days of P2P services with Napster, but instead to cut licence dealswith the site allowing their videos to be shown.There are of course potentially huge marketing advantages for the labelsand artists – particularly if they can engineer a viral marketing hype on anartist’s video. But its acquisition by Google meant it was also potentiallyworthwhile taking legal action against if infringements continued.Universal began a legal action against MySpace in 2006 claiming largescale piracy of music and videos on the site, seeking damages of $9million.MySpace, perhaps predictably, argued that they were merely the conduit forthe users of the site and did not induce, encourage or condone copyrightviolation. Universal’s response was that music and video formed the keybuilding blocks of the online pages and communities of users and, therefore,added considerably to the value of the MySpace business overall. MySpacesays it does remove illegal downloads but it seems to do so only after theinfringement has been brought to its attention. It does not act proactively tomonitor content which is consistent with the line that ISPs are not liable forcontent. They also point to their users agreements which protect users fromposting offensive, obscene, abusive, defamatory or otherwise illegalmaterials but again their response is reactive not proactive and criticsremain unconvinced as to how effective these agreements are. Many userswho click on the relevant box to accept the terms have little or no knowledgeof what they are agreeing to and may not be worth suing even if they aretracked down.MySpace does appear to be willing to use filtering software to checkuploaded music against a database of copyright materials and block any thatdo not have the necessary content to avoid setting any kind of precedent.YouTube also seems to favour the take down after notice approach whichplaces the onus on the rights holders to monitor the site and notify them ofany infringements. Copyright owners argue that the search and privacyfacilities of the site make it difficult if not impossible to track down allillegal uses and that it is a simple matter for a user to repost offendingmaterial under a different ‘tag’. YouTube has taken some steps to legitimisethe use of copyright materials on its site as witnessed by a blanket licensingagreement it has reached with the MCPS-PRS Alliance of collectionsocieties. The deal relates to the use of material represented by thesesocieties in the UK. The details of the licence deal have not been revealedother than that it includes a one-stop synchronisation and mechanical licenceand that it requires YouTube to report every time a video or music is used orplayed. There is a sum of money paid by YouTube to the Alliance but theyhave not revealed how much and the Alliance has played down the sumslikely to be generated for individual rights owners. There must, however, bemerit in the information gathered and the precedent of the one-stop shop is agood one.Individuals and big corporations such as Viacom have continued to snipeaway at YouTube throughout 2007 alleging varying degrees of copyrightinfringements. Cases were brought by the football Premier League alleginginfringement of copyright. Viacom alleges 100,000 illegal videos were onthe site and claims $1billion plus in damages. Opponents of YouTube allegethat its business plan from the outset was to build its business on the back ofmassive copyright infringement. The YouTube business model depends onadvertising revenue and the popularity of its pages generating users who aredrawn to the pages by attractive content. YouTube features banner ads onvideo clips and on a featured video of the day. The argument goes that thesesites cannot be interested in clearing out the unlawful videos as it is thepresence of this material which makes the site attractive to both users andadvertisers. In an attempt to address the argument that the law says the USPis not liable where it is acting purely as a host for content, the PremierLeague litigation alleges that YouTube made and shared unauthorised copieson its servers for further dissemination and was not therefore just a passivehost. That this was more than pure transient copying which is permitted bythe copyright directive. It is clear to me that we need a high level courtdecision on the alleged conflicts between the E-Commerce Directive and theCopyright Directive. It is possible that one of these cases or even the morerecent one of SABAM v. Scarlet that we referred to above will prove that testcase.Google announced in June 2007 that it would test new ‘fingerprinting’technology to help trace illegal content by indentifying unique attributeswhich, if missing, would tend to suggest the copy was illegal. But somecommentators see this not as Google taking responsibility for content butrather using it as an after the event technology to make it easier to take downcontent after an infringement has been notified by identifying otherexamples of illegal content of the same kind. The debate continues.MARKETING ONLINEOFFICIAL WEBSITESThe Internet has proved to be an excellent means of marketing the ‘brand’.Brands that are Internet-savvy can link their online marketing efforts withthose of their record company and their own efforts in terms of live work.We’ve seen artists successfully sell out a concert in minutes when tickets areoffered for sale on their website and some are saying that they will stopusing ticket agents and make all their tickets available in that way therebycutting out the fees to the middleman. By selling tickets online the artist orhis advisers also have the opportunity, with the right permissions, to create adatabase of committed fans keen to learn more about what the artist hasplanned. This gives the artist a ready-made mailing list and, in some cases,new customers for the inner sanctum on his website where selectedinformation and exclusive tracks or visuals are made available for a smallfee. Many artists now use websites to communicate directly with their fansin the form of online diaries or ‘blogs’, but of course there is then always theissue of ensuring that the website is regularly updated. Many exclusive artistcontracts now insist that the artist commits to writing a blog or giving‘copy’ regularly to a staff writer at the record company to write one up forthem. Others require the artists to record snippets for sale as mobile phoneringtones and to take part in online chats with fans.A couple of years ago we were very concerned to ensure that artistsretained ownership of their domain names and official websites. Most recordcompanies now don’t insist on ownership of all variations of the artist’sdomain name and, even where they do, they provide links to the artists orfan-club sites. Most will now agree that their ownership and control onlylasts during the term of the record deal and will make arrangements fortransfer of names at the end of the deal. In some cases they only requireownership of one domain name with the artist’s name in it, for example a.net or .org domain name, and are happy for the artist to retain all the othernames. There is then usually a requirement for the artist to provide linksfrom his website to that domain name which is used for the ‘official’ recordcompany website page for that artist. There are however still some recordlabels who would like to control all aspects of the artist’s online presence.Sometimes I have artists as clients who really aren’t bothered about this andwho are unlikely to ever do a good website themselves so in these cases Iusually do not resist the record company having these rights exclusivelyduring the term of the contract. But at the end of the contract the rightsshould transfer to the artist.Record companies have in some, but not all, cases shown that they havethe resources and skills to create interesting, even dynamic websites. Mostof the major record labels now focus heavily on the artist website as a meansof cross-selling their product – CDs, DVDs – with whatever other activitiesthat the artist may be doing – such as gigs or personal appearances. Recordcompanies who are insisting on 360 models are keen to ensure they controlthe websites so that any revenues generated online e.g. from ticket sales orsales of T-shirts also come to them. As with all things that make up anartist’s brand, the artist should have creative control of the ‘look and feel’ ofany website dedicated to them and maybe also of the designers/artworkproviders or other creative elements.A well-linked campaign can be very effective. If all promotionalmaterial contains a website address and that website is vibrant andinformative, you create a receptive audience for the marketing material youwant to get to potential consumers.WEBSITE DESIGN RIGHTS AND COPYRIGHTIf an artist does create his own website he may decide to employ someone todesign it. The website is likely to be made up of many different elements, allof which could be the subject of copyright or other legal protection.The website will have words that, if original, could be a literary workwith its own literary copyright. The website will no doubt have visualimages or graphics. These could be still photographs, moving images orfilm. Each of these could have its own copyright. It will be made up of anumber of computer programs which are also protected by copyright. Thedesigner will have copyright in the original design drawings; he may alsohave a design right.When commissioning someone else to design a website, the artist has tomake sure that all rights have been cleared for use in the website design, sothat he has all the rights he needs to do what he wants with the website. Youalso need to find out whether these rights have been ‘bought-out’ for a one-off payment or if there is an ongoing obligation to pay for the use. It’spossible that in order to use the music or a sound recording you’ll have topay a royalty or further fee.If the person commissioned to design the website is your employee thenyou’ll own the copyright in their original work, but the other rights may stillhave to be cleared.If you ask someone who isn’t employed by you to design the website,you must make sure that you take an assignment from them of all rights inthe work they have done. You could make this a condition of thecommission fee, or it could be the subject of a separate fee, or occasionally aroyalty. The designer may grant the right to use the work only on the websiteand not, for example, to print design elements from the website and sellthem separately as posters or otherwise as part of a merchandising campaign(see Chapter 8 on branding). These additional uses could be the subject of aseparate fee.Assignments of copyright should be confirmed in writing. A writtenagreement also establishes what rights you have and on what terms. It shouldcontain a confirmation from the designer that he has all the necessary rightsfrom third parties for the use of any or all elements of the design.HOSTING AGREEMENTOnce you have the website, you need to find a way to make it available toothers via the Internet. You could become your own ISP, set yourself up withthe necessary Internet capacity to launch your own site and provide thatservice to others. This isn’t, however, the way that most artists get theirwebsite on the Internet. More usually, they arrange to have the website site‘hosted’ by another ISP or possibly by their record company. Anyone goingdown this route should have an agreement with the host ISP setting out thekind of service that will be provided and at what cost. These agreements arecalled ‘hosting’ agreements.If you’re trying to establish yourself as having a website to which yourfans and potential customers return over and over again, you need to knowthat the host will supply a reliable service. Reliability is improving but weall know of websites where the hardware on the server ‘goes down’ on aregular basis. These sites get a reputation as being unreliable and people areless likely to go back to them. Fans, or potential fans, won’t bother to go to awebsite that’s never available or which is difficult to use. The first is thefault of the server, the second that of the designer – both are your problem.The hosting agreement should insist that the server will be functioningproperly for at least 97–98% of the time. It should provide compensation ifthe server is ‘down’ for more than an agreed percentage of the time or formore than a maximum agreed number of hours a day.If the website is to be used to sell merchandise online, you’ll need toknow that any credit card payment facility is 100% secure. The ISP shouldguarantee this in the hosting agreement.The ISP should also be able to supply a reasonable amount of ‘backoffice’ support. These are the support staff that are there to process orders,keep the databases up to date and provide technical support. These are alsosometimes referred to as the ‘fulfilment centres’.The ISP should agree in the hosting agreement to provide regular,detailed information on the number of ‘hits’, i.e. visits that are being madeto the website. This is the information you need to establish who your fansare and who’s likely to want to buy records, merchandise, concert tickets andso on.The website becomes your one-stop shop window on the world. Itsdesign and reliability will say a lot about you. A good website will enableyou to target your likely market with greater precision.If you are considering selling records off your website then you will needto have secure payments systems in place and some form of online ‘store’ orpage dedicated to sales. There are companies like 7Digital who will eithercustom design an online store for you or will provide a ‘skin’ or a seamlesslink between your website and a page on the 7Digital website off which theywill sell your records. If you use services like this then don’t forget yourcontract for what they will supply and a hosting agreement specifying thereliability of the service. It is absolutely no good having an online shop if itis never ‘open’.DATA PROTECTIONIf you’re putting together data on people electronically, you have to registerwith the Information Commissioner (details are in Useful Addresses). Youcan’t do what you want with the data you collect. You have to get permissionto use it for a purpose other than that for which it was collected. You’ll haveseen this in magazine adverts or on websites for a particular product. If yousend off for that product or for details about it you’ll invariably be asked toregister and to fill in a form with your details. The product owner may wantto try to sell you other products that he has in his range, or to sell his list ofcustomers and their product preferences to another company. He can’t dothis without your permission. There is often a box on the form that you haveto tick if you don’t want your information to be used in this way. This‘negative’ consent technique is lawful, and is being adapted for online use,although the Information Commissioner is in favour of you having to tick abox if you do want more information rather than the other way around.You’ll often find a box that has to be checked or unchecked to block yourinformation being used in other ways. If you’re compiling a database andyou don’t comply with the rules on passing on information you can befined.1If, however, these data protection hurdles are overcome, a database ofconsumer profiles and information is a valuable asset. If you own yourdomain name then, subject to anything to the contrary in the hostingagreement, you’ll own the data collected in relation to that website.MARKETINGOne of the big challenges of marketing online is to make sure that fans cometo a particular website and, once they have found it, come back to it over andover again. Phrases are bandied about as to how you get more ‘eyeballs’(visitors) and whether the website is ‘sticky’. The design of the website is, ofcourse, crucial. It should be eye-catching and user-friendly. The text used init should be designed so that it features prominently in the first twentywebsites that come up when key phrases are used to search for informationusing one of the search engines like Google, Yahoo or MSN. This is an artform in itself and specialist web designers should be used.The website should be regularly updated. The ISP host should be able toprovide regular access to a webmaster who can help to put the latest newsonline.The website should be easy to view. The key information should beavailable without having to go through several ‘click through’ layers. Itshould all be on the home page – the first page a visitor to the website sees.The website should be different – it should have something that willraise it above the general ‘noise’ online. It’s all very well if you’re DavidBowie or Prince making your records available online. Just by saying you’redoing it, your name (or brand) is well known enough to guarantee you pressinterest. If you’re Joe Bloggs trying to get noticed, you have to be moreinnovative.RISING ABOVE THE NOISEOne of the biggest challenges in the online world is how you make potentialfans and purchasers of your music know that you exist. Of course, to someextent this is just an extension of traditional marketing which you shouldalso not ignore. Getting an A, B or even C listing on Radio 1 or 2 is stillessential for an artist looking for a commercial hit through single salesdriving album sales. Adverts, press interviews, personal appearances are allstill relevant, but it is now also necessary to consider your online fans andtarget them as part of your campaign. We looked at your website above andthat is an essential element of your online presence, but you must also nowthink about your pages on the social networking sites like MySpace,Facebook and Bebo. Just like you have to concern yourself about who ownsyour domain names you also have to consider who owns the name you areregistered under on these networking websites. These web pages have to beregularly updated. Someone has to monitor the sites; accept ‘friends’ whereappropriate; update the music available; decide if you are going to maketracks available for download or just streaming and keep your blog and giglist up to date. Will that be the artist or someone else? If it is to be someoneat the record company make sure they have the necessary ‘copy’ to do theirjob, otherwise they will be tempted to make things up or might present youin an inappropriate way.When MySpace first started it was a secret known only to a few and itwas exciting to customise your own website and share it with friends. Nowanyone who is anyone has a MySpace page. It remains the site of choice forthose looking for music but almost everyone on there is an unsigned artist orhas just released his or her latest single or album. You have to think abouthow you raise yourself above the noise.There has of course been a spate of firsts: the first artist to make numberone without a record deal; the first download only number one single oralbum. Then there were new stories such as the artist who sold a limitededition of his album at £100 a go. He didn’t sell that many but he gotpublicity he might not otherwise get. The band The Crimea gave awaydownload copies of their second album Secrets of the Witching Hour. Theytold the Guardian that they had done this in the hope that it would help buildtheir fan base and therefore increase their income from live work,merchandising sales and music publishing royalties.There has also been some good lateral thinking. The classical cross-overartist Katherine Jenkins’ new studio album Rejoice was promoted by shortvideos shown in over 1,000 UK doctors’ surgeries three times per hour,aimed at the older consumer who is a captive audience whilst waiting theirturn for their flu jab or whatever. To cover all bases, the album was alsoadvertised online and was backed by an online single release and some high-profile TV performances.Believe it or not, wherever there is a new service very soon afterwardsyou will find people setting up in business to help you make the most of thatnew service. There are now specialist marketing people who employ whatare called viral marketing techniques – a bit like an old-fashionedwhispering campaign where individuals are employed to ‘hit’ certainwebsites, to tell their mates about tracks they’ve heard or videos they’vewatched on YouTube, to spread the word about ‘secret’ gigs through SMStext messages. These people can be employed under a contract just like anyother marketing person either on a flat fee (with or without a retainer) or byresults.There is also a growing number of services dedicated to filteringmaterial to get you what you have said you want. This has been around forsome time for online newspapers where you specify what areas of news areof interest to you. That is now being extended to music services. Similarlythe social networking sites themselves realise that they are in danger ofcollapsing if they do not help users find what they are looking for or whatthey might like. Hence the launch by MySpace’s owners of the online videointerview service called Earwig.What might be seen as a kind of master class in what can be done inmarketing in the digital era is the campaign around the 2007 release ofRadiohead’s new album.It was the first digital only release where purchasers set the price theywould pay. This was an excellent move in raising the profile of the band andthe forthcoming release. The story reached far beyond the music press toleading articles in the media and financial sections of the broadsheets. Thiswas only for a limited period of time ending on 10 December 2007. MusicWeek reported on 7 November 2007 that the average price paid was £2.88.Thirty-eight per cent paid no more that the minimum handling fee of 45p butthis is still a much better strike rate than the estimated 80% of illegaldownloads. Music Week reported that the website attracted 1.2 millionvisitors in the first 29 days following release. In an interview with ThomYorke of Radiohead on Radio 4 on 2 January 2008, he suggested that thesefigures were not correct but declined to give his own figures merely sayingthat the band was pleasantly surprised with the results of this campaign.The online release was followed by a physical release through XL from31 December 2007. The packaging for this release contains stickers to allowthe purchaser to create his own artwork – which is an idea already used togood effect by Beck and which was designed by graphic designers BigActive. The band is very ecologically aware and therefore the packaging isall recyclable. This release was supported by an innovative televisioncampaign which nevertheless is still the use of a traditional marketingmedium.Alongside the main physical release, a special limited-edition box setwas made available containing the CD and vinyl versions of the album aswell as extras and sold at £40 through the band’s own merchandisingoperation. Another classic piece of brand marketing.They supported the physical release with traditional methods such as liveradio plays of single releases and plan a two-month tour to support thealbum beginning in May 2008.Finally there was an international digital release through their publishersWarner Chappell which combined for the first time recorded music masterand publishing rights in the same place.THE FUTUREIt is always difficult to predict where the music industry is going but I willjust suggest a few possibilities. Major record companies will survive, buttheir role will change to become a worldwide distribution and marketingresource with less emphasis on finding and developing talentThe Government in the UK and the legislators in the EU will pay lipservice to the need to protect IP and counteract piracy, but their measureswill be under resourced and superficial with the view being in truth that thisis a problem a united music industry should solve as part of its commercialsurvival mechanism. The Government does not believe the industry needssubsidy or tax breaks, such as those offered to the film industry, and has notsupported a request from the industry to extend the sound recording andperforming copyright.Music will become just another product to be traded on the Internet orincluded as part of a service. In an ever more crowded world with an overabundance of choice it will be more important than ever to be ‘heard’ abovethe noise. How you do that will result in initiatives that appear novel whenfirst encountered – viral marketing peer sites such as MySpace, guerrillagigs notified by SMS etc. – but are all just new forms of the age old conceptof marketing: find a new angle and work it. The players will not necessarilybe traditional music companies; they might be venture capitalists orcommunications companies.Major record company A&R people will continue to have a role and partof that role will be the identification of music that can be commercialised.This does not mean that they will be involved necessarily in developingtalent. Instead they will utilise a network of connections: producers,managers, studios and lawyers who will bring them projects that are alreadydeveloped, where the hard work has been done in putting together somethingwhich works creatively. The A&R person will then acknowledge this projectand assess if it can be made to sell in the kinds of numbers that make itworth a punt on signing up the artist.The need for a quick return on advances means that the first album has tohave been written and recorded, often to almost final mix stage. The idea ofan artist being successful on his third album will not survive in the majorcompany world. Longer term careers will come when the artist licencesrecords he has paid for himself or does a much lower key record deal wherethe initial financial rewards are lower but there is a possibility of earning aliving through hard work.Publishers will to an extent step in to the development of artists, but forboth major record and publishing companies advances will drop overall andthey will be looking for a greater range of rights including live andmerchandising rights.The album will become less important, individual tracks will be whatpowers the industry commercially. Online people buy tracks they like whichthey have heard on the radio or through recommendations or social networksites. Internet links to other artists with similar music will lead to anincrease in cross-selling like Amazon’s and eBay’s ‘customerrecommendations’. We will have to get used to having our music packagedwith other services and with advertsCONCLUSIONSArtists can use the Internet to partner up with investors from outside themusic industry, or to distribute their own records.Piracy remains a major problem, but one way to make money frommusic will be to ally yourself to another service like that of a mobilephone company.Marketing will become increasingly important in raising your musicabove the noise.Artists should try to own their own domain name.If you commission someone to design your website, make sure theygive you ownership of all the various elements of it and make goodhosting and maintenance arrangements.1 The Data Protection legislation extends to information held in hard-copyform as well as electronically. The Data Protection Act 1998, which cameinto force on 1 March 2000, also implemented the Database Directive. Chapter 8Branding INTRODUCTIONIN THIS AND the following chapter I’m going to look at the whole area ofbranding: first by looking at merchandising deals, at how you get a trademark and at the benefits of building up a reputation in your name and how toprotect it; and then, in the next chapter, by looking at sponsorship deals.Branding is the way in which you use your name, logo and reputation tobuild up a particular image in the public mind. You may think that this isn’trelevant for an artist just starting out in the business. It’s true that newartists are going to be more concerned at getting that first record deal than inworrying about their ‘brand’. However, you only have to look at many of theboy and girl bands, and at the image-making that surrounds TV artists suchas Il Divo, All Angels, Girls Aloud, the revival of Take That or The SpiceGirls and some of the more successful US artists like Beyonce, to be able tosee that putting a bit of thought into branding even at its simplest level canpay big dividends. Not everyone can be or wants to be The X Factor winner,but all artists should think about getting some of the basics of branding rightfrom the beginning. It can be as simple as getting a good, memorable nameand registering it as a domain name. With those two small and cheap stepsyou’ve already started to establish a brand.Branding is big business and the growth of online activities on theInternet has added to the commercial outlets for the brand. At its moststraightforward it’s the building up of an artist’s name and reputation inorder to help to sell more records and concert tickets. At its moresophisticated, a name, reputation and public image can help to sell otherthings, not necessarily ones that involve music. Artists like The Spice Girlsused their names, likenesses and the ‘girl power’ image originally to selleverything from crisps to soft drinks and sweets and are reviving that withtheir 2007/08 reunion tour when once again they are being used to sellproducts and supermarkets in TV advertising. Also bear in mind manysuccessful ‘live’ artists make as much money from sales of merchandise atthe venues or online off artist websites than they do from the ticket sales.This idea of branding isn’t anything new. All successful companies haveinvested a lot of money in the company name and logo and in establishingname recognition for their products. Think of Heinz, Sainsbury’s, Coca-Colaor McDonald’s. Companies such as Virgin turned branding into an art form.Sir Richard Branson realised the value in the Virgin name, in the fact thatthe consumer immediately recognises it and the familiar red and whitecolours. By putting that recognition together with a reputation for beingslightly anti-establishment, he got consumers to buy into almost everythingthat the name was linked with. A healthy dose of self-publicity from SirRichard himself kept the name and the brand in the public eye.With nine out of ten new artists failing to make a significant mark on therecord-buying public, the strike rate of the record business is appalling. Aswe saw in Chapter 6 it is increasingly the case that the record companies relyon excellent marketing to achieve one or more big hits, and some moremoderate successes to keep them going. Getting the marketing campaignright is therefore crucial if you’re to have a chance.In the last seven or eight years there has been an explosion in the numberof acts that seek fame and fortune not through the traditional route of hardslog on the gig circuit but on a fast track through appearances on realitytelevision shows. These are, if you like, the twenty-first century equivalentof the talent show. This started with Popstars, which spawned Hear’Say. Therunners-up on that programme were Liberty, who, as a result of anunsuccessful court case, had to change their name to Liberty X butnevertheless went on to international success. Then there was the Pop Idolphenomenon, where telephone voting by members of the public spawned alucrative new source of revenue for the TV broadcaster and maker of theprogrammes. The final of the first Pop Idol contest had an audience of about8 million voting for Will Young and Gareth Gates. Both achieved No. 1chart success but only Will Young continues to feature largely both as arecording artist but also as a live performer and a stalwart of events such asthe Queen’s Jubilee concert at Buckingham Palace and the VE 60thcelebration concert in Trafalgar Square.Pop Idol was followed by Fame Academy, which was a cross between thereality TV programme Big Brother and a Pop Idol-type talent contest whichdid not live long before the phenomenon which was Simon Cowell and XFactor hit our screens, initially as a traditional competition for lateteen/early twenties artists but then cleverly widened to appeal to a muchwider audience through having categories for older wannabes. In most casesthe contestants, or at least the finalists, are required as a condition of theirparticipation to sign up to recording contracts and often also to sponsorshipand merchandising contracts. The TV production company takes a piece ofall this income. In some cases the TV company is in business with amanager who has an option to manage some or all of the successful artists.The artist is offered these contracts at a time when they have relatively littlebargaining power and, although there can be some tinkering around theedges, the basic deal is usually already set and non-negotiable. Of course,once the artist is successful renegotiation becomes a possibility but not aguarantee.This type of programme also took off in the US with the American Idolseries being a huge success and making a TV celebrity out of judges such asSimon Cowell.There are few signs that the British public has lost its appetite for theseshows even though record sales of winners have generally been much lowerthan those achieved by Will Young’s first single, and apart from him it isdifficult to think of any UK winners or finalists who have gone on to sustaina pop career beyond the first single or in some cases album. The albums areoften rush released to capitalise on the winner’s fame before the ficklepublic moves on. These albums rarely do much more than present coverrecordings of other people’s songs and it is difficult for the artist to reallyshow what he is capable of or to build a longer term career. One UK artistwho may buck the trend on this is Leona Lewis who for various reasonswaited quite a long time before her album was released after she won XFactor in 2006. It went to the top of the download and physical album andsingles sales charts and managed to stay the course running up the secondhighest weekly sales figures of 2007 behind Arctic Monkeys.One of the main drawbacks for me to these shows is that they create anexpectation amongst many people that it’s easy to get a break, get ontelevision, get a million pound record deal and be set for life. Theexpectation is rarely met in reality and yet even the evidence of all the onehit wonder winners or finalists who disappear without trace does not dampenthis belief. Many people now fail to realise that there is a huge amount ofwork, effort and time that goes into making a true career in this business. KTTunstall worked for about six years around the clubs before she got her bigbreak on Later With Jools Holland as a last minute stand-in. Many so-calledovernight successes have in fact laboured away for years honing their craftuntil they are finally spotted. Reality television shows lead many youngpeople to believe that they are somehow entitled to their fifteen minutes offame, that everyone has a record in them and that it’s really rather easy.Why else is almost everyone on MySpace plugging their own records? Thereisn’t that much quality around – most is rubbish – and there is a danger thattrue talent will get lost in the noise. Hence the need is greater than ever foran angle that will bring you to the foreground.BRANDING OF ARTISTSMany artists are now recognising the value in the name, the ‘brand’, and areactively trying to put themselves into a position where they can make somemoney out of that brand. They may not have followed exactly in thefootsteps of The Spice Girls, but do pick and choose the products they wishto be involved with, for example, clothing shops or ranges.To a greater or lesser extent, a successful artist is always going to be abrand, in the sense of being a name that people recognise. The moresuccessful the artist is, the more likely it is that the name, likeness andimage will be recognised by members of the public. If they like or admirethat artist’s reputation, they’ll want to know more about him and will buythings that tell them more about him like books, magazines and records.They’ll buy products that have his name or likeness on it such as calendars,posters, screensavers, T-shirts or other items of clothing. If an artist isassociated with a computer game, new phone or fast car then those itemsbecome desirable and the manufacturers of those goods pay for theassociation with a ‘cool’ brand. Witness also the number of perfumes beingendorsed by celebrities – there are his and hers Beckham perfumes, forexample. Part of this branding process involves doing merchandising dealsfor these products. If you have taken steps as early as you could afford toprotect your brand then you will have an easy means of stopping others fromcashing in on your name without your approval.Cross-media branding is becoming increasingly important. It has beenshown that consumers are spending more time online, reading andresearching as well as being entertained. No branding strategy should ignoreonline uses. At the very least the artist’s official website should be dynamicand regularly updated. Some labels are using linkage of a well-known artistbrand with a website hosted by the label to cement their relationship with theartist and share revenues from products bought on the website such asmobile ringtones or video clips.It’s usually a good idea to use the same name, tag-line/slogan – whichcould be the title of the new album or the name of the tour – and imageryand logo across all forms of marketing. This ensures a consistent messageand enhances the brand. Make sure that all media carry your name andcontact details. Check that any online links between sites work well and linkto a website that carries a consistent message.If you’re considering linking up with other sites with a view to drawingtraffic to your site and theirs, then you may agree to share revenue with thatsite. For example, if you link to a site which supplies mobile ringtones andcustomers come from that site to yours and buy your latest record, youmight agree with the mobile ringtone supplier to pay them a percentage ofthe value of the sale as a kind of referral fee of 3–5% and vice versa.If the name, likeness or logo is one that can be trademarked, you canapply to register a trade mark or marks. Not all names are registrable. If it’stoo common a name or it’s descriptive of something, the Trade MarkRegistry won’t let you register it.Even if you haven’t got a trade mark registered, if someone tries to passthemselves off as you in order to cash in on your reputation and this resultsin loss or damage to you, you have the means to try and stop them. This iscalled an action for ‘passing off’.If a company wants to use your name to promote their product they willdo a sponsorship deal. You lend them the use of your name and may agree toprovide some other services, such as recording a single or performing in anadvert or turning up at a trade show or event, and they give you money andsometimes goods or services such as airline tickets or cars in return (seeChapter 9).If your fans are looking for information about you or where to buy yourrecords they will look under your name. They aren’t usually going to startlooking under the record company name. In fact, many fans may not know orcare what label your records come out on as long as they can find copies ofthem in their record shop or online which is partly why record companies areconcerned to own, or at least control, artists’ websites and domain names. Afan is going to search for the artist’s name. If you wanted to find informationon Tim Westwood on the Internet you would search under ‘Westwood’rather than under his record company, Mercury/Def Jam. There are recordcompany websites and they are getting better. At first they tended to becorporate affairs where the services and information provided was intendedfor other companies or businesses; now they’re generally more of amagazine format where news on all the major artists on the label is broughttogether in one place. Some have links to specialised websites, many ofwhich are owned and put together by the artist or his management team.These links open up many new possibilities for marketing an artist. Manynow also require the artist to submit regular updates to a blog or diary ofwhat the artist has been up to/is listening to/what films they like etc.Is branding a good idea? There are some that thought the ubiquity of TheSpice Girls was taking the idea too far. While I believe we can neverunderestimate the public’s interest in the inside story and behind-the-scenesglimpses of artists, you do have to be careful to avoid overkill. To someartists the whole idea is anathema. Most artists know that they have to workon building up a name and a reputation in order to sell their records. Some,though, think that they’re somehow selling out if they put their name toother products – selling their soul as it were. It’s obviously a personal thing.Some artists, particularly those boy or girl bands with a relatively shortshelf life before a new favourite comes along, do embrace branding in orderto make as much money as they can as quickly as they can. Others arecontent to limit their branding activities to tour merchandise or sponsorshipdeals to help support a tour that would otherwise make a loss. It all comesback to the game plan (see Chapter 2).I’ve also worked with artists who take the sponsor’s or merchandiser’smoney and put it into charitable funds rather than spending it on themselves.Some make a point of telling the public they have done this, others keep itquiet.Is it a sell out? I don’t think it is. If it’s not right for you, don’t do it.However, before you come over all credible and refuse to entertain any formof branding, just remember that you’re already doing it to some extent whenyou use your name to promote sales of your records or tickets to your gigs.There are many artists and bands whose image doesn’t easily lend itselfto selling loads of posters, T-shirts and so on or whose image is not going tobe user friendly for family-focused adverts – I’m thinking here of some ofthe Death Metal bands. If that is you then fine, don’t waste time or money onit. You also don’t have to have your name associated with every product thatcomes along. Indeed, it’s probably not wise to do so, as the public willquickly tire of you. The products you choose to associate with should beselected with the overall game plan in mind.If you do decide to do merchandising deals for your name, logo orlikeness, you also need to decide how far you’re prepared to go in protectingthat merchandise from the pirates who will inevitably come along and try tosteal your market, often with inferior products. Even if you don’t domerchandising deals, you may find that the pirates do. I know of artists thathave decided, for example, not to do a merchandising deal for calendars,only to find that unofficial versions appear in the shops anyway. As aninteresting side note on this there is at least one enterprising charity whichteams up with artists to use illegal pirate merchandise that has been seized atthe artist’s concerts to supply to disadvantaged children in Africa. It doesn’tcost the artist anything and may do a little bit of good along the way.MERCHANDISING DEALSIn its simplest form a band is involved in merchandising when they selltickets to their gigs. The band name attracts the fans that have bought therecords and now want to see them perform live. The ticket to the gig isbought on the back of the band name. If the band’s core business isperforming live then the band name is being used to sell records or othergoods like T-shirts and posters. At this time it is live concerts which aremaking the money, not sales of records – see the chapter on touring. If theconcert is well attended then the artist may also sell plenty of merchandise.Even the most credible of artists usually has a T-shirt or poster available forsale at the gigs. If they don’t offer something it is likely some of the fanswill get them from the pirates outside.In the entertainment business, merchandising has been big business foryears. People can buy the T-shirt, the football strip, the video game and theduvet cover bearing the name and image of their favourite cartoon character,football team or pop group. Disney and Manchester United Football Club aregood examples. They know that there’s a lot of money to be made frommaximising the use of the name and likeness.HOW DO YOU GO ABOUT GETTING A TRADE MARK?Before you can begin to use your name to sell merchandise outside your corebusiness of selling records, it’s essential that you have a name or logo that’seasily marketable and that you have or are starting to get a reputation thatpeople can relate to. If your game plan is to do a fair amount ofmerchandising, you should think of a distinctive name and logo from thebeginning. We all know how difficult it is to find a name that no one else hasthought of and we saw in Chapter 1 how to check this out. The same thoughtmust go into making your logo as distinctive as possible.If you’re going to have any chance of holding off the pirates, you need toprotect your rights in your name and logo as far as possible. If you want toprevent others jumping on the bandwagon and manufacturing unauthorisedmerchandise to satisfy market demand, you’ll need to have your own housein order.If you are going to go for trade mark protection you should do so earlyonce your career has started to take off as if you wait too long then it may betoo late. It’s important to get trade mark protection as early as possible.Elvis Presley’s estate was not able to protect the use of the Elvis name formerchandising as a registered trade mark in the UK because it waited untilten years after his death.1The Elvis Presley CaseIn 1989, Elvis Presley Enterprises Inc, the successors to the Estate ofElvis Presley, filed UK trade mark applications for ‘Elvis’, ‘ElvisPresley’ and the signature ‘Elvis A Presley’.The UK trade mark applications were accepted by the Trade MarksRegistry but were then opposed by Sid Shaw, a trader who’d beenmarketing Elvis memorabilia in the UK since the late 1970s under thename ‘Elvisly Yours’. He opposed the registration of the marks by theElvis Estate on the grounds, among others, that they conflicted with SidShaw’s own prior trade mark registrations for Elvisly Yours. TheRegistry upheld the Estate’s applications; Mr Shaw appealed to the HighCourt, which allowed the appeal. In a judgement which was quite criticalof character and personality merchandising in general, the court decidedthat the public didn’t care whether Elvis Presley memorabilia wasapproved by the Estate of Elvis Presley or not. The Estate took the caseto the Court of Appeal.The Court of Appeal refused the Estate’s appeal and refusedregistration of all three trade marks. The court concluded that the trademarks were not in themselves distinctive and, as there was no evidenceproduced by the Estate of any use of the marks in the UK which mighthave indicated that the marks had become distinctive of the Estate ofElvis Presley in the minds of the public, there was therefore no reason atall why the marks should be registered.The Wet Wet Wet CaseThe courts have shown that they aren’t prepared to interpret the TradeMarks Act too narrowly in favour of someone who has registered a trademark in a band name. One example is a case involving the band Wet WetWet: the Bravado and Mainstream case.2 Bravado had rights in a trademark in the name Wet Wet Wet. Bravado asked for the Scottish lawequivalent of an injunction to be ordered against Mainstream to preventit from infringing that trade mark. Mainstream was publishing andmarketing a book entitled A Sweet Little Mystery – Wet Wet Wet – theInside Story. Mainstream argued that they were not using ‘Wet WetWet’ in a trade mark sense, but rather that it was used to describe thesubject matter of the book. They also said that they weren’t suggestingin any way that it was published by Bravado and, as such, somehow‘official’. Bravado argued that if they couldn’t prevent this use then itwould be meaningless having the trade mark, because they couldn’t thenstop it being used on other merchandise relating to the band.The court decided that the words were being used in the course oftrade but refused to grant the injunction, because it said that would beinterpreting the meaning of the Trade Mark Act too narrowly. If it wereso interpreted then any mention of the group name could be aninfringement of the trade mark.The Saxon CaseThe area of trade marks and band names was also recently reviewed bythe High Court in the case of Byford v. Oliver and Dawson (2003). Thiscase involved the use of the name ‘Saxon’ by Biff Byford, the originalsinger with the British heavy metal band. Byford had been a bandmember since its formation in the late 1970s. Steven Dawson andGraham Oliver left in 1995. Biff Byford continued as a member of theband through numerous new line-ups – always called Saxon. Oliver andGraham continued to perform but used a variety of names, oftenincluding their own names with a reference to Saxon. Oliver and Dawsonnever challenged Byford’s right to use the name Saxon but in 1999 theyregistered ‘Saxon’ as a trade mark and attempted to prevent Byfordusing the name.Byford applied to the Trade Mark Registry to have the trade markdeclared invalid on the basis that the registration had been obtained inbad faith (under the Trade Mark Act 1994) and that Dawson and Oliverwere guilty of ‘passing off’ and misrepresenting themselves and theirtrade mark as ‘Saxon’ when Byford was the ‘real’ ‘Saxon’. Byford failedto have the trade mark declared invalid with the Registrar deciding thatwith band members (all of whom may have some claim on a band’sname) it was a ‘first come first served’ rule with regard to registration.Byford then applied to the High Court who overturned the Registrar’sdecision and declared the Oliver/Dawson registration invalid.There was no formal agreement between the original band membersgoverning use of the band name. Mr Justice Laddie held that, in thecircumstances, the band name must be owned by all of the original bandmembers as ‘partners’. What this means is that if a band ‘partnership’was split up NO member would own the name unless there was a formalagreement governing its use. However, the judge held that, in thecircumstances, both Dawson and Oliver abandoned their rights to thegoodwill and ownership of the ‘Saxon’ name which was now owned byByford and the new members of the band.This suggests that bands must have a written agreement governingownership of the band name – because otherwise, if the band splits, nomember of the group or members could use the band name withoutagreement of any one, or more, original members who may not wish tocontinue.HOW TO APPLY FOR A TRADE MARKYou don’t have to be already rich and famous to register a trade mark inyour name or logo. In fact, as we saw in the Elvis case, there are dangers inwaiting too long to apply for a trade mark. As soon as you can afford to, youshould think about doing it. You can apply to protect your name or that ofyour brand worldwide, but this would be expensive. To start with, I usuallyadvise that you apply to register the name in your home market, for examplethe UK for a British-based band, and then in other places where you have, orhope to gain, a market for your records and other merchandise, for examplethe US, Europe or Japan.Each country has its own special rules for registration of a trade markand, in many cases, an application to register a trade mark in one countrycan help you with applications in other parts of the world. For example, therules at present allow you to backdate an application for a trade mark in theUS to the date of your UK application provided you apply within six monthsof the UK application. So, if you apply for a UK trade mark registration on 1July, you have until 31 December to apply in the US and still backdate it to 1July. Just making the application itself can trigger trade mark protection.Even if it takes a year or more to get a registration, the trade mark, when andif it’s granted, will be backdated to the date of the application. It also givesyou priority over anyone else who applies after you to register a trade markin the same or a similar name or logo. This is, however, a specialised areaand you should take advice from a trade mark lawyer or a specialist trademark agent. Your lawyer can put you in touch with a trade mark agent and agood music lawyer should have a working knowledge of trade mark law.While you may be happy to leave all this to your manager to sort out foryou, do remember that the name should be registered in your name and notthat of your manager or record company.3Once you’ve decided the countries where you’d like to apply for a trademark – finances permitting – you have to decide what types of product orparticular goods you want to sell under the trade mark. In most countries,goods and services are split for trade mark registration purposes into classesand it’s important to make sure that you cover all relevant classes of goodsand as soon as possible. You can add other classes later, but then you run therisk of someone selling goods with your name in a class that you haven’tprotected. For example, you may have applied to register a trade mark forthe class that covers records, but not the class that covers printed materialsuch as posters. In theory, someone else could apply for a trade mark in thatarea, but then you get into the whole area of passing off. It’s also not usuallyas cost-effective. You get a costs saving by applying for several classes at atime.4A registered trade mark has distinct advantages over an unregisteredmark. Actions to stop infringements of registered trade marks are generallyquicker and more cost-effective than when you’re relying on unregisteredrights. A registered trade mark puts the world on notice of your rights. Aregistered trade mark is attractive to merchandising companies, as it givesthem a monopoly over the goods for which the mark is registered and givesthe merchandising company more of an incentive to do a deal with you.PASSING OFFIf you haven’t registered a trade mark then, in the UK, you can try and relyon the common law right of ‘passing off’ in order to protect your name andreputation. Before you can do this you’ll have to prove there is goodwill inthe name. This may not be the case if you’re unknown and haven’t yet got areputation or any goodwill in the name. You have to show that someone elseis trading on your reputation by passing themselves off as you, using yourreputation to confuse the public that they are you or are authorised by you.As well as having this goodwill or reputation, you also have to show that thishas actually caused confusion in the mind of the public resulting in damageor loss to you. For example, a band using the same name as yours, or oneconfusingly similar, might advertise tickets to a gig in the same town asyour planned gigs. Fans might buy those tickets thinking they’re coming tosee you. This loses you ticket sales and might possibly damage yourreputation if the other band isn’t as good as you. You have to haveestablished a reputation in the name in the particular area in question. Ifyour name is associated with records and someone trades under the same ora very similar name in the area of clothing, where you don’t have any areputation, there is less likely to be confusion in the mind of the public.One famous passing-off case involved the pop group Abba.5The Abba CaseA company called Annabas was selling a range of T-shirts, pillowcases,badges and other goods bearing the name and photographs of the bandAbba. The band didn’t own the copyright in any of the photographs andAnnabas had obtained permission from the copyright owners of thephotographs to use them. The band had to rely on a claim for passing off.Abba lost their application for an injunction preventing the sale becausethey were unable to show they had an existing trade in these goods orany immediate likelihood of one being started. The judge also went on tosay that he thought that no one reading adverts for the goods or receivingthose goods would reasonably imagine that the band had given theirapproval to the goods offered. He felt Annabas was only catering for apopular demand among teenagers for effigies of their idols. These wordshave been often repeated in later cases.It’s clear from this case that you have to establish that you already have atrade in the area in question that could be prejudiced, or that there was areasonable likelihood of you starting such a trade. If you’re seriouslythinking about doing merchandising you should do so sooner rather thanlater, and should be setting yourself up ready for starting such a trade (forexample, by commissioning designs, talking to merchandise companies ormanufacturers, applying to register your trade mark) well in advance ofwhen you want to start business to get around some of the pitfallshighlighted in the Abba case.The P Diddy CaseIn September 2005 a DJ called Richard Dearlove reached a settlement inhis case against Sean Combs, aka Puff Daddy, aka P Diddy, to preventhim from changing his name to just ‘Diddy’. Dearlove (a successfulrecord producer) claimed he had been using the name Diddy in the UKfor his DJ activities since 1992. His High Court action settled on thebasis that Sean Combs agreed not to shorten his name, agreed to payDearlove £10,001 in lieu of damages and his legal costs estimated at£100,000. Mr Combs agreed not to advertise, offer or provide orcause/procure others to advertise, offer or provide any goods or servicesunder or with reference to the word ‘Diddy’. He also undertook toremove from the UK all materials or articles that were in his custody,power or control, the use of which would contravene this undertaking.Unfortunately that was not the end of the matter. In 2007 the casecame back before the court because Mr Dearlove claimed Sean Combshad breached that settlement agreement. This time he was not successfulas the judge rejected his claim for an early judgement and ordered thematter to be tried at a full trial.Material relating to Sean Combs’ album Press Play had appeared onMySpace and YouTube and on a website www.badboyonline.com, whichfeatured the name ‘Diddy’. Six tracks on the album contained referencesto Sean Combs as ‘Diddy’. Dearlove claimed this was promotion underthe Diddy name in the UK in contravention of the settlement. Whilst thejudge made the important observation that placing a trade mark on theInternet from a location outside the UK could constitute use of that markin the UK. He also recognised that the fact that the lyric to one of thesongs on the album contained the word ‘Diddy’ could also be anadvertisement for goods and services in the UK (which could havebreached the settlement), particularly as many artists now use lyrics toassociate themselves with various goods and services. This didn’t meanthat every reference to a product or service in a lyric was a potentialbreach of someone’s trade mark; it would depend on how the lyric wasused and whether it was intended to promote a product or service. Thereason the judge thought this was a matter for full trial was because hecould not tell without hearing all the evidence whether this material/useof lyrics was something that was within Sean Combs’ control. If it wasthen he could well be found in breach of the settlement.The importance of this case is to emphasise the global nature of the Internetand how care has to be used not to infringe a person’s trade mark in anothercountry by making something available on the Internet in one country whereit wouldn’t be a breach, but where it could be viewed in another countrywhere it is a problem. The test would be if the consumer in the infringingcountry thought the advertisement or reference to the trade mark wasdirected at him. It also recognised that lyrics could be used to sell otherproducts as well as help promote the artist and his new recordings and sowhen deciding if someone is advertising themselves under a particular namewe need to think laterally and outside what might normally be thought of aspromotion e.g. an ad or poster or celebrity interview.There have been a run of cases where personalities have taken legalaction over adverts that they believe play on their voice/singing style orimage.Tom Waits caseTom has a very distinctive gravelly voice and he felt that a televisionadvert for Opel cars featured a singing voice and style that was too closeto his own to be a coincidence. He claimed that the car company haddeliberately used a sound-alike on one of their TV ads to imply that hehad participated in the marketing campaign. He sought an injunction tostop the ads and asked for an award of at least $300,000 in damages.Early in 2007 it was reported he had reached an out-of-court settlement,the details of which are not known but Mr Waits has indicated he willdonate the money he receives to charity. This settlement came almostexactly a year after Waits won a similar court case in Spain whereVolkswagen had used a sound-alike in a TV ad. He has also won a $2million court judgement in the past against a US company, Frito-Lay,who had used an impersonator to mimic his voice. You’d think theseadvertisers would learn that he means business. He is famously criticalof artists who take sponsorship money off big business and so isparticularly galled when his voice is used in these very same types ofads.David Bedford – 118118 CaseLate in 2003 Dave Bedford brought an action for an injunction againstthe company which was targeting the UK directory enquiries marketwith the number 118118 using two runners with 70s style hair andmoustaches, singlet and shorts. David Bedford, a successful runner in the1970s and now race director of the London Marathon claimed this wasbased on his image. The company behind the campaign initially rejectedthe claims but agreed to settle the matter by making slight changes to thelook of the character.OTHER REMEDIESIf you can’t rely on either a trade mark or the remedy of passing off thenyou’ll have to see if there’s been any infringement of copyright, for examplein a design, or possibly if there’s been a false description of goods thatmight be unlawful under the Trade Descriptions Act 1968.CONCLUSIONS ON PROTECTING YOUR NAMEClearly, getting registered trade mark protection is the best way to go aboutprotecting your brand, but when you’re just getting started you probablywon’t have the money to spend on protecting the band name. A balance hasto be struck. If you’re ultimately successful and haven’t applied for a trademark you may end up kicking yourself if others cash in on your name andmarket unauthorised products. If you apply late you may be too late, as inthe case of Elvis. On the other hand, it’s often not at all certain whether anartist is ultimately going to be successful enough to justify the expense. Asensible thing to do would be to register a trade mark in just one or twoclasses, including records, of course, and perhaps only in one or twocountries at first and then add more countries or classes as things develop.It’s also worth bearing in mind that a record company may advance youthe money to make the trade mark applications. If you don’t want yourrecord company to own your trade mark, make sure the application for theregistration is in your name not theirs, even if they offer to register it onyour behalf.As we’ve already seen in the area of e-commerce, there’s also a greatdeal of mileage to be had from registering your domain name. Among otherthings, it gives you control of the doorway to official information on you andwhat you have to offer. Registration is cheap and quick, but please don’tforget that it will need reviewing every couple of years. One recordcompany, who shall remain nameless, arranged for all the reminders fordomain-name registrations to go to one email address. The owner of thataddress left the company and no one seems to have thought to check themailbox or redirect the mail. At least one domain name registration lapsed ata crucial marketing moment and had to be bought back on the open market.UNAUTHORISED, UNOFFICIAL MERCHANDISEThe line of arguments that we saw being developed in the Abba case wasexpanded on in a case involving The Spice Girls.The Spice GirlsThe Spice Girls applied for an injunction against an Italian publisher,Panini, of an unauthorised sticker book and stickers entitled ‘The FabFive’. At this time The Spice Girls had no trade mark registrations and,in fact, it probably wouldn’t have helped them if they had, becausePanini had been careful not to use the name ‘Spice Girls’ anywhere inthe book or on the stickers. So The Spice Girls were trying to use the lawof passing off to protect the band’s image. They argued that even thoughthe words ‘Spice Girls’ were not used, the book was clearly about them.The book didn’t carry a sticker that it was unauthorised so, they argued,this amounted to a misrepresentation that The Spice Girls had authorisedor endorsed the book.The judge was not swayed by arguments that it made a differencewhether the book was marked ‘authorised’ or ‘official’. He refused togrant an injunction. As a consequence of this decision, if a company putsout an unauthorised calendar featuring pictures of an artist or band then,provided it is made clear that it’s not a calendar that has the officialblessing of the band and it doesn’t reproduce copyright words/lyrics orphotographs without permission, then that wouldn’t be a passing off nora breach of copyright rights. The judge decided that even the use of thewords ‘official’ wouldn’t have made this a case of passing off, becausethe product clearly indicated it was not approved by the artist. In thisparticular case, The Spice Girls had a trade mark application pending,but it hadn’t been registered so they couldn’t rely on arguing that therehad been an infringement of their trade mark. This is a good example ofwhy it’s important to have a registered trade mark if you’re going to tryto put a stop to the sale of unauthorised goods.You might be forgiven for thinking that all these cases involve millions ofpounds and are only of interest to the megastars that can employ people todo all this for them. Well, it’s true that it’s usually only the big names thathave the inclination or the money to bring cases to court, but protecting yourname can start at a very low level – like preventing the pirate merchandisersfrom selling dodgy T-shirts or posters outside your gigs, or stopping anotherlocal band from cashing in on the hard work you’ve put into starting to makea name for yourself.HOW DO YOU GO ABOUT GETTING A MERCHANDISEDEAL?You may start off by producing a small range of T-shirts that you sell atyour gigs. You can get these printed up locally, put up a temporary stall inthe foyer of the venue and sell them from there. You may also sell some offyour website. If it’s clear that you can sell enough to make money then youmight approach a merchandising company about doing it for you on a largerscale. The merchandising company could be a big multinational company ora small independent company. You can get names of merchandisingcompanies out of directories such as Music Week. You can also getrecommendations from your mates in other bands, your lawyer, accountantor manager.If you’re starting to sell out the larger venues and are a regular on the gigcircuit, merchandising companies may approach you or your booking agent.If they do, you could try them out with your concert or tour merchandisebefore deciding if they’re right to do your retail or mail-order merchandisingas well.THE MERCHANDISING DEALIf you have a registered trade mark, this will increase your appeal to amerchandiser. However, merchandise companies will still be interested inyou even if you haven’t got a registered trade mark if you’re sufficientlywell known for them to run the commercial risk of producing merchandisefor sale. The merchandise company will take a view as to whether yours isthe sort of image that will sell particular types of merchandise. They willknow if your image will sell T-shirts or posters at gigs and if it will also selleither the same merchandise or a different range of products through retailstores.Even quite small acts can often shift reasonable numbers of T-shirts tofans at the gigs or through mail order off their website. If there’s a steadyturnover, a merchandiser will be interested in doing a deal. Obviously, if youonly sell two T-shirts a month, and then only to your close family, thengetting a merchandise deal is going to be a non-starter. In that case youshould be looking to do it yourself. Why would you want to do this? Well,obviously, the more that you keep to yourself the more of the profit you getto keep. There is, however, an awful lot of work involved in mailing out themerchandise to fulfil orders and in ensuring that you’ve enough products tosell at your gigs.If things start to go only moderately well you’ll probably need to employsomeone to look after that side of things for you. You’ll also need to do adeal with a company to make the clothing or other products for you to yourdesign. You’ll have to be responsible for selling it either by mail orderonline, through selected retail outlets such as local record stores, and at yourgigs. You’ll need to be able to keep a check on the quality of the productbeing produced, to be something of a salesman, to be able to market thegoods and to distribute them. You’ll need to make sure that the orders arefulfilled promptly and that the accounts are properly kept. This is quite a tallorder, even if you do get to keep the lion’s share of the profits. No wonder,then, that many bands find a specialist merchandising company to do this forthem.WHAT IS IN A TYPICAL MERCHANDISING DEAL?Obviously, each merchandise deal will be different and, once again, it’simportant for you to use a lawyer who is used to doing these sorts of deals.There are, however, some points that are an issue in every merchandisingdeal.TerritoryYou can do a one-stop, worldwide deal with one company for all yourmerchandise needs, or a series of deals with different companies fordifferent types of goods. For example, you could do a deal with onecompany for merchandise to sell at your gigs like T-shirts, sweatshirts, capsand so on. This deal could be limited to the UK or Europe or if the companywas big enough in all the major markets you could do a worldwide deal. Ifthey weren’t then you could then do another deal for the US, probably with acompany who specialises in the US marketplace. If we are talking aboutmerchandise in the wider sense of marketing your name or likeness on sweetpackages, computer games or crisp packets, then you’ll do your deal with thecompany that manufactures those goods. That deal could again be aworldwide one or one for specific countries. If you’re going to do aworldwide or multi-territory deal, make sure that your merchandisecompany has the resources to look after your interests properly in eachcountry. Find out if they subcontract the work and, if so, who to. Is the sub-contractor reliable?TermIf you’re doing a series of concerts, you could do a merchandise deal thatwas just linked to those dates. If you were doing a world tour with variouslegs, it’s likely you would do a deal with one merchandise company thatcovered the whole tour. However, you could do a deal with one company tocover the period of the UK or European legs, and with another company orcompanies in other parts of the world. This isn’t as common, as it’s difficultto administer and police. The term of the contract would be the duration ofthe tour or of that particular leg of it.If you’re doing merchandise deals to sell goods in shops or by mail orderthen the term is more likely to be for a fixed period of time, probably aminimum of one year and up to three years or more.The more money the merchandising company is investing inmanufacturing costs and/or up-front advances, the longer the term they’relikely to want in return. The longer the term, the better their chances will beof recouping their investment.Some merchandising deals are linked to recoupment of all or aproportion of the advance. The term of the deal runs until that happens. Thiscan be dangerous if sales don’t live up to expectations or if themerchandising company isn’t as good as you would like them to be. The bestthing to do with these types of deals is to have the right to get out of the dealafter, say, a year by paying back the amount of money that is unrecouped.This will give you the flexibility to get out of a deal that isn’t working andinto one that might.Rights grantedThe deal will usually be a licence of rights in your name and likeness for aparticular period, not an assignment of rights. The rights granted will be theright to manufacture, reproduce and sell certain products featuring yourname and/or logo. If you have a registered trade mark you’ll be required togrant a trade mark licence to the merchandising company to use the trademark on specific goods.The rights granted could be for particular products or for all types ofmerchandise. These days the trend is towards limiting the granting of rightsto particular products. You could grant the right to use your name or likenessor your registered logo on T-shirts and keep back rights to all other productssuch as calendars, posters, caps and so on.You might grant the right to use your band name and/or logo for someparticular types of a particular product and keep rights back to other formsof the same product. For example, you could grant a licence for ordinarytoys and keep back the rights to use your name on musical toys. You couldthen do merchandising deals for all or any of those types of toys with one ormore other companies. If your music is going to be used in the musical toysthen you or your publisher will license the right to include the music foreither a one-off ‘buy-out’ fee or for a fee and an ongoing royalty (seeChapter 4).Record companies may do a variation on a merchandising deal with anartist to use his voice/catchphrase for downloads of sounds for mobiles. Thismay be included in the record deal but if that deal is an older type then itmay not be covered and there may need to be a separate deal done. Now thatthe first flush of enthusiasm for quirky mobile ozone downloads has dieddown there isn’t the clamour there was a few years back. Now it is muchmore likely in an exclusive licence or recording deal that the recordcompany will require that the artist record specific clips for such uses andwill be paid usually a percentage of what the record company earns fromselling those clips on to the middleman aggregator, who offers thedownloads to the public via a communications company. Because there areseveral parties who take a ‘cut’ before the record company, let alone theartist, sees a share these deals are not the lucrative earner everyone hopedthey were going to be but they do provide an additional revenue source forthe record companies. If instead of your voice an extract from one of yoursongs is used then the aggregator should also clear the right to use the musicand lyrics from the publisher, creating an additional income stream for thepublisher too. This is not always done and it is not always easy to track whatincome has been earned from these new revenue sources. There are,however, companies such as RoyaltyShare who are developing software totrack usage down to the last penny so in time it is to be hoped that properaccounting will take place across this new sector.Quality controlOnce you’ve decided what goods are going to feature your name, likeness orlogo, you have to make sure that the goods are of the highest possiblequality. If you don’t keep a tight hold on quality control, you could dopotentially serious and possibly irreversible damage to the reputation ofyour brand. If a T-shirt featuring your name and logo falls apart, or thecolours run on the first wash, then that is going to reflect very badly on you.The fan that bought the T-shirt won’t care that it was another company thatmade it – they’ll blame you and give you a reputation for selling shoddygoods.The contract will usually say that the merchandising company mustsubmit samples of designs for you to approve. If they’re making the goods toa design you’ve given them then they should make up samples to thatdesign. Only once you’re satisfied with the quality of the sample should youauthorise full production to go ahead. Even then, you should have the rightto inspect the product at short notice and to insist upon improvements if thequality has dropped to an unacceptable level. The contract should contain aguarantee that the product will be of at least the same quality as the sampleyou’ve approved.It’s also important that the merchandising company makes sure that whatit manufactures complies with all local laws. Toys and other children’sproducts in particular have very stringent safety standards. You may want toinsist that the manufacturer takes out product liability insurance. Be carefulalso if the company sub-contracts any of the processes. The sub-contractormust also stick to rigid quality controls and ensure product safety, carryinginsurance against any damage caused by the product.If the design is one created for you, either by the merchandisingcompany or a third party, make sure they assign the rights in that design toyou. If you don’t, you may find that the designer comes knocking on yourdoor for more money. You may want to use the same design as the artworkfor the album sleeve. As we saw in Chapter 6 you should have made sureunder your record deal that you can acquire the merchandising rights in thatartwork.Methods of distributionThe rights you grant can not only be limited to certain types of products, butalso to certain methods of distribution.You might grant mail-order rights only or limit the rights to sellingmerchandise to retail shops or at your gigs. There are specialist companieswho are good at doing tour merchandising but aren’t as good at selling goodsto retail shops, and vice versa. There are also specialist e-tailers who areexpert at selling online. It is important that you find the right company forthe right method of distribution.Depending on the means of distribution the basis on which you’re paidmay also change varying from a straight royalty to a flat fee or a percentageof the net receipts. If in doubt, ask for a breakdown of how the end figure isarrived at. Ask for details of who is taking what cut off the top before yousee your share. If it seems high or wrong challenge it or ask for furtherexplanations. This is a developing area and at the moment there is noabsolute right or wrong way to account – it’s a business decision and can bechallenged or negotiated.Advances and Guaranteed Minimum paymentsYou may get an advance against what you’re going to earn from sales of thegoods. This advance is recoupable from those earnings but, as we’ve alreadyseen with other types of music business deals, the advance isn’t usuallyreturnable if you don’t sell enough to recoup the advance. One exception isif you’re doing a merchandising deal for a live tour and you don’t do someor all of the concerts. Then you can expect to be asked to repay some or allof the advance. Some tour agreements also say that advances are repayablein whole or in part if ticket sales at the concerts don’t reach a particularlevel. For example, you may get a fixed sum, sometimes called theGuaranteed Minimum, that isn’t repayable unless you cancel the whole tour.Then there are other payments that are made which are dependent either onyou doing a particular number of big, stadium-type concerts or on youselling a minimum number of tickets over the whole concert tour. If youdon’t do those gigs or don’t sell enough tickets then you don’t get thosefurther payments.There’s also another catch with tour merchandise agreements, which isthe one that I touched on above. The contract may say that the termcontinues until you’ve earned enough from sales of the tour merchandise torecoup either the whole advance or the Guaranteed Minimum. If you aren’tcertain that you’ll be able to do this within a reasonable time, then you’llwant to have the option to get out of this by paying back the unrecoupedamount. If you don’t have this option and your tour isn’t a big success thenyou could be stuck with the same tour merchandising company for the nexttour, without the prospect of any more advances. If you can get out of it, youcan try to find someone else to do a deal for the tour merchandise for thenext year’s tour, and may even get them to pay you another advance.The advances could be payable in full when you sign the deal, or in anumber of instalments linked to concert appearances or sales of productwith, say, 25–33% of the total being payable on signature.Royalties and licence feesYou’ll usually receive a percentage of the sale price of the goods as aroyalty, which will go first to recoup any advances you’ve already had. Thispercentage will either be calculated on the gross income or, more usually, onthe net income after certain expenses are deducted. Deductions can includeVAT or similar sale taxes, the cost of manufacture and printing of the goods,and all or some costs of their distribution and sale. With online sales theremay also be a charge for things like secure credit card systems.When you’re doing a tour merchandising deal, commissions or fees areoften payable to the owners of the concert venues for the right to sellmerchandise on their premises. It’s usual for the merchandise company t odeduct this payment from the gross income. Some companies will also try todeduct other expenses, including travel and accommodation costs for theirsalesmen and other unspecified expenses. I’m not convinced that theseshould be deducted and it’s a good rule with all these deductions to look atthem very carefully, and to ask for a justification for the deduction ifnecessary.Obviously, if you’re being paid a percentage of the gross income it willbe a much smaller percentage than if it were a percentage of the net. A fee of20–30% of gross would be equal to about 60–70% of the net income,depending on what is deducted from the gross. For example, if you had agross income from sales of T-shirts featuring your name of £10 per T-shirt, a20% royalty would be £2.00. If you had a net income of £2.00, then a 60%royalty based on the net income would be £1.20.AccountingAccounts are usually delivered for retail or mail-order deals every three orsix months. Obviously, from your point of view you’ll want to be accountedto as quickly and as often as possible. You should have the right to go in andinspect the books of account regularly – at least once a year. You should alsobe able to go in and do a stock check from time to time.Merchandising deals for tours are different. There is usually a touraccountant who will check the stock and the sales sheet on a daily basis. Hewill expect to be paid within a very short period of time, preferably within24 hours of each gig or, at the very latest, within seven days.Trade mark and copyright noticesIf you have a trade mark registered, the contract should confirm that theywill include a trade mark notice on each product and a copyright notice foreach design.Termination rightsAs with all contracts, the merchandising contract should say in whatcircumstances the deal can be brought to an end. These should include apersistent failure of quality standards, failure to put the product into themarketplace by the agreed date, and other material breaches of contract, forexample, if they don’t account to you when they should. If the company goesbust or just stops acting as a merchandise company, you should also have theright to end the deal.EnforcementThis could be the subject of a chapter in its own right. The contract shouldsay who’s responsible for tracking infringements of your rights. There’susually a requirement that the merchandising company reports to you anyinfringements of your trade mark or copyright that they come across on eachproduct. It’s as much in their interest as yours to keep pirate activities to aminimum.There are civil and criminal remedies to stopping infringements. Youcan also enlist the help of Trading Standards Authorities and HM Revenueand Customs. Often, these authorities are prepared to seize unauthorisedproducts bearing a name that is a registered trade mark. Even without aregistered trade mark, Trading Standards Authorities are sometimesprepared to rely on the Trade Descriptions Act in order to make seizures andbring prosecutions. In my own experience, the Trading Standards Authoritiesare an invaluable help in clearing the streets of counterfeit products. It’spossible to provide HM Revenue & Customs with trade mark registrationdetails to assist them in identifying and seizing unauthorised productsentering the country at ports and airports.New modelsMerchandising (and indeed sponsorship income as covered by the nextchapter) now often forms part of the new deals being offered by recordlabels: the so-called 360 models. These have been dealt with fully in thechapter on recording deals above, but just to recap, a record company orproduction company may only offer you a deal if they can get access toadditional sources of income. These might be shares of publishing, shares ofconcert ticket revenue or often shares of merchandising or sponsorshipincome. For a new artist sponsorship income is likely to be quite small butmerchandising income may be significant if the artist has a growing loyalfan base and plans to tour regularly. The record company may only want tobe paid a share of the income from these other sources of money. If they dothen the percentage they want will vary from somewhere around 10% to asmuch as 50% – this is all negotiable. The percentage could be of the grossincome but this would be dangerous for an artist if after deducting the recordcompany’s share and the cost of making and distributing the merchandisethere is little or no profit left. Much better would be to base the percentageon the net receipts or profit after these expenses have been repaid. Somecompanies are insisting that this income is shared for the life of the deal butyou may want to try limiting it just until the advances have been recouped orto say the end of the first contract period. In some cases the record companywill actually want to take the merchandising rights exclusively and exploitthem themselves. This is to be avoided unless there is a significant financialincentive to do this. The record company then controls all the income fromthis source and the artist will not receive any money until all his advances –including the record advances – have been recouped. Issues like creativecontrols also have to be dealt with. In some cases these other income sourcescontinue on after the end of the term of the record deal as a reducingpercentage over a period of time. Again these deals can work if the financialupside is there, but take care that you do not tie yourself for too long and fortoo high a percentage or you will come to really resent this years down theline.CONCLUSIONSMerchandising is the use of your name and reputation to sell goods.Not everyone will want to do lots of merchandise deals and noteveryone will be in a position to. You have to build up a name andreputation.Consider registering a trade mark in your name and logo.If you haven’t got a registered trade mark but you do have a reputation,you may be able to stop people trading on your name through the lawsagainst passing off.Make sure you own the copyright in any designs you commission.Make sure you have the right to use the design featured in your albumartwork.Think about limiting the territory and the rights you grant.1 Elvis Presley Trade Marks [1997] RPC 543.2 Bravado Merchandising Services Ltd v. Mainstream Publishing(Edinburgh) Ltd [1996] F.S.R. 205.3 Some details of the process involved are outlined on the governmentwebsite www.webdb4.patent.gov.uk.4 In the UK there are 42 classes for goods and services. Some common onesused in the music business are Class 9 for records, Class 16 for printedmaterial such as programmes and posters and Class 25 for clothing.5 Lyngstad v. Annabas Productions Limited [1977] FSR 62 Chapter 9Sponsorship INTRODUCTIONWE SAW IN the previous chapter how an artist protects his name by registeringtrade marks or through taking advantage of the laws of passing off and ofcopyright. Having protected the name, your brand, you can choose how far toexploit that brand. You can decide to only use it to sell your records andvideos and to promote your live performances. Many artists choose to dojust that and don’t really go outside their core area of activity at all. This isfine. No one is saying that you have to, but you may need to look at somekind of merchandising deal to bolster your income from live work. Manytours would make a loss if they weren’t underwritten by merchandising dealsand often by sponsorship.Sponsorship is a kind of extension to a merchandising deal. The sponsoruses the association between you and their product to increase awareness ofthe product and to encourage more people to buy it. The sponsor providessponsorship money in return for the right to trade on your importance to aparticular sector of the market. For example, a sponsor of a soft drink mightlook for a sponsorship deal with a pop artist who would appeal to teenagers.An alcoholic drinks manufacturer, on the other hand, would want to sponsoran artist that had an appeal to over-eighteens and, in particular, those in theirearly twenties.Pepsi has been a keen sponsor of artists in recent years. The Spice Girlsreleased a track as a Pepsi single and featured that track in a Pepsi ad ontelevision. Robbie Williams has done sponsorship deals with Lloyds Bank,for his Royal Albert Hall concert, and several deals with Smart cars,including the premiere of his film, where a fleet of Smart cars was availableto ferry celebrities to the premiere. The Corrs have also been associated withLloyds Bank in television ads and more recently Destiny’s Child withMcDonald’s. McDonald’s also launched Big Mac Meal Tracks where thecustomer who purchases a Big Mac gets an access code worth one freedownload at the Connect music store. There is also the whole area where acompany features a previously unreleased track which is then released as asingle. Car companies are favourites for this, with Ministry of Soundreleasing the track ‘Jacques Your Body’ which featured in the animatedrobotic Peugeot car advert. Gut Records released the Diet Coke soundtrackas a single in 2007 and Positiva is releasing a vocal version of the LloydsBank ad featuring Sarah Cracknell in early 2008. Pepsi Max has featuredmusic written exclusively by The Black Eyed Peas.Sponsorship deals are often done for concert tours. You’ll often see thename of a sponsor on the ticket. For example, ‘Band X sponsored byCarling’. When you arrive at the gig, you’ll find that there are banners andposters from the sponsors. There may be more than one sponsor. You couldhave a main sponsor (the title sponsor) for the tour, another for theprogramme and the tickets, another for the soft drinks on sale at the venueand yet another for the alcoholic drinks. Venues often restrict the extent towhich they will allow outside sponsors to plaster their brands all over thevenue (see Chapter 10). Interestingly, at a time when the live scene seems tobe so vibrant, Carling has recently confirmed the ending of its nine-yearsponsorship of the Reading and Leeds Rock Festivals as the ‘CarlingWeekend’. Carling will also no longer be the official lager at the festivals.The managing director of the company with rights to the two festivals,Festival Republic, said that this was by mutual agreement with both partiesfeeling it was time to pursue new opportunities. So we may see a newsponsor on board or the southern half of the event may well revert to itsoriginal name of the Reading Festival.Clothing companies often loan clothes for photo-shoots or liveappearances in return for a suitably prominent name-check. If you’re lucky,you sometimes get to keep the clothes. Diesel and other similar ‘youth’brands have looked at sponsorship in the past, and up-and-coming newdesigners or those trying to break in to the UK market may be keen to do adeal. These kinds of deal are closer to what I would call endorsements thanpure sponsorship. You let it be known that you support or endorse aparticular product. For example, you might mention in an interview that youdo all your shopping at a particular shop in fashionable Notting Hill.Suddenly all the wannabes are queuing at the door of that shop, partly in theoff-chance that you’ll be in there, but also to try to copy your look. Retailersor designers may pay in goods or hard cash for these kinds of endorsements.HOW DO YOU FIND A SPONSOR?There are a number of ways to get a sponsor. It’s possible for a band toapproach a designer or company to ask for sponsorship. The shoe companywho makes Doc Marten boots has, on at least one occasion that I know of,sponsored an artist following a direct approach from the manager.Companies want to promote themselves as supporting and encouragingyouth culture of which, of course, music plays a huge part. Suchsponsorships by clothing companies are not common.SPONSORSHIP AGENTSApart from the direct approach, another means of getting a sponsorship dealis to approach a specialist agent who both represents one or two bigcompanies looking for suitable projects to sponsor, or who will act for youand go to potential sponsors on your behalf. There are lists of these agenciesin the Music Week Directory and magazines like Audience. There is also thetried and trusted word-of-mouth recommendation from friends or othercontacts in the business. If you’re sufficiently successful to have a brand thata sponsor might be interested in, they or their agents are likely to approachyou or your manager direct. As with all these things, don’t feel you have tograb the first thing that comes along. If you’re desperate for some funding tounderwrite a shortfall on a tour then by all means do a deal, but keep it shortand see how things work out before you get in too deep.WHAT DO THEY CHARGE?If you employ an agent to find a sponsorship deal for you then they willusually take a percentage of the deal they do for you. This percentage canvary between 5% and 15% of the gross sponsorship income. For example, ifthe agent brokers a deal for a drinks company to sponsor your next UK tourand the drinks company is prepared to offer £100,000 for the privilege, theagent would take between £5,000 and £15,000 of that as their fee. If thesponsorship is made up partly or wholly of goods rather than cash, the agentwill expect to get their percentage in the cash equivalent of the value ofthose goods. So if the drinks company were to offer £80,000 in cash and£20,000 worth of free lager to give away to your fans, then your agent on acommission of 15% would still want their £15,000 in cash.The money is usually paid to the agent at the same time as you’re paid. Ifyou’re paid in two instalments, half at the beginning of the deal and the restwhen you finish the tour, then your agent would get 50% of their fee upfrontand 50% when you get the balance of the money.The agent may want to be exclusively employed as your agent for aperiod of time. This is usually for a year but could be longer. During thattime you wouldn’t be able to use any other sponsorship agents, so you haveto make sure that they are good enough first. The advantage you get from anexclusive arrangement is the incentive that the agent has to bring deals toyou as opposed to anyone else. The disadvantage is that you can’t go toanyone else if they don’t get you particularly good deals. If you can get anagent on a non-exclusive basis, that will give you more flexibility.If the agent gets you a deal for some tour sponsorship and that sponsorcomes back to you to sponsor your next tour, then some agents insist thatthey should also get commission on that repeat work, even if they are nolonger your exclusive agent by the time of the second tour. The logic is thatthey made the initial introduction and so should benefit from any follow-up.I can see this logic, but obviously other factors also play a part in yougetting the follow-up offer for the next tour, such as the professional wayyou dealt with the first deal, the benefits that the sponsor saw that camefrom your efforts and your increased fame in the meantime. So while itmight be acceptable to agree to pay the agent for a short while after the endof your relationship with them, I would try and draw the line at, say, six totwelve months. This is all subject to negotiation when you take them on.The agent could be your only agent worldwide and be solely responsiblefor getting you sponsorship deals around the world. As many sponsors aremultinational companies, this may not be such a bad thing, but if you thinkyour agent doesn’t have the necessary overseas connections you might justagree that they can act for you in the UK and decide to use other agentsoverseas.If the agent is representing a company that comes to you with an offer ofsponsorship, you wouldn’t expect to have to pay him a fee for brokering thedeal. In those circumstances he should be paid by the company concerned. Ifhe also looks to you for payment you would be right to resist unless therewere good reasons.ETHICAL CONSIDERATIONSNo, don’t worry, I’m not going to go all serious on you and talk about yourmoral values – well actually, I suppose I am a bit. What I want you to thinkabout is whether you’ll accept sponsorship from any company that offers itand the more the merrier, or are you going to select who sponsors you onmoral or ethical grounds?When you decide on your game plan to look for sponsorship deals, youhave to think about what effect that will have on your brand and yourreputation. There is a narrow line to be drawn between using sponsorship byselected companies to enhance the brand and of being accused by fans of‘selling out’. The products you choose to be associated with mustcomplement the image you’ve established for yourself. For example, ifyou’re aiming at the teenage market you may alienate them (or perhaps theparents who supply the pocket-money) by being associated with alcohol ortobacco. On the other hand, if you cultivate a bad-boy image you won’t wantto be associated with cuddly toys. The exception to this would be if yourplan is to reposition yourself in the marketplace. For example, if you wantedto move out of the teen or pre-teen market, you might choose sponsors ofadult products to show you’re growing up. You should also consider themoral sensibilities of your fans. You could alienate a large proportion ofthem if you had manufacturers of GM foods or a fur company as yoursponsor. There was a mixed reaction to the news that U2 were sponsoring aspecial customised black iPod. Some thought it was an astute ‘cool’ movewhilst others thought it odd that a band which was so averse to sponsorshipdeals was doing one at this stage of their career.Don’t forget that the companies that you’re being sponsored by will alsoexpect things from you. They won’t want you to do anything that will bringtheir brand into disrepute or show them up in a bad way. Bear this in mindwhen negotiating your sponsorship deal. You need to be careful that youkeep an even balance between your and their expectations. If you feel at alluncomfortable about what you’re being asked to do then that should giveyou a signal either to try and change it a little or to pull out of the deal.Your public is a very fickle thing. It’s very difficult to know whetherthey will accept what you’re doing as par for the course and what theyexpect from you. If your fans think you’re selling out then you and yourpress people are going to have quite a bit to do to redress the balance.The other issues you need to think about are whether you want to beassociated with companies that are involved either directly or indirectly inactivities or causes that you disagree with. For example, if you’re acommitted vegetarian you may not want to be involved with a company thathas a subsidiary that is in the business of raising battery hens. If you have astrong aversion to anything to do with cruelty to animals or animal testing,you won’t want to do a sponsorship deal with a company that had a Frenchsister company that ran laboratories that used animals to test their products.If these things matter to you then you need to have an ethical check made onthe company to make sure that they aren’t in any way involved with thingsthat would be unacceptable to you. Remember that, although they are usingtheir association with you to benefit their business, you’re being associatedwith them too, and with the sort of things that they stand for.SCOPE OF THE SPONSORSHIP DEALThe sponsorship deal could be for a particular tour or for a series of tours.For example, it could be just for the UK or European leg of your tour orcould be for the whole world tour. It could also just be for a particularproject. A company could sponsor you for a particular event, for example, aone-off concert, or they could expect some personal endorsements of theirproduct. They may want you to do personal appearances or to give privateperformances at their company sales conferences to rally the troops. Theymay want you to write and record a song especially for them that they maywant to release as a promotion or as a proper commercial release. I’m sureyou’ll have seen special offers where you get a single or album by yourfavourite artist if you collect a given number of ring-pulls, packet tops orspecial coupons. If you have an exclusive record deal, you can’t do thesedeals unless you first get the record company’s agreement to waive theirexclusivity. They may agree to this if they think that the publicity will helpsell lots more records, or if the sponsoring company has access to markets inparts of the world that your record company can’t break into withoutspending a lot of money. For example, some of the soft drinks companieshave a huge market in parts of South East Asia or in South America. Bybeing associated with them in those countries, you’re getting a huge amountof exposure that should help to sell lots of your records. This exposure couldbe much more valuable than any amount of marketing money that yourrecord company may be prepared to put into launching you in those areas.Obviously, it makes sense in these cases for there to be a considerabledegree of co-operation between what your record company is planning, whatyou’re doing in terms of live appearances and what the sponsor intends todo. If you can dovetail these plans then your chances of world-dominationcome a lot closer.Whether it’s a tour sponsorship or an individual event sponsorship, it’s areasonable rule of thumb that the more a sponsor expects from you the moreyou can expect to be paid.EXCLUSIVITYYou could only have one sponsor at any given time or you could have aseries of sponsors for different products. If you’re only going to have onesponsor then, in return for that exclusivity, you should get a lot more money.If you’re going to look for a number of different sponsors for differentproducts then take care that you don’t narrow down your options too much.If you’re going to have a drinks sponsor, then limit the extent of theirsponsorship to alcoholic or non-alcoholic drinks, depending on what you’relooking for from another sponsor. For example, if Pepsi or Coca-Cola waslooking to sponsor you, you might limit their sponsorship to soft drinks. Youcouldn’t have another soft drinks sponsor, but you could have a sponsor foralcoholic drinks. If you have a food sponsor, try and limit it to theirparticular product, for example biscuits or crisps or whatever. This wouldleave you with lots more food products to find sponsors for. Be careful whatyou agree to do in return for the sponsorship money or you could findyourself in trouble.The Spice Girls v. AprilaAn example of this is a case brought by The Spice Girls against anItalian scooter company.1 The Spice Girls were suing the company forpayment of the balance of the monies they said they were due under asponsorship deal that they’d done with the scooter manufacturer. Thescooter manufacturer had produced a series of scooters, each in thecolours that were associated with each member of The Spice Girls. Forexample, they’d produced a bright orange version as the Geri SpiceScooter, Geri Halliwell being otherwise known as Ginger Spice. GeriHalliwell had, however, left the group shortly after the deal was done.The scooter company refused to pay and counter-claimed that The SpiceGirls had misled them, because at the time they did the deal they knewthat Geri Halliwell intended to leave the group. In February 2000 thecourt decided against The Spice Girls and found that they had misled thescooter company, who didn’t have to pay them the balance of theirsponsorship money. Furthermore, The Spice Girls were ordered to paydamages to the scooter company for the losses they’d suffered.WHAT’S IN A TYPICAL SPONSORSHIP DEAL?The ServicesThe first thing you have to establish is what they want you to do or whatevent they expect to be sponsoring. Remember to keep the scope of theirsponsorship as narrow as you can, without them reducing the money onoffer, to allow you the possibility of getting other sponsors.If the sponsor expects you to do a series of things, for example, writing anew song, doing a live concert tour, making a television ad or a TV special,then make sure that you aren’t over-committing yourself. By taking toomuch on you may not be able to do it all properly and professionally. If youagree to do too much, you’ll end up either not doing it or doing it badly. Thiswill reflect back on you and could do you more harm than good. If you failto deliver the goods the sponsor could decide to sue you.ExclusivityOnce you’ve agreed what they are going to sponsor and what the product isthat will be associated with you, you have to decide if you’re going to haveone exclusive sponsor or whether you are going to give them exclusiverights for a particular product or type of product, and still have the option totake on other sponsors for other products.TerritoryNext you have to decide whether the deal is a worldwide one or if it’s to belimited to particular countries. You could do a deal for just the US or the FarEast, depending on the type of sponsorship. For example, one company thatis ‘big’ in that area of the world but not so well known in other parts of theworld could sponsor the Far Eastern section of your tour. You could thenswitch to another sponsor for the US or European leg.Creative controlIf the sponsor intends to feature your name and likeness in any way in thecampaign, whether on packaging, adverts or otherwise, you’ll want to haveprior approval of those uses. You may want to insist on or ask for a specialphoto-shoot with a photographer of your choosing. You could then submit tothem a number of examples of photos that you like and agree that they canhave final choice.If you’re writing a special song then you ought to have some say in whatit sounds like, even if the sponsor does give you a brief to work to. If you arerecording a song for them that has been specifically commissioned, you’llwant to know whether any particular lyric or theme is to be featured andwhether you’re comfortable with that. If you’re being asked to record a newor special version of an existing song, or to allow a particular track to beused in the campaign, you’ll need to know whether they intend to change thelyrics or music. If they do, you’ll probably want some control over that andto have final approval. Bear in mind, also, that that approval should extendto any co-writers or composers of the original work, and that your publishersand record company may have to give their permission to you making therecording of the new version. You may also want to check the context inwhich the song is being used in case you find that offensive.TermYou have to agree how long the deal is to last. If it’s for a specific event or atour then the sponsorship deal will run from the lead-up to the event, whichcould be weeks or days before the tour and end shortly after the event or tourhas been completed. The sponsor may occasionally have the right to use upprinted materials or products they have already manufactured, but thiswouldn’t normally be for more than three to six months and they shouldn’tmanufacture more of the product in anticipation that the deal is about tocome to an end. Obviously, during the time that they’re allowed to sell offthe product, any exclusivity they have ends so that you can go off and lookfor a new sponsor. If it’s a general sponsorship deal for a particular productthen you might agree that it runs for a year, perhaps with an option to extendit by mutual agreement. You would normally only agree to an extension ifyou got paid a further sum of money. You’ll want to make sure that anyremaining stocks are sold off as soon as possible at the end of the deal, as itcould interfere with either the sponsorship deal for the next part of the touror a new sponsorship deal for the same type of product.You should also bear in mind that the longer your name becomesassociated with one company for a particular product, the more difficult itwill be to get a deal with another company. For example, if the public hascome to associate your name with Pepsi for soft drinks, Coca-Cola is lesslikely to want to sponsor you. Some of you might be saying, ‘I wish I hadthis problem,’ at this point.Banner advertising at venuesIf the sponsorship is for a tour or part of a tour, the sponsors will usuallywant to have their name on banners in each concert arena. They may agreethat these only go up in the foyer or they may want them in the concert hallitself. Most artists insist on no banners over the stage and, if the sponsor’sname is being projected on to the stage backdrop, that this stops severalminutes before they go on stage. Whether you want to insist on these kindsof restriction will depend on your own views as to how closely you want tobe associated with the sponsor, as well as your bargaining power. I don’tthink it’s unreasonable, though, to ask that the banners aren’t so intrusivethat they detract from your own performance.If your sponsorship deal involves publicity for the sponsor at the concertvenue, you have to be careful that you don’t run up against any restrictionswithin the venue itself. The venue owner may already have given the drinksconcession to another company. For example, Coca-Cola may already havethe right to have their soft drinks on sale at the venue to the exclusion of allother competing brands. If that is the case, the venue won’t take it too well ifyour sponsor, Pepsi, then drapes their banners and logos about the place.That doesn’t mean that you definitely won’t be able to do the sponsorshipdeal, just that you’ll have to be aware of any restrictions and make sure youdon’t agree to do anything in the contract that you can’t put into effect onthe ground. Any sponsor will want to have the opportunity to put a stand inthe foyer. You shouldn’t guarantee that they can do this, as there may bevenue or local authority restrictions. Any permissions required and feespayable should be the sponsor’s responsibility.Meet and greetsWhatever the type of sponsorship deal you do, it’s likely that the sponsorwill require you to be involved in some kind of ‘meet and greet’ sessions.These are where the sponsors, their key customers and possibly competitionwinners get to meet you. This may be before or after a concert or at speciallyorganised events. Bear in mind that a live performance can be very draining.You may not want to meet a lot of people beforehand, and afterwards youmay need time to come down from the adrenaline rush of performing. Don’tovercommit yourself. I know of some bands that share the meet and greetsessions out between them. It’s the job of your manager to make sure thatyour sponsors don’t get overeager and expect or even demand too much ofyou.Freebies and promotional activitiesBy this I mean things that the sponsor will expect to get for nothing as partof the sponsorship fee. They will usually want a guaranteed number of freetickets to your concerts. They will always want more than you’ll want togive. There will need to be a compromise. You may offer more tickets atbigger venues and less or none at all at smaller ones.The sponsor may want you to attend press conferences for productlaunches or to make personal appearances. These should always be subject toyour availability and to the other professional commitments that you have. Ifyou’re on a concert tour in Europe, you don’t want to find yourselfcommitted to having to return to London for a press conference. You shouldalso try and limit these appearances to a maximum number of days over theterm of the deal.Take care before you guarantee that you’ll do a concert tour in aparticular region. You may not be able to deliver this or, if you do, you maylose a lot of money. However, the sponsor may agree to underwrite all orpart of such a tour if it’s important to them that you perform in those partsof the world.If the sponsor wants to feature you in adverts, they need to specify howmany, whether TV or radio, and the extent to which you have to be involved.You should have rights of approval. It’s unlikely that you’ll be able to limitthe number of times they can repeat the adverts unless you’ve considerablebargaining power. If you do then you should aim to allow them a reasonableamount of repeats without it getting to the stage that every time you turn onthe television there you are. There’s nothing more off-putting than that. Thesponsor shouldn’t want that either, but sometimes they need to have thebrakes applied for them.Trade mark licences and goodwillI discussed in the last chapter the advantages of registering a trade mark. Ifyou have a trade mark either pending or registered in your name, or a logo,then in your sponsorship deal you’ll be expected to grant a licence to yoursponsor to use that trade mark. You should limit the licence to the usescovered by the sponsorship deal and the licence should end when thesponsorship deal does.PaymentI bet you were wondering when I was going to get to this. What are yougoing to get paid for all of this work? The amounts can vary widelydepending on what you’re expected to do, the size of the company, yourfame and the length of the deal and how exclusive it is. Each will have to benegotiated on a case-by-case basis. The sponsor or the agent will usuallycome to you with a figure for what the sponsor thinks it’s worth and, afterdue consideration, you may want to accept that or try to push it higher.Figures of a million pounds plus for sponsorship of big name artists are notunusual.The sponsorship contract won’t only spell out how much you’ll get paid– it will also say when you will get the money. The sponsorship fee could bemoney alone, or cash and goods, or occasionally just goods (although in thatcase it’s more of an endorsement deal). It’s not usually recoupable orreturnable. There are exceptions, though. If you break your side of thebargain, for example by not doing the tour, or if it’s a case ofmisrepresentation as in The Spice Girls scooter case above, then the contractmay say that you are required to repay some or all of the money. Or you mayget sued for its return. You may also be required to return some of themoney or to pay compensation if you bring the sponsor’s brand intodisrepute.When you’ll be paid will also usually be some kind of compromise. Thesponsor will want to hold back as much of the fee as they can until they’resure you’re delivering your side of the bargain. On the other hand, you’ll beactively promoting the sponsor’s product and you’ll want to be getting some,if not all, of the sponsorship fee in the bank. At the very least you’ll want tobe paid as soon as specific things have been achieved, for example some ofthe money should be paid when you sign the deal, some when you start theconcert tour and the balance at the end of the tour.You should also be clear what is included in the fee. If you’re doing arecording of a song, remember that there will be mechanical royalties to bepaid to your publisher and any co-writer (see Chapter 4). If you have anexclusive recording deal, your record company may want payment in returnfor releasing you from that exclusivity. If an advert is going to be puttogether with visual images for television, for example, a synchronisationfee will be payable to your publisher and to the publisher of any co-writer.These can be significant amounts of money. Who’s going to be responsiblefor these fees? Are they included in the sponsorship fee so that you have tosort it out with the publishers? Or is it the sponsor’s responsibility? Theanswer can make a considerable difference to what you end up with inpayment.You should have the right to end the deal if the sponsor breaches thepayment terms or otherwise doesn’t fulfil their side of the bargain.CONCLUSIONSDecide on the types of product you want to be associated with.Either target those companies that produce those products yourself, orthrough an agent, or decide that you’ll wait until they come to you.Decide if you’re looking for one exclusive sponsor or a series of dealsfor particular products.Decide if you want to do a worldwide or limited-country deal.Make sure that the services you have to provide are manageable andthat you have any necessary permissions from your record andpublishing companies.When setting the level of the fees, agree what is to be included.Try to get as much of the fee paid up-front as possible.1 The Spice Girls Limited v. Aprila World Service BV Chancery Division24/2/2000. Chapter 10Touring INTRODUCTIONTHE LAST FIVE years have seen a change in the fortunes of the record andpublishing business as opposed to that of the promoters and concert venues.Mintel estimates that the live music market will be worth £836 million by2009. Whether it is because people can get recorded music so easily andcheaply that they devalue it or whether it’s because we are rediscovering thatwe are social animals at heart and being stuck in front of a computer forhours is really rather sad. Whatever the cause we are spending large sums ofmoney on going to see artists perform live. Look at the record-breaking 21night run that Prince had at the O2 in 2007 and at the enormous amounts ofmoney people will pay for tickets to big name artists. This is all at a timewhen the record companies are struggling with issues of piracy, illegal freedownloads and challenges at the very heart of their business models. So it isprobably not surprising that some of the more innovative deals emerging inthe last few years have centred on the live sector which is one of the fewpresently making money. Hence the growth in the ubiquitous 360 modelswhere the record company takes a share of the artist’s live earnings. Themost talked about deal of 2007 however was that between Madonna and LiveNation.MADONNA AND LIVE NATIONMadonna has always been brilliant at reinventing herself. She has alsoalways been a very canny business woman. The two traits are combined inthis deal.It seems she had one more album to record under her deal with Warners.They also probably have the right to bring out at least one ‘Greatest Hits’ or‘Best of’ album but after the next studio album, which Madonna is currentlyfinishing recording, she will be free of that contract.She was apparently in discussions with Warners about a new deal orextension of her existing deal but then in a move which surprised theindustry it was announced that her new deal would not be with a traditionalrecord company at all but with her live touring promoters Live Nation. Whatis more it was to be a 360 model deal.As details began to emerge, Warners put out a statement wishing herwell and confirming plans to release the new studio album (the last undertheir deal) in spring 2008. This ends a twenty-year relationship between thelabel and the artist. Speculation was rife over whether there had been afalling out or some other upset. But it may be that Warners did not want topay the kind of sums that Madonna was looking for. Perhaps also theycouldn’t offer the full advantages of the 360 model for the artist.Live Nation is the biggest concert promotion company in the world but itlost $161 million in 2005 and 2006 and made a small $10 million profitfrom revenues in excess of $1 billion in the first quarter of 2007. So why dothis deal? Well, they received considerable publicity for the deal and mayhope that this will attract other stadium size artists to look to them for theirnew deals. They get a chance to earn more from Madonna’s touring,endorsement/sponsorship deals and merchandise over the next ten years andthe recording income from up to three studio albums. Madonna’s live toursattract huge audiences so for her it seems a clever move to receive a reputed£120 million in return for giving these rights to Live Nation. It is however abit of a gamble because Madonna is now 49 (admittedly a supremely fit 49)and may not want to be still touring at the same pace for the next 10 years.Will her ‘brand’ remain important enough to command large endorsementsand sponsorship deals and if she tours less will the merchandise sales bethere?The Wall Street Journal reported on 11 October 2007 that she will bepaid $17.5million as a sign on advance, between $50 million and $60 millionfor the next three albums plus a $50 million payment in cash and shares forthe concert promotion rights. When she does tour she will still reportedlyreceive 90% of the gross touring revenues. Not a bad day’s work.But do bear in mind that the full financial package is nearly alwayslinked to delivery of product and achievement of certain targets. If those arenot met then the deal could well be a lot less attractive financially.MAMA GROUPAnother company, amongst many, which is aiming to capitalise on thecurrent success of the live music scene is UK AIM listed company, MamaGroup. Through a thorough analysis of the live industry – observed at thevarious, mostly small, Barfly venues managed by the group – the founders,Adam Driscoll and Dean James, set about seeing how they could get a pieceof not just the profit from promoting concerts but also the ancillary incomelike the T-shirts and other merchandising, management and development ofupcoming artists. They now manage eighteen UK live venues, includingrecent acquisition Hammersmith Apollo in West London. Their associatedmanagement company Supervision signs up talented acts, including someperforming at the Mama Group-managed starter Barfly venues, tomanagement deals. They control big money-spinning brands like G-A-Y andown a collection of media and marketing agencies targeting the studentmarket called Campus Group. They are presently working on digitalordering and delivery of the live concert ticket alongside the music track andthe T-shirt. The all-round one-stop shop.Of course, all of this activity rests on the continuing success of the livesector. This has always been cyclical in nature – just like most areas of theeconomy – and there are some commentators that say it may have peakedwith the Madonna deal. As we don’t have a crystal ball we will just have towait and see but ride the opportunities whilst they are here.GETTING STARTEDWhen you are starting out you’ll probably get gigs in a very hand-to-mouthway. You or your manager will chase them up, probably starting in yourhome town with local pub dates. If you live in a town with a large studentpopulation, you might get on to the university/college circuit. Local bandsare often very popular for ‘rag’ or summer balls, possibly as support to otherbetter-known acts. Getting to know the local social secretary at theuniversity/college can help but remember, all local bands with a bit ofambition will be doing the same thing.If you can get the local press and radio behind you this can open up morelocal gigs. Don’t forget college radio. If you make a fan of the stationmanager or a particular DJ, they’ll plug not only your local dates but alsothose further afield. Take copies of your demo to the station and use yourbest selling skills to convince them they could be in at the start of a futureColdplay, Killers, KT Tunstall or whoever.Once you have a local following you can look to venture outside the areato bigger and (hopefully) better-paid gigs. A word of warning – don’t eventhink of inviting A&R people to your gigs unless you’re well rehearsed and‘tight’ in your playing and command an enthusiastic local following. I’vebeen to many gigs where the band makes the fatal error of treating it as justanother session in front of their mates. They act far too casually and areunder-rehearsed. If the local record company scout happens to be at that gighe could be put off you for life, or it could set back your campaign for arecord deal by several months while the damage is repaired. The samedisastrous situation could happen if there’s a reporter for the localnewspaper at the gig who gives you a bad write-up. Don’t get me wrong. Iknow that every act has its off day when, for whatever reason, it just doesn’tcome off. Scouts and newspaper reviewers will take an off day into account.What they won’t forgive is if you aren’t acting in a professional way. Youshould treat every gig as a professional job and the potential one when you’llbe discovered. Pete Doherty and Amy Winehouse are the exceptions thatprove the rule.Try to find out who the local scouts are for the major record companies.It may be someone at the local college or radio station. Local bands thathave been around for longer may be able to tell you, otherwise ask thereporter on music events at the local newspaper. It may even be them.Whoever the scout is, they may be looking to move into the businessthemselves using the discovery of a great local band as a stepping-stone.Some managers now also act as a kind of A&R outpost so don’t ignore localmanagers either.Doing all this is very hard work and mostly unrewarding. Some bandsget to play in venues in larger towns by doing a deal with the venue owner orpromoter where, in return for booking the band, they guarantee there will bea minimum number of tickets sold. If you don’t sell enough tickets you haveto make up the shortfall. It pays to drum up ‘rent-a-crowd’ from among yourlocal fans, friends and family. I know of bands that sell package tours – theyhire a coach and sell tickets to the gig and a coach to get you there and back.This proves especially popular where the band manages to get a gig in alarger town or city. Then the trip to the gig is combined with the chance of aday out in the city at a reasonable price.As I mentioned in Chapter 1, you might also consider entering one of themany competitions run around the country. These might be billed as ‘Battleof the Bands’ Vodafone Live. Look out for adverts in the local press or themusic papers like NME or Kerrang!. These contests are often viewed asslightly cheesy, not quite a credible way to break into the business. If it getsyou noticed, what’s the problem? If nothing happens, then you don’t have tomention you were ever involved in it.There are also some venues that have special showcase evenings forunsigned artists or writers. The ones I know about are in London, but theremay well be others in a town near you – ask around. Club promoter TonyMoore has an unsigned acts night at a pub called The Bedford in Balhamwhich, although ‘south of the river’, still attracts the A&R crowd. The Barflyin Camden and other Barfly operations around the country have similarevents and are a recognised source of new band talent so are regularlychecked out by the A&R scouts. The PRS occasionally supports events forartists who are either completely unsigned or have only signed a record deal.The American collection society ASCAP also holds unsigned artist eventsfrom time to time. Contact details for these venues and organisations are tobe found in Useful Addresses at the end of the book.You can try and get in on the unsigned acts part of the annual UK musicconference called In the City. It is usually held in September and its regularhome is Manchester. It has for some years been a place for UK musicbusiness people to gather and have a drink or five, as well as the venue for awhole series of music events – mostly for unsigned acts. The unsigned gigsare held in local music venues and pubs and are a magnet for A&R scoutsand record label honchos. This is because in the past this event has been afruitful source of new talent, including Suede, Oasis and Muse. The 2008ones to watch included Elle s’Appelle, The Moths and Sky Larkin. To bepart of the unsigned section you have to submit your demo and a briefbiography to the unsigned organisers, who then have the unenviable task ofwading through a vast pile of material to come up with a shortlist of about30–40 bands over the 4–5 nights of the event. The best bands from each yearusually end up doing a gig in London either immediately after the event or awhile later. In 2007 they did a showcase at the Camden Barfly on 20December which was broadcast live on Xfm, so a great piece of promotionfor the acts involved.Most artists who are already signed see live concerts as an essentialmarketing tool. People that haven’t yet bought one of your records may go toone of your gigs and love what you do so much that the next day they go andbuy up your entire recording output. A good review of a live gig can giveyour latest release very valuable publicity. Also, the current emphasis beingplaced on radio-friendly artists means that if your records aren’t the sort thatRadio 1 or 2 or other powerful radio stations are going to play, you havelittle alternative than to build a fan base through live concerts (see Chapter6). For some non-mainstream genres such as folk, blues or jazz, sales of theartist’s recordings at gigs forms the main part of their sales incomealongside mail order or sales off their websites.GETTING A BOOKING AGENTThe next stage on from you or your manager doing all the legworkyourselves is to get a booking agent. This will probably happen after yousign a record deal (see Chapter 3). It may, however, happen before if you’veestablished a reputation as a good live act and have attracted the attention oflocal agents because they can see you’re a safe bet for venues they regularlybook acts for.Do you need a booking agent? Possibly not. If your horizons are set atonly playing local pub venues and you don’t mind doing the work yourself,you probably won’t need one. It’s someone else that you’re going to have topay commission to, so you want to make sure it’s going to be worthwhilebefore you get one. Also, they aren’t likely to be interested in you unlessyou’ve already established a reputation for live work so you’ll probably haveto be passed the pure beginners stage.What you may find is that certain venues are closed to you, because thevenue owner only books acts brought to him by selected booking agents.Having a booking agent can also give you credibility to get into moreprestigious or bigger venues, and open up the possibility of supportingbigger ‘name’ acts. As the booking agent is on a percentage of what you get,it’s in his interests to drive a hard bargain. If the agent is any good youshould end up with a better deal than if you had negotiated it yourself.You might think that your manager could do the job of a booking agent.Yes, they could and in the early days they probably will, but specialisedbooking agents are the experts in putting together larger events such as a UKor European tour of the medium to large venues and stadiums. They know allthe promoters, they can get the best deals and have a better chance of gettingthe prime dates than you or your manager, who don’t do this on a day-by-daybasis. The agents also know about all the main venues you’re likely to wantto play, and one or two that you’ll not have thought of. If the venue isoutside the main concert circuit, they have the specialised expertise tonegotiate a good deal for you. With everything else that’s going on around atour, you or your manager may not have the time to do this properly. It maypay to find someone who can. 2006/07 saw a consolidation of some of theUK agencies but also the invasion of US-based agents such as WilliamMorris and CAA. This has given agents not only a bit of a shake up but alsoconsolidation has increased their bargaining power, so getting a strong agenton board can greatly increase your chances of getting good gigs at goodmoney.HOW DO YOU FIND A BOOKING AGENT?You can ask your mates in the music business. Which agents do they use,which ones do they rate and which have they found to be trustworthy? Wordof mouth is often a very reliable method of finding a good booking agent. Besure that the booking agent works in the same area of music as you;otherwise he won’t have the contacts in the right places to be of use to you.Booking agents are also listed in directories such as the Music WeekDirectory. You could call local ones and try to find out which sort of actsthey regularly work with and what venues they book. Another good source ofinformation on agents and who does what is the monthly magazineAudience. It also gives you music business news, including details of up-coming festivals and other music industry events.If you have a record deal it’s likely that your A&R man will direct youor your manager to a good booking agent. While obviously you should takeon board their suggestions, you shouldn’t blindly follow their advice. Aswith finding a manager, you should also ask around and arrange to meetmore than one agent. You should get them to come and see you perform live.This should show you who seems the most enthusiastic. You should also askaround as to which booking agents are seen as having the most ‘clout’. Yourrecord company, accountant and lawyer should all have had experience ofdealing with booking agents and can give you some guidance. It’s alsoimportant that your agent has a reputation as being honest. You don’t want abooking agent who’s going to run off with the ticket takings. If the agentwho is interested in you works for a big organisation, find out if you’ll bedealing with him in person or if he’ll be passing you on to someone else inthe organisation.Booking agents will probably approach you or your manager, eitherdirect or via the record company, if there’s a good buzz or hype about youand you’re signed to a record deal. If this happens, the same tips apply. Askwho else is on their books. Ask around about their reputation, honesty andreliability. Get them to meet the band and see you perform live. Make surethe agent ‘gets the picture’ as to what you’re trying to achieve.One thing that you should also be aware of is that some booking agentsmay also be getting a financial kick-back from the record label to come onboard as your agent. I know of record labels that are keen to see their artistsperform live and encourage agents to get involved by paying them either aretainer or a small percentage of record sales (usually 0.5–1%). This shouldbe at the record company’s expense and not recoupable against you ordeducted from your royalty or other record income. It’s not necessarily a badthing, but there could be a conflict of interest between what you want andwhat your record company thinks is best for you. Also, when you work outyour deal with an agent who’s being paid in this way, you need to bear inmind what they’re also getting from the record company.WHAT’S IN A BOOKING AGENCY CONTRACT?Some agents don’t have written contracts with the artists they represent.They prefer to work on trust. They tell the artists what commission rate theytake; they leave it to the artist’s tour manager to sort out things such as theriders (see here), security requirements and so on. The risk for an agent innot having a written contract isn’t as great as for a manager, because theagent is probably only booking one tour at a time and will have sorted out inadvance his commission on that tour. He has no interest in ongoing record orpublishing royalties, or in merchandising or sponsorship income. That said,even though some agents don’t bother with written contracts, most bookingagents like to have a contract to keep things clear and to give them somecertainty so that they can plan what’s to happen in the future. Indeed sincethe introduction of new employment agency regulations they may have noalternative in future than to put their terms in writingEMPLOYMENT AGENCY REGULATIONSThese regulations came into force a couple of years ago1 and apply to allkinds of employment agencies who charge a fee to the people they get workfor and the work seekers include actors, musicians, singers, dancers andother performers as well as songwriters, authors, directors, those involved inthe creative aspects of film and theatre productions, models and professionalsports people. The rationale behind the regulations is to ensure that the clientknows the terms on which he is doing business with the agent and what thefees will be. The regulations seek to ensure that the client cannot be made tosuffer a penalty if he terminates the agency contract, nor require the client totake other services provided by the agency. The terms of business have to begiven to clients in writing and can’t afterwards be changed without theclients’ agreement. A separate client account must now be kept and regularstatements provided. Most decent agencies will already have adopted theseaspects of the regulations as best practice but it may help to weed out someof the charlatans.Also, in a nod in the direction of health and safety issues, the regulationsrequire the agents to consider the suitability of the client for the job inquestion, e.g. not putting forward someone as a trapeze artist who sufferedfrom vertigo. On the other hand they also require the client to inform theagent if he becomes aware of any reasons why he is not suitable for the job.The terms on which the agent is employed by the hirer – the circus ownerlooking for the trapeze artist – must also be clearly stated and written downin one document. The regulations do place more of an obligation on theagent too, to ensure that the client has all the necessary permits/unionmembership etc. necessary for the job in question.If the agent wants the right to deduct his fee from the fees for the job hehas to have specifically agreed that with the client in the engagementagreement. So this may prompt a review of agents’ terms of business. Theagents can be sued in a civil court if they breach the regulations.WHAT IS IN A BOOKING AGENCY CONTRACT?In many ways the booking agency contract is similar to a managementcontract (see Chapter 2). There are several parts of the contract that arecommon to all booking agency contracts.ExclusivityThe booking agent will be looking for an exclusive arrangement. He won’twant to be competing for your work with other agents. The arrangement withthe booking agent sits alongside the management agreement. Indeed, themanager may be very involved in the appointment of the booking agent. Themanagement contract will usually give the artist the right to approve theidentity of any booking agent. The manager looks after all other aspects oftouring other than the actual booking of the concerts. There is danger of anoverlap in the commission arrangements. The artist doesn’t want to bepaying a booking agent and the manager out of his gross income. Themanagement contract will usually say that the manager takes hiscommission after any commission to a booking agent has been deducted.The management contract will usually give the artist approval over the termson which the agent is appointed, particularly if he wants to charge more thanthe industry norm of 10–15%. The booking agent’s fee should be deductedfrom the gross income first, and the manager’s commission should becalculated on the net amount that’s left after the agency commission and anyother deductions agreed in the management contract have been taken off.TerritoryThe contract could be a worldwide one or it could be for a specific territory,for example North America. If it’s a worldwide deal then it’s possible thatthe booking agent will want to use local sub-agents in some territories. Forexample, the booking agent may have his own offices in the UK and Europe,but be linked with another company or individual in the US. Until the recentinflux of US agencies into the UK market there was a kind of gentleman’sagreement that they did not try to poach acts in their respective territories,but the gloves are now off.The artist may want to have the right to approve the identity of any sub-agents. Any subagent’s fees should come out of the booking agent’s fee andnot be payable by the artist.If it’s a worldwide deal, the artist will want to be satisfied that thebooking agent has the necessary contacts himself or through established sub-agents to do a good job in all countries where the artist is likely to want toperform live. It’s no good appointing a UK booking agent worldwide whenhe can do a great job in the UK but hasn’t a clue how to deal with promotersor venues in other parts of the world.TermThe length of the term can vary considerably. It could be for a particulartour, for example the 2008 UK Arena tour. In that case the contract will endafter the last date of that tour. The artist is free to do a deal for the next touror for the US leg of the same tour with another agent, as long as it doesn’tinterfere with the UK booking agent’s rights.The term could be open-ended, continuing until one party gives the othernotice to end the arrangement. The usual notice period is a minimum ofthree months. There may also be an agreement that notice can’t take effectduring a tour, or that the agent gets commission on the whole of a tour theyhave set up, even if the arrangements with them are terminated before thetour is finished. This is only fair, because tour arrangements often have to beset up many months in advance.Many booking agents are looking for the certainty of a fixed-termcontract. This could be as short as a year, but terms of three to five yearsaren’t unusual. Obviously, from your viewpoint, the longer you’recommitted to one booking agent, the more need there is for a contract thatputs definite obligations on the booking agent to try and get work for you.The contract should also contain a get-out if it’s not working out, becausethe booking agent can’t get any work or is otherwise falling down on the job.The booking agent’s dutiesAs we saw with management contracts, the agency contract doesn’t often setout in any great detail what the booking agent will do. The agent’s duties areusually expressed in very general terms. There should at least be some kindof obligation on the agent to try to get work for you. After all, that’s his job.If there’s a fixed-term contract and if you’re ready to do gigs and your agentcan’t or won’t get you any work, then you should have the option to go toanother agent.On the other hand, if the agent does get you work, you should have theright to decide whether you actually want to do the work. The contract willprobably give you the right to turn down offers of work if you do so onreasonable grounds. For example, if the booking agent gets you three datesin the North of England and a fourth a day later in Torquay, it might bereasonable to say that you can’t reasonably get yourself and your gear fromone end of the country to the other in that time. Or, if you did, it wouldn’t becost-effective once you take into account the travel costs in getting there. If,however, your booking agent has got you work which you turn down for nogood reason, you can’t then turn around and say that the agent hasn’t donehis job.Your dutiesYou will usually have to agree to refer all offers for live work that come toyou to your booking agent. Because of the exclusive arrangements, youmustn’t act as your own booking agent. You will also usually agree to keepyour booking agent aware of your plans. For example, if the plan is torelease the new album in September, you’ll be expecting to do live dates tohelp promote that release. You’ll need to tell the agent at the beginning ofthe year so that they can begin to outline a tour in consultation with you andyour manager. Many of the bigger venues are booked up months, if not ayear, in advance for key dates, and the earlier the agent is told of the plansthe sooner they can start to take options on the key venues and dates. Theseprovisional bookings are confirmed when the details of the tour are firmedup. If you’re tying a tour in with the release of your album, the dates won’tprobably be finally confirmed until the approximate delivery date for thealbum is known. That said, it doesn’t always work to plan. If the recordingoverruns then the delivery date will shift and could have an impact on thetour dates. However, gigs at big venues are usually set up for a few monthsafter the album release and as an integral part of the promotion surroundingthat release. Tours also have to try and tie in with any plans to release thealbum overseas.You’ll usually agree to use your best efforts to do the dates that thebooking agent has booked and which you have agreed to do. Obviouslyillnesses do occur, and sometimes tours or particular concert dates arecancelled at short notice due to this. It’s usual to take out insurance againsthaving to cancel a tour, or one or more dates, if illness or accident affectsone or more band members. These insurance policies aren’t cheap, but if theartist gets laryngitis halfway through a world tour or, as happened withOasis, three band members were involved in a car crash causing thecancellation or postponement of some US dates, it is comforting to knowthat insurance will cover any losses. Meatloaf had to cancel and reschedulesome of the dates in his 2007 tour because of health problems, and VelvetRevolver had to cancel dates because of visa problems. Insurance policiescan also be taken out to cover dates that have to be cancelled because notenough tickets have been sold. These are, of course, very expensive and areprobably only worth it for big stadium dates. If you’ve got yourself a decentmanager, you shouldn’t have to worry about whether the necessary insuranceis in place as he, or the tour manager, will do this for you.Insurance policies can also be taken out to cover things like bad weatheron open-air gigs. The owner of the site that hosts the Glastonbury Festivaldescribed in the press how he’d been offered insurance cover against badweather, but hadn’t taken it up because the premium was too high. Given thenumber of years that the site turns into a giant mud bath it probably is toohigh a cost especially as the mud has now almost become a part of theexperience for the stoic British concert-going public.You can get insurance cover for most things at a price. I remember asituation when a member of a band was spending a year living outside theUK for tax reasons. The rules at the time allowed you to return to the UK fora given number of days in that year. The band was doing a world tour, whichincluded some dates in the UK. The last of these dates fell on the last daythat he would have been entitled to be in the UK and not lose the taxadvantages. The concert was due to finish at 10.30 p.m., which meant thatwith a helicopter standing by he should have been out of the country in time.If he wasn’t he would lose significant amounts of tax savings, so aninsurance policy was taken out to cover him against that happening.Everything was going very well until the band got a little too enthusiastic inthe number of encores, and it was getting nearer to 11 p.m. when the bandfinally left the stage. A very swift dash to the helicopter followed and,luckily, our man was just away in time.Van Morrison (Exile) v. MarlowBut don’t think you can always be protected against cancellation or no-show. Van Morrison’s service company, Exile, got into trouble in 2003when it was ordered by a court to pay Gary Marlow, the owner of theCrown Hotel in Marlborough £40,000 in damages. Mr Marlow hadbooked Van Morrison to appear at his hotel and was also the promoter ofthe gig. There was a written contract which, according to Exile, gavethem a prior right of approval of all advertising and promotionalmaterials i.e. it would seem Van Morrison wanted to keep it relativelylow profile. But, the contract also said Mr Marlow should do his best topromote the show. Mr Marlow mentioned the intended appearance ofVan Morrison in answer to some enquiries from the press. As a resultExile decided Van Morrison would not perform, arguing that thisinterview breached its right of approval over publicity. However, thejudge decided that it was the nature of a promoter’s contract to promoteand if the artist wants to place restrictions on that promotion these haveto be clear, unambiguous and not contradictory. This contract was notdrafted in this way so Exile was found to have wrongfully prevented VanMorrison from performing and had to pay up.I have heard of some odd grounds for cancelling tours but the one advancedby opera singer Dame Kiri te Kanawa that she feared being bombarded withunderwear certainly takes some beating.Kiri te Kanawa CaseIn an Australian case reported here in April 2007, Dame Kiri te Kanawawas booked to appear as co-headliner on a 2005 tour with Aussie veteranJohn Farnham. She cancelled after watching DVDs of his shows wherehe was thrown underwear by fans. The promoter, Leading Edge, sued herfor A$ 2 million for the money it says it had lost on publicity costs andticket sales. The Supreme Court judge rejected the claim ruling thatalthough emails had been sent with details of venues and fees for theproposed concerts there had been no firm commitment by her to do theconcerts and no contract had been finalised. So it’s a question of themost basis aspect of English contract law – was a contract formed?The feeWhat is the agent paid? His fee is usually a percentage of the gross incomefrom your live appearances. It will include the appearance fee and also anybenefits that you receive in kind as opposed to in cash. For example, thepayment you get for a particular contract could be made up of a £10,000appearance fee plus a car provided by the tour or venue promoter, or freetravel or hotel accommodation. The agent will usually want to add the valueof the car, the travel, the accommodation and so on to the gross income inworking out his fee. It’s here, of course, that you can see the value of a touraccountant. One of his many jobs will be to see that a proper value has beenplaced on these non-monetary items.The fee is usually between 10% and 15% of the gross income. If you’repaid £10,000 in appearance fees and a car worth £10,000, then your bookingagent will receive 10–15% of £20,000 (i.e. £2–3,000). The agent willnegotiate with the promoter or with the venue direct, and will usually agreethat the promoter or venue pays them their fee direct, with the balance beingpaid through to you. There may be a deposit paid which the agent may wellhold as security for their fee. Once it’s clear that there are sufficient ticketsales to mean that date won’t make a loss, the booking agent may well agreeto release that deposit to you, less their agency fee. Although as we sawabove the new regulations mean that he will have to get your writtenapproval in order to deduct his fee from these monies and he has to keep thefees in a separate client account. Or, the agent may negotiate guaranteedminimum payments from the venue or promoter, which aren’t returnable,even if insufficient tickets are sold to make the date viable. The bookingagent will usually insist on being paid for any work that has been contractedfor or substantially negotiated during the term of the agency contract. Forexample, you may contract to a forty-date tour through a particular agentand then move on to another agent for the rest of the dates or for the nexttour. While you may be free to do this, you will still have to pay the firstbooking agent for the work they did in putting the original forty-date tourtogether. Sometimes the agent will limit their commission to concert datesthat you do within six months of the end of the term of their contract. Thiscould be a little hard on the agent. If the artist is doing a world tour, it’slikely that that could run well beyond six months. If the agent has done thework in setting up the tour, there are strong arguments for saying that theyshould be paid for that work. As it’s unlikely that you will have to pay anyother booking agent for that same tour, you aren’t going to get a double-hitfor fees. If the booking agent has done an all-right job and the contract isn’tbeing disputed, or hasn’t been brought to an end because the booking agentis in breach of contract, this position is a reasonable one to take. Sometimes,if your agent leaves one company to go to another one and you move withhim he agrees to pay some of his fees to the old agency in return for takingyou with him.AccountingThe booking agent will usually want to collect the money and deduct theircommission before paying the balance through to you.You’ll want to make sure that the money is paid into a separate clientbank account. You’ll need to see detailed statements of what has beenreceived, from where and how the commission is calculated. You’ll want thebalance to be paid through quickly and will need to have the right to carryout an audit of the booking agent’s books and records to make sure you’vereceived amounts properly due.This is particularly important where some payments may be receivedupfront in the form of deposits from the venues, or as guaranteed sumsregardless of the number of tickets sold. The deposit may be returnable insome circumstances. One of the jobs of the tour accountant is to keep a trackof all these arrangements as well as keeping a close eye on any sums paid incash on the night. These deposits do not automatically have to sit in theseparate account under the new agency regulations so you might want tospecify in your agreement that they should.The balance due to you should be paid through at the end of each gig, butthat may not be possible, in which case it should be at least weekly.Sometimes payment may come at monthly intervals if the arrangements areparticularly complex or involve overseas tax issues. If you aren’t going to bepaid on the night and payment is to be delayed then a rough outline – calleda settlement sheet – should be prepared at the end of each gig and given tothe artist or the tour accountant within three days to check.Assignment and key-man provisionsYou need to establish who is going to be your agent – your key contact at thebooking agency. The larger the booking agency, the more important it is toget this sorted out. There’s nothing worse than signing up to an agencythinking that you’re going to be dealt with by one of the hot-shots, only todiscover that he has passed it to a junior with no experience or clout.If you can, you should get a right in the contract to terminate it if thatkey-man isn’t available to you as your agent. Obviously, a good agent isgoing to be working for more than one artist and is going to be in greatdemand. You can’t therefore expect him to be there for you every minute ofthe day. But when it comes to putting together a big tour, whether you’re theheadline or support act, you need to know that the agent is there for you tolend their experience and bargaining skills to sorting out the details. Theagency isn’t going to be very happy about agreeing to key-man clauses in thecontract. If a particularly good agent wants to go off to another agency, orwants to set up on their own account, that puts them in a very goodbargaining position. You can terminate the contract if the agent leaves andthen move to their new agency if you want to. The agent can use the fact thatyou could terminate to negotiate better terms for them if they’re to stay withthe agency or better settlement terms if they still want to leave. If the agencydoes agree to a key-man clause then it will probably say that the right toterminate only arises when the agent is consistently not around for thirtydays or more. They will also usually exclude periods when the agent isgenuinely ill or on holiday.If the agency plans to sell up or sell on the contract to another company,or it wants to buy into a bigger company, you should have the right to refuseto be tied to these arrangements unless the agency first gets your approval.Finally, the contract should give you the right to terminate the term ofthe contract if the agent is insolvent or breaches his obligations, forexample, if he doesn’t pay the balance of the ticket money when he shouldand he fails to put this right within a reasonable time of you putting him onnotice that they should.PROMOTERSA promoter is responsible for booking artists to perform live at particularvenues. This could be one man promoting a single venue or a multi-million-pound multinational corporation owning the right to promote a whole raft oflarge and small venues such as Live Nation.WHAT DO PROMOTERS DO?Promoters are responsible for securing the venue and for selling the tickets.The promoter may be the venue owner himself, or they may be a separatecompany who have an arrangement with a particular venue. Thisarrangement may be exclusive or non-exclusive. The promoter may dealdirect with the artist or his manager or he may negotiate through a bookingagent. Promoters make their money on their margins. If they own the venuethen they want to cover their costs and make a profit. If they just deal with avenue they make their money on the difference between what they have topay through to the venue and what they have to pay to the artist/bookingagent after allowing for their own expenses. The promoter may also controlthe sales concessions at the venues, for example for selling food, drink ormerchandise. The promoter may charge for the rental of these concessionsand/or take a percentage of the takings.A promoter may promote just one venue or perhaps a festival or a seriesof venues. There are promoters who operate nationwide, but also those whooperate only in particular parts of the UK.2Once the dates are pencilled in, the promoter will want an agreementcommitting the artist to do these dates and laying out the terms on whichthey will perform.Naturally, these sorts of arrangements are only likely to affect the mainartists on the bill – the top billing or headline acts. A supporting artist willhave little or no say on the terms of the deal with the promoter. Thepromoter will usually agree a fee with the headline act and it’s up to that actto agree a deal with the supporting act as to the terms on which they willappear on the bill.As discussed above, some promoters like Mama Group and Live Nationare also branching out into controlling other ancillary income streams notgenerally within a promoter’s remit, such as merchandising.WHAT’S IN A PROMOTERS CONTRACT?Your obligationsThe contract will set out what concerts you will do, when and where. Thecontract could spell out the length of time you are required to perform. Forexample, it may say that you’re expected to do one ‘set’ (performance) of atleast forty minutes duration. For smaller venues it may say that you’reexpected to do two forty-minute sets with a break in between.Promoter’s obligationsThe promoter will agree to provide at least the venue, ticket sales facilitiesand basic door, stage and backstage security arrangements. Thereafter it’sdown to the individual arrangements agreed in each contract. The promotermay agree to supply certain equipment and personnel, for example, aparticular sound desk or sound engineer. If the dates include any overseasgigs, then any personnel they supply should be provided with all necessarypermits, including work permits for overseas dates or for overseas personnelworking in the UK.The promoter will also usually be required to provide an agreed level ofbackstage amenities for you in the form of dressing rooms, toilets andmeeting or VIP areas.It’s also usually the responsibility of the promoter to provide insurancecover against injury or death caused to members of the public. This is calledpublic liability insurance. It’s vital to ensure that this cover is in place.Obviously, this will be the manager’s job once there is a manager on board,but a member of the public can get injured in the early days as well, so youshould think about this. Unfortunately accidents do happen at live gigs;people do fall or get caught up in the crush at the front of the stage. If thereisn’t insurance in place, the person injured could look to you direct forcompensation. If anyone is employed to do any construction work, forexample for the stage or lighting rig, then those sub-contractors should alsocarry insurance or, once again, responsibility could fall back on you. Therewas an unfortunate spate of concert related deaths and serious injuries inrecent years, beginning with the deaths of 9 music fans at the RoskildeFestival in Denmark in 2000, followed by the deaths of 21 clubbers inChicago and hundreds of deaths at the Rhode Island Club where a fireworksdisplay as part of the band Great White’s set led to disaster. An accidentinvolving one of the trucks carrying concert equipment for George Michaelforced the singer to cancel a show in Prague. In Atlanta opening artist RayLavender and Akon band members had completed their sound checks andleft the stage when the canopy suddenly caved in. In the UK incidents likethese have led to greater insistence on health and safety issues and to thesetting up of the Safety Focus Group as an offshoot of the International LiveMusic Conference in 2001.3The Licensing ActThe Licensing Act which became law in 2003 and began to have an impactin 2005 brought about major changes to how venues are licensed. The focusis on health and safety and public order issues and is a radical overhaul ofthe UK licensing system. One major change is that venues that put on livemusic regularly will need a premises licence from the local authoritywhereas before it did not need an entertainment licence for one or twomusicians performing together. The exceptions for occasional events andpurely acoustic sets have been maintained but there was initially concern forthe impact of the changes on the live music scene and this led to the launchof the government supported Live Music Forum, whose remit includes theevaluation of the impact of the Licensing Act and the promotion of theperformance of live music generally. Its report in mid-2007 found that theeffect of the Act on live music was broadly ‘neutral’ but that there had beenan impact at grassroots level with increased bureaucracy and regulations. Inan attempt to minimise some of these side effects of the legislation, whichwas after all meant to ease restrictions on live music, the Forum hasrecommended making exceptions from the need for licensing for acousticsets or for venues where live music was incidental to the main event. Theyare also lobbying for an exemption for small venues holding fewer than ahundred people. The report is now being studied by the Licensing Ministerwho promises to respond fully in due course.There have been casualties. The Brecon Jazz Festival which relies to alarge extent for its special atmosphere on the open air live sessions had tocancel about ten events in 2007 because it was apparently impossible tolicense the whole of the town centre as a premises.In a related matter George Michael was fined £130,000 for overrunningthe licensing curfew at Wembley Stadium on 9 June 2007. He was fined£10,000 for every minute he overran.The Private Security Industry (Licences) Regulations 2004As if this weren’t enough additional red tape, new regulations intended toprotect against unscrupulous bouncers or doormen were also introduced i n2004. The Private Security Industry (Licences) Regulations 2004 areeffective from 1 March 2004 and require all door supervisors and securitystaff to be licensed and to display an identifying licence at all times. Theapplication requires them to declare any criminal convictions or cautions.There are separate regulations and licences required by those supervisingthese activities. Private security firms who provide security for pubs, clubsand the like must also be licensed.Artist ridersAnyone who’s seen the spoof film about the music business Spinal Tap willknow about the occasionally ridiculous artist riders. These are the lists ofspecific requirements that the artists have for their comfort andentertainment backstage. Only black jellybeans and sandwiches cut in circleswill do! I’ve seen some very strange riders in my time. One was twelvepages of very detailed menu requirements, including very specific types ofcereal and drinks that can only be bought in the US. As this was a Europeantour that was pretty unreasonable and changes had to be negotiated andsubstitutes found. Other riders specify only a crate of good whisky and fivecrates of beer. Well, this is rock ’n’ roll. Some artists take their own catererswith them or will only use a caterer that they know is familiar with theirparticular requirements. Some riders are there for a very good reason. Forexample, an artist may be a vegan or vegetarian, or allergic to particularfood. I’ve also seen riders that insist that all hotel rooms have hypo-allergenic bedding and pillows.It’s usual to leave the negotiation of the details between the manager orthe tour manager and the promoter. It’s not usually cost-effective to get yourlawyer involved in this. The riders do form part of the contract, so thepromoter has to make sure that the requirements are reasonable, affordableand obtainable. If they don’t and the omissions are sufficiently serious, thiscould be a breach of contract. Even if the omissions are more minor innature, it can cause major grief with the artist, which is the last thing apromoter wants just before the artist goes out on stage.FeesYou and your booking agent are dependent on the promoter for ticket salesand income. You’ll want to be sure that you’re guaranteed a certain level ofincome. If you’re already an established artist, you may be able to get aGuaranteed Minimum included in the contract. This guarantees you will bepaid this amount, regardless of whether the promoter sells enough tickets.This is where the promoter takes the risk. They have to get the level of theGuaranteed Minimum right, because they’ll have to pay it even if they don’tsell a single ticket.Over and above any Guaranteed Minimum sum, you might receive afixed percentage of the promoter’s net receipts. For example, if theGuaranteed Minimum is £10,000 and, after the promoter has paid out certainagreed expenses, you are entitled to 10% of the net receipts, then if the netticket sales are £100,000 you will only get the Guaranteed Minimum. If thenet receipts are £250,000, then 10% is worth £25,000. After deducting theGuaranteed Minimum of £10,000, you are now due another £15,000. Thetour accountant will have to check very carefully that the expenses that thepromoter can deduct are reasonable and that the percentage you receive ofthe net monies represents a reasonable return. The alternative is that youreceive a further fixed payment dependent on levels of ticket sales. Forexample, it could be agreed that you get a Guaranteed Minimum of £10,000plus, if ticket sales exceed £250,000, you receive another £15,000. With thistype of payment arrangement, you must assess how realistic it is that ticketsales will be high enough so that you have a reasonable chance of receivingfurther payments.Payment and accountingThe contract should set out when any Guaranteed Minimum payment is to bemade. Usually at least half of it should be paid up-front and the rest on thenight of the first of the concerts.The balance of any payments should be made on the night of each gig orpossibly at the end of a particular leg of a tour or end of each week of a tour.It’s important that the tour accountant has access to the box-office tillsand receipts on the night of the concert and that all ticket stubs should bekept for at least three months afterwards in case they need to be checked bythe accountant. Further payments under the merchandising deal may bedependent on a given number of people being at each concert (see Chapter8). The ticket stubs and any head count on the night will prove the number ofpeople at a particular date, so access to this information and proof is veryimportant. Receipts for any expense that the promoter is allowed to deductshould also be scrutinised and kept for later checking. Only those expensesallowed by the tour accountant should be deducted.Other incomeThe promoter or the venue owner may have done deals with cateringcompanies or drink suppliers. The contract should set out whether or not youshould get any share of the profits from such sources. For example, thevenue may have a deal with Coca-Cola that they are the official suppliers ofsoft drinks to the venue. An artist that commands a very loyal following offans who will ensure that his concerts are a sell-out can only be of benefit toCoca-Cola in the considerable number of soft drinks it will sell at thoseconcerts. If you have sufficient bargaining power, you can insist on sharingsome of the money that Coca-Cola pays to the promoter or venue for theright to be the exclusive supplier.The sale of merchandise can be an important source of income for you.The promoter/venue may make a charge for the right to set upmerchandising stalls at the venue. The merchandising deal will coverwhether the merchandising company is allowed to deduct some or all of thischarge from the gross income before you receive your percentage.If you have sufficient bargaining power, you could insist that you alonehave the right to sell food or drink and that the promoter gets no incomefrom these or from merchandise sales. You can then do sponsorship dealswith food and drink companies as well as merchandising deals. These kindsof arrangements tend only to apply to established, successful artists with ateam of people able to give effect to these arrangements.RestrictionsThe contract should insist that the promoter stops anyone from recording theperformances, unless of course a live recording or film of the concert isbeing made. Your record contract will probably say something about you notallowing anyone to make a recording of your performance. While it’s verydifficult to prevent a bootlegger unofficially and unlawfully recording theperformance, you can show the right spirit by putting this requirement in thecontract with the promoter. This will demonstrate that you don’t condonethis sort of activity. If you do intend to make a film of the performance,perhaps to make a video or for a live webcast or television broadcast, thecontract should make sure that the promoter will allow access to the venuefor the recording at no extra charge. You also need to be sure that theaudience knows they will be filmed and for what purpose. Signs at allentrances usually spell this out.Each venue has its own restrictions on parking and when the stage crewcan gain access to load equipment in or out. Any particular stipulations orrestrictions should be set out in a rider or schedule to the contract. Inresidential areas, there may be severe restrictions on how late the artist canplay and there may be an early curfew on when the crew can load theequipment back out. They may have to come back the next morning. If so,you need to ensure the equipment is kept securely and that it’s insuredagainst loss or damage. If it’s a nationwide tour, the tour manager will needto know these restrictions well in advance. It wouldn’t be funny if you had adate in Scarborough on the Friday night and your equipment was still inTorquay because the crew couldn’t get in to load out the equipment afterThursday’s Torquay gig until seven o’clock the next morning.An important part of protecting your brand is to ensure that there are nosales of unauthorised merchandise inside or outside the venue. It’s easier fora promoter to control illegal merchandise inside the venue, but he may sayhe has no control over what happens outside. In that case you should try tomake sure that the venue and the promoter co-operates with TradingStandards Officers or other personnel who are trying to stop unauthorised orpirate merchandise.GETTING FUNDING FOR LIVE WORKFunding for a tour can come from a number of different places. At thelowest level, where you’re just starting out and doing local gigs, you canexpect to be paid little or nothing over and above some petrol money and afew free pints of beer. As you progress, you may get a small percentage ofthe ticket sales and may make some money from sales of T-shirts orrecordings of your performances that you sell at the gigs. There probablywon’t be much in the way of profits after the cost of hiring a PA, paying fortransport and maybe an agent or manager.It is possible for an unsigned act to get sponsorship for live work. Asmentioned in Chapter 9, companies such as Doc Martin or lager companieshave sponsored live tours by unsigned acts. More recently Sony Ericsson andOrange have sponsored an interactive talent show called ‘MobileActunsigned’. It is possible to make a decent living from live gigs if you cankeep your costs down, play decent-sized venues and have a loyal followingof fans, but it’s very hard work.Once you’re signed to a record deal, bigger venues may open up to you.A booking agent may come on the scene and get you slots as support bandsor lower-down-the-order gigs at summer open-air festivals. Money can bemade from merchandise sales or from tour sponsorship. However, it’s likelythat you won’t make a big profit on live work until you’ve achieved quite adegree of success and fame as a recording artist. Even then you may barelybreak even if you have an expensive live set with lots of special effects and acast of thousands. If your live set is kept very simple, without loads ofbacking singers or a live orchestra, then you stand a better chance of makingmoney. But it’s important to balance cutting expenses back to a minimumagainst the risk that the show is a disappointment to the fans, which wouldbe counter-productive.TOUR SUPPORTMost artists need the support of their record company to get them out on theroad. The record company will rarely agree to put this in the record contractunless you have a lot of bargaining power, or you’re prepared to hold out forthis support at the expense of perhaps a lower advance or royalty. Even ifit’s not specifically in the contract, it’s usually in the record company’sinterests for you to be out touring and promoting your new album. If you canonly do this by making a loss (the shortfall) then the record company has tocome to your rescue and underwrite this shortfall. This is usually called toursupport.Tour support is usually 100% recoupable from royalties from recordsales. This is, however, negotiable and could be reduced to 50% recoupable,with the remainder being treated as a non-recoupable marketing expense ofthe record company. Sometimes, if the tour support is for a tour in aparticular part of the world, for example Japan, then you could agree that thetour support is only recouped from Japanese record sales.In addition to making up any shortfall, the record company may pay a‘buy-on’ fee. This is the fee payable to the headline artist on a tour or to hisrecord company for the privilege of being allowed to support them. Forsome new artists, the association with a more established name gives theman opening to a much wider potential audience, as well as the chance toperform in bigger venues. For the headline act this is an additional source ofincome, reducing the amount of tour support they’ll need from their recordcompany. Buy-on fees for large venues and for concerts by big-name artistscan run to tens of thousands of pounds. It’s one of the reasons why you’lloften see a big-name artist being supported by another smaller act who’s onthe same label. That way the costs are kept in the family.How much tour support will you need?Before you can go to your record company to ask for tour support, you needto have an idea how much you’ll need.First, you’ll need to get someone to prepare a tour budget. This could beyour manager or your regular accountant or bookkeeper. However, whendoing a bigger tour, either as headline or support, consider getting aspecialist tour accountant on board. The tour accountant could be someone atthe regular accountancy firm, or one recommended by them, or by friends.Your A&R contact or manager can suggest people, as can your lawyer. Mostimportantly, the tour accountant must be honest, must understand how tourpromoting works, and be brave enough to tackle unscrupulous promotersabout to run off with the cash midway through the gig.The tour accountant, or any other person doing that job, will put togetheran outline budget that will make guesstimates of income and expenditure. Asdetails such as any Guaranteed Minimum, any buy-on fees, merchandiseadvances and so on become known they are factored in. The accountant willwork very closely with you or your manager to work out what type of showsyou intend to put on. The number of musicians and how elaborate the stageset or lighting effects will be will all affect the tour budget.Once your tour accountant has a good idea of the likely profit (or perhapsloss) he prepares an outline draft budget which your manager then takes toyour record company to negotiate the level of tour support. It’s important,therefore, that he doesn’t make wild guesses and is as accurate as he can beas to what you’re likely to need.The record company will usually set a maximum amount that they willpay to underwrite the shortfall. For example, the tour accountant may haveestimated a tour loss of £18,000. The record company checks his figures andmakes its own assessment of how valuable it will be to them in record salesif the tour goes ahead. It may decide that one or two dates should bedropped, or that some of the costs could be saved. It will set a limit on howmuch it will pay. In this case, after some adjustments it may say that it willpay up to £16,000 in tour support. You and your manager have to then sitdown with the tour accountant, and any production manager working on thetour, to see if savings can be made. If the tour then goes ahead and it doesbetter than expected and only loses £15,000, then the record companyunderwrites a £15,000 shortfall not a £16,000 one. The actual amount theywill pay (up to that maximum) is determined by the actual costs supplied bythe tour accountant after the end of the tour with supporting invoices. If thetour does worse than expected and makes a £17,000 loss then the recordcompany is only obliged to pay £16,000, and may insist that you pick up therest of the bill yourself. So it’s important to get the figure for the anticipatedshortfall as realistic as possible.The record company will usually agree to pay part of the tour support up-front. This means that the essential personnel can be paid some of what isdue to them and essential equipment can be hired. The tour accountant thenhas to juggle who gets paid along the way, and who has to wait until the finalinstalment comes in from the record company. Needless to say, the touraccountant is rarely the most popular man on the tour.Even if there is something in your record contract about tour support, it’sunlikely that all the details will be included and it is usual to set out thesedetailed arrangements in a side agreement to the main record contract.Copies of all side agreements should be kept together with the recordcontract. If you’re reviewing the accounting statements or are consideringdoing an audit, you need to have details of all the arrangements you’vereached about what amounts are or aren’t recoupable and from what sales.Unless the side agreement is very simple, a lawyer should review it before itis signed.OTHER ISSUESThere are some other things that have to be taken into account whenplanning a tour.TAX PLANNINGYour accountant should advise whether there are any tax advantages to youin putting your touring services through a limited company and, if so, shouldthat be a UK-based or offshore company (see Chapter 11).If your accountant does advise use of a limited company, a serviceagreement should be put in place between you and that company. Thecontract with any promoter will then be with the limited company.In some countries, there is an obligation to pay tax in that country onearnings from live work undertaken there. The promoter may have to deductthe tax before he hands the money over. In that case the contract with thepromoter must make sure that the promoter has to hand over the sums he haswithheld to the relevant tax authorities. In countries where there arereciprocal tax treaties in place, it’s possible to claim exemption from someof these taxes or, if they have a tax treaty in place, you may be able toreclaim some or all of the amounts withheld. The promoter should beobliged to do all the necessary paperwork and to supply you with any formsyou may need to complete to show the country in which you or your servicecompany is based and pays tax and the local tax authorities should eitherconfirm exemption from tax on the income or provide a certificate of howmuch tax has been withheld so this can be offset against UK income for taxpurposes.Obviously, everyone’s tax circumstances are different and these are onlyvery general comments. Nothing will substitute for proper, professional taxplanning and advice. Such planning should be done as far ahead as possible.PUBLICISING THE TOURThis is the joint responsibility of you and the promoter. Your recordcompany also has a vested interest and will want to co-ordinate its ownmarketing efforts with the tour dates. For example, if the label had planned aposter campaign in particular towns in the UK, it may decide to target thosetowns where you’re doing live dates. The tour posters may also giveinformation on when your latest record is to be released. The promoter or thevenue will publish adverts in the music and local press listing forthcomingtours. Your press officer and the internal press office at your recordcompany will get to work placing the information in the press, gettinginterviews and personal appearances for you to promote the tour. You’ll beexpected to mention it in interviews with the press or on radio or TV.Your record company has to be careful not to overstep the mark. In 2004,there was a spate of legal actions brought by Camden Council against thesenior executives of Sony and BMG in an attempt to curb illegal fly-posting.Camden Council took the unusual step of using anti-social behaviour orders(ASBOs) on the executives after accusing the companies they led of savingmoney on legitimate poster sites by putting up posters for albums and gigson any available space, including shop hoardings and pillar boxes. Service ofthe orders meant that the court had the power to order jail sentences of up tofive years (in extreme cases) if the executives did not stop the practice. TheASBOS were seen as a last resort when prosecutions and requests to stop fly-posting had failed. They seem to have had some measure of success as theexecutives reached compromises with the council to avoid a continuance ofthe orders and promised not to commission any more illegal fly-posting.Increasingly the Internet is being used to advertise tours and cult band,The Other, were the first to use SMS text messages to fans to alert them asto the whereabouts of the next ‘secret’ gig. This is part of the generic formof marketing called viral marketing which uses Internet or other databases totarget information at fans. This could be on the record company’s website,but more usually it will be on the artist’s website, possibly with a link to thepromoter’s site or that of the venue. Websites are being used to offer thepossibility of ordering tickets online and are offering competitions to wintickets or to meet the artist. Artist and record company websites can fulfil animportant role in promoting the tour or selling tickets online.The fan club can also be invaluable in publicising a tour. The regularnewsletter sent out to fans can give details of forthcoming live events andwhere tickets can be bought. Sometimes the fan club does a deal with thepromoter and/or a travel company to offer special travel, accommodationand ticket packages at a reduced rate to fan club members. The fan club hasto be careful not to offer things that it can’t deliver. For example, membersof the Boyzone fan club were apparently offered special top-of-the-rangeseats at Boyzone concerts as part of a special package. It seems that thepromoters didn’t deliver the expected good seats, leading (apparently) to ademand for the return of monies. Such bad experiences can have a verynegative effect on the fan base and their support for the artist. The samethings seem to have happened to teen TV star Hannah Montana in 2007. Fanswere encouraged to join her fan club not apparently on the promise of ticketsbut on the promise to help them get tickets on what was expected to be asell-out tour. The fan club failed to deliver and disgruntled fans began a USclass action.OTHER PERSONNELTOUR MANAGERDepending on the size of the tour and your degree of success, you mayappoint a tour manager to work alongside your manager in organising theday-to-day details of the tour. Tour managers go out on the tour and handleall crises as they come up. They are generally paid a weekly fixed fee andreceive free travel and accommodation and probably a fixed daily sum forexpenses.SOUND AND LIGHTING ENGINEERSHow your music sounds and how you look on stage is crucial to the successof your live performances. Most bands learn at an early stage the importanceof having their own sound engineer and not relying on some stranger in astrange venue. As soon as they can afford it, most bands also like to bringalong their own lighting engineer. Both of these will be on a daily or weeklyrate with free accommodation and travel and daily expenses.BACKING BAND AND SESSION MUSICIANSIf you’re a solo artist, or only one member of your group is signed to therecord label, then any backing musicians and singers have to be engaged forthe tour. There are many different types of arrangements that can be reachedwith regular band members. They can be on an annual retainer or on a small,daily-based retainer for when they aren’t needed and a higher fee when theyhave work to do at rehearsals, at personal appearances, interviews and duringthe tour. When they aren’t needed they could be on a first-call basis, whichmeans they have to drop everything to make themselves available for you.Or, they may be completely free to do other work but on the understandingthat if you call for them and they aren’t available you’ll get someone else.You can only afford to do that if they are replaceable. If they are crucial toyour ‘sound’ then you would be better advised to put them on a retainer on afirst-call basis.Other non-regular members of the band will generally be engaged on adaily or weekly rate plus free accommodation and travel and daily expenses.Additional fees may be payable to regular or non-regular members for otherpromotional work such as appearing in a video, for a live TV or radioperformance or a webcast to promote the tour. The fee that they are paidcould include any of these extra activities and fees. It’s important that youagree a ‘buy-out’ of all rights on the musicians’ or vocalists’ performances,whether they are your regular band members or not. If they are Musicians’Union or Equity members, there will be minimum rates for the work youwant them to do and rules on what can be bought out in the way of rights andwhat will be the subject of further repeat fees (details are in UsefulAddresses). If you don’t buy out the rights you may get into difficulties ifyou then go ahead and do a TV or video deal for performances includingthose of the session musicians or singers. You may believe you’ve clearedall rights and say as much in the contract. If you haven’t then the musicianor vocalist or their union can come out of the woodwork at the mostunhelpful moment. In the light of the recent successful claims by sessionmusicians years after the event (see chapters on publishing and bandarrangements) it would also be advisable to get a written confirmation thatthey have no interest in the songs they are performing.All these personnel should be given written agreements specifying theirfee, when it will be paid and what you expect to get by way of services andrights in return.Personnel who aren’t regular members of the team should enter intoconfidentiality agreements. These make it clear that they have to keepconfidential anything that they find out about you from being on the roadwith you. They are intended to head off people selling salacious stories andpictures. If, however, they are regular band members then it could becounter-productive, because they could get upset at what they might see asyou not trusting them. For more on the issue of privacy see Chapter 12.The importance of getting things clear in contracts with musicians isborne out by a case involving Elvis Costello.4The Elvis Costello CaseElvis Costello employed Mr Thomas as a musician to perform on theEuropean tour with him as part of his band. He was also going to do theUS tour, but as a part of a separate contract. Costello employed MrThomas through his service company, Elvis Costello Limited. The tourhad breaks in it between countries in Europe when Mr Thomas’s serviceswere not required. Mr Thomas took a seven-day break between the UKand US tours and put in a claim for payment. When he didn’t get paid, heapplied to the court to wind up/liquidate Costello’s company forinsolvency, i.e. being unable to pay its debts when they fell due. Thecourt declined to do that, but did order that Mr Thomas be paid on thebasis that the court did think it was part of the European tour.CONCLUSIONSIf you are already a successful live and recording artist, consider newpartners like promoters for your music industry deals.Evaluate so-called 360 degree models carefully – they can work if youdo your sums right.Get yourself a good agent.Get adequate insurance.Tie touring in with your record company’s marketing plans.Use the Internet to advertise forthcoming tours.1 The Conduct of Employment Agencies and Employment BusinessesRegulations 2003.2 The Regional Promoter’s Association (UK) is an informal grouping ofpromoters. Contact Josh Dean, Concorde2, Madeira Drive, Brighton, BN21EU. Tel. 01273 207241.3 Buckinghamshire Chilterns University College (now Bucks NewUniversity), the International Live Music Conference Safety Focus Groupand the European Agency for Health and Safety at Work (OSHA) created awebsite in 2004 dedicated to safety issues called Safety Rockswww.safetyrocks.org. It contains a risk assessment tool for those operatingin the live music scene.4 Elvis Costello Limited v. Thomas, Chancery Division June 1997. Chapter 11Band Arrangements INTRODUCTIONTHE SOLO ARTISTS and songwriters among you may want to skip this chapter,but if you co-write or plan any kind of recording collaboration it would beworth you reading it to see some of the potential problems.It may seem very negative to talk about problems before you’ve releaseda record or even got a deal. But that’s exactly when you should be looking atthe things that cause friction within bands. If you address these things at thebeginning when everything is going well, it will be much easier and causeless tension. If you wait to raise these issues until you’ve been on the roadnon-stop for six months and can’t stand the sight of each other then, believeme, it will seriously strain, if not destroy, the relationship.WHO OWNS THE BAND NAME?OWNERSHIPAs we saw in Chapter 1, choosing the right name is vital, but once you’vedecided on a band name and have done what you can to check that you havethe right to use it, you have to decide who owns that name.The record company won’t normally expect to own the band name. Thereare exceptions, particularly in the field of manufactured bands or ones wherethe record company thinks up the name and concept and hires in people toperform. In such cases they might have a very good reason to say that theyshould own the name, but this then forms part of the deal. Some productioncompanies are also insisting on having the right to hire and fire members ofa band. Maybe if it is an entirely manufactured band this is acceptable butnot, I think, if the band comes to the label already formed. What the recordcompany will expect you to do is to confirm that you have the right to usethe name and that they have the exclusive right to use it in connection withthe recordings you make under the record contract and a non-exclusive rightafter the contract ends. Music publishers will also want the exclusive right touse the name in connection with exploitation of your songs during the termof the publishing contract and a non-exclusive right after the end of the term.You don’t want to give exclusive rights for all uses of the name to any onecompany, for example your record company, as that would mean that youcouldn’t then use your name to sell merchandise or do a sponsorship deal.WHO WITHIN THE BAND OWNS THE NAME?It is essential that you sort this out at the beginning. I also firmly believethat you should put what you’ve agreed in writing. But I realise that I’mprobably whistling in the wind. I tell every band about to sign a deal thatthey should have a band agreement. They usually nod and say that theyunderstand why they should have one, but most of them never do anythingabout it. But, bear in mind the case we looked at in Chapter 1 that decidedthat if it isn’t spelled out in an agreement no band member can use the namewithout the agreement of the others. It doesn’t have to be a terribly formaldocument – although I would advise that a proper band agreement drawn upby a lawyer would be best. Even if you don’t go for that it would be betterthan nothing to write down what you’ve all agreed and sign it and then keepit in a safe place. You may think that this is over the top and a bitunnecessary, but if you can’t prove who owns the band name you can get thevery unedifying spectacle of two or more band members arguing over whohas the right to use the name and possibly ending up with none of thembeing able to do so.An example of this in practice is the ongoing legal suit in the US whereMike Love is claiming to have the sole right to use the Beach Boys name. Heis suing ex-bandmate Al Jardine for, he claims, illegally using the name.Holly Johnson, former lead singer with the band Frankie Goes ToHollywood, is another who was trying to claim sole right to use the name.For such a relatively short-lived band this one sure does seem to havegenerated quite a bit of litigation.Frankie Goes To Hollywood Trade Mark CaseHolly Johnson tried to register a trade mark in FRANKIE GOES TOHOLLYWOOD for goods and services including music, video andrecording goods, entertainment, clothing and other merchandise. He wasopposed by the other members of the band, Peter Gill, Mark O’Toole,Paul Rutherford and Brian Nash. The Registrar decided that the goodwillin the name was owned by the band as a whole which had accrued fromthe point that recording and performance started and no agreementregarding ownership of that goodwill had been made at the outset. If MrJohnson were allowed to use it alone then this would be amisrepresentation and result in damage to the other members. This wasthe case even though he was the better known of the former bandmembers. Mr Johnson had acknowledged there was a partnership and itwas a fact that he had not established any goodwill in that name beforehe was a member of that partnership. So as soon as they startedrecording together as members of the partnership goodwill began toaccrue to that partnership. In an echo back to the cases of Liberty X andBlue, the Registrar found that even after sixteen years of inactivity therewas still residual goodwill to protect. They still sold records and therewas other evidence that they still have goodwill – one example was thefact that an episode of the TV series Friends featured a characterwearing a ‘Frankie Says Relax’ T-shirt. It can happen that just one ortwo members of the band own the band name, for example where theyform the core of the band and the others aren’t permanent members. Aband may be made up of a core of the vocalist and the lead guitarist whodo most of the writing, and a rhythm section of bassist and drummer ona wage and not signed to the record contract. The core members may notwant to share ownership of the band name with the other two unless anduntil they become full-time permanent band members. But as theFrankie case highlights it is essential that this fact is recorded at theoutset.It’s more common to agree that all members of the band own the band name.More sophisticated band agreements could set out who gets to use the nameif the band splits up. You may decide that, in that case, none of you couldcarry on using the name or that those who carry on performing together as aband can continue to use the band name and that the one who leaves can’t.Then you get problems if two or more members leave and set up anotherband. There is no simple solution and it’s something that you should talkover with your lawyer, as they will have some suggestions that you maywant to adopt.That said, you may not in fact get any say in what happens to the bandname if the band splits up, because the record contract may well decide theissue for you. The contract might say that the record company has final sayover who can continue to use the band name. This may seem unfair but, ifyou think about it, the record company has invested a lot of time and moneyin building up your name and the reputation in your name through theirmarketing efforts. They won’t want to risk losing control of that if one ormore members of the band were to leave and, as a result, no one couldcontinue to use the name. You may get a chance to say no to this if youalready have a band agreement in place or, as usual, if you have a lot ofbargaining power. If the record company does decide who gets to use theband name then you have to think about whether the other band membersshould be paid some kind of compensation for the loss of the right to use thename. As made clear by the Frankie Goes To Hollywood case above it’spossible that, either under the terms of the partnership/band agreement or bythe operation of the Partnership Act 1890, the band name will be treated asan asset of the partnership that forms part of its ‘goodwill’. There areformulas that accountants can use to work out how much that goodwill isworth. If, for example, the partnership is dissolved because the band splitsup and the vocalist continues as a solo artist, then the others could have thevalue of their share of the goodwill in the name calculated and paid to themas part of the settlement between the band members. It’s quite a difficult anddelicate question and needs to be treated carefully. This is another goodreason why you should sort it out at the beginning before any tensions (orpretensions) get in the way.BAND STRUCTURESYou can decide on the ownership of the name and other things, such as howthe income is to be divided between you, but before your lawyer can putwhat you’ve agreed into a legal document you also need to decide what legalform the arrangements between you are going to take. There is no simpleanswer as to which is best. Each band’s needs are going to be different andyou have to look at each on its own merits. It’s important that you involveboth your lawyer and your accountant on this question, as your lawyer willbe looking to protect you from a legal viewpoint and your accountant will belooking at the financial and tax implications for you of the different types ofagreement. Your accountant will know your personal circumstances and willbe able to advise whether one type of structure works better than another foryou.The two main types of arrangement are a limited company and apartnership. There is also a subspecies called the limited liability partnershipwhich is a kind of hybrid of the two with features of a partnership, such asjoint liability for debts, but with an element of limitation on the extent of anindividual partner’s liability to third parties. This structure has been adoptedby at least one label I know of and is common amongst professionalpartnerships such as larger law firms. Ask your accountant if it could workfor your band.If you decide that the band should be a partnership then the bandagreement will usually take the form of a partnership deed. This is like alegal contract that sets out how the partnership is going to operate on a day-by-day basis and puts in writing what has been agreed about the band name,the split of earnings and so on. If you decide to become a limited companythen you’ll probably be advised to have a shareholders’ agreement, whichdoes the same thing essentially as a partnership deed but also deals withwhat happens to your shares in the company if the band splits up or one ormore members leave. At the risk of confusing things even more, it’s alsopossible for the band to take the form of a partnership or a limited company,and for the individual members to decide to set up their own company toprovide their services to the band through a company. I’ll go into this inmore detail below.LIMITED COMPANYA few years ago accountants regularly advised bands to set up a limitedcompany for some or all of the band’s services in the entertainmentbusiness. There were good tax reasons for doing so, especially the tax yearout, which was only available to employees and not to self-employedindividuals or partners in a partnership. This particular tax loophole has nowbeen closed and so the tax advantages have been considerably reduced. Thereasons now for setting up a limited company are more complex and you’regoing to have to take specialist advice from your accountant and lawyer.The main advantages are:You can spread your income (for example, a large advance) over anumber of years and therefore not have it all taxed in the year in whichyou get it.It may be a more tax-efficient way of distributing income to bandmembers.It might protect you from legal actions because anyone bringing suchan action would have to sue the company in the first instance.Also, if a lot of the band’s income is going to be earned overseas, anoffshore company may be used to avoid paying UK tax until you decide youneed to have access to the money in the UK.Among the main disadvantages are that there are more rules governingwhat companies can and can’t do, accounts have to be published so membersof the public could find out how much you earn (although there areexemptions that allow small companies to file abbreviated accounts) andthere are also higher administration charges with a limited company.Obviously, the sooner you get advice and decide on the band structurethe better. If you leave it too late and try and put the structure in place afteryou’ve already entered into contracts, things get much more complicated. Ifyou’ve already done a record deal as individuals and you then decide you’regoing to have a limited company, the record deals would have to be‘novated’ (i.e. renewed) in the name of the company. Also, if you’ve alreadyreceived some money as an individual, this might jeopardise a scheme totake money out of the country or may result in the Inland Revenue decidingyou should be taxed as individuals, regardless of the existence of the limitedcompany.On a more basic level, if you decide halfway through the negotiation of arecord or publishing deal to change the structure, the business affairs personat the record or publishing company isn’t going to find this very funny, asthey’ll have to redraft the contract to deal with the new structure. I wasrecently told an hour before a record contract was about to be signed with amajor record company that the deal was to be done through a limitedcompany. The record contract was with the individual. When I rang therecord company’s lawyer to let him know, he was in despair. Ten peoplewere meeting in an hour to get this contract signed – we had no time tochange it. So they had to go through a fiction that the deal was signed, drinkthe champagne and have the photos taken. Then we lawyers went away toturn it into a deal with the limited company so that it could actually besigned and the company paid the money.If you do decide on a limited company, bear in mind that you’ll have topay to get the company set up, to have the name that you want (assumingthat name is available) and you’ll have to pay the annual running costs.The band members will be the shareholders and you’ll have to agree howmany shares each member is going to have. This will probably be an equalnumber but need not be. Day-to-day decisions on the running of a limitedcompany generally require a 50%-plus majority. If it’s a two-member bandand each has 50% of the shares then each can block a decision by the other.Major decisions of the company generally require a 75%-plus majority. So,if you have a four-member band with equal shareholdings, one membercould block major changes but three could gang up on the fourth to pushthrough day-to-day decisions. To get around the problems that this couldbring, the band is usually advised to put a shareholders’ agreement in placewhich will govern how day-to-day matters are to be dealt with. Majordecisions could require unanimous agreement, otherwise three out of fourband members could vote through a major change against the wishes of thefourth. The shareholders’ agreement will also deal with what is to happen ifa member wants to leave. It will usually require that they resign as an officerof the company and that they first offer their shares to the other bandmembers. If a value for the shares can’t be agreed, an accountant is usuallybrought in as an arbitrator to decide the matter.PARTNERSHIPThis is the main alternative structure for bands at present without the limitedliability option but that may change if limited liability partnerships gainfurther ground. The band members are in partnership together for theparticular venture of being a band. All partners are treated equally andprofits and losses are shared by all. You’ll usually be advised to put apartnership agreement in writing. That agreement will decide how theventure is going to be run on a day-to-day basis, whether all partners areequal (or whether some are more equal than others) and what is to happen tothe band name if the partnership is dissolved. It will record whether anyonehas put any money (or goods, such as equipment) into the partnership and, ifso, whether the money is intended to be working capital of the business or aloan, and whether the equipment has been gifted to the partnership or is stillowned by one member and is on loan to the band. Does each band memberown the equipment he uses, for example a drum kit or a guitar? What if itwas bought with band advances – does that make it joint property? Whatabout the vocalist who has no equipment other than a microphone or two?Does he share ownership of other equipment with other band members? Thepartnership deed should also deal with these things.A partnership agreement can also deal with the question of who isentitled to what shares of the songs, the publishing advances and income.This is a very tricky subject and a very emotive one, which is why I say thatit should be dealt with at the beginning of the relationship before moneystarts to be earned from the songs (see Chapter 4).Even if you don’t have a written agreement, there can still be apartnership. The taxman will look at the reality of how you work togetherand how things like the band income are dealt with.SERVICE AGREEMENTSRegardless of the structure in place for the band, it’s possible for anindividual band member to have his own company, which we call a servicecompany. This service company is exclusively entitled to some or all of theindividual’s services in the entertainment business. The service companycan then enter into the record or publishing deal, hold shares in the band’scompany or an interest in the partnership. Record and publishing companiesare used to these arrangements and are usually happy to incorporate theminto their contractual arrangements, especially if they are told at an earlystage. They will usually want the individual to sign an agreement, called aninducement letter, to confirm that the service company is entitled to hisservices and agreeing that if the service company drops out of the picture forany reason he will abide by the contract personally.A service company is usually set up for tax reasons but the InlandRevenue looks closely at service companies, as they are often used as adevice to add weight to an individual claiming that he is self-employed andnot an employee. For example, if a record producer was engaged as an in-house producer/engineer at a recording studio, and he had a service companyand claimed he was not an employee of the recording studio, the InlandRevenue have said that they will look behind the service company at whatthe real relationship is between the producer and the studio. If all theindicators are that the relationship is actually one of an employee, then hewill be taxed as if he were an employee.1This issue often comes up when an artist engages musicians for aparticular tour or to record an album. The musicians may want to be treatedas self-employed. The musicians’ contracts have to be very carefully drawnup to establish the existence of a self-employed relationship. This isdefinitely one for the lawyers.BAND INCOMEWhatever structure you put in place, you have to decide what is to happen tothe income.Record, video, touring, merchandise and sponsorship income is usuallyshared between all band members. As we’ve seen, there are exceptionswhere a band consists of one or two core members who are signed up to therecord or publishing deal and the other members are employed to workalongside these. In such cases these ‘employed’ members are usually eitherput on a retainer or a weekly wage, or they’re employed as sessionmusicians. Session musicians are only paid when they work but, as theyaren’t usually signed up exclusively; they are free to work for others ( s e eChapter 5).While most disputes usually arise in the area of songwriting income, thisdoesn’t mean that arguments never arise in relation to recording income orindeed sometimes both.The Cure CaseLaurence Tolhurst, the former drummer and co-founder of the band TheCure, who was asked to leave the band in 1989, sued the lead singer ofthe band and their record company for damages arising out of deals donein 1986.2 Tolhurst argued that the record deal done with Fiction RecordsLimited in 1986 gave Robert Smith the lion’s share of the recordingincome and left him with ‘the crumbs’. He asked the court to agree thatthere was a partnership in place and to order Smith to account to him for50% of all profits receivable under the 1986 agreement. He also arguedthat he had been forced to enter into the 1986 agreement by undueinfluence exerted by the record company and its owner, Chris Parry. Hesaid that Mr Parry and Fiction Records should account to him for alltheir profit under the 1986 deal after an allowance for their skill andlabour.The case turned into a character attack on Tolhurst as allegationswere made that his contribution to the band’s success had declined as aresult of his drinking problems. Part of Tolhurst’s case was that hehadn’t been given enough information about the 1986 deal before hesigned it and that he hadn’t had independent legal advice. Once again wesee the familiar theme emerging – Tolhurst argued that the deal shouldbe set aside and that the court should order an account of all recordincome to determine how much he was actually entitled to.The court dismissed his claim and said that the question of undueinfluence didn’t arise because, although the record company would havebeen in a position to exercise undue influence, the terms offered werenot obviously bad. In fact, the judge thought that Tolhurst was lucky tohave been offered these arrangements at all in the circumstances, andfound that he hadn’t signed the 1986 agreement under undue influence.The fact that he hadn’t had independent legal advice didn’t affect thecourt’s decision, because the deal was not a bad one. The judge alsodecided that there was no partnership in place in respect of the 1986agreement, as Smith and Tolhurst had, in fact, come to a differentarrangement on what was to happen to the income.Disputes often arise in relation to songwriting income. There’s no problem ifall members of the band contribute equally to the songwriting process. Thenthe income from songwriting should be split equally. This is, however, rare.Much more common is the situation where only one or two members of theband write all the songs. This can give rise to two possible sources ofresentment. Those who write the songs could come to resent sharingadvances or royalties with the non-writing members of the band. Or, if thewriters don’t share the income, this then gives rise to resentment from thenon-writers, who miss out on a potentially lucrative form of income.Of course, leaving aside these tensions, there may also be argumentsabout who actually wrote what. As we saw in the Kemp case, the othermembers of Spandau Ballet brought a case against Gary Kemp arguing thatthey were entitled to a share in the publishing income as co-writers of themusic on the songs they recorded. They were unsuccessful, but there will beother arguments as to how much band members actually contribute to thecreative process by the way in which they interpret or perform the song. Ifthe contribution is a genuine one then they should be credited as a co-writer,but is their contribution the same as that of the main writers? If not, what isthe value of their contribution?What do you do if not all members of the band write and a publishingadvance comes in and the band is broke? Just imagine the tensions that couldthen occur if the main songwriter takes the publishing advance and doesn’tshare it with the others. Even if he agrees to share the advance equally withthe others, what will happen when the advances are recouped and publishingroyalties start to come through? Should the royalties then go to the mainsongwriters or continue to be divided equally? There isn’t one answer tothis, as it’s so personal to the individuals concerned. You only have to lookat the above cases to realise how important it is to try to sort this out.Here are three examples of ways in which I have seen bands deal withthis issue. There are many more possibilities.One band I know had an arrangement where one member controlled allthe songwriting and took all the publishing income. When this began tocause tensions, he volunteered to share percentages of his publishing incomefrom some songs with the other band members.I’ve also heard the story, which may be a myth, that the members of rockband Queen had an agreement where they got to be credited as writer of thesongs on the singles in turn. If true, this is very democratic, but doesn’treally deal with the problem if some of the band members are weakersongwriters and don’t write such successful songs as others in the band.A third way of dealing with it that I’ve come across is to share theadvances and royalties equally until the advances have been recouped. Afterthat, each band member would have his own account with the publisher andthe income from each writer’s contribution to the songs would then be paidinto his own account.Three very different solutions to a very ticklish issue. Whatever worksfor you should be written down as soon as possible. If circumstances change,review the arrangements and see if it would be fair to change them.ACCOUNTING AND TAXOne of the main things that cause problems with a band is tax and VAT. Inboth cases, bands often don’t keep enough money back to pay the bills. HMRevenue & Customs (the VAT man) have very heavy powers to imposepenalties on you. They are often one of the main creditors forcing a windingup of a limited company and they can and will make you bankrupt. Even ifthey give you time to pay, there will be financial penalties and interest topay. Believe me you won’t get away with it.Your accountant will advise you how much should be kept to one side fortax, and if he’s doing your books for you he’ll be able to tell you what toexpect to have to pay the VAT man. He’ll also probably advise you to keepall your receipts. You can then sort out which ones you can legitimatelyrecharge as business expenses against tax. If you haven’t kept them there isno proof. So do yourself a favour – get a cardboard box and get into the habitof throwing all your receipts into it. If you were more organised you couldhave a file divided into the months of the year and put the receipts in therelevant month. This makes life a lot easier for you or yourbookkeeper/accountant when it comes to doing the books.You’ll need a band account and, unless your accountant is doing all thebooks for you, you’ll need a basic accounting system. This could be a simplecomputer spreadsheet. In it you’d keep a record of the income you received,where it was from and what your expenses were for doing that work. So ifyou did a gig in March you’d record how much you received and how muchit cost you to do the gig (and don’t forget to keep receipts for all yourexpenses).LEAVING MEMBER PROVISIONSThese are the clauses in recording or publishing agreements with bands thatdeal with what happens if one or more members of a band leave or the banddisbands totally before the contract is over. The record or publishingcompany naturally wants to try to prevent this happening. They’ve investeda lot of money in supporting the band, making records or videos and inpromoting them around the world. The last thing they want is a band fallingapart on them. But, of course, no words in a contract are going to keep aband together if one or more of them have decided to call it a day.Individuals develop personally and creatively, and not necessarily in thesame direction as other band members. One member of the band may getmarried and have children and not want to spend as much time on the road.Or they may change their artistic style, which might be more suited to a solocareer than as a member of a band. Of course, there are also the possibilitiesthat the band members will grow to hate the sight of each other after yearson the road, or that the band just comes to the end of what it can docreatively. It used to be the case that when this happened the deal ended andthe companies moved on to the next potential big thing. Nowadays, with somuch money resting on building the reputation of an artist, when a splithappens the record or publishing company wants to be able to try andsalvage what it can of its investment. It will want to have the option to pickup the rights in any new projects that the writers or artists go into withouthaving to compete in the open market.The record company will also want to try to have the right to continue touse the name of the band that they’ve invested a lot of money in building upas a brand.Record and publishing companies will also want to have the option topick and choose whom they continue the deal with (sometimes called theRemaining Members) and whom they drop.For example, if the drummer leaves the band the record company willwant the right to continue with the remaining members of the band on thebasis that they continue to perform and record as a band. They will also wantto have a contract with any replacement drummer, who may be put on thesame terms as the remaining members or may be on a retainer basis.If the whole band splits up, the company will want the option to do newcontracts with each individual member. A publisher might only do newcontracts with those they know are writers who will probably go on to doother things. A record company may decide only to continue their deal withthe lead vocalist or other main focus of the band, guessing that they willteam up with other artists to form another band or will have a solo career.There’s usually a system built into the contract that gives the record orpublishing company a breathing space while they try to work out whatthey’re going to do. The record contract will usually give the company theoption to call for a leaving member to deliver to them demo tapes of what hewould do as a solo artist or with his new band. They will usually providestudio time for him to make these demos. The contract may also require theremaining members of the band to demo new tracks, with or without areplacement member, to see if the company think there is a future for theband or if they should drop them now. The record or publishing companymay know immediately whether they want to continue with a leavingmember or any or all of the remaining members and may come to a quickdecision. Don’t hold your breath, though – they will probably take themaximum time they have under the contract in order to look at their options.Once demo tapes have been delivered to the record company, theyusually have a month or two to decide what to do. In that time, both theleaving member and the remaining members of the band are in limbo. Theterm of the contract is usually suspended in the meantime.The record company may decide to take up an option on the leavingmember’s new project but not that of the remaining members, or vice versa.They may also decide to take up their option on the remaining members.They may decide to abandon both to their fate.For the leaving member or remaining members who are dropped fromthe contract, that is the end of their obligations to the record or publishingcompany. They don’t have to repay to the company their share of anyunrecouped balance on the account. However, their share of royalties fromrecordings made or songs written by them up to the time of the decision todrop them will continue to be applied to recoup the unrecouped balance. Thedropped artist or songwriter won’t see royalties from those recordings orsongs until that advance has been fully repaid.For example, let’s assume that there was an unrecouped balance on therecord account of £100,000 and that the record company continues withthree remaining members and drops a fourth (leaving) member. Let’s alsoassume that the band shared advances and royalties equally. The leavingmember’s share of the debt and of the royalties will be 25%. The leavingmember’s 25% share of royalties from recordings made while he was amember of the band will go to recoup £25,000 of the unrecouped £100,000debt. After that’s happened, 25% of any further royalties from thoserecordings will be paid through to the leaving member.If the record company continues with the remaining members and paysthem further advances, the leaving member’s share of royalties doesn’t getused to recoup those additional advances as he won’t have received anyshare of them. His debt is fixed at the time he is dropped from the contractby the record company, or at least it should be. This is something yourlawyer has to deal with when he negotiates the contract.The situation with the remaining members whose contracts continue isslightly more complicated. Their 75% of the royalties from those oldrecordings goes to recoup their 75% share of the unrecouped balance(£75,000 in our example). Their share of anything else that’s earned fromthe old recordings first goes to recoup any new advances they have receivedand only when both the old account and the new account is recouped willthey be paid any royalties. It also works the other way around. The royaltiesfrom their new recordings go first to recoup the new advances. Any surplusgoes to recoup their 75% share of the old debt. Only when both accounts arerecouped will they see royalties from the new recordings.If the contract continues with any remaining members, or if a newcontract is issued to the leaving member, the record or publishing companywill want to continue to have the same rights to the leaving member and/orremaining members as it had under the original recording or publishingcontracts. There are, however, one or two parts of the contract that they liketo try to change. The record company will often try to change the minimumrecording commitment from an album to singles, the rationale being thatuntil the record company knows how the new line-up will perform in themarketplace they don’t want to risk committing to make an album. Withsingles being seen as largely a promotional tool for album-based artists, ifyour music isn’t directed to the singles market you should hold out for analbum commitment.The record label will also usually want options to future albums. Thiscould either be for the number of albums left under the original deal, or forthat number plus one or two more. This should be agreed at the time therecord deal is originally negotiated, when you’ll have more bargainingpower. There’s no guarantee that the record company will want to negotiatethis with you in the middle of a leaving member/band split situation.The record royalties are usually the same as under the old agreement, butmay go back to the rate that applied in the first contract period so, if you’vereceived an increase in your royalty based either on record sales or becauseit’s later in the contract, it might go back to the rate before the increase tookeffect.The advances are usually a fraction of the advance that you would havegot for that contract period. For example, if you were a four-piece band andone of you left and you would have been entitled to £100,000 for the nextalbum, then the remaining three members will expect to be entitled to£75,000. This isn’t, however, a foregone conclusion. Your lawyer will haveto fight for it on your behalf.Because an artist walks away from the unrecouped debt and has a chanceto start again, many are actually crossing their fingers and hoping they’ll bedropped. This is a fairly short-term response though, because it will alldepend on whether they can get into a new deal. It’s certainly no reason tosplit up a band in the hope that you’ll get dropped.There are leaving member clauses that have special arrangements. Theremay be different rules on recoupment, or different levels of new advances,depending on which member of the band leaves and how ‘key’ he is seen tobe to the proceedings. They may feel that the lead vocalist/front man shouldcommand a larger advance and more preferential terms if he leaves than, saythe bassist. They may even say that they’re only interested in leavingmember rights for the key people.As you can imagine, these sorts of provisions can be very disruptive and,if it’s the band’s first deal, such arrangements ought really to be avoidedboth from the record company’s viewpoint and the band’s. At this earlystage, no one knows who is going to turn out to be the star. Who’d havethought the Genesis drummer, Phil Collins, would turn out to be an excellentlead vocalist and very successful solo artist?Different arrangements can also occur with publishing deals. Forexample, one of the four writer-performers in the band may be a prolificwriter for adverts or jingles in addition to his work for the band. In thesecircumstances, it’s possible for all four members to have separate accountsand to initially receive an equal share of the advances. It only really works ifeach writer earns an equal share of the income, as that goes first to recoupthe total band advances. After that, if this writer earns significantly morefrom his work as a jingles writer, his income from that source is onlycredited to his account. At the next accounting date he will then receive acorrespondingly larger royalty cheque.One area that will probably have to change in publishing deals aftersomeone leaves is the Minimum Commitment. If one songwriter previouslywrote 25% of an album and the others 75% and after a split both areexpected to deliver 100% of an album each then there is going to be aproblem. So in leaving member clauses in publishing deals, your lawyer willusually try to reduce the commitment to an achievable level.WHAT HAPPENS TO A BAND’S ASSETS ON A SPLIT?If there is a partnership or band agreement then that will say what happens tothe band’s assets if the band splits up or one or more members leave.If there’s no written or verbal agreement that you can prove between theband members and if they’re in a partnership, then the rather antiquatedPartnership Act 1890 will govern what happens. Essentially the partnershipis dissolved unless all partners elect that it can continue. If agreement can’tbe reached on a fair way of dealing with the assets then the partnership isdissolved and the assets have to be realised (i.e. sold) and the proceedsdivided equally between the partners. If agreement can’t be reached onwhether something such as the goodwill and reputation in the band nameshould be given a value and, if so, what value, the matter is usually referredto an accountant acting as an arbitrator. The way, if at all, that the recordcompany deals with the name in the recording agreement may helpdetermine if it has a value.If the band were not a partnership but had shares in a limited companythen the shareholders’ agreement and/or the Memorandum and Articles ofAssociation will say what is to happen. Usually, the remaining memberswould want to have the right to require the leaving member to resign fromany office as director or company secretary and also to sell his shares. Thearrangements would normally give the remaining members the right to buythose shares back at a certain price or in accordance with a fixed formula. Orit may require the shares to be valued by an independent accountant. Taxquestions could arise here, so everyone should take advice from anaccountant or a tax lawyer if a split occurs. In the absence of writtenarrangements, there is a danger that the company could become unworkable.If the leaving member is a director or a company secretary and he hasn’tbeen guilty of any wrongdoing, then without a written agreement it won’t beeasy to remove him from office. If he has service contracts, employmentadvice should be sought before terminating those arrangements. Without anagreement you can’t easily get shareholders to sell their shares and,depending on the size of their shareholding, they could block votes requiringa 75%-plus majority or, indeed, those requiring a simple 50%-plus majorityif it’s a two-man band or two or more members out of a four-piece bandhave left.Once agreement has been reached as to what to do with the band’s assets,this should be recorded in a settlement agreement, which should be drawn upby a lawyer. This is particularly important for matters such as rights to bandnames or copyrights.If no agreement can be reached, the parties are headed almost inevitablytowards litigation and the courts. Even though the reform of the legal systemin England and Wales now places considerable emphasis on conciliation andalternative dispute resolution (ADR) we still see the largely unedifyingspectacle of bands fighting it out in court.The partnership or band agreement should be very clear as to who ownswhat and who has brought what into the deal. For example, if one of the bandmembers has a Transit van that he allows the band to use then that should benoted. A band member could also have put money into the band to keep itgoing. This is either a loan to the band, with or without interest, or, morepractically, it’s a gift for the use of the partnership that they may or may notbe allowed to get back an equivalent sum if they leave. It’s also usual for theleaving band member to take with him any band equipment that heparticularly uses. This is fair, unless one person has the use of a lot ofexpensive equipment, which was paid for out of band advances. In that caseyou would expect the equipment to be valued and for each remaining bandmember to either get equipment to that value, or be paid his share of itsvalue by the leaving member who is going to take the equipment away.If a band name is genuinely closely associated with one individual thenit’s fair to say that that individual should be allowed to continue to use thename after the band splits. But as it will have been all the band members thatwill have helped to make the name successful, the person using the nameafter a band splits up should compensate the others. If a figure can’t beagreed it can be referred to an accountant to value it. In many cases,however, the name dies with the end of the band.Each band member should continue to be responsible for his share of therecord or publishing company unrecouped balance. This will usually becovered by the record or publishing deal. Once the old accounts arerecouped, the individual band members should be entitled to their agreedshare of any royalties.It’s also wise to decide whether the band members have to unanimouslyagree before something can be done with the material that they createdtogether, or if it’s going to be a majority decision. For example, a few yearsafter a band splits the record company wants to put out a G r e a t e s t H i t salbum. The record contract may give the band approval over whether therecord company can do this. The band agreement should say whether all theband members have to agree or not. The democratic thing would be to sayyes, they should. The practical thing would be to say that it has to be amajority decision, so that one person couldn’t hold a gun to the heads of theothers or their record company. The same situation arises with approvals ofthe use of material in adverts or films. My own view is that it should be adecision of all band members where this is practically possible but that, ifthe band has split up and one or more have gone out of the business andaren’t easily contactable, then the decision of the remaining members whoare in contact should prevail.Recently there has been a spate of cases and claims involving the boyband, Busted.James Bourne v. Brandon DavisBetween December 2000 and October 2001 James Bourne, MatthewSergeant, Kiley Fitzgerald and Owen Doyle composed and performedsongs together as an early line-up of the band Busted. There was nowritten agreement but the judge accepted that there was a partnership atwill just as we saw in the Frankie Goes To Hollywood case above. Thisline-up split in 2001 and James Bourne and Matthew Sergeant joined upwith Charlie Simpson to form the new Busted line-up and in March 2002this line-up signed a record deal with Universal-Island Records. As partof that deal James Bourne assigned all his performing rights in theearlier recordings to Universal-Island. This is quite common. This line-up was very successful and continued until January 2005 when it againsplit up and James Bourne went on to form a new group called Son ofDork. In August 2005 he did a new record deal with Mercury Recordsand again assigned his performing rights in performances of his beforethe date of the contract.In 2005 Brandon Davis issued a nine-track CD featuringperformances of the original line-up made in a hotel in 2001.Immediately James Bourne, Mercury Records and Universal-Islandissued proceedings for an immediate injunction alleging infringement ofMr Bourne’s performance rights and passing off by using the nameBusted in relation to these recordings. The court ordered an immediateinjunction in September 2005. In October 2005 Mr Doyle, from theoriginal line-up, purported to sell to Mr Davis all the consents necessaryin respect of his performances and assigning to him the copyright andperformer’s property rights and other rights in connection with thoserecordings. Mr Davis argued that this agreement had the effect ofassigning all the performer’s property rights of all four – on the basisthat it was partnership property and he as a partner could deal with it andbind all his partners. The judge accepted that all performers’ propertyrights could become partnership property. It would not be necessary forthere to be a formal agreement to give effect to this. Where Mr Davis’sclaim failed was because he had waited too long after they split to doanything. Four years was too long a gap to claim that Mr Doyle wasacting in the ordinary course of their partnership to sell the propertyrights of the partnership. Nor could it be seen as part of the winding upof the partnership. But even if they were partnership property they werestill held by the individuals who retained a beneficial interest so thepartnership did not have exclusive rights to dispose of the rights. At bestthey could argue that the rights should be applied for the benefit of thepartnership not of the individuals. So James Bourne was within his rightsto grant his individual performer’s rights to the record companies, MrDavis did not have the right to the rights because he knew Mr Doyledidn’t have Mr Bourne’s authority for the assignment and in any eventfor something like this the consent of all four members would have beenrequired under the Copyright Act (s 191 A(4).The main lesson to be learned from this somewhat complex legal case is thatto avoid any doubt it is best to deal, in writing, with partnershiparrangements and rights such as performer’s rights as well as copyright.But that is not the end of the disputes involving members of Busted. Twoof that original line-up – Kiley Fitzgerald and Owen Doyle – have broughtan action arguing that Universal-Island released recordings featuring theirvocal performances in the 2002 eponymous album Busted. They also claimthat they were integral in the creation of Busted including coming up withthe name and co-writing some of the band’s early hits. They claim that therewere unfairly cut out of the equation by the manager, Richard Rashman, andthat Rashman failed to fulfil his contractual commitments as a manager toprotect their interests by making them sign agreements on their departurethat greatly favoured Rashman and the remaining band members. They areclaiming a share of the royalties from the bands’ early songs and trade markuse. Unless it settles the trial is set for February 2008.CONCLUSIONSDecide on a good name for the band and protect it as far as you can.Decide on a band structure and put a written agreement in place.Decide who is going to be allowed to use the name if you split up.Make sure any leaving member clauses in your contracts are fair.Decide these things while you’re still friends.1 The Inland Revenue has issued guidelines with some quite useful examplesof what are the main indicators to someone being either employed or self-employed. It is called IR35 and can be obtained from your local InlandRevenue office.2 Tolhurst v. Smith and Others [1994] EMLR 508. Chapter 12Moral Rights and the Privacy of the Individual INTRODUCTIONMORAL RIGHTS HAVE their origins in well-established European principles oflaw aimed at protecting creative types and ensuring their works are treatedwith respect. These are also called droit moral. In this chapter I’m onlygoing to give an overview of these rights and of where they can be used.There are many books on the subject if you want to read into this further.1Moral rights are separate from copyright. In some circumstances you cankeep your moral rights when you’ve had to assign your copyright tosomeone else.In Europe it has long been felt that an artist’s rights to receive economic(i.e. financial) reward for the use of his work can be adequately protected bythe copyright laws. However, the integrity of the work itself deservesseparate protection. Hence the development of a separate droit moral. TheUK legal tradition makes economic rights more important than those ofartistic integrity. Why doesn’t the UK value the integrity of creative works,you may well ask? It’s not that we don’t give them a value. It’s a question ofemphasis and the answer lies in the cultural differences between the UK andthe rest of Europe and in the different legal histories they have.The European principles of moral rights were included in the majorinternational legal convention on intellectual property, the BerneConvention2 and, in particular, the 1948 Brussels Revision of the BerneConvention.3The UK lagged a long way behind and, indeed, the fact that we didn’tincorporate the two basic moral rights into UK law meant that for manyyears the UK was unable to fully comply with the Berne Convention.As the UK became more integrated into Europe it became clear that wewere out of step not only in not fully complying with the Berne Conventionbut also in not giving sufficient weight to these rights. The generalprinciples of harmonisation, which govern the operation of the EuropeanUnion, meant that the UK had to come in line on these moral rights. As wewill see, it did so, but in a peculiarly British fashion.The 1988 Copyright Designs & Patents Act was the first UK statute thateffectively incorporated all the principal moral rights. There had beenlimited moral rights in the 1956 Copyright Act but the 1988 Act was the onethat brought the UK in line with Europe and enabled us to comply with theprovisions of the Berne Convention.4 Since 1 February 2006 performers alsohave the legal right to be identified as the performer and to object toderogatory treatment of their recorded or broadcast performances.5The moral rights aren’t linked to who owns the copyright in the work inquestion. They may be the same person, but not necessarily. For example,you could assign your rights to the copyright in a musical work to a musicpublisher, but as the author of the work in question you could retain yourmoral rights. In fact, in law you can’t assign moral rights, they remain withyou or your beneficiaries on your death. This is intended to protect you fromunscrupulous people who may want you to assign your moral rightsalongside your copyright. However, there is more than one means to an end.If you and your fellow band members write a musical work together thenyou each have these moral rights independent of each other. Just because oneof you has decided to abandon his moral rights doesn’t mean that the rest ofyou have to.In reality, the 1988 Act merely put into law what had previously beendealt with in contracts. The crucial difference was that in a contract you canonly bind your contracting partner, whereas with moral rights you canenforce them against third parties who were not party to the contract. Forexample, you may have a clause in your contract that says you have to becredited as the composer of the music. If your publishing company forgets todo this, it’s a breach of contract and you can sue them. If, however, theworks are licensed for inclusion on a compilation album and the compilationcompany doesn’t credit you, then unless you have your moral rights youcan’t take action because the contract is between the compilation companyand your record company and not with you. If you have your moral rights,you can take action against the compilation company for breach of yourmoral right to be identified as the author, whether or not your publishingcompany wants to take any action.WHAT ARE THESE RIGHTS?There are four moral rights, but only three of them are likely to affect you.These three rights only exist in respect of copyright works.6 If a work is outof copyright then you don’t have moral rights in relation to it.THE RIGHT OF PATERNITYThe first moral right is the right to be properly identified as the author of thework or the performer when the performer’s performance is broadcast orwhen a recording of his performance is communicated to the public.7 This isalso known as the paternity right.The right is owned by the author of a copyright literary, dramatic,musical or artistic work, and the performer in relation to his performances.So, as a composer or lyricist of original songs, you would have the right tobe identified as having written the words or composed the music and as aperformer your name or stage name or the name of your group should alsobe identified in a manner likely to be noticed by the audience for yourperformance.It’s also possible that you’ll have moral rights in the artwork used for thepackaging of your records if you were the person who created that work (seeChapter 5 on artwork). You’ll notice, though, that the owners of the soundrecording copyright don’t have moral rights in that sound recording.The right exists in relation to a musical work and lyrics when that workis exploited in one of five ways:1. When the work is commercially published; this includes not only sheetmusic but also in sound recordings or as soundtracks to films.2. The issue to the public of copies of the work in the form of sound recordings.3. The showing in public of a film, the soundtrack of which includes the work.4. The issue to the public of copies of a film, the soundtrack of which includesthe work. Remember that the definition of ‘film’ will include videos andDVD.5. If a work has been adapted and the adaptation is exploited in one of theabove ways then you have the right to be identified as the author of the workthat has been adapted. If the arrangement itself is capable of copyrightprotection then the author of the adaptation may also have a right to beidentified as its author.There is now a moral right to be identified as the performer when that workis broadcast, or a recording of it is communicated to the public but there areexceptions. The requirement that the performer must be identified does notapply when it’s not reasonably practicable and it also doesn’t apply when theperformance is given for reasons relating to advertising or news reporting.What about the poor DJs who’d be in danger of breaching your moral rightsevery time they irritatingly didn’t give you a name check after playing yourrecord on the radio? There is no guidance at present as to whether it wouldbe taken as being ‘not reasonably practicable’ to name all the performers ona recording. Common sense suggests that a failure to give the group orperformers name or stage name would be a breach unless it was inadvertentbut it would not be practicable to name every performer, including sessionplayers. It may now be necessary in session musicians’ agreements tospecifically waive the moral rights to be identified.If you have moral rights in the artistic work (the artwork), that rightcomes into effect when that work is exploited in one of the following ways:1. If the work is published commercially.2. If it is exhibited in public.3. If a visual image of it is broadcast or otherwise made available to the public.4. If a film including a visual image of the work is shown in public or copies ofthe film (which will include videos and DVDs) are issued to the public.Section 77(7) of the 1988 Act sets out details of how the author is to beidentified. One example is that the author of the musical or artistic workmust be identified on each copy. This is logical: you wouldn’t want a recordcompany to be able to get around the right by identifying you on the first,say, one hundred copies issued and not on any of the rest.Assertion of the rightThere is, however, one very big ‘but’ here. In order to be able to rely on thepaternity right, you have to first have asserted that right. You may havenoticed on the inside cover of books published since 1988 that there is astatement along the lines of ‘the right of [author’s name] to be identified asthe author of this work has been asserted in accordance with sections 77 and78 of the Copyright, Designs and Patents Act 1988’. This is the bookpublishing world’s way of asserting the author’s right of paternity. If youwrite a song and don’t want to have the right to be identified as the authorthen you just don’t assert your moral right of paternity and you don’t insistof having a credit clause in your contracts. But why wouldn’t you want to beidentified?If you do want to be identified then you can assert your right generally –as in the statement above – or in respect of any particular act. For example,you could assert your right to be identified as the author of the musical workin the sound recording but not if that sound recording is then included in afilm. Again, you may wonder why anyone would make the distinction. Youcan choose to assert your rights in the document in which you assign anycopyright in the work, for example in an exclusive music publishing dealwhere you have to assign your rights for a period of time (see Chapter 4), oryou can do it by some other written means that brings your assertion to theattention of someone. They are then responsible if they breach your right.The problem with this is that it’s only binding on those people to whoseattention the assertion of rights is brought. For example, you could put in awritten document that you asserted your right of paternity, but if thatdocument was then put away in a drawer you wouldn’t have brought it toanyone’s attention and so couldn’t rely on your moral right later if someonefailed to identify you as the author of the work. Putting it in the assignmentdocument is the best way of ensuring that anyone who later takes anyinterest in the work assigned will have notice of your assertion of yourpaternity rights.If the musical work has been jointly written, for example by all membersof a band, then each is responsible for asserting his own right of paternity.One band member can’t take it upon himself to assert it on behalf of theothers.There are a number of exceptions.8 The most important one for you islikely to be the fact that, if the copyright is one that you created as anemployee, your employer and anyone acquiring rights from him doesn’thave to identify you as the author of that work. So, for example, if you wrotea jingle as part of your job as an employee of a jingle company then unlessthere was anything in your contract that said your employer had to give youa credit, he wouldn’t have to do so and you wouldn’t be able to rely on anyright of paternity.The integrity rightThe second moral right is the right of an author of a work or a performer in abroadcast on a recording which is then communicated to the public not tohave that work subjected to derogatory treatment (i.e. to have someone treatyour work in a way that reflects badly on the work and, indirectly, on you).9This is sometimes called the integrity right. The right is owned by the authorof a copyright literary, dramatic, musical or artistic work, by the director ofa copyright film (which includes a video and DVD) and by a performer inrelation to a broadcast of his performance or where a recording of hisperformance is communicated to the public. Once again, the right onlyapplies in relation to a work that is in copyright and it doesn’t apply to soundrecordings.The right has several hurdles to it. First, you have to establish that thework has been subjected to some form of treatment, i.e. that it has beenadded to, or parts have been deleted, or the work has been altered or adaptedin some way. Something has to have been done to it. This can be as little aschanging one note or one word of the lyrics. It isn’t a treatment of a work ifall you do is put it in an unchanged form in a context that reflects badly onits author. For example, if someone uses your song as part of a soundtrackfor a porn video, that of itself isn’t a treatment of the work for the purpose ofyour moral rights. Nor is it a treatment if someone just changes the key orthe register of the music.In a case involving George Michael, the court was asked to consider thequestion of what was a treatment.10Someone had put together a megamix of George Michael’s tracks using‘snatches’ from five songs. They had also slightly altered the lyrics. Thecourt decided that this was definitely a treatment.Once you’ve established that there has been some form of treatment, youthen have to show that that treatment was derogatory. For these purposesthat means a distortion or mutilation or something that is prejudicial to yourhonour or reputation.When you’ve established both these points, you then have to look atwhether the treatment has been subjected to a particular type of use. In thecase of a literary or musical work the integrity right is infringed by:1. Publishing it commercially.2. Performing it in public, broadcasting it or otherwise making it available tothe public.3. Issuing copies to the public of a film or sound recording of, or including, aderogatory treatment of the work.In the case of an artistic work the treatment has to have been used in one ofthe following ways:1. By publishing it commercially.2. By exhibiting it publicly.3. By broadcasting or including in a service which makes available to thepublic a visual image of a derogatory treatment of the work.4. By showing in public a film including a visual image of a derogatorytreatment of a work or issuing to the public copies of such a film.In the case of a film (which includes a video or DVD) the integrity right isinfringed by a person who shows in public or includes in a cable programmeservice a derogatory treatment of a film or who issues to the public copies ofa derogatory treatment of the film.11 In the case of a performance it’s thebroadcast of the work or where a recording of a performance iscommunicated to the public. These rights also apply to online or digitalreproduction via the Internet.FALSE ATTRIBUTIONThe third right is an extension of a right that existed under the previousCopyright Act of 1956. It is the right not to have a work falsely attributed toyou. This would happen if someone says that a piece of music is written byyou or that you directed a particular film and that isn’t in fact the case. Thisfalse attribution needn’t be in writing – it can be verbal. It also needn’t beexpress – it can be implied. So someone could suggest on a televisionprogramme that you were the author of a particular piece of music when youweren’t, or could imply that you were without coming straight out andsaying so. In many ways, it is the mirror image of the right of paternity.If there has been a false attribution then it has to be applied to a workthat has been used in one of the following ways before it can be said to be aninfringement of this moral right:1. If a person issues to the public copies of a literary, dramatic or artistic workor a film in which there is a false attribution. So, for example, if the creditswrongly identify you as the author of the music, this could be aninfringement of your moral right.2. If a person exhibits in public an artistic work, or a copy of an artistic work,in or on which there is a false attribution.3. If in the case of a literary, dramatic or musical work, a person performs thework in public, broadcasts it or otherwise makes it available to the public,saying wrongly that it is the work of a particular person or, in the case of afilm, shows it in public, broadcasts it or makes it available to the public asbeing directed by someone who had not in fact directed it.4. Material issued to the public or displayed in public, which contains a falseattribution in relation to any of the above acts, is also an infringement. Thiscould catch publicity posters for films, or adverts in magazines for a book,or the false credit on the packaging for a recording of a piece of music.There are also rights against those who indirectly infringe this right.12 Therights extend to making available over the Internet or making digital onlinecopes of the works.PRIVACY OF PHOTOGRAPHSThe final moral right is the right to privacy in any photographs that youcommission.13 This is intended to protect against unauthorised use bynewspapers and such like of private photographs that you havecommissioned. When you’re starting out in the business this right may notbe of immediate practical interest to you. There’s always the motto thatthere’s no such thing as bad publicity. However, later in life, when you’re amegastar seeking to protect your privacy at all costs, you may remember thisright and use it against unscrupulous photographers keen to sell their souland your life to the tabloids. This right can be used alongside the privacy andconfidentiality rights that are being developed by the courts implementingthe Human Rights Act as we will see later in this chapter.OWNERSHIP OF RIGHTSAs we’ve already seen, the moral rights belong to authors – to composers ofmusical works and writers of lyrics intended to be spoken or sung withmusic and to performers on sound recordings or broadcasts of theirperformances. A record producer may have moral rights but not as theproducer but because he may have also performed on the record orcontributed to the writing of the words or music (see Chapter 5).The real beauty of these rights is that they are rights of the author orperformer, who can’t be made to assign them. A songwriter may have beenrequired to assign the copyright in his words and music to a publisher as partof a publishing deal (see Chapter 4), but he can’t be made to assign hismoral rights. If he retains his moral rights then he is in a position to takelegal action against someone infringing those rights, even if the publishingcompany wants to take no action.There are, of course, difficulties with the moral right of paternity, as youwould have to show that you had the right, that it had been infringed and thatyou had asserted the right in such a way that the person infringing it hadnotice of the assertion. If your assertion was in an assignment document andwas general in nature, you could take action against the assignee of therights and against anyone else taking an interest in the rights subsequently.This could help you take action for infringement of your paternity rightagainst your publisher or one of his sub-publishers, but not so easily againstsomeone who was acting unlawfully.The other moral rights do not have to first be asserted.DURATION OF RIGHTSThe paternity and integrity rights last for as long as copyright exists in thework in question. The same applies to the right of privacy in commissionedphotographs and films.14 After a person’s death, the right to take action forinfringement passes to whomever he specifically directs. This can be morethan one person. The right against false attribution lasts until twenty yearsafter the person’s death. If there is an infringement after his death then hispersonal representatives can take action. It’s not a criminal offence toinfringe your moral rights but, if proven, you have the right to seekinjunctions and/or damages. Most importantly, you can exercise a degree ofcontrol over what’s being done with your work.THE CATCHThere is, though, one other big problem with these rights and it has beendealt with in a peculiarly British way. You’ll recall that the two main moralrights were first introduced into UK law in 1988 in order to enable the UK tofully comply with the requirements of the Berne Convention. TheConvention said that the laws of signatory countries ought to contain theauthor’s moral rights. There was, however, nothing in the Convention thatprevented a country incorporating the rights into its laws but then makingconcessions to other economic interests. This is exactly what happened inthe UK. It arose largely as a result of intensive lobbying by the powerfulrecord and publishing interests in this country. It is also a result of the long-standing laissez-faire tradition that we spoke of earlier. In the UK we stillfavour economic interests over author’s rights. So what happened was that,having included the rights in the 1988 Act, the law then went on to say thatthe author could then elect to waive his rights, to agree not to assert the rightof paternity or to enforce any of the other rights. The waiver must be inwriting and signed by the person giving up the right. The waiver can be for aspecific work, for works within a specific description or works generally. Itcan apply to existing and future works, can be conditional or unconditionaland can be revocable. The same points would now also apply to the moralrights of performers.What was the consequence of this waiver provision? I’m sure you canguess. As soon as the industry realised these rights could be waived, allcontracts were changed to include as standard a waiver of these rights in thewidest possible terms. Clauses were included which provided for anabsolute, unconditional and irrevocable waiver of any and all moral rights ofwhatever kind in relation to all existing or future works. They even put themin record contracts where there was little or no chance of the right existing inthe first place.CONCLUSIONSo why bother discussing these rights if you’re going to have to waive themanyway? Once again, it comes down to bargaining power. If creativecontrols are important to you then you could try and insist on not having towaive them. If you’re forced to waive your moral rights then try and onlywaive them against uses of your works by properly authorised people. Tryand retain the right to enforce your moral rights against unlawful users ofyour works and infringers of your rights.If you’re made to waive your rights, your lawyer will then usually usethat as a lever to try and get some of the benefits of the rights through theback door. It helps us to negotiate more favourable credit clauses for youand to cover what happens if you aren’t properly credited. We rely on theintegrity right to get you contractual consents as to what can or can’t be donewith your work. For example, that your words and music can’t be changedwithout your consent.PRIVACY OF THE INDIVIDUALI’ve been talking in this book (in Chapters 8 and 9 in particular) about howyou capitalise on your fame and fortune – but there is another side to thecoin. What rights does a famous person have to prevent others from cashingin on his fame and intruding into his private life? Can celebrities protecttheir privacy? What happens if the press gets too intrusive?There are two opposing schools of thought at work here. On the onehand, you could argue that personalities have worked hard to create theirfame; why shouldn’t they be able to benefit from the results of this hardwork and control what others do with that celebrity? On the other hand,some consider that the fame of a personality is created by the public – it issociety at large that decides whether or not an individual is famous or not, sotheir name and image should belong to the public.The courts of different countries adopt different approaches. In the USit’s much easier to protect your personality and the publicity associated withit. In the UK the courts have, for over half a century, adopted the approachthat if you choose to go into an arena where you get fame and maybefortune, then your name and reputation is a matter of public interest andpublic property.The cases on the laws of passing off that we discussed earlier clearlyshow that the courts are not keen on assisting famous personalities to clearthe market of ‘unofficial’ merchandise (see Chapter 8). So, if there is notrade mark or copyright infringement and no breach of the TradeDescriptions Act, what can you do? Well, in most western Europeancountries you’ll find that the law gives you a much broader protection,indeed a right of privacy.The Petula Clark CaseOne of the first French cases involved Petula Clark, who had authorisedan agency to interview and photograph her for a particular publication.The agency concerned, however, sold the photographs to another agencythat used them in a weekly publication. Petula Clark was successfullyawarded damages by a French court proportional to the loss of theopportunity to earn revenue from the publication of the photographs.This line of approach has been consistently followed in France but not inthe UK.The Eddie Irvine CaseA very different case, involving the racing driver Eddie Irvine, has givensome hope that the courts are starting to acknowledge that there is acommercial value in the named image of a well-known individual, whichthe individual is entitled to protect.15Talksport produced a limited run advert with a doctored picture ofEddie Irvine showing him seeming to hold a radio, not a mobile phone,in his ear with a ‘tag’ line that suggested he supported a particular sportradio station.Irvine brought an action for damages for passing off and argued thathe had a substantial reputation and goodwill and that the defendant hadcreated a false message that a not insignificant section of the publicwould take to mean that Irvine had endorsed the radio station. The radiostation argued that there was no freestanding right to characterexploitation enjoyable exclusively by a celebrity, and a passing off claimcouldn’t be based on an allegation of false endorsement.The court agreed with Irvine and held that an action for passing offcould be based on false product endorsement. The judge recognised thefact that it was common for famous people to exploit their names andimages by way of endorsement in today’s brand-conscious age, not onlyin their own field of expertise, but a wider field also. It was right,therefore, for valuable reputation to be protected from unauthorised useby other parties. The fact that the brochure had only had a limiteddistribution was not relevant. Even if the damage done may be negligiblein direct money terms, the court accepted that potential long-termdamage could be considerable.The 118 case referred to in the chapter on branding also suggests theregulators are beginning to accept in some circumstances that there is valuein a person’s image which they are entitled to protect.The implementation of the Human Rights Act into UK law in 2000attracted much interest among personalities and those advising them as theythought it might afford them more protection.The Human Rights Act gives an individual the right to respect for hisprivate and family life, home and correspondence. This must, however,according to the Human Rights Act, be balanced against the importance offreedom of expression and of the press. The courts are required to performthis balancing act.The introduction of the law saw a flood of cases, some juicy onesinvolving stories of sex and drugs. Others were less tabloid in nature, butboth sorts centred on the very serious question of the right to privacy. Hereis a selection of some of those cases:The Michael Douglas Case16This involved a claim by actor Michael Douglas and the publishers ofOK! magazine that Hello! breached his privacy by secretlyphotographing his wedding to Catherine Zeta-Jones and publishing thephotographs ahead of the exclusive that had been given to OK!Three judges reviewed the history of the developing law ofconfidence, not privacy, and the effect, if any, of the introduction of theHuman Rights Act 1998. They considered the acceptance of a right toappropriate protection of one’s personal privacy as an extension of thelaw of confidence – placing a fundamental value on personal autonomy.The court declined to expand on a new right of privacy saying that MrDouglas and OK! had sufficient protection under existing laws ofconfidence.The earlier CA case of Kaye v. Robertson was not followed on thebasis that the law had moved on to develop a law of privacy without theneed for first establishing the relationship of confidentiality, whichsometimes had to be done very artificially.On balance, they decided Mr Douglas had a right to privacy, eventhough he had waived that right by agreeing a deal for publication ofphotographs of the event in question, his wedding.The legal saga continued with £14,500 damages being later awardedto Mr Douglas and Ms Zeta-Jones and just over £1million to OK! for thecommercial damage.Hello! then announced it would appeal the amount of damagesawarded and the decision of the House of Lords in May 2005 was thatwhilst Douglas and Zeta-Jones were entitled to damages for breach oftheir right of privacy OK! was not also entitled to damages. This wasboth a significant blow to OK! which had anticipated £1m in damagesand the bulk of its legal costs and one which has created a huge hole inthe case law which was thought to protect a magazine from a ‘spoiler’story run by a rival. It would seem that protection is not available underthe privacy or confidentiality laws in those circumstances. Unless thereis an appeal to the European Court this would seem to be the end of thisparticular saga but we can expect more cases in this area as magazinesseek to establish the extent of what they can or cannot protect in terms ofexclusives.Ms Dynamite CaseIn 2003 Ms Dynamite sought to rely on her right to privacy under Article8 of the Human Rights Act and complained to the Press ComplaintsCommission that the Islington Gazette had published information whichmade it possible to identify the location of her home, against the PCCCode of Conduct. The PCC upheld her complaint and found that theCode had been breached. But whilst this may have acted as a sharp slapon the wrist to The Islington Gazette without stiff financial penalties inthe form of compensation it lacks bite.The courts have shown more of a tendency to grant injunctions in the area ofprivacy than, for example, libel. This fact, together with the hope ofcelebrities for an improvement in their right to privacy from intrusivepaparazzi and tabloid reporters, has led to several new cases in this area.The Footballer Case17A footballer wanted to prevent the publication of kiss-and-tell stories bygetting an injunction against a newspaper. The court had to balance theinterests of the individual against freedom of speech and decide whetherthere was a public interest to be served in allowing publication. Theydecided that, on balance, they wouldn’t prevent publication.This case made it clear that nearly all intrusions on privacy will be dealtwith in the area of breach of confidence. This seems to be a move away fromthe Douglas case, which clearly wished to establish a separate law ofprivacy. By returning to this law of confidence, it will be necessary forcelebrities to show that the information was obtained in confidentialcircumstances. The case also seems to show the court’s sympathies tippingin favour of freedom of the press, while stressing the need for a balancingact between privacy of the individual and the public interest. By that, I don’tmean that just because it’s a piece of juicy news that it’s in the publicinterest, but that public figures have to accept that their activities do, insome circumstances, make it in the public’s interest that they be writtenabout, whether they like it or not.This approach seems to have been followed in other cases brought bycelebrities.The Jamie Theakston CaseAnother celebrity caught, as it were, with his trousers down, was the TVpresenter and actor Jamie Theakston, who visited a brothel and wasphotographed by one of the women there, who then threatened to sell herstory to the press, apparently because he failed to pay for servicesrendered.18 Theakston sought an injunction to stop her. The courtapplied the rules on confidence and decided that the woman owed himno duty to keep the matter secret and that the public interest was servedby a story that he had visited this place. They also ruled, though, thatthat interest didn’t go so far as photographs, and made an orderpreventing the publication of the photographs.The Naomi Campbell Case19The first of the privacy cases to come to trial after the implementation ofthe Human Rights Act was one brought by the supermodel NaomiCampbell against the Daily Mirror. The Mirror intended to publishdetails of Ms Campbell’s drug addiction. She sought an injunction t oprevent them. The court decided that, while there was a public interest inknowing of her addiction (she had, apparently, previously proclaimed ananti-drugs stance), this didn’t extend to details of her therapy withNarcotics Anonymous. It granted her an injunction for breach ofconfidentiality, but awarded the very low sum of £3,500 in damages – asignal that the court didn’t think much of her behaviour. The judge wentso far as to say, ‘I’m satisfied that she lied on oath.’ This was a clearcase where the damage caused by the publicity surrounding the case andher evidence in court outweighed that caused by the original article.Appeals took the case right to the House of Lords where in May 2004 theoriginal decision stated above was upheld by the Law Courts on a 3 to 2majority decision.There is clearly still a legal tightrope to walk between what it is legitimateto publish and what oversteps the mark. The law is still developing andoccasional inconsistencies remain.Sebastian Coe Case20Shortly after the House of Lords decision in the Naomi Campbell case,Sebastian Coe brought a High Court action seeking an injunction againsta newspaper publishing details of his mistress’s abortion. As this wasprivate medical information which the courts had declared suitable forprotection in Ms Campbell’s case he might have expected to succeed buthe did not.Sara Cox v. The People newspaper21DJ Sara Cox sued The People newspaper after it published nude shots ofher and her boyfriend, John Carter, on their honeymoon whilst relaxingon a private beach. The action was settled with an award of £50,000 indamages.The Elizabeth Jagger Case22In March 2005 Elizabeth Jagger brought a claim for an injunction in theHigh Court to prevent further publication of CCTV footage of her ‘heavypetting’ near the doorway of a nightclub with her then boyfriend CallumBest. The judge agreed she had a right to privacy and that when balancedagainst public interest he thought it came down firmly on the side ofprivacy in this case.As in many other areas of English law, much can depend on the individualjudge who hears your case. In this country the press is self-regulated by thePress Complaints Commission.A 2006 case involving a Canadian musician helped to put to rest some ofthe inconsistencies and set some guidelines for where to draw the linebetween the need for privacy and the desirability of a free press.Niema Ash v. Loreena McKennitt23Although perhaps not a household name here Ms McKennitt was a verysuccessful Canadian folk singer who toured internationally. In 2005 afriend (or perhaps more correctly former friend) of hers, Niema Ash,published a book she had written entitled Travels with LoreenaMcKennitt: My Life as a Friend. Ms McKennitt claimed that the bookcontained a great deal of personal and private information about her lifewhich she was entitled to keep private. Ms McKennitt was someone whotook pains to protect her reputation and privacy. She was relying on theduty of confidence to keep private and business affairs private. Shesucceeded in this claim first time round but Ms Ash appealed.The Court of Appeal decision is useful to lawyers because itsummarises the present state of the law of privacy and confidence.English law does not have a right to sue for invasion of privacy so thecases have to be brought as breaches of confidence. That area of law alsoencompasses the provisions of the Human Rights Act but in ways thatare not always comfortable. A balance has to be drawn between the rightof an individual not to have his private information misused as againstthe right of freedom of expression. In addition the court has to considerwhether the individual complaining of misuse of private information hada reasonable expectation of privacy. This latter requirement is behindsome of the inconsistent decisions above. The judges sometimes findthat the claimant’s own behaviour has led to them foregoing thisexpectation of privacy. An example might be if a film star used hisfamily to promote an image of a happy family man he might then havegiven up his right to expect to prevent others from publishing pictures ofhim with his family.Ms McKennitt passed the first hurdle in that the Court of Appealjudges found that the information was of a personal nature that did fallwithin the category of private information. Ms Ash had, ratheringeniously, argued that it could not be private to Ms McKennitt becauseshe had shared the same experiences. But the judges rejected this line ofargument. They thought that the book wasn’t about Ms Ash’sexperiences but those of Ms McKennitt and so was not being used as anexpression of her personal experiences.The judges also decided that in this case merely because MsMcKennitt sought publicity for herself she hadn’t lost all right to protectherself against publicity that she didn’t like.So having decided this was private information that she was entitledto protect the court then had to decide if that right was outweighed bythe right of freedom of expression.The judges found here that the freedom of expression didn’tautomatically outweigh the right of privacy. Each case had to be lookedat in detail. In this case they found that Ms Ash did not have her ownstory to tell, only that of Ms Mckennitt and just because it had as it werecome into the public domain by being told to Ms Ash by Ms McKennittdid not mean Ms McKennitt had lost her expectation that thatinformation would be kept private. It might I think have been different ifMs McKennitt had already given a ‘warts and all’ interview to anewspaper.Ms Ash thought that she had the right to expose what she saw as MsMcKennitt’s hypocrisy in the difference between her public and privatelife. The judges disagreed that there were any special circumstances thatwould justify the revealing of that private information. A charge ofhypocrisy alone was not enough of a reason. And in any event they foundon the facts that Ms McMennitt was not in fact a hypocrite.On the other hand the court also made clear that there was noautomatic right to a private life by a person in the public eye but that insome circumstances there were areas of their lives that they wereentitled to keep private. Special circumstances would need in future tobe shown if for example the private life of a football player were to bemade public without his consent. Special circumstances would bematters that fell within the area of political or public debate and wouldnot therefore normally apply to the private lives of individuals, evenpoliticians and those in the public eye.Exactly a week later the Court of Appeal handed down its judgement in theappeal by Associated Newspapers to be permitted to publish extracts fromthe Prince of Wales’ private journals.Associated Newspapers Ltd v. HRH Prince of Wales24In some respects this case looks to be obvious but it nevertheless endedup in the Court of Appeal. This is probably a reflection of the amount ofmoney newspapers can make from stories of a revealing nature as wellas the fact that this is a still developing area of law where the pressperhaps senses a chance to gain some ground in the privacy versus pressfreedom battle.Prince Charles kept handwritten journals (eight in total) containinghis impressions and views in the course of his overseas visits in theperiod between 1993 and 1999. An employee of the Prince’s providedcopies of the journals to the Mail on Sunday who published substantialextracts relating to a visit to Hong Kong in 1993, including commentswhich were disparaging of certain Chinese dignitaries he had met. Heractions were a breach of her employment contract. Prince Charles suedher on two grounds, breach of copyright and breach of confidence. Onthe breach of confidence case the issues were essentially the same as inMs McKennitt’s case outlined above. Was the press freedom ofexpression enough justification to override the Prince’s right of privacyin his private life?The court which first heard the case thought it did not and gavejudgement to the Prince. The newspaper appealed.Once again the Court of Appeal judges outlined the state of thecurrent laws of confidence and in this case also discussed the extent towhich the employee was in a position of confidence such as to fairly andreasonably recognise that the information was private.Once again there was the question of the balance of interests to beweighed but also in addition the Court of Appeal felt they had toconsider how this weighed up when you also took into account that theinformation had been obtained as a result of a breach of a confidentialrelationship based on a contract – here an employment contractIn this case both the fact that the employee had a contract whichcontained a clause obliging the employee to keep the contents of thejournal confidential and the balance in favour of even the heir to thethrone having a right to keep his thoughts private fell in the Prince’sfavour. No one is so famous that they have lost all right to a private life.CONFIDENTIALITY AGREEMENTSWhat this last case in particular highlights is if a confidential relationshipdoes exist (for example, between a celebrity and his housekeeper, driver orbodyguard), then it’s important that there is a confidentiality agreement putin place. This will make the extent of the confidentiality clear and confirmthat such matters will remain confidential. This will add a claim for breachof contract to that of confidence.However, it doesn’t always go the way of the celebrity.The Beckhams v. Gibson25In April 2005 David and Victoria Beckham brought an action in the HighCourt to prevent further disclosures by a former nanny, Abbie Gibson,about their marriage and private life. There was a confidentialityagreement in place which the Beckhams claimed had been breached. Thejudge refused to grant the injunction but when the matter came beforethe courts the former nanny voluntarily undertook not to release anyfurther information pending a full hearing. In many cases this is usuallythe end of the matter.HARASSMENT ACTIONSApart from seeking court orders in the civil courts for injunctions,celebrities can, and do, seek the involvement of the police to prevent theactivities of paparazzi and reporters whose activities border on that ofstalking. They rely on legislation introduced in the 1990s to prevent privateindividuals from being hounded or stalked. If the police can be persuaded toget involved, they can be very effective in ‘moving on’ recalcitrant membersof the press. If they won’t, then private criminal actions are possible,although such cases rarely come to trial as the celebrity would have to giveevidence and many are reluctant to do so. Whether it’s a police or privatecriminal case, the court is going to want to see detailed evidence of theextent of the harassment, so private detectives are often hired to producephotographs of the paparazzi hounding the celebrity, and his private securitystaff are often called upon to produce detailed statements of the extent of theharassment. Many of these paparazzi are freelance and make their moneyfrom selling stories and photos to the highest bidder. ‘Exclusives’ can netthem tens of thousands of pounds in syndication rights worldwide. N owonder they are keen, and no wonder that many celebrities are forced eitherinto almost total isolation in the UK or to move overseas, France and the USbeing particular favourites, where the privacy laws are stronger.CONCLUSIONSTry to retain your moral rights if you can.Assert your right to be identified as an author of a work early and aswidely as you can.If you have to waive your moral rights, use this to get improvedcreative controls in the contract.Put confidentiality agreements in place with those who work closestwith you.Consider harassment actions if intrusion becomes too much.Before embarking on privacy/breach of confidence actions, considerwhether the potential bad publicity of a trial could outweigh anyadvantages gained.1 See Copinger & Skone-James on Copyright, (15th edition Sweet &Maxwell, 2005) for a more detailed legal description of UK moral rights.2 It first appeared in the 1925 Rome Treaty.3 Article 6 bis of the 1948 Brussels Revision to the Berne Conventioncontains two basic moral rights: the right to be identified as an author of awork and the right not to have that work distorted, mutilated or otherwisealtered in a manner which would be prejudicial to the author’s honour orreputation.4 The moral rights are found in Chapter 4 of the Act in sections 77–89. Theremedies are found in section 103ff.5 The Performances (Moral Rights,etc.) Regulations 2006.6 Sections 178 and 1(2) CDPA.7 Section 77 CDPA.8 Section 79 CDPA.9 Section 80 CDPA.10 Morrison Leahy Music v. Lightbond, 1993 EMLR 144.11 See section 83 CDPA for details of other persons who could be liable forinfringement of this right and section 81 CDPA for exceptions.12 Section 84(3) CDPA.13 Section 85 CDPA.14 Section 86(1) CDPA.15 Irvine and Anr v. Talksport Limited Chancery Division 13/03/02.16 Michael Douglas, Catherine Zeta-Jones, Northern & Shell Limited v.Hello! Ltd. [2001] EMLR 199.17 A v. B & C [2002] EMLR 21.18 Theakston v. MGN Ltd [2002 QBD] EMLR 22.19 Campbell v. MGN Ltd [ 2004] UKHL 22.20 The Guardian 7 June 2004.21 The Guardian 9 June 2003.22 The Times 10 March 2005.23 Niema Ash v. Loreena McKennitt [2006] EWCA Civ 1714 (14 December2006).24 Asoociated Newspapers Limited v. His Royal highness, the Prince ofWales [2006] EWCA Civ 1776 (21 December 2006).25 The Times, 17 May 2005. Chapter 13Sampling And Plagiarism INTRODUCTIONSAMPLING AND PLAGIARISM are two sides of the same problem. Plagiarism isthe taking of someone else’s ideas and passing them off as your own.Sampling is essentially the same thing but the subtle difference betweenthem is that to be guilty of plagiarism you need to show that someone hadaccess to your material and that it was not just coincidence that it soundsvery similar to your work. Sampling is always only a deliberate act. Theperson doing the sampling deliberately takes parts of someone’s work andthen, possibly after manipulating it, includes it in their own work.1 Bothsampling and plagiarism are infringements of copyright. 2 If you sample theactual sound itself by copying the digital recording, this is an infringementof the sound recording copyright. 3 If you don’t actually make a copy of thesound recording copyright, you could take the piece of music that you’reinterested in using and get someone to replay it, to re-perform it in anidentical way. This is still sampling, but it would then only be aninfringement of the musical copyright in the music and the literary copyrightin the words.4Is sampling theft? Many people argue that all cultural evolution is basedon taking bits of existing popular culture and adapting and changing them.They argue that all new musical genres ‘borrow’ or are influenced by earlierones. R&B from gospel, and rock ’n’ roll from R&B and so on. Those thatbelieve this think that clamping down on sampling stifles this growth. Theywould be in favour of the removal of all restrictions on using parts ofsomeone else’s copyright.This is all very well, but if you were to take this to its logical conclusionthen no one would be able to protect their work, music would be devaluedand people wouldn’t be able to make a living from their work. Surely that’slikely to lead to less creativity rather than more? I believe that it’s wrong todeliberately take someone else’s work without their permission, withoutpaying them anything for it and without giving them proper credit.HOW MUCH IS A SAMPLE?Although sampling has been around since the 1960s, there’s still an awful lotof confusion about what is a sample. A lot of people think that just becausethey’ve only sampled a couple of notes or a few seconds of someone else’swork they haven’t sampled it at all. That simply isn’t true. What the 1988Copyright Act says is that there has to have been copying of a ‘substantialpart’.5 It’s a question of the quality of the part sampled and not the quantity.There are a number of cases where the courts have considered what is a‘substantial part’.Colonel Bogey CaseIn the case of Hawkes & Son,6 Paramount had included the sound of the‘Colonel Bogey’ military march in a newsreel. They used 28 bars ofmusic lasting about 20 seconds. The question was whether twentyseconds out of a four-minute piece was a substantial part. The musicperformed by the band made up the main theme of the march. The courtclearly looked at the quality of what had been copied as well as thequantity and found that an infringement of copyright had taken place.Judge Slesser said, ‘Though it may be that it was not very prolonged inits reproduction, it is clearly, in my view, a substantial, a vital, and anessential part which is there reproduced.’The Beloved Case7So, could something shorter than twenty seconds constitute a sample?The band The Beloved sampled eight seconds of a recording of apiece called ‘O Euchari’. The sample was repeated several times in TheBeloved’s track, ‘The Sun Rising’. The sound recording of aperformance by Emily Van Evera of the work had been sampled.Hyperion owned the rights in that sound recording and sued. At apreliminary hearing, the judge gave his opinion that an eight-secondsample was not too brief to constitute a substantial part. He wanted thematter to go to a full hearing. However, as happens with so manysampling cases, Hyperion settled out of court and permission to use thesound recording sample was given retrospectively.The ‘Macarena’ CaseA claim was brought by Produce Records Limited, that the dance hit‘Macarena’, which had been released by BMG Records, infringed thecopyright in a sound recording by The Farm called ‘Higher and Higher’.The sample consisted of a short sound made by the vocalist Paula David,which Produce alleged had been used or ‘looped’ throughout‘Macarena’.Because so few sampling cases get to court, a lot rested on this case.If it went to a full court hearing and the court confirmed that such a shortsample could constitute a substantial part, this would be a firm rulingthat could be relied on in later disputes. After such a judgement it wouldbe very difficult to rely on the widely held view that three seconds is theminimum amount necessary to constitute a substantial part. It was moreimportant as a potential guideline for samplers than it was for BMG towin this particular case. A decision that the part sampled didn’tconstitute a substantial part would mean success for the record company,but it wouldn’t necessarily have given any guidance on what is asubstantial part. Each subsequent sampling case would continue to bedecided on a case-by-case basis. On the other hand, if the case had goneagainst BMG and such a short sample had been said to be a substantialpart then BMG would have lost this particular case, but all recordcompanies would also have lost the argument that such a small samplecouldn’t constitute an infringement of copyright. BMG settled out ofcourt on terms that remain confidential. Possibly the potential downsidewas too great.The question also comes up from time to time as to whether you can samplea rhythm or a drumbeat. I would argue that you can if it can be shown to beoriginal and distinctive and if a substantial part has been copied. There are,of course, only so many rhythms in popular music and many drum and basslines used currently are, in fact, the same as have been used in earlier works.This is particularly true in the area of reggae music. Inevitably there is goingto be duplication. I tend, however, to agree with Aaron Fuchs. He’s the manbehind an eight-beat drumbeat used in the classic hip-hop track by TheHoneytrippers, ‘Impeach the President’. In 1992 he brought legal actionsagainst Sony and Def Jam alleging that this particularly drum sound is oneof the more distinctive in the hip-hop genre and worthy of the protection ofcopyright. I can find no report of that case coming to court, so I presume itwas settled out of court like so many of these cases.In the United States the courts are handing down decisions that suggestthey are leaning towards giving protection to a distinctive or unique ‘sound’.The rap artist Dr Dré has been both successful and on the receiving endin court proceedings, perhaps reflecting the nature of the rap/hip-hop genreof music.In 2003 Indian composer Bappi Lahiri won a court injunction halting thesale of the debut album by Truth Hurts – a protégé of Dr Dré and signedto his label, Aftermath Records. Lahiri argued that the hit song‘Addictive’ contained a four minute sample of one of Lahiri’s songs,‘Thoda Restiam Lagta Hui’, which Lahiri had composed for a film in1987. Lahiri sought proper credit for the use of his work andcompensatory damages.In 2005 a songwriter, Michael Lowe, brought a copyrightinfringement action arguing that the track ‘X’ on rap star Xzibit’ssuccessful album Restless used a beat created by Lowe. Dr Dré wasnamed as a co-defendant because he was one of the co-authors of ‘X’.Lowe argued unsuccessfully that he had created and recorded the beatand gave it to a record producer, Scott Storch, in the hope that he wouldpass it on to Dr Dré. Storch denied this. However, Lowe admitted that hedid not expect to be paid anything in return for the beat. The judgedecided that on that basis he couldn’t then sue for payment and didn’trule on the facts of the use of the beat itself.8HOW DO YOU CLEAR A SAMPLE?If it’s clear that you’ve sampled someone else’s work then this is aninfringement of their copyright – unless you get their permission to copy andreproduce their work. If you don’t, they could sue you for damages for thecopyright infringement and also for an injunction stopping you fromcontinuing to use that sample. As you can imagine, record companies aren’tvery happy about having an artist who samples material from others anddoesn’t get their permission. It’s very expensive for the record company ifthere’s an injunction and they have to recall all the copies of the single oralbum and remove the offending sample before re-cutting, re-mastering andre-issuing the record. In fact, if it’s too expensive they may not botherredoing it and just kill the single or album. That isn’t a very good solutionfor you, so it’s best to get permission to use any samples. This is called‘clearing’ samples.Most record contracts, whether they’re exclusive recording agreementsor licences, will have a clause in them that says you are guaranteeing that allsamples are cleared before the recording is delivered to them. This makes itclear that it is your responsibility. This is only fair if you’re the one who putthe sample in there in the first place. But bear in mind that producers andremixers also have the opportunity to introduce samples into the recording atvarious stages in the process. Their contract should make them responsiblefor clearing any samples that they introduce. Sometimes it’s the recordcompany that has the idea that including a particular sample will turn a goodsong into a great monster hit. If the record company is encouraging you toinclude a sample then they have to take responsibility for clearing it,possibly as an additional recording cost. That cost may or may not berecoupable, depending on the deal.In a case on this point, the judge (Terence Etherton QC) had sympathyfor the defendant.9The Walmsley CaseWalmsley had recorded a track that contained two sound-recordingsamples. The track was licensed to Acid Jazz and the contract requiredAcid Jazz to pay royalties to Walmsley. Walmsley gave a warranty thatthe copyright in the track was free from any third-party claims. Why hesigned such an agreement is unknown, but part of the explanation maybe that he didn’t pay much attention to it, as we will see. Acid Jazzrefused to pay any royalties, even though the track was a chart success.Acid Jazz said the track had given rise to a number of disputes and that ithad had to pay out monies in settlement. It said that it was relying on itswarranty, which it said Walmsley had breached. Walmsley’s evidencewas that he’d told Acid Jazz at the time of the agreement andsubsequently of the samples, and had been told by Acid Jazz that nolicences were required and, if any were to be sought, Acid Jazz would doit.The judge found that Acid Jazz owed the royalties to Walmsley and,although Walmsley was in breach of contract, Acid Jazz was notpermitted under equitable principles to rely on it because it had had fullknowledge of the true position from the outset.With some types of music, particularly in the dance, electronic, hip-hoparenas, the record company is fully aware that there will be samples and willoften help to clear them. This can be an advantage, as they can use theirgreater resources and clout to pull favours and get things cleared quickly.This clout can have its downsides. If you’re a small, struggling dance labelthat asks to clear a sample, the person whose work is sampled is less likelyto ask for large amounts of money than if you were EMI or a Sony BMG forexample.WHEN SHOULD YOU SEEK PERMISSION?Ideally, you should try and get clearance before you’ve recorded the sample.Then if you don’t get permission you haven’t wasted recording costs andtime. In reality, this won’t usually be possible. It can take time to track downthe owners of the work sampled to find out who you have to ask forpermission. Even once you find them they may take their time in gettingback to you. You may then have to negotiate terms for the clearance. In themeantime you can’t get on with finishing the recording of that track. Thiscould hold up delivery of the record and its eventual release. Also, you’regoing to need a recording of what the sampled work is going to sound like inyour version of it, even if it’s only a demo. In practice therefore, theclearance process takes place after the recording has been made or duringthe recording process. Sometimes it’s left until the record has beendelivered. I think this is too late to start the clearance process. Some feelersshould have been put out beforehand, at least to find out who owns it and toget an idea of whether they’re likely to give you a problem.Most record contracts and licences will say that delivery of a recordinghasn’t taken place until evidence has been produced (usually in the form ofclearance letters or agreements) that all samples have been cleared. If youhaven’t used any samples they will want you to give a warranty (a sort ofguarantee) to that effect. Until delivery has taken place, it’s unlikely thatyou’ll get any advances due to be paid on delivery (see Chapter 3). Nor willtime start to run for your record to be released and the marketing plan won’tbe put into action. Therefore, the sooner samples are cleared the better.Some people say that they’re willing to take a risk that the use of asample won’t be spotted. They think that if it’s sufficiently obscure orhidden in the track, the sample won’t be discovered. Well, it’s just possiblethat you could get away with it if it was a limited edition low-key release.For example, if you were only going to press up 1,000–5,000 copies of therecord for release on your own small dance label then you might be lucky.Even if it were spotted, the copyright owner of the sample may not bother totake any legal action because the amounts involved and the legal costs andhassle of suing you wouldn’t warrant it. But what happens if a bigger recordcompany licenses your track in and gives it a big marketing push? Or if youmake it a big success in your own right and find you’re licensing it to loadsof different compilations? If you haven’t cleared it and you’re found outyou’ll end up with a big problem on your hands, because now the copyrightowner of the sampled work has an incentive for taking you to court. Thebigger record company that has licensed the track from you may get sued bythe sample owner. The record company will in turn usually have anindemnity from you. This means that, if they are sued, they can make youresponsible for the damages and costs involved because you’ve breachedyour warranty that there were no uncleared samples in the recording. Bylying to them you may also have irretrievably damaged your relationshipwith that label for the future. Is it worth the risk? That is for you to judge. Itis also much easier with the Internet to find tracks which might once havebeen obscure, low-key releases. Whilst this has its advantages if you arelooking to launch your career online it has significant disadvantages if youwere hoping to keep your track low key. Personally I really don’t think it’sworth the risk and I have seen many deals come unstuck through issuesarising from uncleared samples. At the very least tell the record company asearly as possible and enlist their help to clear it.WHERE DO YOU GO TO CLEAR SAMPLES?If you decide to clear samples, who do you go to for clearance? If you’vesampled the actual sound recording, you need to seek permission from theowner of the original sound, although they may have passed it on to someoneelse by licence or assignment of rights (see Chapter 3). You can start bylooking at the recording that you sampled it from. It should have a copyrightnotice on it that will say who was the copyright owner at that time, forexample ‘© EMI Music 2008’. So your first point of call would be EMI.They should be able to tell you if they still own the rights. If you don’t wantto show your hand too soon, you might want to do this through your lawyeron a ‘no names’ basis.You must allow yourself plenty of time. The first thing you should betrying to achieve is an agreement from them in principle to the use of thesample. Some artists won’t allow their works to be sampled under anycircumstances, so it’s best to know this as early as possible. Once you’ve gotthe agreement in principle then you can negotiate the terms. This can alsotake time, but you should know fairly early on whether they are going to askfor a ludicrous amount for the clearance, which will make it uneconomicalfor the sample to be used. Remember that, as well as clearing the use of thesound recording sample, you have to clear the use of the underlying musicand, if appropriate, words.The owner of the copyright in the words and music may be the writercredited on the sampled recording.10 It’s quite possible, though, that thewriter may have assigned or licensed his rights to a music publisher (seeChapter 4). So you’ll have to look at whether a publisher is credited and goto them to see if they still own or control the rights. They may only do so forpart of the world or they may have passed the rights on or back to theoriginal writer. The MCPS/PRS database should contain details of whoclaims to own or control the publishing rights (see Chapter 15). They wouldbe a good starting point if you’re a member of either MCPS or PRS. If thetitle or the writer’s name is a common one, for example John Smith, then thedatabase is going to throw up a lot of names. Try and narrow down thesearch by giving them as much detail as you can.The importance of clearing samples with the correct party is highlightedin the following case.11The Ludlow CaseLudlow published the song ‘I’m The Way’. Robbie Williams and GuyChambers co-wrote ‘Jesus in A Camper Van’, which was published byEMI and BMG.Because two lines of ‘Jesus’ resembled ‘I’m The Way’, Mr Williamsapproached Ludlow to acknowledge the resemblance and to agree thatLudlow would be a co-publisher. Ludlow wanted 50% – Williams andChambers offered 10%. Ludlow refused and, just as the albumcontaining the track was to be released, repeated their demand. EMIregistered Ludlow as having a 50% share in the lyrics i.e. 25% of thewhole song. Ludlow then brought a claim for 100% of the copyright andof the income and sought an injunction.The judge found there had been an infringement of copyright, butthought it was borderline. He gave his opinion that what the defendantshad offered was generous, but left it to another court to determine theamount of damages. He also decided that, on balance, Ludlow’s conducthad been oppressive, governed by money and that they had gone alongwith things and had seemed to have been agreeing to things up to the lastminute before release. He refused an injunction at summary judgement.An injunction was granted at the final hearing, so future copies of thatWilliams album will have to be minus this track.This is another example of how one party’s conduct can prejudice their casewhen relying on another’s bad conduct.What sometimes happens is that it’s possible to clear the underlyingwords and music but not the sound recording. If you’re adamant that youhave to use that sample then you can try and get it reproduced almostidentically by having it replayed or recreated. Then you haven’t sampled thesound recording, so you only have to clear the underlying music/words. Ofcourse, if you do a very good job of it and it sounds identical to the original,they may not believe you’ve replayed it and still sue you. Then you mayneed independent evidence from, for example, the studio engineer, that youdidn’t use the sample sound recording.I have been involved in a case where this happened. The client sampledpart of a sound recording, asked for permission, which was denied, so setabout replaying the sample to recreate the sound. He even went to thetrouble of getting a specialist report from a musicologist to confirm that hehadn’t used the original sound recording but had replayed it. Nevertheless,the owner of the original sound recording wasn’t convinced and threatenedto sue my client’s record company, who had released the track. Using a rightthey had under their record contract with my client, they ‘froze’ the royaltiesthat would otherwise have been payable to my client on the track in questionuntil there was an outcome to the dispute. The money stayed ‘frozen’ forover a year and, as it was a substantial amount, my client wasunderstandably very frustrated. Ah, but I hear you say, it serves him right forcopying someone else’s work. Well, before you get all high and mighty, justmake sure that no one can ever accuse you of sampling or plagiarism.HOW MUCH DOES IT COST?This is always a question of negotiation. It will depend on how important thetrack is that you’ve sampled and how crucial it is to you that you use it.Record companies will usually clear sound recording copyrights for anup-front sum, with a further sum when you sell a certain number of records.For example, £1,500 upfront and another £1,500 when you’ve sold 10,000copies of the record that includes the sample. This usually comes out of theartist’s royalty, but may be shared with the record company if it really wantsto keep the sample in.Publishers of sampled works may clear rights for a one-off fee or a feeand a further sum based on numbers of records sold. More likely, however,is that it will want a percentage of the publishing income on the track. Ineffect, the publisher of the sampled work is saying that their writer should betreated as a co-writer on the work and receive a co-writer’s share of theincome. That share could be as much as 100% if a substantial use has beenmade of their work. For example, in a track by All Seeing I called ‘The BeatGoes On’, substantial use was made of a Sonny and Cher song of the samename, although the band had altered the track and given it a more up-to-datesound. Warner Chappell, who publish the Sonny and Cher song, insisted thatthe All Seeing I version be treated as a cover version and they retained 100%of the publishing. If the use is less substantial then a lower percentage maybe agreed.As we saw with the Ludlow case above, claims for 50% or more of asong may be claimed even if a relatively small percentage is sampled – it’s acopyright infringement that the owner of the sampled works is entitled to becompensated for. If it’s a blatant offence, the court will be asked to awardadditional damages.If you’re going to do a lot of sampling in your work and are going to endup having to give away some or all of your publishing on certain tracks, dobear in mind that this may make it very difficult for you to fulfil yourMinimum Commitment to your publisher – make sure you take this intoaccount when setting the original level of that commitment.WHAT HAPPENS IF YOU DON’T CLEAR SOMETHING?If a sample isn’t cleared and a dispute arises, your record company maysuspend payment to you until the dispute is resolved. There may be a limiton how long it can suspend payment, but this could be a year or more. MCPSalso has the right to suspend any payments of publishing income and has adisputes procedure that has to be followed. MCPS won’t directly interveneto resolve a dispute, but can sometimes be used as an arbitrator.The Shut Up And Dance CaseIn 1992 the MCPS brought an action against dance label Shut Up andDance (SUAD) on behalf of ten of their publisher members, claimingtwelve separate infringements of copyright of works by writers such asPrince and Suzanne Vega. Legal action was taken after the owners ofSUAD, PJ and Smiley, told the music press that their policy was never toclear samples. At the time a very macho culture prevailed over the use ofsamples, with some one-upmanship going on over who could get awaywith the most in terms of uncleared samples. It’s thought their commentreflected this cultural approach to sampling. SUAD didn’t defend thecase and damages were awarded against the label.Failure to clear samples in good time could result in an injunctionpreventing distribution of copies of your record, or an order that they bebrought back from the distributors and destroyed. You could also be sued fordamages for the copyright infringement.12However, it’s not all bad. Not all copyright owners sue or want paymentwhen their work is sampled. The track ‘Ride On Time’ by Black Box mayhave attracted a fair amount of litigation in its time, but there was no claimfrom Don Hartman, whose work ‘Love Sensation’ was sampled. ApparentlyMr Hartman loved the new work so much he wanted neither payment nor awriter credit.PLAGIARISMFor the purposes of this chapter, when I’m talking about plagiarism asopposed to sampling I’m talking about a situation where someone takesanother’s work and copies it, passing it off as his own work. There are, ofcourse, overlaps with the situation where you replay a sound sampled fromanother’s work. But what I’m describing here are cases where a writer hasclaimed that another writer has stolen or copied his work; where thesimilarities between two pieces of work are so striking that you would haveto believe the one was copied from the other. As we will see from the casesbelow, once you’ve established similarities between two pieces of work thecrucial test is whether the person being accused of plagiarising the work hashad access to the other work. It’s possible to unconsciously copy somethingor indeed to arrive at a very similar-sounding piece of work purely bychance.The John Brett CaseThe composer Lord Andrew Lloyd Webber is no stranger to claims ofplagiarism. In the late 1980s a songwriter, John Brett, accused him ofcopying two songs written by him in Lloyd Webber’s musical PhantomOf The Opera. Although there were similarities between the pieces,Lloyd Webber was able to show that he had written the song first. Heproduced evidence that it had been performed in mid-1985, whereas MrBrett’s evidence suggested that he had not sent demo recordings of hissongs to his solicitor until a month later. His claim failed.The Ray Repp CaseIn another case involving Lord Lloyd Webber, a songwriter called RayRepp brought a legal action in New York accusing Lloyd Webber ofplagiarism. Mr Repp claimed that Lloyd Webber had stolen a passagefrom his song ‘Till You’ and had used it, again, in Phantom Of TheOpera. Once again Lloyd Webber was cleared, and afterwards made apassionate statement condemning the increase in cases allegingplagiarism. He blamed the lawyers (oh dear, us again) and people withan eye to the main chance. He said there were too many people aroundwho thought it was worth a chance, because record companies wouldrather settle than fight potentially damaging court cases. I understandthat he returns unopened all unsolicited demo tapes sent to him or to hisoffice. The same policy is, I believe, adopted by other well-knownsongwriters who wish to avoid any such claims.The Francis Day and Hunter CaseAn early case in this area that set out a number of guidelines for whatconstitutes plagiarism is the case of Francis Day and Hunter.13In this case it was argued that eight bars of the chorus of a songentitled ‘In A Little Spanish Town’ had been copied in the song ‘Why’.The judge found a number of similarities between the two works butdecided that copying (i.e. plagiarism) had not been proved. It went to theCourt of Appeal. That court also agreed that copying had not beenproved, but took the opportunity to consider the subject of copyinggenerally. The Appeal Court judges said that you had to establish thatthere was a definite connection between the two works, or at the veryleast to show that the writer accused of copying had had access to thework of the other.The ‘Chariots of Fire’ Case14The film Chariots Of Fire and the music written for it has also been thesubject of a number of court cases.The writer Logarides had written a piece for television called City OfViolets. He claimed that the writer Vangelis had copied four crucialnotes from City Of Violets when writing his theme tune for the filmChariots Of Fire. Logarides said that, consciously or unconsciously,Vangelis had infringed his copyright. The court decided that there wasinsufficient similarity between the works for there to have been aninfringement. This ruled out the argument that Vangelis hadunconsciously copied it, because it wasn’t similar enough. The evidencethat was produced to show that Vangelis had had access to the work wasalso not very strong, although the court thought that it was possible thatVangelis had heard the song ‘City Of Angels’. Logarides was not able toprove that Vangelis had actually had access to his work.The Beyonce CaseIn 2005 a singer-songwriter Jennifer Armour brought a lawsuit againstBeyonce Knowles claiming that Beyonce’s 2003 hit ‘Baby Boy’ includedlyrics from Armour’s song ‘Got A Bit Of Love For You’. Armourbrought evidence to show that Beyonce’s record label had had access toher song as it had been sent to them by her former manager. She alsosaid that representatives of Beyonce’s collaborator on the song, SeanPaul, had also been sent a copy. Whether or not Beyonce had ever heardArmour’s song did not have to be decided in the end because the casefailed at the first hurdle. When the two songs were compared side byside the court came to the conclusion the two songs were ‘substantiallydissimilar’ and therefore there was no copyright infringement tocomplain about.But it isn’t always deliberate. It seems that it is perfectly possible for anartist to copy another’s work unconsciously. I have a client who wasunaware that he had copied a snippet from the Don McLean song ‘Vincent’until it was pointed out to him and the same thing happened in 2004 toScottish band, Belle and Sebastian. Apparently a track on a single by theband to be released in June 2004 entitled ‘Wrapped Up In Books’ was verysimilar to a hit single by Sir Cliff Richard entitled ‘In The Country’ writtenby his backing band, The Shadows. Belle and Sebastian were seeminglyoblivious to the similarity until it was pointed out to them by friends. Theydecided the best thing to do was to come clean before the single was releasedand approached the publishers of The Shadows’ song Carlin Music with anoffer of 20% of the publishing on the ‘Wrapped Up In Books’ song. Luckilyfor them this was accepted by Carlin.15 Contrast this with the RobbieWilliams Ludlow case above and take care that you approach the correctpeople for permission.SOUND-A-LIKESThis is where someone deliberately sets out to imitate a successful piece ofmusic. It’s often used by advertising agencies when they don’t want to paythe price for the right to use the original of a piece of work. Instead theycommission songwriters to write a piece that is a close imitation of theoriginal. This is an art form in itself. We have already seen in Chapter 8 onbranding the cases where Tom Waits has successfully sued advertisingagencies or their clients for use of sound-a-likes of his distinctive voice.Here are some further cases in this area:The ‘Chariots of Fire’ Case (No. 2)16In another Chariots of Fire case, Clarks Shoes deliberately set out togain a financial advantage from using a piece of music that had a veryclose similarity with the Chariots Of Fire theme. This was found to beblatant plagiarism, but because it was so obvious the case didn’t reallyset any guidelines.The Williamson Music CaseAnother case, involving the advertising company Pearson, used a parodyof the song ‘There Is Nothing Like A Dame’ in an advert for a coachservice.17 The lyrics were changed but the layout of the verse and choruswas similar. The manager of the licensing division of the MCPS heardthe advert and thought it sounded very like the original song ‘There IsNothing Like A Dame’. He told the publishers of the song, ChappellMusic Library. Williamson Music Limited was the exclusive licensee ofthe song in the UK. They and the other plaintiffs complained ofinfringement of copyright. Williamson Music Limited retained the rightof approval to all requests for a synchronisation licence in relation tothat song. No such consent had been given. The judge applied the test ofwhether an ordinary, reasonably experienced listener would think onhearing the track that it had been copied from the other work. He grantedan interim injunction on the basis that the plaintiffs had established thatthere was a case to answer, but it seems he was of the opinion that therehad been infringement of the music but not of the words.It seems that the test for whether something is a parody that is allowable andone that infringes copyright is that, in the case of the former, the parody hasto only conjure up the idea of the original – it becomes an infringement if ituses a substantial part of the original.SESSION MUSICIANS’ CLAIMSThe last few years have seen a spate of claims by session musicians,sometimes twenty or thirty years after the original session took place, thatthey were not properly paid for the work they had done. These cases pointout the importance of ensuring that the agreement with the session musiciancovers not only their performances as musician or vocalist but also theirinterest, if any, in the underlying song.It was thought that the Kemp case that we looked at in Chapter 4represented the legal position in the UK that band or session members didnot have any interest in a song if they merely interpreted or played what thesongwriter directed them to.However, this position was challenged in the Bluebells case in 2002.Valentino v. HodgensSession player Bobby Valentino was hired to perform a violin part in asong written by Bluebells member, Robert Hodgens and alreadyrecorded by the band. The judge accepted Valentino’s claim that he hadbeen given a free hand to create the violin part, whereas Hodgens hadclaimed that he had told him what to play and had even played it to himon the guitar. Now clearly one could argue that this case just turned onthe facts that the judge just preferred Valentino’s version of events. Thisalone therefore would not have opened the floodgates and the 50%interest in the song that the judge awarded to Valentino would have beenseen as a one-off.What made this case stand out was the manner in which the judgeside-stepped the issue of why it had taken Valentino so long to make hisclaim – a delay of over fifteen years. Usually that would have beenenough to successfully argue that the claim was time barred. In whatappears to have been an attempt by the judge to find in favour ofValentino the judge decided that the correct interpretation of thesituation was that Valentino had originally granted a licence to use hiscontribution to the song for free; that he was entitled to revoke thislicence at will, and that he had done so when the song was re-releasedfifteen years later and went on to be a big hit. Valentino was awarded hisshare of royalties from 1993 when he could be said to have revoked hislicence. 18Now this is quite an extraordinary interpretation of the situation and reallystresses the need for clarity in your session agreements but it also gave manyothers the idea that they could bring claims many years after the event –some more serious than others – including claims to record royalties fromthe school choir who performed free of charge in the original recording ofPink Floyd’s ‘Another Brick In the Wall’ to a threatened claim against RodStewart by Ray Jackson, the mandolin player on Rod’s recording of ‘MaggieMay’. It culminated in an April 2005 decision in a case brought by sessionsinger Clare Terry against the writers and publishers of Pink Floyd of hitsong ‘The Great Gig in the Sky’ off the Dark Side of the Moon album.The Pink Floyd Case19Ms Terry was a session vocalist paid £30 to perform on the track, ‘TheGreat Gig in the Sky’ and was given a credit for her performance. Somethirty years later she brought a claim, in a similar fashion to the BobbyValentino case (above), for a 50% interest in the song. In an out-of-courtsettlement she received a cash payment which must have beensubstantial as the album has sold over 36 million copies since itsoriginal release. The catalyst for the publisher, EMI and the writers inPink Floyd to reach a settlement may have been because the judge hadindicated that he was convinced by Ms Terry’s claim that she hademployed a special wailing technique, recorded in a series of sessionsand effectively helped to compose the song. The parallels with theBluebells case are obvious.Finally, of course there is the recent case concerning the song ‘Whiter ShadeOf Pale’ which we looked at in detail in Chapter 4 which is under appeal.CONCLUSIONSIf you sample someone’s work, you’ll have to get permission to useboth the sound recording copyright and the copyright in the underlyingmusic and/or lyrics.Put the process of clearing samples in hand as early as possible.If there is any chance of an uncleared sample being found and legalaction taken, don’t take the risk, clear it or remove it.If you can’t clear the sound recording copyright then see if you canreplay the sounds to sound like the original and clear the rights in theunderlying music/lyrics instead.If you copy another’s work and pass it off as your own then you’reguilty of plagiarism, unless you can show that the similarity wascompletely coincidental and that there was no way that you could haveheard the work you’re accused of copying.There is a very fine line to be drawn between sound-a-likes, parody andplagiarism.1 For an overview on the state of sampling see also ‘Plagiarism andoriginality in music: a precarious balance’ by Reuben Stone published inMedia Law & Practice, Vol. 14, No. 2, 1993.2 Sections 16–21 CDPA.3 Section 5A CDPA.4 Sections 3 and 4 CDPA.5 Section 16(3) (a) CDPA.6 Hawkes & Son Ltd v. Paramount Film Service Limited [1934] 1 Ch 593.7 Hyperion Records Limited v. Warner Music (UK) Limited 1991.8 www.musicjournal.org/lawupdates.9 Richard Walmsley v. Acid Jazz Records Limited Chancery Division 2000.10 See section 9 (1) CDPA and Chapter 4 for a description of who is the firstowner of copyright in a musical or literary work.11 Ludlow Music Inc. v. (1) Robert P. Williams; (2) Guy Chambers; (3) EMIMusic Publishing Limited; (4) BMG Music Publishing Limited ChanceryDivision (2000).12 As to remedies for infringement of copyright see sections 96–100 CDPAfor civil remedies and sections 107–110 CDPA for criminal sanctions.13 Francis Day & Hunter v. Bron [1963] Ch 587.14 [1993] EMLR 306.15 www.eveningnews.co.uk/print/news.16 Warner Brothers Music Limited and Others v. De Wilde [1987].17 Williamson Music Limited v. The Pearson Partnership and Another[1987] FSR 97.18 www.leeandthompson.com/articles/the_bluebells.19 www.freelanceuk.com/news. Chapter 14Piracy INTRODUCTIONPIRACY IS A huge, worldwide problem. The worst offenders in the area ofphysical pirate copies are Eastern European and Far Eastern countries,including Taiwan, Bulgaria, the Ukraine and Pakistan, with weak copyrightlaws and little or no means of enforcement, although Taiwan is beginning torecognise it has to do something and declared 2005 the Anti-Internet PiracyYear. Countries in which piracy is rife also export these illegal records intothe UK. According to the IFPI Anti-Piracy Report for 2006 it is estimatedthat one in three CDs sold is a pirate copy. DVD piracy is a growing problemas bandwidth and fast Internet access makes reproduction quick and easy.Taiwan remains the biggest producer of blank CDRs which can be acquiredvery cheaply by small commercial operations to push out pirate copies.The online world is even worse. The IFPI 2006 Anti-piracy Reportestimates that there were 20 billion illegal songs downloaded in 2005. Thisis a frightening amount but putting a positive spin on it the IFPI reckons thatthis shows just how large the potential market is for legitimate use of musiconline. They point to the fact that record company revenues from legaldigital sales tripled in 2005 to $1.3 billion. The record companies claim thatthis does not balance out the revenues that they are losing from traditionalphysical sales. As we saw in Chapter 7 they are trying more drastic measuresto deal with the problem. Record company trade bodies, like the UK’s BPI,the IFPI and the US body RIAA, continue to tackle both physical andinternet piracy by legal actions against pirates and illegal file-sharerswinning the support of the High Court for orders to force ISPs to disclose theidentities of individuals distributing multiple music files illegally on peer-to-peer networks. The individuals face claims for compensation forcopyright infringement and legal costs. Here are just some extracts from theAnti-piracy Report highlighting key decisions which are helping them in thebattle to control online piracy:In June 2005 the US Supreme Court ruled (in MGM v. Grokster) thatfile-sharing services that distribute software with the object ofpromoting its use to infringe copyright can be held liable for theresulting infringements.In August 2005 Seoul District Court ordered Soribada, a Korean P2Pservice, to prevent its users to swap copyrighted songs or shut down.In September 2005 the Federal Court of Australia held that Kazaa wasguilty of copyright infringement and ordered it to shut down orimplement copyright filters.Also in September 2005, a Taiwanese court issued a criminal convictionto the directors of the Kuro P2P service which was in breach ofintellectual property rules.November 2005 saw the Grokster P2P network agree to shut downoperations in light of the US Supreme Court’s ruling.In February 2006 the Danish Supreme Court ruled that under EU law,ISPs can be obliged to terminate the connections of customers whoillegally upload material.May 2006 saw the American operators of BearShare agree to cease tooperate any music or film download services and sell its assets to thelegal file-sharing service iMesh.In June 2006 the Dutch Court of Appeals ruled against zoekmp3.com,effectively declaring that deep linking to infringing mp3 files is illegal inthe Netherlands.The decision of the Australian court against Kazaa was the start of sustainedpressure on Kazaa to come in line internationally. Under the terms of an out-of-court settlement, which applies to Kazaa’s operations worldwide andconcludes the ongoing legal proceedings brought by the record companiesagainst the service’s operators in Australia and the United States, Kazaaagreed to pay a substantial sum in compensation to the record companiesthat took the legal action to stop copyright infringement on the Kazaanetwork. Kazaa also agreed to introduce filtering technologies ensuring thatits users could no longer distribute copyright-infringing files.There are also signs that some political pressure may be brought to bearon the ISPs to join forces with the anti-piracy organisations such as the BPIto battle illegal downloads of music. Whilst the Gowers Review may nothave given the industry its hoped for extension of the sound recordingcopyright it did recommend that ISPs adhere to the industry practice for datasharing to allow illegal downloaders or indeed uploaders to be identified andtargeted. This was not done voluntarily by the end of December 2007 and theGovernment has announced the intention to release a paper on this and othercultural issues in 2008.And it’s not just online that steps have been taken – legal actionscontinue against pirates of physical copies too.R v. MaloneIn March 2007 it was reported that the airdrie Sheriff Court in Scotlandhad jailed George Malone who had built up a black market operationselling thousands of fake DVDs and CDs. He admitted producing theillegal copies and selling them at industrial estates across west centralScotland. He was sentenced to nine months in prison and his assets wereseized.In 2007 a partnership was set up between a new police unit dedicated tocombating movie piracy and the Federation Against Copyright Theft(FACT), and music videos will fall within its remit. Steps taken to introducecopy protection systems on new CDs to prevent multiple copies being madeand improved tracking systems to trace online usage of music illegally havemet with mixed success. As soon as a digital rights management system(DRM) is developed and rolled out commercially the computer hackers setout to break it and usually succeed in a matter of days, if not quicker. Whilewe are not all so gifted, you can rest assured that as soon as a way is found toget around a DRM then some enterprising soul will make that available toall users. The whole area of DRM was, perhaps, irreversibly tainted by thescandal that surrounded Sony’s attempts to roll out a new DRM system inearly November 2005. This is the so-called ‘rootkit’ debacle.In an attempt to limit the number of copies that could be made of a CDSonyBMG introduced copy restriction software which was embedded incopies of some new CDs released by the label. This in itself was not a badthing but it was the type of software used that caused the problem. TheElectronic Frontiers Foundation (EFF) said that the software consisted of aprogramme called a ‘rootkit’, more commonly used by spyware companiesto track what you do online. The EFF feared that if a CD with this rootkitsystem were played on a computer it would bury a new program within theoperating system of the computer enabling SonyBMG to monitor thecomputer user’s computer activity in order, for example, to prevent the usermaking additional copies of the CD. Online reports about this system causedsuch an outrage that SonyBMG issued a new program on its website whichenabled the computer user to see if his computer had been infected, but toadd insult to injury did not enable the user to uninstall it. There were alsoclaims that it slowed down the user’s computer, made it more vulnerable toattack and had the indirect effect of stopping users from listening to legalmusic on their MP3 players online. Because it was designed to be hidden itwas not easy to see what was causing the problem. It was argued that itmight also be used to mask other more malicious spyware or computerviruses. Legal class actions were begun in the US and within days SonyBMGannounced it was not going to produce any more CDs with this protectionsystem and published an uninstall program on its website. As things wentfrom bad to worse for them SonyBMG eventually recalled millions of CDsand exchanged them whilst publishing an apology to its customers.This publicity disaster increased the innate distrust amongst many in allDRM systems and led to the system being abandoned altogether in late 2007.The battle against illegal downloads will need to be fought in another way.WHAT IS PIRACY?Piracy is theft. It is the reproduction of someone’s copyright without theirapproval and generally on a commercial scale.There are three different types of pirate records.COUNTERFEIT RECORDINGSThese are copies of CDs, cassettes or vinyl records that also copy thepackaging, artwork and graphics. For example, someone gets hold of amaster recording; they use it to make copies of it, which they then pass offas the original. They don’t usually care what the sound quality is like, oreven if the tape or CD will play at all. They just want to make them look asmuch like the original as possible so that they take your money and youdon’t find out until you get home that it’s a pirated copy. The trade marksand logos of the original copyright owners are also copied to make themlook as much as possible like the originals. This is an infringement of thetrade mark, which could give rise to a legal action in its own right (seeChapter 8). Of course, if you’re buying these CDs or tapes from a marketstall at half the usual retail price, you’ve only yourself to blame if they turnout to be dodgy copies.PIRATE RECORDINGSThis is the unauthorised duplication of an original sound recording. Thepirate takes a master recording and copies it without the permission of theoriginal copyright owner. The sound quality is usually as good as theoriginal on physical copies but not always on online copies. Piraterecordings are usually put out on a different label from the original and indifferent packaging. The trade marks and logos of the original copyrightowners aren’t usually on the record or packaging. The aim is to undermineyour market for the original by putting out a pirate copy first, or in adifferent form from the way you were going to present it. For example, yourelease so-called ‘white label’ copies of your next single release to the pressand to DJs for review in advance of its commercial release. They are calledwhite labels because, in their vinyl form, they have a white label, which saysthey aren’t for commercial use. Unscrupulous characters then copy thatrecording and put it on their own compilation record without gettingpermission and without paying anything for it.Pirate recordings are generally made in countries with little or nocopyright protection and then exported to other countries. The practice is,however, spreading to other countries where the agencies in charge of anti-piracy are less effective. Sometimes publishing rights have been cleared andauthorisation obtained from a collective body like the MCPS, but nopermission has been obtained to reproduce the master sound recording. Forexample, if you were putting a pirate copy of a master recording on yourown dance compilation, you might apply for a mechanical licence fromsomeone like MCPS to get the right to reproduce the song on that master.This lends an air of respectability to the release and means you have one lesscollective body to worry about. You don’t bother to get permission from theowner of the sound recording. You hope that he either doesn’t get to hearabout the release, or hasn’t the money or the inclination to sue you forcopyright infringement.You could, in some cases, take advantage of different laws on copyright.For example, you might get permission to use the song, and the originalsound recording might now be out of copyright in your country. You makecopies of it without going back to the original copyright owner and you canimport it into other countries where the recording is still in copyright,undercutting the legitimate market in that country. This was more of aproblem when the sound recording copyright in the EU was different indifferent countries. For example, the sound recording copyright in Denmarkwas twenty years after the end of the year in which it was first released,while in the UK it was fifty years. This meant that after twenty years Danishcompanies could legitimately say that the sound recording was out ofcopyright, so no permission was required to reproduce it in Denmark. Theythen used the principles of freedom of movement of goods within the EU toexport these recordings into other EU countries. This began to be a real issuewhen early Beatles and Stones albums started to come out of copyright inDenmark. It has become less of a problem since the Directive on theHarmonisation of Copyright and Related Rights made the duration of thesound recording copyright fifty years throughout the EU.1Sometimes pirates argue that they have a valid licence to release a soundrecording because of a chain of contracts going back many years. Often, inthe 1960s and 70s, ownership of copyright was not properly recorded andthere have been many changes of ownership down the years.2 In those days itwasn’t unusual for deals to be single-page, sketchy outlines, that didn’tmake it completely clear who owned what and who could do what with therecordings. This confusion has been successfully exploited by later recordcompanies claiming to have the right to put out recordings under somedodgy deal struck twenty years earlier. It’s sometimes very difficult to provethem wrong.BOOTLEGSA bootleg is a recording of a live performance, whether it’s at an actual gigor off a television, satellite, radio or Internet broadcast, which is madewithout permission of the performers.You used to see shifty-looking people at gigs with tape recorders undertheir macs making terribly bad recordings of the performance. With theimprovements in technology and the miniaturisation of the devices, it’s noweasier than ever to make reasonable digital recordings.The Phil Collins CaseIn the early 1990s, Phil Collins, ex-Genesis drummer turned successfulsolo artist, brought an action against Imrat, a record distributor, inrespect of royalties for sales in Germany of a CD recording of one of hisUS concerts, which was made without his consent. Under German law,German nationals are entitled to stop distribution of performances madewithout their consent, regardless of where the performance takes place.Foreign nationals couldn’t rely on this law where the performance hadtaken place outside Germany.3The court decided that all European Union countries should providenationals of other European Union countries with the same degree ofprotection as they would have had in their own country. This has been akey decision in the tightening up of performers’ rights across the EU.R v. LangleyA man who was described as ‘one of Europe’s most notorious musicpirates’ who was also known as ‘Mr Toad’ pleaded guilty to sellingbootlegged recordings of Led Zeppelin gigs. Led Zeppelin guitaristJimmy Page gave evidence before the Glasgow court that he had notauthorised the recordings, which he said were of poor quality. He alsodrew a distinction between fans who swapped recording and professionalbootleggers. Langley pleaded guilty to two copyright and three trademark infringements. He sold illegal recordings he had made at live gigson his Silver Rarities and Langley Masters labels. His arrest came afterthe BPI organised a raid on his stall at a Scottish record fair.HOW DO YOU SPOT A COUNTERFEIT, PIRATE ORBOOTLEG RECORD?4CounterfeitsThese are often on sale in markets, at car-boot sales and are often obtainablefrom street traders selling goods out of suitcases on street corners. Theprices are usually 50% or less than a full-price record in the shops.The packaging will often be of poor quality, possibly blurred print,especially when it gets to the small print. Sometimes there is a white borderon the edges of the inlay card for the cassette or CDs where it’s been copied.These inlay cards may look genuine on the outside; it’s only when you openit that you see it’s a poor representation on the inside. The trade marks maybe removed, smudged or partly obscured as the pirates try to get around anallegation of infringement of trade mark. The name and logo of the originalrecord company may also be missing, blurred or obscured. There may not bea Source Identification Code. This was something introduced a few yearsago to show the place of manufacture. The sound quality will often be verypoor, particularly on cassettes. Copy protection devices will definitely beabsent.BootlegsThese are often found on sale at music festivals, second-hand or‘underground’ record stores and collectors’ fairs. They are aiming at the die-hard fans who want to own every available recording by their favouriteartist. The price is often the same or higher than the legitimate product toreflect how desirable they are to collectors and fans.The packaging may leave off company information; there could be nocatalogue numbers or proper credits. Bootleg CDs can be very good soundquality, particularly when compared to the very bad quality of bootlegcassettes. The inlay cards will often be simple colour photocopies.HOW CAN YOU STOP PIRACY?It is probably not possible to completely prevent illegal uses of music on theInternet. Whilst BPI/RIAA and IFPI actions may deter the casual oropportunist illegal file-sharer they will not deter the hard-line pirates. Copy-protection devices can be circumvented by reasonably competent hackersand can in any event sometimes prove counter-productive if they prevent alegitimate user from transferring music from his CD or PC to the car orworse as SonyBMG found out in 2005 (see above). It is also accepted thatregardless of what might happen with DRM systems in future CDs whichhave been in the market for some time – so-called legacy CDs – will not becopy protected, and that rights owners should accept this and concentrate onputting systems in place to make sure the copyright owners and creators arepaid whenever their music is used. There is certainly the view that not muchcan be done to prevent pirate recordings of sound recordings that are alreadyin the marketplace. What the music industry and the hardware manufacturersare now putting their efforts into is making legitimate downloads easily andcheaply available using desirable music hardware like the iPod (see more inChapter 7).However, this doesn’t mean that control of illegal manufacturing plantsand seizure of illegal copies has been abandoned. The underlying rightsbeing infringed are the same whether the infringement is online orreproduction of physical tapes or CDs.CopyrightPirate recordings may infringe the sound recording copyright and the rightsin the music and lyrics as well as the artwork. It’s an infringement ofcopyright to reproduce, issue copies to the public, perform in public orinclude it in a cable programme (including online). These are what we calldirect infringements of copyright.Indirect infringements of copyright include importing, possessing in thecourse of trade, selling or exhibiting infringing copies in public and/ordistributing them in the course of business.5 These are obviously aimed atthe distributor or retailer. They have to know or have reason to believe thatthey are dealing with an infringing copy.Moral RightsIf the writer or composer of the lyrics and music isn’t identified, or the workhas been subjected to derogatory treatment, this may well be aninfringement of moral rights if these have not been waived (see Chapter 12).Trade marksIf the artist’s or record company’s trade mark name or logo is reproducedwithout permission of the trade mark owner, this is an infringement of theTrade Marks Act 1994.Trade DescriptionsIf the record has been misdescribed or represented as something that it isnot, this may be a breach of the Trade Descriptions Act.ENFORCEMENTFirst, decide who you’re going to go after. Who have you got evidenceagainst? You could try to take action against the pirate manufacturer, butthis may be difficult if they’re based overseas. You could decide to try tostop distributors from starting or continuing to distribute pirate records.You’ll have to move fast. If nothing has been distributed you could try to getan injunction to stop distribution taking place. If it’s already beendistributed you may need court orders against the person retailing theproduct.So, when you’ve decided whom you want to target, what can you do?Civil ActionYou can apply for an injunction, although you have to move quickly. Youcan ask the court to make an order preventing infringement of your rights.The court can make orders preventing further sale, distribution and/orimport of pirated products. You’ll probably also make a claim for financialdamages and reimbursement of your legal costs.Criminal ActionYou have to show that the defendant had reason to believe he was dealingwith an infringing copy of a copyright work. The penalties are imprisonmentand/or a fine. For this kind of action you need to involve the police, who willneed to have explained to them how copyright exists in the product and howit is being breached. You also have to convince them that it’s sufficientlyserious for them to put resources into the case. In April 2005 the US Senatepassed a bill to make it a criminal offence capable of a sentence of up to tenyears’ imprisonment for those found to be illegally copying and distributingpre-release music and films in the US. The obvious targets are those whoillegally acquire films or albums by important artists before the officialrelease date. It is hoped that this law will help to deter all but the hard-corepirates. There is no indication that the UK government has plans to followsuit.Private Criminal ProsecutionsThe CDPA gives you the right to bring a private criminal prosecution.6 Thiswas first used successfully in a case run by my firm in 1994 to prosecutesomeone who was using computer bulletin boards to copy computer gamesillegally.The CDPA also makes it possible for an officer of a company to be liableto prosecution for an offence committed by the company.7 This is to avoidcompanies slipping through the net.If someone is found guilty of infringement, the court can order that allthe offending articles are handed over8 and can order their destruction. I’msure you’ve all have seen pictures of companies like Rolex using asteamroller to crush fake copies of their watches.Trading Standards OfficersThese are local government officials and they can be very helpful if you getthem on side. A good friend of mine is an ex-Trading Standards officer andhe tells me they like nothing better than a good raid on a pirate. They usuallyact to enforce breaches of trade mark using powers given to them under theTrade Descriptions Act among others. They can enter premises and seizegoods. Their rights also now extend to infringements of copyright. They canprosecute for offences such as fraudulently applying a trade mark9 and theapplication of a false description to goods.10 As part of the implementationof the recommendations of the Gowers Review on Intellectual Property,Trading Standards received an additional £5million to assist in the fightagainst piracy. This was to help the officers with their new role as alsoenforcers of copyright infringement. Changes to the CDPA 1988 wereimplemented in 2007 to give them the right and authority to enter premises,seize goods and documents relating to copyright infringement as well astrade mark infringements. Because these offences are criminal ones there isthe possibility of an unlimited fine and up to ten years’ imprisonment so it ishoped this may act as a deterrent to some pirates.Some further piracy casesIn March 2003 following police and Trading Standards raids YogeshRaizada was sentenced to three years imprisonment and record fines of£160,000 on eleven counts under the Trade Marks Act 1994 followingseizure of thousands of pirated CDs, DVDs and video cassettes.In 2004 the Glasgow Sheriff Court jailed Stephen Reid for fivemonths for selling pirate CDs and computer games. Mr Reid had beenfilmed in an interview broadcast on the GMTV breakfast show in whichhe boasted about his illegal business. He had had previous convictionsfor selling counterfeit videos. Before raiding his premises TradingStandards officers made test purchases from him and the police andTrading Standards put him under surveillance. The raid led to the seizureof over 6,300 CDs believed to contain pirate material.11Also in 2004 Mark Purseglove was jailed by a UK court for three anda half years.12 It is alleged that Mr Purseglove was one of the biggestbootleggers in the world and had amassed a fortune estimated to beabout £6.6 million in the 11 years he had operated as a pirate. He soldhis bootlegs around the world including off the Internet and on Internetauction sites. He was arrested after a protracted investigation by the anti-piracy teams from the IFPI and the BPI and charged with conspiracy todefraud the UK recorded music industry. Under the Proceeds of Crimelegislation his homes in Chelsea and Brighton were seized after all hisassets were ordered to be forfeit. The judge made clear that the severityof the sentence was intended to act as a deterrent to others and to sendout a strong message that the courts will provide effective protection forthe rights of copyright owners. Purseglove had collected bootlegrecordings from household names in the music business, paying people,including the band’s sound engineers, to make illegal recordings.Broadcasts were copied and he made counterfeit copies of legitimaterecordings. He had previously been arrested and deported from the USand had shown a contempt for previous court proceedings.Anti-Piracy Unit (APU)The APU was set up by the BPI and also receives financial support from theMusicians’ Union and the British Association of Record Dealers (BARD).The APU investigates complaints about piracy. They take informationfrom record companies, musicians and members of the public. They a l s omonitor new technology and how that might affect the record industry. TheAPU runs training courses and seminars for the police and TradingStandards officers.The APU can assist in both civil and criminal actions and work with anumber of other industry bodies. In 2001 they attended or gave evidence inmore than 500 criminal cases. They closed down some 400 websitestrafficking unauthorised MP3 files and others who threatened to dealillegally with unreleased tracks. They also closed down 2,315 auctionwebsites offering illegal MP3 compilations and bootleg recordings.13The International Federation of the Phonographic Industry (IFPI)This represents the international recording industry. If you’re a member ofthe BPI you automatically become a member of the IFPI. It has about ahundred members in over seventy countries. It is involved in theinternational fight against piracy. It lobbies governments for appropriatecopyright protection and helps to ensure the laws are enforced.Other BodiesOther bodies involved in the fight against piracy include the FederationAgainst Software Theft (FAST), which was set up in 1984 to represent thesoftware industry (both publishers and end users);14 the Federation AgainstCopyright Theft (FACT), which represents film and video producers,manufacturers and distributors as well as TV and the satellite industries,15and the European Leisure Software Publishers’ Association (ELSPA), whichrepresents publishers of interactive software such as computer games andhas an anti-piracy hotline.FACT, FAST and the Music Publishers Association (MPA), which looksafter the interests of music publishers, also set up a hotline in the autumn of1999 for people to report suspected cases of film, music or software piracy.You can also get legal advice on copyright and trade mark issues and theywill tell you about their education and training initiatives.16Implementation of the Gowers ReviewOne of the recommendations of the Gowers Review of Intellectual Propertywas that the ISPs adhere to their protocols for sharing data with rightsowners to identify and disbar from their services those who infringecopyright. The report says that if the ISPs cannot demonstrate that theseprotocols had proved ‘operationally successful’ by the end of 2007 theGovernment should consider legislating. The ISPs do not wish to havelegislation imposed upon them and it is to be hoped therefore that this willput pressure on them to reach agreements with record companies andpublishers which would assist in the battle against illegal use of copyright.The ISPs are in a potentially very strong position as if they agreed to shareinformation with rights owners which enabled those rights owners to showthat the use was illegal then the ISPs would be in a position to quickly barthe illegal user from their service. Now obviously it is possible that theillegal users would then just move their activities to another ISP but if allthe ISPs in turn also shared information on users who have been banned thatmight drive the illegal users off the Internet altogether. The ISPs couldcertainly do more than they are at present where their position almostuniversally has been – we do not monitor the content, we just provide themeans, the pipeline. But there is still a lot of work to do. The governmentpaper expected in February 2008 should help to move the debate forward.Leaked highlights do not seem to suggest there will be a requirement toshare data between ISPs but do seem to propose a three strikes and you’rebarred rule for illegal file sharers.1 This was implemented into UK law as section 13A CDPA. The term isfifty years from the end of the year in which the sound recording was firstmade or, if it is released in that time, fifty years from the end of the yearin which it was first released.2 See Springsteen v. Flute as discussed on See here.3 Collins v. Imrat Handelsgesellschaft mbH [1994] W.M.L.R 108.4 Source: ‘Protecting the Value of British Music’ published by the BPI Anti-Piracy Unit (see below).5 Sections 22–26 CDPA.6 Section 107 CDPA.7 Section 110 CDPA.8 Section 108 CDPA.9 Section 300 CDPA.10 Section 1 Trade Descriptions Act.11 R v. Reid (2004).12 R v. Purseglove (2004).13 Source: BPI Market Information June 2002.14 For more details of their activities see www.fast.org.uk.15 For more details of their activities see www.fact-uk.org.uk.16 The hotline number is 0845 603 4567. Chapter 15Collection Societies INTRODUCTIONAS YOU KNOW by now, copyright is the right of an individual and, in mostcases, that right should be exercised as the individual decides and on his ownbehalf.However, there comes a time when it makes more sense for these rightsto be exercised collectively by an organisation set up to represent theinterests of its members. To make doing business as easy as possiblerequires a one-stop service. For example, it wouldn’t be commercially viablefor the owners of a radio station to have to go to the copyright owners of thesound recording copyright and of the rights in the songs on each of therecords that the station bosses want to play on their programmes. It would befar too time-consuming and costly. Hence the rise of the collection societieswhich represent the interests of publishers, record companies, authors andperformers. There are several of them, brief details of which are outlinedbelow. They all have useful and informative websites which it would payyou to look at.WHAT ARE COLLECTION SOCIETIES?1They are, in effect, organisations set up by the various categories of rightsowners to administer their rights collectively as their sole, or one of theirmain, purposes.2On the whole, collection societies are private as opposed to state-ownedbodies, but they are subject to some form of government or statesupervision. In the UK, that supervision is provided for partly by the 1988Copyright Act, which established a form of compulsory arbitration in theshape of the Copyright Tribunal,3 and in part by the CompetitionCommission (formerly the Monopolies and Mergers Commission).Overseeing the whole thing is of course the EU which does intervene orintroduce pan-EU legislation when it thinks that national solutions are out-of-step or require updating, review or harmonisation.The purpose of most collection societies is to provide a practical andeconomical service to enable its members to enforce and administer certainof their copyrights. These bodies make it easier for others to get licences touse copyright works. There is also certainty in that the payment for theseuses will usually be at a fixed rate or one individually negotiated withincertain guidelines. The idea is also that, by acting collectively,administration costs are reduced.There are, of course, possible dangers inherent in that these collectionsocieties are, by their nature, monopolies. It’s the job of the CompetitionCommission to police whether that monopoly position is being abused.4BLANKET LICENCESOne of the features of collection societies is that they grant so-called blanketlicences for the right to use certain rights in all the works controlled by thesociety for a particular purpose, for a particular period of time and at aparticular rate. Anyone wishing to take advantage of these blanket licenceshas to take a licence for the whole catalogue. For example, the PerformingRight Society Limited (PRS) can negotiate a blanket licence with radiobroadcasters for the right to broadcast to the public all the works controlledby PRS. The licence would be for a given period of time, say a year, andwould then be subject to review. PRS would negotiate with individual radiostations or, more likely, with their representative bodies, the rate that wouldbe applied to these licences. It could be a flat fee per annum or it could belinked to the revenue that the radio station earns, for example, a percentageof the advertising revenue earned by commercial radio stations, or it couldbe a combination of both.Whilst the collection societies became adept at negotiating andadministrating collective licensing schemes in their own countries and fornon-digital means of distribution, things became more difficult for themwhen it came to digital uses and when they came under pressure from theEuropean Commission to make it easier for new commercial ventures toflourish across the European Economic Area (EEA). Whilst this is a laudableaim it takes time to get all members to agree on a course of action and on therate to be set for centralised licensing particularly when that involves newmedia and means of distribution where the people setting and negotiating therate had little knowledge of which of these formats would have stayingpower and what an appropriate means of setting a rate was. For some timethey felt their way forward. The European Union thought they were beingtoo slow in establishing cross-Europe licensing schemes and issued a Reportin October 2005 which urged the societies to review and reform theirpractices and in particular to ‘provide for multi territorial licensing in orderto create greater legal certainty for commercial uses . . . and to foster thedevelopment of legitimate online services’. Perhaps fearing that solutionswould be imposed on them from above there have in the two years since thepublication of this report been committed attempts to reform their practicesparticularly in the area of digital music online and on mobile phones. Thecollection societies are trying to put in place schemes which will facilitateone-stop licensing across Europe. This is an attractive proposition forcommercial users of music in new applications or services.As hard evidence of these efforts two major initiatives were announcedat the European Trade Conference MIDEM in France in January 2007. TheMusic Publishers Association announced a one-stop pan-European digitallicensing solution in conjunction with the MCPS-PRS Alliance. MCPS is theMechanical Copyright Protection Society Limited. The scheme allows musicpublishers to appoint the Alliance as their agent for management of onlineand mobile rights across Europe. Costs are to be minimised by the use of atemplate agreement.The second announcement was also one by MCPS-PRS Alliance (whohave seized the chance to become a strong player across Europe). TheAlliance announced a plan to act with the German society GEMA as anexclusive one-stop shop for Anglo-American repertoire for digital rightsbelonging to EMI Music Publishing through a new organisation owned bythe Alliance and GEMA jointly and called the Centralised EuropeanLicensing and Administration service (CELAS). The idea is that in timeCELAS may be used by other commercial users looking to avoid having tonegotiate individual licensing agreements with all national collectingsocieties.Still on the international front PPL announced in November 2007 newinternational deals with collection societies in Russia, Italy and Switzerland,bringing the total number of reciprocal agreements to 41.Closer to home too there have been rapid advances in the availability ofblanket licences for online and digital uses of music. A glance at the MCPS-PRS Alliance website will reveal schemes for everything from DVDs tomemory cardsA recent development has been the introduction of blanket licenceschemes to use music in podcasts. Whilst commercial radio has had such ascheme in place for some months the BBC did not finally agree a deal for itspodcasts until autumn 2007. This was because the BBC Trust had onlyfinally authorised the full roll out of podcasts in April 2007, thus allowingthe BBC to start negotiating with Public Performance Limited whichcontrols master rights to sound recordings for the major labels. Thebroadcasters had to convince the record companies that these podcasts werenot a back door means to download music and to some extent the majorlabels remain somewhat sceptical as they have only granted licences to usethirty-second clips of music in podcasts. In contrast AIM, which representsmany independent record labels, has agreed a deal with PPL for whole trackdownloads.On the flip side MCPS-PRS agreed a licence for use of music in podcastsin March 2006. Podcasts have really come into their own in the last coupleof years as a means of customising your own personal radio station, but alsoas a new revenue source. Initially podcasts were made available free of TheRicky Gervais Show. This was an immediate smash hit with over 2 milliondownloads worldwide. This opened up the possibility of a commercialmarket for these things and the episodes of the show were later madeavailable at 99p a time on online etail sites like iTunes. But many of thepodcasts remain free and for promotion only or to add value to anotherservice.MSPs-PRS also recognised that there was a need for a two-tier licensingscheme as there were going to be non-commercial or small commercial set-ups who could not justify or afford the payment of the minimum £400 peryear royalty payable under the scheme. If you are podcasting to a lownumber of people or are unlikely to generate much revenue then you can optto licence under the Limited Online Exploitation Licence which sets anannual minimum as low as £200.The biggest challenge that has faced the music publishers and theircollection society MCPS-PRS in the last couple of years has to be thearguments over the appropriate rate to apply to online uses of music. MCPS-PRS reached an agreement with the major record companies and with someof the ISPs in 2006 but some ISPs including Yahoo refused to sign up to thedeal and all ISPs and some of the major labels had issues over how to definethe revenue on which they would pay the agreed rate. So the matter ended upbeing referred to the Copyright Tribunal which is the arbitrator set up by the1988 Copyright Act to oversee disputes over collective licensing schemes.After a very expensive and drawn-out hearing, the Tribunal ratified theterms of the settlement on rate, proposed some but not definitive guidelinesfor the definition of revenue and provided for an arbitrator to be called in iffinal agreement on that subject could not be reached in individual cases. Theagreed rate for on-demand music downloads and subscription streamingservices is set at 8% of gross revenues. The rate set for interactivewebcasting services is 6.6% of revenues and for non-interactive webcastingit is 5.75% of revenues. A minimum royalty ‘safety net’ has also been set.ADMINISTRATIONA main role for the collection societies is the administration of the rights,making sure that a member’s interests have been properly registered, thatpeople using the rights have the necessary licences and have paid thenegotiated rate. They have to collect in the monies, allocate and distributethem. Most societies charge their members a fee of some kind for theadministration of the rights, usually a percentage of the gross income theycollect.There is usually one society for each category of rights. A majorexception is the US, where three societies doing identical things compete forthe right to administer publishing rights, namely ASCAP, BMI and SISAC.Sometimes a society will administer more than one right. For example,in Europe a number of the collection societies administer not only theperforming rights but also the right to copy or reproduce works. In fact, inthe UK, the PRS and MCPS have now combined many of their managerialand administration functions and go under the joint name of The Alliance.RIGHTS GRANTEDThe societies either take an assignment of certain rights from their membersor they have a licence from their members or act as agents for them. Theterms of membership of a collection society will usually dictate what formthe rights granted will take. The idea is to establish through thesemembership rules a clear mandate to grant licences to use certain rights. Aswe will see in the section on new issues below, there has been less certaintythan is desirable in the mandate of some of the collection societies to dealwith new technologies.The collection societies usually have reciprocal arrangements with othersocieties so that they can protect their members worldwide. These reciprocalarrangements mean that the UK societies can represent the interests of theirUK members and of foreign artists, writers and composers within the UK,with both categories of writers receiving the same treatment.One of the main advantages of collective licensing is, of course, thegreater bargaining power that you can get by being part of a big collectiveeffort. The rates and rewards for uses of your works that the collectionsocieties can get for you should be better than what you could get on a one-to-one basis.OTHER COLLECTIVE BODIESThere are a number of other music business bodies that represent theinterests of various parts of the business. These could be collectivebargaining or interest groupings such as the Music Managers Forum (MMF)and AIM (The Association of Independent Music). They also include unionslike the Musicians’ Union (MU) and Equity. British Music Rights5 is thecollective voice for the British Academy of Composers and Songwriters(BASCA), the Music Publishers Association (MPA) the MCPS and the PRS(see below). What all these groupings have in common is that they act as aforum for debate and, to a greater or lesser extent, as a means of usingcollective bargaining power to get things for their members that asindividuals they could find it very hard to achieve. A brief description of theaims of each is set out in the section on useful addresses at the end of thebook.THE SOCIETIESIn the following section I’m going to briefly describe the structure andfunction of some of the main bodies that exist in the UK at the moment.More details can be obtained from the individual societies, most of whomalso publish brochures describing what they do for their members and theirwebsites are, on the whole, very informative.THE BRITISH PHONOGRAPHIC INSTITUTE (BPI)Strictly speaking, this isn’t a collection society as such, but an organisationthat represents the interests of UK record companies. It’s a non-profit-making trade association that was set up in 1973.The BPI is based in central London (see Useful Addresses) and itsmembers are UK record companies. There are currently about 400 members.There is a fee to become a member and these fees mainly fund its activities.The subscriptions for full members are a minimum fee of £75 plus an annualpayment of 5% of the member’s performance income collected by PPL. Thischange to the subscription base is intended to open up membership to morecompanies. However, in December 2007 in the wake of a public statementfrom Guy Hands of Terra Firma (new owners of the EMI Group) questioningthe level of payments to associations like the BPI, RIAA and the IFPI, theBPI announced substantial reductions in the subscriptions to be paid for thefour major record companies. The formula will remain as before forindependent record labels. The chairman of the BPI insisted that thedecision-making process to reduce the subscriptions had begun well beforeHands made his statement. BPI members have to be approved and agree tobe bound by the membership rules and the Code of Conduct that the BPImaintains. If you’re a member of the BPI you automatically also become amember of the IFPI.The BPI Code of Conduct deals with how the music charts are drawn upand involves the BPI investigating alleged irregularities, for example if thereis an attempt to buy up unusually large numbers of copies of a particularrecord in order to artificially gain a higher chart position. If the BPI findsthat a member has been guilty of infringing the Code it can employsanctions against that member, including expelling them as a member and/orimposing a fine. It is a part owner of the Official Charts Company.Because it’s a trade association rather than a rights body, it doesn’t takeany rights from its members nor does it grant licences or otherwiseadminister or collect money from exploitation of rights.The BPI provides a forum for discussion and acts for its membersgenerally on matters in which they have a common interest. It has a lobbyingfunction at Westminster and in Brussels, and also negotiates agreementswith other groups such as music publishers, the Musicians’ Union or Equity.It also has an important function in protecting members’ rights through anti-piracy initiatives and in promoting British music overseas. Its Anti-PiracyUnit is active in trying to reduce the amount of piracy in the UK. Its roleincludes taking high-profile litigation cases against pirates and givingpublicity to successful seizures of pirate goods.PHONOGRAPHIC PERFORMANCE LIMITED (PPL)This is the record industry’s licensing body. It licences records forbroadcasting and public performance, collects the revenue generated anddistributes it.It represents a large number of record companies (about 3,500), some ofwhich, but not all, are members of the BPI and over 40,000 performers.The PPL is based in London and was incorporated as a company limitedby guarantee in 1934. (See Useful Addresses for contact details.)The PPL negotiates collective agreements with broadcasters. I t a l s oprotects the rights of its members and takes legal action to protect thoserights. It doesn’t, however, have its own anti-piracy unit or staff, but relieson its members to bring infringements to its attention.PPL has a number of different tariffs that apply to the various uses of themusic in its repertoire. These are usually payable annually. There areminimum charges and how much is paid out to the members depends on theuse. It does take assignments or exclusive agency rights of various rightsfrom its members. These include broadcasting, public performance, dubbingof background music (a role it took over in 1985), multi-media uses anddigital diffusion rights.6PPL distributes the income it collects to the owners of the soundrecordings and to the performers on the tracks who have registered theirperformance with PPL. It is a not for profit organisation so there is no fee tojoin. They cover their costs by charging a fee to administer the rights.VIDEO PERFORMANCE LIMITED (VPL)This is a company associated with PPL. It is the record industry’s licensingbody for music videos.Its members are the owners of public performance rights in music videosbeing publicly broadcast or made available to the public in the UK.VPL licenses music videos for broadcasting and public performance. Itapplies a number of different tariffs to the different uses of the musicvideos.VPL takes an assignment of its members’ public performance anddubbing rights in music videos and a non-exclusive licence of thebroadcasting rights.VPL collects performing income from use of music videos but, unlikePPL, it’s not obliged by law to share this income with performers, only withits record company members. There is no fee for joining as like PPL itcovers its running costs by charging a fee to administer these rights.ASSOCIATION OF INDEPENDENT MUSIC LIMITED (AIM)This is a relatively new association, set up in 1999. Its members are drawnfrom the independent sector of the music business, mostly the recordcompany side but including publishers, production companies andmanufacturers. It’s a non-profit-making trade organisation for independentrecord companies and distributors in the UKIt acts as a forum for debate and also has a lobbying function. Itsfunction as a trade association means that it also has a collective bargainingrole.AIM is based in London, and provides a legal advisory service to itsmembers with a number of checklists of points to look out for in negotiatingvarious types of deals. It has been forward-looking in the licensing deals ithas struck with online distributors on behalf of its largely independentmembership.THE PERFORMING RIGHT SOCIETY LIMITED (PRS)PRS is the UK collection society for composers, songwriters and musicpublishers and is charged with administering the public performance andbroadcasting rights in music and lyrics. It also administers the filmsynchronisation right.Both music publishers and songwriters are members. It was set up in1914 as a company limited by guarantee. It also represents almost a millionforeign music copyright owners through its affiliations with overseascollecting societies.PRS is based in central London. When you become a member of PRSyou have to assign your performing right and the film synchronisation rightto PRS. Although members assign rights, they can reserve some categoriesof rights or types of use of rights in all their works and the rules do allowmembers to request that PRS doesn’t license the performing right in aparticular work, for example, if it is unlawfully sampled.The criteria for membership by a composer is that at least one piece ofmusic has had a public performance or broadcast which has beendocumented (e.g. set list, programme or playlist from a broadcaster’swebsite).A letter from a broadcaster, promoter or venue owner confirmingbroadcast or performance of your music will be needed. There is a one-offfee currently £100 including VAT.THE MECHANICAL COPYRIGHT PROTECTION SOCIETYLIMITED (MCPS)This company was set up in 1911 in order to collectively license mechanicalreproduction of music, i.e. the copying of music and the synchronisation ofmusic with visual images (see Chapter 4). MCPS and PRS jointly shareback-end and administration resources under the name The Alliance and arenow supporting online, electronic means for record companies to send datafor mechanical licensing which will in due course replace the existing paperregistration form.7MCPS has both publishers and songwriters as members. Its main area ofactivity is the negotiating and administering of collective licence schemes.MCPS is a subsidiary of the Music Publishers’ Association Limited, acompany limited by guarantee.MCPS doesn’t take assignments of rights, but its membership agreementprovides that the member appoints MCPS as his agent to manage andadminister the mechanical copyright in the UK. It has the mandate to grantlicences and collect royalties but there are exceptions which you can retainto yourself and not grant to MCPS. There are full details on their website –see Membership section. It’s also obliged to use its best efforts to preventinfringement of its members’ rights. It can take legal action in their nameand often does so.The types of licence agreements are listed on their website in some detailas are the exclusions.MCPS charges its members a commission for administering the rightsand collecting the royalties. Its website contains details of its rates8.1 For a more detailed description of collection societies and their history,see Copinger and Skone-James on Copyright.2 Section 116(2) CDPA defines a licensing body as ‘a society or otherorganisation which has as its main object, or one of its main objects, thenegotiation or granting, either as owner or prospective owner of copyrightor as agent for him, of copyright licences, and whose objects include thegranting of licences covering works of more than one author’.3 Sections 116–123 CDPA.4 In the past there have been two major reviews of individual collectionsocieties. The first, published in 1988 (HMSO Cm. 530), dealt specificallywith Public Performance Limited. The second, published in 1996 (HMSOCm. 3147), dealt with the Performing Right Society Limited. That reportcontained several criticisms of the Society, which has since altered itsrules to try to deal with these concerns.5 www.bmr.org.6 Dubbing is the right to ‘copy, produce, reproduce or make recordsembodying a sound recording’. An example would be a television sportsprogramme that has music in the background. The sound recording of thatmusic is dubbed into the television programme.7 For more information on Cateo see www.bpi.co.uk/bisinfo orwww.cateouk.com.8 www.mcps.co.uk. Chapter 16Appendix WORKING IN THE MUSIC BUSINESSHERE IS A brief overview of some of the information available on the musicbusiness. It’s not meant to be a complete list; it’s information and sourcesI’ve come across when researching this book. All the contact details are inthe next section, Useful Addresses, or in the body of the text.If you’re interested in more formal training in the music business thenthere are a number of courses now available. If you have access to theInternet this is an excellent resource for finding out about courses. TheUniversity and College Clearing site at www.ucas.co.uk is a good start point.Or do a general search, using any good search engine, for education/music.For short or evening courses, check Floodlight and local authoritypublications for courses outside London. Also check out the BPI website as agood general resource for information on careers in the industry(www.bpi.co.uk).My own researches have turned up the following universities andcolleges who run courses either in the media or the music business.Qualifications vary from NVQs, through HNDs, to degrees. Some don’t offera nationally recognised qualification but more of an overview with acertificate when you complete the course. Check the course details to makesure they meet your requirements. The list isn’t a complete one by anymeans, and neither is it a recommendation of any particular course.HIGHER EDUCATIONLEGAL AND BUSINESS COURSESBath Spa University College is running a full-time two-year CommercialMusic course leading to an HND/Foundation degree with the option of athird year leading to the BA (Hons). The full three-year BA is also available.It also offers a Creative Music Technology course.The University of Westminster offers a BA (Hons) degree inCommercial Music involving music production and music business practiceat its Harrow campus as well as a one-year diploma in Music Business andan MA in Music Business Management.Bucks New University offers HND and BA (Hons) full-time courses inMusic Industry Management, as well as Audio & Music Technology, DigitalMedia, Live Production, Studio Production and Marketing.The Continuing Education Department of City University, London runs anumber of part-time introductory courses such as ‘Making Music Work: AnIntroduction to the Music Industry’. They also offer distance learning andweekend courses in Cultural Industries and the Law and An Introduction tothe Music Industry as well as Marketing and Event Management.Greenwich Community College, south London, also offers part-timecourses in The Music Business and Musicianship, which covers copyrightlaw and marketing.Dartington College of Arts in Devon runs a BA (Hons) degree course inMusic, which can be performance, professional practice or composition-based with arts and cultural management.De Montfort University, Leicester, offers BSc (Hons) courses in Musicand Media Studies, Technology and Innovation as well as BA (Hons) in ArtsManagement and Media Studies.Kingston University offers a full-time or part-time course leading to aHigher Diploma or BA degree in Audio Technology and Music IndustryStudies.Oxford Brookes University offers a number of combined modulesinvolving music, including Law/Music and Business Administration andManagement leading to a BA, BSc or LLB (Hons) degree. They may suitthose more interested in a general as opposed to a specific legal course.The University of Paisley also runs a BA course in Commercial Musicand it stresses the involvement of industry professionals.Roehampton Institute, London Southlands College, has a module inBusiness Studies and Music within its Business Studies Combined Honourscourses. These are either full-or part-time courses leading to either a BA(Hons) or BMus (Hons).The University of Sunderland offers a number of combined BAs,including Business and Music and Business Law and Music. Intriguingly, italso offers a course entitled Gender Studies and Music.The University of Wales Institute Cardiff has an HNC HND/BSc (Hon)in Music Production and Technology and in Music and Audio ElectronicSystems.The University of Glamorgan runs degree in Music Technology and adegree course in Popular Music.For those looking for a more technical emphasis, there is a highlyregarded Tonmeister course at my old university, the University of Surrey.This is a BMus (Tonmeister) degree course in Music and Sound Recording.It’s a four-year sandwich course with time spent out in work placements.The intention is to prepare you for a career in the professional audioindustry.Canterbury Christ Church University College runs a full- or part-timeHND course in Popular Music and Technology at its Thanet campus.Canterbury Christ Church University also runs a BA (Hon) in MusicIndustry Management, Commercial Music and Music: Sonic Arts.Thames Valley University also offers various two- and three-year full-time courses covering Music Recording and aspects of the music business,for example Advertising with Sound and Music Recording.University of Salford also offers a BA (Hons) course in Popular Musicand Recording. The emphasis is on popular music and music technology, butit also aims to prepare you for a career in the music business or in therecording industry. They say you’ll be directed towards modules as a studioperformer or producer depending on your aptitude and interests shown inentrance tests, interviews and by your profile. The course is accredited bythe Association of Professional Recording Services.The Nottingham Foundation for Music and Media is offering further andhigher education courses, as well as commercial training courses for themusic and multi-media industries. Their courses are validated by NewCollege, Nottingham. They offer BND and HND Certificates in MusicTechnology as well as Music Industry.The Academy of Contemporary Music, based in Guildford, has link-upswith many industry bodies. Part of each course is a module in businessstudies.City College Manchester offers courses in FDA in Popular Music &Production and in FDSc Music & New Media Management. For continuingstudies, the courses are validated by the University of Salford.BIMM offers Certificate in Modern Music, Diploma in Modern Music,Diploma in Songwriting, Diploma in Sound Engineering and TourManagement, BIMM Professional Diploma (Level 5) in Modern Music,BIMM Professional Diploma (Level 5) in Songwriting, Foundation Degreein Professional Musicianship and BA Hons in Professional Musicianship.BIMM also run annual summer schools.The University of Aberdeen has a new law degree with an option inmusic. Courses in performance studies are taken in the first and second yearof this degree.COMMERCIAL COURSESThere are also courses run by commercial organisations that aim to givepractical overviews of aspects of the music business. One of the moreestablished organisations is the Global Entertainment Group. They areoffering a two-day core programme called the Music Industry Overview.Then they have a one- and two-day specialised modules such as A&R, ArtistManagement, PR, Marketing & Promotions and Running a Record Label. Allcourses are delivered in central London.The Music Managers Forum (MMF) offers short courses called MasterClasses to its members and AIM members on aspects of music managementand the industry. These are either short evening courses or week-longintensive ones.The British Phonographic Institute (BPI) occasionally offers one-daytraining workshops.The Music Publishers Association (MPA) holds induction courses andspecialist seminars and also runs courses in conjunction with the MMF(www.mpaonline.org.uk).BECOMING A SOLICITORIf you want to become a solicitor, the Law Society can give you information.If you already have a first degree in law, you need to complete a one-yearLegal Practice Course and a two-year training contract. A discretionary fasttrack to qualifying may be available for those who already have relevantbusiness experience.The Law Society now includes Media Studies or Intellectual Property asoptional courses as part of the Legal Practice Course. The Law Society alsorequires practising lawyers to keep up to date on the law by undertakingfurther training during their working life.If your first degree isn’t in law, you’ll need to do an additional one-yearconversion course.IN-HOUSE OR PRIVATE PRACTICE?Once you’ve qualified as a solicitor, you can choose whether to work in aprivate law firm or in-house as a lawyer in a record or music publishingcompany. Managers don’t usually employ an in-house lawyer, nor do smalllabels or publishing companies. They usually use lawyers in private lawfirms.The competition between specialist music business lawyers is intense. Ittakes considerable effort, both in and out of normal working hours, to buildup a ‘practice’ – a body of clients who use you regularly for legal advice.Without a practice you are unlikely to be promoted to associate, salaried orfull partner sharing in the profits (or losses) of the business. The financialrewards and job satisfaction can, however, be considerable.Those of you who think you would find it difficult to build up a practice,or who aren’t interested in becoming a full profit-sharing partner or owningtheir own business, may decide to work in-house instead. That isn’t to saythat this is an easy option. The work in-house can be very intense. There’s nojob security and you have to follow company policy, the ‘corporate line’.The up-side is that the working atmosphere can be more relaxed, you don’thave the stresses of building a practice or running your own business and itcan be a very good way to move into management positions.It is possible to move between the two. A partner in a West End musiclaw firm left to go in-house at one of the big music publishing companiesand ended up running the whole of their European operation.BECOMING A BARRISTERInstead of being a solicitor you could choose to do a law degree, a follow-upcourse at a recognised Bar School and a minimum of one year’s training tobecome a barrister. Barristers can’t be partners in law firms without re-qualifying as a solicitor, but they can, and often do, work as in-houselawyers. For further information on becoming a barrister, contact the BarCouncil.BECOMING A LEGAL EXECUTIVEYou can also get a qualification as a legal executive. For information onlegal executive qualifications, contact the Institute of Legal Executives. Itdoesn’t entitle you to become a partner in a law firm but it does give you alegal qualification. It can be done in evening and day-release classes whileyou’re working and it can be a stepping stone to becoming a fully qualifiedsolicitor although this would take many years. You find legal executives inimportant support roles in media law firms. In the smaller firms, their roleisn’t that different from that of fully qualified solicitors. Legal executivesalso work in-house and, to all intents and purposes, they do the same work asqualified solicitors. However, there is often the view in music companiesthat, unless you’re a fully qualified lawyer or have an additional businessqualification such as an MBA (a masters degree in business administration),you’re unlikely to get promoted to a management role. On the other hand,you may not have any desire to go into management and may be happy witha non-management role.NON-LEGAL JOBSFor a general overview of types of careers available in the music business, agood place to start would be Sian Pattenden’s book How to Make i t in theMusic Business.You could also refer to your careers advisory service and government-backed enterprise and job advisory centres. Chapter 17Useful Addresses ACADEMY OF CONTEMPORARY MUSICRodboro Buildings, Bridge Street, Guildford GU1 4SBTel: 01483 500800Fax: 01483 500801Website: www.acm.ac.ukACCA – Association of Chartered and Certified Accounts29 Lincoln’s Inn Fields, London WC2A 3EETel: 020 7059 5000Fax: 020 7059 5050Email: [email protected]: www.uk.accaglobal.comAIM – Association of Independent MusicLamb House, Church Street, London W4 2PDTel: 020 8994 5599Fax: 020 8994 5222Email: [email protected]: www.musicindie.orgAMIA – Association of Music Industry AccountantsUnity House, 205 Euston Road, London NW1 2AYTel: 020 7535 1400Fax: 020 7535 1401ASCAP – American Society of Composers and Performers8 Cork Street, London W1S 3LJTel: 020 7439 0909Fax: 020 7434 0073Email: [email protected]: www.ascap.comBAR COUNCIL, THE289–293 High Holborn, London WC1V 7HZTel: 020 7242 0082Fax: 020 7831 9217Website: www.barcouncil.org.ukBATH SPA UNIVERSITY COLLEGENewton Park Campus, Newton St Loe, Bath BA2 9BNTel: 01225 875875Fax: 01225 875444Email: [email protected]: www.bathspa.ac.ukBMI – Broadcast Media Inc.84 Harley House, Marylebone Road, London NW1 5HNTel: 020 7486 2036Website: www.bmi.comBOURNEMOUTH UNIVERSITYFern Barrow, Poole, Dorset, BH12 5BBTel: 01202 524111Fax: 01202 962736Email: [email protected]: www.bournemouth.ac.ukBPI – British Phonographic InstituteThe Riverside Building, County Hall, Westminster Bridge Road, LondonSE1 7JATel: 020 7803 1300Fax: 020 7803 1310Email: [email protected]: www.bpi.co.ukBUCKS NEW UNIVERSITYQueen Alexandra Road, High Wycombe, Bucks HP11 2JZTel: 01494 522141Fax: 01494 524392Email: [email protected]: www.bcuc.ac.ukCANTERBURY CHRIST CHURCH UNIVERSITY COLLEGENorth Holmes Road, Canterbury, Kent CT1 1QUTel: 01227 767700Fax: 01227 479442Email: [email protected]: www.canterbury.ac.ukCHAMBERS & PARTNERS PUBLISHINGSaville House, 23 Long Lane, London EC1A 9HLTel: 020 7606 8844Fax: 020 7606 0906Website: www.chambersandpartners.comCITY UNIVERSITYNorthampton Square, London EC1V 0HBTel: 020 7040 8268Fax: 020 7040 8995Email: [email protected]: www.city.ac.ukCONCERT PROMOTERS’ ASSOCIATION6 St Mark’s Road, Henley-on-Thames, Oxfordshire RG9 1LJTel: 01491 575060Email: [email protected] COLLEGE OF ARTSTotnes, Devon TQ9 6EJTel: 01803 862224Fax: 01803 861666Email: [email protected]: www.dartington.ac.ukDE MONTFORT UNIVERSITYThe Gateway, Leicester LE1 9BHTel: 0116 255 1551Fax: 0116 2577533Email: [email protected]: www.dmu.ac.ukEQUITY (British Actors’ Equity Association)Guild House, Upper St Martin’s Lane, London WC2H 9EGTel: 020 7379 6000Fax: 020 7379 7001E-mail: [email protected]: www.equity.org.ukEquity is an independent trade union representing not only actors but alsoother performers including singers and dancers. Equity negotiates industryagreements with TV and radio broadcasters, theatres and record companies(through the BPI).GLOBAL ENTERTAINMENT GROUP, THEAdmin. Office: Design Works, William Street, Felling, Gateshead, NE100JPTel: 020 7583 7900Email: [email protected]: www.globalmusicbiz.co.ukIAEL – International Association of Entertainment LawyersDuncan Calow – General SecretaryDLA Piper UK LLP, 3 Noble Street, London EC2V 7EETel: 08700 111 111Website: www.iael.orgIFPI – International Federation Phonographic Ltd10 Piccadilly, London W1J 0DDTel: 020 7878 7900Fax: 020 7878 7950Email: [email protected]: www.ifpi.orgILEX – Institute of Legal ExecutivesKempston Manor, Kempston, Bedford MK42 7ABTel: 01234 841000Fax: 01234 840373Email: [email protected]: www.ilex.org.ukINFORMATION COMMISSIONER’S OFFICEWycliffe House, Water Lane, Wilmslow, Cheshire SK9 5AFTel: 01625 545745Fax: 01625 524510Email: [email protected]: www.ico.gov.ukINSTITUTE OF CHARTERED ACCOUNTANTS IN ENGLAND &WALES, THEChartered Accountants’ Hall, PO Box 433, London, EC2P 2BJTel: 020 7920 8100Fax: 020 7920 0547Email: [email protected]: www.icaew.co.ukKINGSTON UNIVERSITYRiver House, 53–7 High Street, Kingston-upon-Thames, Surrey KT1 1LQTel: 020 8547 2000Email: [email protected]: www.kingston.ac.ukLAW SOCIETY, THE113 Chancery Lane, London WC2A 1PLTel: 020 7242 1222Fax: 020 7831 0344Email: [email protected]: www.lawsociety.org.ukMCPS – Mechanical Copyright Protection Society Limited29–33 Berners Street, London W1T 3ABTel: 020 7580 5544Fax: 020 7306 4455Email: [email protected]: www.mcps-prs-alliance.co.ukMIRACLE PUBLISHING LIMITED1 York Street, London W1U 6PATel: 020 7486 7007Fax: 020 7486 2002Email: [email protected] – Music Managers ForumBritish Music House, 26 Berners Street, London W1T 3LRTel: 0870 8507800Fax: 0870 8507801Email: [email protected]: www.musicmanagersforum.co.ukMMF – Training14b Turner Street, Manchester M4 1DZTel: 0161 839 7007Fax: 0161 839 6970Email: [email protected] is the UK trade association for artist managers. It was set upapproximately twelve years ago as the International Managers Forum to actas a representative body for managers, as a forum for debate on matters ofinterest to its members and as a lobbying body.MUSIC WEEKLudgate House, 245 Blackfriars Road, London SE1 9UYTel: 020 7921 8353Email: [email protected]: www.musicweek.comMUSICIAN’S ATLAS, THEMusic Resource Group. 38 Porter Place, Montclair NJ 07042Tel: +(973) 509 9898Fax: +(973) 655 1238Email: [email protected]: www.MusiciansAtlas.comMUSICIANS’ UNION33 Palfrey Place, London SW8 1PETel: 020 7840 5504Fax: 020 7840 5399Email: [email protected]: www.musiciansunion.org.ukThe MU is the only UK trade union solely representing musicians. It wasformed in 1893. It has over 30,000 members and has a regional structure thatincludes offices in London, Cardiff, Birmingham, Manchester and Glasgow.It acts as a collective body by seeking to improve the status of musicians andthe money they earn. The MU makes national agreements with variousorganisations, including with the BPI (for recording sessions andpromotional videos) and with television companies (for broadcasts).NEW MUSICAL EXPRESSIPC Music Magazines, The Blue Fin Building, 110 Southwark Street,London SE1 0SUTel: 020 7261 5813Fax: 020 7261 5185Email: [email protected]: www.nme.comOXFORD BROOKES UNIVERSITYGypsy Lane Campus, Headington Campus, Gypsy Lane, Oxford OX3 0BPTel: 01865 741111Email: [email protected]: www.brookes.ac.ukPINNACLE ENTERTAINMENTHeather Court, 6 Maidstone Road, Sidcup, Kent DA14 5KKTel: 020 8309 3600Website: www.pinnacle-entertainment.co.ukPPL – Phonographic Performance Limited1 Upper James Street, London W1F 9DETel: 020 7534 1000Fax: 020 7534 1111Email: [email protected]: www.ppluk.comPRS – Performing Right Society Limited29–33 Berners Street, London W1T 3ABTel: 020 7580 5544Fax: 020 7306 4455Email: [email protected]: www.prs.co.ukROEHAMPTON INSTITUTE LONDONRoehampton Lane, London SW15 5PUTel: 020 8392 3000Email: [email protected]: www.roehampton.ac.ukTHAMES VALLEY UNIVERSITYSt Mary’s Road, Ealing, London W5 5RFTel: 020 8579 5000Email: [email protected]: www.tvu.ac.ukUCAS – University Clearing Advisory ServiceUCAS PO Box 28, Cheltenham GL52 3LZTel: 0870 112 2211Email: [email protected]: www.ucas.ac.ukUNIVERSITY OF GREENWICHOld Royal Naval College, Park Row, Greenwich SE10 9LSTel: 020 8331 8000Email: [email protected]: www.gre.ac.ukUNIVERSITY OF NEWCASTLE UPON TYNENewcastle NE1 7RUTel: 0191 222 6000Website: www.newcastle.ac.ukUNIVERSITY OF NORTHAMPTONPark Campus, Boughton Green Road, Northampton NN2 7ALTel: 01604 735500Email: [email protected]: www.nene.ac.ukUNIVERSITY OF PAISLEYPaisley PA1 2BE, ScotlandTel: 0141 843 3000Email: [email protected]: www.paisley.ac.ukThe University is seeking approval to change the name to University of theWest of Scotland.UNIVERSITY OF SALFORDSalford, Greater Manchester M5 4WTTel: 0161 295 5000Fax: 0161 295 5999Email: [email protected]: www.salford.ac.ukUNIVERSITY OF SUNDERLANDSt Mary’s Building, City Campus, Chester Road, Sunderland SR1 3SDTel: 0191 515 2000Email: [email protected]: www.sunderland.ac.ukUNIVERSITY OF SURREYThe Registry, Guildford, Surrey GU2 7XHTel: 01483 300800Fax: 01483 300803Email: [email protected]: www.surrey.ac.ukUNIVERSITY OF WESTMINSTER309 Regent Street, London W1B 2UWTel: 020 7911 5000Email: [email protected]: www.wmin.ac.ukVITAL338a Ladbroke Grove, London W10 5AHTel: 020 8324 2400Fax: 020 8324 0001Email: [email protected]: www.pias.com/vitalWELSH MUSIC FOUNDATION33–5 West Bute Street, Cardiff Bay, Cardiff CF10 5LHTel: 02920 494 110Fax: 02920 494 210Email: [email protected]: www.welshmusicfoundation.comINDEXThe page references in this index correspond to the printed edition fromwhich this ebook was created. To find a specific word or phrase from theindex, please use the search feature of your ebook reader.A&R (Artist and Repertoire):accountant, help with choosing a 17album, involvement with 71booking agent, help with choosing a 216future of 176manager, help with choosing a 24precarious life of 3producer, help with choosing a 118radio play, importance of 53recording studio, help with choosing a 116–17relationship with 3scouting 214, 215sending demos to 2, 8, 9social networking sites and 167–8Abba 188, 190Abilene Music 89accountants:booking agents and 222, 226–7business managers and 17–18directories 16finding 16–17how do they charge? 18how to choose 17institutes 16lawyer, help with finding a 12publishing 107record deal, help with getting a 19tax and see taxtouring and 230–1VAT and see VATwhat do they do? 18–19, 43, 44advances 72cost-inclusive 75min-max formula 73–4payment terms 74publishing 104–5size of 51, 52–7, 72what is a good? 72–5advertising:banner adverts at venues 206–7flyposting 231local press 7marketing campaigns 140–1, 180music for 60, 63, 92–3social networking sites 168, 170TV 60, 63, 92–3, 140–1, 180see also marketingAftermath Records 272Akon 224album, recording and distributing see record, making aalbum cycles 39albums, move away from 166–7All Seeing I 276alternative dispute resolution (ADR) 247Amazon 149, 152, 161, 176American Idol 181American Society of Composers and Publishers (ASCAP) 8, 22, 23, 215,299, 312Anti-Piracy Unit (APU) 292, 301Apple 63, 148, 160, 161, 164, 165Aprilla 204–5Arctic Monkeys 150, 154, 181Armatrading, Joan 26–9, 30, 39, 41, 42, 51, 108Armour, Jennifer 279artwork, cover 72, 125–8, 131, 138Ash, Niema 264Associated Newspapers 265–6Association of Chartered and Certified Accountants (ACCA) 16Association of Independent Music (AIM) 298, 300, 302, 308, 312Association of Music Industry Accountants (AMIA) 16, 312AT&T 164Audible Magic 158Automatic, The 8backing band and session musicians 97–9, 106, 122, 125, 232–3band:income 241–3leaving member provisions 244–7as a limited company 238–9name 3–6, 236–8partnership 240–1registers 4–6service agreements 241split 247–9structures 238–41Barfly 213, 214, 215Barrett, Aston 56–7Barrett, Carlton 56, 57barrister, becoming a 309Barry, Paul 86Barton, Lukas 86‘battle of the bands’ 7–8, 214BBC Music 82BDO Stoy Hayward 16Beach Boys 237Bebo 152, 168, 174Beck 126, 157, 175Beckham, David 266Beckham, Victoria 266Bedford, David 190–1Bedford, The 8, 214Bees, The 150Beethoven Street Music 34Beggars Banquet 49Bella Union 49Belle and Sebastian 279Beloved 271Berne Convention 252, 259Best, Callum 263Betsy Trottwood, The 8Beyonce 180Big Active 175Big Brother 181Black Box 277Black Eyed Peas, The 200Blackhurst, Tim 22Blue 5–6, 237Bluebells 280, 281Blunt, James 86BMG 3, 48, 49, 77, 82, 154, 156, 159, 161, 231, 271, 275Bob Marley and the Wailers 56–7booking agents 215–17, 218–23bootleg recordings 288, 289Bourne, James 248–9Boyzone 231BPI (British Phonographic Institute) 133, 143, 149, 155, 159, 284, 285,288, 289, 292, 300, 301, 308, 313branding:artist 182–4merchandising deals 184, 191–7protecting your name 180trade marks 6, 183, 184–90unauthorised, unofficial merchandise 180–1see also merchandiseBranson, Sir Richard 152, 180Brecon Jazz Festival, The 225Brett, John 277–8Brian Rawling Productions Limited (BRP) 86British Academy of Composers and Songwriters (BASCA) 300British Association of Record Dealers (BARD) 292British Music Rights 300Broadcast Music, Inc. (BMI) 8, 299, 313Brooker, Gary 87–8Bucks Music Group 83Bug Music 83B-Unique 3, 49business managers 17–18, 32Busted 248, 249buzz, creating a 2–3, 6, 51CAA 216Camden Council 231Campbell, Naomi 263Campus Group 213Carlin Music 279cases, legal:Abba 188Associated Newspapers v HRH Prince of Wales 265–6Aston Barrett v Universal Island Records 56–7Beckham v Gibson 266Beloved 271Beyonce 279Blue 5–6, 237‘Chariots of Fire’ 278, 279Colonel Bogey 271Cure 242Eddie Irvine 260Elizabeth Jagger 263Elton John v Dick James 27, 29–30, 106Elton John v Reed 122Elvis Costello 233Elvis Presley 185, 186Francis Day & Hunter 278George Michael 54–6, 71, 256Gilbert O’Sullivan 25–6, 60, 64Grokster 284Holly Valance 39–40Hyperion Records v Dr Lionel Sawkins 89–90James Bourne v Brandon Davis 248–9Jamie Theakston 262Joan Armatrading 26–9, 30, 39, 41, 42, 51, 108John Brett 277–8Kemp 85–6, 242, 280Kuro 284Liberty X 5–6, 237Ludlow 275, 279Macarena 271Macaulay v Schroeder 52, 100–1, 107–8Mark Taylor v Rive Droit Music Limited 86–7Matthew Fisher v Gary Brooker 87–8Michael Douglas 261Ms Dynamite 262Naomi Campbell 263Niema Ash v Loreena McKennitt 263–4Oasis 127–8P Diddy 188–9Petula Clark 260Phil Collins 288Pink Floyd 281R v Langley 288Ray Repp 278SABAM v Scarlet 157–8, 170Sara Cox v The People 263Saxon 186Seal v Wardlow 34–5Sebastian Coe 263Shut Up and Dance 277Soribada 284Spice Girls 190–1, 204–5Tom Waits 188Trent Reznor 41Valentino v Hodgens 280Van Morrison (Exile) v Marlow 220–1Walmsley 272Wet Wet Wet 185Williamson Music 279–80ZTT v Holly Johnson 65–6, 71, 108CD (compact disc):compilations 77cover mount 54, 150, 152dealer price 76distribution see distributionlegacy 176manufacturing 130–3, 165record companies lose control of pricing 148retail price 76sales, falling 64, 83sound quality 148CDR 130–1, 284Centralised European Licensing and Administration service (CELAS) 298Chambers, Guy 85, 275Chrysalis Records 85Church, Charlotte 30Clark, Petula 260Clarkson, Kelly 31Coe, Sebastian 263Coldplay 157, 214collection societies 91, 137administration 97, 299becoming a member of 95–6blanket licenses 297–9rights granted 299the societies 300–3what are? 296–7see also under individual societyCollins, Phil 288Colonel Bogey 271Combs, Sean 188, 189Competition Commission 296, 297concerts:‘battle of the bands’ 7–8, 214commission 41online 2, 153open mike 8, 19presentation of 7prices of tickets 68secret 7showcases 6–7venues 7see also touringconfidentiality agreements 266Copeland Sherry Agency 26Copeland, Miles 27copyright:demo 10–11duration of 88–9exclusive recording contract 62, 64fair dealing exemptions 59getting it back 64licence deals and 57, 58, 59moral rights and 252, 253, 256, 258online 59, 171–2piracy and 289–90publishing and 84–8, 90, 98what rights come with ownership of? 90Copyright Act 1956 257Copyright and Patents Act 1988 57, 58, 91, 160, 252, 253, 255, 259, 270,296, 299Copyright Directive 2003, European 157, 159–60, 170Copyright Tribunal 91Costello, Elvis 233counterfeit recordings 286Cowell, Simon 181Cox, Sarah 263Cracknell, Sarah 200Creation Records 38, 126, 127, 128Crimea, The 174Daily Mirror 263Danny D 22Darkness, The 8David, Paula 271Davies, Ray 54Davis, Brandon 248–9de Lalande, Richard 89Dean, Mark 54Dearlove, Richard 188, 189Def Jam 183, 272delivery requirements 71–2, 124Deloitte 16Delta Leisure 162demos 245composition of 9, 19demo deals 10–11, 20finder’s agreements 9–10, 20MP3 2, 9recording 8–11sending to an A&R person 2, 9studio deals 8–9Destiny’s Child 200Devo 93Digital Memory Devices (DMD) 149Digital Millennium Copyright Act 1998 160digital rights management (DRM) 136, 148, 152, 158–61, 176, 285–6, 289Disney 89, 165distribution 49catalogue or single item deals 133–4consolidation of sector 154exclusive versus non-exclusive deals 134–8major versus indies 132–3merchandise 194–5traditional distributors encompass online distribution 152–3DJM 29Doc Martin 228Domino Records 3, 49Douglas, Michael 261, 262downloads 63charts 143, 149free 64, 130illegal 149, 151, 156–62, 175royalties 163–4subscription services 163see also digital rights management and online music salesDoyle, Owen 248, 249Dre, Dr 272Driscoll, Adam 213Dudgeon, Gus 27, 29DVDs 165, 221artist website sales 171copyright 256, 257cover mount 54demand for 53licence fees 93, 298marketing 142–4piracy 284royalties 92Eagles, The 165Earwig 156, 175Ebay 176Electronic Frontiers Foundation (EFF) 286Elle s’Appelle 215Elton John 29EMI 5, 48, 49, 69, 75, 77, 82, 84, 130, 141, 144, 150, 154–5, 157, 160,161, 167, 273, 274, 275, 281, 298, 300Eminem 157End of History, The (Regan) 49Epic Records 3, 55Equity 117, 300, 301, 314Ernst & Young 16Essex Music Limited 88European Commission 48, 164, 297European Economic Area (EEA) 297European Leisure Software Publishers’ Association (ELSPA) 293European Union (EU) 48, 58, 59, 82, 91, 135, 158, 162, 285, 288, 296Copyright Directive 2003 83, 157, 159–60, 170, 287Evera, Emily Van 271Facebook 138, 152, 167, 168, 174Fame Academy 181fan clubs 171, 231–2Farm, The 271Farnham, John 221Federation Against Copyright Theft (FACT) 285, 292–3Federation Against Software Theft (FAST) 292, 293Fiction Records 242fiduciary duty 25, 26, 28, 30, 33film soundtracks 3, 60, 83, 92, 93‘fingerprinting’ technology 170Fisher, Matthew 87–8Fitzgerald, Kiley 248, 249Flaming Monkeys, The 8Flute 122Fopp 152Fox 165Frankie Goes To Hollywood 65, 108, 237, 238, 248Franz Ferdinand 3Friends 237Fuchs, Aaron 272Fuller, Simon 30, 35Gallagher, Noel 127Gates, Gareth 181G-A-Y 213Geffen 109GEMA 298getting started 2–20Gibson, Abbie 266gigs see concertsGilbert O’Sullivan 25–6, 60, 64Gill, Peter 237Girls Aloud 180Glastonbury Festival 8, 220GMTV 291Google 148, 168, 169, 170, 174Gorillaz 152Gower’s Review 58, 159, 160, 161–2, 285, 291, 293Great White 224Grokster 131, 284groups see bandsGuardian 174Gut Records 200Hadley, Tony 85Halliwell, Geri 204–5Hammersmith Apollo 213Hands, Guy 49, 82, 141, 154–5, 300harassment actions 266Hartman, Don 277Hawkes & Son 271Hear Music 151Hear’Say 181Heart 141higher education 306–8HMV 152Hodgens, Robert 280Holly Johnson 65–6, 71, 108Honeytrippers 272Horn, Trevor 65House of Lords 52, 263Human Rights Act 259, 261, 262, 264Hyperion Records 89–9, 271IE 69IFPI (International Federation Phonographic Ltd) 63, 151, 155, 284, 292,300, 315Iglesias, Enrique 86–7Il Divo 180image, band 7Impala 48In the City 8, 215independent legal advice 36Inland Revenue 239, 241, 243Innervision 55integrity right 255–7internet 2 see also downloads, Internet Service Providers and onlinemusic salesInternet Service Providers (ISP) 148, 151, 157, 158, 160, 161, 162, 169,172, 284, 285, 293, 298–9iPhone 150, 164, 165iPod 130, 150, 153, 162, 203, 289Irvine, Eddie 260Island Records 56, 57, 85, 248, 249Islington Gazette 262iTunes 130, 133, 153, 160, 164, 165, 168Jackson, Ray 281Jagger, Elizabeth 263James, Dean 213Japan 135Jardine, Al 237Jenkins, Katherine 174–5Jobs, Steve 160John, Elton 27, 29–30, 122Johnson, Holly 237Jupiter Research 167Kaiser Chiefs, The 3Kazaa 131, 285Keane 3Keeble, John 85Kemp, Gary 85, 86, 242Kemp, Martin 85Kennedy, John 151Kerrang 8, 214key-man provisions 38, 222–3Killers 214Kobalt 83Koopa 150Kuro 284Lahiri, Bappi 272Lala 160Langley Masters 288Later with Jools Holland 44, 182Lavender, Ray 224lawyer:beauty parades 14choosing and employing a 13–14conflicts of interest 13–14directories 12finding a 11–14legal consultants 15–16new breed of 14, 15–16relationship with 15what do they do for you? 14–15when should you get a? 16Law Reports 28, 29, 30Law Society 11, 15, 16, 308, 315Leading Edge 221leaving member provisions 244–7Leeds Festival 201legal executive, becoming a 309Lemar 31Lewis, Leona 31, 150, 167, 181libel 262Liberty 5, 6Liberty X 5, 181, 237licensing 49collection society blanket licenses 297–9deals 57–62mechanical licenses 90–1, 92, 109, 151performance 93–5publishing 90–1synchronisation licenses 83, 92–3, 106, 151territory 61Limited Online Exploitation Licence 298Linda, Solomon 88–9Lion King, The 89Live Music Forum 225Live Nation 48, 49, 68, 151, 212–13, 224Livesey, Yvette 8Livingstone, Bunny 56Lloyds Bank 200Logarides 278Lost Highway 49Love, Mike 237Lowe, Michael 272Macarena 271Madonna 48, 49, 57, 68, 151, 212–13Magic Numbers 40Mail on Sunday, The 54, 265–6Malm, John 41Malone, George 285Mama Group 213–15, 224Management Agency and Music Limited (MAM) 25, 60managers:A&R contacts 24business managers 32contracts 35–40, 43, 44directories 22expenses 43–4fiduciary duties and problems with bands 25, 26, 28, 33help with finding a lawyer 12how to find a 22–4independent legal advice 36is it essential to have an experienced? 31legal cases involving 25–30, 33, 34–5, 39–40new business models 33–4pay 40–2personal assistants 32personal managers 17, 31–2post-term commission 41–2qualities to look for in 31recommendations 23relationship with 24–9, 34–5role 40short-term contracts 44surgeries 23tax and 44territory 36–7trial period 24trust and 24–30what to look for in a 30–1see also Music Manager’s Forum (MMF)marketing:artwork 138DVDs 143–4EPQs 142fan clubs and 171, 231–2flyposting 231in-house or external 139–40local press 7online 156, 170–1, 173–6paying for 141–2photographs and biographies 138–9pluggers 141radio play 53, 141, 215SMS 7, 175, 176, 231telesales 136tours 231–2TV advertising 140–1, 180videograms 143Marlow, Gary 220–1Martin-Smith, Nigel 30master recordings 26, 72McCartney, Paul 151McDonald’s 200McFly 167McGee, Alan 38, 155McKennitt, Loreena 264McLean, Don 279MCPS (Mechanical Copyright Protection Society Limited) 85, 91, 92, 95,97, 135, 139, 169, 277, 280, 287, 297–8, 300, 302–3, 316 see alsolicensingMCPS-PRS Alliance 169, 170, 275, 297, 298–9, 302Meatloaf 220mechanical licenses 90–1, 92, 109, 151memory sticks 148–9merchandising 180–1, 183, 184, 191–7, 260Mercury Prize 49Mercury Records 183, 248, 249MGM 284Michael, George 52, 54, 71, 224, 225, 256Michaelson, Scott 39–40Microsoft 168MIDEM 297Mills, Gordon 25, 26Minidisc 130Minimum Commitment 65–6, 72, 74, 121, 229, 246, 276Ministry of Sound 200Minogue, Kylie 143, 167Mintel 212mixing 76, 117, 122–4 see also remixingmobile music players 165–6mobile phones 148, 149, 151, 165–6Montana, Hannah 232Moore, Tony 8, 214moral rights 109–10, 121, 122, 252–66, 290Morrison, Van 220–1Moths, The 215MP3s 124, 131, 148, 160, 161MP3.com 131, 158, 162Ms Dynamite 262MSN 174MTV 143Muse 8, 215Music Managers Forum (MMF) 12, 16–17, 22–3, 36, 300, 308, 316Music Publishers Association (MPA) 293, 297, 300, 30l, 308Music Station 166Music Week 16, 22, 82, 131, 142, 167, 175, 190, 201, 216, 316Musicians Union (MU) 12, 36, 117, 292, 300, 301, 317MySpace 2, 59, 130, 138, 143, 148, 152, 156, 166, 167, 168, 169, 174,175, 176, 182, 188name, band 3–6Napster 131, 158, 162, 166, 169Nash, Brian 237National Insurance 44News Corp 165Nicoli, Eric 49, 160Nine Inch Nails 4119 Entertainment 35NME 214, 317Norman, Steve 85Nova 132Oasis 8, 38, 126, 127–8, 157, 215Ocean Colour Scene 150OK! 26Oliver, Graham 186online music sales 148–52charts 143, 149–50data protection and 173distribution 135–6, 148, 149–51, 152–3free 64, 130future of 176–7hosting agreements 172–3illegal 148–9, 151, 156–62, 175marketing 156, 170–1, 173–6new business models 162–4official websites 170–1piracy 148–9, 151, 156–62, 175pricing 148record industry attitude towards 148–9, 150, 151–2, 154–6reproduction of 135–6, 148, 149–51, 152–3royalties 136, 148, 152, 158–61, 163–4, 176, 285–6, 289social networking sites and see social networking sitessound quality 148streaming and online broadcasting 153–4subscription services 163territorial issues 164–5website design rights and copyrights 171–2see also downloads; mobile music players; mobile phones; podcastsand ringtonesOnward Music Limited 88‘open mike’ evenings 8, 19Orange 228Orchard, The 133, 153Other, The 7O’Toole, Mark 237O2 54, 164, 212override royalty 9, 74Page, Jimmy 288P&D deals 132, 136Paramount 271Parlophone 167Parry, Chris 242partnership, artist and label 68–9Partnership Act 1890 238, 247‘passing off’ 4, 187–8paternity, right of 253–5Paul, Sean 279PDAs 148P Diddy 188–9Pebble Beach 132Peer Music 83peer-to-peer (P2P) websites 131, 154, 158, 169, 284Performing Rights 59People, The 263Pepsi 200Perfect Songs 65, 108personal assistants 32personal managers see managersPet Shop Boys, The 30photographs, privacy of 257–8PIAS 132, 154, 319Pink Floyd 281Pinnacle 132, 133, 150, 153, 317piracy 58, 149, 151, 156–62, 176, 284–6Anti-Piracy Unit (APU) 292, 301bootlegs 288, 289copyright and 289–90 see also copyrightcounterfeit recordings 286enforcement 290–3how can you stop? 289–9how do you spot a counterfeit, pirate or bootleg record? 288–9moral rights 290pirate recordings 287–8‘Rootkit’ 159, 286trade descriptions 290, 291trade marks 290what is? 286PJ Harvey 157plagarism 277–9pluggers, TV and radio 141Podcasting Association 153–4podcasts 150, 153–4, 298Police, The 27Pop Idol 181Popstars 5, 181Positiva 200PPL 138, 298, 300, 301, 302, 317Premier League 170‘pre-sales’ 139–40presenting yourself 7Presley, Elvis 58, 185, 186, 190Press Complaints Commission 262, 263Pride, Dominic 150Prince 54, 152, 212, 277Prince of Wales, Charles 265–6privacy of the individual 259–66Private Security Industry (Licences) Regulations 2004, The 225Procol Harum 87–8Produce Records 139, 271producers:as co-authors 121copy and moral rights 121, 122, 258credits 120demo 9duties 122mixing 122–4pay 40, 117, 118–19, 120, 122royalties 120standard of work 120–1promoters 223–8PRS (The Performing Rights Society Limited) 8, 12, 23, 85, 91, 93–5, 97,102, 107, 135, 139, 169, 214, 297, 300, 302, 317publishing:accounting and 107administration deals 96–7advances 104–5controlled compositions 91–2copyright and 85–90, 98exclusive agreement 100–9how to find a music publisher 82–3independent publishers 82–3mechanical licenses 83, 90–1, 109, 151Minimum Commitment 103–4moral rights and creative control 109–10ownership, disputes over 85–8performing rights 93–5, 107print 95record deal before 95–6restraint of trade 100–1rights granted 102rights period 102–3rolling contracts 103royalties 90–1, 105–7single song assignment 99–100sub-publishing deals 97–9, 102, 105, 106synchronisation licenses and royalties 83, 92–3, 106, 151territory 102, 151360 degree deals and 110tracking systems 151what are music publishing rights? 84–9what do publishers do? 83–4what type of deal should you do? 110what’s in a typical publishing deal? 101–7Punk 8Radiohead 150, 151, 175Radio 1 53, 141, 174, 215radio play 53, 141, 174, 215Radio 2 53, 141, 174, 215Raizada, Yogesh 291Rashman, Richard 249Reading Festival 201record, making aartwork 72, 125–8, 131, 138budget 117–18credits 120delivery requirements 124mastering and digitisation 118, 124mixing 76, 117, 122–4producer 118–19, 122production deals 114–15record company refusal to release 54–6recoupment of costs 63–4, 70, 118, 119remix royalty reduction 120rights 121standard of work 120–1studio package deals 116–17studio, finding a 118who does the contract? 119–20record companies: consolidation of 48–50, 154 cost-cutting 48–50, 154–5future of 176independent 3, 6, 49–50, 132–3, 136major 49, 50, 132–3, 136, 176refusal to release albums 54–6see also under individual company namerecord deals:accounting and 78advances 52–7, 72–5copyright and 62, 64creative control versus large advances 52–7delivery requirements 71–2development deals 62–3exclusive 60–6future album options 64–6hype of the multi-million pound 50–1legal principles 51–2licence deals 48, 57–60new business models 48–50new kinds of deal 57, 67–9, 110, 155–6non-inclusive 60–1production deals 69–71record budgets 75–6royalties 76–7territory and split-territory deals 66–7 360degree deal 57, 67–9, 110, 155, 171, 197, 212–13two-album firm deals 66what happens in a production deal when a bigger company comesalong? 78–9 record sales, decline in 2 see also CDsrecoupable and non-recoupable costs 63–4, 70, 73, 75–6, 78, 94, 107, 118,119, 123, 229, 245, 248Regal Room, The 8Regan, Fionn 49rehearsing 7remixing 67, 76, 120, 123Remote Control 132restraint of trade 26, 29, 51–2, 55–6, 100–1Reznor, Trent 41Rhode Island Club 224RIAA (Record Industry Association of America) 149, 155, 158, 284, 300Rice, Damien 49Rice, Tim 85Richard, Cliff 58, 162, 279Ridgeley, Andrew 54, 55ringtones 150, 151, 182Rive Droit Music Limited (RDM) 86, 87Roland, Kevin 155Rondor UK 82‘Rootkit’ 159, 286Roskilde Festival 224Rough Trade 49royalties:DVD 144leaving member 245, 246, 248mechanical 90–1, 92, 109, 151 see also MCPSmerchandise 195–6override 9, 74performing 107 see also PRSproducer 120publishing 90–1, 105–7record deal 70, 75–7synchronisation 92–3Rutherford, Paul 237SABAM 157–8, 170Safety Focus Group 225sampling:how do you clear a sample? 272–3how much is a sample? 270–2, 276what happens if you don’t clear a sample? 277when should you seek permission? 273–4where do you go to clear samples? 274–6Sanctuary Records 42, 49, 154Sawkins, Dr Lionel 89–90Saxon 186Schroeder Music Publishing Ltd 52Scissor Sisters 40S Club 7 30, 31scouts 2–3see also A&R Seal 34–5, 40Secure Digital Media Initiative (SDMI) 159Sergeant, Matthew 248session musicians 117, 122, 125, 232–3, 241, 280–17Digital 133, 162, 173Shadows, The 279Shalit, Jonathan 30Shaw, Sid 185short cuts 5–8showcases 6–7, 19Shut Up and Dance (SUAD) 277Silver Rarities 288Silvertone 108Simpson, Charlie 248Sinclair, Jill 65singles:downloads 53 see also downloadsminimum number of 53rise in sales 167SISAC 299Sky Larkin 215slicethepie.com 8Smith, Robert 242social networking sites 8, 152, 167–70see also under individual site namesolicitor, becoming a 308–9songwriters:co-authors 85, 121moral rights 109, 258publishing deals and 94, 96, 98, 101, 102, 103, 106see also copyright and publishingSon of Dork 248Sonny and Cher 276SonyBMG 159, 161, 273, 289Sony Records 38, 48, 49, 54–6, 64, 82, 154, 156, 159, 161, 231, 272, 274,286Sony Ericsson 228Sony Walkman 148Soribada 284sound-a-likes 279–80sound and lighting engineers 232Sounds Under Radio 3Spandau Ballet 85–6, 242Spice Girls, The 30, 180, 182, 183, 190–1, 200, 204–5, 208Spiral Frog 150sponsorship 7, 200–1agents 201–2ethical considerations 202–3exclusivity 204–5how to find 201scope of the deal 203–4tour 183what’s in a typical deal? 205–8Springsteen, Bruce 122Starbucks 151Stewart, Rod 281Sting 27, 63Stone Roses 108–9sub-publishing deals 97–9, 102, 105, 106Suede 8, 215Sun 126, 127, 128Sunday Mail 152Super Furry Animals 155Supervision 213synchronisation licenses and royalties 83, 92–3, 106, 151Taiwan 284Take That 30, 167, 180Talksport 260Taupin, Bernie 29, 85tax:accounting 243–4and a band split 247exiles 18, 220, 239managers and 44offshore companies and 239production deals and 69returns 18touring and 230–1Taylor, Mark 86–7te Kanawa, Dame Kiri 221Terra Firma 82, 144, 154, 300territory:distribution within 134–6licensing and 61managers and 36–7merchandising deals and 192sponsorship and 205online sales and 164–5publishing and 102Terry, Clare 281Theakston, Jamie 262360 degree deals 57, 67–9, 110, 155, 171, 197, 212–13Thom, Sandi 2, 156 33 Mobile 163Tiscali 157T-Mobile 164–5Tolhurst, Laurence 242Tosh, Peter 56touring:accounting 17, 18, 53artist riders 225–6backing band and session engineers 232–3booking agents 215–17, 218–23budget 18cancellations 220–1employment agency regulations 217–18funding for 228–30insurance 224losses 53Madonna and Live Nation 212–13Mama Group 213–15manager’s commission 28, 29, 41merchandise 183, 227 see also merchandisepayment and accounting 226–7personnel 232–3promoters 223–8publicising 231–2regulations 225–6sound and lighting engineers 232sponsorship 183, 201–2support 228–30tax planning 230–1360 degree deals and 212–13tour manager 232Trade Descriptions 190, 260, 290, 291Trade Marks 4, 6, 180, 183, 184–90, 207, 290Trading Standards 58, 291–2Truth Hurts 272Tunstall, KT 181–2, 214TV appearances 44, 53United States:copyright laws 121distribution and licensing within 135online music sales within 135personal managers in see managers: personal managersproduction deals 120, 121record labels 2, 4, 17territory 66–7Universal Music Group 42, 49, 82, 151, 152, 154, 156, 161, 169, 248, 249Upsetters, The 56USB flash devices 149, 150useful addresses 312–19U2 157, 203Valentino, Bobby 280Valance, Holly 39–40Vangelis 278VAT 17, 18, 43, 44, 195Vega, Suzanne 277Velvet Revolver 220venues:‘happening’ 7sponsorship deals 200–1see also concerts, touring and under individual venue nameViacom 170videos 53, 63, 143, 301–2Video Performance Limited (VPL) 301–2Violent Femmes 93Virgin Records 56, 152, 180Virgin Megastores 136Vodafone 8, 164, 166, 214V2 5, 49, 152, 154Waits, Tom 63, 190, 279Walmsley 272Wardlow, John 34, 35Warner Brothers Music 49, 54, 152, 154, 160, 161, 212Warner Chappell 82, 175, 276, 280Watkins, Tom 30Webber, Andrew Lloyd 85, 277–8webcasts 156Weiss, George Davis 89Wembley Stadium 225West, Kayne 150Westwood, Tim 183Wet Wet Wet 185Wham! 54, 55‘Whiter Shade of Pale, A’ (Procol Harum) 87–8William Morris 216Williams, Robbie 48, 67, 69, 85, 143, 200, 275, 279Wilson, Tony 8Winehouse, Amy 30, 150X Factor, The 31, 180, 181XFm 141, 215XL 151, 175Xzibit 272Yahoo 148, 174Yorke, Thom 175YouTube 59, 143, 148, 152, 168, 169–70, 188Young, Will 30, 181Zavvi 152Zeta-Jones, Catherine 261Zomba Group 82, 108, 109ZTT 34, 65–6AcknowledgementsTHANKS TO RICO CALLEJO and ‘The Reporter’ for the majority of myinformation on the law and cases; to Ben Challis for the general music lawupdates and to Rachel Ryding for her invaluable assistance in researchingbackground material and updating the names and addresses section. Finally,to my husband, David Hitchcock, and my mother, Sarah Mary Harrison, fortheir continuing support.This eBook is copyright material and must not be copied, reproduced,transferred, distributed, leased, licensed or publicly performed or used inany way except as specifically permitted in writing by the publishers, asallowed under the terms and conditions under which it was purchased or asstrictly permitted by applicable copyright law. Any unauthorised distributionor use of this text may be a direct infringement of the author’s andpublisher’s rights and those responsible may be liable in law accordingly.Version 1.0Epub ISBN 9780753518656www.randomhouse.co.ukThe law in this book is correct to the best of my knowledge as of 31December 2007, but the views I expound are mine alone. Although I havetried to give practical examples throughout the book, everyone’scircumstances are different, as are the facts of every case. The book is not asubstitute for independent legal advice given to you personally. No liabilitycan be accepted by me or by Virgin Books Ltd for anything done in relianceon the matters referred to in this book.Ann HarrisonThis edition first published in Great Britain in 2008 byVirgin Books LtdThames Wharf StudiosRainville RoadLondonW6 9HAFirst Virgin paperback edition published in Great Britain in 2000 by VirginPublishing LtdCopyright © Ann Harrison, 2000, 2003, 2005, 2008The right of Ann Harrison to be identified as the author of this work hasbeen asserted by her in accordance with the Copyright, Designs and PatentsAct, 1988.This book is sold subject to the condition that it shall not, by way of trade orotherwise, be lent, resold, hired out or otherwise circulated without thepublisher’s prior written consent in any form of binding or cover other thanthat in which it is published and without a similar condition including thiscondition being imposed on the subsequent purchaser.A catalogue record for this book is available from the British Library.ISBN 9781905264278	[ "record", "company", "deal", "right", "may", "artist", "also", "music", "get", "contract" ]	{ "summary": "ContentsCoverAbout the BookAbout the AuthorPraiseTitle PagePrefaceIntroductionChapter 1: Getting Sta" }
tL-Manager-Music-Business.pdf	Networking Strategies for the New Music Business by Dan KimpelNetworking Strategies for the New Music Business ©2005 by Dan Kimpel. All rights reserved. No part of this book may be reproduced or transmitted in any form or by any means, electronic or mechanical, including photocopying, recording, or by any information storage or retrie val system without written permission from Thomson Course T echnology PTR, except for the inclusion of brief quotations in a review. The ArtistPro and Thomson Course T echnology PTR logos and related trade dress are trademarks of Thomson Course T echnology PTR and may not be used without written permission. Publisher and General Manager of Thomson Course T echnology PTR: Stacy L. Hiquet Executive Editor: Mike Lawson Associate Director of Marketing: Sarah O’Donnell Manager of Editorial Services: Heather Talbot Marketing Manager: Kristin Eisenzopf Senior Editor: Mark Garvey Marketing Coordinator: Jordan Casey Project Editor & Copy Editor: Dan Foster, Scribe Tribe Thomson Course T echnology PTR Editorial Services Coordinator: Elizabeth Furbish Cover Designer & Interior Layout T ech: Stephen Ramirez Indexer: Katherine Stimson Proofreader: Gene Redding Back cover photo: Davis & Davis–www.davisanddavis.org All other trademarks are the property of their respective owners. Important: Thomson Course T echnology PTR cannot provide software support. Please contact the appropriate software manufacturer’s technical support line or Web site for assistance. Thomson Course T echnology PTR and the author have attempted throughout this book to distinguish proprietary trademarks from descriptive terms by following the capitalization style used by the manufacturer. Information contained in this book has been obtained by Thomson Course T echnology PTR from sources believed to be reliable. However, because of the possibility of human or mechanical error by our sources, Thomson Course T echnology PTR, or others, the Publisher does not guarantee the accuracy, adequacy, or completeness of any information and is not responsible for any errors or omissions or the results obtained from use of such information. Readers should be particularly aware of the fact that the Internet is an ever-changing entity. Some facts may have changed since this book went to press. Educational facilities, companies, and organizations interested in multiple copies or licensing of this book should contact the publisher for quantity discount information. Training manuals, CD-ROMs, and portions of this book are also available individually or can be tailored for speciﬁ c needs. ISBN: 1-59200-753-8 Library of Congress Catalog Card Number: 2005923856 Printed in Canada 05 06 07 08 09 WC 10 9 8 7 6 5 4 3 2 1 Thomson Course T echnology PTR, a division of Thomson Course T echnology 25 Thomson Place Boston, MA 02210 http://www.courseptr.com iiiAcknowledgments Thank You: To my family in Ohio, and Yuji and Nick in Los Angeles. To my associates at ASCAP, BMI, and SESAC for inviting me to interview their songwriters and composers; to Arthur Bernstein, Mark Featherstone-Witty, Ian Gardner, and Martin Isherwood at the Liverpool Institute for Performing Arts (LIPA); and to my students who inspired this text. To my friends and colleagues: Luis and Gloria Villegas, Keo Woolford, Jeffrey Tennyson, Bobbi Marcus, Dan Desouza, John and JoAnn Braheny, Scott and Denise Davis, Marta Woodhull, John Philip Shenale, David Edward Byrd, Joe Beserra, Richard Moll, Susan Wong, Armando Soria, Kenny Kerner, Guy Marshall, Brett Perkins, Denise Bradley, Martin Cervantes, Simon Barber, and David Quan. And to the amazing Karan Longbrake, whose energy has inspired me since high school. Thanks to Mike Lawson at ArtistPro and to my diligent editor, Dan Foster. Appreciation always to Mark Garvey, who ﬁ rst convinced me that I was an author. Grateful thanks to Tena Clark and the staff at Disc Marketing/DMI Networks and Firehouse Recording Studios in Pasadena, California, with special gratitude t o Ronny Schiff, whose support is immeasurable. Selected interviews in this book were conducted for “Song Biz Proﬁ les” and feature stories written for Music Connection magazine. Thank you to senior editor Mark Nardone, publishers Eric Bettelli and J. Michael Dolan, and associate editor Michael Mollura. The proﬁ le of Lindy Robbins appeared in Songwriters Market 2005. Thank you to editor Ian Bessler and Writer’s Digest Books.ivAbout the Author Dan Kimpel is one of the American media’s foremost authorities on popular music and songwriters. He contributes to a dizzying variety of print and electronic mediums, including books, interactive CDs, magazines, Web sites, videos, and new media. If you ﬂ y United Airlines worldwide, you can hear his audio interviews with hit recording artists and songwriters on The United Entertainment Network. Dan conducts workshops on the subject of music business networking at universiti es, conferences, and seminars across North America and in England. Visit Dan’s Web site at www.dankimpel.comvContents Introduction .................................... xi CHAPTER 1 Personal Paths in the Music Business .................. 1 The Kind of Person... ............................... 2 Assessing Your Strengths ............................ 3 Songwriters ...................................... 3 Musicians ....................................... 4 Music Biz Pro’s: Aspiring Moguls ..................... 5 Technical Triumphs ................................ 6 Born to Succeed ................................... 7 Reinvention ...................................... 9 Signs from the Universe ............................ 10 The Commitment Key .............................. 12 Time Has Come Today ............................. 13 Summary ........................................ 15 CHAPTER 2 The Modern Music Business ........................ 16 Transmission Is Secondary .......................... 16 Expanding and Contracting Genres ................... 17 The New Music Entrepreneurs ....................... 18 Music for Kids .................................... 19 Soundtrack to a Fast Track ......................... 20 Internet Notions ................................. 22 Fish or Fowl? .................................... 23 A Mosaic of Mediums ............................. 25 Radio Is Our Salvation ............................. 27 Satellite, Public, and Internet Radio .................... 31 chris and thomas: Acoustic Essence .................... 33 Music Publishing: The Way In ........................ 35 Major and Indie Labels ............................. 37Networking Strategies for the New Music Business viMusic Biz Marionettes: Who Pulls the Strings? .......... 38 Validation ...................................... 39 American Idolization .............................. 40 Summary ....................................... 42 CHAPTER 3 Personalities Plus ................................. 43 Ten Successful Attributes of Music Biz Professionals ...... 43 Negative Notions ................................. 49 The Put Down .................................... 51 Negative to Positive ............................... 52 Find Reasons to Feel Good about Yourself .............. 54 Visualize Your Success ............................. 54 Network with People You Respect and Observe Their Traits ................................. 55 The Smooth Road ................................. 55 Myths ......................................... 57 Reinvention ..................................... 58 Same Old Same Old ............................... 59 Summary ....................................... 60 CHAPTER 4 True Tales ...................................... 62 The I’s Don’t Have It .............................. 62 The Power of “You” ............................... 63 Could’a, Should’a, Would’a ......................... 64 You’re It ........................................ 66 Bridges Aflame .................................. 67 Celebrity ....................................... 68 Ten Strategies for Interacting with Celebrities ........... 69 How Would I Reach You? ........................... 71 Who Needs You? ................................. 72 Look Around .................................... 74 Sixth Sense ..................................... 75 Drugs in the Music Biz ............................ 76 On the Road with John Mayer ....................... 77 Am I Too Old to Rock? ............................ 78viiCritical Crises and Drama Queens .................... 81 Ten Networking Strategies for Dispelling a Crisis ........ 83 Treat Everyone with Respect ........................ 84 Summary ....................................... 86 CHAPTER 5 Making Contact .................................. 87 Body Language .................................. 87 Good Grooming ................................. 89 Clothes Horse ................................... 90 Ups and Downs in the Capitol Tower .................. 91 Ten Visual Cues for Your “Look” ..................... 93 Conversation Instigation ........................... 94 Ten Conversation Leaders .......................... 95 Sensitive Areas ................................... 97 Assumptions to Avoid about Anyone to Whom You’re Introduced ................................. 98 Complimentary Consideration ...................... 98 Remembering Names ............................. 100 Did You Drop That Name? ......................... 101 Business Cards ................................... 102 Working the Room ............................... 103 Hidden Opportunities ............................. 106 Practice Makes Perfect ............................. 108 The Fine Art of the Studio Hang ..................... 109 CHAPTER 6 Telephone and E-Mail ............................. 112 The Telephone ................................... 113 Sound ......................................... 114 Reflections of Power .............................. 115 Telephone Basics ................................. 116 Telephone Tracking ............................... 117 Cell Phones: Antennas of Satan? ..................... 118 Cell Phone Etiquette .............................. 121 E-Mail ......................................... 122ContentsNetworking Strategies for the New Music Business viiiCHAPTER 7 Creating Effective Tools of the Trade ................. 125 Press Kits ....................................... 126 The Folder ...................................... 127 The Cover Letter ................................. 127 A CD or DVD ................................... 128 The Bio ........................................ 129 Your Photo ..................................... 133 Full-Court Press ................................. 134 Credibility in the Credits ........................... 136 The Man in the Gorilla Suit ......................... 138 Extreme Strategies ................................ 139 Rejection ....................................... 140 Ten Thoughts on Overcoming Rejection ............... 141 Ten Reasons Your Calls Are Not Returned ............. 142 Web-Wise ...................................... 145 Do I Need a Web Site? ............................. 146 Additional Resources .............................. 151 CHAPTER 8 Live Venues and Ventures .......................... 153 Gigology 101 ..................................... 153 Creative Outlets .................................. 154 Alternative Venues ................................ 156 Inventing Your Own Show .......................... 157 Soft Ticket ...................................... 157 How to Make a Soft Ticket Show Work for You .......... 158 You Sounded Fabulous! ............................ 159 Ten Post-Performance Tips ......................... 159 Performance Peeves ............................... 160 Ten Commandments of Club Land ................... 161 Club Clues ...................................... 162 Soundman Scenarios .............................. 163 Scams ......................................... 164 Compilation CDs ................................. 166 Performing Rights ............................... 169ixCHAPTER 9 Success Stories .................................. 172 Jeffrey Steele: Country Craftsman .................... 173 Lindy Robbins: Late Bloomer ....................... 178 Luis Resto: Lost in the Music ........................ 183 Bob Malone: Road Warrior ......................... 185 Summary ....................................... 187 CHAPTER 10 Go Where You Wanna Go ......................... 188 Nashville ....................................... 189 New York ....................................... 193 Los Angeles ..................................... 196 Emerging Cities ................................. 200 All Over the Map ................................. 201 Music Conferences ............................... 201 15 Tips to Maximize Your Conference Experience ....... 202 World Beat ..................................... 204 Further Afield ................................... 205 CHAPTER 11 Defining Your Direction .......................... 207 Questions for Artists ............................. 208 Questions for Aspiring Moguls ...................... 210 Teamwork ...................................... 212 Management .................................... 212 When Do You Need a Manager? ..................... 213 What to Look for in a Manager ...................... 214 Do You Want to Be a Manager? ...................... 215 Your Law yer .................................... 215 Agents ......................................... 216 Your Publicist ................................... 217 Artist’s Responsibilities ............................ 218 Get a Job ....................................... 219 CHAPTER 12 It’s a Wrap ..................................... 221 Creative Confluence .............................. 221 Five Tips for Personal References ..................... 222ContentsNetworking Strategies for the New Music Business xBack Home ..................................... 223 Making It Happen Where You Are .................. 224 What Have You Been Given? ....................... 226 In Conclusion ................................... 227 Appendix A Resources ...................................... 229xiIntroduction Who you know, what you know, and who knows you: Every single deal I’ve ever seen go down in the music business has been the direct result of a personal contact. In this way, the music business is not that different from any other enterprise because people will do business with those whom they know, whom they trust, and who they believe will deliver what is required and expected of them under any circumstance. In many other ways, however, the music business is radically different from other industries. It’s built on a vibe; it’s tied to trends, fashion, and media; it communicates an intangible com- modity capable of mirroring profound emotions. What Is a Networking Strategy? Networking is communication—simple human interac- tion. Strategy is the art of devising or employing plans toward a goal. It follows that Networking Strategies are plans toward a successful career via personal relationships. Truth be told, it’s always a new music busi- ness—the most signiﬁ cant recent changes have been the merger of the major record companies, the rise of inde- pendent labels and artists, and the leveling of the playing ﬁ eld through the Internet. Although all of these changes are signiﬁ cant, success will still be determined by per- sonal relationships. I repeat: Every single deal I’ve ever seen go down in the music business has been a direct result of a personal contact. This book is intended as a guide to making your personal strengths and relationships with others work Networking Strategies for the New Music Business xiifor you. It’s about connecting to others who share your aspirations, energies, and enthusiasm, and allowing these collective talents to shine for all, whether you’re a professional or an aspirant in the music business: a songwriter, recording artist, musician, composer, music editor, music educator, music publisher, DJ, publicist, PR expert, entertainment lawyer, or if you plan on working with any of the above. Raging Rivers and Tiny Ants An upbeat, positive attitude, a sense that all will work out well in the world, and a drive to evolve, progress, and succeed in the music business are all attitudes that will light your path. Our destinies are self-fulﬁ lling prophe- cies and the positive energy we transmit via our music will return ampliﬁ ed and multiplied. That said, our ability to control the course of our speciﬁ c destiny may be questionable. I was in Nashville interviewing songwriter and vocalist extraordinaire Michael McDonald when he offered this analogy: “Imagine a raging river; down through the rapids comes a 100-foot-long log moving at incredible speed. At the front of the log is perched a tiny ant who looks out and marvels, ‘Man, I’m really driving this thing!’” Who Am I? I’m a music business survivor who has survived and ﬂ ourished through a career that has taken me from the hard scrabble bars of Ohio to the power centers of Nashville, London, Tokyo, New York, and Hollywood. xiiiFor the past two and a half decades I’ve made my home in Los Angeles where my career trajectory includes phases as a songwriter and musician, a manager and pub- licist, creative director, event producer, journalist, editor, lecturer, and author. I continue to invent new outlets that reﬂ ect my love of music and songwriters and to utilize and expand my knowledge in an ever-shifting ﬁ eld. I’m a strong believer that like the tiny ant in the story, we cannot make things happen; we can only put ourselves in a position where things will happen. Case in point: When I penned my ﬁ rst book, Networking in the Music Business , I was not an author; indeed, at that point I had barely published any articles. What I had was a pivotal position with a non-proﬁ t organization, a grow- ing list of stellar contacts, and boundless enthusiasm for the subject. Under the ministrations of a patient editor, I learned how to write a book. I was subsequently invited to travel across the U.S. and Canada to lecture at music conferences and institutions, but I soon ﬁ gured out that someone who was an expert on personal contacts in the music business would be best served by using these talents to advance his own career, rather than making a questionable living foisting his views, and his words, on impressionable readers. As creative director for the National Academy of Songwriters, I was honored to work with many of the greatest singer/songwriters in the history of American popular music: Joni Mitchell, John Fogerty, Tom Petty, Robbie Robertson, Gamble and Huff, Ashford and Simpson, Jackson Browne, and Burt Bacharach. I wrote, edited, produced, created, and made invaluable contacts.IntroductionNetworking Strategies for the New Music Business xivAlas, the destiny of non-proﬁ t organizations is a treacherous one, and after three years I departed my cushy corner ofﬁ ce on the 10th ﬂ oor of a Sunset Boulevard high-rise, and moved my operations to my home in the hills of the Los Angeles district known as Eagle Rock. Remember what I said about being in a position where things could happen? A continent away, at the Liverpool Institute for Performing Arts (LIPA), the college founded by Sir Paul McCartney, the head of music, Arthur Bernstein, dropped into the school library to ﬁ nd a book to read on a train trip. He grabbed mine. The next day he sent me a fax, inviting me to come to England to teach a one-week master class based on my book to LIPA’s graduating seniors. This turned into a ﬁ ve-year venture, and expanded my realm of international contacts, if not my appreciation for British food, immeasurably. Who Are You? Sadly, the people who need this book the most will never read it. You know them: they’re the ones who are too hip for the room; who bluster their way about, often using their aggression or belligerence to mask fears and uncertainties, always remaining clueless. I remember a call from a singer/songwriter in Arizona when the Networking book was ﬁ rst released. “All this network- ing is OK for some people, but I just want to stay in my studio, write songs, record, and get paid.” Me too! But the caller never told me how to get that gig. I suspect he didn’t know either.xvThe Power of Yes I learned long ago in the music business, when someone asks you if you can do something, the correct answer is “Yes!” I’m not talking about jumping out of airplanes if you’re afraid of heights or playing a classical toccata if you’re a speed metal guitarist, but within the realm of reason, the possibilities others see in us often exceed the limitations we see in ourselves. In order to do the gig, you have to get the gig; in order to get the gig, you have to understand the gig. If you aspire to a position at a record label, a publish- ing ﬁ rm, or a performing rights organization, you will seldom see these positions advertised in the paper or anywhere online. Why? Because they will be ﬁ lled by people from the inside of the business, never the outside. My career took another dramatic leap when a longtime friend, Ms. Ronny Schiff, VP of audio pro- gramming for Disc Marketing (now DMI Entertainment Networks), asked me to conduct an audio interview with the classic British rockers, the Moody Blues, for a program to be heard worldwide by United Airlines pas- sengers on The United Entertainment Network. Since then, I’ve conducted hundreds of interviews for United, speaking in studio to everyone from Leonard Cohen to Holland/Dozier/Holland to Brian Wilson and Rufus Wainwright. From legendary Rock Hall of Fame induct- ees to the hottest new band, it’s my pleasure to interview them all. Had I not known Ronny socially, this incred- ible opportunity never would have arisen. Over time, I’ve become the “go-to” guy for song- writer-related mediums. In print, Music Connection IntroductionNetworking Strategies for the New Music Business xvimagazine, a bi-weekly West coast music publication, has been a welcome home for my prose, as I contribute the column, “Song Biz,” and a proﬁ le of a songwriter, com- poser, or singer/songwriter to every issue as well as cover stories and feature interviews. I estimate I’ve interviewed over 200 hit makers for this magazine. I write and inter- view for all three U.S. Performing Rights organizations, ASCAP, BMI, and SESAC, and I’ve been conducting on- camera interviews for ASCAP’s Pop, Film and Television, and Rhythm & Soul Awards, quizzing, on camera, every- one from Elvis Costello to Clint Eastwood. I love to say yes. When ASCAP, BMI, or SESAC asks me to moderate a conference panel, I never ask, “How much does it pay?” Whether or not there’s a check involved, I’m always glad to be of service. The visibility of these endeavors, the introductions to hit writers, and the credits are of far greater value to me than a few hun- dred dollars. Dedicated to the Gig Sometimes when people react to how busy I always seem, I have to remind them of this truth: When you don’t have a job, you have to work extra hard. I had to invent my career because it never existed; it is singular to me, but it’s the people within my exten- sive world of contacts that have made it possible. I have always made it my creed to deliver above and beyond what was expected and to do it with joy. In the real world—that is, outside the entertainment sphere—we often encounter an attitude that is much less than 100 percent committed. At the store, the post ofﬁ ce, the car xviiwash, or wherever we interact with others, don’t you sometimes have the feeling that those who work there are simply going through the motions—sleepwalking until quitting time? The music business is not like this . It’s made up of passionate, energetic, super-charged individuals who dedicate themselves totally to their craft and cause. Executives well into their ﬁ fth decades begin the day with a personal trainer or a ﬁ ve mile run before strap- ping on the headset for a round of calls to the East coast. Successful managers are combing the clubs on the Sunset Strip, checking out bands and artists until the wee hours, then making it to the Farmer’s Market for a power breakfast. Recording engineers are taking advan- tage of free studio time to develop their own projects. Songwriters are collaborating for hours perfecting a line. Indie bands are scouring the hinterlands in vans, sleep- ing on fans’ ﬂ oors, and enlisting street teams to spread the news. They’re not looking at their watches, waiting for quitting time, or waiting for the proverbial “some- thing to happen.” In the changing course of our business, the only con- stant is our commitment to our career and the support of those around us. In the context of these pages it is my sincere intention to offer options, possibilities, afﬁ rma- tion, inspiration, and the occasional harsh slap of reality. Be True to Yourself I suspect that you, dear reader, already have many of the tools of communication to help you succeed. You’re interested enough in honing your people skills—and IntroductionNetworking Strategies for the New Music Business xviiiunderstand how vital this is—that you’ve chosen to read this book. Please note: I never encourage anyone to be anyone other than who they are. Networking Strategies does not involve transforming yourself into another entity, becoming some manipulative, reptilian creature or disguising yourself in any way; rather, it’s about tak- ing the most positive aspects of yourself and projecting them to others. I’d like to conclude this Introduction with a brief list of precepts that deﬁ ne my overall philosophy. Talent, information, and ability are all necessary ingredients for developing a career, but “people power” will ultimately determine your success. Precepts of Networking Strategies 1. Be the person others want to help succeed. 2. Your objective is a long career; play a long-range game. 3. Treat everyone with equal respect. 4. Understand others, not only their words, but emotions. 5. Fame and fortune are not synonymous. 6. Your happiness in life is not dependent on either of the above. 7. Change is good. 8. At the crossroads of technology and show business is opportunity. 9. Play the game you truly believe you can win. 10. Project yourself with genuine, positive energy.1CHAPTER 1 Personal Paths in the Music Business Every networking trick in the book will not help you if you do not have the goods. I don’t claim to be able to improve your chops as a musician, your word ﬂ ow as a songwriter, or your business acumen as a music biz whiz. However, if you have the necessary talents and con- tinue to develop them, you will ultimately ﬁ nd a way to express yourself and build a viable career. As I mentioned in my Introduction, my personal path in the music business began in my hometown and ultimately led me to all three music capitals and to Europe. As a boy, I dreamt of rocking stadiums, endless accolades, unfathomable riches. As a struggling musician dealing with shady club owners, elusive agents, and bare- bones tours in rusted out vans, I kept this image in my mind, but it grew fainter and was replaced by another image: a signpost inquiring “What talents have you been given and what are you doing with them?” It’s a deep question. What do you think you were put on this earth to do?2The Kind of Person... The most powerful character trait you can possess in the music business is being the kind of person others want to see succeed. There is no substitute for this quality and no way to manufacturer it synthetically because it’s an inner strength. To be effective, successful interaction in the music business must beneﬁ t both parties equally. This con- cept is based on the radio call letters “WIFM,” which is broadcasting the question, “What’s in it for me?” Fortunately, if you’re just beginning your career, you probably have strengths that may not be immediately apparent to you: for instance, your level of enthusiasm and power of potential. As we progress in our careers, sometimes the joy of creating music, or being around those who do, becomes obscured or diluted. Meeting someone who is energized about what they’re creating and who is on an upward career trajectory because of it, can be inspiring. This is one of the reasons I enjoy teaching and lecturing, because it gives me special opportunities to meet those who are coming up. And make no mistake: The music business thrives on new blood. Not everyone in the music business is like this, how- ever. I have longtime friends in the industry who seem to have disconnected from cultivating this quality, prefer- ring instead to work only with those with whom they’ve worked over the years. In my opinion, this leads to stag- nation. I feel that at any given moment there might be an airplane landing at LAX with someone getting off of the plane whom I should meet. And I probably will.Networking Strategies for the New Music BusinessChapter 1 Personal Paths in the Music Business 3Assessing Your Strengths So if you have enthusiasm, are the kind of person oth- ers want to see succeed, and believe that a life in music is your calling, how do you proceed? First, what do you love to do most? Second, what are your skill levels? Knowledge-based skills are generally acquired from education and experience. These include computer skills, languages, and technical or musical abilities, to name a few. Transferable skills are portable skills that you take with you, such as communication and people skills, analytical problem solving, and planning. Equally important, personal traits are your own special qualities, which can include being dependable, ﬂ exible, friendly, hard working, expressive, formal, punctual, and a team player. Songwriters Are you capable of creating words and music that move a wide audience? Are you directing your energies into your songs and, at the same time, ﬁ nding outlets for your music? Remember that what exists at the core of your songs—the intent and belief—are the qualities that resonate the strongest. By accepting special songs into the rareﬁ ed stratosphere of hits, however, buyers of music continually remind songwriters, “Don’t write about your life—write about mine .” Often, experiences that are the most personal are paradoxically the most universal as well. Songwriting is all about collaboration. It’s no secret—just look at the Billboard charts: co-written songs Networking Strategies for the New Music Business 4rule the marketplace. How and why these collaborations exist—and what makes certain combinations work—are subjects of strong opinions, heated debate, mercenary judgments, and a certain amount of cosmic songwriter juju (mystical beliefs) . The trio of genres that currently comprises the majority of record sales—R&B (including hip-hop, which often has lists of collaborators because of the use of samples), country, and pop—are all over- whelmingly dominated by groups of writers. Choosing the right partner, or partners, is probably the most cru- cial decision a songwriter will make. How do you meet collaborators? If you live in a music capital, you have the advantage of endless classes, workshops, panels, and seminars. If you live outside of New York, Nashville, and Los Angeles, you may have to work harder, but it’s still possible to make contacts. I’ll address the best ways to do so later in the book. Networking Strategy for Songwriters Songwriters are sometimes indistinguishable from the public at large. Songwriting organizations in your area are a great way to make local contacts. Online, check out www.justplainfolks.com. Musicians The music business is the most cooperative of endeavors. Sure, maybe you can play solo or perform exclusively at karaoke bars, but sooner or later you’ll need to include other players to expand your sound.Chapter 1 Personal Paths in the Music Business 5Playing in a band can be a profoundly challenging experience and, of course, can be equally rewarding. Some bands in the history of pop music, such as The Rolling Stones and U2, are long-lived. Most often, how- ever, a band will be a unit that you perform with for a short time until you leave or the band breaks up, and you continue on your way. Networking Strategy for Hanging Out Your local music store is a great place to interact. Ask the clerks for advice; they’re probably players themselves and totally “plugged in.” Post ads online or in local papers to make contacts. Sit at your favorite coffeehouse with a copy of a guitar, bass, or percussion magazine prominently arranged on the table and see who begins talking to you because of it. Wear T-shirts that display the logo of music manufacturers. Music Biz Pros: Aspiring Moguls The music business might be viewed as a pyramid, with large numbers of people and resources supporting the tiny fraction of artists who go on to be hugely successful. If you work in the business, you must adjust as it transforms itself and develop new skills to go with the ﬂ ow. In many ways, if you’re in a support position in this business, then you are possibly in the best position to ascend in the industry. I recall being in a class on artist management at UCLA Extension (a great place to meet people, by the way) observing a panel of eminent lawyers, agents, managers, and record execs, when one of them stated ﬂ atly, “The only people who have long careers in the music business are sitting up here.”Networking Strategies for the New Music Business 6Networking Strategy for the Energetic but Economically Challenged Volunteer to help coordinate a music conference or event. You’ll be in a position t o make valuable contacts from the inside. However, never let your primary responsibili ty slide; you are not there simply to hype yourself, but to help the event. Still, it’s a tried and true way of meeting others. Technical Triumphs Teaching in colleges, I encounter some students who are full-ﬂ edged musicians but who don’t play conventional musical instruments. The tools of their trade are sam- plers, ProTools, and similar studio gadgetry. DJs and remixers are experiencing unprecedented prominence in the music business. In Europe, dance music rules, and in the urban centers of the U.S., the latest trends are often delivered by club savvy DJs. The palette of creation has been widened dramati- cally by technology and sampling, and this has been a boon for many songwriters. It’s not uncommon to see a writer who penned an R&B chestnut in the late ’ 60s or early ’ 70s being honored as a co-writer for Song of the Year by the performing rights organizations because a sample of the song was used in the latest Beyonce smash. Networking Strategy for Studio Wizards Studio and technical people are generally more at home behind the mixing board than in social situations. I recently lectured to a group of audio engineering students at a college in Sacramento who had requested that I help polish their networking skills for the Audio Engineering Society convention in San Francisco. Having worked with some Chapter 1 Personal Paths in the Music Business 7of the most prolific engineers in Los Angles, I’ve observed that one common trait is a sense of quiet assurance, sympathy, and concentration. If engineering or studio work is in your future, you can’t go wrong with studies of basic psychology. In addition, the most effective engineers I know are also proficient musicians. Born to Succeed I always ask the students to whom I lecture where they rank in birth order. This has become a new area of study and is an intriguing barometer of personality. In a collaborative situation—particularly in a band—birth order can make a huge difference in the interaction of the various personalities. The oldest child often has the weight of expectations placed on him by his well-meaning parents. Oldest chil- dren are often moody and occasionally lack sensitivity. They can be intimidating, particularly by pushing people too hard or refusing to take no for an answer. Oldest children gravitate toward positions of responsibility: corporate heads, doctors, ministers, and band leaders. Almost all of the U.S. presidents were either the ﬁ rst- born child or the ﬁ rst-born son in their family, and all but two of the ﬁ rst astronauts sent into space were ﬁ rst- borns, and the other two were “only children.” Often the eldest is also responsible for his or her siblings, so they learn to give orders. In the music biz, many producers and recording artists are oldest children. Middle children are often mediators, adept at bridging opinions. Middle children have the ability to see both sides of the story, to empathize with a diversity of opinions, and often to peacefully resolve potentially Networking Strategies for the New Music Business 8disruptive conﬂ icts. Middle children may feel they have the most negative lot in life and are less than special when, in essence, they have the best of both worlds. Middles tend to make friends easily. Once they have them, they often work harder to keep them. They’re usually good at keeping secrets, too. Middle children may gravitate to positions as musicians, lawyers, or artist managers. An exercise that usually impresses classes I teach is when I correctly predict that the majority of the students are the youngest children in their families. The reason is quite simple: Youngest children, to compete with their older siblings, often use clowning or other entertainment to call attention to themselves. The down side is that they may expect others to make their decisions or take responsibilities, but they are many times overachiev- ers, using every means at their disposal to compete with their older siblings. Later-borns tend to be more creative and much more likely to reject the status quo. Many per- formers are youngest children. Only children are often self centered, in their younger years not as effective in relationships with other children, but more at home with adults, so they can often be conﬁ dent and well spoken. Only children are usually not afraid to make decisions and are comfort- able with their opinions. They generally like things to be organized and are often on time. Often they can be the most creative of all. The above scenarios are not meant as empirical scientiﬁ c facts. Moreover, any character trait that is nega- tive can certainly be recognized and muted as need be.Chapter 1 Personal Paths in the Music Business 9Reinvention In biology (not my strong suite, I assure you) we learn that cells mutate and change in order to survive. A suc- cessful music business career should be emotionally fulﬁ lling and hopefully a long one, but what we want as children—glory, riches, etc.—is generally supplanted at some point by a desire for stability, contentment, and a sense that we’re doing something right in the world. The music business is not, and has never been, a stable environment. Changes are sweeping and huge. Artists have become the most disposable part of the equation, yet paradoxically, it is the artists who drive the business and remain at its center. Around them swirls every imaginable participant, from the lawyer who signs them, to the makeup artist who makes them look good for the camera, to the roadie who changes their guitar strings. The choices of careers in the music business are incredible. The outside public sees only the artist, but we as music business insiders know that there are legions of hard-working, creative souls who are propping them up and propelling them forward. So what happens to artists after they exceed their 15 minutes of fame? They might produce records, write songs, develop talent, open recording studios, or become record label executives. Remember, they’re already inside the business, so they can move laterally if they so choose. Long-term practitioners in the music business will most likely have more than one career. Beginning as Networking Strategies for the New Music Business 10musicians, love and understanding of the music will create more options. Having spent many years in the trenches as a songwriter and musician, I know what its like to call my answering machine and sing a fragment of a song I don’t want to forget, to have a song placed “on hold” interminably, to have a track with a major artist be taken off the record a week before its release. Most important, I know the miracle of a seamless verse and a melody that seems to have written itself. This experience is invaluable in interviewing songwriters. I consider myself a songwriter, even though I no lon- ger write songs. I prefer to express myself now through prose, which allows me many more words to say what I want to say. But when I write prose I still think as a songwriter: I concentrate on an intro, a second verse that moves the story foreward, and a bridge that takes the message upwards, and I always remember the songwriters mantra of “Don’t bore us, Doris, get to the chorus.” Signs from the Universe I had a recent conversation with a young man I’d met when he was an electronica composer/performer in Los Angeles, who informed me that he is now pursuing his new career as an actor. “The universe sent me signs,” he told me. He was paraphrasing words he heard me deliver at a lecture, and ﬂ attered as I was that he could quote me, it inspired me to revisit the message behind this directive. At one point in my life, worn down by performing in clubs, I decided to take a respite from playing live music. All well and good, but I still needed to pay the bills. I Chapter 1 Personal Paths in the Music Business 11applied for a low-level part-time public relations gig and, as the saying goes, the veil was lifted—I realized that I had an untapped reservoir of talents and abilities. I sub- sequently returned to the music business on the other side of the desk with much greater reward. The universe had sent me a sign. Years later, I was managing Keo Woolford, an artist from Hawaii. Despite the power of his charisma, song- writing, and conceptual abilities, we were having a rough time getting him signed to a record deal. However, we were approached by a prestigious Los Angeles theater who inquired if Keo would be willing to write and per- form a one-man piece based on his Hawaiian origins for a segment of a multi-artist performance. Although he was skeptical (“But I’m a singer,” I remember him say- ing), I convinced him that this was an unprecedented opportunity. The show was a smash. The Los Angeles Times theater critic raved, the show was held over, and suddenly the young man who thought he was a singer became a sought-after actor. A nice coda: I saw him perform to an audience of 1,500 starring in a revival of The King and I at the London Palladium. He now lives in New York and continues to break new ground as an actor and a writer. And, yes, he writes songs. He also contributed to a project nominated for a recent Grammy for Reggae Album of the Year. Things that happen of signiﬁ cance in the entertain- ment world often happen naturally and easily. There is no science involved—it’s a vibe; they just feel right. Your instincts will tell you—if you’ve been trying to knock down doors for years with your songs and your music, maybe it’s time to step back, be quiet, and listen. Networking Strategies for the New Music Business 12The Commitment Key One situation that often comes up in the course of my lectures and consultations is that I meet artists or song- writers who deﬁ ne their career trajectories this way: “I was a professional musician. I was out of it for awhile. Now I’m getting back into it. Do you think I have a chance to make it?” Let’s deﬁ ne our terms. Does “make it” mean to obtain a record deal, to make a living as a musician or songwriter, or to ﬁ nd a way to share something special with an audience? If it’s the third alternative, the answer is probably “Yes.” If someone is working a full-time job and support- ing a family and has a fully developed career outside of music, she can probably write songs in her spare time and play weekend shows, but will her future be compro- mised by her present level of comfort? Recording artists tend to be signed at progressively younger ages. Who else could live in a van, tour across the country eating frozen burritos at 7-11 stores, survive on three hours of sleep on a fan’s ﬂ oor, and dedicate their entire existence to living and breathing music? They’re out there in America touching audiences. And as a rule they don’t have wives or husbands and kids at home needing to be fed. In my experience, people who are successful in the music biz don’t have other options. They don’t choose music; the music chooses them. While it’s certainly not my place to tell people what they can and cannot do, I truly believe the music business will never be a canoe Chapter 1 Personal Paths in the Music Business 13that we can blithely enter and exit at will. It moves down a roaring river. When we step out it travels on torrents, far beyond our reach. And you can never get out of a business that you were never really in. At some point, you’ll have to grab that paddle, face the rapids, and push off. Networking Strategies is about having the fortitude and foresight to weather the changes, create a niche only you can ﬁ ll, and establish a real audience for your music and a bullet-proof list of close personal contacts. Those of us who stay in the business have often made tremendous sacriﬁ ces to do so. Maybe we’ve watched while members of our peer group have taken lofty cor- porate positions, purchased palatial homes, and made six-ﬁ gure incomes. But keep in mind that we can never compare our lives to that of any other person. We’re each singular—and we have only one life to live, our own. If the music chooses us, then it’s up to us not only to ﬁ nd a way to survive, but to thrive. Time Has Come Today There is the concept of an artist, and the concept of an artist in his time. Timing is crucial to wide-scale artis- tic acceptance. Look at the famous historical model, the Beatles. The group was introduced in the U.S. at a critical time—President John F. Kennedy had been assassinated, and the country was undergoing severe depression and anxiety. What better to dispel the gloom than four sunny boys from Liverpool brimming with hope and melody?Networking Strategies for the New Music Business 14The biggest artists often express values in direct opposition to the times in which they live. Elvis rose during the Eisenhower era. During the strait-laced, con- servative Wall Street values of the Reagan administration, the omni-sexual antics of Madonna provided a welcome counterpoint. During the optimism of the Clinton administration, dark grunge ﬂ ourished. Political hip- hop, of course, and the melding of metal and rap have ﬂ owered under the political climate of George W. Bush. This is not to say that you should alter your musical/ artistic approach to take advantage of the sociologi- cal edge, only that you should be well aware of it. I was recently on a panel at the University of Southern California (USC) with Marshall Altman, A&R, Columbia Records. “The more you chase the music business the further away it becomes,” he shared. What Marshall meant was this: If there is a current trend, and you reinvent yourself in an attempt to be a part of it, by the time you’ve written songs and recorded them and costumed/pierced/tattooed/dyed yourself to conform, another new trend will have supplanted what you’re trying to emulate, and you’ll look cheesy and out- dated. Worse, you’ll have no credibility, since what you were trying to portray in the ﬁ rst place wasn’t even you. The second you see a bandwagon, it’s too late to jump on it. Pop music is cyclic—if you do what you believe in, eventually the cycle will come around to you. Chapter 1 Personal Paths in the Music Business 15Summary If creativity doesn’t have an outlet, a path, it stagnates at a dead-end. True creativity is not deﬁ ned simply by the ability to create art, but in divining outlets for it. It’s through our interactions with others as a part of a community that we begin to modify and monitor our own success. As our contacts move up, we also rise.16CHAPTER 2 The Modern Music Business The modern music business reinvents itself with blind- ing speed, and those of us who stay abreast the changes and are adaptable to new technologies, new genres of music, and new artists can always invent new methods of using our talents. In this chapter you’ll meet some key industry players who have not only weathered these changes but have turned them to their advantage. Transmission Is Secondary From wax to digital transmission, the music business has always been in drastic technological ﬂ ux. At a lecture I attended in Liverpool, Sir George Martin related that when he began his career, weights were dropped from the ceiling and the resultant motion was what made wax mastering discs go around—machines were too unreliable. Sir George is now a principal owner of AIR Studios, a facility that boasts satellite technology enabling music recorded on their sound stage in London 17to be immediately sync’d to picture in Hollywood. It’s a long way from the post-war ropes and pulleys of the past. CDs, iPods, BlackBerries, ring-tones, and whatever comes next is not what this book is about. As drastic as the changes in technology may seem, what is vital to understand is the power of the people who make the music and run the music business. It’s an arena in which the wildcard often comes into play, and something that is totally unexpected, and real, breaks through. Expanding and Contracting Genres If artists are willing to do the work, the correspond- ing good news is that it is possible to ﬁ nd an audience for almost any type of music. New genres are con- stantly being invented: from emo to children’s music, Americana to electronica, and beyond. Niche markets make it possible for literally any genre to ﬂ ourish, but like any other commodity-based business, you have to locate the audience of buyers for your music. In recent years, hip-hop has moved from underground street music to dominate the mainstream. Rock in all forms will always have a place, and its convergence with hip- hop via creative “mash-ups” and new styles that merge the intensity of metal to the urban verbal expression attract fans of both styles. Both rock and hip-hop are people’s music. Neither rock nor hip-hop is a conservative form; their shared roots are in outlaw cultures, but over time both have been appropriated by the mainstream. Both forms are decidedly global—you can even hear Japanese Chapter 2 The Modern Music BusinessNetworking Strategies for the New Music Business 18and Korean rappers emulating the gangstas of South Central Los Angeles. Pop music will always have a place in our pantheon of styles. Currently the strongest market for pop is with “tweens”—that is, young listeners between the ages of 7 and 12 who represent a huge buying demographic. This information is not lost on Disney and the creators of television programs who feature music geared to this burgeoning demographic. Country music was ﬂ ying in a huge bubble back in the ’90s that subsequently burst, leaving many pala- tial ofﬁ ces vacant along Music Row. The radio market remains huge, however, and the current crop of new country stars, raised on rock, is capable of generating enthusiastic live audiences for their concerts. Praise-based music, contemporary Christian and Christian rock, are two genres that are experiencing enormous growth. Dance music, more popular in the urban centers in the U.S., maintains enormous inﬂ uence in Europe and the U.K. The New Music Entrepreneurs Sometimes it seems like everyone has entered the music business. You can’t go for a cup of coffee at Starbucks without seeing the latest CD for sale by this caffeinated conglomerate. The success of Ray Charles’ Genius Loves Company was due in no small part to 1.6 million in sales at the coffee counter. Putumayo Records was founded when a clothing store in New York began putting together world music compilations to play for shoppers. 19Soon, customers were begging to purchase copies of the music, giving birth to a proﬁ table record label. There are many examples of music creators who have turned a handsome proﬁ t by following their passions, often far from the beaten track, and I’d like to share some of their experiences with you. Music for Kids Music has always been a part of Mae Robertson’s life. As an educator in New York who holds a masters degree in Early Childhood Development and Education, she often used music to calm her students. After the birth of her ﬁ rst child, Mae left teaching and opened a success- ful chain of natural-ﬁ ber clothing stores in Westchester County, New York. One night, her friend Don Jackson overheard her singing the traditional folk song “The Water is Wide” while rocking her baby to sleep. When he suggested that Mae record an album of traditional songs geared for families, a new career path was revealed. Her debut, All Through the Night, struck a resonant chord in a public eager for positive, family-oriented music. Since Mae had never promoted a record before, she wasn’t aware she was breaking any rules when, with winning enthusiasm, she would naïvely call magazine and newspaper editors and say, “You’re going to review it, aren’t you?” Surprisingly, they did, and the initial CD sold over 10,000 copies in its ﬁ rst year. Eventually, Mae Robertson sold her clothing stores and dedicated herself to her new career, founding a record label called Lyric Partners.Chapter 2 The Modern Music BusinessNetworking Strategies for the New Music Business 20At the center of an extensive network of signiﬁ cant songwriters, Mae began championing them with the founding of “The Troubadour Series,” an ongoing concert program now in its fourth season featuring a slate of nationally touring acoustic artists. Staged at the WorkPlay Theatre in Birmingham, Alabama, these performances are intimate experiences for all fans of the singer/songwriter genre. Whether she’s singing sweet lullabies for children or creating sophisticated words for adults, Mae Robertson’s personal vision is the mortar in her artistry. “I want listeners to get lost in the songs with me. Through the beauty of the melodies and the truth in the lyrics, I want to give back dreams.” Soundtrack to a Fast Track Anytime music is played in any environment—a super- market, a mall, a gym, onboard an aircraft—someone has made a conscious decision to select it. Major record labels are very hip to this: They purchase spots for their artists on domestic and international ﬂ ights, in cloth- ing stores, and in movie theaters. The best part of this trend is that it’s given the consumer more occasions to hear music, and it’s given those who program music— like myself and the companies I work for—more gigs. Corporations are also well aware of the power of music to positively affect buyers, and they use it in a variety of methods far more sophisticated than the simple jingles of the past. In 1997, the year of its founding, all of Disc Marketing’s employees could have ﬁ t neatly into one 21compact car. Today, the Pasadena, California–based music and new media marketing company has over 60 employees housed in a lavishly refurbished Old Pasadena, California, ﬁ rehouse. The location inspired the name of the adjoining studio, Firehouse Recording, the West Coast’s largest ProTools facility. Tena Clark, a gold and platinum songwriter and record producer, founded the company that now domi- nates its niche. Through audio, video, new media, print media, and especially music, Disc Marketing (now DMI Networks) deploys ingenious methods for companies to enhance and promote corporate branding and for mar- keting products to consumers through customized CDs, enhanced CD-ROMs, and CD packages. In her company’s ﬁ rst month of operation, Clark landed a deal with American retail icon Sears, Roebuck & Co. It was just the beginning; Disc Marketing has since created strategic music and entertainment partner- ships with the most recognizable corporate brand names in the world, including Coca-Cola, United Airlines, Toyota, Condé Naste, General Mills, Target, Victoria’s Secret, Proctor & Gamble, Princess Cruises, and Mrs. Field’s Cookies. In 1998, Disc Marketing secured an unprecedented contract to produce all in-ﬂ ight audio entertainment for United Airlines, now enjoyed by over 19 million monthly travelers worldwide. The company also provides in-ﬂ ight audio entertainment on the presi- dential and vice presidential planes, Air Force 1 and 2, United’s domestic carrier, Ted, and Regal Cinemedia. As Disc Marketing continues to expand, new divisions (including a record company and a music library) enable new campaigns, new clients, and new Chapter 2 The Modern Music BusinessNetworking Strategies for the New Music Business 22technologies. However, music is still the company’s most treasured resource. Tena Clark recently produced the Grammy-nominated album Church: Songs of Soul and Inspiration with Patti Labelle, Chaka Kahn, and Dr. Maya Angelou, plus Dionne Warwick’s ﬁ rst ever Christmas album. “First and foremost in my heart I’m a songwriter,” conﬁ rms Clark. It may have all begun with a song, but eight short years later Tena Clark and Disc Marketing are orchestrating a global chorus of commerce, art, and vision. Internet Notions As well-noted in all quarters, the rise of technology and the digital transmission of music have radically changed the industry as we know it. The Internet now makes it possible to ﬁ nd a worldwide market for music. Theoretically, an independent artist can have the same online leverage as a major pop act. Hard-disc based recording systems, notably the industry standard ProTools, make it possible to record a seamless CD in the sonic solace of a spare bedroom and, in theory, to make it available via the Internet and send it out digitally without ever having to leave the house. According to platinum producer Glen Ballard (Dave Matthews Band, No Doubt, Alanis Morissette, Polar Express ), ﬁ ltering artists is a ﬁ ne art, and he’s not hearing ﬁ ne artists on the Net. “There have been no hit acts off of the Internet. Not one,” he insists. “That whole myth of, ‘Just wait, we’re going to get all of this great music from out there.’ There’s not one act that has penetrated. There’s no ﬁ lter. People trying to do what we do, 23identifying talent—most people aren’t really going to be able to do it. That ﬁ lter is getting removed. You have a lot of mediocre stuff.” Mediocre stuff is right. As a journalist, I receive more than 35 independent CDs and press kits a week—every week. Unless something comes to me qualiﬁ ed, which means I’m expecting it, or I have previous knowledge or a relationship with an artist or his representatives, I have no choice but to ignore them. There’s simply too much music to absorb, and I have to save my ears for what I have to listen to. Simply having produced a CD is not enough to qualify an artist for media coverage. Positioning like that cannot be purchased. There has to be outstanding music, a real audience, and an angle. Back in the days, a manager, a producer, a label— someone had to believe in an artist’s talents before he proceeded in his career. No longer. Fish or Fowl? Deﬁ nitions need to be assigned whether an artist is inde- pendent or simply unsigned. Case in point: The Bellrays from Riverside, California. With a 14-year international career that could be the envy of many a major label act (let alone an independent one), the Bellrays possess on- stage charisma, unwavering conviction, and a profound ability to impart this belief to their audiences. But the Bellrays usually don’t send out free promo copies of their CDs. Anyone is welcome to attend a show and purchase their music.Chapter 2 The Modern Music BusinessNetworking Strategies for the New Music Business 24It’s an uncommon stance in a hype-happy town. “We had to do that because we were dealing with a bunch of idiots,” says the Bellrays’s Tony Fate. “It was too many condescending phone calls from some A&R guy who thought we were going to jump on his dick because he called us up. This guy read something someone wrote because it was thrown on his desk, opened to that page, and he says, ‘Yeah, send me a tape.’ Well, why? How many tapes do you get a day? Where did you read about us? What are you going to do with it? ‘Well, if you don’t want to send me a tape forget it.’ Sure, forget it.” Bassist Bob Vennum adds, “We only print up a thou- sand of these things. If we give away 10 of them it’s giving away money.” And singer Lisa Kekaula continues. “The album is our baby. It’s not some promotional tool for the band. It’s a labor of love, hurt, pain. And if I’m giving it away you better be worthy of it.” But as Fate reveals, the band is certainly open to the right kinds of relationships. “The real people are out there. We set up the net, leave the holes for them to trickle in, and then talk to people who have a plan, who really like the music. We will talk to anyone with an open mind and a brain—at least an intelligent line. But we’re not getting a free ride, so why should anybody else? Why should we let somebody who has never seen us, [who] probably won’t show up, be on a guest list when he’s got a budget that will pay for his ass to come? It’s not even coming out of his pocket. Why should we give him a CD when we’ve got people who come to the shows? I’d rather let them in for free and have him sit outside.” When it’s time to cross America, The Bellrays are four smart professionals in a white Dodge van. “Like a church van for a small church,” explains Kekaula. They 25have buzzed Austin’s SXSW, toured with Nashville Pussy, and shared stages with artists like Wayne Kramer, Rocket From the Crypt, and The Muffs. In addition, Tony Fate designs promo materials, CD jackets, and T-shirts. “I know there are bands who don’t worry about those things,” says Kekaula. “Those are more the dinosaurs now than the norm. The bands who are getting that permanent height have been on the road, have been handling things on their own.” But it comes back to the audience connection. “We’ve got to have a lot of foot soldiers out there working for us because we don’t have publicity money. The reason people know about us is that we’ve been out there working on it.” Key Networking Strategy for Artists and Bands Touring locally and regionally is still the best way to get the word out about you, your band, and your music. Success stories come from everywhere: Omaha, Akron, Sacramento. If you can make a strong enough impression in your home market, believe me, the record labels will find you—that’s what they’re paid to do. A Mosaic of Mediums With the well-publicized downturn in CD sales comes a rise in visual mediums that devour music: network and cable television, video games, and independent ﬁ lm. The explosion of ﬁ lm (independent and studio releases), network and cable television, and video games has spawned more outlets for new music than you can shake a Stratocaster at. This is a good thing because for an independent artist or band, having a song featured on a network television show or in a high-proﬁ le ﬁ lm Chapter 2 The Modern Music BusinessNetworking Strategies for the New Music Business 26delivers much more than just a sync fee and performance income; it is an indelible sign of media credibility. For emerging artists and bands, having a song in a ﬁ lm or on a television show offers crucial exposure to a key market. The sync fees can help with substantial monies, and back end payments from a performing rights organization (ASCAP, BMI, or SESAC, for exam- ple) can represent a considerable sum for songwriters. What about songs for television? “The expectation is much lower. It’s only recently that the song aspect has come in and made it a pop product,” states Robert Kraft, chief executive of Fox Music. “Everything is such short- hand. Television is now a vehicle for delivering songs and a demographic.” Marc Ferrari of the Los Angeles–based MasterSource came into music for picture from the standpoint of a musician/recording artist. “I got into it semi-accidentally,” he admits. “I was a major-label recording artist with Keel. We did ﬁ ve albums, and I had another band on MCA. When the grunge thing happened, suddenly it wasn’t hip to be a guy that had success in the ’ 80s.” “I had a song used in a small, straight-to-video ﬁ lm. They ended up using it, giving me a screen credit, and giving me some money, and I was like: ‘Wow! How about that?’ I hadn’t thought about providing music for ﬁ lm and TV up to that time. I started representing my own material, and when I would be asked for something I didn’t know how to write, like reggae, country, or rap, I turned to friends of mine. That’s how it started: I rep’d my friends.”27MasterSource has placed over 1,000 songs in over 50 movies, including As Good As It Gets, Fight Club, Girl Interrupted, and The Sixth Sense . MasterSource TV cred- its include Ally McBeal, Buffy The Vampire Slayer, ER, and Friends . Ferrari is very proactive in seeking out new talent. “I found a lot of writers through reviews in [Los Angeles– based magazine] Music Connection ,” he offers. “And I took out ads also. I still read every issue, demo and con- cert reviews, and we ﬁ nd so many talented artists right here in our own backyard. Taxi [the independent A&R company] also. They’ve found some great things for us.” “I don’t want to discourage people from following their dreams and pursing major record deals,” concludes Ferrari, but with the Internet and everything else, a major label deal isn’t the end-all it used to be. Film/TV is growing; we have more channels, shows, and it’s more music intensive than ever before.” Networking Strategy for Songwriter/Artists If you want to venture into the world of music for film and television, create two mix es of your material, one without vocals. This way, if a scene calls for music under the dialogue, you have an option. Radio Is Our Salvation Major radio has never been amenable to independent or emerging artists. Back in the early days of rock ‘n’ roll, a labyrinthine system of payola was in place to assure Chapter 2 The Modern Music BusinessNetworking Strategies for the New Music Business 28that only select records would be played on radio. The limitations are imposed today by the consolidation of the airwaves by one monolithic corporation, Clear Channel. The airwaves are free and belong to the people, but they are severely regulated by federal decrees and the FCC. Fact: Radio is an integral component to expose new artists to fans and to uplift local acts to regional and national levels. Accordingly, it is extremely difﬁ cult to obtain signiﬁ cant airplay for independent artists. Successful radio promotion revolves around making and managing relationships—who you know and how you know them, making the right contacts, presenting the right pitch, and designing the best spin to convince a station that it should be playing your music. Radio pro- motion is, therefore, an art that demands a certain style that most artists neither have nor desire to cultivate. True, speciﬁ c artists from Fugazi to Phish have achieved monumental record sales without radio, but they are the exceptions. And you probably can’t do it alone: Radio is an area where you will need to enroll the assistance of an expert, someone other than you or your manager who is speciﬁ cally responsible for radio promo- tion. Therefore, it may be time to hire an independent radio promotion company. “The best way to get some interest on an indie release is still to have one real success story in one market. There are still a lot of labels, particularly Universal and Atlantic, who are always checking BDS and SoundScan, looking for potential pickups,” says Sean Ross, VP of music and programming, Edison Media Research (and former editor in chief of Billboard’s radio magazine, Airplay Monitor . “Even 20 spins for a week or two at one 29chart reporting station will at least get your record lis- tened to by somebody in major label A&R. At the outset, you’re better off building your base in one market and staying in touch with the gatekeepers in that market yourself.” “In the absence of an organic story, what you’re prob- ably going to get by putting promoters on a record is the airplay that a given promoter can guarantee on any record at stations where he has a good enough relation- ship to get anything on the air. That’s enough to put some spins on the board, perhaps [and probably in over- nights]; probably not enough to propel a record to any signiﬁ cant activity,” says Ross. It is generally acknowledged that radio promotion should be aligned with other career moves, merchan- dising, and touring. Common sense might dictate that an artist doesn’t need a promoter if the record is not going to be distributed in some way; otherwise, the lis- tening audience cannot buy the record, defeating the entire purpose of generating airplay. But radio promoter Bryan Farrish believes that having CDs in conventional stores is irrelevant. “We advise people to forget brick and mortar and only sell during their gigs,” says Farrish. “Getting into a physical store is too much work for the amount you sell. You’ll do more at one good gig than a year of distribution. Go out, do some shows, sell ten CDs, ﬁ ve T-shirts, pocket the cash plus whatever the gig pays you. People reading this might think, ‘If I do radio I need to be in stores.’ They’re trying to emulate how a label works. There are some things you don’t want to emulate.”Chapter 2 The Modern Music BusinessNetworking Strategies for the New Music Business 30Joel Denver, president of All Access Promotions, has a background as an on-air personality, a music director, and an editor at R&R , and he agrees. “It’s terrible to go out, garner airplay, and spend all of that time and effort and not have distribution. If you don’t have it, you’re not going to sell anything, especially at the brick and mortar level. It’s also important to have a good-looking Web site, not a lot of bells and whistles, but something that’s clean and operates well. Keep it simple stupid, make sure audiences can ﬁ nd the songs. If you’re going to sell them, make them payable through credit card or PayPal. The idea is to make it a good experience for the person visit- ing the site and listening to the music.” With the consolidation of major radio and the advent of Clear Channel ownership, it might seem that the opportunities for airplay for indie artists are evaporating. Bryan Farrish doesn’t see it that way. “The consolidation is a moot point for everyone reading this. It’s not going to affect anyone. These stations were never accessible. It’s not like something just changed. Thirty years ago [indie artists] wouldn’t be getting on the station.” Joel Denver also sees the glass as half full. “I think there’s an abundant amount of opportunity out there because the consolidation of major labels provides great opportunities for smaller labels to pitch their product and send the music out via Internet. Although a lot of program directors are playing it safe, there are also plenty out there who want to play new things.” Test shows are key to marketing new acts to radio, explains Farrish. “Many markets have something like ‘The Indie Hour’ where they play only independent music.” Again, these program and music directors have 31to be reached, sent the music, and the communication followed up on, something in which an indie radio pro- moter excels. “They have to be reached on the phone, and it’s more difﬁ cult than at college. You can maybe expect only one or two spins, but you can get on the big stations. And there are charts for those shows.” The relationships that a qualiﬁ ed independent pro- moter can bring with him are ultimately of supreme value. It’s also up to an artist or band to foster and main- tain these alliances. Joel Denver shares this example. “I was a music director for a lot of years, so I had deal- ings with promoters. I remember as a program director staging concerts, needing a band to ﬁ ll, and having a relationship with a band in town, so I got them some cartage money, a per diem, and had them open the show. If you can cultivate a relationship with a band and the band goes on to be something, that’s the shit. You’ve got to feel good about helping the band, and they’ll be good to you. The door has to swing both ways; when you work with a local band it should be win-win.” Satellite, Public, and Internet Radio Satellite radio may change all of this. Instead of adver- tising, subscribers pay a fee for unlimited listening to channels that occupy niches and have specialized pro- gramming—world music, hard-core punk, Hawaiian music—every conceivable style. Artist Patti Witten has experienced the successful power of indie promotion. “ I think the future for AAA DIY artists like myself is with public/community radio stations whose mainstay is NPR and PRI programming. Chapter 2 The Modern Music BusinessNetworking Strategies for the New Music Business 32It’s the right demographic, and you can reach the lis- teners who seek alternatives to McClear Channel and that ilk. We want to be heard on World Cafe and Sounds Eclectic and Weekend Edition . Sales spikes are huge after features on NPR, especially if you have a presence on Amazon or the digital download sites. Satellite stations are also a good market for us. Indie promoters who spe- cialize and succeed in these markets will ﬁ nd themselves ﬂ ooded with queries from DIY-ers like myself.” In the major metropolitan center, public radio is a proven taste maker. Here on the West coast we have a station, KCRW, that reaches a relatively small radio audience. However, the audience it reaches is what test marketers refer to as “multipliers”—listeners who can hear a song or an artist and spread the word or take the artist to the next level, such as ﬁ lm directors, music supervisors, and journalists. This tiny station based in a city college in Santa Monica can inﬂ uence the music heard by billions of listeners in movies and television shows worldwide. Through streaming Internet radio, a syndicated show, Sounds Eclectic , a CD compilation by the same name, and the station’s sponsorship of events in Los Angeles, San Francisco, and New York, KCRW’s image belies its origins in the basement of Santa Monica City College. In the City of Angels, eye-popping big screen ads in Laemelle movie theaters advertise to the cinema-going avant-garde. The policy at KCRW is proudly open door. Music director Nic Harcourt esti- mates that the station receives maybe 400 CDs per week, and although only a tiny fraction of them ever make it to air, literally everything that comes in is heard.33chris and thomas: Acoustic Essence Returning from a weekend in Joshua Tree, singer/song- writer duo chris and thomas were greeted by multiple phone messages from excited friends who had heard one of their songs on-air on KCRW-FM. It was news to the pair, whose EP, The Vista Street Sessions , was passed on by a mutual friend to the station’s music director, Nic Harcourt. The inﬂ uential DJ programmed it on his show, eventually included it on NPR’s syndicated Sounds Eclectic , and introduced a national audience to the rustic realness of chris and thomas. Chris Anderson from Memphis, Tennessee, and Thomas Hien from Munich, Germany, are connected via a trans-Atlantic bond. Island hopping in Greece, Anderson, soon to be a student at the Liverpool Institute for Performing Arts (LIPA) in England, ﬁ rst met a friend of Hien’s who connected the two long distance. Eventually, Hien came to visit. Anderson recounts his initial sighting of his future partner in the Liverpool train station “… with a cowboy hat, a John Lennon pinstriped beige and blue suit, python skin boots, sun- glasses, and a big metal briefcase.” In time, Hien too was enrolled in LIPA, where he lived with Anderson and a group of student musicians. chris and thomas discovered their shared afﬁ nity for the English folk music of John Renbourn, Sandy Denny, and Bert Jansch, but their ﬁ rst major co-venture was multimedia. Teaming up with a local art maven, they devised Cook Au Van , whereby they would tool across Europe in a truck converted into a cooking/eating space, invite celebrities like Bill Drummond from KLF and Jarvis Cocker from Pulp onboard to create dinners and Chapter 2 The Modern Music BusinessNetworking Strategies for the New Music Business 34videotape the proceedings. Anderson, who was behind the camera, stayed in England to edit and shop the project. Meanwhile, Hien relocated to Los Angeles, where he knocked around the commercial songwriting scene while Anderson attended art school in Devon, England. Eventually the two reconvened, this time in Hollywood. “For a year we locked ourselves in the house writing and playing—a great year of being creative,” reminisces Hien. To document their songs and prepare arrange- ments, they recorded live with guitars, banjo, mandolin, and the occasional creaking kitchen chair. When singer/songwriter Alexi Murdoch heard these homespun sounds, he invited chris and thomas to open his show at the hip Hollywood venue, the Hotel Cafe. Having never performed live as a duo, chris and thomas prepared by playing an open mic at an L.A. club. They actually took their own mic, a single AKG condenser, and gathered around it like some modern- day Carter Family, with no additional ampliﬁ cation. The simple presentation underscored the honesty of the songs. Recalls Hien, “We thought the audience would hate it because it’s vulnerable music. We got done and it was really quiet, then huge applause. After that we were ‘Wow, man!’” Naturalness remains the duo’s most the- matic through line. “That’s what it seems to be about,” confers Anderson. “It feels like the music doesn’t belong to us—it’s almost automatic.” Boosted by the Alexi Murdoch show, and aided by Harcourt’s continued airing of their music on KCRW, chris and thomas were in demand as they presented their unadorned art to a growing audience. “For the ﬁ rst 35two months we didn’t book any gigs,” notes Anderson. “They called us.” They have since signed with major management and are ﬁ elding multiple label offers for a ﬁ rst full-length album. They also have placed a song in a documentary set to screen in 90 European cities. It was the same friend of Hien’s whom Anderson met on the Greek island of Mykonos who passed chris and thomas’ CD to Nic Harcourt. Serendipity, perhaps, but the success of the duo is testimony that music illu- minated by purity and conviction is the most appealing sound of all. The Vista Street Sessions is a rare gem of exquisite song craft, intimate, understated performances, and the magical blend of two singers breathing together as one voice. “The music is like our friendship,” says Chris. “Effortless,” afﬁ rms Thomas. Music Publishing: The Way In Songwriters are no doubt familiar with the term, “No unsolicited material.” The best way to make contact with a publisher, or anyone else in this industry for that mat- ter, is direct referral by an attorney, another songwriter, or a representative of ASCAP, BMI, or SESAC. Two key songwriting events mentioned elsewhere in this book, the West Coast Songwriters Association Conference and the Durango Songwriters Expo, present unprecedented opportunities in comfortable, supportive environments. A music publisher’s willingness to connect with songwriters in controlled situations does not mean that he or she may be pitched to at will. Before contacting any company you should ﬁ rst know what types of music they publish, recent credits, where their strengths lie, what Chapter 2 The Modern Music BusinessNetworking Strategies for the New Music Business 36they listen for, and whether they’re accepting material in order to determine if you might ﬁ t in. It is important to understand songwriting/publishing terminology, to know what a sync license and a mechani- cal are, what constitutes a copyright, and the meaning of a reversion clause. Be aware that if you declare to a pub- lisher that you want to “sell your songs,” you’ve just given yourself away as an amateur. Songs are never sold, they are published, covered, or collected. The days of “selling songs,” thankfully, ended decades ago. (You can educate yourself about the business by reading Music, Money and Success by Jeff and Todd Brabec and The Craft & Business of Songwriting by John Braheny.) The bigger publishers generally deal with artists who are already signed to major record deals. If they sign songwriters, they are most interested in writer/produc- ers, especially those who have already attained cuts on their own. Having a publishing deal will make you more desirable as a collaborator, and publishers often make co-writing matches. Even if you’re signed to a major publisher, you’ll still be expected to hustle up outlets for your songs through your own contacts. The most viable outlets for new songs are ﬁ lm and television. Networking Strategy for Songwriters The days of the unattached writer of a single song are long over. Songwriting is a political proposition. If you look at the Billboard charts, you’ll observe that virtually all of the songs in top positions are co-written. But the right music publisher is an integral part of songwriting success—proof that someone believes in you and your songs.37Major and Indie Labels Enthusiasm is a wonderful quality, but imagine running into a friend who has a band and hearing him proclaim the following: “Hey man, come and check out our gig. Capitol Records is comin’ down!” Interesting notion, that. Is the entire Capitol Tower coming down? If so, there won’t be room for anyone else in the club .The reality is this: An individual is coming down to hear the band, and he’s currently employed by Capitol Records. But guess what? He may not be there next week. Steady employment in the music business is a volatile proposition. Therefore it’s imperative to comprehend this credo: Your relationships should never be with companies, rather your relationships should be with the individuals working in the companies. I’ve known many artists who were championed by an A&R executive who signed them to his company. Six months later, when he’d exited the company, the art- ist was orphaned, with no champion, no advocate. This can lead to a project being “shelved” and never released. At this point, the artist has no choice but to either sit out the contract or repay any advances and recording costs—a very expensive proposition. But as I’ve stated before in this book, change is good. For example, the A&R person who is interested in you will probably be moving on to a better position at another company, and now you’ll have a contact there. So it may be better all around. The dominance of major labels is clearly coming to a conclusion. Indie labels—freethinking companies often Chapter 2 The Modern Music BusinessNetworking Strategies for the New Music Business 38started on a shoestring and propelled forward by the strength of the music—are at the creative center. These ﬂ edgling ﬁ rms’ partnerships with international power- houses complete the circle. Like the great companies of the past—Atlantic, Vanguard, Asylum, Motown—power is being returned on the strength of the music. Music Biz Marionettes: Who Pulls the Strings? As infants squalling away in our cribs, mommy comes in, picks us up, and makes everything OK. As adults, we learn to solve our own problems, create our own realities, and quell our sobbing (maybe). Some music business aspirants never move beyond the infantile phase in their thinking, performing in substandard backwater venues, recording endless demos, and imagining that somehow, somewhere, some powerful music industry executive will sweep down, lift them up, and ﬂ y them into the stratospheres of fame. The mythologies of show business are rich with such enticing tales, but they’re ﬁ ctional. In this era, any- one hoping to get a foothold in the multi-billion dollar record business has to prove themselves—locally, region- ally, or internationally—with compelling music and an undeniable career trajectory. This is equally true for aspiring record company, management, or music publishing executives. No one comes from nowhere. There is a direct through line to the energetic college student who books shows for her university, the tireless volunteer with a local songwriter organization, the band who will drive 12 hours to per- form a 20-minute opening slot, the intern who takes 39initiative, and the artist who won’t wait for a venue to call back. They will create their own success. I recently helped a college student acquaintance of mine land an intern gig at a record company. After the second week, he called me complaining that he’d not yet done anything even remotely musical, but had only carried boxes around. “And what’s in those boxes?” I queried. Hey, no one starts at the top. The late composer Henry Mancini was once quoted as advising, “Don’t be in the music business. Be a music business.” If you’ve sold only one CD at your gig… Congratulations, you’re in. Validation Art validates its creator. Many times, aspiring and needy recording artists or songwriters will make contact with the industry simply because they need to be heard. Often, they are not even pursuing a real music business career, per se, but they have wrestled some musical cre- ation out of the depths of their psyche, and they want someone else to hear it. It’s like a sonic mirror, and they need the gratiﬁ cation of reﬂ ection. If someone wants to spend money to try to get into the music business, believe me, someone will be there to take it. It doesn’t matter how much you spend, however; if you don’t have the goods, you won’t progress any fur- ther. I’ve watched while artists and their supporters have given immeasurable sums of money to demo submission services, so-called music business insiders, questionable lawyers, and over-billing public relations ﬁ rms. None of Chapter 2 The Modern Music BusinessNetworking Strategies for the New Music Business 40these dollars spent did any good—except, of course, for the recipient’s bank account. You cannot buy your way into this business. American Idolization I was in England a few years back when I took note of the television show Pop Idols , featuring a competition between singers with the winner determined by the votes of an immense television audience. My students at LIPA—hipper than hip musicians—despised the concept, but I was mesmerized by the potential cross- marketing that could be achieved. I was not surprised, then, when a U.S. version, American Idol, became a smash hit. These types of shows are nothing new. Major Bowles Amateur Hour was the American Idol of its day, and Star Search also had its audience in the ’ 80s. From an entertainment standpoint, these shows are a hoot and, I confess, a guilty pleasure for me as well. The buffoonery aspect is the ﬁ rst hook. In the prelimi- nary round, audiences like to see someone act dumber than they do. In the U.K., it was explained to me, audi- ences always root for the underdog—the singer with the speech impediment; a vocalist who doesn’t have the same svelte shape as the others. This is true to a degree in the U.S. as well. The overweight teddy bear, the single mother, and the nerd turned glamour boy have all found fame. Such shows have given voice to the screaming school of vocal histrionics, where every note sung is divided into interminable syllables and wrung dry. I was in Ohio watching the American Idol show at my parents’ house 41when my mother passed through the room and observed a shrieking contestant competing in the ﬁ nals. “I don’t know if she’s good,” commented my mother, “but she sure is loud.” This show embodies multiple layers of classic enter- tainment. It’s funny, with its humor built on cruelty and laughing not with but at those deluded into thinking they have talent at the early auditions. Then there is the pathos of “rags-to-riches” stories, with Cinderella-like transformations of the winning contestants from geeks to gods and goddesses. And not least, the audience par- ticipation and emotional connections through the voting phone-ins. Truth is, all of those who have found fame on this show—with the notable exception of one William Hung—have been working at their craft for most of their young lives. They are well-seasoned professionals with a fanatical devotion to their craft and unerring instincts toward their art. As alluring a fantasy as it may seem, no one comes from nowhere. Britney Spears, Christina Aguilera, and Justin Timberlake were all Mouseketeers as children. They grew up in the business. This is a through line for those who are called to be entertainers, musicians, and songwriters. In my experience, it is not a choice, but a calling—the undeniable need for expression through music and performance, hard-wired into your very being and the dominant thread in the fabric of your existence. Your identity, not something that happens between 8:00 and 9:00 p.m. on your television.Chapter 2 The Modern Music BusinessNetworking Strategies for the New Music Business 42Summary CD sales are simply one facet of an emerging multi- platform media market. If music were a science, it would be scrutinized, analyzed, and dominated by corporations. Nothing succeeds like the sound of honest music, and we succeed only when we’re honest with ourselves, others, and most of all, our medium.43Personalities PlusCHAPTER 3 This chapter examines the importance of personalities. I’ll suggest speciﬁ c ways to gauge your strengths and possible weaknesses. I’ll begin with 10 shared attributes of successful music biz practitioners. Ten Successful Attributes of Music Biz Professionals 1. Talent As I explained in the Introduction to this book, every persuasive trick in the book won’t help you if you do not have the goods. We all have talent, and some incredibly lucky people are born with it, but for most of us it’s a lifelong pursuit to develop it. And not just musical talent either—it may be a talent for sales, for convincing oth- ers, for offering support and clarity. 2 Training and Education For singers, songwriters, and band members, this should be fairly self evident. You will always beneﬁ t from lessons Networking Strategies for the New Music Business 44and on-the-job experiences, especially by hanging out with those who are more proﬁ cient than you. If you’re more inclined to the business side of things, the same creed applies. Reading about the business you’re in should be the ﬁ rst fundamental rule. I was on a panel recently at an L.A. college with a senior member of the A&R staff of a major record label. “How many of you read Billboard every week?” he queried the room. When a paltry third of those in attendance raised their hands, he noted, “So, you want to be in the music business, but you don’t read the publication every single executive reads?” Billboard, e-mail journals, and Hits! magazine are all available online. If you don’t have a computer, use the one at your local library. You can browse your library’s magazines, too, or simply go to your local Borders or Barnes & Noble bookstore and stand at the magazine counter and read until they ask you to leave. By educat- ing yourself over a period of time, you’ll begin to draw a correlation between executives and events and to demys- tify this multi-level, interconnected business. Universities and colleges offer classes in the music business, although, as I often tell my students, I didn’t have this advantage during my educational years. We formed bands, bought vans, went on the road, and moved to Nashville, New York, and L.A. For me, teach- ing at a learning environment like The Liverpool Institute for Performing Arts in the U.K. or Cal Poly Pomona in Southern California is a welcome afﬁ rmation that, yes, this is a real academic pursuit. As always, the real value of any situation is in the human contacts you make.45 3. A Big Personality Personality bears a resemblance to talent in that some of us are born with it, and others take longer to develop it. The entertainment business is absolutely ﬁ lled with individuals with large personalities—quirky, offbeat, or entertaining. What we relegate to the domain of the personal is strongly inﬂ uenced by levels of conﬁ dence. A strong personality often mirrors a high degree of self- conﬁ dence. It’s not necessary to enter a room like a bull charging into a ring, to buttonhole everyone in attendance, and to dominate the proceedings, but a winning personality is the ability to draw others to you. 4. A Positive Outlook I’ve believe in the ability of positive people to determine the outcome of their own destinies through the strength of their convictions and their winning attitudes. I’ll reiterate my belief here: Positive thoughts and energies attract positive results. 5. Enthusiasm This is not simply bluster and hype, but the honest result of having something to share with others that you feel is absolutely essential. Much of my telephone time as a journalist is taken up in speaking with publicists who call me with pitches for their clients. I can tell when the enthusiasm is real and when it’s simply an hourly billing. It’s not so much in their words, but in the intentions and energies behind them. Music people have a sixth sense for this. In some instances a publicist will ask me to listen to their client with the promise that “This music will absolutely affect Chapter 3 Personalities PlusNetworking Strategies for the New Music Business 46you.” Hopefully, that’s true, because if the music doesn’t affect me, this ploy won’t work again. 6. Entertainment Value If you’re in the entertainment business, doesn’t it make sense that you must also provide entertainment for those with whom you speak and interact? I shared this thought on a panel at a recent songwriter confab and was greeted with some derision by a fellow panelist (somewhat of a curmudgeon, I might add). I was wearing an irides- cent green shirt and multi-colored Mardi Gras beads, acquired at a local wine tasting event. But my outﬁ t made a point, and for the remainder of that day, I was highly identiﬁ able to anyone who wanted to seek me out. Entertainment is not limited to the in-person effect. In Chapter 6, “Telephone and E-Mail,” I talk about the importance of “Giving Good Phone.” In our lives and businesses, as we transmit the power of entertainment, we must have our own intrinsic performance value. It’s called playing the role—it’s what a lawyer does in a courtroom, what determines a dynamic minister in a pulpit, what makes a police ofﬁ cer a ﬁ gure of authority. 7. Desire and Determination I put desire and determination together because I believe they’re interrelated. Desire is a wish, a craving, and a longing, while determination is a ﬁ rmness of purpose, will, and resolve. My hair-cutter, Armando, is full of intriguing insights. Born and raised in Los Angeles, he recently observed, “It takes you guys from these weird small towns to come out to Hollywood and kick ass.” I found this interesting on a number of levels, and he’s right. There does seem to be a disproportionate number 47of success stories that emanate from transplants from the middle of the country. When I was a kid, I resented the fact that I had been born in the middle of Ohio. But I realize now that it was this very fact that helped provide the determination and focus of my career. Because we didn’t have a music and art scene, my friends and I invented one. We created our own venues for music and performance. It was these inclinations that bonded us to each other. Yes, we were viewed as outsiders, but this alienation found an outlet through art. Just getting out of Lima, Ohio, was my beginning, when I understood that I couldn’t make a living there, that I would have to leave the sanctuary of a loving fam- ily, to ﬂ y from the nest, to live in poverty in strange cities and on the road. Leaving home propelled me and fueled me with the energy I have to this day. Rarely is anyone lucky enough to stay in a comfort zone, especially at the beginning of a career. 8. Commitment and Timing People sometimes say, “If I don’t make it in a year, I’m going to do something different.” Oh boy. What do you think will happen to the career of someone who states an objective constructed around time constraints? Time is relative, ﬂ exible, on a continuum. In our careers, although we can invent goals and look toward mile- stones, attempting to align ourselves to a time grid is a self-defeating proposition. As I stated at the onset of this book, we cannot make things happen, we can only put ourselves in the position where things can happen. This may take years, decades, Chapter 3 Personalities PlusNetworking Strategies for the New Music Business 48or even the time of an entire career. Music, and the life we live creating and working with it, chooses us. If we give ourselves an out, that dreaded “something to fall back on,” we’re negating and undermining our deter- mination. Sure, we might have to step back, access the situation, open our eyes to new possibilities, and create variations on a theme. But if our commitment is not total, we can’t expect others’ reactions to our art and work to be 100 percent, either. 9. Create Your Own Opportunities You will not be spoon fed in the music business. This I can guarantee you: The only person who can elevate you is you. Those who walk a successful career path have trained themselves to do so. Virtually every powerful manager, agent, or promoter in the business began on very humble ground, promoting local shows, handling beginning artists, booking high schools, colleges, or local shows. Don’t say “I’m thinking about…,” “I’m consider- ing…,” “I’m wondering….” No. Those of us who succeed in the music business have no other options. It’s who we are. Do it now, always, forever. 10. Understand When to Permit Emotion to Overtake Logic “My college professor told me that I have a better chance of winning the lottery than getting a record deal,” admit- ted a dejected music business student. Oh great, just what we need, another cynical academic deﬂ ating the dreams of a student. Shame on the teacher for spouting this drivel. What if he’d said this to Bruce Springsteen, Michael Stipe, or Andre 3000 and Big Boi from OutKast? We’re talking apples and oranges; there is simply no relationship between winning a game of chance and 49building a career to the point where a major record label would be interested in an artist. As discussed throughout this book, a major-label deal may not even be the best road for an enterprising creative artist, particularly at this historic time, when independent artists are emerging as new power brokers. Speaking of record deals, a friend of mine recently had two labels regularly coming to his shows, interested in signing him. He attempted to play the two compa- nies against each other, to up the ante so to speak, and ended up alienating both labels. He was attempting to determine which company to sign with based on his analytical mind, breaking down advances, percentages, and other contract details, when he should have been paying attention to the emotional commitment offered by an earnest A&R man who genuinely believed in the power of his music. Lawyers and managers are paid well to be analytical. Understanding the business is, of course, a prerequisite to being in it, but don’t permit logic to derail your heart and soul. Because if you were truly logical and normal, you wouldn’t even be in the music business, would you? Negative Notions We know them all too well: naysayers, pessimists, prophets of doom and gloom. “A&R people wouldn’t know a good song if it bit ‘em on the butt” or, “The record companies are crooks and gangsters,” or, “Commercial music is such bullshit.” Negativity is a tellingly potent force. It often manifests itself in character traits including Chapter 3 Personalities PlusNetworking Strategies for the New Music Business 50self-doubt, lack of self-worth, and low self-esteem. It is also highly contagious. If we allow them, negative people have the power to deﬂ ate us, to bring us down to their level—in short, to make us feel bad. As a longtime player, I bristle when I hear put-downs of the music industry from those who want to enter into it telling me that the business to which I’ve devoted the majority of my life is a sham, a con, a dark netherworld of shady characters and disreputable operators. I’m also keenly aware that this can be a self-defense mechanism used by those who doubt their own abilities. After all, why bother to succeed in an industry that’s such a shithouse? They’re projecting their own sense of doom on an entire business. In music, as in life, optimists are much more suc- cessful in reaching career heights. Much of this has to do with the power of self-fulﬁ lling prophecy—those who expect to succeed will do so. There is an attendant human factor, too: Positive energy attracts positivity, and positive people attract others to them. This is, of course, essential in a business built on buzz, fueled by the energy and the eternal promise of “the next big thing.” Savvy business people clamber to get on a train that’s already up and rolling. Since music and the businesses it supports are interactive, it is our quest to attach ourselves to others in the same service of success. There is even scientiﬁ c evidence proving that opti- mists live longer, have more productive lives, experience less illness (mental and physical), and achieve far more than pessimists, because an optimistic frame of mind modulates the nervous system. A study of ﬁ rst-year law 51students at UCLA showed that optimists had higher lev- els of disease-ﬁ ghting killer cells in their blood than did pessimists. So, in planning your course of action, keep in mind that it will always be easier to change the way we think about the world than to change the world itself. The Put Down I was asked to critique a self-penned bio for a new acoustic duo that included the phrase “In this age of negligible, overproduced music.” I advised them to edit this line out since it was clear they’d superimposed their own prejudices and opinions into a piece that should have been uplifting and about their music, making it shine in comparison to others. Also, they might be pitch- ing themselves to the very executives who had signed, produced, or promoted that “negligible, overproduced music.” Passing judgment on music is a dicey proposition. When my students in music schools make grave pro- nouncements based on their prejudices, I gently remind them that musicians aren’t the ones buying records—it’s the general public. Pop music, speciﬁ cally, seems to raise their hackles (and of course the more it sells, the more my students detest it). My British students detest American country. Sure, certain styles of music speak to us and others don’t, but as music people it’s essential to be open to all forms of expression. If you hear a form of music that’s unfamiliar, begin analyzing it. What are its reference points? What do the performers look like? Chapter 3 Personalities PlusNetworking Strategies for the New Music Business 52What is their audience? What are the other connecting points—for example, the fashion, politics, or lifestyles? Over roughly two decades, hip-hop music (with estimated annual CD sales of $2.8 billion) and its sur- rounding culture, have become an indomitable force. On occasion, I’ve heard harsh judgments made on rap and hip-hop—“That’s not music,” being one of the kinder pronouncements. Judgments such as these serve only to diminish my opinion of the speaker. It also makes me wonder if they dislike black music or black people. I recall the “Disco Sucks” craze of the late ’ 70s. Did those who were burning their Donna Summer records hate the relentless beat, or did they dislike those who were danc- ing to it in the discos? Whether it is teen pop or Tuvan throat-singing, I contend that there is something to be learned from every form of music. What is often being projected by harsh and negative judgments is a closed mind and jealousy. If someone says to me, “I hate rap music,” I am appalled that they can put the words “hate” and “music” into one sentence. This is not an individual with whom I would choose to work. Negative to Positive In order to break through, it’s essential to eliminate the negative people in your life. (OK, maybe they are mem- bers of your family, or even your spouse or partner, in which case you must acknowledge, and then eliminate, their negative inﬂ uence over you.) As children we are programmed in very speciﬁ c, often unintentional, ways by our families. To reconﬁ gure our patterns of thought, 53it is ﬁ rst essential to identify the traits in ourselves that amplify negativity. I was once working in a music industry position that required interaction with a large staff. One of the key employees would invariably attend planning meetings with a scowl on his face and would begin every sentence with the phrase “The problem with that is….” Whether we were planning a show, a conference, a publication, or an event, he was the one dark cloud hovering over the conference table, always predicting the dire outcome of events that had not yet transpired. I remember him rushing backstage after one of our shows and remark- ing, “Great show; the only complaint I’ve heard so far…” before I stopped him. He was taken aback. “You don’t want to hear criticism?” he asked. “Not while the applause is still ringing in the hall,” I insisted. You can probably guess the outcome of his history at the company. When cutbacks were made and restruc- turing was announced, he was the ﬁ rst one to be let go. In collaborative relationships, there is a value in having a team member who thinks of potential liabilities, but no one wants to exist under the constant onslaught of relentless negativity. No one wants to hear it. When I was managing artists, I would sometimes encounter music business colleagues who were intent on tossing their wet blanket over the proceedings. “What’s up with the guy you manage?” was often the beginning. I would take note if they didn’t call him by name. When I would indicate that we were in preliminary meetings with a speciﬁ c record label, I would hear, “Oh, that com- pany. They’re having a lot of problems over there, aren’t they?” Again, simple negativity.Chapter 3 Personalities PlusNetworking Strategies for the New Music Business 54Find Reasons to Feel Good about Yourself I’m an inveterate list-maker with yearly, monthly, weekly, and daily plans of action. It’s the proverbial “small stuff” that often fuels the most vital day-to-day operations. You can do something everyday for your music business career: doing research on the Internet, reading Billboard at the library, watching and observing videos, mak- ing calls, going out to hear music. When your plans are intentional and charted you have a much better course of action. Check off items that you’ve accomplished. In addition to having made progressive steps forward in your career, you have also achieved something for yourself, and that’s a reason to pat yourself on the back. Remember that your small victories and accomplish- ments will add up in time. Use your time effectively; pick your prime time, then prioritize tasks by asking yourself, “Will accomplishing this help me get where I want to be in ﬁ ve or ten years?” Visualize Your Success An exercise I once used while teaching at the Liverpool Institute for Performing Arts stands out in my mind. In a room full of students, I asked one young man what he wanted to accomplish in his career. “I’d like to make enough money to buy a house,” was his answer. Where would this house be? “On a cottage lane.” What were the dimensions of the house? “An upstairs and a down- stairs.” What color is the door? “A red door.” As we went further down the list, suddenly this ephemeral house he was visualizing began to take shape in his mind. He was 55on his way to moving into it because he’d built it in his imagination. Network with People You Respect and Observe Their Traits Throughout this book I’ve emphasized the value in mak- ing others feel good. When I conducted an on-camera interview with legendary R&B powerhouse vocalist, Patti LaBelle, her ﬁ rst words of introduction to me were a compliment on my sport coat as she reached over and felt the sleeve. A small act, to be sure, but one that spoke immeasurably of her interest, and kindness, to others. I was very fortunate to have come up under the guid- ance of powerful music business mentors. Respect for others and their feelings is a vital trait. I’m reminded that successful people have their own doubts, fears, and struggles, too, so it’s natural that we feel that way as we face the daunting odds of taking our music into the mar- ketplace. The value of aligning yourself with a supportive network of caring friends and colleagues cannot be over- emphasized. Unless you have a crystal ball, you may not know where your contacts will ultimately arrive, but rest assured, if you’re around strong, upbeat, positive people, they are likely already on their way to formidable desti- nations. And hopefully, so are you. The Smooth Road This week I moderated a hit songwriter panel in Hollywood at the DIY (Do It Yourself) Convention. It was a formidable panel, assembled by BMI, with my guests including Chad Hugo, one half of the multiple Chapter 3 Personalities PlusNetworking Strategies for the New Music Business 56Grammy Award-winning writing and production duo, The Neptunes. At the conclusion of our allotted time, we opened the room up to questions from the attendees. One young man strode to the mic and announced, “I’m here to give my CD to Chad Hugo from The Neptunes.” Chad explained that because of the legal ramiﬁ cations, it was not possible for him to accept material. You’re probably familiar with the scenario where an unknown songwriter claims his song was stolen by a famous artist. Undoubtedly, most of these cases have proven to be entirely without merit, but what must be proven in every instance is access. Record labels, recording artists, producers, or songwriters who accept material from an unknown source run the risk of open- ing themselves up to future legal liability. Of course, the more successful the recipient, the greater the probability that this might occur, and only successful, income gen- erating songs are ever deemed to be “stolen.” Hence the famous “No unsolicited material” credo. But the legal challenges are secondary. The most telling action by this young man was that in his mind he had deduced that the quickest way to the top was via someone who was already there. When I pointed out that he needed to ﬁ nd the next Chad Hugo, or Neptunes, or Matrix, or Jimmy Jam and Terry Lewis, he indignantly countered with this proclamation: “It’s like a Cadillac. I want the fastest, smoothest ride. That’s The Neptunes.” Oh, if it were only that simple. No one can make you famous, sail you in on their considerable coattails, and launch your career for you. Of course, having The 57Neptunes craft tracks for you would be amazing. But in a mercantile world, The Neptures reportedly earn hundreds of thousands of dollars for creating a track, and these fees are gladly paid by the record companies. They have their own label, A&R staff, publishers, and managers and are surrounded by an immense support staff. It’s not only two songwriter/producers pulling talented artists from a pool and making them stars but an entire creative mechanism. Myths It is a fallacy, a myth, and a misconception to think that the quickest way to success is through others who are already there. Since I’ve interviewed the best-known songwriter/producers in the business, I’ll have aspiring songwriters ask me, “Could you give my CD to (insert one) The Matrix, Glen Ballard, Jimmy Jam and Terry Lewis?” I have to say “No.” First off, I understand my role in the pantheon of the music business. If I’m there as a journalist or interviewer, and I suddenly start whipping out demos and press kits, I wouldn’t be in this business long, would I? Also, I’d be staking my reputation on the materials I presented. If you play or present music to anyone of impor- tance, nothing can be left to chance: Your talents have to be undeniable. I’ve had publicists rave to me about their clients, but when the music arrives it is sub-par. As a result, I will never trust that person’s judgment again and would certainly be less likely to listen to anything he sent me in the future. This is not a matter of being Chapter 3 Personalities PlusNetworking Strategies for the New Music Business 58cold hearted, but a reality of our business. Time wasted listening to inadequate or badly conceived music is time lost, never to be regained. Plus it’s depressing. Have I ever played anything for any of these lumi- naries I mentioned? Yes, once. It was a track by a new artist, and it ended up being included in a ﬁ lm. Once. In all these years. It’s self protection for the reputation and assurance that anything I present in the future will be of similar, sterling quality. Reinvention As talented people, we are often at a distinct disad- vantage in recognizing what sets us apart from the crowd. We wake up in the morning, stare at the dishev- eled image in the mirror, and go about our daily lives of creating magic—literally, conjuring up something from nothing with music and art. It’s often too easy to overlook the incredible abilities with which we’ve been bestowed. Sometimes it takes someone from outside of our sphere to make us realize how gifted and how lucky we really are. Earlier in the book I referenced my career and its progression through cities, decades, and vocations, with music always at its core. I refer to this evolution as “rein- vention,” and learning when and how to reinvent has been a prime ingredient in my longevity. At every stage in our life, our needs are changing. As children aspiring to be musicians and performers, we were probably motivated by the perceived status and glory of the stars we observed in the popular media. 59Having a burning need to communicate drives many musicians to become songwriters. Feeling powerless motivates many songwriters to become producers, dis- satisfaction with the way the music business is run may inspire a record producer to become a record executive, and so on. Reinvention works only when there is a natural pro- gression between the steps in the business. I was well aware when it was time for me to move beyond playing in bands and writing songs. Not that I couldn’t continue (if I wished), but as the venues repeated, the opportuni- ties dried up, and time ticked away, I knew it was time for a change. Nothing stays the same—either your career is mov- ing up or it’s moving down. I know bands who have stayed their steady course, waiting for a record deal that never comes, who continue to make exactly the same moves, play the same venues, and ultimately burn out their audience. No one wants to go to the same place and do the same things year after year. Human nature requires stimulation. Same Old Same Old Allegedly, Albert Einstein said that doing the same thing over and over and expecting a different result is the mark of insanity. There is certainly truth in this state- ment. The music industry, too, becomes wary over time. Our business is marked by the “newest,” “freshest,” and “hippest.” Artists who aren’t perceived to have these adjectives attached to them will suffer over time. Chapter 3 Personalities PlusNetworking Strategies for the New Music Business 60For example, there was a well-known Los Angeles band who had a residency at one of the city’s most inﬂ u- ential clubs. Even though A&R reps would come and see the group play, after a year the consensus was that if they were so good, why hadn’t they been signed? Here is an interesting reality. It is often easier to sign an artist to a deal if they’ve already had a deal. In other words, even if they’ve been dropped, because their cred- ibility has been proven once, an enterprising record label may be more willing to take a change on them than they would on a new, unproven act. Similarly, it is often easier to have a song recorded if there is a history of previous recordings. We speak of the “herd mentality” in the music indus- try. If we were creating an invention in the “real world,” we would concoct something that no one had ever seen. But in the music business, when a trend connects, there is a rush to duplicate the initial successes, be they shoe- gazing emo rock bands, lithesome pop singers, recently jailed hip-hop felons, or ﬂ ag-waving country acts. If the public has bought something once, they will buy it over and over again. And herein lies another paradox: Pop music is a savvy combination of what is fresh and what is familiar. Summary Discouragement can be a fact of life in all of our endeav- ors. I’ve witnessed multitudes of people who can no longer navigate the treacherous currents of the music business and choose to make their lives elsewhere. This is good: It creates more opportunities for the rest of us. 61I’m no Einstein, but here’s another theory: You can’t get out of a business that you’re not in. In other words, you’re not really in the business if you don’t give it your full commitment. Do you need stability in your life? A steady pay- check? Odds are, you won’t have it in the entertainment industry, especially in the early stages of your career. It’s a business where not only do you have to walk the path, you also have to clear the brush and pave it as well. That’s too much for most normal people. But then again, you’re not “normal,” are you? What did your family tell you about making a living in this crazy business? That you need something to fall back on? If you’re energetic and goal oriented and can create opportunities for yourself, that is your strongest resource; that is your fallback position. In his song “Something to Believe In,” singer/song- writer Shawn Mullins says Don’t let it pass you by Someday you’ll wake up asking yourself why You sat there at your desk Sucking on the corporate breast. If the music is in your soul, it will show you the path.Chapter 3 Personalities Plus62CHAPTER 4 True Tales This chapter examines various true-life scenarios. You’ll venture behind the velvet rope to view the underpin- nings of the music business and its participants. The I’s Don’t Have It Just prior to presenting a two-hour “Networking in the Music Business” seminar at a popular California music conference, I ran into an old acquaintance in the hall- way. Before uttering a single word of greeting, she thrust a ﬂ yer promoting her upcoming show into my hands. “I would come see you speak today,” she informed me breathlessly, “but you know I’ve got this network- ing thing down.” Oh good. This meant I could use her (anonymously, of course) as an example in my lecture that afternoon. The combination of an inﬂ ated ego and a sense of insecurity is a volatile combo, one quite common in the entertainment business. For our purposes, let’s examine 63the simple dynamics of conversation. Some people seem to think of communication only on their own terms: What they project, how they come across, how others perceive them. The exact opposite approach is what works best. Those who begin virtually every sentence with the word “I” are tiresome in any situation. Try beginning any social interaction with a question like, “What new projects have you been working on?” What you’re pro- jecting with this query is interest. You’ve also served the proverbial ball across the imaginary net; when your conversation partner concludes his explanation of recent endeavors, he will in all probability ask you what you’ve got going on. Now it’s your turn. Making others feel important is a vital communi- cation skill. Honestly listening to what others have to say, asking questions to move the conversation along, offering afﬁ rmations like, “It must be wonderful to be realizing this project,” all do wonders to impart a warm glow. But you have to be truthful, to honestly care, to make this work. The Power of “You” Here’s an interesting note on verbal communication. Suppose your friend or romantic partner drops you off at home following a fun day of recreation. You say, “Thanks, I had a really good time.” Now examine the emotional impact of that reply compared to the added signiﬁ cance of this variation: ‘Thanks, I had a really good time with you.”Chapter 4 True TalesNetworking Strategies for the New Music Business 64Note the difference? You’ve connected the emo- tions of your pleasure to the presence of another person. You’ve included them in response to you. It’s an easy way to give added impact to your declaration, with just the addition of the word “you.” Could’a, Should’a, Would’a When I was a beginning songwriter and ﬁ rst experienc- ing industry interest in my songs, I made a common mistake—I talked about something before it happened. My co-writer and I had a song recorded by a major star of the day. I was so thrilled that I told everyone within hearing range about this coup—friends, family, audi- ences at gigs where I was performing, complete strangers at parties. As time went on, and I encountered these folks again, invariably they would ask me, “So, what’s happening with your song?” Time went by, the artist changed producers, labels, and direction, and the song was never released. Meanwhile, I had credibility issues since my big break that I’d trumpeted so proudly went belly-up. Here’s some categorical advice on the subject: 1. As my big brother used to caution me back in Ohio, “Almost doesn’t count in anything but horseshoes.” 2. Recording artists, particularly in Nashville, think noth- ing of putting a hundred songs presented by songwriters and publishing companies “on hold.” Sure, they may be interested in cutting them, but there is also a theory that they’re taking the good songs—those written by other 65writers that may otherwise be recorded by their chart competitors—out of circulation. 3. No song is for certain until it’s released. Artists typically record more songs than they need for any given project. 4. The calendar of popular music has little relationship to the real world. 5. Artists, ﬁ lms, and television shows can all be dropped, and songs can be replaced up until the last possible second. 6. You’ve got to have more than one thing going on. Obviously, the more irons you have in the ﬁ re, the greater probability of one of them turning red hot. 7. The tired phrase “we’re waiting to see” is a dead giveaway that nothing is happening. People who have it going on don’t ever wait. 8. Thanking others for your successes projects a welcome sense of humility. For example, “it was an honor to” perform at a beneﬁ t, to have a song recorded, to open a show. “We were surrounded by brilliance.” 9. Admit when things don’t turn out without conveying rancor or bitterness. No one likes a sore loser. 10. Keep in mind that it’s not only our successes that endear us to others, it’s our willingness to survive the swells of adversity, to persevere, to take the hits and get back up.Chapter 4 True TalesNetworking Strategies for the New Music Business 66 12. Always crowing about your the next big thing and having nothing materialize will greatly damage your credibility. 13. Better to be enigmatic and slightly mysterious than to be overblown and pretentious. People who really have it going on don’t have to tell you about it, and it is better to exude quiet conﬁ dence than project the bellow of a human bullhorn. It’s much better to have someone else speak positively about you than to huff and puff and emit endless clouds of self-serving hype on your own behalf. Given my back- ground in sales and public relations, it is very natural for me to tout the accomplishments and talents of my friends and colleagues. In turn, when I’m out socially, many of my close friends in the business return the favor. If someone tells me “My band is amazing,” I ﬁ le away this information in a little dumpster dubbed “Hype.” Having someone not in a band tell me “I saw the most amazing band last night!” intrigues me, especially if I trust that person’s judgment. Nothing is more effective in marketing than word of mouth. Having someone else speak on your behalf is much more effective than blowing your own horn. If you honestly believe it and promote your friends, they’ll do the same for you provided you’ve got it going on. You’re It Tag teams are equally effective in other social situations. In Chapter 5, “Making Contact,” I speak about the value of, and the tricks for, remembering names, but of course 67there are instances when we all forget. If I’m out socially with a music industry tag-team partner, we’ll discuss this contingency beforehand. “If I don’t introduce you by name in the ﬁ rst 30 seconds, introduce yourself,” I’ll explain. The unnamed party will then offer his name for all to know. If you do attend events with others, make sure you share a common agenda. I don’t take romantic part- ners with me to business events. If given the option, I’d rather invite a friend whose social skills I trust and who is a devotee to Networking Strategies. One of my close business friends is an executive in the music publishing division at a major Hollywood ﬁ lm studio. His perspec- tive on the business is much more market savvy, more bottom-line dollars and cents, than my often-Quixotic outlook. But between us, we’ve got it covered, and the contrasts are what make us an effective tag team socially. He also possesses an acerbic sense of humor, doesn’t take himself too seriously, and sees the big picture and knows where he ﬁ ts into it. Bridges Aﬂ ame I mention this friend for another reason. As he was coming up in the world of music publishing, he was employed by a veteran music publisher who had been in the business for decades and who represented some very lucrative catalogs. My friend worked endless hours, endured the “low man on the totem pole” position, and was not rewarded monetarily for his work since his boss was extraordinarily cheap. He ﬁ nally left that company on good terms, but he considered writing a letter to the Chapter 4 True TalesNetworking Strategies for the New Music Business 68boss, telling him of the indignities he’d suffered—a “kiss-off” letter. Fortunately, he reconsidered. And a couple of years down the road when the music division of one of the world’s largest ﬁ lm studios was looking for an executive, they called the veteran publisher for a recommendation, who referred them to my friend. Celebrity As an interviewer and journalist, I often ﬁ nd myself in the presence of the foremost hit makers in American music. Meeting these legends is a consummate thrill, but I can never lose sight of what I need from them: credible interview material. Earlier this year, I was at the Bel Air home of Quincy Jones for the taping of a video segment commemorating the anniversary of the performing rights organization, ASCAP. Mr. Jones, of course, is one of the most cele- brated record producers in history. As the video crew set up in anticipation of his arrival and a maid served veg- gies, fruit, salsa, and chips (a nice touch), I looked over my notes and thought ahead to what I would say when I was introduced to the pop maestro. Although a number of possible scenarios ran through my head, I realized the interaction would take its own course. The video producer brought Mr. Jones to the corner of the room where we’d arranged the set and introduced us. I shook Quincy Jones’ hand, looked him straight in the eye, and said “Hey man.”69“Hey man,” responded Quincy Jones. Amazing. Everything I know and have experienced in the trenches of the music business was distilled down into those two words. I didn’t prostrate myself at Mr. Jones’ feet, tell him what an inspiration he was and what a profound honor it was to meet him. My instincts com- manded me to remain casual and relaxed, mirroring the energy I felt emanating from Mr. Jones. Living in Los Angeles, where it’s not unusual to see Brad Pitt at a local eatery, Ben Afﬂ eck in a Porsche on the Santa Monica Freeway, or Beyonce shopping for bling, celebrity is serious business. But my business is music, and I’ve found that when I interview celebrities, what they enjoy most about my interviews is that I never ask them typical, celebrity-driven questions. I save that for the supermarket tabloids. My only concern for inter- views is music and its creation. From Clint Eastwood to Metallica, Queen Latifah to Brian Wilson, I’m reminded of what draws us together as creative people. There is no “Us” and “Them.” It’s all us. Ten Strategies for Interacting with Celebrities Sometime in your career, you will meet people whom you or the media consider celebrities. As always, your instincts will guide you, and your communication skills and level of self-conﬁ dence will determine the outcome of this contact. Following are some tips to keep in mind when the opportunity arises to interact with celebrities.Chapter 4 True TalesNetworking Strategies for the New Music Business 70 1. Always keep in mind that they’re just people, too. Acknowledging their music or contributions is ﬁ ne; just don’t overdo it. 2. Know where to draw the line at being a fan. Make no mistake, celebrities love fans, but they don’t work with them—no autographs or photos, please. 3 Respect their physical space and observe their interac- tions with handlers, managers, publicists, and so on for cues. 4. Don’t be presumptuous. 5. Be careful not to age them. Telling a diva of certain years that you listened to her “when you were a little boy” will not endear you to her. Trust me! 6. If you do need to initiate conversation, ask general life questions as opposed to career questions. For example, “Are you in town for the show, or will you have a chance to enjoy the city?” 7. If you know someone in common, this is can be an excellent ice-breaker. This always works well for me. A word of caution, however: Since human relationships are volatile and ever shifting, make sure that the name you drop is of someone with whom the artist still has a good relationship. 8. Don’t offer information you haven’t been asked for, such as your current projects, your political opinions, or artistic/musical judgments.71 9. Never put pressure on a musical celebrity to listen to or look at… anything . 10. Keep the doors open. Let them know how much you enjoyed meeting them and that hopefully you’ll see them in the future. How Would I Reach You? This is fresh to me since it happened last night outside a club in Hollywood. I interviewed a hugely success- ful songwriter/producer at a monthly event, “The Songwriters Studio.” As he left the venue, he was accosted in the foyer by an aspiring singer/songwriter who offered, “I don’t want to waste your time, but I’m going to want to contact you about a year from now. How do I get hold of you?” The hit maker answered, “Dan knows, just ask him,” and walked away. By making me responsible, the hit maker gently deﬂ ected the inquiry, but I mention this story for another reason. The aspiring songwriter projected his insecurity with his vague “a year from now” dialogue; therefore, his inquiry served no real purpose other than to foist him in the hit writer’s face for a nanosecond. Knowing how to contact someone is one of the arts that must be mastered in our business. It’s not the responsibility of the contactee—in this case the hit writer—to offer up his contact information. Finally, it’s off-putting and pretentious for a beginning songwriter to assume that this multi-platinum, Grammy Award Chapter 4 True TalesNetworking Strategies for the New Music Business 72winning legend would remember him a year from now—let alone want to work with him. Who Needs You? I recently lectured to a music business class at a well- known California college and the next day received the following e-mail. Dear Dan, I attended your class last night. You were talking to stu- dents afterward and I didn’t want to disturb you, so I’m sending this e-mail instead. All my life I’ve dreamed of being a lyricist. I know I have what it takes to make my dreams come true. In class you said you’re writing for a Web site and that one of the founders is Kenneth “Babyface” Edwards. Would you please give the attached lyrics to him so he can put the music to them? Thank you, A Talented Lyricist Following is my reply: Dear Talented, I don’t wish to sound cold, but in my opinion Mr. Edwards probably does not need you. Whitney Houston does not need you either. Nor does Celine Dion or Toni Braxton.73Why? First of all, if you are a songwriter who writes lyr- ics, you need to ﬁ nd collaborators who create music so your songs can exist as a complete unit. But I’m far more concerned about other issues. Dreams are wonderful things. Indeed, most creative people share the ability to see beyond the mundane limitations of everyday life. Goals are dreams with deadlines. In establishing your career in the music business, you need to understand the marketplace for your material and the realities of it. It’s only when you seize control of your career that you succeed. Find acts and artists who are coming up, who require direction and material. Instead of looking up and fantasizing about Babyface, look on your own level to ﬁ nd the next Babyface, Timbaland, or Diane Warren. Attach yourself to people whose success you can pre- dict; indeed, be one of them yourself. When you buy into the “overnight success” mythology you set yourself up for disappointment and exploita- tion. The music business is built on relationships. In my decades in this business, every deal I’ve seen go down has been the result of a personal contact. It’s all about hard work, dedication, perseverance, and people skills. I have never known anyone to start at the top. Something else bothers me. You were too shy to come up and talk to me after class. I came there to meet you, to offer any advice that I could, to make contact. If you were not assertive enough to make my humble acquaintance, how intimidated would you be in the presence of a platinum hit-maker?Chapter 4 True TalesNetworking Strategies for the New Music Business 74I’ve read your lyrics and I agree: They do have potential. But you’re selling yourself short by fantasizing about a relationship that is virtually unattainable. Babyface will not ﬂ y out of the woodwork, give you a check for a million dollars, and make you famous. But some- where—maybe even in your class—is an artist, a writer, or a producer who has the talent and determination to go all the way with you. This is exactly who needs you. Best Wishes, Dan Kimpel Look Around As I mentioned in my response, as music professionals we need to become clairvoyant, to be able to ascertain which of those we encounter have the necessary ingredi- ents to go all the way, and to align ourselves with them while we have the chance. By the time someone becomes successful, they’re far too immersed in their own career to have time to think about yours. Music professionals are most comfortable with those who are on the same level they are—major producers work with major talent, and hit songwriters write for hit artists. I have been contacted by songwriters who are convinced that they have the next Faith Hill single. “I just have to get it to her,” they’ll tell me. There is no rule that determines that only the best songs get recorded, only the most masterful artists get signed to record deals, and only the most deserving among us have long and proﬁ table careers. Certainly unknown songwriters also have the tools to create 75stunning lyrics and music, but it’s not enough to simply have these skills. Access and a reputation is necessary as well. That’s what this entire book is about. Understand, Faith Hill is a huge talent, and most of the songwriters and artists in Nashville pitch songs for her projects. So in order for unknown songwriters to even have a faint hope of getting a song to her, they ﬁ rst have to build a career that puts them on a par with hers. Wouldn’t it make sense that an artist of this magnitude would have the ﬁ nest song crafters in the music business writing songs especially for her? Sixth Sense Music people have ﬁ nely tuned abilities to recognize and encourage future hit makers. I can recall some intrigu- ing examples in my own history—of a young man who was living in his car on the street and two years later was sharing a mansion with Lisa Marie Presley; or the bag boy who was so friendly to all of the customers at a local supermarket and was signed with a multi-release deal for Virgin Records; or the earnest young man from Washington, D.C., whom I hired to sell $20 ads for a music trade publication who is now the president of a successful record label. This all relates to my primary creed—that we cannot make things happen, we can only put ourselves in the position for success. It take tremen- dous determination, force, and focus. And before this must exist belief.Chapter 4 True TalesNetworking Strategies for the New Music Business 76Drugs in the Music Biz When teaching a series of classes, I’ll generally announce the next day’s text. My declaration, “Tomorrow we’ll be doing drugs and alcohol,” is usually met with much applause by my young charges. Of course I don’t plan to turn the hallowed halls of learning into Willie Nelson’s tour bus, but in speaking to the realities of the life of a musician, certain substances bear discussion. I’m certainly no Puritan, but regarding the myths of the musical life, it is imperative to understand what can loom in the way of success. Historically, nothing has robbed musical creators of their gifts—and their lives— like drugs and alcohol. As a child of the ’ 60s (actually, the ’ 70s, but I was in Ohio, and we didn’t get the ’ 60suntil the ’70s), I observed the hijinks of the Beatles, Stones, and the various tribes of the San Francisco Bay area, all seemingly in the throes of psychedelic creation. I was stunned by the losses: Brian Jones, Jimi Hendrix, Janis Joplin, Jim Morrison. Later, the suicide of Kurt Cobain had the same impact on his fans. Drug use affects everyone around you: Your fam- ily, your friends, your fellow musicians, and most of all, your music. For many musicians, it’s a rite of passage, and not everyone moves through it intact. My judgments are based on strict professionalism only; at the level where I operate, people need to be utterly dependable. Any substance or trait that makes them less so will make others less inclined to work with them.77Most music business professionals have operated in an arena where drugs and alcohol are accepted social ingredients. I’ve heard it implied by certain cynics that, back in the day, record labels actually preferred a certain degree of drug dependency from artists because it made them easier to control and therefore more predictable. As always, the way a million-selling artist is perceived with or without substances will be different than the atten- tion given to a new, or aspiring, artist. Times change; if you deduce that your career is stalled by substances, take heart. In the music cities, Narcotics and Alcoholics Anonymous meetings are terriﬁ c places to network. On the Road with John Mayer Reliability and consistency are trademarks of successful musicians. When I interview many rising artists, I’m aware of what they have to endure. Grammy Award winner John Mayer related these rigors to me. “To wake up at six in the morning after doing a show the night before and sing on a morning TV show, you’ve got to rehearse each song three times. If you’re singing two songs, now you’ve got six songs—actually eight songs in the morning, including the performance. After that you go and do radio—another ﬁ ve songs. For every song you sing there’s some jackass who didn’t set the levels right. You’re into the bridge and you get the international arms-waving stop sign. ‘Sorry John, the level’s messed up. Let me hear it from the beginning.’ It turns your voice to chopped liver.” Mayer avows that constant travel, interviews, and early morning performances sap him of vocal subtlety, leaving him with only his more strident vocal tones Chapter 4 True TalesNetworking Strategies for the New Music Business 78to cut through the mix and the exhaustion. Once this whirlwind is underway, Mayer is also concerned that he’s now cursing what he loves the most—singing his songs. Still, the ﬁ nal time in the day that he sings a song is invariably his favorite, because he shares it with a live audience. “I can play my songs a million times as long as it’s in front of a crowd that wants to hear them,” he pro- claims, “instead of a dented microphone that some guy insists is picking up both the vocals and the guitar.” Am I Too Old to Rock? I am not in the business of telling people what they can and cannot do. If you observe the shambling dinosaurs that make up the major-label contingent of the record business, you’ll observe that young teen stars, mostly female, are signed at increasingly younger ages. Even country music—long the bastion of grizzled faces and hat-wearing journeymen—is not immune to the trends, now featuring strapping young men who wouldn’t be out of place on a beefcake calendar. Much of this has to do with the rise of video as a marketing tool. Also, demo- graphics for recorded music purchasing are younger. Let’s face it, new pop music has much more inﬂ uence over those in their teens than those who have moved into subsequent stages of their lives. This is not to say that older audiences don’t buy music—they do. They also buy concert tickets (and mer- chandise) in record numbers. But older audiences are more resistant to new music. They remain more loyal to the artists they grew up listening to. 79The way we come in is often the way we are per- ceived, and even though we need to change career direction, others’ perceptions of us keep us pigeon-holed and limited. Following is an e-mail communiqué that addresses two concerns: one of reinvention and another of ageism. Dear Dan, I’ve been a professional in the music industry for over twenty years. As many of us do, I began as a performer and a songwriter, then I developed another career, where I have worked successfully in a behind-the- scenes capacity. Now, almost two decades later, I’ve decided that maybe I gave up too easily and allowed myself to be discouraged too early. In this coming year, it’s my inten- tion to return to writing songs and performing, but I’m worried about being too old. What advice would you give me? Behind-the-Scenes Betty Following is my reply. Dear Betty, As those of us know, being inside the music business is one key to success in it; in other words, in this notori- ously insular industry it is virtually impossible to come from outside and make an impact. So, in this light, your two decades of experience are laudable because they have given you valuable access. However, one of the realities of having already established yourself as Chapter 4 True TalesNetworking Strategies for the New Music Business 80a behind-the-scenes functionary is that this has now become your identity. As such, your desire to branch into another area of the business may be confusing to those around you. What would you think about a manager who confessed he actually wanted to be a songwriter, or a video stylist who was an aspiring diva? Would they be credible to you? And yes, there is another harsh reality in our business. For more mature performers, this is a chilly climate. One need only to turn on MTV to understand that in an era of surgically enhanced nymphets, maturity is not necessarily an advantage. Unless you consider reincar- nation, we are all given only one life. And many of the teen stars of today have spent that life in this business. There are, however, many opportunities to fulﬁ ll your- self both artistically and commercially. Songwriting, for example, is an area where all that counts is the power of the song. Songwriters are not required to possess any deﬁ nable type of visual allure or to be of a certain age. In fact, some of the most vibrant pop singles in recent memory have been penned by writers well into their fourth, and even ﬁ fth, decades. Synergy is power. Becoming involved in the careers of emerging artists and offering them open windows into the music busi- ness may be a viable way for you to fulﬁ ll your artistry. If you need to write and perform to satisfy your creative soul, you should certainly do so, whether it be in a cof- fee house, a church, or club. But don’t throw yourself into an arena with kids half your age, and don’t be con- sumed by envy of them, either.81Your letter dictates to me that you have the creativity to carve out a viable economic niche for yourself in this business. I would recommend that you continue to apply this same creativity to expanding, reinventing, and enhancing your career while divining new outlets for your creative needs. Good Luck, Dan Kimpel Critical Crises and Drama Queens I was honored to study artist management at UCLA Extension under Ken Kragen. At the time, this venerable and well-respected manager was handling his longtime client, Kenny Rogers, who was embarking on a co- headlining tour of Canada with Dolly Parton. One night, Ken came to class having just received a call on the eve of the show informing him that the elaborate stage set that would be shared by the two artists was too large to ﬁ t into the ﬁ rst venue. The production manager had insisted that Ken ﬂ y north immediately to assess and rectify the situation, but Ken had no such intention. “Crises have a way of resolving themselves,” he commented. Sure enough, when we convened for class the following week, Ken shared that somehow the production manager had made it work. Again, Kragen enunciated his theory that if you ignore a crisis, it will probably work itself out. A few years later, I could hear Ken’s words echoing through my head, even over the thunderous bluster of the manager of Mr. Big Producer who was inches from my face, snarling, “Look, either my client goes on stage Chapter 4 True TalesNetworking Strategies for the New Music Business 82now, or we’re leaving.” The occasion was the award pre- sentation to A Hit Songwriter at an historic Hollywood theater. We had invited Mr. Big Producer to present this award, and he’d shown up with an entourage that included his fashionably hirsute and stereotypically overbearing manager. The songwriter’s publicist had instructed Mr. Big Producer to arrive earlier than neces- sary, and his manager was adamant: Mr. Big Producer would not wait around. He demanded that I change the order of the show so that the award presentation would happen in the middle of the show, not at the ﬁ nale. I called the publicist on my walkie-talkie, assessed the situation for her, then disappeared into the lobby of the theater to handle another situation. Sure enough, when I poked my head backstage a half hour later, A Hit Songwriter and Mr. Big Producer were sitting and jam- ming on acoustic guitars, inventing an impromptu song to duet on when the award was presented. Everyone was all smiles. This story illustrates a couple of truths. First, the manager is paid to be commanding. His only concern was his client. Often artists and producers require some- one to wield absolute power. Being heavy-handed works for some managers whose agenda is the well-being of their clients. Second, when the human element was introduced to the so-called “crisis”—the music—the interaction between Mr. Big Producer and A Hit Songwriter smoothed over the situation. The music won. Third, the publicist had erred in requesting the early arrival of Mr. Big Producer, who had left a recording ses- sion speciﬁ cally to be at this event. In production, time is of the essence, and you don’t want to have important 83people just hanging around and waiting. Fourth, as Ken Kragen taught, once all of the bluster and drama were removed from the situation, everyone was basically decent. Ten Networking Strategies for Dispelling a Crisis Following is a list of strategies for dealing with crises. 1. Don’t be forced into making immediate decisions. Take a deep breath and remain calm. 2. Remove emotion from the equation; think logically and pragmatically. 3. Do what’s right for everyone. Don’t think only of cover- ing your ass. 4. If you’re not comfortable with high voltage screaming, then don’t be forced into doing it. Take the opposite tact. Speak softly. 5. Be aware that some people will scream to get their way. 6. Sometimes people need to be heard. Try saying their exact words back to them to let them know you’re listen- ing. If someone is screaming “This stage is too small,” you might reply, “I understand you think the stage is too small. But if we move the monitors off the front of the stage, reposition the drums, and slide the bass amp a little to the left, we can make it work.” Make allies, not adversaries. Chapter 4 True TalesNetworking Strategies for the New Music Business 84 7. Avoid overstatements and generalizations in agitated conversation. “You never…” and “You always…” are particularly off-putting. 8. Avoid confrontational poses. Don’t challenge others physically. 9. An excellent way of bridging a conﬂ ict with another person is to query, “What would you like to see happen?” 10. Remember: None of this drama will make a single iota of difference in another hundred years! Treat Everyone with Respect I received a breathless telephone pitch this morning from a high-powered New York publicist who requested that I interview her client, a hit songwriter of some repute, who had penned huge hits back in his day and was now resur- recting his career via a musical. Would I be interested in proﬁ ling him for an article? I hesitated not a second. “No, I wouldn’t be interested,” I said. Let me tell you exactly why I rejected her proposal. When I ﬁ rst came to Hollywood, I was a musician and songwriter eager to gain a foothold in the music business. I had much more time than money, so I would volunteer for non-proﬁ t music organizations and work at events where I could gain knowledge and make contacts. This was not particularly glamorous work—driving across vast stretches of a then-unfamiliar Los Angeles, delivering promotional materials to music stores, lugging sound equipment, or taking telephone calls. But I did every task asked of me with enthusiasm and energy. 85Later, when these organizations had budgets and a need for additional staff, they hired me. But back to this morning’s telephone call. As the publicist droned on about her client’s achievements, all I could remember was years ago when he was invited to speak at an event where I was a volunteer. He showed up in a surly mood with a huge, unexpected entourage in tow. Nothing was right: The mineral water we’d provided was the wrong brand, the temperature in the hospitality room was too cold, and the food was too salty. He treated those of us who were working on the event as his personal minions, and with his every pomp- ous demand, lorded over us with his superiority. One ﬁ nal note: We were in an historic meeting hall with “No Smoking” signs posted everywhere. When a member of his entourage lit up a cigarette and was subsequently asked to extinguish it, he did so by grinding the butt with the heel of his boot into the priceless mahogany ﬂ oor as he chuckled with amusement. And now, his representative is on the telephone, pleading for me to write about him, and it is my distinct pleasure to say, “No, thank you.” I do not have an agenda. I don’t stay up nights thinking of those who have wronged me. I think such energy is wasted and negative. However, I do play a very long game. So take this story as a word of caution, dear readers. Never step on toes connected to an ass that you may someday have to kiss.Chapter 4 True TalesNetworking Strategies for the New Music Business 86Summary In the music business, people don’t disappear, they sim- ply reinvent themselves and change positions. Trust me, your relationships will last much longer than any job you acquire, and you will see the same folks again and again. The way they feel about you will determine your success. I’ll conclude this chapter with a quote from one of my all-time favorite interview subjects, who says it best. “I’ve learned that people will forget what you said, people will forget what you did, but people will never forget how you made them feel.” —Dr. Maya Angelou87CHAPTER 5 Making Contact No other interaction has the intense dynamics of two people together in the same room. Huge corporations with every conceivable piece of technology for video conferencing and conference calls still prefer to send executives halfway around the world to close deals. The reason: Nothing has the impact of person-to-person interaction. Body Language The way you stand or sit makes an immediate and intui- tive impression on others. I can look at a classroom full of students and instantly identify which ones are recep- tive to my message and any who are resistant. Open body language—standing with arms at the side and palms turned outward—reﬂ ects an attitude of receptiv- ity. Crossed arms or, when sitting, crossed legs, indicates resistance.Networking Strategies for the New Music Business 88When meeting others socially, your posture also projects how you feel about yourself. When you’re out at a club, who do you think people notice ﬁ rst? The person who is standing tall and straight or the one who looks like he wants to crawl into his shell? It’s amazing how something as simple as good posture can make someone look tall, slim, and most important, conﬁ dent. And the conﬁ dent person is the one who gets noticed for all the right reasons. When we were children, we were told to walk with a book on top of our heads to practice good posture. But now posture starts with three activities we do every day: sitting, standing, and sleeping. Look at a mirror while standing up straight. Check out which areas are prevent- ing you from standing up straight. Are your shoulders crouched; is your head down; is your back bent? Straighten out whatever is slouching and observe the difference. Your ears, shoulders, hips, knees, and ankles should make one straight line. Now relax your shoulders and slightly bend your knees—you don’t want to look like a robot. The major part of maintaining proper posture is reminding yourself to stand and sit straight. And this is the hardest part. Use these little tips to make sure you don’t cheat: Tell your friends. They can serve as your support system, and they will be glad to elbow you when you’re caught slouching. Use Post-It notes. Put them in areas you see daily— your medicine cabinet mirror, your rearview mirror, and your computer monitor. 89Feel the results. Keep looking at the difference between a good posture and the one you see in the mir- ror, to really visualize the work to be done. Exercising often, especially your back and abs, and staying disciplined will reap great physical rewards. With good posture, you’ll look thinner and more conﬁ dent. You’ll have all the reasons in the world to stand tall and be proud. Good Grooming We telegraph the way we feel about ourselves to others through our physical presence. Good grooming is espe- cially critical for anyone in the entertainment business. Poor hygiene, bad breath, or dirty clothes all transmit low-self esteem and a “who cares?” attitude. For men, regular haircuts are recommended, but the more subtle areas need not be ignored. If your eyebrows are bushy, have your haircutter trim them or have them waxed at the local nail salon. It typically costs less than $10 and can make a marked difference in your appear- ance. Regular teeth cleaning is a must for good dental health, and if your teeth are stained or dull, you might want to consider the beneﬁ ts of whitening them either with an over-the-counter remedy like White-Strips or better yet, a custom-made tooth tray and gel provided by your dentist. Beware the overly white, newscaster image, though (we see plenty of that in Los Angeles). Chapter 5 Making ContactNetworking Strategies for the New Music Business 90Clothes Horse To be comfortable in any social situation, you ﬁ rst have to dress for the occasion. Wear clothes that ﬁ t well and are appropriate to the event. You want to feel good and comfortable in them because it’s hard to mingle with conﬁ dence if you’re dressed inappropriately or your clothes are ill-ﬁ tting. Given the choice of being overdressed or under- dressed for an event, it’s always preferable to be a little slicker than the occasion calls for, rather than to be perceived as a slob. I am honored to attend the annual black-tie dinners presented by ASCAP and BMI to honor their top com- posers and songwriters. For the ﬁ lm community, black tie means old-school tuxes, white shirts, and bow ties. For the pop and R&B communities, the appropriate dress is deemed “creative black tie,” which means it’s OK to augment the traditional look with any number of creative options, such as ties, hats, jewelry, and so on. I’ve also found that a formal black suit works well instead of a tux. Do I ever see guests dressed inappropriately at these high-end Beverly Hills functions? Yes, I once saw a well-known manager in a T-shirt., but he was accepting an award for Song of the Year on behalf of his client, so he could wear whatever he wanted. I regularly see another million-selling songwriter, female, wearing a tuxedo T-shirt. At a recent dinner, when the rock group Metallica and singer/songwriter Jackson Browne were being honored, I noted that they were dressed to reﬂ ect the pride they felt in their milestone achievements.91Music business people are tribal. Living in Hollywood, I’ve learned to let my instincts tell me when I’m in the presence of kindred spirits. The look is unstud- ied cool, a lot of black, leather, retro, and vintage clothes. Jewelry tends toward the severe with metallic chains and metal belts. Extreme hair colors come and go; facial hair styles for men—goatees, unshaven look, soul patch (the spot of hair just under the lower lip), and extended sideburns all serve the purpose of establishing cultural identity. I always recommend wearing a conversation piece— unusual jewelry, a lapel pin, a tie, scarf, or any other distinctive object—to give others the opportunity to begin conversations with you. People are basically shy, and that strange little tchotchke on your jacket may be the key to unlocking dialogue. “What an unusual piece. Is it vintage?” might be the opening of a conversation and the beginning of a proﬁ table relationship. Your visual presentation is your trademark. If you’re a musician, others should be able to tell what type of music you perform before you ever you play a note. Ups and Downs in the Capitol Tower It’s an iconic piece of architecture known around the world. Looming over the intersection of Hollywood and Vine, The Capitol Tower, home to Nat King Cole, Frank Sinatra, the Beatles, and the Beach Boys, is an enduring symbol of Hollywood. I recall interviewing Roy Lott, who was then presi- dent of the label, in a palatial conference room with a Chapter 5 Making ContactNetworking Strategies for the New Music Business 92panoramic view. As engaging as Mr. Lott was, what I remember most about the interview was the ride up and down the tower in the elevator. As the elevator arrived at successive ﬂ oors, I was instantly signaled what depart- ment we were in by the way the employees were dressed. Full-on suits, ties, and vests? The legal department and business affairs. Edgy, L.A. hipster attire: publicity. Edgier and more outré still? A&R. Unkempt, casually disheveled, and overly caffeinated? The musicians, of course, recording in Capitol’s fabled studios. With each successive stop, the denizens were revealed to me by their attire. Similarly, I was at a dinner party recently with a distinguished, white-haired gentleman in a black wool turtleneck. “So you’re a jazz guy” I stated by way of introduction. “You can tell?” was his reply. Yes. My instincts and experience transmitted this to me, plus I subconsciously read his attitude, energy, and creativ- ity. What this gentleman had was a distinctive “look,” emblematic of jazz musicians. What we wear as music business professionals similarly transmits information about us to others. For example, the obvious attire: T-shirts with names of bands or brands of equipment, events, or venues. When I ﬁ rst joined a gym in Los Angeles (a prerequisite to liv- ing here, I assure you), I would invariably work out with a music biz T-shirt on, so others in the gym would begin conversations with me. It worked. A simple piece of “swag” (free merchandise) was an invitation for others to interact. I know of a music publisher in Los Angeles, Justin Wilde, whose company, Christmas and Holiday Music, 93dominates the seasonal market. I can always spot Justin at an ASCAP Membership meeting by his red and white Santa Claus hat. Not a subtle gesture. Is there any doubt what type of music he deals with? Alternative, hip-hop, and country all have their individual looks. It’s tribal. When we are introduced to another person, they make an instant, instinctive judgment of us based on factors relating only to looks. Therefore, in a music busi- ness environment, it’s up to us to transmit the correct information. Ten Visual Cues for Your “Look” Consider the following tips for achieving the right look. 1. Identify yourself with the appropriate tchotchke: a lapel pin or something suitably subtle yet unique. 2. Extreme looks work in certain circles, but again, the goal is to attract others, not terrify them. 3. Watch out for the sex thing. I regularly attend a music business conference in a mountainous western state where nubile, aspiring young female artists congregate to attract the attention of A&R reps from L.A. and Nashville. If you’re doing music, don’t confuse the issue by wearing stage attire in the daytime that would be more suitable for a lady of the night. It may well telegraph a signal to the over-stimulated males of the species. 4. Casual does not mean dirty. 5. Ask your gay friends for help. Chapter 5 Making ContactNetworking Strategies for the New Music Business 94 6. Watch source material, including entertainment televi- sion shows, videos, and magazine layouts in periodicals like GQ, Details, or Vibe. 7. Let your look mirror you, not limit you. 8. We are not in a conservative, drab business. Don’t be too dull or conservative. 9. Make your look entertaining. 10. Learn what colors work best for you—clothes, like music, need to be in harmony. Conversation Instigation In researching the subjects I interview for magazine arti- cles, videos, and in-ﬂ ight audio shows, I strive to acquire a picture of the whole person, not what they project to the record buying public or to an audience full of fans. I’ve learned that legendary trumpet player and founder of A&M Records, Herb Alpert, is a noted sculptor and painter. Hit songwriter/producer Glen Ballard loves to talk about Italy, especially its art and cuisine. Leonard Cohen is a Zen Buddhist, and heavyweight industry law- yer Donald Passman trains dogs. They say in love opposites attract, but what draws us together as people are our similarities. We all come from somewhere, have families, spouses or partners, children, pets, homes. Human beings are complete packages, and their artistry and music is simply one part, which is quite often the direct result of a much larger picture. When 95meeting potential music industry contacts, concentrate on who they are as people, not only how you perceive them as musicians or business entities. Music people don’t talk music all of the time. Having a knack for expressing interest in others is what makes a good conversationalist. The ability to express thoughts and feelings eloquently is equally important. Including all people present is common sense, and the proportion of people who speak should be in equal division. If three people are present and one person dominates the conversation, he is not having a conversation—rather, he is giving a speech. Ten Conversation Leaders Being a good conversationalist requires being able to ask questions as well as excellent listening skills. Here are 10 leading questions you can ask without seeming pre- sumptuous or nosy. 1 . Are you originally from here? 2. What do you like best about living in this town? 3. Do you have many opportunities to travel? 4. Are you a ﬁ lm buff? 5. What’s your latest favorite movie? 6. What are you listening to that I should know about? 7. Are there any great restaurants in this part of town?Chapter 5 Making ContactNetworking Strategies for the New Music Business 96 8. What gym do you go to? 9. Are you a sports fan? 10. Do you have a dog or cat? Ask questions to encourage the other person to talk, and comment on their answers to continue the conversa- tion. Here are four types of comments you can make: 1. Expanding: “Tell me more, it sounds as if you had a great time.” 2. Comparing: “That sounds as if it is similar to…” 3. Self-revealing: “I know what you mean. I was in a similar situation last year.” 4. Clarifying: “What exactly did he do?” Small talk, sure, but effective ice-breakers none the less. Note that I didn’t include questions about music (I’ll get to that soon enough), spouses/partners, or children. There is no reason for anyone to take offense or feel like you’re prying. Conversation is like a tennis ball being volleyed back and forth across a net. Effective conver- sationalists know how to keep the conversation ﬂ ying. Initiating it is considered a positive trait. Asking advice is a sureﬁ re way to extend the conver- sation. If this doesn’t work, try asking for an opinion, but remember that your proper follow-up response is not to heartily agree nor to be argumentative.97Sensitive Areas At a music business conference in Northern California, I witnessed this uneasy interaction. One of the attendees, an Asian-American singer/songwriter, took understand- able offense when a clueless music publisher quizzed her with, “So, what is your nationality?” The songwriter, of course, answered with a terse, “I’m an American.” Americans come in many shapes, creeds, and colors, so many that the tired old phrase “All-American” needs to be expunged from our modern vocabulary for good. This is not the so-denigrated “political correctness”— rather, it’s correctness. “Nationality” is not “ethnicity,” and besides, why would the above publisher need to know this information? Simply because the songwriter had (in the publisher’s estimation) Asian features? When I was managing a recording artist from Hawaii, I recall encountering the same rudeness. “What is he?” one magazine editor said, squinting at his press photos. “A singer who writes songs and records,” I answered. “No, you know what I mean. What is he?” persisted the editor. In a listening session at a conference, I was teamed up with a major record executive from one of the most prominent record labels in the world to evaluate live tal- ent. One of the artists, a dynamic woman of considerable power, had the room shaking with her conviction. At the conclusion of her song, the exec asked only, “So, are you married?” The singer stood in disbelief at the inappro- priateness of his query. The entertainment business is one of smoke and mirrors, and what is projected is often the image, not the entire artist. That said, we cannot afford to make Chapter 5 Making ContactNetworking Strategies for the New Music Business 98assumptions about others in our business based simply on the way they appear to us. As the old saying goes, “If you ‘assume,’ it makes an ass out of ‘u’ and ‘me.’” Assumptions to Avoid About Anyone to Whom You’re Introduced Coming in contact with a variety of personalities is a trademark of our business. What you see, however, is not always what you get. Avoid making social gaffes based on assumptions regarding /L50480 Race /L50480 Age /L50480 Sexual preference /L50480 Political afﬁ liation /L50480 Musical likes and dislikes /L50480 Religion /L50480 Marital status Complimentary Consideration Often when I’m conducting interviews, common names will come up in conversation. During an interview with writer/producer Billy Mann, who has seen phenomenal success with artists including Jessica Simpson, Josh Groban, and many others, he referenced Pink’s guitar player, my friend Rafael Moreira. “Raf is amazing,” he said. As soon as the conversation was over, I called Rafael immediately to let him know that Billy had spoken so highly of him. A compliment once removed is doubly effective: It made Rafael feel good and also translated into his feelings about Billy. Meanwhile, I’ll also beneﬁ t because I passed on a positive message. Speak up; if you 99have a nice thought, by all means share it. You can often tell more about a person by what he says about others than what others say about him. But don’t share the negative stuff or pass it on, and please, never say anything negative about any person present. This is one lesson that I almost learned the hard way. Invited by the performing rights organiza- tion of a major composer, I attended a screening of the ﬁ lm that he’d scored. As the end credits rolled, a ghastly song almost obliterated the mood of the picture, a song so bad, in fact, that the composer whispered to the performing rights organization’s spokesperson, who sub- sequently announced to the room, “The composer wants you to know that he had nothing to do with choosing this song.” Later that same week I was having lunch with a ﬁ lm agent who asked me, “Have you ever heard a piece of music in a ﬁ lm that was so bad you couldn’t imagine why it was there?” Of course I began gleefully recounting the story of the horriﬁ c song, but fortunately, as it turned out, omitting the crucial details. “Who wrote the song?” demanded the agent. As I opened my mouth to respond I suddenly saw the songwriter I was about to malign rise up at the next table—just in time to avoid a serious faux pas on my part. Similarly, conversation shouldn’t be about someone, even in a group of close friends. If someone talks bad about another person in public, they’ll probably bad mouth you as well. No matter how tempted you may be to pass along a cutting comment or to join a group talking badly about another person, don’t do it. It doesn’t reﬂ ect on anyone other than you, and it will make you look bad. Chapter 5 Making ContactNetworking Strategies for the New Music Business 100There are rarely regrets for what has not been said. People who speak easily often communicate too much, but someone who doesn’t speak at all doesn’t add to the party. In conversation, it’s best to aim for the middle— know when to listen and when to carry. Many stories are best told brieﬂ y and once only. More regrets are expressed over what was said than what was not. In ending a conversation, use exit lines because not only do you need to say hello, you need to say good-bye. An exit line will help you say good-bye gracefully and leave on a positive note. Don’t strive for cleverness, just be sincere. You can simply say, “It’s been nice talking to you,” “Good to see you,” “I hope to see you again soon,” or my personal favorite, “I’m gonna go work the room.” If so inclined, shake hands good-bye or place your hand lightly on the other person’s shoulder to convey sincerity. Remembering Names When I ask a room full of participants at a seminar how many of them have problems remembering names, I’m not surprised when the majority raise their hands. One reason is that at the moment when someone we meet is saying their name, we’re generally shaking their hand and our attention is diverted away from the sound. Here are three strategies for remembering names. 1. Examine a person’s face discreetely when you are intro- duced. Locate an unusual feature—prominent ears, a precarious hairline, a projecting forehead, caterpillar-like eyebrows, etc.—and create an association between the characteristic, the face, and the name in your mind. 101 2. Associate the person with someone you know with the same name, or perhaps associate a rhyme or image from the name with the person’s face or deﬁ ning feature. The more infantile the better; you don’t have to share this with anyone else. 3. Repeat the individual’s name immediately after you hear it, and use it as often as possible without being obvious. If the name is unusual, ask how it is spelled or where it comes from and, if appropriate, exchange cards. The more often you hear and see the name, the more likely it is to sink in. Also, after you have left that person’s com- pany, review the name in your mind, and make notes surreptitiously in a notepad if you’re really working it. Did You Drop That Name? I remember reading review notes from a lecture at a music school accusing me of dropping names. OK, I admit, it goes with the territory. I’ve programmed music heard on-board by the most powerful ruler of the free world, interviewed virtually every major recording artist in the history of American pop music, and lectured for half a decade at a college founded by an ex-Beatle. Still, the criticism hit home. I recall that the class to whom I was lecturing was not the most welcoming, and I was probably using recognizable names to prove my credibil- ity. In retrospect, I didn’t need to, since I’d written their textbook. Many name droppers believe that if they are asso- ciated with important people, you will be impressed. They’re often gravely insecure about their own achieve- ments, so they use others’ names to add to their esteem. Chapter 5 Making ContactNetworking Strategies for the New Music Business 102After my scathing review, I’ve become more sensitive about my own tendencies in this direction. (And I’ll ask Clive, Alanis, Avril, Aretha, Britney, and Quincy to do the same.) Business Cards In this high-tech, digital world, there are few more eco- nomical ways of networking than passing out business cards. It is now possible to design and order business cards online, and in some instances you can even have cards made free. Whatever the method, your business card can communicate many things about you, and here are some tips to presenting the proper picture. /L50480 Limit yourself to the business at hand. A card that reads “Joe Jones, songwriter, recording artist, dog trainer, fortune teller, high colonic therapist” lacks a positive message about your commitment to your art and will not impress the recipient. /L50480 Simple is good; readability is essential. Check out business card design samples online or at your local library for tips and examples. /L50480 If your career requires that you move often, con- sider having a blank line on which to hand write your telephone number. /L50480 Keep the fonts simple, avoid the really grotesque ones, and don’t crowd the information. /L50480 Do include e-mail and Web site info. /L50480 Refrain from crossing out numbers or addresses. Get new cards when any of your information becomes obsolete. It’s a few dollars well spent.103The best time to pass out your card, obviously, is when someone asks you for it. Otherwise, offer it with an easy message. “Should you need to reach me for any rea- son whatsoever…” is a nice, low-key statement. Similarly, when you want someone else’s card, be direct but not demanding. “What’s the best way for me to reach you?” is an excellent prod. Working the Room Now it’s time: You’ve been invited to a music industry event where you’re sure to meet some movers and shak- ers. As you’re about to descend into a pressure-cooker environment, it is imperative that you prepare, mentally and physically, to present yourself in the best possible light. “Working a room” is a variant of the art of min- gling, of blending into any given space containing groups of socializing people and becoming part of the action. Making the transition from background to foreground, from intruder to “one of us” is no easy matter and requires considerable ﬁ nesse, especially in music circles. Here are some time-tested tips. Arrive early and spend moments of solitary time in your car relaxing and preparing yourself for the moment. If you’re late you will be in danger of giving off negative, frantic energy, so having extra time to locate parking, elevators, entrances, restrooms, and escape routes is advisable. I use this extra time to pump myself up. I might begin by afﬁ rmations, such as “I belong here” and “I’m going to be upbeat and charming.” A huge part of work- ing any room is getting fear under control.Chapter 5 Making ContactNetworking Strategies for the New Music Business 104I also review my objectives for the evening, whether it’s seeing old friends or, more likely, making new contacts. Don’t be afraid of talking to yourself in prepa- ration, of articulating your intentions out loud. I check my pockets to make sure the necessary tools are at hand. I always have an interesting and classy pen, plenty of fresh, non-dog-eared business cards in an appropriate holder, and a small notebook to jot down names or details that I may need to refer to after I leave. Breath mints are a must. Also, if food is being served, either a toothpick or a ﬂ oss stick that can be used surrep- titiously in the restroom over the course of the evening is advisable. Nothing can negate a good impression like a piece of arugula sprouting through your teeth! Give yourself time when you enter the room. It’s ﬁ ne to wait a while before striking up a conversation. We are sometimes so focused on ourselves that we are our own worst enemy, and often what people are most afraid of is sticking out like a sore thumb. Be easy on yourself. Learn to be alone for a while, and be comfortable. Assess the dynamics of the room and move around the perimeter. Enjoy the art, the buzz of conversation. Take away the pressure by imagining that no one can see you. Another advantage of early arrival is having an opportunity to meet the host or hostess and to enjoy the food before the buffet gets mobbed and before you need to expend your energies on communicating rather than scarﬁ ng the free crab cakes. Be very aware of your reaction to alcohol. For some, a drink or two can be very helpful in assuaging anxiety, 105but nothing can be more detrimental to creating a good impression than being under the inﬂ uence of demon liquor. A wine spritzer—wine diluted with soda water— may be a good compromise. Pace yourself. Prepare to move on. Finding someone—anyone—to talk to is the only goal of most crowd-phobic people. You will be perceived as needy if you cling to the ﬁ rst person who says hello. A great method in working a room is to seek out people who are standing alone. Introduce yourself, ﬁ nd out why they are attending the event, and then offer to introduce them to someone they might want to meet. Remember, if you walk into a room and you’re only there to take, people will pick up on that. But if you’re a person who gives, it’s easy for others to give to you in return. Follow the 10-5 rule for meeting and greeting: If you make eye contact with someone within 10 feet of you, you must acknowledge them with a nod or a smile. At ﬁ ve feet, you should say something—“Hello” or “Good evening.” Don’t pretend you don’t see them. I learned this next lesson the hard way. If ﬁ ve people are in conversation, feel free to join them; four people, sure, walk right up; three, no problem. But beware: If two people are engrossed in conversation, unless you know them very well, it is never permissible to intrude. Odds are, they’re discussing something private (maybe even you!). Have you ever been in conversation with some- one who seems to ﬁ nd whatever is over your shoulder more interesting than you? Being a good listener is the Chapter 5 Making ContactNetworking Strategies for the New Music Business 106most important part of being a great conversationalist. Don’t let your eyes wander. If the person you’re speak- ing to does this, follow his stare with a wry comment, “I wanted to see what was so fascinating.” Hidden Opportunities One of the famous disadvantages of living in the hills of Los Angeles is that they sometimes tumble down. Such was the case this winter, as a mountain of mud surged through my street on its inevitable, gravity-determined path. As I walked through the neighborhood survey- ing the damage, I came upon my neighbor, who was speaking with a couple who had recently relocated to the block. As I was introduced to them, the male member of the pair commented, “Jean [my neighbor] tells me I can hear you on United Airlines.” When I asserted that, yes, I did frequently voice shows for the in-ﬂ ight entertain- ment, he told me, “I’m in animation, and we always need voices. Get me a CD and I’ll see what I can do.” How cool is that? From a mountain of mud shone a window of opportunity. I was reminded of a singer/songwriter friend of mine, Beth Thornley, whose songs can be heard on the new DVD releases of Dawson’s Creek: Season 2 and Roswell and on episodes of The Chris Isaak Show, The New Ride with Josh and Emily, the CBS ﬁ lm It Must Be Love, and Book of Ruth. She tells of a serendipitous day when UPS delivered a color printer to her door that she hadn’t ordered. “I called UPS and said, ‘This isn’t mine,’” she remembers. “‘Could you come back, pick it up, and deliver it to the person whose address is just around the corner and down the street?’” “They said, ‘If we do, we’ll 107charge you for shipping.’ I said, ‘OK, I’ll just take it.’” She called the rightful recipient, who came over to claim it, and he happened to be a music supervisor. “That was my Roswell placement,” says Thornley, “but it was a full year down the road.” After that, Thornley recalls that she would often encounter him walking his dog, and he’d tell her what he was working on. “Also, I did a version of ‘Eleanor Rigby’ for another show that got canceled before they used it. I burned it to CD and asked him if I could drop it in his mailbox.” Thus began a tactic by which Thornley stayed in supervisors’ minds. “When I get done with something nice, I’ll burn a CD and drop it into the mail for them. That keeps me in their thoughts between albums. I’m working on my second album now, but I can get one thing down and send it out as a taste. This music super- visor gave me that idea. I was close enough to hand it to him, but I thought, ‘Why not send it to everyone I know?’” Granted, Thornley and I live in an entertainment capital, but the point is that many things in our music world happen as the result of simple, chance human interactions. But you have to be ready to receive and recycle the energy. If I was walking down my street angry and muttering at the watery fate that had mired my car, or if Beth Thornley felt put-upon by her chore, the same opportunities would not have happened. Any place can become an arena for meeting others. Neutral environments—airports, waiting rooms, and so on—are perfect places to practice “Pop People Power.” You have nothing to lose and everything to gain. Let your instincts guide you, invent a reason to begin a Chapter 5 Making ContactNetworking Strategies for the New Music Business 108conversation, and see where it may lead you. You could be surprised. I often play a game when I’m waiting to catch ﬂ ights, especially to or from Los Angeles, London, New York, or Nashville. I will spot the most interesting person in the waiting area and focus my attention on them. Then, if and when the time is right, I will initiate a conversation. It’s a fascinating way to pass the time, and I’ve made innumerable contacts in my professional and personal life in airports. Practice Makes Perfect Just as musicians study and practice musical instru- ments, you also have to rehearse your networking chops and practice being open to others. You may be project- ing your accessibility when you become aware if it. The following communication came to me shortly after I conducted a networking seminar as part of an educa- tional series at a local music store. Dear Dan, I attended your presentation at West LA Music in the valley about a week and a half ago. I spoke with you brieﬂ y afterwards about being from Ohio. You might enjoy some feedback about your presentation. One of the things you said that really stuck with me was the idea of practicing the networking chops. The exam- ple you used was talking to people on elevators. So, I have been doing that since that night, just to practice breaking the ice.109But here’s the cool thing that has been happening to me since I started: About half of the time, before I even initiate the conversation, the other person starts talk- ing to me. That has never happened before in my life, and now it’s happened about ﬁ ve times in the last two weeks. The only thing I can ﬁ gure is that my willingness to speak to the other person projects as openness, a quality that I didn’t used to express. I’m starting to get a sense of how the process of networking really snow- balls. Thanks again for taking the time out of your schedule to share your experiences that night. I’m excited about this new unexplored skill I’m starting to develop! Michael B. It’s true, that your openness and willingness to com- municate to others can be felt, and you just never know. I’ll sometimes reﬂ ect backwards, “If I hadn’t gone to that party, been introduced to that person, had that conver- sation, and made that follow-up call, this opportunity would have never existed.” So get yourself out there; nothing happens if you don’t. The Fine Art of the Studio Hang Is there any place more intriguing than a recording studio? Having come up in the mega-tracking rooms of Nashville and New York, it was somewhat disconcerting to move to Los Angeles and ﬁ nd myself in recording Chapter 5 Making ContactNetworking Strategies for the New Music Business 110sessions taking place in renovated garages in the far reaches of the San Fernando Valley. This was only a precursor of what was to come. Today, studios can be anywhere—in a home, a base- ment, an unused bedroom, or even a bus. Hanging out in the studio, however, is still a time-honored tradition and requires a strict adherence to protocol. Following are some tips for proper studio etiquette. 1. Never give your opinion unless you’re asked. There is a strict hierarchy in the studio. The producer is in charge but in service to the artist. If you are there as a guest, it is in everyone’s best interests, especially yours, that you not disturb the chemistry. The producer knows exactly what he or she is listening for in a take. Often it’s emotion versus technical perfection. 2. Stay visually engaged with those recording when they come in for playback. Don’t read, check your e-mail, or act bored. Again, the chemistry in a session situation is supercharged and, depending on the artist, can be very volatile. Distractions or negativity can alter the fragile emotional parameters. 3. Pay attention to everything during tracking—be very present. Look at the session as a learning experience and take in everything. What changes is the engineer mak- ing? How are the mics placed? What is the producer going for in the session? 4. Don’t set anything on the recording board or any other equipment—ever. This should be self-explanatory, but a drink spilled into a console could render a price- less piece of gear inoperable. At the Liverpool Institute 111for Performing Arts (LIPA) where I’ve lectured, they maintain a hard and fast rule that no beverages of any kind are permitted in the studio. The only exception I observed was the popping of a champagne bottle to christen “The Sir George Martin Studio.” The fact that Sir George himself was sipping the bubbly made it OK. 4. If conﬂ icts arise, make yourself invisible. Making your- self invisible also comes in handy so you don’t distract any of the recording personnel. Don’t announce your arrival and departure; rather, slip into the room and ascertain the vibe ﬁ rst. If you have to slip out, do so unnoticed. 5. Don’t distract the talent with needless chatter. Vocalists are notoriously temperamental. Loading them up with your opinions, ideas, or suggestions could blow their concentration. Non-verbal communication may be your strongest option. Again, be very positive and supportive, if only through eye contact and a smile. Chapter 5 Making Contact112CHAPTER 6 Telephone and E-Mail Cell phones, computers, BlackBerries (portable digital devices that can send and receive digital and telephone communications), and whatever might be developed by the time you’ve ﬁ nished reading this chapter are all mechanisms that should be integrated into your networking strategy of communication. Different methods of communication work for dif- ferent individuals, and timing of your communication can be as crucial as access. Below is a common scenario that happens when you try to communicate with busy people. Dear Dan, I recently met a major music industry player who was kind enough to give me his card. I’ve been calling his ofﬁ ce ever since then, and I haven’t been able to get a hold of him. His receptionist keeps saying he’s either 113not there or is “in a meeting.” What can I do to get through to him? Should I keep on calling? Puzzled in Pacomia OK, this is easy: No, don’t keep calling; change media. If calls don’t work try, e-mail; if e-mail doesn’t work, send a fax; if a fax doesn’t work, send a card or letter. It’s difﬁ cult to understand the realities and demands of those with whom we communicate. Speaking from my own experience, when I’m on a writing deadline, a telephone call from someone who is not communicating about the matters at hand is usually an unwanted intru- sion. At these times an e-mail is preferable because it’s something I can respond to on my own terms and time. Sometimes the opposite is true—I’m tired of writing, don’t want to read e-mail, would love to stand up from the computer, and could use a distraction. At these moments I welcome calls. But when something isn’t working for you, don’t continue to try to bludgeon your contacts. Simply try another avenue. The Telephone Next to human contact, the telephone is probably the most intimate method of communication. Think about it: You’re right in someone’s ear when you’re speaking. The sound you project on the phone is just one element of your communication. Like all other networking strategies, effective telephone communication is Chapter 6 Telephone and E-MailNetworking Strategies for the New Music Business 114determined by the ability to read the emotions and thoughts of the person on the other end of the line, not simply talking at them. In my ﬁ rst year in Los Angeles, as I struggled to gain a foothold in the music business and needed to ﬁ nd other ways to pay the rent, telephone work—surveys, sales, soliciting—was a time honored method of mak- ing money for musicians and struggling actors. Whereas most of my co-workers resented these jobs, I found them fascinating because I learned so much about human nature by way of the intimate communication. Many of the skills I developed and use to this day were honed by making thousands of calls to people who initially had no desire to speak to me. It was wonderful training for the future, and I’ve never hesitated to make an outgoing call since. Sound The actual sound you make on the telephone should be well modulated and pleasing to the ear. Take cues from the person with whom you’re speaking. Research indi- cates that if you talk just a little faster than the person with whom you’re conversing, you’ll be considered more intelligent. Certainly this is a challenge if you’re talking to someone in New York City, but try listening to, and then matching, the rhythms of the person on the other end of the line. Eating, drinking, lip smacking, or being too close to the phone are all negative signals.115Reﬂ ections of Power The true power brokers who use the telephone use a time-honored trick: They have mirrors within close proximity, positioned so that they can see themselves speaking, to remind themselves to smile on the tele- phone. Try it: A smile can actually be heard. Also, to project energy and forcefulness into a telephone conver- sation, stand up when you make the call. The best times to make calls in the music business are Tuesdays, Wednesdays, and Thursdays, preferably before lunch. It’s most effective to make groups of calls all at once, to psyche yourself into a frame of mind where all you’re doing is making calls and not diluting your energy by breaking up the ﬂ ow. Make business calls during business hours. If I receive a call at my ofﬁ ce on weekends (yes, I’m often here but don’t always answer), it telegraphs to me that the person making the call is a “part-timer” and cer- tainly not a music business professional. Similarly, if I’m considering working with a prospective client and they call me at night, on weekends, or on holidays, it makes me not want to become involved because it tells me that they won’t respect my privacy or my time. Begin by telling your callee the purpose of the con- tact. “Let me tell you why I’m calling,” is always helpful. “Here’s the situation,” is another effective intro. “I’ll be brief,” prepares your contact with the knowledge that it’s not going to be a lengthy encounter. You need to script your call—not word for word, but outline any main points you need to include. Then get right to the point. “I have four things to discuss with you,” will show the Chapter 6 Telephone and E-MailNetworking Strategies for the New Music Business 116recipient of your call that you’re organized and ready to do business. “How are ya?” is a cliché and should never precede a conversation with someone you don’t know well. A time-honored basic business rule is this: If you make the call, it’s your responsibility to end the call because the person who makes the call is always in the driver’s seat. Many heavy-duty executives make only out- going calls. Telephone Basics People are enthralled by the sound of their own names. You’ll need to address the person you’re speaking to by name approximately once per minute to hold their atten- tion. Don’t talk at people, and listen not only to words, but to the emotions behind them. If the person you’ve contacted sounds harried, harassed, or as if on a dead- line, be sensitive to this, and ask for a future telephone appointment with something like, “When would be a good time for us to speak?” “I’m just calling to touch base with you” is a state- ment that never fails to elicit a response from me, and not a good one. It tells me that the caller has no real information to impart, that they’re probably trolling me for information, and that they’re playing some arcane game where, for no apparent reason, I have been desig- nated the base. Never call someone without something speciﬁ c to say. Let them know clearly the purpose of the communication, and not simply some vague notion of “It’s been a long time since we spoke.” Maybe there’s a reason for that. If you’re calling to “touch base” with me, 117then we are playing a game. But I make the rules—and you’re out. If you’re receiving an incoming call of importance, move away from your computer so you won’t be tempted to check your e-mail while you’re on the phone. Yes, I know, it’s a multi-tasking world, but transmitting the tell-tale clicking of a computer while you are supposedly concentrating on a telephone conversation will project insincerity. Also, kill the background music, relegate rambunctious children to another area, and dismiss yip- ping dogs from the room when making outgoing calls. Music biz execs have key staff members to deﬂ ect calls, and you’ll generally encounter a gate-keeper. This is an opportunity for outreach. Introduce and ingrati- ate yourself to key staff, because often your access to the boss will be determined by your persuasive techniques with these subordinates. Don’t try to con or bully them; it won’t work. Tell a short version of your story; explain brieﬂ y exactly why you’re calling. When I had a recep- tionist working for me, she would often intervene on behalf of a caller who had made repeated attempts to get through, and I always heeded her advice. Telephone Tracking Having lists of people to call has proven to be very effective for some savvy networking folks: an “A” list of contacts to be spoken to weekly, a “B” list of bi-weekly contacts, and a “C” list of associates to be contacted on a monthly basis. Although you can invent reasons to call people, this invariably works best if it has some basis in Chapter 6 Telephone and E-MailNetworking Strategies for the New Music Business 118fact. “I saw an article that made me think of you,” is an effective ice-breaker. It’s helpful to take notes on conversations to avoid repeating yourself and to recall details of speciﬁ c inter- actions. Mega Hollywood execs often have an assistant listening in on the line to do just this. Cell Phones: Antennas of Satan? Has there ever been a device invented that is so conve- nient yet so utterly abused as the ubiquitous cell phone? I won’t add to the chatter on this matter other than to say that I’ve had a cell phone for many years, and that I was possibly as irritating when I ﬁ rst got it as many of the folks I currently witness. Of course, back then it was a novelty. Today, everyone from children to drug dealers are plugged in and chattering away, usually clue- lessly. Not only is using a cell phone no longer impressive in any way (unless it’s some incredibly new modern one), but when it is used for that reason, the user can be immediately identiﬁ ed as a neophyte and a poseur. A new term, “absent/present,” has been coined to iden- tify compulsive cell phone users and the phenomenon wherein an individual is there physically, but far away in conversation. It invariably throws off our sense of com- munication since we are isolated from those wired into their phones. People with whom I work may call me whenever and however they wish. But when my ﬁ rst telephone contact with someone who calls me is via cell phone, it sets off a red ﬂ ag. For instance, if I receive a call from an unknown party who uses a cell phone between the hours 119of 12:00 p.m. and 2:00 p .m., I assume that they’re work- ing a “straight” job and are using their lunch hour to make personal—or in this case, allegedly professional— calls. This thought process invariably distracts me, and I can’t take them seriously. Not a good ﬁ rst impression to give. If someone I know in passing calls me from their cell phone, I surmise that they’re in circumstances where they need to kill time and are using me to do so. Again, not good. Am I an afterthought? Did a tiny piece of pro- toplasm with the image of my face on it ﬂ oat through someone’s consciousness? I sometimes receive calls where the ﬁ rst thing I hear is the roaring of trafﬁ c. Has the 101 freeway called me? If I’m getting a call from the driver of a car, it’s an immedi- ate turn-off and tells me it’s someone who has chosen to jeopardize others’ lives for the sake of their own con- venience. (In England and Japan, talking on the phone while driving is a punishable offense. Not so in L.A.) Cell phones are not even telephones—they’re radios, and they sound crummy. To a sonically oriented person such as myself, it’s irritating, and as such, calls are lost and dropped. Nothing infuriates me so much as when someone calls me on a nasty, buzzy cell phone, bellows into it, and then drops the call. I generally don’t answer when they call back and instead let my voicemail pick up. Also, unless absolutely imperative, I won’t make out- going calls to numbers that I recognize as cell phones unless absolutely necessary. If you’re forced by circumstances to make an outgo- ing call and you have no option other than to use your Chapter 6 Telephone and E-MailNetworking Strategies for the New Music Business 120cell phone, please excuse yourself immediately when the callee answers. “I’m so sorry to have to call you on the cell, but you asked me to contact you at noon, and this was the only way.” Then proceed with the call, hopefully making it brief. Brevity is the key. Elongated conversa- tions on the cell are a strain. I can tell if someone is calling me from a cell because of the artiﬁ cial way they are talking—the dreaded “cell yell.” If your signal is weak, speaking louder won’t help, unless of course the person is actually within earshot. However, used effectively, the cell phone can be a marvelous device. I was representing a band and attempting, quite unsuccessfully, to book them into a local hot spot. I’d sent the press kit and CD, of course, but had been unable to contact the booker in person to do the all-important follow-up, so I decided to take more immediate action. One afternoon, I parked in the venue’s parking lot and, using my cell phone, made a call to the club and asked for the booker. When I received the “He’s not available,” rebuff, I determined that he was actually there. I’d dressed for the occasion in music biz garb: a nice sport jacket over an industry T-shirt, well-buffed shoes, and I carried a briefcase. I presented myself to the receptionist and announced that I was there for a meeting with the booker. Sure enough, he quizzically ventured out to greet me, invited me back to the ofﬁ ce, and we sat down for business. He ended up booking the band, and it was the beginning of a lucrative, long-term relationship with a very happening club. In retrospect, I think the booker might have imag- ined that we’d arranged this meeting and that he’d 121forgotten it. When using these types of tactics to get in front of the individuals you need to get to, it’s important that your motives and mechanisms remain transparent. If I’d begun our meeting by guffawing, “Hah, I fooled you!” it’s doubtful that I would have been able to book the band. Indeed, I may have gotten booted out the door. But selling is selling, whether it’s music or cars, and getting to the buyer is the fundamental ﬁ rst step. In this case, the cell phone conﬁ rmed the booker’s presence for me. Cell Phone Etiquette To avoid unfortunate confrontations with others, you might want to observe a few basic rules of cell phone etiquette. /L50480 Think of your phone as a portable answering machine. When you’re in an appropriate place—a parked car, outside of a restaurant, etc.—you can return calls. /L50480 If you simply must be available for a caller, put your phone on “vibrate” mode if you’re in any non-private place. /L50480 Practice speaking in a quiet conversational tone. If no one looks your way while you’re speaking on your cell phone, you’ve got it. This is the only acceptable tone of voice. /L50480 If you forget both “off” and “vibrate,” and your phone rings in any non-private place, turn it off instantly (and as unobtrusively as possible so nobody will suspect you are the jerk responsible). No matter what: Don’t answer.Chapter 6 Telephone and E-MailNetworking Strategies for the New Music Business 122Do you really want to be available all the time? Does that truly make you more productive, or does it just spread your productivity thinner over more time? A cell phone is a wonderful tool, but it’s also a leash. Cell phone conversations interfere with the person-to-person contact that you might otherwise enjoy. The random conversation you might have with a person while wait- ing in a line, a stranger you might encounter and interact with, is instead being supplanted by the impersonal 24/7 access everyone has to you. E-Mail What did we do before e-mail? I ﬁ nd that in my world, my phone calls have probably dropped in volume by half in the past couple of years, while e-mails have increased dramatically. E-mail will never take the place of the tele- phone or an in-person contact, but it’s a terriﬁ c way to keep in touch with both business and personal contacts. By checking my e-mail at an Internet café in Istanbul, I was once able to secure a valuable writing gig that required me to make an immediate response. E-mail cannot, however, transmit much emotion or energy. Also, humor may fall ﬂ at, and sarcasm is almost impossible to convey. Here are some brief guidelines for composing your e-mail messages. /L50480 Check that you’re sending e-mail to the correct destination. Horror stories abound about those who have inadvertently sent e-mail communica- tions to their bosses, enemies, etc. /L50480 Watch out for “funny” jokes or cute stories. You might send these to your friends or family, but 123they have no place in business. Ditto for warn- ings about “scams” or messages about a virus that is supposed to devour everyone’s hard drives or the United States government’s dismantling of National Public Radio. Check www.snopes.com for Urban Folk Tales ﬁ rst. /L50480 Avoid attachments if you can—better to cut and paste in the body of an e-mail than to include some- thing that your recipient may not be able to open. /L50480 Messages should be concise and to the point. Think of it as a telephone conversation, except that you are typing instead of speaking. Keep in mind that some people receive hundreds of e-mail messages per day. /L50480 If something is important, it should be reﬂ ected in your text, not in your punctuation. Don’t use !!!!! or ALL CAPS. /L50480 In the quest to save keystrokes, users have traded clarity for confusion: “FYI” and “BTW” are OK, but don’t overuse acronyms—write out every- thing else. /L50480 Use :-) and similar symbols (a.k.a. “emoticons”) sparingly, if at all. /L50480 In casual introductions, you can probably bypass the standard formalities, and just use something like “Dear Edward,” or just “Edward.” In the busi- ness realm, things are much more complicated, so each situation will need to be evaluated on its own. If you normally address a person as Miss/Mrs./ Ms./Mr., then address them identically in e-mail. /L50480 If your e-mail address is a business address, include your title and company name in the sig- nature, because in the e-mail world letterheads are not used. Always include your telephone number somewhere in your e-mail. Chapter 6 Telephone and E-MailNetworking Strategies for the New Music Business 124E-mail is a conversation that does not require an immediate response. If a hundred people send you e-mail in one day, so what? You won’t have to talk to them, so just think of all the hellos, good-byes, and other unnecessary chit-chat you’ve avoided. With e-mail you deal only with essentials, and you deal with them on your own time. That’s the blessing; the curse is that it’s impersonal and cold, and cannot transmit energy, enthusiasm, or warmth. Like any other networking tool, e-mail is simply one component of a much larger picture. It will never supplant the power of one-on-one commu- nication, but it can support it. 125CHAPTER 7 Coming up through the ranks of popular music, we are often so intent on putting ourselves out there, trying to make ourselves known and recognizable, that we leave little air in the room for breathing. I learned long ago that the most powerful position to come from is not when you’re pitching, but when someone requests some- thing from you. We have much more control over this than we might imagine. When I was managing artists, I ascertained that I would encounter immediate resistance if I tried to push the artists into people’s faces with a heavy-handed agenda. Often the opposite tack—a soft sell—worked far better. Describing the artists I was handling in non- off-putting terms or showing a press photo or a logo or wearing a merchandise T-shirt with the artists’ image, I would be questioned, “Who is that?” When I would explain (with a short pre-engineered “sound bite”), I would invariably be asked, “May I get a press kit and CD? I’d love to hear what you’re up to.”Creating Effective Tools of the TradeNetworking Strategies for the New Music Business 126Press Kits Like most music biz professionals, I get a sixth sense about artists from their presentation; sometimes, in fact, I can tell the quality of the music even before I open the envelope containing their press kit. How? First I look at the envelope it comes in. Is it ﬁ nger-printed, dirty, or dog-eared? Odds are, the music is equally a shambles. Has it been addressed to “Dear Journalist?” Not a good sign. And since the magazines I write for change location often, has the sender checked the address before mail- ing, or is it arriving with a forwarding mail notice on the front? All of these are signs I look for before I open the package. Once I do begin to open it, I note the ease in doing so. Will I need a machete to tear through the lay- ers of tape holding the envelope closed? As I pull out a package, I inevitably recall the enterprising recording artists who packaged a press kit with handfuls of glit- ter that subsequently embedded themselves in the plush carpeting of my ofﬁ ce. I discovered remnants of their presentation for months after, and it always reminded me of them, but not with love. You need to tailor-make your press kit according to whom you’re sending it. I’ve heard managers and record company A&R personnel swear up and down that a fancy press kit isn’t necessary. As a journalist, I appreci- ate a well-written bio, succinct press clippings, and a professional photo—either color or black and white— suitable for scanning and inserting in a magazine. It’s a nice touch to have downloadable, high-resolution photos on your Web site as well.127Keep your presentation envelope size standard. An interesting, eye-catching color is permissible if the music is equally colorful. Also, use standard ﬁ rst-class mail. Nothing predisposes me to not like a band more than waiting in an interminable post ofﬁ ce line to pick up a mystery package that requires my signature. Keep in mind that most post ofﬁ ce box addresses do not accept UPS or FedEx, so check before mailing. The Folder At any given moment, I have an identical stack of black glossy folders sitting on my desk. Do you know what’s in them? Well, neither do I, since there is nothing on the cover in the way of identiﬁ cation. Without a logo, a sticker, or something on the front of your folder, the recipient has nary a clue as to what it contains. The folder doesn’t have to be extravagant, although color- coordinating it with other materials in your press kit will display a sense of unity. And unity is the most important concept to grasp when putting together a press kit. All of the visual elements have to reinforce and reﬂ ect the music because odds are it will be heard as the recipient is reading the enclosed materials. The Cover Letter For cover letters, short, sweet, and to the point is the best advice. Professional-looking letterhead and good-quality paper will help you achieve a positive impression. Tell the reader who you are and especially why you’re sending the enclosed materials. If you’re sending to a journalist, let her know that you’re hopeful of a review. If you’re Chapter 7 Creating Effective Tools of the TradeNetworking Strategies for the New Music Business 128sending to a club booker, your materials should include information pursuant to your live show. A generic letter addressed to “Dear Sir/Madam” is not sufﬁ cient. Spell out the name of the person you’re addressing and be sure to render their title correctly. Be sure to include all of your contact information on every piece of material you submit: name, address, tele- phone number, e-mail, and Web site. A CD or DVD If you have a fully produced CD, it will no doubt be included in your presentation kit, of course. Depending on to whom you’re submitting, you may want to limit your exposure. For A&R at record labels or a music pub- lisher, for example, three songs should be sufﬁ cient. If the listener wants to hear more, he can always request additional material from you, which is a good position for any ﬂ edgling band or artist to be in. A video presentation is great for certain artists but a dicey proposition for others because a tacky, sub-par performance video can diminish the viewer’s opinion of the band or artist substantially. However, I’ve seen impressionistic, arty videos that mirror the music, and these can be effective. Just like the CD, it may not be necessary to deluge your contacts with too much infor- mation. If you have a video, you may want to reserve it as support material for further down the line.129The Bio I have probably written over 300 artist bios in my career. Many times harried journalists have cut corners by appropriating the exact words I’ve written in a bio into an article. This is totally acceptable, of course; I create bios as works-for-hire for a fee, and I don’t maintain control over them once they leave my computer. I maintain that a bio is the cement that holds a press kit together. Your bio should /L50480 Create an identity. /L50480 Deﬁ ne a musical style. /L50480 Lead the reader directly to the music. Recording artists, songwriters, performers, and pro- ducers all beneﬁ t from well-written bios. “Send your music, bio, and picture” is usually the ﬁ rst request from someone interested in your talents. If you don’t have major credits, your bio can spotlight personalities, histo- ries, and creative processes. The bio must be honest, but the truth should also sound as good as possible. Never mistake hype for substance. Such key phrases as “eagerly anticipated” and “critically acclaimed” always set off my B.S. meter. Beware the hackneyed cliché, the imprecise metaphor, the goofy, strained adjective. “Unique” means nothing to me. “Joe Jones is a brilliant artist” doesn’t show, it tells. “Sue Smith is destined for stardom” is lame and off-putting. The bio must lead the reader to his own conclusions. Telling a reader what to feel or think may lead to the exact opposite impression. Double check for proper punctuation, grammar, and spelling.Chapter 7 Creating Effective Tools of the TradeNetworking Strategies for the New Music Business 130Stating the style of music the artist creates in a bio is a necessity. “We don’t like being pigeon-holed” is a complaint I hear often from young bands and artists. Guess what? There is a reason that retail CD stores have categories for music; otherwise buyers would never know where to look. A bio is not a résumé, where speciﬁ c information is required and a certain format is followed. There are no hard and fast rules, though there are things to be avoided. Your bio is what the stranger who is listening to your demo for the ﬁ rst time is holding in his or her hand. Make it reﬂ ective of who you are as an artist. Be creative. A well-written bio can make the listener want to hear your music. It can even affect the way someone lis- tens, causing them to listen a little more closely or to be more inclined to give you the beneﬁ t of the doubt. One of my pet peeves is reading an artist’s bio that includes something along these lines: “Susie Stiletto combines the sensitivity of Joni Mitchell fused to the aggressive lyricism of Alanis Morissette, combined with the melodicism of Sheryl Crow.” I know how I feel about these artists, but dropping their names in as a compari- son doesn’t really tell me anything about “Susie Stiletto.” She’d certainly need to be a mind-blowing, powerhouse artist to rank comparison to this triumvirate. Do not include facts that don’t have to do with the music. For instance, it may be pertinent to say you ride horses if you have songs about horses or have written songs while riding horses or can draw some correlation between horses and music. Otherwise, leave those horses in the pasture. Information about your educational background, work experience, broken marriage, prison 131term, or dysfunctional childhood should be referenced only as it relates to the music. If you’re an artist, you probably know how difﬁ cult it is to be objective about your music and career. You’d be well advised to ask a local journalist to write your bio for you. The length is usually one page. If you’ve got a fasci- nating history and it’s extremely well written, a one and a half to two-page bio is permissible. $150–$350 is the standard rate in Los Angeles. Be involved in the writing process—you can ask for drafts and rewrites. As a journalist, I receive an average of 15 to 20 major or indie label press kits weekly. There is no singular bio style that is appropriate for all of these artists. A seeth- ing, pierced, neo-punk aggregation and a soothing, cerebral new-age artist can’t possibly share the same metaphors. Your bio must speak in the same voice as your music. Following is an example bio. Luis Villegas — Bio Each of Luis Villegas’ label releases has revealed the unfolding artistry of a master guitarist and composer. Now, Casa Villegas (Baja/TSR) marks his debut as a producer. “I had a dual life, not only writing and arranging the songs, but ﬁ guring out what instru- ments to use, setting up the sessions, and booking the studio,” says Villegas. He had the bases covered until the night before his initial session. “I’d forgotten to book the musicians,” he laughs. Chapter 7 Creating Effective Tools of the TradeNetworking Strategies for the New Music Business 132It’s clear that Villegas and his tight-knit com- munity of world-class players were ready for the challenge that began this two-month recording pro- cess. With Villegas’ blistering nylon-string guitar at the forefront, Casa Villegas marks a breathtaking musical odyssey from the gritty streets of the city to the sunswept plazas of Spain, across the plains of Morocco to the ancient temples of India. Middle Eastern percussion and Indian tabla provide an aural backdrop as African bata drums mesh with congas and timbales in a wealth of musical cultures. The rhythms of East Los Angeles, Villegas’ birthplace, fuel the opening song, “Bienvendos,” (Welcome) and the Latin/jazz grooves of “Whittier Blvd.” Two songs featuring vocals by lyricist/vocal- ist José Garcia balance the instrumental mix—”Ojos Verdes” was inspired by Luis’s daughter, Krista, while “Mujer Enamorada” is dedicated to his wife, Gloria. “She’s in love with life and living,” Luis says, “I told José, ‘Write some lyrics that go with that,’ and he hit the nail on the head.” Each song on the album is framed as a distinctive vignette. “I didn’t want to be limited to my live instru- mentation,” explains Luis, who used violin, a horn section, keyboards, and additional guest vocalists. Sonic minimalism is illustrated in the austere simplic- ity of “Recuerdos de Jerz” featuring ﬂ amenco singer Maria Benjumeda, and “Jaleo,” a song with only two guitars and percussion. Both recall a golden period Villegas spent in Spain. “It’s a feeling that you’re standing right in front of the street musicians on the banks of the Guadalquivir River.”133Villegas channels a rhythmic physicality into “From the Heart,” and a gentle samba groove informs “Brazilian Magic.” Inspired by the transcendent tex- tu res of I ndi a n m usic, “ Ka m a S utra ” co n j u res u p a frenetic mystic whirlwind of Villegas’ guitar and Charlie Bishart’s violin. New audiences were introduced to Villegas via his previous album, Spanish Kiss (Baja/TSR) as the single “La Reyna” landed on Smooth Jazz play lists coast to coast. Corresponding appearances at high proﬁ le f e s t i v a l s , i n c l u d i n g t h e C a t a l i n a J a z z T r a x F e s t i v a l , The Playboy Jazz Festival, and The Sedona Hot Latin Jazz Festival, sealed his reputation as a blistering live performer, while tracks from his debut CD, Café Olé (Domo), landed in Warner Bros., HBO, Sundance, and Warren Miller ﬁ lms. On record, he can be heard on Guitar Greats Volumes I and II (Baja/TSR); Music for the Spirit , Volumes I, II, and III (Domo); Tabu Mondo Flamenco (Narada); the Lost & Found soundtrack (Capitol); and Gypsy Magic (EMI/Virgin). A s h i s e v e r - g r o w i n g b o d y o f w o r k r e ﬂ ects his musical maturation as a guitarist, composer, and producer, his themes mirror his real life as a husband and father. Although this time out his creative geog- raphy is charted with a global compass, the music always comes home to Casa Villegas . Your Photo Photos for newspapers and magazines can be transmit- ted electronically, For most uses, low-resolution shots are ﬁ ne, but for magazines you’ll need a high-resolution Chapter 7 Creating Effective Tools of the TradeNetworking Strategies for the New Music Business 134photo. Having more than one shot is ideal, and a live pic- ture of a band can generate more energy and vibe. Also, having a selection of black-and-white and color shots for speciﬁ c uses is an excellent calling card. For your press kit, however, limit yourself to one deﬁ ning shot. Don’t pose in front of branches and trees that appear to grow out of your head, and make sure the shot conveys the exact attitude of your music. Full-Court Press There are many types of media, and each one is very spe- ciﬁ c regarding its needs. Before contacting any member of the press, you need to have a focused strategy. Are you currently performing? If so, press releases and calendar notices to print media should be sent well in advance. Monthly publications will need pertinent information up to two months in advance of the publica- tion date, weekly publications need at least two weeks, and dailies need at least a week in advance. Many major publicists prefer to work press concur- rent with a tour. If you’re doing it for yourself, compile press lists and contacts for each city you’re visiting, con- tact the press well in advance, and always follow up. Do you have a story? The press always prefer an “angle,” but it can’t be something artiﬁ cial, corny, or contrived. National press is extremely hard to come by and won’t do you any good if the reader can’t immediately 135go to a familiar Web site or a retail outlet and pick up a copy of your CD. Press is cumulative: The more you get, the more the press will be interested in what you’ve got to offer. Include a cover letter and state exactly why you’re sending information. Make sure that the person to whom you’re sending your info is still at the publication and is the proper recipient for your info. Don’t assume they’ll pass your materials on down the line, and do not address your cover letter to “Dear Journalist.” As a fea- ture journalist and columnist for a magazine, I am not predisposed to assist anyone who hasn’t bothered to do their homework and sends me materials for which I have no use. A proﬁ le, a review, a calendar listing—all are completely different functions of a magazine or news- paper. Learn who does what and address them correctly. An e-mail query to an editor is a good method. Journalists are usually slammed with deadlines and subsequently are quite disorganized. Major record labels will often send me duplicate materials, once by e-mail and once by snail mail. Having high-resolution photos on your Web site could make the difference in you being cov- ered, since journalistic decisions are often made at the last possible second and because something else has fallen out. The creation of magazine columns is much less objective than it may appear, and the decision to use your photo may be made by a photo or art director who doesn’t care what you sound like, but only what you look like. Begin with local press and move up accordingly. It’s not necessary—in fact, it’s even considered unprofessional—to thank the press unduly for doing Chapter 7 Creating Effective Tools of the TradeNetworking Strategies for the New Music Business 136their job. A simple “Thanks, you nailed it,” note is always appreciated. Unless there is an embarrassing and glaring error in the piece that requires a retraction, don’t correct them by calling attention to some insigniﬁ cant detail that might be incorrect. Follow up accordingly, but don’t harass the press. Yes, in rare cases you can wear them down, but keep your desperation at bay. Personal contacts and recommendations are still your strongest suit. In my world, a multiplicity of images makes the strongest impact. I’ll read a press item, hear a song on National Public Radio, and have a friend tell me about a new act, often all in the same day. Credibility in the Credits I have honed a method to streamline my listening pro- cess for the volume of packages I receive weekly. First, I put aside the obvious clunkers (e.g., polka bands interpreting the music of The Police, 20 of Your Favorite Patriotic Songs , etc.). Next, I select the releases from those artists I love (generally a small pile, I assure you). Then I look for artists and songwriters who will be of the most interest to the publications and assorted elec- tronic media outlets for whom I provide content. After I’ve sifted through the major label offerings, I’m left with independent releases of which I have no prior knowledge. While I listen to the music, I read the one-sheet (a slick sheet prepared especially for retail) and bio and scan the liner notes and the inside CD cover looking for the names of people I recognize who are involved with the 137project. Though seeing these names may make me want to listen, sometimes names give me other information. To illustrate, I’ve invented an imaginary artist, Harry Haze, whose package I’ve just opened. Here’s what he tells me on his album: All Songs written by Harry Haze Produced by Harry Haze Published by Harry Haze Music All Songs performed by Harry Haze Guitar, bass, drums, keyboards by Harry Haze Cover art by Harry Haze Liner notes by Harry Haze Now, while Harry thinks he’s projecting to the world how competent, versatile, and creative he is, I’m think- ing, “Harry Haze must be some god-awful prick—an insufferable control freak who can’t ﬁ nd anyone crazy enough to work with him.” Uh-oh. Harry Haze has also included a full insert of tiny-printed text: Thank you’s to various celestial deities, departed family members, a current wife, an ex-girlfriend, and a deceased pet. Gratitude is a lovely quality best saved for a commercial release. On a demo (in my opinion) such grandiose sentiments seem self- serving and off-putting. Everything is a reﬂ ection of the music. Cheesy cover art often mirrors what is contained within, but words are equally revealing. Vague and self-aggrandizing terms such as. “prestigious,” “long-awaited,” “eagerly anticipated,” or “acclaimed” never fail to rev up my B.S. meter. Also, Chapter 7 Creating Effective Tools of the TradeNetworking Strategies for the New Music Business 138please have a competent proofreader check your printed materials and your CD covers for glaring errors. The best packages are often the most simple. A clean, distinctive logo, a smart, well-written bio in a readable, eye-catching font, and a hip, revealing photo say much more than simply seeing the artist’s name repeated ad inﬁ nitum. I don’t wish to sound negative or jaded, but as the packages pile up in my ofﬁ ce, my eyes become ever more critical. I’m reminded that when we project our music into the world, —propelling our artistry out there—we’re in essence cramming messages into bottles. When they ultimately wash up on a journalistic shore, we shouldn’t let an incompetent presentation sink the package. The Man in the Gorilla Suit Recall the ’80s—an era of excess, success, and unabashed consumerism? In those pre-DIY days, record conglomer- ates ﬂ ourished, and the perception was that in order to become successful as a recording artist, one had to be signed to a major label. Artists and their representatives would go to unpar- alleled lengths to get the attention of record company A&R reps, showering them with gifts, appearing unan- nounced in their foyers singing a capella , and devising extravagant presentation packages. One of my favorite stories from that time concerns a band who was so desperate to get attention that one of the band members donned a gorilla suit to deliver their 139package to the record company. Today, I don’t recall the name of the band or their music. All I can remem- ber—and I’m sure the poor A&R guy does, if this didn’t drive him out of the business—is the gorilla suit. Yes, it’s important to get people’s attention in entertainment, but you want people to remember you for the right reasons. Extreme Strategies I told this story to a class of students in England who were amazed at my audacity. I was managing an artist afﬁ liated with a performing rights organization. There was one exec in particular who we believed would make a tremendous ally, and since he was someone I knew, I began making calls to his ofﬁ ce to set up a meeting for my client. I left repeated messages, but I wasn’t getting a return call. (In his defense, let me interject that the employees of PROs are tremendously challenged by their huge membership rosters—hundreds of thousands of afﬁ liates.) Still, I needed this hookup. I created a relationship with his sympathetic assis- tant. When I called one morning, I didn’t ask for him, I spoke only to her. “What’s his day like?” I asked. She replied, “He’s in meetings this morning, he has a lunch appointment, and then more meetings this afternoon.” I casually asked what restaurant he’d be dining in for lunch, and she provided the name of a well-known Sunset Strip eatery. That was all I needed to hear. That afternoon, as he paid his bill at the restaurant cash reg- ister, guess who just happened to run into him? I had an opportunity to reintroduce my client; he apologized for not calling back and promised to meet with us the next day. In this case, the “chance encounter” had to appear Chapter 7 Creating Effective Tools of the TradeNetworking Strategies for the New Music Business 140natural and accidental, otherwise it may have seemed as if I was a stalker—not a good thing. I have another secret weapon I utilize when it’s appropriate, albeit a very small one—my four-pound Chihuahua, Shelby Lynne. She has accompanied me to drop off materials, for brief meetings, and on one memo- rable occasion, backstage to visit a well-known diva who was considering having me ghostwrite her autobiogra- phy. I didn’t get that gig, but not because of the dog. I wasn’t ﬂ ying blind—this singer was a well-known pet advocate who traveled worldwide with her own pooch. If you utilize an extreme tactic, you have to be sure you have the goods; otherwise, you’re in danger of burn- ing a bridge. Above all, don’t be the guy in the gorilla suit. Rejection Rejection is a cold, hard fact in the entertainment busi- ness. For songwriters and artists in particular, it can be a crushing and demoralizing reality. Indeed, it is often cited as a factor that forces people out of the entertain- ment business. And this is a good thing: It leaves more room for you. In order to be successful on any level, you can’t let rejection derail you. The classic example of the Beatles, who were turned down by scores of record labels, is one of the best-known tales. It’s difﬁ cult for anyone to turn down anything, however, if its viability has being proven. An artist who is touring, has a solid fan base, and can sell a few thou- sand CDs doesn’t have to worry about rejection—it’s 141momentary, because they’re already a viable commodity. Songwriters who are collaborating with artists, placing songs in indie ﬁ lms and on cable television shows, will be more likely to be signed by a major publishing com- pany because they already have it going on. Hit songwriter Michéle Vice-Maslin notes that while writers can be discouraged by rejection letters, she is not. “I probably have 25,000 . Who cares? I think the key to surviving—other than pitching—is respecting other people’s opinions. The A&R people like to deal with me because I don’t freak out. As long as they keep listening, I’m happy. I learned once again: Don’t give up. It’s a les- son I’ve been learning the hard way for over 20 years. The more I get rejected, the more I get fueled.” Ten Thoughts on Overcoming Rejection Keep the following in mind when you experience rejection. 1. If someone rejects your song, they are not negating or condemning your existence on this earth. 2. “No” can mean “not at this time,” “not for this artist,” or “not in this market.” 3. In Los Angeles, especially, industry people don’t like to say “no.” They just won’t call you back. 4. You have to develop a career on multiple contacts, numerous outlets, and a catalog of songs. If you have one song you’re shopping and you’re “waiting to hear back,” you’re in a precarious position.Chapter 7 Creating Effective Tools of the TradeNetworking Strategies for the New Music Business 142 5. No one is ever really “waiting to hear back.” You have to move forward, regardless. 6. Ironically, projects often succeed when we least need or expect them to. 7. Holding grudges over rejection is counterproductive. 8. It’s understandable that songwriters in particular are emotionally connected to their creations. Remember: If a publisher says “no,” how many times has a label, artist, or producer said the same thing to him? 9. You are much more likely to be rejected if you’re blindly pitching to strangers. 10. As salesmen know, every rejection is one more step toward someone saying “yes.” Ten Reasons Your Calls Are Not Returned Sometimes it’s difﬁ cult to have perspective on what we’re doing wrong in our communication with others. Often, it may have nothing to do with us per se ; it could simply be an issue of timing. Following is an e-mail I received that made me analyze why some calls are returned and others aren’t. Dear Dan, Last year I had the good fortune to meet a major record producer at a music business convention. In a listening session, he evaluated my demo, which he liked enough to keep. But he hasn’t returned my calls. I wonder: Am I 143doing something wrong? Does he feel differently about my music? What would you suggest? Worried in Winnetka Following is my response. Dear Worried, A number of possible scenarios come to mind. 1. First, do you appear to be too needy? If so, you may be scaring him off. He will take you seriously if you appear to be near, or on your way to, his level of accomplishment. 2. Are you pressuring him? He probably has enough demands in his world from artists, record companies, and associates. He doesn’t need them from you. 3. Are you calling at the right time? Professionals call during business hours, not evenings or weekends. Try Tuesdays–Thursdays, preferably before lunch. 4. Are your communication skills up to par? People don’t have time to read lengthy communiqués or often to return telephone calls. Short e-mails and faxes are preferable. Check your spelling and sentence structure. 5. The moment that someone hears something is not necessarily the moment they can do something with it. When he listened to your music, he may have rec- ognized its potential but did not have an appropriate outlet at the time. This can change. I’ve seen songs for ﬁ lms used years after they were ﬁ rst submitted.Chapter 7 Creating Effective Tools of the TradeNetworking Strategies for the New Music Business 1446. Make sure to update him on your progress. In fact, you should regularly conﬁ gure press releases to inform your contacts on your career. But be wary of over-the- top bragging or shameless self-promotion. Keep it to scale, keep it human, keep it true, and make the truth sound as good as possible. 7. In my experience, music business people are always looking for progression; that is, the producer may have indeed liked your ﬁ rst demo, and now he needs to hear what you have next. It will be easier for him to imagine your future career trajectory, and to become involved, if he believes your music will ﬁ nd an audience no matter what. 8. In our business, everyone prefers to get on a train that’s up and running, not the one stalled on the tracks. You need to give the impression of growth, of career evolution, of really having something new to say. If we are only reactive—and jump on a bandwagon just because it’s there—we will ultimately wind up chasing trends, not creating them. 9. Are you delivering ultimatums? Closed-end phrases will close doors. “Do you want to produce me?” can easily be answered with a “no.” Asking for input is always preferable to a hard sell. 10. Finally, are you treating him as a person or as a stepping stone? Are you aware of the projects he’s doing now—his successes, career milestones, anything in his life? Try communicating with him in a low-key, personal tone with no “payback” expected. You may be surprised at his response.145I hope this information is helpful. Please let me know how it goes. Dan Kimpel Web-Wise In 1992, when I was the advertising director for the Los Angeles Songwriters Showcase (LASS), our co-founder and director, John Braheny, author of The Craft and Business of Songwriting and one of my foremost mentors in the music business, told me about this new technology called the Internet and how he planned to put our orga- nization’s magazine, the Songwriters Musepaper , up on the Web. I recall thinking to myself, “But who is going to ever see that?” Time has, of course, proven J.B. right. Tracks legally downloaded from the Internet now outsell physical singles. There were a record 312,000 legal downloads in the ﬁ nal week of 2004 , compared with 282,000 singles bought over the counter during the same week. The Internet is thewatershed for business in music, an incredibly empowering medium for an independent art- ist. Just as with home recording, by which you no longer need a truck full of money and Abbey Road to make a cool recording because you can create great sounding, personal work in your bedroom, similarly, you no longer need a middle man to deliver your product direct to your audience. You now have the Internet. The barriers to access don’t exist anymore.Chapter 7 Creating Effective Tools of the TradeNetworking Strategies for the New Music Business 146Do I Need a Web Site? Doesn’t everyone? My personal site (www.dankimpel. com) was designed for me by one of my outstanding students from the Liverpool Institute for Performing Arts, Simon Barber. A musician, band leader, and song- writer, Simon is also a savvy Web master with his own company, Juicing Room (www.juicingroom.com), that specializes in entertainment clients. Every objection I had to instigating my own site was easily overcome by Simon in a meeting over coffee in England, and soon I too had a great way for folks world- wide to ﬁ nd me. For this section of Networking Strategies , I decided to tap Simon’s expertise since he now lectures on the subject. DK: Give us a little overview. SB: Arming yourself with knowledge of how to operate on the Web can allow you to forge a career without waiting for a benevolent benefactor to approve of your talent. If you’re Web-phobic, you should know that there’s really no escape from the Web. You need to embrace it; make that your mantra. For me, a band/artist needs a Web site just as soon as they are trying to build a fan base. It’s the ideal, low-cost way to communicate with fans, advertise gigs, sell CDs, and generally promote. Many bands assume that if they’re good, they’ll get picked up by a major label, and that will take care of all the hard graft involved with being an indie. As you know, get- ting signed does not guarantee getting famous, getting your CD in stores, or getting paid! Over 30,000 CDs are released each year, mainly from people you’ve never heard 147of, and only 1% ever sells over 1,000 units. It’ s really the grassroots kind of operations that are ﬁ nding and devel- oping talent effectively, especially on a local level. DK: What are the economic ramiﬁ cations for indie artists? SB: If you’re an independent using the Internet as your means of distribution, you can have anything between 50% and 100% share of the revenue from a product. You may not have access to the large distribution networks or the marketing muscle of major corporations, but you do have a worldwide platform with zero overhead. So, keep costs down and maximize proﬁ t. If you can sell 5,000 CDs for $15, that’s a lot of money! Far more than you would get with a 12% royalty rate when you’ re unrecouped and won’t earn a penny until you go double platinum. If that ever happens! Plus, with indie budgets, nobody is going to be bankrupt if it doesn’ t work out. It’ s not like you’ re Microsoft and you just rolled out a product all over the country and then realized it’s defective. You still have time to grow as an artist, a concept that the bottom line of major labels can no longer afford. DK: How did you get into it yourself? SB: I formed an independent label called Digital Wings. The label was founded on the philosophy I had of using new technology as a means of liberating new artists from the traditional shackles of the industry. We released an album called Motion Picture with my band Santa Carla, and we built up quite a following on the Web. The year that the record came out, 2003 , we had almost two million visitors to the Web site. This was down to a combination of good Web promotion and good search Chapter 7 Creating Effective Tools of the TradeNetworking Strategies for the New Music Business 148engine work. If you want to effectively drive trafﬁ c to a site, you need to do three things. 1. Use good meta tags and make good submissions to the likes of DMOZ. (See the reference list at the end of this chapter.) 2. Siphon trafﬁ c from more popular Web sites (MP3, CD Baby) to your personal site by putting up a few free tracks, a photo, and a link to you. 3. Update regularly! By doing this, we were able to keep a percentage of these fans on mailing lists for marketing new releases to, and of course, some of them visited the site daily to post messages. We got some excellent press from America and did some international radio sessions. It did well in the end and sold a couple of thousand copies, too. We made it available in all the indie stores, and we did a series of free downloads at digital music services across the Web. It’s available to buy online at iTunes, CDWOW, Tower Records, and other credible retailers who support independent artists. So through using the Net, we were able to do two UK tours for the album and actually have these people show up at the gigs like a pre-booked audience. It’s about self- sufﬁ ciency. If you’re prepared to sweat for your art, then it’s a very effective way to operate. DK: Give us some hard facts and numbers regarding setting up a site. SB: The costs of setting up are not prohibitive at all. You might be looking at $20–$25 for a domain and maybe $75 a year for hosting. 149DK: OK, it sounds easy and inexpensive so far, but your perspective is as a Web designer. What can you tell us about making the site alluring to visitors? SB: If you’re not up to it, ﬁ nd someone with a good sense of graphics, fonts, and layout. Someone who understands functionality and the basic commandments of the Web so that you don’t end up with a style-over-substance situ- ation. It is very easy to spot home-made Web sites that have poor functionality, use entry-level gimmicks, have poor color schemes, unreadable text, or do not validate on different browsers/platforms. Your Web site should /L50480 Get a user’s e-mail address. /L50480 Offer easy ways to listen to the artist. /L50480 Make the product attractive to them. /L50480 Show who are you, what you look like, and most important, what you sound like. /L50480 Acknowledge and interact with visitors. Music clips should be presented in a cross-platform format such as MP3. Avoid proprietary formats where possible. People don’t really buy music for the audio, they buy the whole package. Make it an exciting pic that says some- thing about you and who you are. Include a bio. Get an angle and tie it in with the photo and tell the visitor what you represent. Create a mailing list, a viable way to harvest data from your visitors. Find out as much as possible about the fans: age, location (especially if it’s a town you’re playing in), etc. What sort of music do they like and what W eb sites do they visit? What lists do they subscribe to at stores they Chapter 7 Creating Effective Tools of the TradeNetworking Strategies for the New Music Business 150visit online? See if your CD is stocked there. As an indie, you need to manage your own contact list and get used to the idea of staying in contact with large groups of people at any one time. You’ll also need to create an easy and effective way to mer- chandise and a way for fans to buy your CDs. Remember, people are inﬁ nitely more interested in themselves than they are in you. Put them on your site with message boards. Use it to create a street team. Don’t forget that to most people, the music business is pure magic—put your fan base to work. DK: Are there key sites that should be utilized? SB: CD Baby (www.cdbaby.com) is the root of many great indie options—a selling point with built-in trafﬁ c, digital distribution services, Tower Records, etc. Become aware of your local network and what’s going on, who the local bands are, what they’re doing, and where they’re playing. DK: Any other valuable promo tools we should be aware of? SB: An electronic press kit with at least one full-length MP3 ﬁ le of a track from your CD encoded at the standard 128K bit rate. An entertaining bio written four times, in four different lengths, quotes from reviews, plus graphics , artist photos, cover art, and your logo.151Additional Resources Tlcoolhomepages.com Cool Home Pages, an excellent design resource. www.coolhomepages.com/cda/10commandments Ten Commandments of Design; an interesting article on the subject. www.google.com Google; the search engine you need to show up in. www.dmoz.com DMOZ; human-edited search engine. www.phpbb.com PHPBB; message board software. www.hostbaby .com Hostbaby; Web hosting for musicians. www.jetplanelanding.com Jetplane Landing; an excellent independent band with a powerful site. www.santacarla.co.uk Santa Carla’s site. www.juicingroom.com Juicing Room; a Web company. www.digitalwings.co.uk Digital Wings; a record label. www.apple.com/itunes/store Apple iTunes. www.napster.co.uk Napster. ww.listen.com Rhapsody. www.peoplesound.com Peoplesound. www.garageband.com Garageband.Chapter 7 Creating Effective Tools of the TradeNetworking Strategies for the New Music Business 152www.towerrecords.com Tower Records. www.cdwow.com CDWOW. www.cdbaby .com CD Baby. www.fopp.co.uk/unsigned_network/intro.htm Fopp Unsigned. www.cafepress.com Café Press; music merchandise. www.gigwise.com Gigwise; local music community. www.glasswerk.co.uk Glasswerk; local music community. www.bbc.co.uk/liverpool/entertainment/music/unsigned_bands/ index.shtml BBC Unsigned; valuable promotion tool. www.musicbias.org Musicbias; local music business support. www.marketingyourmusic.com Marketing Your Music (by the genius behind CD Baby). www.bob-baker.com Bob Baker; marketing tips. www.getsigned.com Get Signed.153CHAPTER 8 Live Venues and Ventures The heart of popular music beats within the live per- formance. Even if you are not engaged in a career as a performer, odds are you’re working with those who are. In this chapter, you’ll go backstage with the band. Gigology 101 Since I live in Los Angeles, it would be possible for me to go out 365 nights a year, hit 10 clubs every night, and never see even a tiny fraction of what’s happening in town. Given these exhaustive possibilities, it is unnerv- ing when I am invited by some well-meaning band to come by a club at 11:00 p.m. on a Monday night to catch their set. I’m more apt to be at home in ﬂ annel pajamas, watching the news with a Chihuahua dog on my lap at this hour, resting up for the day ahead. This is not to say that I don’t go out, but I have to measure the importance of the shows I attend. I’m more likely to go out if a friend is performing, it’s a band I’m passionate about, because Networking Strategies for the New Music Business 154I’m writing something about the act, or because the net- working possibilities are promising. The worst time to showcase in a major music city is on weekends. This may be when the rank and ﬁ le go out to party, but in my experience, music industry profes- sionals prefer to reserve their personal weekend time for their families. For them, hearing bands is hard work; it’s what they do for a living. And no one wants to work all of the time. For these busy professionals, weeknights are preferable, and an early show, where they can come directly from the ofﬁ ce, is ideal. All of us in the industry have clubs where we pre- fer to see artists—where the sight lines are favorable, the sound pristine, the staff professional and accom- modating. And of course the opposite is true: I would rather chew glass than go to another show at a certain Hollywood club (formerly owned by a famous actor) because the staff is invariably rude, ofﬁ cious, and makes me feel like a criminal when they search me. Creative Outlets There is a certain mystique, historical and otherwise, attached to places like The Troubadour in Los Angeles, the Bitter End in New York, and The Bluebird in Nashville. I present this theory: Audiences respond to entertainment in direct correlation to the environment in which they see it. This is a reason that the mediocre entertainment accompanied by laser and light shows wows the masses in Las Vegas—the audience has been set up by the surroundings. Conversely, seeing the great- est band in the world in a sleazy club may not necessarily 155showcase their brilliance, because the seamy circum- stances have prepared the audience for something less. At one point in my career in Los Angeles, I was promoting a vocal trio with a very original sound—a Manhattan Transfer meets Carter Family vibe, with an intricate, delicate blend, far too subtle for a club envi- ronment. I met with all three members of the band for dinner one night at a modest Japanese restaurant with ’50s decor, including turquoise and pink walls, and black and white checked ﬂ oors. As we devoured our California rolls, the trio’s leader began bemoaning the lack of a perfect venue. “What about here?” I asked. They looked at me as if the wasabi had gone to my brain. We were in a restaurant, not a club, a venue that didn’t even have music. “Perfect,” I deduced. Later that week I wrote up a proposal and approached the restaurant’s owners with a guaranteed way for them to bring in people and make money one evening at their busy daytime location that had sparse dinner business. We would produce a music night, bringing in production staff and a sound system, charge a cover at the door that would go to the band, and the restaurant could serve their regular food, drinks, and desserts and proﬁ t from these sales. When the evening of the performance arrived, the venue was packed—so full, in fact, that the restaurant’s wait staff panicked, and our friends had to help serve the food, but the group made over $1,000 at the door, and the evening had a huge buzz that carried over to successive shows. Next, I booked the trio into small theaters for weekend matinee performances. Since the band’s setup was minimal and acoustic, they could work Chapter 8 Live Venues and VenturesNetworking Strategies for the New Music Business 156around a preexistent set and not disturb the physical elements of the evening’s performances. In Los Angeles, we have equity-waver houses ( 99 seats or less) that we could sell out on a Saturday afternoon. We also provided concessions and merchandise, upping the take considerably. Alternative Venues Creative new venues can work with multiple artists as well. I was managing a performer who had devised a world-inﬂ uenced brand of pop music. When we decided it was time to take the music to the stage, we couldn’t ﬁ nd an adequate venue, so we decided to invent our own. To complement his global grooves, we invited two other acts with whom we were friendly: A Latin band from East Los Angeles and a roots reggae group. I located an appropriate venue, an historic women’s club in Los Angeles, and convinced the directors that I was creating an event of cultural signiﬁ cance. I set up sponsorships with magazines, a music store, and a sound company, so I wasn’t paying out of pocket for anything other than the venue. Tickets were affordable, and I made each of the three acts (my own included) respon- sible for selling a set number so we were assured of a full house. The bands would make a proﬁ t after their initial sale, and they could also move merchandise plus have a high-proﬁ le showcase concert with media attention. I will always recall standing in the parking lot with a trio of matronly women from the club’s board of directors when the reggae group arrived for sound check, and the looks on their faces as ﬁ ve hugely dreadlocked 157musicians emerged through the clouds of pungent smoke that billowed from their van. Jah! Rastafari! The evening was a huge success. Inventing Your Own Show Consider the following tips if you plan to create your own show. 1. Give the show a name. Our global music show was titled “World Tribe.” 2. Create a logo and artwork speciﬁ c to the venue. 3. Think way outside the box. I’ve been to art galleries, fashion shows, and pet rescue events to hear bands. 4. Write up your proposal; business people always respond better when something is in print. 5. Consider a residency, or an ongoing show for one desig- nated night per week, but keep in mind there is a natural lifespan to such events. Know when it’s time to move on. Soft Ticket With one artist, I thought big—of having him perform to audiences of more than 10,000 people. The reality was that he was from Hawaii, hadn’t yet made an impact on the mainland, and had no reputation to speak of, so it was up to me to devise a way to present him in front of as many people as possible. A “soft ticket” refers to an event that people are attending already—a fair, a Chapter 8 Live Venues and VenturesNetworking Strategies for the New Music Business 158festival—where they will see the entertainment as well. It can be a perfect opportunity for a high-visibility show. I approached the entertainment committee for an annual Asian-Paciﬁ c celebration in Los Angeles that draws thousands of visitors. I proposed presenting my artist and, as an added incentive, offered to provide publicity and public relations services for the event free of charge. I was able to “piggy-back” my artist’s appear- ance on top of the event and to make it appear (subtly, of course) as if he were headlining. Through press, stories, publicity, and media saturation, we were able to create a signiﬁ cant splash. How to Make a Soft Ticket Show Work for You Consider the following tips for creating your soft ticket show. 1. Research the demographics; you don’t want to present a nu-metal band at a gathering of senior citizens. 2. Write up your proposal, focusing on what you or your artist can do for the event, not vice-versa. 3. Play for expenses or even for free if necessary. Make your money in merchandise sales or write-off expenses for the value of publicity. 4. Outdoor shows are not a place for ballads—devise a high energy, visually engaging show that will make those in attendance stop to watch you. 159 5. Create a banner with the name of your band on it and hang it at outdoor events (or anywhere else you play). “Who is that band?” is not a question that your audience should walk away asking. You Sounded Fabulous! Accepting compliments seems to be difﬁ cult for many performers. I attended a wonderful showcase in Liverpool, England, with one of my students. After the set, I went backstage to congratulate her. “You were terriﬁ c!” I enthused. “Nah, the sound was awful, I couldn’t hear the monitors, and I forgot some lyrics,” was her mumbled response. Maybe she was being honest, and of course that’s commendable in most circumstances, but this is show business. By denigrating a performance on which I’d complimented her, she was unconsciously criticizing my taste and therefore undercutting my enjoyment of the show. Ten Post-Performance Tips 1. Be gracious, accept compliments, and thank the person who gives them. 2. Remember, non-music people are often less critical, enjoying the overall gestalt of a show and often not noticing the mistakes. Chapter 8 Live Venues and VenturesNetworking Strategies for the New Music Business 160 3. Don’t call attention to negative conditions in the club. 4 . Always graciously thank those who spent good money and came to see you perform. 5. If you’re hanging out in a club after the performance, don’t hop from table to table. Stay in one location and let the audience members come to you. 6. Sign everything. Often fans will pay more for a CD signed by the artist in person than they would at retail or online. I’ve worked with artists who mark $ 15 CDs up to $20 at shows and sell hundreds. Audiences will pay for the opportunity to meet the artist. 7. If you’re selling merchandise, don’t handle the money yourself, enlist help. 8. Have plenty of Sharpies or similar pens on hand. 9. Be prudent in handing out promotional materials for upcoming performances that are in venues other than the one in which you’ve just appeared. The club owner may frown on your promotion of a competing venue. 10. Cover your show clothes with a jacket, or change into another outﬁ t immediately after the performance. Performance Peeves I’m mystiﬁ ed why I see so many musicians swilling bottled water onstage. “Is this a show about water?” I wonder. I understand a singer taking a swig to combat dryness, but why is everyone else draining the Aquaﬁ na?161At an otherwise splendid show, a musical tribute to Joni Mitchell, I could predict what was about to be performed because the lead guitarist would play the intro lick to check his tone before each song. Surprise is good in performance; don’t telegraph what’s coming, and don’t use “weedlee, weedlee” licks when the singer is introducing the song. Just as music is rehearsed, so should the intros and outros be a part of the overall per- formance. Dull, self-conscious stage patter detracts from a performance. The song intro is a chance to connect on another level. Ten Commandments of Club Land 1. Don’t piss off the soundman; that’s just asking for end- less feedback and appalling apathy. 2. Respect the club booker; she will eventually be at House of Blues. 3. Be honest about your draw. If you can only guarantee 10 close friends for attendance, don’t proclaim that you can ﬁ ll a 500-seat venue. 4. “We’re gonna slow it down for ya now” is not a suitable song intro. 5. Don’t rail against any member of the press or threaten any music journalist. 6. Speak well of other bands on the circuit. You’ll be on a bill with them sooner or later. 7. Be unerringly professional and punctual.Chapter 8 Live Venues and VenturesNetworking Strategies for the New Music Business 162 8. A sound check is not a rehearsal. 9. Be conscientious with your guest list. Don’t demand freebies from the club. 10. Devise original ways of ﬁ lling the venue. Club Clues With the goal of selling as many drinks as possible, clubs are businesses, plain and simple. If your goal is to be a club act, that’s ﬁ ne, but at some point you’ll have to determine whether you’re in the music business or the bar business and act accordingly. As a musician, I made a decent living playing in clubs in tough markets, including New York and Los Angeles. In order to do this, however, I was forced to make many concessions in my art. Even though I wrote songs, it was a rare audience who wanted to party to unheard-of material, so covers were the way to go. There is a certain vibe that club musicians acquire. It’s difﬁ cult to describe, but audiences can feel it. (You can read Bob Malone’s comments about his own experiences in this realm in Chapter 9, “Success Stories.”) You are in the realm of service. There are, of course, exceptions to this rule. Coming up with a band in Ohio, we transformed a club in the college town of Bowling Green—Howard’s Club H—into a Mecca for free-thinking individuals of all persuasions. In Los Angeles, a club called Limey’s hosted the hippest ever musician’s Sunday night jam. But these scenes are few and far between. And if you perform in the same clubs over and over again, you’re in danger of becoming part of the furniture because careers are built on change 163and progression. It doesn’t take audiences very long to begin to take you for granted. If you’re comfortable at the same club, it’s probably time to move on. Soundman Scenarios In my list above, I cautioned you about angering the soundman. There are many intricacies in dealing with technical personnel. Doing their gig is often a thankless job accompanied by a howl of feedback, a singer com- plaining “I can’t hear myself,” mics that don’t work, and monitors that fail to deliver. If the sound is terrible, it’s the soundman’s fault and, of course, if it’s ﬂ awless no one notices. Consequently, soundmen (and women) tend to be a prickly lot, often either over-sensitive or immune to criticism, since they deal with a new band virtually every night, always with a new raft of complaints. It’s an excellent idea to always have a hard copy depiction of your set-up: mic and monitor placements and an input list. E-mailing or faxing this information to the club ahead of time if possible, or having this infor- mation on your Web site, can save time and energy. Take multiple copies to your sound check in case there is a stage manager in addition to the soundman. If the club provides a backline (drums, amps, etc.), all the better. If there are multiple acts for a show, the band who is playing last, or headlining, typically sound checks ﬁ rst. The group who opens the show sound checks last since their equipment can then be in place when the doors open. Being on time for the sound check is the ﬁ rst objective, since sound checks invariably run late. Do everyone a favor and have the band arrive together. Chapter 8 Live Venues and VenturesNetworking Strategies for the New Music Business 164Here’s a scenario that works extremely well for me when I present artists in a club or concert. I stay in the sound booth as the soundman adjusts levels in the line check (each instrument heard individually) and as the band runs down a song. At this point I don’t say a word to the soundman, I am simply a strong and obvi- ous presence hovering next to the board. Invariably the soundman will then solicit my opinion. The secret is to stay mum and await this moment. It will come, I assure you. Then, and only then, gently correct any miscalcula- tions in the mix. Always thank the soundman—either onstage, imme- diately after the performance, or in a note or e-mail the next day. Be sure to let the booker or club owner know how much you’ve appreciated the hard work and expertise of the technical staff at the venue. The sound and stage personnel will be glad to see you next time. Scams Envision this scenario. You see a solicitation in a magazine from a company that is reviewing the type of music you create. You send in your package and— surprise!—you receive a call from a company executive who praises your efforts and proclaims that your music is in the top percentile of what he has ever received. It is so stunning that he would love to have the opportunity to represent this wondrous music to the major players: the big markets, radio, record companies, etc. In fact, your music is so magniﬁ cent that he will even give you a healthy discount on the fees that he usually charges for these services.165At this point, a red light begins ﬂ ashing in your brain. “Money? I have to pay money?” you say. The elo- quent one then ups the intensity of his fevered pitch, “You have to spend money to make money. I’ve worked with (insert platinum artist here) and (insert another platinum artist here), and I’m respected in this business for hearing the hits. I believe in your music; I can make it happen for you.” The music business is ﬁ lled with inventive cottage industries. However, charging naive acts exorbitant fees to “shop” their material is a gray area where I’ve seen many an aspiring artist turn into bleeding bait for the circling sharks. There is, for instance, one Hollywood-based “pro- moter” who turns a pretty proﬁ t by luring artists into his gold record-decorated den and then pressuring them to pay for his services. His pitch rarely wavers: He is, in the next three days, traveling to New York (a convenient 3,000 miles away) and has meetings already set up to play material for the heads of major record labels. This takes money. The up-front fee? $ 8,000 . When I was on the staff of a national non-proﬁ t organization for songwriters, I encountered numerous victims of this particular scamster. Many were reticent to complain because, like most scam victims, they were mortiﬁ ed by their own gullibility. If you’re ever approached by anyone in the business with a sketchy proposition, I would advise the following: 1. First and foremost, trust your instincts. Chapter 8 Live Venues and VenturesNetworking Strategies for the New Music Business 166 2. Ask them for the names and contact numbers of clients. 3. Request additional industry references. 4. Check them out online. There’s a site called The Velvet Rope (www.thevelvetrope.com) where, if you are a mem- ber, you can post industry-related queries. If you prefer, you can remain anonymous while asking, “Has anyone ever worked with…?” 5. Don’t assume that the operator is legit just because he advertises in a legitimate music business publication. Some magazines would accept advertising from Satan himself if he paid up front. It’s up to you to exert your judgment. 6. The music business is very small. Bottom-feeding sleazes depend upon their victims not to have information or resources. Don’t be afraid to ask for references to verify a company or a person’s legitimacy. 7. Keep in mind that there are no shortcuts in the music business. Nothing will ever replace the power of creating your own personal contacts and network. 8. Educate yourself about how the business really works. Don’t allow your ego or a sense of desperation to make your decisions for you. Compilation CDs OK, emerging bands: You’ve performed, postered, pos- tured, and proclaimed to the pinnacle of your powers. So now that you’re starting to kick up some notice, you’ve 167been invited to have a song included on a compilation CD. Sure, it may cost a few hundred dollars, but it will be delivered directly into the hands of radio, record com- pany A&R, promoters, and bookers. Compilations are wonderful money-making devices for the ones who can persuade 15 to 20 bands to each give them one song and to pay anywhere from $ 500 to $ 1000 for the privilege. In turn, the producers master and man- ufacture a couple of hundred CDs, give some copies to the bands, mail out to their “contacts,” and voila, they’ve pocketed a few grand in the process. And the bands? They have copies of a CD with 19 other groups whose sole shared merit is coming up with the cash to pay for a track. There are, of course, worthwhile, legitimate compi- lations. The performing rights societies (ASCAP, BMI, and SESAC) will often showcase emerging bands and writers via a compilation. The Los Angeles–based orga- nization L.A. Women in Music (LAWIM) has a diverse, highly regarded release. But in neither of these scenarios is there any cost to the artists. Likewise, there are worth- while CD compilations that target speciﬁ c local scenes or styles of music. These can often reﬂ ect an emerging music community and offer an effective way for groups to share the costs of manufacturing, artwork, etc. Likewise, certain record companies will present their emerging acts on promotional sampler CDs at no cost to the bands. And of course on late-night television one can order everything from heart-wrenching patriotic songs to the nearly forgotten hair bands of the ’ 80s. These art- ists, even at a reduced royalty, will beneﬁ t from the sale of the CDs.Chapter 8 Live Venues and VenturesNetworking Strategies for the New Music Business 168But let’s get real. Why should a record label exec lis- ten to 20 disconnected bands on one release? Would a journalist really wade through 19 groups with the hope of hearing something interesting if he had no connec- tion to the producers? Believe this: Radio programmers and record label people, realizing that the criterion for inclusion on compilations is simply whether an artist can pay the fee to be included, will generally disdain such compilations. One of the latest wrinkles in the well-worn scam is the “event” tie-in. It works like this: “We’re going to be at (MIDEM/SXSW/EAT’EM/Sundance/Slamdance), and we’ll be distributing CDs to everyone there.” Sounds good, but how do you know that the CDs will even be distributed? After all, the point is that you won’t be there anyway, will you? And how much baggage might a convention-goer accumulate over a couple of days? And how much do they actually want to take home? If you’re asked to participate in a compilation CD project, here are some questions you should ask the producers. /L50480 What type of track record do they have in the industry? /L50480 What acts have been signed from their previous releases? /L50480 What criteria do they have for inclusion? /L50480 Do they provide group contact info with the release? /L50480 Does the group maintain control of the song’s copyright?169Ask for their previous releases, then give a good, hard listen to determine if these acts are those with whom you’d like to share CD space. In the music business, the way you come in is the way that you’re perceived. Often, being included on a dubious project is almost worse that not being heard at all, especially if you’re sandwiched between a couple of lousy groups. Compilation CDs are wonderfully lucrative endeavors for their producers. But for bands with limited economic resources, being included on a compilation project may only land you on a CD that a record company exec, radio programmer, or journalist reaches for when he needs a coaster for his cocktail. Performing Rights If you write songs for your band, you need to choose a performing rights organization. You’re in luck because there are three: ASCAP, BMI, and SESAC. All are immi- nently accessible, and all are (believe it or not) there to help you. As a songwriter, you can afﬁ liate with only one society. On the surface, what these three performing rights organizations (PROs) do is not dissimilar: They collect money for songwriters and music publishers from broadcast revenue sources, including television, radio, and Internet licenses. They then distribute these funds to their members. Sounds good, right? Keep in mind that you will never receive one penny from these sources if you do not afﬁ liate, which is reason enough to contact them as soon as you have, or anticipate having, a CD that might be receiving any kind of airplay. Chapter 8 Live Venues and VenturesNetworking Strategies for the New Music Business 170ASCAP, the oldest and largest of the three organi- zations, boasts among their membership many of the most venerated songwriters in the history of pop music. ASCAP Presents showcases unsigned bands in various cities around the U.S. Buckcherry, Lit, Gin Blossoms, and Save Ferris are all alumni. Also among the exten- sive list of workshops for songwriters is “Music Business 101,” informational and educational sessions with guest speakers, and ASCAP SWAPmeet, held in various cities, including L.A., where new works are heard by industry pros. ASCAP, governed by a board of directors elected from their membership, can be reached at (323) 883-1000 or contacted online at www.ascap.com. BMI, formed as an alternative to ASCAP, origi- nally licensed R&B and country music. Today, they are equally strong in rock and pop. BMI co-sponsors and produces live performance opportunities for members and is involved in many grass-roots events. New Music Nights is a quarterly program on the West coast that showcases a wide variety of genres—rock, alternative, pop, soul and hip-hop— to help expose new talent to the industry—lawyers, managers, A&R, publicists, and journalists, as well to the general public at large. Bands who have played and/or been signed from the showcase include Counting Crows, The Roots, Stroke 9, and Train and Creed. Contact BMI at 310-659-9109 or online at www.bmi.com. Speaking of alternatives, SESAC, although not as widely known as the other two organizations, is deﬁ nitely making up for lost time with an aggressive marketing campaign and some key signings. Oscar- winning songwriter, the legendary Bob Dylan, is a SESAC writer. SESAC has made strategic alliances with a host 171of technology companies and was the ﬁ rst PRO to offer digital watermarking so you’re paid every time your song is aired. They also offer online licensing for afﬁ liates and online registration of works. SESAC is a privately held company and is selective about its afﬁ liates. You can reach them in Los Angeles at (310) 393-9671 or online at www.sesac.com. Which society is right for you? Contact all three then examine the materials they offer concerning pay- ment schedules and contract length. Above all, trust your instincts and remember that having someone who believes in you at a performing rights organization is one major step up the ladder in this business.Chapter 8 Live Venues and Ventures172Success Stories In the mythology of the music business, there is a huge focus on the million-selling stars—the bands we see on MTV and VH1—those very few who enjoy their brief moment teetering on the chart-topping pinnacle of success. As I’ve reiterated in this book, I believe the true success stories are of those individuals who ﬁ gure out how to work and stay in the business they love, who can remain relevant over time, and who are able to sustain themselves through an art they love. In this chapter, it’s my pleasure to introduce you to some folks whose accomplishments are varied, wide, and enduring. They exemplify networking strategies through their steadfast commitment and determination to ﬁ nd a way to keep themselves in the game. There’s a lot to be learned from their career journeys.CHAPTER 9173Jeffrey Steele: Country Craftsman With over 200 songs recorded in the last three years by Nashville’s most bankable stars, including Tim McGraw, Faith Hill, Montgomery Gentry, Rascal Flatts, Leanne Rimes, and Diamond Rio, Jeffrey Steele is as hot as a country songwriter could possibly be. But songwrit- ing success for this driven Californian came only after two decades of broken dreams, busted-up bands, deals gone sour, and experiences with record executives who thought they knew more about country music than Jeffrey Steele. “The most important thing any song- writer needs to have is that drive, an ‘against all odds’ instinct to keep writing through all the rejection and all the hardships,” states Steele. “These are your stories, the stuff that turns into your songs. I think a lot of people run from these things, but they need to realize that that’s what you’re gonna be writing about for the next 20 years.” Independent releases sold on his Web site and at live shows have been, up until now, the only way to procure Steele’s solo work. Now, Outlaw, from Lofton Creek, delivers the power of Jeffrey Steele as an artist backed by the power of major distribution. “We found out that one song of mine was being played on one radio station 120 times a week,” says Steele. “The song is called ‘Good Year for the Outlaw.’ It’s an outlaw country station, and this is their theme song. The next thing I know, the song is showing up on the Billboard chart completely out of the blue.” Of the new record that takes its title from the track, Steele notes, “I ﬁ nally got a record in the store after eight years of being signed to major record deals and not getting records out. It feels good to have an actual piece of product in the Wal-Marts and Targets.” Chapter 9 Success StoriesNetworking Strategies for the New Music Business 174To promote his record, Steele has been opening shows for Brad Paisley and Keith Urban, with just an acoustic guitar. “You’ve really got to work,” he avows. “I came out for 8,000 people in Connecticut, with throngs of screaming women wanting to see Brad and Keith. I said, ‘You guys have no idea who I am, but you know my songs.’ The whole place was singing along, then I did the stuff from my new record, and ‘20 Years Ago’ earned a standing ovation. But the stage manager wouldn’t let me go back out for an encore. So I’m getting success and shooting myself in the foot at the same time. It’s all perfect.” Born in Burbank, the youngest of ﬁ ve children, Steele’s powers of perception were honed early on. “I observed my older brothers and sisters and heard all of their music,” recalls the songwriter. “I was at the bottom end of the food chain, just eating that stuff up, watching and learning. Later, all of these things were there to write about.” As the little brother, Steele learned how to vie for attention. “I remember being ﬁ ve, shaking my hips to Elvis Presley records in front of the whole family, and my brothers getting pissed and beating me up later.” One familial theme Steele has referenced in both “My Town” (Montgomery Gentry) and “20 Years Ago” is the age-old conﬂ ict between father and son. “It was my brother and my father,” he says. “ I’d watch them ﬁ ght at the dinner table. They could never get along. Ten or 15 years went by and they didn’t talk to each other until my dad was on his deathbed in a morphine-induced state. They couldn’t really make amends, but they could look each other in the eye one last time. I tell writers, ‘Don’t turn the other way from that. It’s OK to write about 175it more than once, if that’s a big issue in your life. It’s therapy for you.’” Twenty years ago thought I knew it all Trying to talk to me was like taking to a wall I thought I was a man for acting like I did But what I want right now is just to be your kid Just before my dad gave up the ghost he smiled at me and said Son let it go, that was 20 years ago. Steele spent the ’ 80s with a dual music career, playing in bands on the Sunset Strip and with country groups far from the center of L.A. It was in the country bars that he could make a living, but he decided to concentrate on writing songs. Still, he couldn’t resist an offer of $ 200 to play bass one Sunday afternoon. “I put my amp in the car and drove down to Orange Country and played the gig with Larry Parks and his brother Cary, with Hugh Wright on drums. I said, ‘These guys are unbelievable.’ Next thing I know we’re playing every bar in town. I started bringing my songs in, and the harmonies were great. It was a once-in-a-lifetime thing.” Boy Howdy’s huge radio hit, “She’d Give Anything,” took the band to the top of the country charts. But the record company wanted more of the same, and the band wasn’t amenable to being squeezed into the polished Nashville mold. Jeffrey Steele tells of the harrowing days after Boy Howdy’s demise, when he was subsequently signed to a solo deal. “I got the worst of the worst, but really no worse than anyone else. When I signed to Curb Records, I remember the guys there telling me all my songs sucked and I wasn’t really that talented, but the secretary in the ofﬁ ce thought I was Chapter 9 Success StoriesNetworking Strategies for the New Music Business 176cute, so they were going to give me a record deal. All of the things they say to make you feel like nothing.” Meanwhile, the publishers were equally underwhelmed. “They told me my songs were nowhere near the market- place—off by a mile. But I knew that I loved to write. It gets to a point where you either slough it off or think maybe they’re right. But look at the criticism and see if it has any weight. These guys are critics, and they’ll say things to discourage you. Over the years, it’s become ﬁ re for me.” On this day in Nashville, Jeffrey is behind the board, producing a record on RCA for Keith Anderson, a singer/songwriter he’s known for six years who penned “Beer Run” for George Jones and Garth Brooks. “He’d originally gotten a production deal with Sony, and I talked him out of doing it. He said, ‘You’re going to make it terrible for me. I’m never going to get a deal.’ I said, ‘No, dude, if you sign a production deal with Sony, you’re stuck there. You won’t have the option to play for anybody else. We’ll pay the money for the ﬁ rst couple of tracks, get everybody interested, and we’ll get them all out to see you.’ He showcased and had every label in town champing at the bit. Six years ago, he was too left of center.” Between the promotional tours for his record and production gigs, Steele tightly structures his songwriting time. “It’s not unusual for me to have three writing appointments a day, like I’m in a doctor’s ofﬁ ce. People say, ‘How can you do anything artistic when you’re writing that much?’ First of all, I’m a freak. That answers that question,” laughs Steele. If his ﬁ rst appointment of the day is productive, it inspires him for the next two sessions and keeps his adrenaline running until 177the late hours. “I know there’s something wrong with me, when I can’t shut my brain down, when I’m getting up and writing at three in the morning. I want to keep practicing my lyric craft, get as good as I can. I want to use less words to say more things. Instead of having two lines, I try to get it down to two words.” To the uninitiated, it may be a mystery why Jeffrey Steele, BMI’s Songwriter of the Year and one of Nashville’s most proliﬁ c talents, chooses to tour the hin- terlands instead of luxuriating in town, writing songs, and checking the mailbox for what must presumably be formidable checks. He explains that touring stirs his creativity: “Particularly in the small towns, people come up and invariably tell you about their lives, about their cousins, uncles, or talk about something that happened in town. There’s something to be said for playing for three hours and sitting in that autograph line for two. I always give everybody the time of day, let them tell me what they tell me. I like to say something positive, make the most of the time. They’re happy to see me, and I’m happy to be there. A lot of people get burned out, but I get stories and titles.” He gives this example of a song he co-wrote with Marv Green, the writer of Lonestar’s hit, “Amazed.” “I was on the autograph line and this guy comes up and he introduces me to his wife, this beautiful lady, and I could tell they’re deeply in love. He says, ‘She could have had anyone in school.’ I said, ‘What did you do to get her?’ and he said, ‘All’s I did was love her.’ My mental memory bank went on and we wrote the song a couple of days ago. It’s about what he talked about—he never had any riches, but he promised her a life of his being there and being good to her.”Chapter 9 Success StoriesNetworking Strategies for the New Music Business 178Steele reveals that he’s always prepared to write. “That’s what anyone will say, even if I’m an hour late to the writing session. It’s because I’m at home working on an idea. I want a seed or something to go on. Putting in 30 to 40 minutes a day playing, trying to think of some- thing, keeps you in that mode all of the time, ready to write something. Even if it’s crappy stuff, you’re letting your thoughts out. But I hope when a new guy comes in he’s also armed and dangerous, is focused, has a bunch of stuff, and wants to write hit songs.” Steele shares that sometimes co-writers will expect him to, in his words, “lay a golden egg.” He explains, “That’s the hardest part—when someone’s looking at me going, ‘When is it going to happen?’ And I’m like, ‘When is what going to happen?’ If I intend to lay a golden egg, I’m going to do it in the privacy of my home. I’m not going to do it in front of you, pal.” Lindy Robbins: Late Bloomer These are productive times for Los Angeles songwriter Lindy Robbins. She’s penned two songs, “Shine” and “I Will Carry You,” for Clay Aiken’s platinum debut, Measure of a Man ; she has a cut with Jesse McCartney on the Disney soundtrack and in the ﬁ lm Cinderella Story ; she’s renegotiated a new publishing pact with media powerhouse Universal Music Publishing Group; and she’s preparing to move into a home she’s purchased in the San Fernando Valley’s trendy NoHo Arts district. Make no mistake, Lindy Robbins is no overnight success. A native Angeleno who relocated to New York City in the ’ 80s, Robbins’ tale is one of fate, faith, trust, and timing. “It was only two years ago that I had any 179money at all,” she confesses. “I was a late bloomer. I had a publishing deal in 1994 with Rodgers and Hammerstein Music in New York, but I was writing theatrical, cabaret, and art songs and making a living performing. It wasn’t until 1997 that I quit performing and decided I wanted to write pop songs. I moved back to L.A. to do that, without a deal, without any money, without anything.” On a ﬂ uke, she entered a song in the UniSong International Song Contest and won the grand prize. She was subsequently invited to Ireland for Celtic Harmony, a week-long songwriter retreat organized by Music Bridges (USA) in conjunction with Irish rights society IMRO, where she was cast in intensive writing sessions with hit makers from around the world. “I had moved back to L.A. with not a fork,” laughs Robbins, “and there I was, onstage, singing with Lamont Dozier and Brenda Russell. It all happened so fast.” In Ireland, Robbins met Rowana Gillespie of Polygram Music Publishing, who signed her to a deal. (The company has since merged with Universal Music Publishing Group.) In addition to a music publisher, Robbins retains the services of a manager. Still, she never stops hustling up her own opportunities. “No matter what cuts you have, you can never stop working your songs,” she emphasizes. She makes regular trips to New York to meet personally with A&R executives at various labels. “I’ve found that if I make a connection, they’ll lis- ten to a song later,” she explains. “We talk about life for a second. It’s a human thing.” Robbins earned serious Music City credentials with a Faith Hill cut, “Back to You,” and international recognition for “I Dreamed of You,” a four and a half Chapter 9 Success StoriesNetworking Strategies for the New Music Business 180million-seller co-written and recorded by dance diva Anastacia. Unless she is co-writing with an artist, she does not generally write songs with a speciﬁ c performer in mind, and she cautions writers about becoming what she terms “genre whores.” She explains, “Sometimes there are certain types of songs on the radio. You try to copy that trend, and by the time you’re shopping those songs, the trend has changed. By the time you’re pitching yours, A&R execs have heard a hundred of those songs, and they want to hear something different. Sometimes you have to start the trend yourself.” She shares that on many occasions, it’s necessary to turn off the business mind in order to create. “It’s like, ‘Can we just write a great song today?’ Sometimes you have to ﬂ ow and not think about business—just write. And those are the songs that get cut, because they’re fun.” A global perspective is vital for pop songwriters, says Robbins. “I’ve had great things in the U.S., like Clay Aiken and Faith Hill, but I’ve gotten by on stuff in England, France, and Australia. It’s important to inves- tigate other avenues rather than just the U.S. I can go to London and write dance or pop, then go to Nashville and write country, then to New York to write urban. That’s what keeps it fresh.” Robbins’ ability to work quickly makes for a burgeoning catalog. “I can do a song a day easily,” she avows. “When I’m on a writing trip I’ll do 10 to 15 songs. If 20 percent of them get placed, that makes a huge difference.” She writes both melodies and lyrics, and she generally prefers to write with a producer. “I don’t work with other writers, except when I’m doing standards or country,” she afﬁ rms. Robbins notes that production is key to getting cuts. “That’s the biggest lesson I had to learn. As good as some 181of my songs were, the tracks weren’t good enough and the songs wouldn’t get placed. The demos have to sound as good as records.” Robbins says that it is common practice now for songwriters to create the words and music and then share a 20-percent writing credit with a producer to craft the deﬁ nitive track. “It’s worth it. Without a great demo, a song can’t get placed.” In the mercantile world of high-stakes songwriting, Robbins testiﬁ es that regular trips to Music City keep her centered. “When I get burnt on writing to tracks, I go to Nashville and get in a room with a great collaborator who plays piano or guitar. All my training in theater and cabaret comes into play there more than anywhere else. With country songs you can be funny and clever. In pop you can’t be as poetic. I love Nashville. They’ve opened their arms at the Universal ofﬁ ce—and that Faith Hill cut didn’t hurt.” One recent trend that Robbins observes is that coun- try is reverting to a rootsier style. “I’m a Valley Girl,” she laughs, “I can’t relate as much to the whole Southern experience. I try to write about what I know. But that’s what I love about collaboration. If I write with somebody who really understands that, they can help me express it. If I’m writing something urban, I’ll only write with someone who understands that world. That expands me. Where I excel is pop rock, so people will bring me in because of my expertise. By ﬁ nding collaborators who do something different than what I do, I get a lot more versatility in my catalog.” One of her newest collaborators is pop-meister David Frank, a writer/producer probably best known for “Genie in a Bottle,” the song that launched the career of Chapter 9 Success StoriesNetworking Strategies for the New Music Business 182Christina Aguilera. “David and I have just clicked; we’re on the same page creatively. The ﬁ rst thing we wrote together got cut by a new artist, Bree Larson. I’ve found that helps. If you write with someone and get an imme- diate response to your collaboration, that’s encouraging. There might be someone you’ve written seven songs with and none of them have gotten cut. You have to think maybe it’s not the best situation.” Ease and com- fort in the creative process is another collaborative plus. “Sometimes you have to give it more than one shot, but I’m the type of person who likes to go with something and not think about it. If someone keeps saying ‘No, that’s not it’ and interrupts the ﬂ ow, then I just want to go home. It should always be fun.” Robbins’ writing tools are simple: a spiral notebook, a pen, a rhyming dictionary, a thesaurus, and a small digital recorder. “I have pages of ideas in a notebook. Every time something comes to me I add to it.” Her digital recorder holds 200 songs, but after a song is demoed, Robbins erases the work track to make more room. She has notebooks dating back to 1986. “The good thing about using a notebook is you can go back and look at the work pages,” she explains. She is also adept at writing to tracks, especially in pop and dance music. “I can close my eyes and just completely sing whatever comes out of my mouth and record 10 ideas, then go back and ﬁ nd a verse, pre-chorus, and chorus that I like. It’s not a thinking process.” She is an increasingly rare breed: a successful song- writer who is not a producer, whose strength is her uncanny ability to write songs under virtually any cir- cumstances in a wide scope of styles. Still, everyday, Lindy Robbins is on the line. “There are plenty of days 183I’m driving to a writing session and I’m thinking, ‘I want to go to the mall, I want to go to the movies, I want to go to the beach, I want my mommy,’ but you have to force yourself to work hard.” Luis Resto: Lost in the Music It was Luis Resto, resplendent in his Detroit Piston jer- sey, who stepped up to accept the award when Barbra Streisand announced “Lose Yourself” from 8 Mile , recorded by Eminem, as Song of the Year at the 75th Annual Academy Awards. Resto is a Detroit native in his forties who has worked with artists from Anita Baker to Patti Smith to Was (Not Was). Now, in collaboration with Marshall Mathers (Eminem) and Jeff Bass, he’s an improbable, elated Oscar winner. “I started piano at nine,” Resto recalls. “My brother Mario was my biggest inﬂ uence since he was a guitarist and songwriter.” Resto’s parents were always supportive of their boys’ musical endeavors; his father even took them to see Jimi Hendrix at Cobo Arena in 1968 when Luis was still in elementary school. “I remember leav- ing the parking lot. This guy came around checking everyone’s car horn tones and we all honked the intro to “Purple Haze,” he laughs. Fusion music, John McLaughlin, Jan Hammer, and Herbie Hancock mesmerized the young Resto, but he needed a synthesizer. “I said to my dad, ‘It’s so expensive, but there’s something in that.’” At 12 and a half years of age, he began playing an ARP Odyssey. Then, at a police auction, a Fender Rhodes, bass amp, and Electro- Voice mic came into his possession for $ 101. “That’s Chapter 9 Success StoriesNetworking Strategies for the New Music Business 184what began my stay in my brother Mario’s group,” Resto relates. Don Was remembers his ﬁ rst encounter with Resto. “When he was 15 he was my friend’s piano student. My friend called me up and said, ‘You’ve to hear this guy and use him on a record.’” Resto reﬂ ects, “I think I appreciate Was (Not Was) more now. At the time I was a pain in the ass. But with Was there were no boundaries.” In the mid- ’90s, Resto spent seven months in Los Angeles playing on Was’ productions and pondering a move to the West coast until he received an offer to return home to play with Patti Smith. “Patti was this ﬁ gure for me,” Resto offers. “My brother brought home Patti Smith’s Horse s when I was 12 or 13. I’d listen over and over and stare at that cover. Then, 20 years later, to have this opportunity was a highlight.” It was Resto’s longtime colleague, Joel Martin, who connected Resto with Marshall Mathers. He worked on both The Eminem Show and 8 Mile , collaborating on songs and score for the latter. Additionally, he has worked with 50 Cent and Shady Records’ signees. Most signiﬁ cantly, Resto is acknowledged as a co-writer, a fact that bears enormous economic implications as Mathers, who could certainly play it any way he chooses, takes the high road. “I know the other side very well,” Resto muses. “I don’t say it in a bad way. That’s what I grew up accustomed to. Here’s this grand payoff. Who would have thought? You don’t get these kind of record sales, and for Marshall to give it up as such is remarkable.” Work with Mathers is full out. “That’s what he does. He’s concerned with (daughter) Halie, and that’s his main occupation, getting the next beat out of his head 185and getting the next project for the artists on his label.” Sessions begin around 2:00 p .m. “I’ll walk in and he’ll be at the drum machine tapping on something, and then I boot up my keyboards and some melody strikes him, and that’s a good sign. That can evolve to anything in the next half hour because he’s busy adding to that beat. Where it started from might be completely differ- ent from where it ends up. We always have a DAT going, catching everything that’s happening.” And this is the collaboration that brought Resto to the stage of the Kodak Theater, and to accepting the award from Streisand. “I’ve done every gig in the book: weddings, solo gigs, Knights of Columbus halls. When I saw her, all I could think of were those daddy/daughter dances to ‘The Way We Were’ and ‘Evergreen.’ I thought, ‘Oh my God, it’s the artist whose music I used to play at weddings!’ And that’s pretty classic.” Bob Malone: Road Warrior Everything about Bob Malone—from his stride- inﬂ uenced piano chops to his gravelly Dixie growl—seems like a compass pointing toward the Crescent City. But sounds are deceiving; Malone is actually from New Jersey. He’s spent a number of years in Los Angeles, and he has lived for extended periods in New York and, yes, New Orleans, too. “New York and New Orleans are the only cities where they have pianos in every club,” Malone intones. “In New York because no one wants to carry any gear, and in New Orleans because there are so many piano players.”Chapter 9 Success StoriesNetworking Strategies for the New Music Business 186This seasoned road warrior has toured with The Neville Brothers, opened for the Rev. Al Green and Manhattan Transfer, and performed at countless festivals ,including Kerrville and Falcon Ridge. It shows: Malone is an electrifying live performer, having learned how to drop the proverbial hammer by opening shows. “They don’t want to hear the opening act,” he explains. “But you can win them over.” Most often he traverses a cross-continental road, performing 150 dates a year as a headlining artist in con- cert venues that seat anywhere from 50 to 500 patrons. “Doing those rooms is my biggest impetus to tour,” he states. Malone’s two Delta Moon/Chartmaker releases, The Darkest Part of the Night and Bob Malone , combined with his relentless touring schedule, have earned this tenacious troubadour a national audience and an envi- able sheaf of kudos. Given his impressive sales ﬁ gures and touring visibility, it would seem that signing with a major label could take him up to the next level. “I’ve come very close a lot of times,” he confesses. “I don’t know if this will change with the new record, but I’ve had a problem with classiﬁ cation. They’re not sure what it is or what to do with it. That’s the reason I’ve been independent; it’s not by choice.” Independence is not for the lazy. Malone books his shows, handles the promo, sets up the interviews, and drives the van. He even chronicles his road adventures in vivid prose on his Web site (www.bobmalone.com), and he’s contributing to a new book, Working Musicians , due this fall from Harper Collins.187Selling CDs on the road accounts for half of Malone’s income. “When I ﬁ rst started touring, a lot of the gigs didn’t pay. I was opening for acts in cool rooms where I got seen, and I’d put on a good enough show that every- one would buy my record. I’d go into some freebie gig and make $300 in sales. I lived off of that. It was the last step of turning me into a strong live act. Desperation is a wonderful motivator.” Prior to the road gigs, Malone admits he spent time sitting around in L.A. awaiting a magic record deal. “I was doing top- 40 gigs, shit I hated. I ﬁ nally said ‘I’m not going to do this.’ You can’t be taken seriously as an artist and then go play cover tunes six nights a week. They can smell it on you. Audiences know ; you have to be that guy, the artist. It all changed for me when I decided not to do that anymore—[then] I was taken seriously.” Summary These four artists epitomize one crucial career key: They never got out of the business; instead, they discovered viable avenues to project themselves and their music. They also epitomize a sterling networking strategy: Only those who are left standing will succeed. Chapter 9 Success Stories188Go Where You Wanna Go Leaving the security of your home and moving to another location can be a daunting reality, but it may well be necessary for the advancement of your career. This chapter evaluates the scenes in the major U.S. music capitals. In one six-year span in my ﬁ rst music business incarnation as a songwriter, musician, and performer, I lived in, and survived, all three music capitals. Today, as an author and a journalist, I make my home in Los Angeles, but I am in daily contact with New York and Nashville, where I travel for interviews and other projects. Eventually, if you aspire to a professional music career, you too will need to correspond with, pitch to, visit, write, record, or live in one (if not all three) of these dynamic cities. If your aspirations guide you, you too must search for the ideal locale for your talents and be willing to pack up your tent and move to more verdant pastures, to go where it is, or to make it happen where you are.CHAPTER 10189Nashville Nashville’s reverence for the song form cannot be overstated. These days, it’s not just country in Music City either. Christian, pop, rock, gospel, alternative—and especially alt.country and Americana—are also viable forms. Nashville is a city of surprises; the rumpled- looking gentleman sitting next to you at a coffee shop could be a major songwriter, executive, or record producer. Certain parts of town near Music Row are similar to a college campus in which many of the patrons in the restaurants are in the music business. Nashville respects longevity and credibility, and personal relationships are key in this friendly, song-oriented town. Most of the major music publishers have ofﬁ ces, and many smaller boutique companies exist, too. If you plan to visit, you will need to research publishers and contact them regarding their submission policies and the possibility of setting up appointments. IF YOU VISIT The songwriting business is localized, stretching along Music Row ( 16th and 17th Avenues) in refurbished homes and newer ofﬁ ce suites. Hotel rooms cost from $50 to $200 per night; budget motels tend to be in the outlying parts of town. If you’re planning on sightseeing, you’ll probably need a car. Nashville Songwriters Association International (NSAI) is a valuable resource. If you can, schedule your trip in the spring when NSAI produces their annual event, Tin Pan South, with a slate of hit songwriter concerts, showcases, open mics, classes, panels, and workshops. Another new NSAI program, Songwriters Symposium, is a two-day fall event that offers pitch Chapter 10 Go Where You Wanna GoNetworking Strategies for the New Music Business 190sessions and evaluations from some of Music City’s most esteemed publishers and record company executives. The Songwriters Guild of America (SGA) is another strongly supportive organization with a slate of song critiques and ASK-A-PRO sessions to connect and edu- cate writers. You have to be a member to take advantage of their events. You can reach them at 615-329-1782 or online at www.songwriters.org. Other events in town include the Nashville New Music Conference, also held in mid-fall, which is a four- day event with major industry participation. Highlights include a trade show, technology forum, panel discussions, mentor sessions, keynote speakers, and a studio tour of Nashville. Information is at www.2nmc. com. The Americana Music Association Conference, held in the fall, features over 600 industry professionals in an array of panels, discussions, and performances all speciﬁ c to the Americana format. Information is at www.americanamusic.org. The Songwriter and Musician’s Guide to Nashville , authored by Sherry Bond (Allworth Press), is an invalu- able resource for the visiting songwriter. SHOWCASES AND OPEN MICS There are a variety of places to perform, including the very famous Bluebird Cafe. Nashville Scene, published every Wednesday and free at bookstores and coffee shops ,has comprehensive listings of clubs. There are Writers’ Nights going on every night of the week, including open mic events where you can line up and sign up to play that evening. Most, however, are planned. Some hosts are ﬂ exible, so if you have a persuasive 191personality, or if there has been a cancellation, you might get a chance to perform that night. If you’re going to be in town for a few days, check out your chosen club early in your stay, and see if you can be scheduled to perform later in your visit. Your set may consist of only two to four songs and should be original (not cover) tunes. The BMI Music Connection Showcase series is held at various venues in Nashville and features today’s hit songwriters as well as up-and-comers. It’s free and open to the public. The BMI Acoustic Roundup, held the sec- ond Thursday of every month at the Sutler, pairs the top names in songwriting with soon-to-break through tal- ent. The BMI RoundTable was created in order to arm songwriters with powerful information that will help them navigate today’s highly competitive music indus- try. RoundTable topics include performing rights, BMI’s history, how the Nashville music industry operates, and tips to help you become the songwriter you want to be. It is held the second Monday of each month at the BMI Nashville ofﬁ ces and is open to all songwriters. For more information, contact the BMI Writer/Publisher Relations Department at 615-401-2000 . The BMI Songwriters Workshop with Jason Blume is generally held the second Tuesday of each month from and invites all songwriters who are serious about and committed to successful com- mercial songwriting to attend. At each workshop, Jason Blume examines the components of hit songs and covers a variety of topics, including song structure, lyric and melody writing techniques, musical hooks, writing from the heart for the radio, and effective demo recording, among others. There is no cost to attend, but seating is limited, so advance registration is required.Chapter 10 Go Where You Wanna GoNetworking Strategies for the New Music Business 192IF YOU DECIDE TO MOVE THERE Nashville has a temperate climate, housing is moderately priced, and the countryside is stunning. Keep in mind that although the music industry is free thinking, you are in the South—a locale that is historically not as progressive as the Nashville arts and entertainment communities would indicate. NINE STEPS TO NASHVILLE 1. Don’t expect to open all of the doors overnight. Nashville is a town that respects history, longevity, and credibility. 2. Take enough money to at least give the illusion of some level of success. If at all possible, stay with friends. If you’re planning on sightseeing, you’ll probably need a car. 3. The business people here are incredibly savvy. Don’t assume that you’re dealing with yokels. Nashville doesn’t care what you’ve done elsewhere. 4. Use your performing rights organization to help you open doors. Contact them well in advance of your visit, but don’t expect them to perform miracles on your behalf. 5. Nashville Songwriters Association International (NSAI) is a valuable resource—especially if you’re a member. For membership information, contact them at (800) 321- 6008 or (615) 256-3354 and check out their Web site at www.Nashvillesongwriters.com. All members receive a booklet when joining that features a variety of informa- tion, including hotel listings and other information to maximize a visit to Nashville.193 6. There are people in Nashville who will rip you off by asking you to pay them up to $5,000 to get you a deal. Even if it’s all in the name of production costs, you can be taken for a ride. Yes, you may wind up with a CD, but it won’t be on a major label, and you may have paid four times too much to record it. Always be wary of name- droppers and people who make promises with price tags attached. 7. Music Row , a trade publication, is an excellent source for an insider’s look at the Nashville music scene. Learn the names and positions of the movers and shakers. 8. With demos, the simpler the better. Since Nashville is a song town, your demo doesn’t have to be as highly pol- ished. A guitar/vocal or piano/vocal is often sufﬁ cient. 9. Nashville takes the music industry very seriously, and the caliber of talent is in the stratosphere. There’s a lot of pride in this quality; don’t ever sell that short. The only people who wear cowboy hats and boots in Nashville are tourists. New York From Tin Pan Alley to the Brill Building, from Broadway to Greenwich Village, music is the soundtrack to suc- cessive eras of history in the Big Apple. Since New York is the center of the theater world, there are many outlets and opportunities for songwriters and composers who create for the stage and cabaret. The pop world is well represented, too, as are hip-hop and R&B, with the cur- rent climate heavily favoring songwriter/producers. Most major music publishers are in midtown Manhattan, but Chapter 10 Go Where You Wanna GoNetworking Strategies for the New Music Business 194the center of the songwriting world is Greenwich Village, with its cafés, coffeehouses, and clubs presenting a wide spectrum of acoustic and songwriter-oriented shows. DOWNTOWN The New York Songwriters’ Circle is a showcase held twice monthly at The Bitter End ( 147 Bleecker Street in The Village) that features many of the city’s most distinguished songsmiths alongside up-and-coming singer/songwriters. Artists are selected via word of mouth or from tapes heard in listening sessions. They now book up to eight months in advance. You can ﬁ nd information at www.songwriters-circle.com. UMO Music presents a Sunday showcase at the Baggot Inn ( 82 W. 3rd Street between Sullivan Street and Thompson Street) most Sundays in the winter but only if the weather is bad in the summer. Sign-up is at the door. Information is at www.umo.com. The Cornelia Street Café ( 9 Cornelia Street, 212-989-9319 ) presents The Songwriters Beat, a monthly showcase of original songwriters. Booking information is at www. corneliastreetcafe.com or www.songwritersbeat.com. SESAC’s Writers on the Storm, currently in residence at The Cutting Room, features four of the organization’s writers in a showcase format. Due to the success of club alumni Norah Jones, The Living Room, also in the Village, is home to a major scene. ASCAP Writers at Night is an intimate showcase series designed to feature the talents of promising new songwriters, while providing them with an opportunity to forge new relationships in a laid-back and supportive atmosphere. It’s currently held every ﬁ rst Tuesday of the month.195SONGS ABOVE THE FOOTLIGHTS ASCAP and the Manhattan Association of Cabarets (MAC) have instigated a showcase program where cabaret and theater songwriters present new material before an audience of publishers and other songwriters. The ASCAP Foundation also presents a showcase series, Thru The Walls, that spotlights concert-trained composer/performers who cross genres. Contact the Society at wwwmacnyc.com. BMI and the late Lehman Engel joined forces to cre- ate a setting where new writers for the musical theatre could learn their craft. The BMI Lehman Engel Musical Theatre Workshop continues to ﬂ ourish and is consid- ered to be the foremost training ground for new writing voices, bringing forth musical milestones such as A Chorus Line, Little Shop of Horrors, Nine, and Ragtime. The Workshop presents a series of in-house cabarets that attract music and theatrical industry attention. The Workshop participates both formally and informally with various New York and regional theaters in devel- opmental programs. Contact BMI at 212-830-2508 or via e-mail at [email protected]. SONGWRITERS HALL OF FAME The Songwriters Hall of Fame and the National Academy of Popular Music sponsor meetings where music indus- try professionals enlighten and educate attendees on both the craft and the business aspects of songwriting. These are held eight times per year, followed by open mics co-hosted by Bob Leone and April Anderson. For more information, contact Bob Leone at 212-957-9230 or via e-mail at [email protected]. Current members of the National Academy of Popular Music (NAPM) are also eligible to submit songs for Songwriters Chapter 10 Go Where You Wanna GoNetworking Strategies for the New Music Business 196Hall of Fame Songwriter Showcases, which are held four times annually. You’ll need to submit materials at least two months in advance of the shows. IF YOU VISIT Manhattan is where you’ll want to be, and it’s not cheap. Check out a Web travel service like Expedia.com or Travelocity.com for the best deals. Hotels shouldn’t be your priority, since in this dynamic “city that never sleeps” (to paraphrase Kander and Ebb) you’ll ﬁ nd many things to occupy your time entertainment- and business-wise. The city itself is a breeze to navigate via taxis or well-designated busses and subways, taking you anywhere you need to go. It’s inspiring to walk, too. Just remember that numbered streets descend as you head downtown and you can’t get lost. Pick up a copy of the venerable Village Voice for all of the club listings. IF YOU DECIDE TO MOVE THERE New York rents are among the most astronomical in the country. Some musicians opt to live in Brooklyn or Queens, which are cheaper, or across the river in New Jersey. The trains can whisk you anywhere quickly. For acoustic artists, there is a distinct advantage in living in New York because it is a hub of activity with close prox- imity to other Northeast towns (especially Boston) that have strong performing scenes and a multitude of venues for singer/songwriters. Los Angeles Los Angeles is a package town. Songwriters and art- ists succeed because they are somehow connected—to artists, producers, ﬁ lms, and other media. In this ever 197mutating city of the angels (or perhaps more appropri- ately, the “city of the angles”), the song is an essential component. Writer/producer teams of two or three specialists—e.g., a producer, a groove maestro, and a lyricist—are highly valued, while the era of the single, unconnected song (if it ever existed) has been supplanted by a corporate, high-stakes publishing environment. FILM AND TELEVISION The explosion of ﬁ lm, network and cable television, and video games has spawned innumerable outlets for new music and songs. Songs that mirror what’s happening on the charts (as of this writing, edgy alternative rock and singer/songwriters) are the most requested and easily placed. Check out www.ﬁ lmmusicworld.com. The Songwriters Guild of America (SGA) pro- duces a variety of educational events, including their ASK-A-PRO series. SGA membership is available to all, and the Hollywood ofﬁ ce is an unfailingly writer- friendly environment. There are always ongoing classes as well. Contact SGA at 323-462-1108 or online at www. songwriters.org. Another local songwriting group produces well- regarded activities, including ongoing songwriter showcases and educational events. As their Web site says, “The L.A. Songwriters’ Network (www.songnet. org) seeks to establish, develop, promote, and sustain for the songwriting community in Los Angeles, and for the global songwriting virtual ‘cyber-community’, free and low-cost access to the tools required to improve their craft, build successful careers, host and promote workshops and events, and most importantly give back to the world better music, better lyrics, greater positive, Chapter 10 Go Where You Wanna GoNetworking Strategies for the New Music Business 198wholesome, uplifting, sincere, and genuine musical and artistic creation and expression.” PERFORMING RIGHTS If you belong to ASCAP, try to plan your songwriting trip around the General Member Meeting, now held in L.A. every other year in early February. Year round, ASCAP hosts educational events, including Music Business 101 and The Songwriters Studio, plus their highly regarded acoustic showcase, Quiet on the Set. This show has spawned a spin-off, the Cover Me series, which celebrates writers whose works have been covered by prominent artists. Past participants have included Vonda Shepard, Jill Sobule, Willie Nile, Joseph Arthur, Sixpence None the Richer, Jonatha Brooke, Ben Harper, Catie Curtis, Allen Shamblin, Deana Carter, Rufus Wainwright, and John Mayer. BMI’s contributions to Los Angeles’ night life and their continued high-octane shows—BMI’s Circle of Songs, Songwriters Club, and Pick of the Month among them—are some of the showcase tickets in town. Information is available at BMI’s Web site, www.bmi. com, or www.circleofsongs.com. SESAC now has a West coast ofﬁ ce located in Santa Monica and has begun presenting highly regarded industry showcases and edu- cational events for their members. GET CONNECTED For the past 27 years, Music Connection magazine has measured the pulse of L.A.’s music business. Music Connection publishes special editions throughout the year, including a guide to music publishers, music supervisors, open mics, and showcases. The “Song Biz” column, my domain, has information about performing 199rights organizations, publishing companies, and show- cases. You can read the current issue online at www. musicconnection.com or call 818-955-0101 for subscrip- tion information. The distances in Los Angeles are vast. The music community is spread from the beach towns of Santa Monica and Venice inland to West Hollywood, Hollywood central, Silverlake, and the San Fernando Valley, especially Universal City, Studio City, and North Hollywood. For acoustic performers, Li’l Hal’s Guide (www.halsguide.com) is the deﬁ nitive resource for locat- ing open mic and showcase clubs. Taxi, the independent A&R service, holds their annual convention, the Road Rally, in the fall. It’s a weekend of classes, panels, pitch sessions, etc. You have to be a member to attend, but the event itself is free. Check out www.taxi.com. There are other events in the early stages of development, includ- ing a Songsalive! Expo for independent artists (www. songsalive.org), and Loyola Marymount Law School and California Lawyers for the Arts present an industry panel in the fall that is an excellent networking resource. Lastly, UCLA Extension’s Music Business programs pres- ent one free day of songwriter events every September to promote their upcoming classes. IF YOU DECIDE TO MOVE THERE Los Angeles may remind you of the fable of the blind men and the elephant because every part of it you touch feels different. You can live in a roaring city, in the tran- quil suburbs, at the beach, in a small town, high in the hills in a neighborhood of palatial mansions, or deep inside the barrio and still be within the city limits.Chapter 10 Go Where You Wanna GoNetworking Strategies for the New Music Business 200Emerging Cities With a population of 425,000 , Atlanta is only the thirty- ninth largest city in the United States, but there is a supportive network of musicians, clubs, radio, and publi- cations in the city that help set it apart. For R&B artists and songwriters, Atlanta, Georgia, has become the musical capital of the New South. Ludacris, OutKast, and P. Diddy have homes there, and it’s not only home to soul music—The Black Crowes, Collective Soul, Indigo Girls, Shawn Mullins, Elton John, and John Mayer base their operations there as well. One of the things that has made it easier for bands to emerge, and possible for them to survive, is the abundance of local clubs that feature live music in East Atlanta, Little Five Points, and Midtown. When it comes to hip-hop, Atlanta is unrivaled. Rappers and artists who may have started in the Big Apple or in the City of Angels have migrated to Atlanta. Another extension of the Atlanta music scene is under- ground dance clubs and DJs, and another supportive outlet that helps Atlanta’s music scene thrive is local radio. Both Album 88 (WRAS-FM 88.5), GA State University’s student-run station, and 99X (WNNX-FM 99.7), the city’s “alternative” station, have given local bands the chance to be heard. Album 88 does it with the Georgia Music show, and 99X gives bands airtime on “Local Only,” which can be heard via the station’s Internet site, 99X.com, and sponsors the Locals-Only Stage, during Atlanta’s annual Music Midtown Festival.201All Over the Map If you are a visiting musician, songwriter, or aspiring executive, your success will be determined by your inter- action with the people you meet. It is imperative to do your homework before visiting any of these locales, to make a strong, enduring impression once you’re there, and to follow up and keep in touch with your contacts when you leave. ASCAP, BMI, or SESAC members should make a visit to their performing rights organiza- tion a ﬁ rst stop, but be realistic: Don’t expect them to perform miracles on your behalf. Music Conferences Maybe you’re not prepared to make the move yet to a major recording capital, but when you do, you’ll need contacts. Music conferences proliferate in all genres of music. A dedicated Web search will display events coast to coast. These are invaluable opportunities to make lasting contacts, and the information and contacts to be gained by attending a songwriting conference cannot be over-emphasized. It’s more than just a place to meet—it’s empowerment, a sense of community, the joy of belong- ing. Many participants share that they come away sig- niﬁ cantly inspired by these experiences. Of all the annual events, two come to mind quickly. The Durango Song Expo (www.durangosong.com), as its name would indicate, was ﬁ rst held in Durango, Colorado. The locale has now shifted to Telluride, and the same organization is producing a songwriting event in the wine country just north of Santa Barbara. Imagine Chapter 10 Go Where You Wanna GoNetworking Strategies for the New Music Business 202the combination of hundreds of songwriters and endless bottles of great wine! The Durango folks pride themselves on limiting the number of registrants so that everyone will have an opportunity to have their songs heard by industry reps from Nashville and Los Angeles. The pros and the writ- ers tend to be slanted toward country/roots/Americana, so if you create in these ﬁ elds, you’re in luck. Panels cover everything from copyright basics to promotion and publicity with hit songwriter concerts and long nights of guitar pulls in many of the rooms. The second of these events is the West Coast Songwriters Conference (www.westcoastsongwriter.org). With 16 seminars, 50 song screening sessions, 1,500 songs reviewed, performance showcases, one-on-one sessions, and concerts, the conference is a wellspring of opportu- nities for over 500 songwriter/musicians who attend the event. It’s just close enough to Los Angeles to draw a strong cross-section of Hollywood publishers and record label execs. The vibe of the conference is endlessly supportive; there’s a respect for the songwriter that goes far beyond monetary commercialization, and many types of music are represented. 15 Tips to Maximize Your Conference Experience 1. Bigger is not necessarily better. Some of the smaller regional conferences can be more valuable than a huge, confusing cattle call. 203 2. Plan, plan, plan. You can generally save big bucks by registering early. 3. Minimize lodging costs by sharing rooms or staying with friends. 4. Don’t assume that if you’re staying at a hotel where the conference is held you’ll pay less with a group rate. Check out the possibilities online; sometimes you’re better off booking a room on your own. 5. If you stay in a hotel where the event is held, specify if you’ll be in a “quiet” area. At the Folk Alliance Conferences it’s not unusual for musicians to jam all night. Consequently, a quiet wing of the hotel is reserved for those who require some sleeping silence. 6. Do research. Anticipate what classes, panels, and work- shops you want to attend. Often these are the most valuable events happening. 7. Again, the purpose is to open doors and windows. Pressing press kits and CDs into everyone’s hands can be off-putting. I often leave conventions overwhelmed. What I appreciate is someone asking for my card and contacting me in the next week when I’m not deluged. 8. Mixers and social events are a key component of conferences and conventions. Save your energy for late- night schmoozing. 9. When you return home, don’t procrastinate: File all of the names and contacts you made. Chapter 10 Go Where You Wanna GoNetworking Strategies for the New Music Business 204 10. Write thank you letters to panel participants whose presentations you particularly enjoyed. 11. Your most valuable contacts will probably be the other attendees. 12. Dress comfortably but distinctively. Project a vibe. 13. If possible, set up meetings in advance of the event. Proffering an invitation for a meal (you pay!) is a generous way to interact. 14. The booth areas are also valuable places to meet people in a natural setting, especially at slow times or lunch hours. 15. See if you can volunteer to assist at the event. Some conferences will comp volunteers. World Beat As I teach students from the U.K., Norway, Germany, Japan, the Philippines, and the U.S., I emphasize that pop music is a global phenomenon. Sometimes what is successful in one part of the world spreads across the continents; other times, the payoff is more localized. As music industry professionals, we need to be apprised of the explosive potential of world markets. There are many examples of U.S. artists who ﬁ rst became successful in the U.K. A struggling sideman for Little Richard, Jimi Hendrix came to prominence in the U.K. before returning to conquer the states at the Monterey Pop Festival.205In the following decade, an aspiring rock singer from Ohio, Chrissy Hynde, moved from Akron to London to form The Pretenders, who were similarly successful stateside only after their breakthrough in Britain. The lowly Ramones, jokes in their hometown, blew away English audiences and inspired a whole generation of punks before returning in leather-jacketed triumph to their native New York. The market for songs is worldwide, too. Los Angeles songwriter Michéle Vice-Maslin has made a living for years writing songs for global markets: in the U.K., Denmark, Spain, Scandinavia, Belgium, and Holland. What’s her secret? “I pitch through [the U.K. magazine] SongLink ,” she says . “I’ve gone to MIDEM six times. I went to the Music Bridges trip to Ireland and the D’Pop writers week in Denmark. I know all of the A&R people all over the world, and I solicit them. When I was signed to publishing deals, I would ﬁ nd out who the local pub- lishers were in each country, and I’d call them and send them my songs. Also, I’d buy international music trades and really research them.” This proactivity leads to contacts. As Vice-Maslin says, it was her personal relationships with music busi- ness people worldwide that sustained her until her ﬁ rst huge U.S. hit, in a songwriting career that has spanned 20-plus years. Further Aﬁ eld London—a pop, dance, and techno music center—is a co-writer’s Mecca, since much of the pop recording is project oriented. Liverpool and Manchester also have Chapter 10 Go Where You Wanna GoNetworking Strategies for the New Music Business 206vibrant music scenes. Stockholm, Sweden, has emerged as a pop capital in the past decade. And don’t rule out Tokyo, Japan, or Seoul, South Korea. And with China becoming a major world power, it’s only a matter of time before there’s bling-bling in Beijing. Begin your global music education by reading the trades ( Billboard has a listing of world charts) and check out Vice-Maslin’s recommended publication, SongLink, for a listing of acts worldwide who need material. You can also search the Internet for many variations on this theme. The business of music is different for each city, state, and country. However, the real tools—contacts, people skills, persistence, and dedication—are absolutely identical, no matter what market you’re in.207CHAPTER 11 Deﬁ ning Your Direction By now, you’ve hopefully absorbed enough positive information to help you make real choices in your career. But if you’ve been banging your head against the wall, trying to make things happen, perhaps it’s time for an inner dialogue with yourself. It is all too easy to ignore things that don’t exist. Writing down your goals, your ambitions, your hopes and dreams should be the very ﬁ rst step in planning your year. I spend the last week in December devising a list of what I want to happen in the upcoming year, whether it’s a new position, a show I’d like to produce, artists I want to interview, or a book I want to write. Twelve months later, I’m always amazed to see that although all the new benchmarks I’d set for myself may not have been reached, many others have. And it’s because of my efforts on behalf of my primary goals that the secondary events occurred. Motion begets motion.Networking Strategies for the New Music Business 208You can stir up the universe by transmitting and expending your energy correctly. I know this may sound like some California New-Age malarkey, but try focus- ing and devoting your energy to achieving your goals. Weekly, daily, and monthly “to-do” lists are effective ways to track your progress. Remember, all of those small things you accomplish will eventually add up. The following questions are for you to answer only to yourself. Questions for Artists 1. How important is your career to your life? Successful music business practitioners do not go from one comfortable situation to another. Would you be will- ing to move to another city? To go on the road? To leave friends and family behind in the pursuit of your dreams? 2. Can you make it happen where you are? As discussed earlier in this book, the music business now has other centers of creativity. Creating a scene in your hometown, with similar bands, media, and artists, can help you attract attention to your music. But it takes a willingness to be proactive and to work tirelessly and a certain personality to convince others that they should work for the good of all. 3. Do you have reference points for your music? If so, is it in a style that is viable for new audiences? Remember, buyers for music are progressively younger. 209 4. Are you performing regionally? It’s imperative to expand audiences for live music. It may even cost you to travel to another area to perform, but in the long run it will be well worth the investment. 5. Are you making too much money working a straight job? At some point you’ll need to deﬁ ne yourself strictly as a music professional—sink or swim time. It’s difﬁ cult to devote eight hours a day to working for someone else and then attempt to do music full time. You may need to cut your job loose—usually a harrowing, but often necessary, proposition. 6. Are you improving your chops? Classes, workshops, and lessons are not only essential to pursuing your art, but also to making new contacts. 7. Are your aspirations viable? Dreams are marvelous, but you have to live in the moment as well. The great thing about outreach, personal contacts, and networking strategies is that you can practice them every single day of your life. 8. Do others like working with you? Even the most talented musician won’t get work if no one likes being around him. In Los Angeles, for example, where the talent pool is phenomenal, it goes far beyond technique when it comes time to call up players for high-paying sessions. It’s more about vibe—that the best musicians also bring in enthusiasm, a “can-do” attitude, and make everyone feel like they’re on a winning team. 9. Do you have a vibe? This is an intangible quality, but it’s an energy, an aura, something that makes others respond to you—the Chapter 11 Deﬁ ning Your DirectionNetworking Strategies for the New Music Business 210elusive “star quality.” I can detect it, but I can’t explain it; still, if you aspire to a career as a major recording artist, others will need to feel it coming off of you. 10. Do you fear success? There are many ways to sabotage your own intentions, either consciously or unconsciously. Using alcohol or drugs, overeating, or taking health risks are the most obvious. But do you alienate others, forget to return tele- phone calls, or in general not take care of business? If so, you may not feel you deserve to be successful. I am not a psychologist or a psychiatrist (at least not a trained or accredited one!), but I know that it’s much harder to be successful than to not be. Success will lose you many more friends than failure. More will be expected, others will resent and be intimidated by you, and it may be difﬁ cult to decide whether people like you or your position. Talent is not its own reward. The perils of instant fortune are well known. Questions for Aspiring Moguls 1. Do you read the trades every week? If so, do you know the names of the movers and shakers in the music business, and can you track their movements? Do you study their pictures to be able to recognize them on sight if necessary? 2. Have you relocated to a music center? As discussed many times in this book, you either have to create it where you are or go to where it is. 211 3. Do you recognize talent in others? Try predicting which movies will do well, what singers will be selected on American Idol and shows of this ilk. Are you usually correct? 4. Can you champion, and sell, artists? Make no mistake: it’s all sales. Being able to convince others and to transmit enthusiasm and emotion is a major attribute of music industry professionals. 5. Do you present yourself correctly? Music people can recognize others. It’s a hip, fast-moving world. A strait-laced suit-wearing businessman may alienate musicians. Even if you’re on the other side of the desk, you’re expected to have a “look.” 6. Do you have a handle on economics? Planning, strategizing, and tracking income and expenses are valuable abilities for anyone hoping to handle and earn large sums of money. 7. Can you go with the ﬂ ow? Virtually every situation in the music business happens at the last possible second. Being overly rigid therefore can be detrimental in an environment where plans are always changing. Musicians typically follow their own clocks, and working with them requires an understand- ing of creative chronology. 8. Do you see the big picture? Artist managers and other handlers of talent must be able to deal with the details at hand but also must be able to visualize what will occur much further down the road. This requires a master plan. Are you capable of such a long-term commitment to others? Chapter 11 Deﬁ ning Your DirectionNetworking Strategies for the New Music Business 212 9. Do you have the time to devote to my career? It is virtually impossible to launch viable enterprises if you don’t have the time or energy to do so. You cannot buy your way into this business; it’s insular, and relation- ships run long and deep. 10. Are you enterprising enough to create your own niche market? The music business utilizes everything from voice and performance coaches to dentists who specialize in trum- pet players’ teeth. Possibly you have a skill that could be tailored to the music business. Remember:There are no rules; only your own creativity is devising outlets and applications for you talents. Teamwork Other than the ﬁ lm business, the music business is prob- ably the most interactive enterprise in the entertainment industry. Artists are the visible tip of the iceberg, sup- ported by an immense cast of players who may be less evident but are none the less equally vital and, in most cases, will probably enjoy longer careers than the artist. This section examines some of the principal players from two sides: one, if you’re an artist needing to engage team members, and two, necessary qualiﬁ cations if you want to work in any of these essential ﬁ elds. Management “I need to ﬁ nd an agent or a manager,” you say. But which do you need? The duties, responsibilities, and qualiﬁ cations are totally different. First, there are 213managers. Back in the day, managers were often solo operators—savvy visionaries who would attach them- selves to artists and guide each and every aspect of the artist’s career. Long-term relationships were the norm: Brian Epstein with the Beatles, Colonel Tom Parker with Elvis, and Albert Grossman with Bob Dylan. (Interestingly enough, Grossman never used the term “manager.” He preferred the more general “works with the artist” to describe his duties.) A manager is many things: counselor, sounding board, partner, Svengali—depending, of course, on the needs of the artist. Above all, he or she is an employee— hired by the artist to oversee all elements. When Do You Need a Manager? This is easy: when you can no longer run your own busi- ness affairs because you’ve become too successful. When artists tell me they think they need a manager, my ﬁ rst question is always, “How much income are you currently generating?” If the answer is none, nil, nada, the correct response is “Why do you need a manager?” I’ve done everything within the management sphere: hand holding, brow beating, booking dates, hauling gear, and bailing my clients out of jail. The question of what a manager does is answered by the phrase, “Whatever is necessary.” I would always give keys to my house to artists I managed in case they needed a safe haven, peace and quiet, or a place to do their laundry. Handling clients signed to record deals is a taxing existence. I discovered I was spending more time with Chapter 11 Deﬁ ning Your DirectionNetworking Strategies for the New Music Business 214the label than with the artists. And I learned that if events, projects, and tours went well, it was always because of the artist. If things fell ﬂ at or were less than successful, it was always because of management. A manager has to take the blows for the artist. What to Look For in a Manager So if a manager is interested in you or your act, is it best to sign with the biggest one? Not necessarily. I’ve known new artists signed to high-proﬁ le managers who have fared poorly because the manager’s attention was invari- ably focused on his bigger, higher-earning clients, not the ones who were still struggling to ﬁ nd an audience. Technically, anyone can call himself a manager with- out having any qualiﬁ cations whatsoever, and that’s a dicey proposition for most new artists. It is better to have no manager than to have the wrong one, because he or she will inevitably alienate those whom you need to cul- tivate. Record labels will rarely sign artists without proper management in place. Sometimes if an A&R executive is interested in signing an act without management, he will recommend someone he knows. This can be an excel- lent way to come in from a position of power. Beware the manager who comes in simply to sign you to a label, however. It is not unknown for unscrupulous A&R execs to be in cahoots with managers to skim and split a per- centage of the signing bonus offered by a record label. That has happened.215A good manager is with you for the long term, is sympathetic to the artist, can see the big picture, and can facilitate a wide range of scenarios, from negotiating record deals and sync licenses to publishing and touring. A great manager doesn’t need to know everything, but he has to know how to ﬁ nd out everything. And he takes 15% to 20% of your earnings in exchange for this expertise. Do You Want to Be a Manager? Managers are a special breed in the business. If you are organized, understand how the business works, and are well connected, aggressive, and irrepressible, you have some necessary attributes. Some managers are hard- driving street hustlers, some are smooth Ivy League law school graduates—but all are capable of multitask- ing, and not only recognizing talent but knowing how to make the most of it. A good manager says “yes” to virtually any situation and then ﬁ gures out how to make the most of it. Your Lawyer Lawyers in the music business are different than law- yers in the civilian world. They are paid hourly or on a retainer basis. Few reputable lawyers in Los Angeles will shop packages to labels. Beware of an up-front fee from those who do so. Donald S. Passman, author of All You Need to Know About the Music Business, is a high-proﬁ le Hollywood music business attorney whose reputation is Chapter 11 Deﬁ ning Your DirectionNetworking Strategies for the New Music Business 216irreproachable. Jay Cooper is another high-stakes player, as is Peter Paterno. But we’re talking major billings for their services, probably in excess of $ 600 an hour. Unless you’re negotiating a multi-million dollar agreement, it’s doubtful you need someone on this level. On the other end of the spectrum is a cadre of eager young lawyers fresh out of law school and eager to earn a reputation in the high-stakes music world who charge a fraction of these fees. Often these lawyers are out in the clubs, discovering talent, the same as any other operative in the music business. Having a lawyer with whom the label is familiar may be to your advantage, but keep in mind that some major labels will hire lawyers to work for them simply to keep them in the pocket when it comes time to negotiation deals with artists—a distinct disadvantage and a clear conﬂ ict of interest. But a good lawyer is necessary when it’s time to sign contracts. And I’ve seen sympathetic lawyers defer billing altogether if they have a relationship with an artist who is having money problems. Agents Agents work for the buyer, period. Yes, you’ll need an agent if you are successful, have a major deal, and are ready to tour; otherwise, you may be better off booking yourself. Agents are extremely selective and generally sign only artists who they know they can work in speciﬁ c markets; rarely will they take a chance on an unknown. As with other elements, it’s all about relationships: in this case, between the agent and the buyer. In the state of 217California, an agent posts a bond with the state in order to be licensed and qualiﬁ ed. As a holdover from the dark days of the movie business, it’s not possible for someone to be both an agent and a manager—this is considered a conﬂ ict of interest. Agents generally earn 10% to 15% of their artists’ gross earnings from performances, and they deduct expenses incurred as well. The agent takes his clues from the manager, ﬁ nds out what fees are necessary, how far the artist will travel, audience speciﬁ cs, packaging, plans for recording and touring, special needs, plus sound and lighting. The most effective agents are highly specialized, dealing in a speciﬁ c genre of music—Latin, jazz, world, or rock, for example. If you have the qualiﬁ cations to be an agent, you’re probably already doing it: booking bands at shows or parties. Your Publicist You need a publicist only if you have a story to tell and a product to sell. Nothing could be more counterproduc- tive than to engage and pay a publicist, garner national publicity, and not have anywhere for potential buyers to go to hear your music or buy your CD. A good publicist will map out a campaign gener- ally two or three months in duration (few will work for a shorter period), concentrating on local, regional, or national press. A publicity campaign generally works around the release of a CD and/or a tour. A publicist will develop press materials, advise you on photos, bios, and Chapter 11 Deﬁ ning Your DirectionNetworking Strategies for the New Music Business 218press releases, and often generate all of the above and have relationships with the music press. (See the “Press Kits” section in Chapter 7 for more on generating these materials yourself.) The major publicists get major results. As a journal- ist, I interact daily with a variety of publicists from the major companies in Hollywood to small indie operators. Publicists also specialize; if you’re doing speed metal, for example, you won’t want a publicist who operates in the cabaret world. $350 to $500 per week for a three-month campaign would be in the ballpark. Artist’s Responsibilities If you are an artist, you will likely take on many, if not most, of these duties yourself at the onset of your career. This is valuable because you’ll have a handle on what each of these endeavors entails, so when you do choose to hire functionaries to take over these chores, you’ll know what to expect. The day of the uneducated artist is long gone. Today’s successful artists—whether independent or signed to labels—ask questions. They’re not snowed under by smooth-talking con operators or bullied by double-talk. The more you learn about the different aspects of your career, the stronger you will be. And always, if your music is happening and you’re making headway, meeting these operatives will come quickly and naturally. Trust your instincts; work only with people with whom you share a common philosophy. Ask yourself, “Is this truly a person I trust to represent me?” 219Get a Job As I mentioned in the Introduction to this book, you will rarely see listings posted for record company jobs because they’re few and far between, especially in this age of lay-offs and consolidations. The other reason is that they’re generally ﬁ lled by those within the business whose motion is upward and lateral as executives jump from position to position with the various companies. In my career, the ﬁ rst position I ever held in the business (that is, not as a performer or songwriter) was selling advertising to recording and demo services and to studios and equipment manufacturers for the Los Angeles Songwriters Showcase Songwriters Musepaper . Wages were lowly: a minimal weekly draw plus com- mission on what I sold and collected on. Initially, I was earning so little in this position that I had to work a part-time job at night to be able to afford to work almost for free during the day. Holding down two jobs was a struggle, but I knew that to build my credibility in the industry I’d have to begin somewhere. Internships are the time-tested method for the industry to employ free labor. At Cal Poly Pomona, a college where I often teach, most of the students hold internships at labels, music publishing, and publicity companies. It’s important to realize that often in order to get a job in the business, you must ﬁ rst have a job in the business. To work within this paradoxical conundrum, you’ll have to start somewhere. Keep in mind that most companies are leery of hiring musicians and songwriters who may have their own agendas.Chapter 11 Deﬁ ning Your DirectionNetworking Strategies for the New Music Business 220If you’re located outside of a major music capital, you can still meet regional promotional and sales representa- tives from record labels. The turnover rate in publicity departments tends to be high, so if you can write and talk and are great on the phone, apply in this area. Clips or articles you’ve written for your local or school paper can be helpful indications of your interest and ability to write about music. Record labels and music publishing ﬁ rms are obvious places to apply, but as music becomes a component of more businesses—e.g., coffee companies like Starbucks, retail outlets, fashion designers, and sporting events—a forward-thinking aspirant has more opportunities to advance. There is little job security in entertainment posi- tions. If this is your priority, you may need to rethink your strategy. Your security will need to come from an ever-increasing list of contacts. If you do land a job in the music business, you’ll need to devote yourself fully to the company that hires you, while at the same time being realistic enough to know that jobs are tenuous at best. Belonging to industry organizations, widening your list of social and business contacts, observing patterns and start-up companies—all of these create an atmosphere of information. If you do your job effectively, you will be noticed, not only by your bosses and superiors, but by everyone else with whom you interact. And you’ll be on your way up.221Personal references will always be the strongest calling card. Being in a position to put people together is a spe- cial gift and a valuable attribute for any music business networking pro. Creative Conﬂ uence I would caution you to always be aware of the balance of relationships between other individuals before you use one of them as a reference. Let me give you an example. When I ﬁ rst began managing artists, a musician of somewhat questionable character told me he was “good friends” with a promoter who handled a variety of out- door festivals. “Call him and use my name,” he urged. When I called the promoter and dropped this musician’s name, there was an absolute silence. It took me the entire conversation to recover from this gaffe, and I found myself having to defend myself and my reputation to a stranger because I’d dropped the name of someone for whom he had no respect. It’s a WrapCHAPTER 1 2Networking Strategies for the New Music Business 222Five Tips for Personal References 1. People prefer to do music business with friends and peo- ple they enjoy working with. Become a whole person, not a ladder-climbing opportunist. 2. Musicians are curious creatures; they will often lend their services to people and projects they believe in regardless of immediate ﬁ nancial incentives. Give, take, or barter—“I’ll play on your project if you play on mine.” All of these factors are advantageous for up-and- coming artists, and friendships and camaraderie among musicians are an enduring force. 3. When you ask someone for a reference, you run the risk of putting them in an uncomfortable position. Although your suggestions may well lead them to that conclusion, it’s better if you let them make their own recommenda- tions. Some people like their own ideas best. 4. Notice if others use you as a reference and why. Sometimes it’s just a “brush off” and not really a referral. If someone submits music for a project and it’s clearly not right, rather than rejecting it, often the confounded listener might interject, “This is perfect for a ﬁ lm/TV placement.” This means nothing. 5. Be aware that personal relationships can be volatile and shifting. I was planning to interview a hit songwriter I’d never met, whose co-writer on a top- 10 hit happened to be an old acquaintance of mine. The night prior to the interview, I happened to run into my friend, who alerted me to a potential lawsuit brewing between the two and a massive chasm in their friendship. Had I gone in the 223next morning and trumpeted my long-term friendship with his co-writer, it would have been an uneasy session. Back Home After my ﬁ rst book on networking was published, I returned for a visit to my hometown, Lima, Ohio, where I was interviewed by the entertainment editor of the local paper. “What you’ve done in your career isn’t realis- tic for most people,” he insisted. I disagree: In my world, commitment and resourcefulness, imagination and creativity are shared trademarks of my contemporaries. We work with no safety net, no guarantees, no rules, no predestined career paths to follow down the road to our golden years. As a teenager, cloistered in my room with musical instruments, magazines, and records, little did I under- stand how I could forge a career with these obsessions. My father used to remark, “You’re living in a dream world,” and he was totally correct. I dreamed of living in New York and Hollywood, of a life far beyond the cornﬁ elds and oil reﬁ neries that surrounded me. Staying in your hometown and creating outlets for your art and music locally is a wonderful thing, too. Not everyone has the same needs. If you love music, incorporating it into the fabric of your life may fulﬁ ll you. Teaching music, performing in your local church choir, singing in senior citizen homes—all these are worthwhile outlets for talented people who allow music to fulﬁ ll its most elemental endeavor: to make others feel good by sharing the sound.Chapter 12 It’s A WrapNetworking Strategies for the New Music Business 224Making It Happen Where You Are With the decentralization of the recording industry, it may not be necessary to move to a music capital. Scenes have developed in unlikely places in recent years: Omaha, Nebraska; Akron, Ohio; Austin, Texas; Chapel Hill, North Carolina; Sacramento, California; and Athens, Georgia, being among the most prominent. You can make it happen where you are if there is a sizable audience to support your music—a CD-buying, concert-attending audience—particularly if there is a large college or university nearby. Having local media to promote the music scene, visual artists to identify it, and an audience hungry for culture and enlightenment are all prerequisites to a “scene.” Chris Stamey, who has produced artists including Whiskeytown, Yo Lo Tengo, and Alejandro Escovedo, is at the forefront of the roots-driven sound in Chapel Hill, North Carolina. Stamey lived in New York in the ’80s, playing with Big Star’s Alex Chilton and forming the dB’s with North Carolina refugees Peter Holsapple, Will Rigby, and Gene Holder. But after 13 years in the Big Apple, Stamey returned to North Carolina. “For me, coming back to the South is great,” Stamey enthuses. “You gain two to three hours out of every day. It’s much easier to get things done, whether it’s going to get gar- bage bags or meeting someone for lunch. You don’t have to wear armor as much. I love New York, but it’s more fertile for me here.” Stamey observes that North Carolina is not necessarily the next musical Mecca. “A lot of things that seem like movements are one person. It might be one club owner making a stand. Here, a couple of musi- cians bring Wurlitzers and play them in a certain way.” But his life, his songs, and his music comprise a compass 225that has guided Chris Stamey back to North Carolina. “When I was playing with Alex Chilton, I asked him why he didn’t live in New York or L.A.,” Stamey recalls. “He said, ‘Good things come from the provinces.’” Barsuk Records began as a venture by Josh Rosenfeld and his partner Christopher Possanza to release the album by their band, This Busy Monster. Taking its name from the Russian word for “badger,” the label, based in Seattle, is home to Death Cab for Cutie, Jesse Sykes and the Sweet Hereafter, Rilo Kiley, Nada Surf, and many others. The future soundtrack for america, a fund- raising compilation with R.E.M., Tom Waits, They Might Be Giants, and others is one of their newest projects. Rosenfeld explains that his label ﬁ nds bands through personal references from their signed artists. “We used to accept unsolicited demos. We got too much stuff. It’s harder now than it was 10 or 15 years ago. It’s so easy now for someone to make music with a home computer. There’s so much, it became overwhelming. We started the label because we were in a band and we couldn’t ﬁ nd a label who wanted to put out our music. I remember thinking at that time, as I looked at the rosters of labels I admired, that it seemed cliquish: ‘Oh, of course they signed you because you know the guys in that band.’ I’ve come to realize exactly how that functions over time. The one huge place where we ﬁ nd music we like is when bands on the roster are on the road, play shows, bring us a CD back, and say, ‘This band is really good.’ I share a taste in music with bands on the roster, so there is a lot of overlap. It’s not a clique; that’s how I hear music I like.”Chapter 12 It’s A WrapNetworking Strategies for the New Music Business 226What Have You Been Given? Whatever attributes we have we can choose to use in either positive or negative ways. The music business is made up of individuals who don’t ﬁ t other models. As I said at the beginning of this book, Networking Strategies is not about becoming another person, it is about allow- ing the light within you to shine and illuminate a career path. As our lives progress, our needs change, and our successes and failures shape our personalities, there are many things that will separate us from music: rejection, changing trends, ﬁ nite abilities, the lure of the straight job, and partners and spouses who don’t understand why we spend our spare time in the basement tinkering with instruments and recording equipment. With recording artists being signed at progressively younger ages, you can observe that many of these bud- ding stars in Hollywood are managed by family members. “Mamagers” is the newly coined term for stage mothers who navigate their children’s careers. Jessica and Ashley Simpson’s father, Joe, a minister who traded the pulpit for show business, is now a high-powered entrepreneur. Interestingly, the reverse is also true: Old-school crooner Tony Bennett has become newly hip under the watch of his manager son, Danny, and Tom Jones’ offspring, Mark Woodward, has provided the same service for his perennially swinging father. Maybe your art and love of music will be expressed through your children or, if you don’t have children, through those you encourage, nurture, and teach. I hope that the books I write and the courses I teach have helped to enlighten students and aspiring artists—a responsibility that I do not take lightly.227In Conclusion That plucky poultry of childhood lore, Chicken Little, ran about proclaiming, “The sky is falling!” I hear this echoed by his human counterparts who lament, “The music busi- ness is falling!” Let me be clear: The music business is just ﬁ ne, thank you. Video games, independent ﬁ lms, cable television, satellite radio, digital transmissions, ring tones, remixing, and the rise of independent artists are all add- ing to this burgeoning bottom line. There is a tendency to use the terms “record busi- ness” and “music business” interchangeably. The record business—sales of music in hard, tangible form like CDs or DVDs—is always in a state of ﬂ ux. Quite famously, sales of CDs have been impacted by ﬁ le-sharing of music and the division of the entertainment dollar into ever smaller increments. Back in the day, consumers had far fewer choices on which to spend their entertainment dollars. But the “music business” is much greater than a single commodity. Whenever or wherever individu- als make their living connected to music—performing, writing, teaching, consulting, or advising—there is a solid “music business.” As DJs and remixers reinvent the muse, and as samples reconnect the past and future, the soundtrack becomes increasingly cross-generational. New palettes shine from well-burnished hues, and new combinations spin together—punk rockers with country queens, classic rockers with hip-hop artists. The possibilities are inﬁ nite. As always, language is being reinvented as the rise of hip-hop fuels the art of the spoken word. As the world becomes smaller, the beat becomes bigger, and music is a potent passport across lines and dimensions. Chapter 12 It’s A WrapNetworking Strategies for the New Music Business 228Everyone feels it, from your skateboarding, Misﬁ ts wearing, T-shirted kid down the street to your big-band- loving grandmother. Music is generated every single day to satisfy an ever-increasing consumerism. At the crossroads of art and technology, even dead rock stars are exhumed as classic artists and remixed by today’s hottest DJs. Feel the power: Music is the heartbeat. Even Elvis has a new dance hit. As corporate radio squeezes the playlist ever tighter, a new generation of musicians hunches over computers in suburban bedrooms, roams the hinterlands in packed vans, gives back to the muse in classrooms and choir lofts. We have video games, computers, advertising, cable television, independent artists, digital transmission, sat- ellite transmission, iPods, and pod casting. In my years in the music business, I have never seen as many oppor- tunities as exist today. “Music business” is two words. May the music always come ﬁ rst.229Appendix A The Academy of Country Music 4100 W. Alameda Ave, Suite 208 Burbank, CA 91505 T el: (818) 842-8400 Web site: www.acmcountry.com ASCAP—New York (headquarters) One Lincoln Plaza New Y ork, NY 10023 T el: (212) 621-6000 Fax: (212) 724-9064 Web site: www.ascap.com ASCAP—Los Angeles 7920 W. Sunset Boulevard, Third Floor Los Angeles, CA 90046 T el: (323) 883-1000 Fax: (323) 883-1049 ASCAP—London 8 Cork Street London W1X1PB T el: 011-44-207-439-0909 Fax: 011-44-207-434-0073 ASCAP—Nashville Two Music Square West Nashville, TN 37203 T el: (615) 742-5000 Fax: (615) 742-5020ASCAP—Miami 420 Lincoln Rd, Suite 385 Miami Beach, FL 33139 T el: (305) 673-3446 Fax: (305) 673-2446 ASCAP—Chicago 1608 N. Milwaukee, Suite 1007 Chicago, IL 60647 T el: (773) 394-4286 Fax: (773) 394-5639 ASCAP—Puerto Rico 654 Ave. Muñoz Rivera IBM Plaza, Ste. 1101 B Hato Rey, PR 00918 T el: (787) 281-0782 Fax: (787) 767-2805 ASCAP—Atlanta PMB 400 541 T enth Street NW Atlanta, GA 30318 T el: (404) 351-1224 Fax: (404) 351-1252 BMI—New York (Broadcast Music, Inc. headquarters) 320 West 57th Street New Y ork, NY 10019-3790 T el: (212) 586-2000 Web site: www.bmi.comResources ORGANIZATIONSNetworking Strategies for the New Music Business 230BMI—Nashville 10 Music Square East Nashville, TN 37203-4399 T el: (615) 401-2000 BMI—Los Angeles 8730 Sunset Blvd. 3rd Floor West West Hollywood, CA 90069-2211 T el: (310) 659-9109 BMI—Atlanta 3340 Peachtree Road, NE Suite 570 Atlanta, 30326 T el: (404) 261-5151 BMI—London 84 Harley House Marylebone Rd London NW1 5HN, ENGLAND T el: 011-0044 207486 2036 BMI—Miami 5201 Blue Lagoon Drive Suite 310 Miami, FL 33126 T el: (305) 266-3636 BMI—Puerto Rico 255 Poncé de Leon East Wing, Suite A-262 BankTrust Plaza Hato Rey, Puerto Rico 00917 T el: (787) 754-6490 Arizona Songwriters Association P .O. Box 678 Phoenix, AZ 85001-0678 T el: (602) 973-1988 Web site: www.punkfolker.comAssociation of Independent Music Publishers (AIMP) Los Angeles Chapter P .O. Box 69473 Los Angeles, CA 90069 (818) 771-7301 New York Chapter c/o Burton, Goldstein & Co., LLC 156 W. 56th St., SUite 1803 New Y ork, NY 10019 (212) 582-7622 Web site: www.aimp.org Austin Songwriters Group P .O. Box 2578 Austin, TX 78768 T el: (512) 442-TUNE Web site: www.austinsongwriter.org Baltimore Songwriters Association P .O. Box 22496 Baltimore, MD 21203 T el: (410) 813-4039 Web site: www.baltimoresongwriters.com The Black Tock Coalition P .O. Box 1054 Cooper Station New Y ork, NY 10276 T el: (212) 713-5097 Web site: www.blackrockcoalition.org The Boston Songwriters Workshop T el: (617) 499-6932 Web site: www.bostonsongwriters.org California Copyright Conference (CCC) PO Box 57962 Sherman Oaks, CA 91413 T el: (818) 379-3312 Web site: www.theccc.org231California Lawyers for the Arts Fort Mason Center C-255 San Francisco, CA 94123 T el: (415) 775-1143 1641 18th St. Santa Monica, CA 90404 T el: (310) 998-5590 926 J St. Suite 811 Sacramento, CA 95814 T el: (916) 442-6210 1212 Broadway St. Oakland, CA 94612 T el: (510) 444-6351 Web site: www.callawyersforthearts.org Colorado Music Association 8 E. First Ave. #107 Denver, CO 80203 T el: (720) 570-2280 Web site: www.coloradomusic.org Connecticut Songwriters Association P .O. Box 511 Mystic, CT 06355 T el: (860) 945-1272 Web site: www.ctsongs.com Dallas Songwriters Association Sammons Center for the Arts 3630 Harry Hines Box 20 Dallas, TX 75219 T el: (214) 750-0916 Web site: www.dallassongwriters.org Film Music Network c/o Film Music Media Group 13101 Washington Blvd., Suite 466, Los Angeles, CA 90066 T el: (800) 744-3700 T el: (310) 566-7377 Web site: www.ﬁ lmmusicworld.comThe Folk Alliance 962 Wayne Ave. Suite 902 Silver Springs, MD 20910-4480 T el: (301) 588-8185 Web site: www.folk.org Georgia Music Industry Association, Inc. P .O. Box 550314 Atlanta, GA 30355 T el: (404) 633-7772 Web site: www.gmia.org Gospel Music Association 1205 Division St. Nashville, TN 37203 T el: (615) 242-0303 Web site: www. gospelmusic.org International Bluegrass Music Association 2 Music Circle South Suite 100 Nashville, TN 37203 T el: (888) GET-IBMA Web site: www.ibma.org International Songwriters Association Ltd. 37b New Cavendish St. London, WI England T el: (0171) 486-5353 Web site: www.songwriter.co.uk Just Plain Folks Music Organization 1315 N. Butler Indianapolis, IN 46219 T el: (317) 513-6557 Web site: www.jpfolks.com Los Angeles Music Network P .O. Box 2446 T oluca Lake, CA 91610-2446 T el: (818) 769-6095 Web site: www.lamn.comAppendix A ResourcesNetworking Strategies for the New Music Business 232Los Angeles WoMen In Music (LAWIM) 11664 National Blvd., Ste. #280 Los Angeles, CA 90064 T el: (213) 243-6440 Web site: www.lawim.com Nashville Songwriters Association International 1701 W. End Ave. 3rd Fl. Nashville, TN 37203 T el: (615) 256-3354 Web site: www.nashvillesongwriters.com Outmusic P .O. Box 376 Old Chelsea Station New Y ork, NY 10113-0376 T el: (212) 330-9197 Web site: www.outmusic.com Paciﬁ c Music Industry Association 501-425 Carrall St. Vancouver, BC V6B 6E3 Canada T el: (604) 873-1914 Web site: www.pmia.org San Diego Songwriters Guild 3368 Governor Dr., Suite F-326 San Diego, CA 92112 T el: (619) 615-8874 Web site: www.sdsongwriters.org SESAC, Inc. 55 Music Square East Nashville, TN 37203 T el: (615) 320-0055 Web site: www.sesac.com 152 West 57th St. 57th Floor New Y ork, NY 10019 T el: (212) 586-3450501 Santa Monica Blvd. Suite 450 Santa Monica, CA 90401-2430 T el: (310) 393-9671 SESAC International 67 Upper Berkeley Street London W1H 7QX England T el: 0207-616-9284 Web site: www.sesac.com Society of Composers & Lyricists 400 S. Beverly Dr. Suite 214 Beverly Hills, CA 90212 T el: (310) 281-2812 Web site: www.thescl.com The Songwriters Guild of America 1560 Broadway Suite 1306 New Y ork, NY 1003 T el: (212) 768-7902 6430 Sunset Blvd. Suite 705 Hollywood, CA 90028 T el: (323) 462-1108 1222 16th Ave. S. Suite 25 Nashville, TN 37203 T el: (615) 329-1782 Web site: www.songwritersguild.com West Coast Songwriters 1724 Laurel St., Suite 120 San Carlos, CA 94070 T el: (650) 654-3966 T el: (800) FOR-SONG (California and Nashville only) Web site: www.westcoastsongwriters.org233Women in Music P .O. Box 441 Radio City Station New Y ork, NY 10101 T el: (212) 459-4580 Web site: www.womeninmusic.org EVENTS Breckenridge Educational and Music Seminars (BEAMS) A series of music and songwriting weekends held in Colorado. T oll free USA: 1-(888) 31-BRECK (or in Colorado and outside USA: (303) 596- 6056) 145 Fairfax St., Denver, CO 80220 Web site: www.beamsonline.com Durango Songwriters Expo Currently producing two events: a fall Expo in T elluride, CO, and a Spring Expo in the Santa Barbara wine county T el: (970) 259-9747 Web site: www.durangosong.com Canadian Music Week P .O. Box 42232 128 St. S Mississauga, ON L5M 4Z0 Canada Web site: www.cmv.net Cutting Edge Music Business Conference 1524 Clairborne Ave. New Orleans, LA 70116 T el: (604) 945-1800 Web site: www.jass.com/cuttingedgeFilm & TV Music Conference 5055 Wilshire Blvd. Los Angeles, CA 90036-4396 T el: (323) 525-2000 Web site: www.billboardevents.com/ billboardevents/ﬁ lmtv Folk Alliance Annual Conference 962 Wayne Ave. Suite 902 Silver Spring, MD 20910 T el: (301) 588-8185 Web site: www.folk.org Independent Music Conference 304 Main Ave. PMB 287 Norwalk, CT 06851 T el: (203) 606-4649 Web site: www.gomc.com Kerrville Folk Festival P .O. Box 291466 Kerrville, TX 78029 T el: (830) 257-3600 Web site: www.kerrvillefolkfestival.com Music Business Solutions/Career Building Workshops P .O. Box 230266 Boston, MA 02123-0266 T el: (888) 655-8335 Web site: www.mbsolutions.com South By Southwest Music Conference (SXSW) P .O. Box 4999 Austin, TX 78765 T el: (512) 467-7979 Web site: www.sxsw.comAppendix A ResourcesNetworking Strategies for the New Music Business 234West Coast Songwriters Conference 1724 Laurel St. Suite 120 San Carlos, CA 94070 T el: (650) 654-3966 T el: (800) FOR-SONG Web site: www.westcoastsongwriters.org Winter Music Conference 3450 NE T errace Ft. Lauderdale, FL 33334 T el: (954) 563-4444 Web site: www.wintermusicconference.com PERIODICALS American Songwrit er Magazine Web site: www.americansongwriter.com Back Stage West Web site: www.backstagwest.com Billboard Web site: www.billboard.com Canadian Musician Web site: www.Canadianmusician.com CMJ New Music Report Web site: www.cmjmusic.com Daily Variety Web site: www.variety.com Hits Magazine Web site: www.hitsmagazine.com Jazztimes Web site: www.jazztimes.com Music Connection Web site: www.musicconnection.com Music Row Web site: www.musicrow.comThe Performing Songwriter Web site: www.performingsongwriter.com SongLink International Web site: www.songlink.com235Index A A Chorus Line, 195 absent/present phenomenon, 118 The Academy of Country Music, 229 access, proof of, 56 accessibility, practicing, 108–109 accomplishments, discussing, 64–66 acronyms on e-mail, 123 advertisements, 5 advice, asking for, 96 afﬁ rmations, 63 working the room and, 103 age assumptions about, 98 effects of, 78–81 agents, 216–217 Aguilera, Christina, 41, 182 Aiken, Clay, 178, 180 Air Force 1 and 2, 21 AIR Studios, 16–17 Airplay Monitor, 28 airports, meeting people in, 107–108 Album 88 (Atlanta), 200 alcohol use, 76–77 working the room and, 104–105 Alcoholics Anonymous, 77 All Through the Night (Robertson), 19–20 All You Need to Know About the Music Business (Passman), 215 Ally McBeal, 27 Alpert, Herb, 94 alternative venues, 156–157 Altman, Marshall, 14 A&M Records, 94 “Amazed” (Green), 177 Amazon.com, 32 American Idol, 40–41 American Songwriter Magazine, 234 Americana, 17 The Americana Music Association Conference, 190 Anastacia, 180 Anderson, April, 195 Anderson, Chris, 33–35Anderson, Keith, 176 Angelou, Maya, 22, 86 Arizona Songwriters Association, 230 Arthur, Joseph, 198 artist’s responsibilities, 218 As Good As It Gets, 27 ASCAP , 26, 35, 68, 169–170 black tie dinners, 90 compilation CDs from, 167 General Member Meeting (Los Angeles), 198 headquarters, list of, 229 In Los Angeles, 198 SWAPmeet, 170 Thru The Walls series, 195 Web site, 170 Writers at Night (New Y ork), 194 ASK-A-PRO (SGA) in Los Angeles, 197 in Nashville, 190 Association of Independent Music Publishers (AIMP), 230 assumptions, avoiding, 97–98 Asylum, 38 Atlanta, 200 Atlantic, 28, 38 attachments to e-mail, 123 attorneys, 215–216 audio engineers, 6–7 Austin Songwriters Group, 230 B Back Stage West, 234 “Back to Y ou” (Robbins), 179 Baggot Inn (New Y ork), 194 Baker, Anita, 183 Baker, Bob Web site, 152 Ballard, Glen, 22, 94 Baltimore Songwriters Association, 230 bandwagons, 14 banners, names on, 159 Barber, Simon, 146–150 Barsuk Records, 225 Bass, Jeff, 183 BBC Unsigned Web site, 152 BDS, 28 The Beach Boys, 91 The Beatles, 13, 76, 91, 213 rejection, dealing with, 140236Networking Strategies for the New Music Business “Beer Run” (Anderson), 176 Beijing, 206 The Bellrays, 23–25 Bennett, Danny, 226 Bennett, T ony, 226 big personality, 45 Billboard, 3–4, 44, 234 Airplay Monitor, 28 world chart listings, 206 bios example of, 131–133 in press kits, 129–133 on Web sites, 149 birth order, 7–8 Bitter End (New Y ork), 154, 194 Black Crowes, 200 BlackBerries, 17, 112 The Black Rock Coalition, 230 Bluebird Cafe (Nashville), 154, 190 Blume, Jason, 191 BMI, 26, 35, 169–170 Acoustic Roundup (Nashville), 191 black tie dinners, 90 compilation CDs from, 167 headquarters, list of, 229–230 Lehman Engel Musical Theatre Workshop (New Y ork), 195 In Los Angeles, 198 Music Connection Showcase (Nashville), 191 RoundTable (Nashville), 191 Songwriters Workshop with Jason Blume (Nashville), 191 Web site, 170 Writer/Publisher Relations Department, 191 Bob Malone (Malone), 186 body language, 87–89 Bond, Sherry, 190 Book of Ruth, 106 Boston, 196 Boston Songwriters Workshop, 230 Boy Howdy, 175 Brabec, Jeff, 36 Brabec, T odd, 36 Braheny, John, 36, 145 breath mints, 104 Breckenridge Educational and Music Seminars (BEAMS), 233 Broadway (New Y ork), 193Brooke, Jonatha, 198 Brooks, Garth, 176 Browne, Jackson, 90 Buckcherry, 170 Buffy The Vampire Slayer, 27 burning bridges, 67–68 Bush, George W., 14 business cards, 102–103 working the room and, 104 C cable television, 25 Café Press Web site, 152 Cal Poly Pomona, 44, 219 calendar notices, 134 California Copyright Conference (CCC), 230 California Lawyers for the Arts, 199, 231 Canadian Music Week, 233 Canadian Musician, 234 Capitol T ower, 91–93 career changes, 9–10 Carter, Deana, 198 CD Baby, 148, 150 Web site, 152 CDs, 17 compilation CDs, 166–169 DMI Networks and, 21 in press kits, 128 promotional sampler CDs, 167 signing, 160 unsolicited CDs, 23 CDWOW, 148, 152 celebrity, 68–69 strategies for interacting with, 69–71 cell phones, 112 conversations on, 118–121 etiquette for, 121–122 Celtic Harmony (Ireland), 179 chance opportunities, 106–108, 139–140 changing careers, 9–10 character traits, 2 Charles, Ray, 18 children’s music, 17, 19–20 Chilton, Alex, 224–225 chris and thomas, 33–35 The Chris Isaak Show, 106 Christian rock, 18 Christmas and Holiday Music, 92–93237Index Church: Songs of Soul and Inspiration, 22 Cinderella Story, 178 Circle of Songs (BMI), 198 clairvoyance, 74–75 clarifying comments, 96 Clark, T ena, 21–22 Clear Channel, 28, 30 cliches in bios, 129 clothing information transmitted by, 91–93 for live performances, 160 tips, 90–91 visual cues for, 93–94 clubs. See venues CMJ New Music Report, 234 co-written songs, 36 Cobain, Kurt, 76 Coca-Cola, 21 Cocker, Jarvis, 33–34 coffeehouses, 5 Cohen, Leonard, 94 Cole, Nat King, 91 collaborators, 4 Collective Soul, 200 colleges, education at, 44 Colorado Music Association, 231 Columbia Records, 14 commitment, 12–13 personality and, 47–48 comparing comments, 96 compilation CDs, 166–169 compliments accepting, 159 in conversations, 98–100 computers, 112 Condé Naste, 21 conferences. See music conferences conﬁ dence, posture and, 88 conﬂ icts in studio, 111 Connecticut Songwriters Association, 231 consistency, 77 contacts, 71–72 multiple contacts, developing, 141 conversations. See also telephones compliments in, 98–100 dynamics of, 63 e-mail conversations, 124 ending lines for, 100instigating, 94–95 leading questions for, 95–96 negativity, sharing, 99–100 sensitive areas for, 97–98 10-ﬁ ve rule for meeting and greeting, 105 in working the room, 104 Cook Au Van, 33–34 coolhomepages.com, 151 Cooper, Jay, 216 copyrights, 36 Cornelia Street Café (New Y ork), 194 Counting Crows, 170 country music, 4, 18 put downs of, 51 Steele, Jeffrey and, 173–178 cover letters, 127–128 with press releases, 135 Cover Me (ASCAP), 198 cover songs, 162 The Craft and Business of Songwriting (Braheny), 36, 145 creative black tie, 90 credibility, 14 advice on, 64–65 crisis resolution, 81–82 strategies for, 83–84 crossed arms/legs, 87 Curb Records, 175–176 Curtis, Catie, 198 Cutting Edge Music Business Conference, 233 D Daily Variety, 234 Dallas Songwriters Association, 231 dance music, 6, 18 dankimpel.com, 146 The Darkest Part of the Night (Malone), 186 Dave Matthews Band, 22 Dawson’s Creek: Season 2, 106 Death Cab for Cutie, 225 demographics for music, 78–81 demos in Nashville, 193 placing songs and, 181 submission services, 39 suggestions for submitting, 136–138 Denny, Sandy, 33 Denver, Joel, 30–31238Networking Strategies for the New Music Business desire, 46–47 Details, 94 determination, 46–47 Diamond Rio, 173 digital transmission, 16–17 digital watermarking, 171 Digital Wings, 147, 151 Disc Marketing, 20–22 disco music, 52 Disney, 18 Cinderella Story, 178 distractions in studio, 111 distribution on Internet, 147 radio promotion and, 30 DIY, 31–32 DIY (Do It Y ourself) Convention, 55–56 DJs, 6, 227 DMI Networks, 21–22 DMOZ, 148, 151 Dozier, Lamont, 179 draw, honesty about, 161 drug use, 76–77 Drummond, Bill, 33–34 Durango Songwriters Expo, 35, 201–202, 233 DVDs in press kits, 128 Dylan, Bob, 170, 213 E e-mail, 113, 122–124 business cards including, 102 non-returned e-mails, 142–145 set-up, copy of, 163 Edison Media Research, 28 education, 43–44 Edwards, Kenneth “Babyface,” 72–73 ego inﬂ ation, 62–63 8 Mile, 183–184 Einstein, Albert, 59 Eisenhower, Dwight D., 14 “Eleanor Rigby,” 107 electronica, 17 Eminem, 183 The Eminem Show, 184 emo, 17 emoticons, 123 emotions crisis resolution and, 83e-mail and, 122–123 and logic, 48–49 telephones, reading on, 114 verbal communication and, 63–64 employment in industry, 219–220 Engel, Lehman, 195 entertainment value, 46 enthusiasm, 45–46 entrepreneurs, 18–19 Epstein, Brian, 213 equity-waver houses, 156 ER, 27 Escovedo, Alejandro, 224 ethnicity, questions about, 97 etiquette for cell phones, 121–122 for studio hang, 110–111 events list of, 233–234 tie-ins, 168 “Evergreen” (Streisand), 185 expanding comments, 96 Expedia.com, 196 extreme strategies, 139–140 eyebrows, trimming, 89 F facial hair styles, 91 Falcon Ridge festival, 186 family management, 226 Farrish, Bryan, 29–30 Fate, T ony, 24–25 faxing copy of set-up, 163 FCC (Federal Communications Commission), 28 fees, scams and, 164–166 Ferrari, Marc, 26–27 50 Cent, 184 Fight Club, 27 ﬁ lm, 25–26 independent ﬁ lm, 25 in Los Angeles, 197–198 Film and TV Music Conference, 233 Film Music Network, 231 Firehouse Recording, 21 ﬁ rst-born children, 7 Folk Alliance Annual Conference, 233 The Folk Alliance, 231 Conferences, 203239Index Fopp Unsigned Web site, 152 Fox Music, 26 Frank, David, 181–182 Friends, 27 Fugazi, 28 fusion music, 183 the future soundtrack for america, 225 G Garageband Web site, 151 gatekeepers, 117 General Mills, 21 generalizations and crisis resolution, 84 “Genie in a Bottle” (Frank), 181–182 Genius Loves Company (Charles), 18 genres, 17–18 Gentry, Montgomery, 173 Georgia Music Industry Association, Inc., 231 Georgia State University, 200 Get Signed Web site, 152 Gigwise Web site, 152 Gillespie, Rowana, 179 Gin Blossoms, 170 Girl Interrupted, 27 Glasswerk Web site, 152 global perspective, need for, 180 goals, deﬁ ning, 207–208 “Good Y ear for the Outlaw” (Steele), 173–174 Google Web site, 151 Gospel Music Association, 231 GQ, 94 gratitudes. See thank yous Green, Al, 186 Green, Marv, 177 Greenwich Village (New Y ork), 193 Groban, Josh, 98 grooming tips, 89 Grossman, Albert, 213 growth, impression of, 144 grudges, holding, 142 grunge music, 26 H haircuts, 89 Hammer, Jan, 183 Hancock, Herbie, 183 Harcourt, Nic, 32, 33, 35 hard copy of set-up, 163Harper, Ben, 198 Harper Collins, 186 Hendrix, Jimi, 76, 183, 204 herd mentality, 60 hidden opportunities, 106–108, 139–140 Hien, Thomas, 33–35 Hill, Faith, 74–75, 173, 179, 180 hip-hop, 4, 17 in Atlanta, 200 Bush, George W. and, 14 put downs of, 52 Hits Magazine, 44, 234 Holder, Gene, 224 Hollywood, 199 dressing in, 91 Holsapple, Peter, 224 hometown musicians, 223–225 Horses (Smith), 184 Hostbaby Web site, 151 Hotel Cafe, 34 Howard’s Club H (Bowling Green), 162 Hugo, Chad, 55–56 Hung, William, 41 Hynde, Chrissy, 205 I “I Dreamed of Y ou” (Robbins), 179–180 “I Will Carry Y ou” (Robbins), 178 ice-breakers, 70 in conversation, 95–96 on telephones, 118 IMRO (Ireland), 179 in-ﬂ ight audio entertainment, 21 independent artists, 23–25 independent ﬁ lm, 25 independent labels, 37–38 Independent Music Conference, 233 “The Indie Hour,” 30–31 Indigo Girls, 200 insecurity, 62–63 name-dropping and, 101–102 instrumentals, 27 International Bluegrass Music Association, 231 international markets, 204–205 International Songwriters Association Ltd., 231 Internet. See also Web sites distribution on, 147 downloaded tracks from, 145240Networking Strategies for the New Music Business radio, 31–32 worldwide market on, 22–23 internships, 39, 219–220 introductions, 67 intros in performances, 161 iPods, 17, 228 It Must Be Love, 106 iTunes, 148, 151 J Jackson, Don, 19 Jansch, Bert, 33 Japan rappers in, 17–18 T okyo, music in, 206 jazz music, 92 Jazztimes, 234 Jesse Sykes and the Sweet Hereafter, 225 Jetplane Landing Web site, 151 jewelry, 91 jobs in industry, 219–220 John, Elton, 200 jokes on e-mail, 122–123 Jones, Brian, 76 Jones, George, 176 Jones, Quincy, 68 Jones, T om, 226 Joplin, Janis, 76 Juicing Room, 146, 151 Just Plain Folks Music Organization, 231 K Kahn, Chaka, 22 KCRW, 32 chris and thomas on, 34 Keel, 26 Kekaula, Lisa, 24–25 Kennedy, John F., 13 Kerrville Folk Festival, 186, 233 Kiley, Rilo, 225 The King and I, 11 KLF, 33 knowledge-based skills, 3 Kodak Theater, 185 Korea rap in, 18 Seoul, music in, 206 Kraft, Robert, 26Kragen, Ken, 81–82, 83 Kramer, Wayne, 25 L The L.A. Songwriters’ Network, 197 LaBelle, Patti, 22, 55 Laemelle movie theaters, 32 lapel pins, 91 Larson, Bree, 182 Las Vegas shows, 154 lawyers, 215–216 Lehman Engel Musical Theatre Workshop (New Y ork), 195 Leone, Bob, 195 Li’l Hal’s Guide, 199 Limeys (Los Angeles), 162 listening in conversations, 105–106 skills, 63 Little Richard, 204 Little Shop of Horrors, 195 live performances, 153–171. See also venues compliments, accepting, 159 inventing your own show, 157 peeves about, 160–161 post-performance tips, 159–160 soft tickets, 157–159 Liverpool, 205–206 Liverpool Institute for Performing Arts (LIPA), 33, 44, 54, 110–111 local press, releases to, 135–136 logic and emotion, 48–49 logos for shows, 157 London, 205 Lonestar, 177 look, visual cues for, 93–94 Los Angeles, 188, 196–199 moving to, 199 Los Angeles Music Network, 231 Los Angeles Songwriters Showcase (LASS), 145 Los Angeles WoMen In Music (LAWIM), 167, 232 “Lose Y ourself” (Resto), 183 Lott, Roy, 91–92 Loyola Marymount Law School, 199 Ludacris, 200 lullabies, 19–20 Lyric Partners, 19241Index M Madonna, 14 magazines clothing tips from, 94 education and reading, 44 resource list, 234 mailing lists from Web sites, 149–150 Major Bowles Amateur Hour, 40 Malone, Bob, 162, 185–187 Web site, 186 mamagers, 226 management, 212–213 dealing with, 81–83 mamagers, 226 need for, 213–214 qualiﬁ cations of, 214–215 Manchester, 205–206 Mancini, Henry, 39 Manhattan, 193–194 visiting, 196 Manhattan Association of Cabarets (MAC), 195 Manhattan Transfer, 186 Mann, Billy, 98 marital status, assumptions about, 98 Marketing Y our Music Web site, 152 Martin, Joel, 184 Martin, Sir George, 16–17, 111 mash-ups, 17 MasterSource, 26–27 Mathers, Marshall, 183–185 Mayer, John, 77–78, 198, 200 MCA, 26 McCartney, Jesse, 178 McGraw, Tim, 173 McLaughlin, John, 183 Measure of a Man (Aiken), 178 mechanicals, 36 merchandising, radio promotion and, 29 meta tags, 148 Metallica, 90 middle children, 7–8 mingling, 103 moguls, questions for, 210–212 Monterey Pop Festival, 204 Moreira, Rafael, 98 Morissette, Alanis, 22 Morrison, Jim, 76 Motion Picture, 147Motown, 38 Mouseketeers, 41 MP3, 148, 149 Mrs. Field’s Cookies, 21 The Muffs, 25 Mullins, Shawn, 61, 200 multipliers, 32 Murdoch, Alexi, 34 Music, Money and Success (Brabec & Brabec), 36 Music Bridges (USA), 179 Music Business 101 (ASCAP), 170, 198 Music Business Solutions/Career Building Workshops, 233 music conferences, 201–202 tips for, 202–204 Music Connection magazine, 27, 198–199, 234 music publishing, 35–36 jobs with ﬁ rms, 219–220 Music Row, 189, 193, 234 music stores, 5 Musicbias Web site, 152 musicians, 4–5 goals, questions on, 208–210 in international market, 204–205 Malone, Bob, 185–187 personal references and, 221–223 in studios, 110 “My T own” (Steele), 174 mystery, air of, 66 mystical beliefs, 4 myths about success, 57–58 N Nada Surf, 225 names banners for band names, 159 on cover letters, 127–128 dropping names, 101–102 remembering names, 100–101 for shows, 157 Napster Web site, 151 Narcotics Anonymous, 77 Nashville, 188–193 moving to, 192 showcases in, 190–191 Nashville New Music Conference, 190 Nashville Pussy, 25 Nashville Scene, 190242Networking Strategies for the New Music Business Nashville Songwriters Association International (NSAI), 189–190, 232 membership information, 192 National Academy of Popular Music (NAPM), 195–196 nationality, questions about, 97 neediness, appearance of, 143 negativity eliminating, 52–53 in personality, 49–51 sharing negative comments, 99 The Neptunes, 56–57 network television. See television Neville Brothers, 186 New Jersey, 196 New Music Nights (BMI), 170 The New Ride with Josh and Emily, 106 New Y ork, 188, 193–196 downtown area, 194 moving to, 196 New Y ork Songwriters’ Circle, 194 niche markets, 17 Nile, Willie, 198 No Doubt, 22 non-returned calls, 142–145 North Hollywood, 199 NPR (National Public Radio), 31–32 Sounds Eclectic, 32–33 O older audiences, 78 oldest children, 7 ongoing shows, 157 only children, 7 open body language, 87 openness in communication, 108–109 opportunities creating, 48 hidden opportunities, 106–108, 139–140 optimism, 50–51 outdoor shows, 158 OutKast, 200 Outlaw, 173–174 outlaw cultures, 17 Outmusic, 232 outros in performances, 161 over-dressing, 90 overnight success mythology, 73P P . Diddy, 200 Paciﬁ c Music Industry Association, 232 Paisley, Brad, 174 Parker, Colonel T om, 213 Parks, Cary, 175 Parks, Larry, 175 Parton, Dolly, 81 Passman, Donald S., 94, 215–216 Paterno, Peter, 216 payola on radio, 27–28 PayPal, 30 Peoplesound Web site, 151 The Performing Songwriter, 234 performing rights organizations, 169–171. See also ASCAP; BMI; SESAC in Los Angeles, 198 in Nashville, 192 periodicals. See magazines personal references, 221–223 personality, 3 assumptions, avoiding, 97–98 big personality, 45 birth order and, 7–8 negative traits, 49–51 success, attributes of, 43–49 pessimists, 49–51 Phish, 28 photos in press kits, 133–134 PHPBB Web site, 151 Pick of the Month (BMI), 198 Pink, 98 Polar Express, 22 politics, assumptions about, 98 Polygram Music Publishing, 179 Pop Idols, 40 pop music, 4, 18 creative black tie dinners, 90 put downs of, 51 positive outlook, 45 Possanza, Christopher, 225 posture, 88 power, telephones and, 115–116 practicing networking, 108–109 praise-based music, 18 prejudicial statements, 51–52 Presley, Elvis, 14, 213 Presley, Lisa Marie, 75243Index press kits, 126–127 bios in press kits, 129–133 CDs or DVDs in, 128 cover letters, 127–128 electronic press kits, 150 folders for, 127 at music conferences, 203 photos in, 133–134 press releases, 134–136 The Pretenders, 205 PRI programming, 31–32 Princess Cruises, 21 Proctor & Gamble, 21 producers in studios, 110 progression in career, 144 promotional appearances, 160 promotional sampler CDs, 167 proofreading materials, 137–138 proposals for shows, 157 for soft tickets, 158 ProT ools, 6, 22 public radio, 31–32 publicists, 217–218 publicity, 217–218 soft tickets as, 158 publishing. See music publishing Pulp, 33 “Purple Haze” (Hendrix), 183 put downs, 51–52 Putumayo Records, 18–19 Q Quiet on the Set (ASCAP), 198 R race, assumptions about, 98 radio, 27–31 in Atlanta, 200 compilation CDs and, 168 Internet radio, 31–32 KCRW, 32 promotion on, 28 public radio, 31–32 satellite radio, 31–32 test shows, 30–31 Ragtime, 195 Ramones, 205rap music in Atlanta, 200 Bush, George W. and, 14 put downs of, 52 Rascal Flatts, 173 R&B, 4 creative black tie dinners, 90 Reagan, Ronald, 14 record deals, 49 record labels, 37–38, 138–139 access, proof of, 56 jobs with, 219–220 recording studios, 109–111 references, 221–223 Regal Cinemedia, 21 reinvention, 9–10, 58–59 rejection, 140–141 overcoming rejection, 141–142 reliability, 77 religion assumptions about, 98 praise-based music, 18 R.E.M., 225 remembering names, 100–101 remixes, 6, 227–228 Renbourne, John, 33 repeating names, 101 resources, 229–234 respect for celebrities, 70 networking with, 55 rejection and, 141 treating people with, 84–85 Resto, Luis, 183–185 Resto, Mario, 183–184 reversion clauses, 36 Rhapsody Web site, 151 Rigby, Will, 224 Rimes, Leanne, 173 ring-tones, 17 Road Rally, 199 Robbins, Lindy, 178–183 Robertson, Mae, 19–20 rock music, 17 Christian rock, 18 Rocket From the Crypt, 25 Rodgers and Hammerstein Music, 179 Rogers, Kenny, 81244Networking Strategies for the New Music Business The Rolling Stones, 5, 76 room, working the, 103–106 The Roots, 170 Rosenfeld, Josh, 225 Ross, Sean, 28–29 Roswell, 106–107 R&R, 30 Russell, Brenda, 179 S sacriﬁ ces, 13 samplers, 6 San Diego Songwriters Guild, 232 San Fernando Valley, 199 Santa Carla Web site, 151 Santa Monica, 198–199 Santa Monica City College KCRW, 32, 34 satellite radio, 31–32 satellite technology, 16–17 Save Ferris, 170 scams avoiding, 164–166 compilation CDs as, 166–169 event tie-ins, 168 in Nashville, 193 scarves, 91 Sears Roebuck & Co., 21 self-doubt, 50 self-fulﬁ lling prophecy, 50 self-revealing comments, 96 SESAC, 26, 35, 169–171 compilation CDs from, 167 headquarters, list of, 232 in Los Angeles, 198 Web site, 171 Writers on the Storm, 194 set-up, hard copy of, 163 sexual preference, assumptions about, 98 sexy clothing, 93 Shady Records, 184 Shamblin, Allen, 198 “She’d Give Anything” (Boy Howdy), 175 Shepard, Vonda, 198 “Shine” (Robbins), 178 signing CDs, 160 Silverlake, 199 Simpson, Ashley, 226 Simpson, Jessica, 98, 226Simpson, Joe, 226 Sinatra, Frank, 91 Sixpence None The Richer, 198 sixth sense developing, 75 from press kits, 126 The Sixth Sense, 27 slick sheets, 136 smiling on telephone, 115 Smith, Patti, 183, 184 snopes.com, 123 Sobule, Jill, 198 Society of Composers & Lyricists, 232 soft sell, using, 125 soft tickets, 157–159 “Something to Believe In” (Mullins), 61 Song Biz column, Music Connection magazine, 198– 199 SongLink International, 205–206, 234 Songsalive! Expo, 199 The Songwriter and Musician’s Guide to Nashville (Bond), 190 songwriters, 3–4 age and, 80 in international market, 205 music publishers and, 35–36 Resto, Luis, 183–185 Robbins, Lindy, 178–183 Steele, Jeffrey, 173–178 Songwriters Club (BMI), 198 Songwriters Guild of America (SGA), 232 in Los Angeles, 197 in Nashville, 190 Songwriters Hall of Fame (New Y ork), 195–196 Songwriters Musepaper, 145, 219 The Songwriters Beat (New Y ork), 194 The Songwriters Studio (ASCAP), 71, 198 Songwriters Symposium (NSAI), 189–190 Sony, 176 sound checks, 163–164 soundman, dealing with, 161, 163–164 Sounds Eclectic, 32 The Vista Street Sessions on, 33 SoundScan, 28 soundtracks, 20–21 South By Southwest Music Conference (SXSW), 233 Spears, Britney, 41 stage patter, 160245Index Stamey, Chris, 224–225 Star Search, 40 Starbucks, 18 Steele, Jeffrey, 173–178 Stockholm, 206 stolen songs, 56 Streisand, Barbra, 183, 185 strengths, assessing, 3–4 Stroke 9, 170 strong personality, 45 Studio City, 199 studio hang, 109–111 studio/technical personnel, 6–7 Summer, Donna, 52 support positions, 5 swag, 92 SXSW, 25 sync fees, 26 sync licenses, 36 synthesizers, 183 T t-shirts, 5 tag teams, 66–67 talent, 43 Taxi, 27, 199 teamwork, 212 technical musicians, 6 T ed, 21 teeth cleaning, 89 telephones, 113–114. See also cell phones basics of calling, 116–117 ending calls, 116 gatekeepers, 117 non-returned calls, 142–145 power and use of, 115–116 purpose of conversation, stating, 115–116 sounds on, 114 timing for calls, 115 tracking calls, 117–118 television, 25 clothing tips from, 94 in Los Angeles, 197–198 songs for, 26 T en Commandments of Design, 151 10-ﬁ ve rule for meeting and greeting, 105 test shows, 30–31 thank yous, 65on demos, 137 to music conference participants, 204 to performance attendees, 160 to soundman, 164 “The Way We Were” (Streisand), 185 They Might Be Giants, 225 This Busy Monster, 225 Thornley, Beth, 106–107 Thru The Walls series (ASCAP), 195 tickets, 156 ties, 91 Timberlake, Justine, 41 timing and artistry, 13–14 effective use of time, 54 personality and, 47–48 for telephone calls, 115 Tin Pan Alley (New Y ork), 193 Tin Pan South (NSAI), 189 touching base phone calls, 116–117 touring. See also venues radio promotion and, 29 success with, 25 T ower Records, 148, 152 T oyota, 21 tracking phone calls, 117–118 Train, 170 training, 43–44 transferable skills, 3 Travelocity.com, 196 trends, 60 The Troubadour, Los Angeles, 20, 154 “20 Y ears Ago” (Steele), 174–175 U UCLA Extension classes, 5, 199 ultimatums, 144 UMO Music, 194 under-dressing, 90 UniSong International Song Contest, 179 United Airlines, 21 United Kingdom London, music in, 205 working in, 204–205 Universal City, 199 Universal Music Publishing Group, 28, 178–179 universities, education at, 44 University of Southern California (USC), 14246Networking Strategies for the New Music Business unsigned artists, 23–25 unsolicited CDs, 23 Urban, Keith, 174 U2, 5 V Vanguard, 38 The Velvet Rope Web site, 166 Venice, California, 199 Vennum, Bob, 24 venues, 153–171 alternative venues, 156–157 as businesses, 162–163 equity-waver houses, 156 ﬁ tting bands with, 155–156 inventing your own show, 157 soft tickets, 157–159 sound checks, 163–164 soundman, dealing with, 161, 163–164 tips for dealing with, 161–162 verbal communication, 62–86. See also conversations; telephones crisis resolution and, 83 viability and rejection, 141–142 Vibe, 94 Vice-Maslin, Michéle, 141, 205 Victoria’s Secret, 21 video games, 25 video presentations in press-kits, 128 Village Voice, 196 Villegas, Luis, 131–133 Virgin Records, 75 The Vista Street Sessions, 33, 35 visual mediums, 25–27 visualizing success, 54–55 vocals, 27 volunteering, 6 at music conferences, 204 W Wainwright, Rufus, 198 waiting rooms, opportunities in, 107–108 Waits, T om, 225 Warwick, Dionne, 22 Was, Don, 184 Was (Not Was), 183–184 The Water is Wide, 19 Web designers, 148Web sites bios on, 149 business cards including, 102 costs of, 148 mailing lists from, 149–150 merchandising on, 150 requirements for, 146–150 resources list, 151–152 sales on, 30 updating, 148 Weekend Edition, 32 weekends performances on, 154 telephone calls on, 115 West Coast Songwriters Conference, 35, 202, 232, 233 West Hollywood, 199 Whiskeytown, 224 WIFM concept, 2 Wilde, Justin, 92–93 wine spritzers, 105 Winter Music Conference, 234 Witten, Patti, 31–32 WNNX-FM 99.7 (Atlanta), 200 Women in Music, 233 Woodward, Mark, 226 Woolford, Keo, 11 Working Musicians (Malone), 186 working the room, 103–106 WorkPlay Theater, Birmingham, 20 World Cafe, 32 world markets, 204–205 WRAS-FM 88.5 (Atlanta), 200 Wright, Hugh, 175 Writers at Night (New Y ork), 194 Writers on the Storm (SESAC), 194 Y Y o Lo T engo, 224 youngest children, 7	[ "music", "business", "new", "artist", "song", "songwriter", "one", "strategy", "make", "time" ]	{ "summary": "Networking Strategies\nfor the\nNew Music Business\nby Dan KimpelNetworking Strategies for the New Musi" }
tL-Artist-Management.pdf	-Principios del Artist Management ● Sección 1: El artist manager como emprendedor ○ Transfórmate en un emprendedor: definición de emprendedor ○ Regular video ○ Transfórmate en un profesional exitoso: las habilidades y cualidades de un emprendedor ○ Regular video ○ Encuent ra oportunidades en la adversidad: la actitud emprendedora de un artist manager ○ Regular video ○ Adopta el éxito como un estilo de vida: los primeros tres principios de éxito ○ Regular video ○ Adopta un estilo de vida exitoso: tres principios para el éxito profesional ○ Regular video ○ Adopta un estilo de vida exitoso: cuatro principios de éxito ○ Regular video ○ Marca tu camino a seguir: la impo rtancia de la elaboración de planes ○ Regular video ○ Aumenta tus habilidades organizativas: plan de acción básico ○ Regular video ○ Aumenta tus habilidades organizativas: plan de acción personal ○ Regular video ○ Piensa como un ganador: los cuatro principios del pensamiento lateral ○ Regular video ○ Test Final Sección 1 ○ Cuestionario ○ ● ● ● Sección 2: Fundamentos de ética y networking para el artist management ○ Dirige tus acciones profesionalmente: la relación entre el artist manager y su artista ○ Regular video ○ Fomenta el entendimiento: la relación entre el artista y su artista manager ○ Regular video ○ Edific a tu imagen profesional: la relación entre artist managers ○ Regular video ○ Promueve el compromiso: relación entre el artist manager y el equipo de trabajo ○ Regular video ○ Abre las puertas al éxito: fundamentos del networking ○ Regular video ○ Expande tus oportunidades: util ización de una red de contactos ○ Regular video ○ Obtén una llave para el éxito: el mentor en la industria musical ○ Regular video ○ Sácale el máximo provecho a tu red de contactos: gestión de una lista de contactos ○ Regular video ○ Impulsa tu carrera al siguiente nivel: networking en entornos sociales ○ Regular video ○ Proyecta tu mejor imagen: socialización con la audiencia y contactos potenciales ○ Regular video ○ Test Final Sección 2 ○ Cuestionario ○ ● ● ● Sección 3: Preparativos par el artist management ○ Lleva tu carre ra al siguiente nivel: la relación entre el artista y el artist manager ○ Regular video ○ Define claramente tus funciones: las tareas de un artist manager en relación a otros pro fesionales de la industria ○ Regular video ○ Encuentra al artista perfecto: las cualidades de un artista exitoso ○ Regular video ○ Cumple tus objetivos de carrera: alternativas de gestión de una carrera artística ○ Regular video ○ Resuelve tus desafíos: el líder en una agrupaci ón musical ○ Regular video ○ Encuentra el equipo perfecto: consideraciones para la contratación de músicos ○ Regular video ○ Aumenta tu éxito: consideraciones para una correcta selección de canciones ○ Regular video ○ Expón tu mejor face ta artística: canciones originales versus covers ○ Regular video ○ Encuentra a tu artist manager: pasos para obtener una audición o entrevista ○ Regular video ○ Encuentra a tu artist manager: actitud y desenvolvimiento correctos en una entrevista o audición ○ Regular video ○ Test Final Sección 3 ○ Cuestionario ○ ● ● ● Sección 4: Las bases de una relación exitosa entre artista y artist manager ○ Cimenta una relación exitosa: reunión exploratoria entre artista y artist manager ○ Regular video ○ Prepárate para tu reunión exploratoria: objetivos de carrera y compatibilidad con el artist manager ○ Regular video ○ Selecciona al artist manager correcto: conflictos de interés, compensación e interés del artist manager ○ Regular video ○ Toma la decisión correcta: dos criterios de evaluación de un artista ○ Regular video ○ Toma la decisión correcta : tres criterios de evaluación de un artista ○ Regular video ○ Protégete del fracaso: los elementos básicos de un contrato de management ○ Regular video ○ Aclara tus acciones: alcance del artist manager según su contrato ○ Regular video ○ Evita malentendidos: la compensación del artist manager ○ Regular video ○ Gestiona eficazmente tu tiempo: cláusulas de exclusividad, plazos y terminaciones ○ Regular video ○ Evita el conflicto: cláusulas para la resolución de problemas ○ Regular video ○ Test Final Sección 4 ○ Cuestionari o ○ Transfórmate en un emprendedor: definición de emprendedor Con frecuencia, los profesionales de la industria musical, especialmente los músicos, son incapaces de verse a sí mismos como emprendedores. La percepción que el profesional tenga de sí mismo ejerce una influencia notable en su desempeño y éxito laboral. Todo profesional de la música, sea ingeniero de sonido, músico, productor musical, artist manager o booking agent, obtiene grandes beneficios profesionales, económicos y personales, al asumir el rol de un emprendedor. Según la Real Academia Española, el emprendedor es una persona “que emprende con resolución acciones o empresas innovadoras”. El Business Dictionary entiende por emprendedor a la persona que “ejerce la iniciativa organizando una e mpresa para tomar una oportunidad. Como responsable de la toma de decisiones, decide qué, cómo y cuánto se producirá de un bien o servicio”. Ken Krogue, autor del artículo “What Is An Entrepreneur?” para el portal Forbes.com, ofrece una visión interesante para definir la figura del emprendedor. Para ello, confronta imágenes o conceptos relacionados, pero esencialmente disímiles, a fin de ilustrar la diferencia entre un emprendedor y una persona que simplemente dirige un negoci o. Analicemos dichas relaciones: ● Líder vs. Gerente: el líder se preocupa por la gente; el gerente, por su jefe. El líder no “presiona” el reloj, sino que procura la realización del trabajo, incluso cuando implica extenderse en el tiempo. El gerente deja su trabajo cuando encuentra uno mejor; el líder es el primero en llegar y el último en irse. El gerente trabaja dentro del sistema; el líder trabaja con el sistema. El emprendedor es un líder antes que un gerente, sin olvidar la importancia y necesidad ocasi onal de este último. ● Finanzas vs. Contabilidad: las finanzas son una herramienta de influencia; la contabilidad es una herramienta de escrutinio. Las finanzas se enfocan en encontrar dinero a toda costa; la contabilidad se enfoca en el costo del dinero. La s finanzas predicen el éxito; la contabilidad rastrea el éxito. La contabilidad muestra una recesión; las finanzas encuentran las tendencias contrarias a la recesión a fin de capturar una ola. El emprendedor necesita de ambos conceptos, aunque valora más las finanzas. ● Ventas vs. Marketing: las ventas buscan y resuelven necesidades; el marketing genera interés. Las ventas requieren clientes más preparados; el marketing requiere atención oportuna para todos los interesados. Las ventas hacen el camino; el mark eting encuentra el camino. El emprendedor valora la importancia de ambas. ● Estadista vs. Político: un estadista se sumerge en la lucha; un político maniobra alrededor de ella. Un estadista muestra osadía contra todo pronóstico; un político considera los pro nósticos antes que la osadía. El estadista procura el bienestar de aquellos a quienes sirva, incluso cuando recibe poca remuneración. En el mundo de los negocios, el emprendedor es un estadista. ● Fe vs. Creencia: la fe es acción y se manifiesta en el cuerpo ; la creencia es pensamiento y se manifiesta en la mente. La fe es enemigo de la duda; la creencia espera convertirse en fe algún día. La fe se basa en la verdad; la creencia no sabe en qué se basa. La fe arriesga y está dispuesta a pagar el precio; la cre encia vacila y huye por la inseguridad. La fe pregunta por qué; la creencia pregunta cómo. El emprendedor convierte su creencia en fe mediante la verdad, la seguridad y especialmente la acción. ● Aprendizaje vs. Comprensión: el aprendizaje llega a la misma f uente del conocimiento; la comprensión entiende el conocimiento al momento, pero después lo olvida. El aprendizaje sabe lo que necesita, lo busca y en seis meses descubre cómo iniciar una empresa; la comprensión se gradúa a los cuatro años, encuentra un trabajo y luego trabaja por seis años para pagar los préstamos estudiantiles. El aprendizaje se sienta en primera fila y hace preguntas; la comprensión solo busca tomar notas para pasar la prueba. El aprendizaje se preocupa por la calidad de la pregunta; la comprensión solo se interesa en la asertividad de la respuesta. El aprendizaje conduce a la educación; la comprensión conduce a un título. El aprendizaje forma a un emprendedor; la comprensión forma un empleado. 185-03_0101_ilu01. Relación entre el emprend edor y otras áreas empresariales Todo profesional de la industria musical, especialmente el artist manager, asume su profesión de una manera distinta al verse a sí mismo como un emprendedor. Keynotes ● El líder se preocupa por la gente, el gerente se preocupa por su jefe. ● El gerente trabaja dentro del sistema; el líder trabaja con el sistema. ● Las finanzas predicen el éxito; la contabilidad rastrea el éxito. ● Las ventas hacen el camino; el marketing encuen tra el camino. ● Un estadista se sumerge en la lucha; un político maniobra alrededor de ella. ● El emprendedor convierte su creencia en fe mediante la verdad, la seguridad y especialmente la acción. ● El aprendizaje forma a un emprendedor; la comprensión forma u n empleado. Reto Observa la siguiente tabla: Lee las primeras palabras de las columnas A y B: líder y gerente. Piensa en cuál de ambos perfiles calza mejor tu personalidad. Marca con una X la columna de respuestas que más se acerque a tu personalidad. Por ejemplo, si marcas la columna central, querrás decir que tu personalidad está a medio camino entre ser líder y un gerente; si marcas la segunda columna de respuestas más cercana a la palabra líder, significa que estás más cerca de ser un líder que un gerente, y así sucesivamente. Repite los pasos con las demás palabras. Según los resultados, identifica qué tan cerca estás de tener la personalidad de un emprendedor. Comparte tus impresiones en el foro de la comunidad. Tiempo disponible: 30 minutos. Concl usión El emprendedor ve el éxito incluso antes de que suceda. El profesional de la música, especialmente el artist manager, ejerce la fe necesaria para generar resultados concretos en su trabajo. De esta forma, se forja una trayectoria profesional emociona nte, positiva y exitosa. Transfórmate en un profesional exitoso: las habilidades y cualidades de un emprendedor La industria musical es un campo en constante evolución y adaptación. El profesional de la música, especialmente el artist manager, requiere desarrollar las características aptitudinales y actitudinales de una persona emprendedora, a fin de garantizar su é xito profesional sin importar las circunstancias o los cambios que la industria experimente. En la industria musical, la actitud emprendedora es capaz de brindar grandes frutos. De hecho, muchos profesionales podrían estar capacitados para serlo. Por eje mplo, un músico exitoso podría dedicarse fácilmente a actividades como formar parte activa de varios grupos o bandas, impartir clases en ámbitos públicos y privados, grabar, componer o arreglar música y asistir con labores administrativas a alguna organiza ción de arte. Para autores como Angela Myles Beeching, el músico exitoso podría tener fácilmente cuatro o cinco trabajos concurrentes de tiempo parcial, aumentando su capacidad de prestar servicio significativo a la sociedad que lo rodea. 185-03_0102_ilu01 . Posibles actividades de un músico contemporáneo La capacidad de ejercer exitosamente más de una faceta profesional no es exclusiva de los músicos. Por naturaleza, la industria musical requiere profesionales sumamente polifacéticos. Lo anterior es espec ialmente relevante cuando se trata del artist manager. Un emprendedor presenta características aptitudinales y actitudinales específicas que le permiten encontrar el camino al éxito. Más allá de sus habilidades musicales y entrenamiento o capacitación form al, el artist manager puede beneficiarse de dichas características. Para su clasificación, Beeching ha establecido dos grupos: habilidades y cualidades. Habilidades Entre las habilidades necesarias para gestionar exitosamente una carrera musical, tenemos: ● Facilidad para las relaciones interpersonales ● Escritura correcta ● Facilidad o talento para hablar o presentarse en público ● Talento para negociar ● Capacidad de ejecutar presupuestos y mantener unas finanzas sanas ● Experiencia y facilidad para la enseñanza ● Capa cidad de investigación ● Talento para la publicidad ● Dominio básico en el uso de computadoras ● Capacidad de recolectar fondos 185-03_0102_ilu02. Habilidades de un emprendedor Cualidades Entre las cualidades personales para el éxito, tenemos: ● Determinación ● Habilidad para manejar el rechazo ● Imaginación y creatividad ● Flexibilidad y apertura a nuevas ideas ● Integridad personal ● Curiosidad intelectual ● Capacidad de aprender de los errores ● Conciencia y fiabilidad ● Capacidad de brindar seguimiento y atención al detalle ● Disposición de dar “la milla extra” ● Optimismo 185-03_0102_ilu03. Cualidades de un emprendedor Es importante destacar que los músicos exitosos normalmente poseen una gran parte de dichas habilidades y cualidades en un grado de desarrollo generalmente elev ado. Conviene que el artist manager realice una autoevaluación a fin de determinar hasta qué grado cumple o posee alguna de las habilidades y cualidades anteriormente mencionadas. Con los resultados de dicha autoevaluación, realizamos planes de mejoramient o y desarrollo de las habilidades y cualidades menos ejercitadas. ¡Nunca es tarde para aprender a ser mejor! Keynotes ● Muchos profesionales de la industria musical están capacitados para ser emprendedores. ● Un músico exitoso podría tener fácilmente cuatro o cinco trabajos concurrentes de tiempo parcial. ● Por naturaleza, la industria musical requiere profesionales sumamente polifacéticos. ● Un emprendedor presenta características aptitudinales y actitudinales específicas que le permiten encontrar el camino al éxi to. Reto Observa la siguiente tabla: Examina cada habilidad y cualidad de la lista. En una escala del 1 al 5, donde 1 es el nivel más bajo, indica con una X el nivel que tienes de cada una. Escribe un plan para desarrollar o mejorar las habilidades y cualidades que, a tu juicio, necesiten ser reforzadas. Comparte el resultado de tu autoevaluación en el foro de la comunidad y en tu vPage. También te invitamos a compartirlo con amigos, miembros de tu familia y otros profesionales de la industria, tanto de manera presencial como en línea. Tiempo disponible: 30 minutos. Conclusión Los emprendedores presentan habilidades y cualidades que les permiten afrontar con éxito los cambios en sus respectivas industrias. El desarrollo de dichas características permite al artist manager un desenvolvimiento efi caz en el negocio de la música. Naturalmente, es necesario establecer un plan de mejoramiento y seguirlo con disciplina a fin de obtener los resultados deseados. Encuentra oportunidades en la adversidad: la actitud emprendedora de un artist manager Encontr ar oportunidades de negocio para un artista puede ser una tarea ardua e incluso desmotivante. Sin embargo, si el artist manager cuenta con la actitud adecuada, desarrollará la habilidad de encontrar oportunidades donde otros solo ven obstáculos. Entre las características que todo artist manager debe tener se incluyen la flexibilidad, la resiliencia y la habilidad de encontrar oportunidades en la adversidad. Por esta razón es vital que el artist manager se visualice como un emprendedor y se adueñe de las ca racterísticas del mismo: ser innovador y creativo a la hora de resolver problemas a fin de atraer personas y recursos para los proyectos de su artista según las características particulares de la industria, gremio o mercado. A continuación, brindaremos dos ideas que el artist manager puede usar para encontrar nuevas oportunidades para su artista: 1. Buscar e identificar todos aquellos campos, organizaciones, personas y contextos donde el talento y experiencia de su artista, o el suyo propio, constituya un aporte significativo. La colaboración es una de las formas que toma el camino hacia el éxito. 2. Pensar e identificar todos aquellos campos, organizaciones, personas y contextos donde la música y trabajo del artista pueda funcionar. Para esto, es necesari o ejercer el pensamiento divergente y ensanchar al máximo las posibilidades de nuestro artista. Analizaremos el caso de la agrupación Radius Ensemble, enfocándonos en las actividades que llevaron a cabo para establecerse como un ensamble exitoso dentro de su contexto de música académica. Radius Ensemble es un conjunto de cámara con una organización, programa y desempeño propio, fundado por la oboísta Jennifer Montbach en 1999. Se enfocan en ofrecer un amplio espectro sonoro en sus programas a fin de atraer, mantener e incrementar su audiencia. Han recibido numerosas reseñas positivas y premios, entre los cuales destacan el Boston´s Best Classical Ensemble 2016 otorgado por el Improper Bostonian, y el 2013 CMA/ASCAP Award for Adventorous Programming. 185-03_0103_fot01. Radius Ensemble Entre las actividades que han realizado para posicionarse como un ensamble exitoso, destacan las siguientes: ● Presentaciones familiares gratuitas los sábados en la noche en el Harvard Square. ● Donaciones de entradas libres para niños desfavorecidos y sus padres a través de agencias de servicio comunitario. ● Trabajo pedagógi co con estudiantes del Cambridge Rindge & Latin School. ● Publicación de reseñas de prensa. ● Muchos ensayos y presentaciones. A fin de conocer más acerca de Radius Ensemble, recomendamos visitar su página web: https://radiusensemble.org/ De las actividades an teriores, destacamos el trabajo con organizaciones sin fines de lucro como parte de su estrategia de desarrollo como ensamble. De esto evidenciamos la relación entre el desarrollo de una carrera basada en valores y servicio a la comunidad y el éxito de la misma. En la industria musical, el nicho o segmento de mercado consumido por música académica es notoriamente pequeño; aún así, donde otros ven un obstáculo, Radius Ensemble encontró una oportunidad de establecer una carrera productiva. Keynotes ● Un artist manager debe ser flexible, resiliente y capaz de encontrar oportunidades en la adversidad. ● Ser innovador y creativo a la hora de resolver problemas permite al artist manager atraer personas y recursos para los proyectos de su artista. ● Existe una relación entre el desarrollo de una carrera basada en valores y servicio a la comunidad, y el éxito de la misma. Reto Identifica un artista cuya carrera estés trabajando o visualízate a ti mismo como un artista cuya carrera es necesario trabajar. Señala l os obstáculos que, en tu opinión, te impidan alcanzar una carrera exitosa y consolidada. Piensa las actividades que puedes llevar a cabo para transformar cada obstáculo en una oportunidad y considera la importancia de los valores y principios. Escribe tant o los obstáculos como tus ideas para superarlos en una lista. Puedes agregar un plan de implementación y fechas límite. Comparte tu lista con amigos, familiares y profesionales de la industria en línea. Te recomendamos usar las herramientas vPage y vKontac t. Tiempo disponible: 30 minutos. Conclusión Con frecuencia, los obstáculos de un artist manager pueden parecer abrumadores. Sin embargo, con la óptica y actitud correctas, cada uno de ellos esconde una oportunidad valiosa. Asegúrate de ejercer el optimism o, la disciplina y la constancia necesarias para enrumbarte correctamente hacia el camino de las oportunidades. Adopta el éxito como un estilo de vida: los primeros tres principios de éxito Los códigos de honor, decálogos o códigos de comportamiento son listas de principios que conducen el comportamiento y pensamiento de determinadas personas, gremios y poblaciones. En la industria musical, existen principios cuya observancia ha demostrado influir notablemente en el éxito de la carrera de un profesional, ya sea artista, compositor, productor, ingeniero de sonido, artist manager, entre otros. La aplicación de los principios de éxito permite al artist manager desarrollar la perspectiva necesaria para consolidar su carrera y la de su artista. En su libro Beyond Talent – Creating A Successful Career In Music, la autora Angela Myles Beeching expone diez principios que resumen el pensamiento de numerosos músicos exitosos. Dichos principios no engloban solo pensamientos, sino también comportamiento s, hábitos y formas de enfrentar situaciones o problemas. A continuación, estudiaremos los primeros tres principios para el desarrollo de una carrera exitosa. Principio 1: Conocerse a sí mismo El primer principio es el conocimiento que se tiene sobre uno m ismo, lo cual se enfoca principalmente en las fortalezas y debilidades. Las fortalezas permiten identificar el potencial que tenemos de causar un aporte significativo a otros colegas, organizaciones e industria en general; las debilidades, identifican las áreas a mejorar a fin de aumentar nuestro impacto positivo. Una buena manera de obtener conocimiento de nosotros mismos es pedir consejos u opiniones a colegas, profesores, maestros, mentores o personas de influencia. Con su orientación es posible observar características propias cuya visualización sea difícil o imposible para nosotros mismos; a su vez, se logra la formulación de planes de mejoramiento. Es preciso que el artist manager aplique este principio tanto a sí mismo como a sus clientes. De esta for ma, será capaz de trabajar mejor y desarrollar el potencial de su artista. El análisis FODA constituye una excelente herramienta para implementar este principio. 185-03_0104_ilu01. Primer principio de éxito: conocerse a sí mismo Principio 2: Conocimiento de la industria musical El segundo principio de éxito se relaciona con nuestro conocimiento sobre la industria musical. Lo anterior incluye, pero no se limita a investigar el desempeño y trabajo de otros colegas, conversar con men tores y otras personas de influencia, seguir la prensa y redes sociales que ilustren las tendencias de la industria, seguir la carrera de otros artistas y músicos sin olvidar los proyectos en los que han participado o participan actualmente. Finalmente, la lectura de libros especializados en la industria musical o el matricular un programa académico sobre el tema, constituyen excelentes alternativas complementarias. 185-03_0104_ilu02. Segundo principio de éxito: conocimiento de la industria musical Princ ipio 3: Networking El tercer principio de éxito se enfoca en el networking. Independientemente de la personalidad del artist manager o su artista, la capacidad de aplicar un networking eficaz está al alcance de todos. Cualquier situación es provechosa si d e hacer networking se trata; un ensayo, una presentación, una estación de gasolina, una fiesta, un babyshower o una simple conversación por Facebook o WhatsApp, cualquier situación funciona. El networking requiere el intercambio de ideas con otros colegas del medio, sean músicos, productores, ingenieros de sonido, managers, abogados, booking agents, promotores, publishers, entre otros. En todos los casos, es vital recordar que el flujo de información debe darse en dos direcciones; no podemos pretender obten er información de un colega sin compartir información. En ese caso, no estaríamos haciendo networking, sino un interrogatorio. 185-03_0104_ilu03. Tercer principio de éxito: networking La implementación de los tres primeros principios de éxito es constan te, por lo que más que una lista que cumplir, es preciso asumirlos como un estilo de vida. Keynotes ● El primer principio de éxito es el conocimiento que se tiene sobre uno mismo. ● Las fortalezas permiten identificar el potencial que tenemos de causar un apor te significativo a otros colegas, organizaciones e industria en general. ● Las debilidades nos permiten identificar las áreas a mejorar a fin de aumentar nuestro impacto positivo. ● El segundo principio de éxito se relaciona con nuestro conocimiento sobre la industria musical. ● El tercer principio de éxito se enfoca en el networking. Misión Redacta un ensayo donde: ● Realices una evaluación acerca de ti mismo: identifica tus fortalezas y debilidades como artist manager o profesional de la industria musical. ● Realices una evaluación acerca de la industria musical en tu comunidad, así como las debilidades y oportunidades del mundo digital. ● Establezcas contacto e intercambios de información con 5 profesionales de la industria con los que no hayas tenido contacto previo. Pueden ser compañeros de estudio. Comparte tus evaluaciones con tus colegas, tanto de manera presencial como online. Usa tus redes sociales para compartir tus experiencias e impresiones. Pide consejos o recomendaciones para tu evaluación y establec e planes de perfeccionamiento profesional según las sugerencias recibidas. Tiempo disponible: 3 horas. Importante: a fin de aumentar las posibilidades de efectuar un networking exitoso, no dudes en contactar personas usando todas las herramientas que el Internet te ofrece, tales como Facebook, Instagram, LinkedIn, vPage, vBox, vKontact, YouTube, WhatsApp, e ntre otras. Conclusión A medida que el artist manager incorpore a su estilo de vida los primeros tres principios de éxito, su carrera experimentará un crecimiento notable. Al ser constante, dedicado y optimista, será capaz de atraer aquellas personas y pro yectos necesarios para abrir numerosas puertas en el negocio de la música. Adopta un estilo de vida exitoso: tres principios para el éxito profesional Un estilo de vida exitoso requiere la observancia de determinados principios o hábitos. De otra forma, el artist manager puede experimentar dificultades notables mientras persigue la consecución de sus objetivos comerciales y artísticos. A continuación, estudiaremos el cuarto, quinto y sexto principio de éxito. Principio 4: Investigar las opciones disponibles El cuarto principio de éxito consiste en investigar todas nuestras opciones disponibles. Algunas ideas para su implementación son: ● Investigar y estudiar las biografías de otros grandes profesionales de la industria: músicos, productores, managers, entre o tros. La web ofrece una amplia variedad de opciones biográficas. Dicho estudio puede ser una fuente valiosa de inspiración, ideas, alternativas, recursos y motivación. La experiencia de quienes han transitado el camino que nosotros queremos andar constituy e una valiosa fuente de capacitación. ● Escrudiñar la prensa local e internacional, incluyendo las páginas web y redes sociales de artista, bandas y otros profesionales relevantes en la industria según tus circunstancias e intereses. Asegurémonos de estar al tanto acerca de lo que está sucediendo en la industria hoy, a fin de aumentar nuestra capacidad de inferir lo que sucederá mañana y mantenernos en la cresta de la ola. ● Salir e investigar qué están haciendo los músicos, productores, managers, entre otros. ● Desarrollar el hábito de apartar un tiempo semanal para actualizarnos en relación a los últimos acontecimientos de la industria musical local y global. La información conduce a las oportunidades. 185-03_0105_ilu01. Cuarto principio de éxito: investigar las opciones disponibles Principio 5: Cultivar la actitud correcta El quinto principio de éxito se enfoca en la actitud. La razón es muy sencilla: los profesionales desean trabajar con personas optimistas, placenteras y optimistas. Para ser ese tipo de personas, debemos ser positivos, resilientes, flexibles y especialment e profesionales. Lo anterior no siempre es sencillo, especialmente cuando enfrentamos rechazos o negativas. Ante dichas situaciones, es preciso mantener la calma; forma parte de la naturaleza humana. Según Beeching, nuestra actitud es, en gran medida, part e de nuestra imagen profesional. 185-03_0105_ilu02. Quinto principio de éxito: cultivar la actitud correcta Principio 6: Evaluar nuestras habilidades interpersonales El sexto principio de éxito consiste en desarrollar nuestras habilidades interpersonale s. La industria musical es un negocio donde las relaciones juegan un papel fundamental. Si bien es cierto que todos sufrimos decepciones y dificultades a lo largo de la vida, debemos asegurarnos de que dichos reveses no interfieran con nuestra trayectoria profesional. La regla de oro indica “trata a los demás como te gustaría que te traten a ti”. En consonancia con esto, el profesional de la música contribuye positivamente a su entorno, beneficiando a los colegas y personas con los que trata. Las implicacio nes de una buena relación pueden ser la diferencia entre el éxito y el fracaso. La persona a la que hoy hacemos un desplante puede ser aquella que necesitamos nos contrate mañana. El artist manager trabaja procura ser considero, cortés y servicial. Sus col egas, socios o contactos recordarán su consideración, optimismo y entusiasmo, y responderán en consecuencia. A continuación, estudiaremos dos formas de mejorar nuestras relaciones interpersonales: ● Cada noche, antes de dormir, el artist manager piensa en la s interacciones y el comportamiento mostrado en el día. Identifica aquellas acciones o muestras de comportamiento que, si pudiera, cambiaría. Con honestidad, elabora planes para mejorar su comportamiento y hacerlo mejor al día siguiente. ● En caso de no esta r seguro sobre la resolución de alguna situación, el artist manager pide consejo a un amigo, colega o mentor. 185-03_0105_ilu03. Sexto principio de éxito: evaluar las habilidades interpersonales Keynotes ● El cuarto principio de éxito consiste en investigar todas nuestras opciones disponibles. ● La experiencia de quienes han transitado el camino que nosotros queremos andar constituye una valiosa fuente de capacitación. ● Los profesionales de la industria musical desean trabajar con personas optimistas, placenteras y optimistas. ● La industria musical es un negocio donde las relaciones juegan un papel fundamental. ● Las implicaciones de una buena relación pueden ser la diferencia entre el éxito y el fracaso Reto Medita en tu comportamiento y acciones del día de hoy. Identifica aquellos aspectos que cambiarías si fuera posible y explica por qué. Redacta una lista de resoluciones a implementar a fin de asegurar un comportamiento más profesional en todas tus interacc iones, acciones y palabras. Comparte dicha lista con tus familiares, amigos y colegas utilizando todos los medios digitales a tu disposición. Puedes agregarla como parte de tu información personal en tu vPage. Tiempo disponible: 30 minutos Conclusión Para tener éxito en la industria musical es vital mantenerse informado, cultivar una actitud correcta y mejorar nuestras habilidades interpersonales. Por supuesto, establecer un hábito no sucede de la noche a la mañana; es preciso ejercer la constancia y la pac iencia, recordando que los resultados realmente satisfactorios suelen conllevar un tiempo de preparación y perseverancia. Adopta un estilo de vida exitoso: cuatro principios de éxito Los principios de vida generan resultados tangibles en la vida de aquel los que los ponen en práctica. La industria musical no es la excepción; a medida que el artist manager ponga en práctica los principios del éxito, será no solo capaz de experimentarlo en su vida, sino también de ser una fuente de oportunidad y progreso par a sus clientes y colegas. La autora Angela Myles Beeching propone diez principios probadamente exitosos en la industria musical. A continuación, estudiaremos los principios séptimo, octavo, noveno y décimo de dicha lista. Principio 7: Pensar como un empren dedor El séptimo principio del éxito aborda el pensamiento de un emprendedor. El artist manager jamás olvida la perspectiva de negocio de su trabajo; de hecho, es su principal enfoque. Por lo tanto, considera cualquier idea que conlleve fortalecer el negoc io, aunque surja de fuentes inesperadas. Una idea popular consiste en buscar patrocinios con individuos u organizaciones. 185-03_0106_ilu01. Séptimo principio de éxito: pensar como un emprendedor Por supuesto, el artist manager considera el potencial qu e tiene cada artista de desarrollar las oportunidades de capturar por sí mismo a su audiencia. Crear y mantener un canal de YouTube constituye una excelente forma de hacerlo. Principio 8: Tener un truco o gancho El octavo principio del éxito se enfoca en e l gancho. La industria musical ofrece una amplísima variedad de sonidos, formas, colores y experiencias. El artist manager toma esto en cuenta y se esfuerza por identificar esa “característica” que hace único a su artista e incluso a sí mismo como profesio nal en la industria. Al respecto, conviene que el artist manager revise las siguientes preguntas con su artista y consigo mismo: ● ¿Qué te hace excepcional? ● ¿Tu interpretación se especializa en algún tema en específico o es inusual de alguna manera? ● ¿Tu repe rtorio se especializa en algún tema en concreto o es inusual de alguna manera? ● ¿Tus conciertos incluyen programas innovadores o interpretaciones poco comunes? La respuesta a estas preguntas ofrece una guía en cuanto al potencial del artist manager y su artista de destacar en la industria. En caso de ser necesario, conviene diseñar planes de mejoramiento. 185-03_0106_ilu02. Octavo principio de éxito: tener un tru co o gancho Principio 9: Metas a corto y largo plazo El noveno principio de éxito se relaciona con las metas a corto y largo plazo. Una escena de la película animada Alicia en el País de las Maravillas, producida por Disney y lanzada en 1951, atrapa una interesante conversación entre su protagonista, Alicia, y el llamado “Gato Risón” o “Gato de Cheshire”, la cual dice: ● Alicia: ¿Podrías decirme, por favor, qué camino debo seguir para salir de aquí? ● Gato: Esto depende en gran parte del sitio al que quieras llegar. ● Alicia: No me importa mucho el sitio. ● Gato: Entonces, tampoco importa mucho el camino. 185-03_0106_fot01. Conversación entre Alicia y el Gato Risón El trasfondo de esta conversación refleja la importancia de la fijación de metas. Las metas a corto plazo pueden ser semanales o mensuales; deben ser realistas y mantenernos motivados y enfocados en las metas a largo plazo. 185-03_0106_ilu03. Noveno principio de éxito: metas a corto y largo plazo Principio 10: Alimentar la espiritualidad El décimo principio de éxito consiste en alimentar la espiritualidad. El artist manager nunca pierde de vista la razón por la cuál decidió dedicarse a la industria de la música. Nuestras motivaciones pueden ayudarnos a sostener una carrera profesional. A continuaci ón, exponemos una lista de preguntas útiles para examinar el grado de satisfacción que sentimos por el ejercicio de nuestra profesión actual: ● ¿Cómo logro encontrar energías e inspiración? ● ¿Qué me inspira? ● ¿Qué me ayuda a recargar energías para tener una mayor imaginación e ideas? ● ¿Cómo me aseguro de mantener viva mi espiritualidad o motivación? Las respuestas a dichas preguntas nos ayudan a establecer planes de mejora y obtener mejores resultados profesiona les. 185-03_0106_ilu04. Décimo principio de éxito: alimentar la espiritualidad Keynotes ● El artist manager jamás olvida la perspectiva de negocio de su trabajo; de hecho, es su principal enfoque. ● El artist manager se esfuerza por identificar esa “caracte rística” que hace único a su artista e incluso a sí mismo como profesional. ● Las metas a corto plazo deben ser realistas y mantenernos motivados y enfocados en las metas a largo plazo. ● El artist manager nunca pierde de vista la razón por la cuál decidió ded icarse a la industria de la música. Misión Entrevista a un artista, ya sea de manera presencial o en línea. Las herramientas vKontact, vPage y vBox pueden ayudarte a encontrar una gran cantidad de artistas a nivel internacional. Una vez encontrado, hazle las preguntas presentes en esta unidad didáctica: ● ¿Qué te hace excepcional? ● ¿Tu interpretación se especializa en algún tema en específico o es inusual de alguna manera? ● ¿Tu repertorio se especializa en algún tema en concreto o es inusual de alguna manera? ● ¿Tus conciertos incluyen programas innovadores o interpretaciones poco comunes? ● ¿Cómo obtienes energía e inspiración? ● ¿Qué te inspira? ● ¿Qué te ayuda a recargar energías para tener una mayor imaginación e ideas? ● ¿Cómo te aseguras de mantener viva tu espiritualidad o motivación principal? Transcribe la entrevista y añade tus comentarios según las respuestas dadas. Comparte el resultado con tus familiares, amigos y colegas. También puedes compartirla por medio de tu vPage. Tiempo disponible: 3 horas. Conclusión El pensamiento de una persona tiene una influencia decisiva en su comportamiento. Cuando el artist manager alinea su pensamiento con el de un emprendedor y además procura metas realistas, tiene un gancho y se mantiene motivado, la obtención de resultados positivos es solo cuestión de tiempo. Marca tu camino a seguir: la importancia de la elaboración de planes El artist manager se asegura de que “las cosas sucedan” en la carrera del artista. Lo anterior implica la ejecución de una determinada cantidad de pasos a fin de obtener un resultado específico. Los planes constituyen el camino a seguir para la consecución de los objetivos propuestos. En consonancia con esto, el artist manager comprende la importancia de la elaboración de planes y su relación con el éxito de su artista. En prácticamente todos los ámbitos profesionales, la elaboración de un plan es un paso necesario para conseguir un objetivo específico. Existen una gran cantidad de tipos y formatos de plan q ue pueden ayudar al artist manager a tener éxito en su carrera. Más allá del formato, lo importante es que el plan cumpla su función de ayudarnos a cumplir las metas. En otras palabras, el plan es una herramienta y no un fin en sí mismo. En palabras sencil las, un plan de acción es un plan detallado donde se escriben las acciones a tomar para alcanzar con éxito una meta determinada. A continuación, indicaremos algunas ventajas de utilizar un plan de acción: ● Define la dirección a tomar y los pasos necesarios para realizar un trabajo, aumentando la eficiencia del proceso y evitando tomar acciones al azar. ● Puede compartirse con personas con más conocimiento o experiencia en el área, ayudándonos a identificar y rectificar cualquier aspecto a mejorar. ● Señala clara mente las acciones necesarias para conseguir un resultado, eliminando la ansiedad, la frustración y la incertidumbre sobre qué hacer o cuál es el siguiente paso. ● Permite controlar nuestra carrera o el proceso para obtener un fin. 185-03_0107_ilu01. Ventaja s de utilizar un plan de acción Algunas personas efectúan planes sumamente detallados; otras, solo apuntan acciones generales. También, es posible idear un plan de acciones generales, las cuales serán posteriormente detalladas. Sin importar el nivel de d etalle, lo importante es que funcione. Tanto el artist manager como su artista representado requieren un plan de acción. Aunque ambos roles sean esencialmente distintos, tus objetivos están íntimamente relacionados. Por este motivo, el plan de acción de ambos se verá beneficiado al considerar e l mercado laboral, las necesidades del rol, la diferenciación profesional y la notoriedad. El mercado laboral La inserción en el mercado laboral requiere de un plan de acción, especialmente en la industria musical. El primer paso es realizar una investigac ión que permita identificar todas las posibles oportunidades, así como los escollos a superar. Dicha investigación puede enfocarse en diferentes perspectivas, dependiendo del tipo de profesional. Por ejemplo, un cantante podría explorar diferentes establec imientos donde realizar presentaciones en vivo o lugares donde presentar audiciones y darse a conocer entre las personas influyentes del medio. Un compositor, por su lado, buscaría las personas o instituciones que podrían mostrar interés en sus composicion es según el estilo o género musical que un determinado sello discográfico o publisher requiera. También puede pensar en los artistas que podrían estar interesados en interpretar su música, los programas de televisión, radio, películas o comerciales donde f uncionarían sus canciones, entre otras alternativas. Naturalmente, todas las ideas anteriores son provechosas para el artist manager. Las necesidades del rol El siguiente paso es identificar las necesidades del rol. Por ejemplo, un artista podría tener las siguientes necesidades: ● Entrenamiento vocal ● Clases de baile ● Moverse a una locación diferente ● Realizar un curso, seminario o taller de composición de canciones Por otro lado, el artist manager podría requerir: ● Hacer algunas llamadas estratégicas ● Incrementar su red de contactos ● Ubicar academias, escuelas o instructores para el perfeccionamiento de su artista Una excelente forma de identificar necesidades es preguntarse qué nos separa del éxito. Al identificar las necesidades, es preciso crear un pl an para la superación de cada una. La diferenciación profesional La industria musical es la arena donde una gran cantidad de luchadores compiten por destacar. El artista, y su artist manager, deben definir claramente aquellas características distintivas qu e les permitan sobresalir en medio de las ofertas del mercado. La diferenciación de un artista podría relacionarse con alguno, o varios, de los siguientes campos: ● Personalidad y energía ● Sentido del humor ● Organización, orden y propósito ● El estilo de cantar o tocar un instrumento ● La temática de las canciones escritas o interpretadas ● Un estilo de interpretación en vivo inusual o destacado ● Un estilo e imagen específica Las particularidades del artista o artist manager constituyen una valiosa herramienta para sacar ventaja del mercado y establecer una trayectoria sólida en la industria musical. La notoriedad El artist manager trabaja con su artista la forma de alcanzar notoriedad. Las siguientes preguntas pueden ser útiles: ● ¿Cómo podemos atrae r la atención de personas influyentes en la industria? ● ¿Qué competiciones están disponibles en nuestra localidad, región o país? ● ¿Qué oportunidades para aparecer en televisión están al alcance de la mano? ● ¿A quién podemos enviar un demo o link con una mues tra de nuestro trabajo? ● ¿En qué programa de voluntariado se puede participar y aumentar la exposición? ● ¿Qué programa de talentos está disponible para inscripción? Las respuestas a estas y otras preguntas constituyen una fuente de ideas para desarrollar e implementar un plan de acción exitoso. 185-03_0107_ilu02. Ventajas de utilizar un plan de acción Keynotes ● Todo plan es una herramienta y no un fin en sí mismo. ● En la industria musical, un plan de acción se beneficia al considerar el mercado laboral, las n ecesidades del rol, la diferenciación profesional y la notoriedad. ● Una excelente forma de identificar necesidades es preguntarse qué nos separa del éxito. ● Las particularidades del artista o artist manager constituyen una valiosa herramienta para sacar ventaja del mercado y establecer una trayectoria sólida en la industria musical. Reto Si eres un artista, contacta a un artist manager o a una persona dispues ta a asumir el rol en una dramatización. Si eres un artist manager, contacta a un artista o a una persona dispuesta a asumir el rol con el mismo propósito. Conversen entre ustedes y discutan las preguntas acerca de la notoriedad presentes en el contenido d idáctico. ● ¿Cómo podemos atraer la atención de personas influyentes en la industria? ● ¿Qué competiciones están disponibles en nuestra localidad, región o país? ● ¿Qué oportunidades para aparecer en televisión están al alcance de la mano? ● ¿A quién podemos envia r un demo o link con una muestra de nuestro trabajo? ● ¿En qué programa de voluntariado se puede participar y aumentar la exposición? ● ¿Qué programa de talentos está disponible para inscripción? Redacta un breve ensayo con el resultado de las deliberaciones y compártelo con otros amigos, familiares y colegas. Tiempo disponible: 30 minutos. Conclusión Cuando el artist manager diseña planes correctos y adecuados según las circunstancias del mercado, brinda seguridad a su artista acerca del camino a tomar. Al mismo tiempo, transmite una imagen más profesional a sus colegas, quienes no dudarán en contratarlo cuando requieran de su sentido de organización y visión. La práctica constante brindará el criterio necesario para elaborar planes cada vez más afilados y exactos. Aumenta tus habilidades organizativas: plan de acción básico Los planes juegan un papel vital en el éxito de la carrera de un artista. Sin embargo, no es preciso que sean complicados; un plan básico es suficiente para poner en marcha la serie de acontecimientos que consolidarán y formarán al artista como proyecto de negocio. En consonancia con esto, el artist manager se torna un profesional con amplias habilidades organizativas, ayudando a su artista a mantenerse activo en el medio y atrayendo los más destacados profesionales disponibles. La creación de un plan de acción básico comprende los siguientes elementos: ● Metas: deben ser específicas y realistas. Conviene pensar en metas a corto y largo plazo; de esta forma, efectuamos un seguimiento más detallado y cercano. ● Necesidades: pueden incluir temas como capacitación, exposición, networking, imagen, presencia en la web, locación geográfica, entre otros. ● Acciones: es la parte crucial del plan de acción básico. Se enfoca en las acciones a tomar para cubrir las necesidades. ● Plazos: por supuesto, para que un plan sea eficaz requiere plazos para la realización de cada acción. 185-03_0108_ilu01. Elementos de un plan de acción Con esto en mente, diseñaremos un plan de acción básico basado en las siguientes preguntas e ítems: 185-03_0108_tab01. Diseño de un plan de acción básico ● Metas de carrera o Corto plazo o Mediano plazo o Largo plazo ● Mi mercado ● Personas y establecimientos a contactar o Corto plazo o Mediano plazo o Largo plazo ● ¿Qué necesito para alcanzar mis metas? ● ¿Cómo me diferenciaré de otros artistas? ● ¿Cómo capturaré la atención de personalidades influyentes en la industria? ● ¿Qué acciones tomaré para cumplir mis metas? ● ¿Qué acciones debo tomar de manera inmediata para alcanzar mis metas? ● ¿Cuáles son mis plazos? o Metas a corto plazo: o Metas a mediano plazo o Metas a largo plazo ● Acciones ejecutadas hasta el momento y fechas de ejecución de acciones Ahora examinaremos un ejemplo de plan de acción básico elaborado desde la perspectiva de un artista: 185-03_0108_tab02. Ejemplo de plan de acción básico ● Metas de carrera o Corto plazo: llevar a cabo una serie de concie rtos en diferentes establecimientos de mi región. o Mediano plazo: grabar un disco y hacer una gira para aumentar mi reconocimiento como una potencial estrella en mi país. o Largo plazo: reconocimiento como uno de los artistas más destacados del géne ro en mi país, con miras a una proyección internacional. ● Mi mercado: fans del Reggae y la música Roots . ● Personas o establecimientos a contactar o Corto plazo: clubes locales, hoteles, escuelas, colegios, planificadores de bodas y coordinadores de eventos a nivel local. o Mediano plazo: colegios, booking agents, promotores, teatros, planificadores de bodas y coordinadores de eventos a nivel r egional. o Largo plazo: promotores y booking agents de mayor trayectoria, ferias, casinos y hoteles, entre otros. ● ¿Qué necesito para alcanzar mis metas? o Encontrar un agente y un bajista para mi banda. o Perfeccionar mis habilidades vocales y mi desempeño en el escenario. o Encontrar establecimientos donde presentarme. o Escribir más canciones para grabar. o Encontrar un sello discográfico interesado en hacerse cargo de mi primer álbum. o Aumentar mi exposición. o Hacer una gira. ● ¿Cómo me diferenciaré de otros artistas? o Escribiré canciones abordando la situación actual del país para que la gente se sienta identificada y asista a mis presentaciones. ● ¿Cómo capturaré la atención de personalidades influyentes en la industria? o Crearé un Electronic Kit Press que compartiré por todas mis redes sociales, donaré mi tiempo para participar en eventos de organizaciones sin fines de lucro y publicitaré a alguna persona, producto o causa en la que crea. ● ¿Qué acciones tomaré para cumplir mis metas? o Tomaré clases de perfeccionamiento vocal y escenográfico, asistiré a un taller de composición de canciones, me registraré en la asociación de compositores local y procuraré conocer e intercambiar información con todos sus miembros para aum entar mi red de contactos. ● ¿Qué acciones debo tomar de manera inmediata para alcanzar mis metas? o Desarrollar mi identidad como artista y la de mi banda, ensayar con frecuencia, escribir mi biografía, participar en una sesión de fotos profesional, enviar y revisar mis correos y mensajes en redes sociales y asistir a los eventos relacionados con la industria musical. ● ¿Cuáles son mis plazos? o Metas a corto plazo: cumplir en seis meses. o Metas a mediano plazo: cumplir en un año, pero no más de dos. o Metas a largo plazo: cumplir en los próximos cinco años. ● Acciones ejecutadas hasta el momen to y fechas de ejecución de acciones o Asistí al taller de composición de canciones. Fecha: Octubre de 2019 o Encontré un nuevo bajista para mi banda. Fecha: Octubre 2019 o Cumplí la meta de ensayar tres días a la semana: Fecha: Noviembre 2019 o Hice los arreglos para participar en una estación de radio local. Fecha: Diciembre 2019 El artist manager y el artista tienen en cuenta que un plan de acción es lo suficientemente flexible para admitir cambios según las circunstancias surgidas durante su implementación. Keynotes ● Las metas de un plan de acción básico deben ser específicas y realistas. ● Las acciones a tomar constituyen la parte crucial de un plan de acción básico. ● El plan de acción básico es lo suficientemente flexible para modificarse en ca so de ser necesario. Misión Desde la perspectiva de un artist manager, reúnete con un artista. Puede ser un amigo, familiar, conocido o un miembro de la comunidad VonKelemen que hayas contactado a través de vKontact. Juntos, elaboren un plan de acción bás ico basándose en el modelo descrito en el contenido didáctico. Al terminar, compártelo con tus amigos, familiares y colegas, y solicita opiniones y puntos de vista sobre el mismo. Evalúa tu plan y ajusta aquellos aspectos que consideres necesarios según la s observaciones recibidas. Tiempo disponible: 3 horas. Conclusión Un artist manager que domine la capacidad de elaborar planes de acción básicos será capaz de visualizar a largo plazo la carrera de un artista, proporcionando la visión necesaria para atraer el equipo de trabajo que llevará a su artista al estrellato. Por supuesto, dicha habilidad no se logra de la noche a la mañana, por lo que requiere de continua práctica, dedicación y, sobre todo, experimentación. Aumenta tus habilidades organizativas: plan de acción personal En ocasiones, los planes de acción requieren ser personalizados según las circunstancias del artista. El artist manager es perfectamente capaz de crear planes ajustados a las condiciones inherentes a su artista. De esta forma, muestra una actitud polifacética y adaptativa sumamente valiosa en la ind ustria musical moderna. Con frecuencia, puede ser necesario elaborar un plan de acción personal o especializado. Por supuesto, esto depende mucho del rol que el profesional de la industria ejerce dentro de la misma. A continuación, analizaremos el diseño y ejecución de un plan de acción especializado desde la perspectiva de un artista. 185-03_0109_tab01. Diseño de un plan de acción personal o especializado Los elementos que forman parte del diseño de un plan de acción personal son las metas, tanto a largo como a corto plazo, y las acciones a tomar, los comentarios, las fechas estimadas y fechas de cada cumplimiento de ambos tipos de metas. La ejecución de un plan de acción personal contempla tanto el lado creativo como el lado comercial del negocio. A continuación, indicaremos algunos elementos pertenecientes a cada lado que deben ser tomados en cuenta: ● Lado creativo del negocio o Encontrar un instructor o coach de canto o Tomar clases de música o Asistir a cursos o talleres de composición de canciones o Inscribirse en la asociación local de artistas, compositores o profesionales de la industria musical o Ensayar con frecuencia o Participar e n presentaciones en vivo ● Lado comercial del negocio o Identificar habilidades, talentos y pasiones o Búsqueda de pasantías o Elaboración de formatos, hojas de vida y correos electrónicos o Networking o Desarrollar un Electronic Press Kit, biografía, fotos profesionales, entre otros o Búsqueda y asistencia a eventos relacionados con la industria o Realización de voluntariado para ganar experiencia y exposición o Obtener referencias y permiso s para usar el nombre de otras personas en ellas o Desarrollar un portafolio o Elaborar tarjetas de presentación o Obtener un título de formación académica formal o Investigar las tendencias del mercado o Realizar llamadas en frío para obten er entrevistas o Leer libros relacionados con la industria musical Veamos un ejemplo sencillo de plan de acción personal. 185-03_0109_tab02. Ejecución de un plan de acción personal ● Metas a corto plazo: llevar a cabo una serie de conciertos en diferent es establecimientos de mi región. o Acciones a tomar: establecer contacto con los dueños de diferentes establecimientos de mi región y efectuar presentaciones de muestra. o Comentarios: preparar una presentación acústica de pequeño formato a fin de q ue el equipo e instrumentos necesarios sean fáciles de transportar, posiblemente necesite alquilar algunas cosas. o Fecha estimada: Octubre 2019 o Fecha cumplida: Octubre 2019 ● Metas a largo plazo: reconocimiento como uno de los artistas más destacado s del género en mi país, con miras a una proyección internacional. o Acciones a tomar: grabar un disco y realizar varias giras que consoliden mi imagen como artista destacado en el género. o Comentarios: es necesario revisar con cuidado las cláusulas de los contratos a fin de garantizar la protección de mis intereses. o Fecha estimada: Enero 2024 o Fecha cumplida: Marzo 2024 El plan de acción personal puede ser ajustado según las circunstancias surgidas durante su implementación. Keynotes ● Un plan de acción personal está conformado por metas, acciones a tomar, comentarios, fechas estimadas y fechas de cumplimiento. ● La ejecución de un plan de acción personal contempla tanto el lado creativo como el lado comercial del negocio. Misión Desde la perspectiva de un artist manager, reúnete con un artista. Puede ser un amigo, familiar, conocido o un miembro de la comunidad VonKelemen que hayas contactado a través de vKontact. Juntos, elaboren un plan de acción personal basándose en el modelo descrito en el contenido didáctico. Al terminar, compártelo con tus amigos, familiares y colegas y solicita opiniones y puntos de vista sobre el mismo. Evalúa tu plan y ajusta aquellos aspectos que consideres necesario según las observaciones recibidas. Tiempo disponible: 3 horas. Conclusión Debido a sus numerosos cambios y la forma en que es influida por los cambios globales, la industria musical está sujeta a numerosos y vertiginosos cambios. En consecuencia, los profesionales de la música deben asimila r esas características que les permiten mantenerse vigentes conforme el tiempo avanza. La creación de planes de acción personales consolida al artist manager como un profesional listo para asumir los cambios venideros. Además, con cuidado y atención al det alle, el artist manager será capaz de leer las tendencias del mercado que le permitirán a su artista y a sí mismo tener éxito en sus carreras. Piensa como un ganador: los cuatro principios del pensamiento lateral La forma en que un artist manager piensa e jerce una influencia poderosa en la carrera del artista; a fin de cuentas, es el encargado de dirigirla. A medida que el artist manager ponga en práctica el pensamiento lateral, identificará y aprovechará valiosas oportunidades para la carrera de su artist a. En su libro “The Unauthorized Guide To Doing Business The Simon Cowell Way”, el autor Trevor Clawson expone el “pensamiento lateral”, es decir, la estrategia o forma de pensar responsable del éxito de Simon Cowell y sus programas de televisión enfocados en la promoción de artistas en la industria musical: Pop Idol, American Idol, Britain´s Got Talent, The X Factor y American Got Talent. 185-03_0110_fot01. Simon Cowell El pensamiento lateral se basa en cuatro pilares o principios sobre los cuales se bas a el éxito de los programas anteriormente mencionados: conseguir la estructura correcta, contratar a las personas correctas, conseguir patrocinadores y usar los medios sociales. Conseguir la estructura correcta Syco Entertainment es una empresa británica d e entretenimiento cuyo propietario es Simon Cowell. Dentro de su estructura cuenta con tres subdivisiones dedicadas a la música, la televisión y el cine, respectivamente. Pese a que dichas subdivisiones no contaban con muchas personas, Syco fue capaz de co ordinar de manara impecable todas las actividades de grabación y producción de los programas de televisión mencionados. En su concepción del artista como negocio, el artist manager analiza la estructura de negocio que desea seguir y evalúa las necesidades y debilidades que la misma pueda tener. En caso de detectar áreas de mejora, procura tomar las acciones paliativas necesarias para que su estructura sea funcional según las circunstancias específicas que le rodeen. Naturalmente, contar con la disponibilida d de tres empresas enfocadas en la música, el cine y la televisión, puede ser sumamente difícil para un artist manager. Sin embargo, la lección a aprender se enfoca en construir la plataforma técnica y de negocio necesaria para despegar la carrera del arti sta. Contratar a las personas correctas Como indica Clawson, Cowell “no es una banda de un solo hombre”. Se encargó de contratar a las personas con más trayectoria y experiencia en sus respectivas funciones. A su modo de ver, la mejor forma delegar funcion es es asegurándonos de que cada persona opera eficazmente su proceso asignado y que las mismas sean dignas de confianza. En esta línea de pensamiento, el artist manager se asegura de que el equipo de trabajo del artista esté formado por profesionales competentes y efectivos. Conseguir patrocinadores Aún contando con una estructura completa y el mejor equipo, programas como A merican Idol y The X Factor requieren otros elementos. Syco trabajó de la mano con otras importantes empresas del entretenimiento, tales como Talkback Thames, subsidiaria de la internacional Fremantle. Para Cowell, el sistema de patrocinio es eficaz porque cada patrocinador aporta sus habilidades y recursos para la obtención del resultado final. Naturalmente, es preciso encontrar a los mejores patrocinadores y convencerlos de la necesidad que tienen de trabajar en el proyecto propuesto por el artist manager . Usar los medios sociales Pop Idol, American Idol, Britain´s Got Talent, American Got Talent y The X Factor son programas con una amplia presencia en los medios sociales. Facebook y Twitter se convirtieron en el depositario de infinidad de conversaciones y opiniones de los espectadores donde compartían sus opiniones sobre los participantes y el jurado. YouTube se transformó en una plataforma de publicidad enorme, donde muchos canales efectuaron sus propias compilaciones de presentaciones, incluso, creando sus propios tops y listas de las mejores. Además, los videos de las estrellas más prominentes de dichos programas cuentan con cantidades millonarias de visualizaciones. Como ejemplo podemos mencionar a Susan Boyle, ganadora del segundo lugar en el Britain´ s Got Talen en su temporada del 2009. Para el 11 de abril del 2009, su interpretación de I Dream A Dream ya había alcanzado los 10 millones de espectadores. 185-03_0110_fot02. Susan Boyle Sin duda alguna, la estrategia de Cowell no solo contempló la util ización de todos los medios sociales disponibles; por su naturaleza, también generó una cantidad masiva de interacciones en los medios sociales, generando de manera orgánica y automática un elevado nivel de exposición y cobertura mediática. 185-03_0110_ilu 01. Los cuatro principios del pensamiento lateral Keynotes ● El pensamiento lateral se basa en cuatro pilares o principios de éxito: la estructura correcta, las personas correctas, patrocinadores y los medios sociales. ● El artist manager se asegura de que e l equipo de trabajo del artista esté formado por profesionales competentes y efectivos. Reto Basándote tanto en los planes de acción básico y personal de tu artista, identifica cómo puedes aplicar el pensamiento lateral. Si es necesario, modifica los planes originales para contemplar los principios relacionados a la estructura de negocio, el equip o de trabajo, los patrocinadores y el uso de medios sociales. Comparte los planes con tus amigos, familiares y colegas. Publícalo en tu vPage a fin de obtener retroalimentación de otros profesionales de la industria musical. Tiempo disponible: 30 minutos. Conclusión La implementación del pensamiento lateral brinda al artist manager una perspectiva de negocio comprobadamente exitosa. Según las circunstancias del artista, su implementación puede rendir dividendos significativos tanto para el artista como para el artist manager. Es responsabilidad de este último obtener la capacitación, experiencia y criterio necesario para alcanzar los objetivos propuestos. Sección 2: Fundamentos de ética y networking para el artist management Dirige tus acciones profesionalmente: la relación entre el artist manager y su artista La integridad, profesionalismo e imagen de un artist manager son el resultado de su desempeño laboral. Un artist manager íntegro y profesional siempre contará con una imagen que beneficiará su empleabilidad, su carrera y su éxito. La observancia de un código ético brinda el marco necesario para que todo artist manager dirija sus acciones correctamente en la industria musical. La North American Performing Arts Managers and Agents, o NAPAMA, es una organización sin fines de lucro fundada en 1979, dedicada a la promoción profesional de sus miembros. Como parte de los recursos contenidos en su página web, cuentan con un Código de Honor para el trabajo del artist manager. Aunqu e dicho código no tiene ningún tipo de implicaciones legales, los miembros de la NAPAMA procuran su uso como marco o código ético en sus labores profesionales. El Código de Honor de la NAPAMA está formado por ocho segmentos, llamados: 1. Relación manager -artista 2. Relación artista -manager 3. Relación manager -manager 4. Relación manager -presentador 5. Relación manager -empleado 6. Conferencias 7. Estándares profesionales Para efectos de este análisis, usaremos la figura del artist manager como ejemplo en la exposición de los artículos del Código de Honor. Dicho esto, analizaremos la relación manager -artista, cuyos cuatro artículos establecen lo siguiente: 185-03_0201_ilu01. Artículo 1 del apartado Relación artista -manager del Código de Honor de la NAPAMA 1. “Cuando se inicia la representación de un Artista, el Artist Manager debe confirmar su acuerdo de manera verbal y/o por escrito, ya sea a través de un contrato formal o en una carta”. Tal artículo es vital en el trabajo del artist manager. Aunque parez ca obvio, cuando la relación entre el artista y el artist manager es demasiado cercana o cuando el artist manager se enfoca demasiado en la parte creativa y musical del trabajo, puede descuidar su verdadera responsabilidad: el negocio. La confirmación de l os acuerdos mediante un contrato permite que el artist manager se mantenga enfocado en su asignación específica: asegurarse de que la carrera del artista se mantenga siempre en movimiento según los intereses del mismo. 185-03_0201_ilu02. Artículo 2 del apa rtado Relación artista -manager del Código de Honor de la NAPAMA 2. “El contrato del Artist Manager debe ser justo y razonable, así como especificar los términos, las comisiones, los ciclos de facturación, los derechos del Artist Manager sobre comisiones después de la terminación del contrato, actividades generadoras de comisión, territorialidad de la representación y cualquier término de exclusividad que pueda aplicar a uno o más representantes del Artist Manager”. En relación a esto, la fijación de tarifas y comisiones suele estar relacionada con el poder de negociació n e influencia de las partes al momento de elaborar el contrato. A su vez, el poder de negociación e influencia de las partes se determina por factores como la experiencia, el portafolio y el conocimiento del artista o el artist manager. Por ejemplo, la ta rifa de un artist manager para trabajar con un artista nuevo suele ser más elevada que la tarifa con un artista consolidado; ¿por qué? Sencillamente porque, al tratarse de un artista nuevo, el artist manager no tiene garantías de un retorno de inversión sa tisfactorio. En cambio, con un artista de larga trayectoria la incertidumbre financiera es menor al conocer su historial comercial. 185-03_0201_ilu03. Artículo 3 del apartado Relación artista -manager del Código de Honor de la NAPAMA 3. “Cree disposi ciones para la renovación o rescisión del contrato”. A fin de evitar malentendidos o roces, el contrato debe reflejar disposiciones claras relacionadas con la renovación o cancelación del mismo. 185-03_0201_ilu04. Artículo 4 del apartado Relación artista -manager del Código de Honor de la NAPAMA 4. “Comunicarse de manera abierta y honesta en pro del mejoramiento de la carrera del Artista”. En todo momento, el artist manager debe ser honesto y franco. Algunas de las inquietudes más importantes que debe ac larar al artista se refiere al tiempo que dedicará a su carrera. Un artist manager con una cartera de clientes establecida suelen tener dificultades para atender adecuadamente la carrera de sus artistas más nuevos o menos rentables. Lo anterior puede perju dicar la carrera de un artista que no esté generando suficientes ingresos, dado que el artist manager estará posiblemente enfocado en artistas más rentables. Por esta razón, el artist manager debe conocer bien su capacidad de trabajo, a fin de rechazar cua lquier cláusula, condición o, incluso, contrato que no sea capaz de cumplir. Si un artist manager acepta condiciones que luego demuestra no cumplir, su imagen profesional se verá afectada negativamente. Todo artista espera y merece que el artist manager ej ecute responsablemente las asignaciones recibidas en función de una relación contractual previamente aceptada por ambas partes. Keynotes ● Cuando la relación entre el artista y el artist manager es demasiado cercana, o cuando el artist manager se enfoca dema siado en la parte creativa y musical del trabajo, puede descuidar su verdadera responsabilidad: el negocio. ● La fijación de tarifas y comisiones suele estar relacionada con el poder de negociación e influencia de las partes al momento de elaborar el contrat o. ● Un artist manager con una cartera de clientes establecida suelen tener dificultades para atender adecuadamente la carrera de sus artistas más nuevos o menos rentables. ● Todo artista espera y merece que el artist manager ejecute responsablemente las asign aciones recibidas en función de una relación contractual previamente aceptada por ambas partes. Reto Redacta un borrador de contrato basándote en los cuatro artículos del apartado “Relación manager -artista” del Código de Honor de la NAPAMA. Compártelo con artistas y otros profesionales de la industria musical a fin de identificar aspectos a mejorar. No olvides utilizar herramientas tales como vKontact, Facebook, LinkedIn y otras, para establecer los contactos necesarios. Tiempo disponible: 30 minutos. Concl usión El artist manager que vive un código de ética encontrará un camino profesional siempre abierto a nuevas oportunidades. Naturalmente, allí no queda todo, sino que es requerido aplicar la perseverancia y la creatividad a fin de mantenerse vigente y act ualizado en la industria musical. Fomenta el entendimiento: la relación entre el artista y su artista manager La calidad del trabajo del artist manager está influenciada por su relación con el artista. Por lo tanto, es vital que la comunicación entre ambos permita el máximo entendimiento y beneficio mutuos. Cuando el artista es abierto, franco, directo y claro con su artist manager, le brinda las herramientas necesarias para desarrollar su carrera según las metas planteadas. El Código de Honor de la NAPAMA contempla tres artículos o normas relacionadas con la relación del artista hacia el artist manager. A continua ción, analizaremos cada una de ellas: 185-03_0202_ilu01. Artículo 1 del apartado Relación artista -manager del Código de Honor de la NAPAMA 1. “El artista debe manifestar con claridad sus propias necesidades, prioridades y expectativas a fin de ser expresadas en términos contractuales”. El artículo forma parte de las expectativas de honestidad, claridad y franqueza esperadas en una relación e ntre el artista y su artist manager. Algunas de las necesidades, prioridades o expectativas del artista podrían estar relacionadas con el tiempo de trabajo que el artist manager le dedicará, principios morales o éticos, comportamientos o actitudes que no e stá dispuesto a realizar o tolerar, hábitos de vida y perspectiva de negocios, entre otros. Por supuesto, dichos requerimientos no deben quedar solamente por escrito; la idea es trasladarlos a su forma contractual a fin de que formen parte del respectivo c ontrato de management. 185-03_0202_ilu02. Artículo 2 del apartado Relación artista -manager del Código de Honor de la NAPAMA 2. “Se espera del Artista el cumplimiento de las obligaciones financieras para con el Artist Manager, en virtud de cualquier cola boración, acuerdo o labor llevada a cabo por el Artist Manager durante y después de la expiración de un contrato de management, ya sea que el acuerdo esté por escrito o no”. La importancia de este artículo es crucial, pues aborda la retribución económica d el artist manager. Las tarifas, frecuencia y forma de pago constituyen uno de los puntos que el artista y el artist manager se aseguran de dejar claro. Existen varias formas en que un artist manager percibe sus ingresos: puede recibir un porcentaje de los ingresos brutos o netos del artista o también podría recibir un sueldo mensual específico. Las variantes y posibilidades son elevadas; al final, siempre será decisión de las partes. Con respecto a esto, es preciso tener en cuenta que si el negocio no tiene la rentabilidad esperada, la forma de pago establecida puede afectar de una forma significativamente mayor a una de las partes. Por ejemplo, si el acuerdo contempla que el artist manager ganará el 20 % de las ganancias del artista, si este no produce much a o ninguna ganancia, el artist manager se ve en riesgo de no recibir pago o, peor aún, terminar endeudado por los gastos de operación incurridos en su gestión de la carrera del artista. Por otro lado, si el acuerdo contempla un pago mensual en forma de sa lario fijo, el artista podría verse perjudicado cuando, a lo largo de un tiempo, no se concreten fechas de presentaciones, acuerdos o cualquier acontecimiento que brinde movimiento a la carrera. Mientras tanto, debe continuar pagando al artist manager cada mes, sin falta, tenga o no tenga retorno de inversión. 185-03_0202_ilu03. Artículo 3 del apartado Relación artista -manager del Código de Honor de la NAPAMA 3. “Se espera que el Artista remita todas las consultas de desempeño a su Artist Manager según los términos del contrato de management”. Básicamente, se refiere a que una vez establecido el contrato y delimitadas las funciones de cada parte, el artista debe dejar que el artist manager se ocupe de sus responsabilidades contractualmente señaladas. Algu nos artistas, especialmente aquellos que han ejercido el auto - management, podrían verse tentados a asumir alguna responsabilidad del artist manger por premura, facilidad, control, entre otras. Keynotes ● Algunas de las necesidades, prioridades o expectativas del artista podrían estar relacionadas con el tiempo de trabajo que el artist manager le dedicará, principios morales o éticos, comportamientos o actitudes que no está dispuesto a realizar o tolerar, h ábitos de vida y perspectiva de negocios, entre otros. ● Las tarifas, frecuencia y forma de pago constituyen uno de los puntos que el artista y el artist manager se aseguran de dejar claro. ● Si la carrera del artista no tiene la rentabilidad esperada, la form a de pago establecida puede afectar de una forma significativamente mayor a una de las partes. Reto Contacta a un artista y discutan un hipotético acuerdo de management. Establezcan si la forma de pago será un porcentaje de los ingresos del artista o un s ueldo mensual fijo. Justifica las razones de su elección. Elabora un resumen sobre el acuerdo y sus argumentos y compártelos en línea con tus amigos, familiares y colegas de la industria musical. Tiempo disponible: 30 minutos. Conclusión Una vez que los té rminos bajo los cuales el artist manager y el artista trabajarán han quedado claros, la relación entre ambos puede desarrollarse de forma tal que permita el cumplimiento de las metas trazadas. Con firmeza, tacto y respeto, el artist manager debe solicitar al artista la información necesaria para desempeñar su trabajo correctamente. Edifica tu imagen profesional: la relación entre artist managers La imagen de un artist manager no solo se define por su relación con el artista, sino también por su trato hacia otros colegas dentro de la industria. Aunque el negocio de la música es un entorno altamente competitivo, aquellos profesionales que tratan con respeto a sus colegas son altamente estimados y valorados como personas capaces, competentes y agradables para trabajar. Obviamente, un profesional de estas características puede esperar un número razonable de puertas abiertas en su carrera. El Código de Honor de la NAPAMA no solo contempla pautas relacionadas con la interacción entre el artista y su artist manager, sino también con la de los artist managers entre sí. Como el mismo Código refleja, aun cuando el incumplimiento a las normas planteadas no conlleva una responsabilidad legal o penal en sí misma, constituye un emblema acerca de lo que el artist manager es y cómo se comporta en los negocios. Dicho esto, analicemos las pautas relacionadas con el trato entre colegas del artist management. 185-03_0203_ilu01. Artículo 1 del apartando Relación entre artist managers del Código de Honor de NAPAMA 1. “Los artist managers respetan la integridad de la nómina de otros artist managers”. En consonancia con esto, el artist manager procura evitar la promoción inadecuada o no solicitada entre artistas fichados por otros artist managers. Aun en un entorno t an competitivo como el de la industria musical, el artist manager respeta y valora el trabajo de sus colegas. 185-03_0203_ilu02. Artículo 2 del apartando Relación entre artist managers del Código de Honor de NAPAMA 2. “Al promocionar sus servicios, los artist managers mantienen en todo el momento un elevado estándar ético y evitan el acoso o la presión innecesarios o fuera de lugar, en cualquier tipo”. Aunque se requiere perseverancia, creatividad, actitud y un poco de osadía a la hora de desempeñar las funciones de un artist manager, es preciso evitar extremos incómodos o considerados un acoso. Las experiencias vividas suelen compartirse con rapidez en el medio, por lo que una referencia negativa de un artista influyente puede significar cierta cantidad de puertas cerradas para un artist manager. 185-03_0203_ilu03. Artículo 3 del apartando Relación entre artist managers del Código de Honor de NAPAMA 3. “Cuando un artist manager se compromete con un artista para reemplazar a otro artist manager, procura su mejor esfuerzo para garantizar el cumplimiento de todas las obligaciones contractuales razonables contraídas por el artista hacia el artist manager saliente. Las modificaciones de esas obligaciones solo pueden hacerse a través de negociaciones y acuerdos de buena fe entre las partes”. El punto anterior procura fortalecer la relación del gremio mediante la protección de los intereses del rol. Algunas a ctitudes poco profesionales que atentan contra el espíritu del artículo anterior incluyen motivar al artista a desconocer el cumplimiento de las obligaciones contractuales razonables con el artist manager saliente. Peor aún, motivar al artista a desconocer las para asumirlas personalmente; lo cual constituye una forma de robo. El artist manager ético reconoce el trabajo de sus colegas y promueve la remuneración justa según el trabajo realizado. 185-03_0203_ilu04. Artículo 4 del apartando Relación entre artis t managers del Código de Honor de NAPAMA 4. “Todas las partes deben ser sinceras, imparciales y respetuosas cuando conversen con artistas, presentadores y otros artist managers”. En cualquier ámbito profesional, el tratamiento respetuoso edifica relaci ones duraderas. Sin llegar al extremo de la adulación y la lisonja, el artist manager reconoce abiertamente sus opiniones y procura brindar argumentos sólidos que justifiquen su posición con respecto a determinadas posturas. La práctica de argumentar sólid amente su posición transmite una imagen de seguridad, seriedad y profesionalismo sumamente valorada en el ámbito laboral. Keynotes ● Aunque se requiere perseverancia, creatividad, actitud y un poco de osadía a la hora de desempeñar las funciones de un artist manager, es preciso evitar ser incómodo o acosador. ● Una referencia negativa de un artista influyente puede significar cierta cantidad de puertas cerradas para un artist manager. ● El artist manager ético reconoce el trabajo de sus colegas y promueve la remu neración justa según el trabajo realizado. ● El artist manager reconoce abiertamente sus opiniones y procura brindar argumentos sólidos que justifiquen su posición con respecto a determinadas posturas. Reto Contacta a un colega dedicado al artist management . Conversa con él acerca de su relación con sus pares en la industria musical. Pregúntale si ha tenido experiencias negativas y cómo las ha resuelto. Escribe un breve ensayo exponiendo tus conclusiones sobre la conversación y compártelo por tus redes socia les, incluyendo vKontact. Tiempo disponible: 30 minutos. Conclusión Al observar el Código de Honor de la NAPAMA en relación a otros artist managers, nuestros colegas y clientes estarán satisfechos de trabajar con nosotros. Pese a las distintas situaciones que puedan presentarse, a medida que el artist manager se mantenga fiel a dicho código, será reconocido como un profesional íntegro y valioso en cualquier equipo de trabajo. Promueve el compromiso: relación entre el artist manager y el equipo de trabajo Desde su posición de ser el principal gestor de la carrera del artista, el artist manager coordina las labores del equipo de trabajo primario. Como parte de un equipo, su relación con el resto de profesionales vinculados al artista es significativa. Un ar tist management que establece relaciones claras, honestas y debidamente reflejadas en un contrato, promueve un ambiente de trabajo comprometido según la visión de negocio del artista. El artist manager y el artista no trabajan solos; requieren un equipo de profesionales en diversas disciplinas a fin de cumplir con éxito los objetivos trazados. Debido a la importancia de dichos objetivos, el artist manager se asegura de actuar con ética y profesionalismo con el equipo de trabajo; al mismo tiempo, exige de el los un comportamiento similar. La NAPAMA expone, dentro de su Código de Honor, algunas normas de observancia recomendada, las cuales analizaremos a continuación: 185-03_0204_ilu01. Artículo 1 del apartado Relación artist manager -colaboradores según el Códi go de Honor de la NAPAMA 1. “El Artist Manager debe asesorar y educar a los miembros del equipo en los aspectos prácticos y filosóficos del negocio, incluida la necesidad de una clara comprensión de la calidad artística y el valor del entretenimiento”. El artist manager empapa y filtra la visión y los objetivos de carrera al equipo de trabajo a fin de que todos trabajen en la misma página. Por supuesto, es probable que algunos miembros del equipo requieran conocer solo algunos aspectos del plan según sea conveniente. La idea es brindar unidad mediante la transmisión de un concepto único. Este tipo de prácticas aumentan el compromiso, proactividad y cohesión en el trabajo de todos. 185-03_0204_ilu02. Artículo 1 del apartado Relación artist manager -colabora dores según el Código de Honor de la NAPAMA 2. “Las condiciones de trabajo deben ser claramente indicadas por escrito”. Lo anterior tiene dos objetivos principales: brindar seguridad al equipo y proteger los intereses de carrera del artista. Mientras más claras sean las reglas, la ocurrencia de incidentes que puedan afectar negativamente el desarrollo de la carrera del artista será menor. 185-03_0204_ilu03. Artículo 1 del apartado Relación artist manager -colaboradores según el Código de Honor de la NAPAMA 3. “La disposición de los fondos que se pueden pagar después de que un empleado ha abandonado al equipo; y cualquier condición de separación, incluidas las disposiciones que impiden el trabajo a futuro con determinados artistas durante un periodo de ti empo posterior a la separación indicada, deben describirse en las condiciones de trabajo”. Por la naturaleza de la industria, algunos roles suelen generar ingresos cierto tiempo después de que el trabajo respectivo haya sido realizado. Por ejemplo, un book ing agent se encarga de programar 10 fechas para un artista. Por diferentes razones, es preciso prescindir de su colaboración cuando solo se han concretado 4 fechas. El contrato de trabajo contiene pautas específicas relacionadas con el pago del booking ag ent por las fechas agendadas incluso cuando abandona el equipo con solo algunas fechas presentadas. De esta forma, el booking agent percibe el resultado de su trabajo aunque ya no se encuentre en el equipo. El artist manager se asegura de que este y otros posibles escenarios queden debidamente cubiertos. 185-03_0204_ilu04. Artículo 1 del apartado Relación artist manager -colaboradores según el Código de Honor de la NAPAMA 4. “Los componentes de la remuneración basada en fórmulas, tales como pagos de bono s vinculados a un umbral de ingresos, deben pagarse oportunamente y según se haya especificado”. Existen métodos de remuneración que contemplan una cifra determinada según un umbral específico. Por ejemplo, un artist manager podría ser contratado con una t arifa de 20 % según los ingresos brutos del artista. El contrato permite contemplar una cláusula donde se indica que, cuando los ingresos totales del artista son iguales o mayores a $50.000, la tarifa devengada por el artist manager será de un 15 %. Situac iones como esta se reflejan con claridad en el contrato no solo del artist manager, sino de todos los miembros del equipo según sea necesario. 185-03_0204_ilu05. Artículo 1 del apartado Relación artist manager -colaboradores según el Código de Honor de la N APAMA 5. “Se debe exigir a los colaboradores que respeten la confidencialidad de las comunicaciones internas, los procedimientos, las estructuras de precios y los contactos de sus empleadores actuales y anteriores, así como los artistas y presentadores con los que trabajan”. La industria musical es dinámica, los profesionales dentro de ella participan de eventos, premiaciones y reuniones de diversa índole, donde mantienen contacto social frecuente. Debido a esta interacción, el artist manager se asegura de que el equipo de trabajo mantenga una actitud confidencial sobre detalles delicados o especialmente sensibles relacionados con la carrera del artista, o cualquier otro aspecto contemplado en los respectivos contratos. Keynotes ● El artist manager se asegu ra de actuar con ética y profesionalismo con el equipo de trabajo; al mismo tiempo, exige de ellos un comportamiento similar. ● Mientras más claras sean las reglas, la ocurrencia de incidentes que puedan afectar negativamente el desarrollo de la carrera del artista será menor. Reto Crea una encuesta con las siguientes preguntas: ● Considerando una escala del 1 al 5 donde 1 represent a la peor, ¿cuál sería la calificación que darías a nuestra colaboración actual o pasada? ● ¿Volverías a trabajar conmigo? ● ¿Qué consejo me darías para mejorar mi labor como profesional? Envía la encuesta a 10 personas que hayan colaborado contigo en proyectos laborales, académicos o de cualquier otra índole. Evalúa los resultados y redacta un plan de mejoramiento según las respuestas recibidas. Comparte tu plan a través de tu vPage. Tiemp o disponible: 30 minutos. Conclusión El equipo correcto puede ser la diferencia entre el éxito y el fracaso de un proyecto. Siempre y cuando las condiciones de trabajo estén claras, las personas se enfocarán en el cumplimiento de los objetivos de la carrer a del artista, proveyendo éxito a todo el equipo. Con constancia y dedicación, dicho éxito puede convertirse en nuestro estilo de vida. Abre las puertas al éxito: fundamentos del networking En ocasiones, el éxito en la industria musical puede encontrarse detrás de una puerta o al final de una simple llamada. Conocer a las personas correctas a fin de tomar las oportunidades idóneas puede ser el punto de inflexión en la carrera de un artista. A medida que tanto el artista como el artist manager se esfuercen por crear, ampliar y mantener su red de contactos, la cantidad de recursos y oportunidades para tener éxito en sus carreras será mayor. Según Beeching, el networking efectivo es la herramienta número uno para progresar en la industria musical. Sabiendo es to podríamos preguntarnos, ¿qué es el networking? El networking consiste en crear, ampliar y mantener una red de contactos. Implica los siguientes puntos: ● Demostrar interés en conocer nuevas personas. ● Precisa el intercambio de ideas e información al mismo tiempo que se conocen personas nuevas. Para entender mejor este punto, pensemos en una calle doble vía, donde los autos transitan tanto en un sentido como en otro. El networking es similar; no solo se trata de obtener contactos o información de otras perso nas, sino también de compartirla. Las relaciones fructíferas se basan en el beneficio mutuo, siendo vital que nosotros también resultemos un contacto beneficioso para los miembros de nuestra red. 185-03_0205_ilu01. El networking como una actividad en dos vías ● Evitar ser asfixiante, egocentrista, tímido o exageradamente adulador; en su lugar, nos enfocamos en mostrar interés y compartir quiénes somos y lo que hacemos en la industria. 185-03_0205_ilu02. Implicaciones del networking Contrariamente a lo que se suele pensar, la industria musical es pequeña; los contactos que necesitamos pueden estar a un grado de distancia. En relación a una red de contactos, existen determinados grados : primero, segundo y tercero. Las personas con quienes estamos directamente conectados son nuestros contactos de primer grado; los contactos de estos serían nuestros contactos de segundo grado y así sucesivamente. Para entenderlo mejor, visualicemos la sig uiente imagen: 185-03_0205_ilu03. Los grados de una red de contactos En la imagen, la persona ubicada en el centro del círculo es quien tiene la red de contactos; para fines prácticos, consideremos que somos nosotros. En el círculo más cercano al centro , tenemos nuestros contactos de primer grado con quienes estamos conectados directamente. En el siguiente círculo tenemos los contactos de nuestros contactos, quienes son nuestros contactos de segundo grado. Finalmente, en el círculo externo están ubicados nuestros contactos de tercer grado. En algunas ocasiones, los músicos suelen evidenciar resistencia al networking, considerándolo aburrido, innecesario, asfixiante, intimidante o complicado. En estos casos, es necesario efectuar un cambio de mentalidad, y a que la naturaleza de la industria musical ofrece innumerables oportunidades para hacer networking. Por ejemplo, un músico contemporáneo suele participar de actividades como: ● Composición y arreglo de música a pedido para festivales, instituciones o agrupa ciones específicas. ● Participación como intérprete en bandas, ensambles, sesiones de grabación, giras, videoclips, entre otros. ● Clases particulares o para academias y escuelas. ● Interpretación de música para eventos privados, corporativos, matrimonios y particulares. ● Audiciones para distintos tipos de agrupaciones o proyectos. 185-03_0205_ilu04. Actividades comunes para un músico contemporáneo En cada una de estas situaciones, el artista se expone a una gran cantidad de personas. En estos casos, el network ing implicaría darse a conocer a dichas personas, hablando acerca de quiénes somos y algunos proyectos pasados o presentes. Como en una conversación, las otras personas nos podrán al tanto de sus intereses y ocupaciones. Cuando encontramos personas con int ereses en común, estamos a las puertas de una nueva relación con un potencial amigo, colega, empleador, mentor o estudiante. En este aspecto, las recomendaciones boca -a-boca tienen un impacto poderoso. Existen músicos que, incluso, obtienen prácticamente l a totalidad de sus trabajos de esta forma, hasta llegar al punto de darse el lujo de rechazar ofertas por complicaciones de tiempo o falta de interés en ellas. En estos casos, es preciso brindar siempre una alternativa, como otro colega o un estudiante ava nzado que puedan hacerse cargo de la oferta. Lo anterior nos convertirá en un punto de interés para nuestros contactos, quienes contentos nos buscarán en cada momento porque, en caso de que no podamos ayudarles directamente, les proveeremos de una solución para sus intereses. Al igual que el artista, el artist manager tiene la imperiosa necesidad de cultivar una red de contactos y ser un contacto de interés para su red. Keynotes ● El networking efectivo es la herramienta número uno para progresar en la industria musical. ● Las personas con quienes estamos directamente conectados son nuestros contactos de primer grado; los contactos de estos serían nuestros contactos de segundo grado y así sucesivamente. ● La naturaleza de la industria musical ofrece innumerables oportunidades para hacer networking. ● Cuando encontramos personas con intereses en común, estamos a las puertas de una nueva relación con un potencial amigo, colega, empleador, me ntor o estudiante. Reto Revisa tu red de contactos actual. Aumenta la cantidad de contactos de primer grado en un 100 %. Redacta un breve ensayo donde expongas las técnicas que utilizaste para aumentar tu red de contactos a un 100 %. Indica el nombre, ocu pación e intereses de, al menos, tres contactos nuevos. Comparte tu ensayo por vKonect, LindkedIn y tus redes sociales favoritas. Tiempo disponible: 30 minutos. Conclusión Al contar con una red de contactos amplia, variada y actualizada, el artist manager y el artista tienen gran parte del éxito asegurado. Lo que resta es aplicar una gestión adecuada, honrada, clara y objetiva a fin de trabajar arduamente y concretar las met as y objetivos de carrera. Expande tus oportunidades: utilización de una red de contactos Para muchos artistas novatos, su primer pensamiento puede ser que no poseen una red de contactos. En ocasiones, esto no es enteramente cierto, por lo que el artist m anager debe ayudarlo a identificar los contactos que tiene y a utilizarlos correctamente. Por más grande que sea una red de contactos, la forma en que se utilice será lo que determine los resultados alcanzados en la carrera del artista. En relación al netw orking, se ha dicho que “no se trata de lo que sabes, sino de a quién conoces”. Sin embargo, incluso más que saber a quién se conoce, realmente se trata de lo que uno hace al respecto. Es decir, no se trata solo de conocer mucha gente, sino de la forma en que utilizamos ese conocimiento. Una vez que el artista o el artist manager han establecido una red de contactos considerable, deben analizar la forma en que la están utilizando. A fin de entender esto, imaginemos una situación donde un artista debate con su artist manager sobre cómo pueden avanzar en su carrera creando una red de contactos y utilizándola correctamente. 185-03_0206_ilu01. Posesión y utilización de una red de contactos En primer término, el artista busca a su artist manager para solicitar ayuda y consejos para darle más movimiento a su trabajo. El artist manager indaga acerca de las opciones disponibles, incluyendo sitios donde buscar oportunidades laborales, pasantías o audiciones, formas en que el artista puede colaborar con otros artist as del medio, escuelas donde puede dar conciertos pedagógicos o clases magistrales, instituciones u organizaciones en cuyos eventos pueda participar sin fines de lucro, entre otras cosas. El artist manager también pregunta acerca de las habilidades del art ista y del tipo de proyectos en los que quisiera participar, aunque no lo haya hecho nunca. Es probable que, en primera instancia, el artista no tenga muchas ideas y piense que no tiene contactos o que no tiene habilidades aparte de las que el artist manag er ya conoce. En este punto, el artist manager quizá requiera dar a conocer sus contactos o ayudar al artista a ubicar los contactos que sí tiene, pero piensa que no. Por ejemplo, el artist manager podría preguntar acerca de aquellos colegas que trabajan e n un colegio o institución de enseñanza donde el artista puede ofrecerse voluntario para una clase magistral, una demostración de lectura o improvisación, una colaboración en un seminario o curso de verano o cualquier tipo de asistencia en clase. 185-03_02 06_ilu02. Paso 1 para obtener trabajos a través de contactos: ubicar colegas que impartan clases Pensando de esta forma, el artista ubica cinco nombres de colegas que imparten clases en sitios específicos. Con esa lista, el artist manager comienza una ronda de llamadas donde no solo contacta a los cinco colegas mencionados, sino que pide referencias a cada uno de ellos. Al final, tres de esos colegas indicaron no poder ayudar, pero a través de ellos encontró cinco personas dispuestas a colaborar con su artista para clases magistrales. Sumando esto con los dos colegas iniciales que sí accedieron a ayuda r, tenemos siete contactos que aceptaron invitar al artista a una clase presencial al menos una vez. 185-03_0206_ilu03. Paso 2 para obtener trabajos a través de contactos: ofrecer servicios o voluntariado Al cabo de un tiempo y de impartir ocho clases p resenciales, el artista ha logrado la exposición necesaria para encontrar: ● Nuevos colaboradores quienes, según la experiencia y la calidad de la clase, le llamarán de nuevo para impartir más clases, participar en proyectos personales, realizar festivales o cualquier otro tema. ● Nuevos estudiantes quienes, al asistir a una clase presencial, han manifestado su deseo de recibir clases con el artista. 185-03_0206_ilu04. Paso 3 para obtener trabajos a través de contactos: resultados El ejemplo anterior ilustra una posible ruta entre el punto A, donde el artista “no tiene contactos” ni movimiento en su carrera, a un punto B, donde el artista tiene contactos, trabajo y una buena reputación que le permite ser una opción a considerar para más trabajos en el futuro. 185-03_0206_ilu05. Avance en la carrera del artista desde el punto A hasta el punto B Keynotes ● En cuanto al networking, más que saber a quién se conoce, realmente se trata de lo que uno hace al respecto. Reto Contacta a un artista que sienta su carrera estancada. Pon en práctica el ejemplo mostrado en el contenido didáctico y elabora una lista de 5 colegas del artista a quienes contactar para agendar presentaciones o colaboraciones gratuitas con otros artistas. Comparte las observaciones de tu experiencia en tus medios sociales favoritos, incluyendo vKontact. Tiempo disponible: 30 minutos. Conclusión Mediante el ejemplo analizado hemos aprendido a tomar acciones concretas para pasar de un punto A, sin contactos ni ofertas de trabajo, a un punto B con contactos y ofertas de trabajo. Dicho ejemplo solo busca ilustrar una de las muchas formas que el artist manager puede ayudar a su artista a darle dinamismo a su carrera. Con creatividad e ingenio las oportunidades disponibles en la calle pueden ser muchas, solo es cuestión de identificarlas y tomarlas. Obtén una llave para el éxito: el mentor en la industria musical El consejo o aprobación de un mentor es una poderosa puerta en la industria de la música. Por este motivo, el artista y el artist manager estudian las formas de establecer contacto efectivo con una personalidad influyente en la industria musical. Una de la s más grandes y eficaces fuentes de contactos son los mentores. En este contexto, usaremos la palabra “mentor” para designar a todo profesional con una experiencia y trayectoria reconocida por su influencia en la industria, por lo que sus palabras ofrecen a los profesionales menos experimentados un camino a seguir. Con frecuencia, los artistas o los profesionales de la industria musical, jóvenes o con poca experiencia, piensan que las personas con una gran trayectoria e influencia no están interesadas en co mpartir o hablar acerca de sus conocimientos. La verdad podría ser totalmente lo contrario: los profesionales establecidos suelen disfrutar el compartir sus experiencias con artistas emergentes; incluso, pueden sentirse halagados de ser considerados person as con autoridad para brindar un consejo valioso. Un ejemplo de esto lo encontramos en el video “La Terrase \| ¿Cómo te sientes en el papel de mentor?” del canal VonKelemen en Español, de Youtube. En dicho video, Rafa Sardina, destacado productor e ingenier o multiganador del Grammy, expresa sus impresiones con respecto a su papel como mentor y lo gratificante que resulta para él. Audiovisual recomendado: La Terrase \| ¿Cómo te sientes en el papel de mentor? – Rafa Sardina Teniendo esto en cuenta, una de las e strategias que un artista o artist manager pueden aplicar es el hábito de establecer contacto con tres personalidades influyentes por día. Puede ser por el medio más directo disponible: correos electrónicos, redes sociales o por medio del representante del mentor. Obviamente, la cantidad de solicitudes que un mentor recibe puede ser abrumadora, así que es preciso pensar en cómo ponerse “en la mira” o “en el camino” del mentor, ya sea mediante presentaciones en locales específicos, envío de demos, envío de E PKs atractivos y otras ideas que puedan impresionarlo, o a alguien cercano a él quien pueda darle la referencia boca -a-boca. En algunas ocasiones, el éxito depende de ubicarse en el momento correcto, en el sitio correcto y con la persona correcta. 185-03_0 207_ilu01. Contacto con mentores Aunque el tipo de mentor a contactar depende del estilo o género musical que maneje el artista, la confluencia de estilos es tan grande que una personalidad en un género opuesto al del artista puede ser de gran ayuda, ya sea de manera directa o contactando a otra personalidad influyente que conozca de un género musical más afín al artista. Keynotes ● Una de las más grandes y eficaces fuentes de contactos son los mentores. ● Los profesionales establecidos suelen disfrutar el compartir sus experiencias con artistas emergentes; incluso, pueden sentirse halagados de ser considerados personas con autoridad para brindar un consejo valioso. ● En algunas ocasiones, el éxito depende de ubicarse en el momento correcto, en el sitio correcto y con la persona correcta. Misión Contacta a un artista o artist manager que consideres una autoridad en el área y tenga una trayectoria y experiencia influyentes en el medio de la música. Establece co ntacto con él y pide algunos consejos para tu carrera; puedes ubicar algunos de ellos por medio de vKontact, vPage o vBox. Al terminar: ● Analiza los métodos que utilizaste para establecer contacto e identifica los más eficaces. ● Diseña un plan de contacto ba sado en los métodos donde tuviste más éxito, a fin de ponerlo en práctica en el futuro. ● Escribe tus experiencias, análisis y planes y compártelos tanto en vKonect como en tus medios sociales favoritos. Tiempo disponible: 3 horas. Conclusión Con la guía y consejos de un mentor, un artista puede ver abiertas muchas puertas en su carrera. El artist manager procura encontrar esas figuras de influencia que serán el escalón que lleve la carrera de su artista al siguiente nivel. Es preciso ser perse verante, constante y emocionalmente estable, a fin de no dejarse llevar por las negativas o desaires. Sácale el máximo provecho a tu red de contactos: gestión de una lista de contactos En ocasiones, el tener una inmensa lista de contactos desorganizada no s impide ubicar rápidamente la información que necesitamos para efectuar una llamada o tocar un tema en el momento preciso. Una organización eficaz es una fuente valiosa de información para el artista o artist manager, a fin de efectuar planes de acercamie nto, entre otras actividades relacionadas con la gestión de una red de contactos. Las redes de contactos requieren una gestión eficaz. Parte de esa gestión incluye un almacenamiento eficaz de los datos de todos nuestros contactos. La creación de una lista de contactos es una tarea obligatoria para todo artista o artist manager que esté procurando construir una red de contactos sólida u optimizar la que ya posee. Dicha lista incluye la información relevante de todas las personas que conozcamos: familiares, a migos, conocidos, colegas, excompañeros de trabajo o estudio, mentores, estudiantes, cualquier persona; según estudios estadísticos, la persona común conoce entre cien y mil personas. Es preciso evitar pensar que “alguien no sirve” o que “no tiene valor pa ra mi”, pues las oportunidades pueden venir por cualquier vía. Entre los datos que se recomienda incluir en una lista de contactos, están: ● Nombre ● Perfil ● Intereses ● Número telefónico ● Sitio web ● Facebook ● Instagram ● Twitter 185-03_0208_ilu01. Información a inclu ir en una lista de contactos Los medios convencionales, como dirección y número postal, pueden ser útiles; sin embargo, en medio de la globalización en la que se vive actualmente, los medios digitales tienen prioridad por su rapidez y efectividad. La información sobre perfiles e inter eses nos permite identificar la forma de crear vínculos o de otorgar presentes o regalos sencillos acordes con las características de la persona. Entre los posibles beneficios de contar con un amplio espectro de perfiles en nuestra red de contactos, tenemo s: ● Posibles patrocinadores o recaudadores de fondos. ● Conocidos, familia o personas de influencia para posibles mentores en la industria musical. ● Personas que requieran una colaboración musical en algún evento corporativo, familiar o personal. La información de la lista de contactos se registra de forma tal que permita una rápida ubicación. Según prefiera, el artista o artist manager pueden usar alguno de los siguientes medios: ● Agenda o planificador físico ● Documento en formato Word ● Hoja de cálcu lo de Excel ● Agenta electrónica en dispositivo móvil, como tablet o smartphone 185-03_0208_ilu02. Formatos para registrar una lista de contactos Lo más importante es que el medio sea eficaz para el dueño de la lista y le permita una óptima gestión. La may oría de las redes de contactos se crean de manera informal: una conversación en el pasillo de un museo, auditorio, sala de concierto, recepción, hotel, entre otros; es suficiente para entablar una conversación con un grupo de potenciales contactos. Es prec iso ser afable, amable y agradable con las personas, hacer que se sientan a gusto de conversar con nosotros. Cuando la gente nos pregunte a qué nos dedicamos o en qué estamos trabajando recientemente, debemos estar listos para expresar nuestra búsqueda de oportunidades, patrocinios, presentaciones y otras situaciones deseadas. Con un poco de suerte, nuestro grupo de conversación nos indicará de las oportunidades que conozca, o de las personas que podrían ayudarnos a ubicar una oportunidad. Para que el flujo de información se dé, necesitamos escuchar a nuestros contactos. A las personas generalmente les gusta hablar de sí mismas, por lo que escuchar atentamente ayuda a sentirse a gusto con nosotros y desear devolvernos el favor cuando sea necesario. Tampoco debemos olvidar obsequiar tarjetas o pequeños presentes a aquellos contactos que hayan prestado una ayuda significativa. Keynotes ● La gestión eficaz de una red de contactos requiere un almacenamiento adecuado de la información. ● La creación de una lista de co ntactos es una tarea obligatoria para todo artista o artist manager que esté procurando construir una red de contactos sólida u optimizar la que ya posee. ● Al crear una lista de contactos, es preciso evitar pensar que “alguien no sirve” o que “no tiene valo r para mi”; las oportunidades pueden venir por cualquier vía. Reto Crea una lista de contactos incluyendo todos los rubros expresados en el contenido didáctico. Comparte con un conocido tu lista de contactos y pídele sugerencias acerca de cómo gestionarla y utilizarla. Cuenta tu experiencia en tus medios digitales preferidos, incluyendo vKontact. Tiempo disponible: 30 minutos. Conclusión Una lista de contactos cor rectamente organizada y un artist manager que sabe utilizarla son los ingredientes necesarios para generar una carrera dinámica y activa. El tiempo, la experiencia y el criterio ganado indicarán la mejor forma de crear la lista y disponer de la información que contiene. Impulsa tu carrera al siguiente nivel: networking en entornos sociales La necesidad de contactar a personas influyentes en la industria musical es una necesidad de todos los profesionales dentro de ella. Pero, ¿cuál es la mejor forma de hacerlo? A medida que el artista y el artist manager desarrollen sus habilidades de intera cción social, serán capaces de sacar provecho a todo momento de socialización en la industria y obtener así los contactos que necesitan para impulsar sus carreras al siguiente nivel. Uno de los mejores momentos para hacer networking es en la socialización posterior a un concierto o evento específico; de hecho, lo anterior es un secreto a voces en la industria musical. Los conciertos, eventos, recepciones o actividades de cualquier clase suelen juntar a profesionales de todo tipo: aristas, ingenieros, produc tores, booking agents, publishers y, por supuesto, artist managers. Lo anterior es el campo maduro que todo segador de la industria desea para cosechar una red de contactos eficaz. 185-03_0209_ilu01. Momento social como fuente de contactos Sin embargo, es probable que nuestro artista presente desafíos para desenvolverse exitosamente en este tipo de entorno social. Por ejemplo, existen dos extremos en el comportamiento de un artista en relación a su audiencia u otras personas: ● En primer lugar, tenemos a los artistas que desean mantener una brecha entre sí mismos y la audiencia, ya sea por timidez, deseo de proteger su integridad o simplemente preferir la compañía de otros profesionales de la industria que estén familiarizados con su rutina y estilo de vid a. ● En segundo lugar, tenemos a los artistas carismáticos, afables y cercanos, quienes agradecen a su audiencia la asistencia a los conciertos y muestran un entusiasmo genuino por compartir con ellos durante la firma de autógrafos, entre otros entornos. 185-03_0209_ilu02. Artistas lejanos vs. Artistas carismáticos Sin procurar emitir un juicio acerca de cuál actitud es la correcta en todos los casos, el artist manager evalúa con su artista la actitud necesaria en relación a la interacción con la audiencia según las metas de carrera; en caso de ser necesario, efectúan planes y ajustes. Al realizar dicha evaluación, conviene recordar que la música es un acto de comunicación, así como pensar en las siguientes dos preguntas: “¿Cuál es el objeto de interpretar una canción en el escenario? ¿Qué se desea compartir a la audiencia en ese momento?”. La respuesta a estas preguntas ofrecen información valiosa que ayudará al artist manager a establecer la actitud que el artista debe tener hacia su audiencia. Vale la pen a acotar que las personas que asisten a un concierto están interesadas en el artista como tal, y no solamente en la música. Si así fuera, posiblemente preferirían quedarse en casa escuchando el álbum en Spotify. La presentación en vivo ofrece un nuevo espe ctáculo: el artista en sí mismo. Por lo tanto, la asistencia a una presentación en vivo expresa el deseo intrínseco de conocerlo, saber cómo es, cómo se ve, cómo actúa, cómo se desempeña en el escenario y fuera de él y, si fuera posible, intercambiar algun as palabras o impresiones. Keynotes ● Uno de los mejores momentos para hacer networking es en la socialización posterior a un concierto o evento específico. ● El artist manager evalúa con su artista la actitud necesaria en relación a la interacción con la audi encia según las metas de carrera. ● La música es un acto de comunicación. ● La asistencia a una presentación en vivo expresa el deseo intrínseco de conocer al artista, saber cómo es, cómo se ve, cómo actúa, cómo se desempeña en el escenario y fuera de él y, si fuera posible, intercambiar algunas palabras o impresiones. Misión En cuanto la oportunidad se presente, asiste a un concierto o presentación en vivo de un artista local. Si se ha planificado algún momento de interacción social, asiste y procura hacer contacto con el artista u otros profesionales influyentes relacionados con él. Procura intercambiar información y obtener una cita, un número telefónico o su tarjeta personal. Independientemente del resultado, analiza tu experiencia e identifica las áreas a mejorar. Diseña planes de mejoramiento para ayudarte a ser más eficaz en una próxima ocasión. Comparte tu experiencia en vKontact. Tiempo disponible: 3 horas desde el momento en que inicia el momento social. Conclusión Los momentos de networking son vitales en la industria musical. Cuando son bien aprovechados, constituyen una fuente de oportunidades de progreso para la carrera del artista y el artist manager en sí mismo. Con práctica, dedicación y criterio, perfeccionaremos nuestras habilidades sociales para establecer relaciones fructíferas para nuestra carrera profesional. Proyecta tu mejor imagen: socialización con la audiencia y contactos potenciales Muchas veces un artista puede experimentar dificultades para interactuar con éxito con su audiencia o un potencial contacto. Es preciso que el artist manager le guíe en la tarea de establecer relaciones fructíferas, incluso, predicando con el ejemplo. Cuan do un artista o artist manager sabe cómo relacionarse con su audiencia y posibles contactos, su confianza en sí mismo aumenta, lo cual repercute positivamente en su imagen de carrera. ¿Qué atrae tanto a las personas acerca del estilo de vida de un artista? Existen varios aspectos y actividades que suelen causar un gran interés en la audiencia no musical, tales como: ● Todo lo relacionado con instrumentos musicales ● Detalles sobre el entrenamiento o capacitación musical del artista ● Formas o rutinas de ensayo ● La rutina de un día típico del artista ● La memorización de una letra para una canción ● La disciplina de una serie de ensayos o fechas de conciertos ● La improvisación de letras o interpretaciones musicales ● La forma de comunicarse con otros músicos en el escenario sin intercambiar palabras Al conocer esto, el artista tiene idea del tipo de preguntas que un admirador o seguidor puede hacerle, y prepararse a sí mismo para brindar una respuesta correcta según la actitud e imagen decididos para su carrera como parte de su estrategia de negocios. 185-03_0210_ilu01. Evaluación de posibles preguntas y respuestas para fans Al momento de interactuar con su audiencia, el artista puede recibir numerosos halagos hacia su persona o desempeño artístico. Algunos de esos halagos pueden ser expresados de forma peyorativa hacia la persona que lo hace, por ejemplo: “Wow, tienes una voz preciosa; en cambio yo espanto hasta a los insectos cuando canto”. Normalmente, dichos come ntarios suelen ser hechos con entusiasmo y a modo de broma, por lo que el artista puede simplemente mantener ese entusiasmo en la persona que ha hecho el cumplido. Ahora, en relación a la socialización con la audiencia, nunca se sabe quién puede estar escu chándonos o con quién podemos estar hablando en un determinado momento. Por esto, el artista y el artist manager tienen presente la siguiente máxima: no siempre se trata de uno mismo. En consonancia con lo anterior, los temas de conversación en un entorno social en la industria musical no siempre tienen que girar en torno al artista. Es recomendable mostrar interés hacia nuestros interlocutores y conocer qué hacen, cuále son sus profesiones o hobbies , entre otros temas. Existe un amplio espectro de temas do nde el artista y su interlocutor pueden encontrar intereses en común: cine, literatura, deportes, arte en general, moda, comida, sitios para visitar o incluso temas menos comunes como opiniones acerca de filosofía, economía, geopolítica, entre otros. 185-03_0210_ilu02. Posibles intereses en común entre un artista y su interlocutor En ocasiones, como artistas o artist managers, asistiremos al concierto de otro músico con quien nos interesa establecer contacto o encontrar la puerta para añadir un contacto que necesitamos. En estos momentos, conviene dar cumplidos sinceros y específicos al artista en común, tales como: “Tienes un rango vocal increíble amigo, ¿cómo lo logras?”, “oye, tienes un dominio escénico increíble, ¿cómo te preparas para el escenario?” o “Tu interpretación del solo de guitarra en la última canción estuvo fenomenal, veo que tienes una técnica muy limpia, ¿cuál es tu rutina de estudio?”. A los músicos suele encantarles recibir comentarios expresados en sus mismos términos. Cuando este tipo de comentarios son bien recibidos, brindan la oportunidad de establecer el contacto que se desea. Una buena práctica es comunicar algo como: “Sin duda, eres asombroso. Oye, por cierto, deseaba conversar contigo acerca de un asunto, ¿tienes tiempo para con versar en las próximas semanas?”. Lo peor que puede suceder en estos momentos es que el artista o profesional indique que está muy ocupado; pero también podría darnos su tarjeta, un número telefónico, agendar una cita o, incluso, solicitar una conversación en ese preciso momento. Estos momentos son claves, ya que es donde se deben tomar acciones concretas para abrir una nueva puerta. En la industria musical puede suceder cualquier evento en cualquier momento; el artista y artist manager se aseguran de estar preparados para ver la oportunidad y tomarla. 185-03_0210_ilu03. Interacción con un artista Recordemos, las habilidades interpersonales de un artista y su comportamiento en un entorno social forman parte de su imagen de carrera. Cuando se agendan conciertos o presentaciones en vivo, es recomendable incluir una cantidad adecuada de momentos de soc ialización con la audiencia, y estipularlo como parte de los contratos respectivos. Este tipo de actividades contribuyen a crear, mantener y ampliar un público fiel para el artista y su música. Keynotes ● En relación a la socialización con la audiencia, nunc a se sabe quién puede estar escuchándonos o con quién podemos estar hablando en un determinado momento. ● Es recomendable mostrar interés hacia nuestros interlocutores y conocer qué hacen, cuáles son sus profesiones o hobbies , entre otros temas. ● En la indust ria musical puede suceder cualquier evento en cualquier momento; el artista y artist manager se aseguran de estar preparados para ver la oportunidad y tomarla. ● Las habilidades interpersonales de un artista y su comportamiento en un entorno social forman pa rte de su imagen de carrera. Misión Busca videos de diez covers o presentaciones en vivo de artistas locales que no conozcas y que tengan pocos o ningún comentario y haz lo siguiente: ● Escúchalos con atención y ubica dos puntos positivos en la interpretación por video. ● Comenta sus videos indicando los puntos positivos que encontraste y lo buenos que son. ● Realiza seguimiento a tus comentarios a fin de identificar respuestas que puedan darte pie a una relación de colaboración o de cualquier otra índole profesional. Analiza tus comentarios, identifica posibles áreas de mejora y diseña un plan de mejoramiento para aumentar tu eficacia la próxima vez que lleves a cabo esta práctica. Comparte t u experiencia tanto en vKontact como en tus medios digitales favoritos. Tiempo disponible: 3 horas, abarcando la búsqueda, selección y visualización de videos, así como la escritura de los comentarios. Conclusión Una imagen correcta es una poderosa herram ienta en la construcción de una carrera sólida y fructífera. La interacción con la audiencia y otros profesionales influyentes es vital en dicha labor. Con esmero, paciencia y criterio, convertiremos cada momento de interacción y socialización en una puert a para ensanchar nuestras oportunidades en la industria musical. Lleva tu carrera al siguiente nivel: la relación entre el artista y el artist manager Debido a la naturaleza de la industria musical, es probable que un artista tenga confusiones acerca del verdadero rol de un artist manager y, por lo tanto, no sepa exactamente qué esperar del suyo. A medida que el artista y el artist manager conozcan con c laridad las funciones relacionadas con la gestión de carrera según las necesidades del artista, obtendrán resultados concretos para llevar una carrera artística al siguiente nivel. ¿Qué se supone que hace un artist manager? ¿Cuáles son sus funciones? A fin de que la gestión de la carrera de un artista tenga éxito, es preciso responder estas preguntas. En pocas palabras, el artist manager se encarga de que “las cosas sucedan”; es decir, se asegura del cumplimiento de los objetivos, planes y metas del artista según sus necesidades. La gestión de la carrera de un artista requiere un esfuerzo significativo en todos los aspectos de la misma, desde efectuar una planificación eficaz hasta negociar un contrato complejo; desde sugerir un cambio en la letra de una can ción hasta comentar una nueva grabación. A fin de entender mejor el impacto del artist manager en la carrera del artista, es preciso analizar la relación entre ambos. Para esto, visualizaremos la relación artist manager -artista como un matrimonio tradicion al, donde tenemos un esposo y una esposa. Como una sociedad, el esposo y la esposa buscan edificar una vida en común basada en objetivos y un sistema de creencias compartidas. En este contexto, supongamos que una de las metas del matrimonio es poseer una c asa. Para conseguirlo, es necesario crear un plan donde el esposo y la esposa tengan funciones claramente identificadas. 185-03_0301_ilu01. Plan en común entre esposo y esposa: tener una casa La asignación específica del esposo será obtener el dinero nec esario para comprar la casa. Por otro lado, la asignación de la esposa será recibir y administrar ese dinero de la mejor forma posible, buscando las mejores alternativas de crédito y ofertas de casas, a fin de escoger la mejor opción con los recursos dispo nibles. Claro, este ejemplo se basa en el supuesto de que el esposo es quien tiene las mejores oportunidades de conseguir el dinero necesario. 185-03_0301_ilu02. Primera opción para obtención de meta en común: tener una casa Por otro lado, circunstanci as diferentes podrían ameritar un cambio de asignaciones: la esposa se encarga de conseguir el dinero necesario y el esposo de administrarlo para encontrar la mejor opción de crédito y compra de la casa. 185-03_0301_ilu03. Segunda opción para obtención de meta en común: tener una casa Una tercera opción podría ser que ambos se enfoquen en conseguir los fondos necesarios y las mejores opciones de crédito y compra. 185-03_0301_ilu04. Tercera opción para o btención de meta en común: tener una casa En este ejemplo, lo que determinará cuál de los tres escenarios es el más adecuado serán las habilidades y necesidades del matrimonio. Si el esposo es el más hábil para conseguir el dinero y la esposa para admin istrarlo, la primera opción es la mejor; si sucede lo contrario, la opción idónea es la segunda; si ambos tienen habilidades para obtener y administrar dinero, la tercera opción constituye una alternativa aceptable. 185-03_0301_ilu05. Relación entre las op ciones disponibles y las habilidades y necesidades del equipo Lo mismo sucede en la gestión de la carrera de un artista. El artist manager apoya al artista en su carrera, enfocándose en aquellos aspectos donde resulta un complemento idóneo. Si el artista requiere ayuda a nivel creativo, el artist manager está preparado para brindar la retroalimentación necesaria; si el artista requiere confianza en sí mismo, el artist manager está listo para ejercer su rol de coach. Si el artista tiene los aspectos crea tivos e interpretativos dominados, el artist manager se enfoca en el negocio. Es importante resaltar que, aún cuando brinde apoyo en aspectos creativos e interpretativos, el artist manager nunca pierde de vista el negocio; es su principal función. En concl usión, el artist manager y el artista se complementan en sus fortalezas y debilidades a fin de obtener los resultados planteados según el plan de carrera. Keynotes ● El artist manager se encarga de que las cosas sucedan. ● Aún cuando brinde apoyo en aspectos c reativos e interpretativos, el artist manager nunca pierde de vista el negocio. ● El artist manager y el artista se complementan en sus fortalezas y debilidades a fin de obtener los resultados planteados según el plan de carrera. Reto Piensa en ti como un a rtist manager e identifica tus habilidades, fortalezas y virtudes. Haz una lista de los puntos de una carrera artística donde, según tu evaluación, podrías resultar más útil. Por ejemplo, si soy un músico, como artist manager podría dar consejos eficaces para aumentar el impacto emocional de una canción. Redacta la lista de puntos donde puedes mejorar la carrera de un artista, y compártela con la comunidad de vKonnect. También puedes compartirla con tu red de contactos y ofrecer tu asesoría a cuantos artistas conozcas. Tiempo disponible: 30 minutos. Conclusión Cuando el artista conoce sus necesidades, sabe cómo sacar provecho de su artist manager. Por otro lado, cuando el artist manager conoce las necesidades de la carrera de su artista, lleva a cabo las acciones necesarias para satisfacerlas. La perseverancia, el conocimiento y la capacitación constante aumentarán el abanico de posibilidades y circunstancias donde el artist manager constituye una ayuda idónea. Define claramente tus funciones: las tareas de un artist manager en relación a otros profesionales de la industria Las tareas del artist manager pueden dar pie a confusiones. Al definir con claridad las tareas que cumplen algunos profesionales de la industria musical, seremos capaces de comprender mejor la función del artist manager, lo cual deriva en cont ratos claros y concisos en relación a sus tareas. A su vez, lo anterior conlleva una relación clara y saludable, donde las responsabilidades asignadas son acordes con el perfil de cada profesional involucrado. Todo artist manager desea saber cómo ser el me jor en su trabajo. Para lograrlo, es preciso que se mantenga enfocado en su función principal: manejar la carrera del artista como un negocio. Jim Morey, destacado profesional de la industria musical cuyos créditos incluyen artistas como Neil Diamond, Doll y Parton y The Pointer Sisters, compara al artist manager y su artista con un CEO y su compañía, donde el artist manager representa al CEO y el artista a la compañía o producto. 185-03_0302_ilu01. Relación entre el artist manager y su artista según Jim Mor ey Siguiendo el ejemplo mencionado, identificaremos algunas consideraciones relacionadas con el artist manager: ● Tal cual un ejecutivo o gerente de una empresa, el artist manager es, ante todas las cosas, un excelente planificador y estratega. ● Al trabaja r con compañías discográficas, productores musicales, agentes, promotores, publicistas y otros roles, el artist manager es un comunicador y motivador por excelencia a fin de asegurar que “las cosas sucedan”. ● El conocimiento y experiencia en el funcionamien to de la industria musical es vital. En el caso de un artist manager novato, es preciso que tenga enormes deseos de aprender, a fin de adquirir el conocimiento y experiencia necesarios lo antes posible. ● El artist manager con una relación de amistad con el artista tiene a su favor un destacado nexo afectivo y personal. Sin embargo, guiarse exclusivamente por este criterio puede resultar desfavorable para la carrera del artista, especialmente en aquellas decisiones que requieran una perspectiva fresca, objeti va, imparcial y fría. 185-03_0302_ilu02. Consideraciones relacionadas con el artist manager Por otro lado, en la industria musical existen funciones o tareas que podrían ser atribuidas, erróneamente, al artist manager. A continuación, examinaremos dicha s tareas e indicaremos el profesional encargado de realizarlas. ● La búsqueda directa de empleo para el artista es responsabilidad de un agente, un agente de booking o un agente de teatro. El artist manager es responsable de localizar dichos agentes y promov er a su artista para que sea tomado en cuenta por ellos. Además, acepta o rechaza citas y coordina el horario de su artista para las actividades relacionadas con dichos agentes. ● La producción musical de un disco, EP, single o LP es responsabilidad del prod uctor musical. En caso de tener conocimientos y experiencia en el área, un artist manager podría brindar su punto de vista; sin embargo, la responsabilidad principal recae sobre el productor. ● La promoción, explotación y administración de los derechos de la s composiciones musicales del artista corresponde al publisher . ● La financiación de los proyectos del artista puede venir de diferentes fuentes: donaciones, pagos por contrato, venta de entradas para conciertos, entre otras. 185-03_0302_ilu03. Actividades en la industria musical y sus perfiles asociados En relación a los puntos anteriores, el artist manager puede colaborar según sus posibilidades, experiencia, conocimiento y recursos; sin embargo, no se espera que ejecute d ichas tareas de manera obligatoria. De hecho, el análisis de las actividades que normalmente realizan otros profesionales de la industria, como agentes, productores y publishers , permite definir con claridad las actividades del artist manager y estipularla s en un contrato. En caso de que se agreguen cláusulas relacionadas con los puntos anteriormente mencionados, el artist manager podría solicitar una compensación adicional debido a que las mismas se alejan de sus labores primarias como artist manager, acer cándose al perfil de un profesional distinto. Keynotes ● Ante todas las cosas, el artist manager es un excelente planificador y estratega. ● El análisis de las actividades realizadas por otros profesionales de la industria permite definir con claridad las acti vidades del artist manager y estipularlas en un contrato. Misión Usa la siguiente tabla para analizar tus habilidades como artist manager, donde el 1 significa una ausencia de la habilidad y el 5 un dominio completo. Marca con una equis tu ponderación en cada habilidad. 185-03_0302_tab01. Tabla de habilidades del artist manager Según el resultado de tu análisis, identifica tus áreas de mejora y diseña planes de mejoramiento para fortalecerlas. Comparte tu plan a través de tus contactos en vKontact, así como con otros profesionales de la industria en otras redes sociales. Tiempo disponible: 3 horas. Conclusión Todo artist manager con claridad en sus funciones puede aceptar o rechazar contratos no alineados con sus intereses. Al mismo tiempo, un artista con un entendimiento correcto de las funciones del artist manager sacará el máximo provecho de su colaboración. Con respeto, compañerismo y trabajo en equipo, dicho entendimiento redundará en resultados sobresalientes en la carrera de ambos. Encuentra al arti sta perfecto: las cualidades de un artista exitoso El empeño y compromiso que un artist manager demuestre con su artista está influenciado por su creencia en él. A fin de cuentas, todo artist manager desea gestionar la carrera de los mejores. Analizaremos los cuatro componentes que un artista potencialmente exitoso posee y resultan vitales para un artist manager. Si nos ofrecieran dirigir las operaciones de una compañía consolidada y exitosa en el mercado, es probable que aceptáramos sin mayores miramientos. Después de todo, es una empresa redituable, por lo que nuestra economía experimentaría un agradable incremen to de ingresos. También es posible que, sin ser una empresa consolidada, el potencial de éxito resulte evidente y avasallador. Ahora, si nos ofrecieran dirigir las operaciones de una empresa en bancarrota o una en la que no creemos, ¿mostraríamos el mismo entusiasmo? El ejemplo anterior ilustra un principio importante en el artist management: El artist manager busca un artista en quien creer, con el que esté deseoso de trabajar y cuya carrera quiera gestionar, tal cual como si le ofrecieran dirigir una empr esa consolidada o con un evidente y enorme potencial de éxito. Existen cuatro cualidades que el artista debe poseer a fin de resultar atractivo para un artist manager: talento, deseo, autoconfianza y determinación. Talento Para David Skepner, destacado manager de Nashville, definir la palabra “talento” resulta difícil. Para él, significa “eso”, lo que otorga visibilidad, brillo o notoriedad a un artista; el elemento donde reside su originalidad. Dicha definición no significa una afinación perfecta ni una técnica vocal impecable. Después de todo, artistas como Bob Dylan, Rod Stewart o Mick Jagger jamás ganaron una competencia de canto en alguna escuela local. A pesar de eso, es innegable que poseían “eso”: el talento. Xavier F rascogna y H. Lee Hetherington, en su libro This Business of Artist Management, aportan los siguientes consejos prácticos para identificar el talento: ● El artista debe ser “él mismo”; ser original. Si su sonido es demasiado parecido al de otro artista, una compañía discográfica no tendrá motivos para interesarse en su música. ● La competencia del artista es cualquier persona que esté encabezando las listas de éxitos en un determinado momento. Es preciso ser mejor que algunos de los mejores y más originales art istas del momento. ● Los álbumes, canciones y entradas de conciertos pueden ser costosas. El artista debe ser capaz de motivar a sus fans a pagar determinadas cantidades de dinero por ver sus presentaciones o escuchar su música. Deseo Construir una carrera e n la industria de la música requiere sacrificios personales, largas e ingratas horas de trabajo duro y años de rechazo y frustración, con la finalidad de llegar a la cima y permanecer en ella. Sin embargo, lo anterior no garantiza automáticamente el éxito. A fin de conseguirlo, el artista requiere un deseo auténtico y estar dispuesto a moldearse hasta donde sea necesario; debe balancear sus sueños de ser famoso con el estilo de vida, los sacrificios que esto conlleva y tomar una decisión. Autoconfianza La autoconfianza, en el caso del artista, es la certeza de que tiene el talento para cumplir sus metas. Es una cualidad intangible que separa a los artistas solamente talentosos de los artistas exitosos. La autoconfianza trasciende el deseo y la persistencia. Es posible que un artista y un artist manager alcancen cierto nivel de éxito sin total autoconfianza, pero tendrán dificultades para obtener una carrera sustentable de alto nivel. Determinación El artista que se dedica a tiempo parcial a la música corre el riesgo de generar ingresos insuficientes para sostenerse, obligándoles a buscar un empleo a tiempo parcial. Dicha situación ilustra la determinación de dedicarse a la música a tiempo completo a fin de alcanzar los objetivos trazados. Por supuesto, esto no constituye una regla infalible; sin embargo, la determinación que el artista posea es controlada solo por él y es un factor influyente en el éxito de su carrera. 185-03_0303_ilu01. Cualidades para atraer a un artist manager Keynotes ● El artist manager b usca un artista en quien creer, con el que esté deseoso de trabajar y cuya carrera quiera gestionar. ● Según David Skepner, el talento se relaciona con la visibilidad, el brillo y la notoriedad del artista. ● La autodeterminación es una cualidad intangible que separa a los artistas solamente talentosos de los artistas exitosos. Misión Usando el medio de tu preferencia, contacta a cinco artistas, ya sean compositores o únicamente intérpretes. Pregunta a cada uno, en una escala del 1 al 10, qué calificación se darían a sí mismos en cuanto a talento, deseo, autoconfianza o determinación. Marca sus respuestas con una equis en la siguiente tabla: 185-03_0302_tab01. Tabla de habilidades del artist manager Al completar la tabla, analiza la información y determina quién es el artista con mayor potencial de éxito en la industria. Redacta un ensayo exponiendo tus conclusiones y compártelo con otros compañeros y profesionales de la música por vKonnect y todas tu s redes sociales. Puedes pedir consejos para mejorar tus técnicas de análisis de información y redacción de conclusiones. Tiempo disponible: 3 horas. Conclusión La confianza de un artist manager en su artista estará determinada por el talento, el deseo, la autoconfianza y la determinación del artista. La aplicación de dichas cualidades brinda el combustible necesario para desarrollar una carrera musical exitosa y sostenible. Cumple tus objetivos de carrera: alternativas de gestión de una carrera artística Las necesidades de gestión de carrera de un artista pueden ser variadas. Según los recursos financieros y creativos disponibles, el artista escoge un estilo de gestión específico a fin de cumplir sus objetivos de carrera. La carrera de todo artista requier e una gestión efectiva, la cual puede implementarse de tres formas diferentes: autogestión, gestión limitada o gestión total. A continuación estudiaremos la definición, ventajas y desventajas de estas alternativas de gestión de artistas, según autores como Frascogna y Hetherington. Autogestión La autogestión implica el control total de la carrera por parte del artista. Normalmente, constituye la mejor opción para el artista que está comenzando su carrera o que no es capaz de financiar una carrera a tiempo c ompleto. Otra ventaja notable es su bajo costo, pues se evita la contratación de un artist manager especializado. Por derivación, el artista conserva la libertad de tomar las decisiones que considere convenientes para su carrera. Al mismo tiempo, la brecha comunicativa con los actores relacionados con su carrera se acortan, al existir una conexión directa entre el artista y los demás. Por otro lado, la principal desventaja de la autogestión es la posible falta de experiencia y contactos en la industria, lo cual acorta las posibilidades y oportunidades necesarias para el desarrollo de una carrera artística. Otro problema es el tiempo, pues el artista requiere dedicarse a ensayar y efectuar labores propias de un artista. Durante ese tiempo, la gestión de su ca rrera está siendo desatendida. 185-03_0304_tab01. Primera alternativa de gestión de carrera artística: autogestión Gestión limitada Cuando el artista toma la opción de la gestión limitada, cuenta con una persona para ayudarle en áreas específicas relacio nadas con el desarrollo de su carrera. La naturaleza de las tareas delegadas se relaciona con el perfil del profesional; puede ser un agente de booking , un promotor, un contador, un abogado, un representante, otro artist manager , entre otros. La gestión li mitada es útil cuando un artista está construyendo su carrera con bases sólidas, pero aún no requiere una gestión total. También es una opción para aquellos artistas que, habiendo acumulado una notable experiencia y contactos, ayudan a otros artistas en el desarrollo de sus carreras. Para el artista, es una forma de recibir asistencia en aquellas áreas de su carrera donde presente mayor necesidad. Como desventaja, aunque la gestión limitada es una excelente forma de avanzar en la carrera del artista, no se recomienda como una modalidad definitiva en aquellas carreras con objetivos elevados, los cuales necesiten a futuro una gestión total. 185-03_0304_ilu01. Segunda alternativa de gestión de carrera artística: gestión limitada Gestión total La gestión tota l ocurre cuando el artist manager asume completamente todas las responsabilidades y tareas relacionadas con el desarrollo de la carrera del artista. Bajo esta modalidad, el artist manager está a cargo de las operaciones cotidianas del artista, por lo que presenta un grado de involucramiento notable en detalles importantes y triviales. De las tres opciones estudiadas, la gestión total es la más idónea, aunque obviamente es la más costosa. Por este motivo, se recomienda su implementación cuando la carrera del artista está lo suficientemente establecida para asumir la contratación de un artist manager a tiempo completo. 185-03_0304_ilu02. Tercera alternativa de gestión de carrera artística: gestión total En contraposición a los tres tipos de gestión estudiados, tenemos la falta de gestión, es decir, la ausencia total de planeamiento y acciones enfocadas en objetivos concretos. Se puede resumir en una actitud de “vamos a ver cómo suceden las cosas”. Cualqui era de los tres tipos de gestión es preferible a la ausencia de la misma. 185-03_0304_ilu03. Ausencia de gestión El tipo de gestión a escoger depende de las necesidades específicas del artista, así como de sus metas y posibilidades financieras y creativa s. Sin importar cuál sea la opción seleccionada, el artista se asegura personalmente del cumplimiento de las metas de su carrera según se han establecido en el plan de la misma. Después de todo, los objetivos no se cumplen por sí mismos, es preciso tomar l as acciones necesarias para su cumplimiento. Keynotes ● La autogestión constituye la mejor opción para el artista que está comenzando su carrera o que no es capaz de financiar una carrera a tiempo completo. ● Bajo el esquema de una gestión limitada, la natural eza de las tareas delegadas al artist manager a tiempo parcial depende de su perfil profesional. ● La gestión total es la más idónea, aunque es la más costosa. ● Cualquiera de los tres tipos de gestión es preferible a la ausencia de la misma. Reto A través de vKonnect, contacta a cinco artistas. Explícales tres tipos de gestión disponibles y pregúntales cuál es el tipo de gestión más adecuado para sus carreras y cuál pueden costear. Comparte tu experiencia con tus amigos, familiares y contactos profesionales por medio de herramientas como vKonnect, vPage, entre otros. Tiempo disponible: 30 minutos. Conclusión Gracias a la evaluación certera y realista de sus posibilidades financieras y creativas, el artista está habilitado para tomar decisiones orientadas al correcto desarrollo de su carrera artística. Con denuedo, perseverancia, buen juicio y disciplina, implementarás cualquier alternativa de gestión con un resultado positivo, alcanzando los objetivos propuestos y, por lo tanto, experimentando el éxito. Resue lve tus desafíos: el líder en una agrupación musical El cumplimiento de los objetivos, tareas, metas y planes de la carrera de un artista es la responsabilidad principal de un líder. Sin embargo, identificarlo puede ser una tarea complicada, especialmente en la industria musical. Por este motivo, es preciso reconocer qué es lo que un líder hace y cómo lo hace, a fin de entender por qué lo hace. Con este conocimiento, ya seamos artistas o artist managers, resolveremos exitosamente cualquier desafío que impid a el éxito de nuestro proyecto, es decir, la carrera del artista. En una banda o agrupación musical, la figura del líder es responsable de mantener la unidad de la banda o conjunto musical. En el caso de los solistas, se encarga de cultivar y mantener una relación apropiada entre el artista y los músicos acompañantes; o entre el artista y su equipo primario. Si es necesario, se encarga de contratar las vacantes disponibles según las necesidades del proyecto musical. 185-03_0305_ilu01. Responsabilidades del líder de una agrupación musical En este contexto, la figura del líder no se refiere necesariamente al artista, al cantante principal o al artist manager. Es decir, el líder no corresponde a ninguno de estos tres roles por defecto. Por supuesto, lo ideal es que un artist manager compromet ido a tiempo completo tome la mayoría de dichas responsabilidades. El enfoque abordado señala que, sin importar el rol que lo ejerza, la figura del líder es necesaria. A continuación, listaremos algunas razones: ● Un esquema “democrático” es pocas veces efic az en el trabajo de un conjunto o agrupación musical. La declaración anterior se debe a la dificultad de alcanzar un común acuerdo, a la falta de responsabilidad a la hora de tomar las decisiones verdaderamente importantes o necesarias, la importancia exag erada que suelen recibir los detalles más triviales, lo cual genera irritación y malos sentimientos entre los integrantes de la agrupación. ● Sin llegar a un extremo “dictatorial”, el líder controla el voto y el veto, es decir, sirve como moderador, facilita dor y coordinador, invitando a los integrantes de la agrupación a mantener la unidad y, básicamente, mantenerse en movimiento. ● El líder es la persona responsable de que la agrupación se mantenga activa. Lo anterior se cumple mediante la planeación y fijaci ón de las metas de la banda, así como sus respectivos plazos; la calendarización y ejecución de ensayos; la selección de la música a interpretar; la promoción y publicidad de la agrupación; la contratación de intérpretes; la obtención de contactos y repres entantes en la industria musical; la recolección de fondos necesarios; el mantenimiento de los libros contables y los pagos respectivos; y el arbitraje necesario para resolver problemas personales y mantener un ambiente de armonía. ● Debido a que el líder pu ede prever y resolver los desafíos de índole personal, normalmente posee una personalidad fuerte, así como estabilidad emocional o capacidad de escuchar o tomar determinadas acciones en caso de ser necesario. 185-03_0305_ilu02. Razones que ameritan la pres encia de un líder en una agrupación musical En el caso de las bandas o agrupaciones musicales, donde el “artista” son varias personas, conviene asignar el rol de “representante” a uno de ellos, incluso habiendo contratado ya un artist manager. Dicho repr esentante será la voz del grupo en las circunstancias requeridas. 185-03_0305_ilu03. Elección de un representante de la agrupación musical ante el artist manager En la industria musical, los líderes eficaces han demostrado las siguientes cualidades: ● Cono cimiento de que forman parte de un equipo ● Mente abierta para las sugerencias ● Ausencia de un sentimiento de superioridad o mayor importancia en relación a los demás miembros del equipo ● Capacidad de crear y mantener un ambiente donde todos se sienten igualme nte importantes ● Capacidad de delegar 185-03_0305_ilu04. Cualidades de un líder eficaz Ahora, al enfrentar un problema, el líder procura: ● Definirlo con claridad. ● Colocarlo en palabras comprensibles para todos. ● Asegurarse que los miembros del equipo entienden exactamente cuál es el problema. ● Resolverlo de la mejor forma posible ● Asegurarse que la decisión tomada sea la mejor para el equipo, no únicamente para sí mismo 185-03_0305_ilu05. Procedimiento para enfrenta r un problema A modo de resumen, el líder es la persona que asegura el cumplimiento de todos los objetivos, metas y planes de carrera del artista. Obviamente, no se espera que ejecute todas las tareas, sino solo asegurar su cumplimiento. Muchas de las re sponsabilidades expuestas anteriormente corresponden, sin duda alguna, al artist manager. Sin embargo, el enfoque es la figura del líder, independientemente del rol que lo asuma. Keynotes ● El líder es responsable de mantener la unidad de la banda o conjunto musical. ● Sin importar el rol que lo ejerza, la figura del líder es necesaria ● En el caso de las bandas o agrupaciones musicales, donde el “artista” son varias personas, conviene asignar el rol de “representante” a uno de ellos, incluso habiendo contratado un artist manager Misión Piensa en algunas bandas o artistas que conozcas personalmente. Identifica a la persona que, desde tu perspectiva, ejerza el rol de líder; en caso de ser más de una persona, es válido. Luego, lleva a cabo las siguientes acciones: ● Medita en las razones por las cuales, para ti, dicha persona es el líder de la agrupación o equipo primario. ● Redacta tu lista de razones para justificar tu elección. ● Compara tus observaciones con las bandas o artistas que hayas considerado. ● Juntos, evalúen la asertividad de tus observaciones; en caso de que no hayan sido muy exactas, recoge los argumentos y redáctalos junto a tu lista original. ● Estudia ambas listas y analiza la congruencia de las observaciones recibidas. ● Finalmente, expón tus conclusiones acerca de tu experiencia, y compártelas con tus contactos académicos y profesionales. En caso de que no conozcas personalmente ninguna banda o artista, comienza a trabajar en tu networking . A través de vKonnect y vKontact , encontrarás una gran cantidad de artistas a quienes puedes contactar para entablar una amistad o posibles colaboraciones. Tiempo disponible: 3 horas. Conclusión Cuando identificamos al líder, aprendemos una de dos cosas o ambas: a quién seguir o cómo dirigir a nuestro equipo. Independientemente del rol, la aplicación de los principios de un liderazgo efectivo trae el éxito en la gestión de una carrera musical. Con tiempo, disciplina y práctica, el criterio aportará la visión necesaria para resolver desafí os y obtener éxito en nuestras funciones. Encuentra el equipo perfecto: consideraciones para la contratación de músicos Sea que se trate de un artista en solitario o de una agrupación musical, la contratación de músicos forma parte de las labores habitual es de un artist manager. A fin de evitar las complicaciones relacionadas con dicha labor y asegurar un equipo perfecto, abordaremos las consideraciones que el artist manager toma en cuenta durante el ejercicio de dicha labor. La contratación de un músico t iene varios fines, entre disponer de músicos acompañantes para un artista solista o conseguir el integrante faltante de alguna banda o agrupación musical numerosa. Sin importar el caso, lo primero que el artist manager considera es la cantidad de músicos c ompetentes que conoce. En caso de no tener ningún contacto disponible, las siguientes acciones pueden ayudar: ● Correr la voz en la calle y entre amigos y familiares. ● Publicar anuncios en periódicos. ● Publicar anuncios a través de Internet, tanto en páginas w eb como redes sociales. ● Visitar escuelas de música y repartir volantes con las vacantes disponibles. ● Revisar estudios de grabación para conocer músicos de sesión. ● Revisar clubes y otros establecimientos donde comúnmente se presentan músicos. ● Revisar si exi ste algún servicio de referencias o colocación laboral para músicos en la localidad. 185-03_0306_ilu01. Acciones para encontrar nuevos músicos Conforme la búsqueda de músicos vaya rindiendo frutos, el artist manager analiza la especialidad de los mismos, a fin de examinar la afinidad de los estilos o géneros musicales interpretados. A fin de cuentas, los músicos tocarán el tipo de música que el a rtista hace y que gusta a su audiencia. Además, el artist manager analiza el nivel de afinidad del músico con los demás miembros del equipo; después de todo, los miembros de la agrupación o el equipo primario del artista: ● Pasan tiempo juntos en todo tipo d e situaciones. ● Se sienten contentos consigo mismos, ya sea que estén pasando tiempos haciendo música o resolviendo disputas, y ● Son conscientes de que dependen el uno del otro. Otro factor relevante es la actitud del postulante. Para obtener una perspectiva en este punto, el artist manager efectúa preguntas cuya finalidad sea indagar en los sentimientos e impresiones del postulante hacia sus labores como músico y la industria mus ical en general. Las siguientes preguntas pueden ser de utilidad: ● ¿Posee usted algún desafío para el trabajo en equipo? ● ¿Aceptaría usted el liderazgo de alguien más? ● En su opinión, ¿cuáles son sus principales atributos como un músico profesional? ● ¿Cuáles s on sus metas musicales en este momento? ● ¿Es usted capaz de ejecutar una serie de tareas, paso por paso, para alcanzar un objetivo determinado? ● ¿Posee el equipamiento adecuado para ejercer sus funciones sin problemas? ● ¿Posee usted los medios o facilidad de transporte necesarios? ● ¿Cuál es su experiencia en el género o estilo del artista o banda a la cual se postula? 185-03_0306_ilu02. Detalles a considerar en una entrevista o conversación En su entrevista o conversación, el artist manager presta especial at ención a dos temas específicos: adicción a las drogas y la pereza, es decir, la falta de disposición de practicar o ensayar tanto como sea requerido. 185-03_0306_ilu03. Detalles delicados a considerar en una entrevista o conversación En ocasiones, es pos ible que un miembro de la agrupación o del equipo sugiera a un amigo o conocido para alguna vacante musical. En estos momentos, el artist manager recuerda al referente que, aunque el referido sea un amigo muy cercano, su objetivo es enfocarse en el negocio y las necesidades del grupo, por lo tanto, ese será el criterio definitivo a la hora de tomar una posible decisión. Para finalizar, expondremos algunos criterios que pueden orientar al artist manager en su búsqueda del equipo musical correcto: ● El músico e s perfectamente capaz de tocar con el grupo de manera competente. ● El músico no solo es capaz de tocar bien un instrumento; es capaz de interpretar una emoción o sentimiento específico. ● Es capaz de transmitir una apreciación favorable tanto al artist manage r como al artista. ● El músico posee un estilo particular y congruente con el estilo o visión del artista. 185-03_0306_ilu04. Criterios para seleccionar el equipo musical correcto Esperamos que las recomendaciones y criterios anteriormente expuestos brinden guía al artist manager en sus esfuerzos por reclutar al equipo perfecto. Keynotes ● La contratación de un músico tiene varios fines, entre ellos la contratación de un músico acompa ñante para un artista solista o la contratación del integrante faltante de alguna banda o agrupación musical numerosa. ● El artist manager analiza el nivel de afinidad que el músico tendrá con los demás miembros del equipo. ● Para conocer la actitud del postul ante, el artist manager efectúa preguntas cuya finalidad sea indagar en los sentimientos e impresiones del postulante hacia sus labores como músico y la industria musical en general. ● En su entrevista o conversación, el artist manager presta especial atenci ón a dos temas específicos: adicción a las drogas y la pereza. Misión A través de vKonnect, contacta a, al menos, una agrupación musical o artista que necesite de la colaboración de un músico para un álbum, EP o una canción solamente. Ofrécete para buscar un músico que llene la vacante. A fin de hacerlo, contacta a un mínimo de diez postulantes y realiza las preguntas presentes en el contenido didáctico. Al finalizar las entrevistas de los diez postulantes, elabora una lista numerada donde el primer postulante sea el mejor perfil y el último el menos idóneo. Comparte tu lista con el artista o banda contactado originalmente. Comparte los resultados de tu búsqueda y la retroalimentación del artista o banda original en tu vPage y en tus redes sociales. Tiempo disponible: 3 horas. Conclusión Una contratación exitosa augura resulta dos exitosos; por esto se requiere una acción efectiva por parte del artist manager. Mientras adquiera práctica, criterio y experiencia, su capacidad de brindar resultados satisfactorios aumentará en rapidez y eficacia. Aumenta tu éxito: consideraciones para una correcta selección de canciones El artista es lo que interpreta. Con base en esta afirmación, la selección de las canciones, ya sea para la grabación de un álbum o para el setlist de un concierto, tiene una influencia directa con el mensaje comuni cado a la audiencia y, por lo tanto, en el éxito del artista. Según autores como David J. Spangenberg, existen cuatro factores influyentes en la selección de una lista de canciones para un artista, los cuales son: ● Género musical y estilo musical, tales com o Rock , Pop, R&B, Blues , Country , Jazz, Hip Hop , entre otros. ● La cantidad de integrantes, es decir, si es un solista o una banda con varios miembros. ● El material trabajado, ya sean covers o canciones originales. ● La antigüedad de las canciones trabajadas. 185-03_0307_ilu01. Factores influyentes en la selección de canciones Sin embargo, sin importar los factores anteriores, los criterios definitivos que las canciones de una selección exitosa reúnen son los siguientes: ● Son memorables, es decir, causar un im pacto emocional significativo. ● Transmiten eficazmente la imagen del artista, es decir, lo que el artista interpreta, la forma en que interpreta música, la manera en que se dirige a su audiencia y cómo comporta en público y en privado. ● El artista se siente bien al interpretarlas. ● La audiencia debe sentirse identificada con ellas. ● Deben causar que posibles empleadores o personalidades influyentes en la industria deseen trabajar con el artista. 185-03_0307_ilu02. Criterios definitivos para la selección de canc iones En ocasiones, es necesario efectuar algunos ajustes para que una canción funcione. Por ejemplo, una canción puede ser arreglada a fin de corresponder con un determinado estilo o género musical. También, se puede solicitar la ayuda de un compositor a fin de escribir una canción con requerimientos específicos o adquirir la licencia de una canción existente. Si los objetivos no están siendo cumplidos, es posible que la selección de canciones no sea la más idónea, lo cual puede reflejarse en la respuest a de la audiencia. En este caso, conviene intentar un cambio de dirección o replantear la estrategia por completo haciendo los cambios que se sientan adecuados. 185-03_0307_ilu03. Alternativas ante el incumplimiento de objetivos La flexibilidad es un ele mento importantísimo para sortear cualquier eventualidad o suceso inesperado o indeseado. Además, es posible que la música favorita del artista no represente lo que él “realmente es”, hablando de su imagen e identidad como artista. Otro factor importante e s la localidad o región donde se comercializará el artista o la canción; existen lugares más afines a un género musical específico que otros. Por ejemplo, el Death Metal posiblemente no sea el género musical preferido en ambientes o regiones de gustos más conservadores, representados en géneros como el Country o el Blues. Las compañías discográficas necesitan grabar material y los artistas pueden proporcionarlo. Por eso, cuando la selección de canciones procura brindar el material que dichas compañías están buscando, sus probabilidades de éxito se incrementan. En relación a este punto, resulta útil solicitar y escuchar los consejos de los profesionales que consideramos influyentes o de buen criterio en la industria, incluyendo artist managers, artistas, prom otores, productores musicales, publishers , ejecutivos de empresas musicales, entre otros. Por supuesto, es preciso tomar los consejos como tal, y no considerarlos mandamientos irrompibles, cuya observancia literal debe ser acatada sin dilación. Keynotes ● Las canciones seleccionadas para un concierto o la grabación de un álbum deben transmitir la imagen del artista. ● Las canciones seleccionadas para un concierto o la grabación de un álbum deben causar que posibles empleadores o personalidades influyentes en la industria deseen trabajar con el artista. ● Es posible que la música favorita del artista no represente lo que él “realmente es”, hablando de su imagen e identidad como artista. Reto Ingresa a una vBox o Soundcloud y escucha cinco canciones del mismo artista. Según tu apreciación de dichas canciones, redacta un ensayo breve donde expongas tu interpretación de la imagen del artista. Comparte tus impresiones con dicho artista u otras per sonas. Tiempo disponible: 30 minutos. Conclusión La selección de canciones puede determinar el éxito o el fracaso de un artista. Por esta razón, los criterios utilizados en su selección procuran el máximo aprovechamiento posible. Con la práctica, es posibl e afilar dichos criterios a fin de seleccionar canciones con rapidez. Expón tu mejor faceta artística: canciones originales versus covers En un momento específico de su carrera, un artista se encuentra en uno de tres escenarios posibles: interpretando canciones originales, combinando los covers con las canciones originales o interpretando exclusivamente covers. Sin importar cuál sea el caso, es preciso sacar el máximo provecho a cada etapa según los objetivos de carrera del artista y exponer su mejor faceta; para lograrlo, estudiaremos algunas consideraciones especialmente relevantes. Canciones originales Bajo este esquema de trabajo, el arti sta persigue la interpretación exclusiva de material original, el cual necesariamente debe contar con un elevado potencial de éxito tanto a nivel de grabación como de interpretación. El primer reto de este escenario es, precisamente, encontrar material con el potencial necesario. ¿Qué significa tener el potencial necesario? Significa la capacidad de una canción de venderse o mercadearse por sí misma, sin importar el género o dirección que tome. En ocasiones, el artista experimenta desafíos si se enfoca en l as canciones que él mismo ha compuesto. En este contexto, la definición de “canción original” incluye canciones de compositores ajenos a la agrupación y que no han sido grabadas anteriormente. Otra opción es la co -escritura de una canción; lo importante es encontrar el material que reúna los requisitos planteados. 185-03_0308_ilu01. Opciones para encontrar canciones originales Una excelente canción puede provenir prácticamente de cualquier fuente. Buscar en los lugares adecuados contribuye a encontrar las opciones adecuadas o a tener las ideas correctas. La audición de un amplio espectro de material sonoro, incluyendo una numerosa cantidad de estilos y géneros musicales, también son pasos necesarios para encontrar las canciones perfectas. Como en todas las áreas relacionadas con la industria musical, el networking cumple un rol importantísimo. La industria posee una gran cantidad de compositores quienes desean encontrar artistas dispuestos a interpretar su música. Dicho de otra forma, si existen compositore s deseosos de encontrar artistas que interpreten su música y existen artistas en búsqueda de buenas canciones, las posibilidades de obtener un resultado favorable para ambas partes son prácticamente seguras, si ambas partes llegan a conocerse entre sí. 185-03_0308_ilu02. Meta en común de compositores y artistas Canciones originales y covers La mezcla de canciones originales y covers incluye numerosos y variados formatos. Por ejemplo, existen bandas que interpretan música original bajo un nombre y covers c on otro distinto o que interpretan canciones originales con un ensamble pequeño, un dúo o trío, y covers con una agrupación más grande o que interpretan canciones originales en un formato eléctrico y covers en uno acústico. Como se puede apreciar, la estra tegia en este caso es la diferenciación de formatos que aprovechen la notoriedad de los covers para introducir a la audiencia en el material original de la agrupación. El mezclar canciones originales con covers puede ser una estrategia eficaz; después de t odo, el artista necesita pagar sus cuentas mientras da a conocer su propia música. En este aspecto, un factor decisivo es la capacidad del artista de generar dinero; para los restaurantes, bares u otros establecimientos que contratan músicos en vivo es lo más importante, por encima de la música que el artista toque o su estilo de interpretación. A fin de levantar una audiencia fiel al material original, el artista o artist manager pueden: ● Incluir canciones originales interpretadas en un estilo o género musi cal acorde con las preferencias de la audiencia de un sitio en específico. ● Crear una lista de correos electrónicos, con la finalidad de compartir información relacionada con futuras presentaciones o compartir avances de material en el que se esté trabajando. ● Construir una lista de amigos en Internet usando las redes sociales. ● Com partir la información personal del artista, incluyendo correo electrónico, página web y redes sociales, con la finalidad de compartir información de futuras presentaciones, mercadería, o cualquier proyecto relacionado con el artista. 185-03_0308_ilu03. Est rategias para fidelizar una audiencia a un material original Covers Si el artista se dedica exclusivamente a realizar covers, gran parte de su impacto radica en el estilo que imprima a su interpretación, incluyendo su imagen. Cada cover interpretado debe poseer un equilibrio entre la notoriedad de la canción original, para que las personas la reconozcan, y el estilo particular del artista, para apreciar su identidad y mensaje independiente. Aún así, existen establecimientos que insisten en interpretar cov ers exactamente igual a la canción original, a fin de brindar a las personas las canciones del momento en un formato conocido. 185-03_0308_ilu04. Características ideales de un cover Keynotes ● Una canción con potencial tiene la capacidad de venderse o merc adearse por sí misma, sin importar el género o dirección que tome. ● Buscar canciones en los lugares adecuados contribuye a encontrar las opciones adecuadas o a tener las ideas correctas. ● Si el artista se dedica exclusivamente a realizar covers, gran parte d e su impacto radica en el estilo que imprima a su interpretación, incluyendo su imagen. Reto A través de vKonnect, contacta a un artista o banda que interprete canciones originales y covers o exclusivamente covers. Indaga la forma en que dicho artista obtiene financiamiento, incluyendo sus estrategias para introducir su público a las canciones ori ginales o su estilo particular de interpretar los covers. Redacta un ensayo explicando la estrategia del artista contactado y su apreciación sobre el éxito de la misma. Realiza dos o tres sugerencias para expandir su carrera artística. Tiempo disponible: 3 0 minutos. Conclusión Cuando el artista tiene objetivos claros, está preparado para implementar la estrategia que mejor le permita cumplirlos, ya sea interpretando covers, canciones originales o una combinación de ambos. Encuentra a tu artist manager: pasos para obtener una audición o entrevista Para un artista, encontrar el artist manager adecuado puede ser una tarea ardua. Sin embargo, con el procedimiento adecuado y la persistencia y preparación necesarias, la búsqueda puede resultar fructífera, concretando así exitosamente una entrevista o audición. El procedimiento infalible para encontrar un artist manager no existe. Sin embargo, existen pasos o acciones a tomar que han demostrado ser exitosas, las cuales podemos resu mir de la siguiente forma: Tener cuidado El artista debe tener cuidado con los ofrecimientos que un artist manager puede hacer. Un artist manager nunca ofrece firmar un contrato a un total extraño en primera instancia; esperan conocer más al artista, y que el artista les conozca mejor. Aunque el mercado está lleno de artist managers honestos y capaces, también existen personas enfocadas en trabajar apresuradamente, prometiendo improbables contratos y giras en un primer contacto. Es preciso tener cuidado de las decisiones impulsivas en algo tan serio como la gestión de una carrera artística. Una excelente forma de identificar un posible artist manager deshonesto o, en el mejor de los casos, incompetente, es preguntar cómo llevará a cabo las promesas realizada s, o qué acciones concretas planea llevar a cabo para gestionar su carrera. Una respuesta profesional sería “no puedo garantizar nada en este momento, pero por lo que he visto y escuchado, creo que tienes potencial y me gustaría explorar las posibilidades de trabajar juntos”. 185-03_0309_ilu01. Precaución ante un posible artist manager incompetente Dar los primeros pasos Antes de conocer a un artist manager, el artista identifica claramente sus necesidades; de esta forma, se prepara para un futuro encuent ro con un artist manager. A continuación, encontraremos algunas preguntas útiles: ● ¿A dónde quiero llegar con mi carrera artística? ● ¿Debo enfocarme más en grabaciones? ● ¿Debo enfocarme más en presentaciones en vivo? ● ¿Debo dedicar más tiempo a componer canciones? ● ¿Debo atender todo a la vez? Las respuestas a dichas preguntas arrojarán luz sobre las necesidades de contratación del artista, pues cada una apunta a un rol en específico, tales como un productor, un agente d e booking , un publisher o un artist manager. 185-03_0309_ilu02. Preparación para un primer encuentro con un artist manager Estar listo En la mayoría de los casos, los profesionales de la industria conceden una única oportunidad para una audición. Si el a rtista no se encuentra listo, no solo habrá perdido la oportunidad, sino que estaría cerrando más puertas de las que podría abrir. La clave del éxito se trata de estar listo, e incluso, de saber cuándo no es el caso, a fin de no desperdiciar oportunidades. 185-03_0309_ilu03. Preparación para una audición Obtener información Encontrar un artist manager implica conocer el medio. Es preciso recaudar toda la información posible sobre los profesionales de la industria del entretenimiento, incluyendo ejecutivos de compañías discográficas, agente de booking agents , publishers , aboga dos y business managers , quienes poseen los contactos que necesitamos. Otros recursos pueden ser organizaciones como la Conference of Personal Managers, la cual provee información de sus miembros así como instrucciones para su contacto. Por supuesto, dicha s listas y bases de datos no contienen el contacto de todos los profesionales de la industria; muchos de ellos, especialmente los más ocupados, optan por no dar a conocer su información personal a través de este tipo de plataformas. 185-03_0309_ilu04. Obte nción de información acerca de la industria musical Por otro lado, los nombres presentes en dichas listas no deben considerarse, en todos los casos, como profesionales competentes y capaces; el artista no debe asumir que son las mejores opciones, o inclu so, que son las únicas disponibles. keynotes ● Un artist manager nunca ofrece firmar un contrato a un total extraño en primera instancia; esperan conocer más al artista, y que el artista les conozca mejor. ● La clave del éxito se trata de estar listo, e inclus o, de saber cuándo no es el caso. ● los nombres presentes en dichas listas de contactos no deben considerarse, en todos los casos, como profesionales competentes y capaces; el artista no debe asumir que son las mejores opciones, o incluso, que son las únicas disponibles Reto Contacta a un artista que haya ejecutado los pasos indicados en el contenido didáctico. Pídele que relate su experiencia y compártela a través de vKonnect y otros medios sociales. Tiempo disponible: 30 minutos. Conclusión La ejecución de los pasos indicados aumenta las posibilidades del artista de obtener una audición o entrevista. Al ejecutarlos con conciencia, enfoque y preparación, estará cimentando el inicio de una carrera fructífera. Encuentra a tu artist manager: actitud y desenvolvimiento correctos en una entrevista o audición La obtención de una reunión o entrevista no es el fin del camino. Desenvolverse en una reunión de manera impecable, brindar una excelente primera impresión e i ntentarlo de nuevo según sea necesario son acciones básicas para asegurar el éxito de un artista en encontrar al artist manager que necesita. A continuación, se brindarán recomendaciones vitales a fin de construir una imagen artística y profesional impecab le. Su observación aumenta las probabilidades de éxito en las gestiones del artista por dar el siguiente paso en el desarrollo de su carrera. Conseguir una reunión Los artist manager más destacados suelen estar rodeados de un grupo de asistentes cuya funci ón es mantener un muro entre sí mismos y los artistas deseosos de cazar unos minutos de su tiempo. Como artistas, es preciso evitar el desánimo; al contrario, debemos enfocarnos en capturar la atención del núcleo cercano al artist manager, o incluso, la de otros profesionales que hayan trabajado con él y cuyo criterio respete. Existen abogados que ofrecen el servicio de escuchar a artistas novatos a modo de pre - audición. En caso de despertar una respuesta favorable, dichos abogados hablarán con los artist manager que conocen a fin de dar su recomendación. Esta opción debe tomarse con mucho cuidado dado que, aunque existen profesionales que viven bajo un código de ética y llevan a cabo estos servicios correctamente, existen otros que pueden valerse de esta op ortunidad para fines poco fiables. Otra opción puede ser escribir o contactar directamente al artist manager, aunque no es la opción más exitosa. 185-03_0310_ilu01. Opciones para obtener una reunión con un artist manager Brindar una buena impresión Mientras más activo sea el artista, más oportunidades tendrá de captar la atención de las personas que abrirán las puertas necesarias para su carrera. Dejar una buena impresión significa causar curiosidad acerca de uno mismo, lo cual implica preparación, o rganización y enfoque al negocio. A continuación, listaremos algunas recomendaciones para transmitir una excelente primera impresión: ● Entregar una carta de presentación que incluya referidos relevantes, una breve reseña del artista y las actividades que ha desempeñado en el medio, una fotografía del artista, una breve declaración de metas y necesidades de gestión y un poco del material del artista. ● Mantener una actitud profesional, la cual se demuestra en el enfoque en el negocio, un entendimiento básico so bre la importancia de la organización y una gestión adecuada, así como expectativas adecuadas sobre lo que un artist manager puede o no puede hacer. 185-03_0310_ilu02. Recomendaciones para transmitir una excelente primera impresión Intentar una y otra ve z Nada sucede mientras las cosas no pasen. Si la entrevista con el artist manager fue insatisfactoria, es preciso continuar la búsqueda. Incluso, cuando el artista tiene talento y ha dejado una buena impresión pero no ha conseguido un acuerdo con el artist manager, debe pedir referencias de otros artist managers o personas influyentes en la industria. Además, si un artist manager demuestra interés pero no puede tomar a un artista en un determinado momento, podría hacerlo más adelante. En un entorno tan camb iante como la industria musical, es preciso mantener las puertas abiertas tanto como sea posible. 185-03_0310_ilu03. Acciones para mantener la búsqueda de artist manager Keynotes ● Los artist manager más destacados suelen estar rodeados de un grupo de asistentes cuya función es mantener un muro entre sí mismos y los artistas deseosos de cazar unos minutos de su tiempo. ● Existen abogados que ofrecen el servicio de escuchar a artistas novatos a modo de pre-audición. ● Mientras más activo sea el artista, más opor tunidades tendrá de captar la atención de las personas que abrirán las puertas necesarias para su carrera. ● Cuando el artista tiene talento y ha dejado una buena impresión pero no ha conseguido un acuerdo con el artist manager, debe pedir referencias de otr os artist managers o personas influyentes en la industria. Misión Obtén una reunión con un artist manager y aplica los principios abordados en el contenido didáctico. Redacta un ensayo explicando tu experiencia; recuerda identificar las áreas de mejora y proponer sus respectivos planes de mejoramiento. Comparte tu ensayo a través de vKonnect y otros medios sociales. Tiempo disponible: 3 horas, sin contar el networking. Conclusión A medida que el artista se prepare, sea profesional y permanezca en la búsqueda de oportunidades, esta eventualmente terminará llegando. Con paciencia, constancia, esfuerzo y disciplina, el artista se enfoca en su cometido de estar listo para cuando la oca sión lo requiera. Sección 4: Las bases de una relación exitosa entre artista y artist manager Cimenta una relación exitosa: reunión exploratoria entre artista y artist manager Las bases de la relación entre el artista y el artist manager se cimentan desde el primer momento. Sin embargo, es posible no saber exactamente cómo hacerlo. A fin de tomar la decisión correcta en cuanto al artist manager que acompañará al artista en su ca rrera, es preciso realizar una primera reunión exploratoria y obtener la información necesaria para tomar una decisión. La reunión exploratoria es un momento donde el artista y el artist manager, en calidad de prospectos, buscan conocerse mejor y obtener d el otro la información necesaria para considerar una posible colaboración. A fin de sacar el máximo provecho de dicha reunión, se espera que ambos roles vayan preparados con preguntas, metas, información a obtener, entre otros. La firma de un contrato o la estipulación de detalles contractuales relacionados con la carrera del artista no forma parte de la agenda de una reunión exploratoria. 185-03_0401_ilu01. Reunión exploratoria entre artista y artist manager A continuación, evaluaremos algunos el ementos claves que el artista considera a modo de preparación para la reunión exploratoria: Preparación de preguntas Antes de la reunión, el artista prepara las preguntas que hará al artist manager. Las respuestas pueden guiar la reunión y proporcionar al artista la visión necesaria para dirigir sus acciones. Autores como Xavier Frascogna proponen las siguientes preguntas: ● ¿Cuán envuelto o comprometido me siento con este manager? ● ¿Cuál la experiencia de este manager? ¿Con qué artistas ha trabajado? ● ¿Qué quiero exactamente que haga por mi carrera? ● ¿Es el manager correcto para mi carrera y para mí? ● ¿Tendrá suficiente tiempo para dedicar a mi carrera? ● ¿Tomará toda la responsabilidad por mi carrera o compartirá asignaciones con otras personas? 185-03_0401_ilu02. Evaluación del artist manager realizada por el artista Definición de los motivos del establecimiento de una relación Profundizando en la primera pregunta de la lista anterior, es preciso identificar con claridad los motivos por los cua les el artista decidiría entablar una relación con un artist manager en específico. 185-03_0401_ilu03. Evaluación de los motivos para contratar a un artist manager en específico Un posible motivo puede ser una relación de amistad o cercanía afectiva, el cual puede considerarse un plus; sin embargo, no se considera un motivo determinante o indispensable. Los postulantes a artist manager que sean amigos o conocidos del artista deben recibir el mismo trato que el resto de los postulantes. Por supuesto, es im portante que el artista se sienta cómodo con el artist manager que dirija su carrera y que exista entre ambos una relación de cordialidad profesional. Una excelente forma de cimentar la confianza es analizar si el artist manager es una referencia o recomen dación de algún otro profesional en la industria. En caso de que lo sea y el artista confíe en el criterio de esa persona, con seguridad se sentirá más confiado en torno al artist manager referido. Experiencia del artist manager El artista se prepara para indagar acerca de la experiencia del artist manager, tanto directamente en la reunión exploratoria, como de manera indirecta a través de otros profesionales de la industria. Existen algunas formas específicas de lograr este cometido: ● El grado o nivel acadé mico de un artist manager puede ser un reflejo de su experiencia y capacidad. Por supuesto, la industria musical no requiere grados o títulos para ser exitoso cuando se tiene el talento y se trabaja arduamente. Sin embargo, un grado académico o un título u niversitario puede ser un plus de importancia en un artist manager. Por ejemplo, un artist manager con un título en Contaduría, Derecho o Administración de Empresas es capaz de ofrecer al artista un valioso soporte en los aspectos contables, legales o de n egocios en su carrera. Por otro lado, el contar con un título en Psicología puede evidenciar facilidad, talento, experiencia o conocimientos para solucionar problemas relacionados con el factor humano de la carrera del artista. ● El factor más importante par a considerar la experiencia de un artista es su reputación. Puede ser determinada al indagar entre otros profesionales de la industria acerca de la carrera y comportamiento del artist manager en particular. Las preguntas deben estar orientadas hacia elemen tos como las habilidades del artist manager, el respeto que goza en la industria y que profesa hacia otros profesionales, la integridad que posee y la honestidad de sus tratos, entre otros. ● Una consideración final sería la afiliación del postulante a algun a organización o gremio de artist managers, lo cual pueda evidenciar sus posibles conexiones en la industria. 185-03_0401_ilu04. Indicadores de experiencia del artist manager Keynotes ● A fin de sacar el máximo provecho de la reunión exploratoria, se esper a que el artista y el artist manager vayan preparados con preguntas. ● Las respuestas a las preguntas del artista pueden guiar la reunión exploratoria y proporcionarle la visión necesaria para dirigir sus acciones. ● Una excelente forma de cimentar la confianz a es analizar si el artist manager es una referencia o recomendación de algún otro profesional en la industria. ● Un artist manager con un título en Contaduría, Derecho o Administración de Empresas es capaz de ofrecer al artista un valioso soporte en los aspectos contables, legales o de negocios en su carrera. Misión A través de vKonnect, contacta a un artist manager o a un profesional de la industria que haya efectuado o desee efectuar labores de artist manager. Reúnete con él y efectúa un breve simulacro de reunión exploratoria basándote en los factores estudiados en el contenido didáctico. Al finalizar, responde la s siguientes preguntas: ● ¿Trabajarías con él? ¿Por qué? ● ¿Cuáles fueron los aspectos que te hicieron sentir comodidad o incomodidad? Redacta un ensayo compartiendo tu experiencia y evalúa tu desempeño en la reunión exploratoria. Identifica tus áreas de mejor a y elabora planes de mejoramiento para cada una de ellas. Tiempo disponible: 3 horas, sin contar el networking. Conclusión Cuando la relación entre el artista y el artist manager presenta cimientos fuertes, las probabilidades de éxito para ambos aumentan. La reunión exploratoria brinda la oportunidad de comenzar con el pie de derecho. La práctica, disciplina, experiencia y con stancia serán los elementos necesarios para sacar a dicha reunión el máximo provecho posible. Prepárate para tu reunión exploratoria: objetivos de carrera y compatibilidad con el artist manager Las reuniones exploratorias permiten al artista conocer al p rospecto de artist manager cuya postulación está considerando. A fin de sacar el máximo provecho a dicha reunión y obtener la colaboración del mejor artist manager, el artista aborda los temas necesarios que le permitirán dilucidar si dicho postulante es e l indicado para dirigir su carrera. A continuación, analizaremos dos puntos importantes a tratar durante la reunión exploratoria entre artista y artist manager: Claridad de los objetivos de carrera del artista A menos que el artista vaya a la reunión explo ratoria con sus objetivos de carrera bien definidos, será difícil ubicar la utilidad específica del artist manager, corriendo el riesgo de desarrollar una reunión carente de objetivos y propósitos claros. En caso de contratar a un artist manager en estas c ircunstancias, la relación podría desembocar en diferencias filosóficas y de criterio; a la larga, esto podría traducirse en tiempo perdido u otro tipo de problemas. 185-03_0402_ilu01. Relación entre la carencia de objetivos y la pérdida de tiempo Según Frascogna y Hetherington, si las metas de carrera son claras, las solicitudes para el artist manager también lo serán. Incluso, la idea es precisamente que, al poner al tanto al artist manager de las metas de carrera del artista, ambos puedan discutir idea s para alcanzarlas. En estos momentos, el artista no debe alarmarse en caso de que surjan desacuerdos; podría reflejar que el artist manager está realmente interesado en cubrir todos los espacios de error que puedan existir. Además, puede ampliar la perspe ctiva del artista al traer a colación temas, formas, vías y opciones que no hayan sido consideradas previamente. Después de todo, esta actitud también puede ser un reflejo del interés del artist manager en la carrera del artista, y esta es una buena señal de profesionalismo. 185-03_0402_ilu02. Interés del artist manager en la carrera del artista Es probable que, tras un largo escrutinio, algunas de las metas del artista, o la totalidad de ellas, cambien dependiendo de las nuevas variables estudiadas. Si es el caso, dicho escenario representa un excelente ejercicio para evaluar el interés, compromi so, experiencia, conocimiento y criterio de un artist manager. Idoneidad del artist manager según los objetivos de carrera del artista Una de las preguntas más importantes que todo artista debe hacerse en relación al artist manager es: “¿cómo sé que este m anager es conveniente para mi carrera y para mí”? Al pensar en la respuesta a dicha pregunta, tengamos en cuenta que los desacuerdos no necesariamente son negativos. Es probable que el artista tenga ideas preconcebidas acerca del rol de un artist manager, o de la forma en que mejorará o trabajará su carrera. La pregunta anteriormente formulada permite meditar en las ideas preconcebidas y exponerlas a la luz de la información recabada durante la reunión exploratoria. 185-03_0402_ilu03. Relación entre las ide as preconcebidas del artista y una nueva perspectiva de trabajo La nueva perspectiva adquirida por el artista podría ser un reflejo positivo de la idoneidad de un postulante a artist manager en concreto. Incluso, el artista debe evitar el temor de un cam bio de objetivos; es probable que la conversación con el artist manager arroje luz sobre las verdaderas necesidades del artista, sea un abogado, contador u otro profesional que no se haya contemplado anteriormente. Como artistas, recordemos que las reunion es de exploración son momentos evaluación mutua; el artist manager examina nuestros objetivos minuciosamente y puede señalar muchas áreas de mejoría, pero nosotros también estamos evaluando su capacidad de análisis y de cubrir los detalles necesarios para alcanzar el éxito del artista. A su vez, constituye una protección dado que, si existirá algún problema relevante con el artist manager, es mejor saberlo antes de que exista un contrato. Keynotes ● Si las metas de carrera son claras, las solicitudes para el artist manager también lo serán. ● Durante la reunión exploratoria, el artista no debe alarmarse en caso de que surjan desacuerdos; podría reflejar que el artist manager está realmente interesado en cubrir todos los espacios erráticos que puedan existir. ● Es probable que la conversación con el artist manager durante la reunión exploratoria, arroje luz sobre las verdaderas necesidades del artista. Misión A través de vKonnect, contacta a un artist manager o a un profesional de la industria que haya efectuado o desee efectuar labores de artist manager. Reúnete con él y realiza un breve simulacro de reunión exploratoria basándote en los factores estudiados en el contenido didáctico. Al finalizar, responde las siguientes preguntas: ● ¿Cuáles fueron los hipotéticos ob jetivos de carrera que, como artista, definiste antes de la reunión? ● ¿Tus objetivos sufrieron cambios tras la reunión con el artista manager? En caso de ser afirmativo, ¿por qué? Redacta un ensayo compartiendo tu experiencia y evalúa tu desempeño en la reu nión exploratoria. Identifica tus áreas de mejora y elabora planes de mejoramiento para cada una de ellas. Tiempo disponible: 3 horas, sin contar el networking. Conclusión La correcta preparación de un artista en relación a su reunión exploratoria con un p ostulante a artist manager es un factor crucial en la selección del mismo. La fijación de metas específicas y la apertura de pensamiento permiten buscar las mejores soluciones, optimizando tiempo y esfuerzo, cimentando así una relación profesional sólida y eficaz. Selecciona al artist manager correcto: conflictos de interés, compensación e interés del artist manager Durante una reunión exploratoria, el artista debe prepararse para un pensamiento bipartito, es decir, pensar en dos cosas a la vez: la información que brinda al artist manager y su propia evaluación del interlocutor. Dicha acción puede abrumar al artista a menos que tenga un enfoque de cómo evaluar correctamente al artist manager. Aprenderemos a abordar la compensación del artist manager, los conflictos de interés y el propio interés del artist manager con el artista, a fin de determinar su idoneidad para d irigir la carrera del mismo. Las reuniones de exploración permiten abordar numerosos escenarios con la confianza de que, al no haber un contrato firmado, no existen compromisos asumidos. A continuación, estudiaremos dos puntos abordados durante dichas reun iones: Compensación del artist manager Naturalmente, uno de los puntos claves es la remuneración del artist manager. En este apartado, podemos guiarnos por las siguientes consideraciones: ● Las tarifas, formas y frecuencia de pago son tan variadas como la in dustria musical. ● La forma de pago promedio es pagar un porcentaje de las ganancias netas del artista, ubicado entre el 15 y el 20 por ciento. En algunos casos y debido a circunstancias particulares como la reputación del artist manager o la falta de trayec toria del artista, dicho porcentaje puede ubicarse por encima del 20 por ciento. ● Otra modalidad consiste en un porcentaje basado en un rango y dependiente de los ingresos brutos. Dependiendo del poder de negociación de las partes, dicho rango puede tener u na determinada amplitud. ● Una modalidad adicional consiste en el pago de un monto fijo, ya sea mensual, quincenal o semanal. Esta modalidad es común cuando los ingresos del artista no son suficientes para cubrir un porcentaje aceptable para el artist manage r. Por supuesto, en cuanto los ingresos se levanten, es posible modificar la forma de pago para ajustarlo al clásico esquema basado en porcentajes. ● Una modalidad inusual consiste en retener los pagos al artist manager hasta que el artista haya alcanzado un nivel de ingresos predeterminado. En este momento, el artist manager toma sus ingresos basado en un porcentaje privilegiado u otras condiciones favorables para él, debido al tiempo sin ingresos. 185-03_0403_ilu01. Consideraciones acerca de la compensación del artist manager Conflictos de interés La relación entre un artista y un artist manager puede dar pie al surgimiento de conflictos de interés. Por ejemplo, un artist manager podría fungir también como productor o publisher , tener su propio estudio de grabación, ser instrumentista o cumplir cualquier otro rol dentro del equipo primario del artista. 185-03_0403_ilu02. Posibles conflictos de interés en el artist manager En esta situación, el artist manager podría desechar la opción de estudiar otras opc iones a nivel de producción musical, publishing, estudio de grabación, músicos de sesión o cualquier otra necesidad, debido a que desea conservar el rol para sí y asegurarse más ganancias personales además de las que le corresponden por su trabajo como art ist manager. Incluso, el artist manager podría tener familiares o amigos cercanos cuyas opciones favorezca por encima de las más idóneas para el artista. Por supuesto, dicha situación no necesariamente es perjudicial para el artista; si ambas partes así lo convienen, el hecho de que un artist manager posea un estudio podría facilitar su utilización para su artista. Lo importante es que el conocimiento de dichas situaciones sea claro para ambas partes. Con frecuencia, algunos acuerdos establecen condiciones para que el artist manager no cumpla otras funciones adicionales. La posibilidad de conflicto de interés es una de las mejores oportunidades que tiene el artista de evaluar al postulante a artist manager. En caso de que el artist manager exhiba una actitud cautelosa y se enfoque en condiciones o reglas que le permitan ocultar posibles conflictos de interés, o que no se preocupe por exponerlos y solucionarlos, es señal suficiente para que el artista considere entablar conversaciones con otro artist manager. Interés en el artista Relacionado con el punto anterior, el artista puede evaluar al artist manager a partir de la exhaustividad de su investigación. Un artist manager competente asiste a la reunión exploratoria esperando conocer todo del artista: aspectos profesionales, creativos, laborales, financieros y personales. Le resulta necesario conocer si el artista tiene deudas, seguro de vida, seguro de transporte, afiliaciones a grupos específicos y cualquier otra información que considere relevante. De hecho, un artist manager competente siempre asiste a la reunión exploratoria con un plan; después de todo, la gestión de una carrera implica precisamente eso: tener un plan. Un artist manager que no se preocupe demasiado en la reunión exploratoria por obtener información del artista, puede ser una señal de un artist manager despreocupado o poco interesado. 185-03_0403_ilu03. Relación entre el interés del artist manager y su competencia Keynotes ● Uno de los puntos clave durante una reunión exploratoria es la compensación del artist manager. ● La posibilidad de conflicto de interés es una de las mejores oportunidades que tiene el artista de evaluar al postulante a artist manager. ● Un artist manager que no se preocupe demasiado en la reunión exploratoria por obtener información del artista, puede ser una señal de un artist manager despreocupado o poco interesado. Misión A través de vKonnect, contacta a un artist manager o a un profesional de la industria que haya efectuado o desee efectuar labores de artist manager. Reúnete con él y realiza un breve simulacro de reunión exploratoria basándote en los factores estudiados en el contenido didáctico. Al finalizar, responde las siguientes preguntas: ● ¿Cuál fue l a modalidad de compensación acordada? ¿Por qué? ● ¿Se ubicaron todos los posibles conflictos de interés? ¿Cuál fue la actitud del artista manager hacia ellos? ● ¿Cuál fue el nivel de interés que el artist manager demostró hacia ti como artista? ¿Qué impresión te causa? Redacta un ensayo compartiendo tu experiencia y evalúa tu desempeño en la reunión exploratoria. Identifica tus áreas de mejora y elabora planes de mejoramiento para cada una de ellas. Tiempo disponible: 3 horas, sin contar el networking . Conclusión El interés del artist manager en su artista es clave para hacer su trabajo correctamente. Gracias a los elementos estudiados en el contenido didáctico y a l criterio y sentido observador del artista, es posible identificar al perfil de artist manager comprometido y profesional, el cual llevará satisfactoriamente la carrera del artista hacia el cumplimiento de los objetivos señalados. Toma la decisión correc ta: dos criterios de evaluación de un artista Debido a la experiencia, un artist manager veterano sabe cómo escoger a sus clientes. Sin embargo, ¿cómo puede saberlo un artist manager novato? ¿En qué criterios puede basarse para seleccionar sus clientes? A continuación, se analizarán dos criterios básicos para la evaluación de un prospecto de artista durante la reunión exploratoria. De esta forma, el artist manager evaluará con propiedad al artista con la finalidad de determinar si trabajará con él o no. Durante la reunión exploratoria, el artist manager procura conocer a profundidad al artista, tanto de forma personal como en sus asuntos legales, económicos y médicos. Para ayudarnos con esto, estudiaremos dos criterios de evaluación: el desarrollo de la carr era del artista hasta el momento de la reunión y la compatibilidad entre ambos. Desarrollo de la carrera del artista A fin de visualizar mejor la dirección a tomar en su carrera, o de evaluar el pasado de la misma, el artist manager procura en primer lugar identificar la ubicación actual de la carrera del artista, es decir, el presente. Conociendo su presente, puede entender su pasado y visualizar mejor un hipotético futuro. En caso de que el artista haya sido referido por una persona cercana al artist mana ger, como un asistente o profesional de confianza, es preciso llamar al referente y solicitar las razones que justifiquen la referencia de ese artista en particular. Esta conversación permite conocer detalles acerca del trasfondo artístico del artista, así como de sus fortalezas y posibles oportunidades en la industria. Al mismo tiempo y a través de dichas llamadas, es posible crear un mapa de la carrera del artista hasta el momento, contactando si se considera necesario a las personas que hayan trabajado con dicha persona. El resultado es una visión general de un recorri do artístico, dando al artist manager una visión más clara acerca de la ubicación actual de la carrera del prospecto. 185-03_0404_ilu01. Ejemplo de mapa de carrera del artista Compatibilidad entre artista y artist manager La compatibilidad se relaciona c on las fortalezas del artist manager en la industria musical y su relación con el estilo, filosofía y posibles obligaciones del prospecto de artista. Un artist manager consciente de sus debilidades y fortalezas posee una perspectiva clara acerca de la idon eidad de trabajar con un determinado artista. La reunión exploratoria brinda la oportunidad de unificar criterios en cuanto a lo que el artista es y hace. Por ejemplo, un artista podría verse a sí mismo como un exponente del género urbano, con letras román ticas, pero con ritmos bailables. En cambio, el artist manager podría fijarse en su calidad vocal y la letra de sus canciones para perfilarlo como un baladista con algunas canciones bailables. Ambos enfoques, aunque cercanos, tienen implicaciones distintas en cuanto a imagen, proyección de negocio, metas y dirección de la carrera del artista. Debido a esto, y a fin de evitar futuros conflictos, el artist manager unifica sus criterios con el artista a fin de que ambos estén en la misma página en cuanto a lo que el artista es y representa. 185-03_0404_ilu02. Unificación de criterios entre el artist y el artist manager Keynotes ● En caso de que el artista haya sido referido por una persona cercana al artist manager, como un asistente o profesional de confianza, es preciso llamar al referente y solicitar las razones que justifiquen la referencia de ese artista en particular. ● La comp atibilidad se relaciona con las fortalezas del artist manager en la industria musical y su relación con el estilo, filosofía y posibles obligaciones del prospecto de artista. ● Un artist manager consciente de sus debilidades y fortalezas posee una perspectiv a clara acerca de la idoneidad de trabajar con un determinado artista. Reto A través de vKonnect, contacta a un artista y realicen un simulacro de reunión exploratoria, en la cual indagarás tu compatibilidad con el artista y trazarás un posible mapa de car rera según las siguientes acciones: ● Realízale al artista todas las preguntas que necesites para hacerlo. ● Transcribe las preguntas utilizadas, así como las respuestas dadas, y comparte tu resultado por tus redes sociales, especialmente con otros profesional es de la industria a través de vKonnect. Tiempo disponible: 30 minutos, sin contar el tiempo para el networking. Conclusión Al considerar los criterios anteriormente expuestos, el artist manager posee dos valiosas herramientas para decidir si debe trabajar con un artista en específico o no. La experiencia y la práctica otorgarán el criterio necesario para afilar dichos criterios y sacarles el máximo provecho posible. Toma la decisión correcta: tres criterios de evaluación de un artista Debido a la importancia de dicha reunión, son variados los criterios de evaluación disponibles para que el artist manager evalúe a un prospecto de artista. Tres de los más importantes son la compensación del artist manager, la situación legal, financiera y médica del artista, así como su relación personal con el artist manager. Dependiendo de la información suministrada por el artista en estos criterios, el artist manager tendrá las herramientas necesarias para tomar una decisión acertada. Compensación del artist manager Aunque la reunión exploratoria no tiene como fin la firma de un contrato con un sistema de remuneración definido, es el momento perfecto para que el artist manager se forme una idea de cómo será su compensación. Al conocer al artista, su tra sfondo y sus posibilidades, tendrá una idea de las cartas que estarán sobre la mesa durante el proceso de negociación de tarifas. En caso de que, producto de la información obtenida en la reunión el artist manager tenga deseos de trabajar con ese artista, debe analizar muy bien sus metas, requerimientos de tiempo y acciones a tomar para la consecución de los objetivos, especialmente si tiene otros clientes. La idea es que el acuerdo de remuneración sea consistente en la relación gastos -ganancias. Si el artist manager tiene varios clientes, puede categorizarlos según el estado de su carrera a fin de acomodar su negocio sin importar en qué punto de carrera se encuentre el artista que desee agregar como cliente. Por ejemplo, podría tener artistas ubic ados en las siguientes tres categorías: ● Inicio de carrera: artistas sin un estado financiero consolidado ni una proyección de ingresos o retorno de inversión clara. ● Carrera en ascenso: artistas con un estado financiero en desarrollo, cuyas proyecciones de ingresos o retorno de inversión son positivas. ● Carrera consolidada: artistas con un estado financiero consolidado, los cuales generan ingresos periódicamente. 185-03_0405_tab01. Categorización del portafolio de inversión del artist manager Un artist mana ger puede crear un “portafolio de inversión” al poseer en su cartera a diferentes artistas ubicados en cada una de las categorías mencionadas. Sin embargo, esto no quiere decir que sea una práctica recomendable, debido a la carga de tiempo que puede supone r para un artist manager gestionar la carrera de varios artistas, más cuando algunos están rindiendo mayores resultados que otros. Por lo tanto, la práctica del portafolio de inversión debe ser considerada con sumo cuidado. Situación legal, financiera y mé dica del artista A fin de determinar la situación legal, médica y financiera del artista, se recomienda la formulación de la siguiente lista de preguntas: ● ¿Hace usted negocios con una entidad legalmente constituida, sea compañía, propiedad, inversión, soci edad, empresa de responsabilidad limitada, proyecto conjunto o cualquier otra? ● ¿Posee usted un acuerdo actualmente vigente con otros profesionales de la industria, sean publishers , agentes de booking , promotores o cualquier otro? ● ¿Posee usted activos profe sionales? ¿Cuáles son? ● ¿Es usted miembro de alguna organización, sindicato, colegio o gremio en su área? ● ¿Cuáles son sus deudas actuales? ● ¿Tiene alguna marca registrada a su nombre? ¿Su propio nombre está vinculado a alguna marca en específico? ● ¿Cuál es el desglose de sus ganancias en los últimos cinco años? ¿Mantiene usted sus propios registros financieros? ● ¿Cuál es su historial crediticio? ¿Cuál es su relación bancaria? ● ¿Ha efectuado usted el pago de impuestos de manera apropiada? ¿Tiene alguna situación tributaria no resuelta? ● ¿Posee usted su propio seguro de vida? ● ¿Escribe usted sus canciones? Si es así, ¿quién posee y administra los derechos de sus composiciones? ● ¿Cuál es su experiencia en grabaciones y trabajo en estudio? ● ¿Cuál es su experiencia en presentaciones en vivo? ● ¿Qué tan influenciable es usted como artista en relación a las tendencias actuales de la industria? La anterior lista de preguntas tiene como función brindar las bases necesarias para conocer al artista; p ueden ser modificadas o intercambiadas según se amerite. Relación personal con el artista Para finalizar, el elemento más importante de la reunión exploratoria es forjar una idea sobre la relación personal con el artista. A fin de determinar el tipo de rel ación que tendrán en caso de iniciar una colaboración, se recomienda que el artist manager tenga en cuenta las siguientes preguntas: ● ¿El artista es compatible conmigo? ● ¿El artista muestra una actitud de trabajo orientado a objetivos? ● ¿Se enfoca en sus meta s y arduamente procura alcanzarlas? ● ¿El artista es realista en cuanto a sus metas, debilidades, fortalezas, capacidad y talento? ● ¿Es realista en cuanto a la industria musical en general? ● ¿Tiene habilidad y disciplina para enfrentar tanto tiempos buenos como malos? ● ¿El artista es confiable? ● ¿Cuál es la reputación del artista en la industria? 185-03_0405_ilu01. Preguntas para determinar la relación personal entre artista y artist manager La formulación de las preguntas indicadas terminará de brindar la perspectiva necesaria para que el artist manager decida si trabajar con un artista en concreto o no. Keynotes ● Al conocer al artista, el artist manager tendrá una idea de las cartas que estará n sobre la mesa durante el proceso de negociación de tarifas. ● El acuerdo de remuneración debe ser consistente en la relación gastos -ganancias. ● Un artist manager puede crear un “portafolio de inversión” al poseer en su cartera a diferentes artistas ubicados en diferentes puntos de sus carreras. ● El elemento más importante de la reunión exploratoria es forjar una idea sobre la relación personal con el artista. Reto A través de vKonnect, contacta a un artista y realicen un simulacro de reunión exploratoria, en la cual procurarás indagar tu esquema de compensación como artist manager, la situación legal, financiera y médica del artista y la relación entre ustedes dos. Realiza al artista todas las preguntas que necesites para hacerlo. Transcribe las preguntas utilizadas y sus respectivas respuestas, y comparte tu resultado por tus redes sociales, especialmente con otros profesionales de la industria a través de vKonnect. Tiempo disponible: 30 minutos, sin contar el tiempo para el networking. Conclusión Una decisión acertada proviene de una evaluación acertada, la cual viene de información acertada. El manejo de la información es vital para el artist manager, pues le brind a el contexto necesario para la toma de decisiones. Con constancia, disciplina y mucha atención, se adquiere el criterio necesario para tener éxito en la industria musical. Protégete del fracaso: los elementos básicos de un contrato de management Al entab lar una relación laboral, la meta del artista y el artist manager es la misma: el éxito. Sin embargo, muchas veces dicha meta permanece lejana o inalcanzable debido a la ausencia de un contrato que, de forma clara y concisa, refleje la información necesari a para que la relación entre el artista y el artist manager sea transparente, saludable y enfocada en las responsabilidades designadas. Uno de los peores errores que se pueden cometer en la industria musical es usar contratos prefabricados, o peor aún, no usarlos del todo. Para Frascogna y Hetherington, la realización de un contrato formal entre las partes antes de llevar a cabo cualquier otra acción es absolutamente esencial. La reunión exploratoria es la primera oportunidad que el artista y el artist manager tienen para fijar o externar sus condiciones, sentando así las bases de lo que sea el contrato de management. Por supuesto, existen temas que, por defecto, todo contrato contiene, tales como las áreas legales, financieras y de negocio. Sin embargo, dichas áreas pueden desarrollarse y adaptarse tanto como las necesidades lo indiquen. Generalmente, un contrato de management posee los sig uientes componentes básicos: ● Responsabilidades del artist manager ● Rol del artista ● Longitud del contrato ● Compensación del artist manager ● Gastos del artist manager ● Procedimientos contables ● Contratos previos aún vigentes 185-03_0406_ilu01. Componentes básicos de un contrato de management A fin de redactar el contrato y ofrecer asesoría legal, se precisa la colaboración de un abogado especializado en la industria musical. El dinero que un abogado cobra por hora debe consi derarse una inversión, sus montos rondan entre los 150 y los 600 dólares por hora, dependiendo de su experiencia. Se recomienda contratar un abogado competente que identifique las áreas de mejora y proponga asertivamente las cláusulas o instrucciones neces arias para evitar problemas en la relación. Tanto el artista como el artist manager deben sentirse tranquilos con el abogado contratado. La falta de dicho profesional puede tener consecuencias catastróficas. Aunque, debido a la naturaleza de la industria, los acuerdos de management pueden variar mucho unos de otros, en general, mantienen la siguiente estructura: ● Autoridad de nombramiento ● Compensación del artist manager ● Exclusividad ● Términos, opciones, extensiones y periodos de ausencia ● Disputas ● Garantías de l artista y cláusulas de indemnización ● Contabilidad y fideicomiso ● Cláusulas legales generales 185-03_0406_ilu02. Estructura básica de un contrato de management Dependiendo de la naturaleza de la relación, dichos elementos pueden ser modificados, extendid os o adaptados según se requiera. Debido a su experiencia en el medio, el abogado puede agregar otros aspectos que, originalmente, no fueron contemplados y que ayudan a evitar problemas futuros. A su vez, el abogado es una fuente de consejos y asesoría leg al siempre a la mano. Otras de las ventajas de la intervención de un abogado son el rol de negociador que puede asumir en caso de ser necesario y su talento o capacidad de redactar los términos del contrato en un lenguaje entendible para las partes. Keynot es ● Uno de los peores errores que se pueden cometer en la industria musical es usar contratos prefabricados, o peor aún, no usarlos del todo. ● La reunión exploratoria es la primera oportunidad que el artista y el artist manager tienen para fijar o externar s us condiciones, sentando así las bases de lo que sea el contrato de management. ● Dependiendo a su naturaleza, un contrato de management puede modificar, extender o adaptar los elementos básicos del mismo. Misión Según el contenido didáctico, redacta un con trato de management. Compártelo con otros compañeros y profesionales de la industria. Pide opiniones acerca de los puntos faltantes y cree una nueva versión del contrato. Comparte el resultado final a través de vKonnect y procure mantenerlo siempre actuali zado según las sugerencias recibidas. Tiempo disponible: 3 horas. Conclusión Aun con las mejores intenciones, la colaboración entre el artista y el artist manager puede derrumbarse debido a los problemas surgidos por falta de un contrato claro, o si quiera, de un contrato nada más. La importancia de este documento es tal que su aus encia o redacción inadecuada puede ser la diferencia entre una colaboración exitosa y un auténtico fracaso. Con perspectiva, inversión y propósito, el contrato de management tomará el lugar que le corresponde en la industria y permitirá a las partes concen trarse en sus responsabilidades señaladas, evitando así los malentendidos y pleitos en los que ninguna de las partes sale ganando. Aclara tus acciones: alcance del artist manager según su contrato El alcance de las acciones de un artist manager estará infl uenciado por las cláusulas presentes en el contrato de management. Por este motivo, mientras más claro y detallado sea el contrato, más claras serán las herramientas disponibles para el artist manager, así como las expectativas de su cliente sobre su traba jo. Todo contrato de management engloba diversos puntos relacionados con la autoridad de nombramiento. En este punto, Frascogna y Hetherington incluyen, al menos, cuatro temas: la designación de nombramientos, las responsabilidades del artist manager, el p oder legal y la renuncia del manager a la búsqueda de empleo, los cuales analizaremos a continuación. Designación de nombramientos El apartado designación de nombramiento establece acciones específicas a realizar por el artist manager. Es el sitio indicado para expresar el tipo de relación que las partes desean así como puntos particulares sobre el trabajo. Por ejemplo, acá es donde se indica si la colaboración del artist manager será de carácter personal o estará enfocada en los negocios, la consultoría o cualquier otro punto similar. Las cláusulas relacionadas con la exclusividad también suelen incluirse en este apartado. El lenguaje de redacción procura claridad y sencillez, a fin de facilitar el entendimiento de las partes. 185-03_0407_ilu01. Designación de nombramientos Responsabilidades del artist manager Entre las responsabilidades básicas de un artist manager contempladas en un contrato estándar, tenemos las siguientes: ● Representar al artista en todas sus negociaciones comerciales y otros aspectos relacionados con su carrera en la industria del entretenimiento. ● Supervisar los compromisos profesionales del artista. ● Consultar con posibles empleadores de la industria literaria y del entretenimiento. ● Cooperar en la supervisión de los agentes literarios o de booking que el artist manager considere oportuno contratar bajo consentimiento del artista. ● Contar con una disponibilidad razonable en una oficina para conversar con el artista sobre el desarrollo de su carrera, incluyendo, pero no limitándose a temas como la promoción y publicidad. ● Llevar a cabo sus mejores esfuerzos para agendar audiciones, presentaciones y entrevistas destinadas a promover la carrera del artista. ● Desempeñar, en cualquier lugar y en cualquier momento, cualquier otra función alineada c on las responsabilidades anteriormente señaladas. 185-03_0407_ilu02. Responsabilidades del artist manager A pesar de las generalidades anteriormente indicadas, las responsabilidades de un artist manager serán más o menos específicas, dependiendo de las necesidades de las partes. Poder legal El contrato de management contempla un poder legal mediante el cual se le autoriza al artist manager la realización de determinadas acciones en nombre del artista. Por ejemplo, acciones como endosar cheques, firmar acuerdos o contratos de interpretación, realizar tratos con determinadas organizaciones, entre otras, forman pa rte de las responsabilidades normalmente atribuidas al artist manager, las cuales realiza bajo consentimiento del artista por medio de un poder legal. 185-03_0407_ilu03. Responsabilidades habituales del artist manager dadas por medio de un poder legal El alcance y particularidades de un poder legal puede ajustarse según las necesidades de las partes. Por ejemplo, es posible que el artista requiera que el artist manager se ocupe de todas las responsabilidades comerciales de su carrera, brindándole un poder con un amplio espectro de acción. Por otro lado, también es posible que el artista desee limitar el poder de su artist manager, estipulando un poder legal con un rango de acción más estrecho y ajustado a sus intereses. Renuncia a la búsqueda de empleo En la industria musical, las responsabilidades del artist manager son diferentes a la de un agente. El agente busca trabajo para el artista; el artist manager supervisa y trata directamente con los agentes para negociar las condiciones de las oportunidades laborales obtenidas. 185-03_0407_ilu04. Responsabilidades del agente y el artist manager Es probable que, en el ejercicio de sus funciones, el artist manager descubra que está dedicando una considerable cantidad de tiempo a realizar tareas de un agente. En este aspecto, es importante conocer que la separación de responsabilidades entre un artist manager y un agente está contemplada en la legislación de algunos lugares, como California, en los Estados Unidos de América. Incluso, algunas organizaciones del gremio reflejan oposición a la unificación de responsabilidades de ambos roles. Es conveniente que el artist manager conozca las implicaciones legales de llevar a cabo actividades de un agente, e incluso, de procurar una licencia en los lugares donde pued a ser requerido. Keynotes ● El apartado designación de nombramientos es donde se indica si la colaboración del artist manager será de carácter personal o estará enfocada solamente en los negocios, la consultoría, o cualquier otro punto similar. ● Las responsab ilidades de un artist manager serán más o menos específicas dependiendo de las necesidades de las partes. ● El agente busca trabajo para el artista; el artist manager supervisa y trata directamente con los agentes para negociar las condiciones de las oportun idades laborales obtenidas. Reto Investiga las leyes de tu país o localidad relacionadas con la industria musical. Verifica si, por ley, es permitido que el artist manager ejecute tareas de un agente. Comparte el resultado de tu búsqueda por medio de vKon nect y vPage. Tiempo disponible: 30 minutos. Cierre Al examinar con cuidado las secciones del contrato relacionadas con la designación de nombramientos, las responsabilidades del artist manager, el poder legal y la renuncia a la búsqueda de empleo, el arti st manager tendrá una visión exacta acerca de su trabajo y las expectativas que su cliente tiene sobre el mismo. Con esta herramienta, solo queda llevar a cabo sus labores con esfuerzo, constancia, disciplina y compromiso, y cosechar así los beneficios de una relación fructífera y exitosa. Evita malentendidos: la compensación del artist manager Uno de los aspectos más relevantes en un contrato de management tiene que ver con la compensación del artist manager. El porcentaje o tarifa a cobrar, la política de reembolso de gastos y la determinación de la frecuencia de los pagos son factores cuya acl aración es vital a fin de evitar malentendidos y pérdidas de dinero entre las partes. En relación a la remuneración del artist manager por sus servicios, el contrato de management contempla tres secciones básicas: el porcentaje o tarifa a cobrar, la políti ca de reembolsos de gastos y la determinación de la frecuencia de los pagos. Analicemos cada una de ellos. Porcentaje o tarifa a cobrar La tarifa promedio por los servicios de un artist manager es de un 15 por ciento de los ingresos del artista, con un rango entre el 15 y el 25 por ciento, dependiendo del poder negociación de las partes. Ahora, la fijación del porcentaje de la tarifa no es la única incógnita a resolver; los siguientes factores también deben definirse: ● Los tipos de ingresos sobre los cuales tendrá efecto el porcentaje estipulado, es decir, ingresos netos o brutos. ● El área de ingresos sobre el cual se deducirá el porcentaje, los cuales pueden incluir, pero no limitarse a ingresos por interpretaciones en vivo, regalías por material grabado, derechos de songwriting por material propio, entre otros. ● Los posibles ingresos percibidos por alguna tarea donde el artist manager present e algún conflicto de interés; es decir, ingresos con agencias de booking , publishers o discográficas donde el artist manager tenga algún tipo de vínculo ajeno a la naturaleza de sus responsabilidades como artist manager. 185-03_0408_ilu01. Factores relacio nados con el porcentaje o tarifa a cobrar Una alternativa común en la industria consiste en pagar una cantidad fija cada cierto tiempo, ya sea mensual, trimestral o semestral. La modalidad seleccionada, así como los detalles finales contemplados en el co ntrato, dependen de las circunstancias, influencia, condiciones e intereses de las partes. Política de reembolsos para gastos En la ejecución de sus labores, es probable que el artist manager requiera incurrir en determinados gastos, los cuales pueden ser reembolsados independientemente de sus ingresos según la modalidad de pago acordada. Los factores que norman la política de reembolsos para gastos son variados; analicemos algunos de ellos: ● Reembolsos según una cifra determinada: se refiere a los reembolso s restringidos a los gastos menores o iguales a una cifra en específico, por ejemplo, 400 dólares. En este caso, el artist manager puede solicitar el reembolso de cualquier gasto igual o menor a ese monto. ● Reembolsos según el propósito del gasto: en este c aso, el artista indica aquellos objetivos que ameritarán un reembolso en el caso de incurrir en gastos, por ejemplo, reuniones con clientes. En este caso, el artist manager solo tiene derecho a un reembolso cuando los gastos se relacionen con esta tarea pr eviamente aprobada por el artista. ● Reembolsos según el presupuesto: en estos casos, la planificación financiera del artista incluye un rubro para gastos, donde se fija una cantidad determinada. El artist manager tiene derecho a un reembolso siempre y cuand o exista dinero disponible en el presupuesto destinado para gastos. ● Reembolsos por radio de operación: estos casos se basan en la ubicación geográfica del radio de operaciones del artist manager, brindando el derecho de reembolsar gastos cuando estos se ef ectúen en un área geográfica ajena a la habitual. Por ejemplo, si un artist manager se desenvuelve generalmente en una región o ciudad específica, y debe asistir a una reunión ubicada en otra ciudad ubicada a una distancia mayor a la denominada como “radio de operaciones” en el contrato, los gastos en los que incurra pueden ser reembolsados. 185-03_0408_ilu02. Políticas de reembolsos de gastos para artist manager En todos los casos, el artist manager presenta las facturas que respalden sus gastos y que permitan identificar su validez. La premisa, en todo caso, es sencilla: ni el artist manager debe estar demasiado atado de manos, ni el dinero del artista debe ser despilfarrado. Frecuencia de los pagos El artist manager puede recibir sus ingresos según la frecuencia determinada en el contrato de management. Dicha frecuencia incluye periodos mensuales, trimestrales o semestrales, y depende del tipo de trabajo a desempeñar por el artista. Por ejemplo, si u n artista se mantiene semanalmente ocupado con una gira de conciertos en diferentes tipos de venue, es capaz de mantener un flujo de caja tal que permita desembolsar mensualmente a su artist manager los pagos respectivos. Por otra parte, si sus actividades son más bien periódicas, o están enfocadas en determinadas épocas del año, su flujo de caja no siempre contará con los recursos para efectuar un pago mensual; en este escenario, resulta beneficioso un rango de tiempo mayor, cada tres o seis meses, o un pa go al finalizar la gira. Tanto el abogado como el contador del artista pueden proporcionar consejos valiosos en este rubro. 185-03_0408_ilu03. Frecuencia de los pagos para el artist manager Con el ejemplo anterior, apreciamos cómo la frecuencia de los pa gos se ve influida por el tipo de actividades del artist manager y el flujo de dinero que estas produzcan. Keynotes ● Una alternativa de pago común en la industria consiste en cancelar al artist manager una cantidad fija cada cierto tiempo, ya sea mensual, t rimestral o semestral. ● Los factores que norman la política de reembolsos para gastos de un artist manager son variados, incluyendo cifra determinada, propósito del gasto, presupuesto y radio de operación. ● Tanto el abogado como el contador del artista puede n proporcionar consejos valiosos en cuanto a la frecuencia de los pagos del artist manager. Reto Con tus propias palabras, redacta un contrato de management enfocándote en los puntos vistos en el contenido didáctico. Justifica cada una de tus cláusulas. C omparte el resultado en vKonnect. Tiempo disponible: 30 minutos. Cierre Los malentendidos por cláusulas poco claras o ambiguas en el contrato de management pueden destruir una carrera prometedora. Por este motivo, la redacción del contrato debe ser clara, sencilla e incluir toda la información necesaria para un desenvolvimient o pleno. Gracias a la práctica, a la experiencia y sobre todo a la previsión, es posible plantear contratos y condiciones que, lejos de ser un motivo de discordia, sean el fundamento de una colaboración exitosa. Gestiona eficazmente tu tiempo: cláusulas d e exclusividad, plazos y terminaciones Los parámetros que rigen la gestión del tiempo del artist manager deben estar enmarcados en el respectivo contrato de management. Las cláusulas sobre exclusividad, plazos, extensiones, terminaciones de contrato, perio dos de interrupción y posibles modificaciones de la tarifa del artist manager, resultan influyentes en dicha gestión. A fin de aclarar las expectativas y asegurar una gestión de tiempo efectiva, responsable y beneficiosa para ambas partes, tanto el artist manager como el artista se aseguran de estipular con claridad las cláusulas relacionadas con los conceptos anteriormente mencionados. Exclusividad En un contrato de management, la exclusividad suele ser contemplada únicamente de lado del artista; es decir, el artista es el único que suele dedicar o ceder el derecho exclusivo de dirigir su carrera a un artist manager. Por otro lado, el artist manager no está atado a este requerimiento, pues normalmente puede gestionar más de una carrera en forma simultánea. 185-03_0409_ilu01. Relación de exclusividad entre el artista y el artist manager Aún cuando un artist manager puede dedicarse a tiempo completo a la carrera de un único artista, contar con varios clientes en su portafolio puede ser conveniente, especialm ente si algunos artistas no están generando ingresos en un momento específico de sus carreras. Después de todo, la remuneración del artist manager es solo una fracción del total de los ingresos percibidos por el artista. De hecho, cuando un artist manager posee varios clientes que le proporcionan un ingreso seguro, es más factible que considere trabajar con un artista nuevo en la industria. De otra forma, no podría financiar su trabajo con un artista que no está generando ingresos; por este motivo, los arti st managers más exitosos de la industria no trabajan del todo con artistas noveles. Otra importante razón que justifica el desarrollo unilateral de la carrera de un artista por parte del artist manager es la confusión resultante de tener más de un punto de vista en cuanto a ese tema. Por supuesto, las decisiones del equipo primario y otros profesionales de la industria, como publishers , productores y agentes de booking , tienen cierto peso en la carrera del artista. Sin embargo, dichas decisiones suelen toma rse bajo parámetros establecidos por el artist manager, quien funciona como ente catalizador en el equipo, velando que todas las acciones se mantengan acordes con la visión y objetivos de carrera del artista. 185-03_0409_ilu02. Influencia del artist manager en las decisiones del equipo primario del artista En este apartado también es posible señalar las responsabilidades más importantes del artist manager, a fin de que al contar una lista de prioridades, sea capaz de gestionar su tiempo de forma más efectiva. Plazos, opciones y extensiones El plazo es uno de los aspectos más cruciales de un contrato de management, dadas sus implicaciones para ambas partes. Para el artist manager un contrato a largo plazo es conveniente para proteger sus ingresos, especialmente cuando debe invertir un tiempo considerable en desarrollar la carrera del artista. Por otro lado, el artista suele preferir no comprometerse con un artist manager a largo plazo, a menos que esté convencid o de su potencial para desarrollar su carrera. 185-03_0409_tab01. Conveniencia del plazo de un contrato en el artista y el artist manager En la industria musical, el plazo promedio de un contrato de management está comprendido en un rango de uno a cinco años, con distintas opciones de renovación o extensión. Es posible incluir determinadas condiciones que faculten al artista o al artist manager a extender los plazos o periodos de tiempo de vigencia del contrato según pautas específicas. La definición del plazo del contrato, así como las posibles opciones de renovación o extensión, están determinados por el poder de negociación de las partes. Usualmente los artistas noveles tienen poco poder, mientras que los artist managers experimentados llevan las de gan ar. Sin embargo, es perfectamente posible llegar a un punto medio conveniente para ambas partes. Las opciones relacionadas con las extensiones y renovaciones deben ser manejadas con cuidado. Un abogado familiarizado con dichas opciones puede redactarlas de forma clara y buscando el beneficio de su cliente; sin embargo, a menos que todos los posibles escenarios y consecuencias sean cubiertas, el artista y el artist manager pueden verse envueltos en pleitos legales, especialmente en los términos más grises de l contrato o aquellos de dudosa interpretación. Terminación de contrato y periodos de interrupción Es sensato que el contrato de management incluya cláusulas específicas para su terminación. El cambio es una constante en la industria musical, un factor al cual se someten las circunstancias, metas, necesidades, habilidades y los profesionales del medio. Lo anterior puede producir que, en un determinado momento, el artista y el artist manager apunten en direcciones diferentes; en estos casos, es mejor estar p reparados, incluyendo pautas de terminación de contrato según circunstancias específicas. Naturalmente, el artist manager deseará proteger su trabajo contra una terminación o finalización de contrato justo en el momento en que su trabajo está comenzado a v er frutos. Por este motivo, es posible incluir un periodo de interrupción, donde se estipule que el artista no podrá contratar los servicios de otro artist manager una vez superado este periodo. Una alternativa consiste en permitir una nueva contratación d e management mientras se asegure la recaudación de comisiones al artist manager saliente durante una determinada cantidad de tiempo después de la terminación del contrato, siempre y cuando sean producto de sus gestiones. 185-03_0409_ilu03. Opciones de te rminación de contrato y periodos de interrupción Modificación de tarifa del artist manager por muerte o discapacidad El contrato de management puede incluir cláusulas que aborden una reducción de la tarifa en caso de muerte o discapacidad del artist manager. De esta forma, el artist manager protege su patrimonio, fruto de sus esfuerzos, y sus representantes legales obtie nen parte de los ingresos generados a partir de aquellas actividades gestionadas por él. Por supuesto, debido a la naturaleza de la industria musical, los puntos tratados están sujetos a variaciones diversas según las necesidades de las partes involucradas . Keynotes ● Al contar una lista de prioridades, el artist manager puede gestionar su tiempo de forma más efectiva. ● Para el artist manager, un contrato a largo plazo es conveniente para proteger sus ingresos, especialmente cuando debe invertir un tiempo cons iderable en desarrollar la carrera del artista. ● El plazo promedio de un contrato de management está comprendido en un rango de uno a cinco años. Reto A través de vKonnect, contacta a un artista. Pregúntale cuáles razones usaría el para justificar algunas cláusulas para terminación de contrato de management. Apunta sus respuestas y redacta tu opinión con respecto a ellas. Tiempo disponible: 30 minutos. Cierre Con prioridades y cláusulas de trabajo claras, el artist manager tiene una visión clara de su campo de acción, lo que le permite acomodar sus actividades en el orden más adecuado para el cumplimiento de sus objetivos. Gracias a la claridad, transparencia y perspectiva de un contrato de management correctamente redactado, tanto el artist manager como el artista cuentan con las herramientas legales necesarias para iniciar una colaboración exitosa. Evita el conflicto: cláusulas para la resolución de problemas Aunque un artista y un artist manager inician su colaboración con el mejor de los ánimos e intenciones, es posible que en el camino surjan inconvenientes cuyas pautas de resolución deben estar contempladas en el contrato de management. De otra forma, ambo s profesionales podrían verse envueltos en una nube de reclamaciones y disputas que alejarían todo espíritu de compañerismo y colaboración que haya existido alguna vez, transformando una experiencia de éxito en un tiempo de pesares y desaires. Todo esto pu ede evitarse mediante la inclusión de pautas relacionadas con disputas, arbitrajes, garantías, indemnizaciones, fideicomisos, entre otros. Resolución de disputas En ocasiones, alguna de las partes de un contrato de management puede pensar o sentir que está siendo agravada por la otra. A fin de resolver estas situaciones, es necesario incluir cláusulas o provisiones de cura. Dichas provisiones permiten la realización de un arbitraje antes de recurrir al recurso de un juicio en tribunales. El árbitro es una p ersona escogida por las partes a partir de una lista provista por alguna organización como la American Arbitration Association. Normalmente, las cláusulas de arbitraje aseguran a la parte beneficiada la posibilidad de recobrar los gastos razonables incurri dos por causa de la disputa. 185-03_0410_ilu01. Resolución de disputas mediante arbitraje La decisión del árbitro puede ser apelada dependiendo de las leyes del estado donde se celebre el arbitraje. Todo esto convierte la provisión de cura en una alternativa sencilla, rápida y relativamente barata para resolver posibles disputas entre artista y artist manager. Garantías del artista y cláusulas de indemnización En ocasiones, un artista puede suponer que se encuentra libre de obligaciones con un artist manager solo porque el contrato que los vinculaba ha terminado. Sin embargo, es posible que surjan conflictos si este artista ha contratado los servicios de otro artist manager. ¿Qué tipo de problemas podrían darse? Por ejemplo, tomando el ejemplo anterior, si un artista contrata a un artist manager poco tiempo después de haber culminado una relación contractual con otro y surge un contrato de grabación con una compañía discográfica, el primer artist manager puede argumentar que dicho contrato surgió fruto de sus esfuerzos, dado que su contrato terminó hace muy poco. Por otro lado, el artist manager n uevo puede argumentar, con la misma autoridad, que el contrato de grabación se dio únicamente por sus esfuerzos. Acto seguido, tenemos un pleito legal entre dos artist managers. En estos casos, las cláusulas de indemnización establecen el derecho del segun do artist manager de ser retribuido en sus pérdidas debido a su confianza en la garantía del artista de hallarse libre de relaciones contractuales previas. La seriedad de estos ejemplos reflejan la importancia de este punto. Libros contables y fideicomis os Los contratos de management permiten incluir cláusulas relacionadas con la responsabilidad de llevar los libros contables, así como la frecuencia y plazo para la auditoría de dichos libros. Obviamente, tanto el artista como el artist manager tienen el d erecho de auditar dichos libros y verificar el correcto estado de las cuentas. A fin de evitar el ensañamiento o la exhaustividad exagerada, es posible limitar la frecuencia de dichas revisiones a, por ejemplo, una vez al año. Al mismo tiempo, en los últim os años se ha hecho tendencia establecer una relación fiduciaria entre el artist manager y el artista en cada contrato de management. Lo anterior significa que cada parte debe retener el dinero ganado hasta que la otra haya sido pagada. Es decir, aunque el artist manager tenga el dinero correspondiente a sus ingresos, no puede gastarlo sin que el artista haya sido compensado con su respectiva parte. El resultado es el fortalecimiento de la confianza y el compromiso en la relación artista -artist manager. Cláusulas legales adicionales En general, los contratos de management incluyen algunas cláusulas relacionadas con conceptos tales como: ● Jurisdicción: se refiere al hecho de que un contrato de management estará circunscrito a las leyes de un determinado estado o país. ● Modificaciones escritas: bajo esta premisa, una vez que el contrato ha sido escrito y firmado, todas las posibles modificaciones posteriores deben estar escritas y firmadas a fin de tener validez. ● Asignaciones y delegaciones: se refiere a las paut as que regulan la transferencia de derechos y responsabilidades contenidas en el contrato. 185-03_0410_ilu02. Cláusulas legales adicionales En todos los casos, contar con un abogado experto en contratos de management es una enorme ventaja, especialmente para la interpretación de cualquier extracto, cuya claridad no sea evidente, o para analizar los casos no relacionados con alguna cláusula exi stente. Keynotes ● Las provisiones de cura permiten la realización de un arbitraje antes de recurrir al recurso de un juicio en tribunales. ● Tanto el artista como el artist manager tienen el derecho de auditar dichos libros y verificar el correcto estado de l as cuentas. ● Contar con un abogado experto en contratos de management es una enorme ventaja, especialmente para la interpretación de cualquier extracto, cuya claridad no sea evidente, o para analizar los casos no relacionados con alguna cláusula existente. Misión Contacta a 10 profesionales de la industria, entre artistas y artist managers. Pregunta a cada persona cómo se siente ante el hecho de que el artista (si el entrevistado es un artist manager) o el artist manager (si el entrevistado es un artista) re vise las cuentas. Según las respuestas obtenidas, redacta un ensayo expresando tu apreciación sobre las opiniones generales de los profesionales de la industria acerca del hecho de que un socio o colaborador revise los libros contables para verificar el bu en estado de las cuentas. Comparte tus impresiones por medio de vKonnect y otros medios sociales. Tiempo disponible: 3 horas, sin contar el networking. Cierre La relación entre el artista y el artist manager se basa en el beneficio mutuo; ambas partes procuran un contrato ganar/ganar, donde cada uno reciba lo justo según sus mejores esfuerzos. Cuando surgen inconvenientes y pleitos que llegan a tribunales, sin importar el resultado del mismo, ambas partes salen perdiendo. La transparencia, sentido de justic ia e interés genuino en el éxito de todas las partes son ingredientes esenciales para el fortalecimiento de la relación entre el artista y su artist manager. -Estrategias de Incursión a la Industria Musical Semana 1 Introducción: El Éxito en la Industria Musical Transcripción La industria del entretenimiento tiene un objetivo principal: proporcionar al público experiencias memorables. Como parte de esta industria, el negocio de la música persigue el mismo objetivo. La música tiene un gran potencial para la creación de momentos emocionales que marcan la vida de las personas. ¿Cómo se logra esto? Pues bien, solamente a través de una estructura sólida de negocios. Existe un estigma negativo alrededor de la actividad eco nómica necesaria para la creación de dichos momentos emocionales. Bajo esta perspectiva, se esgrime que la conexión establecida entre un artista y su audiencia es una fachada artificial creada con el objetivo frívolo de generar dinero. Como en todos los n ichos de negocio, los escenarios y circunstancias son muy variados. Todos los días se producen situaciones desafortunadas de engaño. Sin embargo, la mayoría de expertos y profesionales en la industria de la música coinciden en una cosa: la creación de un lazo genuino entre el artista y su audiencia es primordial para que el artista tenga una carrera prolongada y relevante. De esta manera, es necesario implementar una estructura de negocios sólida para permitirle al artista concentrarse en su público. De hec ho, es más que necesario, es primordial. Tener una carrera artística exitosa es imposible sin el apoyo de un equipo de negocios. Este grupo de personas aliadas al artista es el que llamaremos Equipo Primario o Equipo de Servicios de Negocios. Veamos el fl ujo de material creativo en contraste con el flujo de capital entre el artista y su público (figura 1.1.). El artista produce creaciones emotivas y experiencias memorables para la audiencia. Estos productos y experiencias se hacen disponibles gracias a la estructura de la industria. Diferentes participantes y entidades de negocios interactúan con el equipo del artista para cerrar la brecha entre el artista y su público. A través de esta gran estructura, el artista adquiere la capacidad de escuchar a su audi encia. Si el artista escucha a su público, éste le devuelve la cortesía. El ciclo se cierra y los capitales fluyen en sentido inverso entre la audiencia y el artista, pasando a través de toda la estructura de la industria. Figura 1.1: Estructura de la indu stria: Flujo creativo vs flujo de capital Durante este curso aprenderemos cómo el Equipo de Servicios de Negocios del artista proporciona las circunstancias para su éxito en la industria musical. Detrás de todo gran artista hay un gran equipo de profe sionales. Y todos, incluyendo al artista, tienen una noción balanceada entre el aspecto artístico y el de negocio. Comprendiendo mi Lugar en la Industria: El Sentido de Ubicación Transcripción La industria de la música está llena de interacciones complej as. Gran parte del negocio comprende situaciones que se desarrollan en ubicaciones variadas. A su vez, la cantidad y tipo de profesionales involucrados en dichas situaciones cambia considerablemente. En circunstancias constantemente cambiantes es primordia l tener una noción de quién es quién. Además, es importante conocer el nivel de relevancia de cada persona. Veamos un ejemplo simplificado. Para la producción de un álbum es necesario realizar selección de canciones. En este escenario se desenvuelven diferentes profesionales. Además del artista, pueden estar presentes managers, ejecutivos de disquera, productores, ingenieros, abogados, inversionistas, productores ejecutivos, dueños de estudios, agentes, mercadólogos y muchos otros profesionales. Cada quien representa diferentes entidades e intereses en la selección de los temas que formarán parte de la producción. La opinión del manager podría tener más peso en la selección que la de un ingeniero o un productor. Figura 1.2. Peso del manager Por otro lado, un ejecutivo de disquera podría representar los intereses de la entidad que invirtió el capital. Figura 1.3. Ejecutivo de disquera En este escenario, al igual que en cualquier otro, el artista debe tener una noción de la estructura de la industria y las estructuras de poder que se desarrollan en cada situación. Esta noción es vital para el artista y cualquier otro profesional si desea comprender su lugar y su potestad de negociación. El sentido de ubicación hace posible construir tanto relaciones de negocios como interpersonales. Este trabajo se conoce como networking y es una herramienta invaluable en la carrera de cualquier profesio nal en la industria. La relación entre el artista, sus contactos de negocios, su Equipo Primario y sus clientes, establece las bases para una adecuada incursión en el negocio (figura 1.4.). • Los contactos de negocios son las personas o entidades que fac ilitan al artista implementar planes y prolongar su carrera. • El Equipo Primario del artista se conforma por los profesionales que le rodean de modo cotidiano y a largo plazo. Le acompañan durante su carrera para ayudarle en todas las tareas necesarias p ara que su producto alcance a la audiencia. • El cliente, es cualquier persona o entidad que contrate los servicios del artista, especialmente para presentaciones personales en vivo. Existen protocolos específicos para establecer conexiones de negocios. Los tratos y relaciones se pueden llevar a cabo generalmente si el profesional correcto contacta a su contraparte en el momento adecuado. De esta manera se establecen diferentes posibilidades para lograr objetivos específicos. Figura 1.4: Sentido de ubica ción: el artista. La anterior figura muestra el lugar que debe tener el artista en la industria, que como hemos mencionado, resulta sumamente relevante para adquirir gran ventaja competitiva. Incursionando en el Negocio de la Música Transcripción Diariamente miles de personas se preguntan cómo incursionar en la industria musical exitosamente. Para ingresar y mantenerse en el negocio de la música, entre otras cosas es necesario grabar, promocionar y distribuir material discográfico. Estas tareas va n en conjunto con la continua presentación en vivo del artista en numerosos eventos. Reseña histórica: pasado vs. presente Hasta mediados de la década de los 90s, los caminos para ingresar a la industria musical estuvieron bajo el control de las entidades que poseían acceso exclusivo tanto a la tecnología como a los mecanismos de promoción y distribución (figura 1.3.). Grabar era posible solamente a través de los estudios de grabación. Además, el único medio para distribuir y promocionar el material interna cional y mundialmente era a través de las estructuras logísticas de las compañías discográficas. Figura 1.5: Medios para incursionar en la industria musical Por el lado de la producción, las instalaciones tenían un altísimo costo. Solamente grandes corporaciones podían invertir el capital necesario para comprar el equipo y acondicionar los espacios para producción musical. Durante los últimos 15 años, ha aumentado la disponibilidad de tecnología para grabación y producción musical. Esto ha provocado un a apertura del mercado independiente de producción. Actualmente es posible grabar y producir tanto audio como video a nivel profesional con presupuestos inferiores a los $20.000; precio aproximado de los equipos de grabación de calidad media en la década d e 1980. Además, con el advenimiento del internet y las redes sociales, una infinidad de modelos de negocios se hicieron disponibles. Estos modelos ofrecen diferentes métodos de bajo costo para la promoción y distribución del producto musical. Por ejemplo, antes del año 2005, cuando se fundó YouTube, era un atrevimiento pensar en cruzar una frontera nacional o regional con el producto musical, sin recurrir a los mecanismos establecidos por las compañías discográficas. En contraste, hoy en día es posible alcanzar audiencias internacionales, e incluso mundiales, de manera independiente. La disponibilidad de tecnología y los medios de promoción y distribución por internet son dos factores que han modificado la manera en la que un artista puede incu rsionar en la industria. Las posibilidades de negocio cambian constantemente. Actualmente se produce más música que en cualquier otro momento en la historia. El reto radica en tener un producto competitivo y encontrar los mejores mecanismos para alcanzar a la audiencia. Oportunidades Laborales en la Industria Musical Transcripción La magnitud de la industria musical puede provocar confusión si no se estudia cuidadosamente su estructura. Para comprenderla, basta con seguir el trazo que dejan los flujos de capital y cómo estos evidencian las oportunidades laborales disponibles. La industria musical es un segmento de la economía mundial que mueve cifras anuales en el orden de los cientos de billones de dólares. Según el reporte Investing in Music, realizado por la Federación Internacional de la Industria Fonográfica, o IFPI por sus siglas en inglés, las ventas anuales en sectores relacionados con la industria musical ascienden a los $167.3 billones (IFPI, 2010). Según la IFPI, dichos sectores incluyen gananci as de publicidad radial, televisiva y en revistas; ventas de música al por menor, sistemas de reproducción de música caseros y portables, presentaciones musicales en vivo, ventas de instrumentos musicales, ventas de música relacionadas con video juegos y l os diferentes sectores ligados a derechos de autor y regalías. Curiosamente, el reporte mencionado no toma en cuenta los mercados de diseño y venta de equipo para producción musical, con los cuales las cifras serían aún mayores. Todos estos flujos de capit al establecen nichos laborales y de mercado para el desempeño profesional en la industria, en tres áreas generales: creatividad, tecnología, y servicios de soporte de negocios. • El área de creatividad comprende la labor de creación e interpretación para presentar un producto al público, ya sea mediante grabaciones o presentaciones en vivo. • La tecnología permite proporcionar las circunstancias para llevar el quehacer creativo a la realidad, mediante el diseño, fabricación, implementación y operación de sistemas musicales. Incluye el diseño y fabricación de equipo e instrumentos musicales así como la operación del equipo en búsqueda de resultados musicales. • Los servicios de s oporte de negocios tienen que ver con profesiones indirectamente relacionadas con la música, que juegan un papel primordial para que el producto alcance su mercado. Estamos hablando de abogados, publicistas, relacionistas públicos, administradores, vendedo res, entre muchos otros (figura 1.4.). Figura 1.6. Sectores laborales generales de la industria de la música De esta manera, se evidencian las oportunidades laborales y el potencial económico que representa el posicionamiento profesional en la industr ia. Estructura de la Industria Musical Transcripción La industria musical se compone de entidades y profesionales. Los profesionales pueden estar ligados a las entidades o trabajar de modo independiente (figura 1.5.). Figura 1.7. Ejemplos de profesionales y entidades de la industria musical Veamos un escenario que suscita la interacción entre profesionales y entidades. Producción musical Una compañía discográfica necesita reforzar el sonido de un artista de su portafolio en una región geográfica específica, con el fin de vender la máxima cantidad de entradas a un concierto que forma parte de una gira mundial. Para lograrlo, coloca un artis ta local en el mercado regional. Veamos las relaciones que se producen (figura 1.6.): • La discográfica contacta a un personal manager para posicionar al artista. • El manager contrata a un productor musical y le comunica las especificaciones del proyect o. • Se necesitan canciones. El abogado del artista conoce un compositor idóneo y negocia con el publisher para obtener los derechos de uso de dichas canciones en el disco del artista. • El productor musical planea la implementación del proyecto. Contrat a ingenieros y alquila instalaciones para realizar grabación, edición y mezcla. Al finalizar, entrega el material discográfico al manager (figura 1.6.). Figura 1.8. Entidades y profesionales: Ejemplo Este ejemplo ilustra las diferentes interacciones q ue se producen constantemente. Todos los días, muchos otros profesionales se relacionan entre sí y con las entidades, conformando la estructura dinámica de lo que conocemos como la industria musical. Áreas de la Industria Musical Transcripción Toda transa cción en la industria de la música se lleva a cabo entre las contrapartes adecuadas. Para comprender el contexto de dichas relaciones y actuar correctamente es importante analizar las áreas de la industria. Son cuatro y todas guardan una relación con la fi gura del artista: music business management, sellos discográficos y distribuidores, publishing y touring (figura 1.7.). Figura 1.9. Áreas de la industria musical. Music Business Management Esta área comprende la gerencia del artista como generador de negocio. El profesional en esta área investiga, planea e implementa estrategias para posicionar al artista en mercados específicos, y trabaja para generar relevancia y continuidad de negocios. El manejo artístico tiene dos sub áreas principales: • En el área de negocios se trabajan aspectos como lanzamiento, distribución, comercialización y promoción. Está relacionada con las negociaciones de estos y otros aspectos que proporcionan las condicione s operativas necesarias para que el artista alcance a su público. • La sub -área creativa implica todo lo relacionado con el desarrollo de la imagen, sonido y habilidades del artista: en resumen, se encarga de pulir al artista para convertirle en un gran comunicador de acuerdo con las características del nicho demográfico meta. Los profesionales involucrados en el área de management incluyen managers, agentes, promotores, productores musicales, inversionistas, productores ejecutivos, abogados, vendedores, consultores, mercadólogos, entre muchos otros. Sellos discográficos y distribuidores Las compañías discográficas son una de las áreas más prominentes en la industria. Existen dos tipos: Majors e Indies. • Las discográficas majors son entidades gigantescas, con alcance mundial, que existen desde los inicios de la industria hacia finales de la década de 1920. Sus nóminas de personal son enormes. Profesionales en gestión de producto, A&R, mercadotecnia, producción, management, servicios legales, logística, publicidad, finanzas, relaciones públicas, entre muchas otras áreas. Al principio se encargaban de la grabación de música. Eran dueñas casi exclusivas del equipo de grabación debido a su costo excesivo. Hoy en día, con los costos reducidos y aumento en calidad de las tecnologías de grabación, estas discográficas se dedican a distribuir y promocionar a sus carteras de artistas, firmando entre 3 y 5 proyectos por año. Algunos ejemplos son Sony, EMI, Universal o Warner. Con el paso del tiempo la cantidad de Majors ha disminuido. Actualmente existen 3: Warner Music Group, Sony Mu sic Group y Universal Music Group. • Por otro lado, las discográficas Indies o independientes son más pequeñas y abarcan mercados más específicos. Su alcance es regional y se adaptan rápidamente a las tendencias locales. Su personal comprende productores, ingenieros, A&Rs, entre otros, pero por lo general, las mismas personas cumplen varios roles. Estas discográficas se dedican a grabar mucho más que las Majors, firmando más de 10 proyectos por año, dependiendo de la magnitud de la compañía. Algunas de disc ográficas independientes son compradas por Majors, llegando a ser divisiones de estas. Por ejemplo DISA es una división de Universal. Existen cientos de sellos discográficos independientes alrededor del mundo enfocados en nichos de mercado específicos. Publishing El negocio del publishing consiste en la administración de los derechos de las creaciones de los compositores. Esta área de la industria se encarga de organizar, gestionar y otorgar permisos para el uso del material creado por los artistas en su c artera, ya sean compositores o autores. Estos permisos son conocidos como licencias. Promueve las obras de sus clientes para colocarlas en diferentes medios: proyectos musicales, cine, series de televisión, videojuegos, publicidad y cualquier otro uso come rcial de la música. Para lograrlo, los miembros asociados registran sus composiciones cumpliendo con la normativa legal vigente. Además se encargan de pagar las comisiones correspondientes a sus miembros y velan por el cumplimiento de los derechos de autor y manejo de licencias. Dos entidades prominentes en esta área son BMI y ASCAP. Touring Por su lado, el área de touring consiste en todo lo relacionado con planeamiento, logística e implementación de conciertos y giras. Involucra negociaciones entre prof esionales como promotores, agentes, managers, abogados y dueños de salas de eventos para confirmar fechas, duraciones, precios de los tiquetes, planeamiento del show, configuración escénica, mercadeo y muchas otras tareas cuyo objetivo es proporcionar una experiencia de entretenimiento a la audiencia. Además, los conciertos cumplen una función secundaria de promoción y aumentan las ventas de música grabada. Actividades Recomendadas, semana 1 Actividades recomendadas Actividad 1 Entreviste a un conocido que como artista se haya presentado en vivo. Pregúntele si tuvo que involucrarse en la logística del concierto y qué impacto tuvo dicho involucramiento en su preparación para dar el show. Analice la respuesta, en contraste con lo c omentado en el video 2 de esta lección. Actividad 2 Continúe con la entrevista. Consulte al artista el impacto que han tenido los medios de promoción digital como youtube en su carrera y en sus esfuerzos por establecerse profesionalmente. Analice la respue sta en contraste con el video 3 de esta lección Actividad 3 Entreviste a una persona involucrada en el negocio de la música para consultarle qué otros trabajos ha tenido en la industria, y qué otros trabajos le gustaría realizar dentro de la industria. Analice la respuesta en contraste con el video 4 de esta lección. Para encontrar quién entrevistar, puede investigar en redes sociales, visitar salas de conciertos, asociaciones culturales, estudios de grabación u oficinas de compañías discográficas. Semana 2 Acercando a la Audiencia y al Artista: El Equipo Primario Transcripción Todo artista que incursiona en el negocio se hace la misma pregunta: ¿Por dónde se comienza? La incertidumbre es un factor amenazante para el artista empírico ya que le pue de llevar a tomar decisiones incorrectas. Ser artista es un trabajo de tiempo completo. El artista inexperto en ocasiones mina su propio progreso al asumir roles que no le corresponden, descuidando el desarrollo de su propio oficio. Es muy difícil para un artista dedicarse a crecer creativamente, conectarse con su público y desarrollar sus habilidades de presentación escénica si está constantemente preocupándose por tareas de negocios como confirmación de conciertos, coordinación de transporte o elaboración de presupuestos y calendarios. Por este motivo es necesario para todo artista profesional, contar con un equipo de personas que le apoyan en todas las tareas del negocio. A este grupo de personas, como y se mencionó al inicio de esta lección, se le conoce como Equipo Primario o Equipo de Servicios de Negocios y consiste en cinco roles principales: personal manager, business manager, agente, abogado y productor musical (figura 1.8.). Figura 1.10. Equipo primario. Veamos una introducción a cada uno de el los. Personal manager El personal manager es el aliado número uno del artista. Su mayor fan. Su responsabilidad principal es plantear e implementar estrategias para desarrollar la carrera del artista, trabajando aspectos tanto administrativos como creativo s y ayudándole a tomar todo tipo de decisiones. Business Manager El business manager tiene un rol muy específico: garantizar la continuidad de negocio del artista a través de la administración financiera y contable. Agente En el área de touring, el agente es la persona o entidad encargada de negociar y confirmar fechas para conciertos y presentaciones en vivo. Abogado La función del abogado es clarísima: otorgar soporte y asesoría legal al artista para obtener las mejores condiciones contractuales. Productor El rol productor musical en la carrera del artista es implementar su sonido. Convertir las especificaciones otor gadas por management en canciones. De esta manera garantiza que el sonido del artista sea congruente con su estrategia de negocios. Razones para contratar un personal manager Transcripción El manejo artístico es uno de los aspectos más importantes en la carrera de cualquier artista. Un buen personal manager tiene la capacidad de expandir los horizontes profesionales del artista, así como uno malo puede destruirlos. Su rol consiste en analizar constantemente el estado actual del artista y definir las accio nes necesarias para su desarrollo. Es un aliado invaluable en términos creativos, de negocios y humanos. Ámbito creativo En el área creativa, el personal manager trabaja conceptualmente con su artista para identificar y desarrollar sus talentos en aspecto s como presentación escénica, vocabulario, interpretación instrumental, canto, manejo de relaciones públicas y muchas otras. Además, asesora al artista en términos de imagen y comunicación. Otros aspectos creativos están relacionados con la construcción de l sonido del artista a lo largo de su carrera y de la mano del productor musical. Ámbito de negocios El personal manager ayuda al artista a tomar decisiones, aconsejándole de acuerdo a las estrategias que desarrollan juntos. Algunos son más asertivos que otros, pero en general su rol de negocios comprende el acompañamiento durante las decisiones que definen el rumbo de su carrera. Utilizan sus contactos para promover al artista y conseguir oportunidades de negocios con entidades como discográficas, publish ers, agencias de publicidad, patrocinadores y otros artistas. Ámbito humano Dada su cercanía e involucramiento con el artista, el personal manager acaba por ser un aliado de vida. Una persona de confianza con la cual el artista tiene una relación muy cerc ana. Así, el manager asume ciertas responsabilidades de apoyo emocional y motivacional que ayudan al artista a mantener la concentración y el enfoque necesarios para brindar experiencias significativas a su audiencia. Productor musical: materializando el concepto del artista Transcripción El productor musical es una figura que colabora con la materialización del concepto del artista. Gran parte de la identidad artística está relacionada con el sonido específico de las canciones, lo cual es la responsabilidad directa del productor. Por lo g eneral forma parte intermitente del equipo de trabajo, ya que su relación laboral termina con la entrega de una cantidad de canciones especificadas contractualmente. Desde una sola, hasta un proyecto discográfico completo (figura 2.3.). Figura 2.4. Product or musical en el equipo del artista En algunas ocasiones incluso, la relación se prolonga a varios álbumes, pero nunca es permanente ni exclusiva, a diferencia de la relación manager -artista, que puede prolongarse toda una vida. Así, el rol del productor musical consiste en tomar las especificaciones proporcionadas por el personal manager y convertirlas en música (figura 2.4.). Figura 2.5. Rol del productor Estas especificaciones tienen que ver con la estrategia y con un moment o específico en la carrera del artista. Son aspectos no necesariamente musicales, sino premisas conceptuales de comunicación, como por ejemplo el tipo de vocabulario y descripciones de sonoridad. A partir de estas premisas, el productor musical organiza e implementa las etapas del proyecto musical que incluyen planeamiento, composición, arreglo instrumental, grabación, edición, mezcla y masterización. Coordina y supervisa estas etapas para garantizar la efectividad de la participación colaborativa entre los miembros del equipo de producción, incluyendo al artista (figura 2.5.). Figura 2.6. Responsabilidades del productor Todo con la finalidad de obtener canciones que generen el impacto emocional planteado por management. El objetivo principal del produc tor musical es generar el ambiente de trabajo idóneo para promover el momento musical y su correspondiente registro grabado. Este material es una herramienta poderosa mediante la cual el artista establece una conexión real con su audiencia. Razones para contratar un abogado Transcripción El abogado es una de las figuras más prominentes del negocio del entretenimiento. Su involucramiento es fundamental en toda relación de negocios para proteger los intereses del artista e identificar malentendidos antes de que estos generen repercusiones (figura 2.6.). Figura 2.7. Reunión entre abogados El abogado llega al equipo primario para formalizar las relaciones laborales entre el artista y sus clientes. Además proporciona asesoría legal para facilitar la toma de decisiones en circunstancias complejas como la firma de contratos con compañías discog ráficas y se hace presente para colaborar en la resolución de conflictos cuando se producen rompimientos contractuales. Al igual que el productor musical, su relación con el artista no es exclusiva. El abogado se hace presente solamente cuando se requiere de sus servicios. Sin embargo, existen diferentes tipos de abogados. Algunos se interesan en estar presentes y acompañar más al artista como si fueran un integrante más de la banda. Otros se remiten a las salas de juntas y ambientes de negociación. Y por supuesto, existe todo un espectro en el medio, pero lo común entre todos es su capacidad para asistir al artista en la formalización de negocios y resolución de conflictos. Figura 2.8. Abogados: posibilidades Así, existen dos tipos de abogados: los transaccionales y los litigadores. Los abogados transaccionales se involucran en negociación, redacción y revisión de contratos. Los que proporcionan servicios de litigación participan en disputas sobre los derechos del artista cuando se viola alguna cláusula de contrato, su patrimonio artístico, imagen, entre otros. De esta manera, el abogado participa en el desarrollo de la carrera del artista al involucrarse en su crecimiento de negocios y proteger sus intereses. Generando continuidad de negocio: Business Manager Transcripción El artista requiere al menos una persona en su equipo que le brinde asesoría en temas relacionados con banca, seguros, impuestos, finanzas y contabilidad. Esta figura corresponde al business manager y puede crecer hasta convertirse en un equipo de soporte de negocios enfocado en estas y otras áreas. Su objetivo principal es generar sostenibilidad y continuidad de negocios (figura 2.7.). Figura 2.9. Business manager La primera prioridad de un business manager es manejar los ingresos y egresos del artista y optimizar su gestión, haciendo recomendaciones al personal manager sobre el estado financiero y posibilidades de negocios. Además se asegura de evitar el gasto supe rfluo para que las ganancias remanentes después de hacer pagos sean depositadas o invertidas en maneras que beneficien al artista. Por lo general los business managers son contadores o administradores. Una de sus responsabilidades es supervisar la rentabi lidad. Por ejemplo, durante una gira, el business manager revisa los estados contables constantemente para verificar que se cuenta con la liquidez necesaria para hacer pagos de estadía, transporte, alimentación, alquileres y nóminas de pago. Figura 2.10. Liquidez en una gira Idealmente, los números deberían tender a una cifra de ganancia. Figura 2.11. Ingresos Si al hacer proyecciones identifica riesgos de entrar en déficit, toma medidas y recomienda proactivamente al personal manager las modificac iones necesarias por hacer. Por ejemplo, contratar servicios alternativos de alimentación, o transporte para gastar menos y compensar las pérdidas de un concierto que no recaudó lo esperado. De esta y muchas otras maneras la asesoría financiera del busin ess manager proporciona las bases para la continuidad operativa de la carrera del artista. Presentaciones en vivo: Agente Transcripción Gran parte de las ganancias que percibe el artista provienen de sus presentaciones en vivo. Los conciertos y presentaciones personales han representado el motor para generar rentabilidad en las carreras de innumerables artistas (figura 2.8.) Figura 2.12. Ingreso por presentaciones personales En esta área de la industria, el rol del agente, o booking agent implica trabajar como representante del artista para negociar y confirmar los detalles de sus presentaciones en vivo. Su trabajo es bastante específi co. El agente se encarga de conseguir presentaciones para el artista. Hace contacto con dueños de salas de concierto y entidades similares para negociar las fechas y condiciones de dichas presentaciones (figura 2.9.). Figura 2.13. Agente Un solo agente puede trabajar con varios clientes. Su relación con el artista no es exclusiva, ni viceversa. Así como un agente puede contar con varios artistas en su cartera de clientes (figura 2.10), el artista puede tener varios agentes (figura 2.11.). Figura 2.14. Agente con varios artistas Figura 2.11. Artista con dos agentes Desde este punto de vista, el agente trabaja de cerca con el personal manager para definir las condiciones que puede negociar (figura 2.12.). Figura 2.16. Por ejemplo , el tipo de salas de conciertos para una cantante de ópera no es el mismo que para una banda de rock. Además, el manager le comunica las temporadas en las que el artista estará presente en zonas geográficas específicas. Así, el agente cuenta con una delim itación regional establecida para trabajar clientes específicos en diferentes épocas del año. Un artista que gira internacionalmente o en zonas geográficas extensas, puede contar con varios agentes. Cada agente se especializa en una zona geográfica específ ica. Al inicio de su carrera el artista puede ser su propio agente, trabajando contactos para promover sus propias presentaciones en vivo. Esta práctica es común, e incluso aceptable bajo ciertas circunstancias, sin embargo, está lejos de ser el caso idea l, por un motivo: el agente continúa trabajando incluso cuando el artista está presentándose ante el público. Muchas veces visita el concierto y hace contactos con otros artistas o personas involucradas en la organización de conciertos, lo cual crea oportu nidades adicionales. Además, bajo estas circunstancias, el tiempo que el artista esté involucrado en procesos creativos de ensayo, composición o producción musical es tiempo muerto en términos de conseguir oportunidades para presentaciones en vivo. Activ idades Recomendadas, Semana 2 Actividad 1 Entreviste a un artista que se presente en vivo y tenga al menos una producción discográfica. Pregunte lo siguiente: ¿Qué le diferencia de su competencia? Solicite aspectos tanto referentes a su sonido como a sus prácticas de negocios. Actividad 2 Continúe con la entrevista. Pregunte lo siguiente: Durante la producción discográfica, ¿Se contrataron los servicios de un productor? Si no fue así, ¿Quién se encargó de convertir el concepto sonoro en realidad a través de la producción del disco? ¿Qué tan fluido fue el proceso? Actividad 3 Continuando con la entrevista, realice la última pregunta. Además de los músicos. ¿Quién más forma parte permanente o semipermanente del equipo de trabajo del artista? ¿Qué funciones cumple esta(s) persona(s)? ¿Qué factores de negocios influyeron en la dec isión de integrar a esta(s) persona (s) en el equipo de trabajo? Si no existen personas adicionales, pregunta al artista: Considerando su situación de negocios actual y el crecimiento que espera tener en los próximos 5 años ¿Cuál será el primer rol a contr atar? ¿Por qué? semana 3 Prioridades el Artista: Orden de Contratación del Equipo Primario Transcripción Hemos establecido la importancia del equipo de trabajo en la carrera del artista. Integrar su equipo primario le permite dedicarse a su público. S in embargo la pregunta permanece. La interrogante ¿por dónde comenzar? se convierte en otra más específica: ¿Quién se contrata primero? Cada artista plantea su estrategia de manera distinta. Dependiendo de sus áreas de enfoque, experiencia y contactos, re querirá más inmediatamente de los servicios de un profesional distinto. Veamos un ejemplo. Un artista tiene dos años presentándose en vivo en sitios pequeños, de menos de 100 personas, interpretando covers. Tiene un ingreso estable y desea crecer. Nunca ha grabado material discográfico. Meditemos cuál de las siguientes funciones es más necesaria. • Negociar • Hacer contratos • Producir y grabar su música • Conseguir conciertos • Llevar a cabo los registros contables Estas funciones describen generalmente a cada uno de los participantes del equipo primario. El personal manager negocia y toma decisiones estratégicamente. El abogado maneja la parte legal y contractual. El productor musical se encarga de grabar la música. El agente consigue conciertos y el busin ess manager gestiona las finanzas. En nuestro ejemplo, el artista ya tiene un circuito de conciertos estable, por lo que no requiere con urgencia de un agente. Al carecer de material discográfico, su primera prioridad podría ser contratar a un productor m usical y desarrollar material original para empezar a salirse del nicho de los artistas de covers. Por otro lado, su enfoque podría ser conseguir más conciertos para sufragar los gastos de producción musical, para lo cual un agente sería el primer miembro a contratar. La estrategia de negocios se deriva de la percepción del artista y sus prioridades. Durante las próximas lecciones detallaremos estrategias y describiremos los roles de cada uno de los integrantes del equipo primario para establecer premisas en el orden de contratación. Prolongación de la carrera artística: Filosofía de negocio Transcripción ¿Cómo prolongar una carrera artística? Toda carrera artística tiene una duración limitada. Curiosamente, puede prolongarse entre unos pocos años y varias décadas. El artista debe luchar por mantenerse relevante ante la audiencia. Por este motivo, la filosofía de negocios es fundamental. Por eje mplo, si comparamos un artista musical con un médico cuya carrera se prolonga unos 40 años (figura 2.1.). Si es exitoso, el artista puede ganar por año varias veces lo que gana el médico, pero su carrera difícilmente se prolongará lo mismo. Figura 2.2. C omparación: ingreso vs prolongación de carrera Por este motivo, el artista debe responsabilizarse y analizar que las ganancias de sus años más productivos se deben distribuir durante muchos años, probablemente el resto de su vida. Así, el artista debe tomar en cuenta dos premisas importantes: • Ser artista es un negocio. A pesar de que su rol es meramente creativo, su capacidad de generar ganancias multimillonarias implica adquirir una perspectiva de negocios. • Muchos artistas no se interesan en el l ado de negocios de su carrera porque piensan que su tiempo está mejor invertido en su desarrollo artístico. Esta postura puede parecer razonable, e incluso acertada. Sin embargo, los artistas que tienen una perspectiva de negocios ganan ventaja competitiva . Visión de negocios La filosofía de negocios permite al artista identificar oportunidades. Veamos un ejemplo. Un policía enseña un video de una cámara de seguridad a una audiencia y solicita que observen atentamente la escena. El video muestra una típica mañana en la ciudad (figura 2.2.). Personas caminando, entrando y saliendo de las tiendas, vehículos circulando. Figura 2.3. Mañana en la ciudad Después de 30 segundos detiene el video y comenta que se cometieron 6 crímenes durante el transcurso del vi deo. El ojo entrenado identifica lo que es invisible para el ojo común. De la misma manera, el artista que tiene una perspectiva de negocios logra “leer entre líneas” y ver las oportunidades que puede tomar para el avance de su carrera. En una industria c ada vez más globalizada y competitiva, el artista actual no se puede dar el lujo de ignorar las circunstancias de negocios que giran alrededor de su rol creativo. Aunque cuente con un equipo de profesionales para encargarse de tareas específicas, debe desa rrollar su visión de negocios y estar alerta en todo momento para prolongar al máximo su carrera. Iniciando la integración del equipo de trabajo Transcripción Todo artista debe enfrentarse a la realidad del negocio si desea una carrera productiva. Ya que hemos dado un vistazo general a las funciones y responsabilidades de cada uno de los integrantes del equipo primario, podemos iniciar la integración del equipo de servicios de negocios. Recomendaciones para buscar e identificar miembros potenciales Veamos un caso hipotético. Supongamos que somos integrantes de una banda que no cuenta con equipo primario, tiene varios meses de ensayar y ha acumulado suficiente ma terial original como para comenzar a desarrollar sus presentaciones en vivo. Muchos artistas hacen este mismo ejercicio todos los días al enfrentarse a la necesidad de contratar integrantes para su equipo de trabajo. Al definir algunas premisas el proceso de búsqueda y contratación se hace más sencillo. • ¿Cuáles son las funciones que necesitamos cubrir? El artista analiza cuáles funciones está llevando a cabo actualmente, las cuales le quitan tiempo para desarrollarse como artista. En el caso de nuestra ba nda ficticia, la búsqueda de presentaciones en vivo. • ¿Cuánto tiempo estamos dedicando a estas tareas y qué tipo de rendimientos genera esta inversión? Por ejemplo, el baterista de nuestra banda ficticia dedica 16 horas semanales a la logística de concie rtos y a cambio obtiene dos conciertos semanales de manera estable. Recordemos que nuestra banda no cuenta con equipo primario, de manera que estas 16 horas afecta su desarrollo artístico. • ¿Qué roles del equipo primario están descuidados actualmente? Al analizar los roles del equipo primario que no se están implementando, podemos definir si son urgentes en el plazo inmediato. En el ejemplo, nuestra banda no está realizando acciones de prod ucción musical y no necesita hacerlo por el momento. Por otro lado, hemos estado firmando documentos para las presentaciones en vivo, sin conocer el contenido e implicaciones de los mismos. El rol del abogado podría beneficiar al crecimiento de la banda. • ¿Cuáles roles son necesarios de contratar? Hemos encontrado que necesitamos contratar un agente y un abogado. Además es importante definir el orden de prioridad. En nuestro caso, necesitamos primero contratar al agente ya que si éste no consigue fechas p ara presentaciones en vivo, no necesitaremos la asesoría del abogado para firmar documentos. • ¿Cuánto es posible invertir para cada integrante? A partir de los recursos invertidos y rendimientos actuales, es posible definir un presupuesto de referencia. Por ejemplo, si la banda se está presentando dos veces a la semana gracias a las 16 horas semanales que el baterista dedica al rol de agente, y esto representa una ganancia neta de $2000, el agente contratado debería aumentar estas ganancias trabajando igu al o menos tiempo. Además, es necesario definir qué parte de estos $2000 estamos dispuestos a pagarle al agente por su trabajo. El artista debe atender personalmente la integración de su equipo de servicios de negocios. Incluso cuando sea un proceso fastid ioso, debe contemplar que su carrera y su dinero estarán en manos de estas personas. La elección de personas adecuadas puede ser la base de un desarrollo profesional sin preocupaciones. Sin embargo, incluso bajo estas circunstancias idóneas el artista debe supervisar periódicamente para asegurarse de que todo marche bien. Por otro lado, seleccionar las personas incorrectas y entregarles responsabilidades ciegamente puede arruinar la carrera del artista. Uso del demo en promoción artística Transcripción El artista necesita de un equipo de trabajo efectivo, para lo cual debe ser selectivo y cuidadoso. Correspondientemente, debe prepararse para ser congruente con dichas exigencias. El integrante potencial del equipo de trabajo preguntará: ¿Qué beneficio tra erá a mi carrera trabajar con este artista? ¿Vale la pena involucrarme con este artista? Como dijimos anteriormente, el artista debe trabajar con profesionalidad para poder exigirla, a su vez, a su equipo. Así, la manera de presentar una oferta de trabajo atractiva a un miembro potencial de su equipo primario, es preparar material. El artista trabaja en tres aspectos para lograr diferenciarse de su competencia: su producto, su base de fans y su historia. Su producto: el demo El artista competitivo debe tener un producto que enseñar. Este producto se conoce como el demo. Este material se trata de una grabación de canciones representativas, que demuestran claramente tanto el sonido como el potencial del artista. ¿Cómo debe sonar el demo? Es importante tener claro que el demo debe ser producido con el mayor nivel de calidad posible, pero existe un factor más importante que el costo o complejidad sonora del demo: lo que comunica. La mayoría de profesionales en la industria busca re lacionarse con artistas con los cuales desarrollar empatía. Es más sencillo y disfrutable trabajar en una causa en la que se cree. La música debe tener impacto y alcance emocional. El demo debe dejar claro que el artista es capaz de transmitir este impacto a su audiencia. Para evidenciarlo, algunos demos incluyen videos del artista interactuando con el público para demostrar sus capacidades comunicativas. Respecto al tipo de música, es una decisión personal del artista que debe fundamentarse en motivacione s genuinas. Nadie ha tenido una carrera verdaderamente relevante imitando el sonido de otros. Es por este motivo que el artista debe creer honestamente en su música. Así, el tipo de música viene directamente relacionado con la persona o personas que la int erpretan. La resonancia emocional entre el artista y el público, se genera en la vivencia mutua que comparten. Esto resulta difícil, sino imposible de crear artificialmente. El dilema: ¿Buscar un contrato discográfico? Transcripción Todos los artistas se enfrentan en algún momento a la aspiración de firmar un contrato con una compañía discográfica major. Aunque esta pretensión se puede trabajar como un objetivo real, existen grandes barreras en contra. Veamos un par de ellas: ¿Cuánto s demos recibe una discográfica major? De 40 a 60 diarios. Esto acumula entre 300 y 400 semanales. La segunda barrera es que las discográficas majors no escuchan el material recibido de nuevos artistas. Cientos de personas gastan su tiempo esperando una respuesta positiva que nunca llega. Entonces, ante una circunstancia tan abrumadora, el artista podría preguntarse: ¿Cómo presentar un demo, lograr que sea escuchado y que sobresalga entre todos los que se reciben? Las discográficas majors sí escuchan par te de los demos que reciben: los que han sido remitidos a través de personal managers o abogados de industria establecidos en el negocio musical. Esta es la razón por la cual muchos equipos de trabajo buscan integrar primero a una u otra figura. Además, e l artista debe considerar a las discográficas independientes, que firman proyectos nuevos todo el tiempo y que están dispuestas a asumir riesgos financieros si el artista logra comprobar que el proyecto vale la pena en términos de rentabilidad e inversión de recursos. Orden de contratación La incertidumbre es parte de la ecuación para los que incursionan en la industria musical sin el conocimiento correcto. Para el artista que desea ese contrato con la discográfica major puede significar años de trabajo sin frutos, simplemente porque es nece sario tener contactos para que el material sea escuchado, pero también es necesario que el material sea escuchado para conseguir dichos contactos. La clave radica en contratar un personal manager o abogado para que posicione el demo (figura 3.6.). Figura 3.6. Estrategia: Contrato discográfico Por este motivo, la mayoría de las veces el primer integrante del equipo primario es el abogado o el personal manager (figura 3.7.). Figura 3.7. Orden de contratación. Conseguir un personal manager posiciona do puede ser complicado para un artista nuevo por el tiempo que debe dedicarle. Además, un manager de este tipo normalmente tiene una cartera de clientes definida y una agenda muy restringida. Por este motivo es más sencillo contratar un abogado, ya que de dica mucho menos tiempo por cliente y su responsabilidad es más puntual (figura 3.8.). Figura 3.8. Orden de contratación En este escenario se le contrata más por los contactos que tiene que por sus destrezas legales y el artista contratante debe revis ar las referencias del abogado para asegurarse de que su demo no terminará en el basurero. Algunos abogados tienen la mala fama de aceptar una cantidad indiscriminada de demos. Naturalmente, los que envían estos abogados no son escuchados. El tercer y cuar to profesional en ingresar al equipo es el agento o el productor musical, dependiendo del énfasis estratégico del artista: las presentaciones en vivo o la grabación de material respectivamente (figura 3.9.). Figura 3.9. Orden de contratación (segundo int egranrte) Finalmente, el business manager es el último integrante en ingresar al equipo porque su labor radica en rentabilizar el negocio del artista. Para ese momento, ya el negocio debe ser estable y los artistas nuevos por lo general luchan por mante nerse a flote de manera que no tienen espacio en sus presupuestos para contratar al business manager. Recíprocamente, el business manager por lo general se muestra renuente a trabajar con un artista cuya base operativa no garantice el pago por su tiempo. E sta es la razón por la cual la mayoría de artistas no necesitan de todas las funciones del business manager al inicio de sus carreras y en su lugar contratan un contador. Actividades Recomendadas, Semana 3 Actividad 1 Investigue hasta encontrar una historia que haga que una banda o artista sea sobresaliente, de acuerdo a las premisas presentadas en el video 5. Comparta dicha historia en el foro del curso. Actividad 2 Si usted fuera un artista, ¿en qué orden contrataría a los integrantes del equipo primario? ¿Buscaría un contrato discográfico? Justifique su respuesta. Compártala en el foro del curso. Actividad 3 Entreviste a los integrantes de una banda. Pregúnteles si en algún momento han reemplazado a un integrante y los motivos por los cuales se hizo esto. Si no se ha tomado dicha medida nunca, pregunte qué circunstancias o comportamientos provocarían considerarlo. Analice la respuesta obtenida, en contraste con lo visto en el video 9. semana 4 Construyendo y tra bajando una base de fans Transcripción Además del demo, el artista presenta su fan base o base de fans a sus posibles aliados. La base de fans es el grupo de personas con el cual el artista tiene poder de convocatoria e impacto comunicativo (figura 3.1). Figura 3.1. Fanbase Formando una base de fans La base de fans se recopila y presenta mediante datos cuantitativos. Veamos algunos ejemplos: • Historial de presentaciones en vivo, con cifras de tiquetes vendidos. • Presencia en internet y redes sociales, por ejemplo, cantidad de seguidores en twitter o facebook, videos vistos en youtube y demás medios de promoción en línea. • Presencia en medios. Sus apariciones en revistas, televisión, radio, prensa y otros medios de comunicación masiva. • Listas de contacto de fans a los que el artista tiene acceso para promocionarse. Existen innumerables estrategias para desarrollar esta lista de seguidores. Un método ampliamente utilizado es la lista de correo. Durante las pre sentaciones el equipo del artista ofrece a las personas que asisten agregar su correo a la lista con el fin de recibir noticias y fechas de los próximos conciertos. En algunos casos se incentiva esta acción regalando mercadería a todos los que se inscriben . Otras herramientas en línea como cashmusic.org y fanbridge.com ofrecen medios virtuales para dar regalías a los fans, como canciones gratuitas, a cambio de su información de contacto o aporte en redes sociales. La colocación de canciones en televisión o comerciales es un mecanismo efectivo también. Sitios como musicdealers.com o pumpaudio.com colaboran en la colocación de música en estos medios, ayudando así a que la música del artista alcance un público más amplio y variado. Trabajando las bases de segu idores: posicionamiento mediante figuras de influencia Transcripción Trabajando la base de fans Poco a poco la lista de contactos del artista crece y su base de seguidores se desarrolla. En los paradigmas de promoción moderna el objetivo no es dirigir al f an a la compra directamente, sino, se trata de desarrollar empatía y conexión con el artista. Esto se logra utilizando las listas de contactos para dirigir a los fans a los portales en línea del artista, como su página web, o de youtube para experimentar c ontenido multimedia incluyendo sus videos y música (figura 3.2.). Figura 3.2. Exposición de productos al fanbase El enfoque es crear interés en los fans mediante diferentes campañas para regalar tiquetes, reconocer a los fans más leales, regalar artículos como camisetas, o simplemente comunicarse para crear confidencia y empatía (figura 3.3.). Figura 3.3. Fanbase: E strategias de promoción Estas estrategias le dan poder a la base de fans para organizar eventos, coordinar logística o incluso tener acceso directo al artista. Artistas ya establecidos, utilizan sus listas de contactos de modos creativos. Por ejemplo dándoles la primicia en la compra de tiquetes para un concierto privado u ofreciéndoles versiones autografiadas de colección de sus producciones discográficas para dar un valor agregado. Figuras de influencia Otro método que el artista o su equipo puede u tilizar para desarrollar su base de fans, es promoverse mediante figuras de influencia. Es decir: personas con credibilidad como periodistas, escritores de blogs, autores, locutores de radio, presentadores de televisión, dueños de salas de conciertos, crít icos, entre otros. Estas figuras de influencia cuentan con la reputación, seguidores y canales de comunicación para emitir su opinión, además de que no solo son tomadas en consideración, sino también son apreciadas por sus seguidores (figura 3.4.). Figura 3.4. Figura de influencia Esta base de seguidores se encarga de promover las opiniones, algunas veces de manera viral. Cuando las actividades de promoción del artista captan la atención de una figura de influencia y ésta emite una opinión, es recomendable agradecer públicamente la mención. Por ejemplo, si un locutor de radio menciona que fue a un concierto y disfrutó de un artista que no había escuchado antes, la banda podría agradecer el comentario en la cuenta de twitter del locutor. Esto lograría dos objetivos. Primero, regresar la cortesía y segundo ayudar a promover el nombre del artista ante la base de seguidores del locutor. Por beneficios como el anterior, el artista debe estar alerta para posicionarse ante figuras de influencia y buscar contacto proactivo con ellas constantemente. Creando impacto y recordación mediante "la historia" Transcripción En un mercado su mamente competitivo el artista necesita sobresalir, necesita ser memorable. El personal manager trabaja networking para promover el artista a sus contactos de negocios, con el objetivo de ganar posicionamiento y ser recomendado para trabajos específicos. U na estrategia para obtener la atención de estos contactos de negocios y mediante "la historia". ¿Qué es "la historia"? La historia es una anécdota que diferencia al artista. Es un importante factor diferenciador que relaciona el nombre del artista con dicha anécdota. Puede ser simple, o compleja, pero tiene alto impacto. Así, el artista es relacionado con la anécdota hasta que su nombre se posiciona y la anécdota pasa a tener relevancia secundaria. Por ejemplo. Después de una reunión, dos managers podrían tener una conversación similar a esta: -"Ella es carismática, su banda se llama The grand theft orchestra". -"No la re cuerdo". -"Es la que recaudó más de un millón de dólares en un mes, para la producción de su álbum, mediante crowdfunding en el sitio kickstarter.com" -"¡Ah! ya la recuerdo. La pelirroja" De esta manera, la historia se promueve a sí misma y el artista se p osiciona por su asociación a ella. La presentación en el ascensor Existe una estrategia de auto promoción conocida como la presentación de elevador o elevator pitch. Consiste en presentar una idea en un tiempo corto, similar a la duración de un viaje en ascensor. Veamos un ejemplo. Imagine que en una entrevista de trabajo le preguntan lo siguiente: “¿Le gustaría formar parte del equipo del artista que desarrolló su magnetismo escénico a lo largo de más de 1200 conciertos antes de tener éxito internacional ?” Esta afirmación inmediatamente llama la atención y crea curiosidad al respecto. Estamos hablando de The Beatles y los shows que interpretaron tocando hasta 7 días a la semana entre 1960 y 1964 (figura 3.5). Primero fueron la banda que tenía 1200 shows en bitácora y después su anécdota se convirtió en solo una historia más sobre su exc epcional carrera. Figura 3.5. THe Beatles (1963) De esta y otras maneras, la presentación de elevador se utiliza en combinación con la historia para crear impacto y llamar la atención de posibles contactos de negocios. Otras estrategias previas Otros datos que el artista prepara para negociar con posibles miembros de su equipo de trabajo incluyen: • Contactos de personas en el negocio que pueden dar referencia suya. • Presentación de imagen, como por ejemplo fotos, videos y sitios web. • Portafolio de sus producciones discográficas y cifras de sus ventas. Al presentar su demo, base de fans, historia, y otros datos, el artista aporta peso a sus negociaciones ya sea con miembros potenciales del equipo primario y con posibles clientes o socios de negocios . Encontrando a los integrantes del equipo primario Transcripción El artista que incursiona en el negocio se cuestiona cómo encontrar a los integrantes de su equipo de servicios de negocios, la cual es una pregunta válida. Para contestarla es importante resaltar que la industria musical es un negocio de contactos. El art ista debe hacer uso de sus conexiones para averiguar y obtener referencias de personas que le puedan favorecer en su carrera. Además de sus contactos, debe hacer uso de todos los recursos a su disposición para encontrar a las personas que formarán parte de su equipo primario. ¿Cómo se encuentran estas personas? Veamos algunos métodos. Contactos personales El primer recurso consiste en utilizar los contactos personales. El artista recurre a todos sus conocidos para solicitar recomendaciones. Esta es la mej or manera de iniciar una conversación de negocios en la industria musical: a través de un conocido en común. Esto es lo que se conoce como un “contacto en caliente”. De esta manera el artista puede presentarse, diciendo que fue recomendado y esto facilita el inicio de una relación de negocios. Estar donde la industria está La mayoría de las personalidades prominentes en esta industria están ubicadas en ciudades como Los Ángeles, Nueva York o Nashville. El artista investiga dónde están las personas con las que se desea asociar y mueve sus actividades de negocios a dicha área. Construir una lista ¿Alguna vez buscó más música de un artista porque disfrutó de una canción? ¿Por qué no buscar más música trabajada por el mismo productor musical o manager? Antes de siquiera iniciar una búsqueda seria, es importante plantearse objeti vos. El artista puede hacer uso de directorios de negocios para construir una lista que contenga a los profesionales con cuyo portafolio se sienta identificado. Por ejemplo, algunos directorios se encuentran en sitios como allaccess.com, publicaciones como Who's got who de la revista HitsMagazine o documentos como el listado internacional de talento y touriung de Billboard. Sin embargo, el artista debe utilizar estos recursos cuidadosamente ya que pueden ser imprecisos o quedar desactualizados, especialment e si son impresos. Los directorios en línea son un poco más confiables. Otro recurso gratuito y de fácil acceso son los créditos de producción en los lanzamientos comerciales. Estas listas de créditos encontradas en los CDs o DVDs contienen nombres de managers, abogados o agentes en la sección de agradecimientos especiales y los de compositores, arreglistas, ingenieros, programadores y otros profesionales en los créditos de cada canción. Las listas de personal en los programas de las giras que se postean e n internet también contienen información similar. Trabajando la lista Una vez recopila la lista de las personas con las que desea trabajar, el artista debe establecer prioridades e iniciar un proceso de contacto, ya sea presencialmente, por teléfono, cor reo electrónico, redes sociales o incluso correo convencional. La cantidad de mensajes sin respuesta, llamadas no retornadas y respuestas negativas será muy alta, debido a que está entablando contactos en frío con personas que no conoce, ni le conocen. La brevedad es importantísima en este tipo de comunicaciones ya que estas personas están sumamente ocupadas. En muchas ocasiones es necesario hablar con recepcionistas o asistentes para poder establecer una línea de comunicación. Además, es muy común que la persona exprese interés pero carezca de tiempo o recursos para apoyar al artista. En esta situación, el artista puede solicitar una recomendación, haciendo preguntas como: ¿Si usted no puede, me podría recomendar a alguien? De esta manera es posible obtene r recomendaciones para iniciar contactos por referencia. Para incursionar en la industria, el artista debe comprender que las negativas no son personales y que el recurso más valioso para tener una carrera exitosa es la perseverancia, aunada con la prepar ación profesional constante. Identificando a los indeseables Transcripción Como en todas las industrias, existen personas deshonestas e inescrupulosas y la industria musical no es la excepción. El artista debe tener sumo cuidado al seleccionar los miembr os de su equipo, asegurándose de que tienen un interés genuino en su carrera y no en lo que pueden obtener a través de esta. Veamos algunos métodos para identificar y filtrar a las personas deshonestas. El artista entrevista cuidadosamente, revisa referen cias y somete al nuevo miembro a un periodo de prueba. La entrevista El artista debe desconfiar de la primera impresión que surge al reunirse con el miembro potencial del equipo, ya que durante esta entrevista por lo general se hace uso de todos los recur sos para llamar la atención y aparentar ser la mejor opción. Es necesario ver a través de esta primera conversación. La mejor manera es mediante la investigación de referencias. Es particularmente importante no dejarse impresionar con promesas o anécdotas ya que la mayoría de las veces este tipo de compromisos no se cumplen. Cuando una persona que busca socios de trabajo presenta una situación prometedora y de gran potencial, por lo general omite detalles importantes. Por ejemplo, un trato de un millón de d ólares resulta ser un trato de decenas de miles, a menos de que el artista tenga éxito masivo. Al omitir este último detalle, participar en un trato de un millón de dólares puede resultar muy atractivo para cualquiera. En realidad no existen atajos. El se creto del éxito en la industria musical radica en el planeamiento inteligente, el trabajo duro y la ejecución estratégica. Referencias La reputación antecede toda presentación o portafolio. El artista solicita referencias al miembro potencial del equipo y las revisa cuidadosamente. Por otro lado, también pregunta en su propio círculo de contactos, incluyendo los miembros actuales del equipo de trabajo, para verificar si conocen cómo trabaja este miembro potencial. Al revisar referencias, habla con personas que estén a su mismo nivel de negocio. El hecho de que una persona cuide muy bien a sus clientes grandes no garantiza que hace lo mismo con todos sus clientes. Por ejemplo, el artista de nivel intermedio habla con las referencias de su propio nivel para c onocer el trato que reciben de este miembro potencial. Además, al hablar con las referencias, el artista pregunta cuánto tiempo han trabajado con esta persona para determinar si su opinión es válida. Periodo de prueba Aun cuando la persona es contratada, el artista supervisa su trabajo continua y celosamente durante los primeros meses. De la misma manera consulta a los miembros del equipo de trabajo para verificar el rendimiento de la persona nueva. El error más grande es darle poder y libertad total a un miembro nuevo del equipo de trabajo. Esta delegación negligente puede provocar problemas serios ya que nadie cuida mejor el negocio del artista que el artista mismo. Cambiando integrantes del equipo Transcripción Diferentes personas llenan las posiciones del equipo de trabajo conforme pasa el tiempo. En muchos casos estas transiciones se deben a finalización del plazo del contrato, o a otras circunstancias no problemáticas. Sin embargo, con la experiencia los artis tas desarrollan una intuición que les indica cuando algo anda mal. Canales abiertos de comunicación La clave para crear un ambiente de trabajo agradable y productivo radica en la comunicación. Al tener canales abiertos se posibilita la resolución de confl ictos. Es importante no postergar estas conversaciones. Algunos abogados incluso recomiendan comunicar los problemas a través de terceras personas para evitar que los conflictos profesionales se tornen en problemas personales. Las circunstancias y las per sonas siempre cambian. Es muy inusual que un integrante del equipo de trabajo tenga un contrato vitalicio con el artista. Una persona que jugó un rol crucial en una etapa específica podría gradualmente perder interés en la visión estratégica a largo plazo. Por otro lado, si el artista se desarrolla, es posible que requiera apoyo cada vez más especializado, lo cual implica prescindir de los servicios de algunos de los miembros de su equipo para contratar a otros. Además, es responsabilidad del artista hablar con las personas cuyos servicios no están rindiendo los resultados esperados. Lealtad y confianza Más allá de las credenciales o capacidades profesionales, el miembro exitoso del equipo primario proporciona lealtad y confianza al artista, quien responde actuando recíprocamente. Este tipo de relación es difícil de encontrar y mantener. La lealtad y la confianza significan perseverar con el equipo de trabajo sin importar las circunstancias: positivas o negativas. Para el artista representa la tranquilidad de esperar un nivel de compromiso por parte de los profesionales en su equipo primario. Si todos trabajan duro y dan lo mejor de sí mismos, la relación se mantiene. Así, el artista tiene la responsabilidad de actuar si nota cambios en el nivel de calidad y compromiso de su equipo. Muchos conflictos y pérdidas se pueden evitar al actuar de manera proactiva para confrontar lo antes posible las situaciones que se presenten. Por esta razón, la confianza es invaluable. Si existe una relación de confianza entre los miembros del equipo y el artista, se establece un núcleo sólido para la ejecución de cualquier trabajo. Es por esto que el artista debe comunicarse abiertamente si pierde la confianza en un miembro de su equipo o nota que su lealtad cambia. -Integrac ión del Equipo: Personal Manager y Abogado semana 1 Rol del Personal Manager Transcripción El personal manager es una figura un poco misteriosa para las personas sin experiencia en el negocio, ya que aparenta estar presente en todos los aspectos de la vida del artista. ¿Qué hace un personal manager? Ya hemos repasado algunas de sus responsabili dades. En pocas palabras, representa a uno o varios artistas, supervisando todos los aspectos de su carrera. Maneja y asesora todas las decisiones del artista tanto de negocio como creativas, implementando estrategias para desarrollar su carrera y mantener la en un plano de relevancia comercial. En algunos casos su relación con el artista le lleva a involucrarse incluso en decisiones personales. Así, el personal manager es el individuo más importante en la carrera del artista. Esta figura puede provocar su despegue, o bien su fracaso. Habilidades del personal manager Veamos cuatro habilidades que todo personal manager profesional debe desarrollar: • La comprensión de la naturaleza humana implica el desarrollo de habilidades interpersonales para manejar los egos de diferentes tipos de personas involucradas en la carrera del artista. El personal manager estudia los motivos por los que diferentes personas reaccionan de diferentes maneras con el fin de comunicarse estratégicamente. Desarrolla sus habilidades soc iales para ser agradables y accesibles, lo cual crea una imagen de confianza y seguridad. Así, presenta sus propuestas e ideas de manera atractiva y crea relaciones de negocios duraderas y de mutuo beneficio. • El liderazgo es una habilidad crucial del personal manager que ayuda al artista a formarse. La influencia que ejerce el manager en sus artistas durante las etapas tempranas de sus carreras, les ayuda a formar los criterios de negocios necesarios para enf ocarse y organizar sus propósitos en la industria. • En su oficio de líder, el personal manager también es un orientador. El liderazgo implica metas estratégicas a largo plazo, mientras que la orientación o coaching implica trabajo a corto plazo con el fi n de desarrollar facetas artísticas específicas como su presentación y comunicación escénicas. Esta habilidad tiene un ámbito limitado ya que el personal manager no puede ser un experto en todas las áreas de crecimiento artístico. Para lograr un desarrollo integral en sus artistas participa como coach en las áreas que conoce y contrata los servicios de otras personas en las áreas que no domina. • Una de las habilidades más cotizadas del personal manager es su networking, que implica el uso de capacidades i nterpersonales para crear una red de contactos y relaciones de negocios. El networking requiere que el personal manager se involucre tanto en el lado de negocios como en el social de la industria, asistiendo a una diversa gama de eventos, tales como conven ciones, premiaciones, conferencias y seminarios. Algunos ejemplos incluyen la convención Pollstar, los premios Grammy o las conferencias de Billboard. Tipos de personal managers según su trayectoria Transcripción ¿Cómo seleccionar un personal manager? En realidad, la mayoría de los artistas tienen opciones muy limitadas al inicio de sus carreras. Lo mismo se puede decir de los personal managers. Conocer las etapas de crecimiento de su carrera nos puede ayudar a comprender por qué es difícil conseguir un c ontrato de management. Veamos un ejemplo aproximado del desarrollo de la carrera del personal manager (figura 4.1.). Etapas de crecimiento 1. Al inicio de su carrera, en la etapa joven, el personal manager tiene altos niveles de entusiasmo pero poca experiencia. Busca un artista nuevo y promisorio para iniciar y hacer crecer su carrera. 2. Durante la etapa de ascenso, el manager hace todo lo posible para llevar a su artista a un nivel de negocio específico. Si este nivel es de alta relevancia, el éxito se confirma mediante solicitudes entrantes de negocios. El manager empieza a ser buscado por sus potenciales clientes. Además, otros managers s e presentan para intentar quitarle a su artista. 3. Le etapa de estabilidad viene acompañada por el cansancio que el manager experimenta después del esfuerzo de posicionar a su primer artista. Empieza a buscar dividendos económicos del éxito alcanzado y e n vista de su crecimiento de negocios puede optar por contratar a otras personas. 4. Conforme continúa desarrollándose, llega a una etapa de perspectiva, en la cual el éxito se convierte en un factor de su oficio profesional. Durante esta etapa continúa fi rmando contratos con más artistas y aumenta la cantidad de socios contratados, llegando a formar compañías de manejo artístico en algunos casos. Algunos personal managers se ven influenciados por su propio ego y se llegan a sentir amenazados por la compete ncia, evitando contratar asociados de su propio calibre o contratando individuos menos capaces, lo cual afecta la calidad de los servicios proporcionados a sus artistas. Algunos incluso contratan asociados calificados pero les pagan mal, con lo cual estos últimos renuncian y se llevan a sus artistas asignados. A través de todas estas situaciones, la etapa de perspectiva ve un crecimiento y decremento de la cartera de clientes del personal manager. 5. De esta manera llega la etapa de consolidación, en la c ual el manager decide si desea que su negocio sea grande o no. Solamente en casos excepcionales, se logra establecer una agencia de management exitosa, relevante y sostenible (figura 4.1. sección 5a). La mayoría disuelve sus sociedades y se queda con uno o dos artistas importantes (figura 4.1. sección 5b). Algunos deciden diversificar, formando discográficas independientes o incursionando en el negocio del cine, por ejemplo. Figura 4.1. Etapas de crecimiento en la carrera del personal manager. Al explor ar estas etapas es evidente que un artista nuevo no puede pretender contratar a un manager posicionado, aunque es definitivamente la primera opción si el artista logra generar interés en un manager de este tipo. Sin embargo no es muy común, por lo que pode mos concluir que es altamente recomendable para un artista sin experiencia, contratar un personal manager joven e inexperto, pero agresivo y con potencial. Funciones del personal manager Transcripción Como lo dice su nombre en inglés, el personal manager es el gerente del negocio llamado artista. Sus funciones más sobresalientes son el planteamiento e implementación de estrategias, así como la toma de decisiones efectivas bajo presión (figura 4.2.). Figura 4.2. Personal manager: fortalezas principales Estas dos fortalezas se fundamentan en cuatro habilidades principales: planeamiento, organización, liderazgo y control (figura 4.3). • Las habilidades de planeamiento del manager se reflejan en el nivel de preparación de sus artistas. El éxito en la industria musical se ve definido en parte por la suerte y por las circunstancias del mercado, pero cuando estos factores se aúnan con un planeamiento cuidadoso el manager gana la posibilidad de tomar ventaja de circunstancias favorables. El manager en colaboración con el artista identifica las metas que valen la pena y plantea los pasos necesarios para alcanzarlas. • La habilidad de organización involucra reunir los recursos necesarios para implementar los planes estratégicos. También implica la definición de las responsabilidades de los miembros del equipo de trabajo y la coordinación de los esfuerzos y tiempo de cada uno. El personal manager utiliza esta habilidad para garantizar la continuidad y sostenibili dad de negocios del artista al ubicar las fuentes de los recursos necesarios incluyendo el capital mediante alianzas con patrocinadores, inversionistas y otros tipos de intervención financiera. • El liderazgo se hace presente constantemente al trabajar pa ra que los talentos y energía de los miembros del equipo de trabajo se utilicen efectiva y eficazmente con un solo objetivo: el éxito de la carrera del artista. Estas habilidades de liderazgo se combinan con destrezas directivas para alinear a todos los in volucrados respecto a las metas planteadas en la estrategia de carrera del artista. • Finalmente, la habilidad de control es ejercida de modo continuo por el personal manager al supervisar y monitorear la efectividad con la cual se implementan los planes y se alcanzan las metas a corto, mediano y largo plazo, haciendo las modificaciones necesarias sobre la marcha para asegurar los resultados más óptimos. Sus expectativas deben ser realistas y sus métodos flexibles para ajustarse a las circunstancias cambia ntes del negocio. Figura 4.3. Personal manager: habilidades Veamos las aplicaciones específicas más importantes de estas cuatro habilidades. • Ayuda al artista con sus decisiones de negocios, como por ejemplo decidiendo si se opta por un contrato discográfico, buscando opciones de patrocinio, definiendo tarifas y definiendo el tipo de comportamiento del artista ante los medios de comunicación. • Toma decisiones creativas, tales como la conceptualización, selección de productor musical, selección de canciones, definición de imagen, diseño del show en vivo, entre muchas otras. • Promueve la carrera del artista a todos sus contactos y trabaja net working activamente para generar oportunidades de negocio. • Integra, dirige y supervisa el equipo de trabajo, además de supervisar y controlar su desempeño. • Coordina las presentaciones en vivo del artista y se involucra en la obtención de los mejores tratos para conciertos y giras, así como su planeamiento de presupuestos, calendarios y contrataciones • Negocia con las discográficas para maximizar las campañas de publicidad y marketing para los lanzamientos comerciales del artista. • Funge como intermed iario entre el artista y el mundo exterior para aliviar su carga de relaciones públicas y ayudarle a enfocarse en su desarrollo artístico. Al cumplir estas y otras funciones el personal manager se involucra integralmente en todas las facetas de la vida de l artista para proporcionarle apoyo y facilitar su conexión con el público. Cuánto cobra un personal manager Transcripción Si el personal manager se involucra en todas las actividades de negocios del artista, ¿Cómo cobra por sus servicios? Mediante comisiones del bruto, es decir, del total ganado antes de sustraer deducciones. Por lo general está entre un 10% y un 25% del bruto, siendo 15% el estándar de industria. Durante esta lección veremos que estos rangos son flexibles y negociables. Al gunas circunstancias permiten comisiones de 5% y otras justifican comisiones de hasta 50% (figura 4.4.). Figura 4.4. Personal manager: rango de comisiones Esta comisión se calcula sobre todos los ingresos que genera el artista: producciones musicales, presentaciones personales, composiciones, patrocinios o venta de mercadería. Además, se calcula previo a las ganancias del artista. Otro factor importante es que cuando el artista es una banda, la comisión del manager puede ser varias veces mayor que la gana ncia de los miembros de la agrupación. Veamos las ganancias de un concierto a manera de ejemplo (figura 4.5). Por lo general el artista recibe entre un 40% y un 50% del bruto ya que el resto de las ganancias se utilizan para cubrir costos. Entonces, si el concierto genera $100.000 bruto y el artista recibe un 40%, su ganancia neta corresponde a $40.000. La comisión estándar para el manager, 15% del bruto, correspondería a $15.000. Esto equivale a un 37.5% de la ganancia neta del artista, con lo cual le qued a un suma de $25.000. Para una banda de cuatro integrantes con ganancia equitativa, cada individuo recibiría $6.250. Es decir un 15.62% de la ganancia neta: menos de la mitad de lo que gana el personal manager. Figura 4.5. Personal manager: comisión Este es solamente uno de infinidad de escenarios posibles, en los cuales el personal manager puede negociar diferentes porcentajes para diferentes fuentes de ingreso del artista. Tipos de compensación, parte 1: bruto vs neto Transcripción El artista normalmente pregunta a su abogado si el personal manager puede cobrar comisiones de distintos tipos. La respuesta es positiva. Es recomendable siempre negociar el porcentaje más bajo posible, sabiendo que la comisión estándar es un 15% del bruto . Sin embargo, debido a la naturaleza variada de los ingresos que percibe el artista, existen diferentes tipos de compensación que el manager puede proponer y negociar. Los seis principales son: • Con base en el bruto • Con base en el neto • Escalonado • Con base en el bruto y tope en el neto • Salario • Mixto ¿Cuál es la diferencia entre la comisión basada en el bruto y la basada en el neto? 1. Como ya sabemos, la compensación con base en el bruto consiste en calcular y deducir la comisión del manager antes de las deducciones y gastos como salarios, contrataciones, impuestos y demás. Es importante recalcar que este tipo de compensación es poco popular entre los artistas debido a su frivolidad. No solo representa un rebajo fuerte en el ingreso del artista, sino que falla en asumir las pérdidas cuando un negocio no es rentable. Por ejemplo, si en un concierto se generan $45.000 y los costos equiv alen a $50.000, el artista queda con un déficit de $5.000 (figura 4.6.). Por si esto fuera poco, cuando el manager cobra su comisión de 15% sobre el bruto, equivalente a $6.750, la deuda del artista asciende a $11.750. Figura 4.6. Tipos de comisión: Basad a en el bruto 2. La compensación con base en el neto y no en el bruto es un modelo arriesgado para el personal manager ya que no percibe ganancias si el artista pierde dinero, pero demuestra lealtad ya que comparte las pérdidas con el artista. Examinemos por un momento el ejemplo del concierto. El artista quedó con un déficit de $5.000, por lo que el manager no obtiene ganancia alguna. Por lo general, el personal manager negocia porcentajes del neto más altos que los del bruto. Por ejemplo si un concierto genera $100.000 bruto y $40.000 neto, un 20% del bruto equivale a un 50% del neto (figura 4.7.). El manager que planea percibir una ganancia similar al comisionar sobre el neto exige un porcentaje mayor, por lo que el artista debe examinar estas propuesta s cuidadosamente. Por otro lado, algunos artistas se exceden en sus gastos, reduciendo consecuentemente la cifra del neto. En una gira por ejemplo, podría solicitar los servicios de transporte y alimentación más costosos, lo cual se deduce de la ganancia b ruta, reduciendo el neto y con él, la comisión del manager. En estos casos, el manager agrega cláusulas estrictas al contrato para restringir los gastos. Figura 4.7. Tipos de comisión: Basada en el neto Tipos de compensación, parte 2: escalonado, tope e n el neto, salario y categorizado Transcripción Continuemos con los cuatro tipos de compensación restantes 3. El método escalonado implica definir porcentajes distintos dependiendo de las metas alcanzadas. Por ejemplo 20% si se venden 10000 unidades, y 10% si se venden 20000 (figura 4.8.). La idea es que el manager gana porcentajes mayores cuando el artista está iniciando y conforme se estabiliza y genera mayores ingresos, la comisión se reduce en porcentaje pero el monto percibido aumenta. Cualquier manage r prefiere un porcentaje pequeño de una suma mayor, que lo contrario. Figura 4.8. Tipos de comisión: Escalonada 4. La comisión basada en el bruto y con tope en el neto se fundamenta en la premisa de que la ganancia del manager no puede exceder un porcentaje de la ganancia neta. La premisa es promover la igualdad de condiciones entre el manager y el artista. Explorem os un ejemplo más (figura 4.9). Este manager gana 45% del bruto con un tope de 50% del neto. Si el monto bruto es de $10.000 y los gastos de $2.000, su comisión del bruto equivaldría a $4.500, lo cual excede el 50% del neto. Al aplicar el tope su ganancia se reduce a $4.000. Así, la cifra de tope en 50% del neto establece que la ganancia máxima del manager nunca excederá la del artista. Sin embargo, aún con un tope, una agrupación tendría que dividir $4.000 entre sus integrantes. En estos escenarios, el man ager gana más que el artista. Figura 4.9. Tipos de comisión: Bruto con tope en el neto 5. La modalidad de salario se implementa en casos excepcionales con artistas que generan sumas muy altas. La comisión del personal manager es sustituida por una suma f ija de hasta seis o siete cifras. En algunos casos también se incurre en cobros por adelantado para cubrir costos operativos. 6. Para terminar, es importante resaltar que el tipo de comisión por categoría es muy común. Implica una combinación de los cinco tipos que hemos visto. Por ejemplo: bruto en discos vendidos, neto por todas las ganancias percibidas a través de publishing y conciertos y un adelanto para el trabajo realizado en desarrollo artístico y coaching. Negociando la comisión del manager para giras con pérdidas Transcripción ¿Cómo se lidia con la comisión del personal manager si una gira no genera las ganancias esperadas? Primero es importante definir contractualmente lo que es una gira con pérdidas. Por ejemplo si no se genera ganancia neta en más de un concierto, o si las ganancias netas de un concierto no son suficientes para cubrir las pérdidas del siguiente. Es importante para el artista negociar este tipo de posibilidades. Algunos managers aceptan agregar cláusulas al contrato, estipulan do que no recibirán comisión si una gira no genera ganancias. Lo hacen porque consideran que esto sucede en parte debido a que su trabajo es deficiente. Es una política de trabajo similar a la del tipo de comisiones con tope en el neto. El artista debe pre pararse, buscar asesoría y actuar cuidadosamente ya que los personal managers son grandes negociadores y construyen argumentaciones elocuentes en estas situaciones. Métodos para lidiar con pérdidas en las giras. No todos los managers están de acuerdo con eliminar su comisión por completo bajo estas circunstancias. Este tema debe incluirse en las negociaciones al redactar las cláusulas del contrato de manejo artístico, ya que el artista puede verse en serios proble mas si además de perder dinero en una gira, debe pagar a su manager una comisión del bruto. Además de proponer una comisión nula, la combinación de cuatro métodos de negociación se utiliza para lidiar con las giras que no generan ganancias: comisión reduci da, pago diferido, cifra mínima y cifra mínima escalonada. • Hablemos de la comisión reducida. El artista, habiendo recibido una negativa al proponer reducir la comisión a cero, puede negociar reducirla. Por ejemplo si el contrato establece una comisión es tándar del 15%, las cláusulas para giras con pérdidas podrían detallar una comisión del 7% (figura 4.10). Figura 4.10. Giras con pérdidas: comisión reducida • El segundo método consiste en definir los términos para el pago diferido de la comisión. Esta premisa establece que el artista acepta que el personal manager tiene derecho a una comisión pero que debe esperar a que el artista genere ganancias para poder costearla. • Además, es posible establecer una cifra mínima a partir de la cual el manager tiene derecho a su comisión (figura 4.11.). Por ejemplo, si la gira genera una ganancia neta mínima de $2.000 por fecha, el manager recibe su comisión. • Bajo estas circunstancias también se puede negociar una cifra mínima escalonada para establecer la comisión reducida, por ejemplo al generar una ganancia neta entre $2.000 y $4.000; y la comisión estándar a partir de $4.000. De esta manera el artista se garantiza que su manager trabajará para optimizar la ganancia neta, dado que está en su mejor interés recibir una mayor comisión. Figura 4.11. Giras con pérdidas: comisión con cifra mínima Restringiendo la comisión del manager: Exclusiones, deducciones y comisiones dobles Transcripción Si el personal manager cobra su comisión de todas las ganancias que recibe el artista, ¿existen rubros de los cuales el manager no recibe comisión? Para el artista que está iniciando su carrera puede ser difícil conseguir personal manager, lo cual se presta para que acepte términos que no debería. Veamos tres categorías restringidas: las exclusiones, deducciones y comisiones dobles. Exclusiones El artista puede reducir o incluso excluir la comisión de su personal manager c uando está establecido en algún nicho específico y considera que no requiere de sus servicios en esta área. Bajo esta premisa, el manager no trabaja el área o áreas acordadas como exclusiones contractuales, ya que sabe que su comisión es reducida o nula. E xaminemos un par de casos (figura 4.12.). Si un compositor establecido desea incursionar como artista, el manager cobra comisión estándar por sus producciones, pero reduce su comisión en el área de composiciones a un 5%. Otro caso muy común es el de artist as que forman parte de otro nicho en la industria del entretenimiento. Actores de cine por ejemplo, que contratan un personal manager para su carrera como exponente musical. Bajo esta relación, el manager obtiene su comisión de toda actividad en la industr ia musical, pero no tiene derecho a contrataciones de actuación, que corresponden al agente del actor. Figura 4.12. Personal manager: exclusiones Deducciones En varias situaciones el artista recibe dineros para sufragar gastos operativos. Estos claramen te no forman parte de sus ganancias, por lo que se deducen antes de calcular la comisión del manager. Para evitar malentendidos, el artista debe velar por que se detallen las deducciones en su contrato de manejo artístico. Exploremos algunas categorías: • Los costos de grabación. Cuando se firma un contrato discográfico, la compañía le paga al artista un adelanto. Parte de este adelanto debe cubrir los costos de producción, por lo cual la comisión del manager se debe calcular después de cubrir estos costos , incluyendo la tarifa del productor musical. • De igual manera, en los conciertos, las ganancias generadas deben cubrir el costo de alquiler de equipo como luces y sonido por lo cual se deducen estos costos antes de calcular la comisión. • En el tema de regalías por coautoría, el pago se realiza a uno de los autores. El manager no debería cobrar su comisión del total, sino del porcentaje que corresponde a su artista. • Cuando un artista con un contrato discográfico hace una gira y ésta no genera suficiente dinero, la compañía puede inyectar capital para ayudar con el déficit. Este rubro se conoce como apoyo para giras o tour support y no debería formar parte de la comisión del manager ya que es utilizado para pagar deudas y rentabilizar la gira. Comisiones dobles Es común que el artista forme una sociedad u otra configuración de negocios. De esta manera, todos los pagos se hacen a la sociedad y esta a su vez emite pagos al artista como persona física. La comisión del personal manager se ca lcula con la cifra pagada a la sociedad. De otro modo, el artista podría recibir la suma completa en su sociedad, pagarse un salario bajo y definir que la comisión del manager se calcule con base a ese salario. La comisión doble se puede generar si el manager, además de cobrar su comisión a nivel corporativo, cobra otra comisión cuando el artista recibe su salario. La mayoría de contratos de management permiten técnicamente que se produzca esta situación, pero no se lleva a la práctica. Por ejemplo, si se emite un pago a la sociedad por $10.000, el manager cobra su comisión estándar y recibe $1.500 (figura 4.13.). La sociedad a su vez paga al artista según lo que definan sus finanzas; supongamos que $2.000. El man ager no debería cobrar su comisión otra vez sobre los $2.000. Para protegerse, el artista debe velar por que se estipule contractualmente la prohibición a este tipo de comisiones dobles. Figura 4.13. Personal manager: Comisiones dobles Actividades Recom endadas, Semana 1 Actividad 1 Investigue el nombre del manager de un artista que le guste. Busque entrevistas en las que aparezca esta persona. ¿Qué responsabilidades tiene? ¿Qué acciones toma para beneficiar la carrera de su artista? Actividad 2 Realice una ficha -resumen de los tipos de compensación del Personal Manager. Actividad 3 ¿Si usted fuera artista, cuál método de compensación preferiría para su contrato con un Personal Manager? ¿Cuál sería su segunda opción? ¿Por qué? semana 2 Definiendo la duración del contrato de manejo artístico Transcripción ¿Cuánto dura un contrato de manejo artístico? El artista debe ser precavido y negociar el término más corto posible, tomando en cuenta que el manager intentará negociar un término prolongado. El estándar, históricamente ha sido entre 3 y 5 años, sin embargo, en los últimos años la duración de los cont ratos de management tiende a verse definida por ciclos de álbum. Un ciclo de álbum es el período comprendido entre el inicio de la producción musical hasta que finalizan las giras y promoción correspondientes a dicho lanzamiento comercial. Estos ciclos so n convenientes para el manager porque son congruentes con su obtención de comisiones. Si se establece un término por años, el contrato podría terminar en medio de una gira, por ejemplo. Las comisiones por todo su trabajo de preparación se verían en riesgo. Metas alcanzadas El término del contrato puede acortarse o prolongarse según metas definidas. Este es un mecanismo conveniente para ambas partes ya que un manager puede cosechar el fruto de su esfuerzo después de trabajar durante mucho tiempo para posici onar a su artista y el artista puede prescindir de sus servicios si no logra cumplir las promesas planteadas. Por lo general las metas se presentan en dos variedades: ganancias generadas o cantidad de ventas. • Al definir ganancias generadas, se establece una cifra mínima en un plazo definido. Por ejemplo. Si el trabajo del manager durante el primer ciclo genera $25.000, el contrato se renueva automáticamente. Durante el segundo ciclo podría renovarse si se alc anza la cifra de $50.000 y así sucesivamente. Esta cifra es variable dependiendo del tipo de artista. Un solista que toca covers en fiestas tiene una expectativa distinta que una banda de rock con un circuito de gira establecido. Además, el manager tiene e l derecho de exigir que se incluyan ganancias potenciales por contratos rechazados por el artista. De esta manera se evita que el artista busque salirse del contrato de management reclamando que no ganó suficiente dinero, después de rechazar varias ofertas de trabajo. • Otra modalidad de prolongación contractual es contabilizar la cantidad de unidades vendidas de un producto específico, por lo general álbumes o lanzamientos digitales. Por ejemplo, renovar el contrato solamente si se venden 20.000 copias an tes de concluir el segundo ciclo. Nuevamente, esta cifra varía dependiendo del tipo de artista. Renovación De esta manera, un contrato de manejo artístico se puede renovar o terminar automáticamente, a través de la documentación de las metas alcanzadas o fallidas. Otra manera de terminar el contrato incluye la redacción de una carta por parte del artista, en la cual se prescinde de los servicios del manager. Es un despido, esencialmente. El término se puede prolongar indefinidamente si las metas se alcanza n, sin embargo, en general es recomendable mantenerlo a un máximo de tres a cuatro ciclos. Ganancias después del término Transcripción El contrato de management está finalizado y el artista pasará a firmar un nuevo contrato con otro manager. ¿Cómo se d elimita el alcance de las comisiones del primer manager para evitar que tanto el viejo como el nuevo reciban comisiones de los mismos rubros? Un manager puede recibir comisiones años después de la terminación de su contrato con el artista. Décadas inclusiv e. Ningún artista quiere pagar comisiones a dos managers al mismo tiempo, y por esto es necesario definir cuándo el manager anterior dejará de recibir pagos después de terminado su contrato. Condiciones contractuales Todos los contratos de manejo artístic o estipulan condiciones bajo las cuales el manager continúa recibiendo comisiones aún después de la finalización del término. Dichas condiciones se resumen a lo siguiente: "el manager tiene derecho a cobrar su comisión si las ganancias se generan bajo cont ratos iniciados o negociados substancialmente durante el término". Por ejemplo, por discos grabados y lanzados durante la duración del contrato, cuando sus ventas se prolongan más allá de su finalización. Incluso incluye pagos por discos que no se produjer on durante el término pero cuyo contrato discográfico se firmó antes de su terminación. Es importante observar el uso de la palabra "substancialmente" ya que puede hacer hincapié a distintas interpretaciones legales, abriendo la puerta para que el manager anterior reciba comisiones de distintos tipos de negociaciones que quedan pendientes y son consumadas por el nuevo manager. Respecto a este aspecto, son de particular cuidado las actividades que involucran regalías, tales como las grabaciones y el registr o de composiciones. Cláusulas específicas Todos los contratos son distintos, por lo que el artista debe defender sus intereses en diferentes categorías. • Para grabaciones y publishing, existen dos tipos de cláusulas. En el primer tipo, el manager solamen te recibe comisiones de discos grabados y lanzados durante el término, lo cual es más conveniente para el artista. El segundo incluye una comisión reducida, por lo general de la mitad, cuando el disco se lanza después del término del contrato ya que el man ager trabajó solamente una parte de lo necesario para recibir su compensación. • En el área de conciertos y giras, las cláusulas deben definir el alcance de las comisiones cuando el término concluye durante o antes del inicio de una gira, por ejemplo esta blecer un porcentaje reducido si el manager solamente participó de su planeación. Por este motivo es recomendable no terminar un contrato de manejo artístico si la organización de una gira ha dado inicio. • Algunos abogados negocian una fecha límite para el cese de todo tipo de comisiones, que puede ser de 3 a 5 años, e incluye etapas escalonadas que reducen el porcentaje con el paso del tiempo. El artista debe analizar su contrato de management cuidadosamente y buscar asesoría legal para evitar cláusulas frívolas con términos sin final. Por ejemplo: "las comisiones serán deducidas para todas las grabaciones hechas a partir de este momento e indefinidamente en el futuro, incluyendo todos los formatos de reproducción que generen ganancia para el artista". Cómo encontrar el manager adecuado Transcripción Todo artista necesita personal manager. Sin embargo, no todos los managers necesitan artistas, especialmente los establecidos debido a que su cartera de clientes alcanza un nivel estable. Irónicamente este es el tipo de personal manager más perseguido. ¿Cómo se encuentra un manager? Examinemos algunos escenarios (figura 5.1.): • El mejor escenario posible es cuando un manager de alta reputación, prominente y que cuenta con una red contactos establecida muestra entusiasmo y compromiso con un artista, lo cual es muy raro cuando el artista es relativamente nuevo. Esto se debe a que los managers establecidos no se interesan por artistas que no representen una oportunidad clara de ganar sumas considerables de dinero en plazos cortos de tiempo. Un artista nuevo por lo general produce un retorno de inversión bajo en el corto plazo y en contraste representa el uso de mucho tiempo y recursos. • La segunda mejor opción, más posible para el artista nuevo es generar interés en una persona que trabaje para un manager prominente y consolidado. Dicha persona muestra su entusiasmo y funge como p ortavoz del artista ante el manager, proporcionando la recomendación de negociar un posible contrato. • Algunos managers de rango medio, cuentan con la visión para buscar artistas nuevos durante su etapa de estabilidad. No tienen necesidad de firmar contr atos nuevos pero cuentan con el ímpetu de negocios para arriesgarse por un artista con potencial. • Por otro lado, existen situaciones en las que un manager poderoso toma el contrato con un artista porque le debe un favor a un contacto que considera import ante. • Finalmente tenemos el caso más posible para el artista nuevo, que es optar por un manager joven, sin experiencia pero con la energía y disposición para hacer lo que sea por su artista. Figura 5.1. Encontrando manager: escenarios Existen difere ntes combinaciones de estos escenarios, sin embargo el artista debe optar por un tipo de manager establecido o bien uno sin experiencia, y poner en una balanza las características que comprometerá (figura 5.2). En un extremo, el manager establecido tiene clientes de alto rango que consumen su tiempo y atención, por lo que dentro de su cartera de clientes, un artista nuevo, entra a un nivel prioritario bajo. Sin embargo, con el poco tiempo que le dedica, puede hacer aportes de impacto a través de su influen cia, red de contactos y reputación. Por otro lado el manager sin experiencia puede dedicar todo su tiempo y energía para promover al artista apasionadamente y proporcionarle toda la atención necesaria, pero carece del posicionamiento para generar impacto e n el corto plazo. Figura 5.2. Tipos de manager según su relación con el artista Cediendo poder al manager: persona clave y apoderamiento legal Transcripción El artista debe ser especialmente cuidadoso al contratar su personal manager porque por lo general éste toma decisiones que tienen repercusiones serias en su carrera y en su vida, tanto a nivel creativo como administrativo y legal. Por este motivo debe prestar cuidado a dos aspectos de su contrato de manejo artístico: las cláusulas de persona cl ave y apoderamiento legal. Persona clave La persona clave es la persona que actúa como personal manager. Es una relación simple que se establece directamente cuando el artista firma su contrato con un manager específico. Sin embargo, cuando el artista fir ma el contrato de manejo artístico con una agencia, corporación o sociedad de management, la persona asignada que ejerce el rol de personal manager podría renunciar, enfermarse, irse de vacaciones o pensionarse. En estos casos, el artista queda en circunst ancias desfavorables ya que la compañía tiene la potestad de asignarle otro manager y esta persona no necesariamente coincidirá con su visión profesional. Para evitar que el artista quede a la deriva con un manager indeseado, la cláusula de persona clave, o key man, define la persona específica con quien se establece la relación de manejo artístico y establece la terminación del contrato si esta persona llega a faltar por algún motivo. Apoderamiento legal El apoderamiento legal consiste en que el personal manager puede actuar en nombre del artista. Muchos abogados están en contra de esta configuración porque le da demasiado poder al manager y desliga al artista de muchos procesos importantes para controlar su negocio. Como por ejemplo la firma de contratos, contratación y despido de miembros del equipo de trabajo, firma de cheques y otras acciones que tienen repercusiones financieras, legales y estratégicas. Así, el artista y su abogado pueden proponer cláu sulas que delineen excepciones para otorgar poder legal al personal manager, como por ejemplo: • Si el artista no está disponible para firmar un acuerdo de índole especifica • Si el manager ha obtenido una autorización verbal del artista para proceder • O para casos puntuales como compromisos para presentaciones personales de no más de 2 fechas y limitados al mes próximo. El artista es responsable de su carrera incluso en las decisiones que por negligencia delega al personal manager. Por este motivo es de crucial importancia definir contractualmente una persona específica para este rol y su nivel de apoderamiento legal para actuar en nombre del artista. La entrevista con el personal manager Transcripción Después de evaluar las credenciales del artista y escuchar su música, el manager determinará si vale la pena reunirse para discutir un posible contrato. El manager lleva la ventaja por ser un especialista en reuniones. Su trabajo consiste en reunirse constantemente con todo tipo de personas. Consideran do este factor, el artista se debe preparar para presentar la información clave y analizar cuidadosamente la comunicación que se desarrollará durante la reunión. A lo largo de la entrevista, el artista se pregunta qué puede inferir de las respuestas y pre guntas del manager para ganar una ventaja estratégica durante la entrevista. Examinemos algunas preguntas que puede hacer el manager y la información de fondo que desea indagar con ellas (figura 5.3.), la cual se divide esencialmente en 3 categorías: (1) objetivos y visión de negocio, (2) experiencia en el oficio artístico y (3) habilidades personales y actitud. A continuación veremos brevemente en qué consiste cada una de estas categorías. Objetivos y visión de negocio El manager indaga la seriedad y p rofesionalidad del artista respecto a su carrera al preguntarle sobre temas relacionados con deseos de superación, organización del equipo de trabajo, estrategias para crecimiento profesional, relaciones con otros managers, deudas, relaciones con sus fans y actualidad del negocio de la música. Algunas preguntas podrían ser: • ¿Qué desea lograr con su carrera artística? • ¿Qué tan organizado es usted como artista? • ¿Tiene acuerdos previos de manejo artístico? • Si un fan le describiera en dos frases ¿Cuá les serían? • ¿Cuál cree que sea la mayor amenaza para usted como artista? Experiencia en el oficio artístico Además de la investigación previa sobre el oficio y portafolio del artista, el manager se interesa por averiguar su disposición para trabajar prol ongada y sistemáticamente en desarrollar sus habilidades creativas, de imagen y presentación personal, mediante preguntas como: • ¿Qué experiencia tiene componiendo y grabando música? • ¿Qué tan frecuentemente se ha presentado en vivo durante el último añ o? • ¿Qué detalles conforman su imagen como artista? Habilidades personales y actitud Finalmente, el manager desea saber si puede entablar empatía con el artista y si esta persona tiene la actitud correcta para trabajar. Algunas preguntas comunes incluyen : • ¿En cuáles áreas requiere guía o entrenamiento? • ¿Cómo y porqué terminó su relación con un miembro antiguo de su equipo de trabajo? Figura 5.3. La entrevista: Preguntas y subtexto Entrevista: El artista El artista por su lado también evalúa al manager durante la entrevista, determinando si le conviene o no ingresar a una relación contractual. Veamos algunas preguntas que puede plantear: • ¿A cuáles artistas ha representado? ¿Cuál fue su nivel de éxito con ellos? • ¿Con quienes trabaja actualmente? • ¿Qué opina de mis oportunidades en el negocio? • ¿Qué tan fuerte es su red de contactos? ¿A quién conoce que puede colaborar con mi carrera? • ¿Qué tipo de ganancias espera obtener conmigo como su cliente? • ¿Cuáles gastos va a cubrir usted y cuáles espera que yo cubra? • ¿Qué vamos a lograr en los primeros seis meses? ¿Cómo va a usar mi tiempo para desarrollar mi carrera? • ¿Usted va a dirigir mi carrera personalmente o será otra persona que está bajo su cargo ? El interés principal del artista es determinar el tipo de conexiones de negocios que el manager puede poner a su disposición, así como el tiempo y recursos que le dedicará. Si ambas partes expresan interés en iniciar la relación, esta entrevista sienta l as bases de las cláusulas del contrato de management que hemos visto anteriormente. Estudios de caso, parte 1. Jimmy Hendrix y Elvis Presley: actuando en nombre del artista Transcripción La relación entre el artista y su manager se fundamenta en la confi anza. Idealmente, el manager toma las mejores decisiones para la carrera del artista, produciendo una relación financiera fructífera para ambos en un plazo que se puede extender indefinidamente. Analicemos dos casos en los que la relación con el artista f ue muy provechosa financieramente y se extendió hasta su muerte. Jimmy Hendrix y Michael Jeffreys tuvieron una relación que solamente duró cuatro años (figura 5.4.), mientras que Elvis Presley y Tom Parker trabajaron juntos durante casi veinte (figura 5.5. ). Figura 5.4. Jimmy Hendrix Figura 5.5. Elvis Presley Jimmy Hendrix y Michael Jeffreys En 1966 Hendrix inició su relación contractual de manejo artístico compartido con Jeffreys y otro manager, Chas Chandler, bajo una comisión de 15% para cada uno (figura 5.6.). Este 30% es agresivamente alto, aún bajo los estándares actuales. Dos años más t arde, Jeffreys compra su parte del acuerdo a Chandler, llegando a obtener comisiones de hasta un 40%. Figura 5.6. Michael Jeffreys Con la potestad total de manejo artístico Jeffreys inició una etapa de continuas y excesivas fechas de concierto entre 1968 y 1970 (figura 5.7.). Esto llevó al artista a niveles peligrosos de stress, culminando con su muerte al ahogarse por una sobredosis de pastillas. Figura 5.7. Jimmy Hendrix en vivo En los contratos que firmó Jeffreys con Hendrix se revelan cláusulas in usuales en las que Jeffreys se convierte en el dueño de sus creaciones artísticas. Una de las más sobresalientes dice: “Todas las grabaciones hechas en virtud del término presente y todas las grabaciones y reproducciones hechas de los mismos a partir de e ste momento, junto con las presentaciones personales implicadas en dicho plazo, serán de nuestra propiedad absoluta, libres de reclamaciones de cualquier tipo por parte suya o de cualquier persona” La libertad de Jeffreys para crear una agenda de presentac iones personales excesiva demuestra un interés en generar riqueza en lugar de defender los intereses del artista y un error de criterio por parte del artista al ceder demasiado poder a su manager. Elvis Presley y Don Parker En 1956, a la edad de 17 años E lvis Presley ingresó a la tutela de Tom Parker, quien se dedicaba a la promoción de shows en la escena country de los Estados Unidos. El primer contrato firmado le da a Parker comisiones de un 25% sobre todas las ganancias del artista, lo cual es alto, per o aceptable en el corto plazo para artistas nuevos. Años más tarde, el contrato fue renovado, aumentando las comisiones de Parker a un 50% y otorgando poder legal para realizar contratos en su nombre. Figura 5.8. Tom "Colonel" Parker Elvis ni siquiera l eía los contratos y confiaba ciegamente en Parker para resolver los detalles. Nuevamente este error de criterio por parte del artista afecta su carrera, produciendo un impacto que pasa desapercibido. Solo en 1965, Parker ganó 30% más que Elvis, quien tuvo ganancias superiores al millón de dólares. Estas comisiones del 50% se mantuvieron hasta la muerte de Parker en 1997, 30 años después de la muerte de Elvis. Figura 5.9. Elvis Presley en vivo Más allá de la influencia cuestionable que tuvieron las decis iones de ambos managers sobre el deceso de sus artistas, sus acciones como apoderados legales tuvieron un impacto negativo en las carreras de ambos artistas. El compromiso ético del personal manager es un factor vital para establecer una alianza, que más a llá del lucro, genere calidad de vida para el artista. Estudios de caso, parte 2: Celine Dion: potestad, compromiso y visión de mercado Transcripción La relación de negocios en la industria musical que tiende a salirse más de la norma es la existente entre el personal manager y el artista, cuando se incurre en porcentajes de comisión altos o bajos, pagos diferidos, o incluso contratos verbales que se pr olongan por décadas. Como hemos dicho ya, es una relación basada en confianza y lealtad. La potestad de entrar en la zona de excepciones se genera a través de la inversión extraordinaria de tiempo, recursos y esfuerzo realizada por el manager para alcanzar las metas y proporcionar al artista las condiciones que necesita para desarrollarse. El artista, en respuesta a estos esfuerzos, aporta grandes niveles de compromiso. Analicemos el caso de Celine Dion y Rene Angelil, su manager hasta junio de 2014. Figur a 5.10. Rene Angelil A inicios de la década de 1980 Angelil se desempeñaba como manager en Canadá cuando recibió un demo no solicitado de Celine Dion, que entonces tenía 12 años de edad (figura 5.11.). Ella envió el demo por su propia iniciativa, solici tando que Angelil manejara su carrera artística, quien eventualmente lo hizo. Llegó a creer tanto en su artista que hipotecó todos sus bienes, acumulados durante dos décadas de actividad en la industria, para financiar dos álbumes. Figura 5.11. Celine Dio n a los 12 años Al cumplir 18 años Angelil firmó un contrato con la artista en el cual acordaron un 50% de comisión, cifra que como sabemos, es inusualmente alta. Gracias a la acertada asesoría de Angelil, Dion ingresó a clases de inglés para perfeccion ar el idioma y pasó por una etapa de mejoramiento de imagen que incluyó cirugía dental estética. Todos estos esfuerzos le ayudaron a vender más de 50 millones de álbumes y posicionarse como uno de los shows más cotizados de las vegas. Figura 5.12. Celine Dion El compromiso sobresaliente entre un manager como Angelil y una artista talentosa como Celine Dion es una combinación muy lucrativa. Además, la visión de mercado que llevó a Angelil a asesorar a su artista para incursionar en un mercado específico y la disposición de la artista para hacer los cambios, es el tipo de comportamiento estratégico que hace la diferencia entre un éxito local moderado y la proyección internacional o incluso mundial Estudios de caso, parte 3. Bruce Springsteen: amistad y en foque de negocios Transcripción La relación prolongada entre manager y artista por lo general se deriva de una compatibilidad personal, una amistad que genera la alianza de negocios. Una visión compartida y respeto absoluto por las opiniones mutuas. El art ista es el experto en su música, mientras que el manager es el experto en el negocio. Ambos escuchan y opinan libremente porque saben que sus objetivos y estrategia son el mismo. El caso de Bruce Springsteen es particular por su historia personal. A inici os de la década de 1970 se consideraba a sí mismo como un artista, evitando los aspectos comerciales y limitándose a trabajar para su audiencia. En parte este comportamiento se debió a malas experiencias que tuvo vendiendo mercadería en las etapas temprana s de su carrera. En 1974 conoció a John Landau, quien ha manejado su carrera por más de 30 años (figura 5.13.). Figura 5.13. John Landau Landau trabajó con Springsteen en el estudio de grabación y se convirtió en más que una gran influencia. Su amistad con el artista le ganó su posición de personal manager. En entrevistas, Landau afirma que las decisiones siempre las han tomado juntos, deli berando y preguntando por su opinión mutua. Con el tiempo, este manager pudo demostrar a su artista que una carrera prolongada y sostenible se basa en el éxito continuo del negocio que genera. Estas afirmaciones se convirtieron en la realidad de Springstee n, quien continúa vendiendo sus discos y llenando conciertos. Por ejemplo, su gira del año 2009 generó más de $95 millones. Figura 5.14. Bruce Springsteen La industria musical tiene un estigma. Muchos artistas incursionan en el negocio con la promesa de nunca venderse, es decir, de rechazar las propuestas para hacerse comerciales. Su premisa es permanecer leales a su arte y a sus fans. Es responsabilidad del personal manager guiar al artista y mostrarle que existe un abanico de posibilidades que permite conservar la identidad artística y al mismo tiempo generar sostenibilidad de negocio prolongada. Actividades Recomendadas, Semana 2 Actividad 1 Si usted fuera artista, ¿le gustaría mantener una relación de negocios vitalicia con su Personal Manager? ¿Qué factores incidirían en renovar su contrato indefinidamente con su Personal Manager? ¿Qué acciones y actitud de negocios presentaría como artista para corresponder con estas expectativas? Actividad 2 En su opinión ¿Cuáles son los factores más importan tes para elegir un Personal Manager? Utilice la información del video 4 para fundamentar su respuesta. Actividad 3 Basándose en los estudios de caso de esta lección. Realice uno por su cuenta. Investigue la historia de la relación entre el manager que sel eccionó y su artista, así como los frutos (positivos y nocivos) generados por la relación de negocio. semana 3 Rol del abogado Transcripción El abogado de industria musical tiene funge más allá del ámbito legal en el cual revisa contratos y defiende los intereses de sus clientes. Su rol más importante incluye proporcionar asesoría, colaborar en la estructuración de negocios y utilizar sus conta ctos para promover proyectos. Contar con un buen abogado es una de las mayores ventajas competitivas que puede tener un artista. El abogado de industria musical se especializa en numerosas áreas: • Legislación de derechos de autor, impuestos, producción discográfica y de eventos en vivo. • Redacción y modificación de contratos y acuerdos. • Intermediación y litigación. Además, posee conocimiento clave de todas las dimensiones del negocio para poder explicarlo a sus clientes y para desplazarse profesionalm ente. Constantemente participa en negociaciones de acuerdos entre artistas y managers, publishers, casas disqueras, agentes, y demás espacios de negociación e interacción, incluyendo a todos los participantes de la industria. Con el tiempo llega a conocer todos los tratos, acuerdos, y contratos que se desarrollan en todas las áreas de la industria musical, como por ejemplo: • Contratos con discográficas. • Contratos para presentaciones en vivo. • Contratos para managers, agentes, promotores, estudios, mús icos de sesión y otros. • Contratos de distribución • Contratos de publishing. • Protección de derechos de autor. Abogados: áreas de trabajo Los abogados se desempeñan en dos áreas principales: transacciones y litigación. En la industria musical, las tran sacciones son los acuerdos de intercambio de bienes o servicios entre entidades o profesionales. Cualquier relación de trabajo que se establezca entre dos partes, es una transacción y los abogados se encargan de documentar y formalizar los términos para su implementación. Por otro lado, la litigación consiste en tomar la vía legal para resolver conflictos, en la mayoría de los casos por rompimiento de cláusulas contractuales o defensa de los derechos de sus clientes. Relativamente pocas disputas llegan a lo s tribunales gracias a las negociaciones previas que realizan los abogados para llevarlas a un acuerdo. Así, la mayoría del trabajo de los abogados consiste en servicios transaccionales. Veamos algunos ejemplos de funciones que realizan a diario: • Partic ipar en reuniones para informarse y redactar borradores de contratos. • Registrar derechos de autor. • Investigar sospechas de violación de derechos de autor. • Revisar el trabajo creativo de sus clientes para asegurarse de que su originalidad. • Organizar detalles de coautoría entre artistas. Prominencia del abogado en la industria musical Transcripción El poder en la industria musical no está centralizado en ningún grupo de personas: • Los agentes tienen muchos contactos pero están limitados a su esfera de influencia en la escena de la música en vivo. • Los personal managers están limitados a la cantidad de clientes que pueden tener y la gran cantidad de tiempo que le dedican a cada uno. • Los business managers pueden tener clientes grandes, pero están limitados a sus áreas de trabajo y por lo general tienen poca influencia; esto se debe a que por la naturaleza financiera de su trabajo carecen de conexiones relevantes. Cualquier circunstan cia que requiera el uso comercial de la música o productos relacionados con música, amerita el involucramiento de un abogado. Por este motivo, los abogados cuentan tres ventajas que les permiten estar enterados y generar una gran cantidad de contactos: • Se reúnen con muchos clientes, requiriendo poco tiempo para atender a cada uno. • Carecen de un campo de enfoque, al trabajar transaccionalmente todo tipo de negociaciones. • Al estar involucrados con tantas personas todo el tiempo, tienen muchos contacto s y acceso a información. Consecuentemente, los abogados desarrollan mucho conocimiento de lo que ocurre en varias áreas de la industria. En otras palabras, su trabajo es muy eficiente a nivel de networking, ya que tienen la potestad de decidir a cuál com pañía o individuo recomendar cuando identifican una necesidad de negocio. De igual manera pueden recomendar los servicios de business o personal managers. Por este motivo tener un buen abogado y mantener una relación en buenos términos con éste, está en el mejor interés de cualquier participante de la industria musical. Concluimos así, que el gremio de los abogados es uno de los más prominentes en la industria musical. ¿Qué buscar en un abogado? Transcripción Los abogados tienen diferentes maneras de ejer cer su profesión. Tres categorías definen sus capacidades de obtener buenos resultados para clientes específicos. Estas son: el estilo, la influencia y la discreción, las cuales veremos brevemente a continuación: Estilo Para algunos artistas tener empatía con su abogado es importante. Existen abogados que acompañan constantemente al artista, actuando como si fuera un integrante más de la agrupación. Este nivel de involucramiento les facilita dar seguimiento y asesoría inmediata, puesto que están inmersos en la realidad diaria del artista; especialmente durante las giras. También existen abogados que son excelentes negociadores pero carentes en el área del oficio legal, y sus opuestos, los grandes expertos en códigos legales y legislación pero que no están tan presentes en la carrera del artista por lo que fallan en entender sus estrategias. Estos son solo tres ejemplos de la infinidad de estilos que existen. El artista debe prestar atención y verificar si el estilo de su abogado es congruente con sus objetiv os. Influencia Hemos visto que la mayoría de entidades y profesionales en la industria se interesan por estar en buenos términos con sus abogados. La influencia que un abogado ejerce puede tener gran peso en el resultado de una negociación. Por ejemplo, las compañías discográficas pueden ignorar correos o llamadas telefónicas de artistas, pero si el correo viene de un abogado influyente, es muy seguro que recibirá atención. Un abogado con influencia obtiene resultados rápidamente, y si cuenta con el conoc imiento adecuado, es capaz optimizar al máximo los resultados de la negociación. Discreción El artista debe prestar atención y evitar el tipo de abogado indiscreto que habla acerca de las vidas o negocios de sus clientes. Si lo hace con uno, lo hace con t odos. Estos individuos, además de violar el canon ético, tienen mala reputación. Curiosamente, en algunos casos su indiscreción es utilizada para promover información adrede. Negociando la tarifa del abogado Transcripción ¿Cuánto es el costo estándar de contratar un abogado? Un abogado de industria puede cobrar entre $150 y $600 por hora. Sin embargo la mayoría no cobra por hora sino a través de una tarifa porcentual en un rango del 5% al 10%. Además existen dos modalidades de cobro utilizadas para obtener una garantía de inversión inicial y participación sobre los negocios que atrae el abogado. Adelantos El cobro anticipado por los servicios prestados puede tomar dos formas: adelanto deducible de la tarifa final o una tari fa plana. El pago por lo general se realiza mensualmente y se calcula a través de una proyección aproximada de costos, es decir, de horas trabajadas. Value Billing El término value billing significa que el abogado recibe una compensación correspondiente al peso de su contribución para obtener mejores resultados en un negocio. Se utiliza en combinación con una tarifa por hora o adelantos. Si por ejemplo, en un contrato discográfico el abogado solamente participa en la confección del contrato su tarifa se def ine por las horas trabajadas. Pero si su participación incluye la elaboración de una estrategia y el uso de sus contactos para obtener porcentajes mayores, entonces su tarifa se calculará con base en los beneficios obtenidos. Así, el abogado cobra value bi lling cuando: • Participa estratégicamente en la negociación. • Presenta a las partes interesadas. • Crea el negocio desde cero. En estos casos, el artista debe negociar con su abogado cuidadosamente para obtener al menos una cifra aproximada del value bil ling y así evitar sorpresas desagradables. Por lo general se trata caso por caso, y es conveniente escalonar las diferentes posibilidades según los resultados obtenidos. Por ejemplo, si se gana más de $20.000 el abogado recibe un $4.000 y $2.000 por debajo de esta cifra. La entrevista Transcripción Al igual que el personal manager, el abogado es un experto en negociaciones y reuniones, de manera que el artista debe prepararse y asesorarse antes de entrevistar a un posible abogado. El objetivo del artista de be ser encontrar un profesional que tenga valores de compromiso, transparencia, honestidad y disponibilidad a enseñar. Veamos algunas preguntas que el artista plantea durante esta entrevista: • ¿Tiene experiencia en la industria musical? • ¿Cuál es su tar ifa? • ¿Tiene un contrato escrito para su tarifa? • ¿Le molesta si un consultor externo revisa el contrato? • ¿Con cuáles artistas ha trabajado? Experiencia y tarifas El objetivo de preguntas como estas es determinar la experiencia del abogado en el área específica de la industria musical. Incluso el artista podría preguntarle al abogado cómo manejaría situaciones específicas con el fin de determinar su pericia profesional. Además, al determinar los costos y políticas de cobro del abogado, el artista obtie ne una perspectiva respecto a su estilo de trabajo, tipo de influencia y conexiones que tiene en el negocio. El contrato Respecto a los contratos para tarifas, el artista debe consultar al abogado lo que sucede al final del término. Si hay porcentajes de por medio, se pueden presentar implicaciones similares a los contratos de management, en cuyo caso, el abogado tendría der echo a cobrar comisiones aún después de finalizada la relación laboral. Además, algunas legislaciones locales, por ejemplo la de California, en Estados Unidos, requieren que los acuerdos tarifarios queden registrados por escrito para que sean efectivos. El artista consulta al abogado si está bien que una tercera persona revise el contrato. El abogado que se oponga a dicha solicitud no debería ser contratado, dado lo sospechoso de este comportamiento. La persona externa contratada revisa el contrato indepen dientemente y asesora al artista respecto a sus implicaciones prácticas, especialmente si incluye cifras porcentuales. Referencias El artista consulta al abogado sobre clientes que estén a su mismo nivel. Al igual que con el personal manager, la finalidad es contactar a estos clientes para verificar el trato que reciben del abogado. Al hablar con estos clientes el artista indaga si el abogado responde llamadas o correos electrónicos, si es eficaz en su trabajo, si se da a la tarea de dar asesoría en termin ología legal, cuánto le toma resolver situaciones para sus clientes. Así, el artista indaga el nivel de satisfacción general de los clientes del abogado, considerando la duración de la relación. Un cliente más antiguo puede dar referencias con más conocimi ento de causa que uno nuevo Condiciones para que el abogado preste servicios extralegales Transcripción. Muchos artistas se preguntan: ¿Puede mi abogado fungir como personal manager? Algunos clientes solicitan recomendaciones de sus abogados para ubicar agentes y personal managers. En casos especiales, los abogados se involucran en servicios extralegales, que consisten en ofrecer los servicios de otros integrantes del equipo de trabajo . Por ejemplo el abogado del artista podría administrar su compañía de publishing. Esta situación es riesgosa, puesto que cuando un abogado presta servicios en dos categorías profesionales distintas se expone a conflictos de intereses. Para evitar implicac iones indeseadas, el abogado asesora detalladamente al artista y éste emite una exención, es decir, un documento que libera al abogado de sus obligaciones legales cuando funge con otro rol profesional. Los colegios de abogados rigen estrictamente estas si tuaciones, estableciendo que los abogados no pueden ingresar en ningún tipo de transacción de negocios con sus clientes o adquirir interés financiero intencionalmente en la empresa de un cliente que sea potencialmente adversa a la de otro cliente, a menos que se cumplan ciertas condiciones para que se produzca legítimamente la relación profesional por servicios extralegales: • Primero, la relación debe ser justa y razonable con el cliente, divulgada y transmitida por escrito al cliente en un modo de fácil c omprensión para éste. • Segundo, el cliente debe ser informado por escrito sobre su libertad de buscar representación legal alternativa y de su propia escogencia. • Tercero, el cliente debe dar su consentimiento por escrito para confirmar que está de acu erdo con los términos de la transacción. La forma y redacción general de estas condiciones puede cambiar entre diferentes colegios profesionales de abogados, pero sus objetivos de transparencia y eliminación de conflictos de intereses son siempre los mism os. De esta manera, el abogado adquiere la facultad de prestar servicios profesionales al artista fuera del área legal. Si cumple con las premisas anteriores, podría desempeñar el rol de cualquiera de los miembros del equipo de trabajo. Cómo despedir a un abogado Transcripción El artista tiene el poder de romper sus relaciones de trabajo con cualquiera de los miembros de su equipo, incluyendo al abogado. Por ley, está en su derecho de despedirle en cualquier momento. A pesar de esta libertad, el artista de be tomar la decisión con calma y buscar primero la vía de la comunicación. La mayoría de los conflictos tiene solución. ¿Cómo se lleva a cabo el despido? Esta es la parte más sencilla. Simplemente, el artista emite un documento escrito llamado carta de terminación. En esta carta se detalla el motivo del despido y se solicita como cortesía profesional entregar al nuevo abogado todos los materiales importante s del archivo del artista. En algunos casos incluso, ambos abogados se reúnen en presencia del artista para hacer una entrega verbal de los detalles operativos y los asuntos más relevantes. Obligaciones contractuales El despido no necesariamente detiene las obligaciones legales que el artista tiene con el abogado. Un ejemplo común se presenta cuando el contrato con el abogado incluye comisiones porcentuales. El artista debe continuar pagando dichas comisiones por las g anancias obtenidas de contratos negociados antes de haber finalizado la relación. Precisamente por este tipo de situaciones el artista debe actuar precavidamente a la hora de firmar su contrato con el abogado. En este aspecto, el objetivo principal es lim itar las obligaciones legales después de la finalización del término, incluyendo el alcance de las comisiones o ganancias porcentuales a un plazo específico. En algunos casos la comisión se reduce a la mitad después de una cantidad de años, y cesa por comp leto algunos años después. La cantidad de tiempo es negociable y el objetivo es evitar que las comisiones se prolonguen indefinidamente después del despido. Para lograr consolidar estas cláusulas en el contrato con el abogado, el artista debe buscar asesor ía durante la negociación. Actividades Recomendadas, Semana 3 Actividad 1 Entreviste a un artista, y pregúntele si ha lidiado con abogados. Si lo ha hecho: ¿Qué ventajas ha traído a su carrera? ¿Este abogado se especializa en industria musical? ¿Cómo se negoció la compensación del abogado por dichos servicios? Actividad 2 Al buscar un abogado de industria musical siempre es útil preguntar a todos los contactos personales, buscando una recomendación. Pregunte entre sus conocidos hasta encontrar alguien que le recomiende un abogado (no necesariamente especializado en industria musical). ¿A cuántas personas tuvo que recurrir? semana 4 Introducción: el trabajo específico del abogado Transcripción El abogado se desempeña en el ámbito legal colaborando con transacciones o litigación. Su rol específico incluye tareas que varían dependiendo del caso por requerimiento cotidiano del artista. Un día podría redactar un contrato y otro podría realizar una i nvestigación para determinar si una obra infringe los derechos de autor de su cliente. Veamos un ejemplo. Cuando dos creaciones musicales se asemejan, el dueño de la creación registrada más antigua, tiene el derecho de demandar por plagio si se comprueba que es una copia. Escuchemos una melodía utilizada en una película: Audición recomendada 7.1. Melodía: Encuentros cercanos del tercer tipo Dada su naturaleza característica, esta melodía fue registrada. Su uso queda limitado a los dueños del material intelectual. Entonces, surge una pregunta. ¿Qué es infringir los derechos de autor? Cualquier secuencia musical se puede registrar. Dependiend o de la legislación local, las especificaciones pueden ser distintas. Por ejemplo: una secuencia de 5 notas puede registrarse, como en el caso de la melodía que recién escuchamos. Así, el rol específico del abogado implica desempeñar tareas de negociación , investigación, asesoría legal, elaboración y revisión contractual, defensa de los derechos del artista, y muchas otras. Durante esta lección delimitaremos el marco práctico del oficio del abogado en sus aspectos tanto transaccionales como de litigación. Además, veremos las vías que el artista puede tomar con ayuda de su abogado cuando sus derechos son violentados, y cómo el objetivo principal es buscar métodos de resolución para este tipo de conflictos con el fin de evitar demandas. Además, exploraremos las consecuencias de tomar la vía legal, analizando algunos casos de plagio y violación de propiedad intelectual. Proceso de negociación, elaboración y firma de contratos Transcripción El abogado transaccional participa en la negociación, redacción y firm a de contratos proporcionando asesoría al cliente. ¿Cómo funciona el proceso de firma de un contrato? Etapas: Negociación Primero, una o ambas partes tiene una necesidad que requiere una relación contractual. Durante la etapa de negociación se realizan re uniones, formales o informales, donde se establecen los términos de la relación entre las partes. El abogado no necesariamente está presente durante esta etapa. Al finalizar esta etapa, se presenta un “antecontrato”, conocido como draft por su nombre en in glés. Es un documento que se genera a partir de lo acordado durante la etapa de negociación. En este aspecto es fundamental para el artista tomar nota de todos los aspectos clave que se conversan durante las negociaciones. Etapas: Antecontrato Este antecon trato también se conoce como carta de intención o letter of intent. Incluye como mínimo: o Las estipulaciones generales de lo acordado durante las reuniones. o El aporte de cada una de las partes en el intercambio para suplir los intereses mutuos. o Las c ondiciones más importantes o puntos clave que se debe respetar para iniciar la relación de negocios de modo sostenible. Etapas: Redacción En respuesta a la carta de intención, uno de los abogados redacta el contrato. En algunos casos los abogados desarro llan sus propias plantillas, que modifican para incluir los datos específicos como los nombres e identificaciones de las partes. Además se agrega toda la información crucial: • Los detalles finales de la negociación y lo acordado por ambas partes. • Los hechos que constituyen un rompimiento de contrato. • Las consecuencias que se impondrán si ocurre dicho rompimiento. El vocabulario y terminología de los contratos puede variar. El objetivo principal es utilizar lenguaje específico en los aspectos cl ave, dejando un mínimo margen de interpretación abierta, en caso de que la relación escale a un conflicto entre las partes. Entrega, revisión, modificación y firma del contrato Finalmente, el documento se entrega a ambas partes para su revisión y posible modificación. Cuando ambas partes están satisfechas con las condiciones estipuladas, se procede a firmar en presencia de los abogados. Por lo general el personal manager también está presente. Relación entre adversarios: Conflictos de intereses Transcripción ¿Cómo se procede cuando dos clientes del mismo abogado desean iniciar una relación de negocios? Cuando dos individuos o entidades ingresan a la etapa de negociación se convierten en adversarios por definición. No necesariamente se comportan d e modo negativo pero buscan proactivamente obtener toda ventaja posible para optimizar las condiciones y beneficios de la relación contractual. El abogado juega un rol importante en esta relación entre adversarios. Sin embargo, cuando ambas partes tienen e l mismo abogado es necesario tomar algunas decisiones, debido a los conflictos de intereses que se pueden generar. Cada parte debe tener consejería legal separada. Este tipo de situación es común debido a que las personas recomiendan su abogado a quienes c onocen. Consecuentemente, por ejemplo, el artista y su business manager podrían tener el mismo abogado. Existen tres posibilidades para enfrentar este tipo de situaciones: • Ambas partes consiguen otro abogado. Esta es la posibilidad más inusual y se pres enta por lo general bajo conflictos bastante serios. • Una de las partes consigue otro abogado. Este método es más común. El abogado se queda con quien ha trabajado más tiempo. • Si ninguna de estas posibilidades es satisfactoria, los clientes pueden recu rrir a mediadores para negociar y llegar a un acuerdo, y el abogado no hace más que redactar lo acordado. Por lo general estos mediadores son personal managers. Para evitar el riesgo de la imparcialidad, el abogado tiene la responsabilidad ética de notifi car a sus clientes de cualquier conflicto de intereses posible. El artista debe actuar cautelosamente y considerar la posibilidad de que su abogado también represente legalmente a miembros de su equipo de trabajo o posibles futuros adversarios. Métodos de resolución de conflictos: Cortes de reclamos y arbitraje Transcripción Cuando se rompe una cláusula contractual o el artista percibe una violación de sus derechos, el abogado proporciona asesoría en la resolución del conflicto, evaluando las consecuencias para determinar si es o no rentable iniciar procesos legales. Esta rentabilidad no solo implica la relación costo -beneficio, sino los recursos que se invierten al llevar un caso a los tribunales. Más específicamente: tanto el demandar como enfrentarse a una demanda, representa necesariamente una inversión de tiempo y energía, lo cual puede generar desgaste emocional y afectar el proceso creativo o desarrollo del artista. Por este motivo, los abogados aconsejan a sus clientes buscar vías alternativas de r esolución de conflictos, entre las que sobresalen tres principales: las cortes de reclamos, el arbitraje y la mediación. Si el conflicto no se logra solucionar, se hace necesario tomar la vía legal de la litigación. Es importante resaltar que tanto estas denominaciones como sus implicaciones prácticas pueden cambiar entre diferentes países o zonas dependiendo de la legislación local. Cortes de reclamos La corte de reclamos es un recinto legal donde las personas presentan sus casos y se representan a sí mi smas. Tiene jurisdicción limitada a una ciudad o localidad específica y su énfasis principal son casos relacionados con cobro. Normalmente, el reclamante llena un formulario, paga una cuota pequeña para presentar su caso y la corte convoca a las partes implicadas. Cada parte presenta su caso, sin abogados de por medio y recurriendo a la evidencia y testigos que consideren necesarios. El juez escucha y emite los términos de su resolución, incluyendo multas. Si una de las partes no se presenta, la otra gana p or defecto. Arbitraje En el método llamado arbitraje, se selecciona una persona por acuerdo entre las partes según su experiencia en la industria. Este árbitro es imparcial y no puede tener relaciones financieras con ninguna de las partes. Para llevar a cabo la resolución, las partes se reúnen en un recinto menos formal que una corte. No existen reglas respecto a la manera en la que cada una de las partes presenta su caso, pero de igual manera, se presenta evidencia y testigos. Al igual que en la corte de reclamos, el árbitro es cucha, delibera y emite una resolución. Es posible incluir cláusulas de arbitraje en los contratos, definiendo el árbitro por adelantado o la organización de resolución de arbitraje a la que se recurrirá si se genera un conflicto. Métodos de resolución d e conflictos: Mediación y litigación Transcripción Continuemos hablando sobre métodos de resolución de conflictos. La mediación y la litigación. Mediación En la mediación un tercero neutral guía las negociaciones, buscando una resolución sostenible de común beneficio o un mínimo de condiciones aceptables. Normalmente esta resolución incluye un monto a pagar. Cuando se alcanza una resolución, ambas partes fir man un acuerdo que estipula los términos de la mediación, incluyendo fechas, montos y métodos de pago. La tarifa del mediador se sufraga como un costo compartido entre las partes. Al igual que con el arbitraje, es posible incluir una cláusula de mediación en los contratos para definir este método de resolución por adelantado. Litigación Cuando las negociaciones con métodos alternativos no logran ningún acuerdo se hace necesario recurrir a la demanda estándar, que involucra todos los medios y métodos legales de la litigación. Como ya mencionamos, las demandas son el último recurso, ya que su resolución puede ser costosa, lenta y muchas veces exasperante para las partes. Una parte demanda por un monto específico, dependiendo de los daños causados por la violac ión de términos contractuales. El aparato legal actúa como intermediario proporcionando los recintos y las condiciones de litigación. Las partes presentan sus casos, incluyendo evidencia y testigos ante un jurado y un juez durante procesos que pueden tomar meses en alcanzar su final. Por estos motivos, los abogados aconsejan a sus clientes y colaborar a realizar un análisis antes de proceder con una demanda, con el fin de determinar si vale la pena su realización. A continuación procederemos a estudiar tre s casos distintos de uno de los conflictos más comunes en la industria musical: la violación de derechos de autor, mejor conocida como plagio. Análisis de casos: Plagio inconsciente Transcripción La violación de derechos de autor es uno de los casos de d emanda más reincidente en la industria musical. Analicemos uno de particular trascendencia a causa del veredicto de plagio involuntario: George Harrison vs. Bright Tunes Music Corporation por la canción "My sweet Lord". La canción de Harrison fue lanzada e n noviembre de 1971. Audición recomendada 7.2. George Harrison: My sweet Lord (1970) Este fue su primer tema como solista, y estuvo en primera posición por cinco semanas en las listas alrededor del mundo. Además, fue el single más vendido de 1971 en el R eino Unido. Actualmente ocupa la posición número 460 en el top 500 las mejores canciones de la historia de la revista Rolling Stone. Escuchemos el tema de la parte demandante, He´s so Fine de la agrupación The Chiffons, lanzada en 1962. Audición recomenda da 7.3. The Chiffons: He´s so fine (1962) La semejanza es indiscutible. En 1971 Bright Tunes Corporation, entidad representante de la agrupación The Chiffons, demandó a Harrison, sus compañías estadounidenses e inglesas, y otras compañías relacionadas con la canción: Apple Records, BMI y Hansen Publications. Los abogados de Harrison intentaron llegar a una resolución fuera de la corte, ofreciendo comprar el catálogo completo de Bright Tunes, quienes por su parte declinaron la oferta y solicitaron los derec hos de la canción My Sweet Lord a cambio de un 50% de las regalías que generara. Después de muchas negociaciones, Harrison ofreció $148.000 a Bright Tunes antes de que iniciara el juicio para determinar si ambas canciones eran similares. Las partes no llegaron a un acuerdo y el juicio dió inicio en 1976. Los abogados de Harrison intentaron comprobar que las canciones eran distintas, presentando testigos del proceso de composición y declarando que My Sweet Lord fue inspirada en la canción Oh Happy Day, libr e de derechos de autor. Después de todos los procedimientos legales el juez emitió un veredicto en contra de Harrison, declarando que no creía que el plagio se haya producido deliberadamente. Al final Harrison fue declarado culpable de plagio involuntario y tuvo que pagar $587.000. El rol del abogado es vital para evitar este tipo de situaciones. La materia prima para la creación musical es limitada, por lo cual muchas composiciones son similares. Al analizar las canciones de un lanzamiento comercial y veri ficar si infringen derechos de autor el artista puede evitarse pérdidas considerables. Es una medida preventiva, dado que los conflictos solamente se generan cuando la canción logra un éxito comercial a gran escala, lo cual es difícil de predecir durante l a composición. Análisis de casos: el artista que se plagió a sí mismo Transcripción Hablemos de John Fogerty y Creedence. Lo particular de este caso radica en el origen personal de los conflictos que pueden escalar a demandas. El precedente La banda Cre edence Clearwater Revival es al día de hoy, una de las más representativas de finales de la década de 1960 e inicios de los 70s, con álbumes como The Bayou o Green River. A pesar de su corta trayectoria, su influencia ha marcado a innumerables músicos, especialmente en los Estados Unidos. En 1970, CCR lanzó la canción Run Through the Jungle, escrita por Fogerty y que recibió la certificación de oro de la RIAA. Audición recomendada 7.4. Run Through the Jungle (CCR) Debido a numerosos conflictos personales, creativos, administrativos y de negocios, los integrantes de CCR perdieron millones de dólares y la banda terminó por disolverse en 1972. Con el objetivo de liberarse de las obligaciones contractuales de su contrato con CCR, John Fogerty cedió sus derechos de todo el catálogo de CCR. Así, la discográfica Fantasy Records, con su dueño Saul Zaentz, pasó a ser dueña de los derechos de distribución y publishing. De ahí en adelante John Fogerty no podría tocar sus propias canciones sin pagar licencias a Fantasy. Esta situación provocó roces personales y creó una brecha entre Zaentz y Fogerty. El conflicto Fogerty continuó con su carrera y en 1985 lanzó la canción "The Old Man Down the Road" , que tuvo un éxito comercial bastante prominente, alcanzando la décima posición en el Hot 100 de Billboard de Estados Unidos y numerosas listas alrededor del mundo incluyendo Canadá, Suiza, Austria, Alemania y Nueva Zelanda. Audición recomendada 7.5. The Old Man Down the Road (John Fogerty) Dicho éxito disgustó a Saul Zantz, dueño de Fantasy, quien declaró que esta canción era básicamente Run Through the Jungle, pero con una letra distinta y demandó a Fogerty en la corte federal. En otras palabras, John F ogerty se había plagiado a sí mismo, copiando una canción de la cual no tenía derechos de autor. Es importante destacar Zantz y Fotgergy no estaban en los mejores términos en ese momento. El disco Centerfiled que incluía la canción The Old Man Downd the R oad, contenía otras canciones como Mr Greed y Zanz Can´t Dance, en las que Fogerty describía un personaje ladrón, adúltero y asesino. Fans y críticos compartían la opinión de que estas canciones eran ataques dirigidos a Zaentz, quien respondió con una dema nda por difamación de $144 millones. Esta demanda fue resuelta entre las partes fuera de los tribunales. Resolución Volviendo a la demanda por derechos de autor, el caso se presentó en la Corte Federal de San Francisco en 1988. Fogerty se representó a si mismo ferozmente e incluso llevó su guitarra a la corte para interpretar ambas canciones y demostrar que las canciones eran distintas. La única semejanza siendo el estilo inherente de haber sido compuestas por la misma persona. El jurado deliberó rápidame nte y en pocas horas llegaron a la decisión unánime de que las canciones no cumplían con el requerimiento legal de ser substancialmente similares como para constituir una violación de derechos de autor. A pesar de salir victorioso, Fogerty aún estaba expu esto a las tarifas de sus abogados, que sumaban más de un millón de dólares entre sus consejeros personales y los representantes legales de su discográfica, Warner Brothers. Presentó numerosas apelaciones para recibir un reembolso por sus costos legales, p ero todas fueron denegadas, hasta que presentó su caso en la Corte Suprema de los Estados Unidos en 1994, donde se emitió una decisión a su favor. El papel de los abogados es complejo y requiere de un amplio conocimiento del aparato legal para continuar i nsistiendo hasta donde sea necesario para defender los derechos y patrimonio del artista. Análisis de caso: Plagio con acuerdo extrajudicial Transcripción Veamos ahora un caso más común de violación de derechos de autor. Un artista hace uso de la música de otro sin solicitar la autorización legal adecuada. La particularidad de este caso es que nunca llegó a los tribunales, sino que las partes llegaron a un acuerdo extrajudicial. Escuchemos ambas canciones y comparemos Audición recomendada 7.6. Ice Ice Bab y (Vanilla Ice) Audición recomendada 7.7. Under Pressure (Queen / David Bowie) La similitud es bastante notoria. De hecho el recurso de tomar muestras de otras canciones para incluirlas como parte del beat es sumamente común en el rap y hip hop. Escuchemo s un ejemplo de una canción que utiliza una muestra de otra canción: Come With Me de Puff Daddy, con una muestra de Kashmir de Led Zeppelin, aunque en este caso la muestra es una regrabación del pasaje musical. Audición recomendada 7.8. Come With Me (Puff Daddy) El conflicto Volvamos al tema. La canción Under Pressure fue lanzada en 1981 por la agrupación Queen en colaboración con David Bowie y alcanzó los primeros lugares de las listas en Estados Unidos, Alemania, Holanda, Argentina, Australia y Suiza. Años más tarde, en 1990 Vanilla Ice utilizó la línea melódica de Under Pressure en su canción Ice Ice Baby, sin solicitar una licencia. En otras palabras Queen y David Bowie no recibieron las regalías que les correspondían ni supieron que sus derechos de aut or estaban siendo violados. No fue sino hasta que Ice Ice Baby alcanzó los primeros lugares de las listas en Estados unidos incluyendo el top 100 de Billboard, que la canción llegó a la atención de Queen y Bowie. En su canción, Vanilla Ice modificó ligeram ente la línea de bajo para crear una versión distinta y evitar problemas legales, pero la diferencia es tan pequeña que no se pudo defender. Este caso nunca llegó a los tribunales dado lo indiscutible del plagio. Las partes llegaron a un acuerdo y la suma nunca se divulgó a los medios, pero probablemente fue un monto considerablemente alto. Además, parte del acuerdo extrajudicial incluyó agregar a los integrantes de Queen y David Bowie en los créditos de coautoría, recibiendo así las regalías correspondient es de todas las versiones posteriores de la canción Ice Ice Baby. En este caso, los abogados de Vanilla Ice fallaron en investigar la canción lo suficiente para identificar el plagio y hacer las recomendaciones pertinentes a su cliente. Actividades Reco mendadas, Semana 4 Actividad 1: Melodía de película Observe el video del siguiente link: http://www.youtube.com/watch?v=mYCBgSRNjk0 Esta es la audición recomendada 7.1. Analice la cantidad de notas presentes en la melodía. Descargue el audio de esta melodía a un dispositivo móvil, o simplemente memorícela y cántela a una persona que haya vivido durante la década de 1980. ¿Reconoce la melodía? ¿Le es familiar? Este poder de recordación es el que se busca proteger al registrar una melodía. Actividad 2 Escuche las audiciones recomendadas 2 y 3. Escuche la similitud entre ambas canciones. Analice el caso según los criterios vistos en el video 6 de esta lección. Actividad 3 Investigue algún caso de plagio diferente a los expuestos en esta lección. ¿Cuáles canciones y artistas estuvieron implicados? ¿En su opinión las canciones son similares ? -Integración de Equipo: Business Manager, Agente y Productor semana 1 Rol del Business manager Transcripción ¿Cómo maneja un artista sus finanzas? Ciertamente, muchos artistas fallan en informarse detalladamente sobre sus obligaciones financieras, incluyendo temas de impuestos, procesos de cobro, contaduría o pagos de servicios contratados. El business manager se contrata con el fin de liberar al per sonal manager de estas responsabilidades. Como ya hemos determinado, el último integrante que ingresa al equipo de trabajo es por lo general el business manager, debido a que su responsabilidad principal es la gerencia financiera de los artistas, incluyend o análisis y control para garantizar sostenibilidad de negocios. La mayoría cuenta con títulos de administración de negocios con especialidad en contaduría y conocimientos en temas de negociación, inversiones, banca e impuestos. Veamos algunas responsabil idades puntuales que el business manager realiza diariamente: • Se encarga de realizar los pagos de parte del artista a los integrantes de su equipo y personas que prestan servicios profesionales como músicos, coristas, asistentes técnicos y de montaje, e ntre otros. • Asesora y analiza al artista en temas de inversión. • Brinda seguimiento a los ingresos y gastos del artista. • Se encarga de realizar el pago de los impuestos, tanto a nivel local como internacional. • Además, maneja los asuntos financiero s personales del artista como testamentos, divorcios, sociedades y demás. Involucramiento y compromiso El rol del business manager es versátil ya que puede contratar otros profesionales para ejecutar tareas en las cuales no se desempeñe, por ejemplo agente s tributarios o bancarios, contadores, corredores de bolsa o consultores de inversiones. Su papel principal más allá de estas tareas específicas es proporcionar asesoría y prevenir al artista cuando sus negocios corren riesgos financieros. Se convierte en un portador tanto de buenas como de malas noticias y a nivel ético las comunica de modo inmediato y transparente. Puede colaborar de modo proactivo en tareas que afectan directamente la vida personal y profesional del artista, como por ejemplo: • Negociar y obtener hipotecas para las casas del artista. • Proteger las ganancias del artista a través de diversas técnicas financieras. • Pagar cuentas de negocios y personales del artista. • Monitorear y suplir las necesidades relacionadas con seguros de vida, salud o bienes. • Proporcionar soporte financiero durante la disolución de relaciones contractuales como sociedades o matrimonios. • Informar asertivamente al artista cuando entra en estado de negación financiero, gastando más de lo que gana o d istribuyendo sus ganancias de modo desmedido o irresponsable. Para cumplir con todas estas tareas efectivamente, el business manager debe tener compatibilidad con el equipo de trabajo, principalmente con el personal manager y el abogado. ¿Qué buscar en un business manager? Transcripción El artista debe prepararse para seleccionar a su business manager, recopilando criterios para el momento en que su negocio se desarrolle hasta llegar a un estado que requiera de manejo financiero. Hablemos de tres áreas principales: la experiencia del busi ness manager, sus condiciones de trabajo y sus aspectos administrativos. Experiencia La experiencia del business manager es un aspecto operativo que garantiza al artista el orden que necesita en sus asuntos financieros (figura 8.1.). Es importante indagar respecto a la forma en la que el business manager maneja las inversiones, además de conocer si es contador público autorizado, al igual que su trayectoria con clientes específicos en la industria musical bajo circunstancias similares a las del artista, ya sea locales o internacionales. Además, deben quedar claros los servicios que el business manager presta, adicionales al manejo contable, como por ejemplo impuestos, inversiones, proyecciones, presupuestos, testamentos, patrimonios, seguros y sociedades. Mediante estas indagaciones, es posible identificar el estilo de trabajo del business manager, y qué tan discreto y/o conservativo es su manejo del dinero y las cuentas. El artista debe rechazar respuestas genéricas como "nos acomodamos a las necesidades de nuestro cliente". Es crucial conocer los detalles. A grandes rasgos se debe responder la pregunta: ¿Qué hará este business manager para mí y cuáles son sus motivaciones? Por ejemplo: • El business manager no necesariamente es CPA, sino que puede contrata r alguno en su equipo de trabajo. • Debe demostrar su conocimiento de la industria musical y los flujos de capital de las secciones del mercado en las que participa el artista para saber con quiénes tiene relaciones financieras el artista. • Debe manejar las estipulaciones legales locales e internacionales de impuestos, pago de regalías, regulaciones, y demás. Además el artista debe expresar su intención de aprender e informarse. Es responsabilidad del business manager enseñarle y explicarle para que pued a mantenerle al tanto de sus estados financieros. Área: Experiencia ¿Cuál es su filosofía de inversión? ¿Es un CPA o es Privado? • No es necesario que sea CPA • Algunos BMs contratan CPAs en su equipo de trabajo ¿Representa clientes en la industria music al? • Muchos BMs no tienen experiencia. • Es importante que conozca los flujos de capital de las secciones del mercado en las que participa el artista • Este conocimiento le ayuda a saber qué, cuánto y a quiénes cobrar ¿Ha manejado cuentas de persona s en situaciones similares a la mía? ¿Tiene experiencia internacional? (impuestos en varios países, regalías, legislación, y otros afines) ¿Qué servicios adicionales ofrece, además de pagar cuentas y administrar el dinero? ¿Cuánto cobrará por estas tareas adicionales? • Impuestos, inversiones • Proyecciones, presupuestos y pronósticos de los ingresos • Coordinación de testamentos • Planeamiento de patrimonios • Monitoreo de necesidades de seguros • Disolución de sociedades, divorcios. ¿Tiene interés en educar, explicar? Figura 8.1. Business manager: Experiencia Condiciones de trabajo Las condiciones de trabajo establecen los términos generales de la relación contractual entre el artista y el business manager (figura 8.2). La negocia ción de una tarifa y la revisión del acuerdo por escrito son sumamente importantes, aunque muchos business managers trabajan sin contrato. En el aspecto contractual el artista debe tener cuidado de no establecer una relación que le asocie por un período de tiempo. Es recomendable tener la libertad de prescindir de los servicios del business manager en cualquier momento. Otras preguntas se relacionan con su modo operativo. Veamos tres ejemplos. • Los seguros de errores y omisiones, conocidos como E&O por su s siglas en inglés, le pagan al artista por los errores que el business manager comete. Es importante conocer los montos y áreas de cobertura exactas de este tipo de seguros. En la mayoría de los casos cubre solamente contabilidad. • Respecto a comisiones. Algunos business managers reciben comisiones de las entidades a las cuales dirigen los fondos del artista, como compañías de seguros, bancos, agentes de valores o fondos de inversión. Estas comisiones referenciales son una compensación que incentiva al business manager a trabajar dineros con entidades específicas y pueden crear conflictos de intereses que le motivan a asesorar al artista según su interés de recibir un ingreso adicional. Por este motivo el artista debe indagar acerca de dichas comisiones an tes de iniciar su relación con el business manager. • Otro aspecto clave es la disposición del business manager a ser auditado. El artista debe expresar su intención de contratar una persona independiente para supervisar el trabajo del business manager pe riódicamente y observar su reacción al presentar esta posibilidad. Algunos artistas no se sienten cómodos realizando estas auditorías porque piensan que refleja desconfianza, pero realmente es una práctica común y ética, a la cual todo manager honesto estará dispuesto a someterse. Figura 8.2. Business manager: Condiciones de trabajo Área administrativa Finalmente, el aspecto administrativo comprende detalles de los servicios prestados por el business manager, como el tipo de reportes que entregará y su f recuencia, si trabaja por su cuenta o tiene personas subcontratadas para tareas específicas y otros procedimientos generales como la firma de cheques y los pagos, que deben de estar bajo el control directo del artista (figura 8.3.). En este aspecto, es rec omendable que el artista firme sus propios cheques o como mínimo proporcione aprobación verbal o autorización electrónica a los cheques emitidos. De igual manera, debe aprobar y supervisar los pagos a los miembros del equipo o personas contratadas esporádi camente. Figura 8.3. Business manager: área administrativa Seleccionando al business manager Transcripción. ¿Cómo seleccionar al business manager? Hablemos primero de lo que no se recomienda. Con raras excepciones, involucrar a miembros de la familia en la vida financiera del artista es extremadamente peligroso. Primero, porque en la mayoría de los casos no están calificados para realizar el trabajo, pero más relevante que esto, es el hecho de que una persona cercana difícilmente tiene criterios objetivos para tomar decisiones financieras y sus errores o diferencias con el artista, pueden provocar problemas a nivel personal. Referencias Como hemos ha blado ya, las referencias de los miembros del equipo de trabajo son el primer recurso de búsqueda, pero el artista debe aplicar criterio a estas recomendaciones, ya que pueden venir fundadas en intereses personales y no en el verdadero beneficio del artist a. Por ejemplo, si el personal manager recomienda al business manager con quien trabaja para otros artistas. Esta circunstancia puede ser contraproducente si el artista tiene una diferencia de criterio con el personal manager, ya que el business manager po dría apoyar la posición del personal manager en lugar de la del artista. Estos conflictos de intereses pueden traer numerosos problemas al flujo operativo y financiero del negocio por lo que se deben identificar y manejar con sumo cuidado. Al entrevi star business managers y analizar sus opciones, el artista debe considerar que la efectividad de la persona elegida puede hacer la diferencia entre un futuro asegurado con seguridad financiera o el final abrupto de su carrera artística. Negociación de tar ifas Transcripción Existen diferentes modos de pagarle al business manager: • Porcentaje • Pago único • Cobro por hora trabajada • O una combinación de los anteriores La mayoría de los artistas optan por los pagos porcentuales debido a que representan u na inversión menor en comparación a los pagos por hora o fijos. El estándar es de un 5% del bruto. Sin embargo, bajo estas circunstancias los business managers negocian una tarifa mínima de entre $1000 y $5000 mensuales, lo cual es razonable, ya que deben cubrir sus costos operativos. En el caso de business managers que trabajan para artistas prominentes, el mínimo puede ser mucho mayor. Así, el artista está en su responsabilidad de proponer un tope cuando el business manager solicita un mínimo, para evitar que el porcentaje negociado exceda una cifra máxima. Dicho tope es variable y depende de la cantidad de dinero que el artista gane y la cantidad de trabajo que le genere al business manager. Por ejemplo, para artistas posicionados el mínimo puede rondar l os $10.000 mensuales y el entre $15.000 y $25.000, lo cual significa que el artista gana aproximadamente $3 millones anuales. Este tipo de negociación es beneficiosa para el business manager porque le garantiza una ganancia mínima y le motiva a generar may ores flujos de caja. Cuando su tarifa es por porcentaje, debe ser solo de los dineros recibidos durante el tiempo en el que el business manager está bajo contrato. Cláusulas de terminación pueden aplicar en estas situaciones, para definir que después del término, no se generarán comisiones ni deducciones adicionales. Además se debe de especificar si incluye ganancias sobre inversiones y tratar rubros como las comisiones dobles de manera cuidadosa y detallada. Supervisión y auditorías Transcripción Una de l as áreas más sensibles en el negocio del artista es el flujo de dineros. Sabiendo esto, el artista debe mantenerse al tanto y supervisar cuidadosamente al business manager contratado. Muchos artistas cometen el error de tratar sus asuntos financieros negli gentemente, adquiriendo la actitud descrita en la frase: "Hable con mi business manager" Este es uno de los comportamientos de negocios más arriesgados que el artista puede tomar. Puede delegar negligentemente muchas tareas: su vestuario, alimentación, selección de estudios de grabación, relaciones públicas, pero no el manejo de su dinero. Hem os visto casos como el de Jimmy Hendrix y Elvis que cometieron errores similares que fueron cubiertos por la magnitud de su éxito. El artista debe preguntarse entonces: "¿Mi carrera es lo suficientemente exitosa como para cubrir errores financieros?" En la mayoría de los casos, las repuesta es negativa, y esta es la razón por la cual los artistas supervisan y auditan a sus business managers. Persona clave Si se contrata un business manager que asigna tareas a otras personas, es importante conocer a estas personas y definir cláusulas contractuales que establezcan los roles, responsabilidades y obligaciones legales pertinentes cuando el trabajo es realizado por un grupo de personas. Auditorías y supervisión Además de supervisar de cerca y periódicamente los estados financieros con el business manager, el artista contrata a una entidad o persona tercera y neutral para verificar la efectividad de su trabajo. Durante la auditoría privada se estudian los reportes del business manager para analizar el impacto y c onsecuencias de sus decisiones. Algunos documentos analizados incluyen: • Sumarios de los dineros entrantes y salientes. • Presupuestos. • Declaraciones de ganancias y pérdidas. • Análisis de estado de inversiones y otras actividades financieras externas del artista. Al final de la auditoría, el artista recibe un reporte que especifica si el business manager está: • Robando o extraviando dineros • Tomando acciones o decisiones financieras inefectivas, absurdas o descuidadas. • Acatando y tomando acciones positivas respecto a la regulación tributaria local e internacional. • Manteniendo registros claros, ordenados y completos. • Cumpliendo con sus obligaciones y compromisos contractuales. Un beneficio secundario de las auditorías privadas es organizar los estados y actividades financieras, anticipando auditorías por parte de las entidades estatales, federales, nacionales o locales, lo cual puede ayudarle al artista a corregir situaciones proactivamente antes de enfrentar consecuencias legales. Configurac iones de negocios Transcripción Las obligaciones legales del artista, así como ciertas implicaciones operativas se definen por su configuración de negocios. Por ejemplo, en varios países, la regulación de impuestos indica que los gastos de negocios son ded ucibles de impuestos. Dependiendo de la legislación federal, estatal o local, la configuración de negocios establece diferentes ventajas e implicaciones, como por ejemplo: • Presenta al individuo ante las entidades financieras como un negocio y no como una persona. • Desprende al individuo de responsabilidades y cargas legales • Expone a la organización, y no al individuo, a posibles consecuencias financieras y legales, como deudas o demandas. • Protege al individuo de pérdidas financieras personales. Ante un proceso legal, el riesgo de pérdida de la organización equivale al val or total de la organización, mientras que el individuo arriesga perder todos sus bienes. Veamos algunas posibilidades de configuraciones de negocios, que son recomendadas al artista por parte del business manager junto con el abogado. Es importante resalt ar que los nombres así como las características de estas configuraciones pueden variar entre diferentes países. Empresa independiente Esta configuración se genera cuando el artista como persona física trabaja independientemente, siendo su propio jefe. Est os artistas no tienen obligaciones legales con nadie más que consigo mismos y las personas a quienes contratan. Esta configuración es simple de crear pero implica el mayor riesgo de responsabilidad legal ya que tiene un alcance personal ilimitado. Es decir , que el artista debe responder con sus propios bienes y patrimonio al enfrentar procesos legales de cobro o demanda. Sociedad La sociedad es la configuración más utilizada por agrupaciones artísticas, aunque en sus inicios la mayoría de los grupos musica les carecen de un acuerdo por escrito que estipule las condiciones de la relación de negocios. En la sociedad, un grupo de personas pasa a formar una entidad llamada artista a través de un documento que estipula las condiciones iniciales. Así, cualquiera d e los miembros de la sociedad puede actuar en su nombre. De la misma manera, ante cualquier proceso legal, todos los miembros están sujetos a las consecuencias tanto a nivel profesional como personal. Corporación En la corporación, el artista pasa a forma r parte de una entidad privada para la cual trabaja. Es una constitución de negocios bastante formal y requiere un acta constitutiva registrada ante la entidad estatal correspondiente. Las corporaciones son reguladas gubernamentalmente y su derecho de prop iedad se basa en estructuras de acciones, lo cual facilita su transferencia. La corporación protege al artista de responsabilidad legal debido a que es una entidad legal en sí misma, proporcionando mayor protección que la sociedad o la empresa independient e. Responsabilidad limitada La compañía de responsabilidad limitada es similar a una sociedad pero, como su nombre lo estipula, limita las responsabilidades personales de los miembros ante procesos legales. Al igual que la corporación, su configuración es compleja debido a que requiere un acta constitutiva registrada a través de las entidades locales o estatales pertinentes. Se diferencia de la corporación en el alcance personal al que se exponen sus miembros al enfrentar procesos legales; así como en otro s aspectos relacionados con impuestos. Por ejemplo, si un individuo es demandado, sus dividendos son cobrables si es miembro de una corporación, pero no lo son si forma parte de una compañía de responsabilidad limitada. Por otro lado, los miembros de las corporaciones pueden utilizar las pérdidas reportadas de la corporación como deducibles en sus declaraciones de impuestos. El abogado y el business manager deben analizar el estado actual del artista y su planeamiento estratégico para determinar la configu ración de negocios más eficaz en el corto, mediano y largo plazo, considerando su proyección local e internacional y sus implicaciones legales y operativas. La configuración de negocios más popular: Loan -out Corporations Transcripción ¿Cuál es la configur ación de negocios más utilizada por artistas posicionados? Los artistas con experiencia en el negocio prefieren utilizar la compañía de responsabilidad limitada. Esta elección se debe a diferentes beneficios que ofrece en el ámbito tributario. Por lo gener al se utiliza una variedad conocida como loan out corporation o empresa de colocación profesional, entidad intermediaria que subcontrata los servicios del artista e ingresa en relaciones contractuales con otras personas o entidades interesadas en sus servi cios. De esta manera, la compañía recibe los dineros de los contratos y le paga al artista un salario por servicios de entretenimiento prestados, protegiéndole de cualquier proceso legal en su contra. Por ejemplo si la compañía es dueña de las regalías del artista, firma un contrato de distribución discográfica y la contraparte hace una demanda, solamente estarían en riesgo las regalías. Los bienes personales del artista, como su casa o su cuenta bancaria estarían protegidos. Este mecanismo se utiliza para proteger al artista y sus bienes tanto personales como familiares de demandas frívolas. Por otro lado, la compañía proporciona servicios legales y financieros al artista, así como representación en algunos casos. Todos los gastos de negocios son deducible s de impuestos debido a que el artista es un empleado de la compañía. A pesar de que esta es la configuración más utilizada, no se debe escoger a ciegas. Recordemos que la elección se realiza a través de recomendaciones informadas por parte del abogado y el business manager. Colocación profesional y contratos discográficos Como ya hemos visto, la compañía de responsabilidad limitada realiza colocación profesional y al mismo tiempo protege al artista de responsabilidades legales. En el ámbito del contrato discográfico, la compañía subcontrata al artista para que preste sus servicios profesionales a la discográfica (figura 8.4). En teoría, el artista podría recibir los dineros de la discográfica en forma de salario y después evadir sus responsabilidades, des pidiéndose a sí mismo de su compañía o declarando esta en bancarrota. La discográfica en este caso no podría demandar al artista directamente, solo a su compañía de responsabilidad limitada. Figura 8.4. Compañía de Responsabilidad Limitada: Colocación pro fesional Para evitar esta situación, las discográficas requieren que el artista firme un documento llamado "carta inductiva" o "carta lateral" que obliga al artista a cumplir con las relaciones de su compañía si esta falla en hacerlo (figura 8.5.). De esta manera se garantizan que el artista abogará por cumplir con las disposiciones del contrato discográfico en lugar de buscar rutas legales para evadirlo. Figura 8.5. Compañía de Responsabilidad Limitada: carta lateral Actividades Recomendadas, Semana 1 Actividad 1: Artistas y finanzas Investigue sobre un artista exitoso/a que haya manejado mal sus finanzas. Compare sus ganancias en periodos cortos de tiempo con sus gastos. Actividad 2 Investigue sobre un artista exitoso/a que haya diversificado sus negocios fuera de la industria musical, por ejemplo invirtiendo en hotelería, moda, belleza, etc. ¿Qué tipo de productos maneja? Actividad 3 Con el fin de comprender mejor el video 8.6, investigue el proceso mediante el cual se supervisa o audita a un contador. semana 2 ¿Qué es un booking agent? Transcripción ¿Qué es un booking agent? Hemos mencionado que el booking agent es la persona respon sable llevar a cabo el contacto y negociar de parte del artista para confirmar los detalles de sus presentaciones en vivo. La definición del rol de un agente incluye cualquier actividad realizada para conseguir oportunidades de empleo al cliente o entidad contratante. Como tales, los agentes en otros nichos de la industria del entretenimiento son conocidos también como representantes. Enfoque principal En otras áreas de la industria del entretenimiento como la televisión, el cine y los deportes; el rol del agente es mucho más prominente que en la industria musical. Por ejemplo en el sector del cine, los agentes cuentan con mucho poder para influir en la carrera de sus clientes, lo cual les permite controlar muchos aspectos de esta industria. Su figura se podría comparar, hasta cierto punto, a la del Personal Manager de la industria musical. Estos acompañan a sus clientes a lo largo de sus carreras, colabo rando con su planeamiento estratégico, negociación y posicionamiento como profesionales en su nicho de negocio. En contraste, los agentes de industria musical se dedican casi exclusivamente a conseguir contratos para presentaciones personales en vivo, enfo cados a conciertos en su gran mayoría. Esta tarea se conoce como booking y está directamente relacionada con el manejo de agenda de las presentaciones personales de un artista. El personal manager o el artista definen un rango de tiempo en su calendario pa ra presentaciones personales en áreas geográficas específicas. Esta es la materia prima del booking agent, que toma ambas variables y realiza toda la logística necesaria para confirmar la máxima cantidad de presentaciones posible. Además de encontrar fech as y ubicaciones para los conciertos de sus clientes, el booking agent se involucra en negociaciones de otros tipos de presentaciones personales, tales como comerciales de televisión o radio, castings para patrocinio de giras, especiales de televisión, eventos de caridad, entre muchos otros. Es importante resaltar que el agente de la industria musical, no se puede involucrar en negociaciones concernientes a grabación, composición o mercadería (merchandise), por lo cual su rol no es tan crucial en la carrer a del artista como lo es el personal manager. Cuando un agente se involucra en estas áreas, está realizando un cruce al área profesional del music business management. Rol y características Transcripción En la estructura de la industria musical, el agente forma parte del área de music business management. Hemos hablado del su función principal en el equipo de trabajo. Exploremos algunos detalles de su rol en la carrera del artista. • El agente se desempeñ a como mediador entre el talento y el comprador. o Al decir "el talento", nos referimos al artista o artistas que forman parte de la cartera de clientes del agente, a quienes éste consigue oportunidades para presentaciones en vivo. o Por otro lado, el co mprador es la persona o entidad que contrata el talento. Esto incluye productores de conciertos, compañías promotoras de eventos o incluso dueños de salas de conciertos o venues en general. Durante la próxima lección nos enfocaremos en los promotores y sus relaciones con el equipo de trabajo primario, así como su rol general en el sector de la música en vivo. • En términos de negociación, las responsabilidades del agente para asegurar oportunidades de presentación en vivo incluyen la logística contractual. Así, se involucra en la determinación de tarifas. Es decir, el costo de los tiquetes de entrada a los eventos, lo cual es en parte una implicación de la tarifa que el artista cobra para presentarse. Esta es una negociación que se lleva a cabo entre el age nte y sus contrapartes: las compañías promotoras o representantes de los venues. • A nivel de implementación estratégica, su rol incluye comunicarse y coordinar con el personal manager para asegurarse de que las presentaciones que negocia sean congruentes con la estrategia del artista. Por ejemplo, el tipo de salas de concierto para un pianista clásico es distinto al que requeriría una banda de rock o artista de hip hop. El booking agent debe conocer el segmento demográfico meta para buscar lugares que por su ubicación y público habitual sean congruentes con las estrategias de management. Características del booking agent El rol del agente en la carrera del artista exige que éste presente habilidades buenas, sino extraordinarias, de comunicación, venta, cre dibilidad y manejo de relaciones profesionales e interpersonales. El agente debe ser capaz de comunicarse asertivamente a través de todos los medios disponibles para ubicar a sus clientes en diferentes salas de conciertos, lo cual es crucial para el posici onamiento del artista. El rol de campo del booking agent incluye estar en los lugares donde se presenta música en vivo: conociendo a los dueños de los venues y viajando con sus clientes entre concierto y concierto. Estas circunstancias convierten al booki ng agent en uno de los participantes de la industria que se involucra más en la identificación de talento y artistas nuevos con potencial en el negocio, lo cual sirve de hincapié para su incursión como personal managers. Al identificar un artista nuevo, el agente podría tomarle bajo su tutela con el fin de expandir su circuito de conciertos y si el artista carece de personal manager, el agente podría potencialmente manejar su carrera. La entrevista Transcripción Al igual que el personal manager, el abogado es un experto en negociaciones y reuniones, de manera que el artista debe prepararse y asesorarse antes de entrevistar a un posible abogado. El objetivo del artista debe ser encontrar un profesional que tenga va lores de compromiso, transparencia, honestidad y disponibilidad a enseñar. Veamos algunas preguntas que el artista plantea durante esta entrevista: • ¿Tiene experiencia en la industria musical? • ¿Cuál es su tarifa? • ¿Tiene un contrato escrito para su tarifa? • ¿Le molesta si un consultor externo revisa el contrato? • ¿Con cuáles artistas ha trabajado? Experiencia y tarifas El objetivo de preguntas como estas es determinar la experiencia del abogado en el área especí fica de la industria musical. Incluso el artista podría preguntarle al abogado cómo manejaría situaciones específicas con el fin de determinar su pericia profesional. Además, al determinar los costos y políticas de cobro del abogado, el artista obtiene una perspectiva respecto a su estilo de trabajo, tipo de influencia y conexiones que tiene en el negocio. El contrato Respecto a los contratos para tarifas, el artista debe consultar al abogado lo que sucede al final del término. Si hay porcentajes de por m edio, se pueden presentar implicaciones similares a los contratos de management, en cuyo caso, el abogado tendría derecho a cobrar comisiones aún después de finalizada la relación laboral. Además, algunas legislaciones locales, por ejemplo la de California , en Estados Unidos, requieren que los acuerdos tarifarios queden registrados por escrito para que sean efectivos. El artista consulta al abogado si está bien que una tercera persona revise el contrato. El abogado que se oponga a dicha solicitud no deberí a ser contratado, dado lo sospechoso de este comportamiento. La persona externa contratada revisa el contrato independientemente y asesora al artista respecto a sus implicaciones prácticas, especialmente si incluye cifras porcentuales. Referencias El arti sta consulta al abogado sobre clientes que estén a su mismo nivel. Al igual que con el personal manager, la finalidad es contactar a estos clientes para verificar el trato que reciben del abogado. Al hablar con estos clientes el artista indaga si el abogad o responde llamadas o correos electrónicos, si es eficaz en su trabajo, si se da a la tarea de dar asesoría en terminología legal, cuánto le toma resolver situaciones para sus clientes. Así, el artista indaga el nivel de satisfacción general de los cliente s del abogado, considerando la duración de la relación. Un cliente más antiguo puede dar referencias con más conocimiento de causa que uno nuevo. La entrevista Transcripción La selección del agente es una responsabilidad del personal manager. Si el artist a carece de esta figura en su equipo de trabajo, el booking agent reporta directamente al artista. Caso contrario, cuando el artista cuenta con personal manager, su contacto con el agente es mínimo y ocasional. Estará presente en las presentaciones en vivo y en las reuniones previas al inicio de una gira. El resto del tiempo el agente se encuentra en contacto con promotores, negociando las fechas de presentaciones personales del artista y en contacto con el personal manager para reportar los avances o solic itar autorización para tomar diversas vías de acción en sus negociaciones. Ya sea que el artista cuente o no con un personal manager para administrar y coordinar los esfuerzos del booking agent, tiene la responsabilidad ineludible de seleccionarle cuidados amente. ¿Qué busca un agente? El agente maneja varios artistas simultáneamente. Un booking agent puede desarrollar su cartera de clientes de modo casi ilimitado, dependiendo de su capacidad personal de organización, su efectividad y disposición de tiempo. Algunos agentes llegan a manejar más de 50 artistas en algunos casos. Dado que obtiene ganancias por comisión, su objetivo es maximizar dichas ganancias. Para lograr este fin, buscan talento constantemente entre artistas que ofrezcan tres aspectos princip ales: • Shows de calidad. Las presentaciones que provocan impacto en la audiencia demuestran la capacidad del artista de atraer y desarrollar su negocio. • Capacidad de convocatoria. Cuando un artista cuentan la capacidad comprobable de convocar a sus fa ns a diversos eventos el agente obtiene cifras aproximadas de la cantidad de entradas que se venderán, lo cual no solo le beneficia económicamente sino que le proporciona información valiosa para facilitar su trabajo. • Facilidad de colocación. Este factor incorpora diversas variables, desde el género musical del artista hasta su reputación o trato interpersonal. Para un booking agent es complejo trabajar con un artista que los venues no quieren recibir. Esto se puede deber a malas experiencias anteriores q ue los organizadores de eventos hayan tenido con artistas similares o con el mismo artista. Además, salas de eventos específicas reciben ciertos tipos de espectáculos y rechazan otros. Por ejemplo, un restaurante podría, por política interna, no recibir ba ndas de rock. Con estas variables en mente, cuando el booking agent analiza un cliente prospecto procede a investigarlo en diferentes categorías: • Experiencia y presencia en el mercado. Este aspecto trata de la cantidad de presentaciones y entradas vendidas en periodos definidos, cuánto cobra por presentación, dónde se ha presentado, el área geográfica de su circuito de conciertos, y cualquier otro detalle que demuestre el posicionamiento del artista. • Respecto al posicionamiento profesional, el agente indaga sobre el equipo de trabajo del artista y si cuenta con contrato discográfico, patrocinios, contratos de distribución, entre otros. Qué busca r en un agente De manera similar a la que un agente tiene varios clientes en su cartera, el artista puede contar con varios booking agents, especializados en zonas geográficas o mercados específicos. Por ejemplo, un artista europeo podría contar con un agente para su circuito de conciertos europeo y otro para sus presentaciones en América del norte. De esta manera, el artista indaga diversos factores. Veamos algunas preguntas específicas que podrían citarse en una entrevista: • ¿A cuántas zonas geográficas tiene acceso? • ¿Con cuántos venues ha trabajado? ¿Puede proporcionar una lista? • ¿Tienen acuerdos con estos venues? • ¿Puede proporcionar los porcentajes de incremento en convocatoria y cantidad de fechas que ha logrado pa ra un artista específico? • ¿Cuál es su tarifa? • ¿Tiene clientes que se encuentren en condiciones similares a las mías? ¿Qué logros ha tenido con ellos? Al igual que con los otros integrantes del equipo de trabajo, es necesario indagar el trato que el agente da a clientes que están al mismo nivel del artista. Estas y muchas otras interrogantes ayudan al artista y a su manager a seleccionar al booking agent adecuado. Negociación: tarifa y término Transcripción Al negociar con el agente es importante contem plar su configuración de negocios. Existen dos modalidades de trabajo para el booking agent. Puede trabajar de modo independiente o para una agencia. Más allá de este factor el artista y su manager deben negociar varias categorías: Tarifa Como mencionamos anteriormente, el agente gana por comisión. Dicha comisión varía entre 10% y 25% sobre las fechas confirmadas. Por lo general exige porcentajes altos para eventos pequeños. Sin embargo, la mayoría de los agentes cobra un 10% del bruto. Al igual que con otros profesionales de la industria, los agentes pueden negociar tarifas reducidas de hasta 5% para artistas que generan grandes ganancias en sus conciertos. De igual manera es posible para el artista negociar tarifas escalonadas, estableciendo comisiones al tas al inicio de su relación con el agente y reduciendo el porcentaje conforme sus conciertos generan más ganancias. Tarifa: Relación sindical En diferentes zonas geográficas dichas tarifas se ven reguladas por sindicatos como la Federación Americana de M úsicos (AFM) o la Federación Americana de Artistas para Televisión y Radio (AFTRA). Al incorporarse a entidades como estas, los artistas se ven protegidos por los límites que establecen el máximo que puede cobrar un agente, por lo general un 10%. Además, estos sindicatos también regulan la actividad de las agencias, otorgándoles franquiciamiento. Esta modalidad establece que los artistas incorporados solamente pueden ser representados por agentes que forman parte de la franquicia, es decir, aquellos que se apegan a las restricciones dictadas por el sindicato. Término Por lo general, las agencias negocian términos de tres años o más, sin embargo, es recomendable para el artista presionar para reducir este término a un año. Cuanto menor el término, es más con veniente para el artista ya que puede terminar la relación si ésta no produce los beneficios esperados. Incluso cuando no se logra negociar el término, es posible incluir cláusulas que proporcionen la posibilidad de terminar el contrato si no se cumplen ci fras específicas de ganancia. Es importante resaltar que algunos agentes independientes trabajan con sus clientes sin necesidad de firmar ningún tipo de contrato, estableciendo una relación de confianza que puede prolongarse indefinidamente. Aspectos con tractuales: territorio y exclusiones Transcripción. Al negociar con el agente o agencia, es importante ver más allá de la tarifa y duración del contrato, para contemplar dos aspectos prácticos: el territorio geográfico y las actividades que no cubre la relación de representación. Territorio La zona geográf ica de acceso y los contactos que posee un agente, son vitales para los resultados que su trabajo puede traer a la carrera del artista. Este es uno de los beneficios de trabajar con agencias. Su alcance geográfico es internacional y mundial en algunos caso s, lo cual puede representar un arma de doble filo, ya que su especialización por área geográfica puede ser deficiente en ciertas zonas. Así, se establecen tres categorías de cobertura, según el nivel del artista. • Para los artistas nuevos o de perfil in termedio, las agencias exigen dar cobertura mundial. • Conforme el artista se desarrolla, puede llegar a ganar suficiente poder de negociación como para renegociar su contrato y excluir ciertas áreas geográficas para contratar agentes o agencias especiali zadas en mercados específicos. Para extender su cobertura, muchas agencias subcontratan los servicios de otras agencias o agentes locales. Al obtener derechos de exclusión, el artista puede eliminar a la agencia mediadora y recurrir directamente al especia lista local. • Los artistas más prominentes, al llegar a un nivel suficientemente alto pueden incluso eliminar la agencia extranjera y negociar directamente con los promotores de conciertos a través de sus abogados y personal managers Exclusiones Al igua l que con el personal manager, el artista debe asegurarse de que el agente no se involucre en las ganancias obtenidas de otras actividades diferentes a las presentaciones personales, específicamente los conciertos. Las exclusiones contractuales incluyen ac tividades como grabaciones, composición, regalías en grabaciones de soundtracks, comerciales, publicación de libros, mercadería y producción musical. Es posible incluso excluir costos de cobro antes de aplicar las comisiones. Es decir, si el artista debe d emandar para cobrar, se deduce el costo de la demanda antes de calcular el porcentaje de la comisión del agente. El kit de medios: funciones Transcripción Todo artista debe contar con un paquete promocional, conocido también como kit de medios o kit de pr ensa. Este paquete incluye información que el agente utiliza para presentar al artista ante diversas entidades, informando sobre su estado de negocios y posicionamiento actual. Es una herramienta crucial de mercadeo y publicidad que cumple tres funciones: • Presenta al artista. Al entregar el kit de medios a los promotores, el agente presenta al artista, generando una impresión significante que diferencia al artista de su competencia. Esta primera impresión vende al artista y su show de manera atractiva a l promotor, revelando que el artista es profesional, serio, organizado, experimentado, único, creativo y por encima de todo, una opción viable como evento en el mercado. • El kit de medios informa, proporcionando recursos que el promotor utiliza para la p ublicidad del evento una vez confirmada la fecha. La presentación y organización de la información es tan importante como la información misma. Es por esto que la estructura del paquete promocional debe ser simple, para facilitar la extracción de datos. La información se debe presentar de modo accesible, conciso e interesante. • Finalmente, el paquete promocional mercadea. El promotor envía elementos del paquete a la prensa para promover el concierto e invitar a la audiencia a comprar tiquetes. El diseño y la información deben presentarse con la finalidad de alcanzar medios de comunicación como periódicos o revistas, con elementos que les invite a escribir artículos o solicitar entrevistas. El kit de medios: elementos Transcripción Veamos algunos de los e lementos más importantes del kit de medios. Es importante resaltar que además del medio impreso, todos estos elementos pueden formar parte de un kit electrónico que el artista pone a disposición del público en su sitio web y que el agente envía por correo electrónico a sus prospectos de negocios. Biografía La biografía es el currículum del artista. Incluye información concisa acerca de su carrera, incluyendo 6 datos principales: 1. La descripción del artista proporciona información clara sobre el tipo de presentación que ofrece así como su género o estilo musical. 2. El trasfondo incluye la historia del artista, miembros de la banda o equipo de trabajo en general. Crea puntos de interés específicos, como por ejemplo la nacionalidad o influencias tempranas del artista que tienen una influencia específica en la presen tación del show del artista. 3. Las presentaciones especiales son eventos importantes en los que el artista ha participado, tales como premiaciones, ceremonias, apariciones en televisión o radio, y festivales o conciertos prominentes. 4. También se incluy en las grabaciones más representativas y las más recientes en las que el artista ha participado, así como otros tipos de créditos de producción, composición o cualquier colaboración en proyectos musicales. No es necesario proporcionar una lista exhaustiva, solamente los aspectos más importantes y recientes. El resto se pueden listar en la sección de información general, que veremos más adelante. 5. Citas. Los comentarios de la prensa, promotores, medios de comunicación e incluso otros artistas, que han exp resado su opinión respecto al artista. Son extractos de artículos y entrevistas más extensos en los que ha aparecido el artista. 6. Presentaciones en ubicaciones sobresalientes. Esta sección incluye las presentaciones del artista en salas de conciertos o festivales de prestigio, ofreciendo así un vistazo breve de la experiencia que el artista tiene en presentaciones de alto calibre. Información general Esta hoja proporciona toda la información general que no necesariamente forma parte del bio, como por eje mplo categorías de presentaciones efectuadas por el artista (festivales, clubes, shows de televisión, entre otros), proyectos especiales o talleres y una discografía o videografía listando todos los lanzamientos en los que el artista ha participado. Entre vistas y artículos Estas son las versiones completas de donde se extraen las citas que forman parte de la biografía. Incluye artículos o notas de periódicos o revistas. Son importantes porque comunican al promotor que el artista tiene presencia en medios d e comunicación. Comunicado de prensa Una muestra de un comunicado de prensa es una herramienta invaluable, ya que proporciona toda la información clave para publicaciones de longitud específica, de manera que el periódico o revista se ahorra el trabajo de investigar y obtiene la información que necesita. Por otro lado, el artista se garantiza que los detalles pertinentes serán publicados. Fotos, videos y muestras de audio El diseño de imagen para el artista y su proyección mediante el uso de fotos, videos y audio en línea se ha convertido en un estándar de industria. El sitio web del artista, así como su página de youtube, facebook y otras redes sociales, permiten construir una estructura de comunicación visual y auditiva que evidencian las características del artista, su posicionamiento en el mercado y su nivel profesional. El kit de medios es una herramienta fundamental para el agente, ya que le ayuda a comunicarse asertivamente y trabajar sus contactos de negocios de modo efectivo. Actividades Recomend adas, Semana 2 Actividad 1 Entreviste a una banda que haga conciertos. Pregunte cómo negocian sus presentaciones. ¿Lo hace un miembro del grupo? ¿Lo hace una persona externa a la banda? ¿Qué pasos siguen para negociar y confirmar una presentación? Busque semejanzas y contrastes entre estas prácticas y la figura del agente descrita durante esta lección. Actividad 2 Entreviste al administrador de un venue o sala de conciertos. ¿Cómo se negocian las presentaciones de música en vivo? ¿Con quién se realizan di chas negociaciones? ¿Qué información presenta dicha persona para que el show del artista sea tomado en cuenta para una contratación? Actividad 3 Entreviste a un artista que realiza presentaciones en vivo. Si tiene agente, realice las siguientes pregunta. ¿Qué es lo más importante que hace esta persona? ¿Cómo se llegó a contratarle? ¿Qué términos fueron más importantes al contratar a dicho agente? ¿Qué beneficios ha traído el agente a la carrera del artista? Si no tiene agente, describa sus funciones al artista y realice las siguientes preguntas: ¿Qué buscaría en un agente? ¿Con qué potestad exigiría tales cosas?¿Qué presentaría al agente para garantizarle que trabajar juntos sería una buena relación de negoc ios? ¿Cómo negociaría la tarifa del agente? semana 3 El promotor: su posición y responsabilidades dentro de la industria de la música. Transcripción El promotor, es la persona física o jurídica que ofrece entretenimiento a un mercado específico, es de cir es quien se encarga de contratar espectáculos para ofrecerlos a un mercado definido. Según su tamaño y posicionamiento, los promotores pueden producir conciertos específicos para diferentes artistas o pueden contratar toda la gira de conciertos de uno o varios artistas. Esto implica hacerse cargo de las actividades relacionadas con la producción y promoción de los eventos, como por ejemplo: • Invertir capital en el concierto. • Cubrir los costos operativos de la presentación en vivo. • Realizar los es fuerzos de mercadeo y publicidad para el show. • Implementar la logística de venta de tiquetes. Es importante resaltar que el promotor asume el riesgo financiero. Es decir, la posibilidad de no conseguir un retorno de inversión o ROI por sus siglas en ing lés. Esto sucede cuando las ventas de los tiquetes no cubren los costos incurridos y no aseguran un margen de utilidad. Relación con el equipo primario Es importante mencionar que el promotor no forma parte del equipo primario del artista, sin embargo es l a contraparte del booking agent. Recordemos que el agente es quien se encarga de posicionar al artista en eventos o conciertos específicos. En esta modalidad operativa el promotor es un cliente potencial del artista, al comprar una o varias fechas de un sh ow en vivo del artista. El booking agent funge como intermediario en dichas negociaciones. Responsabilidades El promotor tiene varias responsabilidades. Analicémoslas a continuación: • Desarrollar la negociación de los precios finales de los tiquetes para el concierto. • Desarrollar los procesos de negociación de las tarifas del artista. Este proceso debe realizarse con el booking agent del artista. • Organizar y negociar con el venue la venta de los productos o mercancías del artista. Recordemos que un venue es un espacio privado, destinado a presentar espectáculos de entretenimiento, incluidos los musicales. Por extensión, el venue es la entidad leg al que negocia y contrata las presentaciones en dicho espacio. • Conseguir patrocinios que permitan o faciliten la cobertura de los costos del concierto. • Efectuar la organización de la configuración del escenario. Esto implica que es responsabilidad del promotor facilitar el escenario, equipo técnico, luces entre otros elementos para que el artista desarrolle el show. • Proporcionar el recurso humano necesario para poder desarrollar el concierto. • Desarrollar las actividades contables necesarias. • Pro curar que no se cumpla con las regulaciones o leyes de la región en la que se desarrolle el concierto. Esto implica determinar los elementos tributarios, de seguridad, se protección de seguros, entre otros. Tipos de Promotores: Transcripción Hasta ahora hemos analizado las funciones y responsabilidades del promotor en el negocio de la música. Adicionalmente es importante determinar la forma en la que los diversos tipos de promotores realizan sus actividades económicas. Tipos de promotor: alcan ce geográfico Existen cuatro tipos principales de promotores. Estos tipos de promotores son segmentados mediante su alcance geográfico. A continuación analizaremos los estos cuatro tipos de promotores: • Promotor Local: Atiende mercados pequeños. Normalmen te este tipo de promotor trabaja en ciudades o localidades específica, participando en la organización de conciertos pequeños. • Promotor Regional: El promotor regional atiende mercados un poco más extensos como provincias, condados o estados. • Nacional: Este tipo atiende el mercado de todo un país, para lo cual cuentan con las capacidades operativas y logísticas para atender diversos mercados en un país específico. • Internacional: El promotor internacional atiende los mercados de un país específico, sin embargo también extiende sus negociaciones a mercados internacionales. TIpos de promotor: participación en el mercado Asimismo, los promotores se categorizan según su participación dentro del mercado del entretenimiento. • Los presentadores de entretenimi ento, son grupos corporativos encargados de producir eventos a gran escala. Para lograrlo promueven los eventos a través de sus divisiones empresariales. Veamos algunas promotoras de este tipo: o Anschutz Entertainment Group (AEG). o Concerts West. o Messina Group. o Marshall Arts. • Los promotores independientes por su parte, trabajan mercados más pequeños. Son la contraparte local de las corporaciones, que les contactan en ocasiones específicas con el fin de tomar ventaja de su conocimiento de los mercado locales. Apariciones personales. Primera parte: Transcripción En el negocio de la música, el artista que desea mantenerse relevante debe adquirir experiencia presentándose en vivo constantemente. Para artistas nuevos o de posicionamiento intermedi o, recibir ganancias considerables de esta actividad resulta difícil. Como ya sabemos, para algunos artistas es necesario contar con un contrato discográfico y vender grandes cantidades de copias de discos para lograr llenar un venue. Para algunos otros artistas, llenar un venue no requiere que se vendan grandes cantidades d e copias. Es normal que al inicio de la carrera del artista, las presentaciones en vivo generen pérdidas. Esto se debe a los gastos que representa trasladarse al venue y posiblemente percibir ganancias reducidas o nulas por el show realizado. Egresos por a pariciones personales: Las giras de conciertos son costosas para el artista. Por lo tanto, es fundamental determinar una estrategia para cubrir los costos y analizar los posibles ingresos que la gira pueda generar. Para esto es necesario que el artista, en colaboración con su personal y business manager, desarrolle un presupuesto que proyecte la forma en que las finanzas del artista se comportarán durante la gira de conciertos. Algunos de los aspectos generadores de gastos que debe considerar el artista son los siguientes: • Alimentación. • Transporte. • Alojamiento. • Contratación de personal técnico. • Alquiler de equipo. • Seguros. • Pago de comisiones (en caso que existan). Estos elementos se deben considerar también en caso que el artista sea una banda, ya que el número de miembros de la banda puede aumentar la cantidad de egresos y disminuir la cantidad de ingresos. Por estos motivos el desarrollo apropiado de un presupuesto antes del inicio de la gira es fundamental. Los presupuestos son utilizados por los artistas de perfil alto y también es utilizado por los promotores para identificar la viabilidad de producir el concierto. En este aspecto, la capacidad del artista y su equipo de trabajo de negociar conciertos y conseguir contratos para presentacione s en vivo, yace en gran medida en su capacidad de presentar propuestas relevantes y plausibles financieramente. Apariciones personales segunda parte: Transcripción Apariciones en vivo de artistas nuevos: Generalmente, la forma en la que los artistas nuevos se presentan en vivo es a través de presentaciones en venues pequeños con capacidad de 100 a 1500 personas o participando como acto de apertura en una gira de una artista mayor. Para que un artista nuevo figure como acto de apertura en una gira de conciertos, es necesario en algunos casos que el artista cuente con un contrato discográfico. Tenga un contrato discográfico, o no, el movimiento de las producciones discográficas del artista es un indicador importante: 1- Ventas bajas de discos: posiblemente no se seleccione al artista para abrir los conciertos. Sin embargo, es posible que la influencia del personal manager del artista logre conseguirlo. 2- Ventas considerables: El artista contará con ventaja n egociativa. Sin embargo, esto no asegura un contrato para abrir conciertos. 3- Influencia en el público: Algunos artistas no venden muchos discos pero cuentan con un single que genera una cantidad de seguidores considerable, lo cual genera interés en prom otores, artistas principales y discográficas. Esta estrategia se utiliza cuando el artista principal tiene la capacidad de convocatoria requerida para el concierto y requiere de un espectáculo adicional para vender más entradas. Con esto en mente, es común que los artistas internacionales contraten un artista local para su espectáculo de apertura. En algunos casos es necesario que el artista nuevo pague al artista principal por abrir los conciertos, lo cual puede ser registrado como un gasto de mercadeo, co n el fin de generar mayor exposición al público. Otra forma en la que los artistas nuevos pueden presentarse en vivo es mediante las presentaciones en festivales, ya que normalmente existen espacios dentro del festival dedicados a artistas nuevos. Aparicio nes en vivo de artistas de rango medio: Un artista de rango medio cuyo promedio de venta de discos esté en el rango estable de entre 250000 y 500000 copias, tiene mayores oportunidades de conseguir presentaciones en vivo pagas. Estas presentaciones en vivo pueden darse como actos de apertura de conciertos de artistas mayores o siendo el artista principal de un concierto en venues pequeños que tenga una capacidad de entre 1500 y 2500 personas. La cantidad de ganancia que se puede generar de presentaciones en vivo en esta etapa de la carrera de un artista, varía dependiendo del precio de los tiquetes y de la capacidad de los venues en donde se desarrolle el show. Además se debe considerar el factor estadístico de venta de tiquetes, que depende de diversos factores incluyendo la trayectoria del artista y las condiciones predominantes del mercado local para consumir el espectáculo. Así, muy pocos artistas pueden pretender vender el 100% de los tiquetes de un concierto. Bajo todas esta s circunstancias, las ganancias que pueden generar los artistas en el rango medio se encuentran entre los $5000 y $250000 por presentación. Adicionalmente, es posible para un artista de este rango generar ganancias adicionales resultantes de las utilidades después de egresos. Apariciones personales tercera parte: Transcripción Artistas consolidados: Los artistas consolidados son aquellos quienes alcanzaron el pico en sus carreras durante las décadas anteriores, desde 1960 hasta inicios del presente siglo. Estos artistas se caracterizan por haber realizado giras mundiales y ventas de discos en el orden de los millones de unidades vendidas. También se caracterizan por tener giras constantes que les aseguran ingresos fijos. Normalmente este tipo de artistas se presentan en venues como: • Anfiteatros • Festivales • Ferias • Centros de entretenimiento • Casinos El mercado de los artistas consolidados está conformado por personas mayores y con ingreso suficiente para costear las entradas de las presentaciones en v ivo. Dichas presentaciones se categorizan de la siguiente manera: • Soft Tickets: el público va al venue por una razón que no es el artista. Puede que el venue tenga actividades de otro tipo y que requieran los servicios del artista (Casinos, clubs, entre otros). • Hard Tickets: el público va al venue directamente a consumir el entrenamiento que brinda el artista. El público compra este tipo de tiquete con la intención de ver el show de un artista específico. Esta es la finalidad expresa de visitar el venue . La categorización en los tiquetes, también existe con artistas nuevos y de rango medio. Por ejemplo, un artista que tenga un acto de apertura en un concierto de un artista mayor, se considerara como soft ticket. Si en el concierto el artista es el principa l, los tiquetes se consideran como hard tickets. Muchos de estos artistas son considerados como superstars (Paul McCartney, Madonna, entre otros), durante las próximas secciones de la lección analizaremos la forma en la que se trabajan las giras este t ipo de artistas. Aspectos legales: Riders primera parte: Transcripción Para las presentaciones en vivo, es necesaria la confección de un contrato. Este contrato se establece entre el agente y el promotor, sin embargo su confección es responsabilidad del abogado, personal manager y agente del artista. El contrato, normalmente especifica las clausulas tradicionales que especifican las fechas, partes involucradas, lugar, entre otros elementos. Como tal, el contrato es una base. Los riders son el elemento más importante del contrato, siendo un adendum de dicha base. Especifican información múltiple relacionada con la presentación del artista. Analicemos los aspectos que se incluyen dentro de este documento: • Egresos, gastos o costos: Normalmente cuando existe un punto de separación de las ganancias del concierto o la gira, es decir las ganancias se dividen entre el artista y el promotor, es necesario que se especifique el tope máximo de gastos o egresos que la producción del concierto represente. De esta manera, el artista puede calcular sus posibles ganancias adicionales. Asimismo, es posible que el artista cuente con la posibilidad de verificar los gastos reales del concierto y gira. • Tiquetes gratis: Los tiquetes gratuitos son un ru bro normal en las presentaciones de entretenimiento. Son entregados al artista y al promotor del evento y se utilizan para promocionar el concierto. En algunas ocasiones se utilizan para llenar el concierto debido a una baja asistencia. El artista debe con siderar que la cantidad de tiquetes gratuitos emitidos reduce los ingresos en el punto de separación (split point). Asimismo, esto pone en riesgo la cobertura de los costos del concierto. Por lo tanto, la cantidad de tiquetes gratuitos se establece dentro del rider. • El orden de importancia: Este es un aspecto que se debe tomar en consideración cuando se generan los materiales publicitarios del concierto y la gira. El artista principal querrá tener el espacio más grande en la publicidad y promoción del co ncierto. Por lo tanto, tiene la capacidad de definir la presencia o el tamaño del nombre de otro artista en la publicidad. Aspectos legales: Riders segunda parte: Transcripción • Grabación: El rider tiene que establecer fuertes restricciones de grabar el espectáculo del artista de cualquier manera. Grabar este tipo de material puede generar problemas legales asociados a la compañía discográfica y a los derechos de autor. Actualmente, evitar que los espectadores del concierto tomen fotografías o graben el c oncierto es imposible. Sin embargo, se puede evitar que tanto el promotor como su equipo de trabajo graben de alguna manera el espectáculo del artista. • Mercancías o productor del artista: Es necesario especificar dentro del rider que la empresa que facil ita el merchandising para el artista tenga la exclusividad de la venta de los productos del artista. • Entrevistas o promociones. El rider tiene que especificar que el promotor, no puede disponer del artista para realizar entrevistas o promoción en medios locales sin contar con el consentimiento previo del artista. • Catering: Además, debe indicar los servicios de alimentación que se le ofrecerán al artista y a su equipo de trabajo. Este aspecto se negocia con el promotor, ya que en algunos casos se puede limitar su participación en este servicio adicional. • Aspectos técnicos: Dentro del rider, es necesario especificar los elementos técnicos requeridos para la presentación en vivo. Algunos de los elementos que se toman en consideración son los siguientes: o El tamaño del escenario. o El equipo que debe proveer el promotor. o Requerimientos eléctricos. o Requerimientos de seguridad. o Camerinos. o Pruebas de sonido. En algunos casos, es necesario confeccionar un rider técnico que no forme parte del rider general. Este documento es fundamental en la correcta implementación del show ya que proporciona todos los detalles del equipo a utilizar y los requerimientos eléctricos y de potencia. • Aspectos legales: Un rider está lleno de múltiples aspectos legales que se deben considerar. Dentro de este apartado se tiene que considerar las razones por las que se puede cancelar la presentación y las repercusiones resultantes. Negociando la tarifa para el artista, primera parte: Transcripción Respecto a las ganancias del artista y del promotor, es necesario considerar que cada una de las partes debe generar las suficientes ganancias para cubrir los costos operativos y obtener una utilidad que le permita capitalizar. Por lo tanto es necesario qu e ambas partes determinen la suma de dinero neta necesaria para asegurar la continuidad operativa. Esta cifra se conoce como bottom line. El booking agent debe conocer esta información para negociar la tarifa del artista, asimismo el promotor debe conocer el flujo de neto de efectivo que requiere. En algunos casos, se deben incluir dentro del pago los elementos periféricos que recibe el artista del promotor durante su presentación en vivo; como por ejemplo: publicidad, promoción, porcentajes residuales, ent re otros. Ahora, es necesario determinar cómo negociar el pago del artista, conociendo la importancia del presupuesto para determinar el flujo neto de efectivo para el artista y el promotor. En la actualidad existen cinco formas específicas para establecer la tarifa del artista, a continuación analizaremos cada una de ellas: • Porcentaje directo: Es la obtención de ingresos mediante el cáculo de un porcentaje de las entradas vendidas. Es decir, el artista tiene derecho a un porcentaje de las ganancias obten idas por venta de entradas. Por ejemplo: Supongamos que un artista relativamente nuevo ha recibido la posibilidad de hacer un show en un venue. Este artista no cuenta con mucha capacidad de convocatoria, por lo que el dueño del venue negocia un pago del 6 5% de las ventas totales de entradas. El porcentaje que reciba un artista mediante este método de negociación puede ser hasta el 100% de las ventas de entradas, por lo que es una buena opción para artistas con capacidad de convocatoria o simplemente intere sados en ganar experiencia y darse a conocer. • Garantía directa o tarifa directa: Este tipo de garantía es establecida normalmente por el artista. Para establecerla es necesario analizar los costos o los egresos resultantes de presentarse en un venue esp ecífico para determinar las posibles ganancias. Esta modalidad de pago resulta muy apropiada para artistas nuevos que no cuenta con gran capacidad de convocatoria, ya que por lo general las ganancias son mucho mayores que un porcentaje de las ventas de ent radas. En algunos casos se realiza el pago de porcentajes adicionales por las ventas de entradas. Analizaremos este caso en otra forma de pago para el artista. La garantía directa está limitada por el nivel del artista. Cuanto mayor nivel de exposición de l artista, mayor será su tarifa y viceversa. La cifra correspondiente a la garantía de un artista superstar es mucho mayor a la que puede negociar un artista de rango medio. Negociando la tarifa del artista, segunda parte: Transcripción • Garantía o tarif a más porcentaje: Para este tipo de pago, es necesario analizar los ingresos brutos de la venta de tiquetes. Se toma la capacidad del venue y se estima la cantidad de público que puede asistir al concierto. Seguidamente, se establecen los egresos de la producción del concie rto. Cuando se cuenta con un ingreso neto estimado, es posible negociar la tarifa para el artista y el pago de un porcentaje adicional de las utilidades de la presentación, utilizando el término Splitpoint que analizaremos más adelante. En resumidas cuent as, este término define las ganancias que el artista obtiene cuando la venta de tiquetes del concierto genera excedentes más allá de la cobertura de los costos. • Garantía contra porcentaje: En esta modalidad, la ganancia del artista se define por la cifr a mayor entre las dos formas: garantía o porcentaje. Esto quiere decir que durante la negociación se establece una tarifa X pero también se establece un porcentaje Y. Por lo tanto, en caso que la tarifa sea mayor al monto resultante de aplicar el porcentaj e establecido, la paga del artista será la tarifa. Igualmente, si el monto resultante de la aplicación del porcentaje es mayor a la tarifa, el pago del artista será el porcentaje. Por ejemplo: Se establece con el promotor una tarifa de $600 y un porcentaje del 75% de los tiquetes vendidos: $600 contra 75%. Si la venta de tiquetes genera $700, el porcentaje correspondería a $525. Dado que el 75% es inferior que la tarifa negociada, el pago al artista es la tarifa establecida: $600. Si en el mismo ejemplo, el ingreso fuera de $2000, el 75% equivaldría a $1500, por lo que la tarifa no se validaría. • Garantía más bonos: Este método de pago se basa en una tarifa, estableciendo ganancias adicionales a modo de comisión para el artista. Dicha comisión se establece mediante la utilización de factores de asistencia a la presentación en vivo. Por ejemplo: Supongamos que se ha establecido una tarifa fija de 600 dólares para el artista. Adicionalmente se establece que a partir de 200 tiquetes vendidos bonificará $250 al artista. Adicionalmente, por la venta de cada 50 adicionales, se suman $250 a la comisión del artista. Por lo tanto, si se vendieron 500 tiquetes, el artista recibirá una comisión de $1750. Negociando la tarifa del artista. Escenarios. Transcripción Antes de analizar los escenarios de pago al artista, determinemos los valores monetarios y porcentuales que utilizaremos para determinar cada uno de los modelos de pago. (Figura 10.1) Figura 10.1 Variables para el cálculo del pago al artista. Utilizando las cifras anteriores, determinemos los cálculos que se tiene que realizar para calcular la utilidad neta prevista. Figura 10.2 Calculo de la utilidad neta pagando al artista una garantía o tarifa directa. En este escenario a las ganancias to tales esperadas se le restan la tarifa del artista y el monto esperado de egresos. El resultado de la aplicación esta operación matemática, corresponde a la utilidad neta asignada al promotor. Garantía Directa más Porcentaje Analicemos ahora la forma en la que se calcularía el pago del artista mediante el uso de una garantía más un porcentaje del neto: Figura 10.3 Calculo de la utilidad neta pagando al artista una garantía directa más un porcentaje del neto. Como podemos ver, el cálculo del subtotal de egresos es el resultado de la suma de la tarifa del artista más los egresos estimados. Adicionalmente, el cálculo de la tarifa del promotor se hace con base en el subtotal de los egresos. El total de ingresos es la suma del subtotal de los egresos más la tarifa del promotor. La ganancia bruta prevista menos el total de egresos da como resultado una utilidad antes del punto de división o splitpoint. Finalmente, se hace la distribución porcentual de ganancias para el artista y el promotor. Garantía contra porcentaje Analicemos ahora el método de pago al artista basado en garantía directa contra porcentaje del neto. Figura 10.4 Pago al artista mediante método garantía directa contra porcentaje del neto En este cas o específico, las posibles ganancias del artista son mayores utilizando un porcentaje del neto. Esto quiere decir, que la garantía directa utilizada tiene que ser reembolsada al promotor. Por esta razón en el cuadro se nota la suma de la tarifa del artista al porcentaje de ganancia del promotor. En este método, es necesario utilizar la tarifa del artista para realizar el cálculo de los egresos. Garantía más bonos Ahora analicemos el método de cálculo del pago del artista considerando el pago de una garantía directa y el pago de bonos adicionales. Figura 10.5 Pago al artista mediante el uso de una garantía directa y bonos En este caso, consideramos el pago de bonos de $1000 dólares a partir de la venta de 400 tiquetes. Además, se aplica un bono de $1000 ad icional cada 100 tiquetes más vendidos. Presupuestos: Transcripción Un presupuesto es un estado financiero previsional. Este presupuesto es utilizado con el fin de analizar la viabilidad de un proyecto; por lo general es necesario analizar los egresos y los ingresos del mismo proyecto. En la industria musical, los presupue stos tiene la misma función y por lo general se utilizan en escenarios de producción musical y producción de presentaciones en vivo del artista. Para entender la funcionalidad del presupuesto, es necesario indicar los componentes que deben ser incluidos de ntro del mismo. A continuación, analizaremos los elementos presentes dentro del presupuesto para una gira de conciertos: 1. Egresos: • Aspectos personales: o Tarifa del artista. o Salarios de los miembros de la banda. o Tour manager. o Equipo de trabajo. o Viáticos. • Viajes: o Alquiler de vehículo. o Alquiler de camiones. o Alquiler de buses. o Tarifas aéreas. o Gastos de parqueo. o Combustible. o Mantenimiento de Vehículo. o Hospedaje. • Equipo de trabajo del artista. o Tarifas del booking agent. o Tarif as del manager. o Tarifas del publicista. o Asistentes de oficina. • Aspectos técnicos: o Alquiler de equipos. o Alquiler de PA o Alquiler de luces. o Escenario y decoración. • Seguros: o Seguros de riesgo. o Seguros de negocios. o Seguros para equipos e instrumentos. o Seguro vehicular. • Anuncios y publicidad: o Anuncios en conjunto con la compañía discográfica. o Anuncios publicitarios del tour. • Exportaciones e importaciones. o Tarifas. • Otros gastos. 2. Ingresos: • Tarifas por presentaciones en vivo. • Porcentajes estimados por Splits o puntos de división. • Ingresos por mercancías. • Patrocinios. • Subvenciones. Las utilidades previstas, son la resta a los ingresos totales de los egresos totales. De esta manera es posible para un artista determinar qué tan viable es firmar un concierto o una gira de conciertos. Actividades Recomendadas, Semana 3 1. Busque dos canciones que usen fraseo Jazz. Explique la sección de la canción donde se use dicho fraseo. Especificar nomb re de canción y artista 2. Busque dos canciones que usen fraseo Balada. Explique la sección de la canción donde se use dicho fraseo. Especificar nombre de canción y artista. 3. Busque tres canciones que presenten contra -temas sobresalientes. Explique los motivo s de su elección. semana 4 Introducción Transcripción La figura del productor musical es fundamental para el artista. Así como el personal manager es el estratega principal en la carrera del artista, el productor es el responsable de dar vida a la música del artista, en congruencia con los planes planteados p or management y respetando plazos de entrega y especificaciones sumamente detalladas. Todas estas características se plasman en el producto musical y repercuten directamente en cómo el público percibe al artista. Durante esta lección analizaremos el papel del productor musical en la carrera del artista, analizando los diferentes roles que toma a nivel administrativo, creativo y humano. Pondremos estos roles en contraste con el trasfondo y la formación profesional del productor para lograr poner en contexto la importancia de contratar un productor que se acople a la visión y estilo planteados por el equipo de management. Además estudiaremos los diferentes factores que influyen en la negociación de la tarifa del productor musical. Rol del productor Transcripc ión ¿Qué es un productor musical? Muchas personas se hacen esta pregunta cuando ven los créditos de una canción. El productor musical es el encargado de asegurarse de que el producto musical se realice y entregue en un plazo definido. Esto le convierte en el director del proyecto musical en términos administrativos, creativos y humanos. Al igual que un supervisor de producción industrial, su trabajo consiste en llevar la fabricación el producto del estado A al estado B (figura 11.1). Figura 11.1 Proceso de producción En el caso de la producción musical, el estado A consiste en el material creativo que sirve de materia prima para la conceptualización de un mensaje, tal como un grupo de ideas, temas o sentimientos que se desean transmitir. El estado B cons iste en un producto terminado y listo para su lanzamiento al mercado, que por lo general recibe el nombre de Master (figura 11.2.). Figura 11.2 Proceso de producción musical Bajo este paradigma operativo, el productor musical debe crear un producto tan gible a partir de materia prima intangible, lo cual le convierte en el responsable de: • Maximizar el proceso creativo de varias personas involucradas en el proceso de producción. • Supervisar y liderar el equipo de trabajo, tomando decisiones y creando un a dinámica de avance. • Coordinar el proyecto en términos administrativos, encargándose de reservar, contratar, calendarizar, presupuestar, tramitar y hacer todo el trabajo de escritorio necesario. Demos un vistazo general a las etapas de un proyecto musi cal. Los procesos necesarios para traer la propuesta creativa del equipo de management a una realidad tangible. Etapas del proyecto musical Management emite las especificaciones del producto que necesita para lanzar a su artista o dar inicio a una etapa en su implementación estratégica. El productor musical debe tomar estas especificaciones y convertirlas en un producto. Supongamos para términos de esta explicación que estamos hablando de un disco para un lanzamiento comercial. Para obtener la versión final de este disco, es necesario implementar varias etapas. Dependiendo de la fuente de consulta las etapas requeridas pueden cambiar, pero en general se implementan tres procesos principales (figura 11.3): la preproducción, la producción y la post producción, cada uno con varias etapas internas (figura 11.4). • La preproducción consiste en planear y preparar todos los insumos necesarios: letras, música, selección de instrumentos y arreglos instrumentales básicos. • Durante la preproducción se toma toda esta materia prima y se inician los procesos para obtener componentes tangibles. Este proceso implica la finalización de los arreglos instrumentales, la grabación de las canciones y el inicio de la edición, seleccion ando el material a utilizarse en las versiones finales de cada canción. • Posteriormente, la postproducción implica editar y mezclar, con el fin de compilar todas las grabaciones realizadas, obteniendo las versiones finales de cada canción. Finalmente, el proceso culmina con la masterización, etapa que produce la versión final del disco, reuniendo todas las canciones terminadas. Figura 11.3. Procesos de producción Figura 11.4. Etapas del proyecto musical Trasfondo y áreas de preparación académica Transcripción Como encargado general del proyecto, el productor musical debe planear, elaborar, realizar, dirigir y supervisar cada etapa. Esto requiere conocimientos multidisciplinarios. Dependiendo del proyecto, sus responsabilidades pueden cambiar, ya q ue las condiciones de trabajo cambian también. En un proyecto podría ser necesario sentarse a terminar la composición de las canciones con el artista. En otro, el compositor podría tener todas las canciones listas. El mismo seguimiento cercano podría ser n ecesario en cualquiera de las etapas del proyecto: arreglo instrumental, grabación, edición, mezcla o masterización. Esto pone en evidencia que el productor debe estar preparado para: • Hacer un análisis crítico del trabajo de cada persona en el equipo, • determinar si se realizó correctamente, • y caso contrario, proponer vías de acción asertivamente. Así, la formación profesional del productor musical y su trasfondo general le da varias herramientas para ejercer su oficio. Por nombrar unos cuantos, el p roductor musical cuenta con: • Conocimientos teóricos y prácticos de música • Conocimiento de diversos géneros musicales • Experiencia manejando tecnología de vanguardia • Capacidad para coordinar trabajo en equipo • Habilidades interpersonales y de nego ciación • Habilidad de toma de decisiones Estas y un sinfín de otras características convierten al productor musical en una figura de importancia en los proyectos musicales. Es preciso tener presente que en el oficio de producción, como en muchos otros, se ponen en práctica habilidades, conocimientos y destrezas adquiridos a través de la experiencia integral de vida. Por este motivo, existen tantos tipos de productores como personas en el mundo, con diferentes habilidades interpersonales, pragmáticas y d e resolución de problemas o conflictos, así como diferentes niveles de formación profesional en diversos campos desde interpretación instrumental, hasta producción, ingeniería o negocio musical. Funciones administrativas Transcripción El aspecto administrativo de la producción musical es un factor fundamental de la base operativa de un proyecto. Es uno de los roles que los productores musicales delegan a administradores, asistentes o coordinadores de producción, ya que releva su carga y les permite enfocarse en sus funciones creativas, que veremos más adelante. ¿Qué tareas implica cumplir con el rol administrativo? Estamos hablando de toda responsabilidad de planeamiento, coordinación, confirmación o papeleo. Estos detalles son necesario s para proporcionar al artista un ambiente creativo libre de interrupciones, de manera que se deben tratar con suma seriedad. Veamos algunos ejemplos de las responsabilidades administrativas del productor musical. • Cálculo e investigación de costos. Actua lmente, la mayoría de los proyectos musicales cuentan con presupuestos específicos y limitados, por lo que el productor desarrolla una cartera de contactos y proveedores de servicios. De esta manera, cuando recibe un proyecto sabe qué instalaciones utiliza rá para trabajar y a quiénes contratará para manejar el dinero efectivamente. • La realización de presupuestos está muy ligada con la investigación de costos. El productor calcula y presenta diferentes propuestas para convertirse en una opción viable ante la entidad contratante. • Además de gestionar los dineros, la elaboración de calendarios es una tarea que ayuda al productor a controlar el avance del proyecto en plazos y etapas definidas, con el fin de entregar resultados en las fechas acordadas contra ctualmente. • La gestión de recursos humanos es un factor ineludible que incluye castings, entrevistas, contratación y todo lo relacionado con el manejo de los colaboradores del proyecto. Esto incluye la convocatoria de las personas necesarias para difere ntes sesiones de trabajo, su conteo de horas y pagos correspondientes. La gestión administrativa permite al productor musical adquirir control sobre el proceso creativo, el cual debe contar con márgenes de comodidad para producir los resultados deseados. Funciones creativas Transcripción El desempeño creativo del productor es un gran diferenciador. Su toma de decisiones y capacidad de aportar creativamente al proyecto. En este aspecto, el productor se acopla a la dinámica del equipo de trabajo para suplir las necesidades, compensar las carencias y brindar seguridad a los miembros que colaboran creativamente en cada etapa del proyecto. Veamos algunas de las responsabilidades creativas que el productor musical desempeña: • Supervisa el concepto y estilo. En este aspecto, el productor musical trabaja para comprender el concepto y las especificaciones que management proporciona. Al realizar este trabajo de conceptualización, se convierte en el líder creativo del proyecto, alineando los esfuerzos de todos los c olaboradores para que los resultados obtenidos en cada etapa respondan a las premisas establecidas por el equipo de management. • Supervisa el desempeño creativo de autores, compositores, músicos, instrumentistas, arreglistas, ingenieros, técnicos de grab ación, editores y cualquier otra persona involucrada en la colaboración creativa del proyecto. Se comunica asertivamente, utilizando referencias y vocabulario específicos. Por ejemplo, para trabajar con el arreglista podría hablarle de gestionar cuidadosam ente los instrumentos con registro grave como el bajo y el bombo. Al tener la misma conversación con un ingeniero de mezcla, utilizaría lenguaje distinto, hablando en términos de rangos de frecuencias. • Aconseja y proporciona coaching a los cantantes y o tros instrumentistas, dando indicaciones para que su interpretación sea coherente con el concepto sonoro del proyecto durante las sesiones de grabación. • Analiza cuidadosamente cada canción y proporciona recomendaciones para mejorarlas o resolver bloqueo s creativos que puedan presentar los compositores, arreglistas o ingenieros de mezcla. Al cumplir tareas como las anteriores, el productor musical controla la aleatoriedad que puede generarse en el proceso creativo acumulado, al poner diferentes facetas d e un mismo producto en manos de diversas personas. Dependiendo de su estilo de trabajo, podría dar más o menos potestad de toma de decisiones a los miembros del equipo de trabajo, buscando un balance para optimizar los resultados de la colaboración colecti va. Funciones a nivel humano Transcripción El productor musical juega un papel sumamente importante a nivel humano, asumiendo la responsabilidad de crear el ambiente idóneo para que el artista pueda fluir creativamente. Debido a la interacción de diferen tes personalidades en el equipo de trabajo, el productor musical debe asegurarse de crear un ambiente de armonía. Toma de esta manera, los roles de mediador, negociador, conciliador y motivador. Veamos algunos ejemplos de situaciones en las que el producto r interviene a nivel humano. • Concilia discusiones hablando por separado con cada persona y generando un compromiso mutuo para mejorar el ambiente de trabajo. • Canaliza resentimientos o emociones contraproducentes para propiciar un mejor rendimiento. • Identifica personalidades o situaciones potencialmente conflictivas, encontrando medios proactivos para evitar posibles conflictos. • Resuelve argumentos creativos buscando y proponiendo diferentes puntos de conciliación. • Crea espacios para que el arti sta libere presión. • Proporciona apoyo emocional al artista en sus momentos de inseguridad o frustración. Generando momentum En la producción musical existen momentos de ímpetu creativo. Momentos en los que la música toma una potencia emocional que es difícil de recrear artificialmente. A través de cuidadosas intervenciones a nivel humano el productor musical puede generar las c ondiciones para que se produzcan estos momentos. Veamos un ejemplo. Cuando las etapas de preproducción se cumplen exitosamente, el artista sabe lo que tiene que hacer durante la grabación y cómo hacerlo. Sin embargo, es muy común ingresar al estudio de grabación con material compuesto recientemente. El artista, en el mejor de los casos se ha habituado parcialmente a este material, de manera que al grabar, gran parte de su energía y concentración están enfocados en interpretar correctamente. Por circunstanc ias como estas, es complicado para el artista experimentar la música emocionalmente en el momento de la grabación, lo cual le dificulta transmitir dichas emociones efectivamente. El productor debe estar alerta e identificar los estados emocionales del arti sta, para asegurarse de que el momento musical siendo grabado tiene la potencia emocional adecuada. De otro modo puede tomar las acciones que considere apropiadas para llevar al artista al estado emocional requerido, incluyendo tomar descansos, dialogar, b romear, y cualquier otro método que modifique el estado emocional del artista. Las responsabilidades humanas son uno de los factores diferenciadores más importantes para el productor musical, que a través de sus habilidades interpersonales crea relaciones duraderas con las personas con las que trabaja. Negociación Transcripción ¿Cuánto gana un productor? En las etapas tempranas de la producción musical, el productor formaba parte de la nómina de colaboradores de la compañía discográfica. Obtenía su compen sación a través de un salario. Sin embargo, durante entre las décadas de 1950 y 1960 productores de la talla de Snuff Garrett y George Martin notaron que el resultado de su trabajo generaba millones de dólares para las compañías discográficas, por lo cual empezaron a solicitar porcentajes de las ventas de los discos. Bajo los estándares de ese entonces, tal idea se consideraba escandalosa. Sin embargo, poco a poco los productores fueron ganando terreno en el mundo de las regalías, hasta abandonar las planil las de modo definitivo. Hoy en día el productor musical se desempeña como profesional independiente. Compensación El productor musical lucra de dos maneras: mediante regalías y adelantos. Es importante resaltar que la compensación del productor no es un c osto de producción. En otras palabras, su cálculo no incluye los rubros que se deben pagar por alquiler de tiempo de estudio y otros costos relacionados con la grabación. Estos deben ser cubiertos por separado. • Las regalías estándar están en un rango de entre 3% y 4% de las ventas de los discos o canciones. Algunos productores de artistas de perfil alto logran 5% y hasta 6% cuando sus producciones son muy exitosas. • El adelanto es una tarifa fija que el productor recibe para iniciar sus labores en el pr oyecto. La cifra se puede calcular de dos maneras: calculando un porcentaje del presupuesto de producción o negociando una tarifa fija. En ambos casos el adelanto es deducible de las regalías, lo cual significa que cuando las ventas del material discográfi co generan ganancias, el productor recibe sus regalías cuando estas sobrepasan el monto del adelanto. o El adelanto porcentual se calcula con base en el costo total de la producción y por lo general alcanza de un 20% a un 30% de dicho costo. En algunos ca sos, cuando el productor tiene potestad de negociación este porcentaje puede alcanzar hasta un 50%. o En el caso de los adelantos por tarifa fija, los rubros pueden variar dependiendo del género musical. A grandes rasgos, los adelantos pueden rondar desde unos pocos cientos de dólares hasta $150.000 o $200.000, dependiendo de lo posicionado que esté el productor. Un factor interesante en la compensación del productor es que puede aumentar sus ganancias al ser dueño de un estudio de grabación, lo cual es bastante común hoy en día. Un productor dueño de su propio estudio, obtiene ganancias no solo por sus honorarios de producción, sino por otros conceptos como horas de estudio, edición o mezcla. Además, los productores dueños de estudios de grabación pueden involucrarse en producción ejecutiva, negociando con artistas prometedores para no cobrar adelanto, e invertir h oras de estudio en el proyecto, a cambio de un porcentaje alto de las regalías o de una tarifa diferida. Detalles de negociación Transcripción Existen algunos detalles importantes en la negociación con el productor musical que el artista debe considerar. Regalías desde la primera unidad vendida Curiosamente, los productores tienen una ventaja en lo que respecta a regalías porque reciben un porcentaje de todas las unidades vendidas. Los artistas por su lado, empiezan a percibir sus regalías solamente despu és de que las ventas de los discos recuperan la inversión en costos de producción realizada por la compañía discográfica. En el caso del productor musical, recibe regalías bajo la modalidad conocida como record one es decir, desde la primera unidad vendida . Recordemos que si el productor recibió un adelanto, no percibe sus regalías record one sino hasta que se recupera el costo de dicho adelanto, pero en los casos en los que el productor no recibe adelanto, las regalías son pagas desde la primera unidad que se vende. Regalías retroactivas desde la primera unidad vendida Otra modalidad similar consiste en que el productor no recibe sus regalías sino hasta que la compañía discográfica recupera su inversión. Es decir, cuando las ventas del disco cubren los cos tos de producción. Cuando se alcanza este punto, la modalidad conocida como retroactive to record one establece que el productor recibe todas sus regalías de modo retroactivo desde la primera unidad vendida. En otras palabras, el productor no recibe regalí as sino hasta que la discográfica recupera su inversión y a partir de este punto recibe sus regalías acumuladas según la cantidad de unidades vendidas, lo cual incluye las unidades vendidas durante el lapso de recuperación de la inversión. El riesgo que co rre el productor musical cuando negocia sus regalías bajo esta modalidad es que arriesga no recibir regalías del todo si las ventas del disco no son suficientes como para recuperar la inversión. Resumen Transcripción Durante esta lección hemos explorado el papel del productor musical y la interacción que tiene con el equipo del artista. Analizamos su rol tanto administrativo, como creativo y humano en las etapas de implementación del proyecto musical: preproducción, producción y postproducción. Estudiamos el trasfondo tanto profesional como humano que diferentes productores musicales pueden tener y cómo afectan la manera en la que éste ejerce su oficio. Además, aprendimos que la mejor manera en la que el productor musical aporta valor agregado y se diferen cia como profesional, es gestionando todos los factores de modo organizado y detallado para proporcionar las condiciones necesarias para que el artista se desempeñe creativamente. Finalmente, delineamos los detalles más importantes de las maneras en las qu e el productor percibe sus ganancias al ser contratado incluyendo adelantos y regalías. La figura del productor musical es fundamental en la carrera del artista y su cuidadosa selección hace la diferencia en la proyección y planeamiento de carrera, tanto a corto como a largo plazo. Actividades Recomendadas, Semana 4 Actividad 1 Entreviste al productor musical más experimentado que logre encontrar. ¿Cuál es el enfoque más importante de su trabajo como productor? ¿Qué le diferencia de otros productores? ¿Por qué el involucramiento del productor es importante para el proyecto musical? ¿Cómo negocia su tarifa para trabajar en un proyecto? Actividad 2 Continúe con la entrevista al productor. Respecto a la implementación del proyecto musical. ¿Cuáles son las etapas para convertir unas cuantas canciones en un producto musical de categoría comercial internacional? ¿Cuál de estas etapas es la que más requiere atención del productor? Analice su respuesta en contraste con las etapas vistas durante esta lección Actividad 3 Entreviste a un artista que haya trabajado con un productor. ¿Cuáles fueron las aportes más importantes que el productor musical hizo durante el proyecto en términos administrativos? ¿Cuáles fueron las aportes más importantes que el productor musical hizo durante el proyecto en términos creativos? ¿Cuáles fueron las aportes más importantes que el productor musical hizo durante el proyecto en términos humanos? -Oportunidades Laborales en la Industria Musical semana 1 Pasos principales en una negociación Transcripción Cada escenario de negociación es diferente. Los puntos o elementos que se negocian son variables, desde una tarifa o contrato por compensación profesional, hasta los términos de la relación laboral entre manager y artista. El abanico de posibilidades que s e existente para escenarios de negociación en la industria musical es muy amplio. Bajo tales circunstancias, es necesario considerar que existen numerosas técnicas de negociación utilizadas en todos los ámbitos del quehacer humano. Exploremos de modo gener al las tres etapas en las que se desarrolla una negociación común: estableciendo criterios, recopilando información y alcanzando una resolución. • Establecer Criterios: Al establecer criterios cada una de las partes involucradas en la negociación identific a sus necesidades y objetivos, sentando una serie de premisas que permiten darle fluidez al proceso de negociación, el cual presenta a su vez interrogantes como las siguientes: • ¿Qué necesita la contraparte? ¿Qué deseo lograr? • ¿Es posible solventar la s necesidades mutuas? Asimismo, en esta etapa se deben evaluar las condiciones mínimas necesarias para proceder con el negocio, conocidas en conjunto como "bottom line". Esta lista de condiciones se utiliza como un margen de emergencia, ya que alcanzarlo s ignifica que el negocio no es viable. Al llegar a este punto se debe abandonar la negociación ya que finiquitar el negocio produciría pérdidas. • Recopilación de la información: Como su nombre lo indica, este proceso implica investigar la información neces aria para adquirir una ventaja de negociación. Esto no significa que se afectará a la otra parte, sino que es posible para una persona mediante la información determinar las diferentes formas de generar buenos negocios. Este proceso implica lo siguiente: • Investigar a la otra parte antes de iniciar negociaciones. • Tener esta información presente para identificar oportunidades durante la negociación. Buscar las posibles ventajas u oportunidades mediante el uso de la información obtenida. • Resolución o acu erdo: Este proceso permite la culminación de las negociaciones. Por lo tanto, para llegar a él es necesario contar con los criterios y la información suficiente para poder llegar a un acuerdo de beneficio mutuo. Al llegar a este tipo de acuerdo, es necesar io tener en consideración lo siguiente: • Tomar nota de los puntos acordados. • Afinar detalles hasta llegar al acuerdo final. Compara lo acordado con los criterios establecidos. Construcción de relaciones Transcripción La construcción de relaciones interpersonales, es fundamental para el posicionamiento profesional en el negocio de la música, sin importar el área de la industria en la que se trabaje. En este campo, cuyas raíces se establecen en la interacción coloquial e ntre personas que disfrutan del arte, la creación de una red de contactos facilita la generación constante y sostenida de nuevos acuerdos de negocios. La capacidad para desarrollar buenas relaciones interpersonales es una habilidad individual que es más o menos espontánea en diferentes personas. Sin embargo algunos aspectos ayudan a fortalecer esta habilidad. Analicemos cinco de estos: • Al ser un campo profesional tan competitivo, la perseverancia y persistencia son fundamentales. • En todo momento se debe mantener una perspectiva de comunicación y negociación. El objetivo debe ser construir relaciones a largo plazo con la mayor cantidad posible de personas con las que se interactúa. • Tener presente en todo momento que cada contacto se hace con una sola pe rsona. Al tomar ventaja de la atención que se obtiene de cada persona, cada vez, es posible construir una red de contactos sólida y basada en la confianza. • El factor humano se debe considerar en toda interacción, para construir relaciones. Dada la cantid ad de barreras que se debe sortear para lograr un objetivo en este negocio, es fácil perder de vista una cosa: todo aquel con quien negociemos, es un ser humano. Integral y complejo, con una historia, motivaciones, pasiones, buenos y malos días. Tener pres ente este factor, implica prestar atención a cada persona, desarrollando empatía y actuando de manera jovial, en lugar de ver cada interacción como un obstáculo. • El "no" pude significar "no en este momento". Plantearse un objetivo en este negocio, tiene una implicación de facto: recibir numerosas negativas en el camino a su obtención. La persistencia es un factor clave, por lo que dichas negativas no deben tomarse como un rechazo personal sino como una discrepancia de negocios. Recibir un "no" como respue sta, se debe tomar como una afirmación similar a las siguientes: o "Esta oferta de negocio no es favorable para mí en este momento", o "En este momento no cuento con el tiempo para analizar a fondo esta propuesta". Estas frases simplemente significan que la contraparte no encuentra beneficio en la propuesta presentada. Esta perspectiva es muy útil para mantener altos niveles de motivación, lo cual es absolutamente necesario para sobrevivir en la industria musical. Fortalecer buenas relaciones interpersonal es a nivel de negocios permite: • Contar con mayor cantidad de respuestas en plazos cortos de tiempo. • Desarrollar negociaciones en un ambiente agradable y menos tenso. • Contar con mayores oportunidades de recomendación. • Establecer relaciones a largo p lazo con personas que desarrollan sus carreras, convirtiéndose en aliados estratégicos y contactos con potestad de negociación. Basta con preguntar a cualquier profesional establecido por las personas con quienes estudió, para identificar nombres de profes ionales igual de prominentes en la industria. Analicemos cinco premisas importantes para la construcción de relaciones: • Respetar el tiempo y la posición de cada persona, desde el personal de limpieza y recepción hasta el productor o ejecutivo más exitoso . • Mostrar interés genuino en las prioridades y objetivos de la contraparte. Nuevamente, recordar que estamos interactuando con un ser humano es útil para ganar una perspectiva de comunicación. Para trabajar en ambientes agradables es necesario participar en su creación. Sin importar si estamos en el estudio de grabación, en una sala de espera o en un concierto, las interacciones de negocios presentan oportunidades de incluir un factor coloquial, y hasta personal en algunas ocasiones. • Investigar la posic ión, ventajas y limitaciones de la contraparte al negociar. Esto permite proponer ideas que funcionen para ambas partes, lo cual refleja transparencia e interés en los objetivos mutuos. • Comunicarse consultivamente, motivar a nuestro interlocutor a conti nuar hablando. Al permitir que las personas hablen de sí mismas, se obtienen temas de conversación para interacciones futuras, junto con la oportunidad de escuchar y sentir interés genuino por la contraparte. • Elogiar sinceramente y recordar las virtudes de las personas, evitando mencionar sus fallas o errores. Al reconocer y recordar las habilidades de otros, es fácil dar referencias. Poco a poco, la persona que reconoce los talentos ajenos y los recomienda, se posiciona como una persona referente, a quie n todos sus contactos acuden cuando necesitan contratar servicios en áreas específicas. La negociación win -win Transcripción La filosofía de la negociación ganar -ganar o win -win por su nombre en inglés, consiste en la consideración de los beneficios que obtendrá cada una de las partes. Esto permite la identificación de vías para el cumplimiento de los objetivos de ambas partes. La negociación win -win, habilita la construcción de relaciones de negocios a largo plazo ya que se busca una negociación que funcione bajo un concepto de cooperación y no de competición. Como ya sabemos, cada una de las partes dentro de la negociación busc ará maximizar su beneficio. Sin embargo este máximo beneficio no implica afectar a la contraparte. Todo lo contrario, conocer los objetivos de la otra parte permite determinar puntos de común beneficio para todos los implicados en la negociación. Las sigui entes premisas establecen el marco de la negociación win -win: • Todos los participantes sienten que ganaron. • Cada participante se interesa por los objetivos de los otros. • Cada parte está convencida de que la otra negoció justamente. • Cada una de las p artes siente que la relación se puede prolongar después de terminada la negociación. • Cada una de las partes confía en que los términos de la negociación y contrato serán respetados por la contraparte, más allá del mero acato motivado en la penalización c ontractual. Técnicas de negociación, parte 1 Transcripción En la actualidad, existen gran número de técnicas de negociación que facilitan la consecución de los objetivos propios o los objetivos de algún tercero al que se represente. La práctica efectiv a de estas técnicas permite desarrollar las propias habilidades de negociación. Analicemos algunas técnicas de negociación: • Preguntas Abiertas: Formular preguntas abiertas permite recopilar información importante que se puede utilizar para cerrar la nego ciación. Las preguntas abiertas son las que requieren respuestas extensas, más allá de una sola palabra o monosílabos como "sí" o "no". Analicemos algunos ejemplos: • Preguntas Abiertas: o ¿Qué experiencia tiene manejando artistas en el género latino? o ¿C ómo se sintió respecto al desarrollo de su cartera de clientes durante el último año? • Preguntas cerradas: o ¿Ha manejado artistas en el género latino? o ¿Tuvo una temporada exitosa el último año? • Respuestas Positivas: Esta técnica de negociación busca lo contrario que la anterior; pero existe un detalle. Es necesario formular la pregunta estratégicamente para que genere una respuesta positiva. De manera que esta técnica se implementa mediante preguntas cerradas, bajo dos premisas: • Una persona que resp onde positivamente está más abierta al dialogo que quien responde de forma negativa. • Para formular preguntas precisas, se debe utilizar información confirmada. Analicemos algunos ejemplos de este tipo de preguntas: • Usted está recibiendo 20 bandas en su festival. ¿Eso debe requerir un equipo técnico muy efectivo, cierto? • Permítame confirmar si entendí lo que me acaba de decir. ¿El año pasado sus ventas fueron inferiores respecto al año anterior? Al formular pregun tas cuya única respuesta es positiva, es posible movilizar al interlocutor a responder positivamente a otras preguntas. • Establecer valor antes de mencionar precios/tarifas: Para implementar esta técnica, se hace énfasis en los beneficios antes de mencionar ningún tipo de precio o tarifa. Es necesario enfatizar en el valor de lo que se negocia y la necesidad que tiene la otra parte por llegar a un acuerdo. Al establecer el val or, la negociación se enfoca en la percepción del beneficio, fuera del ámbito cuantitativo. Es una técnica de ventas básica. El vendedor de automóviles desea que su prospecto se siente al volante, active la ignición, presione el acelerador y sienta el soni do del motor, y el aroma de la tapicería de cuero. Esta experiencia de negociación sería muy distinta si el vendedor recibe al cliente con un rótulo mostrando el precio del vehículo. Por lo general la mayoría de personas que inician una negociación con pre paración previa entran a la reunión con sus objetivos en mente, Estos objetivos toman la forma de datos cuantitativos y el tema de costos no tarda en tocar la superficie. Bajo esas circunstancias, ¿cómo movemos el enfoque de la negociación hacia los benef icios? Se trata pues de atender estas preguntas, mediante la formulación de otras que desvíen la atención hacia el valor. Veamos un ejemplo en el que un promotor negocia con un agente. Recordemos que el agente llama al promotor para vender un concierto de su artista. Lo primero que el promotor trae a colación es el tema del costo. • Promotor: ¿Cuánto me va a costar? • Agente: ¿Cuántos asientos tiene la sala? • Promotor: 450 • Agente: ¿Cuándo fue la última vez que un artista lleno su sala? • Promotor: dos añ os • Agente: Nosotros vendimos todos los tiquetes en los últimos 10 conciertos Antes de hablar de cifras, el agente logró comunicar que su artista vende todos los tiquetes, un beneficio notorio para el promotor. Veamos algunos ejemplos de aspectos que se p ueden considerar para agregar valor a un producto musical: • Créditos de grabación • Venues en los que el artista se presentó • La historia del artista o la reputación de su equipo de trabajo • Ventas del producto • Presencia en medios de comunicación como reportajes o publicaciones A través de la presentación de beneficios el proceso de negociación se convierte en un intercambio que va más allá de transacciones financieras y se mueve a la búsqueda del beneficio mutuo. Técnicas de negociación, parte 2 Transcripción o Presentar documentación: Conforme la negociación progresa a lo largo de varias interacciones, se hace necesario desarrollar un documento que incluya todos los acuerdos alcanzados y detalles conversados. Al documentar cada interacción es posible enviar un documento antes de cada re unión, estableciendo los avances más recientes y sentando las bases para agilizar el cierre del acuerdo. En muchos casos estos documentos contienen cifras como porcentajes, precios o tarifas, lo cual elimina el margen de error generado al confiar en la mem oria de las personas presentes. En estos documentos la información se presenta de modo resumido y conciso, estableciendo parámetros que proporcionan ventajas de negociación. Cualquiera de las partes puede utilizar esta documentación como referencia, ya sea antes o durante las negociaciones. Además, los negociadores experimentados conforman borradores que incluyen términos generales de acuerdos anteriores. Este tipo de documento se presenta como "mi documento estándar", que delinea los términos generales con los que se trabajan. Al presentar este tipo de documento, se gana una postura profesional y se comunica a la contraparte la experiencia que se tiene. o Ser capaz de retirarse: En algunos casos, no es posible lograr un acuerdo que permita la generación de un beneficio. Por lo tanto, es necesario desarrollar la capacidad de retirarse de la negociación. En algunos casos, una de las partes termina aceptando las condiciones por la presión que significa el tiempo y dinero invertidos en la negociación. Al conocer el bottom line, se puede reconocer que el negocio será infructuoso, lo cual facilita retirarse de la negociación, admitiendo las pérdidas necesarias. Veamos algunos aspectos que se deben tomar en cuenta en este tipo de escenarios: o No involucrarse demasi ado ni necesitar una resolución especifica. o Si se necesita una resolución, es de crucial importancia no permitir que la otra parte lo sepa. o Analizar constantemente la negociación y verificar si se están cumpliendo los criterios requeridos. Comunicar a la contraparte la posibilidad de retirarse, da cierto poder en la negociación ya que comunica una postura de desapego. Algunas ventajas de retirarse de la negociación en un escenario poco efectivo son las siguientes: o Se evita constituir un acuerdo que fa lle en satisfacer los intereses establecidos o Se demuestra fortaleza de carácter de apegarse a los objetivos originales. o Se asume el tiempo y recursos invertidos como una pérdida poco significativa, ya que un trato por debajo de bottom line puede genera r mayores pérdidas. o La otra parte podría reaccionar para hacer concesiones y continuar con la negociación. o Uso del tiempo: Durante el proceso de negociación, es fundamental establecer la fecha límite para emitir una resolución o un acuerdo, principalmente porque no es recomendable negociar con urgencia. Al analizar la negociación, se hace posible manejar una agenda para determ inar las fechas en las que se debe obtener resoluciones o avances de la negociación. Si la agenda no se cumple, se proyecta la inversión necesaria para continuar con la negociación y se comunica a la contraparte que si no se cumplen los plazos, será necesa rio retirarse de la negociación. Sin embargo, es posible otorgar a la contraparte oportunidades para finalizar el trato. Técnicas de negociación, parte 3 Transcripción o Dejar de lado: La técnica de negociación conocida como "dejar de lado", consiste en p ostergar la negociación de algunos puntos que no se logran conciliar. Esto permite seguir negociando otros puntos para aprovechar el tiempo y avanzar, lo cual agrega presión a concluir la negociación cuando se retoma el tema polémico. Este tema o punto pos tergado, vuelve a ser negociado una vez se alcanzan acuerdos en algunos puntos adicionales. No es recomendable dejarlo para el final, especialmente si es un tema primordial en la negociación. Una de las ventajas de postergar algunos de los temas en la nego ciación es que, haber llegado a varios acuerdos adicionales trae una perspectiva fresca y una reacción emocional de ambas partes para conciliar el acuerdo final. o El intercambio: Cuando nos referimos a un intercambio, nos enfocamos en una negociación en d onde una de las partes hace una propuesta que no satisface las necesidades de la otra parte. En algunos casos cuando existe una presión por terminar la negociación, se tiende a aceptar un negocio que posiblemente no satisfaga todas las necesidades. Sin emb argo, es posible negociar algún tipo de intercambio que permita nivelar la negociación. Por ejemplo, si un manager negocia con un artista un porcentaje más alto de lo que este está dispuesto a ceder: o Manager: Requiero un 35% de sus participaciones en pel ículas para tener rentabilidad. o Artista: Mi estándar es 27%. Un 35% no cumple con mis premisas. Sin embargo, acepto. o Artista: Necesito nivelar el 8% que perdí en participaciones para películas. Deduzcámoslo de su tarifa en merchandise. o Método Socrático: El método socrático de negociación, fundamentado mediante el planteamiento de silogismos, permite la resolución de desacuerdos mediante la utilización de la técnica de "afirmación - pregunta". La principal finalidad de esta técnica de neg ociación es comprobar que la otra persona está equivocada en lugar de probar la veracidad del argumento propio. Esta técnica se basa en la siguiente premisa "Si usted está equivocado, yo estoy en lo correcto". Veamos cómo aplicar este tipo de negociación: o Primero formulamos una afirmación que resuma el argumento. o Luego, encontramos escenarios en los que el argumento sea falso. o Paso seguido, formulamos preguntas para confirmar dichos escenarios, de manera tal que la contraparte responda de manera afirm ativa. o Finalmente, formulamos una afirmación que resuma lo que la contraparte aceptó. Examinemos un ejemplo simplificado. Dos personas observan un vaso parcialmente lleno de agua. o Interlocutor 1 - Entonces está diciendo que el vaso está casi vacío. o Interlocutor 2 - Sí. o Interlocutor 1 - Pasando el agua a este medidor, podemos ver que tenemos 125ml de agua. ¿Correcto? o Interlocutor 2 - Sí. o Interlocutor 1 - ¿El vaso tiene una capacidad de 200ml verdad? o Interlocutor 2 - Sí, lo puedo ver. o Interlocutor 1 - En otras palabras, 125 ml de agua son 125ml sin importar el vaso. ¿O me equivoco? o Interlocutor 2 - Tiene razón. El vaso es engañoso. Está casi lleno en realidad. Técnicas de negociación, parte 4 (métodos dramáticos) Transcripción Examinemos algunos mé todos dramáticos, que hacen uso de recursos que no necesariamente van de acuerdo con la negociación win -win pero son ampliamente utilizados en todos los ámbitos de la industria. • Métodos Dramáticos, "el perro muerto": El método dramático denominado " perro muerto" consiste en proponer términos descabellados. Poner un perro muerto sobre la mesa hace que cualquier otra cosa que se proponga posteriormente suene más razonable. Esta técnica baja la guardia de la contraparte, ya que nada parecerá tan absurdo después de la primera proposición. • Métodos Dramáticos, "el reductor": Esta técnica es similar a la anterior, pero en lugar de presentar una propuesta exagerada, se reacciona de manera exagerada a la propuesta de la contraparte, sin importar si ésta es exagerada o no. Se utiliza para detener de forma dramática la proposición de la contraparte, que podría retractarse si tiene la guardia baja y proponer una alternativa más beneficiosa. Retomemos el ejemplo del vendedor de vehículos, que presenta el costo a su cliente: • Vendedor: El costo de este automóvil es de $45,000.00. • Prospecto: ¡¿Qué?! ¡Jamás puedo pagar eso! • Vendedor: Espere, espere. Déjeme pensar... Bueno, si rebajo mi comis ión, el precio se reduce a $40,000.00 En este caso, el precio justo del vehículo podría perfectamente ser el que el vendedor cita inicialmente, pero la reacción exagerada del cliente provoca tal impacto que el vendedor siente la necesidad de retractarse, a costa incluso de su propio beneficio y cediendo su comisión para reducir el precio. Como mencionamos anteriormente, estas técnicas no siempre están en armonía con la negociación win -win. • Métodos Dramáticos, "Policía bueno/malo": Este método se presenta al negociar con dos personas. Una de estas personas juega el rol de un "policía malo" mostrando una actitud antagonista y la otra persona se comporta como un "policía bueno", mostrando una actitud empática. De esta manera la contraparte sentirá un acercami ento con la persona empática, posibilitando así obtener información para usarla dentro de la negociación. En otras palabras, la contraparte sentirá que una de las figuras presentes en la negociación está de su lado. • Métodos Dramáticos, "Autoridad superio r": Este método de negociación se utiliza con el fin de hacerle saber a la contraparte que existe una autoridad superior que tomará una decisión respecto a la negociación. En este caso una figura de autoridad puede ser un jefe, socio, comité, supervisor e inclusive una entidad inventada a través de la cual se evade la responsabilidad de la decisión final. Este método se utiliza normalmente para comunicar que no se aceptará algún término de la negociación, transfiriendo la responsabilidad a otra persona, a q uien la contraparte no tiene acceso. Para contrarrestar esta técnica, es posible solicitar hablar directamente con el encargado o convencer a la contraparte de presentar el negocio ante esta autoridad superior. En este punto se pueden producir dos posibili dades: Si la contraparte se niega a interceder, es porque los términos de la negociación son inaceptables, independientemente de que exista o no la autoridad superior. Si por otro lado, la contraparte está de acuerdo en interceder, quiere decir que existe un nivel de empatía suficiente como para continuar con la negociación. Resumen Transcripción A lo largo de esta lección analizamos las diferentes técnicas utilizadas durante las negociaciones. Analizamos la importancia de realizar una planificación previ a a la negociación para identificar los elementos que pueden ser utilizados como herramienta de negociación. Por otro lado, analizamos las formas en las que se puede desarrollar la negociación y las posibles alternativas para concluir las negociaciones de manera positiva o negativa. Asimismo, analizamos la importancia de perfeccionar habilidades interpersonales para desarrollar relaciones, contactos y buenas negociaciones. Entidades y flujos de capital, parte 1 Transcripción Como hemos visto hasta el momento, la industria musical se basa en su gran mayoría, en la venta de experiencias de entretenimiento para diversas audiencias y tomando diferentes formas desde música para películas hasta conciertos y venta de singles por medi os digitales. Veamos un ejemplo muy general del tipo de relaciones que se producen para llevar estos productos al consumidor final y cómo se establecen flujos de capital entre las áreas de emisión y recepción de material creativo (figura 13.4.), las cuale s se conforman por el artista o compositor de un lado y la audiencia o público del otro. Figura 13.4. Áreas de emisión y recepción de material creativo Primero, tenemos a los artistas que se presentan en vivo ante el público, y a los compositores que c rean las canciones (figura 13.5.). Los artistas son representados por personal managers, mientras que los compositores firman contratos con entidades que les ayudan a vender sus creaciones musicales (figura 13.6.). Figura 13.5. Artistas y compositores Figura 13.6. Managers y publishers Los publishers por su lado, negocian y emiten licencias para el uso del material creativo en diferentes medios, incluyendo producciones discográficas. Es aquí donde entran las compañías discográficas a la escena, part icipando en el proceso de adquisición de licencias de las canciones y firma de contratos con los artistas que las utilizarán. Además, otorgan adelantos a los artistas para que estos cubran los costos de producción de sus lanzamientos discográficos (figura 13.7.). Asimismo, los managers hacen contacto y coordinan con los agentes, quienes negocian con los promotores para organizar eventos y presentaciones en vivo del artista. Figura 13.7. Compañías discográficas y agentes/promotores Las discográficas tie nen ramificaciones a lo largo y ancho de toda la industria musical con productores musicales, song pluggers, medios de comunicación masiva, fabricantes y muchos otros contactos, a través de los cuales gestionan la producción del material creativo, su promo ción y correspondiente colocación a disponibilidad del público (figura 13.8.). Figura 13.8. Alcance de las discográficas Entidades y flujos de capital, parte 2 Transcripción Los medios de promoción y distribución que están bajo el control de las compañías discográficas, hacen posible la colocación de los productos en tiendas, tanto físicas como en línea; así como su posicionamiento en diferentes medios de transmisión como radi o, sistemas de membrecía y televisión, por nombrar unos pocos (figura 13.9.). Figura 13.9. Posicionamiento del producto musical Las sociedades de cobro, se encargan del manejo colectivo de los derechos de las creaciones de los artistas y compositores asociados, proporcionando licencias y cobrando regalías para así generar el primer flujo de capital de nuestro ejemplo, de vuelta al bolsillo del compositor (figura 13.10.). Figura 13.10. Flujo de capital 1: Sociedades de cobro Finalmente, el público compra el producto a las tiendas, generando otro flujo de capital, esta vez de vuelta al artista. A través del trabajo de transmisores, promotores y agentes, el público también escucha el material y asiste a los conciertos, generando otro flujo de capital hacia el artista (figura 13.11.). Estos flujos de capital no son directos. Antes de que el dinero llegue al bolsillo del artista, es ne cesario el involucramiento de varias entidades y participantes como abogados, managers y hasta la discográfica misma, cuando por ejemplo, antes de iniciar el pago de regalías, se debe deducir el adelanto otorgado al artista para pagar costos de producción. Figura 13.11. Flujos de capital 2 y 3: compra de música y asistencia a conciertos El anterior ejemplo, junto con todos los contenidos del curso hasta este momento nos ayuda a comprender las relaciones entre entidades, participantes y los flujos de cap ital y material creativo que se establecen entre el público y el artista. Aunque es una descripción muy general que puede variar, o incluso contar con más eslabones en la cadena, nos es útil para comprender las interacciones que se producen en la industria musical. Perspectiva de negocios del artista Transcripción Hemos ganado una perspectiva global al analizar las interacciones entre entidades y participantes en la industria musical. El artista profesional vive en este medio y debe desempeñarse de modo c ongruente con el tipo de negocio que desea establecer, de otro modo no podrá ser competitivo. Veamos un ejemplo. ¿Qué puede hacer un artista para presentarse como una opción atractiva ante un personal manager? Antes de siquiera considerar reunirse con un a rtista, el manager le evalúa. Pregunta a sus contactos para verificar si le conocen y analiza su relación con agentes y dueños de salas de conciertos. Verifica su presencia en línea a través de su sitio web, redes sociales, seguidores, videos vistos y demá s. Integralmente, esta evaluación busca definir qué tan profesionalmente el artista maneja sus negocios. Como dijimos anteriormente, este es un factor clave para competir en la industria musical y se manifiesta a través de diferentes aspectos. El artista p rofesional: • Se prepara meticulosamente para sus presentaciones en vivo con el objetivo de lograr una conexión real con su audiencia y dar la mejor primera impresión posible, en caso de que hayan personas presentes evaluándole como un prospecto de negocio s. • Desarrolla un compromiso real con sus fans, presentando productos de alta calidad en cada oportunidad. Sin importar si es un concierto, una grabación en el estudio, una firma de autógrafos o una entrevista en televisión, su conducta está al nivel de los planes que tiene para su carrera. • Gestiona su imagen tanto personal, como en el escenario y en internet, todo de modo alineado con el concepto que desea comunicar a sus fans. • Desarrolla una postura, vocabulario y lenguaje corporal apropiados Lo más importante de este tipo de acciones es la perspectiva del artista. Su actitud refleja una disposición de negocios que está en armonía con su visión artística. El artista profesional se preocupa por conocer a su audiencia y hacer lo que sea necesario pa ra desarrollar una conexión real, trabajando de manera seria y comprometiéndose a la vez con su propia visión creativa. Actitud comercial Transcripción Hemos hablado del compromiso que el artista toma en el contexto profesional de la industria musical. Es te tema es un tanto delicado, debido a que existe polémica alrededor del balance entre el compromiso creativo del artista y su perspectiva de negocios. Llamemos "actitud comercial" a este balance. Tener actitud comercial se confunde con otro fenómeno, en e l cual el artista pierde su identidad artística haciendo concesiones y tomando estrategias de negocio con el fin de alcanzar éxito comercial. Reiterando entonces, al hablar de actitud comercial, nos referimos al balance entre el compromiso creativo y la perspectiva de negocios. Atender exclusivamente uno de estos dos aspectos, por lo general trae consecuencias negativas si el objetivo del artist a es obtener satisfacción creativa y vivir de su oficio simultáneamente. Es importante resaltar que la música como arte puede ser una práctica sin fines de lucro. Sin embargo, al iniciar su carrera el artista debe reconocer que hacer canciones para presentarlas en vivo y grabarlas es una actividad que se lleva a cabo con el obj etivo de ganar dinero. En algunos casos, el artista neófito teme que el negocio cambie su música, hasta el punto de perder consistencia con su identidad artística. Irónicamente, la identidad artística es lo que buscan las discográficas, managers, productor es, publishers, en fin, toda la industria en general. Es la ventaja competitiva que hace único y especial a un artista. Esta identidad es uno de los pocos aspectos que un artista difícilmente puede crear de modo artificial, debido a su profunda relación con la identidad integral del artista como ser humano: sus creencias, trasfondo familiar, cultural, socioeconómico, intelectual y emocional. Ahora, esto no quiere decir que la identidad del artista sea perfecta en su estado original. En general, los partici pantes de la industria se esfuerzan por trabajar diversos detalles para potenciar el alcance de esta identidad y crear mayor empatía con el público; mayor impacto emocional cada vez que el público tiene una interacción con el artista. Así, el artista debe trabajar con su personal manager para delimitar a esta práctica. Esto puede incluir el hacer cambios en su manera de vestir, hablar, crear o interpretar su música y su comportamiento en general. El negocio y el arte pueden existir en armonía. Mantener el balance propio de la actitud comercial es una labor diaria que el artista debe moderar cuidadosamente, teniendo presentes sus objetivos de negocio y revisando constantemente su identidad creativa. Estructuras de poder en la industria musical, parte 1 Transcripción. Todo artista debe prepararse para desplazarse en el negocio musical. Hasta el momento hemos hablado de algunas implicaciones como la actitud comercial y las interacciones que se producen entre los participantes y las entidades de la industria. Adicionalmente, el artista debe comprender las estructuras de poder para informarse sobre quiénes cuentan con predominancia en estas áreas. Existen cinco categorías principales: Amistad, dinero, acceso, éxito y trayectoria Amistad En todos los nichos de n egocio, y en especial en la industria del entretenimiento, el poder se halla en los contactos que se tienen. Y aún más allá, en las amistades. Es casi imposible encontrar una persona que sea poderosa por su propia cuenta. Esta es precisamente la razón por la cual el artista debe formar una red de contactos a través del interés genuino por las personas. Los contactos de negocios vienen y van, según la posición de relevancia del artista. Si el negocio es fructuoso están cerca y en los momentos difíciles dejan de contestar las llamadas. Las verdaderas amistades demuestran su compromiso al permanecer disponibles y dispuestas a cooperar sin importar la posición de relevancia del artista o si está pasando por un buen o mal momento en su carrera. Estas amistades se convierten en alianzas estratégicas que con el tiempo le ayudan al artista a posicionarse. Dinero Así como en otras industrias, el poder en el negocio de la música está ligado tanto a tener dinero como a tener potencial de ganarlo. Está de más decir que el dinero influye en la toma de decisiones y en la postura que se tiene en una negociación. Por ejemplo, las discográficas tienen la habilidad de influenciar las decisiones de nominación y selección de artistas para las ceremonias de premiaciones, o “musi c award shows” por su nombre en inglés. Al controlar los mecanismos de promoción y distribución, las discográficas influyen no solo en las ventas, sino en las estadísticas que generan nominación. Si a través de diferentes áreas de influencia una canción se posiciona en las listas de favoritos en las emisoras de radio, televisión y medios en general, se aumentan las posibilidades de que una mayor masa de personas se vea expuesta a dicha canción. Consecuentemente, los artistas nominados y los que se presentan en dichas entregas de premios aumentan sus ventas de música y entradas a conciertos, lo cual a su vez genera mayores ganancias para la compañía discográfica. De esta manera, cuando las discográficas pueden negociar agresivamente con sus nuevos artistas y a que tienen acceso al capital para garantizar niveles de promoción y distribución que de otro modo serían casi imposibles. El dinero les proporciona poder. Acceso En esta industria, algunos individuos tienen acceso a personas con poder de toma de decisio nes. Este acceso les da poder, y dicho poder aumenta si además de acceso tienen influencia sobre estas personas. Este poder se crea a través de una constante construcción de relaciones interpersonales. Veamos algunos ejemplos: • Los booking agents tienen acceso a promotores y otros compradores de talento. Contar con un booking agent que tenga este tipo de contactos representa tener acceso a las mejores oportunidades de presentación en vivo. • En el caso de los programadores de radio, tienen acceso a cone ctar al artista con su audiencia ya que deciden si las canciones se reproducen o no. • Por su lado los managers y abogados tienen acceso a personas con poder y conexiones. Son capaces de realizar conexiones de negocio con altas posibilidades de éxito. El acceso es una de las razones por las cuales el artista debe conformar un equipo de trabajo con personas que tengan sus propias redes de contactos. Esto proporciona grandes posibilidades de expansión en la industria musical. Estructuras de poder en la in dustria musical, parte 2 Transcripción Continuemos analizando las estructuras de poder en la industria de la música. Éxito Dar seguimiento al propio éxito es uno de los más grandes retos que un artista se puede plantear, ya que representa trabajar bajo es tándares en constante aumento. En su mayoría, los logros en el negocio de la música se miden con dinero. Un ejemplo notable es el de Michael Jackson y su disco Thriller, que vendió más de 50 millones de copias. Así como un disco exitoso, las giras exitosas le dan poder al artista. Rolling Stones con su gira A Bigger Bang que concluyó en 2007, amasó más de medio billón de dólares. Dar seguimiento a los éxitos anteriores es la mejor manera de mantenerse relevante. De lo contrario, cada vez que se falla en mej orar un éxito anterior, la carrera de artista entra en declive. Mantenerse relevante es la tarea constante del artista en crecimiento. Trayectoria Dada la dinámica de cambio tan agresiva del negocio de la música, el solo hecho de tener una carrera prolongada le proporciona poder al artista. La industria desecha todos los días al talento que es improductivo comercialmente, de manera que mantenerse en el negocio indica que el talento y propuesta del artista se mantiene relevante. Esta relevancia genera una reputación, que va directamente ligada al poder de la trayectoria. Artistas cuyas carreras se prolongan más de veinte años llegan a ser las personas que tienen los secretos del éxito en la industria. El contacto de este tipo de artistas es altamente cotizado, debido a su capacidad para abrir puertas, realizar conexiones y en general brindar asesoría sumamente valiosa. Tener las amistades correctas, co ntar con acceso a capital y a personas con poder de toma de decisiones, dar seguimiento a cada éxito y generar reputación y trayectoria, son herramientas invaluables, por lo que es de suma importancia para el artista comprender el poder que conllevan estas estructuras en la industria musical. Resumen Transcripción Durante esta lección dimos un vistazo general a algunas implicaciones de negocios importantes en la industria musical. Recapitulamos acerca de la estructura de la industria, con sus 4 áreas principales, su categorización en participantes y entidades y los miembros del equipo primario. Hablamos de las interacciones que se producen en este contexto global, cuando participantes y entidades se relacionan en todas las áreas de la industria para crear y vender experiencias de entretenimiento a la audiencia, gener ando flujos de capital entre la audiencia y el artista o compositor. Vimos un ejemplo general de un escenario para analizar cómo el material creativo emitido por compositores y artistas alimenta la maquinaria de la industria y genera grandes ganancias tant o para ellos como para todos los implicados en el proceso. Estudiamos las implicaciones de la postura de negocios del artista y cómo el balance entre esta postura y la integridad artística genera una actitud comercial que le ayuda a moderar sus actividade s diarias con el fin de tener una carrera prolongada y significativa. Finalmente hablamos sobre las estructuras de poder de la industria: amistad, dinero, acceso, éxito y trayectoria, a través de las cuales el artista puede actuar estratégicamente para desarrollar el negocio que genera y permanecer relevante a lo largo de su carrera. Actividades Recomendadas Actividad 1 Investigue el flujo de capital que generan servicios de Streaming como Spotify. ¿Cómo se asignan las regalías y quiénes son sus beneficia rios? Actividad 2 Busque información sobre las sociedades de cobro y cómo funcionan. ¿De qué manera protegen la propiedad intelectual? ¿Qué flujos de capital generan para un artista o compositor? Actividad 3 Entreviste a un artista que tenga varios años de experiencia como profesional en la industria musical. Realice las siguientes preguntas: ¿Cuál es su perspectiva de negocios? ¿Dónde está la línea entre tener una visión profesional de su carrera y comprometer su identidad creativa? En su opinión, ¿Cuáles son los factores más importantes que un artista debe comprender para tener una carrera prolongada y sostenible financieramente? semana 3 Introducción: identificación de oportunidades Transcripción Durante este curso nos hemos enfocado en la figura del artista y cómo el equipo de servicios de negocios gira alrededor de la actividad económica que este genera. En la primera lección y en la anterior nos enfocamos en la perspectiva global, viendo la indu stria musical como una gran maquinaria que proporciona experiencias de entretenimiento musical al público. Utilicemos ahora todos los conocimientos que hemos adquirido para darle un giro al enfoque del curso y concluir analizando las diversas oportunidades profesionales disponibles en esta industria. Empatía y oportunidades profesionales Durante el transcurso de las lecciones anteriores hemos delineado las características de varios participantes y situaciones comunes en la industria. Tomando en cuenta esta información, realicemos ahora un autoanálisis con el fin de identificar qué tipo de rol nos gustaría tomar en la industria musical. Analicemos algunas interrogantes en tres categorías diferentes. ¿Con cuál categoría sentimos más empatía? Categoría 1 ¿Soy un líder natural? ¿Me integro rápidamente en ambientes sociales? ¿Las personas me buscan para pedirme consejos? ¿Me intereso genuinamente en otras personas y recuerdo fácilmente a las personas nuevas que conozco? ¿Puedo manejar personas enojadas o conflictivas para llegar a un acuerdo? ¿Tengo un don para influir en la gente y hacerles ver mis puntos de vista? ¿Puedo identificar acertadamente el potencial de una persona, proyecto o negocio? ¿Prefiero estar en consta nte movimiento, que trabajando en un mismo lugar por varias horas al día? ¿Me gustan los ambientes dinámicos y llenos de cambio? ¿Tengo una mente rápida que reacciona acertadamente en situaciones de negociación? Categoría 2 ¿Puedo seguir, marcar e imitar r itmos fácilmente? ¿Me gusta trabajar en equipo? ¿Me es fácil percibir la afinación? ¿Puedo identificar disonancias con facilidad? ¿Puedo crear música con mucha facilidad? ¿Me gusta analizar contenido musical y encontrar áreas de mejora? ¿Soy una persona ap asionada y puedo contagiar ese dinamismo a las personas que me rodean? ¿Puedo trabajar bajo presión y con fechas de entrega agresivas? ¿Tomo decisiones rápido y lo pienso mucho para cambiar de parecer? ¿Puedo comunicar objetivos a otras personas y obtener resultados específicos? ¿Soy eficiente planeando e implementando proyectos? Categoría 3 ¿Tengo una memoria sobresaliente para datos e información no secuencial? ¿Los números y la matemática son fáciles para mí? ¿Me gusta analizar información para proporcionar recomendaciones? ¿Puedo analizar problemas y encontrar soluciones fácilmente? ¿Me gusta trabajar a solas? ¿Trabajo meticulosamente y puedo identificar los detalles inmersos en altas cantidades de información ? ¿Puedo defender mi postura aunque signifique generar un conflicto con otras personas? ¿Soy paciente? ¿Me gusta leer y puedo hacerlo rápidamente? ¿Me gusta explicar y enseñar? Estas preguntas no conforman ningún tipo de prueba de aptitudes, pero delinean las características de los participantes del equipo primario que hemos analizado a lo largo del curso. La categoría uno corresponde al personal manager y al booking agent, la segunda al productor musical y la tercera al business manager y al abogado. Senti r empatía con las características que definen el perfil de un participante de la industria son indicadores que tienen cierto peso en las posibilidades profesionales que podemos tomar. ¿Y si no me identifico con ninguno de los roles anteriores? Durante est a lección exploraremos algunas de las posibilidades más representativas, analizando los tipos de oficios que conforman la industria musical y las expectativas financieras de desempeñarse en esta industria. Flujos de capital Transcripción Por lo general, los que trabajamos en la industria musical nos sentimos apasionados por lo que hacemos. Sin embargo, cualquiera que pretenda incursionar en esta industria debe hacerse una pregunta tarde o temprano. ¿Cuánto dinero ganaré? ¿Qué opciones de crecimiento profesional tendré? Veamos los detalles. Para hacernos una idea, repasemos las tarifas y modos de cobro que tiene cada uno de los participantes del equipo primario. • El personal manager puede ganar de un 10% a un 15% del bruto, hasta un 50% d el neto, sobre todas las actividades económicas que genere para su artista. • El business manager gana haciendo cobros únicos o por hora trabajada, y en algunos casos cobra porcentajes de hasta 5%. • Por su lado, el abogado cobra un porcentaje de entre 5% y 10%. Algunos cobran por hora y los especializados en el negocio del entretenimiento pueden cobrar entre $150 y $600 por hora. • El booking agent gana hasta un 25% del adelanto sobre las fechas co nfirmadas, pero por lo general cobran un 10% del bruto y su tarifa está regulada por los sindicatos en algunas regiones del mundo. • Finalmente, el productor musical puede cobrar un porcentaje de entre 20% y 50% del costo total de la producción. Este adel anto es deducible de las regalías, que pueden ir entre 1% y 7% para productores de artistas superestrellas. Esta es una referencia de la expectativa laboral que existe, aunque las cifras pueden variar dependiendo de la zona del mundo, la trayectoria del pr ofesional e incluso según los cambios en la balanza económica del sector de la industria musical mundial. Veamos entonces las ganancias reportadas en dicho mercado laboral, cifras recopiladas por la Federación Internacional de la Industria Fonográfica, o I FPI por su nombre en inglés. Esta es una organización global sin fines de lucro que representa los intereses de la industria musical, realizando investigación de mercado y muchas otras actividades relacionadas con comercio internacional, tecnología, comuni caciones y representación legal internacional para la reducción global de piratería. En su reporte "Investing in music" de 2010 las ventas anuales reportadas alrededor del mundo en los segmentos relacionados con la industria musical ascendieron a $117.9 b illones (Tabla 14.1.), incluyendo ingresos por publicidad radial, ventas al por menor de música grabada y espectáculos en vivo, ventas de instrumentos musicales, publicidad en televisión y revistas, publishing y derechos de representación. Estas cifras dev elan que el negocio de la música está lleno de oportunidades. Exploremos a continuación las áreas de desempeño profesional que genera toda esta actividad económica. Tabla 14.1. Ingresos globales: 2010 (Fuente www.ifpi.org) La dura realidad Transcripción Antes de iniciar la conversación sobre las oportunidades de desarrollo profesional disponibles en esta industria, revisemos algunos factores de la realidad diaria de muchos de los oficios del negocio de la música. El rechazo no es personal Para cumplir o bjetivos es necesario contactar a diferentes personas, presentar propuestas y negociar. Las puertas están cerradas y para llegar a abrirlas se debe recibir muchas respuestas negativas. Este negocio promete grandes recompensas financieras a los pocos que lo gran sortear estos obstáculos y alcanzar a las audiencias masivamente. De manera que recibir respuestas negativas no se debe tomar con un rechazo personal. “No” significa “no en este momento”. Al tratar con las personas que controlan las puertas, esas pers onas que filtran solicitudes para entidades con poder, es importante tener paciencia y perseverar. El éxito lo merecen solamente aquellos que están preparados y persisten hasta que se producen las circunstancias adecuadas para recibir un sí. Relevancia Solo quien es relevante puede jugar un rol en la industria musical. La relevancia tiene que ver con el éxito actual, previo y continuo, con la capacidad de enfocarse en la agenda y necesidades de las demás personas. El profesional aspirante se enfoca en demo strar que sus servicios son relevantes en el éxito continuo del negocio de otras personas. Planeamiento de carrera Transcripción. Volvamos a las interrogantes que mencionamos anteriormente ¿Cuántas opciones laborales existen en el negocio de la música? ¿Cuál quiero perseguir? ¿Cuál es mi plan? El plan de carrera es como un mapa que se traza para definir objetivos de posicionamiento. Veamos algunos factores importantes en dicho planeamiento. 1. Autoanálisis Es importante analizar nuestra afinidad con los perfiles de diferentes oficios. Preguntas como: ¿me gusta estar detrás de escenas o en el escenario?, y ¿presto atención a los detalles?, nos pueden ayudar a identificar fortalezas y debilidades. 2. Definición de metas Al definir nuestras metas debemos tomar en cuenta necesidades y preferencias personales, así como nuestros objetivos de empleo a corto, mediano y largo plazo. ¿Me veo trabajando en una compañía discográfica, un estudio de grabación, en un escenario conecta ndo equipo, mezclando, interpretando un instrumento, presentándome ante una audiencia? La respuesta a preguntas como estas define un espectro de metas posibles 3. Preparación Una vez identificadas las metas, es posible definir las acciones necesarias par a incursionar en el mercado laboral. A través de diferentes opciones de educación, entrenamiento, programas de pasantía, trabajo gratuito, y participación en audiciones, el profesional se prepara para iniciar su carrera en la industria. La obtención de dip lomas, licencias, certificaciones, afiliación a gremios y asociaciones, son parte importante de este proceso. 4. Colocación laboral Una vez concluye la etapa de preparación académica, el profesional sondea el mercado laboral, intentando ingresar al negoci o por todos los medios a su disposición: Entrevistas, audiciones, envío de demos, presentación de portafolios, correos para presentarse ante diferentes organizaciones y en algunos casos considerando las opciones para formar un negocio propio. 5. Ascenso Una vez colocado, el profesional alcanza una etapa de estabilidad que le permite planear su crecimiento considerando las posibilidades y los contactos que logre desarrollar. En algunos casos los profesionales cambian de área de la industria. Un bajista podr ía incursionar como booking agent, o un business manager especializarse en derecho musical. Todo esto se ve definido por las oportunidades que el profesional desee crear a través de una continua preparación. Conforme pasa el tiempo el profesional llega a u n estado de posicionamiento en un nicho específico y se queda en él durante el resto de su carrera, etapa durante la cual inicia sus planes de retiro. Actividades Recomendadas Actividad 1 Asesórese respecto a su potencial de colocación profesional en la industria de la música. Inicie respondiendo las preguntas de las 3 categorías presentadas en el primer video. ¿Con cuál categoría siente mayor empatía? Actividad 2 Realice el planeamiento de carrera descrito en el video 4 de esta lección. Actividad 3 De acuerdo al autoanálisis realizado durante esta lección, ¿Cuál de los 4 campos de desempeño profesional elegiría? Justifique su respuesta. semana 4 Campos de desempeño: carreras creativa s Transcripción Hablemos de las posibilidades laborales en la industria. Existe una infinidad de roles y puestos a los que se puede aspirar, dependiendo del perfil profesional que se tenga. Analicemos cuatro categorías: • Carreras Creativas • Performance • Dirección y producción • Tecnología Carreras creativas Como su nombre lo indica, las carreras creativas se relacionan con la generación de la materia prima de la industria tanto a nivel musical como a nivel lírico. Veamos algunos ejemplos de trabajos en esta área. Compositor profesional El compositor profesional se enfoca en un nicho de mercado, ya sea el de grabación, publicidad, televisión, videojuegos o cualquier otro que se acomode a sus objetivos personales. La mitad de su tiempo se dedica a producir creaciones musicales. La otra mitad se dedica a promover sus demos, es decir, intentando colocar sus creaciones en proyectos de producción, ya sea por medio de artistas, productores, managers o cualquier otro contacto que pueda explotar. Este campo es alt amente competitivo. Por ejemplo, los productores musicales llegan a formar alianzas con compositores de su preferencia para diferentes tipos de proyectos, por lo que el trabajo de un compositor nuevo no es un producto que tenga particular demanda. Es respo nsabilidad del compositor crear sus propias oportunidades. Debido a estas condiciones, la mayoría de los compositores no tienen un ingreso fijo en forma de salario. Su ingreso y sostenibilidad de negocio depende más que todo del éxito comercial que tengan sus canciones en el mercado. Además, los compositores se asocian a un Publisher y realizan composiciones para este, de modo exclusivo y por un plazo definido. Estos tratos por lo general implican que el publisher paga adelantos al compositor a cambio de p orcentajes altos de las regalías de sus canciones, una vez estas generan dividendos. Autor El autor se dedica solamente a escribir letras. Es un área de desempeño realmente difícil, debido a que la mayoría de los músicos escriben sus letras, o piensan que pueden hacerlo bien. El autor profesional entonces, debe contar con un talento extraordinario y aun así se beneficia al fungir adicionalmente como compositor o de formar alianzas estratégicas con uno o varios compositores. Además, el autor también tiene o portunidades laborales en el campo de la música para teatro o publicidad. Compositor de música para niños La música para niños se encuentra en discos, programas de televisión, películas, sitios de internet e infinidad de otros medios de transmisión y entr etenimiento. Cualquiera que tenga un pequeño en casa puede dar testimonio del poder que tiene esta música y la asombrosa capacidad que tiene de capturar la atención de su pequeña audiencia. El compositor de música para niños trabaja partituras y se especia liza en maneras de presentar información en un estilo simple pero sin caer en lo aburrido u ordinario. Arreglista Este profesional toma las composiciones terminadas y las convierte en arreglos instrumentales, agregando capas de instrumentos para converti r la composición en un producto musical que se acople a las especificaciones de la entidad contratante, desde entregar partituras impresas para su interpretación en el estudio de grabación hasta programación de arreglos instrumentales con instrumentos en s oftware que emulan interpretaciones humanas. El arreglista puede trabajar para compañías de producción, compositores, directores de eventos en vivo y publishers. Algunos, llamados editores musicales, se encargan de tareas de transcripción o edición de par tituras, mientras que otros desarrollan partituras originales para producción discográfica o música para cine o televisión. Campos de desempeño: Performance Transcripción Continuemos hablando de los campos de desempeño principales en las áreas de performance: canto y otros instrumentos en general. Performance: Cantante El oficio de cantante ofrece una vasta cantidad de posibilidades. En el campo de la música comercial, los cantantes pueden desarrollar sus carreras tanto como solistas como en los campos de grupos de canto, coros o acompañantes para música en vivo. Además pueden posicionarse como cantantes para producción musical, actores cantantes o cantantes bailarines. La capacidad de contar con opciones de empleo estables tiene que ver con las habilidades del cantante, y las carreras exitosas en este campo profesional son una combinación de apariciones en vivo y grabaciones. Un factor que es importante resaltar es que la c arrera de los cantantes profesionales involucra viajes constantes. Los plazos más prolongados en los que un cantante se queda en un solo lugar es cuando se involucran en la grabación de un disco, quedándose en la misma locación entre uno y dos meses. De es ta manera, la primera preocupación del cantante es mantener un buen nivel de salud a pesar de estar viajando constantemente. Los cantantes normalmente participan en audiciones para conseguir trabajo. Además de tener las credenciales profesionales y la for mación superior en canto, se deben preocupar por desarrollar sus habilidades de actuación y carisma en el escenario, que son factores importantes que hacen la diferencia en estos castings. Performance: Instrumentista Al igual que los cantantes, los instru mentistas viajan mucho. Algunos se llegan a posicionar como parte del equipo de un artista y se mantienen de gira todo el tiempo. Otros optan por un modo operativo con menos viajes y se dedican a participar en grabaciones o a tocar en conciertos locales, e mpleando su tiempo restante como tutores o educadores musicales. Sus horarios diarios incluyen horas de práctica de técnica y repertorio, adicionales a las horas de ensayo si tienen contratos las agrupaciones musicales con las que se presentan. Un aspecto importante de este trabajo es que genera ingresos por temporada. La mayoría de los músicos que trabajan para orquesta, ópera o compañías de baile son contratados por temporada. A nivel de preparación profesional, el rol del instrumentista es altamente exi gente, requiriendo una gran dedicación iniciada desde la niñez en la mayoría de los casos. Para competir en el campo de la música orquestal, los estudiantes por lo general deben completar maestrías e incluso doctorados en interpretación instrumental. Sin i mportar la formación superior que tenga el instrumentista, debe estar familiarizado con las dinámicas de ensayo tanto en el campo clásico como en el popular. Los días en los que existía una línea definida entre los músicos clásicos y los de jazz han termin ado. Actualmente todo músico instrumentista profesional debe ser capaz de desempeñarse en ambos medios. Campos de desempeño: dirección y producción Transcripción Ahora analicemos dos roles de liderazgo en los equipos de presentaciones en vivo y grabación: el director y el productor musical. Director musical y artístico La mayoría de intérpretes musicales requieren algún tipo de dirección. Los más comunes son los d irectores de orquesta y ópera. Su rol principal consiste en liderar los ensayos e interpretaciones en vivo, así como desarrollo de partituras y arreglos instrumentales en ciertos casos. Algunos directores llegan a desempeñarse como directores artísticos, e jerciendo tareas de selección de directores y solistas invitados y al mismo tiempo trabajando con managers de orquestas para planear presupuestos operativos y contratar y despedir músicos. Además, los directores artísticos negocian contratos de grabación p ara la orquesta con la que trabajan. Dadas todas estas responsabilidades no musicales, los directores artísticos por lo general requieren la ayuda de un director asistente. Los directores asistentes y los directores artísticos se mantienen tan ocupados con los roles que su trabajo les exige, que no cuentan con tiempo para buscar fuentes alternativas de ingreso. La característica común entre todos los directores es su liderazgo y postura de dominancia. Además casi todos tienen formación extensiva, incluyend o educación formal e instrucción privada con énfasis en interpretación instrumental, composición o dirección. En el campo de la música popular los directores son intérpretes instrumentistas en su mayoría, involucrados en composición, arreglo instrumental y ensayos. En muchos casos, dirigen las obras de su propia autoría. Productor musical Hemos hablado a fondo del productor musical en la lección once. Es importante recalcar su rol como líder, similar a la del director musical; existiendo una diferencia mar cada. El productor musical gestiona la ejecución de proyectos de producción musical que involucran tanto tareas de índole musical como ensayos, composición, y arreglo instrumental, al igual que tareas técnicas como edición, grabación, mezcla y masterizació n. Esta naturaleza híbrida y multidisciplinaria del oficio del productor le diferencia del director de música clásica o popular. Como mencionamos en la lección once, el productor trabaja como profesional independiente y su campo de trabajo es altamente com petitivo. La mayoría hoy en día cuenta con estudios de grabación propios, donde realizan ensayos, sesiones de composición, grabación, mezcla y todo lo que se necesite para sus proyectos, contratando estudios externos solamente para tareas específicas como grabación de ensambles orquestales o baterías. Existe una diversa gama de productores musicales, dependiendo de su área de especialización profesional y su trasfondo personal. Un productor podría desempeñarse mejor en el área de negocios, encontrando tale nto y seleccionando las canciones correctas para grabar, contratando profesionales para realizar la parte técnica. Otro podría ser un maestro del cuarto de control, iniciando su carrera como ingeniero de sonido o músico de sesión. De esta manera, cada productor tiene un trasfondo singular, que por lo general incluye desempeño extraordinario en un área aledaña de la industria, ya sea en el aspecto de negocio musical o en los campos de desempeño creativo, performance o técnico, lo cual les proporciona una per spectiva de trabajo que extrapolan a su modo operativo en los proyectos de producción. Campos de desempeño: tecnología Transcripción Las áreas técnicas de la industria musical requieren de innumerables individuos para desempeñar tareas relacionadas con montaje de sonido, cubriendo todos los aspectos de diseño, implementación, y operación de equipos y sistemas relacionados con producción musical, sonido en vivo y transmisión de radio o televisión. Existe una diferencia entre el técnico y el ingeniero de audio. Por lo general el técnico tiene un grado de preparación inferior y su experiencia laboral se reduce a operar o conectar equipo y participar como asistente en los procesos de producción musical o sonido en vivo realizando tareas como edición de audio , o supervisión de implementación de sistemas integrados de sonido. Por otro lado el ingeniero es un graduado universitario en campos como electrónica, electricidad, física, audiología, acústica o, ciencias de la computación o ingeniería de sonido específ icamente, lo cual incluye una formación híbrida de varias de las especializaciones anteriores. Los ingenieros pueden dedicarse a diseño y prueba de equipo de audio para diversas ramas incluyendo, pero no limitándose a las tecnologías de grabación y refuerz o de sonido en vivo. Además se pueden dedicar al diseño acústico y de espacios de grabación, mezcla de sonido, masterización, mantenimiento de equipo y muchas otras áreas relacionadas con la presentación de productos musicales. Para desempeñarse en el cam po de tecnología, un grado académico en música e ingeniería es deseado, pero pocos profesionales cuentan con dicha preparación. Las opciones laborales pueden generar ingresos sumamente altos. Por ejemplo, un ingeniero de mezcla posicionado puede cobrar ent re $3.000 y $12.000 por canción en géneros como el rock, y los que mezclan para géneros como el hip hop pueden cobrar hasta $50.000 por canción. Otras áreas Además de las áreas de desempeño profesional delineadas anteriormente, existe una gran cantidad d e campos en los que se puede hacer carrera en la industria musical, incluyendo roles ejecutivos en las compañías discográficas o publishers, trabajos en medios de comunicación masiva, venta de mercadería, educación, publicidad, campos relacionados con imag en como cine, televisión, video por internet, animación, servicios legales, equipos de implementación y promoción de conciertos y giras, firmas de management y agencias, servicios legales, diseño de instrumentos musicales, entre muchos, muchos otros. Todo esto sin integrar el factor del emprendedurismo, a través del cual innumerables personas crean sus propios horizontes profesionales en la industria de la música.	[ "de", "la", "el", "en", "que", "un", "artista", "e", "del", "los" ]	{ "summary": "-Principios del Artist Management \n \n \n● Sección 1: El artist manager como emprendedor \n○ Transfór" }
tL-he-Innovative-Business-Model-of-Music-Industry.pdf	3 The Innovative Business Model of Daft Punk 3.1. Introduction Music, much like other activities in the creative industries, has undergone profound changes since the late 1990s with the transformation of physical media (such as compact discs or CDs) into digital media (in a specific format such as MP3) and the massive adoption of peer-to-peer download software such as Napster. Some actors have benefited from these developments, such as computer and MP3 player manufacturers (Apple with iPod and iTunes) or streaming services (such as Spotify or YouTube), while others have experienced an inexorable decline (physical media distributors such as Virgin Megastore in Europe or Tower Records in the USA) (Tellier 2017). These technological innovations have made it possible to implement new “ways of doing business” in the music industry by promoting new offers and innovative services through young companies (Moyon 2011). In management terms, what a company offers, the customers it targets and the way it is organized and remunerated co nstitute its business model. While the effects of these technological innovations on business models have been widely studied in management science research at the level of companies in the sector such as music labels, little work has focused on those who create music: the artists. The first electronic music group to win a Grammy Award in 2015 for best album, the French duo Daft Punk, composed of Thomas Bangalter and Guy- Chapter written by Alexandre PERRIN . Innovation in the Cultural and Creative Industries , First Edition . Edited by Estelle Pellegrin -Boucher Pierre Roy . © ISTE Ltd 2019. Published by ISTE Ltd and John Wiley & Sons, Inc.56 Innovation in the Cultural and Creative Industries Manuel de Homem Christo, is an innovative business player in the music industry. However, the general public does not know much about these musicians. Cultivating secrecy and medi a scarcity, since 2000, Daft Punk have effectively chosen to hide their faces and appear as robots, a decision that goes against the promotion strategies in forc e in this sector. This idea, borrowed from the main character of the film Phantom of the Paradise , is not new in the electronic music scene, however, as Kraftwerk were pioneers in this field. The group’s innovative character is ther efore to be found elsewhere. In this chapter, we show how since the beginning of their careers in 1993, these creators have been in opposition to the dominant business model of the music industry. In section 3.2, we define more precisely the components of a business model and then describe the model used in music (section 3.3). Subsequently, in section 3.4, we will de scribe the first attempts by artists to break the dominant model. Finally, we will focus on the specific case of Daft Punk and the electronic music segment to address the innovative nature of the French group’s business model (section 3.6). The methodology, as well as the main lessons to be learned from th is dive into the “Daft Punk system”, will be described in section 3.5. 3.2. The definition of a business model A business model can be defined in diffe rent ways, which is why we have included in this article the summa ry proposed by the authors of Strategor (2016). They propose a business model composed of three elements: – a relevant and attractive value proposition for customers (a); – a valuable architecture (b); – a business value equation (c). The first component of the business model focuses on the value proposition: what do I offer and for whom (a)? This offer may take the form of a good, a service or both. It corresponds to a set of ch aracteristics that will be offered to customers in the hope that th ey will value them. This is why these characteristics (price, features, relate d services, brand image) are called the “value proposition”. Proposal s are made according to the buyers interested in the offer: it can be free on one hand (e.g. Google and its sea rch engine can be freely accessed by users) and profitable on the other hand (the massive number of free users allows Google to sell ad vertising space on th is free service). The Innovative Business Model of Daft Punk 57 The second component focuses on the ability of companies to mobilize resources and skills (b). The value architecture corresponds to the organizational framework necessary to achieve this proposal. Some activities are carried out internally while others are carried out by service providers. Designing such an architecture is like asking oneself the question “how”. Of course, the choices made by the company about what it proposes and how this is organized are only judicious if they allow it to be profitable (c). The cost structure and revenues generated are determined by the value architecture and the value proposition. T hus, a model is coherent if all the elements that compose it create business value. Building this equation requires answering the question “how much”. Table 3.1 summarizes the various issues related to the definition of a business model. Proposal Architecture Business equation Characteristics of the service or product offered Resources and skills mobilized Revenues generated and costs generated What do I offer? Who do I offer it to? What do I need to do internally or to commission? How much and how are my profits generated? Table 3.1. The dimensions of a business model Major technological changes can lead to the development of new business models and make old ones obsolete. Innovation can then focus on the model itself. In order to understand the innovative nature of Daft Punk’s model, it is therefore necessary to explain the predominant/principal/ dominant model in the music industry. 3.3. The business model of the music industry The business model of the music industry constantly oscillates between two main activities: recorded music and live music. The revenues generated by one usually influence the other, since musicians usually produce a recording to encourage listeners to come and see them in concert and vice versa. The size of the global music market has been estimated at €56 billion for 2016–2017 (Page 2018). The recorded musi c sector is estimated at around 58 Innovation in the Cultural and Creative Industries €26 billion overall (section 3.3.1). The co st of live music (concerts, festivals) is estimated at €30 billion (section 3.3. 2). We will then detail the current business models (section 3.3.3) and present some examples of innovations (section 3.4). 3.3.1. Recorded music To understand the business model of musi c, it is essential to describe the different rights holders involved in the creation of a recorded work. This includes two types of intellectual property: one about the composition (score and lyrics) and one about the interpretation. Figure 3.1 provides a summary of this complex operation. Figure 3.1. How the music industry works At the beginning, as with any artistic creation (a book, a painting, etc.), music is an idea. The composer will tr ansform this idea, this melody that runs through his or her head, into a c oncrete, real creation, either by writing notes on a score, or by composing directly on an instrument or on a computer. The author is the person who will write lyrics for this musical composition, provided that it is a song. The composer and the author are creators : they give birth in a concrete way to what was, before them, only an idea, they give it a precise and personal form, and they must ensure its original character (under penalty of Public performance Funds Disseminate Promote Autho r Compose rPublishe r Produce rFunds Help Recorded workReproduction on a mediumCollective management societies Collect rights Singe rThe Innovative Business Model of Daft Punk 59 being accused of plagiarism). From a legal point of view, they are the “parents” of the musical work and that is why they have “rights” over their creation: copyright. These authors also have a proprietary right to authorize the exploitation of their works throug h their public performance (e.g. at a public concert, in radio broadcasts, or when they are used in film music or advertising) or their reproduction (on a medium such as CD, or on a streaming platform). In return for th e use of their work, authors receive remuneration. The author may decide to entrust the management of their business rights to a collective manageme nt society such as Sacem in France or Ascap in the USA. From a business point of view, music composition is therefore an activity linked to music publishing and its economic impact is assessed nationally by performance royalty organizations, as their data is aggregated at the global level by CISAC ( Confédération internationale des sociétés d’auteurs et compositeurs ). Composers or authors may receive payment of their royalties directly from these organizations for an annual subscription. They can also receive payments of their rights from their publisher. These companies, such as Sony/ATV Music Publishing, Warner/Chappell Music or Universal Music Publishing, finance (in advance) author/composer creation projects and assist them in the administrative procedures for protecting their rights. Very often, the contract with the creator stipulates a 50/50 sharing of the income generated by the intellect ual creation. In the long term, the objective of these companies is to build a broad catalog of songs and lyrics that can be used on as much media as possible or in public performances. In France, the number of employees in a music publishing house is mainly between one and ten (EY 2013). To be broadcast, a musical work must be recorded. It is then said to be “fixed on a medium”. Recording the work is an important step because then the music can be played – on the Internet, on the radio, sold in stores, etc. Performers are required to record a musical work. They are the individuals who play music (musicians, orchestras) and sing it. It is of course possible that a performer may also be a songwri ter. Performing rights are additionally managed by producers (commonly known as music labels). Labels finance, distribute and promote recorded music. A work is usually recorded either in a “personal” studio (or home studio) or in a professi onal studio. In the latter case, specialists such as sound engineer s are involved in the recording. Given the costs and risks involved, record co mpanies obtain a subs tantial share of the revenue generated by the use of this recording. For a music label, this 60 Innovation in the Cultural and Creative Industries involves signing an exclusive contract with artists. By financing the production of the music album through a lump sum advance, the company in turn ensures control over the paymen t of royalties and revenues generated during concerts, the sale of merchandising products, etc. When this system works, the biggest sales of a company finance more intimate or less popular recordings, because the latter may beco me the cult records of the future. Music labels are therefore responsible for promoting artists to radio stations, streaming platforms and social networks. In return, they create a catalog of recordings (called masters or master tapes) that trigger the payment of reproduction rights for each use. In France, the three main labels collect the rights to their recordings through the SCPP ( Société civile des producteurs phonographiques ) while the independent labels collect them through the SPPF ( Société civile des producteurs de phonogrammes en France ). With the emergence of streaming, these labels have signed agreements with streaming companies (such as Spotify) to monetize their catalog. Platforms pay advances to reco rd companies in order to use their catalog. This process is revised upwar ds or downwards depending on the titles the listeners of these platforms actually listen to. In practice – and depending on the country–music publishing and sound recording activities are grouped under the same legal entity. A simple search of the NAF code of companies regi stered with the code “5920Z Sound recording and music publishing” includes Universal Music Publishing (publisher), Universal Music France (label) and Universal Production Music France (producer). Although these activities are separate due to the reasons previously mentioned, these different entities are often subsidiaries or have cross-shareholdings in share capital. In terms of economic weight in the sec tor, the activity of publishers and creators represents 43% of recorded music, estimated at €26 billion worldwide. Music producers and labels therefore represent the majority (57%) of the revenues generated in the re corded music sector (see Table 3.2). 2016 2017 Publishing activity 2 billion (publishers) €8.3 billion (rights) 2 billion (publishers) €8.9 billion (rights) Production activity €14 billion €14.8 billion Table 3.2. World market for recorded music (source: adapted from Page 2018) The Innovative Business Model of Daft Punk 61 3.3.2. Live music Live music encompasses all activities that allow a musician to play music in front of an audience in a specific location (a concert hall, bar/restaurant, festival, etc.). This is called a public performance or show. For example, six out of ten French people attend a concert or festival at least once a year. Despite a growing concentration within global companies such as Live Nation, this sector remains very fragmented and very local. The usual process for a young musician is therefore to start by performing concerts in their neighborhood, city, or region and fi nally to be recognized at a national level. Each venue holding public concerts (or live music) must pay a license fee to the collecting societ ies. These charge around 10% of a festival’s total budget or an annual sum depending on th e size of the venue. Recent audio signature technologies allow these venues, if they wish, to identify in real time the different tracks that are played by a group or a DJ. The remuneration system here is quite similar to that of recorded music, since festivals or concert halls often pay musicians an advance. The most renowned artists can also negotiate a pe rcentage of the income generated by the tickets sold or on merchandising. Gi ven the high structural costs and low occupancy rate of some concert halls, it is in the interest of the business actors involved in the organization of a c oncert or festival (the promoter or owner of the concert hall) to build pa rtnerships with other business actors such as local authorities (city, region) or companies wishing to be associated with the event in question (banks, textil e companies, media, technology, etc.). 3.3.3. Current business models We tend to forget that the original business model of music is indeed that of public representation: a musician, whether a composer or not, will give a “performance” in front of people who have gained entrance, for a fee, to live this temporary experience. The first source of income for musicians, therefore, is still the concert. Whether it is at a wedding, or a private or public concert, musicians and performers derive most of their income from the practice of music. Since songwr iters are not necessarily performers, recorded music allows them to receive income from the use of their music. Therefore, for all the players in the sector, there is an essential link between the revenues generated by concerts a nd those generated by listening to recorded music. A group of musician s can use streaming platforms to promote a national or international t our, etc., and conversely a listener can discover a music group during a festival and listen to it on a private copy. 62 Innovation in the Cultural and Creative Industries In detail, each player in the music industry (creator, publisher and producer) is trying to build a business model that will allow them to solve their own equation between their costs and revenues. – Creators (composers and performers) produce music on scores or music composition software based on their own musical knowledge. Their main difficulty lies in the need to fi nance this creative and complex activity because the income is, as the work is being created, to be received in the future. They, therefore, need a financia l advance that is most often paid by publishers or producers. – The publishers’ objective is to build a catal og of works that is broad enough and rich enough to be of interest to users such as advertisers, television or film studios, etc. Their equation is based on a type of risk taking (investment in an artistic creation) whose future revenues will be generated by repeated use on media as diverse as video games or television series. – Producers develop content that requires distribution on a medium that is adopted by the majority of the public. The latter can then use an MP3 player, mobile phone or CD player. Producers must therefore work with the most widespread distributors in a specific area. The producer’s risk taking is thus based on the investment, support and promotion of a performer. It is then said that the producer “signs” an artist to receive future income. As risk-taking is becoming increasingly unpredictable, producers have made it mandatory to sign so-called “360 degree” contracts including recorded music revenues and concert, merchandising or neighboring rights revenues. Table 3.3 summarizes the business models in use in the music industry. Proposal Architecture Economic equation Creator Artistic creation projects on a score or on software. – Ability to create intellectually. – Lack of financial resources. Receives income but shares rights if there is a financial advance. Publisher Obtaining a catalog and disseminating an artistic creation on any medium. – Collects the income from the catalog. – Needs to have a quality catalog. Collects revenue if the catalog is used on any medium. Producer Recording and promoting an artistic creation on a medium. – Invests in recorded media. – Need to diversify investments. Funds and promotes recorded music by collecting artists’ rights. Table 3.3. Business model of the music industry The Innovative Business Model of Daft Punk 63 3.4. First historical attempts to break the model Noting the abuses and inadequacies of so me actors in the sector to adapt to technological changes or, more simply, responding to the evolution of their own audience, musicians have been the first actors of innovations on the business model. 3.4.1. Attempts concerning value propositions The first attempt of an author to modify the offer most certainly dates back to James Brown and his album Live at the Apollo (1963). As Albéric Tellier (2017, p. 25) reminds us: “At th at time, live records were still very rare, but James Brown wanted to follow in the footsteps of Ray Charles, who had become a huge star thanks to such a recording published in 1959.” Faced with the reluctance of his record co mpany, King Records, for which the business model was based on the creation of singles recorded in the studio, a live album was unlikely to be as successful as expected. Moreover, this type of recording went against the classical model: if the public bought such a record, why would they continue to co me to concerts? Unlike Ray Charles, who was supported by his record company, James Brown financed his recording himself: He personally invested $5,700 (about $70,000 today) to rent the equipment and the concert hall he had chosen, the Apollo Theatre in New York. Once the recording was finished, James Brown tried to convince Syd Nathan, the boss of King Records, to buy the tapes from him and publish the album. (Tellier 2017, p. 25) The success was colossal since the album remained 66 weeks in the American charts. Live at the Apollo is now ranked 25th in the Rolling Stone ’s ranking of the “500 Best Albums of All Time” In this example, the creator (James Brown) ran the risk of financing the recording project of his concert. Usually, this risk is assume d by the producer, in return for a majority share of the income in their favor. Another interesting attempt in history concerns the group Radiohead. In 2007, the English group distributed its new album, In Rainbows , only for download and offered Internet users the possibility of setting their own price. The context here is different from th e one experienced by James Brown, 64 Innovation in the Cultural and Creative Industries since the innovative proposal here concerns the dissemination of the recorded work (and not the cost of its recording). In 2007, recorded music was still mainly consumed on a physi cal medium. Customers with personal music players then mainly used illegal download sites (such as Napster or Kazaa) or legal sites (such as iTunes). In the latter case, the industry price was $0.99 for a title (or single) and $9.99 for an album. Therefore, offering an album for free was revolutionary (Elberse 2008). In fact, downloading the album was not totally free of charge since a price of $0.90 had to be paid as a technical fee. But at the same time, the band distributed a deluxe $80 box set including two CDs (with exclusive songs), a vinyl record, an art book and a download code for the album. Like James Brown, it was Radiohead that shouldered the risk by financing the cr eation of this deluxe box set. Having ended their relationship with the label EMI in 2003, the group indeed achieved total financial and creative independence. With this original proposal, creators can therefore capture the total value produced by the sales of their recorded music. 3.4.2. Attempts concerning value architectures The decision to sign with a record company or to remain an independent player is certainly the most strategic issue for a creator. To the rhetorical question “what is in my best interest to do?”, many artists answered “everything” since they prefer to focu s on composition or interpretation. But by receiving a financial advance or simply by outsourcing certain investments, artists will reduce the share of their future revenues and, more often than not, transfer the intell ectual property of their works to the producer of the container. As musician Moby sums it up: “It’s as if you go to a bank, they give you a loan to buy a house and at the end of the loan that you have repaid, with interest , the bank owns your house!” The financial and legal independence of artists is therefore essential for them to maintain control over their creation and income. This is why a growing number of artists have chosen to create a legal entity such as a single-person company or a limited liability company. Examples include Madonna, Michael Jackson or more recently Jay-Z, who have respectively become producers (Maverick Records fo r Madonna), investors in publishing (the Beatles catalog in the case of Michael Jackson) or investors in music distribution platforms (Tidal in the case of Jay-Z). The Innovative Business Model of Daft Punk 65 3.4.3. Attempts concerning business equations Turning fans into subscribers is certa inly the most interesting proposal for an artist in search of financial resources. In 2000, the singer Prince offered his fans exclusive information, con cert tickets, invitations to sessions and unpublished songs to download in exchange for a monthly subscription. More recently, and shockingly, in the history of music, the band Vulfpeck asked their fans to stream an album with no sound on Spotify to collect rights to finance a tour. They therefore used their own music catalog to finance their tour, without the financial support of a promoter. Crowdfunding platforms (or participatory funding) have also been a response to the problem of the artists’ financial independence. By allowing fans to make monthly financial contri butions (as is the case on the Patreon platform) or investments in a catalog (MyMajorCompany), or simply to receive a future signed album or a private concert (PledgeMusic), these platforms allow artists to receive financial advances without sacrificing their future revenues. They remain masters of their artistic creation. This section aimed to define the business models in place in the music industry and to identify the various i ssues and innovation attempts by artists who have acted as entrepreneurs in the industry’s eyes. Let’s now look at the specific case of the French group Daft Punk. 3.5. Methodology The methodology used involved a case study. Data collection was based on financial documents (balance sheets available on the Internet) and a literature review on the group Daft Punk. Given the difficulty of assembling primary data, we have opted for this method, which allowed us to access not only financial information accessible from the beginning of their careers, but also to “reconstruct” all the decisions taken by the group, bearing in mind that these decisions are recorded in the accounting documents. We have therefore downloaded the accounting documents of the business entities attached to the Daft Punk group, namely: – Daft Trax S.A.R.L. (France). Created on August 21, 1996 under the French sectoral code “Enregistrement sonore et édition musicale (5920Z)”, it 66 Innovation in the Cultural and Creative Industries aims to finance the group’s activities, collect their rights and carry out financial transactions with the English en tity described below. It is the music label and publishing house of Daft Punk. Its shareholder base consists of two representatives: Thomas Bangalter and Guy-Homem de Manuel Christo. The financial documents of this company ar e available on the Infogreffe website for a fee. However, the announcements published on the Bodacc (Official Bulletin of Civil and Commercial Announcements) make it possible to retrieve some partial data; – Daft Life Ltd (England). Created on June 20, 1997 under the sector code “Artistic creation (SIC 90030)”, this company aims to collect the group’s revenues from recorded music. It was created on the same date on which the license agreement for the group’s first album, Homework , was signed with Virgin Music. The financial documents of this company can be freely accessed on the website of the Companies House Financial Authority in Great Britain from 1997 until the present day. Table 3.6 in the Appendices (section 3.8), presents the result of this reconstruction; – Daft Arts Inc. (United States). This audiovisual production company was created on January 18, 2005 by Cédric Hervet and Paul Hahn. Hervet has been editor and creative director of Daft Punk for 15 years and co- producer of Interstella 5555 and Electroma . Hahn is a producer and manager of the group in the United States. This entity made it possible to finance video clips and the feature film, Daft Punk’s Electroma , a visual and musical odyssey that follows the story of two r obots in their quest to become human. The company was dissolved on June 27, 2018. Daft Arts was based at the Jim Henson Production Studios in Los Angeles, a company known for its family audiovisual productions, and more specifically for the Muppet Show . The reconstitution of the group’s financial situation between 1997 and 2017 therefore allows us to “follow” the financial flows between the different entities. For the year 2017, the financial results of each entity have been simplified in Table 3.4. Year 2017 Daft Trax SARL Daft Life Ltd Daft Arts Inc Revenues from operations €1, 918,342 £1,066,884 NC Net income (loss) €383,147 £16,005 NC Table 3.4. Daft Punk Group's financial results for 2017 The Innovative Business Model of Daft Punk 67 3.6. Daft Punk: an innovative model in electronic music In the following table you can view the impact the innovations made by Daft Punk in the context of electronic music have influenced other artists. Each of the dimensions will be detailed. Proposal Architecture Business equation Description Offer a finished product from a home studio. Use record companies only for promotion and distribution. Control of financial resources and intellectual property. Tax optimization between legal entities based in different countries. Share revenues under a temporary license agreement. Reinvest the profits in spectacular concerts. Influenced artists DJ Hip-hop artists EDM (Skrillex) Table 3.5. Innovations in the business mode l and influence on other artists 3.6.1. Innovation concerning the value proposition Electronic music has offered a new opportunity for artists. For Violaine Schütz, its birth in France (and more generally the French Touch ) resulted from importing English warehouse parties in the early 1990s: The hits of the time were created at home, in the bedroom, in the home studio, with brand new machines such as sequencers, samplers, turntables... and were produced by small independent labels like Solid, the record company launched by Étienne De Crécy. The songs were then often tested in the evenings by the artists themselves who were also DJs. The traditional pattern of music production was then short-circuited. Many young people sold their guitars and discovered the joys of electronic equipment and the freedom it implied. (Schütz 2014, p. 34) This is exactly what three young musicians, Thomas Bangalter, Guy- Manuel de Homem-Christo, and Lauren t Brancowitz (who left the group to found Phoenix), did in 1992. They launched the rock band Darlin’ by 68 Innovation in the Cultural and Creative Industries covering Beach Boys songs and some co mpositions. But they soon realized that this style of music was no longer in fashion and they turned to techno at an evening organized at the Beaubour g Museum in Paris: “During this evening we discovered an underground music that made people dance... when they didn't know the songs played by the DJ. We played rock and nobody danced!” says Thomas Bangalter in the documentary Daft Punk Unchained (2015). But making electronic music is expensive, even if at the time it seemed easier for trainee producers to write electronic music songs instead of pop or jazz. In the early 1990s, it was nece ssary to spend about 500,000 F (about €80,000, about €120,000, excluding inflation) to build a little French touch studio, including all the necessary mu sic software (like Cubase) (Schütz 2014). Thanks to their savings and th e support of their families (Thomas Bangalter’s father was a former disco music producer), Daft Punk equipped themselves with the best computers and synthesizers of the time and set up their home studio to start writing their first album, entitled Homework (in reference to their home studio). Innovation here involved integrating the production costs of music recorded by artists. However, these co sts were reduced by the absence of rental fees for a professional recording studio. These two young musicians then learned their trade from a sound e ngineer. They mixed, sampled, cut, and modulated sounds. They started performing live as DJs at a very early age and showed a certain talent in handling mixing boards. All the record companies of the time then wanted to sign the band exclusively. 3.6.2. Innovation concerning value architecture On October 16, 1997, Daft Punk signed a deal that is a landmark in the history of music. In agreement with the English label Virgin Music, they kept all the intellectual property rights of their catalog but granted the record company an exclusive distribution of the Homework album for a period of 10 years. By offering record companies an (excellent) finished product, the French duo reversed the balance of power. Without the need for a financial advance, they used the record compa ny to promote their record and not to finance it. In fact, they signed with the company that gave them the most artistic flexibility (Schütz 2014). This a pproach was later taken up by many artists, DJs and rappers, as s hown by the editor-in-chief of Les Inrockuptibles , Jean-Daniel Beauvallet, in the documentary Daft Punk Unchained : The Innovative Business Model of Daft Punk 69 For me, this is the biggest hold-up in the history of the music industry! Their business model has been very clear from the beginning: Daft Punk want total control over their artistic production but also over their brand and communication. They managed to impose this on record companies because they didn’t need an advance. Most of the American hip-hop stars of that time referred to Daft Punk when they signed with the big labels. The French duo had perfectly prepared this agreement by creating two legal entities: one in France (Daft Trax SARL) and one in England (Daft Life Limited). The two members of the group are equal shareholders. The innovation operated by Daft Punk is found here in a global vision of the management of their contracts and in an “optimized” use (in the legal and tax sense) of these entities. For exampl e, 2001 shows funding of £1,476,358 (see Table 3.6). It can be hypothesized (because we do not have access to the details of each account line) that these ar e the costs charged for the recording of the Discovery album. Figures 3.2 and 3.3 show the amount of cash available for the English entity. We can quantify the success of their latest album Random Access Memory here, since the level of available cash increases from £700,209 to £7,152,272. Cash flows in the form of inter-company loans (between Daft Trax SARL and Daft Life Limited) can also be observed in the financial documents. Figure 3.4 illustrates these movements: the French entity “lends” £197,606 to the English entity. The latter paid in the same year a salary of £1,200,229 to Guy and of £1,512,578 to Thomas. By creating their own label and publishing house between France and England (the American entity being dissolved to date), the group has been able to optimize their tax situation. Indeed, interbank loans between subsid iaries are a technique well known to tax practitioners to increase revenues (a nd conversely to lower expenses) in countries where the tax on commercial prof its is lower. This tax architecture was relatively sophisticated in the music industry at that time. 3.6.3. Innovation concerning the business equation Optimizing the group’s financ ial sustainability has b een Daft Punk’s real obsession. Without this financial au tonomy, the duo knows that the music industry does not allow for artistic auto nomy. Labels or investors want to have a right of control over creators in order to limit risks. On the contrary, each Daft Punk project (see Box 3.1 fo r the complete list) – the documentary 70 Innovation in the Cultural and Creative Industries D.A.F.T , the film Electroma or the cartoon Interstella 555 – is self-financed by one of the three legal entities owned by the group. This risk-taking led them to a critical financial situation in 2006 (see Figure 3.4) due to the relative failure of their third album ( Human After All ) and the high cost of Electroma and Interstella 555 . That same year, they launched their major world tour and played a poker game w ith the organizers of the biggest American music f estival: Coachella. The group asked for a $300,000 advance to finance a pharaonic project: a giant LED pyramid that would surround the two members of the group on stage. Th e result was extrem ely spectacular, and this concert left a lasting impression, so much so that the American magazine L.A. Weekly ranked it as the best concert of all time at the festival. Unlike the general patterns on the electronic scene, Daft Punk chose to reduce the number of concerts on their tour. The innovation here involved building the group’s business equation by self-financing each project and betting significant sums on a few key con certs. This strategy was later taken up by the American DJ and composer Skrillex (he even admitted to having been present in the audience at Coache lla in 2006). By handling rare public appearances and record releases produced with the greatest care, the Daft Punk duo has built an innovative and sustainable business model. Each of their public appearances makes the performance unique. Each of these moments makes their collaboration with other artists (Pharell Williams, Chilly Gonzales, etc.) even more precious. Daft Punk has become a French luxury product. 3.7. Conclusion Daft Punk’s success has been built arou nd four key principles that break the rules of the music industry: a) do things your own way; b) present finished products; c) finance your own work; d) keep it under control. Young singer-songwriters like Jacob Whitesides have scrupulously followed these four aspects. Whitesides owns his own publishing and recording house, Double U Records, retains all future rights to his music revenues and uses the BMG label to disseminate his music on all possible channels worldwide. Unlike Daft Punk, he built his success by involving his fans on social networks such as Facebook, Snapchat or Instagram. The latter now appears as an external validator of an artist’s talent in the eyes of record companies. On the contrary, Daft Pu nk have cultivated media scarcity and have no account on social networks. We exercis e manag e dissemi provide copyrig bodies. the fin a stakeho 2018, i s the pa y compa n Punk o r the hea r 3.8. A p Figure can conclu d e control ov e ement of t h nated. Com p r for song w ht outside t h We conside r ancial indepe lders. The n e s in line wit h yment of th e nies will re m r Jacob Whi t rt of the mus ppendices 3.2. An exam p as a de this chap t er works if he process panies suc h writers, that he national t r that this ty p ndence of c r ew Europea n h this. Howe v e economic main in cont r tesides to re v ic industry. H ple of the acc o at June 30, 2 0 The Inno v ter with thi s this is acco m by which h as Kobalt is, to col l territory an d pe of offer m reators and a n copyright l ver, without rights of c rol of the g a verse the pr o Human, afte r ounts analyz e 017 (source: C vative Busines s s observatio n mpanied by their wor k offer to a c lect neighb o d outside co l makes it poss i a fair remun e legislation, a technologic a creators an d ame. It is u p ocess and p u r all.... ed: Daft Life L i Companies H o s Model of Daft n: creators c a rigorous f ks are crea ct only as a oring rights, llective ma n ible to main t eration of th e dopted in S e al tools that d performer s p to the fut u ut the creato r imited’s balan ouse) Punk 71 can only financial ated and a service that is nagement tain both e various eptember simplify s, record ure Daft r back at ce sheet 72 Innovation in the Cultural and Creative Industries Year (account as 30th of June) 1998 1999 2000 2001 2002 2003 2004 2005 2006 2007 2008 2009 2010 2011 2012 2013 2014 2015 2016 2017 Turnover 897,952 £ 828,995 £ 514,662 £ 1,270,170£ 2,898,413£ 2,638,039£ 1,637,235£ 953,101 £ 899,953 £ 3,706,662£ Cost of Sales 704,335 -£ 471,544 -£ 143,066 -£ 1,476,358 -£ 43,435 -£ 12,153 -£ 66,040 -£ Gross Profit 193,617 £ 357,451 £ 371,596 £ 206,188 -£ 909,666 £ 887,800 £ 3,640,622£ Administrative Expense 22,523 -£ 4,153 -£ 10,030 -£ 67,561 -£ 2,951,941 -£ 2,990,249 -£ 1,647,304 -£ 1,012,677 -£ 968,212 -£ 3,198,918 -£ Operating Profit 171,094 £ 353,298 £ 361,566 £ 273,749 -£ 53,528 -£ 352,210 -£ 10,069 -£ 103,011 -£ 80,412 -£ 441,704 £ Interest Receivable 1,477 £ 15,959 £ 36,565 £ 15,598 £ 24,739 £ 53,015 £ 78,131 £ 108,575 £ 105,596 £ 51,568 £ Interest Payable - £ - £ - £ 24 -£ - 104 -£ - Profit before Tax 172,571 £ 369,257 £ 398,131 £ 258,151 -£ 28,789 -£ 299,195 -£ 68,062 £ 5,564 £ 25,184 £ 493,272 £ Tax on Ordinary Activity 51,318 -£ 113,096 -£ 118,731 -£ 91,123 £ - - £ 11,881 -£ 1,467 -£ 1,584 -£ 150,707 -£ Retained Profit for the Period 121,253 £ 256,161 £ 279,400 £ 167,028 -£ 28,789 -£ 299,195 -£ 56,181 £ 4,097 £ 23,600 £ 342,565 £ Retained Profit Brought Forward 121,253 £ 377,414 £ Retained Profit Carried Forward 377,414 £ 656,814 £ ASSETS Tangible 914 £ 10,239 £ 25,718 £ 195,857 £ 171,481 £ 144,030 £ 120,128 £ 106,168 £ 114,139 £ 136,997 £ 112,741 £ 93,426 £ 73,113 £ 85,904 £ 64,410 £ 57,837 £ 43,535 £ 91,008 £ 78,300 £ 58,881 £ CURRENT ASSETS Stocks 81,724 £ 89,139 £ 89,144 £ 63,069 £ 50,591 £ 47,720 £ 47,720 £ - £ Debtors 122,617 £ 137,558 £ 233,759 £ 525,299 £ 415,263 £ 542,259 £ 343,325 £ 290,022 £ 583,112 £ 469,275 £ 177,873 £ 302,287 £ 61,219 £ 217,640 £ 220,837 £ 543,831 £ 410,872 £ 820,623 £ 519,525 £ 1,383,230£ Cash at bank and in-hand 151,388 £ 670,426 £ 506,325 £ 5,343 £ 634,287 £ 2,464,243£ 3,243,450£ 3,155,127£ 1,968,875£ 1,245,802£ 2,327,510£ 2,115,759£ 1,639,887£ 965,074 £ 905,599 £ 700,209 £ 7,152,272£ 5,268,388£ 4,053,753£ 3,860,799£ Total Current Assets 274,005 £ 807,984 £ 740,084 £ 530,642 £ 1,049,550£ 3,006,502£ 3,586,775£ 3,526,873£ 2,641,126£ 1,804,221£ 2,568,452£ 2,468,637£ 1,748,826£ 1,230,434£ 1,126,436£ 1,244,040£ 7,563,144£ 6,089,011£ 4,573,278£ 5,244,029£ CURRENT LIABILITIES Bank loans and overdrafts 29,367 £ - 5,265 £ Taxation and social security 23,144 £ 111,240 £ 79,721 £ 9,089 £ 3,452 £ 14,678 £ 71,736 £ 107,868 £ Other Creditors 60,137 £ 5,935 £ 11,487 £ 737,539 £ 2,940,060£ 523,445 £ 343,318 £ 1,366,561£ Trade Creditors 70,285 £ 323,534 £ 17,680 £ 13,331 £ 45,247 £ 123,042 £ 135,124 £ 193,310 £ Provisions for liabilities and charges 1,959,438£ Total Creditors 153,566 -£ 440,709 -£ 108,888 -£ 236,637 -£ 759,959 -£ 2,988,759 -£ 204,068 -£ 690,532 -£ 2,509,616 -£ 1,673,004 -£ 2,342,198 -£ 2,202,156 -£ 1,418,797 -£ 880,968 -£ 756,724 -£ 833,539 -£ 6,681,946 -£ 5,152,363 -£ 3,600,699 -£ 4,236,026-£ Net Current Assets 120,439 £ 367,275 £ 631,196 £ 294,005 £ 289,591 £ 17,743 £ 3,382,707£ 2,836,341£ 131,510 £ 131,217 £ 226,254 £ 266,481 £ 330,029 £ 349,466 £ 369,712 £ 410,501 £ 881,198 £ 936,648 £ 972,579 £ 1,008,003£ TOTAL NET ASSETS 121,353 £ 377,514 £ 656,914 £ 489,862 £ 461,072 £ 161,773 £ 3,502,835£ 2,942,509£ 245,649 £ 268,214 £ 338,995 £ 359,907 £ 403,142 £ 435,370 £ 434,122 £ 468,338 £ 924,733 £ 1,027,656£ 1,050,879£ 1,066,884£ PROVISIONS FOR LIABILITES AND CHARGES 3,284,882 -£ 2,720,460 -£ FINANCED BY Called-up share capital 100 £ 100 £ 100 £ 100 £ 100 £ 100 £ 100 £ 100 £ 100 £ 100 £ 100 £ 100 £ 100 £ 100 £ 100 £ 100 £ 100 £ 100 £ 100 £ 100 £ Profit and Loss Account 121,253 £ 377,414 £ 656,814 £ 489,762 £ 461,072 £ 161,673 £ 217,853 £ 221,949 £ 245,549 £ 268,114 £ 338,895 £ 359,807 £ 403,042 £ 435,270 £ 434,022 £ 468,238 £ 924,633 £ 1,027,556£ 1,050,779£ 1,066,784£ Shareholder Funds 121,353 £ 377,514 £ 656,914 £ 489,862 £ 461,172 £ 161,773 £ 217,953 £ 222,049 £ 245,649 £ 268,214 £ 338,995 £ 359,907 £ 403,142 £ 435,370 £ 434,122 £ 468,338 £ 924,733 £ 1,027,656£ 1,050,879£ 1,066,884£ Table 3.6. Reconstruction of Daft Life Limited’s balance sheets (1998–2017) in Excel (source: author) The Innovative Business Model of Daft Punk 73 Figure 3.3. Cash flow of Daft Life Limited (1998–2017) (source: author) £-£1,000,000 £2,000,000 £3,000,000 £4,000,000 £5,000,000 £6,000,000 £7,000,000 £8,000,000 1998 1999 2000 2001 2002 2003 2004 2005 2006 2007 2008 2009 2010 2011 2012 2013 2014 2015 2016 2017 9. Transactions with directors Included in other creditors is an amount of £1,200,229 (2002 £64,935) owed to Guy Manuel de Homen Christo, a director of the company. The transactions during th e year in the sum of £1,135,294 are related to monies paid to the artist. Included in other creditors is an amount of £1,512,678 (2002 £69,960) owed to Thomas Bangalter, a director of the company. The tr ansactions during the year in the sum of £1,442,718 are related to monies paid to the artist. 10. Related party transactions Included in other debtors is the sum of £197,606 (2002 £244,839) owed by Daft Trax S.A.R.L., a company registered in France. This co mpany is related by virtue of the fact that the directors of Daft Trax S.A.R.L. are also di rectors of Daft Life Limited. The transactions during the year in the sum of £47,233 are relate d to third party costs incurred by Daft Life Limited, and funded by Daft Trax S.A.R.L. Included in other debtors is the sum of £Nil (2002 £11,384) owed to Daft Inc, a company incorporated in the United States of America. Th is company is related by virtue of the fact that the directors of Daft Inc. are also director s of Daft Life Limited. The transactions during the year in the sum of £1,347 are related to third party costs incurred by Daft Life Limited, and funded by Daft Inc. Figure 3.4. An example of the financial flows between Daft Trax SARL and Daft Life Limited for the year 2003 (source: adapted from Companies House) 74 Innovation in the Cultural and Creative Industries 1992 : creation of the rock band Darlin’ in Paris. April 11, 1994 : first single The New Wave under the name The Two Darlin. 1995 : meeting with the manager, Pedro Winter. May 25, 1996 : first single Da Funk under the name Daft Punk band. August 21, 1996 : Daft Trax SARL is founded in Paris. January 17, 1997 : launch of the first album, Homework (Virgin Records). June 20, 1997 : Daft Life Limited is created in London. 1999 : creation of Daft, Inc. in Los Angeles (later Daft Arts, Inc.). November 1, 2000 : launch of the documentary D.A.F.T.: A Story About Dogs, Androids, Firemen and Tomatoes . March 12, 2001 : second album, Discovery (Virgin Records). October 1, 2001 : first live album, Alive 1997 (Virgin Records). May 28, 2003 : Interstella 5555: The 5tory of the 5ecret 5tar 5ystem . 2004 : the duo moves to Los Angeles. January 18, 2005 : Daft Arts, Inc. is created in Los Angeles. March 14, 2005 : third album, Human After All (Virgin Records). April 4, 2006 : first compilation, Musique Vol. 1 1993–2005 (Virgin Records). April 29, 2006 : first concert at the Coachella Festival in California. November 16, 2007 : second live album, Alive 2007 (Virgin Records). 2008 : Pedro Winter leaves his position as group manager. February 8, 2009 : Daft Punk wins a Grammy Award for Alive 2007 and for its single Harder, Better... December 7, 2010 : soundtrack of the film Tron: Legacy (Walt Disney). May 17, 2013 : fourth album, Random Access Memory (Colombia Records). January 26, 2014 : Daft Punk wins five Grammy Awards including the album of the year. September 22, 2016 : launch of the singles Starboy and I Feel It Coming composed for rapper The Weekend. Box 3.1. Chronology of the Daft Punk group (source: author) The Innovative Business Model of Daft Punk 75 3.9. References EY (2013). Panorama des industries culturelles et créatives . Ernst & Young, Paris. Martin-Delpierre, H. (2015). Daft Punk Unchained . BBC Worldwide. Moyon, É. (2011). Le changement du business model de l’entreprise : une étude des majors de l’industrie phonographique (1998–2008). PhD thesis, IAE Lille. Page, W. (2018). How the global music copyright business grew by 1.5 Bn in 2016, Music Business Worldwide [Online]. Available at: https://www.music business worldwide.com/how-the-global-music-copyright-business-grew-by-1-5bn-in-2016/. [Accessed September 2018]. Schütz, V. (2014). Daft Punk : Humains après tout . Camion Blanc, Rosières-en- Haye. Tellier, A. (2017). Bonnes Vibrations . Éditions EMS, Caen.	[ "music", "daft", "business", "model", "punk", "company", "record", "industry", "group", "artist" ]	{ "summary": "3 \n The Innovative Business \nModel of Daft Punk \n3.1. Introduction \nMusic, much like other activiti" }
tL-manager.pdf	Case Studies on Media and Entertainment Industry – Vol. II Icfai BooksTM # 71, Nagarjuna Hills, Punjagutta, Hyderabad – 500082Edited by Saradhi Kumar Gonela Icfai Business School Case Development Centre Icfai BooksTM # 71, Nagarjuna Hills, Punjagutta, Hyderabad – 500082Andhra Pradesh, INDIA Phone: 91 - 40 - 23435387/91, Fax: 91 - 40 - 23435386 e-mail: [email protected], [email protected]: www.books.iupindia.org, www.ibscdc.org © 2009 The Institute of Chartered Financial Analysts of India. All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, or transmitted in any form or by any means – electronic, mechanical, photocopying or otherwise – withoutprior permission in writing from the Icfai University Press. While every care has been taken to avoid errors and omissions, this publication is being sold on the condition and understanding that the information given in the book is merelyfor reference and must not be taken as having authority of or being binding in any wayon the authors, editors, publishers or sellers. Icfai Books, IB and the IB logo are trademarks of the Icfai University Press. Any other product or corporate names, that may be registered trademarks, are used in the bookonly for the purpose of identification and explanation, without any intent to infringe. Other than the publisher, no individual or organization is permitted to export this book from India. Case studies are intended to be used as a basis for class discussion rather than to illustrate either effective or ineffective handling of a management situation. Copies of individual case studies are available for purchase from www.ibscdc.org ISBN: 978-81-314-2119-2 Editorial T eam: Chiranjeevi C.V. and Deepa Verma Visualiser and Designer: P. Damodara Siva Prasad The views and content of this book are solely of the author(s)/editor(s). The author(s)/editor(s) of the book has/have taken all reasonable care to ensure that the contents of the book do not violate any existingcopyright or other intellectual property rights of any person in any manner whatsoever. In the event theauthor(s)/editor(s) has/have been unable to track any source and if any copyright has been inadvertentlyinfringed, please notify the publisher in writing for corrective action.NBC Universal Inc.: Managing in Troubled Times 1 The Making of The Da Vinci Code : The Recipe for Blockbuster? 13 Media Specialists: Transforming Global Ad Industry’s Business Model 37 Music Piracy and iTunes 53 Entertainment & Media Outsourcing in India 65 Music Industry: Battling Online Piracy 79 Technology and the Changing Shapes of Music 93 The New York Times : Balancing Profitability and Traditional Journalism 103 Innovation at Pixar – The Key to Sustainable Profitability? 119 Oscar’s Brand Equity: At the Crossroads? 129 Blockbuster Corp. in a Mature Video-Store Industry: Options and Strategies 139 Netflix: The US DVD Rental Company’s Competitive Strategies 151 BSkyB: Troubled Times 167 SNOCAP: Can Shawn Fanning’s New Venture Replicate Napster’s Success? 185BBC vs Emap: The Commercial Radio Battle 199Case Title Page No.OVERVIEW Right from the days primitive human beings quelled nomadic life for settlements, they indulged in various-after-work-activities to relinquish the hardships of a day’s work to reenergise themselves for the following day. These activities entered into the commonlexicon as entertainment. As any other human activity, these activities also evolved with times. In the pre-electricity days, people relied majorly on human performers, circus, drama and related events for entertainment. Another popular entertainmentformat was stories in the form of books. Radio took the mantle and then movies caught the imagination of the populace. Invention of television changed the entire gamut by capturing all these in a single contraption, called the ‘idiot-box’. This has further beenchanged by the invention of DVDs. Somewhere in the journey of this transition, entertainment was bitten by the bug of big buck and the modern entrepreneur created an industry around peoples’ pastimes and named it – Media and Entertainment Industry. The entertainment habits of pre-historic man were not appropriately documented. It is widely believed that a sect of people, usually limited to one place, used to sing and dance in groups as a part of passing over their traditions and customs to the younger generation.These art forms varied from region to region depending on the lifestyles and habits. Even today, some of those popular art formats are available in classical dance forms in various parts of the world. Salsa and Belly Dance from Latin America, Bharatanatyam, Kuchipudi,etc., from India, Royal Court dances of the semi-divine cultures of the Zhou, Tang and Song Dynasties from China, Ballet from continental Europe and Russia are among the chief ancient dance forms that entertain the world even today. Apart from the enactment of popular plays of great authors by mobile drama companies, stage-depiction of overly religious-based folklores and circulation of fiction and non-fiction novels, not much was accounted about the pastimes of medieval man.Reading became more an informative and research activity than mere entertainment, once the Renaissance in Europe put-forth the wisdom of great people to common public, which was restricted by Church till then. As Renaissance had a profound effect onevery walk of human life, it also affected entertainment by turning music (and also other art forms like painting) the mainstream medium of public entertainment. Till that time only religious tunes were composed, and music was restricted only to prayers.Self-expression became the major theme of the times and great musicians were born, unleashing the potential of music as an entertainment medium. Music’s place in popular entertainment was further strengthened by Marconi through his invention of radio. During the 19 th and 20th century, the whole world underwent a sea-change with developments in science and technology. And so did the art forms. Art has so much been influenced by technological developments that imagining art without iiiscience is almost impossible for modern man. Art has challenged science and science has inspired art. Many a new stream of technology is being developed for better depiction of art forms and many a new art form is being nurtured using technological marvels. The most significant among such developments were printing on both the sides of a paper (around 1815), radio transmission (developed during 1880s and 1890s), feature films (first made in 1906), tape recorder (developed during late 1920s and early 1930),television (developed during 1920s and 1930s), computer (1940s), integrated circuit (late 1950s) and compact disks (early 1980s). These innovations have altered, beyond recognition, the art forms and the way they are made available to general public. The media and entertainment industry, as we know it today, includes a wide variety of products and services that entertain everyday consumer or are used as informative tools. The industry is categorised into a number of segments, each of which provides adifferent entertainment form or a piece of information around the world. These segments include traditional print media, television, radio broadcasting, film entertainment, video games, and perhaps most importantly, music videos. The importance of technologydevelopers for these segments cannot be overlooked when looking at the industry as a whole; after all, none of these segments would have been so popular and so deeply intertwined with the life of consumers without reliable technology. Due to thisdependency on technological developments, the industry is always disruptive – with new segments constantly coming up. Topping all this up is the internet, which has become the most significant technological development in recent years. It has redefined the way many segments function in the industry, especially the print media, and has helped for the evolution of other segments and industry as a whole. This technology alone is responsible for the way media productsand services are consumed, creating entirely new sectors and platforms for mainstream entertainment. Though these new formats are still in the early stages of development, they have the potency to define the future of the industry – as the next generationaudience cannot imagine life without internet!	[ "entertainment", "industry", "form", "art", "medium", "music", "development", "book", "new", "segment" ]	{ "summary": "Case Studies on\nMedia and Entertainment Industry – Vol. II\nIcfai BooksTM\n# 71, Nagarjuna Hills, Punj" }
tL-manager-BMI-Royalty-Information.pdf	BMI ROYALTY INFORMATION Editor's Note: The following document was taken from the BMI Web Site in March 2000. This information is updated periodically, and to be sure you have the latest updates, consult the online version at: www.bmi.com/iama/songwriter/royalty/index.asp. All content ©2000 Broadcast Music, Inc. All Rights Reserved. Used with permission. Table of Contents: General Information U.S. Radio Royalties U.S. Television Royalties Foreign Royalties Compulsory License Fees Pay-per-view Services InternetCommercial Music Services Live Concert Royalties Miscellaneous Royalty Rules Affiliate Services Contact InformationAll content ©2000 Broadcast Music, Inc. All Rights Reserved. Used with permission.General Information Registering Your Works BMI enters work registrations into its databases from one of two sources, (1) a BMI song registration form (formerly known as a clearance form) provided either electronically or on paper, or (2) a cue sheet which details all music written specifically for a film or television show, or other audio-visual work, typically prepared by the production company. All songs must be submitted to BMI via a BMI registration form in order to receive credit for certain types of performances (e.g., all radio, commercial music services, commercial jingles and promotional announcements, live pop and classical concerts and Internet). Separate registrations need not be supplied to BMI for individual music cues (dramatic underscore) used in audio-visual programs. These will be automatically registered when the cue sheet is received and processed by BMI. You agree to notify BMI promptly if there are any errors or omissions contained in the registration information for your works or if the information, as it is set forth on the bmi.com website , is in any way inaccurate. A registration received from any songwriter, composer or publisher of a work will suffice to credit all participants. If the publisher submits a registration, the writer does not have to submit one as well, and vice-versa. However, we strongly encourage each co-publisher of a work to submit its own song registration form in order to assure that the work is entered into the publisher's correct BMI account. BMI will enter the work into its database for the shares and participants indicated on the first registration received. If a later registration is received for the same work which conflicts with the earlier registration, we will notify the party submitting the later registration and request documentation or written confirmation from all affected participants before changing our records to reflect the different information indicated on the later registration. In order for BMI to make payment on time for the public performance of your music, it is imperative that all registrations (both songs and cue sheets) be received as close to the performance date as possible. It is essential that you register all of your works in order that BMI can provide information about your entire catalogue to foreign performing rights organizations, and so that BMI may quickly and easily identify foreign royalties received on your behalf. Late registrations and cue sheets may cause royalties to be delayed and/or lost . It is your ultimate responsibility to make sure that works registrations and cue sheets are delivered to BMI in a timely fashion, even though you may rely upon others to provide them to BMI in the normal course of business. Also, you must affiliate with BMI prior to the time of the performance of your music in order to receive royalties. Late affiliations will cause royalties not to be paid.All content ©2000 Broadcast Music, Inc. All Rights Reserved. Used with permission.Samples and Medleys BMI accepts for registration works which "sample" other works, provided all parties have agreed to the share percentages on the new work. These shares cannot exceed 200%. (See How Royalties are Divided .) The percentages must be noted on the BMI registration form for the work and a copy of the sample license agreement must be provided to BMI upon request. Standard rates for a popular song will be paid. The same rules apply when two or more works are utilized in a single recording as a medley. Assignment of Works A BMI publisher may assign a work to another BMI publisher as of the calendar quarter in which BMI receives notice of the assignment. However, BMI will not accept such assignment until all outstanding financial obligations or liabilities to BMI of the assigning publisher are adjusted appropriately. An assignment or transfer of control of an entire catalogue of works from one BMI publisher to another in connection with a sale, merger or otherwise will be subject to all of the terms and conditions of the agreement between BMI and the publisher whose works are sought to be assigned or transferred. Withdrawal of Works A publisher who seeks to withdraw any of its works from its BMI catalogue other than on account of an assignment to another BMI publisher (see Assignment of Works ) may do so only as of the end of the current term of its agreement with BMI, upon notice to BMI by registered or certified mail not more than six months or less than three months prior to the end of the current term. However, no such withdrawal will be accepted until all outstanding financial obligations or liabilities to BMI of the publisher are adjusted appropriately. In addition, the withdrawal of any such work by the publisher will not affect the right of BMI to continue to license the interest of any other participants in the work. Instrumental and Lyric Versions of the Same Work BMI cannot undertake to distinguish between lyric and instrumental performances of a work unless the two versions bear different titles. If the lyric and instrumental versions are known by different titles, performances of the instrumental version will be credited solely to the songwriter or composer and to the publisher of the instrumental version unless BMI is notified by all parties involved of an agreement between them that the lyricist and the publisher of the lyric version are entitled to share in performance royalties of the instrumental version. Where the lyric and instrumental versions are known by the same title, the lyricist and the publisher of the lyric version will each be credited respectively with 100% of the applicable writer and publisher shares for all performances, unless BMI is notified by all participants of an agreementAll content ©2000 Broadcast Music, Inc. All Rights Reserved. Used with permission.between them that the lyricist and the publisher of the lyric version are to be credited for a stated percentage of all performances. How Royalities are Divided BMI considers payments to songwriters or composers and to publishers as a single unit equal to 200%. Where there is the usual division of performance royalties between songwriters or composers and publishers, the total writers' shares will be 100% (half of the available 200%), and the total publishers' shares will be the remaining 100%. Please note the following rules with respect to the division of the 200% royalty: • The total publishers' shares may not exceed 100%. • If the agreement between the publishers and songwriters or composers provides for the songwriters or composers to receive more than 100%, the work should be registered with BMI indicating the percentages allocable to all songwriters or composers and all publishers so that the total is not more than 200%. • Where no performing rights (or only partial performing rights) have been assigned to a publisher, the songwriters or composers will receive the entire 200% (or the balance of the entire 200%) in the same ratio as their respective writer shares. However, a songwriter or composer who has assigned to a publisher all or part of his or her proportionate rights in the publisher's share shall not be entitled to receive any portion of the remainder of the publisher's share allocable to his or her co- writer(s). If BMI is notified subsequent to the initial registration that rights have been assigned to a publisher, BMI will credit the publisher with the appropriate share for performances beginning with the quarter in which such notice is received. No Retroactive Adjustments Will Be Made. (Example: John and Mary wrote "Their Song" together. John signed a songwriter agreement with Music Publisher. Mary did not. When the work is registered with BMI, John will list his writer share as 50%, Mary will list her writer share as 100% (50% for her co-writer interest and 50% for her unassigned publisher interest) and Music Publisher will list its publisher share as 50% (for the publisher's interest it obtained from John). If Mary later assigns her publisher interest to the same Music Publisher, Mary will notify BMI, her writer share will be reduced to 50% and Music Publisher will be paid 100% effective in the quarter that BMI received Mary's notice.) Wherever royalty rates are indicated in this booklet, the amount shown is the 200% royalty. In the typical case where all songwriters or composersAll content ©2000 Broadcast Music, Inc. All Rights Reserved. Used with permission.have assigned their copyright in a work to publishers, half of the amount listed is paid to the songwriters or composers and half to the publishers. BMI operates on a non-profit basis. All available income is distributed, except for a modest reserve. BMI may, from time to time, voluntarily increase royalty rates. Arrangements of Public Domain Works Copyrighted arrangements of works in the public domain (classical and popular) will be credited at 20% of the otherwise applicable rate of payment for popular songs for all performances, with the exception of the Live Classical Concert distribution, where no payment is made for performances of arrangements of public domain works. Payment for Uses in Unmonitored Areas BMI collects license fees from thousands of music users in addition to those listed in this booklet. These "general licensing" music users include, but are not limited to, hotels, restaurants, nightclubs, sports arenas, theme parks, airlines, jukeboxes and retail stores. If the administrative cost involved in collecting the performance data for music used by these licensees is not economically feasible, BMI may choose an appropriate surrogate, such as radio or television performances, for the distribution of the fees. In such a case, general licensing revenue serves to increase the rates payable for other performance types which we determine are representative of the universe of performances of music used in general licensing categories. BMI also reserves the right to use surrogates when accurate distribution data is unavailable. However, we strive to distribute license fees derived from specific users of music to the songwriters, composers and publishers whose music is performed by those users. At any time, we may add a distribution source that was previously unmonitored, if accurate distribution data subsequently becomes practically available. Non-payment Sources No payment is currently made for the following types of performances in electronic media: • Cue, bridge or background music on radio • Partial performances of popular songs on radio • Station IDs in any medium • Promotional announcements on radio or local broadcast, cable or satellite TV However, BMI may voluntarily introduce payments for these categories at any time, at rates to be determined by BMI. Also note that, due to the cost ofAll content ©2000 Broadcast Music, Inc. All Rights Reserved. Used with permission.distributing negligible royalties, if the total amount of royalties earned from all sources in any distribution is less than $1.00, no payment will be made and no royalty statement will be rendered for that distribution. Frequency of Royalty Payments BMI makes royalty distributions quarterly in January, April, July and October for all sources discussed in this booklet, with the exception of Live Concerts, for which royalties are distributed semi-annually in April and October for Pop concerts and annually in July for Classical concerts. We also may from time to time make special distributions should circumstances warrant. The distribution schedule is subject to change at BMI's discretion. U.S. Radio Royalties U.S. Radio Feature Performances BMI considers a radio feature performance of a popular song to be one which lasts 90 seconds or more and which is the sole sound broadcast at the time of the performance. BMI makes separate payment for four categories of radio feature performances, based upon a sampling of stations licensed by BMI. • COMMERCIAL RADIO • CLASSICAL RADIO • COLLEGE RADIO • NATIONAL PUBLIC RADIO Commercial Radio Payment is made for a local commercial radio performance based upon the license fee paid to BMI by the station broadcasting the performance. If the station's BMI license fee is among the top 25% of license fees paid by radio stations in the previous year, each performance of a popular song on that station will be paid no less than 12 cents total for all participants. For example, if there are two songwriters or composers and one publisher, each songwriter or composer will be paid at least 3 cents per performance, and the publisher will be paid a minimum of 6 cents per performance. If the station's BMI license fee is among the bottom 75% of license fees paid by radio stations in the previous year, each performance of a popular song on that station will be paid at the rate of at least 6 cents total for all participants. Extended Works A work (other than a classical work) which exceeds 6 minutes as commercially recorded will receive double credit for a full radio broadcast performance. TheAll content ©2000 Broadcast Music, Inc. All Rights Reserved. Used with permission.registration form submitted to BMI for such work should be accompanied by a letter noting the length of the recording and requesting the higher rate of payment. Classical Radio If a local commercial radio feature performance is of a classical work, each performance will be paid at the minimum rate of 32 cents per minute total for all participants on those stations in the top 25% of license fees, and no less than 14 cents per minute total for all participants on those stations whose fees are in the bottom 75%. A classical work is defined as a symphonic, chamber music, solo or other work originally written for classical concert or opera performance. College Radio Payment is made for feature performances of a song on radio stations which are affiliated with colleges and universities at a minimum rate of 6 cents total for all participants. National Public Radio The royalty rate paid for performances on National Public Radio (NPR) is based upon the amount of license fees received by BMI from the Corporation for Public Broadcasting (CPB), as compared to the total number of monitored performances of BMI works on NPR stations. As a result, the royalty rate changes each quarter, as a different number of performances is paid from the amount of fees received. Radio Feature Performance Bonus Payment Rates A work which, as reflected by BMI's records, has had more than 25,000 logged U.S. feature broadcast radio performances and U.S. feature television performances on broadcast and cable networks, PBS and certain distant-signal local television stations carried by cable systems ( superstations ) will be paid at the bonus payment rates described below for subsequent U.S. feature broadcast performances on radio, except college radio. These bonus payment rates are used instead of and not in addition to the minimum (base) payment rates previously indicated. Bonus payment rates are available to each songwriter or composer and to each publisher whose interest in a work is licensed by BMI during the period for which the bonus rate is applicable. A bonus payment rate for a work will be determined each quarter by analyzing both the historical cumulative feature performances of that work ("cumulative history") and the feature performances of all works which were performed in that quarter. All feature performances of a work monitored by BMI since January 1, 1960 are included in its cumulative history and include performances in the quarter for which the bonus payment rate is used.All content ©2000 Broadcast Music, Inc. All Rights Reserved. Used with permission.There are four levels at which a work will be paid at bonus rates: Super (S) Bonus Payment Rates: 4 times the base rate Those works with the highest cumulative history whose current quarter's performances together constitute approximately 10% of the current quarter's radio feature performances of all BMI works. Upper Level (U) Bonus Payment Rate: 2-1/2 times the base rate Those works with the next lower cumulative history whose current quarter's performances together constitute approximately 15% of the current quarter's radio feature performances of all BMI works. Mid-Level (M) Bonus Payment Rate : 2 times the base rate Those works with the next lower cumulative history whose current quarter's performances together constitute approximately 25% of the current quarter's radio feature performances of all BMI works. Entry-Level (E) Bonus Payment Rate: 1-1/2 times the base rate All other works with a cumulative history of 25,000 or more performances. U.S. Television Royalties Types of Performances BMI categorizes broadcast television and cable television performances as listed below and derives the usage information from music cue sheets and performance information provided to BMI by BMI television licensees, the TV Data Corporation, and other qualified sources. Feature Performance A performance of a work which is the focus of audience attention at the time of the broadcast. These works properly are noted on the music cue sheet with one of the following codes: • Visual Vocal (VV) - to be used when the vocalist is on camera singing the song • Visual Instrumental (VI) - to be used when the instrumentalist is on camera performing the songAll content ©2000 Broadcast Music, Inc. All Rights Reserved. Used with permission.• Background Vocal (BV) - when the song is audible to the listening audience, even though there may be some dialogue in the foreground of the scene Background Performance A performance of a work (or works) used as dramatic underscore to a scene where the music is not the focus of audience attention yet nonetheless is used to set the mood of the scene. These usually are works commissioned especially for a TV program or motion picture, or are library works selected by a program producer in lieu of specially commissioned music. These works generally are of a background instrumental nature and properly are noted on cue sheets with a use code of " BI." Theme Performance A performance of a work which is regularly associated with a television program and identifies that program to the viewer when used as the opening and/or closing music. Theme credit is given only when a work is used in multiple episodes of a television program. Works, other than the theme as described above, used at the opening and/or closing of an individual episode of a series will be credited in accordance with their actual use (feature or background). Logo Performance A performance of music regularly accompanying the visual identification of a production company or program distributor. Infomercial Performance Music performed in a short-form or long-form advertisement, the content of which often includes a product demonstration and invites direct consumer response. The rates for feature, background, theme and logo performances are indicated on the Network Television and Local Television rate tables below. Music performed within infomercials will be paid at one-third of the otherwise applicable rate listed. Promotional Announcement and Commercial Jingle Performance A promotional announcement (promo) is an announcement that advertises an upcoming program on television or radio. The programming being promoted must be aired on the same network or station as the promo itself. BMI pays for music used in promotional announcements aired on the ABC, CBS, Fox and NBC television networks. Payments are calculated based upon the time of day of the performance, and the rate of payment varies from quarter to quarter depending upon the number of promotional announcements aired in aAll content ©2000 Broadcast Music, Inc. All Rights Reserved. Used with permission.given quarter. At this time, no payment is made for promotional announcements on any other medium. A commercial jingle is a work (either pre-existing or specifically written for an advertiser) used to advertise products and/or services for sale on television and radio. Payment is made for feature performances of commercial jingles on broadcast and cable networks, local television and radio. Royalties are paid for background performances only on the ABC, CBS, Fox, and NBC television networks. In both cases, rates vary from quarter to quarter depending on the number of commercials aired in a given quarter. For more information about rates and the documentation required to become eligible for payment of Promo and Commercial Jingle royalties, please contact BMI's Commercial Jingle and Promo Department in New York by mail, or by telephone at 212-830-2551 (Promos) or 212-830-8387 (Jingles), or by facsimile to 212-830-3865. Network Television BMI currently licenses the ABC, CBS, and NBC television networks under agreements where the fee to cover music used in network originating programming is paid for by the network instead of by the local TV station carrying the program. Performances of music on these networks is listed separately on your royalty statements. Other television "networks," such as Fox, United Paramount Network (UPN) and Warner Brothers (The WB), are not currently licensed by BMI as networks. The license fees associated with performances of music in the programming carried by these networks are paid by the individual local stations broadcasting the programs. For purposes of distinguishing these programs from other local and syndicated programs, BMI indicates the "network" origination on your royalty statements, but the rates paid are lower than the rates paid for ABC, CBS and NBC performances. The following page gives applicable rates for performances on licensed networks (ABC, CBS, and NBC) and on Fox, UPN and The WB. When BMI computes royalties earned by a single performance, we multiply the indicated rates by the number of local stations carrying the network broadcast.All content ©2000 Broadcast Music, Inc. All Rights Reserved. Used with permission.ABC, CBS AND NBC NETWORK TELEVISION RATES PERFORM- ANCE TYPEPRIME- TIME (7:00 PM- 10:59 PM)LATE- NIGHT (11:00 PM- 1:59 AM)OVER- NIGHT (2:00 AM- 5:59 AM)MORNING/ DAYTIME (6:00 AM- 6:59 PM) FULL FEATURE (45 SECONDS OR MORE)$11.50 $9.00 $5.00 $6.00 THEME (PER SHOW)$5.00 $2.00 $0.58 $1.00 BACKGROUND (PER MINUTE)$1.10 $0.72 $0.52 $0.60 LOGO (PER SHOW)$0.30 $0.24 $0.22 $0.28 Performances of less than 45 seconds are paid on a prorata basis. PAYMENTS FOR PERFORMANCES ON FOX, UPN AND THE WB ARE PAID AT 75% OF THE ABOVE APPLICABLE RATE. Local Television Currently BMI licenses over 1100 local television stations on a "blanket" or "per-program" basis. A blanket licensee pays a single fee that covers the performance of any BMI-licensed work in the licensee's syndicated and locally- originated programs (including those carrying Fox, UPN and The WB programming). A per-program licensee pays a fee to BMI only when there is BMI music used in films or other audio-visual works or on a syndicated or locally originating program broadcast on the station, as well as for certain incidental and ambient uses of music. For distribution purposes, BMI separates fees derived from blanket licensees and per-program licensees. Performances occurring on stations choosing a blanket license are paid in accordance with the Local Television rate table below. Performances of music on stations opting for a per-program license are credited by calculating the fee associated with the individual program and applying the relationships between the various use types, i.e. feature, theme, background, etc. Fees collected from per-program stations are distributed only to those songwriters, composers and publishers whose music is used on the programs for which the fees are paid, less an administrative charge.All content ©2000 Broadcast Music, Inc. All Rights Reserved. Used with permission.Local Television Rates PERFORMANCE TYPEDAYPART A (4:00 PM-10:59 PM)DAYPART B (ALL OTHER TIMES) FULL FEATURE (45 SECONDS OR MORE)$3.00 $1.50 THEME (PER SHOW)$1.60 $1.00 BACKGROUND (PER MINUTE)$0.76 $0.42 LOGO (PER SHOW)$0.18 $0.16 Performances of less than 45 seconds are paid on a prorata basis. Public Television (PBS) BMI receives compulsory license fees for performances of music on public broadcasting stations and distributes the fees derived from this source to those songwriters, composers and publishers whose music is broadcast on public TV stations. Rates vary from quarter to quarter depending on the amount of the license fee collected and the base value of BMI performances tabulated during a quarter. The value of a performance on a PBS station could be higher or lower than the Local Television Daypart A rates, depending on the factors noted above. The methodology and relative weightings of the Local Television rates are used to begin the calculation. Cable Television BMI collects license fees from both pay cable networks (e.g., HBO, Cinemax, Showtime, etc.) and basic cable networks ( e.g., MTV, USA Network, Lifetime, Discovery Network, VH-1, TNN, etc.). Because the list of cable licensees changes from quarter to quarter, they are not included in this booklet. Please contact your local Writer/Publisher Relations office if you have a question about the licensing status of a particular cable network. A census of programming information for cable TV is provided to BMI by outside sources such as the TV Data Corporation, and cue sheets for the programs are collected from many sources, including, but not limited to, cable networks and program producers and distributors. Royalty rates are determined each quarter by applying the amount of license fees collected from each cable network (less an administrative fee) against the payable performances occurring on that network, using the methodology and relative weightings of the Local Television Daypart A rates as a starting point.All content ©2000 Broadcast Music, Inc. All Rights Reserved. Used with permission.Foreign Royalties BMI has reciprocal agreements with performing rights organizations ( PROs) throughout the world, which allow those PROs to license your works and collect fees on your behalf when your music is performed outside of the United States. The foreign PROs calculate payments to BMI composers, songwriters and publishers in accordance with their own distribution rules and remit royalty payments to BMI for those songwriters, composers and publishers listed in an international index as being affiliated with BMI or whose works have been reported by BMI to these PROs. Foreign royalties are distributed quarterly by BMI after the deduction of an administrative handling fee, which, as of October, 1998, is 3.6%, but which is subject to change at any time. When a royalty payment from a foreign PRO is designated for a specific BMI songwriter, composer or publisher, BMI pays that affiliate directly if BMI's records confirm entitlement to that payment. There are, however, instances where, instead of an affiliate's name, only a song title, film title or TV show name is provided by the foreign PRO in conjunction with a lump sum royalty payment to BMI. In those instances, we must do more extensive research to determine the entitled parties and their percentage splits and make an allocation in accordance with the data contained in BMI's records. Sometimes, this causes a minor delay in distributing the royalties. Although BMI has an extensive foreign royalty tracking system, we always welcome information from you regarding foreign translations of song titles , film and TV show titles, and details regarding foreign sub-publishing agreements. You should send this information to BMI International Administration in New York, and the information will be noted in our database for tracking purposes. Compulsory License Fees Approximately once a year, BMI receives royalties from the U.S. Copyright Office for BMI music performed on distant signal broadcast television stations carried by cable television systems (e.g., superstation WGN-Chicago) and for music performed in broadcast television signals retransmitted by satellite carriers. BMI distributes this money to those songwriters, composers and publishers whose music is contained in these broadcast signals. BMI additionally receives a modest amount of royalties from the compulsory copyright royalty paid by manufacturers and distributors of audio home recording devices and media. BMI distributes these royalties using a combination of performance information and recorded music sales data. For information on compulsory license fees received from National Public Radio and Public Television , please refer to those sections of this booklet.All content ©2000 Broadcast Music, Inc. All Rights Reserved. Used with permission.Pay-Per-View Services At any given time, BMI may have a license agreement with one or more pay- per-view services. When a license agreement is in effect and BMI receives payment from a pay-per-view licensee, royalty payments are distributed to those songwriters, composers and music publishers whose music is aired on any individual service, using a formula as described in the Cable Television section of this booklet. Internet BMI licenses certain Internet sites and is seeking to license many more. As this is a very new medium for licensing and distribution, policies still are being established as to how performances are to be tabulated and royalties are to be distributed. To the extent that music usage information has been submitted to us, we have distributed and will continue to distribute royalties for performances of your music over the Internet on sites licensed by BMI. For further developments in this area, please contact your local Writer/Publisher Relations office. Commercial Music Services BMI distributes license fees collected from digital/cable music suppliers and background music suppliers (e.g., AEI, Muzak) when your musical works are used by these services. BMI uses performance information provided by the audio services to create a database of BMI-licensed works that are eligible to receive a royalty payment. Since the number of BMI-licensed works, as well as the amount of the license fees collected by BMI, changes from one distribution to another, the royalty rate for works performed on these services likewise varies with each distribution. Live Concert Royalties Pop Concerts BMI uses an independent source of pop concert information to create a database which is used to solicit concert set lists. We compile these responses and determine semi-annually which musical acts were among the 200 top-grossing tours. A royalty payment is calculated for each BMI-licensed work used in the headliner's act in each of these top musical tour set lists. Since the number of BMI-licensed works changes from one semi-annual period to the next, as do the license fees collected by BMI from concert promoters and venues, the royalty rate for your works performed in live pop concerts also changes each period.All content ©2000 Broadcast Music, Inc. All Rights Reserved. Used with permission.Classical Concerts BMI pays royalties for original classical works performed at live classical concerts in the U.S. which are presented by entities licensed by BMI under classical and symphonic licenses. Payment is based upon a census of all eligible concert programs received from these licensees. The rates are determined annually based upon the fees received from classical licensing and the total number of BMI works performed. Miscellaneous Royalty Rules Direct Licensing of Works If a songwriter, composer or publisher directly licenses to a user or source licenses to a production company the right to perform one or more works, BMI must be notified in writing within ten days of the issuance of the license or within three months of the performance, whichever comes first. In the event that such notice is not timely given to BMI, the direct license shall be deemed null and void. A copy of the license should be attached to the notification (with the amount paid for the license deleted, if desired). As license fees for direct or source licensed performances cannot be collected by BMI, no royalties will be paid by BMI for these performances. If the direct or source license includes performances for periods for which BMI has already paid royalties because we were unaware that such a license had been issued, a debit will be made to the songwriters' or composers' and the publishers' accounts with respect to such performances. Royalty Adjustments All claims for adjustments to royalty distributions must be made in writing to your local Writer/Publisher Relations office within nine months of the date of the distribution seeking to be adjusted. Adjustments to royalties which were or should have been paid more than nine months before notice of the claim is received by BMI will not be considered. BMI will prepare timely-requested adjustments to U.S. royalty distributions in those situations where royalties were paid incorrectly, as long as the total amount of the adjustment likely will exceed $25. If no payment was made because of missing/late cue sheets or work registrations, royalties will be paid beginning with the first possible distribution after all documents are received and processed, provided that they are received within nine months after the distribution in which royalties otherwise would have been paid had the necessary documents been submitted to BMI in a timely fashion.All content ©2000 Broadcast Music, Inc. All Rights Reserved. Used with permission.Because many foreign PROs have strict cutoff dates beyond which they will not consider adjustment requests, all claims for foreign adjustments should be submitted in writing within nine months of the date of the foreign distribution in which royalties were incorrectly paid or expected royalties were missing, along with detailed information about the incorrect or missing payments. BMI will research the matter and request an adjustment, where appropriate, from the foreign PRO, provided that the amount expected to be received from the foreign PRO will exceed $25. Any additional royalties received from the foreign PRO as a result of BMI's adjustment request will be remitted to you as part of the next possible distribution following receipt of the royalties by BMI. Payment From Another Organization In the event that BMI has reason to believe that you will receive or are receiving payment from a performing rights organization other than BMI for or based upon United States performances of one or more works for a period when those works were licensed by BMI for you, BMI shall have the right to withhold payment from you for such performances until BMI receives satisfactory evidence that you have not been paid or will not be paid by the other organization. In the event that you were or will be paid or do not supply such evidence within 18 months from the date of BMI's request, BMI shall be under no obligation to make any payment to you for performances of such works for that period. Assignments of Royalties to Repay Loans BMI will recognize an assignment of your royalties to a lending institution or other person or entity who makes a bona fide loan of a specific sum of money to you which is intended to be repaid, in whole or in part, from your BMI royalties. You must be affiliated with BMI at the time that the assignment is made. In addition, a special loan assignment form, executed by both you and the lender, and acknowledged by BMI, must be completed and signed before BMI will pay your royalties to the lender. Please contact your local Writer/Publisher Relations office for the loan assignment form. Royalties Withheld Due to Litigation It is BMI's policy to withhold royalties earned by any works which are the subject of litigation. Upon the written request of any affiliate whose royalties are being withheld, when accumulated royalties exceed $1,000, the royalties will be transferred to an interest-bearing bank account, at money-market rates. All such principal and interest is remitted to the writer(s) and/or publisher(s) who are determined by final, unappealable decision, or by settlement between the litigants, to be entitled to the funds, upon submission to BMI of a copy of the final court order or settlement documents.All content ©2000 Broadcast Music, Inc. All Rights Reserved. Used with permission.In lieu of the withholding of royalties during litigation, BMI will accept a letter of direction, signed by all parties to the lawsuit, to pay the royalties to a third party escrow agent as they become payable. In such case, the royalties will not generate interest through BMI. Legal Process Administration Charge Due to BMI's increased costs in handling legal process that is received against certain affiliates, it has become necessary to institute an administration fee for such matters. Effective January 1, 1999, if BMI is served with a state or federal tax levy, restraining notice, order to withhold, judgment, child support order, divorce decree, subpoena or the like against you which requires BMI to hold or pay your royalties to another party who has a legal entitlement to them, or to provide information or documents regarding your account, you will be assessed a handling fee of $50 (or such lesser amount as may be required by the authority issuing the process). The $50 fee will be deducted from the next royalty distribution of each affected account following adjustment of BMI's records to reflect the process, or following the transmittal of the information or documents. The handling fee will be assessed for each new process received, except that you will not be charged an additional fee if BMI receives updated process while previous process for the same obligation is still in force according to BMI's records. Stop Payments And Re-Issuance Of Royalty Checks An oral request to BMI to stop payment of and reissue a royalty check will be accepted, but the request must be confirmed in writing and received by BMI within two days of the oral request. An administrative charge of $30 will be deducted from the amount of the reissued check. Stop payment orders cannot be accepted, however, for royalties which have been directly deposited into the payee's bank account. Affiliate Services Direct Deposit of Royalties Your royalty payments can be deposited directly to your checking or savings account. Contact your local Writer/Publisher Relations office for the necessary authorization form, or download the form from BMI's web site, http://bmi.com . Bank of America / BMI Loan Program For many years, BMI has accepted loan assignments to the bank of your choice, so that you are able to borrow money against your future BMI royalties. We will continue to accept loan assignments to your chosen lender. (See Assignments of Royalties to Repay Loans .) However, for those affiliates who do not have an established banking relationship that they wish to continue, BMI has arranged with Bank of America, one of the country's leading financial institutions, to make loans against their BMI royalties. All loans are made at aAll content ©2000 Broadcast Music, Inc. All Rights Reserved. Used with permission.favorable rate of one percent above the prime rate, with only a $100 application fee. Also, processing of these loans is given priority by both Bank of America and BMI. In order for you to be able to participate in this program, you must be an affliliated songwriter or composer, or sole proprietorship or sole stockholder publisher. Also, your average annual BMI royalty earnings for the past three years must be more than $1,800 and your current royalties must be clear of any liens. If you qualify, Bank of America will lend you up to 70% of the amount that BMI projects you will earn over the following two years, with a minimum loan amount of $2,500. To find out if you qualify for this program, contact your local Writer/Publisher Relations office. For details about loan procedures and requirements or to obtain a loan application, contact Bank of America at 1-888- 777-7354. Loan applications also can be downloaded from bmi.com. Electronic Transfer of Information BMI encourages the use of electronic transfer of information related to work registrations, cue sheets, and affiliate receipt of royalty statements. The exchange of electronic information is based on established industry and specific BMI standards. Please contact your local Writer/Publisher Relations office for more information to participate in any of these services, or check bmi.com for future developments. BMI.com BMI's website, bmi.com , contains many features that keep you posted on happenings in the music business, new BMI services, legislation that affects your royalties and copyrights, and other useful information. You can also review your song registrations with BMI in the website's hyper-repertoire section. Visit the site and bookmark it for future use. You'll be glad you did!All content ©2000 Broadcast Music, Inc. All Rights Reserved. Used with permission.Contact Information If you have any questions about any of the information in this booklet, please contact the BMI office listed below which covers your state or location of residence or business. A Writer/Publisher Relations executive will be happy to assist you. BMI London 84 Harley House Marylebone Rd. London NW1 5HN England 44-171-486-2036 Fax: 44-171-224-1046 BMI Miami 5201 Blue Lagoon Dr. Suite 310 Miami, FL 33126 305-266-3636 Fax: 305-266-2442 BMI Miami will gladly assist our Spanish-speaking affiliates, wherever resident BMI New York 320 W. 57th Street New York, NY 10019 212-586-2000 Fax: 212-245-8986 Alaska American Samoa Connecticut Delaware District of Columbia Guam Hawaii Illinois Indiana Iowa Kansas Maine Maryland Massachusetts Michigan Minnesota Nebraska New Hampshire New Jersey New York North Dakota Ohio Pennsylvania Puerto Rico Rhode Island South Dakota Vermont Virgin Islands WisconsinBMI Los Angeles 8730 Sunset Blvd. 3rd Floor West Los Angeles, CA 90069 310-659-9109 Fax: 310-657-6947 Arizona California Colorado Idaho Montana Nevada New Mexico Oregon Utah Washington Wyoming BMI Nashville 10 Music Square E. Nashville, TN 37203 615-401-2000 Fax: 615-401-2707 Alabama Arkansas Florida Georgia Kentucky Louisiana Mississippi Missouri North Carolina Oklahoma South Carolina Tennessee Texas Virginia West Virginia	[ "bmi", "performance", "royalty", "work", "music", "publisher", "rate", "payment", "fee", "license" ]	{ "summary": "BMI ROYALTY INFORMATION\nEditor's Note: The following document was taken from the BMI\nWeb Site in Mar" }
tL-Manager-Music-Industry-Guide.pdf	1 Ziaad Khan MUSIC INDUSTRY GUIDE Updated 16th Feb 2012 Directories Billboard International Buyer’s Guide [52nd Edition] 2011 (VNU Business Publications) [(B) DIR 780.294 BUS] Reference source for the Worldwide music industry with listings giving contact details of record labels, music publishers, wholesalers & distributors, raw ma terials manufacturers & listings of companies by country. The Creative Review Handbook 2011 (Centaur Media Plc) [(B) DIR 741.60688 BUS] Design & new media; illustration; photography; pi cture libraries; photographic services; print; commercials; sound; live events; media agencies ; c opywriters; courier & despatch; talent & casting agencies; translation. The IMIT Membership Directory 2011 (The Acme Co) [(B) DIR 784.192802541 BUS] Names and addresses of the members of the Institute of Musical Instrument Technology. British & International Music Yearbook [36 th Edition] 2010 (Rhinegold Publishing Ltd) [(B) DIR 780 BUS] Reference source for the Worldwide music industry with listings giving contact details of music schools, music & book publishers, instrument manufacturers and marketing & fundraising organisations. International Showcase : The Music Business Guide [42 nd Edition] 2010 (Hollis Publishing Ltd) [(B) DIR 780.294 BUS] International music producti on guide. Lists concert, venue, equipment, recording, studios, artists, business & broadcast serv ices. Artist index, record companies worldwide, festivals, booking agents, a rtist management, publishers. Songwriters Market 2010 [33rd Edition] 2010 (Writer’s Digest Books) [(B) DIR 338.761782421302573 BUS] Lists music publishers, music print publishers, reco rd companies, record producers, managers and booking agents, audiovisual and commercial mu sic firms who handle songs and songwriters. 2 Ziaad Khan The White Book 2010 (Ocean Media Events Ltd) [(B) DIR 338.761791025 BUS] Production directory for events indus try. UK talent, film, TV & video, conference industry, exhibitions, concerts, show & theatrical agents. Market Research & Statistics The Digital Music Market Outlook 2011 (Business Insights) [Available onsite via electronic sources] Analyses factors affecting the growth of the digital music market with a future market outlook. It also provides detailed profiles of the leading digital mu sic service providers including an examination of their operations, service offerings, financials and s trategic outlook. Digital Music Report 2011 (IFPI) [(B) MKT 780.28565 BUS] Analysis of the global digital music market with regards to legitimate and illegal downloading. Touches on the creative industries as a whole and co vers company/country s trategies to combat piracy. How Britain Shops 2011 : Music & Video 2011 (Verdict) [Available onsite via electronic sources] Consumer research on the trends and factors that a ffect sales in this market such as downloading, digital rights management, increased VAT etc. Covers consumer demographics and includes comparisons between the major retailers. Recording industry in numbers 2011 (IFPI) [(B) MKT 338.47780 BUS] Facts and figures on the worldwide music industry including best selling charts, consumer trends, performance rights income, and individual country data. Lists online music services, association contacts and tax revenue by region. Top Digital Trends for 2012 (2011) (eMarketer) [Available on site via electronic sources] Short report on the latest developments within va rious digital media with an emphasis on new and developing digital distribution cha nnels such as Spotify and clo ud-based streaming services from Amazon and Apple. UK Annual Forecasts 2010-2015: Music & Video 2011 (Verdict) [Available onsite via electronic sources] An analysis of the key issues set to impact the music & video market over the next five years. Covers the impact of piracy, price comp etition, digital sales etc on the market. UK Music & Video : Consumer Satisfaction Index 2011 (Verdict) [Available onsite via electronic sources] This report measures and ranks customer satisfaction for all the major music and video retailers. Includes various factors that influence the industry such as online buying, legal and illegal downloading etc. BPI Statistical Handbook 2010 : The British Recorded Music Industry (British Phonographic Industry Ltd) [BIPC Enquiry Desk] Statistics from the main industry association. Pr ovides an annual review of the UK industry – downloading, advertising, album/singles sales, consumer profiles, pira cy, airplay etc. A world market overview is included. Is there a commercial case for ISP music services? 2010 (Ovum Enterprise IT Knowledge Centre) [Available online in the Business and IP Centre] As broadband markets saturate, ISPs are looking to added value services. This report analyzes the outlook for digital music services as an addition to the ISP portfolio. Music Industry 2010 (Key Note) [Alphabeti cal sequence BIPC] A broad view of the music markets within the UK with some global references. Covers the recorded music market and it’s distribution, live performance s, music in the media, and amateur participation. 3 Ziaad Khan Paid-For Vs Free - Consumer attitudes to pr icing in media and music [Special report] 2010 (Mintel) [Alphabetical sequence BIPC] Analyses market trends and consum er attitudes regarding the issues around paid vs free newspapers, magazine, TV and music content. Investigates co re market factors, s trengths and weaknesses, consumer dynamics, illustrative cases and future developments. Paid Music Content: The Answer Is Blowin’ in the Cloud 2010 (eMarketer) [Available onsite via electronic sources] Discusses cloud-based streaming of music where user s store music collections on remote servers and access the content on various devices: computer s, smartphones, netbooks, e-readers and game consoles. The Record Industry 2010 (Key Note: Business Ratio repo rt) [Alphabetical sequence BIPC] Key ratios, profiles, performance indi cators and league tables for UK companies involved in the record industry. Includes a brief indus try overview and profile. iPhone Generation 2009 (Mintel) [Alphabeti cal sequence BIPC] Looks at consumer attitudes towards new te chnology covering gami ng, photography, eBooks, shopping, social networking etc. Contains a chap ter on music which includes formats, downloading and digital radio. Please note that many articles about the music i ndustry (from business journa ls and newspapers) are available onsite via electronic sources from the databases: eMarketer Business Source Complete (EBSCO) Factiva ABI Inform Global Small Business Help / Business Start-Up Information COBRA: Complete Reference Advisor Fact sheets for small businesses in PDF format – available online via electronic resources Business Opportunity Profiles: Practical fact sheets detailing how to start and run particular businesses. Includes information on necessary skills, qualific ations, market & trading issues, legislation and lists other sources of information and advice. Audiovisual Equipment Hire 2011 BOP210 DJ/Mobile Disco 2010 BOP006 Entertainment Agency 2010 BOP375 Independent Record Label 2011 BOP204 Music Shop 2010 BOP018 Musician 2011 BOP205 Online Music Store 2011 BOP520 Private Music Tutor 2011 BOP054 Rehearsal and Recording Studio 2011 BOP390 UK Market Synopsis: Music Retail 2011 SYN002 Performing Arts 2009 SYN090 Business Information Fact Sheets Musical Copyright - A Guide to 2010 BIF237 A Guide to Using the Copyright of Others 2010 BIF157 A Guide to Using Copyright to Protect Your Work 2010 BIF218 4 Ziaad Khan Small Business Help Section / BIPC1 Open access books in the Busine ss & Intellectual Property Centre All You Need To Know About The Music Business by Donald S Passman (Penguin, London 2008) [(B) SBH 338.4778 BUS] An ‘easy to understand’ overview of all aspects of the music business from recording contracts to touring to merchandise rights etc. Covers traditi onal industry matters t ogether with recent developments such as downloads, str eaming, digital royalties and podcasts. How To Make It In Music by Stuart James Smith (Dennis Publishing 2008) [(B) SBH 780.23731 BUS] Advice from industry professionals on: Venues, prom oters, festivals, managers, lawyers, publishing, home and studio recording, creating demo s, approaching record labels etc. Music Distribution & The Internet by Andrew Peter Sparrow (Gower, Aldershot 2006) [(B) SBH 343.07878 BUS] Explains the legal requirements associated with doi ng business over the Internet. Provides practical advice on how to approach key relationships with the internet buying consumer and other online media providers. A User’s Guide To Copyright by Michael Flint et al (Tottel Publishing 2006) [(B) SBH 346.410482 BUS] Covers the entire subject of copyright (books, films, television etc) in a practical, user-friendly manner, with a section specifically for music. Please note that many other publications about copyright are available within the BIPC Books in other departments (ordered via Explore The British Library) Artist Management For The Music Business by Paul Allen (Elsevier 2007) [YK.2008.a.3262] Features profiles of artist managers, templates for a rtistic career plans, samples of major contracts for artist management and record deals. How To Make It In The Music Business by Sian Pattenden (Virgin Books Ltd 2007) [YK.2008.a.14703] Light hearted and often humorous look at many of the job profiles available in the music business from A&R Person to Vocal Coach. Jobs In The Music Industry by Chris Brophy (Music Industry Learning 2007) [YK.2009.a.26213] Practical guide to various careers within the music industry. Profiles the many jobs available and gives hints about CVs, interviews, producing a business plan etc. KLF – The Manual (How To Have A Number One The Easy Way) by Jimmy Cauty & Bill Drummond (Ellipsis 1998) [YK.2002.a.4537] Written in 1988 but most of the practical aspects and principles still apply to today’s industry. Instruction manual, diary and story – covers starting a record label, manufacturing, promoting, music copyright etc. Law And Business Of The Entertainment Industries by Biederman et al (Praeger 2007) [YC.2007.b.508] US publication covering the legal side of the enterta inment industry – contracts, rights, performance obligations, music publishing, sound recordings , the Internet and the digital world. Marketing Lessons From The Grateful Dead (Wha t Every Business Can Learn From The Most Iconic Band In History) by David Meerman Scott & Brian Halligan (Wiley 2010) [YK.2011.a.22917] 5 Ziaad Khan Covers the unconventional, inventive and innovative methods used by the band to create a distinctive brand, loyal fan base and successful business. Manufacturing, Distribution & Promotion In The Music Industry by Chris Brophy (Music Industry Learning 2007) [YK.2009.a.27730] Very practical guide to music formats, pressing pl ants, physical and digital distribution, building and promoting websites, press releases, promotional packages, media etc. Moser On Music Copyright by David J. Moser (Thomson C ourse Technology 2006) [m07/.10492] Covers copyright law applying to the music industry from a US perspective. Music: The Business – The Essential Guide To The Law And The Deals by Ann Harrison (Virgin Books Ltd 2008) [YC.2009.a.11278] Includes practical and legal issues within the UK music industry. Covers management, record, and publishing deals, making recordings, manufacture , distribution and marketing, online sales and distribution, branding, touring, piracy , useful addresses and associations. Music Business: The Key Concepts by Richard Strasser (Routledge 2010) [m09/.29058] Comprehensive guide to the terminology commo nly used in the music business from A-Z. Music Business Handbook And Career Guide by David & Tim Baskerville (Sage 2010) [YK.2011.b.1055] American volume covering digital technology, busine ss models, the concert business, alternatives to airplay, with in-depth chapters on song writing, publishing, copyright, licensing, artist management, recording contracts, record & concert production, re cord labels, promotion & distribution, radio, TV, video, films, games, advertising, starting a business etc. Music And Copyright by Ronald S. Rosen (Oxford University Press Ltd 2008) [YC.2009.a.3612] Very in-depth coverage of legal cases and issues relate d to copyright and music. Music and Copyright by Simon Frith & Lee Marshall (Edinburgh University Press 2004) [(B) BF583] Covers copyright in relation to music. Explains the copyright system to non-lega l specialists. Analyses the social, economic and legal aspects of music c opyright from the views of composers, performers, producers and consumers. Music Industry Handbook by Paul Rutter (Routledge 2011) [m11/.15784 DSC] Provides a clear introduction into how the music i ndustry works covering the practical aspects of key industry sectors. Includes business strategies and ‘start-up’ tools for those that wish to set up independent music ventures etc. Music Publishing: The Roadmap To Royalties by Sobel & Weissman (Routledge 2008) [YK.2009.a.26087] Guide to generating, protecting and collecting royalt ies for emerging songwriters and artists. Explains simply the basic concepts of the music publishing i ndustry highlighting the sources of income that can be exploited. Covers publishing agre ements in detail and gives examples of successes and failures in the world of music publishing. Performing In The Music Industry by Chris Brophy (Music Industry Learning 2007)[YK.2009.a.27728] Practical guide to the techniques involved in pu tting on a live music performance. Covers rehearsals, Health & Safety, DJ’ing, performing etc. Promoting Your Music by Tom May & Dick Weissman (Routledge 2007) [YK.2007.a.19835] US music business covering song writing, record ing and performing, the album, CD and record business, equipment required etc. 6 Ziaad Khan Recording In The Music Industry by Chris Brophy (Music Indus try Learning 2007) [YK.2009.a.27729] Basic guide to the principles involved in sound re cordings. Covers analogue vs digital audio, studio equipment, recording techniques, computer music, remixing, producing, arranging, mastering etc. Web Marketing For The Music Business by Tom Hutchison (Elsevier 2008) [m08/.31549] Covers topics such as setting up a website, sear ch engine optimisation, finding a market online, creating and managing an online store, marketi ng music using social media (MySpace, Facebook, Youtube etc). Aimed at DIY musicians, managers, a nd record labels wanting to maximise sales and exposure. Trade Magazines and Newsletters (ordered via Explore The British Library) Audience : for the internationa l contemporary live music industry (Audience Media Ltd) [ZK.9.b.21486] Covers the international contemporary live music business. Provides news, features and tour information and is aimed at promoters, festival organisers, venue owners/managers, booking agents, artiste managers, record and publishing company executives, etc. Audio Media (IMAS Publishing UK Ltd) [(P) RV 50 - E( 10)][HUS 050] Open Access NSA collection For professional sound engineers & studios. Includes e quipment, audio for video, broadcast, internet audio, live sound systems, conce rt & event sound, multimedia, post- production, recording, music, radio. Website: www.audiomedia.com Billboard (Billboard Music Group) [ZC.9.d.566][HUS 050] Open Access NSA collection News about the international record industry. Include s new artist signings, detailed sales charts, music genre profiles, events. We bsite: www.billboard.com Computer Music (Future Publishing Ltd) [(P) PP 374 - E(1)] Guide to making music using a PC or Mac. R eviews the technology, equipment and software available for making music. With tu torials, reviews, solutions to te chnical problems plus free software and samples. Computer Music Specials (Future Publishing Ltd) [CDS.9.b.63] Spin-off of Computer Music magazine. Each issue is solely focused on one topic, providing an in- depth guide to a current music-making developm ent or software package. Previous topics have included Cubase, Reason, Ableton Li ve, GarageBand, DJing Beginner’s Guide, Recording Guitars and Online Music. Each issue includes advice and tips, de tailed step-by-step tutorials and a disc of music- making software. Electronic Musician (Polyphony) [(P) RX 72 - E(5)] Services and facilities directory included Future Music (Future Publishing Ltd) [ZK.9.d.679] Making music using modern technology. In-depth revi ews by industry professionals plus news on all the latest hardware and softwar e releases. Interviews musician s about equipment and technology used. Lighting and Sound International (Offord) [ZK.9.b.1136] Professional and trade journal for lighting and sound in the entertainment, presentation and communications industries including music venues, theatres, concert halls, conferences and exhibitions etc. Includes new product information, venue profiles, technical articles, shows, product guide, company profiles. Website: http://www.lisonline.co.uk 7 Ziaad Khan Live UK (Audience Media Ltd) [ZK.9.b.24850] (Supplement to Audience) Covers the UK contempo rary live music business (concerts, equipment and supplies). Provides news, feat ures and tour information to th e country's promoters, festival organisers, venues, artiste ma nagers, booking agents etc. Mixmag (DMC Publishing) [ZK.9.b.8050] [Cup.938/563] Gives information on clubs and dance music, and includes a Mix CD from current big-name DJs. Mondo Dr : Technology In Entertainment (Mondiale Publishing) [ZK.9.d.2122] Trade magazine for sound & lighting professionals in cl. nightclubs, stadia, theatre, special effects, entertainment venues. Includes detailed product reports & market studies. Music and Copyright (FT Business Enterprises) [(P) BG 85 - E(2)][HUS 050] Open Access NSA collection Case studies included Music Week (Morgan-Grampian) [HUS 050] Open Access NSA collection Weekly news and charts from the UK record industry . UK record industry ma gazine. News, features, detailed sales charts, genre reviews, a rtist signings, retailers, job adverts. Website: www.musicweek.com Music Tech Magazine (Anthem Publishing) [CDS.9.b.164] Practical magazine for recording musicians, sound e ngineers and producers with practical features and tutorials. New Musical Express (NME) (IPC Magazines Ltd) [HUS 050] Open Access NSA collection Mostly news about artists, including charts, forthco ming concerts. Some news about record labels. Website: www.nme.com Rhythm Magazine (Future Publishing Ltd) [ZK.9.b.10420] [CUP.938/702] UK magazine for drummers and percussionists. Incl udes Play Drums CD with tutorials, techniques and practise tools. Features news, reviews, drummer interviews and gives advice on equipment. Sound On Sound (SOS Publications) [ZM.9.b.3] [HUS 050] Open Access NSA collection Covers music recording technology. Features articles on recording systems, mixing consoles, samplers, music software and microphones. Has a director y of suppliers and training providers. Website: www.soundonsound.com Sound, Vision, Install (SVI) (Partridge Publications Ltd) [ZK.9.b.20691] UK trade magazine for professionals within the a udio-visual and custom installation industries. Gives latest product reviews, business news, technol ogical developments and commentary. Includes a comprehensive business directory, events and training diary and a recruitment section. Total Guitar (Future Publishing Ltd) [ZK.9.b.7899] Information and tutorials to improve guitar playing . Featuring product & equipment reviews, artist profiles and interviews as well as techniques, tutorials. Eu rope's best-selling guitar magazine. 8 Ziaad Khan Internet Sources The British Phonographic Industry (BPI) represents the UK recorded music industry, including record companies and labels, as well as music manufacturers and distri butors. It provides industry information, lobbies the Government on issues rela ting to the promotion of music in the UK and to music piracy. Website: www.bpi.co.uk The International Federation of the Phonographic Industry (IFPI) represents the worldwide recording industry and works to promote the value of recorded music. Website: www.ifpi.org The Department for Cultur e, Media and Sport (DCMS) is the Government de partment responsible for policy on the music industry. Website: www.culture.gov.uk UK Music is the umbrella organisation which repres ents the collective interests of the UK’s commercial music industry - from artists, musicians, songwriters and composer s, to record labels, music managers, music publishers, studio pr oducers and music licensing organisations. Website: www.ukmusic.org PRS for Music (an amalgamation of the Mechanical-Copyright Protection Society (MCPS) and Performing Right Society (PRS) (MCPS-PRS Alliance) ) is the collection society for royalties earned from the copying and performing of copyrighted mate rials. They administer the performing rights in the musical works of its members who comprise composers, songwriters and music publishers. PRS licences are required by concert halls, dance halls, public houses, hot els and restaurants, ships, aeroplanes and anywhere else wh ere copyright music is played in public. Any broadcaster using music, and anyone putting copyright music on the Internet, must also be licensed Website: www.prsformusic.com Phonographic Performance Limited (PPL) and Video Performance Limited (VPL) oversee the distribution of royalties to artists whose work is played in public. Website: www.ppluk.com The Association of Professional Recording Services (APRS) is an association that represents members of the audio recording sector. It offers news and in formation on events as well as a quarterly bulletin. Website: www.aprs.co.uk The Association of Independent Music (AIM) is a trade body for UK-based independent record companies, artists, labels and distributors. It pr ovides basic guidance on how to start an independent record label as well as news a nd developments in the industry. The website contains a searchable directory of distributors. Website: www.musicindie.com http://www.musicindie.com/ resources/starting-a-label The British Academy Of Songwriters , Composers and Authors (BASCA) supports and protects the artistic, professional, commercial a nd copyright interests of songwriters , lyricists and composers of all genres of music. Website: http://www.basca.org.uk/ The Musicians' Union works to promote the interests of all types of musicians. Website: www.musiciansunion.org.uk The Music Industries Association (MIA) is the sole UK trade associ ation servicing and representing the interests of all UK businesses selling mu sical instruments and associated products. 9 Ziaad Khan Website: www.mia.org.uk The Music Publishers Association (MPA) is a non-profit organisation re presenting music publishers in the UK. It exists to safeguard their interest s, and those of the writers signed to them. Website: www.mpaonline.org.uk The Entertainment Retailers Association (ERA) is a trade organisation that represents retailers of recorded music, video, DVD and multimedia products. Website: www.eraltd.org The Intellectual Property Office is the official government organisa tion that provides information and advice on all intellectual prope rty issues including copyright. Website: www.ipo.gov.uk The British Copyright Council is an umbrella organisation bri nging together organisations which represent those who create, or hold rights in, literar y, dramatic, musical and artistic works and those who perform such works. Website: www.britishcopyright.org The Independent Music Companies Association (IMPALA) is a trade association for Europe's independent music companies. Website: www.impalasite.org The School of Sound Recording provides courses in audio engineering, live sound, post production, electronic music production, remixing and DJ skills. Website: www.s-s-r.com Record Production.com is a website for producers, recordi ng studios, studio & recording equipment worldwide. Has interviews, blogs, forums, equipm ent reviews, recording tips etc and includes a directory of recording studios. http://www.recordproduction.com/ The Audio Engineering Society is a professional society devoted exclusively to audio technology. For engineers, students, scientists etc. Involved in th e creation and maintenance of international standards in the areas of digital and anal og audio engineering, communications technology, acoustics, media preservation and creative practice etc. Website: www.aes.org/ Music Producers Guild UK (MPG) is for everyone involved in the production of music and sound in all media, from student trainees through to working professionals. Has hints and tips for the recording process and a directory of producers, engineers, mixers, etc. Website: www.mpg.org.uk/ The Production Services Association (PSA) is the trade body for businesses involved in live events. The Association aims to lobby on behalf of the i ndustry and raise technical and safety standards. Website: www.psa.org.uk The Unsigned Guide is a subscription based i ndustry reference tool for signed/unsigned artists containing information and contact details of re cord companies, publishing companies, artwork, creative and design companies, recording studios, promoters, ve nues and industry associations. Website: www.theunsignedguide.com/ Sound And Music is an organisation promoting new music from digital platforms to live events. Covers new technology and experimen tal approaches to recording. With opportunities for artists, 10 Ziaad Khan composers and practitioners to upload their work via an on-line community, as well as comprehensive listings of events, video, multi-media, a nd details of all Sound and Music activities. Website: http://soundandmusic.org/ Sound and Video Contractor (SVC) provides in-depth features on industry developments. Website: www.svconline.com Music Week Directory is a directory of companies operati ng in the UK music and media industry, including record companies, music publis hers, managers and recording studios. Website: www.musicweek.com/mp_index.asp?navcode=71 The Official Charts Company compiles and lists the UK's top 40 chart. Website: www.theofficialcharts.com Music Tank is a business development network for the music industry, set up by the University of Westminster. Website: www.musictank.co.uk Record of the Day is a news service that provides music industry news to subscribers. Website: www.recordoftheday.com The Music Void is a source of music business informati on and news, including articles on different types of business model and music events. Website: www.themusicvoid.com Recess is a DJ hints and tips website, although targ eted more towards club DJs, contains useful information, including sections on how to choose equipment and hints on playing live. Website: www.recess.co.uk The National Association of DJs (NADJ) provides support for its members, including discounts, advertising on the association's website and the chance to interact with other DJs. Website: www.nadj.org.uk The Mobile Disco Association is a membership organisation for operators of mobile discos. It provides useful guides on public lia bility insurance and PAT testing, plus a directory of members. Website: www.mobile discodirectory.co.uk The DJ Academy Organisation provides training at venues across the UK for prospective DJs. Website: www.djacademy.org.uk The Academy of Contemporary Music provides training to musicians and other music professionals. Website: www.acm.ac.uk The Incorporated Society of Musicians (ISM) is a professional body that represents the interests of musicians and tutors in the UK. It publishes in formation sheets giving guidance on professional careers in music, and has established a code of conduct and ethics for tutors. Website: www.ism.org The Associated Board of the Royal Schools of Music (ABRSM) provides graded music examinations, and offers CPD opportunities and sup port to professional music teachers. Website: www.abrsm.org Music Teachers UK provides a searchable directory of music tutors in the UK, as well as publishing a number of resources and guides to as sist music tutors and teachers. Website: www.musicteachers.co.uk 11 Ziaad Khan The Agents' Association (Great Britain) is a membership body for entertainers' agents. It offers guidance on operating an agency, and its memb ers are bound by a strict Code of Conduct. Website: www.agents-uk.com The National Entertainment Agents Council (NEAC) is a trade association for entertainers' agents. It has a Code of Conduct and rules and provides news and information about industry events. Website: www.neac.org.uk The International Artist Ma nagers' Association (IAMA) is the only worldwide association for classical music artist managers and concert agents Website: www.iamaworld.com Website: www.classicalmusicartists.com The Vocalist provides sample contracts and informati on on setting up as an entertainers' agent. Website: www.vocalist.org.uk /entertainment_agents.html Note: Every effort has been taken to ensure the accuracy of the information contained in this document, however some recently acquired items may since have been added to the collection. Please ask for help at the enquiry desk or check the Business Inform ation Catalogue for more details. Images by blogefl , Jeremy O’Hare , fensterbme under a Creative Commons license	[ "music", "industry", "website", "business", "uk", "record", "recording", "publishing", "etc", "guide" ]	{ "summary": "1 Ziaad Khan \n \n \n \n \n \n MUSIC \n INDUSTRY GUIDE \n \n Updated 16th Feb 2012 \n \n \n \n \n " }
L-Creativities, Innovation, and Networks in Garage Punk Rock- A Case Study of the Eruptörs.pdf	[47.150.84.42] Project MUSE (2024-08-31 20:17 GMT)Artivate: A Journal of Entrepreneurship in the Arts Volume 4, Issue 1 http://artivate.org pp. 9-24 ______________________________________________________________________________________________________________________ _____________________________________________________________________________________________________________________ Copyright © 2015, the authors CREATIVITIES, INNOVATION, AND NETWORKS IN GARAGE PUNK ROCK: A CASE STUDY OF THE ERUPTÖRS Gareth Dylan Smith, Institute of Contemporary Music Performance Alex Gillett, The York Management School, University of York Abstract The two authors are members of punk rock trio the Eruptörs. Both also teach in higher education – one in popular music, and the other in management and marketing. Writing from experience in the Eruptörs, we present a case study of the band, and draw on theoretical perspectives from our respective, intersecting fields to explore the Eruptörs’ entrepreneurship, collaborations, networks, and creativities in the “DIY” underground punk rock scene. The paper provides cross-disciplinary insights into internal and external cultures of the Eruptörs. Proposing this as a teaching case, the authors conclude that students, scholars, and practitioners in music education, popular music studies, and related disciplines and fields involving entrepreneurship could benefit from engaging in reflexive and entrepreneurial practice which explores and incorporates ideas, models, and syntheses discussed in this paper. Keywords: Creativities, innovation, networks, DIY, punk rock. Introduction and Methodology The Eruptörs is a three-piece rock band, sonically and aesthetically influenced by punk, garage rock, and punk/metal cross-over bands such as Motörhead, Gluecifer, Electric Frankenstein, and The Hellacopters, defining its output as “1000% Rock.” The authors of this paper are members of the Eruptörs. Our classic “power trio” instrumentation consists of guitar (Alex Gillett), bass (Geoff Irwin) and drums (Gareth Dylan Smith), with all three of us responsible for vocals. Irwin and Gillett share lead vocals, with Smith joining in for the “gang” vocal sections of some songs. The Eruptörs share creative responsibilities as evenly as possible, working collaboratively in ways that Burnard (2012, p. 43) terms “collective creativity” (writing, rehearsing, and performing music together) and “production creativity” (making recordings and albums together). These intra-band creativities support and are enabled by “entrepreneurial creativity” (Burnard, 2012, p. 71) – marketing our music and carving a niche for the band – in collaboration with external agents, in ways similar to those identified as typical for (necessarily) entrepreneurial musicians for hundreds of years (Hallam & Gaunt, 2010; Menger, 1999; Weber, 2004). In this paper the authors use selected frameworks from scholarship in business and marketing to approach a richer understanding of the Eruptörs’ entrepreneurship and multiple creativities. Rashidi (2012, p. 84) states that punk rock is “a genre formulated on critical thinking” and advocates for “self-awareness.” Reflecting Cook’s observation (2012, p. 120) that “rock [musicians] prefer an intuitive approach over creativity toolboxes,” the account that we present is a reflexive, post-facto framing of ways in which the Eruptörs have worked, rather than an explicit re-presentation of past strategies. We do not seek to claim that the Eruptörs’ experience exemplifies or epitomizes that of garage punk/metal cross-over bands in the U.K. or anywhere else. Rather, we are aware through our work as a band and in the members’ other musical activities (including working in other bands of various sorts and, for one of us, in popular music in higher education) that many bands work with similar – although different and necessarily unique – practices (Burnard, 2012; McKinna, 2014; Shank, 1994; Smith, 2013a). We have in [47.150.84.42] Project MUSE (2024-08-31 20:17 GMT)Smith & Gillett Perspectives on Arts Entrepreneurship, Part 1 ______________________________________________________________________________________________________________________ _____________________________________________________________________________________________________________________Artivate 4 (1) 10 common with other punk bands and punk musicians an “assumptive frame of reference” (Tiryakian, 1973, p. 199; Jorgensen, 2003, 29); acknowledging the “we-pole” orientation (Tiryakian, 1973, p. 193) or the “emic” perspective (Feleppa, 1986, p. 244) on our ways of working that we share with others in the punk community. There is an increasing emphasis in the literature in music education, and especially in higher music education, on preparing students for portfolio careers in music (Bennett, 2008, 2013; Halla m & Gaunt, 2012; Parkinson, 2014; Smith, 2013b) and musical lives external to institutional education (e.g. Partti, 2012). With the majority of literature in popular music studies focusing on commercially successful bands and coverage in mainstream media also privileging artists and performers that are highly visible (and audible) to the general public (Smith, 2013b, pp. 29–30), we hope to offer an alternative, authentic (McKinna, 2014, p. 57) account of being in a band. In a statement reflecting the cases of popular music studies and higher music education, John Berger (2002, p. 176) observes that “there is a huge gap between the experience of living a normal life at this moment on the planet and the public narratives being offered to give a sense to that life.” Bennett (2013, p. 238) asserts that students in higher education “need to form themselves for entrepreneurship, even while they are studying.” The authors thus hope that this paper might help to bridge some of this gap, thereby serving the higher music education and broader higher education community by helping to orient students towards conceiving of themselves as entrepreneurs. Bresler & Stake (2006, p. 278) advise that “in music education, we have a need for… experiential understandings of particular situations.” We argue that these types of understanding, such as we offer in this paper, are likely to be helpful in other educational contexts beyond music. Musicians do not, after all, exist in a field-specific epistemological vacuum, and as such we are reminded of Miles & Huberman’s (1984, p. 27) observation that “a ‘case’ always occurs in a specified social and physical setting: we cannot study individual cases devoid of their context.” The context on which we position this paper is cross-disciplinary, involving music, education, and business. We propose, therefore, that this interdisciplinary study may be helpful as a teaching case – in (at least) both marketing and popular music education contexts. In the authors’ respective pedagogical contexts of marketing and higher popular music education, applied “real-world” experience as collaborative musician-entrepreneurs affords us what Bourdieu & Passeron (1977, p. 19) have termed “pedagogic authority” – credibility, ascribed by learners, that is arguably essential, and certainly highly beneficial, to teaching in these environments. This is perhaps especially important in the current climate where “employability has become a dominant concept through which the value and purpose of higher education has been rationalized in official discourse in the U.K.” (Parkinson & Smith, in press). As Bourdieu and Passeron (1977, p. 19) go on to explain: In real learning situations ... recognition of the legitimacy of the act of transmission, that is, of the [pedagogic authority] of the transmitter, conditions the reception of the information and, even more, the accomplishment of the transformative action capable of transforming that information into a mental formation (training). We therefore encourage colleagues in higher education to discuss and analyze examples of their own and others’ interdisciplinary practice (in music or other domains) in similar ways. The Eruptörs as a Collaborative Innovation Network In searching for a means to frame the way that members of the Eruptörs collaborate, we Smith & Gillett Perspectives on Arts Entrepreneurship, Part 1 ______________________________________________________________________________________________________________________ _____________________________________________________________________________________________________________________Artivate 4 (1) 11 were especially drawn to Peter Gloor’s work on collaborative innovation networks (COINs). The COIN model has been applied in fields as wide-ranging as medical research (Gloor et al., 2011) and collaborative editing of wiki sites (Iba et al., 2011). While the concept is often applied to larger-scale collaborations such as these, when introducing the model, Gloor (2006, p. 23) also uses the example of a trio of collaborative musical composer-performers to illustrate the functions of COINs, indicating how the COIN construct can be applicable to musicians (and others) working in networks of various sizes. Gloor (2006, p. 3–4) observes that groups of people have behaved in ways framed in his research for hundreds years – “many of us have already collaborated in COINs without even knowing it.” The Eruptörs can be seen as a quintessential example of a functioning “COIN,” for the model captures much of what is termed by punk and other musicians as a “DIY” approach, explored further below. Gloor tells us that “in a COIN, knowledge workers collaborate and share in internal transparency. They communicate directly rather than through hierarchies. And they innovate and work toward common goals in self-organization instead of being ordered to do so” (Gloor, 2006, p. 4). This is certainly true of the Eruptörs. Swarm creativity The Eruptörs’ website (Eruptörs) states that the band members play, respectively, lead guitar, lead bass, and lead drums. We position ourselves all as “leaders,” not because we are competitors for superiority, but to show that we are all of equal importance as parts of the whole, all of our ideas have equal validity, and we are all equally in control. None of us can achieve the band’s goals without the other members, and we all want to be a part of the Eruptörs. In order to realize our shared (individual and collective) goals, we share expertise, knowledge and skills openly. Gareth Dylan Smith wants to be the drummer in the Eruptörs, and the other two members of the band want his drumming to be a part of what they do in that context. If we each contribute for the collective and individual good then we all gain in ways unachievable on our own; this type of working together Gloor identifies as “swarm creativity” – taken from studies into how insects such as bees and ants work individually and together in colonies – and it is fast being recognized as a highly efficient and productive modus operandi for human interaction (Gloor, 2006, p. 75). In Gloor’s terms, the Eruptörs “share the same goal and are convinced of the their common cause… COIN members develop new ideas as a team; the whole is much greater than the sum of its parts” (Gloor, 2006, p. 11). In Burnard’s terms (2012, pp. 43 & 71), thus does the band realize its collective and production creativities in writing, rehearsing and performing music, and in making and recording albums together. The Eruptörs is not a money-making project. It is a rock band; it exists to make rock music, which we find inherently worthwhile. Although the Eruptörs is not a financially motivated venture, in order to write, perform, record, produce, and generate interest in the band, it has been necessary to interact with elements of the “business,” which we explore in detail, below, with reference to relevant concepts and theories. Our peers (other musicians and fans of the rock and originals band scenes) understand our raison d’être. We will probably never have a “hit” song, undertake a major world tour or become household names, but that has never been an objective of the band. This is also a typical COIN characteristic, in that “people initially join COINs because they are fascinated by the challenge and care deeply about the goals… The primary currency of reward is peer recognition” (Gloor, 2006, p. 75). The number of peer-fans of the Eruptörs’ music is small, but the band members are all pleased with the music we have produced. Being in the band is to a large extent its own reward (the notion of “unpopular” [47.150.84.42] Project MUSE (2024-08-31 20:17 GMT)Smith & Gillett Perspectives on Arts Entrepreneurship, Part 1 ______________________________________________________________________________________________________________________ _____________________________________________________________________________________________________________________Artivate 4 (1) 12 popular music like ours is discussed further by Smith, 2013c, p. 33). Ehls describes collaborations such as the Eruptörs’ as a “social exchange processes” in which: As long as the organizational stimuli (inducements) are greater or in equilibrium with the individual’s objectives, the individual will continue to participate (make contributions). In other words, as long as the organization provides sufficient benefits, it will attract participants to contribute to the organizational objective and ensure the success of the coalition. (Ehls, 2014, pp. 45-46) Dawkins (2010, p. 273) calls this commitment to the band’s cause, for its and our own sakes, “the logic of self-fulfilling labor.” This ethos is common among “Do-It-Yourself (DIY)” practitioners (Milne, 2008), and is not, of course, limited to punk music scenes. It has been observed among “niche communities” online (Andreini & Cassia, 2009, p. 1), and is theorized in literature across domains including crafting and human computer interaction where scholars have “emphasized the pleasure, expressiveness, and communicative practices involved… rather than the utility of their end products or their ability to generate profit” (Tanenbaum et al., 2013, p. 2604). Functioning as a COIN Gloor identifies three characteristics that define the behavior of COINs. Collaborative innovation networks: 1. Innovate through massive collaborative creativity 2. Collaborate under a strict ethical code 3. Communicate in direct-contact networks (Gloor, 2006, p.12) We now look at how the Eruptörs meets each of these characteristics. Innovation through massive collaborative creativity. The extent to which the Eruptörs could be described as “innovating” is debateable from a visual or aural aesthetic perspective; we consciously pay homage in our music to our interests and our influences. As Burnard (2012, p. 44) observes, this is quite normal for a band, for the fact that we are able to identify ourselves as a garage rock or punk outfit places us firmly in a recognizable canon of stylized rock music in which there has been arguably very little real innovation in the several decades during which the music has been around. This being said, the Eruptörs have certainly created “new” music – our songs and albums did not exist until we created them, although the idea of three people on bass, guitar and drums all playing very loudly and fast has not been genuinely novel for over half a century. In this sense, the Eruptörs are, then, in the business rather of renovating rock than of innovating it – we deal in evolution rather than revolution, a type of innovation identified as “sustained” as opposed to “disruptive” (Gloor, 2006, p. 31–32). In her descriptions of collective creativity in action among originals bands, Burnard (2012, p. 65) finds that: Being in originals bands involves players as individuals, but, critically, as members of a long-standing collective of finely tuned musicians, who are able to improvise, embellish, jam, and “pick each other’s brains” during group interactions in band rehearsals and performances. Being in the Eruptörs involves precisely these practices and processes in the contexts that Burnard identifies, as well as in the exercising of our production creativity (Burnard, 2012, p. 43) Smith & Gillett Perspectives on Arts Entrepreneurship, Part 1 ______________________________________________________________________________________________________________________ _____________________________________________________________________________________________________________________Artivate 4 (1) 13 in the recording studio, creating the music that later comes to define the experience that others have of us as a collective – on record and “live” at gigs. When the band comes together to record at Eruptörs’ HQ in Co. Cork in the Republic of Ireland, our goal is usually to capture as much material as we can in a short time-frame that is usually determined by members’ commitments to day-jobs. Our means of writing and learning songs together are the archetypal rock band “informal” writing and learning practices explained so well in Green’s classic (2002) text, How Popular Musicians Learn. When we meet to record, we usually also write the songs prior to recording. We have no written guidelines about what an Eruptörs composition should sound like, contain or do, but we all come with the assumption that if an idea comes from an Eruptör then it’s worthy of the others’ attention and collective creative effort toward realization. Each member contributes anything from a one-bar riff, drum rhythm or lyric idea, which we share to see what the idea will become once it has been experimented with by the collective. Our quality controls – the deciding factors over whether a song is worth recording or not – are a) whether we can all play the song, b) if it feels like an Eruptörs song. Despite being ostensibly a punk/metal band, we recently recorded a couple of tracks that sounded almost country; this is not a problem for us – if we all like it and we all played on it, then it’s an Eruptörs song. We share an understanding in the band that no-one tells anyone else what to do. Eruptörs teach one another riffs and/or song structures that we have written individually, but if another member hears the riff differently, plays it “wrong” or only wants to use half of it, we accept this as part of the group’s collective creativity (Burnard, 2012, p. 43). It is because we all understand that it is only because the collective is comprised of precisely these individuals’ attitudes, preferences, limitations, predispositions, creativities and musicalities (Burnard, 2012; Smith & Shafighian, 2013) that the Eruptörs sounds like the Eruptörs. We follow a similar process when creating mixes and adding lyrics to songs. If one of us was expecting a mix to sound a certain way, or was sure we had agreed on a certain take of a given song, only to find that one or both of the other members has mixed the song differently or included something that someone else in the band initially disliked, we are able to stand back and say “yes, this is an Eruptörs song, and it sounds like us. I am part of the bigger picture and defer to creativity of the collective.” This is swarm creativity in action (Gloor, 2006) – the band’s music ends up somewhere that none of the individuals would have wanted, chosen or could have foreseen; but we all accept it as ultimately better for the band. This type of behavior results from what Sennett (2012, p. 22) identifies as a group collectively operating in the “subjunctive mood,” where people allow for possibilities, make suggestions and wait for things to move along by no-one committing to a position. Sennett explains that the most useful kind of discussion is a “dialogic” conversation, defined as “a conversation that does not resolve itself by finding common ground.” In the Eruptörs, we combine disparate musical elements and perspectives, creating a new “common ground” rather than all adhering to a preconceived consensus. We all accept the collectively produced outcome and can ultimately agree when we have reached it, but with each little step we might individually refuse to do what would perhaps make the easiest, most closely-fitting musical choice. Our commonality lies in our higher-level, cooperative and tacit, never-before-now-articulated decision that it is our differences that make us work as a whole. Of course, sometimes things proceed more synchronously, and the outcome is more musically obvious – by no means less desirable for it. Working creatively in both of these ways is crucial to the Eruptörs’ sound. It is, as Sennett acknowledges (2012, p. 22), in a subtle dance between the dialectic (discussion [47.150.84.42] Project MUSE (2024-08-31 20:17 GMT)Smith & Gillett Perspectives on Arts Entrepreneurship, Part 1 ______________________________________________________________________________________________________________________ _____________________________________________________________________________________________________________________Artivate 4 (1) 14 moving toward clear consensus) and the dialogic (discussion leading to a more open, more innovative product) that the best creative collaborations occur. As science journalist Ed Yong puts it, “that’s the beauty of being part of the swarm: even if you don’t know where you’re going, you still get there” (Yong, 2013, p. 133). For Sennett, the most productive and meaningful conversations and collaborations happen in empathic relationships. Empathy is a more mature response to another individual, and is more difficult to manage, than its close cousin, sympathy. In sympathetic exchanges, one person tries to mimic another, to feel, speak or behave similarly. In empathic relationships, by contrast, each person listens and tries to understand the other, but then responds in his or her unique way to the situation, thus inviting – indeed, requiring – a deeper, more considered response in turn. Sennett (2012, p. 19) observes of musicians that “the players do not sound entirely on the same page, the performance has more texture, more complexity, but still the players are sparking off one another – as true in classic chamber music as in jazz [and garage punk/metal cross-over 1000% Rock].” Thus, deeper mutual musical understanding is embedded, and individuals have more opportunity to develop, the collective benefiting exponentially more from what each person brings. Sennett (2012, p. 23) describes empathy as “the sentiment of curiosity about who people are in themselves;” it is on this that the Eruptörs’ creativities thrive. Collaboration under a strict ethical code. The Eruptörs have never discussed a shared ethical code per se. It is tacitly understood that we all wish and intend to succeed in our collaborations, and we each do what we can to help us achieve as a band in the domain of punk rock in what Gloor (2006, p. 71) describes as a “delicate balance of reciprocity” where there is “a normally unwritten code of ethics that is adhered to… the ‘Tao of COINs.’” (Gloor, 2006, p. 76). This Tao of COINs constitutes a shared understanding that we all pull our weight because we are motivated deeply and intrinsically by our shared goals in the band. Burnard (2012, p. 46) observes that “the practice of group composition [and broader group collaboration] inspires the popular musician with a sense of higher purpose.” As Partti explains, “the more generously an individual contributes [his] expertise to improve the practice of a community, the more [he] may benefit from participating in the practice of that community… at the junction of generosity and self-interest” (2012, p. 95). As a result of feeling this sense of higher purpose, members of the Eruptörs are each willing to contribute resources discovered independently of the band for the group’s collective benefit, and when one member is able to offer an opportunity or resource for the good of the ensemble we are all eager to take advantage of this as it benefits us collectively, and – therefore – individually (because we all relish the process and product of participation in the band). Members are each connected to a range of third parties, all making us many times more capable as a whole – this is explored further below. It is the assumption of each member of the band – as part of the Tao of COINs – that each of the others will use his network of contacts to the mutual benefit of the collective. We each feel a strong sense of having a stake in the band because of our own individual networks of contacts; each is thus valued all the more by each other member of the band, since the connections of the individuals make possible the better work of the whole. This is the Eruptörs’ entrepreneurial creativity (Burnard, 2012, p. 43) at work. Alex Gillett (6-string lead electric guitar, vocals) is connected with the visual artist who created the artwork for the Eruptörs’ first two albums and who designed and printed our merchandise (including t-shirts and underwear); it was a connection of Alex’s that also saw a compilation of our songs released in Japan under the title of Microwave Massacre (named after the record company owner’s favorite horror film); Gillett’s colleagues at print- and web-based Smith & Gillett Perspectives on Arts Entrepreneurship, Part 1 ______________________________________________________________________________________________________________________ _____________________________________________________________________________________________________________________Artivate 4 (1) 15 “zines” saw the Eruptörs’ music reviewed in the “underground” music press; and Gillett’s knowledge of contemporary marketing strategies saw the band on its way to having a substantial web presence (discussed in more detail below). Irwin (4-string lead electric bass, vocals) has cost-free access to a recording studio in rural Cork that band refers to as “Eruptörs’ HQ;” he can access numerous musical instruments, microphones and amplifiers that we can borrow at no cost or hire very cheaply for recording, and a network of very able musicians and actors who have appeared on our recordings to augment the sound-world. Gareth Dylan Smith (lead drums, vocals, “more cowbell”1) sourced a bass player who was willing to learn our songs and perform with us live in London; he found the record label that released our first two albums, and facilitated opportunities for us to perform with other popular bands at venues in London. It was initially through mutual membership and individual fandom of another band that the Eruptörs was formed; Irwin and Smith were playing in an Irish punk band in London called Neck, and Gillett attended Neck’s gigs in London, so when Irwin and Gillett decided to transform and re-brand their previous band into the Eruptörs, they asked Smith to join. Thus was the Tao of the Eruptörs’ COIN established, in spring of 2002. Communication in direct-contact networks. In Swarm Creativity, Gloor provides a wide variety of case studies in which COINs function in both digital and corporeal realms to actualize what Burnard (2012, p. 43) calls their entrepreneurial creativity, without recourse to management “lines” or consultative hierarchies; members are equally empowered (as in lead bass, lead guitar, lead drums), and thus are at liberty to make all decisions regarding the future of the COIN amongst themselves. The authors elaborate, below, on how this has worked for the Eruptörs, functioning independently of contracts with record companies, marketing teams, agents, promoters and managers. Gloor emphasizes COINs’ utilization of the internet to achieve optimum performance as a team, writing (2006, p. 3–4) that a COIN “is a cyberteam of self-motivated people with a collective vision, enabled by the Web to collaborate in achieving a common goal by sharing ideas, information, and work.” It is not that working together in physical space and real time are rejected from the COIN construct; rather, these traditional modes of operation are to be viewed only as part of the essential functionality of a group, for collaborators who embrace the working practices and potentials offered by the internet become more nimble, thereby expanding their opportunities for success. It is fairly certain that without extensive use of the internet, the Eruptörs would not have survived as a band for as long as it has. The Eruptörs came to function as an internet-savvy COIN, not because we had specifically sought out this way of working, but owing to more mundane factors. Irwin returned from London to live in Co. Cork, Ireland, whence he hailed, because he felt (correctly, as it turned out) that he would find more work as a musician and a better life “back home;” Gillett left London for his native Teesside to be closer to the university where he was studying, and to live less expensively than in London. Smith remained in London because of family, financial and logistical ties, with his band-mates now both at a radius of 250 to 300 miles away. The easiest, cheapest and most effective way for us all to communicate was via the internet, using “democratized technological practices” identified as part of a “broad cultural shift in how people engage with technologies” in “DIY and Maker cultures” (Tanenbaum et al., 2013, p. 2604) such as the punk culture within which the band operates 1 “More Cowbell” references a comedy sketch from NBC’s Saturday Night Live, aired on April 8, 2000. [47.150.84.42] Project MUSE (2024-08-31 20:17 GMT)Smith & Gillett Perspectives on Arts Entrepreneurship, Part 1 ______________________________________________________________________________________________________________________ _____________________________________________________________________________________________________________________Artivate 4 (1) 16 (discussed further below). It remains via email that the three of us work on musical collaborations, and that two of us wrote this paper, underlining some of the parallels that Rashidi (2012, p. 84) observes between being a punk musician and an academic. Since 2005 the Eruptörs have written, arranged, recorded, produced and released three albums – Bad Time to be Having a Good Time, Seduce and Destroy and Eruptors/Culo a Boca (a split album with Californian punk band Culo a Boca) as well as Microwave Massacre, a compilation of demo recordings released in Japan. For only one of these albums was the entire membership of the band present during a majority of the recording process; for the first album, we all headed to Eruptörs’ HQ in the heart of rural Cork to record drums, guitars and vocals. We did not record many bass guitar parts or lead vocals on that occasion, as Irwin was able to contribute most of these to the recordings after Gillett and Smith had flown home. Post-Cork, we all emailed, downloaded and discussed various takes and mixes, and occasionally even used telephones to confer with one another about the latest music sent by Irwin and what to do with it. Thus did we actualize our production creativity as a COIN. At times it has proved more effective for the Eruptörs to work online, and at other times it was better “simply” to meet up in the studio. We were, as ever, relying on one another’s commitment, motivation and COIN-Tao to get the jobs done. Sennett acknowledges the limits of online cooperation – even with the most effective and mutually understanding of groups – when he writes of another project that, “instead of working online, we increasingly started to board aeroplanes – the hideous torture-tools of modern society – meeting face to face to practice more effective lateral thinking, including everyone fully in the conversation” (2012, p. 28). The Eruptörs, or sometimes two of us, meet up in person often to record drums; we also sometimes, although less frequently, meet in person to mix or master songs. Discussions over mixes are sometimes better conducted face-to-face, for among the Eruptörs, as in other bands, collaborators are often especially sensitive around the engineering and production of recordings where the empathic, dialogic process can be most visibly at work (Sennett; Smith and Shafighian). Networks and Entrepreneurial Creativity So far this paper has focussed mostly on the Eruptörs’ collective and production creativities (Burnard, 2012, p. 43) within the band, underpinned by the COIN framework and Swarm Creativity. To understand more fully how the Eruptörs has functioned, it is important to focus more on the band’s entrepreneurial creativity (Burnard, 2012, p. 43) involving other, external Actors such as record labels, artists/designers and so on. Two helpful constructs in this regard are Relationship Marketing (RM) and the associated Service-Dominant (S-D) Logic. RM theory has emerged internationally to address perceived limitations of “traditional” marketing approaches, although debate remains as to what exactly RM is, as there is no single agreed definition. A useful summary is provided by Gummesson (2008, p. 289) who states “RM is a marketing perspective on the network organization and the network society.” Most recent definitions encompass relationships with any stakeholders including not-for-profit, government and voluntary organizations: [The purpose of] marketing is to identify and establish, maintain and enhance, and when necessary terminate relationships with customers (and other parties) so that the objectives regarding economic and other variables of all parties are met. This is achieved through a mutual exchange and fulfilment of promises. (Grönroos, 2007, p. 29) Gummesson (2008, p. 5) summarizes that “relationship marketing is interaction in networks of relationships.” Such explanations indicate the fuzzy nature and breadth of scope that characterize Smith & Gillett Perspectives on Arts Entrepreneurship, Part 1 ______________________________________________________________________________________________________________________ _____________________________________________________________________________________________________________________Artivate 4 (1) 17 RM theory. Various models exist to conceptualize the scope of RM but again no general framework has been agreed, although a tentative attempt was made by Clarkson et al. (1997); this synthesis has been supported and updated by Gillett (2012). This framework identifies four broad stakeholder groups or “markets:” Customers, Suppliers, Internal and External. Gillett raises the important point that the four categories are not mutually exclusive and that there are areas of overlap where multiple types of relationship exist between the organization and stakeholder (in Gillett’s analysis of local government procurement the example is given of residents as being “customers” as well as internal [e.g.] employees and/or suppliers to local authorities). In the case of The Eruptörs, the scope of relationships is summarized by Table 1, which provides an overview of the most significant parties with which the band interacts. The scope of the Eruptörs’ relationships is discussed below. Table 1. Scope of the Eruptörs’ Network of Relationships RM theory thus provides a useful framework for categorising and identifying the broader Those to Whom the Band Supplies (Directly or Indirectly) • Promoters of live music • Venues • Record “companies”/labels to whom we license our music • Followers/Fans/Consumers of music – Pre-recorded – Live • Media/production companies/TV and radio who we supply with music Those Who Supply to the Band (Directly or Indirectly) • CD manufacturers • Social media websites • ‘guest’ musicians • Music services, e.g. “mastering” of audio • Art/graphic design • Merchandise • Instruments, equipment, repairs, endorsements Within the Band • Locations • Communication • Availability • Complimentary experience and skill-sets • Fairly defined roles. Outside of the Band/Broader Stakeholders, Including Political, Legal, and Regulatory • Performance royalty societies (PRS and PPL in the United Kingdom, ASCAP or BMI in the USA) • Press/Media/cultural influences – Production companies – Magazines, radio, websites – Other musicians • “Day jobs” and education: – All university educated – Two of the band have Ph.Ds. – Author 2 and Author 1 work in academia (some contrast with our identities as musicians) • Legal contexts (copyright, etc.) [47.150.84.42] Project MUSE (2024-08-31 20:17 GMT)Smith & Gillett Perspectives on Arts Entrepreneurship, Part 1 ______________________________________________________________________________________________________________________ _____________________________________________________________________________________________________________________Artivate 4 (1) 18 network of interactions and relationships in which the Eruptörs is involved. The related concept of Service-Dominant (S-D) logic for marketing (Vargo & Lusch, 2004, 2008) is consistent with RM and swarm creativity models. In S-D, Actors create value through service experiences and relationships, co-creating and sharing tangible and intangible resources with one another. From a marketing perspective this is usually applied to co-creation between customers and suppliers, although, as the S-D Logic explains that every organization is in the “service business,” the terms “customers” and “suppliers” may be used very loosely to mean any one (or any organization) which exchanges value with others. Differentiation is made between operant resources, which are often invisible and intangible and produce effects such as core competences or organizational processes, and operand resources – those upon which an operation or act is performed to produce an effect, such as land, minerals and other natural resources. Because operand resources are often finite, groups that possess them have traditionally been considered wealthy, and a goods-centred logic has dominated where operand resources are considered primary (Vargo & Lusch, 2004). In contrast, S-D logic places greater significance on operant resources, which lead to excellent service where value is co-created between supplier and buyer. A supplier offers value propositions and brings resources together for customers. Organizations and customers interact to co-create value in use, rather than organizations marketing to customers. This is a process that Cartwright, Gillett & Smith (in press) refer to as “orchestration.” Applying these ideas to the context of the Eruptörs, it is possible to view the three band members as suppliers of operant resources (e.g. expertise and creativity in their respective areas of instrumentation, access to one another’s networks of contacts) as well as operand resources (e.g. drum kits, guitars, Irwin’s recording studio, money to finance certain activities such as rehearsals and so on). S-D logic also positions the band collectively as a supplier and co-creator of value with its network of relationships, perhaps most evidently when performing live where co-creation may take the form of song requests or the rapport constructed through iterative responses between musicians and the audience. Thus we see the realization of the Eruptörs’ entrepreneurial creativities. RM and S-D logic in practice S-D logic highlights the production and entrepreneurial creativities (Burnard, 2012; Menger, 1999) realized in the production of albums. For example, for the Microwave Massacre compilation the band (based in the U.K. and Republic of Ireland) wrote, recorded and supplied the music to the record company – Fixing A Hole, a not-for-profit specialist punk label located in Japan. The record company’s mission is to champion and make available the music of (particularly English) punk rock bands in Japan. Fixing A Hole then designed the cover art, named the album and mastered the supplied music for sonic consistency. All of these activities were undertaken with constant communication between band members and record company, from the writing and recording of songs through to the distribution for retail of the physical compact disk albums. The importance of “relationships” within the punk movement more generally is evident, particularly if we consider the marketing activities “promotion” (i.e. advertising and publicity) and “place” (i.e. distribution). Today, social networking websites such as Facebook, Twitter and Punkrockers.com provide platforms for bands and artists to interact with audiences on a global scale. Social networking, though, has always played an important part in punk culture, long before the ubiquity and ease-of-use of the internet (Gordon, 2012; Tanenbaum et al., 2013). Smith & Gillett Perspectives on Arts Entrepreneurship, Part 1 ______________________________________________________________________________________________________________________ _____________________________________________________________________________________________________________________Artivate 4 (1) 19 Gillett brought to the Eruptörs insider DIY punk knowledge gained writing for fanzines and purchasing DIY punk, rock and heavy metal records via mail order. Bands operating on an “underground” (non-mainstream) level did so without the investment or involvement of full-time for-profit record companies, thus the DIY approach required artists to self-finance their recordings. Bands would thus often source the physical format (usually cassette tapes or vinyl records) and distribute and advertise releases themselves (Gordon, 2012, pp. 106–107). When fans purchased a record or demo tape from a band it was common also to receive flyers advertising the work of other bands from the “scene,” and catalogues from independent/not-for-profit record labels and distributors advertising recordings, fanzines, and even other record labels and distributors. The Eruptörs adopted such an approach. This DIY approach appears more collaborative than competitive, paralleling the spirit that Galuszka (2012, p. 70) identifies in today’s wider music climate (beyond the attention of mainstream media) as one where bands “do not compete for listeners’ money but for their attention.” Often DIY record companies and distribution services have been operated by people who were members of a band or bands and who had the skills, knowledge, means and motivation to undertake such activities; consistent with S-D Logic, such individuals provided these operant services to their peers. An example is the U.K. band Active Minds, who since 1986 have operated a mail-order (and latterly also internet-based) record label and distribution network called Looney Tunes Records (2014). Active Minds’ approach is common across sub-genres such as death metal and grindcore as well as the DIY punk scene, which typically do not distribute through mainstream channels. As well as furthering the music and the message of the bands, and enabling them to gain recognition internationally, the economies-of-scale achievable through a global reach can make the self-financing approach more achievable. An important factor illustrating the blurred lines between stakeholder categories of Customers, Suppliers, Internal and External (mentioned above), is that many of the consumers of the music in DIY scenes tend also to be active within the subculture as musicians and/or distributors, record labels, merchandisers, providers of artwork services, written media and so on, and would forward flyers and catalogues to other people with whom they corresponded by post or at live events. Therefore, bands have developed and maintained multiple types of relationship with others within the networks. An individual may, for instance, be a supplier of music via their own band’s recordings, a distributor of their friend’s band’s records, as well as a consumer and audience member of other artists’ music. The authors contend that it is appropriate to view garage punk rock culture as a niche, international service-economy for which social networking has been an important means by which it has sustained itself, despite having only minimal exposure to mainstream marketing channels. The exchange of operant resources between bands and others in the network of relationships – such as expertise and access to contacts (and thus audience “reach”) and the win-win nature of RM and S-D Logic – has been essential for the Eruptörs and for other entrepreneurial underground punk genres more generally. Operand resources of “material” products such as records, cassettes and CDs, and the financial means to produce them, are a secondary means to existence in a DIY music culture. In this mostly not-for-profit culture, the fundamental resources are the music and, in some cases, a “message” or value-set (often political) which the artists and bands purvey, and co-construct with their audiences. Conclusions and Implications In this paper we have, through integrating the constructs of creativities, COINs, swarm [47.150.84.42] Project MUSE (2024-08-31 20:17 GMT)Smith & Gillett Perspectives on Arts Entrepreneurship, Part 1 ______________________________________________________________________________________________________________________ _____________________________________________________________________________________________________________________Artivate 4 (1) 20 creativity, Relationship Marketing and Service-Dominant Logic, provided perspectives on the DIY habitus (Bourdieu, 1984) of the Eruptörs. The Eruptörs is arguably not an archetypal COIN, inasmuch as this model tends to be more readily applicable to larger groups of collaborators than the power trio comprising the band. However, the ways in which Gloor (2006) describes COIN behavior and characteristics have illuminated and provided new ways to understand aspects of the Eruptörs’ collaborations that might not have been apparent without the affordances of this theoretical framework. The fact that Gloor uses a musical (jazz) trio as en exemplar COIN helps to position his model between, on the one hand, understandings of DIY punk scenes (Gordon, 2012) and musical creativities developed by Burnard (2012), and, on the other hand, the business-derived relationship marketing theory of Gummesson (2008) and Gillett (2012), and Service-Dominant Logic (Vargo & Lusch, 2004, 2008). We acknowledge the broader context of maker cultures and other DIY communities across demographics and domains, within which the Eruptörs’ case exists, and hope that focusing, as we have done in this paper, on this single case will help serve to help enrich discussion in classrooms and publications. Figure 1 shows in diagrammatic form how the theoretical constructs explored in this paper combine to describe activities in the case of the Eruptörs. Figure 1. Creativity Innovation Networks At the core of the model is the COIN of the Eruptörs (Gloor, 2006), understood in RM theory Smith & Gillett Perspectives on Arts Entrepreneurship, Part 1 ______________________________________________________________________________________________________________________ _____________________________________________________________________________________________________________________Artivate 4 (1) 21 (Gillett, 2012) as internal relationships. The next layer of the model shows the immediate collaborative workings of the band: our collective and production creativities (Burnard, 2012), and innovation and collaboration – two of the operational modes of Gloor’s COIN. The third layer shows the tools and context for the band’s outward-focused behavior, understood as the communication mode of the COIN and as RM’s supplier, customer and external relationships. The outer layer houses the enabling entrepreneurial creativity, through which the band realizes the benefits of its other activities, where the energy and output of all the inner layers combine to support the Eruptörs’ broader mutual aims – in entrepreneurial creativity. In addition to the “collective,” “production” and “entrepreneurial” creativities discussed above, the authors acknowledge our own respective and collaborative “scholarly creativities” in writing this article. These scholarly creativities are very closely connected to those other creativities that we exercise as musician-entrepreneurs in the Eruptörs. Peter Cook (2012, p. 16–17) urges people in business across sectors to learn lessons from musicians’ approaches to their art and craft. We hope that scholars and students in popular music studies and music education (and other peers across our range of networked relationships) might find the example of the Eruptörs a useful one upon which to build and whence to develop understandings of how musicians, educators and others can realize creativities individually and collectively, across networks, to mutual benefit. Beginning to think in terms of the multiple, overlapping and intersecting creativities of individuals and ensembles, of COINs and swarm creativity, may help those working in diverse fields and disciplines – from music to marketing and across cultural domains – to imagine freshly creative and innovative successful futures for themselves and their businesses, bands and brands. As indicated in Cartwright, Gillett & Smith (in press), looking in this way at networking and what those authors describe as “orchestration” within networks to achieve the best results for all, could be helpful to help the “emerging musicians” of which the higher education popular music sector is comprised. We hope our work will also provide a springboard for further research among scholars of popular music and popular music education, who have tended to focus research on mainstream mass culture (Smith, 2013c, pp. 29-30). There is life in the underground, and it is vibrant with relationships, creativities and entrepreneurship. Hoskyns (2012) warns commentators and academics that “the most authentic scenes will be those we [the public and academia] know nothing about” – unless we involve ourselves in the mutually sustaining, S-D logic, RM networks of authentic DIY (1000% ROCK) music. Music educators (Bennett, 2013; Gaunt & Hallam, 2012; Shafighian & Smith, 2013) have been calling for institutions and students to embrace awareness of current practices, to be entrepreneurial, to be creative in construing and constructing careers in an uncertain musical landscape. COINS and new creativities, within and without the academy, are developing all the time. There are lessons – positive, negative, discursive and thought-provoking – to be learned from the discussion of the Eruptörs’ case presented in this paper. We hope, therefore, that the study we have presented here may be of use in classroom situations. In the increasingly vocational context of higher education, this case could serve to provide discussion points regarding practice and conceptualization of students’ own creative projects, and positioning these as viable, collaborative entrepreneurial projects – in music, marketing and myriad fields and (inter-)disciplinary approaches. Citing Tuan’s (1977) discussion of “space” and “place,” Smith & Shafighian (2013, p. 258) advocate for “transformation of [institutional] place through a creative pedagogical approach to… learning, into a more liminal ‘space’, brimming with creative potential;” such a democratic and facilitative pedagogical ethos is likely, we contend, to enable [47.150.84.42] Project MUSE (2024-08-31 20:17 GMT)Smith & Gillett Perspectives on Arts Entrepreneurship, Part 1 ______________________________________________________________________________________________________________________ _____________________________________________________________________________________________________________________Artivate 4 (1) 22 students to benefit the most from the present study. Scholars, educators, students, punks and others could benefit from understanding these through engaging in perpetual reflexivity to ensure that practices, perspectives, teaching, curricula in music education, popular music studies and beyond remain relevant and salient. Through reflexive practice and awareness of one’s and others’ positionalities in a landscape of intersecting creativities, networks and relationships should continue to work in innovative ways to mutual benefit and development. References Andreini, D. & Cassia, F. (2009, October). The long tail perspective for niche communities online: A framework for brand loyalty measurement. Paper presented at the meeting of 9th Global Conference on Business and Economics, University of Cambridge, Cambridge, U.K. Bennett, D. E. (2008). Understanding the classical music profession: The past, the present and strategies for the future. Aldershot, U.K.: Ashgate. Bennett, D.E. (2013). The role of career creativities in developing identity and becoming expert selves. In P. Burnard (Ed.), Developing creativities in higher music education: International perspectives and practices (pp. 224–244), London, U.K.: Routledge. Bourdieu, P. (1984). Distinction: A social critique of the judgement of taste. Cambridge, MA: Harvard University Press. Berger, J. (2002). The shape of a pocket. London, U.K: Bloomsbury. Bourdieu, P. and Passeron, J-C. (1977). Reproduction in education, society and culture. London, U.K.: Sage Publications. Bresler, L. & Stake, R. (2006). Qualitative research methodology in music education. In R. Colwell (Ed.), MENC handbook of research methodologies (pp. 270–311. New York, NY: Oxford University Press. Burnard, P. (2012). Musical creativities in practice. Oxford, U.K.: Oxford University Press. Cartwright, P.A., Gillett, A. & Smith, G.D. (in press). Valuing networks for emerging musicians. In V. Lejeune (Ed.), Les tendances technico-économiques de la Valeur. Paris, France: ‘l’Harmattan. Clarkson, R.M., Clarke-Hill, C.M. & Robinson, T. (1997, July). Towards a general framework for relationship marketing: A literature review. Paper presented at Academy of Marketing Conference, Manchester Metropolitan University, Manchester, U.K. Cook, P. (2012). The music of business: Business excellence fused with music. Marston Gate, U.K.: Amazon. Dawkins, N. (2011). Do-it-yourself: The precarious work and postfeminist politics of handmaking (in) Detroit. Utopian Studies, 22(2), 261–284. Ehls, D. (2014). Joining decisions in open collaborative innovation communities: A discrete choice study. Wiesbaden, Germany: Springer Fachmedien Wiesbaden. Eruptörs. (n.d.). Retrieved March 2, 2014, from http://www.eruptors.com/. Feleppa, R. (1986). Emics, etics, and social objectivity. Current Anthropology, 27(3), 243–255. Galuszka, P. The rise of the non-profit popular music sector: The case of netlabels. In Kärjä, A.-V., Marshall, L. & Brusila, J. (Eds.), Popular music and the Nordic region in global dynamics (pp. 329–339). Helsinki, Finland: International Institute for Popular Culture. Gillett, A. (2012). Local government procurement in England: A relationship Smith & Gillett Perspectives on Arts Entrepreneurship, Part 1 ______________________________________________________________________________________________________________________ _____________________________________________________________________________________________________________________Artivate 4 (1) 23 marketing approach (Unpublished doctoral dissertation). Teesside University Business School, Middlesbrough, U.K.). Gloor, P.A. (2006) Swarm creativity: Competitive advantage through collaborative innovation networks. New York, NY: Oxford University Press. Gloor, P.A., Grippa, F., Borgert, A., Colletti, R.B., Dellal, G., Margolis, P. & Seid, M. (2011). Toward growing a COIN in a medical research community. Procedia - Social and Behavioral Sciences, 26, 1–17. Gordon, A. (2012). Building recording studios while Bradford burned: DIY punk ethics in a field of force. In A. Furness (Ed.), Punkademics: The basement show in the ivory tower (pp. 104–124). New York, NY: Minor Compositions. Green, L. (2002). How popular musicians learn: A way ahead for music education. Aldershot, U.K.: Ashgate. Grönroos, C. (2007). Service management and marketing (3rd ed). Chichester, U.K.: Wiley, 2007. Gummesson, E. (2008). Total relationship marketing, (3rd ed). Oxford, U.K.: Butterworth-Heinemann. Hallam, S. & Gaunt, H. (2012). Preparing for success: A practical guide for young musicians. London, U.K.: Institute of Education. Hoskyns, B. (2012, September). This must be the place: Holy grails and musical meccas. Paper presented at conference of the International Association for the Study of Popular Music (U.K. and Ireland Branch), University of Salford, Manchester, U.K. Iba, T., Nemoto, K., Peters, B, & Gloor, P. (2011). Analyzing the creative editing behavior of Wikipedia editors: Through dynamic social network analysis. Procedia – Social and Behavioral Sciences. 2(4), 6441–6456. Jorgensen, E.R. (2003). Toward a social theory of musical identities. In B. Stålhammar (Ed.) Music and human beings: Music and identity. Örebro, Sweden: Universitetsbiblioteket. Looney Tunes Records (n.d.). Retrieved October 2, 2014, from http://looneytunescds. McKinna, D.R. (2014). The touring musician: Repetition and authenticity in performance. IASPM@Journal, 4(1), 52–76. Menger, P.-M. (1999). Artistic labor markets and careers. Annual Review of Sociology, 25, 541–574. Miles, M. B., & Huberman, A. M. (1984). Qualitative data analysis. Beverly Hills, CA: Sage. Milne, A. (2008). What makes a maker: Common attitudes, habits and skills from the do-it-yourself (DIY) community. (Unpublished master’s thesis). McMaster University, Hamilton, Canada. Parkinson, T. (2014). Values in higher popular music education. (Unpublished doctoral dissertaton). University of Reading, Reading, U.K. Parkinson, T. & Smith, G.D. (in press). Towards an epistemology of authenticity in higher popular music education. Action, Criticism, and Theory for Music Education. Partti, H. (2012). Learning from cosmopolitan digital musicians: Identity, musicianship, and changing values in (in)formal music communities. Helsinki, Finland: Sibelius Academy. Rashidi, W. (2012). Punk rock docs: A qualitative study. In Z. Furness (Ed.), Punkademics: The basement show in the ivory tower (pp. 66–85). New York, NY: Minor Compositions. Sennett, R. (2012). Together: The rituals, pleasures and politics of cooperation. New Smith & Gillett Perspectives on Arts Entrepreneurship, Part 1 ______________________________________________________________________________________________________________________ _____________________________________________________________________________________________________________________Artivate 4 (1) 24 York, NY: Penguin. Shank, B. (1994). Dissonant identities: The rock ‘n’ roll scene in Austin, Texas. Hanover, NH: University Press of New England. Smith, G.D. (2013a). I drum, therefore I am: Being and becoming a drummer. Farnham, U.K.: Ashgate. Smith, G.D. (2013b). Pedagogy for employability in a foundation degree (FdA) in creative musicianship: Introducing peer collaboration. In H. Gaunt & H.M. Westerlund (Eds.), Collaboration in higher music education (pp. 193– 198). Farnham, U.K.: Ashgate. Smith, G.D. (2013c). Seeking “success” in popular music. Music Education Research International, 6, 26–37. Smith, G.D. & Shafighian, A. (2013). Creative space and the “silent power of traditions” in popular music performance education. In P. Burnard (Ed.), Developing creativities in higher music education: International perspectives and practices (pp. 256–267). London, U.K.: Routledge. Tanenbaum, J. G., Williams, A. M., Desjardins, A., & Tanenbaum, K. (2013). Democratizing technology: Pleasure, utility and expressiveness in DIY and maker practice. Proceedings of the SIGCHI Conference on Human Factors in Computing Systems, 2603-2612. Tiryakian, E. A. (1973). Sociology and existential phenomenology. Phenomenology and the Social Sciences, 1, 187–222. Tuan, Y.-F. (1977). Space and place: The perspective of experience. Minneapolis, MN: University of Minnesota Press. Vargo, S.L. & Lusch, R. (2004). Evolving to a new dominant logic for marketing. The Journal of Marketing, 68(1), 1–17. Vargo, S.L. & Lusch, R. (2008). Service-dominant logic: Continuing the evolution. Journal of the Academy of Marketing Science, 36, 1–10. Vargo, S.L. & Lusch, R. (2011). Service-dominant logic: A necessary step. European Journal of Marketing, 45(7/8), 1298–1309. Weber, W. (2004). The musician as entrepreneur and opportunist, 1700–1914. In W. Weber (Ed.), The musician as entrepreneur, 1700–1914: Managers, charlatans, and idealists (pp. 3–24). Bloomington, IN: Indiana University Press. Yong, E. (2013, May). As new: How the astonishing power of swarms can help us fight cancer, understand the brain and predict the future. Wired (U.K. edition),126–133.	[ "band", "music", "eruptrs", "p", "creativity", "smith", "education", "coin", "gillett", "network" ]	{ "summary": "[47.150.84.42] Project MUSE (2024-08-31 20:17 GMT)Artivate: A Journal of Entrepreneurship in the A" }
Make-Your-Music-Make-Money-Attack-Magazine.pdf	PAUL PHILLIPS BUILDING A MUSIC CAREER IN THE DIGITAL AGE Prepared exclusively for [email protected] # Attack Mag 16980. © All rights reserved.THE BUSINESS OF MUSICTHE BUSINESS OF MUSIC CONTENTS ABOUT THE AUTHOR INTRODUCTION STARTER FOR TEN Chapter 1 THE MUSIC BUSINESS Chapter 2 HOW MUSIC MAKES MONEY FOR YOU Chapter 3 YOUR BRAND Chapter 4 SPREADING THE WORD Chapter 5 RELEASING A RECORD Chapter 6 TAKING CARE OF YOUR BUSINESS Chapter 7 YOUR TEAM Chapter 8 THE RECORD DEAL Chapter 9 THE PUBLISHING DEAL OVER TO YOU2 Prepared exclusively for [email protected] # Attack Mag 16980. © All rights reserved.THE BUSINESS OF MUSICTHE BUSINESS OF MUSIC Written by Paul Phillips Edited by: David Felton Additional material by Ronan Macdonald Design by Chapman Design Limited Published by Jake Island Ltd under license to Attack Magazine Ltd www.attackmagazine.com Published in the UK, May 2019 ISBN 978-1-9998940-4-7 All content © 2019. All rights reserved. No part of this book may be used or reproduced in any manner without the written permission of the publisher. Thanks to... Of the many people we spoke to, practically no-one wanted to be quoted or credited (for various reasons. Lawyers, managers, accountants, label people – their private view of the world in which they operate can be very different from the public face they adopt). The notable exceptions were: Guy Moot, now CEO at Warner Chappell Music, and his former colleagues at Sony ATV Music, who gave generously of their time to help us understand the modern music publisher, and particularly the mess that has been streaming in America. Glenn Tilbrook of Squeeze was happy to talk about adapting from filling stadiums worldwide, to the new digital reality. Alex Burford and Nathan Taylor, who gave their insights into how both indies and majors shape their release schedules. Eric Brünjes, and the team at Attack, who took the project to the finish line.CREDITS3 Prepared exclusively for [email protected] # Attack Mag 16980. © All rights reserved.THE BUSINESS OF MUSICTHE BUSINESS OF MUSIC INTRODUCTION Statistics and figures in this book come from a wide variety of sources, including: The International Federation of the Phonographic Industry (IFPI) The British Phonographic Industry (BPI) American Society of Songwriters, Composers and Publishers (ASCAP) Broadcast Music Inc (BMI) Performing Rights Society (PRS) Phonographic Performance Ltd (PPL) iTunes (published accounts) Confėdėration Internationale des Sociėtės d’Auteurs et Compositeurs CISAC) Billboard.com Spotify Association of Independent Music (AIM) Forbes.com Pollstar Digital Music News The Richest.com Statistic Brain.comSoundExchange.com Euromonitor Statista Music Think Tank Deloitte Record Industry Association of America (RIAA) Credit Suisse Online magazines, newspapers and blogs were raided and cross-referenced. Too numerous to list, they included USA Today, The New Statesman, The Guardian, The Daily Telegraph, New Music Box, Billboardbiz, Music & Copyright and Quartz. All facts were cross-referenced and compared. Where the original source was found to be credible, we used it. Otherwise, we used our own judgement and numerous interviews to combine often contradictory information. If there is anything we have misunderstood, it is entirely our fault.A NOTE ABOUT THE FACTS AND FIGURES IN THIS BOOK4 Prepared exclusively for [email protected] # Attack Mag 16980. © All rights reserved.THE BUSINESS OF MUSICTHE BUSINESS OF MUSIC Musician, journalist, A&R scout, producer, singer, songwriter, and now mentor to emerging artists, Paul Phillips has seen the music industry from all sides over many decades. Rebelling against his training as a classical pianist, Paul’s career in the record business began, aged 18, when he was hired by industry bible Music Week, where he reviewed albums and gigs before quitting to become an A&R scout and producer for CBS – with a company Cortina to sweeten the deal. Inspired by the acts he worked with, Paul went freelance as a songwriter, producer and recording artist – a career that peaked with a Top 10 hit. Along with label-mates The Tourists (later The Eurythmics) and Street Band (featuring Paul Young), he helped provide indie label Logo Records with a stellar launch period. Paul’s most recent incarnation is in career development for a string of young artists, including Polydor-signed Grace Carter, whom he mentored from age 13 until she signed with Tap Management two years ago. He has been backstage with Hendrix, Queen and The Clash. He’s produced tracks with Grammy award-winning Geoff Emerick running the desk. Through Music Week he introduced UK retailers to The Bee Gees, James Taylor and Aretha Franklin. He’s performed on Top Of The Pops. George Martin still owes him a favour... He even survived drinking sessions with Keith Moon. And, having recorded in some of the world’s legendary studios – including Trident, Apple, AIR and Olympia – since 2010 he has made the full transition to DIY artist; recording, mixing and releasing his own records. Now, in The Business of Music, Paul passes his insight – honed from many decades of experience, highs, lows, successes and failures; alongside conversations with movers and shakers from the worlds of music PR, marketing, sync, law, publishing, management, and labels – onto the next generation of songwriters, producers, artists and music entrepreneurs. ABOUT THE AUTHOR5 Prepared exclusively for [email protected] # Attack Mag 16980. © All rights reserved.INTRODUCTIONTHE BUSINESS OF MUSICTHE BUSINESS OF MUSIC In 2018, artists who release their own material carved out for themselves a 3% slice of global music sales. It is the first time in the history of the music industry that this has happened. And that number is set to grow. This book is about how this historic moment came about, and more importantly, how you can become one of the artists leading that small revolution – currently worth $600m... and counting. It is a book about the music industry. But specifically it is a book about how to build a career in today’s industry, exploiting the freedoms the internet and wider tech has made available to millions of musicians worldwide. It is not an academic tome or a research paper – although if you want to know how the industry works and how you can work within it, we can safely say: save yourself a year’s worth of Googling; it’s all here. Instead this book is a practical guide, informed by interviews with hundreds of music professionals, that can be followed by creative people making music in any genre, from rock and indie to dance and hip hop. The central message we have for you is this: there has never been a better time to make a living from music. It’s a brave starting point. Some might say it’s a crazy starting point. “The music industry is... ruined. Computers and the internet and downloading songs completely ruined the music industry and everything artists used to work for.” That’s Blondie’s Debbie Harry. “The music industry is in such poor shape; a lot of people in the industry are very depressed.” That’s cheery Kate Bush. It’s entirely possible that Ms Harry and Ms Bush have revised their opinions since they offered their views, but these are the kinds of voices of doom that have dominated the popular view of the music industry in recent years. INTRODUCTION6 Prepared exclusively for [email protected] # Attack Mag 16980. © All rights reserved.THE BUSINESS OF MUSICTHE BUSINESS OF MUSIC The internet is the devil... Digital music is the end of civilisation... etc, etc. That’s not the way we see it. The way we see it is: things change. And when things change the human tendency is to worry – to think that the end of a golden era has come. So here’s some perspective. Music has been an increasingly commercialised art form for only around 100 years. That’s not long in the grand scheme of things. And in that time, the composition, consumption and delivery of music has changed in pretty much every decade. From the earliest days of sound recording right the way through to the end of the 20th century, an industry grew, and grew, and grew – all on the back of cheaper and cheaper technology that brought popular music to audiences of unimagined sizes. And then a bunch of things happened – all at the same time, all of them technology-driven – that kicked the record industry’s butt. Hard. All the way from $30bn a year right down to $15bn a year. First FM Radio in the US overtook AM Radio, the market-driven Top 40 format. FM split the market into a zillion niche genres. Then Radio One, the UK’s driver of pop taste, did the same. Which left the world’s two biggest pop markets without a dominant cross-generational mainstream outlet. Record sales began to plummet. Then came the internet, cheap computers, torrents and digital recording software followed by iTunes, YouTube and streaming. See what we mean? Things change. But so much remains the same – including the central formula for success. The best you can do as an artist is the same thing any artist has done for the past seven decades: make great music; build your brand; get noticed; grow your fan base; then sell to them. And, as observers, the best we can say is: ignore the doom-mongers. Music still moves people. It still communicates. It still entertains. In other words, the intrinsic power of music hasn’t changed. Nor is it ever likely to. There’s a lot of comfort in that single fact.INTRODUCTION7 Prepared exclusively for [email protected] # Attack Mag 16980. © All rights reserved.THE BUSINESS OF MUSICTHE BUSINESS OF MUSIC INTRODUCTION So – how to read this book? Set out with our Starter for ten. The internet is littered with gobbets of information – links to tomes on copyright and academic reports you need a degree to understand. In Starter for ten we digest the digests. We tell the music industry like it is right here, right now – and in plain language. You can read The Business of Music from beginning to end if you like. There’s history and context here – how we went from sheet music to streaming in less than 100 years. Or you can focus on one of our step-by-step guides: to creating your brand, marketing yourself, releasing your own music or building your team. You might want to go straight to Chapter 8 – The record deal or Chapter 9 - The publishing deal using our no-nonsense explanations of what’s on offer and what happens during the heat of a deal. We’ll say this, though. If you’re serious about making a career in music, you will end up reading every word. Before signing off, two caveats. Firstly, we can’t promise to make you a megastar – or even a star. There’s no recipe for that. Nor for becoming a billionaire. Maybe you’ll become a star. It happens. That’s the thing with the music industry – no-one has ever known where the next big thing was coming from. But we will show you how to build a successful career in the finest industry on the planet using a laptop as your main tool. Secondly, if you find the occasional superseded statistic, forgive us. At the time of publication every figure in this book (there are a lot of them) was checked. But in a fast-moving world, some of those stats will go out of date. Change, again. Don’t worry about that change. It’s the backdrop to our era, as it has been the backdrop to every musician’s era. Ignore it. Focus on the task in hand. Work hard on your talent. And use the advice and know-how in this book to make the most of that talent. 8 Prepared exclusively for [email protected] # Attack Mag 16980. © All rights reserved.THE BUSINESS OF MUSICTHE BUSINESS OF MUSIC9 The one constant in this business, and in life, is change. I am open for change. I’m psyched for change. And more importantly, I love music. Lyor Cohen, formerly of Def Jam, now YouTube’s Global Head of Music Life can always change, you have to adjust. Drake Every musician knows there’s always someone ready to tell you what’s selling, what will be selling in the future, and – above all – where the industry will be in three years time. At such moments, we recommend you call to mind the thoughts of David Geffen. Who is David Geffen, and why is he worth paying attention to? Geffen embodies the zero-to-hero story of the American dream. He started off in the mailroom of Hollywood’s biggest talent agency, eventually moving upstairs to become an agent in his own right. Later he formed Asylum Records, signing Jackson Browne, Joni Mitchell, Linda Ronstadt and the Eagles, whose Greatest Hits album was the biggest selling album of the last century. (It has since been marginally overtaken by Thriller and Dark Side Of The Moon). Five years after selling Asylum, he launched Geffen Records, signing John Lennon, Donna Summer, Guns ‘n’ Roses and Nirvana. He later moved into film, joining Steven Spielberg and Jeffrey Katzenberg to launch Dreamworks Studios, the movie megahouse that bought us ‘American Beauty’, ‘Saving Private Ryan’ and ‘Gladiator’ among many others.STARTER FOR TEN9 Prepared exclusively for [email protected] # Attack Mag 16980. © All rights reserved.THE BUSINESS OF MUSIC PREFACE: STARTER FOR TENTHE BUSINESS OF MUSIC10 That’s why David Geffen – now a multi-billionaire – is worth listening to. This is what he said, almost 30 years ago: “Anyone who tells you what is going to be happening in three years time is either lying, or trying to sell you something.” Back then, very few people had a computer. The internet – as we know it – didn’t exist. Stanford PhD scholars Larry Page and Sergey Brin were years away from conceiving a new search engine called ‘Google’. Mark Zuckerberg was still in nappies. In the last 20 years, computing power has doubled almost every 18 months, with computers so widespread that now pretty much everyone in the Western world owns not just one, but multiple devices. Whole industries, from subscription TV to accounting, room letting to fast food delivery, have shifted online. Music was one of the first to find its foundation shaken by the digital revolution. And those foundations are still being shaken today. The story of the past two decades, as we shall find in Chapter 1 – The music business, has been one of continuous upheaval. Physical sales have declined. Digital sales have risen – and then declined. Streaming is the new revenue stream that is reviving the industry’s health. As recently as five years ago, Silicon Valley flagbearers – along with more than a few over-enthusiastic music execs – were telling us that the future of music was entirely online. The ‘old’ music industry was dead. But that’s not how it it’s worked out. In fact, counter-intuitively, a greater percentage of cash is now being made through real life events (gigs, TV shows) and real stuff (witness the ongoing vinyl revival) than at any time in the past two decades. In other words, as Geffen noted so presciently all those years ago, no-one knows where we’re going. Industry insiders have their hunches. And below – before we get into the main body of this book – we’ve compiled our Starter for ten, ten things you need to know about today’s music industry. But beyond that neither we or anyone else can tell where the industry will be in ten, five – even three – years from now. Second-guessing either the direction or location of change is a fool’s game. Prepared exclusively for [email protected] # Attack Mag 16980. © All rights reserved.THE BUSINESS OF MUSIC PREFACE: STARTER FOR TENTHE BUSINESS OF MUSIC11 #1: THE MUSIC INDUSTRY IS NOT DEAD It is true that recorded music sales dropped dramatically in the ten year period from 2003. In the UK alone, sales almost halved. Across the globe the picture was similar. But even at its lowest, worldwide turnover was $15bn a year. Today, streaming has moved the direction of travel upwards – over $19bn and growing. There was a time when the trend pointed to a future where no-one would want to pay for recorded music. “Everyone has learned how to monetise music except the music industry,” noted Fall Out Boy’s Pete Wentz. He was voicing the sense of despair that pervaded the industry. But this pessimism wasn’t, ultimately, justified. Revenues from digital sales swept ever upwards at an impressive rate until 2009, when streaming began to slow it down. By 2013, income from digital – download and streaming – was close to $6bn worldwide; 40% of global revenues. The upward trend halted slightly as download handed the baton over to streaming in 2014–15, one digital service replacing another. If the growth of streaming subscriptions continues at its current rate it is not beyond the bounds of possibility that the industry will eventually recover all lost ground. Nor is old-school physical finished. With CD sales still accounting for billions of dollars per annum and vinyl sales on the rise, physical provides a welcome cushion while the music industry establishes new ways to generate income. So, no, the music industry is not dead or, indeed, likely to pass away any time soon. # 2: THE DOOR IS WIDER OPEN THAN EVER It is easier today than it has ever been to make a living and career from music. The reason for this is simple: the laptop sitting in front of you. Once upon a time you had to learn your instrument. Then you had to go out and play to people, either alone or in a band. Prepared exclusively for [email protected] # Attack Mag 16980. © All rights reserved.THE BUSINESS OF MUSIC PREFACE: STARTER FOR TENTHE BUSINESS OF MUSIC12 If you were good and lucky – usually both – you might get spotted by a record company scout. Then you’d be thrown in a studio with a producer you’d never met, a bunch of musicians you probably didn’t know, and if your music came out sounding anything like you intended it to you could breathe a sigh of relief. That was just the start of your journey. With the record making its way through the pressing plant, a whole raft of PR people, pluggers, videographers and photographers would work on ‘project you’ in the hope that their collective efforts would push your album to somewhere near the top of the charts so that the label’s investment might be recouped. Computers and the internet have changed all of that, democratising the business in a way no-one could have dreamed. The new tools at our disposal allow us to make, market and sell music to a global audience from behind a computer screen. With a cheap camera – or phone – we can take our own photos and shoot our own promo videos. Anyone with talent can now have a crack at a music career, and – in certain genres, from dance to hip hop – they can establish that career without needing the help or services of anyone else. In short, the big, solid door that once loomed so large in front of musical talent has not so much been opened as blown clean off its hinges – along with the surrounding walls. And while that may be bad news for the moneyed execs at the top of the tree, it represents a golden era of opportunity for those looking to work their way into the industry from the ground up. #3: TODAY’S CHALLENGE IS TO BREAK THROUGH THE NOISE The flip side of the fact that anyone can become an artist is that... nearly everyone is an artist. And because there are so many people these days with a band and a brand and a few hundred Instagram followers, the competition to get your music heard is tougher than ever. Gone are the days when the number of artists courting a label’s A&R man could be counted on a few hands. The number one challenge in the post-digital free-for-all is breaking through the noise made by a billion-and-one other creative sorts with a Prepared exclusively for [email protected] # Attack Mag 16980. © All rights reserved.THE BUSINESS OF MUSIC PREFACE: STARTER FOR TENTHE BUSINESS OF MUSIC13 laptop, a copy of GarageBand and a couple of song ideas. The age old conundrum asks: if a tree falls in a forest and no one is around to hear it, does it make a sound? The same question can be levelled at the vast majority of songs on SoundCloud and videos on YouTube. If the track you’ve slaved over receives just ten plays in six months, are you an artist with a future? No. Get real. At its heart music is about communication with others. To build a successful career you need to be communicating firstly with fans, then with professionals who will nurture your career – at the very least a publisher, and possibly also a manager, a label A&R – then with tastemakers who will take your music to ever bigger audiences. If you fail to open those lines of communication then you’ve had as much impact as that unseen falling tree in the metaphorical forest. #4: YOU CAN KICK -START YOUR CAREER FOR NEXT TO NOTHING If that all sounds a bit depressing, take heart from the fact that the biggest investment you now need to build a music career, other than your instrument/s, is a computer. That computer, along with some form of digital audio workstation (DAW) like GarageBand, Ableton Live, Cubase or Logic, is all you need to get your music to a good production standard before you even set foot in a live venue or pro studio. The same computer can be used to upload your music to SoundCloud, Bandcamp, YouTube or any other platform where your music can be heard by the masses. While you work away on your music and online profile, you can be expanding your local reach for free by going to gigs and getting yourself a performance slot. Invariably this will start small-scale: for the singer-songwriter or band, that means open mic nights and jam sessions; while dance and electronic producers should learn to DJ (using either real decks or software like Ableton Live or Native Instruments’ Traktor) and badger their local club booker for a set. Catch the eyes and ears of the right people and you’ll soon Prepared exclusively for [email protected] # Attack Mag 16980. © All rights reserved.THE BUSINESS OF MUSIC PREFACE: STARTER FOR TENTHE BUSINESS OF MUSIC14 be filling bigger venues. Put gig dates online and invite all your social media friends. Facebook, Tweet and Instagram the hell out of them. Many bars and clubs will be happy if you can get 50 new people through their doors. When it comes to photography and videos, either invest in a cheapish digital camera, use the camera built into your phone or reach out to local talent at your nearest arts college. Swap services. Grow your ecosystem of contacts. Before long you’ll have a thriving online fanbase, a rich brand and visual identity, a collection of high-quality recorded songs and a strong local following – all for the price of a laptop and some software. #5: MUSIC SALES ARE ONL Y PART OF THE STORY Not long ago you could release an album and watch the income roll in over decades as punters queued at their local record store to buy the vinyl, then the tape, then the CD, then the box set, then the remastered box-set… Those were the days when a singer-songwriter could choose not to perform live, like Kate Bush who famously did one tour and said never again (before relenting in 2014). She could do that because the UK high street was littered with record stores, indies and chains. HMV, Virgin, Our Price and more than 10,000 other record shops contributed to an annual turnover of vinyl and CD sales that exceeded £1bn in the UK alone. Her albums continued to sell by the bucketload, boosted by sporadic hit singles for 25 years. Today that wouldn’t even qualify as a risky strategy. It would be career suicide, because the moment the mp3 – and the torrents, the downloads and the streams – came along, the way we consume music changed forever. In one fell swoop, the business model of the industry was redefined. Artists used to tour to promote their new album. Today, the album is part of the marketing strategy to promote a tour. That’s how much things have changed, and it’s illustrative of a much wider Prepared exclusively for [email protected] # Attack Mag 16980. © All rights reserved.THE BUSINESS OF MUSIC PREFACE: STARTER FOR TENTHE BUSINESS OF MUSIC15 trend that has transformed the industry over the past two decades; the shift from an income stream dominated by record sales and performance royalties to one derived from myriad different sources, from touring and merchandising to third-party sync deals. If you’re not able or willing to embrace this new ‘360’ world – we talk about this in Chapter 8 - The record deal – then you’ll almost certainly be left in the starting blocks. Remember those innocent days when artists could afford not to ‘sell out’? Commercial sponsorship was anathema to The Beatles, The Stones, The Who, Bob Dylan, Moby. And everyone was horrified when Michael Jackson bought the rights to the Lennon-McCartney songbook and proceeded to allow sacred Beatles songs to be used for TV advertising. But – bad faith act that it was – it at least proved the point that you couldn’t spoil a brand like The Beatles by ‘selling out’. And it gave the green light for the adoption of today’s paradigm, which is to cash in on whatever opportunities arise: TV tie-ins, video games, merchandising Dre-style, even unlikely collaborations (think Nick Cave and Kylie Minogue) are fair game. All of these – and more – are covered later in this book. For now it’s enough to recognise that income from your recordings are only a part of the story, no longer an end in themselves. #6: BRAND IS KEY Over half-a-century ago, a little-known band from Liverpool stuck a hastily sketched home-made logo to the front of their drummer’s Ludwig kick drum. It consisted of just two words, the second with a distinctive capital B and ‘drop T’. It would have won no design awards then or now. It read simply: THE BEATLES. The sheer scale of The Beatles’ influence, both at the time and on the music industry since, made that single moment iconic. Here was a band not only with a logo, but an image that fans wanted to buy into. For the next couple of years, their smart suits, boy-next-door looks and almost perpetual cheeriness were all part of a consistent and recognisable brand, the first of its kind on such a scale in popular music history. More recently, Deadmau5, aka Joel Zimmerman, has taken artist branding to new heights, with his trademark – and it really is trademarked, in 30 Prepared exclusively for [email protected] # Attack Mag 16980. © All rights reserved.THE BUSINESS OF MUSIC PREFACE: STARTER FOR TENTHE BUSINESS OF MUSIC16 countries – mouse head qualifying as one of this century’s most iconic musical images. Similarly, while we don’t doubt Daft Punk would be global megastars no matter what they chose to wear, the media and public attention commanded by their ever-present robot outfits has played a big part in their success. “Looking at robots is not like looking at an idol,” Punk Guy-Man told Pitchfork in 2013. “It’s not a human being, so it’s more like a mirror – the energy people send to the stage bounces back and everybody has a good time together rather than focussing on us.” As a musician, artist, DJ or band, you are your brand. And if that brand is strong, simple and consistent, and – crucially – perfectly aligns with your music, then your odds of breaking through are significantly increased. Brand permeates everything. It’s in the logo and the photos that capture your image. It’s in the videos that blend image with music. It’s in the font you use on your website and the tone of voice of your email bulletins. It’s in every post on every social network. It defines what you wear and informs your stage presence. Your job is to craft a brand that is not just true to you and your music but also speaks to your audience and offers something that is different to other artist brands out there. From the start, stake out your territory by paying attention to the small stuff. Turning up to gigs in a pair of battered jeans and a T-shirt dragged out of the laundry basket is not going to set you apart from 100 others. Using bog-standard Courier as your typeface will make your website and print material look like everyone else’s. You don’t have to be a qualified or experienced designer to make your marketing stand apart. Brand can, if you play your cards right, even outshine your profile as an artist. Think Dr Dre, who put his name to a brand of headphones and streaming service. Apple paid a reported $3bn for his businesses. That’s right – three, count ’em, b-i-l-l-i-o-n dollars. Which is all to say that a strong brand is not only your passport to the top of the charts. If it’s strong enough – and you have the ideas and the energy to see them through – it may take you to any number of other places too. Prepared exclusively for [email protected] # Attack Mag 16980. © All rights reserved.THE BUSINESS OF MUSIC PREFACE: STARTER FOR TENTHE BUSINESS OF MUSIC17 #7: TOTAL DEDICATION REQUIRED Don’t kid yourself you are so talented that success is a foregone conclusion. Talent is not as rare as we all like to think. Record companies know that for every stroppy ‘artist’ who gives them a hard time about ‘integrity’ there are a thousand equally gifted people waiting in line for the chance to step up. If you want to put a figure on it, talent is probably 10% of the package. Another 10% – at least – is luck. The rest is persistence and hard work. Take Ed Sheeran. Sure, he’s talented – he can write, sing and play guitar to a high standard. But that’s not what made him a superstar. To understand why he’s a star, start with this statistic: in 2009 he played 312 gigs. His dedication was such that he sofa-surfed for a lot of the year to keep costs down. Then in 2010 he took himself off to Los Angeles and worked open mic nights across the city. While there he was spotted by Jamie Foxx who invited him to stay at his house and use his studio. The rest is history. If you look at that story the wrong way round you might say Ed Sheeran had been lucky. But if you look at it the right way round, you can see he made his own luck. It’s worth also noting what he was doing with his downtime during that 312-gig marathon. He wasn’t playing Xbox, seeing the sights or downing tequila shots. He was on social media – day and night – updating his followers, building his fanbase, connecting with them, keeping them in touch and, new-follower by new-follower, gradually building a career. No-one’s saying you have to follow his model. To do it the Sheeran way you have to be an accomplished guitarist, a high-octane singer and you need to be comfortable on stage. That’s not for everyone. But however you choose to do it, his is the kind of dedication you’re going to need to demonstrate. Reflecting on the original material girl’s success, Jason Corsaro, who engineered ‘Like a Virgin’ noted that Madonna didn’t just drop in to the studio to record her vocals: she was there from sunrise to long after sunset ensuring every detail of her record was perfect. Prepared exclusively for [email protected] # Attack Mag 16980. © All rights reserved.THE BUSINESS OF MUSIC PREFACE: STARTER FOR TENTHE BUSINESS OF MUSIC18 “She was determined for the record to be successful and was there all the time,” he recalls. “When anyone asks me why I think she’s so successful I say it’s because of all the effort she put into it. There was no other way: it was success or nothing. She didn’t just come along and expect success to come to her. She went straight for it.” Which means that being a DJ who plays the occasional mate’s party or a hobbyist songwriter who holds down a full-time job and demands eight hours sleep a night is unlikely to cut it. Instead you need to be prepared to sacrifice relationships, holidays, comfort and sleep for the dream anyone who ever loved you warned you against. But you’ll do it all anyway because as an artist with your sights on a career you simply have to. #8: THE MUSIC INDUSTRY ISN’T PERFECT . BUT PASSION PERVADES The music industry may have changed immeasurably over the past two decades. But in the ways that matter its heart beats the same as ever. Label executives are still looking for that once-in-a-generation talent; the spine-tingling voice; the killer hook that will have festival audiences singing along; the DJ who can fill a dancefloor and change its mood at a flick of the crossfader; the songwriter who can break your heart. You hear all sorts of things about label people: they’re crass, they don’t give a toss about music, all they care about is hits, they’re stupid, they’re cut- throat, they’re all over you when you’re successful, running a mile when you fail... and on, and on, and on... A lot of the criticisms are true, and they’re true because the music industry is a microcosm of society as a whole, a society with its fair share of crass, idiotic people who’ll love you in the good times and walk away in the bad. It’s also true, on the whole, that the legal department is not full of lawyers who spent five years doing their law degree because they’re passionate about music. Ditto the finance department. But the A&R guys, the pluggers, the marketing people, the digital department, the secretaries – are you kidding? – these are people who 99 times in 100 adore music. Prepared exclusively for [email protected] # Attack Mag 16980. © All rights reserved.THE BUSINESS OF MUSIC PREFACE: STARTER FOR TENTHE BUSINESS OF MUSIC19 They feed off the ambience of being around artists, they thrive on helping shape careers, they celebrate when their artist reaches the top of the charts. They’ve chosen a career that doesn’t pay megabucks in an industry that demands long hours and returns little thanks. And they’ve done it for one reason: they really, really love music. #9: SOCIAL MEDIA MATTERS – A LOT We’re not going to say that social media is the be-all-and-end-all of an artist’s career. It isn’t. Speak to any major or indie A&R scout for long enough and you’ll find that the number of Facebook fans a potential signee has is less important than their music and brand. Besides, a huge social media following is easy enough to conjure if you believe in an artist. Which is to say that if your music is blow-’em-away amazing but you’re a social (media) recluse, then all is not entirely lost. But the signing of a social media recluse is the exception to the rule. For better or worse, if everything else is equal the band with 50,000 followers on their buzzing social pages stands a far greater chance of being signed than the equally brilliant band with 50 friends who can’t be bothered to update their status on a daily basis. Why? Simple economics. As an act you are an investment for the label. If that investment opportunity comes with 50,000 likes rather than 50 you’ve narrowed the odds of backing a winning horse by a considerable margin. The majority of labels today want to know, before they sign you, that you are not only talented (of course) but also that you are social-media savvy, hard working, already surrounded by a buzz – on YouTube, on SoundCloud, at live gigs – and that you’ve got more than one hit song in you. In today’s environment, with talent coming out of the woodwork, you need to do all that – and more – for yourself. Prepared exclusively for [email protected] # Attack Mag 16980. © All rights reserved.THE BUSINESS OF MUSIC PREFACE: STARTER FOR TENTHE BUSINESS OF MUSIC20 #10: THE SONG (AND SONGWRITER ) RULES SUPREME It’s easy to lose sight, when looking at income bar-charts, social media portfolios and merchandising opportunities of the one thing – the pivotal thing – that matters; the thing that the whole industry is built upon: the music, and specifically, The Song. “Everything I do, whether it’s producing or signing an artist, always starts with the songs,” notes uber-producer Rick Rubin. The holy grail of the music industry remains that Song – the intangible mix of human emotion crafted into something sublime and sexy or sultry and sad that lasts, on average, three-and-a-bit minutes. For reasons even the world’s finest psychologists, psycho-acousticians and philosophers can’t nail down, songs move us. And it turns out that in our ever more digitally-dominated lives, we need music more than ever. This gives a special power to the songwriter, in terms of both their ability to shift units and reap the financial rewards. Apart from Elvis Presley and Frank Sinatra, it’s hard to think of a modern ‘great’ who isn’t also a songwriter. From Buddy Holly to The Beatles, Bob Dylan to The Rolling Stones, Otis Redding to Jimi Hendrix, Aretha Franklin to Michael Jackson, Chuck Berry to Bruce Springsteen, all the way through to Adele, Amy Winehouse and Avicii... Whether it’s pop, soul, hip hop, folk or rock, it’s The Song that dominates – however good the beat, bassline or guitar riff. When all else fades from memory, it’s The Song that sticks in people’s minds, The Song that future generations will pick up and refashion for their own audience. If you have the ability to write songs then you have more chance than anyone of making a financial success of your talent. A generation of legally and commercially savvy Americans – led by Victor Herbert and the great ‘Tin Pan Alley’ songwriters, including Otto ‘Smoke Gets In Your Eyes’ Harback, Jerome ‘Ol’ Man River’ Kern and Irving ‘White Christmas’ Berlin – fought hard to ensure that writers would benefit from songs popularised by Hollywood crooners. Prepared exclusively for [email protected] # Attack Mag 16980. © All rights reserved.THE BUSINESS OF MUSIC PREFACE: STARTER FOR TENTHE BUSINESS OF MUSIC21 The legislation they helped enshrine in US law, alongside similar laws in other territories, still operate today, delivering royalties via collection organisations from the PRS and MCPS (UK) to ASCAP (US), SACEM (France) to GEMA (Germany). Arrangements, production values and performances may change to keep up with new fashions across the decades, but The Song? No… it retains its value and – for now at least – has a protected revenue stream that even the most disruptive of new media companies is unable to touch. So if you’re a songwriter labouring under a complex that perhaps you’re out of your time, take a look at Laura Marling, Jake Bugg, Emeli Sandé, Adele or Aloe Blacc and understand that The Song is a constant. Then write Songs ’til you drop. Because that’s where you’ll really get the attention, the respect and – yes – the money. Prepared exclusively for [email protected] # Attack Mag 16980. © All rights reserved.THE BUSINESS OF MUSIC CHAPTER 1THE BUSINESS OF MUSIC22 ‘You couldn’t have come at a better time.’ Luka Bloom, singer-songwriter ‘I love new technology. New challenges mean you have to keep up, you know?’ Dr Dre As streaming begins to dominate, putting the recorded music industry back into growth mode, you literally – as Luka Bloom sang – couldn’t have come at a better time if you want to make a career in music. In 2014, the record industry appeared to be in freefall. Annual turnover was half what it had been in 1999, and there seemed no stopping the decline. Today, as we write, it is back on an upwards curve, altered yet again by technology – this time, streaming – and a resurgence in sales of old-school vinyl. On top of that, live music is reborn, and is now a huge global business, dwarfing the record industry itself. But taken together – recordings and gigs – we are witnessing very likely the healthiest time there has ever been to consider music as a career. The old record industry is still there. We’ll call it the core business. It consists of the record companies that invest in, make and market music. IN THIS CHAPTER... Overview The labels Majors Independents Retail Streaming YouTube Torrents Sharing sitesTHE MUSIC BUSINESS Prepared exclusively for [email protected] # Attack Mag 16980. © All rights reserved.THE BUSINESS OF MUSIC CHAPTER 1 THE MUSIC BUSINESSTHE BUSINESS OF MUSIC23 It includes record retailers – the music shops that used to be on every high street, which are now increasingly specialist. Since the rebirth of vinyl as a viable medium, it would be a fool’s game to predict the future of physical stores and their product. Around the core we have the increasingly lucrative live sector with its venue owners, booking agents and promoters; the music publishers who nurture songwriters and look after their copyrights; and radio and TV outlets whose main commercial focus is music (American FM Radio, MTV, Radio One and so on). This is the ‘music industry’ as we’ve known it for the past 60 years. But now, like layers wrapping around an onion, we can add iTunes (and other download sites) as well as streaming operations like Spotify, Last.fm, Apple Music and Pandora – more than 40 in all, not necessarily all available in all territories at any one time. Alongside these are the multitude of online sharing sites – YouTube, Facebook, SoundCloud, Bandcamp – where you can upload and showcase music, communicate with fans and network with anyone from session players and mastering engineers to potential managers. Some of these also offer a means to generate income, either through advertising (YouTube) or direct sales (Bandcamp). Sharing sites are relative newcomers to the business. They have no real physical or analogue precursor, which is partly why the music industry – like other creative industries – has reeled from crisis to crisis in the past decade-and-a-bit. These channels have proved to be hugely important, so it is essential to always keep an eye out for the new kid on the block. Prepared exclusively for [email protected] # Attack Mag 16980. © All rights reserved.THE BUSINESS OF MUSIC CHAPTER 1 THE MUSIC BUSINESSTHE BUSINESS OF MUSIC24 MARKET SHARES 2018* COLUMBIA RCA EPIC ARISTA NASHVILLE ATLANTIC ELEKTRAPARLOPHONE WARNER BROSSIRE ASYLUM ARTISTS SELF-RELEASING ON THEIR OWN LABELSCAPITOL VIRGIN HARVEST DEF JAM ASTRALWERKSINTERSCOPE GEFFEN A&M ISLAND RECORDS REPUBLIC RECORDS VERVE BLUE NOTE UNIVERSAL MUSIC GROUP 31%THE LABELS The music industry started out relatively simply – writers writing, publishers printing sheet music and singers singing. Since then, it has grown increasingly complex. But every part of it is owned by somebody. Someone is making the decisions. So what is the ‘it’ that is owned? And who are the people who run it? The answers throw open a world of mafia connections, alcohol distillation, hostile takeovers – even a few characters who liked music – and help show why the landscape is as it is today. THE CORE BUSINESS – THE MAJORS At the top of the core music business – the more traditional central part of the sector – are the three ‘majors’ (major record companies): Universal Music Group (UMG), Sony Music (Sony) and Warner Music Group (WMG). Generally speaking, these three majors have between two-thirds and three-quarters of market share. The rest – between a quarter and a third in any given year – is carved up by the independent sector (indies). Universal is top dog with overall market share of around a third. Sony has recently been in the low 20s, with Warner in the mid–high teens. Which means that if your career takes off to unexpected heights, a major label will become involved at some point. UNIVERSAL MUSIC GROUP UMG emerged in 1998 from a complex history that began with Decca Records, a British label with origins stretching back to 1929. By 1995, after a series of purchases and takeovers that included ownership of the Universal film studio, the XL RECORDINGS ROUGH TRADE 4AD MATADOR SUB POP STONES THROW NEON GOLD WARPINDEPENDENTS 27% SONY MUSIC ENTERTAINMENT 21% WARNER MUSIC GROUP ARTISTS DIRECT15.8% 3% * Diagram shows only a selection of umbrella labels. Prepared exclusively for [email protected] # Attack Mag 16980. © All rights reserved.THE BUSINESS OF MUSIC CHAPTER 1 THE MUSIC BUSINESSTHE BUSINESS OF MUSIC25 entertainment giant had been renamed MCA. It owned MCA Records and Universal Pictures. After a brief – and controversial – period in the hands of the world’s largest alcohol distiller, Seagram, UMG was bought by Vivendi in 2000. A French corporation with a pedigree even longer than Seagram’s, Vivendi started out as Compagnie Generale des Eaux, providing water to the people of Lyon. It was 1983 before the business diversified from water, waste management and energy, helping to found France’s first pay-TV channel, Canal+. From there it expanded into mass media and telecommunications. In 1998, it changed its name to Vivendi and sold off all its non-media businesses to concentrate on media and entertainment. Its ownership of Universal Music Group has come about through an almost impenetrable series of takeovers, share swaps, divestments, investments and reorganisations – which is pretty typical for today’s music giants. WARNER MUSIC GROUP Warner Music Group – commonly known as Warners – was born out of Warner Brothers Pictures’ desire to keep its film stars from having hit records with labels owned by other movie production houses. From its inception in 1958 any actor contracted to its movie division would have to record for Warner Bros Records. Then, in a succession of moves that some would claim were connected, Warners first purchased Frank Sinatra’s Reprise Records in 1963 and was then itself bought in 1969 by Kinney National Company, a business rumoured to have mob connections – which indeed it did. Abner Zwillman, one of the three owners of Kinney, was a bonafide mobster associated with, among other things, Murder Incorporated, the colourful name the American media gave to Mafia ‘enforcers’. But in fairness, Zwillman died in 1959, ten years before Kinney purchased Warner Records. The stories circulating at the time of the purchase were mostly born of malice and snobbery – the financial elite couldn’t believe that a company best known for owning car parks had snapped up an American cultural icon. From 1967, through its ownership of Atlantic Records, Warners had access Prepared exclusively for [email protected] # Attack Mag 16980. © All rights reserved.THE BUSINESS OF MUSIC CHAPTER 1 THE MUSIC BUSINESSTHE BUSINESS OF MUSIC26 to the recordings of Ray Charles, The Coasters, early Drifters, Ben E. King, Otis Redding and Aretha Franklin. By the end of the ’60s, Warner Music was home to some of the world’s biggest acts including Cream, Crosby Stills & Nash, Neil Young and Led Zeppelin. Then in 1970 it bought the-then coolest label on the planet, Elektra, which boasted a roster including The Doors, MC5, Love, Tim Buckley, Judy Collins, Phil Ochs and The Stooges. The new entity was called Warner-Elektra-Atlantic (WEA), a name that persevered until 1991. At that point, having merged with Time Inc (the American weekly news magazine company) to form Time Warner, the music operation was renamed Warner Music. A further merger with AOL in 2000 led to financial trouble which resulted in the music division being sold off to reduce debt. Despite being the smallest of the three majors, Warners’ turnover was still more than $3bn in 2014. SONY MUSIC GROUP On face value the newcomer among the majors, Sony is actually a mix of the oldest and newest. Sony started out as a tiny electronics shop in Tokyo in 1946. One of its founders, Masaru Ibuka, saw the commercial potential of transistors and negotiated with America’s Bell Labs to license the technology. Sony’s transistor radio – small enough to be portable – was a massive success in America, hitting the newly-emerging teenage market in the 1950s at exactly the right time. Now young people could listen to their own music in their own space without parents telling them to ‘turn that racket off’. Proving themselves to be surprisingly tuned-in to Western popular culture, in 1968 Sony’s founders – by this time exporting five million transistor radios a year to the US – formed a joint venture with CBS (the international name of Columbia Records) called CBS/Sony Records in Japan. A long time before Apple twinned iPods with iTunes downloads, Sony had realised that content was king. Content was the driver, no matter how clever their technology – first those transistor radios, later the CD player (if only the label, and others, had been as prescient abut the transition to digital). Prepared exclusively for [email protected] # Attack Mag 16980. © All rights reserved.THE BUSINESS OF MUSIC CHAPTER 1 THE MUSIC BUSINESSTHE BUSINESS OF MUSIC27 Columbia/CBS, by contrast, has its roots in the earliest days of recorded sound. It was the local distributor of Edison phonographs and phonograph cylinders, covering Maryland, Delaware and Washington DC (District of Columbia, from which it took its name). That was in the late 1800s. In the late 1920s, the company was bought by its English subsidiary Columbia. After a brief foray into radio – which lasted barely more than a year, but bequeathed the name Columbia Broadcasting System (CBS) – the British and US operations merged to form Electric & Musical Industries Ltd (EMI). Because of America’s anti-trust laws, EMI had to sell its US operations. Which is how, in 1938, the legendary William S. Paley – chief executive of CBS – was able to square the circle by buying the American Columbia label for a mere three-quarters-of-a-million dollars. Over the next four decades, mightily helped by the talents of John Hammond – the A&R legend who launched the recording careers of musical icons from Billie Holiday and Bob Dylan to Aretha Franklin, Leonard Cohen and Bruce Springsteen – Columbia/CBS became a stellar entity worldwide. In 1988, 20 years after it had formed its CBS joint venture in Japan, Sony bought the record division, forming what became known as Sony Music Entertainment. In a final twist to the tale, Sony picked up EMI Music Publishing when EMI’s music division was broken up and sold in 2011/12. The record division went to UMG. This was the end of a process that began when Terra Firma, a private equity fund with no experience in the music industry, made the ultimately disastrous decision to buy EMI for $6.4bn. THE MAJORS AND THEIR LABELS Over decades, the majors have expanded their businesses and market share by buying up other record companies and independent labels which were either struggling or whose owners decided it was time to cash in. This explains how, for instance, Universal now owns Island, one of the biggest independent labels in the history of recorded music. It’s also why Parlophone – once EMI’s flagship, dominated by The Beatles – now belongs to Warner Music Group. Prepared exclusively for [email protected] # Attack Mag 16980. © All rights reserved.THE BUSINESS OF MUSIC CHAPTER 1 THE MUSIC BUSINESSTHE BUSINESS OF MUSIC28 So the ‘big three’ record companies are not, in themselves, the be-all-and- end-all of the industry. Instead, they sit at the top of pyramids that include ‘stables’ of dozens and sometimes hundreds of labels, as well as the associated pressing plants (yes, they still exist), distribution centres and fleets of vans still required to get product into shops (yes, they still exist, too...). THE UMG STABLE When you start investigating the labels owned or distributed by UMG, you open a Pandora’s box of names – the more you look, the more there are. The wholly retained subsidiary Interscope-Geffen-A&M is home to 22 labels alone. Republic Records is umbrella to a further 20. Then there are Capitol Records, Virgin, Motown, Blue Note and Caroline Distribution, which account for a further 50. Dig deeper, though, and you realise there’s a lot of smoke, but not always fire. Bad Boy Records, for instance, has released albums by P. Diddy and The Notorious B.I.G., but typically releases only one or two albums a year. SRC, meanwhile, has released 24 albums since 2003, which starts to feel more exciting. But only one album was released in 2010 and the most recent was Melanie Fiona’s The Mf Life in 2012. There has to be some reason UMG is the biggest label in the world, though, and that’s because among the more than 500 artists signed across its labyrinthine organisation are bankable A-listers such as Kanye West, Taylor Swift, Lady Gaga, Katy Perry, Lorde, Jack Johnson and Eminem. It was also home to Amy Winehouse. Island, meanwhile, has Snow Patrol, who for a short time were the most successful band in the world, selling 12 million albums and having their songs covered as hits by a range of artists. Jake Bugg is another recent major league signing. THE SONY STABLE By comparison, Sony is restrained. It is host to a handful of major label names, each with its own family of boutique labels. Three of those major labels are steeped in history. One is RCA, where Elvis Prepared exclusively for [email protected] # Attack Mag 16980. © All rights reserved.THE BUSINESS OF MUSIC CHAPTER 1 THE MUSIC BUSINESSTHE BUSINESS OF MUSIC29 Presley went from local promise at Sam Phillips’ Sun to global domination. The other is Columbia, where John Hammond took a flier on the young Bob Dylan. Finally, there’s Epic, no slouch with Abba and Michael Jackson to help define its history, which is carried forward by the likes of Lana del Rey, Shakira and Jennifer Lopez. THE WARNERS STABLE Warners falls somewhere between UMG and Sony. It has six main divisions that appear mostly under the legendary Atlantic and Warner Brothers operating names. Within these divisions are historic names such as Atlantic Records, Elektra, Asylum, Nonesuch, Atco and Sire. More recently, Warners benefited from the breakup of EMI, purchasing Parlophone, most famous for being The Beatles’ label but now home to Coldplay, Gorillaz, Kylie Minogue and Blur. THE MAJORS: CORPORATE LEECHES OR FORCE FOR GOOD? It can be tempting to view ‘the majors’ as greedy corporate monoliths, sitting atop the music business and squashing the life out of it while handing only a fraction of their multi-million dollar earnings onto artists. And there’s no doubt that as models of business, ethical and artistic best practice they frequently fall short of the mark. But the caricature is a lazy one. The truth is that the majors are endlessly complex creatures with big families of labels staffed largely by people who adore music and the artists who create it. The majors have also spent vast quantities of time and money on building the infrastructure that means artists can shift records – and get paid for doing so. Over the history of recorded music, the big players have invested in and built pressing and duplication plants alongside the physical distribution chain that got records, tapes and CDs from plant to shop. Majors aren’t perfect. You would be justified in berating them for their slowness in responding to the internet, digital downloads and streaming. Sometimes they get things wrong in ways that make them look exploitative and dishonest. The poor return for artists from streaming is the latest example. But the fact is that over decades these companies first invented, then built and now sustain the music industry. Critics may jeer from the sidelines and wonder how the ‘record industry’ can survive the digital onslaught. But if you were an employee of, chairman of, or shareholder in, for example, Warner Music, you wouldn’t be fixated on ‘the glory days’. No. As an employee, you’d be more interested in your job. Or as CEO, in the thousands of employees you have worldwide. Or as an investor, in their multi-billion dollar turnover. Prepared exclusively for [email protected] # Attack Mag 16980. © All rights reserved.THE BUSINESS OF MUSIC CHAPTER 1 THE MUSIC BUSINESSTHE BUSINESS OF MUSIC30 Parlophone is parent to other big name labels including Chrysalis and Harvest. It also has the Regal imprint, one of the earliest label names around (reaching as far back as 1932). In its 2013 Annual Report Warners gave credit for a 6% increase in profits to success with Parlophone. CORE BUSINESS: THE INDIES Imagine you’re an entrepreneur who’s obsessed with music but has little to no musical talent. You know a couple of bands you think are great but who don’t seem able to break through the barrier. You could become their manager (Chapter 7 - Your team). Or you could try gig promotion – booking them into clubs and seeing how many people you can drive through the doors. Or you could launch your own independent label. It’s not for everyone, and it’s not easy. The rate of failure is high. But while conservative and business-minded types such as Sir Edward Lewis (Decca) and Sir Joseph Lockwood (EMI) sought to consolidate and dominate the record industry, it was the mavericks and chancers who consistently turned the industry on its head. Sometimes it was for a dazzlingly few short years – Joe Meek, Stiff Records and Creation Records come to mind. But often enough, as in the cases of Island, Virgin Records, Rough Trade and A&M, brands were created that now look so much part of the landscape it’s hard to recall they were once young upstarts sneered at by the big boys. The first independent label is often considered to be Decca. Its owner, Edward Lewis, was a stockbroker who saw a business opportunity in the emerging world of recorded sound. In 1929 he bought The Decca Gramophone Company, a manufacturer of portable gramophone players. Then in 1932 he purchased Brunswick Records, which put him firmly in the content business. Like King Gillette before him, he recognised that selling record players, but not records, was like selling razors and not the blades to go with them. Prepared exclusively for [email protected] # Attack Mag 16980. © All rights reserved.THE BUSINESS OF MUSIC CHAPTER 1 THE MUSIC BUSINESSTHE BUSINESS OF MUSIC31 This kind of hard-headed business thinking is not typical of most indie labels. They are not generally known for business acumen but by their often ramshackle and passionate approach to marketing music they believe we can’t live without. Think Factory Records, the UK label that helped establish the Manchester scene of the early ’80s. The perfect Factory moment was the packaging of ‘Blue Monday’ by New Order. Designed as a floppy disk, nowhere on the artwork did the name of the band or song appear. The artwork was so specialised that it cost five pence more per copy to produce than the single sold for. Which wouldn’t have been a problem if the bloody-minded lack of any direct branding had worked and no-one had bought it. Instead, it sold by the bucket-load – over one million copies in the UK alone. Fortunately, before it could bankrupt the company, someone spotted the flaw in the plan. But this is what we want from our indies: a bonkers, balls-to-the-wall attachment to a short-sighted ethos that sometimes results in genius. Many mavericks see gaps in the market. Sam Phillips founded Sun Records in Memphis in 1952 because he wanted to bring black rhythm ‘n’ blues to a white audience. He hadn’t banked on the fact that in the segregated world of ’50s America – where records by black artists were called ‘race music’ – the music he loved wouldn’t be played by stations with a white audience. Not to be defeated Phillips began his search for a white singer who could convincingly sing black music. He found his dream – and a near-endless supply of hits and dollars – in Elvis Presley. This is the sort of passion that drove early indies. Sometimes it was production values that proved the driver. Pioneering producer Joe Meek, for example, had a sound in his head – a vision of what pop could be – and he founded Triumph Records to allow him to explore that vision. He made the iconic ‘Telstar’, the first single by a British pop group to top the American charts. Meek set a high bar for obsessive indies – the ‘sound’ in his head eventually Prepared exclusively for [email protected] # Attack Mag 16980. © All rights reserved.THE BUSINESS OF MUSIC CHAPTER 1 THE MUSIC BUSINESSTHE BUSINESS OF MUSIC32 drove him mad. He shot his landlady dead then turned the gun on himself. You get the picture. These are record men, not businessmen. Those who succeeded became businessmen by default, but they were not the stockbrokers or industrialists who started EMI and Decca. They did it for the love of music. And to get artists out there that couldn’t be heard elsewhere. Just occasionally indie labels are started by people who know little about music. No-one was ever likely to mistake Richard Branson for a musical tastemaker. Still – with Nik Powell, Simon Draper and Tom Newman – he launched Virgin Records to resounding success in 1972 with its first release, the era- defining Tubular Bells by Mike Oldfield. THE INDIES TODAY Still the indies come. Ninja Tune has survived since 1990, releasing music largely ignored by the mainstream: artists like Bonobo, Amon Tobin, Fink, The Cinematic Orchestra. To their audience, Ninja is the Island of their generation – a label that fans keep in contact with just to see what’s new. To artists, the label is trusted enough that some with their own labels use Ninja Tune to get their records distributed. Big Dada Recordings is one, home to Roots Manuva and Speech Debelle. The latest Cinderella in a long history of happy-ending indie stories is XL Recordings. Originally launched with a roster leaning heavily on dance music, XL is proof that lightning can strike more than once. Its story is the kind of fantasy that drives all mavericks. Can anyone say, with hand on heart, that they knew The Prodigy would burst out of the starting blocks and go platinum with their first album, Experience? Five years later, their third album, The Fat of the Land – with the iconic ‘Smack My Bitch Up’ and ‘Firestarter’ - was awaited with media eagerness bordering on the frenzied.MOTOWN MAGIC You can’t talk about indie labels without mentioning the trailblazing Berry Gordy Jr. Unlike many indie founders, Gordy was already a successful musician and songwriter before launching his Motown label. He had, for instance, clocked up a US top ten with Jackie Wilson’s ‘Lonely Teardrops’. But in common with other label owners, Gordy had a clear vision of a gap in the market. He wanted to present black artists to white America – but he knew he needed top- class songs to do so. Gordy’s first signing was The Miracles, whose lead singer, Smokey Robinson, proved to be a songwriter of rare distinction: commercial, poetic, consistent. Later, Gordy lucked into the songwriting dream team of Holland-Dozier-Holland. Between Robinson and H-D-H, Motown enjoyed a long and successful run of hits with The Supremes, The Miracles, The Temptations, The Four Tops and Marvin Gaye. Oh, and Stevie Wonder. Gordy ran the business for nearly 30 years before selling it in 1988 to a consortium that included MCA Records. Prepared exclusively for [email protected] # Attack Mag 16980. © All rights reserved.THE BUSINESS OF MUSIC CHAPTER 1 THE MUSIC BUSINESSTHE BUSINESS OF MUSIC33 Along the way XL released albums by The White Stripes, Dizzee Rascal and Vampire Weekend. Then came Adele. As Mike Oldfield transformed Virgin Records with Tubular Bells, 21 transformed XL. The profit posted by the company in the year after 21 eclipsed all previous years. Indie’s can transform an artist’s career in a way a major can’t. Robert Wyatt has spoken of being “in the wilderness” until he was introduced to indie Rough Trade. “Those people changed my life, quite frankly,” he reflected. “Without them I couldn’t have made a living in this business.” Which is all to say, if you’re not an artist, but you want to be in the music industry, and you passionately want the music you love to be heard, we hope that’s enough inspiration for you to go it alone... Be your own indie.THE TERRITORIAL ADVANTAGE According to producer and Mute Records founder Daniel Miller, one of the main benefits of being an indie label is the flexibility they have in terms of breaking and maintaining artists in territories around the world, the key to which is distribution. “We aren’t tied to a distribution system, so we can choose who we want in any particular country, whereas if you go with a major, you’re tied into them for the world,” he says. “To have an artist with a grounding in a few territories – not just the UK – has always been very important to me. “Some of our artists have become less popular over the years in the UK, but because we put a platform down for them in other territories, they could start to build in those territories. “A major label would say: ‘if you’re a UK-signed artist, you’ve got to break in the UK before you even think about doing anything overseas.’” Prepared exclusively for [email protected] # Attack Mag 16980. © All rights reserved.THE BUSINESS OF MUSIC CHAPTER 1 THE MUSIC BUSINESSTHE BUSINESS OF MUSIC34 INDIES V MAJORS: A CLASSIC CASE OF GOOD VS EVIL ? When lining up to attack the big-business majors critics generally take three lines of attack; that they are bad for musicians, that they’re dishonest and that they make poor decisions (‘bad, dishonest, stupid’). If people showed the same bigotry regarding race or religion that they show towards big companies they’d be accused of committing hate crimes. So let’s make a neat little pile of prejudices and look at what the major record companies are good for – or have been good for. Firstly, big doesn’t necessarily mean bad. It means successful. And, debates about the merits of capitalism aside, it’s hard to get too down on success. For one thing, it means more money to invest in new acts. Nor does big necessarily mean more dishonest; don’t imagine for a moment that indies haven’t stiffed artists for royalties or stitched them into unfair deals. That’s been going on since the day dot. Stupid? Ok, let’s take a closer look at that one. People who work in big businesses are generally no brighter than anyone else. The problem big businesses have is that they have more room for dumb people to hide. In a small business, incompetence is rooted out much faster because the few people working for it can see their own workload and chances of success being impacted. So big companies can sometimes appear to make stupid choices. And since big companies tend to dominate their business sector, they also dominate their sector organisations. Consequently, it can sometimes appear that an entire industry is going to hell in a handcart. But ask yourself whether a label like XL, which releases Adele in the UK, could have provided her with the global support she needed to become the phenomenon she is. The answer is no. And you need look no further than XL’s co-founder Richard Russell for confirmation. Having signed Adele to a worldwide deal, he then licensed her music to Columbia for release in America, Central and South America. He did this, he says, because Columbia was “better equipped to handle radio promotion and marketing on a large scale”. So it’s possible to have your cake and eat it. Sign to an indie if you wish, but ensure the deal is set up in such a way that your music is promoted (and sold) even where your label has no strength, or even presence. Prepared exclusively for [email protected] # Attack Mag 16980. © All rights reserved.THE BUSINESS OF MUSIC CHAPTER 1 THE MUSIC BUSINESSTHE BUSINESS OF MUSIC35 RETAIL Labels are in the business of selling music. Back in the day this meant pressing up vinyl, cassettes and CDs, and distributing stock to retailers. At the height of the old analogue record industry there were more than 13,000 retailers in the UK alone. Worldwide the total figure probably hit close to half a million, with a record shop on practically every high street, main street, haupstraße and boulevard. In the 1970s came the chain stores. They had already existed, of course – HMV in the UK, Woolworth in America (where music was a sideline). But now they spread like wildfire. These were golden days for the industry, with cash registers ringing at thousands of branches of HMV, Our Price, Virgin and Tower Records, which stocked catalogue into the tens of millions. ...Then came the digital revolution... RETAIL IN A DIGITAL WORLD More words have been written about the impact of the internet on music sales than anyone has time to read. And even as you read it, it’s going out of date. A combination of torrenting, sharing, streaming and changing consumer habits united in a perfect storm that took the industry several years to begin weathering. The graph on the right, produced in 2015, outlines all you need to know about the impact of the digital revolution post-1999 and up until 2015, the period during which global revenues halved. It also shows you all you need to know about the folly of prediction – the MUSIC SALES BY FORMAT 1999 –2018 £30bn £25bn £20bn £15bn £10bn £5bn £0 99 00 01 02 03 04 05 06 07 08 09 10 11 12 13 14 15 16 17 18l GLOBAL TURNOVER l CDS l DIGITAL DOWNLOADS l STREAMING l VINYL FORECAST Prepared exclusively for [email protected] # Attack Mag 16980. © All rights reserved.THE BUSINESS OF MUSIC CHAPTER 1 THE MUSIC BUSINESSTHE BUSINESS OF MUSIC36 final three years (2016–18) are forecasts, showing an industry apparently flatlining around the $15bn mark. In fact: 1. Global sales are now $19.1bn annually. And they will be up again when official figures are released for 2020. Music analysts have been proved wrong in almost every respect. Three years ago, no-one would have predicted an end to digital downloading, which they are now forecasting. Our advice? Take no notice of the forecasts. Just watch what happens, and act accordingly. 2. Will streaming be the industry’s saviour? As you can see from the graph, projections into 2018 were showing streaming revenues crossing the $5bn mark. In reality, as of December 2018, they were approaching $9bn. Streaming is discussed in detail later in this chapter. 3. Will downloading-to-own survive? In 2012, digital music sales were $4.4bn. In 2017, they had dropped to $2.8bn. Latest estimates, as we went to press, put iTunes activity at $600m and heading south. But we’ve yet to hear from the hi-res download specialists, such as Tidal, HDtracks and iTrax. Not that we’re in the prediction game, but it’s possible that AIFF, FLAC and DSD formats will show the same resilience as vinyl for audiophiles. 4. Physical formats remain important. In some countries, where downloading-to-own never really took hold CD sales continue to dominate. Again, you can see from the graph that CDs were forecast to dip to around a half billion dollars ($500m), while vinyl limps along the bottom line. Actually, physical sales still accounted (in 2017) for 34% of worldwide revenue. 5. In 2019, vinyl sales are predicted to pass the $1bn mark. That’s a 1,000% increase from five years ago, and 700% better than forecast. 6. CDs are still worth billions. Yes, sales continue to fall, but at $4.7bn, physical sales (CD, vinyl) still represented almost a quarter of total global recorded music revenue in 2018. Consequently... 7. ‘Real-world’ retailers are back from the dead. At the height of the music industry’s success, there were more than 13,000 record retailers in the UK alone. About five years ago that number had nosedived to between 1,000 and 2,200, depending on whom you believed. Today there are estimated to be nearly 15,000 UK outlets selling vinyl, CDs, DVDs & Blu-ray. Nothing is ever over until the fat lady sings. 8. The relative balance between physical and digital shifts between Prepared exclusively for [email protected] # Attack Mag 16980. © All rights reserved.THE BUSINESS OF MUSIC CHAPTER 1 THE MUSIC BUSINESSTHE BUSINESS OF MUSIC37 genres. The jazz and classical industries, for example, which have an older audience, sell far more physical units than the dance music sector. Still, with its large audience of DJs, dance continues to press fairly high volumes of vinyl (see Signs of recovery? The vinyl story, left). 9. ...So, to paraphrase Mark Twain, rumours of physical music’s demise has been greatly exaggerated. The ‘hard’ market is still worth almost one quarter of the global $19.1bn that recorded music makes. By any standards that’s a lot of money. And it’s money the music industry is not going to give up easily. So in answer to the question, ‘At what point will the last van leave the last pressing plant to deliver to the last music shop?’ The answer is ‘No time soon’. MUSIC RETAIL IN THE DIGITAL ERA The landscape of music retail is still evolving. Five years ago, iTunes had 65% of the global download market. Thirty-nine other companies were fighting over the remaining 35% – an average market share of less than 1% each. Today, with the download-to-own market massively reduced in size, that territory is barely worth fighting over. But to an artist starting out, none of this really matters. Exposure is as important – often more so – than income. There is no reason not to get your tracks into any outlet available (see Chapter 5 - Releasing a record). The first port of call for any unsigned act looking to put their music in front of an audience is SoundCloud. The basic model is free to use, although there are now also two payment options which give ad-free access and some useful extras once you get properly serious. As with all these sites, though, keep an eye on tech trends: SoundCloud has experienced financial difficulties (hence the introduction of the subscription models) and new platforms SIGNS OF RECOVERY? THE VINYL STORY It is an ongoing irony that the granddaddy of all music formats, vinyl, just won’t go away. Indeed it is the one physical format whose sales are growing, with pressings on the up for each of the past nine years. in 2014 9.2m records were pressed worldwide, accounting for 6% of all album sales (2% in the UK), a surge of over 50% on the previous year. In the UK, 2014 saw vinyl sales reach 1m for the first time since 1996. This growth was forged not only by the usual suspects – dance and indie labels issuing DJ-friendly and collectible limited editions – but by major acts, from Arctic Monkeys and Jack White to Pink Floyd and David Bowie. Why are we still in love with plastic (even if the environment isn’t)? Record Store Day has helped. There’s a resurgence of desire for physical ownership. And there’s definitely a die-hard contingent of music lovers who will always value the sound and feel of vinyl. But in the final analysis even retailers are scratching their heads at the happy mystery. Prepared exclusively for [email protected] # Attack Mag 16980. © All rights reserved.THE BUSINESS OF MUSIC CHAPTER 1 THE MUSIC BUSINESSTHE BUSINESS OF MUSIC38 emerge on a near-daily basis. Who, reading this, remembers MySpace or – even further back – Friends Reunited (send us a self-addressed envelope to claim your free OAP bus pass)? Bandcamp takes things a little further, letting you create your own microsite through which to sell music. Again, the basic service is free, but there is a Pro account if you want to take advantage of the extras on offer. There’s also, of course, YouTube. Creating a video to go with your music is another way of grabbing attention, and, at time of writing, creating your own YouTube channel and uploading your own video was still free of charge. Bear in mind, though, that none of these options are the be-all and end- all of getting your music heard. In Chapter 4 – Spreading the word we talk about what you need to do to direct fans to your music online. And in Chapter 5 – Releasing a record we’ll introduce you to Aggregators, the services that make your music as available as the biggest artists in the world. There is no doubt that music piracy has had a hugely detrimental effect on music industry revenues. Although meaningful figures are almost impossible to come by, research in various territories suggests that anywhere between a fifth and a third of music is consumed illegally. Some even claim that piracy was responsible for a 50% drop in the record industry’s global revenues. The major offenders have been in the 18–29 age group. But streaming seems to have resulted in a steady decline in piracy. Latest research suggests that music-lovers are finding pirating “no longer worth the effort”. Although some research suggests that one- third of music download and streaming is illegal, in the UK, for instance, YouGov’s Music Report (2018) says that only one in 10 now illegally downloads, down from 18% in 2013. Other countries, including Sweden, Norway, and even America – supposedly the number one country for illegal downloading – are also seeing downturns. Fifty seven million Americans – fewer than 20% of those with internet access – are now involved in piracy. Back in 2009, 95% of downloads were reckoned to be illegal. Spotify claims to have been “successful in convincing the younger generation to abandon piracy, and pay for a legal service’, a claim borne out by YouGov’s UK research, where respondents talked about the “inconvience” of piracy, and claimed mostly to now only download illegally those tracks they can’t find online.TORRENTING MATTERS... BUT LESS THAN IT ONCE DID Prepared exclusively for [email protected] # Attack Mag 16980. © All rights reserved.THE BUSINESS OF MUSIC CHAPTER 1 THE MUSIC BUSINESSTHE BUSINESS OF MUSIC39 STREAMING Just as the music industry was recovering from the earthquake that was digital retail, a second shockwave hit that has had an even bigger impact on the way music is consumed: streaming. With the dust slowly clearing on the latest change in a long history of change, the landscape is now very different to how it was even five years ago. And in hindsight the apparent revolution of digital downloads can be seen as a relatively small step: the mp3 was, ultimately, just another format. Not so streaming, though, which is about plays rather than buys.YOUTUBE AS STREAMING SERVICE Is YouTube a video hub, a sharing site or a streaming service? The answer is a bit of each and advertising revenues from it are playing an increasingly important part in labels’ revenue streams. In 2013 founder and MD of Cooking Vinyl, Martin Goldschmidt, told The Guardian his label makes an average of $5,000 per million views from YouTube plays. Richard Leach, digital distribution manager at the label added that instead of focussing on apparently paltry ‘per-stream’ payments, you had to take a macro view of streaming income: “It’s unhelpful to get hung up on per-stream rates... It’s better to focus on the aggregate figure, which is really healthy.” The exact proportion of revenue passed from Google/YouTube to rights holders is unclear – something the tech giant seems reluctant to clear up. The current consensus is that around 30-35% is kept by YouTube/Google, 40- 45% is handed to the rights owner/label and 10% to the songwriter/publisher. A final 20% can be earned if a video is shown to be official – that is, not a fan-generated video.l FREE SERVICE – 1 MILLION USERS l PAID SUBSCRIBERS – 1 MILLION USERS Each block represents 1 million people listening to streams of music via Spotify in any given year. The encouraging news for musicians is represented by the orange blocks which show the numbers paying for Spotify’s premium subscription service – from 1m in April 2011 to 96m in 2018. THE GROWTH OF SPOTIFY 2009-19 09 SEPTEMBER lllll 10 SEPTEMBER lllllll 11 DECEMBER lllllllllllll 12 DECEMBER llllllllllllllllllllllll 13 AUGUST lllllllllllllllllllllllllllllllllll lll 14 DECEMBER lllllllllllllllllllllllllllllllllll lllllllllllllllllllllllllllllllllll lllll 15 DECEMBER lllllllllllllllllllllllllllllllllll lllllllllllllllllllllllllllllllllll lllllllllllllllllllllllllllllllllll lllllllllllll 16 DECEMBER lllllllllllllllllllllllllllllllllll lllllllllllllllllllllllllllllllllll lllllllllllllllllllllllllllllllllll lllllllllllllllllllllllllllllllllll llllllllllllllllllll 17 DECEMBER lllllllllllllllllllllllllllllllllll lllllllllllllllllllllllllllllllllll lllllllllllllllllllllllllllllllllll lllllllllllllllllllllllllllllllllll lllllllllllllllllllllllllllllllllll llllllllllllllllllllllllllllll 18 DECEMBER lllllllllllllllllllllllllllllllllll lllllllllllllllllllllllllllllllllll lllllllllllllllllllllllllllllllllll lllllllllllllllllllllllllllllllllll lllllllllllllllllllllllllllllllllll lllllllllllllllllllllllllllllllllll lllllllllllllllllllllllllllllllllll lllllllllllllllllllllllllllllllllll llllllllllllllllllllll Prepared exclusively for [email protected] # Attack Mag 16980. © All rights reserved.THE BUSINESS OF MUSIC CHAPTER 1 THE MUSIC BUSINESSTHE BUSINESS OF MUSIC40 When Apple entered the streaming market in 2015, it had learned from the Spotify model a) That millions of people worldwide were willing to pay a monthly subscription; and b) That a free (ad-supported) model might inhibit subscriber take-up. Hence, no free service from Apple Music. Having let Spotify pioneer its way through the wilderness for almost seven years it was thought that Apple, with its 800m users worldwide, would quickly assert dominance. In fact, according to Apple’s own numbers, it has – at 40+m subscribers – less than half of Spotify’s total. And the gap appears to be widening.This is despite Apple’s presence in 114 countries, versus Spotify’s 60. Not that this matters. Apple would undoubtedly like to be dominating the market – as it previously did with iTunes. But its nearly 20% global share is a significant contributor to its bottom line. No predictions from us about what might happen next. But with Spotify now offering some music and merchandise for sale, what are the chances Apple could merge iTunes into Apple Music and also offer a single user interface? With iTunes’ revenues plummeting from $3.9bn in 2012 to a projected $600m in 2019 we wouldn’t bet against it.Streaming has enjoyed widespread take-up thanks to accessible technology and ever-faster internet connections (see The growth of Spotify diagram, above .) As a pointer to the future, bear in mind that Spotify has a 36% share of the streaming market. In September 2018, the number of subscribers paying to stream music was heading up to one quarter of a billion users. But while even low-cost mp3s delivered tangible returns to labels and artists, the returns from streaming services started off being lower and less quantifiable, provoking widespread anger, particularly among artists. Pandora, for instance, had to withdraw from all markets outside America because it couldn’t make its free service compliant with local copyright laws. Meanwhile Spotify, the biggest music-dedicated streaming service by a margin, got off to an even rockier start. Because it started out free and failed to attract much in the way of paid advertising, returns to artists were often low to the point of insulting. As a consequence, a number of A-list acts, including The Beatles, Led Zeppelin and Pink Floyd refused to allow their music on the service. Later Spotify quitters included Thom Yorke (who memorably likened the service to “the last desperate fart of a dying corpse”) and Taylor Swift (who was APPLE MUSIC: TAKING A BITE OUT OF THE STREAMING MARKET Prepared exclusively for [email protected] # Attack Mag 16980. © All rights reserved.THE BUSINESS OF MUSIC CHAPTER 1 THE MUSIC BUSINESSTHE BUSINESS OF MUSIC41 more diplomatic, telling the Wall Street Journal: “Valuable things should be paid for.”) Other artists, from Ed Sheeran to Coldplay, employed a different strategy, releasing their music for streaming only after maximising CD and download sales first. For these, and thousands of smaller artists, Spotify and other streaming sites seemed just another pointer to a future where consumers expected music for free. It didn’t help that many artists believe their labels struck poor deals with the streaming companies or that some of the major labels are actually shareholders in them (Sony BMG, Universal Music, Warner Music and Merlin all own stakes in Spotify.) Nevertheless,Beggars Group chairman, Marin Mills, was one of many high profile indie figures who came out in support of Spotify et al, noting that, even as early as 2012, a respectable 22% of his group’s digital revenues came from streaming. Since then streaming has become the driver of growth, exceeding even the most optimistic of predictions, and returning higher and higher amounts of money to record labels and publishers. Which is good news, right? Well... it is if you are the rights holder. But not necessarily if you are an artist signed to a record label (which is the rights holder). The vast majority of record contracts relate to 50 years pre- digital and at least a decade when the impact of digital was barely comprehended. So they don’t reflect the reality of how music is being consumed in the 21st century. Even more- recently updated contracts can skate around the problem. Two things will happen to put this right. 1. Managers and lawyers are already demanding specific streaming clauses in new contracts that demand a far higher percentage – 50% or more – for streamed plays. If you’re looking at signing a record deal, make sure this is on your shopping list of essential subjects for discussion (see Chapter 8 – The record deal).THE VALUE OF MUSIC Among the myriad changes that have defined the digital age, the one fact almost all music commentators agree on is that the perceived value of music has fallen. At its worst, this equated to a generation of young people believing music to be free. Musicians haven’t helped this value erosion. By uploading songs to sites like SoundCloud and YouTube, artists have been complicit in the devaluing of music. U2’s ‘gift’ album Songs of Innocence, added to Apple devices for free in 2014, proved that even successful acts were not immune to the lure of so-called ‘freemium’ promotional activities. If there is a thread of silver in the rather large cloud it is that the thirst for authentic musical experiences, either live or by way of unique physical purchases, are bringing in more money than ever. And paid-for streaming, which removes the ‘inconvenience’ of piracy, has turned the record industry back from decline into growth. At the end of the day what matters most is that people still can’t get enough of music. Prepared exclusively for [email protected] # Attack Mag 16980. © All rights reserved.THE BUSINESS OF MUSIC CHAPTER 1 THE MUSIC BUSINESSTHE BUSINESS OF MUSIC42 2. If enough artists get angry, there will be a revolt. When films were first released on video, writers and actors were cut out of this new revenue stream. Video had never been foreseen as a medium so it was not part of a writer’s or actor’s contract. Understandably peeved, the writers went on strike; some actors supported them. Within the space of a few months, Hollywood found it difficult to get a film made. It didn’t take long for the studios to see the argument for fairer contracts. Something similar is likely to happen with streaming. In fact, Taylor Swift has already achieved something like that. By withdrawing her music from Spotify she highlighted poor returns to artists. And then she did it again – standing up to Apple who backed down from their plan not to pay artists during the three month free trial of their ‘Music’ streaming service. Sure, she may have been an unwitting figurehead for wider industry pressure but nevertheless, Viva Taylor! Our advice is don’t be a streaming holdout. There are plenty of artists you’ve never heard of earning more than $50,000 a year from Pandora, YouTube and Spotify, and others only slightly better known (do the names Iron & Wine or Zac Brown mean much to you?) generating revenues well over $100,000 a year from streaming. Prepared exclusively for [email protected] # Attack Mag 16980. © All rights reserved.THE BUSINESS OF MUSIC CHAPTER 1 THE MUSIC BUSINESSTHE BUSINESS OF MUSIC43 SHARING SITES So far, this chapter has dealt with the musical equivalent of Donald Rumsfeld’s infamous ‘known knowns’. Digital retail and streaming aside, this overview of the industry would have been recognisable to industry watchers in any of the past few decades. In Rumsfeld’s terms, sharing sites like SoundCloud, YouTube, Facebook, Vimeo and Bandcamp are ‘known unknowns’. They have radically changed how music is both discovered and consumed. They play a key role in day-to-day decision making throughout the industry. And more importantly for emerging artists, they have opened up entirely new – and potentially very powerful – channels for self-promotion and marketing. WHY THE PURPLE COW RULES ONLINE Billions of people are connected to the internet day and night – more every day – but they are not schedule-bound. They have hundreds of billions of listening and viewing choices. What is the filter that drives them to your song, your video? The unpalatable truth is there are very few filters. One of the biggest benefits of the web has been its democratising effect. Now anyone can get their art/opinion/review/bigotry in front of a worldwide audience. The flip side of this democratisation is a glut of content so vast that one statistic suggests it would take around 400 years to watch all the material currently on YouTube. And there’s more each day – 100 hours of new content is uploaded every minute. Here’s an analogy: throw a bucket of water into the sea. Now go and find that drop of water. Can’t do it, can you? Which is where the ‘Purple Cow’ approach comes in. Q: in a field of black and white cows, which one stands out? A: The purple one. (Google ‘Purple Cow’ for more.) Whether we like it or not, artists have become businesses in miniature. As such they need to cultivate the kind of focussed business thinking Prepared exclusively for [email protected] # Attack Mag 16980. © All rights reserved.THE BUSINESS OF MUSIC CHAPTER 1 THE MUSIC BUSINESSTHE BUSINESS OF MUSIC44 that Virgin Records co-founder and serial entrepreneur Richard Branson embodies: “You can create a business, choose a name, but unless people know about it you’re not going to sell any products.” The creative challenge of the digital age is to break through the white noise to become heard and known, to swim up through the ocean of online content and be seen above the waves – to become one of the rare purple cows that make people turn and take notice. Exactly how you ‘go purple’ is down to you. It will almost certainly start with great music and live performance backed by support from relevant taste- makers and attention across your social media. All of this is covered in detail in Chapter 4 – Spreading the word. HOW SOCIAL MEDIA DRIVES RADIO PLAY You may think your music is something the world is waiting to hear. But if you are not taking every opportunity to be heard – live and online – then you are living in fantasy land. Five years ago (for the first and, as far as we’re aware, only time) a journalist managed to get a seat at the table to witness how music was shortlisted at the UK’s most popular music station, BBC Radio One. The Radio One playlist committee is a group of music lovers who meet once a week in Portland Place, London, to decide which new songs will be played the following week. The committee’s decisions are the single most important component in driving early chart success in the UK. C list records are played (‘rotating’ through different time slots) say, eight to ten times in the week; B list records say, 15; A list say, 25. The kind of rotation model used by the BBC may change time to time and from station to station, country to country, but it is not atypical, so provides a notable example whichever territory you make music in.Journalist Nadia Khomami – allowed into a meeting after sending more than 100 begging emails – told The Guardian what she saw: “After deciding whether to keep current playlisted tracks, the discussion moves on to new additions. A snatch of each song blares through speakers before [the head of music] lists the artist’s YouTube views, SoundCloud hits, Shazam ratings, Twitter followers and Facebook likes.” Got that? They played new music – a snatch of it anyway. But the committee was just as interested, probably more so, in stats from social media platforms. Radio used to be a taste-making machine. Now taste-making begins online – which means playlist compilers are largely following rather than leading. That’s not to say they never take a chance with gut feeling from time to time. They absolutely do – from time to time. But why would you take a chance with your career when gut feeling is no longer the prime driver of playlist compilation?HOW SOCIAL MEDIA DRIVES RADIO PLAY Prepared exclusively for [email protected] # Attack Mag 16980. © All rights reserved.THE BUSINESS OF MUSIC CHAPTER 1 THE MUSIC BUSINESSTHE BUSINESS OF MUSIC45 Pushing boundaries won’t hurt either. “I like things that are unique and extreme,” notes super-producer Rick Rubin: “Edgy things tend to get my attention.” And here’s some advice from an agent and manager who’s broken more than a few No. 1 acts: “If you’re going to use sex, really use it. If you’re going to be controversial, be really controversial. If you set out to offend, be really offensive.” Because purple cows don’t do things by halves. Prepared exclusively for [email protected] # Attack Mag 16980. © All rights reserved.THE BUSINESS OF MUSIC CHAPTER 2THE BUSINESS OF MUSIC46 ‘We’re no longer in the music business – it doesn’t exist any more. We’re in the multimedia business.’ Scooter Braun, Justin Bieber’s manager Chapter 1 offers an overview of the music industry – as it has been and as it now is; an industry currently worth more than $19bn and rising. But where does that $19bn come from? What are the various strands that contribute to this figure and, critically, how do artists make their money? It’s different now than it was ten years ago and very different to 20 years ago. Back then an artist could expect the bulk of their earnings from record royalties (through sales of vinyl, tape or CD) supplemented by performing royalties (from radio and other broadcast plays), publishing income (as the writer on the recordings) and, sometimes, income from gigs. Those gigs were usually promoting an album – and most acts wouldn’t expect the tour to make them much, if any, money. That model is now turned on its head. Today the single promotes the album and the album promotes the tour – from which you can expect to earn a large slice of your income. Once your album’s out, and you’re the headline star, if you’re not earning from the tour you might be in trouble.IN THIS CHAPTER... Gigs Merchandise Royalties History Copyright Performance Mechanicals Collection agencies Record sales Self releasing Advances Streaming Sync deals Brand endorsementsHOW MUSIC MAKES MONEY FOR YOU Prepared exclusively for [email protected] # Attack Mag 16980. © All rights reserved.THE BUSINESS OF MUSIC CHAPTER 2 HOW MUSIC MAKES MONEY FOR YOUTHE BUSINESS OF MUSIC47 MERCHANDISEMUSIC SALES TOURINGGigging is just one part of today’s so-called ‘360’ model, which includes all of the royalties above, but now includes downloads (increasingly less) and streaming (increasingly more). In addition, today’s acts are increasingly filling the hole left by falling record sales through merchandising, exploiting sync rights (the use of music in films or TV programmes) and sponsorship deals. This infographic shows the four key areas of income for artists who write and perform their own music. The smaller blocks show who or what else will share an income stream with the artist. Note that if you are a managed artist, all money will go to your manager who will deduct commission before paying you.HOW MUSIC MAKES MONEY - THE FOUR MAIN ROYAL TY/REVENUE STREAMS RECORD LABELVATMANUFACTURING PUBLISHERDISTRIBUTIONRETAIL ARTISTBOOKING AGENTROAD CREWSUPPORT BAND PROMOTERSOUND & LIGHTSVENUE HIRE ARTIST MANUFACTURERARTIST ARTIST LICENSOR PUBLISHERPUBLISHING OTHER POSSIBLE REVENUE SOURCES SYNC LICENSING • RINGTONES • YOUTUBE PARTNER • SPONSORSHIP • PRODUCT ENDORSEMENTS Prepared exclusively for [email protected] # Attack Mag 16980. © All rights reserved.THE BUSINESS OF MUSIC CHAPTER 2 HOW MUSIC MAKES MONEY FOR YOUTHE BUSINESS OF MUSIC48 GIGS When you start out as a musician, fees from gigs will typically be your main source of income. These fees are likely to be fairly small, paid direct to you in cash at the venues you play. Sums are usually even smaller for DJ sets. Many artists earn nothing for their live endeavours until they gain a reputation locally. As your profile rises, live income – from bigger, better-attended gigs – will hopefully increase until you attract the attention of a booking agent. With a booking agent on your team, the income you receive from gigs will no longer all be yours. The money that used to go directly from the venue owner’s hand into your own is now filtered through the booking agent (see Chapter 7 - Your team). They will take between 5–15% of the total gig fee. Early in your career the agent will take around 15%. But as your audience size increases, the money increases too and the agent’s cut will subsequently fall. But they won’t be complaining: 15% of $100 is $15; 5% of $1,000 is $50. Once a manager joins your team they too will require a cut from your live income. A manager will take between 15–20% of everything you earn. The transition from taking home 100% of a gig fee to having up to a third of it carved out in commission can be tough. Indeed for a short period during that transition there may be less cash in your pocket. But you’ll soon be playing bigger venues – meaning bigger fees. And by delegating the business of tour arrangement to a third party you should be getting bigger and better paid gigs by default. You’ll also have freed up a large chunk of your time to concentrate on more important matters. Prepared exclusively for [email protected] # Attack Mag 16980. © All rights reserved.THE BUSINESS OF MUSIC CHAPTER 2 HOW MUSIC MAKES MONEY FOR YOUTHE BUSINESS OF MUSIC49 MERCHANDISE In our brave new digital world, stuff – real physical stuff – still sells. In fact, it’s selling more than ever. And while a new generation of music ‘lovers’ is happy to pay next to nothing for mp3s and streams, many are happy to dig into their pockets, often at gigs, but also on artists’ online stores, to buy merchandise. The International Licensing Industry Merchandisers’ Association (LIMA) estimated the worldwide merchandise (or ‘merch’) market was worth £2.14bn in 2018 – a growth of 9.4% year on year. Meanwhile, in the UK, a Musicians’ Union report at the close of 2018 suggested as much as 20– 30% of a band’s live takings came from selling merch. There are branding and PR benefits to be had from a well conceived and realised merchandising approach, too. The best merchandising not only makes money but also builds brand recognition and generates buzz. As with every other aspect of your brand (much more of which in Chapter 3 – Your brand), it’s essential to start with your fan base when thinking up merchandising ideas. If your audience largely comprises cash-strapped students, for example, they’re unlikely to be in the market for a lavishly produced 12” vinyl with accompanying hardback book. And if you’re marketing a £20 T-shirt to fashion-savvy clubbers make sure it’s of sufficient quality – both aesthetically and physically – to warrant the price tag or you risk not only losing money but also garnering a reputation as a rip-off merchant. Starting with your fanbase means ensuring your merch fits your brand identity – the ‘Story’ in Chapter 3. If it doesn’t you not only risk muddying the brand waters, if the divorce between brand and merch goes too far you also risk being labeled a sellout (a folk band singing about authentic living is likely to get short shrift selling cheap, mass-produced figurines). The good news is that high-end merchandise isn’t something you need to concern yourself with at the start of a music career. The initial financial investment required can be significant and you need to be gigging sizeable venues regularly enough to be able to shift serious units. To begin with, then, your merch offering may be as simple as a few branded T-shirts and a Prepared exclusively for [email protected] # Attack Mag 16980. © All rights reserved.THE BUSINESS OF MUSIC CHAPTER 2 HOW MUSIC MAKES MONEY FOR YOUTHE BUSINESS OF MUSIC50 boxful of CDs after a gig (T-shirts remain the main bread-and-butter seller for most artists). ‘Meet and greet’ is now an expectation for gig attendees. You need to adjust mentally to the new post-gig norm of fans queuing to say ‘hi’; shaking hands; posing for selfies; and gently guiding them to the merch counter (see The importance of merch: edible skulls and post-gig CDs, below). The standard rules of retail apply to merchandising: keep profit margins as wide GIGS AND ONLINE: YOUR TWO KEY SHOPFRONTS The most obvious place to sell merchandise is at, and usually after, gigs. In America, country music stars have long known the value of setting up a table after the gig where fans can queue for an autograph and buy the latest album. Interacting with fans not only keeps your feet on the ground, it’s also a highly effective means of fostering and maintaining a loyal fanbase. Why is the after-gig shop such a financial no-brainer? Gigs offer you a captive audience of fans who’re buzzing from the performance they’ve just seen and who can take stuff home without the faff of postage costs and a seven day-wait. But it’s not the only merch sales channel. Although your fanbase is likely to start local, before long you’ll have fans in other regions and countries who’ll never make it to a gig. These are all potential merchandise buyers and given you have the stock, it’s churlish not to make it available to worldwide buyers 24-7. Cue the online store. Setting up an online store is easy enough; there are plenty of third party templates that make it relatively straightforward (start at wix.com or godaddy.com), and anyone with an email address can accept online payments via PayPal. You can also sell merch directly through Bandcamp or even on Spotify if your streaming numbers are high enough.The main challenge, particularly when selling overseas, is getting the postage costs right. Do your research and keep track of changing charges – if you’re not careful you can end up losing money. Running a small despatch operation like this takes time – which is time spent not making music. But it’s money in your pocket and if it takes up an hour or so a week in the early days then as far as your fledgling business goes, it should be time well spent. When merch starts demanding more time, rope in a supportive relative or friend, incentivising them if you need to with a share of revenue. If that all sounds like too much of a headache, and the idea of filling your bedroom with T-shirts fills you with dread, you might choose to follow the lead of acts like Mumford & Sons, Metallica and Mogwai and use a service like Music Glue to do the job for you. musicglue.com is a “direct-to-fan platform which allows musical artists to sell digital content, merchandise, and event tickets in multiple currencies and languages”. With a print on demand T-shirt service, stock and despatch management as well as web- based shop templates looked after for you, Music Glue removes much of the burden of merchandising from your shoulders. Their charges are fair and transparent – around 10% commission at time of press. Prepared exclusively for [email protected] # Attack Mag 16980. © All rights reserved.THE BUSINESS OF MUSIC CHAPTER 2 HOW MUSIC MAKES MONEY FOR YOUTHE BUSINESS OF MUSIC51 as possible and balance economies of scale with realistic production runs (i.e. make as much merch as you can to get the unit cost as low as possible – but no more than you can actually sell). The revenue breakdown from selling merchandise in the early days is simple: you pay to print the T-shirts, CDs or limited edition vinyl, you set the sale price, then all profit goes into your pocket. If someone other than you is manning the stand they may also ask to be paid or receive a share of profit. Every now and then you’ll come across a venue owner who wants a cut of your merch sales. After the shock of the first time, you’ll realise this is pretty normal. You wouldn’t offer them a share (why would you?), but if they ask, don’t fight it – everyone needs to make a living and without the gig you’ve got nowhere to sell your T-shirts. You might, of course, want to counter the owner’s request with one of your own. Maybe you negotiate their suggested 10% cut down to 5%. Or you ask for a share of the bar takings pro rata to the number of extra people you’ve brought through the door. Don’t ask, don’t get… You don’t need to stick with the ubiquitous T-shirts, CDs and limited edition vinyl runs. Figurines, place mats, jigsaws, signed photos, posters, USB sticks, edible skulls… all have been explored and all have contributed towards the bottom line of artists making music in every conceivable genre. Just make sure that nothing costs more to make than your fans are willing or able to pay you for it. MERCHANDISING LICENSES If you’ve got a record deal and you’re touring larger venues, a box of CDs and 20 T-shirts is no longer going to cut it. Cue the merchandising license. At this point a third party – a merchandising specialist - will take all the hard work of making and selling off your hands. They will take away the risk of investing in stock, expand the range of stock on offer, and because they now carry the risk, ensure maximum effort is made to sell as much as possible, both at gigs and online. But – you knew there’d be a ‘but’ didn’t you? – your share of merchandising revenue will go down, and it will go down dramatically. Prepared exclusively for [email protected] # Attack Mag 16980. © All rights reserved.THE BUSINESS OF MUSIC CHAPTER 2 HOW MUSIC MAKES MONEY FOR YOUTHE BUSINESS OF MUSIC52 THE IMPORTANCE OF MERCH: EDIBLE SKULLS AND POST -GIG CDS If the idea of taking your merchandise to the next level and then some appeals, look no further for inspiration than Oklahoma psych- rockers The Flaming Lips. A quick perusal of their online store reveals a few truly bizarre items alongside T-shirts and hoodies, most notably the ‘Silver Trembling Fetus’ hanging Christmas tree ornament, which, according to the band’s Wayne Coyle, is “rumoured – not scientifically proven – to give off vibrations that help all humans progress towards an intelligence explosion”. We’re not sure about that, but at $40 it’s probably helped their bank account progress by a few thousand bucks. No longer in the Lips’ catalogue but sure to go down as a watershed moment in both music merch and culinary history, 2011’s ‘Gummy Skull’ was a life-size human brain made of whatever it is gummy bears are made of, encasing a flash drive with their four latest tracks installed on it. Yup, that’s right – you had to eat your way to the music, having paid $150 for the opportunity. Both the ‘Silver Trembling Fetus’ and ‘Gummy Skull’ pale into mundanity, though, next to the Lips’ Halloween 2011 venture into out-there merchandising. To push the release of their 24-hour song ‘7 Skies H3’, they put the track on 13 flash drives installed in 13 real human skulls sold for $5,000 a piece. Not only did the band make 65 grand out of the endeavour, but every rock website and blog on the internet reported the story, giving them a healthy PR injection. Of course you don’t have to push the boat out that far to make money – and build a fan base – from your merch. Glenn Tilbrook of Squeeze remembers the days when he paid little attention to merchandising. “I was the archetypal artist – money was great, but it wasn’t what drove me. I was naive – I just wanted to make music.” That naivete cost the band dear. Two weeks after receiving a £200k advance against merch sales the then Squeeze line- up split. As a consequence, “we ended up saddled with debt for about 15 years”. Today, the former stadium favourites have a sustainable self-run business, a significant part of which is control of their own merchandise. Their runaway merchandising winner has been selling recordings of the gig an audience has just attended within minutes of the concert ending. Band members leave stage and go to the band’s pop-up shop in the venue foyer. There they chat to fans, pose for photos and sign autographs. Meanwhile, four CD towers, linked to the mixing desk, are already burning the night’s performance to disc. Eleven discs per tower are ready for sale in ten minutes. Tilbrook understands the importance of contact with fans in the digital age. Yes, your shop window is the internet, he says. But it’s also where you are. “The concept of the post-gig pop-up shop works. People respond to you being open and fair with them. “If they buy nothing you’re still giving them something – even if it’s just your time. They don’t have to buy anything in order to say ‘Hello’ or whatever it is. But most people do buy something.” In fact, a staggering 10 per cent of the audience buy a CD or key fob drive containing the evening’s performance, and, according to Tilbrook, the fans are as interested in that as they are in a studio recording. Prepared exclusively for [email protected] # Attack Mag 16980. © All rights reserved.THE BUSINESS OF MUSIC CHAPTER 2 HOW MUSIC MAKES MONEY FOR YOUTHE BUSINESS OF MUSIC53 It’s not unusual for the merch company to demand as much as 70% of total sales (that’s sales, not even profit), and your negotiating power is only as strong as the audiences you know you can attract. (As with booking agents, the larger the audience, the lower the percentage the merchandise company will ask for.) Seventy per cent is a BIG deduction, make no mistake, but selling stuff is an essential part of a successful 360 income model (see Chapter 8 – The record deal) and at this point in your career you want to concentrate on writing career-defining songs and putting on great shows, not becoming the world’s most successful T-shirt vendor. Even though your percentage share of merchandise dips dramatically in this model, if everything goes according to plan your actual income from merchandise should increase. Licensed merchandise is unavoidable as your career moves up a gear. But it presents challenges, and you should be aware what you are getting into. Firstly, if you drop below a minimum audience number at your gigs – which can be stated in the license contract – your merchandiser may want you to make up the difference between their expected income and what they actually achieve. Let’s say, for example, that they expect $1 per audience member to be spent on merchandise and base their sales forecasts on a minimum audience of 1,000. But your ticket sales don’t go so well, and only 700 people turn up. Right there, assuming they’re asking for a 70% cut of sales, your share of the income has been wiped out. Secondly, if you’ve received an advance against merchandise income, not only will the merchandising company likely have the right to cancel your deal, they may also want some or all of your advance returned. The good news is that long before a merchandise deal lands on your desk, you should have both a manager and a lawyer whose job it is to mitigate the risk of you facing either situation. Prepared exclusively for [email protected] # Attack Mag 16980. © All rights reserved.THE BUSINESS OF MUSIC CHAPTER 2 HOW MUSIC MAKES MONEY FOR YOUTHE BUSINESS OF MUSIC54 ROYAL TIES Gig fees and merchandise are easy enough to understand. They deal with the tangible. You play a gig – you get paid. You sell a CD – you take the fiver. Royalties, on the other hand, are more conceptual and not so easy to grasp. But since they make up a significant share of a successful artist’s income it’s important to understand what they are. The best place to start is by looking at how they came into being. A BRIEF HISTORY OF OWNERSHIP The term ‘royalty’ dates back to the 15th century. Back then rights were granted by the British monarch (Royalty, geddit?). These ‘Royalty rights’ allowed individuals or corporations to exploit certain enterprises that were under the monarch’s control. For several centuries, authors and composers were not thought to ‘own’ their work. Once written, it was on the wind. The people who were granted Royalty Rights, and made money from the works, were those who had the means of duplication and distribution – which meant printers and publishers. The first example of what we would now think of as ‘copyright law’ is generally thought to be The Statute of Anne. (The reigning monarch at the time was Queen Anne. It required Royal Assent to be placed on the Statute Book, which it was on April 5, 1710). The statute was designed to pass ownership of written work from printers to authors and was a big win for artists of all kinds. Because of Britain’s involvement in and influence over America at the time, the principle also took hold in America. Prepared exclusively for [email protected] # Attack Mag 16980. © All rights reserved.THE BUSINESS OF MUSIC CHAPTER 2 HOW MUSIC MAKES MONEY FOR YOUTHE BUSINESS OF MUSIC55 COPYRIGHT The Statute of Anne didn’t specifically cover musical composition. But the potential was quickly spotted and the law grew in scope over the coming decades. What the statute did was to enshrine in law the rights of the creator of a work (author, composer or playwright) to licence that work to be copied (a right to copy... copyright) for general distribution in return for a share of the income. Then in 1842, The Copyright Act was enacted in the UK. This repealed all former laws and clarified that all authors – whether of books, music or plays – for the first time owned their work, and could therefore subsequently license and exploit it financially. In the late 19th century and well into the 20th, this exploitation was dominated by sheet music. Songwriters would assign their rights to a song publisher who had the means of printing and distribution to hand. The publisher would take original manuscripts, duplicate them, distribute them and sell them before paying the original songwriter/s a share (royalty) of earnings. It was a phenomenally successful model. Even in far-flung rural areas people would gather round their pianos to learn and sing the latest songs. Sheet music sold by the millions – and composers reaped the rewards. THE NEXT ROYAL TY: PERFORMANCE Then things began to change. As populations left the villages and their cosy communal singalongs to live in towns and cities, people started congregating instead in music halls, burlesques and theatres to hear the popular music of the day. No longer was music being enjoyed by a select few; it was being consumed by hundreds – sometimes thousands – at a time. SHEET MUSIC SALES TODAY The sale of manuscripts remains a significant revenue stream for musicians and music publishers to this day, and every publishing agreement includes provisions for the printing and selling of sheet music. Demand for these manuscripts remains high; many classically trained musicians and players in cover bands – not to say legions of musical learners – rely on scores to perform hit tunes, film scores and songs from musicals. Publishing agreements include a clause stating who has the right to print (or upload for sale online) these scores, which is normally the publisher themselves or their business partners. It will also stipulate the royalty rate associated with the revenue collected. This rate is typically different to the rate agreed for mechanical and performance royalties and often leaves less for the writer – a 60% publisher’s share wouldn’t be unusual. Prepared exclusively for [email protected] # Attack Mag 16980. © All rights reserved.THE BUSINESS OF MUSIC CHAPTER 2 HOW MUSIC MAKES MONEY FOR YOUTHE BUSINESS OF MUSIC56 Those running the concerts were making small fortunes. But the composers were only seeing income from the few manuscripts sold to the musicians on stage. Composers and their powerful publishers saw they were missing a trick. Other people were getting rich from the intellectual property they owned. They wanted to be paid each time one of their works was performed live. So they set about lobbying governments to ensure musical rights holders benefited financially not only from sales of printed music but also performances of that music. EXPOSURE AND ROYAL TIES: THE RADIO EFFECT Radio has traditionally been the biggest medium for promoting popular music. And while it might now be feeling the heat from streaming services, radio remains a linchpin of income for songwriters. So it’s strange to contemplate its humble beginnings – as wireless telegraphy, often conducted along railway lines. In 1873 James Maxwell predicted the possibility of wireless electromagnetic waves. Fifteen years later Heinrich Hertz gave the first practical demonstration of what had become known as ‘radio’ waves. Then a young Italian named Marconi began experimenting with ‘broadcasting’ – sending these signals more than a few feet. It wasn’t long before he was able to transmit across a distance of up to two miles – and over hills. By the mid-1920s, these small beginnings had grown into the start of the American commercial radio system. Restrictions on the distance wireless signals could travel meant that AM stations eventually numbered in their thousands, serving local communities rather than a national audience. As they began to find big audiences for music, so the rights of songwriters and recorded versions of their songs – already enshrined in law – began to add to musicians’ earnings. Also, being local, they found more success playing to local tastes, which is how country music and r’n’b found their way into the mainstream. But the dominant AM format was Top 40 radio which, over three decades after World War 2, built a massive market for sales of singles. Then, in the 1970s, along came FM radio, high definition and stereo. DJs began to play album tracks – even whole albums – which helped shift record sales from singles to albums. In little more than a decade FM had 70% of the audience and the AM Top 40 format was on the way out. Today, FM radio remains as popular as ever, supplemented with thousands of online stations catering to all manner of tastes, the best known being Apple’s Beats 1. Seeing the potential for pushing sales of singles and albums on iTunes via their own online station, Apple launched Beats 1 in June 2015, running 24 hours a day, and anchored and ‘curated’ by DJs Zane Lowe, Ebro Darden and Julie Adenuga. Beats 1 is part of Apple Music, which has over 56m paying subscribers, making it potentially the biggest radio station in the world – though Apple have never revealed listener figures. One thing’s unarguable, though: the importance of radio exposure and royalties for artists at all stages of their career, from emerging talent to global stars. Prepared exclusively for [email protected] # Attack Mag 16980. © All rights reserved.THE BUSINESS OF MUSIC CHAPTER 2 HOW MUSIC MAKES MONEY FOR YOUTHE BUSINESS OF MUSIC57 The seed for this ‘right’ had been sown in France as early as 1777. A group of authors had formed a society to collect and administer money due to the ‘playwright’ from performances around the country. Fifteen years later, on January 19, 1791, that kernel of an idea was ratified as law by Louis XV1, establishing France’s SACD collection societié. This became the model for today’s collection agencies – ASCAP and BMI in America, PRS, MCPS and PPL in the UK, and various other agencies in Europe and around the world. (See The PRS, and how to join, below.) MECHANICALS ENTER THE FRAY As we entered the first quarter of the 20th century, it had become established that: – songwriters own their own work – they are entitled to share in sales of printed versions of that work – and they are entitled to be paid wherever and whenever that music is performed. But a new, even more significant revenue stream was about to open up thanks to a mechanical development that would shape music listening for the next half century: the invention of the phonograph. For the first time in history, the experience of listening to music was no longer dependent on human performers. Instead you could buy a mechanical (wind-up) machine (hence the term mechanical rights) that did the job for you. There was no way the publishers were going to be cut out of that particular piece of pie, so in the UK The Copyright Act 1911 consolidated all prior legislation and conferred copyright on sound recordings as well. Because the British Empire was at its height, the act reverberated internationally. 21ST CENTURY RIGHTS The history of intellectual property has been characterised by societal, technical and consumer developments repeatedly changing how people use and pay for their entertainment. Prepared exclusively for [email protected] # Attack Mag 16980. © All rights reserved.THE BUSINESS OF MUSIC CHAPTER 2 HOW MUSIC MAKES MONEY FOR YOUTHE BUSINESS OF MUSIC58 Usually the existing rights are simply rolled over or expanded upon to take account of the new circumstances. But occasionally a tussle ensues. It happened with video when film studios decided there was no precedent for paying actors and writers for viewings at home. Actors and writers went on strike, so no new film or television shows could be made. That solved that problem. Now it’s happening with streaming – discussed later in this chapter. But even though the way we consume music today may seem a million miles away from our forebears with their dusty phonographs, the principles and rights established a century ago are pretty much unchanged. They are that: - As a songwriter, you own your work. It is for you to agree terms with a publisher who can exploit that work financially. (Or not, in the case of artists who self-release and self-publish.) - As a songwriter, you are entitled to share in revenues from the sale of sheet music, in the broadcast and performance of your work in public, and from sales of that music in mechanically reproduced (recorded) versions. RADIO ARTIST PERFORMANCE RIGHTS HOLDER SONGWRITER STREAMS SONG RIGHTS AGENCYPUBLISHERHOW AN ARTIST RECIEVES ROYAL TIES SYNCSPERFORMER RIGHTS AGENCY DOWNLOADS Prepared exclusively for [email protected] # Attack Mag 16980. © All rights reserved.THE BUSINESS OF MUSIC CHAPTER 2 HOW MUSIC MAKES MONEY FOR YOUTHE BUSINESS OF MUSIC59 More specifically, as a songwriter you are entitled to a share of revenue from: - all sales of recordings of your songs, whether by you, or cover versions - all broadcasts of your music (on radio and TV) - all paid-for streams of your music - all public transmission of your music (in bars, workplaces, shops, telephone ‘hold’ music etc) - all live performance of your music, not only by others, but also from your own gigs - and from ‘sync’ deals (one-off uses of your song in a commercial, or as soundtrack in a film or TV show). All of which is to say – as our Commandment #10 does (see Starter for ten) – take control of your songwriting. The Song (and Songwriter) rules supreme. It is, and has always been, where the serious money is. That’s not say there’s no money elsewhere. Performers – those who are contracted to play and sing on the recording, whether a solo artist or a band – also have rights, and are paid royalties in certain territories. (America is a major exception.) But they are not afforded the same financially elevated status as creators of the work they perform. PAYING OUT ROYAL TIES Here’s a breakdown of the payments you will receive and from what source they will come when you make a recording of a song you’ve written that gets played on the radio and/or sells copies via retail. - From your label you receive a royalty, based on record sales and streams (both physical and digital), as the artist or band contracted to perform on the record. Labels typically pay out royalties twice a year – but this will depend on the record deal you’ve signed. - From your publisher you receive a royalty as the writer of the song on the record. Publishers generally pay out twice a year. - From your local/own country’s songwriting society (PRS in the UK), you receive a royalty as the writer of the song each time it is played on radio or TV. Half is paid to you direct and half goes to your publisher, which Prepared exclusively for [email protected] # Attack Mag 16980. © All rights reserved.THE BUSINESS OF MUSIC CHAPTER 2 HOW MUSIC MAKES MONEY FOR YOUTHE BUSINESS OF MUSIC60 HOW COLLECTION AGENCIES WORK – AND WHERE THEY’RE GOING The way agencies around the world collect and distribute the money they collect differs from continent to continent and country to country. In the digital age the process also differs from how it used to be – and not necessarily for the better. In the UK, for instance, there used to be periodic negotiations to agree how much a radio station would pay for each record played. Then each station would report every play of a record making it easy to tot up the number of plays multiplied by the per-play fee. Today, there are so many more radio stations around the world and so many other sources of income from public transmissions (bars, cafés, vape bars etc) that radio stations and other outlets generally pay a one- off licence fee. How much they pay for a licence depends on a range of factors. A radio station, for example, will pay a fee based on the size of its audience and the number of records played in each broadcast hour. Some stations are still able to report per play, per record (known as ‘by census’). Others are not. And here’s where it gets a little unfair. If your record is not played by any ‘census’ station, you are unlikely to receive much, if any, payment for radio play because the play/s will not show up in any data. This is because any rightful royalty payments from those that don’t account ‘by census’ will be masked by an algorithm which works on the pattern of play you have received from those that do. Your local (own country) collection agency, once you have joined, will let you see which stations account ‘by census’. Make sure you and your pluggers concentrate on those stations. And that’s where we’re going to stop trying to explain how collection agencies calculate how much to pay. It would be a book in itself – and a lot bigger (and more boring) than this one. We could point you at an existing book – like Ron Sobel and Dick Weissman’s Music Publishing: The Roadmap To Royalties. But first off, it’s $45. Secondly, it’s seven years old. And thirdly... Haven’t you got a song to write? Understanding the intricacies of collection agency algorithms is unlikely to make you a penny richer. Leave the royalty academia to Mssrs. Sobel and Weissman and concentrate on your career. It will be time far better spent. The most recent development in recording music usage comes courtesy of the underground club scene. Electronic music played by DJs in clubs has always been a near-royalty-free area. Not that anything too wicked was going on; just that there was no reliable reporting method to make sure performance royalties made their way into producers’ pockets. But technology is changing that – although there is still no concencus over a universal method. Pioneer has its Recordbox which is helping producer- DJs track their music in clubs. And then there’s Imogen Heap’s visionary Mycelia Project, which aims to link all creators to their earned income more directly and more quickly. Meanwhile in the sync and library world services like Tunesat are constantly scouring TV channels and websites to track music usage and ensure writers and their publishers are paid accordingly. We bet it won’t be long before something like Mycelia’s blockchain is applied across the board, including worldwide radio play and streaming. The revolution may not be televised, but it will be recorded. Prepared exclusively for [email protected] # Attack Mag 16980. © All rights reserved.THE BUSINESS OF MUSIC CHAPTER 2 HOW MUSIC MAKES MONEY FOR YOUTHE BUSINESS OF MUSIC61 then accounts to you for your share. Songwriting societies typically pay out quarterly. In the UK, for example, the PRS distributes royalties in April, July, October and December. - From your local/own country’s performance agency (PPL in the UK – see PPL: How it works and how to become a member, below), you might receive an additional royalty as the performer on the record each time it is played on radio or TV. (As noted above, some countries, including America, do not pay a broadcast royalty to performers.) In the UK there is a main annual payment from PPL for UK income, while money generated internationally and from additional rights is paid at intervals throughout the year. ROYAL TIES FROM RECORD SALES If you’ve made it this far, put the kettle on and give yourself a pat on the back. You now know more than many musicians do about the how, when and why of royalties. In many ways royalties from the sales of your music under a record contract (the money you make every time a CD, record or download is paid for) should be the easiest of all to understand – after all, don’t you just get a straight percentage of the income? If only it was that simple... Here’s what actually happens. The label signs you as an artist. The record contract gives them the right to make copies of your work, either physically or digitally (usually both), and then pass on a percentage of the royalty made from sales to you the artist. This rate of royalty is enshrined in your contract with the record label. Let’s say the royalty is 20%. (If anyone offers you less than 20% royalty on a record deal, run a mile.) So far, so good. But: 20% of what? This is the million dollar question – or, more likely, not-a-million- dollars. And it is the cause of ongoing A ROYAL TY EXAMPLE iTUNES PRICE $9.99 ITUNES TAKES 30% LABEL SHARE @80% $5.60ARTIST @ 20% $1.39ITUNES PAYS $6.99 MECHANICAL ROYAL TY $0.91As irrelevant as iTunes may become, it’s an easy way to show you how money gets eaten up before you get your share. You are never going to get your royalty rate (say 20%) as 20 pence in every £1. Prepared exclusively for [email protected] # Attack Mag 16980. © All rights reserved.THE BUSINESS OF MUSIC CHAPTER 2 HOW MUSIC MAKES MONEY FOR YOUTHE BUSINESS OF MUSIC62 grumpiness among artists. Let’s forget for a moment that iTunes is on its way out, because it’s a really simple example of how your end of the money diminishes in any payment system before it gets to you. So, you might think, for instance, that at 10%, you could expect 99 cents for every $9.99 album downloaded via iTunes. But you’d be wrong. Here’s why. The album sells for $9.99 on iTunes – see diagram, above. iTunes takes 30% of that as their share, leaving $6.99. 91 cents of that is mechanical royalty – an automatic payment that goes directly to the publisher of the song. This leaves $6.08 for the record label. And it’s on this $6.08 that your 20% artist royalty is paid – just over $1 an album. Which is why so many artists wonder why they’re still on the breadline even after selling 5,000 albums. A NOTE ABOUT SELF-RELEASING The whole of Chapter 5 – Releasing a record is dedicated to self-releasing a record. For the sake of clarity, all of the rights (and subsequent royalties) outlined so far in this chapter are the same whether you release your own material or release through a label. The difference is that if you have a label and/or a publisher, you assign some of these rights (and therefore income) to other people. When self-releasing a song digitally the model outlined above changes as follows: – iTunes (or other retailer) will take their cut – typically around 30% of RRP (see right). – You will then pay somewhere between zero and 15% to an aggregator (we talk more about them in Chapter 5 - Releasing a record) of what’s left. – After iTunes and the aggregator take their cut, the remainder is yours SELF-RELEASING ROYAL TY MODEL iTUNES PRICE $9.99 ITUNES SPLIT 30% $3.00YOUR AGGREGATOR SPLIT 15% $1.05YOUR CUT $5.94 Prepared exclusively for [email protected] # Attack Mag 16980. © All rights reserved.THE BUSINESS OF MUSIC CHAPTER 2 HOW MUSIC MAKES MONEY FOR YOUTHE BUSINESS OF MUSIC63 (assuming you are also the songwriter and are self- publishing). Your aggregator will have their own payment schedules, but they tend to be more regular than record companies and collection agencies. – Which means that with an album RRP of, say $9.99, you can expect to see around $6 per album – a big improvement on the 60 cents typical under a record deal. But everything is relative. One million copies at 60 cents is worth ten times 10,000 copies at $6. And a million album sales will up your live audience from scores to thousands. Note that not all aggregators charge commission. Some charge a straightforward fee for putting your tracks online. Extra services, like promotion packages, can cost extra. All of this is covered in Chapter 5 - Releasing a record. PERFORMER ROYAL TY Performer royalty relates to a performance on a record. This is paid out to those who perform on the record – the singer, the guitarist, the drummer. It is different to the ‘performance royalty’ collected by PRS, BMI etc, which is specifically about the broadcast or other transmission (‘performance’) of your record in public. Some countries, notably America, do not pay performer royalties. But where they are paid, you are considered ‘the performer(s)’ if you are the singer or band contracted to the record deal. The organisation that collects this money in the UK is Phonographic Performance Limited (PPL) – see box, right. Check online for your regional equivalent. The money collected by PPL is distributed among record company members and performer members once a year.PPL – HOW IT WORKS, HOW TO BECOME A MEMBER PPL collects royalties from the same sources as PRS, but it collects on behalf of record companies and performers. So if you are the performer on a successful record but did not write the song you can still expect a royalty cheque for radio and TV play, and public broadcasts of your record in bars, shops and factories. As with PRS, joining PPL is easy. Go to their website and click on the Register Today link. Just fill out the form and follow the instructions. The main qualification is that you are demonstrably the contracted performer on a record that has been commercially released (as opposed to a session musician who was bought in for the day). If you are self-releasing, the same process applies. But if you have cut in other musicians (in lieu of a session fee, say) then you also have to register their ‘interest’ in each track. Prepared exclusively for [email protected] # Attack Mag 16980. © All rights reserved.THE BUSINESS OF MUSIC CHAPTER 2 HOW MUSIC MAKES MONEY FOR YOUTHE BUSINESS OF MUSIC64 STREAMING: THE LATEST – AND MOST CONTROVERSIAL – ROYAL TY Streaming is the newest area of royalty earnings – and both its growth and importance to the industry have been phenomenal. In 2008, in an industry turning over $15bn, Spotify contributed $500,000 – equivalent to 3.3%. In 2018, in an industry grown to $19.1bn, Spotify contributed $8.9bn – equivalent to 47%. And the move from digital to streaming is accelerating as Google Music battles with Apple Music. But niche services are growing too, including Deezer – which features live sessions in addition to recorded music – Tidal and Qobuz, both offering music files at CD-quality and better. Subscription streaming is the future; Apple have staked their claim, and it’s no accident that the majors have a financial stake in Spotify. But how does that translate to royalties for artists themselves? Here things are more confused, with the unpalatable truth for some being that it doesn’t. THE PRS, AND HOW TO JOIN The Performing Rights Society (PRS) is the UK collection agency that gathers payments from radio, TV, film and other public broadcasting sources on behalf of songwriters and music publishers. Every country has its own equivalent. You qualify for songwriter PRS membership if you write and/or compose songs or music that is being commercially released and/or performed. To register, go to their website and follow the links. It currently costs £100. As a member you are accounted to four times a year and paid out according to their distribution formula. If you are signed to a publisher, you will receive 50% of any income from broadcast of your music direct from PRS. The remaining 50% goes to your publisher, who will pay out the balance owing to you. If you self-publish you receive 100% of the payments. In the UK, PRS has joined forces with what used to be a separate collection agency, the Mechanical Copyright Protection Society (MCPS). MCPS collects money from mechanical public performance (the playing of recorded music in bars, offices etc) on behalf of record companies and publishers, and pays out to its members monthly. When you become a member of PRS you are automatically eligible for royalties collected by MCPS, as long as your record company and publishing company are members. We advise you check that they are before signing a deal. Prepared exclusively for [email protected] # Attack Mag 16980. © All rights reserved.THE BUSINESS OF MUSIC CHAPTER 2 HOW MUSIC MAKES MONEY FOR YOUTHE BUSINESS OF MUSIC65 Streaming revenue relies on more complex models than those that govern traditional music sales (which, as we’ve seen above, can be complicated enough anyway). The world’s biggest streaming service, by a country mile, is YouTube, for example. But, historically, YouTube hasn’t paid rights holders based on views of their copyrighted material. It has paid instead based on views and/ or clicks of the advertising that is run alongside their uploads (the ads that appear at the start of a video or the banners that float over them). As a consequence, YouTube has constantly been at war with rights holders who have rightly claimed the company only places monetary value on the number of ad views/clicks generated by an upload – rather than the number of views the music video itself gets, the very thing viewers are there to actually see. But Spotify has – yet again – pointed to the future for a competitor. YouTube has now introduced an ad-free subscription service. If Spotify, from a standing start, can garner 96m paying subscribers, we can only imagine what YouTube might achieve over the next five years with a 1.5bn user base to work with. And the numbers are enormous. Dua Lipa’s ‘New Rules’ has been streamed on Spotify alone more than one billion times. On YouTube, the official video has been viewed more than 1.5bn times. Ed Sheeran’s ‘Shape Of You’ video has had almost four billion views on YouTube and all but two billion streams on Spotify. Sheeran’s Divide album broke the pop charts when his streaming numbers meant he had nine placings in the Top 10 in March 2017. But musicians haven’t been jumping for joy. Performers and songwriters have been seeing so little of the money generated from streaming their recordings that some (as we discuss in Chapter 1 – The Music Business) have taken their music down. One of these is Taylor Swift, who shows no sign of caving into the corporations. When she signed a new record deal towards the end of 2018 one clause written into her contract was that Universal would distribute – to artists – a share of any money it might make for selling its shares in Spotify. The best way to view the controversies surrounding streaming is in a historic context – as the next big music-consumption shift that will require Prepared exclusively for [email protected] # Attack Mag 16980. © All rights reserved.THE BUSINESS OF MUSIC CHAPTER 2 HOW MUSIC MAKES MONEY FOR YOUTHE BUSINESS OF MUSIC66 a new royalty payment solution, just like the invention of sheet music and radio and gramophone before. Rights holders, musicians, tech companies, consumers, lawyers and even governments are currently jostling their way towards a solution. Throughout this process, musicians have been on the back foot. But signs are – sooner than expected - that power and financial balance is beginning to even out. Since the principle of being paid for public performance of an artist’s work is well established, the big issue with streaming isn’t whether artists will be paid, but how fairly they will be paid and how it will be accounted for to artists and writers. Is a stream like a sale (download) or a radio play? On that question, a lot of money depends. And – as we lay out in Chapter 1 – if you are looking to be signed to a label, make sure your manager has the wit and influence to insist that your streaming royalties are paid at the rate of your headline royalty, not buried somewhere as either radio play or mechanicals. But with giants like YouTube and Amazon and customers worldwide in their billions joining the subscription model, the future is looking a damned sight brighter than it did even four years ago. By the way, if you are self-releasing (and self-publishing) 100% of the streaming revenue you generate will come to you via your aggregator. As a signed artist, it will be included in your statements from your record company. Prepared exclusively for [email protected] # Attack Mag 16980. © All rights reserved.THE BUSINESS OF MUSIC CHAPTER 2 HOW MUSIC MAKES MONEY FOR YOUTHE BUSINESS OF MUSIC67 SYNC DEALS Getting your song placed in a TV show, advert or film – covered by a synchronisation or ‘sync’ license – is another source of income. At the high end of the earnings scale, licensing a track into a big-budget ad with global reach can earn an artist millions. It can also transform a little known song into a chart topper and a little known artist into a superstar. The Room 5 track ‘Make Luv’, for example, would likely have been just another noughties disco house tune. Instead, the huge popularity boost bestowed on it by its placement in an ad for Lynx Pulse rocketed it to the top of the UK charts, where it sat for four weeks – truly, the Lynx effect. It also made the (sampled) vocalist Oliver Cheatham into a household name, 20 years after his last appearance in the charts. In the UK, the use of music in ads has reached a zenith with the so-called ‘ John Lewis’ effect, where artists see significant uplifts in sales – as well as a not insignificant license fee – for using their music for the store’s annual Christmas ad. In the past few years, Paloma Faith (‘Never Tear Us Apart’), Fyfe Dangerfield (‘She’s Always A Woman’), Ellie Goulding (‘Your Song’) and The Smith’s (‘Please, Please, Please, Let Me Get What I Want’ by Slow Moving Millie) have all seen huge singles sales after sound-tracking the annual campaign. It is not just established acts that are able to take a slice of the sync pie. Agencies like Hookline specialise in placing music from new talent, much of it unsigned, on TV, ads and radio, and when the placement is right it’s not just an artist’s income that benefits. Big music publishers have their own in-house sync departments. In 2012 singer/songwriter Charlotte Emma Aitchison – aka Charlie XCX’s – was a relative unknown outside of the east London rave scene. A one- off sync changed that when the TV show ‘Girls’ featured her collaboration with Swedish DJ duo Icona Pop ‘I Love It’. Before the sync, ‘I Love It’ was sitting at a respectable enough No. 2 in the Swedish charts. Following its January 2013 ‘Girls’ appearance the song went global, peaking at No. 7 in the Billboard Hot 100 and No.1 in the UK. Within the space of six months, that single TV tie-in had shifted Charlie XCX’s career up several gears –and Prepared exclusively for [email protected] # Attack Mag 16980. © All rights reserved.THE BUSINESS OF MUSIC CHAPTER 2 HOW MUSIC MAKES MONEY FOR YOUTHE BUSINESS OF MUSIC68 THE WORLD OF LIBRARY: EXTRA BUCK FOR THE BANG Not so long ago, the term ’library music’ brought to mind insipid, lightweight aural tat produced by wilfully out-of-touch musicians and used to help artless corporations peddle washing powder, spam (as in, canned meat, not unsolicited marketing emails) and all the rest of it on TV and radio. Today, with their far more culturally savvy audience and endlessly diverse base of content-creating clients, library music agencies put quality at the top of the agenda, and for the skilled producer there’s significant money to be made without compromising aesthetic integrity. “A lot of composers claim that writing for library can be far more freeing and creative than writing for the commercial world, because you’re not restricted to a certain genre, fanbase or demographic,” says industry consultant Rachel Menzies of Native and Dynamic Music. “On the other hand, in a lot of instances you will be writing to specific briefs written by agencies or production teams, so your creative potential may be hindered in some respects. Understanding the world of production music is important, as is having an understanding of writing to brief.” With that understood, how do you go about getting signed up to a library music agency? “Be really good at what you do, and do your research,” says Menzies. “If you’re a folk writer and you approach a library that specialises in trailer music you’re going to fall at the first hurdle. Find out which libraries align with your style then get in touch with an album concept that you think will add value to their catalogue. “Most libraries work non-exclusively with writers so it’s not about ‘signing up’ as such. Some of our writers deliver whole albums, others single tracks. Present a library with something that will add value to their catalogue and fill gaps in their repertoire.” For really big clients, library music is always going to be a second choice after major artist sync deals, but this is still a growing industry that no career musician should overlook. “There will always be a place for library music as there are more and more media platforms being introduced to the world that need background music,” Menzies concludes. “Due to budget restraints forcing agencies and production companies to be more creative with their music choices, we have seen a trend in authentic and emerging artist syncs, but equally, the amount of library music being broadcast around the world on TV, online, in apps and via other media is still vast and lucrative.”generated several hundred thousand new fans in the process. While these kinds of syncs offer a mean of generating additional income, fans, record sales and profile from your existing catalogue, there is money to be made too by writing ‘direct for sync’ in the form of ‘library’ or ‘production’ music. Anything from corporate videos to radio jingles and ‘stings’ all require original music, which is typically licensed from specialist libraries like KPM, APM, Dynamic, Boosey & Hawkes and Audio Networks. Many of the biggest Prepared exclusively for [email protected] # Attack Mag 16980. © All rights reserved.THE BUSINESS OF MUSIC CHAPTER 2 HOW MUSIC MAKES MONEY FOR YOUTHE BUSINESS OF MUSIC69 libraries are owned or part-owned by record labels. These libraries commission original music from composers in all genres and then aggressively market it to music buyers and production houses around the world. New services on the block, including the likes of iStockMusic, allow anyone to upload their music, paying back a percentage every time it is licensed. The good news is that you don’t need to be a superstar to earn good money from TV and film; any musician who is able to record and produce high quality music is able to earn from syncs and the wider library and production music industry. If your recordings stand up alongside commercially released tracks of the same genre (run your own comparisons and be brutally honest with yourself) there are plenty of opportunities around, with new companies springing up by the month – all hungry for music and talent. And you’d be in good company: plenty of well known songwriters take a creative break from their main artist-led projects to pen a few library tracks to keep their publishing income stable on forthcoming rainy days. The trick, of course, is knowing who to present your music to. Here persistence is key. Start by searching online for ‘library music’ (the PRS has a useful page of libaries), look at contact pages to find out where to submit demos and start approaching companies you like the look and feel of. Most welcome demos. The library sector may feel like the unsexy end of the music industry but there are plenty of talented musicians who make a good and reliable income from music that they might otherwise never have been heard. Sure, it’s not for everyone, but as part of a balanced portfolio of earnings sync is worth investigating. And you’d be in the company of The Smiths, Phil Collins, Charlie XCX... and Oliver Cheatham.HOW MUSIC LIBRARIES WORK Music libraries generally commission a few tracks or a full album within a given genre or with a specific theme. They might ask for ‘Upbeat House’ or ‘Driving Rock’ or songs that fit with the concept of ‘Breakfast Boogie’. Spend a few minutes listening to catalogues on any of the major library companies’ websites to get a feel for expectations. If you’re selected to work on a library you will typically be given a brief by a project manager who will guide you through the writing and production process, asking for edits before final submission. Once your album is released it is up to the library to secure usage. Depending on your deal you will then either see usage fees paid directly by the library or performance royalties each time a track is used (and potentially mechanical royalties too). Some libraries offer all of the above. A typical deal will give the library exclusive rights to exploit your music, with the library taking 50% of the publishing. Prepared exclusively for [email protected] # Attack Mag 16980. © All rights reserved.THE BUSINESS OF MUSIC CHAPTER 2 HOW MUSIC MAKES MONEY FOR YOUTHE BUSINESS OF MUSIC70 BRAND ENDORSEMENTS At some point in your career you might be asked to wear a particular item of clothing or play a specific guitar. Not only will you get free clothes and a free guitar, but there will likely also be an additional fee to ensure you only wear/ play that product. Rather higher up the ladder, a top-tier artist may be invited to become a ‘brand ambassador’ – often for brands with deep pockets. Think Avicii and Volvo, Rhianna and Puma, Will.I.Am and Intel, even Ellie Goulding and Pantene. If you are ever lucky enough to find a third-party commercial interest knocking at your door, the main question will be whether the brand is in keeping with your own (see Chapter 3 - Your brand). If your own brand, for instance, is lo-fi indie, being a brand ambassador for Laura Ashley would not be a natural or clever fit. And if you’re an EDM producer and DJ, signing up to be the face of Wiltshire Farm Foods is unlikely to be a good idea – no matter how much cash, and organic muesli, is on the table. Having said that, while Justin Bieber might not have seemed like an obvious choice of star endorser for Calvin Klein at the start of 2016, that particular partnership has not only made both parties stacks of cash but also enabled Bieber to update and mature his public image via advertising billboards all over the world. Engaging in a brand endorsement to help rebrand yourself is a risky strategy, but it can be highly effective when it works. Clothing, instruments, cars, coffee makers, headphones – these are all possible pegs to hang on you. They’ll not only make you money, they’ll also save you cash. Be fully aware, though, that aligning Brand You with another brand is a big deal that can have serious consequences for your career if things go wrong. You wouldn’t want to end up in Rita Ora’s – ahem – shoes, for example, dragged into court (and ultimately settling out of it) for being photographed in a pair of Converse while under contract with Superga. And consider the case of Mary J. Blige’s disastrous partnership with Burger King in 2012, resulting in a commercial that was widely lambasted for reinforcing Prepared exclusively for [email protected] # Attack Mag 16980. © All rights reserved.THE BUSINESS OF MUSIC CHAPTER 2 HOW MUSIC MAKES MONEY FOR YOUTHE BUSINESS OF MUSIC71 African-American stereotypes and hastily canned. The deal was cancelled and Blige made a profound public apology Notes Luke Mitzman, ex VP of JHO Management: “The key for us is to find a brand that doesn’t compromise an artist’s integrity. It’s not a badging exercise - kids will see through that in a second, they won’t even register it. You have to create an all-round experience for a brand.” Which is to say that if you steer clear of non-aligments, and forge an organic fit between brand and artist, brand endorsements can be extremely lucrative for the artist. But like almost everything in your career, saying ‘yes’ or ‘no’ should be about one thing and one thing only: looking after number one – and future No. 1s. THE MIXED PORTFOLIO: MAKING ENDS MEET AS A DANCE PRODUCER It’s no surprise that the money-making potential of the average live band is generally greater than that of the average electronic artist/DJ, but there are other ways for the solo producer to turn a profit beyond releasing tracks and gigging – all from the comfort of their own home studio. Versatility is key, as the career of Brit breakbeat producer Hedflux demonstrates. “I did Skype tutorials, workshops at music schools, sample packs and various sound design jobs, among other things, to bring in money between shows,” he remembers of his early career. “The first four years were tough financially – feast or famine – but six years in I’m getting the hang of it. Workshops? Sample packs? Library music? You didn’t get into music production to be doing that kind of thing, did you? Well, yes, you did, actually. If you want a realistic shot at making a career as a musician this is the stuff that will keep you afloat while you wage the longer-term campaign to crack the charts. None of it should feel like a chore, either – there’s plenty of creative satisfaction to be had in producing a sample library, designing the sounds for a local Arts Council media project or hearing your library music used in a TV ad. And if you don’t see it that way, you’re going to have to either grin and bear it or get really lucky with those singles releases. “Ideally, you want something that’s going to pay you,” says Hedflux, “ and help you learn and grow as an artist. “Get outside your musical comfort zone and expand your repertoire. Serve up the content that you are uniquely gifted with and passionate about so you can maintain your independence from jobs, big labels or whatever. “It’s not going to be for everyone – some people just want a simple life and a paycheck, so a big label deal might be best – but I’ve learned that owning all my music and staying independent is important for me.” Prepared exclusively for [email protected] # Attack Mag 16980. © All rights reserved.THE BUSINESS OF MUSIC72 CHAPTER 3 YOUR BRAND ‘Unless you have absolute clarity over what your brand stands for, everything else is irrelevant.’ Mark Baynes, ex-Global CMO, Kellogg’s “Kellogg’s?” you say. “What’s the frak’s music got to do with cornflakes?” The answer – for better or worse – is that artists and bands are brands, from Kanye to Post Malone, Sia to MIA. And when they go off brand - Justin Bieber’s brushes with controversy and the law; Whitney Houston discovered doing crack cocaine - it’s rarely good news for their career. In the marketing and advertising industries billions of dollars and millions of words have been spent theorising, researching and even reverse engineering (finding out what people think they want then inventing the product they think they want) in pursuit of a scientific, rather than creative, approach to branding. When you’re starting out, you don’t need any of this. You just need to be recognised. And you want your name to be recognised, not just when people hear it but also when they see it. WHY DO YOU NEED TO BRAND? There are lots of dirty words associated with art: commercial, profit, sell-out, compromise… Branding is another. Like all of these words branding denotes a deliberate, some might say vulgar, attempt to attract an audience and, God forbid, make some money.THE BUSINESS OF MUSIC IN THIS CHAPTER... What is a brand? Why brand? Building a brand – A nine step programme 1. Brainstorm 2. The name game 3. Creating a story 4. Logo 5. Photos 6. Sleeve artwork 7. Video 8. Social media 9. Your website It starts and ends with the music72 Prepared exclusively for [email protected] # Attack Mag 16980. © All rights reserved.CHAPTER 3 YOUR BRANDTHE BUSINESS OF MUSIC73 If that’s how you feel about the business of creativity – that it should be pure and unsullied by commerce – then by all means skip this chapter. And good luck with your hobby. But if you’re serious about establishing yourself as an artist or act, and if you want your music to be heard by as many people as possible, then – for better or worse – you’re going to have to take ‘brand you’ seriously. It may not come as naturally to you as crafting a lyric or delivering a floor-rocking set. But a solid brand, as much as a strong set of tracks, is the springboard from which your career will launch. It’s not an optional extra. More importantly, if you’re putting all this effort into being the best you can be – as a writer, singer, performer or DJ – then you owe it to yourself to be just as serious about your brand. The world’s most successful companies know that brand infuses everything. The same is true for musicians. Everything is brand – the lyrics you write, the music you release, the tone of your voice, your website, your Facebook page, the clothes you wear – even the way you stand on stage. There is nothing wrong, and everything right, with going the extra mile and creating a public image for yourself that is instantly recognisable after two, three or half-a-dozen views. WHAT IS BRANDING? The word brand derives from the old German word for fire, brandaz. In the 1400s branding was used to mark thieves by burning a mark into their skin so everyone knew they weren’t to be trusted with the family heirlooms. Nowadays, the word is more readily associated with cattle branding in the American West, where ranch owners brand their animals to avoid confusion with rivals’ animals, and for identification in the event of cattle rustling. In both cases branding is about one thing: identification. Humans are at the same time immeasurably complex and pretty simple beings. With so much information bombarding us THE BUSINESS OF MUSIC THE INDUSTRY’S NOT ALWAYS RIGHT In music, reverse engineering is unnecessary. Year after year, decade after decade, the public puts its money down and the music industry continuously tries to give the public more of what it clearly likes. But the industry is wrong many more times than it is right. When Robbie Williams’ record label said that ‘Angels’ wouldn’t be a hit, he took the song out to focus groups. They loved it, and it went on to sell twice platinum. There is a perpetual tension between artists and record companies who, because they know more, think they know best. As an artist, you will inevitably find yourself at odds with your label at times. Remind yourself that if the record industry had its way at all times there would have been no Beatles, no Dylan, no Hendrix, no Sex Pistols… and no ‘Angels’ by Robbie Williams.73 Prepared exclusively for [email protected] # Attack Mag 16980. © All rights reserved.CHAPTER 3 YOUR BRANDTHE BUSINESS OF MUSIC74 every second (more each day), we latch onto – and find comfort in – simple recurring imagery. The best brands are simple and instantly identifiable. A good under-the-radar example is singer-songwriter FiFi Rong (look her up). She has a presence on Twitter, Instagram, Facebook and YouTube similar to that which launched Paloma Faith from her MySpace page in 2007. Is her look accidental? No. It’s a carefully cultivated and deeply considered image that blends her Chinese heritage with a vintage Hollywood/Marilyn Monroe style. In her own way she is following in the footsteps of others who carefully crafted their brand image – think Boy George, Marilyn Manson, Lady Gaga. FiFi Rong’s logo follows the same image, again taking inspiration from her heritage, mixing the aesthetic of Chinese typography with a font easily read by western eyes. And that logo is everywhere – on her recordings, merchandise, website and Facebook page. Anywhere FiFi is, her logo is. Sure, she may not be a major name in pop; but FiFi Rong has quietly built her brand, and a career as a writer and producer – she was all over Skepta’s Konnichiwa album and has also recorded with Tricky and Yello. By forging image and logo, FiFi is following in a long music tradition. Way back in 1963, The Beatles’ ‘dropped T’ logo first appeared on Ringo’s kick drum; it is still being used today. More recently, The Sex Pistols’ cut-out newspaper type, Public Enemy’s ‘crosshairs’ and Daft Punk’s scrawly lettering are all instantly recognisable, iconic logos. Even Oasis, for all their hard-man posing, understood the value of branding. If you look at the back sleeve of The Beatles’ seventh album, Revolver, you’ll see a remarkable resemblance to the hairstyles and sunglasses sported by Oasis 30 years later. And they had a logo! So don’t for a second believe you’re too interesting/cool/different for this. If creating a brand is good enough for a bunch of hard-living, counter-culture Mancunians – who went on to make their multi-millions – then it should be good enough for you. Prepared exclusively for [email protected] # Attack Mag 16980. © All rights reserved.CHAPTER 3 YOUR BRANDTHE BUSINESS OF MUSIC75 BUILDING A BRAND A NINE STEP PROGRAMME For the purposes of this chapter, we are assuming your music is as good as it can be. It has to be. Good music is the starting point. If you think you can do better, spend time refining your songs and mixes before beginning the branding journey. If your music is already blow-’em-away-fantastic then you’re ready to establish ‘brand you’ following our fail-safe nine step programme outlined over the coming pages. STEP 1: BRAINSTORM For the first critical step you need to access the most powerful piece of open-source freeware currently available to humankind: your brain. Using a pencil and paper – we’ll start retro, you’ll spend enough time in front of a laptop as you move through the branding process – let your thoughts flow free. Who are you? How do you want to be viewed? Are you cool or are you hot? Are you pop, rock, metal, indie, techno…? Write down the words that apply to you as an act or artist. Don’t restrict yourself. Maybe you’re fusing hip hop with rock, or you’re a shoe-gazing folkie. Put it all down on your piece of paper. At this stage no thought should be too wild, no idea too absurd. Don’t censor the creative outpourings or ramblings. Jot and note. Write, scribble, doodle and draw. Fill that blank page. Your goal is a fully formed and rounded ‘story’ about who you, as an act or artist, are. It should include notes about your personality and on-stage presence. It should visualise a rough image and the aesthetics of that image. BUT – and never forget this – your story must be rooted in the music. (That’s why you need the music first). If the brand diverges too far from the music it won’t make sense; a cerebral WHAT GETS BRANDED? Unlike those early German thieves and the mid-west cattle we’re spared the physical burning of flesh to get our message across (although if you love your music enough, there’s always the option of a tattoo). Skin aside, your branding should appear everywhere you are, including: – Facebook – Instagram – Twitter – SoundCloud – Bandcamp – YouTube – any other social media pages you use – your website – at your gigs – on fliers – on music artwork – and on all your merchandise. Prepared exclusively for [email protected] # Attack Mag 16980. © All rights reserved.CHAPTER 3 YOUR BRANDTHE BUSINESS OF MUSIC76 live electronica three-piece sporting hobnail boots and biker leathers is going to come across as confused and… well... just plain wrong really. That doesn’t mean you can’t toy with conventions. Cute Lily Allen is a witty, bad-mouthed lyricist. Lucius is a five-piece fronted by two usually identically dressed girls presented like ’60s bubblegum pop singers. Their music, though, is often dark and wild. By all means challenge audience and social expectations, but understand that even the most open-minded music consumers tend to like things that make sense. So make sure the music, and your artist/band name, and the branding fit together. Consistency of story is key. If you have a good visual sense and an innate understanding of what makes you special then this initial brainstorm won’t take long. If you’re struggling, don’t fret. Ask friends for help. If they fancy themselves as designers or are studying art, fashion or media studies, even better. Invite them round for an evening, ply them with cheap lager and ruthlessly exploit them. This initial brainstorming process couldn’t be more important. When you start the real hard work – of creating your logo and visual identity – you don’t want to be wasting time trying to remember who you are. By then you want a fully formed understanding of your brand so that if you’re writing a press release, talking to a PR agency or brainstorming the visuals for a video, you know everything there is to know about your image, identity and values. STEP 2. THE NAME GAME Probably the most important part of the branding process is deciding whether you have the right name or not. If your real name is Billy Bloggs, is that what you want to see on the billboard advert for your first gig at the 02? If it is, then you’re already on your way to establishing the persona you want to create because it’s unlikely that Billy SIMPLICITY: THE NO. 1 BRAND ASPIRATION Albert Einstein said: “If you can’t explain it simply, you don’t understand it well enough.” And if you don’t understand it, no-one else will either. Simplicity is the golden commandment of the branding and design industries. The best brands appear simple. Their values can be summed up in three words or fewer: Challenging, engaging, exciting. Cool, current. Vintage, classic. Underground. The most identifiable logos are simple too. An apple with a bite from it. A stylised ‘M’. A bluebird. If you need any more persuading of the virtue of simplicity, take note of the advice of producer-to- the-stars Rick Rubin (Eminem, Kanye West, Johnny Cash, Lady Gaga, Shakira): “There’s a tremendous power in using the least amount of information to get a point across.” Whether in branding, songwriting or production, less is often much, much more. Prepared exclusively for [email protected] # Attack Mag 16980. © All rights reserved.CHAPTER 3 YOUR BRANDTHE BUSINESS OF MUSIC77 Bloggs will be taken seriously as a sex icon. But the public would absolutely buy him as the guy-next-door. Which in turn starts to dictate that BB’s brand will not be elegant and high fashion; it will be lo-tech, friendly and accessible. Do you see how each element feeds into the next part of the process? If you decide BB can’t be the sex symbol you aspire to be and you decide to call yourself something other than your birth name (or if you’re a band brainstorming a group name), the number one piece of advice is keep it simple. It’s all too easy, after drinking a brandy or three to unleash the inspiration and come up with an outlandish name. But the truth is the vast majority of successful acts have simple, memorable names consisting of just one or two words – see Simplicity again: Choosing a name, right. You may, of course, be tempted to call your band ‘We’ve Got A Fuzz Box And We’re Gonna Use It’. It’s wacky, right?... People will smile! Forget it. It’s semi-unpronounceable and is a name that’ll never trip off a DJ’s tongue – nor is it one that’ll fit on the average gig flyer. (‘We’ve Got A Fuzz Box And We’re Gonna Use It’ is an actual band name, by the way. And good luck to them.) ‘!!!’ (that is also an actual band name) takes things a step further: their name’s not just unpronounceable, it’s unsayable. And it’s unsearchable. Try Googling it – see what comes back. Can your name be remembered, searched for online, spoken? These are Serious Practical Considerations and they trump heat-of-the-moment silliness, pretension and idealism. Once you’ve decided on a name – for example’s sake let’s go with ‘Delinquent Hustle’ for now – give it the ‘speak out loud’ test. Imagine a DJ saying it on air. Then imagine it big on a billboard. Imagine it small, as an iTunes icon. Imagine your big intro when you play Hyde Park. If it’s still working for you then it’s time for a few final checks... SIMPLICITY AGAIN: CHOOSING A NAME If you’re in any doubt about the wisdom of keeping your artist/band name simple, here are some of the highest earning acts of all time: The Beatles ABBA Elvis Presley Led Zeppelin Madonna Elton John Eagles AC/DC Pink Floyd The Rolling Stones The golden rule applies to the latest generation of stars too. The US’s ten biggest money-makers of 2018 according to Billboard magazine were: U2 Garth Brooks Metallica Bruno Mars Ed Sheeran Lady Gaga Billy Joel Gun N’Roses Roger Waters Coldplay Which proves if you want to swing with the winners, you’re best off with either a one or two word name. (We’ve Got A Fuzz Box And We’re Gonna Use It did not make the top ten.) Prepared exclusively for [email protected] # Attack Mag 16980. © All rights reserved.CHAPTER 3 YOUR BRANDTHE BUSINESS OF MUSIC78 After performing our various tests – saying it out loud, imagining it on a billboard etc – is your chosen name still working for you? If it is, switch on a laptop, type the name into a search engine and see what comes back. Do Delinquent Hustle already exist? If so you should probably return to the drawing board unless: a) they’re tiny and you’re certain they have no chance of getting bigger; or b) they’re active in a musical genre so different from yours as to make any confusion impossible. Even then, tread carefully. Dinosaur Jr weren’t always Dinosaur Jr. They started life as Dinosaur before a potentially ruinous legal bust-up with the psych rock supergroup the Dinosaurs (which comprised former members of the Grateful Dead, Jefferson Airplane and Country Joe) forced the J. Mascis-led rockers to add the ‘ Jr’ suffix. If Delinquent Hustle isn’t already an artist or band name, check the domain names. Start with www.delinquenthustle.com. If that’s taken, try tweaking the wording and/or domain and see if there’s something nearly as good – www.delinquent-hustle.com, say, or www.delinquenthustle.co.uk. If they’re gone too, then you can find yourself seeking ever-more–desperate iterations – www.delinquenthustle.biz or www.delinquent-hustle-theband.co.nz To be honest, if you get to this stage it’s best to return to the drawing board. Remember the point of all this – to make it as easy as possible for your fans to find you. Compromising on your all-important web address means you’re moving further away from that target, and by then you’re doing yourselves no long-term favours at all. If you get the URL you want – or something close to it – it will usually be fairly easy to get the relevant Facebook page, Twitter handle and SoundCloud, YouTube and Bandcamp pages. Ensuring your brand is unique at this early stage will save a lot of time, money and sanity down the line.SAFETY CHECKS ON YOUR CHOSEN NAME STEP 3. CREATING A STORY: A LEGEND IN YOUR OWN MIND You’ve got a brand name that is unique. After the music itself that’s one of the hardest thing to get right. So you’re off to a good start. Now it’s time to work on building your biography – the establishment of ‘brand you’; the creation of your Story. Crucially, this Story does not have to be true. “Artists take on an alias that’s suitable for their style of music,” notes Tinie Tempah – an alias with its grounding in reality but which is frequently an altered version of it. Bob Dylan arrived in New York in 1961 as a fully formed, working class hobo orphan who’d been on the road since he was 15 with Little Richard and Bobby Vee. Prepared exclusively for [email protected] # Attack Mag 16980. © All rights reserved.CHAPTER 3 YOUR BRANDTHE BUSINESS OF MUSIC79 Except in reality he was a middle class Jewish kid from Hibbing, Minnesota, whose family owned a string of cinemas. He’s never responded to questions or officially put the record straight about the mismatch between his Story and the reality. He just carried on making stuff up because he recognised earlier than most that the press prints what it wants – inventing it if the truth doesn’t pass muster. So Dylan played them at their own game, and continues to do so half a century later. But you need some pretty big cojones to carry that off. And today’s press is less forgiving than the press of 50 years ago. So it’s probably best to stick with the truth – or something close to the truth – unless you have a quick mind and can cope with being branded (see what we did there?) a liar and an impostor when your story crumbles around you. It’s also easier to do what Dylan did if you come from a remote part of such a vast country. It’s considerably harder if you’re from Cheltenham in the English county of Gloucestershire, Rolling Stone Brian Jones’s home town. Jones’s attempts at being a bad boy rock star were soon revealed to be no more than the spoiled behaviour of a bored teen from a stifling English town where the only recreation was the impregnation of local girls. His parents were terribly disappointed… KEEPING IT REAL – WHY AUTHENTICITY MATTERS People inherently like authenticity. Just as we like to know where we stand with friends, so it is with brands. In his analysis of how Starbucks built its coffee empire, author Howard Schultz writes: “In this ever-changing society, the most powerful and enduring brands are built from the heart. They are real and sustainable... The companies that are lasting are those that are authentic.” Authentic need not mean perfect. “Too many companies want their brands to reflect some idealised image of themselves,” notes Virgin Records co-founder Richard Branson. “As a consequence, their brands acquire no texture, no character and no public trust.” Being true to yourself – warts and all – is something fans respond to well. So clean- living Jonsi took to YouTube to show fans how to make vegan food; Kanye West pontificates in public, or even in concert, on the first thing that comes into his head; while Miley Cyrus – Hannah Montana to a generation of Disney Channel devotees – looks for ways to shock with hyper-sexuality. For that reason probably the most successful ‘Story-making’ takes the ‘real’ you, or the real collective ‘you’ of the band, and then goes to town on the more interesting/ different/flamboyant aspects. Consequently, the Story-you and the real- you aren’t that different. The Story is simply a more extreme version – but still rooted in the real. Prepared exclusively for [email protected] # Attack Mag 16980. © All rights reserved.CHAPTER 3 YOUR BRANDTHE BUSINESS OF MUSIC80 You don’t have to start with ‘you’ when creating your brand. If you’re shy, don’t consider yourself to be interesting, feel you are supremely ugly, have an aversion to showing your face in public (maybe you’re a politician with an unlikely sideline as an EDM superstar) then consider the option of a ‘virtual brand’ – one which is not focused on a human being but on some kind of artificial construct. It’s what Daft Punk have done with their iconic robots, what deadmau5 has done with his ‘mau5’ persona and what – to a lesser extent – Damon Albarn and Jamie Hewlett did with their ‘virtual’ band Gorillaz. This kind of branding is very hard to pull off (you need an absolute belter of an idea). But if you get it right it can be liberating, allowing you to legitimately make up all kinds of stuff as your back-story. If your career gets that far it also has the benefit of allowing you to go to your local supermarket/morning-after-pill- clinic/nudist beach without being mobbed/ judged/papped.WHERE TO START? How do you begin to create your Story? By returning to that hopefully now fully-covered sheet of A4 and looking through it for inspiration. Think about your heritage. Are you Anglo-Saxon, Celtic, Caribbean, Chinese – even partly? Is that relevant to your music and the brand you’re building? Think about the kind of music that was played in your house as you grew up; did it influence what you’re doing now? Think about how you were at school – were you the cleverest kid in class or were you expelled (as Lily Allen was, several times, for drinking and smoking – from primary school). Most of all, think about how you want to be seen – bad-girl rocker, underground techno don – and think how this branding end-point can relate to your back story. If you are going to invent your story, ensure you do it in ways that can’t be checked. If you regularly post “Love you mum” on Facebook there’s no point pretending you’re an orphan or that you had the world’s worst childhood. If you’re tempted by the over-fabrication dark side, consider the cautionary tale of Heather Mills, second wife of Paul McCartney, whose self-formed legend involved a series of inventions that could be – and were – easily disproved (including that her father was dead; this became a proper inconvenience when he contacted the press and offered to show happy family holiday videos to the hungry media). THE VIRTUAL BRAND/BAND Prepared exclusively for [email protected] # Attack Mag 16980. © All rights reserved.CHAPTER 3 YOUR BRANDTHE BUSINESS OF MUSIC81 The moral of the story? If your life isn’t that interesting – or if you just want to spruce it up a bit – only introduce lies that can’t be checked. Because in the age of social media you have already given away far more than you can possibly remember about your family, your social life, school and friends. And the media will find it all. VISUALS You’ve got the music, a name and you’ve crafted your brand concept / Story. Now it’s time to tackle the visuals, of which there are four, in this order of importance: 1. logo 2. sleeve artwork (at least one) 3. press photo/s 4. a video or two (not essential but useful). The most important of these is the logo. STEP 4: MAKE A LOGO Your logo can be a simple rendition of your name in a specific typeface, a symbol like Ed Sheeran’s X or an illustration, like Apple’s, erm, apple. Starbucks’ logo incorporates all three. Nike’s tick is as recognisable as its name, and it uses either, or both together. Top brands spend billions on their logo, sitting in eye- wateringly expensive meetings with top designers having long discussions about whether a sans serif font really speaks to the target market or whether orange, blue or yellow best sums up the company’s values. A fair amount of this is complete baloney – and is certainly nothing you need to be worrying about. In any event, you have a headstart because as a musician you’re creative by default. No-one expects you to be an expert BAD BEHAVIOUR Once you are in the public eye, the way you behave is as much part of your brand as anything else – indeed when the tabloids have you in their sites it can define your brand. Johnny Rotten and Sid Vicious of the Sex Pistols behaved the way they behaved because it was how they felt. If they had been trying to establish a cabaret act, they would have killed their careers dead. But their musical ethos was totally in line with their punk attitude. Bono has built his brand as a global campaigner for good causes on the back of the U2 brand. Imagine how difficult that would have been if his U2 bandmates had broken ranks to reveal he was a hypocritical exploitative wanker. (For any lawyers reading, we’re definitely not saying he is.) Contrarily, it fed into the Oasis brand – loud, brash, who-you-looking-at? – that the Gallagher brothers kept fighting, on stage, in the media gaze, even in the studio. For artists, behaviour is one of the biggest brand identifiers there is. And if your brand is boy-next- door goody-two-shoes, don’t be falling down drunk and crashing cars, Justin Bieber. Prepared exclusively for [email protected] # Attack Mag 16980. © All rights reserved.CHAPTER 3 YOUR BRANDTHE BUSINESS OF MUSIC82 typographer or a visual ID whizz. Instead, having a good visual sense – as well as the innate understanding of your brand – is really all you need to develop a logo you’re happy with. Generating a logo can be as simple as playing about with a few different fonts, layouts and colours. You might also consider adding some kind of visual icon, like The Who’s ‘male’ symbol, but it’s not essential. If you want to outsource your logo design, sites like fiverr.com and logojoy. com are useful for getting low-priced logos – and other artwork – for a few dollars. When commissioning make the designer’s work easier by giving them a few visual pointers relating to your Story, a shortlist of logos you like and, if you’re able to, a few creative ideas for your own logo. STEP 5: PRESS PHOTOS Why do you need press photos? The clue’s in the name. The moment you start to garner any press interest – among blogs, magazines, even label A&Rs – you’ll be asked for photos. The reason lies in our incessant interest in other human beings. We hear a song we love, we want to know the story of the person who wrote it. And we want to know what they look like too. People are nosy like that. Which means there’s both a public and press imperative for pictures of the artist/band. This imagery will be used for everything from decking out your various social channels – Facebook page, SoundCloud, Tumblr, Instagram – to sending out with press releases, designing cover artwork and plastering over fliers. As with the rest of your imagery, don’t think about taking photos until you’ve got a comprehensive understanding of your brand/Story. Everything about the photo shoot – clothing, expressions, mood, make-up, location – should be true to brand. So dress appropriately and pick a place to shoot which emphasises it. That means not wearing a Laura Ashley dress and standing in a meadow of wildflowers if you think of yourself as a brooding drum & bass producer. If you can’t afford to pay for a professional to take your photos, ask a talented friend. Everyone’s a photographer these days. And you really don’t need much in the way of high-end kit. At least one well-known film director has boasted Prepared exclusively for [email protected] # Attack Mag 16980. © All rights reserved.CHAPTER 3 YOUR BRANDTHE BUSINESS OF MUSIC83 of shooting a multi-million-dollar ad using an iPhone. So don’t think you need a high-grade DSLR to produce pictures of the right calibre. Indeed with the resurgence of lo-fi and vintage aesthetics, beautifully realised hi-fi imagery is largely off-trend at the moment anyway. In the age of the out-of-focus selfie and gonzo post-Polaroid snapshot, even a second- hand iPhone’s camera will be enough to create characterful shots. Far more important are the concepts behind the shots. Study your musical genre online for inspiration. What is the general visual feel being used – is it urban, industrial, rural, fast, slow, pretty, challenging? More specifically check: a) the locations being used (beach/station/decaying urbanscape/cornfield); b) the clothing worn; c) the expressions of those appearing; and d) any additional props being used. Make a note of what you think might work with your brand and then pull them all together during the shoot. When the big day arrives take plenty of pictures (with digital you might as well). Experiment with different locations. Try to have some fun. At the end of the day pick the three or four shots that best encapsulate brand you. When you’re done, upload your chosen images anywhere/everywhere so that people can start either feeding back that you look amazing and they’ll buy your next record or that you look like a muppet in a cornfield. Either’s fine at this stage; at least people are starting to take notice. STEP 6: SLEEVE ARTWORK Unless you’re a glutton for typographical punishment or some kind of graphic design sadist, the logo creation process can leave you feeling that you never want to visit another font library again in your life. Fortunately creating artwork for your launch single or album is usually both easier and more fun. For your early SoundCloud uploads it’s fine to use images you like from around the web – though check they’re royalty-free, obviously. But when it comes to launching your brand, it’s far better to use your own single and album covers. Partly this is about keeping yourself on the right side of copyright law – the Prepared exclusively for [email protected] # Attack Mag 16980. © All rights reserved.CHAPTER 3 YOUR BRANDTHE BUSINESS OF MUSIC84 last thing you want is an angry photographer demanding removal of an image you nabbed that is central to your new single campaign. But mainly it’s about the wider branding picture – you want every piece of branding collateral to be absolutely you ; not someone else’s imagery or vision, but yours, that supports and is centred around the Story. In that sense, single and album artwork is a pivotal part of brand you. Unlike your logo, which should be memorable enough to accompany you through your career, sleeve artwork (we’ll call it that, even if you have no plans for it to appear on a physical sleeve) can change with you as your Story and music evolves. So while your first EP sleeve, a moody townscape with you leering at the camera, might reflect the angst of your debut musical offering, the next, when you’re happily settled on a farm in Nebraska, might legitimately star apple orchards and pastel sunsets. With sleeves, anything goes. Photos, illustrations, montages, screenprints, simple text… the world of art is yours to embrace and explore, as long as you remember the golden maxim: be true to brand you. While sleeve artwork COVER INSPIRATION: THE CASE FOR SIMPLICITY AGAIN You have more than 60 years of record covers to inspire you when it comes to designing cover artwork for your own tracks – and the internet gives you instant access to all of them. While some sleeves are pieces of art in their own right, if you look at the history of the record sleeve, you’ll see that you can get away with far less effort – indeed some of the most iconic covers have been practically blank. The big difference between now and then is that then your cover was trying to be noticed in a record shop among hundreds, even thousands of others. All that’s really important today is that whatever you choose to put on the cover is clear and visible in the Spotify (or other digital) store. Nobody browses online covers artwork. They either go to iTunes to buy your track or, in a very small number of cases, they find you by following a banner. So your priority is to design something that is easily identifiable even when very small. It needs to work on all your social media, and on SoundCloud, Bandcamp and iTunes. Look at U2’s War artwork, or Massive Attack’s Mezzanine. For interest, look at The Clash’s London Calling cover, which wholesale copied the Elvis Presley album cover from 1956. Look also at 808 State’s 90 cover, with its no-frills blue and pink outline numbering. Something that simple is always going to work. In short, don’t feel like you have to go complex unless you’re a confident designer, photographer or image manipulator. Prepared exclusively for [email protected] # Attack Mag 16980. © All rights reserved.CHAPTER 3 YOUR BRANDTHE BUSINESS OF MUSIC85 gives you a lot more freedom than your logo, it still needs to be anchored in the music and the Story. As with your logo, sites like fiverr.com give access to talented illustrators and designers willing to work to low budgets. To get the best from them, look at designers’ portfolios and reviews, give a clear brief, and be willing to receive a couple of misses for every hit. STEP 7: VIDEO YouTube is essential. We’ve said it before, we’ll say it again: SoundCloud and Facebook aside, it’s the most important channel for getting your music – and pivotally, your brand – out there. And YT’s ability to showcase imagery makes it an even more powerful branding vehicle than SoundCloud. It’s easy to feel like you’re not ready for YouTube – that YouTube is only for artists who can pay the not insignificant sums for a ‘pro’ video. Get out of that mindset. You are ready. Even videos with a still picture or rolling lyrics get huge audiences. What kind of video then? The obvious low budget starters-for-zero are those that feature a still picture – usually your already-commissioned sleeve art or press photo/s. A slightly more advanced version of this is a video that uses basic free or cheap software like Screenflow to add a bit of movement and momentum, creating slideshows or moving images around and adding lyrics so there’s more to engage the eye. The next step up is a video of your live performance. There are many reasons why live videos are worthwhile. Apart from anything else, potential managers and A&R execs will almost always want to see evidence of your live persona – either by visiting a gig in person or, better for their hectic schedules, by watching a couple of your performances online. With prices SANDI THOM: VIRTUAL REALITY In 2006, little-known Scottish singer-songwriter Sandi Thom had a deal with Viking Legacy Records but wasn’t selling enough copies of ‘I Wish I Was a Punk Rocker (With Flowers In My Hair)’ to justify releasing her debut album. Inspired by a successful live webcast of a gig in Edinburgh, Thom came up with the idea of doing a virtual ‘tour’ from the basement of her Tooting flat, consisting of 21 gigs, which were recorded and webcast around the world. ‘21 Nights From Tooting’ was a massive success, with viewing figures reaching 70,000 at their peak. Shortly after, RCA offered Thom a deal and ‘I Wish I Was a Punk Rocker’ was re-released. It went to No. 1 in the UK, Ireland and Australia and cued up the release of the album Smile… It Confuses People, which sold over 1m copies worldwide. Accusations of high-powered PR involvement aside, there’s no denying that the initial idea which kick-started Thom’s controversial but successful career was a winner. It’s also one that anybody could rip off using an online service provider like Ustream or Livestream. Think on… Prepared exclusively for [email protected] # Attack Mag 16980. © All rights reserved.CHAPTER 3 YOUR BRANDTHE BUSINESS OF MUSIC86 of high quality, high definition camcorders in the low hundreds rather than thousands, asking a friend to film a gig or two should be high on your list. Most phones will make a good stab at the job too. If gigging for you means DJing, split the screen time between you and the audience to capture the energy of the night. And when the camera is on you make sure you’re doing something interesting – cueing up or scratching a record, pummelling out beats on MIDI pads or firing up the crowd with enthusiastic arm-waving – rather than staring at a laptop. (Incidentally, live videos also give the artist a chance to study themself on stage and see what improvements can be made to their performance. Near the start of your live career you start to develop a sixth sense for the moments when you lose your audience. By studying video, you will see what was happening when you lost them – and what you did that got them back.) The next-level video is a cheap and simple shoot. This can be as stripped- back – but effective – as miming your track on location or shooting the band in the studio. Add a second camera and a nice edit for higher quality results. ROTTEN TOMATOES: 7 TIPS FOR BETTER LIVE VIDEOS Ninety per cent of ‘amateur’ footage from live concerts looks and sounds appalling, because of: 1. badly framed shots 2. concert-goers standing in front of the camera 3. poor lighting/exposure 4. overloaded/distorted sound 5. and/or shaky camera work. When it comes to shooting live, a few steps can make all the difference: 1. USE A TRIPOD! 2. Ensure there is, and will always be, a clear line of sight between the camera and you. 3. Ensure the on-stage lighting is as good as it can be, and – critically – that the artist is inside the light pool. 4. If you can, run an audio feed from the desk into an HD recorder. This feed – the one the audience hears – will be immeasurably better than any camera’s built-in mic. Make friends with the on-site tech in advance and see if it’s something they’re happy to do – most will be. A good HD recorder can be bought very cheaply. 5. Ensure you have enough battery power to get you through the gig. There’s nothing worse than red-lining half way through a killer set. 6. If you have access to two cameras, ask a second friend to grab some ‘cutaway’ video of people in the audience and close-ups that you can edit into the final video. Having a few of these ‘cut’ scenes that break away from the main camera feed will make the end video more interesting and will show viewers that you’re a cut above the competition. 7. Have a trial run at home to see what you look like on camera and to refine your on- screen/stage persona. Prepared exclusively for [email protected] # Attack Mag 16980. © All rights reserved.CHAPTER 3 YOUR BRANDTHE BUSINESS OF MUSIC87 Equally, if you are a talented video artist in your own right, or have the time, patience and inclination to teach yourself, there’s nothing stopping you from getting your hands dirty with all kinds of videos, from stop-frame-animation to conceptual short films. In each case the equipment is the easy part. It’s the idea that matters. And if you’ve got a good one, there’s a chance that with a little promotion and a lot of luck your efforts will be virally rewarded. Beyond that, the sky’s the limit – in terms of both investment and ambition. STEP 8: SOCIAL MEDIA Now you have all the requisite visual imagery, a name and a biography, it’s time to personalise your various social media pages. With so many different sites out there, where do you start? First, you prioritise. At the time of writing Facebook and Instagram are must- haves. But: a) always keep a keen eye out for the next big thing in social media; and b) be constantly aware of controversies that might affect the health of your chosen platform/s. You don’t want to spend your time defending some moral or political faux pas. Soap brand Lush, for example, ditched much of its social media rather than face the daily onslaught of propagandists taking over the brand’s agenda. Social media, for you, is a place to communicate with your fans, and to share content (music, videos, photos - in that order of importance). Choose those that allow you to upload your logo and a photo. If push comes to shove, choose logo over image. The logo carries your name, and name recognition is more important than visual recognition. Your music should be uploaded to SoundCloud. Paying for the pro version allows more customisation and storage. Instagram is a useful additional tool if your brand is particularly visual or you enjoy photography. It also becomes more important the bigger you are. Finally set up your own YouTube channel and upload your live footage, and any Prepared exclusively for [email protected] # Attack Mag 16980. © All rights reserved.CHAPTER 3 YOUR BRANDTHE BUSINESS OF MUSIC88 promo footage you’ve shot to accompany specific songs.. Where it’s possible to use text (in About Us sections for example), don’t reinvent the wheel. Use the strap-line and biography you’ve already created. If you can, use different parts on different sites to avoid repetition. After these (and that’s already a fair amount to keep up to date) sites like Bandcamp give you the opportunity to sell your music direct to fans. Finally, it’s worth noting that part of your job as brand manager is noticing what’s happening in the world of social media. For better or worse, it changes with frustrating regularity, and more sites fail than succeed. Remember Ping? Or Vine? Jumping onto every new outlet may be tempting, but beware the law of diminishing returns. Maintaining a lively presence on three or four of the biggest networks is more productive than having lacklustre pages on three dozen. And the more pages you have to update, the less time you have to spend making music. Which is all to say: stay on top of what’s going on; ensure you’re on the pivotal networks, but don’t lose yourself by embracing every platform. GET YOUR MUSIC – AND BRAND – OUT THERE In addition to the sites where you create the content and upload the music, there are showcase platforms where you will pay or be invited to be professionally filmed performing live (often in a studio). Among the best are Ont’ Sofa, SB.TV, Reload Sessions, Secret Sessions and Mahogany Sessions. Research these platforms carefully because they will not all be suitable for your style of music. Pick the right ones. SB.TV (see When video makes a career, right), for instance, started out as an outlet for Jamal Edwards’ camcorder-shot videos of freestyle rapping and local grime music from the WHEN VIDEO MAKES A CAREER Jamal Edwards, founder of SB.TV. is now a feted and admired individual, frequently invited to events designed to inspire others. If you are not a musician, but want to be involved with music, his is a model you can learn from. It no longer costs an arm and leg to buy a good hand-held high definition video camera. Some come equipped with professional quality stereo microphones or with inputs to plug in external mics. If you live in the vicinity of a vibrant live music scene as Jamal Edwards did (Acton in West London) then this is an opportunity looking to be exploited. The great thing about music is that there is a constant supply of new artists, new songs. With your own YouTube channel and a Facebook page for promotion you too could be on your way to a 200 million-viewed channel, an estimated £8 million fortune and friendships with the stars. You might even end up with an MBE, which Jamal was awarded in the 2015 New Year’s Honours list. Prepared exclusively for [email protected] # Attack Mag 16980. © All rights reserved.CHAPTER 3 YOUR BRANDTHE BUSINESS OF MUSIC89 likes of Dizzee Rascal and Tinchy Stryder. Since then it has branched out from its gritty urban beginnings into a ‘youth lifestyle broadcaster’ (its own description) incorporating a wider range of music. If you get to the point where SB.TV wants you on their channel, you are definitely on the road to somewhere. STEP 9: LAUNCH YOUR WEBSITE If you’ve done all of the above, you’ll already have a pretty expansive web presence, so why bother with a website? It’s a good question. The answer is stability and searchability. Your website is the one piece of media that belongs solely to you. If you have a good URL and keep your page up to date it is the site most likely to come at the top of the rankings when people search your name. YOU DON’T HAVE TO DO EVERYTHING YOURSELF There are some musicians who are absurdly talented across the artistic landscape. Yes, they may make great music, but they’re also fantastic photographers and imaginative film-makers. Understand that most people aren’t amazing at everything. And you don’t have to be. Your job is to be a fantastic artist, DJ, band member or producer. The fact that you don’t know the difference between type leading and horizontal spacing is not going to bar you from having a No 1 hit. Instead, what most musicians starting out do is rope in friends or other contacts who have complementary talents to do the stuff they can’t. Maybe you have a friend who not only knows how to design logos but already has the software. If not, take a visit to your local art college and seek out someone who is willing to work with you. If you’re not good at face to face meetings, visit online forums or marketplaces like fiverr.com where creative people offer their services. You will be able to view their work and filter out those you don’t think will give you what you want. Often you’ll be able to swap skills; you write a track for an up-and-coming film maker’s new movie and they shoot your first video. Sometimes students will be happy to work for free to help build their portfolio. No musician should be an island. One of the immense pleasures of the music industry is that artists are able to work with other equally talented people in other creative sectors – design, film, photography, dance. Enjoy the meeting of minds. Prepared exclusively for [email protected] # Attack Mag 16980. © All rights reserved.CHAPTER 3 YOUR BRANDTHE BUSINESS OF MUSIC90 It’s also worth bearing in mind that outside of your own site, you can’t know exactly what will happen online: a decade ago musicians were spending hours cultivating their Myspace page, then Facebook came along and all of that work – and all those friends – were pretty much abandoned. It will happen again. Better to mitigate against obsolescence by having one space that is uniquely yours – one central digital home that is entirely under your control, which links through to all your other profiles and social pages, but which, at the end of the day, is the hub; your true home page. Your website should also offer something unique: artwork that doesn’t appear anywhere else; Q&As with you as an artist; photos of your studio; collectible demos; a blog. There should be links from all social media to your homepage. Most importantly of all, your homepage should have a newsletter sign-up field where you can collect fans’ email addresses. Study after study has shown that direct communication – email from brand to brand-lover – is more effective than any other form of communication. It’s better than any number of Tweets or Facebook posts. Start collecting emails from day one. By the time you get to day 1,000, with EMAILS: AFTER THE WILD WEST May 25, 2018 was a big day in Europe for those storing third party data, with the introduction of the General Data Protection Regulation (GDPR). Remember that day when every website you’ve ever interacted with suddenly bombarded you with their ‘new data agreements’? Yup, that was the GDPR coming into effect. Post-GDPR it’s no longer the wild west days of the internet, where you could collect email addresses and simply send out unsolicited marketing emails as much as you liked. Do that now and you risk a hefty fine. Although legislation governing storage and use of personal data – including email addresses – is territory-dependent, most countries now have strict rules on how you can collect and store email addresses, and how you can market to them. Even when someone has directly contacted you by email you must still have their explicit consent to store it and subsequently email them. One of the easiest ways to do this is by making it clear, when you invite email contact, that you will use their email to contact them with news and offers in the future. But it’s also important that you give fans the opportunity to unsubscribe every time you contact them. This gives your contacts total control over their interaction with you, which is what the GDPR is fundamentally about. Two rules of thumb: if in doubt, don’t (email); and check your own country’s rules. Prepared exclusively for [email protected] # Attack Mag 16980. © All rights reserved.CHAPTER 3 YOUR BRANDTHE BUSINESS OF MUSIC91 an email list to boot, you’ll have direct access to tell your fans about your new gig/EP/T-shirts. There are plenty of options when it comes to creating your website, from simple template-based sites like wix.com to more tailored options that allow you to sell your music – and even merchandise – like bandcamp.com and musicglue.com. AND FINALL Y... IT STARTS AND ENDS WITH THE MUSIC Some way into your branding journey it’s not unlikely that you’ll sit down, exhausted and depressed, and cry into your Tennents Super: “I thought this was meant to be about music!”. When it happens, don’t lose heart. KEEPING IT REAL (CHEAP ): THE SKRILLEX STORY Dubstep/EDM music legend and eight- time Grammy award winner Skrillex (aka Sonny John Moore) claims to spend very little money on branding and marketing, but there’s no doubt his phenomenal success isn’t just down to his genre-defining music – you don’t pick up almost 20m Facebook fans without putting in some serious, ahem, face time. The Skrillex brand begins with a combination of innovative, edgy sounds and characterful haircut, but also centres on a general air of accessibility that is unusual in electronic music. His web presence – on his website and social media – is friendly and open, and the amount of engagement he has with his fans is impressive, constantly keeping them up to date with his daily touring adventures and personal life. Also instrumental in the success of brand Skrillex is that, unlike many DJ/producers, he really does handle his own writing and production, giving him cachet as a ‘musician’s musician’ and keeping him on side with the chin- stroking set as well as the ravers.Skrillex is no slouch when it comes to marketing, either. Prior to the launch of his debut long-player, Recess, in 2014, he released a mobile game that rewarded a certain amount of play with the ability to stream tracks from the album for a limited time. Not only did this showcase Recess within a fun and brand-appropriate context, it also gave the album release an ‘event’ quality – and garnered plenty of PR in the process. Perhaps most importantly, though, Skrillex frequently gives away music and videos via SoundCloud and YouTube – you can pretty much qualify as a bonafide fan without spending a penny. More than that, he openly suggests that those who can’t afford to buy his music pirate it. What sounds like commercial suicide is in fact a clever way of positioning himself as an anti-establishment maverick who cares more about his audience than his bank balance. And we don’t doubt that it’s a genuine position, either – or maybe we’re just falling for the hype… Prepared exclusively for [email protected] # Attack Mag 16980. © All rights reserved.CHAPTER 3 YOUR BRANDTHE BUSINESS OF MUSIC92 It’s easy to become overwhelmed by branding when the thing that really matters is your music. So bear in mind, at every stage of these various processes, that you’re not trying to make the cleverest website, or break Facebook records or collect more Instagram followers than Ariana Grande (136m last time we looked). At the heart of everything you do is the music. That’s the reason you’re doing this. Music comes before brand. NEVER the other way round. Which means you must take control of your branding /online life. Let it work for you – not the other way round. Once everything is up and running try to limit yourself to no more than an hour a day updating and chatting, engaging and posting. Then get back to the music. Because at the end of the day you’re supposed to be making music, not reinventing the digital wheel.BRANDING YOUR GUITAR Even your instrument can be part of your branding. When everyone else was playing a big Gibson, or a Telecaster, Ed Sheeran went for the small and distinctive mahogany Martin LX1E, almost the bottom of the Martin range, but a great little guitar. Now there’s an LX1E Ed Sheeran signature model. Prepared exclusively for [email protected] # Attack Mag 16980. © All rights reserved.THE BUSINESS OF MUSIC CHAPTER 4THE BUSINESS OF MUSIC93 ‘Anyone who knows anything about the music industry knows it’s not only about the music.’ Isaac Hanson ‘Success in the music industry isn’t something that you wait for, or hope for. It is something you create, day after day.’ Simon Tam, Music Business Hacks When you see Taylor Swift, Ed Sheeran or Pharrell Williams doing radio shows or TV interviews do you think they just wandered in off the street and thought: “This might be fun”? Did you really think when you saw Ariana Grande looking bright-eyed and bushy tailed at 8.15 on the breakfast TV sofa that this was where she wanted to be? Maybe very occasionally it is, and some artists undoubtedly enjoy the media spotlight more than others. But for those who’d rather be gigging or in a rehearsal room – or pretty much anywhere except a TV studio getting blusher applied and repeating the same anecdotes they’ve told a thousand times before – the stark reality is that promotion is part of the package you take on when you become an artist. Newcomers, and the perennially naïve, sometimes think it’s all about the music, but they’re wrong; selling yourself is part of the deal. A big part of the deal.SPREADING THE WORD IN THIS CHAPTER... Before you start Gigs & touring New music matters The live network Online promotion / social media interaction Building your profile Buying likes The viral effect Electronic Press Kit Blogs / local media / radio Courting the tastemakers Pick your battles Marketing emails Other ways to get noticed Mass media Prepared exclusively for [email protected] # Attack Mag 16980. © All rights reserved.THE BUSINESS OF MUSIC CHAPTER 4 SPREADING THE WORDTHE BUSINESS OF MUSIC94 Think of all those film stars who turn up on chat shows promoting their new film. It’s not done because they enjoy chewing the fat with Kimmel, Leno or Ellen (USA), Graham Norton or Jonathan Ross (UK), Andreu Beunafuente (Spain) or with Laurent Ruquier on France’s On N’est Pas Couché. They’re doing it as part of a tightly planned schedule, rigidly staggered to tie in with the release of their film around the world. They are repeating the exercise ad nauseum, not only on scores of different shows but in dozens of countries too. They’re doing it because they’ve spent six months making the film. Now they’re contractually tasked with spending the next few months travelling the world and appearing on each show as if it’s the first time they’ve talked about the film. No wonder some interviews read like celebrity car crashes. It’s no different for music artists. Write, record, tour, promote; write, record, tour, promote. It’s a treadmill – wherever you are in your career. And if you see a future as an artist then you have to learn to pace that treadmill. If you manage your time from the start to take into account not just writing and recording, but touring and promotion as well, then your journey to the top will become easier not only now, but also when you break big. You can’t afford to sit around day after day being ‘creative’. Instead you’ll need to make time to be creative because the rest of your time will be spent taking care of your profile and brand (Chapter 3 - Your brand). Realistically, this part of the process will take at least as much of your time as writing and playing – and often increases the more successful you become. Other than releasing music – which we cover in detail in Chapter 5 - Releasing a record – building a profile as an artist typically involves working on three distinct strands: 1. Gigs/touring 2. Online promotion/social media interaction 3. and Blogs/local media (papers and fanzines)/specialised radio. Each of these strands feeds into the other as your profile builds. There’s no point, for example, ploughing hours into online promotion unless you’ve got something to promote – like a gig or new song. When an artist’s profile increases significantly a fourth strand emerges: 4. Mass media – TV, magazines, newspapers, national radio. Prepared exclusively for [email protected] # Attack Mag 16980. © All rights reserved.THE BUSINESS OF MUSIC CHAPTER 4 SPREADING THE WORDTHE BUSINESS OF MUSIC95 BEFORE YOU START … If you’ve read and taken action from Chapter 3 - Your brand then you’re off to a good start. You’ve got all your assets and tools in place. Now it’s time to start using them. Go live with your website, ramp up your Facebook profile, start Tweeting in earnest, add songs to your SoundCloud page and upload a track or two to YouTube. We talk in Chapter 1 about the purple cow. Make no mistake, you are entering an overcrowded field that gets more crowded by the day. In the early days of a music career the size of that crowd can feel overwhelming. So you don’t get mired down in self-doubt and demoralised by the size of the job ahead, you can make your job immeasurably easier by doing two things: filtering out the noise and continually moving forwards. 1. FIL TER OUT THE NOISE We’re musicians. Our job is to make noise. But sometimes the noise made by others building their own profiles – talking up success, posting endless selfies, adding yet another beautifully shot video to YouTube – can drown out what really matters, which is your own voice. And when your voice gets lost in the maelstrom it’s easy to become disheartened, frustrated, jealous and straight-out depressed. For your own sanity and productiveness, you have to learn early on to filter out as much of this background noise as possible, mostly by deciding who you are not. There are millions of deluded ‘artists’ out there. YouTube is awash with cover versions of pop classics by X Factor wannabees. That is not your aim. If you wanted to be on X Factor or The Voice you wouldn’t be reading this book. But those people are still part of the noise. They are, in fact, the majority of the crowd you are trying to rise above. Filter them out. Don’t waste hours on YouTube or watching X Factor. Obsessively watching this kind of media feeds insecurity. Besides, it’s a waste of your time. You’re an artist. You’re supposed to be creating, not passively watching. Prepared exclusively for [email protected] # Attack Mag 16980. © All rights reserved.THE BUSINESS OF MUSIC CHAPTER 4 SPREADING THE WORDTHE BUSINESS OF MUSIC96 Sahpreem King tells a story you should take comfort from. King has a background as a big-league producer and songwriter (a lot of his success has been in Latin America). He also blogs. He speaks about up-and-coming artists he meets who are so out of touch with reality that they talk about their ‘sound’ and ‘not compromising’ before they’ve recorded anything – let alone put out a release. Arrogant people talking nonsense (loudly) often sounds convincing. It can make you feel like you’re doing something wrong. Again, filter them out. Dwelling on what others are saying and doing is a tried and tested shortcut to crazyville. You are what matters here. By all means look to others for PR ideas, innovative merchandising initiatives – even songwriting inspiration. That kind of creative cross- pollination has been the lifeblood of musicians since the first song was sung around the stone-age camp-fire. But don’t get bogged down in it. The truth is that 99.9% of those you’re up against will never see the light of day. Every day hundreds of musicians give up on their dream, falling at any number of hurdles as you continue, head down and focussed, on your way to the finish line. Most of those you look on as competition are doing it wrong, have the wrong attitude, don’t have your talent or think there’s an easy way to get there (cue the TV talent show). They are not on your road. Your road has a lot less traffic on it. Concentrate on the road ahead of you, and not the ones others are on. 2. KEEP MOVING FORWARD – NO MATTER WHAT Making a career as a professional musician is hard. But you know that. And you’re up for the challenge. The single best piece of advice (other than making great music, of course) for building a long-term career is to keep moving forwards – no matter what. The music industry demands stamina of its recruits. For many it’s a long- hours and woefully low-paid profession, whether you’re a PR exec at a major label or an artist delivering their second critically-acclaimed album. Prepared exclusively for [email protected] # Attack Mag 16980. © All rights reserved.THE BUSINESS OF MUSIC CHAPTER 4 SPREADING THE WORDTHE BUSINESS OF MUSIC97 For more on this, see ‘Work hard, stay focussed’ in Over to you. But stamina is rewarded. Take the knock-backs. Get back up. Weather the inevitable gig humiliation. Experience the creative black hole of writer’s block. Feel the heartbreak and frustration as dreams dissolve and ambition stumbles. But never, ever stop moving forwards. Keep writing. Keep gigging. Keep recording. Keep Instagramming and Facebooking. Keep talking with fans online and off. Keep building your profile, day-in, day-out, watching as your number of followers slowly but steadily increases. Prepared exclusively for [email protected] # Attack Mag 16980. © All rights reserved.THE BUSINESS OF MUSIC CHAPTER 4 SPREADING THE WORDTHE BUSINESS OF MUSIC98 STRAND 1: GIGS & TOURING The best marketing tool an artist has by a long way is live performance. It doesn’t matter who you are – band, singer-songwriter, DJ – the number one means of establishing a profile and growing a fanbase is by appearing in front of people and playing them your music. Jonathan Dickins, manager of – among others – Adele and Rex Orange County pulls no punches on this point: “The grassroots of an artist’s fanbase has been in the live side.” It doesn’t matter where you are in your career. Live performance is essential when you’re starting out. Because even for the world’s biggest stars, ticket sales, rather than album sales, is where the money lies now (see Rule #5 in our Starter for ten). U2, for example, grossed over $700m during their mammoth two year, 110- show ‘360’ tour – still the highest grossing concert tour in history (as of December 2018). Demonstrating that touring isn’t lucrative only for the middle-aged, One Direction raked in just shy of $300m with their ‘Where Are We’ Tour. And they are not even in the top ten of biggest grossing tours. Nor is Taylor Swift, whose ‘Reputation Stadium Tour’ grossed nearly $350m. Finally, on his way to a new Number-One-All-Time-Grossing-Tour-Record, is Ed Sheeran, whose ‘÷’ Tour began in 2017 and is scheduled to continue until Summer 2019. With takings at the close of 2018 hitting $550m, who’d bet against him? In the DJ arena, the figures are considerably less jaw-dropping, but it’s reckoned that in 2015 Calvin Harris earned $400,000 per almost-weekly Las Vegas gig under contract to Hakkasan Group, proving that the (electro) house does, indeed, always win. According to the Netflix documentary What We Started in 2017 Martin Garrix earned $17m; Skrillex and Steve Aoki, $24m each; Tiesto and David Guetta $37m each; while Calvin Harris ruled the waves with $66m. Which is to say that regardless of genre, profile and audience, the best thing you can do to make a success of your musical career is to perform. Everything starts here – reaching new audiences, building your fan base, earning dollar and auditioning new songs to see what works. Prepared exclusively for [email protected] # Attack Mag 16980. © All rights reserved.THE BUSINESS OF MUSIC CHAPTER 4 SPREADING THE WORDTHE BUSINESS OF MUSIC99 There are other benefits too. Firstly, gigs are the most successful driver of potential fans to your social media. Secondly, they present the perfect opportunity to capture material for uploading to YouTube (see Chapter 3 - Your brand). Thirdly, they are often the best way of getting in front of music execs. A&R scouts may go to fewer gigs than they used to – mainly because they’re busy scouring YouTube, Colors, GRM Daily, SB.TV and Ont’Sofa. But if they’ve seen you online and are interested in you, their next step is often to see you live. Besides, A&R scouts get free time too. And if your passion is music, there’s a good chance you’ll be taking in at least one gig a month ‘outside of work’. Indeed there are notable examples of label CEOs who visit gigs every night of every week. The Brighton band Royal Blood’s signing to Warner/ Chappell in 2013 was the direct result of an A&R exec at the back of the room being so impressed by their performance that he pretty much signed them on the spot. Let it not be understated: gigs are the holy grail of marketing. And they don’t need to cost you a penny beyond travel expenses. More than that, when you’ve established even a small local following, gigs are able to provide a regular and reliable source of revenue. It’s a rare win, win, win situation – clocking up cash, new fans and social media interest at the same time. As such you should be gigging regularly. In the early days two or three gigs a month is probably the minimum. As you move up the ladder, you will occasionally get ripped off – like being told at the end of the night that there’s no money for you because ticket sales went badly or no-one was buying drinks. You’ll learn to deal with that, and avoid those venues in future. STAGE FRIGHT Not every musician is a natural on stage. A surprising number of the greats have admitted to paralysing stage fright including John Lennon, Adele, Brian Wilson and Annie Lennox. Some simply don’t have the personality to get up in front of 100 (let alone 10,000) people to play their songs. Tragic Nick Drake, whose recordings are now legendary, couldn’t cut it live and stopped gigging. It effectively ended his career. And while Bob Dylan still tours singing ten-minute songs he wrote 50 years ago and remembers every word, Bryan Ferry uses a TV monitor to check lyrics. So if the thought of getting up there in front of a mic and dozens of expectant eyes (and cameraphones) terrifies you, you’re in good company. If you discover that performing live is not for you, then all is not lost. Concentrate instead on writing and finding people to collaborate with. Or learn the skills of an engineer or producer so that you can use your talents to help other acts shine. The music industry is a broad church with room for all kinds of talent. Prepared exclusively for [email protected] # Attack Mag 16980. © All rights reserved.THE BUSINESS OF MUSIC CHAPTER 4 SPREADING THE WORDTHE BUSINESS OF MUSIC100 GIGGING FOR DANCE MUSICIANS Some genres lend themselves to live performance better than others. Singer-songwriters and bands have no shortage of opportunities to get in front of an audience. For most of them playing with and in front of others is second nature. Dance music producers are in a different boat. Much of their creative work is done alone, in a studio, in front of a computer. And while some embrace the live scene – taking a small rig on the road – opportunities to do so are much rarer. The logistics and costs involved make it a considerably more complex proposition than turning up at the local open mic night with a guitar and a couple of songs. Nevertheless, the golden rule – that gigs offer the number one opportunity to grow your profile – applies to dance music as much as any other genre. After all, this is a sector of the music industry that is reckoned to be worth just shy of $6bn a year, and a large whack of that comes from the live sector. Artists from Daft Punk to Deadmau5, Skrillex to Basement Jaxx show what a well-conceived tour can do for an artist’s profile – and the financial bottom line. And when launching an album you’d be hard pressed to find an A-list dance artist who chooses not to tour – particularly if they’re backed by a major label. Lower down the pay scale, it was live vocal showcases at east London raves that were the springboard for Charlie XCX’s career. If the thought of packing a host of expensive hardware into a van alongside 200 MIDI cables is bringing you out in a rash, take heart from the fact that before Daft Punk et al were doing their multinational, megabucks tours, they were DJing. Although taking dance music live is possible, the closest comparison to the pub gig is DJing at a local nightclub. This platform gives the DJ/producer the space and means to develop both their skills/set and a following. If that following becomes large enough then doors start opening to ever-larger clubs and festival venues as their profile increases. That journey becomes even easier if you make your own music. A DJ residency give you regular opportunities to play your own music in front of Prepared exclusively for [email protected] # Attack Mag 16980. © All rights reserved.THE BUSINESS OF MUSIC CHAPTER 4 SPREADING THE WORDTHE BUSINESS OF MUSIC101 As a producer of dance music looking to get your tracks in front of an audience DJing is one thing, but recreating those tracks live using some form of mobile studio before the crowd’s eyes makes for a far more compelling experience – for them and you. “Fundamentally, it’s the ability to tailor the experience based on real time events, in a way DJing can’t,” says producer and remixer Sharooz. “If the room is losing energy, it’s easier to inject elements into the performance that revitalise interest. It’s easier to customise the experience depending on the crowd, room and vibe.” What’s the secret, then, to creating a successful live show out of a studio-based electronic project? “Time, experience and persistence,” says tech-funk producer Hedflux. “Gigs are testing grounds and you have to learn and improve after every show. “Someone once said to me the difference between a producer and a DJ is that a producer is there to play whatever he’s made, but a DJ’s job is to choose the right track for the right moment,” he continues. “I was a DJ long before I was a producer and I like to maintain that performance style, whilst taking advantage of the extra creative and live possibilities that Ableton provides.” A Hedflux set is built on a seamless blend of on-the-fly mixing/arrangement and DJing, and while that might sound like a more complex proposition than just doing one or the other, software like Ableton Live makes it easy to bring the two together. “I created a live set that has all my own mastered tracks, tracks from my label and friends, and stems from my own tracks so I can have the best of both worlds,” he explains. “I can just DJ and dance (dancing is an important and often overlooked part of a DJ performance), and occasionally tweak things, or I can go deeper into live and experimental territory and start mixing my stems with other tracks in the same key, using loopers and FX. Most importantly, I can play whatever feels right at the time for that show.” Technology means the lines between DJing and ‘true’ live performance are no longer clear cut, so it’s important to be honest in your promotional materials about which you’re offering. “It’s better to put on a great DJ set than a mediocre ‘live’ set, which in many cases is just a DJ set made up of the artist’s own tracks played through Ableton with no mixing,” says Sharooz. “That should never be billed as a ‘live’ show but often is. If the studio album is widely received, it’s poor form to tour the album playing the tracks from a laptop. Live musicians and proper machines should be involved. “The audience pays a lot more attention if you’re doing something more than a DJ set. There are many DJs that make their sets infinitely more interesting, but to me, live shows and DJ shows are fundamentally different beasts. The DJ set is fundamentally about the selection, and the live set is more about the artistic representation of the self. You can create an amazing buzz being known as much for an amazing electronic live act as for your productions.” To be clear, though, there’s nothing wrong with solely DJing. If that’s your only option don’t feel like it makes you some sort of second class musical citizen. As long as your music is being heard by as many people as possible in a live setting, it’s mission accomplished. Hedflux concurs: “Different producers are at different stages in the journey, so if the music is good, play it however you want to.”TAKING ELECTRONIC MUSIC ON THE ROAD Prepared exclusively for [email protected] # Attack Mag 16980. © All rights reserved.THE BUSINESS OF MUSIC CHAPTER 4 SPREADING THE WORDTHE BUSINESS OF MUSIC102 crowds. This not only provides an invaluable chance to get real-world feedback on both mixes and arrangements, it also gives you access to music that other DJs simply can’t play. Of course not every dance producer DJs or wants to DJ, which is fine, as long as you’re interacting with DJs, getting your music to them so that it is being heard in the clubs and on their radio shows. Approach sending your tracks out to DJs with the same care and attention you do every other aspect of your musical career. When asked how he likes tracks to be submitted for potential playing out, DJ and producer Hedflux couldn’t be clearer in his response: “Send the music with a thoughtful, well written email that provides some context about you and the music, and why you’re sending it to me. That’s much more likely to get listened to than a link and short message. If it’s not right for me I’ll usually know within a few seconds and turn it off, and I won’t reply. First impressions count.” Services like FatDrop allow producers, labels and PR agencies to send pre-release tracks to DJs, journalists and other tastemakers. But you should also be building your own personal relationships and mailing lists of DJs who appreciate your music. Ultimately, if your music is not being heard in the clubs by your potential audience you’re going nowhere fast. WINNING THE AUDIENCE It’s not enough to simply get gigs. It’s how you relate to the audience at gigs that matters. And here you need to be self-critical. Do you – in fact – relate to the audience at all? There’s one notable current touring act (no, we’re not naming him!) who starts off with the audience absolutely on side. They’ve heard the records; they’ve paid money to see him. But he says very little on stage, looks like he’d rather be ORIGINALS VS COVERS The perfect scenario is that you build your audience with original material. No record label cares that you do a smoking note–for- note cover of ‘House Of The Rising Sun’ or ‘Halo’, and while they might be easy crowd pleasers, you need to do the harder work of winning audience approval for your own material. This is not to say that covers are forbidden – either at gigs or on YouTube - just that no label is going to sign a covers band. If you have a unique take on a song that makes it undeniably yours, then by all means go for it. Think Hall & Oates ‘I Can’t Go For That’ as re-imagined by The Bird & The Bee or ‘Mad World’ which Gary Jules practically turned into a new song. But unless you’re going to invest a cover version with a blindingly original new vision then stick to your own songs. Covering a song ‘as written’ is karaoke by any other name. Prepared exclusively for [email protected] # Attack Mag 16980. © All rights reserved.THE BUSINESS OF MUSIC CHAPTER 4 SPREADING THE WORDTHE BUSINESS OF MUSIC103 somewhere else and doesn’t even acknowledge his band. By the end of a gig, he has more or less lost the audience – and they were his to start with. His music is critically well favoured and by now he should be massive. But he’s not. He has no stagecraft and leaves the audience feeling like they don’t matter. Even among those who are widely adored by their audience, the unforgiving proximity of performer and fans in a live context can have devastating impacts when things go wrong. Consider the experience of techno legend Richie Hawtin, whose apparent frustration during a New York gig in 2014 resulted in him pushing a speaker onto a fan. The social media fallout was, predictably, a PR disaster. It’s not enough to simply get the gig. You need to shine at that gig. Your job as you stand before the expectant crowd is to sell your brand and music, to convert audience expectation into pleasure; to make the audience love you – whether they’re new to your sound or have been fans for decades. If you manage that, then the rewards, in terms of fan-base, music sales and your bank account, can be considerable. GIGS DEMAND NEW MUSIC Release new music, all the time. Write those six words down. Put them on a post-it note above your desk as a constant reminder that your audience won’t wait two (or ten) years while you craft your masterpiece album. At their height, The Beatles never released fewer than two albums a year, apart from the one year gap between Revolver and Sgt Pepper. The singles came thick and fast too, and at least half of them were not from albums. In other words, they kept the world’s attention with frequent and regular new music. Thirteen albums in seven years would be unthinkable today, but it was what was expected back then. Even the chaotic Rolling Stones – drugs, death and all – kept up an output of at least one album a year, 12 in the first ten years, 22 singles in the same period. The current paradigm of an album every two, three or even four years is unsustainable. This is a hangover from the analogue era when the biggest recording artists determined when they would deliver new product rather Prepared exclusively for [email protected] # Attack Mag 16980. © All rights reserved.THE BUSINESS OF MUSIC CHAPTER 4 SPREADING THE WORDTHE BUSINESS OF MUSIC104 than at the whim or demand of their record label. In an era of digital overload and short attention spans for all but the most super of superstars – Adele, Coldplay, Daft Punk, Beyonce, Madonna – no- one is waiting for your new album. Indeed most music buyers don’t even want a whole album. But they absolutely want new music. Which means forget about the all-consuming, big-event album. Focus your efforts instead on constant engagement, growing your fan base on a daily basis through social media, word of mouth and live performance. Keep your audience happy with new material. Aim for a new song every six to eight weeks, with a video to match. If more than two months passes between new songs, give yourself a hefty welly up the rear: the music industry is not one that hangs around. Nor will your fans. BUILD A (LIVE ) NETWORK Right now, right where you live – unless you’re in some God-forsaken rural outpost – there is a vibrant music scene going on under your nose. Get involved; make friends; create contacts; build a network. Seek out open mic nights, jam nights and networking events. Go and support other musicians. Simply being out and being seen are among the most important things an artist can do to increase their profile at this early stage. Not only will you be forging relationships with other musicians (which may become long-term collaborative relationships), you’ll soon get a handle on the best places for your own live appearances when the time comes. If you’re at music college there are usually dozens of ready-made collaborative opportunities. Some of your tutors will have been in successful bands. Don’t look at them like you looked at teachers at school. They’ve been where you want to be. Talk to them, learn from them, show them respect. Work with other students. Even if you think you’re different or better, it’s important to learn how to manage musical relationships. It’s easy to fall into the trap of thinking other artists are competition. But that’s to miss the long and proud history of collaboration. For example, the history of The Yardbirds, John Mayall’s Bluesbreakers and Prepared exclusively for [email protected] # Attack Mag 16980. © All rights reserved.THE BUSINESS OF MUSIC CHAPTER 4 SPREADING THE WORDTHE BUSINESS OF MUSIC105 Fleetwood Mac is a history of British blues music spanning 60 years, taking in Eric Clapton, Jeff Beck, The Who, Cream and Led Zeppelin. And that barely scratches the surface. Then there are the various ‘local’ UK music scenes over the years that became national and even global phenomena, thanks to the concerted and frequently collaborative efforts of the bands involved. Obviously, there’s Liverpool in the 60s, but beyond that, think Manchester and Bristol from the late 80s to mid 90s: the first spawned the likes of The Stone Roses, The Happy Mondays and The Charlatans; the second saw Massive Attack, Portishead, Tricky, Way Out West et al blueprinting the eclectic trip-hop genre. These bands toured together, guested on each other’s tracks and albums and were ultimately perceived by the listening public as cohesive creative and cultural movements, to their immense collective benefit. No-one will deny that the music industry is competitive. But by making the right connections and being open to opportunity it is possible to change musical history – and secure your own place in it. Prepared exclusively for [email protected] # Attack Mag 16980. © All rights reserved.THE BUSINESS OF MUSIC CHAPTER 4 SPREADING THE WORDTHE BUSINESS OF MUSIC106 STRAND 2: ONLINE PROMOTION/SOCIAL MEDIA INTERACTION You’re now gigging and developing relationships in the real world, but building them online is also critical. And though generating likes and building your social media profile and reach may feel like easier work than lugging kit around venues, upping your number of fans and followers is often easier said than done. Start by going after the lowest-hanging fruit– people who you already know. All of your family and close friends, for example, should be following you on all relevant social media / fan platforms – Facebook, SoundCloud, YouTube, Twitter, Instagam, Bandcamp and so on – and by extension all of their friends. Don’t be soft about this. Beg and borrow (but don’t buy – see below). Make it happen. Think of the exponential chess board: one grain of rice on the first square, two on the second, four on the third, eight on the fourth. By the 24th square there are 8,388,608 grains of rice on the board. On the simple basis that one becomes two, and two becomes four, you are 18 steps away from having well over 100,000 followers. Of course it’s not that simple in real life. But without taking the first steps, you’ll get nowhere. The next lowest-hanging fruit are fellow musicians. As you build relationships on the local scene and in your musical niche, follow these bands and artists on their own social media. They’ll typically follow you back (if not, a gentle reminder never goes amiss). THE SECRET TO GETTING MORE LIKES When you see Adele with her 65m Facebook likes or Skrillex with his 20m, it can be tempting to wonder what the secret to upping one’s social reach as an artist is. Rumours abound about ‘bought’ likes (for which there is some truth, discussed below) and label staff being made to interact ad nauseum with emerging artists’ social media to make them look more hyped than they actually are. Forget it all. The sobering truth is that the majority of likes, friends and fans are legitimately earned by becoming an artist with whom people want to engage. They are voluntarily given by real fans. Which means the real secret behind building a vast social media following is very simple: being an exceptional artist who gigs and releases great music regularly. Get those bits right and the fans will follow. Prepared exclusively for [email protected] # Attack Mag 16980. © All rights reserved.THE BUSINESS OF MUSIC CHAPTER 4 SPREADING THE WORDTHE BUSINESS OF MUSIC107 Remember that musicians are all in the same boat; they know how important online interaction is and many will like your tracks and comment on them. But it’s a two-way street. You should return the favour. At this stage in your career don’t worry about whether a Facebook friend is a genuine fan or a guitarist you sometimes hang out with. A like is a like is a like (with one major caveat: see Buying likes, below). The more (real likes) you have, the better (see Numbers talk, right). Finally, if you are at college or are attending conferences, there are likely to be lecturers and inspirational guest speakers. In the time scale you’re working to, you’re unlikely to get a better opportunity to interact with an established industry player. Don’t hang back. Ask for their email address then send them a link to your Facebook profile / best YouTube video, alongside a personalised message. When you’ve picked as many of the lowest hanging fruit as you can, you need to start the trickier business of adding fans who’re not in your social, musical or family circle. This is where the other strands of your profile building come into their own – gig punters who like you will friend you, radio listeners who enjoy a profiled track will visit your YouTube channel and subscribe. Which is why your social media details need to be on any and all marketing material that is sent out – from fliers and business cards to Electronic Music Kits (see later in this chapter). A fan who tries and fails to engage with you is unlikely to try a second time. Make the transition from gentle interest to fan-for-life as easy as it can be. In time you will see the benefit as real-life interaction and profile raising transforms into social numbers. BUYING LIKES – AND WHY IT’S NOT MONEY WELL SPENT A few years ago stories about artists or celebrities who had ‘bought’ Facebook friends or Twitter followers popped up in the media on a regular basis. NUMBERS TALK Put yourself in the mind of a record label executive. You’re thinking about signing one of two artists. The first has 10,000 Facebook friends, 5,000 YouTube fans and a vibrant, regularly updated SoundCloud account. The other artist’s music is better – it is more arresting, the musicianship is exceptional, the production is great and it’s going to sound amazing on radio. But they’re a recluse. They spend their life in the studio polishing songs and perfecting mixes. They’ve never had the time to set up a Facebook page, let alone maintain it. And they’ve been way too busy getting the music and recording right to think about YouTube and SoundCloud. As a time-poor label exec who needs a bankable artist, who are you going to sign? Prepared exclusively for [email protected] # Attack Mag 16980. © All rights reserved.THE BUSINESS OF MUSIC CHAPTER 4 SPREADING THE WORDTHE BUSINESS OF MUSIC108 In September 2012, the metrics company Pagedata revealed that Facebook had been purging ‘fake’ accounts with Rihanna losing 28,275 likes, Lady Gaga 34,326, Shakira 26,406 and Justin Bieber 27,859. Buying likes is easy. Just do an online search. For $40 or less you can add 10,000 fans to any of your social media platforms. Tempting, eh? More likes gives us more apparent clout, and given the importance record execs place on social media, it’s no wonder bands – and brands – have so regularly succumbed to the dark side. (In 2013, even the US State Department admitted it had been buying bogus Facebook likes, with their ‘fan’ base rising from a respectable 10,000 to over 2.5m). So far we’ve argued for an organic approach to building your social media, adding a few new fans each day as they discover your music and/or see you live. We’ve argued this approach because it is both realistic and achievable. But that’s to ignore the most coveted elephant in the digital room. To super-size your YouTube or Facebook fanbase you need a song, post or most usually a video to go viral. Social virality is the digital age marketeer’s wet dream. If a video spreads like wildfire you can add millions to your fan-base in the space of a few days. And it can cost next to nothing. Pop act OK Go couldn’t believe their luck when the home-made, ultra low-budget video for their 2005 song ‘A Million Ways’ – emailed out to fans – became one of the most downloaded videos of the time. It has clocked up around 4.5m views to date. They topped themselves in 2006 with ‘Here It Goes Again’ (over 44m views) and again in 2009 with ‘This Too Shall Pass’ (over 60m). A piece of content goes viral when it is shared, over and over again, all around the world. So to have any chance of viral success you need something worth sharing.In music terms this is typically a video that is unique/challenging/fun/addictively entertaining/massively offensive. The business magazine Forbes identified key factors in videos that had gone viral, including short play times, an upbeat mood and an inspirational mindset/message. But there’s no secret formula. The best marketing minds might struggle to create viral content, and are then left reeling when Childish Gambino racks up half a billion views (yes, we’ve come a long way since OK Go) with ‘This Is America’, or an unknown from Korea breaks the web with more than three billion views (Psy, ‘Gangnam Style’). The odds of your video going viral are heavily stacked against you. Even Upworthy, the sharing site, has a viral rate of less than 0.5%. If you’ve got a great idea by all means aim for the top. Keep your video channels fresh and lively. Plough on with the daily work of increasing your fanbase, and keep refreshing your video channel. The odds are against you hitting the viral jackpot, but it’s a racing certainty you won’t if you’re not even in the running.SUPER-SIZING YOUR SOCIAL CHANNELS: THE VIRAL EFFECT Prepared exclusively for [email protected] # Attack Mag 16980. © All rights reserved.THE BUSINESS OF MUSIC CHAPTER 4 SPREADING THE WORDTHE BUSINESS OF MUSIC109 But to what end? Bought fans are not real fans. They are invariably people sitting in so-called ‘click farms’ who do nothing all day but tap thumbs-up buttons and re-tweet comments; many aren’t real people at all. They will know nothing about you or your music. They will rarely if ever make posts or interact with your real fans or make YouTube comments. And they will never, ever, buy any of your music. In the social media industry there’s a big difference between raw numbers and engagement. And engagement (the liking, the comments, the shares) is what matters. It is what the big players in the industry look for when choosing which content to feed into timelines and onto real fans’ pages. Indeed the algorithms used by Facebook, Google, Twitter et al are being constantly tweaked to lower the impact of pages that have artificially ramped numbers of fans – while raising the relevance of pages that show real interaction. Which means that if you buy fans and Facebook or Twitter realise you’ve done it you could find your page falling dramatically down their ‘Edgerank’ value rankings – which translates as a lower profile and fewer real fans. In addition, when discovered, fake likes are simply deleted from a profile – meaning in the worst case scenario you lose your investment and your Edgerank advantage. So save your money and your brand by keeping fans and comments real. In the long-term you’ll be better off for it. With social media, as with everything else in the industry, there are no shortcuts. Faking it is not making it. Talent and hard graft are the drivers – and that costs more than $40. Prepared exclusively for [email protected] # Attack Mag 16980. © All rights reserved.THE BUSINESS OF MUSIC CHAPTER 4 SPREADING THE WORDTHE BUSINESS OF MUSIC110 STRAND 3: BLOGS/LOCAL MEDIA (PAPERS AND FANZINES ) AND SPECIALISED RADIO It’s easy to feel demoralised when faced with the vast and apparently faceless might of the world’s biggest media organisations: the MTVs and BBCs of this world; the New York Times and The Guardian; Q and Mojo. How the hell do you get support from them? And be under no illusion: get the support of these big players and your career will shift up a gear. But these mass media targets are for another day and another year. At this stage in your career there is media support out there that will do far more for your profile and that is infinitely easier to engage with. Remember you are at the cutting edge; you are not yet the kind of long- established artist that Apple, Spotify, MTV or your national radio network will playlist. The people who will give you a lift right now are bloggers, specialised radio DJs and journalists on local and small-scale online fanzines, magazines and newspapers. For now – and well into the future – these are the tastemakers that matter. IT STARTS WITH THE TASTEMAKERS To become known in your corner of the universe, you need to become known by these tastemakers. Each genre and sub genre has them. DJs aside, these are typically music lovers who aren’t themselves musicians. They have an audience and if they decide to get behind you, they will use their influence and reach to get your music to their audience. They are hugely important in the early part of an artist’s career. You should know the tastemakers who are writing about, playing and promoting the sort of music you make. Prepared exclusively for [email protected] # Attack Mag 16980. © All rights reserved.THE BUSINESS OF MUSIC CHAPTER 4 SPREADING THE WORDTHE BUSINESS OF MUSIC111 ELECTRONIC PRESS KIT An essential part of your media communications is the Electronic Press Kit (EPK). The EPK is an emailable and constantly updated document (Word format or, better, PDF) that distils a range of information (your assets – see Chapter 5: Releasing a record) into a single place to make life easier for your growing list of media contacts. We hear you protesting: “But I’ve got a website. Why do I need an EPK?” The answer is that at this stage in your career you don’t want to put up any barriers between your rise to fame and the people who’ll help you on your way. Journalists, radio producers, DJs and venue managers are busy professionals. They don’t have the time or inclination to root around looking for information on your website or social media. Anticipating their needs and fulfilling them as efficiently as possible makes their life easier. That’s why you need an EPK. It will make you someone others enjoy working with. And it will pay off. Slightly different versions of the EPK should be tailored to specific recipients’ needs. So, for instance: For radio stations, your EPK needs: – a short bio – details of forthcoming gigs (make sure they are gigs happening after the broadcast) – a photo (even though it’s radio, presenters like to know what you look like) – a link to mp3/s of your track – link to your website (they can direct listeners to it).For gigs: – a short bio – a photograph and/or logo (they can use it on any in-house promo) – backline requirements (some venues may have their own drum kit, or piano, or an integrated sound system. It’s important for them to know your line-up, and what equipment you bring with you). For press, off- and online: – a short bio – a choice of photos (link to hi-res jpeg or TIFF format, the higher quality the better) – link to your latest recording/s – links to online video/s – link to your website – a list of upcoming gigs. A couple of things to note: Firstly, when compiling your EPK into a single zip file, ensure that any large files – tracks, videos, hi res photos – are provided as links. Many organisations have limits on download file sizes and no-one’s interested in stuffing up their network with 50MB of your material. Secondly, note the difference between an EPK and a standard press release (see Anatomy of a press release, Chapter 5). A press release is narrow in focus, concentrating on a specific story (a new tour, a new release). The EPK, on the other hand, is a broader information pack about ‘brand you’. Every press release should contain a link to your EPK. That means you’re not leaving it to chance that the recipient will need to come back you to ask for anything. It’s all there for them – every time. Prepared exclusively for [email protected] # Attack Mag 16980. © All rights reserved.THE BUSINESS OF MUSIC CHAPTER 4 SPREADING THE WORDTHE BUSINESS OF MUSIC112 You should already be reading their blogs and tuning into their radio shows or podcasts. If you’re not then it’s simple enough to do a few online searches. Search for Top 10 (your genre) tastemakers, Top 10 (your genre) blogs, Top 10 (your genre) radio stations, Top 10 (genre) podcasts. Start by following your chosen tastemakers on Twitter and Facebook. Get your name known by liking content, re-tweeting, adding comments to blog posts. Join conversations with constructive input. In short, leave a footprint that can be followed. Think of the web as a vast landscape. To make your mark on it you need to become visible, developing areas of it for yourself, and leaving footsteps in as many places as you can. If the tastemakers find you interesting enough, they will follow you back – which is a result in and of itself and is the first stage in establishing a relationship. With more people making and uploading music then ever before, separating the wheat from the chaff can be maddeningly difficult, so the need for the guidance of tastemakers has never been greater. Although print media still has its place, the big readerships these days are to be found online among a group of influential blogs and websites that every aspiring musician and band should be aware of. Chief among the new tastemakers is Pitchfork, launched in 1995 and now owned by publishing giant Condé Nast. Generally considered to be the primary reference point for indie and music on the fringes of mainstream, Pitchfork is renowned for the quality of its journalism and the sometimes make-or-break influence of its reviews on album sales – most famously, Arcade Fire’s Funeral, which “went out of print for about a week because we got so many orders for the record,” according to a Merge Records employee interviewed in the Chicago Tribune, and Travis Morrison’s Travistan, which bombed after its critical savaging. Pitchfork is so big that it puts on its own festivals in Chicago and Paris and prints a real magazine every quarter, The Pitchfork Review, “dedicated to the best in long-form music writing, photography, design and comics”. It might be the biggest but PItchfork isn’t the only site on the web prioritising indie and alternative music. It’s easy to Google ‘most influential music blogs’ and find detailed descriptions so you can find those that suit your style/situation best. The more disparate electronic music scene doesn’t have an equivalent to Pitchfork, but Resident Advisor, which has been around since 2001, is probably its best- known online resource. RA serves up news, reviews, interviews and features, as well as documentary and performance videos, podcasts, and listings and ticket sales for clubs around the world, including their own ‘RA In Residence’ nights. Then there’s Attack Magazine, Earmilk and many others – look at as many as you can bear and figure out which best suits your music and your focus.THE NEW TASTEMAKERS Prepared exclusively for [email protected] # Attack Mag 16980. © All rights reserved.THE BUSINESS OF MUSIC CHAPTER 4 SPREADING THE WORDTHE BUSINESS OF MUSIC113 At this early stage, whatever you do, don’t annoy them with ‘look at me!!!’- type Tweets, or directly ask/beg them to listen to your music. They are bombarded with these requests every minute of every day. Instead, think of tastemakers as your equals and build a discourse based on mutual respect. You are playing a long game here. WORKING THE BLOGS AND MAGAZINES You have to work out for yourself the tastemakers that are worth engaging with. This is especially true with bloggers and publishers of small-readership magazines. Some blogs, for example, may have a tiny but disproportionally influential readership while others read by tens of thousands may not make a scrap of difference to your career. Online media, like music, has experienced its own democratisation and for every Stereogum or Earmilk there are hundreds of barely read works-in- progress put together by well meaning wannabee hacks with more ambition than readers. How do you know which is which? Look at the publication’s Facebook following. How many likes does it have? What is the level of engagement? How many comments accompany posts? In short, is this a tastemaker with clout or one that’s not worth your time? Ultimately, your gut instinct will serve you. Every major tastemaker starts with no followers. If you like the vibe of one, go with it. Make no mistake: bloggers have the power to make a career. Chillwave forerunner Washed Out had been making hazy beats and uploading them to MySpace for years before Carles from the Hipster Runoff blog championed his music – which went on to generate interest among much bigger media outlets, from Gorilla vs Bear to Pitchfork. When you’re starting out, it’s more important to cultivate the blogger than make an outright bid for coverage. Keep engaging and sooner or later the blogger will come to recognise you as a digital friend. Once that relationship feels comfortable, Twitter is often the best place to make a direct pitch. Send a private message asking if they’ll listen to your track. Note that no self-respecting blogger is going to respond to a song link left in a public comment – that would signal to other readers that that’s the thing to do. Prepared exclusively for [email protected] # Attack Mag 16980. © All rights reserved.THE BUSINESS OF MUSIC CHAPTER 4 SPREADING THE WORDTHE BUSINESS OF MUSIC114 Learn, also, the people to avoid. One of the music industry’s most prolific bloggers is Bob Lefsetz. Unless you’re already a long way along the path to stardom stay out of his way. To Lefsetz, and people like him, even the most talented newcomers are just wannabes. By the time you show up on his radar, you’ve already made it. Full stop. Bob is not going to help you right now, and he’s not the only one. Don’t waste your time on these guys. Yet. The people you need to get close to are those who take pride in pointing the way rather than those waiting until you’ve arrived. RADIO There are now countless on and offline radio stations and podcasts that welcome new music from new talent, which is both good and bad news. The bad news about this proliferation is that the majority of the more targeted stations are unlikely to make you a star. They’re run by music and radio passionistas but their listenerships are often in the hundreds rather than the millions enjoyed by the BBC-scale nationals. The good news is that it has never been easier to get onto their playlists. MARKETING EMAILS Your email database (Chapter 3 - Your brand) is gold dust. It is a direct contact list to the most committed of your fans. Numerous studies have found that marketing emails generate higher responses than almost any amount of social media – these are people, after all, who have spent their time filling in a sign-up form on your website, not just clicking a thumbs-up button. You might also add addresses from your Bandcamp page and from fans who email you. Create a separate ‘press’ list for tastemakers, radio DJs and journalists who openly publish their email address. Marketing emails – telling fans about a new video, track or gig – can be as simple as a few lines of text, along with links, or can be more obviously designed newsletters made using online platforms like Mailchimp. At whatever stage you are in your career, avoid bombarding fans with mails. One every two or three months is more than enough. Most importantly, give your mailers a character that reflects your brand with a narrative voice that speaks directly to fans. The mailer is a piece of branding like your website and Facebook page. Keep it on brand. Be personal. And be engaging. And remember, as we warned in Chapter 3 – Your brand, to make sure any emails are compliant with the new rules as laid out in the General Data Protection Regulations that came into effect in May 2018. Prepared exclusively for [email protected] # Attack Mag 16980. © All rights reserved.THE BUSINESS OF MUSIC CHAPTER 4 SPREADING THE WORDTHE BUSINESS OF MUSIC115 Speaking with PRS’ M Magazine, BBC Radio 6 DJ Tom Ravenscroft said: “Getting on radio is a lot easier than it was – there are a lot more opportunities. Back in the day there were only a handful of shows to send your stuff in to. But now… there are so many shows.” Not only is getting your music onto radio essential for widening your fanbase, there are other benefits too: becoming part of radio culture is good training for the day when you are invited to be interviewed by major broadcasters, and you might even find a few pennies feeding into your PRS account (see Chapter 2 - How music makes money for you) – although note that not all internet radio stations play ball. As with other tastemakers, you should know the stations active and popular in your niche. When you’ve got a new track, get in touch with them. Their raison d’etre is the championing of great (often new) music. If yours hits the grade then they’ll want to feature it. Tom Ravenscroft again: “You need to find DJs you think are most likely to listen to your music and like it. Send it to them and don’t forget to badger them! If people stop sending me stuff I’m fucked!” Indeed local and online radio are the rare exceptions of media it is acceptable to (sensitively) bombard with your EPK and latest track/s. When you get radio play, tell the world about it. Tweet when you are added to a station’s playlist and link directly to the radio’s Facebook page. If they reciprocate then you’ve added to your social media numbers and grown another link in your ever-building ecosystem. Finally, if you get support, don’t forget to thank the station and specific presenter. Simple, polite steps like this make repeat play/s far more likely. Prepared exclusively for [email protected] # Attack Mag 16980. © All rights reserved.THE BUSINESS OF MUSIC CHAPTER 4 SPREADING THE WORDTHE BUSINESS OF MUSIC116 PICK YOUR BATTLES Whatever you’re doing when spreading the word, and wherever you are in your career, concentrate your efforts where they will be most effective. At the lower rungs of impact, internet radio and news-style blogs are desperate for content. Even a mediocre artist could fill their days doing interviews – and watch their recording career come to a grinding halt. So think carefully about where you want to direct your marketing efforts and limited time resources: a single interview with a well-chosen, high profile blog can have 50 times as much impact as doing a dozen or more interviews with ‘the great unreads’. Reserve your best content for outlets that you know will pay profile-raising dividends. This might be an interview titbit you’ve not shared before, a new remix, free downloads or exclusive windows (two weeks to one month) to feature your latest material. Don’t ignore slightly leftfield options too; publications like Music Radar and Attack Magazine feature studio tours and interviews that concentrate on the techier side of music making. They attract different audiences and can result in dozens of new fans. At the same time, pay attention to the music and musicians the most influential tastemakers are listening to. Where possible attend gigs by those artists, introduce yourself and tell them you stopped by because Mr or Ms Tastemaker recommended them. They’ll be impressed you took the trouble, and it won’t be difficult to follow up your real-life meeting by exchanging Instagram or Twitter details. Now you are online contacts with someone being touted by people you respect and one step closer to the tastemaker themselves. Although such steps might feel superfluous to your goal, getting to the epicentre of a scene – the space where the most influential bands, DJs, managers, bloggers and tastemakers reside – gives you a far greater chance of capturing the attention of the people critical for the next stage in your career as almost any amount of compositional tinkering and studio chin-stroking. OTHER WAYS TO GET NOTICED Music competitions are easy to sneer at, and some deserve the sneering. But if you do your homework and pick the right ones, entering a few as you Prepared exclusively for [email protected] # Attack Mag 16980. © All rights reserved.THE BUSINESS OF MUSIC CHAPTER 4 SPREADING THE WORDTHE BUSINESS OF MUSIC117 start out can give you useful exposure – as well as the occasional prize. Live performance competitions – The competitions to avoid are those that only survive through the entrants’ ability to put bums on seats. They have regional heats, to which you are expected to bring friends and family, and you only have to attend a couple to figure out the game plan. Talent is CROWD-SOURCING: YAY OR NAY? Crowd-sourcing can be a good way to finance anything, from a single, to an album, to a tour, to merchandise. But be clear; you are contracting with those who pay you money. In return you must give them what you offer (a CD in the mail; a free download; a ticket to a gig), or return the cash. Here’s a cautionary tale of how Crowd- sourcing can be both spectacularly successful, but also backfire. It is the epic saga of Amanda Palmer, which begins with the initiation of a Kickstarter campaign in 2012, targeting $100,000 to cover the costs of her forthcoming album and tour. 25,000 fans pitched in, passing the target amount in six hours and ultimately handing the Dresden Dolls singer, solo artist and wife of contemporary literature demigod Neil Gaiman, a cool $1.2m. The album, Theatre is Evil, was released later that year, the tour went ahead, and everyone who’d donated got everything they were due – but that was by no means the end of the story. Prior to the tour kicking off, Palmer enraged press and punters alike when, via her blog, she began a recruitment drive for brass and string players to join her on stage at every gig… unpaid. “We will feed you beer, hug/ high-five you up and down (pick your poison), give you merch, and thank you mightily for adding to the big noise we are planning to make,” she wrote. Among the storm of vitriol that came her way, the lightning bolt from legendary producer and outspoken industry grump Steve Albini (Nirvana, Page and Plant) was the highest- voltage: “It should be obvious that having gotten over a million dollars from such an effort that it is just plain rude to ask for further indulgences from your audience, like playing in your backing band for free. I saw a breakdown about where the money went and [al]most everything in it was absurdly inefficient, including paying people to take care of spending the money itself, which seems like a crazy moebius strip of waste.” Other highlights from the breakdown included $250,000 for recording fees and personal debt, $15-20,000 for a design team, and a bewildering $20 each for 1,500 vinyl pressings. In an interview for Forbes in 2015 Palmer gave her side of events. “The dirty secret of my Kickstarter is that it was actually a loss leader leading to Patreon... I did it almost deliberately because I wanted my fans to trust the shit out of me and they do.” Palmer has since gone on to become one of the most successful musical ventures on Patreon, where, according to Forbes in 2015, “4,000 fans have pledged to pay her a total of £30,000 ‘per thing’ – be it a new song, video or piece of long-form writing.” The lessons to be learned from all this? One, if you do hit the crowd-sourcing jackpot, make sure you’ve got enough paid band members to put on a gig. Two, keep the specifics of expenditure to yourself. And three, try and keep those vinyl pressing costs under control, y’hear? Prepared exclusively for [email protected] # Attack Mag 16980. © All rights reserved.THE BUSINESS OF MUSIC CHAPTER 4 SPREADING THE WORDTHE BUSINESS OF MUSIC118 clearly not the issue. The issue is how many tickets you are selling, with the most ‘popular’ entrants rocketing through the heats supported by their bus-load of ‘fans’ while infinitely more talented artists who’ve turned up with a straggle of semi-supportive friends fall at the first hurdle. So check the pedigree of the contest – if past winners haven’t been heard from since they won it’s probably best to give it a miss. Songwriting competitions – There are many competitions for songwriters. Google ‘songwriting competition’ and you get nearly a million results. Of those million only a handful are worth entering. Here the checks are easy enough. First, look at who’s running it. Is it a label you’ve heard of? A major drinks brand? An established broadcaster? Second, look at other names associated with it – judges, sponsors. Organisations and companies like The Brit Trust, Roland UK, Yoko Ono and BBC are no-brainers. Entering a songwriting competition in the digital age could scarcely be easier. Usually it’s a case of uploading your track and a few details. The only thing worth noting is that while some are free, others demand a registration fee. Don’t let that put you off – but make sure it’s money well spent. Production competitions - If your talents lie in mixing, there are dozens of remix competitions happening at any one time. In 2014, Rudimental put the stems of their track ‘Baby’ on SoundCloud and invited all-comers to have a go. Again, check the pedigree. You don’t want to be ploughing a week’s worth of production work into a track that at worse gets a cursory listen and at best gets a barely-marketed digital release which does nothing for your profile. Also note the small print. Some competitions are deliberately unclear about the ownership of the track and it’s not unusual to forfeit some or all of the publishing. This may not be a major concern – if winning is an exercise in profile-raising and you get tied to a label or artist with clout then a few day’s work for no immediate financial gain may be time well spent. But WHEN NO PR IS A STORY IN ITSELF A stark illustration of how breaking all the traditional PR rules can sometimes work wonders was the release of Beyonce’s eponymous 2013 album. It was released without buildup, without publicity, with no announcement from the artist or her record label. One day it wasn’t there; next day it was. Beyonce, by her own account, was terrified. We all think of her as super-sassy and confident. But in her mind, the possibility existed that no-one would care. Which is both surprising and rather sweet. Not nearly as surprising, though, as the fact that in the era of celebrity gossip and news-for-sale, one of the world’s biggest pop stars managed to record 14 new songs and make 17 videos without anyone in the long production chain breathing a word. Of course, you shouldn’t try this at home. You’re not Beyonce. You need all the fanfare you can muster for each new release. But one day, maybe you will be able to test your fan muscle. Prepared exclusively for [email protected] # Attack Mag 16980. © All rights reserved.THE BUSINESS OF MUSIC CHAPTER 4 SPREADING THE WORDTHE BUSINESS OF MUSIC119 later on in your career the strings attached to winning may be too onerous to accept. Business cards - Just because we’re in the digital age, don’t write off the power of the printed word. A business card with social media links is something that looks good, shows you’re serious and has the added benefit of being an infinitely more reliable means of passing on your contact details than a barely legible email address drunkenly scrawled onto a napkin after a gig. As for what to put on the card, keep it simple: your artist name, social media URLs and an email address will usually suffice. Many companies, like moo.com and solopress.com offer high quality, personalised cards at competitive rates. Flyers/posters – Live local music scenes are often surprisingly, reassuringly old-school. Flyers and posters remain some of the best marketing tools for filling venues. See where other artists are advertising and watch how local venues market themselves. Likely candidates for accepting flyers and posters include music-friendly pubs and bars, music shops and student halls and unions’ notice boards. Industry events – The proliferation of industry events worldwide – think Amsterdam Dance Event, which will be 25 years old in 2020; think IMS Ibiza; think South By Southwest (SXSW), Austin, Texas – has been one of the trends of our age. Not only do such events offer networking with fellow artists, they also offer access to industry professionals. A business card taped to a USB Flash Drive of your music placed in the right hands could transform a career. Thinking outside the box – Here comes that purple cow again... Nothing makes a bigger splash than a unique marketing idea executed well. It’s not for everybody but if you have the right mentality and plenty of stamina you might try to do something so totally off the wall that it’s almost guaranteed to bring you attention. Imogen Heap, for example, delivered a media and kudos double-whammy in 2011 by crowd sourcing sounds and even lyrics for her forthcoming album Sparks. The idea was simple enough: engaging with her audience while simultaneously fuelling her creativity. Because the idea was new, the media picked up on it, backed it, and sent interest in her to a new high. Her fans loved it. Prepared exclusively for [email protected] # Attack Mag 16980. © All rights reserved.THE BUSINESS OF MUSIC CHAPTER 4 SPREADING THE WORDTHE BUSINESS OF MUSIC120 When brainstorming these kinds of ideas, don’t let the nagging doubt of cynicism set in. Anything should be fair game. Indeed, by definition, you need to be thinking outside the box to find an original idea in the first place. Here’s one idea: set yourself a target to visit every pub in the country called The Rose & Crown and play a 20-minute set. It’s not revolutionary, but it’s a nice enough idea that’s likely to generate a lot of media and social media interest across whole swathes of the country. The exercise requires careful research and planning. Before you start you will need to check, for example, that a good percentage of landlords will welcome you to play, and that the pub name you’ve chosen doesn’t mean you have to play 200,000 gigs to achieve your goal. You need at least a sporting chance. When you’ve got an original but achievable plan in place start announcing your intention to local media – newspapers, pivotal bloggers, radio stations. Back that with additional PR from music publications. Although it might be difficult at first, after your first month on the road, interest will grow, with people becoming ever more impressed with your commitment. A realistic goal by the end of your journey would be to have generated enough publicity that you’re being invited onto local radio and TV stations. (It goes without saying that you can’t leave the PR to third parties alone. You should be blogging yourself from every pub you go to, adding pictures of supporters to Instagram and uploading video diaries and gig clips onto YouTube as you travel round the country.) Yes, there’s a lot of work involved even with this relatively easy idea. But if the concept itself is solid, different and engaging, and you give the PR the time and dedication it needs, a short period of very hard graft may be all you need to put yourself on the map. The key – always – is that original killer idea. Get that right and the rest will follow. Prepared exclusively for [email protected] # Attack Mag 16980. © All rights reserved.THE BUSINESS OF MUSIC CHAPTER 4 SPREADING THE WORDTHE BUSINESS OF MUSIC121 STRAND 4: MASS MEDIA Unless you’re one of those brave souls who migrate to the nearest capital city because that’s where the action is (we’re talkin’ ‘bout you Ed Sheeran), you will follow in a long tradition of building a following locally before spreading your wings. Try to never forget your roots. Early (and local) fans are worth their weight in gold. They’ll back you forever, touring the world as you move to the big time. Lose them and you’ll be immensely poorer for it. Treating them mean is also downright stupid. The last thing you want when you’re a global star is for the national press to start snooping around your home town and being told what an ungrateful bastard you are and how you dropped your home following the moment the charts beckoned. At the same time, the ambitious artist’s roadmap is one of transitions: from local to national to international. And while the support of a few local venues and bloggers is enough to shore up early fans, to step up a level you’ll need to engage with mass circulation magazines, national and local radio and TV – each of which requires a far more sophisticated approach than the one you’ve adopted to make yourself a local big-shot. If you want to know how hard it is to get yourself heard at the national level, try getting any kind of traction at all from a music journalist on a daily newspaper. These are busy people with not enough hours in the day to identify the next big thing. Instead they rely on a close network of people they trust – record companies, long-time PR mates, even festival organisers – to feed them the names of new acts. National radio stations present an even tougher target. To get their music heard record companies employ pluggers, specialist promotions people with balls, egos and livers of titanium whose job it is to nurture relationships with programme producers and presenters and then to push the records that are scheduled for release months down the line. In other words, there is a massive filtering system for mass media which you are unlikely to get near without dedicated PR. Fortunately by the time you’re ready for transition to the next level you should have that in place already. By which point all we can say is welcome to the big time. Prepared exclusively for [email protected] # Attack Mag 16980. © All rights reserved.THE BUSINESS OF MUSIC CHAPTER 5THE BUSINESS OF MUSIC122 ‘Initially, the record industry struggled a lot with digital media because there are a lot of aspects to it that can potentially destroy our industry.’ Paloma Faith The record industry generally gets a bad rap – a lot of which has been well-earned. One of the biggest complaints in recent years is that it was failing to keep up with the digital age. There was some truth in that, of course, as we witnessed the industry dive from its high of $30bn to a low of $15bn a year. Now it’s climbing again, and one of the reasons for the recovery is that the industry has learned to use digital media to build campaigns around the release of new material, whether it’s a single or an album. In the first half of this chapter we take a break from do- it-yourself and tell you how the pros do it – starting with a real-life case study. Then we show you how you can adapt some of this know-how to make the best of your own music when you release it into the wild. IN THIS CHAPTER... How the majors do it: a case study The self-release When to self-release Why self-release How to release your music Digital Aggregators Streaming Let’s get physical Countdown to release – A step-by-step guideRELEASING A RECORD Prepared exclusively for [email protected] # Attack Mag 16980. © All rights reserved.THE BUSINESS OF MUSIC CHAPTER 5 RELEASING A RECORDTHE BUSINESS OF MUSIC123 HOW THE MAJORS DO IT: A CASE STUDY There’s an enduring stereotype of record companies being staffed by psychologically flawed, egocentric, drugs-fuelled narcissists. If that’s true (and occasionally, it is) they are also high-functioning. Because the logistical precision and multi-departmental co-operation that is required to break even a lowly emerging artist’s new single is remarkable. Record releases are finely-tuned operations, rigorously timetabled across many months, with numerous teams contributing their skills to that nail-biting day when the record goes live. The bigger the artist, the more impressive the behind-the-scenes build is. Star players from the marketing, PR, promotions, plugging, video, design and social media departments add their own individual brush strokes of genius to the final artist-led masterpiece. The release of Daft Punk’s 2013 album Random Access Memories offers a textbook example. It had been close to a decade since the duo’s previous studio album, Human After All. Fans were wondering if the duo had hung up their helmets for good. Cue one of the music industry’s most celebrated PR builds of the past decade. In January 2013, Guy-Manuel de Homem-Christo – one half of the duo – announced that a new album was on its way. Then a carefully measured promotional campaign, to cover territories worldwide, began. Media old and new were used to appeal to as wide a fanbase as possible. Billboards and TV spots (including a 16-second commercial during an episode of Saturday Night Live) revealed first the album title and then the release date. Online speculation went into overdrive. On 3 April, the official Random Access Memories website launched ‘The Collaborators’, a series of documentaries about the album and its contributing musicians. It reflected the duo’s values (aka Story) perfectly: a passion for cinematography coupled with old-school musicality and the classic recording techniques that would infuse the album. Clips spread across the internet like wildfire. Prepared exclusively for [email protected] # Attack Mag 16980. © All rights reserved.THE BUSINESS OF MUSIC CHAPTER 5 RELEASING A RECORDTHE BUSINESS OF MUSIC124 Later the same month the PR machine stepped up a gear. A video preview for lead single ‘Get Lucky’ was screened, unannounced, at the Coachella Valley Music and Arts Festival in California. It was a master stroke: iPhone videos from the event were uploaded to YouTube and hype stepped up a level. To take advantage of the stoked hunger, the single ‘Get Lucky’ was released a week later. The result? ‘Get Lucky’ became the band’s first UK No. 1 and the most- streamed new song in Spotify’s history to that point. Not only were the single and subsequent album critical and sales successes, but the ‘less is more’ marketing build has become a case study in not only how to launch an album, but also how to revitalise an artist’s image and fortunes. Nor were Daft Punk the only beneficiaries: Nile Rodgers, Giorgio Moroder and Pharrell Williams also received boosts and/or revivals to their careers. COMMON THREADS FROM MAJOR AND INDIE RELEASES While a release like ‘Get Lucky’ might feel a million miles away from the kind of campaign you can pull together, two things about it matter. Firstly, the mega-success of the release shows that talk about the music industry’s demise had been wildly overstated. Secondly, looking at the campaign can help you understand the mechanics of even the smallest-scale release – what should happen and when. Because although there’s no such thing as a typical single release, there are threads common to almost all releases – on both indie and major labels, and across almost all genres – that can be drawn upon when putting together your own release schedule. Here are the most important threads: 1. Particularly with new artists, the single is primarily a promotional tool. As sales of music declined, the biggest victim was the single. Over time, record companies learned to view it as a promotional tool rather than as a revenue stream. Prepared exclusively for [email protected] # Attack Mag 16980. © All rights reserved.THE BUSINESS OF MUSIC CHAPTER 5 RELEASING A RECORDTHE BUSINESS OF MUSIC125 The single plays a crucial role in building an artist’s brand and fanbase, raising awareness of the artist and their upcoming gigs and tours. It also supplies momentum in the run up to an album release. Done right the results can be spectacular, witness Dua Lipa’s ‘New Rules’ – over 1bn streams on Spotify alone; and 1.5bn views on YouTube. Once again, the record industry shows its resilience and adaptability, meanwhile helping to show you the way to turn a negative into a positive. 2. For labels, a single is often a loss leader. Because the single is mainly a promo tool, the amount of time and energy that has to be put into servicing it – coupled with the small amount of income it is likely to claw back – means most singles lose money for their label. But this isn’t viewed as a problem if that loss is recouped elsewhere – through album sales, for instance. Or if the artist is signed to a 360 deal (see Chapter 8 - The record deal), from touring and merchandise revenue. (Note that it is still lucrative to be the writer of a hit single.) 3. The single is only a part of the release. When discussing releases, today’s label bosses like to talk about ‘assets’. The video is an asset. The press photos to accompany the single are assets. The mixes are assets. Even the single itself is an asset. Sure, the song is the prime asset – without it the rest is meaningless. But whereas 70 years ago the single was all that mattered, and 20 years ago it was the video and the single, today the single shares the limelight with its video, social media campaign/s, viral marketing memes and on and on and on... 4. A single is part of the artist’s Story. In Chapter 3 - Your brand we talk about creating your Story. When professional marketeers and PR people get their hands on an artist’s Story, they weave it into everything. And they add to it with each new release. Think of each new release as a chapter in a book – part of that wide Story. Is this latest WHEN ALBUMS AREN’T THE END POINT In the mainstream singles are part of the build towards an album release. That mindset doesn’t dominate among indies. In dance music, for example, a label may drop an artist single or EP three or four times a quarter – with no album on the horizon at all. Here the purpose of the singles is different. They aren’t building towards an album. They are, instead, servicing DJ needs, continually building an artist’s following and generating regular incremental radio play. When crafting release schedules, context is everything and the ‘all geared for the album’ model is only one of many. If the end point is an album release, as it is with many majors, then all activity and momentum needs to build to that moment. But in genres where an album is unlikely to recoup costs, a rolling release schedule designed to steadily build an artist and their brand is likely to be more more effective. Prepared exclusively for [email protected] # Attack Mag 16980. © All rights reserved.THE BUSINESS OF MUSIC CHAPTER 5 RELEASING A RECORDTHE BUSINESS OF MUSIC126 chapter about a comeback? Or is there a special guest performer on the track? The Story weaves through the assets and marketing collateral. Every piece of publicity around the single must say the same thing, repeat the same message – tell the same Story. 5. For the industry, ‘release day’ isn’t what it used to be. It used to be simple. Labels would ramp up their activities towards ‘release day’ – the Monday that the single would go onto the shelves of HMV, Our Price, Woolworths, Tower Records and so on. Yes, there would be radio support and some video trails beforehand to build interest – maybe even a Top of the Pops exclusive – but all was building towards release day. That model is now history. Today ‘release week’ typically occurs mid-way through the schedule, with the release of different formats (download, stream, video) staggered across different platforms and stores over several weeks. Instead of all efforts focussed on one day, bursts of activity peak throughout the 12- or 16-week campaign as the song is drip-fed to new platforms. With the song widely available, the final ‘impact week’ (which used to be release week) is little more than a notional end- date to the campaign – of more importance to press activity than to the availability of the single. The only hangover from the past is the fact that impact week often remains the week that physical product hits the shelves (and labels start to see the income impact of their work). Not that any of this matters to the consumer – all they are meant to be aware of is the ever-building excitement around the single, with radio, TV, blogs, press and maybe a tour all contributing to a maelstrom of love for the single and artist. That’s the plan anyway... 6. The single remains the most important device to build hype around an artist. Singles sales may have plummeted. And the charts ain’t what they used to be. But the age-old single remains the most HYPING THE DISTRIBUTOR For indie labels in particular, there is an important middle man in the process of selling music – the distributor. These operations are crucial to physically delivering CDs and vinyl to high street retailers. Distributors are as keen as anyone else to back winning horses. Getting them to support product with shelf space, banners or profiled release placement involves the label persuading the distributor that a release is worth getting behind. The distributor has had the heads-up 12-16 weeks ahead of release. After that they’ll be updated with regular progress reports from the label: “We’ve got an interview with NME”, “We’re adding 10,000 YouTube views a day,” and so on. The label needs to excite them – show them tangible evidence of the record’s gathering momentum. Eventually, the distributor will start making calls to the retailers. If the label has stoked enough interest in their new release, those calls will lead to retail support. Prepared exclusively for [email protected] # Attack Mag 16980. © All rights reserved.THE BUSINESS OF MUSIC CHAPTER 5 RELEASING A RECORDTHE BUSINESS OF MUSIC127 effective instrument the industry has for getting new music in front of the public for the simple reason that it has always been an easy focus for radio stations, and remains an easy focus in the worlds of audio and video streaming. It’s the supreme peg on which to hang a marketing campaign. It’s a shortcut to a flurry of radio airplay. If it streams huge, like ‘New Rules’, it can sell a whole tour. It can signal the rebirth of a band/brand. It can build hype towards a high-grossing album. It can do each and every one of these things at the same time, rewarding loyal fans and garnering new ones in the process. And even as the tectonic NO SUCH THING AS A FIXED SCHEDULE Release schedules are rarely fixed. Dance music schedules are particularly flexible, with new singles – and the timelines that govern release – constantly being tweaked to respond to market feedback. The first activity around a dance single is to get DJ feedback. If feedback is awful then it’s not unusual for a label to shelve a release. But if DJs back it then the single can be further tested in the clubs. If it doesn’t connect here, again, a label may decide not to pursue it. If it is blowing up, a label has enough evidence to suggest they may be onto a winner. They’ll find extra cash to start promoting the single among tastemakers. If they love it too the green light is likely to be given to spend bigger bucks on video assets, social media and pluggers ahead of a proper release a month or so down the line. On its journey, the record’s impact is being measured every step of the way, with execs constantly asking: “Is it doing well enough to justify more time and cash investment?“ This ongoing measurement of impact is not the sole domain of indie dance labels. Major labels are continually measuring a single’s impact and making decisions off the back of it too – from whether to go to hard copy (a CD, or even vinyl), to increasing the promotion and marketing spend. Constant feedback reduces the risk of potentially costly mistakes. It also allows marketing and promotional activity to be shaped on the fly. If the single’s proving a triumph on the underground but is failing to impact on radio, for example, the label may throw more money at their plugger. There are lessons here for the self-releasing artist. Firstly, be flexible. No release schedule should be set in stone. Instead it should be shaped on the fly to respond to the single’s journey through the schedule. Secondly, keep thinking about the bottom line. If an artist suddenly gets an invite onto Jools Holland, the label should be thinking how that can be exploited. Could a new ‘ Jools’ mix be made available? It may be a cliché, but it’s a jungle out there. Think of yourself as a guerilla warrior. Keep moving. Think on your feet. And make sure you – or your release – don’t get stuck. Prepared exclusively for [email protected] # Attack Mag 16980. © All rights reserved.THE BUSINESS OF MUSIC CHAPTER 5 RELEASING A RECORDTHE BUSINESS OF MUSIC128 plates beneath the industry are torn apart, the humble single continues to deliver the goods, week after week after week... 7. Singles generally work around a 12-week cycle. A cycle is the length of time between the start of a single campaign and the end. Among majors that cycle is typically 12 weeks. Sometimes it is extended to 16 weeks. Rarely will it be less. Different genres require different cycles: a dance single might only need 10 weeks while chart-aimed pop/rock typically requires the whole 12–16 weeks. At the end of the 12–16 week cycle, the next cycle begins to service the next single (typically leading to an album). 8. Be patient. The world isn’t waiting for your album. Watching the development of artists like Dua Lipa, Jorja Smith, Mabel and Sigrid you’ll see it can be two years and several singles before an album release. In fact, in Sigrid’s case, she had been working towards her first album for nearly six years. Dermot Kennedy and Grace Carter both had sell- out tours in 2018 with no album in the bag. The world is not desperate for your album. And in the age of streaming, no-one’s dropping the needle and listening from track one to the end. In the 21st century an album is simply a collection of single tracks, some of which might stream big, while others barely get a listen. Prepared exclusively for [email protected] # Attack Mag 16980. © All rights reserved.THE BUSINESS OF MUSIC CHAPTER 5 RELEASING A RECORDTHE BUSINESS OF MUSIC129 THE SELF-RELEASE If you’re one of the tiny percentage of acts that catches the eye of an eager A&R scout early in their career then releasing your own record will never cross your radar. Every step of the way will be taken care of for you in the ways described so far in this chapter. The team supporting you will work alongside you to make the best of your music within their budget. If you’re not in that camp self-release offers a means of getting music onto the world stage – not just into boutique online stores but also to the big players like iTunes and Spotify. As such, self-release offers not only an event around which to build marketing but also a means for you to generate income. The good news is it’s never been easier to release a record. Anyone and everyone can do it. What’s hard is pushing through the noise, getting people to stream or buy in sufficient numbers to make an impact. Those two challenges are tackled, and comprehensive plans to combat them laid out, in Chapter 3 - Your brand and Chapter 4 - Spreading the word. Here we look at the how and why of self-releasing, starting crucially, with when. WHEN TO SELF-RELEASE A good time to self-release is when you’ve recorded something worth listening to that is recorded and mixed to a high enough standard. The ‘worth listening to’ bit is inevitably subjective. We all think we’re brilliant or we wouldn’t be writing songs and trying to get ourselves heard. But you need to be realistic. Releasing a track requires work, time and at least some financial outlay. All of that is wasted if the track is bad – or even just a bit meh. More than that, by releasing substandard music you are doing your brand – and subsequently your career as an artist – no favours at all. Once a track is released it is a part of your Story and a part of your hiStory. Prepared exclusively for [email protected] # Attack Mag 16980. © All rights reserved.THE BUSINESS OF MUSIC CHAPTER 5 RELEASING A RECORDTHE BUSINESS OF MUSIC130 The number one reason demos are binned by A&Rs is because the music and playing on them is not up to scratch. So save yourself time and effort. Speak to trusted friends – preferably friends who also make music. Seek honest feedback. If and only if you get a thumbs up from the majority should you commit to releasing a track. ‘A high enough standard’, on the other hand, can be measured more objectively. The difference between a good and bad recording and mix is worlds apart. A good mix will reveal colour, life and movement in a song’s arrangement. The relationship between the artistry of the song and the craftsmanship of the recording and mix can be usefully summed up by this formula: Great song + Great recording/performance + Great mix = Great prospects. There are exceptions, but the number of great songs mixed badly (or kick- ass mixes of songs that should never have made it past the rehearsal room) is very small indeed. ABANDONING YOUR ART FOR THE SAKE OF A CAREER The flip side of releasing a track too early is not releasing it at all – because you’re a compulsive tinkerer or a perfectionist. If you’re either you’re in good company. There are plenty of musicians in both groups, and having a perfectionist streak means you’ll always be pushing to better your artistic output. But there’s no point being a legend in your own head. Endlessly refining your sound, editing your lyrics and tweaking mixes is fine – up to a point. But somewhere down the line you need to free your music from the confines of your studio and let it stand on its own two feet. Remember, no artist has ever built a career from a hard drive full of song ideas that no- one ever hears. Don’t be overwhelmed by the amount of work that, say, five or six tracks presents. You are better off releasing one track a month than six in one go – so take it one track at a time, finishing them ready for release. Remember that sites like SoundCloud give you the ability to overwrite old versions of songs, so you’re not committing forever when you hit the upload button. Of course formally releasing a track (on iTunes, for instance) doesn’t give you that option. But if you end up unhappy with it at least you have the bar set for your next release. And even the world’s best artists bemoan the quality of early work. The polar opposite to the perfectionist is the impetuous, who cannot wait for the world to hear their latest work of heartbreaking genius. They, and all of us, can take comfort from the maxim that has guided artists for generations, credited to anyone from E M Forster to Leonardo Da Vinci: “A work of art is never finished. It is merely abandoned.” Prepared exclusively for [email protected] # Attack Mag 16980. © All rights reserved.THE BUSINESS OF MUSIC CHAPTER 5 RELEASING A RECORDTHE BUSINESS OF MUSIC131 (If you’re interested, one noteworthy example of a great song mixed badly is Metallica’s 1998 single ‘One’, with its surprisingly timid drums and all-but-non-existent bass. In his review of the ...And Justice for All album AllMusic’s Steve Huey commented on the record’s “weird, bone dry production” and “cold, flat sound”. Engineer Fleming Rasmussen, who oversaw the studio recordings, laid the blame for the sound of the final mix squarely with producers Steve Thompson and Mike Barbiero. “Don’t ask me what happened because I wasn’t there (during the mix),” he observed in Richard Buskin’s Classic Tracks, “but it certainly sounded a lot fatter when we recorded it”.) When starting out most musicians lay down demo tracks and perform basic mixes on a laptop. This is fine when you’re refining your craft. And uploading a few self-mixed demos (clearly labelled ‘demo’) to SoundCloud is a formative part of establishing your identity in the early days. Plenty of artists use that same home setup to record tracks ready for self-release. If you have an engineer’s mindset and a reasonably equipped project studio then by all means go for it. The Producer’s Manual (you can buy it at attackmagazine.com) outlines all you need to get great results at home. But if you’re a band, with drums to record and high energy guitarists with powerful amps, you will probably be better off finding a local studio with an engineer who understands your needs. The demands of signal fidelity and audio separation, along with the skills and equipment required to, for example, mic up a drum kit, mean that getting even passable results using a home setup is tough. Once you’ve recorded the raw tracks you’ve got three options when it comes to mixing. You can: – mix the song at the same studio using their in-house mix engineer, – take the bounced ‘stems’ (separated audio files) home with you and mix the song yourself, orDANCE & HIP HOP: THE EXCEPTIONS THAT PROVE THE RULE Advice about picking a studio and producer assumes that you are a band or an artist with a backing band. If you’re a singer-songwriter with a nice microphone and a well-treated space there’s no reason why you can’t get good results recording at home. Equally, few dance producers – who either mix ‘in the box’ or with a small selection of outboard – ever require the services of a pro studio. Hip hop lies somewhere in the middle. While most of the production work usually happens in a home studio, a professional space may be hired for vocals. In the end, as long as the quality of the final mix is high, it doesn’t matter where it takes place or who does it. But in all cases the need for independent mastering is recommended. A good mastering engineer may comment on your mix and advise how to make it better. But above all, the mastered track will be finalised at the correct level for all media – broadcast, download, streaming – and with added gloss and cohesion that takes it to a new level. Prepared exclusively for [email protected] # Attack Mag 16980. © All rights reserved.THE BUSINESS OF MUSIC CHAPTER 5 RELEASING A RECORDTHE BUSINESS OF MUSIC132 – send the stems to a third-party producer for them to mix. The mixdown makes a huge difference to the final sound of the record – as Metallica found out with ‘One’ – and a poor choice of producer or mix engineer can ruin even a brilliantly recorded song. It’s not difficult finding an experienced mix engineer or producer. Ask around in local music circles. Do an online search for ‘freelance producer’ or ‘mix engineer’; search the mix engineer listings at fiverr.com. Not only are there hundreds of producers who’ll take your stems and mix them, there are also dozens of ‘virtual studios’ offering a range of services from recording and mixing to overdubs using in-house session musicians. Look on Discogs to see who produced records you like the sound of, so you can reference them when discussing the sound you’re after with your prospective engineer – or even hire them yourself if you can afford it. The challenge when looking for a producer is to find someone who gets your music. It’s not enough that they’re a Pro Tools wiz with a vintage Neve console in their to-die-for studio. It’s far more important that they’ve worked on records in a similar genre to yours and share your vision for what you want the mix of your music to achieve; production is, after all, an integral aspect of your brand. Do you want your sound to be aggressive and powerful or haunting and ethereal? Do you admire the slick production style of Mark Ronson or are you after a more lo-fi Washed Out kind of sound? If the producer doesn’t understand your vision then you risk the frustrating outcome of a well-mixed track that just isn’t you. Picking the right producer from the start and clearly communicating what you’re trying to achieve will minimise the risk of (expensive) heartache. When you’ve got a mixdown you’re happy with, it’s time to get the track mastered. Ever listened to one of your demos alongside a commercial mix and wondered why yours sounds so goddamn quiet? THE LIVE RECORDING The best kind of release is almost always a new track, professionally mixed and mastered (the so-called ‘studio release’). But there’s another option: the live recording. In Chapter 3 we describe how it’s possible, by plugging an HD recorder into the sound desk at a gig, to get decent- sounding live recordings. That means if you don’t have the time or inclination to learn how to record yourself at home, nor the money to go into a professional studio, your live performance offers an alternative source of material for fans. The same stringent quality rules apply to live recordings as studio ones – which will mean good equipment, an experienced mix engineer and top-notch performances from the act/band. But if you get it right and market it accordingly (fans at gigs are often a good market for live CDs), live recordings can fill the blanks in a scanty release schedule – and add to the financial bottom line at the same time. Prepared exclusively for [email protected] # Attack Mag 16980. © All rights reserved.THE BUSINESS OF MUSIC CHAPTER 5 RELEASING A RECORDTHE BUSINESS OF MUSIC133 That’ll partly be because your track isn’t mastered. Mastering is the last-in-line process that brings a track up to a similar loudness level to other commercial mixes while also correcting tonal problems and adding a final subtle sheen of polish to the mix. It is best performed by a specialist mastering engineer, and while producers and mix engineers may offer a mastering service, the skillset and experience required is different. Every track’s mastering needs are unique and will depend on both the medium you plan to release on (mastering for a vinyl releases involves different processes to mastering an mp3) and, to a lesser extent, the genre of music you make. This, taken alongside the high level of skill required to get a good job, means that we argue the case, in Chapter 7 - Your team, for using a professional. Since you can get a track mastered at Abbey Road for under £100, or a whole album for under £400 by the guy who mastered Led Zeppelin’s digital reissues – and do it all online – why would you risk anything less than the best? All of the above is a long-winded way of answering the opening question over when it’s right to self-release. The answer can be summed up succinctly as follows: the time is right to self-release when a track is good enough to sit alongside other professionally recorded and mastered tracks. A second – equally important – answer to the same question is regularly; every other month at least. For more on this, see Chapter 4 - Your brand. WHY SELF RELEASE? The obvious answer to the obvious question – other than to get your great music out there, of course – is To Make Some Money. And if you’ve got a loyal fan-base that’s as good a reason as any. But it’s not the only answer by a long way. As touched on in the introduction, releasing a new track is one of the best marketing hooks in the book. It’s a self-made story that justifies – indeed demands – a press release and as much social media noise as you can make. If you’ve got an established Prepared exclusively for [email protected] # Attack Mag 16980. © All rights reserved.THE BUSINESS OF MUSIC CHAPTER 5 RELEASING A RECORDTHE BUSINESS OF MUSIC134 relationship with tastemakers then your new release is an excuse to get radio play and onto the blogs that matter. Releasing a track is also a good way of signalling your intentions. Particularly in the early days of a career, making your music available to buy is a key step in creating a complete picture of a savvy, engaged and creative artist. When record label A&Rs and/or managers start taking an interest, the fact that you have tracks on Spotify, Apple Music, iTunes and elsewhere, and a video or three on YouTube, demonstrates that you take yourself seriously. More importantly, it demonstrates that you recognise this is a business, and that you – like they – have a realistic and commercial turn of mind. Collectively, then, self-releasing a single does four important things, not necessarily in this order: 1) builds your profile 2) builds your fanbase 3) demonstrates to labels that you’re a horse worth backing and 4) makes money. Prepared exclusively for [email protected] # Attack Mag 16980. © All rights reserved.THE BUSINESS OF MUSIC CHAPTER 5 RELEASING A RECORDTHE BUSINESS OF MUSIC135 HOW TO RELEASE YOUR MUSIC Don’t get confused between uploading a demo to SoundCloud or putting your music for sale on Bandcamp and a commercial release. A commercial release is the real deal, and requires availability through all recognised outlets, including Spotify and Apple Music, and download sites such as iTunes and Amazon. Streams and sales numbers also count towards chart positions. There are all sorts of companies out there beckoning to you, telling you how easy it is to commercially self-release. Here’s the reality... YOU NEED AN... AGGREGATOR If only, you say, there was a service that could get my music into the big digital stores... You are in luck. Such services do exist. They are called aggregators. An aggregator is a distributor with enough product to warrant its own deal with the big stores. Their job is to ‘aggregate’ (collect) digital product from tens of thousands of individual artists and small labels then place that music for sale on download and streaming platforms. Think of them as middlemen that take your music and, using their industry clout, get it onto the digital shelves of all important outlets. Not all aggregators are created equal. Each one has different deals with different download stores and streaming sites (see You only need one aggregator, below). They also offer the artist a variety of additional deals and services at different price points. Emubands, for example, offers a simple distribution service for a one-off fee and no annual re-registration. It’s a no-frills service that will get you everywhere you need to be. Other sites offer add-ons for a price. Ditto, for instance, offers a series of packages at different prices - simple promotion, a press campaign, or a full three-month press and publicity package to support your release strategy. Prepared exclusively for [email protected] # Attack Mag 16980. © All rights reserved.THE BUSINESS OF MUSIC CHAPTER 5 RELEASING A RECORDTHE BUSINESS OF MUSIC136 We’re not here to recommend one aggregator over another. It’s up to you to weigh up each offering’s strengths and weaknesses and choose the one that works best for you and, crucially, your music. Chat to other musicians, read reviews – do your homework before signing any paperwork. Think carefully about what you need for the specific release as well. If you already have good marketing and promotion going on then your only requirement is likely to be having your music accessible - you’ll be the one driving your audience to it. Financial circumstances will also inform the decision. If you’ve spent all your money on recording and mastering then you’ll probably opt for a service that charges nothing to get your tracks up for sale but which keeps 15% of the income your music generates. Most aggregators explain their deals in fairly straightforward legalese-free language, but you still need to understand the deal and check the small print. It costs to get music into the major digital stores and aggregators need to cover those costs; they either do this by charging one-off fees or by taking a cut of royalties – or a mix of both. Some aggregators add an annual fee for keeping your product online. Watch out for this. It’s annoying to log in to your distribution account only to find your album listed as ‘Taken down’ because you forgot to pay the fee. YOU ONL Y NEED ONE AGGREGATOR. CHOOSE CAREFULL Y. In the world of aggregation, things have changed radically in the past few years. You used to make your choice, pay your money, upload your tracks, and there they were, for everyone to see. But some aggregators have now introduced an A&R policy. They want to hear your music and check your profile. If you don’t measure up, they turn you down. AWAL (Artists Without A Label), a long time favourite for the unsigned, has gone down this path. But others haven’t. CD Baby, for example, started in 1998, originally to distribute independent musicians’ CDs. It still offers that service, but now as part of a total package of release into the digital ether, including – for extra payment – marketing and promotional tools. Ditto and TuneCore are other names you’ll comes across. EmuBands is a choice for high-level professionals, so is definitely worth investigating. But do your homework. Some aggregators charge a one-off fee; others take a fixed commission on all your sales. Google ‘music aggregators’ and take your time to read reviews of the different services. Some have poor reputations. Choose wisely. And if you think an aggregator with an A&R policy would be great for you, at least give it a shot. Rejection is part of the game; and acceptance is always a joyful affirmation. Prepared exclusively for [email protected] # Attack Mag 16980. © All rights reserved.THE BUSINESS OF MUSIC CHAPTER 5 RELEASING A RECORDTHE BUSINESS OF MUSIC137 DANCE MUSIC: SPECIALIST RETAILERS (‘THE BEATPORT FACTOR’ ) In terms of dance music kudos, Beatport pretty much rules. Sites like Juno, Traxsource and TrackItDown offer useful additional sales and profile. But speak to any sector industry insider, and even three years ago they’d have pointed you to the bigger fish that was iTunes. Committing exclusively to Beatport would have stopped you progressing to iTunes. The same principle applies today as streaming takes pole position. Even today, with iTunes apparently sliding into oblivion, its hundreds of millions of download sales still dwarf the specialist sites. So don’t tie yourself to the specialists. A two-week exclusive with Beatport might see you into their charts, gathering a chunk of sales income and also, crucially, generating a useful PR boost. But if you really want to reach a mass audience, Spotify, Apple Music, Tidal, and even iTunes (for the time being) are must-haves on your release schedule.. THE LEGALS OF AGGREGATION The legal side of aggregation shouldn’t be onerous. The agreement you are asked to sign typically contains no more than a few paragraphs of easily understood language. As far as exclusivity goes, you only need one aggregator, so choose the best for your needs. Hedging your bets with multiple aggregators has no advantages – your music can only appear on iTunes once. Same goes for any other store or streaming service. Ending the deal is simple too. If you’ve paid an annual fee, just contact them six weeks or so before the next fee is due and tell them you won’t be renewing. This might change from service to service, so make sure you read the terms before you sign them, and make sure, also, that you comply with the terms.Other aggregators require a simple 30-day notice. So, worst case, if you’re not happy with your aggregator choice, you won’t have to put up with it beyond the first year. You, as a self-releaser, own all the copyrights* so there is no complication with who owns what. In any aggregation deal, you retain ownership. If you are asked to assign rights elsewhere, you’re talking to the wrong aggregator. Except if you self-release cover versions of other people’s songs. A kosher aggregator will require proof that you have registered the writer’s interest in the recording with PPL. This ensures that the writer and publisher are paid their due for any sales your cover version generates. Prepared exclusively for [email protected] # Attack Mag 16980. © All rights reserved.THE BUSINESS OF MUSIC CHAPTER 5 RELEASING A RECORDTHE BUSINESS OF MUSIC138 LET’S GET PHYSICAL In the age of digital why would anyone go to the expense of producing and distributing CDs? Or for that matter vinyl or – dare we even mention it (shhh!) – cassettes? The gut reaction? There’s no point, forget it. So let’s look at the facts. 1. The revival of vinyl since 2010 has been a reminder to any forecaster to hedge their bets. Predicted (by Deloitte) to be worth $1bn in 2019, that would value the format at more than 4% of the global recording industry. Yesterday’s defunct format is this year’s must-have limited edition. Bruce Springsteen’s Vol 2 Box Set (remastered reissues of albums from 1987–1996) is pressed on vinyl only; no CD version has been released. 2. Does that mean the CD is doomed? If you want to place a bet on that, don’t let us stop you. But before you lay your money down, bear in mind that the humble musicassette is now making its own comeback – to the point where manufacturers are announcing new hardware (yes! new cassette players!). One reason is that some countries have yet to fully embrace digital. In Germany, for instance, 80% of revenue is still from hard copies; CDs dominate. Which is why Germany is now a great test market for new artists, because it’s easier for a record company to see a quick return on investment if an artist takes off. Rag’n’Bone Man was a perfect test case, hitting big in Germany before going global. Between them, CDs and vinyl still account for 25% of global turnover, but while CDs are declining, vinyl is growing. Part of this is down to labels simply catering to the demands of an audience that seems to have fallen back in love with the physicality, romance and sound quality of the format. “The kind of artists we work with, their fan bases like to feel like they own something, so we sell a lot of vinyl,” says Mute Records founder Daniel Miller. “I don’t know how much people listen 02004006008001000VINYL SALES 1997 –2019 ($M ) 99 98 00 01 02 03 04 05 06 07 08 09 10 11 12 13 14 15 16 17 18 19 97 Prepared exclusively for [email protected] # Attack Mag 16980. © All rights reserved.THE BUSINESS OF MUSIC CHAPTER 5 RELEASING A RECORDTHE BUSINESS OF MUSIC139 to it, because you get a digital download or CD with it as well, but our artists put a lot of commitment into making that music, and it’s nice to know that some of the audience are making that commitment as well, by putting the record on, rather than listening to a low-quality stream on their phone speaker.” And part of it is genre-specific: the dance market, with its legion of DJs – some of whom still use decks – makes regular pressings, while some sectors of the indie market are seemingly being steered by teens who like the idea of having a few records in their bedrooms. The surprising resilience of the CD is partly explained by sales of classical and jazz recordings, and entirely driven by album sales. This means – on paper at least – that unless you’re making dance music, collectible indie, jazz or classical, a large run of physical product is unlikely to be a lucrative business move for you. But there are good reasons beyond the purely financial for going physical. Firstly, press reviewers and broadcasters are far more likely to take notice of you if they’re presented with an attractively packaged CD/vinyl/cassette than a SoundCloud link; folk tastemaker Mike Harding is explicit about only SPOTIFY FOR SURE, AND PANDORA Streaming has become the engine of recovery for the record industry. If you’re in any doubt about its significance, go back and re-read Chapter 1 - The Music Business. iTunes – once responsible for 65% of the download market, and generating billions of dollars in revenue – has slumped to levels leading to industry gossip that Apple will stop download sales during 2019. Part of the equation for Apple will be the growing revenues (not published) from its own streaming service, Apple Music. So integral is streaming now, that since 2014 numbers of streams have contributed to chart positions. At first, in the UK, 100 streams equalled one ‘sale’, which meant that one million streams was the equivalent of 10,000 sales. This equation has altered at least twice since then, and today more weight is given to subscription (paid) streams than to ad- supported (free) streams, by a factor of roughly 6:1 (so 600 free streams have as much weight as 100 paid streams). America’s Billboard Hot 100 is calculated on a more flexible, and much more complex, basis, which has changed so much it’s hard to keep up. But the conclusion is inescapable: streaming has changed everything – including the charts. And where, even four years ago, you might have been forgiven for hoping streaming would go away, today you embrace it, or you’re nowhere. Prepared exclusively for [email protected] # Attack Mag 16980. © All rights reserved.THE BUSINESS OF MUSIC CHAPTER 5 RELEASING A RECORDTHE BUSINESS OF MUSIC140 listening to CDs: “With all due respect, we don’t have time to download mp3s... A CD will always get listened to.” Secondly, physical product still shifts at gigs – and can amount to a major revenue stream (as Glenn Tilbrook recounts in Chapter 2 - How music makes money for you) as you grow your fan-base. Thirdly, a cleverly packaged limited edition can become a marketing story in its own right. Witness the recent growth in interest around World Record Day – and the large vinyl runs both major and indie labels are pressing ahead of it. Nostalgia abounds when it comes to physical formats, which gives you a ready-rolled PR story to make your own. The limited nature of a pressing also gives the music an extra perceived value among fans. So don’t automatically overlook physical. It might be just what you need to stand out from the noise.THE COSTS OF PHYSICAL Pressing physical units needn’t cost the earth. With CDs, the major choice is between duplication and replication. Duplication is a similar process to the CD burning people did at home in the past. It is good for small runs – 200 CDs in a vinyl wallet might cost £1.20 per CD; 200 in a jewel case with a four-page booklet will be nearer £1.60. Replication is the professional standard, where your label is screen-printed onto disc and the CDs are ‘pressed’ from a specially made glass master. If you want 500 or more copies, replication is the way to go – each will cost less than £1. If you think you can shift 2,000 copies, the cost will come down to nearer 45p a unit. Don’t forget that you can also sell CDs through your Bandcamp page. It’s important to set the price to take into account how much it cost you to manufacture – and, crucially, how much postage and packaging will cost to deliver it to a customer (typically a higher cost than the raw CD). Prepared exclusively for [email protected] # Attack Mag 16980. © All rights reserved.THE BUSINESS OF MUSIC CHAPTER 5 RELEASING A RECORDTHE BUSINESS OF MUSIC141 COUNTDOWN TO RELEASE You’ve mixed your track to a high standard, you’ve had it mastered, you’ve found an aggregator and chosen the level of service you want. Now you have the infrastructure in place to unleash your record on the world. But before release day there’s a lot to do if your track is to receive the attention it deserves. A startling number of today’s records fail to generate a single sale (80– 85% of music online sells between zero and single digit units). Releasing a track isn’t the achievement it used to be. Anyone with a laptop and a song can do it. The thousands of releases added to iTunes every day are testament to that. The trick is getting others to hear about it, and like it, and – above all – invest their own money in supporting it. You are releasing music as part of a long-term plan to develop your career. Which means the record needs to be accompanied by marketing. Fans need to know about it. They need to be excited by it. A record release is a unique moment that deserves and demands PR support; an event around which you can generate the online assets that leads to sales – assets (right) being the marketing buzzword that covers everything from videos to blog posts, interviews to photo- shoots. To do these things properly requires time. It also requires a schedule that governs when the practical elements happen – when your artwork should be finished, when to book the job into a CD duplicator (if you are planning hard copies), when to send out your press release and so on. Prepared exclusively for [email protected] # Attack Mag 16980. © All rights reserved.THE BUSINESS OF MUSIC CHAPTER 5 RELEASING A RECORDTHE BUSINESS OF MUSIC142 THE SELF RELEASE TIMELINE Note that the schedule detailed over the following pages is not designed to be rigidly followed. As noted earlier in the chapter, there are no standard templates that govern all single releases, and flexibility is key. Events that happen around you and during your campaign – a single getting picked up by radio; an interview that creates unexpected buzz – may mean tweaking your schedule to make the most of a new situation. “You can have... visions and goals,” says Avicii manager Ash Pournouri, “but the moment you think you can stick firmly to a plan, it’s over... You will most probably fail if you can’t be flexible and manoeuvre obstacles on your path to your goals.” Also - and this is really important - your release date comes at the end of the schedule. Unlike the industry – with its different release and impact weeks (see Common threads from major and indie releases, above) – you are building to one date when you will hopefully experience a surge of awareness, putting you in line for front page promotion. See our schedule as a useful starting point, to be shaped according to the needs of your own single. But even if you follow it to the letter you shouldn’t go far wrong. 16-12 WEEKS TO IMPACT – ESSENTIAL PREP This period is about deciding what you want to achieve with the release and gathering your assets (see Assets: What you need, right). It’s also about completing early admin. Don’t forget your brand and Story when pulling all of this together. It will help you to focus – you won’t be reinventing your own wheel. - If remixes are to be a part of the release commission them. If you’re not familiar with the term ‘stems’ Google it. Get these stems to the remixer/s. - Artwork should be complete or close to completion. ASSETS: WHAT YOU NEED Assets is music industry shorthand for all the elements that go into releasing music. Your track is an asset. Other assets include any video/s you’ve made, your press release, mixes, any photos taken to support the new single and so on. Sleeve artwork is also an asset. All the assets for any new release should be incorporated into your Electronic Press Kit (EPK, see Chapter 3). If you’re releasing digitally (no hard copies) gathering the necessary artwork assets is relatively easy – you’ll need a square packshot and a few different sized banners for different stores (there are plenty of online sources to help with format and size requirements). If you’re also pressing CD / vinyl there will be additional requirements and you’ll need to get competitive quotes from a range of pressing plants. Bear in mind lead times. For vinyl pressings you might wait up to six weeks, so decide early; order early. Prepared exclusively for [email protected] # Attack Mag 16980. © All rights reserved.THE BUSINESS OF MUSIC CHAPTER 5 RELEASING A RECORDTHE BUSINESS OF MUSIC143 – If you’re using any third parties – a PR agency, plugger etc (unlikely if this is your first single) – then they will need to be on board with the single and have your schedule in their diaries so that when the momentum picks up they’ve got capacity to service your track. – If you are planning an event to launch the single, book the venue. If you’re also touring to support it, dates either need to be booked or you need to get them in the diary pronto. – If you haven’t already, it’s time to join your territory’s performance rights collection society (PRS and PPL in the UK; ASCAP or BMI in USA; in Europe, each country has its own). Without being registered when your new release generates radio or other performance play there’ll be no way for you to receive royalty payments. If you’ve already joined, go to your account and register the song/s you are releasing. 12-10 WEEKS TO IMPACT – BUZZ STARTS HERE! This period is all about building the initial burst of buzz around your single. – Your first press targets are magazines like Mojo, Q, Uncut and specialist titles in your genre. These so-called ‘long- lead’ publications require material at least a couple of months ahead of publication. Reviewers on traditional media have to make time to listen to new music and their deadlines and schedules are... long-lead. Monthly magazines need your press release, review CD and new publicity photos in time to make decisions three issues ahead. So don’t delay contacting them. Send them a copy of your single, along with your press release, see below, EPK link and any other PR assets you’ve prepared. – Don’t restrict yourself to the obvious music mags and fanzines. Try the national press. A review in the Sunday Times Culture or the arts pages of The Guardian or The Telegraph will bring you to a wider audience than any specialist magazine. Don’t let your personal prejudices THE SELF RELEASE TIMELINE WEEKS TO IMPACT … 16-12 Essential prep 12-10 Buzz starts here! 10-8 Pick up the pace 8-3 Build the hype, digital release 2 Interviews, exclusives, last push RELEASE DAY Launch event, physical goes live WEEK AFTER RELEASE Don’t let up Prepared exclusively for [email protected] # Attack Mag 16980. © All rights reserved.THE BUSINESS OF MUSIC CHAPTER 5 RELEASING A RECORDTHE BUSINESS OF MUSIC144 get in the way; just because you don’t like a particular publication, your potential fans might. – At the same time, you should be pitching to short-lead press – blogs and specialist online magazines that don’t have such rigid deadlines – to secure promo and press slots over the coming weeks. - When pitching to journalists avoid blanket emails. At this stage you’re looking to secure future coverage from a chosen few – specific tastemakers who cater for the kind of music you make. Try to come up with different angles for different publications – maybe offer one an exclusive to your video for a couple of weeks. - If you’re having a release party/gig now is the time to announce it to your fan-base. If you’re playing gigs, your fans should now have your tour dates. You might also want to post a few video clips of rehearsals. – If you’re servicing a dance single send the single and at least one mix to DJs. ANATOMY OF A PRESS RELEASE These are the absolute musts for a press release: – your artist name – title of the song/EP/album and short bio – cover artwork (and picture of yourself/ the band if applicable) – release date – your contact details – name, phone, email, Instagram, Facebook, SoundCloud, YouTube link etc. In an ideal world, the release will reflect your branding. If you’re going for a lo-fi, DIY aesthetic you might consider handwriting the press release, for example. At the top of the release should be a headline. It should be short, snappy and catchy. Editorial – the text about your new release – should be kept to a minimum, and written for maximum effect. Even in the brave new world of digital interaction, writers, reviewers and bloggers still appreciate the personal touch. If you’re on personal terms with a few, take them out for a chat and a drink. Show them the press release you’ve written and ask for their comments. Journalists love to show off their skills. Before you know it, s/he’ll have re- written it for you. If not, and you have to do it yourself, it’s simple enough: – Do grab attention. – Do not waffle. In other words, keep it simple. Nobody’s got time any more, and that applies to journalists and radio producers more than anyone. If you haven’t hooked them in the first five seconds, you’ve lost them. If you use flowery language and big words you’ve lost them. If you don’t get to the point fast you’ve lost them. So: grab their attention; get to the point; keep it simple. And always include a link, in every press release, to your EPK. Prepared exclusively for [email protected] # Attack Mag 16980. © All rights reserved.THE BUSINESS OF MUSIC CHAPTER 5 RELEASING A RECORDTHE BUSINESS OF MUSIC145 10-8 WEEKS TO IMPACT – PICK UP THE PACE With all essential prep done and with 101 seeds planted (not all of which will take root over the coming weeks) it’s time for the world to start hearing your music. – Consider running an online premiere of the single – a one-off real-time showcase/performance of the song announced in advance to fans via your newsletter database and social media. You might also give a friendly blog details of it in advance – all hacks love an exclusive... – As release week nears, ramp up the social media. Begin #DailyUpdates on Facebook, Instagram and Twitter. Get your fans involved. Let them hear your best new material. Release new photos from your single shoot HOW GIGS SUPPORT A SINGLE / ALBUM In major-land a tour almost always supports an album, with sales of the album generating interest in the tour and vice versa. If you’re self-releasing, a tour can serve a similar purpose, prompting interest in the single/album, with the marketing and PR around the single boosting audience numbers at gigs. It’s a neat two-way mutual interest generator with the upshot being more single sales, more ticket sales – and hopefully more fans. The scale of the gigs you book will depend where you are in your career. Major labels often work a release schedule around a couple of big gigs – Glastonbury say, or a performance at the MOBOs. If you’re self releasing then the Glastonbury main stage is unlikely to be on your agenda. But if you’re in the UK and are ready for proper touring, try targeting the college circuit for gigs. You can contact student unions directly, but there are also booking agents that specialise who will make your life a lot easier. Don’t expect much more than to cover your costs, but do expect to raise your profile and to learn more than you ever thought possible. If you’re not at the stage for a college tour, you should be booking in as many local gigs as you can. Fill that diary, and travel as far afield as you can. Remember when you’re in the middle of an event that there are more fans not there than are there. Have a friend film the gig, or even better, go live on Instagram or Facebook. A launch event is different to a tour – it exists solely to promote the new release. In an artist’s early days it might be as simple as a gig with a few friends. If you’re further into your career it could be a fuller press launch / media showcase – although even major acts are now choosing to go down the lower- key route, putting on small gigs for a select number of fans in intimate ‘secret’ venues. Whatever you do, make it different. Get people talking about it. Choose somewhere interesting. Involve your biggest fans. Do something that is not only part of the wider release Story, but which adds to it. Prepared exclusively for [email protected] # Attack Mag 16980. © All rights reserved.THE BUSINESS OF MUSIC CHAPTER 5 RELEASING A RECORDTHE BUSINESS OF MUSIC146 or from the studio on Instagram. Your early asset prep should mean you have plenty of fresh content to drip-feed at regular intervals. Video, photos, stories, both on your own site and carefully syndicated to others, should be building, supported now as your single hits the airwaves. – If you’re gigging, the tour should be well underway. Start dropping your new single into the set now. If fans don’t upload it to YouTube, do the job yourself. – Aim for the holy grail (free) marketing spots of SoundCloud’s front page, being added to a Spotify playlist, or getting an iTunes featured slide. These hotspots are not easy to bag. But it is possible. Google ‘Tips for getting featured on Spotify’ and ‘Ways to promote your music with SoundCloud’ for ideas. Many of the ideas require a good few weeks lead time. - If you have achieved pre-publicity (press articles; radio plays; favourable mentions) be sure to draw attention to them in any communication from now on. The media have sheep-like tendencies: if they think there’s a buzz they’re missing out on they will follow the flock. 8–3 WEEKS TO IMPACT – BUILD THE HYPE This period is about continuing to build the hype, but now the hype is directing fans to a specific release date. You may think that Facebook, your gigs and your website are doing the job of keeping your fans up to date. But don’t forget to email them. Since you should be continually adding to your email database, not everyone will be up to date with the latest news. - Time to target radio (and TV if you have a vibrant local station that features local artists). You should by now have some broadcasters among your supporters (see Chapter 4 - Spreading the word). Every single time you email media people – digital and mainstream – always include a link to your EPK and press release. Make it easy for them to find what they need, even if you’ve sent it before. – Because you don’t have a major deal, there is little point trying to get on the playlists of major radio stations (BBC is an exception with its ‘Introducing’ strand – bbc.co.uk/music/introducing/uploader). Go for specialist programmes where the playlist doesn’t rule. Target the best internet stations for your style of music – America’s college radio network is a good outlet for properly independent artists (as opposed to genre indie music). Prepared exclusively for [email protected] # Attack Mag 16980. © All rights reserved.THE BUSINESS OF MUSIC CHAPTER 5 RELEASING A RECORDTHE BUSINESS OF MUSIC147 - The challenge in this period is to keep things fresh. Which means unearthing new, fresh content – maybe an extra mix, a cheeky B-side, a mashup, a behind the scenes video – as often as you can. - Keep up the pressure on social media and don’t forget to maintain your media mailing list and email database so that it has all new contacts in it. – Tie down the final details of your single launch party if you’re having one. - Are you planning a physical (hard copy) release? If so, all assets should now be with your duplicating company. If you hadn’t planned physical but your single campaign is proving successful there’s still time. Remember to keep reviewing your milestones and achievements. There’s always time to try something new. - You may also want to start offering pre-orders on vinyl and CD. - Upload the single and any mixes to your chosen aggregator a minimum three weeks before release date. If you don’t you might miss release date altogether. Check with your aggregator how much notice they need to hit your selected date. 2 WEEKS TO IMPACT – INTERVIEWS, EXCLUSIVES, LAST PUSH Your campaign should be going well now, with movement online, offline, on radio, and even local TV if you’ve made your presence felt. Instead of running out of steam you still have a few aces in your hand to keep the momentum going. – If you have, by some miracle, secured mainstream press coverage – Mojo, Mixmag etc – this is when you find out. If you haven’t, don’t be downhearted. With national press, many are calling but few are chosen. It’s not personal. If you have got the golden ticket, shout about it – Instagram it; Facebook it; include links so people can see it’s real – and use it to leverage coverage elsewhere. – Time to put your video on YouTube and Vimeo, remembering to announce it (with a link) on your website, on social media and by email to your fans. – ‘Leak’ details about your ‘secret’ launch gig to a select few. Prepared exclusively for [email protected] # Attack Mag 16980. © All rights reserved.THE BUSINESS OF MUSIC CHAPTER 5 RELEASING A RECORDTHE BUSINESS OF MUSIC148 IMPACT WEEK/RELEASE DAY Finally you’re at the finish line. Your single is about to go live. On the day of your choice – as determined with your aggregator – it will be made available for sale on iTunes, Amazon etc, and for streaming on all the relevant sites. But there are still things going on... - This is the week of your launch party – an event which may garner additional media coverage. - Selling CDs at the launch party is a no-brainer: this is the ultimate captive audience. – Enjoy the party. You’ve earned a glass or two of bubbly. But resist the temptation to enjoy yourself too much. This is not about you, the individual. It’s about you the artist. It’s all marketing, it’s all business. – If you’ve targeted the right people, you might begin to see reviews appearing. Plaster the good ones across all social media. If you are asked for interviews, accept only those you know will help your cause. But don’t ignore anyone – it’s easy enough to say ‘No’ on the basis that your schedule is full. Polite refusal is contact, and contact is positive. Ignoring people is negative. - In this final phase, everything you do and say should be directed at getting as many people as possible to buy your music. Turn that buzz into cash. Remember the three key goals of any single campaign: profile building, new fans and money in the bank. WEEK AFTER RELEASE – DON’T LET UP With the hard work behind you, you may be tempted to have a holiday, a breakdown, or a blow-out to celebrate your new-found superstardom. Avoid them all. If your release has been a success then there’s still plenty of money to be made / recouped, so you need to find a second wind to turn as much of the ongoing buzz into sales as you can. - Email your fan base, remind them your new track is out. Add reviews and hype to the email. Prepared exclusively for [email protected] # Attack Mag 16980. © All rights reserved.THE BUSINESS OF MUSIC CHAPTER 5 RELEASING A RECORDTHE BUSINESS OF MUSIC149 - Keep Tweeting and Facebooking. Tell your fans where you are. If you have radio play, tell your fans to listen in. - Ask them to email or tweet presenters requesting a particular track (tell them which track you are promoting as the single, or lead track). - Now your record is out, hit any bloggers you missed first time round. Hard. Even if they weren’t interested in you when you were setting out, with a successful campaign behind you their position may have changed. When all of this is done; when the dust starts to settle on your quarter-long campaign; even then you should take only the shortest of breaks. Because if you’re serious about building your brand then you can’t stay out of the public eye for long. Which means it’s time to start thinking about the next release.... and doing it all over again. Prepared exclusively for [email protected] # Attack Mag 16980. © All rights reserved.THE BUSINESS OF MUSIC CHAPTER 6THE BUSINESS OF MUSIC150 ‘I wish there had been a music business 101 course I could have taken.’ Kurt Cobain ‘I try to treat all money I’m making like the last time I’m going to make it.’ Eminem Do you remember the summer holidays (we just about can), when you started off with some homework to do and thought: “I’ll do that next week,” and then as the end of the break approached it became more and more stressful, and finally – sweating with tension – you attacked it two days before you were due back at school and it had become this massive thing in your head...? Remember that feeling? Well that’s what looking after your business gets like if you don’t look after your business. But it doesn’t have to be like that. Until you hit the big time, a couple of minutes a day will keep you on the straight and narrow (any more and you’re doing something wrong). As you earn more money, things become more complex. At which point you’ll be paying someone else to do the work.IN THIS CHAPTER... Overview From day one When to declare an income As you progress Tax return Choosing an accountant VAT VAT on EU downloads Legal business frameworks Solo or group Partnerships Limited Companies Making the right decisions Example accounts spreadsheetTAKING CARE OF YOUR BUSINESS Prepared exclusively for [email protected] # Attack Mag 16980. © All rights reserved.THE BUSINESS OF MUSIC CHAPTER 6 TAKING CARE OF YOUR BUSINESSTHE BUSINESS OF MUSIC151 Before outlining easy quick-wins to keep your financial house in order, let’s talk about why it’s necessary. Everyone is compelled, by law, to pay tax above a certain level of income. At the time of writing this level – called your ‘personal allowance’ – is £12,500 in the UK. People who are employed have all of this taken care of for them. The UK’s Pay As You Earn (PAYE) system means deductions happen at source so that employees are only paid salary after income tax and National Insurance contributions have been taken off. Easy. Systems like this operate around the world. But as a musician it’s more complicated. You are almost certainly going to be self-employed, making it your responsibility to ensure you report your income accurately to your own tax office, the government department which looks after tax. That responsibility cannot be ducked. And – crucially – the responsibility is yours alone. It’s worth repeating that: your tax affairs are your responsibility. Not your accountant’s, or your book-keeper’s – or your mum’s because she forgot to post that important letter. In all tax matters the buck stops with the individual taxpayer. Lesson one of tax: You really don’t want to be messing with a local or national tax office. You may read stories about major corporations not paying tax and think: “If it’s OK for them, it’s OK for me.” But it’s not OK for you. You may believe you have an ethical argument. But good luck explaining your position in court. Corporations that get preferential tax treatment pay millions to top-flight accountants to ensure they are not breaking the law (avoidance is legal, evasion isn’t). Their affairs have no bearing on your own situation. Being lax – or dishonest – with your tax affairs can give rise to court action and fines. Being particularly imaginative can land you in jail. TAX AROUND THE WORLD Every country has its own tax rates and rules as they apply to self-employed musicians. In the US, for example, you can elect to estimate and pay your tax quarterly. It is beyond the scope of this book to give detailed information for every country and much of what has been written about the UK will have its own variations in your own country. The bottom line is, don’t hide from your responsibilities. Get informed about what you need to pay, what you need to declare to the relevant authorities and when to do it. There are plenty of sources online with thousands of pages of help, and forums that welcome questions from even the least informed. Prepared exclusively for [email protected] # Attack Mag 16980. © All rights reserved.THE BUSINESS OF MUSIC CHAPTER 6 TAKING CARE OF YOUR BUSINESSTHE BUSINESS OF MUSIC152 Laziness, carelessness and a deep-seated fear of spreadsheets are not reasonable excuses to tax officers. Lower down the naughty steps, even a small-scale investigation can waste time, money and energy, each of which is far better invested in your music. So here’s our no-nonsense guide for keeping you on the financial straight and narrow: FROM DAY ONE Whenever you spend anything on your business, get a receipt. At first it’s a bore, but it soon becomes second nature. Some costs – a new guitar, the latest version of Ableton, flights to gigs – are referred to as ‘allowable’ expenses, which is to say, you can offset these legitimately against your income. Other costs – your Netflix subscription, Christmas presents for your dog – are not. Generally speaking, all costs directly associated with a business are allowable, but a surprising number of what you might consider to be personal costs (including bills for electricity and gas if you work from home for example) may be allowable too. In due course you’ll get to know what WHEN DO I BEGIN DECLARING AN INCOME FROM MUSIC? A common question among musicians is: “When should I start declaring my income from music?” Better you should ask the simpler question: “When should I start declaring my income?” Your income from music is no different to your income from anything else. If it all adds up to an amount that your tax officials deem taxable, then you need to declare it. If you have a day job on which you pay tax, for example, even if you consider music to be a hobby, you should still declare any significant earnings from your music. ‘Significant earnings’ is unlikely to include $5 for a CD, but would include 10 CDs at $5 each. It might not include $50 cash in hand for the occasional gig, but would include multiple gigs - even $50 cash gigs - over a year. A different question is: “When should I start to treat my music income as a business?” (As opposed to personal income.) In Europe and the UK there is an income threshold at which it is compulsory to start charging value added tax (VAT). At that point, you have no choice but to see yourself as a business entity. Up to that point, it is really up to you. Being treated as a business for the purpose of tax involves admin and paperwork. But there are benefits too – claiming certain expenses as tax-deductible, for instance. Before making a decision, get informed. Talk to friends in a similar position. Ask online. And most of all, talk to an accountant. Prepared exclusively for [email protected] # Attack Mag 16980. © All rights reserved.THE BUSINESS OF MUSIC CHAPTER 6 TAKING CARE OF YOUR BUSINESSTHE BUSINESS OF MUSIC153 the most regular allowable expenses are (you can look online or ask your accountant). Your job is not necessarily to know all this to the letter, but to have receipts for everything you want the tax man to take into account. When it comes to filing your end-of-year tax return (see below) your accountant or book- keeper will be able to sort them into the relevant piles. Set up a simple spreadsheet. Excel, Numbers or any free spreadsheet like Google’s ‘Sheets’ will be up to the job. moneysavingexpert.com also has a useful selection of accounting tools. From left to right, set up the columns as follows: – Column 1 should be the date when you spent/received money. This will mean you don’t even have to enter your invoices/receipts in date order. You can enter them in the order they come to hand. When you’ve finished, your spreadsheet will have a sort function that will put everything in date order. - Columns 2 and 3 should note either: – the invoice number (column 2) related to a job, followed (column 3) by a brief description of the work you did (gig, session guitar, mixing, etc); or – what you have spent money on – travel; food; equipment (column 2) followed by the purpose of the expenditure – getting to gig; entertainment; new guitar strings (column 3). - Column 4 should record the amount of money coming in (income). - Column 5 should record the amount of money spent (outgoings). This spreadsheet should accurately mirror what is happening in your business bank account. You can see an example spreadsheet set up as detailed here at the end of this chapter. Expenses must be backed up either with a receipt or invoice. It is also useful to keep file copies of your own invoices to show money coming in. Note that it is not enough for accounting purposes to show a simple cash till chitty or a PayPal receipt – you must have the receipt or invoice from the original store or service provider itself with its name on, the date and details of the goods purchased (“ Joe Bloggs’ Guitar Shop – Guitar Strings”). Prepared exclusively for [email protected] # Attack Mag 16980. © All rights reserved.THE BUSINESS OF MUSIC CHAPTER 6 TAKING CARE OF YOUR BUSINESSTHE BUSINESS OF MUSIC154 Once a week spend five minutes entering the most recent spending in the spreadsheet. After entering on the spreadsheet, carefully file the receipts (and make sure you request the itemised VAT or till receipt – not just the card receipt) keeping them in the order you entered them on the spreadsheet. When it’s time to file the end-of-year accounts (or you hand them to an accountant) the neater and more organised you’ve been, the less time you’ll have to spend sorting out filing. Always invoice for work done – even if you’re not paid for it. Yes, even the taxman has access to your Facebook profile and if you think they don’t care about the free gig you played in the Dog & Duck last Tuesday, you’d be wrong. Musicians who think they’re flying under the radar have been shocked by HMRC presenting them with lists of gigs they’ve done but haven’t recorded as invoiced or paid. Most spreadsheet software has a simple invoice template. Unless you feel some pressing desire to design your own, use the template. It is a record of the transaction and doesn’t need to be a work of art. To keep track of your invoicing, use a simple numbering system. A foolproof one would include your initials, the year, the month, the date – like so: PP20191020. This will also help with digital filing, because they will file in strict date order. If you issue more than one invoice in a day, it’s simple enough to keep them readily identifiable by adding a /01, /02 affix to give PP20191020/01. The zero before the digit is important. In any digital filing system, the initial digit is given preference. So 1-9 will file in order, but 10 will go before the 2, and then you’ve got a mess on your hands. 01, 02 etc take precedence over 10, 11 and 12. An alternative is to use any number of cloud-based invoicing / book keeping utilities like xero.com, freshbooks.com or waveapps.com. All of these require a few hours learning the basics, after which they can take care of almost everything related to your accounts, from invoicing to VAT returns.THE TAX RETURN The major responsibility of self-employment in the UK is the submission, once a year, of a tax return. This document – which will be supplied to you by your tax authority – has fields for detailing revenue from all kinds of sources, as well as for costs associated with your business. A complex final calculation tots up the various figures in the many boxes to give you a final fee to pay (occasionally, if you’re very lucky – or your business is going down the pan – you may end up getting a tax rebate). Don’t wait until the last minute to file your tax return. Go online here: http://search2.hmrc.gov. uk/kb5/hmrc/forms/view. page?record= ZrJXAG2mt_0&formid=2999 and go through the process so you know what’s involved. Make a list of the information required so that when it’s time to file the return you’ve got all the information required to hand. Very few things compare to the pain of having to rustle together 200 receipts on the day before submission deadline – and even submitting a single day late can generate a fine. Prepared exclusively for [email protected] # Attack Mag 16980. © All rights reserved.THE BUSINESS OF MUSIC CHAPTER 6 TAKING CARE OF YOUR BUSINESSTHE BUSINESS OF MUSIC155 As a self-employed person the onus is on you to let the relevant tax authorities know about your situation. In the UK this means registering with HMRC for ‘self-assessment’. This is where you sign up: https://online. hmrc.gov.uk/registration/newbusiness/introduction Find out as much as you can here: www.hmrc.gov.uk/sa/self-emp.htm There are plenty of clickthroughs and it will make your brain hurt, but bear in mind as you go through the pain: it is as nothing compared to the pain of getting on the wrong side of your tax authority. When the sums coming into your bank account from music start to get serious, it will simplify matters considerably if you open a separate business bank account. Keeping your business income separate from your beer float and gym membership standing order saves a lot of headaches. AS YOU PROGRESS There will come a time in your career – hopefully – when keeping track of income and expenses is no longer a five-minute-a-day job. When you get there, put aside £50-100 a month for a bookkeeper (see Chapter 7 - Your team). You will still need to ask for, and keep, receipts. But now it is the bookkeeper’s job to do the data entry and keep on top of any other regular financial tasks (VAT returns, for example – see below) that CHOOSING AN ACCOUNTANT Although the vast majority of accountants and bookkeepers are trustworthy, there are instances of individual accountants, entrusted with their clients’ affairs, embezzling funds (Sting, among others, lost nearly £6m in this way). The best advice is to: - Choose an accountant that has other music-making clients on their books. Although a good accountant can turn their hand to most businesses, one who has some speciality in music is likely to have a better understanding of the specific deductions allowed and will have experience of other clients’ situations that may apply to you.- Choose a firm that has multiple partners rather than a solo accountant. In a big firm, your accountant’s partners are your best insurance that the job gets done properly. In addition, if your personal accountant leaves or retires then you can expect your affairs will be passed on – and properly briefed to – another partner. – Use an accountant that is different to your manager’s. Keeping some distance between your personal financial situation and your shared professional finances is no bad thing. Having a trusted and independent third party looking after your finances alone is no more than common sense. Prepared exclusively for [email protected] # Attack Mag 16980. © All rights reserved.THE BUSINESS OF MUSIC CHAPTER 6 TAKING CARE OF YOUR BUSINESSTHE BUSINESS OF MUSIC156 your growing business may be required to submit. This doesn’t alter your ultimate responsibility to be accurate, truthful and timely with the tax authorities. It’s not your bookkeeper who’ll face the music if there are irregularities in your accounts – it will be you. And if the information in a return is inaccurate then the buck still stops with you. Your financial affairs may also benefit from an accountant (again, see Chapter 7, Your team). While a bookkeeper simply keeps your books in good order, an accountant will be more proactive in understanding your tax position and will help structure your finances to save you as much money as is legally possible. They will be able to advise on allowable expenses – some of which can be complex – and take a long-term view of your tax, allowing you, for example, to offset savings across tax years and advising on investments (yawn), pensions (double yawn) and all kinds of other sensible things that most musicians find immeasurably dull. VAT God save us from VAT (value added tax) – except he won’t. VAT is a tax that European governments places on goods and services that we purchase. The rate varies from country to country. It is similar to sales tax in the U.S. except that sales tax is mostly state-imposed (five states have no sales tax). In the UK, VAT for most goods and services currently stands at 20%. So if you buy a keyboard for £1,200, £200 of that is VAT, which is paid by the retailer directly to the treasury. The idea of VAT/sales tax is to tax you where you spend, rather than where you earn. Thankfully you won’t need to worry about it until you are turning over around £85,000 in the UK (other countries have different rules) – at which point charging it becomes compulsory. In a business, turnover is the amount of money invoiced in a single tax year. VAT ON DIGITAL EU SALES From 1 Jan 2015 the VAT rules in EU countries changed so that companies or individuals selling digital products and services (including music downloads) in other EU territories have to pay VAT on sales at a rate determined by the country of download (the so-called ‘place of supply’). There is no minimum turnover threshold for this rule meaning that even if you make very little from digital sales, you still have to perform this additional accounting task, which is both complex and time consuming. As a consequence thousands of musicians have stopped selling downloads direct. If you are affected you have three choices: stop selling; carry on selling but filling in the relevant quarterly paperwork (in the UK the VAT MOSS makes this a little easier); or – best of all – divert direct sales towards third party distributors that look after the accounting headache for you. CD Baby, for example, takes care of the additional accounting, paying out royalty after all the required VAT deductions have been made. Prepared exclusively for [email protected] # Attack Mag 16980. © All rights reserved.THE BUSINESS OF MUSIC CHAPTER 6 TAKING CARE OF YOUR BUSINESSTHE BUSINESS OF MUSIC157 For argument’s sake, let’s say that from download sales, merchandise and gigs £30,000 has made its way into your bank during the course of the tax year. That is your turnover. The tax owed on that turnover is calculated as £30k minus legitimate costs. VAT is different. Once your turnover reaches the so-called ‘VAT threshold’– around £85k in the UK, but as low as €1500 elsewhere in Europe – not only will you be paying tax on your annual profit, you will also have to to start charging VAT on all products and services that your tax authority deems ‘VAT-able’. For musicians there are almost no exceptions to the rule. This rule has various implications for musicians – most of them bad. Once you are VAT registered, where you were charging £300 for a gig, you now have to add 20% for VAT – an extra £60. Which means overnight you have to raise your prices. The only way round this is to include VAT in the £300 gig fee, but that leaves you £50 worse off, because the VAT element of £300 is £50 – which you have to pay to HMRC. The other bad news is that in addition to your annual tax return you now have to submit quarterly VAT returns. That’s another four forms a year which have to be correct and delivered on time. Fortunately there are a few hairlines of silver in the dark VAT cloud. Firstly, some time before you hit the VAT threshold, you will almost certainly have hired both a bookkeeper and an accountant. They will know which aspects of the services you provide are exempt from VAT and which you have to add it to. Your bookkeeper will also usually file VAT returns on your behalf. Secondly, and more importantly, once you are VAT-registered, you can start claiming back VAT where it is charged on legitimate costs. So where your new keyboard cost £1,200 including VAT, you can now claim back the VAT element of £200. When costs to a business start adding up significantly, it can sometimes be advantageous to register for VAT (and some businesses voluntarily register for VAT before hitting the threshold). Either way, the complexities of VAT lie a long way off for most musicians, and by the time you get there you should be in the capable hands of a good accountant. Prepared exclusively for [email protected] # Attack Mag 16980. © All rights reserved.THE BUSINESS OF MUSIC CHAPTER 6 TAKING CARE OF YOUR BUSINESSTHE BUSINESS OF MUSIC158 LEGAL FRAMEWORK: SOLO OR GROUP All of the information above assumes you’re a solo artist. If you’re part of a group, all of the same rules apply – but with two exceptions. Firstly, you’re not all going to be looking after business. There’ll be one unfortunate sod who’s good at this stuff, and that’s the sucker who’s going to take care of it. If that’s not you then you still need to take an interest in the financial affairs as: a) they directly impact on your earnings; and b) if the chosen unfortunate sod is useless and/or dishonest, your business could fold before it’s even taken off. Secondly, there are various options for structuring a business in the UK when more than one person is involved. While a solo artist will almost always operate as a so-called sole trader for tax purposes, the group equivalent is a business partnership. A third – rarer – option is to form a limited company. Whichever you choose – and it will almost always be one of these three – don’t do it on your own. Take advice. Proper advice from a professional, not some mate down the pub who knows a guy who knows a guy. Finally, remember, as a band, your responsibility to HMRC has to be taken as seriously as the sole trader, only now your responsibility comes under the heading ‘jointly and severally’. That means you are all responsible for ensuring accurate, truthful and timely information is given to your tax office. Don’t try pointing the finger of blame at Johnny Unfortunate who you nominated to take care of business. You all need to make sure you know what’s going on, when the return needs to be filed, and that everything stated in it can be supported by the relevant paperwork. AL TERNATIVE FRAMEWORKS: PARTNERSHIPS AND LIMITED COMPANIES A business partnership is a business in which two or more people share the responsibilities of running a company – and the profits. Usually, but not always, the split of profits is an equal one (hence partnership). The business Prepared exclusively for [email protected] # Attack Mag 16980. © All rights reserved.THE BUSINESS OF MUSIC CHAPTER 6 TAKING CARE OF YOUR BUSINESSTHE BUSINESS OF MUSIC159 partnership (a business framework) is usually supported by a partnership agreement (a legal document). If you’re a band, a producer co-op or a DJ partnership you will need written agreement between the members setting out what share of profits each of you receives from common enterprise – common enterprise being the things you do together, like recording or gigging, or selling band merchandise. If you write all of your material collectively and agree to share equally in the writing income U2-style then that also becomes part of the partnership agreement. Pay particular attention, also, to our advice on Collaboration in Chapter 9 – The publishing deal. If one of you is the main writer then that income will be specifically excluded from the partnership agreement. Instead, that writer will be separately responsible to HMRC for declaring the additional income from songwriting and will pay the tax on the extra income accordingly. A limited company is another legal entity, but with different – more stringent – requirements. Instead of the share of profits being governed by a partnership agreement, a limited company issues shares to the total value of 100%. So a band of four musicians might divide the company up equally and receive 25% of the shares each. A limited company requires specific personnel to fulfil certain roles, specifically one or more directors and a company secretary. In the case of the four-piece band it is likely each band member would be a director with one taking on additional responsibilities for being the secretary. Finally, limited companies have to file additional paperwork, not only with HMRC but also Companies House (in the UK), including annual returns and minutes. As with a partnership, responsibility is single and collective (thus the term, jointly and severally). So if one of you runs off with all the cash, the others can be held liable by the courts if people outside the company are owed money. Although forming a company is more expensive and time consuming than forming a simpler partnership (although there are plenty of online Prepared exclusively for [email protected] # Attack Mag 16980. © All rights reserved.THE BUSINESS OF MUSIC CHAPTER 6 TAKING CARE OF YOUR BUSINESSTHE BUSINESS OF MUSIC160 companies who’ll look after it for you fairly cheaply - just search ‘company setup’), it has two pivotal advantages: Firstly, if it goes bust, you’ll usually be protected financially. A limited company has a notional worth based on how much the shares have been bought for. So if you issue 100 shares at £1 each, the company’s notional worth is £100. And that’s where the word ‘limited’ comes in. In the event of the company failing, directors’ liability for money owed to creditors is limited to that £100 – most of the time. But before you get carried away, if creditors can show that the business failed through negligence or criminal activity on the part of the directors, then they can come after you for every penny owed – including your home and all your possessions. Secondly, a limited company, properly run, can also be more tax efficient for a group of people. As a sign-off, it’s worth noting that individuals can also operate companies, and in the creative sector many choose to do so as the most efficient way of structuring their finances. If you’re considering doing so, seek advice on what is the best option for your situation. MAKING THE RIGHT DECISIONS The music industry abounds with stories of artists who’ve been ripped off, badly advised or just plain stolen from by various financial advisers. Members of Take That discovered that a scheme they had invested in (purportedly to encourage British musical talent) was looked on by the UK’s tax authorities as a tax avoidance scheme. The courts agreed, so now Messrs Barlow, Owen and Donald have a multi-million pound bill to pay. Some artists are more obviously defrauded. Leonard Cohen famously went to a Zen monastery to meditate for five years. When he came back his trusted friend and manager Kelley Lynch had stolen almost all his money. These two cautionary tales are very different. The three members of Take That were given what appeared to be sound advice about an ‘investment’ scheme which had been around for some Prepared exclusively for [email protected] # Attack Mag 16980. © All rights reserved.THE BUSINESS OF MUSIC CHAPTER 6 TAKING CARE OF YOUR BUSINESSTHE BUSINESS OF MUSIC161 years before HMRC decided it was not doing what it said on the tin. It was, instead, a scheme for avoiding tax. Thousands of investors were caught out. The moral of that story is even the best advice from the best advisors can sometimes come apart at the seams. As a consequence it’s probably best to play it straight and not get involved in complex tax planning that can come back to bite you. Leonard Cohen’s situation is completely different. He entrusted his affairs to Kelley Lynch, but during the five years he spent in the monastery she misappropriated all but $150,000 of the $5m he had before he went away. She served jail time, and a long probation period. Bad financial planning is also commonplace in the music industry. By 1968, The Rolling Stones had been around for four years and were massively successful. But they were broke. Prince Rupert Lowenstein – who took on their affairs and made them super-wealthy – recalls that when he first went to meet Mick Jagger, “there was no furniture in the house”. Another common problem faced by musicians is long-term financial planning. Like professional sportspeople, many top musicians have a relatively short career where earnings are high. Unless that sudden, huge whack of earnings is carefully invested it is easy to end up aged 45 on the breadline. Drugs, fraud, bad advice, designer furniture and just being plain careless – there are endless ways of frittering away hard-earned cash in the music industry. Don’t be another in the long line of sob stories where once-famous and successful artists end up living in poverty and misery. Be smart. Be involved. See your career as a long-term business with, hopefully, some money to retire on and enjoy yourself at the end. Always ask questions. Above all, take responsibility. Ultimately, your financial affairs are just another strand of your career that require the same level of diligence as your brand, your songs and your musicianship. Prepared exclusively for [email protected] # Attack Mag 16980. © All rights reserved.THE BUSINESS OF MUSIC CHAPTER 6 TAKING CARE OF YOUR BUSINESSTHE BUSINESS OF MUSIC162 EXAMPLE ACCOUNTS SPREADSHEET The sample spreadsheet below shows the kinds of costs you might incur during a single month as a solo musician, alongside a few typical sources of income. The costs are ones that a tax authority would usually accept as ‘cost of business’, and would therefore be tax deductible. Note the word ‘usually’ though. This is an example case study. In this illustration we talk about £ sterling and the UK tax authority (HMRC). Rules differ from country to country, and you should check your own situation with a qualified professional. All costs and income are explained below. Prepared exclusively for [email protected] # Attack Mag 16980. © All rights reserved.THE BUSINESS OF MUSIC CHAPTER 6 TAKING CARE OF YOUR BUSINESSTHE BUSINESS OF MUSIC163 COSTS - Sometimes you travel to gigs by bus (like your residency at The Red Lion) because most of the equipment you need is there. - At other times you take a cab with your guitarist because she needs to bring her amp and guitar. - On 1 January you were recording tracks in a studio that you will press to CD to sell at gigs. The studio cost £200 for half a day. - On 21 January you took delivery of 1,000 flyers (£28) to be distributed to promote your gigs over the next four weeks. - On occasions, you are further from home, and your schedule has meant you couldn’t eat. The tax man allows a small amount for food when travelling for work. - You can legitimately charge a share of the domestic costs for your use of space in your home to run your music business. This is based on: - the amount of space allocated to your business (you may have a whole room set up as a recording studio) - the amount of time you spend on business in the house, and - the total size of your home. So, for instance, if you are using one room in a five room house (exclude kitchen and bathroom), you are using roughly one fifth of the living space. If your total rent and utilities come to £1,050 per month your calculation is based on one fifth of that – £210. Let’s say you legitimately work/record from home for three days a week. Your final calculation for the tax man will be £210 per month, divided by seven days (£30 a day) multiplied by the three days you work (£90). Which means you will be asking the tax man to offset £90 a month against your income for a home office/studio facility. Note that you will be asking the tax man. HMRC may not agree with your calculation – so be ready to negotiate. Prepared exclusively for [email protected] # Attack Mag 16980. © All rights reserved.THE BUSINESS OF MUSIC CHAPTER 6 TAKING CARE OF YOUR BUSINESSTHE BUSINESS OF MUSIC164 INCOME – You have a weekly residency at The Red Lion that pays £50. – You have played two gigs at a club that pays badly (£100 and £75). – You have played one gig at a club that pays well (£200). – You have also played a gig at The Plough – a pub a little way out of town. TAX In this case study, your income / turnover for the month is £625. With costs for the month at £435, you have a profit of £190. In this very simplified example – assuming you are above the relevant tax threshold – you would expect to pay tax on that £190. It’s important to understand that the tax man wants his cut from all of your earnings. If, for example, you have a job on which you pay tax as you earn (PAYE), HMRC will add those earnings to your earnings from music in order to calculate any further tax you owe. Your personal allowance – £12,500 for 2019/20– can only be used once. So if you have a full- or part-time job that pays more than £12,500 a year, you will be taxed on ALL additional earnings from your music. Prepared exclusively for [email protected] # Attack Mag 16980. © All rights reserved.THE BUSINESS OF MUSIC CHAPTER 7THE BUSINESS OF MUSIC165 ‘Get yourself a really good manager because that allows you to focus on being a musician. They can focus on the darker art of the record label and the music industry.’ James Blunt Who you gather around you on your way to the top will help determine: a) how successful you are; b) how much you enjoy the journey; and c) how much money you personally bank. Pretty much every musician starts out alone, and that’s absolutely right. No professional will be interested in you as you write your early songs, develop your style or slave away over a DAW mixing your debut EP. Paying for a team at this stage is a waste of their time and your money. It’s also important to understand from the start that the team you have when you reach the top of the ladder is unlikely to be the same group of people who are there when you put your foot on the first rung. Nor must it necessarily be those who helped push you from the middle to the top. So don’t develop unnecessary attachments. Business is business and you need to grow a thick skin when it comes to business relationships. Which is not to say be unpleasant. Categorically don’t be unpleasant. Bad manners and rudeness have no place in good business relationships. Behaving badly on the way up will mean someone will have bad things to say about you when you’re famous (and on IN THIS CHAPTER... Building your team Lawyer Manager Record producer Engineer Mastering engineer Promoter Booking agent Designer Publicist/ PR A&R Plugger Bookkeeper AccountantYOUR TEAM Prepared exclusively for [email protected] # Attack Mag 16980. © All rights reserved.THE BUSINESS OF MUSIC CHAPTER 7 YOUR TEAMTHE BUSINESS OF MUSIC166 the way back down). It’s better for your brand, your career and ultimately your health if those things aren’t true. This chapter profiles the people you’ll need around you to get to the top of the tree. At the very top you’ll need all of them. On the way up you’ll need some of them some of the time. Some of them you may not need at all. We’ve also profiled a few industry people who’re unlikely ever to be in your team but who you’ll inevitably come across at some point on your journey. LAWYER Comic Spike Milligan once said: “A contract is another way of saying: ‘I don’t trust you’.” Contract law is an industry that has grown large and hungry from that simple truth. Most contracts only work as long as the working relationship between the two signatories – you and a record company, you and your publisher – is still cordial. You have no idea how fragile these overpriced documents are until one side wants out. Then lawyers will begin arguing over the semantic meaning of words you never even noticed when you were signing. You followed advice, you even read the fine print, you thought you understood it. But 99 times out of 100 there will be something crucial you missed. Your lawyer does what’s required of them, which is to draft or look over a contract complying with the law and your wishes. But ask any lawyer to sign a side letter guaranteeing that the contract is fireproof, and watch their chin drop and their face flush. Still, you need a lawyer. Before you sign a deal with anyone – including a manager – it should be looked at by a lawyer, and a music business specialist lawyer at that. Contracts are necessary and compulsory. No-one will – or should – do anything without one. You should be part of the process of ensuring that all of your wishes are expressed in whichever contract/s you sign and that you understand the other side’s position too. Ask awkward questions. Read every clause. Have your lawyer explain wording that is unclear. But at the end of the day, remember Milligan’s succinct observation. Contracts are just another way of saying, ‘I don’t trust you’ and when trust Prepared exclusively for [email protected] # Attack Mag 16980. © All rights reserved.THE BUSINESS OF MUSIC CHAPTER 7 YOUR TEAMTHE BUSINESS OF MUSIC167 breaks down they can prove not to be worth the paper they’re written on. All of which means that it’s more important you work on your relationships rather than rely on any contract. Relationships, not lawyers, is what it’s all about and you’re better off not needing recourse to the courts than knowing sub-clause 4.3.5 inside out. Note that there’s no point approaching any lawyer. Calling in at Bitter & Split’s family law practice on your local high street is not going to set you on your way to music superstardom. You are looking for a legal practice with a specific entertainment division and a lawyer or two on its team who specialise solely in music. There are a few of them around – just search for ‘music lawyer’ online. These lawyers have direct ties with all of the best managers. We go into this in more detail in Chapter 6 - Taking care of business in the section entitled Making the right decisions. THE MANAGER Supermensch: The Legend of Shep Gordon is a 2014 documentary about the long-time manager of a host of music A-listers including Alice Cooper, Blondie, Anne Murray and Luther Vandross. In the film, Shep Gordon says that a good manager does three things: “One, get the money. “Two, always remember to get the money. “Three, never forget to always remember to get the money.” Money is the measure of a manager’s success. Whatever else they do for you, your bank balance is the barometer. If they aren’t bringing in the dollars then they’re failing on all counts. But to get that money requires a host of skills.WHAT A MANAGER DOES Unlike a decade or so ago, management is no longer about simply negotiating record and publishing deals then counting the money as it rolls in. Today’s manager is expected to mentor you, help you develop if you’re not ready for the big time – even advise on branding and presentation. You may be an excellent musician and songwriter but there are not enough hours in the day to become an expert on the intricacies of the music business and the finer points of publishing contracts. Which makes your manager a silent partner in your rise to fame; the one who is spinning one-hundred-and-one plates while you weave your magic on stage and in the studio. As James Blunt notes in this chapter’s opening quote: “A really good manager... allows you to focus on being a musician. They can focus on the darker art of the record label and the music industry.” Prepared exclusively for [email protected] # Attack Mag 16980. © All rights reserved.THE BUSINESS OF MUSIC CHAPTER 7 YOUR TEAMTHE BUSINESS OF MUSIC168 Your manager should be well connected at all levels of the music business. A consummate people-person and music industry all-rounder, they need to be able to tackle a raft of everyday business, from advising on contracts through advising on/initiating recording and sync deals to working with your booking agent to get more gigs. They’ll also be exploiting other revenue streams for you, from third party licenses to sponsorship deals. A good manager will have access to a team of trusted third party professionals to turn to when you need them, from lawyers to producers, marketeers to pluggers. A manager with a non-existent contacts book is unlikely to stay in the business for long.CHOOSING THE RIGHT MANAGER You will hear people say – in hindsight, of course – that Brian Epstein was not a good manager for The Beatles. But The Beatles never second-guessed him, nor disrespected him. He was working without a rule book, and, in his way, he was the best manager The Beatles could have asked for. Things had moved on by the time Epstein died and Allen Klein came along. Klein was a money man whose vigilance discovered $15m in unpaid royalties. He made more money for The Beatles than Epstein ever could. Yet Epstein had held the band together. Klein split them apart. George Harrison, in particular, was outraged at the commission Klein took on that $15m – a bigger cut than any individual Beatle. Klein was, by his own admission, “the biggest bastard” in the business. And he was not entirely honest. But let’s say it again: Klein brought in $15m. The Beatles didn’t know was owed them. And still they resented the several million that he took in commission. It’s important that you take this in. Everyone liked Brian Epstein. The Beatles loved him. And he set a template that has been improved upon by successive generations of managers. Is this the guy you want, or do you want “the biggest bastard” in the industry? Understand that the biggest bastard will have his – or her – slice of flesh, and you have to live with that, because your slice is probably bigger than it would have been if you’d chosen Mr Nice Guy. On the other hand, if you choose Mr Nice Guy, don’t complain later that he should have been more ruthless. The big bastards tend to be loud, opinionated and may say things you find unpalatable. They are first and foremost Looking After Number One. But in doing so, they work on the basis that charity begins at home – and if they don’t look after themselves, how can they look after you? In the end, it’s a personal choice, and one that only you can make. But at a minimum make sure your manager has a weighty mix of experience, contacts and, critically, success. The best litmus test to the success of a manager is their success with other artists. Prepared exclusively for [email protected] # Attack Mag 16980. © All rights reserved.THE BUSINESS OF MUSIC CHAPTER 7 YOUR TEAMTHE BUSINESS OF MUSIC169 A manager will typically take around 20% of an artist’s gross income. If you’re a star you may be able to negotiate that down to 15%. If you’re a big star then the manager is likely to be in a full-time salaried role. You want to be in a position to peg the manager’s cut at 20%. Because that’s 20% of your gross income. In other words, for every £100 you earn, the manager gets £20. The £80 that you receive is subject, apart from anything else, to tax. And it’s the same £80 whether you’re a solo artist or a five-piece band. So a five-piece band earning £100 will get just £16 a head (£100 minus the manager’s 20% shared by 5). That works out as £4 less than the manager. Understand this from the outset or you could end up being resentful. The manager’s 20% is typically taken from all of an artist’s income: record sales, streaming, live fees, merchandise, brand endorsements and anything else you make money from. SCOOTER BRAUN: JUSTIN TIME Nominated by Jeffrey Katzenberg for Time magazine’s annual ‘Time 100’ list of the 100 most influential people in the world, Scot ‘Scooter’ Braun has, in an incredibly short space of time, joined the ranks of the greatest music managers in history. “I’m convinced that Scooter’s warmth and heart are why so many young clients gravitate to him – he treats Justin like a member of his own family,” gushed the Dreamworks CEO. “I’m pretty confident he will be influencing people for generations to come.” Justin, of course, is Justin Bieber, discovered at the age of 12 by Braun, who, having clocked him performing a Ne-Yo song on YouTube, turned him into one of the biggest (and richest) names in pop. As well as Bieber, Braun also manages Ariana Grande, Martin Garrix, and Kanye West. Braun’s juggernaut success is down to a supremely sharp instinct for spotting talent (“My gut is my No. 1 asset,” he says); a deep understanding of media, marketing and PR (witness the celeb-fuelled 30-day social media campaign leading up to the release of Beiber’s ‘What Do You Mean’, for example); a well-deserved reputation as a nice guy; and a great deal of philanthropy (pretty much everything he does involves a hefty charitable element). There’s much more to his career than ‘just’ artist management, too – he’s also a shrewd businessman with subsidiaries of his main company, SB Projects, making waves in music, TV, film and technology. In short, Braun is the very model of the 21st century music mogul, and while you’re probably not going to find yourself under the guidance of anyone in quite the same league, you should certainly be looking for the same key qualities in any prospective manager: the entrepreneurship, the marketing vision, the media savvy, the energy and the drive to do everything they possibly can to get you, the artist, as far up the ladder as they possibly can. Prepared exclusively for [email protected] # Attack Mag 16980. © All rights reserved.THE BUSINESS OF MUSIC CHAPTER 7 YOUR TEAMTHE BUSINESS OF MUSIC170 But a good manager should earn that share – many times over. Today’s managers know what they know because of the ground-breaking work that went before – Col. Tom Parker, manager of Elvis Presley; Brian Epstein; Andrew Loog Oldham, first manager of The Rolling Stones; Allen Klein, the Stones’ second manager (before he took on The Beatles); and – the archetypal big, badass ‘don’t mess with my artists’ manager – Peter Grant of Led Zeppelin. And don’t forget Prince Rupert Loewenstein, who took on The Rolling Stones’ affairs after Klein. He went about his work in a quiet, courtly and civilised manner, ensuring that – despite Oldham’s naiveté and Klein’s worst efforts – the Stones became very rich indeed. Today’s successful artists generally see their money a lot quicker than the pioneers. It was reported that each of the Spice Girls was worth around £15m when they split. Not, note, that they had earned £15m, but were worth £15m. They achieved that in a less than five year career under the wings of manager Simon Fuller. Justin Bieber, meanwhile, has only been making money from his music since being dragged off YouTube by manager extraordinaire Scooter Braun in 2009, yet is currently reported to be worth somewhere north of – deep breath – $250m. According to Forbes magazine, he earned over $80m in 2017 alone. One tip from Adam Tudhope, manager of Mumford & Sons, is to ask questions when you don’t understand, even as a manager. Crucially, asking for clarification when you don’t understand “will always serve you much better than trying to front it out”. Fronting it out, of course, was a valued tactic in the bad-old- good-ol’ days. But today’s managers don’t feel they have to know it all. CAN I GO IT ALONE? If you’re going to have a successful career you almost certainly need a manager. That fact is truer now than it ever has been. Because success in today’s industry involves exploiting dozens of revenue streams, the breadth of skillset, understanding and contacts required to significantly up an artist’s earning potential is simply out of the grasp of most musicians. Take brand endorsements, for example. A major revenue stream for artists is now coming from lucrative tie-ins with tech and lifestyle brands. Would you, as an artist, have any idea how to arrange one? Do you know the agencies (personally) that deal with setting up such deals? No offense, but would you even know where to start? Unlikely. But a good manager will. When you’ve done the musical groundwork and want to shift your career up a gear, a manager is usually the one to make this happen. Prepared exclusively for [email protected] # Attack Mag 16980. © All rights reserved.THE BUSINESS OF MUSIC CHAPTER 7 YOUR TEAMTHE BUSINESS OF MUSIC171 Nor do they necessarily feel that every opportunity has to be grabbed. William Robillard Cole, manager of Kaytranada, says: “I like to not show artists (everything) that’s available, but ask them what they want to do”. Artists, he says, have a vision, “and it’s usually not monetary”. The manager’s job “is to figure out a way to make it profitable”. Patience – rarely seen as an asset in the past – is cited uppermost by Danny Reiner, part of Allessia Cara’s team. “Patience is key. With yourself, your artists, and others. Being able to manage expectations and objectives MANAGER SHOPPING LIST We say it earlier in this chapter and elsewhere: Lawyer First, Manager Second. No contract – management included – should be signed without legal advice. It will make your life considerably easier if you have a shopping list of requirements of your manager before you even meet one. These will include the sort of relationship you want and the sorts of things you expect your manager to negotiate on your behalf. For instance, are you willing to trade off a smaller advance on a record deal against a higher royalty rate and the opportunity to have ownership of your recordings after, say, five years? Some managers will see the big advance as the first – and possibly only – earning opportunity. It will be a sign of faith in your future if you and your manager can agree that you are not in this for the quick buck. You should also be looking for a manager who understands that the work you create – the songs and recordings – are your copyright. A manager should be looking to help you exploit these copyrights and earning commission on income generated. They should not be looking to take part ownership of your copyrights. And you should not feel constricted to sign with anyone who does. Read or re-read Chapters 2, 8 and 9 and make your own shopping list. Anything that looks or feels important to you, put it in there. There’s an age-old maxim: Don’t ask, don’t get. You may not get all you ask for, but knowing what you want up front is a massive step. It’s also a signal to any manager or label that you’re not a mug. It will speed things up if you are able to tell your lawyer – in writing – what you want from the manager so they can check it’s all covered in the management contract. Your lawyer will point out anything that could be seriously damaging to future earnings or your ownership of your own work. They should also flag anything that is, in their experience, counter-productive to a good manager/artist relationship. Once you have your lawyer and manager in place, stay involved in the process. Contracts are often easier to understand than they look. Yes, they’re couched in language that feels intimidating and occasionally masks meaning. But that’s just the legal profession protecting their interests. If you ask sensible questions, like: “Where does it say how much the label is paying me for streaming?” or “Which clause covers the amount I’ll be charged for packaging?” the answer should be clear. Prepared exclusively for [email protected] # Attack Mag 16980. © All rights reserved.THE BUSINESS OF MUSIC CHAPTER 7 YOUR TEAMTHE BUSINESS OF MUSIC172 through a solid communications structure. It is crucial not to rush business”. There are as many management styles as their are artists. And even a single manager will use different approaches with different artists. What they all must do, though, is ensure that at some point – hopefully sooner rather than later – the money starts flowing. HOW AND WHEN TO GET A MANAGER You will need to be both fairly established and artistically top-class to get a manager: established because most managers will want to see proof of both live ability and some kind of following, and top class because there are millions of artists out there and very few managers. Trying to get a manager interested when you have nothing to show is a non-starter. “Anybody who waits for a manager or waits for a record label to put their stuff out must know that it doesn’t work like that; you have to be proactive,” Jonathan Dickins, manager of Adele and Jamie T, told Hit Quarters. “Whether that means you’re funding a little record that you’re putting out by yourself very cheaply or going out and playing live, building your fanbase, being creative online with a cool blog... Facebook, or just distributing your music.” A potential manager will want to see evidence of activity – but they won’t necessarily want the finished product. They understand that a band or artist will need help to become the finished product and many will mentor acts to refine their brand, music and live abilities. Some will even invest their own money in studio sessions, photo shoots and so on to improve the chances of their talent. Here’s what one manager with an enviable roster said: “I don’t want an act that needs lots of development, but I am more than prepared to do some. That’s the part of the job I love. My favourite kind of artist is a diamond in the rough. I understand that it’ll take time and effort to make it shiny.” It is almost always the quality of the act and their music that is the deciding factor when a manager takes on new talent. “I’ll only be interested in an act that has longevity,” notes the same manager. “I want career artists; ones that will craft their skill and stick around. Ones that I can earn from year after year. That matters way more to me than a massive Facebook following.” Prepared exclusively for [email protected] # Attack Mag 16980. © All rights reserved.THE BUSINESS OF MUSIC CHAPTER 7 YOUR TEAMTHE BUSINESS OF MUSIC173 If you’re that potential career artist, one route to the best management might be through the lawyer who has, for instance, negotiated your publishing deal. Lawyers and managers share a two-way, financially beneficial relationship. Managers send their favoured lawyer contracts associated with their artists while the lawyer sends the manager acts that they think may be of interest. It’s a cosy two-way with money flowing in one direction and artists the other. It’s in the lawyer’s interest to keep the manager well stocked with promising artists. They know that those artists, when they get bigger, will need regular legal work. Kerrr-ching. Managers still seek out artists, but you’ll get to the top flight of management if there’s already a publishing deal in the offing, or if they know that several record companies are chasing you around town. Managers want to hit pay-dirt as much as artists, and their ongoing search for new talent will see them scouring the internet, social media – and, most of all, catching local gigs. So follow the steps in Chapter 4 - Spreading the word. Build up a local following. Become what one manager calls a ‘hero in your back yard’. If you’re making big enough local waves and luck’s on your side, you may snare a manager the old-fashioned way. RECORD PRODUCER After the manager, a producer is likely to be the most important figure in your rise to the top. While your manager keeps an eye on business, the producer’s interest is your music. They will work to ensure it is the best it can be – both sonically and creatively. It has always been a matter of some confusion that a record producer has a role equivalent to that of a film director while the film producer’s equivalent is the record company. The reason for this is that long before there were record producers, there were musical directors, and musical directors had a specific role, which was to arrange orchestration, book musicians for sessions and, if required, even tour with the performer. Nowadays producers take this role and often much more. Their contribution to a project can range from having a final say on the mix to micromanaging every step of the writing, recording and mixdown process. Producers are the craftsmen (and it is almost always men – see Let’s talk Prepared exclusively for [email protected] # Attack Mag 16980. © All rights reserved.THE BUSINESS OF MUSIC CHAPTER 7 YOUR TEAMTHE BUSINESS OF MUSIC174 about sex, below) who turn ideas and performances into the final polished mixes that hit the stores and charts. When you enter the studio, the producer’s job is not only to get the best possible sound for you, but also the best performance from you. They will either work with the studio’s engineer/s to make that happen, or will weave the magic themselves behind the desk – or computer screen, more likely. Producers have the unenviable task of negotiating technical challenges, compositional trials and artistic differences as new music takes shape in the studio. To say it can be a fraught business is an understatement. Pity producer Ken Caillat, for example, at the helm of Fleetwood Mac’s 1976 Rumours sessions. The previous Mac album had been the first featuring Stevie Nicks and Lindsey Buckingham. It topped the Billboard charts, and big things were expected of Rumours. But Buckingham and Nicks were having a public relationship breakdown. Founder/bassist John McVie was also breaking up with his wife, singer Christine – who was sleeping with drummer Mick Fleetwood. Unsurprisingly, Fleetwood’s own marriage was also cracking up. LET’S TALK ABOUT SEX It’s not controversial to state that most producers are male – although it is puzzling. It’s also doubly ironic that in the male- dominated and most misogynistic musical style – hip hop - one of the early producer stars was Sylvia Robinson. She not only produced one of rap’s first hits – ‘Rapper’s Delight’ by the Sugar Hill Gang – but also co-wrote and produced Melle Mel’s ‘White Lines’. There are others female producers, including Linda Perry, one-time singer with Four Non Blondes, who produced Pink’s ‘Let’s Get This Party Started’ and Trina Shoemaker (Sheryl Crow). But female producers are a rare breed. There’s never been a female winner of Best Producer Grammy or Brit. Even being nominated has usually been reserved for artists who produced their own records. So if you’re looking for a gap in the market and you’re female, there’s one big, glaring hole for you to fill. It’s not just as producers that women are woefully under-represented. They’re also distinctly absent from behind the mixing desk. Trina Shoemaker was the first female to win a Grammy for sound engineering back in 1998. You’ll be hard pressed to find another since then, with the fantastic exception of Imogen Heap, who engineered her own album, Ellipse, and won the 2010 Grammy for Best Engineered Album, Non Classical. Prepared exclusively for [email protected] # Attack Mag 16980. © All rights reserved.THE BUSINESS OF MUSIC CHAPTER 7 YOUR TEAMTHE BUSINESS OF MUSIC175 So imagine the patience Ken Caillat and co-producer Richard Dashut had to exercise to get through 15-hour days that were fuelled by mountains of coke and ego-driven disputes. Such can be the lot of a producer – requiring the patience of Job and the diplomatic skills of an international ambassador. Feel also for Bill Bottrell, who spent close to two years of his life working on Michael Jackson’s Dangerous, where constraints on neither the budget nor timescale meant the project kept demanding more and more of his life. So demoralised was the producer by the end of the project that he quit the pop machine and returned to his roots, making and mixing country music. He never returned to making chart hits. Or producer-engineer Martin Rushent, tasked to oversee the The Human League’s 1988 Hysteria, an album so steeped in personal antagonism that, following a row between him and Susanne Sulley, he quit the studio – and the music industry – for a decade. Production has never been an easy job, juggling artistic wishes and sensitivities on the one hand with the demands of the public/label/manager and recording medium on the other. The best producers come out of the maelstrom with a fantastic sounding record. Even then, many of history’s finest are unknown to the public. Only hip hop has bucked that trend. A generation of urban/pop superstar producers like Dr Dre, Timbaland and The Neptunes (Pharrell Williams and Chad Hugo) are nearly as well known as the artists they’re producing (Kelis, Britney Spears, Missy Elliott, Justin Timberlake, Jay-Z, Eminem, 50 Cent). Partly because of the rise of these big names, many of today’s producers are seen as collaborators who subsequently share in the financial success of hit records (see Chapter 8 - The record deal). Depending on the level of involvement, they may earn royalties as co-writers and co-performers. Make no mistake, the right producer can make the difference between the success or failure of your career. There’s no point in having the best songs if they sound anything other than amazing. The best producers weave sonic magic, and you should be looking to work with the best. Like artists, in-demand producers will usually be managed, with a producer manager taking around 15% of the producer’s gross income. Prepared exclusively for [email protected] # Attack Mag 16980. © All rights reserved.THE BUSINESS OF MUSIC CHAPTER 7 YOUR TEAMTHE BUSINESS OF MUSIC176 ENGINEER This is the guy (again, almost always a guy) in the studio who knows how everything works and who will assist the producer in recording your masterpiece. Given the huge – and growing – disparity between the numbers of engineering graduates (too many) and jobs in the industry (too few), the sound engineer will usually be highly experienced, talented, motivated and patient. The studio engineer is responsible for ensuring that everything is recorded at optimum quality, that the most appropriate microphones are used and set up correctly and that, when the session is over the captured audio is neatly and tidily filed, whether in a properly marked up tape box or in a digital filing system where every track from your recording session is easily accessed. While the producer is tasked with the macro ‘big picture’ delivery of a project, the engineer looks after essential studio tasks and technical minutiae. Think of them as the highly skilled right-hand man (almost always a man) of the producer, with an all-encompassing knowledge of the studio and its equipment. They are typically resident in a specific studio.DIY MASTERING: AT YOUR OWN PERIL! It is tempting to save a few pounds by mastering your own tracks. Almost all DAWs have mastering channel presets that make a track sound instantly louder and fatter. Online mastering services like LANDR and eMastering are cloud-based utilities allowing artists to upload their mix and receive a ‘fully mastered’ track back for next to nothing. Both home mastering and services like LANDR can deliver reasonable results. But beware services based on algorithms. They do the job within limited technical parameters and there’s far more to mastering than an instant volume increase quick-win. Mastering engineers have equipment mere mortals can only dream of. Some of it is vintage, most of it is very expensive. They have an innate understanding of the technical requirements of the final master (and how that will transfer to the various mediums you might choose to press to). Most of all they have ‘golden ears’ – the ability to hear nuances and flaws in music that allow them to perform a final quality control before your music hits the public’s ears. In short, your mate in a bedroom with Pro Tools and Heritage Mastering settings is not going to hack it. For the sake of £20 or so a track, this is not the place to be cutting costs. Prepared exclusively for [email protected] # Attack Mag 16980. © All rights reserved.THE BUSINESS OF MUSIC CHAPTER 7 YOUR TEAMTHE BUSINESS OF MUSIC177 MIXER Since the dawn of the ‘remix’ era, dating back more than three decades now, a new breed of super-mixers has emerged. Particularly in pop music, they are a go-to necessity once the producer and artist have done their thing. A particular ‘mixed- by’ credit can guarantee you radio play. So the mixing stage now often – but not always; and rarely in genres like dance and folk – sits between the production and mastering processes. MASTERING ENGINEER When the studio sessions are over and your songs are mixed, there is still one more studio process to go through: the dark art of mastering, performed by the mastering engineer. Mastering engineers usually work alone. Their job is to give a ‘finish’ to your tracks so they are optimised for the final listening medium, be it CD, mp3, broadcast or vinyl. They also check the fidelity of audio and, on album projects, ensure each track has a similar sound/volume. Mastering engineers are highly skilled and the best of them are viewed with something close to superstar status in the industry. Getting your tracks mastered by the best mastering engineer you can lay your hands on is a vital link in the chain to ensure that your music sounds the best it can. Your producer or manager will likely have a favourite go-to contact. It may be best to go with that choice. But you can look elsewhere too. Go online and do a search for mastering engineers. You’ll find dozens of sites, both from named engineers and also from famed mastering houses like Air and Abbey Road. Many mastering engineers offer online mastering, where you send a pre-master to their studio online and get the ‘masters’ THINKING BIG If you have a big enough following and can think outside the box, phone up the Albert Hall and ask how much it would cost to hire it for an evening. You’ve likely never heard of Show Of Hands, but in 1995 they put their money where their mouths were and booked themselves into the Albert Hall for 24 March, 1996. Then they set about promoting it via continuous gigging up and down the country. The first Albert Hall gig was a sellout. They’ve done it four times since, including their 10th band anniversary in 2001, and most recently in 2017. Before they did this, no-one had really thought about such an adventurous approach to self-promotion. Prepared exclusively for [email protected] # Attack Mag 16980. © All rights reserved.THE BUSINESS OF MUSIC CHAPTER 7 YOUR TEAMTHE BUSINESS OF MUSIC178 sent back. Even big-name mastering houses are now absurdly cheap, often offering entire albums for less than £200–300. PROMOTER Gig promotion runs the gamut, like all parts of the music industry, from small to vast. The key word is ‘promote’ – as in publicise, market. You might be a local band, keen to start gigging. You have a friend whose dad owns a pub and who’s a dab hand at design. She asks her dad to borrow the pub backroom for a night. She then designs a flyer, sticks it up around town and leaves copies around the pub for customers to see. She also posts about your gig on the pub’s website and Facebook page. Now you’re a gigging band and your friend’s a promoter. That’s the small scale. At the other end of the scale is Live Nation Entertainment (LNE), the behemoth that not only promotes music events but also owns many of the venues where the events take place. LNE emerged from a merger between Live Nation – described as ‘a live events company’ – and Ticketmaster. That’s what you call synergy – own the venues, promote the events, sell the tickets – and initially it created a lot of opposition. America’s Justice Department asserted a string of conditions before approving the merger. In the UK, the Competition Commission initially ruled against, but ultimately passed it. Live Nation is also noteworthy for offering the first major 360 deal with Madonna (see Chapter 8 – The record deal). By changing the ways things are done, and on a massive scale, Live Nation has become seen in some quarters as the music industry’s Starbucks – a disruptive influence generating the associated vitriol and paranoia. As with most other areas of music, promotion is something you can do yourself, and most musicians start out taking on the role – designing and printing flyers, generating buzz and telling the world about the band and its gigs. Equally, if you’ve got a friend keen on taking the role (and a cut of your live income) then rope them in. Earning a living as a promoter is – let’s not beat about the bush – hard. You are expected to cover a variety of often hefty costs: venue rental, Prepared exclusively for [email protected] # Attack Mag 16980. © All rights reserved.THE BUSINESS OF MUSIC CHAPTER 7 YOUR TEAMTHE BUSINESS OF MUSIC179 advertising, equipment rental, band entertainment/ accommodation and payment for the band. In return they get a share of the door takings. There’s no hard and fast rule about commission as a promoter. It’s between you, the band and the venue. You are taking the risk. The band just has to turn up and play. You both have to agree what’s fair. One notable benefit of promotion is that, unlike many other areas of the music industry, becoming successful has nothing to do with age. If you have the money, the know how and the experience you can, like Harvey Goldsmith (the promoter who put Live Aid together), still be doing it 50 years later. And you could, like Bill Graham – who promoted most of the biggest bands of the 60s and 70s, and had his own venues, Fillmore East and Fillmore West - become a legend. You could also, with a fearless approach and a lot of imagination, become a successful promoter very young. BOOKING AGENT A booking agent has one task: to get gigs for the artist or band. Easy, eh? Well, no as it turns out. Here’s a test. Try picking up the phone and getting through to the booking department of a major venue, or a chain of venues. You’ll be lucky to get through because, well, Who are you? Do we know you? Why are we talking to you? Our days are full enough already of people we do know, and the diary is chocker. Let’s say you do get through and someone at the venue is willing to spare you five minutes. What are you going to say? You want to book your band in for a gig. ANTON CORBIJN: GRAND DESIGNER Very occasionally, a designer can turn out to be instrumental in the establishment of a band’s identity to an extent that transcends mere imagery. Although he’s worked with an incredible range of artists, from Art of Noise and David Sylvian to Red Hot Chili Peppers and Arcade Fire, Anton Corbijn is probably best known for his ongoing tenure, since the mid ’80s, as creative director for Depeche Mode and U2, responsible for all their photography, videography and sleeve design. Corbijn’s grainy, evocative visual style fits the sounds of both bands like a pair of black leather gloves, playing a huge part in defining their public personas. Head honcho of Depeche Mode’s label, Mute Records, Daniel Miller says of the multitalented Dutchman: “To have all that in one person is very powerful. And very hard to find. Anton grew from a photographer to a video maker to a sleeve designer, and we kind of grew with him. It worked very, very well – and still does today.” Prepared exclusively for [email protected] # Attack Mag 16980. © All rights reserved.THE BUSINESS OF MUSIC CHAPTER 7 YOUR TEAMTHE BUSINESS OF MUSIC180 Sure thing. What sort of ticket price are you thinking of? Erm… Does the band have an album it’s promoting? Er…. Do you really believe the band can fill this hall? It’s an 800-seater you know? Erm….er… And so on. Agents know the answers to these questions before they pick up the phone. They know whether your band is going to fill a pub, the O2 or Carnegie Hall. They know the right ticket price range for each venue. Most of all, they know the people to talk to – and, critically, the people they’re talking to know them. A booking agent takes between 5-15% commission on bookings. The smaller the artist/gig, the bigger that commission. DESIGNER Of all the people who may survive your journey from the bottom to the top, the most likely candidate is your designer. A good designer is a good designer. They don’t need to have a widespread network of contacts. In fact, many aren’t overly ambitious; they don’t want the superstar life, they’re just happy making interesting artwork. Which is not to say that good graphic design is an unskilled occupation, nor remotely to suggest that anyone can do it. On the contrary, a great designer, who truly ‘gets’ the brand, can add to that brand immeasurably. The best designers even help define the brand – see Anton Corbijn: grand designer, above. However little you personally know about design, don’t be afraid to have an opinion about it. It’s your music – you are the Story – and you need to be comfortable with every aspect of the design that speaks for you. Abstract discussions about ‘ambience’ and ‘feel’ sound pretentious to some people. But you’re a musician, and expressing yourself should be second nature. What’s a little pretension between friends if you end up with a cracking good image that is as instantly recognisable as a Coke bottle?TREATING YOUR TEAM RIGHT Maybe your public image is badass. That’s for your public. But don’t act badass around your professional team. That’s not to say be a walkover. You are, after all, the breadwinner. Your advisors should treat you with respect, and you should reciprocate. But do ask questions. The music business is complex and you should take as much interest in your career and the decisions shaping it as possible. Just don’t ask those questions from a paranoid point of view. Ask politely – and be persistent. In the final analysis, if you’re not happy with the response, or the information provided, talk it through with your manager. They may tell you not to worry. But if you’ve got a point, let your manager handle the conflict. That’s what they’re there for, and that’s one of the reasons they get 20% of your cash. Prepared exclusively for [email protected] # Attack Mag 16980. © All rights reserved.THE BUSINESS OF MUSIC CHAPTER 7 YOUR TEAMTHE BUSINESS OF MUSIC181 PUBLICIST / PR Malcolm McClaren was a genius publicist. Without contacts and with no prior experience he managed to get enough coverage for The Sex Pistols to give the professionals wet dreams. He was a prankster who knew what would get up people’s noses. And he got up the noses of enough important people that the media could only follow behind, mopping up the mess and smearing it all over their front pages and ‘news’ programmes. But you won’t have Malcolm McLaren. You’ll be using a more orthodox publicist or personal relations / PR representative. These people will get your name into the media – onto blogs, into papers, onto MTV. Their role is to persuade the media to tell the world about you and your music. They have the email addresses and mobile phone numbers of tastemakers, journalists and editors and will do anything and everything to get your name out there. Max Clifford – before being banged up and subsequently dying in prison – probably fitted the job description more conventionally than McLaren in most people’s eyes. Which is a shame because out there are quiet, professional people who push stories into the media all day, every day without ever ending up in jail. At the other end of the spectrum are small companies and individuals who know specific genres inside out and who are able to service press releases and break new acts by working with media outlets, bloggers and opinion formers. If they like your music a good PR can give an emerging artist a hefty leg up. There are various stages at which you may require the services of a publicist: 1. If you become a major live act without a record contract (unlikely, but not impossible) you will need to hire your own publicist to get press coverage, raise your media profile and bring you to the attention of the people who have yet to notice (or sign) you. It doesn’t have to cost a lot, and it’s a service you will regret not buying into. 2. If you are signed, a publicist will almost always come with the deal (if Prepared exclusively for [email protected] # Attack Mag 16980. © All rights reserved.THE BUSINESS OF MUSIC CHAPTER 7 YOUR TEAMTHE BUSINESS OF MUSIC182 a label isn’t looking after PR, the deal’s probably not worth the paper it’s written on). The record company will invariably have their own PR team, either in or out of house, who will work hard to obtain coverage for and on you – getting reviewers down to your gigs and securing reviews of your music alongside interviews in the music press and wider media. 3. If you become a megastar, you might hire your own dedicated publicist. This person will do what the others have done, but will also manage your public image and be expert in crisis management (should you, for instance, fall asleep at the wheel of your car in the middle of a motorway or are discovered indulging in some indiscreet extra-marital S&M). 4. If you have the money there’s no reason why you can’t hire PR earlier in your career. If your music, brand and story is good enough a talented publicist can give even the least known artist a steroid boost, spreading the word and generating hundreds, perhaps thousands, of new fans. Even hiring PR for a short period - to service the release of a single, for example, or talk-up an up-coming tour – can pay significant dividends. Publicists will frequently irritate you. They will dream up stunts or gimmicks to get you in the press if the coverage doesn’t come naturally. Try not to be irritated. They’re working for you, not against you. Work with them and do anything/everything that feels right for your Story. A&R They say in A&R (Artist and repertoire) that ‘no’ is the hardest word. In fact ‘yes’ is considerably harder because in agreeing to sign an act you are, in the act’s eyes, giving them the key to all their hopes and dreams. As the signed artist, the reality is that, although you’re now the one in perhaps 10,000 who has a record deal, the odds are still somewhere close to 100/1 against you being successful. Look for an A&R who loves what you do but isn’t all over you. You need someone not just to love what you do, but who is objective enough to be able to see – and tell you – what’s missing, and what might be done about it. As an artist, your first record company contact will most likely be with an A&R scout. Don’t get too excited. These are young people on the lowest rung, scouring the internet for likely talent during the day and out most nights checking the acts they like most. Prepared exclusively for [email protected] # Attack Mag 16980. © All rights reserved.THE BUSINESS OF MUSIC CHAPTER 7 YOUR TEAMTHE BUSINESS OF MUSIC183 An enthusiastic scout might get your hopes up but they don’t make signing decisions. They have a boss, who is an executive in the A&R department, and the scout has to sell you to the executive. Keep your feet on the ground at all times, but particularly now. Because the scout who is telling you how fantastic you are is saying the same thing to ten others, and their boss isn’t going to sign all ten. Indeed, they might sign none of the ten. At scout level you’re still being filtered. Once you’re through this filter, the bigwigs back at the office start listening to your songs. Part of their job is to pick out the best for your debut album and to identify potential singles. This is the point in your career where things can take an unexpected turn. Record companies don’t always sign you for who you are, but for what they think you can be. Their vision of you might not fit at all with your vision of yourself. Excited as you are at the prospect of a recording contract, if you are the kind of artist who refuses to compromise, sell out or follow guidance, this is the moment to say so. Because once you’re signed the A&R team is likely to follow its own instincts rather than yours. They have a track record at this; you don’t. Speak now or forever hold your peace. If you are determined to stay true to your authentic self and Story, this is where your management is truly tested. They have to agree with you, and have enough clout to keep the record company off your back. Which is another reason to wait until the best managers in the world are beating down your door. PLUGGER Record companies have teams of pluggers, also known as promotion people (not to be confused with gig promoters). Their job is to get your track played wherever music is played. These are people with unusually thick skin and a tenacious temperament. They will have relationships with key programme producers – in radio, TV and elsewhere - who will, by and large, trust the pluggers not to push anything unsuitable. The plugger needs more tools in the box than simply your brilliant record. Prepared exclusively for [email protected] # Attack Mag 16980. © All rights reserved.THE BUSINESS OF MUSIC CHAPTER 7 YOUR TEAMTHE BUSINESS OF MUSIC184 They need to believe in your brand. And you’ll make their job immeasurably easier if your social media stats are healthy. You may think that’s unfair. Your record should stand or fall on its own merits. Well, that’s how it used to be. But that’s not how it is now. If you weren’t convinced when we told you why all these things – Instagram, Facebook, YouTube, Twitter – were important to grab the attention of the record companies, then bear in mind that the Radio One playlist committee sits once a week, and they are furnished with all of these numbers – your views, your follows – before they even listen to your song (see Chapter 1 - The music business). Make no mistake – the plugger will become an essential part of your team. Be nice, take them to dinner, make believers of them. Insist on meeting them as soon as they’ve been assigned to your record. Miss no opportunity to make them feel loved. BOOKKEEPER The moment you are earning enough money to pay tax, you will need to keep a record of your income and your outgoings. When you start out, you’ll be keeping your own books (Chapter 6 - Taking care of business). But eventually, when your diary fills up and the gigs become better paid, this task will become a chore that gets in the way of more important jobs. Now’s the time to hire a bookkeeper – a number-savvy spreadsheet-lover who will look after the ins and outs of your cash flow, the expenses and invoices on a day-to-day basis. A proficient bookkeeper can cost as little as £50 a month, and there are many online accounting services that couple cloud-based software with phone-based advisers, but don’t go low-budget for the sake of it. Your bookkeeper should have specialist software and be tapped into an accountancy firm or two. Ask for a reference or check online testimonials. Browse their LinkedIn profile. Once your bookkeeper is in place, all that’s asked of you is that you continue to receive and keep receipts, which you will regularly hand to them. Data entry is now their responsibility, and you can concentrate your efforts on music, promotion and marketing. Prepared exclusively for [email protected] # Attack Mag 16980. © All rights reserved.THE BUSINESS OF MUSIC CHAPTER 7 YOUR TEAMTHE BUSINESS OF MUSIC185 ACCOUNTANT Until your financial affairs become complex, you can authorise your bookkeeper to not only look after your day-to-day accounts, but also, potentially, to file official documents like your tax return. They’ll charge a small amount for this extra service but it will be money well spent if you’re out on the road running to keep up. As your earnings grow and your affairs more complex the time will come to hire an accountant. Whatever you read about accountants, and whatever view you have about their possible venality (tax avoidance, Starbucks, Jimmy Carr) they are skilled professionals who are absolutely necessary for structuring your financial affairs in the most efficient way possible. Not only are they highly trained, the law and their own profession demands that they continue training throughout their careers – if an accountant is not up-to-date with the latest tax laws and other changeable aspects of finance, and lacks the required certification, they are struck off. A good accountant will save you money and ensure that the mega- wealth coming your way is not frittered in a five year blaze of high-living inglory, but is invested for your twilight years so that you don’t have to play humiliating ‘final’ tours over and over or suffer the indignity of joining your own tribute band. Your manager will usually be able to suggest both a bookkeeper and accountant, although it is often best to keep your accountant separate so that you have at least one independent eye looking over your financial affairs. Prepared exclusively for [email protected] # Attack Mag 16980. © All rights reserved.THE BUSINESS OF MUSIC CHAPTER 8THE BUSINESS OF MUSIC186 ‘The devil is in the details, which are so convoluted scarcely anyone understands them.’ Lisa Verrico, journalist and author, on record contracts The record deal: it’s what most of us dream of, isn’t it? If you make music in a genre like dance or hip hop – where you stand at least some chance of going it alone – the allure of the deal might not hold the same sway. Speaking with The Guardian, UK grime kingpin Stormzy – the first unsigned British artist to have a top 10 single – said: “Every single thing I was told that I couldn’t do without a label – get in the charts, get on to the Radio 1 playlist – I’ve done.” But for most artists, validation is being fawned over by A&R types and being offered contracts with lots of zeros. The record deal is the end of what is often a long and tough grind to place yourself on the musical map. But it is also the start of something more exciting: the first steps from the pond into the ocean but this time with the clout of a label behind you. The moment the record deal lands on the table is a defining one – and often a life-changing one. But before you read any more of this chapter, a warning: Sign only when you’re ready. Got that? Sign only when you’re ready.IN THIS CHAPTER... Development deal Direct signing The 360 deal Signing with an indie Copyright recap Landing a deal Sending demos What to look for in a deal Negotiation: a quick guideTHE RECORD DEAL Prepared exclusively for [email protected] # Attack Mag 16980. © All rights reserved.THE BUSINESS OF MUSIC CHAPTER 8 THE RECORD DEALTHE BUSINESS OF MUSIC187 WHAT WILL BE ON OFFER? Let’s start by looking at what a record deal is not. It is not a guarantee of hits; or success; or happiness; or untold riches. A record deal says only that you agree to make records for the label whose contract you are signing, and the label agrees to makes its best efforts to exploit that music. There are four typical deals. You may come across examples of others, but they are almost all variations on a theme. For instance, a ‘270’ deal is a variation on the 360 deal – but excludes publishing. These four deals, from simplest to most complex, are: – a development deal – direct signing to a specific label – either a major or an indie – licensing to a specific label, and – the ‘360’ deal. Over the next few pages we discuss each in detail. Prepared exclusively for [email protected] # Attack Mag 16980. © All rights reserved.THE BUSINESS OF MUSIC CHAPTER 8 THE RECORD DEALTHE BUSINESS OF MUSIC188 DEVELOPMENT DEAL A development deal does what it says on the tin. It takes a usually unheard- of artist and develops them into a marketable and releasable product. You may have heard stories about how Prince was signed before he had even made a record and how Warners agreed in advance to allow him one album that would surely fail. Or how Kate Bush was signed at 16 and put on retainer for two years while she finished school and developed her performance skills. Her first album appeared when she was 19 – and was an immediate smash. Today you can view these stories as fairy tales. Which is not to say they’re untrue. They’re absolutely true. But they’re from such a different age they almost qualify as folk memories. Rare as those sorts of experiences were 30 years ago, they became practically unheard of as record industry revenues plummeted and a sort of panic set in. Today, as the industry finally gets a grip on the new digital reality, with revenues on the rise again, confidence is returning. Nevertheless, if you are offered such a deal it won’t look anything like the one that 16-year-old Ms Bush signed. Instead, the financial investment in you is likely to be minimal. You will probably end up making only four or five tracks and, at best, you will be second-guessed every step of the way. At worst you will be pushed in directions you don’t want to go. The development route isn’t one we’d recommend. If you’re a promising songwriter, then a publishing deal (we call it the Creative deal in Chapter 9) is likely to be a better long-term bet. In any event, you should already have the resources needed to record yourself - a DAW and some plugins. If you do, exercise some patience. Forget about a label developing you – and potentially taking you somewhere you don’t want to go. Instead, develop yourself. Between recording your own songs and playing live you will develop to the point that a development deal won’t be necessary. If you don’t have the patience to wait and put the work in then you’re not taking yourself seriously. In which case, why should anyone else? Prepared exclusively for [email protected] # Attack Mag 16980. © All rights reserved.THE BUSINESS OF MUSIC CHAPTER 8 THE RECORD DEALTHE BUSINESS OF MUSIC189 DIRECT SIGNING The most common kind of record deal is a contract between you and a label for a fixed term. This fixed ‘term’ (legal speak for time period) is typically anything from one year to five, with the label able to ‘pick up’ (renew) the contract year by year for longer if they deem it in their interests. Any contract with a term beyond five years would be deemed so much in the label’s favour (who knows where you’ll be in your career by then?) that it shouldn’t be signed. During the term of the contract you will be expected to work exclusively for the label (see Exclusivity and delivery: What’s expected of you, below) – meaning you can record songs for no other label without directly breaking the terms of the agreement. With a direct signing deal, the label owns all recordings you make during the term of your contract for the life of the recording’s copyright (see Copyright explained, later in this chapter). Artist royalties are fairer today than they’ve ever been. Old timers would have given a limb for 15%, but 20% today would be more typical. The best managers can get you more because they have the power to get you the best tours – indeed the best of everything. The exact rate will depend on a host of factors: the strength of you or your manager’s negotiating skills; your/their ability to convince the label of your potential; how strong your live following is; and how large and engaged your social media following is. Now, admit it: you’re already calculating how many download tracks you need to sell at 20% of 99 cents to make your first million. But, as we explain in Chapter 2 - How music makes money for you, nothing in the music industry is as simple as it seems. Record companies have spent decades perfecting the dubious arts of ‘deductions’ and ‘exceptions’ – almost all of which are taken from an artist’s income before their royalty is calculated. Prepared exclusively for [email protected] # Attack Mag 16980. © All rights reserved.THE BUSINESS OF MUSIC CHAPTER 8 THE RECORD DEALTHE BUSINESS OF MUSIC190 Now, with the caveat that downloading is on the way out, downloads are a good example of how things work. Firstly, the royalty you get will not be based on retail price (the $9.99 that your album download retails at), or even on the retailer price (the $6.99 that iTunes pays out), but on a price you can’t easily calculate because all sorts of ‘deductibles’ will have been applied to it, including, typically: - all recording and production costs - half of video production costs - half of the promotion and marketing budget - 10-15% of packaging costs (remember that even though we’re in the digital age, almost half of sales were still in physical formats in 2014). All of these deductions (legitimate or allowable expenses) will be outlined in the contract you sign. On top of all that, in the hard copy market, there will be ‘returns’ (a level of copies dealers are allowed to return unsold) and free copies (for review, radio stations and other promotional copies). Finally, don’t forget about your advance. Even after the above deductions have been taken from your income, you won’t be entitled to any royalty payout until your advance has been fully recouped (earned back by the label). As we said in Chapter 2: don’t expect to see money from record sales any time soon. The main disadvantage of direct signing is that when the contract ends and you move to another label, all of your recordings made in the terms of your previous contract stay under ownership of the original label. Which is why there is a third option – the licensing deal.CHOOSING THE RIGHT DEAL: DON’T SWEAT IT ALONE Too many musicians worry about the intricacies of a record deal when their focus should be on the things that got them noticed by A&R execs in the first place: their music and brand. Yes – it’s good to know this stuff, but don’t get too bogged down in it. As and when a deal comes along your manager and lawyer should be the ones negotiating its points. A good manager will talk it through with you, allowing you to make a fully informed decision over the best route for you. That’s not to say you shouldn’t read everything put in front of you to sign. You should take particular interest in the rate of royalty, the term of the contract, and the ways your label will be able to recoup money from music sales – the key clauses in most contracts. At the same time, don’t sweat over every clause and sub clause. As we note in Chapter 7 - Your team, in the final analysis, your deal is about relationships. If they are good, you – and the label – will be happy. If they break down, no contract is likely to heal the rift. Prepared exclusively for [email protected] # Attack Mag 16980. © All rights reserved.THE BUSINESS OF MUSIC CHAPTER 8 THE RECORD DEALTHE BUSINESS OF MUSIC191 EXCLUSIVITY AND DELIVERY: WHAT’S EXPECTED OF YOU When you sign a record, publishing or merchandising deal, the first thing usually demanded of you is exclusivity – ie, you can’t go signing deals with anyone else. A standard clause in most contracts states that you warrant (guarantee) that you are in a position to sign the contract. Which means if you’ve already signed an exclusive contract with company A, then your warranty to company B – if you decided to try and pull a fast one – would be not only invalid, but also fraudulent. A contract will also contain a ‘delivery’ period, a period of time – typically six to 12 months – in which you are expected to deliver your first single, EP or album. (A label doesn’t want to be sitting around indefinitely while you polish your supposed No. 1 record.) The contract will also often give the label the right to ask you for further recordings within the time period covered by the contract.These rights are called ‘options’, so named because the label isn’t guaranteeing to finance three albums within, say, the five years of your contract period – but they have the option to do so if they wish. The contract will be broken into ‘periods’. Your first recordings will be delivered during period one. If they are happy, the label can then ‘pick up’ (exercise their right to) period two in which they expect further recordings from you. Note that this is not a two-way street. The label has the right to exercise options until the end of the whole contract period. The artist, on the other hand, has no option to exercise – i.e. you can’t demand that they release another of your albums. This might seem unfair until you remember that the label is spending their money. By the time you’ve made your first album and accompanying videos, the label might be £500k in the red for you – with no sales to show. Their right to future options negates some of that risk.THE LICENSING DEAL The major difference between a licensing and direct signing deal is that, after a term specified in the contract, you get the rights back to your recordings. This could be five years, it could be 12 or it could be 13 (the normal end of any contract). In reality, it will be somewhere in between – most likely seven years. The term is something for you and the record company to negotiate. They want to see their investment back; you want to get the rights back while they still have some value. For the privilege of this freedom you might expect less of an advance and/or a reduced royalty. You can negotiate one against the other – reduced advance against a bigger royalty, for instance. Prepared exclusively for [email protected] # Attack Mag 16980. © All rights reserved.THE BUSINESS OF MUSIC CHAPTER 8 THE RECORD DEALTHE BUSINESS OF MUSIC192 In all other respects the deal will be similar to a direct signing – all the same deductions, free copies, recording costs et al. The exception to this would be where you have financed your recordings externally and are bringing a finished product to the label. If the label loves you and really wants to release your recordings, you are in a strong negotiating position. The down side is that, not having much invested, the record company might not prioritise such a deal. As the artist, you have to be confident your music has a long life – possibly with potential for film or TV soundtrack licensing. WHY THE %&$ ISN’T MY ROYAL TY SHARE BIGGER? As you digest the intricacies of your record deal and realise how hard it is to earn from record sales, you’d be entitled to ask what’s the label doing to earn its share of my cash? So here’s some of what the record company will (or should) do for you: - pay you an advance (if negotiated), to help with your living costs while they work on breaking your record, - pay for recording sessions, - pay any advance (or fee) required to your chosen producer, - stump up for PR, promotion and marketing, - fund the shooting and editing of promotional videos, including director costs, - design and print sleeves, covers, inserts etc for your CDs (and vinyl, if applicable), - manufacture, press and distribute hard copies (CDs etc) of your music to high street record stores, - in part, at least, support you on tour, - extend the risk and spend into international markets in the hope of having success in other countries (territories),- license your track/s onto compilations (for 360 deals that include publishing). Basically, they’re forking out a lot of cash on a lot of things. And even if – after a major hit and a top 10 album – you start paying back these costs from your advance, the fact is that even investing in a minor-league artist can result in tens of thousands of dollars being risked. What’s more, at any one time, a record label is taking this same risk with multiple hopefuls – adding up to hundreds, often millions, of dollars. We’re not apologists for the far-from- perfect record industry. But when cursing the apparent one-sidedness of the average record deal, bear in mind the risk the label has of losing its investment. It is so high – and the success rate so low – that they need to make significant sums from their rare successes in order to keep moving forwards. The acts that make it big are the bankers, not only covering the costs of other acts who don’t make it, but also paying the salaries of everyone you need at the label to generate a similar success for you. Prepared exclusively for [email protected] # Attack Mag 16980. © All rights reserved.THE BUSINESS OF MUSIC CHAPTER 8 THE RECORD DEALTHE BUSINESS OF MUSIC193 THE 360 DEAL The so-called ‘360’ deal was the shiny new future of the record industry a decade back. The shine has come off it a little, and it hasn’t taken hold as predicted. But it’s still worth being aware of. So what is the 360 deal? A circle is 360 degrees. Take a piece of paper and draw a circle with you at the centre, then write around the circle all the various types of income you expect to derive from making music – see diagram, right. That is the 360 deal. (We’ve kept our diagram simple. It’s improbably unlikely that the pie would divide equally.) In a nutshell, you sign a contract with an organisation – it could be a record company, it could be a marketing company, it could even be a corporation with interests in concert venues and broadcasting. They then own you lock, stock and barrel: recording, publishing, merchandise, licensing, touring, and much else besides, for a period of time dictated by the term. In return you can expect to see between 60% and 90% of net income – the bigger your name as an artist, the bigger percentage you will be able to negotiate. This type of deal emerged from fresh thinking in light of the dive in revenue from music sales. Record companies were asking: “Why should we invest our money in building an artist and then not share in the revenue from touring, merchandise and sync deals?” How justifiable you think this is depends on your view of how record companies invest their money. The legal specifics of a 360 deal are similar to any other record deal. It’s just that here your recording royalties, income from merchandising, income from touring, and income from licensing are all channelled through the company with whom you have signed. (Under a 360 deal electronic musicians and/or DJs would expect DJ booking income to contribute to the pie.) In return for taking a slice of your 360, an organisation contracts to support you financially and with all expertise at their disposal to maximise all aspects of your career.SONGWRITING GIGS & TOURING MERCHANDISE SPONSORSHIP MUSIC SALES LICENCING (SYNC DEALS)PERSONAL APPEARANCESANYTHING ELSE Prepared exclusively for [email protected] # Attack Mag 16980. © All rights reserved.THE BUSINESS OF MUSIC CHAPTER 8 THE RECORD DEALTHE BUSINESS OF MUSIC194 A true 360 deal will take a share of your songwriting/publishing income. Note that you should approach this particular part of the deal with care; you can lose out big-time if you sign publishing to a company that doesn’t have a fully-fledged music publishing operation. If they don’t – and you can exclude your publishing from the deal – then you get a so-called ‘270’ deal. ADVANCES: MONEY BEFORE YOU’VE EARNED IT An advance is what it says on the tin – a payment in advance on earnings you are expected to make in the future. The advance is paid down - recouped in legal speak – when those future earnings begin to materialise, and before you see another penny. There are three main entities that might pay you an advance: - your record label - your publisher - your merchandise licensor. Advances are usually paid out when you sign a contract. They are made both as a sign of commitment from the label/ publisher/merchandiser and to help you make ends meet while you wait for the cash to roll in from your hit album/song/lifesize figurine line.So if your merch licensor advances you £10,000 against merchandise sold during a 20 gig tour, you won’t see any cash from them until they’ve made at least £10,000 that would otherwise be due to you. The golden rule of the advance is: don’t blow it on wine, women (or men) and song. The advance is what you have to live on until the money earned from sales starts to materialise. Also, understand this from the beginning: as well as the advance you might get on signing, a record label is likely to consider the cost of recording your album and at least half the cost of filming your promotional videos (and any other expenses identified in your contract) to be further ‘loans’. They will take back these costs from your share of royalties before paying you a cent. Prepared exclusively for [email protected] # Attack Mag 16980. © All rights reserved.THE BUSINESS OF MUSIC CHAPTER 8 THE RECORD DEALTHE BUSINESS OF MUSIC195 SIGNING WITH AN INDIE LABEL A deal with an independent label doesn’t look that different on paper to a deal with a major – bar two significant practical differences. Firstly, indie labels have a lot less money to spend. So where a major label might spend up to $1m on a new artist’s recording, marketing, promotion and tour support, with an indie you’d be lucky to find the budget is one fifth of that. Secondly, you can almost certainly wave goodbye to the idea of an advance that will keep you in smoothies for the next two years. An indie label advance will be mostly for recording costs – and it’s unlikely to be a large budget for glamorous studios. More likely it will provide just enough juice to cover recording at the label’s in-house facilities. One indie-released album (we can’t name the artists, sorry) spent nearly three months in the UK top 20 in 2014, peaking at number three, and was made on a budget of £22,000. It was certified Gold the following year. Another big name artist, whose hit days are long behind her, released an album in 2013 made entirely in the producer’s shed for a cost of around £15,000. The xx, meanwhile, recorded their debut, platinum-certified self-titled album at XL’s in-house XL Studios – a small but vibrant space created by engineer Roadaigh McDonald in a disused garage alongside the label’s West London offices. All of this might make it seem like we’re pitching you not to sign with an indie. Far from it; the right indie for the right artist can work wonders. Robert Wyatt credits his career revival with the right pairing of his talent with the indie Rough Trade. Bonobo is hardly a household name, but 20 years into his career he has been with only two labels, one of them being Ninja Tune. The fact that Bonobo hasn’t chosen to move to a major suggests his label’s doing something right. Bonobo and Amon Tobin – a Ninja Tune stable mate – would almost certainly have struggled with a major label. And the major label would have Prepared exclusively for [email protected] # Attack Mag 16980. © All rights reserved.THE BUSINESS OF MUSIC CHAPTER 8 THE RECORD DEALTHE BUSINESS OF MUSIC196 COPYRIGHT RECAP Before going further in this chapter it’s worth thinking back to Chapter 2 to recap briefly how copyright and royalties work. Copyright is a legal framework that protects, in law, the works of creative artists. The concept is easy enough, but there are various kinds of copyright, each of which impacts on different people. First the basic stuff. If you write a song and record it (and you have no publishing deal or record deal) you are the copyright owner in both the song and recording. You own everything 100% and receive 100% of income derived from sales of that song. (Although no cash will find its way to you if you haven’t registered your work with your local collection agency – see Chapter 2). By signing a publishing deal, you assign a portion of the copyright to your music publisher (in Chapter 9, we explain why you would do that). By signing a record deal, you relinquish copyright in the recordings of songs you’ve recorded during the term of the agreement. In this situation copyright in the recording is owned by your record label. Which means they can exploit the recording for as long as their copyright remains – see below. Copyright in your performance on the recording belongs to you (see Chapter 2). Copyright in the song belongs to 1. the writer(s) of the song, and 2. the music publisher to whom you have assigned the song (which can be you, if you are self-publishing). What does this mean in terms of payments? As the performer on the record (whether you’re a solo artist or a band) income from the recording (sales of CDs, downloads, income from streaming) entitles you to to payment by the record company at the royalty rates agreed in your contract. Also, as the performer, in some countries (a notable exception is the US) radio plays and public broadcasts of the recording entitle you to performance copyright fees, which are paid in the UK by PPL (Chapter 2). Public broadcasts include radio, TV, restaurants, offices and other public places. As the songwriter, your share of sales of the recording income will be paid by your music publisher. Also as songwriter, half of your share of income from public broadcasting will be paid by PRS (in the UK). The other half is paid to your music publisher, which pays you the remaining amount as laid out in your contract. Different countries approach this differently. Note that copyright doesn’t last forever and is territory dependent. In the UK and the European Union, copyright in the recording is in effect for 70 years after its first release or public broadcast. After that, it goes into what is called Public Domain – which means it can be used by anyone with no fear of prosecution. In America, all recordings – however old – if still in copyright today, appear to be protected until 2067. If you still have an interest in sampling a song signed to a US label your best bet is to talk first to a lawyer, or, if you have a publishing deal, let the publishing company deal with obtaining permission. In the UK and the European Union copyright in the song is in effect for 70 years after the death of the writer. After that, the song also goes into Public Domain. In America the situation is similar, but not as clear cut. In reality, the term may be extended in America if someone still living can show that they own the copyright. Prepared exclusively for [email protected] # Attack Mag 16980. © All rights reserved.THE BUSINESS OF MUSIC CHAPTER 8 THE RECORD DEALTHE BUSINESS OF MUSIC197 struggled with them, no question. Yet here they still are, making music they want to make, making music their fans adore – and with none of the major- label pressure to keep selling and touring more, more, more.... Which is not to say indies can’t hit big. Adele was signed to XL in 2006. XL’s Nick Huggett had recommended her to Jonathan Dickins of September Management, who became her manager. Adele then signed to XL for recording. XL was savvy enough to understand that it didn’t have the resources to break an artist worldwide, so it made a deal with juggernaut American Columbia to represent her in other territories. Consequently, Adele’s career launched with much bigger resources than XL could have mustered on its own, and the UK indie label which put its faith in her reaped the benefit with a ten-fold increase in profits. So it doesn’t have to be about Universal, Sony and Warners. Daniel Miller, founder of Mute Records, sums up what it means to be an indie: “To be independent just means being able to make your own decisions about music based on your feeling about music rather than for purely commercial reasons. It’s about the artist being much closer to the label, more collaborative, rather than ‘them and us’, which is common with bigger labels.” At the end of the day, picking the right label for you as an artist is about the best fit. If your goal is the No. 1 spot, a worldwide fanbase and mega-riches, then the majors hold the cards. But if you want the kind of career typified by the likes of Bonobo, with more artistic freedom and less pressure to conform and deliver, then the indie route is likely to be the best. The good news is that there’s room for both. Prepared exclusively for [email protected] # Attack Mag 16980. © All rights reserved.THE BUSINESS OF MUSIC CHAPTER 8 THE RECORD DEALTHE BUSINESS OF MUSIC198 LANDING A DEAL SENDING LINKS AND DEMOS Landing a record deal at the early stage in a musician’s career, either with a major or an indie, will involve impressing an industry exec – a manager, a publisher, an A&R person. And for that you need to have music available for them to listen to. The best ways to achieve this are to have your tracks up on SoundCloud and at least a rudimentary accompanying video on your own YouTube channel. A well shot video, by a friend who is looking to get into film and has the right equipment, is even better. If your music falls into the pop mainstream – think Taylor Swift, Bruno Mars, Dua Lipa – you are more likely to be looking for a major label deal. In which case (as we say repeatedly!) first, find a manager. If your music falls outside the pop mainstream – if you make dance, hip- hop, rock, indie and so on – you will inevitably be much more directly involved in developing your own career, certainly at the beginning – and you’ll more likely be approaching labels yourself. Landing a record deal at this early stage, either with a major or an indie, will involve impressing an A&R exec with your music (and brand and social media). There are three main ways you’ll be able to do this: 1: by being spotted at a gig / open mic night 2: by having your music played on (specialist) radio 3: or by getting a demo listened to. It’s tempting to think that in the digital age, the days of the humble demo are over. But nothing could be further from the truth. If anything, with the deluge of mediocre music out there, the right package sent to the right person can be more effective than any amount of online hustling. When sending out demos there’s a list of critical do’s and don’ts you need to be aware of. Ignore them at your peril! DO ensure your music is the best it can be. The number one reason demos Prepared exclusively for [email protected] # Attack Mag 16980. © All rights reserved.THE BUSINESS OF MUSIC CHAPTER 8 THE RECORD DEALTHE BUSINESS OF MUSIC199 get rejected is that the music is not good enough. Anthony Mansour, CEO of Blue Label Records told dottedmusic: “We are noticing a massive lack of quality. Most tracks are built on bought templates, sample CDs, construction kits and Sylenth presets. Additionally the tracks are mixed badly.” Poor instrumental playing, a bad song, shoddy lyrics, a weak mix, a poor master... all of these will land you in the reject pile. Jeannette Lee, partner at indie label Rough Trade says there is one quality that trumps all when signing new bands: “The music doesn’t have to fit into a category, the only category is: it’s great.” DON’T send more than three tracks. Asked for his tips on submitting music, serial hit-maker Max Martin is unequivocal: keep the package size down. Which means no more than three tracks, each of which should be no longer than three minutes in length. “This to make it as easy as possible for the listener,” he notes. “If they like the song they will contact you anyway.” DO make sure the labels you approach are a precise fit for what you do. Jamie Russell of Hypercolour notes: “I’m aware some people’s understanding of music is not really chin stroker-y, but some of the stuff I get sent is outrageous. It’s as if they haven’t even checked what we do... I can tell when someone really likes the label and listens to all we do versus someone who’s just checked one or two tracks.” DO get the right person. There’s no point in sending your brilliant demo to the label’s head of finance. You want A&R (in a big label) or the label boss (in a smaller one). In a really big label you want the A&R of the sub-label, or whoever looks after the genre that you’re making music in. Getting the right person does two things: it raises your chance of getting your music heard by about 90%; and it shows the label that you’ve got both initiative and enough interest in them to go the extra mile – in short, that you might be a good fit. Usually a couple of polite phone calls (phone is always more effective than email) will be enough to get a name and email address. In addition, many labels offer detailed online instructions for submitting demos, including email addresses of A&R execs and/or widgets to get your demo to the right person. One Little Indian Records’ Demo submission page at www.indian.co.uk/pages/submit-your-demo is typical. Prepared exclusively for [email protected] # Attack Mag 16980. © All rights reserved.THE BUSINESS OF MUSIC CHAPTER 8 THE RECORD DEALTHE BUSINESS OF MUSIC200 DO make sure your contact details are obvious. Whether you’re sending out CDs or online-linked mp3s, make sure your artist name and name / email address / phone number are anywhere and everywhere, including in meta data fields. Why would you risk a busy A&R liking your track but not being able to contact you? DON’T make it obvious to those you contact that you are approaching all their competitors (by CCing 200 label A&Rs on a mailout for example). Firstly, it’s bad manners; secondly, it’s likely to fall foul of local data protection laws; and thirdly it sends a signal that you don’t really care who signs you. Hypercolour’s Jamie Russell again: “Labels like to feel special. If we see something we like it’s easy to go off it if you see it’s been sent to ten other labels as well, because no one really wants to get into a bidding war at this independent level.” Instead start by making exclusive contact with your top choice, then do the same with the next three or four on your list. After that, by all means send a blanket email – but do it in a way that they don’t all know (which is to say BCC). WHICH LABEL IS RIGHT FOR ME? The best record deal is one where the artist and label ‘fit’. So how do you ensure that fit is right? It really shouldn’t be that tough a question to answer. As someone with a passionate interest in your scene you should have a working knowledge of the key labels, the artists they’ve signed and the kind of ethos that drives them. (If you haven’t got a clue then it really is time to start taking more of an interest – having even rudimentay knowledge at this stage could make or break your career. A good starting point is Discogs, which notes the label a particular band was signed to for each recording). The first step is to look at which labels your heroes are on – the people whose music and success have inspired you. Those labels instantly go to the top of your list. But it pays to look deeper. If, after three albums, one of your heroes switches labels, go online and find interviews or news stories that explain the move. Maybe their first label was fantastic and did everything they were capable of for the critical first three albums. But then your heroes wanted to go to the next level, and that needed a more powerful label. So your heroes and their first label parted company amicably, both wishing each other the best. Or maybe you find out that the first label made your heroes unhappy – unduly pushing them in artistic directions that they weren’t signed for in the first place. In which case, scrub that. They’ve done it once; they’ll do it again. Never before in human history has so much information been made available to us, for free, than in today’s online world. Make use of it. It could build – or save – your career. Prepared exclusively for [email protected] # Attack Mag 16980. © All rights reserved.THE BUSINESS OF MUSIC CHAPTER 8 THE RECORD DEALTHE BUSINESS OF MUSIC201 DON’T attach mp3s to your email. Put yourself in the position of a small label receiving up to 50 submissions a day. That would be almost a gigabyte’s worth of files queuing up. How thrilled would you be if some asshole crashed your email with uninvited files? “The biggest no-no for me is mp3s attached to emails,” confirms Andy Daniell, A&R Manager at Defected. “They clog up your inbox and crash your email.” Instead of an mp3, send URL links to your tracks. If they’re on SoundCloud, with only a few dozen listens, create a private link. But if you’ve got thousands of listens and hundreds of likes, give them open access. They like big numbers as much as the next person. Quality control! Ensure the track you want to be listened to is of a high enough quality to ensure a good listening experience. mp3s should be encoded at no lower than 192 kb/s. You will hear back if they like your track. If you don’t hear back, they’re not interested. In which case they are certainly not inviting you to pester them for feedback. It’s no-one’s job to wet-nurse your songs or mixes. Forget all the above if you don’t have a fully formed online presence – everything we’ve talked about: website, EPK, gig listings, Facebook, SoundCloud and at least one video on YouTube. If the label likes your track their next step will be to seek you out on Facebook and Twitter, maybe find a YouTube video or two. If they find no trace of you online, unless your music is astounding they’ll move onto the next in their pile. Take note of insights from industry kingpin Lyor Cohen – the ex-Island Def Jam president who became the first record exec to license content to YouTube, where he is now Global Head of Music. Under his guidance, his previous company, 300 Entertainment, developed a secret algorithm, co-ordinating a range of online stats to discover – and then sign – the next big thing. Stats that influence a decision include Facebook likes, Instagram followers, Twitter presence, Google ranking and YouTube views. Questioned about how Polydor Records decided on acts to sign, president Ben Mortimer told the BBC: “Before when we used to sign people, it would be on a demo and a gut feeling, but now you’ve got so much more information. Often bands have a bit of a fanbase already, or you can see how well their tracks are doing online... The balance is going a bit on that gut feeling, but using a touch of the stats.” Prepared exclusively for [email protected] # Attack Mag 16980. © All rights reserved.THE BUSINESS OF MUSIC CHAPTER 8 THE RECORD DEALTHE BUSINESS OF MUSIC202 If you take the more direct approach of sending your demo by post make sure it’s professionally presented and sent to the right person. If your market specialises in vinyl, can you afford to have some vinyl pressed? Properly done, it’s likely to get you more attention than thousands of effortlessly sent links. It’s not cheap, but if you believe in your track you’ll also have 2–300 nicely pressed and packaged copies to sell at gigs. Make it different. “Being creative about how you present yourself is key,” notes Thomas Von Party, A&R at Canadian imprint Turbo Recordings. This is far easier if you’re sending a CD as you can include bespoke artwork and maybe a freebie or two. Notes Defected’s Andy Daniell: “Every now and then something will get posted to the office and someone will have made quite a bit of effort... If someone’s made that level of effort to send it in, I’ll make the effort to reply to them.” Take the knock-backs... When you don’t hear back from anyone, it’s easy to feel like: a) you’re being ignored; and b) that people don’t like your music. Both may be true. So do it better, and don’t lose heart. Labels are generally happy to receive new submissions from artists they’ve previously ignored – just don’t send the same track twice hoping for a different outcome second time round. And – reiterating some of the points above – don’t pester. Sending a new track every day is going to annoy the recipient, while one every other month is fine. In short, use some common sense. Put yourself in the overworked A&R’s shoes and think how you’d like to receive demos. ...But keep at it. Many artists send out dozens, sometimes hundreds, of demos before they get a deal. Take heart from that fact and keep raising your game. Write and record better tracks. Build your brand and following. Keep doing this until positive responses start dripping into your inbox. And when they do it’s often sod’s law that after months or even years of being ignored you suddenly find two or more interested parties. At which point you’ve got options – and the deal is in sight. Finally, never forget that getting signed is a two-way street. To the artist it can feel as if they are one of millions of desperate wannabes shouting: “Look at me, look at me!” at a single overworked A&R exec. The truth is that the desire to discover is every bit as strong the other side of the fence. As Lyor Cohen said of his days at Def Jam and Entertainment 300: “I would wake up every morning, and the singular thought in my head was that maybe today would be the day that I find an artist who is so amazing, an Prepared exclusively for [email protected] # Attack Mag 16980. © All rights reserved.THE BUSINESS OF MUSIC CHAPTER 8 THE RECORD DEALTHE BUSINESS OF MUSIC203 artist who would change pop culture. I was in hot pursuit, always.” WHAT TO LOOK FOR IN A RECORD DEAL How to describe a good record deal? The truth is that there’s really no way to know going in – it’s hindsight that decides it. A deal where, five years down the line, you’ve been successful and have a healthy bank balance will be a good deal. Exactly the same deal, where you’ve had no success and are broke, will be a bad deal. Some artists – no matter how successful – are never satisfied. Mick Hucknall was surprised to discover when the original Simply Red contract came to an end that he didn’t own ‘his’ masters. His hindsight opinion of the contract he signed was that it was ‘immoral’. In the early ’90s, Prince - one of the most pampered artists in history, allowed an unprecedented amount of artistic control – changed his name to an unpronounceable symbol. He then drew the word SLAVE on his cheek in protest at Warner’s unwillingness to release the tsunami of material he was producing. Warners preferred to release only the material it had time and resources to market and promote. Both Hucknall and Prince – like other superstar musicians peppered through history – felt aggrieved by the actions of their labels. The labels, arguably, were doing exactly what they should have been doing, and undoubtedly played a major part in each artist’s success. Which makes it almost impossible to say what is a good deal. On your side, it will be specific to you, your ambitions and your music – all of which are likely to change over time. On their side it will depend on myriad factors outside of your control: personnel, budgets, where you lie in their roster pecking order and on and on…A CONTRACT SIGNED UNDER DURESS IS STILL A CONTRACT It takes seconds to sign your name; years to undo the damage. So take your time. Do not give in to pressure. Always – always – have your record contract looked over by a lawyer. If you are being put under pressure, that means whoever is applying the pressure is keen to sign you. Which puts you in the driving seat. Never feel you have to read and sign a contract right here, right now. Take it away. Read it into the small hours of the morning. Make notes – things you want explaining, things you think are wrong or unfair. The eventual signing should feel like a ceremony – something to be celebrated. It should not feel like the nervous shufflings of an unfortunate first sexual encounter – something you later regret. Incidentally, if you’re in the UK, it’s worth considering becoming a member of the Musician’s Union. The MU has a service, free to members, that looks over contracts for those members who don’t have the financial resources to pay for a lawyer. Prepared exclusively for [email protected] # Attack Mag 16980. © All rights reserved.THE BUSINESS OF MUSIC CHAPTER 8 THE RECORD DEALTHE BUSINESS OF MUSIC204 It’s easier to say what a bad deal is. Signing up at an absurdly low royalty level for an unreasonably long period of time would definitely qualify as bad. If you’re asked to sign a ten-year deal on 5% royalty, politely decline. Also, you should never sign anything that demands you pay back all monies owed (including the advance) before being allowed to record elsewhere. That qualifies as restraint of trade, and would never stand up in court. But you don’t want to put yourself in a position, ever, where going to court is inevitable. Certain artists have had their careers put on hold for as long as ten years while unscrupulous label owners or managers tried to bully them back into the recording studio. In short, a contract is bad when it disadvantages you in ways that are unusual and onerous. But bad as it is, what’s worse is that you signed it. NEGOTIATION: A QUICK GUIDE So, the big day comes. You, your team, the label representative and their lawyer are sat round a table leafing through the sheets of A4 on which your future depends... It goes without saying that if you’re signing an agreement that involves large amounts of time or money, your manager and lawyer must be by your side. Even then, it’s useful to understand the rules of negotiation, as laid down over many years by many successful people. First and foremost, don’t be desperate. The guiding principal of negotiation, understood by anyone making corporate deals, is: never walk into a room you are not prepared to walk out of without what you came for. Next, even before you walk into that room, give serious thought to what you want, and make notes. Take your notes with you into the room, and refer to them, ticking each item off as it is discussed. It’s easy to lose your train of thought or forget a critical question when sitting across from the charming artist-facing team of a label. Your notes will help keep you on the negotiation track. Prepared exclusively for [email protected] # Attack Mag 16980. © All rights reserved.THE BUSINESS OF MUSIC CHAPTER 8 THE RECORD DEALTHE BUSINESS OF MUSIC205 Watch out for the occasional shark whose tactic will be to try to take the notes out of your hand – “Let me see what’s on your mind; that’ll speed things up.” At that point, you’ve lost control. By being prepared and keeping control, you will be a lot less nervous. Which brings us to: silence is golden. When people get nervous, they talk too much. That’s not a recipe for getting what you want. Instead, say what it is you want, then shut up. Look directly at the person with whom you are negotiating, with an expression that says; “I’ve finished. You can talk now.” You would be amazed how many people put in this situation start negotiating with themselves. They will start out telling you you can’t have what you want, In the silence that you maintain, they will tell you why you can’t have it. Then, as they start to justify themselves, they will hear themselves saying things that just don’t stand up, and before long they’re offering you the thing you came for. However you feel, it’s important not to appear overawed. It may feel like the most important moment in your music career to date, and for sure, a lot depends on the outcome. But it is also, at the same time, no more than a business transaction – for both you and the label: a transaction that doesn’t need to be rushed; that is open to negotiation; and that doesn’t need to be signed right there, right then. If there’s one thing that a few decades in the industry reveals it’s that the vast, vast majority of label people – at all levels – are decent, open and honest. Sure, they may be experienced business people, but it’s highly unlikely they’ll try to fleece you or bully you (if they do, see A contract signed under duress is still a contract, above). They’ll be aiming for the best deal they can for their label (quite rightly), and you will be doing the same for you as an artist (ditto). And as with all business negotiations, somewhere in the middle you will meet. That final contract should reflect a relationship of equals, not of master and servant, and that is the spirit in which negotiations should be conducted. Prepared exclusively for [email protected] # Attack Mag 16980. © All rights reserved.THE BUSINESS OF MUSIC CHAPTER 8 THE RECORD DEALTHE BUSINESS OF MUSIC206 SIMPLE TIPS FOR MAKING MORE MONEY FROM A DEAL The record industry has 100 years head start on you in setting terms. Here are a number of ways you might play them at their own game. - Don’t be swayed purely by what seems like a big advance. By the time you’ve paid your lawyer and manager, and the tax man has come for his cut, even a £300,000 advance will pare down to barely two comfortable years living in London. And you – not your manager or your lawyer – still owe the record company £300,000 from future earnings. Talk it through with your manager. Figure out what will make it worthwhile for you to sign, particularly in the age of streaming.. - When recording, you – not your producer, and not your musicians – are paying for the studios. So don’t get carried away by the ‘iconic Abbey Road’ or the ‘legendary Trident Studios’. - Don’t, also, plump for some cheap but wonderful facility in the middle of nowhere, because then you’ll be paying for everyone’s accommodation, food and drink. Over a prolonged period, you might just as well have booked into Studio One at Abbey Road. - Studios cost a lot of money. If you’re going to spend time with musicians and co-writers, writing and rehearsing, do it in a cheap space. Studios require the attendance of engineers and other people (like your producer) who don’t need to sit in on every rehearsal. The message here is do everything you can to keep costs down, and thus your debt to the label at its lowest possible level.Next, concentrate your manager’s mind on setting terms that make it possible to predict at what point royalties will start coming to you. The vagueness of recording contracts on certain points is such that the recoupment of money owed by you can feel as long as a piece of string – and the cash amount represented by the royalty can be as short as a piece of string. So pin them down. Ask: - How is your advance debt to be paid down? - What would be required for all costs to be covered and for money to start finding its way to you? - Most Importantly: how is streaming accounted for? You want your streaming revenues paid to you at your headline recording royalty rate. If it’s not, ask for an explanation before you sign. Go back and read carefully what we’ve said about streaming in Chapters 1 and 2. Having this kind of knowledge allows you to plan financially. Get your manager (or lawyer) to explain to you, in simple language, what sort of numbers you need to achieve before you earn any more money from your recording deal. Having a firm grasp on projected income is something any businessman would demand. Putting together a brief business plan showing income (and expenses) over, say, a five period is never a bad idea. Your manager or lawyer might even tell you: “Don’t get hung up about it. Publishing (your songwriting) and touring are where you’ll make real money.” For the foreseeable future, that might well be the best way to look at it. Prepared exclusively for [email protected] # Attack Mag 16980. © All rights reserved.THE BUSINESS OF MUSIC CHAPTER 9THE BUSINESS OF MUSIC207 ‘Eventually you get to this point where you understand what you want to do, and get across, and sound like.’ Kendrick Lamar Do I need a publisher for my music? On internet forums, in lecture halls, at industry conferences, it’s one of the most frequently asked questions by artists making music in all genres – mainly because they don’t fully understand what a publisher does. So let’s be clear up-front that in most cases the simple answer is: Yes, you will need a publisher. From that platform we’ll outline why you need a publisher, and – last of all – what it is they actually do. Which is, counter-intuitively, the easiest way of explaining things. WHY YOU NEED A PUBLISHER Let’s say you run a blog. Each week you write a few hundred words, upload a few photos. What then? Without the internet and tools like WordPress, Blogger, Tumblr, Wix or Moonfruit how will anyone see your work of literary genius? The internet is the world’s publisher, and these sites help IN THIS CHAPTER... Why you need a publisher Publishers vs labels Can I self-publish? What a publisher does The adminstration deal The creative deal Publishing under a 360 deal Collaboration Today’s publishing battlegroundTHE PUBLISHING DEAL Prepared exclusively for [email protected] # Attack Mag 16980. © All rights reserved.THE BUSINESS OF MUSIC CHAPTER 9 THE PUBLISHING DEALTHE BUSINESS OF MUSIC208 you get your thoughts in front of millions of potential readers. Before the internet, radio did a not dissimilar job for music – getting it out there, getting it heard by millions. Which is a great place to explain to you why you need a publisher. Throughout the world, broadcasters are licensed to play music. This licence costs money, which is then paid to the collection agency that represents songwriters and composers. (For more on this see Chapter 2 - How music makes money for you.) When your song is played a slice of that money becomes yours, as the writer. But how does the money make its way into your bank account? Each country has its own collection agency/ies. In America, there are ASCAP and BMI (and others); in the UK there is PRS; every country in Europe has at least one, as do many in Asia, Africa, South America and the Middle East. These agencies all have agreements with each other. If you live in Norway, money from around the world will make its way back to Gramo and then from Gramo to your publisher. Without your publisher, you don’t have a chance of locking into this international network. Money due to you will simply not find its way to your bank or your pocket. Some mistakenly think that collecting this cash is the record company’s job. It isn’t. Your record company’s job is to exploit the copyright in your recordings. Your publisher’s job, on the other hand, is to exploit the copyright in your songs. That includes your recordings of your songs. Which means that with a publisher, your recordings get two cracks of the whip – from your record company and your publisher. That’s not all a publisher does. Because their job is to make as much money as they can from your songs, they will try to find other artists to record them (cover versions) and will work hard to place them in TV shows, films, or commercials (sync licensing). Prepared exclusively for [email protected] # Attack Mag 16980. © All rights reserved.THE BUSINESS OF MUSIC CHAPTER 9 THE PUBLISHING DEALTHE BUSINESS OF MUSIC209 Even so, the majority of your money as a writer is likely to come from radio play and other public broadcasts (the music you hear in cafes, shops, offices and so on). It will also come from live performance of your songs – whether by you or by artists who are covering your songs. When you are touring, for instance, you are entitled to payment for in-concert live performance of your own music. And bars and clubs pay out millions each year for music their in-house DJs play. Collection of this money is dependent on more than 100 years of publishing experience, international network building and the passing of complex international copyright laws. This is one system you cannot buck. If you try to, it is likely to cost you dear. PUBLISHERS VS LABELS: WHO DOES WHAT Here’s the major difference between the functions of your label and your publisher: your record label’s job is to exploit you as a recording artist; your music publisher’s job is to exploit you as a songwriter. Your recording label is interested only in the recordings you make for them. For your publisher, the song’s the thing – both your original version and any covers of it. Of course, a publisher wants to help get your original records heard, because those are their songs (25%) as well as yours (75%). But they will also try to find other artists to record them because that means extra revenue for you and them. And here’s where that can really work to your advantage. When, say, ten people have recorded your song, there are ten more opportunities for sync licensing. Because, while programme and commercials producers might not want to pay the high price of placing your enormous hit record in their show, they might choose to go for the same song by someone else at a lower price. Bear this in mind: you may have a recording career. It may last two or three years, it may last 20. Or you may have none at all. But a good songwriter is a good songwriter. If the world wants your songs, but not your singing, you can have a long and lucrative career in the music industry. All the fun, all the rewards, and none of the fame or paparazzi. Doesn’t sound bad, does it? So don’t underestimate the importance of your publisher. Your relationship with them could still be going strong years after your recording label drops you. Prepared exclusively for [email protected] # Attack Mag 16980. © All rights reserved.THE BUSINESS OF MUSIC CHAPTER 9 THE PUBLISHING DEALTHE BUSINESS OF MUSIC210 CAN I SELF PUBLISH? In the same way that you can self-release, you can self- publish. And in some genres – most notably hip hop and dance – artists are able to start their careers without thinking too much about publishing. We explained in Chapter 2 - How music makes money for you why you, as a songwriter, should join your local collection agency. We explained how to do it, and how songwriting royalties will start flowing from live gigs and radio play. By signing up with your local collection agency you are able to receive publishing income. But at some point every artist is likely to need a publisher. When your career starts building, the amount of time and energy required to manage the publishing side of your business is likely to become at worst onerous, at best impossible. Yes, you could be writing music in the morning, marketing it in the afternoon, touring it in the evening and keeping on top of radio playlists and third party licenses during the night. But you’d never sleep. And even if you somehow managed to squeeze 48 hours of administrative work into 24, you’d very soon start falling behind on the numerous tasks required to keep on top of your publishing: registering tracks in scores of countries; monitoring usage (there are 15,000 radio stations in America alone); checking royalty statements... For each play you fail to register, monitor or collect, you’d be losing cash. See what we’re saying? Administering your publishing in just your home territory might be do-able. But when your career shifts up a gear and you start getting radio plays overseas, then the work is multiplied thousands of times over.HOW DO I GET MY SONGS HEARD? In Chapter 8 we discuss how to send demos to record companies. Most of the same advice applies to music publishers. Almost all publishers are on the lookout for talent, and bigger operations have dedicated A&R departments. They are as keen to find and develop new talent as any label is. And because it’s cheaper for them to do so, they can often afford to take more chances. The main difference between publishers and labels is that publishers don’t require you to be a live performer to be interested in your songs. Also, a decent piano/ voice or guitar/voice demo will give a good publisher enough to chew on. They can instinctively hear which artist the songs might be good for (if you are not recording them yourself) without the hindrance of a major production sheen. For demo submisison etiquette, read back over Chapter 8. As for social media, you’d still want to put up simple YouTube videos, and upload to SoundCloud. But the hard slog of Facebook and Instagram can probably be avoided. Prepared exclusively for [email protected] # Attack Mag 16980. © All rights reserved.THE BUSINESS OF MUSIC CHAPTER 9 THE PUBLISHING DEALTHE BUSINESS OF MUSIC211 And once you’ve been through the process of joining your own local collection agency, you will understand that this is not a process you want to repeat 30, 40 , 50 times over, in Norwegian, or Japanese, or German, or Spanish, or French…. If it’s not yet obvious, let’s be clear: keeping on top of royalties across multiple territories with multiple media outlets is a big, tiresome, specialist job. The artist is not the person to take on this role. The people who take on this role are collection agencies and music publishers. It’s what they do. And it is through their global network, that has taken over a century to develop, that the artist is best served. WHAT A PUBLISHER DOES Let’s recap and summarise what a publisher does. A music publisher develops, protects and financially exploits songs. Specifically it: 1: Collects songwriting royalties from sales and streams of music 2: Administers royalties from radio play and public use of music 3: Registers songs all around the globe so that the songwriter earns money wherever their songs are sold/ played/streamed 4: Finds opportunities for music to be used in films, TV shows and commercials 5: ...And will also develop an artist’s songwriting talents and help manage co-writing opportunities. A typical publishing deal will fall into one of two categories; the administration deal or the more usual ‘creative’ deal.PUBLISHING: THE LONG- TERM EARNER If you’ve had a good run of radio plays and maybe a sync or two overseas, don’t expect to see the cash instantly. Most collection companies pay out quarterly. And they pay out only when they’ve received fees from their licensees. Then you have to factor in the delay between one agency receiving money and passing it on to another. Given all this, and the complex data models that govern usage calculations, you can expect to wait several months to see cash for radio play. If your usage is overseas the delay is compounded with overseas territories either feeding their data to your local agency or to your publisher. In some circumstances you could wait as long as three years to receive full payment for a long-running ad slot. As such publishing is a long- term earner. Years after your recording career has hit the skids, your old hits will continue to earn money from radio and other public performance – providing a handy nest egg for Life After Music. Prepared exclusively for [email protected] # Attack Mag 16980. © All rights reserved.THE BUSINESS OF MUSIC CHAPTER 9 THE PUBLISHING DEALTHE BUSINESS OF MUSIC212 THE ADMINISTRATION DEAL This is the purely technical end of publishing. Don’t expect an advance, and don’t expect investment or nurturing. Under an administration deal you will sign away between 10–15% of your songwriting royalties. In return, all the laborious technical tasks outlined above will be taken care of – registration of your songs around the world, double-checking that registration has been processed, collection of royalties due from every source, tracking of usage, scrutiny of cue sheets, legal compliance... But there won’t be any creative input. The administration deal is about registering and collecting, registering and collecting, ad nauseum... It would be highly unusual – foolhardy in fact – for a new writer to enter into this kind of an deal. The most likely candidate for this deal would be an established writer whose future earnings can be relatively accurately predicted (a Bruce Springsteen or Paul Simon, for instance). High-profile artists like these, whose glory days are behind them, would be able to negotiate an administration deal nearer a 90/10 split. The publisher knows there are millions of dollars a year to be collected, and 10% of millions is a decent return for taking care of the purely technical side of the business. THE CREATIVE DEAL The second, and more regular, publishing deal isn’t generally referred to as a ‘creative’ deal, but it’s the best way for us to set it apart from the administration deal. In reality it’s just a classic publishing deal. Under this agreement, you will give away 25% of ownership in your songs. In return you get everything described in the admin deal plus a good deal more. You might, for instance, receive an advance to tide you over for a couple of years while you establish your writing credentials. You will also be ‘nurtured’, which is to say if you need it you’ll be given help Prepared exclusively for [email protected] # Attack Mag 16980. © All rights reserved.THE BUSINESS OF MUSIC CHAPTER 9 THE PUBLISHING DEALTHE BUSINESS OF MUSIC213 to develop your songwriting. You will also be encouraged to collaborate. Other writers will feed into your creativity and focus you on becoming the most professional and productive writer you can be. Why does the publisher make all this effort? Because it has a vested financial interest in your songwriting skills, it makes sense for them to help make those songs the best they can be. So they will help nurture your talents, with anything from tuition to collaboration. Occasionally a publisher might even provide an artist with the budget to set up their own entry-level home studio. Whatever they offer you, the publisher will want payback for their support of your songwriting. So they will do everything at their disposal to exploit your catalogue beyond record sales. When your songs are commercially released, the licensing department will kick into action, trying to place songs on TV, in ads or in movie soundtracks. It’s important to note that a good publisher offering a ‘creative deal’ isn’t just a glorified administrator and chaser. They will be working hard to make deals with TV and film companies to place your music in anything from adverts and TV series to games and full-budget Hollywood films – these are the sync deals we talk about at the end of Chapter 2. For those lucky enough to get these kinds of placements, the financial rewards can be significant. For some writers who never make a big breakthrough as an artist, this can be a significant source of income. Have a quick browse of tunefind.com or heardontv.com. These sites list the music used in TV programmes – particularly big American series. You might be surprised to see how few of the songs you know. Or that they are written by artists you’ve likely never heard of. That’s because the programme producers want something that is atmospherically appropriate to a particular scene in their show, but also – crucially – something that is affordable. A publisher might demand in excess of $250,000 for the use of a known song by a major artist. Your song will cost them a fraction of that. Prepared exclusively for [email protected] # Attack Mag 16980. © All rights reserved.THE BUSINESS OF MUSIC CHAPTER 9 THE PUBLISHING DEALTHE BUSINESS OF MUSIC214 But a fraction of $250k is still a lot of money, and if you get the right songs in the right programmes, you are able – as many thousands of songwriters do – to make a very good living out of synced music indeed. If you’re still not convinced over the potential value of this income, spend ten minutes on www.theguardian.com/music/2016/dec/01/artists-made- it-huge-streaming-spotify-apple-music, where musicians most people have never heard of discuss how they earn their living. Each is asked to list their top five sources of income. THE DEALS THEY ARE A CHANGING The two biggest changes in the publishing industry in recent times are: - the move from a standard 50/50 split with the writer to a 75/25 split in the writer’s favour, and - a radical change in the length of time it takes for the writer to regain ownership. The shift from 50/50 began around 30 years ago. Managers and writers started to better understand the value of the song as a long-term asset as opposed to a short-term promotional tool. If you look at interview footage of Lennon and McCartney from 50 years ago, it’s clear they didn’t envisage being around for long – let alone that even their earliest songs would still be earning in the 21st century. Back then it was not unusual for songs to be signed over to the music publisher for the life of copyright – which, as we explained in Chapter 8 - The record deal, is now 70 years after the death of the writer (in the UK). In the intervening period, it became more usual for copyright to revert to the writer after 25 years. But even that has now halved in the UK to a more acceptable 12–13 years. Which means that if you’ve written a few stone-classic songs that are going to be played at weddings and funerals for decades to come, you will regain full ownership of their copyright just as your recording career is petering out. At which point you can think about renegotiating for an administration deal and, perhaps, sign up with a specialist licensing company on a pay- per-play basis. Prepared exclusively for [email protected] # Attack Mag 16980. © All rights reserved.THE BUSINESS OF MUSIC CHAPTER 9 THE PUBLISHING DEALTHE BUSINESS OF MUSIC215 WHAT COMES FIRST , RECORD DEAL OR PUBLISHING DEAL ? It’s the dream of many artists to land a record deal at some point in their careers. But very few artists dream about a publishing deal – even though it is likely to make them more money in the long run. The majority of artists are fixated on signing a record contract. Finding a music publisher barely crosses their minds. Even if publishing is on their radar, the reasoning is that a record deal gives you the muscle to negotiate a better publishing deal. And if you’re a musician but not a songwriter the record deal is certainly the one that matters. Whereas, if you are purely a songwriter, with no intention of playing live or forming a band, then a publishing deal will be your sole aim. But even if you’re a writer-performer whose eyes are set on a record deal, there are good reasons for signing with a publisher before a label. Indeed it’s not unusual for publishers to want to beat labels to new talent. For Guy Moot, former head of Sony/ATV Music, now CEO of Warner Chappell, this is “the pure conception at the beginning of the process, and that’s why we want to be there first. It’s a very influential time. Record productions can be tweaked. Songs have to be constructed.” A development deal with a publisher is a different animal to a development deal with a label. At this early stage, the song publisher will give you space and opportunity to collaborate, develop and record. Your publisher will also give you extra kudos when it comes to opening record company doors – which is exactly what happened in the case of Amy Winehouse, Calvin Harris and Emili Sandé. Ultimately there’s no right answer. If you’re a good enough writer to attract offers from publishers before you get a record deal, give it serious consideration. But if a record label come knocking first, rest assured that a good publishing deal won’t come far behind. PUBLISHING UNDER A 360 DEAL Some artists don’t get to choose between a record and publishing contract. A true 360 deal is not just a record deal but a publishing deal too (see Prepared exclusively for [email protected] # Attack Mag 16980. © All rights reserved.THE BUSINESS OF MUSIC CHAPTER 9 THE PUBLISHING DEALTHE BUSINESS OF MUSIC216 Chapter 8 - The record deal). If you have the option, keeping the record deal and publishing deal separate is usually recommended. But when the time comes to make a call your lawyer and manager should guide you to the deal that will work best for you. ‘COLLABORATION’ AS A QUASI-LEGAL TERM It used to be so simple. A songwriter wrote the song and earned money through radio play and publishing royalties on sales. A performer recorded the song and earned performance money from radio play and record sales. A producer produced the record and was paid either a fee, or a royalty per record sale, or a combination of both. Today, a producer may create a track onto which a songwriter/singer will graft a top line of words and melody. Both the producer and songwriter are now ‘creators’ of the song and will share songwriting credits. Then the songwriter/singer will add a vocal. Both the producer and the singer are now ‘performers’ on the record and will share in sales royalties. Got all of that..? The top ten is perennially well stocked with songs written, or co-written, by someone other than the artist. Beyoncé’s ‘Hold Up’, for example, was co-written by Vampire Weekend’s Ezra Koenig while Joel Pott, formerly of Athlete, co-wrote George Ezra’s ‘Budapest’. BBC Fame Academy winner David Sneddon, meanwhile, abandoned his bid for stardom to score pay- dirt as one half of songwriting hit factory The Nexus, penning or co-penning hits for, among many others, Lana Del Ray, Will Young, Pixie Lott and Hurts. This is called collaboration and you must walk into any collaboration with your eyes wide open, as a truly collaborative recording will mean all those involved share in the proceeds – each of the songwriters, the publishers to whom they are signed and often the producer/s too, who chalk up their own royalty ‘points’ (see Scoring the points, below). Check out the credits on Drake’s Scorpion album, below right: 47 – on the ‘A’ side alone (Scorpion is a double album.). It’s important to understand this. Prepared exclusively for [email protected] # Attack Mag 16980. © All rights reserved.THE BUSINESS OF MUSIC CHAPTER 9 THE PUBLISHING DEALTHE BUSINESS OF MUSIC217 WHY COLLABORATION ISN’T A DIRTY WORD A frequent criticism of today’s music industry by those who don’t know what they’re talking about is that albums are made by committee, and that the music subsequently suffers. But you have to look no further than Adele, one of the biggest artists of our age, to see this doesn’t have to be the case. Look at the writing credits on Adele’s first album, 19. You’ll see she is solely responsible for half of the songs. Watch her performance of one of them, ‘Daydreamer’, on Later With Jools Holland in 2007. It’s clear she can write a song and frame it with interesting guitar playing. But she’s not yet outstanding. She doesn’t have the impact that KT Tunstall did on her own Later debut. Indeed the most notable songs on 19 were a collaboration with producer/writer Eg White on ‘Chasing Pavements’ and Adele’s cover of Bob Dylan’s ‘Make Me Feel Your Love’. Fast forward two years and the album 21 is a collaborative effort from start to end. Not one of the songs is written solely by Adele. In fact, ‘Lovesong’ is written by six people – and none of them is Adele. But this does not represent a compromise over the songwriting by Adele. Nor did she compromise on the artistic direction of the project. The album was originally to be produced by the legendary Rick Rubin, and he did, indeed, produce a whole album. But Adele was unhappy with it and only four of Rubin’s tracks made it onto the finished album. She preferred other versions of ‘Rumour Has It’, ‘Set Fire To The Rain’ and ‘Rolling In The Deep’ that had been crafted by her producer/writing collaborators. What’s more, the album’s standout song – ‘Someone Like You’ – was co-written with Dan Wilson and then recorded on the spot with just voice and piano. XL Recordings reportedly asked Adele to go back to Rick Rubin and re-record it with his musicians and a fuller arrangement. The singer put her foot down, and the piano/voice version is what made it onto 21. The first moral of all this is that you can collaborate and maintain control. Despite 19’s success, it hardly sold enough copies to suggest that Adele could do what the hell she wanted from then on. But she cooperated with her record company and earned the right to say ‘No’ when it really mattered to her. The second moral is – look what collaboration achieved. And Adele repeated the trick with 2014’s 25. Neither 21 nor 25 were artistic sellouts. She wasn’t pushed into emulating the mainstream pop of Jesse J or Rita Ora. She did it her way, worked with people who complemented her, and ended up with albums of far greater maturity. Albums which, to date, have reported sales of more than 50m copies between them, and are up there in the lists of best-selling albums of all time, alongside Michael Jackson, The Beatles, The Eagles, Bruce Springsteen and Whitney Houston. Prepared exclusively for [email protected] # Attack Mag 16980. © All rights reserved.THE BUSINESS OF MUSIC CHAPTER 9 THE PUBLISHING DEALTHE BUSINESS OF MUSIC218 Because if you are a songwriter/ performer who writes songs on your own and you intend to perform as a solo artist then you need to be clear with any producer you work with that you do not view the production as a ‘writing collaboration’. If you are not clear you may find yourself in a legal tangle with someone who feels they have contributed to the writing and/or performing and/or production of the song and now wants a share of your royalties. IT’S NOT ALL PLAIN SAILING: TODAY’S PUBLISHING BATTLEGROUND Most artists would accept that today’s publishing industry is a fairer place for songwriters than it was 40 years ago, particularly for writers who are also recording artists. But going digital has created problems that are brain-scratchingly complex. Streaming in particular, and in America specifically, is a total mess. It’s not our job in this book, nor is it particularly helpful to you, to go into the minute detail. But it is important to give context to the general media coverage and the constant refrain from one side – “Beware of streaming!” – and from the other – “Don’t be ridiculous; be everywhere!” In America, various streaming sites, most notably Pandora, are in dispute with the record and publishing industries.DRAKE SCORPION – OFFICIAL WRITING CREDITS 1. ‘Survival’ – Aubrey Graham; Dion Wilson; Noah Shebib; Klaus Netzie; Manuel Landy 2. ‘Nonstop’ – Graham; Brytavious Chambers; Wilson 3. ‘Elevate’ – Graham; Graham Fountaine; Jahron Brathwaite 4. ‘Emotionless’ – Graham; Mariah Carey; Rober Clivillés; David Cole; Wilson 5. ‘God’s Plan’ – Graham; Daveon Jackson; Matthew Samuels; Shebib 6. ‘I’m Upset’ – Graham; Jordan Ortiz 7. ‘8 Out Of 10’ – Graham; Samuels; Jahaan Sweet; Matthew O’Brien; Abrim Tilmon; Leon Ware; Arthur Ross 8. ‘Mob Ties’ – Graham; Samuels; Allen Ritter; Tavoris Hollins, Jr; Dave Atkinson; Samuel Barnes; Anthony Cruz; Nasir Jones; Inga Marchand; Cory McKay; Jean-Claude Olivier 9. ‘Can’t Take A Joke’ – Graham; Max Eberhardt; 10. ‘Sandra’s Rose’ – Graham; Maneesh Bidaye; Christopher Martin 11. ‘Talk Up’ – Graham; Shawn Carter; Paul Beauregard; Leroy Bonner; O’Shea Jackson; Marshall Jones; Ralph Middlebrooks; Walter Morisson; Andrew Noland; Gregory Webster; Andre Young 12. ‘Is There More’ – Graham; Palmon Jahanbin; Nima Jahanbin; Raynford Humphrey; Jeffrey Rashad; Stephen Garrett; Timothy Mosley ... That’s 47 writers – on the ‘A’ side alone... A further 60 writers are credited on the B Side, although many of the credits are for samples and snippets. Still, 107 writers across 25 tracks, and 37 producer credits... the very definition of ‘collaboration’... Prepared exclusively for [email protected] # Attack Mag 16980. © All rights reserved.THE BUSINESS OF MUSIC CHAPTER 9 THE PUBLISHING DEALTHE BUSINESS OF MUSIC219 At stake are two principles: Are music performers and writers entitled to be paid wherever, whenever and however their work is heard?; and Since Spotify established a benchmark for ‘per stream’ payout, other streaming services have emerged – notably Apple Music and Tidal – which pay more to writers and performers. (As we publish, Spotify is fighting attempts to bring its payouts up to the level of competitors. So this battle is far from over.) IT’S JUST BACKGROUND NOISE None of this will immediately impact on you, the songwriter, with your publishing deal freshly filed. But in the future the fallout from the battles should make for a more lucrative, and more transparent, industry. For the moment look at it as background noise, because, despite it all, this is undoubtedly a golden age to be a songwriter. The publishing deals are fairer, the publishing companies work harder for their money, and all sorts of opportunities have opened up for you to make a living, doing what you love best – even if it doesn’t result in you becoming a massive star. You’re living in what Guy Moot, CEO of Warner Chappell, terms “a pivotal moment”. There’s a revolution going on out there. And you don’t even have to lay down your life for it. SCORING THE POINTS Points are royalties; royalties are ‘points’. So if you have a 17% royalty deal with your record company, that’s 17 points. Royalties are generally referred to as ‘points’ when it becomes necessary to share them with someone else. So, for instance, you might give three of your 17 ‘points’ to your producer. Songwriting is different. In publishing there are no ‘points’ as such, just a share of the publishing royalties due to the songwriters, usually carved into equal proportions. Just being ‘in the room’ when a hit song is written can complicate matters. There’s a cynical little rhyme sometimes proferred in songwriting circles: ‘Write a word, take a third’. Which means that if two people are working on a new song, and you suggest a word – and they use it – that’s you in for one- third of the writing royalties. Google ‘Change a word, take a third’ if you think we’re exaggerating. Just ‘being in the room’ may mean someone you thought made no contribution feels entitled to their own equal share. Prepared exclusively for [email protected] # Attack Mag 16980. © All rights reserved.THE BUSINESS OF MUSICTHE BUSINESS OF MUSIC 220 ‘My father could have been a great comedian. But he made a safe choice and became an accountant. When I was 12, he was let go from that ‘safe’ job. From that I learned: you can fail at what you don’t want to do. So you might as well take a chance on doing what you love.’ Jim Carrey The days of ‘safe’ jobs are over. And jobs for life are a thing of the past. At the same time, as you enter the workplace today you’re likely to live longer than your parents and grandparents. Chances are you’ll also have children later than they did. What’s the rush for job security that isn’t even secure? Instead, why not do the irresponsible thing: build a career doing something you love. If it all goes wrong, there’s plenty of time to start a second – even a third – career. And even if you don’t make it in music, you will have picked up a host of invaluable skills, in finance, social media, branding, marketing, law – not to mention diplomacy, negotiation and project management. So when a well-meaning older, supposedly wiser adult says a safe-bet career is in accountancy, ask them to spend five minutes reading our Starter for Ten at the front of the book. Under No. 2 on that list we say: It is easier today than it ever has been to make a living and career from music.OVER TO YOU Prepared exclusively for [email protected] # Attack Mag 16980. © All rights reserved.THE BUSINESS OF MUSIC OVER TO YOUTHE BUSINESS OF MUSIC221 It is the point at which so much potential talent flounders – feeling the need to do something sensible or being pushed into something ‘more secure’ by older, ‘wiser’ heads. Their intentions may be good, but their knowledge is based on an outdated view of an industry and technology they don’t understand. The internet in general, twinned with myriad advances in other digital technologies, means that a comfortable living is no longer the preserve of a few musicians. Under the old industry model a handful of artists had a spectacular career. Below them a second tier made a decent living. They certainly made more money and had more fun than if they’d followed their parents’ advice to become electricians, secretaries or insurance salesmen. The new model offers a long tail of smaller opportunities to build your brand and make money. Online magazines and blogs, social media, internet radio, your own website and old-school gigs can all be used to promote sales of your music. Meanwhile home-made CDs and low-run T-shirts (and other merchandise) can be sold at your merchandise stall – both online and at gigs. Under the new model you may not make it huge. You may not even make it big. But you will be doing something you love. And you will be able to support yourself doing it. So, after reading everything we’ve said in this book about the good and the bad, the passionate and the confusing, the exciting and the frustrating aspects of the business that is music – if your heart still beats a little faster at the prospect of a life spent making music then read on... What follows are ten last nuggets of wisdom grounded in the experiences of thousands who’ve travelled the well-worn path from dreamer to working musician. They condense the most pertinent wisdom found in this book into quick- read rules for survival; for moments of doubt or euphoria; for periods when things look bleak; for times when you need to get your feet back on the ground fast. Commit them to memory. Take them to heart. Remembering them – particularly at defining moments on the road – might just make the difference between disaster and success. Prepared exclusively for [email protected] # Attack Mag 16980. © All rights reserved.THE BUSINESS OF MUSIC OVER TO YOUTHE BUSINESS OF MUSIC222 1. EMBRACE EVERY OPPORTUNITY If there’s a single piece of advice that’s recurred throughout the 100+ interviews carried out for this book, it’s this: embrace all opportunities that come your way because of the music you make. With the decline in record sales, a large slice of the musician’s income pie has disappeared. That slice has to be filled. Which means you need to take gigging, merchandising and songwriting seriously. But also syncing, sponsorship and anything else you can think of to squeeze a few more pennies from your fan base. This is the age of the music entrepreneur. The most successful hip hop stars aren’t just musicians. They are global brands with business empires to match and interests in anything from perfumes to streaming services. Of course that kind of career and lifestyle is anathema to some. Their interest isn’t the boardroom, it’s the studio. And that’s fine. Pushing yourself to be someone you aren’t (Thing 9, below) is a recipe for, at best, unhappiness. Learn from those at the very top. They’re there for a reason. Yes, they have musical talent, energy and dedication. But the main driver behind their success was seeing where society was heading – where the money was flowing – and surfing that wave. They are flag bearers for a new kind of music industry; one, crucially for us, where more artists have more power than ever before. The tectonic plates upon which the royalties and rights musicians have historically been accustomed to are shifting every day, and the creative suits of the entertainment industry (often of the old school) are having to learn to live with Silicon Valley tech disruptors (often not). Don’t put your money on the techs dominating. They might be driving the agenda for now, but the music industry has spent 100 years learning how to deal with changes in performance and technology. And music execs are dab hands at turning positions of weakness around. The way to arm yourself in this war – and to come out on top – is to exploit every conceivable income stream. So yes, try to land a record deal, register Prepared exclusively for [email protected] # Attack Mag 16980. © All rights reserved.THE BUSINESS OF MUSIC OVER TO YOUTHE BUSINESS OF MUSIC223 with your local collection agency, play as many gigs as you can and get noticed by tastemakers – do the old-school stuff; it matters hugely. But at the same time, embrace the dozens of new opportunities. Set up a stand after your gig and sell recordings of that gig. Live-stream bedroom jams. Press up short-run vinyl limited editions – all signed. Develop an App. Get your music on an ad. Use the latest technology to do something different. In short, do anything and everything to exploit your brand and your music. 2. MANAGE YOUR EXPECTATIONS (WHY ARE YOU DOING THIS ANYWAY? ) From the word Go, ask yourself the question: ‘Why am I doing this?’ If the answer is: ‘Because I love music. I love writing it, I love playing it, I love recording it and I want to spend my life immersed in it,’ then we’re with you. It is more possible to do that today than it has ever been. But if your answer is: ‘Because I want to be fabulously successful, rich and famous,’ then the odds are weighed heavily against you. Millions around the world are trying to become music’s next big thing at any one time. Millions. In the UK alone, thousands of singles are released each week. But there is only one Top 100 – and numbers 21-100 really don’t count. Imagine you go for a job at your local supermarket. It goes well. You’re shortlisted. How many other people have been shortlisted?, you ask the interviewer. “Five million,” she says. You’d be forgiven for leaving the room utterly demoralised about your prospects. Yet for reasons that say more about the blend of naivety, stupidity, faith and hope that governs every creative spirit, we all think we’ve got a genuine chance to make it in music. Forget the odds – don’t tell me the odds! Understand from the start that there’s a difference between making it (fast cars, bling, Grammies) and making a career from it (earning enough to do the thing you love). Prepared exclusively for [email protected] # Attack Mag 16980. © All rights reserved.THE BUSINESS OF MUSIC OVER TO YOUTHE BUSINESS OF MUSIC224 Which is it you want? If you’re in it to be a star then the moment you realise it probably isn’t going to happen – that your dream is just that – then you’ll join the hundreds of thousands of others who fall by the wayside. And failure to achieve your dreams is just as hard to survive as making it beyond your wildest. But it doesn’t have to be that way. If you’re in the music industry to make music then you will make music for as long as it pays for a roof over your head and puts food on the table. Plumbers and electricians stick to their jobs earning £30–35k a year or less. Train drivers keep driving their trains for £40k. Let’s say you’re clearing £25–30k a year from gigging, sales to your fans of after-gig CDs, and some low-level downloading and streaming – an entirely reasonable figure. Would you walk away from it because you never got signed? Because you never had a hit? Because you never pulled off a stadium tour? If No. 1 hits and stardom are the be all and end all for you, you may well end up being one of the hundreds of thousands who drift away from music because it didn’t meet their own unrealistic expectations. But you’ll find plenty of examples, if you look, of well respected artists who never ‘broke through’, but are still going strong. What’s more, if you stick around long enough, there’s always the chance you’ll get discovered (and if you’ve been around even longer, rediscovered). John Howard released one album in his prime, which languished, more or less unheard for 30 years. In the past 14 years – thanks to home studio technology and the internet – he has released 12 new albums and was recently rediscovered by a new generation of music lovers. He’s now signed a new record deal for an album made with younger musicians. In 2018, Fisher King Publishing published his autobiography, Incidents Crowded With Life. Moral of the story? It’s never too late. Flaming Lips had been around for 17 years before breaking through. Gregory Porter apparently appeared out of nowhere in 2012, yet he’d been recording and performing since age 21 and had a Grammy Award-winning Prepared exclusively for [email protected] # Attack Mag 16980. © All rights reserved.THE BUSINESS OF MUSIC OVER TO YOUTHE BUSINESS OF MUSIC225 album (Water) in 2010. Hard work, persistence, and the admiration of his peers finally combined with his clear talent for and love of singing to bring recognition in his early 40s. Setting out to make the best music you can, and to earn a living by it – is an entirely achievable goal. And on the way you might just harness worldwide fame – and make your millions – anyway. The last words go to multi-Grammy winning songwriter and producer Mark Ronson: “I didn’t start making music in order to be famous.” 3. YOU NEED A LAWYER. YOU PROBABL Y NEED A MANAGER. In electronic music, dance and hip hop, self-management is the norm, with managers only entering the fray when an artist is well established. But the majority of recording artists need a manager. That makes the choice of manager one of the two most important decisions you will make early on. Before that comes the other most important decision: choosing a lawyer. You shouldn’t sign any contract, including a management contract, without taking legal advice. The music industry is littered with stories of artists who have signed a binding management agreement with their electrician mate who offered to fund them for a few months. Or worse, their mate’s entirely inexperienced dad. This can only lead to pain. To stop yourself falling into this trap, your mantra should be: lawyer first. If you ignore this, and enter into an unsuitable arrangement you will make yourself unattractive to a proper manager – who’s unlikely to touch a signed artist with a barge pole – and you’ll be spending money you don’t have in order to buy your way out. Either way, you’ve put yourself in a weak position when negotiating a real management contract when it comes along. You will also have put a major obstacle in the way of a record deal, which will have to be put off until you’ve resolved your representation problem. Prepared exclusively for [email protected] # Attack Mag 16980. © All rights reserved.THE BUSINESS OF MUSIC OVER TO YOUTHE BUSINESS OF MUSIC226 It’s a useful rule of thumb that if anyone wants to tie you down in the very early stages of your career, they are most likely looking for a potential payday down the line – probably when you attract the attention of top line management, who then have to go legal to get you out of whatever agreement you shouldn’t have signed in the first place. So don’t rush. Don’t allow yourself to be rushed. And remember that mantra: lawyer first. 4. LOOK AFTER YOURSELF What is it that links music with drugs, mental health problems, relationship breakdowns, suicide et al? Is it the stress of the industry itself? Is it the tightrope stars have to walk, with success inches thin and the chasm of failure yawning below. Or is it the fact that so many creative spirits seem instinctively drawn to the dark side? The stats are brutal. In 2016, the organisation Help Musicians UK revealed in the report Can Music Make You Sick? that 71% of musicians polled had suffered from anxiety or panic attacks, and 68.5% said they had experienced depression. Stuart Glen, co-founder of The Cause, a London nightclub that splits its profits with mental health charities, noted the tough lives many musicians lead. “The industry is hard work,” he says, “with plenty of late nights and social pressures. This can put a lot of strain on people.” The brutal fact that is that the path to success in the music industry is not an easy one. There are three common problems that make life for musicians harder than it needs to be: drugs, stress and the media. Ours is not to judge. Alcohol and other drugs have played – and continue to play – an important role in many artists’ lives. Some find inspiration in them. Others lose the plot. But – like much else – drugs ain’t what they used to be. Just because your heroes took them back in the day and did amazing work is not, in itself, a good reason for following in their footsteps. Prepared exclusively for [email protected] # Attack Mag 16980. © All rights reserved.THE BUSINESS OF MUSIC OVER TO YOUTHE BUSINESS OF MUSIC227 Apart from the obvious damage (dying – Whitney Houston, Hendrix, Morrison, Brian Jones; life-long problems – Peter Green, Syd Barrett, Brian Wilson) at least the old-timers could mostly trust their drugs. In the 21st century, you have no idea what you’re putting in your body. Amphetamine- and scouring powder-laced coke, lead-infused resin, horse tranquillisers… The list is almost endless. There is nothing truer than this: You will deal with everyday life a lot better if your head’s on straight. Who do you suppose said this: “You have to prioritise your health more than anything. You can’t help anyone if you end up in the hospital”? Tragically, it was serial entrepreneur Ash Pournouri, before his client, the DJ and dance music megastar Avicii, died aged just 28. Which leads to common industry problem No. 2: stress. In our ever-changing industry, stress is a given. And no-one can prepare you for it. Who do you suppose said this: “When I look back on my life, I think: ‘Whoa, did I do that? It was the best time of my life in a sense. It came with a price – a lot of stress and a lot of anxiety for me”? Tragically – again – it was Avicii himself, announcing his retirement at the tender age of 26. Two years later he was dead. Take it from someone who paid the price: the journey to the top is hard, traumatic, sometimes insane. Stress is a given. But coping with stress is not. Here’s Stuart Glen again: “Avicii is a prime example (of) a man at the very top of his game, who on the outside looked like he had everything, yet clearly needed help.” Different people have different coping strategies when it comes to stress – yoga, meditation, boxing, cooking, the gym. Eminem swears by running. Find yours. Because your career will become simpler by halves if you’re able to focus – especially when the pressure builds. Even then, as if the slings and arrows of drugs, drink and stress weren’t enough to make the emerging artist turn to, um, drugs and drink, there’s the media to contend with. Prepared exclusively for [email protected] # Attack Mag 16980. © All rights reserved.THE BUSINESS OF MUSIC OVER TO YOUTHE BUSINESS OF MUSIC228 If you become a huge star, you will be looked at as a role model. It’s not fair. It’s not even ethically defensible. It certainly wasn’t on your to-do list when you decided to become a musician. But the media will watch your every move. Every part of you and your life will be under scrutiny. Your hair, body, relationships, extra-marital affairs, bedroom antics, accidental late-night tweets, boozy nights out... maybe even your music. It’s the flip side of fame. Let’s be clear: fame is an utter bastard. One day, you can go into your local pub and have a quiet pint. Then, literally overnight, you can’t walk down the street, everybody knows your face, the media are in your face and members of the public are sticking phones in your face. The media will stalk you, camp outside your home, track down the kid you bullied at school, be outside every club or restaurant you spend time in, then flash cameras in your face, all the time looking for a hint of grumpiness (‘ungrateful pop star’), posing (‘pop star revels in attention’) or shyness (‘pop star too big for own boots’). The only thing you need to know about the media is this: there are absolutely no circumstances under which you can win. If you’re nice to the ‘journalists’, they take it as an invitation to invade every part of your life because your acceptance forms for them a sort of non- verbal contract that you’ve opened up your entire life to them. Equally, if you try to ignore them or keep them at arm’s length they’ll still invade your privacy. Their justification will be that you were happy for the publicity for your last album/tour/TV show. And – yes, you’ve guessed it – this forms for them a sort of non-verbal contract that your entire life is fair game. How, then, do you deal with them? Our advice is to look at Adele. Somehow, three massive albums in, Adele has managed to avoid the many perils of press intrusion. She even survived an onslaught late in 2014 when – gasp – she didn’t take part in the Band Aid single. (Of course, everyone who did take part got it in the neck too. Adele got it in the neck for not taking part.) Prepared exclusively for [email protected] # Attack Mag 16980. © All rights reserved.THE BUSINESS OF MUSIC OVER TO YOUTHE BUSINESS OF MUSIC229 But Adele ignored it all. She didn’t try to justify herself. She didn’t take to Twitter after one too many G&Ts to slag off the haters. Consequently the controversy just… disappeared. How she does it is a mystery. It’s not like she stands aloof from the game. She goes on chat shows, swears like a trooper, talks about going on ‘a five day bender’, even, for US TV, showed the host her wigs – which all have nicknames (one is named June Carter, another is Jackie, if you’re interested). Maybe that’s the answer – play the game with openness and honesty, but only play it when you want to. Because what you don’t see is Adele falling out of nightclubs drunk or stoned, punching photographers or twerking on YouTube. 5. KEEP YOUR FEET ON THE GROUND Probably the best coping strategy for looking after yourself – for keeping stress down and output up – is one that too many musicians fail to do. And it is, ironically, the easiest. It’s cheaper than a stint in The Priory and closer to home than a retreat in Tibet. It’s remembering your roots: your friends and your family. However big you get, they were there before fame hit and they form the bedrock of your life. If you leave them behind because you think you’re better than that now, who are you going to turn to if it all turns sour? And who are you going to call when you need a few weeks out? Two-times platinum X-Factor star Rebecca Ferguson says: “This industry can be tough on everyone. You have to surround yourself with supportive people and know when to put your foot down and do what’s best for you and your family.” Electronic Music multi-entrepreneur and long-time industry insider Ben Turner agrees: “Keep friends around you who have no interest in [the music business] apart from your involvement in it. They will keep you sane and be there for you when things get tough.” Prepared exclusively for [email protected] # Attack Mag 16980. © All rights reserved.THE BUSINESS OF MUSIC OVER TO YOUTHE BUSINESS OF MUSIC230 Even megastars understand the value of keeping your feet on the ground. “I’ve gotten my personal life all the way intact and make sure that it’s straight,” says Dr Dre. “Without that you have no foundation. Your building is going to crumble.” Sure, enjoy your new life. Savour every success. Celebrate with a bottle of Cristal (if you must – though we’d recommend Pol Roger). But you don’t wake up one morning with an album at the top of the charts and discover that, overnight, your heart and soul have been replaced with something shiny and glittery. You are still you, warts and all. The person who struggled for years writing ever-improving lyrics and building your fanbase one by one is the same person now standing in front of a 10,000-strong crowd. Don’t let yourself get to the point where going round to Auntie Vi’s for a cup of tea is somehow beneath you, or something ‘your people’ have to arrange. A big part of transitioning from bedroom artist to global success is coping with fame – learning to live with a new reality. Those who don’t manage that transition almost always leave the industry, often bitter, sometimes broken. Don’t be one of them. Keep your life as normal as possible. Hang on to the friends who will keep your feet nailed to the floor. Because at the end of the day no-one – least of all those friends – wants to hear how lonely you are in your penthouse suite, waiting for the limo to take you to the club where everyone knows your name but nobody knows who you really are. 6. WORK HARD. STAY FOCUSED What unites Madonna, Jay-Z, superstar writer/producer Max Martin, Quincy Jones, Ed Sheeran and thousands of other successful musicians? They all worked bloody hard to get to where they are. We’ve said it before in this book and we’ll say it again here as a sign off: you will not reach the upper reaches of the music industry unless you plough everything – EVERYTHING – into it. Prepared exclusively for [email protected] # Attack Mag 16980. © All rights reserved.THE BUSINESS OF MUSIC OVER TO YOUTHE BUSINESS OF MUSIC231 The number of stars that get to the top by accident, luck or laziness can be counted on one hand. You’d be hard pushed to find a better example of the hard work, dedication and focus required to get to the top (and stay there) than Madonna Louise Ciccone. Madonna moved to New York from Michigan intent on a career in modern dance. Everyone who knew her at the time tells the same story. She worked, worked, worked – day and night – perfecting dance routines and figuring out what would be required for success. “I’m far from being God, but I work goddamn hard,” raps Jay-Z in ‘Breathe Easy’. It’s a line of self-reflection; in the early days he and friend Jaz would lock themselves away and work on technique for days on end. Dr Dre, meanwhile, has revealed he has gone for 79 hours without sleep in the past. “When that flow is going,” he says, “you don’t want to stop. You don’t want to sleep for fear of missing something.” Max Martin – now one of the richest songwriters in the world, with credits for, among others, Pink, Taylor Swift and Britney Spears – started life as a songwriter before realising he needed to add production to his CV. “I didn’t even know what a producer did,” he says, “So I spent two years, day and night, in the studio trying to learn what the hell was going on.” EDM biz kingpin Ben Turner again: “Be prepared to give it everything you have. This is a tough business which requires incredible discipline and sacrifice.” Tinie Tempah breaks out the practicalities: “You have to do a show, an interview, you’ve got to go straight back on the road to another location, make a track and edit the footage... It’s non stop.” Quincy Jones says it best: “I see this generation loving to be rich and famous with no work. You’ve got to work.” But putting in the hours means nothing if it’s not time well spent. Creative people are notoriously undisciplined. We have butterfly minds that the internet has done nothing to discourage. There are exceptions. Nick Cave is reputed to don a suit every morning, taking himself off to his office (studio) to work an eight-hour day writing. These days writing also includes film scripts. Prepared exclusively for [email protected] # Attack Mag 16980. © All rights reserved.THE BUSINESS OF MUSIC OVER TO YOUTHE BUSINESS OF MUSIC232 Cave has an insight that all aspiring artists could learn from. “I have times when I feel hugely energised and other times I feel depleted and very unconfident about what I’m doing. “But in those difficult times, when it’s difficult to write, I still turn up and ride them out. “I’ve discovered that the down periods, grim as they are, are very much part of the process.” Bringing discipline into your daily life is a big step on the road to avoiding the car-wreck clichés littering the musicians’ highway. Exactly how to slice up your day will depend on how and when you work best, but you should make space for: - building and maintaining your website and social channels; - building and maintaining your fan base; - keeping your books (accounts) up to date; - ensuring you have gigs booked as far ahead as possible; and - the creative stuff: writing, practising and recording new material. Some musicians put aside the first half of their day for the administrative tasks while others prefer to attend to ‘the business’ when they’re done in the studio. Either way, letting important day-to-day tasks build up is likely to hamper both your business and your music: it’s far harder to be creative if you have a head full of mounting to-do lists. Finally, as any productivity self-help manual will tell you, everyone has a time of day during which they function best. For some it’s first thing in the morning. Others have to ease themselves into the day. And then there are the night owls who come into their own when everyone else is asleep. Whichever category you fit into, identify your highest-functioning period of the day and use that time for making music. Do the grunt work – accounting, updating the website etc, building your mailing list – in another time slot. And never forget, in the frank assessment of Radiohead’s Thom Yorke, that a lot of the time the music industry “is just fucking hard work.” Prepared exclusively for [email protected] # Attack Mag 16980. © All rights reserved.THE BUSINESS OF MUSIC OVER TO YOUTHE BUSINESS OF MUSIC233 7 . TREAT PEOPLE RIGHT How smooth and fast your journey to the top is will depend on two groups of people: your team (Chapter 7 - Your team) and your fans. Both are critically important to your survival. Lose either and you’ll be in trouble. Lose both and your career’s finished. Which means you need to treat both right. Treating fans right shouldn’t demand an explanation. These are the people you have to thank for being where you are. For the money in your pocket. For the life you lead. They may sometimes be demanding, unreasonable, overwhelming, irritating as hell. But you owe them everything. Loyal to a fault, your core fans will stick with you even when your career goes into reverse and you start indulging in musical whims and collaborations the most supportive manager would advise against. It’s easy to treat fans right in the early days. There’s time to share a drink with a passionate supporter after the gig; you can afford to comment on the Facebook picture of an obsessive who’s tattooed your name on their chest. But when things escalate – when time is at a premium and when it’s no longer just a dozen people wanting your autograph after a gig, it’s 1,000 – it’s increasingly difficult to keep engaging. But you need to. They may be late to the party, but new fans are essential to your growing popularity. So think about the pop-up shop after the gig. Think about intimate gigs for a chosen few. Give newsletter signees exclusive content. Run competitions for your biggest fans. Not only is it good manners. It’s also good business. Trying to create new fans is hard. It takes time, money and a lot of energy. It means PR, TV slots, radio interviews, endless gigs. But your old fans? No. They love you. They’ve been waiting for that EP. They are a passionate and ready-made audience the likes of which most retailers would kill for. Prepared exclusively for [email protected] # Attack Mag 16980. © All rights reserved.THE BUSINESS OF MUSIC OVER TO YOUTHE BUSINESS OF MUSIC234 Treat them right. Don’t screw up that relationship like techno royalty Richie Hawtin did in November 2014 when he was filmed apparently pushing a monitor speaker onto a fan who was filming him behind the DJ booth. The social media fallout was damaging, and Hawtin apologised. He was, he said, “extremely sorry and embarrassed”. But then he said this: “Sometimes, being in the middle of the spotlight, continual cameras and glaring iPhone lights, things can get stressful and frustrating.” Well... yeah! For better or worse, it’s what you sign up for. If an adoring audience stresses you out, you’re almost certainly in the wrong place. Careers can be ruined by single instances of bad behaviour and though Hawtin’s star has seen another day, his moment of madness was a PR disaster. Which means don’t ever take your fans for granted. They’ll dissipate faster than you can say ‘ungrateful a$$hole’. The same maxim applies to your personal team – your manager, plugger, designer, publicist, producer. As your career builds, the network of professionals around you becomes ever-more important. How you deal with these people largely depends on your character and personality. If you’re short-tempered and intolerant you’ll have trouble with all relationships, not just professional ones. And this book is not a self-help manual for the intolerant. Book yourself some counselling. Thank us later. Managing business relationships can, and should, be approached as a professional matter. And while in music it’s easy to think of the drummer as a mate and your plugger as a drinking buddy, they, like you, are music professionals who should be treated as such. (If they’re not professionals, why not?) When rows brew, take stock. Remember that you chose your lawyer; you chose your manager; and between the three of you, you chose your label. Which means if frustration makes you want to blame everyone in the world bar yourself remember the situation is partly of your making. Scapegoating often hides a problem much closer to home. Whatever you’ve picked up from Alan Sugar on The Apprentice – forget it. Nothing you have seen him do on that programme has anything to do with good management. And absolutely, certainly none of the behaviour you’ve seen from the ‘apprentices’ is a model for how grownups behave at work. Prepared exclusively for [email protected] # Attack Mag 16980. © All rights reserved.THE BUSINESS OF MUSIC OVER TO YOUTHE BUSINESS OF MUSIC235 From high to low, treat everyone the same. Be sensible, be sensitive, be respectful. It will help you as you move up the ladder, and it will enhance your reputation if you hit the top. You will also have made friends so that when your moment in the sun is over, you’re more likely to be supported in your later career. In the end, the love you take is equal to the love you make. Now, who said that? 8. BE YOURSELF – GO YOUR OWN WAY “Before I made this record, I was doing everything to try to get my music heard... I tried to lose weight and I was making awful music,” said Sam Smith, speaking at the 2015 BAFTAs where he won, among other categories, record and song of the year for megahit ‘Stay With Me’. “It was when I started to be myself that the music flowed.” Nicki Minaj makes the same point: “By just being myself, I end up touching a lot more people who might never have paid much attention to a female rapper.” Too many artists make music that sounds like other music because either they think there’s a market for that music or because they’ve got no ideas of their own. They do the same with their brands and stories. Neither is a recipe for success. At this very moment, thousands of A&R execs around the world are seeking out the next big thing. The clue there is the word next. They are not looking for the same big thing – for copycat acts. They’re not looking for soundalikes. They’re looking for the next chapter in the industry; the paradigm shift that will take the world’s listeners in a new direction (and, naturally, make them millions in the process). The world’s biggest stars became stars because they shook things up. They did things differently. And the best way to do things differently is to do things your way – because by definition only you can do things your way. Prepared exclusively for [email protected] # Attack Mag 16980. © All rights reserved.THE BUSINESS OF MUSIC OVER TO YOUTHE BUSINESS OF MUSIC236 The case studies are the world’s most iconic acts. ‘My Way’ is not only the most popular song at funerals worldwide, it is also a declaration of intent for creative people. Write from the heart, perform from the heart, live from the heart. Following that maxim you won’t go far wrong. 9. KEEP MAKING MUSIC It’s a truism across a host of professions that the better you become at something, the less time you have to do it. You go into marketing, for example, because you’re a hot-shot wordsmith who knows how to sell the public anything and everything. In the first few years of your career you’re penning mind-blowing sales lines and commissioning beautiful artwork to accompany them. Your golden touch is spotted by the bosses and you’re promoted to team head. Before long you’re managing a team of 20, you’re in meetings for half your life and the other half you’re negotiating payrises and dealing with personnel issues. A year or two later again and you’re top-flight management and you’re not doing any of the work for which you were once famed. A similar story applies to musicians. The early years of an artist’s career are often the most productive. You get to write songs all day and play out in the evenings, honing your skills and working up arrangements in practice rooms unhindered by the many trappings of fame. Success changes that. Priorities begin to change – as they must. More and more time is ploughed into social media and brand management; into conversations with lawyers, managers and designers; into making videos and touring radio studios for the latest publicity drive. As your star rises, the time you have left to make music shrinks. Add in a national tour, a fallout with bandmates and an emerging drink problem and all of a sudden the time, energy and passion that once allowed you to write and record great songs erodes. Prepared exclusively for [email protected] # Attack Mag 16980. © All rights reserved.THE BUSINESS OF MUSIC OVER TO YOUTHE BUSINESS OF MUSIC237 Ever wonder why so many bands make the best albums of their career in the first few years? Now you know. But getting past the legendary third album hurdle needn’t be impossible. It just demands discipline. As a creative person you should train yourself to think of everything as a creative opportunity. You hear about artists who approach their next album with upwards of 100 songs. How do you suppose that happens? All day, every day they’re watching the world go by and writing down even the smallest ideas that ping into their brain. You can do the same. And in a world where the power of a recording studio is on your laptop or iPhone you can start making songs out of these thoughts and building tracks even as you’re travelling, or when you’re stuck in a motel room in the middle of nowhere. For creative people there’s no such thing as down-time. Your brain will constantly be in action. Don’t ignore the endless stream of ideas. Every thought can be a song. And in the digital age, you don’t even have to wait to try out the ideas. A laptop with a DAW should travel everywhere with you. There’s no longer any excuse for not having ‘writing time’. Writing time is all day, every day. It’s even possible to make a decent demo on an iPhone. Particularly on the road, the tendency to boredom and routine – sleep, eat, travel, eat, sit around, kill time, play, eat, drink, take a few drugs, wait for adrenaline to subside, play Xbox, sleep, repeat, repeat, repeat – can be mind-numbing. Keep busy. Be creative. Don’t let the drudge of everyday life, nor the dozens of administrative tasks demanded of the increasingly successful music professional, get in your way. That’s how you end up with 100+ songs at the start of an album. Prepared exclusively for [email protected] # Attack Mag 16980. © All rights reserved.THE BUSINESS OF MUSIC OVER TO YOUTHE BUSINESS OF MUSIC238 10. LAST BUT NOT LEAST … HAVE FUN. ENJOY THE RIDE Music is a gift, and for those of us lucky enough to have been given the gift, making music for its own sake is reward in its own right. Making a living from it is the icing on the cake. And stardom, to flog the metaphor to death, is the cherry on the icing on the cake – the smallest bite; a momentary tang of sweetness that doesn’t last as long as it should. No-one said the journey was going to be easy, and very few musicians expect it to be so. But there’s satisfaction to be had every step of the way – working with other talent, interacting with fans, watching recognition of your brand and music grow. And there are moments of unbridled joy too – the spine-tingling moments in the studio when you realise you’re recording something sublime; the first time you walk on stage in front of 100, then 1,000 then 10,000 people; your first five-star review. It’s too easy to let these moments pass by, lost in the stress of a tour or the anxiety to write new material or the angst of reading online vitriol about your new single. To do so would be to forget that a career in music is meant to be a hundred things – but most of all it is meant to be creatively satisfying and... fun. Working in the music industry is a privilege. Never lose sight of that. Enjoy the ride. . Prepared exclusively for [email protected] # Attack Mag 16980. © All rights reserved.	[ "music", "business", "right", "record", "artist", "chapter", "make", "one", "time", "attack" ]	{ "summary": "PAUL PHILLIPS BUILDING A MUSIC CAREER \nIN THE DIGITAL AGE\nPrepared exclusively for ag.from.kiev@gmai" }
Music-Business.pdf	Networking Strategies for the New Music Business by Dan KimpelNetworking Strategies for the New Music Business ©2005 by Dan Kimpel. All rights reserved. No part of this book may be reproduced or transmitted in any form or by any means, electronic or mechanical, including photocopying, recording, or by any information storage or retrie val system without written permission from Thomson Course T echnology PTR, except for the inclusion of brief quotations in a review. The ArtistPro and Thomson Course T echnology PTR logos and related trade dress are trademarks of Thomson Course T echnology PTR and may not be used without written permission. Publisher and General Manager of Thomson Course T echnology PTR: Stacy L. Hiquet Executive Editor: Mike Lawson Associate Director of Marketing: Sarah O’Donnell Manager of Editorial Services: Heather Talbot Marketing Manager: Kristin Eisenzopf Senior Editor: Mark Garvey Marketing Coordinator: Jordan Casey Project Editor & Copy Editor: Dan Foster, Scribe Tribe Thomson Course T echnology PTR Editorial Services Coordinator: Elizabeth Furbish Cover Designer & Interior Layout T ech: Stephen Ramirez Indexer: Katherine Stimson Proofreader: Gene Redding Back cover photo: Davis & Davis–www.davisanddavis.org All other trademarks are the property of their respective owners. Important: Thomson Course T echnology PTR cannot provide software support. Please contact the appropriate software manufacturer’s technical support line or Web site for assistance. Thomson Course T echnology PTR and the author have attempted throughout this book to distinguish proprietary trademarks from descriptive terms by following the capitalization style used by the manufacturer. Information contained in this book has been obtained by Thomson Course T echnology PTR from sources believed to be reliable. However, because of the possibility of human or mechanical error by our sources, Thomson Course T echnology PTR, or others, the Publisher does not guarantee the accuracy, adequacy, or completeness of any information and is not responsible for any errors or omissions or the results obtained from use of such information. Readers should be particularly aware of the fact that the Internet is an ever-changing entity. Some facts may have changed since this book went to press. Educational facilities, companies, and organizations interested in multiple copies or licensing of this book should contact the publisher for quantity discount information. Training manuals, CD-ROMs, and portions of this book are also available individually or can be tailored for speciﬁ c needs. ISBN: 1-59200-753-8 Library of Congress Catalog Card Number: 2005923856 Printed in Canada 05 06 07 08 09 WC 10 9 8 7 6 5 4 3 2 1 Thomson Course T echnology PTR, a division of Thomson Course T echnology 25 Thomson Place Boston, MA 02210 http://www.courseptr.com iiiAcknowledgments Thank You: To my family in Ohio, and Yuji and Nick in Los Angeles. To my associates at ASCAP, BMI, and SESAC for inviting me to interview their songwriters and composers; to Arthur Bernstein, Mark Featherstone-Witty, Ian Gardner, and Martin Isherwood at the Liverpool Institute for Performing Arts (LIPA); and to my students who inspired this text. To my friends and colleagues: Luis and Gloria Villegas, Keo Woolford, Jeffrey Tennyson, Bobbi Marcus, Dan Desouza, John and JoAnn Braheny, Scott and Denise Davis, Marta Woodhull, John Philip Shenale, David Edward Byrd, Joe Beserra, Richard Moll, Susan Wong, Armando Soria, Kenny Kerner, Guy Marshall, Brett Perkins, Denise Bradley, Martin Cervantes, Simon Barber, and David Quan. And to the amazing Karan Longbrake, whose energy has inspired me since high school. Thanks to Mike Lawson at ArtistPro and to my diligent editor, Dan Foster. Appreciation always to Mark Garvey, who ﬁ rst convinced me that I was an author. Grateful thanks to Tena Clark and the staff at Disc Marketing/DMI Networks and Firehouse Recording Studios in Pasadena, California, with special gratitude t o Ronny Schiff, whose support is immeasurable. Selected interviews in this book were conducted for “Song Biz Proﬁ les” and feature stories written for Music Connection magazine. Thank you to senior editor Mark Nardone, publishers Eric Bettelli and J. Michael Dolan, and associate editor Michael Mollura. The proﬁ le of Lindy Robbins appeared in Songwriters Market 2005. Thank you to editor Ian Bessler and Writer’s Digest Books.ivAbout the Author Dan Kimpel is one of the American media’s foremost authorities on popular music and songwriters. He contributes to a dizzying variety of print and electronic mediums, including books, interactive CDs, magazines, Web sites, videos, and new media. If you ﬂ y United Airlines worldwide, you can hear his audio interviews with hit recording artists and songwriters on The United Entertainment Network. Dan conducts workshops on the subject of music business networking at universiti es, conferences, and seminars across North America and in England. Visit Dan’s Web site at www.dankimpel.comvContents Introduction .................................... xi CHAPTER 1 Personal Paths in the Music Business .................. 1 The Kind of Person... ............................... 2 Assessing Your Strengths ............................ 3 Songwriters ...................................... 3 Musicians ....................................... 4 Music Biz Pro’s: Aspiring Moguls ..................... 5 Technical Triumphs ................................ 6 Born to Succeed ................................... 7 Reinvention ...................................... 9 Signs from the Universe ............................ 10 The Commitment Key .............................. 12 Time Has Come Today ............................. 13 Summary ........................................ 15 CHAPTER 2 The Modern Music Business ........................ 16 Transmission Is Secondary .......................... 16 Expanding and Contracting Genres ................... 17 The New Music Entrepreneurs ....................... 18 Music for Kids .................................... 19 Soundtrack to a Fast Track ......................... 20 Internet Notions ................................. 22 Fish or Fowl? .................................... 23 A Mosaic of Mediums ............................. 25 Radio Is Our Salvation ............................. 27 Satellite, Public, and Internet Radio .................... 31 chris and thomas: Acoustic Essence .................... 33 Music Publishing: The Way In ........................ 35 Major and Indie Labels ............................. 37Networking Strategies for the New Music Business viMusic Biz Marionettes: Who Pulls the Strings? .......... 38 Validation ...................................... 39 American Idolization .............................. 40 Summary ....................................... 42 CHAPTER 3 Personalities Plus ................................. 43 Ten Successful Attributes of Music Biz Professionals ...... 43 Negative Notions ................................. 49 The Put Down .................................... 51 Negative to Positive ............................... 52 Find Reasons to Feel Good about Yourself .............. 54 Visualize Your Success ............................. 54 Network with People You Respect and Observe Their Traits ................................. 55 The Smooth Road ................................. 55 Myths ......................................... 57 Reinvention ..................................... 58 Same Old Same Old ............................... 59 Summary ....................................... 60 CHAPTER 4 True Tales ...................................... 62 The I’s Don’t Have It .............................. 62 The Power of “You” ............................... 63 Could’a, Should’a, Would’a ......................... 64 You’re It ........................................ 66 Bridges Aflame .................................. 67 Celebrity ....................................... 68 Ten Strategies for Interacting with Celebrities ........... 69 How Would I Reach You? ........................... 71 Who Needs You? ................................. 72 Look Around .................................... 74 Sixth Sense ..................................... 75 Drugs in the Music Biz ............................ 76 On the Road with John Mayer ....................... 77 Am I Too Old to Rock? ............................ 78viiCritical Crises and Drama Queens .................... 81 Ten Networking Strategies for Dispelling a Crisis ........ 83 Treat Everyone with Respect ........................ 84 Summary ....................................... 86 CHAPTER 5 Making Contact .................................. 87 Body Language .................................. 87 Good Grooming ................................. 89 Clothes Horse ................................... 90 Ups and Downs in the Capitol Tower .................. 91 Ten Visual Cues for Your “Look” ..................... 93 Conversation Instigation ........................... 94 Ten Conversation Leaders .......................... 95 Sensitive Areas ................................... 97 Assumptions to Avoid about Anyone to Whom You’re Introduced ................................. 98 Complimentary Consideration ...................... 98 Remembering Names ............................. 100 Did You Drop That Name? ......................... 101 Business Cards ................................... 102 Working the Room ............................... 103 Hidden Opportunities ............................. 106 Practice Makes Perfect ............................. 108 The Fine Art of the Studio Hang ..................... 109 CHAPTER 6 Telephone and E-Mail ............................. 112 The Telephone ................................... 113 Sound ......................................... 114 Reflections of Power .............................. 115 Telephone Basics ................................. 116 Telephone Tracking ............................... 117 Cell Phones: Antennas of Satan? ..................... 118 Cell Phone Etiquette .............................. 121 E-Mail ......................................... 122ContentsNetworking Strategies for the New Music Business viiiCHAPTER 7 Creating Effective Tools of the Trade ................. 125 Press Kits ....................................... 126 The Folder ...................................... 127 The Cover Letter ................................. 127 A CD or DVD ................................... 128 The Bio ........................................ 129 Your Photo ..................................... 133 Full-Court Press ................................. 134 Credibility in the Credits ........................... 136 The Man in the Gorilla Suit ......................... 138 Extreme Strategies ................................ 139 Rejection ....................................... 140 Ten Thoughts on Overcoming Rejection ............... 141 Ten Reasons Your Calls Are Not Returned ............. 142 Web-Wise ...................................... 145 Do I Need a Web Site? ............................. 146 Additional Resources .............................. 151 CHAPTER 8 Live Venues and Ventures .......................... 153 Gigology 101 ..................................... 153 Creative Outlets .................................. 154 Alternative Venues ................................ 156 Inventing Your Own Show .......................... 157 Soft Ticket ...................................... 157 How to Make a Soft Ticket Show Work for You .......... 158 You Sounded Fabulous! ............................ 159 Ten Post-Performance Tips ......................... 159 Performance Peeves ............................... 160 Ten Commandments of Club Land ................... 161 Club Clues ...................................... 162 Soundman Scenarios .............................. 163 Scams ......................................... 164 Compilation CDs ................................. 166 Performing Rights ............................... 169ixCHAPTER 9 Success Stories .................................. 172 Jeffrey Steele: Country Craftsman .................... 173 Lindy Robbins: Late Bloomer ....................... 178 Luis Resto: Lost in the Music ........................ 183 Bob Malone: Road Warrior ......................... 185 Summary ....................................... 187 CHAPTER 10 Go Where You Wanna Go ......................... 188 Nashville ....................................... 189 New York ....................................... 193 Los Angeles ..................................... 196 Emerging Cities ................................. 200 All Over the Map ................................. 201 Music Conferences ............................... 201 15 Tips to Maximize Your Conference Experience ....... 202 World Beat ..................................... 204 Further Afield ................................... 205 CHAPTER 11 Defining Your Direction .......................... 207 Questions for Artists ............................. 208 Questions for Aspiring Moguls ...................... 210 Teamwork ...................................... 212 Management .................................... 212 When Do You Need a Manager? ..................... 213 What to Look for in a Manager ...................... 214 Do You Want to Be a Manager? ...................... 215 Your Law yer .................................... 215 Agents ......................................... 216 Your Publicist ................................... 217 Artist’s Responsibilities ............................ 218 Get a Job ....................................... 219 CHAPTER 12 It’s a Wrap ..................................... 221 Creative Confluence .............................. 221 Five Tips for Personal References ..................... 222ContentsNetworking Strategies for the New Music Business xBack Home ..................................... 223 Making It Happen Where You Are .................. 224 What Have You Been Given? ....................... 226 In Conclusion ................................... 227 Appendix A Resources ...................................... 229xiIntroduction Who you know, what you know, and who knows you: Every single deal I’ve ever seen go down in the music business has been the direct result of a personal contact. In this way, the music business is not that different from any other enterprise because people will do business with those whom they know, whom they trust, and who they believe will deliver what is required and expected of them under any circumstance. In many other ways, however, the music business is radically different from other industries. It’s built on a vibe; it’s tied to trends, fashion, and media; it communicates an intangible com- modity capable of mirroring profound emotions. What Is a Networking Strategy? Networking is communication—simple human interac- tion. Strategy is the art of devising or employing plans toward a goal. It follows that Networking Strategies are plans toward a successful career via personal relationships. Truth be told, it’s always a new music busi- ness—the most signiﬁ cant recent changes have been the merger of the major record companies, the rise of inde- pendent labels and artists, and the leveling of the playing ﬁ eld through the Internet. Although all of these changes are signiﬁ cant, success will still be determined by per- sonal relationships. I repeat: Every single deal I’ve ever seen go down in the music business has been a direct result of a personal contact. This book is intended as a guide to making your personal strengths and relationships with others work Networking Strategies for the New Music Business xiifor you. It’s about connecting to others who share your aspirations, energies, and enthusiasm, and allowing these collective talents to shine for all, whether you’re a professional or an aspirant in the music business: a songwriter, recording artist, musician, composer, music editor, music educator, music publisher, DJ, publicist, PR expert, entertainment lawyer, or if you plan on working with any of the above. Raging Rivers and Tiny Ants An upbeat, positive attitude, a sense that all will work out well in the world, and a drive to evolve, progress, and succeed in the music business are all attitudes that will light your path. Our destinies are self-fulﬁ lling prophe- cies and the positive energy we transmit via our music will return ampliﬁ ed and multiplied. That said, our ability to control the course of our speciﬁ c destiny may be questionable. I was in Nashville interviewing songwriter and vocalist extraordinaire Michael McDonald when he offered this analogy: “Imagine a raging river; down through the rapids comes a 100-foot-long log moving at incredible speed. At the front of the log is perched a tiny ant who looks out and marvels, ‘Man, I’m really driving this thing!’” Who Am I? I’m a music business survivor who has survived and ﬂ ourished through a career that has taken me from the hard scrabble bars of Ohio to the power centers of Nashville, London, Tokyo, New York, and Hollywood. xiiiFor the past two and a half decades I’ve made my home in Los Angeles where my career trajectory includes phases as a songwriter and musician, a manager and pub- licist, creative director, event producer, journalist, editor, lecturer, and author. I continue to invent new outlets that reﬂ ect my love of music and songwriters and to utilize and expand my knowledge in an ever-shifting ﬁ eld. I’m a strong believer that like the tiny ant in the story, we cannot make things happen; we can only put ourselves in a position where things will happen. Case in point: When I penned my ﬁ rst book, Networking in the Music Business , I was not an author; indeed, at that point I had barely published any articles. What I had was a pivotal position with a non-proﬁ t organization, a grow- ing list of stellar contacts, and boundless enthusiasm for the subject. Under the ministrations of a patient editor, I learned how to write a book. I was subsequently invited to travel across the U.S. and Canada to lecture at music conferences and institutions, but I soon ﬁ gured out that someone who was an expert on personal contacts in the music business would be best served by using these talents to advance his own career, rather than making a questionable living foisting his views, and his words, on impressionable readers. As creative director for the National Academy of Songwriters, I was honored to work with many of the greatest singer/songwriters in the history of American popular music: Joni Mitchell, John Fogerty, Tom Petty, Robbie Robertson, Gamble and Huff, Ashford and Simpson, Jackson Browne, and Burt Bacharach. I wrote, edited, produced, created, and made invaluable contacts.IntroductionNetworking Strategies for the New Music Business xivAlas, the destiny of non-proﬁ t organizations is a treacherous one, and after three years I departed my cushy corner ofﬁ ce on the 10th ﬂ oor of a Sunset Boulevard high-rise, and moved my operations to my home in the hills of the Los Angeles district known as Eagle Rock. Remember what I said about being in a position where things could happen? A continent away, at the Liverpool Institute for Performing Arts (LIPA), the college founded by Sir Paul McCartney, the head of music, Arthur Bernstein, dropped into the school library to ﬁ nd a book to read on a train trip. He grabbed mine. The next day he sent me a fax, inviting me to come to England to teach a one-week master class based on my book to LIPA’s graduating seniors. This turned into a ﬁ ve-year venture, and expanded my realm of international contacts, if not my appreciation for British food, immeasurably. Who Are You? Sadly, the people who need this book the most will never read it. You know them: they’re the ones who are too hip for the room; who bluster their way about, often using their aggression or belligerence to mask fears and uncertainties, always remaining clueless. I remember a call from a singer/songwriter in Arizona when the Networking book was ﬁ rst released. “All this network- ing is OK for some people, but I just want to stay in my studio, write songs, record, and get paid.” Me too! But the caller never told me how to get that gig. I suspect he didn’t know either.xvThe Power of Yes I learned long ago in the music business, when someone asks you if you can do something, the correct answer is “Yes!” I’m not talking about jumping out of airplanes if you’re afraid of heights or playing a classical toccata if you’re a speed metal guitarist, but within the realm of reason, the possibilities others see in us often exceed the limitations we see in ourselves. In order to do the gig, you have to get the gig; in order to get the gig, you have to understand the gig. If you aspire to a position at a record label, a publish- ing ﬁ rm, or a performing rights organization, you will seldom see these positions advertised in the paper or anywhere online. Why? Because they will be ﬁ lled by people from the inside of the business, never the outside. My career took another dramatic leap when a longtime friend, Ms. Ronny Schiff, VP of audio pro- gramming for Disc Marketing (now DMI Entertainment Networks), asked me to conduct an audio interview with the classic British rockers, the Moody Blues, for a program to be heard worldwide by United Airlines pas- sengers on The United Entertainment Network. Since then, I’ve conducted hundreds of interviews for United, speaking in studio to everyone from Leonard Cohen to Holland/Dozier/Holland to Brian Wilson and Rufus Wainwright. From legendary Rock Hall of Fame induct- ees to the hottest new band, it’s my pleasure to interview them all. Had I not known Ronny socially, this incred- ible opportunity never would have arisen. Over time, I’ve become the “go-to” guy for song- writer-related mediums. In print, Music Connection IntroductionNetworking Strategies for the New Music Business xvimagazine, a bi-weekly West coast music publication, has been a welcome home for my prose, as I contribute the column, “Song Biz,” and a proﬁ le of a songwriter, com- poser, or singer/songwriter to every issue as well as cover stories and feature interviews. I estimate I’ve interviewed over 200 hit makers for this magazine. I write and inter- view for all three U.S. Performing Rights organizations, ASCAP, BMI, and SESAC, and I’ve been conducting on- camera interviews for ASCAP’s Pop, Film and Television, and Rhythm & Soul Awards, quizzing, on camera, every- one from Elvis Costello to Clint Eastwood. I love to say yes. When ASCAP, BMI, or SESAC asks me to moderate a conference panel, I never ask, “How much does it pay?” Whether or not there’s a check involved, I’m always glad to be of service. The visibility of these endeavors, the introductions to hit writers, and the credits are of far greater value to me than a few hun- dred dollars. Dedicated to the Gig Sometimes when people react to how busy I always seem, I have to remind them of this truth: When you don’t have a job, you have to work extra hard. I had to invent my career because it never existed; it is singular to me, but it’s the people within my exten- sive world of contacts that have made it possible. I have always made it my creed to deliver above and beyond what was expected and to do it with joy. In the real world—that is, outside the entertainment sphere—we often encounter an attitude that is much less than 100 percent committed. At the store, the post ofﬁ ce, the car xviiwash, or wherever we interact with others, don’t you sometimes have the feeling that those who work there are simply going through the motions—sleepwalking until quitting time? The music business is not like this . It’s made up of passionate, energetic, super-charged individuals who dedicate themselves totally to their craft and cause. Executives well into their ﬁ fth decades begin the day with a personal trainer or a ﬁ ve mile run before strap- ping on the headset for a round of calls to the East coast. Successful managers are combing the clubs on the Sunset Strip, checking out bands and artists until the wee hours, then making it to the Farmer’s Market for a power breakfast. Recording engineers are taking advan- tage of free studio time to develop their own projects. Songwriters are collaborating for hours perfecting a line. Indie bands are scouring the hinterlands in vans, sleep- ing on fans’ ﬂ oors, and enlisting street teams to spread the news. They’re not looking at their watches, waiting for quitting time, or waiting for the proverbial “some- thing to happen.” In the changing course of our business, the only con- stant is our commitment to our career and the support of those around us. In the context of these pages it is my sincere intention to offer options, possibilities, afﬁ rma- tion, inspiration, and the occasional harsh slap of reality. Be True to Yourself I suspect that you, dear reader, already have many of the tools of communication to help you succeed. You’re interested enough in honing your people skills—and IntroductionNetworking Strategies for the New Music Business xviiiunderstand how vital this is—that you’ve chosen to read this book. Please note: I never encourage anyone to be anyone other than who they are. Networking Strategies does not involve transforming yourself into another entity, becoming some manipulative, reptilian creature or disguising yourself in any way; rather, it’s about tak- ing the most positive aspects of yourself and projecting them to others. I’d like to conclude this Introduction with a brief list of precepts that deﬁ ne my overall philosophy. Talent, information, and ability are all necessary ingredients for developing a career, but “people power” will ultimately determine your success. Precepts of Networking Strategies 1. Be the person others want to help succeed. 2. Your objective is a long career; play a long-range game. 3. Treat everyone with equal respect. 4. Understand others, not only their words, but emotions. 5. Fame and fortune are not synonymous. 6. Your happiness in life is not dependent on either of the above. 7. Change is good. 8. At the crossroads of technology and show business is opportunity. 9. Play the game you truly believe you can win. 10. Project yourself with genuine, positive energy.1CHAPTER 1 Personal Paths in the Music Business Every networking trick in the book will not help you if you do not have the goods. I don’t claim to be able to improve your chops as a musician, your word ﬂ ow as a songwriter, or your business acumen as a music biz whiz. However, if you have the necessary talents and con- tinue to develop them, you will ultimately ﬁ nd a way to express yourself and build a viable career. As I mentioned in my Introduction, my personal path in the music business began in my hometown and ultimately led me to all three music capitals and to Europe. As a boy, I dreamt of rocking stadiums, endless accolades, unfathomable riches. As a struggling musician dealing with shady club owners, elusive agents, and bare- bones tours in rusted out vans, I kept this image in my mind, but it grew fainter and was replaced by another image: a signpost inquiring “What talents have you been given and what are you doing with them?” It’s a deep question. What do you think you were put on this earth to do?2The Kind of Person... The most powerful character trait you can possess in the music business is being the kind of person others want to see succeed. There is no substitute for this quality and no way to manufacturer it synthetically because it’s an inner strength. To be effective, successful interaction in the music business must beneﬁ t both parties equally. This con- cept is based on the radio call letters “WIFM,” which is broadcasting the question, “What’s in it for me?” Fortunately, if you’re just beginning your career, you probably have strengths that may not be immediately apparent to you: for instance, your level of enthusiasm and power of potential. As we progress in our careers, sometimes the joy of creating music, or being around those who do, becomes obscured or diluted. Meeting someone who is energized about what they’re creating and who is on an upward career trajectory because of it, can be inspiring. This is one of the reasons I enjoy teaching and lecturing, because it gives me special opportunities to meet those who are coming up. And make no mistake: The music business thrives on new blood. Not everyone in the music business is like this, how- ever. I have longtime friends in the industry who seem to have disconnected from cultivating this quality, prefer- ring instead to work only with those with whom they’ve worked over the years. In my opinion, this leads to stag- nation. I feel that at any given moment there might be an airplane landing at LAX with someone getting off of the plane whom I should meet. And I probably will.Networking Strategies for the New Music BusinessChapter 1 Personal Paths in the Music Business 3Assessing Your Strengths So if you have enthusiasm, are the kind of person oth- ers want to see succeed, and believe that a life in music is your calling, how do you proceed? First, what do you love to do most? Second, what are your skill levels? Knowledge-based skills are generally acquired from education and experience. These include computer skills, languages, and technical or musical abilities, to name a few. Transferable skills are portable skills that you take with you, such as communication and people skills, analytical problem solving, and planning. Equally important, personal traits are your own special qualities, which can include being dependable, ﬂ exible, friendly, hard working, expressive, formal, punctual, and a team player. Songwriters Are you capable of creating words and music that move a wide audience? Are you directing your energies into your songs and, at the same time, ﬁ nding outlets for your music? Remember that what exists at the core of your songs—the intent and belief—are the qualities that resonate the strongest. By accepting special songs into the rareﬁ ed stratosphere of hits, however, buyers of music continually remind songwriters, “Don’t write about your life—write about mine .” Often, experiences that are the most personal are paradoxically the most universal as well. Songwriting is all about collaboration. It’s no secret—just look at the Billboard charts: co-written songs Networking Strategies for the New Music Business 4rule the marketplace. How and why these collaborations exist—and what makes certain combinations work—are subjects of strong opinions, heated debate, mercenary judgments, and a certain amount of cosmic songwriter juju (mystical beliefs) . The trio of genres that currently comprises the majority of record sales—R&B (including hip-hop, which often has lists of collaborators because of the use of samples), country, and pop—are all over- whelmingly dominated by groups of writers. Choosing the right partner, or partners, is probably the most cru- cial decision a songwriter will make. How do you meet collaborators? If you live in a music capital, you have the advantage of endless classes, workshops, panels, and seminars. If you live outside of New York, Nashville, and Los Angeles, you may have to work harder, but it’s still possible to make contacts. I’ll address the best ways to do so later in the book. Networking Strategy for Songwriters Songwriters are sometimes indistinguishable from the public at large. Songwriting organizations in your area are a great way to make local contacts. Online, check out www.justplainfolks.com. Musicians The music business is the most cooperative of endeavors. Sure, maybe you can play solo or perform exclusively at karaoke bars, but sooner or later you’ll need to include other players to expand your sound.Chapter 1 Personal Paths in the Music Business 5Playing in a band can be a profoundly challenging experience and, of course, can be equally rewarding. Some bands in the history of pop music, such as The Rolling Stones and U2, are long-lived. Most often, how- ever, a band will be a unit that you perform with for a short time until you leave or the band breaks up, and you continue on your way. Networking Strategy for Hanging Out Your local music store is a great place to interact. Ask the clerks for advice; they’re probably players themselves and totally “plugged in.” Post ads online or in local papers to make contacts. Sit at your favorite coffeehouse with a copy of a guitar, bass, or percussion magazine prominently arranged on the table and see who begins talking to you because of it. Wear T-shirts that display the logo of music manufacturers. Music Biz Pros: Aspiring Moguls The music business might be viewed as a pyramid, with large numbers of people and resources supporting the tiny fraction of artists who go on to be hugely successful. If you work in the business, you must adjust as it transforms itself and develop new skills to go with the ﬂ ow. In many ways, if you’re in a support position in this business, then you are possibly in the best position to ascend in the industry. I recall being in a class on artist management at UCLA Extension (a great place to meet people, by the way) observing a panel of eminent lawyers, agents, managers, and record execs, when one of them stated ﬂ atly, “The only people who have long careers in the music business are sitting up here.”Networking Strategies for the New Music Business 6Networking Strategy for the Energetic but Economically Challenged Volunteer to help coordinate a music conference or event. You’ll be in a position t o make valuable contacts from the inside. However, never let your primary responsibili ty slide; you are not there simply to hype yourself, but to help the event. Still, it’s a tried and true way of meeting others. Technical Triumphs Teaching in colleges, I encounter some students who are full-ﬂ edged musicians but who don’t play conventional musical instruments. The tools of their trade are sam- plers, ProTools, and similar studio gadgetry. DJs and remixers are experiencing unprecedented prominence in the music business. In Europe, dance music rules, and in the urban centers of the U.S., the latest trends are often delivered by club savvy DJs. The palette of creation has been widened dramati- cally by technology and sampling, and this has been a boon for many songwriters. It’s not uncommon to see a writer who penned an R&B chestnut in the late ’ 60s or early ’ 70s being honored as a co-writer for Song of the Year by the performing rights organizations because a sample of the song was used in the latest Beyonce smash. Networking Strategy for Studio Wizards Studio and technical people are generally more at home behind the mixing board than in social situations. I recently lectured to a group of audio engineering students at a college in Sacramento who had requested that I help polish their networking skills for the Audio Engineering Society convention in San Francisco. Having worked with some Chapter 1 Personal Paths in the Music Business 7of the most prolific engineers in Los Angles, I’ve observed that one common trait is a sense of quiet assurance, sympathy, and concentration. If engineering or studio work is in your future, you can’t go wrong with studies of basic psychology. In addition, the most effective engineers I know are also proficient musicians. Born to Succeed I always ask the students to whom I lecture where they rank in birth order. This has become a new area of study and is an intriguing barometer of personality. In a collaborative situation—particularly in a band—birth order can make a huge difference in the interaction of the various personalities. The oldest child often has the weight of expectations placed on him by his well-meaning parents. Oldest chil- dren are often moody and occasionally lack sensitivity. They can be intimidating, particularly by pushing people too hard or refusing to take no for an answer. Oldest children gravitate toward positions of responsibility: corporate heads, doctors, ministers, and band leaders. Almost all of the U.S. presidents were either the ﬁ rst- born child or the ﬁ rst-born son in their family, and all but two of the ﬁ rst astronauts sent into space were ﬁ rst- borns, and the other two were “only children.” Often the eldest is also responsible for his or her siblings, so they learn to give orders. In the music biz, many producers and recording artists are oldest children. Middle children are often mediators, adept at bridging opinions. Middle children have the ability to see both sides of the story, to empathize with a diversity of opinions, and often to peacefully resolve potentially Networking Strategies for the New Music Business 8disruptive conﬂ icts. Middle children may feel they have the most negative lot in life and are less than special when, in essence, they have the best of both worlds. Middles tend to make friends easily. Once they have them, they often work harder to keep them. They’re usually good at keeping secrets, too. Middle children may gravitate to positions as musicians, lawyers, or artist managers. An exercise that usually impresses classes I teach is when I correctly predict that the majority of the students are the youngest children in their families. The reason is quite simple: Youngest children, to compete with their older siblings, often use clowning or other entertainment to call attention to themselves. The down side is that they may expect others to make their decisions or take responsibilities, but they are many times overachiev- ers, using every means at their disposal to compete with their older siblings. Later-borns tend to be more creative and much more likely to reject the status quo. Many per- formers are youngest children. Only children are often self centered, in their younger years not as effective in relationships with other children, but more at home with adults, so they can often be conﬁ dent and well spoken. Only children are usually not afraid to make decisions and are comfort- able with their opinions. They generally like things to be organized and are often on time. Often they can be the most creative of all. The above scenarios are not meant as empirical scientiﬁ c facts. Moreover, any character trait that is nega- tive can certainly be recognized and muted as need be.Chapter 1 Personal Paths in the Music Business 9Reinvention In biology (not my strong suite, I assure you) we learn that cells mutate and change in order to survive. A suc- cessful music business career should be emotionally fulﬁ lling and hopefully a long one, but what we want as children—glory, riches, etc.—is generally supplanted at some point by a desire for stability, contentment, and a sense that we’re doing something right in the world. The music business is not, and has never been, a stable environment. Changes are sweeping and huge. Artists have become the most disposable part of the equation, yet paradoxically, it is the artists who drive the business and remain at its center. Around them swirls every imaginable participant, from the lawyer who signs them, to the makeup artist who makes them look good for the camera, to the roadie who changes their guitar strings. The choices of careers in the music business are incredible. The outside public sees only the artist, but we as music business insiders know that there are legions of hard-working, creative souls who are propping them up and propelling them forward. So what happens to artists after they exceed their 15 minutes of fame? They might produce records, write songs, develop talent, open recording studios, or become record label executives. Remember, they’re already inside the business, so they can move laterally if they so choose. Long-term practitioners in the music business will most likely have more than one career. Beginning as Networking Strategies for the New Music Business 10musicians, love and understanding of the music will create more options. Having spent many years in the trenches as a songwriter and musician, I know what its like to call my answering machine and sing a fragment of a song I don’t want to forget, to have a song placed “on hold” interminably, to have a track with a major artist be taken off the record a week before its release. Most important, I know the miracle of a seamless verse and a melody that seems to have written itself. This experience is invaluable in interviewing songwriters. I consider myself a songwriter, even though I no lon- ger write songs. I prefer to express myself now through prose, which allows me many more words to say what I want to say. But when I write prose I still think as a songwriter: I concentrate on an intro, a second verse that moves the story foreward, and a bridge that takes the message upwards, and I always remember the songwriters mantra of “Don’t bore us, Doris, get to the chorus.” Signs from the Universe I had a recent conversation with a young man I’d met when he was an electronica composer/performer in Los Angeles, who informed me that he is now pursuing his new career as an actor. “The universe sent me signs,” he told me. He was paraphrasing words he heard me deliver at a lecture, and ﬂ attered as I was that he could quote me, it inspired me to revisit the message behind this directive. At one point in my life, worn down by performing in clubs, I decided to take a respite from playing live music. All well and good, but I still needed to pay the bills. I Chapter 1 Personal Paths in the Music Business 11applied for a low-level part-time public relations gig and, as the saying goes, the veil was lifted—I realized that I had an untapped reservoir of talents and abilities. I sub- sequently returned to the music business on the other side of the desk with much greater reward. The universe had sent me a sign. Years later, I was managing Keo Woolford, an artist from Hawaii. Despite the power of his charisma, song- writing, and conceptual abilities, we were having a rough time getting him signed to a record deal. However, we were approached by a prestigious Los Angeles theater who inquired if Keo would be willing to write and per- form a one-man piece based on his Hawaiian origins for a segment of a multi-artist performance. Although he was skeptical (“But I’m a singer,” I remember him say- ing), I convinced him that this was an unprecedented opportunity. The show was a smash. The Los Angeles Times theater critic raved, the show was held over, and suddenly the young man who thought he was a singer became a sought-after actor. A nice coda: I saw him perform to an audience of 1,500 starring in a revival of The King and I at the London Palladium. He now lives in New York and continues to break new ground as an actor and a writer. And, yes, he writes songs. He also contributed to a project nominated for a recent Grammy for Reggae Album of the Year. Things that happen of signiﬁ cance in the entertain- ment world often happen naturally and easily. There is no science involved—it’s a vibe; they just feel right. Your instincts will tell you—if you’ve been trying to knock down doors for years with your songs and your music, maybe it’s time to step back, be quiet, and listen. Networking Strategies for the New Music Business 12The Commitment Key One situation that often comes up in the course of my lectures and consultations is that I meet artists or song- writers who deﬁ ne their career trajectories this way: “I was a professional musician. I was out of it for awhile. Now I’m getting back into it. Do you think I have a chance to make it?” Let’s deﬁ ne our terms. Does “make it” mean to obtain a record deal, to make a living as a musician or songwriter, or to ﬁ nd a way to share something special with an audience? If it’s the third alternative, the answer is probably “Yes.” If someone is working a full-time job and support- ing a family and has a fully developed career outside of music, she can probably write songs in her spare time and play weekend shows, but will her future be compro- mised by her present level of comfort? Recording artists tend to be signed at progressively younger ages. Who else could live in a van, tour across the country eating frozen burritos at 7-11 stores, survive on three hours of sleep on a fan’s ﬂ oor, and dedicate their entire existence to living and breathing music? They’re out there in America touching audiences. And as a rule they don’t have wives or husbands and kids at home needing to be fed. In my experience, people who are successful in the music biz don’t have other options. They don’t choose music; the music chooses them. While it’s certainly not my place to tell people what they can and cannot do, I truly believe the music business will never be a canoe Chapter 1 Personal Paths in the Music Business 13that we can blithely enter and exit at will. It moves down a roaring river. When we step out it travels on torrents, far beyond our reach. And you can never get out of a business that you were never really in. At some point, you’ll have to grab that paddle, face the rapids, and push off. Networking Strategies is about having the fortitude and foresight to weather the changes, create a niche only you can ﬁ ll, and establish a real audience for your music and a bullet-proof list of close personal contacts. Those of us who stay in the business have often made tremendous sacriﬁ ces to do so. Maybe we’ve watched while members of our peer group have taken lofty cor- porate positions, purchased palatial homes, and made six-ﬁ gure incomes. But keep in mind that we can never compare our lives to that of any other person. We’re each singular—and we have only one life to live, our own. If the music chooses us, then it’s up to us not only to ﬁ nd a way to survive, but to thrive. Time Has Come Today There is the concept of an artist, and the concept of an artist in his time. Timing is crucial to wide-scale artis- tic acceptance. Look at the famous historical model, the Beatles. The group was introduced in the U.S. at a critical time—President John F. Kennedy had been assassinated, and the country was undergoing severe depression and anxiety. What better to dispel the gloom than four sunny boys from Liverpool brimming with hope and melody?Networking Strategies for the New Music Business 14The biggest artists often express values in direct opposition to the times in which they live. Elvis rose during the Eisenhower era. During the strait-laced, con- servative Wall Street values of the Reagan administration, the omni-sexual antics of Madonna provided a welcome counterpoint. During the optimism of the Clinton administration, dark grunge ﬂ ourished. Political hip- hop, of course, and the melding of metal and rap have ﬂ owered under the political climate of George W. Bush. This is not to say that you should alter your musical/ artistic approach to take advantage of the sociologi- cal edge, only that you should be well aware of it. I was recently on a panel at the University of Southern California (USC) with Marshall Altman, A&R, Columbia Records. “The more you chase the music business the further away it becomes,” he shared. What Marshall meant was this: If there is a current trend, and you reinvent yourself in an attempt to be a part of it, by the time you’ve written songs and recorded them and costumed/pierced/tattooed/dyed yourself to conform, another new trend will have supplanted what you’re trying to emulate, and you’ll look cheesy and out- dated. Worse, you’ll have no credibility, since what you were trying to portray in the ﬁ rst place wasn’t even you. The second you see a bandwagon, it’s too late to jump on it. Pop music is cyclic—if you do what you believe in, eventually the cycle will come around to you. Chapter 1 Personal Paths in the Music Business 15Summary If creativity doesn’t have an outlet, a path, it stagnates at a dead-end. True creativity is not deﬁ ned simply by the ability to create art, but in divining outlets for it. It’s through our interactions with others as a part of a community that we begin to modify and monitor our own success. As our contacts move up, we also rise.16CHAPTER 2 The Modern Music Business The modern music business reinvents itself with blind- ing speed, and those of us who stay abreast the changes and are adaptable to new technologies, new genres of music, and new artists can always invent new methods of using our talents. In this chapter you’ll meet some key industry players who have not only weathered these changes but have turned them to their advantage. Transmission Is Secondary From wax to digital transmission, the music business has always been in drastic technological ﬂ ux. At a lecture I attended in Liverpool, Sir George Martin related that when he began his career, weights were dropped from the ceiling and the resultant motion was what made wax mastering discs go around—machines were too unreliable. Sir George is now a principal owner of AIR Studios, a facility that boasts satellite technology enabling music recorded on their sound stage in London 17to be immediately sync’d to picture in Hollywood. It’s a long way from the post-war ropes and pulleys of the past. CDs, iPods, BlackBerries, ring-tones, and whatever comes next is not what this book is about. As drastic as the changes in technology may seem, what is vital to understand is the power of the people who make the music and run the music business. It’s an arena in which the wildcard often comes into play, and something that is totally unexpected, and real, breaks through. Expanding and Contracting Genres If artists are willing to do the work, the correspond- ing good news is that it is possible to ﬁ nd an audience for almost any type of music. New genres are con- stantly being invented: from emo to children’s music, Americana to electronica, and beyond. Niche markets make it possible for literally any genre to ﬂ ourish, but like any other commodity-based business, you have to locate the audience of buyers for your music. In recent years, hip-hop has moved from underground street music to dominate the mainstream. Rock in all forms will always have a place, and its convergence with hip- hop via creative “mash-ups” and new styles that merge the intensity of metal to the urban verbal expression attract fans of both styles. Both rock and hip-hop are people’s music. Neither rock nor hip-hop is a conservative form; their shared roots are in outlaw cultures, but over time both have been appropriated by the mainstream. Both forms are decidedly global—you can even hear Japanese Chapter 2 The Modern Music BusinessNetworking Strategies for the New Music Business 18and Korean rappers emulating the gangstas of South Central Los Angeles. Pop music will always have a place in our pantheon of styles. Currently the strongest market for pop is with “tweens”—that is, young listeners between the ages of 7 and 12 who represent a huge buying demographic. This information is not lost on Disney and the creators of television programs who feature music geared to this burgeoning demographic. Country music was ﬂ ying in a huge bubble back in the ’90s that subsequently burst, leaving many pala- tial ofﬁ ces vacant along Music Row. The radio market remains huge, however, and the current crop of new country stars, raised on rock, is capable of generating enthusiastic live audiences for their concerts. Praise-based music, contemporary Christian and Christian rock, are two genres that are experiencing enormous growth. Dance music, more popular in the urban centers in the U.S., maintains enormous inﬂ uence in Europe and the U.K. The New Music Entrepreneurs Sometimes it seems like everyone has entered the music business. You can’t go for a cup of coffee at Starbucks without seeing the latest CD for sale by this caffeinated conglomerate. The success of Ray Charles’ Genius Loves Company was due in no small part to 1.6 million in sales at the coffee counter. Putumayo Records was founded when a clothing store in New York began putting together world music compilations to play for shoppers. 19Soon, customers were begging to purchase copies of the music, giving birth to a proﬁ table record label. There are many examples of music creators who have turned a handsome proﬁ t by following their passions, often far from the beaten track, and I’d like to share some of their experiences with you. Music for Kids Music has always been a part of Mae Robertson’s life. As an educator in New York who holds a masters degree in Early Childhood Development and Education, she often used music to calm her students. After the birth of her ﬁ rst child, Mae left teaching and opened a success- ful chain of natural-ﬁ ber clothing stores in Westchester County, New York. One night, her friend Don Jackson overheard her singing the traditional folk song “The Water is Wide” while rocking her baby to sleep. When he suggested that Mae record an album of traditional songs geared for families, a new career path was revealed. Her debut, All Through the Night, struck a resonant chord in a public eager for positive, family-oriented music. Since Mae had never promoted a record before, she wasn’t aware she was breaking any rules when, with winning enthusiasm, she would naïvely call magazine and newspaper editors and say, “You’re going to review it, aren’t you?” Surprisingly, they did, and the initial CD sold over 10,000 copies in its ﬁ rst year. Eventually, Mae Robertson sold her clothing stores and dedicated herself to her new career, founding a record label called Lyric Partners.Chapter 2 The Modern Music BusinessNetworking Strategies for the New Music Business 20At the center of an extensive network of signiﬁ cant songwriters, Mae began championing them with the founding of “The Troubadour Series,” an ongoing concert program now in its fourth season featuring a slate of nationally touring acoustic artists. Staged at the WorkPlay Theatre in Birmingham, Alabama, these performances are intimate experiences for all fans of the singer/songwriter genre. Whether she’s singing sweet lullabies for children or creating sophisticated words for adults, Mae Robertson’s personal vision is the mortar in her artistry. “I want listeners to get lost in the songs with me. Through the beauty of the melodies and the truth in the lyrics, I want to give back dreams.” Soundtrack to a Fast Track Anytime music is played in any environment—a super- market, a mall, a gym, onboard an aircraft—someone has made a conscious decision to select it. Major record labels are very hip to this: They purchase spots for their artists on domestic and international ﬂ ights, in cloth- ing stores, and in movie theaters. The best part of this trend is that it’s given the consumer more occasions to hear music, and it’s given those who program music— like myself and the companies I work for—more gigs. Corporations are also well aware of the power of music to positively affect buyers, and they use it in a variety of methods far more sophisticated than the simple jingles of the past. In 1997, the year of its founding, all of Disc Marketing’s employees could have ﬁ t neatly into one 21compact car. Today, the Pasadena, California–based music and new media marketing company has over 60 employees housed in a lavishly refurbished Old Pasadena, California, ﬁ rehouse. The location inspired the name of the adjoining studio, Firehouse Recording, the West Coast’s largest ProTools facility. Tena Clark, a gold and platinum songwriter and record producer, founded the company that now domi- nates its niche. Through audio, video, new media, print media, and especially music, Disc Marketing (now DMI Networks) deploys ingenious methods for companies to enhance and promote corporate branding and for mar- keting products to consumers through customized CDs, enhanced CD-ROMs, and CD packages. In her company’s ﬁ rst month of operation, Clark landed a deal with American retail icon Sears, Roebuck & Co. It was just the beginning; Disc Marketing has since created strategic music and entertainment partner- ships with the most recognizable corporate brand names in the world, including Coca-Cola, United Airlines, Toyota, Condé Naste, General Mills, Target, Victoria’s Secret, Proctor & Gamble, Princess Cruises, and Mrs. Field’s Cookies. In 1998, Disc Marketing secured an unprecedented contract to produce all in-ﬂ ight audio entertainment for United Airlines, now enjoyed by over 19 million monthly travelers worldwide. The company also provides in-ﬂ ight audio entertainment on the presi- dential and vice presidential planes, Air Force 1 and 2, United’s domestic carrier, Ted, and Regal Cinemedia. As Disc Marketing continues to expand, new divisions (including a record company and a music library) enable new campaigns, new clients, and new Chapter 2 The Modern Music BusinessNetworking Strategies for the New Music Business 22technologies. However, music is still the company’s most treasured resource. Tena Clark recently produced the Grammy-nominated album Church: Songs of Soul and Inspiration with Patti Labelle, Chaka Kahn, and Dr. Maya Angelou, plus Dionne Warwick’s ﬁ rst ever Christmas album. “First and foremost in my heart I’m a songwriter,” conﬁ rms Clark. It may have all begun with a song, but eight short years later Tena Clark and Disc Marketing are orchestrating a global chorus of commerce, art, and vision. Internet Notions As well-noted in all quarters, the rise of technology and the digital transmission of music have radically changed the industry as we know it. The Internet now makes it possible to ﬁ nd a worldwide market for music. Theoretically, an independent artist can have the same online leverage as a major pop act. Hard-disc based recording systems, notably the industry standard ProTools, make it possible to record a seamless CD in the sonic solace of a spare bedroom and, in theory, to make it available via the Internet and send it out digitally without ever having to leave the house. According to platinum producer Glen Ballard (Dave Matthews Band, No Doubt, Alanis Morissette, Polar Express ), ﬁ ltering artists is a ﬁ ne art, and he’s not hearing ﬁ ne artists on the Net. “There have been no hit acts off of the Internet. Not one,” he insists. “That whole myth of, ‘Just wait, we’re going to get all of this great music from out there.’ There’s not one act that has penetrated. There’s no ﬁ lter. People trying to do what we do, 23identifying talent—most people aren’t really going to be able to do it. That ﬁ lter is getting removed. You have a lot of mediocre stuff.” Mediocre stuff is right. As a journalist, I receive more than 35 independent CDs and press kits a week—every week. Unless something comes to me qualiﬁ ed, which means I’m expecting it, or I have previous knowledge or a relationship with an artist or his representatives, I have no choice but to ignore them. There’s simply too much music to absorb, and I have to save my ears for what I have to listen to. Simply having produced a CD is not enough to qualify an artist for media coverage. Positioning like that cannot be purchased. There has to be outstanding music, a real audience, and an angle. Back in the days, a manager, a producer, a label— someone had to believe in an artist’s talents before he proceeded in his career. No longer. Fish or Fowl? Deﬁ nitions need to be assigned whether an artist is inde- pendent or simply unsigned. Case in point: The Bellrays from Riverside, California. With a 14-year international career that could be the envy of many a major label act (let alone an independent one), the Bellrays possess on- stage charisma, unwavering conviction, and a profound ability to impart this belief to their audiences. But the Bellrays usually don’t send out free promo copies of their CDs. Anyone is welcome to attend a show and purchase their music.Chapter 2 The Modern Music BusinessNetworking Strategies for the New Music Business 24It’s an uncommon stance in a hype-happy town. “We had to do that because we were dealing with a bunch of idiots,” says the Bellrays’s Tony Fate. “It was too many condescending phone calls from some A&R guy who thought we were going to jump on his dick because he called us up. This guy read something someone wrote because it was thrown on his desk, opened to that page, and he says, ‘Yeah, send me a tape.’ Well, why? How many tapes do you get a day? Where did you read about us? What are you going to do with it? ‘Well, if you don’t want to send me a tape forget it.’ Sure, forget it.” Bassist Bob Vennum adds, “We only print up a thou- sand of these things. If we give away 10 of them it’s giving away money.” And singer Lisa Kekaula continues. “The album is our baby. It’s not some promotional tool for the band. It’s a labor of love, hurt, pain. And if I’m giving it away you better be worthy of it.” But as Fate reveals, the band is certainly open to the right kinds of relationships. “The real people are out there. We set up the net, leave the holes for them to trickle in, and then talk to people who have a plan, who really like the music. We will talk to anyone with an open mind and a brain—at least an intelligent line. But we’re not getting a free ride, so why should anybody else? Why should we let somebody who has never seen us, [who] probably won’t show up, be on a guest list when he’s got a budget that will pay for his ass to come? It’s not even coming out of his pocket. Why should we give him a CD when we’ve got people who come to the shows? I’d rather let them in for free and have him sit outside.” When it’s time to cross America, The Bellrays are four smart professionals in a white Dodge van. “Like a church van for a small church,” explains Kekaula. They 25have buzzed Austin’s SXSW, toured with Nashville Pussy, and shared stages with artists like Wayne Kramer, Rocket From the Crypt, and The Muffs. In addition, Tony Fate designs promo materials, CD jackets, and T-shirts. “I know there are bands who don’t worry about those things,” says Kekaula. “Those are more the dinosaurs now than the norm. The bands who are getting that permanent height have been on the road, have been handling things on their own.” But it comes back to the audience connection. “We’ve got to have a lot of foot soldiers out there working for us because we don’t have publicity money. The reason people know about us is that we’ve been out there working on it.” Key Networking Strategy for Artists and Bands Touring locally and regionally is still the best way to get the word out about you, your band, and your music. Success stories come from everywhere: Omaha, Akron, Sacramento. If you can make a strong enough impression in your home market, believe me, the record labels will find you—that’s what they’re paid to do. A Mosaic of Mediums With the well-publicized downturn in CD sales comes a rise in visual mediums that devour music: network and cable television, video games, and independent ﬁ lm. The explosion of ﬁ lm (independent and studio releases), network and cable television, and video games has spawned more outlets for new music than you can shake a Stratocaster at. This is a good thing because for an independent artist or band, having a song featured on a network television show or in a high-proﬁ le ﬁ lm Chapter 2 The Modern Music BusinessNetworking Strategies for the New Music Business 26delivers much more than just a sync fee and performance income; it is an indelible sign of media credibility. For emerging artists and bands, having a song in a ﬁ lm or on a television show offers crucial exposure to a key market. The sync fees can help with substantial monies, and back end payments from a performing rights organization (ASCAP, BMI, or SESAC, for exam- ple) can represent a considerable sum for songwriters. What about songs for television? “The expectation is much lower. It’s only recently that the song aspect has come in and made it a pop product,” states Robert Kraft, chief executive of Fox Music. “Everything is such short- hand. Television is now a vehicle for delivering songs and a demographic.” Marc Ferrari of the Los Angeles–based MasterSource came into music for picture from the standpoint of a musician/recording artist. “I got into it semi-accidentally,” he admits. “I was a major-label recording artist with Keel. We did ﬁ ve albums, and I had another band on MCA. When the grunge thing happened, suddenly it wasn’t hip to be a guy that had success in the ’ 80s.” “I had a song used in a small, straight-to-video ﬁ lm. They ended up using it, giving me a screen credit, and giving me some money, and I was like: ‘Wow! How about that?’ I hadn’t thought about providing music for ﬁ lm and TV up to that time. I started representing my own material, and when I would be asked for something I didn’t know how to write, like reggae, country, or rap, I turned to friends of mine. That’s how it started: I rep’d my friends.”27MasterSource has placed over 1,000 songs in over 50 movies, including As Good As It Gets, Fight Club, Girl Interrupted, and The Sixth Sense . MasterSource TV cred- its include Ally McBeal, Buffy The Vampire Slayer, ER, and Friends . Ferrari is very proactive in seeking out new talent. “I found a lot of writers through reviews in [Los Angeles– based magazine] Music Connection ,” he offers. “And I took out ads also. I still read every issue, demo and con- cert reviews, and we ﬁ nd so many talented artists right here in our own backyard. Taxi [the independent A&R company] also. They’ve found some great things for us.” “I don’t want to discourage people from following their dreams and pursing major record deals,” concludes Ferrari, but with the Internet and everything else, a major label deal isn’t the end-all it used to be. Film/TV is growing; we have more channels, shows, and it’s more music intensive than ever before.” Networking Strategy for Songwriter/Artists If you want to venture into the world of music for film and television, create two mix es of your material, one without vocals. This way, if a scene calls for music under the dialogue, you have an option. Radio Is Our Salvation Major radio has never been amenable to independent or emerging artists. Back in the early days of rock ‘n’ roll, a labyrinthine system of payola was in place to assure Chapter 2 The Modern Music BusinessNetworking Strategies for the New Music Business 28that only select records would be played on radio. The limitations are imposed today by the consolidation of the airwaves by one monolithic corporation, Clear Channel. The airwaves are free and belong to the people, but they are severely regulated by federal decrees and the FCC. Fact: Radio is an integral component to expose new artists to fans and to uplift local acts to regional and national levels. Accordingly, it is extremely difﬁ cult to obtain signiﬁ cant airplay for independent artists. Successful radio promotion revolves around making and managing relationships—who you know and how you know them, making the right contacts, presenting the right pitch, and designing the best spin to convince a station that it should be playing your music. Radio pro- motion is, therefore, an art that demands a certain style that most artists neither have nor desire to cultivate. True, speciﬁ c artists from Fugazi to Phish have achieved monumental record sales without radio, but they are the exceptions. And you probably can’t do it alone: Radio is an area where you will need to enroll the assistance of an expert, someone other than you or your manager who is speciﬁ cally responsible for radio promo- tion. Therefore, it may be time to hire an independent radio promotion company. “The best way to get some interest on an indie release is still to have one real success story in one market. There are still a lot of labels, particularly Universal and Atlantic, who are always checking BDS and SoundScan, looking for potential pickups,” says Sean Ross, VP of music and programming, Edison Media Research (and former editor in chief of Billboard’s radio magazine, Airplay Monitor . “Even 20 spins for a week or two at one 29chart reporting station will at least get your record lis- tened to by somebody in major label A&R. At the outset, you’re better off building your base in one market and staying in touch with the gatekeepers in that market yourself.” “In the absence of an organic story, what you’re prob- ably going to get by putting promoters on a record is the airplay that a given promoter can guarantee on any record at stations where he has a good enough relation- ship to get anything on the air. That’s enough to put some spins on the board, perhaps [and probably in over- nights]; probably not enough to propel a record to any signiﬁ cant activity,” says Ross. It is generally acknowledged that radio promotion should be aligned with other career moves, merchan- dising, and touring. Common sense might dictate that an artist doesn’t need a promoter if the record is not going to be distributed in some way; otherwise, the lis- tening audience cannot buy the record, defeating the entire purpose of generating airplay. But radio promoter Bryan Farrish believes that having CDs in conventional stores is irrelevant. “We advise people to forget brick and mortar and only sell during their gigs,” says Farrish. “Getting into a physical store is too much work for the amount you sell. You’ll do more at one good gig than a year of distribution. Go out, do some shows, sell ten CDs, ﬁ ve T-shirts, pocket the cash plus whatever the gig pays you. People reading this might think, ‘If I do radio I need to be in stores.’ They’re trying to emulate how a label works. There are some things you don’t want to emulate.”Chapter 2 The Modern Music BusinessNetworking Strategies for the New Music Business 30Joel Denver, president of All Access Promotions, has a background as an on-air personality, a music director, and an editor at R&R , and he agrees. “It’s terrible to go out, garner airplay, and spend all of that time and effort and not have distribution. If you don’t have it, you’re not going to sell anything, especially at the brick and mortar level. It’s also important to have a good-looking Web site, not a lot of bells and whistles, but something that’s clean and operates well. Keep it simple stupid, make sure audiences can ﬁ nd the songs. If you’re going to sell them, make them payable through credit card or PayPal. The idea is to make it a good experience for the person visit- ing the site and listening to the music.” With the consolidation of major radio and the advent of Clear Channel ownership, it might seem that the opportunities for airplay for indie artists are evaporating. Bryan Farrish doesn’t see it that way. “The consolidation is a moot point for everyone reading this. It’s not going to affect anyone. These stations were never accessible. It’s not like something just changed. Thirty years ago [indie artists] wouldn’t be getting on the station.” Joel Denver also sees the glass as half full. “I think there’s an abundant amount of opportunity out there because the consolidation of major labels provides great opportunities for smaller labels to pitch their product and send the music out via Internet. Although a lot of program directors are playing it safe, there are also plenty out there who want to play new things.” Test shows are key to marketing new acts to radio, explains Farrish. “Many markets have something like ‘The Indie Hour’ where they play only independent music.” Again, these program and music directors have 31to be reached, sent the music, and the communication followed up on, something in which an indie radio pro- moter excels. “They have to be reached on the phone, and it’s more difﬁ cult than at college. You can maybe expect only one or two spins, but you can get on the big stations. And there are charts for those shows.” The relationships that a qualiﬁ ed independent pro- moter can bring with him are ultimately of supreme value. It’s also up to an artist or band to foster and main- tain these alliances. Joel Denver shares this example. “I was a music director for a lot of years, so I had deal- ings with promoters. I remember as a program director staging concerts, needing a band to ﬁ ll, and having a relationship with a band in town, so I got them some cartage money, a per diem, and had them open the show. If you can cultivate a relationship with a band and the band goes on to be something, that’s the shit. You’ve got to feel good about helping the band, and they’ll be good to you. The door has to swing both ways; when you work with a local band it should be win-win.” Satellite, Public, and Internet Radio Satellite radio may change all of this. Instead of adver- tising, subscribers pay a fee for unlimited listening to channels that occupy niches and have specialized pro- gramming—world music, hard-core punk, Hawaiian music—every conceivable style. Artist Patti Witten has experienced the successful power of indie promotion. “ I think the future for AAA DIY artists like myself is with public/community radio stations whose mainstay is NPR and PRI programming. Chapter 2 The Modern Music BusinessNetworking Strategies for the New Music Business 32It’s the right demographic, and you can reach the lis- teners who seek alternatives to McClear Channel and that ilk. We want to be heard on World Cafe and Sounds Eclectic and Weekend Edition . Sales spikes are huge after features on NPR, especially if you have a presence on Amazon or the digital download sites. Satellite stations are also a good market for us. Indie promoters who spe- cialize and succeed in these markets will ﬁ nd themselves ﬂ ooded with queries from DIY-ers like myself.” In the major metropolitan center, public radio is a proven taste maker. Here on the West coast we have a station, KCRW, that reaches a relatively small radio audience. However, the audience it reaches is what test marketers refer to as “multipliers”—listeners who can hear a song or an artist and spread the word or take the artist to the next level, such as ﬁ lm directors, music supervisors, and journalists. This tiny station based in a city college in Santa Monica can inﬂ uence the music heard by billions of listeners in movies and television shows worldwide. Through streaming Internet radio, a syndicated show, Sounds Eclectic , a CD compilation by the same name, and the station’s sponsorship of events in Los Angeles, San Francisco, and New York, KCRW’s image belies its origins in the basement of Santa Monica City College. In the City of Angels, eye-popping big screen ads in Laemelle movie theaters advertise to the cinema-going avant-garde. The policy at KCRW is proudly open door. Music director Nic Harcourt esti- mates that the station receives maybe 400 CDs per week, and although only a tiny fraction of them ever make it to air, literally everything that comes in is heard.33chris and thomas: Acoustic Essence Returning from a weekend in Joshua Tree, singer/song- writer duo chris and thomas were greeted by multiple phone messages from excited friends who had heard one of their songs on-air on KCRW-FM. It was news to the pair, whose EP, The Vista Street Sessions , was passed on by a mutual friend to the station’s music director, Nic Harcourt. The inﬂ uential DJ programmed it on his show, eventually included it on NPR’s syndicated Sounds Eclectic , and introduced a national audience to the rustic realness of chris and thomas. Chris Anderson from Memphis, Tennessee, and Thomas Hien from Munich, Germany, are connected via a trans-Atlantic bond. Island hopping in Greece, Anderson, soon to be a student at the Liverpool Institute for Performing Arts (LIPA) in England, ﬁ rst met a friend of Hien’s who connected the two long distance. Eventually, Hien came to visit. Anderson recounts his initial sighting of his future partner in the Liverpool train station “… with a cowboy hat, a John Lennon pinstriped beige and blue suit, python skin boots, sun- glasses, and a big metal briefcase.” In time, Hien too was enrolled in LIPA, where he lived with Anderson and a group of student musicians. chris and thomas discovered their shared afﬁ nity for the English folk music of John Renbourn, Sandy Denny, and Bert Jansch, but their ﬁ rst major co-venture was multimedia. Teaming up with a local art maven, they devised Cook Au Van , whereby they would tool across Europe in a truck converted into a cooking/eating space, invite celebrities like Bill Drummond from KLF and Jarvis Cocker from Pulp onboard to create dinners and Chapter 2 The Modern Music BusinessNetworking Strategies for the New Music Business 34videotape the proceedings. Anderson, who was behind the camera, stayed in England to edit and shop the project. Meanwhile, Hien relocated to Los Angeles, where he knocked around the commercial songwriting scene while Anderson attended art school in Devon, England. Eventually the two reconvened, this time in Hollywood. “For a year we locked ourselves in the house writing and playing—a great year of being creative,” reminisces Hien. To document their songs and prepare arrange- ments, they recorded live with guitars, banjo, mandolin, and the occasional creaking kitchen chair. When singer/songwriter Alexi Murdoch heard these homespun sounds, he invited chris and thomas to open his show at the hip Hollywood venue, the Hotel Cafe. Having never performed live as a duo, chris and thomas prepared by playing an open mic at an L.A. club. They actually took their own mic, a single AKG condenser, and gathered around it like some modern- day Carter Family, with no additional ampliﬁ cation. The simple presentation underscored the honesty of the songs. Recalls Hien, “We thought the audience would hate it because it’s vulnerable music. We got done and it was really quiet, then huge applause. After that we were ‘Wow, man!’” Naturalness remains the duo’s most the- matic through line. “That’s what it seems to be about,” confers Anderson. “It feels like the music doesn’t belong to us—it’s almost automatic.” Boosted by the Alexi Murdoch show, and aided by Harcourt’s continued airing of their music on KCRW, chris and thomas were in demand as they presented their unadorned art to a growing audience. “For the ﬁ rst 35two months we didn’t book any gigs,” notes Anderson. “They called us.” They have since signed with major management and are ﬁ elding multiple label offers for a ﬁ rst full-length album. They also have placed a song in a documentary set to screen in 90 European cities. It was the same friend of Hien’s whom Anderson met on the Greek island of Mykonos who passed chris and thomas’ CD to Nic Harcourt. Serendipity, perhaps, but the success of the duo is testimony that music illu- minated by purity and conviction is the most appealing sound of all. The Vista Street Sessions is a rare gem of exquisite song craft, intimate, understated performances, and the magical blend of two singers breathing together as one voice. “The music is like our friendship,” says Chris. “Effortless,” afﬁ rms Thomas. Music Publishing: The Way In Songwriters are no doubt familiar with the term, “No unsolicited material.” The best way to make contact with a publisher, or anyone else in this industry for that mat- ter, is direct referral by an attorney, another songwriter, or a representative of ASCAP, BMI, or SESAC. Two key songwriting events mentioned elsewhere in this book, the West Coast Songwriters Association Conference and the Durango Songwriters Expo, present unprecedented opportunities in comfortable, supportive environments. A music publisher’s willingness to connect with songwriters in controlled situations does not mean that he or she may be pitched to at will. Before contacting any company you should ﬁ rst know what types of music they publish, recent credits, where their strengths lie, what Chapter 2 The Modern Music BusinessNetworking Strategies for the New Music Business 36they listen for, and whether they’re accepting material in order to determine if you might ﬁ t in. It is important to understand songwriting/publishing terminology, to know what a sync license and a mechani- cal are, what constitutes a copyright, and the meaning of a reversion clause. Be aware that if you declare to a pub- lisher that you want to “sell your songs,” you’ve just given yourself away as an amateur. Songs are never sold, they are published, covered, or collected. The days of “selling songs,” thankfully, ended decades ago. (You can educate yourself about the business by reading Music, Money and Success by Jeff and Todd Brabec and The Craft & Business of Songwriting by John Braheny.) The bigger publishers generally deal with artists who are already signed to major record deals. If they sign songwriters, they are most interested in writer/produc- ers, especially those who have already attained cuts on their own. Having a publishing deal will make you more desirable as a collaborator, and publishers often make co-writing matches. Even if you’re signed to a major publisher, you’ll still be expected to hustle up outlets for your songs through your own contacts. The most viable outlets for new songs are ﬁ lm and television. Networking Strategy for Songwriters The days of the unattached writer of a single song are long over. Songwriting is a political proposition. If you look at the Billboard charts, you’ll observe that virtually all of the songs in top positions are co-written. But the right music publisher is an integral part of songwriting success—proof that someone believes in you and your songs.37Major and Indie Labels Enthusiasm is a wonderful quality, but imagine running into a friend who has a band and hearing him proclaim the following: “Hey man, come and check out our gig. Capitol Records is comin’ down!” Interesting notion, that. Is the entire Capitol Tower coming down? If so, there won’t be room for anyone else in the club .The reality is this: An individual is coming down to hear the band, and he’s currently employed by Capitol Records. But guess what? He may not be there next week. Steady employment in the music business is a volatile proposition. Therefore it’s imperative to comprehend this credo: Your relationships should never be with companies, rather your relationships should be with the individuals working in the companies. I’ve known many artists who were championed by an A&R executive who signed them to his company. Six months later, when he’d exited the company, the art- ist was orphaned, with no champion, no advocate. This can lead to a project being “shelved” and never released. At this point, the artist has no choice but to either sit out the contract or repay any advances and recording costs—a very expensive proposition. But as I’ve stated before in this book, change is good. For example, the A&R person who is interested in you will probably be moving on to a better position at another company, and now you’ll have a contact there. So it may be better all around. The dominance of major labels is clearly coming to a conclusion. Indie labels—freethinking companies often Chapter 2 The Modern Music BusinessNetworking Strategies for the New Music Business 38started on a shoestring and propelled forward by the strength of the music—are at the creative center. These ﬂ edgling ﬁ rms’ partnerships with international power- houses complete the circle. Like the great companies of the past—Atlantic, Vanguard, Asylum, Motown—power is being returned on the strength of the music. Music Biz Marionettes: Who Pulls the Strings? As infants squalling away in our cribs, mommy comes in, picks us up, and makes everything OK. As adults, we learn to solve our own problems, create our own realities, and quell our sobbing (maybe). Some music business aspirants never move beyond the infantile phase in their thinking, performing in substandard backwater venues, recording endless demos, and imagining that somehow, somewhere, some powerful music industry executive will sweep down, lift them up, and ﬂ y them into the stratospheres of fame. The mythologies of show business are rich with such enticing tales, but they’re ﬁ ctional. In this era, any- one hoping to get a foothold in the multi-billion dollar record business has to prove themselves—locally, region- ally, or internationally—with compelling music and an undeniable career trajectory. This is equally true for aspiring record company, management, or music publishing executives. No one comes from nowhere. There is a direct through line to the energetic college student who books shows for her university, the tireless volunteer with a local songwriter organization, the band who will drive 12 hours to per- form a 20-minute opening slot, the intern who takes 39initiative, and the artist who won’t wait for a venue to call back. They will create their own success. I recently helped a college student acquaintance of mine land an intern gig at a record company. After the second week, he called me complaining that he’d not yet done anything even remotely musical, but had only carried boxes around. “And what’s in those boxes?” I queried. Hey, no one starts at the top. The late composer Henry Mancini was once quoted as advising, “Don’t be in the music business. Be a music business.” If you’ve sold only one CD at your gig… Congratulations, you’re in. Validation Art validates its creator. Many times, aspiring and needy recording artists or songwriters will make contact with the industry simply because they need to be heard. Often, they are not even pursuing a real music business career, per se, but they have wrestled some musical cre- ation out of the depths of their psyche, and they want someone else to hear it. It’s like a sonic mirror, and they need the gratiﬁ cation of reﬂ ection. If someone wants to spend money to try to get into the music business, believe me, someone will be there to take it. It doesn’t matter how much you spend, however; if you don’t have the goods, you won’t progress any fur- ther. I’ve watched while artists and their supporters have given immeasurable sums of money to demo submission services, so-called music business insiders, questionable lawyers, and over-billing public relations ﬁ rms. None of Chapter 2 The Modern Music BusinessNetworking Strategies for the New Music Business 40these dollars spent did any good—except, of course, for the recipient’s bank account. You cannot buy your way into this business. American Idolization I was in England a few years back when I took note of the television show Pop Idols , featuring a competition between singers with the winner determined by the votes of an immense television audience. My students at LIPA—hipper than hip musicians—despised the concept, but I was mesmerized by the potential cross- marketing that could be achieved. I was not surprised, then, when a U.S. version, American Idol, became a smash hit. These types of shows are nothing new. Major Bowles Amateur Hour was the American Idol of its day, and Star Search also had its audience in the ’ 80s. From an entertainment standpoint, these shows are a hoot and, I confess, a guilty pleasure for me as well. The buffoonery aspect is the ﬁ rst hook. In the prelimi- nary round, audiences like to see someone act dumber than they do. In the U.K., it was explained to me, audi- ences always root for the underdog—the singer with the speech impediment; a vocalist who doesn’t have the same svelte shape as the others. This is true to a degree in the U.S. as well. The overweight teddy bear, the single mother, and the nerd turned glamour boy have all found fame. Such shows have given voice to the screaming school of vocal histrionics, where every note sung is divided into interminable syllables and wrung dry. I was in Ohio watching the American Idol show at my parents’ house 41when my mother passed through the room and observed a shrieking contestant competing in the ﬁ nals. “I don’t know if she’s good,” commented my mother, “but she sure is loud.” This show embodies multiple layers of classic enter- tainment. It’s funny, with its humor built on cruelty and laughing not with but at those deluded into thinking they have talent at the early auditions. Then there is the pathos of “rags-to-riches” stories, with Cinderella-like transformations of the winning contestants from geeks to gods and goddesses. And not least, the audience par- ticipation and emotional connections through the voting phone-ins. Truth is, all of those who have found fame on this show—with the notable exception of one William Hung—have been working at their craft for most of their young lives. They are well-seasoned professionals with a fanatical devotion to their craft and unerring instincts toward their art. As alluring a fantasy as it may seem, no one comes from nowhere. Britney Spears, Christina Aguilera, and Justin Timberlake were all Mouseketeers as children. They grew up in the business. This is a through line for those who are called to be entertainers, musicians, and songwriters. In my experience, it is not a choice, but a calling—the undeniable need for expression through music and performance, hard-wired into your very being and the dominant thread in the fabric of your existence. Your identity, not something that happens between 8:00 and 9:00 p.m. on your television.Chapter 2 The Modern Music BusinessNetworking Strategies for the New Music Business 42Summary CD sales are simply one facet of an emerging multi- platform media market. If music were a science, it would be scrutinized, analyzed, and dominated by corporations. Nothing succeeds like the sound of honest music, and we succeed only when we’re honest with ourselves, others, and most of all, our medium.43Personalities PlusCHAPTER 3 This chapter examines the importance of personalities. I’ll suggest speciﬁ c ways to gauge your strengths and possible weaknesses. I’ll begin with 10 shared attributes of successful music biz practitioners. Ten Successful Attributes of Music Biz Professionals 1. Talent As I explained in the Introduction to this book, every persuasive trick in the book won’t help you if you do not have the goods. We all have talent, and some incredibly lucky people are born with it, but for most of us it’s a lifelong pursuit to develop it. And not just musical talent either—it may be a talent for sales, for convincing oth- ers, for offering support and clarity. 2 Training and Education For singers, songwriters, and band members, this should be fairly self evident. You will always beneﬁ t from lessons Networking Strategies for the New Music Business 44and on-the-job experiences, especially by hanging out with those who are more proﬁ cient than you. If you’re more inclined to the business side of things, the same creed applies. Reading about the business you’re in should be the ﬁ rst fundamental rule. I was on a panel recently at an L.A. college with a senior member of the A&R staff of a major record label. “How many of you read Billboard every week?” he queried the room. When a paltry third of those in attendance raised their hands, he noted, “So, you want to be in the music business, but you don’t read the publication every single executive reads?” Billboard, e-mail journals, and Hits! magazine are all available online. If you don’t have a computer, use the one at your local library. You can browse your library’s magazines, too, or simply go to your local Borders or Barnes & Noble bookstore and stand at the magazine counter and read until they ask you to leave. By educat- ing yourself over a period of time, you’ll begin to draw a correlation between executives and events and to demys- tify this multi-level, interconnected business. Universities and colleges offer classes in the music business, although, as I often tell my students, I didn’t have this advantage during my educational years. We formed bands, bought vans, went on the road, and moved to Nashville, New York, and L.A. For me, teach- ing at a learning environment like The Liverpool Institute for Performing Arts in the U.K. or Cal Poly Pomona in Southern California is a welcome afﬁ rmation that, yes, this is a real academic pursuit. As always, the real value of any situation is in the human contacts you make.45 3. A Big Personality Personality bears a resemblance to talent in that some of us are born with it, and others take longer to develop it. The entertainment business is absolutely ﬁ lled with individuals with large personalities—quirky, offbeat, or entertaining. What we relegate to the domain of the personal is strongly inﬂ uenced by levels of conﬁ dence. A strong personality often mirrors a high degree of self- conﬁ dence. It’s not necessary to enter a room like a bull charging into a ring, to buttonhole everyone in attendance, and to dominate the proceedings, but a winning personality is the ability to draw others to you. 4. A Positive Outlook I’ve believe in the ability of positive people to determine the outcome of their own destinies through the strength of their convictions and their winning attitudes. I’ll reiterate my belief here: Positive thoughts and energies attract positive results. 5. Enthusiasm This is not simply bluster and hype, but the honest result of having something to share with others that you feel is absolutely essential. Much of my telephone time as a journalist is taken up in speaking with publicists who call me with pitches for their clients. I can tell when the enthusiasm is real and when it’s simply an hourly billing. It’s not so much in their words, but in the intentions and energies behind them. Music people have a sixth sense for this. In some instances a publicist will ask me to listen to their client with the promise that “This music will absolutely affect Chapter 3 Personalities PlusNetworking Strategies for the New Music Business 46you.” Hopefully, that’s true, because if the music doesn’t affect me, this ploy won’t work again. 6. Entertainment Value If you’re in the entertainment business, doesn’t it make sense that you must also provide entertainment for those with whom you speak and interact? I shared this thought on a panel at a recent songwriter confab and was greeted with some derision by a fellow panelist (somewhat of a curmudgeon, I might add). I was wearing an irides- cent green shirt and multi-colored Mardi Gras beads, acquired at a local wine tasting event. But my outﬁ t made a point, and for the remainder of that day, I was highly identiﬁ able to anyone who wanted to seek me out. Entertainment is not limited to the in-person effect. In Chapter 6, “Telephone and E-Mail,” I talk about the importance of “Giving Good Phone.” In our lives and businesses, as we transmit the power of entertainment, we must have our own intrinsic performance value. It’s called playing the role—it’s what a lawyer does in a courtroom, what determines a dynamic minister in a pulpit, what makes a police ofﬁ cer a ﬁ gure of authority. 7. Desire and Determination I put desire and determination together because I believe they’re interrelated. Desire is a wish, a craving, and a longing, while determination is a ﬁ rmness of purpose, will, and resolve. My hair-cutter, Armando, is full of intriguing insights. Born and raised in Los Angeles, he recently observed, “It takes you guys from these weird small towns to come out to Hollywood and kick ass.” I found this interesting on a number of levels, and he’s right. There does seem to be a disproportionate number 47of success stories that emanate from transplants from the middle of the country. When I was a kid, I resented the fact that I had been born in the middle of Ohio. But I realize now that it was this very fact that helped provide the determination and focus of my career. Because we didn’t have a music and art scene, my friends and I invented one. We created our own venues for music and performance. It was these inclinations that bonded us to each other. Yes, we were viewed as outsiders, but this alienation found an outlet through art. Just getting out of Lima, Ohio, was my beginning, when I understood that I couldn’t make a living there, that I would have to leave the sanctuary of a loving fam- ily, to ﬂ y from the nest, to live in poverty in strange cities and on the road. Leaving home propelled me and fueled me with the energy I have to this day. Rarely is anyone lucky enough to stay in a comfort zone, especially at the beginning of a career. 8. Commitment and Timing People sometimes say, “If I don’t make it in a year, I’m going to do something different.” Oh boy. What do you think will happen to the career of someone who states an objective constructed around time constraints? Time is relative, ﬂ exible, on a continuum. In our careers, although we can invent goals and look toward mile- stones, attempting to align ourselves to a time grid is a self-defeating proposition. As I stated at the onset of this book, we cannot make things happen, we can only put ourselves in the position where things can happen. This may take years, decades, Chapter 3 Personalities PlusNetworking Strategies for the New Music Business 48or even the time of an entire career. Music, and the life we live creating and working with it, chooses us. If we give ourselves an out, that dreaded “something to fall back on,” we’re negating and undermining our deter- mination. Sure, we might have to step back, access the situation, open our eyes to new possibilities, and create variations on a theme. But if our commitment is not total, we can’t expect others’ reactions to our art and work to be 100 percent, either. 9. Create Your Own Opportunities You will not be spoon fed in the music business. This I can guarantee you: The only person who can elevate you is you. Those who walk a successful career path have trained themselves to do so. Virtually every powerful manager, agent, or promoter in the business began on very humble ground, promoting local shows, handling beginning artists, booking high schools, colleges, or local shows. Don’t say “I’m thinking about…,” “I’m consider- ing…,” “I’m wondering….” No. Those of us who succeed in the music business have no other options. It’s who we are. Do it now, always, forever. 10. Understand When to Permit Emotion to Overtake Logic “My college professor told me that I have a better chance of winning the lottery than getting a record deal,” admit- ted a dejected music business student. Oh great, just what we need, another cynical academic deﬂ ating the dreams of a student. Shame on the teacher for spouting this drivel. What if he’d said this to Bruce Springsteen, Michael Stipe, or Andre 3000 and Big Boi from OutKast? We’re talking apples and oranges; there is simply no relationship between winning a game of chance and 49building a career to the point where a major record label would be interested in an artist. As discussed throughout this book, a major-label deal may not even be the best road for an enterprising creative artist, particularly at this historic time, when independent artists are emerging as new power brokers. Speaking of record deals, a friend of mine recently had two labels regularly coming to his shows, interested in signing him. He attempted to play the two compa- nies against each other, to up the ante so to speak, and ended up alienating both labels. He was attempting to determine which company to sign with based on his analytical mind, breaking down advances, percentages, and other contract details, when he should have been paying attention to the emotional commitment offered by an earnest A&R man who genuinely believed in the power of his music. Lawyers and managers are paid well to be analytical. Understanding the business is, of course, a prerequisite to being in it, but don’t permit logic to derail your heart and soul. Because if you were truly logical and normal, you wouldn’t even be in the music business, would you? Negative Notions We know them all too well: naysayers, pessimists, prophets of doom and gloom. “A&R people wouldn’t know a good song if it bit ‘em on the butt” or, “The record companies are crooks and gangsters,” or, “Commercial music is such bullshit.” Negativity is a tellingly potent force. It often manifests itself in character traits including Chapter 3 Personalities PlusNetworking Strategies for the New Music Business 50self-doubt, lack of self-worth, and low self-esteem. It is also highly contagious. If we allow them, negative people have the power to deﬂ ate us, to bring us down to their level—in short, to make us feel bad. As a longtime player, I bristle when I hear put-downs of the music industry from those who want to enter into it telling me that the business to which I’ve devoted the majority of my life is a sham, a con, a dark netherworld of shady characters and disreputable operators. I’m also keenly aware that this can be a self-defense mechanism used by those who doubt their own abilities. After all, why bother to succeed in an industry that’s such a shithouse? They’re projecting their own sense of doom on an entire business. In music, as in life, optimists are much more suc- cessful in reaching career heights. Much of this has to do with the power of self-fulﬁ lling prophecy—those who expect to succeed will do so. There is an attendant human factor, too: Positive energy attracts positivity, and positive people attract others to them. This is, of course, essential in a business built on buzz, fueled by the energy and the eternal promise of “the next big thing.” Savvy business people clamber to get on a train that’s already up and rolling. Since music and the businesses it supports are interactive, it is our quest to attach ourselves to others in the same service of success. There is even scientiﬁ c evidence proving that opti- mists live longer, have more productive lives, experience less illness (mental and physical), and achieve far more than pessimists, because an optimistic frame of mind modulates the nervous system. A study of ﬁ rst-year law 51students at UCLA showed that optimists had higher lev- els of disease-ﬁ ghting killer cells in their blood than did pessimists. So, in planning your course of action, keep in mind that it will always be easier to change the way we think about the world than to change the world itself. The Put Down I was asked to critique a self-penned bio for a new acoustic duo that included the phrase “In this age of negligible, overproduced music.” I advised them to edit this line out since it was clear they’d superimposed their own prejudices and opinions into a piece that should have been uplifting and about their music, making it shine in comparison to others. Also, they might be pitch- ing themselves to the very executives who had signed, produced, or promoted that “negligible, overproduced music.” Passing judgment on music is a dicey proposition. When my students in music schools make grave pro- nouncements based on their prejudices, I gently remind them that musicians aren’t the ones buying records—it’s the general public. Pop music, speciﬁ cally, seems to raise their hackles (and of course the more it sells, the more my students detest it). My British students detest American country. Sure, certain styles of music speak to us and others don’t, but as music people it’s essential to be open to all forms of expression. If you hear a form of music that’s unfamiliar, begin analyzing it. What are its reference points? What do the performers look like? Chapter 3 Personalities PlusNetworking Strategies for the New Music Business 52What is their audience? What are the other connecting points—for example, the fashion, politics, or lifestyles? Over roughly two decades, hip-hop music (with estimated annual CD sales of $2.8 billion) and its sur- rounding culture, have become an indomitable force. On occasion, I’ve heard harsh judgments made on rap and hip-hop—“That’s not music,” being one of the kinder pronouncements. Judgments such as these serve only to diminish my opinion of the speaker. It also makes me wonder if they dislike black music or black people. I recall the “Disco Sucks” craze of the late ’ 70s. Did those who were burning their Donna Summer records hate the relentless beat, or did they dislike those who were danc- ing to it in the discos? Whether it is teen pop or Tuvan throat-singing, I contend that there is something to be learned from every form of music. What is often being projected by harsh and negative judgments is a closed mind and jealousy. If someone says to me, “I hate rap music,” I am appalled that they can put the words “hate” and “music” into one sentence. This is not an individual with whom I would choose to work. Negative to Positive In order to break through, it’s essential to eliminate the negative people in your life. (OK, maybe they are mem- bers of your family, or even your spouse or partner, in which case you must acknowledge, and then eliminate, their negative inﬂ uence over you.) As children we are programmed in very speciﬁ c, often unintentional, ways by our families. To reconﬁ gure our patterns of thought, 53it is ﬁ rst essential to identify the traits in ourselves that amplify negativity. I was once working in a music industry position that required interaction with a large staff. One of the key employees would invariably attend planning meetings with a scowl on his face and would begin every sentence with the phrase “The problem with that is….” Whether we were planning a show, a conference, a publication, or an event, he was the one dark cloud hovering over the conference table, always predicting the dire outcome of events that had not yet transpired. I remember him rushing backstage after one of our shows and remark- ing, “Great show; the only complaint I’ve heard so far…” before I stopped him. He was taken aback. “You don’t want to hear criticism?” he asked. “Not while the applause is still ringing in the hall,” I insisted. You can probably guess the outcome of his history at the company. When cutbacks were made and restruc- turing was announced, he was the ﬁ rst one to be let go. In collaborative relationships, there is a value in having a team member who thinks of potential liabilities, but no one wants to exist under the constant onslaught of relentless negativity. No one wants to hear it. When I was managing artists, I would sometimes encounter music business colleagues who were intent on tossing their wet blanket over the proceedings. “What’s up with the guy you manage?” was often the beginning. I would take note if they didn’t call him by name. When I would indicate that we were in preliminary meetings with a speciﬁ c record label, I would hear, “Oh, that com- pany. They’re having a lot of problems over there, aren’t they?” Again, simple negativity.Chapter 3 Personalities PlusNetworking Strategies for the New Music Business 54Find Reasons to Feel Good about Yourself I’m an inveterate list-maker with yearly, monthly, weekly, and daily plans of action. It’s the proverbial “small stuff” that often fuels the most vital day-to-day operations. You can do something everyday for your music business career: doing research on the Internet, reading Billboard at the library, watching and observing videos, mak- ing calls, going out to hear music. When your plans are intentional and charted you have a much better course of action. Check off items that you’ve accomplished. In addition to having made progressive steps forward in your career, you have also achieved something for yourself, and that’s a reason to pat yourself on the back. Remember that your small victories and accomplish- ments will add up in time. Use your time effectively; pick your prime time, then prioritize tasks by asking yourself, “Will accomplishing this help me get where I want to be in ﬁ ve or ten years?” Visualize Your Success An exercise I once used while teaching at the Liverpool Institute for Performing Arts stands out in my mind. In a room full of students, I asked one young man what he wanted to accomplish in his career. “I’d like to make enough money to buy a house,” was his answer. Where would this house be? “On a cottage lane.” What were the dimensions of the house? “An upstairs and a down- stairs.” What color is the door? “A red door.” As we went further down the list, suddenly this ephemeral house he was visualizing began to take shape in his mind. He was 55on his way to moving into it because he’d built it in his imagination. Network with People You Respect and Observe Their Traits Throughout this book I’ve emphasized the value in mak- ing others feel good. When I conducted an on-camera interview with legendary R&B powerhouse vocalist, Patti LaBelle, her ﬁ rst words of introduction to me were a compliment on my sport coat as she reached over and felt the sleeve. A small act, to be sure, but one that spoke immeasurably of her interest, and kindness, to others. I was very fortunate to have come up under the guid- ance of powerful music business mentors. Respect for others and their feelings is a vital trait. I’m reminded that successful people have their own doubts, fears, and struggles, too, so it’s natural that we feel that way as we face the daunting odds of taking our music into the mar- ketplace. The value of aligning yourself with a supportive network of caring friends and colleagues cannot be over- emphasized. Unless you have a crystal ball, you may not know where your contacts will ultimately arrive, but rest assured, if you’re around strong, upbeat, positive people, they are likely already on their way to formidable desti- nations. And hopefully, so are you. The Smooth Road This week I moderated a hit songwriter panel in Hollywood at the DIY (Do It Yourself) Convention. It was a formidable panel, assembled by BMI, with my guests including Chad Hugo, one half of the multiple Chapter 3 Personalities PlusNetworking Strategies for the New Music Business 56Grammy Award-winning writing and production duo, The Neptunes. At the conclusion of our allotted time, we opened the room up to questions from the attendees. One young man strode to the mic and announced, “I’m here to give my CD to Chad Hugo from The Neptunes.” Chad explained that because of the legal ramiﬁ cations, it was not possible for him to accept material. You’re probably familiar with the scenario where an unknown songwriter claims his song was stolen by a famous artist. Undoubtedly, most of these cases have proven to be entirely without merit, but what must be proven in every instance is access. Record labels, recording artists, producers, or songwriters who accept material from an unknown source run the risk of open- ing themselves up to future legal liability. Of course, the more successful the recipient, the greater the probability that this might occur, and only successful, income gen- erating songs are ever deemed to be “stolen.” Hence the famous “No unsolicited material” credo. But the legal challenges are secondary. The most telling action by this young man was that in his mind he had deduced that the quickest way to the top was via someone who was already there. When I pointed out that he needed to ﬁ nd the next Chad Hugo, or Neptunes, or Matrix, or Jimmy Jam and Terry Lewis, he indignantly countered with this proclamation: “It’s like a Cadillac. I want the fastest, smoothest ride. That’s The Neptunes.” Oh, if it were only that simple. No one can make you famous, sail you in on their considerable coattails, and launch your career for you. Of course, having The 57Neptunes craft tracks for you would be amazing. But in a mercantile world, The Neptures reportedly earn hundreds of thousands of dollars for creating a track, and these fees are gladly paid by the record companies. They have their own label, A&R staff, publishers, and managers and are surrounded by an immense support staff. It’s not only two songwriter/producers pulling talented artists from a pool and making them stars but an entire creative mechanism. Myths It is a fallacy, a myth, and a misconception to think that the quickest way to success is through others who are already there. Since I’ve interviewed the best-known songwriter/producers in the business, I’ll have aspiring songwriters ask me, “Could you give my CD to (insert one) The Matrix, Glen Ballard, Jimmy Jam and Terry Lewis?” I have to say “No.” First off, I understand my role in the pantheon of the music business. If I’m there as a journalist or interviewer, and I suddenly start whipping out demos and press kits, I wouldn’t be in this business long, would I? Also, I’d be staking my reputation on the materials I presented. If you play or present music to anyone of impor- tance, nothing can be left to chance: Your talents have to be undeniable. I’ve had publicists rave to me about their clients, but when the music arrives it is sub-par. As a result, I will never trust that person’s judgment again and would certainly be less likely to listen to anything he sent me in the future. This is not a matter of being Chapter 3 Personalities PlusNetworking Strategies for the New Music Business 58cold hearted, but a reality of our business. Time wasted listening to inadequate or badly conceived music is time lost, never to be regained. Plus it’s depressing. Have I ever played anything for any of these lumi- naries I mentioned? Yes, once. It was a track by a new artist, and it ended up being included in a ﬁ lm. Once. In all these years. It’s self protection for the reputation and assurance that anything I present in the future will be of similar, sterling quality. Reinvention As talented people, we are often at a distinct disad- vantage in recognizing what sets us apart from the crowd. We wake up in the morning, stare at the dishev- eled image in the mirror, and go about our daily lives of creating magic—literally, conjuring up something from nothing with music and art. It’s often too easy to overlook the incredible abilities with which we’ve been bestowed. Sometimes it takes someone from outside of our sphere to make us realize how gifted and how lucky we really are. Earlier in the book I referenced my career and its progression through cities, decades, and vocations, with music always at its core. I refer to this evolution as “rein- vention,” and learning when and how to reinvent has been a prime ingredient in my longevity. At every stage in our life, our needs are changing. As children aspiring to be musicians and performers, we were probably motivated by the perceived status and glory of the stars we observed in the popular media. 59Having a burning need to communicate drives many musicians to become songwriters. Feeling powerless motivates many songwriters to become producers, dis- satisfaction with the way the music business is run may inspire a record producer to become a record executive, and so on. Reinvention works only when there is a natural pro- gression between the steps in the business. I was well aware when it was time for me to move beyond playing in bands and writing songs. Not that I couldn’t continue (if I wished), but as the venues repeated, the opportuni- ties dried up, and time ticked away, I knew it was time for a change. Nothing stays the same—either your career is mov- ing up or it’s moving down. I know bands who have stayed their steady course, waiting for a record deal that never comes, who continue to make exactly the same moves, play the same venues, and ultimately burn out their audience. No one wants to go to the same place and do the same things year after year. Human nature requires stimulation. Same Old Same Old Allegedly, Albert Einstein said that doing the same thing over and over and expecting a different result is the mark of insanity. There is certainly truth in this state- ment. The music industry, too, becomes wary over time. Our business is marked by the “newest,” “freshest,” and “hippest.” Artists who aren’t perceived to have these adjectives attached to them will suffer over time. Chapter 3 Personalities PlusNetworking Strategies for the New Music Business 60For example, there was a well-known Los Angeles band who had a residency at one of the city’s most inﬂ u- ential clubs. Even though A&R reps would come and see the group play, after a year the consensus was that if they were so good, why hadn’t they been signed? Here is an interesting reality. It is often easier to sign an artist to a deal if they’ve already had a deal. In other words, even if they’ve been dropped, because their cred- ibility has been proven once, an enterprising record label may be more willing to take a change on them than they would on a new, unproven act. Similarly, it is often easier to have a song recorded if there is a history of previous recordings. We speak of the “herd mentality” in the music indus- try. If we were creating an invention in the “real world,” we would concoct something that no one had ever seen. But in the music business, when a trend connects, there is a rush to duplicate the initial successes, be they shoe- gazing emo rock bands, lithesome pop singers, recently jailed hip-hop felons, or ﬂ ag-waving country acts. If the public has bought something once, they will buy it over and over again. And herein lies another paradox: Pop music is a savvy combination of what is fresh and what is familiar. Summary Discouragement can be a fact of life in all of our endeav- ors. I’ve witnessed multitudes of people who can no longer navigate the treacherous currents of the music business and choose to make their lives elsewhere. This is good: It creates more opportunities for the rest of us. 61I’m no Einstein, but here’s another theory: You can’t get out of a business that you’re not in. In other words, you’re not really in the business if you don’t give it your full commitment. Do you need stability in your life? A steady pay- check? Odds are, you won’t have it in the entertainment industry, especially in the early stages of your career. It’s a business where not only do you have to walk the path, you also have to clear the brush and pave it as well. That’s too much for most normal people. But then again, you’re not “normal,” are you? What did your family tell you about making a living in this crazy business? That you need something to fall back on? If you’re energetic and goal oriented and can create opportunities for yourself, that is your strongest resource; that is your fallback position. In his song “Something to Believe In,” singer/song- writer Shawn Mullins says Don’t let it pass you by Someday you’ll wake up asking yourself why You sat there at your desk Sucking on the corporate breast. If the music is in your soul, it will show you the path.Chapter 3 Personalities Plus62CHAPTER 4 True Tales This chapter examines various true-life scenarios. You’ll venture behind the velvet rope to view the underpin- nings of the music business and its participants. The I’s Don’t Have It Just prior to presenting a two-hour “Networking in the Music Business” seminar at a popular California music conference, I ran into an old acquaintance in the hall- way. Before uttering a single word of greeting, she thrust a ﬂ yer promoting her upcoming show into my hands. “I would come see you speak today,” she informed me breathlessly, “but you know I’ve got this network- ing thing down.” Oh good. This meant I could use her (anonymously, of course) as an example in my lecture that afternoon. The combination of an inﬂ ated ego and a sense of insecurity is a volatile combo, one quite common in the entertainment business. For our purposes, let’s examine 63the simple dynamics of conversation. Some people seem to think of communication only on their own terms: What they project, how they come across, how others perceive them. The exact opposite approach is what works best. Those who begin virtually every sentence with the word “I” are tiresome in any situation. Try beginning any social interaction with a question like, “What new projects have you been working on?” What you’re pro- jecting with this query is interest. You’ve also served the proverbial ball across the imaginary net; when your conversation partner concludes his explanation of recent endeavors, he will in all probability ask you what you’ve got going on. Now it’s your turn. Making others feel important is a vital communi- cation skill. Honestly listening to what others have to say, asking questions to move the conversation along, offering afﬁ rmations like, “It must be wonderful to be realizing this project,” all do wonders to impart a warm glow. But you have to be truthful, to honestly care, to make this work. The Power of “You” Here’s an interesting note on verbal communication. Suppose your friend or romantic partner drops you off at home following a fun day of recreation. You say, “Thanks, I had a really good time.” Now examine the emotional impact of that reply compared to the added signiﬁ cance of this variation: ‘Thanks, I had a really good time with you.”Chapter 4 True TalesNetworking Strategies for the New Music Business 64Note the difference? You’ve connected the emo- tions of your pleasure to the presence of another person. You’ve included them in response to you. It’s an easy way to give added impact to your declaration, with just the addition of the word “you.” Could’a, Should’a, Would’a When I was a beginning songwriter and ﬁ rst experienc- ing industry interest in my songs, I made a common mistake—I talked about something before it happened. My co-writer and I had a song recorded by a major star of the day. I was so thrilled that I told everyone within hearing range about this coup—friends, family, audi- ences at gigs where I was performing, complete strangers at parties. As time went on, and I encountered these folks again, invariably they would ask me, “So, what’s happening with your song?” Time went by, the artist changed producers, labels, and direction, and the song was never released. Meanwhile, I had credibility issues since my big break that I’d trumpeted so proudly went belly-up. Here’s some categorical advice on the subject: 1. As my big brother used to caution me back in Ohio, “Almost doesn’t count in anything but horseshoes.” 2. Recording artists, particularly in Nashville, think noth- ing of putting a hundred songs presented by songwriters and publishing companies “on hold.” Sure, they may be interested in cutting them, but there is also a theory that they’re taking the good songs—those written by other 65writers that may otherwise be recorded by their chart competitors—out of circulation. 3. No song is for certain until it’s released. Artists typically record more songs than they need for any given project. 4. The calendar of popular music has little relationship to the real world. 5. Artists, ﬁ lms, and television shows can all be dropped, and songs can be replaced up until the last possible second. 6. You’ve got to have more than one thing going on. Obviously, the more irons you have in the ﬁ re, the greater probability of one of them turning red hot. 7. The tired phrase “we’re waiting to see” is a dead giveaway that nothing is happening. People who have it going on don’t ever wait. 8. Thanking others for your successes projects a welcome sense of humility. For example, “it was an honor to” perform at a beneﬁ t, to have a song recorded, to open a show. “We were surrounded by brilliance.” 9. Admit when things don’t turn out without conveying rancor or bitterness. No one likes a sore loser. 10. Keep in mind that it’s not only our successes that endear us to others, it’s our willingness to survive the swells of adversity, to persevere, to take the hits and get back up.Chapter 4 True TalesNetworking Strategies for the New Music Business 66 12. Always crowing about your the next big thing and having nothing materialize will greatly damage your credibility. 13. Better to be enigmatic and slightly mysterious than to be overblown and pretentious. People who really have it going on don’t have to tell you about it, and it is better to exude quiet conﬁ dence than project the bellow of a human bullhorn. It’s much better to have someone else speak positively about you than to huff and puff and emit endless clouds of self-serving hype on your own behalf. Given my back- ground in sales and public relations, it is very natural for me to tout the accomplishments and talents of my friends and colleagues. In turn, when I’m out socially, many of my close friends in the business return the favor. If someone tells me “My band is amazing,” I ﬁ le away this information in a little dumpster dubbed “Hype.” Having someone not in a band tell me “I saw the most amazing band last night!” intrigues me, especially if I trust that person’s judgment. Nothing is more effective in marketing than word of mouth. Having someone else speak on your behalf is much more effective than blowing your own horn. If you honestly believe it and promote your friends, they’ll do the same for you provided you’ve got it going on. You’re It Tag teams are equally effective in other social situations. In Chapter 5, “Making Contact,” I speak about the value of, and the tricks for, remembering names, but of course 67there are instances when we all forget. If I’m out socially with a music industry tag-team partner, we’ll discuss this contingency beforehand. “If I don’t introduce you by name in the ﬁ rst 30 seconds, introduce yourself,” I’ll explain. The unnamed party will then offer his name for all to know. If you do attend events with others, make sure you share a common agenda. I don’t take romantic part- ners with me to business events. If given the option, I’d rather invite a friend whose social skills I trust and who is a devotee to Networking Strategies. One of my close business friends is an executive in the music publishing division at a major Hollywood ﬁ lm studio. His perspec- tive on the business is much more market savvy, more bottom-line dollars and cents, than my often-Quixotic outlook. But between us, we’ve got it covered, and the contrasts are what make us an effective tag team socially. He also possesses an acerbic sense of humor, doesn’t take himself too seriously, and sees the big picture and knows where he ﬁ ts into it. Bridges Aﬂ ame I mention this friend for another reason. As he was coming up in the world of music publishing, he was employed by a veteran music publisher who had been in the business for decades and who represented some very lucrative catalogs. My friend worked endless hours, endured the “low man on the totem pole” position, and was not rewarded monetarily for his work since his boss was extraordinarily cheap. He ﬁ nally left that company on good terms, but he considered writing a letter to the Chapter 4 True TalesNetworking Strategies for the New Music Business 68boss, telling him of the indignities he’d suffered—a “kiss-off” letter. Fortunately, he reconsidered. And a couple of years down the road when the music division of one of the world’s largest ﬁ lm studios was looking for an executive, they called the veteran publisher for a recommendation, who referred them to my friend. Celebrity As an interviewer and journalist, I often ﬁ nd myself in the presence of the foremost hit makers in American music. Meeting these legends is a consummate thrill, but I can never lose sight of what I need from them: credible interview material. Earlier this year, I was at the Bel Air home of Quincy Jones for the taping of a video segment commemorating the anniversary of the performing rights organization, ASCAP. Mr. Jones, of course, is one of the most cele- brated record producers in history. As the video crew set up in anticipation of his arrival and a maid served veg- gies, fruit, salsa, and chips (a nice touch), I looked over my notes and thought ahead to what I would say when I was introduced to the pop maestro. Although a number of possible scenarios ran through my head, I realized the interaction would take its own course. The video producer brought Mr. Jones to the corner of the room where we’d arranged the set and introduced us. I shook Quincy Jones’ hand, looked him straight in the eye, and said “Hey man.”69“Hey man,” responded Quincy Jones. Amazing. Everything I know and have experienced in the trenches of the music business was distilled down into those two words. I didn’t prostrate myself at Mr. Jones’ feet, tell him what an inspiration he was and what a profound honor it was to meet him. My instincts com- manded me to remain casual and relaxed, mirroring the energy I felt emanating from Mr. Jones. Living in Los Angeles, where it’s not unusual to see Brad Pitt at a local eatery, Ben Afﬂ eck in a Porsche on the Santa Monica Freeway, or Beyonce shopping for bling, celebrity is serious business. But my business is music, and I’ve found that when I interview celebrities, what they enjoy most about my interviews is that I never ask them typical, celebrity-driven questions. I save that for the supermarket tabloids. My only concern for inter- views is music and its creation. From Clint Eastwood to Metallica, Queen Latifah to Brian Wilson, I’m reminded of what draws us together as creative people. There is no “Us” and “Them.” It’s all us. Ten Strategies for Interacting with Celebrities Sometime in your career, you will meet people whom you or the media consider celebrities. As always, your instincts will guide you, and your communication skills and level of self-conﬁ dence will determine the outcome of this contact. Following are some tips to keep in mind when the opportunity arises to interact with celebrities.Chapter 4 True TalesNetworking Strategies for the New Music Business 70 1. Always keep in mind that they’re just people, too. Acknowledging their music or contributions is ﬁ ne; just don’t overdo it. 2. Know where to draw the line at being a fan. Make no mistake, celebrities love fans, but they don’t work with them—no autographs or photos, please. 3 Respect their physical space and observe their interac- tions with handlers, managers, publicists, and so on for cues. 4. Don’t be presumptuous. 5. Be careful not to age them. Telling a diva of certain years that you listened to her “when you were a little boy” will not endear you to her. Trust me! 6. If you do need to initiate conversation, ask general life questions as opposed to career questions. For example, “Are you in town for the show, or will you have a chance to enjoy the city?” 7. If you know someone in common, this is can be an excellent ice-breaker. This always works well for me. A word of caution, however: Since human relationships are volatile and ever shifting, make sure that the name you drop is of someone with whom the artist still has a good relationship. 8. Don’t offer information you haven’t been asked for, such as your current projects, your political opinions, or artistic/musical judgments.71 9. Never put pressure on a musical celebrity to listen to or look at… anything . 10. Keep the doors open. Let them know how much you enjoyed meeting them and that hopefully you’ll see them in the future. How Would I Reach You? This is fresh to me since it happened last night outside a club in Hollywood. I interviewed a hugely success- ful songwriter/producer at a monthly event, “The Songwriters Studio.” As he left the venue, he was accosted in the foyer by an aspiring singer/songwriter who offered, “I don’t want to waste your time, but I’m going to want to contact you about a year from now. How do I get hold of you?” The hit maker answered, “Dan knows, just ask him,” and walked away. By making me responsible, the hit maker gently deﬂ ected the inquiry, but I mention this story for another reason. The aspiring songwriter projected his insecurity with his vague “a year from now” dialogue; therefore, his inquiry served no real purpose other than to foist him in the hit writer’s face for a nanosecond. Knowing how to contact someone is one of the arts that must be mastered in our business. It’s not the responsibility of the contactee—in this case the hit writer—to offer up his contact information. Finally, it’s off-putting and pretentious for a beginning songwriter to assume that this multi-platinum, Grammy Award Chapter 4 True TalesNetworking Strategies for the New Music Business 72winning legend would remember him a year from now—let alone want to work with him. Who Needs You? I recently lectured to a music business class at a well- known California college and the next day received the following e-mail. Dear Dan, I attended your class last night. You were talking to stu- dents afterward and I didn’t want to disturb you, so I’m sending this e-mail instead. All my life I’ve dreamed of being a lyricist. I know I have what it takes to make my dreams come true. In class you said you’re writing for a Web site and that one of the founders is Kenneth “Babyface” Edwards. Would you please give the attached lyrics to him so he can put the music to them? Thank you, A Talented Lyricist Following is my reply: Dear Talented, I don’t wish to sound cold, but in my opinion Mr. Edwards probably does not need you. Whitney Houston does not need you either. Nor does Celine Dion or Toni Braxton.73Why? First of all, if you are a songwriter who writes lyr- ics, you need to ﬁ nd collaborators who create music so your songs can exist as a complete unit. But I’m far more concerned about other issues. Dreams are wonderful things. Indeed, most creative people share the ability to see beyond the mundane limitations of everyday life. Goals are dreams with deadlines. In establishing your career in the music business, you need to understand the marketplace for your material and the realities of it. It’s only when you seize control of your career that you succeed. Find acts and artists who are coming up, who require direction and material. Instead of looking up and fantasizing about Babyface, look on your own level to ﬁ nd the next Babyface, Timbaland, or Diane Warren. Attach yourself to people whose success you can pre- dict; indeed, be one of them yourself. When you buy into the “overnight success” mythology you set yourself up for disappointment and exploita- tion. The music business is built on relationships. In my decades in this business, every deal I’ve seen go down has been the result of a personal contact. It’s all about hard work, dedication, perseverance, and people skills. I have never known anyone to start at the top. Something else bothers me. You were too shy to come up and talk to me after class. I came there to meet you, to offer any advice that I could, to make contact. If you were not assertive enough to make my humble acquaintance, how intimidated would you be in the presence of a platinum hit-maker?Chapter 4 True TalesNetworking Strategies for the New Music Business 74I’ve read your lyrics and I agree: They do have potential. But you’re selling yourself short by fantasizing about a relationship that is virtually unattainable. Babyface will not ﬂ y out of the woodwork, give you a check for a million dollars, and make you famous. But some- where—maybe even in your class—is an artist, a writer, or a producer who has the talent and determination to go all the way with you. This is exactly who needs you. Best Wishes, Dan Kimpel Look Around As I mentioned in my response, as music professionals we need to become clairvoyant, to be able to ascertain which of those we encounter have the necessary ingredi- ents to go all the way, and to align ourselves with them while we have the chance. By the time someone becomes successful, they’re far too immersed in their own career to have time to think about yours. Music professionals are most comfortable with those who are on the same level they are—major producers work with major talent, and hit songwriters write for hit artists. I have been contacted by songwriters who are convinced that they have the next Faith Hill single. “I just have to get it to her,” they’ll tell me. There is no rule that determines that only the best songs get recorded, only the most masterful artists get signed to record deals, and only the most deserving among us have long and proﬁ table careers. Certainly unknown songwriters also have the tools to create 75stunning lyrics and music, but it’s not enough to simply have these skills. Access and a reputation is necessary as well. That’s what this entire book is about. Understand, Faith Hill is a huge talent, and most of the songwriters and artists in Nashville pitch songs for her projects. So in order for unknown songwriters to even have a faint hope of getting a song to her, they ﬁ rst have to build a career that puts them on a par with hers. Wouldn’t it make sense that an artist of this magnitude would have the ﬁ nest song crafters in the music business writing songs especially for her? Sixth Sense Music people have ﬁ nely tuned abilities to recognize and encourage future hit makers. I can recall some intrigu- ing examples in my own history—of a young man who was living in his car on the street and two years later was sharing a mansion with Lisa Marie Presley; or the bag boy who was so friendly to all of the customers at a local supermarket and was signed with a multi-release deal for Virgin Records; or the earnest young man from Washington, D.C., whom I hired to sell $20 ads for a music trade publication who is now the president of a successful record label. This all relates to my primary creed—that we cannot make things happen, we can only put ourselves in the position for success. It take tremen- dous determination, force, and focus. And before this must exist belief.Chapter 4 True TalesNetworking Strategies for the New Music Business 76Drugs in the Music Biz When teaching a series of classes, I’ll generally announce the next day’s text. My declaration, “Tomorrow we’ll be doing drugs and alcohol,” is usually met with much applause by my young charges. Of course I don’t plan to turn the hallowed halls of learning into Willie Nelson’s tour bus, but in speaking to the realities of the life of a musician, certain substances bear discussion. I’m certainly no Puritan, but regarding the myths of the musical life, it is imperative to understand what can loom in the way of success. Historically, nothing has robbed musical creators of their gifts—and their lives— like drugs and alcohol. As a child of the ’ 60s (actually, the ’ 70s, but I was in Ohio, and we didn’t get the ’ 60suntil the ’70s), I observed the hijinks of the Beatles, Stones, and the various tribes of the San Francisco Bay area, all seemingly in the throes of psychedelic creation. I was stunned by the losses: Brian Jones, Jimi Hendrix, Janis Joplin, Jim Morrison. Later, the suicide of Kurt Cobain had the same impact on his fans. Drug use affects everyone around you: Your fam- ily, your friends, your fellow musicians, and most of all, your music. For many musicians, it’s a rite of passage, and not everyone moves through it intact. My judgments are based on strict professionalism only; at the level where I operate, people need to be utterly dependable. Any substance or trait that makes them less so will make others less inclined to work with them.77Most music business professionals have operated in an arena where drugs and alcohol are accepted social ingredients. I’ve heard it implied by certain cynics that, back in the day, record labels actually preferred a certain degree of drug dependency from artists because it made them easier to control and therefore more predictable. As always, the way a million-selling artist is perceived with or without substances will be different than the atten- tion given to a new, or aspiring, artist. Times change; if you deduce that your career is stalled by substances, take heart. In the music cities, Narcotics and Alcoholics Anonymous meetings are terriﬁ c places to network. On the Road with John Mayer Reliability and consistency are trademarks of successful musicians. When I interview many rising artists, I’m aware of what they have to endure. Grammy Award winner John Mayer related these rigors to me. “To wake up at six in the morning after doing a show the night before and sing on a morning TV show, you’ve got to rehearse each song three times. If you’re singing two songs, now you’ve got six songs—actually eight songs in the morning, including the performance. After that you go and do radio—another ﬁ ve songs. For every song you sing there’s some jackass who didn’t set the levels right. You’re into the bridge and you get the international arms-waving stop sign. ‘Sorry John, the level’s messed up. Let me hear it from the beginning.’ It turns your voice to chopped liver.” Mayer avows that constant travel, interviews, and early morning performances sap him of vocal subtlety, leaving him with only his more strident vocal tones Chapter 4 True TalesNetworking Strategies for the New Music Business 78to cut through the mix and the exhaustion. Once this whirlwind is underway, Mayer is also concerned that he’s now cursing what he loves the most—singing his songs. Still, the ﬁ nal time in the day that he sings a song is invariably his favorite, because he shares it with a live audience. “I can play my songs a million times as long as it’s in front of a crowd that wants to hear them,” he pro- claims, “instead of a dented microphone that some guy insists is picking up both the vocals and the guitar.” Am I Too Old to Rock? I am not in the business of telling people what they can and cannot do. If you observe the shambling dinosaurs that make up the major-label contingent of the record business, you’ll observe that young teen stars, mostly female, are signed at increasingly younger ages. Even country music—long the bastion of grizzled faces and hat-wearing journeymen—is not immune to the trends, now featuring strapping young men who wouldn’t be out of place on a beefcake calendar. Much of this has to do with the rise of video as a marketing tool. Also, demo- graphics for recorded music purchasing are younger. Let’s face it, new pop music has much more inﬂ uence over those in their teens than those who have moved into subsequent stages of their lives. This is not to say that older audiences don’t buy music—they do. They also buy concert tickets (and mer- chandise) in record numbers. But older audiences are more resistant to new music. They remain more loyal to the artists they grew up listening to. 79The way we come in is often the way we are per- ceived, and even though we need to change career direction, others’ perceptions of us keep us pigeon-holed and limited. Following is an e-mail communiqué that addresses two concerns: one of reinvention and another of ageism. Dear Dan, I’ve been a professional in the music industry for over twenty years. As many of us do, I began as a performer and a songwriter, then I developed another career, where I have worked successfully in a behind-the- scenes capacity. Now, almost two decades later, I’ve decided that maybe I gave up too easily and allowed myself to be discouraged too early. In this coming year, it’s my inten- tion to return to writing songs and performing, but I’m worried about being too old. What advice would you give me? Behind-the-Scenes Betty Following is my reply. Dear Betty, As those of us know, being inside the music business is one key to success in it; in other words, in this notori- ously insular industry it is virtually impossible to come from outside and make an impact. So, in this light, your two decades of experience are laudable because they have given you valuable access. However, one of the realities of having already established yourself as Chapter 4 True TalesNetworking Strategies for the New Music Business 80a behind-the-scenes functionary is that this has now become your identity. As such, your desire to branch into another area of the business may be confusing to those around you. What would you think about a manager who confessed he actually wanted to be a songwriter, or a video stylist who was an aspiring diva? Would they be credible to you? And yes, there is another harsh reality in our business. For more mature performers, this is a chilly climate. One need only to turn on MTV to understand that in an era of surgically enhanced nymphets, maturity is not necessarily an advantage. Unless you consider reincar- nation, we are all given only one life. And many of the teen stars of today have spent that life in this business. There are, however, many opportunities to fulﬁ ll your- self both artistically and commercially. Songwriting, for example, is an area where all that counts is the power of the song. Songwriters are not required to possess any deﬁ nable type of visual allure or to be of a certain age. In fact, some of the most vibrant pop singles in recent memory have been penned by writers well into their fourth, and even ﬁ fth, decades. Synergy is power. Becoming involved in the careers of emerging artists and offering them open windows into the music busi- ness may be a viable way for you to fulﬁ ll your artistry. If you need to write and perform to satisfy your creative soul, you should certainly do so, whether it be in a cof- fee house, a church, or club. But don’t throw yourself into an arena with kids half your age, and don’t be con- sumed by envy of them, either.81Your letter dictates to me that you have the creativity to carve out a viable economic niche for yourself in this business. I would recommend that you continue to apply this same creativity to expanding, reinventing, and enhancing your career while divining new outlets for your creative needs. Good Luck, Dan Kimpel Critical Crises and Drama Queens I was honored to study artist management at UCLA Extension under Ken Kragen. At the time, this venerable and well-respected manager was handling his longtime client, Kenny Rogers, who was embarking on a co- headlining tour of Canada with Dolly Parton. One night, Ken came to class having just received a call on the eve of the show informing him that the elaborate stage set that would be shared by the two artists was too large to ﬁ t into the ﬁ rst venue. The production manager had insisted that Ken ﬂ y north immediately to assess and rectify the situation, but Ken had no such intention. “Crises have a way of resolving themselves,” he commented. Sure enough, when we convened for class the following week, Ken shared that somehow the production manager had made it work. Again, Kragen enunciated his theory that if you ignore a crisis, it will probably work itself out. A few years later, I could hear Ken’s words echoing through my head, even over the thunderous bluster of the manager of Mr. Big Producer who was inches from my face, snarling, “Look, either my client goes on stage Chapter 4 True TalesNetworking Strategies for the New Music Business 82now, or we’re leaving.” The occasion was the award pre- sentation to A Hit Songwriter at an historic Hollywood theater. We had invited Mr. Big Producer to present this award, and he’d shown up with an entourage that included his fashionably hirsute and stereotypically overbearing manager. The songwriter’s publicist had instructed Mr. Big Producer to arrive earlier than neces- sary, and his manager was adamant: Mr. Big Producer would not wait around. He demanded that I change the order of the show so that the award presentation would happen in the middle of the show, not at the ﬁ nale. I called the publicist on my walkie-talkie, assessed the situation for her, then disappeared into the lobby of the theater to handle another situation. Sure enough, when I poked my head backstage a half hour later, A Hit Songwriter and Mr. Big Producer were sitting and jam- ming on acoustic guitars, inventing an impromptu song to duet on when the award was presented. Everyone was all smiles. This story illustrates a couple of truths. First, the manager is paid to be commanding. His only concern was his client. Often artists and producers require some- one to wield absolute power. Being heavy-handed works for some managers whose agenda is the well-being of their clients. Second, when the human element was introduced to the so-called “crisis”—the music—the interaction between Mr. Big Producer and A Hit Songwriter smoothed over the situation. The music won. Third, the publicist had erred in requesting the early arrival of Mr. Big Producer, who had left a recording ses- sion speciﬁ cally to be at this event. In production, time is of the essence, and you don’t want to have important 83people just hanging around and waiting. Fourth, as Ken Kragen taught, once all of the bluster and drama were removed from the situation, everyone was basically decent. Ten Networking Strategies for Dispelling a Crisis Following is a list of strategies for dealing with crises. 1. Don’t be forced into making immediate decisions. Take a deep breath and remain calm. 2. Remove emotion from the equation; think logically and pragmatically. 3. Do what’s right for everyone. Don’t think only of cover- ing your ass. 4. If you’re not comfortable with high voltage screaming, then don’t be forced into doing it. Take the opposite tact. Speak softly. 5. Be aware that some people will scream to get their way. 6. Sometimes people need to be heard. Try saying their exact words back to them to let them know you’re listen- ing. If someone is screaming “This stage is too small,” you might reply, “I understand you think the stage is too small. But if we move the monitors off the front of the stage, reposition the drums, and slide the bass amp a little to the left, we can make it work.” Make allies, not adversaries. Chapter 4 True TalesNetworking Strategies for the New Music Business 84 7. Avoid overstatements and generalizations in agitated conversation. “You never…” and “You always…” are particularly off-putting. 8. Avoid confrontational poses. Don’t challenge others physically. 9. An excellent way of bridging a conﬂ ict with another person is to query, “What would you like to see happen?” 10. Remember: None of this drama will make a single iota of difference in another hundred years! Treat Everyone with Respect I received a breathless telephone pitch this morning from a high-powered New York publicist who requested that I interview her client, a hit songwriter of some repute, who had penned huge hits back in his day and was now resur- recting his career via a musical. Would I be interested in proﬁ ling him for an article? I hesitated not a second. “No, I wouldn’t be interested,” I said. Let me tell you exactly why I rejected her proposal. When I ﬁ rst came to Hollywood, I was a musician and songwriter eager to gain a foothold in the music business. I had much more time than money, so I would volunteer for non-proﬁ t music organizations and work at events where I could gain knowledge and make contacts. This was not particularly glamorous work—driving across vast stretches of a then-unfamiliar Los Angeles, delivering promotional materials to music stores, lugging sound equipment, or taking telephone calls. But I did every task asked of me with enthusiasm and energy. 85Later, when these organizations had budgets and a need for additional staff, they hired me. But back to this morning’s telephone call. As the publicist droned on about her client’s achievements, all I could remember was years ago when he was invited to speak at an event where I was a volunteer. He showed up in a surly mood with a huge, unexpected entourage in tow. Nothing was right: The mineral water we’d provided was the wrong brand, the temperature in the hospitality room was too cold, and the food was too salty. He treated those of us who were working on the event as his personal minions, and with his every pomp- ous demand, lorded over us with his superiority. One ﬁ nal note: We were in an historic meeting hall with “No Smoking” signs posted everywhere. When a member of his entourage lit up a cigarette and was subsequently asked to extinguish it, he did so by grinding the butt with the heel of his boot into the priceless mahogany ﬂ oor as he chuckled with amusement. And now, his representative is on the telephone, pleading for me to write about him, and it is my distinct pleasure to say, “No, thank you.” I do not have an agenda. I don’t stay up nights thinking of those who have wronged me. I think such energy is wasted and negative. However, I do play a very long game. So take this story as a word of caution, dear readers. Never step on toes connected to an ass that you may someday have to kiss.Chapter 4 True TalesNetworking Strategies for the New Music Business 86Summary In the music business, people don’t disappear, they sim- ply reinvent themselves and change positions. Trust me, your relationships will last much longer than any job you acquire, and you will see the same folks again and again. The way they feel about you will determine your success. I’ll conclude this chapter with a quote from one of my all-time favorite interview subjects, who says it best. “I’ve learned that people will forget what you said, people will forget what you did, but people will never forget how you made them feel.” —Dr. Maya Angelou87CHAPTER 5 Making Contact No other interaction has the intense dynamics of two people together in the same room. Huge corporations with every conceivable piece of technology for video conferencing and conference calls still prefer to send executives halfway around the world to close deals. The reason: Nothing has the impact of person-to-person interaction. Body Language The way you stand or sit makes an immediate and intui- tive impression on others. I can look at a classroom full of students and instantly identify which ones are recep- tive to my message and any who are resistant. Open body language—standing with arms at the side and palms turned outward—reﬂ ects an attitude of receptiv- ity. Crossed arms or, when sitting, crossed legs, indicates resistance.Networking Strategies for the New Music Business 88When meeting others socially, your posture also projects how you feel about yourself. When you’re out at a club, who do you think people notice ﬁ rst? The person who is standing tall and straight or the one who looks like he wants to crawl into his shell? It’s amazing how something as simple as good posture can make someone look tall, slim, and most important, conﬁ dent. And the conﬁ dent person is the one who gets noticed for all the right reasons. When we were children, we were told to walk with a book on top of our heads to practice good posture. But now posture starts with three activities we do every day: sitting, standing, and sleeping. Look at a mirror while standing up straight. Check out which areas are prevent- ing you from standing up straight. Are your shoulders crouched; is your head down; is your back bent? Straighten out whatever is slouching and observe the difference. Your ears, shoulders, hips, knees, and ankles should make one straight line. Now relax your shoulders and slightly bend your knees—you don’t want to look like a robot. The major part of maintaining proper posture is reminding yourself to stand and sit straight. And this is the hardest part. Use these little tips to make sure you don’t cheat: Tell your friends. They can serve as your support system, and they will be glad to elbow you when you’re caught slouching. Use Post-It notes. Put them in areas you see daily— your medicine cabinet mirror, your rearview mirror, and your computer monitor. 89Feel the results. Keep looking at the difference between a good posture and the one you see in the mir- ror, to really visualize the work to be done. Exercising often, especially your back and abs, and staying disciplined will reap great physical rewards. With good posture, you’ll look thinner and more conﬁ dent. You’ll have all the reasons in the world to stand tall and be proud. Good Grooming We telegraph the way we feel about ourselves to others through our physical presence. Good grooming is espe- cially critical for anyone in the entertainment business. Poor hygiene, bad breath, or dirty clothes all transmit low-self esteem and a “who cares?” attitude. For men, regular haircuts are recommended, but the more subtle areas need not be ignored. If your eyebrows are bushy, have your haircutter trim them or have them waxed at the local nail salon. It typically costs less than $10 and can make a marked difference in your appear- ance. Regular teeth cleaning is a must for good dental health, and if your teeth are stained or dull, you might want to consider the beneﬁ ts of whitening them either with an over-the-counter remedy like White-Strips or better yet, a custom-made tooth tray and gel provided by your dentist. Beware the overly white, newscaster image, though (we see plenty of that in Los Angeles). Chapter 5 Making ContactNetworking Strategies for the New Music Business 90Clothes Horse To be comfortable in any social situation, you ﬁ rst have to dress for the occasion. Wear clothes that ﬁ t well and are appropriate to the event. You want to feel good and comfortable in them because it’s hard to mingle with conﬁ dence if you’re dressed inappropriately or your clothes are ill-ﬁ tting. Given the choice of being overdressed or under- dressed for an event, it’s always preferable to be a little slicker than the occasion calls for, rather than to be perceived as a slob. I am honored to attend the annual black-tie dinners presented by ASCAP and BMI to honor their top com- posers and songwriters. For the ﬁ lm community, black tie means old-school tuxes, white shirts, and bow ties. For the pop and R&B communities, the appropriate dress is deemed “creative black tie,” which means it’s OK to augment the traditional look with any number of creative options, such as ties, hats, jewelry, and so on. I’ve also found that a formal black suit works well instead of a tux. Do I ever see guests dressed inappropriately at these high-end Beverly Hills functions? Yes, I once saw a well-known manager in a T-shirt., but he was accepting an award for Song of the Year on behalf of his client, so he could wear whatever he wanted. I regularly see another million-selling songwriter, female, wearing a tuxedo T-shirt. At a recent dinner, when the rock group Metallica and singer/songwriter Jackson Browne were being honored, I noted that they were dressed to reﬂ ect the pride they felt in their milestone achievements.91Music business people are tribal. Living in Hollywood, I’ve learned to let my instincts tell me when I’m in the presence of kindred spirits. The look is unstud- ied cool, a lot of black, leather, retro, and vintage clothes. Jewelry tends toward the severe with metallic chains and metal belts. Extreme hair colors come and go; facial hair styles for men—goatees, unshaven look, soul patch (the spot of hair just under the lower lip), and extended sideburns all serve the purpose of establishing cultural identity. I always recommend wearing a conversation piece— unusual jewelry, a lapel pin, a tie, scarf, or any other distinctive object—to give others the opportunity to begin conversations with you. People are basically shy, and that strange little tchotchke on your jacket may be the key to unlocking dialogue. “What an unusual piece. Is it vintage?” might be the opening of a conversation and the beginning of a proﬁ table relationship. Your visual presentation is your trademark. If you’re a musician, others should be able to tell what type of music you perform before you ever you play a note. Ups and Downs in the Capitol Tower It’s an iconic piece of architecture known around the world. Looming over the intersection of Hollywood and Vine, The Capitol Tower, home to Nat King Cole, Frank Sinatra, the Beatles, and the Beach Boys, is an enduring symbol of Hollywood. I recall interviewing Roy Lott, who was then presi- dent of the label, in a palatial conference room with a Chapter 5 Making ContactNetworking Strategies for the New Music Business 92panoramic view. As engaging as Mr. Lott was, what I remember most about the interview was the ride up and down the tower in the elevator. As the elevator arrived at successive ﬂ oors, I was instantly signaled what depart- ment we were in by the way the employees were dressed. Full-on suits, ties, and vests? The legal department and business affairs. Edgy, L.A. hipster attire: publicity. Edgier and more outré still? A&R. Unkempt, casually disheveled, and overly caffeinated? The musicians, of course, recording in Capitol’s fabled studios. With each successive stop, the denizens were revealed to me by their attire. Similarly, I was at a dinner party recently with a distinguished, white-haired gentleman in a black wool turtleneck. “So you’re a jazz guy” I stated by way of introduction. “You can tell?” was his reply. Yes. My instincts and experience transmitted this to me, plus I subconsciously read his attitude, energy, and creativ- ity. What this gentleman had was a distinctive “look,” emblematic of jazz musicians. What we wear as music business professionals similarly transmits information about us to others. For example, the obvious attire: T-shirts with names of bands or brands of equipment, events, or venues. When I ﬁ rst joined a gym in Los Angeles (a prerequisite to liv- ing here, I assure you), I would invariably work out with a music biz T-shirt on, so others in the gym would begin conversations with me. It worked. A simple piece of “swag” (free merchandise) was an invitation for others to interact. I know of a music publisher in Los Angeles, Justin Wilde, whose company, Christmas and Holiday Music, 93dominates the seasonal market. I can always spot Justin at an ASCAP Membership meeting by his red and white Santa Claus hat. Not a subtle gesture. Is there any doubt what type of music he deals with? Alternative, hip-hop, and country all have their individual looks. It’s tribal. When we are introduced to another person, they make an instant, instinctive judgment of us based on factors relating only to looks. Therefore, in a music busi- ness environment, it’s up to us to transmit the correct information. Ten Visual Cues for Your “Look” Consider the following tips for achieving the right look. 1. Identify yourself with the appropriate tchotchke: a lapel pin or something suitably subtle yet unique. 2. Extreme looks work in certain circles, but again, the goal is to attract others, not terrify them. 3. Watch out for the sex thing. I regularly attend a music business conference in a mountainous western state where nubile, aspiring young female artists congregate to attract the attention of A&R reps from L.A. and Nashville. If you’re doing music, don’t confuse the issue by wearing stage attire in the daytime that would be more suitable for a lady of the night. It may well telegraph a signal to the over-stimulated males of the species. 4. Casual does not mean dirty. 5. Ask your gay friends for help. Chapter 5 Making ContactNetworking Strategies for the New Music Business 94 6. Watch source material, including entertainment televi- sion shows, videos, and magazine layouts in periodicals like GQ, Details, or Vibe. 7. Let your look mirror you, not limit you. 8. We are not in a conservative, drab business. Don’t be too dull or conservative. 9. Make your look entertaining. 10. Learn what colors work best for you—clothes, like music, need to be in harmony. Conversation Instigation In researching the subjects I interview for magazine arti- cles, videos, and in-ﬂ ight audio shows, I strive to acquire a picture of the whole person, not what they project to the record buying public or to an audience full of fans. I’ve learned that legendary trumpet player and founder of A&M Records, Herb Alpert, is a noted sculptor and painter. Hit songwriter/producer Glen Ballard loves to talk about Italy, especially its art and cuisine. Leonard Cohen is a Zen Buddhist, and heavyweight industry law- yer Donald Passman trains dogs. They say in love opposites attract, but what draws us together as people are our similarities. We all come from somewhere, have families, spouses or partners, children, pets, homes. Human beings are complete packages, and their artistry and music is simply one part, which is quite often the direct result of a much larger picture. When 95meeting potential music industry contacts, concentrate on who they are as people, not only how you perceive them as musicians or business entities. Music people don’t talk music all of the time. Having a knack for expressing interest in others is what makes a good conversationalist. The ability to express thoughts and feelings eloquently is equally important. Including all people present is common sense, and the proportion of people who speak should be in equal division. If three people are present and one person dominates the conversation, he is not having a conversation—rather, he is giving a speech. Ten Conversation Leaders Being a good conversationalist requires being able to ask questions as well as excellent listening skills. Here are 10 leading questions you can ask without seeming pre- sumptuous or nosy. 1 . Are you originally from here? 2. What do you like best about living in this town? 3. Do you have many opportunities to travel? 4. Are you a ﬁ lm buff? 5. What’s your latest favorite movie? 6. What are you listening to that I should know about? 7. Are there any great restaurants in this part of town?Chapter 5 Making ContactNetworking Strategies for the New Music Business 96 8. What gym do you go to? 9. Are you a sports fan? 10. Do you have a dog or cat? Ask questions to encourage the other person to talk, and comment on their answers to continue the conversa- tion. Here are four types of comments you can make: 1. Expanding: “Tell me more, it sounds as if you had a great time.” 2. Comparing: “That sounds as if it is similar to…” 3. Self-revealing: “I know what you mean. I was in a similar situation last year.” 4. Clarifying: “What exactly did he do?” Small talk, sure, but effective ice-breakers none the less. Note that I didn’t include questions about music (I’ll get to that soon enough), spouses/partners, or children. There is no reason for anyone to take offense or feel like you’re prying. Conversation is like a tennis ball being volleyed back and forth across a net. Effective conver- sationalists know how to keep the conversation ﬂ ying. Initiating it is considered a positive trait. Asking advice is a sureﬁ re way to extend the conver- sation. If this doesn’t work, try asking for an opinion, but remember that your proper follow-up response is not to heartily agree nor to be argumentative.97Sensitive Areas At a music business conference in Northern California, I witnessed this uneasy interaction. One of the attendees, an Asian-American singer/songwriter, took understand- able offense when a clueless music publisher quizzed her with, “So, what is your nationality?” The songwriter, of course, answered with a terse, “I’m an American.” Americans come in many shapes, creeds, and colors, so many that the tired old phrase “All-American” needs to be expunged from our modern vocabulary for good. This is not the so-denigrated “political correctness”— rather, it’s correctness. “Nationality” is not “ethnicity,” and besides, why would the above publisher need to know this information? Simply because the songwriter had (in the publisher’s estimation) Asian features? When I was managing a recording artist from Hawaii, I recall encountering the same rudeness. “What is he?” one magazine editor said, squinting at his press photos. “A singer who writes songs and records,” I answered. “No, you know what I mean. What is he?” persisted the editor. In a listening session at a conference, I was teamed up with a major record executive from one of the most prominent record labels in the world to evaluate live tal- ent. One of the artists, a dynamic woman of considerable power, had the room shaking with her conviction. At the conclusion of her song, the exec asked only, “So, are you married?” The singer stood in disbelief at the inappro- priateness of his query. The entertainment business is one of smoke and mirrors, and what is projected is often the image, not the entire artist. That said, we cannot afford to make Chapter 5 Making ContactNetworking Strategies for the New Music Business 98assumptions about others in our business based simply on the way they appear to us. As the old saying goes, “If you ‘assume,’ it makes an ass out of ‘u’ and ‘me.’” Assumptions to Avoid About Anyone to Whom You’re Introduced Coming in contact with a variety of personalities is a trademark of our business. What you see, however, is not always what you get. Avoid making social gaffes based on assumptions regarding /L50480 Race /L50480 Age /L50480 Sexual preference /L50480 Political afﬁ liation /L50480 Musical likes and dislikes /L50480 Religion /L50480 Marital status Complimentary Consideration Often when I’m conducting interviews, common names will come up in conversation. During an interview with writer/producer Billy Mann, who has seen phenomenal success with artists including Jessica Simpson, Josh Groban, and many others, he referenced Pink’s guitar player, my friend Rafael Moreira. “Raf is amazing,” he said. As soon as the conversation was over, I called Rafael immediately to let him know that Billy had spoken so highly of him. A compliment once removed is doubly effective: It made Rafael feel good and also translated into his feelings about Billy. Meanwhile, I’ll also beneﬁ t because I passed on a positive message. Speak up; if you 99have a nice thought, by all means share it. You can often tell more about a person by what he says about others than what others say about him. But don’t share the negative stuff or pass it on, and please, never say anything negative about any person present. This is one lesson that I almost learned the hard way. Invited by the performing rights organiza- tion of a major composer, I attended a screening of the ﬁ lm that he’d scored. As the end credits rolled, a ghastly song almost obliterated the mood of the picture, a song so bad, in fact, that the composer whispered to the performing rights organization’s spokesperson, who sub- sequently announced to the room, “The composer wants you to know that he had nothing to do with choosing this song.” Later that same week I was having lunch with a ﬁ lm agent who asked me, “Have you ever heard a piece of music in a ﬁ lm that was so bad you couldn’t imagine why it was there?” Of course I began gleefully recounting the story of the horriﬁ c song, but fortunately, as it turned out, omitting the crucial details. “Who wrote the song?” demanded the agent. As I opened my mouth to respond I suddenly saw the songwriter I was about to malign rise up at the next table—just in time to avoid a serious faux pas on my part. Similarly, conversation shouldn’t be about someone, even in a group of close friends. If someone talks bad about another person in public, they’ll probably bad mouth you as well. No matter how tempted you may be to pass along a cutting comment or to join a group talking badly about another person, don’t do it. It doesn’t reﬂ ect on anyone other than you, and it will make you look bad. Chapter 5 Making ContactNetworking Strategies for the New Music Business 100There are rarely regrets for what has not been said. People who speak easily often communicate too much, but someone who doesn’t speak at all doesn’t add to the party. In conversation, it’s best to aim for the middle— know when to listen and when to carry. Many stories are best told brieﬂ y and once only. More regrets are expressed over what was said than what was not. In ending a conversation, use exit lines because not only do you need to say hello, you need to say good-bye. An exit line will help you say good-bye gracefully and leave on a positive note. Don’t strive for cleverness, just be sincere. You can simply say, “It’s been nice talking to you,” “Good to see you,” “I hope to see you again soon,” or my personal favorite, “I’m gonna go work the room.” If so inclined, shake hands good-bye or place your hand lightly on the other person’s shoulder to convey sincerity. Remembering Names When I ask a room full of participants at a seminar how many of them have problems remembering names, I’m not surprised when the majority raise their hands. One reason is that at the moment when someone we meet is saying their name, we’re generally shaking their hand and our attention is diverted away from the sound. Here are three strategies for remembering names. 1. Examine a person’s face discreetely when you are intro- duced. Locate an unusual feature—prominent ears, a precarious hairline, a projecting forehead, caterpillar-like eyebrows, etc.—and create an association between the characteristic, the face, and the name in your mind. 101 2. Associate the person with someone you know with the same name, or perhaps associate a rhyme or image from the name with the person’s face or deﬁ ning feature. The more infantile the better; you don’t have to share this with anyone else. 3. Repeat the individual’s name immediately after you hear it, and use it as often as possible without being obvious. If the name is unusual, ask how it is spelled or where it comes from and, if appropriate, exchange cards. The more often you hear and see the name, the more likely it is to sink in. Also, after you have left that person’s com- pany, review the name in your mind, and make notes surreptitiously in a notepad if you’re really working it. Did You Drop That Name? I remember reading review notes from a lecture at a music school accusing me of dropping names. OK, I admit, it goes with the territory. I’ve programmed music heard on-board by the most powerful ruler of the free world, interviewed virtually every major recording artist in the history of American pop music, and lectured for half a decade at a college founded by an ex-Beatle. Still, the criticism hit home. I recall that the class to whom I was lecturing was not the most welcoming, and I was probably using recognizable names to prove my credibil- ity. In retrospect, I didn’t need to, since I’d written their textbook. Many name droppers believe that if they are asso- ciated with important people, you will be impressed. They’re often gravely insecure about their own achieve- ments, so they use others’ names to add to their esteem. Chapter 5 Making ContactNetworking Strategies for the New Music Business 102After my scathing review, I’ve become more sensitive about my own tendencies in this direction. (And I’ll ask Clive, Alanis, Avril, Aretha, Britney, and Quincy to do the same.) Business Cards In this high-tech, digital world, there are few more eco- nomical ways of networking than passing out business cards. It is now possible to design and order business cards online, and in some instances you can even have cards made free. Whatever the method, your business card can communicate many things about you, and here are some tips to presenting the proper picture. /L50480 Limit yourself to the business at hand. A card that reads “Joe Jones, songwriter, recording artist, dog trainer, fortune teller, high colonic therapist” lacks a positive message about your commitment to your art and will not impress the recipient. /L50480 Simple is good; readability is essential. Check out business card design samples online or at your local library for tips and examples. /L50480 If your career requires that you move often, con- sider having a blank line on which to hand write your telephone number. /L50480 Keep the fonts simple, avoid the really grotesque ones, and don’t crowd the information. /L50480 Do include e-mail and Web site info. /L50480 Refrain from crossing out numbers or addresses. Get new cards when any of your information becomes obsolete. It’s a few dollars well spent.103The best time to pass out your card, obviously, is when someone asks you for it. Otherwise, offer it with an easy message. “Should you need to reach me for any rea- son whatsoever…” is a nice, low-key statement. Similarly, when you want someone else’s card, be direct but not demanding. “What’s the best way for me to reach you?” is an excellent prod. Working the Room Now it’s time: You’ve been invited to a music industry event where you’re sure to meet some movers and shak- ers. As you’re about to descend into a pressure-cooker environment, it is imperative that you prepare, mentally and physically, to present yourself in the best possible light. “Working a room” is a variant of the art of min- gling, of blending into any given space containing groups of socializing people and becoming part of the action. Making the transition from background to foreground, from intruder to “one of us” is no easy matter and requires considerable ﬁ nesse, especially in music circles. Here are some time-tested tips. Arrive early and spend moments of solitary time in your car relaxing and preparing yourself for the moment. If you’re late you will be in danger of giving off negative, frantic energy, so having extra time to locate parking, elevators, entrances, restrooms, and escape routes is advisable. I use this extra time to pump myself up. I might begin by afﬁ rmations, such as “I belong here” and “I’m going to be upbeat and charming.” A huge part of work- ing any room is getting fear under control.Chapter 5 Making ContactNetworking Strategies for the New Music Business 104I also review my objectives for the evening, whether it’s seeing old friends or, more likely, making new contacts. Don’t be afraid of talking to yourself in prepa- ration, of articulating your intentions out loud. I check my pockets to make sure the necessary tools are at hand. I always have an interesting and classy pen, plenty of fresh, non-dog-eared business cards in an appropriate holder, and a small notebook to jot down names or details that I may need to refer to after I leave. Breath mints are a must. Also, if food is being served, either a toothpick or a ﬂ oss stick that can be used surrep- titiously in the restroom over the course of the evening is advisable. Nothing can negate a good impression like a piece of arugula sprouting through your teeth! Give yourself time when you enter the room. It’s ﬁ ne to wait a while before striking up a conversation. We are sometimes so focused on ourselves that we are our own worst enemy, and often what people are most afraid of is sticking out like a sore thumb. Be easy on yourself. Learn to be alone for a while, and be comfortable. Assess the dynamics of the room and move around the perimeter. Enjoy the art, the buzz of conversation. Take away the pressure by imagining that no one can see you. Another advantage of early arrival is having an opportunity to meet the host or hostess and to enjoy the food before the buffet gets mobbed and before you need to expend your energies on communicating rather than scarﬁ ng the free crab cakes. Be very aware of your reaction to alcohol. For some, a drink or two can be very helpful in assuaging anxiety, 105but nothing can be more detrimental to creating a good impression than being under the inﬂ uence of demon liquor. A wine spritzer—wine diluted with soda water— may be a good compromise. Pace yourself. Prepare to move on. Finding someone—anyone—to talk to is the only goal of most crowd-phobic people. You will be perceived as needy if you cling to the ﬁ rst person who says hello. A great method in working a room is to seek out people who are standing alone. Introduce yourself, ﬁ nd out why they are attending the event, and then offer to introduce them to someone they might want to meet. Remember, if you walk into a room and you’re only there to take, people will pick up on that. But if you’re a person who gives, it’s easy for others to give to you in return. Follow the 10-5 rule for meeting and greeting: If you make eye contact with someone within 10 feet of you, you must acknowledge them with a nod or a smile. At ﬁ ve feet, you should say something—“Hello” or “Good evening.” Don’t pretend you don’t see them. I learned this next lesson the hard way. If ﬁ ve people are in conversation, feel free to join them; four people, sure, walk right up; three, no problem. But beware: If two people are engrossed in conversation, unless you know them very well, it is never permissible to intrude. Odds are, they’re discussing something private (maybe even you!). Have you ever been in conversation with some- one who seems to ﬁ nd whatever is over your shoulder more interesting than you? Being a good listener is the Chapter 5 Making ContactNetworking Strategies for the New Music Business 106most important part of being a great conversationalist. Don’t let your eyes wander. If the person you’re speak- ing to does this, follow his stare with a wry comment, “I wanted to see what was so fascinating.” Hidden Opportunities One of the famous disadvantages of living in the hills of Los Angeles is that they sometimes tumble down. Such was the case this winter, as a mountain of mud surged through my street on its inevitable, gravity-determined path. As I walked through the neighborhood survey- ing the damage, I came upon my neighbor, who was speaking with a couple who had recently relocated to the block. As I was introduced to them, the male member of the pair commented, “Jean [my neighbor] tells me I can hear you on United Airlines.” When I asserted that, yes, I did frequently voice shows for the in-ﬂ ight entertain- ment, he told me, “I’m in animation, and we always need voices. Get me a CD and I’ll see what I can do.” How cool is that? From a mountain of mud shone a window of opportunity. I was reminded of a singer/songwriter friend of mine, Beth Thornley, whose songs can be heard on the new DVD releases of Dawson’s Creek: Season 2 and Roswell and on episodes of The Chris Isaak Show, The New Ride with Josh and Emily, the CBS ﬁ lm It Must Be Love, and Book of Ruth. She tells of a serendipitous day when UPS delivered a color printer to her door that she hadn’t ordered. “I called UPS and said, ‘This isn’t mine,’” she remembers. “‘Could you come back, pick it up, and deliver it to the person whose address is just around the corner and down the street?’” “They said, ‘If we do, we’ll 107charge you for shipping.’ I said, ‘OK, I’ll just take it.’” She called the rightful recipient, who came over to claim it, and he happened to be a music supervisor. “That was my Roswell placement,” says Thornley, “but it was a full year down the road.” After that, Thornley recalls that she would often encounter him walking his dog, and he’d tell her what he was working on. “Also, I did a version of ‘Eleanor Rigby’ for another show that got canceled before they used it. I burned it to CD and asked him if I could drop it in his mailbox.” Thus began a tactic by which Thornley stayed in supervisors’ minds. “When I get done with something nice, I’ll burn a CD and drop it into the mail for them. That keeps me in their thoughts between albums. I’m working on my second album now, but I can get one thing down and send it out as a taste. This music super- visor gave me that idea. I was close enough to hand it to him, but I thought, ‘Why not send it to everyone I know?’” Granted, Thornley and I live in an entertainment capital, but the point is that many things in our music world happen as the result of simple, chance human interactions. But you have to be ready to receive and recycle the energy. If I was walking down my street angry and muttering at the watery fate that had mired my car, or if Beth Thornley felt put-upon by her chore, the same opportunities would not have happened. Any place can become an arena for meeting others. Neutral environments—airports, waiting rooms, and so on—are perfect places to practice “Pop People Power.” You have nothing to lose and everything to gain. Let your instincts guide you, invent a reason to begin a Chapter 5 Making ContactNetworking Strategies for the New Music Business 108conversation, and see where it may lead you. You could be surprised. I often play a game when I’m waiting to catch ﬂ ights, especially to or from Los Angeles, London, New York, or Nashville. I will spot the most interesting person in the waiting area and focus my attention on them. Then, if and when the time is right, I will initiate a conversation. It’s a fascinating way to pass the time, and I’ve made innumerable contacts in my professional and personal life in airports. Practice Makes Perfect Just as musicians study and practice musical instru- ments, you also have to rehearse your networking chops and practice being open to others. You may be project- ing your accessibility when you become aware if it. The following communication came to me shortly after I conducted a networking seminar as part of an educa- tional series at a local music store. Dear Dan, I attended your presentation at West LA Music in the valley about a week and a half ago. I spoke with you brieﬂ y afterwards about being from Ohio. You might enjoy some feedback about your presentation. One of the things you said that really stuck with me was the idea of practicing the networking chops. The exam- ple you used was talking to people on elevators. So, I have been doing that since that night, just to practice breaking the ice.109But here’s the cool thing that has been happening to me since I started: About half of the time, before I even initiate the conversation, the other person starts talk- ing to me. That has never happened before in my life, and now it’s happened about ﬁ ve times in the last two weeks. The only thing I can ﬁ gure is that my willingness to speak to the other person projects as openness, a quality that I didn’t used to express. I’m starting to get a sense of how the process of networking really snow- balls. Thanks again for taking the time out of your schedule to share your experiences that night. I’m excited about this new unexplored skill I’m starting to develop! Michael B. It’s true, that your openness and willingness to com- municate to others can be felt, and you just never know. I’ll sometimes reﬂ ect backwards, “If I hadn’t gone to that party, been introduced to that person, had that conver- sation, and made that follow-up call, this opportunity would have never existed.” So get yourself out there; nothing happens if you don’t. The Fine Art of the Studio Hang Is there any place more intriguing than a recording studio? Having come up in the mega-tracking rooms of Nashville and New York, it was somewhat disconcerting to move to Los Angeles and ﬁ nd myself in recording Chapter 5 Making ContactNetworking Strategies for the New Music Business 110sessions taking place in renovated garages in the far reaches of the San Fernando Valley. This was only a precursor of what was to come. Today, studios can be anywhere—in a home, a base- ment, an unused bedroom, or even a bus. Hanging out in the studio, however, is still a time-honored tradition and requires a strict adherence to protocol. Following are some tips for proper studio etiquette. 1. Never give your opinion unless you’re asked. There is a strict hierarchy in the studio. The producer is in charge but in service to the artist. If you are there as a guest, it is in everyone’s best interests, especially yours, that you not disturb the chemistry. The producer knows exactly what he or she is listening for in a take. Often it’s emotion versus technical perfection. 2. Stay visually engaged with those recording when they come in for playback. Don’t read, check your e-mail, or act bored. Again, the chemistry in a session situation is supercharged and, depending on the artist, can be very volatile. Distractions or negativity can alter the fragile emotional parameters. 3. Pay attention to everything during tracking—be very present. Look at the session as a learning experience and take in everything. What changes is the engineer mak- ing? How are the mics placed? What is the producer going for in the session? 4. Don’t set anything on the recording board or any other equipment—ever. This should be self-explanatory, but a drink spilled into a console could render a price- less piece of gear inoperable. At the Liverpool Institute 111for Performing Arts (LIPA) where I’ve lectured, they maintain a hard and fast rule that no beverages of any kind are permitted in the studio. The only exception I observed was the popping of a champagne bottle to christen “The Sir George Martin Studio.” The fact that Sir George himself was sipping the bubbly made it OK. 4. If conﬂ icts arise, make yourself invisible. Making your- self invisible also comes in handy so you don’t distract any of the recording personnel. Don’t announce your arrival and departure; rather, slip into the room and ascertain the vibe ﬁ rst. If you have to slip out, do so unnoticed. 5. Don’t distract the talent with needless chatter. Vocalists are notoriously temperamental. Loading them up with your opinions, ideas, or suggestions could blow their concentration. Non-verbal communication may be your strongest option. Again, be very positive and supportive, if only through eye contact and a smile. Chapter 5 Making Contact112CHAPTER 6 Telephone and E-Mail Cell phones, computers, BlackBerries (portable digital devices that can send and receive digital and telephone communications), and whatever might be developed by the time you’ve ﬁ nished reading this chapter are all mechanisms that should be integrated into your networking strategy of communication. Different methods of communication work for dif- ferent individuals, and timing of your communication can be as crucial as access. Below is a common scenario that happens when you try to communicate with busy people. Dear Dan, I recently met a major music industry player who was kind enough to give me his card. I’ve been calling his ofﬁ ce ever since then, and I haven’t been able to get a hold of him. His receptionist keeps saying he’s either 113not there or is “in a meeting.” What can I do to get through to him? Should I keep on calling? Puzzled in Pacomia OK, this is easy: No, don’t keep calling; change media. If calls don’t work try, e-mail; if e-mail doesn’t work, send a fax; if a fax doesn’t work, send a card or letter. It’s difﬁ cult to understand the realities and demands of those with whom we communicate. Speaking from my own experience, when I’m on a writing deadline, a telephone call from someone who is not communicating about the matters at hand is usually an unwanted intru- sion. At these times an e-mail is preferable because it’s something I can respond to on my own terms and time. Sometimes the opposite is true—I’m tired of writing, don’t want to read e-mail, would love to stand up from the computer, and could use a distraction. At these moments I welcome calls. But when something isn’t working for you, don’t continue to try to bludgeon your contacts. Simply try another avenue. The Telephone Next to human contact, the telephone is probably the most intimate method of communication. Think about it: You’re right in someone’s ear when you’re speaking. The sound you project on the phone is just one element of your communication. Like all other networking strategies, effective telephone communication is Chapter 6 Telephone and E-MailNetworking Strategies for the New Music Business 114determined by the ability to read the emotions and thoughts of the person on the other end of the line, not simply talking at them. In my ﬁ rst year in Los Angeles, as I struggled to gain a foothold in the music business and needed to ﬁ nd other ways to pay the rent, telephone work—surveys, sales, soliciting—was a time honored method of mak- ing money for musicians and struggling actors. Whereas most of my co-workers resented these jobs, I found them fascinating because I learned so much about human nature by way of the intimate communication. Many of the skills I developed and use to this day were honed by making thousands of calls to people who initially had no desire to speak to me. It was wonderful training for the future, and I’ve never hesitated to make an outgoing call since. Sound The actual sound you make on the telephone should be well modulated and pleasing to the ear. Take cues from the person with whom you’re speaking. Research indi- cates that if you talk just a little faster than the person with whom you’re conversing, you’ll be considered more intelligent. Certainly this is a challenge if you’re talking to someone in New York City, but try listening to, and then matching, the rhythms of the person on the other end of the line. Eating, drinking, lip smacking, or being too close to the phone are all negative signals.115Reﬂ ections of Power The true power brokers who use the telephone use a time-honored trick: They have mirrors within close proximity, positioned so that they can see themselves speaking, to remind themselves to smile on the tele- phone. Try it: A smile can actually be heard. Also, to project energy and forcefulness into a telephone conver- sation, stand up when you make the call. The best times to make calls in the music business are Tuesdays, Wednesdays, and Thursdays, preferably before lunch. It’s most effective to make groups of calls all at once, to psyche yourself into a frame of mind where all you’re doing is making calls and not diluting your energy by breaking up the ﬂ ow. Make business calls during business hours. If I receive a call at my ofﬁ ce on weekends (yes, I’m often here but don’t always answer), it telegraphs to me that the person making the call is a “part-timer” and cer- tainly not a music business professional. Similarly, if I’m considering working with a prospective client and they call me at night, on weekends, or on holidays, it makes me not want to become involved because it tells me that they won’t respect my privacy or my time. Begin by telling your callee the purpose of the con- tact. “Let me tell you why I’m calling,” is always helpful. “Here’s the situation,” is another effective intro. “I’ll be brief,” prepares your contact with the knowledge that it’s not going to be a lengthy encounter. You need to script your call—not word for word, but outline any main points you need to include. Then get right to the point. “I have four things to discuss with you,” will show the Chapter 6 Telephone and E-MailNetworking Strategies for the New Music Business 116recipient of your call that you’re organized and ready to do business. “How are ya?” is a cliché and should never precede a conversation with someone you don’t know well. A time-honored basic business rule is this: If you make the call, it’s your responsibility to end the call because the person who makes the call is always in the driver’s seat. Many heavy-duty executives make only out- going calls. Telephone Basics People are enthralled by the sound of their own names. You’ll need to address the person you’re speaking to by name approximately once per minute to hold their atten- tion. Don’t talk at people, and listen not only to words, but to the emotions behind them. If the person you’ve contacted sounds harried, harassed, or as if on a dead- line, be sensitive to this, and ask for a future telephone appointment with something like, “When would be a good time for us to speak?” “I’m just calling to touch base with you” is a state- ment that never fails to elicit a response from me, and not a good one. It tells me that the caller has no real information to impart, that they’re probably trolling me for information, and that they’re playing some arcane game where, for no apparent reason, I have been desig- nated the base. Never call someone without something speciﬁ c to say. Let them know clearly the purpose of the communication, and not simply some vague notion of “It’s been a long time since we spoke.” Maybe there’s a reason for that. If you’re calling to “touch base” with me, 117then we are playing a game. But I make the rules—and you’re out. If you’re receiving an incoming call of importance, move away from your computer so you won’t be tempted to check your e-mail while you’re on the phone. Yes, I know, it’s a multi-tasking world, but transmitting the tell-tale clicking of a computer while you are supposedly concentrating on a telephone conversation will project insincerity. Also, kill the background music, relegate rambunctious children to another area, and dismiss yip- ping dogs from the room when making outgoing calls. Music biz execs have key staff members to deﬂ ect calls, and you’ll generally encounter a gate-keeper. This is an opportunity for outreach. Introduce and ingrati- ate yourself to key staff, because often your access to the boss will be determined by your persuasive techniques with these subordinates. Don’t try to con or bully them; it won’t work. Tell a short version of your story; explain brieﬂ y exactly why you’re calling. When I had a recep- tionist working for me, she would often intervene on behalf of a caller who had made repeated attempts to get through, and I always heeded her advice. Telephone Tracking Having lists of people to call has proven to be very effective for some savvy networking folks: an “A” list of contacts to be spoken to weekly, a “B” list of bi-weekly contacts, and a “C” list of associates to be contacted on a monthly basis. Although you can invent reasons to call people, this invariably works best if it has some basis in Chapter 6 Telephone and E-MailNetworking Strategies for the New Music Business 118fact. “I saw an article that made me think of you,” is an effective ice-breaker. It’s helpful to take notes on conversations to avoid repeating yourself and to recall details of speciﬁ c inter- actions. Mega Hollywood execs often have an assistant listening in on the line to do just this. Cell Phones: Antennas of Satan? Has there ever been a device invented that is so conve- nient yet so utterly abused as the ubiquitous cell phone? I won’t add to the chatter on this matter other than to say that I’ve had a cell phone for many years, and that I was possibly as irritating when I ﬁ rst got it as many of the folks I currently witness. Of course, back then it was a novelty. Today, everyone from children to drug dealers are plugged in and chattering away, usually clue- lessly. Not only is using a cell phone no longer impressive in any way (unless it’s some incredibly new modern one), but when it is used for that reason, the user can be immediately identiﬁ ed as a neophyte and a poseur. A new term, “absent/present,” has been coined to iden- tify compulsive cell phone users and the phenomenon wherein an individual is there physically, but far away in conversation. It invariably throws off our sense of com- munication since we are isolated from those wired into their phones. People with whom I work may call me whenever and however they wish. But when my ﬁ rst telephone contact with someone who calls me is via cell phone, it sets off a red ﬂ ag. For instance, if I receive a call from an unknown party who uses a cell phone between the hours 119of 12:00 p.m. and 2:00 p .m., I assume that they’re work- ing a “straight” job and are using their lunch hour to make personal—or in this case, allegedly professional— calls. This thought process invariably distracts me, and I can’t take them seriously. Not a good ﬁ rst impression to give. If someone I know in passing calls me from their cell phone, I surmise that they’re in circumstances where they need to kill time and are using me to do so. Again, not good. Am I an afterthought? Did a tiny piece of pro- toplasm with the image of my face on it ﬂ oat through someone’s consciousness? I sometimes receive calls where the ﬁ rst thing I hear is the roaring of trafﬁ c. Has the 101 freeway called me? If I’m getting a call from the driver of a car, it’s an immedi- ate turn-off and tells me it’s someone who has chosen to jeopardize others’ lives for the sake of their own con- venience. (In England and Japan, talking on the phone while driving is a punishable offense. Not so in L.A.) Cell phones are not even telephones—they’re radios, and they sound crummy. To a sonically oriented person such as myself, it’s irritating, and as such, calls are lost and dropped. Nothing infuriates me so much as when someone calls me on a nasty, buzzy cell phone, bellows into it, and then drops the call. I generally don’t answer when they call back and instead let my voicemail pick up. Also, unless absolutely imperative, I won’t make out- going calls to numbers that I recognize as cell phones unless absolutely necessary. If you’re forced by circumstances to make an outgo- ing call and you have no option other than to use your Chapter 6 Telephone and E-MailNetworking Strategies for the New Music Business 120cell phone, please excuse yourself immediately when the callee answers. “I’m so sorry to have to call you on the cell, but you asked me to contact you at noon, and this was the only way.” Then proceed with the call, hopefully making it brief. Brevity is the key. Elongated conversa- tions on the cell are a strain. I can tell if someone is calling me from a cell because of the artiﬁ cial way they are talking—the dreaded “cell yell.” If your signal is weak, speaking louder won’t help, unless of course the person is actually within earshot. However, used effectively, the cell phone can be a marvelous device. I was representing a band and attempting, quite unsuccessfully, to book them into a local hot spot. I’d sent the press kit and CD, of course, but had been unable to contact the booker in person to do the all-important follow-up, so I decided to take more immediate action. One afternoon, I parked in the venue’s parking lot and, using my cell phone, made a call to the club and asked for the booker. When I received the “He’s not available,” rebuff, I determined that he was actually there. I’d dressed for the occasion in music biz garb: a nice sport jacket over an industry T-shirt, well-buffed shoes, and I carried a briefcase. I presented myself to the receptionist and announced that I was there for a meeting with the booker. Sure enough, he quizzically ventured out to greet me, invited me back to the ofﬁ ce, and we sat down for business. He ended up booking the band, and it was the beginning of a lucrative, long-term relationship with a very happening club. In retrospect, I think the booker might have imag- ined that we’d arranged this meeting and that he’d 121forgotten it. When using these types of tactics to get in front of the individuals you need to get to, it’s important that your motives and mechanisms remain transparent. If I’d begun our meeting by guffawing, “Hah, I fooled you!” it’s doubtful that I would have been able to book the band. Indeed, I may have gotten booted out the door. But selling is selling, whether it’s music or cars, and getting to the buyer is the fundamental ﬁ rst step. In this case, the cell phone conﬁ rmed the booker’s presence for me. Cell Phone Etiquette To avoid unfortunate confrontations with others, you might want to observe a few basic rules of cell phone etiquette. /L50480 Think of your phone as a portable answering machine. When you’re in an appropriate place—a parked car, outside of a restaurant, etc.—you can return calls. /L50480 If you simply must be available for a caller, put your phone on “vibrate” mode if you’re in any non-private place. /L50480 Practice speaking in a quiet conversational tone. If no one looks your way while you’re speaking on your cell phone, you’ve got it. This is the only acceptable tone of voice. /L50480 If you forget both “off” and “vibrate,” and your phone rings in any non-private place, turn it off instantly (and as unobtrusively as possible so nobody will suspect you are the jerk responsible). No matter what: Don’t answer.Chapter 6 Telephone and E-MailNetworking Strategies for the New Music Business 122Do you really want to be available all the time? Does that truly make you more productive, or does it just spread your productivity thinner over more time? A cell phone is a wonderful tool, but it’s also a leash. Cell phone conversations interfere with the person-to-person contact that you might otherwise enjoy. The random conversation you might have with a person while wait- ing in a line, a stranger you might encounter and interact with, is instead being supplanted by the impersonal 24/7 access everyone has to you. E-Mail What did we do before e-mail? I ﬁ nd that in my world, my phone calls have probably dropped in volume by half in the past couple of years, while e-mails have increased dramatically. E-mail will never take the place of the tele- phone or an in-person contact, but it’s a terriﬁ c way to keep in touch with both business and personal contacts. By checking my e-mail at an Internet café in Istanbul, I was once able to secure a valuable writing gig that required me to make an immediate response. E-mail cannot, however, transmit much emotion or energy. Also, humor may fall ﬂ at, and sarcasm is almost impossible to convey. Here are some brief guidelines for composing your e-mail messages. /L50480 Check that you’re sending e-mail to the correct destination. Horror stories abound about those who have inadvertently sent e-mail communica- tions to their bosses, enemies, etc. /L50480 Watch out for “funny” jokes or cute stories. You might send these to your friends or family, but 123they have no place in business. Ditto for warn- ings about “scams” or messages about a virus that is supposed to devour everyone’s hard drives or the United States government’s dismantling of National Public Radio. Check www.snopes.com for Urban Folk Tales ﬁ rst. /L50480 Avoid attachments if you can—better to cut and paste in the body of an e-mail than to include some- thing that your recipient may not be able to open. /L50480 Messages should be concise and to the point. Think of it as a telephone conversation, except that you are typing instead of speaking. Keep in mind that some people receive hundreds of e-mail messages per day. /L50480 If something is important, it should be reﬂ ected in your text, not in your punctuation. Don’t use !!!!! or ALL CAPS. /L50480 In the quest to save keystrokes, users have traded clarity for confusion: “FYI” and “BTW” are OK, but don’t overuse acronyms—write out every- thing else. /L50480 Use :-) and similar symbols (a.k.a. “emoticons”) sparingly, if at all. /L50480 In casual introductions, you can probably bypass the standard formalities, and just use something like “Dear Edward,” or just “Edward.” In the busi- ness realm, things are much more complicated, so each situation will need to be evaluated on its own. If you normally address a person as Miss/Mrs./ Ms./Mr., then address them identically in e-mail. /L50480 If your e-mail address is a business address, include your title and company name in the sig- nature, because in the e-mail world letterheads are not used. Always include your telephone number somewhere in your e-mail. Chapter 6 Telephone and E-MailNetworking Strategies for the New Music Business 124E-mail is a conversation that does not require an immediate response. If a hundred people send you e-mail in one day, so what? You won’t have to talk to them, so just think of all the hellos, good-byes, and other unnecessary chit-chat you’ve avoided. With e-mail you deal only with essentials, and you deal with them on your own time. That’s the blessing; the curse is that it’s impersonal and cold, and cannot transmit energy, enthusiasm, or warmth. Like any other networking tool, e-mail is simply one component of a much larger picture. It will never supplant the power of one-on-one commu- nication, but it can support it. 125CHAPTER 7 Coming up through the ranks of popular music, we are often so intent on putting ourselves out there, trying to make ourselves known and recognizable, that we leave little air in the room for breathing. I learned long ago that the most powerful position to come from is not when you’re pitching, but when someone requests some- thing from you. We have much more control over this than we might imagine. When I was managing artists, I ascertained that I would encounter immediate resistance if I tried to push the artists into people’s faces with a heavy-handed agenda. Often the opposite tack—a soft sell—worked far better. Describing the artists I was handling in non- off-putting terms or showing a press photo or a logo or wearing a merchandise T-shirt with the artists’ image, I would be questioned, “Who is that?” When I would explain (with a short pre-engineered “sound bite”), I would invariably be asked, “May I get a press kit and CD? I’d love to hear what you’re up to.”Creating Effective Tools of the TradeNetworking Strategies for the New Music Business 126Press Kits Like most music biz professionals, I get a sixth sense about artists from their presentation; sometimes, in fact, I can tell the quality of the music even before I open the envelope containing their press kit. How? First I look at the envelope it comes in. Is it ﬁ nger-printed, dirty, or dog-eared? Odds are, the music is equally a shambles. Has it been addressed to “Dear Journalist?” Not a good sign. And since the magazines I write for change location often, has the sender checked the address before mail- ing, or is it arriving with a forwarding mail notice on the front? All of these are signs I look for before I open the package. Once I do begin to open it, I note the ease in doing so. Will I need a machete to tear through the lay- ers of tape holding the envelope closed? As I pull out a package, I inevitably recall the enterprising recording artists who packaged a press kit with handfuls of glit- ter that subsequently embedded themselves in the plush carpeting of my ofﬁ ce. I discovered remnants of their presentation for months after, and it always reminded me of them, but not with love. You need to tailor-make your press kit according to whom you’re sending it. I’ve heard managers and record company A&R personnel swear up and down that a fancy press kit isn’t necessary. As a journalist, I appreci- ate a well-written bio, succinct press clippings, and a professional photo—either color or black and white— suitable for scanning and inserting in a magazine. It’s a nice touch to have downloadable, high-resolution photos on your Web site as well.127Keep your presentation envelope size standard. An interesting, eye-catching color is permissible if the music is equally colorful. Also, use standard ﬁ rst-class mail. Nothing predisposes me to not like a band more than waiting in an interminable post ofﬁ ce line to pick up a mystery package that requires my signature. Keep in mind that most post ofﬁ ce box addresses do not accept UPS or FedEx, so check before mailing. The Folder At any given moment, I have an identical stack of black glossy folders sitting on my desk. Do you know what’s in them? Well, neither do I, since there is nothing on the cover in the way of identiﬁ cation. Without a logo, a sticker, or something on the front of your folder, the recipient has nary a clue as to what it contains. The folder doesn’t have to be extravagant, although color- coordinating it with other materials in your press kit will display a sense of unity. And unity is the most important concept to grasp when putting together a press kit. All of the visual elements have to reinforce and reﬂ ect the music because odds are it will be heard as the recipient is reading the enclosed materials. The Cover Letter For cover letters, short, sweet, and to the point is the best advice. Professional-looking letterhead and good-quality paper will help you achieve a positive impression. Tell the reader who you are and especially why you’re sending the enclosed materials. If you’re sending to a journalist, let her know that you’re hopeful of a review. If you’re Chapter 7 Creating Effective Tools of the TradeNetworking Strategies for the New Music Business 128sending to a club booker, your materials should include information pursuant to your live show. A generic letter addressed to “Dear Sir/Madam” is not sufﬁ cient. Spell out the name of the person you’re addressing and be sure to render their title correctly. Be sure to include all of your contact information on every piece of material you submit: name, address, tele- phone number, e-mail, and Web site. A CD or DVD If you have a fully produced CD, it will no doubt be included in your presentation kit, of course. Depending on to whom you’re submitting, you may want to limit your exposure. For A&R at record labels or a music pub- lisher, for example, three songs should be sufﬁ cient. If the listener wants to hear more, he can always request additional material from you, which is a good position for any ﬂ edgling band or artist to be in. A video presentation is great for certain artists but a dicey proposition for others because a tacky, sub-par performance video can diminish the viewer’s opinion of the band or artist substantially. However, I’ve seen impressionistic, arty videos that mirror the music, and these can be effective. Just like the CD, it may not be necessary to deluge your contacts with too much infor- mation. If you have a video, you may want to reserve it as support material for further down the line.129The Bio I have probably written over 300 artist bios in my career. Many times harried journalists have cut corners by appropriating the exact words I’ve written in a bio into an article. This is totally acceptable, of course; I create bios as works-for-hire for a fee, and I don’t maintain control over them once they leave my computer. I maintain that a bio is the cement that holds a press kit together. Your bio should /L50480 Create an identity. /L50480 Deﬁ ne a musical style. /L50480 Lead the reader directly to the music. Recording artists, songwriters, performers, and pro- ducers all beneﬁ t from well-written bios. “Send your music, bio, and picture” is usually the ﬁ rst request from someone interested in your talents. If you don’t have major credits, your bio can spotlight personalities, histo- ries, and creative processes. The bio must be honest, but the truth should also sound as good as possible. Never mistake hype for substance. Such key phrases as “eagerly anticipated” and “critically acclaimed” always set off my B.S. meter. Beware the hackneyed cliché, the imprecise metaphor, the goofy, strained adjective. “Unique” means nothing to me. “Joe Jones is a brilliant artist” doesn’t show, it tells. “Sue Smith is destined for stardom” is lame and off-putting. The bio must lead the reader to his own conclusions. Telling a reader what to feel or think may lead to the exact opposite impression. Double check for proper punctuation, grammar, and spelling.Chapter 7 Creating Effective Tools of the TradeNetworking Strategies for the New Music Business 130Stating the style of music the artist creates in a bio is a necessity. “We don’t like being pigeon-holed” is a complaint I hear often from young bands and artists. Guess what? There is a reason that retail CD stores have categories for music; otherwise buyers would never know where to look. A bio is not a résumé, where speciﬁ c information is required and a certain format is followed. There are no hard and fast rules, though there are things to be avoided. Your bio is what the stranger who is listening to your demo for the ﬁ rst time is holding in his or her hand. Make it reﬂ ective of who you are as an artist. Be creative. A well-written bio can make the listener want to hear your music. It can even affect the way someone lis- tens, causing them to listen a little more closely or to be more inclined to give you the beneﬁ t of the doubt. One of my pet peeves is reading an artist’s bio that includes something along these lines: “Susie Stiletto combines the sensitivity of Joni Mitchell fused to the aggressive lyricism of Alanis Morissette, combined with the melodicism of Sheryl Crow.” I know how I feel about these artists, but dropping their names in as a compari- son doesn’t really tell me anything about “Susie Stiletto.” She’d certainly need to be a mind-blowing, powerhouse artist to rank comparison to this triumvirate. Do not include facts that don’t have to do with the music. For instance, it may be pertinent to say you ride horses if you have songs about horses or have written songs while riding horses or can draw some correlation between horses and music. Otherwise, leave those horses in the pasture. Information about your educational background, work experience, broken marriage, prison 131term, or dysfunctional childhood should be referenced only as it relates to the music. If you’re an artist, you probably know how difﬁ cult it is to be objective about your music and career. You’d be well advised to ask a local journalist to write your bio for you. The length is usually one page. If you’ve got a fasci- nating history and it’s extremely well written, a one and a half to two-page bio is permissible. $150–$350 is the standard rate in Los Angeles. Be involved in the writing process—you can ask for drafts and rewrites. As a journalist, I receive an average of 15 to 20 major or indie label press kits weekly. There is no singular bio style that is appropriate for all of these artists. A seeth- ing, pierced, neo-punk aggregation and a soothing, cerebral new-age artist can’t possibly share the same metaphors. Your bio must speak in the same voice as your music. Following is an example bio. Luis Villegas — Bio Each of Luis Villegas’ label releases has revealed the unfolding artistry of a master guitarist and composer. Now, Casa Villegas (Baja/TSR) marks his debut as a producer. “I had a dual life, not only writing and arranging the songs, but ﬁ guring out what instru- ments to use, setting up the sessions, and booking the studio,” says Villegas. He had the bases covered until the night before his initial session. “I’d forgotten to book the musicians,” he laughs. Chapter 7 Creating Effective Tools of the TradeNetworking Strategies for the New Music Business 132It’s clear that Villegas and his tight-knit com- munity of world-class players were ready for the challenge that began this two-month recording pro- cess. With Villegas’ blistering nylon-string guitar at the forefront, Casa Villegas marks a breathtaking musical odyssey from the gritty streets of the city to the sunswept plazas of Spain, across the plains of Morocco to the ancient temples of India. Middle Eastern percussion and Indian tabla provide an aural backdrop as African bata drums mesh with congas and timbales in a wealth of musical cultures. The rhythms of East Los Angeles, Villegas’ birthplace, fuel the opening song, “Bienvendos,” (Welcome) and the Latin/jazz grooves of “Whittier Blvd.” Two songs featuring vocals by lyricist/vocal- ist José Garcia balance the instrumental mix—”Ojos Verdes” was inspired by Luis’s daughter, Krista, while “Mujer Enamorada” is dedicated to his wife, Gloria. “She’s in love with life and living,” Luis says, “I told José, ‘Write some lyrics that go with that,’ and he hit the nail on the head.” Each song on the album is framed as a distinctive vignette. “I didn’t want to be limited to my live instru- mentation,” explains Luis, who used violin, a horn section, keyboards, and additional guest vocalists. Sonic minimalism is illustrated in the austere simplic- ity of “Recuerdos de Jerz” featuring ﬂ amenco singer Maria Benjumeda, and “Jaleo,” a song with only two guitars and percussion. Both recall a golden period Villegas spent in Spain. “It’s a feeling that you’re standing right in front of the street musicians on the banks of the Guadalquivir River.”133Villegas channels a rhythmic physicality into “From the Heart,” and a gentle samba groove informs “Brazilian Magic.” Inspired by the transcendent tex- tu res of I ndi a n m usic, “ Ka m a S utra ” co n j u res u p a frenetic mystic whirlwind of Villegas’ guitar and Charlie Bishart’s violin. New audiences were introduced to Villegas via his previous album, Spanish Kiss (Baja/TSR) as the single “La Reyna” landed on Smooth Jazz play lists coast to coast. Corresponding appearances at high proﬁ le f e s t i v a l s , i n c l u d i n g t h e C a t a l i n a J a z z T r a x F e s t i v a l , The Playboy Jazz Festival, and The Sedona Hot Latin Jazz Festival, sealed his reputation as a blistering live performer, while tracks from his debut CD, Café Olé (Domo), landed in Warner Bros., HBO, Sundance, and Warren Miller ﬁ lms. On record, he can be heard on Guitar Greats Volumes I and II (Baja/TSR); Music for the Spirit , Volumes I, II, and III (Domo); Tabu Mondo Flamenco (Narada); the Lost & Found soundtrack (Capitol); and Gypsy Magic (EMI/Virgin). A s h i s e v e r - g r o w i n g b o d y o f w o r k r e ﬂ ects his musical maturation as a guitarist, composer, and producer, his themes mirror his real life as a husband and father. Although this time out his creative geog- raphy is charted with a global compass, the music always comes home to Casa Villegas . Your Photo Photos for newspapers and magazines can be transmit- ted electronically, For most uses, low-resolution shots are ﬁ ne, but for magazines you’ll need a high-resolution Chapter 7 Creating Effective Tools of the TradeNetworking Strategies for the New Music Business 134photo. Having more than one shot is ideal, and a live pic- ture of a band can generate more energy and vibe. Also, having a selection of black-and-white and color shots for speciﬁ c uses is an excellent calling card. For your press kit, however, limit yourself to one deﬁ ning shot. Don’t pose in front of branches and trees that appear to grow out of your head, and make sure the shot conveys the exact attitude of your music. Full-Court Press There are many types of media, and each one is very spe- ciﬁ c regarding its needs. Before contacting any member of the press, you need to have a focused strategy. Are you currently performing? If so, press releases and calendar notices to print media should be sent well in advance. Monthly publications will need pertinent information up to two months in advance of the publica- tion date, weekly publications need at least two weeks, and dailies need at least a week in advance. Many major publicists prefer to work press concur- rent with a tour. If you’re doing it for yourself, compile press lists and contacts for each city you’re visiting, con- tact the press well in advance, and always follow up. Do you have a story? The press always prefer an “angle,” but it can’t be something artiﬁ cial, corny, or contrived. National press is extremely hard to come by and won’t do you any good if the reader can’t immediately 135go to a familiar Web site or a retail outlet and pick up a copy of your CD. Press is cumulative: The more you get, the more the press will be interested in what you’ve got to offer. Include a cover letter and state exactly why you’re sending information. Make sure that the person to whom you’re sending your info is still at the publication and is the proper recipient for your info. Don’t assume they’ll pass your materials on down the line, and do not address your cover letter to “Dear Journalist.” As a fea- ture journalist and columnist for a magazine, I am not predisposed to assist anyone who hasn’t bothered to do their homework and sends me materials for which I have no use. A proﬁ le, a review, a calendar listing—all are completely different functions of a magazine or news- paper. Learn who does what and address them correctly. An e-mail query to an editor is a good method. Journalists are usually slammed with deadlines and subsequently are quite disorganized. Major record labels will often send me duplicate materials, once by e-mail and once by snail mail. Having high-resolution photos on your Web site could make the difference in you being cov- ered, since journalistic decisions are often made at the last possible second and because something else has fallen out. The creation of magazine columns is much less objective than it may appear, and the decision to use your photo may be made by a photo or art director who doesn’t care what you sound like, but only what you look like. Begin with local press and move up accordingly. It’s not necessary—in fact, it’s even considered unprofessional—to thank the press unduly for doing Chapter 7 Creating Effective Tools of the TradeNetworking Strategies for the New Music Business 136their job. A simple “Thanks, you nailed it,” note is always appreciated. Unless there is an embarrassing and glaring error in the piece that requires a retraction, don’t correct them by calling attention to some insigniﬁ cant detail that might be incorrect. Follow up accordingly, but don’t harass the press. Yes, in rare cases you can wear them down, but keep your desperation at bay. Personal contacts and recommendations are still your strongest suit. In my world, a multiplicity of images makes the strongest impact. I’ll read a press item, hear a song on National Public Radio, and have a friend tell me about a new act, often all in the same day. Credibility in the Credits I have honed a method to streamline my listening pro- cess for the volume of packages I receive weekly. First, I put aside the obvious clunkers (e.g., polka bands interpreting the music of The Police, 20 of Your Favorite Patriotic Songs , etc.). Next, I select the releases from those artists I love (generally a small pile, I assure you). Then I look for artists and songwriters who will be of the most interest to the publications and assorted elec- tronic media outlets for whom I provide content. After I’ve sifted through the major label offerings, I’m left with independent releases of which I have no prior knowledge. While I listen to the music, I read the one-sheet (a slick sheet prepared especially for retail) and bio and scan the liner notes and the inside CD cover looking for the names of people I recognize who are involved with the 137project. Though seeing these names may make me want to listen, sometimes names give me other information. To illustrate, I’ve invented an imaginary artist, Harry Haze, whose package I’ve just opened. Here’s what he tells me on his album: All Songs written by Harry Haze Produced by Harry Haze Published by Harry Haze Music All Songs performed by Harry Haze Guitar, bass, drums, keyboards by Harry Haze Cover art by Harry Haze Liner notes by Harry Haze Now, while Harry thinks he’s projecting to the world how competent, versatile, and creative he is, I’m think- ing, “Harry Haze must be some god-awful prick—an insufferable control freak who can’t ﬁ nd anyone crazy enough to work with him.” Uh-oh. Harry Haze has also included a full insert of tiny-printed text: Thank you’s to various celestial deities, departed family members, a current wife, an ex-girlfriend, and a deceased pet. Gratitude is a lovely quality best saved for a commercial release. On a demo (in my opinion) such grandiose sentiments seem self- serving and off-putting. Everything is a reﬂ ection of the music. Cheesy cover art often mirrors what is contained within, but words are equally revealing. Vague and self-aggrandizing terms such as. “prestigious,” “long-awaited,” “eagerly anticipated,” or “acclaimed” never fail to rev up my B.S. meter. Also, Chapter 7 Creating Effective Tools of the TradeNetworking Strategies for the New Music Business 138please have a competent proofreader check your printed materials and your CD covers for glaring errors. The best packages are often the most simple. A clean, distinctive logo, a smart, well-written bio in a readable, eye-catching font, and a hip, revealing photo say much more than simply seeing the artist’s name repeated ad inﬁ nitum. I don’t wish to sound negative or jaded, but as the packages pile up in my ofﬁ ce, my eyes become ever more critical. I’m reminded that when we project our music into the world, —propelling our artistry out there—we’re in essence cramming messages into bottles. When they ultimately wash up on a journalistic shore, we shouldn’t let an incompetent presentation sink the package. The Man in the Gorilla Suit Recall the ’80s—an era of excess, success, and unabashed consumerism? In those pre-DIY days, record conglomer- ates ﬂ ourished, and the perception was that in order to become successful as a recording artist, one had to be signed to a major label. Artists and their representatives would go to unpar- alleled lengths to get the attention of record company A&R reps, showering them with gifts, appearing unan- nounced in their foyers singing a capella , and devising extravagant presentation packages. One of my favorite stories from that time concerns a band who was so desperate to get attention that one of the band members donned a gorilla suit to deliver their 139package to the record company. Today, I don’t recall the name of the band or their music. All I can remem- ber—and I’m sure the poor A&R guy does, if this didn’t drive him out of the business—is the gorilla suit. Yes, it’s important to get people’s attention in entertainment, but you want people to remember you for the right reasons. Extreme Strategies I told this story to a class of students in England who were amazed at my audacity. I was managing an artist afﬁ liated with a performing rights organization. There was one exec in particular who we believed would make a tremendous ally, and since he was someone I knew, I began making calls to his ofﬁ ce to set up a meeting for my client. I left repeated messages, but I wasn’t getting a return call. (In his defense, let me interject that the employees of PROs are tremendously challenged by their huge membership rosters—hundreds of thousands of afﬁ liates.) Still, I needed this hookup. I created a relationship with his sympathetic assis- tant. When I called one morning, I didn’t ask for him, I spoke only to her. “What’s his day like?” I asked. She replied, “He’s in meetings this morning, he has a lunch appointment, and then more meetings this afternoon.” I casually asked what restaurant he’d be dining in for lunch, and she provided the name of a well-known Sunset Strip eatery. That was all I needed to hear. That afternoon, as he paid his bill at the restaurant cash reg- ister, guess who just happened to run into him? I had an opportunity to reintroduce my client; he apologized for not calling back and promised to meet with us the next day. In this case, the “chance encounter” had to appear Chapter 7 Creating Effective Tools of the TradeNetworking Strategies for the New Music Business 140natural and accidental, otherwise it may have seemed as if I was a stalker—not a good thing. I have another secret weapon I utilize when it’s appropriate, albeit a very small one—my four-pound Chihuahua, Shelby Lynne. She has accompanied me to drop off materials, for brief meetings, and on one memo- rable occasion, backstage to visit a well-known diva who was considering having me ghostwrite her autobiogra- phy. I didn’t get that gig, but not because of the dog. I wasn’t ﬂ ying blind—this singer was a well-known pet advocate who traveled worldwide with her own pooch. If you utilize an extreme tactic, you have to be sure you have the goods; otherwise, you’re in danger of burn- ing a bridge. Above all, don’t be the guy in the gorilla suit. Rejection Rejection is a cold, hard fact in the entertainment busi- ness. For songwriters and artists in particular, it can be a crushing and demoralizing reality. Indeed, it is often cited as a factor that forces people out of the entertain- ment business. And this is a good thing: It leaves more room for you. In order to be successful on any level, you can’t let rejection derail you. The classic example of the Beatles, who were turned down by scores of record labels, is one of the best-known tales. It’s difﬁ cult for anyone to turn down anything, however, if its viability has being proven. An artist who is touring, has a solid fan base, and can sell a few thou- sand CDs doesn’t have to worry about rejection—it’s 141momentary, because they’re already a viable commodity. Songwriters who are collaborating with artists, placing songs in indie ﬁ lms and on cable television shows, will be more likely to be signed by a major publishing com- pany because they already have it going on. Hit songwriter Michéle Vice-Maslin notes that while writers can be discouraged by rejection letters, she is not. “I probably have 25,000 . Who cares? I think the key to surviving—other than pitching—is respecting other people’s opinions. The A&R people like to deal with me because I don’t freak out. As long as they keep listening, I’m happy. I learned once again: Don’t give up. It’s a les- son I’ve been learning the hard way for over 20 years. The more I get rejected, the more I get fueled.” Ten Thoughts on Overcoming Rejection Keep the following in mind when you experience rejection. 1. If someone rejects your song, they are not negating or condemning your existence on this earth. 2. “No” can mean “not at this time,” “not for this artist,” or “not in this market.” 3. In Los Angeles, especially, industry people don’t like to say “no.” They just won’t call you back. 4. You have to develop a career on multiple contacts, numerous outlets, and a catalog of songs. If you have one song you’re shopping and you’re “waiting to hear back,” you’re in a precarious position.Chapter 7 Creating Effective Tools of the TradeNetworking Strategies for the New Music Business 142 5. No one is ever really “waiting to hear back.” You have to move forward, regardless. 6. Ironically, projects often succeed when we least need or expect them to. 7. Holding grudges over rejection is counterproductive. 8. It’s understandable that songwriters in particular are emotionally connected to their creations. Remember: If a publisher says “no,” how many times has a label, artist, or producer said the same thing to him? 9. You are much more likely to be rejected if you’re blindly pitching to strangers. 10. As salesmen know, every rejection is one more step toward someone saying “yes.” Ten Reasons Your Calls Are Not Returned Sometimes it’s difﬁ cult to have perspective on what we’re doing wrong in our communication with others. Often, it may have nothing to do with us per se ; it could simply be an issue of timing. Following is an e-mail I received that made me analyze why some calls are returned and others aren’t. Dear Dan, Last year I had the good fortune to meet a major record producer at a music business convention. In a listening session, he evaluated my demo, which he liked enough to keep. But he hasn’t returned my calls. I wonder: Am I 143doing something wrong? Does he feel differently about my music? What would you suggest? Worried in Winnetka Following is my response. Dear Worried, A number of possible scenarios come to mind. 1. First, do you appear to be too needy? If so, you may be scaring him off. He will take you seriously if you appear to be near, or on your way to, his level of accomplishment. 2. Are you pressuring him? He probably has enough demands in his world from artists, record companies, and associates. He doesn’t need them from you. 3. Are you calling at the right time? Professionals call during business hours, not evenings or weekends. Try Tuesdays–Thursdays, preferably before lunch. 4. Are your communication skills up to par? People don’t have time to read lengthy communiqués or often to return telephone calls. Short e-mails and faxes are preferable. Check your spelling and sentence structure. 5. The moment that someone hears something is not necessarily the moment they can do something with it. When he listened to your music, he may have rec- ognized its potential but did not have an appropriate outlet at the time. This can change. I’ve seen songs for ﬁ lms used years after they were ﬁ rst submitted.Chapter 7 Creating Effective Tools of the TradeNetworking Strategies for the New Music Business 1446. Make sure to update him on your progress. In fact, you should regularly conﬁ gure press releases to inform your contacts on your career. But be wary of over-the- top bragging or shameless self-promotion. Keep it to scale, keep it human, keep it true, and make the truth sound as good as possible. 7. In my experience, music business people are always looking for progression; that is, the producer may have indeed liked your ﬁ rst demo, and now he needs to hear what you have next. It will be easier for him to imagine your future career trajectory, and to become involved, if he believes your music will ﬁ nd an audience no matter what. 8. In our business, everyone prefers to get on a train that’s up and running, not the one stalled on the tracks. You need to give the impression of growth, of career evolution, of really having something new to say. If we are only reactive—and jump on a bandwagon just because it’s there—we will ultimately wind up chasing trends, not creating them. 9. Are you delivering ultimatums? Closed-end phrases will close doors. “Do you want to produce me?” can easily be answered with a “no.” Asking for input is always preferable to a hard sell. 10. Finally, are you treating him as a person or as a stepping stone? Are you aware of the projects he’s doing now—his successes, career milestones, anything in his life? Try communicating with him in a low-key, personal tone with no “payback” expected. You may be surprised at his response.145I hope this information is helpful. Please let me know how it goes. Dan Kimpel Web-Wise In 1992, when I was the advertising director for the Los Angeles Songwriters Showcase (LASS), our co-founder and director, John Braheny, author of The Craft and Business of Songwriting and one of my foremost mentors in the music business, told me about this new technology called the Internet and how he planned to put our orga- nization’s magazine, the Songwriters Musepaper , up on the Web. I recall thinking to myself, “But who is going to ever see that?” Time has, of course, proven J.B. right. Tracks legally downloaded from the Internet now outsell physical singles. There were a record 312,000 legal downloads in the ﬁ nal week of 2004 , compared with 282,000 singles bought over the counter during the same week. The Internet is thewatershed for business in music, an incredibly empowering medium for an independent art- ist. Just as with home recording, by which you no longer need a truck full of money and Abbey Road to make a cool recording because you can create great sounding, personal work in your bedroom, similarly, you no longer need a middle man to deliver your product direct to your audience. You now have the Internet. The barriers to access don’t exist anymore.Chapter 7 Creating Effective Tools of the TradeNetworking Strategies for the New Music Business 146Do I Need a Web Site? Doesn’t everyone? My personal site (www.dankimpel. com) was designed for me by one of my outstanding students from the Liverpool Institute for Performing Arts, Simon Barber. A musician, band leader, and song- writer, Simon is also a savvy Web master with his own company, Juicing Room (www.juicingroom.com), that specializes in entertainment clients. Every objection I had to instigating my own site was easily overcome by Simon in a meeting over coffee in England, and soon I too had a great way for folks world- wide to ﬁ nd me. For this section of Networking Strategies , I decided to tap Simon’s expertise since he now lectures on the subject. DK: Give us a little overview. SB: Arming yourself with knowledge of how to operate on the Web can allow you to forge a career without waiting for a benevolent benefactor to approve of your talent. If you’re Web-phobic, you should know that there’s really no escape from the Web. You need to embrace it; make that your mantra. For me, a band/artist needs a Web site just as soon as they are trying to build a fan base. It’s the ideal, low-cost way to communicate with fans, advertise gigs, sell CDs, and generally promote. Many bands assume that if they’re good, they’ll get picked up by a major label, and that will take care of all the hard graft involved with being an indie. As you know, get- ting signed does not guarantee getting famous, getting your CD in stores, or getting paid! Over 30,000 CDs are released each year, mainly from people you’ve never heard 147of, and only 1% ever sells over 1,000 units. It’ s really the grassroots kind of operations that are ﬁ nding and devel- oping talent effectively, especially on a local level. DK: What are the economic ramiﬁ cations for indie artists? SB: If you’re an independent using the Internet as your means of distribution, you can have anything between 50% and 100% share of the revenue from a product. You may not have access to the large distribution networks or the marketing muscle of major corporations, but you do have a worldwide platform with zero overhead. So, keep costs down and maximize proﬁ t. If you can sell 5,000 CDs for $15, that’s a lot of money! Far more than you would get with a 12% royalty rate when you’ re unrecouped and won’t earn a penny until you go double platinum. If that ever happens! Plus, with indie budgets, nobody is going to be bankrupt if it doesn’ t work out. It’ s not like you’ re Microsoft and you just rolled out a product all over the country and then realized it’s defective. You still have time to grow as an artist, a concept that the bottom line of major labels can no longer afford. DK: How did you get into it yourself? SB: I formed an independent label called Digital Wings. The label was founded on the philosophy I had of using new technology as a means of liberating new artists from the traditional shackles of the industry. We released an album called Motion Picture with my band Santa Carla, and we built up quite a following on the Web. The year that the record came out, 2003 , we had almost two million visitors to the Web site. This was down to a combination of good Web promotion and good search Chapter 7 Creating Effective Tools of the TradeNetworking Strategies for the New Music Business 148engine work. If you want to effectively drive trafﬁ c to a site, you need to do three things. 1. Use good meta tags and make good submissions to the likes of DMOZ. (See the reference list at the end of this chapter.) 2. Siphon trafﬁ c from more popular Web sites (MP3, CD Baby) to your personal site by putting up a few free tracks, a photo, and a link to you. 3. Update regularly! By doing this, we were able to keep a percentage of these fans on mailing lists for marketing new releases to, and of course, some of them visited the site daily to post messages. We got some excellent press from America and did some international radio sessions. It did well in the end and sold a couple of thousand copies, too. We made it available in all the indie stores, and we did a series of free downloads at digital music services across the Web. It’s available to buy online at iTunes, CDWOW, Tower Records, and other credible retailers who support independent artists. So through using the Net, we were able to do two UK tours for the album and actually have these people show up at the gigs like a pre-booked audience. It’s about self- sufﬁ ciency. If you’re prepared to sweat for your art, then it’s a very effective way to operate. DK: Give us some hard facts and numbers regarding setting up a site. SB: The costs of setting up are not prohibitive at all. You might be looking at $20–$25 for a domain and maybe $75 a year for hosting. 149DK: OK, it sounds easy and inexpensive so far, but your perspective is as a Web designer. What can you tell us about making the site alluring to visitors? SB: If you’re not up to it, ﬁ nd someone with a good sense of graphics, fonts, and layout. Someone who understands functionality and the basic commandments of the Web so that you don’t end up with a style-over-substance situ- ation. It is very easy to spot home-made Web sites that have poor functionality, use entry-level gimmicks, have poor color schemes, unreadable text, or do not validate on different browsers/platforms. Your Web site should /L50480 Get a user’s e-mail address. /L50480 Offer easy ways to listen to the artist. /L50480 Make the product attractive to them. /L50480 Show who are you, what you look like, and most important, what you sound like. /L50480 Acknowledge and interact with visitors. Music clips should be presented in a cross-platform format such as MP3. Avoid proprietary formats where possible. People don’t really buy music for the audio, they buy the whole package. Make it an exciting pic that says some- thing about you and who you are. Include a bio. Get an angle and tie it in with the photo and tell the visitor what you represent. Create a mailing list, a viable way to harvest data from your visitors. Find out as much as possible about the fans: age, location (especially if it’s a town you’re playing in), etc. What sort of music do they like and what W eb sites do they visit? What lists do they subscribe to at stores they Chapter 7 Creating Effective Tools of the TradeNetworking Strategies for the New Music Business 150visit online? See if your CD is stocked there. As an indie, you need to manage your own contact list and get used to the idea of staying in contact with large groups of people at any one time. You’ll also need to create an easy and effective way to mer- chandise and a way for fans to buy your CDs. Remember, people are inﬁ nitely more interested in themselves than they are in you. Put them on your site with message boards. Use it to create a street team. Don’t forget that to most people, the music business is pure magic—put your fan base to work. DK: Are there key sites that should be utilized? SB: CD Baby (www.cdbaby.com) is the root of many great indie options—a selling point with built-in trafﬁ c, digital distribution services, Tower Records, etc. Become aware of your local network and what’s going on, who the local bands are, what they’re doing, and where they’re playing. DK: Any other valuable promo tools we should be aware of? SB: An electronic press kit with at least one full-length MP3 ﬁ le of a track from your CD encoded at the standard 128K bit rate. An entertaining bio written four times, in four different lengths, quotes from reviews, plus graphics , artist photos, cover art, and your logo.151Additional Resources Tlcoolhomepages.com Cool Home Pages, an excellent design resource. www.coolhomepages.com/cda/10commandments Ten Commandments of Design; an interesting article on the subject. www.google.com Google; the search engine you need to show up in. www.dmoz.com DMOZ; human-edited search engine. www.phpbb.com PHPBB; message board software. www.hostbaby .com Hostbaby; Web hosting for musicians. www.jetplanelanding.com Jetplane Landing; an excellent independent band with a powerful site. www.santacarla.co.uk Santa Carla’s site. www.juicingroom.com Juicing Room; a Web company. www.digitalwings.co.uk Digital Wings; a record label. www.apple.com/itunes/store Apple iTunes. www.napster.co.uk Napster. ww.listen.com Rhapsody. www.peoplesound.com Peoplesound. www.garageband.com Garageband.Chapter 7 Creating Effective Tools of the TradeNetworking Strategies for the New Music Business 152www.towerrecords.com Tower Records. www.cdwow.com CDWOW. www.cdbaby .com CD Baby. www.fopp.co.uk/unsigned_network/intro.htm Fopp Unsigned. www.cafepress.com Café Press; music merchandise. www.gigwise.com Gigwise; local music community. www.glasswerk.co.uk Glasswerk; local music community. www.bbc.co.uk/liverpool/entertainment/music/unsigned_bands/ index.shtml BBC Unsigned; valuable promotion tool. www.musicbias.org Musicbias; local music business support. www.marketingyourmusic.com Marketing Your Music (by the genius behind CD Baby). www.bob-baker.com Bob Baker; marketing tips. www.getsigned.com Get Signed.153CHAPTER 8 Live Venues and Ventures The heart of popular music beats within the live per- formance. Even if you are not engaged in a career as a performer, odds are you’re working with those who are. In this chapter, you’ll go backstage with the band. Gigology 101 Since I live in Los Angeles, it would be possible for me to go out 365 nights a year, hit 10 clubs every night, and never see even a tiny fraction of what’s happening in town. Given these exhaustive possibilities, it is unnerv- ing when I am invited by some well-meaning band to come by a club at 11:00 p.m. on a Monday night to catch their set. I’m more apt to be at home in ﬂ annel pajamas, watching the news with a Chihuahua dog on my lap at this hour, resting up for the day ahead. This is not to say that I don’t go out, but I have to measure the importance of the shows I attend. I’m more likely to go out if a friend is performing, it’s a band I’m passionate about, because Networking Strategies for the New Music Business 154I’m writing something about the act, or because the net- working possibilities are promising. The worst time to showcase in a major music city is on weekends. This may be when the rank and ﬁ le go out to party, but in my experience, music industry profes- sionals prefer to reserve their personal weekend time for their families. For them, hearing bands is hard work; it’s what they do for a living. And no one wants to work all of the time. For these busy professionals, weeknights are preferable, and an early show, where they can come directly from the ofﬁ ce, is ideal. All of us in the industry have clubs where we pre- fer to see artists—where the sight lines are favorable, the sound pristine, the staff professional and accom- modating. And of course the opposite is true: I would rather chew glass than go to another show at a certain Hollywood club (formerly owned by a famous actor) because the staff is invariably rude, ofﬁ cious, and makes me feel like a criminal when they search me. Creative Outlets There is a certain mystique, historical and otherwise, attached to places like The Troubadour in Los Angeles, the Bitter End in New York, and The Bluebird in Nashville. I present this theory: Audiences respond to entertainment in direct correlation to the environment in which they see it. This is a reason that the mediocre entertainment accompanied by laser and light shows wows the masses in Las Vegas—the audience has been set up by the surroundings. Conversely, seeing the great- est band in the world in a sleazy club may not necessarily 155showcase their brilliance, because the seamy circum- stances have prepared the audience for something less. At one point in my career in Los Angeles, I was promoting a vocal trio with a very original sound—a Manhattan Transfer meets Carter Family vibe, with an intricate, delicate blend, far too subtle for a club envi- ronment. I met with all three members of the band for dinner one night at a modest Japanese restaurant with ’50s decor, including turquoise and pink walls, and black and white checked ﬂ oors. As we devoured our California rolls, the trio’s leader began bemoaning the lack of a perfect venue. “What about here?” I asked. They looked at me as if the wasabi had gone to my brain. We were in a restaurant, not a club, a venue that didn’t even have music. “Perfect,” I deduced. Later that week I wrote up a proposal and approached the restaurant’s owners with a guaranteed way for them to bring in people and make money one evening at their busy daytime location that had sparse dinner business. We would produce a music night, bringing in production staff and a sound system, charge a cover at the door that would go to the band, and the restaurant could serve their regular food, drinks, and desserts and proﬁ t from these sales. When the evening of the performance arrived, the venue was packed—so full, in fact, that the restaurant’s wait staff panicked, and our friends had to help serve the food, but the group made over $1,000 at the door, and the evening had a huge buzz that carried over to successive shows. Next, I booked the trio into small theaters for weekend matinee performances. Since the band’s setup was minimal and acoustic, they could work Chapter 8 Live Venues and VenturesNetworking Strategies for the New Music Business 156around a preexistent set and not disturb the physical elements of the evening’s performances. In Los Angeles, we have equity-waver houses ( 99 seats or less) that we could sell out on a Saturday afternoon. We also provided concessions and merchandise, upping the take considerably. Alternative Venues Creative new venues can work with multiple artists as well. I was managing a performer who had devised a world-inﬂ uenced brand of pop music. When we decided it was time to take the music to the stage, we couldn’t ﬁ nd an adequate venue, so we decided to invent our own. To complement his global grooves, we invited two other acts with whom we were friendly: A Latin band from East Los Angeles and a roots reggae group. I located an appropriate venue, an historic women’s club in Los Angeles, and convinced the directors that I was creating an event of cultural signiﬁ cance. I set up sponsorships with magazines, a music store, and a sound company, so I wasn’t paying out of pocket for anything other than the venue. Tickets were affordable, and I made each of the three acts (my own included) respon- sible for selling a set number so we were assured of a full house. The bands would make a proﬁ t after their initial sale, and they could also move merchandise plus have a high-proﬁ le showcase concert with media attention. I will always recall standing in the parking lot with a trio of matronly women from the club’s board of directors when the reggae group arrived for sound check, and the looks on their faces as ﬁ ve hugely dreadlocked 157musicians emerged through the clouds of pungent smoke that billowed from their van. Jah! Rastafari! The evening was a huge success. Inventing Your Own Show Consider the following tips if you plan to create your own show. 1. Give the show a name. Our global music show was titled “World Tribe.” 2. Create a logo and artwork speciﬁ c to the venue. 3. Think way outside the box. I’ve been to art galleries, fashion shows, and pet rescue events to hear bands. 4. Write up your proposal; business people always respond better when something is in print. 5. Consider a residency, or an ongoing show for one desig- nated night per week, but keep in mind there is a natural lifespan to such events. Know when it’s time to move on. Soft Ticket With one artist, I thought big—of having him perform to audiences of more than 10,000 people. The reality was that he was from Hawaii, hadn’t yet made an impact on the mainland, and had no reputation to speak of, so it was up to me to devise a way to present him in front of as many people as possible. A “soft ticket” refers to an event that people are attending already—a fair, a Chapter 8 Live Venues and VenturesNetworking Strategies for the New Music Business 158festival—where they will see the entertainment as well. It can be a perfect opportunity for a high-visibility show. I approached the entertainment committee for an annual Asian-Paciﬁ c celebration in Los Angeles that draws thousands of visitors. I proposed presenting my artist and, as an added incentive, offered to provide publicity and public relations services for the event free of charge. I was able to “piggy-back” my artist’s appear- ance on top of the event and to make it appear (subtly, of course) as if he were headlining. Through press, stories, publicity, and media saturation, we were able to create a signiﬁ cant splash. How to Make a Soft Ticket Show Work for You Consider the following tips for creating your soft ticket show. 1. Research the demographics; you don’t want to present a nu-metal band at a gathering of senior citizens. 2. Write up your proposal, focusing on what you or your artist can do for the event, not vice-versa. 3. Play for expenses or even for free if necessary. Make your money in merchandise sales or write-off expenses for the value of publicity. 4. Outdoor shows are not a place for ballads—devise a high energy, visually engaging show that will make those in attendance stop to watch you. 159 5. Create a banner with the name of your band on it and hang it at outdoor events (or anywhere else you play). “Who is that band?” is not a question that your audience should walk away asking. You Sounded Fabulous! Accepting compliments seems to be difﬁ cult for many performers. I attended a wonderful showcase in Liverpool, England, with one of my students. After the set, I went backstage to congratulate her. “You were terriﬁ c!” I enthused. “Nah, the sound was awful, I couldn’t hear the monitors, and I forgot some lyrics,” was her mumbled response. Maybe she was being honest, and of course that’s commendable in most circumstances, but this is show business. By denigrating a performance on which I’d complimented her, she was unconsciously criticizing my taste and therefore undercutting my enjoyment of the show. Ten Post-Performance Tips 1. Be gracious, accept compliments, and thank the person who gives them. 2. Remember, non-music people are often less critical, enjoying the overall gestalt of a show and often not noticing the mistakes. Chapter 8 Live Venues and VenturesNetworking Strategies for the New Music Business 160 3. Don’t call attention to negative conditions in the club. 4 . Always graciously thank those who spent good money and came to see you perform. 5. If you’re hanging out in a club after the performance, don’t hop from table to table. Stay in one location and let the audience members come to you. 6. Sign everything. Often fans will pay more for a CD signed by the artist in person than they would at retail or online. I’ve worked with artists who mark $ 15 CDs up to $20 at shows and sell hundreds. Audiences will pay for the opportunity to meet the artist. 7. If you’re selling merchandise, don’t handle the money yourself, enlist help. 8. Have plenty of Sharpies or similar pens on hand. 9. Be prudent in handing out promotional materials for upcoming performances that are in venues other than the one in which you’ve just appeared. The club owner may frown on your promotion of a competing venue. 10. Cover your show clothes with a jacket, or change into another outﬁ t immediately after the performance. Performance Peeves I’m mystiﬁ ed why I see so many musicians swilling bottled water onstage. “Is this a show about water?” I wonder. I understand a singer taking a swig to combat dryness, but why is everyone else draining the Aquaﬁ na?161At an otherwise splendid show, a musical tribute to Joni Mitchell, I could predict what was about to be performed because the lead guitarist would play the intro lick to check his tone before each song. Surprise is good in performance; don’t telegraph what’s coming, and don’t use “weedlee, weedlee” licks when the singer is introducing the song. Just as music is rehearsed, so should the intros and outros be a part of the overall per- formance. Dull, self-conscious stage patter detracts from a performance. The song intro is a chance to connect on another level. Ten Commandments of Club Land 1. Don’t piss off the soundman; that’s just asking for end- less feedback and appalling apathy. 2. Respect the club booker; she will eventually be at House of Blues. 3. Be honest about your draw. If you can only guarantee 10 close friends for attendance, don’t proclaim that you can ﬁ ll a 500-seat venue. 4. “We’re gonna slow it down for ya now” is not a suitable song intro. 5. Don’t rail against any member of the press or threaten any music journalist. 6. Speak well of other bands on the circuit. You’ll be on a bill with them sooner or later. 7. Be unerringly professional and punctual.Chapter 8 Live Venues and VenturesNetworking Strategies for the New Music Business 162 8. A sound check is not a rehearsal. 9. Be conscientious with your guest list. Don’t demand freebies from the club. 10. Devise original ways of ﬁ lling the venue. Club Clues With the goal of selling as many drinks as possible, clubs are businesses, plain and simple. If your goal is to be a club act, that’s ﬁ ne, but at some point you’ll have to determine whether you’re in the music business or the bar business and act accordingly. As a musician, I made a decent living playing in clubs in tough markets, including New York and Los Angeles. In order to do this, however, I was forced to make many concessions in my art. Even though I wrote songs, it was a rare audience who wanted to party to unheard-of material, so covers were the way to go. There is a certain vibe that club musicians acquire. It’s difﬁ cult to describe, but audiences can feel it. (You can read Bob Malone’s comments about his own experiences in this realm in Chapter 9, “Success Stories.”) You are in the realm of service. There are, of course, exceptions to this rule. Coming up with a band in Ohio, we transformed a club in the college town of Bowling Green—Howard’s Club H—into a Mecca for free-thinking individuals of all persuasions. In Los Angeles, a club called Limey’s hosted the hippest ever musician’s Sunday night jam. But these scenes are few and far between. And if you perform in the same clubs over and over again, you’re in danger of becoming part of the furniture because careers are built on change 163and progression. It doesn’t take audiences very long to begin to take you for granted. If you’re comfortable at the same club, it’s probably time to move on. Soundman Scenarios In my list above, I cautioned you about angering the soundman. There are many intricacies in dealing with technical personnel. Doing their gig is often a thankless job accompanied by a howl of feedback, a singer com- plaining “I can’t hear myself,” mics that don’t work, and monitors that fail to deliver. If the sound is terrible, it’s the soundman’s fault and, of course, if it’s ﬂ awless no one notices. Consequently, soundmen (and women) tend to be a prickly lot, often either over-sensitive or immune to criticism, since they deal with a new band virtually every night, always with a new raft of complaints. It’s an excellent idea to always have a hard copy depiction of your set-up: mic and monitor placements and an input list. E-mailing or faxing this information to the club ahead of time if possible, or having this infor- mation on your Web site, can save time and energy. Take multiple copies to your sound check in case there is a stage manager in addition to the soundman. If the club provides a backline (drums, amps, etc.), all the better. If there are multiple acts for a show, the band who is playing last, or headlining, typically sound checks ﬁ rst. The group who opens the show sound checks last since their equipment can then be in place when the doors open. Being on time for the sound check is the ﬁ rst objective, since sound checks invariably run late. Do everyone a favor and have the band arrive together. Chapter 8 Live Venues and VenturesNetworking Strategies for the New Music Business 164Here’s a scenario that works extremely well for me when I present artists in a club or concert. I stay in the sound booth as the soundman adjusts levels in the line check (each instrument heard individually) and as the band runs down a song. At this point I don’t say a word to the soundman, I am simply a strong and obvi- ous presence hovering next to the board. Invariably the soundman will then solicit my opinion. The secret is to stay mum and await this moment. It will come, I assure you. Then, and only then, gently correct any miscalcula- tions in the mix. Always thank the soundman—either onstage, imme- diately after the performance, or in a note or e-mail the next day. Be sure to let the booker or club owner know how much you’ve appreciated the hard work and expertise of the technical staff at the venue. The sound and stage personnel will be glad to see you next time. Scams Envision this scenario. You see a solicitation in a magazine from a company that is reviewing the type of music you create. You send in your package and— surprise!—you receive a call from a company executive who praises your efforts and proclaims that your music is in the top percentile of what he has ever received. It is so stunning that he would love to have the opportunity to represent this wondrous music to the major players: the big markets, radio, record companies, etc. In fact, your music is so magniﬁ cent that he will even give you a healthy discount on the fees that he usually charges for these services.165At this point, a red light begins ﬂ ashing in your brain. “Money? I have to pay money?” you say. The elo- quent one then ups the intensity of his fevered pitch, “You have to spend money to make money. I’ve worked with (insert platinum artist here) and (insert another platinum artist here), and I’m respected in this business for hearing the hits. I believe in your music; I can make it happen for you.” The music business is ﬁ lled with inventive cottage industries. However, charging naive acts exorbitant fees to “shop” their material is a gray area where I’ve seen many an aspiring artist turn into bleeding bait for the circling sharks. There is, for instance, one Hollywood-based “pro- moter” who turns a pretty proﬁ t by luring artists into his gold record-decorated den and then pressuring them to pay for his services. His pitch rarely wavers: He is, in the next three days, traveling to New York (a convenient 3,000 miles away) and has meetings already set up to play material for the heads of major record labels. This takes money. The up-front fee? $ 8,000 . When I was on the staff of a national non-proﬁ t organization for songwriters, I encountered numerous victims of this particular scamster. Many were reticent to complain because, like most scam victims, they were mortiﬁ ed by their own gullibility. If you’re ever approached by anyone in the business with a sketchy proposition, I would advise the following: 1. First and foremost, trust your instincts. Chapter 8 Live Venues and VenturesNetworking Strategies for the New Music Business 166 2. Ask them for the names and contact numbers of clients. 3. Request additional industry references. 4. Check them out online. There’s a site called The Velvet Rope (www.thevelvetrope.com) where, if you are a mem- ber, you can post industry-related queries. If you prefer, you can remain anonymous while asking, “Has anyone ever worked with…?” 5. Don’t assume that the operator is legit just because he advertises in a legitimate music business publication. Some magazines would accept advertising from Satan himself if he paid up front. It’s up to you to exert your judgment. 6. The music business is very small. Bottom-feeding sleazes depend upon their victims not to have information or resources. Don’t be afraid to ask for references to verify a company or a person’s legitimacy. 7. Keep in mind that there are no shortcuts in the music business. Nothing will ever replace the power of creating your own personal contacts and network. 8. Educate yourself about how the business really works. Don’t allow your ego or a sense of desperation to make your decisions for you. Compilation CDs OK, emerging bands: You’ve performed, postered, pos- tured, and proclaimed to the pinnacle of your powers. So now that you’re starting to kick up some notice, you’ve 167been invited to have a song included on a compilation CD. Sure, it may cost a few hundred dollars, but it will be delivered directly into the hands of radio, record com- pany A&R, promoters, and bookers. Compilations are wonderful money-making devices for the ones who can persuade 15 to 20 bands to each give them one song and to pay anywhere from $ 500 to $ 1000 for the privilege. In turn, the producers master and man- ufacture a couple of hundred CDs, give some copies to the bands, mail out to their “contacts,” and voila, they’ve pocketed a few grand in the process. And the bands? They have copies of a CD with 19 other groups whose sole shared merit is coming up with the cash to pay for a track. There are, of course, worthwhile, legitimate compi- lations. The performing rights societies (ASCAP, BMI, and SESAC) will often showcase emerging bands and writers via a compilation. The Los Angeles–based orga- nization L.A. Women in Music (LAWIM) has a diverse, highly regarded release. But in neither of these scenarios is there any cost to the artists. Likewise, there are worth- while CD compilations that target speciﬁ c local scenes or styles of music. These can often reﬂ ect an emerging music community and offer an effective way for groups to share the costs of manufacturing, artwork, etc. Likewise, certain record companies will present their emerging acts on promotional sampler CDs at no cost to the bands. And of course on late-night television one can order everything from heart-wrenching patriotic songs to the nearly forgotten hair bands of the ’ 80s. These art- ists, even at a reduced royalty, will beneﬁ t from the sale of the CDs.Chapter 8 Live Venues and VenturesNetworking Strategies for the New Music Business 168But let’s get real. Why should a record label exec lis- ten to 20 disconnected bands on one release? Would a journalist really wade through 19 groups with the hope of hearing something interesting if he had no connec- tion to the producers? Believe this: Radio programmers and record label people, realizing that the criterion for inclusion on compilations is simply whether an artist can pay the fee to be included, will generally disdain such compilations. One of the latest wrinkles in the well-worn scam is the “event” tie-in. It works like this: “We’re going to be at (MIDEM/SXSW/EAT’EM/Sundance/Slamdance), and we’ll be distributing CDs to everyone there.” Sounds good, but how do you know that the CDs will even be distributed? After all, the point is that you won’t be there anyway, will you? And how much baggage might a convention-goer accumulate over a couple of days? And how much do they actually want to take home? If you’re asked to participate in a compilation CD project, here are some questions you should ask the producers. /L50480 What type of track record do they have in the industry? /L50480 What acts have been signed from their previous releases? /L50480 What criteria do they have for inclusion? /L50480 Do they provide group contact info with the release? /L50480 Does the group maintain control of the song’s copyright?169Ask for their previous releases, then give a good, hard listen to determine if these acts are those with whom you’d like to share CD space. In the music business, the way you come in is the way that you’re perceived. Often, being included on a dubious project is almost worse that not being heard at all, especially if you’re sandwiched between a couple of lousy groups. Compilation CDs are wonderfully lucrative endeavors for their producers. But for bands with limited economic resources, being included on a compilation project may only land you on a CD that a record company exec, radio programmer, or journalist reaches for when he needs a coaster for his cocktail. Performing Rights If you write songs for your band, you need to choose a performing rights organization. You’re in luck because there are three: ASCAP, BMI, and SESAC. All are immi- nently accessible, and all are (believe it or not) there to help you. As a songwriter, you can afﬁ liate with only one society. On the surface, what these three performing rights organizations (PROs) do is not dissimilar: They collect money for songwriters and music publishers from broadcast revenue sources, including television, radio, and Internet licenses. They then distribute these funds to their members. Sounds good, right? Keep in mind that you will never receive one penny from these sources if you do not afﬁ liate, which is reason enough to contact them as soon as you have, or anticipate having, a CD that might be receiving any kind of airplay. Chapter 8 Live Venues and VenturesNetworking Strategies for the New Music Business 170ASCAP, the oldest and largest of the three organi- zations, boasts among their membership many of the most venerated songwriters in the history of pop music. ASCAP Presents showcases unsigned bands in various cities around the U.S. Buckcherry, Lit, Gin Blossoms, and Save Ferris are all alumni. Also among the exten- sive list of workshops for songwriters is “Music Business 101,” informational and educational sessions with guest speakers, and ASCAP SWAPmeet, held in various cities, including L.A., where new works are heard by industry pros. ASCAP, governed by a board of directors elected from their membership, can be reached at (323) 883-1000 or contacted online at www.ascap.com. BMI, formed as an alternative to ASCAP, origi- nally licensed R&B and country music. Today, they are equally strong in rock and pop. BMI co-sponsors and produces live performance opportunities for members and is involved in many grass-roots events. New Music Nights is a quarterly program on the West coast that showcases a wide variety of genres—rock, alternative, pop, soul and hip-hop— to help expose new talent to the industry—lawyers, managers, A&R, publicists, and journalists, as well to the general public at large. Bands who have played and/or been signed from the showcase include Counting Crows, The Roots, Stroke 9, and Train and Creed. Contact BMI at 310-659-9109 or online at www.bmi.com. Speaking of alternatives, SESAC, although not as widely known as the other two organizations, is deﬁ nitely making up for lost time with an aggressive marketing campaign and some key signings. Oscar- winning songwriter, the legendary Bob Dylan, is a SESAC writer. SESAC has made strategic alliances with a host 171of technology companies and was the ﬁ rst PRO to offer digital watermarking so you’re paid every time your song is aired. They also offer online licensing for afﬁ liates and online registration of works. SESAC is a privately held company and is selective about its afﬁ liates. You can reach them in Los Angeles at (310) 393-9671 or online at www.sesac.com. Which society is right for you? Contact all three then examine the materials they offer concerning pay- ment schedules and contract length. Above all, trust your instincts and remember that having someone who believes in you at a performing rights organization is one major step up the ladder in this business.Chapter 8 Live Venues and Ventures172Success Stories In the mythology of the music business, there is a huge focus on the million-selling stars—the bands we see on MTV and VH1—those very few who enjoy their brief moment teetering on the chart-topping pinnacle of success. As I’ve reiterated in this book, I believe the true success stories are of those individuals who ﬁ gure out how to work and stay in the business they love, who can remain relevant over time, and who are able to sustain themselves through an art they love. In this chapter, it’s my pleasure to introduce you to some folks whose accomplishments are varied, wide, and enduring. They exemplify networking strategies through their steadfast commitment and determination to ﬁ nd a way to keep themselves in the game. There’s a lot to be learned from their career journeys.CHAPTER 9173Jeffrey Steele: Country Craftsman With over 200 songs recorded in the last three years by Nashville’s most bankable stars, including Tim McGraw, Faith Hill, Montgomery Gentry, Rascal Flatts, Leanne Rimes, and Diamond Rio, Jeffrey Steele is as hot as a country songwriter could possibly be. But songwrit- ing success for this driven Californian came only after two decades of broken dreams, busted-up bands, deals gone sour, and experiences with record executives who thought they knew more about country music than Jeffrey Steele. “The most important thing any song- writer needs to have is that drive, an ‘against all odds’ instinct to keep writing through all the rejection and all the hardships,” states Steele. “These are your stories, the stuff that turns into your songs. I think a lot of people run from these things, but they need to realize that that’s what you’re gonna be writing about for the next 20 years.” Independent releases sold on his Web site and at live shows have been, up until now, the only way to procure Steele’s solo work. Now, Outlaw, from Lofton Creek, delivers the power of Jeffrey Steele as an artist backed by the power of major distribution. “We found out that one song of mine was being played on one radio station 120 times a week,” says Steele. “The song is called ‘Good Year for the Outlaw.’ It’s an outlaw country station, and this is their theme song. The next thing I know, the song is showing up on the Billboard chart completely out of the blue.” Of the new record that takes its title from the track, Steele notes, “I ﬁ nally got a record in the store after eight years of being signed to major record deals and not getting records out. It feels good to have an actual piece of product in the Wal-Marts and Targets.” Chapter 9 Success StoriesNetworking Strategies for the New Music Business 174To promote his record, Steele has been opening shows for Brad Paisley and Keith Urban, with just an acoustic guitar. “You’ve really got to work,” he avows. “I came out for 8,000 people in Connecticut, with throngs of screaming women wanting to see Brad and Keith. I said, ‘You guys have no idea who I am, but you know my songs.’ The whole place was singing along, then I did the stuff from my new record, and ‘20 Years Ago’ earned a standing ovation. But the stage manager wouldn’t let me go back out for an encore. So I’m getting success and shooting myself in the foot at the same time. It’s all perfect.” Born in Burbank, the youngest of ﬁ ve children, Steele’s powers of perception were honed early on. “I observed my older brothers and sisters and heard all of their music,” recalls the songwriter. “I was at the bottom end of the food chain, just eating that stuff up, watching and learning. Later, all of these things were there to write about.” As the little brother, Steele learned how to vie for attention. “I remember being ﬁ ve, shaking my hips to Elvis Presley records in front of the whole family, and my brothers getting pissed and beating me up later.” One familial theme Steele has referenced in both “My Town” (Montgomery Gentry) and “20 Years Ago” is the age-old conﬂ ict between father and son. “It was my brother and my father,” he says. “ I’d watch them ﬁ ght at the dinner table. They could never get along. Ten or 15 years went by and they didn’t talk to each other until my dad was on his deathbed in a morphine-induced state. They couldn’t really make amends, but they could look each other in the eye one last time. I tell writers, ‘Don’t turn the other way from that. It’s OK to write about 175it more than once, if that’s a big issue in your life. It’s therapy for you.’” Twenty years ago thought I knew it all Trying to talk to me was like taking to a wall I thought I was a man for acting like I did But what I want right now is just to be your kid Just before my dad gave up the ghost he smiled at me and said Son let it go, that was 20 years ago. Steele spent the ’ 80s with a dual music career, playing in bands on the Sunset Strip and with country groups far from the center of L.A. It was in the country bars that he could make a living, but he decided to concentrate on writing songs. Still, he couldn’t resist an offer of $ 200 to play bass one Sunday afternoon. “I put my amp in the car and drove down to Orange Country and played the gig with Larry Parks and his brother Cary, with Hugh Wright on drums. I said, ‘These guys are unbelievable.’ Next thing I know we’re playing every bar in town. I started bringing my songs in, and the harmonies were great. It was a once-in-a-lifetime thing.” Boy Howdy’s huge radio hit, “She’d Give Anything,” took the band to the top of the country charts. But the record company wanted more of the same, and the band wasn’t amenable to being squeezed into the polished Nashville mold. Jeffrey Steele tells of the harrowing days after Boy Howdy’s demise, when he was subsequently signed to a solo deal. “I got the worst of the worst, but really no worse than anyone else. When I signed to Curb Records, I remember the guys there telling me all my songs sucked and I wasn’t really that talented, but the secretary in the ofﬁ ce thought I was Chapter 9 Success StoriesNetworking Strategies for the New Music Business 176cute, so they were going to give me a record deal. All of the things they say to make you feel like nothing.” Meanwhile, the publishers were equally underwhelmed. “They told me my songs were nowhere near the market- place—off by a mile. But I knew that I loved to write. It gets to a point where you either slough it off or think maybe they’re right. But look at the criticism and see if it has any weight. These guys are critics, and they’ll say things to discourage you. Over the years, it’s become ﬁ re for me.” On this day in Nashville, Jeffrey is behind the board, producing a record on RCA for Keith Anderson, a singer/songwriter he’s known for six years who penned “Beer Run” for George Jones and Garth Brooks. “He’d originally gotten a production deal with Sony, and I talked him out of doing it. He said, ‘You’re going to make it terrible for me. I’m never going to get a deal.’ I said, ‘No, dude, if you sign a production deal with Sony, you’re stuck there. You won’t have the option to play for anybody else. We’ll pay the money for the ﬁ rst couple of tracks, get everybody interested, and we’ll get them all out to see you.’ He showcased and had every label in town champing at the bit. Six years ago, he was too left of center.” Between the promotional tours for his record and production gigs, Steele tightly structures his songwriting time. “It’s not unusual for me to have three writing appointments a day, like I’m in a doctor’s ofﬁ ce. People say, ‘How can you do anything artistic when you’re writing that much?’ First of all, I’m a freak. That answers that question,” laughs Steele. If his ﬁ rst appointment of the day is productive, it inspires him for the next two sessions and keeps his adrenaline running until 177the late hours. “I know there’s something wrong with me, when I can’t shut my brain down, when I’m getting up and writing at three in the morning. I want to keep practicing my lyric craft, get as good as I can. I want to use less words to say more things. Instead of having two lines, I try to get it down to two words.” To the uninitiated, it may be a mystery why Jeffrey Steele, BMI’s Songwriter of the Year and one of Nashville’s most proliﬁ c talents, chooses to tour the hin- terlands instead of luxuriating in town, writing songs, and checking the mailbox for what must presumably be formidable checks. He explains that touring stirs his creativity: “Particularly in the small towns, people come up and invariably tell you about their lives, about their cousins, uncles, or talk about something that happened in town. There’s something to be said for playing for three hours and sitting in that autograph line for two. I always give everybody the time of day, let them tell me what they tell me. I like to say something positive, make the most of the time. They’re happy to see me, and I’m happy to be there. A lot of people get burned out, but I get stories and titles.” He gives this example of a song he co-wrote with Marv Green, the writer of Lonestar’s hit, “Amazed.” “I was on the autograph line and this guy comes up and he introduces me to his wife, this beautiful lady, and I could tell they’re deeply in love. He says, ‘She could have had anyone in school.’ I said, ‘What did you do to get her?’ and he said, ‘All’s I did was love her.’ My mental memory bank went on and we wrote the song a couple of days ago. It’s about what he talked about—he never had any riches, but he promised her a life of his being there and being good to her.”Chapter 9 Success StoriesNetworking Strategies for the New Music Business 178Steele reveals that he’s always prepared to write. “That’s what anyone will say, even if I’m an hour late to the writing session. It’s because I’m at home working on an idea. I want a seed or something to go on. Putting in 30 to 40 minutes a day playing, trying to think of some- thing, keeps you in that mode all of the time, ready to write something. Even if it’s crappy stuff, you’re letting your thoughts out. But I hope when a new guy comes in he’s also armed and dangerous, is focused, has a bunch of stuff, and wants to write hit songs.” Steele shares that sometimes co-writers will expect him to, in his words, “lay a golden egg.” He explains, “That’s the hardest part—when someone’s looking at me going, ‘When is it going to happen?’ And I’m like, ‘When is what going to happen?’ If I intend to lay a golden egg, I’m going to do it in the privacy of my home. I’m not going to do it in front of you, pal.” Lindy Robbins: Late Bloomer These are productive times for Los Angeles songwriter Lindy Robbins. She’s penned two songs, “Shine” and “I Will Carry You,” for Clay Aiken’s platinum debut, Measure of a Man ; she has a cut with Jesse McCartney on the Disney soundtrack and in the ﬁ lm Cinderella Story ; she’s renegotiated a new publishing pact with media powerhouse Universal Music Publishing Group; and she’s preparing to move into a home she’s purchased in the San Fernando Valley’s trendy NoHo Arts district. Make no mistake, Lindy Robbins is no overnight success. A native Angeleno who relocated to New York City in the ’ 80s, Robbins’ tale is one of fate, faith, trust, and timing. “It was only two years ago that I had any 179money at all,” she confesses. “I was a late bloomer. I had a publishing deal in 1994 with Rodgers and Hammerstein Music in New York, but I was writing theatrical, cabaret, and art songs and making a living performing. It wasn’t until 1997 that I quit performing and decided I wanted to write pop songs. I moved back to L.A. to do that, without a deal, without any money, without anything.” On a ﬂ uke, she entered a song in the UniSong International Song Contest and won the grand prize. She was subsequently invited to Ireland for Celtic Harmony, a week-long songwriter retreat organized by Music Bridges (USA) in conjunction with Irish rights society IMRO, where she was cast in intensive writing sessions with hit makers from around the world. “I had moved back to L.A. with not a fork,” laughs Robbins, “and there I was, onstage, singing with Lamont Dozier and Brenda Russell. It all happened so fast.” In Ireland, Robbins met Rowana Gillespie of Polygram Music Publishing, who signed her to a deal. (The company has since merged with Universal Music Publishing Group.) In addition to a music publisher, Robbins retains the services of a manager. Still, she never stops hustling up her own opportunities. “No matter what cuts you have, you can never stop working your songs,” she emphasizes. She makes regular trips to New York to meet personally with A&R executives at various labels. “I’ve found that if I make a connection, they’ll lis- ten to a song later,” she explains. “We talk about life for a second. It’s a human thing.” Robbins earned serious Music City credentials with a Faith Hill cut, “Back to You,” and international recognition for “I Dreamed of You,” a four and a half Chapter 9 Success StoriesNetworking Strategies for the New Music Business 180million-seller co-written and recorded by dance diva Anastacia. Unless she is co-writing with an artist, she does not generally write songs with a speciﬁ c performer in mind, and she cautions writers about becoming what she terms “genre whores.” She explains, “Sometimes there are certain types of songs on the radio. You try to copy that trend, and by the time you’re shopping those songs, the trend has changed. By the time you’re pitching yours, A&R execs have heard a hundred of those songs, and they want to hear something different. Sometimes you have to start the trend yourself.” She shares that on many occasions, it’s necessary to turn off the business mind in order to create. “It’s like, ‘Can we just write a great song today?’ Sometimes you have to ﬂ ow and not think about business—just write. And those are the songs that get cut, because they’re fun.” A global perspective is vital for pop songwriters, says Robbins. “I’ve had great things in the U.S., like Clay Aiken and Faith Hill, but I’ve gotten by on stuff in England, France, and Australia. It’s important to inves- tigate other avenues rather than just the U.S. I can go to London and write dance or pop, then go to Nashville and write country, then to New York to write urban. That’s what keeps it fresh.” Robbins’ ability to work quickly makes for a burgeoning catalog. “I can do a song a day easily,” she avows. “When I’m on a writing trip I’ll do 10 to 15 songs. If 20 percent of them get placed, that makes a huge difference.” She writes both melodies and lyrics, and she generally prefers to write with a producer. “I don’t work with other writers, except when I’m doing standards or country,” she afﬁ rms. Robbins notes that production is key to getting cuts. “That’s the biggest lesson I had to learn. As good as some 181of my songs were, the tracks weren’t good enough and the songs wouldn’t get placed. The demos have to sound as good as records.” Robbins says that it is common practice now for songwriters to create the words and music and then share a 20-percent writing credit with a producer to craft the deﬁ nitive track. “It’s worth it. Without a great demo, a song can’t get placed.” In the mercantile world of high-stakes songwriting, Robbins testiﬁ es that regular trips to Music City keep her centered. “When I get burnt on writing to tracks, I go to Nashville and get in a room with a great collaborator who plays piano or guitar. All my training in theater and cabaret comes into play there more than anywhere else. With country songs you can be funny and clever. In pop you can’t be as poetic. I love Nashville. They’ve opened their arms at the Universal ofﬁ ce—and that Faith Hill cut didn’t hurt.” One recent trend that Robbins observes is that coun- try is reverting to a rootsier style. “I’m a Valley Girl,” she laughs, “I can’t relate as much to the whole Southern experience. I try to write about what I know. But that’s what I love about collaboration. If I write with somebody who really understands that, they can help me express it. If I’m writing something urban, I’ll only write with someone who understands that world. That expands me. Where I excel is pop rock, so people will bring me in because of my expertise. By ﬁ nding collaborators who do something different than what I do, I get a lot more versatility in my catalog.” One of her newest collaborators is pop-meister David Frank, a writer/producer probably best known for “Genie in a Bottle,” the song that launched the career of Chapter 9 Success StoriesNetworking Strategies for the New Music Business 182Christina Aguilera. “David and I have just clicked; we’re on the same page creatively. The ﬁ rst thing we wrote together got cut by a new artist, Bree Larson. I’ve found that helps. If you write with someone and get an imme- diate response to your collaboration, that’s encouraging. There might be someone you’ve written seven songs with and none of them have gotten cut. You have to think maybe it’s not the best situation.” Ease and com- fort in the creative process is another collaborative plus. “Sometimes you have to give it more than one shot, but I’m the type of person who likes to go with something and not think about it. If someone keeps saying ‘No, that’s not it’ and interrupts the ﬂ ow, then I just want to go home. It should always be fun.” Robbins’ writing tools are simple: a spiral notebook, a pen, a rhyming dictionary, a thesaurus, and a small digital recorder. “I have pages of ideas in a notebook. Every time something comes to me I add to it.” Her digital recorder holds 200 songs, but after a song is demoed, Robbins erases the work track to make more room. She has notebooks dating back to 1986. “The good thing about using a notebook is you can go back and look at the work pages,” she explains. She is also adept at writing to tracks, especially in pop and dance music. “I can close my eyes and just completely sing whatever comes out of my mouth and record 10 ideas, then go back and ﬁ nd a verse, pre-chorus, and chorus that I like. It’s not a thinking process.” She is an increasingly rare breed: a successful song- writer who is not a producer, whose strength is her uncanny ability to write songs under virtually any cir- cumstances in a wide scope of styles. Still, everyday, Lindy Robbins is on the line. “There are plenty of days 183I’m driving to a writing session and I’m thinking, ‘I want to go to the mall, I want to go to the movies, I want to go to the beach, I want my mommy,’ but you have to force yourself to work hard.” Luis Resto: Lost in the Music It was Luis Resto, resplendent in his Detroit Piston jer- sey, who stepped up to accept the award when Barbra Streisand announced “Lose Yourself” from 8 Mile , recorded by Eminem, as Song of the Year at the 75th Annual Academy Awards. Resto is a Detroit native in his forties who has worked with artists from Anita Baker to Patti Smith to Was (Not Was). Now, in collaboration with Marshall Mathers (Eminem) and Jeff Bass, he’s an improbable, elated Oscar winner. “I started piano at nine,” Resto recalls. “My brother Mario was my biggest inﬂ uence since he was a guitarist and songwriter.” Resto’s parents were always supportive of their boys’ musical endeavors; his father even took them to see Jimi Hendrix at Cobo Arena in 1968 when Luis was still in elementary school. “I remember leav- ing the parking lot. This guy came around checking everyone’s car horn tones and we all honked the intro to “Purple Haze,” he laughs. Fusion music, John McLaughlin, Jan Hammer, and Herbie Hancock mesmerized the young Resto, but he needed a synthesizer. “I said to my dad, ‘It’s so expensive, but there’s something in that.’” At 12 and a half years of age, he began playing an ARP Odyssey. Then, at a police auction, a Fender Rhodes, bass amp, and Electro- Voice mic came into his possession for $ 101. “That’s Chapter 9 Success StoriesNetworking Strategies for the New Music Business 184what began my stay in my brother Mario’s group,” Resto relates. Don Was remembers his ﬁ rst encounter with Resto. “When he was 15 he was my friend’s piano student. My friend called me up and said, ‘You’ve to hear this guy and use him on a record.’” Resto reﬂ ects, “I think I appreciate Was (Not Was) more now. At the time I was a pain in the ass. But with Was there were no boundaries.” In the mid- ’90s, Resto spent seven months in Los Angeles playing on Was’ productions and pondering a move to the West coast until he received an offer to return home to play with Patti Smith. “Patti was this ﬁ gure for me,” Resto offers. “My brother brought home Patti Smith’s Horse s when I was 12 or 13. I’d listen over and over and stare at that cover. Then, 20 years later, to have this opportunity was a highlight.” It was Resto’s longtime colleague, Joel Martin, who connected Resto with Marshall Mathers. He worked on both The Eminem Show and 8 Mile , collaborating on songs and score for the latter. Additionally, he has worked with 50 Cent and Shady Records’ signees. Most signiﬁ cantly, Resto is acknowledged as a co-writer, a fact that bears enormous economic implications as Mathers, who could certainly play it any way he chooses, takes the high road. “I know the other side very well,” Resto muses. “I don’t say it in a bad way. That’s what I grew up accustomed to. Here’s this grand payoff. Who would have thought? You don’t get these kind of record sales, and for Marshall to give it up as such is remarkable.” Work with Mathers is full out. “That’s what he does. He’s concerned with (daughter) Halie, and that’s his main occupation, getting the next beat out of his head 185and getting the next project for the artists on his label.” Sessions begin around 2:00 p .m. “I’ll walk in and he’ll be at the drum machine tapping on something, and then I boot up my keyboards and some melody strikes him, and that’s a good sign. That can evolve to anything in the next half hour because he’s busy adding to that beat. Where it started from might be completely differ- ent from where it ends up. We always have a DAT going, catching everything that’s happening.” And this is the collaboration that brought Resto to the stage of the Kodak Theater, and to accepting the award from Streisand. “I’ve done every gig in the book: weddings, solo gigs, Knights of Columbus halls. When I saw her, all I could think of were those daddy/daughter dances to ‘The Way We Were’ and ‘Evergreen.’ I thought, ‘Oh my God, it’s the artist whose music I used to play at weddings!’ And that’s pretty classic.” Bob Malone: Road Warrior Everything about Bob Malone—from his stride- inﬂ uenced piano chops to his gravelly Dixie growl—seems like a compass pointing toward the Crescent City. But sounds are deceiving; Malone is actually from New Jersey. He’s spent a number of years in Los Angeles, and he has lived for extended periods in New York and, yes, New Orleans, too. “New York and New Orleans are the only cities where they have pianos in every club,” Malone intones. “In New York because no one wants to carry any gear, and in New Orleans because there are so many piano players.”Chapter 9 Success StoriesNetworking Strategies for the New Music Business 186This seasoned road warrior has toured with The Neville Brothers, opened for the Rev. Al Green and Manhattan Transfer, and performed at countless festivals ,including Kerrville and Falcon Ridge. It shows: Malone is an electrifying live performer, having learned how to drop the proverbial hammer by opening shows. “They don’t want to hear the opening act,” he explains. “But you can win them over.” Most often he traverses a cross-continental road, performing 150 dates a year as a headlining artist in con- cert venues that seat anywhere from 50 to 500 patrons. “Doing those rooms is my biggest impetus to tour,” he states. Malone’s two Delta Moon/Chartmaker releases, The Darkest Part of the Night and Bob Malone , combined with his relentless touring schedule, have earned this tenacious troubadour a national audience and an envi- able sheaf of kudos. Given his impressive sales ﬁ gures and touring visibility, it would seem that signing with a major label could take him up to the next level. “I’ve come very close a lot of times,” he confesses. “I don’t know if this will change with the new record, but I’ve had a problem with classiﬁ cation. They’re not sure what it is or what to do with it. That’s the reason I’ve been independent; it’s not by choice.” Independence is not for the lazy. Malone books his shows, handles the promo, sets up the interviews, and drives the van. He even chronicles his road adventures in vivid prose on his Web site (www.bobmalone.com), and he’s contributing to a new book, Working Musicians , due this fall from Harper Collins.187Selling CDs on the road accounts for half of Malone’s income. “When I ﬁ rst started touring, a lot of the gigs didn’t pay. I was opening for acts in cool rooms where I got seen, and I’d put on a good enough show that every- one would buy my record. I’d go into some freebie gig and make $300 in sales. I lived off of that. It was the last step of turning me into a strong live act. Desperation is a wonderful motivator.” Prior to the road gigs, Malone admits he spent time sitting around in L.A. awaiting a magic record deal. “I was doing top- 40 gigs, shit I hated. I ﬁ nally said ‘I’m not going to do this.’ You can’t be taken seriously as an artist and then go play cover tunes six nights a week. They can smell it on you. Audiences know ; you have to be that guy, the artist. It all changed for me when I decided not to do that anymore—[then] I was taken seriously.” Summary These four artists epitomize one crucial career key: They never got out of the business; instead, they discovered viable avenues to project themselves and their music. They also epitomize a sterling networking strategy: Only those who are left standing will succeed. Chapter 9 Success Stories188Go Where You Wanna Go Leaving the security of your home and moving to another location can be a daunting reality, but it may well be necessary for the advancement of your career. This chapter evaluates the scenes in the major U.S. music capitals. In one six-year span in my ﬁ rst music business incarnation as a songwriter, musician, and performer, I lived in, and survived, all three music capitals. Today, as an author and a journalist, I make my home in Los Angeles, but I am in daily contact with New York and Nashville, where I travel for interviews and other projects. Eventually, if you aspire to a professional music career, you too will need to correspond with, pitch to, visit, write, record, or live in one (if not all three) of these dynamic cities. If your aspirations guide you, you too must search for the ideal locale for your talents and be willing to pack up your tent and move to more verdant pastures, to go where it is, or to make it happen where you are.CHAPTER 10189Nashville Nashville’s reverence for the song form cannot be overstated. These days, it’s not just country in Music City either. Christian, pop, rock, gospel, alternative—and especially alt.country and Americana—are also viable forms. Nashville is a city of surprises; the rumpled- looking gentleman sitting next to you at a coffee shop could be a major songwriter, executive, or record producer. Certain parts of town near Music Row are similar to a college campus in which many of the patrons in the restaurants are in the music business. Nashville respects longevity and credibility, and personal relationships are key in this friendly, song-oriented town. Most of the major music publishers have ofﬁ ces, and many smaller boutique companies exist, too. If you plan to visit, you will need to research publishers and contact them regarding their submission policies and the possibility of setting up appointments. IF YOU VISIT The songwriting business is localized, stretching along Music Row ( 16th and 17th Avenues) in refurbished homes and newer ofﬁ ce suites. Hotel rooms cost from $50 to $200 per night; budget motels tend to be in the outlying parts of town. If you’re planning on sightseeing, you’ll probably need a car. Nashville Songwriters Association International (NSAI) is a valuable resource. If you can, schedule your trip in the spring when NSAI produces their annual event, Tin Pan South, with a slate of hit songwriter concerts, showcases, open mics, classes, panels, and workshops. Another new NSAI program, Songwriters Symposium, is a two-day fall event that offers pitch Chapter 10 Go Where You Wanna GoNetworking Strategies for the New Music Business 190sessions and evaluations from some of Music City’s most esteemed publishers and record company executives. The Songwriters Guild of America (SGA) is another strongly supportive organization with a slate of song critiques and ASK-A-PRO sessions to connect and edu- cate writers. You have to be a member to take advantage of their events. You can reach them at 615-329-1782 or online at www.songwriters.org. Other events in town include the Nashville New Music Conference, also held in mid-fall, which is a four- day event with major industry participation. Highlights include a trade show, technology forum, panel discussions, mentor sessions, keynote speakers, and a studio tour of Nashville. Information is at www.2nmc. com. The Americana Music Association Conference, held in the fall, features over 600 industry professionals in an array of panels, discussions, and performances all speciﬁ c to the Americana format. Information is at www.americanamusic.org. The Songwriter and Musician’s Guide to Nashville , authored by Sherry Bond (Allworth Press), is an invalu- able resource for the visiting songwriter. SHOWCASES AND OPEN MICS There are a variety of places to perform, including the very famous Bluebird Cafe. Nashville Scene, published every Wednesday and free at bookstores and coffee shops ,has comprehensive listings of clubs. There are Writers’ Nights going on every night of the week, including open mic events where you can line up and sign up to play that evening. Most, however, are planned. Some hosts are ﬂ exible, so if you have a persuasive 191personality, or if there has been a cancellation, you might get a chance to perform that night. If you’re going to be in town for a few days, check out your chosen club early in your stay, and see if you can be scheduled to perform later in your visit. Your set may consist of only two to four songs and should be original (not cover) tunes. The BMI Music Connection Showcase series is held at various venues in Nashville and features today’s hit songwriters as well as up-and-comers. It’s free and open to the public. The BMI Acoustic Roundup, held the sec- ond Thursday of every month at the Sutler, pairs the top names in songwriting with soon-to-break through tal- ent. The BMI RoundTable was created in order to arm songwriters with powerful information that will help them navigate today’s highly competitive music indus- try. RoundTable topics include performing rights, BMI’s history, how the Nashville music industry operates, and tips to help you become the songwriter you want to be. It is held the second Monday of each month at the BMI Nashville ofﬁ ces and is open to all songwriters. For more information, contact the BMI Writer/Publisher Relations Department at 615-401-2000 . The BMI Songwriters Workshop with Jason Blume is generally held the second Tuesday of each month from and invites all songwriters who are serious about and committed to successful com- mercial songwriting to attend. At each workshop, Jason Blume examines the components of hit songs and covers a variety of topics, including song structure, lyric and melody writing techniques, musical hooks, writing from the heart for the radio, and effective demo recording, among others. There is no cost to attend, but seating is limited, so advance registration is required.Chapter 10 Go Where You Wanna GoNetworking Strategies for the New Music Business 192IF YOU DECIDE TO MOVE THERE Nashville has a temperate climate, housing is moderately priced, and the countryside is stunning. Keep in mind that although the music industry is free thinking, you are in the South—a locale that is historically not as progressive as the Nashville arts and entertainment communities would indicate. NINE STEPS TO NASHVILLE 1. Don’t expect to open all of the doors overnight. Nashville is a town that respects history, longevity, and credibility. 2. Take enough money to at least give the illusion of some level of success. If at all possible, stay with friends. If you’re planning on sightseeing, you’ll probably need a car. 3. The business people here are incredibly savvy. Don’t assume that you’re dealing with yokels. Nashville doesn’t care what you’ve done elsewhere. 4. Use your performing rights organization to help you open doors. Contact them well in advance of your visit, but don’t expect them to perform miracles on your behalf. 5. Nashville Songwriters Association International (NSAI) is a valuable resource—especially if you’re a member. For membership information, contact them at (800) 321- 6008 or (615) 256-3354 and check out their Web site at www.Nashvillesongwriters.com. All members receive a booklet when joining that features a variety of informa- tion, including hotel listings and other information to maximize a visit to Nashville.193 6. There are people in Nashville who will rip you off by asking you to pay them up to $5,000 to get you a deal. Even if it’s all in the name of production costs, you can be taken for a ride. Yes, you may wind up with a CD, but it won’t be on a major label, and you may have paid four times too much to record it. Always be wary of name- droppers and people who make promises with price tags attached. 7. Music Row , a trade publication, is an excellent source for an insider’s look at the Nashville music scene. Learn the names and positions of the movers and shakers. 8. With demos, the simpler the better. Since Nashville is a song town, your demo doesn’t have to be as highly pol- ished. A guitar/vocal or piano/vocal is often sufﬁ cient. 9. Nashville takes the music industry very seriously, and the caliber of talent is in the stratosphere. There’s a lot of pride in this quality; don’t ever sell that short. The only people who wear cowboy hats and boots in Nashville are tourists. New York From Tin Pan Alley to the Brill Building, from Broadway to Greenwich Village, music is the soundtrack to suc- cessive eras of history in the Big Apple. Since New York is the center of the theater world, there are many outlets and opportunities for songwriters and composers who create for the stage and cabaret. The pop world is well represented, too, as are hip-hop and R&B, with the cur- rent climate heavily favoring songwriter/producers. Most major music publishers are in midtown Manhattan, but Chapter 10 Go Where You Wanna GoNetworking Strategies for the New Music Business 194the center of the songwriting world is Greenwich Village, with its cafés, coffeehouses, and clubs presenting a wide spectrum of acoustic and songwriter-oriented shows. DOWNTOWN The New York Songwriters’ Circle is a showcase held twice monthly at The Bitter End ( 147 Bleecker Street in The Village) that features many of the city’s most distinguished songsmiths alongside up-and-coming singer/songwriters. Artists are selected via word of mouth or from tapes heard in listening sessions. They now book up to eight months in advance. You can ﬁ nd information at www.songwriters-circle.com. UMO Music presents a Sunday showcase at the Baggot Inn ( 82 W. 3rd Street between Sullivan Street and Thompson Street) most Sundays in the winter but only if the weather is bad in the summer. Sign-up is at the door. Information is at www.umo.com. The Cornelia Street Café ( 9 Cornelia Street, 212-989-9319 ) presents The Songwriters Beat, a monthly showcase of original songwriters. Booking information is at www. corneliastreetcafe.com or www.songwritersbeat.com. SESAC’s Writers on the Storm, currently in residence at The Cutting Room, features four of the organization’s writers in a showcase format. Due to the success of club alumni Norah Jones, The Living Room, also in the Village, is home to a major scene. ASCAP Writers at Night is an intimate showcase series designed to feature the talents of promising new songwriters, while providing them with an opportunity to forge new relationships in a laid-back and supportive atmosphere. It’s currently held every ﬁ rst Tuesday of the month.195SONGS ABOVE THE FOOTLIGHTS ASCAP and the Manhattan Association of Cabarets (MAC) have instigated a showcase program where cabaret and theater songwriters present new material before an audience of publishers and other songwriters. The ASCAP Foundation also presents a showcase series, Thru The Walls, that spotlights concert-trained composer/performers who cross genres. Contact the Society at wwwmacnyc.com. BMI and the late Lehman Engel joined forces to cre- ate a setting where new writers for the musical theatre could learn their craft. The BMI Lehman Engel Musical Theatre Workshop continues to ﬂ ourish and is consid- ered to be the foremost training ground for new writing voices, bringing forth musical milestones such as A Chorus Line, Little Shop of Horrors, Nine, and Ragtime. The Workshop presents a series of in-house cabarets that attract music and theatrical industry attention. The Workshop participates both formally and informally with various New York and regional theaters in devel- opmental programs. Contact BMI at 212-830-2508 or via e-mail at [email protected]. SONGWRITERS HALL OF FAME The Songwriters Hall of Fame and the National Academy of Popular Music sponsor meetings where music indus- try professionals enlighten and educate attendees on both the craft and the business aspects of songwriting. These are held eight times per year, followed by open mics co-hosted by Bob Leone and April Anderson. For more information, contact Bob Leone at 212-957-9230 or via e-mail at [email protected]. Current members of the National Academy of Popular Music (NAPM) are also eligible to submit songs for Songwriters Chapter 10 Go Where You Wanna GoNetworking Strategies for the New Music Business 196Hall of Fame Songwriter Showcases, which are held four times annually. You’ll need to submit materials at least two months in advance of the shows. IF YOU VISIT Manhattan is where you’ll want to be, and it’s not cheap. Check out a Web travel service like Expedia.com or Travelocity.com for the best deals. Hotels shouldn’t be your priority, since in this dynamic “city that never sleeps” (to paraphrase Kander and Ebb) you’ll ﬁ nd many things to occupy your time entertainment- and business-wise. The city itself is a breeze to navigate via taxis or well-designated busses and subways, taking you anywhere you need to go. It’s inspiring to walk, too. Just remember that numbered streets descend as you head downtown and you can’t get lost. Pick up a copy of the venerable Village Voice for all of the club listings. IF YOU DECIDE TO MOVE THERE New York rents are among the most astronomical in the country. Some musicians opt to live in Brooklyn or Queens, which are cheaper, or across the river in New Jersey. The trains can whisk you anywhere quickly. For acoustic artists, there is a distinct advantage in living in New York because it is a hub of activity with close prox- imity to other Northeast towns (especially Boston) that have strong performing scenes and a multitude of venues for singer/songwriters. Los Angeles Los Angeles is a package town. Songwriters and art- ists succeed because they are somehow connected—to artists, producers, ﬁ lms, and other media. In this ever 197mutating city of the angels (or perhaps more appropri- ately, the “city of the angles”), the song is an essential component. Writer/producer teams of two or three specialists—e.g., a producer, a groove maestro, and a lyricist—are highly valued, while the era of the single, unconnected song (if it ever existed) has been supplanted by a corporate, high-stakes publishing environment. FILM AND TELEVISION The explosion of ﬁ lm, network and cable television, and video games has spawned innumerable outlets for new music and songs. Songs that mirror what’s happening on the charts (as of this writing, edgy alternative rock and singer/songwriters) are the most requested and easily placed. Check out www.ﬁ lmmusicworld.com. The Songwriters Guild of America (SGA) pro- duces a variety of educational events, including their ASK-A-PRO series. SGA membership is available to all, and the Hollywood ofﬁ ce is an unfailingly writer- friendly environment. There are always ongoing classes as well. Contact SGA at 323-462-1108 or online at www. songwriters.org. Another local songwriting group produces well- regarded activities, including ongoing songwriter showcases and educational events. As their Web site says, “The L.A. Songwriters’ Network (www.songnet. org) seeks to establish, develop, promote, and sustain for the songwriting community in Los Angeles, and for the global songwriting virtual ‘cyber-community’, free and low-cost access to the tools required to improve their craft, build successful careers, host and promote workshops and events, and most importantly give back to the world better music, better lyrics, greater positive, Chapter 10 Go Where You Wanna GoNetworking Strategies for the New Music Business 198wholesome, uplifting, sincere, and genuine musical and artistic creation and expression.” PERFORMING RIGHTS If you belong to ASCAP, try to plan your songwriting trip around the General Member Meeting, now held in L.A. every other year in early February. Year round, ASCAP hosts educational events, including Music Business 101 and The Songwriters Studio, plus their highly regarded acoustic showcase, Quiet on the Set. This show has spawned a spin-off, the Cover Me series, which celebrates writers whose works have been covered by prominent artists. Past participants have included Vonda Shepard, Jill Sobule, Willie Nile, Joseph Arthur, Sixpence None the Richer, Jonatha Brooke, Ben Harper, Catie Curtis, Allen Shamblin, Deana Carter, Rufus Wainwright, and John Mayer. BMI’s contributions to Los Angeles’ night life and their continued high-octane shows—BMI’s Circle of Songs, Songwriters Club, and Pick of the Month among them—are some of the showcase tickets in town. Information is available at BMI’s Web site, www.bmi. com, or www.circleofsongs.com. SESAC now has a West coast ofﬁ ce located in Santa Monica and has begun presenting highly regarded industry showcases and edu- cational events for their members. GET CONNECTED For the past 27 years, Music Connection magazine has measured the pulse of L.A.’s music business. Music Connection publishes special editions throughout the year, including a guide to music publishers, music supervisors, open mics, and showcases. The “Song Biz” column, my domain, has information about performing 199rights organizations, publishing companies, and show- cases. You can read the current issue online at www. musicconnection.com or call 818-955-0101 for subscrip- tion information. The distances in Los Angeles are vast. The music community is spread from the beach towns of Santa Monica and Venice inland to West Hollywood, Hollywood central, Silverlake, and the San Fernando Valley, especially Universal City, Studio City, and North Hollywood. For acoustic performers, Li’l Hal’s Guide (www.halsguide.com) is the deﬁ nitive resource for locat- ing open mic and showcase clubs. Taxi, the independent A&R service, holds their annual convention, the Road Rally, in the fall. It’s a weekend of classes, panels, pitch sessions, etc. You have to be a member to attend, but the event itself is free. Check out www.taxi.com. There are other events in the early stages of development, includ- ing a Songsalive! Expo for independent artists (www. songsalive.org), and Loyola Marymount Law School and California Lawyers for the Arts present an industry panel in the fall that is an excellent networking resource. Lastly, UCLA Extension’s Music Business programs pres- ent one free day of songwriter events every September to promote their upcoming classes. IF YOU DECIDE TO MOVE THERE Los Angeles may remind you of the fable of the blind men and the elephant because every part of it you touch feels different. You can live in a roaring city, in the tran- quil suburbs, at the beach, in a small town, high in the hills in a neighborhood of palatial mansions, or deep inside the barrio and still be within the city limits.Chapter 10 Go Where You Wanna GoNetworking Strategies for the New Music Business 200Emerging Cities With a population of 425,000 , Atlanta is only the thirty- ninth largest city in the United States, but there is a supportive network of musicians, clubs, radio, and publi- cations in the city that help set it apart. For R&B artists and songwriters, Atlanta, Georgia, has become the musical capital of the New South. Ludacris, OutKast, and P. Diddy have homes there, and it’s not only home to soul music—The Black Crowes, Collective Soul, Indigo Girls, Shawn Mullins, Elton John, and John Mayer base their operations there as well. One of the things that has made it easier for bands to emerge, and possible for them to survive, is the abundance of local clubs that feature live music in East Atlanta, Little Five Points, and Midtown. When it comes to hip-hop, Atlanta is unrivaled. Rappers and artists who may have started in the Big Apple or in the City of Angels have migrated to Atlanta. Another extension of the Atlanta music scene is under- ground dance clubs and DJs, and another supportive outlet that helps Atlanta’s music scene thrive is local radio. Both Album 88 (WRAS-FM 88.5), GA State University’s student-run station, and 99X (WNNX-FM 99.7), the city’s “alternative” station, have given local bands the chance to be heard. Album 88 does it with the Georgia Music show, and 99X gives bands airtime on “Local Only,” which can be heard via the station’s Internet site, 99X.com, and sponsors the Locals-Only Stage, during Atlanta’s annual Music Midtown Festival.201All Over the Map If you are a visiting musician, songwriter, or aspiring executive, your success will be determined by your inter- action with the people you meet. It is imperative to do your homework before visiting any of these locales, to make a strong, enduring impression once you’re there, and to follow up and keep in touch with your contacts when you leave. ASCAP, BMI, or SESAC members should make a visit to their performing rights organiza- tion a ﬁ rst stop, but be realistic: Don’t expect them to perform miracles on your behalf. Music Conferences Maybe you’re not prepared to make the move yet to a major recording capital, but when you do, you’ll need contacts. Music conferences proliferate in all genres of music. A dedicated Web search will display events coast to coast. These are invaluable opportunities to make lasting contacts, and the information and contacts to be gained by attending a songwriting conference cannot be over-emphasized. It’s more than just a place to meet—it’s empowerment, a sense of community, the joy of belong- ing. Many participants share that they come away sig- niﬁ cantly inspired by these experiences. Of all the annual events, two come to mind quickly. The Durango Song Expo (www.durangosong.com), as its name would indicate, was ﬁ rst held in Durango, Colorado. The locale has now shifted to Telluride, and the same organization is producing a songwriting event in the wine country just north of Santa Barbara. Imagine Chapter 10 Go Where You Wanna GoNetworking Strategies for the New Music Business 202the combination of hundreds of songwriters and endless bottles of great wine! The Durango folks pride themselves on limiting the number of registrants so that everyone will have an opportunity to have their songs heard by industry reps from Nashville and Los Angeles. The pros and the writ- ers tend to be slanted toward country/roots/Americana, so if you create in these ﬁ elds, you’re in luck. Panels cover everything from copyright basics to promotion and publicity with hit songwriter concerts and long nights of guitar pulls in many of the rooms. The second of these events is the West Coast Songwriters Conference (www.westcoastsongwriter.org). With 16 seminars, 50 song screening sessions, 1,500 songs reviewed, performance showcases, one-on-one sessions, and concerts, the conference is a wellspring of opportu- nities for over 500 songwriter/musicians who attend the event. It’s just close enough to Los Angeles to draw a strong cross-section of Hollywood publishers and record label execs. The vibe of the conference is endlessly supportive; there’s a respect for the songwriter that goes far beyond monetary commercialization, and many types of music are represented. 15 Tips to Maximize Your Conference Experience 1. Bigger is not necessarily better. Some of the smaller regional conferences can be more valuable than a huge, confusing cattle call. 203 2. Plan, plan, plan. You can generally save big bucks by registering early. 3. Minimize lodging costs by sharing rooms or staying with friends. 4. Don’t assume that if you’re staying at a hotel where the conference is held you’ll pay less with a group rate. Check out the possibilities online; sometimes you’re better off booking a room on your own. 5. If you stay in a hotel where the event is held, specify if you’ll be in a “quiet” area. At the Folk Alliance Conferences it’s not unusual for musicians to jam all night. Consequently, a quiet wing of the hotel is reserved for those who require some sleeping silence. 6. Do research. Anticipate what classes, panels, and work- shops you want to attend. Often these are the most valuable events happening. 7. Again, the purpose is to open doors and windows. Pressing press kits and CDs into everyone’s hands can be off-putting. I often leave conventions overwhelmed. What I appreciate is someone asking for my card and contacting me in the next week when I’m not deluged. 8. Mixers and social events are a key component of conferences and conventions. Save your energy for late- night schmoozing. 9. When you return home, don’t procrastinate: File all of the names and contacts you made. Chapter 10 Go Where You Wanna GoNetworking Strategies for the New Music Business 204 10. Write thank you letters to panel participants whose presentations you particularly enjoyed. 11. Your most valuable contacts will probably be the other attendees. 12. Dress comfortably but distinctively. Project a vibe. 13. If possible, set up meetings in advance of the event. Proffering an invitation for a meal (you pay!) is a generous way to interact. 14. The booth areas are also valuable places to meet people in a natural setting, especially at slow times or lunch hours. 15. See if you can volunteer to assist at the event. Some conferences will comp volunteers. World Beat As I teach students from the U.K., Norway, Germany, Japan, the Philippines, and the U.S., I emphasize that pop music is a global phenomenon. Sometimes what is successful in one part of the world spreads across the continents; other times, the payoff is more localized. As music industry professionals, we need to be apprised of the explosive potential of world markets. There are many examples of U.S. artists who ﬁ rst became successful in the U.K. A struggling sideman for Little Richard, Jimi Hendrix came to prominence in the U.K. before returning to conquer the states at the Monterey Pop Festival.205In the following decade, an aspiring rock singer from Ohio, Chrissy Hynde, moved from Akron to London to form The Pretenders, who were similarly successful stateside only after their breakthrough in Britain. The lowly Ramones, jokes in their hometown, blew away English audiences and inspired a whole generation of punks before returning in leather-jacketed triumph to their native New York. The market for songs is worldwide, too. Los Angeles songwriter Michéle Vice-Maslin has made a living for years writing songs for global markets: in the U.K., Denmark, Spain, Scandinavia, Belgium, and Holland. What’s her secret? “I pitch through [the U.K. magazine] SongLink ,” she says . “I’ve gone to MIDEM six times. I went to the Music Bridges trip to Ireland and the D’Pop writers week in Denmark. I know all of the A&R people all over the world, and I solicit them. When I was signed to publishing deals, I would ﬁ nd out who the local pub- lishers were in each country, and I’d call them and send them my songs. Also, I’d buy international music trades and really research them.” This proactivity leads to contacts. As Vice-Maslin says, it was her personal relationships with music busi- ness people worldwide that sustained her until her ﬁ rst huge U.S. hit, in a songwriting career that has spanned 20-plus years. Further Aﬁ eld London—a pop, dance, and techno music center—is a co-writer’s Mecca, since much of the pop recording is project oriented. Liverpool and Manchester also have Chapter 10 Go Where You Wanna GoNetworking Strategies for the New Music Business 206vibrant music scenes. Stockholm, Sweden, has emerged as a pop capital in the past decade. And don’t rule out Tokyo, Japan, or Seoul, South Korea. And with China becoming a major world power, it’s only a matter of time before there’s bling-bling in Beijing. Begin your global music education by reading the trades ( Billboard has a listing of world charts) and check out Vice-Maslin’s recommended publication, SongLink, for a listing of acts worldwide who need material. You can also search the Internet for many variations on this theme. The business of music is different for each city, state, and country. However, the real tools—contacts, people skills, persistence, and dedication—are absolutely identical, no matter what market you’re in.207CHAPTER 11 Deﬁ ning Your Direction By now, you’ve hopefully absorbed enough positive information to help you make real choices in your career. But if you’ve been banging your head against the wall, trying to make things happen, perhaps it’s time for an inner dialogue with yourself. It is all too easy to ignore things that don’t exist. Writing down your goals, your ambitions, your hopes and dreams should be the very ﬁ rst step in planning your year. I spend the last week in December devising a list of what I want to happen in the upcoming year, whether it’s a new position, a show I’d like to produce, artists I want to interview, or a book I want to write. Twelve months later, I’m always amazed to see that although all the new benchmarks I’d set for myself may not have been reached, many others have. And it’s because of my efforts on behalf of my primary goals that the secondary events occurred. Motion begets motion.Networking Strategies for the New Music Business 208You can stir up the universe by transmitting and expending your energy correctly. I know this may sound like some California New-Age malarkey, but try focus- ing and devoting your energy to achieving your goals. Weekly, daily, and monthly “to-do” lists are effective ways to track your progress. Remember, all of those small things you accomplish will eventually add up. The following questions are for you to answer only to yourself. Questions for Artists 1. How important is your career to your life? Successful music business practitioners do not go from one comfortable situation to another. Would you be will- ing to move to another city? To go on the road? To leave friends and family behind in the pursuit of your dreams? 2. Can you make it happen where you are? As discussed earlier in this book, the music business now has other centers of creativity. Creating a scene in your hometown, with similar bands, media, and artists, can help you attract attention to your music. But it takes a willingness to be proactive and to work tirelessly and a certain personality to convince others that they should work for the good of all. 3. Do you have reference points for your music? If so, is it in a style that is viable for new audiences? Remember, buyers for music are progressively younger. 209 4. Are you performing regionally? It’s imperative to expand audiences for live music. It may even cost you to travel to another area to perform, but in the long run it will be well worth the investment. 5. Are you making too much money working a straight job? At some point you’ll need to deﬁ ne yourself strictly as a music professional—sink or swim time. It’s difﬁ cult to devote eight hours a day to working for someone else and then attempt to do music full time. You may need to cut your job loose—usually a harrowing, but often necessary, proposition. 6. Are you improving your chops? Classes, workshops, and lessons are not only essential to pursuing your art, but also to making new contacts. 7. Are your aspirations viable? Dreams are marvelous, but you have to live in the moment as well. The great thing about outreach, personal contacts, and networking strategies is that you can practice them every single day of your life. 8. Do others like working with you? Even the most talented musician won’t get work if no one likes being around him. In Los Angeles, for example, where the talent pool is phenomenal, it goes far beyond technique when it comes time to call up players for high-paying sessions. It’s more about vibe—that the best musicians also bring in enthusiasm, a “can-do” attitude, and make everyone feel like they’re on a winning team. 9. Do you have a vibe? This is an intangible quality, but it’s an energy, an aura, something that makes others respond to you—the Chapter 11 Deﬁ ning Your DirectionNetworking Strategies for the New Music Business 210elusive “star quality.” I can detect it, but I can’t explain it; still, if you aspire to a career as a major recording artist, others will need to feel it coming off of you. 10. Do you fear success? There are many ways to sabotage your own intentions, either consciously or unconsciously. Using alcohol or drugs, overeating, or taking health risks are the most obvious. But do you alienate others, forget to return tele- phone calls, or in general not take care of business? If so, you may not feel you deserve to be successful. I am not a psychologist or a psychiatrist (at least not a trained or accredited one!), but I know that it’s much harder to be successful than to not be. Success will lose you many more friends than failure. More will be expected, others will resent and be intimidated by you, and it may be difﬁ cult to decide whether people like you or your position. Talent is not its own reward. The perils of instant fortune are well known. Questions for Aspiring Moguls 1. Do you read the trades every week? If so, do you know the names of the movers and shakers in the music business, and can you track their movements? Do you study their pictures to be able to recognize them on sight if necessary? 2. Have you relocated to a music center? As discussed many times in this book, you either have to create it where you are or go to where it is. 211 3. Do you recognize talent in others? Try predicting which movies will do well, what singers will be selected on American Idol and shows of this ilk. Are you usually correct? 4. Can you champion, and sell, artists? Make no mistake: it’s all sales. Being able to convince others and to transmit enthusiasm and emotion is a major attribute of music industry professionals. 5. Do you present yourself correctly? Music people can recognize others. It’s a hip, fast-moving world. A strait-laced suit-wearing businessman may alienate musicians. Even if you’re on the other side of the desk, you’re expected to have a “look.” 6. Do you have a handle on economics? Planning, strategizing, and tracking income and expenses are valuable abilities for anyone hoping to handle and earn large sums of money. 7. Can you go with the ﬂ ow? Virtually every situation in the music business happens at the last possible second. Being overly rigid therefore can be detrimental in an environment where plans are always changing. Musicians typically follow their own clocks, and working with them requires an understand- ing of creative chronology. 8. Do you see the big picture? Artist managers and other handlers of talent must be able to deal with the details at hand but also must be able to visualize what will occur much further down the road. This requires a master plan. Are you capable of such a long-term commitment to others? Chapter 11 Deﬁ ning Your DirectionNetworking Strategies for the New Music Business 212 9. Do you have the time to devote to my career? It is virtually impossible to launch viable enterprises if you don’t have the time or energy to do so. You cannot buy your way into this business; it’s insular, and relation- ships run long and deep. 10. Are you enterprising enough to create your own niche market? The music business utilizes everything from voice and performance coaches to dentists who specialize in trum- pet players’ teeth. Possibly you have a skill that could be tailored to the music business. Remember:There are no rules; only your own creativity is devising outlets and applications for you talents. Teamwork Other than the ﬁ lm business, the music business is prob- ably the most interactive enterprise in the entertainment industry. Artists are the visible tip of the iceberg, sup- ported by an immense cast of players who may be less evident but are none the less equally vital and, in most cases, will probably enjoy longer careers than the artist. This section examines some of the principal players from two sides: one, if you’re an artist needing to engage team members, and two, necessary qualiﬁ cations if you want to work in any of these essential ﬁ elds. Management “I need to ﬁ nd an agent or a manager,” you say. But which do you need? The duties, responsibilities, and qualiﬁ cations are totally different. First, there are 213managers. Back in the day, managers were often solo operators—savvy visionaries who would attach them- selves to artists and guide each and every aspect of the artist’s career. Long-term relationships were the norm: Brian Epstein with the Beatles, Colonel Tom Parker with Elvis, and Albert Grossman with Bob Dylan. (Interestingly enough, Grossman never used the term “manager.” He preferred the more general “works with the artist” to describe his duties.) A manager is many things: counselor, sounding board, partner, Svengali—depending, of course, on the needs of the artist. Above all, he or she is an employee— hired by the artist to oversee all elements. When Do You Need a Manager? This is easy: when you can no longer run your own busi- ness affairs because you’ve become too successful. When artists tell me they think they need a manager, my ﬁ rst question is always, “How much income are you currently generating?” If the answer is none, nil, nada, the correct response is “Why do you need a manager?” I’ve done everything within the management sphere: hand holding, brow beating, booking dates, hauling gear, and bailing my clients out of jail. The question of what a manager does is answered by the phrase, “Whatever is necessary.” I would always give keys to my house to artists I managed in case they needed a safe haven, peace and quiet, or a place to do their laundry. Handling clients signed to record deals is a taxing existence. I discovered I was spending more time with Chapter 11 Deﬁ ning Your DirectionNetworking Strategies for the New Music Business 214the label than with the artists. And I learned that if events, projects, and tours went well, it was always because of the artist. If things fell ﬂ at or were less than successful, it was always because of management. A manager has to take the blows for the artist. What to Look For in a Manager So if a manager is interested in you or your act, is it best to sign with the biggest one? Not necessarily. I’ve known new artists signed to high-proﬁ le managers who have fared poorly because the manager’s attention was invari- ably focused on his bigger, higher-earning clients, not the ones who were still struggling to ﬁ nd an audience. Technically, anyone can call himself a manager with- out having any qualiﬁ cations whatsoever, and that’s a dicey proposition for most new artists. It is better to have no manager than to have the wrong one, because he or she will inevitably alienate those whom you need to cul- tivate. Record labels will rarely sign artists without proper management in place. Sometimes if an A&R executive is interested in signing an act without management, he will recommend someone he knows. This can be an excel- lent way to come in from a position of power. Beware the manager who comes in simply to sign you to a label, however. It is not unknown for unscrupulous A&R execs to be in cahoots with managers to skim and split a per- centage of the signing bonus offered by a record label. That has happened.215A good manager is with you for the long term, is sympathetic to the artist, can see the big picture, and can facilitate a wide range of scenarios, from negotiating record deals and sync licenses to publishing and touring. A great manager doesn’t need to know everything, but he has to know how to ﬁ nd out everything. And he takes 15% to 20% of your earnings in exchange for this expertise. Do You Want to Be a Manager? Managers are a special breed in the business. If you are organized, understand how the business works, and are well connected, aggressive, and irrepressible, you have some necessary attributes. Some managers are hard- driving street hustlers, some are smooth Ivy League law school graduates—but all are capable of multitask- ing, and not only recognizing talent but knowing how to make the most of it. A good manager says “yes” to virtually any situation and then ﬁ gures out how to make the most of it. Your Lawyer Lawyers in the music business are different than law- yers in the civilian world. They are paid hourly or on a retainer basis. Few reputable lawyers in Los Angeles will shop packages to labels. Beware of an up-front fee from those who do so. Donald S. Passman, author of All You Need to Know About the Music Business, is a high-proﬁ le Hollywood music business attorney whose reputation is Chapter 11 Deﬁ ning Your DirectionNetworking Strategies for the New Music Business 216irreproachable. Jay Cooper is another high-stakes player, as is Peter Paterno. But we’re talking major billings for their services, probably in excess of $ 600 an hour. Unless you’re negotiating a multi-million dollar agreement, it’s doubtful you need someone on this level. On the other end of the spectrum is a cadre of eager young lawyers fresh out of law school and eager to earn a reputation in the high-stakes music world who charge a fraction of these fees. Often these lawyers are out in the clubs, discovering talent, the same as any other operative in the music business. Having a lawyer with whom the label is familiar may be to your advantage, but keep in mind that some major labels will hire lawyers to work for them simply to keep them in the pocket when it comes time to negotiation deals with artists—a distinct disadvantage and a clear conﬂ ict of interest. But a good lawyer is necessary when it’s time to sign contracts. And I’ve seen sympathetic lawyers defer billing altogether if they have a relationship with an artist who is having money problems. Agents Agents work for the buyer, period. Yes, you’ll need an agent if you are successful, have a major deal, and are ready to tour; otherwise, you may be better off booking yourself. Agents are extremely selective and generally sign only artists who they know they can work in speciﬁ c markets; rarely will they take a chance on an unknown. As with other elements, it’s all about relationships: in this case, between the agent and the buyer. In the state of 217California, an agent posts a bond with the state in order to be licensed and qualiﬁ ed. As a holdover from the dark days of the movie business, it’s not possible for someone to be both an agent and a manager—this is considered a conﬂ ict of interest. Agents generally earn 10% to 15% of their artists’ gross earnings from performances, and they deduct expenses incurred as well. The agent takes his clues from the manager, ﬁ nds out what fees are necessary, how far the artist will travel, audience speciﬁ cs, packaging, plans for recording and touring, special needs, plus sound and lighting. The most effective agents are highly specialized, dealing in a speciﬁ c genre of music—Latin, jazz, world, or rock, for example. If you have the qualiﬁ cations to be an agent, you’re probably already doing it: booking bands at shows or parties. Your Publicist You need a publicist only if you have a story to tell and a product to sell. Nothing could be more counterproduc- tive than to engage and pay a publicist, garner national publicity, and not have anywhere for potential buyers to go to hear your music or buy your CD. A good publicist will map out a campaign gener- ally two or three months in duration (few will work for a shorter period), concentrating on local, regional, or national press. A publicity campaign generally works around the release of a CD and/or a tour. A publicist will develop press materials, advise you on photos, bios, and Chapter 11 Deﬁ ning Your DirectionNetworking Strategies for the New Music Business 218press releases, and often generate all of the above and have relationships with the music press. (See the “Press Kits” section in Chapter 7 for more on generating these materials yourself.) The major publicists get major results. As a journal- ist, I interact daily with a variety of publicists from the major companies in Hollywood to small indie operators. Publicists also specialize; if you’re doing speed metal, for example, you won’t want a publicist who operates in the cabaret world. $350 to $500 per week for a three-month campaign would be in the ballpark. Artist’s Responsibilities If you are an artist, you will likely take on many, if not most, of these duties yourself at the onset of your career. This is valuable because you’ll have a handle on what each of these endeavors entails, so when you do choose to hire functionaries to take over these chores, you’ll know what to expect. The day of the uneducated artist is long gone. Today’s successful artists—whether independent or signed to labels—ask questions. They’re not snowed under by smooth-talking con operators or bullied by double-talk. The more you learn about the different aspects of your career, the stronger you will be. And always, if your music is happening and you’re making headway, meeting these operatives will come quickly and naturally. Trust your instincts; work only with people with whom you share a common philosophy. Ask yourself, “Is this truly a person I trust to represent me?” 219Get a Job As I mentioned in the Introduction to this book, you will rarely see listings posted for record company jobs because they’re few and far between, especially in this age of lay-offs and consolidations. The other reason is that they’re generally ﬁ lled by those within the business whose motion is upward and lateral as executives jump from position to position with the various companies. In my career, the ﬁ rst position I ever held in the business (that is, not as a performer or songwriter) was selling advertising to recording and demo services and to studios and equipment manufacturers for the Los Angeles Songwriters Showcase Songwriters Musepaper . Wages were lowly: a minimal weekly draw plus com- mission on what I sold and collected on. Initially, I was earning so little in this position that I had to work a part-time job at night to be able to afford to work almost for free during the day. Holding down two jobs was a struggle, but I knew that to build my credibility in the industry I’d have to begin somewhere. Internships are the time-tested method for the industry to employ free labor. At Cal Poly Pomona, a college where I often teach, most of the students hold internships at labels, music publishing, and publicity companies. It’s important to realize that often in order to get a job in the business, you must ﬁ rst have a job in the business. To work within this paradoxical conundrum, you’ll have to start somewhere. Keep in mind that most companies are leery of hiring musicians and songwriters who may have their own agendas.Chapter 11 Deﬁ ning Your DirectionNetworking Strategies for the New Music Business 220If you’re located outside of a major music capital, you can still meet regional promotional and sales representa- tives from record labels. The turnover rate in publicity departments tends to be high, so if you can write and talk and are great on the phone, apply in this area. Clips or articles you’ve written for your local or school paper can be helpful indications of your interest and ability to write about music. Record labels and music publishing ﬁ rms are obvious places to apply, but as music becomes a component of more businesses—e.g., coffee companies like Starbucks, retail outlets, fashion designers, and sporting events—a forward-thinking aspirant has more opportunities to advance. There is little job security in entertainment posi- tions. If this is your priority, you may need to rethink your strategy. Your security will need to come from an ever-increasing list of contacts. If you do land a job in the music business, you’ll need to devote yourself fully to the company that hires you, while at the same time being realistic enough to know that jobs are tenuous at best. Belonging to industry organizations, widening your list of social and business contacts, observing patterns and start-up companies—all of these create an atmosphere of information. If you do your job effectively, you will be noticed, not only by your bosses and superiors, but by everyone else with whom you interact. And you’ll be on your way up.221Personal references will always be the strongest calling card. Being in a position to put people together is a spe- cial gift and a valuable attribute for any music business networking pro. Creative Conﬂ uence I would caution you to always be aware of the balance of relationships between other individuals before you use one of them as a reference. Let me give you an example. When I ﬁ rst began managing artists, a musician of somewhat questionable character told me he was “good friends” with a promoter who handled a variety of out- door festivals. “Call him and use my name,” he urged. When I called the promoter and dropped this musician’s name, there was an absolute silence. It took me the entire conversation to recover from this gaffe, and I found myself having to defend myself and my reputation to a stranger because I’d dropped the name of someone for whom he had no respect. It’s a WrapCHAPTER 1 2Networking Strategies for the New Music Business 222Five Tips for Personal References 1. People prefer to do music business with friends and peo- ple they enjoy working with. Become a whole person, not a ladder-climbing opportunist. 2. Musicians are curious creatures; they will often lend their services to people and projects they believe in regardless of immediate ﬁ nancial incentives. Give, take, or barter—“I’ll play on your project if you play on mine.” All of these factors are advantageous for up-and- coming artists, and friendships and camaraderie among musicians are an enduring force. 3. When you ask someone for a reference, you run the risk of putting them in an uncomfortable position. Although your suggestions may well lead them to that conclusion, it’s better if you let them make their own recommenda- tions. Some people like their own ideas best. 4. Notice if others use you as a reference and why. Sometimes it’s just a “brush off” and not really a referral. If someone submits music for a project and it’s clearly not right, rather than rejecting it, often the confounded listener might interject, “This is perfect for a ﬁ lm/TV placement.” This means nothing. 5. Be aware that personal relationships can be volatile and shifting. I was planning to interview a hit songwriter I’d never met, whose co-writer on a top- 10 hit happened to be an old acquaintance of mine. The night prior to the interview, I happened to run into my friend, who alerted me to a potential lawsuit brewing between the two and a massive chasm in their friendship. Had I gone in the 223next morning and trumpeted my long-term friendship with his co-writer, it would have been an uneasy session. Back Home After my ﬁ rst book on networking was published, I returned for a visit to my hometown, Lima, Ohio, where I was interviewed by the entertainment editor of the local paper. “What you’ve done in your career isn’t realis- tic for most people,” he insisted. I disagree: In my world, commitment and resourcefulness, imagination and creativity are shared trademarks of my contemporaries. We work with no safety net, no guarantees, no rules, no predestined career paths to follow down the road to our golden years. As a teenager, cloistered in my room with musical instruments, magazines, and records, little did I under- stand how I could forge a career with these obsessions. My father used to remark, “You’re living in a dream world,” and he was totally correct. I dreamed of living in New York and Hollywood, of a life far beyond the cornﬁ elds and oil reﬁ neries that surrounded me. Staying in your hometown and creating outlets for your art and music locally is a wonderful thing, too. Not everyone has the same needs. If you love music, incorporating it into the fabric of your life may fulﬁ ll you. Teaching music, performing in your local church choir, singing in senior citizen homes—all these are worthwhile outlets for talented people who allow music to fulﬁ ll its most elemental endeavor: to make others feel good by sharing the sound.Chapter 12 It’s A WrapNetworking Strategies for the New Music Business 224Making It Happen Where You Are With the decentralization of the recording industry, it may not be necessary to move to a music capital. Scenes have developed in unlikely places in recent years: Omaha, Nebraska; Akron, Ohio; Austin, Texas; Chapel Hill, North Carolina; Sacramento, California; and Athens, Georgia, being among the most prominent. You can make it happen where you are if there is a sizable audience to support your music—a CD-buying, concert-attending audience—particularly if there is a large college or university nearby. Having local media to promote the music scene, visual artists to identify it, and an audience hungry for culture and enlightenment are all prerequisites to a “scene.” Chris Stamey, who has produced artists including Whiskeytown, Yo Lo Tengo, and Alejandro Escovedo, is at the forefront of the roots-driven sound in Chapel Hill, North Carolina. Stamey lived in New York in the ’80s, playing with Big Star’s Alex Chilton and forming the dB’s with North Carolina refugees Peter Holsapple, Will Rigby, and Gene Holder. But after 13 years in the Big Apple, Stamey returned to North Carolina. “For me, coming back to the South is great,” Stamey enthuses. “You gain two to three hours out of every day. It’s much easier to get things done, whether it’s going to get gar- bage bags or meeting someone for lunch. You don’t have to wear armor as much. I love New York, but it’s more fertile for me here.” Stamey observes that North Carolina is not necessarily the next musical Mecca. “A lot of things that seem like movements are one person. It might be one club owner making a stand. Here, a couple of musi- cians bring Wurlitzers and play them in a certain way.” But his life, his songs, and his music comprise a compass 225that has guided Chris Stamey back to North Carolina. “When I was playing with Alex Chilton, I asked him why he didn’t live in New York or L.A.,” Stamey recalls. “He said, ‘Good things come from the provinces.’” Barsuk Records began as a venture by Josh Rosenfeld and his partner Christopher Possanza to release the album by their band, This Busy Monster. Taking its name from the Russian word for “badger,” the label, based in Seattle, is home to Death Cab for Cutie, Jesse Sykes and the Sweet Hereafter, Rilo Kiley, Nada Surf, and many others. The future soundtrack for america, a fund- raising compilation with R.E.M., Tom Waits, They Might Be Giants, and others is one of their newest projects. Rosenfeld explains that his label ﬁ nds bands through personal references from their signed artists. “We used to accept unsolicited demos. We got too much stuff. It’s harder now than it was 10 or 15 years ago. It’s so easy now for someone to make music with a home computer. There’s so much, it became overwhelming. We started the label because we were in a band and we couldn’t ﬁ nd a label who wanted to put out our music. I remember thinking at that time, as I looked at the rosters of labels I admired, that it seemed cliquish: ‘Oh, of course they signed you because you know the guys in that band.’ I’ve come to realize exactly how that functions over time. The one huge place where we ﬁ nd music we like is when bands on the roster are on the road, play shows, bring us a CD back, and say, ‘This band is really good.’ I share a taste in music with bands on the roster, so there is a lot of overlap. It’s not a clique; that’s how I hear music I like.”Chapter 12 It’s A WrapNetworking Strategies for the New Music Business 226What Have You Been Given? Whatever attributes we have we can choose to use in either positive or negative ways. The music business is made up of individuals who don’t ﬁ t other models. As I said at the beginning of this book, Networking Strategies is not about becoming another person, it is about allow- ing the light within you to shine and illuminate a career path. As our lives progress, our needs change, and our successes and failures shape our personalities, there are many things that will separate us from music: rejection, changing trends, ﬁ nite abilities, the lure of the straight job, and partners and spouses who don’t understand why we spend our spare time in the basement tinkering with instruments and recording equipment. With recording artists being signed at progressively younger ages, you can observe that many of these bud- ding stars in Hollywood are managed by family members. “Mamagers” is the newly coined term for stage mothers who navigate their children’s careers. Jessica and Ashley Simpson’s father, Joe, a minister who traded the pulpit for show business, is now a high-powered entrepreneur. Interestingly, the reverse is also true: Old-school crooner Tony Bennett has become newly hip under the watch of his manager son, Danny, and Tom Jones’ offspring, Mark Woodward, has provided the same service for his perennially swinging father. Maybe your art and love of music will be expressed through your children or, if you don’t have children, through those you encourage, nurture, and teach. I hope that the books I write and the courses I teach have helped to enlighten students and aspiring artists—a responsibility that I do not take lightly.227In Conclusion That plucky poultry of childhood lore, Chicken Little, ran about proclaiming, “The sky is falling!” I hear this echoed by his human counterparts who lament, “The music busi- ness is falling!” Let me be clear: The music business is just ﬁ ne, thank you. Video games, independent ﬁ lms, cable television, satellite radio, digital transmissions, ring tones, remixing, and the rise of independent artists are all add- ing to this burgeoning bottom line. There is a tendency to use the terms “record busi- ness” and “music business” interchangeably. The record business—sales of music in hard, tangible form like CDs or DVDs—is always in a state of ﬂ ux. Quite famously, sales of CDs have been impacted by ﬁ le-sharing of music and the division of the entertainment dollar into ever smaller increments. Back in the day, consumers had far fewer choices on which to spend their entertainment dollars. But the “music business” is much greater than a single commodity. Whenever or wherever individu- als make their living connected to music—performing, writing, teaching, consulting, or advising—there is a solid “music business.” As DJs and remixers reinvent the muse, and as samples reconnect the past and future, the soundtrack becomes increasingly cross-generational. New palettes shine from well-burnished hues, and new combinations spin together—punk rockers with country queens, classic rockers with hip-hop artists. The possibilities are inﬁ nite. As always, language is being reinvented as the rise of hip-hop fuels the art of the spoken word. As the world becomes smaller, the beat becomes bigger, and music is a potent passport across lines and dimensions. Chapter 12 It’s A WrapNetworking Strategies for the New Music Business 228Everyone feels it, from your skateboarding, Misﬁ ts wearing, T-shirted kid down the street to your big-band- loving grandmother. Music is generated every single day to satisfy an ever-increasing consumerism. At the crossroads of art and technology, even dead rock stars are exhumed as classic artists and remixed by today’s hottest DJs. Feel the power: Music is the heartbeat. Even Elvis has a new dance hit. As corporate radio squeezes the playlist ever tighter, a new generation of musicians hunches over computers in suburban bedrooms, roams the hinterlands in packed vans, gives back to the muse in classrooms and choir lofts. We have video games, computers, advertising, cable television, independent artists, digital transmission, sat- ellite transmission, iPods, and pod casting. In my years in the music business, I have never seen as many oppor- tunities as exist today. “Music business” is two words. May the music always come ﬁ rst.229Appendix A The Academy of Country Music 4100 W. Alameda Ave, Suite 208 Burbank, CA 91505 T el: (818) 842-8400 Web site: www.acmcountry.com ASCAP—New York (headquarters) One Lincoln Plaza New Y ork, NY 10023 T el: (212) 621-6000 Fax: (212) 724-9064 Web site: www.ascap.com ASCAP—Los Angeles 7920 W. Sunset Boulevard, Third Floor Los Angeles, CA 90046 T el: (323) 883-1000 Fax: (323) 883-1049 ASCAP—London 8 Cork Street London W1X1PB T el: 011-44-207-439-0909 Fax: 011-44-207-434-0073 ASCAP—Nashville Two Music Square West Nashville, TN 37203 T el: (615) 742-5000 Fax: (615) 742-5020ASCAP—Miami 420 Lincoln Rd, Suite 385 Miami Beach, FL 33139 T el: (305) 673-3446 Fax: (305) 673-2446 ASCAP—Chicago 1608 N. Milwaukee, Suite 1007 Chicago, IL 60647 T el: (773) 394-4286 Fax: (773) 394-5639 ASCAP—Puerto Rico 654 Ave. Muñoz Rivera IBM Plaza, Ste. 1101 B Hato Rey, PR 00918 T el: (787) 281-0782 Fax: (787) 767-2805 ASCAP—Atlanta PMB 400 541 T enth Street NW Atlanta, GA 30318 T el: (404) 351-1224 Fax: (404) 351-1252 BMI—New York (Broadcast Music, Inc. headquarters) 320 West 57th Street New Y ork, NY 10019-3790 T el: (212) 586-2000 Web site: www.bmi.comResources ORGANIZATIONSNetworking Strategies for the New Music Business 230BMI—Nashville 10 Music Square East Nashville, TN 37203-4399 T el: (615) 401-2000 BMI—Los Angeles 8730 Sunset Blvd. 3rd Floor West West Hollywood, CA 90069-2211 T el: (310) 659-9109 BMI—Atlanta 3340 Peachtree Road, NE Suite 570 Atlanta, 30326 T el: (404) 261-5151 BMI—London 84 Harley House Marylebone Rd London NW1 5HN, ENGLAND T el: 011-0044 207486 2036 BMI—Miami 5201 Blue Lagoon Drive Suite 310 Miami, FL 33126 T el: (305) 266-3636 BMI—Puerto Rico 255 Poncé de Leon East Wing, Suite A-262 BankTrust Plaza Hato Rey, Puerto Rico 00917 T el: (787) 754-6490 Arizona Songwriters Association P .O. Box 678 Phoenix, AZ 85001-0678 T el: (602) 973-1988 Web site: www.punkfolker.comAssociation of Independent Music Publishers (AIMP) Los Angeles Chapter P .O. Box 69473 Los Angeles, CA 90069 (818) 771-7301 New York Chapter c/o Burton, Goldstein & Co., LLC 156 W. 56th St., SUite 1803 New Y ork, NY 10019 (212) 582-7622 Web site: www.aimp.org Austin Songwriters Group P .O. Box 2578 Austin, TX 78768 T el: (512) 442-TUNE Web site: www.austinsongwriter.org Baltimore Songwriters Association P .O. Box 22496 Baltimore, MD 21203 T el: (410) 813-4039 Web site: www.baltimoresongwriters.com The Black Tock Coalition P .O. Box 1054 Cooper Station New Y ork, NY 10276 T el: (212) 713-5097 Web site: www.blackrockcoalition.org The Boston Songwriters Workshop T el: (617) 499-6932 Web site: www.bostonsongwriters.org California Copyright Conference (CCC) PO Box 57962 Sherman Oaks, CA 91413 T el: (818) 379-3312 Web site: www.theccc.org231California Lawyers for the Arts Fort Mason Center C-255 San Francisco, CA 94123 T el: (415) 775-1143 1641 18th St. Santa Monica, CA 90404 T el: (310) 998-5590 926 J St. Suite 811 Sacramento, CA 95814 T el: (916) 442-6210 1212 Broadway St. Oakland, CA 94612 T el: (510) 444-6351 Web site: www.callawyersforthearts.org Colorado Music Association 8 E. First Ave. #107 Denver, CO 80203 T el: (720) 570-2280 Web site: www.coloradomusic.org Connecticut Songwriters Association P .O. Box 511 Mystic, CT 06355 T el: (860) 945-1272 Web site: www.ctsongs.com Dallas Songwriters Association Sammons Center for the Arts 3630 Harry Hines Box 20 Dallas, TX 75219 T el: (214) 750-0916 Web site: www.dallassongwriters.org Film Music Network c/o Film Music Media Group 13101 Washington Blvd., Suite 466, Los Angeles, CA 90066 T el: (800) 744-3700 T el: (310) 566-7377 Web site: www.ﬁ lmmusicworld.comThe Folk Alliance 962 Wayne Ave. Suite 902 Silver Springs, MD 20910-4480 T el: (301) 588-8185 Web site: www.folk.org Georgia Music Industry Association, Inc. P .O. Box 550314 Atlanta, GA 30355 T el: (404) 633-7772 Web site: www.gmia.org Gospel Music Association 1205 Division St. Nashville, TN 37203 T el: (615) 242-0303 Web site: www. gospelmusic.org International Bluegrass Music Association 2 Music Circle South Suite 100 Nashville, TN 37203 T el: (888) GET-IBMA Web site: www.ibma.org International Songwriters Association Ltd. 37b New Cavendish St. London, WI England T el: (0171) 486-5353 Web site: www.songwriter.co.uk Just Plain Folks Music Organization 1315 N. Butler Indianapolis, IN 46219 T el: (317) 513-6557 Web site: www.jpfolks.com Los Angeles Music Network P .O. Box 2446 T oluca Lake, CA 91610-2446 T el: (818) 769-6095 Web site: www.lamn.comAppendix A ResourcesNetworking Strategies for the New Music Business 232Los Angeles WoMen In Music (LAWIM) 11664 National Blvd., Ste. #280 Los Angeles, CA 90064 T el: (213) 243-6440 Web site: www.lawim.com Nashville Songwriters Association International 1701 W. End Ave. 3rd Fl. Nashville, TN 37203 T el: (615) 256-3354 Web site: www.nashvillesongwriters.com Outmusic P .O. Box 376 Old Chelsea Station New Y ork, NY 10113-0376 T el: (212) 330-9197 Web site: www.outmusic.com Paciﬁ c Music Industry Association 501-425 Carrall St. Vancouver, BC V6B 6E3 Canada T el: (604) 873-1914 Web site: www.pmia.org San Diego Songwriters Guild 3368 Governor Dr., Suite F-326 San Diego, CA 92112 T el: (619) 615-8874 Web site: www.sdsongwriters.org SESAC, Inc. 55 Music Square East Nashville, TN 37203 T el: (615) 320-0055 Web site: www.sesac.com 152 West 57th St. 57th Floor New Y ork, NY 10019 T el: (212) 586-3450501 Santa Monica Blvd. Suite 450 Santa Monica, CA 90401-2430 T el: (310) 393-9671 SESAC International 67 Upper Berkeley Street London W1H 7QX England T el: 0207-616-9284 Web site: www.sesac.com Society of Composers & Lyricists 400 S. Beverly Dr. Suite 214 Beverly Hills, CA 90212 T el: (310) 281-2812 Web site: www.thescl.com The Songwriters Guild of America 1560 Broadway Suite 1306 New Y ork, NY 1003 T el: (212) 768-7902 6430 Sunset Blvd. Suite 705 Hollywood, CA 90028 T el: (323) 462-1108 1222 16th Ave. S. Suite 25 Nashville, TN 37203 T el: (615) 329-1782 Web site: www.songwritersguild.com West Coast Songwriters 1724 Laurel St., Suite 120 San Carlos, CA 94070 T el: (650) 654-3966 T el: (800) FOR-SONG (California and Nashville only) Web site: www.westcoastsongwriters.org233Women in Music P .O. Box 441 Radio City Station New Y ork, NY 10101 T el: (212) 459-4580 Web site: www.womeninmusic.org EVENTS Breckenridge Educational and Music Seminars (BEAMS) A series of music and songwriting weekends held in Colorado. T oll free USA: 1-(888) 31-BRECK (or in Colorado and outside USA: (303) 596- 6056) 145 Fairfax St., Denver, CO 80220 Web site: www.beamsonline.com Durango Songwriters Expo Currently producing two events: a fall Expo in T elluride, CO, and a Spring Expo in the Santa Barbara wine county T el: (970) 259-9747 Web site: www.durangosong.com Canadian Music Week P .O. Box 42232 128 St. S Mississauga, ON L5M 4Z0 Canada Web site: www.cmv.net Cutting Edge Music Business Conference 1524 Clairborne Ave. New Orleans, LA 70116 T el: (604) 945-1800 Web site: www.jass.com/cuttingedgeFilm & TV Music Conference 5055 Wilshire Blvd. Los Angeles, CA 90036-4396 T el: (323) 525-2000 Web site: www.billboardevents.com/ billboardevents/ﬁ lmtv Folk Alliance Annual Conference 962 Wayne Ave. Suite 902 Silver Spring, MD 20910 T el: (301) 588-8185 Web site: www.folk.org Independent Music Conference 304 Main Ave. PMB 287 Norwalk, CT 06851 T el: (203) 606-4649 Web site: www.gomc.com Kerrville Folk Festival P .O. Box 291466 Kerrville, TX 78029 T el: (830) 257-3600 Web site: www.kerrvillefolkfestival.com Music Business Solutions/Career Building Workshops P .O. Box 230266 Boston, MA 02123-0266 T el: (888) 655-8335 Web site: www.mbsolutions.com South By Southwest Music Conference (SXSW) P .O. Box 4999 Austin, TX 78765 T el: (512) 467-7979 Web site: www.sxsw.comAppendix A ResourcesNetworking Strategies for the New Music Business 234West Coast Songwriters Conference 1724 Laurel St. Suite 120 San Carlos, CA 94070 T el: (650) 654-3966 T el: (800) FOR-SONG Web site: www.westcoastsongwriters.org Winter Music Conference 3450 NE T errace Ft. Lauderdale, FL 33334 T el: (954) 563-4444 Web site: www.wintermusicconference.com PERIODICALS American Songwrit er Magazine Web site: www.americansongwriter.com Back Stage West Web site: www.backstagwest.com Billboard Web site: www.billboard.com Canadian Musician Web site: www.Canadianmusician.com CMJ New Music Report Web site: www.cmjmusic.com Daily Variety Web site: www.variety.com Hits Magazine Web site: www.hitsmagazine.com Jazztimes Web site: www.jazztimes.com Music Connection Web site: www.musicconnection.com Music Row Web site: www.musicrow.comThe Performing Songwriter Web site: www.performingsongwriter.com SongLink International Web site: www.songlink.com235Index A A Chorus Line, 195 absent/present phenomenon, 118 The Academy of Country Music, 229 access, proof of, 56 accessibility, practicing, 108–109 accomplishments, discussing, 64–66 acronyms on e-mail, 123 advertisements, 5 advice, asking for, 96 afﬁ rmations, 63 working the room and, 103 age assumptions about, 98 effects of, 78–81 agents, 216–217 Aguilera, Christina, 41, 182 Aiken, Clay, 178, 180 Air Force 1 and 2, 21 AIR Studios, 16–17 Airplay Monitor, 28 airports, meeting people in, 107–108 Album 88 (Atlanta), 200 alcohol use, 76–77 working the room and, 104–105 Alcoholics Anonymous, 77 All Through the Night (Robertson), 19–20 All You Need to Know About the Music Business (Passman), 215 Ally McBeal, 27 Alpert, Herb, 94 alternative venues, 156–157 Altman, Marshall, 14 A&M Records, 94 “Amazed” (Green), 177 Amazon.com, 32 American Idol, 40–41 American Songwriter Magazine, 234 Americana, 17 The Americana Music Association Conference, 190 Anastacia, 180 Anderson, April, 195 Anderson, Chris, 33–35Anderson, Keith, 176 Angelou, Maya, 22, 86 Arizona Songwriters Association, 230 Arthur, Joseph, 198 artist’s responsibilities, 218 As Good As It Gets, 27 ASCAP , 26, 35, 68, 169–170 black tie dinners, 90 compilation CDs from, 167 General Member Meeting (Los Angeles), 198 headquarters, list of, 229 In Los Angeles, 198 SWAPmeet, 170 Thru The Walls series, 195 Web site, 170 Writers at Night (New Y ork), 194 ASK-A-PRO (SGA) in Los Angeles, 197 in Nashville, 190 Association of Independent Music Publishers (AIMP), 230 assumptions, avoiding, 97–98 Asylum, 38 Atlanta, 200 Atlantic, 28, 38 attachments to e-mail, 123 attorneys, 215–216 audio engineers, 6–7 Austin Songwriters Group, 230 B Back Stage West, 234 “Back to Y ou” (Robbins), 179 Baggot Inn (New Y ork), 194 Baker, Anita, 183 Baker, Bob Web site, 152 Ballard, Glen, 22, 94 Baltimore Songwriters Association, 230 bandwagons, 14 banners, names on, 159 Barber, Simon, 146–150 Barsuk Records, 225 Bass, Jeff, 183 BBC Unsigned Web site, 152 BDS, 28 The Beach Boys, 91 The Beatles, 13, 76, 91, 213 rejection, dealing with, 140236Networking Strategies for the New Music Business “Beer Run” (Anderson), 176 Beijing, 206 The Bellrays, 23–25 Bennett, Danny, 226 Bennett, T ony, 226 big personality, 45 Billboard, 3–4, 44, 234 Airplay Monitor, 28 world chart listings, 206 bios example of, 131–133 in press kits, 129–133 on Web sites, 149 birth order, 7–8 Bitter End (New Y ork), 154, 194 Black Crowes, 200 BlackBerries, 17, 112 The Black Rock Coalition, 230 Bluebird Cafe (Nashville), 154, 190 Blume, Jason, 191 BMI, 26, 35, 169–170 Acoustic Roundup (Nashville), 191 black tie dinners, 90 compilation CDs from, 167 headquarters, list of, 229–230 Lehman Engel Musical Theatre Workshop (New Y ork), 195 In Los Angeles, 198 Music Connection Showcase (Nashville), 191 RoundTable (Nashville), 191 Songwriters Workshop with Jason Blume (Nashville), 191 Web site, 170 Writer/Publisher Relations Department, 191 Bob Malone (Malone), 186 body language, 87–89 Bond, Sherry, 190 Book of Ruth, 106 Boston, 196 Boston Songwriters Workshop, 230 Boy Howdy, 175 Brabec, Jeff, 36 Brabec, T odd, 36 Braheny, John, 36, 145 breath mints, 104 Breckenridge Educational and Music Seminars (BEAMS), 233 Broadway (New Y ork), 193Brooke, Jonatha, 198 Brooks, Garth, 176 Browne, Jackson, 90 Buckcherry, 170 Buffy The Vampire Slayer, 27 burning bridges, 67–68 Bush, George W., 14 business cards, 102–103 working the room and, 104 C cable television, 25 Café Press Web site, 152 Cal Poly Pomona, 44, 219 calendar notices, 134 California Copyright Conference (CCC), 230 California Lawyers for the Arts, 199, 231 Canadian Music Week, 233 Canadian Musician, 234 Capitol T ower, 91–93 career changes, 9–10 Carter, Deana, 198 CD Baby, 148, 150 Web site, 152 CDs, 17 compilation CDs, 166–169 DMI Networks and, 21 in press kits, 128 promotional sampler CDs, 167 signing, 160 unsolicited CDs, 23 CDWOW, 148, 152 celebrity, 68–69 strategies for interacting with, 69–71 cell phones, 112 conversations on, 118–121 etiquette for, 121–122 Celtic Harmony (Ireland), 179 chance opportunities, 106–108, 139–140 changing careers, 9–10 character traits, 2 Charles, Ray, 18 children’s music, 17, 19–20 Chilton, Alex, 224–225 chris and thomas, 33–35 The Chris Isaak Show, 106 Christian rock, 18 Christmas and Holiday Music, 92–93237Index Church: Songs of Soul and Inspiration, 22 Cinderella Story, 178 Circle of Songs (BMI), 198 clairvoyance, 74–75 clarifying comments, 96 Clark, T ena, 21–22 Clear Channel, 28, 30 cliches in bios, 129 clothing information transmitted by, 91–93 for live performances, 160 tips, 90–91 visual cues for, 93–94 clubs. See venues CMJ New Music Report, 234 co-written songs, 36 Cobain, Kurt, 76 Coca-Cola, 21 Cocker, Jarvis, 33–34 coffeehouses, 5 Cohen, Leonard, 94 Cole, Nat King, 91 collaborators, 4 Collective Soul, 200 colleges, education at, 44 Colorado Music Association, 231 Columbia Records, 14 commitment, 12–13 personality and, 47–48 comparing comments, 96 compilation CDs, 166–169 compliments accepting, 159 in conversations, 98–100 computers, 112 Condé Naste, 21 conferences. See music conferences conﬁ dence, posture and, 88 conﬂ icts in studio, 111 Connecticut Songwriters Association, 231 consistency, 77 contacts, 71–72 multiple contacts, developing, 141 conversations. See also telephones compliments in, 98–100 dynamics of, 63 e-mail conversations, 124 ending lines for, 100instigating, 94–95 leading questions for, 95–96 negativity, sharing, 99–100 sensitive areas for, 97–98 10-ﬁ ve rule for meeting and greeting, 105 in working the room, 104 Cook Au Van, 33–34 coolhomepages.com, 151 Cooper, Jay, 216 copyrights, 36 Cornelia Street Café (New Y ork), 194 Counting Crows, 170 country music, 4, 18 put downs of, 51 Steele, Jeffrey and, 173–178 cover letters, 127–128 with press releases, 135 Cover Me (ASCAP), 198 cover songs, 162 The Craft and Business of Songwriting (Braheny), 36, 145 creative black tie, 90 credibility, 14 advice on, 64–65 crisis resolution, 81–82 strategies for, 83–84 crossed arms/legs, 87 Curb Records, 175–176 Curtis, Catie, 198 Cutting Edge Music Business Conference, 233 D Daily Variety, 234 Dallas Songwriters Association, 231 dance music, 6, 18 dankimpel.com, 146 The Darkest Part of the Night (Malone), 186 Dave Matthews Band, 22 Dawson’s Creek: Season 2, 106 Death Cab for Cutie, 225 demographics for music, 78–81 demos in Nashville, 193 placing songs and, 181 submission services, 39 suggestions for submitting, 136–138 Denny, Sandy, 33 Denver, Joel, 30–31238Networking Strategies for the New Music Business desire, 46–47 Details, 94 determination, 46–47 Diamond Rio, 173 digital transmission, 16–17 digital watermarking, 171 Digital Wings, 147, 151 Disc Marketing, 20–22 disco music, 52 Disney, 18 Cinderella Story, 178 distractions in studio, 111 distribution on Internet, 147 radio promotion and, 30 DIY, 31–32 DIY (Do It Y ourself) Convention, 55–56 DJs, 6, 227 DMI Networks, 21–22 DMOZ, 148, 151 Dozier, Lamont, 179 draw, honesty about, 161 drug use, 76–77 Drummond, Bill, 33–34 Durango Songwriters Expo, 35, 201–202, 233 DVDs in press kits, 128 Dylan, Bob, 170, 213 E e-mail, 113, 122–124 business cards including, 102 non-returned e-mails, 142–145 set-up, copy of, 163 Edison Media Research, 28 education, 43–44 Edwards, Kenneth “Babyface,” 72–73 ego inﬂ ation, 62–63 8 Mile, 183–184 Einstein, Albert, 59 Eisenhower, Dwight D., 14 “Eleanor Rigby,” 107 electronica, 17 Eminem, 183 The Eminem Show, 184 emo, 17 emoticons, 123 emotions crisis resolution and, 83e-mail and, 122–123 and logic, 48–49 telephones, reading on, 114 verbal communication and, 63–64 employment in industry, 219–220 Engel, Lehman, 195 entertainment value, 46 enthusiasm, 45–46 entrepreneurs, 18–19 Epstein, Brian, 213 equity-waver houses, 156 ER, 27 Escovedo, Alejandro, 224 ethnicity, questions about, 97 etiquette for cell phones, 121–122 for studio hang, 110–111 events list of, 233–234 tie-ins, 168 “Evergreen” (Streisand), 185 expanding comments, 96 Expedia.com, 196 extreme strategies, 139–140 eyebrows, trimming, 89 F facial hair styles, 91 Falcon Ridge festival, 186 family management, 226 Farrish, Bryan, 29–30 Fate, T ony, 24–25 faxing copy of set-up, 163 FCC (Federal Communications Commission), 28 fees, scams and, 164–166 Ferrari, Marc, 26–27 50 Cent, 184 Fight Club, 27 ﬁ lm, 25–26 independent ﬁ lm, 25 in Los Angeles, 197–198 Film and TV Music Conference, 233 Film Music Network, 231 Firehouse Recording, 21 ﬁ rst-born children, 7 Folk Alliance Annual Conference, 233 The Folk Alliance, 231 Conferences, 203239Index Fopp Unsigned Web site, 152 Fox Music, 26 Frank, David, 181–182 Friends, 27 Fugazi, 28 fusion music, 183 the future soundtrack for america, 225 G Garageband Web site, 151 gatekeepers, 117 General Mills, 21 generalizations and crisis resolution, 84 “Genie in a Bottle” (Frank), 181–182 Genius Loves Company (Charles), 18 genres, 17–18 Gentry, Montgomery, 173 Georgia Music Industry Association, Inc., 231 Georgia State University, 200 Get Signed Web site, 152 Gigwise Web site, 152 Gillespie, Rowana, 179 Gin Blossoms, 170 Girl Interrupted, 27 Glasswerk Web site, 152 global perspective, need for, 180 goals, deﬁ ning, 207–208 “Good Y ear for the Outlaw” (Steele), 173–174 Google Web site, 151 Gospel Music Association, 231 GQ, 94 gratitudes. See thank yous Green, Al, 186 Green, Marv, 177 Greenwich Village (New Y ork), 193 Groban, Josh, 98 grooming tips, 89 Grossman, Albert, 213 growth, impression of, 144 grudges, holding, 142 grunge music, 26 H haircuts, 89 Hammer, Jan, 183 Hancock, Herbie, 183 Harcourt, Nic, 32, 33, 35 hard copy of set-up, 163Harper, Ben, 198 Harper Collins, 186 Hendrix, Jimi, 76, 183, 204 herd mentality, 60 hidden opportunities, 106–108, 139–140 Hien, Thomas, 33–35 Hill, Faith, 74–75, 173, 179, 180 hip-hop, 4, 17 in Atlanta, 200 Bush, George W. and, 14 put downs of, 52 Hits Magazine, 44, 234 Holder, Gene, 224 Hollywood, 199 dressing in, 91 Holsapple, Peter, 224 hometown musicians, 223–225 Horses (Smith), 184 Hostbaby Web site, 151 Hotel Cafe, 34 Howard’s Club H (Bowling Green), 162 Hugo, Chad, 55–56 Hung, William, 41 Hynde, Chrissy, 205 I “I Dreamed of Y ou” (Robbins), 179–180 “I Will Carry Y ou” (Robbins), 178 ice-breakers, 70 in conversation, 95–96 on telephones, 118 IMRO (Ireland), 179 in-ﬂ ight audio entertainment, 21 independent artists, 23–25 independent ﬁ lm, 25 independent labels, 37–38 Independent Music Conference, 233 “The Indie Hour,” 30–31 Indigo Girls, 200 insecurity, 62–63 name-dropping and, 101–102 instrumentals, 27 International Bluegrass Music Association, 231 international markets, 204–205 International Songwriters Association Ltd., 231 Internet. See also Web sites distribution on, 147 downloaded tracks from, 145240Networking Strategies for the New Music Business radio, 31–32 worldwide market on, 22–23 internships, 39, 219–220 introductions, 67 intros in performances, 161 iPods, 17, 228 It Must Be Love, 106 iTunes, 148, 151 J Jackson, Don, 19 Jansch, Bert, 33 Japan rappers in, 17–18 T okyo, music in, 206 jazz music, 92 Jazztimes, 234 Jesse Sykes and the Sweet Hereafter, 225 Jetplane Landing Web site, 151 jewelry, 91 jobs in industry, 219–220 John, Elton, 200 jokes on e-mail, 122–123 Jones, Brian, 76 Jones, George, 176 Jones, Quincy, 68 Jones, T om, 226 Joplin, Janis, 76 Juicing Room, 146, 151 Just Plain Folks Music Organization, 231 K Kahn, Chaka, 22 KCRW, 32 chris and thomas on, 34 Keel, 26 Kekaula, Lisa, 24–25 Kennedy, John F., 13 Kerrville Folk Festival, 186, 233 Kiley, Rilo, 225 The King and I, 11 KLF, 33 knowledge-based skills, 3 Kodak Theater, 185 Korea rap in, 18 Seoul, music in, 206 Kraft, Robert, 26Kragen, Ken, 81–82, 83 Kramer, Wayne, 25 L The L.A. Songwriters’ Network, 197 LaBelle, Patti, 22, 55 Laemelle movie theaters, 32 lapel pins, 91 Larson, Bree, 182 Las Vegas shows, 154 lawyers, 215–216 Lehman Engel Musical Theatre Workshop (New Y ork), 195 Leone, Bob, 195 Li’l Hal’s Guide, 199 Limeys (Los Angeles), 162 listening in conversations, 105–106 skills, 63 Little Richard, 204 Little Shop of Horrors, 195 live performances, 153–171. See also venues compliments, accepting, 159 inventing your own show, 157 peeves about, 160–161 post-performance tips, 159–160 soft tickets, 157–159 Liverpool, 205–206 Liverpool Institute for Performing Arts (LIPA), 33, 44, 54, 110–111 local press, releases to, 135–136 logic and emotion, 48–49 logos for shows, 157 London, 205 Lonestar, 177 look, visual cues for, 93–94 Los Angeles, 188, 196–199 moving to, 199 Los Angeles Music Network, 231 Los Angeles Songwriters Showcase (LASS), 145 Los Angeles WoMen In Music (LAWIM), 167, 232 “Lose Y ourself” (Resto), 183 Lott, Roy, 91–92 Loyola Marymount Law School, 199 Ludacris, 200 lullabies, 19–20 Lyric Partners, 19241Index M Madonna, 14 magazines clothing tips from, 94 education and reading, 44 resource list, 234 mailing lists from Web sites, 149–150 Major Bowles Amateur Hour, 40 Malone, Bob, 162, 185–187 Web site, 186 mamagers, 226 management, 212–213 dealing with, 81–83 mamagers, 226 need for, 213–214 qualiﬁ cations of, 214–215 Manchester, 205–206 Mancini, Henry, 39 Manhattan, 193–194 visiting, 196 Manhattan Association of Cabarets (MAC), 195 Manhattan Transfer, 186 Mann, Billy, 98 marital status, assumptions about, 98 Marketing Y our Music Web site, 152 Martin, Joel, 184 Martin, Sir George, 16–17, 111 mash-ups, 17 MasterSource, 26–27 Mathers, Marshall, 183–185 Mayer, John, 77–78, 198, 200 MCA, 26 McCartney, Jesse, 178 McGraw, Tim, 173 McLaughlin, John, 183 Measure of a Man (Aiken), 178 mechanicals, 36 merchandising, radio promotion and, 29 meta tags, 148 Metallica, 90 middle children, 7–8 mingling, 103 moguls, questions for, 210–212 Monterey Pop Festival, 204 Moreira, Rafael, 98 Morissette, Alanis, 22 Morrison, Jim, 76 Motion Picture, 147Motown, 38 Mouseketeers, 41 MP3, 148, 149 Mrs. Field’s Cookies, 21 The Muffs, 25 Mullins, Shawn, 61, 200 multipliers, 32 Murdoch, Alexi, 34 Music, Money and Success (Brabec & Brabec), 36 Music Bridges (USA), 179 Music Business 101 (ASCAP), 170, 198 Music Business Solutions/Career Building Workshops, 233 music conferences, 201–202 tips for, 202–204 Music Connection magazine, 27, 198–199, 234 music publishing, 35–36 jobs with ﬁ rms, 219–220 Music Row, 189, 193, 234 music stores, 5 Musicbias Web site, 152 musicians, 4–5 goals, questions on, 208–210 in international market, 204–205 Malone, Bob, 185–187 personal references and, 221–223 in studios, 110 “My T own” (Steele), 174 mystery, air of, 66 mystical beliefs, 4 myths about success, 57–58 N Nada Surf, 225 names banners for band names, 159 on cover letters, 127–128 dropping names, 101–102 remembering names, 100–101 for shows, 157 Napster Web site, 151 Narcotics Anonymous, 77 Nashville, 188–193 moving to, 192 showcases in, 190–191 Nashville New Music Conference, 190 Nashville Pussy, 25 Nashville Scene, 190242Networking Strategies for the New Music Business Nashville Songwriters Association International (NSAI), 189–190, 232 membership information, 192 National Academy of Popular Music (NAPM), 195–196 nationality, questions about, 97 neediness, appearance of, 143 negativity eliminating, 52–53 in personality, 49–51 sharing negative comments, 99 The Neptunes, 56–57 network television. See television Neville Brothers, 186 New Jersey, 196 New Music Nights (BMI), 170 The New Ride with Josh and Emily, 106 New Y ork, 188, 193–196 downtown area, 194 moving to, 196 New Y ork Songwriters’ Circle, 194 niche markets, 17 Nile, Willie, 198 No Doubt, 22 non-returned calls, 142–145 North Hollywood, 199 NPR (National Public Radio), 31–32 Sounds Eclectic, 32–33 O older audiences, 78 oldest children, 7 ongoing shows, 157 only children, 7 open body language, 87 openness in communication, 108–109 opportunities creating, 48 hidden opportunities, 106–108, 139–140 optimism, 50–51 outdoor shows, 158 OutKast, 200 Outlaw, 173–174 outlaw cultures, 17 Outmusic, 232 outros in performances, 161 over-dressing, 90 overnight success mythology, 73P P . Diddy, 200 Paciﬁ c Music Industry Association, 232 Paisley, Brad, 174 Parker, Colonel T om, 213 Parks, Cary, 175 Parks, Larry, 175 Parton, Dolly, 81 Passman, Donald S., 94, 215–216 Paterno, Peter, 216 payola on radio, 27–28 PayPal, 30 Peoplesound Web site, 151 The Performing Songwriter, 234 performing rights organizations, 169–171. See also ASCAP; BMI; SESAC in Los Angeles, 198 in Nashville, 192 periodicals. See magazines personal references, 221–223 personality, 3 assumptions, avoiding, 97–98 big personality, 45 birth order and, 7–8 negative traits, 49–51 success, attributes of, 43–49 pessimists, 49–51 Phish, 28 photos in press kits, 133–134 PHPBB Web site, 151 Pick of the Month (BMI), 198 Pink, 98 Polar Express, 22 politics, assumptions about, 98 Polygram Music Publishing, 179 Pop Idols, 40 pop music, 4, 18 creative black tie dinners, 90 put downs of, 51 positive outlook, 45 Possanza, Christopher, 225 posture, 88 power, telephones and, 115–116 practicing networking, 108–109 praise-based music, 18 prejudicial statements, 51–52 Presley, Elvis, 14, 213 Presley, Lisa Marie, 75243Index press kits, 126–127 bios in press kits, 129–133 CDs or DVDs in, 128 cover letters, 127–128 electronic press kits, 150 folders for, 127 at music conferences, 203 photos in, 133–134 press releases, 134–136 The Pretenders, 205 PRI programming, 31–32 Princess Cruises, 21 Proctor & Gamble, 21 producers in studios, 110 progression in career, 144 promotional appearances, 160 promotional sampler CDs, 167 proofreading materials, 137–138 proposals for shows, 157 for soft tickets, 158 ProT ools, 6, 22 public radio, 31–32 publicists, 217–218 publicity, 217–218 soft tickets as, 158 publishing. See music publishing Pulp, 33 “Purple Haze” (Hendrix), 183 put downs, 51–52 Putumayo Records, 18–19 Q Quiet on the Set (ASCAP), 198 R race, assumptions about, 98 radio, 27–31 in Atlanta, 200 compilation CDs and, 168 Internet radio, 31–32 KCRW, 32 promotion on, 28 public radio, 31–32 satellite radio, 31–32 test shows, 30–31 Ragtime, 195 Ramones, 205rap music in Atlanta, 200 Bush, George W. and, 14 put downs of, 52 Rascal Flatts, 173 R&B, 4 creative black tie dinners, 90 Reagan, Ronald, 14 record deals, 49 record labels, 37–38, 138–139 access, proof of, 56 jobs with, 219–220 recording studios, 109–111 references, 221–223 Regal Cinemedia, 21 reinvention, 9–10, 58–59 rejection, 140–141 overcoming rejection, 141–142 reliability, 77 religion assumptions about, 98 praise-based music, 18 R.E.M., 225 remembering names, 100–101 remixes, 6, 227–228 Renbourne, John, 33 repeating names, 101 resources, 229–234 respect for celebrities, 70 networking with, 55 rejection and, 141 treating people with, 84–85 Resto, Luis, 183–185 Resto, Mario, 183–184 reversion clauses, 36 Rhapsody Web site, 151 Rigby, Will, 224 Rimes, Leanne, 173 ring-tones, 17 Road Rally, 199 Robbins, Lindy, 178–183 Robertson, Mae, 19–20 rock music, 17 Christian rock, 18 Rocket From the Crypt, 25 Rodgers and Hammerstein Music, 179 Rogers, Kenny, 81244Networking Strategies for the New Music Business The Rolling Stones, 5, 76 room, working the, 103–106 The Roots, 170 Rosenfeld, Josh, 225 Ross, Sean, 28–29 Roswell, 106–107 R&R, 30 Russell, Brenda, 179 S sacriﬁ ces, 13 samplers, 6 San Diego Songwriters Guild, 232 San Fernando Valley, 199 Santa Carla Web site, 151 Santa Monica, 198–199 Santa Monica City College KCRW, 32, 34 satellite radio, 31–32 satellite technology, 16–17 Save Ferris, 170 scams avoiding, 164–166 compilation CDs as, 166–169 event tie-ins, 168 in Nashville, 193 scarves, 91 Sears Roebuck & Co., 21 self-doubt, 50 self-fulﬁ lling prophecy, 50 self-revealing comments, 96 SESAC, 26, 35, 169–171 compilation CDs from, 167 headquarters, list of, 232 in Los Angeles, 198 Web site, 171 Writers on the Storm, 194 set-up, hard copy of, 163 sexual preference, assumptions about, 98 sexy clothing, 93 Shady Records, 184 Shamblin, Allen, 198 “She’d Give Anything” (Boy Howdy), 175 Shepard, Vonda, 198 “Shine” (Robbins), 178 signing CDs, 160 Silverlake, 199 Simpson, Ashley, 226 Simpson, Jessica, 98, 226Simpson, Joe, 226 Sinatra, Frank, 91 Sixpence None The Richer, 198 sixth sense developing, 75 from press kits, 126 The Sixth Sense, 27 slick sheets, 136 smiling on telephone, 115 Smith, Patti, 183, 184 snopes.com, 123 Sobule, Jill, 198 Society of Composers & Lyricists, 232 soft sell, using, 125 soft tickets, 157–159 “Something to Believe In” (Mullins), 61 Song Biz column, Music Connection magazine, 198– 199 SongLink International, 205–206, 234 Songsalive! Expo, 199 The Songwriter and Musician’s Guide to Nashville (Bond), 190 songwriters, 3–4 age and, 80 in international market, 205 music publishers and, 35–36 Resto, Luis, 183–185 Robbins, Lindy, 178–183 Steele, Jeffrey, 173–178 Songwriters Club (BMI), 198 Songwriters Guild of America (SGA), 232 in Los Angeles, 197 in Nashville, 190 Songwriters Hall of Fame (New Y ork), 195–196 Songwriters Musepaper, 145, 219 The Songwriters Beat (New Y ork), 194 The Songwriters Studio (ASCAP), 71, 198 Songwriters Symposium (NSAI), 189–190 Sony, 176 sound checks, 163–164 soundman, dealing with, 161, 163–164 Sounds Eclectic, 32 The Vista Street Sessions on, 33 SoundScan, 28 soundtracks, 20–21 South By Southwest Music Conference (SXSW), 233 Spears, Britney, 41 stage patter, 160245Index Stamey, Chris, 224–225 Star Search, 40 Starbucks, 18 Steele, Jeffrey, 173–178 Stockholm, 206 stolen songs, 56 Streisand, Barbra, 183, 185 strengths, assessing, 3–4 Stroke 9, 170 strong personality, 45 Studio City, 199 studio hang, 109–111 studio/technical personnel, 6–7 Summer, Donna, 52 support positions, 5 swag, 92 SXSW, 25 sync fees, 26 sync licenses, 36 synthesizers, 183 T t-shirts, 5 tag teams, 66–67 talent, 43 Taxi, 27, 199 teamwork, 212 technical musicians, 6 T ed, 21 teeth cleaning, 89 telephones, 113–114. See also cell phones basics of calling, 116–117 ending calls, 116 gatekeepers, 117 non-returned calls, 142–145 power and use of, 115–116 purpose of conversation, stating, 115–116 sounds on, 114 timing for calls, 115 tracking calls, 117–118 television, 25 clothing tips from, 94 in Los Angeles, 197–198 songs for, 26 T en Commandments of Design, 151 10-ﬁ ve rule for meeting and greeting, 105 test shows, 30–31 thank yous, 65on demos, 137 to music conference participants, 204 to performance attendees, 160 to soundman, 164 “The Way We Were” (Streisand), 185 They Might Be Giants, 225 This Busy Monster, 225 Thornley, Beth, 106–107 Thru The Walls series (ASCAP), 195 tickets, 156 ties, 91 Timberlake, Justine, 41 timing and artistry, 13–14 effective use of time, 54 personality and, 47–48 for telephone calls, 115 Tin Pan Alley (New Y ork), 193 Tin Pan South (NSAI), 189 touching base phone calls, 116–117 touring. See also venues radio promotion and, 29 success with, 25 T ower Records, 148, 152 T oyota, 21 tracking phone calls, 117–118 Train, 170 training, 43–44 transferable skills, 3 Travelocity.com, 196 trends, 60 The Troubadour, Los Angeles, 20, 154 “20 Y ears Ago” (Steele), 174–175 U UCLA Extension classes, 5, 199 ultimatums, 144 UMO Music, 194 under-dressing, 90 UniSong International Song Contest, 179 United Airlines, 21 United Kingdom London, music in, 205 working in, 204–205 Universal City, 199 Universal Music Publishing Group, 28, 178–179 universities, education at, 44 University of Southern California (USC), 14246Networking Strategies for the New Music Business unsigned artists, 23–25 unsolicited CDs, 23 Urban, Keith, 174 U2, 5 V Vanguard, 38 The Velvet Rope Web site, 166 Venice, California, 199 Vennum, Bob, 24 venues, 153–171 alternative venues, 156–157 as businesses, 162–163 equity-waver houses, 156 ﬁ tting bands with, 155–156 inventing your own show, 157 soft tickets, 157–159 sound checks, 163–164 soundman, dealing with, 161, 163–164 tips for dealing with, 161–162 verbal communication, 62–86. See also conversations; telephones crisis resolution and, 83 viability and rejection, 141–142 Vibe, 94 Vice-Maslin, Michéle, 141, 205 Victoria’s Secret, 21 video games, 25 video presentations in press-kits, 128 Village Voice, 196 Villegas, Luis, 131–133 Virgin Records, 75 The Vista Street Sessions, 33, 35 visual mediums, 25–27 visualizing success, 54–55 vocals, 27 volunteering, 6 at music conferences, 204 W Wainwright, Rufus, 198 waiting rooms, opportunities in, 107–108 Waits, T om, 225 Warwick, Dionne, 22 Was, Don, 184 Was (Not Was), 183–184 The Water is Wide, 19 Web designers, 148Web sites bios on, 149 business cards including, 102 costs of, 148 mailing lists from, 149–150 merchandising on, 150 requirements for, 146–150 resources list, 151–152 sales on, 30 updating, 148 Weekend Edition, 32 weekends performances on, 154 telephone calls on, 115 West Coast Songwriters Conference, 35, 202, 232, 233 West Hollywood, 199 Whiskeytown, 224 WIFM concept, 2 Wilde, Justin, 92–93 wine spritzers, 105 Winter Music Conference, 234 Witten, Patti, 31–32 WNNX-FM 99.7 (Atlanta), 200 Women in Music, 233 Woodward, Mark, 226 Woolford, Keo, 11 Working Musicians (Malone), 186 working the room, 103–106 WorkPlay Theater, Birmingham, 20 World Cafe, 32 world markets, 204–205 WRAS-FM 88.5 (Atlanta), 200 Wright, Hugh, 175 Writers at Night (New Y ork), 194 Writers on the Storm (SESAC), 194 Y Y o Lo T engo, 224 youngest children, 7	[ "music", "business", "new", "artist", "song", "songwriter", "one", "strategy", "make", "time" ]	{ "summary": "Networking Strategies\nfor the\nNew Music Business\nby Dan KimpelNetworking Strategies for the New Musi" }
Pillars-of-a-Great-Release.pdf	A PRACTICAL REVIEW OF ELECTRONIC MUSIC MARKETINGTHE 5 PILLARS OF A GREAT RELEASECHOOSE YOUR RELEASE PLATFORM FOR EVERY RELEASE, YOU HAVE THE OPTION TO RELEASE 1) ON A RECORD LABEL, OR 2) INDEPENDENTLY (INDIE). BOTH REQUIRE UNIQUE APPROACHES IN ORDER TO BE SUCCESSFUL. A main advantage of releasing on a record label is access to their distributor — distribution is how your music gets onto streaming platforms and music stores. Labels work closely with distributors to handle this for you; however, if you release independently, you’ll have to work with the distribution company of your choice directly, and often pay for their services. Labels often produce greater stream counts and sales due to a larger marketing reach, but this comes with a price. Labels regularly take up to (and sometimes greater than) 80% of a song’s revenue. By releasing independently, you can retain up to 100% of the song’s revenue (depending on which distributor you choose), but you’ll need to do your marketing yourself.LEVERAGE YOUR MARKETING DATABASE TAKE THE TIME TO BUILD A DATABASE OF VALUABLE CONTACTS TO USE FOR YOUR RELEASE MARKETING (EVEN IF YOU PLAN TO RELEASE ON A LABEL) — YOUR DATABASE SHOULD INCLUDE EVERYONE FROM INDUSTRY TASTEMAKERS IN DIFFERENT VERTICALS, TO DEDICATED FANS/FRIENDS, TO OTHER ARTISTS. Identify and ﬁnd contact information for curators of Spotify playlists and owners of large Soundcloud channels. Send emails to these contacts before a song release to have them include your song on a playlist or repost it to their followers. The number of Spotify/Soundcloud contacts should be well into the hundreds — this list can be reused for future releases. Build a network of similar artists to help you market your music — from playing other artists’ music during live performances or in radio shows, to Soundcloud reposts, tweets, and Instagram stories, artists can co-market music to their fan bases. But, be sure to be equally supportive — seek to give support as much as you ask for it.DESIGN A RELEASE STRATEGY IT ISN’T ENOUGH TO WHIMSICALLY POST ON YOUR SOCIAL MEDIA PAGES WHENEVER YOU FEEL LIKE IT. IT’S EXTREMELY USEFUL TO CREATE AN ORGANIZED AND DETAILED PLAN FOR EVERY RELEASE — AND, THIS ONLY GETS EASIER WITH EACH RELEASE! For every song, create a document (we like to use Excel) to house all song information, links, a calendar for social media posts, and database contacts who require personal outreach (because of past support, a stronger personal relationship, etc.). Be sure to plan a release relative to other releases, too — we recommend releasing a song every 1-2 months. Create at least 2-3 pieces of ancillary content per release. DJ mixes, in-the-studio tutorials, quirky social media videos, Instagram story takeovers, etc. — these are all effective ways to market your release to your audience without repeatedly posting Spotify links. It’s important to maintain constant contact with your audience to create a buzz around a release.ASSETS AND ARTWORK THE VISUAL ELEMENTS OF YOUR SONG AND ALL THE WRITTEN COPY SHOULD BE PREPARED IN ADVANCE OF RELEASE DAY. TO ACHIEVE A TRULY VIRAL RELEASE, THIS NEEDS TO GO BEYOND A SIMPLE ALBUM ARTWORK. “Copy” is an important term to understand — it is the exact text that will be used in marketing materials. Write all social media posts and emails in advance of the release, and pre-schedule as many of them as you can. This allows you to strategize on the collective language that will be used, and it will save you precious time during the release cycle. Artwork: do it yourself, or pay for a visual artist? First, this depends on your budget. If you have a budget for artwork, working with a visual artist can be a great way to professionally build out your own visual ideas, or leverage someone else’s creative vision. If it’s not in your budget, no worries — keep it simple and clean, you can’t go wrong there.THE KEYS TO SPOTIFY WE’VE ALREADY TOUCHED ON THIS, BUT WE’RE GOING TO REITERATE — SPOTIFY IS THE DOMINATING FORCE IN MUSIC STREAMING. IN MOST CASES, WITHOUT A ROBUST SPOTIFY PRESENCE, IT’S VERY HARD TO GROW YOUR BRAND AS AN ARTIST. Focus on playlists. Spotify’s playlists snowball on each other — the more playlists a song is in, and the fewer times listeners skip a song in a playlist, the more new playlists Spotify’s algorithms will place it in (speciﬁcally the Discover Weekly playlists). In order to avoid skips, make sure you submit your song only to playlists curated for your speciﬁc genre. A NEW Spotify playlist system is just around the corner. Currently in beta, this artists-only platform will allow for direct submissions to playlist curators from a single submission page. Start using this as soon as it is available — but remember, even though this will be convenient, nothing beats a personal contact with a playlister built upon individual, direct contact.HYPERBITS HYPERBITS HYPERBITS HYPERBITS HYPERBITS www.hyperbitsmusic.com	[ "release", "song", "playlist", "music", "contact", "artist", "label", "spotify", "marketing", "every" ]	{ "summary": "A PRACTICAL REVIEW OF\nELECTRONIC MUSIC MARKETINGTHE 5 PILLARS\nOF A GREAT RELEASECHOOSE YOUR RELEASE " }
Release-Strategy-2-0-Mark-Eckert.pdf	RELEASE STRATEGY HOW TO RELEASE YOUR SONG, RUN A PR CAMPAIGN, GET WRITE-UPS, GET ON PLAYLISTS, AND BUILD A CAREER AS AN ARTIST. MARK ECKERT MARK-ECKERT.COMVERSION 2.0 This ebook has been downloaded by nearly 4,000 independent artists around the world now. Holy fuck. I can't even believe how many people this helped. Really has been such a rewarding thing seeing this methodology help artists near and far get closer to their goals. I was inspired to write this because an artist I've worked with for years called me up crying her eyes out because she spent thousands of dollars on a PR Campaign (from someone that I did not know) that truly shit the bed. I swore to myself, I wouldn't let that happen again. That's why I took off time from production to focus on writing this. From writing this up, starting as a simple 'guide' for the artists I produce and develop, to becoming a full fledged 'movement' of people tagging me left and right on IG with new Write- ups, Spotify official playlists, Shows, Tours, Radio, (and even international festivals. again, holy fuck.) they landed directly or indirectly because of this ebook. It's been unbelievably cool to see how many of you this truly helped. Anyways, just wanted to thank everyone for the kind words. It truly means a lot. Just trying to help everyone out. Really proud of everyone's hard work.We've approached a new era of the music industry, specifically for independents, and the results people are getting prove it. Ultimately, the harder you work, and the more persistently you work, the more results you get. Proud of ya' for downloading this and taking the steps that are needed to share your music with those who need to hear it most. I am truly excited to hear what you achieve with the words and insight that follow... Grab some coffee, sit down, get comfy, take some notes, take action - and have a kick-ass day. - MarkCREDITS FIRST: We need to put credit where credit is due. To put some perspective in the credibility of what you're going to learn in this ebook, these methods have been used time and time again to get the artists I work with into earmilk, kick kick snare, noisey, spotify playlists, radio, store playlists (Hollister, H&M, Urban Outfitters) to name a few, and has also helped me get more connections for pitching songs to ads/film for my publishing & licensing companies, and . The advice in this particular ebook is a collection of best practices from 2 of the most badass PR agents I know/have worked with, as well as a few Producers / Label Owners who fuckin' slay. A huge shout out to Lynn Banks of in Toronto. As well as a huge shout out to Nicole Riolo of in NYC. Thank you for all of your advice, and willingness to give back to independent artists all throughout the world. Links are provided to their sites up above. Should you need additional help for a larger campaign, I highly suggest putting your investment in with either of these agents. You'd be in the right hands working with either. They are wonderful.ICON ISLAND THAT NINETIES KID THAT PITCH THEY CALL ME RIOLOSO YOU KICK ASS... This book is divided into 3 Parts. The first part is called "Mentality" - which covers the overall process and mentality needed to have yourself a successful release strategy, and PR campaign. By "Release Strategy and PR Campaign," I mean so a shit ton of people listen to your song(s) and you get further along in your artist career. The second part is called "What You Need" which covers everything you need (press release, photos, software) etc. It also includes details of each of the materials so that all of things you send off to a music journalist or playlister etc is at an industry standard level and you don't embarrass yourself. The third, and final part of the ebook is called "The Playbook" which gives you actionable steps to position yourself as an artist, and then run a proper PR Campaign for your upcoming song release. To get the most value out of this book, it is best that you read it page by page, in order - so you're not confused as fuck. Let's jump in. - MarkMENTALITY THE MINDSET, AND OVERALL STRATEGY NEEDED TO HAVE A SUCCESSFUL RELEASE STRATEGY AND PR CAMPAIGN.So, I'm just going to be straight up as hell. You worked a year and a half on a song, hired a producer, got your live show together, got all the groupie homies to rep your merch at that trashy dive bar that you still can't remember the name of - and you still have no idea how to release your song, get it premiered on a cool blog, and get it on playlists. Subsequently, you just keep telling everyone "I'm getting my release strategy together" - but deep down... you literally have no fucking clue what that means. You just heard the term "Release Strategy" before, so now you're repeating that. You've become a parrot. Well, my dude/dudet, I'm here to remind you, you're not a parrot - you're an artist. Listen. I get it. Seems crazy as hayullll because the last thing you want to do is put this track out you slaved over, just to get that dreaded " <1,000" caption on your song on Spotify. A really shit thought, and for sure something we all try to avoid. So, you want to do it right... This process is the biggest stressor, over- thinking time-period, & overall waste of energy artists I work with deal with. After producing well over 50 artists around the world, drumming for them, developing them - I have decided, we are done with the "What. The. Fuck. Do. I. Do. Now." mentality. So... let's get this explained. Right. Now. The reason I made this book, is #1 - I want to stop explaining this constantly. Because it's a lot to go through, and I just don't consider myself an educator at all. I just like hooking everyone up who's going for it. It's really that simple. #2 is more important though. When I work with an artist on their record - I want to provide them actual results. Not just make a track, then leave and not talk until we're in the studio together again. My passion is developing the artists I produce & drum for. Meaning, I help them get to the vision they have created for themselves - no matter what that means. If writing this ebook, and offering more resources for the artists I produce & develop helps them get further in their career even by a little bit - then I'm going to do it. Period. Just how I roll. I want you to know, the problem of "release strategy" is an age old problem. A problem that every single artist I've worked with has gone through. But year after year of being in this industry - I'm reminded over and over, there aren't many secrets in the music business. There's just people with knowledge, acting mysterious and inaccessible. Here's the thing though: its really not that mysterious - and fuck it, I'll be accessible. I want to make very clear - providing you follow these directions to a T - this ebook will change the direction of your career, save you 10's of thousands of dollars on PR campaigns because you'll be able to run your own, will give you actionable results AFTER running your PR campaign so you can continue to build relationships to the 'gatekeepers,' and without doubt, can finally prove to your old man - YES your song IS worthy of being in Rolling Stone AND the Victoria Secret in-store playlist (his childhood dream that he will now vicariously live through you.) When I first decided to write this, the idea was to provide this strictly for the artists I produce. But after literally 1-minute of thought - I decided, fuck it. I'm going to give this ebook out to everyone for free. Why? Because frankly, I think this industry needs a little less "how can you help me" and a little more "how can I help you." There is plenty of "success" to go around, and plenty of good people that need guidance. So here is some guidance, my good people of the earth. An offering to all the homies, a massive hookup to running your own PR campaign so you can have a badass release that you're proud of. So, if you know of any artists who need help, tell them about this ebook, it will always be free af.WHO THIS IS FOR AND WHO THIS IS NOT FOR. This book is for independent artists who are building their careers, or artists on labels that want to rely less on someone else and take on more personal responsibility for their career (for whatever reason.) This is for people who don’t blame their surroundings for their lack of success. This is for people who take on full ownership, responsibility, and control over their own career and future. This book is NOT for people who aren’t willing to hustle and make it happen by any means necessary. This is not for people who make excuses. This book is not for people who “wait for the right time.” Essentially this book, (and me personally) is not for people who wait to get all their ducks in a row. This is for people who find a duck, and work with that. Ultimately to build a career in anything - you need to create hype for yourself to propel forward, be your own salesman/saleswoman, and have chutzpah. If you don’t fall into ‘who this is for’ - this book will not apply to you in the slightest. HYPE: WHAT IS IT? Perception is Reality. If someone says you’re doing something cool, and people trust that person - that means you are doing something cool. Whether or not you’re actually unbiasedly doing something cool. Remember, it’s not who you are - it’s how you are presented, and who is doing the presenting. That’s why everyone in this industry pushes their ‘credits.’ I know people that are making close to a million a year independently, and I also know people who have a major label deal and can barely get by every month. Yet the label represented person is treated differently by peers - because they are associated with the establishment that is perceived as ‘higher’ over decades and decades of societal training. Now, the industry is changing fast, but it’s like if you see someone who is verified on instagram. At first glance, they can sometimes be treated differently - like they are higher tiered than someone else. Without doing anything other than the establishment (Instagram in this case) declaring them as someone legitimate. This is all psychological, and the music industry , (and entertainment industry as a whole) have designed it as such for the very reason I am about to state: Hype is essentially our product to the masses. Music itself is enjoyable, but there are plenty of enjoyable free things. Hype though, is what people buy into. Let me continue...The more respected and established the publication that puts you out first is, will ultimately give you the credibility needed to move to other publications (relative to the status of your first write-up.) Popular kids in high school started the trends. Then the average kid followed it. Everyone is a follower to a certain degree. I'm wearing joggers right now (I don't jog.) These things look fucking ridiculous and lazy, but I (to some degree) bought into them because people with hype, or "perceptual value" changed my perception about them. Music is not a product like something in technology where we are fixing a problem. Medicine cures tangible diseases. Cars tangibly move us from point A to B. Music does incredibly beautiful things in this world, saves lives, cures depression, brings together communities, gives us identity - but there is nothing tangible you can see at face value. Our value is convinced, or perceived through feeling (much of which feeling is determined by perception.) Thus, the music that is heard most by the masses is not the hardest music to play / perform - it is the one best packaged to attain a higher perception of value to a potential audience, or 'consumer.' It is not just the music. It is not just the brand. It is not just the live shows. It is 'everything, packaged' that counts. So, let's talk about some people who give you hype, or 'perceived value' in the next chapter. MUSIC JOURNALISTS AND PLAYLISTERS WHO THEY ARE AND HOW TO APPEAL TO THEM Music Journalists are curators, skilled writers, and exceptionally hard working people - just as you are with your craft in music. They are a majority-hold gate-keeper between you and an audience that you have never met in person. (This discounts the importance of Social Media of course.) They deserve respect, and admiration from you. Do not treat them as a servant. They have worked their asses off to be where they are, and you need to be aware of that. They have their own goals in their own career and you need to be empathetic with their time. Because usually - they are exceptionally busy. You are never the only one reaching out to them. Professional Journalists for notable publications (typically) are paid for each article they write that is approved by the editor. Now, typically, if a journalist is on staff, it means that 90% or so of what they write is approved. However, the reason why they have a high approval rate, are well respected, and are doing this full time - is because they write great stories for an audience that resonates with them. A good story drives traffic to their site/publication, builds their brand awareness and respect, gives them potential for more quality stories, attracts advertising dollars and brand partnerships, which will give them an ability to grow the publication. There are many stories of publications that literally blew up, because of one exclusive story they covered first. Example: Average consumers did not give a flying shit about Wikileaks before the Edward Snowden story they covered. Point made. Keep reading.. You are pitching them a story of value - about you, and your music. That story needs to help the writer and publication’s brand, which in turn will help their business in the long run. In order for you to provide value to them, you need to be interesting, you need a good relationship with them, and you need a story their target audience will enjoy and resonate with. If you are first starting out - this takes time AND self awareness to understand how to position yourself/story. Do not think you’re going to get a write-up for your new indie group in Billboard tomorrow when it’s your first song with this project. I have a friend who’s done that (and it seemed like they randomly got hooked up) but we ran into each other at a show and talked in more detail. Turns out, they became tight with that journalist over a 10 year period from pitching / eventually getting write-ups with their previous band. That journalist was very familiar with their story and took a genuine interest in their new single. Building your relationships takes real time. Providing value to a publication takes time and proper positioning. If you’re not willing to commit yourself to this long term, then you’re not willing to commit yourself to your career, because a career in this IS long term. It will be exhausting at times, a bummer at others - and the best feeling ever on occasion. This is what you’re signing up for. So, don’t complain to people if you chose this path. Because this ebook will give a play by play of how to do this and continue doing it so you can build yourself up. You can always hire a proper PR agent later on (who have these trusted connections,) but starting out? - like we said earlier... you got a duck, homie. This ebook is a duck. Work with it. Speaking of building relationships, let's talk about that in more detail... RELATIONSHIPS Relationships are everything. We all know this - but I am telling you factually, since this is a how-to book so-to-speak, that there is no way around having solid relationships. It is just as true in the music industry as any other industry - your network is your net worth. Having said that, if you are living in the middle of nowhere, there are plenty of ways to still connect with people in high places via the internet. No matter what though, ultimately, you need people behind you that believe in what you’re doing. They need to like your music, and they need to like you. If they don’t like your music, they don’t like your story, and they don’t like you - you will not get any write-ups and you won’t get into playlists. It should be of no surprise, if you’re an anti- social, miserable, boring douchebag with terrible songs, nobody will pay much attention to you and your 5th re-released remix of ‘Hungry Like The Wolf by Duran Duran.’I know people who had incredible records, and had no process for marketing it, had no personal connections, and didn’t hustle it. Subsequently, the record went nowhere. I also know people with pretty great music (arguably not life-changing though) that are now touring internationally with Tier A artists. All because they were able to build their hype, craft a story of themselves, their music, and their life with perceived value so journalists found them valuable to their readers. The music ABSOLUTELY needs to pass a certain threshold of badassery. I want to make that INCREDIBLY clear... You DO need an incredible song, and an incredible production. 10000%. This book will work providing you ALREADY have that. But once that is there (non-objectively) - it's all about your packaging, and the perceptual value or "Hype" you can obtain for it. It is NOT like the old days where if you don’t live in NYC, LA, or London you’re fucked and not taken seriously. You don't need to hire a producer that costs 250k for a record (yes that was a normal thing), to get connected to specific people, and then at chance maybe get in a b-rate radio station. Or just be shelved for the next 7 years on contract. Here is what I am saying... You. Can. Meet. Anyone. Now. You. Can. Do. Anything. Now. There are no real rules anymore, and the market / fanbase is open for you to take if you can position yourself strategically. Most people get scared when there are no rules. But I thrive in it, and the artists I choose to work with also do. The internet is INCREDIBLY dope, and you are capable of just about anything now. So embrace it. Realize when you 'find a duck,' and ignite your chutzpah when you do. Now that your mentality is put together to run your own PR campaign / form a proper release strategy, let's move forward to the actionable steps. The remaining portion of the ebook is 'What You Need' and 'The Playbook.' Covering materials needed for a release strategy, and the step by step actions to run your very own PR campaign.WHAT YOU NEED WHAT YOU NEED, AND WHAT THE HELL THESE THINGS ARE.1. 6 WEEKS TIME - You need 3 Weeks before your Release Date, and 3 Weeks after. 2. PRESS RELEASE - A bio on single / album (1 Paragraph MAX) Craft a good story and tell it. Quickly. - A brief bio on artist/band. 3 Sentences Max. (you have one shot to get through to them, don’t bore them with too many words - they’re busy, they simply won’t read it. - Album / Single Artwork Image (1400px1400px) - Promo Picture (Often, writers want to include a promo shot of the artist or band, along with the album/single art. 1 HD Promo Photo, no more. - Your email Subject should be a very convincing, head-turning headline that says “Who, What, and 1 Interesting Detail." Example: “Asap Rocky announces NJ Generation Tour” Respect Magazine Example: “Montreal’s Golden Child releases new single My Slime” Complex Essentially, write what you think their headline should be, in the publication when they publish the story. 4. Links to Socials, and Website. Yes, you need a website. - If you're new to web design, I suggest using Squarespace and buying your site domain through there. The templates are great, and a simple design is fine. 5. Private Soundcloud Link. You will need a private Soundcloud link to share with the journalist for a premiere. You will need a public Soundcloud Link for additional write-ups after your release. (Private can be converted to Public.) DO NOT send an MP3. They won't open it. Make it as simple as possible for them to listen to you. INSIDER TIP: If someone does asks for an MP3, be weary because typically they’re trying to get quick licensing rights for their youtube channel. You would most likely not be getting paid for it. This is called getting "fucked over." We are trying to avoid that. 6. "Representation." (A false email) Remember - Perception is key. On Squarespace, you can get a custom domain name with Google Apps. There, you can get an email for yourself with your site in it. Do not email someone with [email protected] - You'll look like shit. If you email with a yahoo or askjeeves... just fucking give up. [email protected] or [email protected] is much more convincing that you're someone legit. It sounds like you have it together, and you're taking this seriously. More than anything - It doesn't sound like you're alone. It sounds like there are people who already believe in you. You can be yourself when emailing if you want to (or, if you're moderately good at bullshitting) you can create a 'fake agent' so to speak. "Hi, I'm Janet with SOSO Agency and we are interested in a premiere for an artist on our roster." There is no right or wrong, people do both all the time. If this is controversial to you, please read back to who this is for and not for. <3 7. Have both a "press" and a "fan" email. Again, perception. Make an 'alias' email in google (look it up,) and this will give you the ability to send from different 'departments' so to speak. You can email journalists from [email protected] etc and you can contact a booking agency at [email protected] etc. It will all go to your same inbox - and it'll look very good to everyone else. 8. Mailtrack.io Mailtrack.io (that's the site) is a free software you can install with your gmail. It will tell you when someone opened your email, or if they haven't yet. This is a game changer for following up. EXTRA CREDIT: 9. Create a mailing list with Mailchimp. Mailchimp is an incredibly easy software to use for mailing lists. It also syncs perfectly with Squarespace. You can get your fans, friends, and grandma on your mailing list - so you can let them know when a new song is out, or to push your new song and post it. You can also give them the ability to 'pre-save' your song (if you distribute with distrokid) so it notifies them when the song drops. #marketing #sexytime BUT HERES WHERE IT GETS REAL FUCKIN TECH SEXY.You can ALSO upload those emails into an ad campaign for Facebook / Instagram audience targeting and you can advertise to them for pennies on the dollar. EXTRA EXTRA credit, you can make a "look alike" audience on facebook ads and facebook will generate an audience with similar likes to your email list - so you can market yourself to strangers who will probably dig ya'. Thx Zuckahboothang.THE PLAYBOOK ACTIONABLE STEPS TO RUNNING YOUR OWN PR CAMPAIGN FOR YOUR RELEASE.6 WEEKS *CAMPAIGN TIMELINE 3 WEEKS BEFORE RELEASE DATE3 WEEKS AFTER RELEASE DATERELEASE DATE (SPOTIFY APPLE ETC) HUSTLE A PREMIEREPREMIERE 1 DAY BEFORE RELEASE HUSTLE PLAYLISTS AND ADDITIONAL WRITE-UPSSTEP 1 SET YOUR RELEASE DATE & DISTRIBUTE. CHOOSING YOUR DISTRIBUTOR If you’re a nobody. Distrokid / Ditto / Landr is great. Just understand, since they are making money up front for distribution, they will not be actively hustling your material to playlists - because they have already been paid. If you’re a somebody. Leverage your existing streams / monthly listeners to get on something like Symphonic, United Masters, or AWAL etc. Since they make money on the backend (they take a percentage of your streaming royalties in exchange for their distribution service) they will do their best to get you as many streams as possible - because if you make money, they make money. They charge nothing upfront - but they require a following already, to minimize risk. WHEN TO RELEASE You need at minimum 3 weeks time to give enough notice for a premiere. So anytime works, so long as you give yourself 3 weeks to hustle (look at diagram earlier.) Check out so you can see releases from bigger artists coming out soon so your release isn't overshadowed that day. Set it on a Friday for New Music Friday (Spotify.) If you want less competition, New Music Wednesday and New Music Monday exist as well. Significantly less listeners, but great cred builder for long term, and less competition. Set your release at 12AM if the option is given.this siteSTEP 2 PITCH TO WRITE-UPS AND HOW TO LAND A PREMIERE To start, you want to get an “Exclusive Premiere.” Make sure to mention that in the email. Premiering a song on a site, gives them the ability to be the first showcase of your new work. Since you will be offering it to them exclusively, this incentivizes the journalist - because it’ll be the only place someone can listen to the new song. If you have a following, this will increase traffic to their site, and can potentially add tremendous taste and respect to the writer, should you blow up. Think of why Tiffany’s is worth more than somebody buying a ring at Costco. They’re the same fucking diamond, but you can onlyyyy get that diamond at Tiffany’s. It’s all brand. Help them increase their brand with your work. You are a Tiffany Diamond, bb. Once you get a premiere, that's when things start moving- because more people want to write about you - because now, you are perceived as worth something. You've gained some Hype! Mazel Tov. Exclusivity is how you get a premiere, period. Offer this to every journalist initially. Whoever responds first (and is decent) gets it. Once you land it, update every other journalist you reached out to about the premiere. They will then think they missed out. They can feature it once the song is out. there is your perceived value, your hype. Point is, you really gotta hustle a premiere. A solid premiere, will give way for a solid PR Campaign.STEP 2 EMAIL FOMULAS & EXAMPLE INITIAL COLD-CALL EMAIL FORMULA: SUBJECT - Imagine what you believe the subject of the write-up would be. If your goal is a premiere, say "EXCLUSIVE:" followed by your ideal head- turning subject of the write-up. BODY - First Paragraph on Song - Second Paragraph on Artist - Maybe some (quick) additional info afterwords to help sell it to them / mention creds. - Links to induldge (socials, past write-ups etc.) FOLLOW UP EMAIL FORMULA: SUBJECT - Literally just let them know you're following up. BODY - A few sentences asking whether they saw your previous email, and restating you think it would be valuable to their audience. You can alter your email depending on if mailtrack lets you know they read your email or not. FOLLOW UP A MAX OF 3 TIMES OVER 10 DAYS. IF THEY DON'T RESPOND. STOP. THEY CAN (AND MAY) BLACKLIST YOU.CLICK HERE FOR EXAMPLESTEP 3 RELEASE DAY ON THE RELEASE DATE - send a follow up to press, letting them know its released to the public, and provide the public link to the song instead of the private. The people who haven’t responded, try to get the public soundcloud or spotify link sent over to them so they can write a story on it after the release if they want to (one final time.) Include details of your press release within the email obviously. Send press writeups to fans (premiere and additional write-ups,) post them on your instagram, facebook, twitter, (tinder?) and feel free to run those ads I talked about earlier (go back to the extra credit section of WHAT YOU NEED if you feel inclined to do so.) To fans who already exist, these perceived successes will in turn, increase their engagement with you and make them more avid listeners. They'll consider themselves OG's now, and some pride/community is built with that. To strangers, it'll give more incentive to become a listener of yours. Always remember, a lot of people haven't listened to you NOT because your music sucks - but because they simply don't even know its out! A release strategy and proper PR Campaign just lets people know its out, and gives them a reason to listen. After all of this - START PITCHING TO PLAYLISTS...STEP 4 PITCH TO PLAYLISTS Firstly, it's very difficult to get into a major playlist unless you have an established connection. The only other way in (to my knowledge) is if the Spotify AI algorithm sees your song organically doing extremely well through independent playlists. So, if you don't have an established connection, focus on Independent playlists initially. You can find playlisters all over the net, but an easy way of doing so is just going on Spotify (or other streaming platforms) and find independent playlists, and looking up the person who made it. Easy as pie. Email / contact them - and do the same schpeel that you did to music journalists. Just with playlists in mind. Do this with any playlist that fits your style of music. There are MANY. NOTE: Now, as you saw on my site - I have a proprietary master sheet of around 1,000 playlister's, nearly 5,000 journalists, and contact infos for everyone in Spotify, Apple, Deezer, Pandora, Amazon, Major Labels HQ's etc. I give these contacts info, additional insight and industry know-how to artists I am producing & developing free of charge. However, if we don't work together, these 6,000+ contacts and a bonus insight series is available for purchase on my site. Quite literally, people have gotten coverage / cross platform marketed in MTV, Earmilk, H&M, and have played pretty massive festivals because of it. If we don't work together, it is available for purchase on my site here: Mark-Eckert.com/indieprbundleSTEP 5 FOLLOW UP FOR WRITEUPS AND PLAYLISTS For the remaining 3 weeks of your campaign, follow up, and continuously reach out to literally everyone you can. Now, as far as the 3 week campaign goes after release... you can continue to push on Spotify forever. But the reason you should start winding down after 3 weeks for write-ups is simply because, you're old news after 3 weeks. Can't pitch old news. You're not able to add much value to a publication at that point. Simple as that. (Unless there's a sex tape or you're arrested / get caught for racketeering. Yeye.)NURTURE RELATIONSHIPS So the vast majority of artists I work with, I have on a monthly retainer that is affordable so they can have (on average) an EP's worth of music out a year, on a consistent basis. The reason for this, is because you need consistent material out, consistent relationships being built, and consistent advancement in what you're trying to achieve. It's cyclical. It all goes together. You need to nurture your career in general. You should follow journalists, spotify playlisters, and anyone in the industry on IG. Be tight with them, on a personal level. Keep building the relationship. If you're in the same city (living or touring through,) offer to take them out for coffee. Your treat. After someone writes up about you, send an email, text, or something THANKING THEM for doing that. Keep building relationships. If someone that gave you a write up is in a small publication - they're most likely hustling their career as much as you are. They may move on to a bigger publication later on. And when they're there - you'll still be tight with them. Don't overlook becoming tight with these people. Being a good person, having friends, and checking up on people is great for your mental health AND career.ARTIST RESOURCES: So, this has given you the basics of what you need to do to create a proper Release Strategy and PR Campaign for your upcoming release. Along with this book, I have MANY additional resources for artists I work with, along with artists I don't. All I want is to help you as an independent artist get further along. From production, to shows, to getting your song placed on a commercial, to building a fanbase. That's my job as a producer and artist developer. If you'd like to make your PR Campaign a helluva lot more effective, you can have access to over 6 , 0 0 0 Bloggers, Playlisters, Spotify, Apple Music, Amazon Music (and more) contacts, with a really badass additional insight series I made covering everything you need to know about the ins and outs of running your campaign. This is the exact framework I give to the artists I produce and develop. If you want to start pitching your music to advertisements and major motion film for sync licensing, I am the owner and founder of THAT PITCH. We send you all the opportunities for these ads. You send us a song. We pitch it to our contact. If you land it, you keep 100% of everything. We don't take a dime. If you want me to produce and develop you 1-on-1, If you want more free artist resources, you can go back to my site you can hit me up here.Click here to start pitching your music. here. It's called the INDIE PR BUNDLE, and it's available on my site here.This ebook is the intellectual property of me. If you copy it and distribute it / try to sell it, I'll sue yo ass and give all the $ to all the downloaders. Because, this ebook will be free 4evr & alwyzzzzz. - MarkWE DONE NOW. HERE'S MY "LEGAL:"	[ "get", "people", "release", "artist", "need", "music", "youre", "song", "give", "email" ]	{ "summary": "RELEASE STRATEGY\nHOW TO RELEASE YOUR SONG, RUN A\nPR CAMPAIGN, GET WRITE-UPS, GET\nON PLAYLISTS, AND B" }
Startup-Guide-to-Music-Business.pdf	START-UP GUIDE TO MUSIC BUSINESS1THE ASSOCIATION OF INDEPENDENT MUSIC AIM.ORG.UKSTART-UP GUIDE TO MUSIC BUSINESSPRESENTS ££ # £ ?START-UP GUIDE TO MUSIC BUSINESS2CONTENTS ABOUT AIM ......................................................................................................... 3 ABOUT THE AUTHORS ......................................................................................... 4 FOREWORD .......................................................................................................... 5 INTRODUCTION ................................................................................................... 6 1. A BRIEF HISTORY OF THE MUSIC BUSINESS .................................................... 7 2. A STRATEGY FOR YOUR BUSINESS ................................................................. 13 3. START-UP FUNDAMENTALS ............................................................................. 15 4. THE BUSINESS OF COPYRIGHT ...................................................................... 17 5. RECORDING AND PUBLISHING CONTRACTS ................................................. 20 6. COLLECTION SOCIETIES ............................................................................... 23 7. FUNDING: COVERING THE INITIAL OUTGOINGS ........................................... 26 8. CORE BUSINESS SKILLS ................................................................................ 28 9. THE TEAM AROUND THE ARTIST .................................................................... 30 10. LAUNCH COUNTDOWN ................................................................................ 32 11. PHYSICAL RELEASE ....................................................................................... 35 12. MARKETING PRINCIPLES .............................................................................. 39 13. A NEW MODEL OF OWNERSHIP: DATA .......................................................... 42 14. PROMOTION ................................................................................................. 44 15. LIVE PERFORMANCE ..................................................................................... 48 16. SYNCHRONISATION AND THIRD PARTY COMMERCIAL DEALS .................... 52 17. INTERNATIONAL EXPANSION ........................................................................ 56 18. THE FUTURE .................................................................................................. 59 19. WELLBEING IN THE MUSIC INDUSTRY .......................................................... 62 FURTHER INFORMATION & READING ................................................................. 63START-UP GUIDE TO MUSIC BUSINESS3ABOUT AIM AIM (The Association of Independent Music) is the not-for-profit trade body exclusively representing the UK’s independent music sector, which now makes up a quarter of the recorded music market. Now in its 20th year, AIM’s members range from the largest, most respected record labels and associated music businesses in the world to self-releasing artists and the next generation of entrepreneurs in music. AIM promotes and supports this exciting and diverse sector globally and provides a range of services, commercial opportunities and practical help to members; enabling them to innovate, grow and break into new markets. At the larger end, AIM member businesses include companies such as Beggars Group, Domino Records, Warp Records, Mute Records, Ninja Tune and [PIAS]. They release music from artists including AJ Tracey, Arctic Monkeys, Aphex Twin, Blood Orange, Bonobo, Danny Brown, Hot Chip, High Contrast, Little Simz, New Order, Radiohead and many, many more. aim.org.uk This guide © 2019 The Association of Independent Music Limited. All rights reserved. No part of this guide may be reproduced or copied in any manner whatsoever without the prior written permission, except in the case of brief quotation embodied in articles, reviews or academic papers and in such instance a full credit must be provided prominently alongside.START-UP GUIDE TO MUSIC BUSINESS4ABOUT THE AUTHORS TIM FERRONE Tim Ferrone is the founder and owner of Wrapped Up Music, effectively a ‘pay as you go’ label for hire for the UK independent music sector. A campaign management service available to domestic and overseas artists, managers and labels, Wrapped Up Music is the culmination of Tim’s nineteen years in the recorded music business, having worked for various major and independent labels, and in artist management. Y ou can reach out to say hello, and find more details here; www.wrappedupmusic.comGEE DAVY - HEAD OF LEGAL AND BUSINESS AFFAIRS, AIM Gee Davy joined AIM in April 2017 to oversee Legal & Business Affairs both for AIM itself and as an advisor to AIM Members on all aspects of the impact of law on running an independent music business. Previously Gee spent over seven years with prestigious independent record label and publisher Cooking Vinyl and its group of companies, including distribution company Essential Music and partner label FatCat Records, looking across all business activity and working with artists as diverse as The Prodigy, Billy Bragg, Underworld, Amanda Palmer, Honeyblood and 65DaysofStatic. Gee started out in technology, studying Electronic Engineering, and working briefly in the telecoms sector before following her passion into the music industry and music law running a successful music events and promotion business with her brother for a number of years in between. Gee is an ardent supporter of facilitating the independent music industry’s continued innovation and success and supporting its evolution in the digital age. She is a regular speaker at conferences and music industry events on the interface between music and technology, copyrights and other legal, business, and industry issues.PAUL PACIFICO - CEO, AIM Paul Pacifico is a musician, music entrepreneur, educator and CEO of AIM. Paul worked in finance and strategy consulting for nearly a decade before moving on to concentrate on building his business, Specific Music. Over the last 15 years in music, Paul has worked as an artist, session musician and creative director with a diverse range of artists such as Quincy Jones, Nile Rodgers and High Contrast. Prior to joining AIM, Paul was CEO of the UK’s Featured Artists Coalition (FAC), the organisation in the music industry that represents the interests and rights of artists. Paul was also the founding President of the International Artist Organisation (IAO), which unites artist organisations from different countries to speak with one voice. Paul continues to perform and record as a musician, and is the Visiting Professor in the ‘Artist as a Startup’ at Berklee College of Music’s Global Masters campus in Valencia, Spain. Paul is passionate about the meeting point between creativity and commerce and to helping people START-UP GUIDE TO MUSIC BUSINESS5FOREWORD It can be daunting to start a business and just as daunting to figure out how to grow; where to expand, or diversify, or when to specialise on what you do well. This guide is intended to be practical in nature. It deliberately remains focussed on what things are, and how things work, rather than the more strategic questions. It is also not academic and doesn’t dwell on why things work in a particular way, or whether they should. We took this approach because it is AIM’s belief that there is no fixed starting point for a music business. Some start out by performing at gigs, others in putting them on; others by writing, recording or producing music, or publicising and promoting it. The music business landscape is a patchwork of inter-related specialist areas; the majority of music businesses are active across a number of business areas, making them a ‘virtuous circle’ where each activity reinforces the others. The uniting thread here is that as soon as you start to make, distribute, or try to sell recorded music, you need to know how the business works and how the money flows. Everyone has to start somewhere and the more you know about the business and how it works, the better your chances of success. As each business grows, it needs its own vision and strategy - what might work for one, might not be right for another. There is therefore no clear strategic pathway. Instead walk your own path and access specialist knowledge you need at each turn, for example at conferences, through expert tips, and networking with peers and potential business partners, all of which you may access as a member of AIM. This start-up guide is to help you cut through the noise and distil the essential information you need to understand the various parts of the business of releasing music: how they work, how they fit together and what you need to know to make them work for you, as you take your business from start up to scale. If you read this book from cover to cover before you start your business, I hope you find it easier to figure out how to get it going. Once you are up and running, you can dip into various chapters as they become relevant to you, to diversify activities, or to review the basics and make sure you are not missing any of the essentials. Ultimately, this book should make everything a little quicker, a little cheaper and that bit easier to understand opportunities and challenges. Regardless of the size of the business, these challenges remain the same, and part of AIM’s role is to help share knowledge to ensure a broad and diverse music market, levelling the playing field between big established businesses and the start- ups that challenge them. If asked to sum up what it takes to start and build a successful music business, I would say: work hard – there is no substitute for this; play hard – love what you do and enjoy it, learn as much as you can and find trusted sources of information to help inform you on your way; but find balance as, without this, burnout can be all too common. Paul Pacifico CEO, AIM START-UP GUIDE TO MUSIC BUSINESS6INTRODUCTION TO THE GUIDE Welcome to the new edition of AIM’s Start-Up Guide To Music Business. The essential ‘How To’ guide to get started and grow a business working with music in the 21st Century. The intention of this guide is to help you understand the basics of the business side of music from the outset, or to improve the way you run your existing music business. It is not intended as a definitive guide. The music industry does not operate in an ordered way, with one process naturally following another. More realistically, it is a combination of activities or processes that can occur in a number of different orders, often over-lapping. In compiling the guide, we have assumed a certain order of events to outline what these processes could look like, but please do not interpret this as a ‘one size fits all’ solution – for no such thing exists. It might be helpful to think of the sections of this guide as pieces of a music industry jigsaw, that every business fits together in their own, unique way. Our suggestion is that you read this book in full once to get an overall view, and then you can refer back to specific chapters as and when needed. There are tips and references along the way for digging deeper into each topic and finding more detailed information for when you need it. AIM also runs conferences and training sessions throughout the year on various aspects covered in this guide, looking into the detail, new developments and case studies. AIM’s website also hosts a number of other guides on specific business topics, plus tip sheets, explainers, and videos of sessions from various AIM conferences and training workshops. START-UP GUIDE TO MUSIC BUSINESS71. A BRIEF HISTORY OF THE MUSIC INDUSTRY, AND WHY YOU NEED TO KNOW IT In order to fully appreciate the workings of the contemporary music landscape, and how you can make money from it, it is particularly useful to understand how we arrived at the current model. Whilst that might not seem very exciting or relevant, please stay the course; understanding how the business has developed will really help you to know what to negotiate for and who to negotiate with. So, for the sake of a quick modern music history recap, reading the next few paragraphs will be time well spent. THE 20TH CENTURY MUSIC BUSINESS The 20th century saw the rapid development of the music industry as we now know it. In that time, the recording of music on to a purchasable physical product, and the development of the recording artist as the star, became well and truly established. That model became the norm; with the record company being the entity that chose what to record and who got to record it, financing that process, and then making the end result available to the general public to purchase. Behold, the record business was born, staying much the same for several decades. It resulted in a well-established business framework; recording was an expensive process that required lots of studio equipment, musicians and production personnel. Manufacture and distribution required vast amounts of factory space and machinery to reproduce records, and then a means of supplying those to the wider retail environment. Marketing and promotion required know-how, a network of relationships and a series of, sometimes dubious, processes to incentivise media support. Getting records on to the shelves in shops required a similar breadth of contacts and some often equally unspoken means of ensuring you got that all- important window display space. In short, the artist, recognised as the undoubted star of the show, needed the record company to pay for and perform all of these functions on their behalf. Their reliance on this model (and the almost complete absence of an alternative route to market), meant that it was the record companies, and not the artists, who held the balance of power. It was usually the record companies who chose who to sign, often what would be recorded, how the artist would look and be presented, and even the means by which the general public would commercially engage with that artist as the formats evolved over the years, whether on shellac disc, vinyl record, cassette and finally onto digital CD. A key point here is that the record company, through its fundamental role in the process of funding and enabling the artist to reach an audience, often chose exactly what music that audience was allowed to hear. As a result, the record companies exerted a rare power not dissimilar to that of the early movie business, where star actors were exclusively contracted to single studios, not allowed to pick and choose which movies they made and were compelled to release whatever output that company deemed suitable. That creative control loosened somewhat over the years as artists flexed their collective muscles and some were able to take greater control over their recorded output, but the necessity of operating through and with one recording company for the bulk of their career remained throughout. The bottom line was that if an artist wanted to record and release music, their only option was to do a deal with a record label. No record company meant no career. In the physical era, there was certainly a high cost and therefore financial risk required to launch a new artist into the market along with all of the necessary relationships and resources. The artist/ label contracts were therefore unsurprisingly and overwhelmingly stacked in favour of the record companies. Not only would they own and retain the rights to release any recordings, (generally without those rights ever reverting back to the artist), but they would also claim the lion’s share of the sales income to recoup their outlay and generate more income to fund their profits as well as the release of more music. Complex deals made up of recoupable advances offset against artist royalties (more of START-UP GUIDE TO MUSIC BUSINESS8which later) meant that the artist’s income was often low and kept under the control of record labels until such time as the record company had not only broken even, but made a substantial profit. Back in the early days, there was really only one type of record deal for an artist and that was on what’s known as a ‘work for hire’ basis, where the record label signed the artist’s exclusive recording services and had complete ownership of the copyrights for any recordings made by that artist during the period they were signed, usually for the whole period or ‘life’ of copyright. Many independent record companies started making different deals, some because they wanted to create a different relationship with the artist, or do business differently, and some in order to attract artists when they weren’t able to compete on up-front fees or ‘advances’. None of this is to demonise the record companies who, after all, existed in a commercial environment. The fact that any individual artist needed a record company more than any record company needed any individual artist was just a result of the way the system worked at that time. Also, someone had to take the risk and front the costs of taking that artist to market. It is not surprising that as the market started to evolve the smaller record companies with more market pressure, i.e. the independents, were quickest to change or use new models for their artist agreements and relationships and are generally acknowledged to operate on a more balanced and transparent basis with their artists. The whole process of making money from recorded music was under-pinned by two primary elements: writer writes song and their publishing company collects income, and artist records music and their record company collects income (and pays some to the publisher for the use of their songwriter’s song). It’s worth noting that the rest of the music business, and the many ways of making money from it (live performance, for example), were virtually the exclusive domain of the artist and their manager. The record industry was making so much money that record companies were often disinterested in those artists’ other channels of monetisation even though they played an important role in the process of making and breaking star performers. For instance, record companies did not get directly involved in merchandise or gig ticket sales. Recording income alone was more than enough, and as the turn of the new millennium approached, it seemed like it always would be. However, there were some rumblings from a dissenting few, who had foreseen the disruptive potential of the internet, and had begun to express concern about its potential influence on an industry that had become very set in its ways. DIGITAL DISRUPTION = DEMOCRATISATION It is hardly a revelation now to observe that the digitisation of the music industry changed it forever. The boom years of the £15 CD were gone virtually overnight, the record business reacted far too slowly to recognise or respond to both the threat and the opportunity the online market presented and fell into a decade and a half of year-on-year decline. At first piracy, then eventually legitimate download services, and finally streaming, harnessed the potential of small digital music files that could be shared via computer and accessed within seconds. Digital files were eventually and begrudgingly welcomed as new formats, and internet replacements for the ‘record’. Whilst downloads still exist, the market for vinyl is growing and the CD remains a viable product in many major markets, the perceived ‘industry saviour’ appeared in the form of the streaming model, whereby music was not accessed on a product level, but as an over-arching subscription to the world’s music library. For the customer, music was to be paid for on a monthly basis. For the artist, their share of the income was paid through in small micro-payments for each ‘listen’, which started as a smaller revenue stream than that to which their predecessors might have been accustomed. However, with market saturation still many years away and increasing mainstream adoption of streaming subscriptions, the current market for recorded music is fired up START-UP GUIDE TO MUSIC BUSINESS9with an optimism that has been absent for the best part of two decades. The changes brought about by the transition from the old world to the new have far-reaching consequences that shape how business is being done today and the expectations of both artists and their commercial partners such as labels, managers and publishers. First of all the cost of technology has massively reduced, meaning almost everyone can access what they need to record music without it being necessary to use an expensive studio like Abbey Road – home studios, or even being able to record via a handheld device, may not always be ideal but they work and are often good enough. Also, the distribution market has opened up with online services available that anyone can sign up to and use to get their music into digital stores all over the world. The media also experienced a revolution with the advent of social media and the millions of blogs, vlogs and podcasts, offering a way for artists to connect with fans that would have been impossible in the old world without media industry contacts. Over the years, and as artists were offered many more ways of recording and distributing their own music directly, the profit margins of the record business were increasingly squeezed. Labels consolidated and reduced employee numbers. In short, a process of democratisation has occurred, whereby the handful of key decision makers who traditionally decided what music to release, how and to whom, have been overtaken by a whole world of options with which the creative talent can, at least theoretically, choose to engage at every single step of the process.AND THIS IS RELEVANT WHY...? Over the decades since the 40s and 50s, artists gained increasing involvement in the creative side of their careers – at first they were told what to do, what songs to sing and how to look. Over the years, artists fought successfully for increasing creative control of their careers with most artists today expecting to have significant input into their repertoire, image and their voices – both literally and metaphorically. However, artists were still largely removed from the commercial side of ‘the business’. That feels like a far cry from where we are today, with artists able to pursue their careers in any number of ways and to build a team around them that best suits their vision. The sense of increased freedom in the modern landscape though, can also be a double-edged sword. Choice can be incredibly liberating but it can also lead to indecision and confusion over what might be the best or right way to go. Making choices means taking responsibility for those choices, and that adds pressure to have to know more about an increasing number of aspects of the business – this guide and other tools are out there though, to try to help make sense of things whether you are are starting out as an artist, label, manager or mix of all of those roles and more. So wherever you are starting out from, in the modern music market, you have options – and options are a game-changer. KNOW YOUR RIGHTS Consider for example that one fundamental aspect of the traditional recording industry model was the ownership of copyright in recordings, by the label, and in the underlying songs, by the publisher. This was a prerequisite of the traditional deals, and the artist had to accept those rules if they wanted to be in the game. In the old world, artists had to sell, or ‘assign’ their rights to their label and publisher. In the new world, START-UP GUIDE TO MUSIC BUSINESS10the artist doesn’t have to do any such thing but has the power to sell their rights if they wish to. They can also lease those rights through license deals which can be for a longer or shorter period of time depending on the deal. An artist might choose to do none of those things and instead release their music directly. Each of these options has pros and cons associated with them. It is most likely that over the course of a long career an artist these days will do a number of deals and probably a mix of all of the above. Y ou need to understand those rights and how they work if you are to build a business that creates them and / or trades them. MAJOR VS INDEPENDENT Traditionally, doing a deal with one of the so-called ‘Major Labels’ is thought to require the artist to give up more creative control and more of their future earnings in exchange for a bigger financial investment and access to the Major Label’s global reach and infrastructure. The advantage of doing a deal with a Major is clearly that you are in business with a very powerful organisation. The flip-side is that you are in business with a very powerful organisation, and therefore your own negotiating power is probably much reduced. Meanwhile, the independent sector tends to be made up of smaller, more niche businesses who may have less upfront cash but can have greater specialist knowledge of particular scenes and which offer the artist a higher degree of creative control. Independents also tend to be less corporate than the Majors and so often offer contracts whose terms are much more favourable to the artist. CONCLUSION The democratisation of the market has meant that the traditional record company functions of A&R, recording, marketing, manufacturing, distribution, accounting, etc. can be owned and controlled as much or as little by the artist as they want (as long as their finance, knowledge and business skills allow them to). THAT is why it is so useful to know the history of the recorded music business; because each of those processes has its own contractual arrangements (often based upon the old model), and it’s become the job of the artist, and those around them, to recognise each and every opportunity and, moreover, now that the balance of power is constantly shifting, that every deal should reflect that. That said, operating outside of a traditional label structure comes with risks of its own; from sourcing cost-effective and sufficient knowledge, skills, experience and networks to the core financing of what can be an expensive business environment to enter. Clearly then, there is no ‘one size fits all’ model for every artist, and the traditional record company signing route remains a hugely viable proposition, and the only option to work with some often powerful players. However, of increasing importance to artists is the greater opportunity to choose the nature of the agreements and relationships and the level of commitment required at each stage. LONG LIVE THE RECORD COMPANY Those predicting that the DIY opportunity marked the death of the record company (and there were many) were wide of the mark too. Record companies are still key commercial partners for artists and continue to maintain their position at the heart of the industry. The survival of the modern record company at small music enterprise and indie level, is in large part due to the passion, adaptability and expertise of those leading the charge in the independent recording sector. For the Majors, international reach, leverage in the market and the scale of their back-catalogues have been key factors. Taking an artist to market can still be an expensive process which requires a degree of funding proportionate to the artist’s ambitions, but here too the options have opened up. Investment in recordings used to come only from the record company, but now a host of alternative funding sources have opened up, from grant funding, private investment, direct to consumer, crowdfunding and a whole host more.START-UP GUIDE TO MUSIC BUSINESS11Y et major labels continue to dominate the global market, whilst independent labels are seeing growth in market share and exist as a thriving source of talent and new lifeblood into the industry. How is that? Clearly record companies have a vested interest to ensure that they remain relevant, but that only reveals part of the story. It’s the combination of their scale, leverage, relationships and skillset that make the contemporary record company as relevant now as they ever were. The nature of the relationships with artists has changed, but the importance of those relationships remains undiminished. The independent record company sector has led the charge in respecting, valuing and harnessing its affiliation with the artist community, ensuring not just a more even balance of power, but a healthier, more long-term view to an artist’s career. Clearly, it is not just expensive taking a record to market, but making it both a profitable exercise and a positive experience is also an extremely difficult, and infinitely nuanced process. The need for a more strategic, holistic approach and to get all of this right, has led us to a contemporary music business landscape which embraces the capacity to adapt, and spreads skillsets and income generation across as many revenue streams as possible, completely breaking open the old world idea of what it was to be a record company. Many record labels no longer identify with this title, as they are likely to offer a mix of services from across the industry to artists, seeking to be the artist’s primary commercial partner more than just the company that funds and exploits their recordings. Conversely majors have spent years buying up distributors, labels or catalogues as well as being the targets of consolidation in the wider media landscape, often now being part of a group of companies that includes, for example, TV channels. They also actively invest in digital services and stores hoping to gain a long term strategic advantage in the market and ensure that their music is prioritised over anyone else’s. So, while in theory the potential of a completely democratised DIY industry might sound wholly liberating, the reality is that this process is more evolution than revolution, and that it is difficult to know everything and do everything yourself all the time. This makes the potential of the record company (or commercial music partner) as important an option as ever for artists starting out today. THE UK MUSIC MARKET IN CONTEXT The UK has consistently remained in the top three or four recorded music markets in the world, competing with Germany as the largest within Europe. The UK undoubtedly benefits from the global strength of the English language in popular music and the legacy of ground-breaking acts from the UK that dominated global charts in the 60s and 70s. UK Music is recognised around the world and we are one of the few countries to regularly produce artists that succeed on the global stage. The UK’s diverse population and our openness to absorbing influence from cultures all around the world has kept UK music fresh and relevant from generation to generation. For all of these reasons, and more, the UK is recognised as a musical standard bearer, which brings a wealth of positive cultural and export opportunities; a fact now being recognised at governmental levels. Current data suggests that the download market is shrinking rapidly, and the physical market refuses to fall away at the rate that many had predicted. Recovering vinyl sales value rose to roughly one fifth of that of the CD market in 2018 and it is thought that sales of vinyl will overtake CDs by next year. However, both downloads and physical releases are dwarfed by the continuing influence of streaming, which is undeniably the true driver of the record industry’s current growth in the UK and overseas. Growth in the market and the potential continued evolution in streaming help make the big picture look very positive, but for the individual artist just starting out, it is important to remember that for streaming to earn you even the minimum wage, you would have to generate several million streams every year, even if you still own all of your own rights. Nevertheless, after a decade and a half of uncertainty and decline, sustained market growth clearly comes as a very welcome development. START-UP GUIDE TO MUSIC BUSINESS12It is essential to recognise that building a successful professional career in music that you can make a living from is hard to do – but by no means impossible with talent, application and a good team around you.So – now we have gone through the history and come up to date, let’s turn our attention to how the bigger picture relates to you. WHAT TO DO NOW: UNDERSTAND HOW THE MUSIC BUSINESS LANDSCAPE CAME ABOUT TO HELP GUIDE YOUR UNDERSTANDING OF WHERE AND HOW YOU CAN WORK WITH IT. RECOGNISE THE VALUE OF HAVING MORE OPTIONS NOW THAN EVER, AS BOTH CREATOR AND ENTREPRENEUR, AND THE POTENTIAL OPPORTUNITIES AND FREEDOMS THAT THIS ALLOWS FOR YOUR POTENTIAL BUSINESS. CONSIDER THE REALITIES OF WHAT OPTIONS ARE AVAILABLE TO YOU ON A PRACTICAL LEVEL, GIVEN THE WIDER LANDSCAPE, TO HELP YOU PLAN AND FOCUS ACCORDINGL Y AND TRY TO SET REALISTIC EXPECTATIONS AT EACH STAGE.1 2 3START-UP GUIDE TO MUSIC BUSINESS132. A STRATEGY FOR YOUR BUSINESS Many people starting businesses in the creative industries have no deliberate roadmap at the outset. The business begins by the founder simply being active. This has two distinct advantages in terms of innovation. First, it allows you to evolve and try different approaches before figuring out what works for you. Second, it allows your business to pressure test the viability of micro niches, new roles or services that hadn’t been previously identified or tested out. Many such ‘lifestyle businesses’ are common in the music industry and the majority of labels, management companies, publicists and others thrive on this basis. When working on projects, they cluster with other specialist lifestyle businesses to form a multi-disciplinary team of experts that can deliver precisely what is needed for the job in hand without the large overheads of a big corporation. This is known as a ‘niche-network’ or boutique approach to delivery. The advantage of ‘niche-network’ is that the delivery team remains a cost-effective hand-picked bespoke option for a particular project. The downside can be the potential lack of coordination, as there are fewer fixed structures in place and poor leadership and communication can make or break the efficiency of delivery. The opposite of ‘niche-network’ is known as ‘bulge bracket,’ which adopts an approach of looking to mop up all of the opportunities in the market, requiring a full-time staff of generalists as well as some specialists who can take on anything at any time. They work at bigger scale than niche-networks, and carry higher central costs. The upside of bulge-bracket operators is that they can potentially take on more, bigger projects and create economies of scale that each client should take advantage of. The downside, other than higher running costs, is that they will most often be more generalist in their delivery, driven by processes and a ‘way we do things’, rather than specialism and focus around a particular project or outcome. When developing your own business it is important to think about where you sit between the two models – are you building a boutique, lifestyle business that has an optimum operating size to maintain the quality / profit balance, or are you going for scale over the personal touch? Try to identify whether you are building a business that is highly personalised in the service it delivers and whether that business can grow 100 times the size and still genuinely deliver to the same standard or better. If the answer is ‘yes’ then consider carefully how you are planning to achieve that scale and what you need to get there. Any choices you then make should be limited by that roadmap to scale and will drastically reduce the likelihood of experiencing so- called ‘choice anxiety’. Equally, if your answer is ‘no’ and you feel the business you are building needs that personal touch in what you do, then again you should consider any services you subscribe to, or systems that you implement, should prioritise what you need to assist you in delivering your vision. VISION Any business should be built on a vision. Y ou should ideally be able to describe your vision to anyone you meet within 30 seconds – if not, it is an indicator that your thinking still needs some refinement. The key benefit of a clear vision is that it unlocks your decision making confidence, power and speed. If you are considering expanding your business into a new area, you should ask yourself whether it fits the vision – if it does, it could be part of a virtuous circle, adding value to the whole. If not, it could be a money / time / energy sink that distracts and detracts from what you should be doing and even if you could make a quick buck, it may be worth saying no from a strategic point of view. Every decision you take can be tested against your vision and if it is, it will help you stay on track to build an effective, efficient and more successful enterprise. This is not to say that everything you do will succeed if you have a vision for the business. Often that vision itself can be flawed and need refinement or adjustment which is why it will need revisiting and challenging periodically. START-UP GUIDE TO MUSIC BUSINESS14WHAT TO DO NOW: 1 2CONSIDER THE TYPE OF BUSINESS YOU WANT TO RUN – ARE YOU GOING FOR ‘NICHE-NETWORK’ OR ‘BULGE BRACKET’? ARE YOU BUILDING A BOUTIQUE BUSINESS WITH A PERSONAL TOUCH OR A SYSTEMS-BASED OPERATION THAT HAS THE POTENTIAL TO SCALE UP? TAKE THE TIME TO CONSCIOUSL Y WORK ON YOUR VISION. WRITING IT DOWN CAN HELP YOU FOCUS IN ON THE CORE ELEMENTS. MAKE IT CLEAR AND SIMPLE SO THAT YOU CAN USE IT AS AN ‘ELEVATOR PITCH’ TO EXPLAIN IT TO ANYONE YOU MEET IN LESS THAN 30 SECONDS.START-UP GUIDE TO MUSIC BUSINESS153. START-UP FUNDAMENTALS There are a number of fundamentals that a business should have in place in order to commence trading in the music industry. Without a robust framework in which to function, a business runs all sorts of risks, from trading illegally, to operating in a way that is financially problematic or inefficient. Clearly then, starting off with the right foundations is vital. These fundamentals include; Legal structure – By law, you will be required to specify whether you are operating as a sole trader, partnership or limited company, or as some form of social enterprise. The nature of your business will likely dictate this, but each has its own implications and repercussions. Tax – The UK government department responsible for collecting tax (HMRC) will need to be informed that you’re starting/running a business, what type of business it is that you’re running and its legal structure. It will also be necessary to find out if you’re likely to start to have to charge VAT. This is determined by whether income is over a pre- specified level. Y ou can find out more about the HMRC guidance to starting a business on their website, which is very helpful. Alternatively, you should consult an accountant, small business advisor or other qualified specialist. Accounting – The practice of accounting (at its simplest, keeping a record of all transactions) is essential not only for managing your own cash flow, but also making sure you know what tax you need to pay, how to deal with income & expenses, VAT and all the other aspects of managing your money as a business. If you are well organised and understand the rules, of course you can keep track of all of these things yourself. Often however, this is an important area for which to seek outside help. Employing an accountant can be expensive, but specialist bookkeepers can help you keep track of your money through the year and help you keep on top of things whilst keeping costs lower. An accountant can then review the bookkeeper’s work and help you with your end of year accounts if required. Regulations – The government provides a guide for businesses in order to ensure that you are compliant with various regulatory issues, from health and safety to data protection. These are mostly straightforward, but are designed to help you avoid pitfalls, and provide a safe and legal framework within which to operate. Business name – When setting up a company, or registering as a sole trader, you should think about the name you will trading under. This name can be used to open a bank account or register with a company at Companies House. Y ou should always keep your business money separate from your personal finances. When choosing a Trading Name – whether as a sole trader or company, it is advisable to research and purchase relevant corresponding web domain names and social handles at the same time and consider appropriate website content accordingly. Business bank account – A separate business account is necessary to clearly separate your business and personal finances. Insurance – This will depend on the nature of the business, but as well as the obvious (relating to property, equipment or accidents in the workplace for example), it is also necessary to have insurance in place to safeguard your responsibilities as an employer as well as any public liability and professional liability cover, to ensure that you’re protected against any potential claims of negligence.START-UP GUIDE TO MUSIC BUSINESS16WHAT TO DO NOW: UNDERSTAND WHAT TYPE OF BUSINESS YOU ARE SETTING UP (ARE YOU CREATING, PROMOTING, MANUFACTURING, DISTRIBUTING, PROVIDING A SERVICE, ETC.) AND THINK ABOUT HOW THAT IMPACTS EACH OF THE ABOVE FUNDAMENTALS. ENSURE THAT EACH OF THE ABOVE FUNDAMENTALS IS ADDRESSED PRIOR TO COMMENCING COMMERCIAL ACTIVITIES. WRITING THIS DOWN WILL HELP SHAPE YOUR BUSINESS PLAN. RESEARCH SOURCES OF FREE SMALL BUSINESS ADVICE FROM CENTRAL GOVERNMENT, YOUR LOCAL AUTHORITY, BANKS, TRADE ASSOCIATIONS AND OTHER SOURCES. THERE ARE GOVERNMENT- FUNDED LOCAL ORGANISATIONS THAT OFFER ADVICE AND HELPLINES. 1 2 3START-UP GUIDE TO MUSIC BUSINESS174. THE BUSINESS OF COPYRIGHT If you are in the business of releasing music, you are actually in the business of copyright. If you want to succeed, it is worth spending a few minutes understanding what copyright actually is and how it works, as it underpins the majority of what you’re likely to do, and how you’re likely to earn income. INTELLECTUAL PROPERTY Copyright is a form of intellectual property. In many ways intellectual property is similar to physical property in the way that it can be traded, except you are dealing with an intellectual creation as opposed to a physical object. Some rights attached to songs cannot be traded and these are designed specifically to protect their original creators (more on those later). For the most part, the record business is focused on two copyrights. 1. The underlying song, which is often known as the ‘musical work’ (technically music AND lyrics separately, but very often, these tend to be amalgamated into the solitary song copyright) 2. The sound recording, ‘master recording’ or just ‘master’ When a song is written, a copyright is created; when it is recorded, another type of copyright is created. Imagine two lads from Liverpool writing a song together, which they decide to call ‘Hey Jude.’ They then head into a famous London studio and record that song. Two copyrights have been created; one to protect the rights of the song (composition and lyrics) for the songwriters (and hence the writers, Messrs Lennon and McCartney), and one to protect the rights of that specific recording for the artist (in this case, The Beatles). If another artist wants to record a version of that song after the Beatles release, then they can do so, and a portion of the money made from that new recording will go back to the original writers because of the the song copyright. Note that because they have not used the Beatles’ recording of the song, nothing is due back to the artists, via the recording copyright – there is in fact a new recording copyright that is credited to the new artist who has covered the Beatles’ original version but both the original and the new version share the same song copyright These two fundamental copyright streams have created two distinct business models, designed to remunerate the two types of core creators in the business; the songwriters, and the artists. These models are: MUSIC PUBLISHERS Song writers can sell (‘assign’) or lease (‘license’) their copyrights to music publishers . It is then the publisher’s job to try to monetise those rights, collect the associated income (retaining a portion for themselves), and pay onward to the songwriter. Obviously the better known the song or the songwriter, the more value there will be attached to the works and therefore the deals. It is possible to administer your own revenues from songwriting, but it takes time and knowledge to do the admin and go out and get those songs used, so there can be advantages to finding the right partner. Songwriters should also join their relevant Collective Management Organisation. In the UK, the songwriter and publisher CMO is PRS for Music (see below for more info) who collect income for public performance and for creating copies (physical or digital) of the song (PRS act on behalf of MCPS for this second use). RECORD COMPANIES In the same way that songwriters can trade their rights in their songs, artists can also either sell (‘assign’) or lease (‘license’) their rights to record companies. This can happen after the recording has been made or the record company could fund the process of making those recordings. It is the record company’s job to try to find ways to make money from those rights (‘monetise’ them), collect the associated income (retaining a portion for themselves), and pay onward to the artist. This is why most record companies have expertise in project managing releases including promotion and marketing, design and manufacturing and all the other elements needed to have the best possible chance of a successful release.START-UP GUIDE TO MUSIC BUSINESS18HOW CREATORS MAKE MONEY FROM THESE RIGHTS Put simply, a songwriter writes songs, which benefit from the protections of copyright. They then earn money from the exploitation of those copyrights. The performing artist who doesn’t write their own material is focussed on deriving an income from the exploitation of their recording of tracks, monetising the associated sound recording copyright and driving revenues through the other areas of their business (live performance, merchandise etc). If a creator happens to be both the artist and the songwriter, then they receive both parallel streams of income from the publishing and the recording copyrights. WHEN DOES COPYRIGHT ACTUALL Y START? In the UK, copyright is said to commence once a work is created and documented or recorded in writing or by other physical means (for example, making a demo recording or video, or even writing out a musical score). Be aware that this can be different in different countries, for example in the US, where copyright must be formally registered with the US Copyright Office. WHO IS THE OWNER OF THE COPYRIGHT? The song is nearly always owned by its creator, at least initially. The only exception occurs when someone is specifically employed to create a song on behalf of another (e.g. a piece of commissioned music for an advert), in which case, whoever paid for the process will be the owner. The sound recording is owned by whoever arranged and PAID (payment being the crucial element) for the recording to take place. So for artists signed under traditional recording agreements (more on this later), that would normally be the record company. Unsigned and even signed artists should own the sound recording copyright IF they paid for the related studio hire. There is a catch here, if they arranged a deal with a studio on a free basis, then technically the sound recordings belong to the studio owner. In the case of home studios, ownership could theoretically come down to whoever paid for the equipment or even the electricity supply. This is a complex area and uncertainty over who owns a particular copyright is the root cause of many of the lawsuits in the music industry. Whenever you write or record with other people, it is really important to set out your understanding in writing, if not in a contract, then at least in an email or other written form to establish your expectations and to have the others sign or repost to confirm their agreement. Legal advice should always be sought to make sure you understand all the consequences of any agreement you enter into (whether formal or informal). The Musicians Union publishes a series of simple agreements that can act as useful starting points if you don’t have a lot of experience or the support of a legal advisor, and most law firms can help you with template agreements, often at low or no cost if they see a long term benefit of working in this way with an artist or their team. HOW LONG DOES COPYRIGHT LAST? The copyright in a song (i.e for the songwriters) in the UK lasts for 70 years after the death of the last remaining writer. The copyright in the sound recording in the UK is different and lasts for 70 years from the end of the year in which it was first released. For both copyright types, take care when working internationally as these durations vary from country to country. Again, it is important to properly understand the consequences, which could affect you legally and financially, so legal advice should be sought. WHAT ABOUT COVER SONGS? The moment a song is commercially released, anyone can play that song live or record it themselves, without having to seek the permission of the copyright owner so long as it is a ‘straight cover’ START-UP GUIDE TO MUSIC BUSINESS19with no changes to the lyrics or other substantive elements of the underlying song. To release a cover you may need to get a ‘mechanical licence’ from the collection society MCPS, on in fact in practice from PRS For Music. The PRS For Music website has lots of information and a helpline for more information. If the song is used in a way where any change is made to the composition (structure) or lyrics, this will require additional prior approval from the songwriters / publishers. It’s worth noting that they don’t have to give permission and in some cases even if they do it can take a long time but you must have permission in order to use a song in this way and can’t make it available publicly until or unless you have it. There is often a royalty to pay in return for this permission, which could be significant. This is a complex area and you should get good legal advice from a specialist music lawyer before going ahead. WHAT ABOUT SAMPLING? The procedure for clearing the use of any third party sample is to seek approval both from the songwriter/ publisher (for the song) and from the label/artist (for the sound recording) in advance of release. An approval is required from all parties in order to proceed. If only the recording portion is denied, then it can be possible to re-record and utilise a newly recorded version of the sampled work instead, as long as the song structure remains intact – see above for more on this. WHAT TO DO NOW: 1 2KNOW WHICH COPYRIGHTS YOUR BUSINESS IS LIKEL Y TO BE INVOL VED WITH, AND TO WHAT EXTENT YOU WILL OR WON’T HAVE OWNERSHIP OR PERMISSIONS. THIS IS CRUCIAL; WHILST MUCH OF THE VALUE IN THE RECORDED MUSIC BUSINESS LIES IN THE OWNERSHIP OF THE RECORDINGS, IT IS ALSO POSSIBLE TO DERIVE INCOME FROM COPYRIGHT CREATION, EXPLOITATION, CURATION AND PROMOTION. THINK AHEAD TO MAKE SURE YOU HAVE ALL THE RIGHT PERMISSIONS IN PLACE AND A PLAN FOR HOW TO GET THEM. IF YOU NEED LEGAL ADVICE, THERE ARE A NUMBER OF GOOD MUSIC SPECIALIST LAW FIRMS LISTED ON THE AIM WEBSITE’S ‘FRIENDS OF AIM’ DIRECTORY, MANY OF WHICH OFFER DISCOUNTS AND LOW RATES TO AIM MEMBERS. ADDITIONALL Y SOME UNIVERSITIES, SUCH AS QUEEN MARY UNIVERSITY IN LONDON, OFFER LEGAL CLINICS AT NO COST. THE MUSICIANS’ UNION IS ALSO A SOURCE OF VALUABLE ADVICE AND GUIDANCE FOR MUSICIANS.3START-UP GUIDE TO MUSIC BUSINESS205. RECORDING AND PUBLISHING CONTRACTS RECORDING CONTRACTS If you are interested in releasing music, it is important that you understand the basis of recording or record deals. TYPES OF RECORDING DEAL There are various types of agreement that can be arranged between label and artist. These can be broadly split into two types: The exclusive recording deal sees the label become the sole rights owner in entirety, often for the life of the recordings’ copyrights. A license entails the label having a more limited set of rights, to release and exploit recordings exclusively, usually for a given period only, after which ownership reverts back to the artist. Licenses are a little like leasing your recordings to a label – or renting them to the label. Many contemporary label deals cover more than just the recording itself – they capture any songwriting / publishing and even live, merchandise and other aspects of the artist’s business. These tend to be called ‘360 deals’. When signing any deal, it is important to assess what rights and responsibilities attach to the transfer of any rights. If you are an artist, ask yourself if the business you are signing to has expertise in the areas captured by the deal. If you are signing an artist, ask yourself if you have the expertise, investment capital and capacity to deliver on what you are promising in the contract. As this contract can have significant impact on the artist, it is always advisable that everyone involved gets expert legal advice from music specialist lawyers. KEY CLAUSES There are two clauses in the record deal that are of greater importance than any other, primarily because they set the baseline income levels due to the artist.The advance is the amount of money due to the artist as a lump sum (and usually paid up front) and is intended to cover the artist’s subsistence as well as the recording of the new material. As the record company is paying for the creation of new recordings, they are owned by that company, not the artist. The royalty rate is the percentage of income from sales due to be paid back to the artist. All contracts will specify a base royalty payable to the artist from every sale. A substantial part of the rest of the agreement is likely to outline ways in which deductions will be made from the base royalty rate payable to the artist. Major label recording agreements in particular have become ever more complicated and lengthy, usually requiring many more rights and restrictions than independent deals. Independent deals tend to be more straightforward and increasingly geared towards transparency and the easiest way to work out the various split of any revenue. The record company is usually not obliged to pay through artist royalties on sales until such time as the amount of royalties accrued is in excess of the value of the advance; a notion known as recoupment. Even once the artist has recouped, the record company still owns the sound recordings on the basis that at the time of recording, it was they who funded the process. After they have recouped the advance, any royalties will be paid through to the artist according to the terms of their recording agreement. The territory clause outlines where the deal is limited to geographically speaking. This can be the UK, Europe, the world – and in some cases it is defined as the solar system or known universe! The minimum commitment can be used to specify both the minimum content deliverable by the artist for the contract and to specify the very least release obligations of the label to make recordings commercially available whilst still fulfilling their obligations. The release commitment is specific to how soon after delivery a recording must be released, and usually relates to the main territory. Such clauses are intended to ensure an obligation to the commercial release of material, and in timely fashion. START-UP GUIDE TO MUSIC BUSINESS21Options refer to a maximum number of tracks, albums or album cycles (otherwise known as option periods) a label is entitled to pick up, if they choose to do so. The artist may not offer recordings to another label until the current label has used up all its options or has released the artist. It is sometimes possible, with the current label’s permission and usually at a cost, to be released earlier. The tour support commitment relates to a minimum financial commitment by the record company to fund an otherwise loss-making touring artist. Once again, when offering or signing any legal agreement, make sure you take INDEPENDENT legal advice from a music specialist lawyer, and remember that if you are not paying the lawyer, you are not the client. Agreements may offer seemingly attractive rates which then get lower and lower once you get to the small print. Equally, as a new ‘label’, take care not to over-commit to an artist and find yourself in a position where you cannot afford to deliver on promises you have made, even with the best of intentions. Don’t rely on generic templates without understanding all of the legal and financial implications. This agreement will bind you, sometimes for a long time, and will be part of your financial considerations and impact on your relationships with artists as well as your reputation, so it is extremely important to get them right. PUBLISHING CONTRACTS If you have involvement in the writing of songs, it is important that you understand the basis of publishing deals. The number of different types of publishing agreement tends to increase as the songwriter gains in reputation. Those at the top of the scale might attract so-called ‘admin deal’ offers (administration only, with the lowest possible royalty due to the publisher), through to a full publishing agreement which will have a more favourable income split in favour of the publishing company. The advance and the royalty rate dictate the basis of the agreement (the advance once again being recoupable via the writer’s royalty rate, similar to the recording agreement described above), although in this instance the royalty will be substantially weighted in favour of the writer, and not the publishing company (the opposite is historically true when it comes to record deals, reflecting the greater financial risk taken and the broader range of services generally offered by the record company). The clauses regarding royalty rate may vary in order to incentivise the procurement of ‘cuts’ (i.e. songs commercially released), or sync deals (music placements in TV, film, adverts or video games etc). Advances can be spread across a term, perhaps being triggered at intervals or on delivery of a specified quantity of cuts or option extensions (see below). Due to there being many fewer recoupable costs lodged against a writer, they are likely to recoup far more quickly than the recording artist. The below elements are all worth noting; The exclusivity will determine which type of deal a writer is signing, whether on an exclusive basis (all of their works over a given period), single-song assignment (a one-off basis for a specific song), admin only or sub-published (whereby an existing publishing entity assigns all of its rights to a third party). The territory clause determines whether the deal is to be administered overseas either by a publisher’s local country affiliate, or via a sub-publishing agreement with another company. The rights period is the duration for which the publishing company will be able to exploit the relevant songs. Though subject to variation, this can often be for a set period (perhaps ten or fifteen years), whilst some deals endure for the entire life of copyright term (i.e. 70 years after death of songwriter). Whilst the rights period is specific to the songs, the term relates to the actual writer, and determines the length of time for which the songwriter is exclusively signed to the publishing company. These are normally for a period of up to three years, with additional option periods. In assessing these options, the company will consider the degree to which the START-UP GUIDE TO MUSIC BUSINESS22writer has recouped their advance, as well as the minimum commitment. This is a clause designed to incentivise the writer not just to maintain high standards creatively and deliver a high quantity of songs, but also to actively seek out as many commercial release opportunities as possible. So for example, a minimum commitment of five songs in a twelve month period would necessitate that writer having to have written 100% of five songs which have been commercially released within the year. Finally, the rights granted specifically detail exactly what has been assigned to the publishing company, and might usually be expected to encompass performance and mechanical income (i.e. income due from recorded music sales), as well as sheet music and sync fees. WHAT TO DO NOW: 1 2 3UNDERSTAND AND BE ABLE TO UTILISE KEY CONTRACTUAL CLAUSES IN RECORDING AND PUBLISHING AGREEMENTS, IN PARTICULAR RELATING TO THE ADVANCE, ROY AL TIES AND THE NOTION OF RECOUPABILITY. READ AS MUCH AS YOU CAN ON DEAL TYPES AND STRUCTURES (SEE RECOMMENDED READING SECTION AT THE END), TALK TO AS MANY PEOPLE AS YOU CAN ABOUT THE PROS AND CONS OF DIFFERENT APPROACHES AND THEIR EXPERIENCES, FOR EXAMPLE, BY ATTENDING NETWORKING EVENTS. ACCEPT THAT THERE IS NO ‘PERFECT’ CONTRACT AS EVERY DEAL IS A COMPROMISE, BE CLEAR ON YOUR PRIORITIES AND ABILITIES WHENEVER YOU ARE IN A NEGOTIATION AND DON’T PROMISE ANYTHING YOU CAN’T DELIVER OR DON’T UNDERSTAND FULL Y.START-UP GUIDE TO MUSIC BUSINESS236. COLLECTION SOCIETIES It is important to understand the ways in which the exploitation of your copyright will result in income coming back to you. Of course record and publishing companies can handle some of the royalty flow- through due from sales relatively directly and in straightforward fashion; a record is downloaded, and the artist is paid a royalty. Y et what of the writers who contributed to the song that was recorded, or the session musicians responsible for recording its string section? How does the industry support the notion that every writer or artist is compensated when their work is exploited via sale or broadcast (whether via media, or live performance)? And how does this apply to the multitude of creative entities which make up the modern music business aside from artist and writer, such as producers, performers, musicians and arrangers? Step forward the performing rights organisations, PROs for short, also known as collection societies or Collective Management Organisations (CMOs). COLLECTIVE LICENCING The Performing Rights Organisations were created for reasons of cost saving and simplification of procedure, with the UK music industry applying a system known as collective licensing. This occurs when the majority of rights owners collate all of their rights into one pot, and appoint a central organisation to handle licensing on their behalf. The resultant performing rights organisation can then strike one deal for all rights owners with an entire groups of licensees (so in this instance, licensees could be radio stations, TV channels, venues, cafes, bars etc, or indeed any public or commercial entity likely to want to use music). Clearly this is far simpler than coming to an arrangement for every single use of music with every single potential licensee. Equally the licensee does not have to come to an enormous amount of agreements with every party involved in the ownership of every single track they’re hoping to use. In order to ensure that all relevant creatives are fairly compensated for the public performance of their work, several different organisations were created, each tasked with overseeing a specific use of copyright; a) PRS For Music – (short for the Performing Rights Society) the principle role of PRS For Music is to collect royalties from users of music in the UK who perform or broadcast music to the public. They collect only on behalf of songwriters, composers and publishers, and hence are in no way concerned with artists. Their principle means of income are derived from: - issuing annual licenses to businesses and organisations who utilise music on their premises - the agreement and pay-through of set rates payable for the use of songs broadcast on radio or television - live performance venues b) MCPS – (Mechanical Copyright & Protection Society) Whilst the MCPS operates on behalf of the very same creatives as the PRS (i.e. for songwriters and publishers), their sole purpose is the collection of a specific amount every time a record is either pressed or sold, downloaded or streamed. The majority of the resultant income is then paid back to the songwriter and their respective publishing company. These two independent entities merged in 1997, and now operate under the name PRS For Music. c) PPL - (Phonographic Performance Ltd) In effect, PPL performs the same role as the PRS, but in relation to sound recording copyright (not the song). So those same public performance scenarios, from radio, TV, or at any space where music is exposed to a number of people will also collectively licence to PPL. In this instance though, the royalties collected will be paid through to the relevant record companies and performers, on an equally split basis. Note that both PPL and PRS for Music can collect royalties not just from the UK but also from around the world through a series of bilateral agreements with their equivalent organisations in each territory. d) VPL (Video Performance Ltd) VPL perform a very similar function to the sister PPL organisation, but in respect of music videos, hence this extends to anyone featuring in a music video, be they artist, band member, backing dancer, featured actor, etc.START-UP GUIDE TO MUSIC BUSINESS24THE PPL PRS MUSIC LICENCE In 2018, PPL and PRS For Music formed a joint venture in order to further simplify the process of licensing music for public performance. In providing a single point of contact for any entity requiring the above mentioned licenses, the joint venture now allows this to occur via just one application for the newly termed ‘TheMusicLicence’; once collected, royalties are then distributed to the two parent companies. HOW DO THE P.R.O.s WORK WITH BROADCASTERS? PRS for Music and PPL will issue a so-called ‘blanket licence’ to the main domestic broadcasters that entitles them to use any track administered by the respective PRO without having to seek permission on an individual song-by-song basis. In turn, the broadcasters must provide detailed lists of all music utilised so the PROs can pay out the correct rightsholders. Note that these blanket licenses are not issued to all UK broadcasters, meaning that Sky for one is still required to procure licences on a case by case basis. More prominently (and for the lucky chosen ones, often more profitably) the US TV and film industries are themselves obliged to seek individual agreements for the use of music in their productions (a process known as synchronisation, more of which later). PUBLIC PERFORMANCE & BROADCAST - ‘NEIGHBOURING RIGHTS’ OR ‘PERFORMANCE RIGHTS’ Neighbouring rights is a term used to describe the performance in public, broadcast (TV, radio) and some other ‘secondary’ rights attaching to the recording copyright, or Master Right. The international collection of Neighbouring Rights has become an ever more important source of income for the industry, and it is worth spending a moment learning a little more about it if your music is being played on the radio in the UK or overseas. There is a lot of good general information on both the PPL and the PRS websites. For some more advanced information AIM has two guides to this area, as well as video and other resources on its website for members. START-UP GUIDE TO MUSIC BUSINESS25WHAT TO DO NOW: 1 2 3UNDERSTAND THE PRINCIPLE OF COLLECTIVE LICENCING, WHERE IT APPLIES, AND HOW THE PA Y THROUGH OF ROY AL TIES FOR EACH COPYRIGHT TYPE FIND THEIR WA Y THROUGH TO THE RELEVANT BUSINESSES AND CREATORS ENSURE THAT YOUR WORKS AND RECORDINGS ARE REGISTERED WITH THE RELEVANT COLLECTION SOCIETIES. START TO KEEP A DATABASE OF ALL OF YOUR WORKS AND RECORDINGS WITH ALL THE METADATA ABOUT THEM. DON’T REL Y ON A DISTRIBUTOR OR COLLECTION SOCIETY TO DO THIS FOR YOU. THERE ARE TOOLS, SYSTEMS AND COMPANIES WHO CAN HELP YOU DO THIS, CHECK THE FRIENDS OF AIM DIRECTORY ON AIM’S WEBSITE, COME TO RELEVANT AIM EVENTS TO LEARN MORE ABOUT THIS.START-UP GUIDE TO MUSIC BUSINESS267. FUNDING: COVERING THE INITIAL OUTGOINGS The process of maximising an artist’s reach requires substantial investment. This can make the business model a challenging one for many developing artists and small labels who face the difficulties of having no set route to market, whilst requiring substantial funding in order to break through. Historically, much of the funding for both the development and promotion of the artist came via the record company. Whilst this still occurs, it does so now much later in the process than it once did. Using the plethora of tools and data available, record companies are incentivised to wait and observe an artist’s market potential as they develop, rather than commit too early and back a less likely winner. In this way, the cost of early-stage development has swung away from the record companies, and places responsibility with the artist to develop themselves to such a level that they attract substantial investment. Whilst artists these days are likely to have to get further on their own before they get signed than in the old world, the availability of social media and other free or low cost tools makes the process feasible and achievable. Getting a music career off the ground was always said to be about ‘creating a buzz’ – in many ways, it still is. There are typically a number of different options for generating early stage investment. GRANTS The contemporary music industry benefits from some Government backed and other grant funding. Funding, in the form of grants, is available for application from a number of different sources, for example the PRS Foundation, Arts Council England, devolved national governments, regional / local funding, Help Musicians UK, and the Music Export Growth Scheme (MEGS) from the Department for International Trade which is administered by the BPI. CROWDFUNDING As artists have increasingly taken direct control of their early release activity, so the options for funding this process have opened up, and crowdfunding remains a popular option, in spite of the high profile failure this year of Pledge Music, which collapsed for particular reasons, but proves the rule that it’s essential to read the small print. Crowdfunding by its nature encourages members of the public to contribute towards a project, by offering incentives or products that they can purchase, often in advance of their creation. As a result, it is a process that lends itself to the direct artist-fan relationship, many of whom are early adopters, eager to liaise direct with the creative talent, and support their career. Crowdfunding has allowed artists with no other viable means of raising funding, to do so in a way that is engaging and directly relevant. LOANS Though loans remain an option for music as with any business, the reality is that artists will often struggle to get a traditional business loan from a bank. Of course other investors can also be found (more of which below), and though the lenders charge interest, it may not involve an exchange of copyright ownership, which at least ensures that the intellectual property remains within the control of the borrower. PRIVATE INVESTMENT Trying to identify and then speak the language of business investment tends not to be a strength of most creatives or start-up music businesses. Nevertheless, third party investment has become an increasingly viable means of funding projects whether an artist or entrepreneur simply knows someone that might want to invest in them, or via more formal investment programmes looking to target music. In such instances, the programme can help package the artist as an investment opportunity, seek interested parties and set the terms of any resultant deal. In return for their initial investment, an investor may well expect a percentage stake in a forthcoming release, or to get a share of a portion of the artist’s income across multiple streams over a given number of years.START-UP GUIDE TO MUSIC BUSINESS27BRAND DEALS Music remains an attractive and glamorous business, and one which other industries are hugely keen to associate with, in order to promote their products and services, underscore their brand values and energise their offering. Artists create a cachet which third party brands recognise, and are willing to pay for the association, as the resultant promotional value can be substantial. A brand owner’s principle ambition is often to reinforce their brand identity by association, which can by definition mean partnering with newer developing artists considered to be a better fit for their target audience. The notion of early adoption applies just as much in commercial partnerships as in media.WELL CONSIDERED, FRUGAL BUDGETING Whilst it is true that the upfront costs of music promotion can be expensive, it is worth asking how much of those outgoings are actually essential, and what the expenditure will likely add to the bottom line. In this day and age, there is a lot you can do for free. Think about everything you can do yourself; be creative! Simply by considering what the essentials for any given piece of activity might be, it can be easy to ascertain which elements could be considered necessities, and which are luxuries. All of which is not to say that a business should not benefit from investment, merely that due consideration should be given to where that investment is made. WHAT TO DO NOW: 1 2CONSIDER YOUR INVESTMENT NEEDS AND THE RANGE OF POTENTIAL FUNDING OPTIONS OPEN TO YOU, AND REACH OUT ACCORDINGL Y. ALWA YS READ THE SMALL PRINT AND BE FULL Y AWARE OF ANY OBLIGATIONS OF REPA YMENT, HOW YOUR MONEY IS KEPT AND PROVIDED AND SO ON. IF YOU ARE NOT CLEAR ON THE DEAL ALWA YS SEEK SPECIALIST LEGAL ADVICE.START-UP GUIDE TO MUSIC BUSINESS288. CORE BUSINESS SKILLS It is worth examining in greater depth some of the core principles that underpin running a business. YOUR BRAND VALUES Allocate plenty of thought as to what constitutes your brand values; which business principles are of most importance to you, and how you want your product or service (and yourself, in a business context) to be perceived. This will determine everything from what type of service you’re offering, to how you should market yourself, and who your ultimate audience is. By considering who you want to reach and who can help you reach them, it will be possible to identify not just your target audience, but your whole business community, from suppliers, to advisors, to investors and beyond. SEPARATING PERSONAL AND BUSINESS FINANCES It is essential that you separate out any business finances from any of your own personal money. This will dramatically simplify the processes of accounting and tax preparation. It could also help you in the event that things go wrong. This means having a separate business bank account whether or not you set up a company or operate as a sole trader. BUDGETING It is advisable to make some effort at budgeting likely expenses and consider these against potential income when setting up any new venture. Y ou can research a lot of the likely costs you will incur by looking online, consulting contacts in the industry, or through trial and error with smaller scale experiments or pilot projects. Think about whether you will require premises, a website build, what types of insurance, staffing or transport costs are you likely to accrue? Will they be one-time expenses, or regularly incurred costs? Y our expenses will also help define at which price point you should make your product or service available (i.e. in order to start to try to generate revenue). Any costs associated with making any goods, labour, packaging and shipping, processing, marketing and relevant taxes must be considered. SALES PROJECTIONS Many coming into the music business have already been involved in a degree of commercial or entrepreneurial activity with their music, which is as good a basis for ascertaining sales projections as any. Ideally this can be combined with research (whether anecdotal, or literal) into similar businesses. Consider who you know who might be prepared to provide some ballpark numbers. Research artists you admire or identify with them at different levels within the industry – see what they are doing and how they are making money. What can you learn from them? BOOKKEEPING AND ACCOUNTING Bookkeeping is the process of tracking and recording daily transactions, whether sales or expenses, and recording their impact on financial status. In other words, it helps track and show the health of your business at any given moment. CASH FLOW Cash flow is the single most important indicator of whether your business will survive. 82% of small businesses (across the wider economy – not just in music) fail due to cash flow problems. Poor cash flow management is the biggest single risk to your business no matter how good your music is. If you can’t afford to pay your debts when they fall due, you risk going bust. Maintaining good cash flow is all about making sure you get paid when you are due to get paid and being able to deliver on your obligations when your bills fall due. Remember that the cash flow position of the company can vary enormously from the the accounting position, for any number of reasons (perhaps the most common of which is late payment of an invoice) so if there is one business process you need to prioritise, it is keeping on top of your cash flow. The golden rules are to make sure you send out any invoice you can as soon as you can and that you work actively to make sure people pay you on timeSTART-UP GUIDE TO MUSIC BUSINESS29TAX FOR YOUR BUSINESS It is essential to recall any business will need to pay tax on its profits. As a guide, it is worth assuming that approximately twenty percent of annual profits will need to be set aside in a separate deposit account in order to allocate towards any tax obligations as and when they are due. ACCOUNTING TO THE ARTIST Accounting royalties due to the artist is an extremely complex task, and one which even experienced industry veterans tend to out-source to a third party platform. These days, many platforms are available and several work on a commission basis and so cost nothing up front. It is well worth using a proper third party system for helping run your administration – particularly when it comes to royalty accounting as being late or getting it wrong can fundamentally damage any relationships between artist and their commercial partner. WRITING A BUSINESS PLAN Writing a business plan will not only allow you to road test your proposal, and identify gaps in your existing knowledge base, but also it will be essential in circumstances where you are seeking to attract third party investment. A business plan should be an overview document that not only describes what a business is and how it intends to generate profit, but also core elements you might want to think about such as staffing levels, premises, managerial leadership, the operating model, and of course, financing. In other words, it should be the comprehensive blueprint for you to relay your business intentions to any given third party. WHAT TO DO NOW: 1 2 3IDENTIFY AND COMMIT TO YOUR BRAND VALUES, COMMUNITY AND VISION. LOOK AFTER YOUR NUMBERS. SEPARATE PERSONAL AND BUSINESS TRANSACTIONS, RESEARCH AND EMPLOY A BUSINESS FORECAST PROCESS, IDENTIFY AND EMPLOY A SUITABLE ACCOUNTANT AND UTILISE ROBUST ACCOUNTING PROCEDURES. CONSIDER OUTSOURCING ROY AL TY ACCOUNTING TO A SPECIALIST COMPANY. YOU CAN FIND DETAILS OF SOME COMPANIES AND TOOLS ON THE FRIENDS OF AIM DIRECTORY ON THE AIM WEBSITE AND BY ATTENDING AIM EVENTS LOOKING AT THIS AREA. WRITE A ROBUST MARKETING PLAN AND STICK TO IT!4START-UP GUIDE TO MUSIC BUSINESS309. THE TEAM AROUND THE ARTIST It is important to understand the core team that might exist around an artist, and how they support their business needs. The boundaries between each role have become increasingly blurred over recent times, but nevertheless the principles remain the same and understanding the roles and functions of the team can help in in formulating a strategy for an artist career or campaign. THE MANAGER The manager should maintain a strategic overview across every aspect of the artist’s career. Broadly speaking that entails enabling the artist to be as free as possible to focus on the creative element of their role, whilst the management oversees the business elements. Their role can therefore include involvement in aspects as far reaching as A&R, logistics and legal matters, marketing, promotion and the artist’s health and wellbeing. The most important clauses in any management agreement stipulate the basic rate of commission due, what happens to that rate if the parties go their separate ways, and then a legal notion which attempts to ensure that the manager always acts in the artist’s best interests even when it may prejudice the interests of the manager themselves. This is the highest legal duty of care and is known as a ‘fiduciary duty’. THE LAWYER As a guiding rule, if a business collaboration or substantial exchange of money is to be undertaken, or an issue regarding ownership exists, then it is wise to consult a lawyer. Whilst it is generally suggested that such guidance tends not to come cheaply, anyone first encountering a legal document, and the ‘legalease’ language which they utilise, will understand exactly why a trustworthy, experienced and legally trained eye can add substantial value (and prevent a multitude of later issues) if employed from the outset. The money a lawyer could save you in the long run is almost certainly worth any initial outlay. Music industry lawyers also tend to be well networked at senior levels within industry organisations, making them valuable allies and connectors at the earliest stages of the artist’s career, when external input and assistance is often so beneficial. THE BOOKING AGENT A booking agent’s responsibility is to procure live performance opportunities for the artist, most likely in the form of headline shows, support slots or festivals. As few artists have a reach beyond their immediate locality, the agent’s extensive network of contacts and capacity to understand where the most suitable opportunities exist makes them a potentially valuable addition to any team. They tend to work exclusively, and on a commission basis of the gross fees of all live income. THE ACCOUNTANT Often paid on an annual basis, or via set fees for specific tasks, accountants can not only optimise a business in terms of the corresponding tax obligations, but also contribute in areas such as optimal business set-up, self-assessment, book- keeping, VAT returns, tour accounting and even auditing. If you are unsure about anything financial, a recommendation for a decent accountant can be worth its weight in gold. THE BLURRING OF ROLE BOUNDARIES Whilst each of the above roles is arguably a specialist position, sometimes out of necessity, but often-times out of choice, some or all of these roles end up getting combined. An experienced manager will be well versed in legalease, key contractual clauses and negotiation tactics for example, which might mean you rely less on a lawyer for day-to-day issues. Equally, it is also not uncommon these days for lawyers and accountants to make the move into management, combining their technical training with commercial skills and entrepreneurial nouse to the benefit of their clients. As ever in business, necessity remains the driver of invention, and if a problem needs solving, a solution can most often be found in consultation with the right team.START-UP GUIDE TO MUSIC BUSINESS31WHAT TO DO NOW: UNDERSTAND THE ROLES, RESPONSIBILITIES AND VALUE OF THE MANAGER, LAWYER, BOOKING AGENT AND ACCOUNTANT, AND TO CONSIDER THEIR RESPECTIVE IMPORTANCE RELATIVE TO YOUR BUSINESS MODEL. CONSIDER WHICH OF THESE ROLES YOU ARE UNDERTAKING OR WHO YOU HAVE IN THOSE ROLES IF YOU ARE THE MUSICIAN. MAKE SURE YOU HAVE CLEAR WRITTEN AGREEMENTS SETTING OUT WHO DOES WHAT AND HOW THAT IS PAID FOR FROM THE OUTSET. GET SPECIALIST LEGAL ADVICE FOR THIS. 1 2START-UP GUIDE TO MUSIC BUSINESS3210. LAUNCH COUNTDOWN WHY TIMELINE? A timeline is a simple document that outlines the key elements of a campaign, in sequential order. It allows you, and anyone else involved in the process, to see what it is you are intending to do, and when. It helps teams coordinate and it makes it possible to more readily highlight unrealistic deadlines, gaps in the process, oversights, sequencing issues, missed opportunities, possible synergies and areas for improvement. In addition, it becomes the ‘core’ document around which everything else relates, and to which every other ‘moving part’ (i.e. each person) in the team should refer. HOW TO TIMELINE Most campaigns will encompass a specific moment in time around which to build the principle focus of attention. Normally, you would start with that moment and work backwards to identify when deadlines need to be, and whether you have enough time to hit them. The first process in creating the timeline therefore lies in ascertaining what those key moments are likely to be rather than initially focussing on when they are going to be. Work out what you want to do – then work out when it is likely to be achievable. The purpose of the document, likely to be separated into key areas of activity, is to outline exactly when a campaign begins, when core elements need to be created and delivered, the scheduling of promotional activities (offline and digital) and clearly highlighting key impact points. The aim is to focus on the most important elements of the campaign, in order to allow for a ‘quick glance’ understanding of ambitions, as well as the associated sequencing and responsibilities. DIGITAL RELEASE One of the perceptions of the digital age is that of being able to distribute information instantaneously. The reality of digital music distribution is that established processes have developed that require more time than you might at first imagine. The processes and timing of the procedure will depend on the nature of your distribution set- up (whether with a label for example, or an independent third party aggregator). The services available to the artist will vary accordingly, but may include elements of promotional or marketing support, synchronisation leads, data analytics, asset creation and retail sell-in. Playlist pitching has very much come to the fore in recent times as streaming consumption has increased in terms of importance. It is worth sometimes taking a step back and making sure you have a good plan in place before rushing to release a track or album, just because it is finished. Also, whilst everyone wants to get on playlists, don’t forget that highly engaged fans who build a relationship with an artist are worth significantly more revenue over time, whether through sales of music, tickets or merchandise, than almost any number of passive listeners who hear some music on a playlist and may never even know the artist’s name. OFFICIAL CHARTS Most major territories have longstanding and officially recognised chart systems to log sales, and provide a weekly update in the form of a chart. The basic process of releasing new material does not automatically make it known to the relevant chart entity and it is important to confirm that your label or distributor is doing this on your behalf if you feel your release may have a chance of featuring.START-UP GUIDE TO MUSIC BUSINESS33WHAT DO I NEED IN ORDER TO DISTRIBUTE DIGITALL Y? There are three key elements to delivering music to a distributor, which include; The music itself – delivered to a pre-specified audio quality standard and format. Accompanying artwork – for every release format that you upload, a piece of artwork must accompany it, again to a particular specification in terms of size and resolution. Metadata - on the delivery of every finished master recording, the producer is responsible for also delivering the accompanying ‘label copy’, which details who owns the copyrights and each person to be credited with an involvement in the recording process. By doing this, each track can be identified, and every person correctly remunerated. THE TIMESCALE OF DIGITAL DISTRIBUTION It is possible to make tracks available within a matter of days, but aiming for the optimum scenario, it is wise to allow up to four weeks ahead of release for delivering all of the elements into the distribution system. DIGITAL RELEASE INCOME For every digital download it is fair to assume that approximately half of the value of every single track sale will make its way back to the owner (after mechanicals, VAT / sales taxes and the retailer’s cut). For streaming, inevitably the income due back is far less for each individual transaction, and varies by platform and country; the amount paid through per stream is quantified to the third decimal place of a penny, which somewhat supports much of the early criticism around streaming, that it simply doesn’t pay through sufficiently. The reality is that streaming can and does provide not just a promotional channel, but a vital source of income for many. When starting out, these revenues can be tiny, but look to build them over time and they can really start to add up and deliver constant monthly income to your business. It is clear that to make decent money from streaming requires large quantities of streams for the individual artist, or better still, the combined number of streams across a number of successful artists for the repertoire owner. Whilst the average pay through per user is a much lower rate than that for downloads, the likes of Apple Music, Deezer and Spotify remain far more profitable for artists and their commercial partners per listen than the most populated streaming platform of all, namely Y ouTube.START-UP GUIDE TO MUSIC BUSINESS34WHAT TO DO NOW: UNDERSTAND THE USE OF, AND BEGIN TO EMPLOY, THE TIME-LINING PROCESS TO MAP OUT CORE ELEMENTS OF THE CAMPAIGN IN SEQUENTIAL ORDER. IDENTIFY AND CHOOSE A SUITABLE DIGITAL DISTRIBUTOR BASED UPON THEIR FINANCIAL MODEL AND POTENTIAL TO PROCURE PLA YLIST SUPPORT. ENSURE THAT RELEASE ARTWORK, MUSIC AND METADATA ARE SUPPLIED IN THE CORRECT SPECIFICATION TO YOUR DISTRIBUTOR UP TO FOUR WEEKS IN ADVANCE OF RELEASE, IN ORDER TO ALLOW FOR RETAIL SELL IN. APPRECIATE THAT DIGITAL EARNINGS ALONE MA Y NOT BE ENOUGH TO SUPPORT AN INDIVIDUAL ARTIST – CERTAINL Y IN THE EARL Y STAGES – AND UNDERSTAND THAT A SUCCESSFUL ARTIST OFTEN RELIES ON A COMBINATION OF INCOME STREAMS WHEREAS A SUCCESSFUL LABEL OR PUBLISHER OFTEN RELIES ON THE INCOME THAT COMES FROM HAVING A BROAD CATALOGUE OF MUSIC.1 2 3 4START-UP GUIDE TO MUSIC BUSINESS3511. PHYSICAL RELEASE IS PHYSICAL PRODUCT STILL RELEVANT? The contemporary reality for many major territories is that physical sales still account for a sizeable portion of the marketplace. Whilst sales are undoubtedly on the decline, many (typically older demographic) consumers have yet to adopt the subscription based streaming model, preferring the notion of owning something that they can touch and see, over a harder to grasp concept of cloud-based ‘access to all.’ Whilst it appears inevitable that sales may well continue to decline, as long as CDs and vinyl (and somewhat remarkably, even the return of the cassette tape) account for reasonable volumes in markets as diverse but prominent as the UK, USA, Germany and Japan, then clearly their relevance to the consumer will remain important. IS PHYSICAL PRODUCT RIGHT FOR YOUR ARTIST? Whilst it is difficult to paint broad brushstrokes as to the typical music fan by genre, it is clear that consumers of certain types of music appear more likely to purchase physical stock than others; dance artists, operating in a rapidly moving and technology embracing environment, might well overlook physicals for example, whilst a heavy metal band could well base their income model on the sale of physical product of one form or another. It is therefore well worth researching similar artists or releases to give at least some indication of potential uptake. That said, much relies upon the type and quality of product, and the means via which it is communicated. Typically, a highly engaged audience is more likely to make a purchase, and even moreso if they are doing so direct from the artist. The uber fan seeks out the opportunity to actively engage and support, making them not just more likely to purchase, but to do so with higher spec and more expensive product. CHOOSING A PHYSICAL DISTRIBUTION PARTNER Some distributors simply do not cater for the physical market, and those that do are typically choosy as to which artists they take on; they have limited stock capacity after all, and need to allocate space and inventory to items most likely to sell. Equally, some physical distributors will not consider a deal if digital rights cannot be factored into the proposition. Such a decision may well boil down to whether there is intent to service physical retail, or whether the artist is looking to conduct all of their physical sales via their own direct to consumer/merch space. DIRECT TO CONSUMER SALES In regards to direct to consumer (abbreviated to D2C, literally meaning selling straight from artist to consumer without doing so via a third party retailer), self fulfilling is clearly a simpler proposition, allowing the artist or their team to take direct responsibility for all matters after taking receipt of manufactured goods. Whilst this facilitates the retention of ownership of both process and all income, it does come with the associated logistical issues; from space to keep potentially large quantities of stock, to packing and shipping each and every order, and then dealing with all subsequent customer queries. It also requires the investment of capital upfront in stock that may or may not sell – see the section on cash flow. A fulfilment partner could handle all of the process of shipping from warehouse to customer, and any subsequent customer queries in exchange for a percentage of income accrued (typically around 10%) or sometimes as a flat monthly fee. There are also services that print / press to order or will not require payments for stock up front. These alternatives may pay a much reduced margin on each sale, but the beneficial impact on your cash flow might make that drop in margin worthwhile. DISTRIBUTION INTO RETAIL For those artists who will realistically be able to place their merch in high street shops, it is necessary to secure a distribution deal. In the UK, likely retail outlets broadly break down into supermarkets (mostly chart product only), major specialists (of which HMV is really the sole country-wide survivor) independent specialists such as the network of independent record stores, and online (the likes of Amazon). Not only will the distributor take on the logistics and customer liaison responsibilities, but START-UP GUIDE TO MUSIC BUSINESS36perhaps the true value lies in their retail relationships, their capacity to procure more favourable retail space or rates, and indeed simply to sell in more stock into physical retail in the first instance; after all, presence and profile in the physical environment will almost certainly lead to more sales. RETAIL SELL-IN The process of selling in to retail is invariably deal dependant; whilst a retailer simply won’t take stock of a product they believe won’t sell, even for those that they do, it will be necessary to strike a deal. Retailers will expect a discount, which works on the premise of increasing in proportion with the quantity of stock which they are prepared to take. In return, the distributor might barter for a better quality of racking (shelf space / position); after all whilst some purchases are pre-meditated, many remain impulse buys, reliant upon entering the consumer’s consciousness. Therefore the distribution partner will require promotional bullet points and information just as much as the promo team. In a limited space environment it is necessary to fight hard for placement, making for a particular importance on the relaying of up to date and accurate promotional momentum to the sales team in order to justify the sales push. RETAIL IN-STORES Many retailers, and frequently independent stores, recognise the value of artist performance within their retail space as a driver of sales. So called ‘in- stores’ (in store performances) act as a potential ‘call to arms’ for customers to effectively attend a free live performance conducted within their local music retail space. The opportunity to see the artist perform in an intimate setting, as well as meet and greet and sign merchandise, can be a highly effective stimulator of sales at otherwise quiet times of the day. AIM publishes for its members a list of independent record stores around the UK who invite artists to perform in-stores, as well as their tech specs, requirements, and other information that would help incorporate this tool into a release schedule and marketing plan.LIKEL Y DEAL TERMS Procuring a distribution partner will certainly entail the signing of an associated deal, in order to outline the core elements of the relationship. Principle amongst these will be the term (the duration for which the agreement will last), the type of rights (whether physical only or inclusive of digital, with whether the repertoire owner needs to provide finished goods) and territories (outlining the geographical reach). In terms of the royalty split itself, the digital split would be expected to be lower for the distributor than the physical (acknowledging the reduced logistical effort of digital distribution), which may have a base starting place around 20% (due to the distributor, with the remainder going to the repertoire owner). THE COSTS AND TIMESCALE OF PHYSICAL DISTRIBUTION Selling physical product invariably starts with its manufacture, and there are many options available to the independent artist. An ‘economies of scale’ principle applies to the process of manufacture; the more produced, the lower the cost per unit. That cost is also determined by the relative complexity of the product type being manufactured. In terms of timing, manufacturer turnaround for a standard CD ought to be around four weeks from receipt of all elements to delivery of finished stock into the warehouse, allowing for potential stock issues, and for priming the distributor for retail sell- in. For vinyl, the timings are much greater, often running to up to twelve weeks in instances where the repertoire owner requests a test pressing (effectively a sample listening copy to check for quality prior to mass manufacture). OTHER PHYSICAL ITEMS The above processes can also apply to the broad range of merchandise items that can be sold into retail or via D2C, in that the artist or repertoire owner will generally be required to provide the finished stock, and hence bear the cost of manufacture upfront. There are also merchandisers who work on a print-on-demand type basis, reacting to orders in real time, albeit with the inevitable downside that the unit cost is more expensive. START-UP GUIDE TO MUSIC BUSINESS37WHAT DO I NEED IN ORDER TO DISTRIBUTE PHYSICALL Y? Music – for audio CD most manufacturers now request that music is delivered in a DDP file format or alternatively as a Red Book CD-R with tracklisting. This is also the time to embed ISRCs into the manufacturing process if so desired; this is the international standard system for the identification of recorded music and allows for individual track numbers to be permanently encoded into a track to help ensure the correct remuneration of its creators. These can be issued by PPL or your label/distributor in the UK. For vinyl, files can generally be provided in WAV format, with a standard bit rate of 24 bit/44.1KHz. Artwork - Any physical product will require the delivery of artwork for every element of the product, from front and back cover, booklet inserts and CD or vinyl label/on body print. Each will need to be designed and delivered onto pre-specified manufacturer grids in order to ensure that any margin for design, print or manufacture error is reduced. Metadata – this is ostensibly comprised of the same information as for digital release, but with the addition of any physical product specific information, such as vinyl side splits, differing catalogue numbers etc. PHYSICAL RELEASE INCOME Commercial terms on physical sales in the UK are based not upon the retail price but on PPD (published price to dealer, or the price per unit paid by the retailer to the repertoire owner), which vary according to prescribed price points. These price points are used to make product available at what might be considered a full price, a reduced mid price, and then a budget price, which is sometimes employed to shift old stock. There are numerous additional intermediate price levels which vary according to strategic aims, product format or content etc. Pay through back to the repertoire owner therefore is based on a percentage of the PPD, which may typically be around half of the value of the retail price (albeit being subject to whatever pricing the retailer chooses to make available to the customer, clearly this is very much a rough approximation).START-UP GUIDE TO MUSIC BUSINESS38WHAT TO DO NOW: 1 2 3 4DECIDE IF SELLING PHYSICAL PRODUCT IS RIGHT FOR YOU / YOUR ARTIST. DECIDE WHETHER A RETAIL PRESENCE IS NECESSARY. IF NOT, SOURCE MANUFACTURING QUOTES AND EITHER SET-UP WITH A FULFILMENT PARTNER, OR PREPARE TO SELF-FULFIL. FOR THOSE SEEKING A RETAIL PRESENCE, LOCATE AND CHOOSE A SUITABLE PHYSICAL DISTRIBUTION PARTNER, AND NEGOTIATE TERMS ACCORDINGL Y. ENSURE THAT ARTWORK, MUSIC AND METADATA ARE SUPPLIED IN THE CORRECT SPECIFICATION TO THE MANUFACTURER NO LESS THAN FOUR WEEKS IN ADVANCE OF RELEASE DATE FOR CD, AND UP TO TWEL VE WEEKS IN ADVANCE FOR VINYL. KEEP YOUR DISTRIBUTION SALES TEAM UP TO SPEED WITH THE PROMOTIONAL ACTIVITY IN ORDER TO AID THE SELL-IN PROCESS AT RETAIL.5START-UP GUIDE TO MUSIC BUSINESS3912. MARKETING PRINCIPLES If marketing is the process of generating maximum possible awareness via the most efficient timeframe and expenditure, then that marketing message is most effectively amplified via tastemakers and influencers. Not only does the buy-in of these tastemakers more rapidly facilitate the growth of a fanbase, but the reality of the music business is that a handful of key gatekeepers carry even greater influence. Their support is so significant that a negative reaction can severely obstruct the progress of an artist’s career, or in more extreme circumstances, effectively finish it off. The industry relies on these few people in order to magnify the marketing message, and so to reach the mass market. THE MARKETING PLAN The marketing plan is mainly focussed on the means to get the buy-in of these tastemakers, and remains a key document in the campaign armoury. The plan should outline the likely demographics of the target audience, artist USP (unique selling points), campaign sequencing, impact points, retail support, core messaging, as well as key content and assets. In doing that it also outlines which media, ideally right down to specific individuals, make up the targeting for magnifying the message to the target audience.. THE THREE PILLARS OF MUSIC MARKETING A central element of the marketing plan is that of giving the campaign team tools to work with that help make the artist sufficiently distinctive amongst the backdrop of an incredibly crowded marketplace. With many thousands of tracks uploaded on any given day, the artistic message becomes a vital part in the fight for media and consumer attention, and is usually relayed via a combination of three separate, but inter-relating elements. The music – the music should be at the core of the campaign – it should be both sufficiently distinctive and of outstanding quality, in order to justify the effort involved in bringing it to market.The visuals – the imagery and video content associated with an artist are often the first and most important component in capturing a given target’s attention. Ideally they should be at once sufficiently striking as to be instantly engaging, and also a logical visual reference to the music. This applies to an increasing array of elements, from press shots, artwork, music videos, social media content, live backdrops and much more. The message – the message is often the key contrast between artists. This can be a combination of many elements but is often based around the artist’s own narrative. It too should be a logical extension of both the music, and any accompanying visuals, in expressing a coherent and simple narrative, so that both media and consumer can easily pick up on it. OWNED CHANNELS VERSUS THIRD PARTY CHANNELS ‘Owned channels’ in this sense refer to the artist’s own website as well as their social media channels and on the basis that they are controlled by the artist, who can be safe in the knowledge that it is they and their immediate team deciding exactly what should or should not be posted on them. This is very different from ‘third party’ owned channels (controlled by someone else e.g. media, retail etc), which the artist might hope to use to gain access to a following, but doing so requires the owner’s buy- in and support. Owned channels are the one space whereby the artist should have 100% control over the messaging and content posted, and as a result they remain the most fundamental part of their promotional arsenal. This makes the artist’s social channels, and above all else, the artist homepage/ digital web presence, the definitive place through which to communicate with the outside world. START-UP GUIDE TO MUSIC BUSINESS40CONTENT PLANNING AND CONSUMER TARGETING With social media allowing so much direct engagement with the consumer, the use of a suitable CTA (call to action – i.e. the action that you want fans and other users to take when they engage with that content) is arguably the most important element. If the marketing plan is conceived early enough in the process around a release, then it can be used as a means to communicate what sort of content needs to be created during the creative process, in order to facilitate the desired CTA. DIGITAL TARGETING A professional plan should also contain a plan for and some degree of detail for digital advertising targeting (and, perhaps, advertising on offline platforms too e.g. print, TV, radio), in order to find other routes to the target audience, communicate useful information as to similar or related artists, for context, and to support key moments throughout the campaign period. Most digital platforms now contain relatively sophisticated ways to advertise to specifically segmented audiences (whether reaching existing fans or expanding the fanbase), e.g. geographical or lifestyle based segmentation. IMPACT POINTS Campaigns tend to be built around key impact points, or moments at which all activity is boosted for maximum impact. Identifying and communicating when these points occur is fundamental in the planning process, as they are the hooks on which the rest of the campaign is built, giving clear direction as to when certain activities are needed, whether led by media promotions, or marketing or advertising. CONTENT, CONTENT AND MORE CONTENT The reality for the contemporary musician is that when it comes to social media; love it or hate it, you’d better be on it. The impact of an ‘always on’ audience places an enormous strain on the artist to maintain a dialogue or presence, regardless of which point the campaign has reached. The answer is nearly always the creation of yet more quality content to share and often quickly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he business of music is as based on copyrights. It is the exclusive rights to do things with the music that generates income. Whether that’s the song, or the recording, it is preferable to be the outright owner of either, preferably both, for as long as possible. The use of the music or, more technically, the exploitation of those copyrights as owners is just the beginning though; there is an additional layer of ownership, which is that of audience or customer data. Although marketing is very effective, it has more impact when combined with the capacity for the copyright owner to reach out directly to the artist’s audience. Unlike some other commercial sectors, in the music business the product (content) owner doesn’t usually own or control the ways of getting the product to the market. This presents a dilemma; how effective can your marketing and promotion be if you don’t truly understand the composition and behaviour of your audience? Though social media has opened up the capacity for the artist to engage directly with the fan, the associated data is not owned by the artist, but by the platform on which it exists. The content owner then has distance and potential barriers between them and the audience, whilst also being at the mercy and controls of the social media platform. As a result, the emphasis has switched to the so- called D2C (direct to consumer) model, because by selling music direct to the fan (and in effect acting as both artist AND retailer), the content owner owns the fan data as well. For the first time, this allows for a direct artist-to-fan relationship that is both controllable and fully transparent. This also creates the ability to ‘re-market’ - the principle that it is a lot more efficient to sell more music to those who you have already engaged than it is to attempt to reach new potential fans). By owning the data from any one purchase, it is therefore possible not only to see what a consumer purchased and when, but to then pro-actively re- engage with them. By merging this with the capacity to track buying habits in real time, it is possible to enhance and optimise the sales and marketing process at every further stage, making marketing more and more efficient and potentially saving you cost and effort. DATA ANAL YSIS Alongside a growing understanding of the importance of data ownership is the recognition that there is an increased amount of data returning from the digital platforms which can be inspected. However, often the most useful learnings from data are hidden and need greater and more complex analysis to be revealed. It is also worth recognising that data often reveals ‘when’ and ‘how’, but only rarely ‘why,’ and this final question is arguably the most significant in the decision making mix. The result is an ever greater emphasis placed upon highly skilled data analysts to recognise the significant in amongst the insignificant, and to interpret said data in increasingly meaningful ways and build platforms and tools to present the results. For advanced campaigns, a combination of insightful data analysis and meaningful market research tends to give the best results in terms of optimising the marketing processes.START-UP GUIDE TO MUSIC BUSINESS43WHAT TO DO NOW: 1 2 3ACKNOWLEDGE THE BENEFIT OF OWNING CONSUMER DATA AND MAKE STEPS TOWARDS DOING SO, IF NOT ALREADY IN PLACE. APPL Y THE PROCESS OF RE-MARKETING IN ORDER TO MAXIMISE OWNED DATA AND INCREASE SALES. LOOK FOR SOURCES AND SERVICES FOR DATA ANAL YTICS SO THAT YOU CAN APPL Y A COMBINATION OF DATA ANAL YSIS AND MARKET RESEARCH TO FURTHER OPTIMISE UNDERSTANDING OF CONSUMER BEHAVIOUR.START-UP GUIDE TO MUSIC BUSINESS4414. PROMOTION Promotion in the music industry amplifies the marketing message, usually through a series of well established relationships. Traditionally the practice of promotion has involved drilling down onto various types and areas of media, based around the ambition of getting tastemaker support, by working with individuals with relevant networks and expert knowledge in each of those types and areas of media. THE IMPORTANCE OF RELATIONSHIPS The field of promotion, perhaps more than any other in the music business, and even in this digital age, exists on the strength of relationships. Access to a PR’s network of contacts is usually much of the reason they are hired. Invariably this comes at a cost, but the on-going need for curation in an increasingly over-populated market means that the higher up a tastemaker or influencer exists in the food chain, the more their attention is sought. This increases the likelihood of such tastemakers and influencers relying on a small group of trusted promotions contacts for their time, in order to filter the otherwise enormous volume of music they are confronted with on a daily basis. KNOW YOUR TARGETS One key theme resonates regardless of the campaign; namely the need for well-considered targeting of tastemakers and influencers. Doing so both ensures the highest possible uptake, but also avoids the unnecessary practice of ‘carpet-bombing’ people regardless of their stated preferences or fields of interest, which can earn you a bad reputation and in some cases make the very tastemakers you are trying to reach avoid other campaigns you run, even if those following campaigns are more appropriate for them. RADIO Radio, and in the UK, national radio, still often sits at the top of the promotional tree. Of all the promotional wins that can occur, it is a substantial national radio playlist that will reverberate most around the campaign team, though influencer podcasts and playlists are increasingly become as relevant and, in some genres, have already overtaken radio. We are fortunate in the UK in having the national BBC stations and the commercial radio network as means of offering country-wide radio exposure. Each station generally has a (mostly) democratically agreed playlisting policy, whereby key personnel are required to meet on a regular basis to decide which tracks should be added to the list and which should be removed as well as having quotas for ‘new music’, diversity policies and so on. The station will predominantly base its broadcasting output upon the content of its playlists. Each major show on the major national networks tends to have a producer and DJ whose responsibility it is to contribute opinion to the playlisting process, or to select tracks for spot plays, depending on their individual remit. The role of the radio plugger (a specialist promoter to radio) is to identify suitable radio targets, deliver the music to them and most importantly, to actually ‘plug.’ The plugging portion is the make-or-break element, whereby the plugger would be expected to use their experience and knowledge of radio policy and personnel, and ‘work’ their network of relationships, in order to sell in a given track and increase the chances of getting radio airplay and, where possible, playlist places. Initiatives such as BBC Introducing (which allows artists the capacity to upload music direct for the consideration of their local BBC radio station, with the potential to move higher up the food chain to national level radio exposure), have democratised the process of procuring radio support away from simply relying only upon radio plugging. REGIONAL RADIO The UK radio network is also made up of a large quantity of smaller, regional radio stations delivering more localised output to a smaller geographical audience. A significant proportion of the regional radio stations are owned by a handful of companies, allowing them to create centralised content that is rolled out across the network at certain times of day. This also means that the process of plugging START-UP GUIDE TO MUSIC BUSINESS45regionally is not always done in a particularly localised fashion, but through getting support from the central company, which then rolls out across the rest of that company’s network. It is therefore possible to gain near national levels of airplay through a handful of key regional radio players. Regional radio support is not just about scale though, but can also be essential in terms of procuring early adopter or influencer support in the form of local specialist radio stations or shows rather than trying to get to the national influencers who are likely to receive more attention. TV TV performance openings for contemporary artists have dwindled in the last few decades as broadcasters have moved away from specialised music-only programming, leaving just a handful of good opportunities. Those that do exist tend to lean towards major international artists who are considered to be likely to deliver higher audience figures than those further down the pecking order. UK TV plugging therefore tends to focus on a small number of prime time performance slots (mostly within the format of televised awards ceremonies, variety shows, reality TV shows or presenter-led chat shows and occasional cameo spots on soaps), or a minimal number of music specialists. Music video channels remain an important part of the mix for those artists delivering official music video content of sufficient quality though the number of mainly music-video channels is also shrinking in line with the growth of digital video platforms. Strangely the audience numbers have remained fairly consistent, after an initial drop-off following the global embracing of Y ouTube and other video- based platforms, with channels opening in new countries and with the expansion of digital TV. Such channels do tend to deliver well targeted audiences for specific music genres and certain shows also make provision to feature clips of video content as segueways into or out of advert breaks, which can also be an impactful way of finding new audience. Feature interviews can also offer a valuable televised promotional outlet for artists, with opportunities leaning towards topical broadcasts. As they tend to be narrative-led, such slots can be a particularly impactful way of communicating part of the artist’s broader message, back story or their support of a cause particular to their interest. A good TV plugger or often a PR should have access to these types of opportunities. PRINT AND ONLINE PRESS The capacity to reach out to large amounts of readers is no longer the exclusive domain of a handful of longstanding print institutions. Many of these do still exist and have successfully added an online offering, but digital publications, both formal and informal, have created a transformation in printed word media and blurred the lines between professional journalism and amateur blogging, dramatically increasing the amount of content and places to find it, whilst at the same time reducing the audience of any one publication. There are some clear promotional benefits to these developments, as the ability to cater to what were once considered niche markets (smaller pockets of interest that could never be fully serviced through traditional print media) are now much more reachable via digital means. The shared interests for such groupings often makes them a more targeted audience, resulting in a higher rate of conversion from reader to fan. These targets are generally the domain of the music PR, who again will likely have spent a great deal of time and effort building relationships in order to maintain a direct line of communication with the most significant journalists. WRITTEN ASSETS The PR will compile individual press releases for each significant moment of a campaign, be it individual single track releases, albums, tours, major content release or announcements, etc. The press release is a specific overview, normally of no more than one page in length, detailing the most pertinent information for journalists to absorb in deciding if they will want to feature it. In part, it will often also contain a reference to the broader narrative as previously mentioned. START-UP GUIDE TO MUSIC BUSINESS46The campaign message should itself have been written into and communicated in much greater length and detail in the artist bio(graphy). The bio isn’t necessarily a detailed history or timeline of the artist’s life up until that point, but an opportunity to identify and communicate a particular in-depth campaign story. This is the main opportunity to communicate the message that has been discussed and identified in advance as being relevant not just to the artist, but also their main musical content at that moment. CRISIS MANAGEMENT The PR is also the person to turn to in the event of unexpectedly unpleasant messaging relating to the artist leaking out into media circles. Inevitably as situations develop or new information comes to light, so-called crisis management PR can be crucial in the effort at taking back an element of control as to the nature of the surrounding messaging. As the press-facing person around the artist, it is the PR who will field queries at such times, and who must attempt to steer the most positive outcome possible, in close coordination with the artist, their management, and others working on the campaign. SOCIAL MEDIA INFLUENCERS & THE POWER OF RECOMMENDATION As social media and digital channels expand and become more and more significant, the need for curation has also spread to them. However, there is a key difference in the nature of these influencers, whose voices tend to come less from the traditional fields of journalism, but instead from out of the pubic domain. By its nature, social media provides a platform for anyone with a voice to steer opinion, enabling some individuals to gain enormous followings in a short space of time. The net result is an environment populated with a large quantity of so-called social media influencers specialising in particular fields, whose audiences buy in to their tone of voice, branding and messaging. As a result, they carry enormous influence over younger demographics in particular, whose opinion is likely to be swayed by the power of recommendation over straight advertising.Such influencers are as a result in high demand for their potential to support a given message and get it to their audience. Influencer marketing most effectively takes place when the coming together of the tastemaker with the product and/or service is entirely authentic and seamless; if that product is not consistent with the influencer’s established brand values, then the lack of authenticity is likely to be immediately apparent, resulting in limited commercial gain, and a weakening of perception for brand and product alike. PODCASTS Podcasting (the delivery of a specific audio file via digital means as part of wider programme – for the uninitiated), has begun to become an increasingly important part of the promotional mix. Along with the growth of influencers and their movement from traditional media to social media, many have turned to podcasting as a means of communicating passions, opinions and entertainment. By their nature, podcasts tend to deliver loyal followers to highly specialised content, which can make targeting particularly impactful when authentically linked to a music campaign. STREAMING PROMOTIONS The major streaming platforms receive an enormous quantity of new music in any given week, and as a result they too need help in applying some sort of sorting process to the tracks they choose to support. Whilst several (Spotify included) have now opened up the capacity for artists and their teams to pitch directly utilising online forms, there is also the capacity to pitch directly through trusted distribution channels, or to the sizeable playlist community. CLUB, SPECIALIST AND DJ PROMO The field of club promotion remains a core part of the process of building local and regional support for, particularly dance, music across the country. As with other specialist PRs, club promoters have long standing relationships with great quantities of DJs and clubs across the UK, and largely control the means of relaying new material to them. Generally done in advance of release, tracks are dispersed START-UP GUIDE TO MUSIC BUSINESS47across the network (frequently across numerous different genre mixes so as to maximise potential uptake) for DJs to play, and to provide subsequent feedback. The better performing tracks feature in the top sections of the associated club charts, indicating evidence of broader specialist interest and likely audience interest. WHAT TO DO NOW: 1 2USE EXISTING RELATIONSHIPS AND CREATE NEW ONES WITH KEY PROMOTIONAL TASTEMAKER TARGETS. DIRECT MEDIA RELATIONS ARE ALWA YS MORE LIKEL Y TO PROVE BENEFICIAL THAN OPERATING VIA A THIRD PARTY. IDENTIFY KEY PROMOTIONAL TASTEMAKER TARGETS AND CONSIDER HIRING PROMOTIONS PERSONNEL IN THE PARTICULAR FIELDS OUTLINED IN THIS CHAPTER IN ORDER TO ENLIST SUPPORT FOR YOUR ARTIST.START-UP GUIDE TO MUSIC BUSINESS4815. LIVE PERFORMANCE LIVE PERFORMANCE AS AN INCOME STREAM Live performance, always a fundamental income source for artists and the wider music business, took on an increased importance during the digital downturn which followed the turn of the millennium. This can partially be put down to core music fans placing an increased value on experiences and the subsequent process of sharing those over the social media boom. With research indicating that peer group ‘word of mouth’ influence (most frequently through friends’ social media posts) accounts for roughly one-third of consumer discovery of events, it would seem logical to assume that live performance attendance is also well placed to benefit from the so-called FOMO (‘fear of missing out’) factor that has seemingly had increasing influence on us all in recent years. Some record labels have (and it is common practice among the major labels), as other income sources have reduced, included this income stream in recording agreements (as in so-called ‘360 deals’). The argument for including this is that the label is spending a lot of money and resource, particularly early in an artist’s career, in raising the artist’s profile and fronting tour costs and should therefore benefit from all live activity, which may well not have been an opportunity without the label’s efforts. The opposite argument, particularly for more established artists, is that the label is not significantly contributing to the fees the artist can gain already for live shows and therefore shouldn’t benefit. Independent labels have a broad range of deals available, as previously discussed in this guide, but many have avoided including a share live income in their recording agreements, leaving this income stream to the artist to help with artist’s cash flow and sometimes to avoid potential areas of conflict. Some independents have always included live, some don’t agree with the practice and see it as a point of principle not to take a share in this income. Each is different, and it is good to inspect how you as a business feel about this aspect from the outset and re-assess as you go.TOURING AN ALBUM It is standard industry practice to ensure that any significant live performances are planned to correspond with a record release. The combination of both ‘impact points’ occurring concurrently makes for numerous promotional advantages; not least with combined promotional activity causing the artist’s profile to be at its peak, the opportunities for the consumer to be aware of the artist and any content are maximised, regardless of whether that impact point is as a live event or the recording. In addition there is also the possibility of co- ordinating the marketing and advertising messaging, right through from fundamentals such as consistency of branding and visuals to including tour dates on posters and adverts. From the PR perspective, live shows also offer the added value of being able to invite and host key tastemakers or influencers, in order to help spread the word ever further. THE AGENT Once the artist has reached a certain profile, it is the booking agent’s (often shortened to just ‘agent’) role to procure live performance opportunities on behalf of the artists on the agent’s roster. They most commonly work on an exclusive basis, earning a commission of between five and fifteen percent of gross live earnings. In the early stages of any artist’s career, they invariably attract low fees, and this can make procuring an agent somewhat difficult. The agent’s commitment requires absolute belief in the artist’s long term potential in order to justify the early efforts which will bring little income to them in the form of commission. As with any industry role with a promotional element, they will be required to have an extensive network of reliable contacts in the relevant territories in which they book, at regional, national or international levels. A broad range of contacts will allow the greatest opportunity for securing the right kinds of performances, whether as headliner, support slots or the many festival propositions that are relevant to the individual artist.START-UP GUIDE TO MUSIC BUSINESS49This should never stop the artist and their immediate team from finding other opportunities through their own contacts as the activities of artist, team and agent will reinforce each other to raise the profile of the artist. It is not the agent’s role, particularly in the early stages of at artist’s career, to replace the artist and their team’s own activities, but to add to them by bringing their own contacts into play. SUPPORT SLOTS Whilst most artists start their careers booking their own gigs, the reality is that their reach is difficult to spread beyond their own locality. An agent’s first role then is often to help spread the artist’s geographical reach and expand live fanbase. By getting support slots (playing second or third on the bill, in support of a headlining artist or as part of a bigger event), the risk of performing further afield to empty rooms is mitigated somewhat by relying on the draw of the main artist to attract a crowd and bring their own following. Again, it is still crucial for the artist and their immediate team to continue to promote these gigs in order that the artist can show they have a loyal fanbase, be recommended by the promoter to others and to get repeat bookings. HEADLINE SHOWS AND TYPES OF DEAL OFFER For those seeking to grow an audience in their own right, or with a more established following outside of their immediate locality, the next opportunities are headline tours. Here the agent’s role is to book and route a headline tour based not just on logistics (i.e. sensible geographical reach, in order to minimise travel time and reduce tour costs), venue suitability and population density, but also upon any customer location data available to them, which typically comes from whatever digital platforms the artist is already using. There are various types of deal that the agent can strike for headline performances, each reflecting the negotiating position of either the promoter or artist, and their relative confidence in their capacity to sell tickets. These are typically based upon so- called ‘door deals,’ meaning income collected on the night ‘from the door’ (in reality also from advance ticket sales). These are sometimes referred to as ‘hard ticket sales,’ and are used to calculate the percentage of gross (i.e. before costs) box office receipts to be split between the artist and the promoter, less the relevant expenses. Costs / expenses typically include things such as venue hire, security, insurance, sound engineer fee, advertising, etc. and are broken down in detail after the event’s completion. The income is then split between artist and promoter in a variety of ways. ‘Flat deals’ guarantee the artist a set fee, regardless of ticket sales. A ‘versus deal’ will offer whichever is higher (for the artist) between a specified flat fee, and a percentage of ticket sales. A ‘plus deal’ will offer a guarantee plus a percentage of ticket sales. Alternatively, a straight percentage split is offered based on a percentage of ticket sales with no guarantee. All shows and promoters and scenarios will be different, but it is worth asking for the basis of the calculation if it is unclear. FESTIVALS An offer to be added to the bill at a particular festival can also be an important part of an artist’s profile build, giving valuable credibility, not to mention exposure to perhaps large new audiences, and promotional opportunities that might not otherwise be available to them. Of even more importance to the artist, festivals are typically in a position to pay higher fees than the artist might otherwise attract as a headline proposition for their own shows, not to mention that the artist does not have to pay the associated costs of putting on the show. Festival offers are typically of the flat fee nature as, among other reasons, ticket sales can’t be attributed to any single artist. THE PROMOTER The promoter is the individual or company whose principle role is to put on a live event, and most importantly, to bear the financial risk of doing so. This means that even if the event undersells and runs at a loss then the promoter still has to pay through on whatever costs they have already agreed to, START-UP GUIDE TO MUSIC BUSINESS50including the artist’s fee. The promoter will pocket whatever is left after expenses and the artist fee, meaning that the risk is considered justifiable because the financial upside for successfully selling out large venue shows can be enormous. Their promotional activities will typically take the form of mailouts to their existing customer databases, flyering and postering both at the venue itself and elsewhere, the placement of press adverts in relevant publications and listings in gig programmes, as well as contributing towards the costs and activity of social media and advertising campaigns. LIVE PROMOTION As previously mentioned, gig promotion is not only the responsibility of the promoter, as in reality much of the promotional momentum for live shows is as likely to come from the artist themselves. In that sense, there are some fundamental principles that the artist should adhere to. This includes putting on a great show, prominent posts on social media profiles, targets ad campaigns and advance PR and promotion, which all fall within the direct responsibility of the artist themselves and the team around the artist. THE TOUR MANAGER The principle role of the tour manager is to ensure that any live event takes place as planned, and to take overall responsibility for the well-being of the artist and crew. In effect, they are also the eyes and ears of the manager ‘on the ground’ without the manager having to be in attendance of every event alongside the artist. They will have a key role to play in the pre-planning and pre-production elements of any tour activity, helping budget and book resources accordingly, and then to ensure that every logistical element likely to be encountered has been considered in advance, and is dealt with as speedily and cost effectively as possible. TOUR SUPPORT If the artist’s live fees are not sufficient to cover the projected expenses of performance (allowing for deductions such as agent and manager commission), then a signed artist will likely look to their record label to help cover the resultant shortfall. The principle here is that the rights owner is just as likely to want their artist to have a live performance profile, and will benefit from the activity also. Therefore as the party in the (hopefully) most cash-rich position, it should be the record company’s responsibility to fund any shortfall, in the form of a so-called ‘tour support’ advance. Inevitably if approved, this is considered a recoupable cost to be offset against artist income and, as previously discussed, the label may feel it justifiable to take a share of all the artist’s live income as a result. MERCHANDISE There are substantial opportunities for generating either income or promotional mileage from touring beyond just the core element of a good performance. Traditionally the most significant is merchandising, which works on the basic premise that those who are already interested in the artist (i.e. gig attendees) are highly likely to make a further purchase (i.e. at the merch stand). If the artist makes it clear whilst on-stage that they will also come front of house after the gig to sign merchandise and meet and greet fans, then the likely merchandise income takings will increase considerably. Many venues would expect to take a split (often around ten percent) of merchandising earnings in return for providing the facility, and this is often written into the performance agreement, and this does not always involve the promoter providing personnel to attend to the merch desk itself. PUTTING ON LIVE EVENTS As the concept of curation develops for those within the recorded music side of the industry, so the idea expands out into the world of live music. Putting on a live event relies mostly on a combination of the strength of the performing artists, and the corresponding lifestyle branding communicated to the potential target audience. The handling of both factors will have a substantial impact on the likely success of the event. Entrepreneurs have been quick to recognise the transferability of curational skills between live and recorded music, so the START-UP GUIDE TO MUSIC BUSINESS51opportunities to become involved in live events promotion have expanded. In a crowded live market it is important to make an event distinctive and appealing. Whilst the musical choices made should send a very clear message to the as to the type of event and audience, the branding is communicated through a combination of elements, including everything from choice of visual assets (including logo), the media partners used for promotion, venue or location, who is being encouraged to attend (or not), any non-musical activities, facilities or entertainment, food and drink options and where relevant, the type and range of accommodation. To some degree, an event narrative is also just as important as for artist campaigns, as it relays a sense of identity about the artist to which the consumer relate. WHAT TO DO NOW: 1 2 3 4 5UNDERSTAND THE ROLES, RESPONSIBILITIES AND VALUE OF THE BOOKING AGENT, PROMOTER AND TOUR MANAGEMENT ROLES. BE ABLE TO DIFFERENTIATE BETWEEN, HEADLINE, SUPPORT SLOTS AND FESTIVALS, THE ASSOCIATED MONETARY AND PROMOTIONAL VALUE, AND THE DIFFERING TYPES OF DEAL THEY LIKEL Y ENTAIL. TO USE THIS KNOWLEDGE TO PUT IN PLACE A SUITABLE LIVE STRATEGY TO DRIVE YOUR ARTIST’S CAREER FORWARD, AND TO ENSURE THAT THE PROMOTION OF LIVE EVENTS AND CORRESPONDING RECORD CAMPAIGN ARE OF MUTUAL BENEFIT. UTILISE SUITABLE PROMOTIONAL MEANS TO SUPPORT YOUR / YOUR ARTIST’S EVENTS. TO UNDERSTAND AND ENGAGE WITH ADDITIONAL FINANCIAL OR PROMOTIONAL OPPORTUNITIES AT LIVE EVENTS, FROM MERCHANDISE AND BEYOND. TO CONSIDER WHETHER ANY EXISTING CURATIONAL EXPERTISE COULD BE APPLIED OR EXPANDED UPON WITHIN A LIVE EVENTS CONTEXT.6START-UP GUIDE TO MUSIC BUSINESS5216. SYNC AND OTHER COMMERCIAL DEALS THE DEFINITION OF SYNC A ‘sync’ is the use of music to accompany (or synchronise with) moving image or visual production, so typically film, advert or television use, plus gaming, and sometimes even live events. A sync in practical terms refers to a one-off licence agreement to use a piece of music in conjunction with another media, in instances where a blanket collective license (e.g. from PPL and PRS) is not already in place. WHY DO THIRD PARTIES NEED MUSIC? The established terrestrial television networks in the UK (BBC and ITV for example) have ‘blanket licences’ (that is a licence available under the law from PPL and PRS that covers effectively all UK music) in place to use the music of those represented across their output, but the same is not true of others, such as Sky TV, or particularly North American television broadcast or film. Syncs are desirable by the visual media industry primarily because of the emotional connection that music provides; music evokes a high emotional connection with people, with the potential to substantially enhance a feeling or message. For syncs, music is used to help convey a story that already exists in the pictures, adding impact and depth. Music also carries an element of credibility to which brands and other media are often excited to be associated with. THE VALUE OF SYNC The financial value of any given sync deal varies enormously depending on any number of elements, from the type of media (film, TV programme, etc.), the duration and frequency of the music used, the artist’s notoriety, production budget, and so on. The value is not purely financial though, for whilst syncs are a clear source of both recording and publishing income, they also exist as a highly valuable promotional opportunity; many syncs in the right film, for example, have kick-started or helped boost artist’s careers at crucial moments. As with any area of the business, procuring a sync relies substantially on luck, not just in terms of having the right music for the particular opportunity, but doing so at the right time, and in a capacity that is licensable within an often short timescale. MUSIC SUPERVISORS The role of the music supervisor is to match music to a particular visual production and clear its usage. Ideally the supervisor is chosen not just because of their extensive network of contacts across the music business, but also because of an equally extensive knowledge of musical styles and genres, and current musical trends. They are generally already part of an existing production entity, or hired on a flat fee basis. Supervisors are the contact point between visual industry and music industry, and hence play a vital role in the process of musical placement. INCREASING YOUR CHANCES FOR GETTING A SYNC Many record companies and publishing companies and increasingly distributors have their own sync and licensing departments who work hard to procure such opportunities. There are also specialist stand- alone sync agencies. Working in close co-ordination with labels and campaign teams for forthcoming releases, they form close relationships with music supervisors, agencies and brands. There is a PR-able element to synchronisation, and with an associated network of supervisors and agencies that are too many to be practical for a copyright owner to generate and cultivate on their own. Therefore it will usually be preferable to employ a company to operate as a sync agency working on behalf of the repertoire owner. SYNC-READY HOUSEKEEPING The ease with which a track can be licensed can often be the difference between finalising a deal or not and the independent labels have made a USP out of clearing a sync quickly and painlessly. There are therefore some underlying good practices that copyright owners can put in place in order to START-UP GUIDE TO MUSIC BUSINESS53maximise the visibility and possibility for their music to be synced. The ideal scenario is that all the copyrights for a track (for the recording AND for the song) are owned by one party, allowing the music supervisor to negotiate only with one copyright owner (or their representative), which means a more straightforward and rapid clearance process. When this is not possible (which is usually the case), it is at least preferable that all parties are open to sync deals in principle, and ready to respond in a short time frame. All musical content of potential sync relevance should also have ready the most comprehensive and detailed metadata possible. As well as track title, artist name and a licensing contact, this should ideally include all performers and elements such as artwork, ISRC, a reference to the relevant musical genre as well as a description of key moods or themes to which the music might prove relevant, songwriter information, promotional and tastemaker uptake (this is always useful to relay to help convince that an artist/track is worthy of attention). It is also advisable to have instrumental versions of all material ready to deliver on request for audio clashes, which are often required alongside the main sync use. CAPITALISING UPON A SYNC It is necessary also for the artist to take a pro-active approach to their promotion around sync activity. As the majority of newly-exposed listeners will not know the name of the artist or track they have heard, this starts with making the track easy to find for audiences, and easy to associate with the sync; the music should generally be available on DSPs at the time of broadcast or other availability of the sync (e.g. on release of the game). It is also sensible to capture the actual sync visuals and share them on the artist’s socials, which will allow the further spread out to other consumers who may have missed an initial broadcast or not be fans of a particular show or video game. COPYRIGHT CLEARANCE Music licensing and clearance is a famously messy affair as it can involve a number of people or companies, each with their own ambitions and perspectives as to what represents a good deal. At the very least, those wanting to use a track in a sync must seek licences for the rights in both the sound recording, and the song (composition). It is not possible to use a particular track without both rights being signed off. Typically, the sum offered to the publishing and recording entities will be of equal value, if only because offering one a higher provision than the other is almost certain to invite denial from the side being offered less. SYNC DEAL TERMS There are many points to consider when negotiating synchronisation terms, which will be equally relevant from both a sound recording and song/publishing rights owner perspective. These will include the actual product itself (so whether specific to a film, TV programme or video game for example), the context of the use (ideally relayed via a synopsis or scene overview), the duration of time for which the music will be featured, the media type (whether placed within the framework of perhaps a cinema, online or TV online advert, or mid movie or at the end credits for example), the term (how long the song can be exploited for in the context of the above), the relevant territories in which the sync will be made available (or indeed, any geographical restrictions) and of course the fee payable to each copyright owner.START-UP GUIDE TO MUSIC BUSINESS54GAMING The use of music in the context of gaming has exploded in recent times, fuelled by technology. The increased quantities of time users spend gaming and the more engrossing nature of many games require a similarly immersive use of musical content. The timelines for creating video games are much longer than those of the music business; it is not uncommon for developers to be embedding music into a game between eighteen and twenty four months in advance of its release. Fees for gaming can be structured somewhat differently to other syncs, either as a straight ‘buy- out’ (flat fee for lots of rights), on a royalty basis (per copy of the game sold, though increasingly online gaming is monetised through advertising more than selling copies of the game), or with lump sums payable on hitting given quantities of games bought. ADVERTISING Television adverts are probably the most frequent and most likely opportunity for sync income for copyright owners. For the artist and their team, part of the decision-making process regarding any advertising approach is whether an association with a particular brand or the relevant advertorial treatment is any way damaging to the artist’s message, reputation or brand, and whether the broader connection between artist and sync has sufficient integrity. Adverts tend mainly to be overseen by advertising agencies with highly specific briefs as to the musical feel, lyrical relevance and budget for a given ad. THIRD PARTY COMMERCIAL DEALS: WHY DO BRANDS NEED MUSIC? Usually, a brand owner will use music as a way of reinforcing their brand’s identity, turning to artists whose brand meet with their own brand values. Even more so than in film or television syncs, brands can use the excitement and ‘showbiz’ value of music to energise their product, using it for promotional mileage in a way that would otherwise be much harder to without the association. For the artist, a brand association means an opportunity to connect the artist with a particular set of (hopefully shared) values, a chance to broaden the audience, but first and foremost a potential for sometimes significant income. For brand partnerships to be maximised then, they ideally need to be mutually beneficial, to add value and connect with both audiences. COMMERCIAL DEAL TERMS There are various points to consider in commercial deals, mostly based around notions of control, and to some extent, how to sever terms in event of the association turning sour. These will include details of the specific service that the artist is required to provide (in essence, what is being done, by who, when and where), the accompanying exclusivity (most brands will seek to restrict the artist’s similar association with a competitor), the geographical reach of the deal, the extent to which either party has creative control (to prevent mis-use of association from either’s perspective), the agreement duration, the terms and conditions in respect of severance (particularly any illegal activity, but arguably more likely, in the advent of any adverse publicity), and lastly the fee, including any specific points or activities that will trigger corresponding payment. START-UP GUIDE TO MUSIC BUSINESS55WHAT TO DO NOW: 1 2 3 4CREATE RELEVANT SYNC RELATIONSHIPS WITH MUSIC SUPERVISORS, AGENCIES AND THIRD PARTY BRAND OWNERS, ALSO POSSIBLE AT AIM’S SYNC EVENTS AND OTHER NETWORKING EVENTS THROUGH THE YEAR. ENSURE THAT FILING AND SYNC HOUSE-KEEPING IS DONE IN FULL IN ORDER TO MAXIMISE THE CAPACITY TO HARNESS SYNC OPPORTUNITY AT POTENTIALL Y SHORT NOTICE. CONSIDER EMPLOYING A THIRD PARTY SYNC AGENCY WITH THE AIM OF PRO-ACTIVEL Y GETTING MORE OR BETTER OPPORTUNITIES FOR YOU / YOUR ARTISTS. IMPROVE YOUR KNOWLEDGE BY REFERRING TO THE AIM SYNC GUIDE AND OTHER RESOURCES AVAILABLE, ATTEND AIM’S ‘SYNC 101’ SESSION FOR THOSE STARTING OUT OR LOOKING TO START OUT IN APPROACHING SYNCS AND PERHAPS AIM’S ANNUAL SYNC CONFERENCE.START-UP GUIDE TO MUSIC BUSINESS5617. INTERNATIONAL EXPANSION As digital platforms allow for the spread of content between countries without distinction, music operates in an increasingly borderless music environment, creating the potential for all artists to find new audiences outside of their domestic territory. This potential dramatically increases though, with the employment of local ‘in market’ expertise, to help make connections, opportunities and represent the artist at a local level. WHEN AND WHERE TO GO OVERSEAS The decision as to when to make any sustained overseas efforts is a complex one. Often the decision is a chicken and egg situation; an existing overseas label or other partner may want to see some evidence of market interest in their territory ahead of committing their time and effort, but likewise that interest is most likely to be the element you are seeking from the overseas partner. The keys to determining overseas activity are research, opportunity and passion. Research - At first a copyright owner should be certain of the existence of a relevant audience. An analysis into the success of similar artists ought to provide some insight, certainly if combined with any naturally occurring overseas fanbase as evidenced on the artist’s own social media channels. Opportunity - It is not uncommon for opportunities to present themselves to an artist in particular overseas markets in which they have little evidence of support or fanbase. This might be in the form of a tour support offer for a successful international artist, a creative relationship with an overseas artist online, a sync or festival offer or the artist or a band member being able to speak a particular language. Passion - It is perfectly possible for a local partner, whether through their own discovery, a recommendation or direct approach, to express enthusiasm for an artist, so that their interest alone is sufficient to generate momentum. In this situation, there may be no existing evidence of local uptake, or obvious opportunity to capitalise upon, but simply a degree of excitement that justifies putting in the effort. THE ROUTE TO MARKET Whilst any digital distribution arrangement allows for an artist to cross borders, there are a number of alternative routes to market that can add additional interest and reach. ROLLOUT VIA LABEL SUBSIDIARY OR NETWORKS Many UK-based independent labels and distributors have a network of subsidiary companies or partner labels and distributors in the major recorded music markets – particularly so in the US and Germany. These networks allow the domestic rights owner the capacity to preserve copyright ownership and the benefits of the independent approach, while maintaining a high degree of centralized control over the campaign process. ASSIGNING RIGHTS TO AN OVERSEAS LABEL In instances where worldwide rights are self-owned, or where a recording agreement is limited to the UK or single territory only, it is common practice to seek out some sort of overseas recording agreement. It can be lucrative to sign deals on a territory- by-territory basis, but this is time consuming and requires considerable knowledge of each territory. There are also advantages to assigning rights to one label (likely a major record label but not always), or fewer labels that work in groups of territory (often on a share language or legal system basis), where efforts are more co-ordinated and straightforward to organise. LICENSING Limited licensing tends to occur when an artist has a more proven track record (or substantial industry buzz) in their own country, and are in a position of strength when it comes to entering a license, rather than assigning all recording rights outright. While a license allows the copyright owner to give the right to release a record in a given market to a local label, the ultimate ownership of the copyright is retained or will be returned after a period of time. START-UP GUIDE TO MUSIC BUSINESS57THE PA YGO (PA Y AS YOU GO) LABEL An increasingly viable option for those with proven pedigree, enough funding and a solid team around them, can be to hire people direct to represent you on a local or regional level. The copyright owner bears the costs and they or their team must have the know-how for hiring an experienced local team on the ground in key markets, whilst retaining complete control over the process and direct communication with everyone involved. With this model, you are likely to keep a higher share of the available revenues, but you will need to have the cash available to hire people and the expertise to run the team effectively and remotely, as you could be in a different part of the world. JOINT VENTURES Joint venture partnerships tend to be an option for well-established artists or labels with a proven pedigree who are seeking a greater degree of control in overseas markets, yet without incurring the expense or having to have the knowledge for hiring some form of in-market set-up themselves. Partnering with an existing company in a given territory can allow for greater control of the process and a potentially higher degree of financial reward than a straight licensing option. The compromise comes in the form of both parties contributing towards costs, though dividing the resultant income on an equally split ‘net of receipts’ basis. EXPORT The practice of selling domestically-manufactured product overseas is known as exporting, which can be a viable option for repertoire owners looking to ‘dip their toe’ into a given overseas market. Doing so requires a local distribution agreement, and allows the owner to claim all net income (after costs of distributing) due from sales. This is a complicated option and beyond the realm of this guide.LOCATING OVERSEAS PARTNERS Aside from reaching out to the likes of AIM, there is no shortcut to identifying the right international team, no matter what capacity the relationship takes. As with any association in the music business, it is impossible to undervalue the significance of networking and keeping the resulting relationships live and healthy. UNDERSTANDING THE LOCAL LANDSCAPE One of the key advantages of having an overseas team in place is that of gaining in-depth knowledge and direct access to the local media and retail landscape. The make-up and relative importance of key partners varies enormously at both a regional and individual territory to territory level, making such information fundamental to any campaign. Direct media relations are all important when it comes to procuring the most desired promotional opportunities; doing so from afar, in the absence of longer-term relationships and the cultural and technical knowledge these bring, is fraught with room for misunderstanding. THE VALUE OF BEING ‘IN MARKET’ Even allowing for intelligent planning, modern technology and generic asset creation, there is simply no substitute for having an artist present ‘in market’ in any given territory. It is a fundamental reality that a campaign team, the artist themselves and even local media become substantially more engaged the instant the artist spends time in a particular territory. Moreover, more prominent media will demand the presence of the artist in person, hence time ‘in market’ will almost certainly help procure more and better quality coverage. BESPOKE CONTENT Some key potential supporters (whether media or retail) will be of such value to the campaign that they justify the creation of their own exclusive content. Also, some countries have traditional models that required exclusive content in order to build and START-UP GUIDE TO MUSIC BUSINESS58maintain audiences. The nature of that content will vary from the relatively straightforward and delivered upfront (a written Q&A or streaming playlist for example), to that which can only be created whilst the artist is present in the marketplace, such as an exclusive performance or interview. GENERIC CONTENT The value of having the artist ‘in market’ presents the immediate problem that they simply cannot be in more than one place at a time. Conversely, it is still an over-arching aim of every campaign to feed as many media outlets (and their consumers) as possible in order to generate coverage. However, it is possible to service an ever-increasing quantity of media despite limited artist access by servicing media with EPKs, or electronic press kits. These files contain a broad spectrum of digitally delivered materials that can be seamlessly adapted for local use, giving the media outlet the appearance of having direct access to the artist. WHAT TO DO NOW: 1 2 3DECIDE WHEN IS THE RIGHT TIME TO BECOME ACTIVE IN OVERSEAS MARKETS, WITH WHICH PARTNERS AND IN WHAT FORM SUCH ACTIVITY SHOULD TAKE PLACE. START TO BUILD NETWORKS, ATTEND CONFERENCES AND NETWORKING EVENTS WHERE POTENTIAL INTERNATIONAL SERVICES AND PARTNERS TEND TO GO. AIM RUNS A NUMBER OF CONFERENCES, SUCH AS AIM CONNECTED, AND AIM HOUSE @ THE GREAT ESCAPE, BOTH OF WHICH ATTRACT THESE PEOPLE. AIM MEMBERSHIP ALSO OFFERS DISCOUNTS TO MANY UK AND OVERSEES CONFERENCES AND EVENTS. ONCE COMMITTED, ALLOCATE SUFFICIENT TIME IN MARKET, RESOURCE AND CONTENT CREATION EFFORT IN ORDER TO MAXIMISE IMPACT IN KEY TERRITORIES.START-UP GUIDE TO MUSIC BUSINESS5918. THE FUTURE WHAT DO YOU NEED TO KNOW? Predicting the future of any business is a difficult thing to do. Y et in order to survive, we must be aware of the need to adapt. It stands to reason that those who adjust best not only allow themselves to maintain their business, but also to steal a competitive advantage. The current environment provides clues as to the likely directions that the music business might take, the vast majority being driven by technological developments, and the associated cultures which arise as a result. It is also worth realising that the music business seems to function in cycles; often re- inventing itself, but equally often referring back to earlier patterns and trends, allowing us to recognise that the past can give us valuable clues as to the direction of the future. CONVERGING DIGITAL MEDIA Digital media seldom operate entirely in isolation, and whilst music synchronisation has long allowed the placement of musical audio as an accompaniment to visual media, the potential of interactive media is far greater than just the occasional hit film soundtrack. The focus is moving from focussing on the listener’s attention to the ability to accompany other activities, with gaming leading the way in this area. For those of us consumed by music, it is important to know that the total value of the global music business is utterly dwarfed by that of the gaming industry. The reality is that gaming has long since taken over from music as the go to sub-culture for youth, and whilst this could be seen to lessen music, music is still an essential part of the mix. In fact, music retains a value that makes it a highly desirable addition to gaming, and the more interactive, the better. In recognition of the soundtracking element to gaming, and the nature of the users who will frequently play for several hours at a time, streaming platforms now have specifically curated gaming playlists. This gives enormous potential for discovery of new music; as more gaming consumers prefer to heighten their user experience with the addition of music, so there are ever increasing opportunities to target otherwise difficult-to-reach audiences. DATA ANAL YSIS The collection and subsequent use and understanding of data remains an ever-expanding area of focus for virtually all modern businesses, music and otherwise, as digital environments allow us to attempt to understand those we engage with more than ever. The key is in the dissemination of the information into useful learnings that can then be applied for commercial benefit. Data analysis therefore becomes the differentiator between those who are truly harnessing their data, and those who are not. VIRTUAL AND AUGMENTED REALITY The notion of using technology to create virtual environments, or to add to real world experience is as exciting as it is potentially limitless. Clearly we are on the cusp of a dramatic expansion into such arenas, and we might reasonably consider that music will play its part in that process. The key surely lies in understanding that the technology must substantially add to the experience in order to create a situation whereby the user can do something virtually that they simply cannot otherwise do in the real world environment. This area has great potential to harness, for example, music-lovers who are unable, physically or otherwise, to attend gigs and there are many more potential opportunities from enhanced storytelling to super-immersive experiences. ARTIFICIAL INTELLIGENCE For most of the history of the music business, the industry has curated its business through genre-based sorting. However a combination of smartphone technology and streaming consumption is changing this towards either mood or activity based models. We are as likely to discover an artist or song via a revision, chill, concentration or workout playlist. Whilst we still require an element of curation to direct our focus, what we are doing and where START-UP GUIDE TO MUSIC BUSINESS60we are doing it now dictates what we want to listen to. Every single listening experience is logged, and used to create a highly detailed and individual ‘fingerprint’ of user preferences, likes and dislikes. The result is a unique musical DNA for every single user of any given digital platform. To be clear, this is not a human-curated experience that we are subject to, but one made by AI (artificial intelligence, being defined as the usage of computer systems performing the kinds of tasks usually associated with human beings, and for our purposes particularly related to decision-making and perception). Track choices fed into a streaming platform’s algorithm-based playlists are built on the collection of vast amounts of data that recognise and match the preferences of similar users, and then reflect those tastes back in the form of alternative track suggestions. Further use of AI is inevitable, as experience is acquired and systems becomes ever more complex. The future then, is not just about the collection and analysis of data, but how it is harnessed in conjunction with the application of ever more finessed AI systems. EMERGING MARKETS The recorded music business has been dominated by certain territories for many decades, from the US, via Japan, Germany and the UK downwards. These markets had effective legal and technological systems that allowed them to grow and flourish. Equally, potentially enormous markets such as China, Russia and India, with far greater population sizes, didn’t have these systems and as a result represented opportunities for piracy far more than their legitimate commercial counterparts. One of the effects of this was the dominance of western music and culture in the broader global picture; global superstars were invariably American, and occasionally British. Though the reasons vary from country to country (but generally being a combination of technological, ideological, governmental and commercial developments), the historical borders to musical expansion are being broken down, which introduces the tantalising proposition of music from so-called non-traditional markets having a greatly improved platform to break through globally. When considering that the population of India alone is greater than that of North America and Europe combined, the potential impact of such a development becomes obvious. FULL STACK MEDIA COMPANIES As music income becomes ever more spread across different sources, and as workers within the business adopt ever more entrepreneurial approaches, so companies become less single-focussed in their mentality. The result is what is commonly known within the business as ‘full stack’. The principle is that, rather than departments or subsidiaries operating independently of one another, by combining across the breadth of the business (at its most extreme, right the way from content creation, through distribution and into promotion or even retail) it becomes feasible to control or have input into each stage of the process, and hence to benefit from those processes in multiple ways. START-UP GUIDE TO MUSIC BUSINESS61WHAT TO DO NOW: 1 2 3 4 5DON’T FEAR PROGRESS AND INNOVATION. CHANGE IS INEVITABLE. LEARN TO RECOGNISE, AND HARNESS IT. DON’T JUMP ONTO EVERY NEW APP OR PIECE OF SOFTWARE THAT LANDS ON YOUR DESK. MORE FAIL THAN SURVIVE, MAKING YOUR CAPACITY TO SELECT THROUGH INFORMED DECISION ALL IMPORTANT. STA Y UP TO DATE OF DEVELOPMENTS AND CURRENT INDUSTRY AFFAIRS. THIS IS YOUR DUE DILIGENCE ON THE FUTURE. AIM RUNS QUARTERL Y MUSIC-MEETS-TECH MIXERS AND COVERS TECHNOLOGY SUBJECTS AT ITS CONFERENCE PROGRAMME AND TRAINING SESSIONS THROUGH THE YEAR. MAKE TIME TO PROJECT FORWARD. CONSIDER WHAT WILL YOUR BUSINESS LOOK LIKE IN TWO, FIVE AND TEN YEARS TIME. HOW WILL INNOVATION HELP AND HINDER THAT, AND HOW MUCH WILL YOU NEED TO BE PREPARED TO AL TER YOUR APPROACH AND OR/ BUSINESS MODEL? GO AND MAKE A TREMENDOUS SUCCESS OF YOUR BUSINESS…START-UP GUIDE TO MUSIC BUSINESS6220. WELLBEING IN THE MUSIC INDUSTRY In the modern business world, it would be failure not to address the well-being of those who make their career in music, whether musicians or people working to support their careers. There is now greatly increased cultural awareness that mental health is a real and widespread occurrence. There are now thankfully many establishments, charities and organisations offering support and advice, but what better way to sign off than to turn to the input of longstanding British charity Help Musicians UK, who have kindly relayed the below message for this publication: For nearly 100 years Help Musicians UK has been providing help, support and opportunities to empower musicians at all stages of their lives. It is an independent charity whose wide spectrum of work includes; an integrated programme combining Health & Welfare services with Creative development funding, ground breaking research, a mental health helpline for the entire music industry and a hearing health scheme which aims to prevent hearing problems that would otherwise bring musicians’ careers to an untimely end. Y ou can find out more here: helpmusicians.org.uk If a musician is in a crisis (e.g. an unexpected event, illness or accident that means that he/she cannot work, or work as much as before), subject to eligibility criteria, Help Musicians UK offer: - financial support (including paying for therapy or medical treatment as well as making payments towards household bills and other living costs to help cope with not working), - medical help via the British Association of Performing Arts Medicine (including an assessment, specialist health advice, and if further treatment is required, information about appropriate health care practitioners taking into account your needs as a musician), - a visiting service to understand need, - signposting to other sources of support, such as Step Change, Business Debt Line or medical specialists. Y ou can contact them on 020 7239 9103 . HMUK also runs a mental health helpline called Music Minds Matter. This is a dedicated service for anyone in the music industry with trained advisors, who understand the complexity of working in music and are there to listen, support and help at any time, day or night. They offer emotional support, advice and information, signposting to other specialist services, debt and legal advice as well as access to Help Musicians UK grants. It’s free and confidential and available across the UK. Y ou can contact Music Minds Matter on 0808 802 8008 or email MMM@ helpmusicians.org.uk There are also other organisations that can be of help and AIM can help signpost them to you. Y ou should never suffer alone and it is best to seek help as early as possible. Finally, we all know the power of friends and networks of peers who can help support us and pass on useful experience and information. Again AIM encourages these through its networking and other related activities. WHAT TO DO NOW: 1IF YOU, OR ANYONE YOU KNOW IS VULNERABLE OR IN NEED OF EMOTIONAL OR PSYCHOLOGICAL SUPPORT, THEN KNOW THAT HELP IS AT HAND, AND PLEASE DO REACH OUT AS APPROPRIATE.START-UP GUIDE TO MUSIC BUSINESS63FURTHER INFORMATION SOME INFORMATION SOURCES: AIM’s Website – aim.org.uk AIM’s Online Resources – there is some publicly available information and a wealth of exclusive content for AIM members: guides, tipsheets, explainers, articles and video content from AIM’s conferences and training events. AIM Events – conferences, training events, networking, socials, and the annual the AIM Independent Music Awards. Further opportunities and substantial discounts available to AIM members. ‘Friends of AIM’ Directory – an ever-growing number of companies who offer services to people who are releasing music, from PR and plugging, legal, accounting, data services, venues, DSPs and more... UK Government’s small business support services - gov.uk/business-support-helpline Queen Mary University’s ‘Law for the Arts’ Service – free legal advice for the creative industries - lac. qmul.ac.uk/advice/arts/ Musicians’ Union – advice, guidance and legal support for musicians - musiciansunion.org.uk/ Help Musicians UK - Music Minds Matter - Mental health helpline - 0808 802 8008 or email: MMM@ helpmusicians.org.uk There are a number of other groups, organisations and trade bodies in the music ecosystem which focus on specific activities, genres and areas of business and may also be good sources of information and support. Some of the principle ones can be found listed on the website for UK Music, which was set up to provide a collective voice across recorded, published and live arms of the British music industry in lobbying government and policy-makers and promoting the shared interests of the UK music sector. Go to ukmusic.org for more information. RECOMMENDED FOLLOW-UP READING: All Y ou Need to Know About the Music Business (UK Edition) - Don Passman Slackers Guide to the Music Industry - Phil Taggart Getting to Y es - Roger Fisher, William Ury, Bruce Patton Music - the Business: The Essential Guide to the Law and the Deals – Ann Harrison Secrets of Negotiating a Record Contract – Moses Avalon Music Licensing – Bob Kohn (note, US centric) Dissecting the Digital Dollar – CMU Insights DIY Access Guide - Attitude is Everything Traction – How Any Startup Can Achieve Explosive Customer Growth – Gabriel Weinberg Touring & Mental Health Manual – Tamsin Embleton AND… FOR FUN: Kill Y our Friends – John Niven Black Vinyl White Powder – Simon Napier-Bell Big Life – Jazz Summers Another Planet: A Teenager In Suburbia – Tracey Thorn Close to the Edge: In Search of the Global Hip Hop Generation - Sujatha Fernandes START-UP GUIDE TO MUSIC BUSINESS64	[ "music", "artist", "business", "record", "guide", "company", "also", "recording", "right", "deal" ]	{ "summary": "START-UP GUIDE TO\nMUSIC BUSINESS1THE ASSOCIATION OF INDEPENDENT MUSIC\nAIM.ORG.UKSTART-UP GUIDE TO\nMU" }
The-Fan-Building-Formula.pdf	FAN-BUILDING FORMULAFAN-BUILDING FORMULATHE THE 7 STEPS YOU NEED TO MASTER TO CREATE SUPERFANS & MAKE A LIVING FROM YOUR MUSICTHE 7 STEPS YOU NEED TO MASTER TO CREATE SUPERFANS & MAKE A LIVING FROM YOUR MUSICDespite what a lot of people think, this is the best time to be in the music industry. There are endless ways to find and connect with your ideal audience of fans who love your music. No longer are you at the mercy of corporate gate-keepers. There is nothing standing between you and reaching the people who are waiting to fall in love with YOUR music. When you get this right, your music can bring you financial freedom that allows you to keep making music! With that being said, let's dive into the Fan-Building Formula... 1.Quality Music This is probably pretty obvious, but it must be said. The first thing you need to start building a fanbase and making an income from your music is QUALITY MUSIC. If your music isn't good, nothing else will matter. You and I don't have the budget to launch a massive international advertising campaign to make people think our music is good. It has to actually be good. That's why a lot of the content on OAA is dedicated toward helping you create your own high quality music from home! How Do You Know If Your music Is Good Enough?Here are some ways you can test to see if your music is good enough to start promoting: 2. Micro-GenreListen to your music in a playlist with other songs in your genre. How does it stack up? Does it distract? Get feedback. Ask people for their honest feedback on your song! Get your song reviewed on AudioKite.com. The second step to creating superfans is choosing a micro-genre for your music. You don't need to write massive hit pop songs in order to make a living from your music. You just have to write songs that are hits inside a particular micro-genre of music. When you niche down, and pick a micro-genre to create your music inside of, then you suddenly become a big fish in a small pond...which is much better than trying to compete with giant artists who have a lot more resources than you. With a "Micro-genre", you have to ask yourself.... "What Is My Twist?" Your "twist" is whatever it is that sets you apart. Example: My top genre is Electronic, then Synthpop digs deeper, and then Synthwave digs even deeper. Then it's Futuristic Popwave. Futuristic Popwave is my micro- genre.3. Culture Next, it's key that you learn how to build a culture around your micro-genre. This can take some time and experimentation, but once you build a strong culture, you have the potential to really grow your income. You build your culture by working on your brand and image, and by what you post on social media. BRANDING: Branding is simply who you are and your music. It's what other people think and feel about you and your music. You want your music, micro-genre, social media posts, album art, and so on, to all be congruent. This will help your audience know that everything comes from the same person or band. Make sure there is a theme going on between everything that makes up the experience for your audience. When you post on social media, make sure that it either entertains, inspires, or educates your audience. It's the culture and brand surrounding your music that can turn listeners from fans into SUPERFANS! And a superfan is someone who spends at least $100/year on you and your brand. Get 1,000 of these super fans, and you are making $100,000/year from your music! 4.Email Marketing Your email list should be the foundation of your music marketing. Email marketing is how you can really start to build a relationship with your fans. Social media is not something you own or control. In fact, increasingly, social media platforms are making it so that you have to PAY to reach your fans. Plus, you can get your account shutdown for no good reason. You don't want to lose all your fans overnight if that happens. When you have an email list, you have an asset that is worth real money! Your email list is something you DO own and control, and it's the best way to get a message to your fans. Plus, you even even upload your email contacts to Facebook and show ads to those people! Now, to grow your email list, you're going to need professional email marketing software. You can't just send mass emails from your gmail as that violates anti- spam laws. The best email marketing tool for Music Artists is ConvertKit, and it's what I use. You can get started for free by clicking here. (This is an affiliate link so if you decide to upgrade to the paid version I'll earn a small commission at no extra cost to you.) Once you have your email list software, you can start offering a free song in exchange for an email address to begin building your list!At this point, fans are finding you as you're attracting them with your high quality music, enticing culture, and engaging social media posts. You've started to grow your email list by giving away a free song, and now it's time to LAUNCH. Most indie artists rely on "hope" marketing, where they simply upload their music to the internet hoping people will find them. I've been guilty of this. But real marketing is predictable, repeatable, and scalable. So you want to put an automated system in place that allows you sell your music or other products in a way that is predictable, repeatable, and scalable. In the marketing world, this called building a "sales funnel". It's where you take someone who doesn't know you, and you have them receive content which eventually turns them into a buyer. This probably sounds a little overwhelming and confusing right now, but I'll be putting out more content on OrpheusAudioAcademy.com that goes into how to do this. 5.Online LaunchingPaid traffic, specifically Facebook Ads, is how you can really explode your fanbase. Since you've already done the heavy lifting of figuring out your micro-genre, culture, and you've started to build your email list...it becomes pretty easy to locate pockets of people on Facebook whom you KNOW would love your music! Then it's just a matter of creating an effective ad that attracts them to you and your brand. This is the first piece of creating an automatic "machine" that sells your music for you on autopilot. You need to get traffic, meaning, people seeing your offer. Once you've mastered the steps above, you can start building a giant list of engaged superfans for just a few dollars a day. And eventually, you can even start to use Facebook's advanced "Retargeting" tools. It's like when you're looking at an item on Amazon, and then you see the same item show up on your Facebook feed. You can post a video for your fans on Facebook, and Facebook will automatically track who watches more than 3 seconds of the video. You can then show a different ad to that audience of video viewers which allows them the further engage with, or even buy, your music. 6. Paid TrafficThe final step is to master copywriting. Copywriting is the art and science of using the written word to motivate people to take an action. It's the headline you use in your press release, the text in an ad, or any of the words you post in a social media post. It's everywhere! This is a skill that most people don't know how to do. Copywriting is a skill that can be learned and developed though. You are going to learn how to communicate best with your fans and your audience in a way that increases engagement and develop superfans. I want to help you take the next step in your journey, regardless of where you're starting. Shoot me an email at: [email protected] And let me know how I can best help you on your artist journey. Adventure On! Reagan Ramm, OrpheusAuidoAcademy.com 7. Copywriting Next Steps	[ "music", "email", "people", "fan", "get", "marketing", "step", "make", "song", "microgenre" ]	{ "summary": "FAN-BUILDING\nFORMULAFAN-BUILDING\nFORMULATHE\nTHE 7 STEPS YOU NEED TO MASTER TO\nCREATE SUPERFANS & MAK" }
Grow-by-Focusing-on-What-Matters-Competitive-Strategy-in-3-Circles.pdf	Contents Preface . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . ix Comments From Users of the Framework . . . . . . . . . . . . . . . . . . . . . . . xi Chapter 1 The Challenges of Growth . . . . . . . . . . . . . . . . . . . . . . . 1Chapter 2 Introduction to 3-Circle Analysis . . . . . . . . . . . . . . . . . 15Chapter 3 Deﬁ ning the Context . . . . . . . . . . . . . . . . . . . . . . . . . . 47 Chapter 4 The Meaning of Value . . . . . . . . . . . . . . . . . . . . . . . . . 67Chapter 5 Sorting Value . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 89Chapter 6 Growth Strategy . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 109Chapter 7 Implementation: An Inside View of the Organization . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 135 Chapter 8 The Dynamics of Customer Value and Competitive Advantage . . . . . . . . . . . . . . . . . . . . . . . 155 Chapter 9 Summary: Growth Strategy in 10 Steps . . . . . . . . . . . 171 Notes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 187 References . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 195 Index . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 203Preface The 3-Circle model was developed over the past several years, initially in strategic planning for a university graduate program and in an executive MBA course designed to integrate the concepts of marketing and com-petitive strategy. Over the course of time, the 3-Circle model has been successfully used by hundreds of organizations throughout the world in establishing and growing their market positions. Many of the case examples in this book demonstrating applications of the 3-Circle model applications are from executives who have attended executive education training at the University of Notre Dame. The development of competitive strategy is difﬁ cult because there are a lot of moving parts, as well as hundreds of frameworks, that might potentially guide the effort. Executives appreciate how the 3-Circle model simpliﬁ es the integration of customer, ﬁ rm, and competitor analy- sis to generate growth strategies. It also provides a common language and process for understanding and explaining competitive advantage and for identifying proﬁ table growth strategy. We wish to thank all the executives who have been through our courses and training. They have provided test cases and important insights that have led to the continual reﬁ nement and building of the model. Some of their comments about the model appear in the quotes here in the front end of the book. We also thank our colleagues in the academic and pro-fessional community who have provided both scholarly and practical insights that have inﬂ uenced the development of the model. Notre Dame, Indiana January 2011Comments From Users of the Framework “I have used the 3-Circle Model extensively at both Rust-Oleum and Bosch. . . . There is no simpler way to cut right to the core issues of how your products are positioned to the customer and how well you are dif-ferentiated from your competitors.” Terry Horan President, Rotary Tools Robert Bosch Corporation “The 3-Circle Model is to the point, creative, and fosters creative think- ing and new ideas.” Nathan Olds National Sales Manager Honeywell Corporation “A disciplined approach to identifying, hypothesizing, quantifying, pri- oritizing, evaluating, understanding, and acting on customer needs.” Chris Bardeggia Global Director, Quality Systems Whirlpool Corporation “The Three Circle process really showed our weaknesses in understand- ing our customers and helped us to develop a strategy to attack the mar-ket and pick up new customers . . . one by the way that is working.” Mike Lenahan CEO Resource Recovery Corporationxii COMMENTS FROM USERS OF THE FRAMEWORK “A simple and logical pathway to properly document, analyze, and test our assumptions about our customers, competitors, and ourselves.” John Brohel Vice-President, Finance Cadmus Communications “What we found from an operations side was that we were completely out of line with what our customer wanted. Almost all of our top initia-tives had no impact on the items that were important to them. Only by talking with the customer and preparing the 3-Circle were we able to redeﬁ ne our focus.” Dan Smith Business Unit Manager Federal Signal/Elgin Sweeper “A perfect tool to help us think about what we offer, what the customer wants, and what the competition offers. Determining the differences and similarities between the customer and competitions’ needs respectively is a brilliant way to reevaluate our new services.” David Burda Senior Associate Stockamp, a Huron Group Consulting Practice “[The 3-Circle model] forces an objective view of my capabilities and my competitors while at the same time keeps the customer’s needs in view. I thought it was a great exercise to point out what can be added in value to my company in order to grow.” William Muller Senior Engineer, Engineering & Technical Services Michigan Gas Utilities “The positive beneﬁ t of using this framework was a focus on where the organization needs to focus its assets. It requires you to dissect the orga-nization and deﬁ ne the speciﬁ c aspects that are core . . . It also exposes the opportunity and provides a clear presentation to your audience. It is a tool that I use frequently now to really understand where we can dif-ferentiate, grow and address an unmet need.” COMMENTS FROM USERS OF THE FRAMEWORK xiii Jason Niehaus Vice President of Operations, COO Mercy Hospital “[The 3-Circle framework] gave us a relatively accurate idea of where we stood and what competencies we had that we were not using. It also made us face the fact that there were areas of the business that could be eliminated.” Kyle Cusson General Manager, Midwest Red Hawk Security Systems, Inc., a UTC Fire and Security Company “[The 3-Circle process] directs a team to look at the possibilities and paints a picture of the results in a way that can be easily cascaded through an organization.” Don Marquess Vice President, Sales Galls—An Aramark Company “[The 3-Circle process] generated a tremendous amount of interaction, discussion, agreements/disagreements and market dynamics awareness.” Danny Dorsey Vice President Cummins Bridgeway “I think the framework helps me to more effectively communicate with groups within the company to whom we develop applications for. I add more value to the company if the software we implement helps deliver services that matter.” Tom Hoban Application Development Manager Harbor Capital Advisors, Inc. “I liked the simplicity and self-explanatory nature of the 3-Circle model more than any of the more widely used models.” R. Kelley Cook Senior IT Consultant Ajilon Consultingxiv COMMENTS FROM USERS OF THE FRAMEWORK “There are lots of models available—from Porter’s Five Forces to McKin- sey’s 7 Ss and back again; yet each has its weakness . . . It often looks too ‘academic’ . . . [in contrast] . . . your three-circle model gets at the three most critical areas of organizational strategy.” Bob Henson Owner HK & Associates (Management Consulting) “The [3-Circle] project has allowed us to dive deeper into the service offerings we currently provide and ask how we can improve the way we market and communicate to the industry. I believe this project has also spurred a new idea for our company, that being an IT Data Analytics Service that we hope to launch in 2009. We didn’t realize that we had the data internally that we believe we can turn around and sell to our clients. Overall, this project was very helpful in our overall view of our company and our competition. In fact I ﬁ nd myself asking 3-Circle questions when making decisions both professionally and personally.” Director of Business Development Pharmaceutical Industry “In one exercise, the ability to articulate what the company felt was val- ued by the customer . . . the customer’s perceptions of important attri-butes . . . and areas that were of potential new business growth.” Karen Kenney Senior R&D Director Fortune 500 Corporation “The framework provides a relatively rapid process to hone in on sources of competitive advantage . . . helps clients understand the fundamental building blocks for effective strategy development.” Senior Consultant Consulting FirmCHAPTER 1 The Challenges of Growth Sara Johnson owns a pet store. She started this small business out of a pas- sion for helping people take care of their pets. The store is off to a good start, but she really worries about how she will grow the business. The competitive environment that surrounds her store is challenging, with the big-box stores having full-blown pet departments, specialty stores improving, and Web-based operations providing access to low-priced supplies. In addition, customer needs seem to change over time. In contrast, Ken Smith is a brand manager for a $900 million divi- sion of a major consumer products company. Ken worries about the exact same things as Sara, just on a different scope and scale. He has customers who have supported 8% growth of his product lines in each of the last 2 years. His challenge, though, is how to maintain that growth rate (rep-resenting $72 million in sales) in markets where competitive imitation over time has led the products to become very similar and competitive advantage more difﬁ cult to come by. The context and magnitude of these problems are quite different, but, at the root, they are the same. Whether you are Sara or Ken, the gen-eral manager of an insurance company seeking to increase policies sold, a United Way director seeking to increase donations, or a human resource director wishing to increase business with internal staff in their hiring decisions, your question is, how do we successfully position against the competition and grow our business? While a complex matter, the task of building growth strategy has some simple foundational ideas. The goal of this book is to teach these fundamental concepts to you so that you can implement them and then teach others. The teaching requires breaking down what seems like a complex task into simpler component parts. While you will have no trouble under-standing the component parts—such as customer value, competitive position differences, and ﬁ rm capabilities—what most ﬁ rms struggle 2 GROW BY FOCUSING ON WHAT MATTERS with is how you integrate them in building effective growth strategy. In this chapter, we will consider the fundamentals of competitive strategy at the heart of the framework we use and the reasons why integrating these principles is difﬁ cult and rare. Yet we will also point out that businesses that practice such integration make more money. At the core of all this is the notion that you cannot grow your company (or your school, your nonproﬁ t, your relationships, the happiness of your volunteers, for that matter) without really understanding the value your “customers” seek and the value that you can create for them. Three Fundamentals Having lost a teenage brother to an auto accident in his youth, CEO Peter Lewis of Progressive Insurance was driven by a deep understand-ing of human needs surrounding auto insurance. Further fueled by his distaste for abysmal turnaround times on claims in the industry, Lewis decided—in the face of much resistance within his company—that Pro-gressive would become a company with the capability of providing an immediate-response claims service. Progressive’s well-known growth from small niche competitor to one of the “Big 4” auto insurance ﬁ rms owes everything to Peter Lewis’s intuitive, tenacious application of three basic principles of positioning strategy. 1 The ﬁ rst principle is deﬁ ning advantage from the perspective of customer value .2 Lewis saw dissatisfaction with response times where others in the industry did not. Further, he understood why it was important. Delay in claims processing causes inconvenience and adds stress to already stressful situations for drivers having had an accident who seek fast resolution and peace of mind. The second principle is developing insight about oppor-tunity in a way that differentiates from the competition. 3 So while many ﬁ rms in the industry would deﬁ ne their business purpose as “paying auto accident claims,” Lewis instead described Progressive’s as “reducing the human trauma and economic costs of automobile accidents.” Other competitors either did not recognize the opportunity or simply accepted poor claims-adjustment service and response time because all ﬁ rms were following the same antiquated model. Just developing a positioning strategy is not enough, however. The third principle centers around developing distinctive capabilities, resources, THE CHALLENGES OF GROWTH 3 and assets to execute the positioning strategy.4 Progressive built skill in technology development, process design, and human resources. Over a period of years, the company developed proprietary software and data-bases, speciﬁ c selection and development skills for hiring and training employees, as well as a disciplined measurement culture to manage con-tinuous improvement. In sum, in his search for growth, Peter Lewis intuitively and persis- tently followed these three fundamental principles: • Create important value for customers • Be different from (better than) the competition • Build and leverage your capabilities with an eye toward the desired customer value While almost simple enough to be intuitively obvious, it is easy to lose sight of these principles. In fact, there are a variety of forces that get in the way of their effective implementation. Challenge 1: Limited Integration of Strategy Perspectives It turns out that it is difﬁ cult for an individual—let alone a complex organization—to simultaneously hold the three principles of strategy in mind. Multiple goals imply multiple, often costly, efforts to achieve them. Potential conﬂ ict between, and trade-offs among, the three goals of beat- ing the competitor, creating value for customers, and leveraging our capa-bilities make it natural for ﬁ rms to treat them separately. Illustrative of this is a study of strategic focus in decision making, conducted by George Day and Prakash Nedungadi of the Wharton School, which found that 77% of the organizations studied had a “single-minded” focus; 5 that is, the organizations largely focused on either customers, competitors, or the internal workings of the company but rarely any of the three together. Three distinct types of ﬁ rms were identiﬁ ed in the study: self-centered ﬁ rms (i.e., focused on internal factors; 33%), customer-centered ﬁ rms (31%), and competitor-centered ﬁ rms (13%). These single-minded views are suboptimal, however. Day and Nedungadi found that 16% of the ﬁ rms they studied were market driven , that is, focused jointly on competitors and customers, and that these 4 GROW BY FOCUSING ON WHAT MATTERS ﬁ rms reported signiﬁ cantly superior ﬁ nancial performance relative to the other ﬁ rms in the study. Similarly, other research has found that a more integrated view of company, customers, and competitors leads to greater proﬁ tability. 6 Yet the striking point is that ﬁ rms that do an effective job of integrating are in the minority. The more common tendency to be single-minded limits the search for growth opportunities and may be self-perpetuating. 7 Challenge 2: Knowing Customers Most decisions that involve customers are made without customer research. Firms have neither the time nor the resources to devote to every customer-related decision. Interestingly, though, even when sophisti-cated, large-sample research is conducted for particular decisions, it may frequently fall by the wayside because the research is shouted down by managers with prior agendas that contradict research ﬁ ndings. Challenge 2a: Truly Understanding Customer Values and Beliefs Although they may at times dismiss formal research, we know that smart managers talk to customers and know them, often over many years. So it is fair to say more informal research is the norm. In this sense, it is dif-ﬁ cult for managers to believe that they “don’t know” customers. Yet there is much research that suggests the opposite. To understand why, consider a particularly telling study from University of Chicago researchers Harry Davis, Steve Hoch, and Easton Ragsdale. Davis and his colleagues asked pairs of experimental subjects to estimate each other’s preferences for new product concepts. The new product concepts were a mix of higher-priced durable goods, lower-priced durables and nondurables, and services. For each concept, each subject was asked to estimate both the probability that they would purchase the concept in the future and the probability that the person they were paired with would purchase the concept. Across four studies, which varied the amount of information provided for the concepts (verbal description only vs. verbal description and pictorial representation) and the dependent measure used, the authors found the same results. Despite showing conﬁ dence in their estimates, the subjects showed substantial error in predicting their partners’ preferences. Only THE CHALLENGES OF GROWTH 5 about half of them predicted more accurately than a naïve forecast that used the average of the gender-speciﬁ c preferences. The authors found a strong tendency for a person to use their own preferences for the new concept to predict the preferences of their partner. The most remarkable thing about this research, however, is that the subject pairs were not strangers. Across all the studies, husbands were paired with wives . 8 In spite of intimate familiarity with each other, spouses demonstrated signiﬁ cant error in projecting each other’s prefer- ences, with error coming largely from two sources. First, the husband (or wife) tried to project their own preferences onto the other, when in fact their preference was not similar to their spouse’s. Second, when the hus-band-wife preferences were similar, error was introduced when the spouse overadjusted for what he or she thought would be a difference in his or her mate’s preference relative to their own. This leads us to a key question: If people who live together and know each other intimately make such errors in predicting each other’s prefer-ences, how can product and marketing managers NOT be subject to the similar errors in predicting customers’ values? There is a fair amount of academic research that ﬁ nds signiﬁ cant error in managerial judgment of consumer attitudes, beliefs, and behavior. 9 Further evidence of this comes from surveys of our own executive students and clients. They predict cus-tomer beliefs with good conﬁ dence yet express signiﬁ cant surprise (and opportunity!) when they subsequently conduct primary research with customers. 10 In fact, this should not be surprising. In the day-to-day operation of a business, the immediate challenges often center on internal concerns, which tend to be very concrete, top of mind, and unavoidable. Man-agers spend most of their time inside, managing people and resources. The capacities within the ﬁ rm need to be organized, people need to be developed, budgets need to be met. There may in fact be a bias against spending time to understand the customer’s perspective on our products and services because hearing bad news would mean that our products, processes, people selection and development, and execution would have to be changed, which is no easy task. Instead, it is very easy to assume “we know the customer.”6 GROW BY FOCUSING ON WHAT MATTERS Challenge 2b: Understanding Customer Evaluations of Competitors While most companies ask customers how their company is doing, many do not seek comparative customer views of competitors . One ﬁ rm, which we will call Food Supplier, Inc., for example, happily found—through interviews in a 3-Circle project with one customer segment (independent restaurants)—that the company was hitting on a number of important points of value for customers, many relating to delivery, warehousing, and sales support. Consistent with their expectations, this suggested that the company was providing customers a great deal of value. Yet the research also explored customer perception of competitor value. This produced the startling conclusion that the key competitor matched every point-of-value provided by Food Supplier, Inc., but it was also perceived as having far superior accuracy in deliveries and invoicing, as well as premium food quality at competitive prices. This analysis opened the executive team’s eyes to opportunities for a new process improvement program in opera-tions and sales to enhance competitive superiority in key functional areas, as well as a new marketing program to clearly communicate the differ-ential customer value created by these new internal programs. Since that implementation, the company has experienced increases in same-store sales and has extended these standardized processes to other areas of the company. Common Strategic Mistakes in Evaluating Competitive Differences Most of us face the difﬁ culty of integrating relevant competitive, com- pany, and customer facts, as well as the challenge of truly knowing customers’ natural biases. Some may argue that these difﬁ culties work themselves out through learning and experience. But what seems to happen is often the opposite—these biases can lead to ﬂ awed judgment about competitive advantage. This is because we anchor our beliefs in these early observations and we are not likely to change them. In com-panies we work with, we see, over and over, the following three strategic errors that result from the biases discussed earlier: 1. We think we are different from competitors, but we are not really different in the customer’s eyes. THE CHALLENGES OF GROWTH 7 2. We are different from competitors, but in ways that are not really important to customers. 3. We are different from competitors in ways that matter to customers, but we do not have the resources or capabilities to build and sustain those differences. In fact, what is needed is a way of thinking and a process that helps us to simultaneously think about customers, competitors, and the company, and that puts our existing beliefs to the test. That is the primary goal of the 3-Circle model and the process we will teach you in this book. Let us illustrate the key concepts. Thinking Integratively About Customer Value, Competitive Position, and Capabilities Exploring Value There is competitive advantage in thinking about your organization in a way that integrates the value customers seek, the value the competitor is believed to provide, and your own value-producing capabilities. A com-pany called Ultimate Ears illustrates such thinking. A sound engineer who worked closely with big rock bands like Van Halen, Jerry Harvey was very close to the customer segment (rock musicians) and the need for sound management. The traditional technology for band members to hear their own performance was large, onstage monitors (speakers) tied to each instrument. Figure 1.1 is our ﬁ rst circle—the customer’s circle, in this case representing the value sought by rock and roll musi- cians in the sound equipment used by the band to hear its own perfor-mance. Here is the key beneﬁ t that a band desires from that equipment: that it produces sound audible to the band members (seems pretty obvious!). But let us push that a little further. Why is this important to the musicians? It seems simple, but digging underneath, it is easy to see how the notion of being able to “listen to one’s self play” is fundamen-tally related to overall performance and achievement. If the sound back to the band is audible, that enhances performance quality by allowing the band to be more precisely in sync with each other. Performance quality is fundamental to the success of the show to an audience that 8 GROW BY FOCUSING ON WHAT MATTERS is accustomed to hearing the music on precisely mixed studio record- ings. Figure 1.2 captures the fact that the standard technology—large onstage monitors—provides this basic quality. The circle added on the lower left represents the customer’s perception of the value provided by the onstage monitors. As in any product or service category, there are a number of dimensions of this value. For the moment, though, we will focus on a few of the most important dimensions. The overlap between the circles is strategically important. It is the positive “equity” provided by the product in the mind of the customer—that is, the space where value delivered meets value sought. So the onstage monitors provide a way for the band to effectively hear the sounds of their instruments and vocals, and positive value is produced for these customers. Value: excellent shows, achievement Outcome: musicians in sync Consequence: can hear my instrument Attribute: sound back to band is audibleRock Musicians (value sought) Rock musicians ultimately want their sound system (that the band hears) to contributeto excellent show delivery. Figure 1.1. Value sought by customers: Rock musicians and onstage sound. THE CHALLENGES OF GROWTH 9 Nonvalue or Negative Value (Disequity) Figure 1.2 also points out two other strategically important concepts, relating to the areas where the circles do not overlap. The nonoverlapping area to the left—which we label nonvalue or negative value (the latter also known as disequity). Many consumption experiences have nonvalue or negative value associated with them. It is the calories consumed while rel-ishing a big hamburger, the headache after a celebratory night out, and, occasionally, it is an endemic part of a good or service that we are simply willing to put up with in the absence of a superior alternative. It is the exorbitant fees for the broker with whom you have developed a very close relationship and trust implicitly, the chatty hair stylist whose gossip you put up with because you love the way he or she cuts your hair, or the doc-tor you love who makes you wait forever in the waiting room. In the case of the rock musician, it is the “wall of sound” that occurs when onstage monitors are used to allow the band members to hear the instruments. This is the deafening sound onstage that escalates as each member player sequentially keeps turning up the volume on their own monitor so they can hear their instrument. That wall of sound not only gets in the way of effective performance, it has also contributed to signiﬁ cant hearing loss Perfect performance Safety, quality of life “Wall of sound” Sound back to band is audibleRock Musicians (value sought) Onstage Monitors(value delivered) Safety , quality of life “Wall of soun d” “Wllf d” Sound back to band is au dible Onstage Monitors (value delivered) Unmet Needs Positive Value Nonvalue or Negative Value Figure 1.2. Value delivered by onstage monitors.10 GROW BY FOCUSING ON WHAT MATTERS over time among rock band members.11 For example, Alex Van Halen reports that he has lost 30% to 60% of his hearing as a result of years of sound “gas ﬁ res” occurring during onstage Van Halen shows. 12 Where a ﬁ rm’s products or services create nonvalue, or even negative value, there is signiﬁ cant opportunity for growth. Unmet Needs Similarly, growth can be found in unmet needs. This upper right por- tion of Figure 1.2 is another nonoverlapping area, critical in that it keeps attention focused on the reality that customer needs are never fully met. Musicians seek perfection in performance, possibly an ideal that cannot be achieved. Yet any edge that can be obtained to improve performance is a direct contribution to the musician’s bottom line, relating to success, enjoyment, and career achievement. A second way to think more deeply about unmet needs is to ask some obvious-sounding questions about points of negative value that our product or service is creating. Why is that important enough to consumers for them to mention it? For exam-ple, one reason that the “wall of sound” problem is important to rock musicians is because it is associated with hearing loss. Why is hearing loss important? It is so obvious that we do not really think about it, yet we should think about it to understand its enormity as a consideration in decision making. As people lose their hearing, they may lose not only the capability to make a living and take care of one’s family but also the abil-ity to enjoy the people and world around them—that is, quality of later life is a deeper value that is touched by this. So how big is the value of an alternative that solves this problem? (Huge!) Would musicians be willing to pay handsomely for a superior solution? (Yes!) Opportunity This dilemma is where Jerry Harvey came in. Encouraged by musicians who sought something to help improve performance and to reduce hear-ing loss, Harvey developed the equivalent of an in-ear monitor, which each player on stage would have, isolating the sound of their speciﬁ c instrument. This allowed the musicians to hear clearly, to know how they ﬁ t in with the other players, and to better control their own sound. These performance THE CHALLENGES OF GROWTH 11 beneﬁ ts were supplemented not only by substantial noise reduction (easier on the ears) but also by the greater room on stage given the removal of the larger onstage monitors. Figure 1.3 completes the 3-Circle picture, add-ing the circle on the left, which represents the value provided by Harvey’s company, Ultimate Ears. The addition of the third circle creates seven dis-tinctive areas in the Venn diagram—each labeled by a letter and each stra-tegically meaningful. For the moment, we will focus on a couple of the key areas for illustration. Note that the basic beneﬁ t—“sound back to band is audible”—is in the middle area, labeled “Area B” or points of parity . The customer believes each of the two competing technologies delivers on that basic beneﬁ t. What distinguishes the Ultimate Ears product are the beneﬁ ts in its Area A, that is, its points of difference . The product delivers substantial, unique value to customers in the form of superior performance (both due to hearing the performance better and less onstage equipment) and in sub-stantially reducing hearing loss, a quality-of-life issue. It is difﬁ cult to iden- tify any items that customers would call positive points of difference for the onstage monitors. In contrast, the disequities that were mentioned earlier ﬁ t into Area F , which is more broadly deﬁ ned as disequities, or potential Control Performance Min. hearing loss Reduce onstage equipment Sound back to band is audible “Wall of Sound”Rock Musicians (value sought) Onstage Monitors(value delivered)Ultimate Ears In-Ear Monitor(value delivered)A B CG FDE A. Our points of difference B. Points of parity C. Their points of difference D. Common disequity or potential equity E. Our disequity or potential equity F. Their disequity or potential equity G. White space (unmet need) Figure 1.3. 3-Circle illustration of Ultimate Ears’ competitive advantage.12 GROW BY FOCUSING ON WHAT MATTERS equities, for the onstage monitor technology.13 Ultimate Ears has been a major entrepreneurial success. This product concept, based on unique, pat-ented technology and manufacturing capability, has become a standard in the industry. It creates signiﬁ cant customer beneﬁ ts in both enhancing per- formance quality and the musicians’ quality of life by limiting hearing loss. The analysis based on Figures 1.1 through 1.3 illustrates that Ulti- mate Ears was successful because it 1. developed a unique company capability , 2. delivered value on a customer need that mattered greatly, 3. delivered that value in a manner that was superior to competitive options . These are the three core principles of competitive business strategy that drive the analysis guided by the 3-Circle model. Chapter Summary and Looking Ahead While the 3-Circle analysis presented here provides a post-hoc account of Ultimate Ears’ success after the fact, this book is about how to use the framework to analyze a current market situation and look ahead. The goal is to anticipate market development and evolution, and to build and execute solid growth strategy. We will see, in the chapters that follow, that this simple diagram provides a powerful basis for analysis of a company’s current competitive position and substantial insight into prospective growth strategy for the company. But at its roots is the most basic of all competitive strategy notions—that in simplest terms, competitive advan-tage is about creating value that really matters for customers, in ways that competitors cannot. We ﬁ nd that the most effective starting point for such analysis is the customer and developing a deep understanding of customers’ values. Chapter 2 provides an overview of the underlying framework that begins with the customer perspective. There, we will introduce the basic con-cepts and several case examples illustrating the principles that underlie the development of effective growth strategy. We then proceed in chap-ters 3 through 8 to provide detail on the core model concepts. The pro-cess begins with a clear deﬁ nition of context (chapter 3). It is followed by THE CHALLENGES OF GROWTH 13 an in-depth study of customers in which we will deeply explore the value customers seek and how existing competitors get credit for the value they create (chapter 4). From these steps, signiﬁ cant insight is obtained into current competitive positions and potential growth. Chapter 5 presents the categorization of customer value that is at the heart of the 3-Circle model’s contribution and in clarifying a ﬁ rm’s positioning. Chapter 6 then explores and deﬁ nes the growth strategies that naturally evolve from the seven categories of value, leading to the inevitable question addressed in chapter 7: Do we have the skills and resources to pursue these ideas? Answering this requires a much deeper reﬂ ection on the ﬁ rm’s (and com- petitors’) capabilities in terms of what strengths we have to leverage, what weaknesses we need to ﬁ x, and what gaps exist around which capabil- ity building will be necessary. Chapter 8 explores the dynamic aspects of markets and chapter 9 provides a summary of the book with a review of the 10-step process behind a 3-Circle growth strategy project. This is designed to be a team process that engages customer, com- pany, and competitor research in an integrative way. We look forward to the journey. At the end, you will ﬁ nd that the core of this analysis is seek- ing to deeply study and uncover ways to provide value for customers that competitors have simply not understood, and perhaps ways that have always been there for the taking. Chapter 2 next provides an overview of the full 3-Circle framework.	[ "customer", "value", "circle", "growth", "company", "strategy", "competitive", "competitor", "chapter", "way" ]	{ "summary": "Contents\nPreface . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . " }
-Performance-Consulting-Skills-the-Internal-Consultant-039-s-Guide-to-Value-Added-Performance-1.pdf	HIGH- PERFORMANCECONSULTINGSKILLSTHE INTERNAL CONSULTANT’SGUIDE TOVALUE-ADDEDPERFORMANCE HIGH- PERFORMANCECONSULTINGSKILLSTHE INTERNAL CONSULTANT’SGUIDE TOVALUE-ADDEDPERFORMANCE MARK THOMASMARK THOMAS‘A highly practical and valuable guide to the world of internal consulting by a global practitioner . Mark Thomas has produced a book that is filled withexcellent advice, tips and real experience. It shouldserve as a real aid to all who want to succeed in therapidly growing role of the internal consultant.’ Bie de Graeve , Director MBA Programs, Tias Business School, Tilburg University , The NetherlandsInside front coverHIGH PERFORMANCE CONSULTING SKILLS The internal consultant’s guide to value-added performance MARK A THOMASPublished by Thorogood 10-12 Rivington Street London EC2A 3DU Telephone: 020 7749 4748 Fax: 020 7729 6110Email: [email protected]: www.thorogood.ws Thorogood is a publishing division of Acorn Magazines © Mark Thomas 2003 All rights reserved. No part of this publication may be reproduced, stored in aretrieval system or transmitted in any formor by any means, electronic, photocopying,recording or otherwise, without the priorpermission of the publisher. This book is sold subject to the condition that it shall not, by way of trade orotherwise, be lent, re-sold, hired out orotherwise circulated without the publisher’sprior consent in any form of binding orcover other than in which it is publishedand without a similar condition includingthis condition being imposed upon thesubsequent purchaser. No responsibility for loss occasioned to any person acting or refraining from action as aresult of any material in this publication canbe accepted by the author or publisher. A CIP catalogue record for this book isavailable from the British Library. HB: ISBN 1 85418 293 5 PB: ISBN 1 85418 258 7 Cover and book designed by DriftdesignPrinted in India by Replika PressSpecial discounts for bulk quantities of Thorogood booksare available to corporations,institutions, associations andother organizations. For moreinformation contact Thorogoodby telephone on 020 7749 4748, byfax on 020 7729 6110, or e-mail us:[email protected] With love to Jan, Ben and HannahSpecial thanks Dr Sam Elbeik for his great help and co-operation in orig- inating and developing the terms of reference templates andassistance in the project management area. Alf Chattel for his continued support and permission in draft- ing some of the process approaches and methodologies. May you both continue to thrive and prosper.Tracey Norbury of HSBC for lending some of her real life observations. A very special thanks to Matthias Behrens of Autodesk for sharing his considerable experience.Contents Introduction 1 Symbols used in this book 4 ONE From managing change to managing surprise? 5 Support functions under attack 10 The opportunity 11What exactly is consultancy? 12The difference between expert and process consulting 13 What is the difference between the internal and external consultant? 18 The characteristics of internal consultancy 24Why use an internal consultant? 28How to become an internal consultant 35Time to convert and redirect 36 TWO The art of client management 39 Understanding the key stages of the internal consulting process 40 Implementation 54Belbin’s team roles – questionnaire 58THREE Marketing internal consultancy 79 Getting in and contracting with your client 80 Developing your marketing strategy 82Conducting a client demand analysis 84What clients look for 87Beginning to market yourself – recognising your starting point 91 Marketing to senior management 92How to sell to senior management 93Some practical tips to improve your marketing effort 96 Internal consultancy case study 98 FOUR Managing initial client meetings 105 The essential rules for managing initial client meetings 107 Things to avoid at initial meetings 111How to convey respect, openness and understanding at an initial client meeting 112 Initial client meetings consultant’s template 113Initial terms of reference 116Writing client proposals 124Managing initial meetings checklist 127 FIVE Understanding and deﬁning the client’s problem 131 Desk research 133 Interviewing clients 135Managing the client interview 139Group interviews 143Types of interview questioning techniques 148Providing non-verbal encouragement during interviews 153 Using supportive statements 153Counter-productive questions 158 Using questionnaires to gather information 160Designing a questionnaire 160Process mapping 176Process analysis questions 183Understanding and deﬁning your client’s problem – being client focused 185 SIX Managing change 189 Understanding organizational change 190 Individual reactions to change 191The change transition curve 196Managing organizational change 201Organizational change readiness assessment 205Managing organizational change template 206Change management template – the critical success factors 208 Stakeholder Analysis 215Managing organization change – a checklist of key questions to address 217 The critical questions to ask in change scenarios 223 SEVEN Presenting client feedback 225 Introduction to report writing 227 Different types of client report 230Getting your report structure right 230A typical report structure 231Writing a client report 233Reviewing reports 239Making client presentations 240Presenting client feedback – being client focused 250EIGHT Implementing, reviewing and exiting projects 255 Project implementation 256 Project implementation – being client focused 259Reviewing consultancy projects – being client focused 261 Evaluating consultancy projects 262Summary 264 NINE The internal consultant’s toolkit 265 The consultant’s toolkit 266 Organization capability: effectiveness questionnaire • ‘7s’ organization audit 271 Internal consultant skills – development needs checklist 279 Success factors in managing change 286Change management action planning sheet 287List of illustrations Figure Page 1 The transition from old to new management 9 2 Expert and process consulting 143 Where is your bias – expert or process? 174 The client management process 415 Belbin’s team types 586 Project team working roles 767 Belbin’s team types – my project team 778 Mapping your customers/clients 859 Marketing internal consultancy 9110 Project terms of reference 12011 Information gathering techniques 13312 Using a SWOT analysis to gather and assess information 145 13 Forceﬁeld analysis 14714 Gathering information – the questionnaire process 16115 An example of the Likert Scale on a questionnaire 16816 Survey feedback displayed graphically 17517 Process thinking and value added 17618 The process toolkit 17719 How to classify value added and non-value added 17820 What is driving performance? 18021 This is how your process maps should look 18122 Process thinking – wider organizational analysis 18223 Managing the change 19124 Organization – change readiness assessment 206 25 Managing change template 21426 Stakeholder analysis – key strategies 21627 Developing a report structure 23828 Presenting client options 24929 Project master plan 25730 Risk assessment in projects 25831 Risk analysis 258Introduction This book will provide you with a highly detailed and prac- tical understanding of the critical client management andhandling skills needed to become a high performance inter-nal consultant. The approach and practices I have detailedare based on over 20 years corporate and consulting expe-rience in major blue chip organizations across the globe.Apply them well and you will enjoy extremely successfulclient relationships. Internal consultancy brings together a complex range of skills and disciplines and combines them with a distinctive clientfocus. The purpose in writing this book is to provide youwith a daily reference of practical guidance, action pointsand ideas when managing clients and projects. With the ever-changing shape of the global economy and organizations it is clear that the internal consultant role isassuming greater importance and is expanding. Since ﬁrstwriting on this trend in 1996 internal consultancy has con-tinued to break into the mainstream of organization lifeand in particular the role of support functions. If you attendbusiness conferences and read the corporate job adver-tisements you soon realise that the title ‘internal consultant’or ‘adviser’ is proliferating and now spans all key supportfunctions. I believe the internal consultancy model offers a major step in harnessing internal knowledge and expertise to improveorganizational performance. It is an approach that is verymuch in tune with the ﬂuid and dynamic nature of today’sbusiness world. Introduction 1I have written with a strong emphasis on the practical ‘How to’ aspects of internal consultancy. I don’t set out to teachyou anything about your technical or functional areas ofexpertise be it information technology, ﬁnance, total qual-ity or human resources. My assumption is that you probablyalready have considerable specialist expertise. What I do setout to do is provide you with a very clear process to manageyour clients and projects in a professional and successfulmanner. I have included many checklists and templates foryou to use, adapt or revise to your individual needs. The emphasis internal consultancy places on moving from a ‘colleague to client ’ perspective can bring major bene- ﬁts to both you and any support function you belong to.Indeed the very essence of a client centred consulting rela-tionship involves providing a level of service that exceedsthe controlling and bureaucratic tendencies of many tradi-tional support functions. As such the consultancy model hasparticular relevance if you operate in one of the followingroles: • Information technology and systems specialist• Finance and internal audit professional• Human resources or personnel specialist• Training and development specialist• Business development specialist• Project manager• Administration manager• Facilities manager• Customer service and support specialist• Total quality management specialist High performance consulting skills 2We all know that many organizations continue to outsource support functions with the result that internal customers havethe choice to buy external resources. This trend is acceler-ating in the core support areas of information technology,human resources, training and development and facilitiesmanagement. Competition is now a daily reality for thoseof us who work in advisory roles. So, if our support rolesare to thrive and prosper in the future organization, we willneed to focus relentlessly on providing value added services.The consultancy model offers a major response to thesechallenges. At the same time, should you simply want to harness some of the beneﬁts of the operating style of internal consul-tancy to enhance your existing organizational role, I trustyou will ﬁnd much to meet your needs. As the skills and prac-tices detailed in this book are generic they can be appliedto almost any management role in some capacity or other. I wish you success and many years of successful consultancy work. Mark A Thomas Introduction 3High performance consulting skills 4Insight Helpful tipExample ChecklisttSymbols used in this bookCHAPTER ONE From managing change to managing surprise?ONE From managing change to managing surprise? This book is titled ‘ High Performance Consulting Skills ’ and builds on an earlier work ‘ Supercharge Your Management Role ’ that was ﬁrst published in 1996 and reﬂected on some of the radical changes taking place in organizations and inparticular managerial roles and support functions. Since thenthose trends have accelerated beyond anyone’s imagination. Between 1998 and 2000 nearly four trillion euros worth of corporate merger transactions were implemented. We havewitnessed the traumatic rise and fall of the Dot Coms, alongwith the rise and collapse of the global telecommunica-tions sector where literally billions of euros appear to havebeen overspent on securing 3G licences. We are currentlyexperiencing the worst bear market since the Second WorldWar. Added to which we have witnessed some of the mostﬂagrant abuses of corporate power and leadership ever seenat Enron, WorldCom and more recently in Europe withAhold. All of which has been set against an increasingly inse-cure and politically unstable world as witnessed by theimmense tragedy of September 11th. It is against this continued volatility and turbulence that organizations are striving more than ever before to achievenew capabilities of ﬂexibility and responsiveness. Organi-zation structures and job roles are in a constant state of ﬂux.Old models of organizing no longer provide tomorrow’sgrowth. Existing concepts of management that rely heav-ily on notions of planning, checking and controlling are beingassigned to the dustbin. High performance consulting skills 6The future is now more uncertain than ever before. In response, organizations are daily announcing major shiftsin strategies, product lines and service offerings. Technol-ogy is promoting new forms of organization structure andlocation is becoming less of an issue as to where work isorganized and executed. Our old assumptions about how todesign, manage and run organizations are subject to con-stant and radical review. The fact is that we are involved ina period of major upheaval and transition; where simply doingmore of what we have done in the past will not sustain usin the future. Today we have to manage by the ‘second hand’not the calendar. Increasingly the question is not are we betterthis year than last, but are we better today than we were yes-terday? Equally our planning horizons seem to have to beset in terms of weeks and months rather than years. So as organizations pursue the beneﬁts of rapid technological change, so to, are new ideas about managing people beingexplored and implemented. Concepts such as empowermentseek to place greater emphasis on people accepting increasedresponsibility and control for their work. Such ideas are gain-ing ground throughout the competitive world. Knowledgemanagement has become one of the buzz-words of the late90’s and early millennium. As a result it is becoming clearthat what managers have traditionally practised is beingquestioned. The classic planning, controlling and review-ing functions of management are being transferred to thepeople who actually execute the real work. The race to doit ‘right ﬁrst time’ means that organizations can no longerafford large numbers of managers controlling people. Self-management is the philosophy and approach that manyorganizations want to operate in order to win in the com-petitive world. Many middle management roles are simply too cumbersome and expensive for organizations to compete against fasterand more innovative low cost competitors. The result is a ONE From managing change to managing surprise 7desire to explore new and more radical approaches to the notions of supervision as a means of reducing costs andaccelerating competitive capabilities. Many of our existingorganizational concepts and practices have had their rootsin the 1960’s genre of management, so real innovation hasbeen a long time coming. ‘The bigger my budget and headcount, the bigger ﬁsh I am’ philosophy has historically been the basis on which manysuccessful management careers have been built. Indeedsuch behaviours have been actively encouraged by manyorganizational reward and appraisal systems. For example,traditional job evaluation techniques have often rewardedjobs that have been characterised by size in terms of the num-bers of staff reporting and budget responsibility. But thesetypes of approach have often resulted in management behav-iours and practices consisting of internal politicking, empirebuilding and game playing. None of which add value orservice to the customer. It is also an approach that resultsin people becoming overly reliant on their managers tomake decisions and take action. In many leading organiza-tions this traditional form of management activity is viewedas redundant. Organizations that possess and promotedependency cultures will not win in the new information andknowledge based era. In order that organizations can become more innovative, flexible and customer responsive they need to devolvepower to the point of customer contact. This requires peopleto be highly trained and also empowered to take decisionsthat were previously in the exclusive realm of managers. Thuswe enter a new world of organizational working. Where self-directed teams rely on their collective motivation, skills andcapabilities to get things done. Rather like the Formula Oneracing pit team; when it comes to the real work you do notwant someone looking over your shoulder to tell you whetheryou have done it right or not. The reality is that you already High performance consulting skills 8know it. At the same time your commitment and skills ensures that for 99.9% of the time you are delivering! Con-sequently management in the traditional sense becomes anirrelevance. Figure 1 illustrates the transition that is takingplace. FIGURE 1: THE TRANSITION FROM OLD TO NEW MANAGEMENT We are therefore witnessing a major shift in the world ofwork. A shift that is already having immense implicationsin terms of how we have think about organizations and howthey need to be designed and managed. These changes will however, continue to bring pain as well as opportunities. Many people no longer derive satisfactionfrom their work. Indeed many managers arrive at theirofﬁces and feel under siege from the hundreds of daily e-mails and a ‘more and more with less and less’ approach.YESTERDAY’S PERSPECTIVE I am in controlI direct and commandPeople have to come to meI breed dependencyStatus and position are important I think functionallyI like clarity and boundariesTODAY’S PERSPECTIVE I serve othersI facilitateI go to peopleI promote independenceStatus and position are less important than contribution I think processesI like ambiguity and change ONE From managing change to managing surprise 9Some managers are desperately looking for motivation and security in an ever increasingly hostile corporate environ-ment. Given the radical shifts taking place in the corporateworld there is little doubt that managers will continue to faceimmense pressures to reassess their roles. The pressure toincrease productivity and demonstrate real added value isrelentless. Faced with these challenges the consulting modelof operating has the capability to provide hard-pressedmanagers with a means to move towards a more positiverole in the knowledge era. Support functions under attack Another aspect of these dramatic changes is that traditionalorganizational support functions are under severe attack. Inthe 1990’s concepts such as business process re-engineer-ing, with it’s emphasis on eradicating non-value addedactivities resulted in many critical appraisals of conventionalsupport functions such as human resources, ﬁnance, inter-nal audit and information technology. This pressure hascontinued with ever more functions having to make signiﬁ-cant changes to their methods of operation. Faced withcompetitive pressures, organizations are no longer preparedto fund activities that do not add value to the organization,or support the provision of service quality to the customer.Outsourcing has become a global business with lots of majororganizations off loading many support activities to a thirdparty. The challenge is simple – ‘If you don’t add value thenyou’ll have to go!’ When subjected to rigorous analysis and the question ‘Why do we do that?’ it becomes clear that many aspects of thetraditional support function’s work do little to support thecentral nature of the organization. All too often support func-tions have developed to the stage where they consumelarge amounts of resource without necessarily contributing High performance consulting skills 10to the organization’s fundamental goals. In many ways they can be said to have replicated the worst aspects of the oldmanagerial model of controlling and checking and as suchthey face similar challenges in terms of refocusing their roleand contribution. The temptation for any support functionis to turn inwards and see itself as the primary customer inorganizational relationships. Thus it loses sight of its cen-tral purpose and begins to become an end in itself; oftengrowing excessively and engaging in blocking rather thansupporting activities to the rest of the organization. The opportunity It is against all these fundamental shifts in the world ofwork and organizations that the increasing use of internalconsultants is being observed. Internal consultants achieveresults through influence rather than the application offormal executive power. Whilst being aware of the inher-ent political nature of organizations, internal consultantsavoid becoming involved in complex and negative inter-departmental rivalry or politics. By using their specialisttechnical knowledge, inﬂuencing skills and models of orga-nizational change, internal consultants achieve performanceimprovements. Their method of operating is to enablepeople to solve organizational problems without the clas-sic need to claim credit for success that for so long has beenthe driving force of much managerial behaviour. On astrategic level we see internal consultancy providing the fol-lowing beneﬁts: • A more ﬂexible and responsive organizational role for managers. Based on contribution not status, and assuch in tune with the future direction of the winningorganization. ONE From managing change to managing surprise 11• An overwhelming focus on the delivery of a ‘value added’ service or contribution; as opposed to con-trolling and interfering type contributions. • A relationship that is based on a consultant-client con- cept rather than a command and control regime. • A move to process and outcome based thinking. Resulting in the removal of traditional loyalties andhostilities to other functional areas. What exactly is consultancy? To deﬁne consultancy work is to differentiate it from moreconventional forms of management. A consultant’s workbegins when part of an organization’s strategy, structure,processes or systems fail to deliver the necessary levels ofperformance. Consultants are employed to close the per-formance gap and their contribution might involve a totalsolution or the provision of some form of specialist techni-cal support for an agreed period of time. The consultant’sinvolvement in a project can therefore be of a short or long-term nature. The consultant’s role is to assist their clientwithout taking over control of the problem. Good consul-tancy involves providing advice in such a way that itenhances the client’s ability to solve their future problemsand challenges. You in effect leave something behind – animproved capability. A key reason why the role has so muchpotential for helping managers operating in ﬂatter struc-tures with empowered workforces. Invariably a consultant’s work also involves the management of change. Whilst having to inﬂuence a client and a situa-tion to get things done differently you must achieve this insuch a way that your client becomes fully committed to thesolution. Being able to inﬂuence clients without any formalexecutive power is one of the deﬁning characteristics of therole. Successful consultants do not rely on overt authority High performance consulting skills 12or control to succeed. Instead they rely on their high levels of expertise and inﬂuencing skills to persuade people to moveto action. The difference between expert and process consulting There are two quite distinct types of consulting style and they involve the expert and the process consultant. Both havevery different characteristics and methods of working withclients. Figure 2 highlights some of the characteristics andadvantages and disadvantages of both types. Most of youreading will be familiar with expert consulting which istypiﬁed by the classic external consultant who applies alltheir knowledge and expertise to diagnose and solve theirclient’s problem in a directive and often prescriptive manner.This form of consulting is very attractive to clients as it canbe applied in a very fast and focused way. Information tech-nology for example, has traditionally been an area that hasbeen dominated by expert consulting. The major difﬁculty with expert consulting is the lack of client ownership or commitment that results. All too oftenthe recommendations of expert consultants fail at the imple-mentation stage because insufﬁcient emphasis has beenplaced on developing the client’s commitment to the outcomesof the project. Expert consulting involves a directive style and,whilst it is very fast, it does mean that signiﬁcant issues likeclient involvement and ownership can be overlooked. Expert consulting can also prove ineffective in developing the long-term capability of clients. When an expert con-sultant completes their work they often leave with theirexpertise so the client is unable to cope with similar prob-lems in the future. Expert consulting can therefore have theeffect of breeding organizational dependency on the con-sultant. Clients are unable to operate without the expertise. ONE From managing change to managing surprise 13This is of course great news for the consultant but not so good for the client who maybe paying the fees. Process consulting helps to build a client’s capability to solve the prob-lem the next time around. To that extent it seeks to promoteindependence. FIGURE 2: EXPERT AND PROCESS CONSULTING The excessive use of expert consultancy can also lower themorale of a client’s organization as it assumes the knowl-edge and capability to deal with the problem was not withinthe scope of the client’s team. This can be particularly de-motivating if the people involved do believe they have thecapability to tackle the problems. In its defence expert consulting does have the beneﬁt of being able to address the right problem with the right expertise.PROCESS Use of all my knowledge and expertise. Advantages 1. Right solution2. High level of client ownership3. Builds client’s commitment4. Motivational for the client5. Promotes client independence and capability Disadvantages 1. Slow2. May not have right expertiseEXPERT Use of all my client’s knowledge and expertise Advantages 1. Fast2. Focused response3. Right expertise4. High impact Disadvantages 1. Wrong solution2. Lack of real understanding3. Poor client ownership4. No client commitment5. Client dependency6. Reduces client’s sense of confidence High performance consulting skills 14An organization cannot always be sure that it does have the necessary solution to a problem and so there may well bea need to bring in expertise in very specialist ﬁelds to tacklechallenging issues. To that extent expert consulting willalways have a place in organizations and so remain a cred-ible approach despite its limitations. ONE From managing change to managing surprise 15Expert and process consulting A deﬁnition of highly available computing – The Expert Consultant ‘The use of redundant components in conjunction with appro- priate fall-over and restart mechanisms in both hardware andsoftware to permit event notiﬁcation of failure conditions cou-pled with application and/or database checkpointing androllback/recover algorithms, thus establishing reasonableassurance within predicted norms that a combination of redun-dancies will allow a conﬁdence factor to exist and that meantime to repair shall be small enough variable in conjunction withsimultaneous mean time between failure of the aforemen-tioned redundant components that the overall system availabilitywill be signiﬁcantly above normal performance’ Common sense translation – The Process Consultant ‘Your computer system should be up and running 24 hours a day, 7 days a week, 365 days a year, so you don’t have to be.’ Adapted from an advertisement placed by Data General, Econo- mist November 1994 .In contrast process consulting works on the assumption that a client has the necessary capability to address the prob-lem but needs guidance and advice in the ‘how to’ ofaddressing the problem. The emphasis is therefore on help-ing a client to think through the problem and produce asolution that has a very high degree of commitment and own-ership. The major difﬁculty with process consulting is thatit can be much more time consuming than the expertapproach. Developing commitment through involvement anddiscussion is always a longer process, and frequently theurgency of organizational life prevents such time beingexpended on problem-solving. Quick ﬁx solutions are sooften the order of the day. Process consulting works on the assumption that the client has the necessary expertise to tackle the problem. This ofcourse may not be true. So you may end up wasting a lotof time addressing a problem with the wrong approach orﬁnd out that you failed to fully appreciate the problemsinvolved. Whereas the prompt application of some effec-tive form of focused expert consulting would have solvedthe problem. Conversely, when it works well, process consulting has the added beneﬁt of enhancing a client’s ability to deal with theproblem the next time it happens. As such it improves yourorganization’s overall capability. This is something thatcannot always be said to be true for expert consulting. When selecting a form of consulting expertise organizations frequently choose the expert approach because it appearsto offer greater beneﬁts in terms of speed and focus. In prac-tice these benefits prove more imaginary than real andmuch of this book will focus on the process skills that needto accompany any underlying technical expertise. By com-bining both sets of skills people can develop into trulyoutstanding internal consultants. High performance consulting skills 16Depending upon your area of functional expertise most internal consultants will need to develop an agility to bal-ance the expert and process continuum. Knowing where tobe on this continuum at any one time is the art of a goodconsultant. External consultants often underestimate thepower of process management. They fail to see its power inboth developing their client’s capability and in generatingcommitment and ownership to solutions. Hence our generalability to recite horror stories involving external consultantswho didn’t listen and simply imposed solutions. FIGURE 3: WHERE IS YOUR BIAS – EXPERT OR PROCESS? ONE From managing change to managing surprise 17WHERE DO I NEED TO BE? • Use of all my client’s knowledge and expertise • Use of all my knowledge and expertiseAs an internal consultant, whilst you will apply your tech- nical expertise, whether it be in project management,systems design, training or ﬁnancial planning, be aware ofthe constant and potential dangers of assuming that as theexpert you know all the answers. Thus forcing your solu-tion onto a client regardless of their own views. Processconsulting demands that you focus not only on the prob-lem but also on your client, and you will need to be able tojudge the right time to be at either end of this continuum. The reality of most organizational problems is that there is never one right answer to solve a problem. There are alwaysseveral options that might be applied. Consequently suc-cess in the consulting process involves getting to one of thosesolutions. More importantly it involves getting your clientto the solution that they feel most committed and comfort-able with. Achieve this and you are likely to gain immensecredibility with your client. Recognising when you need tochallenge your clients and when you need to step back arekey skills that have to be developed. So learn to balance theexpert and process role. What is the difference between the internal and external consultant? The classic story of the external consultant who borrows your watch to tell you the time, charges you for it and thenkeeps the watch, is perhaps a little exaggerated but realityseems to suggest a lot of evidence for the caricature. Weare all familiar with the problems associated with externalconsultants who enter organizations displaying hugeamounts of arrogance. Who all too frequently, believe theyknow what the problem is before even asking any questions.This form of behaviour characterises the worst form ofconsulting and frequently results in an enormous waste oftime, effort and resource. Of course there will always be good High performance consulting skills 18and bad external consultants. It also seems likely that there will always be opportunities for good external consultantsto thrive. But too often the solution to a problem alreadyexists in an organization way before the arrival of any exter-nal consultant. We have probably all had experience of organizations that are too dysfunctional in the way they are managed to listento their own people when it comes to diagnosing problemsand developing solutions. Despite the prevailing wisdom ofsome leaders, people who work in organizations do gen-erally know what the problems are. They also understandthe underlying issues and have the ideas to ﬁx them. Regret-fully, their views and ideas are all too often ignored ordismissed. One of the central themes of this book is to chal-lenge this depressing convention. Indeed it might be arguedthat it is too often the leadership of an organization wherethe problem really lies when it comes to encompassing newideas and approaches. Internal consultancy provides an exciting and alternative option to these classic but highly frustrating situations. Con-sultancy is an operating style that aligns itself to the demandsof ﬂatter organizational structures and highly skilled knowl-edge workers. But in exploring the nature of internal consultancy it is per- haps useful to begin with a comparison with externalconsultancy as this can help to highlight critical aspects ofthe role. In examining differences between the two it is notour intention to set one group against another but to simplyrecognise that there are key differences. As an internal con-sultant these differences should inﬂuence how you ultimatelymarket your services. You will see from the list below thatsome of the differences can be used to aggressively promotea case for using internal consultancy as opposed to adopt-ing the external route. At the same time there are someissues that will require you to examine and question your ONE From managing change to managing surprise 19own ability to be truly objective and impartial in carrying out internal projects. This question of objectivity is often amajor reason why clients may seek external consultancyassistance. In some situations you may well ﬁnd yourself com-peting with external consultants for a project. You thereforeneed to have a clear view of the relative advantages and dis-advantages of either approach in order to shape yourbusiness case and proposals. External consultants are: •Employed for a ﬁxed period to work on a speciﬁc client problem. •Potentially able to get the full attention of senior managers more easily – clients tend to value more what they have to pay for. •Presented as experts – they have specialist expertise and experience that is not present in the organization.This is often combined with an extensive knowledgeof either speciﬁc or different industries which clientsﬁnd very attractive. •Generally highly motivated and committed people who display high levels of energy to their work andclients. And whilst many are paid lots of money fordoing this, their motivation and commitment is oftento their work and clients ﬁrst and their pay chequesecond. •Not always conversant with their client’s business . Thus the client may have to pay for the consultants tolearn about their business in the initial stages of a proj-ect. This can be expensive. •A ﬂexible resource – the organization is not burdened with long-term costs when the work is ﬁnished theconsultants leave. Although in some organizations thisnever seems to happen!!! High performance consulting skills 20•Able to learn from their clients and use this learn- ing with other clients. •Not emotionally involved in their client’s problems – they have no history of investment in the situationand can therefore be more objective and critical inreviewing situations. •Independent – this is of course debatable – given that someone is going to be signing a bill. •Often investing in new approaches and method- ologies – they have to have something new to offer clients. •Not always required to live with the consequences of their work. •Not always being entirely honest when they say ‘we’ve done this!’ What they often mean is that ‘wehaven’t but we have really great people and expert-ise and we are really conﬁdent we will ﬁnd a solution’. •Capable of developing a sense of dependency from their clients – ‘we cannot function without you now’. •In a business themselves – they are selling people and time and are interested in consultant utilisationand proﬁt maximisation. Internal Consultants are: •Employed full time by the organization. •Likely to understand the overall business better than external consultants. •Sometimes more knowledgeable that external consultants . You should know your business and industry extremely well. You may also have developedan approach or methodology that is ahead of anyexternal consultancy group. ONE From managing change to managing surprise 21•Normally part of a speciﬁc function – Information Technology, Training and Development, Finance,Business Development, Internal Audit. •Aware of the right language and culture of the organization . You know how things work and how to get things done. •Able to identify with the organization and it’s ambitions – as employees you have a big emotional commitment. •Liable to being taken for granted or lacking the credibility of some external consultants. •Prone to being too emotionally involved in an organization – thus perhaps inﬂuencing your ability to be truly objective. •Required to live with the consequences of their advice – you are still around long after the external consultants have left. •Able to spread their knowledge and experience throughout the organization – you can enhance your organization’s overall capability. •Required to redeﬁne past organizational relation- ships – the move from ‘colleague to client’ requires a period of adjustment. High performance consulting skills 22So fundamentally internal consultancy promotes the concept of enabling people to develop solutions to their own orga-nizational problems and in so doing develop their long-termcapability as well as their organization’s. Internal consultancyalso provides a basis for managers to propel their existingroles into the organization of tomorrow. ONE From managing change to managing surprise 23Insight Working with external consultants In our experience most external consultants are highly moti- vated and committed people who want to succeed and deliverhigh quality work. However because of the negative percep-tion that people in organizations frequently have of externalconsultants there can be a tendency for people to be hostiletowards external consultants. This often results in difﬁcult andstrained relationships on joint projects. If you work with external consultants on a project, seek to work with them and harness their skills and expertise ratherthan adopting a negative or antagonistic approach. Good exter-nal consultants will always respond to positive people andboth sides will gain. So get closer. Don’t distance yourself, seeit as a learning opportunity – but at the same time make sureyour positive approach is reciprocated. Don’t allow people tosimply use you.The characteristics of internal consultancy So what truly characterises being an internal consultant? Internal consulting is an independent service Many organizations problems occur because managers become too involved with a problem and so close theirminds to certain possibilities or solutions. The need for freshand independent thinking is one of the main reasons whyexternal consultants are used so often. Although, it is arguablewhether external consultants are truly independent. Some-one, somewhere is always paying the bill and that can alwaysinﬂuence what is reported or recommended. But the abilityof internal consultants to provide an independent perspec-tive and analysis is one of their most valued contributions.However, this is an extremely difﬁcult role to play becauseas an internal consultant you are paid by your organizationand as such are part of it. Being critical of something youbelong to and which also ensures your ﬁnancial well-beingcan be very difﬁcult. You may need to frequently challengeyour client on difﬁcult or contentious issues. This may involveconfronting managers who are senior in status. In manyorganizations this can be an extremely challenging task foranyone. Yet providing an independent perspective is anessential requirement of the role. Clients frequently need tohave their assumptions and methods questioned. Simplyoperating as a ‘rubber stamp’ and conﬁrming a positiveimage on everything your client is doing may mean failingto carry out an effective consulting role. To challenge theclient’s objectives, aims and plans is part of the day-to-dayrole as an effective internal consultant. High performance consulting skills 24ONE From managing change to managing surprise 25Internal Consulting is an advisory service Internal consultants are not employed to take difﬁcult deci- sions on behalf of harassed or over-worked managers. Asadvisors, internal consultants are responsible for the qual-ity and integrity of their advice, but it is their clients whoultimately carry the responsibility for implementation. Pro-viding `advice’ in consulting terms can range from a technicalinput to the provision of counselling or facilitation expert-ise, but providing the right advice, in the right manner andat the right time is the critical skill of any effective consultant. For the line manager using the skills of the internal consultant the objective is to empower their team to develop theirown solution rather than impose one. The emphasis beingto consult and enable not direct and control. Internal consulting is the application of specialist knowledge, skills and experience Internal consultants are often employed to work on a prob- lem when part of their organization is either short ofspecialist skills or lacks the necessary expertise. Depend-ing on your technical background your contribution mayinvolve the introduction of new systems or operationalmethods. In others the problem may be of a more generalnature and involve you operating as a facilitator ratherthan a technical expert. As a facilitator you are seeking toprovide your client with a framework or process to help themsolve the problem rather than provide a direct technical orexpert input. See the facilitator role as another change fromthe conventional line perspective which says, ‘I will now takeover!’ Yes, as an internal consultant you have to provideadvice and direction but you must stop short of taking overthe leadership mantel for the problem.All internal consultants must keep their knowledge base and expertise up-to-date. The ability to comment or talk aboutthe latest developments in your ﬁeld of expertise or whatis best practice in your industry adds credibility and powerto your case. If all we can do as a consultant is talk about avery narrow and limited range of expertise and experiencewe will ﬁnd it difﬁcult to get clients to listen to us. Ultimatelyclients are buying knowledge and advise. Internal consultancy is a proactive role In our experience simply changing the title of a department to internal consultancy unit will not result in any immediateovernight transformation. Indeed, if your organization hasa negative perception of your department or support func-tion you will need to work hard at changing this image.Simply sitting in your ofﬁce and waiting for the telephoneto ring might (depending on the previous performance ofyour department) mean waiting for a very long time. Inter-nal consultancy demands a proactive approach with lots ofpositive networking throughout your organization. The needto explore and identify problem areas and look for oppor-tunities to assist your clients in tackling business challengesis crucial. The need to develop some kind of marketing planeither for yourself or your group as part of this initiative isalso vital. Our section on marketing will explore these issuesin more depth but being an internal consultant means thatyou have to start putting yourself around your organizationand marketing your services. High performance consulting skills 26Internal consultancy requires a higher business perspective To become a highly successful internal consultant demands a will to possess or develop an ability to contribute beyondany narrow areas of functional expertise. Whilst traditionalorganizations have encouraged functional areas of expert-ise we have all experienced the barriers and hostilities thatspring up between functions and departments. Petty con-ﬂicts between sales and marketing, research and productionare common in all organizations. Any internal consultant orunit, no matter what their area of expertise, must rise abovefeelings of professional or functional loyalty and display ahigher and wider business perspective. Internal consult-ants need to see themselves as business people ﬁrst andfunctional experts second. To contribute to major businessissues requires recognition within your organization as aninformed person who understands the full business pictureand not just a narrow range of technical issues. This againdemands a strong sense of personal commitment and devel-opment to ensure you keep up-to-date with external issuesinvolving the economy, politics and competitor activity.Clients gain conﬁdence from dealing with consultants theysee as knowledgeable and well informed. Narrow perspec-tives and outlooks do not impress. If you want to get involvedin major organizational issues you need to develop a well-rounded outlook on the world in which your organizationoperates. Be aware of your technical expertise and contin-ually develop it, but do not allow it to become all consuming. ONE From managing change to managing surprise 27Internal consultancy requires ﬂexibility, personal conﬁdence and credibility Internal consultancy is a challenging and demanding role. On one level it can involve a very clear and explicit role but onanother it has the potential to be an ambiguous role with lotsof changing priorities and no clearly deﬁned set of day-to-day tasks. Consequently as an internal consultant the needto be comfortable with a loose role that may mean not know-ing what you are going to be doing from one day to another.For some people this can provoke a sense of dis-comfort asthey prefer a job that involves a clearly deﬁned set of tasksand responsibilities. But this is not what internal consul-tancy involves. To operate successfully you have to becomfortable with ambiguous situations and at the same timedisplay a high degree of self-conﬁdence and credibility. Feeling at ease when working with different groups includ- ing senior colleagues and being prepared to challenge andconfront them on important issues is vital. This needs to bedone without appearing rude, arrogant or patronising. Ulti-mately your inﬂuence and power can only come from thequality of your advice and the manner in which you deliverit. It is not a role for the faint hearted or introverted! Why use an internal consultant? In the following section we examine the reasons for employ-ing internal consultants on a project or assignment. We willbe working on the assumption that your organization hasthe capability to establish a consulting unit and that this unitmight evolve or develop out of an existing specialist sup-port function role or a more general business developmentgroup. Alternatively, if you are going to be operating on anindividual basis, you might want to reﬂect on the reasonswhy you are being hired as you become involved in proj-ects and other types of internal client work. High performance consulting skills 28+Internal consultants can be used for many different reasons so it is important to understand the circumstances sur-rounding an assignment and to establish why you are beingasked to provide assistance. Understanding your client’smotives at an early stage can offset problems later on in theworking relationship. Your client’s motives for employingyou can either be positive or negative and in some situa-tions you may have to deal with both. Listed below aresome of the classic reasons for using consultants. Look outfor the negative uses of consultants as they can be hazardousto your success. POSITIVE uses of consultants TO IMPROVE ORGANIZATIONAL EFFICIENCY Improving organization efﬁciency is perhaps the most obvi- ous and common reason for using consultants. Organizationstructure and efﬁciency reviews involving overhead costreductions are classic consultancy projects as are thoseinvolved with improving operational performance throughnew management information systems. In the late 1990swe had the widespread use of business process reviewsthat involved mapping organizational processes in order tostreamline core or ganizational processes. In other situations there may be problems involving customer response timesor quality control problems that necessitate a multi-functionalresponse involving systems and training, and developmentexpertise. In all these projects the objective in using con-sultants is to apply an independent and expert perspectiveand resource on a difﬁcult and urgent problem. SUPPLYING AN INTENSIVE AND FOCUSED RESOURCE ON A TEMPORARY BASIS Major organizational change involving a re-organization or the development of a management information systemrequires large amounts of senior management time. Day-to- ONE From managing change to managing surprise 29day operational pressures frequently prevent managers from concentrating exclusively on such tasks. Some seniormanagement teams also ﬁnd it difﬁcult to focus on bothoperational and strategic problems at the same time. Manage-ment teams often get caught up in other matters or politicalbattles, and progress can be delayed. Internal consultantsprovide a focused and dedicated resource to assist managersin overcoming these problems. Establishing project teamswho focus exclusively on a project or task means that seniormanagement time can be focused and used more effectively. TO SECURE A CONFIDENT Some clients like to develop a consultant relationship in orderthat they can have access to a conﬁdent. Being able to listento a client’s problems or issues in a range of disguises canbe a much valued role for any internal consultant. In someinstances you maybe required to simply listen. To enable yourclient to express their views on an issue without passingjudgement. In others you might be required to challenge orprovoke your client’s thinking; perhaps to consider alter-native approaches or courses of action. This aspect of theinternal consultant’s role demands that you develop a rela-tionship over a period of time. For clients who do not feelcomfortable discussing sensitive issues with their peers orcolleagues it can be an extremely valued and powerful rolefor any internal consultant to perform. High performance consulting skills 30TO CONTRIBUTE TO AN IMPORTANT DECISION-MAKING PROCESS Where major decisions or projects are involved, managers may want to obtain additional input from consultants to helptheir decision-making processes. It maybe that research orspecialist technical information is required. This involves con-sultants drawing on their own experience or alternativelyobtaining information from other sources, perhaps from out-side the organization. It maybe the case that your client isasking you to challenge or test a project or proposal toensure that every possible issue has been addressed andthought through. Your involvement in such cases is likelyto be limited to providing a very focused and technicalinput for a limited period of time. TO DEMONSTRATE THAT BUSINESS OPPORTUNITIES ARE BEING IDENTIFIED AND DEVELOPED Employing consultants on speciﬁc business projects is a method by which senior managers can demonstrate that theirorganization is maximising all the opportunities available toit. Again day-to-day operational pressures sometimes pre-vent managers devoting the necessary time to explore andexamine potential opportunities. Consultants offer the nec-essary ﬂexibility of resource to enable managers to investigatenew ventures. Conversely some managers who are under pressure or criticism by other colleagues might employ consultants todemonstrate that they have a difﬁcult situation under con-trol. Clearly this action might be interpreted as a negativeuse of consultants because it can involve them in complexand potentially hazardous organizational politics. ONE From managing change to managing surprise 31–TO REDUCE THE RISK OF A PROJECT’S FAILURE Where highly complex and expensive projects are con- cerned the involvement of consultants with high-levelexpertise can obviously reduce the risk of a project runninginto difﬁculties. Employing specialist expertise or project man-agement skills provided by consultants helps provide comfortto senior managers that an important project is being prop-erly resourced, supported and managed. As well as providingthe expertise you may be acting as a comfort blanket to theorganization. Potentially NEGATIVE uses of consultants Of course there are those instances where consultants can be used for negative or even subversive reasons or purposes.In such cases you need to be extremely cautious of gettinginvolved as the potential outcomes of these situations canhave negative implications for your credibility and reputa-tion. When this happens your ability to operate successfullyin your organization becomes seriously impaired. TO HELP UNDERMINE AN EXISTING MANAGEMENT GROUP OR SITUATION In some situations a consultant might be employed to delib- erately attack a speciﬁc proposal or initiative that has beensponsored by another manager or group. This can involveyou in an acrimonious relationship and a ‘no win’ situation.There is a distinct difference between situations where youmight be asked to critically evaluate or validate a proposalor action plan, and those where there is a hidden politicalagenda that is not explained to you at the outset of a proj-ect. You should always probe to establish the reasons whyyour client has decided to involve you. If your suspicionsare aroused probe harder to uncover the real motives. If you suspect or sense a difﬁcult situation you will need to explain to your prospective client your concerns. You need High performance consulting skills 32to point out the potential dilemmas you face in trying to operate successfully in the long-term if you become involvedin such a project. Always remember that if you are seen assomeone who does the ‘dirty work’ of others you will haveproblems when next trying to operate in other parts of yourorganization. PROVIDING MANAGEMENT WITH SUPPORT TO JUSTIFY PREVIOUSLY AGREED DECISIONS OR ACTIONS In certain situations, internal consultants maybe asked to tackle assignments in order that a manager can justify analready agreed course of action by reference to a consultant’sreport or recommendation. This is not an unreasonable request, but as a matter of principle, and in your own self-interest, you should try to avoid such projects. Internalconsultants must always safeguard their reputation and inde-pendence. Accepting work of this nature can influencepeoples’ views on your integrity. If you lose your integrity thenyour ability to operate successfully in the future will be seri-ously impaired. People who are suspicious of your motivesand behaviours are unlikely to co-operate with you in pro-viding information and assistance. As an internal consultantavoid overtly ‘political’ assignments. TO HAVE SOMEONE TO BLAME Whilst we have advocated the use of consultants on impor-tant projects it is also the case that in some extreme situationscertain managers will view the involvement of consultantsas providing them with a convenient scapegoat in the eventthat a project does not produce a satisfactory outcome. Insuch situations it is critical that you secure your client’sagreement to all stages of a project and that you managetheir commitment throughout the project so as to avoid crit-icism at a later stage. If you sense the situation is one whereyou will be unable to emerge without damage you shouldavoid entering the project at the outset. ONE From managing change to managing surprise 33Managers might also use internal consultants to recommend or implement particularly difﬁcult actions such as staff reduc-tions or business closures. The tactic can involve hidingbehind the consultant’s recommendations so as to pushthrough the difﬁcult process in the hope that the reputationof management is not diminished. Sufﬁce to say, people oftensee through the tactic with the result that a management’sreputation is often further damaged rather than enhanced. However, there maybe some legitimate reasons whereby a client might legitimately employ this tactic for some longer-term beneﬁt that might not be immediately apparent. Thereare circumstances involving complex re-organizations andkey staff deployments where it maybe acceptable for a man-ager to refer to a consultant’s recommendation. In suchsituations, the manager may have in mind the stability offuture working relationships and the need for the consult-ant to be fully recognised as the agent of the changes. Indeedit can be argued that this method of using consultants is theact of a skilled and thoughtful manager trying to take along-term and beneﬁcial outlook on a difﬁcult problem. Clearly none of these situations are easy to cope with or manage, so you need to carefully weigh up the potential ben-eﬁts and losses involved and discuss these with your potentialclient before becoming involved in such projects. High performance consulting skills 34How to become an internal consultant The Manager The skills contained in this book are highly relevant to any manager in a modern organization. The move from tradi-tional command and control structures to more empoweredworking practices, means that managers are increasinglybecoming enablers or facilitators to their people. The newrole provides a means of support that allows people to developand improve organizational performance without the neces-sity to feel dependent on conventional management powers.Consultancy skills, and in particular the process skills involvedin handling client relationships, can be employed not just onprojects but also in day-to-day working relationships betweenmanagers and their people. The consultancy model providesa viable means by which traditional managers can start tochange their operating mode to the modern world. The Support Function Any support function can become an internal consultancy unit by merely possessing or having developed a body ofknowledge, experience and skills in managing specialistactivities or tackling difﬁcult technical problems. However,experience indicates that there also needs to be an under-lying organizational move towards developing an internalconsulting capability. Such changes need to be accompaniedby a clear communications strategy which sets out the ration-ale for introducing the role and the implications for managers,and their working relationship with the new support func-tion. It is not sufﬁcient to simply change the role withoutcommunicating and educating managers about the newregime. Managers who have been used to a traditional formof support function will need to understand the new changesin service provision. ONE From managing change to managing surprise 35Some organizations that are aggressively pursuing the con- sulting concept, have gone as far as to introduce newﬁnancial procedures which require line managers to con-tract with the consultancy unit for a project or assignmentfee. Other organizations have changed the operating rolewithout altering the funding or resourcing requirements.In either situation senior managers and those employed inthe consultancy unit will need to ensure that they havecommunicated thoroughly with the rest of the organization.Failure to do so will invariably result in confusion and man-agers complaining about the new service provision. Any linemanager, who for ﬁfteen years has picked up their telephoneto their personnel or IT department and received an imme-diate response, will react angrily the ﬁrst day they are toldthat it will be a week before you can meet them. You haveto clearly inform managers about the new role. It is a com-munications process that cannot be left to chance and mustinvolve a high level dialogue with all managers throughoutyour organization. Time to convert and redirect Embarking on this approach also demands time andpatience. In most organizations it is not possible to simplyclose down one day and start operating as a consultancyunit the next. Invariably managers and functions require aperiod of adjustment. Time is needed to convert from theold to the new, as is the recognition that there will be ten-sions in making the transition. These changes require carefulplanning as you and former customers need to adjust to anew working relationship. In addition to possessing functional or specialist expertise, consulting skills also requires the ability to collect andanalyse information, to develop options, and recommendpractical and workable solutions and action plans. The need High performance consulting skills 36to keep pace with the latest developments, methodologies and techniques in your specialist ﬁeld of expertise is vital.The continuous development of skills and knowledge baseis a critical means by which to achieving credibility and inﬂu-ence with clients. It is only over a gradual period of timethat anyone can expect to make the transition and peopleneed to be realistic about the time this will take. ONE From managing change to managing surprise 37BlankCHAPTER TWO The art of client managementTWO The art of client management Understanding the key stages of the internal consulting process In this chapter we outline the key stages and activities involved in managing successful projects. Our consultingprocess involves a systematic approach to managing proj-ects or assignments. This ensures you not only deliversuccessful results but also enjoy strong and positive clientrelationships. The skills involved in managing projects canalso be applied in lots of day-to-day working relationshipsin the corporate world. Making a successful transition fromcolleague to client requires the careful application of theseconsulting stages. A consultancy project or assignment can be divided into four key stages that run throughout the duration of a project.These stages are shown in Figure 4 and involve: 1Getting in and contracting with your client 2Information gathering – understanding the client’s problem 3Presenting client feedback and action planning 4Implementing, reviewing and exiting the project High performance consulting skills 40FIGURE 4: THE CLIENT MANAGEMENT PROCESS As an internal consultant it is likely that in most cases you will be expected to get involved in all of these four stages.However, it is important to remember that on some assign-ments, your participation in the implementation phasemight be reduced as your client decides to take on theseresponsibilities. Getting in and contracting – Marketing – Initial client meeting – Terms of reference – Project planning– Organisation- team staffing – Costs and fees– Managing expectationsInformation gathering – Desk research – Information gathering – Problem analysis – Findings– ConclusionsPresenting client feedback – Meetings – Interim meetings– Presentations– Reports– Detailed planning– Risk analysisImplementing reviewing and exiting – Mobilising the team – Project management– Project control– Sign off and evaluation – Potential new work Client management as an ongoing activity TWO The art of client management 41No two projects or assignments are ever the same and so we need to remain ﬂexible and responsive to a client’s spe-ciﬁc needs and demands. Some clients will want to relyheavily on your services throughout the duration of a proj-ect. Others may want to reduce their dependency on youby absorbing much of the work involved in any action plan-ning and implementation phases. As an internal consultantyou need to be comfortable with both arrangements. Don’tfeel personally rejected if your client decides to reduce yourinvolvement in this latter stage of a project, unless of courseyou have done something negative to justify your exclusion! Getting in and contracting with your client As an internal consultant you have to have a group of poten- tial clients who recognise your expertise and are willing toinvolve you in projects or initiatives when suitable oppor-tunities arise. Your ability to generate interest in yourservices is the ﬁrst step to obtaining an invitation to meetwith any potential clients. To succeed in this area you willhave to market yourself and, where appropriate, your teamor unit’s services. MARKETING INTERNAL CONSULTANCY For the new or inexperienced consultant the prospect ofhaving to go out into their organization and actively marketor sell their services can come as a shock, but the fact is inter-nal consultancy demands this approach. Indeed, if we thinkabout it, everyone in the corporate world is in the businessof selling. If your organization is unaware of who you areand what you can offer, the chances of you being asked todiscuss problems and provide advice to clients will be remote.If you cannot rely on potential clients coming to you thenmarketing your services becomes essential to your survival.Developing a marketing approach represents a signiﬁcantdeparture to the work of many traditional managers and sup- High performance consulting skills 42port functions that have enjoyed a captive market for their services. To some it comes as a bit of a shock. Often the fearof selling in a competitive world puts many people off becom-ing independent external consultants. But the fact is that intoday’s environment we have to think about how we marketourselves and capabilities. In our chapter on marketing we outline some of the speciﬁc actions needed to begin the marketing process in your organ-ization. These include developing a simple marketing strategyand promoting your skills and services to senior managementand other key stakeholder groups in the organization. When your initial marketing efforts have been successful, a potential client will invite you to a meeting to discuss aparticular issue or problem and to explore whether you mightbe able to provide some help. This is your selling opportu-nity and for most internal consultants the probability isthat you will have worked for this person before. However,to succeed as an internal consultant you need to managethis person in a very different way to the past. This is wherewe need to start developing a very structured approach tomanaging client relationships. INITIAL CLIENT MEETINGS Initial client meetings represent the formal start of ourclient management process. It also begins the move froma colleague to client perspective in the working relationship. The purpose of any initial client meeting is to begin under- standing the client’s business and problems. This involvesjointly exploring their key challenges and concerns andestablishing the possible basis for a project or assignment.At this initial stage you need to be prepared to start dis-cussing provisional objectives, and timescales. You mightalso raise the possible involvement of the client’s staff in thework and any requirements for specialist skills such as TWO The art of client management 43ﬁnance, human resources, project management, production, engineering, logistics, information technology, etc. Clearlythis requires some advance preparation and so is a very dif-ferent approach to the colleague perspective of ‘ I’ll just turnup and see what they have to say!’ As a new internal consultant there is often a real need to redeﬁne past relationships with some of your clients. Clientsmay have viewed you past role as that of a subservient sup-port function. If you are going to gain the respect andauthority you need, you will have to shift any negative per-ceptions. It is critical that clients view you as an equal. Asan internal consultant you want to have a strong and mutu-ally respectful relationship with all your clients. In effect youhave to develop a partnership relationship. But dependingon your starting point this may take time. Patience will beneeded in order to build up a range of positive successesto shift peoples’ attitudes. This process of inﬂuencing yourclients’ perceptions and attitudes begins at the initial meet-ing stage. DEVELOPING AN INITIAL TERMS OF REFERENCE On the basis that both you and your client have had a sat-isfactory meeting and agreed in principle to start workingtogether, an initial terms of reference has to be developed.Once submitted this draft document can be discussed andpossibly agreed at your next client meeting. In many situ-ations you may need to carry out some preliminary researchto deﬁne the precise scope of the problem although for somesimple and straightforward assignments it maybe possi-ble to agree the initial terms of reference at your initial clientmeeting. High performance consulting skills 44Agreeing an initial terms of reference with your client before you begin any consulting work is a fundamentalrule in managing all of your client relationships. The con-sultant and client must be absolutely clear about the scopeand objectives of a project at the beginning. The process ofagreeing an initial terms of reference ensures that a clearand mutual understanding has taken place. Many consult-ants have met with failure and ultimately faced an angryclient because they ignored this basic rule. Assuming thata lack of clarity in understanding at the start of a projectwill not matter in the ﬁnal stages of a project, is a fatal mis-take. The fact is it matters a great deal. Clients and consultantscan easily misunderstand or forget the details of initial dis-cussions. This can be further exacerbated if any agreementsare not documented. Establishing an initial written termsof reference is the means by which you establish a clear focuson what your client wants and agrees to. It is also a processthat helps develop your client’s thinking about their prob-lem and what it is they exactly want from you. Very oftena client’s view of a problem can change sign iﬁcantly as a result of a consultant probing and challenging them at aninitial meeting. So the process is intended to beneﬁt both par-ties by ensuring that there is a clear understanding of theaims of a project. This helps prevent any surprises later onin a project. TWO The art of client management 45 Don’t start work without a terms of reference – it’s a powerful a tool to help surface competing stakeholder objectives and deliverables. It really helps the client focuson questions such as, ‘Do we really want to do this?’ and ‘What are we hoping toachieve?’ Tracey Norbury, Internal Training Advisor HSBCAs a project develops constantly review your terms of ref- erence. When circumstances surrounding a project changeyou may well need to adjust the overall objectives. This iswhy we refer to an ‘initial’ terms of reference at the begin-ning of a project as it is very likely that it will change,especially where you become involved in complex imple-mentation work that will require detailed planning schedules. In developing your initial terms of reference you should include the following information: • Background to the project.• Project’s objectives.• Boundary of the project.• Constraints involved.• Assumptions you are making at this stage.• Client’s reporting requirements.• Project deliverables and milestones.• Show who and when things happen on an Activity Time chart (Gantt). • Finance/resources required to carry out the project. In most cases, to fully understand your client’s problem, you will need to complete a brief but intensive period of fact ﬁnd-ing. This may involve you interviewing a small cross sectionof people or conducting some form of desk research. Makesure that you understand the background to your client’s prob-lems so that you can provide an initial estimate of the resourcesand time you will need to complete the project. When yourterms of reference are agreed with your client they in effectbecome your consulting contract. They also become the basison which your eventual success or failure will be judgedwhich is why they assume such signiﬁcance in the clientmanagement process. Without a clearly agreed terms of ref-erence you cannot hope to deliver effective consulting services. High performance consulting skills 46On some projects, you will be required to bid for the work and compete with other groups, possibly external consult-ants. Preparing an initial terms of reference will not beenough as you will have to prepare a client proposal. Thisis a formal document that will include your initial terms ofreference as well as: • your consulting experience – document your experi- ence and skills and that of the team; and • methodology – describe your approach to executing the work. TWO The art of client management 47Insight Never lose focus of your terms of reference and keep them readily available throughout the course of any project. On com-plex or lengthy assignments it is very easy to lose sight of youroriginal objectives and stray from your terms of reference. This can be very damaging either towards the end of an assignmentor when you have to report back at key stages. You do not wantyour client to feel you have not delivered so keep asking yourselfand your colleagues ‘Have we done what we said we would do?’ Insight Consultants always leave insufﬁcient time for drafting and pro- ducing client reports. A useful guide in planning is to simplydouble the time you think you will need! You can never doenough drafting and editing of a ﬁnal report.Information gathering and understanding your client’s problem In the majority of assignments or projects, a detailed period of fact finding will be necessary to ensure that you areobtaining the right information to understand and accu-rately deﬁne your client’s problem. This requires an inquisitiveand open-minded approach throughout your investigation.Simply accepting what is said to you without challenging orquestioning the issues may result in you developing erro-neous ﬁndings and conclusions. A structured and analyticalapproach is needed to ensure that all the relevant facts andissues are established and understood. Having a clear under-standing of the information gathered during the initial stagesof your work, will also help you highlight additional areaswhich may require further investigation. Ultimately youmust be able to develop valid conclusions and recommen-dations from all the gathered facts. The main methods of gathering information are: • Desk research that typically involves the review and examination of existing information or records (e.g.current reports, efﬁciency statistics, systems outputs,policies, operating procedures and sales or customerdata, etc.). • Interviews conducted on an individual basis.• Group interviews.• Questionnaires circulated to staff, customers, suppliers or other relevant parties. • Process mapping of existing processes or systems.• External case studies or data sources. High performance consulting skills 48Most consultancy projects will involve a combination of all these methods. Interviews are of course always critical ingathering information and it is impossible to carry out con-sulting work without having to interview people. Whenconducting client interviews always aim to: • Be professional, respectful and courteous to everyone.• Have a checklist of the main questions and issues you want to discuss. • Challenge and be a devil’s advocate if some answers seem not to make sense. • Remain impartial (never criticise client staff or others within the organization and never be drawn intomaking controversial statements). • Distinguish clearly between information that is given to you ‘on the record’ and ‘off the record’. • Be discrete. To be successful interviews need to be conducted in a relaxed and open atmosphere. There may also be moments when youneed to maintain client conﬁdentiality with regard to per-sonal ‘off the record’ comments. You may need to protectpeople who share confidential information with you bygiving assurances that you are only identifying broad themesand issues rather than attributing speciﬁc comments to indi-viduals. Giving the impression that whatever is said will bequickly passed on to all interested parties is not likely to gen-erate an atmosphere of trust. TWO The art of client management 49CONTROLLING THE PROJECT Once your project gets under way, your main responsibil- ity is to ensure that the plan is implemented so that theobjectives in your terms of reference are met. You have totherefore constantly focus on your project’s objectives by: • tracking the team’s progress against the plan; and• reviewing the plan to ensure that it remains current and viable. Keeping track of your project against schedule is a key con- sulting discipline. The need to ensure that people are awareof their key targets and deliverables is vital. As is the needto maintain a strong level of communication across all aspectsof the project team and the activities they are undertaking.People need to be aware of the bigger picture and it is therole of the project manager to ensure that people are keptup-to-date on developments and progress. Early warningmechanisms need to be in place in the event that delays orproblems occur. So strict adherence to any project plan isvital to success. Successful projects are best achieved by holding regular review meetings and ensuring that all key decisions are fullydocumented. Agreed action points should be circulated toeveryone involved in the project. Structured client progressmeetings also ensure your client is kept fully informed of thework being undertaken, and of the project’s overall progressand development. It also means you can highlight any prob-lem areas at an early stage. It is vital that you keep your clientinvolved at all times, so as to manage the client’s commit-ment throughout the implementation phase. Finally, re-planning may need to take place after holding a review meeting. You need to record any new or changedtasks and also change your terms of reference if appropri-ate. In some cases there maybe no need to revise your plan. High performance consulting skills 50Alternatively, you may have to consider a number of man- agement actions, such as increasing resources, reassigningpeople and tasks before rescheduling parts of your projectin order to keep to the planned deliverables. Presenting client feedback Presenting client feedback is a phase of the consulting process that runs throughout the life-cycle of any projector assignment you are involved with. Client feedback hasto take place regularly during any project to ensure that yourclient is kept up-to-date on progress and advised of any dif-ﬁculties at an earlier, rather than later, stage. Any consultantwho neglects this part of the consulting cycle is likely to runinto real problems with regard to the client relationship.Remember to always take the initiative when communi-cating with your client. Never be in the position where yourclient is chasing you for information or progress updates.If you ﬁnd yourself in such a situation it probably means thatyou have failed to pay sufﬁcient attention to the feedbackprocess in the client relationship. When it comes to feed-back and progress reports, always stay one step ahead ofyour client. Never, ever, try to hide problems or delay givingbad news as it always makes the situation worse. Better toadvise your client today rather than three weeks after a prob-lem has occurred. The chances are that the problem will beand sound a lot worse in three weeks time. Any project completion date ultimately results in some form of ﬁnal report or client presentation. During this stage ofthe feedback process your client is looking to assess the qual-ity and integrity of your work, and you in turn are lookingto gauge their reactions. It is also the stage at which youwill be aiming to further strengthen your client relationshipby securing agreement to your ﬁndings, conclusions andrecommendations. TWO The art of client management 51The two major activities involved in presenting client feed- back will involve you in writing reports and making formalpresentations. They constitute two critical skill areas thatmust be mastered. Poor performances in either can seriouslydamage your client’s conﬁdence in your overall ability andcompetence. WRITING CLIENT REPORTS Any client report must be a clear statement of what you setout to do, what you did, your recommendations and whereappropriate your proposed implementation plans. As aninternal consultant, your report must be capable of beingunderstood at a ﬁrst reading by anyone who does not pos-sess a detailed knowledge of the problem or issues underreview. Report writing is a complex and at times painful process but there is no escaping from the discipline that must be applied.All consultants experience difﬁculty at one time or anotherin writing reports, so you should not be too depressed whenyou ﬁnd yourself struggling with a complex report. But youmust recognise that there is a signiﬁcant difference in theskills needed to analyse a complex problem and to thenwrite a clear and logical repor t on the situation . However, both sets of skills are necessary to produce a report that isrigorous in analysis and clear in presentation. In many proj-ects your ﬁnal report is often the only way in which yourclient can, or will, judge your performance, so you have todisplay a high degree of skill and capability. MAKING CLIENT PRESENTATIONS Whilst your conclusions and recommendations shouldalways be discussed with your client in advance of your ﬁnalreport being submitted, there invariably comes a time whenyou will be expected to make a formal presentation on yourwork. High performance consulting skills 52Client presentations are one of the most important parts of an internal consultant’s work. During the latter stages of aproject they become critical as they provide you with theopportunity to explain issues in your report that might notbe immediately clear and open to misinterpretation. Whenworking on sensitive projects you should always person-ally present your report rather than send it to your client.This allows you to clarify any potentially contentious ordifﬁcult issues immediately. Following any client presenta-tion, you may need to consider reviewing and possiblyamending your ﬁnal report in the light of the commentsreceived during your presentation. Like report writing client presentations can be extremely complex events and you can never plan or prepare enoughfor them. During any presentation you may have to deal withsensitive issues involving criticism of your client or othermanagers or departments. You may also have to safeguardconﬁdential issues that emerged during your work. Whenissues such as these are present, you need to not only planfor them, but also how you will manage them during theactual presentation. As such you will need to be skilled innot only structuring presentations but also in planningaround detailed process issues. For example, how to dealwith the fact that attending your presentation might betwo managers who you know to be extremely hostile to whatyou have to report? Dealing with this type of issue is an every-day challenge for the internal consultant. In our clientpresentation section we will outline some of the techniquesthat you can use to ensure that you manage such situationsand secure your client’s support and commitment at the feed-back stage. TWO The art of client management 53Implementation Implementation is that stage of the consulting process that requires detailed plans for achieving the project’s objectives.On some projects your involvement may end at this stagewith your client taking over control. If your involvement ina project does end at this stage you must be aware that asfar as your client is concerned the project is not ﬁnished.The completion of your review or the delivery of a report,frequently represents a beginning not an end for the client. On very large and complex projects involving, for example, a major information systems implementation, your client willfrequently have to manage a large workload and it maybenecessary to involve a specialist project manager to carryout the detailed planning and monitoring activities. In suchsituations large numbers of people and resources will beinvolved and this demands a more disciplined and rigorousapproach to project management. However, in the major-ity of consulting projects, the responsibility for carrying outthe detailed planning and implementation management willlay with you as the internal consultant in charge of the proj-ect. So you have to be prepared to take on the role anddevelop some of the skills of a project manager. High performance consulting skills 54Insight Identify and involve all the appropriate people who will par- ticipate in the planning discussions. These are the people whowill ultimately assume responsibility for any new systems orprocedures and so their active involvement must be secured.As a minimum, these people will include your client, their man-agement team and any other key people who will implementthe system or changes.The implementation phase involves the following steps: • Assessing how much detailed planning you need to do. • Reafﬁrming your terms of reference.• Preparing a quick work programme.• Carrying out a quick risk analysis.• Presenting your plan to your client.• Secure your client acceptance to the plan. Reviewing and exiting projects At the end of a project you will need to assess whether or not a successful outcome has been delivered and you havemet the objectives set out in your original terms of refer-ence. The most appropriate way to do this is to present yourclient with a review report of your project work and the ﬁnalresults. This review process can also involve identifyingadditional or further actions that might be required toachieve a project’s ﬁnal objectives. It might, in some cir-cumstances, identify who should undertake any additionalwork and specify the timescales involved. The review processshould always be undertaken in partnership with yourclient. This approach is a positive sign that shows the proj-ect was conducted in a mature and professional mannerwhere both the client and consultant accepted their respon-sibilities for the outcome. As a successful internal consultant your time will be at a pre- mium. With many clients requesting your services, you willhave to manage their expectations with regard to your futureavailability. If you allow your clients to believe that theyhave endless freedom to demand your services at any time,you will never be able to operate successfully. So, at the endof an assignment, you must inform your client that the proj-ect and your involvement has come to an end and that anyadditional work will have to be subject to a new agreement. TWO The art of client management 55Project management – people and team management The other major component in managing client projects involves the process of building, managing and leadingteams. When it comes to people and relationships we entera very different arena to that which involves deﬁning crit-ical paths and conducting risk and probability assessments.Applying project management tools and techniques is onething, managing people is another. As we all know, man-aging people in the working environment for the most partinvolves a complex world where emotions such as ambition,motivation, competition, power, control, co-operation, trustand mistrust come into play. Clearly no client assignment or project can be managed with- out the need to manage relationships. These will normallyinvolve your project sponsor, their staff, stakeholders andyour project team. Altogether this group presents a very chal-lenging aspect of the internal consultant’s role. Fail tomanage people and we fail to manage projects. So for thevast majority of internal consultants, managing the clientelement is often the most demanding aspect of the role. Inany project situation our people management experienceswill almost certainly vary from one project to another, butthe essential factors that we will need to cope with include: • Managing the day-to-day client relationship – managing expectations, communicating progress and liasing onproblem areas. • Defining your project leadership role and style – deciding on the right amount of task control andrelationship support provided to the team. Bringingout the best of individual talents and getting peopleto work towards a common goal. High performance consulting skills 56• Managing the various group dynamics – this includes the roles and relationships between the various teammembers and other interested parties. In other wordsbuilding the team. SELECTING THE PROJECT TEAM Based on the project you are undertaking you need to selectthe right balance of skills and competences. As well as con-sidering the technical skills required, you will also need tothink about the balance of your team in terms of personal-ities and basic project management disciplines. In suchcases it might be helpful to consider using some form of teambuilding instrument to help get the team started. MeredithBelbin’s approach to team preferences is an excellent wayto kick-off a project team and get people understanding theroles they might play in helping to build an effective team. The beneﬁt of Belbin’s work is that it provides not only the project manager but also team members with a clear meansof understanding the following: • Our own individual contribution to the team.• How other team members contribute.• How best to allocate activities and tasks amongst the team. • Where gaps in the team composition might exist and how best to manage them. Figure 5 (overleaf) shows the eight classic types identiﬁed. TWO The art of client management 57FIGURE 5: BELBIN’S TEAM TYPES Once we understand our own team roles and their strengths and weaknesses as deﬁned by Belbin, we have a mechanismby which we can, as internal consultants and project lead-ers, improve the balance of our teams and their overalleffectiveness. Belbin’s team roles – questionnaire Directions for completing the questionnaire: For each section allocate a total of ten points among the sen- tences that you think best reﬂect or describe your behaviour.The points you allocate may be distributed among several sen-tences: in extreme cases they might be distributed among allthe sentences or ten points may be given to a single sentence.Plant Shaper Co-ordinator Resource investigatorTHE FUNCTIONING TEAM Completer – finisherCompany worker/ implementorMonitor – evaluatorTeam worker High performance consulting skills 58After having worked through the questionnaire enter your points into the table at the end. Then add up the scores ver-tically to obtain your scores for each of Belbin’s types. TWO The art of client management 59/H18554 /H18554/H18554 /H18554 /H18554/H18554/H18554/H18554 /H18554 /H18554 /H18554 1 What I believe I can contribute to a team: a) I think I can quickly see and take advantage of new opportunities. b) I can work well with a very wide range of people.c) Producing ideas is one of my natural assets.d) My ability rests in being able to draw people out whenever I detect they may have something ofvalue to contribute to group objectives. e) My capacity to follow through has much to do with my personal effectiveness. f) I am ready to face temporary unpopularity if it leads to worthwhile results in the end. g) I am quick to sense what is likely to work in a sit- uation with which I am familiar. h) I can offer a reasoned case for alternative courses of action without introducing bias or prejudice. 2 If I have a possible shortcoming in team work it could be that: a) I am not at ease unless meetings are well struc- tured, controlled and generally well conducted. b) I am inclined to be too generous towards others who have a valid viewpoint that has not beengiven a proper hearing. c) I have a tendency to talk a lot once the group gets onto new ideas.d) My objective outlook makes it difﬁcult for me to join in readily and enthusiastically with colleagues. e) I am sometimes seen as forceful and authoritar- ian if there is need to get something done. f) I ﬁnd it difﬁcult to lead from the front, perhaps because I am over-responsive to the group atmosphere. g) I am inclined to get too caught up in ideas that occur to me and so lose track of what is happening. h) My colleagues tend to see me as worrying unnec- essarily over detail and the possibility that thingsmay go wrong. 3 When involved in a project with other people: a) I have an aptitude for inﬂuencing people without pressurising them. b) My general vigilance prevents careless mistakes and omissions being made. c) I am ready to press for action to make sure that meetings do not waste time or lose sight of themain objectives. d) I can be counted on to produce something original.e) I am always ready to back a good suggestion in the common interest. f) I am keen to look for the latest in new ideas and developments. g) I believe others appreciate my capacity for cool judgement. h) I can be relied upon to see that all essential work is organized. High performance consulting skills 60/H18554 /H18554/H18554/H18554 /H18554 /H18554 /H18554 /H18554 /H18554 /H18554/H18554/H18554/H185544 My characteristic approach to group work is that: a) I have a quiet interest in getting to know col- leagues better. b) I am not reluctant to challenge the views of others or to hold a minority view myself. c) I can usually find a line of argument to refute unsound propositions. d) I think I have a talent for making things work once a plan has to be put into operation. e) I have a tendency to avoid the obvious and come out with the unexpected. f) I bring a touch of perfectionism to any team job I undertake. g) I am ready to make contacts outside the group itself. h) While I am interested in all views, I have no hes- itation in making up my mind once a decision hasto be made. 5 I gain satisfaction in a job because: a) I enjoy analysing situations and weighing up all the possible choices. b) I am interested in ﬁnding practical solutions to any problems. c) I like to feel that I am fostering good working relationships. d) I can exert a strong inﬂuence on decisions.e) I can meet people who may have something new to offer. TWO The art of client management 61/H18554 /H18554/H18554/H18554/H18554 /H18554 /H18554 /H18554 /H18554 /H18554 /H18554 /H18554 /H18554f) I can get people to agree on a new course of action. g) I feel in my element where I can give a task my full attention. h) I like to ﬁnd a ﬁeld that stretches my imagination. 6 If I am suddenly given a difﬁcult task with limited time and unfamiliar people: a) I would feel like retiring to a corner to devise a way out of the impasse before developing a line. b) I would be ready to work with the person who showed the most positive approach however dif-ﬁcult they may be. c) I would ﬁnd some way of reducing the size of the task by establishing what different individualsmight best contribute. d) My natural sense of urgency would help to ensure that we did not fall behind schedule. e) I believe I would keep cool and maintain my capacity to think straight. f) I would retain a steadiness of purpose in spite of the pressures. g) I would be prepared to take a positive lead if I felt the group was making no progress. h) I would open discussions with a view to stimulating new thoughts and getting something moving. High performance consulting skills 62/H18554 /H18554 /H18554 /H18554 /H18554 /H18554 /H18554/H18554/H18554/H18554/H185547 With reference to the problems to which I am subject to in working in groups: a) I am apt to show my impatience with those who are obstructing progress. b) Others may criticise me for being too analytical and insufﬁciently intuitive. c) My desire to ensure that work is properly done can hold up proceedings. d) I tend to get bored rather easily and rely on one or two stimulating members to motivate and stim-ulate me. e) I ﬁnd it difﬁcult to get started unless the goals are clear. f) I am sometimes poor at explaining and clarifying complex points that occur to me. g) I am conscious of demanding from others the things I cannot do myself. h) I hesitate to get my points across when I run up against real opposition. TWO The art of client management 63/H18554 /H18554/H18554 /H18554 /H18554 /H18554/H18554/H18554Interpretation of Scores Allocate the scores from the above questions into the table below. Then add up the points in each column to give a totalteam-role distribution score. High performance consulting skills 64Section 1 234567 Total CW g a hdb f eCH db a h f c gSH f e c bdg aPL c gd e h a fRI a c f g e hdME hdg c a e bTW b f e a c bhCF e hb f gd c Source: With permission from Dr Meredith Belbin ‘Management Games’ and publishers Butterworth Heinemann Belbin originally identiﬁed eight types or preference for working in teams. More recently Belbin has updated hiswork and revised some of the names allocated to types. TheChairman has become the Co-ordinator whilst the CompanyWorker has become the Implementor. At the same time anew type has been introduced. The Specialist is someone whoprovides a very strong but narrow input; Specialists aregood at providing specialist information and facts. Theymay not be so good at relating to other team members ordetracting themselves from the narrow functional or spe-cialist role. For the purpose of this work we have used theformer proﬁles adopted by Dr Belbin and simply highlighted the name changes that he has introduced. Readers wishingto familiarise themselves more with his work should reviewhis books published by Butterworth Heinemann and in par-ticular Team Roles at Work as they provide a more detailed explanation of his research and ﬁndings. Listed below are some of the essential characteristics of each type: • Company worker/implementor – CW• Chair/co-ordinator – CH• Shaper – SH• Plant – PL• Resource investigator – RI• Monitor evaluator – ME• Team worker – TM• Completer ﬁnisher – CF The company worker/implementor ROLE: • Translates general ideas and plans into practical work- ing objectives. • Gets down to action.• Breaks things into tasks and actions.• Delivers actions and results. METHODS: • Helps ensure the team’s objectives have been prop- erly established and that any tasks have been clearlydeﬁned... • Clariﬁes any practical details and deals with them. TWO The art of client management 65• Maintains a steady, systematic approach. • Is calm under pressure and reliable.• Perseveres in the face of difﬁcult and challenging targets. • Provides practical support to other team members. BEHAVIOURS TO AVOID: • Un-constructive criticism of other team members’ ideas and suggestions. • Lack of ﬂexibility. Company worker’s have a high efﬁciency concern. • Being resistant to new ideas or innovations. As a manager, a Company worker or Implementor’s strengths are their ability to deﬁne objectives and practical details. They are also very effective in introducing and maintaining pro-cedures and structures. In organizations they are oftenpromoted because of their inherent organizing abilities andskills. The co-ordinator/chair ROLE: • Controls and organizes the activities of the team, making best use of the resources available. • Pulls the team together.• Stands back and helicopters above the team.• Able to get people working together. High performance consulting skills 66METHODS: • Encourages the team members to achieve the team’s objectives by helping them identify their roles and contributions. • Encourages people to put the team objectives before their own. • Provides positive feedback on individual performance.• Smoothes over disagreements and inter-team com- petition with keen people insight and understanding.Uses tact and diplomacy to control and manage. • Identiﬁes weaknesses in the team’s composition and organizes and develops the team to neutralise anyweaknesses. • Co-ordinates resources.• Exercises self-discipline and perseverance. Acts as a focal point for the team’s effort, especially when underpressure. • Delegates effectively. BEHAVIOURS TO AVOID: • Not recognising enough the abilities of the team. Not using all of the team resources. • Competing with other team types.• Failing to add a creative, innovative or challenging aspect to their role. • Abdicating the leadership role in the face of strong competition (particularly from Shapers and possiblyPlants). TWO The art of client management 67As a manager, a Chair or Co-ordinator is in a good position to lead the team. They are comfortable standing back fromthe detail and can mobilise people to tackle the issues. Theireffective inter-personal skills also mean that people willlisten and take their lead from an effective Chair. The shaper ROLE: • Makes things happen. • Gives shape and strong direction to the activities of the team. • Injects energy and drive into a team’s proceedings. METHODS: • Directs the team’s focus setting objectives and clear priorities. • Adopts a wide perspective of the team’s goals and helps individuals understand their roles and contributions. • Exerts a strong directive inﬂuence on the team’s dis- cussions. Summarises outcomes in terms of objectivesand targets. • Will often appear impatient and in a rush.• Focuses on progress and achievements. Intervenes when the team wanders from their objectives. • Challenges others when they purse other directions.• Can be argumentative and dismissive of people who do not move as fast as themselves. High performance consulting skills 68BEHAVIOURS TO AVOID: •An overly directive style that assumes undue authority. • Being too directive when making summaries, appraisals or interventions. • Not being tactful. Overly blunt or even rude and insen- sitive to the needs of others. • Becoming isolated or remote from the team. Losing identity as a team member. • Being seen as too egotistic.• Competing with other team members, particularly the Plant and the Monitor Evaluator. A Shaper performs best when operating in a team of peers. If they ﬁnd themselves in a formal leadership position theymay well need to adopt more Co-ordinator type behaviours.This may require more involvement in routine activities andmore self-discipline. Shapers normally focus on a broad-brush approach to getting things done. They have little timefor the detail and want to drive forward. They also need towatch that their insensitivity to the needs of others does notin the long-term create problems for them. Tact and diplo-macy is not always a high priority for shapers. The plant ROLE: • Acts as a primary source of ideas and innovation for the team. • Creative – an agent provocateur.• An independent perspective. TWO The art of client management 69METHODS: • Concentrates their attention on the big issues and major strategies. • Formulates new and often radical ideas and approaches• Looks for possible breakthroughs in approaches and methods. • Times their contributions; presenting proposals at appropriate and inappropriate moments. BEHAVIOURS TO AVOID: • Attempting to demonstrate their capabilities over too wide a ﬁeld. • Contributing ideas for reasons of self interest and indulgence rather than the team’s needs and so alien-ating the team. • Taking offence when their ideas are evaluated, criti- cised and rejected. Sulking and refusing to make anyfurther contributions to the team. • Becoming too inhibited about putting ideas forward, especially in dominant, extrovert, or over-criticalgroups. Being intimidated or alternatively arguingwith Shapers. A Plant needs to exercise self-discipline and be prepared to listen to team members’ comments on their ideas and pro-posals (particularly their Monitor Evaluator colleague(s)). Iffound in a leadership role a Plant must not let the stressesof controlling the team stiﬂe their creative input. In non-directive roles a Plant should expect to be used as a strong team resource; devoting their energies and talentstowards establishing their role as a creative thinker and ideasperson. High performance consulting skills 70The resource investigator ROLE: • Explores the team’s outside resources and develops useful contacts for the team. • Harnesses resources for the team.• A networker and free agent. METHODS: • Makes excellent contacts quickly. Develops effective and useful relationships and allies for the team. • Uses their interest in new ideas and approaches to explore outside possibilities. Introduces new peopleand resources to the team. • Develops their role as the team’s main point of con- tact with outside groups. Keeps up-to-date with newand related developments that may be helpful to theteam’s work. • Helps maintain good relationships in the team and encourages team members to make best use of theirtalents, especially when the team is under pressure. BEHAVIOURS TO AVOID: • Becoming too involved with their own ideas at the expense of exploring others. • Rejecting ideas or information before submitting them to the team. • Relaxing too much when the pressure is off.• Getting involved in wasteful or unproductive activi- ties. This often results from the RI’s natural sociability. TWO The art of client management 71Resource Investigators are skilled communicators with a cre- ative outlook. They are vital to helping bring new resourcesinto a team and their networking capabilities make theminvaluable. The Monitor Evaluator ROLE: • Analyses ideas and suggestions. • Evaluates ideas and approaches for their feasibility and practical value. • Deals with facts.• Introduces a high level of critical thinking ability to any team. METHODS: • Uses high levels of critical thinking ability to assess issues and plans. • Balances an experimenting outlook with a critical assessment. • Builds on others’ suggestions or ideas. Helps the team to turn ideas into practical applications. • Makes ﬁrm but practical and realistic arguments against the adoption of unsound approaches to problems. • Is diplomatic when challenging suggestions. BEHAVIOURS TO AVOID • Using their critical thinking ability at the team’s expense. • Tactless and destructive criticism of colleagues’ sug- gestions. Liable to upset others because of this. High performance consulting skills 72• Negative thinking; allowing critical thinking skills to outweigh their openness to new ideas. Provoking a‘You always see reasons why it cannot be done!’ typeof response. • Competitive behaviour with others.• Lowering the team’s morale by being excessively crit- ical and objective. • Ignoring other peoples’ passion or emotional com- mitment to an idea. A successful Monitor Evaluator combines high critical think- ing skills with a practical outlook. When a Monitor Evaluatoris a team leader they need to ensure that they do not dom-inate other members of the team and stiﬂe contributions.When in a non-directive role a Monitor Evaluator has thechallenge of making their voice heard and not appearingthreatening to colleagues. If they can avoid a tendencytowards undue scepticism and cynicism their strengths willhelp them develop their management capability. The team worker ROLE: • Strong team player and member. • Helps individual team members to contribute.• Promotes and maintains team spirit and effectiveness. METHODS: • Applies themselves to the task.• Observes the strengths and weaknesses of team members. • Supports team members in developing their strengths, e.g. builds on suggestions and contributions. TWO The art of client management 73• Helps individuals manage their weaknesses by per- sonal advice and assistance. • Selﬂess in outlook.• Improves the team communications and builds their relationships. • Fosters a strong sense of team spirit by setting an example. BEHAVIOURS TO AVOID: • Competing for status or control in the team. • Aligning with one team member against another.• Avoiding dealing with conﬂict situations.• Delaying tough decisions. The team worker role can be exercised at different levels within a team. As a team leader manager any Team Worker shouldsee their role as a delegator and developer of people. The teamworker’s qualities of conscientiousness and perseverancewill help ensure that projects are completed to time and tothe necessary levels of cost and quality. The completer ﬁnisher ROLE: • Ensures all the team’s efforts are as near perfect as possible. • Ensures that tasks are completed and that nothing is overlooked. • Injects urgency into problems.• Attention to detail. High performance consulting skills 74METHODS: • Perfectionist – looks for errors or omissions; especially those that may result from unclear responsibilities. • Works on tasks where attention to detail and preci- sion are important. • Looks for mistakes in detail.• Actively identiﬁes work or tasks that require more detailed attention. • Raises the standards of all the team’s activities.• Maintains a sense of urgency and priority. BEHAVIOURS TO AVOID: • Unnecessary emphasis on detail at the expense of the overall plan and direction. • Negative thinking or destructive criticism.• Lowering team morale by excessive worrying.• Appearing slow moving or lacking in enthusiasm. A Completer Finisher role can be exercised at different levels within a team and can be easily combined with anotherrole. As a manager a Completer Finisher needs to pay care-ful attention to their delegation skills and to keep unnecessaryinterference with team members to a minimum. In a juniorrole a Completer Finisher will need to develop tact and dis-cretion so as to avoid earning a reputation as a ‘nit pickerand worrier.’ CF’s also tend to possess a nervous drive thatneeds to be controlled and directed if it is to have positiveresults. Figure 6 shows how some of the roles might stereo-typi- cally work in a project team. TWO The art of client management 75FIGURE 6: PROJECT TEAM WORKING ROLES So you can see that from a relatively simple questionnaire you can generate a powerful analysis of preferences thatpeople have when operating in teams. On client projects thatare likely to involve some degree of team working and realcomplexity the early use of Belbin’s approach can really starta team off in the right way. It also of course, helps us as inter-nal consultants assess our own strengths and weaknessesin terms of team leading. We can then develop a strategywith the team to deal with any development gaps. The attraction of Belbin’s approach is that it clearly shows how important it is to have a range of skills and capabili-ties in order to deliver a strong project team. But at the sametime you also need to consider the type of consultancy proj-ect you might be undertaking and what that might mean interms of the types of Belbin preferences you require. If youare trying to break new ground and develop some highlyinnovative approaches you might need a lot of Plant orLeaders Co-ordinatorIdeas generator Expert Plant Resource Investigator Shaper DriverCompleter Finisher monitor Evaluator Project managementCompany worker Team worker High performance consulting skills 76Resource Investigator preferences. Equally if you are build- ing a complex new production line you may require lots ofImplementor and Monitor Evaluator type preferences. Figure 7 provides some questions that you can reﬂect on with regard to this issue. FIGURE 7: BELBIN’S TEAM TYPES – MY PROJECT TEAM In some cases as an internal consultant you will be asked totake on the overall management of the implementationprocess perhaps being supported by an expert project man-ager. In other assignments you may be asked to provideassistance on a less involved basis. In either situation, yourinvolvement during the implementation stage is importantbecause very often only you and your client will have an over-all understanding of the project’s background and aims.What consultancy task or project do you need to complete? – Innovative breakthrough solutions?– Detailed operational implementation tasks? What is the balance of your proposed project team?Do you have the right balance?Do you need to consider reviewing the team's make-up for the project?What are your preferences as the project leader? ? ? ? ? ?MY TEAM? ? ? TWO The art of client management 77BlankCHAPTER THREE Marketing internal consultancyTHREE Marketing internal consultancy Getting in and contracting with your client The ﬁrst stage in our consulting cycle involves getting in front of clients in order to discuss the possibility of providing somekind of assistance. In moving from a classic support func-tion to an internal consultancy perspective, you will needto plan how you are going to market your services. For manypeople new to the consultancy role this is a major depar-ture from past practices. Having to actively promote yourservices as opposed to having a ready stream of internal cus-tomers comes as a major challenge. How you promote yourservices will of course depend on the objectives or operat-ing guidelines your organization has provided. In somecases you may market your services on a very small scale;having been guaranteed a regular amount of work fromexisting clients. In other situations you may ﬁnd yourself inconstant competition with external consultants to win inter-nal projects. Like any form of strategy the ﬁrst step to developing a mar- keting strategy involves answering some very critical andfundamental questions. This demands that you step back fromany the day-to-day operational pressures and commitmentsand look at future goals and objectives. If you are workingas a consulting unit or team, then you will need to addressthese issues with your colleagues. Whilst these questionsseem very straightforward, experience shows that they gen-erate signiﬁcant discussion and debate. So to complete this High performance consulting skills 80planning phase consider spending quality time on the activ- ity, perhaps a full or half day debating your responses. • What type of consulting business are we in?• Who are our clients?• What are their needs?• What are the results and beneﬁts of our services?• What are our qualities?• What are our objectives as a consulting unit?• What potential barriers or obstacles exist for us?• Who are our competitors?• What risks are involved?• What overall strategy should we adopt to become successful? For illustrative purposes we have included some example answers to these questions. They cover possible responsesfrom groups such as training and development through toinformation technology departments. Like all strategy devel-opment there are no simple answers to these questions. Youand your colleagues have to do the hard thinking, as onlyyou can develop the relevant responses for your operation. THREE Marketing internal consultancy 81Developing your marketing strategy What sort of consulting group are we? We are a small highly focused consulting team providing value added services in the areas of software systems designand support. We specialise in the development of world classweb-based applications to enhance organizational effi-ciency and business performance. Who are our clients? Our clients are the senior executive and middle management groups across the organization. What do our clients require from us? Our clients require a highly ﬂexible and responsive service in the areas of web-based applications and technology. Theydemand a high level of technical support and ongoing con-sultancy that compares with the best that is availableexternally. What services and products do we provide? We provide a range of business focused training and devel- opment solutions as well as a portfolio of skills developmentprogrammes, self development and learning resources – thatinclude web-based solutions, CDs and manuals. We provide clients with the skills to help them maximise their investment in information technology with a key focus onmission critical business processes. High performance consulting skills 82What is our clients’ perception of us? Our client image is that of a high quality business focused and customer responsive unit that delivers real value addedsolutions on limited resources. How do our clients regard our value to them? Our clients’ perceptions of ‘our prices’ and value is that we are highly cost effective and competitive in relation to otherproviders and that we provide high value added services How do we intend to develop our client base? We will seek more opportunities through our existing client base. We do not propose to develop new streams of clientactivity at this particular stage of our development How will we operate and distribute our services? We plan to provide and deliver our services by allocating a dedicated individual to each business unit. This will ensurethat every client manager has a direct contact to our serv-ices capability. Our clients will work on a daily basis withsomeone who shares a detailed understanding of their busi-ness challenges and operating environment. How will we communicate and promote our services? We will promote our services through our existing client base and by actively promoting our successes through the orga-nization’s various web sites, seminars, newsletters andpromotional literature. We also run regular brieﬁngs toupdate our clients on our latest service offerings. THREE Marketing internal consultancy 83Financial/budgetary objectives We will achieve the following objectives in line with our agreed operating guidelines which are to recover our totaloperating costs from our internal and, wherever possible,external consulting activities. Answering these questions demands a high degree of self- analysis and criticism. It is no use thinking that everythingyou do is excellent if your clients have a different perspec-tive. You might be working twelve hour days and think youare doing a great job but it could be that your client is notaware of what you are doing. So you must question allexisting activities. You have to be clear as to your startingbase and evaluate your past track record. All strategy involves developing a clear focus and that demands that you make choices and decide between differentoptions. By spending quality time debating these choicesyou are more likely to develop a clear focus for your futureactivities. Conducting a client demand analysis Another key planning activity that you can conduct in par-allel to the one above, involves a client demand analysis.Indeed, this activity can really assist the development of yourmarketing strategy. The objective of this exercise is to iden-tify who your current clients are and what it is that they wantfrom you in terms of services or products. Figure 8 showsan example form that you can use. Again the process is rel-atively simple in design but very powerful in terms of impact. High performance consulting skills 84FIGURE 8: MAPPING YOUR CUSTOMERS / CLIENTS To complete this analysis you are required to think of every possible client group that you serve. You then need to iden-tify what service you currently provide them with. In mostsupport functions the services provided revolve aroundﬁve key areas: 1Giving advice. 2Offering some kind of service – a physical transaction.YOUCustomer 1Customer 2 Customer 3 Customer 4 Customer 5 1 Are you satisfied with your current client mix? 2 Do you need to consider developing new clients?3 Do you need to consider dropping some clients?4 Are you targetting the right clients?5 Who do you need to impact and add most value to?What are you providing: Advice : Counsel, opinions Service : Activities completed for another dept. Information : Providing facts, data, reports New knowledge : Added value – new analysis, research Strategic input : Dealing with the future THREE Marketing internal consultancy 853Providing information – facts, data, reports. 4Providing new knowledge – adding something new to the organization. 5Strategic contribution – adding something strategic to the organization. This form of analysis can be very powerful as it forces you to consider all your clients and the extent to which you cur-rently satisfy their needs. You may typically discover that youfocus on some clients more than others and that you mayhave some very inﬂuential clients for whom you do very little. The next step is to reﬂect on your analysis and decide if you are happy with your current level of client and service mix?After reﬂection, you may ﬁnd yourself deciding to reduceyour services to certain clients and increasing the effortwith others in order to develop a stronger relationships. Suchdecisions have to be set against your broader strategy andwhat you decide will deliver long-term success. You may alsoconclude that you are not focusing enough on the higher valueadded activities of providing new knowledge or making astrategic contribution. This might involve you adjusting thetypes of activity you get involved in. Of course giving advicecan be a highly signiﬁcant contribution but it does dependon what areas you are working in. As with all strategic planning type processes there are no right or wrong answers to these questions. You will obtainmaximum beneﬁt by working through these two processeswith your colleagues. Ultimately you will need to make cleardecisions about your objectives, role and operating style. Youwant to emerge from any analysis with a clear focus and senseof direction that will assist you as you develop your mediumto long-term contribution. High performance consulting skills 86What clients look for To develop even more detailed responses to the above ques- tions you need to constantly put yourself in the clients’shoes and ask yourself ‘Why should I buy from these people?’This is an immensely powerful question to ask as a con-sultant. You have to think about your client’s needs and focuson what the client is looking for when selecting consultants. THREE Marketing internal consultancy 87 Before you present your proposals to your clients, remember to put yourself in their shoes and apply the ‘so what’ challenge. If you can’t come up with a satisfactoryanswer don’t expect your clients to buy in. Talk the language of the business whenframing and presenting your proposals. Anticipate the questions you will be asked;these are likely to contain the objections to your proposals. Work through theseand you are close to achieving buy in. Tracey Norbury, Development Adviser, HSBC Tangibles Clients look for tangibles such as business performance and efﬁciency improvements, reduced costs, improved revenues,enhanced levels of customer service. These are probably themost important factors that will get your clients interestedin your services. Harness your marketing efforts aroundthese types of hard business beneﬁts. Business understanding Clients buy from people they feel understand their business challenges, problems and issues. Ask yourself how well youunderstand your clients’ businesses? How much time do youspend really trying to ﬁnd out what the current pressuresare that they face? If the answer is not much, then start developing your knowledge base by ﬁnding out as much asyou can about their challenges. Methodologies Clients are impressed by proven methodologies that detail precise ways of implementing change. They indicate thatthe consultant has a well thought out approach that can bevisibly seen. Methodologies provide clients with a high degreeof comfort that the consultant knows what they are doing andis professional in their approach. Methodologies dominatethe areas of production and information technology but theycan also be adopted in other consulting areas such as train-ing and development and change management . So be alertto the possibilities of using or adapting such methodologiesand techniques to your ﬁeld of consulting work. Reassurance Remember that any client commissioning a consultancy serv- ice is putting himself or herself in a position of risk. They arein effect placing their conﬁdence and trust in someone todeliver something that is of great important to them. Any clienttherefore, needs a strong degree of reassurance in a con-sultant’s competence and track record. Many clients after hiring a consultant will be asking them- selves whether they have made the right decision. Clientslike to have conﬁdence and peace of mind with regard to theirdecisions. So be sure to deal with these less tangible aspectsof the client relationship by keeping very close to your client,communicating and advising them of progress and offeringconstant reassurance. Staying close to your clients and beingproactive in the relationship is central to developing a strongclient sense of conﬁdence. High performance consulting skills 88But if that is what clients look for, what is it that they are actually buying from a consultant? Well, there are two crit-ical things that clients buy from any internal consultant Identifying the real client need Part of your role as a consultant will be to help your client translate their broad concerns and issues into speciﬁc needsthat can then be satisﬁed through your intervention and sup-port. A large part of consultancy work involves challengingyour client’s thoughts so as to uncover their real needs – whatit really is that they want addressed. Very often clients arenot clear as to what they want. That is why time must bedevoted in probing and trying to identify the real problem THREE Marketing internal consultancy 89Consulting team operating statement • ‘Use the Nestec Productivity Team (NPT) as a career devel- opment step • 3C’s Commitment, Credibility, Conﬁdence• Find Synergies (most wheels have been invented)• Use the brainpower of our employees• ‘We know how but don’t apply’• Focus on the how not the what – ‘it’s not just what you do, it’s the way you do it’ • Stop! before compromising commitment’ Operating Statement Nestle Nestec Productivity Team, Vevey, Switzerland Courtesy of Curt Blattnerareas for your client. What a client initially says they want may not be what they need. Your initial contact and involve-ment with a client involves trying to resolve and deﬁnetheir real underlying business needs. Solutions Ultimately a client wants a solution to their problem. Prod- ucts or methodologies that assist you in achieving this goalare highly valuable but never lose sight of the fact that it isthe ﬁnal solution that matters most to your client. There-fore when developing your marketing strategy and plansfocus on how your involvement and solutions can help yourclient solve their problems. Helpful tips Never ever confuse what you are trying to sell with what your client wants to buy. You must always address your client’s real needs and not what you think they need. It is one of thegreatest faults of consultants to focus on theirsolution at the expense of the client’s problem.Be sure that you constantly address the problemas deﬁned by the client and not the elegance ofyour methodology or process. Following this golden rule will ensure you stay client focused. High performance consulting skills 90tBeginning to market yourself – recognising your starting point Once you get out into the real world of clients you will secure different reactions to your approaches. Figure 9below illustrates the range of potential client reactions thatmight greet any marketing activity you conduct. Clearly itmakes sense to focus efforts on those clients who eitherexpress a genuine interest in your services or actively seekyour assistance. In the longer term you also need to remainin touch with potential clients who are aware of your serv-ices but who may not have requested any help. You cannotafford to ignore these clients as they may represent a valu-able source of future work for you. Indeed you may well needto spend time trying to understand why they have not con-tacted you. But be wary of expending lots of energy and efforton people who have no intention of ever wanting to use yourservices. Life is too hard to waste effort on people who arenever going to buy your services. Better to focus your effortson people who understand what you have to offer and areprepared to work in a co-operative way. These are the sortsof clients you want to cultivate. FIGURE 9: MARKETING INTERNAL CONSULTANCY Client recognises your abilityHIRED ZERO CLIENT INTERESTInterest is shownClient wants helpWhere are you starting from? THREE Marketing internal consultancy 91Marketing to senior management Who are your key clients? When trying to focus your marketing activities reﬂect on the classic Pareto Principle of 80-20. It is another simple butpowerful way to focus on your marketing efforts. In mar-keting the principle suggests that 20% of your clients accountfor 80% of your workload and success. The critical marketingquestion to be addressed is whether you know which 20%of your client base is actually delivering your success?Referring to your earlier client analysis may help you comeup with the right answer. So constantly review, question and analyse your marketing approach to test it’s effectiveness. In most organizations avery important element of the 20% is likely to be the seniormanagement cadre. They of course, have the power to hireyou and to action new projects and initiatives. So really chal-lenge yourself on how much work you do with the keyleaders in your organization. By concentrating marketingefforts on senior management you frequently gain the fol-lowing beneﬁts: • Bigger and higher value added projects.• Referrals to other parts of the organization.• Access to strong sources of inﬂuence.• Strong resource allocation.• A power-base to appeal to when times are difﬁcult. High performance consulting skills 92How to sell to senior management When selling to senior management there are three key steps to follow: 1 Understand your client’s motivations In any consultancy selection process you need to identify at an early stage who the key decision-makers on the clientside are. Once you have identiﬁed them (often there will bemore than one) you should try to identify their individualneeds and wants. In doing so remember that managers arenot all motivated by the same thing. For some it is notalways about solving the problem. So examine the rangeof personal needs that might exist around the table. Reﬂecton some of the classic needs: • Solving the problem.• Exploiting new opportunities that will arise as a result of the project. • Securing personal credit – ‘It will make me look good’.Helpful tip Put yourself in your client’s shoes and remem- ber that all clients want to: • Be listened to • Feel important and respected• Have their needs addressed• Know in simple clear terms how you can help them THREE Marketing internal consultancy 93t• To criticise a previous decision or approach – ‘It’s pay- back time!’ • Political ambitions within the organization – ‘I need this to show them...’. High performance consulting skills 94 Real change can only happen when you have an enthusiastic business sponsor who is personally committed. They can open doors and engage other decision-makers. In return, the sponsor looks to you as the internal consultant, to understandthe business and provide them with workable solutions. An effective working rela-tionship is built on trust and a clear agreement as to what is to be delivered. Tracey Norbury, Development Adviser, HSBC Never overlook the desire for personal gain or political ambition. Many senior managers are always looking forprojects that can make them look good in their organization.It is the nature of large organizations that power games arefrequently played. So be alert to hidden agendas and per-sonal ambitions. By focusing on this other aspect of the ‘selling’ process and trying to identify different types of client need, greatlyenhances your chances of success in connecting with clientswhen pitching for a project.Deﬁne the business priorities By skillfully deﬁning and articulating a client’s key business priorities you can easily identify the outputs or deliverablesthat the client is seeking to achieve. Always reﬂect these pri-orities in your terms of reference so that your client instantlyrecognises them. Better still try to add some new insightsfor your client around their business priorities. This reallyimpresses clients and gives them conﬁdence in your over-all approach and involvement. State the beneﬁts of your involvement When selling a product or service professional marketing people always distinguish clearly between features and ben-eﬁts. Features are merely aspects of your approach such as‘we use the latest technology!’ or ‘we have a detailed method-ology.’ Features are interesting, but what your client reallywants to hear is what the technology will do to solve the prob-lem. Beneﬁts are what normally result from features and itis beneﬁts that clients really like. For example a beneﬁt ofusing a particular type of technology is that it will producea faster and quicker solution. That is likely to be of far moreinterest to your client as it involves saving time or money. So, whilst methodologies and techniques are an important and part of your marketing approach, focusing on the ben-eﬁts is where you should really focus your arguments andefforts. To major on the features of your involvement is a clas-sic mistake that people make when selling consultancy. Soalways ensure that you stay results-focused and highlightthe beneﬁts of any approach or solution you offer. Ask your-self what will your approach or solution do to improve thebusiness in very hard and tangible terms? Think bottom-lineresults! THREE Marketing internal consultancy 95Some practical tips to improve your marketing effort • Solve the problems of the Chief Executive Ofﬁcer and Board. • Focus on your organization’s pressure points – ﬁnd out where the business is hurting and see if you canhelp. It always pays as a consultant to be business andperformance focused. • Use factual bottom-line business performance meas- ures to promote your activities – demonstrate a realvalue added contribution. • Work with those managers who are converted to your approach and services. Don’t waste valuabletime and effort on managers who will never under-stand or appreciate your work. Focus on people whovalue your input. • Cultivate word-of-mouth referrals. The best form of marketing (as well as the cheapest) is recommenda-tions from happy and satisﬁed clients. So cultivate yourclients to promote your work around the organization. • Think about developing a distinct identity in your organization. Discuss the possibility of promoting alogo or newsletter which informs the organizationabout your role and services. • Network and seize all opportunities to present your work to others. If asked to make a presentation at theannual sales conference, do it! See it as an opportu-nity to talk about a successful project. Better still dothe presentation in partnership with your client. High performance consulting skills 96• Audit your staff to check that they are displaying client focused behaviours. All your efforts can bewasted if the person answering your phone is less thanprofessional in their attitude towards existing andpotential clients. • Develop your own personal network of contacts both internally and externally to your organization. Takepeople out to lunch and talk about your projects. • Invite externally speakers into your organization and invite inﬂuential managers along. It helps to positionyourself as someone who is trying to add value to theorganization. • Visit other companies and organizations. Find out about best practice in your ﬁeld of operation. Yourability to comment on such matters gives you credi-bility, power and inﬂuence. • Collaborate with other internal consultants from other organizations. They can help improve your skillbase and give you new ideas. • Send relevant articles of your work or of general busi- ness to key clients. It is an easy, low cost way ofkeeping yourself in front of them. If the article is rel-evant they may well mention it next time you meet;alternatively you have something that you can casu-ally raise as a discussion topic with them. You may evenﬁnd that your client asks you to follow up on some ofthe points contained in the article. • Keep a clear record of all your client meetings. Don’t lose touch with your clients. Clients do not like con-sultants who ring up because they have run out of workas it gives them a negative perception of how you valuethem and view them. Effective consultants work hardat maintaining relationships even when no work is onoffer. Always be thinking about the longer term andremember all client contact is a form of marketing. THREE Marketing internal consultancy 97• Remember that most business comes from your exist- ing client base. So try to actively promote your workand keep your clients in touch with other types of workyou are engaged in. • Finally, stay alert to all opportunities. Any project, no matter how small has the potential to develop intoother areas and larger assignments. Internal consultancy case study Background Matthias Behrens is the Director for Business Process Man- agement at Autodesk. Founded in 1982, Autodesk, Inc., isthe world’s leading design software and digital content com-pany. It offers solutions for professionals in building design,geographic information systems, manufacturing, digitalmedia and wireless data services. It has more than 3,600employees located in ofﬁces around the world. With aboutfour million customers in over 150 countries, it is one of thelargest PC software companies in the world. Matthias and his team are providing services around proj- ect and business process management globally to theAutodesk organization. Internal Consultancy at Autodesk My team has a very broad role. The main goal of our work is to help the organization to improve its ability in execut-ing critical change efforts. To do this we provide a varietyof tools, methods and services around project and processmanagement. Whilst most of these services are an optionaloffering to the organization, we also have an additionalresponsibility to ensure that project teams adhere to vari- High performance consulting skills 98 ous standards. This dual role requires us to perform a care- ful and difﬁcult balancing act. We have a wide variety of customers for our services. It begins with Senior Management who not only want investmentsto go to the most valuable projects but who also want to seethem effectively implemented. Project sponsors in turn wantto see their proposed initiatives approved and funded. Finally,project managers and their teams want help with applyingproject and process management tools and techniques. All of our clients are eager to ensure that any project and process management input we provide is not adding anadministrative burden to their work. It is a constant chal-lenge for us to get the right balance: enforcing certain globalstandards without losing credibility as a real partner intrying to provide valuable consulting services. So to be effec-tive in our role we have developed a set of working practices,behaviours and attitudes that help us to address some of thechallenges we face. Most of our work involves ‘change’ and helping people go about their work in a different way. However, many of thesolutions we provide are not automatically perceived asvaluable. Autodesk is an organization that values speed, ﬂex-ibility and risk-taking among its core values. People naturally worry our suggestions might slow them down or increase their work burden. So we often meet someinitial resistance when we try to help. To be successful weﬁrst try to understand our colleagues’ motivations, needs andworries. All project sponsors and business managers have different needs and some of these invariably conﬂict. It is imperativeto understand what these needs are and to develop individualstrategies to serve these requirements. The internal con-sultant’s role is not about selling standard solutions but THREE Marketing internal consultancy 99trying to solve the client’s individual problem. This requires a very different belief; that of seeing our customers not as colleagues but as clients ! Clients who can choose to take our services and advice or go elsewhere. Such clients haveto be persuaded that we provide real value. A second belief that we have had to abandon is that it is not just expertise that is critical to our success . As experts in project and process management it is very easy to fall intoa lecturing mode: telling the client how to run their proj-ect, highlighting mistakes and generally being prescriptive.This approach inevitably results in resistance. To be suc-cessful we have learnt that we have to listen to the client’sproblems and try to really understand the underlying driv-ers. More often we help by asking questions rather than bygiving advice. We frequently facilitate the process for proj-ect teams to ﬁnd answers to their problems. Involving the client in ﬁnding the solution – rather than presenting it to them – seems to be a successful approach for us. Being experts in project and process management, we natu- rally use a standardised approach to our consulting process and treat most of our engagements as a formal project. Whilst some managers can see it initially as some kind of overhead, we develop and produce a formal project engage-ment charter at the start of each project. We then follow asimple and clearly phased process to run the projects. In thefollowing pages you will see how we approach this con-tracting phase with an example of our project charter or termsof reference documentation. This is a key document and amajor element of our client management approach. High performance consulting skills 100For us the charter documentation has the following advantages: • It ensures expectations are properly set for all the par- ties involved at the outset of the project. • Key factors like timelines, boundaries, stakeholders and deliverables are clearly deﬁned and discussed. • The client as well as the consultant has clear visibil- ity on where we should be during the life-cycle of theproject. As we develop our approach many challenges remain for us: Establishing real measures of success are a constant chal- lenge. As consultants we provide a lot of advice and managewithout authority. As such our share of any project successis extremely difﬁcult to measure. By deﬁnition the job is moreabout influencing and persuading than having control.Wrongly set measures can have the detrimental effect ofpushing consultants into an expert mode, trying to pushclients to perform certain activities so that the consultants’goals are achieved. As an internal consultant you have to work out how you can ﬁt into the normal performance management process withinthe organization. Goals need to be very carefully formulatedand often less SMART objectives might be desirable, whichis of course, contrary to conventional performance man-agement thinking. As our services are ‘free-of-charge’ a standard success measure that applies to external consultants – the genera-tion of consulting fees – is also not applicable. THREE Marketing internal consultancy 101Dealing with remoteness is another key issue for the team. We are working in a globally distributed organization. Per-sonal contact with our internal customers is often limitedto phone conversations. Sometimes it might be monthsbefore we are able to meet some of our clients face-to-face.Working across many different time zones means we haveto communicate via email or at unearthly hours and incon-venient locations. While frequent travel, use of video andphone equipment or online web tools can ease this prob-lem, they do not remove it. At the same time the internal consultant’s role requires a high level of inﬂuencing skills. The ability to read a client’s bodylanguage and facial expressions or to have informal watercooler conversations is a signiﬁcant skill requirement. Out-standing interpersonal skills have to be combined with thenecessary technical skills to achieve maximum impact. Operating as an internal consultant continues to pose a unique set of challenges. It certainly requires a change inattitude and approach to the normal support specialist role.But once you master the skills and techniques the rewardsare immense. The prize is an ability to inﬂuence the organ-ization at all levels, positive client feedback and in turn aconstant demand for your services. For anyone embarkingon the journey – I would say enjoy it for it is a great way togrow and develop your skills! High performance consulting skills 102Proj ec t C h ar ter Pr o j e c t NamePr oj ec t Feb 19, 2001 Ver .2 z Wh o in th e or g ha s an in ter es t i n the ou tc om e but is not di re ct ly inv ol ve dSt ake hol der sEx tended Te am 1 Proje ct Plan ning 2 Re q ui re me nt s D ef 3 E v al . an d s el ec ti on 4 Tool S etu p/ Dat a Migr. 5 Rol l - outHigh Lev el Sc he dul e Feb Ma r Apr May J u n Ju l A u g Sep Oc tz For exa mp le: us in g pro tot yp e a pp r oa ch , o ut s ou r cin g, us in g pac ka ge d s yst em, us ing co ns ul ta nt s e tc.Approa ch L EGE ND : C o n fid e n ce i n s chedu le GREEN =H i g h BLUE =M e d i u m RED =L o wFundi ng Sou rce ( s ) •$ •R e s o u r c e s• An yo ne who w ill ha ve t o w ork pa rt time on th e team Tr i m est er Pro j e c t Gui d el i ne s 1/ 3 - Re q u i re ment s Def i n i ti o n 1/ 3 - De v el o p m en t 1/ 3 - Te s t i ng , Doc ume nt a t i o n, Tr ai ni n g an d Sup p o r t Pl a nProj ec t Chart er Pr o j e c t NamePr oj ec t Feb 19, 2001 Ver. 2 • St ate the h ig h - le ve l go al s of yo ur pro je ctPr oje ct goa ls Pr oje ct wi ll c o v er • Ite ms w it hin scope Pr oje ct wi ll no t cove r • Impo r ta nt : sp el l o ut whic h it ems w ill n ot be de liv er ed, ma na ge e xp ec tat io ns Pr oje ct Ma na ger a nd Co re Team: z Pr ojec t m an ag er z Co re tea m me mb er s z Re pr ese nt ati ve U s er Gr ou p: TBNBusi ne ss S c ope and C o re Team S u m m ar y of Ke y P has es and Del i ve ra bl es • K ey de liv er able s or a ny ke y ph as es or st age s this pr oj ec t is mov in g thr ou ghCo st s and Be nef it s Co st s • E it he r in $ or at le as t i n pe r so n eff ort et c .Be ne fi t s• Qu an ti ta tive an d qua lit at ive THREE Marketing internal consultancy 103Proj ec t C h ar ter Pr o j e c t NamePr oj ec t Feb 19, 2001 Ver .2 Pos t P roje ct Ownership z How would the sponsors and stakeholders evaluate if the project was successful?Su c c e s s C r it e r ia • if we did not take the outlined approach to the project, which alternatives were considered(and why not chosen?) • if we did not do the project at all, do we have alternatives? • any other comment?Alt er nat ive s / Suppl em ent al• Who owns after go-live date, are the organizations aware? Sponsor Name 1 Sponsor Name 2Sponsor Name 3Sponsor Name 4Ap prov al sPr oj ec t C h ar ter Pr oj ect NamePr oj ec t Feb 19, 2001 Ver.2 Fl exi b i lity Mat r i x Q ua lit yRes ou rc es Sc o peMos t Fle xib leMo re Fle xib leLea st Flex ibl e XXXz Any other projects or decisions that the project depends uponDep ende nci esz For example assumptions of availability of resources,technical tools etc.As sum pt ions / Const r ai n t s No te: Each flexibility option can be checked only once.z What can make the project fail?Issue s / Risks TimeLess Flexible X High performance consulting skills 104CHAPTER FOUR Managing initial client meetingsFOUR Managing initial client meetings Initial client meetings are the starting point from which you begin building a client base in your organization. In mostcases you will have been invited by a potential or existingclient to discuss a problem and explore the possibility of pro-viding some assistance. Your ability to handle and manageinitial client meetings professionally is vital to your success.Initial meetings are the ﬁrst step in promoting your involve-ment and expertise to clients. Having the capability to entera potential client’s ofﬁce and subsequently emerge havingsold your services is a demanding and challenging role. It may well be the case that at an initial meeting you already know your potential client. However, be wary of makingassumptions about how to deal with your clients. It is veryeasy to think that someone you have worked with for manyyears is simply an old colleague. You may feel that you cansimply turn up for the meeting and have a good old chatwith them. This is not the approach to take. You need to viewformer colleagues with a very different ‘client’ perspective. Initial meetings have to be conducted with a high degree of professionalism. Simply arriving at someone’s ofﬁce withthe intention of having a friendly discussion is not the wayto impress clients. Throughout the meeting you want to sendstrong messages to your potential client that you value andappreciate their time. You have to show that you are keento assist the client in any problems or challenges they maybefacing. High performance consulting skills 106The objectives of initial client meetings are to: • Learn about your client’s operation.• Understand your client’s problems or challenges.• Determine whether you might be able to help them.• Assess if you can provide assistance in the necessary timescales. • Assess if you are interested in the problem.• Begin building a client relationship.• Reﬂect on the client’s problem.• Agree the next steps or withdraw from any further involvement. The essential rules for managing initial client meetings The most important rule in any initial meeting is to get your client talking. Getting through an initial meeting in a thor-ough and professional manner requires you to follow a setof clear guidelines. If you adhere to them you will ﬁnd thatyour initial meetings run successfully. So ensure that you: • Always arrive on time – never be late even if your client is (remember that is their privilege). • Introduce your colleagues (if two consultants are interviewing). • Carry out clear and focused introductions – who you are, where you are from, the nature of your skills. • Outline your understanding of the broad purpose and objectives of the meeting. • Check the amount of time your client has available for the meeting. FOUR Managing initial client meetings 107• Obtain your client’s agreement to the meeting’s objec- tives and timescales – this forms the basis of a contractfor your meeting. You want to ﬁnd out as much as youcan about the client’s situation. • Discuss and clarify your understanding of the back- ground and issues by asking lots of open-endedquestions. • Summarise and reﬂect back your client’s comments regularly to ensure you have understood what hasbeen said. • Ask for access to any supporting or relevant materi- als concerning the problem – reports, documents thatmight be supplied during or after your meeting.Helpful tips • A powerful question to ask your client at all initial meetings is ‘What would success looklike if this project were to be successful andwork?’ • This question can also be followed by, ‘And what would people be doing differently as aresult of the proposed initiative – what wouldthey be doing that they are not doing now?’ • In most instances these questions will secure powerful responses from your client. They willdeﬁne in their own terms exactly what theywant the project or your involvement todeliver. You will be surprised how quickly youobtain your clients fundamental requirements. High performance consulting skills 108t• Check for any areas that your client does not want you to get involved in. Establish the boundaries to yourwork. • Agree on the results your client would like to achieve• Be prepared to explore tentative ways to possibly solve your client’s problem. Remember that it is veryearly to start being prescriptive about solutions. • Summarise and agree the next steps concerning your involvement – key actions and responsibilities beforeyour next meeting. In most cases this will mean youpresenting an initial terms of reference for discussion. • Agree a date, time and place for your next meeting.• Agree a basis of maintaining regular contact and access to your client. For example: – Weekly 30 minute meeting to review progress.– One page summary of key actions to be sent to your client every week. – Monthly review meeting with your client and the project team. • Agree a form of communication with your client to announce your involvement on the project. Agree adistribution list of interested parties. Offer to draft thisletter for your client to review and then circulate. FOUR Managing initial client meetings 109• Keep a record of your meeting. • Write to your client conﬁrming what was discussed and any agreed action points. Also conﬁrm the date,time and place of your next meeting.Helpful tips Watch out for the disappearing client syndrome! • At an initial meeting you must discuss and agree with your client the communicationsand reporting arrangements for the proposedproject. Often on projects consultants fallvictim to the client who is promoted, becomestoo busy or simply loses interest in a project.In effect they disappear! So you must estab-lish a basis for regular client access. • If you have, at your initial meeting, agreed precise reporting arrangements and subse-quently confirmed these in your writtenproposal, you can refer to them if your clientstarts to miss review meetings. Regular client access allows you to up-date them on progressand problem areas. It also means you can dothis sooner rather than later. You must alwayskeep focused on your main client and notallow them to drift away from a project. High performance consulting skills 110tThings to avoid at initial meetings Appearing unprepared or unprofessional is probably the worst impression to give any client at an initial meeting.Below is a list containing some classic errors. Avoid themat all costs. • Not stating your objectives for the meeting.• Not listening to the client.• Talking too much at your client.• Displaying arrogant or aggressive behaviour.• Being inﬂexible in your interview approach.• Running out of time to deal with all the issues.• Being drawn into making personal comments about other people or departments in your organization. • Voicing recommendations too early – remember it may not be a systems or people issue! • Demonstrating a lack of conﬁdence or credibility.• Leaving the meeting with the wrong problem.• Not being proactive enough in suggesting how events should progress to the next stage. FOUR Managing initial client meetings 111How to convey respect, openness and understanding at an initial client meeting Respect • Arrive on time. • Be polite and courteous.• Acknowledge your client’s opinions and respect their values. • Agree a contract for your meeting – objectives, timing etc. • Allow your client time to talk about their concerns.• Give your client full attention.• Avoid patronising comments or observations.• Avoid being judgemental – just listen. Openness • Be clear and open about your objectives. • At this early stage avoid matters that may involve organizational politics or intrigue. • Be prepared to admit on your part any errors, mis- takes or misunderstandings. • Share some of your thoughts and ideas with the client.• Be honest about explaining the scope and limitations of your work. • Be honest in your answers – if you don’t know then say you don’t know. • Challenge your client if you do not understand any- thing. It is better to ask now rather than later. Askinglater may make you look foolish. High performance consulting skills 112Understanding • Demonstrate a real appreciation of your client’s posi- tion by informed questioning. • Regularly summarise your client’s answers and their comments. • Recognise that some clients may have strong feelings on certain issues. Initial client meetings consultant’s template As part of a professional approach always attend an initialmeeting with your questions prepared well in advance.This will in itself help you to project conﬁdence and a senseof experience. At the end of an initial meeting you need tocarefully record the results of your client discussions. Con-sider using the template at the end of this chapter to act asa focus for your questions and to record key points. The fol-lowing pages provide some simple examples to illustrate howthey might be used. (See over). FOUR Managing initial client meetings 113Initial Client Meetings – Example 1 High performance consulting skills 114INITIAL MEETING FORM Next meeting date/time/place March 25, 10:00, Head Ofﬁce Chicago Duration of meeting 2 hoursAction • Visit sites – JP , MT • Interview key staff – MT• Prepare integration strategy – MT and key client staffInitial thoughts to solve problem Establish project team to highlight key issues. Develop an integration strategy.Meet staff and understand per- spectives and key concerns. Communicate intentions and set out draft timetable. Develop resourcing and staff release schemes in line with HRdepartment support.What are your clients issues Requirement to merge two key functions following an acquisi-tion. Each have different culturesand work processes. Need to rationalise the stafﬁng levels and successfully integratenew activities and workloadwhilst minimising any opera-tional disruptions or delays. Large operations – different business systems, styles andculture along with need to effectrapid integration – 4-6 months.Description of client’s operation Finance functions currently process all key ﬁnancial reporting activities for both businesses.What is the client reportingstructure • Jim Davies (CFO) • Carlos Mendes (VP Finance)• Jenny Bond (Manager) Erica Hoffman (Manager)Meeting Purpose To discuss the merger of two ﬁnance departments in the New York area following the recent acquisition of a major competi-tor business. Dept / Client Name / Present VP Finance, Jan Peters, Mark ThomasLocation Head Ofﬁce, Chicago Date / Time March 7, 14:00 FOUR Managing initial client meetings 115Initial Client Meetings – Example 2 INITIAL MEETING FORM Next meeting date/time/place 18 Sept, 8am, Zurich Ofﬁce Duration of meeting 1.5 hoursAction • Get budget – GP • Detailed requirements meeting – DH DT • Visit other key business sites with RW – RBInitial thoughts to solve problem Review existing status of project with key vendors – establishexact position Establish transition team and develop draft plan – Involvementof key stakeholders Meet with key stakeholders on operational impact and issues Address customer and stafﬁng communicationsWhat are your clients issues Need to effect clear migration plan Minimise disruptionDevelop plan to make the switch over critical holiday period inorder to lessen impact on busi-ness and customer operations No real experience today of han- dling a project of this complexity Staff reactionsDescription of client’s operation Speciality chemical business serv- ing small medium sized businessacross Europe. Department is link to sales, mar- keting and accounts What is the client reportingstructure • Rolf Wigand (IT Director) • Patricia Jovenetti (Supervisor)• Anne Dabell James Lock Jan LaubeMeeting Purpose To discuss the migration of a major customer database from an existing stand alone system to new fully integrated state of theart network.Dept / Name / Present IT Dept – Gert Hunzinker, David Thirill, Rolf BehrLocation Zurich Ofﬁce Date / Time 12 Sept, 8am Initial terms of reference Why prepare an initial terms of reference? The most visible and professional way in which you demon- strate to your client that you have understood their problemand requirements is by producing a terms of reference. Thisdocument serves as the ‘contract’ between you and yourclient. It will in all probability, be referenced and updated oncomplex projects several times during the life of an assign-ment. In some extreme cases, the main project objectives mayeven change. Clearly such changes must be documented sothat the focus for the project is not lost. It is essential thatany changes made to your terms of reference are discussedin detail and agreed by your client before they are imple-mented. No consultant has the power to change an initialterms of reference without the express agreement of theirclient. Only when the client has signed off any changes tothe terms of reference can a project really begin. What should the initial terms of reference contain? The main characteristic of a quality terms of reference is that it should be clear and concise. It needs to clearly indicate whatthe project’s objectives are and what work the consultant isproposing to do. It also needs to highlight any constraintsor assumptions that you are making and also show the keystages and milestones involved in your plan. It has also toindicate your resourcing and where appropriate costs. High performance consulting skills 116The key headings to use and a description of their content include the following: BACKGROUND • A description of the background to the work or the project. • Identify any past problems or other relevant issues.• Include information gained from your initial client meeting. • Keep this section to a maximum of two paragraphs – it should provide someone new to the project witha clear and simple overview. OBJECTIVES • State the outcomes and business objectives that must be achieved from the work. • State who your client is. BOUNDARY Document the boundaries or scope of the work to be cov- ered. Clearly identify: • What will be done.• What will not be done.• What departments will be involved. CONSTRAINTS Record the constraints that you are working with including: • Time.• People.• Money.• Equipment.• Other resources. FOUR Managing initial client meetings 117ASSUMPTIONS • State the assumptions you are making. For example, access to resources, client staff and ﬁnancial budgets.This will indicate to your client what further infor-mation you will need. When your initial terms of reference are signed off, there should be no assumptions left in it, as you will have eitheragreed or adjusted the basis on which you will carry outthe work following your client discussions. For exampleyour client has now agreed that managers will beinstructed to release staff to attend your interviews. Inthe real world you cannot assume that this would havehappened. Many projects have failed because too manyassumptions were made that proved to be just that, anassumption! So if in doubt raise it as an assumption,clarify it and then remove it. CLIENT REPORTING State the client reporting requirements showing: • Who on the client side will receive your reports.• How these reports will be presented – meetings, elec- tronic mail or paper. • What precise format the report will take – Microsoft Word, Powerpoint etc, A4 text document or land-scaped Powerpoint slides? • When the reports will be delivered. High performance consulting skills 118PROJECT DELIVERABLES State the project deliverables indicating: • What the deliverables will be.• When they will be delivered.• Note these down as milestones. ACTIVITY TIME CHART • Show the major tasks involved in your project and their sequence. • Indicate when they will be done? Show the week number and completion dates. • How long they will take.• Who will be completing these tasks.• Show the milestones where key deliverables will be made, e.g. presentation, report, system speciﬁcation,operating procedures, client workshops. FINANCE (WHERE APPROPRIATE) • Show the staff fee rate for each project stage. • Show other necessary resourcing and material costs.• Show the total estimated budget required. FOUR Managing initial client meetings 119Sample initial terms of reference Our initial terms of reference headings have been transferred onto a form that you can use for your project. Figure 10 high-lights the key elements of the TOR. FIGURE 10: PROJECT TERMS OF REFERENCE This form can be found in the chapter on ‘The Internal Con-sultant’s Toolkit’. Review the following example and reﬂecton how you might incorporate this approach in your con-sulting work. Remember, at this stage you are preparing an initial terms of reference based on your understanding of the project.These details will invariably change and more informationwill be added as the project progresses and develops. BACKGROUND OBJECTIVE BOUNDARY CONSTRAINTS ASSUMPTIONS REPORTING DELIVERABLES FINANCEBACKGROUND Description of background of work to be done. Two paragraphs maximum. OBJECTIVE State overall business objectives. State project sponsor. BOUNDARY What work will be done. What work will not be done. What departments will be involved. CONSTRAINTS Note constraints in terms of time, people, equipment and money. ASSUMPTIONS Your customers will provide you with further information. When TOR signed off, there should be no assumptions in it. REPORTING What are reporting requirements? Who receives them? How will they be represented? When will reports be delivered? Meetings, electronic or paper. DELIVERABLES What are you going to deliver? When are you going to deliver? FINANCE How much will this project cost? Include cost of people, equipment and expenses. Client sign-off High performance consulting skills 120FOUR Managing initial client meetings 121Page 1 TERMS OF REFERENCE FORM Boundary • Involve the senior management at Hamburg site• Understand and document the services required• Interview staff of external support companies• Interview staff at Hamburg site• Determine level of satisfaction of employees• Do not recommend individual employees for new postObjective• To investigate the service level provided by the two external companies • To document the skills required for an IT Support function.Background• In the last two years, the Hamburg ofﬁce has increased its staff from 30 to over 120. IT support for training and computer mainte-nance is currently supplied by two external companies. Servicelevels vary considerably. • Head ofﬁce have an international drive to create internal IT sup- port sections wherever possible throughout the company toprovide greater control and quality of service to our employees.Start Date 18 September Project Name Internal Support DepartmentLocation Hamburg Consultant Name Emily GoodsonDate 16 August Client Name Boris Lang IT DirectorHigh performance consulting skills 122Page 2 TERMS OF REFERENCE FORM Deliverables and Milestones • Provide a ﬁnal report at the end of the assignment in 4 weeks time• Present the ﬁndings to the IT DirectorReporting• Provide a brief progress report every Friday by 14:00• Use the internal electronic mail systemAssumptions• Members of external IT support companies are available for inter- view • Internal staff members are available for interview• All interviewees will be available over a one week periodConstraints• Details of this assignment must not be discussed with the external IT support companiesFOUR Managing initial client meetings 123Page 3 TERMS OF REFERENCE FORM Approved by Client: ____________________________________________ Date: _________________________________________________________Activity Time Chart For Project: Activity Who Effort Start Week 12345678 1. Prepare Plan EG 0.5 * BL 0.5 2. Services Needed EG 3 ** 3. Investigate Co 1 EG 2 4. Investigate Co 2 EG 2 5. Interview Staff EG 4 * 6. Report EG 2 **7. Presentation EG 0.5 BL 0.5 Total Effort: x days Estimated Costs Resource Name : Emily Goodson Rate: 900 Effort: 14 Cost: 12,600 Resource Name : Boris Lang Rate: 1,500 Effort: 1 Cost: 1,500 Resource Name : Rate: Effort: Cost: Resource Name : Rate: Effort: Cost: Equipment Name : Cost: Equipment Name : Cost: Expenses: Cost: 1,000 Total Estimated Costs: 15,000Writing client proposals For some projects, where you ﬁnd yourself in a competi- tive situation you may have to bid for the work you proposeto carry out. In such circumstances you will have to pres-ent a formal written document to your potential client. Soyou will need to expand your initial terms of reference intoa full proposal. To do this, you have to include all the sec-tions covered in the terms of reference and add someadditional information to enhance your ﬁnal proposal. Structure any proposal in a clear and logical manner. Where there are several clients involved in the ﬁnal decision-makingprocess try to identify and reﬂect their various needs inyour proposal. Submit your proposal to your client as a typed and narra- tive document. It must not be presented as a completedform. Use the same headings as in your initial terms of ref-erence but expand each section to provide more detailedinformation. Helpful tip Keep the time spent on drafting a client proposal in line with the size of the assignment on offer.Don’t spend one week writing a proposal for aproject that is likely to last a few days. You needto use your time effectively and focus your ener-gies on proposals that offer best promise. High performance consulting skills 124tFor example: • Enhance the boundary section by explaining the type of research or information gathering you will under-take. Who you will want to interview and how muchtime you will need to complete the work. • Enhance the activity time chart by providing a descrip- tion for each activity – indicating not only yourresponsibilities but also your client’s. • Specify the time and costs involved and the use of other internal/external consultants. • Remember when planning activities to take into account factors such as holidays and the availability of clientsand their staff. Agree any absences in advance withyour client so as to avoid problems at a later stage. • Finally, remember to check all your key facts and numbers. Additional headings you should include in your proposal concern your: Consulting Experience This section outlines your professional expertise and com- petence to carry out the assignment. Include your previousexperience in addressing similar projects or problems andalso include your curriculum vitae. If you have a team thatwill be used for the project, include the details of your team’sskills and experience. Methodology This section deals with your approach to tackling the proj- ect by describing in detail your approach or methodology.If you are involved in information technology or trainingconsultancy you might describe your process for conduct-ing your development cycle (linear or iterative) or trainingneeds analysis. FOUR Managing initial client meetings 125Remember the whole basis of effective client management is to avoid possible problems by predicting them in advanceand taking corrective action to ensure they do not arise. Thegolden rule is to never surprise your client.Helpful tip In very complex and multi-disciplinary projects you may have to consider to what extent youcan accept responsibility for the quality of workof third party contractors or consultants whomay become involved in the project. You have to be conscious of your possible expo- sure and liability in the event that a third party failsto complete their work on time. In such instancesyour proposal should specify your conditions formanaging and accepting the involvement of otherparties over whom you have no real control butwhose work will impact on your project out-come. Failure to deal with this type of issue canhave disastrous consequences at a later date. High performance consulting skills 126tManaging initial meetings checklist The ﬁrst stage in the internal consulting process involves establishing a working relationship with your client. The pri-mary objective is to clearly identify your client’s needs andbegin exploring how you might provide assistance. Itinvolves submitting a terms of reference and agreeing indetail a project’s objectives, time-scales and costs. Questions you should ask: • What does the client consider to be the problem? • Do they appear to fully understand the problem and issues surrounding it? • Has your client appeared to identify the right or wrong problem? • Does your client want to take full ownership for the problem? • Is your client aware of their limitations in trying to solve the problem? • Does your client see you as a partner in tackling the problem? • Are there other important parties or clients who may need to be brought into the project to ensure a suc-cessful outcome? • Do they have the backing of their boss to start the proj- ect or do they have to sell it upwards? • Is your client fully aware of their commitments and responsibilities in commissioning the project? • What is the real problem facing your client? FOUR Managing initial client meetings 127Client’s perspective of you: • Are you competent and knowledgeable? • Do you appear and behave in a professional manner?• Can I work with you and trust you?• Do you make me think in different ways about the problem? • Do you have the right expertise and track record?• Are your initial thoughts and plans practical and realistic? • Is your terms of reference or proposal reasonable? Other client thoughts: • Do you report to other senior people within the organization? • Do you listen well?• Are you aloof or arrogant?• Do you value my time?• Do I like you as a person? Other statements/questions you might use: • What are your main business concerns at the moment? • What are the real issues or problems as you see them?• What will happen if the situation continues?• What have other people said about the situation?• What do your colleagues think about the situation?• Why have you asked us to provide some assistance? High performance consulting skills 128• What role do you see us playing in helping you address the problem? • If we were successful with this project what would success look like? • Could we have access to the relevant data and reports?• Have you considered these other options…?• Are there any parts of the organization or areas you do not want us to get involved in? • Have you thought about any other ways that you might address the issue? • These are our initial thoughts about tackling the work. FOUR Managing initial client meetings 129BlankCHAPTER FIVE Understanding and deﬁning the client’s problemFIVE Understanding and deﬁning the client’s problem Once your initial terms of reference or proposal has been agreed by your client you have to really begin to understandyour client’s problem. This requires a detailed, analyticalreview of the issues or circumstances surrounding the prob-lem. In deﬁning any business problem you need to maintaina clear and independent perspective at all times. Don’t beprejudiced by past experiences or easily persuaded by emo-tive arguments or persuasive people. Maintaining a detachedand objective outlook is essential to your success. In understanding your client’s problem endeavour to gather information from a variety of individuals and sources. Infor-mation on consultancy projects is normally collected throughﬁve key methods: 1Desk research 2Interviews 3Group interviews 4Questionnaires 5Process mapping techniques In this chapter we explore the essential characteristics of each and provide some key advice on how to use them to securebeneﬁt for your client projects. Two key factors that will helpyou determine the most appropriate methods to use are,ﬁrstly, the number of people you can reasonably expect toinvolve given any time constraints and secondly, the depthof knowledge you need to fully understand the problem.Figure 11 illustrates the relationship of these two factors tothe different approaches. High performance consulting skills 132FIGURE 11: INFORMATION GATHERING TECHNIQUES Desk research In most cases desk research is conducted in the early stages of a project, although there may be circumstances where itwill be required during the middle of a project. Desk researchinvolves the identiﬁcation and analysis of speciﬁc sourcesof documentary evidence that maybe relevant to your proj-ect. Of course there are lots of projects where any deskresearch is limited to reading up on some backgroundpapers or documents such as previous reports. But theremay be other times where you will need to access a widevariety of information sources in preparation for the startof a project. In all situations you will need to apply a disci-plined and analytical approach to your work so as to identifythe relevant sources of information and record the keypoints for your future project work.HIGH HIGH LOWNumbers of peopleinvolved Knowledge of problemSurveys Desk research interviewsGroup interviews Desk research interviews FIVE Understanding and deﬁning the client’s problem 133Desk research normally involves three stages: 1Identiﬁcation of relevant sources of information. 2Review and analysis of the information sources. 3Preparation of key ﬁndings and conclusions result- ing from the research. It may require you to review these sources of information: • Organization reports• Procedures and operating manuals• Competitor publications• Financial reports• Technical journals• Professional association reports and journals• Trade journals• Specialist journals• Business magazines• Government reports• Consultancy surveys and reports• Industry association reports• Relevant books Desk research helps build up a real understanding of a par- ticular issue. In some cases it may result in you producinga report highlighting your key ﬁndings as part of the widerproject being undertaken. High performance consulting skills 134Interviewing clients Preparing your interview structure The ﬁrst point to emphasis when interviewing people during the course of any project or assignment, is that everyoneis a client; or they have the potential to become a client. Itis therefore important to always conduct yourself with theutmost courtesy and professionalism; even when inter-viewing people who are in extreme circumstances unhelpfulor even impolite. Treat everyone with equal respect. As aninternal consultant you can never predict when you mightend up working for someone you have interviewed. Soalways exercise care when conducting interviews. To upsetor annoy someone today may not be a problem, but nextyear when you stand before them trying to secure a newpiece of work it will be a different matter. Any interview is a simple way of gaining information through questioning and discussion. Client interviews must be con-trolled by the consultant and have a clear set of objectivesand structure. At the same time the interview must not givethe impression of being an interrogation. To harass peopleover questions will only antagonise and result in negativeoutcomes. Also be sure to avoid allowing any personality conﬂicts or personal likes and dislikes to cloud your judgement duringan interview. Stay detached and objective at all times. In preparing for interviews develop a checklist of all the issues you want to discuss. A broad range of questions will tendto be more helpful than a detailed list. The questions you willultimately ask will depend on the replies and reactions youreceive as the interview progresses. Be flexible in yourapproach. Having a checklist of questions provides you withmore scope to adjust the focus and ﬂow of your interview. FIVE Understanding and deﬁning the client’s problem 135The key objective of any information gathering interview is to get your client talking. Again use the magical 80:20 Paretorule; with your client speaking for 80% of the time and youasking questions for the remaining 20%. If you dominate aninterview it is likely that you will leave it not having under-stood your client’s viewpoint or, even worse, their problem.Your ability to listen rather than talk is critical. The most suc-cessful client interviews are those where you simply use asmall but select number of open-ended questions and yourclient provides all the relevant information. A bad interviewis where you do the talking for most of the time. That is thesign that you are operating as the expert consultant. Your behaviour during the initial stages will tend to deter- mine the level of trust that will exist throughout the interview.You therefore need to display lots of interest and empathywith your client. Accelerate this process by offering to sharecontrol of the interview and jointly agreeing the agenda. At the interview’s beginning you will need to establish your credibility as well as deal with any anxieties the client mayhave about the process. If you appear worried or nervousyou can sometimes arouse similar tensions in less conﬁdentinterviewees. There is no need to present a highly detailed explanation of your technical qualiﬁcations and career details as this canbe interpreted by some clients as demonstrating a lack ofconﬁdence or, even worse, arrogance. Your objective shouldbe to instil in the client a sense of comfort and mutual respect.So keep it simple and state who you are, your role, some gen-eral background to the interview and your objectives for themeeting. High performance consulting skills 136In developing and planning your interview approach keep to the following guidelines: • Analyse in advance any background information on your client’s operation, e.g. problem areas, perform-ance indicators, key personalities, current businesschallenges, competitor threats. • State clearly your aims and objectives for the interview.• Decide on the topics you want to focus on – prefer- ably with the aid of a checklist. • Prepare and then plan your interview structure.• Allocate timings for each section of your interview.• Find out and agree with your client where the inter- view will take place. As a general rule people are morecomfortable in their own surroundings. They will alsohave easy access to any additional information you mayrequire. • When making an interview appointment with clients always conﬁrm the purpose and objectives of themeeting. • Ideally write to them in advance of any interview to conﬁrm the details. Enclose a draft agenda for themeeting. This helps to offset any concerns they mayhave about the interview and it also helps prepare themto deal with the issues you want to discuss. • Refer to your written agenda during the interview and use it as a means of controlling the pace of your inter-view. It will help you to move the client forward if theyare staying too long on one subject area. FIVE Understanding and deﬁning the client’s problem 137• If you are interviewing together with a colleague make sure you agree clear roles beforehand. Allocatequestions or speciﬁc topic areas to each other. Giveyour client a professional impression and show thatyou both have strong roles in the project. Havingone consultant sitting and not asking any questionsfor an entire interview does little to instil client con-ﬁdence. Even worse it could give the impression thatyou are wasteful and inefﬁcient. • Agree with your client that there will be no interrup- tions to the interview. High performance consulting skills 138Insight Internal consultants always try to ‘Hunt in Pairs.’ Interviewing client alone can be difﬁcult as it is very easy to get locked into a pattern of discussion and not realise that youhave lost track or control. By working with another colleagueyou can develop speciﬁc roles and help each other if one ofyou gets into difﬁculties. Hunting in pairs also helps when reviewing the interview afterwards.Managing the client interview At the start of any interview outline the purpose of the interview and again check the interviewee’s understandingof the objectives. Even if you have previously sent a writ-ten conﬁrmation to a client it maybe the case that they didnot read it properly or they have forgotten about it. Afterhaving indicated the time you require for the interviewpolitely request the assistance and agreement of the inter-viewee to your objectives. Ask your client whether they wishto add anything to the interview agenda. These formalcourtesies may seem a little elaborate but they do help over-come any potential hostility that might in some instancesbe surrounding a project Your questioning technique should allow your client to follow their own line of thought provided they do not movetoo far away from the areas you want to focus on. Be con-scious of any time constraints that you or your client maybeworking under. Remember that people are likely to disclosemore when they feel comfortable and free to express them-selves. Adopting an aggressive questioning stance is notnecessary and will only result in your interviewee becom-ing antagonised and refusing to offer any real information.Also avoid interrupting or being overly critical of anythingthey may say. You may need to challenge them on some pointsbut you can do this without adopting a hostile questioningtechnique. At the end of your interview summarise what the client has stated and thank them for their help and co-operation. Alsorequest permission to come back to them for additional infor-mation should your work require it. FIVE Understanding and deﬁning the client’s problem 139Managing client interviews – a checklist of good practice • Make your client feel comfortable – put them at ease by a clear introduction. • Ensure your client is clear about the objectives for the interview. • Obtain your client’s agreement to your objectives.• Allow the client to add to the scope of the interview if they wish. • Ask for permission to take notes during the interview.• State how you intend to handle issues of conﬁden- tiality – being open and honest will help you establishrapport and trust. • Outline what will happen with the information you are collecting. • Encourage your client to do most of the talking. High performance consulting skills 140Insight A professional way to end an interview is to ask your client: ‘Is there anything that we have not discussed or raised that you think maybe relevant to the work we are undertaking?’ In most cases you will get a neutral response but on some occa- sions you will get some really important piece of informationthat will help your overall project. Equally this question has the nice effect of handing over the close of the interview to your client.• Use open-ended questions at the beginning of the interview. • Follow-up client answers by using probing questions that elicit more details about issues.. • Conﬁrm your understanding of what has been said by summarising regularly. • Try not to be drawn into making speciﬁc comments on controversial issues and do not align yourself toany one viewpoint. • Never criticise other people or departments. ALSO DON’T FORGET TO: • Keep on track with your interview structure.• Ensure all your topic areas are covered.• Ask for information on any new issues that emerge during the interview. • Obtain speciﬁc examples, details or facts of what your client is trying to explain. • Recognise irritation on the part of your client.• Thank your interviewee for their time and assistance.• Advise them about what will happen next. THINGS TO AVOID DURING INFORMATION GATHERING INTERVIEWS: • Talking too much at your client. • Unnecessary jargon – it irritates clients and provides some with a ready opportunity to criticise you or yourwork; if not during the interview then almost cer-tainly later with their colleagues. • Interrupting your client.• Making assumptions about the interviewee’s views or opinions – check out or challenge all assumptions. FIVE Understanding and deﬁning the client’s problem 141• Asking leading or multiple questions. • Antagonising your client through aggressive behaviour.• Running out of time. Taking interview notes Information that is obtained during any interviews should be recorded during the interview. Most consultants have towork hard at improving the quality of their note-taking. Itcan be a difﬁcult task to take precise and detailed notes duringa lengthy interview and you will need to develop a disciplinedapproach so as not to end up with pages of scribbled andsemi-intelligible comments. Firstly record the name androle of the interviewee and the date on which the interviewtook place. At ﬁrst this sounds obvious but again it is amaz-ing how after you have interviewed perhaps twenty-ﬁvepeople, you look at a set of notes and wonder whose com-ments they belong to. The combined use of your broad listof questions and topic headings should assist you in struc-turing the information as the interview proceeds. You will also need to review the information you obtain to check that it provides you with what you require to carryout your investigation or research. Clearly, the disciplinedand analytical approach involved in collecting informationis equally necessary in recording it. Actions to take after an interview • Write down a full account of the interview as soon as possible. • Send a copy of your interview notes to the interviewee so that they can check and correct any misunder-standings or, alternatively, add any relevant pointsthat may have been missed. This makes for clear com-munications and also presents a thorough andprofessional image. High performance consulting skills 142Group interviews Group interviews involve situations where for efﬁciency or operational concerns you decide to interview a group ofpeople for your project. In some situations you may befaced with a group of production workers taking an extendedlunch-break to accommodate your project schedule. Alter-natively, you maybe asked to interview a group of managersat the end of one of their regular review meetings. In manyrespects the basic requirements of handling these types ofinterviews are the same as one-to-one situations. However, you do need to be aware that in certain circum- stances there may be requirements to ensure everyone hasan equal contribution and that the discussions are not dom-inated by the more forceful or dominant members of thegroup. To that extent you may need to exercise strong con-trol. One way that you can do this is to introduce the conceptof ground-rules to guide peoples’ behaviour during thediscussions. Five simple but powerful examples are shownoverleaf. FIVE Understanding and deﬁning the client’s problem 143Insight When your client is discussing sensitive information it pays to be careful in how you take notes. Making detailed notes as yourclient reveals their inner most thoughts about the organization’sproblems or politics will not induce a sense of comfort. Try tolisten and then make notes after the discussion has moved offthe delicate information. This will get over your client feelingthat you are some kind of policeman.Ground rules for controlling group interviews 1 Only one person speaks at a time – a basic dis- cipline, but one that often needs to be enforced ingroup situations to avoid several discussions takingplace at once. 2 People can agree to disagree – this helps you move the discussion forward if it appears to be gettingbogged down between a minority of participants. 3 It is OK to be negative but try to also offer pos- itive alternative solutions or ideas to addressthe problem – this can help you manage people to be positive in their attitude. In some situationsa group interview can degenerate into a negativespiral unless they are managed properly. 4 Hierarchy is left at the door – this can be helpful if you are having to manage a cross-section ofpeople and believe there maybe concerns aboutstatus inﬂuencing peoples’ views. 5 Let’s be hard on the issue and soft on the people – this rule helps you focus people on getting toissues concerning problem areas rather than allow-ing personal recriminations to take place which canoften happen in heated situations. As the consultant, introduce these ground-rules at the outset of the group meeting and state that theyare there to help ensure a productive exchange ofviews. Having introduced them it is essential thatyou police them during the meeting in order toderive the real beneﬁt. High performance consulting skills 144Using structured frameworks to obtain information In group situations involving larger groups of say, 12 or more people you may consider introducing some structuredgroup work to solicit everyone’s views. To do this you mightbreak them up into groups of 4-6 people and task them withdiscussing a set of speciﬁc questions and reporting back. Inthese types of situation you might typically use the classicSWOT analysis that requires a review of the Strengths, Weak-nesses, Opportunities and Threats of a particular situation. Figure 12 illustrates the SWOT framework. FIGURE 12: USING A SWOT ANALYSIS TO GATHER AND ASSESS INFORMATIONAbility to exploitH H LValue to the businessSTRENGTHSAbility to addressH H LRisk to the businessW EAKNESSES Ability to addressH H LSeverity to the businessTHREATSAbility to exploitH H LPotential attractiveness to the businessO PPORTUNITIES FIVE Understanding and deﬁning the client’s problem 145After having introduced the framework you would instruct small groups of people to spend 20-30 minutes producingtheir SWOT analysis on how they viewed a speciﬁc prob-lem or situation. As the internal consultant you would thenask someone from each group to present back their analy-sis. You can lead a general discussion to clarify yourunderstanding of what is being presented. Once an overview of the SWOT analysis has been pre- sented you can use some additional and very powerfulquestions to promote further discussion, e.g. What is therisk or severity of that weakness/threat actually happening?If we did invest more in that strength, what business ben-eﬁt would it derive? Often these questions help providegreater focus on the key issues surrounding a problem. Remember also that the SWOT analysis is a really useful and simple structure to conduct one-to-one interviews. You cansimply keep asking a client to highlight the strengths andweaknesses etc until they are complete. You also have aneasy way to collate your interview notes. Another analytical tools that can be easily used in group sit- uations is the forceﬁeld analysis. This requires highlightinga particular problem or objective and then asking peopleto brainstorm or relate their experiences to the issue. In usingthe framework you have to direct peoples’ thoughts and dis-cussions into two distinct areas. The driving or forcing factors are those that people believe are capable of helping solve the problem or achieving theobjective. In contrast the blockers or obstacles are those fac-tors that people believe are currently preventing the problembeing addressed or the objective being achieved. When structuring these exercises, provide people with ﬂip- charts and working papers including ‘post-it’ notes to helpthem build up the information. The power of both the High performance consulting skills 146SWOT and forceﬁeld models are their ability to display a lot of potentially complex information in a simple visualformat. Figure 13 provides a simple outline of the forceﬁeld approach. FIGURE 13: FORCEFIELD ANALYSIS Both frameworks also enable people to present their views and opinions in a structured and focused way. This meansyou are also able to collect information in an efﬁcient andcontrolled manner. They are also an effective means of recording the outcomes of a meeting as each group will have presented their viewson ﬂip-chart paper. This means the data can be easily typedup and edited. OBJECTIVES Increase efficiency Reduce human error Speed up transactionsForcers DriversObstacles BlockersForcefield analysis FIVE Understanding and deﬁning the client’s problem 147Both frameworks are also very simple to explain and highly participative in their approach. Two essential ingredientsto getting the best out of any group interview situation. Types of interview questioning techniques With your overall interview objectives already in mind thereare several types of questioning technique you can use tocollect information. Begin at the outset of any interview con-sidering whether you are trying to: • Obtain hard facts?• Clarify your understanding of a process, issue or problem? • Get your interviewee to comment on an idea or proposition? • Challenge your interviewee’s thinking?• Understand the attitudes and feelings surrounding an issue? • Assess the interviewee? Once you have answered these questions you can then employ a wide range of techniques to elicit client responses.Developing conﬁdence with these questions and techniqueswill come naturally as you gain more experience of inter-viewing people. In the early days of your consulting work,experiment with these techniques and don’t be too worriedif on certain occasions they do not always produce thedesired results. Interviewing is a skill that develops over time. High performance consulting skills 148Using open-ended questions Open-ended questions are an essential element in any con- sultant’s interview toolkit as they prevent your clientproviding simple one word replies. Open-ended questionsencourage people to talk and are particularly helpful duringthe initial stages of an interview, as they promote positiverapport and dialogue. Open-ended questions are also highly effective in either introducing new topics or probing for more detailed infor-mation on a particular subject. The most powerful open-ended questions begin with: What? Why? When? How? Where? and Who? Examples of open-ended questions • What was actually happening at that point…? • How would you describe the current situation?• What are the current facts as regards service levels?• What are the performance figures relating to the system? • What were the objections raised by the customer?• Where is the unit at this present point in time?• When was the discrepancy ﬁrst identiﬁed?• What do you see as the three major issues facing your operation? • Why did that situation remain in place for so long?• How are the current systems managed?• How would you describe the current strengths of the operation? • Who had the primary responsibility? FIVE Understanding and deﬁning the client’s problem 149• When did the situation begin to worsen? • When did management realise that the project was beginning to slip? • What other issues have contributed to the problem?• When did you realise customers were reacting badly?• What would ‘Y’ be expected to do in such situations? Open-ended questions can also be used to understand your clients’ views and opinions on speciﬁc issues, e.g: • How do you feel about…?• What do you think about…?• What do you think of the idea that…?• What are your views on…?• How important are… would you say?• What alternatives are available?• How would you react if…? Using speciﬁc questions Speciﬁc questions allow you to probe for and obtain spe- ciﬁc details or facts surrounding an issue. In many cases youwant to emerge from an interview with not just opinionsbut also lots of hard facts. Speciﬁc questions help get thedetails. Use them to follow up on open-ended questions.Some examples are: • When exactly did that situation ﬁrst arise?• Who is responsible for or owns that process?• When did the breakdown ﬁrst happen?• Why did the operator report the incident to you ﬁrst? High performance consulting skills 150• What were the exact circumstances involved? • What was the agreed conclusion to those discussions?• What was the percentage increase at that time?• How was the report presented to the management?• Did anyone query the speciﬁcation the ﬁrst time it was announced? Linking questions The link question is a variation of the open-ended question. It acts as a bridge and allows you to make a transition fromone question to another, thus promoting a smooth interviewﬂow. Examples of link questions include: • You mentioned just now that…, how did this affect…?• We’ve just discussed…, could we now have a look at another element of the system problem…? • How does that issue relate to the point you raised ear- lier concerning the ﬁnancing problems…? • Is there a relationship between the quality and level of training being given? • As you ﬁnished talking about product x it brings to mind some questions I have that relate to product y.How strong a product is that? FIVE Understanding and deﬁning the client’s problem 151Exploring and validating alternative approaches During certain interviews and, more particularly, during the later stages of a project you may need to begin validatingcertain hypotheses, strategies or actions. Using the fol-lowing questions can help you obtain reactions frominterested parties or clients. The skill is to suggest the ideaor proposition but not sound as though you have alreadyreached a conclusion, as this may put your client off fromgiving a clear and unbiased answer. You want your clientto give you a straightforward reaction to the propositionor proposal. • Perhaps we could do it another way – such as…?• Is this the only option available? – What about the xy approach? Would that work? • What about taking a radically different approach such as…? • Can we look at it this way...How about integrating all the activities together? • Next time could we complete the job using…?• What if your competitors did the opposite and started pursuing the idea – would that suggest it could bemade to work? • I am told that with sufﬁcient resources the process can produce those results – what are your thoughts? High performance consulting skills 152Providing non-verbal encouragement during interviews Non-verbal encouragement involves you in making noises such as: ‘Ah?’, ‘Oh?’, ‘Uhh?’, ‘Hmm?’ as your client talks.This is a rapport building technique that lets your client knowthat you are actively listening and that you would like to hearmore. Verbal acknowledgements are indications of atten-tion and when combined with appropriate facial expressions(smiles, raised eyebrows, etc.) they encourage your clientto talk further. Similarly, you can also show empathy to your client by the careful use of body posture, facial expressions and eye con-tact. Leaning forward and demonstrating expressions ofinterest promotes increased dialogue. However, be carefulnot to overplay these techniques as some clients may ﬁndthem off-putting or even manipulative. Using supportive statements Supportive statements involve phrases such as: ‘I see...?’,‘And then what happened...?’, ‘That’s interesting...’ ‘Couldyou say a little bit more about that, it sounds very relevant.’ Supportive statements produce the same results as non- verbal encouragement – an extended answer from yourclient that reduces the need for a set of further detailed ques-tions. The aim in using supportive statements is to lead yourclient into providing as much information and detail as pos-sible with the least amount of spoken comment from you. FIVE Understanding and deﬁning the client’s problem 153Checking your facts and asking for speciﬁc information Throughout an assignment and during any interview you will need to establish speciﬁc facts or obtain key informa-tion. This requires a more direct questioning approach butbe careful to ensure that you do not sound hostile towardspeople. The directness of the question can sometimes makethis difﬁcult. So when thinking about such questions con-sider your voice tone, the sensitivity of the question and thetiming of it. A too heavy handed approach and you maysound like an interrogator. The following types of question illustrate the approach: • Where did that information come from?• Can you conﬁrm those ﬁgures?• Can you conﬁrm that you do actually report to the Operations Director? • I have been shown a separate set of ﬁgures on… can you conﬁrm their accuracy? • So what is the current system’s availability?• Can you verify this data? Simply by changing the tone of your voice you can signiﬁ- cantly change the way these questions might be interpreted.So be careful and think how the client might react. Avoidbeing the proverbial bull in a china shop! A simple ‘please’or ‘would it be possible’ can help to soften the blunt sound-ing nature of some of these questions. High performance consulting skills 154Showing empathy with your client At certain times you will need to demonstrate empathy with your client. This can be particularly important whenyour client is discussing sensitive issues and feeling vul-nerable about relating particular details. The followingstatements can help you to get through these difﬁcult areasof an interview: • You are really concerned about this, aren’t you?• I can see this has caused you a great deal of concern.• It is pretty obvious from what you have said, why you were annoyed… • I can understand how you must have felt about the situation. • That must have been a really difﬁcult situation to deal with. In other situations you may need to offer some kind of sup- port or assistance to your client in order to engage theircontinued support and interest. In which case the follow-ing statements can be helpful: • Yes, it is irritating, but let me see if I can help…• You are quite right to be angry, but I can suggest some ideas for resolving the issue… • There is every reason to feel upset, but have you thought about… • Can you tell me the details, I may be able to… FIVE Understanding and deﬁning the client’s problem 155Key word repetition Key word repetition is another rapport building technique that encourages your clients to offer more information ona particular issue. It simply requires you to pick up on a keyword and reflect it back to your client in the followingmanner: Client ‘For two years I’ve been working on systems design.’ Internal Consultant ‘Oh, systems design…’ When ‘Oh, systems design,’ is phrased with a questioning inﬂection of voice tone this can often be sufﬁcient to promptthe client to explain a lot more about the subject. Key wordrepetition is another technique that again allows you tooperate with an economy of questions. Using the pause Some people don’t like the sound of silence when inter- viewing. But remember that immediately rushing in withanother question to avoid a momentary silence can resultin a client failing to offer an important piece of information.If you want your client to continue talking and add to whatthey have said, a strong pause can stimulate this as effec-tively as any spoken question. A pause provides yourinterviewee with a chance to think, re-phrase or add to anypreceding answers. The judicious use of the pause is one ofthe most powerful techniques to employ in an interview.Developing a strong capability in the use of pauses will reapreal beneﬁts. As Mark Twain once wrote: ‘The right word may be effective but no word was ever as effective as a rightly timed pause.’ High performance consulting skills 156Using summaries Use summaries regularly throughout any interview. They allow you to check your understanding of any facts that youhave been given and to clarify your client’s thoughts onimportant issues. Summary statements also provide you withanother method of achieving a smooth change of directionfrom one topic to another during an interview Summary questions prevent your client drifting from your interview agenda and allow you to regain control withoutan abrupt interruption. To that extent they are very helpfulin controlling talkative clients. Summary statements involve phrases such as: • As I have understood the situation what you are saying is that… • So what you’re saying is… Is that correct?• If I have understood you correctly… Now could we move on to discuss… • So, to summarise you are saying that more work will be required to get the project back on track. Dealing with mistakes You must expect to make mistakes in some interviews about some issue or information; it is inevitable. The best adviceis to openly admit that you have made a mistake to yourclient, offer an apology and move on. Trying to cover up theissue or avoid it will only make things worse. If this hap-pens try using the following statements: Sorry that is my mistake! You’re right, I got it wrong I do apologise.That’s quite right, I should have realised… please accept my apologies. I apologise for the misunderstanding on that issue. FIVE Understanding and deﬁning the client’s problem 157Counter-productive questions Any question that detracts from the smooth ﬂow of an inter- view might be called counter-productive. Classic examplesinclude: Multiple questions Multiple questions combine several questions into one long statement. The result is to add confusion to the interviewprocess and allow your client to be selective in their answer.Invariably clients fail to address all the questions that youposed. • So how did you manage to achieve those results with- out impacting on other parts of the operation and howdid your colleagues react? • Why did you join this part of the organization and how does it compare to the other operation that youworked in, what do you see as the key weaknesses? • So how long have you worked in this operation and do you like it or are there problems? Leading questions Another counter-productive question is the leading ques- tion that either invites a particular response or suggests a‘right’ answer is required from the client. The leading ques-tion is often phrased in the form of an emotional orjudgemental tone such as: • You’ve got to admit that…?• Isn’t it a fact that…?• You must concede that…?• You will surely acknowledge…?• You’re not suggesting that…?• You don’t think that…? High performance consulting skills 158In the case of some of the above examples, you maybe expecting the response ‘Yes, of course!’. In others the appro-priate answer may be ‘No, of course not’. In either case youare suggesting to the client that you have an answer in mindand that you would like it conﬁrmed. Of course there are somecircumstances where this might prove an effective tech-nique to test out someone’s views or opinions. But be carefulwhen applying such a potentially provocative approach. Critical leading questions The critical leading question relies on a stronger degree of implied criticism or judgement when posing the question.In some ways it is simply a stronger version of the leadingquestion. • Surely you can’t believe that…, can you? • You don’t really think that… do you?• Surely you’re not suggesting that…?• You don’t honestly think that…, do you?• You cannot for one minute, believe your competition would ever do that, do you? Any response other than a strong rejection of the question might imply a lack of credibility on the part of your client.This form of questioning can therefore frequently appearantagonistic and so also provoke a negative client reaction.This type of question should be avoided unless you feel thatyour client relationship would not be damaged by such astrong approach. FIVE Understanding and deﬁning the client’s problem 159Using questionnaires to gather information Whilst interviews allow you to question people in depth on speciﬁc issues, questionnaires make it possible for you toassess the views of a large number of people relativelyquickly and cheaply. The use of a questionnaire can be a veryefﬁcient way to gather information from a wide group ofpeople. Questionnaires also introduce a degree of quanti-tative data into any analysis. The ability to build a quantitativedatabase of evidence can be vital on projects where peo-ples’ views and opinions are involved. Arguments supportedby statements such as ‘70% of managers agree’ are alwaysuseful in inﬂuencing clients. Questionnaires can of course be used on a wide number of projects involving staff and customer surveys, reactions tonew IT systems and other organizational improvements. Sounderstanding the steps involved in designing and admin-istering a questionnaire can be extremely useful. Whilst itis possible to develop a questionnaire without too much dif-ﬁculty there are some rules that you should observe. Figure14 illustrates a broad overview of the questionnaire designprocess. Designing a questionnaire The questionnaire design process can be divided into aseries of nine key steps: Step 1: Identifying your questionnaire themes by inter- viewing people. Step 2: Arranging initial interviews. Step 3: Preparing key themes for your interviews. Step 4: Conducting interviews. High performance consulting skills 160Step 5: Identifying key issues. Step 6: Preparing and reviewing questions. Step 7: Producing your draft questionnaire. Step 8: Reviewing your draft questionnaire with your client. Step 9: Conducting the survey with your completed questionnaire. FIGURE 14: GATHERING INFORMATION – THE QUESTIONNAIRE PROCESSPilot questionnaire • Review• Amend• Agree communications• Client sign-off Draft questionnaire development• User friendly• Focused• Simple• Confidential• Communications Issue identification • Initial client discussions• Interview selection• Sample themes• Interview scheduleLaunch and distribution FIVE Understanding and deﬁning the client’s problem 161Step 1: Identifying questionnaire themes by interviewing people The ﬁrst step in designing any questionnaire is to agree with your client the number of people who will be interviewedso that you can identify the key themes or issues to beincluded in your survey. There are no speciﬁc rules as to the number of people that you should interview. But you will need to ensure that youinclude a cross-section of people who will ultimately appearin your ﬁnal survey. This ensures that any views or issuesthat reﬂect different interest groups will emerge in you inter-views and so ﬁnd a place in your ﬁnal questionnaire design. One important decision that you will have to make is whether to interview people individually or in groups. Normally,senior managers prefer to be interviewed on their own, butit is also of course possible to interview people effectivelyin small groups. The group approach saves both time andmoney although as we have earlier discussed it can some-times be operationally difﬁcult to manage. You will need todiscuss the various practical and operational implicationsof these approaches with your client before proceeding. One further issue involves selecting the right people for your interviews. In our experience it is better if you draw up alist of names and then discuss their suitability with yourclient. Because the people you select may not always be read-ily available you should agree a clear basis on which youcan select alternatives. To save time, it is preferable that youagree with your client that you can approach substitutes forinterview without having to constantly refer back to them,unless of course there are operational constraints. You willalso need to check that your client provides a representa-tive sample of people so that you get a balanced and realisticset of views and not just those that your client wants youto hear. So, if in doubt, make sure you challenge some ofyour client’s decisions. High performance consulting skills 162Step 2: Arranging initial interviews You will need to compose and circulate a letter in advance of your interviews explaining the purpose and objectivesof the exercise. Your letter should also detail the date, timeand location of the interview and identify the topic areasyou want to discuss. You should also thank people in advancefor agreeing to participate in the exercise and express yourwish to minimise any operational disturbance that yourvisit might bring. You should schedule interviews forbetween 1.5 and 2 hours depending upon the type of surveyyou are conducting, and you should be able to hold 4 to 6interview sessions per day. Step 3: Preparing key themes for your interviews Before conducting your interviews, you will need to draw up a list of possible topics and issues for discussion. You willhave already discussed and agreed these with your client inadvance of any interview programme. As we stated in ourinterview section, this list of themes should only be used asan outline and prompt, rather than as a detailed check-listto be followed rigorously. It will then help provide a focusand structure to your interviews and ensure a smooth ﬂow. Step 4: Conducting interviews During this stage you try to keep on schedule and hope that you do not experience any last minute cancellations. You willalso need to maintain your discipline in recording infor-mation during the interviews. Any spare time betweeninterviews should be used writing up your interview notesand planning ahead. FIVE Understanding and deﬁning the client’s problem 163Step 5: Identifying key issues From your interview notes, you must then develop a sum- mary of the issues raised by people. You need to documentthe location, department or function of the people involvedand a short paragraph describing the various issues raised.In lots of cases you will have conﬁrmed the issues alreadyidentiﬁed during your earlier client discussions. You willhowever need to review these issues with your client whenpreparing the ﬁnal questionnaire as the chances are newissues will have emerged. For example, you may have iden-tiﬁed from your interviews three recurring themes such aspay and rewards, staff moral and the restructuring plan.When you come to review these issues with your client youmay ﬁnd that only two of these issues need to be dealt within the survey as the other will be the subject of a separatereview. The end result is that you would have two key issuesfrom which to begin developing your questionnaire. Yournext action is to begin to shape your questionnaire contentby preparing a set of questions for each theme. Step 6: Preparing and reviewing questions The following is a check-list that will help you prepare a set of questions. The most effective approach is to: • Prepare questions for each issue that was raised.• Add additional questions based on any other research you may have conducted. • Brainstorm as many other relevant questions as you can. • Reﬁne your list, deleting questions that appear irrel- evant, repetitive or redundant. Re-word others asappropriate. It is often necessary to draft questionsthree of four times before arriving at a ﬁnal draftquestionnaire. High performance consulting skills 164• Check that you have the right balance of negative and positive questions. • Make sure the questions are understandable. Keep them simple and clear. • Make sure people have the necessary knowledge or experience to answer the questions accurately. ASK SPECIFIC QUESTIONS General questions should not be used when speciﬁc answersare required. For example: ‘Are you satisﬁed with the IT Help Desk response?’ This is not a good question if what you really want to ﬁnd out is how quickly the IT Help Desk responds when a phonecall is made. So a better question to ask would be: ‘Does the IT Help Desk pick up phone calls in less than 3 rings?’ AVOID AMBIGUOUS QUESTIONS Ambiguous questions allow people the opportunity to pro-vide different interpretations to the same question, and soproduce meaningless results. For example: ‘Do you often work overtime because of lack of adminis- trative support?’ If the answer to this question was ‘No’, then what does it actually mean? ‘No, I do not often work overtime’ or ‘No, I do not lack administrative support’ FIVE Understanding and deﬁning the client’s problem 165You can see that questions like this leave you open to crit- icism at the feedback stage. So be clear about what it is youare trying to measure or assess. USE PRECISE WORDING Words such as ‘fairly’, ‘generally’, ‘often’, ‘many’ and ‘appro-priate’ should be avoided as you will then tend to generateinconsistent responses from different people. What is ‘fairlygood support’ for one person is poor support to another. AVOID LEADING QUESTIONS Questions should be presented in a neutral way so as to pre-vent the manipulation of a desired response. An exampleof a leading question is: ‘Do you feel your hard work is appreciated?’ The way to avoid the inherent bias that this type of ques- tion can produce is to introduce a number of questionsaround the central theme of reward that can then be col-lectively analysed. For example: ‘On average, I work more than 40 hours each week’ ‘My salary is below the national average for the job I do’‘My manager gives me praise when I do a good job’ Leading questions can also be caused by a failure to state alternatives. For example: ‘Do you prefer working for a manager of your own sex?’ instead of: ‘Would you rather work for a man or a woman, or doesn’t it matter?’ High performance consulting skills 166KEEP QUESTIONS SHORT Long questions should be kept to a minimum as they reduce the amount of time people need to spend completing thequestionnaire. This reduces any sense of irritation or pos-sible misunderstanding on the part of the person completingthe document. CAREFUL PHRASING Never ask a question that will put someone on the defen-sive or make them feel in the wrong. Questions that peopleﬁnd rude or inconsiderate may not only affect their reply,but may also affect their response to the survey as a whole.Also, always remember to avoid jargon and abbreviationsunless it is clear that people understand what they mean. Step 7: Producing your draft questionnaire Having prepared your questions you will then need to begin the process of structuring your questionnaire format andthe ﬁrst key issue to address is the response scale that youwill use. RESPONSE FORMAT – LIKERT SCALE The most favoured format to use for your questionnaireresponse is the Likert Scale see figure 15 overleaf. Thisinvolves asking someone whether they agree or disagree witha statement by indicating on a scale their strength of agree-ment or disagreement. There are usually ﬁve basic responses: • Strongly Disagree• Disagree• Uncertain/No Opinion/Don’t Know• Agree• Strongly Agree FIVE Understanding and deﬁning the client’s problem 167There should be an equal number of alternating positive and negative worded questions in your questionnaire so as toavoid any potential bias. The advantage of a Likert Scale isthat it measures the strength of an attitude or belief whilstat the same time being easy for people to complete. FIGURE 15: AN EXAMPLE OF THE LIKERT SCALE ON A QUESTIONNAIRE RESPONSE FORMAT – FREE FORM REPLIES Free form replies are open-ended questions that allow people to write what they want on a subject. You should generallyavoid structuring the questionnaire so that a free form replyis needed to answer each question. This is because: • A signiﬁcant amount of time is needed by people to answer these questions and it is likely this time andeffort will reduce the overall response rate to yourquestionnaire. People will simply get fed up writingor not bother at all.Characteristics of the HR Function 1 Seeks involvement with line managers in formulating business strategy and policy and in the planning process 12345 3 Creates and conveys a clear view of HR aims and objectives, and the steps necessary to achieve them 5 Builds effective working relationships with internal customers characterised by trust and respect 1 2 3 4 5 7 Understands those factors which influence business performance2 Develops and implements coherent and integrated HR policies in support of business plans 4 Learns about activities/processes that form the basis of the internal customers business; uses this to improveservice delivery 6 Adapts policies, activities and behaviour to the needs of different business units and different situationsStrongly disagreeDisagree Neither agree or disagreeAgree Strongly agree 1234512345 12345 12345 12345 High performance consulting skills 168• Those who write the most will inevitably exert more inﬂuence on the results. • Collecting and analysing the responses is very time consuming. • There are many difﬁculties in analysing and present- ing the replies in a structured and systematic way aspeople will tend to write what they want and you endup with lots of diverse information which is difﬁcultto present back to your client. SECTION AT THE END However, free form replies can yield useful information. Sofor many surveys, it may be a good idea to include a sectionat the end of your questionnaire that invites people to addany comments without presenting a speciﬁc question for themto answer. This has the advantage of allowing people toraise issues that they feel strongly about and which have notbeen covered by the questionnaire. We have included thistype of approach in our organizational survey in the toolkitchapter at the end of this book. You will see that it combinesboth the free form reply approach with a Likert scale. However, analysis of such data should be treated with cau- tion. It is likely that only a relatively small proportion ofpeople will make additional comments and these will notnecessarily be representative of the whole group of peoplebeing surveyed. Nevertheless, you will generate some useful comments that you may ﬁnd valuable in your client feedback stage. FIVE Understanding and deﬁning the client’s problem 169USING CHECKLIST RESPONSES Checklist responses are a good method to use where you need to collect responses to a question other than agree-ment or disagreement. An example of a checklist format is: ‘I work the following hours on my computer each day:’ • Less than 1 hour/H18554 • 1-3 hours /H18554 • More than 3 hours /H18554 NUMBERS OF QUESTIONS Your questionnaire should be no longer than is absolutely necessary to achieve its purpose. The temptation in ques-tionnaire design is always to ask too many questions. Lengthyquestionnaires are unlikely to be answered accurately or com-pletely. In many situations an overly complex questionnairewill result in a low response rate. So keep things short andbrief. DEMOGRAPHIC DATA (PERSONAL DETAILS) To analyse peoples’ responses and identify different viewswithout breaking conﬁdentiality, it is normal on the front ofyour questionnaire, to ask people to categorise themselvesaccording to their organization grade, location, departmentor any other item that you may have agreed with your client.You do however need to be careful that too detailed a break-down will lead people to suspect that their individualresponses can be identiﬁed and this might affect their replies. COMPLETION TIME AND RETURN The amount of time someone should take to complete yourquestionnaire should be explained on the ﬁrst page of thequestionnaire as part of your general instructions. Peopleshould not be asked to complete a questionnaire in tooshort a period of time as this may mean they will rush andnot give accurate responses. High performance consulting skills 170With regard to returning the questionnaire after completion you should set on average a target of ten working days fromdistribution to return. This should provide people with suf-ﬁcient time and also give you time to manage the logisticssurrounding the exercise. Avoid periods longer than tendays as this indicates a lack of urgency and priority in peo-ples’ minds and will result in a weaker response rate. QUESTIONNAIRE INSTRUCTIONS You must provide clear instructions on how to complete thequestionnaire. Use bold print and block capitals to empha-sise key points and: • Indicate how all the questions should be answered, for example, by circling, crossing or ticking the answers. • Show what each category of response means, for example, 1 = Strongly Agree, 5 = Strongly Disagree. • Tell people how to correct mistakes in their answers.• Indicate the amount of time it should take to complete the questionnaire. • Remind people to complete the Personal Details sec- tion and check that they have answered all thequestions before returning the questionnaire. • Clearly state who they should return the questionnaire to and by what date. FIVE Understanding and deﬁning the client’s problem 171COVERING LETTER Before ﬁnalising the content of your draft questionnaire you should prepare a letter to accompany it. This should con-tain the following information: • The purpose of the questionnaire.• Who has commissioned it.• Why the individual has been selected to complete the questionnaire. • The conﬁdentiality agreements surrounding the results.• Explain that there are no right or wrong answers.• Explain what the next steps are.• Thank people in advance for their co-operation. Ideally, this letter should be signed off by the client or the lead project consultant. In projects where there is a lot of sen-sitivity it may be better for the consultant to sign it as itemphasises the issue of independence. In less sensitive cir-cumstances it is a good idea to get the client to sign the letteras it demonstrates their commitment to the exercise. QUESTIONNAIRE ADMINISTRATION Do not under-estimate the amount of work needed to processthe questionnaires when they are returned. Of course whendealing with numbers in excess of thirty you should useinformation technology to process the results. This willinvolve the answers from each questionnaire being typed (orpreferably scanned where very large numbers are involved)into a computer using a suitable software package that willultimately process the data and produce meaningful infor-mation. There are a few software packages that are designedto process questionnaires, however, many people use theirfavourite spreadsheet, database or statistical package. If youare not comfortable in dealing with this part of the process High performance consulting skills 172make sure you get the right people with the right skills to com- plete your data analysis. It is not an overly complex processbut it does need to be carried out in a systematic manner andhave lots of cross-checks built into the process to ensure thevalidity of the data. Step 8: Reviewing your draft questionnaire with your client Once you have reviewed your draft questionnaire with your client and agreed to the content and all the administrativearrangements surrounding the process, you then need totest it on a small number of between ten and twenty peopleto check that it is understandable. These people should bebroadly representative of your ﬁnal survey population. Inselecting people for this process try to select those who willbe conscientious and so inclined to comment and add valueto the ﬁnal questionnaire design. In conducting this review ask the people involved to make a note of any difﬁcult questions or confusing areas in thedraft questionnaire. The feedback you will then receive willalmost inevitably reveal ﬂaws and problems with speciﬁcquestions. The most common faults that are likely to emergeduring this process are: • Using technical or organization jargon that is not understood by people. • Not using language or terminology that is familiar to people. • Including repetitive questions.• Inappropriate questions. For example, you will loose credibility if you ask a person who does not superviseothers a question on how they get on with their staff. FIVE Understanding and deﬁning the client’s problem 173• Assuming that people have a complete understand- ing of the organization. For example, employees maynot understand the phrase ‘The Operational Board’. Of course not all the points raised may lead to changes but you will almost invariably need to change some aspects ofthe questionnaire. Step 9: Conducting the survey with your ﬁnalised questionnaire Once all the points that have been raised in your pilot ques- tionnaire have been noted and reviewed, your client shouldbe given the opportunity to add, change or remove any ques-tions. You are now ready to send out your ﬁnal questionnairetogether with an accompanying letter. You must make sure that all the administrative arrangements are in place and that the right people have been briefed aboutthe exercise. The aim is to distribute your questionnairesas quickly as possible and to then obtain as many completedreplies as fast as possible, and certainly within your proj-ect timescales so that you can then begin your analysisphase. On large-scale surveys involving many hundreds of people you may want to set up some telephone help-lines to dealwith any queries that people might have about the survey.But if you have planned everything out and communicatedclearly there should be no major problems. In presenting your survey feedback you should use graphi- cal outputs of the type that can easily be generated by today’ssoftware packages. Figure 16 provides a simple example. High performance consulting skills 174FIGURE 16: SURVEY FEEDBACK DISPLAYED GRAPHICALLY The beneﬁt of outputs like the one illustrated is that they immediately tell the story to clients and so are highly effec-tive at communicating responses and indicating trends.Whilst you would need to back them up with a writtenreport and detailed statistical data the power of a graphi-cal presentation is so much greater than the written word. 0102030405060 Strongly disagree 5% Disagree 16% Neither agree or disagree 11% Agree 60% Strongly agree 8%Question 23 Is the current level of serviceprovision adequate? FIVE Understanding and deﬁning the client’s problem 175Process mapping Process mapping has a long tradition in the systems world but also developed wider interest during the 1990s amid thesurge in business process re-engineering. Re-engineeringprojects reviewed core business processes with a view to iden-tifying non-value added activities in organization processes. Figure 17 illustrates some of the classic examples of non- valued added activity. FIGURE 17: PROCESS THINKING AND VALUE ADDED10% VA Revising EditingSearchingCountingCheckingCollatingRetrievingReviewingAccumulatingInspectingPreparingFilingStoringMovingCopyingExpeditingApproving90% of business activity adds cost not value. Customers only pay for value-added : 1 Identifying customer need2 Designing the solution3 Producing the solution4 Delivering the solution5 Getting it right at the moment of truthELIMINATING NON-VALUE ADDED Think about your client organisation!What the customer pays for High performance consulting skills 176Whilst not a new concept, process mapping can be a very powerful way to build up a clear picture of how certain orga-nizational processes work. To that extent it is a very usefulmethod of collecting and gathering information about exist-ing processes and work approaches. It is particularly relevantin re-organization and information technology projects thatrequire a detailed understanding of existing operations. At the heart of the process mapping technique is the use of classic systems tools to produce detailed process ﬂow dia-grams. Figure 18 highlights some of the more readily usedsymbols and illustrates how they can be used to describethe various elements of a work process. FIGURE 18: THE PROCESS TOOLKITSOME CLASSIC PROCESS MAPPING DEFINITIONS Activity rectangle Used when no activity of any kind Connector Used to show information flows to or fromanother process chain Decision points Percent probability of each branch should be indicated Direction of arrow flow Denotes the direction and order of process steps Queue Shows where the object of the process waits, with no steps or actions taking place Boundary Indicates the beginning or end of a processV N 10%N 90% FIVE Understanding and deﬁning the client’s problem 177The aim in using these symbols is to build up a clear pic- ture as to the precise steps or actions involved in a speciﬁcprocess such as customer ordering or distribution. Processmapping can be used to build up an understanding ofalmost any part of an organization. As an approach it cangenerate powerful insights into the amount of time a processtakes and how much value added time is involved. Indeed,once you start using these few symbols you will be surprisedhow easy it is to build up a detailed picture of a process.When applied in a re-engineering context, process mappingaims to assist in the identiﬁcation and then removal of non-valued added activities so as to produce more efﬁcient andleaner processes. Figure 19 details how value added activities can be identi- ﬁed using a simple decision tree. FIGURE 19: HOW TO CLASSIFY VALUE ADDED AND NON-VALUE ADDEDReal value added are activities that must be performed to meet customer requirements : – e.g. record order or record claim Business value added does not contribute to meeting customer requirements : – e.g. prepare financial reports, record data received– business value added activities could eliminate without deterioration in product service functionality No value added do not contribute to meeting customer requirements : – e.g. review and approve, rework, movement and storage– No value added activities could be eliminated without deterioration in product service functionalityActivity Necessary to produce output? Contribute to customer requirements?Contribute to customer functions? Real value addedBusiness value addedNo value addedValue-added classifications Yes No Yes Yes YesNo High performance consulting skills 178Of course the notion of what actually constitutes a value added process in an organization is often a controversialdiscussion. Nevertheless, the decision tree can help to posethe right questions for any review that you might be under-taking. Process mapping involves ﬁve key stages and beginswith a series of interviews: 1Interviewing job or process holders about what they actually do. This involves: • Identifying critical or core processes • Establishing the key steps and times to perform individual activities • Identifying any wider organizational factors that might impact on the performance of the process 2Translate interview information into an initial process map 3Validate your process map with the process owner – check that you have understood everything: • Identify value added and non-value added time in the process • Conﬁrm the existing process map: – Discuss ﬁndings with your client– Discuss ﬁndings with process holders 4Redesign the process to improve the process or remove non-value added activities 5Involve client and process holders Process mapping builds up a clear and coherent picture of what is actually happening in parts of an organization. FIVE Understanding and deﬁning the client’s problem 179Figures 20 shows the way in which various activities are mapped and then classiﬁed to generate a process map. FIGURE 20: WHAT IS DRIVING PERFORMANCE? The whole approach can help you build up a detailed under-standing of processes and Figure 21 illustrates a simpleexample involving the steps involved in making a decisionto go ﬁshing. You can see how the various symbols areused to describe the key steps involved in this process andhow signiﬁcant this type of analysis can be made in review-ing organizations and their core processes.ACTIVITY Class Code Description of activityACTIVTY DEFINITIONS Non value added Redundant (Unnecessary activity)“R”Non value added Preparation (Preparing to do work)“P”Non value added Transport, move (Moving from place to place)“M”Non value added Inspection/approval (Ensuring activity is performed correctly)“I”Non value added Queue/wait state (not moving – idle)“Q”Value added What the customer requires – must do to produceproduct or service“V”Classification Definition Class code Time in hours Use elapse time – 168 hours equals one week High performance consulting skills 180FIGURE 21: THIS IS HOW YOUR PROCESS MAPS SHOULD LOOK In addition to developing process maps, another key element of the approach involves identifying wider organizationalissues that might be impacting on the performance of aprocess. To obtain this type of information you will need touse lots of the approaches we have identiﬁed in our sectionon interviewing. Figure 22 highlights some of the wider issues that may have to be considered in any major organization project. We willrefer to more of these issues in our chapter involving changemanagement. But it is essential that when undertaking anyprocess review you also identify how the process ﬁts intothe wider organization. Processes do not work in isolationand you do need to consider other key organizational fac-tors such as organization structure, rewards, skill levels,YesNo NoYesNoYesSTART END Is it good for fishing? P Call friends 0.5hrM Walk or drive home 0.5hr M Walk to river 0.5hrV Fish 4hr P Prepare fishing gear 0.5hrQ 0.5hrQ 0.5hr Is car free?Is it time to go?Wait in traffic jam Wait for friends FIVE Understanding and deﬁning the client’s problem 181technological capabilities etc. Being able to identify how each process is inﬂuenced by such factors is key to any suc-cessful re-design initiative. High performance consulting skills 182ORGANISATIONAL FACTORS Barrier or enabler (1 = enabler, 5 = barrier) Develop new products Process sales order Prepare quotation Close the contract Overall impact on time, cost and qualitySales order process under review Culture/behaviours OrganisationProcesses/workflowsJob design and responsibilitiesSkills and knowledge requirementsMotivation/incentivesCommunicationsOperating procedures and policiesHuman resource managementTechnologyStakeholders FIGURE 22: PROCESS THINKING – WIDER ORGANIZATIONAL ANALYSIS Whilst business process re-engineering achieved big per- formance improvements in many organizations, it did inthe mid and late 1990’s become the subject of much criticism.Many organizations applied the concepts in an overly sim-plistic way with the result that it became associated with manycrude and brutal cost cutting exercises. The result was oftenfailed projects with very poorly executed implementationstrategies. A signiﬁcant problem was that people failed tosee these processes in the bigger organizational context.This recent history and experience may mean that some people may view process mapping techniques negatively.Care will need to be exercised when selling in such anapproach – remember your client may have a bad prior expe-rience. When interviewing people on a process be verysensitive to their concerns about the aims and objectives ofyour work. Despite these concerns the beneﬁts that can result from process mapping can be considerable so add it to your toolkitof expertise. Process analysis questions Listed below are two sets of questions that you canemploy when interviewing job or process holders. Oneidentiﬁes the detailed aspects of any process. The secondset identiﬁes any organizational factors that might beimpacting on the performance of the process. Process questions • What are the inputs that start your process off? • What are the functions or events that drive your process? • Who are the suppliers (both internal and external) to your process? • What are the outcomes or products of your process?• Who are the ultimate customers of your process?• What do you do next?• Why do you then wait until x happens before com- pleting that part of the process? FIVE Understanding and deﬁning the client’s problem 183• Why do you record that information? • What then happens to that information?• Why do you have to refer that decision to x?• Who uses the information you process?• Can you describe the logical sequence of activities you perform to complete your process? • How much time does each activity take to complete?• How much queue (dead) time is there between activities? Organizational issues questions • How do your customers react to the responsiveness and quality of the outcomes of your process? • What performance measures are in place to monitor the results of your process? • What kinds of things prevent you from achieving better results in the process? • Are there any other wider organizational issues that you feel need to be resolved to help you process betterresults? • What factors annoy you about the way your depart- ment operates? • If you had total freedom to improve the efﬁciency of your department what speciﬁc things would you do? High performance consulting skills 184Understanding and deﬁning your client’s problem – being client focused This stage of the consulting process involves the system- atic collection of information in order to understand yourclient’s underlying problem(s) and begin developing pos-sible solutions. Questions you should ask? • How much detailed information do you need to collect? • What information is already available within the organization? • What other information will you need to collect?• What research will you need to conduct?• What methodologies will you need to use to collect information? – interviews, questionnaires, processmapping, observation etc. • Whose involvement and support will you need? • What sorts of costs will be involved in terms of time, logistics and ﬁnance? • How will you handle the issue of conﬁdentiality during your information gathering work. What commit-ments/agreements will you give to your client(s)?What will you say to interviewees? What will you tellthem about the next steps? • How will you present your ﬁndings? What report, presentation format will you use and to what sort ofclient audience will you ultimately present? • How are people around the organization going to react to the project and to it’s aims? • Are there any ‘political’ issues surrounding this proj- ect that you need to be aware of? FIVE Understanding and deﬁning the client’s problem 185Client’s perspective of you: • Do you give me the impression you understand my problem? • Are you realistic in your methods and approach?• Do you agree with my analysis?• Are you focusing on the right issues?• Are you projecting conﬁdence? • Are you making me think differently about the problem? • How long will this data collection process take?• How disruptive will the work be to my operation and organization? • Do you provide me with a sense of urgency?• Are you adding some new light on the problems?• Are you listening to me and my concerns? Other statements/questions you might use: • Can you tell me a little more about… • You mentioned earlier… can you say more about that• Are you sure that x is a real problem?• How do you know that x caused the problem?• Can you explain…?• Could you describe what actually happened…?• Then what took place?• Did anyone argue against it?• But you said this has been going on for many years and nothing has happened, why has this been thecase? High performance consulting skills 186• How did that happen? • Could you outline the strengths of the current situations?• What are the weaknesses of the current situation?• Are there any other potential risks?• If you could do one thing to improve the situation what would it be? FIVE Understanding and deﬁning the client’s problem 187BlankCHAPTER SIX Managing changeSIX Managing change Understanding organizational change Regardless of the consultancy projects we work on, manag- ing change is always central to them. Whether it be a newMIS system, organization structure or change in operationalprocesses, change of some description has to result. To be asuccessful internal consultant we need to be able to under-stand and master the dynamics of organizational change. In a change process we have to help clients gain a a clear understanding of where they are and where they need to go.Change then involves moving the situation or organizationfrom point A to point B. If the change transition is to be suc-cessful we will need to identify a number of core factors andpull a series of ‘levers’ along the way. This process we referto as change management. Figure 23 identiﬁes some of the issues and levers that will need to be managed in most change management processes. In understanding change we have to focus on two key areas. Firstly, we need to appreciate how individuals reactto change and to learn to plan for these reactions in our day-to-day work. Secondly, we need to develop an understandingof the factors that inﬂuence organizational change. High performance consulting skills 190FIGURE 23: MANAGING THE CHANGE Individual reactions to change Change and how people react to it is often deﬁned in terms of a series of endings and beginnings. People often have tosay goodbye to the past and then come to terms with, orembrace the new. Change can often provoke a sense of shockor loss in people and that is why we need to be prepared fordifferent individual reactions. In major change scenarios thissense of shock can have dramatic consequences for all theparties involved. It might even result in major forms of resist-ance to the proposed changes as illustrated by temporary workstoppages, strikes or even sabotage. Management of change ‘levers’Management of resources Overcoming resistanceManagement of change ‘levers’Reinforcing driving factors (strengths and opportunities) Management of restraining factors (weaknesses and threats) WHERE ARE WE NOW?WHERE DO WE WANT TO BE? How will we get there? SIX Managing change 191The following table outlines some of the most common organizational change scenarios and some typical individ-ual reactions that might result. High performance consulting skills 192• Changes in power base and key stakeholders within theorganization – individualshaving to develop new networks • Loss of power or sense of newly acquired power • New rules and priorities.Senior Management ‘shake-outs’• New strategies, rules and priorities • Need to develop new rela- tionships – build newcredibility • Sense of urgency – need to perform.New CEO• Loss of direction • Ambiguity about what the new situation involves –leading to uncertainty andinsecurity • Excitement over the changes and new opportunities • Creation of a ‘winners and losers’ atmosphere.Merger, acquisition/takeoverINDIVIDUAL CHANGES – REACTIONS ORGANIZATIONAL CHANGESSIX Managing change 193• Loss of small company climate – individuals may notlike the formality of a biggerorganization • Chaos and dis-organization – out of control • Urgent need for new prac- tices, systems andprocesses • Pressure to keep up.Rapid growth• Changes in working practices, • Clash of value sets – people may not want to be proﬁtdriven.Privatisation• Possible change in manage- ment style and commitmentto the organization. • New owners and perform- ance regime – change inhabits.Changes in capital structure e.g. stock market ﬂotation,acquisition• Uncertainty and sense of crisis • Possible redundancies – fear of unemployment.Loss of major customers/ market turbulenceINDIVIDUAL CHANGES – REACTIONS ORGANIZATIONAL CHANGESWoodward and Buckholz in their book ‘Aftershock’ iden- tiﬁed four classic reactions towards change events. Theseconsist of disengagement, dis-identiﬁcation, dis-orienta-tion and dis-enchantment. As an internal consultant we can expect to have to deal with all of these reactions at some stage or another. In very com-plex projects we might have to deal with different groupsof people who are at four stages. Central to our consultancyapproach is trying to look ahead and predict difﬁcult situ-ations. If we can do this then we can develop contingencyplans and actions. Understanding where people might beon these emotional scales will certainly help us to under-stand the way people are behaving. In any change processemotions play a major role. Failing to recognise and planfor this emotion will result in greater difﬁculties when wecome to implement a change. 1 Dis-engagement • Loss of initiative and commitment. • Do as little as possible.• Withdraw/maintain a low proﬁle.• Energy lost – survival and self preservation becomes the priority. • Go to the bunker.• Quit. ‘Just keep your head down’ ‘Don’t do anything risky’‘I’ll just do my job from now on’‘This happens every 2 years’ High performance consulting skills 1942 Dis-identiﬁcation • Loss of identity.• ‘I used to…’• I am no longer OK!• Living in the past.• Back to the future. ‘It’s not fair’ ‘They didn’t ask me’‘Why did it have to happen to me?’ 3 Dis-orientation • Feeling of loss and confusion.• Lost priorities.• Loss of direction. ‘Now what do I do’ ‘What do I need to learn’‘What is going on’‘What next?’ 4 Dis-enchantment • What has gone has gone.• The good old days.• ‘Victim’ behaviours.• Need to enlist support from others.• Back stabbing.• Revenge. It’s just not like it used to be’ ‘They won’t get anywhere with this’‘I cannot believe what has happened’‘They will be sorry’ SIX Managing change 195The change transition curve Another classic and helpful way of viewing individual reac- tions to change is to look at it as a series of stages. Adams,Hayes and Hopkins in their work ‘Transitions’ developed a‘transition curve’ approach to change. This analysis is fre-quently associated with the emotions and grieving processthat people experience with the death of a close friend orrelative. Stage 1: Shock and immobilisation Why me? What have I done to deserve this? How could this have happened?. We are shocked that the change has takenplace – ‘They have sold the company or announced the clo-sure of the plant – it is unbelievable!’ This is a shock reaction– we are immobilised and show an inability to do anything. Stage 2: Denial and disbelief This stage involves denial and disbelief that the change has actually happened. ‘Why did it have to happen to me? It cannot be true.’ ‘Why them? They did not deserve it!’ In some cases people may even revert to their previous work behaviours. The redundant worker continues to get upto go to work and actually travels to the plant. The execu-tive refuses to inform their family that they have beenreplaced. The same forms and processes are completed. Whilst this initial reaction is normal it is of course impor- tant that people get help to move into the new scenario. High performance consulting skills 196Stage 3: Incompetence/guilt/depression Next we begin to understand the new situation but feel incompetent and frustrated by the new order of things. At this stage we may feel that we cannot cope with the new; that we lack the necessary skills or conﬁdence in ourselvesor the new situation. In extreme cases some people mightfeel guilty that they kept their jobs in the restructuring whilstothers were ﬁred. Alternatively, they may feel depressedthat they were denied the opportunity to leave with a largepay-off. Clearly training initiatives and effective communication processes can help people through this very difﬁcult phase. Stage 4: Accepting reality At this stage we begin to come to terms with the change and accept the new reality. There maybe a new willingnessto try out the new practices and to generally begin movingon. ‘I have to move on and just try to get on with it!’ ‘Well, life has to go on’ Stage 5: Rationalising and testing At this stage we are really beginning to cope with and manage the new situation or demands being placed uponus. We may also make mistakes and use up a lot of energyin trying to get to grips with the new order. But slowly bytrial and error we begin to learn and cope. SIX Managing change 197Stage 6: The search for meaning and acceptance At this stage we try to reﬂect on what has happened to us. We seek to understand what is different and why we becameso frustrated or angry about the change. We may begin toshare our feelings and views with others as a way of makingsense of the whole process. Stage 7: Internalising the change The change process and transition has ﬁnished and we begin to feel comfortable and conﬁdent with the new situ-ation. We have come to adapt and cope with the change andreturn to a new sense of normality. The great value of the transition curve is that it again pro- vides a framework for us to understand what is happeningto people when they experience major change. By reﬂect-ing on the model we can both plan and manage changeprojects in a more effective and integrated way. The impor-tant point to try to gauge is where people might be at aparticular point in time on a change project. If we can dothis we can again think about developing responses to dealwith the reactions. We obviously need to think about how we trigger various change events and how we are are going to deal with thepeople issues. There is no point being very excited and opti-mistic about a change if your client audience is stuck in theﬁrst stage of shock and denial. In such cases we will need todevelop appropriate strategies to help people move throughthe various phases in line with our project deliverables. High performance consulting skills 198SIX Managing change 199The transition curve Understanding the seven phases will speed up the transi- tion process. BEGINNING OF TRANSITION 1 Immobilised Shock, overwhelmed,mismatch betweenexpectations and reality2 Denial/disbelief Temporary retreat,false confidence 3 Depression/incompetence Awareness that change isnecessary. Frustration phase– how to deal with change 4 Accepting of reality ‘Letting go of the pastand comfortable attitudesand behaviours5 Testing/rationalising Trying new behaviours,new approaches. Tendencyhere to stereotype i.e. the waythings should be done. Lots ofenergy. Beginning to deal withnew reality – some anger andfustration6 Search for meaning Internalisation. Seekingunderstanding. Why thingsare different.7 Internalisation Incorporate meaningsinto new behaviours TIMEVery often we will need to consider a range of possible actions including: •Improving the communications and information ﬂow – to help people become more informed about the change. •Allowing more time – if strong emotions are involved we need to be realistic about the time it takes forpeople to adjust to the change – so we may have toslow down and build in more time just to allow peopletime to digest the changes. •Providing increased access to senior managers – in stressful situations people will want to talk to thekey players and so it maybe necessary to hold ses-sions with the top management to address concerns. •Incentivising actions – we may need to help people by showing what beneﬁts they will gain from thechange – whether it be ﬁnancial or through improvedwork processes or environment. •Forcing the change – in some cases there maybe a need to drive through the change forcefully. •Providing access to training and other resources – to develop their conﬁdence in the new system. High performance consulting skills 200Managing organizational change As well as understanding how individual’s react to change we also need to be able to understand the wider issues thatimpact on organizational change. In any change process it is critical to be aware of the wider organizational factors and issues that impact on the likeli-hood of success or failure. Experience suggests that any organizational change can gen- erate some of the following issues and problems. People hold onto the past As we have already identiﬁed, a frequent characteristic of change is that some people prefer to hold onto the past andso resist the introduction of the new. People revert to type easily People like to go where they are comfortable. So, even after some initial efforts to change, people will often slip back intotheir old way of doing things. Rather like the proverbial newyear’s resolution, people soon lose their enthusiasm for thechange if other factors are not also in place. Skills and knowledge gaps open up Transition to the new may mean that people need to learn new knowledge or skills in order to adapt to the new order.If efforts to address these gaps are not made then thechances are that the change will impact negatively by alack of people capability. SIX Managing change 201Failing to manage the hard or soft issues In any complex organizational change there is a need to often address both the soft and hard elements of change. Thereis no point in training people and motivating them if thesystem they are to operate will not deliver the informationnecessary to make the customer happy. Equally, investing heavily in new information systems and equipment will not work if the people who are to operatethe new systems are either demotivated or lacking in skills.To achieve effective change you have to manage the hardand the soft elements of change. The old management is left in place Frequently, change fails as the old regime is left to manage the change. In achieving and driving through complex changeyou may well need to consider making changes at the top orwith the middle management. You have to ask why were thechanges not actioned by the existing management? We give up too easily Many change initiatives are not allowed sufﬁcient time to suc- ceed. When faced with a sharp dip in the transition curveof change many managements will give up. Cries of ‘it’s notgoing to work’ or ‘the results are not happening!’ can all tooeasily mean that projects are terminated too early on. Whenthe process becomes difﬁcult you need to show a strong nerveand commitment to follow things through, and not give upat the earliest signs of difﬁculty. High performance consulting skills 202Narrow ‘single issue’ management Failing to address the hard and soft elements of change can lead to faulty implementation, so to can a focusing on onemajor issue. Thinking the problem is all to do with the systemor quality is invariably wrong. Complex change involves dif-ferent dimensions and when searching for solutions youneed to ensure that you don’t get locked into one form ofdiagnosis and solution. SIX Managing change 203Insight Lack of senior management commitment Without doubt one of the biggest problems in engineering suc- cessful change is securing consistent and on-going seniormanagement commitment towards the change. Many projectsfail because there is no strong leadership commitment to drivethe change. Alternativly, the commitment is there at the begin-ning but soon fades during the life of the project. Without a stronglevel of senior management commitment change always proveshard to deliver. When the going gets tough you need to be ableto access people who have authority to make things happen.We will look at this issue more when we look at StakeholderAnalysis. Consultant or functionally driven Whilst this book champions the cause of the internal con- sultant you should avoid running projects where all thecontrol and direction comes from the consultant or supportspecialists. Change has to take root in the organization and the best way to do that is to generate a high level of ownership amongstthe people who have to own and live the new changes. Frominvolvement comes ownership, and the best change projectsare those owned and driven by the people who ultimatelywill be responsible for the change on an ongoing basis. Initiative fatigue Too many organization chase fads and fashions. The result is lots of cynicism and scepticism about change. Avoidtrying to present change as an initiative or an event – sellit as an ongoing process. Avoid too many slogans and anoverly programmatic approached. Instead, deal with the spe-ciﬁc problem and view change as managing the status-quorather than some big event. Poor process management To manage change successfully you have to address not only the ‘what’ of change but also the ‘how’. Process manage-ment is all about managing the ‘how ‘of change. How willwe inform the unions at the same time as the management?How will we build a groundswell of support for the change?How will we run the two systems together during the tran-sition period? Typically managers are very good at classical planning and that is normally about the ‘what needs to be done’ of change.Process management is much more about looking at thecross linkages involved in complex change. High performance consulting skills 204Organizational change readiness assessment Prior to implementing a change carry out a quick organi- zation readiness assessment. This is a very simple butpowerful way to gauge how challenging your proposedchange might be to implement. It builds on some of the issueswe have already outlined. Figure 24 shows the template and a simple scoring against the criteria will help you to assess the change. Clearly, if your analysis leads you to conclude that people are likely to view the change as being a possible threat totheir job security, or might result in a loss of skills, then youneed to start planning in detail how you are going to try andsell and implement the changes. As a simple template you can again use it with clients to get them thinking about the change process and how the chal-lenges might be overcome. It will certainly help you in gettingan overview of the potential complexity and in some casesresistance you might meet. SIX Managing change 205FIGURE 24: ORGANIZATION – CHANGE READINESS ASSESSMENT Managing organizational change template Another extremely useful tool to use when planning and managing change projects is the change management tem-plate detailed in ﬁgure 25. This simple but very powerful checklist can help identify areas of concern at either the outset or during the lifecycleof a change project. It helps identify some of the critical ‘makeor break’ issues involved in organizational change.Sources of resistanceVery unlikely 1 Unlikely 2 Possibly or not sure 3 Likely 4 Very likely 5 Perceived threat to job security Loss of expertiseNeed to learn new skillsShifts in influence, authority, controlShifts in communications patternsLoss of statusChange in habits, customs Limited understanding of change implications Low tolerance for changeOther Like a dream Angels fear to tread10 20 30 40 50 Overall score High performance consulting skills 206Below are listed some of the key issues and questions that you might need to consider as you score a change project.It is far better to highlight any problems or issues at an earlystage than to stumble into them three months into theproject. You can use this template either as part of your project plan- ning process or again as a discussion document with yourclients. In a large management group you can ask people toscore the checklist individually without discussion. Thencollect the scores to collate the overall group results to iden-tify any problem areas. This is a brilliant way to surface anyissues involving a lack of common vision or strong man-agement support – which are often critical issues in drivingsuccessful change projects. Typically the checklist cuts across the task management and process issues which as we identiﬁed earlier have tobe addressed with equal focus. 1 Task Management Issues • The implementation plan describes the ‘ What ’ changes. • Process issues relate to the ‘ how’s ’. • Process activities enable organizations to make planned changes successfully and to deliver measurable per-formance improvements. • Most organizations are good at managing the what in implementation but less effective in managing thehow. 2 Process involves • Who to involve and in what role. • Communicating actions, beneﬁts and risks. SIX Managing change 207• Building, securing and maintaining commitment to change. • Co-ordinating project activities and packaging work.• It recognises the impact of culture and peoples’ values. Change management template – the critical success factors 1 Common vision • Is the client clear about the outcomes and desired end result? • Has sufﬁcient ‘quality’ time been spent on develop- ing the end state or vision? • Do we have the Big Picture clear?• Is there clarity of the future position?• Consider workshop/retreat sessions away from day- to-day pressures to address these questions? 2 Uniﬁed management • Is everybody on board and supporting the proposed change? • Have we adequately discussed and debated the issues?• Has everyone signed up to the change or is commit- ment patchy? • If there is disagreement – Who is raising the conﬂict – on what issues? • Can we proceed with the level of support that we cur- rently have? High performance consulting skills 208• Will it sustain in difﬁcult times? • What are our plans for ensuring we maintain the necessary level of support and commitment? 3 Surfacing of concerns • Have we provided people with the opportunity to voice concerns or worries about the change? • Have we made use of staff meetings/surveys/com- munications channels? • How have we honestly dealt with such concerns? • Have people voicing concerns been viewed as demon- strating a lack of commitment or loyalty? • Have any dissenters been punished for voicing any concerns? • Have we provided reassurance about their concerns or have they been ignored? • Do we have a groundswell of support for the change or is there lots of cynicism and inertia? 4 Content management • Have we a comprehensive plan that recognises the critical issues? • Are we satisﬁed that we have thought through all the detailed actions and that nothing has been missed? • Have we effectively involved all the right people in the planning process? • Is everyone clear about the plan? SIX Managing change 2095 Process management • Have we thought through all the process issues? • Are we co-ordinating the various elements of the project plan? • Have we assessed the possible sources of resistance and developed plans to overcome them? • Are we satisﬁed that we have spent sufﬁcient time addressing the ‘soft’ issues? 6 Realistic time-scales and resources • Are we being rigorous and realistic in our assessment of the time it will take to deliver the change? • Are we providing sufﬁcient resources to the imple- mentation? • What contingencies have we put in place in the event of any time or resourcing slippages? High performance consulting skills 2107 Regular and open communications • Are we satisﬁed with our communications processes and channels for the project? • Do we have regular brieﬁngs to all key stakeholders built into our plan? • Are we communicating the plan, it’s progress and dif- ﬁculties in an appropriate and timely manner? • Are we being open, honest and direct in all of our communications? • Do we have appropriate feedback mechanisms in place? 8 Systems to support change • Have we made sure any systems or processes that are involved in the change are also being adjusted toassist the implementation – consider MIS, training,reporting lines etc? • Are we allowing any systems to maintain the status- quo and thus block the main change? 9 Rewards to support the change • We need to consider not just ﬁnancial rewards but others, e.g. the impact on working practices. • Will effective implementation result in people being penalised for the change in some way or will they berewarded? • Remember to achieve change you very often need to pull the ﬁnancial reward lever to push people along– are we able to do that with the change in question? SIX Managing change 21110Commitments honoured • If we are making any commitments to people con- cerning the likely outcomes of the change, to whatextent are we comfortable that we can honour them? • Can we deliver on what we are saying or promising?• If in any doubt – don’t. People will not appreciate it and it will make it more difﬁcult to get support thenext time 11 Right people in key roles • Have we put the right/best people on the project? • If not, will it affect other peoples’ views of the seri- ousness of the plan and the proposed change? • Will people need to learn new skills? Have we made plans and arrangements so those skills can be acquired 12 Involvement of those affected • Have people who are to be affected and involved in the change sufﬁciently informed? • Remember that from involvement comes commit- ment! Have we got the right people involved in theplanning of the change process? • Have we left any critical people or groups outside the communications process? 13 Supportive leadership • What are we doing to maintain the active support and interest of management in the project? • Have we provided a list of the key actions required of them? High performance consulting skills 212• Are middle management mobilised and fully involved in driving the change? • How do we propose to secure the continued support of senior management in the project? • Have we generated the right reporting mechanisms? 14 Measurement • Have we generated sufﬁcient hard measures to enable a full assessment of the project’s success? • Have we focussed measurement systems on the activ- ities and results we want to see? • Have we limited the number of performance indica- tors to track progress? • Have we advised people that we will be measuring their performance? • Do we have the systems in place by which we can pro- vide feedback? • Will there be real pressure to show progress? 15 Effective project management • Have we ensured key stakeholders have been involved? • Have we allocated balanced roles and accountabilities?• Are the key tasks and work packages properly inte- grated and time sequenced? • Are the technology inter-faces right?• Have we anticipated crises? SIX Managing change 213High performance consulting skills 214Success factors Non-existent WeakAdequateGoodExcellentCommon vision Unified managementSurfacing of concernsContent managementProcess managementRealistic time-scales and resourcesRegular and open communicationsSystems support the change‘Reward’ to support changeCommitments honouredRights people in key rolesInvolvement of those affectedSupportive leadershipMeasurementEffective project management FIGURE 25: MANAGING CHANGE TEMPLATEStakeholder Analysis No review of change management can be complete with- out a description of stakeholder analysis. We have alreadystressed how important leadership support and commitmentto any change programme is. Very often in organizations,change projects start with a lot of effort, energy and man-agement support but as time moves on and other prioritiesor difﬁculties occur, support for the change can begin to fallaway. This can have disastrous results for the success of yourproject. So a Stakeholder Analysis (see ﬁgure 26) enables you to map where the various groups involved with your projectmight be positioned. It is important to not only carry out astakeholder analysis at the beginning of a project, but alsoto update it through it’s life-cycle. It is very common for seniormanagers to lose interest in projects and this is not good foryou if a project runs into difﬁculties. You will need senior man-agement support in tough times as well as the good. Equally a Stakeholder Analysis can help you and your client appreciate where certain areas of resistance or supportmight come from. Obviously it is the people who might beout to block a change that have to be watched carefully. Butit is equally important to identify those groups who will sup-port the change. As with a lot of models the Stakeholder Analysis does not provide clear answers. But what they do is help you iden-tify complex and, in some cases, highly political and sensitiveproblems to your client so that alternative strategies andoptions can be developed. SIX Managing change 215FIGURE 26: STAKEHOLDER ANALYSIS – KEY STRATEGIESHigh Low High Concern/commitmentPower Potential change championsEMPOWER BUILD COALITIONSMove, ignoreCan you start without someone in this box?GOODBYE WIN OVER EXITLEADERSHIPWhen conducting a Stakeholder Analysis consider the following key questions: • Have we got a strong supporter for the project – High Power and High Concern? • Do we have any potential change champions – people who will help drive the change – High Con-cern and Low Power – How can we give them morepower? • Do we have any concerns in the High Power and Low Concern area? Can we push through thechange with these people in place? Why do theynot support the change? Lack of understanding ortotally opposed? High performance consulting skills 216Managing organization change – a checklist of key questions to address Introduction The following is a detailed checklist of the key issues and considerations that have to be addressed in any signiﬁcantchange project. Consider using the checklist as a guidewhen you are planning complex change. Use it with clientsto prompt their thinking on the comprehensive nature ofchange planning. Challenge them if you ﬁnd their answerslacking. It’s better to address difﬁcult issues at the start ofthe change process than run into them half way througha project. What is the nature of the change involved? 1 WHAT IS THE NATURE OF THE CHANGE? • Why is it necessary? • What is wrong with the current situation?• Can the change be justiﬁed? 2 COMPARED WITH THE PRESENT SITUATION, WHAT ARE THE ADVANTAGE(S) OF THE CHANGE? FROM WHOSEPERSPECTIVE DO ANY ADVANTAGES EMERGE? • What are the beneﬁts? For others? For you? • What other beneﬁts might result from the change?• Have you considered all the various stakeholders? SIX Managing change 2173 WHAT ARE THE SHORT/MEDIUM AND LONG-TERM OBJECTIVES YOU WANT TO ACHIEVE? • Is your success criteria deﬁned in measurable terms? • Quality: How well?• Quantity: How much?• Cost: At what cost?• Time: How soon? 4 WHEN DO YOU WANT THE CHANGE TO TAKE PLACE? OVER WHAT TIME-SCALES? • Why over that period of time? • Do you have any ﬂexibility on the timing?• Are you certain your not pushing the change too quickly? • Will your consultations, discussions and communi- cations have been completed in the time allowed? • Will people be ready for the change when it happens? 5 HAVE YOU CONSIDERED ALL THE DISADVANTAGES RESULTING FROM THE CHANGE? • What people/stakeholder issues will be involved? • What may have to be offered to people to drive through the change? • What contingency planning will be needed? • How much would it cost if the changes proved unsuc- cessful? • What degree of risk is involved compared with the proposed return? Is it acceptable? • What could happen if people do not co-operate with the changes? High performance consulting skills 2186 WHAT TRAINING WILL BE REQUIRED BEFORE, DURING AND AFTER THE CHANGE? • Will people accept the need for training? • What type of training will be necessary?• Can the training be provided internally, or will exter- nal resources be required? • How much will it all cost? 7 DO YOUR OBJECTIVES REQUIRE REVIEW AS A RESULT OF YOUR ANSWERS TO THE ABOVE QUESTIONS? • Would a less radical change effort be more appro- priate, realistic and acceptable? Consulting People 8 WHY SHOULD PEOPLE ACCEPT THE PROPOSED CHANGE? • Have you fully considered the impact of the change from their point of view? • Have you asked the WIIFM question? ‘What’s in it for me? 9 HOW HAVE YOU PLANNED TO COMMUNICATE TO EVERYONE THE REASONS FOR THE CHANGE? • Do you plan to provide a thorough background brief- ing and deal with peoples’ real questions and concerns? 11 IF YOU ARE ‘SELLING’ CHANGE TO PEOPLE, HOW FAR WILL THE CHANGES REPRESENT A THREAT, BOTH INDIVIDUALLYAND COLLECTIVELY? • Do you recognise this may be the critical issue in achieving change? • How do you plan to deal with the issue of perceived threats? SIX Managing change 219• Have you identified the key opinion formers and worked on securing their commitment to the change? • What is the best strategy for persuading or convinc- ing them? 12 IS THE ORGANIZATIONAL CLIMATE RIGHT TO FULLY INVOLVE PEOPLE IN PLANNING THE CHANGE? • Do you accept there is a close relationship between people involvement and commitment? • Are you prepared to accept criticism of your preferred approach to planning and managing the change? • Are you genuinely open to acknowledge different suggestions and ideas? Are you prepared to incor-porate them if appropriate? • Are you clear about your own motives in proposing the change? • What do you want to personally secure from the changes? • What will others see you as wanting to get from the change? Introducing Change 13 WHAT EFFECT HAS THE CONSULTATION PROCESS HAD ON YOUR ORIGINAL PLANS AND OBJECTIVES? DO THEY NEEDMODIFICATION? 14 ONCE YOU HAVE REACHED AGREEMENT ON INTRODUCING THE CHANGE, HOW DO YOU PLAN TO MANAGE THEIMPLEMENTATION PROCESS? • What resources will be required? Will these be suf- ﬁcient? • What constraints exist? Are they recognised by every- one concerned? High performance consulting skills 220SIX Managing change 221• Are your contingency plans in place? Can they be brought into effect immediately? • How will progress towards the change objectives be monitored? 15 DOES EVERYONE KNOW THEIR ROLES AND RESPONSIBILITIES IN THE CHANGE PROCESS? • Does everyone know who will do what, where, when and how? 16 WHAT EXISTING COMMUNICATION PROCESSES CAN BE USED TO ACCELERATE THE CHANGE? WHAT NEWPROCESSES WILL NEED TO BE ESTABLISHED? • Are individual and group responsibilities clearly understood? • Do you have a project team in place?• What is the composition of the team?• How are you going to operate as a team?• How frequently will you meet and report? 17 WHEN THE CHANGES ARE IMPLEMENTED, FOR HOW LONG WILL YOU MONITOR THE NEW SITUATION? • Who will decide on the monitoring process? Is con- sultation with other interested parties also required? • How easy would it be for the situation prior to the change to be able to re-assert itself? What can be doneto prevent this from happening?Reviewing the Change 18 HAVE THE CHANGES IMPROVED THE SITUATION? • How signiﬁcant have the beneﬁts been? From whose point of view? • Have you obtained the views of all those involved?• Have you achieved your change objectives?• What other un-intended results has the change(s) produced? 19 DID YOU MANAGE THE CHANGE PROCESS IN THE MOST EFFECTIVE WAY? • What have you learned about planning, implement- ing and monitoring change for the next time? • What have you learnt about yourself and others? 20 WAS THERE APPROPRIATE EMPHASIS ON PEOPLE PROCESSES AS WELL AS THE TASK ANDTECHNICAL ISSUES? • Were all the consequences of the change seen? High performance consulting skills 222The critical questions to ask in change scenarios 1What is to be changed? 2Why does it need to be changed? 3What exactly will be different in the future? 4When should the change occur? 5How fast does the change need to be implemented? 6Will the proposed change really work? 7Who is supporting the change? 8Who is against the change? 9What kind of support can you expect? 10How will you deal with people against the change? 11How will the change be communicated? 12Will everyone understand the need for the change? 13Is your timing for the change sufﬁcient? 14Will the change involved continue to be per- ceived as beneﬁcial? 15 How will you monitor the change process? 16Will the ﬁnal outcome be worth the effort? 17If you were to review the situation again would you still reach the same conclusions? SIX Managing change 223BlankCHAPTER SEVEN Presenting client feedbackSEVEN Presenting client feedback A vital part of the consulting process involves providing your client with continuous feedback on the progress of theirproject. Being proactive and keeping your client up-to-dateconcerning developments and problem areas is fundamen-tal. On large and complex projects, client feedback shouldoccur on an almost daily basis. But in every consulting proj-ect, regardless of size, there needs to be structured phasesof client feedback that follow the key milestones in yourproject timetable. When providing a client with feedback you must be oper- ating to the best of your ability. Your client is looking to assessyour capability and professionalism. At the same time youwill be aiming to secure your client’s ongoing commitmentto any of your ﬁndings or proposals. So it is crucial that thefeedback process is managed in a skilled and effectivemanner. You have to lead your client through a logicalanalysis and at the same time deal with any issues or prob-lems that might arise. In most cases this demands that youtry to pre-empt difﬁcult questions and issues that might bepre-occupying your client. When you manage feedbacksuccessfully, your client will not only feel comfortable withthe quality of your work but they will also develop greaterconﬁdence in working with you. High performance consulting skills 226Of course, when meeting clients on a regular basis you should aim to utilise many of the skills outlined in our inter-viewing section, but the two formal elements of presentingclient feedback involve: • report writing; and• making formal presentations. Both of these activities have to be mastered. In the follow- ing sections we provide an essential guide to the do’s anddon’ts. Introduction to report writing Client reports have two fundamental objectives: • To provide information that significantly informs your client about a particular problem or issue. • To inﬂuence your clients towards a particular view and form of action to solve the problem. A project report is a major deliverable to a client and they will view reports as major evidence of your ability, profes-sionalism and success in tackling an assignment. The abilityto communicate effectively in writing is therefore vital. A wellwritten report supports and promotes your continuedinvolvement in a project. It should also be viewed as a majormarketing opportunity. The advantages of written reports are that they: • Provide documentary proof of your proposals.• Are a formal record of your work.• Can be structured to communicate to different levels of client. SEVEN Presenting client feedback 227• Impose strong disciplines in planning and structuring your work plan – as well as any ﬁnal report structure. • Allow your client time to reﬂect on your work.• Focus your client on the critical issues and actions.• Can be an efﬁcient method of communicating your work to a wider audience. The disadvantages of reports are they can be: • Expensive to produce in terms of consulting time and cost. • Liable to client misinterpretation.• Abused by clients or others through selective editing or quoting out of context. • A client substitute for taking real action on a problem – ‘We have a review underway!’ • Ineffective unless accompanied by a strong formal consultant presentation. • Capable off being ignored or not read by clients. A consultant’s report can communicate authority if it is clear and well-structured. Badly written reports can destroy yourcredibility, your work and your recommendations. A reportwill only generate an appropriate client response if the orig-inal terms of reference have been fully met and you havesuccessfully managed the client’s expectations with regardto it’s content and structure. An effective client report shouldtherefore describe: • What you set out to do for the client.• What you have done in terms of work-plan and analysis. • What options or actions your client should consider in the future. High performance consulting skills 228• The reasons why your recommendations should be implemented. • The beneﬁts of your approach and proposals. A good consultants report will also: • Provide a permanent record of the work undertaken.• Avoid misunderstandings (bearing in mind that clients sometimes hear what they want to hear). • Conﬁrm any client/consultant agreements.• Clarify major issues.• Inﬂuence your client’s thinking.• Secure client agreement and action. SEVEN Presenting client feedback 229Insight An excellent test of the clarity of any report is that it can be understood at a ﬁrst reading by anyone who does not have adetailed understanding of the project or problems under review. So give your initial draft reports to someone who has had no involvement in the project and get their reaction. Ask them ifit makes sense?Different types of client report Persuasive This type of report is commonly used by consultants when trying to initiate some form of change. It aims to inﬂuenceand persuade a client to adopt a particular approach or plan. Instructive This report advises clients how to do something speciﬁc, e.g. to introduce a new system or process, begin an inte-gration plan. Investigative The investigative report is fact based and relies heavily on conﬁrmed and validated data to put forward an analysis orreport on a problem. For example you might be asked toanalyse the results of a survey with no interpretations beingattached to the data. Getting your report structure right The starting point for structuring your report is to beginwith a review of your broad ﬁndings, conclusions and rec-ommendations. These areas should deﬁne the content of yourreport. You will then need to consider: • Dividing your report into major sections of your proj- ect, e.g. management reporting, production, IT, etc. • Reviewing each section in turn. Describing the current situation, key ﬁndings, recommended changes andfuture actions for each section. High performance consulting skills 230• Distinguish between the major and minor points of the key areas. Any minor points are best covered inan appendix to avoid cluttering the main body ofyour report. Also avoid too much cross-referencing.Aim for a balance between your main text and appen-dices. • Present a logical ﬂow in your analysis and link the var- ious sections effectively. A typical report structure Introduction This should cover the background and circumstances sur- rounding the project. Why it was undertaken. It also needto highlight the key events and client concerns. Scope of the assignment This section describes the subject areas under review and highlights any limitations that surrounded the work under-taken. You should list your project timetable, the sources fromwhich you obtained information and detail the response ratesto any questionnaires. Executive summary of conclusions and recommendations This is the executive summary intended for busy readers who wish to obtain a quick and focused overview of your report.The reader should be able to grasp the essence of yourwork and proposals by a quick read of this section. It shouldtherefore be written in a bullet point format. Key ﬁndingsand conclusions should be clearly listed and cross-referencedto any recommendations. SEVEN Presenting client feedback 231Findings and conclusions This describes the current position surrounding the problem. It is important not to assume that your client is aware of, orunderstands the present situation. An unbiased and well-writ-ten description of the current situation can be enormouslyhelpful for clients. It often helps to sharpen their thoughtsand helps them to focus on the central challenges or prob-lems. List your key ﬁndings at the end of this section and makesure you have data to back up your observations. Keep this section as fact based as possible, prior to devel- oping your conclusions which should ﬂow naturally fromthe ﬁndings. Options and recommendations This section should ﬂow from a clear analysis of your con- clusions. Once you have detailed your conclusions thendevelop a range of options to address the problem. This willenable your client to see what scope they have to act on theproblem. Any ﬁnal recommendations must follow on logically from your conclusions and should contain no ﬂaws in your analy-sis. Every recommendation must be linked to one or moreof your conclusions. In turn you need to provide as muchdetail as possible in your recommendations. Implementation plans It is no good telling a client they need a new system if they have no idea how to go about it. Any implementation sec-tion must provide a clear road map to help your client seethe way ahead. Recommendations need to state: • What improvement actions are required.• Who should take action. High performance consulting skills 232• When improvement action should be taken. • How long the actions will take to implement.• What the beneﬁts of the improvements action will be.• What potential costs are involved. Future assistance This is the sales element of your report! It should set out the beneﬁts of your approach and detail how you might assistthe client in moving to the next stage. Closing paragraph Thank the client and their staff for their co-operation and help during the project. Emphasise your willingness to con-tinue the working relationship and provide further assistance Appendices Appendices contain those details and facts that would oth- erwise clutter the main body and messages of your report.They do however, need to be included as they provide fur-ther support for your work and ﬁndings. Writing a client report When you begin to write a report you will invariably havetoo much information. A common challenge in writingclient reports is therefore the need to be very selective inthe ﬁnal choice of content. Too much detail or an overloadof facts may cause confusion. Equally, over lengthy reportsthat are packed with endless detail are more liable to irri-tate then actually please your client. Too little and you maycreate doubt about your whole approach. SEVEN Presenting client feedback 233To begin writing your report list all the topic areas and data that you consider relevant. Try to do this without judgingthe suitability of the information. Also, at this stage don’tworry about any duplication of data. Once you have listedall the information you can then begin the process of sift-ing for duplication and eliminating any unnecessary data. The next step is to begin linking the various pieces of infor- mation into themes and topic areas. At this stage you shouldhave a good basis to begin shaping the content of yourreport. But ensure that you avoid information that is capa-ble of creating client confusion or is based on gossip, orerroneous facts. Only select information and facts that arerelevant to and support your main ﬁndings, conclusions andrecommendations. Begin the formal writing process by: • Examining your terms of reference.• Identifying the areas you are going to focus on.• Formulating some idea of what your final report structure will look like. Endeavour to draft or outline the key sections of your report as your project progresses in real time. This will make life alot easier in the ﬁnal drafting stage as you will have alreadyprepared some key elements. Always allow plenty of timeto write and produce your report, e.g. For a 30 page reportallow a minimum of three days and have at the back of yourmind that it is more likely to be ﬁve days with editing andredrafting. Also allow sufﬁcient time to have the report readand reviewed by your colleagues. It is easy to get too involvedwhen writing and so lose sight of some glaring omissionsor errors. A second set of eyes is vital when editing a report. High performance consulting skills 234You also need to: • Reﬂect on your client(s) and their colleagues’ per- spectives on the issues. What are their relativepositions in the organization and to what extent dothey agree or disagree about the problems? Are theylikely to agree to any possible solutions? Are they sup-portive or hostile? Will anyone you have to report to,already have a biased or negative view? • Consider whether the eventual readers of your report will have a detailed knowledge of the issues involved?If not, you will need to bring them up-to-date via thereport’s executive summary and overview. • Predict and deal with any possible questions that might come from your client. • Lead your client through the report with a reasoned and logical analysis. • Deal with any contentious issues in your report by using strong logic and fact based arguments. • Consider your client’s underlying motivation and needs in attempting to solve the problem. Are youreally addressing these fundamental points? • Keep in focus the key decision-maker(s) amongst your client’s team. • Consider any actions or agreements you require from your client. For example, you may want your client’sagreement to continue funding additional research orto involve some specialist input. If so, it will be impor-tant to highlight compelling reasons for carrying outthis additional work, the beneﬁts, timescales and coststhat might accrue. SEVEN Presenting client feedback 235• Find out whether your client will have to sell your pro- posals to their boss? If so, you need to help yourclient with this task by focusing on the beneﬁts of yoursolution. • Clearly state how your client can action any proposed recommendations. • Indicate and promote your possible involvement in any additional follow-on work. • Establish and agree the ﬁnal distribution of the report. Other practical tips on writing client reports • Use plain and simple language throughout your report. Never use a long word where a short word means thesame. • Keep your sentences short. If a sentence works with- out a word cut it out. • Try to avoid technical terms and un-necessary jargon. If jargon is required ensure the terms used are deﬁnedand explained. If an everyday phrase is available useit instead of any buzz words. • Use the active tense rather than the passive – ‘ service levels have been improved ’ is preferable to ‘ an improve- ment in service levels has been made ’. • Support your arguments with facts.• Have clear, logical conclusions and recommendations. High performance consulting skills 236SEVEN Presenting client feedback 237Insight A very powerful way to build up your report structure is to use the classic discipline of using: • FINDINGS• CONCLUSIONS• RECOMMENDATIONS Link all your ﬁndings to your conclusions and in turn your rec- ommendations to your conclusions. This should enable you todevelop a strong logic train. You should not then ﬁnd yourselfin a position where you are presenting recommendations thatare not linked to your conclusions or even worse presenting con-clusions for which you have no real ﬁndings. You can remember this approach by recalling the following statements: • We found … •On the basis of those ﬁndings we conclude… •And on the basis of those conclusions we are therefore recommending… This should enable you to draw up a strong argument that willwithstand your client’s review. See Figure 27, over . Remember If people want to attack you or your recommendations they will look to criticise your analysis. So, if you are recommendingactions for which you do not have any ﬁndings or conclusionsyou need to do some more information gathering.FIGURE 27: DEVELOPING A REPORT STRUCTURE On the logistics side remember to: • Try to make one person responsible for producing the ﬁnal report. Reports that are written by committeesor groups of people generally prove ineffective andseldom produce results. Collective report writingtends to sanitise any signiﬁcant points or actions. • Check the availability of your report writing services and resources. Large reports involve a lot of typingand checking – sometimes through the night! • Agree when and how you are going to distribute the report to your client. • Check that your client will be available when the ﬁnal document is ready. • Alert your client to any possible delays sooner rather than later.Ensure you can develop a logical train to your analysisFindings We found… Findings 1Findings 2Findings 3Findings 4Findings 5Findings 6Findings 7Conclusions We conclude… Conclusion 1 Conclusion 2 Conclusion 3Recommendations We recommend… Recommendation 1Recommendation 2Recommendation 3 Problem no supporting data High performance consulting skills 238Reviewing reports Below are some questions for you to consider when review- ing your report: • Have we delivered the terms of reference? If not why not? • Have we described the scope and methods of our work and dealt with any areas we did not cover? • Are our conclusions clear and unambiguous? Remem- ber that you will have been very closely involved withthe assignment. Issues may not be as clear to thereader as they are to you. If in doubt redraft areas thatlack clarity. • Are the recommendations clear and unambiguous? Do they address all of our conclusions? • Is the report summary consistent with the main body of the report? • Does the content of each section contain material that is consistent with the heading? • Is the content, wording and style of the report appro- priate to the client’s needs? • Have we used any loose language that might be prone to misunderstanding. Look out for emotive words orphrases as these can always generate strong clientreactions. Remove any from your ﬁnal draft. • Have we omitted any important issues or facts?• Have we alerted our client of any possible surprises in advance? • Who can we get to play ‘devil’s advocate’ in ques- tioning any ‘grey areas’ in the report? • Is the tone of our report constructive and positive, or negative and depressing? SEVEN Presenting client feedback 239Finally, there are some housekeeping points that are always worth checking when reviewing a ﬁnal report: • Check the contents page against the main document – are they consistent? • Check any paragraph and appendix cross-references.• Check the names and titles of all client personnel.• Check the section headings and sub-headings; par- ticularly against the contents page. • Check that all cross-references to diagrams or charts are present and correct. • Check appendix headings against the contents page.• Finally ensure that the typing, printing and collation of the ﬁnal report is also checked. You want to avoidmissed pages, duplicated pages, incorrect formats etc.Simple but silly mistakes at this stage can destroy anotherwise excellent piece of work. Making client presentations Making presentations is a challenging but essential activ-ity for any internal consultant. We have to be able to presentinformation in a professional and persuasive manner so thatthe client understands, accepts and actions our proposalsand recommendations. As an internal consultant we mayhave undertaken some high quality research and analysisfor six months or more, but all this work will be wasted unlesswe successfully inﬂuence the client and their colleagues ina formal presentation. As the development of presentation media continues to become more sophisticated so clients are expecting higherstandards. Your presentational skills and messages need toexceed your client expectations. It is important to consider High performance consulting skills 240that the vast majority of management presentations are remembered more for the presenter than the content. Wecannot afford to underestimate this part of our role. Wehave to be able to plan and conduct dynamic and inﬂuen-tial presentations. Preparing client presentations When preparing any client presentation consider your client’s current position. Are they worried, conﬁdent etc?Recognise that the client is important and will want to berespected and acknowledged for their experience. Avoidany patronising comments or observations. Reﬂect on yourclient’s needs and objectives. Ask yourself how you can sat-isfy them. Consider the following questions: • What have we discovered about this problem or issue?• Have we focused on the real issues? How conﬁdent are we? • Will our ﬁndings, proposals and recommendations help the client? • What are the problems the client needs to address?• Are we improving the efﬁciency of their operation?• Are our recommendations saving or costing the client money? • What does the client need to do about the issues?• What other options do they have?• Are they going to want to continue working with us? Having addressed these questions, decide on your own objec- tives for the presentation. You need to consider whether youare asking for your client’s agreement or whether you aretrying to secure additional resources for the project? These SEVEN Presenting client feedback 241questions will help you to focus further on the structure and detail of your presentation. In developing the presentation structure make sure that it has three parts: • A clear beginning involving an introduction and background overview to the project. • A strong middle section which details your analysis. • A sound conclusion which comprises a summary and clear suggestions for action. You also need to consider the overall timing for your pres- entation and each section within it. Find out well in advance: • Where the presentation will take place.• Who will be in the audience.• How much time you will have. In deciding on the content of your presentation ask: • What beneﬁts am I offering my client?• How do I propose to deal with any difﬁcult or con- tentious issues? • How will I involve the client during the presentation?• What are my client’s critical questions/objections likely to be? • What actions will my client need to take at the end of my presentation? High performance consulting skills 242Presentation media In selecting the media to make your presentation you need to address the following questions: • How do you propose to communicate your key points and messages? (Description, analogy, facts, graphics,examples, competitive data etc.) • What visual aids or media will best communicate the points you wish to make? – PC projection– Overhead projector– 35 millimetre slides– Web-based– Flip charts– Slide book– Practical demonstration– DVD/Video SEVEN Presenting client feedback 243Insight Avoid being the expert and talking too much at your client. Always structure your presentation so that your client is invitedto comment on your presentation at an early stage. You mustget an early reaction to what you are saying. Plan a pause inyour presentation after 20-25 minutes and invite client reaction.You don’t want to discover at the end of a long presentationthat your client totally disagrees with what you have presented. Early feedback means you can adjust the content sooner rather than later.Also consider the room setting that you are going to be using and the logistics involved in employing different forms ofmedia. Remember using complex equipment can increasethe chances of technical breakdowns. Also, it is possible thatby using overly sophisticated media you lose the clarity ofyour messages. Many presentations have fallen into disre-pair by the over enthusiastic use of the numerous featuresof Microsoft Powerpoint. So keep any visual approaches incontext. What is the key message(s) you want to put across? Consider the size of client group that will be present? What kind of atmosphere do you want to create – formal, infor-mal, relaxed, sophisticated, authoritative? All these issuesinvolve the process side of your presentation, so considercarefully all these issues. Don’t assume that just because youhave produced a great analysis and report that is the endof the job. Reports do not sell themselves on their own. Youhave to inﬂuence your clients and this is where your skillsin presenting come into play. Delivering the presentation Having planned the structure and content of your presen- tation you then have to do the hard part. Presenting to yourclient in an authoritative and inﬂuential manner is key. Aswith many of the other skills involved in internal consultancy,we can only develop real expertise in presenting by con-tinuous practice and experience, but below are some of theessential do’s and don’ts: • Make sure you rehearse and practice. Find out if all ele- ments of your presentation work by going through thesession in detail. Don’t wait to ﬁnd out on the actualday if your presentation works or not. A seriousrehearsal will normally reveal any weak areas in yourpresentation and provide you with ample opportu-nity to make any adjustments. If in doubt get a colleague High performance consulting skills 244to sit in on the practice session and ask them to be very critical. Fine-tuning at this low risk stage is far betterthan on the actual day of the presentation. • Anticipate what questions will be asked – including the obvious, difﬁcult and ‘unthinkable’. A key part ofyour planning is thinking up the really awkwardquestions that might be asked. • Stand up straight and project conﬁdence.• Vary your body posture but don’t wander around in a way that will distract your client from what you aresaying. • Avoid ﬁdgeting and the ‘classic rattling of coins and keys in your pocket’. • Speak in a slow but clear and pronounced fashion.• Smile – it connects with people and says you are pleased to be there. SEVEN Presenting client feedback 245Insight Always make your client feel strong rather than weak. Clients do not want to hear that they are either failing or no good. Soconcentrate on motivating your client. This does not mean avoid-ing difﬁcult issues but recognise the fact that your client mayhave been experiencing difﬁcult and challenging circumstances. Give clients credit wherever possible and avoid slipping into crit- ical or patronising statements. The fact is that in some situationsit may indeed look bad but you still have to ﬁnd something pos-itive to say. Any client that has to listen to a presenter that hasnothing positive to say is likely to become an unhappy client.Your job is to make them feel strong!• Project authority in your voice. A hesitant and mum- bling delivery will irritate your audience and destroyyour credibility. – Vary your sentence length.– Vary the pitch, tone and pace of your voice to match your presentation. – Use facial expressions that match your presentation content – smile at humour, and try to demonstratesurprise at an important ﬁnding or key issue. – Use hand gestures to emphasis key points. • In your introduction provide a brief background to the project and highlight your original terms of ref-erence. This brings everyone up to speed. This isimportant because you may have some people whoare intimately involved with the project and otherswho are somewhat remote. • Have a powerful opening statement. A strong refer- ence to the fundamental objectives of the project canbe a good way of focusing everyone’s attention. Tryusing for example: –‘Before we begin ladies and gentlemen let us just remind ourselves why we are here… ’ – Following this opening with a hard business issue such as reducing costs or increasing sales willgenerally get your clients’ immediate attention. • If reporting back on the results of interviews preserve any conﬁdentiality agreements with interviewees byreminding your clients of these assurances. This helpsyou avoid any pointed questions, such as ‘Who saidthat?’ which might come later on in your presentation. High performance consulting skills 246• Speak the language of your business or organization. Do not clutter your presentation with esoteric jargon.Keep it simple, practical and business relevant • Look directly at all your clients and remember to constantly scan your audience rather than stare at,or focus on, key individuals. There is always a temp-tation to maintain eye contact with people who areshowing positive signs of interest. Remember thereare other people present and you should also betrying to gauge their reaction to what you are saying.You need to identify if they seem unhappy or surprisedat what you are saying. • Make sure you summarise before, during and after each key stage of your presentation. If you are work-ing and presenting as a consulting team make sure youintroduce each speaker before they begin. We callthis ‘sign-posting’ – it helps tell your client where youare taking them and identiﬁes where they have been. • Enliven your presentation by the use of appropriate comments or quotes which you recorded during thecourse of your research. A simple but insightful quoteto illustrate some statistical or graphical point can bevery powerful. But do remember to safeguard con-ﬁdentiality of the speaker. If necessary make the quoteanonymous except for a generic job title or roledescription. SEVEN Presenting client feedback 247• Watch for individual client responses as your pres- entation develops. – Nodding heads or frowns should be picked up on by reﬂecting questions back to the client. – ‘You seem a little unhappy with that last point? Have we missed something?’ – ‘Is that ﬁnding an issue for you Bob?’ • Pace your presentation so that it gathers momen- tum from beginning to the end. High performance consulting skills 248Insight When making a client presentation try to use ‘WE’ rather than ‘YOU’. It is always easy to slip into a telling mode when givinga presentation and bad consultants start saying things like: • You have some major problems here.• You need to tackle these issues.• You must address this problem. To a client this can sound very irritating and condescending. Remember, we are on the same side so always use ‘we’ ratherthan ‘you’. It helps develop rapport and sounds signiﬁcantly betterto your client. Similarly use ‘challenges’ not ‘problems’. Stating that ‘we have some major challenges’ is far better than saying ‘you have somemajor problems’. Keep the language positive and upbeat.If you are presenting options to your client use a simple cost beneﬁt approach to focus your client’s thoughts. Simply usinga high, medium and low rating can add considerably to anysubsequent debate and will help develop your client’s com-mitment to any eventual selection decision. Figure 28illustrates this simple but powerful approach. Proposingoptions is a classic example of operating in a process ratherthan an expert mode. FIGURE 28: PRESENTING CLIENT OPTIONS • Don’t ‘fade away’ at the end of your presentation. Make sure you have a strong and powerful close. • Allow ample time for discussion at the end of the pres- entation. Engaging your client is critical so ensure youallow sufﬁcient time to discuss the issues that havebeen raised. • Remember to be enthusiastic and conﬁdent – if you are not, how can you expect your clients to be?OPTIONS A BCDECost of implementation HIGHHIGHLOWBenefits to organisation HIGHMEDIUMMEDIUMPracticality/ease of implementation HIGHHIGHLOW SEVEN Presenting client feedback 249Presenting client feedback – being client focused This stage involves you presenting feedback back to your client throughout a project life-cycle. It involves writingreports, making presentations and writing key reports. Questions you should ask: • Is your analysis rigorous, accurate and clear? • Can you support your findings, conclusions and recommendations? • Will your ﬁndings and recommendations help your client? • Will your client(s) respond positively or negatively to your feedback? • Have you managed your client’s expectations in advance of your feedback presentation? High performance consulting skills 250Insight When rehearsing your presentation invite someone in to listen who has not had any involvement in the project. They will beable to critique your presentation in a powerful way – nothaving any emotional involvement in the project. You may dis-cover they raise some interesting points or questions that youhave over-looked.• Is your feedback presentation in the right format, style and level of detail? • Have you spent enough time rehearsing for your presentation? • Have you thought of all the ‘unthinkable’ questions?• Have you adequately planned how to move your client forward to the next stage of the project? • How will you report back to interviewees who helped you during the information gathering phase of yourwork? Client’s perspective of you: • How valid is their analysis and feedback? • How thorough has the research been?• Have they upset anyone during the work?• Do I understand, accept and agree with the ﬁndings or results? • How will my colleagues react to your ﬁndings and recommendations? • How well have they managed the feedback process?• Have they dealt adequately with my questions and concerns? • Have they added to my understanding of the issues and problems? • Do the recommendations represent a solution to the problem? SEVEN Presenting client feedback 251Typical client thoughts and reactions when receiving feedback – have you got the right answers? • So what conclusions have you produced? • I can’t believe that problem is actually happening.• I would like to get a quick overview of your ﬁndings.• I would like to spend more time examining this issue.• Who said that? It’s rubbish, it can’t be true!• How have you come to that conclusion?• You found that people thought…?• I am startled to be told that…• Was there anything positive that you discovered?• It’s all pretty bad news.• Are we doing anything well?• OK, what do we need to do next?• I can’t help thinking you have missed something there.• I think you may have misinterpreted that point.• That cannot be true.• I tend to agree with that.• Yes, that is interesting.• I would like to comment on one key point. Other statements/questions you might use: • There were some positive as well as negative issues emerging from our investigation. • We would like to provide you with an overview of our ﬁndings and then focus on some speciﬁc issues. High performance consulting skills 252• We are not sure about this specific point, but we think what is happening here is… • We would welcome your reactions to these points.• You may disagree, but the results do indicate a strong negative perception about this issue. • Perhaps we need to get additional information about that question. • This point is certainly reinforced by section ten of our report. • We will cover those points later on in our presentation.• Perhaps I could cover that subject at the end of our presentation. SEVEN Presenting client feedback 253BlankCHAPTER EIGHT Implementing, reviewing and exiting projectsEight Implementing, reviewing and exiting projects Project implementation In implementing any project you will need to be able to plan and manage effectively. The key elements of project plan-ning and implementation involve developing a list of keyactivities and resources and a time-line for completion. Anyproject also involves risk, so you will need to review keyaspects of your implementation plan and assess any signif-icant risks associated with it. So, think in terms of project implementation as managing resources, time and quality with a keen eye on any possi-ble risks that might occur. As well as planning the projectyou will also need to ensure that you both control and leadthe project. Project control is all about measuring, evaluating and cor- recting progress throughout the life-cycle of the project.Central to this is your project master plan and the need toconstantly monitor progress against it. Figures 29, 30 and 31 detail a draft plan and process for con- ducting a risk assessment. High performance consulting skills 256FIGURE 29: PROJECT MASTER PLAN In conducting a risk assessment you need to consider your overall plan and review each key task against two keyquestions: 1The probability of failure associated with that task – what if it did not happen as you have planned? 2The possible impact it would have on your project – would it severely impact on the implementation plan? By simply using a high, medium and low rating you can quickly identify parts of your plan that may need some kindof alternative or contingency planning. As a general rule, if you identify an activity that has a medium probability of failure and a medium impact on the projectthen you need to develop some alternatives or contingencyplans for that activity.Year 2002 Month JAN FEB APR MAY JUN NOV DEC Project start Design completeStart trainingTraining evaluation EIGHT Implementing, reviewing and exiting projects 257FIGURE 30: RISK ASSESSMENT IN PROJECTS FIGURE 31: RISK ANALYSISTask Delivery of plantProbability of failure MediumImpact on project HighContingency Investigate alternative suppliers 1 Avoid hiding contingency in other tasks. 2 Don’t add contingency at the end of phases or project end. 3. Contingency comes from carrying out a risk analysis.Identify critical areas of plan Potential problems Probability X impact RISK PlanHigh Review planMedium Contingency High performance consulting skills 258Obviously there are a lot of other project management tech- niques that can be used, and those readers who wish to geta more detailed account should read ‘Project Skills’ (But-terworth Heinemann, 1998) written by Dr Sam Elbeik andmyself. In this book we go into the details of project man-agement and the associated skills. Project implementation – being client focused This stage of the consulting cycle involves you managingthe detailed project implementation. Questions you should ask: • Have you secured your client’s agreement to the plan? • Are you conﬁdent about your project management skills and capability? • Have you prepared a brieﬁng pack for the imple- mentation team? • Have you spoken to each individual team member?• Will there be any conﬂicts arising with other parts of the organization as your work develops? • Have you spent sufﬁcient time thinking about the balance and composition of your team? • Have you communicated with relevant suppliers and other interested parties? • Do you have the necessary control and reporting procedures in place? • Have you agreed regular access to your client during the implementation period? EIGHT Implementing, reviewing and exiting projects 259Client’s perspective of you: • Are you competent? • Does everything seem to be under control?• Am I getting regular updates of progress?• Have I been involved in the important meetings?• Does it all seem realistic and feasible?• Are they capable of taking people along with the changes? Other statements/questions you might use: • We would welcome your attendance at the launch meetings. • Perhaps you would be prepared to welcome people and outline your expectations. • We are experiencing some problems with Department X and would like to discuss it with you before itbecomes a big issue. • Here are the key developments arising out of the last week’s work. • We are still on track.• How do you think things are progressing?• What feedback have you received from other people concerning progress? • We may have to reallocate some people resources for that stage of the plan but we do not foresee any slip-page overall. • We may need to re-negotiate some extra time or resources as a result of last week’s problems. High performance consulting skills 260Reviewing consultancy projects – being client focused This ﬁnal stage of the client project involves establishing whether your project’s objectives were achieved and for-mally ‘signing off’ your involvement in a project. Questions you might ask: • Have you signalled the end of the project/assignment earlier with your client, thus avoiding any surprises? • Have you agreed a project end date with your client?• Is there to be a formal hand-over of the project to your client? • Is your client comfortable with the close of the project? • Are there any major issues still outstanding that are worrying your client? • Have you secured the views of all the relevant parties?• Have you been sufﬁciently rigorous in your review process? • Have you been open and honest about any problem areas? Client’s perspective of you: • Have you given me ample notice of the project’s conclusion? • Have you fulﬁled the terms of reference?• Have I enjoyed working with you?• Would I want to work with you again?• Have you left a positive impression on my team?• Were you always open, honest and direct in your dealings? EIGHT Implementing, reviewing and exiting projects 261Other statements/questions you might use: • We would like to have a ﬁnal meeting to conclude and review our work. • Are you happy with everything?• Are there any outstanding issues?• We believe that signiﬁes the conclusion of the work- plan and the project itself. • Is there anything that we did not do that would have helped the project? • We could do that but it would require us to devote additional resources because the project timetable hasbeen completed. • We do not have sufﬁcient time resource to take on that additional work load. • We would be pleased to propose to assist you on that additional work. • We have enjoyed working on this project with you. Evaluating consultancy projects An imprecise science The achievement of the stated objectives is the principal way in which most assignments will are judged. If a projecthas been managed correctly and the principles we haveoutlined in this book been applied, the chances are that a suc-cessful outcome will be achieved. However, the complexityof many projects means that no internal consultant shouldever claim all the credit or take all the blame for failures. Pro-jects involve people, multi-disciplines and changing businesslandscapes and priorities. This does not mean that you High performance consulting skills 262should avoid attempting to measure the impact or success of what your work. You need to know, as does your client,and any future clients, how your work has contributed tosuccessful results. Without this information, neither you noryour clients will know how to manage similar situations inthe future. So often you will depend heavily, but not totally, on subjective opinion in evaluating your efforts. Project evaluation – questions for your client Key questions that your client might reﬂect on in attempt- ing to evaluate your work are: 1Has the original problem/opportunity which caused you to involve the internal consultant, been addressed? 2To what extent do you feel that this is due to the efforts of the internal consultant as opposed to other factors? 3What speciﬁc actions taken by the internal consult- ant helped you to address the problem/issue? 4What speciﬁc actions by the internal consultant hin- dered you in addressing the problem/issue? 5What might the internal consultant have done (but did not do) which might have helped the situation? 6Would you use the internal consultant to help you address a similar situation in the future? 7What has the consultant left of their skills in your organization for you or your staff to use in the future? 8Would you choose to work with the same consultant again in the future? 9Would you recommend the internal consultant to colleagues with similar problems or issues 10Would you say your internal consultant has helped you signiﬁcantly? EIGHT Implementing, reviewing and exiting projects 263Project evaluation – questions for the internal consultant 1Do I believe the client’s problem has been solved or addressed? 2What could I have done differently to improve the ﬁnal result? 3What do my fellow internal consultants feel about the results of my intervention? 4How do the clients staff regard my involvement? 5How good is my current relationship with the client? 6Has my client recommended me to their colleagues? 7Has my client asked me to do other work for them in the future? 8Did the assignment or project come in on time and budget? Summary The answers to these questions will help to address theevaluation question. In the ﬁnal analysis the client’s per-ception, be it right or wrong, will be the most importantfeature in the evaluation process. Only if the client believesthat your intervention has helped them, will the evaluationbe helpful in gaining you further work. But beware of chas-ing the Holy Grail. If there are new problems at the top ofthe client’s agenda, they may be uninterested in any kindof post-mortem! High performance consulting skills 264CHAPTER NINE The internal consultant’s toolkitNINE The internal consultant’s toolkit The consultant’s toolkit Throughout this book we have stressed the need to actively manage your client relationships and made many refer-ences to using a number of forms to assist you in this process.On the following pages we have outlined a series of singletemplate forms that you might like to use or adapt to helpyou in managing your clients and projects. They cover thekey elements of our internal consultant management process. High performance consulting skills 266NINE The internal consultant’s toolkit 267INITIAL CLIENT MEETING FORM Next meeting date/time/place Duration of meetingActionInitial thoughts to solve problem What are your clients issues?Description of client’s operation What is the client reporting structure?Meeting PurposeDept / Name / PresentLocation Date / TimeHigh performance consulting skills 268Page 1 TERMS OF REFERENCE FORM BoundaryObjectiveBackgroundStart Date Project NameLocation Consultant NameDate Client NameNINE The internal consultant’s toolkit 269Page 2 TERMS OF REFERENCE FORM Deliverables and MilestonesReportingAssumptionsConstraintsHigh performance consulting skills 270Page 3 TERMS OF REFERENCE FORM Approved by Client: ____________________________________________ Date: _________________________________________________________Activity Time Chart For Project: Activity Who Effort Start Week 12345678 Estimated Costs Resource Name : Rate: Effort: Cost: Resource Name : Rate: Effort: Cost: Resource Name : Rate: Effort: Cost: Resource Name : Rate: Effort: Cost: Equipment Name : Cost: Equipment Name : Cost: Expenses: Cost: Total Estimated Costs:Organization capability: effectiveness questionnaire • ‘7s’ organization audit Guidance notes This questionnaire contains a simple series of statements that utilises the ‘7s’ model of organization analysis. The modeloriginally featured in the best-selling business book ‘In Searchof Excellence’ by Tom Peters and Bob Waterman. It is con-sidered to highlight the features of an effective organization. You can use this type of questionnaire in organization wide projects where you need to collect views amongst staff.Simply adjust the questions to reﬂect your particular areasof focus. You can then load the quantitative responses ontoa spread-sheet, and use the open-ended questions to helpstructure your analysis and incorporate into any client pre-sentations or reports. You will obviously need to add a front coding sheet asking people to ﬁll out some demographic data covering the fol-lowing subject to the precise circumstances surroundingyour project: •N a m e• Role/grade• Location• Department• Length of service Instructions for questionnaire completion Consider each statement and indicate how true these are in rela- tion to your views of, and experiences on, the organization. There are no right or wrong answers. We are simply collectingyour honest reactions and the data will be used in a conﬁ-dential manner. No named comments or data responses willbe revealed. NINE The internal consultant’s toolkit 2711 Strategy 1 Business strategy and plans are well deﬁned. 2 Strategy and plans are effectively communicated. 3 There is clarity throughout the organization concerning the corporate mission and vision. 4 Top management focuses on the medium and long-term as well as short-term issues. • What changes do you see that will signiﬁcantly affect your organization over thenext two years? • Where do you think you need to be in two years’ time to remain competitive? • What do you regard as the key performance criteria for you to measure success against? • What will have to change in order to achieve that success? • What will hinder these changes? High performance consulting skills 27212 3 45 12 3 45 12 3 45 12 3 45 Strongly agreeAgreeNeither agree or disagreeDisagreeStrongly disagree2 Structure 5 Manpower is at an optimum level. 6 Resources are organized according to business needs and priorities. 7 There are a minimum of control and management levels in the organization. 8 Responsibilities and accountabilities are clear. 9 Responsibility and authority are well matched. 10 The organization structure is ﬂexible and responsive to changing needs. 11 The organization structure is integrated, rather than fragmented and operating inisolated pockets. • How well do the different parts of your organization work together? • How effective is communication vertically within your organization? • How effective is communication horizontally within your organization? • What effect does the structure of your organization have upon the effectiveness ofyour operational efﬁciency? • Do people have appropriate levels of authority and responsibility? NINE The internal consultant’s toolkit 27312 3 45 12 3 45 12 3 45 12 3 4512 3 4512 3 45 12 3 45 Strongly agreeAgreeNeither agree or disagreeDisagreeStrongly disagree3 Style – management 12 Management encourages delegation and innovation. 13 There is an emphasis on coaching rather than telling. 14 Individual and group achievements are recognised and rewarded. 15 Performance is measured against clear objectives. 16 Performance targets are viewed as demanding but achievable. • How would you describe the way in which your organization is managed at present? • How far are you involved in decision-making outside, but affecting, your own area ofmanagement responsibility? • How far should you be involved in decision- making outside, but affecting, your own areaof management responsibility? • How is conﬂict handled within your organization? • How far is risk-taking encouraged within your organization? High performance consulting skills 27412 3 45 12 3 45 12 3 45 12 3 4512 3 45 Strongly agreeAgreeNeither agree or disagreeDisagreeStrongly disagree4 Style – people 21 People are valued as individuals and treated with respect. 22 Peoples’ abilities and potential are well understood and developed. 23 The organization employs high calibre people. 24 People are used for their strengths, not penalised for their weaknesses. • Who are your key people? • What are their strengths and weaknesses in relation to your organization’s goals? • In what way(s) do you assess these strengths and weaknesses? • What needs to be done to ensure that your key people have the capabilities to meet yourorganization’s goals? NINE The internal consultant’s toolkit 27512 3 45 12 3 45 12 3 45 12 3 45 Strongly agreeAgreeNeither agree or disagreeDisagreeStrongly disagree5 Skills 25 Our skills are matched to achieve our business objectives. 26 Skill gaps are identiﬁed and addressed.27 Skills are reﬁned, improved and developed to meet changing business needs. 28 Skills are shared and transferred within the organization. • How would you describe the key skills and competences of your organization? • How effective do you think these are? • What skills will the organization need to develop in order to continue to performeffectively over the next two years? • What contribution do you believe training can make to your organization’s performance over the next two years? High performance consulting skills 27612 3 45 12 3 45 12 3 45 12 3 4512 3 45 Strongly agreeAgreeNeither agree or disagreeDisagreeStrongly disagree6 Systems 29 We have effective planning processes. 30 Tight controls of capital expenditure are present. 31 Effective budget management is a priority.32 Effective procedures for staff performance appraisal exist. 33 Business and manpower plans are linked and integrated. 34 There are effective systems for spotting and developing managerial talent. • What information do you need from outside your organization that you are not receivingat present? • How well do these systems work?• How appropriate are the systems within your organization? NINE The internal consultant’s toolkit 27712 3 45 12 3 45 12 3 45 12 3 4512 3 4512 3 45 Strongly agreeAgreeNeither agree or disagreeDisagreeStrongly disagree7 Shared Values 35 There is a high level of loyalty to the organization. 36 There is a positive belief in the value of the organization’s products and services. 37 There is a real belief in internal co-operation and collaboration at all levels. 38 People have a real commitment to values such as continuous improvement, quality and service. • What are the underlying values that guide people in the organization? • What values need to change to ensure future success? • How do you reinforce the values of the organization among people? High performance consulting skills 27812 3 45 12 3 45 12 3 45 12 3 45 Strongly agreeAgreeNeither agree or disagreeDisagreeStrongly disagreeInternal consultant skills – development needs checklist Guidelines • Review the following list of client management skills and behaviours and identify your current perform-ance as an internal consultant. • There may be some activities not listed that you feel are important, record these in the spaces provided. • Having completed the checklist, focus on the critical consulting skills and behaviours that you think youneed to develop further. NINE The internal consultant’s toolkit 279Being comfortable when working with senior management and others authority ﬁguresThinking before I respond to clientsThinking business ﬁrst and functionalspecialist secondFeeling comfortable with my experience andprofessional backgroundPossessing a strong knowledge base ofexpertise – constantly updating myknowledge and skill base I need to do lessI need to do moreI am doing OKGeneral approach to consulting and client managementHigh performance consulting skills 280Using effective project management tools and techniquesSetting realistic goals for myself and my clientBeing comfortable with clients reviewing my workBeing comfortable with my client taking allthe credit for any successBeing comfortable with saying ‘goodbye’ to aclient at the end of a projectHelping clients generate solutions to their problemsEnabling clients to use their own strengthsand resourcesSaying ‘no’ without guilt or fearPromising only what I know I can deliverWorking conﬁdently under time pressuresPresenting and selling my ideas effectivelyChallenging my client’s views, opinions anddeﬁnition of the problemAccepting my client’s deﬁnition of the problem I need to do lessI need to domoreI am doing OKGeneral approach to consulting and client management (continued)Using creative problem solving techniquesChallenging ineffective solutionsCritically evaluating any proposed solutionsUtilising other clients’ solutions to solve problemsChallenging my own and the client’s assumptionsHelping clients maintain a logical approach tosolving problems and projectsHelping clients to own their problemsDeveloping clearly agreed terms of referenceStating client problems and objectives clearlyBeing brief and concise when speakingAsking direct and probing questionsBuilding an atmosphere of openness and trustEncouraging clients to talk and share theirviews and thoughtsActively listening to clients I need to do lessI need to do moreI am doing OKGeneral client management skills NINE The internal consultant’s toolkit 281High performance consulting skills 282Obtaining real feedback on my client presentationsBuilding team spirit in my consulting and anyjoint consulting/client teamsBeing ﬂexible when problems and newsituations emergeTaking full control and responsibility for projectsBeing detail focusedGiving into strong client demands –restrictions and limitationsWorking with people I do not personally likeDealing with conﬂict with colleagues and clientsBeing aware of my need to compete with othersAppreciating the impact of my behaviour on clientsReading and interpreting client, group andteam dynamics accurately I need to do lessI need to do moreI am doing OKGeneral client management skills (continued)NINE The internal consultant’s toolkit 283Using strong project control and evaluation techniquesDeveloping and arranging clear ‘next steps’and appropriate follow-up actions on projectsTaking notes, ‘writing up’ what has beenagreed, communicating to the clientSummarising, on a regular basis, clientdiscussions and agreementsAdmitting any errors and mistakes on my partAttributing failure to the client’s ‘resistance’Recognising my own defensivenessRecognising my prejudices and biasesAcknowledging failure(s) openly andconstructivelyAlways expecting clients to use my solutionsIntervening with clients without threateningor intimidating themIntervening with clients at appropriate timesControlling my stress when working onchallenging projects I need to do lessI need to do moreI am doing OKGeneral client management skillsWhat are the critical consulting skills that you want to develop further? List them below. _______________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________ • How are you going to ensure that you will develop these skills? ______________________________________________________________________________________________________________________ • What speciﬁc actions do you plan to take? ______________________________________________________________________________________________________________________ • Write down some actions now! 1 __________________________________________________________2 __________________________________________________________3 __________________________________________________________4 __________________________________________________________5 __________________________________________________________6 __________________________________________________________ High performance consulting skills 284NINE The internal consultant’s toolkit 285CONSULTING SKILLS – CLIENT MEETINGS CHECKLIST Outcomes of meeting • Information gained? • Understanding of situation?• Clarity of consultant’s role?• Client’s reaction to the consultant?• Overall professionalism?• Levels of conﬁdence?• Teamwork in evidence?General client management • Teamwork • Areas covered by each consultant• Control of the meeting – ﬂow, pace• Effective use of time• Active listening skills• Developing client conﬁdence• Success in gaining information• Answering client’s questions and issues• Challenging the client’s thinking in a non- aggressive manner • Summarising• Re-directing client to other topics• Keeping the client on track• Overall ﬂexibility• Meeting closure• Next steps• Dates for next meeting – follow-up actions• Thanking the clientObservations and notesIntroductions • Role of consultants • Client rapport• Objectives and focused introduction• Timing of meetingSuccess factors Common vision Uniﬁed management Surfacing of concerns Content management (The Plan) Process management (The How) Realistic timescales and resources Regular and open communications Systems support the change ‘Reward’ to support change Commitments honoured Right people in key roles Involvement of those affected Supportive leadership Measurement Effective project management High performance consulting skills 286 ExcellentGoodAdequateWeakNon-existentSuccess factors in managing changeChange management action planning sheet Name: _______________________________________________________________ Location: _________________________________ Division: _______________________ Other issues Accountabilities Timescales Resource requirementsActions to address Critical issue deﬁnitions NINE The internal consultant’s toolkit 287BlankBlankThorogood publishing Thorogood publishes a wide range of books, reports, special brieﬁngs and psychometric tests. Listed below is a selectionof key titles. Desktop Guides The marketing strategy desktop guide Norton Paley • £16.99 The sales manager’s desktop guide Mike Gale and Julian Clay • £16.99 The company director’s desktop guide David Martin • £16.99 The credit controller’s desktop guide Roger Mason • £16.99 The company secretary’s desktop guide Roger Mason • £16.99 The ﬁnance and accountancy desktop guide Ralph Tifﬁn • £16.99 The commercial engineer’s desktop guide Tim Boyce • £16.99 The training manager’s desktop guide Eddie Davies • £16.99 The PR practitioner’s desktop guide Caroline Black • £16.99 Win new business – the desktop guide Susan Croft • £16.99 Masters in Management Mastering business planning and strategy Paul Elkin • £14.99 Mastering ﬁnancial management Stephen Brookson • £14.99 Mastering leadership Michael Williams • £14.99Mastering negotiations Eric Evans • £14.99 Mastering people management Mark Thomas • £14.99 Mastering personal and interpersonal skills Peter Haddon • £14.99 Mastering project management Cathy Lake • £14.99 Mastering marketing Ian Ruskin-Brown • £16.99 Business Action Pocketbooks Edited by David Irwin Building your business pocketbook £6.99Developing yourself and your staff pocketbook £6.99Finance and proﬁtability pocketbook £6.99Managing and employing people pocketbook £6.99Sales and marketing pocketbook £6.99Managing projects and operations pocketbook £6.99Effective business communications pocketbook £6.99PR techniques that work Edited by Jim Dunn • £6.99 Other titles The John Adair handbook of management and leadership Edited by Neil Thomas • £24.99 The pension trustee’s handbook (3rd edition) Robin Ellison • £25 Boost your company’s proﬁts Barrie Pearson • £12.99 Negotiate to succeed Julie Lewthwaite • £12.99 The management tool kit Sultan Kermally • £10.99 Working smarter Graham Roberts-Phelps • £14.99 Test your management skills Michael Williams • £15.99 The art of headless chicken management Elly Brewer and Mark Edwards • £6.99 EMU challenge and change – the implications for business John Atkin • £11.99Everything you need for an NVQ in management Julie Lewthwaite • £22.99 Customer relationship management Graham Roberts-Phelps • £14.99 Sales management and organization Peter Green • £10.99 Telephone tactics Graham Roberts-Phelps • £10.99 Companies don’t succeed people do! Graham Roberts-Phelps • £12.99 Inspiring leadership John Adair • £15.99 The book of ME Barrie Pearson and Neil Thomas • £14.99 The complete guide to debt recovery Roger Mason • £12.99 Janner’s complete speechmaker Greville Janner • £10.99 Gurus on business strategy Tony Grundy • £14.99 Dynamic practice development Kim Tasso • £29.99 Successful selling solutions Julian Clay • £12.99 High performance consulting skills Mark Thomas • £14.99 The concise Adair on leadership edited by Neil Thomas • £9.99 The concise Adair on communication and presentation skills edited by Neil Thomas • £9.99 The concise time management and personal development John Adair and Melanie Allen • £9.99 Gurus on marketing Sultan Kermally • £14.99 Thorogood also has an extensive range of reports and spe- cial brieﬁngs which are written speciﬁcally for professionalswanting expert information. For a full listing of all Thorogood publications, or to order any title, please call Thorogood Customer Services on 0207749 4748 or fax on 020 7729 6110. Alternatively view ourwebsite at www.thorogood.ws.	[ "client", "project", "change", "need", "people", "skill", "consulting", "process", "consultant", "problem" ]	{ "summary": "HIGH-\nPERFORMANCECONSULTINGSKILLSTHE INTERNAL\nCONSULTANT’SGUIDE TOVALUE-ADDEDPERFORMANCE\nHIGH-\nPERFO" }
Strategy-Consulting.pdf	KRAAIJENBRINK Strategy ConsultingStrategy consulting is one of the most highly respected and at the same time deeply detested jobs on this planet. Despite all the attention and controversy, there is surprisingly little written about it specifically. To address this void, this Element provides a comprehensive overview of this fascinating and emerging profession. Relying on existing research and the author’s practical experience, it describes what strategy consulting is, where it comes from, how to effectively practice it and where to take it into the future. Taking the position of the individual strategy consultant, this Element offers an insightful perspective that is useful for scholars, students, consultants and clients of strategy consulting. In doing so, it moves away from the dominant corporate practice of analytical strategy consulting. Instead, it offers an idealized whole-brain and whole-person view on what strategy consulting could and should be like in order to fully live up to its promise as a profession contributing to society. About the Series Business strategy’s reach is vast. As a field, strategy has a long history from medieval and colonial times to today’s developed and developing economies. This series offers a place for interesting and illuminating research including industry and corporate studies, strategizing in service industries, the arts, the public sector, and the new forms of Internet- based commerce. To meet the needs of the field’s demanding methodologies, the series will also cover today’s expanding gamut of analytic techniques.Series Editor J.-C. Spender Kozminski UniversityBusiness Strategy ISSN 2515-0693 (online) ISSN 2515-0685 (print)Strategy Consulting Jeroen Kraaijenbrink Cover image: irin-k/Shutterstock terms of use, available at https://www.cambridge.org/core/terms . https://doi.org/10.1017/9781108868365Downloaded from https://www.cambridge.org/core . IP address: 115.99.28.34 , on 17 Aug 2020 at 08:00:42 , subject to the Cambridge Coreterms of use, available at https://www.cambridge.org/core/terms . https://doi.org/10.1017/9781108868365Downloaded from https://www.cambridge.org/core . IP address: 115.99.28.34 , on 17 Aug 2020 at 08:00:42 , subject to the Cambridge CoreElements in Business Strategy edited by J.-C. Spender Kozminski University STRATEGY CONSULTING Jeroen Kraaijenbrink University of Amsterdam terms of use, available at https://www.cambridge.org/core/terms . https://doi.org/10.1017/9781108868365Downloaded from https://www.cambridge.org/core . IP address: 115.99.28.34 , on 17 Aug 2020 at 08:00:42 , subject to the Cambridge CoreUniversity Printing House, Cambridge CB2 8BS, United Kingdom One Liberty Plaza, 20th Floor, New York, NY 10006, USA 477 Williamstown Road, Port Melbourne, VIC 3207, Australia 314 –321, 3rd Floor, Plot 3, Splendor Forum, Jasola District Centre, New Delhi –110025, India 79 Anson Road, #06 –04/06, Singapore 079906 Cambridge University Press is part of the University of Cambridge. It furthers the University ’s mission by disseminating knowledge in the pursuit of education, learning, and research at the highest international levels of excellence. www.cambridge.org Information on this title: www.cambridge.org/9781108811958 DOI: 10.1017/9781108868365 © Jeroen Kraaijenbrink 2020 This publication is in copyright. Subject to statutory exception and to the provisions of relevant collective licensing agreements, no reproduction of any part may take place without the written permission of Cambridge University Press. First published 2020 A catalogue record for this publication is available from the British Library. ISBN 978-1-108-81195-8 Paperback ISSN 2515-0693 (online) ISSN 2515-0685 (print) Cambridge University Press has no responsibility for the persistence or accuracy of URLs for external or third-party internet websites referred to in this publication and does not guarantee that any content on such websites is, or will remain, accurate or appropriate. terms of use, available at https://www.cambridge.org/core/terms . https://doi.org/10.1017/9781108868365Downloaded from https://www.cambridge.org/core . IP address: 115.99.28.34 , on 17 Aug 2020 at 08:00:42 , subject to the Cambridge CoreStrategy Consulting Elements in Business Strategy DOI: 10.1017/9781108868365 First published online: August 2020 Jeroen Kraaijenbrink University of Amsterdam Author for correspondence: Jeroen Kraaijenbrink, [email protected] Abstract: Strategy consulting is one of the most highly respected and at the same time deeply detested jobs on this planet. Despite all the attention and controversy, there is surprisingly little written about it speci ﬁcally. To address this void, this Element provides a comprehensive overview of this fascinating and emerging profession. Relying on existing research and the author ’s practical experience, it describes what strategy consulting is, where it comes from, how to eﬀectively practice it and where to take it into the future. Taking the position of the individual strategy consultant, this Element o ﬀers an insightful perspective that is useful for scholars, students, consultants and clients of strategy consulting. In doing so, it moves away from the dominant corporate practice of analytical strategy consulting. Instead, it oﬀers an idealized whole-brain and whole-person view on what strategy consulting could and should be like in order to fully live up to its promise as a profession contributing to society. Keywords: strategy consulting, whole-person consulting, strategy making, consulting roles, future of consulting © Jeroen Kraaijenbrink 2020 ISBNs: 9781108811958 (PB), 9781108868365 (OC) ISSNs: 2515-0693 (online), 2515-0685 (print) terms of use, available at https://www.cambridge.org/core/terms . https://doi.org/10.1017/9781108868365Downloaded from https://www.cambridge.org/core . IP address: 115.99.28.34 , on 17 Aug 2020 at 08:00:42 , subject to the Cambridge CoreContents 1 Introduction 1 2 The Origins of Strategy Consulting 13 3 Traditional Strategy Consulting and Its Limitations 19 4 The Nature and Purpose of Strategy Consulting 29 5 The Strategy Consulting Process 39 6 Strategy Consulting Roles 50 7 Conclusion and Outlook 57 References 67 terms of use, available at https://www.cambridge.org/core/terms . https://doi.org/10.1017/9781108868365Downloaded from https://www.cambridge.org/core . IP address: 115.99.28.34 , on 17 Aug 2020 at 08:00:42 , subject to the Cambridge CoreAny chief executive who hires a consultant to give them strategy should be ﬁred. Henry Mintzberg1 1 Introduction A strategy consultant myself, I am not aware of any other job with which people have such a love –hate relationship. On the one hand, it triggers awe and envy. Although perhaps not as much as it used to be, a well-paid career as a strategy consultant is still high on the wish list of many MBA students. And within the whole market of consulting jobs, strategy consultants are on top of the hier- archy –or at least they like to think so themselves. On the other hand, strategy consultants and consultancy ﬁrms are heavily criticized both by scholars writing about them and executives having worked with them. If you ask them, they are quite critical about strategy consultants ’added value, ethics and way of work- ing. Illustrative for this critical perspective are books about consulting, baring titles such as Dangerous Company (O’Shea & Madigan, 1998 ),Consulting Demons (Pinault, 2009 ) and The Witch Doctors (Micklethwait & Wooldridge, 1996 ). Of all consulting ﬁrms, both the awe and the criticism apply strongest to McKinsey & Company –or McKinsey in short. And along with it, they also apply to other major consulting ﬁrms such as the Boston Consulting Group, Bain & Company, A. T. Kearney and Booz Allen Hamilton. It seems you either love them or you hate them –or both at the same time. This paradoxical attitude towards strategy consulting is insightful. The very fact that companies hire strategy consultants and pay signi ﬁcant amounts of money for their services shows that they serve an important purpose that is valued by their customers. At the same time, though, the sheer volume and severity of criticisms are strong indicators that something is not entirely right about strategy consulting as it is practised today. The purpose of this Element is therefore to explore what strategy consulting is, what it should lead to and how it can be practised effectively. I focus speciﬁcally on strategy consulting because, surprisingly, despite its impact and controversy, there is not so much written about it. There are numerous works on management consulting in general ( Baaij, 2013 ;Kipping & Clark, 2012 ;Newton, 2010 ) and even more so on strategy and on consulting at large. But on the speci ﬁcs of strategy consulting, with the exception of a few (Armbrüster & Kipping, 2002 ;Blom & Lundgren, 2013 ;Delany, 1995 ;Payne & Lumsden, 1987 ;Van den Bosch, Baaij, & V olberda, 2005 ), there is a clear void. With this Element I intend to help ﬁll this void from a dual perspective. As 1Interview by Duff McDonald on 7 April 2010, as quoted in McDonald (2013).1 Business Strategy terms of use, available at https://www.cambridge.org/core/terms . https://doi.org/10.1017/9781108868365Downloaded from https://www.cambridge.org/core . IP address: 115.99.28.34 , on 17 Aug 2020 at 08:00:42 , subject to the Cambridge Corea scholar, I aim to give a balanced overview of the research others have done on strategy consulting and the experiences they have described. I will add to that my own views and experience as strategy consultant. By combining these ‘outsider ’and ‘insider ’views, this Element intends to offer a fresh perspective on the speci ﬁcs of strategy consulting that goes beyond the status quo. 1.1 Related Work Even though not much has been written speci ﬁcally on strategy consulting, there is an extensive body of literature on management consulting more broadly. Since strategy consulting is a part of that, much of that literature is relevant for strategy consulting as well. Therefore, as a starting point of this Element, I will brieﬂy outline the ﬁve main types of publication available. This helps demarcate what this Element is about and is not about, and it serves as a point of reference for further reading. Theﬁrst type of publication is comprehensive work that provides an almost encyclopaedic overview of what management consulting entails, where it comes from and how it works. I will single out three of them. The ﬁrst is the over 800-page reference work Management Consulting: A Guide to the Profession , edited by Milan Kubr (2002) . Targeted primarily at (prospective) consultants, it contains contributions by numerous authors, giving an in-depth practical understanding of management and strategy consulting. A second reference work is The Oxford Handbook of Management Consulting , edited byMatthias Kipping and Timothy Clark (2012 ). It targets academics and as such offers a more theoretical understanding of the ﬁeld and outlines avenues for further research. Third, I will mention McKenna ’s (2006) The World ’s Newest Profession: Management Consulting in the Twentieth Century .I ti s a single-authored and widely praised historical analysis of management con- sulting and offers a fascinating and deep understanding of management con- sulting as an emerging profession. For getting a thorough understanding of management consulting and strategy consulting as they have been practised and studied over the past century, all three works are recommended. Also comprehensive, but more instrumental are the various management consulting textbooks that have been written. Strategy and management consult- ing are high on the wish list of many MBA students. Numerous textbooks facilitate courses on this topic. Three examples are Marc Baaij ’sAn Introduction to Management Consultancy (Baaij, 2013 ), Philip Wickham and Jeremy Wilcock ’sManagement Consulting: Delivering an Effective Project (Wickham & Wilcock, 2016 ) and Joe O ’Mahoney and Calvert Markham ’s Management Consultancy (O’Mahoney & Markham, 2013 ). These are2 Strategy Consulting terms of use, available at https://www.cambridge.org/core/terms . https://doi.org/10.1017/9781108868365Downloaded from https://www.cambridge.org/core . IP address: 115.99.28.34 , on 17 Aug 2020 at 08:00:42 , subject to the Cambridge Corecomprehensive textbooks giving a representative view of what management consulting in large consulting corporations looks like. They typically combine an overview of the consulting history and industry with more instrumental advice as to how to consult in practice. On the practical side, there are also books directly targeted at the aspiring or practising consultant. With their ﬁrst editions printed in 1981 and 1992 and many copies sold, Peter Block ’sFlawless Consulting: A Guide to Getting Your Expertise Used (Block, 2000 ) and Alan Weiss ’Million Dollar Consulting: The Professional Guide to Growing a Practice (Weiss, 1992 ) are amongst the most inﬂuential of such books. They offer extensive prescriptions on how to be an effective consultant. Another example is Richard Newton ’sThe Management Consultant: Mastering the Art of Consultancy . Although it covers similar contents, the fact that it is written from a more personal perspective makes it a useful additional read. A fourth book in this category is The Trusted Advisor by David Maister, Charles Green and Robert Galford ( Maister, Green, & Galford, 2000 ). Like the previous three, this book is an instrumental work, explaining to the reader how to become a trusted advisor. It is particularly worth reading because of its focus on the concept of the trusted advisor, rather than management consultancy. I will return to what this means and why it is relevant later in this Element. Fourth, also instrumental, are works describing the approach of a speci ﬁc consulting ﬁrm. Unlike the previous three categories, these books zoom in on one consulting company and explain in detail how management consulting works at that particular company. The clear majority of these books is about McKinsey. Examples include The McKinsey Way by Ethan Rasiel (1999) ,The McKinsey Mind byEthan Rasiel and Paul Friga (2001 ),The Pyramid Principle by Barbara Minto (2009) andThe Firm: The Inside Story of McKinsey: The World ’s Most Controversial Management Consultancy by Duff McDonald (2013) . The ﬁrst three are written by (ex-) ‘McKinsey-ites ’actively promoting and distributing the way McKinsey works. As such, they offer an insider ’s view on what it means to work for the world ’s most dominant consulting ﬁrm. They are revealing, not merely because of their contents but also because of the style in which they are written. McDonald ’s work is different. It offers a deep peek into the inner workings of McKinsey over time. It is a more neutral and comprehensive analysis of McKinsey that reveals both its strengths and its weaknesses. Finally, there are the critiques al ready referred to earlier: James O ’Shea ’s and Charles Madigan ’sDangerous Company: Management Consultants and t h eB u s i n e s s e sT h e yS a v ea n dR u i n (O’Shea & Madigan, 1998 ), Lewis Pinault ’sConsulting Demons: Inside the Unscrupulous World of Global3 Business Strategy terms of use, available at https://www.cambridge.org/core/terms . https://doi.org/10.1017/9781108868365Downloaded from https://www.cambridge.org/core . IP address: 115.99.28.34 , on 17 Aug 2020 at 08:00:42 , subject to the Cambridge CoreCorporate Consulting (Pinault, 2009 ) and John Micklethwait and Adrian Wooldbridge ’sThe Witch Doctors: What the Management Gurus Are Saying, Why It Matters and How to Make Sense of It (Micklethwait & Woodridge, 1996 ). These are polemical works criticizing management consulting from various perspective s. Less polemical but critical too is Critical Consulting: New Perspectives on the Management Advice Industry ,e d i t e db y Timothy Clark and Robin Fincham (2002 ). It primarily emphasizes the rhetorical character of much management consulting. Also insightful is Richard Rumelt ’sGood Strategy/Bad Strategy: The Difference and Why It Matters (Rumelt, 2011 ). It is a criticism not of strategy consulting per se but of strategy in ge neral. However, given that strategy consultants are amongst the most important causes of ‘bad strategy ’, it does provide useful insights into their wo r k .As i x t hw o r ki nt h i sc a t e g o r yi s Ewald Weiden ’sFolienkrieg und Bullshitbingo: Handbuch für Unternehmensberater, Opfer und Angehörige (Slide War and Bullshit Bingo: Manual for Management Consultants, Victims and Relatives) (Weiden, 2014 ). It is more a parody approaching management consulting with a strike of humour. Its main added value is that it helps take consulting and consultants not too seriously. Together, the critical approach in these works makes them worth reading because it helps understand some of the weaknesses and downsides of managem ent and strategy consulting as it has been practised so far. By highlighting these, they show where improvement is needed to take strategy consulting to the next level. Altogether these books offer a thorough and balanced view of what manage- ment consulting looks like so far, how it has evolved to get there and what the upsides and downsides are. And even though they concern management con- sulting at large, much of what they say applies directly to strategy consulting. This Element will therefore not repeat for strategy consulting what these works have already said. This means this Element will not attempt to provide a comprehensive overview of strategy consulting, nor does it explain how the big consulting ﬁrms do strategy consulting. And, even though it will contain critical notes, it is not a polemical attack on strategy consulting. The main aim of this Element is to look forward and sketch what strategy consulting could, and perhaps even should, look like in the future in order to fully live up to its promise as a profession contributing to society. Therefore, what this Element contains is more an idealized future perspective than an accurate or representative account of strategy consulting today. As it unfolds in the next sections, this leads to a whole-brain, whole-person view on strategy consulting that moves beyond the dominant practice of analytical strategy consulting.4 Strategy Consulting terms of use, available at https://www.cambridge.org/core/terms . https://doi.org/10.1017/9781108868365Downloaded from https://www.cambridge.org/core . IP address: 115.99.28.34 , on 17 Aug 2020 at 08:00:42 , subject to the Cambridge Core1.2 De ﬁning Strategy Consulting For discussing strategy consulting, it is useful to ﬁrst de ﬁne what it means. The goal of this is not to come up with a ﬁnal or an all-encompassing de ﬁnition. The goal is to provide the foundation on which the view on strategy consulting outlined in this Element is based. Since both parts of the term ‘strategy consulting ’are up for discussion, I will ﬁrst de ﬁne them separately. 1.2.1 Strategy There are almost as many de ﬁnitions of strategy as there are authors writing about them. This means that any attempt to de ﬁne strategy will introduce debates and disagreements. Nevertheless, to de ﬁne strategy consulting, it is essential to de ﬁne what we mean by strategy. This is not only important to demarcate the differences between strategy and other types of consulting. It alsoaffects what strategy consulting could and should be. As explained in two earlier books –The Strategy Handbook ,p a r t s1a n d2 (Kraaijenbrink, 2015 ,2018) –Id eﬁne strategy as an organization ’s unique way of sustainable value creation. It means that an organization’ s strategy expresses which value it creates for whom, and how it does this in a way that differentiates it from itsmain competitors and so that it can sustain this difference for a longer period oftime. This de ﬁnition is neither unique nor original. It relies on various previous deﬁnitions, most notably on the foundational work of Michael Porter (1980, 1991 )and Henry Mintzberg (1987, Mintzberg & Waters, 1985 ). But its empha- sis on value creation, uniqueness, sustainability and the ‘way ’organizations achieve these, points to four important aspects: The focus is on value creation, not on creating competitive advantage as in many other de ﬁnitions. Of course, having a competitive advantage as an organization is helpful. But it is only a means towards unique and sustainablevalue creation, not a goal in itself. The reason of existence of any organizationis the value it creates for its customers. Therefore, value creation is centrestage in strategy. The emphasis on uniqueness means that strategy aims at standing out com- pared to the competition. It implies that a strategy re ﬂects how an organiza- tion aims to be different from its most relevant competitors. Ideally, this difference re ﬂects both the organization ’s unique strengths and the speci ﬁc needs of the customers it targets. The focus on sustainability means that strategy has a long-term orientation.A strategy is sustainable when it provides the organization with suf ﬁcient5 Business Strategy terms of use, available at https://www.cambridge.org/core/terms . https://doi.org/10.1017/9781108868365Downloaded from https://www.cambridge.org/core . IP address: 115.99.28.34 , on 17 Aug 2020 at 08:00:42 , subject to the Cambridge Corereturns, when it is not based on resources that are soon to be depleted, when it considers key stakeholders ’interests and when it is hard to imitate or cir- cumvent by others. If any of these four requirements is not met, a strategy is not really sustainable. Strategy concerns the way organizations try to realize the previous three aspects. It is not a plan, a document, a set of goals, aspirations or wishes. It is a way, a series of steps or actions that enables an organization to create value in a unique and sustainable way. And given that both the organization and its environment change continuously, this way is never ﬁxed. This means that strategy is a continuous process that never stops or starts. This brief de ﬁnition of what strategy means has important implications for strategy consulting. As we will see in Sections 5 and6, the continuous, action- oriented nature of strategy that results from it has signi ﬁcant implications for what strategy consultants can and cannot do and what the strategy consulting process looks like. Furthermore, as argued in Section 4 , its focus on sustainable value creation also has signi ﬁcant implications for the purpose and outcomes strategy consulting should be looking for. 1.2.2 Consulting Like with strategy, numerous de ﬁnitions of consulting exist. Examples include ‘Any form of providing help on the content, process, or structure of a task or series of tasks, where the consultant is not actually responsible for doing the task itself but is helping those who are ’(Steele, 1975 ,p .3 ) , ‘you are consulting any time you are trying to change or improve a situation but have no direct control over the implementation ’(Block, 2000 ,p .x x i )a n d ‘Management consultancy is thus a form of situation-speci ﬁca s s i s t a n c e provided by an independent, external and professional intervention-expert who enables the management of a client ’so r g a n i z a t i o nt ot a k ea c t i o ni na n over complex management situation ’(Hagenmeyer, 2007 ,p .1 1 0 ) .W h i l et h e y differ, together these de ﬁnitions highlight a number of characteristics de ﬁning consulting: External: a consultant is an outsider that supports an organization or orga- nizational unit but is not a part of it. This also applies to consultants within organizations: they are outsiders to the units they consult. Independence: while never 100 percent independent –as their income depends on the consulting assignment –a consultant is as independent as possible. This means that they have no personal stake in the issue they consult on or the solution that is sought for.6 Strategy Consulting terms of use, available at https://www.cambridge.org/core/terms . https://doi.org/10.1017/9781108868365Downloaded from https://www.cambridge.org/core . IP address: 115.99.28.34 , on 17 Aug 2020 at 08:00:42 , subject to the Cambridge CoreProfessionals: consultants are quali ﬁed individuals who have the relevant mindset, experience, skills and expertise needed to support their clients. They have high standards and are committed to doing the best for their clients. Support: consultants help organizations solve problems, execute tasks or achieve goals that they cannot do on their own. This also means that con- sultants are not responsible for or in control of what they consult on. Change: a consultant initiates, designs, facilitates and/or executes change in organizations. Their task is to help an organization make those improvements that help it survive and prosper. Along these lines, a consultant is an external and independent professional supporting organizations make changes. Consulting then is providing organiza- tions support with making changes as an external and independent professional. 1.2.3 Strategy Consulting Combining the two aforementioned de ﬁnitions, strategy consulting is providing organizations support with making changes to achieve unique and sustainable value creation as an external and independent professional. Or simply, helping organizations achieve unique and sustainable value creation as an external and independent professional. With this simple de ﬁnition as a starting point, we can now dive deeper and scrutinize in detail in this Element what strategy consulting entails and how to do it. Before we do so, we need to make two more observations to complement this deﬁnition. First, strategy consulting is not something reserved for big corpora- tions, neither on the client ’s side nor on the consultant ’s side. All organizations need strategy, no matter how small they are. Even independent freelancers need to have a unique and sustainable way of value creation to survive and prosper. And strategy consultancies can be large ﬁrms, small ﬁrms or independent consultants. All of them can provide their clients with support with making changes as external and independent professionals. Therefore, whatever is said about strategy consulting in this Element applies to these various types of consultancies and clients. Second, while the de ﬁnition is simple, strategy consulting is complex. As Kubr (2002) reminds us, it is both multidisciplinary (involving social, psycho- logical, legal, technological aspects etc.) and multifunctional (concerning mar- keting, production, engineering, ﬁnance, HR, R&D etc.). This multi-sidedness of strategy makes strategy consulting one of the most complex types of con- sulting. Even though other functions such as marketing, engineering or ﬁnance have their own internal complexities, the very fact that strategy concerns their integration adds another level of complexity to strategy consulting. When we7 Business Strategy terms of use, available at https://www.cambridge.org/core/terms . https://doi.org/10.1017/9781108868365Downloaded from https://www.cambridge.org/core . IP address: 115.99.28.34 , on 17 Aug 2020 at 08:00:42 , subject to the Cambridge Corefurthermore add that strategy takes place in an environment characterized by high volatility and uncertainty, it is obvious that strategy consulting is a challenging job. More importantly, and as referred to in the introductory quote, it means that strategy consultancy is about many things –but not about something as static and disengaged as providing an organization with a strategy. 1.3 Strategy Consulting as Profession The words ‘profession ’and ‘professional ’have appeared several times in the aforementioned text. This brings us to the decades-old discussion about whether management consulting –and therefore also strategy consulting –is a profession or not.McKenna (2006) andKubr (2002) , for example, explicitly use the word profession in the title of their books and also several other aforementioned works explicitly address this question. Therefore, it needs to be addressed in this Element as well. 1.3.1 Why It Matters The question of whether strategy consulting is a profession is part of a broader discussion on whether or not management and strategy are a profession and whether they should be ( Khurana, 2007 ;Rousseau, 2012 ;Spender, 2007 ). The sheer attention that is given to this question by academics suggests it matters. And it does, for two reasons. Theﬁrst reason is that, through their language and behaviours, strategy consul- tancies tend to present themselves as professionals and their job as a profession. By doing so, they suggest that they are like, for example, healthcare providers, lawyers and accountants, following agreed-upon practices, rules and guidelines. If this is how they present themselves, it is legitimate to ask whether they rightfully do so. Because if this is not the case, this may challenge consultants ’credibility and ethics. The second reason is that, if strategy consulting is or aspires to be a profession, then the ideas of what a profession entails serve as a frame of reference to assess current strategy consulting practice. We can then assess whether strategy consulting fulﬁls the criteria of being a profession. And where it does not, this provides directions for where strategy consulting should go. In other words, if strategy consulting aspires to be a profession, then the criteria of professions provide a normative framework for what strategy consulting should entail. 1.3.2 What It Means Whether strategy consulting is a profession or not depends on how we identify whether something is a profession. There are three ways to do this. The ﬁrst is8 Strategy Consulting terms of use, available at https://www.cambridge.org/core/terms . https://doi.org/10.1017/9781108868365Downloaded from https://www.cambridge.org/core . IP address: 115.99.28.34 , on 17 Aug 2020 at 08:00:42 , subject to the Cambridge Corea trait-based approach. It means listing the traits of a profession and assess whether strategy consulting has these traits. Traits that are mentioned include (1) one or more professional associations, (2) formal training and certi ﬁcation, (3) a standardized and shared body of knowledge, (4) a code of ethics to which one commits, (5) professional liability for the work done, (6) self-discipline and self-regulation and (7) a focus on contributing to the greater good ( Baaij, 2013 ; Kipping & Clark, 2012 ;Kubr, 2002 ;McKenna, 2006 ). A second way to assess whether strategy consulting is a profession is to follow a developmental approach. This means looking at whether the stake- holders involved in strategy consulting are currently taking the required actions needed to turn it into a profession. This means assessing whether a deliberate, conscious and coordinated attempt is going on to translate a set of scarce cultural and technical resources into a secure and institutionalized system of social and ﬁnancial rewards ( Kirkpatrick, Muzio, & Ackroyd, 2012 ). A third way is to not look so much at whether the ﬁeld is or is developing into a profession, but to look whether strategy consultants act as professionals and follow a professional approach. This includes having appropriate competences, avoiding con ﬂicts of interest, being impartial and objective, treating sensitive information con ﬁdentially, not accepting inappropriate payments, offering good value for money and taking into account a wider social concern and ethical principles ( Kubr, 2002 ). 1.3.3 Whether Strategy Consulting Is a Profession Evaluated against the seven traits of the ﬁrst approach, there is a widely shared conclusion that management consulting, and thereby strategy consulting implied, is at best an emerging profession. We ﬁnd this conclusion most clearly in the work of McKenna (2006) , but also in other works including those of Kubr (2002) ,Baaij (2013) ,Kipping and Clark (2012) andGreiner, Motamedi, and Jamieson (2011) . All of them conclude that management consulting hardly qualiﬁes as a profession on any of the seven traits. There are, for example, professional institutions (such as the International Council of Management Consulting Institutes, ICMCI), but their membership is low and they have no authority. As mentioned on their website, for example, ICMCI represents 64,200 individual consultants. This is less than 10 percent of the total number of management consultants in the United States alone.2Also, there is a lot of strategy consulting training, but this is mostly given within the boundaries of a single consulting ﬁrm and focused on distinction rather than on creating a shared body of knowledge. Furthermore, there is no shared code of ethics, 2www.statista.com/statistics/419968/number-of-management-consultants-us/ , numbers for 2018.9 Business Strategy terms of use, available at https://www.cambridge.org/core/terms . https://doi.org/10.1017/9781108868365Downloaded from https://www.cambridge.org/core . IP address: 115.99.28.34 , on 17 Aug 2020 at 08:00:42 , subject to the Cambridge Coreno professional liability, no self-regulation, and no clear focus on the greater good. In this light, as practised today, strategy consulting is clearly not a profession. When following the developmental approach, the conclusion is similar. Even though strategy consulting presents itself often as a profession, there are no signs that it is developing in that direction. There are scattered initiatives, for example by the ICMCI, but there are no widely spread or coordinated attempts to realize this. And this is not surprising. As McKenna (2006) andKirkpatrick, Muzio, and Ackroyd (2012) observe, consultancies have no interest to develop into a profession because professionalization would only constrain them. Currently they bene ﬁt from their professional image without the constraints and responsibilities that come with being an actual profession. According to the ﬁrst two approaches, we can conclude that strategy con- sulting is neither a profession nor developing in that direction. However, there seems to be some agreement that strategy consultants do follow a professional approach. While there always will be exceptions, the large majority of strategy consultants does work in the manner Kubr describes earlier –they have relevant competences, avoid con ﬂicts of interest, try to be impartial and objective and so on. Together these three brief assessments lead to a straightforward conclusion: strategy consultants are professionals but they don ’t function as a profession nor are they developing in that direction. 1.3.4 Whether Strategy Consulting Should Be a Profession Aﬁnal important question is whether strategy consulting should be a profession. We can take two perspectives here: a societal perspective and an individual perspective. When adopting a societal perspective, the answer seems clearly con ﬁrmative. As argued and well supported with evidence and examples in the comprehensive works referred to ( Kipping & Clark, 2012 ;Kubr, 2002 ; McKenna, 2006 ) and the critical ones ( McDonald, 2013 ;Micklethwait & Wooldridge, 1996 ;O’Shea & Madigan, 1998 ;Pinault, 2009 ), consultancies have had a signi ﬁcant role in the failure of many of their clients and also in stimulating illegal and unethical practices –the Enron scandal and McKinsey ’s involvement in it being the most notable example. Therefore, from a societal perspective one could easily argue that their unconstrained power and self- interested behaviour ought to be constrained by institutionalization, formal training, certi ﬁcation and self-regulation. Answering that same question from my personal perspective as a strategy consultant, though, leads to a different answer. As a consultant, I don ’t want to be constrained. I like the freedom I have and the fact that there are no standards10 Strategy Consulting terms of use, available at https://www.cambridge.org/core/terms . https://doi.org/10.1017/9781108868365Downloaded from https://www.cambridge.org/core . IP address: 115.99.28.34 , on 17 Aug 2020 at 08:00:42 , subject to the Cambridge Coredictating how I should work. Furthermore, I don ’t need an institution legitimiz- ing what I do, I don ’t believe formal training is going to make me a better consultant and I don ’t think that certi ﬁcation or institutional membership will increase my credibility. And also I don ’t think that regulation or a code of ethics will make me behave more ethical or focus more on contributing to the greater good. These are things I inherently intend to do anyway. The conclusion from a personal standpoint as strategy consultant is therefore clear as well: I don ’t think further professionalization is needed and I would even object to it, especially if it means formalization and adherence to norms and regulations imposed by institutions. What follows from these two opposing perspectives is that even though many of the aspired effects of professionalization are desired given the criticisms on consulting, the way forward is not necessarily a systemic attempt towards professionalization. I expect that many other consultants will object for similar reasons as I do. Furthermore, because of all the vested interests by large and powerful consulting corporations, it is very unlikely that there will be any signiﬁcant progress towards more institutionalized professionalization in the foreseeable future. As a result, bottom-up, gradual change by individual con- sultants adjusting their approach and mindset may be the best and only way forward. It is along those lines and with this intention that this Element was written. 1.4 An Idealist Perspective on Strategy Consulting This Element provides an idealist perspective on strategy consulting. This means that it offers a perspective on what strategy consulting could, or even should look like. Given the criticisms, it is not enough to just describe what strategy consulting is like today. Furthermore, as referred to in Section 1.1 , others have already done this before. Therefore, what follows is a forward- looking perspective on strategy consulting that moves beyond the status quo and that addresses the criticism. 1.4.1 Pseudo Consulting There are various reasons strategy consultants are hired that may be useful and legitimate, but that can be considered ‘pseudo consulting ’because no actual consulting takes place. These are cases where strategy consultants are primarily hired for rhetorical reasons or as scapegoat. While it applies to many consulting ﬁrms, especially McKinsey is known for being hired to legitimate and imple- ment decisions that have already been made or to take the blame for them along the idea ‘McKinsey is saying it, so it must be true ’. In those cases, hiring11 Business Strategy terms of use, available at https://www.cambridge.org/core/terms . https://doi.org/10.1017/9781108868365Downloaded from https://www.cambridge.org/core . IP address: 115.99.28.34 , on 17 Aug 2020 at 08:00:42 , subject to the Cambridge Corestrategy consultants is primarily a rhetorical act to enforce a previously made decision. Such type of pseudo consulting is outside the scope of this Element. Some critical scholars go even as far as de ﬁning consultants ﬁrst and fore- most as fad bringers and rhetoricians. Nikolova and Devinney (2012 ) call this the ‘critical model ’of consulting, thereby referring to the view on consulting offered by, amongst others, Alvesson (2002) andClark (1995) . The key point of that model of consulting is that consultants are specialists in impression man- agement –in giving clients the impression that they buy something valuable, often without much actual value being created. While this may be an overly critical interpretation of consulting in general, it does occur. Also this type of consulting is outside the scope of this Element. What this Element does focus on is ‘genuine ’strategy consulting that is aimed at helping clients forward with their strategy. Or, along the lines of the deﬁnition given earlier, the work that is focused on helping organizations achieve unique and sustainable value creation as an external and independent professional. 1.4.2 A Whole-Person Approach to Strategy Consulting The approach to strategy consulting outlined in this Element can be described as a‘whole-brain, whole-person ’approach. The details of this approach will unfold throughout the next sections, but the overall idea can be summarized as follows. So far, strategy consulting is largely a left-brain activity. It has a strong fact-based, cognitive-analytical focus aimed at deconstructing and solving problems in a scienti ﬁc or engineering fashion. However, the right part of the brain, which is associated with creativity, intuition, holistic thinking, empathy and self-awareness is largely ignored. Given that strategy consulting requires both halves and given that we are all endorsed with two brain halves, it is evident that, to be effective, a ‘whole-brain ’approach to strategy consulting is needed. Even further, we need a ‘whole-person ’approach to strategy consulting. So far, strategy consulting is primarily a head-only activity. The image of strategy consultants that we get from descriptions so far is that of cold ‘talking heads ’ that are supposed to switch off their emotions, provide clinical advice and are not supposed to get their hands dirty. But next to a head, people have a heart and hands too. Not using those in strategy consulting in today ’s challenging envir- onment is a waste of potential. Furthermore, actually helping organizations make changes requires strategy consultants to use their full capacity as human beings –including their speci ﬁc character, preferences, aspirations, viewpoints and emotions.12 Strategy Consulting terms of use, available at https://www.cambridge.org/core/terms . https://doi.org/10.1017/9781108868365Downloaded from https://www.cambridge.org/core . IP address: 115.99.28.34 , on 17 Aug 2020 at 08:00:42 , subject to the Cambridge CoreThere is another reason why a whole-brain, whole-person approach to strat- egy consulting is needed: it is increasingly what the next generation of employ- ees is looking for. As various studies reveal, people entering the labour market increasingly look for interesting jobs that give them the freedom to be them- selves and that provide them with a sense of contribution3. People increasingly want to make a difference. In the competition for talent, a whole-brain, whole- person approach can help to ensure that becoming a strategy consultant remains an attractive career choice. 1.5 Organization of Sections This Element is organized as follows. Section 2 offers a brief overview of the history of strategy, thereby primarily focusing on why it exists and how it came into being. Section 3 summarizes the traditional mode of consulting and the criticism it has received. Together, these two sections set the stage and provide an understanding of what strategy consulting has been like so far. The next three sections outline a view on strategy consulting that departs from this and takes strategy consulting towards the future. Section 4 discusses the purpose and outcome of strategy consulting, Section 5 the strategy consulting process and Section 6 the various roles strategy consultants play throughout this process. The Element ends in Section 7 with a conclusion and outlook. 2 The Origins of Strategy Consulting Like any ﬁeld, strategy consulting has a speci ﬁc history. Describing manage- ment consulting more broadly, and thereby including strategy consulting, this history has been extensively covered in previous works ( Kipping & Clark, 2012 ;Kubr, 2002 ;McDonald, 2013 ;McKenna, 2006 ). Instead of repeating their comprehensive accounts, this section follows a different approach. It starts with providing a very brief summary of the history of strategy consulting so that the basic development of the ﬁeld is understood. Thereafter, Section 2.2provides an inventory of the various explanations of why strategy con- sulting exists. This provides an understanding of why and how strategy consulting works the way it does. The section concludes by offering an alternative history in Section 2.3 . The reason is that, if the premise on which this Element rests –that strategy consulting should be different in the future than today –is correct, alternative perspectives come in that have their own history. 3www2.deloitte.com/global/en/pages/about-deloitte/articles/millennialsurvey.html www.accenture.com/us-en/insights/strategy/whole-brain-leadership-for-c-suites13 Business Strategy terms of use, available at https://www.cambridge.org/core/terms . https://doi.org/10.1017/9781108868365Downloaded from https://www.cambridge.org/core . IP address: 115.99.28.34 , on 17 Aug 2020 at 08:00:42 , subject to the Cambridge Core2.1 A Very Brief History of Strategy Consulting To understand where strategy consulting comes from, it is useful to summarize some of the key historical facts and developments as they have taken place over the past century. They are: 1870 –1900: industrial revolution, going hand in hand with the emergence of the ﬁrstﬁeld of consulting: operations consultancy. With its roots in engineering and the in ﬂuential work of Frederick W. Taylor, Harrington Emerson and Charles Eugène Bedaux, the focus was on improving efﬁciency. 1910 –1930: development of the second ﬁeld of consulting: organizational consulting. Parallel to the emergence of the multidivisional corporate form and building upon ideas from engineering too, consultancies like Arthur D. Little (1909), Booz Allen & Hamilton (1914) and McKinsey & Company (1926) were founded. They focused on solving organizational issues by designing and changing organizational structures and processes. 1910 –1950: in parallel to organizational consulting, the ﬁeld of human relations and organizational development (OD) emerged as a ﬁeld of con- sulting. Notable contributions were Mayo ’s Hawthorne studies (published in 1933), John D. Rockefeller ’sﬁnancial support and industrial relations and Eric Trist ’s work at the Tavistock institute from 1945 on. 1950 –1960: as a result of the ﬁrst mainframe computers, development of IT consultancy as new consulting discipline. Especially IBM (founded 1924) played an in ﬂuential role in advancing this discipline. 1960 –1980: emergence of strategy consulting as separate discipline, most notably by the foundation of the Boston Consulting Group in 1963, Roland Berger in 1967 and Bain & Company in 1973, where it is useful to notice that both Roland Berger and Bill Bain were BCG alumni. Other interesting facts are the roles of US legislators, the military and business schools ( David, 2012 ), as well as the development of the strategy consulting sector between 1980 and today ( Kipping & Clark, 2012 ). But it is this early history that helps understand where strategy consulting comes from. Important to notice is the ﬁeld’s engineering roots, evidenced by strategy consulting ’s direct predecessors operations and organizational con- sulting. Also important to notice is the role of the Boston Consulting Group. It is this consulting ﬁrm where strategy consulting started. And it is their growth-share matrix (or BCG matrix, with its cash cows, stars, question marks and dogs) that was the ﬁrst main strategy consulting tool (McDonald, 2013 ).14 Strategy Consulting terms of use, available at https://www.cambridge.org/core/terms . https://doi.org/10.1017/9781108868365Downloaded from https://www.cambridge.org/core . IP address: 115.99.28.34 , on 17 Aug 2020 at 08:00:42 , subject to the Cambridge Core2.2 Why Strategy Consulting Exists To understand what strategy consulting is we should not only look at the historical development, but also develop a better understanding of why it exists in the ﬁrst place. This reveals why strategy consulting works the way it does and why it has developed in the way it has. Across the literature, there are no less than ten alternative, partly overlapping, but nevertheless distinct and complementary explanations. 2.2.1 Economic Perspective A widely used explanation of why strategy consultancy exists is because specializing in strategy involves economies of knowledge ( Saam, 2012 ). Like with other specialized services, the idea is that consultants can develop and accumulate advanced specialized knowledge in strategy by working with different organizations. Since every single organization can only develop this knowledge for itself, consultants thereby have a knowledge advantage. As such, they can bene ﬁt from information asymmetries and economies of knowledge by developing advanced knowledge and reusing it at various clients. 2.2.2 Resource-Based Perspective A closely related, but more strategic perspective is that strategy consultants can obtain and develop valuable, rare, inimitable and non-substitutable resources and capabilities that provide them with a competitive advantage that they can exploit. While most of the assumptions are similar as in the economic perspective, this resource-based view ( Barney, 1991 ; Kraaijenbrink, Spender, & Groen, 2010 ) emphasizes more the value that ﬁrms can create by offering strategy consulting services rather than the efﬁciencies that can be achieved. 2.2.3 Institutional Perspective Another, more historically oriented explanation can be found by looking at the conditions and institutions that played a role in shaping the strategy consulting market. As David (2012) ,McDonald (2013) and McKenna (2006 ,2012 ) show, developments in legislation, business schools, the military situation and the busines s press created the conditions under which strategy consulting could develop and ﬂourish. As such, strategy consulting can be seen as an expected, a lmost inevitable response to these conditions.15 Business Strategy terms of use, available at https://www.cambridge.org/core/terms . https://doi.org/10.1017/9781108868365Downloaded from https://www.cambridge.org/core . IP address: 115.99.28.34 , on 17 Aug 2020 at 08:00:42 , subject to the Cambridge Core2.2.4 Organizational Perspective Parallel to the developments in society, the emergence of strategy consulting can also be explained by looking at organizations themselves. As David (2012) points out, the development of the multi-divisional form of corporations, with its dispersed and decentralized units has made them so complex and hard to manage, that this created the opportunity for strategy consultants to step in. Related is that many organizations today have marginalized their strategy knowledge and processes to such an extent that they have dif ﬁculties managing strategy themselves, thereby opening the door for strategy consultants. 2.2.5 Isomorphism Perspective In deciding whether or not to adopt certain practices, managers often look at other organizations. The idea is that, if others do it, it is probably useful for them to do it too. This is called isomorphism ( DiMaggio & Powell, 1983 ), and this also plays a role in the adoption of strategy consultants. As a result of the ﬁrst four perspectives, the idea has emerged that hiring consultants for strategy is the right thing to do. This applies in particular to the strategy generation phase. Because other managers are hiring strategy consultants, managers think they should hire them too. Isomorphism keeps this idea alive, even when the original reasons for hiring strategy consultants don ’t apply anymore. 2.2.6 Mysti ﬁcation Perspective Strategy consulting, as well as other types of strategy services like strategy education and publication, bene ﬁts from actively mystifying the notion of strategy and that of consulting. As we learn in textbooks and MBA courses, strategy must by high level and abstract, because, as soon as it becomes more practical and operational, it is not a strategy anymore. The deliberate secrecy surrounding the large strategy consulting ﬁrms contributes further to this mysti ﬁcation. As a result of this mysti ﬁcation, managers may feel incapable of proper strategizing, thereby creating opportunities for strategy consultants. 2.2.7 Enlightenment Perspective As a result of a centuries-long development that is going on since the Enlightenment in 18th Century Europe (or arguably even since Plato, 400 BC), we are conditioned to think that scienti ﬁc, rational-analytic approaches are the best or even only way to solve problems. Strategy consul- tancies are experts at solving problems in this way. Thereby, they allude to this almost built-in idea that we have, which makes them attractive to hire. The idea16 Strategy Consulting terms of use, available at https://www.cambridge.org/core/terms . https://doi.org/10.1017/9781108868365Downloaded from https://www.cambridge.org/core . IP address: 115.99.28.34 , on 17 Aug 2020 at 08:00:42 , subject to the Cambridge Coreis that, if problems should be addressed in a rational-analytic way, and if strategy consultants are the experts, they are the ones that should be asked to solve the problem. 2.2.8 Marketing Perspective The success of strategy consultancy can also be understood by looking at it from a marketing and sales perspective. As various scholars have argued, strategy consultancies and in particular consulting gurus play a central role in creating and distributing management fads and fashions ( Abrahamson, 1996 ;Clark, Bhatanacharioen, & Greatbatch, 2012 ;Jung & Kieser, 2012 ). By introducing new information, frameworks and tools and publishing about them, consultancies actively create and maintain both the demand and the supply for their services. 2.2.9 Sociological Perspective The success of strategy consulting can also be understood from a sociological network perspective ( Faust, 2012 ). Strategy consultancy ’s reputation and net- work position provide them with various bene ﬁts that make them attractive partners for organizations. They are often well connected and respected and use these network-based strengths to their advantage. Furthermore, by having many of their alumni working for other organizations, strategy consultancies often have strong ties with clients and prospective clients. 2.2.10 Career Perspective A last perspective explaining why strategy consulting exists is that it is, for some, an attractive career choice. It offers a good salary and status, interesting clients and travelling destinations and working on top-level organizational issues without having the responsibility for them. As Lemann (1999) puts it, it is the ‘odd upper-meritocratic combination of love of competition, herd mentality, and aversion to risk ’that makes a consulting job so appealing (McKenna, 2006 ). This attractiveness makes that many highly quali ﬁed stu- dents apply for a job as strategy consultant. As these ten perspectives show, the reasons why strategy consulting is what it is and has grown to such an extensive business are multifold. In isolation they all provide partial explanations, but altogether they help us understand why strat- egy consulting has become the in ﬂuential business it is today. These perspec- tives also reveal how and why strategy consulting works. We see, for example, that it works through developing and exploiting specialized generic strategy17 Business Strategy terms of use, available at https://www.cambridge.org/core/terms . https://doi.org/10.1017/9781108868365Downloaded from https://www.cambridge.org/core . IP address: 115.99.28.34 , on 17 Aug 2020 at 08:00:42 , subject to the Cambridge Coreknowledge across clients (#1) and developing tools and active publication to create awareness and demand for their services (#8), thereby ﬁlling a void that organizations have created themselves (#4). 2.3 An Alternative History The above brief history and perspectives help us understand how strategyconsulting as we currently know it has emerged. This is helpful. But it is notenough if we want to look forward to where strategy consulting may be orshould be heading. If, as suggested in Section 1.4 , this is a whole-brain, whole- person approach to strategy, then knowing the history of strategy consulting aswe know it is not enough. In particular the development of HR and ODconsulting become a crucial part of its history too because these complementthe left-brain orientation of strategy consulting as we know it. While its engineering roots can be seen as strategy consulting ’s father, responsible for its left-brain focus, HR/OD consulting can be seen as itsmother –and more responsible for the right-brain part that is mostly missing so far. Section 2.1 already brieﬂ y mentioned the work of Mayo and Trist as important contributions to this ﬁeld of consulting. Because it is less emphasized in accounts of strategy consulting ’s history, it is worthwhile giving it more attention at this place. As the next section will show in more detail, the mode of strategy con- sulting that has emerged from engineering is expert consulting. Strategyconsultants are supposed to come up with solid analyses, leading to well-founded answers. HR/OD consulting, on the other side, is more process andpeople oriented ( Greiner et al., 2011 ). Also, whereas strategy consulting adopts primarily a problem-solving approach (focused on ﬁxing what is wrong), HR/OD consulting focuses much more on building upon an organi-zation ’s strengths and aspirations. Foundational contributions to the development of this line of thinking come from Mary Parker Follett in the 1920s ( Follett, 1924 ;Follett, Fox, & Urwick, 1973 ). Unlike her well-known contemporary Frederick W. Tayler and his ‘Scienti ﬁc Management ’(Taylor, 1911 ), Follett outlines a view on management and organizations that is people and development-oriented. Her work has beenthe source of many HR/OD-related ideas such as consent-based decision-making, transformational leadership, reciprocal relationships, integrative andholistic thinking, diversity and the importance of informal processes. Eversince, many others have built on Follet ’s ideas, including Kurt Lewin (1948) , Douglas McGregor (1960) ,Abraham Maslow (1970) and Chris Argyris (Chris Argyris, Putnam, & McLain Smith, 1985 ;Argyris & Schön, 1978 ).18 Strategy Consulting terms of use, available at https://www.cambridge.org/core/terms . https://doi.org/10.1017/9781108868365Downloaded from https://www.cambridge.org/core . IP address: 115.99.28.34 , on 17 Aug 2020 at 08:00:42 , subject to the Cambridge CoreWhile all of them have signi ﬁcantly in ﬂuenced HR/OD consulting, there is one approach worthwhile mentioning speci ﬁcally because it most explicitly focuses on consulting and is both deviating from and complementary to the traditional strategy consulting approach: appreciative inquiry ( Cooperrider & Srivastva, 1987 ;Whitney & Cooperrider, 2005 ). The core idea of appreciative inquiry is to start with what already works in an organization and build further upon that. It is ‘the cooperative, coevolutionary search for the best in people, their organizations, and the relevant world around them. It involves systematic discovery of what gives life to an organization or a community when it is most effective, and most capable in economic, ecological, and human terms ’ (Whitney & Cooperrider, 2005 , p. 8). While its principles and approach need not necessarily be fully adopted, the next sections will show how embracing some of the core principles of appreciative inquiry helps developing a whole- brain, whole-person approach to strategy consulting. 3 Traditional Strategy Consulting and Its Limitations As a result of the speci ﬁc history outlined in the previous section , a dominant approach to strategy consulting has emerged over the past decades. I will refer to this as the traditional approach to strategy consulting. Because it is the dominant approach and the source of much criticism, it is important to under- stand this approach when we want to move forward. To stay brief and focused, the description is limited to McKinsey ’s approach. While it will not be fully representative, it is the best documented and most in ﬂuential approach applied and taught across this globe. Furthermore, because various other consulting ﬁrms have their origins inside McKinsey too, its approach is in the DNA of the sector. 3.1 The Traditional Strategy Consulting Approach Overall, the traditional approach to strategy consulting can be best summarized as an expert approach. It is described in general in textbooks ( Baaij, 2013 ; Newton, 2010 ) and more speci ﬁcally in accounts of McKinsey ’s way of work- ing (McDonald, 2013 ;Minto, 2009 ;Rasiel, 1999 ;Rasiel & Friga, 2001 ). It has the following twelve characteristics. 3.1.1 Expert and Expertise-Based The traditional approach to strategy consulting assumes that consultants know more about strategy than their clients, and are therefore in the position to provide them with expert advice as to how to move forward. Clients and their employees are considered important sources of information, but it is only the19 Business Strategy terms of use, available at https://www.cambridge.org/core/terms . https://doi.org/10.1017/9781108868365Downloaded from https://www.cambridge.org/core . IP address: 115.99.28.34 , on 17 Aug 2020 at 08:00:42 , subject to the Cambridge Coreconsultant that can really understand what is going on with the client ’s strategy and that has the right expertise to offer the client proper advice. Also, because they are outsiders, consultants are able to make objective diagnoses and deliver unbiased solutions. 3.1.2 Advice-Oriented The main aim of traditional strategy consulting is to provide the client with proper, actionable advice. This advice should be instructional and telling the client exactly what to do and why. Ideally, this advice is presented in a structured and convincing way and laid out in both a substantive report as well as an energizing presentation. While involvement in implementation is sometimes included, the advice is mostly the aspired end result of the consul- tant ’s engagement. 3.1.3 Problem-Focused Theﬁrst step and primary focus of any engagement following the traditional approach to strategy consulting is to identify an organization ’s key strategic problems. Organizations are seen as machines that are broken and that need to be repaired. Therefore, meticulous diagnosis and problem analysis take place to identify, categorize and prioritize the organizations main problems. As Rasiel (1999 , p. 2) puts it, ‘McKinsey exists to solve business problems. ’ 3.1.4 Project-Based The traditional consulting approach is built around projects. Projects are speci- ﬁed upfront, have a demarcated scope, have a start and end point de ﬁned and an accompanying price agreed upon. They usually follow a staged approach with distinct phases such as initiation, diagnosis, solution development and closure. This project-based approach emphasizes the temporary nature of the consul- tants ’engagement, as well as the clearly de ﬁned work or outcome that is expected from them. 3.1.5 Analytical and Structured To diagnose problems, the traditional strategy consulting approach follows a systematic, structured analytical approach. Using tools like cause diagrams and logic trees and following the ‘MECE ’principle that all analyses should lead to a set of mutually exclusive and collectively exhaustive components, organi- zational problems are decomposed into their ﬁnest details. And then, once the root causes are identi ﬁed, solutions are designed that ﬁx the problems.20 Strategy Consulting terms of use, available at https://www.cambridge.org/core/terms . https://doi.org/10.1017/9781108868365Downloaded from https://www.cambridge.org/core . IP address: 115.99.28.34 , on 17 Aug 2020 at 08:00:42 , subject to the Cambridge Core3.1.6 Hypothesis-Driven While not all expert consultants embrace it, McKinsey works hypothesis- driven. This means that, early on in the process, consultants are stimulated to use their gut feeling and make an estimate (hypothesis) of what they think the problem and solution are. The analytical process that follows is focused on proving or disproving this hypothesis. This makes it a focused approach, which is directed towards a particular diagnosis and solution from the beginning. 3.1.7 Fact-Based and Quantitative The traditional strategy consulting approach relies on facts. All claims that are made should be supported by qualitative and preferably quantitative data. Except for the initial hypothesis, there is little room for speculation, hunches or opinions. And emotions should be explicitly kept to the side to keep them from interfering the rational, fact-based analysis. This makes data gathering one of the most important consulting skills required, especially in the early stages of a consultant ’s career ( Rasiel & Friga, 2001 ). 3.1.8 Best-Practice-Led As mentioned in Section 2 , one of the explanations of why consulting can exist is knowledge ef ﬁciencies, the idea that knowledge used at one organization can be used in other organizations as well. Strategy consultants use this for ﬁnding solutions for their diagnosed problems. Every large consulting ﬁrm has a set of generalized solutions and tools –such as the M- ﬁrm, decentralization, lay-offs or the experience curve –and a database with previous projects. Even though solutions are tailored to the speci ﬁc needs of clients, their origin often lies in reusing these generalized ‘best practices ’. 3.1.9 Brainstorming-Based Solutions do not only come from previo usly used practices. They also come from brainstorming. It is seen as ‘thesine qua non of strategic consulting. It’s what the clients really buy ’because ‘Let’s face it. Most large, modern corporations are chock full of intelli gent, knowledgeable managers who are darned good at day-to-day problem so lving. McKinsey offers a new mind- set, an outsider ’s view that is not locked into ‘the company way ’of doing things ’(Rasiel, 1999 ,p .9 3 ) .I no t h e rw o r d s ,n e x tt ot h e i re x p e r t i s e ,i ti s also their creativity and outsider view that makes the expert consultant valuable.21 Business Strategy terms of use, available at https://www.cambridge.org/core/terms . https://doi.org/10.1017/9781108868365Downloaded from https://www.cambridge.org/core . IP address: 115.99.28.34 , on 17 Aug 2020 at 08:00:42 , subject to the Cambridge Core3.1.10 Persuasive Expert advice only works if the client can be convinced that the strategy consultant has made the right diagnosis and proposes the right solution. Therefore, persuasive communication is another hallmark of traditional strategy consulting ( Clark & Fincham, 2002 ). McKinsey ’s well-known ‘pyramid-style ’ of communication ( Minto, 2009 ) exempli ﬁes this, as well as the fact that the entire Part 3 of Rasiel ’s (1999) ‘The McKinsey Way ’is titled ‘The McKinsey Way of Selling Solutions ’(my emphasis) and continuously mentions the importance of generating ‘buy-in ’. 3.1.11 Long-Cycle and Planning-Based With its strong emphasis on problem-solving, analysis, brainstorming and generating persuasive advice, the traditional approach to strategy consulting is based on long-cycle thinking. It dedicates a long time to cognitive work – deﬁning the problem and the solution –before any action is taken. This means that, as is the case in traditional strategy, there is a clear divide between strategy generation and its execution and a clear focus on creating plans of which the execution takes substantial time and effort too. 3.1.12 Top Management-Focused The most important persons for traditional strategy consulting are the client ’s top management. The higher in rank, the more important a person is. And usually the person highest in rank is considered to represent ‘the client ’. People lower in the organization are seen as potentially relevant information sources, but –at least in McKinsey ’s case –only if they are considered to be intelligent and open-minded enough to meet McKinsey ’s standards. Otherwise, they are considered liabilities to be avoided: ‘There are two kinds of “liability ” members on a client team: the merely useless and the actively hostile ’(Rasiel, 1999 , p. 129). 3.2 The Traditional Consulting Process Along with the characterization of the traditional approach above belongs the process through which this approach is delivered. This process is mostly described along a set of steps, preferably executed in linear order. Illustrative are the following decompositions of the consulting process in steps: Baaij (2013) : Problem diagnosis, Solution development, Solution commu- nication, Solution implementation.22 Strategy Consulting terms of use, available at https://www.cambridge.org/core/terms . https://doi.org/10.1017/9781108868365Downloaded from https://www.cambridge.org/core . IP address: 115.99.28.34 , on 17 Aug 2020 at 08:00:42 , subject to the Cambridge CoreNewton (2010) : Propose to win ( ﬁnd, focus, frame), Deliver to satisfy (commence, collect, consider, create, counsel, consult), Close to cultivate (close). Rasiel and Friga (2001) : Business need (competitive, organizational, ﬁnan- cial, operational), Analysing (framing, designing, gathering, interpreting), Presenting (structure, buy-in), Managing (team, client, self), Implementation (dedication, reaction, completion, iteration), Leadership (vision, inspiration, delegation). Kubr (2002) : Entry, Diagnosis, Action planning, Implementation, Termination. What these descriptions of the process have in common is that they suggest a process with a clear start (e.g. Propose to win or Entry), an analytical phase in which the client ’s problem is diagnosed (e.g. Problem Diagnosis or Analysing), a design stage in which the solution is generated (e.g. Solution development or Action planning), a stage in which the solution is communicated (e.g. Solution communication or Presenting), an implementation stage (Solution implementa- tion or Implementation) and a stage in which the engagement is ended (e.g. Close to cultivate or Termination). What they also have in common is that they don ’t distinguish between strategy consulting and other types of management consulting, implying that the same process is used for various kinds of manage- ment consulting. While not all strategy consulting will equally ﬁt the picture that emerges from this process and the twelve characteristics outlined in Section 3.1 , it does provide a reasonably accurate description of strategy consulting as it has emerged from the historical developments summarized in the previous section . It is this approach to strategy consulting that is responsible for the majority of criticisms. Therefore, we need to look at those too. 3.3 Its Problems and Limitations The traditional approach to strategy consulting of course has its strengths. It has always attracted some of the brightest minds and it produces meticulous analyses and persuasive advices that have put their stamp on the nature of corporations as we know them today. Furthermore, it has resulted in various powerhouses where signi ﬁcant money is made and which corporations feel virtually obliged to work with. But despite the success this approach has delivered consulting ﬁrms, there is broad and deep criticism too. A review of the literature shows no less than seventeen important points of criticisms raised. These are drawn both from the polemical works referred to earlier (Micklethwait & Wooldridge, 1996 ;O’Shea & Madigan, 1998 ;Pinault,23 Business Strategy terms of use, available at https://www.cambridge.org/core/terms . https://doi.org/10.1017/9781108868365Downloaded from https://www.cambridge.org/core . IP address: 115.99.28.34 , on 17 Aug 2020 at 08:00:42 , subject to the Cambridge Core2009 ), as well as more balanced critiques ( Clark & Fincham, 2002 ;Delany, 1995 ;Greiner et al., 2011 ;Kipping & Clark, 2012 ;McDonald, 2013 ; C.McKenna, 2012 ;McKenna, 2006 ;Payne & Lumsden, 1987 ). 3.3.1 Arrogance There is substantial arrogance in the expert approach summarized earlier and, in particular, in its McKinsey version. Various authors have observed this and commented on how McKinsey ’s consultants ﬁnd themselves clearly superior to their clients. Even when not having worked with them or for them, one can experience this by reading Rasiel ’s books and the superiority they express (Rasiel, 1999 ;Rasiel & Friga, 2001 ). While arrogance may come with other types of consulting too, it is especially present in strategy consulting, because strategy is assumed to supersede all other disciplines. 3.3.2 Pretence of Knowledge If the observed arrogance were only a matter of style, one could argue that, even though we might not like it, strategy consultants know better than their clients and therefore have the right to be arrogant. But this is not necessarily the case. If they are experienced, strategy consultants probably know more about strategy in general then their clients. But in most cases, their clients know the speci ﬁcs of their own company as well as their industry much better. And these are the speciﬁcs that matter for creating unique and sustainable value. Therefore, even though strategy consultants may possess some important knowledge, it is a best partial and incomplete. 3.3.3 Pretence of Science One of the key mechanisms to support the pretence of knowledge is the science-inspired methods, tools and language that strategy consultants use. Cause diagrams, logic trees, hypotheses, data gathering and the MECE criteria make strategy consulting look like a scienti ﬁc discipline. But much of this is rhetoric and based on a stylized image of the natural sciences. One could seriously question, for example, whether decomposing a strategic problem into components that are mutually exclusive and collectively exhaustive is useful at all. Of course, one doesn ’t want to overlook important aspects of a problem. But that doesn ’t imply that these aspects should be mutually exclusive and exhaustive. In reality they aren ’t. They are all inter- connected and it is this interconnected nature of strategy that makes it so important.24 Strategy Consulting terms of use, available at https://www.cambridge.org/core/terms . https://doi.org/10.1017/9781108868365Downloaded from https://www.cambridge.org/core . IP address: 115.99.28.34 , on 17 Aug 2020 at 08:00:42 , subject to the Cambridge Core3.3.4 Lack of Integrative View Applying the science-inspired approach and especially the MECE criteria draws the strategy consultant ’s attention to details. Even though there is much talk of ‘integrative views ’and even though tools such as cause diagrams, logic trees and the pyramid principle should help keeping the bigger picture in mind, the emphasis is on analysing factual details. The result is that especially informal, social, intuitive and other right-brain aspects are easily overlooked because these don ’t lend themselves equally well to be analysed with the tools used. The holistic view these right-brain qualities can provide, though, is an essential ingredient of strategy consulting. 3.3.5 Pretence of Creativity As referred to in Section 3.1 , the consultant ’s creativity is assumed to be what clients really buy when hiring a strategy consultant. As outsiders, and using the brainstorming and hypothesis-driven approach, strategy consultants can come up with out-of-the box solutions that companies can ’t come up with themselves. This idea, though, is based on one particular view on creativity: the ‘sudden spark ’view that ideas must come suddenly, unexpected and from outside. A large part of creativity though, is hard work and based on cumulative previous experience. It is the people at the client ’s company that have this experience, not the strategy consultants. 3.3.6 Negative Orientation The starting point for the traditional consulting approach is that something is wrong with the client ’s organization. Therefore, its entire focus is on repairing what is broken. Little attention is given to more appreciative approaches that build on what has been achieved and what energizes the organization. Strikingly, it is McKinsey ’s most famous consultant gurus Waterman and Peters who, in their book In Search of Excellence (Peters, Waterman, & Jones, 1982 ), offer an outright attack on McKinsey ’s problem-oriented approach ( McDonald, 2013 ).In Search of Excellence , therefore, focuses on what does work instead of on problems. 3.3.7 Project Instead of Process-Based The project-based approach to strategy consulting suggests that a clear start and end point can be de ﬁned. But that is not what strategy is like in practice. There is no start, nor is there an end. Strategy is a process that always continues because both organizations and their environment continuously evolve. And25 Business Strategy terms of use, available at https://www.cambridge.org/core/terms . https://doi.org/10.1017/9781108868365Downloaded from https://www.cambridge.org/core . IP address: 115.99.28.34 , on 17 Aug 2020 at 08:00:42 , subject to the Cambridge Coreconsciously or not, organizations are always in the process of executing and changing their strategies. This makes a project-based approach a mismatch withthe very nature of strategy. It isolates a ‘project ’from the ongoing processes and thereby further reduces the integrative nature of strategy. 3.3.8 Slow and Linear With its focus on analysis and strategy generation, traditional strategy consult- ing suffers from the same problem that we see in traditional strategy in general:its‘waterfall approach ’is too slow and linear compared to the fast-changing world we live in and it pays too little attention to strategy execution. In a worldwhere organizations increasingly shift to more agile, experimental and trial-and-error-based ways of working, the traditional consulting approach doesn ’tﬁt. Instead, it asks for more short-cycle iterative approaches in which implementa-tion is integrated as part of a continuous learning cycle. 3.3.9 Disengaged At McKinsey, a project is often called an ‘engagement ’. But a criticism to the traditional consulting approach is exactly that it is too disengaged.Characteristic for the traditional approach is that the strategy consultant doesn ’t engage much with the client. Consultants do talk to employees, but stay ata distance to keep their objective outsider view. And if they engage withemployees, it is only with those that are smart enough to meet the consultant ’s standards to provide them with the information needed. Because making stra-tegic changes is just as much a social process as it is analytical, this disengage-ment with the majority of the client ’s employees can make the implementation of the advice given dif ﬁcult. 3.3.10 De-Humanized Traditional strategy consulting reduces people largely to rational thinkers. People can provide or gather information, process it and communicate it. Allother aspects of what makes us human beings –especially emotions –are considered a nuisance. This applies to clients, where employees are primarilyseen as information sources. And it also applies to consultants. One of thehallmarks of the large consulting ﬁrms is that individual consultants are anon- ymous and interchangeable. Since they all meet a certain standard of intelli-gence and apply the consultancy ’s methods, it shouldn ’t matter which consultant is involved. Also, consultants are required to keep their subjectiveopinions and emotions from interfering with their work.26 Strategy Consulting terms of use, available at https://www.cambridge.org/core/terms . https://doi.org/10.1017/9781108868365Downloaded from https://www.cambridge.org/core . IP address: 115.99.28.34 , on 17 Aug 2020 at 08:00:42 , subject to the Cambridge Core3.3.11 Lacking Diversity Another, related criticism concerns the overly Caucasian masculine character of traditional consulting. Strategy consulting, as well as strategy at large, so far has a strong white male bias. This applies to the board room, academia and consulting. Even though there are various diversity and inclusion pro- grammes, the ﬁeld still has this bias –this author included. This doesn ’to n l y appear in the composition of the population of strategy consultants. It also appears in the left-brain, masculine approach to strategy consulting that was outlined earlier. 3.3.12 No Liability and Risk The distance kept, the focus on providing advice and the fact that the respon- sibility for implementation is left to the client make strategy consulting a low- risk activity. Even though their advices can have major consequences for the client ’s organization and the people working there, strategy consultants rarely accept liability for their work. As argued before, this is one of the reasons why it doesn ’t qualify as a profession. This risk-free nature of strategy consulting makes that consultants can provide ineffective and even harmful advices with- out other consequences than not being hired again by the same client. 3.3.13 Pro ﬁt-Oriented The primary aim of traditional strategy consulting is making the client ’s orga- nization more pro ﬁtable, or pro ﬁtable again. Often, involving strategy consul- tants leads to cost-cutting and lay-offs, thereby reducing the organization ’s yearly expenditures. And where the emphasis is on value-creation instead of cost-cutting, it targets primarily at increasing an organization ’s turnover. In the light of the Elkington ’s (1998) ‘triple bottom line ’of people, planet and pro ﬁt, the emphasis in traditional consulting is therefore clearly on the last. In the light of the increasing attention to sustainability, this re ﬂects a rather narrow view on the purpose of strategy consulting. 3.3.14 Self-Centred Another criticism raised is that strategy consulting projects sometimes seem to be targeted at con ﬁrming and growing the consultant ’s status rather than at helping a client. Along these lines, clients must be grateful that the strategy consultant is willing to work with them and must make sure that they do everything to let the consultants do their work properly. The most important outcome in such case is not necessarily that the client is really helped, but that27 Business Strategy terms of use, available at https://www.cambridge.org/core/terms . https://doi.org/10.1017/9781108868365Downloaded from https://www.cambridge.org/core . IP address: 115.99.28.34 , on 17 Aug 2020 at 08:00:42 , subject to the Cambridge Corethe consultant can close another successful project that adds to his glory and career opportunities. 3.3.15 Creating Dependence The self-centredness is not limited to the individual consultant. Strategy con- sultancies (and management consultancies more generally) are also criticized for creating dependencies and lock-in effects so that the client cannot do without them anymore. Supposedly driven by greed, they are also criticized for making acquiring the next project the major aim of the current project. Such creation of lock-in and search for additional money-making opportunities is not necessarily what is best for their clients. 3.3.16 Selling Fads Strategy consultants are also criticized for creating and selling fads rather than actually helping their clients. Through their publications, they ﬁrst create feel- ings of anxiety at their prospective clients so that the client is receptive to a consultant ’s advice. Subsequently, consultants come in with their self- developed tools to solve the problem and take away the anxiety they have created themselves. As such, the criticism goes, strategy consultants are merely well-skilled salespersons and marketeers being able to sell hot air. 3.3.17 Unethical Aﬁnal and broader criticism that results from several of the above criticisms is that strategy consulting is to some extent unethical. The degree to which it is unethical obviously depends largely on the degree to which consultancies or individual consultants show the behaviours above. But as we can invoke from the amount and strong-worded arguments in the critical literature, it is a criticism that cannot be taken lightly. And in the light of the discussion about strategy consult- ing as a profession, it is a point of criticism that needs to be addressed adequately. Together, these seventeen points of criticism form a broad-fronted attack of the traditional consulting approach, and particularly to how it is used by the large consulting corporations. Of course, not all criticism can be directly related to the approach as such. Part of it is aimed at the particular practice of McKinsey or even at particular cases of consulting that have received media attention. Also, in outlining the traditional approach in the previous section and providing the criticisms in this section, I used a bit of a strawman approach. Practice is more nuanced and things may not be as bad as they seem from the past sections.28 Strategy Consulting terms of use, available at https://www.cambridge.org/core/terms . https://doi.org/10.1017/9781108868365Downloaded from https://www.cambridge.org/core . IP address: 115.99.28.34 , on 17 Aug 2020 at 08:00:42 , subject to the Cambridge CoreNevertheless, the criticisms are there. And they do form a coherent attack, thereby emphasizing the main limitations and weaknesses of the traditional approach to strategy consulting. This suggests that, if we want to do better in thefuture, strategy consulting needs to change. The next three sections offera suggestion as to in which direction and how. 4 The Nature and Purpose of Strategy Consulting For outlining a productive approach to strategy consulting that can withstandthe critiques of the previous section, I start with identifying the nature of strategy consulting and what it should lead to in this section. Thereafter, thenext two sections will zoom in on the strategy consulting process that can bringus there ( Section 5 ) and the roles the strategy consultant plays in achieving this (Section 6 ). 4.1 The Nature of Strategy Consulting InSection 1 , strategy consulting was de ﬁned as helping organizations achieve unique and sustainable value creation as an external and independent profes-sional. To better understand what this means, it is useful to have a closer look atthe nature of strategy consulting. We can do this along ﬁve dimensions: exploration vs. exploitation, reductionism vs. holism, strategy generation vs.strategy execution, instrumental vs. normative and idealism vs. pragmatism. 4.1.1 Exploration vs. Exploitation The strategy and management literature are full of references to the notions ofexploration and exploitation and variations thereof. Especially in publicationson ambidexterity ( Birkinshaw & Gibson, 2004 ;O’Reilly III & Tushman, 2004 ; Raisch & Birkinshaw, 2008 ) and organizational learning ( March, 1991 ), this distinction is made. Exploitation refers to an organization ’s operational activ- ities aimed at delivering its products and services in a focused and ef ﬁcient way. It creates stability. Exploration refers to innovation, developing new productsand services and renewal and thereby creates ﬂexibility. To be effective in the long run, organizations need a balanced approach in which both have theirplace. Operational consulting approaches such as ‘lean ’or‘six sigma ’focus on improving an organization ’se fﬁciency. They are exploitation-focused. Characteristic for such consulting is that projects can be clearly de ﬁned upfront and are aimed at resolving unnecessary inef ﬁciencies in the organization. The same applies to many forms of HR, marketing, IT or ﬁnancial consulting: they take the organization ’s strategy –its current way of value creation –as the29 Business Strategy terms of use, available at https://www.cambridge.org/core/terms . https://doi.org/10.1017/9781108868365Downloaded from https://www.cambridge.org/core . IP address: 115.99.28.34 , on 17 Aug 2020 at 08:00:42 , subject to the Cambridge Corestarting point and from thereon derive what needs to be done in order to realize this strategy from an operational, HR, marketing, IT or ﬁnancial perspective. This means that, in these types of consultancies, the overall goal is assumed to be largely given, making the consulting primarily about helping organizations achieving that goal. Strategy consulting is different. Its very purpose is de ﬁning the goal that is assumed given in other types of consulting. It de ﬁnes the direction of the organization in the near or far future. Therefore, strategy consulting is mostly oriented towards the explorative side of this spectrum. This means it is more open and opportunity-oriented than most other types of consulting. Rather than starting from a clear problem de ﬁnition or objective, strategy consulting starts from a broader assignment to help a client identify and realize new or better ways of creating unique value. This difference has consequences for the nature of strategy consulting. Along the lines of the criticisms of the previous section , it means that strategy consulting cannot be merely problem-focused, hypothesis-driven, best- practice-led or project-based. Because, more often than not, there is no upfront problem for which a hypothesis, best practice or project can be de ﬁned. If the strategy consultant is involved timely, there isn ’t even a problem at all. Instead, there are, for example, aspirations, ideas, observations and questions the client needs help with sorting out and turning into strategy and action. 4.1.2 Reductionist vs. Holistic Thinking Another important distinction to understand strategy consulting is between reductionist thinking and holistic thinking. With reductionist thinking, one decomposes something into its ﬁnest parts in order to understand it and improve it. This works for understanding and ﬁxing machines, inef ﬁciencies and opera- tional problems and it is also how most sciences work. The traditional approach to strategy consulting is a clear example of reductionist thinking. With its science and engineering-inspired cause diagrams, logic trees and MECE cri- teria, it does exactly what the reductionist approach tells us to do: decompose a problem into its ﬁnest parts and start solving it from thereon. But this is not how strategy works. Strategy is integrative by its very nature and therefore requires holistic thinking. Of course, we can de ﬁne the compo- nents of which strategy consists and this is even useful. I have done this too, in two earlier books ( Kraaijenbrink, 2015 ,2018 ), where I decomposed both the notions of strategy and organization into their key components. The two frame- works developed for that –the Strategy Sketch and the Organizational Map – are part of the backbone of my approach to strategy. So, I certainly believe that30 Strategy Consulting terms of use, available at https://www.cambridge.org/core/terms . https://doi.org/10.1017/9781108868365Downloaded from https://www.cambridge.org/core . IP address: 115.99.28.34 , on 17 Aug 2020 at 08:00:42 , subject to the Cambridge Coredecomposing strategy into its constituting parts is useful. But the point of doing that is understanding strategy as an integrative whole, as a system (or Gestalt ,a s it is also called) of mutually dependent components that cannot be separated. This means that the left-brain, science and engineering-inspired approach of unravelling problems into their ﬁnest MECE components cannot work for strategy consulting. Or at least, it means that it is severely limited and needs to be complemented by right-brain holistic thinking. Some strategy consultants mayﬁnd this uncomfortable. It means departing from the analytical mindset with its safe and structured approaches and relying more loosely on intuition, understanding and judgement. 4.1.3 Strategy Generation vs. Execution Traditional strategy consulting has a strong focus on strategy generation (or formation). Strategy execution (or implementation) is often optional and not preferred because it means getting one ’s hands dirty and taking more responsi- bility for the advice given. This means that the ideal traditional strategy con- sulting project ends with a convincing plan and presentation telling the client exactly what to do and why –and then leave. There are three reasons why such approach to strategy consulting is not preferred. First, it creates an arti ﬁcial watershed between strategy generation and execution ( Martin, 2015 ). Both are part of one and the same process and by separating them, one creates a conceptual distinction that doesn ’t exist in practice. We see this same problem in strategy more generally and it is one of the causes of so much unrealized strategy. Since no organization needs a strategy that is not executed, strategy generation and execution always need to go hand in hand. The second reason is that separating strategy generation and execution limits the possibilities for learning. It leads to a static, linear process during which little experimentation and learning can take place. Especially in a world as dynamic as it is today, this will mean the generated strategy is likely to be outdated even before the consultant ’sﬁnal presentation. When strategy genera- tion and execution go hand in hand, however, learning and adjustment can take place on a continuous basis, leading to a strategy that is up to date and relevant on an ongoing basis. Third, separating the two and focusing on strategy generation hinder creating commitment throughout the client ’s organization. In the traditional approach there is much speak of ‘selling ’the advice to create ‘buy-in ’. But buy-in is not real commitment. Next to the fact that it is usually only targeted at the client ’s management, buy-in aims at changing people ’s minds so that they believe you31 Business Strategy terms of use, available at https://www.cambridge.org/core/terms . https://doi.org/10.1017/9781108868365Downloaded from https://www.cambridge.org/core . IP address: 115.99.28.34 , on 17 Aug 2020 at 08:00:42 , subject to the Cambridge Coreand do as you suggested. Commitment, though, means feeling responsible for making something work that you believe in. This requires participation by those involved in execution. 4.1.4 Instrumental vs. Normative A fourth dimension that is key to strategy consulting is that of instrumental vs. normative consulting. Instrumental consulting accepts the client ’s values and goals as given and helps the client achieve them. The consulting is instrumental because it doesn ’t question the client ’s values and goals. It takes them as given ‘norms ’and only concerns how to realize them. With normative consulting, on the other hand, the consultant is also involved in de ﬁning proper values and goals for the client. This involves bringing in moral and ethical judgements and methods to help the client decide about the right values and goals for the organization. No consulting is value and norm free. By interacting with clients, consultants always bring in their own normative views, consciously or unconsciously. This means that there are instrumental and normative elements in every type of consultancy. The normative element, though, is especially relevant in strategy consulting. As referred in in Section 4.1.1 , strategy consulting is about helping a client de ﬁne the organization ’s aspired directions. This includes de ﬁning the key values and goals that should guide the organization –including its vision, mission and key values, should we want to adopt these traditional starting points of strategy. Since these depend on what is held as desirable, they are derived from the normative frameworks of those involved. The tension between instrumental and normative aspects of consulting can be challenging for strategy consultants. On the one hand, they could simply accept the client ’s values and goals and help them instrumentally achieve those. However, if strategy consulting is to be more like a profession, this is not enough. If the client has questionable values and goals that may harm particular groups of stakeholders or society at large, it is also the strategy consultant ’s professional responsibility to help client ’s reconsider and adjust them in a more favourable direction. 4.1.5 Idealism vs. Pragmatism The previous two dimensions –strategy generation vs. execution and instru- mental vs. normative –imply a ﬁfth one: idealism vs. pragmatism. On the one hand, as a strategy consultant, one reaches for the ideal: that strategy that, if realized, would help the organization make a substantial step forward in the value it creates. In such case, strategy generation and a normative approach to32 Strategy Consulting terms of use, available at https://www.cambridge.org/core/terms . https://doi.org/10.1017/9781108868365Downloaded from https://www.cambridge.org/core . IP address: 115.99.28.34 , on 17 Aug 2020 at 08:00:42 , subject to the Cambridge Coreconsulting may be given most weight. On the other hand, though, one must also keep in mind what is realistic and what can practically be achieved. In such case, strategy execution and instrumentalism are given most weight. Both are needed. Without idealism, strategy consulting is merely an instru- mental job and nothing close to a profession. But without pragmatism, it is largely a fantasy or feel-good exercise without actual impact on the client ’s organization. This means that, as a strategy consultant, one always needs to ﬁnd a balance between the two. Along the idea that ‘a mediocre strategy well executed is better than a great strategy poorly executed ’, some argue that pragmatism is more important than idealism. But for strategy consulting this is too weak. Of course, a great strategy that is not executed is of little use to the organization. However, helping the client execute a mediocre or questionable strategy is of little use too. For generating and executing such strategies, organizations don ’t need strategy consultants. They are hired to come up with something that is better than mediocre or questionable. In their work on strategy making, Ackermann and Eden (2011) refer to the tension between idealism and pragmatism by arguing that strategy needs both to be analytically sound and politically feasible. A strategy is analytically sound if it is a good strategy on paper; a strategy that makes sense; and that, if executed, should help the organization forward. This re ﬂects the idealistic dimension. A strategy is politically feasible when people in the organization feel capable and committed to execute the strategy. Following their line of reasoning and using Rumelt ’s (2011) terminology, a ‘good ’strategy is one that combines idealism with pragmatism. 4.2 The Client and Their Needs While it is common in most industries to speak of customers, consultants usually speak of clients. Following this habit, I also use the word client throughout this Element. To identify the purpose of strategy consulting, we ﬁrst need to get clarity on who the client is and what it is that the client needs. 4.2.1 Who Is the Client? Identifying the client ’s needs starts with de ﬁning who actually the client is. This is not a trivial question and there are multiple possible answers to this: 1.A single stakeholder: this is usually the person highest in rank with execu- tive responsibility for the unit or organization that requires consulting (e.g. the CEO). It is also the person responsible for the budget from which the consultant is being paid.33 Business Strategy terms of use, available at https://www.cambridge.org/core/terms . https://doi.org/10.1017/9781108868365Downloaded from https://www.cambridge.org/core . IP address: 115.99.28.34 , on 17 Aug 2020 at 08:00:42 , subject to the Cambridge Core2.Multiple stakeholders: one can also follow a multi-stakeholder approach and consider more than one group as clients. Typical stakeholders include management, the board and employees. Each group has speci ﬁc needs and stakes that are to be addressed. 3.The organization: one can also de ﬁne the organization as a whole as the client. This means abstracting from speci ﬁc persons and targeting the con- sulting at what is best for the survival and prosperity of the organization. 4.Society: taking an even broader view one can also see society as key client. This means looking at the economic, social and environmental impact of the organization and aiming the consulting at improving this impact. In such case, societal needs direct the consulting work. In the traditional approach, the client is typically a single stakeholder: the CEO or another executive high in rank. This doesn ’t mean that other stakeholders are not considered. It means that this one stakeholder is considered to be the primary stakeholder that needs to be satis ﬁed and convinced of the ﬁnal advice. A key reason is that it is this stakeholder who decides on whether or not the consultant ’s invoice is being paid. Therefore, satisfying their needs is more important than satisfying the needs of other stakeholders. Despite the wide usage of the single-stakeholder approach, I want to make the case for the third option: seeing the organization rather than one or more speci ﬁc types of stakeholder as primary client. This is the approach I use in my own consulting and arguably more effective in today ’s dynamic and complex world (Greiner et al., 2011 ). The reason to prefer it above the ﬁrst approach is twofold. First, it is the organization that needs strategy, not the CEO or any other particular stakeholder. While any particular stakeholder might recognize the need and express it, one generates strategy for the organization as a whole and it is the organization that needs to execute it. This means that taking the organiza- tion as primary client increases the likelihood that the strategy consulting services given will be relevant. A second reason is that taking the organization rather than any particular stakeholder as client fosters consulting that is ethical and value-added for society. It reduces the chances of being used as a consultant for the personal beneﬁt of a particular stakeholder. Accordingly, considering the organization as client helps moving strategy consulting forward to becoming a profession. Not in a top-down fashion through installing institutions, but bottom-up through adopting an approach that makes ethical and value-added consulting more likely. Even though taking society as primary client is possible too, I consider it too far on the normative and idealist side in terms of the dimensions distinguished34 Strategy Consulting terms of use, available at https://www.cambridge.org/core/terms . https://doi.org/10.1017/9781108868365Downloaded from https://www.cambridge.org/core . IP address: 115.99.28.34 , on 17 Aug 2020 at 08:00:42 , subject to the Cambridge Coreearlier. At the end, the strategy consultant is hired and paid by the client ’s organization. This implies that their primary duty is to serve them, not society as a whole. However, by applying proper ethical standards, focusing the consult- ing on sustainable value creation and adopting a whole-person approach, societal needs are automatically addressed in an indirect way. This means that by taking the organization as primary client, the approach outlined in this Element contributes to society as well. As I can tell from personal experience, treating the organization as primary client is not always easy. It becomes particularly challenging if the person holding the budget for paying you, for example the CEO, is a problem for the organization. They are usually highly involved in strategy and, consequently, it is not exceptional that they are also to a large extent the cause of bad or ineffective strategy. This leads to interesting dilemmas that require smart navigation between idealism (doing what is good for the organization) and pragmatism (keep a good enough relationship with the respective executive). But there are always dilemmas. Therefore, following Greiner, Motamedi, and Jamieson ’s (2011 ) advice, the preferred approach for strategy consulting is considering the organization rather than a single stakeholder as primary client. 4.2.2 What Do They Need? Taking the organization as primary client rather than a speci ﬁc person or group of persons makes understanding their needs slightly more challenging than usual. Being an abstract entity, an organization has strictly spoken no needs. Only living creatures have needs. This means that these are the organization ’s people who have needs. And given their various backgrounds and responsibil- ities, people ’s speci ﬁc needs will differ. But this is a problem that exists for every business-to-business service where the client is an organization. And it is only a problem as far as we follow a reductionist approach and aim at de ﬁning an exhaustive list of speci ﬁc needs of a speci ﬁc stakeholder. At a more holistic level, though, we can speak of an organization ’s needs without any problems. Organizations have perceived needs and real needs. Perceived needs refer to what clients think they need. When they hire a strategy consultant, it is likely they think they need a new or adjusted strategy. And what they might have in mind, based on the conventional ideas about what strategy is, is a written strategic plan for the next three to ﬁve years. But, unless it is to convince a ﬁnancier, that is rarely what they really need. In fact, no organization needs a strategy per se. Formulating one can be an intermediate step, but what the client really needs are actual changes. Changes in how the market is approached, changes in the organization ’s structure or resource-base, changes in the ﬁnancial structure, and35 Business Strategy terms of use, available at https://www.cambridge.org/core/terms . https://doi.org/10.1017/9781108868365Downloaded from https://www.cambridge.org/core . IP address: 115.99.28.34 , on 17 Aug 2020 at 08:00:42 , subject to the Cambridge Coreso on. It is always the factual change that is the real need. This means the client ’s perceived needs and their actual needs may differ substantially and that it is the consultant ’s job to make the client realize this and to take both into account. It is also useful to recognize that the client has both functional needs and emotional needs. Functional needs are strategy and organization-related needs: in their search for more unique and sustainable value creation, organizations need support to identify and realize opportunities for improvement. These needs refer to the contents of strategy and most of the traditional consulting approach focuses on these needs. Emotional needs, on the other hand, refer to how people in the organization feel and how they want to feel. Given the limited attention given to these needs in most of the consulting literature ( Maister, Green, and Galford (2000) being a notable exception), it is worth listing them. Clients may feel: Concerned, worried about the future of the organization and its employees. Uncertain, insecure and lacking ideas and con ﬁdence about the next steps to take. Afraid of what is going to come, of failing, of taking risk or making the wrong decision. Overwhelmed, stressed and busy, not being able to take time for strategy. Threatened by their superiors, competitors or the world around them more generally. Incapable, lacking strategic skills and expertise, ignorant. Impatient, fed up with lack of progress, glad to ﬁnally get started. Sceptical, suspicious about whether consulting is going to help. Curious, eager to learn new perspectives and receive new insights and information. Most clients will not advertise these feelings. That would make them look vulnerable and weak, they may think. But recognizing these feelings is key to successful consulting. While the functional, content-oriented part of strategy consulting is of course important, the emotional part is at least as important. At the bottom-line, clients want peace of mind. They want their negative feelings be resolved and be con ﬁdent that they are doing the right thing to make their organization survive and prosper. Without addressing such emotional needs, one could develop a great strategy but that is never implemented because people ’s emotions haven ’t changed. 4.3 What Strategy Consulting Should Lead To Having described the nature of strategy consulting and the general needs clients have, we can now turn to the targeted outcomes of strategy consulting. These are36 Strategy Consulting terms of use, available at https://www.cambridge.org/core/terms . https://doi.org/10.1017/9781108868365Downloaded from https://www.cambridge.org/core . IP address: 115.99.28.34 , on 17 Aug 2020 at 08:00:42 , subject to the Cambridge Corenot analyses, models, plans, projections, PowerPoint decks or presentations. Those are means at best and neither necessary nor suf ﬁcient. In de ﬁning what strategy consulting then should lead to, we can distinguish between short-termand long-term outcomes. 4.3.1 Short-Term Outcomes At its core, the targeted short-term outcomes of strategy consulting are shared insights, endorsed decisions and committed actions about what is, what mightbe, what should be and what will be. The ﬁrst three refer to the type of outcomes that strategy consulting should lead to: Shared insights means that people in the organization develop a common understanding of those things that matter most. This doesn ’t mean they all have to agree 100 percent. It means that they speak the same language andthat they mostly agree on most of the facts that matter. This is key because itcreates mental alignment in the organization, leading to everyone being ‘on the same page ’when it concerns the organization ’s strategy. Endorsed decisions means that the choices and decisions being made are approved or at least accepted by the people in the organization. In strategythere is no absolute right or wrong and since it concerns the future, there is nocertainty about any decision. But if decisions are widely and preferablypublicly supported by people throughout the organization, this increases thelikelihood of a strategy being embraced and successfully executed. Committed actions means that people know what needs to be done and are willing to do that. It also means that it is not only clear what needs to be done,but also whose task it is to do it. Even further, it means that people feelresponsible themselves for doing it and see it as their job, or even their pride,to do it successfully. Such commitment is key to the success execution ofstrategy. With these three as main types of outcomes of strategy consulting, we can immediately see that strategy consulting is not merely about giving organiza-tions a strategy or strategic advice. It is about leading and helping the organiza-tion towards shared insights, endorsed decisions and committed actions abouthow to create unique and sustainable value. The insights, decisions and actions that are generated are always about something. Generally, and along the de ﬁnition of strategy given, they are about how the organization can improve its unique way of sustainable valuecreation. But this overall purpose can be divided into four questions thatstrategy consulting should help answering:37 Business Strategy terms of use, available at https://www.cambridge.org/core/terms . https://doi.org/10.1017/9781108868365Downloaded from https://www.cambridge.org/core . IP address: 115.99.28.34 , on 17 Aug 2020 at 08:00:42 , subject to the Cambridge CoreWhat is: the ﬁrst question strategy consulting can help answering is creating a shared understanding of what the current, factual strategy of the organiza- tion is. A thorough understanding of how things currently are –thestatus quo –needed as basis for any further strategizing. It provides a foundation on which future strategy can rely. What might be:strategy consulting also can help elicit pre-existing ideas, generate new ones and open people ’s eyes about what could or might be. Also, strategy consultants can bring in their own ideas and perspectives on thefuture of the organization. As such, they can help envisioning one or moreinspiring and attractive scenarios for the future. What should be:there is also a role for the strategy consultant to help the client de ﬁne what the new or improved strategy should look like. In this, the consultant can help the client de ﬁne goals, values and criteria for the organi- zation ’s strategy and thereby facilitate making the right choices –instrumen- tally and normatively. What willbe:whereas the ﬁrst question is factual and the second and third are hypothetical, in this fourth question the consultant helps the client makechoices about what the new or improved strategy is going to be. This involvesmaking the shift towards actually making decisions and committing to mak-ing changes. The reader familiar with appreciative inquiry will recognize its four-stepapproach of discovery, dream, design and destiny ( Cooperrider & Srivastva, 1987 ;Whitney & Cooperrider, 2005 ) in these four questions. Listing the four questions above does not imply that a full appreciative inquiry approach isrequired. What it implies is that these are the fundamental questions the strategyconsultant needs to help the client achieve shared insights, endorsed decisionsand committed actions about. 4.3.2 Long-Term Outcomes Next to these short-term, direct outcomes of strategy consulting, I believe thatstrategy consulting should also aim for a more fundamental, long-term out-come: building strategic capability –the ability to effectively generate and execute strategy. In the light of what is known about core competencies(Prahalad & Hamel, 1990 ) and dynamic capabilities ( Teece, Pisano, & Shuen, 1997 ), it is striking that many organizations hire strategy consultants. It shows that organizations lack suf ﬁcient strategic capability themselves. Strategy con- sulting can help solve this crucial void. We live in a time where the possibilities of generating a sustainable compe- titive advantage are limited. Over the past decades, the thoughts about how to38 Strategy Consulting terms of use, available at https://www.cambridge.org/core/terms . https://doi.org/10.1017/9781108868365Downloaded from https://www.cambridge.org/core . IP address: 115.99.28.34 , on 17 Aug 2020 at 08:00:42 , subject to the Cambridge Coreachieve it have shifted from resources ( Barney, 1991 ) to dynamic capabilities (Teece et al., 1997 ) to the idea that no such sustainable advantage can exist (McGrath, 2013 ). However, if there is any capability that can give an organiza- tion a competitive advantage today, it is the capability to effectively generate and execute strategy. Organizations that have this capability have an effective process in place for generating and executing strategy on an ongoing basis. This enables them to seize opportunities and respond strategically to internal and external changes. It also enables them to adjust their strategy when needed and keep the execution aligned with it. Strategy consulting can help organizations develop that capability. Through engaging with the consultant, the client learns how to strategize by doing it. Initially they may require the full supervision of the consultant. But once they have gone through the process multiple times, they will be increasingly able to do it themselves, thereby gradually taking ownership over the process back from the consultant and thereby gradually improving their strategic capability. This outcome cannot be achieved with the traditional consulting approach. Being an expert approach, it relies on the information asymmetry between client and consultant and on the very fact that the client should remain dependent on the consultant. Furthermore, when clients develop strategic capability them- selves, this reduces the need for traditional, expert consulting. This means there is a direct incentive in traditional consulting to make sure that the client does not develop a too strong strategic capability. Through the more engaged and co-constructive approach to strategy con- sulting outlined in this Element, clients are actively involved and thereby will learn by doing. At its core, the process as it is outlined in the next section is a participative process where the consultant and the client work side by side on a better strategy for the organization. Throughout this process, people throughout the organization will develop a better understanding of what the organization ’s strategy is, what it could be, what it should be and what it will be. 5 The Strategy Consulting Process After having given a description of what strategy consulting is like and what it should lead to in the previous sections, this section gets to its heart: the strategy consulting process. In describing this process, this Element only covers the actual consulting process. This means, for example, that selling and negotiating a project are not covered. Those steps are explained extensively elsewhere (Baaij, 2013 ;Block, 2000 ) and are similar for strategy consulting than for other types of consulting. To create a solid understanding of the strategy39 Business Strategy terms of use, available at https://www.cambridge.org/core/terms . https://doi.org/10.1017/9781108868365Downloaded from https://www.cambridge.org/core . IP address: 115.99.28.34 , on 17 Aug 2020 at 08:00:42 , subject to the Cambridge Coreconsulting process, this section ﬁrst characterizes the nature of the process as a whole and then describes the parts it consists of. 5.1 The Nature of the Process The previous sections already provide us with a high-level idea what the strategy consulting process looks like. We have seen, for example, the tradi- tional approach and its criticisms and the kind of outcomes strategy consulting should lead to. This makes it evident that the process is not as analytical, science-inspired, problem-focused, linear and project-based as traditionally suggested. And, as already anticipated in Section 1.4 , the approach outlined in this Element is a whole-brain, whole-person approach to strategy consulting. This leads to the following high-level characterization of the strategy consulting process: 1.Co-constructive: both the client and the consultant have key expertise that they bring in the process. None of them is the ultimate expert and both learn from the other. The consultant doesn ’t offer and sell a strategic advice to the client. Together, they create a shared understanding, endorsed decisions and committed actions that should help move the organization forward. 2.Intersubjective : implied by the previous, but worthwhile mentioning sepa- rately, there are no objective truths in strategy. The best that can be achieved is agreement between people. Purely subjective opinions are no basis either, but through a co-constructive approach, intersubjective ideas emerge regarding all four questions referred to earlier. 3.Iterative : because any idea about the future is speculative and most likely wrong, strategy consulting needs to rely on a short-cycle approach in which ideas are put to the test. This means that strategy generation and execution go hand in hand and that the process is ﬂexible and open to new insights and opportunities. 4.Participative : since the organization as a whole is affected by strategy and involved in the execution, strategy consulting needs to be a participative process in which many or even all employees are involved at some point of time. Not merely as sources of information, but as change agents within their own sphere of in ﬂuence. 5.Appreciative : if they hinder progress, problems need to be resolved. But problems don ’t energize people and an organization ’s weaknesses are no good basis for strategy. Therefore, the focus is on searching for the best in people, the organization and the environment. With that focus, problems will be easier to resolve too.40 Strategy Consulting terms of use, available at https://www.cambridge.org/core/terms . https://doi.org/10.1017/9781108868365Downloaded from https://www.cambridge.org/core . IP address: 115.99.28.34 , on 17 Aug 2020 at 08:00:42 , subject to the Cambridge Core6.Integrative : a key purpose of strategy is that it creates alignment so that all, or at least most, energy is used in the same direction. Therefore, strategy consulting should foster integration and alignment of all parts of the orga- nization. This implies always keeping the whole picture in mind and also bringing people closer together. 7.Social : because strategy consulting induces changes in people ’s roles and relationships, the process is inherently social. Of course, identifying a fruitful direction for the organization is important, but it is the people that need to get there. This applies to the execution, but also to the generation of strategy: both parts of the process are social. 8.Continuous : even though the consultant ’s actual involvement may be only temporary, strategy consulting needs to take place from a continuous per- spective on the strategy process. The consultant joins a running organization for a while and can help direct it to a better destination. But unlike in a project, there is no start and end point. 9.Non-sequential: the process is non-linear. Not only by its iterative nature, but also because its parts or steps run in parallel. There is a logical sequence in which things are theoretically done. But, as we will see later, to a large extent, things are done in parallel and require attention throughout the process. As can be inferred from these nine characteristics, the strategy process sug- gested here differs substantially and quite fundamentally from the traditional approach. As we will see in the next section and the remainder of this Element, this has consequences for what the steps the process is comprised of as well as for the roles the strategy consultant plays in this process. 5.2 Parts of the Process The characteristics described earlier imply that the strategy consulting process is not as linear and strictly phased as sometimes suggested. It rather is an ongoing process in which various activities are performed in parallel. Nevertheless, we can distinguish the main activities of which the process is comprised. These can be divided into three groups: establishing context, generating strategy and executing strategy. They are visualized in Figure 1 and explained below. 5.2.1 Establishing Context Theﬁrst set of activities in consulting –strategy and other types –is making sure that the right context is in place for effective consulting. Without the right context, strategy consulting will not lead to satisfying results for the client and the consultant. Six types of activities can be distinguished.41 Business Strategy terms of use, available at https://www.cambridge.org/core/terms . https://doi.org/10.1017/9781108868365Downloaded from https://www.cambridge.org/core . IP address: 115.99.28.34 , on 17 Aug 2020 at 08:00:42 , subject to the Cambridge CoreEstablishing and Maintaining a Good Relationship Consulting is ﬁrst and foremost a people process. A consultant talks to people, listens to them and guides them in a particular direction. Doing this effectively requires a good relationship with the client. Not just with the CEO, but with people throughout the organization. The consultant doesn ’t need to be their best friend, but, as research by for example Cialdini (2006) shows, one can achieve much more if people like you. Therefore, an essential part of the consulting job is to establish a good relationship and actively maintain this relationship throughout the process. Deﬁning and Rede ﬁning the Task and Objective Also crucial for effective consulting is agreeing on what the consultant and the client are aiming to achieve and what the consultant ’s role will be in that. In the traditional approach, this is de ﬁned upfront and turned into a clearly demarcated project and planning. While it is necessary to manage mutual expectations upfront, strategy is often too explorative, continuous and dynamic to de ﬁne everything in advance. Therefore, to acknowledge this12 3 4 5 6 79 8ActivatingMapping AssessingEstablishing a relationship For m ul at i n g Bridging OrganizingPlanningRealizingInnovatingDefining objectives Understanding the organization Arranging supportCreating commitmentAchieving openness Figure 1 The strategy consulting process42 Strategy Consulting terms of use, available at https://www.cambridge.org/core/terms . https://doi.org/10.1017/9781108868365Downloaded from https://www.cambridge.org/core . IP address: 115.99.28.34 , on 17 Aug 2020 at 08:00:42 , subject to the Cambridge Corenature of strategy, the de ﬁnition of tasks and objectives is best seen as a continuous, iterative process in which both are adjusted and rede ﬁned when new insights emerge. Understanding How the Organization Works Every organization has its own particular structure, culture, habits and language (Spender, 2014 ). To be effective, a strategy consultant needs to understand how the client ’s organization works. This includes understanding how communica- tion takes place, which relationships there are between units, who is in power, how formal or informal the organization is and how the organization and strategy have emerged over the last few years. This is not meant as a diagnosis or problem analysis. It is a necessary step for understanding how, as a consultant, one should act and what one should and should not say and do. Since, throughout the strategy consulting process new information will appear, getting to know the organization is, like the previous activities, an ongoing process. Checking and Arranging Support and Resources Strategy consultants cannot work in isolation. Their goal is to help the client ’s organization change. This means that they need to be in a position in which they can achieve that. For that it is necessary that the support and resources needed to achieve the tasks and objectives agreed upon are available. This includes that there is suf ﬁcient budget and manpower available for the process and that the consultant has access to the information that is needed. It also includes obtain- ing the necessary mandate and freedom to operate. Given that the direction of the process may change repeatedly, also this fourth type of activity requires attention throughout the process. Creating Commitment and Engagement No matter how great is the strategy that the consultant and client create together, it will only lead to the aspired changes if there is suf ﬁcient commitment and engagement by the people that are affected. Commitment means that people feel responsible for doing what is needed and engagement means that they actively participate and contribute during the process. Because both take time to develop, strategy consultants need to work on creating commitment and engagement from the earliest phases on and continuously throughout the pro- cess. This means involving people, listening to them, informing them regularly and taking their contributions seriously.43 Business Strategy terms of use, available at https://www.cambridge.org/core/terms . https://doi.org/10.1017/9781108868365Downloaded from https://www.cambridge.org/core . IP address: 115.99.28.34 , on 17 Aug 2020 at 08:00:42 , subject to the Cambridge CoreAchieving Openness and Transparency Strategy consulting is most effective when it addresses the things that really matter in the organization. Given the importance and complexity of the topic and its potential impact, there may be important issues involved that don ’t get immedi- ately on the table. Often these concern the quality of leaders, a lack of trust or an unwillingness to talk about the real issues going on. This may lead to elephants in the room that hinder signi ﬁcant process. Since the strategy consultant ’s aim is to help the organization, part of their task is to identify these elephants, name them and create an atmosphere in which people are willing to talk about them. All six activities are particularly important in the early phases of an engage- ment, but they stay important throughout the entire process. Both the context and the emerging new or adjusted strategy will change. Particularly in complex situations where change is dramatic or tensions are present, these six types of activities require constant attention. 5.2.2 Setting Direction: Generating Strategy The second type of activities are those that are traditionally seen as the heart of strategy consulting: generating strategy. Unlike the traditional approach, though, this doesn ’t refer to generating strategy forthe organization. It refers to generating strategy with them, through an interactive, co-creative process. This means the consultant joins the client in the strategy generation process. Since I have described this process extensively in The Strategy Handbook (Kraaijenbrink, 2015 ), I will adopt the ﬁve steps explained there and summarize them brie ﬂy. Step 1: Activating key stakeholders. Making key persons in the organization receptive to new strategy and mobilizing the resources needed for strategy generation. This ﬁrst step resides at the intersection between establishing context and generating strategy. The fact that a strategy consultant is hired, shows that there is at least one in ﬂuential person in the organization convinced that the organiza- tion ’s strategy requires attention. This certainly doesn ’t mean, however, that others think alike. This can mean that some of the very ﬁrst activities of the consultant need to be creating awareness and motivating people in the organiza- tion to actively commit and engage in the strategy making process. This includes making sure that the right people are present in the team(s) the consultant works with and getting those people on board to actively contribute. Step 2: Mapping strategy. Identifying the organization ’s strategy by describing it on the basis of its core elements.44 Strategy Consulting terms of use, available at https://www.cambridge.org/core/terms . https://doi.org/10.1017/9781108868365Downloaded from https://www.cambridge.org/core . IP address: 115.99.28.34 , on 17 Aug 2020 at 08:00:42 , subject to the Cambridge CoreTo effectively generate a new or improved strategy that suits the organization, the next step is developing a thorough understanding of the organization ’s status quo; its current, factual strategy. As an outsider, the consultant needs this to understand the organization and where it is going. But also internally, this step serves an important purpose: it generates a shared point of reference and understanding of what the current strategy of the organization actually is. For most people involved, this may be the very ﬁrst time they talk explicitly about their organization ’s strategy. As such, this step forms the beginning of a productive dialogue. As the de ﬁnition of this step above hints at, the suggested way of doing this is to open up the black box of strategy and describe its elements at a relatively ﬁne level of detail. There are various frameworks that can be used for this, including Hambrick and Fredrickson ’s (2001) ‘Five Major Elements of Strategy ’or the popular ‘Business Model Canvas ’(Osterwalder & Pigneur, 2010 ). In my own consulting I use the ‘Strategy Sketch ’(Kraaijenbrink, 2015 ), a framework containing the ten key elements of strategy: value proposition, customers and needs, competitors, resources and competencies, partners, revenue model, risks and costs, values and goals, organizational climate and trends and uncertainties. This framework builds on the Business Model Canvas, but provides a more systematic and complete view on the elements of which strategy is composed. Using detailed frameworks like these has three important bene ﬁts. First, it creates a shared language and visualization making clear what strategy is about. Second, it allows people throughout the organization to participate, even if they have no experience or knowledge of strategy at all. Third, it makes the dialogue concrete and thereby more actionable than a high-level discussion about, for example, generic strategies ( Porter, 1980 ) or an organization ’s‘why ’(Sinek, 2009 ). Step 3: Assessing strategy. Judging and testing the quality of the organization ’s strategy against relevant criteria. Step 2 aimed at creating shared understanding. As such, it is mostly descrip- tive. To move forward and improve the organization ’s strategy, the third step is to assess it against a set of agreed upon criteria. Traditionally this is done in the SWOT analysis –to identify the organization ’s strengths, weaknesses, oppor- tunities and threats. When distinguishing the positive aspects of strategy (strengths and opportunities) from the negative ones (weaknesses and threats), though, one implicitly or explicitly uses criteria in making a judgement. To make the assessment as objective as possible, it is useful to make these criteria explicit. The literature provides various criteria for this, of which we can45 Business Strategy terms of use, available at https://www.cambridge.org/core/terms . https://doi.org/10.1017/9781108868365Downloaded from https://www.cambridge.org/core . IP address: 115.99.28.34 , on 17 Aug 2020 at 08:00:42 , subject to the Cambridge Corecompile the following list: coherence, ef ﬁciency, effectiveness, uniqueness, ﬂexibility, robustness, scalability and responsibility ( Kraaijenbrink, 2015 ). The advantage of separating the assessment step from mapping is that it helps clarifying whether one is merely describing the status quo or assessing it against a normative framework. This makes the judgement more transparent and less subjective. It also makes that, during the mapping step, the focus is on under- standing how things are without interference by ideas about how things should be. Furthermore, separating the assessment step from the mapping step also enables performing another assessment of the newly generated or improved strategy after the next step in the process. It fosters an iterative process in which the steps follow each other in short cycles. Step 4: Innovating strategy. Renewing and redesigning the organization ’s strategy through incremental or radical innovation. Steps 2 and 3 provide important input for developing a new or improved strategy. They show where problems are, which aspirations exist and on which strengths the organization can build. This, though, does not automatically lead to a new strategy. An additional, more creative and design-oriented step is needed in which the consultant, together with the organization, redesigns the organization ’s strategy. Various approaches can be used for this, including ‘Blue Ocean Strategy ’(Kim & Mauborgne, 2005 ), scenario planning ( Schoemaker, 1995 ) or design thinking ( Brown, 2008 ). Applying one or more of these techniques and the previous steps leads to one or more points of departure for the new strategy. This could be a valuable resource, a market opportunity, a creative idea, a substantial problem, a particular aspiration, or anything else. Starting from those points of departure, the consultant can help the organization develop a complete strategy along all the elements of the framework used in Step 2. In my own case, this means that, together with the client, we redesign the strategy along all ten elements of the Strategy Sketch. Step 5: Formulating strategy. Capturing the organization ’s strategy in words and pictures that can be understood by the target audience. Once the strategy is redesigned, it also needs to be formulated. This doesn ’t imply extensive documents or presentations. It can also be a PowerPoint slide, a sheet of paper, a brochure or a picture. Formulating strategy is an essential step, as a strategy can only be effective if it can be formulated in a clear and comprehensible manner so that people can understand it and act upon it. Furthermore, formulating strategy also helps discover unclarities in the strategy that may have remained below the surface in the previous steps. Finally, turning46 Strategy Consulting terms of use, available at https://www.cambridge.org/core/terms . https://doi.org/10.1017/9781108868365Downloaded from https://www.cambridge.org/core . IP address: 115.99.28.34 , on 17 Aug 2020 at 08:00:42 , subject to the Cambridge Corethe developed strategy into a convincing formulation can motivate and direct people ’s attitudes and behaviours. Thisﬁfth step forms a temporary closure of the strategy generation process. As explained earlier, strategy generation and execution are ongoing processes that are inextricably linked and between which the organization has to go back and forth. However, at some point in time, one needs to stop generating new ideas and focus on their execution. 5.2.3 Realizing Change: Executing Strategy The third group of activities in strategy consulting are focused on realizing actual change through executing the developed or emerging strategy. Even though strategy generation and execution are closely linked, they can be separated conceptually. Furthermore, as evidenced by the fact that the strategy consultant ’s engagement often ends after Step 5, in practice strategy generation and execution are often considered distinct. If the strategy consultant is truly involved in the organization ’s strategy process, the engagement includes activ- ities related to strategy execution too. This involves additional steps. Once more I draw on The Strategy Handbook (Kraaijenbrink, 2018 ), because it describes in detail how I help my clients execute strategy. Four additional steps are involved. Step 6: Bridging gaps. Identifying the gaps between the organization ’s current and aspired strategy, and de ﬁning projects and tasks to bridge them. At any point in time there are voids between the organization ’s aspired strategy (resulting from Step 4) and its status quo (resulting from Step 2). The ﬁrst step in executing the new, aspired strategy is to make these voids explicit and de ﬁne actions to resolve them. Here the advantage of the detailed and structured approach of using a single framework such as the Strategy Sketch for describing both the status quo and the aspired strategy appears again. Comparing both on each of the elements of the framework, is a straightforward activity and it directly facilitates formulating projects and tasks that can bridge these gaps. Step 7: Organizing strategy. Identifying the most important organizational deﬁciencies, and de ﬁning projects and tasks to solve them. The projects and tasks de ﬁned in the previous step are not suf ﬁcient to successfully execute the strategy. It will also require organizational changes, for example, in the organization ’s structure, incentive systems, communication or processes. Step 7 aims at identifying these required changes and de ﬁne actions to achieve them –through the same collaborative process as described earlier.47 Business Strategy terms of use, available at https://www.cambridge.org/core/terms . https://doi.org/10.1017/9781108868365Downloaded from https://www.cambridge.org/core . IP address: 115.99.28.34 , on 17 Aug 2020 at 08:00:42 , subject to the Cambridge CoreLike in the previous steps, it is helpful to use a structured framework that identi ﬁes the main components of ‘organization ’. The most well-known framework for this is McKinsey ’s 7S model, developed by Waterman and colleagues in the early 1980s ( Waterman, 1982 ;Waterman, Peters, & Phillips, 1980 ). In my own consulting work I prefer the more recent and complete ‘Organizational Map ’(Kraaijenbrink, 2018 ), which contains the ten key elements of organization: leadership, controls, motivation, commitment, expertise, information technology, structure, communication, processes and policies. For each of these elements, the consultant and client can together identify which changes are needed in order to execute the strategy successfully. Step 8: Planning strategy. Developing and committing to a dynamic, prior- itized course of action and a way of working for closing the gap between the actual and the aspired strategy. Up to this step, the newly developed strategy and the identi ﬁed actions needed for executing it are still largely hypothetical. Together with the client, the consultant has identi ﬁed what is(Steps 1, 2 and 3), what could be (Step 4) and what should be (Steps 5, 6 and 7). Through the transparent co-creative process, people have been engaged. This normally will have increased their willingness to execute as well. However, no actual commitment has been asked yet. This changes in Step 8, where a transition is made from the hypothetical is, could be andshould be , to the actual will be . This includes helping the client decide about which actions have most priority, when to execute them, how many resources to dedicate and who will be responsible. The importance of the different nature of this eighth step can hardly be overestimated. It is in this step that the consequences of the new strategy become real. Consequently, it is also in this step that resistance to change tends to be strongest. The comprehensiveness and participative nature of the previous steps help reducing resistance as much as possible. But given that strategy virtually always implies substantial changes, there will remain resis- tance. And that resistance is most likely to uncover in this step. It goes beyond the scope of this Element to discuss in detail how to deal with resistance. But there are various valuable contributions in the change management literature about this ( Ford & Ford, 2010 ;Ford, Ford, & D ’Amelio, 2008 ) and also else- where I have expanded on this in the context of strategy execution (Kraaijenbrink, 2018 ). Step 9: Realizing strategy. Effecting the aspired strategy by putting the execution plan into action and managing relevance, progress and emotions over time.48 Strategy Consulting terms of use, available at https://www.cambridge.org/core/terms . https://doi.org/10.1017/9781108868365Downloaded from https://www.cambridge.org/core . IP address: 115.99.28.34 , on 17 Aug 2020 at 08:00:42 , subject to the Cambridge CoreWhile the actual execution may be largely left to the client ’so r g a n i z a - tion and while the strategy consultant ’s engagement often tends to end when the realization phase is reached, strategy consultants can play an important role in this last step too. In its most engaged form, they might serve as an ad interim manager who is responsible for overseeing the overall progress and receive the client ’s mandate to actively manage the process. In that case, however, the client stays dependent on the strategy consultant, which is not in its interest in the long run. If, as suggested in Section 4 , the long-term purpose of strategy consulting is helping the client ’s organization improve their strategic capability, a more detached form of engagement during the realization phase is preferred. This means that the primary responsibilities for executing the strategy reside at the people within the organization. The strategy consultant can serve as a mentor and monitor who keeps an eye on whether the organization is still doing what is relevant, whether suf ﬁcient progress is made, and whether the mood in the organization remains favourable. As depicted in Figure 1 , the strategy process is a continuous process in which organizations are always engaged in one way or the other. This means that the strategy consultant ’s role is to help the organization move forward with that process –in one or few steps, or the entire process altogether. As the ﬁgure also shows, there is not just a single cycle, but three: for strategy generation, for s trategy execution and for the overall process. The reason is twofold. First, making iterations during strategy generation is usually simpler and less expensive than in strategy execu- tion. Therefore, through piloting and testing, one wants to maximize the likelihood that the newly generated strategy is the right one and feasible. Second, during execution, one doesn ’t immediately question the strategy if things don ’t work out according to plan. The ﬁrst thing to do is to deﬁne alternative actions and ﬁnd different ways of achieving the aspired strategy. Only when that doesn ’t work, one may need to go back to the drawing board and engage in a phase of strategy generation again. The process outlined here deviates in various ways from that of the traditional consulting approach summarized in Section 3.2 : it has all the characteristics outlined in Section 5.1 and it is also more detailed and strategy-speci ﬁc. With this three-cycle process, the strategy consultant can help the client generate and execute strategy in an effective and ef ﬁcient way, while staying open to unex- pected outcomes, changes and opportunities. How they can do this and what this means for the roles and capabilities they need in this process, is covered in the next section .49 Business Strategy terms of use, available at https://www.cambridge.org/core/terms . https://doi.org/10.1017/9781108868365Downloaded from https://www.cambridge.org/core . IP address: 115.99.28.34 , on 17 Aug 2020 at 08:00:42 , subject to the Cambridge Core6 Strategy Consulting Roles As can be inferred from the previous sections, a good strategy consultant needs a broad repertoire of capabilities and plays a variety of roles. Not only do they need to understand strategy and the strategy process, but they also need to be able to understand the client ’s organization, collaborate with the people working there, and balance short-term and long-term purpose and outcomes. To see more precisely what is needed, this section explains nine roles strategy consultants need to play and thereby what skills they need. 6.1 Attentive Listener One of the most crucial roles and skills needed for a strategy consultant is being an attentive listener. Throughout the process, the strategy consultant needs to keep a close eye and ear on what is happening, and on what is being said and not said. The ﬁrst and obvious reason is that, through attentive listening, the strategy consultant receives important information about the organization, its strategy, its aspirations, its problems and so on. A second and equally important reason, though, is that listening attentively gives people the feeling that what they say matters –and thereby that they matter. This is crucial for getting and keeping them engaged and committed throughout the process and therefore for achiev- ing results. Attentive listening requires an ability to create a safe environment in which people dare, or even want to speak out. In that sense, being a strategy consultant is sometimes not too far from being a psychiatrist. In my experience, most people want to speak out, especially if it concerns their aspirations and frustra- tions. As Maister, Green, and Galford (2000) emphasize in their book The Trusted Advisor , this means building trust. Like with a psychiatrist, this doesn ’t require building a strong personal relationship, nor does it have to take long. If one comes in with a genuine intention to help –and to listen –trust can be built in a matter of minutes. Listening also implies staying silent and let people do the talking. A consultant needs to ask questions, but the main goal is to trigger people in the organization to tell what they want or need to tell. This often means resisting the temptation to respond or to ask another question. Simply waiting may be enough for people to continue their stories. What I have often experienced in interviews is that after about half an hour, there can be a turning point. Whilst they may politely respond to your questions initially, I have repeatedly experi- enced a point where people said something like ‘okay ...if I can really say everything, then I I ’d also like to tell you that ...’That is usually the point where the most valuable information is given.50 Strategy Consulting terms of use, available at https://www.cambridge.org/core/terms . https://doi.org/10.1017/9781108868365Downloaded from https://www.cambridge.org/core . IP address: 115.99.28.34 , on 17 Aug 2020 at 08:00:42 , subject to the Cambridge Core6.2 Principal Investigator Being a strategy consultant also requires being a strong researcher. This is widely acknowledged in the traditional consulting approach and the reason junior consultants oftentimes are involved only in doing research in the early stages of their careers. While doing research can also be an important part of the approach to strategy consulting outlined in this Element, the strategy consultant ’s role is somewhat different than in the traditional approach. Because of the intersubjective, co-creative and participative nature of the approach, there is less focus on plain data gathering. For effective strategy consulting one rarely needs meticulous details about the company –not even about its ﬁnancials. Some high-level data are often enough to create an under- standing of the size and situation of the organization. But for the rest, most information will come from the people working at the organization and will include their views, insights and judgements. This means that the primary skill needed is not that of the researcher who gathers information, but that of principal investigator who listens to what people in the company have to say, interprets this, connects the dots and draws conclusions –in cooperation with the client. The consultant ’s role is to see connections and generate insights that people in the company may not see and then to make them see these too. 6.3 Discussion Leader One of the primary forms in which strategy consulting takes place in the approach outlined is through interactive sessions with people from the client ’s organization. Each step of the process may consist of one or more sessions or workshops in which the strategy consultant works with a group of people to elicit their views and co-create the new or improved strategy. Along the lines of the steps outlined in Section 5.2 , this means that during these sessions, insights are generated about what is, what could be, what should be and what will be the organization ’s strategy. With interactive sessions being one of the primary working forms, another important role for the strategy consultant is that of discussion leader –or facilitator or moderator as it is also called. During the sessions, the strategy consultant ’s role is to foster a productive dialogue and make sure that people contribute, say what they want to say, listen to each other and generate insights and decisions in a collaborative way. This implies making sure that the sessions are constructive and involve everyone present and that they don ’t result in disputes or people taking sides.51 Business Strategy terms of use, available at https://www.cambridge.org/core/terms . https://doi.org/10.1017/9781108868365Downloaded from https://www.cambridge.org/core . IP address: 115.99.28.34 , on 17 Aug 2020 at 08:00:42 , subject to the Cambridge CoreIt also implies paying careful attention to people who are not saying what they want to say and give them the opportunity to speak out too. It happens frequently that one or more people in the room remain largely silent. Sometimes their facial expressions and gestures show that they actually want to say some- thing, but nevertheless they don ’t. It is the task of the strategy consultant to either make them feel con ﬁdent enough to speak out during the session, or, should that not work, to listen to what they have to say outside the sessions. 6.4 Critical Inspirator Theﬁrst three roles are largely process oriented. Distinct from the expert approach, strategy consulting is to a large extent process consulting, focused on guiding the client towards generating and executing its self-developed strategy. However, there also is a more content-related role for the strategy consultant: that of the critical inspirator. Clients are also interested in hearing the consultant ’s views. But unlike in expert-consulting, the point is not that the consultant should come up with the answers. The point is that he or she can offer an outsider ’s view that challenges the client ’s views and that may provide them new insights that they could not have generated by themselves. This role implies making two types of contributions. The ﬁrst is to be a source of inspiration. With their speci ﬁc background and experience, strategy consul- tants can bring in refreshing opinions and ideas that people within the organiza- tion have not thought of. It is this contribution that was emphasized above as part of the traditional approach where it was argued that brainstorming is the sine qua non of consulting at McKinsey ( Rasiel, 1999 , p. 93). Whether it is in brainstorming or elsewhere, part of a strategy consultant ’s role is to inspire the client with their ideas. A second contribution is that the strategy consultant also needs to challenge the ideas and views held by the client. People have numerous preconceptions and assumptions, especially if they have worked for a long time in the same industry or organization. This makes them take things for granted that may not be valid. To discover those, the strategy consultant may need to ask repeatedly seemingly naive questions such as ‘Why? ’,‘Why not? ’and ‘Is that really so? ’ They may also take the role of devil ’s advocate who asks people to defend and clarify their positions. 6.5 Communication Channel A strategy consultant serves as communication channel. People talk to them and they talk to people in the organization, turning the consultant into a de facto communication channel between them. And since strategy consultants talk to52 Strategy Consulting terms of use, available at https://www.cambridge.org/core/terms . https://doi.org/10.1017/9781108868365Downloaded from https://www.cambridge.org/core . IP address: 115.99.28.34 , on 17 Aug 2020 at 08:00:42 , subject to the Cambridge Corepeople at various levels in the organization, they often serve as a channel between people that might otherwise never or rarely talk to each other. This provides them with a unique position that they can use for the bene ﬁt of the organization. Some things are to be avoided because they hurt the process. The ﬁrst is engaging in gossiping. It doesn ’t add anything and it can seriously hurt the consultant ’s reputation as a trusted and dependable outsider –at the client and beyond. Perhaps trivial to mention, but the consultant also shouldn ’t break trust. This means that, when someone tells them something which is private, that should be kept private, no matter what. And ﬁnally, consultants need to make sure that they are not misused as a messenger to someone ’s personal bene ﬁt. A consultant cannot be someone ’s spokesperson –not the CEO ’s nor anyone else ’s–because that undermines their role as a neutral and independent outsider. What the strategy consultant can do though is to serve as a communication platform for people to make a point that they could otherwise not make. Unlike many employees, the strategy consultant is in direct and regular contact with the top of the organization. This means that they can make sure that a message that is important gets heard by the top. Sometimes the problem is not that people are not in direct contact with the top, but that they don ’t dare to speak out because it may hurt their position. In that case, the strategy consultant can serve as an anonymous platform where they inform the top without saying from whom they received the message. Or, they may make the message part of their advice or an overall observation without even mentioning that it came from someone spe- ciﬁc in the organization. 6.6 Progress Manager Since strategy consultants are assumed to be experts on strategy generation, the client most likely gives the consultant responsibility over the strategy genera- tion process. This means that a sixth role of a strategy consultant is to make sure that suf ﬁcient progress is made and that the steps outlined in Section 5.2 proceed according to plan. Since unexpected events may always happen and since it is hard to know upfront how the strategy generation process will unfold exactly, this also includes adjusting the process when necessary. Next to taking care of the strategy generation progress, the strategy consul- tant can also ful ﬁl a role as progress manager in the execution of strategy. Oftentimes, the client takes over responsibility in the execution phase. This makes sense, because it is their strategy and they are indeed the ones who need to execute it. But it may be too early to completely withdraw as a consultant already. In several of my consulting assignments I have experienced that, once53 Business Strategy terms of use, available at https://www.cambridge.org/core/terms . https://doi.org/10.1017/9781108868365Downloaded from https://www.cambridge.org/core . IP address: 115.99.28.34 , on 17 Aug 2020 at 08:00:42 , subject to the Cambridge Coreyou are not involved anymore, the execution process and the attention it receives gradually fade away. The risk is that the strategy will not or will only be partially executed. This makes that its full potential is not achieved and thereby that part of the money and energy spent on strategy generation can be considered wasted. To avoid this, an effective role of the strategy consultant during strategy execution is that of mentor of the manager or team who take responsibility for the execution of the strategy. In that role, the actual responsibility lies at the client, while the strategy consultant monitors whether progress is as it should be and whether the right things are given priority. Also, the strategy consultant can consult and coach the team how to lead the execution process and step in when help is needed. 6.7 Stable Anchor The fact that a strategy consultant is involved, virtually always means for an organization that change will come. As implied by its de ﬁnition, the aim of strategy consulting is providing organizations with support to make changes to achieve unique and sustainable value creation. Without change as result, their added value is limited. This means that there always will be a certain degree of uncertainty and unrest when a strategy consultant is involved. Partly this is useful. As the classical change management approaches tell us, the organization needs some ‘unfreezing ’and a ‘sense of urgency ’to prepare it for making changes ( Kotter, 1995 ;Lewin, 1947 ). At the same time and exactly for that reason, an additional role for the strategy consultant is to be a stable anchor that the client can rely on. If there is anything the client needs in times of change it is an emotionally stable ‘tower of strength ’who maintains and creates the necessary calm in the organization. This implies working with con ﬁdence and not stressing out. And it also implies approaching everything with a bit of humour and lightness, thereby not taking things too seriously. Even though things may feel extremely important, dif ﬁcult, uncertain and unique to the client, putting these things in perspective shows they are not. They are rarely life-threatening and hundreds if not thousands of other organizations are going through similar processes at the same time. Adding such dose of groundedness and realism can be exactly what clients need at some times during the process. 6.8 Moral Guide While it may be a bit controversial, I believe there is also a role for strategy consultants to serve as moral guide. Consultants have their own ethical54 Strategy Consulting terms of use, available at https://www.cambridge.org/core/terms . https://doi.org/10.1017/9781108868365Downloaded from https://www.cambridge.org/core . IP address: 115.99.28.34 , on 17 Aug 2020 at 08:00:42 , subject to the Cambridge Corestandards and applying those is what everyone would expect. But I also consider it a strategy consultant ’s duty to offer clients moral guidance in cases where this seems necessary. The reason is that, if strategy consulting wants to get closer to being a profession, then in ﬂuencing the client towards more ethical behaviour is part of the job. Therefore, an eighth role of strategy consultants is to be a moral guide and in ﬂuence the client ’s ethics. I say ‘inﬂuence ’here, because the consultant cannot take actual responsibility for the client ’s behaviour. Being a moral guide doesn ’t mean preaching or lecturing the client about what is appropriate and what not. That is just as ineffective as trying to provide them with a strategy as an outsider. And since the strategy consultant is usually not hired for moral guidance, preaching and lecturing can quickly lead to dissolving the engagement. Serving as a moral guide, therefore, needs to be subtler and an intrinsic part of strategy consulting. This starts with the de ﬁnition of strategy. With its focus on sustainable value creation, this de ﬁnition provides implicit moral guidance. It makes the organi- zation focus on creating value and on doing this in a sustainable way. Furthermore, since strategy involves the normative ‘what should be ’question and forming judgements about what is desirable and not, bringing in a normative framework naturally ﬁts strategy consulting. In setting goals or assessing strategy one can bring in, for example, the triple bottom-line (people, proﬁt, planet) ( Elkington, 1998 ), stakeholder theory ( Freeman, 1984 ) or the seventeen sustainable development goals of the United Nations. Using such frameworks helps directing the organization towards more ethical strategy in a natural, implicit way. 6.9 Practical Educator Aﬁnal role of strategy consultants is that of practical educator. This role can also be a bit controversial because it implies sharing knowledge and skills with the client in order to improve their strategic capability. Some may consider this undesirable as it makes clients less dependent on the consultant and thereby limit long-term consulting possibilities at the client. But that is exactly why it is desirable and an important last role. As discussed in Section 4.3.4 , the long-term outcome of strategy consulting is an improved strategic capability of the client. Taking a role as an educator helps achieving this. In a time where, due to fast changes and uncertainties, an organization ’s possibilities for creating and sustaining a competitive advantage are limited, its strategic capability may be one of the only sources to rely on. With such capability, organizations will be able to effectively and ef ﬁciently generate and execute strategy in response to the internal and external challenges they55 Business Strategy terms of use, available at https://www.cambridge.org/core/terms . https://doi.org/10.1017/9781108868365Downloaded from https://www.cambridge.org/core . IP address: 115.99.28.34 , on 17 Aug 2020 at 08:00:42 , subject to the Cambridge Coreface. Looking at the status quo of many organizations, though, such capability is generally underdeveloped –which is one of the reasons strategy consulting has been able to ﬂourish. Strategy consulting can help organizations ﬁll this void. Being a practical educator doesn ’t imply being a teacher or lecturer. It implies creating a learning environment and process through which people atthe client ’s organization are stimulated and supported to learn by doing. The co-creative process outlined earlier facilitates such learning because it impliesthat the strategy consultant collaborates with the client and creates strategytogether with them. The ﬁrst time they go through the process, the strategy consultant will most likely be in the lead. But the more experienced thepeople at the client become, the better they become at executing the processby themselves. 6.10 Roles Not to Take The above nine roles show what it takes to serve as a strategy consultant. At thesame time, they also give an idea about the roles the strategy consultant shouldnot have. Nevertheless, for clarity, it is worthwhile mentioning these brie ﬂya s well. They are: Decision-maker: a consultant ’s role is supportive. They lead the client to ﬁnding answers and making decisions, but it is the client ’s responsibility to make decisions. Scapegoat: closely related to the ﬁrst, but nevertheless distinct. With the exceptions of their own mistakes and decisions, consultants are not there totake the blame. Executor: consultants are there to help, not to execute the work. Of course, they can do some of the required work but their role is to consult, not toprovide capacity. Persuader: it is not the consultant ’s job to present the client a strategy and convince them that it is the right one. Their job is to help the client generateand execute strategy. Know-it-all: no one can know everything, even a strategy consultant. Saying ‘I don ’t know ’or changing minds when needed will improve their credibility. Show-off: there is no point in impressing the client with knowledge, jargon or credentials. It is the consultant ’s behaviour in the nine roles above that will impress them. Rationalist: explaining reasons and providing evidence for viewpoints is important, but gutfeel is too. Consultants shouldn ’t ignore it or substitute it with numbers and ‘facts ’.56 Strategy Consulting terms of use, available at https://www.cambridge.org/core/terms . https://doi.org/10.1017/9781108868365Downloaded from https://www.cambridge.org/core . IP address: 115.99.28.34 , on 17 Aug 2020 at 08:00:42 , subject to the Cambridge CoreNeutralist: consultants want to remain objective. But their opinions count too. They are facilitators, but also part of the process as complete and subjective persons. Joker: even though humour is important, it is not the consultant ’s role to be the funniest person in the room. Trying to be this can undermine credibility in any of the nine roles. Colleague: especially when working together for a long time, consultants may be seen as a part of the organization. But they are not and need to keep their role as outsider. Boss: consultants are there to serve the client, not the other way around. Therefore, they should avoid being arrogant and snobbish or trying force things upon the client. Acquirer: it is not the consultant ’s job to safeguard their position or ﬁnd the next project. It is to serve the client to the best of their capacity in their current engagement. Echo chamber: while it may be tempting to agree with everything people say and con ﬁrm that, consultants can disagree too. Their different viewpoints are important. Saint: Even though their moral standards should be high, consultants can also take commercial bene ﬁt of situations as long as it keeps their client satis ﬁed. Problem owner: the more engaged the consultants are, the more they may feel responsible for the client ’s organization and worry for them. But, at the end, it is their problem. Actor: consultants shouldn ’t play being a strategy consultant. They should be a strategy consultant in a way that authentically ﬁts their background, experi- ence, style and personality. 7 Conclusion and Outlook This Element started with quoting Henry Mintzberg when he said: ‘Any chief executive who hires a consultant to give them strategy should be ﬁred. ’That might seem a remarkable way to start a book on strategy consulting. But as I hope to have shown in the course of th e previous sections , this quote does capture why the traditional approach to strategy consulting isn ’t so much appreciated and why an alternative approach is needed. It also captures what this alternative approach to strategy consult- ing is not about: giving organizations a strategy. In this ﬁnal section ,Iw i l l brieﬂy conclude what strategy consulting is about instead and where we might want to go from here.57 Business Strategy terms of use, available at https://www.cambridge.org/core/terms . https://doi.org/10.1017/9781108868365Downloaded from https://www.cambridge.org/core . IP address: 115.99.28.34 , on 17 Aug 2020 at 08:00:42 , subject to the Cambridge Core7.1 Whole-Brain, Whole-Person Strategy Consulting InSection 1 it was argued that the approach to strategy consulting outlined in this Element is a whole-brain, whole-person approach. Throughout the previous sections it has become clearer what is meant with that. Subsequently it was discussed how this starting point affects the purpose of strategy consulting (Section 4 ), the process of strategy consulting ( Section 5 ) and the roles the strategy consultant plays ( Section 6 ). The image that we get of strategy consulting from this differs substantially from the traditional approach to strategy consulting that we know from the large consulting ﬁrms and the textbooks. It is less fact-based, rational, linear and analytical (left-brain) and more intuitive, creative and holistic (right-brain). And it is not only a cognitive, brain-only activity but just as much a social activity in which personal interactions, empathy and emotions play a central role –making it a whole-person activity. Compared to existing approaches, this approach comes closest to Maister, Green and Galford ’s (2000 ) description of the ‘trusted advisor ’andBlock ’s (2000) approach to consulting. Both emphasize the importance of right-brain, emotional and social aspects of consulting. The strategy consultant outlined in this Element is a trusted advisor, a person to rely on and with the genuine intent to help the client. But it is a speci ﬁc type of trusted advisor, focusing on helping the client generate and execute strategy. He or she is an expert in strategy, helping the client ’s organization achieve unique and sustainable value creation. At the other end of the spectrum, the strategy consultant depicted here is close to being the opposite of the one described by Rasiel and Friga in ‘The McKinsey Way ’(Rasiel, 1999 ) and ‘The McKinsey Mind ’(Rasiel & Friga, 2001 ). The strategy consultant described in this Element is more empathic, more modest, more cooperative and more serving, and less focused on convincing the client to implement an analytically derived advice. Much more so than the traditional approach, the approach to strategy con- sulting in this Element aims for and is based on creating a symbiotic relationship between consultant and client from which both bene ﬁt. This relationship is not based on creating dependencies or on a hierarchical idea of one party (the consultant) telling the other party (the client) what to do. Instead, it is a relationship in which equals work together to improve the organization, help each other in doing so and learn from that at the same time ( Schein, 2002 ). This approach addresses many of the criticisms leveraged against strategy consulting and management consulting at large. As summarized in Section 3.3 , there are no less than seventeen of such criticisms: arrogance, pretence of knowledge, pretence of science, lack of integrative view, pretence of creativity,58 Strategy Consulting terms of use, available at https://www.cambridge.org/core/terms . https://doi.org/10.1017/9781108868365Downloaded from https://www.cambridge.org/core . IP address: 115.99.28.34 , on 17 Aug 2020 at 08:00:42 , subject to the Cambridge Corenegative orientation, project instead of process-based, slow and linear, disen- gaged, de-humanized, lacking diversity, no liability and risk, pro ﬁt-oriented, self-centred, creating dependence, selling fads and unethical. As explained throughout Sections 4 ,5and6, a whole-brain, whole-person approach directly addresses the large majority of these criticisms. From the seventeen criticisms, only #11 (lacking diversity) and #12 (no liability and risk) aren ’t explicitly addressed by the outlined approach. Like the traditional approach, the approach outlined in this Element does not accept liability for the support given and is therefore still relatively free of risk. It was even explicitly argued that decisions are to be made by the client and not by the consultant. Nevertheless, the approach is less susceptible to this criticism than the traditional approach. Through its engaged way of working and focus on sustainable value creation, the approach implies a committed strategy consul- tant who feels responsible for helping the client. Even though they cannot be held legally accountable for what they do, this sense of responsibility provides an effective substitute that makes criticism #12 less relevant and applicable. The approach doesn ’t explicitly address the criticism of lacking diversity either. The approach outlined here is universal. It is agnostic to gender, race or any other characteristic differentiating one person from the other. But exactly this makes that it addresses this criticism indirectly. By its focus on whole-brain consulting, the approach is less masculine than the traditional approach. And by its focus on authentic, whole-person consulting, it embraces everything that makes us a human being. Such appreciative attitude makes the approach more open and tolerant to differences than the traditional approach. 7.2 Caveats and Limitations In presenting an idealist approach to strategy consulting and contrasting it with the ‘traditional approach ’, I have used a strawman approach. What was described in Section 3 is not the approach as it is used in practice, but the one that is described in the literature. And in just part of the literature. With its origin in 1981, we could argue that Block ’s (2000) approach to consulting –which differs substantially from the McKinsey type of consulting I refer to as tradi- tional consulting –is traditional too. By leaving it out of the description and focusing on McKinsey ’s and other large consultancies ’approach, I have created a rather outspoken picture of the traditional approach. In practice, strategy consulting will mostly not exactly take place according to this description. However, since it is this approach that we ﬁnd described in the literature and since it is this approach that is so heavily criticized, I found it useful to summarize it in an outspoken way.59 Business Strategy terms of use, available at https://www.cambridge.org/core/terms . https://doi.org/10.1017/9781108868365Downloaded from https://www.cambridge.org/core . IP address: 115.99.28.34 , on 17 Aug 2020 at 08:00:42 , subject to the Cambridge CoreSome may ﬁnd the alternative approach to strategy consulting outlined in this Element naive or soft. They may object that the world of strategy consulting is a tough world where facts, power, superior intelligence and analysis are needed to tell organizations what is wrong with them and instruct them what to do. The friendlier, personal, participative approach described here, so they might argue, cannot work there. My experience is different though. The approach outlined in this Element is the approach I use in all my consulting work. And the fact that clients stay and return also suggests that it works. As indicated repeatedly, it is an idealist approach. This means that it doesn ’t describe strategy consulting as it currently is practiced, but how it could or even should be practiced. But it is certainly not naive or soft. One could argue that the traditional approach is more naive in its limited reliance on cognitive-analytical work and its assumption of superior expertise at the side of the consultant. Embracing that strategy consulting involves our whole brain and whole person is substantially less naive. And regarding softness, the approach is indeed soft on the people side and in terms of style. It relies on friendly relationships with the aim of helping people at the client ’s organization develop and move forward. But it is tough on the content side. Helping people discover their own limitations and mistakes can be more confronting than simply telling them so. Furthermore, with its long-term emphasis on developing strategic capability, this approach reaches deeper than merely giving strategic advice. It directly intervenes in the way the organization generates and executes strategy. This is everything but soft. A substantial limitation is the lack of evidence of the effectiveness of the approach. So far, there are not more than anecdotal examples with mostly medium-sized organizations in a handful of industries. Even though the approach is grounded in existing approaches and based on current understand- ing of how people and organizations work, there is no hard quantitative evi- dence that it works. But there can ’t be. Exactly because it is a whole-brain, whole-person approach, it very much depends on the person using the approach whether or not it will work. Not everyone can ful ﬁl all roles of Section 6 and not everyone will be equally equipped to help an organization through all nine steps of the process in Section 5 . Furthermore, because strategy consulting is a relational activity between client and consultant, it will also depend on the speci ﬁc relation between them whether this approach works. What works for one client –consultant relation- ship, may not work for another. Equally important to realize is that both sides respond to each other. If the strategy consultant adopts the traditional approach, the client will respond in a way that ﬁts that approach. And if the strategy consultant adopts the approach of this Element, the client will respond differently.60 Strategy Consulting terms of use, available at https://www.cambridge.org/core/terms . https://doi.org/10.1017/9781108868365Downloaded from https://www.cambridge.org/core . IP address: 115.99.28.34 , on 17 Aug 2020 at 08:00:42 , subject to the Cambridge CoreThis means that the choice for the traditional approach or the approach outlined here is largely a choice of paradigm –how one chooses to look at the world and approach it accordingly. Some might feel more comfortable using the traditional approach, believe it is the right approach and apply it accordingly. Others might feel more comfortable applying the approach outlined in this Element. This implies the approach will not be for everyone. As it is evident, the traditional approach doesn ’t work for me. And as it is also evident, I am convinced that the alternative approach outlined here is the better route. But convincing anyone of that is not the main point of this Element. The main point is that it sketches an alternative to the traditional approach that may be viable too. And because this alternative approach is a direct response to the various criticisms leveraged against the traditional approach, it is less sensitive to these criticisms and can therefore be seen as a move forward. 7.3 Moving Forward This Element has described an approach to strategy consulting that deviates from the mainstream approach with the intention of sketching an alternative that addresses its main limitations. The fact that it is still an idealist approach, rather than a description of the status quo, means there is substantial work to do should we want to move forward in the described direction. In this ﬁnal section, I will present ﬁve possible routes that, together, can help strategy consulting become a more relevant and appreciated profession. 7.3.1 Towards a Profession Section 1 asked whether strategy consulting is currently a profession and whether it should be. The conclusion there was that it currently is not, but that it is something worthwhile striving for. In getting there, we can think of two approaches: a systemic top-down approach and an individual bottom-up approach. Given the vested interests and the complexity and magnitude of the required changes, it was argued that the ﬁrst approach will not be viable. This means that, if strategy consulting is to get closer to being a profession, the only viable route is the individual, bottom-up route. When evaluated against the seven traits of a profession that were mentioned inSection 1.3.3 , we can observe that the approach outlined in this Element is a step forward. It doesn ’t lead to professional institutions, standardized training, a shared body of knowledge or a code of ethics. But it does imply greater professional liability, self-regulation and focus on the greater good. Not by establishing rules, but by suggesting an approach in which these characteristics of a profession are built-in. When strategy consulting is approached in a whole-61 Business Strategy terms of use, available at https://www.cambridge.org/core/terms . https://doi.org/10.1017/9781108868365Downloaded from https://www.cambridge.org/core . IP address: 115.99.28.34 , on 17 Aug 2020 at 08:00:42 , subject to the Cambridge Corebrain, whole-person way, by adopting the purpose ( Section 4 ), process ( Section 5) and roles ( Section 6 ) outlined in this Element, it will de facto get closer to a profession. In realizing this, the key focus is on mindset and informal changes. The formalities of a profession –institutions, standardized training, a shared body of knowledge and a code of ethics –are arti ﬁcial and meaningless if the underling mindset and intention are not in place. On the other hand, if mindset and intention are in place, the need for these formal aspects signi ﬁcantly decreases. But mindset and intentions are not easily changed. This begs the question as to how to move forward to realize the suggested changes. Education is the answer. Not merely formal education, but also self-education, coaching and learning-by -doing. This includes teaching the approach above at business schools; using it in practice in one ’s own strategy consulting; and communicating about it through books, articles, blogs or any other means so that others can take notice of it and learn. 7.3.2 The Role of Technology This Element has paid no attention technology. I have refrained from that because the approach itself does not depend on technology. At the same time, though, there are various technological developments –especially in IT –that can help advance the approach and its effectiveness. Examples are big data and analytics, arti ﬁcial and assisted intelligence, virtual and augmented reality, digitalization and virtualization, block chain and cybersecurity. Most large consulting ﬁrms are in the process of adopting these technologies in their consulting practices, especially the ﬁrst. Data are getting increasing attention and a lot of trust is put in the possibilities of data-driven consulting. I am sceptical. Not about the fact that we can obtain and effectively process much more detailed data about organizations, but about the importance of such data for consulting. In the light of the approach outlined in this Element, data are merely a small fraction of what is needed. Instead, strategy consulting is much more a social process, triggering people ’s creativity and intuition in conceiving and realizing what is, what could be, what should be and what will be. Armbrüster and Kipping (2002) andVan den Bosch, Baaij, and Volberda (2005) are pessimistic about the impact of IT on strategy consulting. As they observe, the established strategy consulting ﬁrms are under pressure because their knowledge accumulation-based expert approach is quickly losing rele- vance. As a result, as far as it concerns pure strategy consulting, there only seems to be place for smaller niche players, they argue. To some extent, I share this pessimism because the arguments given about traditional large consulting62 Strategy Consulting terms of use, available at https://www.cambridge.org/core/terms . https://doi.org/10.1017/9781108868365Downloaded from https://www.cambridge.org/core . IP address: 115.99.28.34 , on 17 Aug 2020 at 08:00:42 , subject to the Cambridge Coreﬁrms are convincing. However, I am optimistic about the commercial chances for strategy consulting in general. With the approach outlined in this Element, there is no real advantage in being a large ﬁrm. Standardization of methods, knowledge accumulation and knowledge ef ﬁciencies are not relevant when using it. Furthermore, working with consultants that are largely interchangeable –as is one of the principles in large consultancies –is even a disadvantage. The ability to establish personal relationships as a trusted strategy consultant that guides clients in generating and executing strategy is gaining relevance. And that might be realized in smaller ﬁrms and independents focusing on particular niches. Given the tre- mendous possibility for improving organizations ’strategic capability, there is an enormous market potential for such type of strategy consulting. There is one alternative way in which IT can have a profound effect on strategy consulting. The approach outlined earlier can be adopted without any signiﬁcant technology. The traditional brown papers and post-its techniques can work effectively. However, the approach can be more effective once a ‘digital twin ’of the organization exist at the strategic level. Once organizations have their strategy represented in a living, digital version, the iterative participative approach can work more effectively. In the same way as other software systems such as ERP, ﬁnancial or CRM systems, for example, create a virtual represen- tation of an organization ’s resources, ﬁnances and customers that can be managed, this digital strategy twin can help to manage strategy in a truly dynamic way. Making the implementation and use of such digital strategy twin part of strategy consulting, can help make it a signi ﬁcant leap forward. 7.3.3 Advancing the Approach The fact that the approach outlined in this Element directly addresses most of the seventeen critiques leveraged against the traditional approach makes it a step forward. Furthermore, also when we compare it against Greiner, Motamedi and Jamieson ’s (2011 ) outline of new consulting roles and practices that are needed in today ’s world, it can be seen as a step forward. They argue the following thirteen transitions are needed for effective consulting in today ’s dynamic environment: 1. From consultant as expert to consultant as guide. 2. From long-cycle consulting to fast-cycle consulting. 3. From content or process expert to content and process facilitator. 4. From simple and incremental to complex and discontinuous. 5. From single entities to transorganizations. 6. From hierarchical organizations to network organizations.63 Business Strategy terms of use, available at https://www.cambridge.org/core/terms . https://doi.org/10.1017/9781108868365Downloaded from https://www.cambridge.org/core . IP address: 115.99.28.34 , on 17 Aug 2020 at 08:00:42 , subject to the Cambridge Core7. From command and control to self organizing. 8. From boss as client to organization as client. 9. From labour intensive to information-process intensive. 10. From doctor –patient to resource partners. 11. From study –analyse –recommend to joint data –diagnosis. 12. From survey research to action learning 13. From plan ﬁrst, then implement to plan and implement together. When we compare the approach outlined in this Element to these thirteen transitions, it can be concluded that it follows the large majority of them. The approach indeed makes the transition from the consultant as expert to the consultant as guide, from long-cycle consulting to fast-cycle consulting etc. Thus, also in the light of these recommended transitions, the approach is a signi ﬁcant step forward compared to the traditional consulting approach. But it also requires further advancement and strengthening. To date it is based on literature, previous research and personal experiences of a handful of con- sultants. This means that the creative and intellectual power of the masses has been barely tapped. Along those lines, this Element is an open invitation to others –scholars, consultants, leaders and anyone else –for adding, amending or critiquing the approach with the intent to further advancing it. Next to this general call for advancing the approach, there is one aspect that requires speci ﬁc attention. Two of Greiner, Motamedi and Jamieson ’s (2011 ) suggested transitions have not been addressed yet: from single entities to transorganizations (#5) and from hierarchical to network organizations (#6). These two transitions are related. Both signal a change from organizations as closed hierarchical systems to organizations as open networks. While the approach outlined in this Element could be compatible with this transition, it doesn ’t speci ﬁcally address the challenges of open, networked organizations. Therefore, further advancement is needed to make the approach tailored for situations where multiple organizations, networks or ecosystems are the client instead of a single organization. 7.3.4 Strategy Consulting Research Given its signi ﬁcant volume and impact, it is remarkable how little research has been conducted on strategy consulting. There are only very few publications speciﬁcally about strategy consulting and even fewer of them concern empirical research. There are some historical studies of the development of strategy consulting ( Armbrüster & Kipping, 2002 ;David, 2012 ), a couple of case studies (Blom & Lundgren, 2013 ;Seidel, 2000 ;Van den Bosch et al., 2005 ) and some older assessments of strategy consultant ’s impact ( Delany, 1995 ;Leontiades &64 Strategy Consulting terms of use, available at https://www.cambridge.org/core/terms . https://doi.org/10.1017/9781108868365Downloaded from https://www.cambridge.org/core . IP address: 115.99.28.34 , on 17 Aug 2020 at 08:00:42 , subject to the Cambridge CoreTezel, 1988 ;Payne & Lumsden, 1987 ). But that is all. Of course, there is the larger body of research on management consulting, but focused on strategy consulting there is hardly any research published. Along those lines, the general direction that can be given is to actually conduct research speci ﬁcally on strategy consulting. Whether it is conceptual, qualitative, quantitative or design- oriented research, the mere importance of strategy consulting warrants more of it. Even though strategy consulting can be approached from various research paradigms and approaches, it seems most natural that this at least occurs as part of the ‘strategy as practice ’tradition that has emerged over the past three decades ( Carter, Clegg, & Kornberger, 2008 ;Chia & Holt, 2006 ; Jarzabkowski, 2004 ;Whittington, 1996 ). With its focus on the ‘praxis, practices and practitioners ’of strategy, one would expect a signi ﬁcant volume of studies on strategy consulting there. While sometimes implied or referred to in strategy as practice studies, though, no dedicated work on strategy consulting has been published so far as part of this tradition. Whether such research has actually not taken place is hard to tell. Because the kind of research that may be required is both challenging to conduct and challenging to get published. Obtaining detailed insights into strategy consult- ing requires deep involvement and interventionist approaches such as action learning and design-oriented research. Conducting such research requires being a strategy consultant or following them very closely. Being a strategy scholar – practitioner –trainer myself, I have experienced how challenging this is. This is especially the case since, when involved with a client, the consultant ’s primary emphasis is on helping the client, not on conducting research. Nevertheless, it can be done and this Element is largely a result of my own attempt to do so. It is based on my own action learning taking place by applying the process and roles outlined above, re ﬂecting upon them and adjusting them accordingly. While I would qualify it as research, and certainly as relevant research, I cannot think of any impactful journal that would accept the kind of research done because it lacks the traditional rigor that is expected. Along those lines, the directions that can be given are to (a) conduct more of such interventionist kind of research, (b) do it in more systematic and documented way and (c) help further legitimizing the methods needed for it. 7.3.5 Moving Strategy Forward as a Field The progress that can be made with advancing the ﬁeld of strategy consulting depends on the state of the ﬁeld of strategy at large. As numerous others have argued, the ﬁeld of strategy is not in a particularly good shape. Criticisms65 Business Strategy terms of use, available at https://www.cambridge.org/core/terms . https://doi.org/10.1017/9781108868365Downloaded from https://www.cambridge.org/core . IP address: 115.99.28.34 , on 17 Aug 2020 at 08:00:42 , subject to the Cambridge Coreleveraged include that it is fragmented, not relevant enough, too narrow, too much focused on analytical tools and even harmful for practice ( Bettis, 1991 ; Ghoshal & Moran, 1996 ;Mahoney & McGahan, 2007 ;Oxley et al., 2010 ; Powell, 2003 ;Vaara & Durand, 2012 ). Hitherto, strategy is still mostly presented as a cognitive-analytical skill that largely consists of the application of a wide range of different frameworks. One just has to look at some of the major strategy textbooks to see this ( Whittington et al., 2017 ). Given the focus on cognitive-analytical skills and extensive use of frameworks and given the impact of strategy consulting on the contents of strategy textbooks and training, we should not be surprised that strategy con- sulting has this same bias. Therefore, in order to bring strategy consulting forward, we also need to bring the ﬁeld of strategy forward. This requires new, more integrative and dynamic approaches to strategy generation and execution. The nine-step approach outlined above is my personal attempt to achieve this ( Kraaijenbrink, 2015 ,2018 ). In this same spirit, others should develop better ones and thereby help both strategy and strategy consulting move forward.66 Strategy Consulting terms of use, available at https://www.cambridge.org/core/terms . https://doi.org/10.1017/9781108868365Downloaded from https://www.cambridge.org/core . IP address: 115.99.28.34 , on 17 Aug 2020 at 08:00:42 , subject to the Cambridge CoreReferences Abrahamson, E. (1996). Management fashion. Academy of Management Review ,21(1), 254 –285. Ackermann, F. & Eden, C. (2011). Making Strategy: Mapping Out Strategic Success . London: Sage. Alvesson, M. (2002). Professionalism and politics in management consultancy work. In T. Clark & R. Fincham (eds.), Critical Consulting: New Perspectives on the Management Advice Industry (pp. 228 –246). Oxford: Blackwell. Argyris, C., Putnam, R., & McLain Smith, D. (1985). Action Science . San Francisco: Jossey-Bass. Argyris, C. & Schön, D. A. (1978). Organizational Learning: A Theory of Action Perspective . Reading, MA: Addison-Wesley. Armbrüster, T. & Kipping, M. (2002). Strategy consulting at the crossroads: technical change and shifting market conditions for top-level advice. International Studies of Management & Organization ,32(4), 19 –42. Baaij, M. (2013). An Introduction to Management Consultancy . London: Sage. Barney, J. B. (1991). Firm resources and sustained competitive advantage. Journal of Management ,17(1), 99 –120. Bettis, R. A. (1991). Strategic management and the straightjacket: an editorial essay. Organization Science ,2(3), 315 –319. Birkinshaw, J. & Gibson, C. (2004). Building ambidexterity into an organization. MIT Sloan Management Review ,45,4 7 –55. Block, P. (2000). Flawless Consulting: A Guide to Getting Your Expertise Used . San Francisco, CA: Pfeiffer. Blom, M. & Lundgren, M. (2013). Strategy consultants doing strategy: how status and visibility affect strategizing. African Journal of Business Management ,7(14), 1144 –1160. Brown, T. (2008). Design thinking. Harvard Business Review ,86(6), 84. Carter, C., Clegg, S. R., & Kornberger, M. (2008). So!apbox: editorial essays: strategy as practice? Strategic Organization ,6(1), 83 –99. Chia, R. & Holt, R. (2006). Strategy as practical coping: a Heideggerian perspective. Organization Studies ,27(5), 635. Cialdini, R. B. (2006). Inﬂuence: The Psychology of Persuasion . New York: Harper Business. Clark, T. (1995). Managing Consultants: Consultancy as the Management of Impressions . Buckingham: Open University Press. terms of use, available at https://www.cambridge.org/core/terms . https://doi.org/10.1017/9781108868365Downloaded from https://www.cambridge.org/core . IP address: 115.99.28.34 , on 17 Aug 2020 at 08:00:42 , subject to the Cambridge CoreClark, T., Bhatanacharioen, P., & Greatbatch, D. (2012). Management gurus as celebrity consultants. In M. Kipping & T. Clark (eds.), The Oxford Handbook of Management Consulting (pp. 347 –364). Oxford: Oxford University Press. Clark, T. & Fincham, R. (eds.). (2002). Critical Consulting: New Perspectives on the Management Advice Industry . Oxford: Blackwell Business. Cooperrider, D. & Srivastva, S. (1987). Appreciative inquiry in organizational life. In R.W. Woodman & W.A. Pasmore (eds.), Research in Organizational Change and Development, Vol. 1 (pp. 129 –169). Greenwich: JAI Press. David, R. J. (2012). Institutional change and the growth of strategy consulting in the United States. In M. Kipping & T. Clark (eds.), The Oxford Handbook of Management Consulting (pp. 71 –92). Oxford: Oxford University Press. Delany, E. (1995). Strategy consultants –Do they add value? Long Range Planning ,28(6), 99 –106. DiMaggio, P. J. & Powell, W. W. (1983). The iron cage revisited: institutional isomorphism and collective rationality in organizational ﬁelds. American Sociological Review ,48(2), 147 –160. Elkington, J. (1998). Cannibals with Forks: The Triple Bottom Line of 21st Century Business . Oxford: Capstone Publishing Limited. Faust, M. (2012). Sociological perspectives on management consulting. In M. Kipping & T. Clark (eds.), The Oxford Handbook of Management Consulting (pp. 139 –164). Oxford: Oxford University Press. Follett, M. P. (1924). Creative Experience . London: Longmans, Green. Follett, M. P., Fox, E. M., & Urwick, L. (1973). Dynamic Administration: The Collected Papers of Mary Parker Follett . London: Pitman Publishing. Ford, J. D. & Ford, L. W. (2010). Stop blaming resistance to change and start using it. Organizational Dynamics ,39(1), 24 –36. Ford, J. D., Ford, L. W., & D ’Amelio, A. (2008). Resistance to change: the rest of the story. Academy of Management Review ,33(2), 362 –377. Freeman, R. E. (1984). Strategic Management: A Stakeholder Approach . Cambridge, UK: Cambridge University Press. Ghoshal, S. & Moran, P. (1996). Bad for practice: a critique of the transaction cost theory. Academy of Management Review ,21(1), 13 –47. Greiner, L., Motamedi, K., & Jamieson, D. (2011). New consultant roles and processes in a 24/7 world. Organizational Dynamics ,40(3), 165. Hagenmeyer, U. (2007). Integrity in management consulting: a contradiction in terms? Business Ethics: A European Review ,16(2), 107 –113. Hambrick, D. C. & Fredrickson, J. W. (2001). Are you sure you have a strategy? The Academy of Management Executive ,15(4), 48 –59. Jarzabkowski, P. (2004). Strategy as practice: recursiveness, adaptation, and practices-in-use. Organization Studies ,25(4), 529.68 References terms of use, available at https://www.cambridge.org/core/terms . https://doi.org/10.1017/9781108868365Downloaded from https://www.cambridge.org/core . IP address: 115.99.28.34 , on 17 Aug 2020 at 08:00:42 , subject to the Cambridge CoreJung, N. & Kieser, A. (2012). Consultants in the management fashion arena. In M. Kipping & T. Clark (eds.), The Oxford Handbook of Management Consulting (pp. 327 –346). Oxford: Oxford University Press. Khurana, R. (2007). From Higher Aims to Hired Hands: The Social Transformation of American Business Schools and the Unful ﬁlled Promise of Management as a Profession . Princeton: Princeton University Press. Kim, W. C. & Mauborgne, R. (2005). Blue Ocean Strategy: How to Create Uncontested Market Space and Make the Competition Irrelevant . Boston, US: Harvard Business School Press. Kipping, M. & Clark, T. (2012). The Oxford Handbook of Management Consulting : Oxford University Press. Kirkpatrick, I., Muzio, D., & Ackroyd, S. (2012). Professions and profession- alism in management consulting. In M. Kipping & T. Clark (eds.), The Oxford Handbook of Management Consulting (pp. 187 –206). Oxford: Oxford University Press. Kotter, J. P. (1995). Leading change: why transformation efforts fail. Harvard Business Review ,73(2), 59 –67. Kraaijenbrink, J. (2015). The Strategy Handbook, Part 1: Strategy Generation . Doetinchem: Effectual Strategy Press. Kraaijenbrink, J. (2018). The Strategy Handbook, Part 2: Strategy Execution . Doetinchem: Effectual Strategy Press. Kraaijenbrink, J., Spender, J.-C., & Groen, A. J. (2010). The resource-based view: a review and assessment of its critiques. Journal of Management ,36 (1), 349 –372. Kubr, M. (2002). Management Consulting: A Guide to the Profession . New Delhi: Bookwell Publications. Lemann, N. (1999). The kids in the conference room: how McKinsey & Company became the next big step. The New Yorker (18 & 25 October), 216. https://www.newyorker.com/magazine/1999/10/18/the-kids-in-the-con ference-room Leontiades, M. & Tezel, A. (1988). CEOs perceptions of strategy consultants. Business Forum ,14(1), 51 –53. Lewin, K. (1947). Frontiers in group dynamics: concept, method and reality in social science; social equilibria and social change. Human Relations ,1(1), 5–41. Lewin, K. (1948). Resolving Social Con ﬂicts; Selected Papers on Group Dynamics . New York: Harper & Row. Mahoney, J. T. & McGahan, A. M. (2007). The ﬁeld of strategic management within the evolving science of strategic organization. Strategic Organization , 5(1), 79 –99.69 References terms of use, available at https://www.cambridge.org/core/terms . https://doi.org/10.1017/9781108868365Downloaded from https://www.cambridge.org/core . IP address: 115.99.28.34 , on 17 Aug 2020 at 08:00:42 , subject to the Cambridge CoreMaister, D. H., Green, C. H., & Galford, R. M. (2000). The Trusted Advisor . New York: Simon and Schuster. March, J. G. (1991). Exploration and exploitation in organizational learning. Organization Science ,2(1), 71 –87. Martin, R. L. (2015). Stop distinguishing between execution and strategy. Harvard Business Review (March). https://hbr.org/2015/03/stop-distinguish ing-between-execution-and-strategy Maslow, A. H. (1970). Motivation and Personality (2nd ed.). New York: Harper & Row. McDonald, D. (2013). The Firm: The Story of McKinsey and its Secret In ﬂuence on American Business . London: Simon and Schuster. McGrath, R. G. (2013). Transient advantage. Harvard Business Review ,91(6), 62–70. McGregor, D. (1960). The Human Side of Enterprise . New York: McGraw-Hill. McKenna, C. (2012). Strategy followed structure: management consulting and the creation of a market for ‘strategy ’, 1950 –2000. In S.J. Kahl, Brian S. Silverman & M.A. Cusumano (eds.), History and Strategy , Volume 29 (pp. 153 –186): Bingley: Emerald Group Publishing Limited. McKenna, C. D. (2006). The World ’s Newest Profession: Management Consulting in the Twentieth Century . Cambridge: Cambridge University Press. Micklethwait, J. & Woodridge, A. (1996). The Witch Doctors: What the Management Gurus are Saying, Why it Matters and How to Make Sense of it. London: Heinemann. Micklethwait, J. & Wooldridge, A. (1996). The Witch Doctors: Making Sense of the Management Gurus . London: Crown Business. Minto, B. (2009). The Pyramid Principle: Logic in Writing and Thinking . Harlow: Pearson Education. Mintzberg, H. (1987). Crafting strategy. Harvard Business Review (July- August), 66 –75.https://hbr.org/1987/07/crafting-strategy Mintzberg, H. & Waters, J. A. (1985). Of strategies, deliberate and emergent. Strategic Management Journal ,6(3), 257 –272. Newton, R. (2010). The Management Consultant: Mastering the Art of Consultancy . Harlow: Pearson Education. Nikolova, N. & Devinney, T. (2012). The nature of client-consultant interaction: a critical review. In M. Kipping & T. Clark (eds.), The Oxford Handbook of Management Consulting (pp. 389 –410). Oxford: Oxford University Press. O’Mahoney, J. & Markham, C. (2013). Management Consultancy . Oxford, UK: Oxford University Press.70 References terms of use, available at https://www.cambridge.org/core/terms . https://doi.org/10.1017/9781108868365Downloaded from https://www.cambridge.org/core . IP address: 115.99.28.34 , on 17 Aug 2020 at 08:00:42 , subject to the Cambridge CoreO’Reilly III, C. A. & Tushman, M. L. (2004). The ambidextrous organization. Harvard Business Review , April, 74 –81.https://hbr.org/2004/04/the-ambi dextrous-organization O’Shea, J. E. & Madigan, C. (1998). Dangerous Company: Management Consultants and the Businesses They Save and Ruin . New York: Penguin Putnam. Osterwalder, A. & Pigneur, Y. (2010). Business Model Generation: A Handbook for Visionaries, Game Changers, and Challengers : Hoboken: John Wiley & Sons. Oxley, J. E., Rivkin, J. W., Ryall, M. D., & Strategy Research Initiative. (2010). The strategy research initiative: recognizing and encouraging high-quality research in strategy. Strategic Organization ,8(4), 377 –386. Payne, A. & Lumsden, C. (1987). Strategy consulting –A shooting star? Long Range Planning ,20(3), 53 –64. Peters, T. J., Waterman, R. H., & Jones, I. (1982). In Search of Excellence: Lessons from America ’s Best-run Companies . New York: Harper and Row. Pinault, L. (2009). Consulting Demons: Inside the Unscrupulous World of Global Corporate Consulting . New York: Harper Collins. Porter, M. E. (1980). Competitive Strategy: Techniques for Analyzing Industries and Competitors . New York: The Free Press. Porter, M. E. (1991). Towards a dynamic theory of strategy. Strategic Management Journal ,12(Special Issue, Winter), 95 –117. Powell, T. C. (2003). Strategy without ontology. Strategic Management Journal ,24(3), 285 –291. Prahalad, C. K. & Hamel, G. (1990). The core competence of the corporation. Harvard Business Review ,68(3), 79 –91. Raisch, S. & Birkinshaw, J. (2008). Organizational ambidexterity: antecedents, outcomes, and moderators. Journal of Management ,34(3), 375 –409. Rasiel, E. M. (1999). The McKinsey Way: Using the Techniques of the World ’s Top Strategic Consultants to Help You and Your Business . New York: McGraw-Hill. Rasiel, E. M. & Friga, P. N. (2001). The McKinsey Mind . New York, NY: McGraw-Hill. Rousseau, D. M. (2012). Designing a better business school: channelling Herbert Simon, addressing the critics, and developing actionable knowledge for pro- fessionalizing managers. Journal of Management Studies ,49(3), 600 –618. Rumelt, R. (2011). Good Strategy/Bad Strategy: The Difference and Why it Matters . New York: Pro ﬁle Books. Saam, N. J. (2012). Economics approaches to management consulting. In M. Kipping & T. Clark (eds.), The Oxford Handbook of Management Consulting (pp. 207 –224). Oxford: Oxford University Press.71 References terms of use, available at https://www.cambridge.org/core/terms . https://doi.org/10.1017/9781108868365Downloaded from https://www.cambridge.org/core . IP address: 115.99.28.34 , on 17 Aug 2020 at 08:00:42 , subject to the Cambridge CoreSchein, E. H. (2002). Consulting: what should it mean? In T. Clark & R. Fincham (eds.), Critical Consulting: New Perspectives on the Management Advice Industry (pp. 21 –27). Oxford: Blackwell Business. Schoemaker, P. J. (1995). Scenario planning: a tool for strategic thinking. Sloan Management Review ,36,2 5 –40. Seidel, V. (2000). Moving from design to strategy: the four roles of design-led strategy consulting. Design Management Journal ,11(2), 35 –40. Sinek, S. (2009). Start with Why: How Great Leaders Inspire Everyone to Take Action . New York: Penguin. Spender, J.-C. (2007). Management as a regulated profession: an essay. Journal of Management Inquiry ,16(1), 32 –42. Spender, J.-C. (2014). Business Strategy: Managing Uncertainty, Opportunity, and Enterprise . Oxford: Oxford University Press. Steele, F. (1975). Consulting for Organizational Change . Amherst, MA: University of Massachusetts Press. Taylor, F. W. (1911). The Principles of Scienti ﬁc Management, New York: Harper & Brothers. Teece, D. J., Pisano, G. P., & Shuen, A. (1997). Dynamic capabilities and strategic management. Strategic Management Journal ,18(7), 509 –533. Vaara, E. & Durand, R. (2012). How to connect strategy research with broader issues that matter? Strategic Organization ,10(3), 248 –255. Van den Bosch, F. A., Baaij, M. G., & Volberda, H. W. (2005). How knowledge accumulation has changed strategy consulting: strategic options for estab-lished strategy consulting ﬁrms. Strategic Change ,14(1), 25 –34. Waterman, R. H. (1982). The seven elements of strategic ﬁt.Journal of Business Strategy ,2(3), 69 –73. Waterman, R. H., Peters, T. J., & Phillips, J. R. (1980). Structure is not organization. Business Horizons ,23(3), 14 –26. Weiden, E. F. (2014). Folienkrieg und Bullshitbingo: Handbuch für Unternehmensberater, Opfer und Angehörige . München: Piper Verlag. Weiss, A. (1992). Million Dollar Consulting: The Professional ’s Guide to Growing a Practice . New York: McGraw-Hill. Whitney, D. & Cooperrider, D. (2005). Appreciative Inquiry: A Positive Revolution in Change . Oakland CA: Berrett-Koehler Publishers. Whittington, R. (1996). Strategy as practice. Long Range Planning ,29(5), 731 –735. Whittington, R., Johnson, G., Scholes, K., Angwin, D., & Regnér, P. (2017). Exploring Strategy . Harlow: Pearson. Wickham, P. A. & Wilcock, J. (2016). Management Consulting: Delivering an Effective Project . Harlow, UK: Pearson Education Limited.72 References terms of use, available at https://www.cambridge.org/core/terms . https://doi.org/10.1017/9781108868365Downloaded from https://www.cambridge.org/core . IP address: 115.99.28.34 , on 17 Aug 2020 at 08:00:42 , subject to the Cambridge CoreBusiness Strategy J.-C. Spender Kozminski University J.-C. Spender is a visiting scholar at Kozminski University and a research Professor, Kozminski University. He has been active in the business strategy ﬁeld since 1971 and is the author or co-author of seven books and numerous papers. His principal academic interest is in knowledge-based theories of the private sector ﬁrm, and managing them. Advisory Board Jay Barney, Eccles School of Business, The University of Utah Stewart Clegg, University of Technology, Sydney Thomas Durand, Conservatoire National des Arts et Métiers, Paris CT Foo, Independent Scholar, Singapore Robert Grant, Bocconi University, Milan Robin Holt, Copenhagen Business School Paula Jarzabkowski, Cass School, City University, London Naga Lakshmi Damaraju, Indian School of Business Marjorie Lyles, Kelley School of Business, Indiana University Joseph T. Mahoney, College of Business, University of Illinois at Urbana-Champaign Nicolai Foss, Bocconi University, Milan Andreas Scherer, University of Zurich Deepak Somaya, College of Business, University of Illinois at Urbana-Champaign Eduard van Gelderen, Chief Investment O ﬃcer, APG, Amsterdam About the series Business strategy ’s reach is vast, and important too since wherever there is business activity there is strategizing. As a ﬁeld, strategy has a long history from medieval and colonial times to today ’s developed and developing economies. This series o ﬀers a place for interesting and illuminating research including industry and corporate studies, strate- gizing in service industries, the arts, the public sector and the new forms of Internet- based commerce. It also covers today ’s expanding gamut of analytic techniques. terms of use, available at https://www.cambridge.org/core/terms . https://doi.org/10.1017/9781108868365Downloaded from https://www.cambridge.org/core . IP address: 115.99.28.34 , on 17 Aug 2020 at 08:00:42 , subject to the Cambridge CoreBusiness Strategy Elements in the series Scenario Thinking: Infusing Planning with Foresight Brad MacKay and Peter McKiernan Agent-Based Strategizing Duncan A. Robertson Corporate Social Responsibility Christopher Wickert and David Risi Austrian Perspectives on Management: Entrepreneurship, Strategy, and Organization Nicolai J. Foss, Peter G. Klein and Matthew McCa ﬀrey Microfoundations: Nature, Debate, and Promise Nicolai J. Foss and Stefan Linder Strategy Consulting Jeroen Kraaijenbrink Tools for Strategy: A Starter Kit for Academics and Practitioners Henri Hakala and Tero Vuorinen A full series listing is available at: www.cambridge.org/EBUS terms of use, available at https://www.cambridge.org/core/terms . https://doi.org/10.1017/9781108868365Downloaded from https://www.cambridge.org/core . IP address: 115.99.28.34 , on 17 Aug 2020 at 08:00:42 , subject to the Cambridge Core	[ "strategy", "consulting", "consultant", "organization", "approach", "client", "process", "need", "management", "also" ]	{ "summary": "KRAAIJENBRINK Strategy ConsultingStrategy consulting is one of the most highly respected and at \nthe" }
Inside-the-Minds-Leading-Consultants.pdf	ASPATORE BOOKS Business Intelligence From Industry InsidersAbout Aspatore Books Business Intelligence From Industry Insiders www.Aspatore.com Aspatore Books publishes only the biggest names in the business world, including C-level (CEO, CTO, CFO, COO, CMO, Partner) leaders from over half the world’s 500 largest companies and other leading executives. Aspatore Books publishes the Inside the Minds, Bigwig Briefs, ExecEnablers and Aspatore Business Review imprints in addition to other best selling business books and journals. By focusing on publishing only the biggest name executives, Aspatore Books provides readers with proven business intelligence from industry insiders, rather than relying on the knowledge of unknown authors and analysts. Aspatore Books focuses on publishing traditional print books, while our portfolio company, Big Brand Books focuses on developing areas within the book-publishing world. Aspatore Books is committed to providing our readers, authors, bookstores, distributors and customers with the highest quality books, book related services, and publishing execution available anywhere in the world. The Inside the Minds Series Real World Intelligence From Industry Insiders www.InsideTheMinds.com Inside the Minds was conceived in order to give readers actual insights into the leading minds of business executives worldwide. Because so few books or other publications are actually written by executives in industry, Inside the Minds presents an unprecedented look at various industries and professions never before available. Each chapter is comparable to a white paper and is a very future oriented look at where their industry/profession is heading. In addition, the Inside the Minds web site makes the reading experience interactive by enabling readers to post messages and interact with each other, become a reviewer for upcoming books, read expanded comments on the topics covered and nominate individuals for upcoming books. The Inside the Minds series is revolutionizing the business book market by publishing an unparalleled group of executives and providing an unprecedented introspective look into the leading minds of the business world. About Big Brand Books Big Brand Books assists leading companies and select individuals with book writing, publisher negotiations, book publishing, book sponsorship, worldwide book promotion and generating a new revenue stream from publishing. Services also include white paper, briefing, research report, bulletin, newsletter and article writing, editing, marketing and distribution.The goal of Big Brand Books is to help our clients capture the attention of prospective customers, retain loyal clients and penetrate new target markets by sharing valuable information in publications and providing the highest quality content for readers worldwide. For more information please visit www.BigBr andBooks.com or email [email protected]. I N S I D E T H E M I N D S Inside The Minds:Inside The Minds:Inside The Minds:Inside The Minds: Leading Consultants Industry Leaders Share Their Knowledge on the Art of Consulting Published by Aspatore Books, Inc. For information on bulk orders, sponsorship opportunities or any other questions please email [email protected]. For corrections, company/title updates, comments or any other inquiries please email [email protected]. First Printing, 2002 10 9 8 7 6 5 4 3 2 1 Copyright © 2001 by Aspatore Books, Inc. All rights reserved. Printed in the United States of America. No part of this publication may be reproduced or distributed in any form or by any means, or stored in a database or retrieval system, except as permitted under Sections 107 or 108 of the United States Copyright Act, without prior written permission of the publisher. ISBN 1-58762-059-6 Library of Congress Card Number: 2001119341 Cover design by Michael Lepera/Ariosto Graphics & Kara Yates Material in this book is for educational purposes only. This book is sold with the understanding that neither any of the authors or the publisher is engaged in rendering legal, accounting, investment, or any other professional service. This book is printed on acid free paper. A special thanks to all the individuals that made this book possible. Special thanks to: Jo Alice Hughes, Rinad Beidas, Kirsten Catanzano, Melissa Conradi, Molly Logan, Justin Hallberg The views expressed by the individuals in this book do not necessarily reflect the views shared by the companies they are employed by (or the companies mentioned in this book). The companies referenced may not be the same company that the individual works for since the publishing of this book. “What business journals do you subscribe to?” A study conducted with over 5,000 top executives shows that 82% of these individuals feel that journals are the preferred type of publication for business intelligence over magazines, books, research reports and other publications. Aspatore Business Reviews Enabling Executives to Innovate & Outperform The Quarterly Journals Featuring Exclusive Business Intelligence From Industry Insiders The Most Subscribed to Journals By C-Level Executives From the World’s 500 Largest Companies Aspatore Business Review Aspatore Entrepreneurial Review Aspatore Marketing Review Aspatore Technology Review A Perfect Gift/Reward for a Key Executive or Your Entire Team! www.Aspatore.com/abr.aspAbout Aspatore Business Reviews The goal of Aspatore Business Reviews (Aspatore Technology Review, Aspatore Business Review, Aspatore Marketing Review, Aspatore Entrepreneurial Review) are to bring you the most important, condensed business intelligence from industry insiders on a range of different topics affecting every executive, expanding your breadth of knowledge and enabling you to innovate and outperform. Each journal focuses on specific issues affecting a particular profession/industry, written by leading C-Level executives (CEO, CFO, CTO, CMO, COO, Partner) currently in industry, rather than unknown writers, authors or research analysts who are absent from working in the current market environment. The Aspatore Business Review journals provide a distinct competitive advantage for our subscribers by featuring imperative business research from true industry insiders, with each issue featuring knowledge excerpts, white papers, articles, document analysis and other business intelligence. Aspatore Business Reviews focus on only the most pressing business issues in the most condensed format possible and are the best way to maintain your edge and keep current with your business reading in the most time efficient manner possible. Aspatore Business Reviews are interactive journals based on the submission of white papers, articles and knowledge excerpts from business leaders worldwide. Each Aspatore Business Review follows the following special format, specifically designed by leading executives as the preferred way to comprehend business intelligence: I. E XECUTIVE SUMMARY The Executive Summary provides the highlight of the current journal, and enables you to very quickly scan the most important concepts. II. ABR F EATURE The ABR Feature focuses on a current topic affecting executives in every industry, from a variety of different C-Level (CEO, CFO, CTO, CFO, CMO, COO, Partner) perspectives. III. I NTHE KNOW In the Know features knowledge excerpts from leading professionals on a variety of topics, enabling executives to expand their breadth of knowledge, communicate intelligently on a wide range of important issues, and develop ideas for innovation and new revenue opportunities within their own area of expertise. IV. E XECUTIVE PERSPECTIVES Executive Perspectives feature white papers on a variety of topics, submitted by C-Level (CEO, CFO, CTO, CMO, COO, Partner) executives from leading companies in major industries currently having a significant impact on the overall economy. V.PROFESSION SPOTLIGHT The Profession Spotlight focuses on a key C-Level (CEO, CFO, CTO, CFO, CMO, COO, Partner) or executive position, and the “Golden Rules” of that profession and other topics that will enable other types of executives to identify efficiencies, new product/service ideas, new revenue opportunities, interact better and implement innovative concepts into their own profession. VI. I NDUSTRY SPOTLIGHT The Industry Spotlight section highlights a current industry, or part of an industry, that is affecting the majority of businesses in some way or another and provides opportunities for growth and new profit centers. VII. I DEAS FOR INNOVATION Ideas for Innovation features a series of question blocks that can be used as a starting point for an executive meeting, brainstorming session, or distributed to key managers as a way to stimulate new ideas.The Quarterly Journal Featuring Exclusive Business Intelligence, Research & Analysis From Industry Insiders Enabling Executives to Innovate & Outperform The Most Subscribed to Journal By C-Level Executives From the World’s 100 Largest Companies Sample Contributors/Readers/Features: Dietmar Ostermann (AT Kearney, CEO), Frank Roney (IBM, General Manager), Pamela McNamara (AD Little, CEO), John Zeglis (AT&T Wireless, CEO), Richard Costello (GE, Brand Manager), Fred Round (Ernst & Young, Technology Tax Leader), Steve Jones (Coca-Cola, Chief Marketing Officer), Warwick Ford (Verisign, CTO), Carl Ledbetter (Novell, CTO), Richard Schroth (Perot Systems, CTO), Scott Dietzen (BEA Systems, CTO) & More... Aspatore Business Review brings you the most important, condensed business intelligence from industry insiders on a range of different topics affecting every executive, expanding your breadth of knowledge and enabling you to innovate and outperform. Aspatore Business Review is the only way for business professionals to keep their edge and stay on top of the most pressing business issues. Each Aspatore Business Review features business intelligence, research and analysis from C- Level (CEO, CTO, CMO, CFO, Partner) executives, consultants venture capitalists, investment bankers, lawyers and analysts from the world’s largest and most prestigious companies. Each quarterly issue focuses on the most pressing business issues, trends, and emerging opportunities in the marketplace that affect every industry in some way or another. Every quarter, Aspatore Business Review focuses on topics that every business professional needs to be aware of such as: • Staying Ahead of Changing Markets • Fostering Innovation • Profiting in a Recession/Market Upswing • Brand Building • Emerging Market Opportunities • Economy Trends • New Legal Developments • Stock Market Outlook • Investment Banking Perspectives • Technology and the Internet • Management and Leadership • Venture Capital Perspectives Aspatore Business Review is the one journal every business professional should read, and is the best way to maintain your edge and keep current with your business reading in the most time efficient manner possible. Only $1,090 a Year for 4 Comprehensive Issues Fill Out the Order Form on the Other Side or Visit Us Online! www.Aspatore.comASPATORE Business ReviewASPATORE Business Review Tear Out This Page and Mail or Fax To: Aspatore Books, PO Box 883, Bedford, MA 01730 Or Fax To (617) 249-1970 Name: Email: Shipping Address: City: State: Zip: Billing Address: City: State: Zip: Phone: Lock in at the Current Rates Today-Rates Increase Every Year Please Check the Desired Length Subscription: 1 Year ($1,090) _____ 2 Years (Save 10%-$1,962) _____ 5 Years (Save 20%-$4,360) _____ 10 Years (Save 30%-$7,630) _____ Lifetime Subscription ($24,980) _____ (If mailing in a check you can skip this section but please read fine print below and sign below) Credit Card Type (Visa & Mastercard & Amex): Credit Card Number: Expiration Date: Signature: Would you like us to automatically bill your credit card at the end of your subscription so there is no discontinuity in service? (You can still cancel your subscription at any point before the renewal date.) Please circle: Yes No (Please note the billing address much match the address on file with your credit card company exactly) Terms & Conditions We shall send a confirmation receipt to your email address. If ordering from Massachusetts, please add 5% sales tax on the order (not including shipping and handling). If ordering from outside of the US, an additional $51.95 per year will be charged for shipping and handling costs. All issues are paperback and will be shipped as soon as they become available. Sorry, no returns or refunds at any point unless automatic billing is selected, at which point you may cancel at any time before your subscription is renewed (no funds shall be returned however for the period currently subscribed to). Issues that are not already published will be shipped upon publication date. Publication dates are subject to delay-please allow 1-2 weeks for delivery of first issue. If a new issue is not coming out for another month, the issue from the previous quarter will be sent for the first issue. For the most up to date information on publication dates and availability please visit www.Aspatore.com . Inside the Minds: Leading Consultants Industry Leaders Share Their Knowledge on the Art of Consulting CONTENTS Frank Roney 11 THE DRIVE FOR BUSINESS RESULTS: WALKING IN THE CUSTOMER’S SHOES Randolph C. Blazer 29 UNDERSTANDING THE CLIENT Pamela McNamara 59 WORKING AT THE INTERFACE OF TECHNOLOGY AND BUSINESS Dr. Chuck Lucier 97 OVERLAP YOUR CIRCLES: MAXIMIZING THE THREE ELEMENTS OF THE STRATEGY CONSULTING BUSINESS Dietmar Ostermann 131 THE ART OF CONSULTING-FIGURING OUT HOW TO DO IT RIGHT Luther J. Nussbaum 149 THE DISCIPLINE OF CLIENT VALUE Bradley M. Smith 189 GIVING CLIENTS MORE THAN THEY EXPECT Thomas J. Silveri 209 TAILORING SOLUTIONS TO MEET CLIENT NEEDS David Frigstad 229 THE FUTURE OF MARKETING CONSULTING John C. McAuliffe 253 THE RULES HAVE CHANGEDLeading Consultants 11 THE DRIVE FOR BUSINESS RESULTS: WALKING IN THE CUSTOMER’S SHOES FRANK RONEY IBM General Manager, Worldwide Business Innovation Services Inside The Minds 12 The Consulting Path I’ve been in professional services for 24 years. It’s an intoxicating profession. IBM’s consultants live at the intersection of business strategy and technology execution, and it’s constantly changing in both areas. There’s never a boring day, a boring assignment, or a boring engagement. Our customers’ business designs are evolving as new applications of technologies emerge. At the core, the consulting industry is all about creating value for our customers, and ultimately for their customers. But it’s also about hard work and staying on the leading edge of change while being practical about what can and cannot be done. Today, creating value has everything to do with the transformation to e-business. In the early 1990s, as technology became a key enabler for business strategy, we saw a real acceleration of consulting around technology. It was driven by ERP systems and by the opportunity to reengineer businesses, to take out costs and become more productive and efficient. That increased throughout the 1990s, particularly around the Y2K technology changeover. With the initial emergence of the Internet and the first wave of e-business, we saw an insatiable demand for leading consulting talent – talent that could develop strategies, Leading Consultants 13 create new business models, and implement technologies that drive a company’s growth, increase their competitive advantage, save money, or all of the above. Then, in the last two years, we saw a surge around some very big ideas propelled by the business designs of the dot-coms. As we now know, it was short lived. The dot-coms learned the hard lesson that ideas and innovation without tangible business results isn’t going to cut it. The best consultants know how to deliver on the promise of big ideas. You have to execute. You have to marry innovation with maximizing shareholder value. The second wave of e- business is all about the hard work of both business innovation and technology integration. Defining Success We are maniacally focused on customer value. It’s an important element of our mission. In order to know that we’re delivering that value, we measure customer satisfaction regularly and then ask ourselves, “Have we helped our customers drive their shareholder value? Have we impacted their revenue growth or increased their market share? Have we impacted their competitiveness? Have we helped to reduce their costs and increase their productivity? Have we contributed to the development of their business strategy or the transformation of their business?” Inside The Minds 14 If you’re going to live at the intersection of business strategy and technology execution, as we do, the simple question that must be asked every day is “Have we made a difference to our customers?” If we haven’t leveraged technology to further their business strategy and to drive more shareholder value, we haven’t done our job. We have another job, too, though. As a publicly owned company and as a publicly owned consultancy, we must also drive value for our own shareholders. Driving value for both our customers and our shareholders is an interesting balance – one that we’ve been successful at for quite a while now. Another measure of success, at least for the businesses that we advise, is the ability to unlock and leverage business strategies across an entire enterprise and all of its business processes. It’s not about piece-parts. It’s about unlocking the promise of e-business throughout a company, in all of its business processes. Consultants must be industry-focused these days. They must be keenly focused on the insights, business designs, new business processes, and technologies that are evolving industry wide. The winning combination is a consultant who can keep the industry at the forefront of his or her mind, and marry that with the right technology to address a customer’s business issue – not technology for technology’s sake, but technology that has real payoff for customers. Leading Consultants 15 Opportunities An important opportunity is wireless and mobile computing. It’s a key technology for increasing customer loyalty, reducing operational costs, and improving business productivity. We use wireless technology everyday. For businesses, wireless makes it easier to do things like track inventory, improve customer responsiveness, and increase the effectiveness of the sales force. Wireless makes businesses mobile. It allows people to take aspects of their job with them when they’re traveling or working directly with their customers. Completely new business models will emerge that take advantage of wireless technologies. Going forward, it’s going to have the kind of game-changing effect on companies that Web access did a decade ago. One fascinating potential is that of location-based services that will allow service transportation companies to track the locations of delivery vehicles and make route adjustments based on real-time market demands. Additionally, these location-based services can provide information to emergency services at a local level to immediately locate people in distress who may call in from a cellular phone. Finally, we think the next big push in e-business is going to be around transforming the workplace. IBM led the world down the path of using the Web to transform core business processes like supply chain, customer relationship management, and e-procurement. What’s next are e-Inside The Minds 16 Workplaces. It’s doable in the short term, and it can be a big cost saver. We know, because we’ve done it ourselves within IBM. This first phase has been about efficiency – turning technology, such as enterprise portals, into employee self-service hubs characterized by tools like e-HR, e-meetings, online learning, instant messaging, and corporate yellow pages. Phase Two will be about putting all these piece-parts under one e-Workplace umbrella as an integrated capability to reduce the costs of traditional workplaces and increase the efficiencies of workers. The Art of Consulting I think the art of consulting starts with the ability to understand our customers in the context of their business in their industry. I think of every customer’s enterprise as a puzzle. Our job is to both listen to the customer and to be very thoughtful. We need to decompose what we hear, assess the parts, and then reassemble them using our insight and our knowledge to help them develop their business strategy. The art is really about both good listening and having a point of view on what to do and how to do it. However, consulting must be about both ideas and execution. Because of the demand for time-to-market, consultants who can get customers into the market with fresh ideas and workable strategies faster than the competition will lead in the marketplace. Leading Consultants 17 The Need for Consultants Consultants work with clients for many different reasons. Most of our customers are looking for innovation, fresh insight into their business strategies, and ways to leverage technology. They know the hot topics, and they know a number of different directions they could take, but they’re looking for specific industry thought leadership and a point of view. Wireless is a great example. They understand wireless, but they come to us to help them think through the right alternatives that will drive business results. In this sense, customers come to a consultant because they are looking for both insight and capability – whether it’s for business strategy, managing change, or implementing technologies. The ideal customer/consultant relationship is when the change agent becomes the trusted business advisor. This requires having the customer’s best interests in mind at all times. Sometimes that means saying no to the customer. Sometimes that means changing the direction of critical customer projects. Objectivity is crucial. Consultants operate best when they are held accountable for delivering on their ideas. Increasingly, our customers are saying they want not only the ideas but also the execution. Often our best customer relationships have a healthy dose of creative tension, where ideas are challenged and accountability is held paramount. We think that’s about right. Inside The Minds 18 Difficult Aspects of Consulting From a people perspective, the consulting profession is well known for stretching work-life balance parameters. Operating at the leading edge of business and technology change is challenging. However, in many ways, that’s what makes this profession so appealing. I don’t think this balance issue is ever going to go away. The breadth of business change in the business world and the new, emerging technologies are putting a lot of demands on consultants today. Unlike ten years ago, when you could more easily master the technology that we had at that time, the current environment requires both adept industry expertise and a much deeper technology competence than ever before. To address this need, we not only go to market by industry, but we’ve established technology centers of competence. A high premium is put on collaboration and on the sharing and reuse of assets. Our consultants compete not just on the basis of their industry, technology, or solution capability, but also through their ability to leverage their experience, expertise, and intellectual assets. It is increasingly important to innovate, share, and improve individual productivity and effectiveness by better managing what we “know.” Our ability to save, organize, and apply the extensive knowledge within IBM is key to providing distinctive value to our customers. We use knowledge management to Leading Consultants 19 provide our professionals with a framework that enables the reuse of insights, best practices, technical frameworks, and solutions. This knowledge sharing and reuse leads to outstanding service that distinguishes IBM Global Services from its competitors. Roadmaps Most good consultancies have an underlying methodology. Over the past ten years we have created what we term the “IBM Global Services Method,” which is a whole series of structures and methodologies for conducting our consulting business, from strategy engagements to technical implementations. This is also the basis of how we train our people and how we can execute on an end-to-end value proposition. It’s an important part of being a world-class consultancy today, but it’s not enough. You have to have a deep understanding of industry. Industry roadmaps are very important. We cultivate, develop, and maintain industry roadmaps, which are points of view of where the industry is going, leveraging the combination of thought leadership and business best practices. We also maintain rich technical frameworks in an effort to shorten time-to-market. We also believe value-nets are an important aspect of how we create customer value. Our preferred strategy is to work with leading independent software vendors and to use their Inside The Minds 20 applications as a key enabler for our customers’ business needs. Our business partnerships and our value-nets are at the center of creating value for our customers. Getting up to Speed The most important thing is to see the industry and the marketplace through the eyes of the customer. It’s about looking through the customer’s lens at their markets, at their competitors, and at their industry and seeing the environment that they are operating in. We expect our consultants to come to the engagement with that kind of orientation. This broad perspective ensures we can recommend what is best for the customer’s enterprise instead of using only standard industry approaches. We also work hard in the start-up phase of each engagement to understand our customer’s technology preferences and their infrastructure. As we go through the project, we use these insights as grounding points for our work. Doing all of this gives us the ability to truly walk in the customer’s shoes. Leading Consultants 21 Metrics to Measure Engagements A consultant will succeed only if customers value their services and are extremely satisfied with the results of their work. Strong client relationships and the delivery of quantifiable business value will lead to consistently satisfied and loyal customers, excellent reference accounts, and repeat business. Consultants must clearly understand and anticipate customer expectations to proactively innovate new solutions to meet their needs. It is imperative that we understand our customer’s perception of the value of our services and their satisfaction with the business impact of our services. A consultant’s value must be expressed in customer terms with relevant proof points around industry expertise to have credibility in the marketplace. We must support all recommendations with facts. In addition, I think every consultant needs to talk with their customer everyday. They must have an active dialogue and actively listen. That means being very open to what’s working and what’s not, and learning the culture and style of our customers. There are many ways to assess the relationship or engagement, whether it’s on track or not, but there’s nothing better than listening to the customer. Inside The Minds 22 Good Qualities in Consultants I think the hallmark of a good consultant is becoming a trusted business advisor for the customer. It’s important for the customer to have a sense of trust, to be comfortable with the consultant, and vice versa. Straight talk is essential. Lay things on the line, use meaningful words, separate logic from emotion, and talk about the realities – that’s what the customer wants. Worry about how recommendations will be implemented. Recommend ways to resolve potential issues within the customer’s environment, paying attention to the culture of the customer’s enterprise and its impact on the execution of recommendations. Provide a roadmap to success. Listen to the customer to identify issues that may go beyond the question asked, and provide the answers that bring real business value. Another thing I look for in our consultants is the willingness to say no when it’s in the best interest of the client. There are times when we may not know the right answer, or it may take more time to develop the right answer. Sometimes we may disagree with the client on direction. That’s okay. What’s not okay is refraining from putting honest thoughts on the table or, for whatever reason, failing to work through the necessary logic of an engagement. Leading Consultants 23 I also think that with the complexities in today’s world, you have to be a team player, and you have to have the technology at hand to communicate globally. There are a number of enablers for this kind of collaboration and communication. We use Lotus Notes extensively. Consultants need to be able to reach out to their network of colleagues at a moment’s notice. Teaming and collaboration skills are extremely important today. At the same time, consultants also need a healthy degree of objectivity. They need to be self-starters who are maniacally focused on delivering customer value. A good consultant thinks about how he or she can add value that goes beyond just following a good work plan. Pitfalls to Avoid One of the biggest pitfalls is promising more than you can deliver. We talked about the importance of getting up to speed. The formulation and execution of a customer engagement is not only based on the customer’s needs, but also based on understanding the customer’s capabilities and resources to support the engagement. The idea of doing what the customer wants, in the time frame they want, with whatever resources they have, may not always be the right plan. It may be over-promising. Inside The Minds 24 Another pitfall is recommending last year’s idea or best practice. The market is continuing to evolve at a very fast pace. Consultants must stay current. While we use structures and methods as a core part of how we consult, we also must be highly flexible and innovative. It is important to remember that there is a really creative part to this business. That we had a certain point of view a year ago doesn’t mean that point of view won’t change as we increase our learning and adjust our insights to keep pace with market dynamics. I also ask our consultants to serve the customer and not just the project. They need to keep that foremost in their minds. Every day they have to think about the customer, their needs, and how the project is serving the customer. We have work plans; we have objectives; and we have deadlines; but at the end of the day, it all comes back to creating customer business value. They must keep the customer’s interest foremost in their minds. Leadership We’ve developed a number of competency profiles for our key leaders. Many types of leaders are required to be successful in a large global consultancy. First and foremost, in terms of core competencies, our leaders have to have customer insight. They have to be able to think about business through the customer’s eyes. They also have to Leading Consultants 25 have the drive and passion to be successful in this business. They have to be able to deliver straight talk. They have to be team players with both the customer and with colleagues across IBM because dynamic teaming is an important part of how we deliver customer value. Our consultants need to be decisive. This profession is exciting because it’s at the pinnacle of change and because it’s at the intersection of business strategy and technology execution. The ability to lead and provide compelling points of view at that intersection is crucial. In terms of differentiation, some consultants are visionaries. Others have strong subject matter expertise in business strategy, in industry, in business process, and in technology. Still others are business incubators. All must be change agents and must strive to be recognized as such by their clients. Golden Rules of Consulting The first golden rule is that the customer comes first. It’s at the pinnacle of what we do at IBM. If you wake up every day thinking about putting your customer first, everything else will fall into place. The second thing I would stress is accountability – the willingness to be held accountable and deliver on our commitments. We want to put innovative and fresh ideas on the table for our customers, but they Inside The Minds 26 have to be ideas that are executable. The third golden rule is that everything we do should be about driving customer business results. We can exceed customer expectations only if we deliver real business value. There are a lot of clichés in this industry, but I think these three rules are important tenets. The Future of Consulting The consulting industry is going through massive change. The future is bright for those who can deliver end-to-end value. Today’s projects are far more complex than they’ve ever been, and for that reason customers are looking for globally oriented change agents who can deliver at the intersection of business strategy and technology execution. It’s not easy to be global, or to have insight in each industry and the segments that make up those industries. What we’ve done here at IBM Global Services is to build the world’s leading consultancy and services company from the ground up. It’s not something you can go out and acquire and quickly assemble. It takes a strong culture to maintain objectivity and a critical eye for continually improving our execution in the market to make this work. These are different times in our industry. Speed – from strategy design to execution – is key. Ideas will always be Leading Consultants 27 important, but those who can crack the code to bridge strategy and technology are going to be the leaders of this industry going forward. Those who can implement their ideas will win. We’re ten years into our journey of building IBM Global Services and IBM’s consulting capability. We went from being a very small player to a world leader through a lot of hard work and clear determination. Today we have over 150,000 professionals. We got to where we are by maintaining a strong commitment to putting the customer first, every day. We let them do most of the talking. We listen, provide our point of view, and then execute. I think only a handful of companies are going to be able to deliver the kind of value that global customers need. Frank Roney is general manager, Business Innovation Services, Worldwide, IBM Global Services. His responsibilities include achieving the growth, market share, and profit targets for BIS globally; developing the BIS strategy and value propositions; managing the BIS global investment portfolio; and validating, on a global basis, that BIS has the right resources and capabilities to deliver the offerings. Mr. Roney leads the five Global BIS Sector Executives, who are responsible for developing industry services strategies, developing thought leadership, and industry specific solutions. Inside The Minds 28 Previously, Mr. Roney was IBM's senior executive responsible for the worldwide systems integration business. This responsibility included establishing the business models and business processes IBM uses worldwide to perform the systems integration business and leading IBM's global systems integration community to ensure consistent business performance. Before that, Mr. Roney was general manager, Integration Services, U.S., IBM Global Services. He was responsible for the strategy, growth, profitability, and operations of the United States consulting and systems integration business units of IBM Global Services. Prior to joining IBM in 1993, Mr. Roney was a partner with Price Waterhouse in their Management Consulting Services division, where he managed their Michigan business unit, SAP business unit, and major engagements in a variety of industries, including the automotive, retail/distribution, and consumer product segments. Leading Consultants 29 UNDERSTANDING THE CLIENT RANDOLPH C. B LAZER KPMG Consulting, Inc. Chairman and Chief Executive Officer Inside The Minds 30 The Enjoyable Aspects of Consulting Although I’m charged with a variety of business responsibilities as CEO, at the end of the day, what I most enjoy and what gets my creative juices flowing is still providing direct assistance to our clients and helping our professionals solve client challenges. Clients primarily come to KPMG Consulting for two reasons: to solve a business problem or pursue a business opportunity. We provide not just analytics, but also experience and industry knowledge, as well as information systems, to support their business on an ongoing basis. Most challenges that companies face today revolve around harnessing the information they have and using it to their advantage. Being integrally involved in solving these concerns is exciting and dynamic, and it keeps me always thinking forward about the next major business and technology innovations to help our clients tackle them. Second only to working for our clients is the excitement of working with our colleagues, both inside and outside the business. At KPMG Consulting, we are a group of top-notch professionals. Throughout all levels of the organization, everyone you encounter is experienced, committed, intelligent, and eager to learn. It creates an environment that encourages you to work hard, increase your knowledge, and be truly driven toward success. We’ve created a culture that emphasizes personal responsibility for Leading Consultants 31 our individual growth, while at the same time focusing on each other’s success and valuing teamwork and collaboration. So, particularly once you begin to accept more responsibility and move to the management levels that help drive the business, it’s a great pleasure and a huge responsibility to bring others into the company and help ensure their success. You have to make sure that they’re mentored, developed, motivated, and trained to work with the client and that they are performing well and in the clients’ best interests. And our mentoring opportunities are enormous; you typically have very diverse teams. That’s what drives the creativity. The need for mentoring can go in all directions. We are mentors to those who report to us, those we report to who may not have all the specifics of the client’s particular needs, those who work alongside us, and our clients, who often serve key roles on our joint teams. It’s a wonderful position to be in, where you can help others grow within a company – a client’s or ours – and see them be successful. The Art of Consulting The art of consulting starts with a clear understanding of what the need is – the business problem or challenge the client is facing. You have to be experienced first so that you have a solid foundation, and you also have to know a wide range of client specifics before you can even know Inside The Minds 32 where and how to start. You have to understand the client, the environment they sit in, and the competitive marketplace they operate in. You have to understand what their competitors are doing. You have to understand their culture, the state of their machinery or apparatus, and whether they’re producing goods, generating information, or providing a service. In the art of consulting, you must truly understand the client and the client’s situation. I see it as one part relationship building and one part technical analytics of the client’s current situation and needs. Once you’ve locked onto the need and the aspects of that requirement, you reach the second phase of this art, which is addressing client needs and delivering results through creative solutions and methodologies. Sometimes it involves an approach that has never been tried before. How do you develop an approach or methodology to deliver the results that the client is looking for, while providing enough specialty expertise to guide both you and the client? The third aspect of this art is the communication process that evolves when you try to keep both the client’s needs and the project methodology in lock-step as the project unfolds. As you go through a project, the need will change and become more defined. Your intended solution may begin to drive on one aspect of that need but forget the other aspects. Unless you have constant dialogue going on Leading Consultants 33 between those two things, need and delivery, you’re going to get out of synch. It’s a real art. Most of our projects kick off with a formal planning stage, which helps make sure roles are clearly defined, that KPMG Consulting and client team members at all levels have a clear understanding of their responsibilities and who specifically is accountable. It also ensures that background information will be provided to get us up to speed quickly and that formal communication plans are in place. We incorporate a change process and approval structure into all of our involved engagements, as well. This helps manage changes to the scope of projects and lets the client and our professionals fully understand the implications of changes across project areas and to cost and resource demands, as well as project timelines. In turn, it helps us mobilize additional personnel as needed and helps keep the project moving, instead of stalling out. The bottom line: We have to make sure that expectations are set, communications are clear, detailed and ongoing feedback is provided, onsite corrections are made, and that we keep going until we get to the result the client wants. And most important: It has to be a lasting result. Inside The Minds 34 The New Face of Consulting – Challenges The job of and pressures on a consultant have gotten even harder in recent years. I say that primarily because the world is running at a faster speed. We have a faster pace and probably a greater desire for results than we’ve ever had in the business world. Whether it’s getting information instantaneously via e-mail or restructuring their entire business model in six weeks, people expect immediate solutions to complex issues and are often impatient with the exploratory work that must be done to offer real solutions to complicated business needs. So our professionals really have to hit the ground running with the industry acumen and speed with purpose that give clients confidence that their time isn’t being wasted. It serves no purpose for consultants to extend the length of client engagements and rack up fees unnecessarily. Ninety-six percent of our top clients are repeat customers because we deliver results – fast. In addition to the increased sense of urgency, clients and consultants often share a misconception that technology is the great panacea for business problems. But technology both helps and confuses the issue. Technology is an enabler for you to be an effective consultant and solve problems. We’ve had good success with automated diagnostic and assessment tools and have derived immeasurable benefit from the knowledge-sharing that our intranet permits, to Leading Consultants 35 name a few quick examples. But technology also confuses things because people race for technology to solve fundamental business issues. Technology can’t do that. This requires experienced people, thinking through the problems and alternatives. Another recent change that makes the profession seem a little harder is the whole theory around people – your workforce and what their professional desires and goals in life are and what their emotional attitudes are. We talk a lot about the Generation X and the “Me Too” and the “What’s in it for me” types who are not willing to put in the hard work and hours required. But this is not a theory I really subscribe to. People are still pretty good; they are dedicated to doing the right things for their clients and their colleagues. If you treat them openly and honestly, they’re going to respond the same way people did 30 years ago. We’re all rational people, and we’re all trying to be fair-minded. We have ambitions and goals, but I think we have to be clearly attentive to people’s needs. The notion of how you deal with workforce issues just seems more complicated today, when really it’s all about the same good people who have goals, and making sure those goals are understood. It’s important to make sure those goals are in lock-step with the organization, so you get a win-win. I feel pretty good about where we stand and what we’ve done to respond to our people. Inside The Minds 36 If you put all that together, it’s the same thing we did 30 years ago. People would say it’s the same thing they did 50 years ago. We do it a little faster now, and we’re a little more sophisticated. Our generation of consultants has pushed the bar up, and the next generation will take it to the next step, and that’s expected. Has consulting become more difficult? The answer is yes, but the fundamentals are still the same. It’s still about locking onto a client, understanding the business need, trying to find a solution to that need, communicating around that solution, and keeping it in lock-step. It’s a solution for a need. It’s still about hiring a workforce and motivating a workforce that feels like they’re going to get something as a result of delivering something to the client. It’s about facing challenges and delivering results. What a Consultant Can do for a Client The range of consultant involvement can be pretty broad. Sometimes the clients understand their needs and understand how they need to get them solved, but they don’t necessarily have the workforce to get it done. Their workforce is already involved in operations and core business roles, and they don’t have a special or contingent workforce that they can throw at new requirements or charge with seizing new opportunities. It’s not cost-Leading Consultants 37 effective for clients to add to their own workforce to get those things done. So it’s not always a situation where we can do something that our customers can’t; it’s that we have the additional professionals to augment their workforce for specific projects. I think we have a workforce that is very involved and can repeat some of the things we’ve done in other environments. That’s not to say that the same solution works everywhere, because it does not. Not every client will consider or accept a solution that worked somewhere else, because every client is unique. But I think we have to have the ability to see what has worked and what hasn’t worked in other environments. If a consultant has been involved in multiple similar projects – for instance, ERP implementations – that a typical customer might need only once, that professional adds real value. He or she knows where the risks are and where typical issues arise. That allows the analytics to say, “This is what has worked there, but this is how it needs to be tweaked here.” So the consultant can use those past successes to eliminate much of the groundwork, reduce the risks, and speed up the project to achieve the desired results. Bringing experience A or experience B to the table – that’s the second thing we do. The third thing we do is come at the issue from a more objective point of view, meaning we’re not caught up in the Inside The Minds 38 culture or some of the issues clients may face internally. We can foresee solutions more clearly than they can at certain points in time and may be able to punch toward those solutions when their own workforce may be mired in organizational issues, responsibilities, or preferences. We can bridge those issues for them more easily. But I don’t think the impression should ever be that we can do something our clients can’t. I think, because of our objectivity from experience and augmentation, we can help the client punch through on something that would not be as time- or cost-effective for them to do themselves. The New Face of Consulting – Opportunities One could talk about areas of growth functionally and say the whole sales force automation world is an area ripe for improvement and a great opportunity for consultants. It’s clear that companies can gain a lot in terms of the way they service their customers. There’s a lot of work and a lot of growth in that area. Within the supply chain, the logistics of manufacturers and distributors, products and services – there’s still a lot of work to be gained there. For example, in our own business, I would point to the whole globalization arena. As a business, we focus on the Global 2000 client marketplace. There are very few Global 2000 companies today that do run their financials as one global Leading Consultants 39 entity. They have different regions and different product service divisions, which all run their own sets of financials or their reports on customers, supply chain vendors, and resource management. What I think happens is that companies truly need to be global, so they can be real-time, and so they can have virtual closes. I can tell you at the end of a particular period, within a very short time, where the company stands on our financials. Traditionally companies close their books on the 30 th of the month. So by the 15th or 20th day of the next month, they start to know what their financials are for a period that closed two or three weeks earlier. You’re already two to three weeks away from making corrections if the numbers don’t come out the way you want them. The question is, “How do you get all that pushed so that activity happens, and your financial status and your logistic or engineering status is all real-time or virtual-time, so you can see where you are against your key indicators?” I think there are going to be tremendous opportunities to help clients make progress in that area. Another area where there will be growth is broadband technologies. Technologies are being developed in our communication firms across the world. How do we utilize them in our businesses? We do interviews on the phone, but we could be webcast, face-to-face, on a broadband line. Would that make for a better interview, a richer interview? Inside The Minds 40 The answer is probably yes. Someday the cost of doing that and the infrastructure that needs to exist to support it will be so commonplace that of course we’ll do it that way, and people will interact with that. We’re going to get involved in all those areas; they are all areas for growth. I think it’s important for a consultant to be focused on two things: One is the state of technology – the traditional answer if you’re a consultant. But it’s only half of the challenge and the opportunity. The other half of the opportunity is staying focused on the client’s business needs. Trends come and go, and focusing on hot technologies or slick solutions won’t keep clients. You have to stay focused on the client, put yourself in the client’s shoes, and understand what the client’s needs are. What drives their business? What are the things they worry about the most? What do they have to change and improve upon to become competitive? That drives the business need, which can then pull technology to make it happen. You have to be involved in both of those things. KPMG Consulting, as an integrator, is involved in both of those two aspects, and that goes back to the art of consulting. It makes consulting, consulting. It is not a commodity business. One size does not fit all, but there are some common threads that you can clearly do to make your services efficient. Leading Consultants 41 Focus, focus, focus. Understand every aspect of that need, but don’t lose focus and start doing 28 other things that could interfere. Stay locked on the issue at hand and punch through. It’s better to punch through on one thing than to try to dabble in 28 things. And be patient. Good results, results that last a lifetime, don’t come overnight. Stick to the methodologies and don’t skip steps. Be patient and follow through in every element. The Real Value of a Consultant - Success Success for our clients means that they’ve achieved the ends they’ve set out to achieve. If they’ve identified a need, we’ve helped them to solve it, or helped them seize an opportunity. Another measure of success is that the solutions have staying power. It’s not just a one-time fix, but also a fix that can support them in their opportunity area over a period of time. No matter what happens in terms of our internal execution and the delivery against those needs, the ultimate test of client satisfaction is, “Was the client fulfilled, and did we help them become more successful?” Of course, we’ll go back internally to look at the metrics to see if we did the job on time, if we made any money, if we got a challenge out of it, if our people got an opportunity to propel Inside The Minds 42 themselves forward, etc. There’s a whole host of internal things we examine. But the first test is, “Did the client get something out of it that enabled them to move forward?” To support that, every time we get involved with a client, a company like ours stands behind our work. We’ve done it for a hundred years, and we’ll keep doing it into the next hundred years. One thing that drives us is, regardless of whether this cost us a little bit more money or not, “Did we get the result we wanted?” That’s ultimately the question we ask. Instead of how much more did this cost us, the question becomes, “Was the customer satisfied? Did we help the client move forward as a business?” We look for ongoing partnerships with our clients. The relationship has to be one in which we are supporting each other in moving forward, so we are both successful. Our job as business advisors and integrators is to support our clients by understanding their need, delivering on that need, and keeping that need and delivery in cost and balance with each other. Their part of the relationship is to be open and honest with us about the performance and how it’s going and to work with us, to help us understand their needs better, when that’s required, and to trust us. We still need to set some criteria, some milestones, so they can evaluate our performance, but getting the engagement to the point where we build mutual trust and respect for each other is what truly drives success. If we do that, clients are going to Leading Consultants 43 invite us into more business problems and opportunities. And that’s what we want: We want long-term relationships. That’s what we’re interested in, not just one project, one engagement, or one time in and one time out. We’re interested in clients for life. Consistently delivering success will ensure that we keep exactly those clients. A Foundation of Expertise To offer expertise to your clients, you draw from a number of sources, and you can’t use just a few; you have to use all of them. First, you focus on building the expertise along vertical lines. You have to start with a set of leaders who understand a specific industry vertical because they either came from that industry, serviced it for a long time, or have developed relationships in that vertical so they understand the industry. They’ve been a part of it. From there, the leaders build a consulting team by recruiting talent with similar backgrounds through their work experiences. They must understand the particular work environment and industry needs to have credibility with their clients. Once you have a strong, experienced resource pool, then you define the solutions and the solution teams that are specific to that industry, based on the specific needs of that industry. Inside The Minds 44 When defining solutions, even their names may have industry-specific meanings. For instance, what someone else may call customer relationship management, we call customer care or billing in certain industries. So, in that industry we use a different nomenclature. But it’s more than a different nomenclature; there’s a unique emphasis and a difference in the way in which we want to go about building the client relationship. It’s essential that we understand the solutions and tailor them so that we can deliver a solution to a client that is responsive to the way that vertical goes about its business. So to build a foundation of expertise, you start with leaders; you build a workforce; and you equip them with methodologies and solutions that are tailored for that marketplace. Then you back them up with knowledge resources – for instance, sample engagement deliverables, white papers, and the experiences we’ve gained across all of our industry verticals – so that the solutions have been benchmarked against other things, and your professionals have materials to reference. Then you follow that up with an established training program – not just to teach them skills and to teach how those skills apply in that vertical, but also to enable them to keep up with the trends in their verticals, so that they can offer innovation and insight. Another essential part of this ability to provide insight is understanding what the hot points are and what the Leading Consultants 45 technologies are that may influence or affect the industry. As I’ve stated, it’s important to know what the competitive pressures are and what the clients are going through. But I think you also have to back up that understanding with strong alliance relationships. KPMG Consulting has alliance relationships with a veritable Who’s Who in the technology business, but in different relationships we target different verticals. For instance, you would take a particular technology to a consumer manufacturing business, where a solid, functional accounting package – a financial system that handles the supply-chain management aspects – would fit very well in their business and in that marketplace. But for a high-tech business where the needs are vastly different – accounting, funds flow management, accounts payable, or plans for establishing an information systems architecture – a different package may be a better answer. So when you’re building that vertical competence, you should recognize that you don’t take every alliance partner into every vertical. Be aware that there are functional and technical aspects of every alliance partner’s products, services, and solutions that fit various verticals differently. They are all part of building the true vertical business. Finally, it is important to manage the people by verticals, so everyone knows they’re in it together, that there is an expertise base, and that you have a clear go-to-market approach. I think the way you set up your profit and loss, manage the business, and set up the rewards structure can Inside The Minds 46 all help reinforce this foundation of expertise and these coherent teams. You can’t just go hire people who have experience; you have to use that experience to its full advantage and continuously build upon it to enrich your client delivery and keep the business innovative and responsive. Are All Consulting Companies the Same? I’m often asked, “Are all these consulting companies the same?” The answer is clearly, “No.” But to understand the differences among consulting companies, there are several things you have to examine. Start here, “What is their market focus?” Not all system consultants are focused on the same marketplace. Market focus will or should drive a whole different internal set of solutions, workforces, alliance relationships, and so forth. The next questions you ask are, “With their specific market focuses, what is their solution set? How have they built that solution set, and how do they take it to market?” Look at their workforce and ask, “What supports that solution in terms of its implementation and execution for the client?” Then look at the very mechanical things inside a company and see how well they stand behind their clients. Ask yourself, “Are they a company that will be there for a long time? Will they support their implementations, standing Leading Consultants 47 behind their work? Do they bring new ideas to the table? Do they create new technology that may impact and influence some of the things we’ve done and things we can do in the future?” I think you have to look at a whole range of things and see who the companies are, across the board, where their focus is, and how good they are at these components. If, instead, you want to know how to categorize the different companies, I would say there are many different players in our space, the integration space. You have the e- consultants in this space. Their market focus has really been on dot-com concerns and companies that started in the last five to ten years. They’re very focused on Web-enabling applications and providing a front-end to the dot- com companies. In addition to e-consultants, big IT services are predominantly outsource businesses. Some of them are hardware businesses; some are software businesses; but they provide a whole array of client services, from hardware to outsourcing to consulting. They’re wed to certain hardware and software platforms, and they’re very focused on their biggest area of opportunity and revenue – outsourcing. You have the Big Five companies, and many of their consulting units are spinning off. Most of these Big Five are strong in the applications arena, but some are stronger in systems. Then you have a group of firms that I call the Inside The Minds 48 New Breeds. There are differences even within the New Breeds. In terms of their market focus and solutions, the kind of workforces they’ve built to support that solution set varies among those firms. Under these criteria, I think we clearly have three major buckets or groups: the e-consultants, the big IT services, and the real, pure integrators. I believe KPMG Consulting is one of only two pure integrators in the public domain. Managing in a Turbulent Market The changing economy poses two major challenges for consultants: managing our business and workforce during turbulent times and helping clients manage. We help clients by staying focused on the most important business needs and opportunities a client has and making sure we’re working with them up front. We deliver on the client’s desired value and results. When the market is cautious and growth is not the same as it was four years ago, clients want to dedicate only the resources and funds that get a real return on investment and help them in a critical need area. Our job is to stay focused on the critical need and on things that really will work and bring the intended results. We are not doing our client any good, unless they ask for it, to try to peddle something else that may be out of that mainstream. I think we have to recognize that all of our clients in all of our industries have different pressures and Leading Consultants 49 different concerns, and we have to make sure our approach and solutions recognize these differences. How do we manage our own business and workforce? I’m a strong believer in sticking to the fundamentals. Our organization would probably prefer that I wasn’t, as it is not the most exciting path. I believe, in good times and in bad times, you should stay focused on the fundamentals of business. You can be creative and wild, and being creative but focused is one of the fundamentals of our business. The fundamentals include: Focus on the client’s needs; deliver against those needs; make sure we communicate in response to those needs; make sure we are running our business efficiently with the available resources; and make sure we are investing those resources. Develop the workforce not just for today’s needs, but for the needs of tomorrow, as well. Customers will call these fundamentals blocking and tackling, or our bread and butter. I call it being a fundamentalist. The fundamentals are fashionable in both good times and bad times. We tend to overlook them when we’re in a boom economy and when everyone talks about growth. Even if you’re keeping up with growth, if you’re not sticking to the fundamentals, if you’re taking advantage of the growth and trying to solidify and streamline your delivery instead of focusing on the client’s business problem, you’re not going to be there when things turn down. The client won’t have confidence in you. I Inside The Minds 50 believe we need to stay very focused on the fundamentals – and foremost among them is commitment to our client’s success. Making a Profit When the Economy is Down Nowhere in the economics book does it say, “If you don’t grow, you can’t turn a profit.” You can still be profitable when the economy is down. You must manage your resources effectively, deploy them where the highest opportunities are, and keep those resources in general synch with your business. When you invest personnel or funds, put them in the most important opportunities, and make them count. Our company has been growing at a time when no one else’s has. The e-consultants have for the most part gone away, and the big IT services have flocked to outsourcing, and everyone really seems to want to abandon what I called the systems integration space. We didn’t abandon it. We stuck with it, and we grew. That’s not to say that we are not having tougher times in some sectors. The national service sector, which we have been very public about, has not been as robust as some of our other business units. Even in that area, we can still be profitable, just by keeping our bookings consistent, focusing our investments, and delivering on the promises we have made to clients. Leading Consultants 51 Further, if we are gaining market share by adding clients, our total revenue may not be going up, but we may be able to gain presence with certain clients or marketplaces where we couldn’t before. We can then leverage them later. Downturns in the economy present these opportunities, as well as others, for us to be challenged, to face the challenge, and to be rewarded for having done so – not just monetary rewards, but also recognition and promotion opportunities and opportunities to fulfill one’s own personal goals and commitments. I think you can get a win-win even in the tough times. I feel very strongly that if you’ve taken advantage of the tough times, you’ll be better positioned when things improve. Advice for Business and Leadership Take care of your people. Develop them; nurture them; and move them forward, because their success is your success. I would say a great deal of my personal success has come because I’ve been able to pick, recruit, mentor, and turn over much of the business to some very bright people, some of whom are probably brighter than I am. These professionals are able to catapult the business forward. To the extent that you can do that, you are going to be better off, and you will have those people to turn to. You will help ensure your own and the future success of the business. Inside The Minds 52 The best leaders anywhere, whether they’re government officials, business leaders, or sports people, are those individuals who understand the importance of people. They are very fair in how they treat people and how they want their business to treat other businesses. It’s not just person-to-person; it’s organization-to-organization, too. Being fair-minded is very important. It drives your culture and your success. Taking Risks Every time we take on a new client, it’s a risk because we’re not familiar with that client. We may know the client’s business problem, and we may understand the environment they face. But we haven’t yet worked across the table with them day-in and day-out, over the long periods of a contract and reached the end of a contract. In these cases, we do prospective client evaluations to take a look at the new client and the scenario we are entering, so we can really get a sense of whether or not we can meet the client’s expectations. We owe it to clients to tell them up front when there are things we’re concerned about, even if it’s a competitive situation. In these evaluations we have an analytical tool that puts some of that risk on the table. We can discuss things with our client and, if they see things differently than we do, Leading Consultants 53 make a conscious decision to perhaps just stop the relationship. It may be the right outcome for both of us in the long term. I’ve explained that every time we sign a new client, which is probably every day, we’re taking a risk. I think the way to protect against the risk is to establish some processes so that risk is one of the first things considered and certainly an element that is always considered. The prospective client evaluation has to be completed and signed by one of our risk-managing directors, who will give it a second check and balance. It forces us to be to be very deliberate in our thinking. For every business decision we make, we need to think about the risks. We have to imbed certain processes that force risk to be considered in every decision – not just considering it, but making sure we have a response game plan. Once we’ve identified those risks, we need to balance or react to each risk that manifests itself. We do that in our decision-making processes. Does it slow the decision-making process down by a day or three or six? It could, but it is the prudent thing to do. Even some projects with existing clients pose risks. It may be one candidate who has strong technical skills, and another has great communication skills. If for this client, our team is strong enough technically, we may need a Inside The Minds 54 communications person to be the lead on this specific engagement. We need to see that the risk of getting out of synch in this situation is the communication. Since risk is something that’s imbedded in every decision we make, we have to make it a conscious part of the decision process, and we have to make sure we’ve been up front about it. We have imbedded processes to facilitate that with checks and balances. Keeping the Edge The only way to keep your edge is to be out in the marketplace, seeing the real pressures people face every day. People inside KPMG Consulting would probably say I’m a very good administrator: I understand the business, understand the fundamentals, and make sure all the elements of the business talk to each other and keep moving. But being a good administrator doesn’t give me an edge. If I’m not out there with our professionals or clients, seeing what affects them, I’m going to lose my edge. So I have to spend a certain amount of time and a lot of my thought in their framework, inside their positions, either through dialogue, engagement reviews, or meetings with our people and our clients. But as I said earlier, this is the enjoyable part. Leading Consultants 55 The Future of Consulting The fundamentals of locking on a client’s business problem are not going to change in the next decade. Clients will still have businesses and business priorities, and they will still need information. The validity and accuracy of the information are getting faster and faster, and the way virtual organizations are created won’t significantly change. I think technology will step up the pace, adding new wrinkles and new solutions. Technology brings us closer to operating virtually and enables consulting professionals to work remotely with clients more than we ever could before. All of this enables globalization, which I think is going to be very dominant in years to come. We’re focused on the Global 2000 companies, but any company in the world is global. Either their customer base is global, or their vendor base is global. Most companies do some transactions outside their regional or national borders. We need to operate globally ourselves and assist our clients as they face similar globalization needs, helping them achieve results and success without boundaries. In the past it seemed easy to enter this profession. The perception was you put up a sign in your window that said, “I’m a consultant,” and you were in business. I don’t think that’s fair to the state of the profession. I think consulting, Inside The Minds 56 particularly for the global companies, is a very sophisticated business. Organizations put a lot on the line with the consultants they choose. I believe that those consulting companies that are able to deliver real value on a sustained basis will be the ones that are still here five years from now. The marketplace learned that a new technology plus a new consulting firm does not necessarily result in staying power for the firm. The staying power comes from being a sophisticated business made up of experienced people who can provide lasting results. Randolph C. Blazer is chairman and CEO of KPMG Consulting, Inc. He manages over 10,200 employees within six industry lines of business around the world. KPMG Consulting provides Internet integration services, which include strategy, e-branding and design, web architecture, integration, technology enabling, and hosting/outsourcing. Mr. Blazer is based in the headquarters office in Tysons Corner, VA. In 1977, Mr. Blazer joined KPMG LLP as a consulting professional in the Washington, D.C., office. In 1991, he was named partner-in-charge of KPMG’s Public Sector Consulting group. In 1997, he was named a member of a two-person executive team that directed all KPMG Consulting services. In February 2000, Mr. Blazer helped Leading Consultants 57 incorporate the consulting group into KPMG Consulting, LLC. Mr. Blazer has more than 25 years of experience in strategic business planning, performance management, process reengineering, and large-scale systems development support to major government and commercial clients. His client experience includes work with federal agencies and departments, research universities, government contractors, and major federal system acquisition programs. Prior to joining KPMG, Mr. Blazer served as a captain in the United States Army. Mr. Blazer received his MBA from the University of Kentucky and his BA in economics from Western Maryland College. Leading Consultants 59 WORKING AT THE INTERFACE OF TECHNOLOGY AND BUSINESS PAMELA MCNAMARA Arthur D. Little, Inc. Chief Executive Officer Inside The Minds 60 Rewards of Consulting In 1998, research at a major pharmaceutical company showed that one of its products, which had originally been developed for the treatment of breast cancer, could also be effective in the prevention of breast cancer. Since breast cancer is a major health concern, the company immediately realized the importance of getting the product to market as quickly as possible, a process that typically takes up to 18 months. The firm contacted Arthur D. Little, Inc., to help re-launch the product to take advantage of its new indications as soon as possible. This was not an unusual assignment, but the goal of completing it in just eight to ten weeks was challenging. We immediately assembled an interdisciplinary team of about 16 people, half from ADL and half from the client company, rolled up our sleeves, and jumped in, feeling more than a little daunted by the technical, financial, regulatory, and marketing barriers before us. The project was dubbed “Moonshot” because the prospects for success seemed to be well captured by the old expression about the impossibility of “shooting the moon.” All of us were driven by this extraordinary challenge. Not only was there the immediate practical business goal to urge us on, but it was also clear to us all that getting this product to market would save lives. We worked together Leading Consultants 61 day and night, isolated in a hot, cramped building, far from the company headquarters, that we called the LEM, after the Lunar Excursion Module from the Apollo moon- landing program. We brainstormed; we conducted analyses; we argued and compromised; we developed plans; we took actions; and we drank lots of coffee. And we succeeded. The product, one of the first drugs to be used in the prevention of any form of cancer, made it to the market in just eight weeks. For me, this project captures all that is best about the consulting profession. It was an extraordinary, multifaceted challenge; we had an exceptional team of client representatives, together with our own players; we learned a lot; and we made a real difference – not only for the company, but also for society as a whole. Of course, not all of these elements show up to the same degree in all assignments, but they are always there in some combination. The problems and opportunities I’ve worked on have really made a difference to our clients and, in most cases, to society and our economy. The central purpose of consulting, after all, is to make a difference. We are called in only when there is a challenge, a need to change or innovate, not to run day-to-day operations. Inside The Minds 62 In the process, we must listen and learn, because that is central to meeting the needs of the client. But just as importantly, our ability to build on each experience – drawing upon our deep industry, business, and technology experience – is the cornerstone of future success and the essence of professional satisfaction. I can’t overstate the importance of teamwork to job satisfaction. There are few more personally rewarding experiences than working together with a group of others toward a common goal. Not only is collaborating with team members in our firm, as well as with client staff, personally satisfying, but whoever said that two heads are better than one was right on the mark. One plus one plus one equals six in this business. The best career advice I ever received was to focus on what’s most important to me – what I hold dear and where I want to make a difference. Fortunately for me, there has been a confluence of those elements in consulting. It has been particularly rewarding for me, therefore, to be able to blend my personal and business lives, focusing on what I care about most. This delivers real results – financial and strategic value – to our clients. Leading Consultants 63 Challenges Facing Women in Consulting Of course, there are many more men than women in consulting. And to some extent, there can be different expectations for women, partially because of the different roles we have traditionally played in society as wives and mothers, for example. Consulting is inherently an international profession, and values and expectations can vary widely across nations and cultures. Ultimately, however, it doesn’t matter whether you’re a man or a woman, particularly as women are becoming more and more successful worldwide. Even in countries where there are still barriers to full acceptance of women, there tends to be an understanding that women are playing leading roles in many societies. For me, the key has been not to dwell on the possibility of barriers and drawbacks, but to focus instead on developing the competence, confidence, and professionalism required to do the job. To be successful in this business, you have to stick to the important basics of knowing your territory, delivering profits, challenging your clients to think about the tough issues, maintaining your integrity, and paying close attention to the people aspects of consulting. You have to listen well, determine how to make sure the results are owned by your clients, and follow through on implementing. Those are skills I’ve learned from both men and women professionals. I think the consulting profession Inside The Minds 64 is one in which the best players bring those characteristics to the table, and I’ve worked with both men and women who exemplify those qualities. Good mentors can make a great deal of difference. At ADL, I’ve been fortunate to have some fabulous mentors over time, and a number of them have been women. When I joined the firm back in the early eighties, we had, relatively speaking, a large number of women professionals in the senior ranks, and I can think of quite a few of them who made a difference in coaching me, as well as in providing inspiration as role models in the organization. At the same time, I must make it clear that not all of my mentors and role models have been women, nor should they be. What matters most in this business is how to deliver excellent results and bring in new business. There is much to be learned from both men and women who have succeeded in this profession. Differences Among Consulting Firms Each consulting firm has its own corporate culture or “personality” that arises from such key variables as its business focus, approach, organization, history, and even its size. In the interest of full disclosure, my views are heavily colored by having spent virtually my entire career Leading Consultants 65 at Arthur D. Little. I have done so because of the particular culture of this place, which I have found to be both personally and professionally rewarding. Many companies have been very successful in focusing on specific functional domains, such as supply-chain management, accounting and financial operations, or information technology, for example. These firms, many of which are quite large and may embrace a range of specialties, have people who have expertise in these particular arenas, and most have developed rigorous methodologies that work well for them. ADL is something of an exception in that its chief business focus is at the intersection of business and the diverse range of technologies that drive innovation in our society. In today’s business press, “technology” has been appropriated to refer specifically to information technology, including such elements as telecommunications, networks, software, computers, and the Internet. But at ADL, we embrace technologies ranging from information technology and its underlying field of electronics, all the way to biotech, materials, energy, and food technology. This focus arises from the firm’s historic capabilities in research and development. Throughout the last century, ADL was responsible for the development of such innovations as the first iso-octane, which was later adopted Inside The Minds 66 as the antiknock gasoline standard; a process for making blown glass fibers, which led to Fiberglas™; the first computerized inventory control package for IBM; the design of the NASDAQ stock exchange system now in London and Tokyo; the first fiber-optic interactive cable television system near Osaka, Japan; and the development of environmental auditing. We continue to develop products in our own laboratories, as well as in partnership with others. Current examples range from a low-fat ice cream that incorporates fish oil, which is associated with significant health benefits, to a novel medical device that can identify the previously undetectable areas in coronary arteries most likely to cause heart attacks, and a system that allows organizations to monitor and manage energy use and greenhouse gas emissions across all operations. An explosion of research and development in industry and universities increasingly formed the basis of new business opportunities throughout the 20 th century. Accordingly, the company expanded its capabilities to embrace the broader strategic and day-to-day management implications of work in a broad range of technical fields. It has also embraced the issues of venture capital and start-up management required to bring ideas and innovations to the market. Leading Consultants 67 In a broad sense, all businesses today are high-technology businesses. There is hardly a business decision in any industry that does not have a central technological component. Product development, manufacturing processes, finance, information systems, environmental compliance, packaging, product distribution, service delivery, market analysis, and even management itself, as well as organizational processes, have all been – and will continue to be – transformed by technological developments. This hands-on technological focus, which has yielded specific products and processes, has given a decidedly practical and creative feel to ADL’s culture and its work. The nature of the tasks we undertake, and our approach to them, require that we work in close partnership with our clients, whether we are developing and introducing a new product or restructuring an organization. This approach, and the resulting culture, are reinforced by the fact that we often hire people with extensive industry experience. We employ engineers and scientists with expertise in these technologies, as well as experts in the classic functional areas, such as strategy and operations. We also seek people who have actually worked in operations in companies for five to ten or more years before they joined ADL. The idea is to assemble a multi- disciplinary staff that can draw on industry experience, as Inside The Minds 68 well as the wide range of areas of expertise that may be required to address the challenges our clients face. This, of course, reflects the reality of business challenges: The great majority of them are inherently multidisciplinary. In ADL’s Health Industries Practice, for example, our goal is to work with clients to drive business and technology innovation at the frontiers of health and medicine. Accordingly, our business model for that practice brings together expertise and resources in technology development, commercialization, and venturing, as well as consulting. It is the interplay among these core elements that provides the driving force for innovation in that area. The fundamental approach of assembling individuals who can help a company through the entire process of innovation, from concept to commercialization, creates a diverse culture at ADL, and a demanding one. But the rewards are commensurate with the effort required to meet the demands. The Art and Craft of Consulting Consulting is a creative process. At the base level, of course, there are a variety of underlying skills and methodologies that support the process, but true success ultimately depends on finding out how to build on them, to Leading Consultants 69 go beyond them and the latest management “fads” to develop the novel ideas and insights that provide real value to a client. The key to achieving success lies in what some might call the “golden rules” of consulting: Understand your niche. Hire the best people. Build a strong team. Involve the client in the solution. Communicate. Understand your niche. Every consulting firm must first understand what makes it different from any other, especially in a crowded and highly competitive market. This understanding forms the basis for every aspect of the business, from new strategic directions to hiring and marketing. It also sets bounds on the type and variety of cases undertaken. ADL, for example, has set itself apart by its firm grounding in technology, as I’ve mentioned. Within that context, a firm must provide itself with the latitude to keep strengthening its position by developing complementary areas of competency, for example, either in response to – or even better, in anticipation of – changes in Inside The Minds 70 the marketplace. It may also be necessary to phase out some competencies as the market evolves to keep the business focused on the client needs that the firm is best able to meet. This process of renewal, weeding out unprofitable capabilities, and developing new ones within the context of the overall business focus, must be continuous because the needs of client organizations are changing continuously as technical, economic, political, environmental, and social forces shape our society. In the struggle to carve out a niche, consulting firms have sometimes been criticized for their role in creating or encouraging “fads” in business and management, such as re-engineering and total quality management. In truth, many of these approaches are little more than a repackaging of the same core human and organizational insights wrapped in slightly different terminology and processes. The underlying message here is that there can be real value to consulting and, as long as it leads quickly to a clear mutual understanding of the problems at hand and to a viable solution, the path to get there is of lesser importance. Hire the best people. There’s an adage that says, “When it comes to hiring, ‘good enough’ never is.” A consulting firm’s chief asset, indeed its only real asset, is its people. Assembling and developing that asset is the cornerstone of success. Knowledge and Leading Consultants 71 experience are threshold requirements. Many consultants can deliver them, but that’s not good enough. The critical difference – the difference that makes successful consulting an art – is in the people skills. It is the combination of being able to listen well and to frame a client’s challenges accurately and concisely at the beginning, and then to manage those challenges with clear expectations as the relationship evolves – which it always does. I take notice of individual consultants who have great people skills, high energy, the ability to make things happen, the drive to achieve tangible goals and get things done, and openness and flexibility in working with others. They’re skilled at drawing out the ideas of others. They’re clear in setting and managing goals and expectations, managing flexibility, and managing change. They persevere. We deal with a lot of the uncertainty facing our clients in dynamic and challenging circumstances. The people who are best at working with this uncertainty are the ones who stand out. The threshold is having the expertise and the content knowledge – and we need that for certain, especially given our company’s business model. But it’s that added value that’s above and beyond the threshold that makes individuals stand out. Finally, top consultants thrive on challenging others and being challenged. These individuals are contrary when they need to be, and they’re not afraid to take strong positions. Inside The Minds 72 Further, they put their positions out on the table in a fully candid and transparent way, so we know where they’re coming from. Sometimes this sets the stage for conflict – but it’s conflict that is always based on integrity and that often serves as the basis for a creative edge. Build a strong team. Teambuilding is essential to our art because it is the true foundation of innovation and creativity. There are two principal reasons for this. First, a great majority of real business challenges are interdisciplinary or multifaceted. Starting up a new operation, for example, may involve expertise in product development, manufacturing technology, strategic management, and marketing, to name just a few. In assessing the dimensions of a problem, it is crucial to determine the kinds of expertise and experience that will be required to provide a realistic solution in a timely fashion, and to bring together a group of individuals who can meet those requirements. Second, successful teams are a constant reminder that the whole is greater than the sum of its parts. Properly organized and managed, groups of people drive each other to be faster and more creative in arriving at a solution to a problem. Team members coach one another, challenge Leading Consultants 73 solutions, and remain unsatisfied until they know they have reached the top. That’s the art, and it makes the difference. In the most successful situations – the cancer prevention product launch is a clear example – the team members from both the client organization and our company are so intensively focused on the process that individual credit doesn’t matter. There’s an ongoing, high-intensity, and highly creative dynamic of tackling what needs to be done and of constantly evolving interim objectives, while keeping the ultimate objective clear. Involve the client in the solution. In the end, the client must fully understand and embrace the results of any consulting work. The best way to ensure that happens is to forge a working partnership with the client. The overall goal is to work not so much for a client, but with the client. This process begins by listening. There is no faster way to win the confidence of another party than to listen to that party’s needs, interests, demands, and concerns, and then to show that you have been listening by framing the challenge at hand in a way that reflects and addresses all its aspects. We bring to the table a deep understanding of not only the client industry, but also of other industries from which best practices can be drawn, as well as the business and Inside The Minds 74 technology operations – in short, we know how to make things work. It is crucial to blend these skills in the early stages to set the context, but it remains important throughout the entire project. In many cases, it is best to build a team that specifically involves client staff, as well as consulting team staff. This guarantees that the all-important client perspective and expertise is available throughout the evolving course of a project. After all, any client knows the operational details of the business better than an outsider does. Moreover, client team members must become the “owners” of the end results, with a full understanding of the short-term and long-term implications for the firm. Again, people skills are vital. It is important to recognize the different strengths and weaknesses in individuals, on both the client staff and our consulting team staff, so that there’s a good match and fit with the task at hand and with the ongoing relationship beyond it. And we have to give all the individuals involved opportunities to stretch themselves, to go above and beyond what’s expected. I look on this as a dynamic process, like a living organism, that takes a lot of care and feeding. We check in constantly with the various players on the client staff, and nurture and coach our consulting team. Leading Consultants 75 Communicate. Integral with involving the client and building effective teams is communication. In client surveys conducted at ADL, communication is often cited as the most important aspect of a relationship, either as the key to a success or as an area for improvement. Excellent communication begins with a clear mutual understanding of the goals and approach to any project. It continues with regular updates to establish and manage expectations, an ongoing exchange of information between parties – including updates from both the client and the consulting firm – and presentation of the results. More often than not, the action of summarizing progress and reporting results actually stimulates and enriches the process of synthesizing those results, leading to further insights in clearer directions. Perhaps more to the point, communication is critically important because of the dynamic and evolving nature of most consulting projects. During the course of implementing a strategy, it is not uncommon for a variety of aspects to change, including economic conditions, market conditions, operational results, political developments, and emerging technologies. Given that consulting is also a discovery process, it is not uncommon for the project team to uncover entirely new aspects of a Inside The Minds 76 challenge in the midst of addressing it. This requires close communication among team members and the sponsoring client to keep all apprised of developments, frame expectations, and make adjustments toward revised goals. Relationship Management Although ADL has a broad spectrum of relationships with companies of many sizes and from a wide variety of industries, the firms that tend to achieve the greatest benefits are those with whom we have long-term relationships that cut across more than one of our areas of expertise. A consulting firm is, in fact, designed to be complementary in nature to a typical business operation. Most companies hire individuals with the particular areas of expertise required to manage the routine aspects of their business effectively. This can include research and product development, as well as strategy and planning and day-to-day management. At ADL, we assemble a staff of individuals with the broad range of relevant areas of expertise required to help a client change or innovate, providing industry-wide, as well as cross-industry, perspective, specialized management and organizational knowledge, and familiarity with a broad variety of technologies and the dynamics of start-up operations. Leading Consultants 77 Given the wide spectrum of possibilities, it is impractical for client companies to maintain such a staff. In a new relationship, or if we’re working with a client again after a long absence, we do our homework. We determine whether this client organization is a good fit with our strengths, our direction, and our portfolio of services. We have set a goal, for example, to work with some of the leading biotechnology players in the health and pharmaceutical industries. So we’ve developed further capabilities and connections that will keep us at the front edge of innovation in those fields. When we start working with a client organization, we already understand what its greatest needs are and where those needs have the best fit with us. Whether we have had a long-term relationship and many engagements with a client, or we are starting a new relationship, we focus on the specific needs of the client. In this process, we frame the needs so that we understand the client’s objectives, what the client is able to address on its own, where the gaps are, and the relative importance of filling each of those gaps. We estimate the timing and then determine explicitly what to tackle, how to get it done, and how to manage expectations, evaluate results, measure the value, and satisfy the client’s defined needs. Inside The Minds 78 A key goal in developing a relationship for the longer term is to build a true partnership. Even in shorter-term projects, it is important to work in close conjunction with a client firm, melding perspectives and areas of expertise from each party, and building both formal and informal lines of communication. In both the short term and the long term, the partnership model greatly enhances the effectiveness of a relationship. Each party develops a deeper appreciation for the other; communication improves; and a stronger sense of mutual buy-in emerges. Teamwork is critical in forming and cementing these relationships. Once we have worked jointly on a project in teams made up of client representatives, as well as ADL staff, we develop the mutual understanding and respect that allows us to move on to more – and more varied – engagements. For the clients with whom we have a longer history of engagements, we make sure we help them with their technology and product portfolios and with the new growth arenas they’re charting or developing. And in some cases, we’ll also help clients form alliances with some of the hot new leading technology players, extending their relationships to a broader network. Once we start working with a client, we have some consistent ways to frame the client’s challenges. First, there Leading Consultants 79 is timing. We determine how important the need is to the client’s near-term or longer-term strategic priorities. We also consider where the problem lies – within a defined business or operating unit, across multiple groups of the client’s organization, or even potentially outside the enterprise. We work to understand the dynamics and complexity of who has to be involved to achieve results. We consider which elements of our capabilities will be needed: Is this a strategy or an organizational set of issues? Is it more operational, or is it related to R&D management or product management or innovation management, or maybe environmental management? What are the elements of the problem that might lend themselves to product development technologies? We also size up the problem in terms of where we might find sources for good ideas and solutions. We develop a clear understanding of the expertise we have on our team. Certainly, we have staff who know the industry domain, whether it is healthcare, energy, chemicals, or telecommunications, for example. But we may also have staff who have actually worked in this client organization itself and who understand its dynamics and culture. In many instances, we bring in staff to help discover where there might be solution ideas from leaders in other industries who have already been working to solve the kinds of problem our client is facing. Inside The Minds 80 Maintaining the Creative Edge Because of the accelerating pace of change in the world business community, in the international research community, and in society in general, developing and maintaining expertise is a constant challenge for a consulting firm. The intellectual and practical satisfaction of maintaining that edge, however, is one of the great rewards of the profession. Most consultants tend to read voraciously, seeking new ideas and insights as they emerge around the world. Because of the many dimensions of the problems we address, it is important to read both broadly and deeply. Being an international firm is a real plus in this regard, because it allows staff to keep abreast of trends and developments in markets throughout the world through clients, colleagues, and research. Many consultants also write for leading industry, business, and professional publications, as well, including ADL’s own publications, such as Prism , which highlights the achievements and thinking of our staff, as well as those of our client partners. In addition, it is not uncommon for firms to prepare white papers on key topics and trends in industry, technology, and society. It has often been said that writing is thinking. And indeed, the action of writing white papers and articles is important because it is an opportunity Leading Consultants 81 to synthesize the broader lessons emerging from our work and to keep our own name associated with thought leadership in the key fields that are important to us strategically. In truth, every case a consulting firm undertakes is a learning experience. A key function at many firms is knowledge management – the organization and cataloguing of case experiences for use as a proprietary resource in future cases. It is essential for an organization to capture the essence of its experience and insights in a form that remains within the company in the inevitable event of staff turnover. Staff turnover is common throughout the consulting profession as individuals pursue new or different challenges at other firms and in other industries. Obviously, this turnover is sometimes inconvenient, but at the same time, a minimum level of turnover (say, 10 to 15 percent) is critical to renewing and enriching the talent pool with high performers. It is also often a net gain for a company, since it brings in new ideas, new experiences, and new areas of expertise. Regularly bringing in fresh faces and fresh minds helps keep an organization on its toes and provides opportunities for it to adapt quickly to a changing world. Networking is a must. One of the key “people skills” consulting staff must have is the ability to maintain a strong Inside The Minds 82 network of relationships with other firms, alumni, universities, journalists, and others. Staff must stay deeply in touch with the marketplace, talking and listening to a variety of companies, not all of whom are our clients. Such a network keeps you abreast of current thinking, and it can also be used as a resource for advice, perspective, contacts, and assistance. When you hire a good consultant, you’re getting that individual and his or her range of networks with business and academia that keep fresh ideas and fresh perspectives flowing. Through these contacts, consultants learn; they absorb information; they see patterns; and they “put it together” in new ways, leading to new insights and approaches. It takes tenacity and discipline to make those calls, but it is necessary to keep checking in with those networks. The hunger for learning what’s out there and hearing what others are doing and challenging what others are thinking is a key part of the consulting dynamic. A whole host of collaborative tools are now appearing that help consulting firms maintain their edge. A number of firms, including an ADL spin-off, have developed Internet- based tools for complex project management that allow disparate groups to work together in real-time on multifaceted projects. These software packages make it easier for teams to set goals, share information, report progress, synthesize data, and respond dynamically to Leading Consultants 83 inevitable changes and new developments during the course of a project. There are other practices, as well, that help a consulting firm stay sharp. Training is important, of course, as it is a regular and formal channel designed to keep a flow of new learning and experience coming into the company, and it serves to spread our experience to new staff, as well as those rising through career stages. From time to time, we also run best-practice surveys, attend meetings, conduct a number of our own business roundtables for executives, run workshops for our clients and others, and stay in touch with universities, occasionally sponsoring some of their initiatives and research. Finally, client feedback is a crucial aspect of the process of staying at the competitive edge. As many firms do, ADL maintains a well-defined process for soliciting and assessing the client’s views of our performance. This presents a clearer picture, not only of what we are doing right, but also of what we can do better. Leadership and Management in Turbulent Times We now live in a world where all times are turbulent. This is either the first great lesson of the 21 st century, or the last great lesson of the previous century. With the accelerating Inside The Minds 84 pace of economic, social, political, environmental, and technological developments in today’s world, change has become the norm for all businesses. This, of course, presents a host of challenges and opportunities, both for consulting firms and for our clients, as we seek to understand the nature of emerging developments and how to either accommodate them or leverage them in an innovative fashion in the marketplace. Change – advising about it and managing it – is the particular province of consulting firms, but our own organizations and strategies can be buffeted by it as much as those of our clients can. A particular challenge for our industry is to stay a step ahead in the management of our own businesses, as well as in advising others. As the economy goes through its cycles, advances in science and engineering open up promising business opportunities; new businesses and industries emerge; and more mature industries struggle to adapt or reinvent themselves, we must be prepared to assess the importance of these changes for our clients. A few key elements, summarized below, can help a company maintain a steady course in the midst of the push and shove of today’s competitive marketplace. Leading Consultants 85 Leadership In becoming a senior leader at ADL, it has been important for me to embrace the differences between management and management consulting. After all, running a company, even a consulting company, is not the same as running a consulting project. As I mentioned, the skills and insights of consultants are complementary to those of the clients we serve. Consultants provide the knowledge and experience in management and technology required to help firms innovate, adapt to change, or anticipate change. This requires both broad and deep context in technological developments, industrial practice, company operations, local and national economies, and organizational change. Just as the best coaches in sports were not necessarily the best players, the best managers are not always the best management consultants. Nonetheless, the lessons of consulting have much to bring to the task of leadership as we face the challenges and opportunities of a turbulent world. Applying our own insights and experience to ourselves, however, is easier said than done for organizations more accustomed to dispensing advice than receiving it. Moreover, consulting firms have an inherently outward professional focus, concentrating with such energy on client challenges that internal needs may be neglected. Inside The Minds 86 An overriding philosophy of mine is that a leader should be the servant to the organization as a whole. The leader should serve in a manner so that the group as a whole does better – advancing, achieving its goals, and promoting good organizational health and vibrancy. As in other businesses, a leader of a consulting firm must have a vision, both personally and for the organization. You must be deliberate and effective in execution; and you must have strong people skills. You need to be good at both listening and building consensus as you’re building a team. But you also have to recognize when decisions have to be made at the expense of consensus. Shared Values Successful teams go through the hard work of understanding the characteristics, qualities, and shared beliefs inherent in the work they are doing, and the goals they’re striving to achieve. They agree on the roles, the expectations, the contributions of the team members, how they relate to each other, and how they participate as a team. And they have a common major goal or vision that will stretch their capabilities, and the flexibility to do what it takes, playing full out, to reach it. ADL’s shared values, which have emerged from our long history, include a genuine drive to innovate, a passion for Leading Consultants 87 excellence, a spirit of collegiality, and a commitment to integrity. These values have consistently formed the underpinnings of our approaches to the marketplace as they have evolved over time. More to the point, they have been vital to the company’s success over the years, and they are a crucial part of what attracts and holds employees. The company has been able to preserve and institutionalize the core values that have sustained us through many changes and, indeed, have become part of the ADL brand. Balancing Strengths Smart consulting organizations maintain a portfolio of clients and industries, so that at any time, there is a mix of industry sectors and client organizations that can help the firm through normal client business cycles. It is also useful to maintain a range of services, some of which may be more appropriate for helping a client through tighter times and some of which can help a company take advantage of better times. We have deep strengths in both the energy sector and the telecom sector, for example. A few years ago, when the energy sector was having a tough time, we did a lot of work to help our oil and gas clients solve some of their problems. With most of those problems resolved, there were some lulls with those clients, and we redirected our focus. Then the telecommunications business started on its massive Inside The Minds 88 growth cycle. But in the last several months, the telecommunications sector has been facing some rough times, and we’ve shifted our focus again to those clients with current needs we can meet. At the same time, we’ve had very strong energy business because the energy sector has been growing and once again becoming highly profitable. Balancing strengths is inherently a dynamic process. Not only do businesses go through cycles, but the underlying technologies driving innovation spring up, mature, and fade away. A balance of strengths is also crucial to the client relationship-building process, which remains important at all times, whether the company is doing well or tightening its belt, and whether we are engaged in a specific project or not. By keeping in touch with firms at all times, we can keep aware of the challenges they are facing and offer our assistance where our current or emerging capabilities overlap their needs. Setting Business Goals Goal setting is a constant iterative process. Setting goals for the company is an activity we periodically refresh through think sessions and work sessions with our top staff. We have brought in not only the top leadership team, but also Leading Consultants 89 the most provocative thinkers in the business as part of our periodic strategy, budget, and operations planning. We cascade these plans and goals through the business in a way that invites input and response, a process that enriches the vision and direction of the company. It also helps set the context for, and promote clearer understanding of, more specific goals, measurable objectives, and the metrics we use to track the business. Communication We constantly reinforce goals and objectives – and our values and accomplishments, as well – in our communications to staff. The head of global communications for our company works very closely with me and with our business leaders to frame not only our internal communications to staff, but also our external communications, along the major dimensions of our business strategy, operations, and achievements. Ours is a people business, and we are constantly evolving, refreshing, and communicating our plans and seeking input from staff. Keeping open channels of communication, both formal and informal, is essential in a business that relies on the cooperation and participation of a network of partners and associates. Inside The Minds 90 Taking Risks Taking risks is the key to anticipating the future. Although it is essential to have dependable, healthy practices to count on, we must also take risks to push out ahead into new domains or growth areas. Some of these gambles will not pay off as well as others, if at all. But a considered strategy of risk-taking can go a long way toward promoting long- term success. For example, in the early to mid-1900s, ADL invented the field of flavor analysis, which led to a significant portion of our business. We were also the first to develop the concept of environmental auditing in the 1980s. More recently, the firm has been active in creating and spinning off companies to capitalize on ideas generated in-house or in partnership with other firms. Hiring is another form of risk-taking. In hiring individuals, you are often looking for people who, given a free rein, can go the extra mile in developing novel approaches to addressing client challenges. Similarly, it is important to maintain enough flexibility in a consulting organization to allow individuals to test new ideas, approaches, or markets. Such experimentation can pose risks, but it can also lead to better job satisfaction for the innovators, better results for the clients, and new opportunities for the company. Leading Consultants 91 The Future of Consulting In 1886, Arthur D. Little, who dropped out of the Massachusetts Institute of Technology after just three years, founded a company with the idea that industry may, from time to time, need help in exploiting the potential of emerging technologies in their businesses. And indeed, technological advances – in everything from plastics and pharmaceuticals to computers, electronics, and new approaches to manufacturing – formed the cornerstone of a vast variety of business innovations in the 20 th century in virtually every industry. Today, more than ever, technology remains the cornerstone of business innovation, with an increasing pace of developments in a growing range of areas, including semiconductors, biotechnology, telecommunications, renewable energy, and advanced materials, to name just a few. These advances have had, and continue to have, major implications for strategy, organization, product mixes, marketing approaches, and new business development in industries ranging from retail to energy resources. This accelerating pace of change, coupled with increasing worldwide competition, means that there is a growing need for business to figure out how to make use of these advances – some of them happening in their own labs – to gain an edge in their existing operations or to move in entirely new directions. Inside The Minds 92 Information technology, with its exceptional potential for widespread application in business through computers and software, was the first technology broadly embraced as a specialty by the consulting industry. In the late 1990s, an enormous new consulting market burst on the scene to help companies exploit the power of telecommunications and the Internet, an outgrowth of information technology. Promises and expectations outpaced reality, however, leading to a collapse of the market and casting a pall over the entire consulting industry. This dot-com bubble, however, underscores the strong need for organizations that can cut through the hype to provide realistic and substantive advice on the potential of emerging developments. There is no question that the Internet and telecommunications advances have transformed business worldwide, and that they will continue to do so, but reaping the rewards of this transformation will require a keener understanding of a broad combination of underlying technical, management, and communications issues. Many of the dot-com firms that sprang up to exploit this technology had a great deal of technical expertise, but not enough knowledge and experience in business and management to be able to capitalize effectively, or to help their clients capitalize effectively. On the other side, many client companies grasped the upside business potential, but Leading Consultants 93 hired the dot-com firms to help them because they didn’t have the technical expertise to exploit it. The combination, fueled by bright expectations, was a disaster. One of the legacies of the dot-com phenomenon is that companies are looking for the depth and quality found in the more mainstream consulting firms. Moreover, they are looking for consultants with more solid business experience. The days of freshly minted MBAs advising corporate giants are in the past as today’s clients seek consultants who have had the time to hone their skills and insights both in industry and in the consulting business. As we continue into the 21 st century, it will be ever more important for companies to work with consulting firms to sift through the burgeoning array of emerging technologies to determine which are commensurate with their goals, and how they can best fit into their business. Technology, after all, is not an end in itself, but a means to an end. The real goal is to incorporate it as an appropriate element in an overall business or strategic plan. Especially exciting will be finding ways we can move technology applications from one arena to another to enable us to open new frontiers. It is interesting to note that it was not the makers of vacuum tubes who recognized the potential of semiconductors – it was entirely new companies. And when biotech burst on the scene in the Inside The Minds 94 mid-1970s from university labs, it caught many established pharmaceutical companies by surprise. Applications of computers and semiconductor chips are expanding into new areas on an almost daily basis. And information technology is a crucial element of such emerging fields as bioinformatics and proteomics. The ability to harness those opportunities will depend on people with deep expertise in those areas and who also have the skills – people skills and implementation skills – to work with multiple, diverse groups to make it happen. We are going to see more and more companies realize they can’t solve all their problems by themselves. We’ve seen a myriad of merger and acquisition waves in every industry, as well as different patterns of alliances and partnerships. Many have achieved the minimum, but overall, results have been disappointing. There will be a lot of new effort to work across enterprises to harness existing skills, insights, innovations, and technologies and to explore ways to chart the path for turning these relationships into exciting, valuable, and profitable business propositions. More broadly, a key challenge to consulting firms will be to deliver clear value to their clients. Particularly in tighter economic times and times of mounting competition, client companies want to ensure that they receive significant benefits for the money they spend on consulting. Today is not a time for fads, but for results. Leading Consultants 95 In the past, a company might have been able to make a promise to a client on the basis of image and reputation. But today we are being challenged to be more and more explicit around managing and demonstrating that value proposition. Our ability to deliver on that value proposition with assurance is based both in hard economics and in the quality and depth of the personal relationships that make up the partnership between a consulting firm and a client. The demand for more substance and accountability reinforces the need for more consulting firms to develop working partnerships with clients, getting immersed in implementation, as well as analysis. To accommodate the complexity inherent in business challenges, these partnerships may involve other parties with complementary expertise as well. The “arms-length” relationships of the past are likely to become less prevalent. It is increasingly clear that what may be a new and fresh insight today, and might in previous years have had a half- life of three to six months, can now be out of date in a matter of weeks. Those who will succeed are the individuals or firms that are the best at anticipating the next set of changes, adapting to them, working effectively across enterprises and many types of people, putting ideas into practice, being accountable for results, and moving on to meet the next set of changes. Successful consultants will be Inside The Minds 96 able to help client companies place their bets and take their options. There’s no single answer or approach in a world such as this. The winners will be the ones who have the flexibility and the creativity to shape their approaches to meet each demand – even as they are grasping the changing needs and the emerging opportunities. A consultant with Arthur D. Little for 21 years, Pamela McNamara became CEO in August 2001. As acting CEO, McNamara cut corporate costs by nearly $20 million, restructured ADL’s management consulting operations, and improved the company’s profitability to the point where it now maintains a healthy backlog of sales. Ms. McNamara’s areas of professional expertise include operations, product management and launches, supply chain management, and business process redesign. During her tenure at ADL, she has served as head of ADL’s North America Management Consulting operations and leader of ADL’s Global Health Care Practice, where she managed large-scale projects for multi-national clients in the pharmaceutical and medical products industries. She has served on the firm’s board of directors since 1998. Leading Consultants 97 OVERLAP YOUR CIRCLES: MAXIMIZING THE THREE ELEMENTS OF THE STRATEGY CONSULTING BUSINESS DR. CHUCK LUCIER Booz·Allen & Hamilton Chief Growth Officer, Senior Vice President Inside The Minds 98 People, Passion, and Profits The consulting business is, first and foremost, about helping people succeed – people inside client organizations, as well as people at your own firm. Intelligence, deep expertise, and analytical skills all matter, of course. But there’s no shortage of smart, analytical experts across leading firms like Booz·Allen. A firm’s success depends on the sincere desire of its consultants to help others succeed. Enjoying and enabling successes by other people has always distinguished truly great consultants. Clients, of course, come first. Booz·Allen’s market research confirms what any successful consultant knows: Senior executives select consultants whom they trust to work with them. Trust grows out of mutual success – collaborative efforts in which the consultant helps the client’s organization repeatedly achieve significant performance improvements. With all the pressure on short-term performance, executives can’t afford consultants who merely rubber-stamp their ideas. They need consultants who will listen to, understand, and empathize with their challenges; who will collaborate with them to develop and implement a successful answer. Successful consultants combine the ability to help the client organization win with a sincere interest in helping individuals within the organization succeed. Leading Consultants 99 A consultant’s best clients are always those people he or she has already helped succeed. By putting the client’s needs first – those of the individual and the organization – the consultant ultimately becomes a trusted advisor. A client I’ve worked with occasionally during the past 15 years called recently and said, “I really need your help. We’re considering a major acquisition that will make or break our business. Can you be involved personally? I trust you.” It doesn’t get better than that. Helping people inside the firm matters too: The best colleagues, like the best consultants, are the people you have helped succeed. We (and other top management consulting firms) recruit truly amazing young people. The fun part is challenging people to stretch, to try to accomplish more than they think they can. In my own career, I know that I grow and learn every day. We try to stimulate rapid, continuous development in everyone at Booz·Allen. Of course, that requires time and commitment on the part of senior consultants. During the recruiting process, I make personal commitments to people we would like to hire. I promise that if they join Booz·Allen, I’ll help them grow and have the most successful possible career – whether at Booz·Allen or elsewhere. Many of my colleagues at Booz·Allen – as well as many of my clients – are people to whom I have kept that commitment. Inside The Minds 100 Consulting, especially strategy consulting, is an apprenticeship business: People learn consulting skills by observing great consultants and by assuming increasing levels of responsibility under the watchful eyes of experienced seniors. Helping others grow is not only fun, but it’s enlightened self-interest. Altruism didn't motivate master craftsmen in medieval guilds to take on apprentices any more that it motivates me to recruit new associates. Consultants, like the master craftsmen of old, need apprentices to help get the work done. The more skilled an apprentice becomes, the more they can do, freeing up the “experienced master” to concentrate on the most demanding tasks. The more I can help my colleagues develop superior skills, the more I can concentrate on the activities that I do best, and the more our team will succeed. Profession and Business Make no mistake: The starting point may be helping people, but consulting is a business. Like any other business, we measure our success at the bottom line. Profits matter. As it turns out, helping people is good business. Fifty years ago, Jim Allen, one of the founding partners of Booz·Allen & Hamilton, and Marvin Bower, the man who shaped McKinsey, engaged in a famous debate about the Leading Consultants 101 fundamental nature of consulting: a profession or a business? Bower, arguing the side of consulting as a profession, insisted that the consulting firm, like a successful law firm, should focus on doing the right things – for its clients, its people, and the development of ideas in its industry. If the firm fulfilled the obligations of the profession, the business would take care of itself. Allen took the opposite position: Consulting, he argued, is a business. Like any successful business – like our clients, Allen argued – consulting firms must offer attractive value propositions to all of their stakeholders. They deliver short- term performance while transforming themselves for long- term success. Allen and Bower were both right. It doesn’t matter where you start – a profession doing the right thing or a business offering attractive services – the answer is the same. One of the joys of consulting is that doing the right thing is always the right thing. People matter. Profits matter. But a real understanding of the consulting industry requires the same discipline that strategy consultants bring to their client work. Inside The Minds 102 The Structure of the Consulting Industry The traditional segmentation of the consulting industry – strategy, operations, technology – never made sense. It confused our clients. It confused recruits. It confused consultants. As a strategist, I group large consulting firms into three segments, each with different economics based on different approaches to different sorts of problems: strategy firms, accounting consultancies, and what I call “application consultancies.” Strategy firms – McKinsey, Booz·Allen & Hamilton, Boston Consulting Group, and Bain – focus on developing unique answers to problems with the highest risk and the greatest long-term impact. Business unit strategy is the prototype. Sustained, superior profitability requires a strategy distinct from competitors, grounded in underlying economics and skillfully executed. Clients will pay premium prices to strategy consultancies that help craft and implement unique, competitively advantaged strategies. Of course, strategy consultants don’t limit themselves to business unit strategy. We tackle other strategically important problems that require unique solutions – e.g., organization, customer relationship management, and pricing strategies. Each of the large strategy firms derives the majority of its revenue from one or more of these other types of service offerings: McKinsey from overhead value analysis (overhead cost reduction), BCG from Leading Consultants 103 reengineering focused on winning through time-based- competition, and we at Booz·Allen, for supply-chain management and cross-functional solutions. Strategy firms seek to work with the people inside organizations who make or support strategic decisions. A decade ago, this meant a fairly small group of people: the CEO, COO, business unit general managers (BUGMs), and strategic planners. Today, because intensifying competition and flatter organizations have pushed strategic decisions to a broader set of individuals within client organizations, we have the opportunity to work with a larger and more diverse set of people within any given organization. The accounting consultancies – Accenture, Andersen, Deloite & Touche, and Price Waterhouse – use standard, repeatable approaches to help clients achieve operational improvements quickly, with minimal risk and at reasonable cost. Typically involving the selection and implementation of information technology, these kinds of operational improvements require some tailoring (e.g., links to legacy systems), but focus primarily on delivering general capabilities, rather than unique solutions. The broader the scope of a given standard approach, the greater an accounting consultancy’s revenues. In some cases, the majority of revenues for these types of firms accrue from a single business problem – such as Year 2000 (i.e., computer programs unable to deal with dates after 1999) or Inside The Minds 104 the installation of enterprise resource planning systems, such as SAP or Baan. Outsourcing of corporate information technology departments or scale-intensive overhead functions has also been a major growth engine for these consultancies. The economics of accounting consultancies depend on standardization. Whereas strategy consultancies have, on average, about eight staff per partner, accounting consultancies have about 35 staff per partner. The low leverage ratios of strategy firms enable senior staff and partners to stay intimately involved with the details of analysis and recommendations. In contrast, the high leverage of accounting consultancies defines their economic model: The only way to provide partners with the compensation they want, and clients with the prices they expect, is by generating fewer margin dollars across a much larger number of staff. In that environment, standardization is the only way to ensure quality. Accounting consultancies target the CIO and other functional managers. Traditionally a very lucrative target, the CIO was the one functional executive who spent significant consulting dollars. As line managers have become more computer literate, CIOs are making fewer decisions about consultants, and the accounting consultancies are focusing more and more on business unit general managers. Leading Consultants 105 The third segment, the ones I call applications specialists – AT Kearney/EDS, IBM, HP, Oracle, E&Y/Cap Gemini, SAS – are the consulting divisions of hardware and software companies. For these companies, consulting supports the base business: It creates demand for their hardware or software products, increases the value that customers receive from the hardware/software, accelerates customer use of the latest releases of the hardware or software, raises the customer’s cost of switching to competitive hardware or software, and generates an additional revenue and profit stream. The typical consulting activities include selecting, installing, or applying the hardware or software – for example, SAS consultants helping a client’s marketers use the software for data mining. In addition to the three segments of “large” (more than $250 million in revenues) consultancies, a plethora of small niche players represents about half of the consulting industry’s revenues. The majority of these “firms” are single individuals – consultants who have left large firms and are now on their own or retirees who are now consulting to their former employers. The remaining small players concentrate on one or two specialties, defined either by industry or by functional area. The principal advantages of these firms stem from their size: minimal overhead and the human scale where everyone knows everyone else. Inside The Minds 106 Small firms suffer three significant disadvantages. First, they suffer from “feast or famine” cycles: Individual rainmakers tend to alternate between periods of intense selling and periods of doing the work. It’s hard to maintain a balance of selling and doing. And it’s hard to pay the bills when the rainmaker is in the selling phase of the cycle. In contrast, the many rainmakers at large firms move through different cycles, ensuring better use of all of the staff. Second, small firms can’t help major corporations affect change globally, since they have neither the breadth of skills required nor the necessary geographic footprint. Since major corporations represent more than 75 percent of the consulting market, small firms can serve only a limited portion of the market. And third, small firms provide sub-optimal development opportunities for people: the chance to work extensively in one area, but not the opportunity to develop the broad skills that enable a person to become a general manager. As a consequence of these disadvantages, small consulting firms experience enormous turnover: One individual may consult for two or three years and then move on to something else; another individual decides to become an independent consultant. Leading Consultants 107 The Evolution of the Consulting Industry Three broad trends are reshaping the consulting industry: the growth of technology, changes in how we serve clients, and consolidation. Technology, particularly information technology, has become pervasive in business. Information technology has either enabled or driven most companies’ strategic priorities for the last 15-20 years. As a result, IT-related consulting has accounted for much of the consulting industry’s growth. It’s no surprise that applications specialists represented the fastest-growing segment during this period, followed by the accounting consultancies. In the slower-growing strategy segment, each firm has taken a different approach to IT. Booz·Allen has created a strong information technology business linked to our strategy work: Information technology represents one-third of our revenues with commercial clients and an even larger proportion of our work with government clients. McKinsey has tried, unsuccessfully so far, to do the same. Since McKinsey’s acquisition of a small IT firm (ICG) failed, they have gone back to trying to develop the skills organically. Bain accesses IT skills through a series of alliances called BainNet. BCG continues to eschew technology, remaining focused on strategy. Inside The Minds 108 The second, less obvious, trend reshaping consulting is successive waves of change that have transformed the very nature of our work with clients. People usually talk about these waves in terms of new service offerings, such as business process reengineering (BPR) or e-business. But it’s far more powerful to think in terms of changes in the nature of value-added by consultants, rather than in terms of new serviced offerings introduced. When I joined the industry in the 1980s, we provided clients with advice that we delivered in reports. While I’m proud that most of my clients implemented – or at least tried to implement – my recommendations, the industry-wide reality was that most recommendations weren’t implemented. Advice, of course, still constitutes an important part of the consultant’s value-added. But the center of mass of consulting activity has shifted in a fundamental way over time, toward more and more value-added. The next three paragraphs, while deliberately oversimplifying the industry, describe these changes. During the late 1980s, consultants began including clients as integral members of the consulting team and embracing change management disciplines. Understanding and buy-in at client organizations increased. Clients genuinely tried to implement most of the industry’s recommendations. But they still struggled with interpretation and implementation. For example, during the 1980s, a CEO who had been a client for many years said to me, “At the beginning of Leading Consultants 109 every month, I re-read the strategy you did for me three years ago. I think that I’ve finally figured out what you meant by this dot point.” He pointed to a page in the report. “Am I right? Is that what you were saying?” In the BPR wave, consultants began directly helping clients change the way they did business. We worked with clients to build capabilities – the knowledge, business processes, and supporting information technology required to deliver value to their customers. Clients benefited in two ways. First, by working together with the client to affect change, we closed the gap between interpretation and implementation. Second, shifting from giving clients answers to improving ongoing performance provided greater recurring benefits. It’s analogous to the old Chinese proverb: “Give a man a fish, and you feed him for a day; teach him to fish, and you feed him for a lifetime.” In the most recent wave, e-business, consultants moved beyond capability-building and began partnering with clients to develop the business itself. Fees increasingly became a function of the client’s results or an equity share in the venture. The dot-com crash brought this wave to a premature conclusion, contributing to the recent slowdown in the growth of the consulting industry in the United States. Inside The Minds 110 The third trend changing the consulting industry is consolidation. From 1960 to 1995, the concentration ratio in the consulting industry didn’t change: The proportion of the industry’s revenue represented by the top five firms, the top ten firms, or the top 50 firms didn’t change. During the past six years, however, the number of firms with revenues of $25 to $300 million has dropped significantly. Financial pressure and falling revenues are contributing to the decline of medium-sized consultancies. The collapse of e-business-oriented consultants, such as Scient and Viant, provides the most spectacular examples of the pressure on medium- sized firms. But a far more lasting trend is mergers of medium-sized firms that are extremely strong in one geography, industry, or service offering with larger consultancies. For example, two years ago, CARTA, one of the leading management consultancies in Scandinavia, merged with Booz·Allen. The merger has been extremely successful: CARTA retained their local client base, and together we’ve significantly increased our share of the global business of multinationals based in Scandinavia. Pressure on medium-sized firms is, of course, a classic symptom of industry consolidation. However, broad consolidation in the consulting industry will be very slow because the mega-mergers that are the principal vehicle for rapid consolidation in other industries don’t work in consulting. In my view, nomerger of two major consulting firms has been successful in the long term. Mergers may Leading Consultants 111 succeed for a few years, while the principals of the acquired firm continue to drive the business; the acquiring firm typically insists on a three- to five-year earnout, ensuring that the principals are active initially. But once the earnout period is complete and the principals leave, the value of the acquired firm plummets. In a people business, what’s the value of a firm without its best people? The Future of Consulting What is the future of consulting? Changing client demands are fueling a fundamental change in the consulting industry. Clients are demanding increasingly tangible and lasting results, fast – results that contribute to a company’s competitive advantage. Today, customers, shareholders, and the best employees need and demand more rapid improvements in performance than organizations naturally produce on their own. For example, in the United States during the decade of the 1990s, the median “above average” performer among the S&P 500 sustained annual earnings growth of 19 percent and annual revenue growth of 12 percent – three times the growth rate of the global economy – while also addressing the greater expectations of workers and citizens. Increasing an organization’s ability to change to meet the rising demands of all stakeholders is the challenge for leaders. Inside The Minds 112 Consultants face the same challenge: We have to raise our game to help our clients raise their game. One client told us last year, “The old ways just don’t work any more. We need ideas and actions. Paradoxical elements need to be synchronized and harmonized.” Clients need clear solutions in our complex world; they no longer have the luxury of addressing issues sequentially – dealing with cost reduction during a recession, for example, and focusing on growth later. They need immediate performance that will yield lasting advantages. The old paradigm – developing insight first, acting second – no longer makes sense. The most effective strategies evolve through a series of actions that create and exercise options; each major decision both stimulates new strategic insight and drives near-term actions. For example, understanding the possibilities and limitations of technology is crucial to the development of strategy; realizing the benefits of technology requires interrelated changes in strategy, organization, operations, and marketing. The change in paradigm implies a redefinition of the consulting industry. Traditionally clients hired strategy consultants to create insight and accounting consultancies to help with actions. It was never an effective division of labor. Accounting consultancies implemented systems that created no business value; strategy consultants sometimes Leading Consultants 113 created recommendations without recognizing the difficulty of implementing them. Today, clients need consultants that truly combine strategy with technology and insight with action. With the shift toward delivering more tangible value, pricing in the consulting industry is in the midst of irreversible change. Management consultancies traditionally charged fixed fees or weekly rates based on the number of expected hours a team would work. Increasingly, fees depend more on the value that clients receive – either because fees are explicitly tied to results or because the consultant has an equity share. Aligning client and consultant incentives is a win-win. Clients avoid paying big fees for unsuccessful consulting engagements; consultants who always deliver high-quality work earn more; consultants are motivated to accept engagements not only where they are confident of adding great value, but where they believe the client will be able to make the requisite changes and realize the benefits. Bain has been the industry leader in non-traditional pricing, starting with Bain Capital (an LBO fund) 20 years ago. Bain and Accenture are leading ongoing changes in the industry’s fee structure. For the past 40 years, consulting has been one of the most innovative industries—delivering both significantly greater benefits for clients per dollar of consulting spend (which has fueled double digit growth) and also increased Inside The Minds 114 compensation for consultants. The industry’s future depends on continued rapid innovation. There’s no doubt that significant innovation will occur. But which innovations will be most powerful and which consultancies will benefit the most are open questions. The Consulting Culture Consulting firms have remarkably different cultures – “remarkably” because we’re all in the same business; we serve the same clients; and we hire from the same places. The differences are also remarkable because we all put clients first; we communicate in similar ways; and we perform similar analyses. The biggest differences, of course, are between segments. Strategy firms organize and operate around their partners. “Know Who” institutions, strategy consultancies strive for two degrees of separation between people in the firm: Partners all know each other; each partner knows the eight staff nearby; anyone can reach for anyone. In contrast, accounting consultancies, given their focus on standardization, emphasize size, organization structure, and formal processes. The number of partners is much larger; partners can’t all know each other; and most of the firms employ formal tiers, where some partners have more rights than others. Finally, the application consultancies are Leading Consultants 115 divisions of major corporations, significantly more hierarchical and process-disciplined than the strategy or accounting consultancies. The differences in culture within each segment are nearly as great as those across segments. It’s not a question of better or worse, right or wrong. The cultures are just different. For example, within the strategy consultancies, Bain in the early 1980s embraced a culture that said, “We are a team with a unique view of the world. We spend all of our time together socially. We buy all of our suits at the same place. We’re very much alike, and that’s a good thing because it lets us have the kind of impact that changes the world.” Booz·Allen is at the other extreme – far more heterogeneous than any other large firm, in any of the three segments. We have people who could fit at firms in each segment. As a result, we also have many people who wouldn’t work at one of the other strategy consultancies. We embrace the diversity. The Booz·Allen culture says, “The great thing about this place is that we’re all different. I love to work with all these people who know stuff that I don’t know. The projects I learned the most on are the ones that are outside of my area. I can be a square peg in a round hole.” Booz·Allen allows – actually requires – people to shape their own career paths and find mentors committed to their success. Inside The Minds 116 To highlight a different dimension, some firms, like McKinsey, operate locally. Wherever possible, people are staffed on engagements near their home cities. People must be comfortable working on a variety of issues in multiple industries. They have the opportunity to work with the same people over and over again. In contrast, Booz·Allen operates transcontinentally (i.e., across the U.S. or across Europe). The good news is that a person has a better chance of finding an opportunity that matches what she or he wants or needs to do. There are greater opportunities to specialize in an industry or functional area and to learn from a broad variety of people. The bad news is that travel is likely to be greater. The Art of Consulting The art of strategy consulting – I can't speak for the other segments – is expressed in developing workable recommendations, based on objective analysis, that help to stimulate beneficial change in the client organization. Where’s the art in that statement? It’s in weaving together three independent strands of activity – objective analysis, development of workable recommendations, and stimulating beneficial change in the client organization. Twenty years ago, we did it sequentially: first, objective analysis; then, development of recommendations; and Leading Consultants 117 finally, managing change in the organization. Even then, the consultant’s art was in thinking about all three strands in an integrated way. Although an engagement might start with a broad set of diagnostic analyses, consultants quickly have to narrow the analysis to the few issues that can make a material difference. What recommendations might evolve from each possible analysis? Which of the possible recommendations could be powerful enough to justify additional analysis? Are some of the recommendations theoretically interesting, but not really relevant for this client? “Implementability” of the recommendations matters from the outset. Do key client executives share the view emerging from the analysis? Why not? Does the difference in view really affect the recommendations, or not? What other analysis can we do to demonstrate which view is right? What will be the obstacles to implementation? How can the recommendations be reshaped to increase the likelihood of successful implementation? Which clients might be “zealots” who will lead the implementation of the recommendations? What are their concerns? Continually juggling analysis, recommendations, and change is a challenge at the best of times. But the real art of consulting is to bring the three strands together in the most difficult situations – in the situations where the consultant can add the most value. For example, we once did a Inside The Minds 118 strategy engagement for the head of one of General Electric’s business units – someone who had been in the division for 20 years, who believed that the business was performing as well as it possibly could, but who had been required by the corporation to engage a consultant (not an atypical circumstance). Our analysis quickly pointed to a major improvement opportunity. But the business unit general manager refused to believe it. How could we help the business unit change in the face of adamant opposition from its general manager? In this case, we concentrated on what we believed was the one absolutely crucial analysis, refining and refining it until we (and the client’s accounting department) were absolutely sure that it was accurate beyond any possible doubt. I spent 12 hours with that manager, one-on-one, working side-by-side at his conference table. We went through every number and answered every one of his questions. The analysis held up. Once convinced, the general manager proceeded to drive the rapid implementation of a broad change program that doubled the division’s profit within 18 months. How did we know to focus quickly on just one analysis? How did we know which analysis? Why were we confident that by rolling up our sleeves and working through the analysis with the manager, he would change his mind? That’s the art of consulting. As a strategist, I often help companies change the rules of the game in their industry. It’s exciting work; and seeing Leading Consultants 119 my clients change the world is personally rewarding. But this kind of work demands true artistry. Analysis looks backward, showing how the world has worked in the past. By combining analyses and creating powerful models, it’s possible to understand the key levers that might change the rules of the game in the industry. But ultimately, no one can prove something that no one in an industry has done. Given the limits to analysis, how can we shape recommendations about what a client might do? How can we help the leaders in the client organization mobilize the company to try something that has never been done? That, too, is the art of consulting. Should You Become a Consultant? Should you become a consultant? Consulting is a weird business. Despite the industry’s best efforts, none of us has been able to effectively communicate what it’s really like to be a consultant. As a result, until you experience it, you can’t really evaluate whether you’d be successful as a consultant. Consulting firms, too, have only a limited ability to judge a potential consultant’s long-term success. Even in strategy firms, only about 15 percent of the people we hire become partners (in accounting consultancies, the proportion is much lower). We hire only people who we believe have the Inside The Minds 120 potential to prosper in consulting. We make relatively few hiring mistakes; most of the people we hire are successful as associates. But over the next six or seven years, 85 percent of our people decide they would be more successful or happier if they pursue a different career. With so much uncertainty, it doesn’t make much sense for any individual to try to assess his or her long-term success in consulting. Sure, the pay is good, and the opportunities for growth, excellent. But the question for most people considering consulting ought to be, “Will becoming a consultant for the next three of four years maximize my career options and employability?” The value proposition of consulting to recruits has been and will continue to be that it is the fast track to corporate senior management. The most successful managers, both in large corporations and in start-ups, are what we call zealots: capable of simultaneously delivering today’s results, increasing the organization’s competitive advantage tomorrow, and motivating people to fulfill the future vision. In the past, corporations defined distinct roles: manager, strategist, and change agent. With today’s faster pace of change and greater demands for performance, the roles can’t be separated. A leader has to continually trade off improved performance today with changes to improve for tomorrow; since measurement and reward can’t evolve fast enough, people have to trust their leader to recognize and reward the Leading Consultants 121 new behaviors that are required. No company has enough zealots. Consulting, especially strategy consulting, is a more attractive career than ever. It’s the ideal place to learn the zealot’s skills. Recent research on learning suggests that it takes about 3,000 hours of practice to become a gifted amateur; 10,000 hours to become a leading professional. Interestingly, the amount of practice required is similar for a wide variety of pursuits, including golf, music, and chess. My hypothesis is that about the same amount of practice is necessary to learn skills in business. In three years, a consultant can attain “gifted amateur” status in strategy and leadership – experience that it would take two or three times as long to acquire in a corporation. Admittedly, the managerial skills of P&L management don’t develop much faster in a consulting firm than in a corporation. Since strategy consultancies are entrepreneurial, five years in a consultancy are sufficient to attain “gifted amateur” skills in management along with a “professional” level of skill in strategy and leadership – the world’s best training for a zealot. Lifestyle is the principal downside to a consulting career. Strategy consulting is unpredictable. We work on the most demanding, urgent problems – problems that clients often wait too long to address. It’s not unusual for a CEO to call and ask for a meeting on Saturday or Sunday, or to ask a Inside The Minds 122 team to begin immediately. The good news is that the engagements that address the client’s urgent, important issues are the most challenging and rewarding for the consultant. The bad news is that you never know when your client will call and need you immediately. Before I became a consultant, I was a college professor. As a professor, I was home with my kids every night; I coached Little League and soccer. As a consultant, I can’t commit to coaching athletic teams; there’s too much danger a client will call me away, and I won’t be able to fulfill my responsibility. We work hard to help people manage their lifestyle: We limit days away from home; an increasing proportion of our people work part-time (at all levels, including partner); we’ve created some career paths with more predictable hours and travel. But lifestyle continues to be one of the major reasons people leave consulting. The Most Difficult Part of Consulting At least for me, lifestyle isn’t the most difficult part of consulting. Lifestyle is manageable: Draw and enforce lines; be home for birthdays and anniversaries; don’t come back from vacation; when traveling to interesting places, take your family or significant other and stay over the weekend. In other words, find ways to make the consulting Leading Consultants 123 lifestyle work for you. Consulting provides a host of unique experiences – take advantage of them. For me, the most difficult part of consulting is delivering tough messages to people in the firm. Since there isn’t one standard career path at Booz·Allen, we have to provide very frank feedback about what’s working and what isn’t, so that people can chart the most productive course for themselves. Most feedback sessions are very positive: Honest, constructive feedback has enormous value to the person receiving it. Even when people are leaving Booz·Allen, our dialogues are almost always very positive. The vast majority of people who leave the firm make a natural transition from consulting to general management, either because of a great offer they can’t refuse or because of a change in their desired work-life balance. That’s a happy event for them and for us; alumni are among our best clients. But it isn’t always easy. The truly painful, but very important, aspect is helping someone understand they would be more successful in a career other than consulting. I learned the importance of this early in my career. One of our smartest recent hires just couldn’t figure out the art of consulting. When I started to encourage him to look at some opportunities outside consulting, he pleaded, “Even if there’s only a one-percent chance that I’ll be successful at Booz·Allen, I want to continue to try.” Although he made significant progress Inside The Minds 124 during the following year, it was painfully clear that he would be much more successful as a general manager – which turned out to be true. He has become an extremely successful manager in a high-tech business. However, because I didn’t do a good job of counseling, this colleague suffered through an unnecessary year with us and delayed the start of his high-tech career. The Best Advice for a Consultant My best advice for someone in consulting is “overlap your circles.” Circles? Think of the three elements of the strategy consulting business – clients, team, and intellectual capital – as circles. New consultants assume there is a trade-off among the three circles. After all, there are only 24 hours in the day, and if I spend them all developing clients, then I don’t have time to develop ideas or a team. But that’s wrong. Sure, in theory, a strategy firm could develop all three circles using differentiated roles. “You focus on people development; I’ll bring in clients; and Susie will develop our best ideas.” In practice, no strategy firm differentiates roles in this way. Every consultant needs clients; it’s the essence of consulting. Every consultant needs ideas to find unique answers for our clients. And we all need to develop people as part of the large teams we deploy to tackle our clients’ complex, multifaceted problems. Leading Consultants 125 In strategy consulting, the same people are strongest in all three circles simultaneously. It’s easy to think it’s just a gift, but when we studied our most successful consultants, we found they behave in a different way than the people who are less successful. They overlap the circles. Each action they took simultaneously contributed to developing clients, ideas, and people. For them, there was no trade-off. For example, most of the ideas we publish are stimulated by our client work. Often, we write articles with clients, deepening our relationships with them. Or we write with our teammates, helping develop their skills. Publications not only cause new clients to call us, but also stimulate the intellectual growth of our people. Offering juniors the chance to assume some of a senior’s responsibilities simultaneously provides a development opportunity for the junior and frees the senior’s time for client or idea development. While working at a client, each team educates the other teams about what they’re doing. It’s a great development opportunity for both the presenters and us in the audience. The discussion stimulates new ideas; because of their broader understanding of the client’s challenges and agenda, each team is able to add more value to their engagement. The same principle of overlapping circles also helps with work-life balance. For example, when my kids were in college, I led Booz·Allen’s recruiting at my kids’ schools. It Inside The Minds 126 was a win-win. The firm valued the time I spent at the universities, getting to know the faculty, making presentations, and meeting with students. But I also spent time with my kids. And when I went to the schools to visit my children, I also made the effort to meet with students or faculty. Whenever I feel overwhelmed by all that has to be done, I look for ways to better overlap my circles. Ideas and Knowledge Throughout this chapter, I've focused on people, inside the firm and at clients. But strategy consulting is also about knowledge and ideas. Ideas and knowledge are the raw material strategy consultants use to craft powerful, unique strategies for clients. Twenty years ago, Michael Porter argued that companies could pursue one of three generic strategies: low cost, product differentiation, or brand. But today, successful companies innovate – applying knowledge about technology or business models to craft and execute new-to- their-industry strategies. With knowledge increasing exponentially, the field for strategy today is far broader than Porter imagined. Leading Consultants 127 That said, it’s important to recognize that consultants are more like engineers than scientists. Scientists develop and test powerful new theories. In strategy consulting, that’s a role academics or a handful of gurus try to play. Consultants, like engineers, try to make things work, using theory wherever possible, experimenting and creating their own rules of thumb where theory is inadequate. Our business is to help clients be successful. We use new theories created by academics and gurus where they’re powerful; in the absence of theory, we develop rules of thumb based on our own experience or those of other consulting firms. As the firm’s Chief Knowledge Officer, as well as in my current role of Growth Officer, I’m responsible for Booz·Allen’s creation and use of knowledge. We target several major studies each year: some descriptive, to understand what companies are doing or thinking; some large-scale efforts, to create and test new theories. However, those studies are only a small part of our knowledge activities. With the exception of a handful of Booz·Allen gurus, we systematically look outside our firm for new science – for powerful ideas we can apply. Internally, we focus on understanding our clients’ changing needs; the new, powerful solutions we’ve developed at one client may be applicable to other clients (who aren’t competitors); and the new adaptations of our Inside The Minds 128 methodologies and rules of thumb – literally hundreds of improvements and innovations each year. “Knowledge” usually connotes explicit understandings. However, for strategy consultants, the most important knowledge is “who.” Better than reading the latest theory is access to the person – whether inside or outside Booz·Allen – who can help adapt or apply the theory to a specific situation. Better than a statement of a methodology is the expert who can help adapt it to the client’s issue. World class “engineers” – consultants with more than 10,000 hours of experience in a class of problems – are central to the competitive advantage of a strategy consulting firm. By ensuring that our best expert in an area addresses the most demanding problems, we simultaneously provide the best possible answer to our client’s problem and enhance the expert’s learning. Even in ideas, strategy consulting is about people helping people. Dr. Chuck Lucier is a senior vice president of Booz·Allen Hamilton, based in New York. He has been part of Booz·Allen for more than 19 years. In 2001, Dr. Lucier was selected by Consulting Magazine as one of the 25 Most Influential Consultants. Leading Consultants 129 Dr. Lucier’s client work focuses on corporate and business unit strategy issues for clients in a variety of industries. In addition to his client work, Dr. Lucier is Booz·Allen’s chief growth officer, responsible for the firm’s marketing and commercialization of intellectual capital. He is the author or co-author of a book and more than 25 articles, and appears frequently on speaking platforms. Dr. Lucier has served in a variety of leadership positions at Booz·Allen, including the firm’s first chief knowledge officer, leader of the Consumer Products & Retail practice, managing partner of the Cleveland office for eight years, and twice a member of the firm’s board of directors. In 1995, Dr. Lucier launched the award-winning strategy+business magazine, the place to find the best ideas in business, which is sponsored by Booz·Allen. Prior to joining Booz·Allen, Dr. Lucier was an assistant professor at the University of Iowa. He holds a BA from Wesleyan University, an MA and Ph.D. from the University of Rochester, and an SM in management from the Sloan School at MIT. Leading Consultants 131 THE ART OF CONSULTING- FIGURING OUT HOW TO DO IT RIGHT DIETMAR OSTERMANN A.T. Kearney Chief Executive Officer Inside The Minds 132 Challenges for the Management Consulting Profession As I think about the industry today, I think there are really two sets of challenges – enduring ones that have been part of management consulting since the profession’s infancy, and then a new set created by the unprecedented amount of change that has washed over the business world in the last ten years. On a day-to-day basis, I’d be hard pressed to name another profession as challenging as management consulting. You work with many different industries with varied challenges, and you’re called upon to solve countless types of problems. Even if you have clients in the same industry – which would seemingly have the same problems – individual companies invariably are so different in their culture and organization that the process of solving their respective problems is entirely new. So there’s no routine to follow. A second continuing challenge for the profession is the issue of how to recruit, develop, and motivate talent. The only asset any management consulting firm possesses is the people who work there. So one of our chief priorities is attracting and retaining the very best people in the field. We’re only as good as our ideas – and that means we need the smartest, most creative consultants out there. Leading Consultants 133 As far as new challenges go, perhaps the first is the amount of specialization required. Years ago, management consulting was more like a general practitioner’s medical practice. Each consultant dealt with a variety of clients when they were “hurting” and tried to apply some problem-solving to ease their troubles. But that kind of generalist approach has become a thing of the past. The industry has become more mature, with more highly educated and specialized consultants. Today, consultants need deep industry expertise to even be asked to the table. In addition, they need specialized skills – such as expertise in IT or mergers and acquisitions, for example. This maturing market brings its own set of challenges and opportunities. Geographically, industry maturation and market penetration varies widely. The United States, the United Kingdom, and Australia are probably the most saturated consulting markets today – in fact, there was little or no growth in the market in the United States in 2001. But parts of Europe are a different story – particularly in Italy, France, and Spain, where as a percentage of GDP, management consulting is not as developed as in the United Kingdom or in the United States. Accordingly, those markets have been experiencing significant growth. For example, in 2000, we enjoyed a 56 percent growth rate in Inside The Minds 134 Italy. This year in France, that number will probably be 25 percent to 30 percent. But the biggest growth potential of all is in Asia. In my view, Japan, Korea, and China offer huge potential. Japan is the second largest industrial nation, but the resources they are investing in management consulting are still relatively insignificant. Now, though, with all the economic problems Japan is experiencing, the business community is opening up and beginning to take advice from outside management consultants – just as the American business community has for 50 years or more. That’s translated into a 50 percent growth rate for us there. Korea is a slightly different story. Unlike Japan, it has been an easier market for the global consulting firms – because it is the most Americanized of all the Asian nations. Traditional business structures in Korea (the conglomerate-style chaebols ) are breaking up, and that creates significant restructuring issues. As a result, Korean businesses are hiring consultants left and right. In my opinion, Korea offers the most lucrative near-term opportunities for management consultants. But China, of course, offers the biggest opportunity – not right away, but soon, perhaps five to ten years – because it is the world’s most populous market. At A.T. Kearney, we’re taking action now to seize that opportunity. Leading Consultants 135 Today’s Technology Overshadowing all of these changes, of course, is the complexity of today’s technology. Technology has become an integral part of any business. Indeed, it’s inseparable from business, and it has added new layers of complexity for the consulting profession. Consultants constantly need to adjust how they go about solving problems. And the very nature of the solutions we provide is changing, too. Technology consulting no longer forms some separate category – it has become embedded in every strategy or operational engagement we do. There isn’t a business process that hasn’t been touched by the Internet. Today, therefore, we cannot credibly provide a company strategic or operational consulting unless we understand what the Internet can do for that particular business. It’s fundamental and critical. In this regard, A.T. Kearney is well positioned with our parent company, EDS. That relationship gives us the capability to understand what the Internet is doing to business processes today. That’s why I think the strategic alliance we made with EDS six years ago was a great thing for us. We now have EDS to help our people understand and deploy technology in a way we had not been able to do in the first 70 years of our existence. Inside The Minds 136 Technology has become an integral part of any management consulting engagement. This is going to lead to an industry consolidation for the consulting profession. There is no future for management consulting without the ability to understand and implement technology. It has also been the major driver of growth in the industry. Supply-chain integration, online procurement, e-business strategy – these have formed huge markets in the last ten years, and we’re seeing the next generation come along now. The Internet was a wake up call. Every single process has changed, and we all must understand those changes or risk giving clients the wrong advice. The need for this understanding has become more dramatic over time. Because of the ease with which information can be gathered through technology, clients themselves are becoming more experienced in the field of management consulting. They are learning how to measure results more accurately. I believe in the future, the fees for service arrangements will be changed to a success fee-based structure. We already see that today with contingency arrangements. That’s another reason for consolidation – private partnerships cannot finance those arrangements. Leading Consultants 137 The Art of Consulting – Techniques for Success It is common in the industry to describe management consultants as merely problem solvers – a management consultant listens to the issues, finds the root causes of problems, analyzes them, and develops a solution. But that’s not the full story. Often companies don’t hire management consultants simply to solve a problem, but to actually help implement the solution. In these engagements, people skills, project management skills, and a relentless drive to get the project implemented and finished become critical. We also often have to help clients manage and succeed in turbulent markets. This process is much less mysterious than it might sound. There isn’t an industry or a company that can’t make money in any economic environment if they just do it right. Figuring out how to do it right is the art of what we do – why we’re in the profession. In the current downturn in the United States economy, we’re all well advised to have adequate capacity or flexibility in the products and services we offer – consulting firms and their clients alike. Obviously, in growth situations you have to identify different parameters. We learn so much about so many industries in the good times, as well as the down times. As the economy gets Inside The Minds 138 better or worse, we learn as consultants to adapt to different situations, working side-by-side with our clients. A.T. Kearney is extremely results-oriented and quality- focused. That’s the essence of brand. A.T. Kearney stands for results – and for the quality of the consulting work. We want to be known in the executive circles, in the whole company, as consultants who brought tangible, bottom-line results – that we increased the economic value of a client company. If the assignment is growth-oriented, we want to show that we created new markets or increased share. If the assignment is focused on cost savings, then we want to show increased profits. If we’re working on processes, we want our results to be measured by improvements in efficiency and productivity. That’s a very hands-on, down- to-earth approach. We also pride ourselves on having the broadest, most in- depth quality system in the consulting world. We recently gave it another boost by putting it on the Internet. Thanks to that, I have available to me at all times how we are doing on our quality commitments at the 300 largest accounts we are currently serving – based on input from the clients themselves. Every morning when I go to work, I check my dashboard to see what the status is – and take appropriate action. That’s how we measure success. Leading Consultants 139 Consulting Skills You need a particular set of skills to be successful as a consultant. First, of course, you must be intellectually curious and sharp – otherwise, the problem-solving piece doesn’t work very well. But while intellectual brilliance is a definite plus, you can’t be too outspoken. It’s a delicate balance you must achieve to sell your work. You also need to be socially competent. This is a people business, and you have to sell and implement your own solutions and your own results, as well as your client’s. You are constantly interacting with people on your team and the client’s team. Knowing how to read people and get along with them is just as important as your intellectual capacity. You must be able to move organizations to the next stage. You have to constantly be in contact with your team and with your client, convincing and persuading, influencing and questioning. The information you get back depends on the quality of the questions you ask. You need to have a drive, a desire to succeed. You have to have speed and flexibility. Things change quickly; you must be able to respond accordingly. Inside The Minds 140 It’s also critical for us to populate our teams with experts who know how our client’s particular industry operates, so we need people with deep domain knowledge. After we analyze a problem, we assemble people with the content expertise required to solve it. If it’s a financial problem, we need someone with a background in finance. If the problem is in operations, we call on someone who has manufacturing or supply-chain knowledge. As a global organization, 62 percent of our business is outside the United States, and we always have local representation on our teams. Our consultants are highly capable individuals who have both intellectual and social skills. They usually can grasp concepts quickly but also can walk around in an organization, making individuals feel comfortable and drawing them out, so they can understand the problem much better. It’s not surprising that management consultants are drawn from the top MBA schools because our profession truly requires the best talent in the world. Consultants are incredibly hard-working. We expect a lot of drive from the consultants we hire. They don’t work an eight-hour day – they usually work 12- to 16-hour days. Our client’s problems are critical and need to be fixed on a timely basis. Usually by the time the client has decided to use a consultant, they are behind schedule. I have always said we start the second shift when the clients go home. Leading Consultants 141 An effective team is allowed access to information from all over the client company and can be trusted with it. Clients pay well for management consulting services. Since they expect a great deal in return, they usually realize that open access to information is necessary for their problems to be adequately addressed. Limiting access to information usually limits success. In operating our business, we wouldn’t be successful if at least 60 percent to 80 percent of our consultants weren’t busy all the time. The number of people available for an engagement can be limited because, we hope, everyone is busy on assignment. But a client who has an urgent problem is not going to wait three months for us to be able to start an assignment. Most of the time they want to start yesterday. The Consulting Lifestyle The best advice I have received was from my father in-law, an accomplished football coach. He said, “Look behind you, and if there’s no one there, chances are you’re not a leader.” I remember that every day. That’s the advice he gave me. The best advice I can give others is about balancing life and work. That’s a critical issue that I don’t foresee ever resolving itself. A good Inside The Minds 142 management consultant’s time is constantly in demand. If you’re working at the heart of a larger corporation’s problems, you can’t suddenly say, “I’m taking two weeks’ vacation now. Call me in two weeks.” In the meantime, the company runs into deep trouble. That’s just not the way you go about it. Again, a medical analogy: If a child is born at 4 a.m., and you’re the obstetrician, you have to be there. If someone needs a major operation in an emergency, it needs to take place now, not two weeks from now. We are similarly bound in the management consulting profession. When I started consulting 14 years ago, it was chic to be this hard-working person who had no private life. And then those consultants reached the age of 60 or so, and they called on their kids. And their kids would say, “Who are you? I don’t have time for you. I’m meeting friends.” Suddenly their children have grown, and these hard- working consultants are hurt. And they see what they’ve missed. I like to believe it doesn’t have to be that way. I am the father of four children – from two to eight years old. Just as you have to have time management skills in your professional life, you also have to have them in your private life. The important thing is not so much quantity but quality, and I believe that the smaller amount of time I Leading Consultants 143 spend with my family is more high-quality and intense than many other people spend in longer periods of time with their families. You can’t just assume you’re going to be home every night at six. It just doesn’t happen in this profession. But every weekend – unless our firm has a crisis – is entirely free for my family. My wife will likely disagree, but I adhere to that schedule 85 percent of the time. It’s important to me. A History of Leadership I’m not sure I’m qualified to tell you the best way to reach the top of any business. Consultants are usually not necessarily the best managers because they’re the ones who analyze problems and recommend solutions. But successfully running a company requires rigorous management style, execution, and follow-up. They are two different skill sets. There are only a few people who have both. Few managers now have great intellectual, strategic- thinking and problem-solving capabilities. And few consultants have managerial talent. Usually the ones who happen to have both rise fast and achieve management positions. In my case, it was simple: I happened to be in the right place at the right time – three times. First, I became Inside The Minds 144 head of our German office; then, three years later, head of Europe; and one year after that, CEO. I have great respect for my predecessor, Fred Steingraber, who grew the business from $30 million to $1.2 billion. He started this endeavor in 1983, when A.T. Kearney was a middle-level, Chicago-based manufacturing-consulting outfit. But Fred had a vision for the growth of the management consulting industry. Back then, we had $30 million in revenue, and Fred said we had to be a $1 billion firm by 2000. We achieved that vision in 1997. It was a wild vision to grow a company that much in only 14 years. But supplying that kind of vision is what a CEO must do. During his leadership of A.T. Kearney, Fred stood for that vision, for that incredible growth. He also spearheaded the globalization of the firm – moving first into Europe, then into Japan, and then into the rest of Asia. Fred opened more offices than anyone else at A.T. Kearney. The CEO and chairman of EDS, to whom I report, Dick Brown, has also shown incredible strength in managing EDS. That’s what EDS needed two-and-a-half years ago, when he came in. The changes Dick has made in processes are rigorous. Leading Consultants 145 Golden Rules for Clients and Consultants I would say there are three golden rules for clients: First, after a consultant is selected, it’s critical to establish an open, trusting partnership. You each need room to breathe to be successful. If you micromanage the consultants because you are afraid that they might spend $750,000 instead of $600,000, then you are better advised not to hire consultants in the first place. Second, there’s no such thing as a consultant project. Every project should be shared. Consulting fails if it is not heavily supported – and, ideally, led – by a client team. Results are owned by the organization, and implementation becomes much easier. Third, you need frequent and heavy interaction to keep the effort on the right track. The consultants drive the project and usually work with the best people in the client organization. Consultants have a tremendous amount of push. The client is advised to have daily or weekly interactions with their team to remain current and to make appropriate decisions if the consulting assignment takes an unanticipated turn. For the consultant, I think there are two key pieces of advice: Inside The Minds 146 First, be flexible and interested in constant challenge. If you like things set in stone, don’t go into the profession. Wrong choice. You need to be someone seeking new challenges every day of your life. That’s what this industry is about. But the rewards are tremendous. Second, you have more fun in consulting if you consider it a long-term career instead of a stepping-stone for another career in industry. You need to have a bit of experience to be really good at this profession. You can hire the best MBAs possible, but it takes two to five years before they really understand industries, before they understand all the methodologies, and before they become really effective. This profession is much more rewarding if you’re in it for the long run. Dietmar Ostermann, 39, was appointed chief executive officer of A.T. Kearney, the management consulting subsidiary of EDS, in November 2000. He reports directly to EDS chairman and CEO Dick Brown. Mr. Ostermann is the fifth – and youngest – CEO and the first European to head A.T. Kearney in its 75-year history. Mr. Ostermann was named managing director for A.T. Kearney’s operations in Europe in May 2000. Previously, he served as A.T. Kearney unit head for Central Europe, responsible for operations in Austria, the Czech Republic, Leading Consultants 147 Germany, Hungary, Poland, Russia, and Switzerland. Prior to that, he was managing director of A.T. Kearney in Germany and earlier served as New York-based leader for the firm’s North American automotive industry practice. Mr. Ostermann has served as client officer on several of A.T. Kearney’s largest global automotive and manufacturing accounts. As a consultant, his specialties include manufacturing strategy, product development, corporate transformation, and efficiency improvement. As a unit head, he led A.T. Kearney to double-digit percentage growth in revenue, first in Germany and later in Central Europe. Mr. Ostermann joined A.T. Kearney in 1989 and was elected an officer of the firm in 1995, following the acquisition of A.T. Kearney by EDS. Before joining A.T. Kearney, he was a manufacturing engineer for BMW and a plant analyst for Daimler-Benz. He has worked for A.T. Kearney offices in Düsseldorf, Prague, New York, and Southfield, Michigan, and served on client engagements throughout Europe and North America, as well as in China, Japan, Brazil, and Argentina. A Hamburg native, Mr. Ostermann earned a BS in manufacturing engineering and an MBA from the University of Hamburg and an MS in industrial engineering from the University of Southern California. Leading Consultants 149 THE DISCIPLINE OF CLIENT VALUE LUTHER J. N USSBAUM First Consulting Group Chairman and Chief Executive Officer Inside The Minds 150 The Exciting Side of Consulting As with most people who’ve been in business a while, my career has taken me through several business environments. I’ve been an executive with Cummins Engine, senior VP for marketing and operations with Businessland, and COO at Ashton-Tate, all great jobs, working with great people. But things changed in an important way when I took the job as CEO of Evernet Systems, a national systems integration company. It was at Evernet that I got into the IT services field, which became my door to consulting, a business that I love and that I find ideally suited to my abilities and temperament. I have a lot of energy, a lot of curiosity, and a high degree of self-discipline, a personality that the consulting field seems to particularly reward. Several things get me excited about consulting. One is the diversity of assignments. It’s never boring, never the same. You work with high-intellect people, so you’re surrounded by people who challenge your thinking and your environment. I’ve encountered and worked with an immense variety of people, and we have learned from and taught each other. When smart, committed people challenge your thinking, you have to go through your logic very carefully, and you invariably wind up with a better answer. And, although this kind of supercharged environment can be pretty stressful, I can’t think of a day that I’ve gone home without learning something new – Leading Consultants 151 something that makes me think about things a little differently. In the sort of consulting that we do at FCG, there is the potential for having a long-term impact, not just on individual clients, but on two important industries, healthcare and the life sciences. This is a major motivator for me, as it is for most of FCG’s employees – we call them associates – because these industries deal with, literally, life-and-death issues. Healthcare in the United States has a lot of problems, and industry leaders are looking hard for ways to solve them. To be a part of these solutions is very energizing because there’s strong, shared moral commitment. From a pure business point of view, the competition is exciting. I’m a pretty aggressive competitor, and, as FCG has grown and moved into IT services, as well as consulting, we have begun to compete against the major players in the industry – Cap Gemini Ernst and Young, IBM, Accenture, CSC, and so on. To compete and win against companies of their stature is a real victory; I enjoy it and know our associates do, too. In a sense, consulting is the ideal business relationship: We don’t succeed unless our clients do. So much flows from this – the teamwork, the sense of a shared fate, the shared Inside The Minds 152 pride in accomplishments. You find out what’s actually possible with your clients, your colleagues, and yourself. The More Things Change . . . Although business, like any other human activity, is progressive in the sense that each generation builds on the accomplishments of the last, this progress can be viewed, I believe, as the upward trend line of a series of cycles. This is certainly true in consulting, where the more things change, the more they remain the same. I’ve been in it too long to think things have really changed. You go through cycles and revolutions, and it’s mainly the people who haven’t been through the full set of cycles who think anything is new and unprecedented. First Consulting Group is in information technology consulting and services, which has experienced a series of long waves over the last three or four decades. In each case, a new technology arrives and disrupts existing business patterns, which then resolve themselves into new patterns, in periods ranging from a year or two to decades. Depending on the technology, the effect can be deep or shallow – the mainframe computer, and then the personal computer, have wrought profound changes over the years; other technologies have had a more localized effect. Most recently, we’ve just gone through the first phase of the dot-Leading Consultants 153 com wave; as it has been absorbed by business, we have entered the consolidation period, when things slow down a bit, and are awaiting the next phase of the dot-com wave and the next technology in combination, which we believe will be the always-on, always-present network, driven by wireless and miniaturization. At the same time, healthcare and life sciences are going through cycles of their own. Healthcare has had a very tough two or three years, but we’re on the other side of that now. Healthcare is, so to speak, getting healthy, and part of that is that, for the first time, information technology is being absorbed quite deeply by an industry that has historically lagged behind other industries in the United States in that regard. Healthcare is responding to a combination of economic, scientific, and regulatory forces by adopting information technology and changed processes on a broader scale. We are, in effect, seeing the separate evolutionary cycles of technology and healthcare begin to converge, and I believe that the outcome will be major changes in the way care is delivered. Similar forces, though driven more by industry consolidation and new discoveries in basic science, are changing the life sciences industry. To a great extent, IT consultants and service providers help clients deal with, and profit from, technology cycles by helping them understand these cycles. The objective is similar to that in military strategy – to keep them from re-Inside The Minds 154 fighting the last war. The PC wave, with its delivery of applications to the individual user, offered very different options from the mainframe wave, and the Internet and wireless will support radically new applications and offer still different options. Selling and Delivering Value to Our Clients At one level, the best definition of the value that leading consulting firms bring to their clients is the most common: getting results, because, ultimately, our clients aren’t buying consulting hours or advice or reports or implementations. They’re buying results, and we’re there because the client is aware that, for any of a number of reasons, they can’t get the results on their own. The buying decision for them is how they are most likely to get the results they want, which becomes a matter of evaluating how potential consultants work. For the consultant, in turn, the fundamental question is how to organize the firm and approach the work. We and our clients have the same goals; the issue for us is how to show prospective clients that we can achieve the goals and then get it done. First and foremost for us, we concentrate specifically on two industries, healthcare and life sciences. While these industries have different business models – healthcare is primarily services, while life sciences is research, Leading Consultants 155 manufacturing, and distribution – the needs they serve are closely related, and we regard them as a single industry. Within this space, the FCG brand is very well known and understood. We have deep domain knowledge and very deep technology knowledge, so when we walk in, most people will have an awareness of the FCG brand, which helps enormously. We lay out the specifics we can deliver, depending on the kind of client – an academic medical center or a pharmaceutical company or a biotech company or a health-plan payer – as our initial way of engaging with the prospective client. First, we want to be sure they understand the FCG brand; if not, we sell it. Our greatest strength in that regard is FCG’s long track record of client satisfaction – we regularly score at the top in independent client satisfaction surveys. Beyond that, we want to confirm the FCG brand in their space, and then we want to deal with the qualifications we have or the kinds of projects we’ve done in their space; here we are able to cite some pretty impressive references, based on “exceeds expectations” performances and carefully nurtured through long-term client relationships. Then we explain the team we’re going to bring to the client and the depth of knowledge and experience that team will bring. It’s just a matter of presenting our unquestioned ability to achieve the results that the client is looking for. Inside The Minds 156 Like many other aspects of consulting, our position is somewhat paradoxical: We bring deep knowledge of the client’s business, problems, and objectives but, at the same time, an external, detached perspective. People want solid and empathetic knowledge of their circumstances, but an outside view, a perspective that is external to their business and suspends the conventional wisdom. If you’re a client organization, and you talk to the same people day after day, you become convinced that you know what you’re talking about, and you stop looking for new ideas. So you bring in consultants to provide an outside view and to challenge your thinking. We bring knowledge of what’s been done before, both successfully and unsuccessfully. We can bring five cases, for instance, that show that people have tried something that just doesn’t work, even though it may sound conceptually neat. We bring detailed knowledge to systems implementations. There are usually three or four things about, say, configuring your software or setting up your internal processes that, if you’d known about them beforehand, you’d have done differently. We can bring that key knowledge. We bring discipline. People often have a hard time accepting new ideas from people they work with closely or frequently. A consultant from the outside is seen, at least provisionally, as credible. In fact, one of the challenges for Leading Consultants 157 us is that when we get into really long-term engagements, we have to avoid becoming too closely identified with the client, which can cost us some of the “outside” aura. We bring focused and applied research capability through our Emerging Practices group, based in Boston. We constantly look at the market and the technologies we work with and turn that knowledge into deeper insight and improved techniques. We bring variable cost resources. People can gear up for a project without having to bring people onto their payroll and then having to lay them off after the project is over. They can just hire us to come in, get the results, send the bill, and go home. This not only avoids the obvious costs and disruptions associated with workforce churning, but it also avoids the hidden costs of having to bring people up to speed on a new project in a new environment. Although every project is a little different, we’ve done most of anything we work on before, so we’re effective from the moment we hit the door. Knowledge management is very important to us for several reasons. First, it allows us to reduce the cost of our services. We have developed a large base of standardized tools and techniques that we apply where a custom approach is not required or is not cost-effective for the client. These reside in KITE, our Knowledge-Information-Inside The Minds 158 Technology Exchange. KITE is a huge, highly organized and accessible collection of electronic documents, tools, and techniques that “operationalizes” our approach to knowledge: Take from what has been done before, add value to it, and put it back for others to use. Our core knowledge base and our core set of methodologies, which we call First Steps, are the discipline structures we can take clients through and get much better results as a product of our experience. Since the contents of KITE are constantly circulating through projects, they are constantly being updated. Standardized tools are, of course, not adequate for every phase of every project; in most projects, and in a nearly all large ones, there will be components that require some customization. Project plans have to be adapted to fit client capabilities; process designs have to reflect how the client wants to deliver care or do business. So, it’s perhaps most useful to see standardized tools as literally that: We can help the client build a lot of different houses, but we don’t re-invent the hammer for each job. Good knowledge management also supports an important source of client value: knowledge transfer. Consultants are often accused of hoarding knowledge to make themselves indispensable and prolong engagements. This tactic is classic short-term thinking that results in a lot of resentment. Our approach is the opposite: We transfer Leading Consultants 159 knowledge to the client to ensure that the client is self- sustaining when we leave. Each of these aspects of our practice is aimed at getting results, meeting – if possible, exceeding – client expectations, and leaving a satisfied client in the rear-view mirror. The Ideal Client Relationship The ideal client relationship is one that has developed over the long term and that is based on value delivered, candor, and trust. The first foundation of this relationship is the value that we add to the client – the results that we help the client achieve. Of course, to support the relationship, this value must be evident to the client, which is one of the reasons we must not only perform, but we must also communicate constantly: The client has to be aware of the value. Candor is essential to all enduring client relationships. Good consultants offer it, and wise clients demand and respect it. It’s easy, in the short term, to tell a client what you think the client wants to hear, but it’s a tactic that defeats both sides. First, you may well be wrong; the client may have something very different in mind. Second, most clients can spot self-serving language from consultants very Inside The Minds 160 quickly; when they do, you’ve lost your credibility. Third, even if you get away with it, you will have cheated the client of one of the highest values a consultant can bring – honest and independent judgment. And, if the client is wrong, the consultant will have been an accomplice in failure. At FCG, we value candor so highly that our associates are formally evaluated on their willingness to say what they truly think, and no one is ever sanctioned for it – ever. The final decision, of course, is always the clients’ and, naturally, we respect that, but we have an obligation to the client to help inform and guide that decision in the very best way we can. Trust, as every consultant knows, is hard to win and easy to lose. Partly, it’s a practical matter, a matter of confidence: Did we or did we not produce the results, enhance the client’s value, as we were engaged to do? This is pretty much evident, and the trust extended to us as the work goes on is roughly proportional to how many of our promises we’ve been able to keep. But, partly, trust is an ethical matter: Do these consultants have my best interests as a client at heart, or are they merely here for the fees? This is where the client encounters not so much the consultants’ practical ability as their culture. At FCG, we have developed a pretty rigid code of behavior: The client comes first. This is reflected in a lot of specific business practices. We will go the extra mile to meet the client’s needs; if we make a mistake, we fix it, even if the client isn’t aware of Leading Consultants 161 it. We staff and manage work according to the client’s needs, not according to our revenue targets. This, obviously, can hurt us in the short run, but the short run isn’t what we’re interested in because we take a very long view of our business and of our client relationships. Ethical business isn’t just right; it’s good business, and it’s the only business that’s sustainable over the long term. We like to stay with clients long-term for a couple of reasons. First, obviously, it reduces our cost of sales and administration. Second, it makes us more effective: The longer we have a relationship with a client, the better we understand their business and their culture. A good example is risk preference: Some clients are innovators and want to be on the leading edge; they believe pioneers get great land. Others believe pioneers get arrows; they want to see something that’s been demonstrated at 15 other sites before they implement it. If you get a flavor of some of those client characteristics, you can do so much more for the client. It’s important to point out that a continuing relationship definitely does not imply non-stop consulting. We have clients to whom we have been close for years, but for whom we do only occasional work. For us, maintaining close relationships is a matter of continuing contact at multiple levels for whatever purposes are appropriate. For example, we helped create, and now participate in, the Inside The Minds 162 Scottsdale Institute, a non-profit association of leading integrated-care delivery organizations. We work with the Institute on research projects, provide knowledge and expertise, and gain valuable market insights in return, as well as make FCG available for IT services and consulting work to the members. Longer-term relationships also improve our effectiveness. On the first project we do for a client, we get to a level-one understanding relatively quickly: expressed needs, preferences, and so on. And, on that basis, we can typically bring a project off successfully. But it can take longer, especially with a major client or a highly complex organization, to gain the depth of understanding that will allow us to anticipate how the client will react, how the political chemistry of the organization will affect the long- term success of what we’re doing, and so on. This is especially true with large-scale system implementations, hospital clinical transformation work – which is highly sensitive to physician and nursing attitudes – and extensive business process improvement work in HMOs and other insurers, where there are multiple business constituencies and stakeholders that have to be brought on board. You have to get away from expecting idealized implementations. You’re working in a real, human organization, with all sorts of politics and people and their Leading Consultants 163 intricate interrelations. You have to make sure your project socializes with that culture. Facing Difficult Issues Any project, no matter how well planned or managed, is going to run into an occasional snag. Certainly, good planning and management can reduce the likelihood and size of problems, but I’ve always placed a lot of importance on being ready for them when they happen. Some problems, such as staffing issues, delays, or disagreements, can be anticipated. Others, such as client business problems, unplanned project staff turnover, or third-party failures, often cannot. The first key to heading off problems is to make sure you understand what it is the client really wants – not what the client says they want. Sometimes they’re not the same things, and some careful probing – we’re back now to candor and independent perspective – will uncover the difference. Getting this right is necessary for setting expectations with the client, which is a critical part of every project, without exception. Setting and managing expectations doesn’t begin with project planning, of course – it begins with the sales call. Client success is about their relationship to expectations, and I believe that more consultants and more projects are undone by creating Inside The Minds 164 unrealistic expectations at this point than by almost any other mistake. The urge to over-promise to get the job and then figure out how to do it later is strong, especially with smaller firms, but it’s almost invariably suicidal. Our approach at FCG is just the opposite: We under-promise and over-deliver. Moreover, we manage expectations throughout the project, not just at the beginning. Managing expectations is really part of another firm principle of mine: Communicate, communicate, and communicate. You simply can’t over-communicate. If there’s bad news, you’re a lot safer telling the client about it than hiding it and praying for a miracle. Three months into a one-year project, if we see the project is not going to be completed at the end of the year, and we tell the client it’s going to take 15 months instead of 12, the client says, “OK, I understand.” But they’re not very happy if you wait until the 11 th month to tell them you’re going to tack on another three months. They conclude you’re not in control and have not been doing a good job. This, by the way, is a rule that applies internally on the project team, as well: A good project manager wants to hear bad news when there’s still time to do something about the problem, not when all the options have run out. Another problem that can be anticipated is staffing conflicts and turnover. There are several kinds of these. In some cases, the chemistry may not be right; when that happens, Leading Consultants 165 we simply swap the consultant out. In other cases, consulting firms, ours included, are tempted from time to time to pull a person off a project because there’s another one where that person is really needed. But you need to maintain the resources and the sense of continuity with a client, with a project, and with the project plan. After that, it’s a matter of formulating the right project plan. Plans that require too many innovations can pose problems. You’ll have to try to manage through those issues and, as always, set appropriate expectations. Every successful project plan includes foresight for contingencies, “the unexpected.” It’s impossible, of course, to list all the things that can go wrong, but I plan along two dimensions – likelihood and severity. Some problems, such as illness on the project team, are likely, but not very severe because they can be managed through. Others are severe, but not very likely, such as a major business disruption or business failure at the client. The unlikely, low-severity contingencies get some attention; the likely, high-severity ones, such as vendor software delivered late or full of bugs, get a lot of attention. If there are more project risks than it appears we can manage along with the client, it’s probably a good idea to redesign, delay, or even cancel the project. A delayed or cancelled project can usually be revived; a failed one usually can’t. Inside The Minds 166 Measuring Success for Our Clients Client success can be measured in different ways, depending on what our clients want from projects and from us. But fundamentally, what we want is client satisfaction, and we’ll go a long way to achieve it. Regardless of what their expectations were, we want people to say that we met them. The closer we get to a result that is related to the top five factors our client believes are strategic to their success – not tactical – the better we like it. We know then we’re going to have more meaningful impact. If our clients perform better in their marketplaces than our non-clients, that’s the ultimate measure of success from our perspective. Determining FCG’s Direction Creating a vision for your organization and deciding its direction are not terribly complex. You talk to a lot of people. You get the conventional wisdom. And then you ignore it. By the time it’s conventional wisdom, and everybody understands it, it’s too far into the trend to be meaningful to you anymore. I read a lot and look for opportunities. We’re looking for high-impact undertakings; if we can do a few things that are really significant and meaningful, I believe we’ll make our way very well. Leading Consultants 167 Setting direction is a matter of integrating two tactics into a single strategy. These are, first, following the market and, second, leading it. We’re 21 years old now. We started out doing IT strategy work for clients, sitting down with them and looking over their next three to five years to see what systems they needed. That led us to get into selection. We once said, “You need a patient accounting system,” and the clients responded, “Well, what patient accounting system?” So we helped make the selection. Then the clients said, “Will you help us write the contract?” And when we did that, they said, “Can you help us implement it?” Some of what you do just evolves from your relationship with the clients – it’s just a natural migration. A year-and-a-half or two years ago, we got into outsourcing – the other side of things – because our clients said, “Can you help us run what you’ve helped us assemble here?” We got into infrastructure work because when we did implementations, we broke the infrastructure. So we just keep going and migrating and moving and evolving. This progression was reinforced by our learning early on that clients tend to prefer consultants who can take them through the entire systems cycle, from planning to selection, implementation, management, and operation, and we’ve extended our capabilities along that cycle as we’ve Inside The Minds 168 identified opportunities and built the firm. But the lesson is clear: Let client needs guide you so you don’t get too far ahead of the market by offering services no one wants – at least not yet. At the same time, however, consultants are expected to be leaders, and we have tried to identify those areas where new technology and new applications offer a real promise for substantial improvements in our clients’ operations. Of course, this is easier with some technologies and market segments than others. Hospitals, for example, are culturally conservative and risk-averse and have historically been skeptical about getting very far out on the technology curve. Physicians are a tough sell if they don’t see clear and immediate value for their patients and practices. Our approach has been to create market hypotheses and test them constantly against reality, while trying to shape reality just a bit by working for industry segment leaders, the “early adopters,” where new ideas and technologies that can get a hearing have the best chance of success. Of course, we have occasionally backed the wrong horse – being wrong once in a while is the price of trying to stay in front. We thought the computer-based patient record would penetrate healthcare much more rapidly than it has, for example, and that computer-based physician order entry would catch on as soon as it got easier to use; in fact, it’s turned out that adoption of these applications is being Leading Consultants 169 driven much more by regulatory and quality-of-care concerns than by the applications’ intrinsic appeal. The lesson, to me, is clear: Part of leadership is being willing to take sensible risks. And FCG has always sought, and will always seek, the leadership position. Strategic Risks Worth Taking Risk is part of any business venture, and it’s a factor in every strategic decision. Risk-taking is not gambling; it’s the careful calculation of potential for gain and loss, made with as much information as it’s practical to get. Note that I didn’t say “possible” to get; very few risks can be allayed with the information available within the time horizon for the decision. At some point, I’ve found, I have to accept the residual risk or resign the game. Part of FCG’s growth and evolution has been learning how to take risks in the context of the services we offer and markets we serve, and which ones to take. For us, since high risk and high reward tend to go together, it’s a matter of taking higher risks for greater rewards. Historically, our biggest disappointments have been taking significant risks to do things that had a very small impact on our clients or on the firm. We have built and launched Inside The Minds 170 new services, for example, only to find that there was less demand than we thought there would be, or that they did not accomplish for the client what we expected them to. Sometimes we were guilty of not having read the market or our own capabilities clearly enough; in other cases, the market changed or other events intervened. The latter is, of course, “pure” risk – the consequences of things that we could not reasonably have foreseen. There are two “faces” of strategic risk decisions. The first is how likely a given risk is and how grave the potential consequences; the second is what you do if things go the wrong way. Unlike the old joke about doctors – that they can bury their mistakes – consultants, like other business people, have to live with theirs: disappointment, financial loss, and painful staff reductions. We’re continuously trying to define our practice around big-risk, big-reward; small-risk, small-reward. We try to make sure that, in our portfolio, the risks are digestible with where we are financially and where the business cycle is. We’re still trying to dramatically improve our performance in assessing risk. At the same time, though, while there are many things you want to avoid, if you start trying to play defensive, then you’re not very effective. The history of American business is littered with the failures of companies that developed a fatal resistance to risk. We’re oriented to walk into the Leading Consultants 171 client’s office with a list of what we want to do, what we want to accomplish. We try not to think of the negative – the things we ought to avoid. It’s like standing on the tee with water in front of you and saying, “I don’t want to hit it in the water!” And the last thought you have is exactly where the ball goes. We just really avoid thinking in those terms. One area in which we are calculating risk carefully is in extending our services into non-health-related markets, such as financial services, manufacturing, and distribution. We’ve learned from past forays – for example, into healthcare delivery consulting in Europe, where we lost a lot of money on what seemed like a good idea – that it’s too risky to build a large and expensive delivery capability in advance of knowing whether we can serve a new market effectively. What makes more sense, we think, is to undertake small, carefully defined projects in a new market, subject them to rigorous evaluation as we go, and avoid making major resource commitments until we’re sure that this is a market we belong in. On the other hand, one risk we’ll take when we identify a solid opportunity in a fast-evolving new market is an acquisition. The logic here is simple. Since it can take several years to do a good job of building a new, specialized practice from scratch, the only practical way to field a good team fast is to buy one. This is what we did Inside The Minds 172 when we at FCG grasped the extent to which healthcare was becoming drug-based and, as a result, acquired Integrated Systems Consulting Group in 1998. ISCG was a first-rate technical services firm with a large pharmaceutical and life sciences client base and an entrepreneurial, informal culture like FCG’s. It was our first acquisition after going public, and it almost doubled FCG in size overnight. Although it took a little time to work out the organization, it has been a great success. Managing in a Turbulent Market The consulting market can be quite turbulent. Notoriously, even modest economic downturns in markets we serve can result in much deeper downturns in consulting. Clients stretch out projects, downsize them, or eliminate them altogether. Reduced revenues intensify competition and, by constraining salaries and benefits, make it harder to retain good people. Although the pharmaceutical and life sciences market, which is about 40 percent of our business, is pretty profitable and stable, healthcare works with much smaller operating margins and has gone though several tough years as government and employers struggle to hold down healthcare expenditures. We’re a public firm, so we have a fiduciary responsibility to shareholders, in addition to our associates and to our Leading Consultants 173 clients. Our way of managing in turbulent times is to “tier” our response with a three-level hierarchy. Level 1, at the bottom, is cash-oriented; Level 2 is profitability-oriented; Level 3 is growth- and profitability-oriented. When you go from an up cycle into turbulent times, and revenues fall, you drop down in the hierarchy. You begin to focus on profitability, or you might have to drop further down to focus on cash preservation. You have to get the resources aligned with the demand, spend more energy on collecting receivables, and delay all but absolutely essential capital spending, so you can manage your cash flow through the down cycle. But as the market turns up again, you have to be adept enough to stop dwelling on the things that helped you preserve your space through, say, a six- month or nine-month period. Now, on the other side, you have to become expansionist, to build staff and capabilities, to begin taking risks again, and to figure out how your business is going to grow profitably. It’s important to communicate your actions to everyone in the firm. When we’ve had to cut discretionary expenses or reduce staff, we’ve been honest about it. If you try to hide the pain, your people find out anyway, and you lose their trust. You manage through the turbulent times and communicate to your organization that you’re in a tight cash-flow condition now, and here are all the appropriate things to do. Then when you’re in a time of growth-and-Inside The Minds 174 profitability, there are other appropriate things to do. Your associates need to understand you’re not just running from one side of the boat to the other; what you’re doing is an inevitable response to a cycle through turbulent times. This is, essentially, what FCG has done over the last couple of years, as the healthcare industry went though a period of severe revenue constraints and rising costs, and that side of our business got hit pretty hard. We had to take some fairly stringent measures to manage cash, including pruning low-demand services and laying off some people – something we go to great lengths to avoid. None of it was fun, but it was necessary to preserve the base that we’re now expanding from again. The important thing is to recognize when you have to “downshift,” so to speak, and do it promptly. Delaying and hoping for the best, which is the most common response – and one with which I can humanly sympathize – only compounds the problem. What might have been minimal downsizing and reductions through attrition winds up being massive layoffs that not only hurt those who are laid off but also leave morale and productivity problems in their wake and leave investors dubious about your credibility. Leading Consultants 175 Finding Opportunities in Turbulent Markets In turbulent times, consulting firms have revenue problems because their clients are having revenue problems. The clients think they can’t afford the consultants and either fire them or don’t hire them. The odd thing is that they’re often wrong. Consultants are a good investment whenever an organization has to confront change; in good times the change is welcome by the client, and in bad times it’s not, but it happens anyway. A good consulting firm develops the skills and industry perspective to help the client manage under either scenario. In difficult times, cost is always the common denominator. If times are difficult, and you’re going toward cash, then your clients are probably going toward cash, as well, and cutting expenses. So you can provide services that meld immediately with what they’re doing. They might have been focused on their growth and profitability six months ago, but now they’re saying the only projects they’ll consider are those that will help reduce their costs or improve their cash flow. If you can respond to those immediate needs, you’ll be in great shape. With acquisitions, the old saying applies: “The time to raise money is when you don’t need it.” If you were able to put together a war chest during the up cycle, you can buy companies during the down cycle because they’re far less Inside The Minds 176 expensive then. If you don’t have a treasure chest of cash, your currency, your stock price, has now dropped, so the acquisition isn’t any less expensive than it was before, and your shareholders are not amenable to your paying very high dollar amounts when they think the share price is depressed. No matter what the exchange rate between the two companies is or how attractive it might look conceptually, acquisitions are really hard to sell, so to speak, at that time. Being Successful as a Consultant at FCG FCG is a goal-driven company at every level. Every activity in the firm is directed to specific objectives and reviewed periodically for effectiveness. If it isn’t hitting its objectives, we change the process or reconsider the goals. At the same time, we have a highly collegial, team-oriented culture, where virtually everything of importance is accomplished through groups whose leadership identifies objectives and manages towards them. The ability to work successfully in this environment is a key factor in recruiting. Relative to setting goals for individuals, at FCG each person is typically a member of several different teams. At any point, you might be a member of your client team, your practice team, and your business unit team; and then you Leading Consultants 177 might be on a task force relative to changing something within the firm. Each of those teams has a set of goals, so we want individual contributions to the team, and we want a report of the progress of the individual and a report of the progress of the team. It’s highly complex in terms of what we’re envisioning and the measurement systems that are required, but we’ve managed to build it as a set of routines and systems, and it works pretty well. We have about 2,000 people in the firm. Our fundamental belief is that, if we can describe easily, carefully, and concisely to people what we want, we’ll get 50 percent better performance than if we leave it fuzzy, ill-defined, and unclear. So goals are extremely important. Getting clear goals at the individual level, linking them to the goals of the various teams of which the individual is a part, and then linking the goals of all those teams to the purpose of the firm – all that is complex but critical. Shortly after joining FCG, I got involved in a human resources task force, co-leading it with an individual who’d been around a while. We redesigned the whole professional compensation and development system for the firm, articulating what we wanted in consulting. We set up six “silos.” Each of these is a set of skills or abilities on which every associate is formally evaluated every year: Inside The Minds 178 Foundation skills: You must be able to write well, speak well, and handle complex meetings dealing with conflicts and all sorts of issues. Technical skills: Some of these can involve industry domain knowledge, and some can be technology; often it’s a combination. Practice and relationship development skills: Consulting ultimately revolves around being able to sell yourself, your team, and teams of other people to your clients. Project management skills: You have to be able to manage projects in an extremely disciplined way. Leadership abilities: We need this leverage to drive the business. Decision-making ability: Some people can see ten facts and make one type of decision; another will see the same ten facts and make a much higher-quality decision. This doesn’t seem to be very teachable; it seems to be innate. Some people are just better at making higher-quality decisions than others, given the same set of facts. These “silos” are complemented by a set of core values on which we also evaluate our associates. These include accountability, integrity, commitment to quality, achievement orientation, adaptability – all things we work to embed in the firm’s culture by hiring and promoting in accordance with them. Leading Consultants 179 Successful Teamwork and Team Leadership For successful teamwork at FCG, all those skills come together – not just the technical skills, but also the ability to perceive and read people well, the ability to communicate effectively, ask better questions than somebody else does, and probe more deeply to understand more about how the client’s business is put together, so that the project can be successful in meeting their needs. So for a team, you’re looking for technical skills, a variety of intangible skills, and then team leadership to pull all those disparate people together. Consultants, by their very nature, have strong egos, a strong sense of presence, and strong views, and you need very good leadership to make sure every one is heard – to call them out, to get all the alternatives voiced and understood – but then to be decisive about setting direction and leading the consultants to make it happen. A great leader exudes discipline, discipline, discipline. When you’re responsible for delivering a project, you have to set up some level of command-and-control, so you can really get the discipline established that will carry your project through. Creativity is often needed in the early part of the project, but once you establish what you’re trying to accomplish on deadlines, great leaders really have to get Inside The Minds 180 down to the disciplined, command-and-control structure to deliver the final result. Leading a consulting firm is like leading a group of lawyers or an educational institution. You have a set of organizational goals that are inherently very complex and require a high level of communication and collaboration. You also have a group of highly energized, very independent, extremely talented people, and in leading those people, you have to give them purpose beyond their individual accomplishments. It’s important at FCG to have a high purpose, something that’s noble and achievable that is beyond what the individuals could accomplish doing consulting on their own. That’s partly about establishing the FCG brand, but it’s ultimately about having an impact on the industry we serve. To keep my edge as a leader, I’m perceptive, and I have good instincts. I think you have to be that way to be able to head up a modern consulting organization like this one. You have to be intuitive: If you see 1 + 1, you have to be able to leap to at least 4 or 5 and see the trends, see what’s moving. You can’t rely too much on what’s written. I get frustrated when people ask me about something that has been written; by that time, it’s usually too late even to respond. You have to find out what they’re not saying and where the gaps are and sometimes what clients haven’t even recognized. You can’t talk to them and see what’s Leading Consultants 181 happening; you just see the trend and know what’s happening ahead of time. A Look Ahead at Healthcare and the Life Sciences In many ways, American healthcare is superb. Our physicians are probably the world’s best diagnosticians, and we lead the world in medical technologies and innovative pharmaceuticals. If you get sick in America and have either good private insurance or some form of government coverage, you’ll get generally good care delivered by excellent, dedicated people. But the healthcare industry in the United States is recovering from a period of fairly serious revenue and cost pressures and is facing other difficulties. American healthcare has a number of fairly serious long- term problems. We provide healthcare not through a nationally uniform system of insurance, but through a patchwork of government programs and employer-funded coverage. This leaves a lot of the population vulnerable, when people are self-employed or when employers are forced to reduce benefits in the face of rising costs. The result is that we have around 45 million Americans with no health insurance, leaving most without a reliable source of medical care. At the same time, our costs are rising steadily, driven largely by the growing reliance on Inside The Minds 182 increasingly sophisticated drugs that turn acute diseases into chronic ones, which extends life spans but increases overall healthcare consumption. The two effects – more expensive drugs and longer-term usage – have a compound effect on costs, which threatens to push more people out of employer-based coverage, especially as we move into a period of slower economic growth. Our healthcare also has had some fairly serious quality problems, which have been documented by the Institute of Medicine. These are largely the result of the fragmentation of care delivery in the United States and our slowness in implementing the information technologies that can prevent the kind of errors that occur in such an incredibly complex, information-saturated environment. The information technology problem is being addressed, both by the initiatives of individual insurers and care delivery organizations and by employer initiatives such as the Leapfrog Group. The fragmentation problem has much deeper structural roots and, although information technology can help provide some degree of clinical integration, it cannot solve the underlying structural problems. This is true, as well, of the Internet: Although the Internet can be of immense help in changing some business processes, empowering consumers and supporting some kinds of clinical information management, it can’t overcome the fundamental weaknesses in our healthcare Leading Consultants 183 system that have their roots in national policy decisions or economic forces. It’s becoming clear that our current approach to healthcare will have to change over the long term. What will replace it will probably be the sort of thing Americans prefer, a mixture of private and government initiatives, but with a larger government component, including, I believe, some form of universal insurance coverage, again probably combining private and government funding. Consumer influence in healthcare will grow steadily. The pharmaceutical and life sciences industries, I believe, are in their Golden Age, with discoveries in the basic sciences, in genetics and biochemistry, occurring almost faster than they can be assimilated and applied. The drug companies are encountering some consolidation pressures, and legislative restrictions are being applied to some research directions – note the recent controversy over stem cell research – but I think there are many directions for success. For example, “personal medicines,” based on individuals’ genetically programmed responses to drugs, will allow us to eliminate the trial-and-error prescribing that we’ve been forced to do until now and will aim the drug exactly at the disease. The pharmaceutical industry has absolutely transformed healthcare in my lifetime alone, and I expect the transformations to continue. Inside The Minds 184 A Look Ahead for the Consulting Industry I think where the consulting industry is sitting now is similar to where we were around 1990 and 1991. Consulting took a pause and went backward a little. We were between waves then, as we are now – from late 2000, through 2001, and carrying over a little into 2002. But I see another really strong period from 2002 or 2003, through 2010. I think that as our society and business institutions become exponentially more complex, fluid, and based on technology, the consultant’s stock in trade – the ability to apply highly specialized knowledge and skills combined with an independent perspective, for exactly as long as it’s needed – has become so central to the world that continues to evolve, that consulting is going to have its own golden period again. As far as developing hotbeds around technology are concerned, I think it’s back to the waves. I think there will be major new areas that will continuously open up. I know people are enamored with wireless now. Wireless is a technology – it’s not really a movement, not an application. We’re much better off when we can ride the big waves of application, such as CRM or ERP or process re-engineering or the dot-coms. Fully integrated systems and major implementations tend to drive the market pretty strongly. New technologies and their implementation, though still Leading Consultants 185 important, tend to drive the market in a less significant way. There have been massive waves of things that make people want to try to understand what other people are doing in common and then take them into their businesses. When those waves happen, consulting is at its peak. When we’re between those waves, and we just have the normal sharing of best practices, some innovations, and specialty knowledge, we experience a pause – it’s not a white-hot area. But you just go through waves. I think there will be another white-hot wave – we just don’t know when. Best Advice The best advice I ever got was from the school of hard knocks – I’ve learned far more from my mistakes than I’ve ever learned from somebody’s advice or counsel. You can’t really learn about something till you’ve experienced it. Then you understand truly the implications of making bad decisions. My daughter’s long recovery from a near-fatal automobile accident several years ago changed my life dramatically. People comment now that I probably handle bad news as well as anybody else. It took an awful lot of bad news for Inside The Minds 186 me to learn you don’t have to get uptight. You just listen to the news and figure out what to do. My daughter and I were sitting, talking, not long ago, and she said she’d like to go back in time, if she could, in Michael J. Fox’s DeLorean from Back to the Future, to the scene of her accident – and let it happen – because so much positive has happened out of the accident. She found her husband; the family has really pulled together; I’ve changed and mellowed; there’s just so much good that came of it. It dramatically turned me around. Applying the personal to the business, I can now say that what is, is. Now let’s go figure out how to make something positive out of it. The Golden Rules of Consulting There are only a couple of fundamental rules. First, be empathetic with the client; put yourself in the client’s shoes. Then take yourself out of those shoes and apply a broad enough perspective to see the client outside of how the client sees himself or herself. If you can’t be “schizophrenic” and see things both ways, you won’t be successful. If you see things only in the consultant’s broad perspective of what the client “ought” to Leading Consultants 187 do, you won’t understand enough about why they are who they are, so you can help them change. I’ve often said that it’s only by understanding why they are the way they are that you earn the right to recommend that they change. That’s probably the most important rule that will serve a consultant. Luther J. Nussbaum is chairman and chief executive officer, providing leadership to First Consulting Group. FCG, a 2,000-member, $240 million public consulting firm, is the leading provider of consulting, systems integration, and outsourcing to the healthcare, pharmaceutical, and life sciences industries. Mr. Nussbaum is a 17-year veteran of the computer industry, having served most recently as president and chief executive officer of Evernet Systems, Inc., a national network systems integration company. Mr. Nussbaum was twice named to Computer Reseller News “Top 25 Executives” in the computer industry. Prior to Evernet, Mr. Nussbaum was the president and chief operating officer of Ashton Tate, a microcomputer software development company. He entered the computer industry as senior vice president of marketing and operations of Businessland, Inc., a worldwide reseller of personal computer products and services, after more than a Inside The Minds 188 decade in senior management at Cummins Engine Company. Mr. Nussbaum received his BA from Rhodes College and his MBA from Stanford University. He serves on the boards of Emergent Information Technologies and two private entrepreneurial companies, the Olson Company and Command Packaging. Leading Consultants 189 GIVING CLIENTS MORE THAN THEY EXPECT BRADLEY M. S MITH Milliman USA Chairman Inside The Minds 190 The Question All Clients Ask Conceptually, consulting is a pretty simple business. I believe all clients ask one question. Contrary to popular belief, it is not, “How much is it going to cost?” or “When is the project going to be completed?” although many clients do ask those questions. The question all clients ask is, “What do you think?” “What do you think the reserve should be?” “What do you think the premium rate should be?” “What do you think the pension liability is?” It all comes down to the question, “What do you think?” There are many implications to that question with respect to being a successful consultant. One implication of the question “What do you think?” is that you have to be an expert in something. You have to be an expert in a continually changing environment. The object of the question changes over time. This creates many challenges for the consultant, but it also makes consulting very rewarding. It is exciting to know that, as the world changes over the course of a career, there will always be a need for consultants who can think through solutions to difficult questions. I believe the consulting business is changing at a much faster pace than ten or 20 years ago, when the subject of the question “What do you think?” would stay the same for a longer period of time than it does today. Now, the subject of the question changes Leading Consultants 191 constantly. This is one reason that consulting is more challenging, as well as more rewarding, than it was in the past. Six months to two years from now, clients are not going to be asking you the same questions they ask today. While solving the problems of today, consultants have to simultaneously reinvest in their knowledge base to prepare to answer the questions clients will be asking tomorrow. As a consultant, you have to continually reinvest in your knowledge and experience base to keep these amortizing assets whole. The second ramification to the question “What do you think?” is that clients have to care what you think. As a consultant you must be an expert in a given topic, and your clientele, and potential clientele, have to know you’re an expert. Some consultants are very insular and inward-thinking. They are constantly replenishing their knowledge base, but they are not communicating to anyone that they are an expert in a given topic or area. If you want to be a successful consultant, you have to be an expert in a given set of topics, and your potential clientele need to be aware of your expertise. Therefore, your responsibility as a consultant is three-pronged: 1) You have to complete your current assignments to the satisfaction of your clients. Inside The Minds 192 2) You have to reinvest in your constantly amortizing knowledge and experience base. 3) You have to communicate to your clients that you are an expert in the ever changing environment in which you consult. In short, you have to constantly re-qualify yourself as an expert in your given marketplace, while making people aware that you have done so. The Art of Consulting – a Delicate Balance Considering all of the requirements, it is clear that being a successful consultant is quite demanding. However, I believe the true art to a successful consulting career is finding a balance between your personal life and your professional life. The balance isn’t the same for everybody. Each individual has to find what works for him or her. Everyone has a different comfort level and is in a different position with respect to his or her life cycle. You cannot and should not impose your values and balance on other individuals. You have to let each consultant find his or her own comfort level. As a consultant, you need to understand what is important to you as an individual. You have to recognize that every volleyball game you miss or every gymnastics meet that you can’t make is a missed opportunity that may not come around again. You have to Leading Consultants 193 make judgment calls. There are tradeoffs you will face. There are times in every consultant’s life when you are stuck somewhere, and there are family events you are going to miss. You have to assign an appropriate level of importance to those personal obligations and opportunities, just as you do to meetings with your clients. The fact is most clients understand that you cannot be available during certain periods of time, and they are willing to schedule around those events. Balance is the key to a long-term consulting career. Success When do you know you are successful as a consultant? Generally, you know you are successful if, upon completion of a given assignment, the client asks you another question or gives you another assignment. Generally, if they are asking another question, they are happy with your work. If they stop asking questions, or start directing those questions to others, there is a reasonable chance that you have not completed your assignment successfully. If the client is comfortable with you, has confidence in you, and believes you are capable of answering a particular question, then they will continue to seek your counsel. Inside The Minds 194 Having said that, there are times when a client asks a consultant what he or she thinks, and once told, the client will disagree. As a consultant, you cannot take that disagreement personally. You have to remember that you are not always right and that clients have the right to be wrong. You have to allow clients to make their own choices based upon the information they have and the input you give them. If they act in a way that is contrary to the advice you have given them, you have to accept that they may know more than you about a particular aspect of their decision. Or you may be right, and they may be wrong. You have to let them be wrong at times. Some of my most loyal clients have been clients who have disagreed with me from time to time. If you are going to be a successful consultant, you have to add value in multiples of your fees. It’s not enough to add value equal to your fee; you have to add value well in excess of your fee – three, five, ten times your fee. As your clients gain confidence in your ability to add value, you will be asked broader questions with respect to their business. Many times a client knows he needs help but does not know what question he should ask. These assignments can be the most fulfilling, because they allow the consultant to add substantial value. One of the most critical skills needed to be a successful consultant is the ability to listen. When a Leading Consultants 195 client does not know what the question is, your ability to listen and abstract from him or her what the issues are can be one of your most valuable contributions. Obviously, once you identify the questions or issues facing your client, you can then proceed to providing solutions. Staying in touch with other consultants, as well as others in your profession, by participating in industry meetings and on committees is another important component of a successful consulting career. I have personally written a number of papers and have spoken at a number of industry- wide meetings. Consultants have asked me if I think these activities translate into the development of more business. I typically answer that I don’t know for sure, but I would not want to risk the growth I have experienced by not writing or speaking. Likewise, staying involved contributes to the value you add to your given profession, even if you can’t be sure it contributes to your commercial success. In the consulting business, results speak for themselves. If a consultant keeps his or her existing clients happy and grows his or her client base over the long term, that is a priori evidence that he or she is successful. A consultant who is willing to listen and not impose his or her will in the first five minutes of a conversation, and who can articulate his or her conclusions based upon an understanding of the issues the clients are confronting, typically will be a successful consultant. A consultant who understands the Inside The Minds 196 need to listen, the ability to communicate, and the need to reinvest in his or her knowledge base will typically be successful over the long term. No Cookie-Cutter Solutions Another ramification of the question “What do you think?” is that you have to think. There are no cookie-cutter solutions anymore. The world has become too complicated. Everyone’s issues are different. Your ability to listen and extract those issues is critical to your success as a consultant. To a great extent, consulting involves addressing client issues on an 80/20 basis. They want you to answer 80 percent of the question in 20 percent of the time. There are very few times in consulting when you will get to the absolute completion of a project. This also has implications for the way you perform your job. You have to have expertise in the topic you are consulting on before you enter into an assignment. You will tailor-make the answer to the specific company’s issues, but you have to have a very broad knowledge base. You need the basic background ahead of time. If you are not well prepared to answer the question your client is asking before they ask, you will probably not receive the assignment. Advance preparation is the key. Leading Consultants 197 I am a firm believer in strong fundamentals. If you are not fundamentally sound, whether in an athletic endeavor or in your business practices, your performance will be flawed, and ultimately you will not excel. Those who are fundamentally sound, who are capable of blocking and tackling, and who are willing to prepare in advance will be the individuals who succeed over the long run. Then, the only thing more difficult than reaching the top is remaining on top. You have to do all of the things you did to get there, and then do some more. There is always somebody who wants to replace you. Maintaining strong fundamentals leads to continued success. Communication Is Fundamental The ability to communicate effectively, in writing and orally, is absolutely necessary if you are to become a first-rate consultant. All too often I meet students who are lacking in one or the other of these basic skills. You can be the smartest person, but if you can’t communicate to your clients what you think about an issue, you will not succeed as a consultant. Good communication skills are not only a necessary attribute for a successful consultant, but they are also one of the most critical skills. I will admit to a bias. I am a voracious reader, and I firmly believe that reading everything I can get my hands on has Inside The Minds 198 assisted me greatly in my consulting career. Consultants need to anticipate the questions their clients ask. One way to anticipate questions is to read. Reading should make up a large component of any consultant’s time. It helps a consultant gain insight into business as a whole, as well as the particular businesses to which they are consulting. Read about questions that companies are asking in other countries, because those are questions that may be asked in the United States. Read about industries that are not now the focus of your consulting practice. There are legislative, regulatory, environmental, and business issues affecting industries you don’t typically consult to that may help you address questions your clients may eventually ask. Reading will also help you improve and refine your communication skills. Reading is a key requisite for keeping your edge. Opportunities Sometimes a down economic environment creates a greater need for consultants. Consultants may be brought in to do the work that internal staff would have done prior to a downsizing. Clients hire consultants when they need them and fire them when they don’t. Consulting is a variable cost as opposed to a fixed cost, and a down economy can create opportunities for consultants. Leading Consultants 199 Likewise, there are a lot of questions faced by clients that consultants can address when business isn’t going well. As a consultant, therefore, you have to position yourself to answer questions in both up and down markets. Best Advice Our firm, Milliman USA, is now over 50 years old. The best piece of business advice I ever received was that each Milliman consultant should view the firm as a tool – a tool to be used to add value to your clients and reach your personal and professional goals. However, just as when your grandfather took a tool off of his workbench, sharpened it, oiled it, used it, and then replaced it, you need to leave the tool (i.e., your consulting firm) in better shape than when you found it. If every consultant in your firm takes that kind of ownership and makes that kind of commitment, then you will clearly have a growing, profitable, successful firm over a long period of time. When consultants in other firms don’t serve their clients well, it hurts all consultants. Likewise, when consultants perform well, the pie gets larger for all consultants. You should always strive to give the client more than he or she expects. On any given assignment, whether it is a fixed-fee or a time-and-expense-fee job, always give the client more than is expected. Inside The Minds 200 Firm Structure A firm’s organizational structure, ownership structure, and culture dictate what kind of people will be comfortable and successful there. For instance, Milliman USA is a firm in which we have multiple profit centers. The profit centers are merely a mechanism for splitting up the pie at the end of the day. However, they have contributed to the creation of a firm that is the ultimate meritocracy. We have consultants who are relatively young who are compensated more than consultants who are older and have been with the firm for a longer period of time. The contribution you make in any given period determines your compensation. This goes from the equity principals of the firm all the way down through the clerical staff. Because of this organizational structure, we tend to attract very entrepreneurial and aggressive individuals. Consulting is a relatively simple business. It is not a capital-intensive business. Our assets are our people. Our focus is on getting the people who will best address the questions and issues our clients face. We believe our ownership and organizational structure allows us to attract the very best people. The consulting firms that succeed in the long run are the ones that attract the highest caliber people. I believe firms that are owned and operated by their consultants are well Leading Consultants 201 positioned for the future because they will, in the long run, attract a disproportionate share of the best people. Consultants who own the firm participate in the ownership return, as well as the return generated by their consultative efforts. To illustrate, let’s assume you are a consultant considering joining Firm A or Firm B. Firm A allows you to extract the ownership return; whereas, Firm B has sold the ownership return to external owners, whether through a public offering or to another firm. I believe the best people will be attracted to Firm A because they will be compensated for their efforts more directly, and will participate in the ownership return. The Consulting Environment Technology has made consulting easier, as well as more difficult. Although technology cuts down on the amount of time it takes to complete an assignment, it has also increased client expectations (sometimes unreasonably) with respect to the amount of time needed to complete a given assignment. The pace of consulting, partially because of technology, is much faster than it used to be. The questions are changing at a faster pace, and technology has created higher expectations. Inside The Minds 202 It is important to understand the market for which you want to consult, as well as its expectations. An analogy exists with retailers. On one extreme, in the retail marketplace, you have Wal-Mart, which is very successful in the market they serve. They are very successful doing what they do best, selling high-quantity, low-margin items. On the other hand, there is Nordstrom. They are a high-value-added, high-margin operation. It has been said that if you walk into a Nordstrom at 8:55 p.m., five minutes before they close, and you need a pair of shoes, they will stay open as long as necessary for you to pick out those shoes, because that is their business. Typically, consultants are high-value-added, high-margin businesses. If your consulting firm wants to be a high- value-added business, you need to understand the requirements of that model. The implications are that, if a client calls you at 5:30 on Friday afternoon and wants you to complete an assignment and deliver it to them by 8:30 on Monday morning, you need to be willing to work on Saturday and Sunday to complete that project. That does not mean you will work every Saturday and Sunday. It just means that you have to be willing to work on Saturday and Sunday if that is what is necessary to complete an assignment to your client’s satisfaction. Likewise, you do not have to work until 10:00 every night. But when a client asks you to do that, or satisfactory completion of an assignment demands it, you have to be willing to invest the Leading Consultants 203 time because, otherwise, you are not a high-value-added consultant. You have to make the commitment to be available on short notice 24 hours a day, seven days a week. That doesn't mean you have to work those hours – that is clearly impossible. But you have to be available when your clients want you. Consulting is a client service business, and all consultants need to understand that. If we do not keep our clients happy, we are not going to stay in business very long. It is important to understand your goals as an individual consultant, as well as your firm’s goals. I am not a big fan of short-term goal setting. I think it is more important to focus on long-term goals and address where you want to be as an individual and as a firm, three years from now, five years from now, ten years from now. If you understand where you want to be in five or ten years, the short-term tactics seem apparent. At times, people make mistakes when they over-emphasize short-term goals, thereby doing something to meet a specific short-term goal that they wouldn't do otherwise. This has ramifications in choosing the clients you work for. You have to discriminate between those clients for whom you believe you can add value and those for whom you can’t. If you don’t think you can add value for a potential client, you need to pass on that opportunity. If you are too Inside The Minds 204 focused on short-term revenue or growth goals, it may lead to a bad decision with regard to accepting an assignment where you cannot add value. I think more people are going to enter the consulting field because industry is attempting to lower fixed costs and, consequently, will reduce staff positions. Industry will continue to reduce fixed staff costs, transforming them into variable consulting costs. Therefore, I believe the consulting industry will grow substantially over the next decade. The consulting industry is constantly challenged by the litigious society in which we operate. The answer you gave as a consultant may have been well thought out and the appropriate answer at a given time, but three to five months later, in retrospect, it may prove to have not been the right answer. That does not mean that the advice given at the time was bad, or constituted malpractice, or necessarily was actionable from a legal standpoint. Consultants cannot be the ultimate reinsurer of any particular outcome for their clients. There must be an understanding or recognition of this fact if consulting is to continue as a viable profession over the long run. Ultimately, management needs to accept the responsibility for what it thinks is appropriate while considering the consultant’s advice. The biggest threat to the consulting industry right now is the rise in litigation. In fact, this is not a risk that can be accepted by consulting Leading Consultants 205 firms or a cost that can be transferred economically to the client. You have to recognize and accept what consulting is and what it is not. None of us lives in a vacuum. When momentous events on the world stage alter business as we know it, there will have to be a consequential impact on the advice we give to our clients. A substantial core of the business of Milliman USA involves the development of projections. These include projections of net income and cash flow projections for insurance companies, pension and other employee benefit costs, and liabilities for all types of enterprises, as well as demographic projections for governmental entities. World events, as they unfold, will certainly have an impact on the work we do and the advice we give to our clients. Maintaining and enhancing our relevance to the markets we serve is the biggest challenge faced by any consultant or professional consulting firm. Maintaining relevance involves the identification of areas in which the skills of the consultant can be utilized to add value in multiples for the client. Once identified, the consultant must have or develop the capabilities and do the research that will allow him or her to add value to their clients and potential clients. One of the dangers faced by all consultants is that while they are working on projects, satisfying the current demands of their clients, they do not invest the time or Inside The Minds 206 resources necessary to maintain relevance in the future. Specifically, they do not invest in their knowledge base; they lose touch with their marketplace; they fail to do the research necessary to serve their marketplace tomorrow, next month, next quarter, next year. The Golden Rules of Consulting The golden rules of consulting are: 1) Always give clients more than they expect. 2) Make sure you understand where you as a consultant and your firm want to go in the long run. 3) Maintain balance in your life consistent with what makes you happy. 4) Continuously reinvest in your knowledge and experience base, recognizing that these are constantly amortizing assets. 5) Most importantly, have fun while you are doing it. Bradley M. Smith graduated from the University of Illinois in 1977 with highest honors. Mr. Smith is a Fellow of the Society of Actuaries, a member of the American Academy of Actuaries, and a Fellow of the Life Management Institute (LOMA). He formerly served on Leading Consultants 207 the Board of Governors of the Society of Actuaries. He joined Milliman & Robertson, Inc., now known as Milliman USA, in April 1986 to open the life/health practice in Dallas. His practice involves all aspects of life and health insurance, including insurance industry mergers and acquisitions, product pricing, and financial statement preparation. He served as a member of Milliman’s board of directors from May 1996 to May 1999. In May 2000 he was elected to the position of Milliman USA chairman of the board of directors. Before joining Milliman, Mr. Smith was vice president and chief actuary at JCPenney Life Insurance Company, where he was heavily involved in direct-response marketing analysis, list segmentation, product development, and corporate planning. Before working at JCPenney Life, Mr. Smith worked in the product development and the reinsurance departments at Republic National Life. Leading Consultants 209 TAILORING SOLUTIONS TO MEET CLIENT NEEDS THOMAS J. S ILVERI Drake Beam Morin Chief Executive Officer and President Inside The Minds 210 The Art of Consulting I’ve been involved in the industry, in one form or another, for 20 years. I started with Price Waterhouse in public accounting – an excellent base on which to learn. After Price Waterhouse I spent a decade in the advertising and public relations business in various finance and administrative positions. Now I’m with Drake Beam Morin, the world’s leading career transition consulting firm, and serve as the company’s president and CEO. I’ve always been in the personal services business. The personal service sector is really what gives me the charge. Everything is grounded in good educational background in theory, but in practice, one needs to have an active listening skill and be able to adapt that book knowledge and knowledge gained from experience, and implement it through effective solutions that work for the customers. I always find that to be the most exciting part of the job. Everything has to be tailored to meet their needs and where they, as an organization, want to go. You’re always dealing with different people; you’re always dealing with unique challenges. The “solution set” for a customer is never really the same, nor should it be. You get to deal with the human capital element, which is something every consultant really does. If you want to do your job well as a consultant, you’d better like working with people; Leading Consultants 211 you’d better like that interface; and you’d better be a good listener to be able to impart your knowledge in a way that will be accepted by those you’re consulting with. For me, that has always been the biggest reward. I enjoy it and have stayed in it my whole career. I would urge anyone who wants to get into business today and loves interpersonal interaction to take a look at the consulting sector as a career path. The art of consulting requires mastering the art of listening to a set of problems that an organization or individuals have, quickly and efficiently assessing where the organization is, and developing a rational approach to getting where the organization wants to go. It also requires that you make sure the solution set you provide is in keeping with the organization’s culture, its needs, its directions, and its competencies. If you’re successful in doing that, you’ll be able to move the agenda of those you’re working for more quickly and efficiently in the constantly changing world of work. Another integral part of the job is that the customers will often look to you as the solution to the problem, when in fact you’re the facilitator to that solution. Customers tend to have the feeling that once they’ve turned a problem over, then the problem is just going to get solved. That’s something we have to manage on the front end. From our perspective, the most important part of active listening is Inside The Minds 212 understanding the customer’s expectation and managing that early on as it relates to what is possible and what we can deliver – and never, ever over-promise. Your credibility is on the line, and the organization that’s hiring you is on the line, and the investment is on the line, so never over-promise and under-deliver. Defining success in consulting depends on the role and whom you’re talking to. From my perspective in my role as CEO, as the leader of a consulting company, I define success as being able to have the company execute as many of our recommendations and procedures as possible in a way that ultimately moves their agenda forward. Success for me is repeat business. Success for me is the moving forward of that organization’s agenda through the use of our time and our resources. And of course, speaking as a CEO, we want to do that in a way that is profitable. We want to do it in a way that allows for the growth and development of our people and our practice, so we can constantly be moving forward and be at the forefront of whatever is coming next. My best definition of success is repeat customer activity; it means that we have secured a relationship with a customer where we have provided a value-added contribution, and they want to use us again. Leading Consultants 213 Methodologies In general, as we go about the sales process, we are constantly using specialists in an attempt to provide a value-add to our customer base and understand enough about that customer base to quickly bring our value-add to the table. From our perspective at DBM, we spend a significant amount of time behind the scenes, talking about the competencies to which we can provide a value-add solution set. The goal is not to focus on that competency that you can’t provide value-add quickly and efficiently. No customer wants to pay for your learning, nor should they. At DBM, we religiously focus on where we have the skill set and match that quickly with industries and solution-set methodologies so we can provide that value-add to the customer. Then, when you have that opportunity after you’ve identified that solution set, you’ve identified the competency and skill set you bring. You want to make sure you know enough about that customer to be able to clearly understand and precisely articulate that solution set early enough in the process, so there’s a degree of comfort. That’s the way to be successful. We’ve spent a lot of time internally describing who we are and who we are not. I do think that matters very much to organizations today. They need to know that you provide a Inside The Minds 214 value-add immediately to the process. If you start there and say, “We can do this, and we can do that, and by the way, we can handle that as well,” I think you’ll immediately “turn off” customers. Customers look for value-add, and they look for a specific set of solutions, and they want you to immediately articulate that in a way that brings a solution to the table. We spend a lot of time doing that, and I think we’re successful as a result. We don’t want to be everything to everybody. There are times when we’ll turn down business, or we’ll refer business to others because we know what we can do, and we know what we can’t do. As a consultant you need to sit down with your own strategy, with your own direction, and assess your own skill set first. If you know where you can provide that value-add and know where you can play because you have the internal resources to do that, then you set up your business strategies that way. If you can convince yourself and your people you have the “permission” to effectively bring a solution to the marketplace, and you have that internal mindset in place, you can easily convince the customer. If you don’t, you will wallow around in the world of consulting and not be very successful. We focus a lot of our energy into really strengthening relationships, so that DBM is a truly reliable and trustworthy partner. Given the nature of our business, a lot Leading Consultants 215 of what we do and say is sensitive – we deal with company culture issues, which we all know gets at the structural foundations of an organization. The strength and depth of our one-on-one relationships with our customers are really keyed around success. Often, our customers are traumatized by the types of initiatives they need to implement when we engage with them to get them through restructuring exercises or laying off workers. We need to know their agenda and find out its impact on them as individuals, because this will ultimately affect how they’re going to do the job. Providing Value-add Providing value-add is a process you need to follow through within your own strategic planning. It involves talking about where you provide that skill set. Let me give you an example: We represent several companies in the high-tech business that are going through considerable restructurings at this time. That gives us the opportunity to work with a variety of customers, many of whom have similar, though not exactly the same, challenges. What we do is pull from our knowledge base. We have people who have worked on those programs and know exactly what that market is and how we can best provide that value-add to the customer in that market and how we can best secure career transitions for their employee base. When we’ve Inside The Minds 216 accumulated our knowledge and identified our strengths, the execution of the knowledge to the customer is easy. When we approach a high-tech company, we’re not going in saying, “We’re the leading consultants on career transition issues.” We go in and say, “We understand the problems surrounding the placement of employees within this industry and the potential path result because of these issues. Here are the solutions that we’ve thought through as to why it makes sense to engage in this way.” I think only when you do this do you secure revenue growth and customer acceptance. We spend a lot of time in the planning process fostering that understanding of our skills internally, selling it to ourselves. And if we can sell it to ourselves, we know we can be the best at convincing our customers. We’re able to answer many of the questions our customers have before we walk into that first meeting. Getting up to speed requires a front-end approach. Our consultants must do a considerable amount of work before they walk into any request for proposal (RFP) or any presentation made in front of a customer. This involves learning as much as they can about the company through public sources, as well as gathering information in the pre-interview process, where we sit down and identify needs and outcomes with the individuals who asked us to come Leading Consultants 217 in. Even before we walk in that door, though, we want to have a good sense of the company’s issues and what the company expects of that meeting. Our management requires this front-end investigatory process by our consultants. We have processes that help facilitate that information gathering: Consultants can use our databases of information to immediately track down historical data or information about career transition trends in the industry. It is important to have those systems in place in your organization, so your people can be most effective in the execution of their sales endeavors. We would not let any of our team go into any presentation without having completed the front-end process. If we did that, we wouldn’t be successful. Pitfalls and Golden Rules In my experience in consulting, I have found a direct correlation between the number of people in front of the customer and the profitability of the firm. What that essentially means is you want to put all of your company’s efforts and resources toward the customer in the form of face-to-face contact, and marketing and sales activities and external research in the form of continued development. You do not put your resources into internal office space or Inside The Minds 218 elaborate internal systems. If you keep your back office to a minimum, always provide an external focus to your meetings, and limit your internal process meetings, you will be successful. I think those who are not successful in the consulting arena view their company as a “big organization,” where an “entitlement” culture is allowed to exist. I think that is a major pitfall in consulting. The best business advice I can give is the more people on the line in front of the customer, the better. You have to understand ultimately that your business is driven by the value-add contribution you give to the customer; all other activities around that should be geared toward that customer. If you keep your focus on that, you’ll be successful. That’s how we’ve built our company. At DBM we have “six imperatives” that we filter through every business decision we make: 1. Share a common vision worldwide. 2. Think and act globally. 3. See through the eyes of the customer or client. 4. Maximize employee talent. 5. Leverage technology. 6. Have a sense of urgency and purpose. If any decision cannot easily be seen through the eyes of the customer as a value-add, then we don’t do it. This Leading Consultants 219 doesn’t mean we don’t have equipment that allows people to do their jobs, but by the same token, we don’t want to have a sense of value internally that is not generated by the external marketplace. People have to have the tools to do their jobs, but if you are doing something or buying something just to keep someone’s title or exclusively for the profitability of the company, you will not be successful. Also, I’m going to mention again the hazard of focusing on what you can’t do. I think a lot of effort is expended on creating solutions that aren’t core to what companies do. By forming a planning platform, we do stay focused as an organization on our core competencies. We meet regularly and constantly challenge ourselves to “re-test” our thinking. I think any organization that wants to be successful really needs to do that. It’s extraordinarily rare to see a consulting organization that is able to play in the full spectrum of potential consulting advice and counsel. They may play in other arenas, but they have a specific skill set they focus on and move forward with. A smaller company would be wise to limit themselves, to pinpoint the value-add situations they can really play in, as opposed to saying, “I can be your consultant.” Never play in an area where you don’t have the value-add contribution thought through in advance. Never over-commit to a customer your ability to deliver the product you suggest. Never surprise a company with the amount of Inside The Minds 220 a bill or how you’re executing the program. Over-deliver, as opposed to under-deliver, and stay in touch. Whether or not you’ve completed the assignment, maintain and develop that relationship because you never know when that will come back. Managing In Turbulent Times I’m in a different business from a traditional consulting perspective in that our business is helping people through career change. As such, at times of economic change, particularly when world economies are in recession, our activities are extremely brisk. In fact, we could almost be called a counter-cyclical service in that there is more need for our assistance when the economy is not doing well, as organizations are realizing the need to right-size or align their workforces with their declining revenue streams. Conversely, we have turbulent times when the economy is so strong that there is not as much support around career transition, or organizations aren’t taking people out. We can understand that, but then we have to ask how can we help in those situations? Where will our skill set apply when it is not in demand in a given economic climate? Our strength is not just in career transitions; it is about supplying support and counsel around HR solutions to the market. Leading Consultants 221 To enhance this, we’ve used many of the programs we’ve implemented for career-transitioned employees to help organizations when they’re going through change that might not actually involve career transitions – for example, executive coaching or retention issues, which are areas in which we have the competencies to play. We already have the skill set and the solution set we need to provide. I think, as an organization, you need to be balanced in product or service and customers. In turbulent times we do quite well, and when the economy is good, we balance that with the customer need. That means helping organizations with change. We’ve looked at our organizational resources, and we know where we are strong in that arena: For us it’s in retention and executive coaching, areas where we can provide value-add. Organizations that struggle need to refocus their business quickly, then think about their core competencies and what the consumer is looking for, then gear their service where they already have strength in that competency. Companies need to be fast and fluid with that. It is important to look at yourself as a small company, no matter what the size, because then you can provide quick solutions when you have an area of crisis. DBM is a $300 million company today, and it operates as a $20 million company. We’re fast, and we’ll make changes as needed by the marketplace. No consulting company will be successful long-term unless it has that ability to change. Inside The Minds 222 The People For an individual to be successful, you need to have a broad experience base and strong interpersonal skills. You need a well-rounded individual who has the desire and the ability to communicate, to listen, and to react, and the ability to do that in a way that is driven by the best interest of the customer. I’m looking for people who have a strong overall skill set around written or oral communication. I’m looking for people who want to do something different and provide change. Those people are motivated and therefore successful. As a leader whose experiences are developed through the personal services sector industry, that’s how I was brought up. I am not interested in sitting in on internal meetings, trying to move my career forward that way. I’d rather be out in front of the customer. I enjoy that, whether it’s on a personal level, a customer relationship level, or an external practice development level, or whether it’s a tradeshow or new business. But you have to want to interrelate. It is your job “satisfier.” If you don’t want that interaction, then the consulting business is not for you. If you stay in the business without this ability to interrelate, and enjoy it, you’ll have a rather limited role within the consulting organization. You need to have communication skills, whether oral or written, and an intense desire to help people look forward. Leading Consultants 223 Our best consultants have the intense desire to execute with the customer. They are responsive to their needs in a way that makes the customer feel as though they’re “part of the company” instead of in a “vendor” relationship. I’ve seen some excellent presentations and some excellent executions that haven’t been customer focused, where the presenter used a book solution or a solution set thought through by a very well educated individual, but these were not worked through with the customer in a way that the company understood and could execute on it. The best consultants are those who understand they can work through the company, and know that it is their responsibility to get in there with the company in helping to execute those solutions. They care about that company, care about their responsibility in the process, and work with the management of the company. They have to execute that strategy and stay engaged, even after the experience. Those who are good consultants probably have the right answer, and have come up with good strategic thought around their solution, but they don’t understand the culture or the nuance of the person paying for the service, and as a result, they don’t provide the type of support necessary to get the program through. At DBM we think of ourselves as a leading-edge learning organization. One of our criteria is to have a desire and personal responsibility to grow professionally. You need to Inside The Minds 224 devote a period of time to becoming state-of-the-art to forward your career. At DBM we know we’re dealing with highly talented people in this organization, and we want and need to drive them toward their own development and desires and a continued learning situation, so we provide funds to that end and train along those lines. To be successful in the business, you need to have that same mindset. Your job is not just to execute well today; your job is to execute today and learn about today’s challenges, so you can address tomorrow’s solutions. The best people who do that do it on their own time, as well as on company time. They do that in a way they find constructive, whether it’s a specific industry or a specific weakness they want to address. They need to do that to be successful. Personally, I accomplish this balance by rigorously maintaining two non-work facets of my life: I take time to get away from the business occasionally, and I work hard at balancing my business and family time. I like to take one week off every three months, where I can get away and sit and think and read. I put this week in my book and make sure my secretary doesn’t fill that time slot. I need time outside of the day-to-day rush to think of where the business is going and where it can best be supported going forward. I would urge all employees to do something like that. Taking a day off here or there, or every Friday in the summer will not be enough to get you to “see the forest through the trees.” That’s how I handle my long-term Leading Consultants 225 needs. For me, balance of life is important, and to give myself that extra time, I just go in very early in the morning. Sometimes I’m in my office by 6:30 a.m., and I get home late at night. I work on my e-mails at night. When I’m there, I’m there. But when I am gone, I’m gone. Also, my children are extraordinarily important to me in achieving balance in my life. I will leave at three in the afternoon on days my son plays baseball for his high school varsity team. I will go there, take out my lawn chair, and sit and watch him play, and from 4 p.m., when his game starts, until 6 p.m., when it’s over, I have the phone off. I’m just sitting there, watching the game, watching my son – that gives me the balance. It doesn’t bother me to be at work early or to be working on e-mail at 10:00 at night. But for me, that time with my son is important and I will take that time. I would advise every person in an organization to find that balance. People can do that differently in different organizations. Some people get up early; some people turn off the computer and leave. That’s it for their night. Some leave the weekends for themselves. The methodology is not important; the result is. The Future of Consulting You’re going to see a continued explosion in the consulting business in the next five to ten years. More and more Inside The Minds 226 companies are going to outsource what they can. They’re going to be looking for a specific expertise to drive their organizations forward, and they’re not inclined to have that sitting in their organization. As organizations adapt, recombine, and merge, this will be the business to be in, both today and in the future. You will continue to see an explosion in this industry as organizations are more inclined to get that specific data that they need when they need it. Organizations will be willing to pay a premium for it, as opposed to keeping a workforce on a fixed basis to get it day-in and day-out. Do I think the business is a good one? You bet. Do I think it’s growing? Absolutely! I see all the corporate dynamics being in favor of consulting organizations growing and growing. Take, for example, the talents and skill sets that are necessary for today’s solutions. They are more complicated today and very often cross-functional. No one alone can create the solutions – only the appropriate environment for the team to reach an appropriate solution. There is also no question that the demographics of people who are leaving the workforce will leave spaces that the organizations will have to fill. Organizations can fill those spaces internally, or they can look externally, and the trend is that they will look externally. People are less inclined to be tied to one organization and more inclined to be Leading Consultants 227 responsible for their own careers, and they can do that much more easily in a consulting environment than in one organization. The increasing trend of working out of your home, or telecommuting, will play a role in leading consulting organizations going forward. The consulting business is going to continue to expand in the upcoming years, and I’m glad to be a part of this exciting and vibrant industry. Thomas J. Silveri is chief executive officer and president of Drake Beam Morin (DBM), a position he assumed in April 2000. He is responsible for handling the day-to-day management of the company’s global operations. Before assuming this role, Mr. Silveri was chief operating officer of DBM’s U.S. operations. He also previously held the position of senior vice president, finance and administration, where he was responsible for DBM’s accounting department, the financial planning and analysis group, information systems, and facilities management functions. Before joining DBM in 1993, Mr. Silveri obtained 13 years of experience in specialized fields of the media business – public relations, advertising, and research. Previously, Mr. Silveri was executive vice president, finance and Inside The Minds 228 administration, at Hill and Knowlton, and prior to that, he was controller of JWT Group. Leading Consultants 229 THE FUTURE OF MARKETING CONSULTING DAVID FRIGSTAD Frost & Sullivan Chairman Inside The Minds 230 The Direction of Marketing Consulting The future of the marketing consulting industry looks very positive as many trends and technologies come together to enhance the relationship between the consultant and the client. On the information side, we see an accelerating integration of the Internet with competitive intelligence, CRM, market intelligence, and KMS. This integration, combined with an increasing demand for ethics in market and competitive data collection, will support companies in their efforts to outsource strategic information-gathering and strategy formulation to their primary consultants. The relationship between consultant and client will become much more seamless in the future as information is shared among all players in given projects, including the global enterprise and the external partners, which include the consultants. A vast number of emerging and disruptive technologies in a rapidly globalizing economy will significantly increase the demand for multi-talented consulting teams, which possess many specific skills to make projects successful. The traditional internal teams will not have the skill sets to perform successful global projects in a time frame to meet financial success. The demand for specialized market and technical consultants, working in close cooperation and in strict confidentiality with the clients, will be much more Leading Consultants 231 common in coming years. There appear to be very few consulting companies ready for this transition. Exciting Things About Consulting What is a tremendous amount of fun is working with different executives with completely different cultural backgrounds. One day you’re in Germany; the next day you’re in China; and then you’re in Japan. Everyday everyone looks at business with a different perspective, and when you go into those kinds of challenges, it’s really a great pleasure to learn about other cultures and meet other people. It’s hard to say why it’s so exciting, but that cross-cultural interaction is a lot of fun and very rewarding. Changes in the Business Environment The biggest single shift in the business environment is toward globalization. I started in 1980, and when I had a project in Germany, it was about the German market. If I had a project in Japan, it was about the Japanese market. It was always very regionally focused. Now 75 percent of our clients come to us, and they want every region of the world covered. That just wasn’t happening ten years ago. This Inside The Minds 232 trend toward globalization means that as a consulting company, we have to completely reconfigure our global team of analysts, the specialties they have, and even the make-up of who they are. Years ago, probably 95 percent of our staff were American or British, and today less than half of our staff was born in the United States. You really need that multi-cultural focus in the business because clients are asking what’s going on in all these different countries. The second biggest change is the Internet. The Internet has given clients an incredible leap in value-add because of the integration of knowledge management techniques and principles, which you simply couldn’t do on paper. It’s going to be very interesting because the Internet is causing a very pure flow of information that we have never had before. When the world was based on paper, there were a lot of papers on which large consulting companies could draw. Suddenly, the Internet puts large consulting companies at great risk. Now a client looking for a specific technology in a specific issue can go to the Internet and be exposed to hundreds of companies that are very focused on their need. They will not be forced to go to the large brand- name consulting companies to get their intelligence. I think one result of this is that fragmentation in the business might happen and have a huge impact. The large companies will grow more slowly, and there will be many more boutique Leading Consultants 233 firms going forward. At least there’s a big risk of that happening. Another big trend is toward a more integrated approach for client applications. I see that a lot of our clients are very frustrated because they get customer information and market share information from the companies that are polling the customer base. Then they’re getting their market information and analysis and strategy from Frost and Sullivan. They get their regulatory news and government news from a newsletter. They get econometric data and economic forecasts from other suppliers, and they get customer demographic information from other companies beyond that. None of this information is integrated, even though it correlates very well. Customers don’t have time to make sense of all this different data. The great pressure going forward will be to integrate all of this information into something that holds together and can be leveraged to help a client create a strategy. When Frost and Sullivan was founded, we just focused on competitive data. Then we started our customer survey centers to collect data. Now we’re looking very closely at econometric forecasts and data by industry. We’re adding demographic tables and are integrating all of this information so it makes sense, so it’s not conflicting, and so our clients can use it rapidly. I think there will be a trend toward clients wanting consultants that integrate a broader spectrum of the information, as well as the strategy. Inside The Minds 234 What Success Means Good marketing consulting is very much focused on the marketing aspect of a client’s portfolio. When I sit down with my long-term clients, we go through all the projects we’ve done, and a lot of what we do is work on new product development and product launches and things of that nature. We see success in terms of killing a bad idea or making a new product launch more effective. Clients sometimes have a hard time relating to stopping an R&D project and seeing it as great success. The point here is that stopping bad ideas is a success, even though they have to write down quite a bit of R&D investment. But we go back and look at the ROI on the project, including the future expenses on the project, and we can see the positive return of stopping what doesn’t make sense, just as we can for promoting something that does make sense. Measuring success can be a difficult thing to do, however. When consultants more and more become partners with our larger clients, when you’re working very closely with their marketing associates, their CEOs, and their business development executives in a partnership, it becomes a little harder to measure success. Even though you know you can speed up their decisions, integrate information for them better, and provide new insights and strategies, at the end of the day, it’s a smile on the face of the CEO and the stakeholder that tells you you’re on the right track. Leading Consultants 235 Measuring marketing consulting success has become a lot harder over time because the clients’ expectations for the integration of data, for knowledge management, and for helping with the implementation have all increased significantly. The client teams have gotten larger. In the past we would deal with one person in one company. Now we’re suddenly dealing with a global team of project development managers. It’s harder to measure success because you’re trying to keep 12 people integrated, happy, and satisfied with what you’re doing instead of just one. It has definitely gotten harder to measure success, to know that what you’re doing is right, and it has put a lot of pressure on other companies to be constantly improving. What we’re doing today is at least twice as good as what we were doing five years ago, but I think all the consulting companies are following that track, as well. Opportunities for Consulting A lot of opportunity sits in application consulting, which is studying the job functions within a client and understanding them enough to make a particular executive more powerful in their impact on the company. You really have to first understand the objectives of that executive’s title and then the applications that go along with those objectives. You need to have a consulting methodology for each of the applications. What I often see is the same research design Inside The Minds 236 and methodology applied to any application. But applications are different, and you don’t get as accurate results or as good strategies emanating from a one-size-fits- all approach. One way to realize the opportunity is to really fine-tune the consulting process for a specific application. I think that’s probably a very difficult thing to do (as we’re learning ourselves), but it’s really great once you get on top of it. One example is in acquisitions. Most companies do a very poor job of conducting due diligence on acquisitions. They do a very poor job of understanding an acquisition’s position within the customer group and within the landscape. A more specific methodology of analyzing those things just for the application of acquisitions will increase the company’s success rate of doing that. I see most consulting firms using the same methodology, regardless of the challenge, but the real opportunity is to develop expertise in each one of the applications. Successful Methodologies If you know what the application is, you’ll know where you should go after it. At the beginning, you either identify a challenge for a client, or what their key application is going to be. Once that’s identified, you have to find out the most pertinent data to address that challenge. This is where I Leading Consultants 237 think a lot of consultants fall apart. Say you’re launching a new technology. At some level, it’s very important to get the proper data from the entire client population, or at least a statistically significant sample size. It depends on how you segment the client population as part of the methodology, and most importantly what questions to ask and in what forum to ask them. These are often done on Internet surveys or by telephone surveys. Depending on the application, you might need to go out and do face-to-face surveys, or you might need to look at focus groups. If there are five or six different ways to segment a client population, there are five or six different research instruments to get information from the population. In addition, if you’re working in customer groups, there is the competitive landscape, and then there’s the regulatory landscape to add to the mix. There are a lot more options and permutations to look at when you’re trying to solve this problem, but you could end up using five or six methodologies, depending on the application. One of the methods we really specialize in is getting the right information from the client base, but not only on the product we’re looking at. We also look for the competitor products and disruptive technologies to really round out the whole spectrum of strategic options. One methodology we have found useful for quite a few of our clients is using a measurement like brand recognition. Inside The Minds 238 Today there’s an increased emphasis on brand recognition and equity and brand value. We go out for our clients and interview the competitor’s clients and their customers, and we’ll ask questions about brand recognition and brand recall. We find that with some of our largest clients, their customers cannot remember their company’s name or the product. This can really shock a client because the tendency within a company, if you have a successful product, is that your arrogance grows and grows to a point where you can become completely blind to what’s going on in the marketplace. But if you look at a brand value – that is, going out and looking at a diverse section of the consumer database – you can come back with a reality check of where the brand really is. That has provided tremendous value for a lot of clients because they suddenly realize that they thought they were at point A, and they’re actually at point C. It creates value-added discussions and strategies to get them back on track. Keeping Pace with the Markets I think we have a tremendous advantage because we employ over 700 analysts who track nine different industrial sectors full-time. If you’re constantly talking to the vendors, talking to the customers, and talking to regulators in probably 20 countries around the world, you can keep pace with what is going on. That helps you keep Leading Consultants 239 focused on the strategic challenges that we’ll be facing – such as the consolidation of the pharmaceutical industry, generic pharmaceuticals, and the current global economic recession. By studying those analyses when we go to see a CEO or a VP of business development, we already have information that we know will be keeping them up at 4:00 in the morning thinking about it. You can’t go into a client and ask, “What kind of consulting needs do you have today?” You have to go in and say, “We’d like to talk to you about how your company is addressing this problem, this challenge, or this opportunity.” That usually gets a very positive response because it’s a multi-million dollar or billion-dollar impact on that company. The Differences Among Consulting Companies There are different types of consulting. There has certainly been a huge boom in the IT consulting and implementation end of the business in recent years, and I don’t really put that in the realm of what we do. That boom has made companies like Accenture very successful. Then you have the management consultants, like Booz·Allen and McKenzie. And then there’s marketing consulting, which is what we do. We look at our place as a Inside The Minds 240 consultant as it pertains to new product development, emerging technologies, market strategies, and things of that nature. The first and easiest way to segment the consulting industry is by the functional expertise and by separating out marketing, finance, techs, IT, etc. Then as you go into it, the next reasonable segmentation would be by industry. For example, at McKenzie I believe they have different industry segments for all their groups, as do we. Then the third dimension to this matrix or segmentation strategy would be by the application, and that would be categories such as new product launch, product development, mergers and acquisitions, and so on. Compensation in Consulting Your compensation as a consultant depends on the type of application you’re working on. For example, suppose you’re working on an IT implementation project, and here I believe most companies want a fixed-price contract, rather than an hourly contract. When you go to hourly charges, you’re putting a pretty big hole in your boat because things can go way over budget. Someone has to pay for this, either you or your client. A great way to lose a client is to send them a bill they didn’t expect. Leading Consultants 241 There are other types of projects where, on the financial side, the clients have a strong preference to pay by what’s saved in various processes or systems, and so the payment is a much more risk-based payment. In our sector, on the consulting side, we prefer to work with our clients on an annual subscription base, or what I call a strategic alliance or partnership. We know exactly how much capital we’re going to get each month and each year from a client, which allows us to use all of the money we get from the client on their needs. It’s actually very unproductive on one level for us if we are continually involved in the bidding process on a project-by-project basis. There are so many different models of pricing. I think the least effective is the project-by-project model because on the consulting side you have to put the price up to cover the fact that you might not get that agreement, and you also have to include the sales and marketing expenses. For a client, that’s not value added or part of the equation. The Best Characteristics of Consultants Integrity is the most important trait a consulting firm can have. That’s when a company really stands behind its work and behind its people. Inside The Minds 242 You can identify the clients of consulting companies with integrity because they don’t end up in legal squabbles with their consulting partners. They don’t have long contracts that sign off with penalties and all that. They do most of their work on a handshake or a one-page letter agreement. Those are the ones I respect most, and there aren’t many of them. But the ones that run their businesses like that – I am in awe of them. Managing During Turbulent Times In my own company it has certainly been a very touchy year, managing through this economic slowdown, because several of my client groups are in what I would call a deep recession and have been for a couple of years. We look very closely at trying to develop a system to match the salary expenses and bonuses we pay to our employees, because at the end of the day, virtually all of the client revenue goes back to the staff. If I can make them know that as we succeed, they succeed, and that the client pays their salaries, not the company, then the focus is on making clients happy, which can generate repeat business. In a slow-down like this, we alter our salary packages to decrease base pay and increase the incentive pay for success, which, of course, is not that motivating in an economic downturn. Everyone understands that this is an Leading Consultants 243 economic slow-down, and I think the whole consulting industry is experiencing a certain amount of it right now. You also have to manage your consulting approach. In turbulent times like these, the customer’s viewpoint goes from five years out to the next quarter, so we’re working very closely on how to find customer pockets. We want to find the economic forecasts, not for a country’s GNP, but for very specific market sectors – medical ultrasounds or specific types of memory chips, for example – so our customers can proactively calibrate their business to what the short-term prospects are going to look like. If we can make our clients proactive to market changes, they’re going to save hundreds of millions of dollars. If they continue to produce higher, and the market turns down, and their sales drop off, they’ve already lost money for two or three months, and they’re going to lose money for another two to three months while they restructure. If I can get my consultants to see these changes in advance, they can tell our clients, who can start to proactively recalibrate their business according to where the market’s going and save hundreds of millions of dollars. Managing growth is really important. There are some companies that do well during a recession, and you can do well if you’re proactive during a recession. When the economy was booming, every company was going out there very aggressively on acquisition programs. But Inside The Minds 244 acquisitions are very expensive in boom times. Now that the economy has slowed down, this is the time companies should be aggressively acquiring new companies. You can get some incredibly good bargains right now on the prices of some companies. What happens instead, though, is that most companies run together like lemmings, and people are not using good strategies right now. Everyone is pulling in their horns instead of taking advantage of the situation. On the merger and acquisitions front, there are great opportunities to increase market share and get rid of key competitors. Balancing Risk At Frost and Sullivan, at any given point in time, we like to have 75 percent of our investments in highly risky places in terms of product development and services for our clients and expansion. We do this because my partners and I all derive fun in life and the challenge in business by taking risks and seeing how our ideas work. Our firm is unique in that our company is owned by a handful of partners, and I don’t think any of our partners is motivated by money. We are far more motivated by seeing if our ideas work and how our value-added programs for clients work. So we’re always investing that way. I think we take a tremendous amount of risk that I think other Leading Consultants 245 more prudent consulting companies wouldn’t take. We make some big mistakes, but as the future unrolls, we have very exciting times ahead because we have some very exciting ideas in the pipeline. Every dime we make is reinvested for risky future ideas, so I would say we’re probably out of balance on the risky side. Best Advice The best piece of advice I’ve received was from my high school gymnastics coach. He looked at me and said, “Dave, you can’t make steak out of hamburger.” Probably for the first ten to 15 years of my career, I spent way too much time on either bad projects or people who weren’t very well-suited for the consulting industry, and I tried to turn them into first-class consultants. When I thought about what my coach’s message was, it caused me to be much, much more aggressive about developing a consulting team that has a similar passion for what we want to do, what we’re all committed to, and what we’re trying to accomplish. When I see people who don’t fit the team, I don’t spend time trying to indoctrinate them. I apologize if that sounds a little cold, but I think people who really have a passion for what we’re doing make all of our jobs easier. My best piece of advice regarding balancing life and work was from the person who said, “When a businessman is on Inside The Minds 246 his deathbed, he never says he wishes he had spent more time at work.” Despite that saying, I think most consultants have a very unhealthy lifestyle, including me. Right now I’ve been in a hotel for the last 70 days, working on a project. My wife and family aren’t exactly thrilled about it. The best advice is to keep life’s bigger picture in front of us all the time, and see our role in it. Remember, God didn’t put us on this earth to run a consulting business. I think that gets out of balance for most consultants, as it does for me. Leadership Running a consulting company puts profound pressure on developing your leadership skills. In the consulting industry you change projects every day, clients every day, and industries every day. You have a staff of very bright individuals with lots of ideas. They are difficult people to manage because they are so bright, so being a leader in a consulting company is tremendously strenuous and hugely challenging. As I’ve sat in the leadership post at Frost and Sullivan, what happens over time is that your weaknesses are highlighted more and more as you move forward. It’s almost as if you don’t gain confidence as a leader, but you learn what great leadership is. Leading Consultants 247 One of those skills is the commitment to and conviction in the direction you’re taking your company in. There are so many varied viewpoints and disagreements and arguments about where to take the company, and you don’t really have a lot of time to rethink the company’s direction every time there’s a problem. To keep an edge in this industry, it is important for the leader to go out and see other CEOs in the client base and other consulting companies. The demands they put on you to keep on top of the game are enormous. The ideas that another CEO can give you in 15 minutes can be worth more than what you’d get in a month or two from your own company. The best way to stay on the edge is to live in the client’s company or to take some time out to spend time with other consultants. Another thing I learned is that you cannot communicate enough. You cannot let communication slow down at any point. People have to know where the company is going, what the major objectives are, and what the status of these objectives is. And you have to give large doses of positive feedback on all of the accomplishments going on in the company. Inside The Minds 248 Staffing a Good Team I think passion is the underlying component that everyone on a good team has to have. The second thing that greatly increases the client’s satisfaction, and even goes well beyond satisfaction, is developing a cross-functional team with multiple disciplines. It goes to that segmentation that I mentioned earlier. You have several people who have in-depth knowledge of different applications and, in many cases, a cross-cultural team from Asia, Europe, North America, and South America, all with different experience and backgrounds. I think in the past some of the consulting companies were too homogeneous. They were the same race and the same background. I think some of the big consulting companies are starting to see that that doesn’t always make it with the client base. Companies we work with are now getting revenues from all over the world. They’re facing multi- cultural issues and application issues from all over the world. To increase the probability that you’ll find every problem, address every problem, and meet every challenge, you have to have a good team working on it. The projects that are least likely to succeed are managed by one or two people with a similar background, or by two people who get along too well. It’s good to have a little friction. Leading Consultants 249 The Golden Rules of Consulting It sounds very trite but it’s very important to be customer- focused, to get inside the client’s mind. You have to be able to look at your consulting company through the customer’s eyes and not look at the client through your own eyes. It sounds so obvious, but with us, and all our competitors, that has to be the one biggest golden rule. It’s hard to develop this insight because with most consulting companies, as success grows, so does arrogance, and as arrogance grows, so does blindness. That’s rule number two: Resist arrogance. I have seen that the attitude that “we know everything, we’re on top of everything” in so many consulting companies, even my own. That just doesn’t work anymore in the consulting industry. Intimidating the clients with your educational background or knowledge of the industry is just not accepted anymore. David Frigstad began his career in marketing consulting in 1977, analyzing the trends of high-technology Asian and European direct investment in the United States for the Department of Commerce. In 1980 he began supporting European manufacturers of electronic equipment entering the U.S. market. By 1981 he co-founded Market Intelligence Research Company in Mountain View, California. The company specialized in high-technology Inside The Minds 250 marketing consulting, research, and strategy. In 1993 Market Intelligence acquired Frost & Sullivan. The combined company, now called Frost & Sullivan, offers a full line of consulting services, from competitive benchmarking to corporate training, and employs 600 professionals worldwide. Mr. Frigstad designed the Market Engineering Consulting process from extensive worldwide consulting and business experience. This process creates the foundation and methodology on which Frost & Sullivan performs its consulting and research work. Market Engineering is a measurement-based marketing system designed to drive marketing efficiency and improvement in market position. Mr. Frigstad lectures and tr ains throughout the world on the Frost & Sullivan Market Engineering System. Over his career, Mr. Frigstad has authored several books, including Venture Capital Proposal Package, Market Research and Forecasting in the Healthcare Industry, Market Engineering, Competitive Engineering, Customer Engineering, Cost Effective Market Research, High Technology Market Research, and Market Research and Forecasting in Industrial Markets. He is currently working on a new book entitled Strategy Engineering: A Measurement Based Strategy Development System.Leading Consultants 251 Mr. Frigstad has lectured and trained extensively around the world on competitive benchmarking, market engineering, customer engineering, and business strategy. He is a popular speaker at many industry conferences including Competitive Benchmarking in the Telecommunications Industry, the Medical Device Industry Annual Conference, and the Automotive Aftermarket Annual Conference. Mr. Frigstad holds a Bachelor of Science degree in MIS and management. He received his master’s degree in Japanese business administration from the Japan American Institute of Management Science in association with Sophia University, Tokyo, Japan. He also holds a master’s degree in business administration with a double concentration in international finance and international marketing from Indiana University. Leading Consultants 253 THE RULES HAVE CHANGED JOHN C. M CAULIFFE General Physics Corporation President Inside The Minds 254 The Excitement of Consulting The most exciting aspect of consulting is the constant change; clients present new challenges every day. There’s constant motion – always new ideas and unique issues. It’s a dynamic business, and good consultants are people who embrace new challenges. In fact, much of what we do is related to helping our clients manage the constant change that has become a part of everyday business life. There’s a real sense of satisfaction that comes when we provide a solution for a client that can save them money and make them more efficient and more productive. The advent of learning management systems has created a great deal of excitement in the learning and education arena. Once these systems are implemented, the development of critical business processes and the ability to deliver critical training using technology grow significantly. It also provides the opportunity to outsource large components of the training function, providing the customer with a high level of expertise and significant growth for GP. Biggest Changes Advances in technology have been the biggest drivers in consulting. Everybody’s trying to do things better and Leading Consultants 255 faster; that’s going to continue as the pace of technological improvement continues to increase. We’ve always hired the best and brightest specialists available, and most of our consultants have extensive backgrounds in engineering or specific technical areas, but these days we really place great emphasis on keeping our people ahead of the technology curve. Technology aside, quality consulting will always come down to real human beings working closely together, using their experience to create innovative solutions that benefit the customer; it’s really just the tools and the pace that change. In our history we worked predominantly in regulated industries, so law dictated a lot of the work we did, but today the requirements aren’t there. We’ve had to transform into an organization that provides solutions for companies that need to reduce costs and improve the use of their technology. This has forced us to be more creative and to show a measurable return on the investment for the services we provide. We see a lot of situations now where we may be compensated on an award fee, rather than on a strictly fixed fee. There are a lot of situations these days where metrics are developed to evaluate our performance. That’s good for consultants and their customers alike. Inside The Minds 256 The Art of Consulting An artist sees the world in a unique way, and so do good consultants. Good consultants look at a client situation through the eyes of an expert, rapidly identify issues that are preventing them from reaching their goals, quickly delivering innovative solutions, and then implementing them. Creativity is a big part of it, visualizing the big picture and the details all at once, building a better system in the mind, and then transferring it to the customer via training and technology. True success comes when we conduct the assessment and up-front analysis, and then prove our solution by performing the actual implementation. Delivering only a set of recommendations is akin to a painter producing only sketches; we’d rather deliver a complete, proven piece. Consulting firms that are capable of implementing their own recommendations are going to be successful companies, going forward. Consultants must also be proficient in the art of relationship building. It’s more than just being a “people person.” There are specific industry needs out there, and you must be able to communicate effectively with the customer and speak their language. They rely on us for advice, so experience in the industry and a thorough understanding of the customer’s concerns are critical to building a trusting relationship. Leading Consultants 257 Understanding Where the Industry is Going It’s important to keep track of the industry, to look outside your own world every now and then. Our staff performs the necessary research to keep us aware of trends occurring both inside and outside our current market sectors, and we also subscribe to research analysts. The fact is that nobody has a crystal ball; our business can change at any second, based on what happens in the economy and with our customers. That’s why we try to stay very close to the client, even if we’re not currently on assignment with them. Regular interfaces with the client help us understand where they’re going, where they want to go, and what issues they’re grappling with. It also reminds them that we value our relationship with them. Obviously, being part of trade organizations helps to a certain degree. Internally, we conduct periodic strategic planning meetings to make sure we’re heading down the right path and to share knowledge related to the industry and future business prospects. The Ideal Client Relationship We know we’ve become a partner with a client when they’ve made us part of their strategic plan. That means we’ve earned their trust, and they respect our judgment. It’s Inside The Minds 258 always best when we’re brought in up front. Coming in late in the game is very difficult because in many cases there will be things that were previously overlooked, and things will have to change, costing the customer more money. When a client is looking at a learning resource management system, we want to help them do the analysis and the assessment, look at their current processes, and discover what processes need to change once the system is implemented. It’s always better to start the relationship with a clean slate and do things right the first time. Methodologies of Assessment We follow many of our own branded processes, whether we’re assessing a training program, a learning management system, or the ability within an organization to design and develop training. We use a combination of proven processes, along with customized solutions, depending on the situation. It’s key to have an assessment process that is rigorous and structured, but also flexible. Each organization is different, and the assessment must not be blind to new situations. Generally speaking, we take a look at the size of the organization, the type of training that might be needed, the technology that might be available to deliver that training, Leading Consultants 259 the reporting and logistics requirements relating to it, and the objectives that the organization wants to reach. We perform assessments that tell them the best way to run that training function. Experience weighs in heavily here, and we’ve developed a considerable arsenal of best practices based on that experience. We may recommend outsourcing the training, or delivering it in-house. We may have someone administer the program, while we provide a vendor management function, or it may be that we take over the whole training function for the organization. We also determine which business model should be used to best evaluate or measure that training function, whether it should be a cost center or a profit center, and whether it should provide those services internally to the organization or look outside for resources. Getting up to Speed At GP, we hire world-class subject matter experts. These people understand specific industries and have extensive experience with the software package or technology that drives their current assignment. That gives us a leg up, but we also count on a fair amount of indoctrination and knowledge transfer from the client and/or the vendor who will be providing the software or technology. Inside The Minds 260 Our people will rapidly get up to speed on the software or technology needed by the company they’re working with as part of their assignment, but it’s really not enough to just have subject matter expertise in the minds of our people. We’re not finished until we’ve transferred that subject matter expertise to the minds of our clients. Differences in Firms There are large consulting firms, for example, Accenture, and then there are niche players – that’s where we fit in. Our expertise is on certain market centers of the education arena and the technical area, versus a Price Waterhouse Coopers, which might be a much broader based consulting firm. Because of the nature of the consulting that we do and the market sectors that we operate in, our ability to bring market expertise is probably the key differentiating factor for us from a place like Accenture. We place heavy emphasis on implementation, not just the pure consulting or assessment components. Larger consulting firms are geared toward the assessment component of the consulting environment. Leading Consultants 261 Turbulent Markets During a turbulent market or a crisis, it’s important to stay focused on clients and the core market sectors. We’ve tried to grab market share in those arenas, versus trying to branch out significantly. You don’t want to be a mile wide and an inch deep in a tough market place. It’s best to be operating in a number of core market sectors with core clients for whom we’ve done a good job and with whom we are able to grow our presence. We’ve had to make sure that our workforce is somewhat variable. By keeping some full-time employees, some part-time, and some consultants, we can go with the ebbs and flows that come with a turbulent market. When dealing with our clients, we strive to reduce their costs and increase efficiency and quality. When our clients are focused on slashing their costs, we have to stay focused on helping make their technology and people more efficient and more effective, allowing them to drive waste out of their organization. It’s not easy to profit during a turbulent economy, but one of the things that have helped us is our ability to provide outsourced services. Companies are trying to make their workforce much more variable, so that they can move their cost base with their revenue swings. Outsourcing is a way of doing that. Inside The Minds 262 We have really focused on consulting and the learning resource management area. Learning resource management is a different way of saying outsourcing. Learning resource management systems are enterprise-wide software systems that help large organizations put their hands around the whole training function. It helps with the logistics, the scheduling, the record-keeping, and the development and delivery of the training to the organization. Companies that outsource non-core activities also have more access to expertise. Training is a core competency for us, and our customers get a training initiative that is run like a business by experts in that field. The customers are able to free themselves from the burden of fixed costs, and they receive a top-notch training initiative at the same time. Risk Risk is ingrained in the business; there’s no way to avoid it. You have to take chances when choosing the customers you want to focus on and the market sectors and services you want to focus on. As a consulting organization, you have to be constantly providing new and different services. We’ve tried to keep aware of the market sector, the client base, and the service needs that they’re going to be looking for in the future. This will allow us to allocate our dollars to the right places, Leading Consultants 263 whether it is the development of new services, hiring new people, or advertising and marketing all of these things. There are many decisions, many possibilities, but there are no guarantees. Over the last couple of years, we’ve tried to gather much more information when making decisions than we had in the past. When things are going well, we didn’t just wing it, but we might not have done as much research or gained as much knowledge before making decisions as we do today. You don’t want to take a risk with only a 50 percent chance of success. In good times, you could do those things, but in tough times, bad decisions are magnified. Leadership Intelligence is important for leaders. You have to get the right information and make prudent decisions. Leaders have to have confidence when taking risks. You have to be willing to make tough decisions. Many leaders get into what’s called “information gridlock,” or they get into a situation where they have to make a tough decision and just can’t bring themselves to make it. Leaders need the fortitude to make those decisions regularly. Sometimes, even after gathering input from your associates and allowing people to have a voice in the process, your Inside The Minds 264 decision deviates from their recommendations. Honesty, openness, and communication are critical at this point. You have to explain to them why you’re going to take the direction that you’re going to take. It’s tough to do, but a well-reasoned explanation goes a long way toward getting people on-board. The leadership model that GP tries to follow is that of “servant leadership,” by which leaders are expected to do everything they can to ensure the success of their organization. This model was prompted by a corporate climate survey, conducted to determine the effectiveness of existing leadership and teamwork practices. We actually turned the focus on ourselves this time, subjecting our own company to a very tough assessment. The climate survey (needs assessment) identified specific shortcomings in leadership behaviors. A “Leadership Boot Camp” was designed, developed, and rolled out immediately to address leadership training and development and teamwork. The battle-cry of the boot camp is, “Leadership and teamwork drive our performance.” Once the top three tiers of corporate leadership were trained, a second climate survey was administered; the results indicated dramatic positive change. What occurred was a dramatic and lasting culture change. GP now has a values-based, employee-driven environment in which every employee is welcomed as a business partner and a fellow steward, responsible and accountable for the company’s success. Leading Consultants 265 Sometimes leadership means taking a risk on someone, backing up an employee’s new idea, or giving people the freedom to do their job in the way that suits them best. Great leaders earn the respect of their employees and provide an environment that fosters every individual’s growth. Leaders must understand people and treat them right. If you do that, people will be willing to come under your leadership and support you when you need it. In the consulting business, if you don’t treat people right, you’re not in business – you’re really nothing without your employees. Building a Team We’ve instituted a behavioral interviewing process within GP. We try to make sure that the people we hire fully understand the job they’re going to have. We’re looking for people who are willing to travel. That’s an unfortunate part of our existence, but it’s something people have to understand. We need people who are willing to take on new and different challenges, so we’ve worked hard to make sure people understand what will be expected of them. Overall, we’re looking for people with specific industry expertise and people with strong communications skills. New employees are trained to understand our dedication to customer service. Consistent with our corporate values, our Inside The Minds 266 core internal training course, “Exceptional Customer Service” stresses the importance of carefully managing the relationship and managing every transaction with each of our customers, internal and external. We believe the best way in which to foster “teamwork” is to understand that everyone we deal with is a customer – “our number one customer.” We also do a lot of training in the areas of negotiation, internal performance management, and conflict resolution. We hope all those things combined have given people the tools necessary to handle difficult situations. First and foremost, though, we tell everybody that the best way to deal with conflict is to address it directly. It’s important to make sure issues aren’t hidden or pushed to the side and to make sure we engage in honest and open communication both with our customers and internally. It’s critical to make sure individuals working on a team bring different strengths to the project, giving the customer access to personnel with diverse proficiencies and knowledge. Some people may be more technically oriented; others may be more business process oriented; and others may be more relationship oriented. What we like to be able to do is to make sure the team covers those bases completely. That’s not always easy. Many times we’ll be dealing with a lot of individuals who have different agendas or different ideas of what the assignment is really Leading Consultants 267 about. It’s important to have people that mesh well with the client organization’s culture, as well. Goals and Plans We have a unique process in our organization for goals and planning. We have a three-year plan that we update annually. It looks at not only next year, but also the year after, and the year after that. A few years ago, we went through an alignment process where we took all the leadership in the organization and refined our vision statement. We aligned ourselves as a unified force in the direction we agreed on, and then arranged the pieces of the organization to fit into that vision. We then established a set of corporate values based on the alignment process. Most importantly, we participate in the leadership boot camps twice a year. This intensive training instills the leadership in our company with the corporate values and ensures that everyone is aware of the strategic goals of the company. The boot camp format allows for input from everyone for inclusion into the continual strategic planning of the company. Inside The Minds 268 The Future of Consulting The use of technology is going to expand in our arena, and the ability to deliver training over the Web will be key. Implementing and maintaining these learning management systems is going to be a growth area for the industry as a whole. I think the whole idea of implementing solutions for non- core competencies is going to be important. You read in the paper every day that 20,000 people are laid off at United Airlines, and 20,000 at American Airlines. These companies want to have a much more variable cost base to better manage the down times; outsourcing is the key. After ten great years of virtual growth, companies got out of the habit of being cost-conscious and having business models that allow for ups and downs. This will teach us a lesson that in industry we have to have a more variable cost base. The Golden Rules of Consulting Know your customer; subject matter expertise is key. Consultants must understand the details about the client’s business, their issues, their industry, and their technology. Leading Consultants 269 Consultants must be excellent communicators. You may have the best answers in the world, but if you can’t articulate them, they’re worthless. Solutions that consultants bring to clients must have tangible results. There must be a measurable return on investment, whether it’s increased productivity, reduced cost, new technology, or getting more out of the current technology. Our customers spend a lot of money on our services; they deserve an excellent return on that investment. Stick to your values in good times and in bad times. It’s really easy in tough times to abandon the things that have made you successful. In bad times you have to remember what made you successful as a company and as an individual. You have to keep in mind that tough times are generally brief. Companies that stick to their values come out all right. People who get into roles of leadership get there because they’re generally pretty intelligent, but also because they’re willing to work very hard. Working hard means working smart. There has to be a balance in your life, and there are times when it has to be time to go home. You can’t feel guilty because you didn’t work a 14-hour day. Some days it’s okay to work less. No matter who you are, your life needs to be balanced. In the long term, you’ll be a better Inside The Minds 270 person and a better employee. If your life isn’t balanced, problems are going to creep into your work life and have a major impact. Read. Everyone in this industry has to do a lot of reading to keep up with things. Work hard to be in touch with customers on a consistent basis, so they know you’re there; you’re hearing their problems; and you’re hearing their issues. Internally, it’s important to stay in touch with people and have constant discussions within the organization. As president of General Physics (GP), John C. McAuliffe has guided the strategy and operations that have made GP a world leader in performance improvement services. GP provides consulting, training, and technical and engineering services to Fortune 1000 companies. Before being named president, Mr. McAuliffe served as the company’s chief operating officer and chief financial officer. In addition, he is a member of the board of directors of GP’s corporate parent, GP Strategies Corporation. Before joining General Physics, Mr. McAuliffe worked for Arthur Andersen after graduating from Loyola College in Baltimore, Maryland. “What business journals do you subscribe to?” A study conducted with over 5,000 top executives shows that 82% of these individuals feel that journals are the preferred type of publication for business intelligence over magazines, books, research reports and other publications. Aspatore Business Reviews Enabling Executives to Innovate & Outperform The Quarterly Journals Featuring Exclusive Business Intelligence From Industry Insiders The Most Subscribed to Journals By C-Level Executives From the World’s 500 Largest Companies Aspatore Business Review Aspatore Entrepreneurial Review Aspatore Marketing Review Aspatore Technology Review A Perfect Gift/Reward for a Key Executive or Your Entire Team! www.Aspatore.com/abr.aspAbout Aspatore Business Reviews The goal of Aspatore Business Reviews (Aspatore Technology Review, Aspatore Business Review, Aspatore Marketing Review, Aspatore Entrepreneurial Review) are to bring you the most important, condensed business intelligence from industry insiders on a range of different topics affecting every executive, expanding your breadth of knowledge and enabling you to innovate and outperform. Each journal focuses on specific issues affecting a particular profession/industry, written by leading C-Level executives (CEO, CFO, CTO, CMO, COO, Partner) currently in industry, rather than unknown writers, authors or research analysts who are absent from working in the current market environment. The Aspatore Business Review journals provide a distinct competitive advantage for our subscribers by featuring imperative business research from true industry insiders, with each issue featuring knowledge excerpts, white papers, articles, document analysis and other business intelligence. Aspatore Business Reviews focus on only the most pressing business issues in the most condensed format possible and are the best way to maintain your edge and keep current with your business reading in the most time efficient manner possible. Aspatore Business Reviews are interactive journals based on the submission of white papers, articles and knowledge excerpts from business leaders worldwide. Each Aspatore Business Review follows the following special format, specifically designed by leading executives as the preferred way to comprehend business intelligence: I. E XECUTIVE SUMMARY The Executive Summary provides the highlight of the current journal, and enables you to very quickly scan the most important concepts. II. ABR F EATURE The ABR Feature focuses on a current topic affecting executives in every industry, from a variety of different C-Level (CEO, CFO, CTO, CFO, CMO, COO, Partner) perspectives. III. I NTHE KNOW In the Know features knowledge excerpts from leading professionals on a variety of topics, enabling executives to expand their breadth of knowledge, communicate intelligently on a wide range of important issues, and develop ideas for innovation and new revenue opportunities within their own area of expertise. IV. E XECUTIVE PERSPECTIVES Executive Perspectives feature white papers on a variety of topics, submitted by C-Level (CEO, CFO, CTO, CMO, COO, Partner) executives from leading companies in major industries currently having a significant impact on the overall economy. V.PROFESSION SPOTLIGHT The Profession Spotlight focuses on a key C-Level (CEO, CFO, CTO, CFO, CMO, COO, Partner) or executive position, and the “Golden Rules” of that profession and other topics that will enable other types of executives to identify efficiencies, new product/service ideas, new revenue opportunities, interact better and implement innovative concepts into their own profession. VI. I NDUSTRY SPOTLIGHT The Industry Spotlight section highlights a current industry, or part of an industry, that is affecting the majority of businesses in some way or another and provides opportunities for growth and new profit centers. VII. I DEAS FOR INNOVATION Ideas for Innovation features a series of question blocks that can be used as a starting point for an executive meeting, brainstorming session, or distributed to key managers as a way to stimulate new ideas.The Quarterly Journal Featuring Exclusive Business Intelligence, Research & Analysis From Industry Insiders Enabling Executives to Innovate & Outperform The Most Subscribed to Journal By C-Level Executives From the World’s 100 Largest Companies Sample Contributors/Readers/Features: Dietmar Ostermann (AT Kearney, CEO), Frank Roney (IBM, General Manager), Pamela McNamara (AD Little, CEO), John Zeglis (AT&T Wireless, CEO), Richard Costello (GE, Brand Manager), Fred Round (Ernst & Young, Technology Tax Leader), Steve Jones (Coca-Cola, Chief Marketing Officer), Warwick Ford (Verisign, CTO), Carl Ledbetter (Novell, CTO), Richard Schroth (Perot Systems, CTO), Scott Dietzen (BEA Systems, CTO) & More... Aspatore Business Review brings you the most important, condensed business intelligence from industry insiders on a range of different topics affecting every executive, expanding your breadth of knowledge and enabling you to innovate and outperform. Aspatore Business Review is the only way for business professionals to keep their edge and stay on top of the most pressing business issues. Each Aspatore Business Review features business intelligence, research and analysis from C- Level (CEO, CTO, CMO, CFO, Partner) executives, consultants venture capitalists, investment bankers, lawyers and analysts from the world’s largest and most prestigious companies. Each quarterly issue focuses on the most pressing business issues, trends, and emerging opportunities in the marketplace that affect every industry in some way or another. Every quarter, Aspatore Business Review focuses on topics that every business professional needs to be aware of such as: • Staying Ahead of Changing Markets • Fostering Innovation • Profiting in a Recession/Market Upswing • Brand Building • Emerging Market Opportunities • Economy Trends • New Legal Developments • Stock Market Outlook • Investment Banking Perspectives • Technology and the Internet • Management and Leadership • Venture Capital Perspectives Aspatore Business Review is the one journal every business professional should read, and is the best way to maintain your edge and keep current with your business reading in the most time efficient manner possible. Only $1,090 a Year for 4 Comprehensive Issues Fill Out the Order Form on the Other Side or Visit Us Online! www.Aspatore.comASPATORE Business ReviewASPATORE Business Review Tear Out This Page and Mail or Fax To: Aspatore Books, PO Box 883, Bedford, MA 01730 Or Fax To (617) 249-1970 Name: Email: Shipping Address: City: State: Zip: Billing Address: City: State: Zip: Phone: Lock in at the Current Rates Today-Rates Increase Every Year Please Check the Desired Length Subscription: 1 Year ($1,090) _____ 2 Years (Save 10%-$1,962) _____ 5 Years (Save 20%-$4,360) _____ 10 Years (Save 30%-$7,630) _____ Lifetime Subscription ($24,980) _____ (If mailing in a check you can skip this section but please read fine print below and sign below) Credit Card Type (Visa & Mastercard & Amex): Credit Card Number: Expiration Date: Signature: Would you like us to automatically bill your credit card at the end of your subscription so there is no discontinuity in service? (You can still cancel your subscription at any point before the renewal date.) Please circle: Yes No (Please note the billing address much match the address on file with your credit card company exactly) Terms & Conditions We shall send a confirmation receipt to your email address. If ordering from Massachusetts, please add 5% sales tax on the order (not including shipping and handling). If ordering from outside of the US, an additional $51.95 per year will be charged for shipping and handling costs. All issues are paperback and will be shipped as soon as they become available. Sorry, no returns or refunds at any point unless automatic billing is selected, at which point you may cancel at any time before your subscription is renewed (no funds shall be returned however for the period currently subscribed to). Issues that are not already published will be shipped upon publication date. Publication dates are subject to delay-please allow 1-2 weeks for delivery of first issue. If a new issue is not coming out for another month, the issue from the previous quarter will be sent for the first issue. For the most up to date information on publication dates and availability please visit www.Aspatore.com . ORDER THESE OTHER GREAT BOOKS TODAY! Great for Yourself or Your Entire Team Visit us at www.Aspatore.com ! Inside the Minds: Chief Technology Officers (ISBN: 1587620081) Industry Experts Reveal the Secrets to Developing, Implementing, and Capitalizing on the Best Technologies in the World - Inside the Minds: Chief Technology Officers features leading technology executives from companies such as Engage, Datek, Symantec, Verisign, Vignette, WebMD, SONICblue, Kana Communications, Flooz.com and The Motley Fool. Their experiences, advice, and research provide an unprecedented look at the various strategies involved with developing, implementing, and capitalizing on the best technologies in the world for companies of every size and in every industry. Inside the Minds: The Wireless Industry (ISBN: 1587620200) Industry Leaders Discuss the Future of the Wireless Revolution - Inside the Minds: The Wireless Industry features leading CEOs from companies such as AT & T Wireless, Omnisky, Wildblue, AirPrime, Digital Wireless, Aperto Networks, Air2Web, LGC Wireless, Arraycomm, Informio and Extenta. Items discussed include the future of the wireless industry, wireless devices, killer-apps in the wireless industry, the international landscape, government issues and more. Inside the Minds: Leading Women (ISBN: 1587620197) What it Takes for Women to Succeed and Have it All in the 21st Century - Inside the Minds: Leading Women features CEOs and executives from companies such as Prudential, Women’s Financial Network, SiliconSalley.com, Barclays Global Investors, RealEco.com, AgentArts, Kovair, MsMoney.com, LevelEdge and AudioBasket. These highly acclaimed women explain how to balance personal and professional lives, set goals, network, start a new company, learn the right skills for career advancement and more. Inside the Minds: Venture Capitalists (ISBN: 1587620014) Inside the High Stakes and Fast Paced World of Venture Capital - Inside the Minds: Venture Capitalists features leading partners from Softbank, ICG, Sequoia Capital, CMGI, New Enterprise Associates, Bertelsmann Ventures, TA Associates, Kestrel Venture Management, Blue Rock Capital, Novak Biddle Venture Partners, Mid-Atlantic Venture Funds, Safeguard Scientific, Divine interVentures, and Boston Capital Ventures. Learn how some of the best minds behind the Internet revolution value companies, assess business models, and identify opportunities in the marketplace. Inside the Minds: Leading Consultants (ISBN: 1587620596) Industry Leaders Share Their Knowledge on the Future of the Consulting Profession and Industry - Inside the Minds: Leading Consultants features leading CEOs/Managing Partners from some of the world’s largest consulting companies. These industry leaders share their knowledge on the future of the consulting industry, being an effective team player, the everlasting effects of the Internet and technology, compensation, managing client relationships, motivating others, teamwork, the future of the consulting profession and other important topics. Inside the Minds: Leading CEOs (ISBN: 1587620553) Industry Leaders Share Their Knowledge on Management, Motivating Others, and Profiting in Any Economy -Inside the Minds: Leading CEOs features some of the biggest name, proven CEOs in the world. These highly acclaimed CEOs share their knowledge on management, the Internet and technology, client relationships, compensation, motivating others, building and sustaining a profitable business in any economy and making a difference at any level within an organization. Inside the Minds: Internet Bigwigs (ISBN: 1587620103) Industry Experts Forecast the Future of the Internet Economy (After the Shakedown) - Inside the Minds: Internet Bigwigs features a handful of the leading minds of the Internet and technology revolution. These individuals include executives from Excite (Founder), Beenz.com (CEO), Organic (CEO), Agency.com (Founder), Egghead (CEO), Credite Suisse First Boston (Internet Analyst), CIBC (Internet Analyst) and Sandbox.com. Items discussed include killer-apps for the 21st century, the stock market, emerging industries, international opportunities, and a plethora of other issues affecting anyone with a “vested interest” in the Internet and technology revolution. Bigwig Briefs: Management & Leadership (ISBN: 1587620146) Industry Experts Reveal the Secrets How to Get There, Stay There, and Empower Others That Work For You Bigwig Briefs: Management & Leadership includes knowledge excerpts from some of the leading executives in the business world. These highly acclaimed executives explain how to break into higher ranks of management, how to become invaluable to your company, and how to empower your team to perform to their utmost potential. Bigwig Briefs: The Golden Rules of the Internet Economy (After the Shakedown) (ISBN: 1587620138) Industry Experts Reveal the Most Important Concepts From the First Phase of the Internet Economy Bigwig Briefs: The Golden Rules of the Internet Economy includes knowledge excerpts from some of the leading business executives in the Internet and Technology industries. These highly acclaimed executives explain where the future of the Internet economy is heading, mistakes to avoid for companies of all sizes, and the keys to long term success. Bigwig Briefs: Start-ups Keys to Success (ISBN: 1587620170) Industry Experts Reveal the Secrets to Launching a Successful New Venture Bigwig Briefs: Start-ups Keys to Success includes knowledge excerpts from some of the leading VCs, CEOs CFOs, CTOs and business executives in every industry. These highly acclaimed executives explain the secrets behind the financial, marketing, business development, legal, and technical aspects of starting a new venture. Bigwig Briefs: Become a VP of Marketing (ISBN 1587620707) Leading Marketing VPs Reveal What it Takes to Get There, Stay There, and Empower Others That Work With You - Bigwig Briefs: Become a VP of Marketing includes knowledge excerpts from VPs of Marketing from companies such as Ford, Home Depot, GE, Coke and more. These highly acclaimed VPs of Marketing explain the secrets behind keeping your marketing skills sharp, working with a team, empowering positive change within an organization, working with your boss, utilizing your “special” marketing talents, getting noticed, motivating others and other important topics. Inside the Minds: Leading Advertisers (ISBN: 1587620545) Industry Leaders Share Their Knowledge on the Future of Building Brands Through Advertising –Inside the Minds: Leading Advertisers features CEOs/Presidents from agencies such as Young & Rubicam, Leo Burnett, Ogilvy, Saatchi & Saatchi, Interpublic Group, Valassis, Grey Global Group and FCB Worldwide. These leading advertisers share their knowledge on the future of the advertising industry, the everlasting effects of the Internet and technology, client relationships, compensation, building and sustaining brands, and other important topics. Inside the Minds: Internet Marketing (ISBN: 1587620022) Industry Experts Reveal the Secrets to Marketing, Advertising, and Building a Successful Brand on the Internet - Inside the Minds: Internet Marketing features leading marketing VPs from some of the top Internet companies in the world including Buy.com, 24/7 Media, DoubleClick, Guerrilla Marketing, Viant, MicroStrategy, MyPoints.com, WineShopper.com, Advertising.com and eWanted.com. Their experiences, advice, and stories provide an unprecedented look at the various online and offline strategies involved with building a successful brand on the Internet for companies in every industry. Also examined is calculating return on investment, taking an offline brand online, taking an online brand offline, where the future of Internet marketing is heading, and numerous other issues. Bigwig Briefs: Guerrilla Marketing (ISBN 1587620677) The Best of Guerrilla Marketing Best selling author Jay Levinson shares the now world famous principles behind guerrilla marketing, in the first ever “brief” written on the subject. Items discussed include the Principles Behind Guerrilla Marketing, What Makes a Guerrilla, Attacking the Market, Everyone Is a Marketer, Media Matters, Technology and the Guerrilla Marketer, and Dollars and Sense. A must have for any big time marketing executive, small business owner, entrepreneur, marketer, advertiser, or any one interested in the amazing, proven power of guerrilla marketing. Bigwig Briefs: The Art of Deal Making (ISBN: 1587621002) Leading Deal Makers Reveal the Secrets to Negotiating, Leveraging Your Position and Inking Deals - Bigwig Briefs: The Art of Deal Making includes knowledge excerpts from some of the biggest name CEOs, Lawyers, VPs of BizDev and Investment Bankers in the world on ways to master the art of deal making. These highly acclaimed deal makers from companies such as Prudential, Credite Suisse First Boston, Barclays, Hogan & Hartson, Proskaur Rose, AT&T and others explain the secrets behind keeping your deal skills sharp, negotiations, working with your team, meetings schedules and environment, deal parameters and other important topics. A must have for every financial professional, lawyer, business development professional, CEO, entrepreneur and individual involved in deal making in any environment and at every level. Visit us at www.Aspatore.com ! Other Best Selling Business Books Include: Inside the Minds: Leading Accountants Inside the Minds: Leading CTOs Inside the Minds: Leading Deal Makers Inside the Minds: Leading Wall St. Investors Inside the Minds: Leading Investment Bankers Inside the Minds: Internet BizDev Inside the Minds: Internet CFOs Inside the Minds: Internet Lawyers Inside the Minds: The New Health Care Industry Inside the Minds: The Financial Services Industry Inside the Minds: The Media Industry Inside the Minds: The Real Estate Industry Inside the Minds: The Automotive Industry Inside the Minds: The Telecommunications Industry Inside the Minds: The Semiconductor Industry Bigwig Briefs: Term Sheets & Valuations Bigwig Briefs: Venture Capital Bigwig Briefs: Become a CEO Bigwig Briefs: Become a CTO Bigwig Briefs: Become a VP of BizDev Bigwig Briefs: Become a CFO Bigwig Briefs: Small Business Internet Advisor Bigwig Briefs: Human Resources & Building a Winning Team Bigwig Briefs: Career Options for Law School Students Bigwig Briefs: Career Options for MBAs Bigwig Briefs: Online Advertising OneHourWiz: Becoming a Techie OneHourWiz: Stock Options OneHourWiz: Public Speaking OneHourWiz: Making Your First Million OneHourWiz: Internet Freelancing OneHourWiz: Personal PR & Making a Name For Yourself OneHourWiz: Landing Your First Job OneHourWiz: Internet & Technology Careers (After the Shakedown) Go to www.Aspatore.com for a Complete List of Titles! Aspatore Books Order Form-Books Great for Yourself or Your Entire Team Tear Out This Page and Mail or Fax To: Aspatore Books, PO Box 883, Bedford, MA 01730 Or Fax To (617) 249-1970 Name: Email: Shipping Address: City: State: Zip: Billing Address: City: State: Zip: Phone: Inside the Minds Book Titles & Quantity: Bigwig Briefs Book Titles & Quantity: Total Number of Books Ordered: (If mailing in a check you can skip this section but please read fine print below and sign below) Credit Card Type (Visa & Mastercard & Amex): Credit Card Number: Expiration Date: Signature: *(Please note the billing address much match the address on file with your credit card company exactly) Terms & Conditions We shall send a confirmation receipt to your email address. If ordering from Massachusetts, please add 5% sales tax on the order (not including shipping and handling). Shipping and handling charges of $3.95 per book will be added. If ordering from outside of the US, an additional $6.95 per book will be charged for shipping and handling costs. All issues are paperback and will be shipped as soon as they become available. Sorry, no returns or refunds. Publication dates are subject to delay. For the most up to date information on publication dates and availability please visit www.Aspatore.com . ASPATORE BOOKS Business Intelligence From Industry Insiders	[ "client", "business", "consultant", "consulting", "industry", "company", "people", "need", "leading", "time" ]	{ "summary": "ASPATORE BOOKS \nBusiness Intelligence \nFrom Industry \nInsidersAbout Aspatore Books \nBusiness Intelli" }
Music-Syllabus-2024-25.pdf	MUSIC The Department of Music offers courses designed to meet the needs of students reading for a degree with either a specialist or non -specialist emphasis on music. Our curriculum has been designed with the following aims in mind: ⚫ To deepen students’ understanding of the functions, concepts, structures, and values of music and its role in society; ⚫ To broaden students’ knowledge of the diverse musical cultures of the world and their histories, styles, and ideas; ⚫ To train students to think critically about music and equip them with the verbal skills which will enable them to articulate their thinking; ⚫ To promote creative activity in the composition and performance of music as a mode of discourse that uniquely complements other modes of discourse in the humanities; ⚫ To provide a comprehensive education that integrates the activities of scholarship, composition, and performance, connecting them to the larger world of learning in the humanities, the sciences, and commerce. The curriculum consists of a series of courses covering a wide range of topics and approaches at introductory and advanced levels. Cross -cultural and cross -disciplinary interests are particularly encouraged. All courses carry 6 credits unless otherwise specified. Prerequisites, if required, are stated in the course descriptions. In exceptional cases, these requirements may be waived. All major and other course selections are subject to the approval of the Head of the School of Humanities on the recommendation of t he Department’s Undergraduate Coordinator. Music Majors First year music scholars and intending majors must take: MUSI1023 Materials and structures of music (6 credits) MUSI1025 The art of listening (6 credits) An introductory course taken from any Arts programme (6 credits) A major in Music shall consist of 54 credit units of Level 2000, 3000, and 4000 courses from the music syllabus taken in the third to eighth semesters. As a prerequisite, music majors must take: MUSI2010 Music of China (6 credits) MUSI2070 Fundamentals of tonal music (6 credits) MUSI2074 Introduction to contrapuntal styles and techniques (6 credits) MUSI2081 Music in Western culture I (6 credits) MUSI2082 Music in Western culture II (6 credits) In addition, all music majors must take at least 24 elective credits from Level 2000, 3000, or 4000 advanced courses, of which at least one course should be a Capstone Experience course (see below), and no more than two courses can be performance courses ( MUSI2047, MUSI2066, MUSI2068, MUSI3019, MUSI3021, MUSI3032, MUSI4001, and MUSI4002). This also applies to exchange credits transferred to fulfil the major requirements. Capstone Courses Capstone Experience is a graduation requirement for music majors. Capstone Experience courses are designed to allow students to advance their analytical thinking by permitting the application of disciplinary knowledge and principles learned in the first an d second years. The requirement can be fulfilled by taking at least one of the following courses: MUSI3028 Red is the colour: music and politics in post -1949 China (capstone experience) MUSI3029 Music and scientific thoughts: past and present (capstone experience) MUSI3030 Tonal counterpoint (capstone experience) MUSI3031 Special study (capstone experience) MUSI3032 Special performance study (capstone experience) MUSI3033 Topics in ethnomusicology (capstone experience) MUSI3034 The qin (capstone experience) MUSI3035 Music analysis II (capstone experience) MUSI3037 Opera (capstone experience) MUSI3039 Methodological perspectives in music II (capstone experience) MUSI4002 Advanced music performance 4 (capstone experience) MUSI4003 Dissertation (capstone experience) Music Minors To obtain a minor in Music, students are required to take “MUSI1025 The art of listening” (6 credits) and at least ONE of the following two courses: MUSI2081 Music in Western culture I (6 credits) MUSI2082 Music in Western culture II (6 credits) In addition, all music minors must take at least 24 elective credits of Level 2000, 3000, and 4000 courses from the music syllabus taken in the third to eighth semesters, of which at least three courses should be advanced courses, and no more than two courses can be performance courses (MUSI2047 , MUSI2066, MUSI2068, MUSI3019, MUSI3021, MUSI3032, MUSI4001, and MUSI4002). This also applies to exchange credits transferred to fulfil the minor requirements. Level 1000 Courses All Level 1000 courses are introductory courses and are normally taken in the first year. MUSI1004. Introduction to musics of the world This course introduces a range of musical traditions from around the world and examines them in their social, cultural, and historical contexts. The course explores music as both a reflection and creation of society, discusses issues raised by cross -cultur al research, and provides a theoretical framework for understanding the relationship between music and culture. Formal lectures will be supplemented by in -class demonstrations and hands -on experience of selected musical styles. Assessment: 100% coursework. MUSI1018. Advanced music performance 1 (for students in their first year of study) This one -year course provides students with the opportunity to develop their musicianship and perform in public. The coordinator offers the students advice in choosing repertoire, helps them plan their rehearsals and performances, and invites both local an d overseas visitors to conduct two -hour masterclasses. The students offer two public recitals, one in the Autumn semester and one in the Spring; attend all masterclasses; write programme notes for their chosen pieces; and discuss their selection of works w ith the course coordinator. Repertoire changes every year and reflects the students’ abilities as well as interests. Places in this course are limited and admission is by audition. Assessment: 100% coursework. MUSI1022. Performance study 1 (for students in their first year of study) Students taking this course have to enrol in two performance ensembles or workshops offered by the Music Department over two semesters. Ensembles may include the HKU Chamber Singers, HKU Early Music Ensemble, HKU Gamelan, and HKU Percussion Ensemble. Perfo rmance workshops offered vary from year to year and may include individual or group lessons in voice, percussion, or any instrument of the student’s choice, as approved by the Music Department. Assessment: 100% coursework. MUSI1023. Materials and structures of music This course develops students’ conceptual and perceptual understanding of the basic materials and structures of music, including rhythm and meter, intervals and scales, modes and keys, as well as melody, harmony, and contrapuntal practices. The course inte grates ear training with the analysis of a wide array of musical examples. Students completing this course are expected to have established a clear and solid understanding of the rudiments of music, and be able to make practical demonstrations of this know ledge. The course will serve as a thorough review of aural and theoretical skills necessary for those intending to major or minor in music. It is also available as an elective to students in other departments who seek a solid foundation in music fundamenta ls. Assessment: 100% coursework. MUSI1024. Jazz: history and appreciation This course will examine jazz from its origins to the present, its relation to other forms of music including blues, gospel, R&B, soul, etc. Different styles within the jazz genre will also be explored, including Early Jazz, Swing, Bebop, Cool Jazz, Hardbop, Soul Jazz, Bossa Nova, Post -bop, Avant Garde, etc. Special attention will also be given to pivotal figures in the history of jazz such as Louis Armstrong, Bix Beiderbecke, Duke Ellington, Count Basie, Coleman Hawkins, Lester Young, Charlie Parker, Dizzy Gillespie, Thelonious Monk, Miles Davis, John Coltrane, and Ornette Coleman. Representative and monumental instrumental and vocal recordings from the past one hundred years will also be explored. Class time will be spent listening to, analyzing, and discu ssing a wide variety of recorded jazz performances and watching jazz videos. Visiting artists may also be invited to perform in class and lecture on relevant topics. Assessment: 100% coursework. MUSI1025. The art of listening Music moves us, and we know not why, and it is harder still to explain what we are listening to. Taking these issues as a point of departure, this course introduces students to a wide array of music, as well as a range of ways of thinking, talking, and wri ting about music. Attention will be given to the development of listening skills and the vocabulary necessary to articulate an engaged response to the repertoire studied. The majority of music dealt with will be drawn from the classical music repertoire, w ith supplementary examples from other musical cultures when appropriate. Assessment: 100% coursework. Level 2000 Courses Except for the two introductory courses MUSI2010 and MUSI2070, all Level 2000 courses are advanced courses. Introductory courses are normally taken within the second year of study, while advanced courses may be taken within the second, third, or fourth. Note that the two performance courses MUSI2047 and MUSI2066 are designated for students in their second year of study. MUSI2010. Music of China This course presents the essential features of the music of China, its role in Chinese culture and history, and its position in world music. Subjects will include the qin and other musical instruments, theatrical genres such as kunqu , Peking opera and Cantonese opera, narrative songs such as Peking drum song, Suzhou tanci, and Cantonese nanyin , folk songs, and music in Confucian, Buddhist, and Taoist rituals. The course aims not only to introduce students to traditional Chinese music, but also to explore th e nature of Chinese culture through its musical practices. Important works of Chinese music will be introduced, as well as issues such as change/stasis, politics/aesthetics, theory/practice, literati/masses, professional/amateur, ritual/entertainment, home -grown/foreign -influenced, and Han/Minority. Assessment: 100% coursework. MUSI2015. Popular music This course is an introduction to the historical and sociocultural study of popular music. The course will mostly focus on Anglo -American and East Asian popular musics of the second half of the 20th century up to the present. The goal of the course is to d evelop our analytic and critical tools to better understand popular music and culture in our daily lives, and to familiarize ourselves with the dominant themes and issues in the study of popular music. Assessment: 100% coursework. MUSI2026. Fundamentals of music composition Conducted in the form of lectures, seminars, and one -to-one supervision, this course presents theoretical and practical bases of music composition with a view to expand students’ knowledge about styles, structures, notation, and score presentation. The emp hasis is on the applications of these knowledge via both composition and analysis of repertoire. The course culminates in a workshop showcasing student compositions. Prerequisite: MUSI1023, or instructor’s consent. Assessment: 100% coursework. MUSI2029. Chinese music history This course introduces the history of China through an examination of selective source material including bells from the bronze period, the Book of Music attributed to Confucian philosophy, the earliest known musical notation of a composition from the 6th century A.D., major encyclopaedic compilations of musical sources from the Song dynasty, and Mao Zedong’s Talks at the Yan’an Conference on Literature an d Art in 1942. Assessment: 100% coursework. MUSI2044. Film music What does music contribute to a fiction film? When is it used? And why is it there in the first place? Directors use music with an effect in mind and it is music’s force in the “here and now” of the movie -going experience that we will try to describe. To d o so, we will study films from various cinematic traditions through the various ways in which music functions within them as a powerful meaning -making element. Under the assumption that film is an audio -visual medium, we will examine individual works repre sentative of different genres ––musicals, horrors, dramas, comedies, and cartoons. Consideration will be given to the relationship between music and image as well as music and sound as they emerge from close readings of individual scenes. We will also look at how music is represented in the story world of the film, whether a character performs, listens to, or ignores it. Assessment: 100% coursework. MUSI2047. Advanced music performance 2 (for students in their second year of study) This one -year course provides students with the opportunity to develop their musicianship and perform in public. The coordinator offers the students advice in choosing repertoire, helps them plan their rehearsals and performances, and invites both local an d overseas visitors to conduct two -hour masterclasses. The students offer two public recitals, one in the Autumn semester and one in the Spring; attend all masterclasses; write programme notes for their chosen pieces; and discuss their selection of works w ith the course coordinator. Repertoire changes every year and reflects the students’ abilities as well as interests. Places in this course are limited and admission is by audition. Assessment: 100% coursework. MUSI2054. The piano The course is open to all students with either some experience with, or interest in, the piano. It offers an overview of the history of the piano through a montage of lectures that focus on the personalities that were involved with it, the repertories they either composed for or performed on it, and the social and cultural milieus that provided the context for its extraordinary rise as arguably the most important instrument in the history of Western classical music. Students will be given the opportunity to study the piano as a medium of musical exploration and expression, the occasion for the display of virtuosity, a staple of the 19th -century bourgeois home, and an object of almost maniacal veneration. The course will end with an overview of the disseminat ion of the piano in East Asia, with particular reference to the piano culture of Hong Kong. Assessment: 100% coursework. MUSI2055. Chinese opera This course starts with an exploration of the structural and theoretical aspects of Chinese Opera, including the classification of tune types, text setting, and performance practice. While examples are mostly drawn from kunqu , Peking opera, and Cantonese opera, other regional derivatives will also be introduced for comparison and analysis. The second half of this course comprises a series of reading and examination of representative operas and their performances, through which the interplay between Chinese opera and its religious, social, cultural, and political contexts is investigated. Assessment: 100% coursework. MUSI2059. Music, mind, and body This course considers music as a phenomenon of human behaviour and examines various aspects of the relationship between music, mind, and body. We will explore questions such as how humans came to be musical, how people listen to, understand, and perform mu sic, and why we listen to and make music. Following the evolutionary bases for musicality and the psychoacoustic/physiological foundation of auditory perception, we will move to the cognitive issues of how the mind represents musical structures and how exp ectation works in the process of listening to music. We will also consider the role of the multimodal body in performing and listening, music and emotion, and music and the brain. The significance of social and cultural contexts for musical experience will be underlined, and the embodied approach will be introduced in the discussion of music, mind, and body. Students will have the opportunity to pursue their own interests in -depth within the individual project. Assessment: 100% coursework. MUSI2066. Performance study 2 (for students in their second year of study) Students taking this course have to enrol in two performance ensembles or workshops offered by the Music Department over two semesters. Ensembles may include the HKU Chamber Singers, HKU Early Music Ensemble, HKU Gamelan, and HKU Percussion Ensemble. Perfo rmance workshops offered vary from year to year and may include individual or group lessons in voice, percussion, or any instrument of the student’s choice, as approved by the Music Department. Assessment: 100% coursework. MUSI2068. University gamelan This one -year course introduces students to the exciting world of Balinese gamelan . Students will learn to play all the instruments of the gamelan gong kebyar while working together as an ensemble to perform both traditional and contemporary music. The gamelan performs on a regular basis and often collaborates with composers and other instrumentalists. No prior musical experience is needed for this course. Assessment: 100% coursework. MUSI2070. Fundamentals of tonal music This course further explores tonal procedures, of which the fundamentals were introduced in “MUSI1023 Materials and structures of music”. It examines the tonal logic and the voice -leading principles of diatonic and basic chromatic harmonic practices. Simpl e formal structures such as binary, ternary, and sonata forms are explored. Students completing this course are expected to have attained a thorough understanding of tonal syntax in the context of diatonic and simple chromatic harmony and to be able to analyze music in simple forms. Prerequisite: MUSI1023. Assessment: 100% coursework. MUSI2074. Introduction to contrapuntal styles and techniques This course examines the principles of linear structure and voice -leading through an intensive study of species counterpoint in two and three parts. This will help students to understand the logic of music – how notes fit together, their implications and r esolutions. In turn, this will provide students with a solid basis for analysing and composing music. Prerequisite: MUSI2070. Assessment: 100% coursework. MUSI2076. Instrumentation and orchestration This course provides students with a working knowledge of the instruments of the modern orchestra. Instrumentation study investigates the technical idiosyncrasies and timbral potential of individual instruments. Orchestration covers fundamental techniques in combining instruments for various ensemble contexts . Throughout the course students will undertake analysis, listening, and scoring projects, and will acquire the skills to create professional -quality scores and parts. Assessment: 100% coursework. MUSI2077. Music and culture: an overseas field trip This course focuses on the study of music and its cultural context during an overseas field trip. Students may study performance in a traditional setting or conduct an ethnographical study. Students will be required to produce a field -trip report after the ir return. Assessment: 100% coursework. MUSI2079. Introduction to arts administration This yearly course is designed to provide students with a comprehensive overview of arts administration, with a supervised practicum element. Through discussions, interaction with guest speakers, and project - based internships, major topics to be explored i nclude planning, development, marketing, artist relations, organizational structure, outreach, venue management, as well as issues and challenges commonly faced by arts administrators today. Assessment: 100% coursework. MUSI2080. Music analysis I This course endeavours to develop students’ understanding of tonal procedures in the melodic and harmonic construction of music during the 18th and 19th centuries, focusing in particular on the music of the Classical period. Students are expected to develop skills in music anal ysis, primarily through examining Schoenberg’s ideas of motif, phrase, period, sentence, and developing variation, in order to understand the construction of tonal form. Prerequisite: MUSI2070. Assessment: 100% coursework. MUSI2081. Music in Western culture I The course examines topics in musical practices, works, and aesthetic ideas from the 17th to the mid - 19th centuries. Various musical styles as well as conceptual ideas behind the musical practices are examined. The course emphasises the socio -cultural con text in which the music was created, performed, and consumed, as well as its relationship to the other art forms. Together with MUSI2082, the course promotes students’ foundational knowledge in music history and stylistic listening skills. It is also desig ned to enhance student’s ability to critically think about music and communicate these thoughts. The focus of course content may vary from year to year. Assessment: 100% coursework. MUSI2082. Music in Western culture II The course examines topics in musical practices, works, and aesthetic ideas from the mid -19th century to the present day. Various musical styles as well as conceptual ideas behind the musical practices are examined. The course emphasises the socio -cultural context in which the music was created, performed, and consumed, as well as its relationship to the other art forms. Together with MUSI2081, the course promotes students’ foundational knowledge in music history and stylistic listening skills. It is also d esigned to enhance student’s ability to critically think about music and communicate these thoughts. The focus of course content may vary from year to year. Assessment: 100% coursework. MUSI2083. Music performance (for exchange students from overseas) Exchange students taking this course have to enrol in three music performance components administered by the Music Department over one semester. Possible components include Advanced Music Performance and Performance Study ensembles/workshops, including HKU Chamber Singers, HKU Early Music Ensemble, HKU Gamelan, HKU Percussion Ensemble, and EITHER Vocal Workshop OR Instrument Workshop, as approved by the Music Department. Entry to the course is at the discretion of the Head of the School of Humanities on the recommendation of the Department's Undergraduate Coordinator. Assessment: 100% coursework. MUSI2084. Books, images, and artifacts: historical sources for Asian music This course will take you to the heart of how music history is written. What are the raw materials from which the timeline of human discourse is constructed? When were the sources written, where did they come from? Who wrote them and why? Are the sources a nd their interpretation trustworthy? Depictions in the visual arts tell their own story too, especially in respect of instrumental technique, ensemble formation, social context, and performance practice. For the most ancient types of music, archeological a rtifacts are the only sources that scholars can deploy. Where were the artifacts excavated? What were their conditions? Were similar objects recovered elsewhere? How can these treasured items be preserved from degradation? By answering these questions, this course explores the material culture of music from pre -modern China and her neighbouring countries. Emphasis will be on the fields of organology, archaeology, source studies, ritual studies, as well as collecting and arch iving. Assessment: 100% coursework. MUSI2085. Recording techniques and sound design This course covers fundamentals of studio recording techniques and sound design. The first part of the course is devoted to conceptual and practical skills needed for quality sound productions. The second part teaches the basics of sound design as well as their application for moving images and other media. Students will learn theories, techniques, and will develop their own aesthetics in sound design through a variety of hands -on projects. Assessment: 100% coursework. MUSI2086. Music business This course provides an overview of the music business, with a different thematic or sector focus every year. It aims to equip students with the knowledge needed to grasp the business side of the music industry. Via a variety of case studies, this course will 1) discuss critical areas of the music industry (from the basics of music contracts and the economics of deals to issues unique to a specific music genre or market); 2) introduce the major players in the business (record labels, producers, managers, lawyers, etc.); and 3) address new business trends and opportunities that are actively transforming our shared musical future. Throughout, the course will balance industry knowledge with critical -cultural insights. Assessment: 100% coursework. MUSI2087. Music and entrepreneurship This course provide s students with an overview of entrepreneurship and investment opportunities within the music industry. We will explore ways to identify business opportunities and to create and maximize value. We will focus on how to spot a start -up opportunity, build a business plan, raise capital, execute a growth strategy, and prepare exit strategies when needed . We will discuss how to value music catalogues , identify undervalued assets prime for investment , and design management strategies once asset s are acquired. Other topics include but are not limited to mergers and acquisitions, as well as routes to creating valuable music IP. The overall goal is to equip students with tools needed to identify entrepreneurial opportunities in the music business, evaluate the upside and risks, structure deals, and effectively manage ideas and assets. Throughout, the course will balance industry knowledge with critical -cultural insights. Assessment: 100% coursework. MUSI208 8. Music, AI, and the Future of Creativity Generating a song in a split second is now a reality with advancements in AI, and in extreme cases it requires little to no prior musical training and is therefore accessible to most. Has this technology “democratized” music -making? Are we living in the be st era to be a creative thanks to these “creativity -extending” tools? Or is this technology threatening the essence of creative expression and work, flooding our soundscape with algorithmically generated music “spam” and “deepfakes”? Is AI the end of art o r the future of creativity? And what is creativity anyway? This course explores such questions at the intersection of music, AI, and creativity, drawing from the rapidly expanding critical scholarship on AI as well as perspectives from popular media and within the music industry. While this course prioritizes socio -cultural and philosophical approaches to critiquing AI, we will also engage with the history of science and media studies, as well as writings from such fields as music information retrieval (MIR) and computational creativity. There will also be options to take on creative projects (e.g., AI -assisted songwriting and co mposing) in the course of the semester. Assessment: 100% coursework. Level 3000 and 4000 Courses Level 3000 and 4000 courses are all advanced courses. All Level 3000 courses can be taken in either the third or fourth year, except for the two performance courses MUSI3019 and MUSI3021, which are for students in their third year of study only. All Level 4000 courses can only be taken in the fourth year. MUSI3019. Advanced music performance 3 (for students in their third year of study) This one -year course provides students with the opportunity to develop their musicianship and perform in public. The coordinator offers the students advice in choosing repertoire, helps them plan their rehearsals and performances, and invites both local an d overseas visitors to conduct two -hour masterclasses. The students offer two public recitals, one in the Autumn semester and one in the Spring; attend all masterclasses; write programme notes for their chosen pieces; and discuss their selection of works w ith the course coordinator. Repertoire changes every year and reflects the students’ abilities as well as interests. Places in this course are limited and admission is by audition. Assessment: 100% coursework. MUSI3021. Performance study 3 (for students in their third year of study) Students taking this course have to enrol in two performance ensembles or workshops offered by the Music Department over two semesters. Ensembles may include the HKU Chamber Singers, HKU Early Music Ensemble, HKU Gamelan, and HKU Percussion Ensemble. Performance workshops offered vary from year to year and may include individual or group lessons in voice, percussion, or any instrument of the student’s choice, as approved by the Music Department. Assessment: 100% coursework. MUSI3023. Composing for the concert world A continuation of MUSI2026, this course guides students to adopt an eclectic approach in writing music by introducing them to a wide array of strategies in organising and manipulating various musical parameters. It also helps students to experiment with th e incorporation of extra -musical inspiration and alternative aesthetics. Prerequisite: MUSI2026. Assessment: 100% coursework. MUSI3024. Composing for the commercial world This course cultivates the fundamental literacy skills required for commercial music composition. The topics covered will include pop songwriting, beat making, film scoring, and jingle production. Students will be introduced to contemporary practices in th e music industry through music demos, instrumental tracking, music arrangement, and music production techniques. Assessment: 100% coursework. MUSI3028. Red is the colour: music and politics in post -1949 China (capstone experience) This course examines the relationship between music and politics in post -1949 China. It aims to provide students with a critical perspective on the complex role that politics has played in shaping contemporary Chinese musical culture. Major issues explored include music and national identity in modern China, the conflict between Western -style conservatories and Chinese traditional genres, music as propaganda under the Maoist regime, music of the Red Guards and Jiang Qing’s model works during the Cultural Revolution, music in post -Mao China, and the politics of globalization since the 1990s. Assessment: 100% coursework. MUSI3029. Music and scientific thoughts: past and present (capstone experience) This course investigates the link between music and science in Western history. Music has been frequently associated with science, but the way the two realms have been interconnected with each other varies throughout history. In exploring each case of scie ntific thoughts on music in history, students are expected to obtain a contextual understanding of music and science as socio -cultural products and to gain insight into the interdisciplinary nature of the study of music. Assessment: 100% coursework. MUSI3030. Tonal counterpoint (capstone experience) This course investigates the contrapuntal styles of the 18th century with special reference to the works of J.S. Bach. Students are expected to develop a comprehensive understanding of the techniques and stylistic features of 18th -century counterpoint thro ugh score analysis and compositional projects. A substantial original work in 18th -century style is required as a final project. Prerequisite: MUSI2074. Assessment: 100% coursework. MUSI3031. Special study (capstone experience) In this course, the student works on a one -to-one basis with a supervisor throughout the year. The project may be an extensive research paper or a composition portfolio. Students planning to take this course must demonstrate competence in the particular ar ea in which they wish to work. Entry to this course is at the discretion of the Head of the School of Humanities on the recommendation of the Department’s Undergraduate Coordinator. Assessment: 100% coursework. MUSI3032. Special performance study (capstone experience) Pending approval from the course coordinator, students enrolling in the course are required to work on a topic with ostensible ties to their own performative practices throughout the academic year. Assessment will be based on a 20 -30 minute lecture -performance event, as well as a supplementary reflective essay of no less than 1,200 words, demonstrating competency in cross -specialism synthesis of performative and theoretical knowledge. This course may be taken to fulfil the capstone req uirement. Entry to the course is at the discretion of the Head of the School of Humanities on the recommendation of the Music Department’s Undergraduate Coordinator. Prerequisite: Completed at least one of MUSI1022, MUSI2066, or MUSI3021. Assessment: 100% coursework. MUSI3033. Topics in Ethnomusicology (capstone experience) This course is an introduction to the theories and methods of ethnomusicology, which is the study of music in its sociocultural context. Historically, ethnomusicologists have tended to focus on non -Western musical traditions, although more recent trends ha ve opened the field to include any music culture, regardless of origin or place, including popular musics, Western art and contemporary musics, as well as folk and traditional music cultures. This course will provide an overview of the history of the disci pline, as well as introduce students to the key themes and issues that have shaped ethnomusicology up to the present time. The focus of the course content may vary from year to year. Assessment: 100% coursework. MUSI3034. The qin (capstone experience) Redolent of the scholar, aristocrat, and literatus, the qin has a deep and distinguished lineage within the pantheon of Chinese musical traditions. This course is a survey of qin music from the late Bronze Age to the present times. Several themes are examined in detail: basic playing skills, semiotics of notation and the earliest known qin score, different styles and pivotal figures, representative works from the repertoire, typological analysis of historical instruments, and transmission and appropriation of the qin in East Asia. Readings from musicology, anthropology, archaeology, and art history introduce a variety of approaches to the interpretation of qin music. Assessment: 100% coursework. MUSI3035. Music analysis II (capstone experience) This course is an in -depth introduction to Schenkerian analysis. Through a series of assignments, students will learn voice -leading procedures and concepts of tonal coherence, as well as engage in critical and historical reflection on such theories. Prerequisite: MUSI2070. Assessment: 100% coursework. MUSI3036. Chromaticism and post -tonal techniques This course examines chromatic harmonies and larger forms in classical music, and is a continuation of MUSI2070. The later part of the course will focus on the post -tonal techniques, using the pitch -class set theory and other methods to analyze contemporary music. Prerequisite: MUSI2070. Assessment: 100% coursework. MUSI3037. Opera (capstone experience) This course will chart the history of opera in the Western world in both its relationship to social and political history and that of other major musical and theatrical genres. Through the close reading of the genre, students will learn about opera as the art of singing, poetry, and stagecraft, and make their acquaintance with some of the remarkable protagonists of its history, be they singers or composers, poets or designers, impresarios or monarchs. Attention will also be placed on the strength and resili ence of local, as opposed to national or continental, traditions, such as the ones that flourished in Rome and London in the 17th century, Naples in the 18th, or St. Petersburg in the 19th, to name a few. The course will also provide students with an appea ling and vivid demonstration of the diversity of musical and literary traditions in Europe during the period between ca. 1600 and 1900. The course will end with a reflection on the current state of Western opera as performed and consumed in East Asia, with particular reference to China. Note: Not taken MUSI2063. Assessment: 100% coursework. MUSI3038. Methodological perspectives in music I This course aims to equip students with critical research methods by focusing on specific musical works (in any media), artifacts, or issues. It approaches an object of investigation from various methodological perspectives (e.g., historical, theoretical, philosophical, and anthropological), and will provide an overview of the reception history of the scholarship around the object as well as the latest research. The course promotes students’ critical reflection on such methods and scholarly traditions. The object for investigation may vary from year to year. During the course, students will be required to formulate their own research question and carry out their own research. The course is designed to give undergraduates insights into the ethos of post -gradu ate research and form a bridge between the two “realms.” Prerequisite: MUSI2070; and either MUSI2081 or MUSI2082. Assessment: 100% coursework. MUSI3039. Methodological perspectives in music II (capstone experience) This course aims to equip students with critical research methods by focusing on specific musical works (in any media), artifacts, or issues. It approaches an object of investigation from various methodological perspectives (e.g., historical, theoretical, philosophical, and anthropological), and will provide an overview of the reception history of the scholarship around the object as well as the latest research. The course promotes students’ critical reflection on such methods and scholarly traditions. The object for investigation may vary from year to year. During the course, students will be required to formulate a research proposal and to give a written presentation in the form of a conference paper. The course is designed to give undergraduates insights into the ethos of post -graduate research and form a bridge between the two “realms.” Prerequisite: MUSI2070; and either MUSI2081 or MUSI2082. Assessment: 100% coursework. MUSI3040. Electroacoustic music This course explores both historical and current creative approaches in electroacoustic music through a variety of research and composition projects. Composers, repertoires, techniques, stylistic and aesthetic trends from approximately 1900 to present will be covered. Prerequisite: either MUSI2085 or MUSI2067, or instructor’s consent. Assessment: 100% coursework. MUSI3041. Music and the environment This course concerns the relationship between music and the environment, broadly construed. The key question this course asks is, how can we understand music as an ecological phenomenon? The course aspires to answer this question in several ways: firstly, the course will introduce ecological models of musical and cultural analysis; secondly, we will discuss the concept of nature in various music traditions, including Western art music and Japanese traditional music, among others; and thirdly, the course wil l attend to the role of music in the ongoing global environmental crisis. Components of the course will cover soundscape studies, ecocriticism, as well as the more recent field of ecomusicology. Assessment: 100% coursework. MUSI4001. Performance study 4 (for students in their fourth year of study) Students taking this course have to enrol in two performance ensembles or workshops offered by the Music Department over two semesters. Ensembles may include the HKU Chamber Singers, HKU Early Music Ensemble, HKU Gamelan, and HKU Percussion Ensemble. Performance workshops offered vary from year to year and may include individual or group lessons in voice, percussion, or any instrument of the student’s choice, as approved by the Music Department. Assessment: 100% coursework. MUSI4002. Advanced music performance 4 (capstone experience) (for students in their fourth year of study) This one -year course provides students with the opportunity to develop their musicianship and perform in public. The coordinator offers the students advice in choosing repertoire, helps them plan their rehearsals and performances, and invites both local an d overseas visitors to conduct two -hour masterclasses. The students offer two public recitals, one in the Autumn semester and one in the Spring; attend all masterclasses; write programme notes for their chosen pieces; and discuss their selection of works w ith the course coordinator. Repertoire changes every year and reflects the students’ abilities as well as interests. Places in this course are limited and admission is by audition. Assessment: 100% coursework. MUSI4003. Dissertation (capstone experience) This two -semester research course requires submission of a musicological dissertation or a substantial composition portfolio. Students wishing to take the course must contact their proposed supervisor(s) in advance to secure agreement for the project. It i s recommended that this be done before the end of June. Entry to this course is at the discretion of the Head of the School of Humanities on the recommendation of the Department’s Undergraduate Coordinator, and is contingent on the student providing a working title, plan, and bibliography no later than 1 September. Prerequisite: MUSI3031 or supervisor’s recommendation. Assessment: 100% coursework.	[ "music", "course", "musi", "student", "assessment", "coursework", "year", "performance", "study", "musical" ]	{ "summary": "MUSIC \n \nThe Department of Music offers courses designed to meet the needs of students reading for " }
Sales-Marketing-and-Communication-Toolkit-Overview.pdf	Sales, Marketing and Communication Strategy Toolkit Overview 2 Domont ConsultingSuccess stories of companies using a robust sales, marketing and communication strategy When it launched in 2014, Slack faced a competitive market with numerous established players, including giants like Microsoft. However, through a robust sales, marketing and communication strategy, it successfully gained a significant market share. Here are some of the key elements of Slack’s sales, marketing and communication strategy: •Product-Market Fit: Slack focused on making a product that was 'loved' rather than just 'liked.' They built a product that addressed the actual pain points of companies: unorganized and scattered communication. •Target Market: Slack initially targeted tech companies and startups. They recognized that these organizations were open to trying new tools and would value the efficiency and productivity benefits that Slack offered. •Freemium Model : Slack adopted a freemium pricing strategy. This allowed organizations to try the product with no upfront cost, which lowered the barrier to entry and allowed Slack to gain users rapidly. •Organic Growth and Virality: They encouraged virality by making their product inherently shareable. As more people in an organization started using Slack, it naturally led to wider adoption within the company. •Customer Advocacy: By focusing on customer satisfaction and building a product that users loved, Slack created a base of passionate customers who became advocates for the product, further driving adoption.Insights & Lessons: •Product-Market Fit is Key : You need to have a product that meets a genuine need in the market. •Target the Right Customers : Identify and target a specific customer segment that will most value your offering. •Pricing Can Drive Adoption: Consider pricing strategies like freemium models to reduce initial barriers and get users to try your product. •Encourage Organic Growth and Virality: Think about how to make your product inherently shareable or virally engaging. •Customer Satisfaction is Crucial: A satisfied customer is a powerful marketing tool. Focus on creating a product that customers don't just use, but love.3 Domont ConsultingSuccess stories of companies using a robust sales, marketing and communication strategy Spotify launched in 2008 when the music industry was in the throes of change, and music piracy was rampant. By crafting an effective robust sales, marketing and communication strategy, Spotify not only became successful but also changed the way people listen to music. Key Elements of Spotify’s sales, marketing and communication strategy : •Product-Market Fit: Spotify identified that people wanted an easy and legal way to listen to their favorite music. By providing high-quality streaming and a vast library of songs, Spotify met a real need in the market. •Target Market: Spotify initially targeted millennials and Gen Z who were comfortable using digital platforms and were looking for ways to listen to music without purchasing individual albums. •Freemium Model: Spotify, like Slack, used a freemium model. The free version offered a great service, and the paid version provided an ad-free experience and additional features. This strategy lowered the barriers for initial adoption. •Exclusive Partnerships : Spotify secured exclusive rights to stream certain artists and albums, driving music fans to their platform and making them stand out in a competitive marketplace. •Social Integration: Spotify allowed users to share playlists and see what their friends were listening to, integrating the platform with Facebook and creating a social, interactive experience.Insights & Lessons: •Product-Market Fit Remains Crucial: Spotify made sure that they provided a product that was not just needed but was far superior to piracy alternatives. •Freemium Models Can Work: Freemium models can work very effectively, particularly in markets where piracy is a problem. Spotify's model not only allowed users to experience the service but also made the premium offering attractive enough to encourage payment. •Partnerships Can Provide Competitive Advantage: In markets where products may be similar, exclusive partnerships can help a product to stand out. •Social Integration Drives Engagement: Spotify's integration with Facebook allowed for a higher level of user engagement, made the product more sticky, and encouraged organic growth. •Target Audience: Recognizing the right target audience can drive early adoption. In Spotify's case, focusing on millennials and Gen Z proved to be a strategic move.4 Domont ConsultingTo help you create your own success stories, our ex-McKinsey, Deloitte & BCG consultants created a Sales, Marketing & Communication Strategy Toolkit Frameworks Tools Templates Step-by-step TutorialsVideo TrainingReal-life ExamplesBest Practices Advice from tier-1 Management Consultants What’s inside the Toolkit? Who created the Toolkit? The Toolkit was created by former McKinsey, Deloitte & BCG management consultants. Number of professionals leveraging our Toolkits There are 200,000+ Executives, Consultants & Entrepreneurs leveraging our Toolkits to improve the performance of their organization. Trusted by small and large organizations 5 Domont ConsultingOur Toolkit will help you fulfill multiple objectives The Sales, Marketing & Communication Strategy Toolkit includes frameworks, tools, templates, tutorials, real-life examples, video training, and best practices to help you: •Define and Implement your Sales & Marketing Strategy: (1) Market analysis, (2) Competitor analysis, (3) Sales analysis, (4) Marketing analysis, (5) Funnel process, (6) Company swot analysis, (7) Strategy frameworks, (8) Sales function vision, mission & values, (9) Marketing function vision, mission & values, (10) Sales strategic objectives & KPIs to reach our vision, (11) Marketing strategic objectives & KPIs to reach our vision, (12) Sales team & budget, (13) Marketing team & budget, (14) Four pillars: Product/Service positioning & value proposition, Communication strategy, Sales distribution strategy, and Pricing strategy •Define your Product/Service Positioning & Value Proposition: (1) Target market, (2) Product/service offering, (3) Product life cycle, (4) Product/service positioning: Key attributes, customer benefits & unique selling proposition (USP), (5) Value proposition, (6) Product packaging and design, (7) Product bundling, (8) Customer feedback integration •Define and Implement your Communication Strategy: (1) Background & context, (2) Communication objectives, (3) Approach, (4) Communication principles, (5) Overarching messages, (6) Stakeholder analysis, (7) Communication channels, (8) Key dependencies, (9) Communication risks, (10) High- level communication plan, (11) Detailed communication plan •Define and Implement your Sales Distribution Strategy: (1) Retail distribution, (2) Wholesale distribution, (3) Online distribution, (4) Own physical store distribution, (5) Franchising, (6) Strategic partnerships, (7) Multi-channel distribution, (8) Sales team structure, (9) Sales distribution strategy selection matrix •Define and Implement your Pricing Strategy: (1) Pricing fundamentals, (2) Pricing maturity model, (3) Current pricing maturity level, (4) Target pricing maturity level, (5) Pricing strategies, (6) Methods to set up price, (7) Discount types, (8) How to avoid price war •List your Potential Initiatives for each pillar •Create your Business Cases and Financial Models to assess Potential Initiatives •Prioritize, Plan and Implement your Projects: (1) Project Prioritization, (2) Business Roadmap, (3) Governance, (4) Dashboards, (5) Project Implementation: Agile Methodology, Design Thinking and Traditional Methodology, (6) Continuous Improvement (7) Post Projects Evaluation and Lessons Learnt, (8) Post Program Evaluation and Lessons Learnt •Define and implement your change management strategy and internal communication strategy: (1) Change management strategy, (2) Change management plans, (3) Implementation, tracking and progress management, (4) Effective communication •Engage your stakeholders effectively: (1) Stakeholder analysis, (2) Stakeholder engagement strategy, (3) Stakeholder engagement detailed plan6 Domont ConsultingThe Toolkit includes a 6-phase approach that we have built and refined over the past 20 years through constant trial and error I. Sales & Marketing Strategy II. 4 Pillars to reach our Sales & Marketing Strategic Objectives Product/Service Positioning & Value PropositionCommunication Strategy Sales Distribution Strategy Pricing Strategy 1.Target market 2.Product/service offering 3.Product life cycle 4.Product/service positioning: Key attributes, customer benefits & unique selling proposition (USP) 5.Value proposition 6.Product packaging and design 7.Product bundling 8.Customer feedback integration1.Background & context 2.Communication objectives 3.Approach 4.Communication principles 5.Overarching messages 6.Stakeholder analysis 7.Communication channels 8.Key dependencies 9.Communication risks 10.High-level communication plan 11.Detailed communication plan1.Pricing fundamentals 2.Pricing maturity model 3.Current pricing maturity level 4.Target pricing maturity level 5.Pricing strategies 6.Methods to set up price 7.Discount types 8.How to avoid price war IV. Business Cases and Financial Models to assess Potential Projects V. Project Prioritization, Business Roadmap and Implementation VI. Change Management, Internal Communication and Stakeholder EngagementMarket Analysis Sales Analysis Company SWOT AnalysisSales Function Vision, Mission & Values III. Potential Initiatives for each PillarMarketing Function Vision, Mission & ValuesSales Strategic Objectives & KPIs to reach our Vision Marketing Strategic Objectives & KPIs to reach our VisionSales Team & Budget Marketing Team & Budget 1.Retail distribution 2.Wholesale distribution 3.Online distribution 4.Own physical store distribution 5.Franchising 6.Strategic partnerships 7.Multi-channel distribution 8.Sales team structure 9.Sales distribution strategy selection matrixCompetitor Analysis Marketing AnalysisFunnel ProcessStrategy Frameworks •Ansoff Matrix •Blue Ocean Strategy •Entering a New Market •Introducing a New Product •Segmentation, Targeting & Positioning7 Domont Consulting Small preview of the phase 1 ‘Sales & Marketing Strategy’ 8 Domont Consulting Small preview of the phase 2 ‘4 Pillars to reach our Sales & Marketing Strategic Objectives’ (1/2)9 Domont Consulting Small preview of the phase 2 ‘4 Pillars to reach our Sales & Marketing Strategic Objectives’ (2/2)10 Domont ConsultingSmall preview of the phase 3 ‘Potential Initiatives’ and 4 ‘Business cases and financial models’ 11 Domont ConsultingSmall preview of the phase 5 ‘Project Prioritization, Business Roadmap and Implementation’ 12 Domont ConsultingSmall preview of the phase 6 ‘Change Management, Internal Communication and Stakeholder Engagement’ 13 Domont ConsultingThe Toolkit includes multiple PowerPoint slides, Excel sheets and Video training that you can download on your device immediately after purchase 700 editable PowerPoint slides* 33 Excel sheets* 1 hour of Video training *Please note that the number of Powerpoint slides and Excel sheets listed is the number of unique slides and sheets. For example, a Powerpoint slide that has been duplicated to facilitate our clients’ understanding only counts for one slide1.Overview and Approach 2.Sales and Marketing Strategy 3.Value Proposition 4.Communication Strategy 5.Sales Distribution Strategy6.Pricing Strategy 7.List of Potential Initiatives 8.Business Cases and Financial Models 9.Project Prioritization, Business Roadmap and Implementation 10.Change Management, Internal Communication & Stakeholder Engagement14 Domont ConsultingOur Management Consulting Toolkits include 9 key benefits Improve the growth & efficiency of your organization by leveraging Management Consulting Toolkits created by ex-McKinsey, Deloitte & BCG Consultants.Make a great investment for your career & organization. It cost us US$8M+ over the past 10 years to create all our Toolkits. Get them for a fraction of this cost.Get a competitive advantage. It’s like hiring Management Consultants to create all the practical Frameworks, Tools & Templates you need. Get the job done quicker and never start from scratch again with our ready-made and fully editable Frameworks, Tools & Templates in Powerpoint & Excel.Improve the capabilities of your organization by learning how the Fortune 100 and Global Consulting Firms do it. Get free support and advice from our ex-McKinsey, Deloitte & BCG Management Consultants.Decrease your costs. Hiring tier-1 Consultants for a project would cost you $300k+. Way more expensive than our Toolkits, which will last you a lifetime!Become your organization’s subject matter expert and impress your stakeholders with world-class approaches to resolve common business problems. Don't reinvent the wheel. We have already worked 30,000+ hours over the past 10 years to create all the Management Consulting Toolkits you need. 15 Domont Consulting What our clients say about our Toolkits Click here to see more reviews >16 Domont ConsultingJoin 200,000+ Executives, Consultants & Entrepreneurs leveraging our Toolkits to improve the performance of their organization Trusted by small and large organizations Customer satisfaction Number of countries leveraging our Toolkits 160+ Number of professionals leveraging our Toolkits 200,000+ 4.8 Daily rate of our ex-McKinsey, Deloitte and BCG Management Consultants $3k-$4k 17 Domont Consulting Interested in more than 1 Toolkit? Access all our Toolkits for half the price with our Gold Access Gold Access Click here to learn more18 Domont ConsultingNeed additional help? Send us a brief and we’ll find you the right talent from our network of 500+ tier-1 Management Consultants Click here to send us a Project Brief This was just a small preview. www.domontconsulting.com	[ "strategy", "communication", "sale", "marketing", "product", "domont", "management", "distribution", "pricing", "model" ]	{ "summary": "Sales, Marketing and Communication \nStrategy Toolkit\nOverview\n2 Domont ConsultingSuccess stories of " }
Hack-the-Music-Business.pdf	Copyright 2016 Cowboy Ventures, Inc. All Rights Reserved NewArtistModel.com Hack the Music Business 1 For even more great strategies visit NewArtistModel.com Chapter 1 The music industry is not the same as it was 20, or even 5 years ago. Today, artists can run their own careers, much like an entrepreneur runs a startup company, with little or no help from big companies and major record labels. The new music industry revolves around you. You can write your own music, record it yourself, distribute it to your fans, plan a tour, manage and connect with your fan base, and create your own marketing strategies. This opens up a vast array of opportunities for you! Anyone can become successful if they have the artistic skill and dedication and perseverance required. That being said, you are now entirely responsible for your career. There are a ton of things you need to get your head around and find time for from social media and digital distribution to touring and budgeting your own income and expenses. There is no magic bullet. But the potential is there if you know what you are doing and can identify multiple revenue streams and team members to support your career. You need to be dedicated to succeed in this new music industry. You need to be passionate about your music. When someone asks you why you want to be a musician in such a tough environment, your answer needs to be, “You mean I have an option? I can’t not do music!” NewArtistModel.com Hack the Music Business 2 Sound like you? Then keep reading. So what is the New Artist Model? ●It represents a new artist ecosystem, one where your career revolves around you, not your record label. ●It is a strategy—a framework that you can apply to your career no matter what kind of music you play or how far along you may be. ●It is a mindset—a new way of thinking about your music career. Your career is no longer limited by the restraints of the old music industry, so don’t let your mind or creativity be restrained either! NewArtistModel.com Hack the Music Business 3 Over the course of this book, you’ll learn about the new music industry and how the New Artist Model fits within that industry. You’ll also learn about tons of musicians that are already out there USING the New Artist Model and being SUCCESSFUL. We’ll look at their strategies, why they work, and discuss how you can apply them to your career RIGHT NOW. As an indie musician, I already know you are extremely creative—more so than most business minds out there! You’ve probably never thought of it this way, but you have the same mind as an entrepreneur. The key is to harness your creativity in your career and customize the New Artist Model into your own strategy for success. NewArtistModel.com Hack the Music Business 4 Chapter 2 The New Music Business The economic model that has driven the music business for years is no longer relevant. Record labels used to invest heavily in artist development, marketing, and distribution, taking risks on upandcoming acts. Just one charttopper could justify the investment in the development of dozens of bands. But that is no longer the case. The labels simply cannot bring in enough money from recorded music to cover their expenses. The business has changed: today they are in the business of finding the next superstar who can sell millions of records and sell them fast. Fans don’t go to a record store to find new music anymore. A lot of fans don’t even own music with the easy access to low cost music streaming. The personal life of the musician is no longer a thing of mystery. Fans from all over the world can learn more about their favorite singer’s personality and interests by following them on social media. The internet has opened opportunities for smaller, niche bands to get their music to fans. You no longer have to be in the top 40 to be able to make a living off your music. A lot of people complained about all these changes to the music industry, but like everything else, it’s just change. Change isn’t positive or negative, rather it’s what you do with that change that matters. Today’s model would not have worked in the past when technology was expensive and valuable connections were hard to come by. In the same way though, the past model wasn’t always the best choice for musicians anyway. Instead of looking at this industry change as a dead end, or a game over, see it as an open door. In today’s music industry there is no onesize fits all model. Every single NewArtistModel.com Hack the Music Business 5 musician is free to experiment and find out what works best for them, their fans, and their music careers. And this is one of the key points of the New Artist Model. If you want to be successful in this new music industry, you need to consider all the revenue streams you can generate and work on a coordinated effort to promote them all. Creating your own reality is the name of the game. Be creative when figuring out your economic model and how you will make money. This changing industry is ripe for innovation, so think outside the box! NewArtistModel.com Hack the Music Business 6 Look at the image below. This is the traditional labelcentric music business model—complicated and difficult to navigate. Take some time to notice a few things: ●Notice how removed the artist is from the fans? There is no direct communication. Any communication has to go through big companies like record labels and radio stations. ●Look at how many entities and middlemen the money flow (grey arrow) has to go through to get back to the artist. In the past, the record labels were in the position of power. Due to high costs, musicians couldn’t record, distribute their music, or communicate with their fans without the help of a record label. It just was not viable. The only way to make it was to be picked by some A&R rep and even that didn’t guarantee you success if the label dropped your record or you or cut your marketing. NewArtistModel.com Hack the Music Business 7 Now look at the new music business model. Take some time to notice a few things: ●The artist can be in direct connection with their fans through social media and the internet. ●The artist can collect money directly from their fans via their own online stores and platforms. NewArtistModel.com Hack the Music Business 8 In the New Artist Model for the music industry, the artist is at the center of the ecosystem. You control your business, you control your copyrights, and you control your gigging. You control your image and how you communicate with your fans. You can choose what kind of promotions you use to sell your music or grow your fanbase. Instead of signing to a major label and receiving a royalty and advance, you hire and contract for the services you need. This model puts responsibility on you, the artist, especially in the early stages of your career when you don’t have a label or publisher. You will not have a major label to get your music on the radio, print copies of your album, or create your image, and you won’t have the major publisher to pitch and plug your music into major films. You need to do all these things by yourself, which requires a lot of work and dedication. You have to be able to find the fun in developing your brand and nurturing your career. Focusing on your goals and knowing you have a solid plan will help. Musicians as Entrepreneurs The successful artists and writers of the future will start independent and stay independent. They will create businesses around themselves to suit their ambitions, personality, and style. They will connect directly with their fans and control their own destiny. Start thinking of your music career the same way entrepreneurs think about their startup companies. You are an entrepreneur! Think about it: you provide a product (your music) or service (your live show) to your fans (your customers). Your product or service is completely unique and you develop it over time. In the past musicians were products of record labels. Today you create your own product. You’re the CEO of your music career. NewArtistModel.com Hack the Music Business 9 I know, you went into music because you could never see yourself at a desk job or in business school. But like I mentioned earlier, you’ve already got the entrepreneur mindset. You just need to learn how to tap into it. 1. Product So how do you approach your career like an entrepreneur? It all starts with a product or idea—in this case, your music. Think about exactly what it is you are making and how it is different from the stuff already out there. Don’t just think about your music—your personality and image are important aspects of your “product” too. What genre do you most identify with? Are you a emotional songwriter or a largerthanlife performer? What do you stand for? Next you should figure out who your customers are, in this case, your customers are your fans. With the internet, this information is pretty easy to come by. Check out who your fans are with tools like Google Analytics, Facebook, Twitter, or any other social media channels you use. You can also go the old fashion route and just talk to your fans after your shows. How old are they? Do they share any interests? As an example, Karmin is specifically targeting young teen girls interested in popular music. 2. Start Lean and LEARN A lot of entrepreneurs get bogged down in the business plan stage. They think they need to plan out every step of the way and be able to predict their revenues five years out to a tee. If you haven’t yet, take a read of The Lean Startup by Eric Ries. It’s an easy read and the concepts can be applied to any industry, even music. As a lean startup, you need to get your product to the market as quickly as possible. It NewArtistModel.com Hack the Music Business 10 doesn’t need to be perfect—just get it out here. This is where the New Artist Model really differs from the past. It’s no longer about spending a year (or sometimes more) and tens of thousands of dollars (or more) on a full length album. Release small and release often. There’s a couple methods here. You could release small EPs every few months. You could release a traditional album but keep cover songs flowing on your YouTube channel every few weeks. You could also go to the lowest denominator and release one or two original songs a month. One strategy I’m a fan of is the “like for release.” Release one song to your fans via social media and tell them you’ll release the next one if you get x number of comments or likes. Not only does this get fans hyped, it also shares the news with their friends. Just be sure to pick a number that you think is attainable for your current career level. The key with frequent releases is to learn from them. That way you can fine tune your songwriting, performance, and marketing for releases down the road. Producer and DJ Zedd frequently plays songs he’s working on live before they are released. He gages the crowds reactions to various parts of the songs and if it’s not where he wants it to be, it’s back to the drawing board. You could release rough recordings or videos of song sketches or ideas and as for your fans’ opinions, or release two songs simultaneously and see which gets the most plays. 3. Build a Team Every entrepreneur has a team and it’s also something a lot of indie musicians lack. With the term “DIY” pounded into our heads for years, it’s no wonder a lot of musicians still think going at it alone is the best option. On the other end of the spectrum, some musicians think that a “team” means a top manager and agent that cost you a pretty penny. NewArtistModel.com Hack the Music Business 11 Most entrepreneurs don’t have teams made up of the top dogs in their field. More often than not, they work with a college buddy or family member who really digs their product or cause. When you’re just starting out, passion trumps experience any day (especially when you’re short on cash). Think about who among your group of friends and acquaintances would be willing and able to step up to the plate as your manager. Do you know anyone passionate about the music industry or in business school? Do any of your friends have a knack for taking good photos or any experience with photoshop? 4. Network If you’ve ever met an entrepreneur you’ve probably been overwhelmed with their energy and outgoing personality. Not all entrepreneurs are extroverts, but they are all passionate about what they are doing and are eager to spread the word and make connections. Take tips from the entrepreneur and don’t be afraid to tell anyone and everyone about your music. Don’t be that band that plays at a local club and doesn’t talk to anyone before or after the gig. Introduce yourself to the other bands playing, the promoter or club owner, and the guys running the lights or sound board. Even if you’re a shy person, step outside yourself for a few minutes and make sure you make new friends and contacts. Get a conversation going about music. Who knows, you may find a way to collaborate. Especially in the music industry, your success will come from your connections. Planning Now that you have a better idea of how to think like an entrepreneur, let’s start planning your career! If you want to have a successful music career, you need to take the time to get to know yourself upfront. You need to focus on finding out what you’re good at and what you’re motivated by, and then you need to set goals that reflect your skills. Not NewArtistModel.com Hack the Music Business 12 only do concrete goals give you something to aim for, they also help you decide what your first step should be. I know, everyone wants to be a rich and famous musician, but as you’ve probably realized, a vague goal like that leaves you discouraged and confused on how to move forward. With so many apps and services available today, many indie musicians suffer from choice paralysis. What tool should you use to build your website? What company is best for digital distribution? What social media sites deserve your attention? The choice is especially daunting when money is involved. No one wants to fork over cash for a service that may not work out as planned. So how do you get past these decisions? While research is your best friend in these situations, keeping your goals in mind will also help. Every single time you’re faced with a choice, ask yourself, “What option brings me closer to my goals?” Before you set any goals, you’ll need to do a little soulsearching. Figure out what you really want and how much time and dedication you are realistically going to put in. If you have a team, like cowriters, band members, or a manager, make sure everyone is on the same page. The key here is to be as specific as possible. Instead of saying, “I want to be rich and famous,” try something specific like “I want to be able to be a full time musician with a yearly salary of at least $75,000 and be able to tour outside my home state.” On top of that, you’ll want to start mapping out some milestones or tasks within each goal. Breaking your goals down into small, achievable steps helps keep you motivated and positive. Think about the goal we just set above. Break down a lofty goal into smaller tasks like “gather contact information for local venues,” “contact 5 venues this week,” and “connect with another band to share a gig.” Suddenly finding a way to reach that goal becomes more manageable. NewArtistModel.com Hack the Music Business 13 One band that used goals and planning to their advantage is Karmin. From the start they knew they wanted to be a pop duo targeting a young teen audience. Originally, they were releasing original music but weren’t getting much traction or interest. Manager Nils Gums suggested the duo cover current popular songs to get in front of their target audience—these were the songs that young teens were searching in YouTube. They followed the charts and consistently covered the most popular songs every week. It took time, and a lot of covers before one of Karmin’s covers went viral. The important takeaway here is that Karmin knew their goal, they made a plan to get there, and they stuck with it. If they had given up on the cover strategy after only a few weeks, they would never have gotten to where they are today. React to opportunity Next we’ll take a look at something even entrepreneurs have trouble with sometimes reacting to opportunity. In music—and in life for that matter—opportunities pop up when you least expect them, and it’s your job to be ready. These opportunities could be anything from a pick up gig, a publishing deal, or a chance to collaborate with a local musician. Either way, the artists that can react quickly are the ones who succeed. It’s good to think about the possible outcomes of your actions before you do something. After all, you can’t fit everything in your busy schedule and no one wants to do something they will regret later. Learning how to pick your chances is very important. But over thinking an opportunity can be just as bad as under thinking. There comes a point where you need to just decide to take the leap or not! NewArtistModel.com Hack the Music Business 14 Let’s take a look at Amanda Palmer, a very famous indie artist and avid social media user, who made $11k in two hours by jumping on an opportunity. And this was well before her celebrated crowdfunding campaign. Palmer was tweeting with her followers about how she was once again alone on her computer on a Friday night. Fans joined in the conversation and a group was quickly formed: “The Losers of Friday Night on their Computers.” Amanda Palmer created the hashtag #LOFNOTC and thousands joined the conversation. In fact, it became the #1 trending topic on Twitter. When a fan suggested a tshirt be made for the group Palmer ran with the idea, sketched out a quick shirt design and threw up a website that night. The shirts were available for $25 and two hours later Palmer had made $11,000! It would have been very easy to just disregard the fan’s comment and sit on the couch watching Netflix for the rest of the night. Nothing bad would have happened if she hadn’t designed the shirts in the spur of the moment and committed to the project, but nothing good would have happened either. NewArtistModel.com Hack the Music Business 15 10 Keys to Success Your mind should be racing now with new ways to think about your career, but I’ll give you 10 more before you finish the chapter. I think sometimes we get caught up in the moment and forget these little things: 1. Living a life in music is a privilege. Earn it. There is very little more satisfying than spending time making music. If you make this your life’s work, then you can be truly joyful. However, the chances of being successful are extremely low and the only people who are going to get there are going to have to work hard and earn the right to be a musician. Respect the privilege of being free enough to have this choice (if you do) and honor the opportunity. 2. No one is in charge of your muse but you. Be happy and positive. People can be their own worst enemy. Countless times I have heard artists tell me the reasons why their career is not working out. Most of the time they are putting blocks in their way and pointing fingers at people and things that are holding them back. Stop whining and blaming other people and make the conscious decision that you are going to be successful and that things are going to work out in your favor. You are creating your own reality every day, so make it a good one and excel. 3. Practice, practice, practice—then go for it. Over prepare. You can never be ready enough for opportunity. Your live shows can always be better, your songs can be more amazing, and your playing can only improve. As the CEO of your own musician business, you can learn how to run the company more effectively, reach out to more fans and be an more effective social media marketer. Don’t hold yourself back by not being ready. Be a professional. NewArtistModel.com Hack the Music Business 16 4. Do what you do to the best of your ability. Find a way to be great. Lets face it, it is really hard to be amazing. Some people have the natural talent and you can see it in the first 5 seconds of meeting them. They are truly blessed. The rest of us have to find our niche, our passion, our calling and then reach for it. Ask people around you for feedback. Find what you are good at and focus on that. Get other people to help you. If you don’t stand out and rise above the pack, you will struggle forever. Be amazing. 5. Learn how to breathe and keep your focus. Stay calm. There is nothing more pleasant than working with someone who knows who they are and what their goal is. Remember the old adages of thinking before you speak and taking a deep breath before you lay into someone. Most of us have a lot going on in our lives and we can all benefit from staying focused on our goals and remaining calm in most situations. Learn yoga, exercise, run, meditate, sit still, breathe, and learn who you are. 6. Don’t take yourself too seriously, no one else does. Have fun. I am amazed at how many people spend so much time looking backwards and trying to understand what people think of them. This is worrying about the past and not embracing the future. Reviews are important, but don’t run to them or let them ruin your day. Not everyone is going to like you, but more people will if you are having a good time. 7. No matter how difficult things get, move forward. Don’t give up. The only thing that will help your career take off is forward momentum. That is how you are going to reach your goals. A lot of people are stuck in their own mud. Take action, make a move and then see what happens. Don’t spend time procrastinating or worrying about how hard it is, just do something positive to advance your cause. You will feel much better by acting instead of waiting or worrying. NewArtistModel.com Hack the Music Business 17 8. Find a way to make money. Start small and grow. Avoid being in debt. This is probably the most important strategy of them all and why so many artists have gotten into trouble in the past by taking label advances. All that is, is a big loan. Get some kind of cash flow happening right away, no matter how small. Sell merch, play for the door, license your songs, play sessions, teach, write, start your musician business. The biggest mistake you can make is to borrow a lot of money and then spend it on things that don’t matter. 9. Be unique and true to your vision. Say something. The people that we remember are the ones that are unique, exciting, special, provocative, fascinating, original, inventive, and/or interesting. Music is a basic form of communication. The really successful artists have something to say and work on delivering their message. Your chances of success go up exponentially if you have a unique position and message and create a following of fans who really listen to you because you have something important to say. 10. Work and play with people you like every day. Collaborate Often. Music is a tribal experience. You cannot make great music alone. Surround yourself with talented people, write together, play together, try new things. Bounce inspiration off of each other and learn. Listen to each other and let the music weave it’s way around you. Find a producer, songwriting partner, other musicians, and dive in together. The whole is greater than the sum of its parts. NewArtistModel.com Hack the Music Business 18 Chapter 3 Building a Musician Business It is impossible for one person to do everything that needs to get done. In the case of a recording artist, you need to record, produce, and promote your work. A songwriter needs to write, and find placements for their songs, be it a recording from another artist, or a spot on a TV show. A performing artist needs to find gigs, and plan every aspect of the tour or show from traveling expenses to the setlist and light show. On top of all that, every musician needs to handle the business side of their career which can include a website, social media, marketing, merchandise, finance, and distribution. If you think you can do all of this by yourself for your entire career, you’re in for a rude awakening. We’ve all heard the term DIY or “do it yourself.” it’s been in practically every single indie music business article since the dawn of the 21st century. There are more tools available today than most artists know what to do with. You can be your own publisher, distributor, label, engineer, producer, and marketer—and you can do it all from your room. The truth is that many indie artists are getting really frustrated trying to make DIY work for them. There’s just not enough time in the day to get everything done, and sometimes the music is the thing that gets left out or forgotten. Sound like you? While it’s great that artists no longer have to doitwithabigrecordlabel, perhaps DIY isn’t the best option either. There are a lot of artists out there with excellent business chops, but they’re still not experts. And they have more important things to do like creating music. You can’t be an expert in everything—there’s just not enough time in the day. The key is to find and motivate people who are. In the New Artist Model, I want to NewArtistModel.com Hack the Music Business 19 get musicians thinking more in terms of DIWO “do it with others.” Even at the earliest stages of your career, you should be dividing tasks up between your team members and looking towards your friends and fellow musicians for help. Think about the analogy we made to entrepreneurs in the last chapter. Every business has a team that grows as they become more successful and have more needs. In the same way, you are running a musician business and will eventually need help. The team you need will depend on what stage of your career you are at and your skills. Think of your team building efforts as a progressive process that expands your capabilities over time. As an independent artist developing your own career, you should not jump into hiring a full team of industry professionals immediately. Instead, your business entity should evolve with your career. As you begin to bring in more money and expand, your business will grow to accommodate that expansion. This method is the same way a startup company grows a team. Start off lean and agile, adding resources as necessary. Your team doesn’t even have to be seasoned pros. If you have a band you’re already way ahead of the game. Everyone has their own unique skills, so take advantage of that. One band member may be a math wiz. Put them in charge of the budget. They will keep track of the band’s income and expenses in a spreadsheet and be the voice of financial reason when it comes to spending money. Another band member may be a peopleperson—they’re outgoing, confident, and not afraid to pitch your music passionately and enthusiastically. This person could be the face of the band when it comes to business and networking. It’s their job to call up the promoter, pitch your music for a publishing placement of sponsorship, and talk to the soundboard guy after the show. NewArtistModel.com Hack the Music Business 20 Let’s take a look at recent pop sensation, Betty Who. Betty Who’s “Somebody Loves You” began drawing the attention of the pop music world after the release of her first EP The Movement in spring of 2013. In September 2013 the song was featured in a viral gay marriage proposal video and just a few days later she was signed to RCA Records. Betty Who didn’t get where she is today on her own; she had a great team behind her the whole way. Producer Peter Thomas and manager Ethan Schiff attended Berklee College of Music with Betty Who. With Peter Thomas she was able to find and really latch onto her signature pop sound, and Schiff helped set her up on the business side of things. The key take away here is that your team doesn’t have to be made up of topoftheline professionals that charge thousands of dollars for their time. Your team can start out as friends, classmates, and band members. These are the people who are really passionate about you and your music and often passion is more important than money or connections. Time Management Before we get into managing a whole team, take some time to really get on top of managing your time and tasks. You probably play the part of the artist, the business professional, and sometimes way more and, as a result, find yourself juggling entirely too many tasks. The problem comes when you can no longer find enough time for what matters most—your music. Think of it this way: if you don’t have quality music to build your business around, how can you build a musician business? How do you find time to practice, create, and refine your craft while also running the business side of things, staying on social media, strategizing launches, and making important industry connections? The first step is to streamline. This really ties back to NewArtistModel.com Hack the Music Business 21 goal setting. If there’s anything you are doing that’s not bringing you closer to your goals, stop or take a close look. If you’re spending hours each day on tasks that don’t have much benefit, eliminate, simplify, or postpone. The next step? Delegate! Many artists are defensive and controlling when it comes to their art—and with good reason. It is a very personal statement. However, you can delegate tasks to team members to get things done and really clear up a lot of your personal time. Just get in the habit of dividing up tasks instead of taking the whole load on yourself. Each person should have a list of tasks that they need to complete. Try to prioritize the list. More urgent matters and tasks that you keep putting off and putting off should have a high priority. For those highpriority jobs, break them down into smaller tasks. Accomplishing these small stepping stones will help you feel like you’re accomplishing things and keep you in a state of forward momentum. AND REMEMBER, make time for your music. It’s easy to get sucked into answering emails or managing social media, or making a website, but without your music you don’t have anything to build a business on. Michael Shoup is a musician and entrepreneur who turned his career around and started making profit with time management. After graduating college with a Bachelor's degree in music, Shoup started his career as a musician, funding his tours with money made in freelance web design. After three years he had effectively gigged himself into $6,000 of high interest credit card debt with little to show for his efforts. He gave up his professional music career and went into web design full time. It wasn’t until he organized his time that he was able to succeed in music. He prioritized his tasks to free up more time, and delegated other tasks. He automated and scheduled NewArtistModel.com Hack the Music Business 22 anything that could be automated, and he made sure he left time for the most important thing: his art. Time management has helped Michael Shoup become debt free. On top of that, he’s managed to selffund an album, started a music marketing agency, 12SouthMusic, and created a social media app, Visualive. Internal Team As a note, I’ll be referring to your band, or group of musicians you frequently collaborate with, as your internal team. Not all musicians will have a “band.” A songwriter may have a lyricist she works with, a solo performing artist may hire musicians to back his live show, and a recording artist may frequently work with a certain producer or engineer. If you have a band, it is a little easier to function without outside help because you can distribute responsibilities among each member. As you grow, you can hire outside team members like a manager or agent as you need them. Assess your situation and determine whether or not hiring a team member will benefit your business. When growing responsibilities start to draw you away from your core product, or require you to perform tasks outside your core competencies, it may be time to expand your team. Your music is a business, and like any other business you should get organized as a legal business entity. Many bands and musicians don’t see themselves as a legal business like Google or Southwest Airlines, but, as we discussed earlier, you are providing consumers with a product (your music), and/or a service (performances) just like any other business. Organizing yourself into a legal entity will make money easier to manage and make you appear more legitimate to outside parties. NewArtistModel.com Hack the Music Business 23 There are several options for structuring and organizing your business: 1. The basic legal entity is the “sole proprietorship.” This type of business is conducted by one person who is the sole owner in the company. Sole proprietor might be best for songwriters or session musicians who work alone without a band. This could also be a good option for a group with a “leader” who hires the band members as employees because it gives all ownership and decision making power to the leader. Sole proprietorships are very easy to set up since there is only one owner, and there are no complicated contracts or forms you must fill out. However, as a sole proprietor, your personal assets are at risk if you ever get sued. 2. The most common business structure for musicians is a “general partnership.” In a partnership, two or more people conduct a forprofit business as coowners. This type of business is best for teams in which two or more members have divided ownership or decision power. To create a partnership, you need to write up a partnership agreement that details the rights and responsibilities of partners. The partnership agreement is very easy to set up and there are little cost associated with formation. Like sole proprietorships, your personal assets are at risk if you ever get sued. Additionally, a partnership is dissolved if one of the partners decides to leave. 3. A corporation is a business entity separate from its owners. This means that a corporation can do everything a person can do including owning property. A corporation can keep on existing even if one or all of its original founders leave. Corporations are a more complicated legal entity that are best for musicians with solid income and big teams. They are more costly to setup, requiring fees and documents. But the advantage of a corporation is that your personal assets are protected in the event of a lawsuit. NewArtistModel.com Hack the Music Business 24 4. In order to get the best of both worlds, many musicians opt for an “LLC” or “Limited Liability Corporation.” LLCs combine elements from the partnership and the corporation. They’re pretty easy and inexpensive to set up, but still provide owners with protection of their personal assets. Internal Agreements When you start your business, there are some important issues to think about and put down in writing. This legal stuff may not be tons of fun, but taking care of it up front will help smooth out the bumps that will inevitably come down the road. You don’t want to spend all your hardearned money on a lawyer because your drummer refuses to speak to you. It’s also much easier to talk about worstcase scenarios while everyone is happy and friendly with each other and excited about starting a new venture. It’s better to have internal agreements set up before the team starts entering into outside agreements. Here’s a few of the main points you should have in your internal agreements: 1. Ownership of the Company. First, you need to figure out who owns the company. This varies depending on what kind of team you have and what type of legal entity you are organized into. In a typical 4person rock group, the members could be equal owners. In other situations, where the singer or guitarist may be the focal point of the group, they will act as the sole owners with the other members functioning as hired employees. A songwriter working with a lyricist could be equal coowners of the business they create together. A lone songwriter who occasionally works with a collaborator could own 100% of his musician business. You can choose the equal ownership or hierarchical ownership model. Both models have pros and cons. Remember the first key point of the New Artist Model? There is no one path to success. It’s the same with your business structure. Choose the ownership NewArtistModel.com Hack the Music Business 25 model that works best for you. 2. Use of the Name. What happens to the name if one or more people leave the group? Some teams choose to only use the name if every member is present. This means that if one member leaves, no one can use the name. Others choose to allow the majority of the members to use the name. Some teams will use “key members” to solve this issue. These key members are the most important members of the team. They could be the songwriter and the lead singer or just the lead keyboardist. In the case the team broke up, the name could only be used if one or all of the key members were a part of it. 3. Decisions and Voting. Voting is the most common method for making decisions. If you are organized as a sole proprietorship, the team leader may have 100% decisionmaking power. Voting can be equally weighted, where each member receives one vote or it can be uneven, with more important members like the songwriter receiving more votes than the rest of the team. Either way, make sure you have an odd number of votes or you will end up with tied votes. Some teams will also use the unanimous decision method. It is, however, almost impossible for everyone to see eyetoeye on everything, which could result in missed opportunities. Some things you may vote on include purchase decisions, hiring new members, business decisions like whether or not to enter into a record deal, and making changes to the agreement. 4. Salaries. You need to decide how the copyrights (aka potential revenue) are credited and divided up between members. You could do a simple even split between all members. The other choice is to divide it up in uneven percentages with more important members receiving a higher percentage. If one member is the focal point of the team, the rest of the team members could even work on salary. Not all money that comes in will be related to copyrights. You also need to know how money from other sources, such as touring and merchandise, will be split up. NewArtistModel.com Hack the Music Business 26 Many very successful bands have broken up over some members makings more than others due to income from royalties, so be sure to think about the most equitable split. If you want to make the most of your internal team, you should take some time to understand each member’s strengths and weaknesses and assign roles accordingly. Your team is made up of different people with different personalities and skills. One member may be an extrovert who likes to be at the center of attention. This person may be best suited for handling your social media channels. Someone on your team may be very logical and think through things before acting. This person may be best at keeping track of your finances. By assigning roles that match the personalities and strengths you see, your musician business can run more smoothly and efficiently. External Team You should have a personal manager from the beginning so you can really focus on your music and the creative side of your career without being bogged down by administrative and business responsibilities. Like you saw with Betty Who, your personal manager could be a friend, classmate, or a relative with an understanding of business and the music industry. There are many big artists today who still have their original manager. If you don’t have any close friends or family who understand the industry, you should seek a professional personal manager. Ask for recommendations from your network. 1. Personal Manager. Some managers work independently and others work for large management firms. Your personal manager is your partner and a key communication link for all who are involved in running your musician business. The personal manager’s job is to help the artist attract and retain fans, build their brand, and grow the business. Some of their responsibilities include raising visibility, negotiating contracts and NewArtistModel.com Hack the Music Business 27 partnerships, keeping the artist organized, managing promotions, social networks, websites, and mailing lists, and getting press. So what traits make a good personal manager and what should you be looking for? An ideal manager is a creative/logical type. They need to be able to think outside of the box and come up with strategies for reaching new fans and growing your musician business. They also need to be the kind of person who will look critically at results to improve in the future. They need to be willing to talk to people and make phone calls and hit the road. Most importantly though, your personal manager needs to thoroughly understand the music industry, be passionate about your music, and be someone you connect with and trust. The artist manager is usually compensated with a percentage of the artist’s overall income. These days, there is no such thing as a standard deal, but a manager’s stake can be anything from 5%20% of an artist’s gross. This includes income from live gigs, record sales, publishing royalties, merchandise, and whatever else the manager contributes to in an artist’s career. The deal you make is important, but not as important as picking the right person to work with. It is like getting married. You’d better be sure that your values are aligned and that you can trust and work with the person you pick as your manager. The key to success in management is a combination of innovation, passion, tenacity, leadership, connections, and ability to raise to capital. You want your manager to work as hard as you are to create your brand. You are business partners. It is better for you if your manager is solely focused on you, but many managers work with multiple artists, so set your expectations accordingly. NewArtistModel.com Hack the Music Business 28 2. Attorney. Depending on your situation, you may seek the help of an attorney early on. Lawyers play a major role in shaping external agreements with your personal manager, record labels, music supervisors, and publishers. A wellconnected and experienced lawyer has the benefit of a bird’s eye view on the industry and what other artists’ deals look like. A lawyer may charge on an hourly basis ($150 $600 per hour depending on experience and reputation). Some will charge a percentage of your revenue or profit from the deal they are negotiating on your behalf. Others will work for “value billing,” which means that they will ask you for a fee once the deal is finished based on how involved they were in shaping and executing the deal. Value billing is typically in addition to an hourly rate attached or a “retainer,” which is a monthly fee. When you get to the point where you are negotiating contracts with any external team member such as a publisher, manager, agent, or record label, you need to seek the advice of a lawyer. This will ensure you get the best possible deal. Even if you have a good understanding of the law, legal lingo can be tricky to understand and it’s easy to overlook potentially massive loopholes in pages and pages of dense text. Many small bands have excitedly signed major label contracts without legal counsel and lived to regret it. There are a ton of other external team members you can consider for your team such as an agent, an accountant or business manager, a publisher, and a tour manager. We’ll cover these team members later on in this book, so hang tight. NewArtistModel.com Hack the Music Business 29 Chapter 4 Gigging The live music industry is a great source of income for many musicians. Many artists make more money touring and playing live than they do from recording, publishing, and other income streams combined. Additionally, in contrast with the declining recorded music revenues, live revenues are steadily increasing over the years. Of course, the amount of money involved has a lot to do with the artist’s popularity, the total number of shows they play, how often they tour, and the total number of people they can attract to a venue. The live show has been around since humans started playing music, and in that entire history, nothing has been able to replace it. As recorded music has progressed, one new medium has replaced the one that came before: the phonograph, record, CD, digital download, and now cloudbased services. But nothing has replaced the musician on stage playing their music. Why do you think that is? Concerts go beyond the music itself into the realm of social and experience. Fans have the opportunity to interact with each other. Music connects people, and many find they can more easily approach someone with similar musical taste. At a concert, everyone has a common interest and the result is an amazing energy. I want you to start thinking about the live show a little differently. There’s a lot of musicians out there who see gigging as just another revenue stream or something they have to do. It’s just another part of the job like answering emails. Before we move on I want you to take a minute and think about why you gig. NewArtistModel.com Hack the Music Business 30 The live show is more than just another revenue stream. It gives you the opportunity to promote something specific and drive sales, to connect with your fans directly, and to learn and improve your songs and performance. It’s kind of like the point where all the other parts of your career meet and come together. Your live show should tie back to and build upon other aspects of your career like recording and publishing. If you just released a new album try to come up with creative ways to tie that into your live show. I know, you’ll no doubt be performing your new songs, but how can you go beyond that? Let’s take a look at The Wild Feathers, a rock band out of Nashville, TN. In the week leading up to the release of their selftitled debut album, The Wild Feathers made the album available early at their shows exclusively for their superfans. This strategy gave superfans an incentive to go to their shows and get excited about the release. On top of that, the band gave their concertgoers a little surprize. Every album sold included two CDs—one to keep and one to share with a friend. This strategy is genius for a couple of reasons. By selling the album early they are specifically targeting their superfans—the ones who would travel hours just to get their hands on the album before everyone else. Because they are so passionate about the music, superfans are also most likely to tell their friends about The Wild Feathers. Giving them an extra CD to do just that really empowered their superfans to share. They turned their superfans into marketers! This concept doesn’t apply to just gigging, as you’ll no doubt see as you move forward through this book. In the New Artist Model, think about your career like a box of gears. You have different gear representing your publishing, gigging, and recording. Each gear is separate from each other, but they work together towards one common purpose. NewArtistModel.com Hack the Music Business 31 Your Fans Perhaps the best part of gigging is the opportunity it presents to connect with your fans. If done correctly, touring is actually a fantastic way to build your fan base and connect with people on a meaningful level. The key is to be really active. I know a lot of musicians who get really frustrated with gigging. They feel like people are more interested in their drinks than their performance. It’s up to you to bring it every night. You don’t need a flashy light show and video production for a truly great live show. In fact, connecting with your audience in a different way—a way that’s more unique and you—will probably be more effective. Bring a fan up on stage to sing a song with you, stay after the show to talk to your fans, or feature your fans in the video you use as a backdrop. Think about what you have to work with financially, what your fans like, and your brand when trying to create an unforgettable experience. For example, if you are in a heavy metal band, having someone sing with you may not work out. Instead, jump off the stage and scream at/with your fans, or bring some fans onstage for a headbanging contest. Be creative with it. You want your live shows to transcend the sound itself and become an experience. You want to create a strong memory in the minds of your fans. With that in mind, NEVER cancel a show unless it is absolutely necessary. A strong negative memory, such as a show cancelled last minute will stay in a fan’s mind just like a positive memory. In fact, some studies show that people are more likely to share a negative experience than they are to share a positive experience. Some artists have arrived at a club gig during a power outage, whipped out their acoustic guitars, turned over some trash cans for drums, and given their fans a very intimate, exclusive, and unforgettable experience that they could tell their friends about. If your amplifier breaks, don’t cancel the show; see if the venue has any available or ask the opening or headlining act if you can borrow theirs. NewArtistModel.com Hack the Music Business 32 The live show also presents you with unique opportunity to learn from your fans and get insight on what they like, which songs are the most popular, and what kind of interactions really get them going. At a live show, the feedback loop is extremely short. You can do something and get instant feedback about whether or not the audience digs it. If they go crazy after your guitar solos, use that to your advantage and put great guitar solos in more of your songs. If they love the prog rock instrumental breakdowns, be sure to feature a long breakdown in your shows. If they respond well when you ask them to clap at certain sections or scream at others, try to come up with other ways to engage your fans directly in the live show. Touring Team 1. Agent. An agent is the middle man between the musician and the promoters or venue owners. Basically, they’re responsible for getting gigs. This includes the logistics of the tour, negotiating contracts, and routing. Some artists find that it’s difficult to break out of their local scene without an agent. Agents have connections—something that’s really valuable in the music industry. We’ll look at some ways you can make your own connections later in this chapter. Here’s an example of the agent’s job: an artist and their manager start to get some traction in a market and decide to try a tour. They figure out their vision and where they can connect with fans. The agent helps to determine how extensive the tour can be, what cities they can hit and when and what the tour’s goal is. The agent will then contact promoters and pitch the show to them. He needs to convince the promoter that the show will be successful and worth the promoter’s time and effort. The agent will then book the dates and present the finished tour to the artist and their manager. A booking agent typically works for a commission, usually 510% of an artist’s gross live show income. Be sure you don’t give the agent a percentage from your songwriting and NewArtistModel.com Hack the Music Business 33 recordings. They should only be making money from the live shows they book. 2. Promoter. Promoters are business people in the music industry who “buy talent.” Promoters can be club owners, concert promoters, festival organizers, or event planners. The promoter's main responsibilities include the advertising and promotion for the show, and making sure everything the artist needs to perform is lined up. As the concert is being organized, the promoter is responsible for paying the upfront costs associated with the live show—it’s a big expense. Most of these costs occur before the show takes place. Because of this, promoters take on a large risk for losing money if the show is canceled or if ticket sales are not as good as expected. Just because you are working with a promoter doesn’t mean you need to leave all the promotion up to them. When you are playing smaller clubs and venues, the promoter will not be able to provide a lot of marketing, but make sure you have resources available (e.g., a customizable flyer you either send to the venue or have available to download, good band photography, music to hear and share or embed, etc.) in case they can help. Being organized and professional will help the venue to help you and show them you are a band that has its act together. Especially when you are playing smaller clubs and venues, the promoter will not be able to provide a lot of marketing. You need to announce the show on your website and social media channels. Try running promotions to get people to your shows. Give people a reason to come to your shows. You might announce that you will be playing an unreleased song from your new album, or that you will be giving away tshirts to show your appreciation for your amazing fans. NewArtistModel.com Hack the Music Business 34 Getting the Gig Promoters are under a lot of pressure to fill their venue with bodies. They need a substantial crowd to either buy tickets, pay a cover fee at the door and/or spend money on food and drinks, or they will take a loss. The reality is, that whether a promoter loves or hates your music, their primary objective is to draw an audience. Find ways to prove that you can draw an audience. Collect information from past shows. Be prepared to give the promoter a list of venues you have played at, the capacity of those venues, how many tickets you sold, and whether or not you sold out. Also, try to target venues that play your genre of music. Trying to get a spot to perform at a singer/songwriter bar in Nashville as a punk band would be futile no matter how many fans you have. When contacting promoters, remember that this is a personal business. Emails aren’t going to cut it—especially not cold emails. Call them up, invite them to one of your shows, show them you can fill a room. Even better, get a connection! In the music industry it’s all about who you know. If you can call up a promoter and say, “Hey this [guy you know] told me to call you,” there’s a way better chance s/he will give you and your music a chance. It’s difficult to get music industry connections that can provide you a point of reference when dealing with promoters. But as a musician, you have an easy ticket to these connections—other musicians. It’s a lot easier to approach other artists, get a conversation going about music, and form a long term connection. The cool thing is that they may know agents, promoters, attorneys, and other business people that they could introduce you to. NewArtistModel.com Hack the Music Business 35 Try out this strategy: Let’s say you want to be able to play in a new city. Make a connection, either in person or via social media, with a band or musician with an established fan base in that city. Try to target someone with a similar style to you who plays similar size venues. Propose a headlinetrade. You’ll open for them in their home city and they’ll open for you in your home city. This puts both of you in front of a new audience and introduces both of you to local club owners you would never have been able to contact before. It’s a winwin! Planning Your Gig In order to plan your gig effectively, figure out why you are doing this and what you hope to gain. As we talked about in the second chapter, goals and planning are prerequisites to success. Some common reasons to play live besides the potential cash you can earn, could be to promote a new album or song, to meet and interact with your fans, to work on your live chops, or to play with other bands and create a relationship. After you know why you want to play live, set some goals for the show. This could be to sell x number of CDs, to get your fans involved in the live show, or to create a live recording or video that you can use on your YouTube channel or upcoming album. These goals should be directly related to your purpose for playing live. If you want to promote your new album, your goal could be to sell the CD and maybe give out two for the price of one to get your fans sharing. If your goal was to interact with fans, your goal could be to stay after every show and talk to fans. Setting up a tour or a gig is a difficult and time consuming task. Costs need to be considered and budgeted, transportation and living arrangements must be made, fans must be notified, deals must be negotiated, and the lighting and production for the show must be designed. Even relatively small artists should take the time to plan carefully in order to make the process as smooth as possible. Here’s just some of the things you NewArtistModel.com Hack the Music Business 36 need to consider when planning a gig: 1. Where do you want to tour? Why? Will it be a single gig, a local tour, a tour of the coast, a full country tour, or a fullblown international tour? 2. Route. How will you get from point A to point B? If it’s a tour with multiple dates, you need to consider what order you will visit each location. Ideally, you want to route your tour in a way that requires the least amount of travel. If you’re driving, make sure you have your route clearly mapped out and have some form of directions so you don’t get lost and miss your gig. 3. Travel arrangements. If you’re taking a train or plane, book your travel as far in advance as you can to get the best price. If you’re going out on a longer tour, you may need to book some hotel rooms. 4. Itinerary. This should include all of your tour information: driving directions if you need them, the addresses of the venues, contact information for the venues, the name and location of your hotels, and any transportation tickets you need. Your itinerary should also include information about the time of each gig: when loadin begins, and when you’re due to be on stage. Plan each day according to the time of the gig to make sure you arrive ahead of time! Its best to give yourself plenty of extra time! 5. Budget. Include any transportation costs including gas or ticket costs, living expenses including food and sleeping arrangements, any equipment you need to buy and any salaries you need to pay for road help. Create your budget for each show in a spreadsheet like Excel or Google Docs. If your expenses are more than your income, you should try to cut some out. Do you really need that upgrade or to head out to the bars every night after the gig? NewArtistModel.com Hack the Music Business 37 Playing in a new city can also be tough for an unknown artist to perform. Try booking shows with hometown artists that work in a similar genre where you open for them and they can open for you when they come to your hometown. Build your fanbase city by city so that venues will have you back again and again. So what kind of income can you actually expect to see on tour? As you probably imagined, the most significant revenue stream for the live show is from ticket sales. Typically, the money generated by sales of tickets is divided among the promoter, the venue, the artist, the booking agent, and the manager. The splits are negotiable, with young bands getting much less than established acts, who can often negotiate larger payments from promoters. If you’re a smaller artist you’ll probably receive a percentage of the door. This basically means that you get a set percentage of each ticket sold. Merchandise is another revenue stream you can tap into while gigging. The key here is to sell things that your fans would actually be interested in. Of course there’s the generic tshirt, but try to get creative with it. Young teen girls might be interested in paying for an Instagramthemed photobooth session with you and the band. CDs can be merch too! Try offering you CDs for sale before the release date to give fans an incentive to purchase. NewArtistModel.com Hack the Music Business 38 Chapter 5 Recording Recording is an vital part of the music industry that has driven the overall growth and popularity of the businesses for the past 70+ years. That being said, it doesn’t function in the same way as it did in the past. Instead of being the focal point of an artist’s career, it’s now just one moving and interdependent part. While performing live is extremely important, without recordings to share with your fans, they will begin to forget about you or not know you exist in the first place. Remember our analogy about gears? Recording is another piece of the gearbox that is your career. Recordings are no longer just a tool for direct monetization. They can also serve as promotional and marketing tools for tours, merchandise, and more. Today you can record your music for little to no costs on a computer or tablet or in a small studio. Barriers that once barred artists from entering the music industry without a record label have been blown down. Artists have more opportunities to manage their rights and have more options to selfdistribute and work with indie labels or new label alternatives like Converse Rubber Tracks studio. The recording industry was the most disrupted by the internet, but not necessarily for the worst. The companies that are complaining are the ones who are unwilling to adapt and innovate. Before you move on, ask yourself if you’re willing to think outside the box. More times than not, it’s the small, agile entrepreneurs, not the big established companies, that innovate and move an industry forward into the future. You can be that entrepreneur. NewArtistModel.com Hack the Music Business 39 The “Glamor” of the Major Label Record labels are in the business of exploiting the “sound recording” copyright, or the unique combination of sounds fixed in time. The term “record” company was adopted because these companies specialized in recording songs and distributing and marketing those recordings for a huge profit. The term “major label” simply refers to the fact that they have all the functions of recording, manufacturing, distributing, and promoting a record inhouse. The major record labels have traditionally been the powerhouses of the music industry. Getting a deal with a major label has been associated with success or “making it big.” Don’t lie: you’ve no doubt found yourself fantasizing about a major label deal at some point in your career. In the past, the only way to be successful was to gain the attention of a major label, get signed by them and utilize their connections, distribution, marketing muscle, and capital. Today artists and indie labels can perform many of the functions of a major label themselves and with their team, and yet this association with major label glamor and success remains. Why do you think that is? Truth being told, signing to a major label does not mean you will have success. In fact, the vast majority of artists who sign to a major are dropped after only a few albums and disappear. Historically only 5% of recording artists ever recoup their initial royalty advance from the label. So what does a major record label deal look like? A major label will typically demand 100% ownership of the sound recording copyrights. The artist will receive a royalty on every album sold, typically in the range of 4%15%. To cover the upfront recording costs, the label will usually provide an advance against future earnings. While this money upfront may seem like a great thing, it is important to remember that this is a NewArtistModel.com Hack the Music Business 40 loan, and you must pay it back with your meager 415% royalty rate before you see any profit from your album. A major label will try to lock you into as long a term as it can. A typical major deal will have one initial term lasting one year or one album, whichever is greater, with 46 options for additional albums. An option means that the label can choose to extend the contract for another term. Note that the option is the label’s; the artist has no say in the matter unless they have existing success they can leverage. A longer term keeps the artist from renegotiating a more favorable contract or moving to another label. On top of that there’s all kinds of deductions and fees that come out of your royalties. Major labels don’t seem nearly as glamorous now do they? Indie Label So what about indie record labels? Like we talked about earlier in this chapter, the small, agile companies are the ones that innovate, and it’s no different for record labels. For the most part indie labels tend to be more creative with their deals. Many indie labels are focused on a specific niche or genre. They focus their time and energy on becoming an expert in that genre and growing relationships with key tastemakers. On top of that, indie labels tend to be more transparent. They don’t have the bargaining power that major labels do, so they really need to establish a relationship of trust with their artists. Indie label deals can vary significantly depending on the artist, their needs, and what they bring to the table. Some resemble major label deals while others are more creative with their offerings. Here’s three examples of some pretty common indie label deals: NewArtistModel.com Hack the Music Business 41 1. Traditional Deal A traditional indie deal resembles the major label deal quite closely in terms of royalty computation. An indie label may give artists a higher royalty rate, more creative controls, and less deductions. On the flip side, a typical indie deal has a much smaller up front advance. 2. Net Profits Deal Some indie labels will offer artists a net profits deal, meaning after all expenses are recouped the artist and the label share all profits 50/50. These deals, because of the potential for more cash to the artist later, will have either a very small advance or no advance at all. In fact, having a smaller advance can be a good thing in this deal. An advance is an expense for the label, so the smaller the advance the smaller the expenses, which means the artist will reach the 50/50 profit split sooner, and the label may have more money for marketing and promotion. 3. Pressing and Distribution Deal (P&D) Another fairly common indie deal is the P&D deal. In this deal, the label handles the manufacturing and distribution of your album. You’re still responsible for the recording part, so there will be significant money out of your pocket on that front. These deals will typically give artists a higher royalty rate than the standard deal. Some labels will also pick up the marketing and promotion, but it will usually cut your royalty down. The Producer Before we move on to selfreleasing your albums, let’s take a quick look at another key member in the recording process: the producer! The producer works with bands to choose, develop, and record songs. They handle the logistics of the recording sessions and work with the musicians and recording engineers to make the most out of their recordings. Producers help you bring your vision together into one finished product. You NewArtistModel.com Hack the Music Business 42 may also deal with a recording engineer. As opposed to the producer’s more creative role, the engineer deals with the more technical elements like choosing the right microphones or placement of amplifiers. Producers generally get paid in royalties, which means a percentage of the sales of a recording. These percentages typically start out in the 1% or 3% range and are often referred to as “points” (3% = 3 points). More often than not, the producer’s royalty is paid out of the artist’s royalty if there’s a record label involved. The Recording Process So I’m sure you’re thinking, “What do I do if I don’t have a record label?” Truth be told, with all the technology floating around nowadays, you can do a lot of the record label functions yourself or with your team. The key, once again, is planning. Think about your records like a new product. When a company is launching a new product they take the time to really think about their plan. What is it? Why will their customers love it? How long will it take to develop? How will they release it? You need to be asking yourself the same questions. 1. What are you trying to accomplish? The first step of the recording process is knowing exactly what you want to accomplish with this recording or album. Are you recording one song? A full length album? A shorter EP? What is your vision for the new project? What kind of sound are you looking for? 2. Plan! Planning is one of the most overlooked aspects of the recording process when recording independently without a label. Many musicians just jump into it unprepared and end up getting hit with unforeseen, timeconsuming issues that could have been avoided with a little planning. NewArtistModel.com Hack the Music Business 43 You should also create a timeline that documents how much time you are allocating for each phase of the process. ●How much time can you realistically dedicate each day for rehearsal? ●How many days will you need to rehearse and get ready for the studio? ●How long can you realistically record each day? ●How many days of recording will you need to get all the material recorded? ●How long will it take to mix and master your recordings? ●How long will it take your physical CDs to be made? (Will you even make physical CDs?) ●How long will you leave between your finished recording and your release show or release date? It’s good to leave a little extra time than you think you will actually need when planning out your timeline as it is common for recordings to take longer than expected due to unforeseen issues. 3. Keep track of your costs. You should start a spreadsheet that documents how much money you have available and all your recording costs in one place. ●Do you need to rent rehearsal space? ●Do you need to go into a studio? ●Is the studio close by or will you have to travel there? ●Do you need to rent or buy any gear or equipment? ●How many physical CDs will you make and how much will they cost? ●Will you hire an artist or photographer to do some cover art or promo pictures? ●Will you hire a producer or recording engineer? ●Will you need help with mixing and mastering? NewArtistModel.com Hack the Music Business 44 Depending on your career level and recording skills, you may or may not need a producer and recording engineer. You may have friends or classmates with recording knowledge who can help out. Remember—connections are your best friend in this industry! 4. Distribution. Once you have your song or album recorded, you need to figure out how you will get it to your fans. Digital distribution is the most straightforward option. There are plenty of services out there that will help you get your music to your fans like Bandcamp, Bandzoogle, Reverbnation, Tunecore, Beatport, Topspin, and CD Baby. Use the Process Restricting yourself, whether intentionally or not, to old ways of thinking about the music business is one of the most common barriers indie musicians face today. It’s like locking yourself in a small room when there’s a whole world out there to explore! There’s no one size fits all model anymore, and while there are so many things you need to get your head around, there’s also a huge amount of freedom in what you can do. You don’t have to stick to a traditional album release, or even release an album at all. You can do it your way and bring your fans into the process and develop even stronger relationships with them. So many musicians—and many successful people in the industry—still think of a recording as just a finished product, a static object that you finish and share (or sell). That may have been the case in the past, but it’s only one way to think about it. If you open up the recording and writing process to your fans, you can create some very interesting opportunities to deeply connect with your fans, create new fans, make money, and foster new connections in the industry. NewArtistModel.com Hack the Music Business 45 Before we get into a bit of strategy, let’s distinguish between regular fans and super fans. Your regular fans are the ones that will listen to and enjoy your music. They may stream it, they may own an album or two, but they won’t necessarily go out of their way to buy your music the day it’s released. They’ll enjoy cool content you share for free but may not pay for extras. They’ll go to your live shows when it’s convenient and fits into their life. These are your fans and probably represent the biggest percentage of the people you are reaching. Your super fans however, are the ones who will preorder your album and, given the choice, will usually opt for bonus editions with extra tracks or special artwork. They love learning more about you and your music and are willing to pay for cool extras like a personal note, a meet and greet, or custom merch. Super fans will be at more of your shows and are willing to travel a little further and pay a little more for better seats, backstage passes, or even a private house concert. These people probably represent a small portion of your overall fan base, but these are the people who you can develop deep connections with and can be a meaningful source of revenue for you because they are so passionate about you and your music. When you start thinking about using the entire writing and recording process to your advantage, consider your super fans. There’s tons of artists posting Instagram pics of their day in the studio, video clips, or blog posts, but that’s really only going halfway. Your super fans may be quite willing to pay for a more intimate or deep experience and connection with you. For example, you could try offering them an exclusive membership that allows them to check out your content, song ideas, lyrics, rough mixes, and finished songs before anyone else gets them. You could explore ways for super fans to give you feedback during the writing or recording process, drawing them into your circle. NewArtistModel.com Hack the Music Business 46 Chapter 6 YOUR Copyrights The music industry is built entirely on copyrights. Without copyright law, there would no ownership over songs and fewer ways to make money with music. You would not get money when people bought your music, you would not get paid if your songs were played on the radio, and you would not make money if your songs were on TV or in a movie. Without copyright law, anyone could make copies of and distribute your albums without paying a cent to you or even asking permission. Anyone could use your song in association with anything. Without copyright law it would be very difficult to support yourself in music. Many bands and musicians overlook copyright law as something that only the “business suits” need to know, but ultimately, copyright law is the building block of your career. Especially today, when more bands are managing their early career themselves, a good understanding of copyright law is imperative. One thing a lot of musicians miss is the fact that copyrights are power. You own the copyrights, so you have the power. Think about it, without your copyrights would labels or publishers have anything to sell? Many more musicians have been realizing this and figuring out how to leverage their copyrights. There is no such thing as international copyright. Every country has unique copyright laws. There are some that don’t acknowledge copyright ownership at all! Some countries grant copyright ownership for the life of the creator plus 50 years while others use the standard of life plus 70 years. Some countries are very strict about what kinds NewArtistModel.com Hack the Music Business 47 of work receive copyright protection, while others are more lenient. Some countries have set laws, others set precedent with cases and lawsuits, and still others use a mixture of the two. A good place to find the most updated information about your country’s copyright law is your government’s copyright website. You may also find books and articles written specifically for musicians that describe your country’s copyright policies in simple terms. Your Rights Copyright is designed to promote the progress of science and useful arts by creating a limited duration monopoly giving creators exclusive rights to their works for a limited period of time. In most countries, when creative ideas, such as songs or stories, are transferred into a tangible form (e.g., written down or recorded) they become the property of the writer and are protected under the law of copyright. In some countries you may have to register with the government to claim copyright, but for the most part, the moment that you record your song or sketch some musical notation on paper (even a napkin!), you automatically own the rights to it. Generally, for each song, there are two copyrights: the “composition” copyright, which refers to the songwriting, and the “sound recording” copyright, which refers to the unique recording of the song (this is also known as the “master” copyright). Copyright law in all countries is a balancing act between protecting the rights of the creator and the good of society in an attempt to promote the progression of arts. In order to incentivize creators to create, they must be given some sort of economic compensation. The creator, as a result, is granted a certain period of time where they gain exclusive rights to exploit their works. However, art, by nature, builds upon what came before. For this reason, copyright ownership does not last forever. After a NewArtistModel.com Hack the Music Business 48 predetermined number of years, as set by the laws of the particular country, a work falls into the public domain and can be used by anyone for any purpose without payment to or permission from the creator. The duration of copyright varies greatly from country to country. The Berne Convention sets the minimum standard for its countries as the life of the creator plus 50 years, although some countries provide a longer time period and some that are not involved in Berne provide a shorter duration. The United States, for example, grants its creators economic benefit from their works for life plus 70 years. When you own copyright, you are given exclusive rights to your work. In the United States (and many other countries) 6 rights are granted: 1. The right to reproduce the work This means that you can make copies of the work. For example, you could make 1,000 copies of an album. 2. The right to make derivative works based on the original A derivative work is one base on one or more preexisting works. Some examples of derivatives are translations, arrangements, the translation of a book or an album into a motion picture, samples, and remixes. As a rule of thumb, a work becomes a derivative as opposed to a reproduction if it transforms, recasts, or adapts the original. For this reason, a cover song that does not change the composition is considered a reproduction, not a derivative. 3. The right to distribute copies of the work With this right, you can distribute the copies of the album you made to the public. When you sign a deal with a record label, you must grant them the right of reproduction and distribution so they can get your music out to your fans. NewArtistModel.com Hack the Music Business 49 4. The right to publicly perform the work (composition copyright) This right applies only to the composition copyright. It grants the right to publicly perform the composition. Any time you hear your favorite song being played publicly, be it in a TV show, on the radio, or by a cover band at a local club, the composition owner is being paid. The Performing Rights Organizations such as ASCAP, BMI and SESAC (US) are responsible for issuing public performance licenses for the composition and collecting the fees on the songwriter’s behalf. 5. The right to publicly display the work This is not as relevant in music as it is in other art forms since it’s difficult to visually display sound. However, you can utilize this right to display your song lyrics to the public via a YouTube video, on your website, or even a tshirt. Many musicians are not as concerned with this right and, as a result, there are plenty of lyric sites floating around on the internet that pay no licenses to the songwriters whose lyrics they display. 6. The right to publicly perform audio recordings by digital transmission (sound recording copyright) This right applies only to the sound recording copyright. It grants the copyright owner the right to publicly perform the sound recording via digital transmission. Digital transmission includes noninteractive digital radio like Pandora and interactive digital streaming like Spotify. PRO (Performing Rights Organization) In order to simplify the process of licensing public performances, most countries have Performing Rights Organizations (PROs). Imagine if every radio station had to directly NewArtistModel.com Hack the Music Business 50 contact every artist they wanted to play and ask for a license to play their music. A lawyer would have to be hired for each instance, and the negotiations to set the price and terms for the license would be time consuming and costly. The artist would be overwhelmed with calls from radio stations, TV networks, clubs, and restaurants requesting licenses. On the other side of the equation, the users (radio, TV, venue, etc.) would have to keep track of millions of separate licenses and would be responsible for paying each on time and for the right amount. Performance Rights Organizations help simplify this process, making it more manageable for the artists and the users. Basically they collect a flat fee from users (venues, radio stations, TV networks, restaurants, etc.) and distribute that money back to the artists’ whose songs are being played. If your songs are being played anywhere, you should make sure you’re signed up with a PRO. ASCAP, BMI, SESAC and others around the world. Otherwise, you’re missing out on royalties. Compulsory Licenses Some mandatory or “compulsory” licenses actually require the copyright holder to issue a license under certain circumstances. In the US, these include the rebroadcast of television signals by cable TV companies; the use of copyrighted works in PBS broadcasts; playback of music in jukeboxes, in digital broadcasts for noninteractive streaming; and the “mechanical license” to manufacture and distribute audio recordings. If you're not based in the US, you may or may not be subject to these compulsory licenses. Be sure to research your country's copyright laws. For the most part, compulsory licenses are good for artists. Compulsory licenses make it easier for others to get access to and use your music. And the great things is they are required by law to pay you. The more people using your music, the more money you are bringing in. NewArtistModel.com Hack the Music Business 51 The Compulsory Mechanical License: Let's take a closer look at the mechanical license. This is a popular one and you should definitely have a good understanding of it if you are a musician in the US. A composition copyright owner is compelled by law to grant a license for the reproduction of a song in records long as the following requirements are met: 1. Only nondramatic musical works are eligible for a mechanical license. This means songs not written for theater, opera, or the like. 2. The song in question must have been previously recorded and commercially released to the public. As a songwriter, you're entitled to the first use of your song. If you're song has not been released to the public yet, you can charge someone anything you want to record it. 3. The user must pay the statutory rate for each reproduction. In the US, the statutory rate is currently 9.1 cents. 4. The user may not change the basic melody or fundamental character of the work. In the case of a cover song, the work can be changed to a different musical genre. A good example of this is Marilyn Manson’s cover of the Eurythmics “Sweet Dreams.” 5. The new recording created of your song can only be used in phonorecords. That's just a fancy word for audioonly. In other words, there's no compulsory license for DVDs and videos. NewArtistModel.com Hack the Music Business 52 Chapter 7 Publishing Music licensing and music publishing are ways of deriving income from the songs you write and record. When you create a song, certain rights are granted to you, the author, which you can then exploit by “licensing” or “renting” your song to a third party. Publishing is usually referring to the composition copyright and the songwriter, although you can also license the use of a sound recording with a master use license. You can earn royalties when people record your songs, and when they are used in commerce such as on television, radio, commercials, video games and films. Publishing has the potential to bring in a huge amount of income for musicians. Successful songwriters are far more likely to earn big money from working in the music business than recording artists. Writers are sometimes behind the scenes in the music business, and quite often, unless they are also artists, they end up quietly collecting checks for years. The Publishing Industry So how does all this translate into actually making money? Other people and companies have to get your permission and usually pay you to perform any of the actions protected by copyright. Think of copyright like property—intellectual property. If you owned a large apartment building other people would have to get your permission to live in one of the apartments. They would sign a contract and money would most likely change hands. It’s the same principle for music. A record label or distributor pays NewArtistModel.com Hack the Music Business 53 you to be able to make copies of your song and distribute it to online and retail stores. A radio station pays you (through a PRO) to perform your song over the radio. A company pays you to sync your music to their promotional videos or advertisements. Here are some common licenses: 1. Mechanical License. This is a license that grants the user the right to reproduce and distribute a song. When your song is covered by another band a mechanical license is used. Record labels also need a mechanical license to make copies of your album and distribute them to the public. 2. Performance License. This is paid by radio, digital services, TV, clubs, restaurants, etc. for performing the song. This license will grant them the right to perform the composition and sound recording. 3. Synchronization License. This is paid by a film, TV, or video game company to use a song in synchronization with visuals. A sync license will typically be a bundle of many different licenses and rights depending on the use. 4. Print License. This is paid by a print publisher for the right to print the sheet music and lyrics for a song. 5. Master Use License. This is paid by anyone who wants to use the masters or sound recording. 6. Derivative License. This license grants the right to change the original composition. A derivative license is used for translations into foreign languages, samples, and arrangements. NewArtistModel.com Hack the Music Business 54 7. Sample License. This is a license for anyone who wants to use a clip of a song. This typically includes a master use license and a derivative license. Traditionally, music publishers have handled the task of licensing music. A publisher’s role can vary depending on your needs. Some publishers will help you develop your music while others will only collect your money and distribute it to you. All publishers perform the role of copyright administrator—registering the works with the copyright office, sorting through all the related paperwork, issuing licenses, collecting money, and paying the money out to you. Publishers may also help finance writers’ careers. Some publishers will offer writers an advance against their future earnings, much like the advance a record company gives an artist. This is just money up front, in the form of a loan, meant to help writers with living expenses while they write. The advance size varies depending on the artist’s perceived potential for future earnings. Before we go into publishing deal structures, it is important to know how the ownership of a song is split among cowriters. This will affect how money earned from publishing will be split among your band members. If you own 100% of your copyright and didn’t cowrite with another person, this will not affect you. Whenever you cowrite, you should create a written agreement clearly stating each member’s ownership in a song. This can be done with a split sheet. You could choose to give each writing member an equal share of ownership, or you can split it up according to the amount contributed. If the drummer and singer write the majority of the melody and lyrics, it may make sense to give them each 40%, while the other two members receive only 10% each. NewArtistModel.com Hack the Music Business 55 In a traditional deal, music publishers split composition royalties 50/50 with the songwriter. The songwriter may receive an advance against future royalties when they sign a publishing contract. In a traditional publishing deal, the publisher will typically do a lot more in terms of development and finding people to use your songs. Terms tend to be longer and advances are common. A copublishing deal is a variation on the traditional deal. In this situation, the writer sets up their own publishing company, and then enters into an agreement with a thirdparty publishing company to help promote and place their songs, and to administer the licenses and collect the money. In the typical case, copublishing means that the songwriters collects the songwriter’s share (50%) and also half of the publisher’s share (half of the other 50%), for a total of 75% of their publishing income. Advances are less common in a copub deal than they are with a traditional deal. The third commonly used publishing deal is the administration deal. This deal allows the artist to retain their rights and results in the highest share of income; however, the publisher, or administrator in this case, also provides fewer services. For these services, the administrator will take a cut of the income they collect, usually 1525%. Administration deals will not usually have an advance and the term is generally fairly short. Self Publishing If you are just starting out you probably don’t need to sign with a publisher or even an indie publisher. In fact, during the early stages of their career most musicians don’t sign with one. At the start, you will probably not have enough publishing business to merit a deal with a publisher, but that doesn’t mean that you shouldn’t pursue publishing yourself. If publishing is a revenue stream you want to exploit you can use your knowledge and connections to find your own local publishing placements. NewArtistModel.com Hack the Music Business 56 Publishing early in your career should be viewed as an investment. It will require a lot of upfront work on your part and will most likely bring in little money at first, but if you approach it with a strategy in mind, your career may greatly benefit down the road. When you reach the point in your career when you would benefit from having a relationship with a real publisher, your chances of getting a good deal will increase if you can show, with past placements, that you have publishing potential. Like many other aspects of an indie artist’s career, it is a long road of small steps. Music publishing can be a tricky area to navigate when it comes to payment, especially when you’re just starting out. Many of the small companies within your reach don’t have a budget for music and rely on small indie bands to license their songs for free. In these cases, don’t cave in or restrict yourself to just monetary payment. Think about what nonmonetary things they can offer you in exchange for your music. When done correctly, the publicity could be just as valuable as a check. One band that really utilized a company’s blog to their advantage is the Happen Ins. The Austinbased rock band was featured in a catalog from the clothing company Free People and a corresponding video in July 2011. In this case, Free People had to get permission to sync the Happen Ins music to their video. Free People is a fairly well known clothing line, so the band most likely got some monetary payment, but we’ll focus on the nonmonetary publicity, as it is something most companies can offer even the smallest bands. Members of The Happen Ins were in the catalog, were the feature of many blog posts surrounding the catalog release, and played at the catalog release party. In order to grow their fan base, the Happen Ins offered a free download to Free People’s customers. NewArtistModel.com Hack the Music Business 57 You can also use YouTube as a self publishing platform. You don’t need a publisher to get your music placed in YouTube videos. You just need to be proactive with social media and reach out to YouTubers you think would be interested in using your music with their creative content. There is a huge community of amateur and professional video makers on YouTube with topics ranging from beauty and fashion to gaming to health and fitness. There is also a big surge of professionalism among these YouTubers. As a result, many are getting more creative with the music they use in their videos. YouTube has a tough copyright policy so many seek out either royalty free music or get permission to use a track from an indie artist, usually in exchange for a link back to the musician’s website or Soundcloud page or a shout out in the video. YouTubers are tastemakers. People subscribe to their channels and watch their videos because they trust their opinions. When YouTubers feature really great music in their videos, either by mentioning the band or by syncing the music with their videos, tons of their subscribers will go listen to more or even buy the album. Let’s take a look at a few examples. Day[9], whose real name is Sean Plott, is an exprogamer, a game commentator, and a host of an online daily Starcraft show, the Day[9] Daily. While he doesn’t sync music in his videos, he often chats with the audience telling them what bands he’s been listening to lately. During one of his videos he mentioned a Blue Sky Black Death song and as a result, the song’s view count on YouTube went up by a few thousand. There is also an enormous fashion and beauty community on YouTube and some, like Jenn Im of Clothesencounters and Michelle Phan will seek out indie musicians, use their music as a backing track to their tutorials, and link to their channels in the description box. NewArtistModel.com Hack the Music Business 58 So, how do you approach companies and content creators for publishing placements? First you need to do your research. Know about their product or service or the content they create. Know what kind of music they have used in the past. Next, figure out which track would be bestsuited for their purposes and contact them directly. You can do this through Twitter, a YouTube message, or an email. Try to target companies and content creators whose customers and fans shares traits with your fanbase. The key is to start small and work your way up. NewArtistModel.com Hack the Music Business 59 Chapter 8 Marketing As an independent artist, writer, producer or performer, promoting your music and skills is one of the most important aspects of your career and one that needs constant attention, resources, and focus. Marketing can be a taboo word in music: many people expect to be successful on talent alone. However, if no one knows about you, you will not have a music career. Marketing doesn’t have to be fake, flashy, or commercialized. In fact, marketing today is more about establishing healthy relationships with fans as opposed to the push marketing and mass marketing of the past. Online tools today make it easier than ever to connect with fans on a more meaningful and authentic level. These online marketing and promotion tools have also enabled bands to succeed without a label. Today, you can contact influential music bloggers yourself, you can reach out to your fans directly be it on social media or via email, you can run your own promotional campaigns to grow your fan base and get more people to your shows, and you can partner with other bands and copromote. Your Brand “Branding” and “artist image” aren’t new concepts at all. Since the beginning of music artists have been defined by genre and personality attributes. Beethoven’s music and personality can be described as moody and Liszt was the showy star of the 1800s. What makes you unique? Especially today, there are so many people out there trying to make it as a musician that you really need to consider why people would buy your NewArtistModel.com Hack the Music Business 60 album or go to your show instead of someone else’s. There are two common approaches when it comes to defining a brand. Some musicians like to list every single genre they draw influence from. This just confuses the audience. You end up with something like “We are a psychedelic reggae metal band. We also look to funk, bluegrass, and classic rock for influence and you can really hear it in our sound.” On the other end of the spectrum, some artists are afraid to even approach the task of labeling themselves. Either they feel their music cannot be defined in a sentence or they are uncomfortable waving their own flag and would rather just play music. No brand is just as bad as a confusing one. You don’t have to confine your brand to just musical style. In fact, the more personal you can make your brand the better. Weave in elements of your personality, your beliefs, and your attitudes. If you are passionate about something, chances are other people share in that passion. Use it as a connector! Think about some of your favorites artists or bands. What is their brand? What do they stand for? Let’s look at a fairly well known band, Sum 41. Before they made it big, they had a hard time getting a record deal because many labels thought they were just another Blink 182 imitation band. The labels only heard one dimension of the band—their sound. It was their image, personality and attitude that really set them apart and got them the deal in the end. The band took camcorder footage of them goofing around and edited it into an audiovisual EPK. The resulting sevenminute hilarious video showed the labels that they were more than just punk music. They were characters and they were very good at projecting their character through media. NewArtistModel.com Hack the Music Business 61 So how do you find your image or “brand?” We all want everyone to like us, but in the music industry that’s not always possible. People have such specific and opinionated tastes in music that there’s always going to be someone out there who’s just not a fan of your sound. Musical taste is very subjective, but don’t let that discourage you. On the flip side, because music is such a personal thing, there will also be people out there who think your music is amazing. The key is to focus your efforts on these people. It’s easier to turn a fan into a superfan than it is to turn a hater into a fan. To start, you should really focus in on a niche. This can be anything you want—a genre, a attitude, a belief—what your brand is all about. Aligning with a niche creates the opportunity for a connection; chances are there’s a lot of other people out there who are just as excited about that niche as you are. Above all, your niche can transcend music and connect you over time with other people. To consider an extreme example, let’s look Eileen Quinn, a songwriter and sailing enthusiast who combines her two passions into one by writing sailing songs. She targeted a market that isn’t already saturated with music—the sailing market—and was able to really be the star. It may seem like she severely limited herself in terms of audience, but in the mainstream music industry she would have been just another artist. In her specific niche, however she was able to really stand out. Everyone has their own specific niche, be it a geographic area, a lifestyle, or a belief. It will take a little thought to discover your niche, but once you do you’ll be well on your way to establishing a strong artist brand. Your Fans All musicians have different kinds of fans ranging from new fans to casual fans to superfans. Superfans are the people who will buy your merch and wear it proudly, NewArtistModel.com Hack the Music Business 62 taking any opportunity to talk about you when others comment on their shirt. These are the people who will go to a live show and write an excited Facebook or Instagram post with pictures from the show. They are the ones who will buy your new album and tell all their friends about it. You probably won’t have very many super fans. But, the ones you do have are vital to your career success. Let’s take a look at the 80/20 rule so you can understand their significance. Generally, 20% of your fan base will account for 80% of your revenue. This 20% are your superfans. The other 80% of your fanbase is made up of more casual fans. Mainly new fans and those not willing to spend much, if any, on your music. So how do you use these different kinds of fans to your advantage? The key is to offer different content and products to different kinds of fans. Today, many indie musicians find themselves stuck in a seemingly impassible rut. You are giving your music away for exposure and can’t seem to get to the point where people actually pay you. You think if you don’t give your music out for free you’ll never be able to grow your fanbase. But if you continue down the free music route bills won’t get paid and no one in the industry will take you seriously. It’s a paradox that plagues most indie musicians, and you’re not alone. Free music is great. It is one of the most effective ways to grow your fanbase, which is why it’s probably a huge part of your marketing efforts right now. Even bigtime musicians like Radiohead and Trent Reznor have used free music to their advantage. Now granted, they were already well known. But for most artists, the key is to find the right balance between free and paid content. As we saw already, different fans are willing to pay for different things. Some fans will not pay for music and will not attend your shows. Others will only pay to come to your shows. Others will pay for music, buy merch, go to your shows, and still be willing to NewArtistModel.com Hack the Music Business 63 throw more money at you if you only asked. It’s important to differentiate between these fans so you can target your offers. In this context you need to consider the purpose of “free” music. Think about your fanbase in terms of a pyramid. Potential fans are in bottom third, casual fans in the middle third, and superfans at the top. One purpose for free music could be to move fans up the pyramid. Fans at the bottom of the pyramid will probably not give you cash, so trade free music for an email address so you can stay in touch with that fan. For those in the middle, give them some free songs when they buy something from you–a ticket or merch or a bundle of other songs. For fans at the top, make special limited run products for them and charge them, but give them something exclusive for free to seal the deal. Matthew Ebel is a Bostonbased “piano rocker” who has struck a balance between paid and free with his Patreon page, which he calls “The Officer’s Club.” Here, he gives his superfans exclusive rewards in exchange for their regular patronage. Matthew isn’t a superstar artist—he doesn’t have a ton of Facebook likes —but he works as a fulltime musician and makes a good portion of his net income from his hardcore fans. His fans can choose to donate at a few different levels ranging in price from $1 to $100 per piece of content he releases. Matthew’s offers include exclusive feeds, digital songs and recordings, physical CDs and signed prints, goodie bags, private events, and even inclusion in a song and a personal phone call. These are things that a lot of indie artists just give out for free. Remember that money isn’t the only form of payment that has value. Information can be just as valuable or more than cash in many instances. As an example, Matthew Ebel offers an entire free album to anyone who signs up for his mailing list. The purpose here is to move potential or casual fans up the pyramid to more serious fans. To do this, he NewArtistModel.com Hack the Music Business 64 gives them a taste of his music—a trybeforeyoubuy if you will—and in return gets the ability to contact them through email. He can now send these casual fans information on his live shows, new material, and life. Fans as Your Marketing Team As an indie artist today, you’re most likely in charge of your own marketing. You probably don’t have a record label planning your releases or scheduling your social media for the week, and you certainly don’t have any spare cash for a big marketing campaign. Marketing can seem like a completely daunting task if it’s just you and maybe a manager trying to get the word out, but you actually have a whole team of marketers just waiting to share your music—your fans. The best possible promotion you can get is to have your fans talking to their friends about you. Think about it: social media at its best is nothing more than fantofan marketing. Creating authentic communications between trusted sources can be a wordofmouth powerhouse to drive your brand. With the constant presence of social media and the internet, most music fans today are bombarded with more information than they can possibly process. On top of that, new technology has enabled just about anyone to get online and call themselves a musician. As a result, most music fans look to recommendations from trusted sources for new music. These trusted sources could be a good music blog but more times than not it comes from a friend. Think about how you found some of your favorite artists. How many of them did you discover from a friend’s recommendation? Or someone you trust? The key with marketing today is authenticity. Making it real and transparent and interesting. More people will check out your new album after a friend recommends it than would after a flashy TV commercial. This means you don’t need to dish out thousands for a big marketing campaign. The most effective form of marketing is NewArtistModel.com Hack the Music Business 65 completely within your reach financially. Paramore harnessed their fans as marketers in June 2013 for their song “Still into You.” Paramore launched a contest “Paraoke” asking fans to submit their best cover of the song. The winner would receive the bike featured in the video, two concert tickets, and a merch pack. As a result, YouTube was flooded with new Paramore covers. They didn’t need to spend thousands on a big marketing campaign. Their fans spread the word for them. Chances are your fans are already out there talking about your music. It’s up to you to create a great strategy that can harness their excitement for your music. In order to get your fans to talk about you and your music, you need to give them something to talk about, but first you need to create a tribe of “super fans” who are willing to support you. Online Presence The key points when coordinating your marketing online is to know who you are and who your fans are. There are too many social media platforms out there for you to be on every single one, so streamline and use only the ones relevant to you and your fan base. As an example, teens and females are more likely to use Instagram, while postcollege people may be more active on Facebook. Remember that social media shouldn’t be thought of like traditional marketing. It’s social. You should be talking with your fans, not at them. While I don’t like assigning a rule to something like social media, a good rule of thumb is to keep 80% of your content conversational, entertaining, and interesting with only 20% reserved for promotional purposes. You should also try to provide different kinds of content for different social NewArtistModel.com Hack the Music Business 66 media channels. YouTube is great for sharing cover songs, original songs, and even vlogs. Instagram is best suited for sharing images—you don’t need much text. Take pictures of the studio, your band at the venue for sound check, or your new guitar. Facebook is great for longer, more textheavy information. Twitter is a great platform for establishing a conversation. Ask your fans a question or tell them about the inspiration behind your newest song. A website is basically the center of your online presence—all your other pages like Facebook, Twitter, Instagram, and YouTube should lead back to your website. Driving traffic back to your website should be the focus of your marketing and promotional efforts. Through your website, you can sell your music, tickets, and merchandise directly to your fans, and gather demographic and contact information. Many musicians prominently feature a blog on their website. This is a great way to keep your website interesting and relevant. While you are welcome to hire someone to make your website, there are plenty of tools out there that allow you to create your very own website with little to no web design knowledge. Wordpress, CD Baby, Bandpage, Bandzoogle, Squarespace, Viinyl, and Presskit.to are just a few of the options available to you. Your email database will end up being one of the biggest assets in your marketing arsenal, and potentially the most profitable. Optin marketing, such as email marketing, is an oftenoverlooked aspect of an artist’s business. Many artists and bands don’t even have an email list. You just can’t get the same level of direct connection through more passive channels like social media. Think about it: the people who sign up for your mailing list want to hear from you! They want a more indepth relationship with you and your music. If they didn’t, they would have just followed you on Facebook. Fans who sign up for a mailing list are the fans that will consistently listen to your offers and perhaps buy your newest recording and go to your live shows. NewArtistModel.com Hack the Music Business 67 There are some great tools online for creating and managing email lists and email templates. Check out Mail Chimp and Fanbridge, but there are a ton of other options beyond these two. Some website creation tools and services also have basic email address collection functions. When building your website, make sure you have your mailing list signup prominently featured on the home page. Make sure it’s visible on the home page without scrolling. You should have an obvious call to action, like “Sign up for our mailing list!” You could take it a step further and give them an incentive to sign up like a free download. Try giving your email subscribers early access to content and news, special, and exclusive promotions, and additional content and behindthescenes footage not available to anyone else. If you have a small email list, try your best to give your email subscribers personalized attention. You could, for example, send each new subscriber a personalized thankyou email or send birthday messages. Little things like that will make your email subscribers feel valued and help to boost word of mouth promotion. NewArtistModel.com Hack the Music Business 68 Chapter 9 Financing As a musician, it’s easy to fall into the habit of poor budgeting and accounting, or no budgeting at all. There is generally no paycheck that you receive on a regular basis and there are no company financial standards you need to meet. Nonetheless you are a business and you should treat your budgeting and finance as any proper business does—so you can manage your money better, and be more efficient and profitable. You need to know how to handle any cash payments you may receive, how much to pay yourself, and how much to save for the future. On top of that, you need to know how to fund your projects be it a tour or a new album. Finance The first step to budgeting is figuring out how much money you, as a musician or band, earn. How much money can you expect to bring in each month? How much money can you bring in each year? You cannot know what studio you can afford to record in, how many gigs you can play, or whether or not you can afford a producer if you don’t know how much money you can earn to cover those expenses. Keep track of how much money comes in every month. Create a basic spreadsheet where you can record any payment you as a musician or band receive. You should divide your income into categories such as live, merch, recorded music, publishing, and whatever other revenue sources you have. Have a total for each category and a total for all categories combined. You should also be able to identify which month the money came in. NewArtistModel.com Hack the Music Business 69 There are many different ways to distribute income among team members. The most important thing to remember is that you are a musician business and you need to operate accordingly. You need to pay yourself as if you were an employee, and you need to keep some cash in your business account to cover expenses. You should avoid distributing all the money to your team. Some money should be saved and put in a business bank account for future use. It is very important that you have separate business and personal bank accounts. The business account should only be used for your music career income and expenses. Not only will this help for tax purposes, it will also give you discipline in running your business and hopefully a buffer of cash to help cover unexpected expenses or large investments like a new PA system or a band van or bus. The music industry is largely a cash business, especially for smaller indie bands. It can be quite tempting to just pocket the cash or split it up immediately, but try your best to avoid this. The cash you receive needs to be accounted for in your income spreadsheet, and some of it needs to be saved in your business bank account. Crowdfunding In the past, money was a huge barrier for musicians—and one of the main reasons many were forced to tie themselves to a record label. Today, many musicians are finding their own ways to creatively fund their albums and tours, with the most popular option being crowdfunding. Crowdfunding is a huge undertaking, but, if done correctly, you can come out of it with a whole lot more than just money. It also presents dedicated and creative artists a chance to connect with their fans in a whole new way. NewArtistModel.com Hack the Music Business 70 Run Your Own Crowdfunding Campaign A lot of people mistake crowdfunding for an endless well of money, but, the sky is not the limit. The amount of money you can raise is entirely dependant on the size of your fan base – your crowd. Generally, the more fans you have the more money you will be able to raise, although there are other variables like fan dedication and income level. Amanda Palmer was able to raise upwards of a million because she has a huge, dedicated fanbase with spare cash to throw around: that’s pretty much the perfect scenario. There’s no way to tell exactly how dedicated your fans are and how much money they would be willing to donate, but you can look at some figures to get a better idea. Look at how many people you have on your email list, how many people come to your shows, and how many people you have following you on social media. Don’t assume that every one of your fans will donate—even the most amazing musician in the world couldn’t accomplish that. Think about how much your average fan would be willing to spend to help your cause. If your fanbase is generally high schoolers or college kids, they may not have as much spare cash as working adults in their 30s. Think about what your super fans may be willing to spend. If you offer any higherend products on your website, like VIP passes, look at how many of those typically sell to gage the amount of dedicated fans you have. Use all of this to set a reasonable goal. Setting a goal too high and not meeting it is a depressing thing no one wants to face. Not to mention it definitely has a negative effect on your brand. There are tons of crowdfunding platforms out there, each with it’s own unique features and benefits. Don’t just use Kickstarter because it worked for Amanda Palmer. Have a reason for your platform choice. NewArtistModel.com Hack the Music Business 71 Pledge Music is a musicspecific crowdfunding and fan engagement platform with options to set up a crowdfunding or preorder campaign. They have connections with music companies that can help you with things like manufacturing, marketing, and distribution and may be the best choice overall for music projects. Kickstarter has a huge profile, with hundreds of thousands visiting the site each day. On the downside, you only get the money if you meet your goal and you could get lost in the crowd. Depending on what kind of campaign you set up, Indiegogo can allow you to keep the money you raise even if your goal isn’t met. However, Indiegogo takes a higher fee from these kinds of projects. Your budget isn’t just what you want to fund. If you ask for exactly what you need to fund your recording or tour, you’ll find yourself in debt. Each platform takes a percentage fee from successful projects. Taxes are another issue. Technically, the money you raise from crowdfunding is income and needs to be reported. This probably won’t be hugely significant for smaller projects, but all these costs can add up and you should take it into account. On top of that, rewards cost money as well. People are paying for that tshirt or vinyl, but you still need to make it (and ship it to them). Figure out exactly what each reward will cost you and how much they will cost to ship. If you have international fans, look into international shipping costs. The worst situation you could be in is not being able to get the rewards to your fans who took the time and money to help you out. On top of just budgeting, you need to think about your rewards creatively. Make your rewards relevant to your project and your fans. Teenage girls may love magnets made from secret, Instagram photos of the recording process. A slightly older fan base may really appreciate vinyl and even some highend custom vinyl with artwork. Think about NewArtistModel.com Hack the Music Business 72 the project itself. Having a signed electric guitar as a rewards for an acoustic album doesn’t make much sense. Get creative with it. Make sure you have rewards that take different levels of fans into account so as not to alienate anyone. Digital downloads, physical CDs, posters, magnets, and other little things like that are great lower end options. These are great for your more casual fans who may not be willing to or have the means to donate very much. Midpriced rewards like vinyl, a tshirt, or personal things like signed copies or special notes are great for your more serious fans and those that crave personal interaction. Have a few higherend options. A private house concert or VIP pass is a great way to get your super fans involved. Keeping all that in mind, make sure you don’t overinvest yourself in the reward process. You need to make sure you have the time to create the rewards. Handwritten lyrics may seem like a good idea, but keep in mind that you could be writing hundreds. Crowdfunding isn’t just a beginning and an end. Mass pushes at the beginning and end of the campaign won’t get you very far. You’ll be left with an unmet goal and a bunch of annoyed fans who had to block your hourly updates from their social media news feeds. Statistically, most pledges to crowdfunding campaigns come in at the beginning and end. People are motivated by new content and a deadline. You can use this to your advantage to drive more pledges in the middle of your campaign. Release a new, special reward halfway through your campaign. Keep in mind that the entire process is an opportunity to engage your fans in a new way. Release update videos showing your fans the progress of the album they are helping you make. Release short teasers or rough drafts of songs. Ask your fans’ opinions on your lyrical workinprogress. Try to make the content exciting and engaging. You want to keep awareness for your campaign up but you don’t want it to feel pitchy. NewArtistModel.com Hack the Music Business 73 Key Points 1. Change is an open door. Don’t view new technology or a new model as a dead end. Look at it like a new opportunity. It’s a chance to try new things, innovate, and maybe find something that really works for YOU. 2. You are an entrepreneur. More times than not, its the small, agile entrepreneurs, not the big established companies, that innovate and move an industry forward into the future. You can be that entrepreneur. 3. Go lean! Release small and release often. Don’t wait to record your first album until you can afford a time in a big time studio. Don’t wait to start your publishing career until you have a publisher. Start with what you have and go from there. 4. LEARN! Take every single opportunity you can to learn. What went great at your live show? What didn’t go as planned? How can you use that knowledge to improve next time? What social media posts get your fans excited? What song do people seem to like the most? You can learn from every single thing you do. 5. DIWO instead of DIY. You can’t be an expert in everything so find people who are. Your team doesn’t have to be seasoned pros. More times than not, passion trumps experience. For now, recruit friends, classmates, and family to help you out and give your pointers. There are a ton of really successful artists that still work with someone who started out as just a classmate. NewArtistModel.com Hack the Music Business 74 6. Each element of your career is a separate moving part to a bigger machine. Don’t think of recording, publishing, and touring in a vacuum. Think about how you can connect them together into one unified plan. 7. This is a relationship business. Get out and meet people. Talk to as many people as you can in the studio and at your live shows—promoters, club owners, sound and light folks, other bands and musicians. MAKE that connection that could really start your career as a successful indie artist. Remember that face to face conversations will always get you further than emails. And above all, treat people like people. Give and you will receive. 8. Use the process. Recordings and songs are not just finished products. There are a ton of opportunities to engage and connect with your fans and even make money along the entire process. 9. There is no onesizefitsall model anymore. You need to build a career around YOUR music that works best for YOU. Just because something worked for someone else doesn’t mean it will go the same way in your career. 10. MAKE your big break. These days no one is going to hand you your big break. You need to be out there working hard, pushing yourself to new limits, trying new things, and connecting with people if you want to make this your career. With a lot of hard work, music CAN become your career. NewArtistModel.com Hack the Music Business 75 By now your mind should be buzzing with all kinds of new ways to promote your music and grow your career, but this is just a small preview of what you can learn through the New Artist Model. The New Artist Model is similar to a musician’s MBA program a blueprint for success to help take your music career to the next level. Don’t waste your money on expensive college degree programs. Instead take the New Artist Model online program, develop your plan and skills, and save tens of thousands of dollars. When you sign up for the New Artist Model, you also get an exclusive community of musicians and private networking group where you can connect and collaborate with other members around the world. You CAN make music your career. You CAN find your own success. We’re all rooting for you! Keep the Momentum Going! Find the Program that’s Right for YOU! The Complete Online Music Business Program New Artist Model Learn How to Promote Your Music Musician Powertools Become a Better Songwriter Songwriters Kickstart Learn From Music Industry Professionals Music Guide to Success NewArtistModel.com Hack the Music Business 76 Online School: http://newartistmodel.com Email Us Here: [email protected] Get More Free Lessons Here NewArtistModel.com Hack the Music Business 77	[ "music", "business", "fan", "artist", "get", "need", "like", "musician", "one", "song" ]	{ "summary": " \n \nCopyright 2016 Cowboy Ventures, Inc. \nAll Rights Reserved \nNewArtistModel.com \nHack the Music Bu" }
Submit-Music-for-Commercials-Make-Money-Off-your-Music-Through-Commercials.pdf	4. Submit Music for Commercials: Make Money Off your Music Through Commercials (Submit music for commercials) Being a musician these days is tough. While you wait for a record label to sign you, you have bills to pay. Fortunately, you can submit music for commercials and get paid a hefty amount of money. It takes a little bit of work, and you need to understand what goes on behind-the-scenes. Definition of writer’s share and publisher’s share A writer’s share is an ownership which belongs only to the writers of the song. There can be more than one co-owners for writer’s share. Writer’s share can be claimed when a song’s melody, bassline, or lyrics are original. If you’re doing cover songs, make sure to tweak the lyrics in the verses a little to claim some writer’s share: https://twitter.com/MPQuickTips/status/916305847646638080 A publisher’s share is an ownership which belongs to a company or an individual who holds the publishing rights to the music. Publisher’s share can be split between a songwriter, record company, and the musician’s manager. Once you comprehend the writer and publisher share concepts you need to know what kind of music licenses you’ve to sign with record labels, and with your acquaintances in the music industry. Different types of music licenses Music licenses are very complicated, here is the simplest version possible: ●Mechanical license: If a musician wants to remix a song, or cover a song for redistribution, a mechanical license is needed from the music writer who originally composed the song. ●Synchronization license: Synchronization licenses are needed by musicians who want to cover a song and use their version in any form of media. The original songwriter allows the musician to share the writer’s share and asks for a certain percentage of the publisher’s share. For instance, an artist who finds songs to cover , and wants to publish those songs in digital media with an intention to earn from it, has to have a mechanical license as well as synchronization license from the original composer of the song. ●Master license: Master licenses are required when musicians sign up with record companies or music licensing companies. Generally, record companies own/co-own the music rights. If a musician wants to use a song in a certain project, a master license is required from the copyright owner, which is the record company. Learning these music licensing concepts is important. Most of the time, you are going to need a lawyer to assist you. But you will need to know the basics.How to submit music for commercials You might have a vague idea of how you can license your music for commercials, but here’s the clear picture and all the details of resources which can be used for music submission: ●Network: Building your connections in the media industry is very helpful if you want to submit your music for commercial placements. You can meet industry professionals at various parties, events, and clubs. You can also ask their email address or office address and have your manager to the talk to their assistants and set up a meeting. ●Send out press kits: Having a great press kit is totally going to jolt your marketing game in a good way. Make sure to have a uniquely designed press kit that impresses the producers on first glance. You can also send an EPK if you do not have a physical copy of it just yet. Here’s a great example of an EPK: https://www.youtube.com/watch?v=Uxvn0QAxQYw I know everyone doesn’t naturally happen to be in the same place where all these famous musicians and media professionals hangout. Don’t worry, there are some awesome online resources which you can use to pitch your music to the advertising companies: ●SoundCloud: SoundCloud’s potential to reach a wider audience is far beyond your expectation. If you’re not promoting your music on SoundCloud , you’re losing a lot of audience and letting your competitors capitalize it. The famous DJ Diplo received a placement for his song Express Yourself for a Doritos commercial. https://www.youtube.com/watch?v=XPeX6n8XoRg The song has collected over 2 million plays on SoundCloud. If you’re a DJ and want to submit your music for commercials, SoundCloud can provide you a big market to stream your song. Add some appeal to your most important songs, the ones which are most likely to wind up in a commercial, by buying plays. Once you send out your song links to licensing companies or media agents, those bigger numbers will catch their attention. ●Social media: Social media is one of the best places to promote your music. With millions of active users on multiple websites like Twitter, Facebook, Instagram, and YouTube, the potential audience is not just limited to fans, but also media professionals and music licensing companies. Always choose the best channels that suit your marketing plan even. ●Website: Having a great website can work wonders if you want to license your music. A good website resembles your brand image as a musician. Always make sure to add all the relevant details like SoundCloud links, announcements, and concert dates on your website. The EDM trio group Nero’s website has a very modern design and has all the information you need. The main idea should be to promote your songs and get as much online exposure as you can. Nero’s song You and Me was licensed in a Beats by Dre commercial. The group has used all social media sites to cross promote their website and music: https://www.youtube.com/watch?v=ktBEEsCQYLM Joining a music licensing company You can also submit music for commercials by registering yourself with a music licensing company if you can afford spending some extra bucks for membership fees. Here are some example companies: ●Directional Music: Directional Music has a lot of experience in the music licensing business. They have a hasslefree submission process, and are working with the best brands in the world like adidas and Microsoft. ●Music Bed: Music Bed has over 650 registered indie musicians. Their clients include companies like Google, Nike, Netflix, abc, and Mercedes Benz. They have truly establish themselves in the music licensing for commercials business: https://vimeo.com/151647207 ●Audio Socket: Audio Socket’s artist list is huge. They have an experienced management team which provides end-to-end music licensing solutions. This has helped them to build a solid reputation. ●Music Dealers: Music Dealers started out in 2008 and have raised their rank which can’t go unnoticed. The company has a formal partnership with Coca-Cola, and works with all kinds of independent artists globally. Their recent client Nick Seeley managed to license his music in an Airbnb commercial: https://vimeo.com/111643884 ●Rumblefish: Rumblefish is also a great company that works with everyone in the music business and the advertising business like music distributors, record labels, artists, and music publishers. They have different marketing options for all business verticals. With that covered, you should now know how you can submit your music for commercials. Let's look at one last concept behind the music licensing before you jump into it. Types of music licensing deals You need to know what kind of licensing deals you’re going to deal with when your submitted music is accepted for a commercial: ●Complete buy-out: In a complete buy-out deal, the musician is paid a one-time fee for composing a piece of music for licensing. The musician has no ownership of the track under this deal but is allowed to claim publisher’s share of royalties depending upon the agreement. ●Partial buy-out: Under this deal, the musician gets an up-front fee and also retains all the rights for writer’s share. The musician can claim royalty payments from the respective royalty collection body as per the agreement. ●Exclusive: The musician only gets a certain percentage of royalties from the publisher’s share, but still has all the writer’s share. This means that if the licensing company or the record label that owns publisher’s share wants to re-title the song, the musician gets royalties from it and still remains the owner of the original song. ●Non-exclusive: The musician will have full ownership of the song, and can also use it on multiple projects for licensing. The media agents and other advertising entities are entitled to pay up royalties to the artist for air time depending upon the agreement. If you’re still a rising artist, licensing your music and earning from it could be a great way to build your career and pay your bills. Who knows, your song can be a gigantic hit like John Mellencamp’s Our Country which was licensed for Chevy’s truck commercial, even though it faced a huge criticism over the timing of its release. I guess it all worked out for the best and the song was nominated for Grammys: https://www.youtube.com/watch?v=qriNbVCIsow John Mellencamp and trucks is a cliché in the advertising world. Submit your music for commercials and get paid Making money from licensing music to commercials is beneficial in many ways for any artist. The advertising industry is growing rapidly, and a rising artist can capitalize on it using this opportunity. If you prefer to submit your music for licensing in TVs and movies , that’s also a lucrative business. In this article, I told you how to submit music for commercials and get licensed, types of license deals, and information regarding writer’s share and publisher’s share: ●Writer’s share is an ownership belonging to the music writers only. ●Publisher’s share is an ownership which belongs to the copyright owner of the music. ●You can submit music for commercials through connections. ●Tools like SoundCloud, YouTube, social media, and websites are also helpful as links. ●If you can afford a membership fee you can join a music licensing company. Understanding different types of music license deals are equally important: ●Complete buy-out: The artist gets a fixed fee up-front for composing new track and can claim royalties from publisher’s share. ●Partial buy-out: The artist gets a small fee up-front, but has full writer’s share and partial publisher’s share. ●Exclusive: The musician gets a certain percentage of fixed royalty payments, and has the full writer’s share. ●Non-exclusive: The musician can use the song in multiple projects without any hassles, and also claim royalties from publisher’s share. There’s actually no limit on how much money you can make, as it depends upon how valuable your music is to that project. Continue to build your audience, and more and more music licensing companies will see you as an important artist to add to their roster.	[ "music", "share", "song", "commercial", "licensing", "musician", "company", "license", "writer", "publisher" ]	{ "summary": "4. Submit Music for Commercials: Make Money Off your Music Through Commercials (Submit \nmusic for co" }
tL-MARKETING-OVERALL-ARTIST-CHECKLIST-docx.pdf	MUSIC MARKETING PLAN Table of Contents NUTS AND BOLTS ...................................................................................................... 1 1.Music Distribution .................................................................................................... 1 2.Band/Artist Website & Brand ................................................................................... 2 3.Social Media.............................................................................................................. 2 4.Digital Service Provider – DSPs.............................................................................. 4 5.E-Mail Lists & Newsletter ......................................................................................... 6 PREPARING FOR RELEASE ..................................................................................... 7 6.Timeline – Your 12-Week Music .............................................................................. 7 7.Release Day – Be Ready For It .............................................................................. 12 8.Publicity & Marketing ............................................................................................. 13 9.Playing Live And Streaming .................................................................................. 15 10.Real Life Networking .......................................................................................... 16 KEEPING THE MOMENTUM .................................................................................... 16 11.Keep The Music Coming – This Keeps Momentum Up! ................................... 17 12.Fan Nurturing...................................................................................................... 18 13.Create Consistent Content – Ongoing Social Media ........................................ 19 14.Strengthen VIP/Industry Connections ............................................................... 20 15.Making Money..................................................................................................... 21 NUTS AND BOLTS 1.Music Distribution Digital distribution moves a lot faster than it used to, but you should still choose the right distributor for you. There are different distribution channels you can use that allow you to get your music on digital service providers. We recommend CD Baby because they have customer support that you can call and we like their marketing platform which is called show.co. However, there are others such as Distrokid, ONErpm, and Tunecore. Distributors don’t cover everything, and independently you need to also be aware of additional distribution outlets for increased reach, a list that includes SoundCloud and Pandora. Aggregators like 4-5 weeks to get your music to iTunes, Spotify, Amazon Music, and other digital service providers (DSPs). You should speak with your rep regarding the exact release timing to ensure that they have enough time to speak to the major DSPs about the release. If possible, you should upload the entire album when you upload your first, second, etc. single. Apple likes having full albums available for pre-order and that will open additional placement options for you. TIP: new music used to come out on Tuesdays and now Friday is the official release day so choose a FRIDAY to release your music – even if the release party is on a Saturday or if your astrologer says the best date is a Monday – you will look like a noob if you release on any other day! TIP: If you are ordering physical copies of your music, make sure that you get them in plenty of time, especially if you are running a pre-sale or having a release party and you want to offer physical products at the show. 2.Band/Artist Website & Brand The music industry is built on appearances. To be taken seriously it is very important to have a complete and professional looking online presence built into your marketing plan. This starts with your home – your website. You need a modern, functional site that you can update on your own. Your website should have a section where fans can easily get to your music (not a player that automatically plays, please!), a news section with latest happenings, an EPK, and a newsletter sign-up that offers an incentive. Ariel wrote a detailed guide to help you with the architecture. Please keep in mind that Artist Branding is the starting point and should be well thought out. A brand is an abstract, malleable concept and it maybe difficult to know if you’re heading in the right direction. Your brand starts with your bio/signature story (which we will talk about more in Part 2 of this series and it also incorporates colors, style of copywriting, and fonts. Photos and visuals must be in alignment with your brand and make sure to carry this brand across all of your socials. Use your current single artwork with text on top of the images that promote the release date, new music videos, and tour announcements. We love a tool called Canva for fast and easy banner, graphics and social skin creation. 3.Social Media Time and energy need to be spent building a strong online presence in order to be taken seriously as an artist for when the time comes to start actively promoting. Many artists don’t know the basics and try to skip steps by hiring shady companies to swiftly build audiences. This might not be the best idea. Fake followers and limited knowledge of how to use these channels properly will hurt your promotional efforts. A solid social strategy must focus on themes & narrative and you must plan your consistent content so that it is constantly fan nurturing. Keep in mind that music bloggers and fans will visit your socials to see what kind of existing following you have and they will want to catch a vibe. Stale, overly promotional, or boring profiles will not help your chances of engaging. Your content calendar is a crucial component to your social media success. Don’t leave it up to chance. Download our Social Media Organizer above to properly schedule and plan your posts. Instagram The most popular visual social platform has experienced a meteoric rise. The best way to get great at Instagram is by using it and emulating people who already know how to use it well. When you post photos, choose at least two hashtags, as this is how photos are found. Make sure to take the time to select popular hashtags that people are looking for and also create your very own “owned” hashtags i.e. #CyberPRMusic. In addition to hashtags, you can also add captions to your photos before posting. I caution you to be selective about what you cross-post to socials. You want to tell a separate story on each social channel to get people to join you, and not get fatigued by the same posts across channels. Also, post more Stories than posts as they drive more views. We have created two guides to help you take a deeper dive: The Musician’s Guide to Instagram & Advanced Instagram Tips for Musicians.Twitter Even though a lot of artists are turning their backs on Twitter, we still encourage you to keep an active profile. Journalists and music bloggers still actively use it so if you want to connect to them this is the platform to make that happen. Every single person you interact with in real life should be followed on Twitter (friends, musicians, bloggers, producers, clubs, etc.). Increase your followers by following people and many will follow you back. Target similar sounding artists and follow their Twitter followers, as there is a high probability that they may also like your music. To keep your profile active with Tweets, use Buffer. In as little as one hour you can schedule a few weeks worth of tweets. Vary the topics you tweet about from career news (which should be no more than 20% of your output) to your interests, passions, and hobbies. News, politics, sports, and/or culture are all great topics to share to engage and connect around. Facebook Pay-to-play is the reality on Facebook for a Page to get any real exposure. We suggest you build an ad budget into your marketing plans from time to time but have goals in place before you do, and you should have a complete Page that is active with frequent posts. Make sure your Page has an attractive cover banner (as discussed above) and install apps that work as promotional tools for you and your music. We suggest a store from Bandcamp, a Tunecore or CD Baby Tab, and a mailing list signup form from MailChimp. YouTube YouTube is the first place where millions of people go to search for music. It is a powerful platform where artists are getting discovered. For any artist looking to increase awareness, it is imperative to have a presence on YouTube with a professional looking channel, and a cover image that is linked to your socials so people can connect with you across platforms. Make categories to group your videos for easy viewing, such as “Behind The Scenes”, “Official Music Videos”, and “Live Performances”. Also, highlight an official music video in the featured spot at the top. We often see musicians leaving off their artist name in the title of the video, which is terrible for search engines. Create a list of tags. Make sure to include keywords and place important keywords/ phrases at the start of your tag fields. Use adjectives that describe your music and similar artists also as keywords, the latter of which will show up in the“related videos section” after your videos are viewed. We often see description sections left blank. This is crucial because it tells the viewer what they are watching and provides links to other content you own, such as your website and socials. 4.Digital Service Provider – DSPs Digital Service Provider or DSP is another term for music streaming services. This can also mean music stores. You can not build an effective marketing plan without having a working knowledge of DSPs and of course that includes how to drive your fans and followers to Spotify and get included on playlists. Here are a few to get intimate with but remember there are over 70 DSPs. To take a deep dive into 2 vital DSPS – Spotify & SoundCloud click the image above to get our ultimate guide e-book. Spotify Once your distributor of choice releases your new songs to Spotify, you are able to claim and verify your Spotify profile with Spotify for Artists. That allows you to review listener analytics, check for any new playlist adds, add an “Artist Pick,” make playlists, and keep your photo and bio up to date. It is crucial that you understand the basics of Spotify and know how it can help you. They have created a great series of videos to guide you through. The most important thing to you must know is how to submit your tracks directly to their playlist curators to be considered for inclusion on official Spotify playlists. Apple Music Apple Music For Artists launched in August of 2019. You can now view a quick snapshot of your music’s overall performance, identify milestones and all-time bests at a glance, expand your understanding with details of trends over time, discover which of your songs are getting shazamed (Apple owns Shazam) the most and see how many people are listening to your music over time in over 100 countries. Plus you can now update your profile photo through the very same portal. Find out more and sign up for Apple Music For Artists here. Amazon It’s a big one and you should make sure your Amazon profile online is updated and that you have reviews of your music posted on this platform as it helps with the search. More and more people are using Alexa to stream music and you should be sure you are verbally findable so check your Alexa or a friend to see if you are verbally discoverable!SoundCloud SoundCloud is the go-to platform if you plan to do publicity as this is the main platform music bloggers and many podcasters use to accept tracks for consideration and embeds. Your SoundCloud presence can be a key deciding factor to having your music covered. SoundCloud also allows you to create private links for your music before it is released or select tracks to send to industry folks or anyone you wish to share a preview with. And of course, SoundCloud also has a robust community of music fans and other creators so it’s a great place to connect and give and receive feedback. Bandcamp While Bandcamp is, in essence, a direct-to-fan e-commerce solution, it’s also a vast community of fans who understand that paying artists directly is the best way to support. Discovery features like fan accounts, the music feed, and artist recommendations introduce your music to new fans and can potentially drive sales. Bandcamp also has email collection capabilities and a subscription service (like Patreon) so you can grow your email list and make money. Plus many artists have success showcasing their past releases and selling them as bundles as a great revenue stream. Pandora Pandora has over 74 million active users and an artist marketing platform called AMP – Artist Marketing Platform built-in. AMP allows you to record 15-second messages and attache them to any of your tracks plus you can target specific regions and build stories to share. It also pays you royalties (through Sound Exchange so make sure you are signed up with them). Most digital distributors say that your music will be sent to Pandora, but in our experience, you still will have to send your music through to them using their brand new independent artist submissions portal. Understand DSP Graphics Sizing Make sure you have put your best foot forward on each DSP. Here is a guide that shows you the exact dimensions for images for each DSP.5.E-Mail Lists & Newsletter Your email and your ability to nurture your list is the most important part of the musicians marketing plan release strategy that you will want to skip – DON’T. It’s so important that we have an entire LAB focused on how to improve your email called Level Up Your Email Game. Social media is key to attracting your crowd and building engagement. That said, email is still the most vital asset you will build for generating revenue. You make relationships with fans on socials, but you turn those relationships into customers with email. According to the Direct Marketing Association, email marketing produced an ROI (return on investment) of 4,300% — or $43 for every $1 spent. But it is not just about writing an effective newsletter and contacting your mailing list once a month. You also need to understand the concept of email nurture sequences. Spend money on a mailing list service provider that can help you design a rich looking email and provide analytics and tracking capabilities so you can measure the effectiveness of your newsletters and make adjustments where need be. A premier solution that many of our clients enjoy working with is MailChimp.PREPARING FOR RELEASE 6.Timeline – Your 12-Week Music Release Tasks Planning is everything as you can’t stuff the genie back in the bottle after the release is out! If you struggle with managing your time this will help. Watch this 12-Week timeline come to life in a special video musicians masterclass I gave in New Orleans. Three Months Before Music Releases Register With A Performing Rights Organization. You probably already know this but just in case – to collect your royalties you’ll need to sign with a both a Performing Rights Organization (“PRO” for short) as well as SoundExchange. The three options in the U.S. for PRO’s are ASCAP, SESAC, and BMI. For live royalties, BMI and ASCAP both offer portals to collect royalties from playing live. Once your songs are registered on the PRO database, you log in and enter any dates you have performed those songs, where they were performed, and which songs. The PRO companies payout quarterly so be sure to enter the performances soon after they are through, otherwise, you could miss a deadline! You also have to register with SoundExchange , which focuses on royalties for your recording (mechanical rights), while your Performing Rights Organization focuses on royalties for your song (performance rights). Document the Recording & Creation Journey For Your Fans What may feel mundane to you – writing, recording, mixing, mastering, being in the studio, etc. can be really exciting for your fans. Taking them on a behind-the-scenes journey of this music release is a great way to form a stronger bond with your current and growing base. Send updates on how the recording, mixing and mastering is going using videos and photos via your socials, plus capture longer-form stories for Instagram Stories and for your newsletter. Engage with your following on milestones like artwork and song titles by polling your fans and holding contests to select what cover or title to go with, have your fans weigh in on photos, graphics and get them involvedwith the process. The goal of all this activity is to get people excited so they are engaging and sharing your updates. Choose Your PR & Marketing Plan A big component when releasing new music is getting PR. You can accomplish this by hiring a team or by going the DIY route. When hiring a PR team make sure you do your homework and make sure your music is a good fit for that firm’s approach and philosophy. Be sure that the team talks to you about their well-thought-out plan for your campaign. A PR company should work with you to make sure you are fully prepared before you are introduced to the press. This is the first part of their job when you engage a firm. If you’re going with a do-it-yourself approach here are some tips for an effective music PR campaign: Choose Your Playlisting Plan Submit Your Music Directly to Spotify Simply sign in to your artist account (or Spotify Analytics if you are a label) and choose your best song. When submitting take extra care to give a detailed description of the song supplying any and all relevant information about the song to easily guide editors to the best for place your music. Build Your Own Playlisting Initiatives If you don’t know all the steps to set up a playlist follow this step-by-step guide. Start building and sharing playlists. You need to build up plays as this impacts the current song that you are promoting, as well as any forthcoming singles. Use interesting titles and themes to grab people’s attention to aid with search Find Playlist Curators & Pitch This is, of course, easier said than done! It is not easy to find curators but it is possible with some dedication. Google and all the Socials are great places to start. Reddit has an active Spotify Playlists Page. There are also quite a few on SubmitHub you can access for a small fee. Two Months Before Music Release Get Great Photos Make sure you have at least 3-4 great images and variety is important. Most music blogs feature square or horizontal photos. When getting photos taken think through your brand and think about variety to keep your images fresh as time goes by.Finalize your Single / Album / EP Artwork Your Artwork should be ready and look on brand and amazing! Ask your designer to animate it, break it up into tiles for Instagram and or resize it for all your social posts. Research Which Spotify PreSave / Marketing Platform is Right for You You will need to run a campaign to get that Spotify track presaved! There are 3 great services to choose from. Feature.FM has Action Pages to help build your audience. From The Site: Action Pages are highly engaging pages that reward fans for taking the actions you want in the platforms you want and provide you with deep insight into your audience. Toneden can also facilitate social media follows/likes and/or email addresses for free downloads. You can also optimize Facebook ads via Toneden, and customize those ads. Show.co is owned by CD Baby and is integrated so you can use it as well. Focus on Increasing Your Audience If you have been recording new music you may have taken your eye off of the constant grind it takes to keep your socials and your email list growing. This takes a lot of heavy lifting and your whole band or team should be helping. Use my Social Media Tuneup system to diagnose each one of your sites and socials and get them updated. If you have not kept up consistently find your friends and people you admire (bloggers, other artists, venues, local spots you like to hang out in, etc.) on Twitter, Instagram, and Facebook and friend away! This will increase your audience because as many of the people you follow will follow you back. Also, start reaching out to people in your inbox and outbox and get them on your list (remember it’s illegal to just sign people up, so do this with integrity and ask each person). Your newsletter is the place where you will be able to monetize so, don’t skip this step. Prep Your Content Calendar Your content calendar is outlined with all of the assets that you need for your release with dates for each asset/action needed. Countdowns, art reveals, listening party of live release party announcements, ticket links and calls to action (like Spotify Presaves) are all fodder to add to your content calendar. Use my SMM tracker to organize all of your posts and your VIPS. This will help you keep track of all the content that you will post. You can see there is a tab for each platform. If there are several of you in a team or ina band, assign one platform per person. You will also see a VIP tab here this is where you will add industry people you need to connect with in real life (more on that below). Six Weeks Before Music Release Submit Your Music to Your Distributor If you are leading this music release with a single (or two) make sure to let them know you are releasing a single(s) FIRST before the EP (if this is the case). You must have your single artwork ready at this time! Tunecore, CD Baby, and other aggregators like 4-5 weeks to pitch your music to iTunes, Spotify, Google Play, Amazon Music, and other digital service providers (DSPs). Launch a Facebook Like Campaign to Get More Followers to Your Page Or if you have not done so in a long time go through your personal Facebook Page and ask all of your friends to Like your Page. I know this may seem crazy to do during a time when Facebook is catching a lot of heat but promoters, venues, and music bloggers still look at social numbers so make sure yours are consistently growing (and don’t buy fake fans ever!) One Month Before Music Release Release Your First Single This is a great way to build buzz, get fans excited, and also get some music bloggers interested. Any reviews you can place will help build your overall online profile. On the press side of the house aim for appropriate blog targets. If you are a brand new artist Pitchfork is probably NOT appropriate. Go for smaller, more targeted music blogs! That being said, be sure to reach out to your “within reason” dream targets with your single(s). It’s not the best idea to wait to reach out to these loftier sites with your album. Album reviews take a considerable amount of time and, if you look, most music sites are reserving these full album review slots for the most anticipated albums so don’t feel disappointed if you don’t get full album / EP reviews (they are not en vogue these days) Download and read our Spotify & SoundCloud Guide to make sure both of those platforms are set up correctly and you have done what you need to to get these working for you.Announce a Music Release Event: Live Show or Listening Party If you play live shows, book a release show and do something to make this show more special than the others. Decorate the venue, work with the bar to create a special shot or cocktail, pre-sell a merch pack, hire a party bus, ask a food truck to pull outside the venue, etc. If you don’t play out, create a listening party at a small bar, create an after-work happy hour, or choose a local favorite coffee shop. If you are just starting and don’t think you can draw a large crowd, hold a listening house party with wine tasting, cupcake bake-off, fondue party, etc. Think about your fans and make this special for them. And, of course, the key is to announce that tickets are on sale and share links! Launch Your Music PR or Playlisting Campaign This is a great way to build buzz, If you are hiring a PR team this will be when they will launch. Two Weeks Before Music Release Build the Momentum! Keep the excitement up on your socials by scheduling countdowns across your socials. Write your Day of Newsletter so it is ready to go out. Hold a contest to win the new music or give away tickets to your show or listening party. 7.Release Day – Be Ready For It Prep Your Website: Change the artwork on the landing page to announce the new music Add an announcement to the News section Skin ALL socials with “out now!” Use Canva to size and design Create CTAs for each platform to post as well Instagram: Change your bio to announce the release – add the musical note or an appropriate emoji too! Add streaming link and CTA to listen Create a release tile and post with the album / single art and say “out now” Create an Instagram Story video and postGo to Instagram Live and talk about the fact that the music is available and ask for fan feedback Facebook: Make a fun video about the release – and Boost! Boost or Buy an Ad announcing the release to your fans and a look alike audience Edit the “About” section to include the new release Post a status update announcing your release, and pin it to the top as a timeline feature. Go to Facebook Live and talk about the fact that the music is available and ask for fan feedback Spotify: Header and Profile Photo: Keep these up to date and in line with the rest of your social profiles. Image Gallery: Choose images most aligned with your brand and recent music. Social Media Links: Add links to your socials. Here’s a How To from Spotify on adding those and an image gallery. Spotify Bio : With 1500 characters to share with your fans, you can update this whenever it makes sense for you. Keep your bio updated, include shows, notable press, and new singles. Add an Artist’s Pick: You can designate a song, album, or playlist as the “Artist’s Pick.” This will appear at the top of your profile with a note from you. You can add a custom image to your Pick or share tour dates if preferred. Read more here . Twitter: tweet out your release announcement. Pin the tweet to the top of your profile page Go to Buffer and program the tweets for 1-3 times a day for the next 10 days YouTube: Customize the top banner, profile picture to announce the new music Add your bit.ly link and mention of the release to the “About” section Upload cover art and have track streaming in the backgroundNewsletter: Send out a newsletter announcement to your mailing list. 8.Publicity & Marketing PR takes time and effort to execute well. Sadly, many artists believe that PR = blasting a press release out to the top 100+ music sites that they Googled. This never works, because PR placements start with astute research. Bio / Signature Story The cornerstone of your brand is your bio. You will need a solid story to build your marketing and PR from. We suggest hiring a professional to write your musician bio, which we call a signature story around here. Even if you are a strong writer, it can be challenging to write about yourself. A professional writer will be able to craft a compelling bio that effectively conveys all the important details while keeping the audience in mind, which in this case includes press and music industry. Read our 5 – Steps guide here or We would be delighted to write one for you. If you feel like you still need a boost, listen to the Signature Story Webinar. Music Press Outreach The first people to target should be local press and outlets that have covered you in the past (if applicable). When contacting blogs make it personal. Be sure to research which writer/journalist of the site is the best or most appropriate. Always include a SoundCloud link (set to private until your music is released). Follow our full music PR guide for more detail on how to handle this process. Then as we touched on in Part 1, plan ahead so you will have content for multiple press outreaches such as a new music video, remixes, or tour dates, as you don’t want to repeat the same message about the new music. Build Your Targeted Media List There are many ways to start building a targeted media list. One method – identify a musician or band that is slightly further along and fits into your musical wheelhouse, and take note of the press outlets that they are getting featured on. There is a great chance that those publications may also feature you. Learn how to do your own PR with Ariel in her amazing deep-dive course.Blog Savviness Gets Placements. Start to familiarize yourself with blogs, podcasts, and outlets that are appropriate for your release. If you live in a smaller town (read: Not in NYC, LA, or Chicago) there may be some local press that you can go for. Your big goal might be a review on Pitchfork, but what’s your backup when Pitchfork doesn’t respond to you and then doesn’t respond to your follow-ups? Is Pitchfork even the right outlet for you to showcase your project? Sure, they have a large audience, but is it the right audience for you? It’s OK if the answer is “no.” Research is not the only thing you need before you send your first pitch. To find out what to do come download our Ultimate Guide to Music Publicity. TIP: Keep in mind that a music blog is made up of content written by humans. When it comes time to pitch, you will be pitching to them. Increase your chances that they will be interested in you by first being interested in them. Make a connection by following them on socials. Strike up a conversation on Twitter or Instagram if the opportunity arises. A conversation about literally anything other than your music is recommended. This way when you send an email (or if a publicist does for you), there could be some familiarity and existing relationships that will help in getting your emails opened and help your new music be featured. Drive Friends, Fans & Family With Marketing Platforms You are responsible for driving likes and streams to Facebook, YouTube, Spotify, and all other streaming sites. You also need to drive subscribers to your email list. Marketing platforms are key tools that will help you to get your fans to take powerful actions that will pay off forever like saving your profile/track on Spotify, subscribing to your YouTube channel before watching a video or liking your Facebook Page as they visit. In a saturated, crowded space (approx. 20,000 new tracks are added to Spotify each day according to DMR) these platforms are vital. Read this post to understand Feature.fm, Toneden and Show.co. We use all of them here and they are deeply incorporated in our Total Tuneups.9.Playing Live And Streaming If you are already building through touring or playing live at home, continue. This builds on the momentum that has been made. If you need a helping hand LAB taught by the brilliant Kyle Weber of Indie On The Move (IOTM) who walks you through exactly how to get better gigs in your hometown or in new markets, There are undoubtedly limitations on how often you can tour. More than likely won’t be able to tour every market and for this, we have a solution… No Shows? Try Live Streaming! Streaming a show is also a great way to interact with your fans on a more personal and direct level. A live streaming concert is where the audience is online viewers and can be filmed at your home or any interesting location have access to, a great tool to connect with fans. Artists, big and small, are taking advantage of this to keep engaged and present with their current fanbase, generate revenue and to increase their brand awareness. You can stream on Facebook and Instagram, however more robust platforms offer features geared towards creating “official” shows. The two major players are Stageit and Concert Window. Picking between the two (they are both quite similar) will allow you to either charge a set ticket price. What many artists do, is use the pay what you want model which gives fans a way to pay you more tha what you ask for and can be lucrative. Keeping the shows fresh and different will help with increasing viewership from show-to-show Play a game at the end of the performance or midway through using the chat features. Trivia would be a very easy game, where fans could win merch or other prizes. Play New Cover Songs Each Week Ask your fans what covers you should play. Post the question on Your Facebook Page or on Instagram as a tile. The song suggestion that gets the most likes or comments will be the one(s) you cover. Have Guest Performers Join You This is a great way to add a new element to the live stream while cross- promoting to each other’s fans at the same time. Our LAB 5: Mobilize Your Fan Army teacher and client Eli Lev did this with 2 other musicians and covered Fleetwood Mac.10.Real Life Networking You will not make it in music without mastering the power of live networking. That’s the problem with all of the digital tools available to us: Way too many artists believe they can hide behind a screen and launch the careers of their dreams without ever talking to other humans face to face. Building your IRL networking into your planning is key. Many artists are shy and introverted and this part does not come easily. It is crucial to connect the dots of your digital world to the real world. Even if you only want to be a studio musician and never tour, you still need to be able to meet people and find out about potential work. It can be hard to break out of your comfort zone, and I have met so many artists who struggle with anxiety and a sense that networking means “selling” but the most successful people go out and meet other people who can help them. 3 Reasons Musicians Need to Network 1.Connect with new fans. 2.Gain a sphere of influence, and a source for referrals (more fans) as everyone is connected online and offline. 3.Become a resource for your fans and for yourself. KEEPING THE MOMENTUM 11.Keep The Music Coming – This Keeps Momentum Up! A music marketing plan these days is about consistent releasing. Spotify recommends a new release every 4-6 weeks and we do too. Releasing singles and videos will keep fans engaged consistently. This is what you are striving for. You also want to submit each new track for playlisting consideration. A skill set that you need for this is to understand how to use Spotify. Download my Ultimate Guide to Streaming to brush up on the most effective ways to get the music out there. Remember, you’re not limited to just releasing original new tracks. A best practice for keeping fans engaged with Spotify is the plan to release something every 4 to 6 weeks. This does not mean you have to write new songs although that is always great of course.Create Alternate Versions of Tracks Get a DJ to remix one of your songs. This does not have to be a famous DJ. Choose someone who is familiar with what’s trending on Hype M (if that is a goal), or has worked with an artist you love. If you’re interested in holding a remix contest you should contact the folks over at Indaba Music. They put together some great remix campaigns. Or take a page from Nirvana and release an album of stripped-down “unplugged” versions of your studio tracks. This is a great way to show a different side of the band and appeal to potential new listeners. Lastly release a live album, preferably from the release show, but any show will work as long as the audio is of top quality. Make Videos Video is an integral part of your music marketing plan. Share and upload more videos: official music videos, lyric videos, live videos, vlogs, Facebook Live sessions, Instagram Live, etc. Record Cover Songs Music fans love covers. Recording cover songs is a great strategy for your music marketing plan. This works to gain awareness by tapping into what people already know and provides fun content to share. You can cover artists that inspire you, or similar sounding artists. Covering a song outside of your genre can be a great way to tap into a new fan base. This is what the pianist Scott D. Davis did when he decided to combine his love of heavy metal with the piano pieces he was recording. The result was millions of YouTube hits for his metal covers and new fans from the heavy metal community. Scott has been invited to open for Godsmack, Korn, P.O.D., Sevendust, Vince Neil of Mötley Crüe and Queensrÿche. *Please note, to legally sell a cover song you will need to obtain and pay for a mechanical license. Harry Fox Agency is the foremost mechanical licensing agency in the US. To legally make money from cover songs, work with the company We Are The Hits. 12.Fan Nurturing In their desperate desire to connect with as many fans as possible artists are forget that not everyone “out there” is the same. You need to understand the differences and create a separate way of communicating with each community. Some may be following you simply because they liked your sunglasses or your cat and have no idea you are even a musician, while others are waiting to like and comment on every post. Iwrote a 3-part series that explains how to nurture each one up to the next level of fan. Community #1: Your Super Fans These are fans are primarily your closest friends and your live audience. You know them by name. If you play live, they attend your shows regularly and buy merch. They are the first responders when you post on socials and they follow you on multiple channels. It is important to remember to talk to fans at your live shows and get as much face time in when you can. Community #2 : Engaged Fans These fans are your Active Online Audience. They are newsletter subscribers, blog readers, video watchers, RSS subscribers, active Social Media engagers who frequently comment & engage with you on Facebook, Twitter, etc. Community #3 : Ambient Fans These fans are your Passive Online Audience and they are your social media friends who are aware of you via Twitter, Facebook, Instagram etc. but don’t actively communicate with you and may not have ever even heard your music (yet). Don’t Neglect Your Email List & Study Write Email Nurture Sequences Emails should still be going out once a month, and your socials should never go stale. Just because you may not have a big “news” item (a new release) doesn’t mean you should stop communicating on a regular basis. You should also be consistently be building your list. 13.Create Consistent Content – Ongoing Social Media Update Your Socials Every Day Update daily, respond, and interact. Post about things happening in your life. News, food, parenting, fashion, art, sports, and other musicians are topics to engage and connect around. Follow our Social Media Pyramid for content guidance. Use Hashtags #mcm = man crush Monday / #transformationtuesday / #wcw = woman crush Wednesday / #tbt = throwback Thursday / #NewMusicFridayAdd hashtags to Instagram of course but also to social media channels are alive and active. Visualize All Buzzworthy Moments The more press and social media-worthy moments you can generate the better. Anytime a fan, playlister, or music blog, mentions you share it. Create tiles with CTAs and links to Spotify, SoundCloud, Apple Music, etc. Ideas to visualize and keep your socials fresh: Ask your family, friends, and fans to write reviews of your music on Apple Music, Amazon or CD Baby Submit your music to Pandora for consideration if you get accepted use the Pandora AMP program Make GIFS or boomerangs to keep the visuals fun Check for any new Spotify playlist adds and thank the playlist curator Do Facebook or Instagram Lives consistently ALL PR – blog, newspaper, magazine, show listing, podcasts, etc. PR Quotes – highlights from articles (make a few to share over time to mix it up) Radio Adds – Showcase the station logo and tag the DJ Live Show Announcements Ticket On Sale Dates Film & TV Placements Milestones – Spotify playlist counts, award nominations & wins, etc. Follow CTAs (Follow me on Spotify, Facebook, Twitter, Etc) Focus On Leverage The whole point of having a music release strategy in the first place is to leverage it to get your big picture goals. My client wanted higher profile gigs around his hometown, Denver. He leveraged his PR hits strategically by sharing visuals with the promoters/venues he was targeting. He did this by writing each a personal email saying: “I have retained a PR team to increase my visibility and they will work hard to promote shows I am booked to play.”Every time he was featured in an article, he posted it across social channels, tagged the venues and artists he appeared with. From his efforts, he began to get more gigs because he had something his competition did not – strong PR and proving he would promote. You can use a similar strategy. The moral of this story? Always share successes! 14.Strengthen VIP/Industry Connections I have never met a successful musician who does not rely on at least a few people in the music industry. Even if you never want to sign to a label you will need a team to help you. This could include management, booking agents or service based companies to handle things like play listing, publicity, marketing, production, and the list goes on. Music Conferences An incredible place to meet all of these types of people and more is at music conferences. Conferences give you the opportunity for networking and self-growth. Once you are there you want to be memorable. Music conferences are invaluable when looking to learn and to grow in the industry. There are so many types to choose from – small and intimate, huge and overwhelming, hyper-focused or general. No matter which you decide to attend you will have the opportunity to network, meet established professionals, and make connections with other artists all who can be vital to your growth. Here’s my guide to my favorite conferences. Music Mentors Some artists (I’m looking at you introverts) don’t like conferences. Read Industry newsletters and sites to get inspiration and keep up with people and latest industry news. I highly recommend signing up for – DIY Musician, Water & Music , Platform & Stream, Hypebot , and the Billboard Biz newsletters. And, there are many wonderful mentors you should know about who are working tirelessly to help support artists with free and paid options. I love all of the teachers of my LABS classes and follow Suz The Rock/Star Advocate, Bobby Owsinski, Cheryl B Engelhardt, Eli Lev, Randy Chertkow & Jason Feehan, Brady Sadler, and Kyle Weber from IOTM. I also highly recommend These 19 Rockstars who pitched in with their best advice for marketing including Ari Herstand, Bree Noble, Rick Barker, Bryan Calhoun, Ross Barber-Smith and Ryan Kairilla.15.Making Money You want to be considered an artist and not a hobbyist, right? So making money is key to your music marketing plan as it is your ongoing strategy. I made this the last part of the 15 because a lot of building needs to happen before you can monetize. There are so many ways to make money in the business you may not have thought of many of them. LAB 10: Making Money With Music features Randy Chertkow & Jason Feehan, the authors of The Indie Band Survival Guide & Making Money With Music. They have come up with over 300 ways to make money. Merchandise Merch has become very sophisticated over the last few years, there is no need to order a bunch of XL Mens fruit of the loom T-shirts. Our three favorite Merch ideas are USB Flash Drives Different kind of merch item to sell that you can load up with music, pictures, videos, lyrics, sheet music, etc. Vinyl Is hot right now. According to a recent Guardian article: “sales of vinyl reached a 25-year high as consumers young and old have once again embraced physical formats of music.” Make sure you keep the fact that ordering can take months and make sure you are prepared to mail it out and carry it to shows (it’s heavy!) DIY Craft Items We also love the idea of creating unique DIY items as a vehicle of selling your music, our client Mary Jennings sells bolo ties at her shows and in her Etsy store when she’s not on the road. We loved hanging out with her and watching her fans try on ties after her set. Please avoid this costly music marketing plan mistake: You do NOT need to create merchandise until you have a fanbase who will buy merch and you need to have a sense of what they want. Crowdfunding Crowdfunding is a great way to fund an album, a tour or a big idea. By the time your campaign ends, your contributors are invested in the idea and the journey, increasing their loyalty levels to “super fan” status. However you must keep in mind that the average crowdfunding campaign raises $7,000, according to fundable, and it takes dedication and perseverance to pull off successfully. Also – no crowd, no crowdfunding, so make sure you have a real dedicated fan base before you try this. In order to raise $5,000, you would need around 250 backers who would give an average of $20 each. In order to raise $10,000, you would need around 500 backers, who would, again, give an average of $20 each. My book Crowdstart, will walk you step-by-step through your entire campaign, and it comes with amazing done for you bonuses! Subscription Sites Are another area that artists are moving towards, where people sign up to receive music via Bandcamp or support the creation of videos and content through Patreon. Just because people don’t buy CD’s anymore and even downloads are in a decline, people are willing to support artists, you just need to give them the platform to do so and interesting items and experiences to offer. Patreon Patreon is all about content. This means you want to have consistent content to keep your patrons happy. Make sure to share exclusive content only available through your Patreon page. Ultimately, the success of any kind of crowdfunding strategy will come down to you reaching out to your network through your newsletter, social media and getting them involved with both the funding and by helping to spread the word about your Patreon to their friends and networks. Experiences Backstage meet and greets, private Skype sessions, and dinner with the band before a show are all possibilities and should be built into your music marketing plan. You don’t need to run a crowdfunding campaign to sell experiences. Make Sure Your Fans Know Mention your Patreon on your website and across socials. Mention it in your YouTube videos and include a link to your page in the video descriptions. I don’t want you to finish reading this 3-part guide overwhelmed! When we write Total Tuneups for our clients the intention is that they will take afull year to successfully implement. This requires a mindset which will allow you to stay in it for the long haul. Making the music and playing live are not the parts that are hard to focus on. It’s the 15 elements outlined here that can be challenging. Cyber PR LABS This is why I designed Cyber PR LABS to address each and every part you may not know all about in an effective and targeted fashion. They cost less than 99 bucks each and they will give you access to a great community of like-minded artists as well as to the amazing teachers I hand-picked to run each LAB.	[ "music", "fan", "release", "social", "artist", "make", "get", "new", "also", "need" ]	{ "summary": "MUSIC MARKETING PLAN\nTable of Contents\nNUTS AND BOLTS .............................................." }
Case-Study-Essential-Brand-Marketing-Guide.pdf	businessoffashion.com Case Study The Essential Brand Marketing Guide Building emotional, even inspirational, connections to a product is more critical than ever in fashion and beauty. In today’s hyper-competitive, crowded environment, marketing strategies that make brands stand out and stay culturally relevant need a mix of old and new tactics.By Diana Pearl September 2023 2 businessoffashion.comExecutive Summary Have you been sent this case study? Read more deep-dive analysis with a BoF Professional membership at businessoffashion.com/ memberships or contact [email protected]’s brands need to be more than just a label on a sweater or a logo on a shopping bag. It’s in part a reflection of the deepening convergence of fashion and beauty with everything from sports to music to pop culture generally, enabling brands to touch so many different aspects of consumers’ lives. In turn, consumers have high expectations of the brands they choose to let into their lives — whether it means aligning around social and political causes or amplifying certain lifestyles or aspirations. “The brand is where actual value is created, and where customers feel that there’s a value because there’s more to it than just what’s in the box,” said Tiffany Rolfe, global chief creative officer of advertising agency R/GA. Beauty and fashion products with recognisable, emotionally resonant brand identities behind them, often synonymous with a lifestyle or persona, will stand out. Ralph Lauren’s visual embrace of Americana, from cowboy-style Western to New England prep, for example, permeates every aspect of the brand, from its ad campaigns to its brick-and-mortar stores to its products. That identity has turned it into the quintessential American fashion brand. But how can a brand stand out in today’s fiercely competitive, crowded market, as customers have become choosier about their discretionary purchases? This case study shows how brand marketing holds the key to creating the essence of a brand: by conveying a brand’s values and identity to consumers. It’s not about a one-off runway show or pop-up, rather an ongoing trajectory reshaped over time. Effective brand marketing not only builds an identity, but also creates communities of loyal customers and even opens new markets and other opportunities for business growth. In some ways, it’s easier to invest in building a brand earlier on in a company’s lifespan — there’s minimal overhead, fewer employees and less oversight on spending. Founders with a strong intuition can execute on their vision and take risks that end up paying off. Take J.Crew: The brand was able to establish itself with its visual-heavy catalogues when it was still a family-run business in the 1980s and 1990s. Once it took on a majority investment, that vision began to falter. (Though it later resurged under the direction of chief executive Mickey Drexler.) The challenge is to maintain that vision even as other factors begin to play more of a role in a business’ direction. Companies that are under pressure from investors or shareholders to shore up the balance sheet may find themselves de-prioritising brand marketing investments, whose impact isn’t always immediately evident in near-term sales growth. But the strongest brands can see the bigger picture and know that investing in brand marketing is worth the time and cash. Recent years have seen many brands lose that vision as they prioritised performance marketing. The boom in performance marketing, which began in the early 2010s, was driven by the rise of more novel and cheaper marketing methods, where brands pay for their marketing initiatives based on the results, such as clicks or conversions on social media and search. It was a slam-dunk way for brands to simultaneously acquire customers and build their businesses rapidly. Even today as social media ads become more costly and less effective, performance marketing is critical for fashion and beauty companies. But as this case study shows, brand marketing too needs to be part of the mix to create closer, longer- lasting connections with customers, regardless of a company’s age or size. With seemingly endless products to buy, it’s the brand that makes the difference. Consumers will spend upwards of $10,000 on a Chanel bag not because the quality is so superior to its $2,000 counterparts, but because of the strength of the brand. “When you hear that brand name, you want a clear, focused idea and story to come into your head,” said Allen Adamson, chief executive of marketing agency Metaforce and adjunct professor at New York University’s Stern School of Business. Companies profiled in this case study are striving for deep, long-lasting connections with customers, as they strategise around in-person and digital events, social media and often old-fashioned advertising on TV, radio and billboards. French luxury label Jacquemus has written the playbook for modern brand building by demonstrating how to bring a brand’s online persona to life offline. The story of another luxury label — heritage brand Coach — shows the importance of evolving and modernising brand identities to remain relevant. And two young brands — Dae Hair and Hill House Home — have proven the power of using community to build a brand in a short amount of time.3 businessoffashion.comHistory and Context The fashion industry has played a significant role in shaping brand marketing as we know it today. From runway shows to ad campaigns in glossy magazines to Hollywood product placements, the industry has for years proven to the world how a brand can be much more than what appears in a shop window or is taken home in a gift- wrapped box. A quick glance through fashion history reveals the power of a strong visual identity — Louis Vuitton’s brown and tan monogram-covered print (launched in 1896), Gucci’s horsebit (launched 1955) or Prada’s triangle (launched in 1913). Brands have learned how to meld a whole range of sensory and emotional cues, which evoke a certain lifestyle or ethos to ultimately create an affinity with shoppers. Sometimes, the best brand marketing moments aren’t even created by the brand itself. Think Audrey Hepburn outside of Tiffany & Co.’s Fifth Avenue store in “Breakfast at Tiffany’s,” a scene that continues to pay brand-building dividends for the LVMH-owned jeweller — in the revamped New York flagship, LVMH kept plenty of references to the film, including a “Breakfast at Tiffany’s” menu selection at the store’s cafe. And while advertising has certainly helped, the decades-long success of Chanel No. 5 benefitted from its cultural cachet — Marilyn Monroe famously said the fragrance was all she wore to bed at night. It’s not just Hollywood that plays an indirect role in marketing: UK brands such as Barbour and Burberry are granted permission to use the British Royal Arms emblem on labels and packaging to indicate a product’s use in the Royal household. Beyond luxury, the art of brand marketing has taken shape in the mass market, also drawing on emotional and aspirational resonance. Though Nike first captured consumer attention with its “swoosh” logo and waffle-soled running shoes in the 1970s, it has since built a pool of elite sports stars to help its products be associated with high performance, even among customers who might only ever aspire to run a few minutes on a treadmill or shoot a few hoops with friends. Tiffany & Co. continues to reap the benefits of the 1961 film “Breakfast at Tiffany’s,” which has created an aura around the brand’s identity. Getty Images / Paramount Pictures.When Brands Come to Life4 businessoffashion.comHistory and Context Nike has even created personas around products, tapping basketball legend Michael Jordan to put his name behind a sub-brand. Bold ad campaigns have also helped give Nike a reputation for being willing to have a point of view, even if it means stoking wider cultural debates, like its 1995 campaign featuring HIV- positive runner Ric Munõz and its 2018 ad starring NFL player and activist Colin Kaepernick. Hearts and Minds What fashion brands have learned over time is that marketing must tap into customer emotions to build affinity and loyalty. But as with all matters related to human emotions, that is easier said than done. Consumers are processing many subjective sensations and environmental cues every time they encounter a brand. And amid all these encounters today, a whole new generation of customers is creating a broader interpretation of marketing through ongoing dialogues with brands. Gen-Z has played a big role in amplifying social media as a key brand- building channel. US makeup brand E.l.f., for example, took off after it experimented with TikTok during the platform’s early days, creating catchy songs that users would add to their own videos. Danish apparel label Ganni has become the poster child for “Scandi style” at home and abroad not just with its products, but by highlighting its loyal, social media- savvy followers whom the brand dubs #GanniGirls. For bold brands like these, devoted fanbases can be a goldmine. “If you know who you are, have a real purpose to exist, and are showing up in a way that is standing out or disrupting a category, you can build a brand incredibly quickly and make an impact,” said Ruth Bernstein, chief executive of Yard NYC, a creative agency that has worked with brands like Rothy’s, J.Crew and Athleta. “It is not about time; it is about impact.”Exhibit 1: Brand Loyalty: Greater Than the Sum of Its Parts Combined, the six components of brand loyalty are critical for building long-lasting emotional connections with consumers. Storytelling ExperiencesSensory Cues Community Feel-Good FactorAuthenticityBrand Loyalty Source: BoF analysis5 businessoffashion.comThe Right Message, in the Right Place and at the Right TimeChallenge Making an impact through marketing has become easier in some respects, harder in others. With more channels than ever for brands to vie for consumers’ attention, brands have a plethora of building blocks with which to create their marketing strategies. But they also can never stop identifying novel ways to make their brands stand out as social media fuels consumers’ appetite for more and more content. For much of the 2010s and the early 2020s, brands have leaned on performance marketing methods to reach consumers. They have used tactics like affiliate marketing, where they offer a commission to influencers, traditional publishers or other businesses that market their products, or search marketing, where brands pay Google and other search engines for the traffic directed to their site. In 2023, US brands are expected to spend $72.33 billion on social media ads; by 2027, that number is expected to reach $85.31 billion, according to data from Statista Market Insights. Performance marketing also began giving companies a clear understanding of whether such advertising was delivering anticipated financial returns — for starters, they only paid for the results received. In addition, data tallying the number of clicks and impressions in analytics software provides near real- time insight into customer behaviour and spend. That sort of immediate transparency wasn’t something that traditional marketing metrics had ever been able to provide. But the dangers of relying too heavily on performance marketing started to emerge. By the time the 2020s rolled in, costs were rising. There were also growing risks as brands left too much of their marketing in the hands of third parties like influencers who didn’t always have the depth of knowledge of brand codes and vision as in-house teams. And social media platforms could be unreliable, changing their algorithms seemingly on a whim, making even organic content a risk. Source: Statista Market InsightsExhibit 2: A Decade of Splurging on Social Media Ads Brands will continue to invest more and more in performance marketing to reach consumers quickly. US social media ad spend (2017–2027 E) USD (billions) 2024 E 2026 E 2020 2018 2022 2023 E 2017 2027 E 2025 E 2019 202121.438.463.172.379.6 29.649.166.776.482.585.3Another jolt for brands reliant on performance marketing happened in 2021, with the widespread lifting of Covid-19 restrictions. Consumers were no longer confined to their laptops and phones at home to connect with brands. Online marketing was still important, but so too were all the in-person events and shopping touchpoints that brands had put on hold during lockdowns. In some circles, this might have seemed like a victory for brand marketing, which was often sidelined by performance marketing. But the reality then and now is that a new brand marketing playbook is needed in recognition of the reality that brand marketing and performance marketing must now work in tandem. Timing and speed are important, said R/GA’s Rolfe. “That’s what is going to allow your brand to stay relevant,” she explained. “If you try to keep it so rigid and are too precious with it, it will not be able to adapt as the world around it changes.”6 businessoffashion.comThe Anatomy of a BrandStrategy 01 — Capturing a Brand’s Personality Online and Offline Building an independent fashion brand is tough, standing out in the French luxury market, which is dominated by decades- old, conglomerate-backed brands, is even harder. But Simon Porte Jacquemus has managed to do just that. The brand’s climb was slow and steady until it set off like a rocket ship about five years ago. Products like its teeny- tiny Le Chiquito and Bambino bags not only became viral sensations, but set industry-wide trends. It’s gained insider and consumer attention for events like its runway shows, set in spectacular locations ranging from wheat fields to salt marshes. In 2022, it reached $200 million in sales; it’s well along the path from buzzy emerging label to bonafide powerhouse. At the centre of that growth, however, is a personal story that’s been effectively conveyed to consumers.“It’s a guy from the south, who lost his mother, who used to love fashion, coming with ideas and dreams,” said Bastien Daguzan, the brand’s chief executive, referring to the brand’s personal connections to Jacquemus’ life story. “So he decided to make this dream happen.” Founder in the Foreground Jacquemus the person and Jacquemus the brand share much more than a name. The brand is intrinsically associated with Jacquemus’ personal life. There are references throughout the brand to the South of France — its 10th anniversary fashion show was staged in the lavender fields in Valensole, France, a quintessential Provençal location, an hour’s drive from his hometown of Marseilles. This influence is seen throughout the assortment as well: Jacquemus’ Spring 2015 collection was inspired by La Grande-Motte, a beach resort the designer frequented as a child, and products like dresses featuring beach umbrella-esque stripes and extra-wide-brimmed straw hats provide more nods to the region. “Strong codes around the Mediterranean lifestyle are a key determinant element of Jacquemus,” said Daguzan, who joined Jacquemus from Paco Rabanne in May 2022 while Jacquemus continued as creative director. “We are not afraid to put the codes at the centre of the company.” In luxury, Jacquemus was at the forefront of harnessing social media. The designer uses Instagram not just as a channel for the brand, but as a personal page, too. He shares life announcements, such as the adoption of his dog Toutou or his engagement to his partner, Marco Maestri, and documents simple day-to-day moments, like a selfie in his office mirror or a plate of cherries he ate for breakfast. Simon Porte Jacquemus’ personal story is at the foreground of Jacquemus’ brand identity. Jacquemus.7 businessoffashion.comStrategy “He understood from the beginning the role of Instagram and how to interact with the community in a really poetic way,” said Daguzan. “It’s sharing a lifestyle and creating desire around that.” As consumers bought into that lifestyle, the brand has leveraged not only the social media presence of Jacquemus himself, but also the followers of the brand.“People want to be there, not just to buy. … They want to be part of it,” said Daguzan. “Twenty-five percent of the customers who buy Jacquemus take a picture with [the item]. They are the main ambassadors.” Jacquemus the brand is also about continuity. It imbues its in-person, offline experiences with the same day-to-day authenticity and storytelling as it does online.“They are taking what is in fashion — the idea of, ‘If you know, you know’ to ‘If you know, it’s because you were there,’” said Daniel Gonzalez, creative director at Remezcla, a creative agency and digital publication focused on Latin American culture. The brand has put its own twist on showing collections off the traditional fashion calendar, hosting events in unique, exclusive locations that Exhibit 3: Jacquemus’ Runway Repertoire The French brand has developed a reputation for staging envelope-pushing fashion shows, set anywhere from the Palace of Versailles to a beach in Hawaii. Here is a comprehensive look at the brand’s runway shows to date. October 6, 2013: Jacquemus’ first runway, showing its SS14 collection February 24, 2014: Fashion show for the AW14 collection ‘La Femme Enfant’ September 23, 2014: Fashion show for the SS15 ready-to- wear collection in Paris March 3, 2015: Fashion show for the AW15 collection at Paris Fashion Week September 29, 2015: Fashion show for the SS16 collection ‘Le Nez Rouge’ March 1, 2016: Fashion show for the AW16 collection ‘La Reconstruction’ in Paris September 27, 2016: Fashion show for the SS17 collection ‘La Santons de Provence’ February 28, 2017: Fashion show for the AW17 collection ‘L’Amour D’un Gitan’ May 12, 2017: Exhibition ‘Marseille Je t’aime’ at the Musée d’Art Contemporain May 14, 2017: Fashion show for the SS17 collection ‘Les Santons de Provence,’ part of the project ‘Marseille Je t’aime,’ for the OpenMyMed festival September 25, 2017: Fashion show for the SS18 ‘La Bomba’ collection at the Picasso Museum, Paris February 26, 2018: Fashion show for AW18 ‘Le Souk’ collection. Jacquemus announces launch of menswear line June 26, 2018: First fashion show for menswear SS19 collection ‘Le Gadjo’ at the Calanques de Sormiou in Marseilles September 24, 2018: Fashion show for SS19 ‘La Riviera’ collection at Paris’ Italian embassy February 25, 2019: Fashion show for AW19 menswear collection ‘La Collectionneuse’2014 20162013 2015 2017 2018 20192020 2021 2022 2023March 28, 2019: Opening of the café Citron in collaboration with Caviar Kaspia in Paris June 24, 2019: The 10th anniversary fashion show for the SS20 ‘Le coup de Soleil’ collection in the lavender fields of Valensole in Provence November 30, 2019: Celebration of Jacquemus’ 10th anniversary with ‘La Braderie,’ the brand’s first physical retail event in Paris January 18, 2020: Fashion show for AW20 ‘L’Annee 97’ collection at Paris La Défense Arena July 16, 2020: SS21 fashion show collection ‘L’Amour’ in wheat fields outside Paris July 1, 2021: AW21 fashion show collection ‘La Montagne’ March 10, 2022: SS22 fashion show collection ‘Le Splash’ in the Moli’i Gardens in O’ahu, Hawaii May 2022: Immersive ‘Le Bleu’ pop-up installation in Selfridges, London June 27, 2022: AW22 fashion show collection ‘Le Papier’ at the salt marshes of Aigues-Mortes December 12, 2022: Fashion show for SS23 ‘Le Raphia’ collection in Le Bourget March 2023: ‘Jacquemus Obsessions,’ an immersive pop-up, in Galeries Lafayette in Paris May 11, 2023: Celebration of second ‘Été’ capsule collection with launch of Lake Como pop-up June 2023: Launch of Jacquemus’ pop-up beach boutique in St. Tropez June 26, 2023: Fashion show for AW23 ‘Le Chouchou’ collection at the Palace of Versailles8 businessoffashion.comStrategy contribute to the overall aesthetic around the brand. Settings include the Camargue salt marshes in the South of France (for its Autumn/Winter 2022 collection), a beach on the Hawaiian island of O’ahu (Spring/Summer 2022) or the gardens of Versailles (Autumn/Winter 2023). They’re usually set outdoors, as well, providing better light and a more engaging backdrop. The brand’s experiences aren’t limited to invitation-only shows. Before branching into its own brick-and-mortar shops, it opened pop-ups within the walls of some of the world’s best-known department stores, including Galeries Lafayette in Paris (March 2023) and Selfridges in London (May 2022). These pop-ups included over-the-top, surreal, playful elements for which the brand has become known. The Galeries Lafayette pop-up featured a giant version of its popular Bambino bag and a similarly large toaster with toast popping out printed with the brand’s logo. The Selfridges space, called “Le Bleu,” featured bright-blue installations themed around water, including a mock swimming pool. The pop-ups also encourage customers to linger with, for example, a photo booth, flower stand and coffee shop. While the execution of each individual space varies, there are shared traits: bright, monochromatic features that photograph well for visitors’ social media posts and areas inviting interaction with the brand beyond purchasing clothes and bags, like a penny-arcade machine stocked with cups of popcorn.In keeping true to its Mediterranean lifestyle roots, Jacquemus also engaged with local shoppers by, for example, holding a branded takeover of a beach in Ramatuelle, France, with bright yellow striped beach chairs and umbrellas in the summer of 2023, and opening pop-up shops in St. Tropez as well as Portofino and Lake Como in Italy. As other digitally native brands are now realising, such distinct in-person experiences can cement a customer’s long-term affinity with a brand. Jacquemus’ ability to bring what made the brand pop online and social media into the “real world” has further strengthened its identity. As there are more channels than ever for brands to activate, consistency across those channels is key to building — and maintaining — a strong brand identity. “Our lives are so digital and so disconnected; driving the power of something that happens in the real world is just that much more meaningful,” said Jon Haber, co-founder of creative agency Giant Spoon, which specialises in experiential marketing for brands from Stitch Fix to HBO. In-person experiences have fuelled the fervour around Jacquemus, which the company believes will help it move further into the luxury market and build a wider customer base. “We have a really great community [of] younger clientele and we love that,” said Daguzan. “But we also need to tackle a more classical luxury clientele in order to make the brand more long term. We cannot depend on one customer only.” Jacquemus’ pop-up shops have launched in a variety of locations, including in Mediterranean towns such as Portofino, Italy. Jacquemus.“[Jacquemus] understood from the beginning the role of Instagram and how to interact with the community in a really poetic way. It’s sharing a lifestyle and creating desire around that.” — Bastien Daguzan, Jacquemus CEO 9 businessoffashion.comStrategy City, that’s part of who we are and we are able to show up in a different way.” Time was needed to bring this vision to full fruition and it wasn’t until 2020 that Coach’s new-old approach became clear. It launched its multi-channel campaign, Coach Forever, which featured clips like a 1970s-inspired short film starring actor Michael B. Jordan, musician and actor KJ Apa, and model Kaia Gerber in a newscast about animals taking over New York City, and Rickey Thompson shilling Coach wares in an infomercial. Coach TV, which debuted in February 2021, was the next iteration. Similarly, the campaign featured lighthearted videos using local New York City haunts as the backdrop. Amid Covid-19 lockdowns, the campaign struck a chord with customers seeking an antidote to the prevailing sombre zeitgeist. With in-person events still on pause, the brand also showed its Autumn/Winter 2021 collection through a series of Coach TV videos. In addition to featuring the city itself, Coach highlights its New York roots with simple visual cues, like running the name of the city under its logo. It’s added nods to the city to its products, such as bags and T-shirts featuring the logo of iconic New York grocery store Zabar’s. Certain celebrity ambassadors also serve to underscore its heritage, including Bronx- born actress and musician Jennifer Lopez. Vevers’ 10th anniversary runway show, staged the night before New York Fashion Week officially kicked off in September 2023, also emphasised New York. It was staged at the city’s flagship Coach’s 80-plus-year history is a story of a company that has rediscovered the value of its original self — a luxury brand rooted in New York City. It began as a family-run atelier in Manhattan in 1941, making everything from handcrafted leather wallets to baseball gloves, which evolved into a stable of men’s accessories. Then, in the 1960s, it became more widely known for its women’s handbags. The business remained small even as its products were sold nationally in an expanding network of department stores. It was around the time that it was owned by Sara Lee Corporation in the 1990s, that Coach started to capture international attention, spurring it to go public in 2000. It wasn’t long before Coach lost its way and its lustre as it followed a path that spelled decline for many of its American luxury peers, overextending itself in outlet malls, driving a cycle of never-ending discounts and a tumble in consumers’ perception of Coach as a high- end brand. All the while, European luxury players were growing, making it more difficult for Coach to keep up. Change is now afoot. Coach, under parent company Tapestry, is trying to regain its place among the luxury elite. After years of lacklustre performance, its sales have begun climbing again, and it hit record revenue of $6.7 billion in 2022, representing 73 percent of Tapestry’s revenue. Playing a part in its renaissance has been its ability to reconnect with its roots, through a brand marketing mix that has injected a modern edge to a traditional identity. A Creative Approach When Stuart Vevers joined Coach as its creative director in 2013, it was the start of a new era for Coach. His idea wasn’t to chase the popularity the brand once enjoyed by recreating the past, but to figure out its place in the modern market, he told BoF. “Coach can be a genuine, authentic alternative to traditional European luxury,” said the British designer. “But it’s very important that we approach it in an authentic way, [that] we embrace the things that make us unique. Being an American house, founded in New York 02 — Revitalising a Brand’s Personality With Authenticity Coach has worked with celebrities such as Lil Nas X in campaigns that showcase the brand’s New York roots. Coach. Source: Tribe DynamicsExhibit 4: Coach’s Comeback After undergoing a brand revamp, the company’s earned media value — a measure of word-of-mouth buzz — steadily climbed. Coach earned media value (Q1 2018–Q1 2023) USD (millions) 01530 2035 1025 5 Q1 2020Q1 2022Q1 2018Q1 2019Q1 2021Q1 2023 Coach dropped its debut campaign with then-new brand ambassador Jennifer Lopez in January 2020.10 businessoffashion.comStrategy public library location near Bryant Park, with a collection inspired by Vevers’ early days in the city in the 1990s. All this was done with careful collaboration with the marketing team, which is now led by global chief marketing officer Sandeep Seth. “Sandeep and myself both enjoy disruption and change. That’s where we connect the most,” said Vevers. “In a way, it’s giving that space to really partner, focus on where our strengths lie, and then come together and create something amazing.” Moving On Coach’s ability to evolve its brand identity will be tested again as it aims to become part of fashion’s sustainability story. In April 2023, it announced plans to launch Coachtopia, a sub-brand that will promote circularity by creating new products from material scraps. It is a pivotal moment for the brand, particularly after a TikTok post went viral in 2021, revealing how it destroyed damaged and unsaleable goods. Coach discontinued the practice shortly after, but not without reputational damage. It is too soon to say what role Coachtopia can play in restoring its reputation. Particularly important for the Gen-Z consumers that Coachtopia aims to target, Coach’s brand marketing will need to strike an authentic, purpose- driven note as a brand that, to date, isn’t associated with sustainability. To earn credibility in the space, Coach employs a tactic that younger consumers are increasingly asking for: allowing consumers a say in the production process. It consulted with its target demographic — Gen-Z — and hired partners like Gen-Z-focussed consultancy Juv Consulting to bring their perspectives into the brand’s creation. That process will continue even after Coachtopia’s launch, said Joon Silverstein, head of Coachtopia and senior vice president for global marketing, creative and sustainability at Coach. She added that in creating that two-way communication between brand and consumer, Coachtopia will evolve as a community-centric brand. Its second collection, in fact, was created with the help of a team of student designers. “We’re opening the dialogue,” said Silverstein. “We’re in some ways, letting go of total control of the brand definition and saying that we’re on a journey, and that we’re involving our consumers in that.” Embarking on these forward-thinking projects while retaining core elements that have always existed for the brand has proved a successful formula. “There’s a fixed and fluid part of every brand,” said Bernstein. “The iconic products are what’s fixed, but then you add fluid, the surprise, and they extend the expression and excitement. You keep that engine going, you keep it exciting.” Through sub-brand Coachtopia, Coach aims to promote circularity and earn credibility with Gen-Z consumers. Coach.11 businessoffashion.comStrategy One of the most critical shifts in brand marketing playbooks is the focus on community. No longer can brands be built using rigid, one-directional methods, like billboards or radio adverts. These days, a brand-building strategy is just as likely to be conceptualised and executed by customers than in a marketing department. In some cases, a community emerges around a brand unexpectedly, for example, following a viral post on social media. The opportunity then for the brand is to decide how to leverage that moment for the longer term. Take Hill House Home, a homeware company that began dabbling in apparel a few years after its 2016 launch, offering stay-at-home loungewear from its New York base. In 2019, it launched the “Nap Dress,” a garment which came in multiple styles designed to be comfortable enough for the couch but dressy enough for the everyday (the most popular, the “Ellie,” features a ruffled sleeve, tiered skirt and smocked bodice). It showed early indicators of promise, with a tartan- printed run selling out during the 2019 holiday season. It was during the Covid-19 lockdown, though, that the dress went truly viral, as consumers craved a still-comfortable outfit that was a step up from their tie-dye sweatsuits. Sales for the dress shot up, and fans of the product dubbed themselves “Nap Dress Nation” — a 03 — Letting the Community Take (Some) Control Hill House Home founder Nell Diamond, who grants freedom to influencers to define how they present the brand, says that community cannot be scripted. Hill House Home. Source: Anatomy of HypeExhibit 5: Of Fandoms and Followers Global survey respondents reveal the role of communities and brands in their lives. 70 %of fans say their fandom and its community are part of their everyday life 62%of fans feel positively towards brands that have been involved with their fandoms for extended periods of time63 %of fans say that any brand can get involved with fandoms as long as they make an effort to understand the fandoms 54 %of fans say they can tell if a brand is being authentic12 businessoffashion.comStrategy group of the brand’s most loyal fans have created a Facebook group, which now has over 8,000 members. Founder Nell Diamond’s own public profile has risen as well, with her Instagram offering another touchpoint for the brand, which has seen its revenue increase 300 percent for three consecutive years since 2020. Hill House now has a growing community of customers as well as an expanding portfolio of dresses and other apparel. Power in Numbers A community not only can support a brand, but also amplify its message, said Amber Fillerup Clark, a beauty and lifestyle influencer who founded her own clean hair care brand, Dae Hair. From the Arizona-based start-up’s early days in 2020, Fillerup Clark had a targeted strategy to develop her brand through a national network of ambassadors — not only full-time content creators but also customers she sees are posting about the brand. A cornerstone of her strategy is to get products into the hands of as many potential ambassadors as possible through a gifting programme. That way, when a product starts to generate interest on social media — as was the case with its Cactus Flower 3-in-1 styling cream, whose hashtag has nearly 12 million views on TikTok — potential ambassadors will already be familiar with it. She also believes paying influencers for their help in promoting the brand is important. “For so long, brands’ attitude was, ‘We’re getting free exposure already, why would we pay you?’ That’s where brands got it wrong, because that’s exactly when you want to pay someone,” she said, adding the amount varies according to the project they align on. “We want to support our supporters.” Today, the brand works with approximately 500 influencers a year and is one of Sephora’s fastest-growing hair care labels, having closed an $8 million funding round in late 2022. In Control While the founders of Dae and Hill House Home have followed different paths to community-building in some respects, they do have similarities in others, including how much and when to let their brand-builders be in the driver’s seat. At Dae, Fillerup Clark said the company will determine where and when a campaign with an influencer appears, but it will usually hand the rest over to the creator. That means the end result can be anything from a styled product shoot to an off-the-cuff unboxing video to a behind-the-scenes of a Dae campaign shoot. “[Influencers are] all in the place we are because we’re creative, so when a brand takes that away, it loses its fun,” she said. “I just want it to feel natural for them.” She said it also helps to ensure authentic messaging as well as longer- lasting relationships with influencers. This echoes Diamond’s views. “I don’t think you can script or structure community. It’s about actively listening to a group of people who might like your product, the early adopters, and then not getting in the way,” she said. But both entrepreneurs are also clear that ultimately, control over the brand’s future rests with them, not the community. “One of the difficult things about becoming a viral hyped brand is that people have a preconceived notion of who you are,” said Diamond. “That can be incredibly positive, it can be neutral, and it can be like, ‘Well, that’s not for me.’” Diamond personally leans into brand marketing just as much, if not more than the Hill House Home community. While she may have moved on from the early days when she answered all the customer service emails herself, she still maintains a direct dialogue with customers. That’s one reason why ahead of every major drop, she hosts a “Nap Room” chat on the brand’s site where she’ll livestream and answer questions about the new products. And while Fillerup Clark consciously avoids being front and centre of Dae’s branding — for example, her name doesn’t appear on the brand’s Instagram and few images of her can be found on the brand’s feed — she has still infused the brand with her vision and personality, right down to packaging, with earthy hues inspired by the deserts of the US southwest. Having a viral moment “might give you a quick buck for a year, but it’s not going to give you a lasting brand,” she said. “I didn’t want to have my following to be a crutch for the company,” she said. “I want it to be a big brand that in 10 years, is still in Sephora thriving, and I can feel really proud of it.” Dae Hair’s packaging echoes founder Amber Fillerup Clark’s vision and personality, with hues inspired by the deserts of the US southwest. Dae Hair. 13 businessoffashion.comLooking Ahead Nowadays, it’s clearer how brand marketing and performance marketing must coexist. As Seth of Coach put it: “What brand building does is creates an emotional space in the subconscious … of the consumer. Then when someone is ready to buy the product, that’s where performance marketing plays a role. Both are very critical, as long as you place the right message at the right place.” However, having expertise across this short- to long-term spectrum can be a challenge for brands and their CMOs, particularly if they have been heavily focused on performance marketing, according to Peri Hansen, senior client partner at recruitment and consulting firm Korn Ferry. Going forward, she predicted, more companies will seek out marketers who can strategise holistically about how to make their brands come to life. “Increasingly, we’re hearing from CEOs [who are looking for a new CMO], ‘Let’s find the person who can shape the experience, and the evolution of the brand will follow,’” said Hansen. It’s less about finding a traditional brand marketer than someone who embraces all forms of marketing and ways to amplify what a brand is about.Rapidly evolving technologies like generative AI will likely play a role. It is still early days for the technology — and the skills creatives need to harness the power of these tools, said Nima Abbasi, a partner at Maison Meta, a creative agency that teamed up with retailer Revolve in 2023 for a billboard campaign in California whose models and accompanying collection were all AI generated. At this juncture, he said, “There is a real lack of understanding of what you can do with generative AI, what you can’t do and how you do it.” At the same time, brands should be cognisant that not all new technologies take off — in 2021, brands were rushing to get into NFTs and explore virtual fashion in the metaverse. Cut to today, the NFT bubble has burst and a mainstream embrace of the metaverse seems far off. Events, too, will play an important role in this post-Covid world, as brands look to connect with customers in person. Haber said that brands should craft their event strategy to satisfy a number of factors: There can be small-scale events to build a presence in neighbourhoods or local areas, and then large-scale events to generate publicity at big-ticket events like SXSW in Austin, Texas.Going forward, brands will need to look at their customers not as a group they’re talking to, but talking with. Customers are a more visible part of a brand’s story today than ever. Their images and videos populate social media feeds, their reviews are consulted before a new consumer makes a purchase and their loyalty can take a brand from viral hit to lasting success. Becoming a true community should be seen as the ultimate goal in today’s ecosystem — creating a brand that customers don’t just want to shop from, but they feel they’re a part of. “Community means that you’ve elevated from a product to a brand and now that brand means something to multiple people who want to connect with each other,” said Sarah Engel, president of January Digital, a strategic consulting and digital media company. Put another way, when customers are as invested in the success of a brand as it is, that’s where true loyalty begins. Source: 2023 Gartner CMO Strategy and Spend SurveyExhibit 6: Follow the Money A Gartner survey of retail CMOs found that brands spend slightly more on digital advertising than offline formats, with event marketing, sponsorships and partnerships the most popular channels to spend on. Retail CMOs’ marketing investments by channel (2023) Mean percent of budget Digital Offline 51.2 48.810.8 9.413.4 Social advertising Search advertising Digital video advertisingPaid media SEO Influencer marketing11.6 6.814.016.0 14.3 13.7 12.0 11.617.9 Event marketing Sponsorship Partner co-op TV Out of home Direct mail RadioOwned/ earned media Channels14 businessoffashion.comFurther Reading • The Business of Fashion, The Complete Playbook for Generative AI in Fashion \| Case Study • The Business of Fashion, How to Build a Profitable DTC Brand \| Case Study • The Business of Fashion, How to Build an Independent Beauty Brand \| Case Study • The Business of Fashion, A New Model for Building Independent Fashion Brands \| Case Study • The Business of Fashion, Introducing the Brand Magic Index • The Business of Fashion, How Brands Measure Buzz15 businessoffashion.comAll information contained herein is the sole property of The Business of Fashion Limited. The Business of Fashion Limited reserves all rights regarding the use of this information. Any unauthorised use, such as distributing, copying, modifying, or reprinting, is not permitted. Please contact [email protected] for more copies. Design by Amy Vien Edited by Janet Kersnar, Brian Baskin and Hannah Crump Front cover image: Getty Images [email protected] our complete online courses and learning resources at: businessoffashion.com/educationCopyright © 2023, The Business of Fashion Ltd. All rights reservedFor press enquiries, please contact: Jael Fowakes Associate Director, Brand and Community [email protected] Liam Johnson Senior Account Director, Camron Global [email protected]	[ "brand", "marketing", "fashion", "show", "said", "collection", "coach", "jacquemus", "customer", "product" ]	{ "summary": "businessoffashion.com\nCase Study\nThe Essential Brand \nMarketing Guide\nBuilding emotional, even inspi" }
Touring-Articles.pdf	115 Articles on Touring and Playing Live! Reading this collection of touring articles will ensure that your liveperformances will be successfuland fulfilling. The articles cover every area of importance and have been written by the most respected experts in the areas of touring and playing live. The wisdom the these authors share with you comes from years of hands- on experience. Please take the time toread through each article. The time spent will pay off for you many times over in the long run. TABLE OF CONTENTS (click on the HEADING to go to that section) 1. INTRODUCTION Page 9 A GLOSSARY OF LIVE PERFORMANCE AND BOOKING TERMS by Jeri Goldstein, Performingbiz.com A TALENT REPRESENTATION PRIMER (a brief rundown of some terms in the business) by Mark Steiner & Steve Tetrault, Gig Salad VENUE OPERATOR AND MUSICIAN: A GOOD RE LATIONSHIP DEPENDS ON BOTH OF YOU by Annette Warner, CoffeeHouseTour.comWHY PLAYING LIVE IS SO IMPORTANT by Clare Dowling, The Moot 2. PREPARATION Page 20 TO TOUR OR NOT TO TOUR…THAT IS THE QUESTION! by Sheena Metal, Music Highway Radio EXPAND YOUR DEFINITION OF A LIVE PERFORMANCE by Bob Baker, TheBuzzFactor.com HOW TO FIND THE RIGHT VENUE FOR YOUR LIVE SHOW by Jeri Goldstein, Performingbiz.com DYNAMICS FOR SUCCESS by Jeri Goldstein, Performingbiz.com HOW A POSITIVE INDIE ATTIT UDE WILL ADVANCE YOUR CAREER by Jeri Goldstein, Performingbiz.comVITAL GIG BOOKING T OOLS: THE PRESS KIT by Jay Flanzbaum, OnlinegigsPLANNING YOUR OWN TOUR by Kim Ruehl, Betamax SETTING UP A SUCCESSFUL TOUR by Kenny Kerner, Musicians Institute 3. BOOKING AGENTS Page 35 LOOKING FOR AN AGENTby Jeri Goldstein, Performingbiz.com BOOKING AGENTS AND NATIONAL TOURING by Max McAndrew, The House of Blues How to Approach Booking Agents by Jeri Goldstein, Performingbiz.com MANAGERS: CAN’T LIVE WITH THEM…BUT CAN YOU LIVE WITHOUT THEM? by Sheena Metal, Music Highway Radio4. BOOKING GIGS Page 49 BOOKING LOCAL / CLUB SHOWS by Carrie Klein, Nasty Little Man Promotions THE BASICS OF BOOKING YOUR OWN TOURS by Jay Flanzbaum, Onlinegigs.com 5 NEGOTIATION TECHNIQUES TO BUILD BOOKING KNOW-HOW by Jeri Goldstein, Performingbiz.comBOOKING YOUR ACT by Jay Flanzbaum, Onlinegigs HOW CAN I GET BETTER GIGS? by Les Vogt, Entertainment Consultant GET PAID WHAT YOU'RE WORTH! by Lee Kennedy, Dunroven Music HOW TO COMMAND A HIGHER FEE FOR YOUR LIVE SHOW by Jeri Goldstein, Performingbiz.com HOW PERFORMERS CAN FLUB THE INTERVIEW... BUT DON'T LAUGH by Les Vogt, Entertainment Consultant AUDITION AND INTERVIEW COMPLETE BUT NO REPLY... WHAT DO I DO NOW? by Les Vogt, Entertainment Consultant HOW TO USE THE RIGHT "FOLLOW-UP" TO BOOK THE GIG OF YOUR DREAMS by Jeri Goldstein, Performingbiz.com HOW TO SUCCESSFULLY BOOK FOLLOW-UP GIGS WITH CLUB OWNERS AND BOOKERS by Jeri Goldstein, Performingbiz.com ATTENDING BOOKING CONFERENCES by Jeri Goldstein, Performingbiz.com 5. CONTRACTS Page 85 PREPARING A PROFESSIONAL ENGAGEMENT CONTRACTby Les Vogt, Entertainment Consultant THE RIGHT DOCUMENTS FOR BOOKING GIGS by Jeri Goldstein, Performingbiz.com 6. COLLEGE GIGS Page 90 WHAT IS NACA?by Fran Snyder, Concerts in Your Home NACA AND THE COLLEGE GIG: HOW TO NAVIGATE THE EDUCATIONAL MARKET by Will Morgan, Performer Magazine A MUSICIAN'S ADVICE ABOUT THE COLLEGE MARKET by Derek Sivers, CD Baby BOOKING COLLEGE SHOWS by Dan Ostrowski, Alive! with the Arts HOW YOUR BAND CAN BREAK INTO THE (LUCRATIVE) COLLEGE MARKET by Jeri Goldstein, Performingbiz.comHOW TO GET INTO THE COLLEGE MARKET IN 4 STEPS by Derek Sivers, CD Baby BOOKING COLLEGE SHOWS WITHOUT USING NACA by Meredith LeVande, meredithlevande.com 7. TOURING TIPS Page 115 STEPS TO A SUCCESSFUL TOURby David Hooper, Mu sic Business Radio TOURING STRATEGIES: RENTING TOUR VEHICLESby Jeri Goldstein, Performingbiz.com BAND SAFETY TIPS - NIGHT CLUB FIRES AND STAMPEDES by James Blakely, Go Listen Live GIG CHECKLIST: PREPARING FOR A GIG OR SHOW by Dennis Damp, Media Web Source 8. PROMOTION Page 123 PERFORMANCE MARKETING / TOUR SUPPORTby Vivek J. Tiwary, StarPolish.com HOW TO TURN YOUR GIGS INTO MAJOR MEDIA EVENTS by Jeri Goldstein, Performingbiz.com UNDERSTANDING "DRAW" by Diane Rapaport, Jerome Headlands Press HARNESSING YOUR FAN POWER WITH STREET TEAMS by Daylle Deanna Schwartz, author of "Start & Run Your Own Record Label” DOING YOUR OWN PUBLICITY by Jay Flanzbaum, Onlinegigs ENTREPRENEURSHIP IS THE KEY TO NEW ARTIST SUCCESS TODAY by Les Vogt, Entertainment Consultant 9. USING RADIO TO BUILD YOUR FAN BASE Page 141 HOW TOURING AND RADIO WORK TOGETHER by Bryan Farrish, Bryan Farrish Radio Promotion TOUR DISTRIBUTION USING RADIO by Bryan Farrish, Bryan Farrish Radio Promotion HOW TO USE RADIO PROMOTION TO BOOS T AIRPLAY AND BUILD NEW AUDIENCES by Jeri Goldstein, Performingbiz.comCOMPARING STATIONS TO TOURING by Bryan Farrish, Bryan Farrish Radio Promotion RADIO STATION VISITS by Bryan Farrish, Bryan Farrish Radio Promotion10. SPONSORSHIP Page 148 FINDING A SPONSOR by Bronson Herrmuth, author of "100 Miles To A Record Deal” HOW TO GET TOUR SUPPORT FOR YOUR MUSICAL ACT by Jeri Goldstein, Performingbiz.com HOW TO GET BIG SPONSORSHIP MONEY FOR YOUR BAND, TOUR, EVENT OR PRODUCTION by Thom King, Multimediary Entertainment Marketing THE PERFECT MARRIAGE OF ARTIST AND CORPORATE PARTNER by Thom King, Multimediary Entertainment Marketing WHY YOU SHOULD SELL OUT: HOW RICH HARDEST Y GOT FREE CDs AND A TRIP TO JAMAICA by Scott McCormick, Disc Makers 11. PLAYING NON TRADITIONAL VENUES Page 157 BOOKING NON-TRADITIONAL SHOWS AND EVENTS Greg Johnson, StarPolish.com BOOKING FESTIVALS, FAIRS AND EVENTS by Jeri Goldstein, Performingbiz.com TIPS ON GETTING MORE FAIR DATES AND CORPORATE GIGS by Les Vogt, Entertainment Consultant THE SOLO RESTAURANT GIG - GUITAR A LA CARTE by Dan Lambert, Guitar Nine Records DEFINITION OF GUERRILLA GIG from Wikipedia, the free encyclopedia DEFINITION OF A BASEMENT SHOW from Wikipedia, the free encyclopedia ARE HOUSE CONCERTS A GREAT OPPORTUNITY FOR YOU? by Fran Snyder, concertsinyourhome.com HOUSE CONCERTS: A NEW WAY TO REACH OUT TO NEW FANS by Bruce Haring, author of “How NOT to Destroy Your Career in Music” HOUSE CONCERT BOOKING TIPS FOR ARTISTS by Fran Snyder, concertsinyourhome.com SETTING UP A HOUSE CONCERT by TR Ritchie, Si nger/Songwriter FOLK CLUB AUDIENCE GUIDE by Jeremiah McCaw, Ezeduzit CREATING YOUR OWN LOCAL GIGS by Mark W. Curran author of "Getting Gigs: The Musician's and Singer's Survival Guide" CAN’T FIND A GIG? GET OUT ON THE STREET! by Kevin Minihan, Eastwood Band THE ART OF SHOWCASING by Rick Goetz, Elektra Records12. ATTENDING OPEN MICS AND JAMS Page 190 OPEN MIC PERFORMER'S GUIDE by Jeremiah McCaw, Ezeduzit LIVE PERFORMANCE: YOUR FIRST OPEN MIC (int erview with Open Mic Host, Spook Handy) by Anne Freeman, The Aspiring SongwriterTIPS TO HOSTING A SUCCESSFUL OPEN STAGE by Kristen Schuldt, Hydraulic Woman JAM ETIQUETTE by The Victoria Bluegrass Association THE TEN COMMANDMENTS OF JAMMING by Jeremiah McCaw, Ezeduzit 13. PERFORMING Page 198 GIG MANNERS: HOW TO BOOST YOUR APPEARANCES AT VENUES by Annette Warner, CoffeeHouseTour.com THE ART OF PERFORMING by Daylle Deanna Schwartz author of "Start & Run Your Own Record Label" HOW TO REALLY GRAB YOUR AUDIENCE by Marc Platt, Si nger/Songwriter 14 Ways Musicians Can Increase their Tips by Bard Marc Gunn, The Bard's Crier FINDING TRUTH THRO UGH STAGE PERSONAS by Gilli Moon, Warrior Girl Music IMPROVISATION & SURPRISES: THE KEY TO A GREAT COVER BAND by Kevin Minihan, Singer/Songwriter GET MOVING!: SINGING BETTER WHEN YOU MOVE YOUR BODY by Mark Baxter, voicelesson.com PERFORMANCE POWER by Yvonne DeBandi, Sing Smart Vocal Coach A2Z SINGING TIPS by Teri Danz, Vocal Coach for One World Music THE IMPORTANCE OF VOCAL HEALTH by Yvonne DeBandi, Sing Smart Vocal Coach BREATHING 101 FOR SINGERS & VOCALISTS by Yvonne DeBandi, Sing Smart Vocal Coach WICKED COLD AND A BIG GIG? TIPS FOR SINGERS - WHAT WORKS! by Teri Danz, Vocal Coach for One World Music DRUNKEN MELODIES by Kate Hart, Detroit Women14. DEALING WITH STAGE FRIGHT Page 222 HOW TO BEAT STAGE FRIGHT by Jocelyn Brady, Suite101 7 SURE FIRE WAYS TO OVERCOME STAGE FRIGHT WHEN SPEAKING OR PERFORMING by Reverend Michael Bresciani CONQUERING STAGE FRIGHT by Speaking-Tips.com STAGE FRIGHT by Donn Marshall, University of Puget Sound GETTING PAST THE FIRST THIRTY SECONDS by Yvonne DeBandi, Sing Smart Vocal Coach STAGE FRIGHT? ME? by Anne Minnery, Recording Artist LIVE PERFORMANCE: CALMING YOUR NERVES by Catherine L. Tully, Indie-Music.com HOW TO TURN SHAKING KNEES INTO A NICE VIBRATO by Don Bray, Singer/Songwriter BETTER PLAYING THROUGH CHEMISTRY (BETA BLOCKERS) by Blair Tindall, mozartinthejungle.com 15. GENERATING CD SALES AT YOUR SHOWS Page 240 SELLING MORE CDs AT GIGS (A Case Study: The Rogues) by Marc Gunn, The Bard's Crier CONFESSIONS OF A MASTER CD SALES WOMAN by Sharon Wothke, The Rogues TIPS FOR SELLING YOUR CD AT GIGS from The IGS Guitar Forum HOW TO SELL 60,000 CDs by April, Singer/Songwriter 16. SELLING MERCH AT YOUR SHOWS Page 246 HOW TO DOUBLE YOUR GIG REVENUES BY SELLING MERCH by Tony van Veen, Disc Makers HOW TO MAKE MONEY: WYLIE GUSTAFSON ON MERCHANDISING by Scott McCormick, Disc Makers THE “T” IN TOUR MERCHANDISE STANDS FOR T-SHIRT by Gigi Swanson, M.G. Incentives WHY SHOULD YOU ORDER SHIRTS TO SELL AT YOUR EVENT? by Django Bohren, Seatthole Shirts SELL YOURSELF AT GIGS (NOBODY'S GONNA DO IT FOR YA) by Tim Ziegler, LostRock.com LIVE CONCERT RECORDINGS ON USB STICKS by Ryan Jarrett, blog.ryanajarrett.com1. INTRODUCTION A GLOSSARY OF LIVE PERFO RMANCE AND BOOKING TERMS by Jeri Goldstein, Performingbiz.com © 2010 All Rights Reserved. Each industry has its own jargon. Those in the know are able to move about more comfortably. I thought I would lay the foundation and provide you with a glossary of basic terms. The Artist's Team Agent Representative for the artist who makes the artist available for performance dates. The agent negotiates the fees, contracts the dates and coordinates tours. In many states an agent must be licensed to book talent. NY,FL and CA have particularly strict regulations for licensing talent agencies. You could check with the volunteerLawyers for the Arts organization in your state for more information. Start your search with the New Yorkbranch. www.vlany.org Personal manager Provides an artist with overall career direction an d guidance. They will coordinate all the team members who play a role in the artist's development. They will negotiate record deals, publishing deals, find an appropriate agent, publicist, business manager and other team members. In most cases a personal manager does not book performance dates and in certain states it is illegal for them to do so. Business manager Manages the artist's finances. This team member is us ually added once the artists is making a substantial income requiring a full-time person to handle finances at gigs, artist investments and general financial advice. Road manager Takes care of all the details prior to and during the tour. They advance each tour date, make sure the artist arrives at each date in optimum condition to fulfill their contracted duties. If a band can't afford a road manager, a member of the band may serve in that capacity. Publicist Coordinates artist's publicity and marketing campaigns. Provides pub lic notice to the media to create an awareness of the artist. Radio promotion company Coordinates the radio portion of the marketing campaign when the artist releases a new recording. They canbe hired by the record label if there is no in-house radio promotion department or hired by the manager or artist. Radio promotion campaigns generally last for 12 weeks. Their goal is to help the recording gain enough airplay to register on the various radio charts that track new recordings. Booking Terms Hold Placing a hold on a date reserves that date for the artist in question until a final decision by the booker or artistis made to offer or accept the date. Booker, purchaser The person at the club or venue who books the talent.Promoter A promoter may book talent into multiple venues paying rent at each. Promoters may also restrict their booking to one specific venue whether or not they own the venue. Venue Any place where a performance may be take place. Deposit A portion of the guaranteed fee. Deposits are generally returned with a signed contract. Any percentage of the guarantee may be a suitable deposit though 50% of the guarantee is the norm. Deposits are legally supposedto be held in an escrow account until the date is played. Should anything happen to cause the date not to beplayed, the deposit may have to be returned depending on the contract agreement. You should think aboutasking for deposits once you start getting guarantees in excess of $500. Guarantee The fee agreed upon that the artist is to be paid. Gross The total income from ticket sales before any expense is deducte d. NetThe total income after all the expenses are deducted including any artist guarantee. Straight Percentage An agreed upon portion of 100% of income from ticket sales. The larger portion of the percentage generallygoes to the artist. 65% is a reasonable artist percentage. The negotiation points in a percentage deal are the actual percentage and to know whether it is a percentage of the gross or the net. Guarantee plus a percentage Artist gets a base guarantee plus some percentage. Most often these deals are based on a percentage of thenet but it depends on the deal. You certainly can try to get a percentage of the gross. Guarantee vs percentage Artist gets a base guarantee or an agreed upon percentage of the income, whichever is greater. Load-in The time agreed to that the venue will be available for the artist to load in their gear and set up for sound check. Advance the date A series of timely calls to check with the venue that everything is ready for the artist's performance. Checkwith each venue contact regarding production, hospitalit y and housing and coordinates all necessary travel. Advancing each date will keep you informed of each dat e's promotion and ticket sales and will help avoid problems before they happen. It is a good habit to begin advancing each date. Jeri Goldstein is the author of, How To Be Your Own Bo oking Agent The Musician's & Performing Artist's Guide To Successful Touring 2nd Edition UPDATED. She had been an agent and artist's m anager for 20 years. Currently she consults with artists, agents and managers through her consultation program Manage r-In-A-Box and presents The Performing Biz, seminars and workshops at conferences, universities, for arts councils and to organizations. Her book, CD-ROM and information about her other programs are available at are ava ilable at www.Performingbiz.com or phone (434) 591-1335 or e-mail Jeri at [email protected] TALENT REPRESENTATION PRIMER (a brief rundown of some terms in the business) by Mark Steiner & Steve Tetrault, Gig Salad © 2010 All Rights Reserved. Talent agent Talent agents are individuals whose primary function is to secure work for their clients. (artists, actors, bands,models, musicians, singers, magicians, novelty acts etc.). When multiple agents work together, they work for a common company serving multiple talents, otherwise known as a Talent Agency. The standard agreementbetween an agent and performer or speaker is by contract with the major point and theme stating that for a certain amount of time (normally a minimum of a year and usually multiple years) that the agent exclusively will handle all employment. That means every profe ssional and paid booking would be contracted through that agent's office with a portion or commission of the fee going to the agent or agency. There is also such anarrangement as "non-exclusive" representation, where an individual or band will work with more than oneagent or agency, with no exclusivity at either agency. In this case, it's the agent who books the date that gets the commission for that performance. This however leaves much room for confusion, conflict, non-commitment and lack of loyalty. Booking agent Also known as 'buyer's agents', usually fall under the category of both an exclusive and non-exclusive talent agent. The best way I know to describe the difference is by looking at real estate. In the real estate world youhave a property, you have a seller of that property and you have a buyer of that property. In the talent andentertainment world that property is a person or people. There are those who broker, book or represent those people, their talents, skills, abilities etc. and those that purchase the people for a time, for the purpose of performing their talents. The buyers are typically, live venue owners, special events planners,promoters/presenters, private or corporate event c oordinators, brides/grooms and more. So those who work on behalf of the above to negotiate and broker talent would fall under the title “buyers agent” or “bookingagent”. Manager In addition to agents and agencies, there are various forms of managers. Again, sometimes, the lines get a little blurred on job responsibility and title. I suppose you c an call yourself anything you want as long it is clear on what exactly you are suppose to be doing and for who. Within the manager category, there are personal managers. Personal managers are in th e most simplistic description responsible for managing the talent. These duties can vary from one individual or act to another. Again, you should simply go into the details of your arrangement to determine exactly what those responsibilities will be. For some it may include booking engagements. Meaning they are, in essence, workingas the talent agents as well as taking care of the daily scheduling, bookkeeping, itinerary and all and/or other personal affairs. Business managers are those who conduct the business only portion of an acts life and career. Managers as a whole can and oftentimes do it all. Including business, personal, booking and anythingelse the talent needs or wants, provided both parties agree it is within their arrangement/understanding. There are also unions, organizations, affiliations, groups, clubs, memberships, licenses and the guidelines, rules, jurisdictions, books, instructions and more that can help or you must adhere to depending on who you are or who you are associated with. Bottom line, when talent teams or partners decide to work with a second party for the purpose of advancing, promoting, employing them, they must be very clear of what theexpectations are on both sides and define the "exit clause" is when either does not hold up their end of thebargain.Tread very carefully when choosing an agent, record label or promoter and sign nothing until you obtain legal guidance. When considering hiring a talent agent or a talent agency for representation, there are several things to consider. Above all, be certain to never sign a document without first hiring a reputable attorney to look it over . The cost to secure legal advice will pay for itself many times over. Take ten seasoned veterans in the recording industry and nine of them will tell you this very thing. We wish you much success in your career. Get your gig on! Mark Steiner & Steve Tetrault are the co-founders of Gig Sal ad - the North American talent di rectory of local and regional performers, speakers and entertainers, spanning the spectr um of entertainment genres. Gig Salad gives talent buyers, agents and event planners universal access to our directory of talent, searchable by name, category and location. If you need additional exposure, looking to get more gigs or hoping to land just one more that might open the doors to the "big break", then consider joining Gig Salad today www.gigsalad.com VENUE OPERATOR AND MUSICIAN: A GOOD RELATIONSHIP DEPENDS ON BOTH OF YOU by Annette Warner, CoffeeHouseTour.com © 2008 All Rights Reserved. Venue operators and musicians have historically been at odds. It seems we have a love/hate relationship and each, at times, wants to bite the hand that feeds. After conducting interviews over the last year online, in person and over the phone, I have come to a basic understanding of what the rift is between musicians and venues. Musicians accuse venues of exploitation and venues view musicians' monetary demands as beyond what the market will bear. A spiral forms in which nobody succeeds. Apathy is created.The following is a combination of comments gleaned from several sources of wide ranging genres, styles and atmospheres from both musicians and venue operators. MUSICIAN: “If it weren't for us being musicians club owners would have nothing going on to sell their beer and liquor.” VENUE: “ You are an act that's trying to promote yourself and your music. We are your outlets to do so. If it wasn't you we'd have darts or a DJ or something else. ” MUSICIAN: “We should get paid what we think we're worth. Everybody wants us to play for door only. No guarantees.” VENUE: “ If you are any good and have a following and aren't over exposed, you should do well at the door. We have seen bands come in that cleared lots of green at the door. They worked hard for their show. They made money; we made money. Therefore the door stays open for another paycheck down the road. In addition to you, we also have staff that needs to be paid, stock that needs to be bought and other bills to pay. Each night needs to pay for itself and then some.. You need a much smaller budget to maintain your businessthan we need to maintain ours.” MUSICIAN: “After a successful first show that brought many people into your venue, you still want to pay us the same money the next time we come back. We deserve a raise.”VENUE: “ We have to work hard to sell our product. It should be no different with your music. If you aren't going to make us money, you can be sure we aren't going to pay it out. Once you have proven yourself as a worthy draw, we are willing to negotiate guarantees based on your previous shows. You have the right tonegotiate your return shows as well. If you don't want the money we offer, don't book the gig. If you do book the gig, it's in your best interest to promote us as well.” MUSICIAN: “Venues seem to have their favorite bands revolving over and over again. They don't give new acts a chance to prove that we’re just as good as they are.” VENUE: “ Do you experiment with a whole lot of expensive equipment when you already have something that sounds great? Be willing to show us what you can do as an opening act without demanding top pay, so we can determine your worth to us. Our decisions are bas ed on what you can do for us. Your decisions should be based on what we can do for you.” MUSICIAN: “Many venues don't help promote their entertainment effectively enough through advertising. They leave it all up to the bands. You should be working with us to promote the show.” VENUE: “ Stop depending on the people that walk by our doors to see the gig poster we put up for you. If you want people to come see your act - let them know yourself.” The performers that sell themselves the best, make the most money. They don't accept anything less than what they deserve. Face it, if you are posting flye rs up everywhere and no one comes to your gigs, maybe you need to consider revamping or even disposing of your current methods and study your market a little more. The venues genuinely like good bands and definitely like the money they bring in. The bottom line is if they want you, they will pay for you - even if they have to collect cover charges to help offset the cost. There are many venues that, regardless of how good you are or how many people you bring, cannot sell enough product to pay high fees. Most restaurant and full-service bar combinations are going to make moremoney than the average full-service bar, which in turn makes more money than the average 'beer only' bars… which will make more money than most coffee shops. Income can depend on the venue and how important music is in its budget. Just because a restaurant venue has live music every night doesn't mean the music pulls in the crowd. So, on the books, music might be thefirst expense to go during a budget crunch. Many venues have had to scale back pay just to keep booking livemusic rather than shutting music out completely. I've got an issue with musicians that have an attitude about their colleagues who will play for less money, accusing them as traitors and making it rough for the 'higher priced' musicians to find work. Be fair guys. Noteveryone who is a musician wants or needs to make a living doing it and the hobbyists have just as muchright to play as you do. If you demand a certain pay level, join a union which will protect that right for you. But don't expect your venue choices to increase as a result of that move. And you better make sure you have the clout in the industry to support that decision. Unorganized workers in any industry do not have, nor will theyever achieve, the collective benefits that organizatio ns do. High priced musicians that slam a venue's budget with little or no return on investment mess things up for everybody. The venue either closes down or stops booking live music altogether.Check your egos You aren't worth a bunch of money because you've been playing for X number of years. You are worth it because you make money for your venue operator. [Insert favorite artist] doesn't sell out a venue because he's been writing songs on the wall with crayons since the age of two. He sells out a venue because hepromotes his music and sells tickets. Many artists leave town, driving miles and miles to play in a venue for the same money or less, just to feel like touring artists, all the while blatantly criticizing their own community of venue operators for being slack and greedy. Huh? A band will book themselves at a venue a week before their big gig and expect their crowd to want to see them the next weekend as well. I wouldn't go see Elvi s or anyone else two weekends in a row. Seems the motivation to 'pack the house' for many bands doesn't extend past their fir st time in. Be fair with your demand for an increase. Give the venue a chance to see what you can do past the first timein. Are you playing to a crowd that would be there anyway? Or are you bringing your own following? If the firstis the case, they are going to naturally try and get some one less expensive. The majority of venues are notout to rip musicians off. The venues are out to survive as businesses and you can't blame them for that. Hello? Anybody home? Venues should be motivated to support and be fair to their local musicians if they choose to host live entertainment. Here are some suggestions to bring that effort to the forefront and to make it more productive: • Constantly reassess the performance of bands and acts you have on your schedules. Don't make everyone pay for the bad bands you book. • If you are making good money, share it with the performers making it for you. • If you are guilty of exploiting live entertainment, stop it. If you are a low paying venue, go after the artists you can afford. • Be fair. If the performers have a much better night than planned, give them a boost in the pocket. They would love to see that you cared enough to share the difference they made in your register that night. Offer a reasonable tab to help offset the low fee and always offer free non-alcoholic drinks if nothing else. Maybe add a meal on the agreement if you can. • If your sound man is already paid staff don't dock the musicians another $100.00 off an already low fee. Agree on the cash to be paid and include a sound cost before you even offer a figure. Musicianswant the bottom line. Also make sure the sound staff is qualified and not just a bartender filling in. A musician would rather provide his or her own sound crew and pay them out of pocket than sound like bad AM radio, especially if he or she is paying for it. • Don't pay your buddy's band more than you are pay ing someone else that brings the same crowd. • Maintain your schedules accurately. Nothing irks a musician more than showing up to see another act setting up for the night because you 'made a mistake' in the calendar. Musicians have counted on that money for bills since the booking was made. And in the blink of an eye, they are expected toeither share it or work out a performance arrangement including only one artist's performance. If that happens, do something to make it up to them. Don't take the 'oh well' attitude and treat them as expendable. When passing on booking responsibilities, don't change the schedule just because thenew booking manager doesn't like the band the previous one hired. If schedules must be changed,do so in enough time to allow the musicians to fill the night with another gig.• If you agree to pay a band a certain fee, pay them at least that fee. Don't attempt to lower the salary at the end of the night because the night didn't go as well as you intended. • Advertise effectively. Don't expect your musicians to bring all your crowd. You need to be doing your part, too. Help the bands as much as you want them to help your venue. As a Musician Many musicians spend years honing their skills and continue to allow themselves to be exploited because they love to play music. Don't allow it. Respect your ability to challenge the market and succeed by demanding the pay you want. If you are marketable, the work will speak for itself. If you need help and want it, seek the mentors and resources needed to help you make good decisions about your business. There are some venues out there that you want to avoi d and they have reputations that will alarm you. If you get burned once, don't go back. If you work for door and prefer not to deal with the venue's door person, bring your own. If you are working 100% of the door, they may need their own staff there to check ID's, but thevenue has no reason to handle your money. If you are wo rking for a percentage, definitely have a door person that's working a counter. If you have a guarantee against the door, you may still want to use a counter. If youare working for guarantee only, you don't need anyone at the door unless you simply want a head count forfuture bargaining power. There are things that musicians can do to work together positively and provide support for each other. Here are some suggestions for a well rounded approach to dealing with your community of venue operators and peers: • Always remain on positive, professional ground with venue operators even when your answer is, "No, we'll pass." Yesterday's booking guy may be tomorrow's venue owner with a huge budget or he may just know someone with whom he'd like to hook you up with later. Make a solid effort atimproving or developing good public relations skills. Never underestimate your fans and don't be rude and unapproachable. The very people you "don't have time for" today, can be your way up the ladder tomorrow. • Don't bad mouth venues or peers. Gossip is a nev er ending circle of moral decay. Behavior speaks for itself in all instances. Remember that venue owners and booking managers talk to those fromother venues with the same passion and frequency you talk to other musicians. Don't bash a venuefor not paying you all your money when, in fact, you showed up late and started an hour later thanagreed upon. If you have issues with another member of the music community, take it up with them and at least attempt to heal the riff. But by no means should you make it your busine ss to try and see them fail by stabbing them in the back. Keep in mind that “what goes around comes around.” • Show up on time and do your job the best you can. Don't be lazy about your promotion. Show the venue that you care about the gig. • Recruit your friends to help make and post flyers, maintain your website, e-mail lists etc. Use the internet to help promote your band and shows. Trade links with other bands and other music websites. I have personally reaped the benefits of onli ne exposure, so I know it works. Make e-mail sign-up forms, gig cards, business cards and websit e info a regular part of your equipment. Do a monthly one page news sheet if you don't have computer access or even if you do and use it to brag on your achievements, upcoming projects etc. Print them off and lay them on your gig table.• Hold regular band meetings and assign one or two promotional tasks per band member so that no one person is responsible for everything. If you are a solo act, enlist your support network for help. If you find yourself stuck in situations where your band’s ego is more important than the music you areplaying together, maybe it's time to look elsewhere. Sometimes you have to clean house to see a brighter ceiling. Nothing positive devel ops with a constant battle of wills. With a focused effort and tackling problems before they start, things can work out better foreveryone involved.. Having a firm set of st andards regarding the people with whom you can productively deal is a self actualization issue that will grow in importance in the long run. Wastingtime with time wasters is never a good thing to do. Avoid the members of any community that just ooze a bad vibe and negativity. If you can't influence them, don't be influenced by them. Nothing can change with the insistence that it won't change always being the front guy. • Appeal to your proper venue and market. Avoid taking gigs just for the sake of the money. If it's not your type of place, what's the point in playing there? • Avoid placing a 'beer value' on your performance. You are treated as you present yourself. If you want to book your gigs with that type of bartering, then don't expect good paying venues to take you seriously when they know you have played for free beer at a venue down the street. • Keep your salary arrangements private, just as you would any other job. Be satisfied with the pay before you accept it. Contracts are a personal decision. Never hesitate to book a gig in writing if youdon't know the venue's habits. Always have a copy of the signed contract with you at the gig. • When seeking reviews in local or even online publications, be sure to take this on with an organized approach. Send a nice package including Bio, CD, Photographs. Review writers in many ways arejust like venues. They need interesting and thorough subject matter to pique their interest enough towrite about you. If the information they seek is not there, they will move on to an easier subject. Include your contact information in case they want to know more. • It's always good to make friends with the right people, in the right places. Nothing says you shouldn't go out of your way to support your community. A nd I'm not talking about playing a free gig or two. Go beyond that and get involved in your community as a key team player. When you do that, goodthings happen. By helping to promote others, you aren't taking attention off yourself - you areactually increasing it. Everyone wants to be re cognized for their input, value and place in the community. Why not makes yours positive and a little more selfless. It means a great deal to a musician to be appreciated by another musician. Go out and support each other. Let's start a new local fad and call it.. "Musicians helping Musicians...all year long." Don't justpromote your next appearances. Promote other bands playing the same venue you are within theweek coming up so they'll do the same for you nex t time around. It's never good politics to promote other venues on the microphone, so stick with when you'll be back at the current venue. Encouragepeople to pick up a copy of your upcoming shows. • Don't forget those Bartenders and Waiters on the microphone at least once a set. Be respectful and friendly to all the staff at the venue. You never know where they will be pouring or serving drinks a month from now or how close they will be to their new boss. • Make it a practice to clean up your stage before leaving of trash and bottles. Replace tables you had to move and leave it like you found it. Believe me, the staff apprecia tes it and it shows you are a considerate act. Be good to the waiters that keep you supplied with beverages all night on stage.There’s no reason not to tip them just because you're the entertainment.• Join online news groups, organizations , discussion forums and network with other music communities. You'd be surprised at what some good, focused networking can do. • When playing in another town, always pull in a local to open for you. When playing locally, pull in an out of town band to open for you if the venue allows it. That's one of many ways to work your way into another city by supporting the musicians that are living there. • Learn to deal with people professionally. If you can't seem to get through to a particular member of the community, leave them alone and focus on what your goals are. Only you can stop yourself from succeeding. As mu sicians and venue operators, we're all in this economy together - and together is how we will survive or fail. Supporting one ano ther adds strength and courage and breathes life into the overall music community. Annette Warner is a Wilmington based Singer-Songwriter w ho is also the Editor for GoGirlsMusic.com. She founded A. Warner Entertainment! in 1997, A Singer/Songwriter B ooking/Promotional Resource Management Company and maintains a fulltime job as a Sales Copywriter and Web Designer with her own company AwesomeWebs. She maintains a weekly column in local magazines called Warner's Corner, in which she discusses Public Relations tips and tricks for the musician and devotes many hours a week with voluntee r efforts focusing on assisting up and coming musicians with developing a good public image to include hosting a weekly Op en Mic to help local musicians gain stage exposure. She can be reached at [email protected] and her website www.coffeehousetour.com WHY PLAYING LIVE IS SO IMPORTANT by Clare Dowling, The Moot © 2008 All Rights Reserved. Playing your music out live is vital for a band/artist for many reasons. Putting on a concert or playing a gig enables you to get your music out there and make people aware of your band. You can also sell merchandise and CD’s at gigs , promote your website and network with people. Playing live performances means you can build up a fan base and get immediate feedback about you and your music. Without this vital connection, how do you expect people to know you exist? Relying on the internet alone for your promotional needs won’t be enough if you want to build a larger and more dedicated fan base. Here are some tips: Make sure you have some business cards with all your contact details and website info on to distribute at gigs. You can get some free cards at www.vistaprint.com. It’s also good to do up flier s to give to people with details of your MySpace and upcoming shows. Contact the local press and put posters up to help promote your gig. Build a mailing list and collect mobile numbers to inform people of your upcoming show. The mo re people you can get out, the more impressed the venue/promoter will be and the more likely they are to re-book you or put in a good word with their friends.AT THE CONCERT no matter how small or big, here are some pointers: • Never ever put you or your band down. Be pos itive. Be prepared to sweat a lot. If anyone heckles you, remember, who’s got the mic and the big speakers? Don’t be afraid to make eye contact. Do a set list for each band member and try to stick to it. Tune your guitars with a guitar tuner and carryspare strings. Be polite with the staff and punters. Advertise your website or MySpace between songs. Introduce each song but don’t waffle on. Offer any merchandise you have for sale. Don’t be afraid to tell any sound engineer what you want (more vocals in the monitor, your guitar turningup/down) Speak clearly. And most important of all HAVE FUN because if you are having fun then sotoo will the audience. • Playing live can be a bit nerve-racking and if y ou have never played live and are weary and not sure what to expect you could try attending a local open mic night and g et a taster for live performance there. There are open mic nights in all the big towns and cities. The only way to build yourconfidence is to go out there and do it. You will be amazed out how gigging will help boost yourconfidence and help build a solid fan base. Clare Dowling is a member of The Moot - a two piece fe male band from Huddersfield in the UK. The Moot play an original blend of Reggae, Funk, Rock and Jamming that is guaranteed to make people move. The line up is Clare (electric guitar and vocals) and Eryl (drums) www.mootmusic.co.uk2. PREPARATION TO TOUR OR NOT TO TOUR…THAT IS THE QUESTION! by Sheena Metal, Music Highway Radio © 2010 All Rights Reserved. It's every musician's fantasy. The tour bus rolls up to the arena (full of groupies, beer and pizza). Fans are crowded out front hoping to catch a glimpse of America's hottest band. The group is escorted to their dressingroom (full of more groupies, beer and pizza). They enjoy the various pleasure s of stardom while roadies set up the stage. It's show time. The artists take the stage. The crowd is screaming. The lights are glaring. Theamps are humming. The drummer clicks off the first song and… You wake up in the back of your PT Cruiser. Your bass player's elbow is in your ear and the drummer's asleep on your foot. You've eaten nothing for the last week but corn dogs and frozen burritos. This is not the tour you imagined. This is not your Lilith Faire. This is not your Lollapalooza. This is not your Warped Tour. This...sucks. Every musician dreams of touring. Getting out of the same boring town. Trying their tunes out on new crowds, in new areas, for fresh faces. Bonding on road, writing new tunes in the motel room, free food, free drinks, getting paid, getting laid…living the life. But the music biz is full of touring horror stories. Bands stuck on the road with no money to come home. Musicians not eating for days. Clubs canceling gigs the night of with no warning. Negative reactions from bar patrons and local bands. The list goes on. So, how do you make sure that your touring experience is a positive one? What can you, as musicians do, t o eliminate potentially negative experiences and create positive ones.The following are a few tips that add success to your touring experience: Don't plan a tour because you're unhappy at home Just as an affair will not fix the problems in a marriage, a tour is not the cure for: problems within the band, problems in the band members' lives or a general malaise for your local scene. A tour is strain and stress and loads of work. You should be excited and enthusiastic and positive when planning. Over prepare before you leave You can never plan too much or take too many precautions. Home is the place to reth ink every scenario and arrange accordingly. Get the van tuned up. Pack extra em ergency money. Bring a list of additional clubs in the area in case your gigs fall through. Pack extra st rings and sticks. Bring a backup guitar. Pack extra merchandise. Bring emergency food/water. Pack extra batteries and power cords. Bring cell phones. Be humble and thankful You're in a strange town and a new club, act like a gue st. Nothing ticks off a club owner/promoter who's taken a chance on an unknown band more than out-of-towners swaggering into a club like Paris Hilton in an episode of "The Simple Life." No matter how cool you are in your own town, this is unproven ground and your first impression is important. Ask, don't demand. Set up qui ckly. Play at an appropriate volume. Clean up after yourselves. Be friendly and courteous. Say "please" and "thank you". Unless you're booking in Jerkville USA, this positive attitude could set you well on your way to a repeat booking with better perks a nd more local support.Seize every opportunity If you're going to take the time away from work, fam ily and the buzz you've built in your own music community to head out into the great beyond and conquer unknown lands…you might as well come back with something other than lovely memories and an out-of-state parking ticket. You're in a new place and the possibilities are endless. Sell CDs. Sell T-shirts. Get new names on your mailing list. Solicit local reviews, interviews and radio. Introduce yourself to other club owners for futu re bookings. Find out who books local festivals. Play an impromptu house party after your gig. Make new fri ends that can street team for you next time. Think of something I haven't even written here and do it! Don't expect to conquer the world in one tour Rome wasn't built in a day and neither will your touring empire be. Have fun. Enjoy each trip and using it a s a building block to make each tour to that particular place better and more elaborate. Play your cards right and after a few trips you may be making terrific money, have secured lodging (either new friends let you crash or aclub pays for a motel), get food and drinks comped and guaranteed press and radio coverage. In short, touring can be the best thing that ever happened to your band if you work hard, play it smart and follow through correctly. But no matter how much you love to tour, always remember to keep your foot in the door locally. It's the great work that you do at home that makes other clubs excited about you bringing your show to their town. Sheena Metal is a radio host, producer, promoter, music supe rvisor, consultant, columnist, journalist and musician. Her syndicated radio program, Music Highway Radio, airs on ov er 700 affiliates to more than 126 million listeners. Her musicians' assistance program, Music Highway, boasts over 10,000 members. She currently promotes numerous live shows weekly in the Los Angeles Area, where she resides. For more info: . www.sheena-metal.com EXPAND YOUR DEFINITION OF A LIVE PERFORMANCE by Bob Baker, TheBuzzFactor.com © 2010 All Rights Reserved. Let me ask you ... What has to happen for a person to be converted into being a fan of your music? There are a number of possible answers, but at the most basic level, one thing has to happen: The per son must hear your music. And there are only so many ways someone can hear your music: on the radio or on television, on the Internet, in a dance club or a retail store, from a friend on a home or car stereo or ... during a live performance. Let's focus on that last one, because even with a ll of the advancements in technology, live performance continues to be one of the best ways to connect with fans, sell CDs and prosper as an artist. Hopefully, your marketing plans include a heaping helping of live shows. But what type of live shows do you plan? The problem is, many musicians get stuck in live performance ruts and fail to think outside the box. For instance, most rock bands flock like lemmings to nightclubs. Most acoustic singer-songwriters obsess over coffee shops and folk venues. That's fine, but they end the thought process there - and then complain thatthere aren't enough gig slots for all of the acts who want to play. The solution: Redefine your live performance goals. And ask yourself the right questions. If you only ask, "How can I book more shows at clubs?" you'll rarely look outside that possibility. But if you ask, "How can I reach more of my ideal fans through live performances?" then your list of potential venues is suddenly wide open. Where can you play in front of more potential fans? If nightclubs is one answer, great - continue to pursue that. But what about community festivals, neighborhood block parties, grand openings, rallies, auto shows, craft fairs, the finishing line of a city marathon, a public beach on a sunny day ... anywhere that large groupsof people gather is fair game.Sure, not every option will have the logistics for a sound system, a stage etc. But any glimmer of an idea along these lines is worth looking into. And I guarantee you, the number of other acts competing for a spot atone of these offbeat events will be much less than the number you find at the tradi tional live music venues. So ... expand your definition of a live performance, ask yourself empowering questions and open your mind tothe many new ways you have to r each fans through live performances. The preceding article was an excerpt from Bob Baker’s audi obook, What Every Musician Should Know About Self- Promotion. Bob is also the author of "Guerrilla Music Marketing Handbook," "Unleash the Artist Within" and "Branding Yourself Online." He also publishes TheBuzzFactor.com, a website and e-zine that deliver marketing tips, self-promotion ideas and other empowering messages to music people of all kinds. Get your FREE subscription to Bob's e-zine by visiting www.TheBuzzFactor.com today. HOW TO FIND THE RIGHT VENUE FOR YOUR LIVE SHOW by Jeri Goldstein, Performingbiz.com © 2010 All Rights Reserved. Yes, it is so important to play as often as possible. It is also just as important to make sure you play rooms that help move your career forward. Once again this topic requires you to review your long-term goals and keep them in mind as you tackle every new aspect of y our career. In this case, selecting appropriate venues can be challenging but rewarding. The challenge lies in that there are a finite number of venues where one may play and an infinite number of other acts competing for those venues. The reward is realized when youbegin to qualify the venues you choose to play, in order to fulfill your commitment to reach your career goals. This is a different way of approaching booking. Keeping your career goals in mind, consider the following factors each time you approach booking a gig: Know your audience I think this is the overwhelmingly most important thing a band can do, understand and know their audience. When you know your audience, you are able to imm ediately determine whether one specific venue is right over another. For example: Is your audience more lik ely to be downloading songs from iTunes or listening to NPR? If you think you should be playing at the one and only club downtown that starts most shows at 11pm and you've noticed your audience is generally between the ages of 25-50, your audience may not follow you into that venue. If on the other hand the age demographic of your audience is 17-25, then attempting to book yourself in the club downtown may be appropriate. Consider the Following Factors Age A majority of people in the 25-50 age group have considerations that influence their decisions for late nightentertainment such as, family and children, early work days, availability of discretionary funds, desire for creature comforts like soft-seat theaters. Those in the 17-25 age group may not have the constraints asabove. Late night start times may not impact their day schedule as much. They also may not be as concernedwith seating or a non-smoking environment. Time When are you at your best? If late night starts impac t you and your ability to perform at your best, certain venues may be wrong for you. If your audience is more of the 8pm crowd, they just won't be there for the second show starting at midnight. If there is such demand, do a second night rather than two shows on the same night. Perhaps schedule a matinee or early evening show and then a 8pm show later the same day.Types of room Are your fans accustomed to standing for a show or sitting? If your fans are u sed to sitting for shows and people know that a particular venue never provides seat s, your audience won't appreciate seeing your show there and ticket sales will slump. If, in your attempt to play a bigger, hip venue, but your audience is not used to seeing you in that type of venue, you may also lose sales. In an attempt to raise the profile of one of my acts, we decided to work with a promoter who chose to put the act in a room unlike any the act had ever played before. All of the above factors came into play. The room waswrong for the artist and the ticket sales were poor. The promoter did not understand the act's audience and their method of promotion and choice of venue proved that fact. When you are just beginning to tour and book gigs, consider your music and the type of fan the music will attract. Who do you think your audience will appreciate your act-narrow it down? It is not helpful to simply say, "I think everyone would like my music." Do yourself a big favor and be specific. If your music is similar to another act, check out their audience, see which venues t hey are playing. Who consistently buys tickets to their shows? Knowing your audience can influence the type of venue in which you chose to perform. Even when you have identified your fans to be the ones who will buy tickets for a standing show starting at 11pm, some venues may be chosen simply as stepping stones and others may be recognized as showcase clubs. You might want to use the stepping stone venue for a while to create that "buzz" and get a following. When it comes to career movement, though, it is important to identify the important clubs in major markets. A showcase club is onewhere people in the industry are likely to be scouting for new acts and where media, print and radio, are likelyto attend to write reviews and promote a new artist. Wetlands in New York City is such a club. If your audience is of the soft-seat theater variety, you must use a similar tactic of selecting the right theaters as you build your audience on your way to playing t he select theaters. You might be playing university performing arts centers and community centers at first wi th the goal of playing much larger concert halls and eventually outdoor sheds. Where do you want to play? Are you comfortable in bars or theaters, intimate hous e concerts or concert halls? Once you've determined who your audience is, determine the best space to present the music you perform according to your goals and comfort level. This pre-determination helps eliminate a lot of unnecessary phone calls. Now you can concentrate on the appropriate venues according to your goals, your audience and your preferences. Begin to call each appropriate venue to establish a relationship with the booking person at the venue and decide whether this particular venue is right for your act Details to Consider CapacityAre you ready for the room? Is the room too large or t oo small? Have you ever sold out a room that size? Prior to calling a venue, research the venues by using The Indie Venue Bible. By evaluating each venue before calling, you may determine which ones will suite your act and which o nes are just not right. Make a note of the ones that may be perfect in a year or two so you include them as ones to g et back to later. Stage size Often this may not matter. In some instances, knowi ng this information when you begin discussions with the booking person may help you decide if you can fit your entire six piece group with drum kit, keyboards and all the other players comfortably on stage or not. If you can't fit and the stage configuration is not flexible, then this venue may be wrong for your act. Always keep in mind that you want a situation to showcase your act at its best. Move on to another venue when you run into an insurmountable obstacle. Try not to compromise theintegrity of the performance.Technical requirements If you bring your own sound, lights and engineer and the venue will accommodate you, then you are set in most rooms. If, however, you require sound and lights to be provided for you, checking the specificationsoffered by the venue can also be an important qualifying factor. If the venue does not have most or all of your required equipment, will they rent what's necessary at their expense? Budget and fee Most clubs will determine the fee or the percentage they are willing to pay an act based upon the act'sprospective ticket selling capacity. An act in public demand commands better guarantees and percentages. I will discuss negotiating fees in another article. For now, I believe you understand the fact that known acts getbetter fees and unknown acts have to build a track record of ticket sales in order to have more leverage tocommand higher guarantees and more advantageous percentages. It is not unreasonable however, to ask thebooking person for an approximate budget they might spend on a similar act. Most clubs will not offer thisinformation, but you can determine such information by asking what other acts have they booked recently. When you have some knowledge of the other acts perform ing in your market, you can quickly get a sense of the kind of money the venue is spending on their talent. For instance, if the booking person names only majoracts who are known to the general public and does not include any local or regional talent with whom you arefamiliar, you may see that you are out of your league. Unless you can persuade the booking person to include you as an opening act, it is unlikely that they will be booking your act. If, on the other hand, all the acts named are similar to yourself, local and regional and you know what some of these bands are getting paid, you have a sense of the venue's budget and may be confident of being booked for a similar fee. Box office and ticket outlets Is there a box office where one may purchase tickets in advance. Does the venue use outside ticket venders? If the venue uses local business to sell their tickets, ar e these familiar and easily accessible to your audience. Are phone reservations possible? Knowing this will give you some advance indication of how the show is selling. This can give you some sense of how the advance promotion is going and you can work with thevenue to increase the promotion when advance ticket sales are slow. Door sales When there are no box office sales, then tickets are usually sold at the door. Who collects the money? Does the venue provide a door person to collect the money or can you provide your own person? In many situations, having someone working for you at the door that you trust can mean a great difference in the amount of money you make. You get to determine who is a guest and who is not. If you are unable to insist on your own door person, make sure you can have your own person at the door checking the count. Advertising and promotion What kinds of advertising does the venue do? What is the advertising budget for each act or for each week? Many rooms only place strip ads in the local papers in the entertainment section that comes out once a week.Will your act get enough attention by this means of advertising? Is the venue willing to do more? What other forms of promotion can you expect? When you are an opening act, make sure you are included in all promotion and advertising. Ask about the proposed advertising budget to determine how it will impact upon your final fee. Hospitality Will the venue provide meals, refreshments or housing? Some of these thing s may help make doing this gig possible. If you are not getting a large guarantee or are playing for a percentage of the door, having a hotel room or rooms provided by the venue may help your budge t. Similarly, knowing that a meal will be provided rather than again having to spend your own money on means is another budget-saver. Ask the booking person these questions when entering into a negotiation.These few items will assist your decision making proc ess when determining which venues are right for your act and which are not. Some rooms you will grow into over time, others are simply to be crossed off the list. When you approach your bookings with this method of evaluating each venue, you are once again making your determination by using facts rather than feelings, research rather than impetuousness. Just as each venue booking person will attempt to qualify you and determine whether you are right to perform in their room, you now have some tools to equalize the process and be pro-active rather than reactive. Sometimes playing the wrong room can do more to stall or thwart your effortsto reach your career goals. Qualifying each venue will save you time, effort and money and boost your career to the next desired level. Jeri Goldstein is the author of, How To Be Your Own Bo oking Agent The Musician's & Performing Artist's Guide To Successful Touring 2nd Edition UPDATED. She had been an agent and artist's m anager for 20 years. Currently she consults with artists, agents and managers through her consultation program Manage r-In-A-Box and presents The Performing Biz, seminars and workshops at conferences, universities, for arts councils and to organizations. Her book, CD-ROM and information about her other programs are available at are ava ilable at www.Performingbiz.com or phone (434) 591-1335 or e-mail Jeri at [email protected] DYNAMICS FOR SUCCESS by Jeri Goldstein, Performingbiz.com © 2010 All Rights Reserved. We can discuss booking strategies and marketing plans forever, but until your group has established aworking group dynamic, success may be illusive. One of my first concerns when I worked with any group, is to see how the group worked together and interacted with each other away from the music. I've seen situationswhen a band can make incredible music together and as soon as the rehearsal or the gig is over, everyone disappears into their own world just so they don't have to interact with one another. There is so much more tocreating a successful band than just playing the music. I want to know that the group will do more than simplytolerate each other when it's absolutely necessary. The first place to start is to see if each of your goals for the group are in alignment-does everyone want the same thing? This may best be done with your manager, if you have one or simply ask someone who is not tied to anyone in particular within the group to serve as an impartial facilitator. I suggest getting together for a non-rehearsal date. Each person would share their ideas about the group, what each individual sees as theirdesires for the group's goals and what their own individual goals are. Be open and honest as you communicate with each other. It sets the tone for future interactions. One member may see the group as a vehicle for their songwriting; another might be using the group a s a stepping stone to a solo career or until a different group comes along more to their liking. One member might like to play the in-town gigs but not rea lly want to tour extensively out of the area. Another mem ber may just want to play once in a while and not really want to put much energy into the group. These kinds of things are important to know up front, before a lot of energy, money and time are invested and before the group starts to take off. This kind of discussion often produces many "what-if" scenar ios. As you brainstorm future situations that may arise, you get a chance to see how the others may react. For example, an opportunity to open a series of dates for a larger act is offered to the group. This means you will be on the road for a month or perhaps more.In that situation, what will the member who doesn't w ant to tour extensively do? Wouldn't it be good to explore these situations in advance rather than in the moment it actually happens? When everyone discusses thesepossibilities as a prelude to success rather than a reaction to it, the group has more of a chance to make greatmusic and enjoy all the effort involved in the making of it.Once you are aware of each member's view of the role the group plays in their lives, you are more able to proceed setting realistic goals. It is also appropriate to set a time-line for when a change needs to occur inorder to satisfy a member's relationship to the group. Make arrangements with each member to give enough advance notice about quitting when the group begins heading in a direction they are not interested in going. This allows the group enough time to find a replacement if that is what's needed. Depending upon the legalstructure of the group, contracts between group members may be required to spell out how each membergets in and how they get out. If investments were made, contracts would help describe financial compensation to the leaving member and required investment of a newcomer. When you anticipate as many of the worse case scenarios in advance, cooler heads design the outcomes and the remedies. Taking Responsibility for Success There are many tasks required in making a band successful. When first getting started, there is not enoughmoney to hire road managers, business managers and others to take care of all the details to keep the groupoperating. These various tasks must fall to the members of the group. Some jobs, like booking the dates, (prior to having an agent) often takes the most time and it requires a certain type of personality. It may also be the job that is the most crucial if the band want's to play anywhere other than the garage. Often people findthis to be the least fun as well. I recommend that the group member taking on this task be compensated withan additional percentage above their split of the perfo rmance fee. If you had an agent you would be paying them anywhere from 10%-20%. Agree on a percentage and pay the member of the group that percentage of every date they book. What about the other tasks? They are just as meaningful to the group's success. You may decide that when each person takes responsibility for a specific job, rather than offering additional compensation for one job,you simply split the gig fees equally, if each job holds equal weight and requires equal amounts of time. Thevarious jobs necessary to keep the group going to build toward success are: • booking • mark eting • merchandising• keeping the books• advancing the tour dates• publicity You may come up with others specific to your group's needs, but these are the main tasks. When the group members share equally in all aspects of operations, then you may decide to split all income equally. If,however, one or two group members take responsibility for the majority of the tasks to keep the group working, then it would be appropriate to compensate those members accordingly. The additional compensation shows respect for the work being done on behalf of the entire group. When thesearrangements are established early in a group's career, t hose members doing the extra work are less likely to feel unappreciated and overwhelmed or suffer burnout. Take care of the people taking care of the group. If you are serious about success, then start out with a meaningful dialog among members to know you are allheading in the same direction and working for the same goals. Establishing the working dynamics early in the group's career will ensure consistent growth , smooth transitions and easy interactions. Jeri Goldstein is the author of, How To Be Your Own Bo oking Agent The Musician's & Performing Artist's Guide To Successful Touring 2nd Edition UPDATED. She had been an agent and artist's m anager for 20 years. Currently she consults with artists, agents and managers through her consultation program Manage r-In-A-Box and presents The Performing Biz, seminars and workshops at conferences, universities, for arts councils and to organizations. Her book, CD-ROM and information about her other programs are available at are ava ilable at www.Performingbiz.com or phone (434) 591-1335 or e-mail Jeri at [email protected] A POSITIVE INDIE ATTITUDE WILL ADVANCE YOUR CAREER by Jeri Goldstein, Performingbiz.com © 2010 All Rights Reserved. As a touring musician, you encounter a variety of situations that have the potential to disrupt your day's plans. The attitude with which you meet these daily challenges can influence your success or failure as you move through your career. There are plenty of obstacles thrown in your path. You may choose to approach them with a positive, "can do" attitude or a negative, "w hy me" attitude. The method you choose affects those around you and may even be partially responsible for getting or not getting some of the breaks you clearly think you deserve. I'd like to examine some of the situations that may arise where your attitude may make a huge difference. I've worked with many artists over the years, as manager, agent, promoter and consultant. The one thing that stands outs about each performer above all else, is their attitude about their life, their music and the manner inwhich they approach each day and every situation. Attitude can be infectious both positively and negatively.Be sure that when you leave a situation, your reputation of having an upbeat, positive attitude is one of thehighlights. Making phone calls As you book each date, the first place that your attitude plays a major role is in your phone conversation. Prepare for your phone sessions — don't just pounce on the phone with vengeance determined to book thewhole tour. Get yourself in the right frame of mind, calm yet enthusiastic. If you are tired or are having a badday, don't make booking calls. It is inappropriate to carry your personal problems to your phone conversations. This will not win you many friends nor land you many gigs. Booking calls are a sales pitch. Present a positive attitude and you are more likely to get a positive response. It is not always easy to maintain when phone call after phone call nets little more than "call me next week." When multiple calls become frustrating and you feel your upbeat attitude begin to fall, stop making calls and do some paper work, take awalk or practice, but change gears before you say something you'll regret. The way you leave your last call with a promoter or club owner, is the way you will be remembered. If they had a pleasant conversation with you, they will welcom e your next call, if not, it may be weeks before they answer your calls. Set yourself up for success. Arriving at the venue When you arrive at the venue, first impressions make a difference in how the rest of the gig will go. It's not unusual to hit traffic on your way to the venue or have various travel delays that can unnerve anyone. It isn't anyone's fault, so don't take it out on those that gr eet you at the venue. They have been anxiously awaiting your arrival and are probably looking forward to helping you settle in and assist in any way they are able. Check your attitude before opening the door and make sure t he first thing out of your mouth is, "Great to meet you!" or some other pleasant greeting. You must set the tone for the rest of the event. If you want those at thevenue to help you put on the best show you can, y ou need to set the stage and offer your winning attitude. Dealing with technicians Once settled, the next challenge is sound and light check. This task can be fraught with one obstacle after another, from inadequate equipment, the wrong equipment, inexperienced technicians and unhe lpful technicians, not enough time and anxious stage personnel. If you want to accomplish an effective sound andlight check, stay upbeat, be very clear about your needs, express them succinctly and be respectful of thosewho work at the venue. When you run into a technician with a bad attitude, there is nothing you can do or sayto change the attitude except keep yours in check and remain pleasant. Step outside to blow off steam whereno venue staff can see you, return refreshed and ready to work.When it comes to setting your sound, you know your sound best. Be persistent with the e ngineer until you achieve the sound you like. Don't badger, just be clear and attempt to win them over. Sound is a particularly sticky issue for all artists, as it should be. This is cert ainly one area to maintain your cool if you want to have a good show. Unless you travel with own sound engineer, you are at the mercy of those at the board. This is one person you don not want to piss-off. Again, your attitude can make or break the show. Dealing with the promoter From time to time we all run into a club owner or promoter who is difficult. From the first phone call, it was clear that this gig would be a challenge simply because the promoter offered resistance. It didn't get any easier once you arrived at the venue. Again, you're not out to make any life changes in this person. You are determined to get through the gig, do your best show, fill the hall, win over the audience, sell your merchandise and hopefully with all that in your favor you'll get paid the fu ll amount agreed upon and perhaps you'll get another gig there in the future. Maintain your positive attitude throughout, in spite of the vibes coming at your from the promoter. Your goals are clear, ignore his distracting demeanor. Dealing with the audience When you are finally on stage, this is certainly not the place to air your problems, be unkind or disrespectful. These are the people you have worked so hard to stand before. Th is is the moment when your absolute best is tested. No matter what happened back stage, in the dressing room, on the phone before the show, in thecar driving to the show or during sound check, if you display an ugly attitude here, you are done. These folks won't forget and they'll tell their friends. The audience deserves your highest regard. After the show After the show, you may be tired. The gig is not over though. You have an opportunity to win loyal fans and build solid support as you develop your career. Meet wi th fans and sign autographs. Set aside your fatigue for a little while longer. When you perform in venues other than clubs, you may be working with volunteers. If you are invited to meet the presenter and some of the workers who spent weeks prepar ing for this event, take the opportunity and you'll solidify a return gig. You don't have to accept invitations to parties you are not interested in attending, but a short meet and greet after the gig will go a long way to creating a good reputation. If youhave to meet a travel schedule and are unable to stay for a meet and greet, let the venue personnel know thatbefore you arrive so there will be no expectations for you to stay. You can be a very talented musician, have a fabulous act, be a savvy businessperson, but if you sport a bad attitude, your successes will be hard won. Remain cl ear throughout all of your dealings with each venue and build respect for your group as a testament to your leve l of professionalism. Maintain a positive attitude during each situation to ensure that your good reputation will precede you and spark new successes. Jeri Goldstein is the author of, How To Be Your Own Bo oking Agent The Musician's & Performing Artist's Guide To Successful Touring 2nd Edition UPDATED. She had been an agent and artist's m anager for 20 years. Currently she consults with artists, agents and managers through her consultation program Manage r-In-A-Box and presents The Performing Biz, seminars and workshops at conferences, universities, for arts councils and to organizations. Her book, CD-ROM and information about her other programs are available at are ava ilable at www.Performingbiz.com or phone (434) 591-1335 or e-mail Jeri at [email protected] GIG BOOKING TOOLS: THE PRESS KIT by Jay Flanzbaum, Onlinegigs © 2010 All Rights Reserved. So you think your band is finally ready to start playi ng more gigs. But you need to have some basic marketing items in place first so that you are prepared for the very competitive world of the music industry. Below are some of our suggestions. The demo For booking purposes your CD presentation does not need to be slickly designed and packaged. It does however need to be laid out professionally and simply . Your band name, contact information and song titles should be easily located on the CD. With today’s technology, there is no reason to use a tape instead of a CDor to write your information directly on the CD with a marker. Invest some time in creating a printed lab el or send your CD to a duping company to put together cheap printed CDs in paper sleeves. The bio Short, sweet and to the point. You should include a very brief history of the band and its members. Adescriptive paragraph about the band’s sound and artistic vision is also helpful. And photos of the band help to spice up any page layout. Your band name and contact in formation should be easily located at the top of every page. The press Two or three pages of press is enough and anything less than one page is not enough. Most bands either go way overboard with too many press clippings or don’t include any at all. Press c lippings from two years ago are a waste of paper. If you do not have any press, start a mission to harass your local newspaper, alternativeweekly, college newspaper or online music site to re view your CD or live show. Your band name and contact information should be easily located at the top of every page. The photo The technology to take a picture and print it out is too affordable to justify not having a band picture. Your band name and contact information should be easily located below your band shot. The poster template Any gig you book is going to require posters. You should design a simple poster with room to fill in the show’s specifics. 11 X 17 sized posters stand out better than 8.5 X 11, but either is fine. It is helpful to print copies ofthese posters in advance. By including one in your booking package you show that you are ready to startpromoting your gigs. Your band name and contact in formation should be easily located on the poster. The flyer template It is also useful if you convert your poster to a small, postcard size flyer. You should be able to lay out four of these on one 8.5 X 11 sized sheet of p. It may not be necessary to include this when you send your bookingpackage but having one ready is a good idea. The stage plot A simple document with every instrument and each musician’s microphone or monitor needs. This may not be necessary for all gigs and can even be left out of th e booking package. But many venues will require you to either fax or e-mail them a stage plot, so have one ready in advance. Your band name and contactinformation should be easily located on the stage plot. The folder Save your money. Talent buyers will either file your in formation away or throw it out. In both cases a nice, glossy folder for the above items is superfl uous. Use them for special occasions only.The website At the very least you should have a distinct URL (ie: BANDNAME.COM) that compiles the above information: Music Samples, Photo, Bio Information, Press Clippings, Contact Information, Stage Plot, Po ster Template and Flyer Template. If you are technologically savvy ho wever your website can become your own personal marketing team for all things band related. Jay Flanzbaum got his start as a booking agent putting together national and regional tours for independent bands. Those years running a boutique agency inspired the creation of Onlinegigs, an incredibly powerful booking and promotional tool for independent bands and agents. www.onlinegigs.com PLANNING YOUR OWN TOUR by Kim Ruehl, Betamax © 2010 All Rights Reserved. Sure, you could hire someone else to do it for you, but let's face it - at some point we all decide to book our own tour. I've spent a good deal of time on tour and have managed to learn a thing or two about lif e on the road. Here are some helpful hints that can at least get you out the door. Start early It's always best to give yourself more time than to be scrambling a week before you leave. If you're touring inthe summer, you can bet everyone else is too. Clubs get inundated and you want to make sure you're taken into consideration. This is particularly important if you're looking at Churches or House Concerts. Often they'll be booked out a year in advance. Pick a region You want to narrow it down to an appropriate amount of space. If you're planning on sp ending the whole summer on the road, for example, a tour of the East Coast may be OK. But if you only have three weeks, that would be incredibly ambitious. Find venues To think you won't ever get stiffed or mistreated by a venue is just a bit idealistic. But it's important to narrow your chances of having that happen. There are some great resource s online for finding venues. House Concerts are a great place to look too. Churches will never stiff you. Alliance shows are a sure thing as well. Call ahead Always call before you send your materials. For one, y ou want to make sure the club still exists and that they're still booking Folk acts. Also, some clubs hand booking over to an agency, which will often book several clubs in town. If you touch base ahead of time, you can let them know that if you're not suitable for the clubyou were initially calling for, maybe they can hook you up with another venue. Send a demo, bio and press kit This doesn't have to be fancy shmancy, but it really is better if you put some time and effort into your materials. The people who own the venue don't know anything about you, so you ma y as well make an honest impression. Make sure your demo is recent and that your bio is up to date. It's also nice to include a letter to the venue introducing yourself and thanking them ahead of time for listening to your work. Don't wait for them to call you A few places are noting on their websites that they don't want artists to call about booking. In that case, honor their policy. There's a reason for it. But most of the time, they're not going to call you if they have to call longdistance. Give them two weeks to listen to your CD and then call to check up. No need to stalk them, but ifthey don't have an answer yet, try back later.Be realistic It may not look like a terribly long drive from New York to At lanta, but trust me - it is. More realistic: book in DC and Raleigh on the way. Respect yourself and the venues you're booking and make sure you're going to have time to get there and still have the energy to put on a good show. Even if you only take one day off per week, it's important to have that time. Send contracts Boy I wish someone would have told me this a long time ago. Contracts don't have to be written by an attorney. You can write them up yourself - just make sure the date, time and agreed-upon compensation method is clearly stated. You sign, the person booki ng you signs and you both keep a copy. It helps to save you from getting stiffed and it helps the cl ub know you're serious about what you do. Get your car checked outThis is essential! You definitely don't want to wind up in the middle of nowhere after driving for eight hours and find that your car is falling apart. Make sure you bring WD-40, duct tape, spare oil, a jug of water (in case you over-heat) and a gas can (in case you run out). Better to be safe than sorry. Oh and join AAA. Head out Make sure you have a copy of your itinerary, your in strument(s), amplification/P.A., a list of phone numbers for every venue, copies of your contracts and the names of the people you spoke with. This is particularly important if you get lost looking for the venue or if you're caught in traffic in another state. It happens. Plan well in advance!Give yourself and the venue plenty of time to take care of what you need to take care of before you leave. Figure out where you're going to sleep along the way. Sleeping in the car can become a necessity, but if you're alone, it's especially risky. Don't get me wrong, I've done it too. But beds are so much nicer. Check your cell phone plan and make sure you won't be roaming the whole time. Additional things you need • Join AAA• Your instrument(s) and amplification/P.A.• Your itinerary• Contact information for everywhere you're playing • Extra money (cash or credit) in case something goes horribly wrong • A road atlas - you'll need to know how to suddenly skirt rush hour in DC• Plenty of copies of your CD to sell• A good cell phone plan Kim Ruehl is a Seattle-based musician and freelance writer, as well as a politic al junkie and history buff. Kim has spent nearly a decade touring the US as a Folk singer. Now based in Seattle, she splits her time between a day job at the University of Washington and her other job as a freelance wr iter. In addition to being the About Folk Music Guide, she is also the Roots/Americana columnist for Sound magazine and a frequent contributor to Performer magazine and online at Seattlest.com. She performs regularly with her folk-rock band Betamax and has released 6 CDs on their own cognition. www.myspace.com/betamaxseattleSETTING UP A SUCCESSFUL TOUR by Kenny Kerner, Musicians Institute © 2010 All Rights Reserved. The best way for an artist to create a buzz and sell records is to simply take his music to the people. And that, my friends, means touring. Getting out on the road is a tradition for everyone even remotely associated with the entertainment industry. Authors go out on book tours, movie stars visit every major late-night talk show, others pop in on radio broadcasts, do print interviews to promote an opening of a play or concert and some, those who are really hungry for success, do it all! Touring is a very costly proposition, both financially and organizationally. It takes money to finance the travel and lots of time and planning to put it together. Before you can even think about getting out on the road, you must first determine why it is you want to go out. What is it you wish to accomplish? Sightseeing? Partying? If that's the case, better stay home! But if you have product to promote (a new CD, maybe), then touring is a viable solution. Putting together a tour simply for the experience, is not recommended. Only go out if you are selling/promoting something that people can buy andif that tour will advance your career. I know this might sound crazy, but begin planning your t our at least six months before you actually want to leave. This will give you plenty of time to do your research, mail out packages, make fol low-up calls, book the appropriate gigs, route your tour, save some additional money, rehearse, update your equipment insurance, get the van repaired, assemble a crew and get your shit together. Man, it's already starting to look like six months may not be enough time! Once you've decided to go out on the road to prom ote your new independently-released CD, you'll want to decide what areas to cover. If you've never been out before, I strongly suggest staying close to home, meaning go no further than a few hundred miles away. If y ou live in the Los Angeles area, try booking gigs from Seattle (to the north) all the way down to San Diego (in the South). This routing will en able you to reach any venue in a day's drive and return home the next day, if necessary. Or, you can do several cities in Washington (Seattle, Tacoma), sleep over and drive to San Francisco the next day. The same theory applies regardless of where you live. Next, you'll want to make a list of all appropriate clubs in the areas you'll be touring. Don't get lazy on this one! Do your homework. There's nothing more embarrassing or wasteful than a Metal band setting up its gear on the stage of a Jazz club. Get the picture? Call the clubs and find out who is in charge of booking the talent. Mail out a neat, professional-looking package with a cover letter specifying the dates you expect to be in that area. Be sure your package includessome industry quotes, any airplay you're receiving and the most recent reviews. AND DON'T FORGET TO INCLUDE THAT VIDEO OR CD! You'll want to wait at least 5-6 business days for the packages to arrive before you begin your follow-up calls. Then, once on the phone, be polite, persuasive and direc t. Understand that the club has no reason at all to book you since there are thousands of unsigned local acts that are dying to play those venues for free. So, what can you offer the clubs that they can't get fo r free? Here's where you'll need to do some thinking and use your imagination. Nobody said it would be easy, right?Assuming that you're going to be successful in booking a string of 10 club dates—and always remember to get signed performance contracts that list your pay, time of load-in, sound-check, show time and hospitalityprovided by the club (usually in the form of a hot meal for band and crew and drinks)—you should route these dates in one of two ways: First, begin with the club t he longest distance from your home. Drive to it and schedule other dates working you way back to your home base, with the show clo sest to home scheduled for last. Or, begin the opposite way by playing your way out to the farthest point and then making a straight, non- stop drive home after the final show. Do not hesitate to call your local AAA office and reques t a Trip-Kit package of the areas you will be touring. This will be helpful in giving you the most direct routes and the exact mileage from city to city. Having this information will allow you to more accurately budget the tour. When you go out on the road for a short period of time (1 1/2 - 3 weeks), too many off dates can kill you. It will drain your money (when you're off, there's no income from gigs or selling merchandise) and set you up for a giant loss at tour's end. Therefore, try to book as many dates in a row as possib le and only take off every fifth day, at most. But remember to use that off day for a little relaxation and a little promotion of you next gig! Find out if anyone in the band or crew has relatives or friends in your tour area. It might just be that a friendly phone call will result in a place to stay overnight. Thi s will save you hotel bills and food money. If you are forced to sleep in a hotel, the cheaper, the better. A bed, hot and cold running water and a phone are all of theamenities you'll need. And guys, get used to sleeping 5-6 in a single room. Look for motels that are located within a mile or two from the club. This saves mileage and gas. Th e club booker can be helpful in suggesting places to stay overnight. The preceding article is an excerpt from the best selling music education book, Going Pro by Kenny Kerner, published by Hal Leonard. Available at all bookstores and at Amazon.com. Kenny Kerner was the former Senior Editor at Music Connection Magazine. Kenny is currently the Director of the Music Business Program at Musicians Institute in Hollywood. Specialties include Personal Management, Artist De velopment and Music Business. Phone: (323) 860-1122 [email protected]. BOOKING AGENTS LOOKING FOR AN AGENT by Jeri Goldstein, Performingbiz.com © 2010 All Rights Reserved. You have reached that point in your career development when adding an agent to your team would be a logical next step. Before you pick up the phone and st art calling around, I suggest you do the following: Get a clear picture Take inventory and create an overview of your career position to date. This process and information will help you present a clear picture of your career for yourself and assist you in making a more powerful pitch to any agent you are considering.Taking inventory includes re-evaluating your past two y ear’s growth. I would include a list of all your past performance venues, the fees you actually received, t he capacity of the venue and the number of seats you sold. If you haven’t been keeping track of this information, it is not too soon to begin. Along with these details,I would also list the merchandise sales you had for each venue. All of this inform ation helps assess your growth from year to year and venue to venue especially when you play a specific venue a number of times during the year. If your numbers increase each time, there is good indication you are building a following. Thisis exactly the type of information a booking agent want s to know when determining whether they will invest their time and money to add you to their roster. W hen you present an organized evaluation of your career development to an agent along with your promotional package, you immediately set yourself above mostscouting for an agent. Define your goals Create a set of career goals, timelines and projections. Most art ists are looking for an agent to relieve them of work they dislike doing for themselves-making calls to book gigs. Look for an agent to help you raise the level of your performance dates and increase the number of dates and the performance fees. Set career goals forthe types of venues you would like to play and present this to prospective agents. Determine a specific time line in which you would like to have these goals accomplished. Then based on the kind of concreteinformation you’ve gathered from your evaluation (step 1 above), you can make some realistic projections about what percentage of increase you foresee in the next two years. For exam ple, based on last year’s information, you are able to determine that your book ings, fees and merchandise will increase by 20% during the next year and 20% the year after. When you present an agent with hard numbers they can more effectively evaluate whether or not it is worth their involvement. Research The final step before making phone calls is to do some research. It doesn’t matter how well organized you are or how talented you are, if you are calling t he wrong type of agent, you are wasting your time. Check through the Indie Venue Bible for a booking agent in your area. Some agents book specific genres music or styles of performance. When researching agencies, determine if the genre of music or the type of performance is compatible with your own. Check their roster of artists to see if you recognize anyone. There may be some acts for which you might open-when finally speaking withsomeone at the agency, mention that. Create a list of appropriate agen cies and make sure you get the names of one or two or the head of the agency if it is a small company. If you know any acts who are working with a specific agent with whom you might be compatible, ask t hat act if they would mind sharing some information about their agent. You may get some insider information regarding whether or not it is a good time to makeyour pitch based on whom the agent just signed or if they are looking for new acts to add.Go to conferences Another method of researching agents is to attend booking and showcasing conferences. Agents often use these conferences to scout for new talent. Seeing acts in live performance help agents get a sense ofaudience reaction as well as getting a better picture of what they might potentially be selling. The other great benefit to attending booking conferences is that you can walk around the exhibit hall and meet all the agents who are representing their acts. View their booths to s ee who is on their roster as well as examining how the agency presents their artists with their booth display. You can get a sense of the agent’s organization andcreativity by the manner in which they represent the talent. Stand by and listen to the way they pitch their artists to prospective buyers. With these three tasks under your belt, you can confidently present yourself to appropriate agencies when you feel you are ready to make a pitch. You will present a much more professional overview of your act with aclear evaluation of your past performance and a realistic projection of your future. Jeri Goldstein is the author of, How To Be Your Own Bo oking Agent The Musician's & Performing Artist's Guide To Successful Touring 2nd Edition UPDATED. She had been an agent and artist's manager for 20 years. Currently she consults with artists, agents and managers through her consultation program Manage r-In-A-Box and presents The Performing Biz, seminars and workshops at conferences, universities, for arts councils and to organizations. Her book, CD-ROM and information about her other programs are available at are ava ilable at www.Performingbiz.com or phone (434) 591-1335 or e-mail Jeri at [email protected] BOOKING AGENTS AND NATIONAL TOURING by Max McAndrew, The House of Blues © 2010 All Rights Reserved. I currently work in the Talent Department at the Hous e Of Blues, but for many years I was an Agent at ICM, one of the world’s largest Talent Agencies. They house offices in NYC and Los Angeles and also maintainseveral satellite offices all over the world. The booking business is divided into two separate and equal parts, the Promoters who purchase the Talent and the Agents who sell the Acts. Here’s how it all works… Who We Are Agents are part salesmen and part negotiators. We are young and old, black and white, male and female. When I would tell people what I do, their faces would light up: “Wow that’s so cool…you’re an Agent”…thenthere is this long pause and they go on to ask, “What does an Agent do?” Well, I have been asked that question so many times and I find the best way to describe what we do is to ask that person if they have seen the movie Jerry McGuire. If they have, then I say that’s exactly what I do. We sit in our offices and yak on the telephone through our headsets until it’s time to leave or until the day is done. (The headset is neither a perknor a plus, but rather more of an essential as we spend so much time on the phone). No two Agents are alike; everyone marches to the beat of his or her own drummer. The dress is extremely casual. You can wear whatever you want and that incl udes jeans, T-shirts and sneakers. Most office spaces are pretty vibrant - music playing, walls covered with gold and platinum records - although they are not nearlyas lush as what I have encountered at various record labels. Some of the perks associated with being anAgent include having an Assistant who acts as your first line of defense and is your liaison to the outsideworld. You maintain an expense account and travel frequently to see a new act or an existing client. I flew to LA on several occasions and attended Music Midtown in Atlanta, GA. (Not including the many NYC-area roadtrips). Outside of that there are the free CDs from Record Companies and the ability to go to any show free ofcharge. I will say that I became very spoiled when attending live shows beca use I was always hooked up with all the right credentials. Today, I do not attend shows unless I have the royal hookup; once you get at taste ofit, you can never go back.How Our Day Is Spent And What We Do A typical day in the life of a Music Agent starts around 10 a. m. with the clearing out of voice mails and e-mails that were received from the previous day. First you deal with anything pressing or any emergencies, then you get on with your day by starting your calls. An Agent calls the Promoters in their territory and gives Artist’s avails (ie: available dates for shows) to each Promoter. This is done telephonically, so it’s crucial that your Assistant is present to handle the onslaught of return calls. Many times a tour can hinge on one date, so it’simportant to know who’s calling at all times. Once you have given out the avails and have created a routing, you can then place holds on the venues. Once the holds line up with the markets and distances you like, you then start to gather offers from the Promoters. Offers are exactly what they sound like, an offering of money to the Artist. Offers contain theessential details for a show performance. These include: Artist guarantee; ticket price; capacity; tax rate;curfew; merchandise rate; ticket scaling; times; and contacts. We’ll get into the specifics of these terms later. Once all the offers are in (most always faxed), they are input into a computer mainframe where they can be printed out in a clean version. The RA (Responsible Agent - responsible for all dealings with the client) then prints out the offers and goes over them with both Artist Management and the BA (Booking Agent) in that partof the country (a more detailed description about the difference between RAs and BAs. Depending on whatconclusions the RA and Artist Management come to, some deals are passed, some are tweaked (details nee d to be changed) and some are confirmed. All of this is done over the telephone, so it’s important to make sure that the Promoter is listening to the details you are giving. This process continues until there are no more tours to book or until it’s time to leave the office. Most days leaving the office does not signify the end of the work day (or evening, as we should put it). Many nights are spent out eating dinner before attending a client performance or scoping out a new act. Thinking back, Icannot recall any one week where I did not attend at least one show. I watch the act’s energy, stage presence, listen to the mix and the vocals, all while talking to the Record Company contact and the act’sManager. Where Do We Come From? The CIA had this training facility located on the outskirts of … just kidding. Most Agents come right out of college, as I did and head directly into the Agent Training Program (but let me tell you, breaking into an Agency’s Training Program is quite a task). The Training Program - a glamorous description for the wordMailroom - is one of the most grueling experiences one can go through. I ended up stocking people’srefrigerators, making coffee, sorting mail and messenger packages all over the city. After having spent close to five months in the mailroom, I got my break. Jon Podell had just come over from William Morris and had promoted Mike Krebs to Agent. Mike too had served in the mailroom and he knew that I was hungry to be an Agent like him. He offered me a spot as his Assistant and I gladly took it. Most Agents serve a dual role at their companies; t hey function as Responsible Agents (RAs) and Booking Agents (BAs) - however, there are a handful of just BAs in the business. As an RA, you are responsible for all dealings with the client. You interact and liaise with the Artist’s Manager, the Record Company and everyone else associated with the project. The RA is the final authority and acts only on direction from ArtistManagement. BAs supplement the RAs efforts by booking particular regions of the country in which they haveexpertise. Depending on how the Agency is divided, the Music Department may be separated by size of thevenues or by style of music. ICM was divided up by st yle of music; on my side you had the Alternative Music or Club Department and on the other was the Adult Contemporary Department.Can You Be Your Own Agent? You can. You or one of your band members and/or your Manager can call just as efficiently on your behalf and set up the show. Agents are not the only ones who are allowed to call venues or Promoters, in fact, manytimes a Manager or Artist will call them directly. Ho wever, having an Agent can prove very beneficial. Most importantly, Agents already have established relation ships with these venues and Promoters. Having this relationship means that they will take my phone call or will at least call me back. This may not be the case ifyou call and you may have to adhere to the venue/Promoter booking policy (sending a press kit, waiting abouta month, then calling and the like). I just call them and give them my pitch and see what’s available. This it notto say that you will not have success in going direct ly to the venue or Promoter, but I feel having an Agent helps tremendously. What’s the old saying, that 90% of the battle is getting in the front door? Agents openthose doors and they get paid for it. If you do go the do-it-yourself route and attempt to book your own national tour, be prepared that getting a Promoter on the telephone is most often difficult to do. Rule number one is, if and when you get the Promoter on the phone, keep the conversation short and get to the point. Research the venue’s schedule well in advance so that when you are talking to the Promoter about specific dates, you can see what’s booked and what’s available. Let the Promoter know that money is not a concern and that all you wish is to get into the room and perform. Be persistent, but not annoying. If you hav e played a venue of similar size or stature, bring that into the conversation; it gives you credibility. Developing a following will also help increase your chances of getting yourself into some or the more premier venues. You want to play in as many major markets as possible, but you don’t want to over-saturate the area. The only way your numbers will go up is by touring and touring regularly. Last but not least, be polite and courteous Promoters and Club Owners deal with thousandsof Acts and their materials. If they don’t have time for you the first time, try again later; stay clear of makingwaves as you will only decrease your chances of getting into that specific venue. Additional Benefits Of Having an Agent As an Agent I always considered myself as the extra member of the band. I say this because the Agent is theclosest person to the act when they are touring. It’s obviously not based on a proximity factor, but rather stems from the Agent-Client relationship. Let me try to clarify: When something is great or when somethinggoes wrong on the road, it’s the Agent's responsibility to fix it. Why is that, you say? Because the Agent is the one responsible for all the live-show dealings of an Act. The Agent is the one who sold the Act to the Promoter with certain guidelines, which are always outlined in a show contract. Should the Promoter deviate from theterms in the agreement, the Agent must then intervene on behalf of the Artist. Feeling like that extra member of the band made me do my job better. Any time a situation came about where my Artist was going to get screwed, I would get right into it and bring the situation to a head. Case in point, I was routing the Toadies through the Southeast (my territory) and had a date booked in Raleigh. Two weeksout, the Promoter has no tickets sold and I don’t have eit her the contract or the deposit. I am a little worried ‘cause this guy is pretty green and I don’t have a history with him. Three days out and I still have no depositand no contract. I conference-call the guy with the band’s RA and the guy flakes. The show cancels for thedeposit and I go on to tell the guy that without him sendi ng me the money, he will never get a show from ICM again. No one ever thought I would get that money, but seven months later it showed up.You see, in situations like that, it’s great to have an Agent, because they get down into the pit and fight like dogs for their clients. The other good thing an Agent provides is good cover. They will absorb all the negativesthat are associated with booking live shows (both from t he Artist and the Promoter). Just because you are the Artist’s representative, this does not mean that you do not look out for your Promoters. Like when a show stiffs and the Promoter loses a bundle of money. No one wants to see that and chances are, the Promoter will call looking for a reduction. You want to look out for the Promoter, but ultimately you are responsible only to yourArtist and their Management. If they agree that giving back some of the money is OK, then you do it. An Agent never wants to give money back, but they also don’t ever want a Promoter to lose their ass. It’s a very fine line. By having an Agent, this allows the Artist to be themselves and to say what they want to say and do want they want do. At some point in time the decisions come full circle to both the Agent and the Manager. We are the ultimate role-players; we are the good cop and the bad cop and it a ll depends on the scenario. How To Find and Attract A Booking Agent Check your copy of The Indie Venue Bible for Booking Agents in your area. You also want to solicit referencesfrom all the people you run into in the club scene. All Promoters deal with Agents on a daily basis, so they are a great resource to tap. Finally, you may want to check out the CD inlays of your favorite artists. More often than not they will list their Agent’s name and co mpany and possibly even their phone number. It’s always worth a try. Most Agents pick up their acts through relationships with friends in the industry. These may be Promoters, Club Owners, Record Company people, Managers, MTV folks, VH1 cats or Tour Managers. These are all resources that Agents consult on a daily basis. A tip on a hot act can come from anywhere. Therefore, strong networking will be critical for you in identifying and contacting the best Agent for your Act. Certain Agents gravitate to certain kinds of music. I say this in a very generic way because it’s partly true and partly not. Find out who at what company is responsible for which acts and that will provide you with insight on who is going to be most into your project. Case in poin t, let’s say you are a new alternative act and you call up an Agency and find out that most of their Agents have acts that are either Hip Hop, R&B or Classic Rock. Unless you visualize yourself touring with the likes of Eddie Money or the Beach Boys, I suggest you take your music elsewhere. Identifying the Agents who would be most receptive to your style of music is a key startin g point in selecting an Agent. This saves you sending kits to every Agency, where most of the time the music falls o n deaf ears and the photos & bios make for the recycle bin. A good strategy is to send the package to the Agents’ Assistants instead of directly to the Agent. This does several things. First, Assistants open all the mail andthey more often than not listen to the music, even if it’s just once. If the Assistant likes the Music, then you have an “in” at that Agency. The music can then be delivered freely among the others and your name will be brought up in conversations. Plus, if the Agency ends up signing the act then that Assistant will get props for bringing it in. This may come by way of a promotion, the assignment of the project or greater say at thatcompany. Remember, today’s Assistants are tomorrow’s Agents. Another good way for you to be seen or heard is to set up an industry showcase. This should take place in LA, NYC or similar cities where there is a strong music-industry presence (ie: Nashville). The show should be set up well in advance so that everyone you invite will hav e the date marked down in their calendar (I can’t tell you how many shows we missed due to conflicts like goi ng to Knicks’ Games). Once your date is locked in, it’s essential that you get the word out. This entails e- mails, flyers, phone calls and the like. Again, if you can’t get the Agent on the phone, try to get the Assistant to go to the show. The more people you invite, the better your turnout will be. If you can, try to get a good cro ss-section of industry personnel, you will find that news travels quicker that way. A good ploy is to bait people with free drinks or food. Agents never pass up a free beverage or cracker. Once they arrive, the night is y ours. If the show is a success they will talk about it. Talking about it creates a “buzz” and when you have a “buzz” everyone is interested in your act. It is from here you can start to feel out the Agents.Passion When looking for an Agent (and when I looked for Acts) find someone who is truly passionate about your project. I say this for two reasons. The first is this business is full of ups and downs, trends and fads and so you want someone who will stick by you through the good and the bad. If your Agent loves your band, you will have a successful relationship and touring career. Secondly, your Agent serves as your representative, so you want someone who reflects what you are all about. There is nothing worse than trying to sell something youhave no interest or faith in. It’s a tough sell and people can see right through it. Every Agent wants all their shows to sell out, but wo rking in the Club Department with developing acts meant that was not always the case. New bands are exactly that - new. Most have no following and many have never toured extensively across the states. When a new act gets signed it’s always an uphill battle to book thedates. You have to pull out every piece of ammo to get the act in certain rooms on certain nights (salesfigures, paid attendance, airplay etc.). I vividly recall begging people for $50. for an acoustic singer by thename of Jewel. In these cases Agents fall back on their love of the act and their ability either to sell the act orin some cases, their ability to strong-arm the promoter. That’s why Agents want to only sign acts they are passionate about, because it’s an easier sell. A good example of this is an Artist named Martin Sexton. When we first saw Martin’s live show, we were in awe (I was shivering). He blew us all away and we signed himwithout hesitation. Selling Martin dates was both an honor and a privilege and on every call I had love and passion in my pitch. How To Choose A Booking Agency First things first, most Talent Agencies (especially the big ones) will not take on unsigned acts. I think theyinstitute this policy to weed out acts. If they didn’t, they would be listening to thousands of unsolicited materiala year (collectively we would receive around 20 new s ubmissions a day). I also believe they adhere to this policy because this business is a game of chance and in order to better increase your chances of winning, you want to have odds in your favor. By only taking acts signed to labels, I think Agencies feel that they have a better chance to break the act, hence the policy of taking only signed material. If you think about it from an Agency perspective, it all makes sense. Acts signed to majors have at their disposal Marketing Departments, Radio Promotion Departments, Tour Marketing Departments and the like. One would think that with all these people working in unison the chances of breaking the act are heightened. In theory this is true, but it’s not agiven. Case in point is a band out of Richmond, VA called Fighting Gravity. They got signed to Mercury awhile back; Mercury puts out the record and does all the promo stuff. The band does OK, eventually gets dropped in the Universal takeover and to this day has still sold more of their records independently than Mercury did.Getting signed to a major is a great achievement, but it’s not a guarantee that you will be successful. Agencies are paid on a commission basis. Standard rate is 10% of the shows they book. However, if you’re a Courtney Love or a Billy Corgan, I am sure that mo st Agencies would be more than willing to negotiate with you on their cut. Think about it, taking 1% of what the Rolling Stones gross a year from touring versus taking 10% of what the Screaming Trees gross. It’s slightly lopsided. I’ll take the 1%. Depending on what you want out of your career there ar e many ways to choose the right Agency. First and foremost, are you strictly a musical act? I ask this because several of our clients came to ICM because we were a full-service Agency. Full service means we have more than just a Music Department. ICM houses a Classical Music Department, Motion Picture Depar tment, Sports Department, Commercial Department, Literary Department and a Speaker’s Department. Madonna, Brandy and Courtney Love all came to ICM partially because we have an awesome Motion Picture Department. If other mediums interest you then you should take a hard look at full service agencies CAA, ICM and William Morris. Monterey Peninsula (another booking agency) does not have a Motion Picture Department and ICM shut down its Alternative Music Department in January 1999. Just FYI.Power People rarely talk about power, but everyone knows it exists. In the story I mentioned earlier about getting that Toadies money from that Promoter, it was a combination of many things, but ultimately it came down to the fact that ICM is a powerful Agency. Power is not bas ed on size or money or how you dress or how long you have been in the business. Power is based on your ski ll and knowledge of the scene, your standing among peers and Promoters, who you know and who your clients are. I was one of the more junior Agents at ICM, soI was developing my power through my relationships with Promoters. Case in point: I was routing Monster Magnet (off their last record, Powertrip) and the tour was so hot, everyone wanted a Magnet date. Early through the cycle, the record was getting hammered in Spartanburg, SC. It was one of the top three cites on our list and I knew the perfect Promoter for the show. Mick Minchowran Ground Zero and even before the record was completed, he would call me and ask when the band wasgoing to do dates. He was both a fan and a Promoter, the perfect mix. The routing change d several times and Mick was in the process of moving locations and the show fell through the cracks and landed at MagnoliaStreet Pub. The show ended up there by default and it was for sure not the correct venue. I felt bad for Mick and wanted to make it up to him, so when they came back, I made sure that Magnet performed for him (eventhough I had competing offers from every national Promot er in the area). Needless to say, the show was a huge success and everyone had a blast. Identifying The Correct Promoter Or Venue In the previous example, Mick was the correct Promoter for this show and the folks at Magnolia were clearly not. I say this not because Monster Magnet was his favorite band, but because musically it’s what sells both in his market and in his venue. If you contact Ground Zero and check out what’s playing there and what wasperformed in the past, you are not going to find Hootie or Dave Matthews, but rather Slayer and CannibalCorpse. I would never sell Mick an Edwin McCain date and it wouldn’t be be cause he could not promote it, it’s just not the appropriate room and he has far more experience and su ccess with heavier music. Theme Nights When identifying the correct Promoter or venue, ask about the club’s schedule. More often than not venues have theme nights. This means that on certain nights clubs specialize in specific styles or types of music. Ifyou are a heavy-metal act and are routing through a city and the only available date is at a club on techno night, chances are it’s not going to go over well. This is the case because, obviously, the people who regularly attend that evening are expecting techno, not heavy metal. History One of the factors an Agent takes into consideration when selling an Act to a Promoter is, does the Promoter have history with the act? Did this Promoter purchase this act in the past? If the answer is no, then all theoffers stand on an equal basis. However, if a Promoter does have history with the act, this must be taken intoconsideration, especially if the Promoter booked the act as a favor or if he lost money on the show in the past. Selling the act to the Promoter with history is not always the correct decision. Like when I routed Slayerthrough Florida. I ended up giving the date to Harry Tiyler, because he h ad the history. This despite the fact that I and the RA, had doubts about Harry’s ability to promote the show. Harry convinced us, basi cally begging for the show and we let him have it. Long story short; Harry voicemails me on Monda y morning (the show played over a weekend) and proceeds to tell me that it rained during the show and that the venue hadholes in the roof. Water seeped in through the holes and shorted out all of the production. The show was adisaster and Harry did not get another show from me.Routing Dates When you or your Agent routes dates, mileage and distan ce should be your primary concern. Boston to DC sounds all good until you actually get into the car, bus or van and do the drive yourself. It wasn’t until I started making road trips to see clients that I fully understood the toll the road takes on you (and I wasn’t even performing). First you need to identify how you will be traveling. If you are signed to a major label, then hopefully you have some tour support and access to a van or better yet, even a tour bus. If you’re traveling by bus, you’re less worried because you have a driver, a bunk and are capable of making long hauls by driving through the night or doing overdrives. A bus gives you a greater range of cites that you can hit. If you are traveling other than by bus, you need to limit your sc ope and distances to your own style. You are the one who knows your limitations (financial and otherwise) and you are the one on the road. I have had Artists who only do three shows in a row and I have Artists who play seven straight. This is entirely a comfort thing and isdecided on a case-by-case basis. When routing dates, you need to look for good match ups with other acts. Scenario one would be to locate a good opening position for a national act in markets you want to hit. This gives you credibility as you can tell people you opened for, let’s say, Everclear. Secondly, it takes all the pre ssure off you as it’s technically another act’s show. You need not worry too much about drawing people cause that is supposed to be the headliner’s job. Chances are you will be performing in a good size-venue, with good production and thePromoter will probably promote the show. You may even get some free advertising out of it. If you have an Agent, your Agent can get you on these bills by either calling the other Act's Agent or by calling the Promoter directly. Half of what we do is packaging or bundling appropriate Acts together. We submit our acts to other Agencies to open or co-headline with whomever they may have touring. Show-Swapping: Developing Relationships With Other Acts Not everyone begins his or her career at Madi son Square Garden. You may do 1,000 people in your hometown of Chicago, but in Waverly, NY you may not draw more than 10 people. Theoretically speaking,everyone’s numbers should be better in their hometown, since people know them and they perform there on aregular basis. If you located a venue in every city that you wanted to get into and were able to perform with astrong local act in each one, you would automatically be performing in front of a good crowd. That’s the importance of getting on the road and meeting as many bands as possible. Everybody has a home base and if you offer an out-of-town band a prime slot in your tur f, chances are they will return the favor. That is show swapping. Colleges The mother of all pay days. It’s what we Agents ca ll “stupid money.” When colleges approached me or when I solicited offers to them, it was always for stupid m oney. Stupid money basically means, give me your ATM card and your PIN# and I’m gonna take out what I want. You see, colleges have deep pockets - some Ibelieve have no bottom - so we as Agents make sure they pay a premium for our acts. Artists receive a betterbottom line and Agents get a fatter cut. And you are playing in front of college-age kids - which never hurtssince they buy a huge percentage of all popular music! The Deal There are several types of deals that an Agent can negotiate with a venue: The Flat Deal where the Agent and the Promoter agree to a flat financial guarantee. More often than not this deal is not used because it caps the Artist’s earnings potential. Basically what that means is that no matter how well the show does, the Act is paid the flat fee. Colleges pay mostly flat deals because they are always paying three to four times what an act normally gets paid at the club level.The Plus Deal is a profit-sharing deal and this is always coupled with a minimum front-end Artist guarantee. This deal reads that the Artist is paid their guarantee plus a percentage (agreed upon by the Agent and the Promoter) over what they call the split point. The split point is a tally of the total show costs for that specificperformance and it includes the fee to the Artist. Here is a made-up deal: $5,000 plus 85% over $14,500 (in fixed expenses). This reads that the Act will be guar anteed the $5,000 and then if the show grosses over the $14,500, the Artist and the Promoter share the profits ov er the fixed expenses, with the Artist receiving 85% and the Promoter 15%. The industry standard on a Promoter’s cut is 15%. Agents like these deals because they provide what is called a “backend.” The backend refe rs to the potential for the band to receive extra show monies. This way if the show does well, the band will be paid on it. The Versus Deal. In this deal, you the Artist take the guarantee versus a percentage of the total box-office receipts (not gross, but net - ie: after costs are deducted), whichever is greater. On these deals show costsare not itemized beforehand, but are tallied night of show and are settled on actual expenses. An example ofthe versus deal would look like so: $7,500 (the guarantee) vs. 70% of the net box-office receipts. Atsettlement, you would take the tally of all admissions, subtract tax and approved expenses and compare 70% of that figure to the $7,500 you are to be guaranteed. You walk with whichever sum is greater, that is theversus deal. Many stadium acts use these deals and several of the largest acts take strictly a percentage dealwith no guarantee. The Magic Bonus. The third deal is what I and two Promoters from Florida call The Magic Bonus. The Magic Bonus is created in stages or presented at a sellout. You can set up cash bonuses at intervals of paid admissions or at a sellout. Rule of thumb is to know when the bonuses kick in so that if you’re close to abonus and your Tour Manager is smart, he will buy the remaining tickets and get the band the bonus. The Contract Put it in writing. Contracts are very important because they provide written proof of an agreement that you or your Agent entered into over the phone. Contracts take out surprises and save you many headaches. The main items you want listed are: date, venue capacity, ticke t price, ticket scaling, your financial guarantee, tax, merchandise rate, times (of load-in, sound check, show etc.), billing and contact names and numbers. A plus would be to get the contract signed by the talent buyer prior to your show. That way, if there is a discrepancy,you have the person's signature affixed to your contract. Ticket Scaling Refers to the type of tickets being sold for this event. Tickets can be either GA (general admission) or reserved. GA means that they are sold on a first-come first-served basis and they are located in a pit area in front of the stage. Reserved means that there is either a corresponding seat or designated area in which the ticket holder will be standing or seated. Generally, these tickets are sold at a premium as they are often located in premier locations such as off the floor, balcony, tier sections or VIP areas. Merchandise Rate Refers to the agreement made between Promoter and Artist as to how much of the Artist’s merchandise sales the Artist can keep. This is a variable rate and is based on a percentage. Depending on the venue’s policyand on the specific act, the rate fluctuates. Most standards fall at 75/25 - 75% to the Artist, 25% to the venue. The best deal an Artist can receive is 100%. This means that the Artist keeps all proceeds generated frommerchandise sales at that venue. Anything less than 100% means that the Promoter gets a cut of your merch.This means if you sold $800 in merch and the rate you agreed to was 80/20, you would receive $640 (80%) and the Promoter would receive $160 (20%). Merch sales can be a huge make or break for many Acts, especially those earning less than $250 on a guarantee. Many times the Artist sells the merch themselves, however, some venues arrange for a member of their staff to sell it (for a fee of course).Billing The placement of your act’s performance on a given show. If you are the opening act, that should be reflected on your contract. If you are the headlining act, that too should be reflected on your contract. Knowing whereyou are playing on the bill ensures that you will arrive on time and are aware of what acts are before or after your performance. Promoters are notorious for adding that third act on the bill, so beware and advance thedate well out. Billing also determines your placement on advertising and promotions for the show; if you arethe headliner, you should get “top billing” on any posters, flyers etc. Tax Comes out of the gross, but it comes off the top, so technically it’s money that the Artist would never see. On your contract face you would have items listed as fo llows: Gross Potential, Tax Rate and Net Potential. The gross is calculated by taking the ticket price(s) and mu ltiplying them by the venue capacity. Once the gross is established, you take out the tax and are left with the net potential. All shows are settled on the net, as taxesneed to be taken out. Tax varies from state to state, so you need to check with each venue in each town. Rider Provisions Riders are essential documents that you attach to the contract (they “ride” on the contract) and outline what your requirements are for a show performance. This is especially critical with production. Every Artist and Agent should know exactly what to expect at ever y venue with regard to sound and lights. You may have “bare minimum” production requirements and you need to know what those are so as to steer clear of rooms with poor production. Avoid any instances where you feel the product ion will be inadequate and may jeopardize your live performance. Ask questions up fr ont or advance the date well out to work out any potential glitches. Well folks, that about sums up how booking agents and national touring works. Good luck and write us with stories from the road! Max McAndrew began his career in the music business at International Creative Management, Inc. (ICM). He was drafted into the Agent Training Program, where he was pr omoted to Assistant Music Agent. He apprenticed under Mike Krebs and Steve Kaul and was then promoted to Music A gent. In his capacity as Agent, Max oversaw all Club Department bookings for the South East section of the country. This included booking, coordinating, organizing and routing various national tours, in addition to scouting for and developing new talent. Max Departed ICM to take a position in the Talent Department at The House of Blues, where he is currently employed as an Assistant Talent Buyer and Concert Promoter. The acts that he has worked with or will be working with include Stone Temple Pilots, Wu-Tang Clan, Widespread Panic, The Deftones, Edwin McCain, Vertical Ho rizon, Splender (who he absolutely loves), Nine Days and many others. How to Approach Booking Agents by Jeri Goldstein, Performingbiz.com © 2010 All Rights Reserved. You have reached that point in your career development when adding an agent to your team would be a logical next step. Before you pick up the phone and star t calling around, I suggest you do the following three steps. 1. Take inventory and create an overview of your career position to date. This process and information will help you present a clear pi cture of your career for yourself and assist you in making a more powerful pitch to any agent you are considering.Taking inventory includes re-evaluating your past two y ear's growth. I would include a list of all your past performance venues, the fees you actually received, t he capacity of the venue and the number of seats you sold. If you haven't been keeping track of this information, it is not too soon to begin. Along with these details, I would also list the merchandise sales you had for each venue. All of this inform ation helps assess your growth from year to year and venue to venue especially when you play a specific venue a number of times during the year. If your numbers increase each time, there is good indication you are building a following. Thisis exactly the type of information a booking agent want s to know when determining whether they will invest their time and money to add you to their roster. W hen you present an organized evaluation of your career development to an agent along with your promotional package, you immediately set yourself above most scouting for an agent. This presentation tells the agent that you are mindful of your growth and are organized in the manner in which you conduct your business. These are attractive aspects of an artist's livelihood to any agent. 2. Create a set of career goals, timelines and projections. Most artists are looking for an agent to relieve them of work they dislike doing for themselves-making calls to book gigs. Look for an agent to help you raise the level of your performance dates and increase the number of dates and the performance fees. Set career goals for the types of venues you would like to play and presentthis to prospective agents. Determine a specific time line in which you would like to have these goalsaccomplished. Then based on the kind of concrete informat ion you've gathered from your evaluation (step 1 above), you can make some realistic projections about what percentage of increase you foresee in the nexttwo years. For example, based on last year's information, you are able to determine that your bookings, feesand merchandise will increase by 20% during the next y ear and 20% the year after. When you present an agent with hard numbers they can more effectively evaluate whether or not it is worth their involvement. 3. Do some research. It doesn't matter how well organized you are or how talented you are, if you are calling the wrong type of agent, you are wasting your time. Some agents book specific genres music or styles of performance. When researching agencies, determine if the genre of music or the type of performance is compatible with your own. Check their roster of artists to seeif you recognize anyone. There may be some acts for which you might open-when finally speaking withsomeone at the agency, mention that. Create a list of appropriate agen cies and make sure you get the names of one or two or the head of the agency if it is a small company. If you know any acts that are working with a specific agent with whom you might be compatible, ask t hat act if they would mind sharing some information about their agent. You may get some insider information regarding whether or not it is a good time to makeyour pitch based on who the agent just signed or if they are looking for new acts to add. Another method of researching agents is to attend booking and showcasing conferences. Agents often use these conferences to scout for new talent. Seeing acts in live performance help agents get a sense of audience reaction as well as getting a better picture of what they might potentially be selling. The other great benefit to attending booking conferences is that you can walk around the exhibit hall and meet all the agentswho are representing their acts. View their booths to s ee who is on their roster as well as examining how the agency presents their artists with their booth display. You can get a sense of the agents organization andcreativity by the manner in which they represent the talent. Stand by and listen to the way they pitch their artists to prospective buyers.In conclusion, with these three tasks under your bel t, you can confidently present yourself to appropriate agencies when you feel you are ready to make a pitch. You will present a much more professional overview of your act with a clear evaluation of your past per formance and a realistic projection of your future. Jeri Goldstein is the author of, How To Be Your Own Bo oking Agent The Musician's & Performing Artist's Guide To Successful Touring 2nd Edition UPDATED. She had been an agent and artist's m anager for 20 years. Currently she consults with artists, agents and managers through her consultation program Manage r-In-A-Box and presents The Performing Biz, seminars and workshops at conferences, universities, for arts councils and to organizations. Her book, CD-ROM and information about her other programs are available at are ava ilable at www.Performingbiz.com or phone (434) 591-1335 or e-mail Jeri at [email protected] MANAGERS: CAN’T LIVE WITH THEM…BUT CAN YO U LIVE WITHOUT THEM? by Sheena Metal, Music Highway Radio © 2010 All Rights Reserved. You can’t throw a rock in any metropolis on Earth without hitting someone claiming to be a manager. Where musicians go, managers follow. It’s as accepted and ex pected in the entertainment industry as an out-of- control cocaine habit or a failure to pay taxes. When you tell people you’re a musician, one of the first thingsthey’re going to ask you is: Do you have a manager? Ho wever, those in the throws of the music business know to ask an even more accurate question: Do you have a good manager? “What’s the difference?” you may ask. Isn’t any manager better than no manager at all? While it would seem that the answer to that question is unequivocally, “Yes”, in rea lity it’s a bit like asking, “Isn’t having a herpes- ridden prostitute for a girlfriend better than being single?” In truth, bad representation is far worse than a lack of representation. While, it’s a fact, that there are things your band will probably never achieve without the aidof a manager, agent, entertainment attorney etc., bad representation can stagnate a career…stop it dead in its hurling climb to the ranks of super stardom or even worse…undo some of the hard work the band has already done. Sad but true, a bad manager can take a perfectly good band and turn th em into a thing so foul that old gypsy women covering their faces with rags will spit and give your band the evil eye as you pass. Ok, that may be a bit dramatic, but seriously…all your band really has is its name and its reputation, so why would take a chance on either of those by putting the whole of your band into the han ds of someone that you’re not 100% sure has your best interests at stake?The following are a few tips that will help you to decipher whether or not your manager can take you to the top or turn your band into a flop:The Drummer’s Girlfriend Is Not A Manager Sure, she may get names for your mailing list, invite her girl’s beach volleyball team to all of your gigs and post your latest pictures on your website photo gallery, but she’s not really your manager. She’s a helper, she can be the president of your fan club, the head of your street team and the world’s sexiest roadie but sheprobably doesn’t know how to put together a press package and make the calls that will get you into an A&Rrep’s office for a meeting. This also applies to: boyfriends, wives, husbands, booty calls, one night stands, moms, dads, cousins, aunts, uncles, neighbors, nieces, nephews, grandparents, grandchildren, pets and the homeless guy who roots through your trash at mi dnight. These people may all be well-meaning and you can accept their aid in dozens of ways (it takes a village to build a popular unsigned band) but don’t give them thelabel or the powers of a manager.Treasure Your Fans But Don’t Let Them Manage You This should be a given but you’d be surprised how many over-eager, slightly-obsessed fans move from semi- stalker to mega-manager in a few simple weeks. I cannot stress how simply wrong this entire concep t is for two dozen major reasons the most important of which is: fans need to be kept at a distance. There is a reason why that same person comes to all of your s hows no matter how many you play, gets there early, sits up front seemingly paralyzed starring at you enraptured. Either they’re in love with someone in the band or they’re insane. These may be reasons to get a restraining order but certainly not reasons to make someoneyour manager. A band’s manager knows every secret of each musician, every person in each member’spersonal life, where you keep your money, where you live and who’s in your fan/contact database. This is not information that you want someone who has 450 cut-out pictures of you on their bedroom ceiling having athis/her disposal. Enough said? Don’t Sign A Contract Unless It’s Worth It Manager’s like control. That why they choose to be managers and not pe ople who macramé wall hangings with the mane hair of ponies. Thus, most managers will try and evoke you into signing a contract. In theentertainment industry, contracts are like marriage ce rtificates…before you sign one be sure your band wants to be tied to the same person for long time (a year, two years, five years etc.) because they’re much easier t o get into than to get out of. For example, if you sign a contract with an efficient, but somewhat green manager, who is helping all he/she can to get you everything po ssible from what little resources he/she has and then Gwen Stefani’s management team approaches you after a big gig and wants to put you on tour with John Mayer. Do you think if you tell them, “We love to take your tour but we’re under contract with someone elsefor the next five years, can you hit us up then?” the offer will still stand? Not so much. So, if you must signcontracts, keep them short and make sure they give you room to act, think, play and communicate with otherswithout getting clearance from your band warden (manager). And make it includes an exit clause. Read upon it. Sometimes Bigger Is Not Better Although it’s a huge ego stroke to brag to all of the other musicians backstage at the Whiskey A Go-Go that your manager works with Grammy award-winners and stadium sell-outs, sometimes an unsigned band canget lost in a huge management firm. While Mr. Big Stud Manager is busy picking out Madonna’s dress for the American Music Awards, he may forget to ask Quincy Jones to attend your bass player’s birthday gig at Billy- Bob Wang’s Tofu BBQ Shack. The problem with huge managers is that their focu s often goes the acts that are making them 15% of 100 million dollars a year. Y our 15% of $45.75 a year after expenses is probably not his highest priority now or ever and what good ar e his super amazing industry contacts if he never remembers to invite them to your gigs? Having a manager is great but only if they provide more benefit to the band than the sum total of your band members and band helpers can do for yourselves. If y ou find someone who can open doors, take your music places it cannot go on its on and has your best intentions at heart, then grab that contract, sign it and enjoy the benefits. If not, you may find yourself: conned, stalked, ignored and/or leg ally bound to someone that puts their own agenda (well-meaning or otherwise) and their own ego above what’s right for you band. Andwhatever you do, don’t sit around waiting for Mr./Ms. Right to wisk your band off its feet and carry it off on his/her white horse to the Fairyland where everyone gets a record deal. You, as its members, know more than anyone, how to do what’s right for your band and nothing will attract th e perfect manager faster than seeing musicians who are out there, doing their thing and maki ng headway in a very difficult business with a great attitude and terrific music. Sheena Metal is a radio host, producer, promoter, music supe rvisor, consultant, columnist, journalist and musician. Her syndicated radio program, Music Highway Radio, airs on ov er 700 affiliates to more than 126 million listeners. Her musicians' assistance program, Music Highway, boasts over 10,000 members. She currently promotes numerous live shows weekly in the Los Angeles Area, where she resides. For more info visit www.sheena-metal.com4. BOOKING GIGS BOOKING LOCAL / CLUB SHOWS by Carrie Klein, Nasty Little Man Promotions © 2010 All Rights Reserved. As one of two bookers at the 250-capacity Mercury Lounge in New York, I became well-acquainted with th e many do's and don’ts of booking a small-ish type artist into a small-ish type club in a big-time city. Booking guidelines vary from city to city and club to club, but there are certain fundamental standards that apply everywhere. The club booker’s job: what it’s not The first thing you should know about booking your act is that most club bookers spend 10 hours a day in a windowless, non air-conditioned, often fly or mouse-infested basement office. Club booking is one of the leastglamorous jobs in the music industry. I went to work every morning at a bar that reeked of vomit and stale beer from the night before. The concrete floor was littered with cigarette butt s and shards of glass. The bathrooms were disgusting and stayed that way until the busboys fin ished cleaning up around 5 p.m. There were few of the corporate perks you might associate with the music business. No expense accounts, no travel (except maybe the annual South By Southwest music conference in Austin), no free subscriptions to Billboardor HITS. Okay, there were a few perks. I drank a lot of free beer (which became less appealing after staring at taps and kegs all day long), I got free CDs from friends at labels (many of whom would want to be put on guest lists to sold-out shows in return). I got into other clubs for free (although after leaving work the last place I wanted to go was another club). In other words, club bookers are not the slick, polished music-industryexecs who have gold record plaques on their walls and Time Warner stock in their portfolios. The club booker’s job: what it is Most club bookers are more than just club bookers. I did not just listen to demo tapes all day long. I was also a night manager and a publicist. I printed and sold tickets. I hung posters, designed flyers and ran to KeyFood for deli platters. I painted the dressing room and I scraped stickers off the bar. Booking a club is a hands-on, get down and dirty, do-it-yourself venture - not unlike boo king your act. Most club bookers are young and eager to make their venue known for its selective and hip booking policy. At a midsize club like the Mercury Lounge we had a wide range of artists, from major-label veterans Wilco and Echo to recently-signed talent showcasing for their labels to bands playing out for their first time. Finding a new, up-and-coming artistis one of the most rewarding parts of the job, but also one of the most difficult and time-consuming. It’s riskyfor everyone involved: I needed to book acts that could draw well (that is, attract a lot of paying customers to the show) not only as proof that I had an ear for talent but also to make money for the club. And artist s playing the club for the first time had to not only play well but also bring in paying customers in order to be asked back for a second shot. Who you are You are a musician trying to get a show at a reputable club. You may have a manager and/or a booking agent or you may be going through the whole process wit hout any help. There’s nothing unprofessional about a solo artist or band member trying to book a show on his/her own. If you have a manager or agent who’s thoroughly familiar with the ins, outs and intimacies of your act, it’s fine to have him make the necessary calls for you. It’s not nec essary, however, to recruit a friend simply to fulfill a perceived role. You are the one who knows your act bes t and you will most likely have the most persuasive voice.The very first call The first time you call a club, keep your pitch brief. Most clubs have regular booking days and hours, so find out if you’re calling at the right time. If you’re calli ng on an off day or before or after booking hours, do NOT try to make your pitch anyway. You may not want to be lumped in with the masses of other calls, but there’s really no way around it. At the Mercury Lounge my booking hours were Tuesdays and Thursdays between 1 and 5 p.m. Some artists would try to be sneaky and clever and call at 12:50, thinking that they’d get to me ahead of everyone else. It didn’t work. It only annoyed me and made me less likely to take their calls later.Once you get the right person on the phone at the right time, ask if they’re accepting demos. Always, alwayscall before sending your music. You are trusting the club with hours and weeks and sometimes months of your time and your talent - you want them to be pr epared for it, you want them to be familiar with the your name and ideally you want them to be looking forward to receiving this wonderfully precious gift. At the Mercury we would receive between 15 and 50 submissions a week. There were times when we got so backed up that we would have to stop accepting new material. The unsolicited, unfamiliar-sounding submissionscould easily get lost, overlooked or relegated to the bottom of the always-growing pile. Don’t let that happen. Packaging & press kits Once you’ve established that the club is accepting music, get the correct spelling of the booker’s first and last names (a lot of people don’t bother to get it right) and put the package in the mail. I usually advised againsthand-delivering, only because the club environment is so fast-paced and unpredictable that you could easilycome by at an inopportune time and unwittingly leave a bad first impression. When you’re putting together your press kit, keep it simple. A one-page bio is all you really need - press clips are fine but not necessary. Same goes for the photo. Make sure to include your contact number on the tape or CD since the bio usually goes into the trash fairly quickly. Following up and what clubs care about Wait at least two weeks after sending your CD before you make your first follow-up call. If you’re not in a huge hurry, give it three to four weeks. Once you call, be ready for the possibility that no one has listened to your CD yet - you may be asked to call back in another week or two or three. Once someone has listened, beprepared to answer a few obvious questions. The most important quest ion by the booker’s standards is usually "What kind of draw do you have?" (read: "How many paying customers can you bring in?") The more paying customers, the more potential drinking customers. Most clubs make money from bar sales, not doorrevenue. Be honest about your following. If you are tr uly just starting out and have never played a show anywhere, say so. You may be told to get a few gigs somewhere else to work up your draw. Some clubs justaren’t the right place to jump-start your career in music - they’re looking for artists with an established following and they aren’t always willing to take a chance on the unknown. If that’s the case, take their adviceand try to get some shows at another venue - maybe somewhere smaller, newer or that has an open-mic night. You may not want to settle for a less reputable club, but once you’ve played out a few times you can go back to your original first choice and you’ll have numbers to back up your claim of being the highest drawingband on the Lower East Side. On the other hand, if you haven’t played many shows before but the booker was REALLY impressed by your demo, he or she may be willing to give you a shot. This happened to me with a band called Sway (now signed to Reprise and renamed Thisway). They had the added benefit of being highly recommended by an A&R Rep(a record-label talent scout) friend of mine, but for the most part I just loved the music. I had a last-minuteprime-time Saturday night slot open and decided they deserved a chan ce. It paid off - for the band and for me. With two days notice, they brought in over 50 people and secured themselves several more shows within the next few months.Again, it's to your benefit to be honest about your dr aw. Most club bookers are competitive, but on friendly terms - they see each other out and about and they TALK. So if you tell me that you played Brownies last week and brought in 204 people, I just might call up my Brownies counterpart to see if that’s true. If thenumber was actually closer to 24, the phrase "You’ll never play in this town again" may not be entirely inappropriate. If there was a really good reason that you only brought in 12 people the last time you played Wetlands, then come clean with it. The booking-related equivalent of "the dog ate my homework" is "It was aSunday at midnight and it was snowing and oh yeah, it was Mother’s Day too." It sounds pretty flimsy, but it’ll leave you in a better position than the band who brought in 12 people at 9:30 p.m. on a balmy Thursday. Negotiations and rules of the game There are certain standards that industry folks take for granted but that you, as a relative newcomer, may be unaware of. The most important of these is probably the two-week courtesy rule. In general and mostdefinitely in a big music town like New York, it’s a good idea to keep at least two weeks between shows in thesame city. If you’re coming in from out of town and it doesn’t make sense financially to play only one show, then try to work something out ahead of time with the clubs. It may be tempting to play out as much as possible, but doing so can really bring your draw down. If you send a postcard out advertising your no-cover show at Arlene Grocery on June 6th and your $8 show at Brownies on June 11th, it’s pretty likely that theaverage fan is going to come to the free gig. I can’t tell you how many times that I (or even worse, my boss)opened up The Village Voice or Time Out (local entertainment papers) and discovered that this great, super-cool band that I had booked was also playing at Baby Jupiter - all of a sudden they weren’t so great or super- cool anymore. If you’re opening for a more established artist, you may be asked to make certain compromises. Headlining bands sometimes request solo acoustic openers, so you might have to ditch your band for a night. You maybe asked to do a much shorter set than you’re accust omed to playing or have to play in front of a hideous neon green backdrop. If you’re getting paid out of the headliner’s money, you may only get $50 even if you bring in the majority of the people. If these seem like unacceptable sacrifices, then don’t take the show. Playing in front of a sold-out crowd will only help you if you’re really ready for it. Different clubs have different payment policies. Some clubs will guarantee you a certain amount of money, but most small to midsize clubs put the burden on you and will give you a percentage of the night’s door revenue. It may be a percentage of the entire night’s door or it may be a percentage of just your act’s draw (in the latter case, customers will be asked which artist they’re ther e to see). Make sure to negotiate payment BEFORE the night of the show, otherwise you may end up haggling with the door person at 1 a.m. Contracts for unsigned acts are usually not necessa ry - verbal agreements are standard. There will probably be times when you wish that you had something bi nding - times when you have booked a show and sent out your mailing only to find out that the club went ahead and booked the Foo Fighters in your slot. This will happen. It's unfair and you may lose money, but unfortunately, there won’t be much you can do. You can tryto snag the opening slot, but that probably won’t happen - most national artists tend to bring their own openerswith them. Your best bet is to play the sympathy ca rd and use it to your advantage to get an amazing show at a later date. When You Think You’re Getting The Run-Around Be patient and persistent, but not pushy. Calling every week during booking hours is being persistent; callingat all hours of every day is being pushy. You want the booker to be familiar with your name, but not cringewhen she hears it. Put the club on your mailing list so t hat they know when and where you’re playing. In many ways you are selling yourself and your music, so a certain level of "brand" recognition is essential.If you have music industry connections, use ‘em. If you want to do a showcase for a few record labels, it’s not necessarily enough to say that so-and-so from Atlantic or Columbia really wants to come see you play. A&R people are not usually paying customers, so having one or two record-label reps come out to your show is not a huge sell from a booking standpoint. If, however, you do hav e an industry "buzz," that is a selling point. If people are talking about you or your band, the club wants to be in on th e scoop, sometimes regardless of your draw. Have an A&R rep call the club directly. Club bookers are in constant contact with labels, agents,journalists - all the usual industry types. If you know some of these people, have them put in a call. If youknow someone whose band already has a good relationship with the club, try to jump on their bill. There’snothing wrong with the "friend-of-a-friend" route. The payoff Booking your act at a small to midsize club can be a fr ustrating endeavor. Once you’re given your first gig, however, the relationship between artist and club has start ed. If you bring in 40 paying customers to your first show, you shouldn’t have a hard time getting a second one. If you consistently bring in good numbers, you may be asked to headline a show or to open for a national artist. Peter Salett is an excellent example of anNYC musician who has been doing his thing - and doing it well - for several years. Besides his considerable talent, he is also hard-working, reliable and always pleasant to the staff, his audience and anyone elseinvolved in his show. He has headlined weekend nights at the Mercury, opened at the Bowery Ballroom (abigger venue than the Mercury Lounge - roughly 600 capacity) and headlined The Bowery. Once you’ve proved yourself to the club, anything is possible. Cu ltivating and maintaining a good, trusting relationship with the club will set you on the right course for a long and fruitful career in the live music scene. I worked at The Mercury Lounge for three years and also at The Bowery Ballroom from the day it opened in 1998; I was responsible for booking and artist relations. Working at thes e two popular NYC venues gave me amazing access to an incredible range of industry contacts: book ing agents, managers, promoters, label executives, journalists and of course the musicians themselves. I left this job in July of 1999 and st arted my current stint as a publicist at Nasty Little Man. We have an amazing roster that includes the indie-est of indie bands to the big superstars. I now work with artists like Ween, Sonic Youth, Supergrass, Ben Harper and Chris Mills. At Nasty I have found the perfect middle ground - it’s a small company without any of the cor porate politics that you find at a label, but it’s also big enough to offer a sense of stability that’s hard to find when you’re working in the basement of a bar. www.nastylittleman.com THE BASICS OF BOOKING YOUR OWN TOURS by Jay Flanzbaum, Onlinegigs.com © 2010 All Rights Reserved. To be able to book gigs successfully you’ll need a ton of persistence and even better organization. Whether you are booking locally, regionally or nationally you will essentially need the same skills and tools to be effective. Independent bands and agents, by definition, tend to lack the nationwide connections necessary tomake the idea of booking an extended tour possible. As a result the ones that are most successful aregenerally the same ones that understand how to gather and effectively manage, all of their business relatedcontacts. We’ve all seen some pretty lousy bands with some damn good gigs, so talent isn’t always the main issue. Data collection If you haven’t already, you are going to have to start colle cting contact information for the people that can help you achieve your goals. If your goal is to have a touri ng career in the music industry then you better find some venues, colleges, festivals, record companies, managers, record stores and media contacts, to do business with. It is never too early to start this process. Y ou should start today even if your CD won’t be ready for another 3 years and you don’t have a full time drummer yet. Every person you meet and every possible gig that you hear about will need to be recalled at a later dat e. There are many sources that a beginner or even a veteran, can turn to for gathering this type of information.Printed music industry directories like the Indie Bible can have an incredible amount of information to get you started. Alternative newsweeklies like the Village Voice or the Boston Phoenix are a great source of localmusic venues, festivals and college listings. Most major markets in the country have an independent weeklypublication; some of them can be found online at www.awn.org. Online music communities like are also an ideal place to find where bands of a similar style are playing. Data management Once you start gleaning contact information from printed directories, online communities, newspapers and other bands, you will soon realize that you need a good way to organize and access all of this data. You most likely have pages full of notes, e-mails with venue referrals and sprea dsheets covered with names and numbers. The key now is to be able to effectively organize all of your new found contacts in a way that maximizes your opportunity with each one of them. Software or web based contact managers like Outlook, Act, Maximizer or Onlinegigs, are all efforts to help you centralize your business related messages, tasks and contact information. It doesn’t make sense to dig through multiple e-mail boxes on different computers to find important messages. Anymore than it would to be unable to find an important phone number because you le ft your address book in Spokane, WA. Whatever application or method you choose, be sure to get as m any of the following features as would apply to your specific needs. • complete and total access to all of your import ant contact and business information in one location • multiple, archived backups of your information in case of data loss or equipment failure • reminder system for upcoming activities and tasks• integrated e-mail & fax messaging with message tracking and searching• customizable for your specific industry • remotely accessible from any internet connection • ability to easily share information with others Importance of contracts After a few months of working your task list religiously and following up on every CD in a consistent and professional manner, you should be ready to start booking some gigs. After all the work you have just gonethrough to find contacts and reach out to each one of them, it would be a shame to lose out on a gig at the lastminute. Admittedly, last minute cancellations and double bookings can and will occur. The story usually goes like this: You sent out your CD in January; to finally book a gi g in April for your upcoming August tour. It’s just a Tuesday night for 100% of the door, rooms and food; but it’s a needed stop-over between Colorado and Nevada. You call a week before the gig from some where in Texas and the club has never heard of you. What’s worse, there is another band booked on that night and the other band has a confirmed writtenagreement. In a toss up situation between the band with no proof and the band with a contract, the band withthe contract usually wins. For gigs that are low-dough or no-dough deals, you should still send a written agreement. A written agreement is your only line of defense after all of the work you have gone through to secure the gig, not to mention the work you will need to do for properly promoting it. E- mail is the easiest method because you can easily send the same message over and over until you get confirmation. Faxing is also relatively easy, however having to send a snail mail agreement over and over can be a pretty big hassle. Your goal here is to constantly remind the talent buyer of your agreement and put all of the details in front of them. The higher the dollar value on the agreement the more diligent you should be about insisting on a signed, hard-copy version of the agreement.Getting ready for the road Putting a group of people on the road for any amount of time comes with responsib ilities. There are many people who will need detailed information about your schedule in order for your tour to be effective, safe and organized. Band members and their families, your m anager, a publicist and even your fans all need to have access to different information about your trip. At a minimum all of your shows should be listed on your website as soon as they are confirmed. Ideally y ou would also list set times, the venue’s address, phone number, website and any other bands on the bill with you. The tour itinerary The best way to be sure your trip is error free. Everyone on your team should have a chronological listing of each of your tour dates with as much or as little detail as they need. But the master itinerary for you and your band members should list all of the contact info for each venue, set times, payment details, venue capacity,ticket price, age limits and step by step directions from one gig to the next. This is your bible for the trip andthe more copies you make the less likely you will be lost in Lincoln, Nebraska without the buyer’s phone number or any sense of direction. The Tour Itinerary is also a crucial tool in satisfying your greatest responsibility as a touring band: Advancing Your Shows. If you want your journey to free of surprises, then you will advance all of your shows. This simplymeans contacting the venue a week or so before the gig to confirm performance details, get important load in information and find out about any last minute changes. Out of your entire organization of band members, managers, agents, tour managers and interns, there needs to be one person who can assume this role. Properly promoting your shows If you have never played before in a particular market, then most likely nobody in that town has any idea who you are. And why would anyone come out to see you pl ay if they have no idea that you are even playing. What you really need is some press or at a minimum just a listing with the local radio and print music calendars. Your first step is to put together all of the contact names, fax numbers, e-mail addresses etc. for the local media outlets in a 30-60 mile radius of each of your gigs. Then you will have to prepare a professional and concise press release. A good release should be able to convey all of the pertinent information on one page.Radio stations and newspapers get flooded everyday with hundreds of releases, they do not have time to readnumerous pages that outline your band’s Zen philosophy or each of your bass player’s numerous influences. Keep it to the point or they will not read it all. Keep y our layout clean; do not use multiple fonts and font sizes or too many colors and graphics. Make sure your release has a section with the performance details that is easy to pick out and includes: Performance Date, Band Name, Venue Name, Full Address, Phone, Website, Ticket Price, Set Times, AgeLimit and any other bands on the bill. Also be sure to include your personal contact information: Contact Name, Phone, E-mail and Website. If someone needs to get in touch for a photo or an interview, you will want them to be able to track you down quickly and easily. Here is where your Contact Management program really comes in handy. You could take the time to create numerous, personalized press releases for each press contact you have found. This would probably take you days depending on the size of the market. If we are talking about New York City, it could take you months. But if you have the proper tools, you should be able to create one template and send personally addressed releases, by fax or e-mail to hundreds of media contacts all at once.The dance You should think of every band outing as a well choreographed dance. All of the administration needs to happen with precision for you to grow each new market. Put a check list in place and follow it like a religion for every gig and pretty soon it will become second nat ure to you and your band members. Organization alone is not going to make you a success but the sooner you get the basics in place the sooner you can spend time enjoying your music. In today’s music marketplace, exposure for independent acts is generally limited totouring. If you want to be heard outside of your loca l market you are going to have get your band some gigs outside of your local market! Put a solid plan in place and achieve your goals. Jay Flanzbaum of Onlinegigs got his start as a booking agent putting together national and regional tours for independent bands. Those years running a boutique agency inspired the creation of Onlinegigs, an incredibly powerful booking and promotional tool for independ ent bands and agents. www.onlinegigs.com OVERVIEW OF BOOKING A GIG by Marc Davison, author of "All Area Access" © 2010 All Rights Reserved. The Club & Club Owner A nightclub, a bar or any small size venue that you ar e going to call upon is first and foremost a business. The owner is someone who has invested a good deal of money and is working long hour s so that after the overhead (bills) is paid, there's some profit left ov er for themselves. They are probably in the business because they enjoy music, but if music were their only motivation, they would be in some other job listening tothe radio while they work. They are in business to make money. The way clubs make money is by charging admission and/or selling drinks to their clientele. The amount of patrons a club can attract is a result of the type of entertainment and atmosphere the club provides. When aclub owner looks to hire a band to perform, the decision on hiring revolves around the entertainment value the band can provide. A band's value is based on (a) How many people will they draw? (b) Will they entertain the regular clientele? (c) Does the band have a following and are they big drinkers? Ask any club owner and they will tell you that a great band is one that brings in a big crowd. A band that plays great but doesn't draw anyone is an out of work, great band.The days of clubs working hard to develop an act are fo r the most part long gone. Locally, you might find a place that will give you a start on an off night like Sunday or Monday, but it's up to you to bring the crowd. Due to the high cost of rent, insurance, liquor and security just for opening the doors, club owners will not offer you much in the way of pay to just come in and perform for no one. Many clubs today will put anywhere from 3-6 bands together on a bill to maximize the audience. If each band can draw 25 people, then 6 bands can draw 150 people on the night. Of course it doesn't always work out this way and some bands will draw more than others. But unle ss you can pack the house on your own, sharing the bill is a fact of life. There are many different types of clubs, bars etc. and for the sake of this conversation, we need to concentrate on the type of place you will first be looking to play in. Whether you live in a big city or a small town, chances are that you can find a small drinking bar that has at least a 75 person capacity, a small stage, some lights and a small dance floor. This should be a room that aside from a regular clientele of bar flies, younger people go there occasionally to see a band.The owner of this establishment like every other club no matter what size, is pr obably inundated with requests from more bands to play than there are available dates. The decisions on who to book are usually based on the following: The reputation of the group If you are an already established band, the word on the street and through the club circuit on how well you play or what size crowd you bring, will determine whether you have a good reputation or not. Usually clubowners know of each other and due to their competitive nature are always checking who's playing at the other guy's club. If the band has a good reputation they will be preferred by the clubs over a new untested act, especially if they're vying for a booking on the same date. The tape and press kit These are the two most important marketing tools your band has. They serve as proof of your accomplishments documented in a professional manner for everyone from club owners to the press, all the way up to the record labels. The press kit contains a bio on your group, band photo, press clippings, alongwith any other vital booking information. This will be accompanied by a demo tape of your music. The club owner looks at this material, listens to the tape and det ermines whether they want to offer you a gig. If your band is new or has never played in the area before, the club owner takes a very big risk in booking you. Thereputation of the club is based on many things including the kind of music it features. Having never seen you before will supersede any guarantee you make as they take a financial gamble by hiring you. Your sales pitch The fact is, some of the most successful people in the world are salesman. Whether you're selling computers, cars, ideas or yourself, to truly be successful at it, you will need to possess certain communication skills andconcepts. Club bookers are very busy people and do not have a great deal of time to look for quality in a band if it is not easily found. Furthermore, due to the vast amount of phone calls club bookers receive it helps if youcan offer something that makes you and your group stand out. To develop an edge so that you can get through the maze of tapes and press kits on their desk you will need to possess the following traits: Professional attitude and personality First you need to come off like a winner, but without being cocky and arrogant. You are not the first group in the world that writes their own music and you need not try to sell yourself with the line “we're the best band you've ever seen.” Trust me you are not the best band they've ever seen and you never will be if at this stageof the game you already think you are. The club booker has seen and heard it all. Allow them the chance to come to that conclusion on their own. Let your music do the talking. Allow yourself to take criticism. Club owners are just one of the many people who you will be approaching forhelp and in turn they will offer their opinion on what you need to do to improve. You should not changeyourself with every opinion thrown your way, however, if enough people comment on a particularcharacteristic of the group, consider its conquest to be the next rung you need to climb on the ladder to success. Upon calling me, many musicians open with the line “we are so much better than everybody else out there, we just need a break.” When I hear that, I get turned off. My feeling is if you are better than everybody else, the breaks should be and will come. I prefer that you let your music do the ta lking and not words of bravado. If you feel you are better than everyone else that's great but keep it inside as an inspiration for yourself. A healthy positive attitude is magnetic and it draws people to you.Timing They say this is everything but they are only partially right. If you look at most successful people and listen to their story, you'll find out that when they hit it big, yes timing was everything , but you should also realize all the times that they tried and failed. Like a baseball player, the more times you get up to bat the more chances you give yourself to hit the ball. But not every time up at bat will yield a base hit. Eventually if you keep at it you just might get that pitch that you will meet with t he perfect swing and boom, it's outta there. So really it's not just timing, it's putting in the time that is everything. When making your calls, don't call one club. Call fiveclubs. Make it your goal to book at least three shows a week and don't stop until you do. If you call 15 clubsand book five of them, you are batting 300 and that, my friend, will get you in the Hall of Fame. Knowledge/understanding Know your opponent. It's war out there. If you're going into battle without knowing your enemy, then to whom do we send your belongings? Before you attempt to book a club, try to find out as much about the place as you can even if it means going there at night and hanging out. The worst thing you can do is book yourself into a club that is not right for your music. It will happen sometimes but each time it does, you will learn something from it. Learn about the booking habits of the owner. Find out what the minimum draw is. If the owner expects bands to draw 100 people at the worst, do not even attempt to contact this place until you are at 75 people. I keep stressing to you that the people who book and own clubs are inundated with phone calls. Your windowof opportunity is 60 seconds on the phone at best. You better know what you're going to say and minimizewhat you have to ask so you can get right to the point and make your pitch. Unless you can talk your talk and walk your walk, do not dial that dial. Patience Last but not least, something all bands need to have is a little bit of patience. You are not going to get booking agents or club owners on the phone the first time you call. Or the second or third. Just keep leaving yourname and number and continue to ask when is it a good time to call back. Do not get frustrated. If after ten calls you don't get a respon se move on. It's not meant to be. Use your time and energy on your next conquest. Just do not take it personally. These people do not know you! In time when your reputation is stronger you will come back to this club and find yourself pleasantly surprised as to their willingness to work with you. Your First Bookings Appoint one person in your band to assume the role of making contact s and bookings. It is important to split up jobs within the group. But it is equally important that the jobs do not cross each other otherwise it will cause conflict. The best choice of individual to assume the role of band booking agent shouldbe the one member that is comfortable on the phone and able to do what it takes to sell the band. It helps tohave a likable personality as well as some knowledge of the music business. With that I am not just referring to the way business is conducted but to also know what is going on in the industry as a whole. It would certainly help your conversation skills if you read issues of Billboard magazine, R&R, CMJ etc. Hook up with a local established band Inquire if they have a local show coming up and if you can be the o pening act. This will help break the ice with the club allowing them to see what you've got without a pr ess kit. It also gives you that chance to play in front of audience and hopefully pick up new fans.You should have a prepared set that has at least 40 minutes of music. If you consider audience applause and time in between songs, you can possibly push the set to 45 minutes which is the usual time allotment for an opening act. If the group is willing to let you open up for them do not discuss money at this point. Most bands need every penny they make and they are already doing you the favo r by getting you in the door. This is something you can't buy. If you bring up the money there is a good chance you won't get the gig. Look for a club in your area If you do not know a band that can help you, this is the way to proceed: Look for a club, preferably in your home area conveniently located, so that all of your friends can come. Make sure the admission age is low enough so that it doesn' t exclude many of your fans. Don't forget, that for this first show you are going to want to bring in as many people as you can, so that you can begin developing that good reputation.Make sure that the club features bands so that they are used to loud volume levels. The last thing you need is to be constantly reminded to lower your volume or in a worse case scenario, be told to stop playing altogether. Call the club and inquire Call the club and inquire as to who does the bookings. Get their name, the club address and the hours in which the booker works. Ask how long after they receive your tape should you call back for bookinginformation. It is not necessary to speak to the club booker at this time. All you will get out of the call isinstructions to send your tape and press kit and call back in two weeks. So why waste your time and theirs.First mail in the tape and then ask for the booker. If you live close by you can consider dropping off the tape. For one thing it gives you a chance to step into the venue and see it, especially if this is your first time. If you're lucky, the booker will be there and might even lis ten to the tape right away. If not, then perhaps the person behind the bar who you will leave the tape with will become a good contact and if you enter into agood conversation that could be an asset to you. Call back at the time you've been instructed It would help if you remember or even jotted down t he names of the people you met when you were at the club or spoken to on the phone. If they should answer the phone and you remember their voice and refer to them by name, you will have made a very big impression. Ask to speak to the owner or the person that booksthe shows. Do not lie or exaggerate the size of your following. Be honest and let them know you are juststarting out and would like the chance to open for a more popular group so that you can start adding on to your following. If this is indeed your first show you still should be out telling all your friends, family members and whoever else you can about this event so that you can count on some kind of initial following. The Event If the club has received your tape and you are now in conversation to book the show, there are three main points you need to address. Payment/date/time Thursday, Friday and Saturdays are by far the best nights of the week. Depending on where you are, Sundaymight not be so bad (but is usually affected by people having school or work the next day) and Monday and Tuesday are terrible. If this is your first show, you are somewhat at the mercy of what the club booker offers you. Chances are it's not going to be on a Friday night at 11:00 for $500. It could be a Monday at 7:00 PM or worse at 2:00 AM.Though you may be able to come up with many reasons why this time slot won't work for you, you need to understand that there is no reason why the booker should offer you anything different. You have no reputationand he has no way of knowing for sure what kind of crowd you will bring so why should he take any chances. Remember the club has to pay its bills. Unless you can supply him with documented proof like a press kit legitimizing your group and describing your drawing power, I'd say take what you are offered. Consider it an audition for the club to get in and impress whoever is there with your ability to turn it on in the face of adversity. What are you entitled to? As far as pay is concerned, unless you have a reputation and have established a going rate for your band (based on what you've been paid for the past five shows), the deal they offer is the deal you take. Payment isbased entirely on how many people you draw and not just for the first show. You will need to prove that youcan bring in good business every time you play. Once you prove yourself, you should be getting your area'sgoing rate for bands. The most useful tool you have negot iating your pay is the amount of people you bring through the door. Based upon admission price, times the amount of people, you can e stimate how much money the club is making on your crowd. SAMPLE 1: $5.00 admission x 75 people who came to the show = $375 amount made at the door What are you entitled to? That will depend entirely on the club policy, your area's going rate and your reputation. If you are asked how much you are looking for, you should take the equati on from sample 1 and receive anywhere from 25% -100% of that money. To figure out the percentage use the equation in SAMPLE 2. SAMPLE 2: Gross x percentage = amount or $375 x 25% = $93.75 Your job will be to negotiate this, based on many factors including: your reputation, club policy and going rate. You will have to because the club will certainly never offer you your value. What to Expect from the Club Basically the club functions as a room that you are borrowing to put on a show. Don't depend on the owner foranything other than maybe some advertising. It is your job to bring in the crowd. It is important that you understand this fundamental rule . Although ethically you should be paid every time you play because it is work, you are really working for your self so who in reality should be paying you? As with any new business starting out you have to develop a client ele. This is usually done through advertising which for any new business can be a costly undertaking. In this ca se your advertisement is your performance, a pretty cheap way to build clientele if you ask me! Besides, get used to it, throughout your career there are going to be other types of dates where you might play for free like seminars, agent/record company showcases etc.just to gain exposure. The following are some of the many types of pay structures offered in clubs: Pay to play In this scenario you will be asked at the time of your booking to purchase in advance x amount of tickets from the promoter of the show. This amount ranges from city to city and in NYC where I'm from, it's around $250 - $500. Once you get the tickets it then becomes your responsibility to sell them to fans not the club's. In thecase where you purchase 100 tickets for $500 that makes each ticket cost $5. This insures the promoter andthe club profit for that night. For you to make profit on the show you will have to raise that cost to let's say $7.00 a ticket.This is a sleazy way for promoters to do business and I advise you to steer clear of these deals, however as these promoters put it, they are offering you a place to play and an opportunity to make money taking some of the pressure and financial liability off themselves. It definitely gives you some insight into the workings of the business and it puts the pressure on you to succeed. So it's not altogether horrible, but if you can find a reputable promoter who isn't lazy and works to promote the show, you are better off. No paySometimes a band needs to play out live to showcase themselves for a club owner or booking agent. Due to the high cost of running a business, a club won't take a risk on paying a band that they have never seen or heard of. Many clubs offer open mic or audition nights on a certain night. You'll get around a half an hour or so to play and the club will see what kind of crowd you bring in and if you're good enough for a pay gig. I don't often recommend that bands give their show away for nothing but at times under the right circumstances, if you really want to get into a place on a regular basis, this is a very good way to do it. If you are not going to get paid there are some trade offs you can a sk for. The willingness of a booker to concede to some will give you some indication as to the type of club and individual they are: • ask the owner if the club regularly take ads out in the paper. • if so they can give you some mention in an upcoming ad. This alone is valuable in your press kit.• try to get some perks out of the club like a guest list. • try to book a tentative future date at the time of the show. This way, should there be a good crowd happening that is giving you a good response, you can advertise your return date right there, maximizing the potential draw for the next show. Percentage of the admission price: redeemed passes Passes are those 4"x 5"postcards used by bands and clubs the world over to advertise the show. They are passed out at clubs, on the street and through the mail giving friends and fans alike information about an event. On the night of the show the club will hav e someone at the door collecting passes and admission money. At the end of the night the club will then count up all the collected passes and pay you a percentage ofthe passes with your name on it. Fair deal, right? .......wrong!!! First, unless your father owns the club or the door man is Mother Theresa, you can't really trust the club to account for every pass redeemed. Imagine over the course of a busy night how easy it is for a doorman to misplace 15 passes and not realize it. Are you going to be the one to accuse this 8-foot gorilla who eatssteroids for breakfast and punks like you for lunch, that he purposely threw some away in the garbage? I thinknot. And if you try to convince the club owner that you drew more people than cards collected and therefore expect them to fork over more money, you will be a ttempting a kind of surgical procedure that even Dr. Beverly Crusher has not heard of. You will therefore need to take the following precautions: • find the biggest, baddest, but level headed friend you can and post them near the doorman. • have them collect the passes as they are handed off to the doorman. If that isn't permissible they should carry their own counter and check off the amount of people redeeming your passes. Sometimes having this person looming in the background who is not easily intimidated is enough to keep an otherwise dishonest club owner or doorman straight. • try to be original in the style, color and even size of your postcard. • if you have a disagreement with the owner after the show, you might want to look around the front door area, dance floor or even in the trash for your very recognizable post cards.Percentage deals are the standard in the club circuit but here are some tips on negotiating them to work in your favor. To start with, your cut of the passes will usually be around 20% of the admission price. So if the admission is $5 you'll get $1 per card. But what if you draw 200 people? Shouldn't you get a higher percentage than the $1 per ticket? Yes you should. What you need to do her e is negotiate an accelerated percentage per amount of people you bring in. So that after let's say you draw 50 people you get 25% and after you bring in 100 people your entitled to 30% and so on. A club should be open to this negotiation at the onset, when you book the gig. In some areas of the country, admission prices to these shows are somewhat expensive. And if you're appearing on a bill with other acts chances are you are not going to get a lot of time on the stage. In order to entice some of your fans to come down you might want to work out a deal with the clubowner that offers your friends a cheaper admission price. In return you will accept either a slightly lower percentage or what I recommend is a larger draw am ount before your percentage goes up. So instead of a $7 cover charge you can offer on your postcard a $5 charge. In return the club will only pay you $1 on your pass or bump you up to 25% after you go over 80 people instead of 50. What you are hoping to accomplish is showing some bus iness smarts as well as an appreciation for his club. After all, you are trying to draw the most amount of people. The booker might be more interested in getting a true count of what you brought in. You also cost less money and in showing you their appreciation they might be more prone to doing right by you. Keep in mind, m any of the clubs have themselves been burned by plenty of bands ripping stuff off from the clubs and defacing their property. You've got to show them some respect before you can expect them to show you some back in return. Percentage of the admission price A slightly better deal usually reserved for more reputable bands. The club will pay you at the end of the night a percentage of all the door receipts. Depending on how many bands appear that night and at w hat spot your band played in (opening act, middle acts or headliner) will determine what your percentage will be. So let's take a $5 ticket price and 6 bands. It's three o'clock in the morning and you finally sit down with the booker. Your told that 95 people paid all night to see all the bands. 95 people on a $5 ticket comes out to$475. If you were promised 50% of the gross receipts then you would get 50% of $475 or $237.50. Set pay Some clubs that have a good reputation will usually offer to start a new band at a set price. Usually around $50. If you are just starting out trust me it's decent money and take it. Until you develop a following and begin to make the club money, you have nothing to bargain with. In most cases a club that offers you a starting pay is a club that cares about its acts and will do more to help develop you a following. These types of venues willadvertise you in the local papers and if you ask them ni cely might give you the names of music reviewers so that you might invite them down to review your band. Set pay plus a percentage over Now you are starting to get in with the club or have a good reputation as a band that draws a big crowd. Let's say the deal is the club will pay you a set salary of $500 plus 50% of the collected door money over 400 people. So, in effect you will get $500 no matter what happens. If t he club draws 575 people on an $8 ticket you will get 50% of 175 x 8, (175 being the difference between 575 and 400) or 1/2 of $1400 which equals $700. So now your total pay for the night will be $1200 (your contracted price of $500. plus $700 over). Of course you have to rely on the club's honesty as always but keep in mind that if you are doing the club this much business, they themselves are making good money and will not try to do anything to upset you. The tides do turn as you get more popular and you'll notice the clubs will become like home to you and your fans.The door This very simple arrangement is where your group will supply someone at the front door and he'll collect the admission as it comes in. At the end of the night you keep everything that you collected. You usually get this kind of deal only if you are a fairly popular band with enough of a reputation to demand it and the only band on the bill. It is more common in suburban areas and college towns than in bigger cities where there is more of a tendency for the clubs to do the door themselves and give you a percentage. There are many other deals that will incorporate a little of each one of these with perhaps a new twist of its own. I know a promoter in Colorado who books a number of popular clubs in the Denver area. For many of the new acts that are booked, their pay (regardless of their draw capacity) is $100. But included with that they get a big ad in the main music newspaper as well as a 1/2 page write up!........ Brilliant!! To me, this ispromotional material that in most places, money can't buy. In fact the $100 seems almost a bonus when youconsider how valuable the write up and ad is to their press kit. Of course all good deals are not without some drawba cks and in this example, the promoter only books bands that have their own CD out. They need not be a signed band, just a band that has reached the level of marketing their own merchandise. That as we will see later on in the book is a positive signal in the industrythat the band has made it through some of the first stages of development. Negotiation What is your recourse in the event that you feel you have been unfairly handled be it pay or otherwise? When it comes to pay you are at a disadvantage especially in the beginning when you have very little performance options and are at the mercy of the club. Each negotiation is unique unto itself. To be successful you must notattempt to outsmart your opponent but rather match wits with a good argument based upon facts and a goodsense of business etiquette. Supposing you go to settle a show that you were prom ised 50% of the gross door receipts. From the stage you can see the 350 capacity room is so packed t hat the line by the door needs to be manned by two bouncers instead of the usual one. As you now sit in the office watching the clock turn 3:00 AM, waiting to get paid, the booker enters and after offering you a drink says you did okay drawing 95 people. Your pay is $235.You stare ahead wondering which one of their two heads you should address. Instead of hitting the roof, inquire how that is possible when the club was obviously filled to capacity. The booker will no doubt combat that with all kinds of excuses ranging from half those people were regularcustomers and do not pay, to you must be blind and don' t tell me how many people were in my club. What you must keep in mind is that if you honestly drew a huge crowd, the booker would be a fool to piss you off to the point where you vowed to never perform there again. So with an armful of confidence you can offer this possibility. There are other clubs in town that would appreciate your 300 fans and if there is no way to settle with you then you will happily play for the competition. A fool would end the conversation here so they will respond one of two ways. If your bluff is called you know what y ou have to do. If on the other hand you're asked what you think is fair, let me offer you one solution. You were offered payment on 95 people and you feel that club maxed out at 350. Offer to split this down the middle and have him pay you the percentage on 222 people which is roughly the difference. You arrive at the difference by adding 95 + 350 then dividing the total in half. The booker's reaction may be positive or they may come back to you with an offer which might end up being another split down the middle. The argument might be that x amount of dollars was spent on a dvertising and there is no way that you drew that many people. Expl ain that you also spent x amount on advertising. Proceed to show the mailing list pages from the night with the multitudes of signatures to drive your point home.What you are hoping to achieve here is much more than financial. Let's face it, neither of you can really prove how many people came in through the door unless there were tickets sold and the show sold out in advance. In a courteous tone you want to establish that you are not to be jerked around and that you are not a fool but rather someone who is taking care of their business. In the end you will get more respect from the club, keeping them honest in the future. The final result of this negotiation should put a bit more money in your pocket, raise some respect for you and hopefully culminate in a better arranged deal for the next show youperform there. I want to point out that although this may happen from time to time there are many very reputable clubs where it is a pleasure to play at and w here the bands are treated very fairly. As far as the many other circumstances that bands find themselves disadvantaged by, the same level headed techniques need to be assimilated. Always direct your problem to the person directly responsible for correcting it. Yelling at the bartender because you are being denied drink passes is not proper procedure. There are methods to booking a show, documenting and confirming all the things you discussed with the booker on the phone so that you are in less risk when you arrive at the club. Marc Davison is the author of the book All Area Access - your map for the road to musical success. Marc Davison puts his many years of experience as a musician and artist manager into this book. Topics include: starting a band, booking gigs, press and the media, recording, copyrights, merchandising, touring, fi nances, managers, agents, record deals and much more - everything you need to know and do to market your act and your music. Marc draws on his 25 years of experience - from playing and touring with bands to booking and managing them - to give you All Area Access to musical success. Marc is also co-owner of 1000Watt Consulting www.1000wattconsulting.com 5 NEGOTIATION TECHNIQUES TO BUILD BOOKING KNOW-HOW by Jeri Goldstein, Performingbiz.com © 2010 All Rights Reserved. We are making deals all the time. Whether you are looking for a record deal, a publishing deal, booking a performance date, hiring a side musician, renting a car, buying new sound equipment, hiring an engineer torecord your next CD or even deciding where you are going to have lunch - you are entering into a negotiation. There are techniques that could help make you more comfortable and more skilled at handling each of thesesituations so that you can reach your desired outcome. In this article, I will cover some of the techniques morespecifically geared toward increasing y our skills for booking performance dates. Establish goals I believe that everything we do, each new project, each tour, each phone call will be more productive and successful when we first establish the goal for the situat ion. Consider the next tour. Why are you touring? Are you releasing a new CD? Are you simply filling the calendar with dates? Have you decided you want to expand your touring region? Do you want to tour in a completely new market? Do you need to make a specific amount of money within a specific time frame? For ex ample, during the next 3 weeks, we want to play 16 dates and make $10,000. Establishing a goal for a tour will influence how you conduct each phone call and what extras will be acceptable or unacceptable. For instance, if they throw in two hotel rooms, will that make it acceptable when they are not able to pay the guarantee you are asking? It may be an added bonus in some instan ces. It may allow you to do this date if the guarantee was small and the value of the hotel is greater than what theguarantee might have been. Considering this small example again relates back to having established goalsfor the tour.Let’s look at two scenarios that will help clarify the need for setting touring goals. Scenario 1: The CD Release Tour The Goal: Get as much publicity as possible, open new markets.In this situation, getting radio airplay, getting print reviews, getting the act in front of as many new audiences as possible, is the focus for this tour. Yes, you woul d like to make some money, but getting publicity for the CD and therefore the band is the priority. By setting this publicity goal, the types of dates you are now seeking will differ from those you would be seeking if your goal were to earn a specific dollar figure. Now you wouldlook for dates to open for larger acts, thus putting you in front of larger audiences. Booking radio interviewsand live performances on radio shows would be another advantageous situation. If you were able to get a support act slot opening multiple tour dates for a major act, you would make minimal dollars. However, youwould have the opportunity to play in front of much la rger audiences while also being able to sell the new CD. Those sales have the potential to support the tour. Scenario 2: Touring for a specific dollar amountGoal: Play 16 dates and make $10,000 in 20 days When you establish this goal, it demands that you look for dates in venues that will allow you to earn $625 per night. This means you need to book dates in market s where you have a following, can command a guarantee and have the potential to increase your earnings with a decent percentage if the guarantee is not equal to $625. Do you still want publicity? Absolutely! Will you acc ept publicity instead of money in this case? Possibly- but now it really depends on the type of publicity and how many of the other 15 dates can make up theshortfall of $625 so you still can meet your goal. Se t realistic goals. When you are building a following but have never drawn the kinds of crowds that would earn you this kind of money, unrealistic goals will set you upfor disappointment. Set touring goals that are in lin e with your career development so you measure successes. Once you have established the goal for the tour, it is easier to begin discussions with promoters and club bookers. Now let’s consider some of the additional techniques necessary to increase your negotiation savvy. Ask open-ended questionsNegotiation is a process that depends of developing a relationship with the other person. Your success in the entertainment industry depends on how well you develop industry relationships. A sking open-ended questions allows a relationship to become established. When you ask a question that can be answered with a “Yes” or a “No,” there is no room for fluid conversation to develop. When questions are framed in an open-ended manner, conversation can mature and flow more naturally . For example: “Do you present jazz at your club?” The booker can answer, “Yes” or “No” and the conversation never gets off th e ground. However, if you ask, “What kind of music do you book at your club?” there is no opportun ity for “Yes” or “No” answers. The booker answers, “We book some jazz, but mostly blues and rock.” Now you have some information to consider.Continue with information about yourself and ask additional open-ended questions. A conversation has begun. Now you can gather much needed information to decide whether this club fits into your touring goal. Hot tip! Be sure to gather as much research as you can from online resources and directories about the venues youare calling, before actually making contact. Your will sound more professional and the bookers will appreciate your not wasting their time with questions already posted on the ir website.Don’t be the first one to mention price Continue with the open-ended question technique. You need more information about the club to decide whether they will have the dollars or the media outle ts to support your goals. They may ask your fee right away. You might have a set fee, but you still don’t have enough information about the venue to offer your fee yet. In an effort to discover what kind of budget they work with, you should che ck their online schedule to see whom they’ve already booked. If the names are familiar and many of the acts are at the same career level as you and you know approximately what they get, you ma y be able to determine the kind of money they would spend on your group. If they name mostly major, well k nown artists, you may determine you are not ready to play this venue or you may use the information to pi tch your act as an opener for one of the upcoming major acts. Other questions you need to know before offering your fee might be. • what kind of sound system do you have? • how large is the stage? • what is the seating or standing capacity? • what is your ticket pricing policy? Answers to these questions can help you determine an appropriate and now educated answer to the question, “What is your fee?” or more likely, “What are you looking for?” Don’t be thrown off by abrupt questions about your fee. Ask the open-ended questions necessary for you to give a well-thought out answer in line with your goal for the tour. At some point you need to discuss money, first get information.No is just the beginning When you get “No” for an answer, don’t hang, up-get informat ion. “Yes” is my favorite answer, but “No” is my second favorite. I’ll take a “No” over a “Maybe” any day. Once the answer is “No” you can move on. Talk about other tour dates when you are coming through the area. Find out when they are booking a major act. Perhaps you might be the opener. Ask when you shoul d call back to update the booker about developments in your career which may make them more interested in booking your act. If you finally get a “No” from one venue, you can begin a more aggressive search into other venues to fill that date. Using deadlines It is important to move your negotiations along and not let them drag on past the point of no return. You havea promotion time-line, mailings to get to your fans and publicity to disseminate to the appropriate press. When a negotiation drags on, you might miss some important deadlines. Offer a deadline. It could be one week, 24 hours, 48 hours. You need to have an answer about the date in discussion so you may set your promotion in motion. In some cases, you need to get an answer so you may search for another venue if this one is not going to work out. When you offer a deadline, the negotiation moves along and comes to a conclusion. When you are offered a deadline, be sure that there is enough time to consider all the issues and make and educated decision. Don’t allow yourself to be rushed into making a decision you may regret in the future. Takethe time to consult the appropriate people on your t eam or in your group or simply work the numbers and review all the options. Now that you have some basic negotiation savvy, it is time to become familiar with some of the standard types of deals used when negotiating performance dates. I also suggest the various situations for which each deal isbest suited. Keep in mind, however, that every negotiati on can be as creative as the individuals participating. If the following standard deals require some tweaking to suit a particular situation, feel free to explore all ofyour options. Most booking personnel with whom you shall be negotiat ing are familiar with these standard deals and may be more comfortable using one of them to finalize your negotiations.Five Standard Types of Deals Straight Percentage Straight Guarantee Guarantee Plus Percentage Guarantee Versus PercentageGuarantee Plus Bonus Straight percentage A straight percentage is a percentage of the ticket sales or the income taken at the door. The key to this negotiation is to come up with the appropriate percentage. This deal is often offered when a performer is notknown in a market and the promoter is not willing to risk any up front money or guarantee. Percentages can range from 100% of the door on down. Typical percentage splits are 65-70 per cent to the artist and 35-30 percent to the venue. When negotiating this type of deal, it is important to build your value in the marketplace in order to get the promoter to agree to the highest percentage rate possible. Then, it is up to you to see that the show is well promoted and get a good audience. With the promoter having very little at risk, it is unlikely they will put much effort into promoting this date. It would be advisable to get some idea of the promotion thepromoter is willing to do and include that in your contract. This deal can be very advantageous to a performer under certain circumstances. When an artist has a very strong following in an area with a loyal fan base and large mailing list, a straight percentage, especially a high percentage, can often net the artist a higher fee than some of the other deals we'll discuss. Artists who produce their own shows at local venues and are savvy self-promoters with good media connections, areperfectly suited for a straight percentage deal. Quite often, most guarantees that club owners offer are farlower than the amount an artist can net with a straight percentage under the above circumstance. However, if you are unknown to a market, a straight percentage may not be a good deal. The promoter maybe very interested in using a straight percentage to reduce the risk to the venue. When touring to unknownmarkets, make every effort to negotiate some guarantee to cover basic expenses. At least you know thevenue is risking something on your behalf. They might actually make some efforts to promote the date so theyrecoup their minor investment. Straight guarantee A straight guarantee requires the promoter to offer the artist some money. As a new performer to the venue, that amount may be very low—$50 or $100 is not unheard of. A straight guarantee assures you of someincome when building audiences in new markets. Some artists, who have reached a certain level in theircareers, can ask for much large guarantees and are quite satisfied with the straight guarantee. The key to these negotiations is coming up with the guarantee that works for both parties' budgets. As you being to draw larger audiences and perform in venues with greater seating capacities, it is important to determine whether a straight guarantee will be adequate compensation. Now you must consider the seat ing capacity, ticket pricing, the venue's budget and weigh that against the guarantee you are discussing. When all the figures begin to show a profit far outweighing your guarantee, it may be time to begin incorporating some split percentage deals above the straight guarantee. Guarantee plus percentage This deal is determined after considering the seating capacity, ticket prices, gross income potential, expenses,(including artist guarantee) and the acts' draw potential. After all the figures are calculated, you will be able to determine the amount, if any, remaining after all expenses. At that point you may negotiate a percentage ofthe overage, (the amount left over after expenses), to be split with the promoter. Again, standard percentage splits range between 65-70 percent to the artist and 35-30 percent to the venue, but anything is possible. Thegreater the demand for the artist, the more the act is better able to command larger guarantees andpercentages. The percentage of the overage will then be added to the artist's guarantee to make up the complete fee to the artist.You may begin to see how this deal can be advantageous to an artist who has a large draw. This deal is win- win for both parties, rewarding the artist and the venue for each of their efforts in making the date successful. Guarantee vs percentage In this case a guarantee is set and then a percentage is determined. The artist receives whichever amount is greater. Again, ticket price, capacity and gross potential need to be calculated. In this deal, if the ticket price is$10 and the seating capacity is 150, the total gross income potential is $1500. Perhaps you agreed that theguarantee is $500 and the percentage is 75% of the gross sales. In this case 75% of gross sales is greater than the $500 guarantee. The artist would get the 75% or $1125. If, however the deal is 75% of the net after expenses, (in this case all the expenses, including artist's guarantee, equals $1000), then 75% of the net is only $375. The artist would get the greater amount, the guarantee of $500. The key to this deal is whether it is a percentage of the gross or the net. Always "try" to make this deal based on the gross. Most bookers will want to make it based on the net. Do the math for each deal to determine howthe numbers will eventually work. Always have a calculator by your phone when negotiating. Once youdetermine this deal is not producing the numbers you would like to see, suggest a guarantee plus a percentage especially when the promoter insists on a percentage of the net (after expenses). The percentage of the split will most likely be lowered from 75% in this case. Guarantee plus a bonus Numerous promoters like this deal because it is eas y accounting. By using a guarantee plus a bonus, the artist is rewarded with bonus amounts above the guarantee based upon blocks of tickets sold or income. For example, a venue has 300 seats and the ticket pr ice is $10 equaling a gross potential of $3000. The venue's expenses are $1000. The artist's guarantee is $1000. This suggests that the artist's guarantee be based on 100 seats sold. Bonus amounts are determined by calculating the overage, ($1000) and the numberof seats remaining to be sold above 100, (200 seats remaining). Most often the number of seats is divided intoblocks, in this case four blocks of 50 seats. As eac h block of 50 seats is sold, the artist will receive an additional amount of money, in this case, $200 for each block. This deal would then add $200 at 150 sold, 200seats sold, 250 seats sold and 300 seats sold. If the show sold out at 300 seats, the artist fee would be $1000guarantee plus $800 in bonuses for a total fee of $1800. This left $200 for the promoter. It is more likely thebonus amounts may be lower to give the promoter a larger percentage of the overage, perhaps $150 or$175.It is also possible that a single bonus amount is offered after a predetermined number of seats are sold. The benefit of this deal is that is easy to calculate. The problem is, no bonus is given for partial block sales such as 120 seats instead of 150. In that case, a guarantee plus a percentage provides an advantage since it accounts for every seat sold. The other way to work this deal is to base it on income rather that seats sold. For instance, if we use a $10 ticket price and 300 seats with a $3000 gross potential, the promoter may choose to bonus the act after a specific income amount, such as $1500. The amount of the bonus is calculated after determining theexpenses and the guarantee. A single bonus amount or incremental bonus amounts may be offered. Thisworks well in situations when a low guarantee was set to reduce risk and the act does much better thanexpected.These five deals are the standard in the industry, but don't let that restrict you from creative deal making. There is no end to the options available when attempting to negotiate a deal that will work for you and thepromoter. The key to any negotiation is, knowing what the options are and which option will work in your specific situation. Good luck. Jeri Goldstein is the author of, How To Be Your Own Bo oking Agent The Musician's & Performing Artist's Guide To Successful Touring 2nd Edition UPDATED. She had been an agent and artist's m anager for 20 years. Currently she consults with artists, agents and managers through her consultation program Manage r-In-A-Box and presents The Performing Biz, seminars and workshops at conferences, universities, for arts councils and to organizations. Her book, CD-ROM and information about her other programs are available at are ava ilable at www.Performingbiz.com or phone (434) 591-1335 or e-mail Jeri at [email protected] BOOKING YOUR ACT by Jay Flanzbaum, Onlinegigs © 2010 All Rights Reserved. Technology and organization are the keys to success. When people start turning to technology to help them organi ze their music careers, it usually means they are finding it difficult to manage the process using the traditional address book, notebook or Outlook-style application. All the technology in the world won’t make much of a difference if you are only performing live a few times a month and aren’t looking for more exposure. But if you are looking to perform as often as possible and manage your music career from the road, a digital solution is something you ought to consider. You can only saturate your local market for so long before you start to cannibalize your fan base. Eventually you will either need to expand your performance radius or simply reduce the number of local live shows. Attempting to play out and do more traveling means more opportunities. The more live music talent buyers with your product in their hands, the more likely you will book more performances. If nobody has your CD andpress kit, all you can really do is sit around and wait for the phone to ring. You can only follow up so many times with the same buyer before you are considered a nuisance; so maximizing your time also means constantly pursui ng new opportunities. You should set goals in terms of how many new talent buyers you will send your info to on a weekly basis. The old adage that it’s not what you know but who you know holds true in the music industry. When you need a gig in Lincoln, NB it is helpful to know the local live venues and how to get in touch with the talent buyers. But identifying possible gig opportunities in new markets is really just the tip of the iceberg, the real work starts once you find a location that seems like a good fit for your act. There are a whole series of activities that need to be religiously executed to contact a talent buyer, book a gig, notify your team and fans, prepare for the road and promote the show to the local media. Finding booking and promotional contacts Booking gigs successfully requires persistence and organization, whether you are an agent or an artistbooking your own act. It doesn’t matter whether you ar e booking locally, regionally or nationally. You will essentially need the same skills and tools to be effective. The first place to start is to collect contact information for locations that hire live music performers. You need as many of these as possible to increase your su ccess potential and you also need as much information (phone number, styles of music, capacity, contact name etc.) about the location that you can get your handson.Alternative newsweeklies can be a great source of local venue listings. Every major market in the country has an independent weekly publication and most of them can be found online (check out Alternative WeeklyNetwork at www.awn.org/). Sometimes the ads alone are enough to determine whether or not your act isappropriate for a particular venue. You will still need to get in touch with the venue however to find out their booking policies and get the right contact name for the talent buyer. Printed music industry directories are an incredible resource. These directories tend to list everything from venues to record companies to managers and back again, so it is easy to get overwhelmed. Make sure you pick the one that is right for you and that’s going to he lp you accomplish your goals. Take a look at The Indie Bible to get a sense of what is offered. Your peers are an excellent place to find venues appr opriate for your band. Most will gladly share what they’ve learned regarding the best time to reach the buyer or exactly how to pitch your act. It’s a safe bet that they are usually interested in telling people about all the venues they have played, so don’t be afraid to whip out a pen and piece of paper. The more names and numbers you can get your hands on, the more possib le gigs you can lock down. Keeping track of your booking efforts So you’ve scoured the web, bought every music directory and harassed every touring band you know. At this point you probably have an incredible collection of v enues, colleges, festivals and press contact information. You most likely have pages full of notes, e-mails with referrals and spreadsheets covered with names andnumbers. But now what? The key is to be able to effectively organize all of your newfound contacts in a waythat maximizes your opportunity with each one of them. Software or web-based applications such as Act, Outlook or Onlinegigs are all efforts to help you centralize your business related messages, upcoming tasks and important contact information. Handheld versions such as a Filofax or Palm Pilot can also suit many of y our needs. Whatever you choose, be sure to get as many of the following features as would apply to your specific needs: • complete access to all of your important contact and business information in one location • multiple, archived backups of your information in case of data loss or equipment failure• reminder system for upcoming activities and tasks • integrated e-mail and fax messaging with message tracking and search • customizable to better suit your specific industry• remote access from any internet connection• ability to easily share your information with others• pre-loaded with a directory of industry contacts Next you will need to either import your address book or do some data entry to get all of this the information into one place. You should get in the habit of storing data for every contact you do business with in thislocation. Every phone number, every e-mail, every call, every meeting etc. This one tool becomes your address book, your task list, your reminder system and your filing cabinet. When you complete a phone call, make some notes about what was said and store it with the contact. It sounds simple enough, but trying to remember what different talent buyers told you during your lastconversation can become confusing. Similarly, a record should be created for every upcoming task you need to complete. A list of venues that need to be called, packages that need to be sent, press releases that need to be generated etc. The best tools in the world can’t help anyone if there isn’t a steady system of upkeep and interaction. Task lists need to be cleaned up and contact information constantly needs updating and maintenance. A system ofcentralization and organization is the key.Performance contracts After a few months of working your task list religiously, following up with every club and persisting until you are specifically told “Not interested,” you should be r eady to book a few gigs. Many an agreement has been made based on a phone call and a virtual handshake, but if you want to live without headaches, get in the habit of sending a written agreement. The story usually goes like this: you sent the CD in Januar y, to finally book a gig in April for this upcoming August. It’s just a Tuesday night for 100% of the door, a place to stay and some food, but it’s a much-needed stop over between Colorado and Nevada. You call a week before the gig from somewhere in Texas and the club has never heard of you. What’s worse, there is another band booked on that night and the other band has a confirmed written agreement. Check out Faxwave, they will give you a free fax-to -e-mail phone number. This gives you the ability to have a buyer physically sign your agreement and fax it back to you, but instead of receiving a traditional paper fax, you will get an electronic copy of the signature in any e-mail inbox that you choose. This eliminates the likelihood of agreements or faxes slipping through the cracks. Most venues book a ton of talent and have their own problems keeping the information straight. Promoting your shows Now that you have been diligently sending out CDs, doing follow ups, landing gigs and issuing contracts; youneed to be sure to update your fans as well as t he local press about upcoming performances. If you have never played before in a particular market, then most likely nobody in that town has any idea who you are. And why would anyone come out to see you play if they have never heard of you before and have no idea that you are even playing. What you really need is some pre ss or at a minimum just a listing with the local radio and print music calendars. Your first step is to put together all of the contact names, fax numbers, e-mail addresses etc. for the local media outlets in a 30-60 mile radius of your gig. Then you will have to prepare a professional and concise press release. A good release should be able to convey all of the pertinent information on one page. Radiostations and newspapers get flooded everyday with hundreds of releases; they do not have time to read numerous pages that outline your band’s Zen philosophy or a ll of your bass player’s musical influences. Keep it to the point or they will not read it all. Keep your la yout clean; do not use multiple fonts and font sizes or too many colors and graphics. Make sure your release has a section with the performance details that is easy to pick out and includes: Performance Date, Band Name, Venue Name, Full Address, Phone, Website, Ticket Price, Set Times, AgeLimit and any other bands on the bill. Also be sure to include your personal contact information: Contact Name, Phone, E-mail and Website. If someone needs to get in touch for a photo or an interview, you want himor her to be able to find you quickly and easily. Here is where your CRM (Contact Resource Managem ent) program really comes in handy. You could take the time to create numerous, personalized press releases for each press contact you have found. This could take you days depending on the size of the market. If we are talking about New York City, it could take you months. But if you have the proper tools like we outlined in the section above, you should be able to createone template and just click ‘send’ to issue a release, personally addressed, by fax or e-mail, to hundreds ofcontacts all at once.Getting prepared for a tour The gigs are booked and the important contracts have been signed and returned. You will now need to get a couple of things done before you leave. At a minimum you should prepare a tour itinerary that outlines all ofthe details of the trip for your whole team. Keeping your manager, publicist and band members in the loop is going to ultimately cut down on your own stress leve l. Give everyone a copy of each gig’s address, phone number, set time etc. Someone is going to have to get directions from each gig to the next, so you might as well include those in with the itinerary. This will hopefully cut down on your only set of directions getting lost or destroyed. Once you get on the road, someone can use the itiner ary to advance your shows. Every venue needs to be called a week or so before the gig to confirm any last minute details. Getting into the habit of advancing your shows is the only way to eliminate any surprise s. Sound systems blow up, venues close down and liquor licenses get pulled. Every band needs someone that can take on another simple task or two. This one issimple but arguably one of the most important. In conclusion… Many independent musicians make a living through touring, CD and merchandise sales. These mavericks represent everything DIY and grassroots. They are living t heir dreams through their art, but they thrive by the power of organization and information. It’s a strange balancing act, but someone’s got to do it. OnlineGigs.com is a group of DIY musicians, bands and agents that built a central database whose members can contribute to and help to maintain. As a result, the information is constantly up to date and as more members join, it will continue to become even more accurate and grow. With access to the right tools and resour ces, every artist should have the ability to survive and prosper through practicing their craft. Visit OnlineGigs at www.onlinegigs.com HOW CAN I GET BETTER GIGS? by Les Vogt, Entertainment Consultant © 2010 All Rights Reserved. If you want something you've never had, you have to do something you've never done... nothing will ever change until you decide to do something different! The first step is to find out where you really fit in the overall scheme of things. There are many levels of success. You may be booked for a year in advance and sell-out every performance with outstanding audience responses... on the Eagles Club circuit. Is this success? Of course it is. Can you push your achievements to another level? Very likely... if you are prepared to analyz e how and why the acts that play the fairs, casinos and corporate events etc. have achieved these goals. Study the differences with an open mind and try to make the necessary adjustments. You will likely think you 're ready for the next level before you actually are... this is perfectly natural. I receive promotional mate rials every day from bar performers who believe they belong on the concert circuit. Yes, there are less talented artists than you on the concert circuit... some whose talents may have diminished beyond acceptable levels. But, at one time, these performers had to earn their longevity through competence, hard work and popularity. The fa ct is, they still have a large, loyal and forgiving following that will purchase tickets to their shows. My question to the wannabe concert artist is always thesame... how many tickets can you sell? When you can sell enough tickets to turn a decent profit, the buyers and promoters will be calling you.Sometimes you have to take the initiative to promote a few of your own concerts to prove to others (and especially to yourself) that you can sell tickets. In the beginning self-promotions often bring a serious dose ofreality... which is usually in the form of a much smaller audience than expected. So, learn to expect the unexpected. Always cover your tail with a "free ticket" giveaway program to fill the empty seats if required. You should always try and look good in the face of failure. Offer a charity group (with a large membership) a portion of the ti cket price for selling them to their membership at a special discount price. Their mailing list and/or telephone solicitation can often sell half your tickets before they go on sale to the general public. This, together with public sales and complimentary tickets can make the venue look full and build a positive momentum for future shows. With a little luck, you can publicize a "sell-out" which always creates immediate attention. And, more asses in the chairs means betterCD and T-shirt sales at the back of the room. Don't forget to collect as many e-mail addresses as possi ble as this is an excellent chance to build on your e- mail list. Learn as much as you can from each event... don't get discouraged, it can take a few years to build a legitimate following. It is more important to look goo d... perception is everything. Organize as many giveaway options as possible. You won't know until the last minute if you're going to flop or not... and you may need to distribute a lot of tickets quickly. So, have a contingency plan ready just in case. A continued run of "no positive response" from y our shows, auditions and promo packages are a sure indication that either you or your promotion method needs some improvement. Karaoke and track show success doesn't make you a good entertainer. It will be your long-term dedication to practice and learning that will make the difference. There is no shortcut to gaining the ability to deliver your talent to an audience with the magic and precision of a seasoned professional. The projected personality, confidence and attitude of areal pro, together with a dialogue that makes an audience laugh and cry, almost at will, is a talent that isdeveloped only over time. This will come eventually with a lot of hard work... and possibly a little sooner with some professional coaching. Technical ability is only a fraction of the total talent package required to become a complete entertainer. The other requirements (in no particular order) are creativity, image, attitude, charisma, persistence anddetermination. You won't need all of these attributes to reach success at some level... I know of many performers without much technical ability who have carved out very successful careers for themselves with charisma, persistence and determination. Some of the world's most successful entertainers were initially told"don't quit your day job" only to rise to the top thr ough creative avenues that overcame their technical flaws. The music industry can't explain how an average to poor singer can be come a superstar. And so, they qualify these unlikely wonders by labeling them "stylists" as though it is a worthy measure of excellence. And, surely, it can be. Some artists who's vocal abilities are average at best, are talented in other areas and find a way to combine a unique delivery with brilliant lyrics to produce hit records. A few classic examples of such success are: Johnny Cash, Bob Dylan and Chris Christofferson. No matter what the musical genre, the process for "getting noticed" is always the same. Once you have acquired some degree of ability, you must assemble a professional promotional package that accurately represents your performance and continually send it to all potential buyers, agents, producers, promoters and party planners that hire your type of entertainment. Do not send your "promo pack" without first contacting the potential recipient by telephone or e-mail and asking permission to do so. Remember, you don't get a secondchance to make a first impression. Your best opportuni ty to impress will be the quality of your promotional package. Don't exaggerate or include any bogus accomplis hments... this can come back to haunt you. Update your promo information regularly and always include a "live" video sample which shows your performance, introductory rap and the audience response. A brief 10 minute variety sample will be suffi cient for most buyers. However, a full performance video should be ava ilable for the occasion where a potential buyer wants to view an entire performance. This may be requested when the client wishes to be sure you can deliver a full- length performance or wishes to check out your ability to communicate with the audien ce. Websites have a purpose, but rarely reveal enough to hook a worthwhile buyer without some additional firepower. So, don't totally rely on technologyOf all the ingredients needed for success, I can't overemphasize the importance of a good attitude... with it, you stand a strong chance of getting assistance and guidanc e wherever you go... without it, your career will likely be filled with endless obstacles. And, you may never, ever really understand how or why you didn't get where you wanted to go. Les Vogt was the lead singer in Vancouve r's very first rock 'n' roll recordi ng band... "The Prowlers " who gained local popularity by playing "live" on the "Owl Prowl" radio program. He shared t he stage with Bill Haley... Gene Vincent... Buddy Knox... Eddie Cochran... Roy Orbis on and Jerry Lee Lewis. Les is now an independ ent producer, promoter and entertainment consultant. Contact: www.me mbers.shaw.ca/lesvogt [email protected] GET PAID WHAT YOU'RE WORTH! by Lee Kennedy, Dunroven Music © 2010 All Rights Reserved. Are you getting paid what you're really worth? Probably no t. If you want clubs to pay you what you are really worth then you have to change the way you think and approach things from the Club's point of view. Think as a business person not a musician. Ask yourself this question "why do clubs hire entertain ment?" TO MAKE MONEY! That is the bottom line, like it or not. Think about it for a minute. If you owned a club and had to choose between two bands, which of the following would you choose? A) The worst band in town, who by the way would make you $5000 at the bar! or B) The best band in town, who would only make you $500. As a business person which one would you choose? Be honest! Be a business person. Most bands believe that if they have the greatest singer or the hottest band that people will automatical ly flock to see them and clubs will pay premium prices to see them. WRONG! Information is the key! Find out what the club makes every night that you play. Slip the head bartender $20 and ask him/her to tell you what the final register count was at the end of the night. Keep track of what the club is making off your show. As the club's revenues start to increase, take that information to the owner and renegotiate what they are paying you. Believe me, if you ha ve that kind of information it makes it very hard for a club owner to say no. Most club owners count on you thinking like a musician, they do not expect you toknow or care what the club makes. So turn the tables on them - think like a business person and you willcome out ahead of the rest. Lee Kennedy is a solo performer in Lake Tahoe, NV who has been making a living as a musician since 1980. Lee is the author of "$100,000 a Year Without a Record Deal!"HOW TO COMMAND A HIGHER FEE FOR YOUR LIVE SHOW by Jeri Goldstein, Performingbiz.com © 2010 All Rights Reserved. Whether you are booking your own band or have an agent, it is important to establish your value within your particular market. When there is demand for your act, your fees will increase and bookings will be easier to contract. At the beginning of your touring career, there is probably little or no demand, therefore, the fees are low and there is more difficulty booking dates. While you are building your reputation and following, it is important to keep track of the following factors, enabling you to begin to establish a track record and somevalue. Establishing value for your act helps to create some leverage when negotiating with promoters andbooking personnel at each venue. So how do you begin to establish your value? Review your promotional materials Start with your bio. Within the bio, it is important to have information and facts that the promoter can use to sell your act to their audience. Make sure it is clear and concise with little or no fluff or exaggeration. Highlightyour accomplishments to date so that the reader doesn't have to search through lengthy paragraphs in orderto get to the important facts that help them sell y our act. For example: If you were interviewed on a regional TV or radio show which is meaningful to the area wher e you regularly perform, don't bury it within the text, bullet the information to make it stand out. Have someone other then yourself read over your materials to pull out the interesting facts and then rework the page graphically to emphasize the selling points. Create a user friendly press packet. When your press materials are designed with the promoter and media in mind, mention that to the promoter when attempting to book the date. For example: Supply the venue with ready to use flyers or posters. Let them know you will send promo CDs to local radio along with a press release for the date. Send them a sample ready-to-use-fill-in-the-blank press release so they may also sendone to their media list. Ask to contact their publicity person and let them know you are ready to work with themin order to insure local media is covered. Promote to your mailing list. Let the promoter know how large your mailing list is in their area and that you mail or e-mail to your list for each tour. If you don't have a mailing list, it is the easiest direct marketing toolyou can create. Start one at your very next date. It only takes a pad of paper and a pen when keeping itsimple or a nicely designed form or fill-out card fo r the more elaborate. Mentioning how many people are on your mailing list and that you target your mailing for each gi g, lets the promoter know you will tap your fans to buy tickets for their venue. Keep Accurate Records of Each Date Played When establishing and growing your value in the market, creating a record of all previously played dates is one of the most important things you can do. Keep track of the f ollowing information and review it before making your booking calls. a. The venue's seating or standi ng capacity b. How many tickets you sold at the venue c. The ticket-price or cover charge d. What the weather was like that night (it may influence sales) e.How much merchandise you sold f. What the gross sales were/ what you got paid g. What kind of promotionwas done? Press releases, advertising, posters/flyers, m edia coverage h. Was there any other major event in town that night? (Large cities will always have many events occurring on the same night, small towns mayonly have one other event which could influence the outcome of your date). As you call new venues in a town where you've previ ously played, having the above information close at hand will help you negotiate a better deal. If you've previously sold out a 150-seat venue at $10 per ticket and now you are attempting to book a 200-seat venue, the pr omoter has something they can reference. This establishes your value. This information places you on equal footing with other acts that are able to sell 150 tickets. Now you can begin to command fees according to your established track record in that area.When booking dates in a new area where you have never played, you can still use the above information for comparison and to demonstrate what you have been able to accomplish. Don't expect to get the same kind of fees in an untested market, but the information lets the promoter know something about your professionalism and methods you use to develop your audience. Once you get in the habit of keeping the above records, you will begin to refer to the information automatically. Booking calls will become more conversational and you'll find yourself using these pertinent facts whichcontinually boost your act's value. Your negotiations will be based on factual information rather than emotion.As you become more adept at this, you will find that you have some leverage in many of the venues where you regularly perform. As you establish your value in each new market, demand for your act will increase and booking the act will become easier. Good luck. This is a great time to take advantage of a year-end review for tax purposes and do some very strategic planning for the next touring season. Not only will you reap the benefits this year, but you'll jump-start yourplanning for next year as well. Good luck! Jeri Goldstein is the author of, How To Be Your Own Bo oking Agent The Musician's & Performing Artist's Guide To Successful Touring 2nd Edition UPDATED. She had been an agent and artist's m anager for 20 years. Currently she consults with artists, agents and managers through her consultation program Manage r-In-A-Box and presents The Performing Biz, seminars and workshops at conferences, universities, for arts councils and to organizations. Her book, CD-ROM and information about her other programs are available at are ava ilable at www.Performingbiz.com or phone (434) 591-1335 or e-mail Jeri at [email protected] HOW PERFORMERS CAN FLUB THE INTERVIEW... BUT DON'T LAUGH by Les Vogt, Entertainment Consultant © 2010 All Rights Reserved. When being considered for an "entertainment" position of any kind, the interview is often the determiningfactor. Performers will sometimes give the strangest answers to an int erviewer's questions. The blunders being made are simply amazing... So how does a manager or entertainment buyer handle a performer who mentions that they're not all that keen on working too hard? Or what's the proper response when an app licant is 25 minutes late for a follow-up interview, slouches back in his chair and then gives you an attitude when reminded about his tardiness? Well,for starters the manager or buyer should at least try and keep a straight face (both of these responses actually happened) and try to avoid the urge to burst out laughing. After all, that would be tota lly unprofessional. According to my unofficial survey, most performers looking for work strive to make a favorable impression with managers and buyers during an audition, but many tend to blow it big time during the interview segment. Some of the most inappropriate comments made to me over the years are as follows... • an applicant once stated confidently that there wasn't anything I could tell him that he didn't already know. • one prospect told me all of the reasons he shouldn't be hired. • a band leader applied for a job and when asked what he might not like about the job, he said "playing requests for the people." • another candidate said he wasn't really that interested in the job, but he liked that the performing hours were short. Dennis Compo, a long-time associate and entertainment consultant said that he wasn't surprised by my results. "I interview people on a daily basis and it amazes me how many inappropriate comments or blundersare made" said Compo who interviews about 10 performer s every week for a variety of job opportunities. "I am seeing it across the board. It's not specific to any one category and it's all ages. I've had an individual saythat he would prefer a job offer from a competitor."Like other entertainment consultants and party planners, Compo says the job interview is crucial for an applicant because who you are can sometimes be more important than what you can do. "They should prepare for questions they are likely to be asked, for example, what do you know about the venue or company hiring you? Another common mistake is to speak negativ ely about a previous employer or venue. Speak only about the positive aspects of the proposed job on the table... the one you're so eagerly looking forward to." Compo says that he believes it's best to listen respec tfully to applicants when the interview is going badly and then take them aside later and offer some pointers for future interviews. "I think we should share that information with them and give them feedback," he said. "But no matter how poorly the candidate does, don't laugh," he adds. Another recruitment specialist that I know disagrees about offering pointers to an applicant who does poorly on an interview. "That's not my role" she suggests. Here are a few of my interview tips to help nudge you in the right direction...Research the job opportunity Find out as much as you can about the hiring co mpany and/or the gig before the audition and interview. Check out their website and, if possible, talk to so meone who has played for the company or the venue in the past. Prepare intelligent questions Once you've done your research, come up with some questions of your own to ask about the gig and the company. Incorporating some company related dial ogue from the stage is always a good selling point and questions along this line are always received positively. Listen Pay close attention to the interviewer. To be a good listener you need to focu s your full attention on the speaker and try to avoid thinking about what you will sa y next. Maintain eye contact and use non-verbal clues such as nodding, to show interest in what he or she is saying. Ask questions whenever anything is unclear. Keep your answers briefYour responses should be focused and concise. It's ok to think for a moment before answering... in fact it can make your answer seem more thoughtful. Avoid any further "chatter" beyond the direct answer. Naturalpauses allow the interviewer to absorb what you have said. Go easy on the "charm" Although you want to appear personable, don't overdo it. Concentrate on showing that you have the ability to do the job at hand. If you work too hard at "winning over" the interviewer, it can come off as insincere. Be yourself Let your personality shine through... if you've got a "kooky" side (and it isn't over the top) don't suppress it entirely... let your interviewer get to know you. Show initiative If the interview goes well and you want the job, you might offer to solve a problem by providing the sound & lighting equipment or playing an extra dance set to further accommodate the buyer's needs.Bring publicity material Leave a professional promo package with the interviewer. Be sure and include something to remember you... a DVD and/or a CD plus a few newspaper reviews that highlight your most notable past performances.Perhaps a letter of reference from a com parable company function would be appropriate? In closing, I would suggest that most interviewers ar e generally aware of a performer's skill set before the interview takes place. But the interview allows the buyer to become more acquainted with the per son behind the talent... a glimpse into a candidate's candor, professionalism and personality, which can often be thedeciding factors one way or the other. Don't blow your opportunity. Les Vogt was the lead singer in Vancouve r's very first rock 'n' roll recordi ng band... "The Prowlers " who gained local popularity by playing "live" on the "Owl Prowl" radio program. He shared t he stage with Bill Haley... Gene Vincent... Buddy Knox... Eddie Cochran... Roy Orbis on and Jerry Lee Lewis. Les is now an independ ent producer, promoter and entertainment consultant. Contact: www.me mbers.shaw.ca/lesvogt [email protected] AUDITION AND INTERVIEW COMPLETE BUT NO REPLY... WHAT DO I DO NOW? by Les Vogt, Entertainment Consultant © 2010 All Rights Reserved. I have recently received a lot of e-mails from performer s in the middle of the waiting game, sitting in that no man's land between a good audition and follow-up interview without any indicat ion as to whether or not they were accepted by that big-time agent or got that really great gig they applied for. The most common question... should I take another job offer while waiting for the gig I really want? The answer is yes. Don't take yourself out of the running for other opportunities until you've actually landed the job... and that means receiving an acceptable memorandum of understanding or a signed contract. Some other frequently asked questions are...Q. How soon after the interview is OK to follow up? A. Send a thank you letter (e-mail is generally fine) within two days. Be sure and have the correct names and titles (and spelling) of the interviewer... thank them fo r their time and state clearly that you want the job and are excited about the opportunity. Simply showing inte rest and enthusiasm is a step nervous applicants often overlook. If you haven't heard back within a week , follow-up with a "just checking in" phone call. Q. I have called back twice and was told that things look good but we are still in the decision process. That was two weeks ago and I still haven't heard back. Can I call again without seeming desperate? A. Absolutely... it's appropriate to follow up ever y 10 days or so. Don't seem impatient. Simply say you are checking in, wondering what the status is and again, confirm your interest in the gig.Q. The person who interviewed me was very casual, using slang and being very familiar. Should I be just as casual in return?A. Let the interviewer set the tone for your conversati ons, stopping short of swearing or anything that makes you uncomfortable. Be more formal in letters and e-mails, which may be forwarded to other people and since you want to be seen as professional and appropriate. The tone of these initial conversations provides an insight into an organization's method of operation. Is their level of professionalism (or lack thereof) comfortable? Can you imagine living with a st eady diet of it down the road? Use the experience of this preliminary process to fo rm your ultimate decision as to whether or not you want to accept their opportunity.Q. I didn't get the gig and I want to know why. Can I call and ask why I didn't get the job? A. Yes, but proceed with caution. Perhaps the more appropriate appro ach would be "How can I improve my presentation and become a better candidate in the future?" In the best case scenario, you will receive tips to strengthen your chances for future opportunities. If you're lucky enough to get some honest feedback, accept it graciously, even if you don't agree with all of it. Be careful not to burn any bridges by pushing too hard, seeming indignant and arrogant or arguing the pointsof disagreement. Even when you don't get the gig, t he process is not only a learning experience but a networking opportunity. Don't blow it! Les Vogt was the lead singer in Vancouve r's very first rock 'n' roll recording band... "The Prowlers" who gained local popularity by playing "live" on the "Owl Prowl" radio program. He shared t he stage with Bill Haley... Gene Vincent... Buddy Knox... Eddie Cochran... Roy Orbis on and Jerry Lee Lewis. Les is now an independ ent producer, promoter and entertainment consultant. Contact: www.me mbers.shaw.ca/lesvogt [email protected] HOW TO USE THE RIGHT "FOLLOW-UP" TO BOOK THE GIG OF YOUR DREAMS by Jeri Goldstein, Performingbiz.com © 2010 All Rights Reserved. You've chosen your touring market and selected the right venue and now it has been a week, maybe two andthe club booker is keeping you dangling. You know you c ould do well in this venue and you really think it will work. You are so ready to play at this club yet the booker won't make a commitment. Time marches on,booking opportunities slip away, adequate promotion time dwindles and still you wait. How long is too long to wait for a gig commitment? This is a challenging question that must be tackled each time you book a tour. Becoming emotionally attached and overly invested in landing a gig at one specific venue could be detrimental to your overall touring strategy. Even though certain clubs are important to play when making a push to the next level or attempting to ga in media attention, you need a back-up plan in case that club is unwilling to work with you on your schedule. Notall cities have a variety of clubs suitable for your act. In most cases you may be lucky to find one. As youconsider tour routing, travel distances and likely new markets to include in the tour plans, attachment toplaying a specific club occurs often and we all fall into the trap. Here are some tips to help you avoidbecoming overly invested in venue selection. Use deadlines Timing is an important factor to consider as you launch your booking campaign. Assuming you allow ample time to book your dates, (booking time frames are directly related to the type of performance venue beingbooked, clubs book ahead 6-12 weeks), assign deadlines to each venue attempted. The further out you beginyour booking campaign, the more flexibility you have waiting for a commitment. Prepare yourself to move on by setting a timeline for each venue and state that dead line up front to the venue booker. For example, "I need to complete my booking by October 1 for this leg of the tour, if you could get back to be by September 19, I would appreciate it." Or you may want to be less forthcoming and simply say, "I need to hear back fromyou by September 19." Once the deadline is stated, there is less emotional attachment to the situation. Youcan take action when the deadline arrives if you haven' t heard from the booker by making one last call for confirmation and if they say, "no," then move on to another prospect. Before hanging up, remember to leave an opening for future dates. If you know that you'll be t ouring through the area later that year, mention the time frame and suggest they place a hold on a future date. Now the plan is laid out for you before you even get close to panic time and have to begin scrambling to find a replacement date should this one not comethrough.As you attempt to get your gigs reviewed, invite the music critic especially when you open for someone better known. They are very likely to have interest in seeing the main act, but your invitation just might get them there early enough to finally catch your show. Again, as you keep your media contacts informed aboutupcoming gigs, they may eventually accept one of your invitations. The guest list Once you've offered the invitation, make sure to have their name on your guest lis t. If your contact actually comes to the gig and finds they have to pay to get in , they may very well turn around and leave. The club may only offer you a few guest slots so plan your invitati ons wisely to accommodate everyone important to you. Don't offer more invites than are stated in your contract. That's irresponsible, unprofessional and shows a lack of respect for the club and demonstrates that you don't read your contracts. If you want to invite additionalguests and you've reached your comp limit, you can check with the club booker and ask if your guest listcould be expanded to accommodate a few more. If that is not possib le you could offer to buy the tickets for your important guests if they show up. It won't matter to the guest how they get their tickets as long as they don't have to pay for them. Let your intended guests know that their name is either on a guest list at the door or that tickets are waiting for them at the box office under their name as your guest. Plan alternatives While researching potential gigs, gather information on multiple venues in the area. Begin preliminary contact with other venues that may prove valuable at some point. If there are larger venues in the area that you are really not ready to play yet, it doesn't hurt to begin contacting them simply to get your name in front of the booker. Ask which acts are booked around the time you are planning your tour. Perhaps there is an openingslot that your act could fill. If they already have your information and you've begun talks with the booker, calling these other venues when your choice gig falls through, won't seem like a desperate act, but simply afollow-up call with your new availability. Having back-up al ternatives places you in a pro-active position rather than a reactive one. Activating a contingency plan becomes part of your routine instead of an act of urgency. When touring to cities with only a few venues or even one suitable venue, find nearby towns that could also be included in the routing without adding extended distances to the tour. Similarly, explore alternative venue types such as colleges, organizations, city or corporat e events to add to the possibility of choices, increase your income and avoid an off night draining your travel budget. Another benefit of having multiple venue options is to prevent needing to accept a gig when the terms are unacceptable. For instance, the gig you've been waiting for actually comes through. The booker offers thedate, but the terms are unfavorable. You have the option of turning down the date if you have alternatives.When you stake your hopes on a single venue, then you hav e placed yourself in the position of having to accept the date or have nothing. As time passes and you become more desperate to fill the date, accepting the unacceptable may be necessary. Be careful not to set precedence for future negotiations with this booker. If they were able to wear you down by letting the time run out this time, they may use that tactic with you onfuture dates. The inadequate terms under which they booked your act th is time, may set the standard for future bookings and make it very difficult for you to raise those standards. I've often heard stories of frustration from artists who plan their tours with one venue in mind. They focus all of their attention on landing the gig at that one venue. Time passes and they are upset by the lack of responsecoming from the booker. At some point after your third call, you must heed the message the booker is sending by not returning any of your calls. You need to either move on to other venues or change your approach andtry a new contact method. Perhaps you're leaving messages on a line that doesn't go directly to the booker, cross check your numbers with other directories to be su re. Ask other acts that have played the club for their contact number. Plan your options in advance. When I was booking my acts, if I hadn't heard back from someone within four days to a week, I'd contact them again by placing another call or by e-mail or fax. I try tomaximize the possibility of reaching them by expanding the methods of contact without it seeming like abarrage of incoming messages. Some bookers have their preferred method of being conta cted, try to adhere to it.However you manage your booking campaign, be pro-active by planning your strategy in advance. Set deadlines and give yourself options. Your tours will come together with less frustration and greater efficiency.Good luck. Jeri Goldstein is the author of, How To Be Your Own Bo oking Agent The Musician's & Performing Artist's Guide To Successful Touring 2nd Edition UPDATED. She had been an agent and artist's m anager for 20 years. Currently she consults with artists, agents and managers through her consultation program Manager-In-A-Box and presents The Performing Biz, seminars and workshops at conferences, universities, for arts councils and to organizations. Her book, CD-ROM and information about her other programs are available at are available at www.Performingbiz.com or phone (434) 591-1335 or e-mail Jeri at [email protected] HOW TO SUCCESSFULLY BOOK FOLLOW-UP GIGS WITH CLUB OWNERS AND BOOKERS by Jeri Goldstein, Performingbiz.com © 2010 All Rights Reserved. Keeping your band on the road gigging is a constant challenge for any artist. As a self-managed, self-booking artist, you need to be even more diligent in your attempts to book tour dates. In your efforts to build a loyal following in specific markets, it is important to book return dates at venues you've already played. There is no better time to begin negotiating a return date as at the time you are settling the current date. Before heading to the room where you will settle the ni ght with the club's manager, make sure you have your tour calendar with you along with your current contract. You want to have a copy of your contract to make sure the actual settlement matches the contract figures. This also gives you a chance to write all the pertinent information about that night's gig right on the contract, such as how many seats we re sold, how many of your comps actually showed up and if you have the information then, how you did in merchandise sales. Next,write the name of the person settling the show if it is not the person with whom you originally booked the date. After you finalize the settlement, you now have current information available about this date to use as leverage to open a discussion about booking a return dat e. Hopefully everything went well and everyone's expectations were met or were surpassed. If this was your first time in the venue and you did some business, then the club might be more enthusiastic about helping to build your following by bringing you back soon. Asyou look at your calendar, begin making a few suggestions about convenient future dates. This is a great timeto ask who they've got coming up that might work for you to open the show and get in front of a larger audience. The person just saw you perform, they may be more eager to think about placing you in front of some main acts they booked. Even if the person settling the show is not the person who books the talent,beginning this discussion with them captures their enthus iasm for the gig just played. Mention that you'll be calling the booker in a day or two and it would be great if the person with whom you are settling could passalong comments about how well the show went that night. While you have their attention, you might ask how they felt about the show. Now that you know the venue a little better having just played it, perhaps you have some additional ideas on how you can work together to boost some area publicity for your next time in. If y ou demonstrate your enthusiasm for returning, it is infectious. If you don't have these discussions about futu re gigs right then, everyone's excitement about the evening will dwindle as they are busied with the next night's gig and the next artist coming in. Capture the moment while your show's memories are still hot. If the person who settles the date actually is the booker, then you have an even greater chance of at least getting a hold on a date or two. The booker would have a much keener sense of how the upcoming calendar is shaping up. They would know where you might fit in or who might be the perfect match for you to be the opener. They may not actually book the date right then, but there is a good chance you might be able to consider a few specific dates, get holds on them and then when you call back you beginning your conversation in a much better place with some momentum behind the call. There is greater likelihood that you will finalize a return date much sooner by initiating the discussions while at settlement.What happens when you wait? Most artists get involved with their travel and the current touring schedule. They may not call the venue for a return date until the tour is over and the band is home. This loses the impact and the immediacy of opening the discussions on the ni ght of your last show at the club. Capture the excitement of a good gig. Wouldn't it be great to return from a tour and all the calls you have to make are simply ones confirming most of the next tours dates? This would be f abulous in a perfect world. You will probably have to do some juggling of dates, a number of callbacks, but the essential question of whether ornot they want you back will have already been answered. Now finalizing the right date is all that is left. Thereally hard part was taken care of the night of the gig. Give a try, good luck. Jeri Goldstein is the author of, How To Be Your Own Bo oking Agent The Musician's & Performing Artist's Guide To Successful Touring 2nd Edition UPDATED. She had been an agent and artist's manager for 20 years. Curr ently she consults with artists, agents and managers through her consultation program Manager-In-A-Box and pr esents The Performing Biz, seminars and workshops at conferences, universities, for arts councils and to org anizations. Her book, CD-ROM and information about her other programs are available at are available at www.Pe rformingbiz.com or phone (434) 591-1335 or e-mail Jeri at [email protected] ATTENDING BOOKING CONFERENCES by Jeri Goldstein, Performingbiz.com © 2010 All Rights Reserved. Booking conferences seem to be cropping up in every stat e during all times of the year. I thought I would offer some tips on how to approach attending a large booking conference. Let me make a few distinctions first. Among the many varieties of conferences one may attend, some are geared toward bookings, (agents and artists connecting with promoters and club bookers) and other conferences are more media events where an artist may connect with prospective agents, managers, recordlabels and create a media buzz about their act. Promoter s do attend these media events as well and there is always potential for getting gigs, but much less so than at a conference specifically set up for promoters tosee new talent. I would like to discuss the booking conf erence and specifically address how to maximize your showcasing efforts when you have been selected to showcase. In other articles I talk about how to benefitfrom the exhibit hall, attending workshops and networking techniques. Set goals Before planning to attend any conference, it is best to set some career goals or review your long-term goals and marketing plans that you may have previously estab lished. Conferences cost money, so it is important to select the most appropriate conferences based upon y our career goals for the upcoming two years. If you want to expand your touring in a specific region, select a conference that opens doors to that region. Perhapsyou are ready for national attention, then set your sights on some of the larger, national conferences. Avoidattending a conference that you are not ready to attend. Choose the conference that will offer you opportunities to jump to the next logical level in your career, not leap to a level for which you are unprepared. Here are some examples of specific career goals as they relate to selecting the appropriate conference. 1. Build a local following by attending conference s. Even though attendees come from all over the country, there will be a concentration of venues, bands, managers, agents and media from the local region. All styles of music are represented.2. Build a national following: Attend SXSW in Austin, TX (www.sxsw.com) held in mid-March each year. This conference has grown over the years and a ttracts promoters, media, managers, agents, film industry, recording industry from all over the country and Canada as well as some internationalattendees. If your goal is to create a national buzz as you look for management, record labels and stir up some major media attention, this may be the right conference for you. This is a very large conferenceand one can easily get lost in the crowd if you are not prepared to make a big splash and invest in somepromotion for the conference. Some conferences are international, some genre specific, some are event specific. It is likely that you will find a number of conferences right for your next career move. Once you are confident in your conference selection, consider applying for a showcase slot. Some conferences select their showcasing talent by a jury selection committee and others work on a first-come,first-serve basis. There is an application fee and a showcase fee. Along with the officially juried showcases,many conferences also have opportunities to self-produce your own showcase in either designated rooms which you must rent or in rooms or venues of your own selection and at your own cost. The official showcases sponsored by the conference get major promotion from the conference and are most often attended by the greatest number of attendees. Depending on the conference set-up, independently promoted showcases tend to attract a great deal of attention when extensively promoted. Creating a buzz about your showcase is key to drawing the attention of those you desire to see your act. There is a lot of competition, with multiple showcases happening simultaneously. Each showcasing artist is vying for theattention of many of the same people. Key Elements to Successful Showcasing It is important to make yourself stand out in some unique way: Ask yourself, "What is unique about my act?" Emphasize that aspect in all of your promotional material, during the show and after the show with everyfollow-up contact. Advance promotional campaign Some conferences send registered attendees an advance attendee list. Use this list to send e-mail or printedinvitations to your showcase to those you have identified as people you want to know about the act, promoters, agents, managers, labels, media. Make pre- conference phone calls to personally invite specific people. Contact local media in the conference town and pitch them a story—you'll need a hook to attract local media, can you find one? Pre-conference contact is so im portant if you are trying to create interest prior to everyone's arrival at the conference site. Once people arrive, there will be an inundation of flyers and promotional materials for every act's event. Concent rate your efforts on setting up meetings and issuing personal invitation prior to the conference. Promotional campaign at the event Check over the official conference attendee list. Ident ify people who you have previously contacted and those who are new in the official list. Create attractive flyers to post in designated areas around the conference. There will be thousands of similar flyers so make sure yours is graphically attractive and readable from a distance. If there is a major event that most conference goers will attend, check for permission to place tabletents on tables or seats promoting your showcase. So many acts will be attempting similar promotion campaigns so that the information about showcasing event s begins to become diluted. It is important to make personal contact, hand each person a clever, uniquely designed, invitation/reminder of your showcase. Find a promotional item that is different from the general flyer or paper sign. At one conference, an artist had a remote control blimp with their name on the sides. He floated the ba lloon over the heads of the attendees as they gathered in lounges, bars, dining areas and other general meeting places. He definitely attracted attention. Be creative - competition is fierce!Your showcase As you plan for the actual showcase keep the following in mind: 1. Know exactly how long your set can be. Some c onferences allot very short times, like 15 or 20 minutes - some give you 45 or 60 minutes. 2. Plan to perform material that is the most familiar to you. You are under enough pre ssure when showcasing, this is not the time to try new material or take chances. You want to be impressive. 3. Time your set, music and talk. 4. Rehearse your set many times until it is second nature.5. If you are offered a sound check, take it and use every minute to make sound and lights work for you. When you are using a sound company provided by the conference, find out contact names prior to the event and forward all sound and light plots ahead of time. Be in tou ch with the engineer and review your specific sound requirements to understand what will be provided and what you must bring to avoid surprises when you arrive. In situations when you are able to provide your own sound, arrive in plenty of time to set up and sound check. 6. With so many acts rotating on and off-stage, showcasing can be unnerving and sometimes frustrating when things don't go as planned. If you are solid in your performance, even if the sound and light go bad, stay cool and do the best show you know how. The audience appreciates that and sympathizesand such situations can often work in your favor when you remain in control. 7. You never know who might be in the audienc e, no matter how many people show up to your showcase. The two who attended, could be the one's to offer you some deal. Show them what you're made of! 8. Finally, if there is a chance to meet people after the showcase, get out there and shake some hands, have plenty of cards ready or offer promot ional packets or CDs if you have them. Having a successful showcase can be a major career boost. Attracting the attention of movers in your fieldcan change your life. It can also simply be a well-done showcase that caught the attention of some new people and not provide any monumental changes immediately. For the most part, showcases and conferenceevents require consistent follow-up after the event wi th contacts you made during the conference. The impact made may not be realized right away. If you don't come away with the deal you were hoping for or get the number of dates you were planning, don't be discouraged. Act by keeping in touch with those you met after the conference is over to move toward your desired goals. My experience has been that some connectionsmay take a number of years to resu lt in significant deals or bookings. For those of you who are ready to take a serious st ep toward the next level in your career, attending and showcasing at appropriate conferences could be the boost you were seeking. Good luck. Jeri Goldstein is the author of, How To Be Your Own Bo oking Agent The Musician's & Performing Artist's Guide To Successful Touring 2nd Edition UPDATED. She had been an agent and artist's manager for 20 years. Curr ently she consults with artists, agents and managers through her consultation program Manager-In-A-Box and presents The Performing Biz, seminars and workshops at conferences, universities, for arts councils and to organi zations. Her book, CD-ROM and information about her other programs are available at are available at www.Perf ormingbiz.com or phone (434) 591-1335 or e-mail Jeri at [email protected]. CONTRACTS PREPARING A PROFESSIONAL ENGAGEMENT CONTRACT by Les Vogt, Entertainment Consultant © 2010 All Rights Reserved. Every dollar earned in the entertainment business is the product of a negotiated contract. That contract should clearly reflect the engagement details confirmed through previous discussions with the purchaser... Engagement contracts should be kept as simple as possible... together with a basic contract rider for additional details. In addition, it never hurts to review and improve the contract you've been using for years.The object is clarity rather than bargaining strength on either the Performer or Purchaser's side. The goal is tolay out the deal so everyone is on the same page. The simpler a contract is... the more likely it is that apurchaser will agree to sign it. In some situations, a handshake or verbal agreement is quite acceptable... it's legal, but difficult to enforce. People who think they don't need contracts must either have a well known reputation or really trust the peoplethey're dealing with. But things change and misunderstandings happen and a contract protects both parties.Of course, the more money that is involved, the mo re need for a contract. If you are performing as a hobby, then you may not need a contract, but if it's your business... you should have one. If you haven't prepared your own contract before, it can be intimidating to ask someone to sign it, but the other party will actually respect your professionalism by doing so and the worst that can happen is they won't sign it. If they don't, it'susually because the contract is too one sided or perhaps even unfair. There is no perfect contract for every situation and there are too many clauses to touch on in this article. A common practice is to make a brief standard contract and attach a rider for specific needs and requirements. Here are some important considerations... Contract header Always display your name, address and telephone number clearly at the top of your contract form. It is important that your client knows where to return the signed contract. Be sure all your computerized forms contain the correct address. Date, Time, Compensation & Signature by BOTH parties In some cases, this is all you'll need... but, more information is always better.Definition of performance Both parties should know what is expected for a "perform-ance." Provide a clear and concise description of the nature of the performance, the number of musicians and singers, in cluding set length, set breaks and anything else unique to the performance. Location, date & time This seems like a no-brainer, but I have heard horror st ories about performers showing up on the wrong day, two performers booked for the same date... enough said. Length of performance can be described here or in the definition.Compensation It should be clear whether the fee is a fixed amount ( guarantee) or a percentage of door or revenues or both. Include when payment will be made, to whom, how and any deposits as well. Be very clear here as to payment method and who specifically receives it. For example, if the deposit goes to the agent and the remainder to the performer, it should be in the contract. If payment is based on a per centage of the door, both parties should have the right to be present in the box office and have access to box office records or gross receipts. When percentages are involved, the contract should specify ticket prices and how manycomplimentary tickets are permitted. Recording, reproduction, transmission & photography This is usually the artist's right to grant specific permission, but press and publicity is a good thing. So, flexibility is the key. It is common for the Purchaser to have the right to u se the Performer's name and likeness in advertising and promotion, so always make sure the Purchaser ha s the appropriate promotional materials. It will benefit you greatly. Right to sell merchandise on premises For smaller venues and engagements, this right is usual ly the performer's... because this revenue can often form a large part of the performer's compensation. But for larger venues, there will likely be specific terms for merchandise sales and the venue may have their own people to sell it. Meals, transportation & lodging This usually depends on the type of performance. Corporate and Promoter gigs usually cover most everything, but for a local public venue gig, the benefits can be less gratuitous. Guest lists, passes, dressingrooms and other hospitalities will vary or, in some cases, be non-existent . Sound & production It should be clarified who supplies sound & lights and specif ically what equipment is to be provided. All too often a performance is ruined by improper sound production ... so it is always beneficial for the performer to designate their own representative to control sound equip ment whenever possible. If the Buyer is providing Lights & Sound, a suggested equipment list should be part of an attached rider. Acts of God A specific course of action for these eventualities, such as weather or illness, is needed to protect both parties. A definitive clause should be included. Cancellation There are a number of ways this is handled and again, it depends on the gig. Usually, if there is enoughnotice, neither party is penalized. It's not supposed to happen... but, sometimes it does. Again, it helps to be clear and specify what happens if either party cancels or reschedules the engagement. Permits, licenses and/or royalties It is customary for these to be covered by the Purchas er. A simple concert performance only requires that the promoter or venue pay a compulsory (standard) royalty for use of copyrighted material. However, it doesn't hurt to clearly state who is responsible for payment of these fees. Specific requirements/restrictions There may be certain requirements of the Performer or the Purchaser... such as thanking a sponsor,announcing the performer, attire or language at corporate or private gigs etc. Agent terms Often the Agent is the Seller and the agent may have a separate agreement (as the Purchaser) with the performer. Or the contract is directly between the Performer and the Client and in this case, the agent'scompensation should be clarified in the contract, along with the obligations (if any) of the agent.Insurance & security Personal liability insurance and property insurance are usually the responsibility of the Purchaser or the Venue. Although not often included in a contract, the performer should be certain they are held harmless fromany public liability and should have their own insurance against damage or theft of personal equipment. There are numerous other clauses that can (and sometimes should) be included, but the above mentioned are the most common. I would recommend that you look at a variety of contracts and decide which clauses best apply to your situation. I also welcome you to request my sample contract... but only with the awarenessthat NEITHER the sample contract NOR the opini ons in this article constitute legal advice. Les Vogt was the lead singer in Vancouve r's very first rock 'n' roll record ing band... "The Prowlers" who gained local popularity by playing "live" on the "Owl Prowl" radio program. He shared t he stage with Bill Haley... Gene Vincent... Buddy Knox... Eddie Cochran... Roy Orbis on and Jerry Lee Lewis. Les is now an independ ent producer, promoter and entertainment consultant. Contact: www.me mbers.shaw.ca/lesvogt [email protected] THE RIGHT DOCUMENTS FOR BOOKING GIGS by Jeri Goldstein, Performingbiz.com © 2010 All Rights Reserved. You've probably read numerous articles espousing the benefits of having a written contract for all of your gigs.You might have even experienced one of those moments when you wish you had had a written contract forthat one gig you did for your friend, who just di dn't have the agreed upon amount money at the end of the night. Never mind — you are wiser now. Below is a listing with explanation of a variety of types of contract agreements and supplemental documents that can be used when booking your gigs. Letter of confirmation There are those times when a formal performance cont ract may be inappropriate or unnecessary. This type of document is friendly, yet describes the details of the booking agreement fully. It's written in paragraph, letter format and it includes the essentials such as performance time, date, place, producer, artist, who provideswhat and who is responsible for each item included. This type of letter may be used with organizations andindividuals unaccustomed to music business industry st andards, such as charities and private parties, for example. The key here is to have a written record of all the important details and for each party to have a signed copy. Performance contract- non-union A performance contract includes the same information as a letter of confirmation except that it is written using legal art language or legalese. Rather than business letter paragraphs, the contract has numbered paragraphs and is more formal. If you work in clubs, universities and concert halls or for concert promoters, a performance contract is recommended. As you prepare your own contract, check with an entertainment lawyer to make sure it includes the necessary clauses appropriate for your state. You can find sample contracts that can be adapted to your needs in a variety of places. I have a set of forms in my book and available by e-mail in PDF format fr om my website. There are numerous books now available that have ready-to-use contract forms. You'll find a short list at the end of this article. Most of these books are available on Amazon.com in the music business category. Performance contract-union The AFM, American Federation of Musicians has a specific contract that their members ought to use. The AFM contract requires information that allows their members to credit th eir Union pension plans and it meets specific union stipulations depending on the type of music and area in which you perform. If you perform onradio and television, you may be a member of AFTRA, American Film Television and Radio Artists Union. AFTRA artists are required to use the AFTRA contract when doing radio and television performances.Performance contract rider The purpose of including this document is to help define exactly what is necessary to enable the artist to present their best performance. It serves as an extension of the Performance Contract to aid the promoter in taking care of all the details. As such, artists should be mindful when preparing their Contract Riders toinclude only those necessities that enhance the perfo rmance. Many club owners and promoters scrutinize Contract Riders and cross out unnecessary items that serve only to inflate their budget and take undueadvantage of the promoter. Some often cross out the entire contract rider considering it frivolous andinconsequential to the main contract. Be considerate and thoughtful of your real needs. Technical rider This document details the artist's sound, lighting and stage requirements. It should be attached to the performance contract with instructions to have copies distributed to the appropriate technical personnel at thevenue. Stage plot It is a detailed layout of the stage with all the sound equipment and instruments positioned. The stage plot should accompany the Technical Rider. Lighting plot This diagram describes the type and placement of lighting that best highlights the performance. It may include song lists and lighting cues. Hospitality rider This describes the artist's food, housing and travel requirements. This is the place to list dietary restrictions and necessities when meals are provided. In most club bookings, a simple performance contract will due. As you begin to work with promoters or perform in larger clubs and concert halls, some of these other documents will be useful and should beincluded each time you issue a contract. Remember to put it in writing. Good luck. Jeri Goldstein is the author of, How To Be Your Own Bo oking Agent The Musician's & Performing Artist's Guide To Successful Touring 2nd Edition UPDATED. She had been an agent and artist's m anager for 20 years. Currently she consults with artists, agents and managers through her consultation program Manage r-In-A-Box and presents The Performing Biz, seminars and workshops at conferences, universities, for arts councils and to organizations. Jeri has released a 3-hour seminar on CD-ROM, Marketing Your Act. The Seminar is set up in 5 modules with information about Marketing, Creating Effective Promoti onal Materials, How To Access the Media, A Marketing Template and Niche Marketing. No expensive conferences to attend-learn at your convenience to boost your career. Her book, CD-ROM and information about her other programs are available at are available at www.Performingbiz.com or phone (434) 591-1335 or e-mail Jeri at [email protected]. COLLEGE GIGS WHAT IS NACA? by Fran Snyder, Concerts in Your Home © 2010 All Rights Reserved. The National Association of Campus Activities, established in 1960, is a non-profit organization that puts on regional conferences where music acts, comedians, lecturers and other entertainers showcase in front of campus activities programmers from around the country. There are 1200 member colleges and 600 associate members (talent or agent) which makes NACA the largest organization of its kind. Acts like Billy Joel, Bruce Springsteen, Suzanne Vega and Toad the Wet Sprocket have all used NACA and the college market as a stepping-stone to success. Comedians also thrive on this market, which has helpedthe careers of Carrot Top, Jay Leno, Sinbad and many others. The organization covers the entire U.S. and is divided into 11 regions (Southeast, New England, East Coast, Upper Midwest etc.). Each region puts on one or two conferences per year, most of them during the fallsemester and lasting two to four days. Depending on the size of th e region, delegates (students) from 35 to several hundred schools will attend in order to check out 30 to 60 performers who have been selected to showcase. Membership To participate at these conferences, you must first become a NACA member. There are two membership options in NACA. You can be a regional associate member (one region only) for $265/year or for the price oftwo regions ($530/year) you can be a national associate member, operating in any or all regions of NACA. An artist can avoid these fees by getting an agent who is already a member. More on this later. Showcasing The best way to get gigs on the college circuit is to showcase at the regional conferences. There are several different types of showcases that take place during a NACA conference weekend. Music acts perform at either Main Stage (for bands or name acts) Showcases or Club (for solo acts and small bands) Showcases. These showcases feature four to six acts with one act (usually a comedian) taking the role of emcee. Eachperformer gets 20 minutes on a stage with good sound, lighting and crew, in front of an audience that canrange from 100 to 1500 people. Getting a showcase You must submit a showcase application for each conference that you wish to showcase. You or your agent fills out extensive forms and provides a 3-minute sa mple (video, cassette or CD) along with some basic promotional materials. Showcase application deadlines can be up to six months in advance of the conference and acts are notified months before the conference takes place. It costs $30 per application and hundreds ofacts compete for the coveted showcase slots. If y ou are selected to showcase, you will have to pay and additional $200 for the privilege. Pay to play? Absolutely. Some of these colleges have tens of thou sands of dollars to spend each year on campus entertainment and cultural programs. These colleges send a group ofstudents to their region's conferences to choose which acts and programs will receive that money. A successful showcase can lead to more than $10,000 of income for a club act and even more for a main stageact. Gigs Colleges need entertainment for weekly and monthly events, orientation week, homecoming etc. Their entertainment needs are very seasonal, with little or no work during summer and winter break. They use all styles of music, though pop and rock acts seem to fit the bill most often. Some of these acts perform strictlyoriginal material but most mix in some, if not tons, of covers.The venues and audiences for these shows can vary gr eatly. Concerts are sometimes held in beautiful auditoriums with hundreds of people in attendance and some "nooners" take place in dingy cafeterias at lunch time with half the audience facing the other way. It's not necessarily glamorous, but the money is def initely better than in nightclubs. Music groups and solo acts usually perform 75 minutes and gross $500-1200 (solo) and up to $3000 for bands. Schools also typically pay for one night's lodging at a decent hotel and will supply one meal before or after the show. Performer'spay for their transportation and all other travel expenses. Marketplace exhibit halls Every conference has a central exhibit hall where agent s and artists meet their prospective buyers. Each talent agency or self-represented artist with a showcase must purchase an exhibit booth and this is the only place where they can distribute their promotional ma terials during the conference. Many agencies set up a television and VCR to play their artist's videos and bring stacks of brochures and CDs to give away. Marketplace usually takes place after each round of showcasing and students immediately flock to the boothsrepresenting the acts that just showcased. After a "hit" showcase, it is not unusual to see thirty or more peoplegathered at a performer's booth. Students line up to meet the act a nd to talk to his/her agent. They will also pick up some promotional materials to bring back to their campus. CO-OP - possibly the best part of NACA . Performers and agents are expected to encourage schools to "block" dates together. In other words, if several schools from a region are interested in the same act, there is a standard money incentive for them to "co- operate." They do this by booking the act and scheduling eac h school's show to occur during the same week. This cuts down on travel costs for the artists and these savings can be passed on to the schools. For example: If one school in Iowa wants to book me as a solo act, my price is $1000. However, if they canform a block with two other schools in their region, so that I can perform at all three schools within a five dayperiod (a 3 of 5 block,) my price drops to $850 per sc hool. Finally, if many school s in one region want to book me, my agent will try to form a 5 of 7 block and each school will get me at the bargain rate of $750. Some ofthese blocks will form during co-op sessions at the co nference, but usually your agent has to follow up for weeks and months after the conference to make this happen. To recap One School: $1000 3 of 5 (3 shows in 5 days or less) $850 each5 of 7 (5 shows in 7 days or less) $750 each This is a standard rate for "Club Showcase" acts and many "Main Stage Showcase" bands charge twice as much or more. Booking gigs - agents vs self-representation You thought nightclub owners were a nightmare! The campus activities department is usually run by a group of students who are supervised by a faculty advisor. These students usually have short, weekly office hours and sometimes don't show up at all for them. Furthermore, drastic change s in personnel happen every year if not every semester, so many of these programmers are inexperienced at booking and producing shows. Finally, most schools will not book a particular act or band more than once per year. That's a lot of keeping upto do for one act. When you receive your new long-distance phone bill and after a few of your press kits get lost or stolen, you start to think "hey, maybe having an agent would be cool." For me, it's the only way. Agents on this market charge 20% off the top and earn every penny. They call schools year after year on behalf of many artists and they develop relationships with many of these colleges. In this business, as in others, relationships mean sales/gigs. And we know musicians aren't good at relationships!Agents also bear the costs of membership ($530+ per year,) costs of exhibit hall booths ($300-500 per conference,) and the largest expense, telephone calls. Finally, a good agent makes you look like a pro. After all, "He's great" always sounds better than "I'm great." How to get started First, get some information from the source. You can reach NACA by phone at (803) 732-6222. The address is National Association of Campus Activities, 13 Harbison Way, Columbia SC 29212-3401. Their website,www.naca.org is also very helpful. Ask for information on how to join and a list of the agents that work on themarket (available on the website). Second, attend a conference. Ask NACA for the nec essary credentials (day passes) to attend some showcases and some exhibit halls. See what you'll be competing with and ask yourself the following questions: • Are there acts similar to me/us that are having success on this market? • Am I unique in some way that could serve this market? • Would my show appeal to these college kids? (65%-75% of the decision makers are women) • Can I put together promotional materials to be competitive in this market? (video, brochure, CD etc.) • Do I have the patience to persist in this market if things don't take off quickly? • Am I willing to travel long distances to perform? • Can I be away from home for weeks at a time? If you can answer yes to most of these, talk to some agents. You can learn a lot by watching and listening to them work the exhibit hall marketplace. Ask them questions when they are not talking to clients. They usuallyhave more acts than they can handle, but the smart ones will accept your promotional materials if you are not obnoxious. Some patient, persistent and polite follow up over the next few months (yes, months) will produce the best results. Is there some other way? There is a smaller, but growing organization that also serves this market. The Association for Promotion of Campus Activities (APCA), now in its fifth year, appeals to schools with smaller budgets due to the lower membership and delegate costs it charges. APCA's membership (200+ schools) is based largely in thesoutheast, but the organization plans to expand northward next year. For now, they have one annual conference in the spring. The next one takes place February 10th-13th in Charlotte, NC and will feature 55 showcasing acts. APCA is owned and run by Eric Lambert "with the performer in mind." Although the conference is run much like a NACA conference, with showcases and exhibit ha lls, Mr. Lambert is proud to note that his conference leans towards original acts. He screens all tapes and CDs personally - up to twenty minutes of material per act, which "allows for a better understanding of the act." Compared with NACA's three-minute limit, it's hard not to agree. Here are some other differences between NACA and APCA, straight from the APCA website: APCA exhibit hall booths come with a guaranteed showcase or booth demo opportunity or the applicant will be refunded all conference fees. Additionally, we charge no showcase submission fees and limit the number of booths in our exhibit halls to give associates a better opportunity to do business with school members attending. Any act wishing to showcase may send in their video and promotional materials so that they may be reviewed for showcase approval.There are a few other differences to note. Yearly membership to this organization is $99, but it actually costs more ($1000 covers booth and showcase fees) to showcase at APCA. Last year 135 schools attended. Visit their website at APCA.com. You can also reach them by phone at 800-681-5031 or by e-mail at [email protected]. NACA and APCA are not exclusive organizations and many talent agencies use both to work the college market. While NACA is older and has more participating schools and performers, APCA is growing and isgaining respect as a reasonable alternative to NACA. Summary Many acts have taken off quickly with NACA. Ac ts like Christine Kane and Beth Wood each performed 50 shows during their first year in NACA. Several musi c acts perform over one hundred shows a year (do the math). However, it's a mistake to expect to make a lot of money right away. In the short run, you are more likely to spend a lot of money. Most acts take a while to fine tune their promotional materials and their showcasing skills. Furthermore, you have to be selected to showcase regularly and that process is equal partseffort and pot-luck. You never know what college students are looking for at the moment. It took me a year and a half to get an agent. It took another year to get a showcase and another 6 months before I finally made a profit. In those first two years I spent over $1000 in showcase fees, application fees and promotional materials. It's taken over three years for me to establish myself on this market. Why bother? Eventually these college gigs allowed me to profitably tour the country. Also, there is something about hitting the road that makes you feel like your career is going somewhere, too. People always seem to treat you a little better when they know you've come a long way. With some additional work on your part, you can book some nightclubs and coffeehouses on the way to and from, as well as in between these college gigs. College shows are usually 75 minutes long so it's also feasible to perform two shows in a day. This, along with the better pay, has allowed me to work with backing musiciansthat I normally couldn't afford to take on the road. The college market is not for everyone. But if you find yourself in the happy hour, smoky bar rut that I found myself in a few years ago (and last week), it's certainly worth looking into. The pay is better, the audiences aretypically nicer and even if you don't bec ome a NACA star overnight, a dozen or so gigs per semester can be a great kick-start for booking your first out-of-state tours. Fran Snyder is a singer-songwriter based in Lawrence, KS, who is in love with doing house concerts. Fran created www.concertsinyourhome.com, a site dedicated to creating more opportunities for artists to perform "gigs where people listen." The site is free to use, but artists may join ($25/ye ar) to promote their act. The site also funds a national press campaign to increase the popularity of house concerts. Fran Snyder's music can be heard at www.fransnyder.com NACA AND THE COLLEGE GIG HOW TO NAVIGATE THE EDUCATIONAL MARKET by Will Morgan, Performer Magazine © 2010 All Rights Reserved. The college gig, in one respect, can be thought of as the generic store brand in the music industry supermarket - only a few people seem to be aware of it, despite it s relative value. As a culture of advertising- inundated consumers, we instead reach for the big names on the shelf or for the purposes of this example,the principal venues with established reputations. And more often than not, especially if you're a musician,these items are beyond our means, financially and otherwise. Like any business, a musical career requiresgrowing before we can expect to reap the rewards and a college g ig can often be the answer as to where to begin.For many artists, the college booking process seems to be one shrouded in mystery and understandably so. Schools do not share the same business mentality as standard venues and hosting concerts is only a smallpart of their ongoing effort to keep students content. Not knowing how to approach this unique niche of the touring market can be discouraging for artists. Yes, landing a college performance requires a methodology unfamiliar to many, but it is certainly a revenue source worth tapping into. And thankfully, there is a set of fairlywell-established guidelines and channels that will enable you to make the most of eager students and deeppockets. In effect, there are two standard avenues for getting a college gig. The first is the do-it-yourself method: direct solicitation with press, flyers, music and the like. The second is through cooperative agencies, the mostpredominant of which is easily the National Association for Campus Activities or NACA. The Association for Campus Activities (APCA) has also emerged as another helpful organization. So which plan of attack shouldyou choose? The artists who have negotiated the process and the booking agents who understand thecollegiate business mindset will quickly point to four important influencers in making the decision - money, reputation, attitude and entertainment value. NACA, as its website notes, "links the higher education and entertainment communities in a business and learning partnership." In other words, the organizat ion serves as a meeting ground for artists and colleges, thereby facilitating the booking process. Among NACA's o fferings are the Artist Matching Service, Block Book It Now (an online service that allows neighboring colleges to view each others' schedules and book the sameartists), and, perhaps most importantly, the Regi onal and National Conferences. Clearly, performance opportunities abound. Syd, a Boston-based singer/songwriter who estimates he has booked "a couplehundred" shows through NACA's service, refers to the organization half-jokingly as "musician's crack." Understanding NACA Joining NACA is costly, but it can also yield you an "astonishing amount of money," notes Syd. Those artists who decide against membership cite expenses as the main factor. An associate national membership (designed for companies doing business in the college market) costs $632/year at press time. Membershipprovides access to all the organization's services and enables you to apply to both regional and nationalNACA conferences. Syd's college booking agent, George Hornick from Wally's World of Entertainment, affirms that conferences are the driving force for membership and are definitively the best way to book shows,especially if you land a showcase opportunity. Terri Mazurek of Peppermint Booking, whose roster includesEllis, a Midwestern singer/songwriter who has had great success with NACA, echoes Hornick's sentiment: "If you showcase well, it is THE best way to get attention in the college market." And indeed, a little research willreveal just how lucrative one conference performance can be. Following Syd's very first showcase, he endedup scheduling 50 college dates that same day, all paying $500 each. These results are not uncommon. Be advised, though, that getting a showcase requires serious investment. To attend the conferences as anartist, you must first have a booth and pay the Campus Ac tivities Marketplace fee. Then you must also pay the showcase application fee and, if selected to perform, you must pay a showcasing fee as well. Herein lies thefinancial trade-off that typifies NACA. Also keep in mind that showcasing slots are not reserved solely for musicians. College representatives are looking for acts that can entertain students, meaning comedians, magicians and other performance artists are also vying for coveted performance slots.How to Succeed Be personable and active. Even if you do not land a showcase, it can still be worthwhile to pay the booth fee and make an impression with your music if you hav e a positive demeanor. Not only does a certain amount of flexibility and a good attitude make you more pleasant to work with, but it wil l also confirm to prospective college buyers that you can interact well and potentiall y entertain an audience. This personal effort can have very tangible results, ie: increased bookings. Mazurek notes that "many students have heard of Ellis because ... they just met her at a conference and liked her," and points to the fact that for "about half of her bookings,the schools are calling me directly asking for her; she has a very large number of repeat bookings." Hornick mimics her comments, remarking "when it comes to somebody like Syd, his personality and his music have proven invaluable in the NACA eyes. To the students on program committees, they find that endearing." Hecontinues, "Not only is he talented, but he can also keep a set of students entertained for a period of time.NACA is all about entertainment. Students want to be entertained. To some of them, a musical a ct is right there with the magician, the novelty etc." Syd agrees: "Everyone who's decent or charismatic I should say, will have success with it." In this respect, it becomes apparent how college gigs differ from standard venueperformances, in that entertainment value and accessibility are paramount. Consider an agent The trick with student activities committees, college program boards and the like is that they are largely student-run, meaning personnel turnover occurs very frequently. Also, because they still have all their academic worries outside of booking entertainment, "it's not the most priorit izing thing in their life," as Hornick puts is. If you are a self-represented artist, trying to maintain relationships with one college, let alonehundreds, can be a job unto itself. Certain agents work specifically with colleges, making sure theirrelationships remain intact through all the transitions. Again, the conferences are prime territory forstrengthening these bonds. Additionally, those agents that have clients with proven track records are very appealing to schools because they can then book not just one, but many acts through one contact. Use NACA as a springboard While college gigs can certainly pay well, they do not create the same benefits as a real venue performance. Take advantage of the fact that you have generated in terest among a seriously buzz-driven community and aim for playing at a local venue next time around to dr aw paying fans. Mazurek warns, "if you don't follow up these shows with ticketed concerts at nearby venues , you then have a whole audience of folks who are now used to seeing you for free. They may not pay to see a show down the road." She continues, "there is adanger of becoming just a 'college artist' and the student s may not take you as seriously. It is important to have a balance of college shows and ticketed club shows." Hornick concurs that "[artists] should use it tofinancially supplement their tour," but that having success in the college market shouldn't be the ultimate goal. The Grassroots Option Colleges are not bound in any way to book exclusivel y through NACA once they become members and if you can present them with a compelling package, you can have just as much luck as NACA-associated artists. Granted, this method requires significantly more grunt work. Choosing this process is where having analready established reputation can help, as name recognition will often move you to the top of the pile. Youmay also want to choose this path if you or your group might have trouble competing with the various novelty acts that go through NACA. In this case, you save on membership and showcasing fees by directly soliciting schools. When asked how she approaches colleges outside of NACA, Mazurek replies simply "lots and lots ofcalls to schools, keeping in touch and letting them know about open dates of our acts." Sending flyers andone-sheets is effective when followed-up on. Developing and maintaining an up-to-date list of college contactswill allow you to conduct mass mailings easily; there are various resources for gathering all this information (see the directory that follows). Allegedly, Dispatch, certainly one of the most ingenious groups when it came to grassroots work, made their now well-chronicled entrance into the school market by making a huge list ofprivate schools and contacting each one.Food for Thought Both methods take a lot of work and a certain amount of money. Do not spring for either until you are sure you are ready and need to do so. Syd advises curious musicians to bide their time and establish a following priorto joining NACA. Also, in this digital age, industry insiders are beginning to notice changes to the standard formats of booking college shows. Mazurek highlights this shift: "[Conferences] seem to be somewhat less effective recently, with more student reps finding their artists via the internet [MySpace, artist sites etc.]. Itused to be that a successful showcase would result in 40 to 50 bookings, but now it seems like 'success' is 20 bookings." Hornick agrees: "There's not as much co-op buying going on at conferences. Now, you're lucky to get a couple blocks." He concludes with an observation indicative, perhaps, of the whole college booking process, stating, "It is a long-term investment; you have to put in three years of sticking with it in order to get turn-around." Will Morgan is a writer for Performer Magazine www.performermag.com [email protected] A MUSICIAN'S ADVICE ABOUT THE COLLEGE MARKET by Derek Sivers, CD Baby © 2010 All Rights Reserved. From 1995-1998 I made my full-time living playing at colleges. Got hired by over 350 schools for about $300,000 (gross, not net) on the East coast (from Florida to Maine, as far west as Arkansas). I'll try to put into one article, here, every bit of advice or wisdom I could share with my fellow musicians, from my experience. (Disclaimer: These are my opinions and observations from my unique experience only! Others may disagree). Who does the hiring at colleges? One thing to get straight: don't confuse college radio with college gigs. The kids that run college radio are the real music fans. The ones deeply into music for music's sake. But the ones with the big budgets for entertainment and activities are called the “Student Activities Office”. These are usually made up of the girls in pink sweaters who won the election for Class Treasurer in high school. (Think Reese Witherspoon in the movie “Electi on”). It's a very play-it-safe environment because they want everyone (yes every last person) to be happy, so they can get re-elected. This means that the Student Activities Office wants to hire the most fun, safe, lively, crowd-pleasing entertainment possible. Whether it's a hypnotist, comedian, rubber sumo-wrestling suits, the guy that brings the exotic lizards, a famous talk-show host, hot-w ax hands, a magician or musician - they just want entertainment. When approaching them, you need to emphasize what a safe bet you are. Your marketing should be filled with testimonial quotes like: “One of the finest perfo rmances we've had here all year!” - the College of St. Angus. “...the crowd couldn't stop laughing at his lyrics!” - the Thirsty Whale. “A real joy to work with - we can't wait to have her back!” - Siberian Sunbathers' Convention. Your bio should mention all the awards you've won and what big-mainstream-media sources have also recognized your talent.It's not glamorous Ask anyone who's done over a dozen college gigs without a big track record. You often play at lunchtime for a depressing cafeteria of stressed-out students who are tryi ng to study and scowl at you for disturbing them. But at least you get paid afterwards. Some actual situations I've had:Their contract said they had an adequate P.A. system but it turned out to be a tiny microphone that plugs into the wall for the principal to address all classrooms. (I did the gig anyway and sang into it).We drove 22 hours for a $4500 gig in Arkansas, but they forgot we were coming, so we played to 8 people ina backyard in 40-degree weather (fingers numb) in a bi g echoey gymnasium, having to set up next to the noisy cotton-candy machine, because that's the only power outlet in the room. An example See my diary from two typical weeks on the road, here: www.hitme.net/tourdiary It's not a perfectly-scheduled tourThe idea of a real “tour”, where you cross the country in a perfect line, rarely happens. The way I was able to make a full-time living out of it was by saying yes to everything. Ohio on April 8. Connecticut on April 9th.Michigan on April 10th. Maine on April 11th. No problem! Pl ay for 2 hours. Drive for 14. Play for 2. Drive for 16. Repeat and fade.... Another scenario You live in New York. You mail your flyer to colleges fr om Florida to Maine, imagining a nice long tour. Instead you only book two gigs: one from South Carolina, one from New Hampshire. Because of this, doing the college circuit on the East Coast is a lot easier than doing the West Coast. There are 500 colleges within an 8-hour drive of New York City. But you're a road-dog, right? You can perform in any situation, right? Your guitarist quits the night before a gig and you've got another guitarist to take her place, right?You've got enough money to pay for your own transportation and hotel both ways, in case something goes wrong, right? After driving 14 hours, you're clean, lively and friendly, right?When they change their mind at the last minute and want you to perform at 11am instead of 11pm, you rollwith it, right?When the drunk frat boys heckle you and run their “play some Skynrd!” joke into the ground, you keep your cool and do your best show possible anyway, right? You know plenty of crowd-pleasing cover songs for emergencies, r ight? You've played in the cold with numb fingers, sang full-voice at 9am and can do three 2-hour shows with nobreak in one day, right?If not, prima donna, this is not for you. They usually book long in advance Rule of thumb: they book the Spring semester in the Fall and the Fall semester in the Spring. Exceptions I always booked a lot of April shows in February and December shows in October. But the se are usually the smaller “last-minute” shows. Secret June is a great month to contact the colleges. The staff-employee, the Director of Student Activities, is there working for the summer when things are quiet. This is a good time for her to book some “Welcome Week” entertainment for the end of August and beginning of September.Consider being flexible in your size I mainly got into the college market to promote my 5-piece funk band (Hit Me). But I figured since I was going to spend all that money on membership fees and marketing, I might as well make some other ways to book me, too. So I made: • for $1000, the 5-piece funk band • for $600, the acoustic two-person version (me & one other band member)• for $450, me alone• and as an afterthought, I made the Professional Pests, where I would run around campus in a black fabric bag, bothering people. Price? $1500. See it here: www.agentbaby.com/artist/pests • (Of course the Professional Pests got as many bookings as my musical acts) • Point being, I was able to work with any budget they had. Of course I wish they could always book my $1000 full band. But if not, I could always sell them on the scaled-down version. About NACA and their conferences There's an organization called the National Association of Campus Activities (NACA) that puts on conferences where all the Student Activities buyers can get together to check out showcasing talent. Their website iswww.naca.org It's VERY hard to get a showcase spot there. You're up against the best-of-the-best that are spending thousands on making a super-professional video submissi on. Artists on the Billboard charts, performers with 20 years of college experience, comedians from Saturday Night Live etc. Everyone puts together a great 3-5 minute video of their live performance sampler. Quality matters. Edits matter. That's a whole other subject,though. In short: your video needs to be amazing. Once a year (summer) you can submit it for showcase consideration. Out of appx. 250 submissions, they pick around 20. And it's expensive to get involved!! First you have to be a NACA member (~$300) then buy a booth (~$200) then a registration (~$125) then a submission fee (~$50) and after all that the odds are 19 out of 20 that you'llbe rejected. But if you get accepted, a showcase-acceptance fee (~$150), then the cost of going and playing(~$500). Now I'm not complaining. I don't think NACA is getting rich. This is just what it costs to do everything they do. For my band, I submitted for three years, (and spent $20, 000 doing it!) until I finally got a showcase spot. But once my band played on that main stage showcase on the opening night, we booked 30 gigs at about $1000 each, right there on the spot (another 100 or so over the next year). So it CAN all be worth it if you're reallygoing to commit to this and really think it's your thing. On the other hand, some people spend years trying to get a showcase, fin ally get one and don't get any gigs from it. My band was a VERY fun-party-crowd-pleasing band. I think that's why we did so well. NACA or no-NACA? Every month, I would send out flyers to the Student Activi ties buyer at every college in my area. My advice on making a good college flyer is here: www.cdbaby.org/collegeflyer Out of the 350 schools that hired me, I think over 200 of them came because of my flyers. Which made me think if I had to do it all over again, I might just sk ip the NACA conference completely and save the money to spend on marketing methods that go directly to the college buyer.My advice: If you are considering doing the college scene, start with the mailing list and sending flyers. Get a few shows that way and see what you think. If you love it and want to commit years to doing it, no matter whatthe startup expense, then either join NACA or get a NACA-friendly booking agent. Derek Sivers is the President of the extremely popular online music store, CD Baby. In the first week of 2006 alone, CD Baby artists were paid $429,023!! As of the end of 2005, CD Ba by paid over $23 million directly to their musicians for over 2.1 million CDs sold. To get your music online, vi sit www.CDBaby.com BOOKING COLLEGE SHOWS by Dan Ostrowski, Alive! with the Arts © 2010 All Rights Reserved. What does it mean when you hear someone talking about the “colle ge market”? Well, it depends on whom you talk to. Some will say it is an opportunity for your band to play at fraternity parties, make lots of young fans and eventually get on MTV’s Spring Break. Others will sa y that schools present performers in an environment enriched by culture that is for the most part open minded and very interested in promoting music and arts of all kinds. And still others will say that the college market provides an artist the opportunity to play at packedbars and clubs on their way to becoming the next Hootie and the Blowfish. Regardless of whether you have been a performer for so me time or are just starting out, you probably have heard about the good money, easy routing and target audience asso ciated with college towns. So this is a no- brainer, right? Let’s go play some college dates! Well, although the above statements are all reasonable to some extent, it has been my experience that to truly succeed in th e college market, an equal amount of risk, resource and patience is needed on the part of the artist or booking agency. Witnessing the success of artists such as Dave Matthews Band, Ben Folds Five, Rusted Root, Guster and God Street Wine in college towns across America throughout the ‘90 s has been tremendous. These artists generally started on a grassroots level by playing at college bars, fraternity parties, Spring festivals andeventually back on the college campus for big money when they got huge. That’s one side of the story. Because on the other hand you have artists such as Life in General, Beth Wood, Domestic Problems, Keller Williams, Winefield, Granian and Dispatch that regularly tour schools and make a decent buck playing college campuses. Some do so with the help of a booking agency, some with little or no help from an agency. I will provide some basic information you can use to get a jump-start on reaching the much sought-after college market. As a developing artist, there are many avenues and vehicles you can utilize to reach anaudience in a college town and some are not quite so obvious. Read on and you can find out about how I got involved in the college market and how agencies, promoters and nat ional organizations can help artists like you break into the market, as well. “Hello, Mrs. O’ Riley?” “Yes,” she replied. “My name is Dan Ostrowski and I am going to be attending classes at St. Francis next semester.” “Great, how can I help you?”“Well, I am a musician and seeing as you are the chair of the music department I thought I would call you. Ihave several questions I’d like to ask.”“OK, well, I’m kind of busy right now giving a lesson. Can you get to the point?” “Sure. I need a place to play my drums on campus when I get there. Any suggestions?” “Well, I certainly do not want a drummer practicing here at all hours of the night. Here, call Dom Peruso, theDirector of Student Activities, he will be glad to help you. Be careful though, he will probably rope you intohelping him move the stage from time to time and that could easily lead to helping him run sound forentertainers who perform on campus. Then you’ll be so involved you won’t have time for school!”“Thanks for the advice, Mrs. O’Riley. I’ll be careful not to get too involved.”Not get too involved? Little did I know that this phone conversation in August of 1990 would eventually lead me on a path to becoming the owner of an entertainment agency, “Alive! with the Arts,” which specializes in the college market. Who could have seen it coming? Not I, that’s for certain. When I left my hometown of Erie,PA to attend college at St. Francis in Lorreto, PA, I had merely been playing in a Rock band with my friends in high school. Enjoying the creative energy of music was a passion of mine and I never even thought about the “business” side of entertainment. It seemed so distant and I really was not that interested. “Let’s just jam!” Iwould say, “worry about the other stuff later.” Well, that “other stuff” has now consumed my life and I could notbe happier. What happened? Read on. After I hung up the phone with Mrs. O’Riley from the music department, I called Dom Peruso at his office in the student union. I explained my situation to him and he said that I could set up my drums in the school’sauditorium with access during the evenings. Cool - a place to jam and he didn’t even mention anything about moving the stage! This was going to be a good deal. When I finally arrived at St. Francis and got settled in, I began to notice the different types of entertainment scheduled to perform on campus. Naturally, I was interested and I thought to myself, “How could I get MY band to play on campus?” I went and asked Dom how they review and select performers to play on campus.Dom said that his office receives materials from artists in the mail and takes calls from agents and the schoolattends a college booking conference sponsored by the National Association for Campus Activities (NACA). NACA is a non-profit, national organization that brings together school programming boards, concert committees and other collegiate booking organizations on one end and artists and agencies on the other.There are 11 regional conferences held each Fall (East Coast, Great Lakes, New England, Southeast, SouthCentral, Upper Midwest, Far West, Heart of Amer ica, Pacific Northwest, Illinois and Wisconsin) and one national conference in the Spring. The host city for each conference changes from year to year, but NACA does a pretty good job of making them centrally located for everyone in the region to attend. All agencies and schools sign up with NACA on a yearly basis, pay a membership fee and participate in the conferences. At a NACA conference, artists and agencies are offered a unique opportunity to actually perform live showcases for college buyers, build blocks of tour dates through "co-op" booking and very efficiently offertheir entertainment directly to the college demographic. Without a doubt, the most powerful tool for getting booked on the college circuit is to showcase at a NACA conference. In 1999, my company “Alive! with the Arts” showcased five different artists at regional conferences. These showcases resulted in over 60 bookings for the Spring of 2000, which is really just getting started in NACA world. There are artists such as DaveBinder, Howie Day, Five O’clock Shadow and Matthew West that play upward of 100 college dates a year foran average fee of approximately $1,500 per show + expenses. Not a bad living when you add it all up and thissuccess has everything to do with the talent of the artist, but a lso has quite a bit to do with the benefits of utilizing the NACA organization, as well. After discussing NACA with Dom, he mentioned the possibility of my band coming to play at one of the many campus Open Mic Nights. Recognizing my interest in all things musical, Dom quipped, “Oh, by the way, Dan, we need someone to host and organize the upcoming campus Open Mic Night. Can you do it?” With a reasonable amount of trepidation I answered, “Um…well…I guess that I can do it. Only this once, right? And I don’t have to move the stage or anything like Mrs. O’Riley warned?” Dom replied, “Yeah, only this once, Dan. And I promise, no stage labor. The regular guy will be back next time to run things and we will have the maintenance crew move the stage.” “Do I have to run sound?” “Maybe, we’ll see. Really, just do as much as you like. Anything will help.”“Alright, just this once.” Well, it was now only my third day of college and unbeknownst to me, I had just made a commitment that would last my entire college career. The Open Mic Night arrived, we did have to move the stage, I did run sound and I had so much fun that I asked if I could do the next one. Turns out that the guy in charge wasleaving school and he was also the chairperson of the programming board that booked entertainment oncampus. So Mr. Peruso, from his years of experience getting people to work and learn for free, offered me the chairperson position to the Soft Rock Café, our campus programming board. All of a sudden, there I was, in charge of spending a $15,000 budget on entertainment, not having a clue about how to do it and I just wanted a place to play my drums. That’s what I got for not listening to Mrs. O’Riley. How schools select entertainment I sat down with Dom and he began to show me the ropes of college booking. This is where I got my first glimpse of how a school selects “on campus” entertainment. In the student activities office, there were hundreds of files on all sorts of acts: comedians, bands, solo musicians, hypnotists, lectures, Velcro walls (yes, there is a Velcro wall - get one for your next family reunion and watch gramps stick upside-down to an inflatable, sticky wall of Velcro), leadership training and NACA conference materials. Dom said that as part of the overall Student Activities Organization, I would be responsib le for operating a committee of people (called Soft Rock) who would book the entertainment on campus for the following semester. Generally, most schools select the acts that they w ant to bring to campus each year in some sort of committee form. Usually, there is a chairperson with a little more influence who can sway the vote his or herway. The committee goes over materials that are sent to them in the mail and they review acts from NACA conferences. In fact, there are often several different committees responsible for booking entertainment at acollege: the student activities people, the concert committee, student government and specialized clubs (ie: Women’s Group, Earth Day Committee, Black History Month). Most of these organizations will attend a NACA conference or some type of meeting that brings together school buyers, artists and agencies. Every schoolhas a student activities office or an on-campus programming committee of some sort. So, if you want to playon a college campus, the most logical place to start is the student activities office. The NACA main officepublishes a yearly directory containing hundreds of school contacts (included with your NACA membership) and virtually every school has a web-based resource where you can find inform ation on organizations and clubs on campus. The latter takes a little more time, so another benefit of joining NACA is that they do muchof the work for you in researching who to call and publish it in the yearly directory. The NACA conference “Hey Dom, what’s this?” I said pointing to a NACA conference program lying on the table. “That’s where you go and spend most of our money for the year. I go golfing,” he said with a smile. “You mean we go to a conference and book acts on the spot?”“Yep. Pretty efficient and the quality of the entertainment is very good.”“When do we go? And where is it?”“In about three weeks. We will go to the East Coast regional NACA. It is in Lancaster, PA this year.” “Lancaster, PA?” “Yeah, it’s Amish country, so bring your boots.” Lancaster, PA. Not exactly the Entertainment Promised Land of the world waiting to spawn new artists and agents, but my first visit there turned out to be a real eye opener and one of the most inspiring moments in my booking career (although I did not realize it at the time). At the NACA conference, the Soft Rock delegationand I witnessed a wide variety of great entertainment to bring to our sch ool. The key being, witnessed. We went to showcases where bands played for us in 20- mi nute spots to show us what they were all about. From a buyer’s standpoint, what better way to preview an act before you hire them? Much better than getting apress kit and CD in the mail, don’t you think? NACA conferences offer the college buyer an opportunity to seean artist live before making the decision to book them.Obviously, this gives an advantage to the artists who perform at the conference a s opposed to those who do not. Not to say that you need to showcase at a NACA to play on a college campus, but it certainly streamlines the process of getting your act noticed by college buyers. Our delegation also attended co-op buying sessions where we built blocks of dates with other schools to route an artist to our campus at a reduced cost. So we saved money as an organization, too . In the end, we participated for the first time in the entertainment “business,” left with half our calendar filled for the nextsemester and now had tons of ideas to fill up additional months of entertainment when we got back tocampus. If you are wondering why some of the above is important information for helping you get booked at colleges, think about the buyer for a minute. First of all, as an artist or an agent, we are trying to sell something to theschools, a performance. It is worth something and they are willing to pay for it. But since the schools arespending money, they generally want to make booking dec isions easily and affordably. Often in the case of booking entertainment on a college campus, there is a great deal of time wasted between the artist and buyer trying to get each other on the phone, getting the committee to make a decision to book your band or not and general run-around type of stuff. At NACA conferences, all of the peop le needed to make these decisions are in one place, ready to do business. Calendars are open and contracts are getting signed. This is great for the artists or agents because business gets done and the “run around” factor is reduced. It’s good for the schoolbecause they get to plan their events and spend money more effectively and confidently. When selling your act to a college, try to make it easy for people to book you. Becoming involved with NACA can help you accomplish this. “Hey, Dom. We spent the entire budget for this year at the co-op buying session. It was easy and now our calendar of entertainment is completed for next semester.”“Oh yeah, that’s great. I shot a 105 this morning. Not my best game.” “That’s OK, because now you have more time to practice. You won’t have to be on the phone all day booking acts for next semester, we just took care of it all.”“True. NACA sure does make it easy to get the job done.”“Yep and I also picked up some information on how my band can get involved in NACA.”“Great. Maybe we’ll see you showcase at the next East Coast conference.” “You never know until you try!” “True.” How to get involved and utilize the NACA tool Taking the first step to getting involved as an artist or agency is as easy as picking up the phone and calling the NACA main office at 1-800-845-2338 or log on to the NACA website at www.naca.org. You can getinformation about how much it costs to join, when and where to submit your materials for showcase selection and information on the location and time frame for attending regional and nat ional conferences. There are essentially two ways for an artist to get involved with NACA - self representation or representation by a NACA-accredited agency. Representing yourself in NACA Representing yourself in NACA is definitely a great place to start if you have the drive and determination to see things through and the patience to follow up on lots of leads. If you are one to give up easily, then try tofind representation. Some of the most successful acts using NACA as a booking tool are self-represented.Self-represented artists such as Dave Binder, Travelin’ Max, Rick Kelly, Mark Rust, Karen Goldberg, Barry Drake and Craig Karges like the control of doing it them selves and they get to keep all the money, too (ie: no commissions to an agent). If you do choose to self-represent, there are several fees you should be aware of.As mentioned before, there is a membership fee to join the NACA organization as an artist or agency. Regional memberships are available for $230 and National memberships cost $530. The membership fee gives you access to the National Directory of college contacts and also makes you eligible to apply forshowcase spots at the conferences. It can be expensive at first to join NACA and attend the conferences, but if you are patient and work the system well, it pay s off in the long run. Expenses for attending a NACA conference range from showcase application fees ($35 each), buying a booth at the conference ($200), hotel for three days ($250), travel ($200) and paying an att endance fee ($150). In the end, you can expect to spend approximately $1,000 for every regional conference and for this reason alone, many artists are interested in being represented by an agency because the agency picks up most of the fees and there is considerably less risk of the artists’ investment of time and money. Work with an agency in NACA This is by far the most popular avenue that artists choose to pursue. There is a huge list of agency names with NACA memberships on the NACA website at www.naca.org. Go there and look through them, as onemay be the important connection you need to make in the college market. Agencies have years of experience dealing with the NACA organization and you may even find an agency that specializes in your particular type of entertainment. I have received many , many solicitations from artists via our listing on the NACA website alone. So if you are a booking agent thinking about invest ing in the NACA system, having your listing on the NACA website and in the National Directory will pay for itself over time. Some of my most recent and most promising clients have come from them seeing my ad in the National Directory or my spot on the NACA website. In fact, if you are an artist who’d like to c ontact me and my company "Alive! With the Arts" for college representation, visit us at www.alivearts.com. When you are an artist represented by an agency, the agency will submit your materials for showcase selection and if you are chosen by the showcase sele ction committee, bam! You’re in! Now you just have to go to the conference, deliver a stellar performance and wait for the dat es to roll in. It may sound simple, but you must be aware that competition for the showcase spots is always fierce, especially in the larger regionssuch as East Coast, Southeast, Great Lakes and New England. Competition is less severe in the smallerregions like Upper Midwest, Far West, Pacific Northw est and Heart of America. So getting involved with one of the less competitive regions may be a strategic way of approaching things in the beginning. Some agents will say that the key to getting a showcase is sending in a great video for the committee to look at. I recommend to all of my artists that they produce a 5 to 7-minute video highlighting the best elements oftheir show for showcase submission. So if you are seriously thinking about giving NACA a whirl, I stronglyrecommend getting together an excellent video. It will pay off in the end because you can use it for a promo piece to send to schools later, as well as use it for showcase submission. It has been my experience thatbuyers like to see what you are doing, just as much as they want to hear what you are doing. What is a middle agent? You may have heard of this term, so let’s just take a moment to explain it. A middle agent is someone who generally works with a school or other organization to book national-level entertainment. The middle agentworks for and is paid by the school to negotiate a good price for an act and usually takes partial interest in the production values of the show. Some NACA agencies operate as middle agents almost entirely, like Concert Ideas, specializing in providing big-name entertainment to college campuses. The middle agent charges the school a 10% fee based on the price of the act and the national agencies like this arrangement because theydon’t have to deal with the schools and they don’t have to give up any additional commissions; the schoolslike it because they can have an experienced college agency negotiating on their behalf. The whole “middle agent” position is not very important to young developi ng talent, but it can be important once you become more popular or if you are an agent interested in making money by offering this additional service to schools along with your regular roster of acts.Choosing not to use NACA People choose not to get involved with NACA for lots of reasons. Mainly because joining NACA, participating in conferences and pursuing the general “college mark et” can be expensive and very time consuming. Some artists and agents also find the environment within NACA to be very interested in entertainment, butsometimes not at all interested in promoting the arts, so they don’t bother with it. In the end, the NACA experience is what you make of it, really. It is clear that NACA supports an industry of agents, artists, collegeprofessionals and student programmers who book lots of entertainment for their schools, but it is also clearthat you can book an artist on campus without the help of NACA at all. Maybe you are just interested in touching base with some local colleges and universities. The “local talent” avenue can offer a different approach to the overall college market by promoting your act as readily availableand cost-effective. Most schools will gladly pay out $500-750 to a quality local act because most touringNACA talent is more expensive. Selling your act to the local college can also be easier if you are playing around town a bit and have your own PA and light arrangements. Invite the student programming board to agig and show them your stuff. I’ve seen this used very effectively in large college towns like Columbus, OH; State College, PA; and Syracuse, NY. As mentioned before, there are other ways of getting involved in a college town’s music scene - bars and clubs, fraternities, miscellaneous clubs on campus and benefits. Getting on campus without the help of anagency can be tough, but you can do it if you spend the time researching who is on campus and who is doing what. You need to first locate the student activities office and then any clubs, organizations or committees that you think would be interested in booking live music. If you have the time, visit the campus and find the information. You could set up a face-to-face meeting with the music chairperson to present your material. The only way you know is if you call and ask. When I was booking at St. Francis, someone used this approach and we hired them. Don’t ever be afraid of calling and asking too many questions of a school. A few minutes spenton the phone can land you at the desk of the exact person you want to talk to. General Advice Regarding NACA a nd Playing on College Campuses As an agency owner in the large but relatively specialized world of college boo kings, I can attest to some of the rewards and pitfalls of this niche market. Many agencies will tell you how expensive it is to exist in thecollege market, specifically NACA. The college market t ends to be a specialized market for a few different reasons and it takes patience and time to wade through the massive amounts of information. Here are a fewgeneral pieces of advice that I have found helpful over the years: Focus on building relationships Many artists and agents who join NACA at first set t hemselves up for big disappoi ntment by expecting too much in too little time. It takes time to work your way into the college booking world. It is vastly different from club booking and for that reason you should treat it as such. I have seen many an artist join NACA expecting to immediately fill their calendars with college dates and when only a few (or none) happen, they getdiscouraged and quit. In your first year, focus more on meeting people, forming relationships that will last years and building credibility within the system. Go to the meals and educational sessions at the conference with the initial intent of meeting people, not selling your act. Once you meet them and have a relationship going, then put on the booking hat. Stay away from pressure sale situations This more or less goes with the above, but it’s important enough to mention on its own. No one likes the high- pressure sales situation. I have seen many artists and agents try this and in the end only wind up with one or two bookings and a bad reputation for being too pushy. Focus on the people first and then once you get comfortable with them, offer them info on your act.Contracts, rider and paperwork Now that you have the gig, what next? A little paperwork , of course! One of the benefits of playing at schools is that everything is contracted and legit. Whereas a local club may not want to offer you a contract (nor even pay you for that matter), a college almost always will. The money is guaranteed and I have never had a school not pay an artist the contracted amount. Design a standard contract to use with all of your college gigs andmany of the same issues will then be covered. If y ou have no idea what should be in a standard contract, see the attached Artist Performance Contract for guidelines to create a contract that suits your needs. An increasing number of schools are now presenting additi onal paperwork to the artist (aside from the artist’s contract with the school), in order to protect the liability of the institution for anything undesirable that may happen as a result of the artist’s show. What was once a simple performance contract ends up being a dozenpages by final execution. In these days of lawsuit culture, we can all understand why this is so. This is justanother good reason for you to have a contract with them, as well (aside from payment). Use contracts for all of your performances, no matter where they may be. Cover liability and all financial issues thoroughly and keep good records. Be prepared to give financial data to the school. They will ask for a Tax ID or Social Security Number in order to issue a check. If y ou do not have a Tax ID for your act, get one. Volunteer Lawyers for the Arts should be able to help you with this, for free. In some situations, schools will issueindividual checks to band members and you can put all t hat information in your standard contract. You would need to supply the Tax ID or Social Security Nu mbers of each member or employee of the band and a payment schedule. If you are a solo artist, this really isn’t an issue (your SS number should suffice). The point here is, just get the Tax ID, go legit and start making money. It’s the only way to go. “Riders” are also very important to make part of y our contract. A good rider is a set of documents that are attached to your contract (they “ride” on the contract) that very simply outline all of the technical needs required for the artist to perform. If possible, I recommend working all production costs into y our base fee and handling sound and light details yourself. Most schools will generally arrange all production values, but be sure to be specific and detailed in your rider. College gigs can be notorious for missing the fine details ofsound and lights and a developing artist certainly does not want to compromise their show and image withinadequate production. Go out of your way to be detailed with the production of your show well in advance. Organization on the production side of things will pay off down the road in terms of presenting yourself asprofessionally as possible and that will get your act the return gig. Be ethical This doesn’t just go for NACA, but for business overall. Treat people kindly and they will return for more business. Don’t take advantage of people and their m oney. Many of the school delegates attending NACA conferences are learning about the booking process, so if you are more experienced than them, be willing to explain things and treat them with respect. Be professional When performing on a college campus, be professional. Be on time and remember where you are. This is not a bar or a club, so in general there is no alcohol or club-like atmosphere going on. Don’t screw up a return tripto campus by drinking, doing drugs or carrying on like an idiot. Be willing to teach and learn Many of the students and staff attending NACA conferences are learn ing about the booking process, just like you. If you are more experienced, take time to explai n things like contracts, riders and technical requirements. Also be willing to learn about how certain colleges operate. Not everyone conducts business in the same wayand take the time to show your attention to detail when dealing with sit uations that are less than “normal”.Don’t give up It takes time to build the relationships necessary to succeed in the college market. Expect to spend two to three years developing a plan that works for you and one that you can measure success with in terms of milestones along the way. Don’t be discouraged if things are not working out as you had planned. Be willing to adjust along the way and make changes that will put you on track to long-term success in the market. Ask for advice from people who have succeeded before you and be cr eative with new ways of presenting your act to buyers. Other College Booking Opportunities Aside from NACA, there are other organizations that you can target to get gigs in a college town. A few are listed below Fraternities Fraternities in general can be risky places to play (mainly because they are infamous for bouncing checks and skimping on production), but they can also be great places to generate a solid fan base in a college town. The best way to obtain frat gigs is to contact the school and get a list of the different social chairs at each house.Make contact with the social chair and send them your stuff. Give them a good price and cover all the detailsof your show, including production and power requirements. I have played many fraternity parties where the house electricity was not enough to withstand our PA. Take care of these details in advance so things go smoothly. Another great way to get into fraternities is to tap into your own social circle. Do you have any friends at fraternities? This is how my band got a major start in the fraternity market at Penn State University. Try toidentify schools with very active Greek life and go afte r them. Some include Penn State, Bucknell University, Vanderbilt, West Virginia University and University of Alabama. Most major universities and larger colleges have an active Greek scene. You could also ask to a ttend one of the monthly meetings held by the campus Greek Council. Here you could present your act and offer to send information to interested parties. Specialized campus groups f you have a specialized show celebrating some aspect of our society or culture (ie: female performers forWomen’s History Month, culturally diverse groups fo r Black History Month, family programs for Parent’s Weekend, roots rock for Earth Day etc.) then chances are that th ere is a need for your act at some point during the school year. Many colleges recognize thes e special times with performances and programs. Look for an organization on campus that may share the ideals you have as an artist. Sometimes there are high- profile benefit concerts that are sponsored by groups on campus. Try to identify these and offer your services.One performance at a well-attended benefit can lead to gigs down the road. College bars and clubs Becoming popular in a college town through the bars and clubs is a sure way to eventually landing a gig on campus. Lower-paying club gigs can serve as a springboard to popularity in a college town and can be a goodway to get noticed by fraternities, as well. My band, after becoming popular in bar s around State College, PA, found ourselves very busy the next semester playing at frats for better money. And let’s face it, college students like to drink, so eventually most of them will frequent bars and clubs and see your band. How do you get the bar gigs? Well, usually you have to start by opening up for other acts and basically play for little to nopay. It’s a labor of love, really. Identify a popular band in a college town and pur sue the opportunity to open for them.Arts associations This could be a completely different article all in its ow n. Just like there are NACA conferences, there are all types of arts associations that hold booking conferences and cater to the performing arts centers on campus, theaters and community groups. Joining and participating in these types of conferences is often more expensive than NACA, but in general, they are attended by experienced music and art buyers who know what they are doing. NACA tends to be a place of learning for many people, just as it is an established place ofconducting business. But go online and search for arts associations such as the Southern Arts Exchange, Mid-West Arts Alliance, Western Arts Alliance, Northeast Arts Alliance and Arts Presenters. Dan Ostrowski is the founder of Alive! with the Arts, an entertainment company operating within the college market. He represents artists such as Keller Williams, House of Hoi Polloi, One World Tribe, Rubberneck, Joules Graves and Pat Burtis. Dan played drums for 6 years in the group Plato’s Ca ve, from Erie, Pennsylvania. He has toured colleges and universities, booked and managed artists to success in college towns, worked with schools to present national acts andfounded/produced music festivals with national and local talent, such as NW Pennsylvania’s Grape Jam Music and ArtsFestival. He resides in Baltimore, Maryland with his wife, Lisa and can be reached at (410) 882-1191 or [email protected] www.alivearts.com HOW YOUR BAND CAN BREAK INTO TH E (LUCRATIVE) COLLEGE MARKET by Jeri Goldstein, Performingbiz.com © 2010 All Rights Reserved. School's in session! I thought I would lend some insights into playing the college market as you begin the fall touring season. For some artists the college market is a gold mine and for others it simply offers frustration.Many acts successfully use the colleges as a point fr om which to launch their careers while others have found it leading to a dead end. There are a number of drawbacks to playing th is arena as well as benefits. As we explore both ends of the spectrum, keep an open mind about how this market might fit into your bookingplans. Colleges and Universities offer a variety of performing opportunities. Many campuses have multiple facilities available for use as performance spaces. Facilities may range from a performing arts center fully equipped soft seat theater with dressing rooms, curtains, proscenium stage, lighting and sound to a transformable gym, cafeteria or lounge. The various facilities are often booked or programmed by different departments. A director who schedules theater productions, classical, jazz, dance and popular artists touring internationally usually books theperforming arts center. The director of the center generally coordinates outside performances with classesand college productions making the facility rarely available to other college departments. The other major booking entity on a campus is the Student Activities Center. Supervised by a faculty or staff member, student committees do the majority of programming, depending on the individual college. There are a few collegeswhose programming is completely scheduled by a faculty member. The most popular student committees areoften the concert and coffeehouse committees. Here, students decide how they will spend the huge budgetsavailable from student fees collected each year dedicated to campus activity planning. Programming may alsobe scheduled through other individual departments on campus that generally have very small budgets. Fraternities and Sororities offer further performing opportunities. If you feel that your act belongs in the performing arts center environment, then begin your booking efforts by contacting the director of the facility. The other method of capturing the attention of many performing artscenters directors is to attend a booking conference. The Association of Performing Arts Presenters www.artspresenters.org, holds a major annual booking conf erence in New York City each January. During the fall, there are a series of smaller regional conferences that help an artist to concentrate their touring in a targeted area. These conferences are: The Performing Arts Exchange sponsored by the Southern ArtsFederation www.southarts.org.Mid-America Arts Conference sponsored by Arts Mi dwest www.artsmidwest.org and the Mid-America Arts Alliance www.maaa.org. WAA sponsored by the Western Arts Alliance www.westarts.org Although attendees to these conferences also include performing arts center programmers not associated with a college campus, many college performing arts center programmers attend at least one of the regional conferences and often attend the national conference in New York as well. Your chances of gaining theattention of some of these programmers are increased should you decide to attend and possibly showcase. These are expensive conferences to attend and organizations to join, so please be certain that your act is appropriate for this type of college venue. Similarly, those programming for the Student Activities Center have a number of conference opportunitie s from which their various committees may select acts. The oldest and largest organization is NACA www.naca.org, National Association for Campus Activi ties. NACA hosts a national conference in February each year along with eleven regional conferences. The other organization now running a booking conferencefor college activities is APCA www.apca.com, Association for the Promotion of Campus Activities. APCA, the much smaller of the two offers new acts an opportunity to break into the co llege market without the requirement of spending big bucks for the chance to do so. Although NACA is often in the forefront ofshowcasing new talent to colleges, it is more challenging for individual artists to break into the organization and reap the benefits in their first year after showcasing or exhibiting. I mention these conferences and organizations simply because many college bookers rely on them for the bulk of their talent buying. It is not impossible to break into the college market on a campus by campus basis,but there is a greater chance for recognition if you use these conferences as your entrée. Now the down side to playing the college market: I think one of the most challenging issues that agents and self-booking artists must deal with when booking colleges is the student turnover rate. On those campuses where the student committees are in charge ofbooking the talent, an agent or artist often finds the task frustrating and sometime totally disheartening to the point of giving up. You are dealing with rotating committee chairs, graduating students, students who join a committee for one or two semesters, students with varying office hours or no office hours forcing you to track them down in their dorm rooms. One attempt at a solution is to always get the name and number of the facultyor staff supervisor advising the student committee. They are usually the one with the authority to sign thecontracts and they usually have office hours. When you begin to run into trouble finalizing a date, contact thefaculty supervisor and ask their help in facilitating the booking. Since these committees are part of the student's education, you are often required to play the role of teacher and walk them through the booking process, one painstaking step at a time. This holds true for each step aftera contract is signed. If you want your date promoted on campus, make sure you follow up with every aspect right up until the gear is packed and loaded in the vehicle after you've played the date. Most campus activity gigs are paid for with the collected funds from student fees. There are a few facilities that are run like a professional club—THEY NEED TO MAKE MONEY IN ORDER TO CONTINUE. However, most campus activities DO NOT NEED TO MAKE MONEY. The committees are allocated a budget and if they want to get the same amount or more money the next year, they must spend the money allocated in the current year. This leaves the committees in the envi able position of spending great gobs of money without having to be fiscally responsible. They are not always concerned whether the money was well spent orwhether any of the students whose money is funding the event ever show up and take advantage of these activities. This of course impacts you, the act being booked. I have heard from so many acts playing thecollege circuit that the money is great but the audien ces are small and often non-existent. As a professional performer, you are attempting to treat your career professionally.Playing the college market may stress you in that depar tment since those with whom you are dealing are not professionals. To be fair, though, every once in a while you will happily find a student who takes his/her committee-work very seriously. 6 Hot Tips for Playing the College Market Use a college date as an anchor date for a tour Yes, there are some benefits to playing this market. The money is ju st one of those benefits. I've known artists who played the college circuit for years and made very good money. They were often getting three or four times better fees than artists working the club circuit. Use these dates as anchor dates and surround themwith a tour of other lesser paying more prestigious club gigs. Often college dates may be booked during weekday nights and sometimes even during the daytime. This leaves the weekends for the club s. A good paying college gig can often help fund other portions of a tour. Enhance a college booking with other on-campus appearances Get contacts for some of the specialty departments such as the English, music, theater departments and offerto do master classes prior to the actual gig. Not only might this add money to your pocket, it may help increase your audience for the actual gig. Do your own promotion When planning a college date, it is necessary to do y our own promotion along with any done by the college. Get in touch with college radio and newspapers. Send notice to anyone on your mailing list in that area. Contact local media sources. Use the College PR per son (if any) to coordinate your media surrounding the gig. Use college radio Unless the campus station is a commercial station, (and there are only a few campuses that have commercialstations), it is very likely that you can get airpla y and a live interview on one of their shows. There are some incredibly, influential college stations around, so don't miss your opportunity to tap into the benefits they may provide. If you are going to tour colleges, you might c onsider subscribing to CMJ, the College Music Journal. www.cmj.com to keep abreast of what's current on the college stations. Contact media in the college town While promoting your date on campus, don't forget about the in-town media. Another benefit of playing college gigs is that most of them are open to the public. If you do some in-town promotions and get some non-collegeaudience, that's great for future gigs in the area. Make sure your dates are reported Playing the college circuit gains you a reputation within the college circuit. There are reporting mechanisms from NACA that help campus programmers review artist's previous tours. So, if one campus reports that you did a great gig, it is likely that other campuses will be influenced by the report and also book you.There have been many major recording artists who began building their careers in the college market. I can recall seeing a brand new act, Bruce Springsteen and the E Street Band, at one college concert on mycampus. The programming committee took a chance on booking him and as I recall it was a great show with areally large crowd for the small student union all- purpose room. Gee, I wonder whatever happened to that act? Good luck! Jeri Goldstein is the author of, How To Be Your Own Bo oking Agent The Musician's & Performing Artist's Guide To Successful Touring 2nd Edition UPDATED. She had been an agent and artist's m anager for 20 years. Currently she consults with artists, agents and managers through her consultation program Manage r-In-A-Box and presents The Performing Biz, seminars and workshops at conferences, universities, for arts councils and to organizations. Her book, CD-ROM and information about her other programs are available at are ava ilable at www.Performingbiz.com or phone (434) 591-1335 or e-mail Jeri at [email protected] HOW TO GET INTO THE COLLEGE MARKET IN 4 STEPS by Derek Sivers, CD Baby © 2010 All Rights Reserved. I was hired by over 350 colleges around the Northeast. I made good money doing it, but also wasted TONS of money sometimes, doing things wrong. Here's my best advice, from experience, on what works and what doesn't...1. Get the database of colleges and complete contact info for the current person that does the hiring of entertainment at each college There are about 2800 colleges in the U.S. that constantly hire entertainment. You better have a good database or contact management program. I re commend Indie Band Manager. Though other popular ones are Filemaker, ACT, MS Access, Claris Works, MS Works, MS Outlook, Goldmine etc. I used to maintain a database of college contacts. I stopped in 2006. If you search the web a bit, I'm sure you'll find someone selling a current list. 2. Send a one-page flyer to every school A GOOD one-page flyer with picture, price, testimonial quotes, contact info. Fun, colorful, exciting. Describe things in their terms. Don't talk about the drummer's background or the member names. Prove in 6 secondswhy you will be a reliable good time for an evening at their college. Name your price clearly! (I recommend $950 for a band and $450 for a solo act. If they like you, charge a little more next time. But for a new, unknown act even in their circles, don't expect more than this).My advice on how to make a good college flyer is here: www.cdbaby.org/collegeflyer 3. Tell them, on the flyer, to call for free CD and video Send it ASAP when they DO call. Follow-up until they say no thanks. Once they say “No” do NOT call them back. They hate that. 4. When one school books you, call ALL the other schools in the area Send them great promo material. Have colorful posters, table tents, postcards. And do not be depressed when you play to 4 people on a Tuesday afternoon in a fluorescent lit cafeteria. Be nice, take the money, go home, thank them and keep in touch... Voila. That's it. The best bang for the buck in the college market. (And believe me I tried MANY other ways of doing it. Don't waste your money. Do it this way).College FYI Sending 500 flyers will usually get you 4 phone calls. 2 of those will hopefully turn into bookings. But it only costs $150 to mail 500 flyers and you'll make that back with one gig. They often book a semester in advance. In October they book their February - May entertainment. In March they book their September-December calendar. Don't e-mail Don't call unless it's crucial. Just send a short flyer that can be read in 10 seconds. Send more than that andthey won't read it. Trust me. (I once spent $3000 sending every college the ultimate kit with video, CD, 10 pages of info etc. I didn't get one single phone call!!! A few months later I sent a single effortless one-pageflyer. I got 20 calls and 10 gigs. Go figure...). Student activities people that hire you are the squeaky clean girls than run for class treasurer. College radio people are the rebels with pierced faces. The two camps do NOT communicate. If you want college radio play, it's a whole different world. Don't think that they'll just fall into place for you. Don't bother joining NACA and going to the conferences and all that mess unless you're totally committed toit. Yes it may get you some more gigs, but you'll spend $3000 to find out. Those conferences are way tooexpensive. My band HIT ME got the big main stage showcase one year and yes we booked 30 gigs that weekend. BUT - it took me three years, 12 conferences and about $20,000 to get it. My best advice to start, is to save the $, go with my plan #1-4 that I mentioned earlier in th is article. Derek Sivers is the President of the extremely popular online music store, CD Baby. In the first week of 2006 alone, CD Baby artists were paid $429,023!! As of the end of 2005, CD Ba by paid over $23 million directly to their musicians for over 2.1 million CDs sold. To get your music online, visit www.CDBaby.com BOOKING COLLEGE SHOW S WITHOUT USING NACA by Meredith LeVande, Singer/Songwriter © 2010 All Rights Reserved. Most artists believe that one has to go through NACA, The National Association for Campus Activities, to getcollege dates. While NACA can be beneficial, it is also costly and easy to get lost in the massive amounts ofmaterial that gets passed around the NACA system. I’ve played countless college dates a nd instead of going through NACA, I found that my material stood out among the piles collect ed via NACA. College and non- traditional venues made sense for me. My background is not the traditional “I’ve been performing at clubssince I was a teenager” sort of thing. I’ve been told that for a musician, my thinking is a bit on the academicside and my business sense unusual. Just today I was waiting for the PATH train from New Jersey with two heavy bags and my guitar leaned up against a telephone booth. I live in New York City and earlier had performed at a college in New Jersey. To many musicians, an acoustic college gig is a lame and crappy way to spend a hot, sticky Sunday afternoon. Especially when I have another supposedly lame gig that same evening at a Starbucks coffee sho p, playing and singing my material for two hours over and over agai n. But truth be told, in my singer/songwriter world, those gigs have done far more for my career than pl aying some of the obnoxious traditional NYC venues. Whenever I’m waiting for a train or a bus (which lately is quite often), more than frequently someone approaches me and asks me what I do, where I’m playing etc. So, as expected, a man approached me and asked me what I do. I told him I’m a singer/songwriter. With one he adphone off his ear while lowering the volume on his Sony Discman, he asks, “funk, jazz?” No, I say “folk pop, women contemporarysinger/songwriter.” I show him my CD, one already opened, of course and he asks if he could listen to it. I hand it to him and he smiles while talking and tells me that he owns a ja zz club and is looking for an opener for this huge jazz festival similar to my style of music…My CD, “Through The Clouds,” was released informally in August of 1999, though the material on it date back as early as ‘96. At the time, my fear of performi ng live and going out on my own kept me from performing as rigorously as I do now. I thought then - very naively - t hat playing out acoustically was lame, especially since my guitar playing was far from perfect. I felt I wasn’t versatile enough to carry a whole show and that unless I was some virtuoso, I couldn’t play out solo without sounding like just another folky chick with a guitar. My backing band was comprised of top-notch musicians, who in their heart of hearts were not all that excited tobe a part of my project. As great as these musicians were, I was very caught up in how I would be perceivedby industry people and I would anxiously prepare for my once-every-two-months show at an NYC club like the Bitter End, CB’s or Luna Lounge and treat is as some huge event. Truth be told, what I really should have been doing was playing at every open mic and every acoustic venue I could find, just to get myself in front of people. End result, my band grew frustrated and annoyed. The band environment was full of tension and very non- conducive to the vibe of what my music was about. So my band broke up and I was faced with a brand new, long awaited released CD, but my confidence was at an all time low and nothing scared me more than the thought of getting out there and doing the solo thing to promote the CD and myself. To add insult to injury, I simultaneously got fired from my job. As I tried to put my music career together, getting fired from jobs became a hobby. Managing and booking yourself consumes daylight hours and no matter how much I tried tostay focused at a job, my music and everything related to it inevitably came first or shall we say, camethrough. Nevertheless, until then I had to work menial day jobs to support my career and myself. I wondered how all these singer/songwriters were able to tour al l over the country. Did they all have trust funds? But a week before I was fired, my cousin, a profe ssor at Monmouth University, gave my CD to the student activities board. They called me up and asked me to perform, offering me what then seemed like an inordinateamount of money. Back then, any small profit from gigs was an ungodly amount of money. I played the gigand was amazed that I was getting paid for it. A week later I had booked a Starbucks Coffee show and the managers there loved me so much that they gave my nu mber to the district manager, who called me to come play in other stores for guaranteed pay. So in-between relentless calls to NYC clubs a nd getting the runaround, people were calling me to play for money. I then sent my CD to two local college s, which also called me and booked me for close to $1,000! The wheels started rolling and I went home, called all the people I knew in different places, found out the names of their local colleges, called these colleges and sent my CDs to the appropriate booking people. This was in December and during the following academic semester I played over 20 different colleges. Some even had me back twice in a semester. I called everywhere, made the contacts, followed up like mad and in the end I played over half the colleges andcoffeehouses that I submitted my material to. I have no band and no manager (and at the time I had no booking agent) and I truly believe that having a good product and a sense of friendly professionalism over the phone is what got me the gigs. Many colleges and alternative venues are sick of dealing with agents and managers, because they are often too pushy andask for higher prices. When I contacted the schools that I performed at, I sincerely wanted to play there. I letthem know what I was about as an artist, what type of crowd I appealed to and what my overall message was.I also thoroughly enjoyed getting to know the people I was talking to and I think that people were more apt to give me a shot because of the time I spent with them over the phone getting to know them and allowing th em to get to know me. There is a fine line between being pushy and persistent and I tried very carefully not to cross it. The students who liked my CD were also excited to speak with me directly and establish a relationship before I played at their school. I’ve had various types of college gigs, some great, some not sogreat. But I’ve also had various types of club dates, some great, some not so great. The main difference is, at the very least, I was guaranteed some good money at the college shows.One of the best experiences I had was playing Nazareth College in Rochester, NY. The school made a real effort to promote the show by putting fliers ev erywhere and playing my CD on the college radio station. Students actually heard new my material before I even got there, which set the stage for an awesome show and a warm welcome. They made it into a huge coffeehouse event and took me to dinner before the performance and I got to know some of the students and r eally get a feel for who they were. They were so open to new music, so quiet during my two-hour performance and so friendly asking me questions about my lyrics, about who I was and how some of them wanted to do what I was doing. They even came to aUniversity of Rochester show two days later, which also set the stage for another awesome gig because I nowhad a built-in fan base. And besides selling CDs and making great contacts and a nice following, some students frequently send me e-mail telling me that my music has helped them understand themselves. This is just one school of many that were so enthusiastic. Because I am a woman singer/songwriter, many young wom en really relate to what I’m saying and I actually feel that I’m making a difference and a statement - something that I set out to do early in my career. Don’t get me wrong, I have really bad days getting work and getting rejected, but when I get all these wonderful messages and e-mails, I feel so important and so part of a culture and generation that I want to influence. There are countless times that young women tell me that they want to do what I’m doing and ask me how. Imake it a part of my job to sit with them and talk to them about who they are and how to establish thebeginnings of a career in singing/songwriting. I’ve already heard from some of them letting me know that theyare actually doing it and that my encouragement and just doing what I was doing gave them inspiration. For me, this is the sincere end all and be all. I’ve played countless colleges, Borders bookstores and chain coffeehouses and most of the time it’s not like a “real gig” with a good sound system and a definite listening audience. But in all honesty, these are the placeswhere I’ve met the most genuinely interesting people who have a real feel and hope for my music. If not there, it’s literally on the way to and from there - like the guy I met on the PATH train who contacted me for a nicelypaid opener at his music festival. After living in New York City, Meredith LeVande's talent for singing and songwriting became stronger than her fears. She channeled the sprit of her Nanny and also of her own emotional struggles that she felt were inextricably linked to that of many women and the fragile human condition. Her songs re flect the destructive force of broken promises, the vulnerability of the mind and many more untraditional topics not usually found in catchy pop tunes. In addition to touring both the east and west coast College Coffeehouse Circuit, Mer edith used to play the NYC club venues more often, but prefers the College Circuit and the Coffeeho use scene. www.meredithlevande.com7. TOURING TIPS STEPS TO A SUCCESSFUL TOUR by David Hooper, Music Business Radio © 2010 All Rights Reserved. Anyone who has ever been on a tour will tell you that it’s not all fun and games. In fact, a lot of times it can be just the opposite. Still, bands comes to me all the time wanting to hit the road for what they think will be thethrill of a lifetime. Here are some important points to consider when you are planning your tour. The Big Four You're going to need reliable transportation First of all, don’t buy a van your first time out. Lease one and see if this is something you really want to get involved with. If you’re ready to take the plunge and do w ant to buy something, a new van is always best as far as reliability, but you can also find real bargains at rental companies. These companies are great about keeping their vehicles and keep accurate records of all maintenance done. If you do buy something or use your own van, don’t even think about hitting the road without a AAA membership. Not only will they pick up your broken dow n car, they’ll also make sure you don’t wind up in jail...at least for speeding. You're going to need somewhere to crash Hotels can get expensive. Can you live without HBO? Campgrounds like KOA are a reasonable option if youjust want a shower and don’t mind sleeping in a tent or the van. Another great option is staying with other bands. People love to help other people. Take advantage of the internet to meet people and work on your relationship ahead of your tour. You're going to have to eat Get some camping gear and get used to cooking your own food whenever you can. You’ll feel better than you would eating fast food all the time. You’ll also save money. Another advantage of hotels is that many offer free breakfasts. Take advantage of this when you can and be sure to make a few trips to take care of as many future breakfasts as possible.You're going to need money Don’t count on getting paid for every gig you have lined up. Sooner or later, you’re going to run short on funds. Panhandling or selling CDs on the street is an option and may very well get you the cash you need to getenough gas to get to the next city. Make sure that you have a credit card for emergencies!Other Important Rules 1. Avoid calling cards! The surcharges really add up and you’ll definitely need the money for something else. 2. Get plenty of sleep. If you don’t your performance will suffer and you won’t be able to do interviews, visit record stores or anything else you’ll need to make this tour a success. Sleeping bags are a must. They’re great in the van, strange houses and wherever else you happen to end up. 3. Pack light. This isn’t a vacation, it’s work. The less junk you bring, the less there is to clutter the van/bus and annoy the neat-freaks in the band. 4. It's sometimes cheaper to go thrift-store shopping than to spend money at the laundromat.5. Avoid buying anything in states with a high sales tax. Buy your cigarettes in NC, KY and other tobacco states. Avoid buying them in NY, PA and NJ. 6. Avoid alcohol. It dehydrates you, costs a lot of money and tends to make everyone irritate each other much more quickly. Remember, this isn’t a vacation. 7. Be NICE to people. It will go a long way and be well worth it when you come around next time. 8. When unloading and loading your equipment, keep one person at the van and one inside the venue to keep an eye on things. NEVER leave your equipment unattended, even if you think you can trust thepeople...you can’t. 9. Drive the speed limit. You’ll get better mileage and will not have any problems with the police. One speeding ticket can screw up the whole tour budget. 10. If possible, take a laptop computer with you. Yahoo and Google have great information on the places you’re visiting. They have maps and things you really can’t live without. 11. Print off a list of all your contacts, including your mailing list and keep it with you. If you get in a bind, try contacting someone in the area & see if they can help you out. Good luck with your tour! David Hooper is the founder of Kathode Ray Enterprises a nd host of Music Business Radio. The show features interviews with various industry professionals giving the listener their insight and expertise into the business. Our wide- ranging guest list include Grammy Award winning producers, artists, musicians and songwriters ...as well as, record executives, promoters and artist managers. www.musicbusinessradio.comTOURING STRATEGIES: RENTING TOUR VEHICLES by Jeri Goldstein, Performingbiz.com © 2010 All Rights Reserved. When you are in the start-up phases of establishing a new group, you may not want to make an investment in a touring vehicle. Instead, more pressing items require investment dollars such as promotional packages, photos and recordings. Rather than increasing the wear and tear on one of the group's own vehicles, renting a touring vehicle may be the best method of getting around. In these early stages, the tours may not be more than one or two weeks long, sometimes even four or five days each. These are the perfect situations for renting. I offer some strategies to make your rental experiencebecome more fluid and hassle free. Before making calls to any rental company, it would be helpful to create an overview of your upcoming tour dates as far into the future as possible. Once you fi nd a company that you like, you can leverage your rental rate if you reserve multiple dates with the company and assure them of ongoing rentals. Here are a fewfactors to keep in mind as you research the perfect rental company for your group's needs. The vehicle size Many companies have mini-vans but do not have cargo vans or a van that will comfortably seat 15 passengers. The reality is that you won't need to seat 15 passengers, but the normal mini-van leaves very little room for five people with luggage, instruments and equipment. Depending upon your specificrequirements, you may have to pass on many favored companies in order to find the vehicle of the appropriate size. National companies vs local companies The value of a national company is evident. If you have a problem with the vehicle on the road, the likelihood of finding a replacement vehicle in small town, USA is greater with a national company. The nationalcompanies also are working on volume and have the ability to discount more widely. One of the problems with the large company may be that they are often only loca ted at the airport, depending on where you live. Airport rentals often carry additional airport taxes and surcharges, increasing your daily rate substantially. If you have a chance to rent off-airport, you can sometimes save up to 12% on- airpor t surcharge taxes depending on the city. For example, if you live in New York City, renting a van in the city is almost impossible and renting at a major New York airport carries huge taxes and surcharges. If you take th e time to travel into New Jersey, not only can you find van rentals, but also, the rates are much better . When you are touring close to home, using a loca l company may provide some advantages. You have an opportunity to establish a relationship with the owner. The owner may have more flexibility since they don'thave to answer to corporate headquarters that sets the rates. You may even be able to work out some sponsorship deal with a local owner. If you find a loca l company that has the appropriate vehicle, make a proposal to them for a sponsorship deal for the next year. They give you the van rent-free; you place their name on all your promotion during the year and menti on their name on posters, in articles and on radio. They get free advertising within their local community w here they normally do business and you get a touring vehicle. Trying this with a national company is possible but more difficult since you have to make proposalsthrough the companies advertising departments or agency. If your tours are regional, a local company has more to gain by creating this sponsorship. Anytime you are building regional support, using regionalcompanies to build your network benefits the communities where you and they live and work. That is apowerful point to make in any proposal for sponsorship.Make personal contact Whether you have chosen a local company or a national company, after your initial phone conversation, meet the manager or owner in person to make your proposals and discuss your intentions for a working relationship. Get the names and if possible meet the other staff. The manager or owner may not always be available when you arrange for your rentals. Be sure that anyone with whom you deal knows about any special arrangements you have made. Mileage This is an important consideration. Whenever you can, ask for unlimited mileage. Unless you have calculated the cost per mile to be under the distance you intend to travel, you will always pay more for rentals without unlimited mileage. Corporate accounts These accounts are always available even if you are not a legal corporation. Many times, however, corporate accounts carry rates that are higher than the promoti onal deals often offered. Depending on how often you will be renting, it is worth checking into these rates to es tablish yourself or your group with a corporate account. Once the account information is entered, you will rece ive similar treatment each time you rent. Keep in mind, though, that if you meet the manager and set up a profile with the company, having a corporate account may not be necessary and then you are not locked into the corporate rates. You want flexibility along with service. Advance reservations This is a must if you want to take advantage of any promotional opportunities offered by the company. They often have notice of upcoming promotions. You can al ways take advantage of larger discounts when making reservations in advance. Once you have established your relationship with the staff at your chosen rental outlet, call there for reservations in other cities at times when you are flying and then renting a vehicle. They will attempt to get you the best deal possible even in a different city. When you reserve in advance you can always take advantage of full week rates and special weekend promotions. Last minute reservations If you find yourself in a situation needing last minute car reservations, you will always get a lower rate when you call the toll free number for a major rental company and make a reservation. Rates are always higher at the counter without a reservation. So when you land at the airport, go to a pay phone, call the toll free number and make a reservation first. Then go to the counter where they can simply pull up the reservation and you will get a much better rate. Discount cards These can save you money each time you rent. AAA usually saves 15%. If you have frequent flyer airline memberships and you are renting in conjunction with a flight, you can get points. Most of the major car rental companies also offer discount cards that often come with professional memberships. As a member of anumber of organizations, my membership card arrived wi th a discount card from Alamo, Hertz and Avis. Each was good for a specific time period and had certain restrictions and specific codes identifying the organization.Always mention the discount card you have when ma king a reservation. They will calculate your rate accordingly and make a note of it on your reservation. When you go to the counter to actually pick up the vehicle, all the discount information will be included. Howe ver, you will have to show any discount card at the counter. Extra insurance This can add a substantial amount to your daily rate. However, you may be comforted knowing you will not have any out of pocket expenses should an accident occur if you accept the additional insurance liabilitycoverage. If you have a Gold or Platinum VISA or MasterCard with a rental provision, it may not be necessaryfor you to take the extra coverage. Check your credit ca rd information or consider applying for a card that has a rental rider to use for all your vehicle rentals.Pre-purchase gas This can often save you time, but if you rent from an o ffice in a town where you are familiar with the local gas stations, it may be more cost effective to refill on your own before returning the car. When renting in an unknown area, the pre-pay option is convenient. You don' t have to rush when trying to make a flight even though you may pay a few cents extra and you have to purchase a full tank. Unfortunately, you have to makethe decision before taking the car. Leasing and working with car dealers This is another option when looking for longer-term rentals of larger size vehicles such as vans. Whenchecking for rental companies, include car dealerships. They may have the van you are looking for and be willing to work a lease agreement for those tour plans that are at least one month or more. If you plan ontouring consistently throughout the year, you ma y even discuss a one-year lease. These agreements do restrict mileage, however and may be a large enough deterrent to send you to a rental company. Read anylease or rental agreement carefully before signing. Considering a local car dealership also opens the potential for a sponsorship deal. Here is another opportunity to present a marketing proposal to the dealership in order to compel them to offer a vehicle or reduced lease rate in exchange for advertising on your tour. With any rental or lease situation, the fees are tax deductible since the rental is clearly for a business usage. Once the touring becomes regular and there is steady income, it may make more sense to explore purchasing a touring vehicle. Unless someone in the group has the perfect touring vehicle and is willing to offer it for theband's use, renting an appropriate vehicle for each tour may be the most cost-effective way to travel. Jeri Goldstein is the author of, How To Be Your Own Bo oking Agent The Musician's & Performing Artist's Guide To Successful Touring 2nd Edition UPDATED. She had been an agent and artist's m anager for 20 years. Currently she consults with artists, agents and managers through her consultation program M anager-In-A-Box and presents The Performing Biz, seminars and workshops at conferences, universities, for arts councils and to organizations. Her book, CD-ROM and information about her other programs are available at are ava ilable at www.Performingbiz.com or phone (434) 591-1335 or e-mail Jeri at [email protected] BAND SAFETY TIPS - NIGHT CLUB FIRES AND STAMPEDES by James Blakely, Go Listen Live © 2010 All Rights Reserved. In the past we have seen some devastating tragedies in night clubs. The night club fire in Rhode Island andthe stampede in Chicago cost many lives. This problem affects our industry. Safety is something thatperformers need to take into consideration. The people at your shows are your fans. They are s upporters and are part of your extended family. Their safety should be important to you. It would be terrible for any artist to have fans die at their show. We all know that a lot of bars and clubs that indie arti sts perform at are not up to code. Many of them are falling apart. That’s why you should be extra careful when playing at a dump. Maybe you should reconsider gigs where possible problems could arise.I want to present some common sense tips to ensu re band safety when you are out playing live at a venue. 1. Check the exits. This is so important. Make sure you know where all the exits are in the venue you are playing at. Also make sure that the rest of the band and some people in the crowd know. Make sure that the exits are not locked and are available for escape, if necessary. If an emergency happens and you are on stage, direct people to the exits. Don't panic. Do your best to get everyone calmed down. You are the center of attention. You have the microphone. Help get thepeople out. 2. Don't do stupid stunts. Something that sound real cool may put people in danger. If you don't have a professional operators, don't use fire or water during the show. 3. Don't incite a riot or fighting. We all know that people like to mosh and dance, but don't let people get out of hand. Don't encourage something that could become dangerous. 4. Let employees of the venue know about people that are getting out of hand. I don't know how many fights I have seen at shows that could have been avoided if members of the band, who see people getting aggressive, reported them to the staff. Everyone there wants to have a good time without havingto worry about bullies in the audience. 5. Connect with the staff. Meet the bartender, security and anyone else that works at the venue. Ask them about their emergency plans. If they already have an emergency plan in place, find out what it is. Be prepared and it will pay off in a big way. It may even save someone’s life. Don't get caught in any situationwithout some sort of plan. Go Listen Live is a totally free resource for indie bands to promote themselves. If you are interested in signing up with Go Listen Live then contact us www.golistenlive.net GIG CHECKLIST: PREPARING FOR A GIG OR SHOW by Dennis Damp, Media Web Source © 2010 All Rights Reserved. It's a good idea to prepare a gig checklist to remem ber everything your band will need for an upcoming show. The band would not want to forget any equipment or necessary items, especially if your show is miles away from home. Below is an example of a Gig Checklist that you may find useful for upcoming gigs for your band. Gig Checklist Venue: ____________ ________________ __________ Show date: __________________________________ Time of show:_________________________________Setup time: _____ ______________________________ Directions: _____ _______________________________Equipment Item Checklist ___ Guitars ___ Backup guitar___ Guitar chords___ Hex wrenches and guitar tools___ Mics___ Mic chords, clips and stands___ Drums___ Drum key, stands and bass drum pedal___ Drum sticks___ Guitar amp and cabinet chords___ Bass & backup bass___ Bass amp and cab chords___ Lyric sheets and music if necessary___ Keyboards/synth/any other instruments___ Direct box or boxes___ Effects pedals and racks___ Tuner___ Extra strings or tools___ Miscellaneous items Miscellaneous or Special Items ___ PA rental or your PA and mics ___ Book sound tech (if applicable)___ Book lighting tech (if applicable)___ Transportation of equipment and band___ Business cards___ Demo CD___ Press kit___ Invoice or contract for venue We’ve included business cards and press kits to ensure that your band never misses a chance to promote future shows. You never know who may be at your gig so always have your promotional tools ready. Good luck in preparing a gig che cklist for your band’s next show! Dennis Damp runs MediaWebSource.com - a website that prov ides music industry resources for any songwriter or band to find band press kit & demo tips, recording studios, CD duplicat ion, songwriting resources, record company submission guidelines, music industry information, band promotion, musi c industry articles, how to get gigs, music business books and music equipment. www.mediawebsource.com [email protected]. PROMOTION PERFORMANCE MARKETING / TOUR SUPPORT Vivek J. Tiwary, StarPolish.com © 2010 All Rights Reserved. Live shows are often the best way to develop a new artist and expose new music. Seeing a band live can be all it takes to convince their fans to buy a CD, a radio station to play their single or a publication to review theiralbum/demo. Therefore, tour support should be an integral part of your marketing plan. The term “tour support” is used in the music industry to define either: 1. The amount of money a record label gives an artist to help cover the costs of touring and keep/send them on the road. 2. The efforts of members of your business team (record label personnel, marketing reps, your manager etc.) to promote your shows and take advantage of marketing opportunities surrounding a live performance. For the purposes of this article, we’re going to focus on the second part of the definition, related to marketing.In this context, tour support isn’t just about marketing a tour as a whole, but also about marketing each individual performance separately and marketing the artist around their live shows. So even if you are a local act playing a few shows in your hometown, this article is still of critical importance to you. In fact, this article isrelevant for any artist, of any stature, anywhere - as long as they’re playing some live shows. Tour support is definitely not just for those on a formal “tour.” That’s why I prefer to use the term “performance marketing.” Performance marketing is a very involved process that begins a few weeks before every show date and continues for about a week after. It also incorporates all the other elements of the music marketing mix (ie: retail, radio, press etc.). Therefore, you may want to create a personal checklist to ensure that you cover allyour bases in performance marketing. Your checklist should cover the suggestions from all the major sectionsin this article. I’m Not A Live Act! If your act or your music doesn’t lend itself to liv e performance, you will definitely be at a marketing disadvantage. My first piece of advice is to re-eval uate and brainstorm ways that your act could in fact translate live. Is there a way to incorporate drum machines and computers on stage alongside voice and live guitar to convey your songs? If you are a solo artist who records with a backing band (one that you can’t afford to pay for live shows), can you arrange and play solo acoustic versions of your songs? Just give it some serious thought… and if there is an acceptable way to trans late your material live, I very much suggest that you experiment at small clubs and in front of close friends (who will still support you if your live experiment fails miserably). You never know until you try and y ou may be surprised that your live performance adds a new and exciting, albeit different, facet to your act. If, after brainstorming, you come to the conclusion that your material simply cannot translate live, then I recommend you organize several listening parties where your music is played. Throw listening parties like you’d book shows. Once you “book” a listening party, mark et and promote it exactly as you would a live show. In other words, if your act can’t perform live, you should still find a method where you can present your music to the public in a venue or club-like setting. If you are not performing live, you should mitigate this marketing disadvantage by increasing your efforts in other elements of the marketing mix (ie: retail, radio, press, lifestyle marketing etc.). There are several artists -from Top 40 radio-friendly popsters to critically-acclaimed alternative acts like XTC - that are very successfulwithout performing live. But they all fill this marketing hole with something more than just good songs andmusic.Booking Shows And Other Preparation Obviously, before you can market a performance you need to book that performance. Once you have a show booked, get ready for a series of important steps to maximize the marketing exposure from that gig. Marketing/Promoting A Concert: The Nuts And Bolts Use Your Mailing ListsSend announcements to your mailing lists - flyers to street addresses (if you can afford it) and e-mails to your online list. An initial e-mail should be sent about 10-14 days before the show date and a reminder e-mail about a day or two before the show. If it’s a particularly important gig, longer initial lead time and more reminders is a goodidea. Below is an example of a particularly good e-mail show announcement, from StarPolish Artist AdvisoryBoard Member Rob Siano of the band Spinning Images: -----Original Message----- From: [email protected] [mailto:[email protected]] To: undisclosed-recipients:; Subject: THE WORST ALTERNATIVE BAND, EVER! Hello. Spinning Images are threatening to play at The Last Chance in Poughkeepsie, Saturday July 1st. Come and protest. Petitions are available online to stop these maniacs from coming anywhere near the building. The show starts at 11pm. Get there early and bring your pickets and air horns. For more info, go below. Thanks, Rob [email protected] SPINNING IMAGES LIVE! SATURDAY JULY 1 ST -11PMTHE LAST CHANCE6 CRANNELL ST., POUGHKEEPSIE DON'T FORGET: WWW.SPINNINGIMAGES.COM IF YOU WOULD LIKE TO BE OFF THE MAILING LIST, SIMPLY REPLY WITH AN "IF YOU SEE K YOURSELF" Directions: Taconic North to the Poughkeepsie Exit (Rt. 55W), get off the exit and go straight for 10 minutes. You will pass a McDonald's on your right, so you are on the right track. Keep going until you see a GettyStation on your right. That is Hamilton St. Go to the next left and make a left. Make another left into theparking lot. The Chance should still be there. I can’t tell you how many e-mails I get from artists that don’t take care of the many important little things that make up an effective promotional e-mail. Rob covers them all, from top to bottom: He Blind Carbon Copied (BCC’d) everyone (made them “undisclosed-recipients”), so that the addresses of everyone on his list are hidden. This respec ts the privacy of his list members.The message has a catchy subject title, “THE WORST ALTERNATIVE BAND, EVER!” that also implies the tone of the rest of the letter, which in this case is tongue-in-cheek - a style that makes sense for Spinning Images. The main text of the message is short, memorable and in this case funny (which also makes sense for Spinning Images). It’s personalized with a simple “Thanks, Rob,” so it doesn’t feel so much like chain letter. He also includes his contact information. CRITICAL: He repeats the main information (Who, What, When, Where) in a small block of uppercase text - so as soon as the e-mail is open, readers can get all the pertinent details at a glance and don’t have to huntthrough the main text for the venue, time, date and address. He notes the band’s website and alludes to going online earlier in the text. He gives the list members polite instructions on how to unsubscribe and mentioned “If You See K Yourself,” the name of Spinning Images’ album. However, he should have noted this is the album title, because listmembers may have forgotten. Finally, he gives clear directions to the venue. But he could also have included the venue’s phone number and noted whether it was a strict 21+ or all-ages show. Most readers will assume it’s 21+ if you don’t sayotherwise. If it’s a 21+ club that has a loose door policy, that’s worth noting, too. Hard copy flyers Hard-copy flyers for street mailings should take into consideration the same issues as the e-mail exampleabove, though of course, they should also have some vi sual/design element that is eye-catching and that, hopefully, will make list members want to hold onto the fl yer until the gig (and maybe even afterward, if you’ve got a really great visual). Hard-copy flyers should be mailed out well in advance so they arrive 10-14 days before the first show announced on the flyer (ie: mail them out at least 2 ½ w eeks before the first show). Because it’s expensive to manufacture and mail flyers, you may need to use one flyer to advertise multiple dates. If that’s the case and some dates are in different parts of the country, try to break out the mailings and ship to different markets atdifferent times, so that each person on the list gets the flyer 10-14 days before their nearest show date. Sincee-mail is free, you should put in the time to send out one e-mail per show. Basic / grassroots concert promotion For a few weeks prior to the show date, you must promote the event to the entire local music community outside of your mailing lists - ensuring that everyone knows this show is happening and developing some excitement for your appearance long in advance of the actual show date: Inform all your contacts about the upcoming show and try to get the date added to all appropriate concert calendars in local press, radio and retail accounts. If you have the budget, you can take out a key ad in key press also noting the show. Keep in mind the same guidelines noted above with respect to effectiveannouncements. Even if you have the money, radio ad spots are less recommended, as they are often moreexpensive than they’re worth. Design flyers and posters advertising the show. If you hav e an album out, these should also mention that it’s availability at one or several local retail accounts. The flyers can be the same ones you used to mail to the street addresses on your mailing list. Keep the posters on the smaller side, 11” X 17” recommended, so thatthey can fit on crowded kiosks or in small stores.Distribute your flyers throughout the local music community, remembering to include college and high school campuses - in dorms (underneath doors), student unions, record stores, coffeehouses, skate shops, tattooparlors, jewelry shows, concert halls and clubs, underneath windshield wipers on cars etc. - whereverappropriate. Hang posters noting the show throughout the local music community, remembering to include college and high school campuses - in record stores, on campus kiosks, on street bulletins in cool parts of town, in student unions, in coffee shops, smoke shops etc. - wherever appropriate. Hang posters noting the show in the venue where you’re playing and other venues if possible. This is called "merchandising the venue". Design and execute creative promotional techniques spec ifically tied to your act, the venue where you are playing or the show date (we’ll get into this a little more later). CRITICAL: It is important to emphasize that you should perfo rm all these efforts even if your act is unknown and the people who see the flyers and posters don’t recognize your name. While the flyers/posters may not convince these folks to go to your show, they will def initely start to put your name in their minds. When they get a flyer for the next show or see a poster the second time around, they will at that point (however vaguely)remember your name and perhaps even subconsciously think they know your act (“Hmmm… I’ve heard of them.”). And that is the beginning of the all-powerful “buzz” that you’re trying to create via music marketing. Work with promoters Every venue has a promoter who books the shows and is additionally responsible for generating awareness for the clubs' events - or more specifically, filling t he house with paying customers. For booking purposes, you should already be developing relationships with these various concert promoters at the venues in your targetmarkets. But once you confirm a show date, as much as possible you should still work with the promoter to support the event. Don’t just ask them how you can help market the show - actively suggest ways you can work together for mutual benefit. For example, in return for flooding the difficult-to-reach college community with announcements about the band's appearance at the promoter's club (perhaps even noting other upcoming shows at that club), the promoter could give you a number of compensations - including extra display space inthe club for posters, possible use of the club before or after the show for a post-show party or even extratickets to the show to use in giveaway promoti ons. Those artists who develop especially good relationships with promoters may be able to convince them to se ll discounted tickets to their shows to anyone showing a student ID or meeting some other preset criteria. The possibilities for collaborative, creative cross-promotions with venues are endless and depend on the nature of the relationship you can foster with their promoters. The downside to the wonderful marketing potential here is that depending on the market and the venue, you may find that promoters are extremely difficult or totally unwilling to work with you. Do your best to point outwhy working with you will be good for them. Think about what their objectives are - selling tickets to their shows, selling drinks at the bar, marketing their venue etc. - and make your pitch in firm accordance with these objectives. And as with everything in music marketing, don’t be offended if working with promoters doesn’t go as well as you’d like. In some markets, it’s hard enough getting the promoter to book your band,much less work with you creatively. But you should still try and try again. When a difficult promoter who wouldn’t creatively work with you notices that you pack their venue with ticket-paying folks who’re also buying drinks and/or food, that promoter will unsurprisingly be more available/agreeable to you in the future - both in terms of booking future appearances AND working with you creatively to mutual benefit.Monitor other artists’ concerts Take advantage of any opportunity to promote your upcom ing shows at someone else’s events. For example, if there is a popular local or national band performing in town that you know has a similar fan base as yours, you may want to pass out your announcement flyers along with other promotional items to the people leaving that show. If possible, these promotional items should be stickered with your show dates and album availability information, noting a retail account and/or announcing an upcoming tour. Note that it is always better to pass out promotional items at the end of shows - people are generally more excited after a show and are usually more willing to hold onto flyers and promo items that they received on their way out than on their way in. This way they don't have to hold onto your stuff during the concert and if you gave out music-related items like cassette samplers, they may pop the cassette into their car stereo onthe way home. It’s also worth mentioning that placing flyers under windsh ield wipers of cars in the parking lot is an effective way of capturing the attention of an exit crowd. Ticket requests, the guest list and ticket distribution As soon as you confirm a show date, ask the prom oter how many spots on the guest list (or how many promotional hard tickets) you may have for business contacts. Explain that you will not pad the guest list with friends and family, but really want to bring music-indus try contacts out to see your act. If the promoter is unwilling to give you enough free admission tickets/guest list spots to satisfy your business needs, ask him orher whether you can purchase a few additional advance tickets at a reduced rate for your business contacts. If he or she is further unwilling to give you a discount, budget permitting, you may still want to purchase a few extra tickets for your contacts. What I’m getting at here is that it’s important to be able to get key businesscontacts into your show for free, as an extra incentive for them to stop by and check you out.I strongly recommend that as a matter of policy, you NEVER guest list friends and family, especially in your earliest stages as a developing artist. The reason is simp le: your earliest and biggest supporters will be your friends and family; they will likely be the most willing to pay to see you live. In many cases with shows, you will be paid via a percentage of the ticket price and if you ex plain this to friends and family, they will feel even more comfortable paying. Furthermore, remember that when you pack the house with paying customers, the venue will be happy and the promoter will most likely offer you another, better show in the future. If you alsoexplain this to friends and family, they should feel ev en more comfortable paying to see you live. The point is, take the support where you are most likely to get it. But be str ict about it. If you’re not guest listing friends and family, don’t make exceptions - make your girlfriend/ boyfriend, siblings and parents pay. If you start to make exceptions, the policy breaks down, some friends will feel slighted and you may lose some future support. To reiterate, I strongly recommend that promotional tickets and spots on the guest list be solely reserved for key business contacts. Additionally, you may want to also hold a pair or two for promotional giveaways. As you inform your contacts about an upcoming show, fi nd out how many of them would like to see the show. This will give you a sense of how best to distribute promotional tickets or guest list spots. Be careful not to over-promise and wind up in a situation where you can’t fulfill all the requests you have received. If thissituation arises, I suggest purchasing the extra tickets for your contacts as opposed to uninviting someone to whom you promised a ticket - don’t jeopardize a business relationship over a concert ticket. It’s a good rule of thumb to keep a few tickets off to the side and available for as long as possible. Often, an extremely important contact who you did not expect to have to procure tickets for will request tickets at the very last minute. If you have set aside some tickets for last-minute reques ts, you will be able to accommodate those important contacts. Again, if you don’t have the tickets, I re commend buying them for these important contacts, budget permitting. Finally, remember to prioritize whom you give tickets to - key contacts and contacts who have long supported you should come first.Promotional giveaways In promotion of an upcoming show and to generate ex citement about your act, you may want to hold a giveaway with one of your radio stations, press, record stores or lifestyle accounts. Giveaways can be simple ballot box raffles or call-in-to-wins. Better yet, think of creative giveaway contests . Prizes for giveaways can include T-shirts or other promotional items, music samplers etc. Ticket giveaways can also be effectivepromotions, especially for shows that are having diffic ulty selling advance tickets or for whatever reason you are concerned will be empty (this is a good time to work with the promoter, who will also not want to have hisor her club empty and may supply you with extra tickets for promotional giveaways). Remember to insure thatyou have or can acquire the tickets or guest list spot before organizing and committing to a giveaway. Stock and placement at retail accounts Record sales often increase surrounding shows, due to localized attention the performing artist. You must ensure that fans who seek your CDs can find them easily - that the stores are stocking the CDs and placing them in the right section. Try to get the owner or manager to place your album(s) in a prominent section of the store surrounding the show date - for example, on the counter with a little note like "Appearing next week at The Khyber Pass." If you are signed to a record label, you or your manager should make sure that your label and/or their distribution company have taken care of stock and placement at retail accounts surrounding shows and tour dates.Interviews and press conferences Show dates present an excellent opportunity to solicit in-person interviews from your radio, press and video contacts. They’re more likely to interview you around a show date, because there ’s more of a story to report and cover (ie: the show). And of course, if you’re a touring act and only in town for the night of your show, the show date may be the only opportunity you have to solicit an in-person interview. As much as possible, these interviews should be set up in tandem with a review of the concert. With that in mind, the best time to set these interviews up is at sound check or shortly before the show starts - that waythe interviewer can stick around for the show immediately following. If you find that several of your contacts are interested in interviews, rather than trying to schedule many short interviews you could request and organize one longer, informal “press conference” to accommodate allrequests in a single event. Make sure you organize all the logistics of the event (time, securing the space etc.)well in advance so everything runs smoothly. Keep thes e press conferences informal and fun. For example, the conference could be held at a bar, restaurant, coffee shop etc. near the venue. As much as possible, trynot to place too much physical distance between your band and the interviewers, in order to maintain a feeling of intimacy. Similar to one-on-one interviews, you will fi nd that often the most convenient time for a press conference is before or after sound check. Promotional performances A pre-show, promotional daytime performance is often the best way to promote a nighttime concert. Theseevents can take place on the air at a radio station, in-store at a retail account or at a more creative location altogether - ie: a college cafeteria, a local café or coffee shop, a public park etc. When I worked for SonyMusic’s College Marketing Department, we set up a promotional performance for the group The Preside nts of The United States of America at a hot dog stand. It was a totally unforgettable and successful event. Promotional performances work best when they’re acousti c, due to easier logistics and less production costs, but you can experiment with electric too. Try to or ganize promotional performances in locales where you might expect a good-sized and somewhat captive audience, but do not be disappointed if you wind up playing to a small crowd - remember that every little bit counts and one new fan turned on and one CD sold is an extra bit of buzz you are generating. That one new fan might be excited to come to the sh ow later that night and might bring a few friends.At the beginning and end of each promotional performance, mention your band’s name, the information of the nighttime show and the availability of your most recent CD, if applicable. College cafeterias and popular local cafes/coffee shops can be great places for promotional performances, because those venues often have built-in daytime crowds. On the other hand, if that crowd will be unappreciative of live music played during their lunch hour, perhaps the venue is not ideal. If you are unsure of the merits of the venue, do as you should with mo st performance opportunities during your early days - take the chance and play the event, just be prepared for possible disappointment. Most colleges have concert or entertainment boards/committees that book shows for the school. You should identify the concert boards in your target market and make conta cts there in order to identify opportunities for promotional college performances. Additionally, most cafes and coffee shops, if they have t he physical space, are also willing to book developing artists for acoustic performances… although many outlets of the larger chain stores may be less willing due to national corporate policies. When pitching a promotional performance request (as with any pitch for that matter), keep in mind the needs of the venue you are pitching to and point out why the performance will actually be good for them - that it will enhance the atmosphere of their lunchtime crowd, that you’ve met with enthusiastic audiences and had great success playing similar locales in other markets etc. After you are successful in securing a promotional performance, be sure to find out as many pertinent details as possible - how much of your time it will take, location of the event and distance from the nigh ttime venue, who needs to provide sound equipment if necessary (in certain venues/rooms, even acoustic s hows require some basic sound equipment), whether it will it cost you anything etc. In order to guarantee awareness and a good turnout, you should market andpromote the free daytime performance in much the same way that you promote the nighttime show. Make sure that your promotional materials mention both performances. Promotional performances should be free of charge to audience members, since the major point of the show is to encourage people who are not familiar with your act to come and see the nighttime performance, whichwill most likely carry a ticket price. Because promot ional performances are free-of-charge, the venue may not be willing to pay you to perform. Since they’re not di rectly making money from your performance, this is somewhat fair. On the other hand, college concert boards often have substantial budgets and cafes/coffeeshops that do good business may be willing to offer you a little compensation. You should politely ask aboutpayment for your performance, mildly suggesting that you are used to being paid for such performances andthat you usually expect a little something - but be prepared to play for free and think about this performanceas it truly is: a promotional event for the nighttime concert, not a money-making venture. Meet and greets / dinners / parties If you believe there would be enough interest from y our business contacts - and you have the budget - you can organize a pre-show dinner or “meet-and-greet” (as the industry calls these events) with you and your band or a post-show party. These events are laid-back opportunitie s for key contacts to meet and hang with you in an informal environment. These events can go a long way in convincing a contact to help your act,especially if you or your band mates are particularly funny, engaging or otherwise personable. Be creative butreasonable with your ideas for meet-and-greets, dinners and parties. Pick an unusual, cool and memorablelocation for the event. For example, when I ran the Alternative Marketing D epartment at Mercury Records, we held a meet-and-greet for the band James at a bumper-car amusement park to promote their then-new record “Whiplash”. The event was memorably called “Get Whiplashed with James.” Just be careful to figure out the associated costs of creative events like this in advance. Make sure you st ay within your budget; post-show parties in particular can get out of hand with large bar and food tabs.If you have no budget, at the very least, I strongly recommend that after every performance you and your band mates come out from backstage and mingle with the audience, fans and key contacts. The Mighty Mighty BossTones do this after every single show t hey play and have been doing it for over a decade - at every stage in their career, no matter how large the venue. This attitude will go a long way toward creating intimacy between your act and the fans and business contacts. And that kind of intimacy will in turn go a long way toward supporting you and building your buzz. It’ s no surprise that The BossTones have accumulated and kept both a devoted fan base and a stable of business contacts who believe in the band and find it apleasure to support their ongoing musical projects. Creative use of your time As much as possible, develop, design and execute projects to creatively use your time surrounding a show date - particularly if it’s an out-of-town show and you are only in that market for a day or two. For example,you could organize a guitar clinic at a local high school to be taught by your lead guitarist. Or you could arrange a spoken-word café performance, if you’re particularly opinionated and vocal. When I worked in the Sony Music College Marketing Department, we organized a “Play Basketball with Pearl Jam” event at the University of Pennsylvania’s Palestra that was unforgettable for the few folks in attendance(the band was in their developing stages at the time and not that well known). Of course, you should pick an event that fits your vibe and projected image and will be comfortable for all the participating members. Remember to promote both upc oming concerts and new record releases at these events. Also be careful to work out all the logistics and associated costs of creative events well in advance, to avoid any financial or other surprises. Pre-show Get to the venue well in advance of sound check and neatly hang your posters throughout the place but inaccordance with any venue restrictions, so as not to annoy the club manager or promoter. In industry terms, this is called "merchandise the venue.” Restrictions might include “clean” areas where posters cannot be placed or hanging requirements (ie: no staples/staple guns - always carry both tape and staples to cover allyour bases). Posters should note any new record availabili ty and tag a local record retail store that’s stocking your record, if applicable. Introduce yourself and be very nice to the doorman/bouncer and the sound guy. If these guys like you, they can make your show a lot more enjoyable for both you and your fans and see that things run smoothly. If theydon’t like you or your attitude, I guarantee you’re in trouble. In one developing band I managed, we had an internal policy that we always bought the sound guy and doorman a drink before the show. This courtesy always came as a surprise and went a long way in developing good relationships with these folks. As a result, we enjoyed better treatment both at the door and onstage during our repeat performances at their venues. Bring a list of contacts who you know are coming to the show and if possible, meet up with them at the venue before you hit the stage. Offer to lend a hand to club personnel or the promoter. Sometimes, assisting astressed-out promoter with something unrelated to y our performance will be all it takes to cement a good future working relationship with that promoter. And most importantly… play a great show! Post-show Just before the show is over, arrange for one of your marketing reps, a friend or a fan to position himself or herself by the exit and distribute promotional items to the exiting crowd. Remember that it is better to distribute these items after the show, when the crowd is exci ted about having just seen the band and is more likely to hold onto free giveaways. As mentioned before, another good post-show place to distribute applicable items is under the windshield wipers of cars parked in the venue's parking lot.Promo pieces you could distribute after a show could include stickers, posters, cassette samplers or specialty items. Be careful to find out in advance if the club ha s any restrictions with gi veaway items. For example, some clubs don’t allow artists to pass out stickers . If none of these items have been manufactured, design a simple flyer noting your album’s availability at one or more of your retail stores and distribute that. You might even ask one or more of these stores whether they would be interested in honoring a “coupon” to sell your CDs at a discount to anyone who attended the show. This coupon could be a flyer that you design and handout after the show or a cassette sampler stickered with the discount information (ie: "two dollars off the newalbum at Amoeba Records with this cassette!"). Selling stuff The best time to sell your CDs and merchandise is after a successful show. In advance of the show, find out where the club will allow you to set up your goods fo r sale and any policy they may have surrounding merch sales (some venues demand a % of goods sold and request that their staff sell the stuff for you). Make surethat at some point during the show you announce that you will have merchandise for sale at the venue afterthe show. The band manager should start selling merc handise directly after the last song and the band members should join and assist him or her as soon as they are finished moving their gear off the stage. Thereare two reasons that the manager and the band should be directly responsible for selling merchandise. First,selling merchandise obviously involves handling your money and only those you trust should handle your money. Secondly, friends and fans will want to hang out with the band members after the show and will mostlikely approach them at the merch booth to say hello - an excellent time to ask them to buy some merch. As with distributing free tickets to your show, I strongly recommend that you do not give away any freemerchandise to friends and family. They will be your earlie st and biggest supporters, so they will likely be the most willing to actually pay you for your stuff. Especially in your early days, take the support - financial as wellas emotional - where you can get it. Mailing list The best time to solicit new names for your mailing list is after a successful show. Follow-up For about a week after the show, you or a member of your business team or one of your marketing reps should perform follow-up activities. This is an extremely critical, often forgotten final step in the performance marketing process. Call your contacts who were in attendance to thank t hem for their support and see if they enjoyed the show. Ask for their feedback, make them feel like their opinions matter (because they do) and take criticism well. Make updated pitches to each contact as appropriate (trying to get an add on the radio station, a concertreview in the press etc.). Call the venue and thank all the folks who helped make the show possible - the promoter, owner, bouncer, sound guy etc. this will go a long way towards developing good relationships with venues. If you are unable to get the appropriate folks on the phone, write simple thank you cards and mail or drop them off at the venue.Just make sure they know you put in your thanks. Call all your family, friends and fans who were in att endance and thank them for their support. Don’t take their attendance for granted. A week after the show, check to see if sales have increased at your retail accounts, if airplay has gone up at your radio stations and if concert reviews appear in your press accounts. For a week or two after the show, you may want to di stribute flyers to the music community noting the album's availability at your retail stores. This keeps your act fresh in everyone's mind and helps to maintain the buzz developed from the performance for as long as possible.As founder/CEO of The Tiwary Entertai nment Group and StarPolish, Vivek J. Tiwary is involved in production, management, marketing and investment in film, theater, music and television. Vivek is also an accomplished writer and director of music videos and short films and a record producer of musicians in all genres. Vivek is the writer and director of “The Fifth Beatle” www.fifthbeatlemovie.com a feature film currently in development and based on the life of Beatles’ manager Brian Epstein. www.starpolish.com HOW TO TURN YOUR GIGS INTO MAJOR MEDIA EVENTS by Jeri Goldstein, Performingbiz.com © 2010 All Rights Reserved. So you're barreling along, booking tour dates, doing y our promotion, playing the gigs and generally feeling pretty good about the way things are going. Yes? But you're thinking to yourself, "How can I sp ice things up, make them more exciting for everyone, especially the media and bring a bit more attention to this road show?" The answer—Themes. Upon returning from New Orleans where I moderated a panel on "Accessing the Media." My panelists were a music critic, a publicist and a radio programmer. At one point during the workshop our attention was focusedupon creating media events to capture audience, press, TV and radio. We were not talking about media events for visiting dignitaries. We were discussing a simple CD release and how, with a little creative mind expansion, some planning and some outreach to community businesses a nd organizations, you can turn that simple CD release into a media event. So what does it take to make the media notice you? How can youincorporate this approach each time you want to stir things up? First, let's talk about themes. I always teach my seminar attendees to crystallize a de scription of their act into a single sentence and then into three to five words. If we take this approach a bit further, think about how you can create a theme around a CD title, the type of music you play, your name, the title song you want to pushto radio, create a name for the upcoming tour etc. For example, the publicist on the panel had worked with B.B. King. Not only did they focus on the Blues genre by working the color blue into all the decorations when hosting a restaurant event, but they manipulated a menu of foods to include everything with "King" in the name—King Crab Legs, Chicken a la King, you get the idea. When planning, these ideas were incorporated into the invitations, press releases and all of the pre-promotion to get people and the press excited about theevent and what they could expect when attending this shin dig. It grabbed their attention. Another angle that becomes very important is how you involve community businesses and organizations. When you approach a restaurant or club about hosting a CD release, they are likely to pull o ut their room rental sheet and begin tallying up costs to give you an estimate. But, if you approach them with a theme that reaches beyond just you and your CD release and incorporates a lo cal, regional or national charitable organization, then they start figuring "in-kind" services as their donation and the media attention the event is likely to get. The theme gives them something to get excited about and gives them a creative jumping off point. As a marketing tool, all involved in supporting a theme become inspired co-workers eager to add their specialty to the overall product or event. It really does get people's creative juices flowing. When the event is coordinated so that a charity is the ultimate beneficiary, media coverage grows exponentially. Businesses aremore likely to donate services in exchange for association with the event and the subsequent media attentionthey'll receive. This attention far outweighs that which they might receive from straight advertising. The eventtakes on a new meaning as you bring a great deal more attention to the cause and ultimately your CD, your act and the event than would have been possible using a non-thematic approa ch. It takes creative thinking, even exercising some outrageous ideas to move beyond the basics and into the realm of staging media events. Finding a theme to ignite your ideas makes it easy and more exciting for all involved. Here are a few suggestions as you consider incorporating a thematic approach into your career.1. Think about your plans for the next two years - What events, projects, tours are in the works? Begin to think about themes for these new projects. Brainstorm with group members, managers, record labels and publicists as you discuss the next projects. Work the theme into your plans as you develop the project, tour or recording. As you begin planning for each event and begin to incorporate the theme for that event, consider the following: 2. Think about the businesses that you could involve in the theme. When ready, create a proposal that will get them excited about being an integral part of t he event. Think about how this will benefit them and share that with them when presenting the proposal. 3. Think about community charities that you could align yourself with that would be a natural fit with your theme. If you are particularly interested in a specific organization, strive to create a long-lasting relationship that might span the years as you grow your career. 4. Consider your graphics, posters, colors and any design features that will enhance the overall execution of the theme to expand its impact on the media and the public. 5. Will food be involved in the event? If so, how can the theme be carried over into the catering? This can be very simple and low cost. When all the players involved are participating because it benefits a highercause, the sponsor donates most of their costs. When you have a clever theme and a good cause, sponsors will be attracted to your event and want to participate. 6. Will a specific location be important to the theme' s execution? Get any licenses you might need from the city or county. Check local event calendars to ma ke sure your event won't interfere with another scheduled for the same day. Now might this cost some money? Yes! Will the payoff be greater? Many times greater than sending out a few press releases hoping they get printed or even noticed. If you plan ahead and build associations as youincorporate these themes into your plan, donations, sponsorships and in-kind services will cover many costs.When you consider the cost of a large mailing or a phone campaign to get radio attention, a media eventapproach has potential to impact a much broader audience. As you get used to creating budgets for each project you undertake, it becomes apparent how you might dole out bits of your budget to prospective sponsors to have the costs of various line items completely covered by the sponsor. When you being incorporating a thematic approach to each project, the planning, the budgeting and the creativity all become worth the effort as you evaluate the results. Yes, it is a bit more work init ially, but the outcome is magnified many times over, placing you among the true prof essionals to be reckoned with in this business. Step out of the ordinary and place your act among the unique, the outrageous and the extraordinary, who aregaining momentum in their careers because they dared to be more interesting than the competition. It allstarts with choosing a theme for your next project. Wo rk that theme from all angles and you will be pleasantly surprised at the end results. Jeri Goldstein is the author of, How To Be Your Own Bo oking Agent The Musician's & Performing Artist's Guide To Successful Touring 2nd Edition UPDATED. She had been an agent and artist's manager for 20 years. Curr ently she consults with artists, agents and managers through her consultation programManager-In-A-Box and presents The Performing Biz, seminars and workshops at conferences, universities, for arts councils and to organizations. Her book, CD-ROM and info rmation about her other programs are available at are available at www.Performingbiz.com or phone (434) 591-1335 or e-mail Jeri at [email protected] "DRAW" by Diane Rapaport, Jerome Headlands Press © 2010 All Rights Reserved. Understanding draw In old Western movies, "draw" meant pull out your six shooter. But in the music business, the word "draw" has a different meaning. For presenters of music club owners, concert promoters etc. - a band's "draw" defines how many people will come to an event on a particular day at a particular time and for a particular price. There have been many occasions when a band that is popular in New York will draw 2500 people to a concert. Butin San Francisco, it cannot bring 100 people to a small club. It has no "draw." Some concert halls will fill up fora particular band when ticket prices are $15, but not $25. How do presenters figure out a band's draw? Theywill do market research. First they will look at a band's performing history (available from a band's bio, current tour dates etc. and try to ascertain how many people may have attended their shows). They ma y talk with other club owners and concert promoters. They will try and correlate the number of people that have come to their performances and the variables that may have affected those numbers. Variables that provide information about draw are the size of the band's mailing list; the effort the presenter put into drawing peopleto the gigs; the recognition of the band's name (branding); popularity of the band's CD (if they have one);word-of-mouth notice; airplay and reviews; competing bands; competing leisure activities (movies, sports, festivals, day events) etc. The results of that resear ch will tell them what to pay a band, what to charge customers, what date to book, how large an auditorium to hire and so on. Bands that understand the needs of these businesses will work hard to tell them what they th ink their draw is, pulling on history, reviews, airplay etc. Building draw Bands who don't have a draw need to build it by playing as much as possible in the community in which they live, thereby building a local following. Here are some solution s-some standard, some creative-that help bands build draw. They can be packaged on a night with bands that do draw and who attract audiences that would be sympathetic to their music. Either they as k the club owner to help them find a band to share the stage with. Or they approach the managers of other bands and persuade them to let them open their shows.Club owners usually prefer having a strong package presented to then than trying to figure out compatibleshows. Opening acts usually earn less than the expenses it takes to do the gig, as little as 10% to 20% ofwhat is charged at the door or paid to the headline band. Doing break-even or low paying gigs is better thanspending the same time in the rehearsal room. Opening for other bands is cheap education in working audiences, developing showmanship and professionalism and building draw. Once bands have played three of four times to enthusiastic audiences as a result of being packaged with draw bands, they persuade the clubto let them play on your own on an off night (such as a Monday night), and, should the owner agree, the bandwill work extra hard at getting people into the club. If nothing else, they load the club with friends and family toensure a full enthusiastic audience. The club owner will be impressed with the bar business he/she does thatnight, the band's efforts to make a good audience and the general feeling of excitement in the room. Bands most always supplement the club's promotional efforts and use the gig to spread their name around. At the very least they provide club owners with additional promotional materials to send out or put up a week before the gig. They put up flyers in key places in their community. They are diligent in co llecting names for their mailing list and using it to let friends, fans, followers and hanger s on know where and when they are playing. They invite reviewers to help familiarize them with their name. Club owners are always impressed with this kind of cooperation, but most importantly, spreading the band's name around help s build draw.Here are some imaginative ways bands have helped get people into a club so they and the club owner can make money. Band A persuaded the club owner to underwrite a two-for-one beer tickets for the night they were scheduled to perform. It was a good advertising gimmi ck: tickets were handed out generously two nights prior to the gig to help attract people to the club. Band B attracted a lot of publicity by playing for the late lines at the Department of Motor Vehicles. Band C is popular in one town, but has few fans in a nearby city. They contact a band in that city that performs on a regular basis and asks if they can do the first warm-up (opening) set. They offer to do the same for them in their town. As an added incentive, they offer to share their mailing lists. The mutualinterests of both bands are served; and so are the needs of the club owner who may book the new bandsometime in the future. Building draw is more than just promoting the gig and showing up. The band has to put on a goodprofessional show for its audience. They start on time; they don't take a long time tuning, adjusting, talkingamong themselves and forgetting they are being watched by an audience that comes ready to be entertained. They pace their sets well. They handle transitions between songs easily, without too much lost time. Theyspeak clearly into the mic, say what they have to sa y briefly and then get going. They relate in a friendly way to the audience. They make themselves interesting to watch as well as to listen to. If they have a "beef" with aband member, they wait until they are off-stage. Diane Sward Rapaport, founder and president of Jerome Headla nds Press, Inc., has been a pioneer in the field of music business education. In 1976, after extensive work as an arti st's manager for the late Bill Graham's Fillmore Management, Ms. Rapaport began teaching. Music Works was the predecessor to Ms. Rapaport's successful book How to Make and Sell Your Own Recording, now in its revised fourth edition. The book teaches all the steps involved in setting up and managing a small record label; and how large and small label s operate. Ms. Rapaport lectures at numerous colleges, audio schools and artists' advocacy conferences and is cu rrently teaching music business classes on the internet through the University of Colorado, Denver. She is av ailable for seminars and speak ing engagements. For booking information, please call Jerome Head lands Press, Inc. at (520) 634-8894. HARNESSING YOUR FAN POWER WITH STREET TEAMS By Daylle Deanna Schwartz, author of "S tart & Run Your Own Record Label" © 2010 All Rights Reserved. Independent success is usually based on the amount of gra ssroots promotion that’s generated. Street teams are a great way to spread the word about your music to potential fans. They can effectively generate a buzz on a your CD before you even release it. If you have t he budget, you can hire street marketing companies to put them together in any market across the country. If you can’t afford it, create one from fans, which I believe is the best way. This can be the single most valuable tool you cultivate to market your music. When you havefans that love your music, street teams are a very cost effective and productive marketing campaign. TonyBrummel, president of Victory Records in Chicago says, “They do anything from various promotions on the Internet; going to retail and setting up displays; securing in-store play; filling out stock check lists for us; giving us reports on what programs they see other labels’ product in; compliance for listening stations that we payfor, especially at the chain level. The big thing is going to concerts and passing out posters, stickers orsamplers and doing everything in their community to promote our records.” Often music lovers who are passionate about a specific genre know others who are too. Loyal fans work will work hard to spread the word. They can create excitement in record stores and keep you informed of salesand any marketing opportunities. Jay Woods, Senior Vice President and General Manager of New WestRecords in Austin is a big believer in having people talking up your record in stores. He says, “We don’t havethe luxury of a big staff. So we constantly try to recruit people to be the eyes and ears for us in the stores.There’s only so much you can do over the phone. You’ve got to let people know you’re out there.” Street teams can help accomplish that.Using street teams makes sense for getting new fans. Think about it. Which might pique your interest more? - an advertisement for an act you don’t know or fans ent husiastically telling you why they love an artist. Enthusiasm is contagious. Fans are happy to help you when they’re asked to. They will go to many lengths if you show appreciation for their efforts. Let fans know that you have a street team. Recruit members whenever you can. Get them excited about helping you. Have a place on your website for people to sign up to join. Listwhat specific things you’ll need help with. You need help with your website? Let them know. Someone to call media or radio stations? Ask! A fan may have or know someone who has, the skills you need. Valerie Vigoda, lead singer and electric violinist for GrooveLily, is a great example of an act that's harness ed the power of their fans. They had a member of their street team act as their publicist for years. This fan went on to actually work for a PR company, so it was mutually beneficial. Announce what you’re looking for at all gigs. Encourage people to get friends involved.Keep a record of where fans live so you can tap into those in markets you tour. Fanpower is a force that can seriously help advance an artist’s career. It can create the grassroots awareness that’s necessary to sell CDs, book gigs, bring people to your website, get press and get you to the next level. When you tour, ask for help in each market. Street team members can give out flyers, hang posters and do whatever they can to promote your gig. They can reco mmend radio stations to approach, ask stores to bring you in for in-store promotion and get stores to carry your CD. They can even help you find a gig if you don’t know venues in their region. Recruit fans to work a merch table when you perform. In return, give them free tickets to your gigs, T-shirts and whatever else you can do to make them feel special. Hang with them a littleat the gig. Ask fans to go into chatrooms and post messages on the bulletin boards of artists who are similarto you. They can talk you up to music lovers who might love you too, if they knew about you. Make sure you have a good website that these potential fans can be invited to. Show great appreciation for members of your street teams, whenever you can. Create a separate newsletter for street team members. Let them know your news first. Make it personal. Talk to them like friends, becausethey are! Thank individual members for specific things in the newsletter. It will inspire others to do things to gettheir name in it. You can’t make fans feel too special! And, that’s all most want for helping. Give them specialt-shirts, advance copies of new releases, a song no one else has and any perks you think of. When fans feel like a part of something special, they’ll work hard. Create a community among your fans, as GrooveLily di d when they began their Petal Pushers (PP) program, which you should all check out on their website. www.gr oovelily.com Valerie Vigoda says they create a sense of community to make their team feel special – because they are. They work together to spread the word and it’s very organized. Vigoda explains, “The Petal Pushers turned into their own vibrant, growing community of friends. They have gatherings and parties. There is an active online discussion group and we make"exclusives" available to the PPs as often as we can. We put one very avid Petal Pusher in charge of theprogram. He's the point person - asks each PP how they'd like to be involved and encourages them to dowhat they're comfortable with: postering, flyering, contacting media, giving sampler CDs out, helping at themerch table at gigs and in some cases, promoting shows. A small group of PPs funded our bumper stickers, which say ‘Petal Pusher Powered!’ People enjoy being part of a community, helping to spread the word aboutmusic they like... all we do is show appreciation as much as we can and try to channel their incredibleenergies!”Street promotion is important for grass roots awareness. If you give posters to your street team members in different markets, they can go to retail stores and talk to buyers about pushing your CD. Ask street team members to go to any place that a potential fan might go. Encourage them to let you know when they’re going to music events that fans of your genre attend, especially at a large venue. Give them T-shirts (preferably with your website on it) to wear. Ask them to give out postcards, samplers, stickers or any swag with your name and website on it. Onno Lakeman, of Red to Violet, a duo based in Holland, says, “We have given people T-shirts and flyers for UK festivals and it works. In the U.S. we did the same during events so that thousands ofmusic lovers visiting the festival see someone wearing the shirt and handing out flyers.” Street team membersthat can tap into the fans of other artists can help increase your following greatly. Where might potential fans shop? Fans can bring promotional material to retail stores that music lovers may go into. These stores don’t have to sell the CDs. But they might give out swag to support the music, ifenthusiastic fans approach them. Tony Brummel says, “That’s a big alternative marketing area for a label likeus - a lot of alternative type accounts that might be interested in our artists will do things for us, outside regularmusic retail. For example, we continually supply skateboard shops, surfboard shops, place like that, with free music, t-shirts and giveaway items. In turn, they’ll gi ve out our samplers, put up posters and play the CDs in their store. They don’t sell the CDs. We still want sales to be in music retail.” Many stores play music. Why not yours! And if you don’t care about retail sales numbers, ask them to sell it too. If someone from a foreign country orders your CD off of CD Baby, contact him or her and invite them to join your fans. Offer to send them 5 free CDs for their friends with a p ile of postcards advertising your music. They can leave the cards in record shops, clubs and other places that music lovers can pick them up. People who’ve done it say their orders in those cities picked up when a fan distributed cards. Then all of those peoplecan be invited to join your street team too. With the Internet, street teams can be anywhere. Tap into this source of fan power and your career can spread its wings more. Daylle Deanna Schwartz is a music industry coach/consul tant, speaker and author of the best-selling I Don't Need a Record Deal! Your Survival Guide for the Indie Music Re volution, Start & Run Your Own Record Label and The Real Deal: How to Get Signed to a Record Label (Billboard Books). Daylle also publishes Daylle's News & Resources, a free music industry newsletter and Self-Empowerment Q uarterly, also free. [email protected] www.daylle.com www.idontneedarecorddeal.com has resources for advancing in the music industry. DOING YOUR OWN PUBLICITY by Jay Flanzbaum, Onlinegigs © 2010 All Rights Reserved. So you finally put a bunch of dates together and are going to do a small tour. I realize it was hard work puttingthe shows together but your job is hardly done. The same processes that apply to booking gigs also apply todoing your own publicity. You need to compile the press contact information, send them out your own performance information and then have a consistent, professional follow-up procedure. Presumably, most of the shows on your tour are in markets that you have never been to before and in places where no one has ever heard of you. Well that certainly sounds like a good time but you’d better have a good publicity plan. And while some may think it romantic to play a few of your gigs to nobody but the bar staff, most clubs will never take another chance on you unl ess you have worked hard to publicize your show. That means every show equally as hard, the Monday night in Os h Kosh as much as the Saturday night in Gotham. Every venue should have their own official media list, (and if they don’t you should compile one for them and they will forever be indebted to you). The list should be full of the specific contacts that the talent buyer hasrelationships with. These are also the people most likely to be interested about your particular event.You will need the media list for every venue you are play ing on your tour and the organization to send out a formal release to each of them. You will need to create a separate release document for each gig and for each media contact in the market. Your release should be brief and to the point, three to four paragraphs atmost. Local newspapers and radio stations are pummeled with information everyday; they do not have the time to read more than a few paragraphs. Don’t forget your vital event information. At a minimum you should include: Location Name, Location Address, Location Phone, Location Website, Event Date, Event Time, Age Limit, Ticket Price, Other Bands On the Billand any Notes you want to include. Releases should be sent a maximum of 6-8 weeks before your event. Every media contact will have a deadline for you to submit your event information. Some contacts will require a fax be sent and others will prefer e-mail, be sure to send your information via the proper method or you risk it getting lost in the shuffle. Wait a few days or a week before starting to follow up. Get to right the point when you call: you are following up on the release that you sent and seeking possible cove rage or interviews. Have your information ready and be prepared to sell yourself. Jay Flanzbaum of Onlinegigs got his start as a bookin g agent putting together natio nal and regional tours for independent bands. Those years running a boutique agency inspired the creation of Onlinegigs, an incredibly powerful booking and promotional tool for independent bands and agents. www.onlinegigs.com ENTREPRENEURSHIP IS THE K EY TO NEW ARTIST SUCCESS TODAY by Les Vogt, Entertainment Consultant © 2010 All Rights Reserved. The dictionary defines an entrepreneur as a "risk-taker who has the skills and initiative to create a business." Associated synonyms are... administrator, backer, busi nessperson, contractor, executive, impresario, industrialist, manager, organizer, producer and promoter... Most of the above definitions pretty much outline the job description required for an entertainer to succeed in today's music business environment. Many booking agents and promoters are becoming extinct animals because of their inability to conquer the internet. Much of the talen t and their buyers are beginning to contact each other directly through websites and various internet technologies. The middlemen (mostly agents) who do not exclusively control their talent, own a specific niche market or cannot adjust to the new climate... areslowly fading away into oblivion. Entertainers and agents must wear many different hats in order to survive in the ever changing new marketplace. The performer must often act as his/her own agent, manager and publicist, mostly because ifthey don't do it - who will? The business of "getting noticed" isn't easy and it certainly won't happen by itself. Alot of agents are busy learning to become producers and event planners to help them earn a living today. Themost experienced agents are not particularly interested in taking the time to develop a new artist... even when an artist's potential is blatantly obvious. They understand the time and effort required to get the artist to a pointof recognition and acceptance. Performers will often blindly believe they are ready when they are not.Therefore, an agent or representative can put in a great deal of time and money with an act and, at the end ofthe day, be fired for not bringing the performer the immediate success they were expecting. Entertainers in specialty areas are having an especially difficult time attracting agent interest because of the thankless work required to search out buyers from those specific market groups. All told, we have a goodmany artists booking themselves in order to survive. At this point, it is not much of a stretch for the successfulartist to become an agent for other talent. It's a natur al progression for the self-managed artist. If you are a strong act with a nose for business, how hard is it to suggest another performer to a satisfied client? When a great act comes along, most buyers think the sun shines out of their back side and they're likely targets for the would-be artist/agent. Entertainers are becoming agents and it's happening more and more... we need to get used to it.Many artists, especially in the beginning, offer their services to as many agents as possible... and they'll be only too happy to accept bookings directly from the end user (buyers and venues) as well. This is definitely the right thing to do... artists starting out, and/or those in specialty areas or with borderline abilities, will find it difficult getting gigs without pushing hard on their own. When an artist becomes successful at booking his/her own dates, it is usually because nobody else will do it. Many of these acts will eventually be good, get "noticed" and become successful through determinati on and persistence. But, because they have learned how to book themselves out of necessity, they will very rarely work through an agency except when the agent controls a venue or a gig they want... in which case they'll gladly pay the appropriate booking agent commission. You can hardly blame them... where were all the agents when the talent really needed them? It is easy to understand, then, that the days of an ar tist passing on leads (even leads obtained from an agent booked gig) back to the agent are becoming a thing of t he past. Basically, it boils down to survival... whoever gets the gig, gets the commission. Many artists belie ve that when they book a gig on their own, there shouldn't be any agent commission to pay. Sounds like a fair deal doesn't it? Or is it? Let's look at the otherside of the picture... Every worthwhile agent is (or should be) continually preparing promotional material, searching out and pounding new prospects as well as servicing their existi ng contacts with all forms of artist publicity... and making follow-up telephone calls on a daily basis. The artist is also (or should be) working hard at finding new contacts... plus, all the other agents working with the artist are likely offering the act's promo as well. Sooner or later buyers will begin receiving the same promo ma terials from several different agents and likely won't buy from any of them... especially if the price varies which is often the case. Buyers get nervous when prices vary and many will try to locate the acts directly (if possible) in order to get the best possible deal. The internetallows anyone the opportunity to connect to almost anyone in a matter of minutes. Entertainers must always be alert and able to recognize what is happe ning in their businesses. They need to know when an agent is responsible for getting the gig (especially a re-booking ) even if it comes to them directly by phone or website... and the agents have to know they will always be compensated with an appropriate booking commission. It will be this trust and confidence that will set one performer apart from theothers and help build a strong, long-lasting, mutually beneficial relationship with booking agents. It is easy to build a network of positive team players when you remain honest and forthright rather than cutting corners through false entitlement and non-payment of agent commissions. Maintaining a positive attitude and a cooperative work ethic with all agents, producers and buyers will guarantee their continued support throughout your entire career. Failure to honor and maintain these relationships will eventually eliminate your suppor t system ... and one day you'll wonder why you aren't working much anymore. Les Vogt was the lead singer in Vancouve r's very first rock 'n' roll recordi ng band... "The Prowlers " who gained local popularity by playing "live" on the "Owl Prowl" radio program. He shared t he stage with Bill Haley... Gene Vincent... Buddy Knox... Eddie Cochran ... Roy Orbison and Jerry Lee Lewis. Les is now an independent producer , promoter and entertainment consultant. Contact www.mem bers.shaw.ca/lesvogt [email protected]. USING RADIO TO BUILD YOUR FAN BASE HOW TOURING AND RADIO WORK TOGETHER by Bryan Farrish, Bryan Farrish Radio Promotion © 2010 All Rights Reserved. The first area we like to see artists use radio for is gi gs/touring. This is because the majority of money made by an indie artist (even if they have real distro) is going to be at live gigs via CD and merch sales. It is also because the number one thing a station would like to see is the artist playing in their market. So here is how to help one, using the other... Whether you are on tour yet or not, you should start with small market commercial regular rotation (or mix/specialty or college) and see what areas you ar e getting support from and using that to book additional gigs. You do NOT want to do it the other way around... trying to work radio only in areas that you are gigging...because you will not get enough mass support by working just those areas (even though you are playing there). This point seems to be difficult for many artist s to understand, so I'll repeat: It's great that you are playing in a certain town, but that alone is not enough reason to only work the stations in that town, leavingout the rest of the stations around the country in that format. It is true that gigging a market is the single bestthing you can do to help your radio there, just like gas is the best thing you can get to make your car run. Butyou first have to have a car and likewise, you first have to get your radio marketing lined up. This meansworking radio the way radio works: Getting spins on many stations of the same format/type at the same time,across the country, so as to build a "hit". After you have starting working the stations, you do two things: Go to the clubs in the markets where you are getting radio support and ask all the stations (or have your promoter ask) what clubs/venues or other placesthe stations might recommend for you to be booked at. If it's a commercial station, they might recommend aclient club (a club that advertises on the station). This is very useful because the station wants the club to advertise more; by recommending that you gig there and by giving you some spins, the station is providing what the club needs... an artist that the community will know about. Combine this with the ads that the club will hopefully run and you have what is needed for a nice turnout. If t he station is a college station, the referral- to-clubs is still of use because a club is going to respect the fact that someone at the station respects the artistand felt that the artist would suitable for the club. And the spins on the college station won't hurt, either. Some other things you can offer clubs... You or a pre-arranged intern in the club's market can arrive a day early and flyer appropriate retail locations. Also offer (or have an inter offer) to find and post club info onpertinent websites local to the market. You can even just offer to find interns who will work for the club. Keepin mind you have to do these things while you are on the road, so portable web access is important. Bryan Farrish is an independent radio airplay promoter. He can be reached at 818-905-8038 or airplay@radio- media.com. Contact: and other articl es found at www.radio-media.com.TOUR DISTRIBUTION USING RADIO by Bryan Farrish, Bryan Farrish Radio Promotion © 2010 All Rights Reserved. A lot of folks immediately want to try to get their product into store s using standard distribution. If you are a label, however and the project you are marketing is not a priority (maybe you are just testing it) or if you are an artist funding things yourself, then you might just consider foregoing standard distribution altogether in favor of tour distribution using radio. Tour distribution is when you rely solely on your gigs to move your product (ie: your product is only for sale at live gigs,) and you do not bother trying to get retail placement at all. Since you are saving the time and moneyof trying to get distro, you get to put your energies towards increasing your radio, which will drive more people to the gigs so you can sell more product. Basically, you are just tighten ing a loose circle. The traditional forms of distro (from the top down) are major, indie, self and consignment. They all require the permission or partnership of others in order to get your product onto retail shelves. Getting these approvals is very difficult for a new label and major and indie deals are basically impossible for solo artists. Even self-distro and consignment deals require tons of time and energy and money to set up for the few copies that they move... and certainly with no guarantee of profit. However, by purposely deciding to avoid that circle entirely and putting your focus on radio instead, you can do quite well just selling your product at your gigs (and y ou'll get full sale price too), since for new indie labels this is where most product is sold anyway. The only exc eption to this might be hip hop, where distro does well even if gigs are few. Yes, it's true that by not even trying to get into st ores, you'll be catching flack from a lot of people. But invariably, these people tend to be folks who have never gotten any type of distro at all for themselves. Either they are major label people who get all their company's stuff into stores easily (not their personal stuff, of course) or someone at a music magazine/ paper... which you are not fo cusing on since you are concerned about radio or friends/family who just want to br ag by telling people that your CD is in stores. That leaves clubs and venues. The booking people at these places might also want to give you reasons why you need to be in-stores, until they learn of your radio. Since clubs try very hard to get on radio themselves (most just can't afford it), they really value an act that is already getting exposure. The exposure can of course be spins, but it might also be morning show gibberish, ads or even community event announcements. So not only are you going to have more people at your gigs, you'll be booking larger clubs where the booker normally would not take your call. An act that normally sells two to ten CDs and a couple of shirts will now be able to move 20 to 50 CDs and ten shirts. And this is in just one night and is of course in addition to what the club might be paying you (outside of Los Angeles, of course). And don't forget to use the sales tactic of having someone walk through the crowd and ask every single person if they'd like to buy; don't just put your stuff on a table. One last area which sort of crosses the boundary of gig-only sales would be in-store performances. When you are able to perform in a retail music store, many ti mes the store will stock (sometimes even pay for) your product for several weeks after you leave. But you still have to physically go and play at their stores in the first place, so it still requires touring and thus still makes my point. Bryan Farrish is an independent radio airplay promoter. He can be reached at 818-905-8038 or airplay@radio- media.com. Contact: and other articl es found at www.radio-media.com.HOW TO USE RADIO PROMOTION TO BOOS T AIRPLAY AND BUILD NEW AUDIENCES by Jeri Goldstein, Performingbiz.com © 2010 All Rights Reserved. I often get calls from artists who want to know mo re about using a radio promotion company to help boost airplay and build new audiences. Most artists believe t hey ought to launch into a full-blown campaign as soon as they have their hot-off-the-press CD. Some artists should do just that, others should not, depending on your career goals, of course. Use radio promotions to identify hot markets for touring. Be prepared to tour in the markets where airplay is greatest. The best use of a radio campaign is to track the cities and radio stations that have added therecording. Plan support tour dates in those cities no later than four to six weeks after the campaign has been completed. Once you have the radio stations become familiar with your music, those stations become key points of contact to help promote a tour date. When you notify the station of the upcoming tour, they are likelyto extend airplay, promote the date, do phone or live interviews and possibly even work with the promoter orvenue as a co-sponsor. The radio station may even be able to recommend specific venues and promoters in the area at the start of your booking process. Use the radio promotion's campaign to leverage better dates. As you contact the various venues in the markets of greatest airplay, mention the radio campaign, the sta tion playing the recording and what degree of airplay the recording is receiving. Knowing that radio is supporting the act can often be the persuasive factornecessary to land a date. There are two methods of radio promotions to consi der - hiring a radio promotion company or doing radio promotion on your own. Here is a set of criter ia to help you decide which works best for you. Hiring a Radio Promotions Company Acts with intentions to expand their touring beyond thei r own region or to tour nationally would benefit from working with a professional radio promotions company. Costs range from $400-$600 per week for an eight to twelve week campaign. Be prepared to spend at least $2400 for an eight-week campaign and if all is going well, you might want to add an additional two to four- weeks. These costs are just for the company. Some co mpanies charge additionally for expenses like shipping and phone. You need to have enough promo copies of the CD available as well. Each promotions company will tell you how many stations they service. Select a company that is well established in promoti ng to your genre of music and radio format. Some of the main formats are: A3, Americana, NAC/Smooth Jazz, Rock, Adult Contemporary, Country, Adult Alternative, Gospel, R&B, New Age, World Music, Latin, Rap, Urban, College depending on which radio chart is used. Know which format your recording fits If you intend to use radio promotions as a tool to push the act to the next level, you should research formats and listen to the stations playing those formats prior to making the recording. When interviewing companies to work with, they will review the recording before taki ng on the project. They are just as anxious to have a successful campaign as you are. They have a reputation to maintain with the various radio stations. Theircredibility is at stake with every project they pitch. Ensure that the recording will be available in the markets where the campaign is concentrating. This can include signing with a distributor who will stock the local stores or it can mean the recording is available through any of the online retailers. If the recording begins to receive airplay, radio stations want to make purchase information available to callers.Self-Managed Radio Promotion Consider the range of your touring If you tour within a specific region or remain close to your home base, it may prove more cost effective for you to manage your own radio promotion. Although some regions of the country do have radio promotions companies that concentrate solely on a single region, most conduct national promotions campaigns. If you have no intention of touring outside your region or plan to move more slowly, region by region, the expense for a national campaign may be prohibitive and unnecessary at this time. The money spent on the regions youdo not intend to tour will be wasted. When touring is restricted to one area, it is easier to select tour cities andresearch the appropriate radio stations on your own, city by city, as you need them. Your costs are then spread out over an extended period, as are the necessary promo CDs. You are able to concentrate on each city you intend to tour. The main concern for you is scheduling time to send the promo CDs, make initial calls to the station to check on the CD arrival and then at least once a week, make a follow-up call to check on theairplay the CD is receiving. This is no small task and it is time consuming. Hire a friend or fan part time or assign someone from the band. The solution to the time consuming nature of this project might be to hire someone for a few weeks at anhourly rate, the total being much lower than the pr ofessional company. If they are organized and have a pleasant phone manner, they can accomplish much the same result as a professional company. The difference will be that the professional company has an established reputation and music directors at thevarious stations will take their calls. Your employee will have to spend some time establishing a relationshipfirst. Then again, your campaign doesn't necessarily have to be completed within a specific time frame. You are able to target the cities of greatest importance as you decide to set tour dates in those markets. When making the recording budget, include money for promoting the recording Set aside dollars for shipping costs, phone calls, promotional CDs and packaging materials. Research the number of stations you are likely to target and make sure you have included that number in your initial count for manufacturing. Most artists' recording budgets om it any additional money for promotion. Make booking gigs and building an audience easier for yourself by desi gnating money to market the new CD. This in tern will help leverage your bookings at targeted venues in desired markets. The goal of any radio promotion campaign, large or sm all, is to create audience awareness of your group and the new recording. National promotions companies use c harts to mark progress. If you choose to do your own regional campaign, your benchmark will be the number of stations that begin playing the CD. If those stations report to a specific chart, it is not unheard of for an independently, self-promoted artist's CD to achieve chart notoriety. I've worked with a number of artists who conducted their own campaigns with great success andcharted. They spent many hours of each day calling and then reca lling. Their efforts were rewarded. Yours can be as well. Ultimately, your goal is to use the radio airplay to boost bookings and build your fan base. Radio recognition helps both causes. Include some aspects of radio campaigning in your marketing program. Jeri Goldstein is the author of, How To Be Your Own Bo oking Agent The Musician's & Performing Artist's Guide To Successful Touring 2nd Edition UPDATED. She had been an agent and artist's manager for 20 years. Curr ently she consults with artists, agents and managers through her consultation program Manager-In-A-Box and presents The Performing Biz, seminars and workshops at conferences, universities, for arts councils and to organizations. Her book, CD-ROM and info rmation about her other programs are available at are available at www.Performingbiz.com or phone (434) 591-1335 or e-mail Jeri at [email protected] STATIONS TO TOURING by Bryan Farrish, Bryan Farrish Radio Promotion © 2010 All Rights Reserved. Invariably, when people first go to a promoter, they want to start with lots of regular-rotation spins on the biggest stations in the country. While you can't blame t hem (especially if they are brand new to the business), we have to quickly try to steer them towards something they can realistically make happen. Interestingly, these same people already understand touring and the difficulties involved there. They know that they can't start their very first tour by booking the Hollywood Bowl or Shea Stadium. But why not? After all, if they live in LA, why couldn't they just perform at t he Hollywood Bowl on a night that it's not already booked? Doesn't the Bowl want to support local talent? Then, after the Bowl, why wouldn't Shea stadium call you for a booking since you are now on a major stadium tour? Fur ther, since you live in LA, why would the Hollywood Bowl make the MISTAKE of booking some other artist who does NOT live in LA? The reason of course is that large stadiums have a lot of seats to fill and it's a waste of the time for the stadium staff to deal with any artist that does have enough awareness to make use of the stadium's size. Fortunately, most new artists understand they have to st art in small clubs or even smaller coffee shops. And they also understand that in order to start their first tour, they need to string together a series of these small gigs from city to city, giving no attention or energy at all to trying to book stadiums, since this would be a complete waste of time. The same situation applies to radio, except instead of caring about how many people are sitting in seats (and about how many NEW people are sitting in seats becaus e they heard that YOU would be playing,) stations care about how many people are tuning in and more importantly, how many NEW people will be tuning inwhen they learn that YOUR song/album will be played. Just because the station that you (and all your friends) listen to is a large commercial station in yourhometown, it does not mean that this station has any reason to play your song/album. Large commercial stations have a certain size (awareness) requirement of the artists that they play. This is one of the reasons that they will play new songs from established arti sts (and brand new artists from major labels,) because these artists (via TV, stadium and magazine exposure) w ill bring new listeners to the station. A new artist on his/her own label, however, will not. So, what is the radio equivalent of a small-club tour ? Answer: A small-market regular-rotation campaign or a commercial specialty/mixshow campaign or college radio campaign. These stations/shows do not live and die by the number of new listeners that they bring in ever y day, the way large-market regular-rotation stations do. A small-market regular-rotation campaign is so useful that it even has its own set of airplay charts(commercial specialty/mixshow and college campaigns do too). Matter of fact, you can make an ent ire career out of just these small airplay campaigns and small-club performances, just the way you can make a careerout of running a restaurant in your local neighborhood without ever trying to compete with McDonalds. It's not a huge success, but it is a living. Yes you can eventually start a marketing campaign to move up to medium-market stations, once the small- market stations are doing good. The difficulty and cost is roughly equivalent to booking and filling 1000-seat venues around the country. And even larger stations can follow next; the difficulty and cost at this level is probably similar to booking and filling 5000-seat venues around the country and thus is beyond what newartists/labels can do on their first time out; several releases (and years of experience) are required. Bryan Farrish is an independent radio airplay promoter. He can be reached at 818-905-8038 or airplay@radio- media.com. Contact: and other articl es found at www.radio-media.com.RADIO STATION VISITS by Bryan Farrish, Bryan Farrish Radio Promotion © 2010 All Rights Reserved. There is one radio marketing tool that sparks a lot of interest in the new artists/labels that can manage it: Station visits. While majors usually reserve station visits for their priority artists (because of the expense), a lotof well-financed indies... even if they have never done radio before... like the idea also and they will many times put their dollars into visits before putting them into other areas of radio marketing. This is probably dueto the familiarity that these folks have with the concept of traveling itself (more so than with the other radiotechniques,) not to mention the nice thought of being able to get out-and-about. This is good, since stationvisits are one of the most powerful (yet expensive) ways of marketing to small and small-medium marketstations. See our market-size list here... www.radio-media.com/markets What makes station visits so useful? To start with, stations can see for themselves that the artist is for real and loves his/her music and that the artist believes this enough to make the trip. It's very rare for a non-local artist to be able to come by a station for a visit, because of the costs and time involved in doing so. And it's ofno use just visiting one or two stations... you have to do the whole country (in your format) in just a few months... or else it's just not effective. Small market visits are also rare, because when indie labels try visiting, they usually try the top markets where they don't have a chance, instead of the small and small-medium markets where they are more welcomed. Thus, the sma ller stations really remember visits when they happen. Before attempting visits, it must be decided whether or not the art ist has the people skills that are needed to make the connections; the music is not important at this point. When an unknown artist visits a station, he/shewill be judged on personality alone; only then will the stati on care to hear any music performed by the artist. And speaking of live station performances, they are so mething that are always wanted by the artist and indeed, if the artist gets along with the station and if there is no rush, a live studio performance might just happen (the station will ask you). Just don't have the artist march in with instrument in tow. Try to be more subtle. While in town, the artist can do some incredibly important marketing, such as shaking hands with the local store music buyers/managers, music writers, TV hos ts and club promoters. It will be probably be the only chance the artist will ever have to meet them in pers on, unless you are very successful and the artist gets to come back in a year or so. The visits will probably need to be set up by your radio promoter... especially if the station is planning any promotions around the visit. But a PR person can do it too. Target all stations in your format in markets 150 and smaller. The airfare and motel costs will be $30k to $50k for a few months of visits, not including, of course, money for the artist. And the schedule will probably have the artist zig-zaggin g around the country; but it's more important to hit all the stations during the life of a single, than to try to save time/money by groupingclose cities together and thus ending up with a week or two of dead time between visits. If done properly, theartist will be in a new market every day. And lastly, save the major and medium markets (1-100) for yoursecond year... you don't want to be spinning your wheels now. Bryan Farrish is an independent radio airplay promoter. He can be reached at 818-905-8038 or airplay@radio- media.com. Contact: and other articl es found at www.radio-media.com.10. SPONSORSHIP FINDING A SPONSOR by Bronson Herrmuth, author of "100 Miles To A Record Deal" © 2010 All Rights Reserved. Success in the music business is about separating your self from the pack. One of the quickest and most effective ways to do this as an artist is to find sponsors. Unless you live in some unpopulated remote region of the world, then you are probably surrounded by plenty of potential sponsors for your music. Basically any i ndividual, company or corporation doing business in your area is a possible sponsor. All it really takes is them wanting to sponsor you and then you feeling good about promoting whatever the product is that they make, sell or distribute. In a nutshell that’s how a sponsorship works. Your sponsor "supports" you and in return you promote their product. How does a sponsor support? A sponsor can support you in many different ways depending on their product and how active they are in promoting it. To give you a real-life example, my band once had a sponsorship deal with Budweiser through a regional distributor who we met through a club owner friend after we p layed his club. We were invited to this distributor’s warehouse where we were given T-shirts, ball caps, fancy mugs, stickers - all kinds of Budweisermerchandise … including several cases of their beer. They paid to have a big banner made with our logo on it, done very professionally and to our satisfaction. We were asked to hang it up behind us whenever we performed. In one corner of the banner it said "Budweiser presents" with their logo along with our logo, which was much bigger and more prominent. None of this cost us a dime. Being sponsored by Budweiser definitely gave us anedge up on our competition when it came time to get gigs in the clubs. How do you find a sponsor for your music? 1. Target the businesses that actively promote their product on your local radio or TV stations - the ones that are already showing their desire and ability to promote their product effectively in your area, city or town. 2. Before you visit, do your homework. Find out w ho is in charge, then make an appointment and go meet them. Chances are you may already know them if y ou live in a small town or city. Maybe someone you know already has a relationship with him or her. Use any and all connections you have to get started. 3. If they run radio spots and you have original music already professionally recorded, see if they are open to using your music for the background music "bed" in their radio promotions. 4. If you are a songwriter, write them a song. This can be tremendously effective as a starting point to approaching a potential sponsor. Walk in and play them a song you wrote about them and their product. 5. Car dealerships are great places to start looki ng. Many bands are riding down the road right now in a vehicle that was provided by their sponsor. Good c hance that their name or logo is professionally painted on that vehicle along with their sponsor's. Car dealerships also do lots of promotions and eventswhere they have live music for their customers. Ev en if you approach them for a sponsorship and they decline, making them aware of you and your music may turn into some great paying gigs somewheredown the road.6. Radio stations can be awesome sponsors. Many radio stations produce and promote concerts and in most cases use local or area talent to open these concerts. That’s a lot of free radio exposure if they sponsor you (or even if they just like you). If you have a record out, having a radio station for a sponsor can really help you get exposed in your immediate ar ea quickly. Approach the ones that play your style of music. Bronson Herrmuth is author of the book "100 Miles To A Record Deal". He also runs SongRepair.com whose mission is to actively assist its songwriter clients by providing them with the information, advice and direction they are looking for. www.songrepair.com HOW TO GET TOUR SUPPORT FOR YOUR MUSICAL ACT by Jeri Goldstein, Performingbiz.com © 2010 All Rights Reserved. Touring is expensive, especially when you tour with more than two people. There are so many costs associated with launching a tour and many of those costs are incurred before playing the first date. As an independent artist managing your own career and possibly running your own record label, you are responsiblefor fronting all the money for marketing, recording and eventually touring. There are ways, however, to get some financial support for some of the touring costs. It takes a little work, some research and some creativethinking and can result in having someone else pay for some of the touring expenses. The key to this process is to first carefully consider your act, the members of the group and what connections each may have that might provide a lead to a potential support source. The other main factor to consider iswhat are the benefits your group can offer any potential supporter. To accomplish this process, considerhaving a brainstorming session with group members and make a series of lists to guide you toward finding tour support. Identify some of your touring expenses The following list will get you started. Add to this list with your own specific touring items that will be appropriate for tour support. • promotional materials for a specific tour- posters, flyers, photographs • merchandise items - t-shirts, hats, concert programs etc.• hotel accommodations• touring vehicle - band owned or rental• public transportation- airfare, train, bus • concert venue rental fees for self-promoted concerts • advertising• office expenses- shipping and mailing costs, phone• gas expense• equipment purchase or rental• special promotional events • guest artist touring with actList the connections each of you may have This might include friends or associates who own a busines s, work for banks or utilities, advertising or travel agencies, printers, hotels, instrument manufacturers etc. This is where your mailing list can also be an invaluable resource. Most artists collect names, addresses, e-mail addresses and possibly phone numbers. Very few, however, ask those that sign the mailing list for their occupation. As you complete these exercises, it will become evident that having this piece of inform ation may benefit future projects. Your mailing list is a marketing tool listing people that have attended a performance and have indicated their interest in continuingto receive information about your group. They volunteered t heir contact information. Now use that list to its greatest advantage. Consider the following: • What instrument does each band member play? • What instrument stores or equipment companies do you frequent? • What hotel chains do you frequent? • What specialty stores do you shop for clothes, food, office supplies?• What car rental company do you use most often?• Where do you have your vehicle serviced?• Where did you purchase your vehicle?• Where do you have your printing done? • Where do you do your banking? • Do you have any specific sports or organizational ties? You may come up with many other sources for potential tour support relationships as you continue to brainstorm and make your lists. Identify the benefits you offer What can your group offer any of the potential support sources that will be of some benefit to their business or organization. By identifying the needs or concerns of the business or organization, you will be helping them in return and this must be emphasized in any proposal made to the bu siness. The most common return benefit is advertising. By plac ing the business' logo or "Tour support provided by XYZ" on all of the promotional materials or mention t he business name in any media interviews, the business gains access to a new audience. Advertising and opening new markets, finding new customers is a highpriority for every business and organization. Your band can offer potential tour supporters a creative, way to reach new customers by supporting your tour. It needs to be an attractive package. You need to demonstratehow broad your outreach will be, tell them what kinds of marketing you plan to do. It is especially attractive iftheaudience you plan to target is a good match for the potentia l supporter. For example, if you perform shows for families or children, a good match may be a baby-clothing store. There are other kinds of benefits that may be attractive to businesses or organizations. Perhaps a specific tour is to benefit a charity in some way. By linking businesses interested in supporting that charity with yourtour, they achieve name recognition as being a community minded organization. Certain funds can befunneled through the charity thereby offering supporters possible tax deductible benefits. (Check with the charitable organization regarding qualifying tax deductions). Individuals that are interested in helping your band progress, may also be a good match to fund certain expenses. They may not require advertising benefits but ma y have other ideas of how they can be recognized for their involvement. You might consider offering to play for an event the individual is planning in return for their support. Some people working for a company may get their company to offer you tour support in return for the band playing a company event.As you identify each potential supporter, link them with a specific portion of your expenses i.e., a local printer with printing costs or a hotel chain with complimentary hotel rooms for all tours during the coming year. Youget the idea. The key to winning supporters is having an attractive tour package with well-planned marketing coupled with finding businesses, organizations and individuals that have an interest in your band's success. As you research some of these potential supporters, find out what your band can offer each supporter to maximize the benefits to them for their generou s support. Start with one item on your list of expenses as you begin to incorporate this tour support idea into your touring plans. Poster printing is a good starting option since it is visible and tangible. It is easier to get one sponsor fora tangible item, than to attempt finding many sponsors all at once to cover all your expenses. Once you've been successful with one sponsor and their name has been seen on your posters, other potential supportersmay be more easily won as you show them examples of other supporter's contributions. A number of my clients have incorporated this sponsorship tour support program into their touring routinely and have successfully reduced specific tour expenses during this last year.I wish you similar success. Jeri Goldstein is the author of, How To Be Your Own Bo oking Agent The Musician's & Performing Artist's Guide To Successful Touring 2nd Edition UPDATED. She had been an agent and artist's m anager for 20 years. Currently she consults with artists, agents and managers through her consultation program Manage r-In-A-Box and presents The Performing Biz, seminars and workshops at conferences, universities, for arts councils and to organizations. Her book, CD-ROM and information about her other programs are available at are ava ilable at www.Performingbiz.com or phone (434) 591-1335 or e-mail Jeri at [email protected] HOW TO GET BIG SPONSORSHIP MO NEY FOR YOUR BAND, TOUR, EVENT OR PRODUCTION by Thom King, Multimediary Entertainment Marketing © 2010 All Rights Reserved. Touring is a band's greatest opportunity for success. But touring can be very expensive. Getting your tour, band or event sponsored is critical to your success. Sponsorship can offset production, travel and prom otion costs and virtually any other expenses. The right sponsor can also significantly augment your advertising, publicity and promotions expenses. However, getting sponsorship participation can take a lot of effort and commitment on your part. You will need to prove topotential sponsors that your opportunity will deliver a good return on their investment. The following is a step by step procedure we have used at Multimediary Entertainment Marketing to secure hundreds of thousands of sponsorship dollars for numer ous tours, events, artists, television programs and feature films. We have done this for several major record labels and both signed and unsigned artists. Nowwe want to share our knowledge and experience so you can do this on your own. Create an introduction letter The first step in securing sponsorship dollars is to craft a professional introduction letter highlighting the features and benefits of the opportunity you are offering. Some of these features and benefits might include inclusion in advertising, product sampling, banner display and more. After you have given a brief overview of t he opportunity, close the letter by asking their permission to send them a more detailed presentation. The introduction letter is the most critical part of the sponsorshipsuccess equation. If well crafted, it will get your foot in the door.Demographic analysis Understanding your audience is critical. Potential sponsors will want to know who you are reaching. The best way of gathering this information is right at you finger tips. Call radio stations y ou think should be playing your music. Ask for an account executive and ask this person to fax you their Tapscan, Scarborough or Prismdemographic and qualitative information. In all likelihood you will now be armed with a detailed overview of what your audience looks like and can match this up with potential sponsors. You will also have a great hit list of companies to start hitting. Creating your sponsorship presentation No that you have your introduction letter and demogr aphic profiles, you are ready to begin creating your presentation. The presentation will seal the deal with sponsors only if it contains all the information they will need to make an educated decision on your opportunity. The presentation must contain the followingelements: 1. A two to three paragraph overview of your opportunity. 2. A detailed overview of tour routing, markets and venues. 3. An overview of what type of public relati ons and media support you expect to have and how the sponsor will be included. 4. Your audience and demographic profile.5. Tour partnership deliverables or what the sponsor will receive for their investment.6. The total investment you are looking for from your sponsor and the return a sponsor can expect. Now that you have all of the pieces of the puzzle you are ready to go out and shake the trees for sponsorship dollars. With effort and consistency you will land a sponso r. Always deliver on what you promise to retain your sponsors year after year. Under deliv er and they will promptly kick you to the curb. Our philosophy is to always under promise and over deliver. With this phi losophy you will be assured ongoing solid sponsorship participation for years to come. Multimediary was founded by Thom King in late 2001. Multimedi ary has worked with Virgin Records, Capital Records and Universal, Warner Brothers, Lions Gate Films an d several other major and independent record labels and entertainment production companies. Multimediary has also worked with several consumer brands including: Lifestyles Condoms, Miller Beer, Red Bull, Monster Energy Drink, Dr. Martins, Snapple, Honda Motor Company, British Petroleum, Adidas and more. Multimediary Entertainment Marketing can get your t our, band or event on the right track to sponsorship. For details and pricing please visit our website at: www.multimediary.com/sponsorship.html THE PERFECT MARRIAGE OF ARTIST AND CORPORATE PARTNER by Thom King, Multimediary Entertainment Marketing © 2010 All Rights Reserved. The synergistic partnership between the artist and the corporate sponsor is the impetus for a new business model in the music industry. Everyone in the industry is aware of what a struggle it can be for an artist to ever see a penny for their efforts after getting a record label deal and secondly how increasingly difficult it has been for the record labels to stay competitive as well as profitable. These ongoing problems have, however, creat ed amazing opportunities.Artist and partner working in concert The first component in creating a "strategic marketing partnership" is finding a corporate partner who is ready, willing and able to sponsor an artist. For over a decade, Multimediary has been working with a variety ofcompanies in numerous categories ranging from the beverage industry to the auto after market. We have established nearly 2000 contacts with VPs of marketing and brand managers. Moving advertising and entertainment marketing budgets towa rds artist partnerships is logical for several reasons. First, consumers rarely make buying decisions based entirely on a print ad, radio, billboard or TV commercial. Buying decisions are emotional and often are influenced by word of mouth or the endorsement of a taste maker and influencer of peer groups. These taste makers and influencers are usually performing artistes, sports figures and other celebrities. For ex ample, in his hay day, Michael Jackson was able to move many to join the "Pepsi Generation." Remember the one glove thing? How about shaved heads, baggies, men's eyeliner, leg warmers, tribal tattoos, belly rings, low rise pants and midriff tops - the popularity of all of these fads was started by and perpetuated by a taste maker. This is the value proposition that generates buy-in from corporate partners. The second component of the strategic marketing partnership is the artist. Above all, the primary concern of the artist is the integrity of their art. Their greatest fear is that aligning with a corporate partner will cause their audience to perceive them as selling-out. As a result, they risk losing their credibility as an artist. Corporatepartners also face risks. Mega stars, once they ali gn themselves with a super brand and an "in your face" overt endorsement campaign, may lose their credibility as a taste maker. In this case, everyone loses. The million dollar question is, "How can a partnership be built without jeopardizing the integrity, art and 'street cred' of the artist?" The solution is obvious, get to know the artist. Know the artist on a personal level. Find outtheir likes and dislikes, what companies they admire, what they eat, what they drink, what they wear, what do they do in their spare time, their hobbies and political views. You can then create a list of interests that you can work from. Compare this list to a list of potential corporate partners that fall into the artist's interests, tastes and sensibilities. Now that you have a "h it" list, you are ready to create a partnership. He who wins, wins through win-winYou have all of the pieces, now comes the "I'll scratch your back if you scratch mine" part of the equation. This is where the symbiotic rubber meets the road. It is important that both par tners establish a set of defined and measurable goals. The artist and or the label is going to be interested in off-setting recoupables such as production costs, promotion and advertising, as well as tour support - all of this in addition to increasing unit sales. The corporate partner will be expecting to build brand equity through alignment with the "taste maker" artist. They will also be looking for sell-in and pull-through opportunities as well as experiential branding and productsampling options directed toward the target market. Corporate partner s need to get a specific SKU or product sold into a retailer or on-premise account (bar/nightclub/restaurant). Here are a few ideas that could get everybody heading dow n the right path. Let's say, for example, you have a hair care product as your corporate partner and an artist that targets women 14-24. The artist loves the product and has embraced the partnership. The partner loves the demographic that the artist targets. Hereare a few potential scenarios that this situation may create:1. A gift with purchase program. A special co-branded CD with a unique mix of 3 or 4 tracks is attached to the partner's packaging. This provides an incentive to consumers to purchase the product. It also gets the artist and their music in front of their target audience. This is referred to a GWP Program or On-PackProgram. Manufactures find these very appealing because it is a gift the consumer can get nowhere else other than by purchasing their product. It is also attractive to the artist because they just moved thousands ofCDs through a unique distribution channel. 2. A purchase with purchase program. This is very sim ilar to the GWP program except the artist's special co-branded CD is available at a discount when the consumer purchases the corporate partner's product.Often times this comes with a point of purchase disp lay featuring the artists' likeness all over it. For instance, a free standing Coca Cola display which states that when you purchase a twelve pack of Cokeyou can get the specially mixed, available nowhere else, CD Samplefor just $4.95. 3. Touring creates even more opportunities. An artist or label can expect substantial tour support in the form of money and in kind gifts from the corporate partner. When I refer to "in kind" I mean that they will include the artist in the advertising campaign they currently have in place or they will augment what they alr eady have placed with additional dollars to support the tour. What they are looking for in exchange is in-store appearances from the artist. They will also want the label or artist's street teams to do product sampling during the in-stores and in and around theconcert venue. Sometimes they want to do a wrap of a tour bus with their brand. If this is the case,expect to create a VIP section in the arena and plan on an after show meet and greet session at eachvenue. You will want to give the corporate partner exposure at the venue as wel l as long as it is permitted. This is something that should go in the rider of a performance contract with the venue or promoter. This is a very reasonable request considering the support that the corporate tour partner is bringing to the table.Having an artist do in-stores moves much more product for both the artist and partner. Now that you have all of the pieces you are ready to capitalize on the very lucrative world of strategicmarketing partnerships. But remember; be very careful who you get in bed with. Both artist and corporatepartners must have the same goals as well as a commitment to each other. These types of partn erships really are like marriages. Stay within that which we call the circle of trust - and may the circle go unbroken. Case studies Zero 7 lifestyles condoms tour integration LifeStyles Condoms joined in partnership with the band Zero 7. Zero 7 was voted Spin Magazine's "Baby Makin' CD of The Year." Since LifeStyles is in the business of keeping that from happening... it only madesense that Zero 7 go on the road and tout the benefits of safe sex and recommend the use of LifeStyles condoms. Lifestyles was included on all advertising and promotion and the Zero 7 street teams handed out "Zero 7" LifeStyles Co-branded Condoms. LifeStyles made a generous financial commitment to the tour which off-setan otherwise recoupable expense and the band moved more scans due to touring. LifeStyles obviously got the endorsement of the taste maker and their product in the hands of a well-targeted audience.Bonnie Raitt's tour When we were asked to work on 9 time Grammy Awar d winning artist Bonnie Raitt's Tour it was an extreme privilege. We were given the opportunity to bring partners into Bonnie Raitt's tour. This partnership came with somewhat unique circumstances since Bonnie had never endorsed a product or company before, nor did she intend to now. The integrity of her art was paramount. But, it was her management's intention to do a "green" tour, which embodied Bonnie Raitt's environmental stance. Each potential partner was screened by her advisors for "greenness." What culminated was a tour where transportation is run on Bio 100 non-polluting bio diesel fuel, green power for the entire tour was supplied by a partner and the integration of other tour partners who were able to display their products within the venue. Each partner was included in a program which was printed on recycled paper. The PR for each participant is significant considering that tours like this don't happen every day. Multimediary was founded by Thom King in late 2001. Multimedi ary has worked with Virgin Records, Capital Records and Universal, Warner Brothers, Lions Gate Films an d several other major and independent record labels and entertainment production companies. Multimediary has also worked with several consumer brands including: Lifestyles Condoms, Miller Beer, Red Bull, Monster Energy Drink, Dr . Martins, Snapple, Honda Motor Company, British Petroleum, Adidas and more. Multimediary Entertainment Marketing can get your tour, band or event on the right track to sponsorship. For details and pricing please visit our website at: www.multimediary.com/sponsorship.html WHY YOU SHOULD SELL OUT: HOW RICH HARDESTY GOT FREE CDs AND A TRIP TOJAMAICA by Scott McCormick, Disc Makers © 2010 All Rights Reserved. Business professors would do well to make Rich Hardesty a case study for Niche Marketing 101. By targeting the college fraternity crowd, he's been able to parlay his singer/songwriter talents into a full-time eight-yearcareer. He's sold 15,000 CDs, opened for Kid Rock and Cypress Hill, gotten a major liquor company to pay forhis last two albums and another company to pay for his Spring Break gigs in Jamaica. Perhaps it's notsurprising he majored in business marketing in college. Hardesty left his job at Federal Express in 1991 to take a stab at performing full time. He quickly became a college favorite, playing bars and singing songs like , "Never Wanna Fkin See You Again," and "The Doobie Song." His first album, Jones'n, became one of the best-selling CDs in his local Indiana music scene and itssingle, "Never Wanna Fuckin See You Again," has rema ined the most popular jukebox selection at Kilroy's Sports Bar in Bloomington, IL since it was first put in there in 1994. It was at one of his college bar gigs that Hardesty learned that Jagermeister was looking for a new band to sponsor. "I sent them a video that I made of my shows so they could see how I worked the crowd," recallsHardesty. "They monitored the bars I played at and notic ed I sold a bunch of Jager when I played. One of my bars ended up selling more Jager than any other bar in the world. (38 bottles during one set!) They ended up giving me full sponsorship and paying for my last two CDs." The Jager-sponsored promotion hasn't stopped there, however. Last year they released 250,000 copies of a CD that included one of Hardesty's songs, worldwide. "It has my website and e-mail on it, so now I get e-mails from people all over asking how to get my CD," he says. "I have maintained a great relationship withthe Jager band manager and we e-mail weekly and talk about ways to keep me rolling strong. He i s currently helping me with my Jamaica Giveaway next week where tw o of my fans will get free round trip tickets to travel and stay with my band in March."This year will mark Hardesty's fourth spring break tour in Negril, Jamaica. Each year Hardesty takes between 500 and 1,000 students to Negril for spring break and even gives away tickets to lucky fans.This promotion not only helps bring people to his Indiana gigs (he regularly draws 1,500 people) but itgets him to a hot spot for his target audience of college spring-breakers. And since college students fromall over the U.S. visit Negril, Hardesty has been able to get exposure to students on a national level. The first Jamaica trip was set up when I asked Sun Splash Tours in New York to pay for my band's trip to Negril provided I brought a bunch of fans from IU and Purdue. This was in 1997 and I wanted to show my fans a great cultural escape. I also wanted to do something different that would separate me from theother bands. At first the president was leery but he agreed. So, we brought a bunch of students with usand put on a great show at The Risky Business Bar and Grill. We were the only American band so wesparked a lot of attention. This Negril tour has since become so popular that some of our fans couldn't gothis year, it sold out so fast. Scott McCormick works for Disc Makers. Disc Makers offers the best-looking product, the hottest-sounding audio and the most valuable (and free) promotional tools, including free distribution, a free UPC bar code and much, much more. www.discmakers.com11. PLAYING NON TRADITIONAL VENUES BOOKING NON-TRADITIONAL SHOWS AND EVENTS Greg Johnson, StarPolish.com © 2010 All Rights Reserved. From my earliest days as a music fan, then as a reco rd retailer, journalist, publicist and now venue owner and radio show host, I have always heard some of the greatest music that unfortuna tely never found an audience. For every Beatles or Rolling Stones or any number of y our current favorites, there are many more of equal brilliance that remain great lost classics. No need to name names - we all have our lists and favorites and we all wonder or speculate why these favorites never made it bigger. Well, to para phrase Bruce Springsteen, “Are You Tougher Than The Rest?” Because although art matters most, no matter how you marry that art to commerce, it is a reality that there is intense competition to find and keep an audience. While StarPolishencourages collaboration over competition among developing artists, you still need to be tougher than the restto best build your career and fan base. If you are having trouble booking yourself at local clubs and finding an audience in other conventional performance venues - or if you’re simply looking fo r creative ways to expand an already successful touring schedule - then perhaps it’s time to think outside the box and consider more unusual, non-traditional outletsfor your live performance. Especially in today’s world wi th many clubs that don’t pay (and some that may even try to make you pay to play!) it is more important than ever to find non-traditional ways of touring and getting your songs heard. And not just to help you make a living, but to minimize the cost of finding an audience and promoting your act. Types of Alternative Venues and Performances Living room or house concerts These are springing up everywhere now. I prefer to call my venue, The Blue Door in Oklahoma City, a “house concert,” even though it looks like a roadhouse with an apartment and I mostly book singer/songwriters who play clubs. The Blue Door certainly has the intimacy of a house concert. But most of the time, house concertsare more intimate gatherings in a “real” living room in some suburb somewhere. These gigs are primarilyacoustic or at least just low-level electric guitar and amp. Usually 50 to 70 people come and make a donationfor the music and enjoy wine and whatever food is on the menu. House concerts almost always have financial guarantees to the artist because the hosts ask for reserv ations and usually these are great gigs for everyone. Sometimes artists will play with no P.A., sometimes the music might be out in the back yard. It is as intimate a gig as you can get and can sometimes be very significant in launching an artist’s career. Ellis Paul has been coming to the Blue Door for six years and he still plays house concerts like Suzanna’s Kitchen in Wimberley, Texas. The first time Ellis was at the Blue Door we had six people in the aud ience and two of them were from Boston where Ellis lived. Then he had 11 and then 27 and then 47 and then he sold out with 115 at a $15 ticket, taking 70% of the door. Now he has a very loyal Oklahoma following, as well as arising national appreciation, which might increase when audiences see the Jim Carrey film “Me, Myself &Irene” and hear Ellis’s “The World Ain’t Slowing Down” on the soundtrack album. Ellis Paul has worked thetrenches and now it’s paying off. He has played numerous house concerts all across the country. If you are in a noisy bar, playing to just a few can be a real drag, but in a listening room it is almost always successful, nomatter the turnout.In folk music circles, house concerts have been a tradition for many years, but really only in select places - mainly Texas, California and parts of the East Coast. Now many artists not normally associated with the folk world are taking to playing house concerts. Pat Dini zio of the Smithereens recently put together a house concert tour from his fan base across the country and Cindy Bullens, whose history is really in rock & roll, is planning a similar tour this fall. For a listing of house concerts and opportunities around the country visit,www.houseconcerts.com. Also reach out to your mailing list and fan base for help in identifying and contactingfolks who may want to book you in their living room. Coffeehouses/bookstores I put these two together since almost all bookstore gigs are in the store’s cafe and it’s really the same as a coffeehouse gig. If you want to book a gig at a Barnes & Noble or Borders, on a store-by-store basis, youhave to go through the community relations coordinator. If you want to try to book a tour throu ghout the entire chain, you need to go through the corporate offices. It goes without saying that you can’t get loud in thesesettings, but any musician worth his or her salt knows how to tone it down when necessary. Don’t forget thelocal coffeehouses, as they might want a local solo arti st or band who can play every week and bring in folks. Or they might want to find some new and interesting artist who is driving through. Sometimes in Borders andBarnes & Noble you can coordinate a CD release and have your disc on display in the music department. Ihave witnessed some of the most exciting shows ever in Borders, like when Bill Kirchen rocked the placewithout being too loud to bother book readers across the store. Small restaurants I know that in Oklahoma City, Galileo’s restaurant (a small bistro, if you will) books performances during the week with touring musicians who are not quite ready to play the 100-seat Blue Door. I am sure this happenseverywhere, at least if the owners are hip to good music and songwriters. Usually these gigs have a smallguarantee because often there is no cover at the door. Probably $50 to $100, p lus dinner, depending on your setup. Small restaurants are good alternatives when the local club or listening room won’t book you yet and can translate into a good buzz around your act that will eventually give you the story and leverage you need toget into the bigger venues Record stores The bigger stores and independents are really not an option unless you are well known enough to warrant aCD release show. But smaller rock-oriented stores will sometimes let you set up and play and while there is usually little or no money, you are at least playing your music in a town you’ve never played. Because these stores are so knowledgeable about their core audience, sometimes they will initiate these concerts; other times the artists come to them and do all the legwork. Every town has at least one underground record storethat promotes the most alternative or new music that is out there, so don’t be shy. Get in touch with these guys. They can be your best friends. Fraternity and sorority parties/smaller college gigs Artists who want to play original music often overlook these gigs, but I think it never hurts to try to take some of these on. You might have to do a few covers, but t hat doesn’t mean you can’t play your own songs as well. If you’re on a tour and have to get from one place to anot her anyway, then you might as well play music at a frat party in between more conventional shows. I hav e heard some of the greatest road stories from these parties, which as you would suspect, can sometimes get out of hand. In the sixties, such bands as PaulRevere & The Raiders, Commander Cody, Mitch Ryder & the Detroit Wheels and others had a healthy frat-party circuit. For many bands the college party-circuit is still a great place to play if you don’t mind rowdy parties and being asked to play a lot of cover songs. High Schools High Schools are very overlooked places to play. If you are just starting out, high schools can be a great place to both hone your skills and make young, possibly lifelong fans while you are preparing to go to the next level.The right contact person for booking high school performanc es will vary by school - try contacting teachers, administrators and student leaders about setting up and playing either in an assembly or outside just after school. Start in your own hometown before trying to do this around the country.Sharing gigs This is where you hook up with a local artist or band and open shows for them and then return the favor when they want so break into your part of the country . Here in Oklahoma City, Austin band The Gourds have opened for local band Red Dirt Rangers and in turn had the Rangers open their shows in Austin. This is notonly a great way to build an appropriate audience, it’s also important to develop connections with other like-minded musicians. Remember that collaboration between artists is more fruitful than competition. But justwork out the money situation among yourselves in advance of the shows. Busking Being a time-honored tradition of itinerant musicians, playing on street corners is nothing to be ashamed of and can in fact be a decent source of helpful pocket money. Before she was known at all, Lucinda Williamsused to play on the street in an area around the University of Texas called “the drag,” and other artists suchas Peter Case, Ani DiFranco and more all have stories of playing music with the guitar case open for tips. Find the busiest place in whatever town you are in and play. Sometimes you might need a permit from the city, but they are not hard to get and usually are no more than $20 bucks or so and in fact, most city leaders feel that busking is a wonderful tradition that makes a city more alive, like New Orleans. Go to theentertainment district and set up outside a club - that is the best place to busk, since people are alreadylistening to music nearby. Talking to alternative venue presenters My venue, The Blue Door in Oklahoma City, is kind of a cross between a club and a “house concert” venue, so it’s very non-traditional, although we do much of the same things a small club does. It’s important to remember that talking to alternative venue presenters is really no different than dealing with other presenters and promoters. Booking your act is really a sale s job and one of the hardest in the business. You are supposed to call and convince someone who has never hear d your music to take a chance on you. .And even if they love your music, it can be a tough sell. Well, here are a few things to remember when making that initialcall to prospective non-traditional presenters. Be very relaxed and cordial. Ask what kind of music is booked and simply ask to send a demo or your current disc. Remember that these people are humans, too and try to develop a friend ship with the presenters where possible. But make it short, as these folks get lots of calls; get the address and say thanks and ask when to call back. No matter what the venue, it’s easier if you if you don’t waste your time or the presenter's. At this stage, don’t waste your expensive bio, press ki t, photos etc. I can’t tell you how many photos I have discarded from bands and artists who send me stuff but won’t ever play here. Just send a brief bio, your music and that’s all. It’s a waste to spend a lot of money on elaborate press kits, unless you have a particular visual element that is absolutely critical to your presentation. Make them look nice and readable, but that’s all you need. I once got an elaborate video press kit that was useless to me. Don’t make the promoter work too hard to get to know you. When I’m interested in someone’s music I only want to hear the music and in fact, whilethe bio might interest me, I don’t even need it to book someone. If I like the music, I just need a contact so Ican talk about future gigs. Less is really more these days. Call back two weeks after you know the CD or demo has arrived. Be patient. We all get tons o f calls and CDs to listen to and sometimes a week isn’t enough. If you call several times and are not g etting anywhere, assume they are not interested. I have to be honest. Sometimes I don’t cal l back instead of telling someone I don’t like their music. That is the hardest thing for me and I suspect many presenters feel the same. But if you persist to know why you aren’t getting the gig, be prepared to take your medicine. They might be right and you might not be ready or they may just be full of it.Contracts/Riders & Industry Standards Guarantees In the 10 years I have been putting shows on I still only pay guarantees to the most established artists. This is something that beginning touring artists must be prepared for, even at non-tradit ional venues. In general, don’t expect a guarantee unless you are playing a place that does not rely on a cover charge at the door to make money. Most of the time you are likely to get at least 70% of the door and more if the venue has liquor sales. Ifyou are offered one, be very happy with a $100 guarantee until you can develop a bigger following. House concerts are an exception. As noted before, these are usually great gigs for everyone and almost always have financial guarantees to the artist because the hosts ask for reservations. House concerts can payfrom anywhere from $100 to $1,000 and more, if you are someone like Guy Clark doing a living room show. I am not saying don’t ask for a guarantee, but remember that in your developing stages it's not as important as getting your music out there. And whatever you do, if you do get a guarantee and the presenter takes a big hit, you might want to consider backing off your fee so as not to make them suffer for trying to do you a favor by taking a risk and booking you in an alternative venue. This is a tricky situation, but if the vibe is good youprobably want to maintain good relationships with presenters no matter how many folks turn out. Thisunderstanding should work both ways - I think presenters should always be ready to pay the full guaranteeand artists should always be ready to give them some slack as well. Most artists who sell out my 100-seat room never have a guarantee or it’s so small it doesn’t even matter. And yet, they can leave with around $1,200 or so. Your guarantee is only as good as your draw in most situations. Riders I think riders - the sheets attached (or “riding”) onto a standard contract that outline the artists’ special requirements - have gotten out of hand in today’s touring industry, with artists making ridiculous requests for beer, certain kinds of food, M&M’s of only a certain color etc. Keep your riders to relevant production requirements (sound, lights etc.). Many places will have their own sound, but if you can afford it, it’s wise to invest in at least a six-channel P.A. with mains and monitors to take on the road until you get to a higher levelof touring the small national clubs. I refuse to accept ridiculous riders at all and everyone who plays at my venue understands that. More times than not a small non-traditional presenter will bust their tails to get a gooddeli tray and take care of an artist, only to see it go to waste. What I do and what you should expect, is bottled water, some beer and pop and that is it. Where food is involved, don’t bust th eir chops with unusual requests. Requesting this rock star treatment is silly in general, but at a beginning level it’s ludicrous and counterproductive, making you look like a brat and lessening your chances of future support. Be nice to yourpresenters. Those presenters who are cordial and in music for the right reasons will take care of you again. Getting help: some final notes So you want to find non-traditional places to play. Where do you start? Getting a booking agent at this early stage is going to be hard unless you have a friend who wants to help. Until you at least are starting to getnational reviews of your music, a big booking agent such as the folks at Mongrel Music, Fleming & Tamulevich, Keith Case etc., are not going to be interested at all. Nevertheless, starting thinking about anagent and do the relevant networking required to find one. If I were starting out with my trusty ol’ acoustic guitar in tow, I would make sure to go to the annual Folk Alliance conference, even if you don’t think of yourself as a folk artist. This is where the most grass-roots workin music is going on. Visit their website at www.folkalliance.com to find ou t more about this great association. If you are lucky enough to already have help at the early stages of your career, remind everyone that you call the shots. Never ever give your soul or your musi c away to anyone who claims to be "connected." Make them prove that they can be trusted and expect them to work hard. If you want to have integrity and play your musicand make a living, be ready for the slow build and always remember Ani DiFranco. She did just that and isnow captain of her own ship, with no one telling her what to do with her music.With non-traditional venues, although the numbers are not great the rewards are there if you realize them. Even if you only play for 20 people, sometimes that 20 will share your music with their friends and so on and on. At last year’s South By Southwest music conferenc e, Chuck D might have said the most important thing all week: “It’s not about gold or platinum, it’s about one record to one person at a time.” If you are nice and not a jerk when the numbers aren’t what you want, the small non-traditional presenters will always work with you again and again until it is profitable for you both. These presenters are usually not aboutselling booze, so they will be more willing to help y ou develop your audience. I made no money on Ellis Paul for years and now we both do well when he is here. So good luck in this crazy booking business and remember what the great songwriter Jimmy Webb said, “A great song is a great song because it was written, not because it was sold.” As a twenty-five year veteran of the music business in severa l areas including retail records, journalism, publicity, concert promotion and consulting, Greg Johnson’s passion has alwa ys been with the performing songwriter. From his many years in retail in Central Oklahoma to his decade in Austin as a leading supporter of the singer/songwriter scene, Johnson has been involved in the careers of many of today’ s best singer/songwriters including Lucinda Williams, Kevin Welch, Jimmy LaFave, Micheel Fracasso, Ellis Paul, the Red Dirt Rangers and many others. These experiences enabled Greg to open the Blue Door venue in Oklahoma City, one of the country’s leading venues for performing songwriters, which he continues to run. Greg is also a free-lance journal ist, with work appearing in the Austin Chronicle, Austin American Statesman, No Depression, Oklahoma Gazette and Oklahoma Today magazine. [email protected] Phone: (405) 524-0738 BOOKING FESTIVALS, FAIRS AND EVENTS by Jeri Goldstein, Performingbiz.com © 2010 All Rights Reserved. You don’t have to rely on the major festivals to fill up your gig calendar. There are many town, city, county and state-wide events that take place throughout the year. These events book local and regional talent along with some of the big name acts. Research your city’s website, your county government’s website, your state’s tourist department website and the US Chamber of Commerce website. Sure it would be fantastic to play the big festivals and perhaps one summer or even this summer you will. But unless you are on the list for at least 10 festivals, one festival does not a tour make. So you need to find some other gigs that will not only fill the summer dates, but build your audience and your market value. To do that, start by getting out a map of the regions w here you want to tour if you are planning to explore outside of your own home base. I would first pick a few states and Google the state website looking for their Department of Tourism and the state’s arts council. Under tourism, I would search for fairs, festivals andspecial events. If you have specific cities in mind that you want to play, check for the city website which is often .org rather than .com. Check the city’s Chamber of Commerce site for special city events sponsored by local businesses. Another great site for finding small festival events and crafts fairs Festival Network Online. Also for lots of different festival events check on Festivals.com. You can also check through your copy of TheIndie Venue Bible to find festivals and fairs in your area. Many cities have a foundation that is often part of the city government and is responsible for organizing entertainment events. Here in Charlottesville, VA, for example, we have the Downtown Foundation that is responsible for presenting “Friday’s After Five” in our downtown pavilion. This free to the public event gets the whole town out for a concert every Friday evening from April through October. Performing groups are paidthrough a city fund. It is an event such as this, that give local, regional and national touring acts a chance toplay for an audience sometimes numbering over 5,000. This kind of gig definitely develops future fans and opens opportunities for return gigs in other venues around the city.Think beyond the major festivals in your genre that you already know about and begin thinking about finding outdoor events that the general public will flock to during the warmer months. Then you open a wide range of possibilities such as: wineries with concert series or festivals, corporate sponsored community events, city festivals and concert series, parks and recreation events, national park sponsored concert series, civic center major events and corporate organization conference events. While familiarizing yourself with regional events, don’t forget to check the area arts magazines, weekly arts newspapers with local arts councils. These resources are often the recipient of listings of upcoming events calendars from a variety of community presenting organi zations. Many of these listings need to be submitted many months in advance in order to be included in s pecial upcoming events calendars. If your research for this coming summer gets you to the presenting organizations too late for this season, you’ll at least have the information well in advance for the next presenting season. This advance research has the potential to net you contacts and info about many more publicly attended festivals, fairs and events within your local region and beyond and help build a very strong fan base. Here’s to some great summer gigs! Jeri Goldstein is the author of, How To Be Your Own Bo oking Agent The Musician's & Performing Artist's Guide To Successful Touring 2nd Edition UPDATED. She had been an agent and artist's manager for 20 years. Curr ently she consults with artists, agents and managers through her consultation program Manager-In-A-Box and presents The Performing Biz, seminars and workshops at conferences, universities, for arts councils and to organizations. Her book,CD-ROM and information about her other programs are available at are ava ilable at www.Performingbiz.com or phone (434) 591-1335 or e-mail Jeri at [email protected] TIPS ON GETTING MORE FAIR DATES AND CORPORATE GIGS by Les Vogt, Entertainment Consultant © 2010 All Rights Reserved. Most Corporate Party and Fair gigs come from referrals... a respected associate passing along positive information from a job well done. Here are some tips on getting your share of them. The first step is to find out who books these events. In most cases they are exclusive Fair Buyers, Party Planners, Event Managers or Destination Management Consultants. Like everything else in the musicbusiness, getting gigs is often about establishing and maintaining relationships. There are specificorganizations that cater to this industry. Hospitality and Fair Associations, Tourism offices and many other similar entities that will often offer memberships to anyone related to the field. While a membership fee can range from about $100 to $1000 per year (and sometimes there are additional fees to att end networking events), it is a small amount to pay compared to the income you can make if you land a contract. You need to find creative ways to make all of these people aware of what you do and why they will benefit from hiring you. How much do fair dates and corporate events pay? This depends greatly on you, them, the location, the number of people attending the event and ultimately your negotiation skills. However, you can count onmaking two to five times (sometimes even more) as much as a local club date would pay. I know several no-name bands that make up to ten thousand for a two hour performance. Make your fee structure flexible, butdon't make it too low. Once you quote a price, it will be hard to raise it for future bookings. Your first contract could set the precedent... so, don't sell yourself short.Confirm that all backline and sound equipment is provided for ... either by you, the client or the venue. If a third party sound company is bringing the equipment, handle a ll your requirements directly. If the venue already has a sound system, get the specs and perhaps make a trip in advance to check out the equipment. Your ability to execute a flawless performance is ultimately your responsibility... and the likelihood of getting re- booked with your client or securing potential new clients in attendance, will depend on it. EXCUSES NEVER ERASE MEMORIES! Look professional by executing a thorough contract, covering all event specifics including fees, hospitality... your obligations... their obligations... parking arrangements... load in/load out times and locations and a time to sound check (make a special effort to sound good so your first impression is the best that it can be). It is also wise to request a 50% deposit (all the better performers do it) to be paid upon signing the contract tosecure the engagement. Include a clause regarding insurance. When corporations hire consultants, who hirebands and rent venues, liability can sometimes be difficult to determine. The contract should indemnify youfrom all liability and you should have your or the band' s legal business name added to the event's insurance policy as "additionally insured." Finally, do not assume that it is appropriate for you to bring any guests to the event. If it is necessary to bring your girlfriend or boyfriend, ask ahead of time and provide for a guest list inthe contract so there are no surprises. For corporate gigs, you should always have an understanding of who your audience members will be and the type of event you are playing. Dete rmine how the band should be dressed. Is it Black Tie or a Beach Party theme? Will you be playing for dancing... a featured st age show... background music or all of the above? How big is the stage? Find out who the big wigs are and inject some proven participation humor in their direction ifthe appropriate occasion arises. This information will be helpful in constructing a suitable set list and overallexecution plan for the gig. The music is important, but professionalism will set you apart from the rest. Arrive on time, start on time, have fun, smile a lot... and be accommodating should the client (either the one who hired you or the one who hired the one who hired you) have a special request. Be friendly and easy to deal with and do not show any internaldisagreements in public. Keep your hospitality and rider requirements reasonable (often meals and drinks are provided). Do not ask for more than what you need... a demanding rider or requirement list can often turn-off apotential buyer and lose the gig. Be aware of your purpose at the event. Do not mingle with the guests/audience unless approved directly by the person who hired you. Resist selling merchandise or soliciting additional gigs from party attendees and should someone solicit you, keep the agent (if applicable)who hired you in the loop. Cutting them out of their commission will most often cut you out of any future gigswith them (and possibly others) no matter how well you perform. Send the person who hired you a personal (handwritten is always nice) thank you note following the engagement and if all went well, request a letter of recommendation. You can then include it in your promo kit when soliciting other gigs. Periodically call the client and remind them that you are still interested andavailable for any functions for which they need music. Ch ristmas cards and/or post cards from impressive gig locations are wonderful reminders... as are birthday cards if you can creatively find out the correct birth datesfor your clients! Working fairs and corporate events will test your professionalism and require you to be the best that you can be. Live up to the expectations... and you'll smile all the way to the bank. Les Vogt was the lead singer in Vancouve r's very first rock 'n' roll recordi ng band... "The Prowlers " who gained local popularity by playing "live" on the "Owl Prowl" radio program. He shared t he stage with Bill Haley... Gene Vincent... Buddy Knox... Eddie Cochran... Roy Orbis on and Jerry Lee Lewis. Les is now an independ ent producer, promoter and entertainment consultant. Contact: www.me mbers.shaw.ca/lesvogt [email protected] SOLO RESTAURANT GIG - GUITAR A LA CARTE by Dan Lambert, Guitar Nine Records © 2010 All Rights Reserved. Here are a few qualifications and considerations for playing solo gigs at restaurants. Style Style is probably more important than repertoire - how you play it more than what you play. Jazz standards, Folk tunes, Classical pieces, Pop-Rock songs, Brazilian and South American stuff, I play mostly my own tunes - they'll all work if you play them in a style that works with the venue. Throttle back a bit and create an ambience conducive to dining and talking. Like it or not, basically you are musical wallpaper. There are the basic mundane requisites like dressing the part and not creating a disturbance when you're setting up or tearing down (people are probably eating). Keep the equipment to a minimum I don't bring my extension speaker cabinet that I use for bigger gigs. Most of these owners have put a lot of thought into the look and feel of their establishment and they don't want a bunch of electronic gear cluttering up the joint. Also, I want my amp right next to me so I can tell exactly how loud I am. The volume is critical.Get a few steady customers to complain about you being too loud and you'll need to have one of thoseuncomfortable discussions with the owner (like being called to the principal's office). A restaurant owner hasnever asked me to turn it up. A club owner, yes, a restaurant owner, no. Be prepared If I'm hired for the lunch rush from noon to 1:30, I need to be set up by 10 minutes to 12 (at least) and need to get in and out of there with the minimum of jostling around. Should I stay or should I go? I have a deal worked out with the owner of one venue. We see how large a crowd there is at my scheduled quitting time and if there are enough customers to warrant me staying longer, we do it. Everyone wins. I make more dough, the restaurant gets more music when they need it and the diners get an extension on theambience. Be inconspicuous When I finish, I inform the owner that I'm done, I tell him “Thanks” and I go back and tear down. I do it very quietly in a couple minutes. Poof, like a ghost, I'm gone. Availability No, I didn't start playing guitar because I thought it would be groovy to play restaurants. But hey, I've hadenough crappy jobs to know that any job with a guitar in my hand is better than the graveyard shift in an aluminum extrusion plant. Restaurant gigs fit in perfe ctly with my schedule. I teach guitar during the day, but not till later in the afternoon, so lunchtime jobs work great. I'm playing other gigs on the weekends (and during the week), but I seem to be able to work in these kinds of jobs just fine. One reason being that they tend to beearlier than your average nighttime club gig. Now for the music I play tunes with catchy melodies. I vary the rhythms, keys and textures of these pieces. I try to keep things interesting. Some gigs I stretch out a lot, others it's just tune after tune. I tend to blend one song into another, providing a nice backdrop of sound. I can literally try any kind of tune I like and I usually sneak the new stuff in between a couple of familiar ones.It's a great way to debut new material You won't get a lot of crowd reaction during the gig (actually you do, you just don't notice it). The feedback isn't yelling, screaming, yahooing concert stuff, but if y ou play well, people do let you know. They love to come up to me after they're done eating and say how much they liked the music. Also, while I'm playing I watchpeople's feet. If they're tapping along to what I'm doing, I've done my job. Oh yeah, ask the owner about selling CDs at the front counter. Offer them a cut ($3 to $5 on a $15 CD - some don't want one) and tellcustomers about them when they compliment you. Instead of accepting a tip, I put on the gentle hard sellabout my recordings. How to dress? Don't forget to ask the owner how you should dress for your show. Be flexible with this courtesy. Restaurant gigs can be a wonderful way to generate extra income. They can also create more exposure for your talent and your music - as long as you are willing to adjust your music to suit the venue. Dan Lambert is a committed and highly regarded six-stringer curr ently based in El Paso, Texas (U.S.A.) who reveals his playing style as Folk-Jazz, as a liste ner can readily experience on his most recent album, "The Blue Hand". His most utilized guitars include a '52 Martin 000-28 with custom wi de neck and a Tony Revell custom acoustic. Lambert has been playing guitar since 1972 and with no holds barred declares hi s career aspiration, "To continue making my living at music - performing, recording and teaching." DEFINITION OF GUERRILLA GIG from Wikipedia, the free encyclopedia © 2010 All Rights Reserved. Guerrilla gigging is a type of concert performed in a non-traditional setting or arranged in an unusual fashion.It became associated with punk rock, indie rock and noise rock bands in Britain and the United States duringthe early to mid 2000s. Bands who perform at such events are sometimes referred to as "guerrilla rockers". There are two major elements that characterize a guerrilla gig. The first is similar in concept to a flash mob and involves a band or artist performing in an unexpected, sometimes unannounced, setting not designed to accommodate live music, such as on a bus or subway train, parking lot or building lobby. The second characteristic involves their being arranged very quickly and without the typical processes of publicity or advance ticket sales. They are usually announced through various internet message boards as well as by text messages and sometimes last-minute flyers. It is often viewed as an example of Punk Rock's idealistic "do it yourself" philosophy (which aimed to achieve underground artistic success without commercialization by avoiding mainstream corporate record labels) being applied via modern communications technology, in a way which would not have been possible before the advent of the internet. The popularity of online forums and social-networking sites has made it possible for bands to immediately disseminate news of a gig to thousands of people only hours before a performance, atminimal cost and bypassing the traditional print and radio-based methods of publicizing concerts. The earliest example of a guerrilla gig was on January 30, 1969, when The Beatles played a gig entirely unannounced on the roof of Apple Studios at Savile Row, London. They performed several takes of the ir newest songs (which would appear on the Let It Be album) as the passers-by on the street looked up in confusion. After the third take of Get Back, they were kicked off by the police due to noise complaints.Development in Britain A few British bands became known for "guerrilla gigging" in the early 2000s. The technique first developed there because the concentrated social and geographical nature of the London music scene made it possibleto generate a favorable "buzz" and ensure attendance at the events. The Libertines were among the first to use internet technology to accomplish this, often announcing a gig a few hours before the show by providing cryptic instructions for fans to meet at a given place to await an escort to a flat, where the admission price would be collected and the concert would take place in a living room or basement. The Others provide another example, having performed brief shows in tube trains (su bways) on the London Underground for mixed groups of fans and startled passengers. In another famous instance, singer Badly Drawn Boy earned £4.60 from passersby while busking outside London's Waterloo Station for a day in 2003, going largely unrecognized by the public. The United States The Colorado group “Friends Forever” and Rhode Island’s “Lightning Bolt” are examples of American bands that have embraced this new extreme DIY culture. Wikipedia is the biggest multilingual free-content encyclopedia on the internet. Over 7 million articles in over 200 languages and still growing. Retrieved from en.wikipedia.org/ wiki/Guerrilla_gig DEFINITION OF A BASEMENT SHOW from Wikipedia, the free encyclopedia © 2010 All Rights Reserved. A basement show is a show, often of the Punk Rock or Hardcore variety, that is he ld in the basement of a residential home, rather than at a traditional venue. Basement shows are normally held for a variety of reasons, chief of which are: • lack of a suitable venue in the area; • convenience and relative ease; • host can give much back to his local scene and community; • shows hold important symbolic value to the DIY ethic and punk/hardcore culture;• shows completely avoid any sort of corporate sponsorship, thereby keeping the event more "pure"; it is therefore considered the antithesis of selling out • basements are more suitable for smaller bands, with an audience of fewer than 50 people. Some bands have even written songs about this, such as "It Sounds Better In The Basement" by The Devil Is Electric. Basement shows can also be much more fun, as they often double up as parties. Many people continue to hang out after the show and thus, they are great social events and meet-ups and in some cases,places to drink.Yet, despite its symbolic value, basement shows have been declining steadily since the '80s. There are several reasons for this: • cities have become stricter with enforcing noise regulations and fire codes, making basement shows increasingly more difficult; • people are becoming less willing to hold them, as often, theft and vandalism do occur in the house where the show is being held; • availability of venues are increasing; and • basement shows cannot hold enough people, as bands get larger. Nevertheless, basement shows still occur, often to stage local shows as get-together for the local kids and for touring bands that cannot find suitable venues to play. Wikipedia is the biggest multilingual free-content encyclopedia on the internet. Over 7 million articles in over 200 languages and still growing. Retrieved from en.wikipedia.org/wiki/Basement_show ARE HOUSE CONCERTS A GR EAT OPPORTUNITY FOR YOU? by Fran Snyder, concertsinyourhome.com © 2010 All Rights Reserved. House concerts are one of the most important trends in independent music today. Musicians across thecountry are discovering a great way to connect with new audiences - performing in people's homes. There's just something about house concerts. The intimacy really allows a deeper connection to the audience and that connection often leads to strong merchandise sales and lifelong fans. Can you perform as a solo, duo or small trio playing 60-90 minutes of mostly original material? With little or no amplification? For donations ($8-15/person) from those who attend? The house concert community is currently made up of hundreds of very loosely affiliated folk and acoustic music fans. They are generally interested in: • Folk and Contemporary Folk • Singer/Songwriter • Bluegrass • Country/Americana• Celtic If you perform Rap, Hard Rock, cover tunes or Electr onic music, you won't find much interest from house concert presenters at this time. Also, many of the current house concert hosts prefer to book acts they've seen before. They often go to music festivals, but some will check out acts when they play nearby clubs. Since mostpresenters only book 2 to 10 shows per year (it's a hobby , not a job), many stay booked pretty far in advance.Some positive trends 1. More people discover house concerts every day. H ouse concerts are becoming a popular way to see live music and a great source of new fans for artists. 2. Through the internet, it is now easier than ever before for artists and concert hosts to find each other. 3. Artists are actively growing the market. Every time they play a house concert, they have a good chance to turn an interested fan into a house concert host. This new host might then enjoy the experience so much that he starts booking other artists. 4. The growing house concert community will open up to different kinds of artists. Why not poets, children's performers, instrumental or flamenco guitar? Any act that can fit into a living room might eventually find a fan here. So if you are looking for an alternative to bars, noisy cafes and other venues which provide too manydistractions (TVs over the artists heads!), house concerts might be a great new source of gigs to pursue. How to get started 1. Learn all you can about house concerts - how to put them on, what's expected, what's optional and how many opportunities currently exist in your region. 2. Start with your fans - these are the best opportunity an artist has to get bookings quickly and have them well attended so you can make a nice profit. Remind them every time you send out e-mails that you are now doing "house concerts" and include a link to an article/site where they can get more information. 3. Host one yourself! If your living quarters aren't adequat e, find a friend, family member or neighbor to put one on. If you aren't ready to do a full 60-90 minute show, consider boo king an artist you really admire and book yourself as the opening act! If you are a talented performer who is comfortable being close to the crowd, telling stories between songs and hanging out with new fans, you owe it to yourself to explore these opportunit ies. Fran Snyder is a singer-songwriter based in Lawrence, KS, who is in love with doing house concerts. Fran created www.concertsinyourhome.com, a site dedicated to creating more opportunities for artists to perform "gigs where people listen." The site is free to use, but artists may join ($25/ye ar) to promote their act. The site also funds a national press campaign to increase the popularity of house concerts. Fran Snyder's music can be heard at www.fransnyder.com HOUSE CONCERTS: A NEW WAY TO REACH OUT TO NEW FANS by Bruce Haring, author of “How NOT to Destroy Your Career in Music” © 2010 All Rights Reserved. Besides the usual nightclubs, concert halls, bars and gazebos, there is a growing movement toward house concerts. The beauty of the house concert is that it’s entertainment in its purest form. Unlike a nightclub, the rules are pretty much whatever you wish them to be. You can request no smoking, no drinking, you don’t need a lot ofequipment or a huge sound system, you can start at whatever time you wish and end whenever. But the biggest reason for doing them is that the audience is there for you, not to chat up members of theopposite sex, drink or do the many hundreds of annoyi ng things people do in bars when you’re performing.A house concert does not necessarily take place in a living room, although that’s usually the first choice. Barns, basements, pastures and backyards are popular forums for the event. Suitability is the key consideration – a four-piece rock band works a lot better in a barn than in a living room. Similarly, a wispyacoustic performer is better off in front of a living room audience than a pasture. But in urban environments, the apartment center or hall have become the performing venue of choice. The process for house concerts is pretty well understood by the participants. Typically, a fan of the music decides that they want to turn other people they know on to the artist. They decide to contact the artist and set up a house concert. The deal works like this: the artist is typically guaranteed a certain amount of money. A door charge is instituted. Food or drink may or may not be a part of the deal. The artist comes, performs, gets a chance to sell the new CD and merchandise, mingles with newly won fans and gets a cut of the door (typically more than half, although generous patrons, particularly those who havebeen hitting the wine during the show, have been known to fork over the entire bankro ll). Always ask for an intermission at your house concert. Not only is it tough to sustain attention for long periodsin such an intimate venue, but it also provides the opportunity to up-sell the audience on your new CD and merchandise. Most house concert patrons will be only too glad to take advantage of the opportunity to supportan artist that they’ve built a strong connection with over the last 45 minutes. In the chaos of a gig ending, many of them may slip out the door before buying. At half time, they’re focused and motivated. Naturally, performing in a non-traditional venue has it s drawbacks. You may have to lug your equipment up several flights of stairs. In an apartment building, you can’t crank up the volume to coliseum levels. The room you perform in may not be acoustically perfect and you may find yourself seated on a stool that’s great forholding a plant, but certainly uncomfortable for a performer. You may also, given that most houses do not come equipped with a stage, find yourself in uncomfortably close proximity to the guests. While this creates a certain sense of intimacy, it also breaks down some barriersthat you may or may not be willing to see fall. This is particularly true of those who have been hitting the wineduring the show. Remember, they won’t be carrying on in the way that people do in a public venue. You’ll have to entertain them for two hours in close proximity. You’ll get to know them in ways other venues simply can’t provide.Despite those caveats, the shows can be a great wa y to spend an evening entertaining anywhere from 25-50 or more people in a setting where the artist is usually treated with reverence. Unlike a birthday party or other gig, they’re there to hear you, not to tune you out as background no ise. There are any number of organizations across the country that cater to house concerts. Usually, putting the word out to your fan base can generate some attention. Most house concerts are generated by word of mouth connections and attract an audience of friends and family. The house concert is usually performed away from your typical performance areas. Thus, you may see “venue” for the first time when you walk in the door. Like any performing situation, it’s wise to set up the ground rules up front. Plan out who will introduce you, the break, what is available in the facility and what is expected.Get it in writing. Like any club date, the settlement can go smoothly or can be a time for finger pointing and debate. Door takes should be managed by someone in your entourage if at all po ssible. 1. House concerts are more intimate than arenas. Develop your ability to talk to your audience. 2. You are a guest in someone’s home. Nothing will make them happier than doing a little homework and throwing in some references to the house and the people in the audience. Bruce Haring is the managing director of the DIY Convention which teaches artists and entrepreneurs how to create, promote, protect and distribute independent film, music and book s. The show features prominent artists and executives talking about the paths to success and has appeared in New York, Los Angeles, Nashville and many other cities. www.diyconvention.com Haring is the auth or of several music industry books, including How Not to Destroy Your Career in Music: Avoiding the Common Mistakes Most Musicians Make (Lone Eagle Publishing), To order a copy visit the Lone Eagle Publishing/Hollywood Creative Directory website www.hcdonline.com HOUSE CONCERT BOOKING TIPS FOR ARTISTS by Fran Snyder, concertsinyourhome.com © 2010 All Rights Reserved. Do 1. Attend a house concert if at all possible - there's no better education. 2. Become excellent at what you do. It's amazing how many people delude themselves. (want proof? American Idol) 3. Be personal. Show that you've done your research and that you regard the host as a valuable human being who is doing a wonderful thing for the arts - even if they won't book you. 4. Be humble. Understand that no matter how good you are, there will always be people who aren't turned on by your music. 5. Be reasonable. Understand that hosts have limited schedules - and will never be able to book every act they like. 6. Be consistent. People are busy and sometimes messages don't get returned. If that hurts your feelings, you are doomed. Every host is different, but it is wise to follow up (no more than once or twice a month) until you get at least a “we received your package.” After that, back off. An occasional polite reminder (“I’m touring in your area in November...”) no more than once aquarter should keep you from wearing out your welcome. If you get a “no, thank you” or noresponse for a year - be respectful and move on. 7. Be generous. Consider hosting a house concert for an artist you admire. Think of it as a Karma deposit. 8. Be pro-active. There's no quicker way to get house concert bookings than to educate your fans - consistently. e-mails, website links and Announcements from the stage! 9. Be accommodating. Each house concert host has different needs and concerns. Learn them. Honor them. And make sure they understand your needs. 10. Be professional without being corporate.DDoonn''tt a. Ignore 1-10 above. Especially #2. b. Lose heart if things don’t happen quickly. Hardly anything good ever does. c. Underestimate travel costs and travel time. d. Forget to build your mailing list. It's more important that selling CDs. e. Ignore the musical tastes of the host. If they want Bluegrass – you better be Bluegrass before you call. f. Expect guarantees. If you must ask, be gentle and be prepared for a “no”.g. Expect to fill 2 hours with one album of material." h. Forget to ask about pets/smoking if you are allergic or dependent on either." i. Be desperate. It shows. It always shows.j. Forget that people want to have fun. If your music is depressing, your stage persona better not be. k. Underestimate the intimacy of house concerts. Some artists are uncomfortable being that close to the audience. l. Assume that the host can fill the room without your help. Be ready to help promote if their house concert series is open to the public. m. Assume room and board are included or anything else for that matter. Remember to ask. If a host’s website (or CIYH profile) says they are not looking for artists at this time...do I have to say it? Fran Snyder is a singer-songwriter based in Lawrence, KS, who is in love with doing house concerts. Fran created www.concertsinyourhome.com, a site dedicated to creating more opportunities for artists to perform "gigs wher e people listen." The site is free to use, but artists may join ($25/year) to promote their act. The site also funds a nat ional press campaign to increase the popularity of house concerts. Fran Snyder's music can be heard at www.fransnyder.com SETTING UP A HOUSE CONCERT by TR Ritchie, Singer/Songwriter © 2010 All Rights Reserved. House Concert (hows KAWN sert) n. 1. A live performance before an assemblage of music enthusia sts by a musical artist or artists in a private residence or equivalent setting, sometimes held in conjunction with other festivities, ie: potluck supper, song circle or jam session. 2. A unique opportunity to experience a favorite performer, up close and personal, without musical amplification or other artificial ba rriers between the performer and listener. 3. A superior alternative to those noisome, crowded, hard-to-get-to venues downtown. 4. In rural and/or suburban communities, sometimes the only option for hearing live music locally at all.5. An interesting addition to the itinerary of the touring musician. 6. A lively, economical antidote for NEHAH's (Nothing Ever Happens Around Here) Syndrome. ...the obvious choice What could be more natural? You love hearing music in a live setting. I make my living playing music. Next time I come through your town, why don't we do a house concert? If you've ever hosted a New Year's Eve party for friends, organized a garage sale or thrown together a neighborhood potluck, you have all the necessary skills required. This little booklet is designed to cover a ll the bases and outline the details step-by-step to take you from: "Where do I begin?!" to "Let's do it again!!" It's not rocket science. You can do this. Trust me.On the fingers of one hand Everything you'll need to do can be enumerated on the fingers of one hand... assuming you have at least four fingers. 1. Find a place for the concert. 2. Spread the word. 3. Set up the room4. Host the show. Finding a place Well, it doesn't get much simpler than this - we'll do the show in your living room. That's why they're called house concerts, right? Attendance usually runs between 25 and 50 at most house concerts, so if you have a good sized living room, say 12'x15' or larger (about 650 sq. ft.), we're in business. Move the furniture aroundand you can get a lot of bodies in a space that size. It might be snug, but one of the charms of house concertsare their inherent coziness. Still, what if your place is just too small? Not to worry. There are all sorts of non-house possibilities. I've done these non-amplified shows in book stores, music shops, in public-library rooms, art galleries, school rooms, community halls, grange halls, church basements, barns, back patios - the informal character of houseconcerts make them adaptable to any number of environments. For our purposes, though, let's assume you do have a room of sufficient size. I'm coming through on tour in a few months and we've set a date for the show. NOW WHAT? Spread the word Start talking it up. House concerts are still fairly rare in many areas of the country, so the idea of turning your home into a temporary concert hall will be a novel concept to a lot of people. But once people experience a concert in a home setting they usually become enthusiastic converts. In fact, this might be the time for a cautionary disclaimer: You may find your one-time fora y into producing house concerts so enjoyable that it evolves into a regular or semi-regular series. Worse things could happen. Once you begin letting people know about the concert you' ll discover why house concerts are so well suited for smaller, more closely connected communities - most of your promotion will simply be word of mouth.Your audience - and typically upwards of 90% of it - will be people you know or friends of theirs, so just start talking it up. Friends, relatives, people at work. Invite the neighbors on your block. Tell your children's teachers, the family doctor, the check-out clerk at the market, the mechanic who works on your car, the tellersat the bank - anyone you come into contact with on a day -to-day basis whom you think might enjoy live music. Let them know someone's going to come perform a conc ert right in your living room. Maybe you'll want to have a potluck supper beforehand. If your circle of friend s include musicians, maybe you'll want to have a jam session after the concert. Let people know. Remind them that TV hasn't completely usurped the culture. Yet. Make up some postcards containing the relevant concert information: A description of the music. Date and time. How much the suggested donation will be. Whether you're planning a potluck, jam session etc. Include your phone number for reservations (more on this later) and directions. Carry a few of these in your car and bag or purse and hand them out. You can also mail them out as invitat ions. If you're internet proficient, put together a mailing list and send out an e-mail notice. The beauty of e-mail isthat you can send several reminders regarding the show, reservations et c. Another thing that works well - this if you're hosting the show in some more neutral, out-of-house setting - is toprint up some flyers and post them around town: in the bookstore window, on market bulletin board s, at the library, laundromat, local music store - wherever there's foot traffic. As a simple courtesy, always ask for permission to post things. Usually people don't mind. And in the week following the show, make the rounds and remove them. People will appreciate your efforts. Something else - tape a couple of these flyers inside the rear side windows of your car. A lot of people will look at them out of curiosity as you go about your daily errands. And keep one of your postcard near your phone at home as a reminder to mention the concert in your everyda y phone calls. If the concert is being held in a more neutral setting you can do this broader job of advertising, but youprobably won't need to concern yourself with these last suggestions - the flyers around town and in your car'swindows - if the concert is going to take place in your home. If you're like most people, you're probablyhesitant to throw open your home to just anyone. In an alternative space you can comfortably go for a larger,more diverse audience. Stay calm Some timely words of advice: Breathe in. Breathe out. Relax. Take it easy. The whole idea is to make a good thing happen and enjoy yourself while you're doing it. All this publicity stuff doesn't have to happen overnight or occupy your every waking moment. If you have a wide circle of friends it probably won't take much advertising to fill the house. As far as timelines go, here's a gene ral plan for moving things along A month before the show Make up your postcards and start letting people know about the concert - the word of mouth thing and hand-outs. Do an initial e-mail announcement. Two weeks out Do a postcard mailing if you like. Put up flyers if it's appropriate for the event. If you want to get really ambitious, especially if house concerts aren't the norm in your community, maybe we can get in touch with the local newspaper and do an article timed to appear the week of the show. Most performers are pretty well versed in the promotion of concerts and can help you with everything you'll need along those lines: postcardand flyer blanks, press releases, photos etc. Post an updated e-mail announcement and reminder.The week of the show Make a last round of phone calls to remind everyone to come out, one more e-mail re minder, then give yourself a pat on the back for a job well done. NOTE: Keep a running account of whatever expenses y ou accrue, plus receipts: you'll reimburse yourself after the concert and the performer may want the receipts for business expense tax purposes. THE BIG DAY ARRIVES TIP: You can avoid a lot of that hectic last-minute-details feeling by doing a little prep work a few days beforehand. Remember, you want to be able to enjoy the concert too, so don't run yourself ragged. You might set up the room for the concert this way StageCreate a "stage" area for the performer in your concert room - in front of the fireplace or French doors, in an open corner of the room. Arrange the seating to face the stage. Lighting Place a floor lamp or small table with a reading light near where the performer will sit or stand. This will usually suffice, but to do an even better job oflighting, lay hands on one or two utility clamp lights, available for $6-$8 each from almost any hardware store. Fit them with 60 watt bulbs and devise a way to mount them, maybe on a camera tripod or the ceiling light fixture or clamped to convenient curtain rods. Make sure to direct them toward the performer. Seating Let's think about that a minute. Do you have enough chairs of your own? If not, con sider places you might obtain loaners: school, church, the library etc. You can even tell people to bring their own. Or forget the chairs and arrange for people to lounge on the floor. Or do some combination of all these. Of course, you can always rent folding chairs as a last resort, but theidea is to keep production costs to a minimum. Hosting the show House concerts typically consist of two sets of music of about 40-45 minutes each with a short break between - about 20 minutes - so that people can stretch their legs, chat, have refreshments, visit the facilities, purchasethe artist's CDs etc. After people have assembled and settled in, you'll we lcome everyone and introduce the performer with something simple like: “Good evening, everyone. Thanks for coming out. Tonight we're fortunate to have with us a wonderful musician and performer, so let's get started. Please welcome... “ BREAK TIME At the break you might want to have light refreshment s on hand - things like coffee, tea, sodas, chips and dip etc. You can also ask a few friends to bring home baked goodies as well. In fact, it's a good idea to enlist avolunteer to oversee some or all this chore (remember - you don't have to do it all). Volunteers It's a usual perk to grant free admission to the people who help out the night of the show, such as your refreshment coordinator and a person to collect money at the door and handle CD sale s for the artist.Break refreshments Have a couple of coffeemakers in service to keep up with demand. Make sure to have the usual condiments on hand: cream, sugar, honey and plenty of cups. If you want to eliminate a lot of dishwashing, use paper cups, napkins and plates. You might as well set agood example. Also, set out a basket with a sign that reads: "Donations For Treats" to help offset some of your expenses. After the break, make a short reintroduction of the artist, then sit back and enjoy the rest of the show. The money thing I averaged about $350-$400 per house concert in 2002, which breaks down to a paid attendance of 35-40 people at $10 per registrant (or 23-27 @ $15 per). As I say, this is an average, but a good place to start when trying to formulate financial expectations. There are a number of ways to compensate me for my performance. If you're in a financial position to do so, you could simply pay me out of pocket. A variation of this is to pool resources with a few friends toward thissame end. The most common way to reimburse me, though, comes from those who attend the concert, by way of a "suggested donation" or "registration fee". Don't let these terms confuse you. It's just semantics. Since houseconcerts can be defined as private performances in private residences, they fall outside the boundaries ofcommercial statutes which apply to public clubs or c oncert halls regarding licenses and entertainment taxes and such. You call it a registration fee or suggested donation, but for all intents and purposes it's the same asa ticket price, cover charge or admission fee. Different name, same animal. A rose by any other name... The simplest way to deal with the money thing is to simply collect it at the door the night of the concert, but this can be risky, both financially and aesthetically, due to no-shows. If you're not paying the performer directly, by far t he best way is via pre-paid advance reservations. This way you'll know exactly how many people to expect and it helps answers several questions and eliminate a couple of problems. One, it provides keys to seating and refreshment needs. Two, if people pre-pay they are less likely to cancel at the last minute and even if they do, I still get compensated. No-shows No-shows are an all-too-common fact of life and can be the bane of house concerts. Attrition rates of between30%-60% are not at all unusual, even if people have so lemnly promised you under oath to assorted Deities that they'll be there. Things come up. They have to work late. Kids get sick. They're just too tired. Whatever. It happens. And nothing is more disappointing than to be expecting a full house and then have half or more ofthe chairs go empty. It's doubly worse when you've had to refuse people who wanted to come because youthought you had a full house. At the minimum it takes an audience of at least 25 people to generate the good energy for a really successful house concert, so unless you've sold it out via pre-sa les, ALWAYS continue to accept reservations, paid or unpaid, until you have the money-in- hand as proof of a sold-out show. If people are reluctant to commit topre-sales registration, explain that it's a first-come, first-admitted, situation and that the only way they'll be guaranteed a seat is with pre-sale registration before the show. One thing that can make it easier is to offer an incentive of, say, a $2 discount for pre-sales admission versus full price at the door. Another way to encourage pre-sales is to set up an account with PayPal so that you cantake credit cards.PayPal PayPal is a very convenient way for anyone to accept credit cards. Credit cards give you a convenient means of making pre-paid reservations. I know of several house concert producers who use PayPal for just thispurpose. Check out their website at www.PayPal.com. In any event, at the end of the evening you'll have taken in X amount. In most instances you'll extract your expenses and send me on my way with the remainder. Additional considerations Here's a few other things to consider during the course of getting ready for the show: Co-producers There's no law that says you have to do it all by yourself. Enlist a friend or two and divvy up the work - it makes for a lot more fun. What time do we start? For Friday or Saturday shows, things get under way about 8 or 8:30. If you do a weeknight or Sunday show, start things a half-hour to an hour earlier - or perhaps co nsider a late afternoon show on Sundays, especially if it's in conjunction with a potluck or picking session...more about this later. Smoking or non-smoking? Early on, discuss preferences with the performer r egarding smoking - both theirs and yours. Usually house concerts are non-smoking affairs, with accommodations - most typically out on the porch or on the back stoop or patio - for those who feel the craving before the show, during the break or afterwards. The kid situation Since the shows happen in such close quarters, children can cause considerable disturbance if they don't have the capacity to sit attentively through the two hour concert. As a general rule it's a good idea to encourage people to arrange for sitters for children below the age of about twelve. Parking Is there adequate parking in your neighborhood to accommodate the extra cars? A secondary benefit of inviting your neighbors is that they usually won't take iss ue with the parking situation if they feel like they've been included in the loop. Just make sure your guests don't block driveways or fire hydrants or otherwise complicate life for themselves or others. Performer accommodation The performer will need a place to stay while in town, w hether with you or by arrangement with someone else. Think of the performer as a distant relative or old college acquaintance. Make up a place in a spare room or on the couch in the den. Show the performer where the coffee is in the morning. Lay out a towel andwashcloth. IMPORTANT NOTE: Some performers are extremely allergic to pets. Others have adverse reactions to tobacco smoke. So, when you're talking to the perfo rmer about accommodations, remember to ask if they're susceptible to these or other irritants. Also, if you'll be providing meals, make sure you know their carnivore/omnivore/vegetarian affiliations early on. The expandable concert You might feel like going all out with this and turn the concert into an all day/night affair with a potluck, jam session, cookout etc. If you know musicians who are coming to the concert, invite them to bring theirinstruments. Another charm of house concerts is that they can easily evolve into a loose and communal music exchange after the show.How about a workshop I frequently do songwriting workshops in conjunction with my concerts. They're informal sessions, usually about two hours in length, for groups between 10-15 participants, at around $30 per person. The format is a round-robin discussion. We'll critique works-in-progress, talk about finding the songwriter's authentic voice, explore ways of developing melodies, discuss how to develop arrangements for effective performance and answer other music and music business related questions. Anytime people are interested in holding workshops I'm happy to come to town a little early or stay on a little longer to hold a session. Surprise ending Guess what? We're done. That's all there is to it. Now that you've seen how easy it is, spread the word: House concerts are a coming thing. And I'm convinced they're going to be come more and more popular as time goes by. We live in an increasingly isolated culture and people are hungry for an authentic experience of community. They want to be part of something real and house concerts - however humble a gesture they maybe - can be a little part of that reality. They illustrate that people can make things happen, right there wherethey are, without the necessity of a lot of hype or ex pense and that music, art and some kind of magic are still afoot in the world. Let's toast to it then - to making things happen. Let's bring it on home. Because it's ours. Songwriter TR Ritchie was a two-time finalist at the Kerr ville Folk Festival's New Folk showcases and a headline performer there. He won top honors from the Napa Valley (CA), Sisters (OR) and Jubilee (CO) Folk Festival songwriting competitions. In both 2001 and 2005 he was the only double- showcase songwriter featured at the Walnut Valley Festival's New Artist Showcase in Kansas. Also in 2005 he was one of only a dozen finalists chosen from among more than twelve hundred applicants to showcase his music at t he Mountain Stage Newsong Festival in West Virginia. For more information visit www.trritchie.com FOLK CLUB AUDIENCE GUIDE by Jeremiah McCaw, Ezeduzit © 2010 All Rights Reserved. What's it all about, Alfie? For those who are new to t he Folk Club experience, here's a general guide to how it all works. Folk music has never gone away; it's always been a very strong presence. However, since the great folk "boom" of the 60's, it has not had a very high profile. But we're still here, still making the music that filled ourhearts and souls. There's been a bit of a re-awakening for the general public in recent times. I suppose someof it is a reaction to the "empty calorie" musical content of the disco years (and dark times they were, too). Thejoyful discovery of the charms and vitality of Celtic music has also fueled the revival. As an audience, you will be exposed to a wide variety of music. There will be performers devoted to the oldest traditional song forms, such as the Childe ballads, as well as those whose choices run to the more recent music of Tom Paxton and Phil Ochs and even more contemporary singer songwriters like Jewel, BillMorrissey and John Gorka. So what is Folk music, you say? Sorry, but there's no one definition that will satisfy everyone. As an audience, we ask only that you be respectful of the performers. Some will be of professional caliber; some will be first timers who are scared out of their wits; all are there because they love the music and want toshare it with you. Please listen.One of the most satisfying aspects of the Folk Clubs is the opportunity to see new performers trying out their wings for the first time. That may be our greatest value; t hat there is a venue for musicians ready to bring their instruments and their songs out of their basements and in front of the public. Playing in bars may pay(although usually poorly), but the audience is generally far more intent on their conversations and rowdiness. Here, performers are listened to. We think that's one of the greatest attractions. Jeremiah McCaw lives in Brantford, Ontario, Canada. His Folk page was created site is to give some shape to Folk & Folk-oriented activity in the South Central Ontario area and to share his love of Folk music. www.jeremiah.ca Jeremiah is also a member of "Ezeduzit" - an acoustic-based trio. Although focused primarily on “Old Timey” material, their repertoire ranges through traditi onal, contemporary and even original instrumental and vocal music www3.sympatico.ca/jim.hodgef CREATING YOUR OWN LOCAL GIGS by Mark W. Curran author of "Getting Gigs: The Musician's and Singer's Survival Guide" © 2010 All Rights Reserved. . Many of the traditional venues and methods for getting gigs are jammed with competition that it's often very difficult to make any headway, particularly in a crowded market. The solution to this is to create gigs where none existed before, thus being the only act that will do the gig. Here are some ways I have found useful. Feel free to invent some of your own. Four Walling/Two Walling - Your Act In Concert A fairly new business model has emerged from the new economy. "Four-walling" and “Two-walling" venues.This involves renting or co-renting a club, space or theater and doing the advertising and promoting yourself, as well as ticket sales. You take all or part of the ticket money, depending on your arrangement with the venue. One extreme example of this is In Las Vegas. Almost all showroom performers rent the casino showroom, either with their own production companies or in partnership with a producing entity. Sometimes they are partners with the casino, sometimes not. But for our purposes here, we are talking about your going to a venue on your own in your community and renting out the facility with your own money. This can be great for an act with a great draw, but disastrous if people don't show up. The public is fickle and one can never predict in what numbers they may turn out to see an event. Many is a concert promoter who has gone into bankruptcy this way. I have had some successes "Four-walling" my act and other tribute acts into small theaters. It's a high risk gamble and if you can't afford to roll the dice, don't do it. I have friends who have made money producing tribute shows and even name acts into theaters, but even they will tell you that sometimes they lose as much as they win. As a Producer/Promoter, you are responsible for ever ything. You would be amazed how many details go into producing even the smallest show. There are contracts to sign, insurance policies, printing and advertising and promotion tasks. There are an endless number of jobs that must be performed to an exact timetable. Screw up on any of them, you could lose your shirt. But when it goes well, it can go very well. Let's say you rent a 1000-seat venue for $3000, plu s $1000 for the house sound and lights and stage personnel. Add in another $1000 for box office services and miscellaneous things like insurance and catering, you are in for $5000 . Add to this your advertising costs of say, $2000 and another $2000 for your band and opening act.So now you are in for about $10,000, as an example. If you sell your tickets for even $20, that's a 10,000 profit! But you must factor in the many weeks of prep it takes to produce and promote the show and that you must sell every seat to make that kind of profit. At half capacity, you've only broken even. Believe me, it's no fun putting months of work and $10,000 of your own money into a show and have a bad turnout. If you are performing on top of that you are in the unfortunate position of having to work your ass off, perform and still lose money!Remember, this can go the other way. It's a great feeling selling out a show and walking away with decent profit and in the process be able to play on a large stage to an appreciative concert audience. There are so many factors and variables that can affect the turnout greatly: Is it a weeknight (less than ideal) or a Saturday (ideal)? Is it a holiday weekend (avoid it)? Is it raining/snowing that night? Is the economy in a downward cycle? Are we in a war with yet another foreign country? Are you under pricing or overpricing your tickets? Is the theaterwell-trafficked and have they had your flyers in the lobby for sufficient enough time as to attract patrons attending their other shows? Have they included you in their season mailer, even if they aren't presenting your show as part of their season? The public is so sensitive to these issues it can prevent them from venturing out of their cocoons for any kind of event. Add to this that there are many choices for people to spend their time off and their entertainment dollars. Even staying at home can be far preferable to going out and enduring traffic, crowds and a potentially bad show. With home theater and gaming systems in almost every home, plus internet and other distractions, you can see that getting people to go out to your show can become a difficult task at best. But, let's say you are a single acoustic performer with a large following. Since you have no costs for a band, you can take the ticket money for yourself. If you book a smaller venue of 500 seats and still charge $20, you could walk away with a tidy profit, since the cost of the theater rental is less for a smaller venue and youwouldn't be paying a backup band. To offset your risk, you might consider "two walling" with the venue, meaning you split the profit/loss equally with the venue. If it's a theater, you simply split rent and ticket money. If it's a club, you might consider taking the door ticket money while the club gets the drinks and food. This way you can see what your turnout will be and then maybe take your act to a nearby town and try four- walling another venue yourself. You will find smaller theaters are more willing to help you than larger ones. In fact, in Los Angeles, many of the larger theaters have a strict policy to NOT help you promote. They are committed to promoting their own season shows and often feel that to help fledgling promoters pulls their focus away from their own projects. But also be aware that many smaller theaters have little staff and can rarely afford someone to help you market your show. If your act has a major following or some pre-sold element s (as in a tribute act) and you think you can fill those seats, you just might have the perfect situation for a successful four-wall. But proceed with caution, this is an area where you can lose money in a hurry!If you do decide to four-wall a small theater, make sure • To start early; six-twelve months is a nice window • That the theater is well attended by patrons throughout the year, so they will see your flyers in the lobby • The theater is at least somewhat open to helping you market your show• That you get a Saturday night for your show, not a weeknight • To hold a prize drawing in order to get your audience to join your mailing list • To have the theater include you in their season mailing• To have the theater include you in their newspaper advertising• To promote your show using flyers, e-mail and posters• That you start promoting at least 3 months in advance of the show date• To find local businesses to sponsor your show to offset costs Finding sponsors to contribute to your show in ex change for an ad in your program can often make the difference between loss and profit. But finding sponsors is a tough, time consuming job and can become a very difficult pursuit on top of your other duties. You may be able to find someone within your sphere of influence to make phone calls to local business on your behalf to solicit donations in exchange for a percentage. Four walling can be a very satisfying way to build your audience and make a profit. It offer s a great way to get your name out to the local community and allows you to sell your merchandise after the show. Make sure you have some money put aside so you c an four wall a number of theaters in different regions, within driving distance or one overnight stay. As these shows become more successful, you can schedule them as an annual concert, while expanding y our circle around your home base radius. This article was excerpted from the book "Getting Gigs: The Musi cian's and Singer's Survival Guide" By Mark W. Curran, available through www.nmdbooks.com Mark W. Curran is Lo s Angeles-based professional musician and singer as well as a well-known expert in the field of music marketing. He is the author of "Sell Your Music: How To Profitably Sell Your Own Recordings Online," and "Getting Gigs With Or Wi thout An Agent," both available from NMD Books.Com. CAN’T FIND A GIG? GET OUT ON THE STREET! by Kevin Minihan, Eastwood Band © 2010 All Rights Reserved. Rule number one for aspiring musicians is practice makes perfect. Well… yes, but what kind of practice? I’ll spell it out for you. You need to… no….you MUST practice playing live, in front of an audience! I can hear the frustrated moans of many of you sa ying, “I can’t get a gig to use as practice!” Well my friends, this is simply not true. If this is your excuse, then I want to take this opportunity to crush it once and for all. There is a way you can get a gig any day of the week. It is the underutilized practice of performing on the “streets.”No more excuses! Any person or band can play on the street. True, it is easier if you are a solo acoustic performer, but with the advancement of battery powered amplifiers (and even PA’s) the old excuses of, “But I play electric guitar” or “What about our bass player?” just don’t hold any we ight anymore. I would suggest that your band play an acoustic set (just for the ease of set up) but, if you must play electric, get yourself battery powered equipment immediately. Small gas powered electric generators ar e very quiet and inexpensive these days. Where should I play? The options here are endless. Anywhere there are a large number of people. The best are area s where people are seeking entertainment. If your town has a cool entertainment district or just an area where the popular clubs and restaurants are located, by all means pick a corner there. If there is a part of town that has outdoor cafes, try to set up within ear shot of them. In my town, for example, there is a commercial development that has a movie theater right next to row of bars, restaurants and shops. People in these types of areas will be more open to listening to your music, plus theywill have money in their pockets which, hopefully, they will use to tip you or to purchase your CD (which you WILL have prominently displayed next to you). You can even set up on a corner next to an arena where a national band (that fits your genre of music) is playing and leverage some of their fans. There are hundreds of possibilities. Use your head and come up with some new ideas. Where do you hang out? Where do your potential fans hang out? What to watch out for Two things you need to be wary of; cops and criminals. Call your local police department or city hall to check on the city’s laws for street performances. For exampl e, some cities do not allow performers on certain types of city owned property. Although they would probably just ask you to leave, you don’t want to risk getting a ticket. You also need to be careful and avoid the ‘shadier’ parts of town. Don’t tempt some crook into taking your hard earned tip money. Stay in well lit areas. Play only in high traffic locations. Use your common sense here. You don’t want to be standing by yourself, late at night, on a dark street with $100 in small bills lying at yourfeet. Don’t make yourself an easy target for a robbery. Get out there and enjoy the secret benefit Beside the obvious benefits of earning tip money, making CD sales and getting valuable ‘live’ practice, there is another benefit that will surprise you. That is the incredible boost in self confidence you get after your firststreet performance. Let’s face it; playing out in an ‘unknown’ environment ma y seem a little frightening at first. But once you sing that first note and get that first tip you will be on cloud nine! Once you’ve mastered playing on the street, you will be able to play anywhere with complete confidence. Now, get out there and play! Kevin Minihan is a musician, writer, jack of all trades (master of none!) residing in the questionable outskirts of Dallas, TX. He plays in 3 bands and never gets enough sleep. When he is not playing music, he is writing about it. He enjoys sharing his experience and knowledge with other musicians. Along with writing articles for this and other websites, Kevin plans to write a series of books in order to help others achieve their dreams of succ ess in the music business.THE ART OF SHOWCASING by Rick Goetz, Elektra Records © 2010 All Rights Reserved. Working in A&R, I have seen literally thousands of bands in the last several years (I actually tried counting the bands I had seen at one point to try and talk my boss into giving me a raise. No, it didn’t work, but thanks for asking). Let me make an early disclaimer by saying that there is very little scientific about the showcasing process. This article is not meant to be a foolproof plan for how to get signed when you showcase; it is really just a collection of my experiences with what has worked or not worked for people in the past. The more I see whatgets signed or what becomes a hit, the less I think I understand the record industry - so believe me, even on the other side of the fence there is confusion and frustration with this crazy business that we’ve chosen for ourselves. That being said…these are the things I hope you’ll be able to get out of this article: • What it is A&R people are looking for during a performance or a label showcase; • A checklist of things to accomplish that will have labels chasing you and not the other way around (If done right you can showcase on your own terms); • How to troubleshoot and make sure the showcases run smoothly• And awareness of other factors that can influence the decision making process for A&R representative or other music business executives. Getting ready to showcase/getting label attention (or your mom really likes the new demo, so is it time to call the record company?) Ideally there are three things that I would strong ly recommend you do before getting to the whole shopping and showcasing process. 1. Have your team (management and lawyer) in place 2. Have professional and radio-friendly sounding demos 3. Demonstrate that you are not waiting on major label funding (or anything else) to start you career. If you can, you should be pressing and selling your own records, getting airplay, marketing yourself on the Internet and touring the country etc. Having been a musician myself for the last 10 years, I realize that the aforementioned tasks are easier said than done - but I promise you that these three things will be your guardian angels as you endure the showcasing process. If done incorrectly, this proces s can be as challenging and humiliating as going through puberty. Your team “OK - on paper that sounds easy. But back to step one: How am I supposed to find a decent team?” Well, once again there is no science to this, no set of ru les I can give you that will bring you from point A to point B. I will say this: as you are playing clubs and developing your following, meet and talk to every band, manager and promoter you encounter. Your strength as a developing act will be the people that you know and the people you are able to trade favors with. Ask the big local act in your home town what they are doing for management or if they’ve encountered a lawyer that they like. Managers and lawyers do seem to find new clients from existing ones, so this is a very viable way of encountering potential team members. Also, research what managers, lawyers and agents are successful and would understand your genre.Take meetings with everyone who will give you the time of day. Even if nothing comes of these meetings, you should keep in friendly contact with these people - you never know when you might need one another for something. One more thing to keep in mind is that great bands make great managers and lawyers. If you arereally having that much trouble building a team, perhaps you should spend more time focusing on perfecting your craft (writing better songs, playing more and better shows and building your following). In other words, if you build it, they will come. Demos OK, I’ll work on putting my team together or at least doing the right things to attract the right team members -but why is this guy babbling about good demos when he’s writing abou t showcasing I’ve found that good demos are usually the most important factor in finding a major label record deal and the most efficient way of generating enough label interest to get to the showcasing stage of your career. Myadvice on this front is beg, borrow or steal – in other words, do whatever it takes - to come up with the cash tomake good demos before you start to showcase. You should try to find a local studio / engineer / producer whose work sounds radio-ready (and that maybe did another band’s demo that you like) and try towork with them. Research everything before spending your money on recording. Remember that most majorlabels are radio driven and for the most part not in the business of selling your live show. I’ve seen bands that could barely play live get record deals because their demos sounded ready for radio. In these cases, the showcase was really just a formality - the record co mpany’s mentality being that even if you suck live, you can’t tell that over the radio. I’ve even heard of bands with great demos being signed without ever being seen by a label rep at all. On the other hand, I’ve seen amazing live bands that just couldn ’t come up with decent recordings of their material and which to this day remain without a deal. Starting your career “How the hell am I supposed to just start my career? I’m lacking funding, time and contacts to get the ballrolling. Aren’t you being a bit unrealistic?” What can I say about that, except what you already know - the record business is hell. In recent years, the burden of artist development has shifted from record companies to management and the artists themselves. I don’t like it and I don’t agree with it, but that is really the way it is. Yes, it is unfair. Yes, it is hard as hell to getthings going on for your career without major label resources. But yes, if you are able to start your career without help from a major, you will be that much more of a sellable commodity come showcase time. Look at it this way: As an A&R person, I am an investor for my co mpany. You as an artist or band are a corporation. Your team is your senior management sta ff pitching your corporation to people like me. I am in position of acquiring corporations that I think will be successful. If your corporation is already beyond the blueprint or demo phases and is already demonstrating its vi ability in the marketplace, I am much more likely to want to invest in your future. In my experience, t he only thing that can predict future sales in this business are existing sales. It is hard as hell to do on your own, but it can be done. Think about this: Kid Rock had sold well over 100,000 records on his own label before he signed to Lava/ Atlantic. He already had over 50 street-team me mbers and had received a decent amount of coverage by national periodicals. My company did a great job with this record, but nothing we did would have replaced his10 years of legwork. In addition, that kind of legwork may put you in a stronger bargaining position when negotiating your deal. Dave Mathews and MC Hammer both got better than average royalty rates to lure themaway from their already profitable independent careers.Label interest “Anyway, you were about to stop this long-winded preamble and tell me what to do when I’m about to rock outin front of record execs, right?” I will in a minute, I promise… But first, I just want to say a word about gauging a label’s interest in your project. It’s important to know where people stand when they show up at your showcase and it is very hard to tell.Musicians often misunderstand my intentions and interest level, so I guess I’d better explain what it meanswhen I say or do something. Wow, I’m gonna be honest here…I know I’m going to regret this later but, here goes… When I say, “Please send me your demo,” it means, I want to hear this, someone told me it’s good or I not iced the band doing something right. It doesn’t mean anything until we speak after I’ve listened to it - at which point you’ll know what’s up. When I say “Well, let me know next time you play New York” - it means “Well, your demo was good, not great.” Maybe if the live show is earth shattering we might talk about doing some demos or something. It kindof means keep in touch; let me know as things progr ess. It also indicates that I am not excited enough to get on a plane to go check you out just yet. It doesn’t mean that you should call your travel agent and book a tourASAP - the interest level isn’t quite at that point yet. When I say: “OK, I’ll come see your next show - even if it is out of town - it means, I’m pretty excited here. Either I loved the demos or the fact that you’ve demonstrated that your project is making money in some way or someone else in the business that I trust has convinced me that your project needs my immediateattention. It doesn’t mean I am the only person you need to impress. Like most A&R reps, I need approval from the upper tier to get anything signed When I say: “You guys were great, I’d like to get my boss to come see you now,” more often than not that statement means my decision is over. If it were my label, I’d sign you - but since it is not, I will see what the response is from the man upstairs. Depending on his reaction, I will decide on how to proceed. It doesn’tguarantee that the man upstairs will like you. If you t hought convincing Cynical Bastard, Jr. was a task, just wait until you meet Cynical Bastard, Sr. That said, most reps wouldn’t proceed unless they think their boss will understand your project. Major label interest is like venereal disease (or so they tell me): when you’ve got it, there won’t be any doubt in your mind.Setting up a showcase “OK - major label interest is a requirement for a showcase and understanding the level of label interest ishelpful. But will you tell me about showcasing now, please?” You’ve been patient, so… have your lawyer and manager ta ke copies of your demos or album and send them to their closest industry contacts looking for feedback. You can do this yourself if need be, but it is likely that your material will get listened to more quickly if it is sent by a lawyer or a manager - and one or both shouldfollow up on it to see if it was received and/or reviewed. I’d stress that your materials should be sent to your closest contacts first; that way, you get someone who is more likely to listen carefully and provide you with honest and detailed feedback and criticism. If your closest c ontacts are letting you know that they wouldn’t even travel across the street to check out your projec t, you might want to consider going back to the drawing board and working on your demo material some more. If the feedback is decent, however, by all means invite them to the show. Now is the time to sit down with your team and figure out which label(s) would be your idealhome. You’ve already sent your material to the people you and your team know the best - now I would recommend making sure that packages are sent to the labels you perceive to be the best fit for your project. Ifluck, timing and talent are with you, maybe you will get some people down to check you out.Rules for the big rock show “So say I get a couple of labels interested - where do things go from there? Should I perform in theirhometown or mine? Is it better to showcase in a rehearsal studio or in a venue? Should I bring out all of mydrunken friends to the show? What about the guest list?” If a label gives you the option of “your place or mine?” do not default to your one-night-stand logic - your response should always be “my place.” Ideally it should be in your hometown, at the venue in which you are most comfortable and in front of as many fans as you can find. A showcase will likely be stressful for you nomatter where it is, but in your home town and in a fa miliar venue you will be better able to predict all of the little pitfalls of playing live. Will you get a sound check? Is the soundman any good? Will the promoter/clubowner move your set time? What is the back line lik e at the venue and what equipment will you need to bring? Do everything you can to get a sound check and make sure you know (and tip! ) the soundman. If you have to be out of town, try to bring your own soundman or at least find one who comes highly recommended wherever you wind up showcasing. Another good reason to avoid coming to label territory is that the crowds in New York and Los Angeles (where most record labe ls are located) suck. People rarely go out to check out new acts and tend to be too cool to move or show any real appreciation. Also, no matter what night you choose to play in New York or L.A, there will always be a national a ct or another buzz band you’ll be competing with. Another thing to consider is that an A&R representative tends to feel less at work when seeing a band in a venue that’s not one of his or her usual haunts in downtown Manhattan or Los Angeles - and believe me, that can help. You may not be given the decision to play under ideal circumstances. A very common story for showcasing bands is that they will be seen first by a representativ e or scout in their hometown and then flown in to New York or Los Angeles to play for the senior officers at the company or sometimes most of the record label staff. This can be a brutal experience and I really don’t know how to tell you to prepare for it. Picture this - you’re in a room filled mostly with strangers who you know nothing about except that they work for a record label. There’s no alcohol, usually no smoking and no one looking to pick someone up like theywould at an ordinary show of yours in a bar somewhere. You are the sole focus of at tention for a mob of jaded record executives. A friend of mine had his band showcase for an entire label staff last year and had one of the most horrifying experiences I’d ever heard about. In a sterile rehearsal room like the one I just described,the band waited for the label president (a living legend) to arrive. After a half-hour of being uncomfortablystared at by several dozen New York hipsters, the band was finally greeted by the label head, who had acouch placed under his ass and was then carried to within spitting distance of the stage. The label head satexpressionless with arms folded during the band’s entire set. What could you do to prepare for this? Well, Iguess the only thing I can think of is to practice until you know your set forwards and backwards so you can stand and deliver under any circumstances. Another option worth considering is performing in a st udio if you know you can put on a good show there – not exactly easy or natural. The advantages are that you’ll hav e time to sound check, you can have everything set up the way you want and you’ll have far more control if that appeals to you.The importance of fans… If you have a legion of loyal fans, don’t be afraid to bri ng every last one of them down to your showcase. It’s a very difficult thing to pack a venue (even if there is no cover) unless you’re doing something right. When I go out of town to check out band, I’m watching the crowd as much as I am watching the performance. The funny thing about doing A&R is that with every passing day in your job you become less like an ordinary consumer. For example, I haven’t purchased a CD or paid to see a performance in months. So honestly, I’m almost more interested in what your average 16-year-old kid thinks than what I thin k.The president of the label I work for once told me a story about seeing a band several years ago that went on to be a multi-platinum act. He didn’t get it; in fact, he hated it. Being rather bored in the middle of this packedshow, he wandered around and talked to people in the crowd about the band. Every person he talked toswore that the band was the next coming of Christ. He allowed the A&R representative that brought the band to his attention to sign it and they went on to sell millions and millions of records. Obviously there were other factors involved, but the rabid fans at their show that night played a huge part in their signing. Don’t fake it More often than not, you will find yourself showcasing in less-than-ideal circumstances, so do your best toimprovise and make do with what you have. If you are forced into a sterile rehearsal room, bring candles or some elements of your stage show to the room to liven it up a bit. If you have the means, have someone who knows your set operate the lights - lighting can really help out a show. Remember, you will likely be playing to a room of zombie-faced record execs who tend not to move a lot, so even a simple strobe light can do wonders to make it feel like something in the room is moving. You can talk to the label about bringing a case of beer and some friends down to the rehearsal room; I can’t imagine most of them would mind. If nothingelse, it might make you feel more comfortable - which, as you can imagine, helps a grea t deal. Do be careful when playing the drunken-friends-in-a-rehearsal-hall card, however, because I’ve seen it do more harm than good. When it works right it’ll just be a bunch of people enjoying your music and having a beer. I’ve seen itappear very forced, where it seems like the band instructed every member of the audience to freak out andoverreact to every song (which might just be them trying to be helpful). Be careful about audience coaching in general. When I go to see a show on the band’s territory, I’m expecting to see a well-promoted and packed show - the best example of a show they can do there. If I see one hint o f something that looks staged (I once saw a band thanking a group of young girls and handing out $5 bills not too long after they loudly demandedband autographs in the middle of our conversation), it can be a total buzz kill. Set lists and spontaneity Obviously you are the one who has to live this out, but I would recommend writing out your set list several weeks before the showcase and practicing it over and over the exact same way you intend to play. Make sure you are so comfortable with your showcase set t hat you could play it while having hand grenades lobbed at you. Also, short sets tend to work better than long ones. I would say play only your strongest and/or mostcommercially viable material during a showcase, particularly if it is in a rehearsal hall. If you can, find out which songs the record company is focusing on. If it is an ordinary show you have a bit more flexibility, but even then you should leave the crowd wanting more and pray that you get an encore (always a good sign). Put the song you are getting the best feedback on in the middle or maybe in the latter half of the set because A&R people are notoriously late. I would even go as far wi th your rehearsals to script out the in-between song banter. At a venue or real show always announce your project’s name once or twice durin g the set (this way there’s no mistaken identity) and don’t be afraid to call out mailing list and CD info. I always like to know that aband isn’t shy about selling their records and is organized enough to keep a mailing list. This does not mean you should go overboard with stage banter. Song titles are cool to mention, crowd interaction is always a plus,but no one really wants to hear your life story. Besides, if you do your job right on stage, people will ask youfor your life story when the set is over. Guest lists Guest lists for industry people shouldn’t be a big deal, but for some reason or another it can cause problems. The one plus about showcasing in a rehearsal hall is that you won’t have deal with all of the fragile egos and bullshit whining that comes with putting together a guest list. Make arrangements with the venue you areplaying at beforehand so you don’t discover too late that your guest list is over crowded and you have to come out of pocket for the extra people on your list. If you know up front that you won’t be getting a large list, don’tworry about it - A&R people have expense accounts that can be used for paying a cover charge. If the showwill be sold out, then and only then should it really cause a problem. If you’re selling out a club, they shouldn’tbe giving you shit about the size of the guest list anyway, so make sure that your industry guests are on theguest list and getting in. You should know that younger scouts and A&R people are far from wealthy, so ifyou’ve got an A&R assistant or scout helping you out, throw them a bone if you can.If you’ve got the space to put people on, it’s a nice courtesy. If you don’t, just make sure you communicate with the people you invite about the list - anyone who would let a nominal cover charge deter them probablyisn’t worth your time anyway. Labels and leverage “Say things are going very well and I have several people interested - do I invite them all to the same show?Should I play labels off of one another to get a better deal? Would it be advisable to get my project in themiddle of a bidding war?” There are cases where there can be too much of a good thing. On numerous occasions I have seen bands that have managed to get the majority of the A&R community in New York down to one of their shows andthen blown it. That being the case - and being that anyone can have an off day - I would say try bringingpeople to your shows in smaller groups or maybe even one by one. You will not always have that luxury ifthere are multiple labels interested in seeing you and you showcase in New York or Los Angeles. But if youcan do more than one showcase for different groups of people without making it any less impressive, do so. I’ve found that if too many people show up at a certain show, I will b e more critical of the performance and will find myself asking if the band is really worth all the hy pe. I know it’s childish, but a packed showcase for a buzz band is kind of like going to see one of those blockbuster movies that spends millions on advertising and gets dozens of huge corporate sponsors. The movie might be good but it rarely meets your expectationsbecause of all the hype and will never quite be as good as a great movie you just kind of stumble upon. Major A&R turnout at your show doesn’t always lead to disaster, though. Sometimes only a few of theattendees step up with a deal and the band goes with whomever they feel most comfortable with - orwhomever offers them the most generous deal. Other times, however, when there are many labels interestedin a band, the band can find they are in the middle of a bidding war. While this is obviously an enviableposition to be in, it is a double-edged sword. On the one hand the band will have many different options to choose from; on the other, they will also be up against their own inflated perception. This is once again the obstacle of surviving the hype you generate for yourself. Some of the biggest bidding wars of the last several years have been over bands su ch as Radish, Rubyhorse, Hayden, Flick and Furslide. If these names sound familiar, then trust me when I say you are quite up on your obscure music. Like a majority of bidding war acts these bands did not go on to perform like the collective A&R community thought they would. I believe the heightened expectation placed on these bands has something to do with their failure. When a band that cost a label a great deal of money is released, the unconscious perception of the label staffis that it should perform better than the average new release. Since this is not always the case, it seems thatpeople are quicker to dismiss a bidding war record even if it is selling moderately well. Once again, bewarethe hype. The best-case scenario is to get an offer in from one label and see if you can leverage that offer into a better offer from other labels. With luck you will get a modest amount of competitive deal offers on the table. Having just reread the last two sentences aloud I thought now would be a good time to mention this: ALL OF THE IDEAS STATED IN THIS ARTICLE ARE JUST THE OPINIONS OF RICK GOETZ AND NOT THOSE OF ELEKTRA RECORDS OR ANYONE ELSE! Anyway, it can be a very touchy subject and you must be careful to treat any deal memo you get with respect. Deal memos do get pulled off the table all the time, so don’t think you can take your time and flaunt the fact that you are continuing to shop even though label X has put its money where it’s mouth was. If you get an offer from a dream label and it seems to you and y our team like a reasonable deal, then maybe you should just sign and get on with your career. If it is an offer from a label that is at the bottom of your list then maybe you should delicately put a spin on this in your pitch to other labels.When I say delicately I mean don't call everyone in the A&R community and try to stir things up. Just call those labels that have expressed the most interest to date (other than the label who has made an offer) and let them know that just for their information, there is now a deal on the table and that the band will not be available forever. Be warned - if you take too long looking for other options, you might loose the deal memo on the table. So be careful. If you do get a second label to make an offer, you can look to improve the stakes from both interested parties. As long as there are not too many offers and too much hype, you don’t risk the pitfalls of being a bidding-warband. I never said that a little friendly competition was wrong. But be warned that when you’re the middle of these negotiations you don’t exaggerate what one label is offering to the other one. The music business is a twisted little social group that is not unlike high school - people talk and gossip frequently and we all seem to be at least one or two degrees of separation from one another – so there is a good chance that if you tell onelabel that the other is offering you the moon and it isn’t true, that little lie will be uncovered and screw up yourrapport with one or both labels. One last comment Rapport with an A&R person or label is crucial. You should try to understand his/her position within the label (ie: level of seniority) and determine whether or not you can communicate and understand each o ther. You should also ask what their vision for you is and hope that it somewhat lines up with your own. If there is acompetitive bid situation, the person or label you communicate better with is very important and could decide not only where you land, but also how happy you’ll be once you’re there. Buck up, little campers… If you’ve made it this far, you are a real trooper. I think I’ve run out of silly anecdotes and half-baked witticisms for you. Your job in showcasing is to find the right label for your project (and in the process, get as many free fancy dinners as you can). I hope you continue making good music and not let the many obstacles before you deter you from your dreams and goals. Please bear in mind that this process is more like a marathon than asprint - so don’t loose hope! Rick Goetz is Senior Director of A&R at Elektra Records, part of Atlantic Records Group www.atlanticrecords.com12. ATTENDING OPEN MICS AND JAMS OPEN MIC PERFORMER'S GUIDE by Jeremiah McCaw, Ezeduzit © 2010 All Rights Reserved. The stage can be a scary place, even in as supportive and friendly an environment as the folk clubs of "the circuit". One of the first things you should realize when you get up to perform, is that you are not alone upthere. The person working the sound board is as integral a part of your performance as the guitar you're holding. In other words, there's no such thing as a solo - you're involved in a co-operative effort with the sound person. A good sound person can bring out the best in your per formance, enhancing your strengths and down-playing your weaknesses and in general make you sound better than you thought possible. There are three people in your life you should NOT aggravate: your barber/hairdresser, your bartender and your sound person! If possible, talk to him/her beforehand about any questi ons you may have. They're friendly, approachable and susceptible to flattery. Hey, if all else fails, try sincerity!Material We recommend that you have three songs ready, just in case someone before you does one of the ones that you've prepared (playing your own songs can be a real advantage). It does happen from time to time and it's generally considered poor etiquette to repeat a song that's been done already that evening. Not that it doesn't happen, but it should be avoided wherever possible. Other than that, just remember: you're among friends! Particularly if it's your first outing, you should not pick songs that are overly difficult and for goodness' sake (literally) st ay within your comfortable vocal range. The first time can be scary enough without having to deal with a tricky vo cal or instrumental part. There will be lots of time and opportunity for the bravura stuff later. Set up When you get on stage, take a position that is comfort able for you. Hopefully, you'll have practiced in the same position as you're intending to play, whether st anding or sitting. And yes, that really does make a difference. Let the MC or sound tech arrange the mics for you. You shou ld work fairly close to the microphone. It can be a bit daunting when you hear your voice being amplified for the first time and the natural tendency is to back off. Resist it. As Bill Crawford says, "Eat the mic!" The best working distance for the microphone is about 6 inches or less (2 inches is better), a hand's width. Also, the closer you are to the mic, the better the bass response will be. And try to keep your working distance consistent. If you end up 2 feetaway from the mic, the sound man is going to assume you're going to stay there. In any case, he will adjustthe gain for the mic for that distance and if you should suddenly lean forward, the sound levels will go rightthrough the roof. You didn't REALLY want to per forate your audience's eardrums, did you? Another advantage to not having to `up the gain' (ie: you're working close to the mic) is that there's a much lower likelihood that feedback will occur, which of course will be a MAJOR disruption of your performance. Andhonest, they're nice people out there. You didn't REALLY want to be responsible for turning their brains topudding, did you? If your guitar doesn't have an on-board pick-up, it'll have to be miked. Again, let the person doing the set-up arrange it for you. From that point on, you should try to maintain a consistent position relative to the microphone. You may notice that the mic won't be set in a direct line to the sound-hole of the guitar, so don'taim the sound-hole squarely at it when you're performi ng. This will tend to promote overly "boomy" bass and even feedback.Go for it!! Hearing yourself amplified can make you back off psychologi cally as well as physically. Resist this as well. Let your voice go. I'm not saying you must sing loudly, but I am saying you should sing fully. You can crash and burn in one of 2 ways: first, by being hesitant and tentative or second, by going for it and missing. The first guarantees failure: you got NO chanceat all. The second way gives you a shot at success and even if you're not on target, well, at least you tried andthat counts for a lot with the people for whom you'll be performing. Get the fullest tone you can and let thesound person (your partner, remember?) take care of the volume levels. That's his job. Yours is to give thebest you can to your audience. They deserve it and so do you. Okay, so there you are, up on stage. You're nervous as all get-out, but you've determined that you're going to go for it. You're as prepared as you can possibly be. Your guitar is tuned as well as you know how. (You DID tune it just before you went on stage,didn't you? I did encounter one fella who tuned his guitar SO carefully at his home, packed it carefully in its case, put it in the trunk of his car; wintertime, don'cha know, where it got very cold and then took it out at the Folk Club and went on stage without re-tuning. Oy! what a sound! Wouldja believe an oriental 12-tone scale or reasonable facsimile thereof? He obviously didn't realizejust how susceptible guitars can be to changes in te mperature and humidity. And I swear, instruments de-tune if you even look at them crossways, as well!) Just one other thing: just before you start to perform, take a couple of seconds to gather yourself and remind yourself to breathe. Really, you can start out wi thout a full breath and never get caught up. It's happened to me more that once (and I'm not confessing how much more!). It's your audience that should be left breathlessby your performance, not you. And that about does it. To repeat an earlier phrase, GO FOR IT! Jeremiah McCaw lives in Brantford, Ontario, Canada. His Folkp age was created site is to give some shape to Folk & Folk-oriented activity in the South Central Ontario area and to share his love of Folk music. www.jeremiah.ca Jeremiah is also a member of "Ezeduzit" - an acoustic-based trio. Although focused primarily on “old Timey” material, their repertoire ranges through traditi onal, contemporary and even original instrumental and vocal music www3.sympatico.ca/jim.hodge LIVE PERFORMANCE: YOUR FIRST OPEN MIC (interview with Open Mic Host, Spook Handy) by Anne Freeman, The Aspiring Songwriter © 2010 All Rights Reserved. AF: “What usually happens at an open mic? I'm a new songwriter. I'm making my first visit to an open mic. What happens next?” The first thing that someone who wants to play an open mic should know is what an "open mic" means. The definition has changed in the last 5-10 years. People ca ll distinctly different things open mics. The traditional open mic is synonymous with "open stage," and the key word is "open." That means that anyone who wantsto can go up and do what ever they want. That is a true open mic. Usually, if the show starts at 8 PM, peoplewho want to perform need to sign up by 7:30 PM. The MC will either pull names out of a hat or will call people up to perform first come, first serve. In most cases, that is the way things still work.The way that I run my show and a lot of people in New Jersey run their shows, is you sign up in advance. I usually have shows booked a week in advance. For instance, today is Wednesday - I already have nextTuesday's show booked. I usually let people book one show at a time in advance. So, they can book for one, two or three weeks ahead, for one show. It would be important for the performer to get in touch with the venue to find out how to sign up. It's important that the venue owner know what the policy is for signing up for theopen mic, too. Sometimes the venue operator tells people the wrong thing about signing up and that's notgood for anybody. AF: “How many songs does a person typically perform at an open mic?” That's a good question. It's another thing that you want to find out before you arrive at the venue. In the more prestigious venues, such as GodfryDaniels or venues in New York City and other majo r cities, usually you can do one or two songs, depending on how many people show up. For some, it might be three songs, but you might also have to wait four or fivehours to perform. For the open mics requiring that you sign up in advance, you might get a 15-minute spot. In my show, it's a 20-minute spot, which is the most generous one that I've found. That's why I think about The Spook Handy Show as a talent showcase, because I want to give people a chance to have time to get into theexperience. It's a good question to ask about, how many s ongs do you get to play? It's usually one or two, but check it out. AF: “What technical issues are there? For example, there might be a room full of 20 people with 20 guitars when you arrive. How do you prepare?” One thing is, respect the stage area. Don't come in and put your instruments on the stage, unless that's the policy. Usually, you're going to put your instrument somewhere that doesn't prevent people from sitting down. You also want to tune your guitar up after you get to the venue, because it might go out of tune while you'retraveling to the venue. You also want to tune it up before you go up on stage. T hat's a good thing to remember. You probably want to tune your guitar up in another room, so that you're not making noise whileother people are playing. AF: “Is that something that the MC or host would be able to tell you? Could you go up to the host and ask if there is a place where you can tune up and put your guitar?"Yes. If you're going to a place that you've never been before and you have any questions like that, definitely ask the MC so that you'll know what todo. One thing that I've seen - and I've talked to other open mic operators - what MC's don't like is someone coming in and making assumptions about how to do things. Things like walking up on stage and adjusting thesound system, plugging their guitar into your board. No - let the people who run the show and own the equipment do that. Ask them what the policy is. AF: “For the person who is performing at an open mic for the first time, what can they expect to experience when they're standing up there on that stage? Do they introduce themselves to the audience? Should they talk about their song before singing it or should they just start playing? In summary, is there an "etiquette" foropen mics that songwriters should be aware of?” Well, if it's the first time you've played, then you can expect to be pretty nervous (laughs). A friend of mine, when he first played an open mic, he had to go out and run around the block. He kept running around the block until we grabbed him to go on stage. Itwas the only way that he could deal with the nervousness. So, ask the MC if he or she is going to introduceyou and if there is anything he wants to know about you to announce to th e crowd. Q: Will an MC typically announce the performers?Yes, they typically will announce the next performer. They might say that this is your first time out performing or not, if you don't want them to. I had someone ask me not to mention that he was a lawyer and I forgot that about four or five weeks later and he hasn't come back since! :-> AF: “That's too bad - I'm sure it's sometimes hard to remember all of the details that people request. A story like that shows how important it is to remind the MC if you have specific requests.” The most important thing for a beginner to remember is don't rush. You can spend 3 0 seconds to get yourself adjusted. Make sure that your sound levels are OK. You don't want to monopolize time, but you do want to get yourself balanced and focusedbefore you start your performance. I've made the mistake in the past of just going up without a sound checkand just started playing. Halfway through the second line of the first song I realize that this sounds horrible.Take the time and make sure that you're comfortable with the physical environment and the soundenvironment. Anne Freeman, Founder and President of The Aspiring Songwr iter™, started this ventur e when aspiring to learn about songwriting and consequently the songwriting and music bu siness. She founded The Aspiring Songwriter™ first as a vehicle to discover and share resources with songwriters. Her company represents her journalistic work under The Aspiring Songwriter™ and in this capacity she serves as Editor in Chief of the music business e-journal MusicDish www.theaspiringsongwriter.com Spook Handy has performed over 3000 concerts in his 23 years of performances, has written hundreds of songs, recorded 3 CDs with a 4th due out in the coming months and now some of his own compositions are being performed by over a dozen other musicians. Pete Seeger says, "There's a songwriter from New Jersey who really understands how to write a good song that says something important. His name is Spook Handy and his song 'Vote' is both funny and to the point". www.spookhandy.com TIPS TO HOSTING A SUCCESSFUL OPEN STAGE by Kristen Schuldt, Hydraulic Woman © 2010 All Rights Reserved. 1. Offer a prize to the weekly "winner." This always brings people in, so it should be tempting for the venue to sponsor a $50 or $100 cash prize or to at least try it for a couple months. The other way to raise money would be to charge $5 per entry and give the winner the pot at the end. Go further with this idea if you want - line up 3 friends or regulars for judges - like American Idol orthe Gong Show. Get some interesting judges and it keeps the crowd involved. 2. Set up a cozy stage, do something different. Lighting is SO* important. Lately we've been setting up a couple of couches and lamps.... feels really homey. 3. Will the venue chip in half (or more) to run an ad every 3 or 6 months? Musicians are always scouring those local papers for opportunities, so you don't need to run it every week. 4. This was fun for a while - every performer gets to fish for a prize when they are done. Someone behind a divider or wall puts a prize on the end of the fishing line - something awful like oldcassettes you don't want, dollar-store-crap, once in a while something good like a free drink oranother performer's donated CD etc....5. Turn the whole night or the last hour, into a jam. If there are regulars, you start to learn each others' songs without trying too hard.... or have a list of easy to learn 3 or 4-chord songs for jammers to pick from. Three friends and I actually formed a band after jamming together for acouple months. This may get too karaoke-like for some, but you could encourage singers to show up even if they don't play an instrument. Give them a list to pick from or ask them what songs you might know or learn easily. Consider hiring a house band - if you play rhythm guitar, all you really need is drums and bass. I've been pleasantly surprised at the talented musicians who will commit their time for very little money. 6. Keep advertising the free way: post on internet message boards, bulletin boards at music stores, the local musicans -wanted ads..... tell your city newspaper and any local arts paper to run it in their events section. And make sure there's posters up at the venue itself! The music of Kristen Schuldt and Hydraulic Woman crosses a ll the lines between Rock, Blue s, Acoustic and Electric. Hydraulic Woman currently performs at a number of live venues in the Minneapolis / St. Paul and surrounding area. www.hydraulicwoman.com JAM ETIQUETTE by The Victoria Bluegrass Association © 2010 All Rights Reserved. Before joining an existing jam, listen to a tune or two in the background. Join in if you think you can keep up. Ifnot, play quietly in the background. Ensure that your instrument is in tune. If you're new to digital tuners, be aware that they should be calibrated to A 440. The purpose of jamming is to make bluegrass music and have fun. It is not to play as loud as you can, as fast as you can or to show off how good a player you are. Listen to others in the jam and make sure you blend into the music and /or singing. Don't practice your break (solo) in the jam circle. If y ou're playing the melody when it's someone else's turn to take a break or when someone's singing, you're stepping on toes. (Note that this is a major difference between bluegrass and Celtic or Old-Timey jams). Don't hog the jam. Give everyone a chance to play. Be supportive. When it's your turn to pick a tune, let everyone know the name of the tune, the key, the form (if it's an instrumental) and if there are any odd or unusual chord progressions, timing or rhythm issues. It's best and most rewarding to do tunes in generally accepted keys. Songs, however, are usually done in the key selected by the singer. But, this being said, it’s best to pick a key and tempo that suits the tune and the abilities of theother jam participants. If capos are being put on or taken off between tunes, wait a few seconds for people to recheck their tuning. If you don't want to take a break on a particular tune, make it obvious, such as by stepping back out of the circle and letting the person on your left know. No one wants to start their break half way through.If you can't hear a break or the words of a song, you ar e playing too loudly. Tone is every bit as important as volume. If the volume is getting "up there" on a particular tune, don't play. Work on y our harmony singing or listening skills. Listen for the rhythm of the tune or song, get in the groove AND STICK WITH IT. If you find you're not in good time, stop playing for a beat or two until you feel the rhythm again. It is next to impossible to pick up the rhythm again, without stopping first. Don't have your eyes glued to your instrument. Look around, communicate with your eyes and body. A lot of communication in a jam is very subtle and you need to be alert to catch th e signals. Listen, listen, listen. Listen to the bass and the room as a whole. Don’t just listen to your neighbors because they may be leading you astray.Familiarize yourself with the Nashville Numberi ng System & Common Bluegrass Chords to communicate chord changes to other players. The preceding article was created by The Victoria Blueg rass Association Victoria Bluegrass Association (VBA) www.victoriabluegrass.ca The VBA is bas ed in Victoria, British Columbia and organizes and suppor ts a Tuesday night Bluegrass jam, open stage/feature nights, instructional workshops, special concerts, young musician's bursary, local bluegrass radio programming and a newsletter. THE TEN COMMANDMENTS OF JAMMING by Jeremiah McCaw, Ezeduzit © 2010 All Rights Reserved. I Thou shalt not ever forsake the beat. II Thou shalt arrange thyselves in a small circle so that thou mayest hear and see the other musicians. Thou shalt listen with thine ears to the songs and attempt to play in accord with the group; also, open thine eyesbetimes to look about thee, lest there be some visual sign someone is endeavoringto send thee. Thou shalt play softly when someone lifteth his voice in song, when playing harmony and whenthou knowest not what thou art doing. III Thou shalt play in tune. Tune thine instrument well and tune it often, with thine electronic tuner, lest thesounds emanating from thine instrument be unclean. IV Thou shalt commence and cease playing each tune together as one, so that the noise ye make be a joyful noise and not a heinous tinkling that goeth in fits and starts, for that is unclean and is an abomination. Whensoever a musician sticketh forth his foot, as though he were afflicted with a cramp in the fatted calf, thoumust complete the rest of that verse and then cease. V Thou shalt stick out thine own foot or else lift up thy voice crying, This is it! or "Last time!", if thou hast been the one to begin the song and it has been played sufficient times over. If the one who began a tune endeth it not by one of these signs, then the tune will just go on and on, like the Old Testament,until the listeners say, "Hark! It all soundeth the same."VI Thou shalt concentrate and thou shalt not confound the music by mixing up the "A" part and the "B" part. Most songs, but not all, proceedeth according to the ancient law, "AABB", but if thou sinneth in this regard or make any mistake that is unclean, thou mayest atone - not by ceasing to play - but by reentering the tune in the proper place and playing on. VII Thou shalt be ever mindful of the key the banjo is tuned in and play many tunes in that key, for the banjo isbut a lowly instrument which must needs be retuned each time there is a key change. VIII Thou shalt not speed up or slow down accidentally when playing a tune, for it is an abomination (see commandment I). IX Thou shalt not, by thine own self, commence noodling off on a tune the other musicians know not, unless asked or unless thou art teaching that tune, for it is an abomination and the other musicians will not hold theeguiltless and shall take thee off their computer lists , yea, even unto the third and the fourth generation. X Thou shalt have fun and play well. Jeremiah McCaw lives in Brantford, Ontario, Canada. His Folk page was created site is to give some shape to Folk & Folk-oriented activity in the South Central Ontario area and to share his love of Folk music. www.jeremiah.ca Jeremiah is also a member of "Ezeduzit" - an acoustic-based trio. Although focused primarily on “old Timey” material, their repertoire ranges through traditi onal, contemporary and even original instrumental and vocal music. www3.sympatico.ca/jim.hodgef13. PERFORMING GIG MANNERS: HOW TO BOOST YOUR APPEARANCES AT VENUES by Annette Warner, CoffeeHouseTour.com © 2010 All Rights Reserved. If you are one of those musicians that just doesn't think about 'manners' when it comes to venues, it's about time you started. Here are 10 easy-to-manage tips on how to mind your manners when gigging in a new venue or returning to an old one. 1. Always make sure to confirm your gig prior to leaving town (if you’re travelling). Mistakes happen and schedule changes occur. Even at the last mi nute, venues have and will toss a new performer aside when given the opportunity to book a returning favorite that is guaranteeing a crowd. They may have dropped the ball on calling to cancel or even double billed the gig without letting you know. So protect yourself and make sure you are still scheduled. If a cancellation does happen, ask for a new date right away -maybe two dates while you have the venue in a potentially generous state. Never appear rude or inconvenienced in an attempt to make the venue feel bad. It will haunt you later and you'll just irritate them and make it hard for them to want to work with you again. Bepleasant and kind even when you may be gritting your teeth because it's screwed up your entire weekend. If nothing else, you've shown you ar e a professional and a tactful business person. Most of the venues and musicians I asked admitted to getting caught in the awkward trap becausethey failed to confirm. Avoid it altogether when you can. Just call. Don't even depend on e-mail. Call. 2. Ask when the load-in time frame is and follow it. If you find out that you are going to be late for load- in, especially for a show at a restaurant, you'll want to call the venue as soon as you can in order to find out if it's okay to load-in late. I have witnessed musicians being turned away for their gig because they arrived late at a restaurant that specifically required that load-in and setup be completed two hours prior to peak dinner hour. Even though the musician would have been able tostart the gig on time, the lateness was inconvenient for the restaurant. Ask the venue booking manager what the preferred times are - and stick to them. 3. Ask the venue if there are any particular drink specials or event announcements they would like announced on the PA between sets. It shows you care about their business and want to help increase the register for the evening. You can also ask who the artists are that are playing the next few nights after you and announce the dates they are appearing to your audience. It will come back around in a good way And the better you do it, the better it will come back around. If you have the time, research the next few perform ers prior to playing so you'll have something personal to add and write them telling them you intend to promote them and ask if there is something special they'd like for you to announce. That's just good, friendly networking and takingcare of each other. Next thing you know, they'll call you and want some details to announ ce on stage at a gig with 3000 people :) Just cuz you rocked!4. Do not forget to announce reminders for tipping for the wait staff and bartenders. They really do appreciate acts that do that. At the end of the evening, tip the wait staff yourself. Even if they didn'tbring you anything to the stage. Nothing says you shouldn't just because you are playing there.Waiters talk amongst themselves. Impressing them is a big part of the game. They will ask venue owners when you are coming back and they will tell their friends when you play. 5. Clean your stage area of bottles. Put the chairs back that you used. Leave things as you found them, or better. When you exit the venue, you'll stand out - believe me. 6. Assuming you liked the venue, add the venue to your holiday card list - and send them a Thank You card after your first gig. Let them know you appreciated being there and look forward to comingback. Do so even if you don't want to gig there again. It's easy enough to 'not be available', but it'snot easy to recover from being unappreciative. Again...you'll stand out. 7. Give the venue a CD for their overhead player. Many venues will play them. Especially for the ones that have made the best impression. On return visits, introduce one new artist you think would fit in the venue, by giving them a CD of t he artist. The venue will think you are wonderful and thoughtful. In a profession where most people are only looking out for themselves, it's rewarding personally to be supportive of your colleagues. But make sure your recommendations are goodones. You need to develop the venue's respect. 8. Offer their customers some raffle prizes through the night. Play some games like "First one to buy the newest drink on the menu, gets a free T-shirt." Always come prepared to give away things atyour gigs. It really does make a difference and it's easy to do. Remember to promote safe driving and designated driv ers as often as you feel necessary - at least once per show. It's a community responsibility we a ll have - reminding intoxicated music lovers they shouldn't drive. Simple.9. Make an effort to remember names of the staff so you can name them on stage. "Billy behind the bar makes a fabulous Margarita guys - go grab one!" or "Lisa is a fabulous waitress - everyone, remember to tip her well." It makes the evening more personal for the staff. You can't help but like someone who calls your name from the stage. 10. Be on time when starting and stopping your gig. If the end of your night has come and the crowd is still going strong, ask the manager if they want you to play longer. Don't stop cold and empty the place without showing you care enough to ask w hat they would like for you to do. They will appreciate your thoughtfulness. Don't hesitate to barter. If you've done a fabulous job at maintaining the crowd, offer to stay another hour for a certain sum of money (whatever applies, but be fair). Most would be happy to let you playall night as long as they are making money, but don't assume that they do want you to continue. And whatever you do ...avoid taking breaks when it's starting to pick up. And when you do takebreaks - keep them short. You are being paid to play, not drink and sit around. In addition to Founding CoffeeHouseTour.com Annette is a freelance Sales Copy Writer and Web Resource Developer with her own business; Awesome Webs. She also enjoys du ties as a part time event planner and booking and music entertainment manager for several local festivals. She organizes and promotes the Wilmington, NC based and successful AWEsome 'Live Performance' Songwriting Competit ion now in it's 9th year. She is the owner of A. Warner Entertainment, a Live Entertainment Publicit y Planning Agency. www.awarnerentertainment.comTHE ART OF PERFORMING by Daylle Deanna Schwartz author of "Start & Run Your Own Record Label" © 2010 All Rights Reserved. Musicians often wonder why people love their music yet there's low attendance at g igs. It's unfortunate that the talent for creating great music in the studio doesn't always cut it on stage in front of a live audience. Being a good performer is a very separate skill that needs to be honed as much as you work on your songwriting, singing or playing an instrument. What does is take to be a good live performer? Personality If you stiffly sing your song perfectly, people may get bor ed. When you put yourself into what you're singing, smile and let your personality showthrough, people will enjoy you more. Connect with your audience Look at them!! I've seen performer glance around the stage and loo k everywhere but at the people watching them. Make eye contact with people in the front. Talk to your audience between songs. Sing to them, not your feet. Energy and movement Let your passion for your music move you around on the stage. Give out energy that your audience feels. Performance isn't just about singing well. People are watching you. Give them something to watch that they'llenjoy! Have fun! If you get stage fright, practicing is a good way to get over it. Or work with a professional to learn how to handle yourself. If you seem to be enjoyingsinging and playing, your audience enjoys watching you mo re. And if you make mistakes, just keep going and they won't care. Be aware that playing a small room is a different dynamic than playing a large one. The bigger the room, the more you need to emote your performance. Ask for honest feedback at every gig you do - not from friends! Try the bartender, who sees all the acts, the club promoter or give out feedbacksheets that people can fill out anonymously. You need to get input from people who don't know you to be your best. Gig contracts Written agreements are the best proof of what was agreed to when you book a gig. A simple one-page contract clarifying what both the promoter and you agree to provides a better shot that the gig will gosmoothly. e-mail confirmations offer some protection but a real agreement must be signed with a pen, not by hitting a send button. Even faxed signatures don’t hold up as well. Some artists fax the agreementimmediately and then send a signed copy by snail mail. Create your own agreement. You can find them online and tailor it to each gig. Colleges tend to have their own but many venues don’t. Avoid getting caught short if the venue asksyou to send yours by having one.A non-refundable deposit (preferably 30 days before the gi g) protects you and provides up front money for expenses. Try to include as many amenities (food, drinks, lodging etc.) as you can in the agreement. Some venues won’t agree. Many will. It can’t hurt to ask! Also include any specifications you may need for soundand what the venue agrees to provide. It’s awful to arrive at a gig and learn that there’s no mic or the drum kit they promised isn’t there. When you have it in wr iting, you have a better chance of getting the venue to accommodate your needs. Remember, ask and ye shall receive! Ask for everything you can and then negotiate for a fair agreement. Daylle Deanna Schwartz is a music industry coach/consult ant, speaker and author of the best-selling Start & Run Your Own Record Label, I Don't Need a Record Deal! Your Survival Guide for the Indie Music Revolution and The Real Deal: How to Get Signed to a Record Label (Billboard Books). Daylle also publishes Daylle's News & Resources, a free music industry newsletter and Self-Empowerment Quarte rly, also free. [email protected] www.daylle.com www.idontneedarecorddeal.com has resources for advancing in the music industry. HOW TO REALLY GRAB YOUR AUDIENCE by Marc Platt, Singer/Songwriter © 2010 All Rights Reserved. How many times have you gone to see a performer who talks and talks about songwriting? Some of these so- called “professionals” have been boring audiences this way for years with tales of their songwriting prowess.While I’ve been one of those jaded guys standing in the back of a club making wisecracks, I have also beenon the receiving end of people’s criticisms. Fact is, most of us at one time or other fall into the trap of boring the hell out of our listeners. What can you do as artist and entertainer to develop your craft as a communicator? Don’t blab on and on about songwriting So many would-be singer/songwriters fall into the same bad habits time and again when it comes to liveperformance. They really have nothing to talk about between songs, so they tell us how they wrote the damn thing. When I have to endure this, I want to go to the ticket seller and get my money back. If we want to know if you wrote the song, we will come up and ask you after the show. Then you can say something like, “Yes, I wrote that one and it is available on this CD you can purchase for 10 bucks.”Talk about your LIFE Your personal experiences are a hell of a lot more interesting than, “I hope you like this one…” or “This is my first single from 10 years ago…” blah blah blah… The thing that makes you interesting is your history, your quirks - things that people can relate to. Don’t tell them –– SHOW them You don’t have to tell people how talented you are. Don’ t recite your resume. You can show them how good you are and intrigue them with your ability to expre ss and communicate your songs. Think of your songs as mini commercials for your talent. People will ask y ou about them and purchase your CDs - if the music is intriguing enough. Be honest People will be intrigued by you and your music, if they feel you are being honest with them. By being genuine with the audience about what is going onin your life - and how your material is a reflection of it - they will experience your performance more deeply and they will trust you.Reveal yourself Performers sometimes have a hard time talking about themselves, their problems and even their triumphs. But I’m here to tell you that audiencesare dying to hear what you really think and how you really feel about things. Why do you think people love reality television and read People magazine. They like to hear g ossip and insight. They want a way to relate to you. While onstage, you have a unique opportunity to let people in and share things that will make them want to know you as a person through your art. For example, I recently had a record release party and during the gig my wife came up and sang a song with me. She held up a CD and said, “Buy a lot of these CDs, because in seven months we’re gonna need a crib.” That one line says a lot; it humanizes the artist and everyone can relate to having a baby and needing to pay for things. Make your point and move on Talk about yourself, yes, but be aware it is sometimes easy to go too far in this regard. Get to the point. Learnto edit big concepts into one or two lines. You don’t have to tell a whole story. The song will take on a life of its own if you give the audience just enough insight into what you are all about. In other words, we don’t need toknow everything all at once. Don’t lecture your audience Sharing your thoughts about life is one thing, but be careful about spouting political opinions. I remember going to a gig by a good friend who lectured the audience about the evils of a certain political candidate. Not agood idea. When you get into politics and religion, you will likely turn off people you are trying to reach. You don’t know the backgrounds of each audience member and if you alienate them you won’t get them back. Trust me on this one. Don’t trash yourself Being honest doesn’t mean belittling yourself or your per formance. I can’t tell you how many times I have walked up to a friend after his/her set and asked them how they felt about it and they replied with, “I hated the sound. I couldn’t hear myself. I messed up the second verse on the third song…” Idon’t want to hear that crap. I do not want you to discount the previous 45 minutes and make me feel like I just wasted my precious evening because of your negativity. Show gratitude Instead of being critical or self-deprecating, you could say, “Thanks for coming down. I had a great time and was really glad to see you out there. It meant a lot to me.” People have pried themselves off their beloved couches, burned valuable gasoline, spent hard-earned cash on admission and a couple over-priced cocktails - all because they came to see y ou play. If you express your gratitude to them after the gig, there is a good chance they will want to come back to see you perform again. Marc Platt has been a Los Angeles-based Singer/Songwriter since 1980. He has taught a Performance Workshop in North Hollywood at Kulak’s Woodshed since 2003. Platt’s musi c has appeared on TV shows such as Queer Eye for the Straight Guy and E-News True Hollywood Stories. His album, I’ m So Awesome, is available online. For more information, visit his page at www.myspace.com/marcplattmusic.14 Ways Musicians Can Increase their Tips by Bard Marc Gunn, The Bard's Crier © 2010 All Rights Reserved. I was listening to NPR the other day when they did a r eport on tipping in the restaurant industry. One they had a list of tips on how wait staff can increase their tips. That got me brainstorming and surfing the net for other ideas to boost tips. That combined with lots of performances at Renaissance Festivals helped me to develop my own list of ways musicians can improve their tips. Introduce yourself by name Too often musicians forget to introduce themselves on stage. Make sure you tell the audience your band name, but to really boost your tips, you should also introduce yourselves individually. Let people know who you are as an individual and you'll see greater tips. Go out into the audience with a tip jar You really can't be passive when it comes to getting tips. You have to walk out into the audience with somevisual reference that says "Tip Me!" and they will tip you. Meet your audience at their level Take the time to talk to your audience members at their level. Holding a d iscussion from a stage puts a wall between you and them. So instead, go out into the audience and talk to them face to face. Kneel if they're at atable, so you're at eye level. And if you have your tip jar with you, you will you will not only gain a fan, but you will also improve your tips. Make your appearance personal We wear kilts to most of our gigs. A kilt adds a very personal touch It links us to a certain culture and makes people take notice. Course you don't have to go that route, instead find some piece of clothing that reflects your personality and you will boost your tips. Recommend your favorite CD If you have multiple CDs, your audience will always ask for your favorite. Tell them what it is. If you only have one, you can do the same by recommending other arti sts that you like. That adds a two-fold advantage of helping your audience find music they like and helping your fellow musicians. Smile A bright, confident smile will bring fans back again and again with lots of big tips. Involve your audience in the music with a joke or game Next time you're up on stage, see what happens when you joke around with the audience. Your personality will glow all the more and so will your tips. Chat with fans by name Music fans love nothing more than to be recognized by the bands they love. So do your best to remembertheir names. They will feel that much more attached to y our music and feel like your friend. And these friends will tip you better for the courtesy. Touch your audience When you're out socializing with your audience, touch them (in a non-sexual way). Whether you shake their hand, pat them on the shoulder or back or just brush agai nst them, wait staff find that that even that will boost their tips 50%. And it will yours too.Use tip jars with the VISA/MasterCard Logo According to studies done in restaurants, just seeing those logos is enough to encourage customers to tip more. I know it sounds crazy, but give it a try. You may be pleasantly surprised with the results. Give your audience something in return for their tip People love feeling like they're getting their money's worth. And many people don't realize you should tip bands. So give something in return. It could be something as big as a sticker or magnet or as simple as abusiness card that might include a $1 off your CDs. Or hey what about feeding their sweet tooth with a pieceof candy. Whatever the case, that little gift will mean big tipping results. Draw a picture On a similar note, if you give them a business card, draw or make a comment on it. That piece will be more valuable to them and will result in bigger tips. Make tipping a part of the show Why wait until the end of the set to ask for tips. Sing a song about tipping or get your audience involved in the tipping process by shouting something. Or offer a prize to the first tipper. But integrate it into your show and itwon't seem like you're just begging for money, rather you're making it fun to tip. Thank your audience No gig would be complete without an audience. So thank them for taking the time to watch you perform. They will feel the personal touch and respond when you ask for money. Bonus Tipping Suggestion: If the change is five dollars, never return a five dollar bill. Always give back five ones. This allows the customer to tip you with some of the dollar bills you returned. You wil l rarely get a $5 tip and returning a $5 bill will turn off tippers. In general, it's good to return all ones if the change is less than $8. You want the customerto have at least two ones so they can give it back as the tip. Bard Marc Gunn of the Brobdingnagian Bards has helped thou sands of musicians make money with their musical groups through the Bards Crier Music Marketing and Promotion E-zi ne and the Texas Musicians' Texas Music Biz Tips. Now you can get personal advice by visiting www.bardscrier .com for FREE "how-to" music marketing assistance. FINDING TRUTH THRO UGH STAGE PERSONAS by Gilli Moon, Warrior Girl Music © 2010 All Rights Reserved. Some of the best bands on record (meaning album) are not great live. Some bands get signed be cause of a great demo, but haven't had enough experience nor begun to explore the dynamics between the musicians. Developing an "act" is more than just putting a good CD together. It' s about the way the musicians play (live), the clothes they wear on stage, the way they relate to the audience, how they stand on stage, the patter in between songs,.. the whole "live stage persona". For most of my performing life I have felt that if you can be a little "over the top" with your performance, then you can grab people's attention quickly. I learned that early, playing in smoky pubs in Australia with peoplewho really didn't care at all about the performer. They just wanted to drink beer and if there was a song they liked, they sung along. But to get any attention, you had to be an over the top entertainer. The stage persona became the most important thing for me.It took me along time to not take myself so seriously as an artist. I remember the early days in Sydney when I would go into a deep sweat preparing for a show. I had to get the right clothes, have the right makeup, have the right hair do or color. I have had every hair color imaginable! Brown, blonde, red, white, mahogany, purple, even blue and so many styles, from short punky to l ong and frizzy. In the early nineties I thought I needed to be a little bohemian, a little hippy, a little punk and a lot of attitude. I always wanted to show off my midriff,wear big loop earrings and fancy shoes. Black was in. I was still learning the art of performance though. When I fi rst started out performing my original songs live, I was very shy. It's funny because I was also, at the same time, performing in cover bands and I was very dynamic, on the contrary. In cover bands I could play a part and imagine what the original artist, like Donna Summer, did on stage. I could imitate the original artist. But with my original material I was shy and very uncomfortable playing the piano and singing at the same time. I found it a really difficult thing, to think about my lyrics, play the chords, sing in tune and remember therewas an audience in front of me that needed attention. I closed my eyes a lot. When I got to the States, I learned to let go. For starters, I was able to be whoever I wanted to be, from scratch; reinvent myself, so to speak. So I decided to be brave and be a little "out there". It worked. I worespandex dresses, four inch wedge heel s, silver and glitter somewhere on my body (and especially as glitter cream on my cheeks and shoulders) and even wore wi ngs throughout the temperamental angel album tour (2000-2001). Being "in persona" I was able to take flight as anartist. Always a diamond in the rough, my music, songwriting and voice got stronger, but at least I gotattention. When I was signed to tribe Records I even dressed up as a man for a year on stage. Tha t was fun. We had developed a band called Jessica Christ, which pushed t he envelope with gender issues: actually we wanted the audience to remove the gender association with songs and promote the lyrics, the words, to be the most important elements, so I changed my stage gender for kicks, a direct idea from the Label in order for us to get some media attention (which came). I'd start off in plaid trousers and a jacket buttoned up, short cropped bluehair and a Salvador Dali curly mustache on my face, singing sweet love songs and full on rock and rolltoo. Half way through the second song I'd literally strip and reveal a short body hugging dress, always keeping my black high boots on. Jessica Christ was a real breakthrough for my stage persona and for releasing my inhibitions. There is something to be said about going "over the top" on stage. You really confront all your fears and learn to let go.As soon as you let go of any fears or nerves, wh ich can be disguised behind costumes as we become a different persona, the more your inner natural self can exude. I remember doing a gig at The Gig on Melrose Avenue in West Hollywood and it was packed: girls and guys up front, with lighters swaying in the air. Girls looked on with awe and felt the power of a woman doing what I was doing on sta ge. It gave them strength. Guys were curious about my sexuality, but they felt the sensuousness. They were all in love and it didn't matter. The crowd started hooting and hollering when I'd change attire, never missing a beat on the song. Itwas an electrifying feeling. I really let loose and didn't care what people thought. My sexuality is tied into my expressing myself through music. When I perform, se xuality naturally exudes. For me, it was all about entertainment and through my image development over t he years, my musicianship and vocals got tighter.Blog entry: June 2000 We've (the Jessica Christ band) been playing the traps around L.A to great crowds and not so great crowds (you have to take the good with the band), sometimes rude club managers and sometimes great promoters.Playing live in L.A is somewhat challenging because you never really know who's going to come and see you on any given night. We had all of 15 people at The Mint on Pico, but a couple of weeks earlier the club was packed with 150 at the Gig. I've been battling with the ideas flowing in my head about my music. I have hadso many deep and emotional events that have taken place over the past year... the new songs are all veryautobiographical.. like you will hear the beginning, middle and end of the relationship in one sitting. The edgeis interesting. No more miss nice girl. I'm coming alive! Following the Jessica Christ era was my "temperamental " phase, promoting my first U.S release on my own label Warrior Girl Music. The album "temperamental angel" conjured up a lot of imagery and ideas as to how to present myself on stage. For me it was about being a rebel and a n angel, in the way I sung, performed and how I sounded. I wanted to bring out different personalities, as we all are complex individuals with many personalities and masks. I had a song called "Naked" which was very sensuous and the title track really spoke about my multi-personalities, being the angel and the devil (or at least dealing with those different parts of us). Blog entry: March 2001 I spent last Sunday trotting down old train tracks downtown L.A. in a sticky black plastic dress with darksunglasses, my 'don't mess with me' boots and white wings, while a train came by. We were filming the rest of the footage of the Temperamental Angel" music video. They then had me wrapped in saran wrap, naked, in the living room. I love getting naked! Just got home from The Gig, Hollywood where Jeff, Gordie, Ric and I played at Mike Galaxy's Industry Showcase. I felt it went really well and we sold quite a few CDs plusaccumulated new fans. Both Jeff and I wore our wings and Ric adorned my pink feather bower by the 6thsong. I love "doing Hollywood" because you can wear whatever you want on stage and in fact so do thepeople in the audience. Tonight for me it was simply freaky colored hair and my angel wings. The blue warriors, the honest, hunky and adorable band who funk and groove with or without Gilli Moon, are knocking the socks off everyone and that makes gilli a proud mother goose. The Whisky a Go Go never saw anythinglike it last Thursday even though they've had, well, just about everybody there. But we have paint flying - and Gordie our guitarist enjoyed that on is body, dress swaying (that's mine), heads nodding, boots kicking, a voice warbling and music well, will take you away to the MOON. It's quite funny that where once gilli moon was so sweet and a "piano ballad" gal, she has turned almost heavy metal in her blackboots but still so calm and sultry when "Naked" comes on. The Press seem to enjoy the controversy." When I came out with the "Woman" album, I was all about the "warrior girl" - wearing combat attire (before it was popular), with green army camouflage pants, boots and a cool, spunky tank top. It gave me room to run around on stage. I also was painting a lot on stage, what I call "SensuArt". I'd erect a large clear piece ofPerspex (plastic) on stage and get my brushes and paint out. I'd stand behind the clear canvas painting lots offemale nudes and faces, while the band would solo and jam. I have painted my band members many timestoo. It was a lot of fun. I've run the gamut of stage personas. It helps develop the artist's story and removes the fear. Every gig should be special. They have all been for me. My "live image' changed when I started touring. I began seriously touring across the United States in '02, promoting the "temperamental angel" album. To keep it affordable, I went solo, without the band. This meant that that I was responsible for everything: getting to the venue, organizing my music, playing the keyboards (my fingers certainly got a lot stronger), entertaining a strange crowd, selling CDs (although have always hadhelp on this from fans and friends) and packing up. At a certain point it got too tiring to "put on the big show"with the costumes and any theatrics. I started out on my first tour with a small color wheel light that revolvedand changed lights as I performed. But I sold it for $50 in Phoenix Arizona into the second week.I ended up just taking my shoes off and just singing my songs on the keyboard. This was the beginn ing of finding my true self on stage. I no longer wore the outfits, frizzed my hair up or even put on any over the top makeup. Over a few years of being on the road consistently, traveling every stat e in the country, I became less and less concerned about my costuming or stage persona. I didn't have time and I was too tired. I became more concerned about my songs, my vocal and music performance and being authentic. Authenticity is the ultimate goal as a live performer. If the audience doesn't feel your truth, then they can't relate to you. Being on the road was a huge awakening. I don't have a problem with any band going for the "glam rock" or over the top image. I feel every band has to go through that process and it has many positives, especially when developing and you want to learn to "let go" on stage. If you are all about "image" and that'swhat people relate to, then all the power to you. But I have grown accustomed with the notion that it doesn't matter how you look: it's how you act. It's who you are inside. I've seen the worst bands all dressed up, with the full stage presence - lights, costumes, props,... the works and then be left unimpressed with their talent and their songs. Then I've seen the most humble of artists getup in jeans and a T-shirt, no makeup or frills and truly gr ab my attention with a powerful stage presence, talent and story. The more grass roots I've become, more laid back and real, the more positive feedba ck I've received on my show and my music. Of course, this is a ten year overnight success story here. I'm no spring chicken. I've learned a lot. One has to get their chops up on stage for a long time to make it look natural! These days, especially after the fourth album, "extraOrdinar y life", I've really tuned in to my songs and writing and I remember the story around them whenever I sing them. I go back in time, every time and live that emotion and the audience feels that. Being able to touch souls is so magnificent and it doesn't matter what you wear. But it does matter how you exude your passion. It does matter how you deliver. Eye contact isimportant. Contact in general, with your audience, is important. Humility is important. Not taking yourself so seriously is VERY IMPORTANT. I remember seeing Celine Dion in concert in Sydney. Whether you like her music or not, I encourage anyone to see her perform live or check out her live videos. S he is amazing as a stage entertainer. There must have been 20,000 people at this concert and she had every one of us eating out of the palm of her hand. We were silent and riveted. She spoke to me like I was the only person in the room and sung my life stories in hersongs. She has a fabulous sense of humor (she know s what to say between songs) and never ends a song until she's ready. If you notice, she'll finish the so ng on a note, maybe an arm outstretched, maybe her eyes closed; and the band will stop, so will she - and everything is silent. We hang in the suspense. When shefinally drops her arm (it could be even 5 or 10 seconds after that final note), we then applaud, as if we've beengiven the silent nod. She decides when the song is ov er. Until then, we are her audience slaves. It's superb. I have loved my stage persona journey. I'm sure there is mo re to come with how I will express myself live. I have always admired Madonna's finesse in reinventing her image every album she makes. I like that idea because I love making concept albums. Each album tells a story. It has a theme, a plot, a journey to take theaudience on. So too should the live performance, matching the essence of the album. Madonna is great atthat and never afraid to push the envelope.Stage costumes can be a great ice breaker, to bring across your artist story and concept. Developing an image is crucial, of course. But with or without costumes, if you can touch people's hearts, then you're on theright path. There is much controversy about developing an artist' s image in the music business. The media love to grab on to a story of some kind and the business doesn't like to have to guess who you are. They like to see it in your music and how you look. They want to be able to market something. It's the same for independent artists too. Image around your album concep t, your website, your live performance persona, even your character in the general public, all tie in to who you are as an artist. I believe that your persona as an artist is crucial to telling your story and creating a buzz. But in all of that... always remain authentic to your true self. Keep changing, evolving and tap in to your passionate self. TRUTH and PASSION is everything. This, my friends, will make the difference between you being a quick, fly-by-night fashion trend, versus being an eternal, lifelong, rock star. ` GET GILLI'S BOOK: "I AM a Professional Artist - The Key To Survival And Success in the World of The Arts" - by gilli moon For artists of all genres, this book will certainly ch ange the thinking of any professional artist who may doubt themselves or their art, who may feel pres sured by the industry or may feel the har dship of the roller coaster ride. "I AM a Professional Artist" combines a self-empowering practical guide in surviving and succeeding in the Arts with key business principles and spiritual nourishment. Whether you are a musician, singer/songwri ter. actor, screen writer, author, painter, film director etc., this book is FO R YOU! More info and buy at www.gillimoon.com/thebook IMPROVISATION & SURPRISES: TH E KEY TO A GREAT COVER BAND by Kevin Minihan, Singer/Songwriter © 2010 All Rights Reserved. So you’re in a cover band or your band happens to play a few cover tunes. First of all, congratulations! That is how everybody gets started. Some musicians enjoy the familiarity and choose to stay the path. In fact, coverbands often make more money per show than original bands. But playing the same songs every show (not to mention songs you’ve heard everyday for the last 20 years!) can cause major burnout within a band and, more dangerously, in an audience. So how can a cover band raise the bar for themselves as well as the audience? The answer is improvisation and surprise. First let’s discuss what I mean by improvisation with cover songs. Now, I’m sure you’re thinking, “Wait! Aren’t cover songs supposed to be note perfect recreations of the original version?” Well, yes and no. Yes, the audience wants to be able to recognize and sing along to their favorite songs, but you should take a little ‘poetic license’ and tweak the songs in yourband’s favor. The fastest way to put someone to sleep is to play an average cover of a great song. A simpleexample of this technique would be changing the solos in a song. If your guitar player can really shred, have him come up with an original solo that highlights his abilities. You could also add an unexpected break in a cover song. Try playing very quietly during a section of the music, then rise to a rousing crescendo. Play around with songs. Have fun. Not only will this make playing the same old sets more interesting for you, it wil l make the audience sit up and listen. Think about the average Joe in the audience. He’s heard the song you are playing a million times on the radio and subconsciously knows every note. All of a sudden his ears and bra ins notice something is different! Not wrong, just different and he really pays attention! Mission accomplished. Now, let’s look at the more radical (and increasingly popular) ‘surprise’ version of a cover tune. What I mean by this is taking an old favorite and totally reworking it. Here, we are not only changing solos, but possiblychoosing a totally different tempo (ex. slow down a usually fast song) or musical style (ex. play a Country song in a Metal style). Change anything and everything musically but keep the words the same. There is, however, a fine line you need to be aware of. First of all, don’t do this to every song in your show. Remember you are being paid to play covers, so don’t play you way out of a gig. Just throw in a reworked song maybeonce or twice in each set and you’ll get the desired affect. It’s always fun to watch the ‘light bulb come on’ insomeone face when they finally realize what song you are actually playing!So keep it loose and fun. Use the original versions of the songs as a guide, but make the songs your own. I have people come up to me after every show and comment on how they loved my version of their favoritesong. These people start showing up at other gigs and, the next thing you know, you’ve got a following and can demand higher pay! Changing up your cover tunes is a great way to separate your band from the pack. Kevin Minihan is a musician, writer, jack of all trades (mas ter of none!) residing in the que stionable outskirts of Dallas, TX. He plays in 3 bands and never gets enough sleep. When he is not playing music, he is writing about it. He enjoys sharing his experience and knowledge with other musicians. Along with writing articles for this and other websites, Kevin plans to write a series of books in order to help others achieve their dreams of succ ess in the music business. GET MOVING!: SINGING BETTE R WHEN YOU MOVE YOUR BODY by Mark Baxter, voicelesson.com © 2010 All Rights Reserved. It was Sir Isaac Newton who said, "A body at rest tends to stay at rest." I don't know much about science, but his words serve as a reminder that your desire to perform will never become a reality if you're just sitting home dreaming. The hardest part of a musical journey is the first step. Fear brings up a lot of questions that canfreeze your feet in place. Who's going to help me? What if no one likes my voice? When will I be ready? The problem with questions like these is that they can't be answered before hand. You can wish and hope all you want but the only way to become an experienced performer is to get out there and perform. It would be great ifthere were a map to follow, but the truth is that everyone's path to the stage is different. So throw away thatcareer compass and get moving! A practice routine is always a good direction to start with. The more you vocalize the more you'll trust your reflexes. Plus, getting to know what your voice does well will pay off when it's time to shine. Remember, nobody can do everything. What great singers do is sing to their strengths. In order to find out what yourstrong points are, you've got to sing every day and explore a variety of music. After a while you'll end up with a bunch of songs that highlight your assets. Even if you can't imagine a situation where you would need them, rehearse these tunes often to keep them fresh. Opportunities are only golden for those who are prepared. Don't wait for a reason to practice - get moving! Another observation Isaac Newton had was that, "A body in motion tends to stay in motion." Which means: Once you get your butt moving it's far easier to keep it moving. Once you start auditioning it gets easier to audition. Once you start singing in public it's easier to keep singing in public. It's expected you'll take many wrong steps before you gain momentum in a direction that makes sense. Use audition and gig opportunitiesthat you know aren't right for you as practice for thos e that you will care about in the future. What's important is that you jump at every chance to sing, whether you think you're ready or not. Now, for most people, what's really stalling them is a fear that they'll choke at the moment of truth. If you're petrified that stage fright will rob you of all your dreams and desires, I still have just two words of advice. Get Moving! That's right, but this time the movement is more than a metaphor. At the first sign of performance butterf lies, get physical. Nervous pacing and fidgeting isn't enough.It takes an organized activity to pull your mind away from fear. The best thing to do is dance. The coordination required is a perfect distraction. If dancing isn't your thing then do some light exercises. It can be as simple as going for a walk. If so, make sure you take large steps and swing your arms nice and wide to get your heartpumping. You want to work hard enough to trigger perspiration but not hard enough to sweat. Walking,dancing, exercising, it's all the same to the body. What 's important here is that you take control over your nerves and get moving.At twenty minutes before show-time, slow your heart rate by reducing the level of activity. Once things calm down, begin your usual breathing and vocal warm up exercise routine. Slow inhales to the count of ten are a great way to start. Long sustained comfortable singing notes will focus your mind on coordination. If your voice is still shaky then sustain single notes using a buzz (zzzz) sound. Keep your volume low until you're feeling relaxed. The temptation to push when you're nervous is strong and the extra force can irritate muscles in and around the larynx. Once you've gotten some experience performing or you're only dealing with a mild case of butterflies, simple arm, leg and back stretches should be enough to get you loose. Do them as you runthrough your warm up routine. No matter how mu ch stage experience you have, though, no one gets away without doing something before a performance. From superstars to super beginners, everybody has to get moving. If all this fuss over movement seems un-cool consider this: If you're too embarrassed to move and stretch out in front of other people, just imagine how much you're holding back when you perform. Stage fright is nothing to be ashamed of. The anxiety just means you care. Isn't that a good thing? The worst thing to do is to sit there in a panic and pretend you're not nervous. You're not fooling anyone - especially yourself. So take advantage of those around you before a performance andforce yourself to loosen up in front of them. As difficult as it may be, it's easier than working through yourinhibitions on stage. The point is not to talk yourself out of being nervous; it's all about setting your career in motion and creating a great physical environment for you to sing your best when it counts the most. So getmoving! Often the biggest obstacle for performers is time. The clock is always in motion - and always against us! It takes years to develop talent, months for promotions to click, weeks to rehearse a show and days to learn a song. On top of all that it can take many hours to get a handle on your nerves before you sing. Since it'simpossible to squeeze a three hour pre-show routine into twenty minutes, it's best to err on the side ofcaution. Allowing plenty of time before a show may seem like a luxury, but not having enough time can certainly be a misery. Should you find yourself all wa rmed up with no place to sing - balance your check book during the extra time. Just remember it's your responsibility to create some career momentum and properly prepare for every show. Time's a wasting. Don't make me say it again… Mark Baxter's client list includes Steven Tyler (Aerosmith), Gary Cherone, Tonic, cast members of RENT, members of Vertical Horizon, Regina (#1 single on Billboard's pop char t), Amiee Mann, Peter Wolf (J. Geils), The Mighty Mighty Bosstones, Quicksand, Expanding Man, Loudness, Gigolo Aunts, Cara Jones (Japanese "New Age"), Combustible Edison, The del Fuegos, Thanks to Gravity, Talking to An imals and on and on. Discover what thousands of singers ... from garage hopefuls to Grammy winners, have learned from Mark's in depth knowledge and unique approach to vocal improvement. Mark Baxter offers private and video less ons to singers of all levels. Visit his website at: www.voicelesson.com PERFORMANCE POWER by Yvonne DeBandi, Sing Smart Vocal Coach © 2010 All Rights Reserved. Singing: Acting through Song A singer is an actor that uses the singing voice as a tool. Every musical phrase tells a story, which is also affected or shared through body language, facial expression, diction and vocal dynamics. With this idea, performance preparation should include analyzing song material to determine the song’s heart. What does the song really say on paper and how are those emotions b est expressed in general? Loud or soft? Crisp or warm consonants? Vibrato or not?This part of vocal study is just as important as learning the vocal line, the rhythm and the lyrics. It gives you the foundation for a sincere performance. Once this study is underway begin working with the mechanicsneeded for you to sing the song. Once you have conquered the basic mechanics and are beginning to sing the song in performance mode, the artistry really begins.Consider again the motivation for each melody line. As you adjust your voice according ly, also adjust the rest of your character: body language, facial expression, diction and dynamics to match the sincere message. Following this type of training concept will help you provide a more sincere performance. Remember, once you hit the performance stage, very little of your energy should be focused on the mechanics of singing. If you practice regularly, most of your basic mechanic actions should be second nature. If a track runner had to consistently think of right-left-right-left in order to run the race, he probably would not come in first. You should be “practiced” enough that you are able to focus your concentration on enjoying your voice and conveying the message. To make sure the point about how important sincerity is to singing and live performance is clear, consider this: many singers that might be considered “average” if rat ed on a “technical scale” receive standing ovations and encore calls; while the singer that performed almost perfect “mechanically” received polite respectful applause. Engage your audience and sing sincerely. Battling Stage Fright You hear your name being called and your knees begin to tremble, you begin to breathe more heavily and your mouth goes dry – a singer’s nightmare. Here are some tips: 1. First, remember that you are an actor performing through song. If you are shy and have difficulty getting on stage, remember that we all have different sides of personalities. Obviously there is a side of you that enjoys music or you wouldn’t be in this position in the first place. So, let go. Give this “character” theright to take over when it is time to perform. Just like in the acting exercises above, build the character you want your audience to see. Bottom line, perception is everything. Your performance and all aspect s of it, will help people build their perception on whether they are enjoying themselves or not. Who is in control of that perception? You. 2. You have to get your breath under control, bottom line. If you lose your breath control due to nervousness, you have undermined your voice’s foundation and it is going to be a long song. Keep this in mind on days of performance and be sure to engage in cardiovascular exercise. If possible, stop anddo jumping jacks several times throughout the day. It is also recommended that in addition to yourregular vocal warm-up that you do jumping jacks or other low impact cardiovascular activity around thirty to forty-five minutes prior to performance. Stay hydrated. Also practice getting your breath under control when the nervousness begins. As soon as you begin to feel that panicky feeling and your heart rate increase, take deep, long and low breaths. This type of breathing will send your brain the message that everything is under control. Short and fast breathing alarms the brain and puts the body (your instrument) into “alarm” mode. Obviously not conducive to giving the performance of your life. Take control of your body and your breathing. 3. To combat the dry mouth try to find something that will create saliva when you are nervous and use this knowledge during these times of crises. It may be putting your finger in your mouth; it may be suckingon your tongue or swallowing several times. You may even consider a product solu tion like “Entertainer’s Secret Throat Relief” to help in those times of desperate dehydration. We do recommend this product, but always suggest you learn natural solutions as a safeguard.4. Learning to sing, the vocal journey, is usually a ve ry a personal one. Learn to love and enjoy your voice. If you don’t like the way you sound you are sure to express this emotion during performance…so why should others enjoy listening to it? Believe in yourself and learn to use your voice, along with its unique characteristics, to your best advantage. 5. Finally, focus on what is important throughout the entire performance. Distraction is usually a full body experience. I’ve heard a statement made about athletes in the middle of a really good athleticperformance, “They got game!” If just for a moment you wonder if Mom made it in time to get a goodseat, if your friend heard you hit that note with su ch power or if you remembered to lock the car door, you no longer “got game.” You are the control central of your performance…so stay focused and telleveryone else in your mind to get lost for the nex t three minutes or so. You deserve the time and so does your audience. Yvonne DeBandi, NATS Member and magna-cum laude graduate of the renowned Florida State University School of Music has been educating singers and musicians since 1989. As creator of the Sing Smart, Not Hard™ vocal training method and co-founder of The A2Z Educational Network, her primary focus has been on providing vocal education to the masses through the development of unique and innovative vocal education tools, as well as networking and working closely with many other vocal educators. In 2000 she began training singers around the world using online training curriculums and distance training programs with great succ ess and is known as a true pioneer in the vocal education industry. www.singsmart.com A2Z SINGING TIPS by Teri Danz, Vocal Coach for One World Music © 2010 All Rights Reserved. A = Athlete Singers need to train their body like an athlete. Your body is your instrument. Put a priority on: 1. taking care of your body - rest, food and warming up to sing 2. building and maintaining your instrument. B = Breathing Knowing how to breathe in singing is a basic technique. A diaphragmatic approach is important here. Use your back muscles for support. Fill up airinto your rib cage and back but not into your throat. This creates a baseline support level called holding up.Then take smaller breaths for phrases as you need them. C= Control Control in singing is a combination of techniques. Breath control, resonance, pitch, placement, holding up and being able to ride the air are all elementsof control. Like riding a bike, it's the balance of all of these things that contribute to effortless singing. D= Drop Your Jaw Relaxing and dropping the jaw in (pop) singing is the key to reaching notes effortlessly, making range transitions and supporting the ends of your range. E= Eat for Energy Proteins are essential for maintaining energy in si nging. Singing takes energy. Many performers lose energy halfway through a set and then end up pushing and stressing their vocal cords.F = Fatigue Fight fatigue. As a singer, this is a huge enemy. Fatigue will sap you of technique and have you working against yourself. Many singers strain their vocal chords, push their range, get hoarse and get a variety ofother problems when they get tired. The antidote is rest and self-care. G = Get out there The best way to create your own style as a singer is to do it. If you're a beginner, work with nurturing people (and a coach). You can play coffeehouses, open mics, sing with friends, but just get started. H = Hydration Stay hydrated. Drink lots of water (no lemon). It takes energy and lubrication to sing. I= Initiate Look for opportunities to sing. They are out there. Be like a tiger, watch for opportunities and do the work to be able to take them. J = Jaw Relax your jaw. Called a Dumb Duh, it will feel unnatural to keep your jaw loose and dropped but it is the best way to get a smooth sound and not effortin singing. It also allows you to get exact placement of pitch and replicate it. K = Keep Your Eye on the Ball Don't get discouraged if your voice isn't where you'd like it to be. It takes time to develop your instrument. Singing is a complex performing art and everyone who's successful has done the work at some time or another. Keep going and you'll keep growing. L= Less is More Strive to do justice to the song and your interpretation of it. Just deliver the message. Vocal gymnastics is not a prerequisite for doing a great vocal performance. M= Mouth sounds Using mouth sounds such as a creek or a cry, give your voice more resonance and presence. In your chest voice, knowing how to use mouth sounds properly is critical - especially in getting to record quality. Many singers mistakenly put their sound in their nose. Practice putting the sound in your mouth by placing it all theway in your nose and then forcing the sound into your mouth. FEEL the difference. Your body can assist youwith correct placement. N= Not Efforting This is a concept of using your body as an instrument. Not efforting involves holding up (standing straight, having a support of air in your body), doing a proper placem ent of pitches, dropping your jaw, riding the air up and over and relaxing into the groove. O = Open Stance An open stance to the audience is: holding up, standing straight, shoulders down, head and jaw relaxed, head straight forward, eyes open -focused on a point, arms relaxed and wide. Watch Bono, Jagger, Aretha to get the idea. P = Placement Knowing (not guessing) where pitches are placed is critical to being in control as a singer. You can actually have your body help you in remembering where pitc hes are placed. If you are on stage and can't hear/have no monitors etc..., knowing placement will allow y ou to stay on pitch no matter what happens around you.Q = Quit Pushing Feeling powerful in singing and being powerful in singing are two entirely different things. While efforting - pushing chest, singing louder to hitpitches, creating and pushing sound from the throat - may feel powerful, it actually sounds worse. It's easy to go off pitch, sound strident (even painful), hurt your voice, crack etc... when you sing in this way. R = Riding the Air Riding the air is a concept and a set of actions that are extremely helpful for singers. Riding the air means holding up the air in your body so that you are supported, then sending/directing the sound up and over in a line to a point (imagine) across the room. Part of this is a mental image, part is a body muscle memory stance and the last part is mouth placement (riding along the palate). S= Sing, Sing, Sing Sing everyday. If you aren't in a group, sing in the car, take classes and most importantly, do vocal exercises.They will maintain your instrument (and build it) as you look for a steady singing gig. T= Take feedback and direction Be teachable. Sometimes other people can guide us when we don't know the way. Sometimes other peopleare dead wrong. Trust your intuition. Learn who to trust and then take what you like and leave the rest. V = Vocal Exercises Vocal exercises are critical to maintaining and build ing your instrument. Do NOT underestimate them. They warm up your vocal chords in ways just singing a song cannot and will not. Lip rolls are a good way to start any warm up routine and can be done on a variety of scales. W = Warm Up This is critical to a great performance - you must warm up your muscles. A rule of thumb is to do at least 20 minutes of vocal exercises and 40 minutes of singing. If you perform a lot, it could ta ke less time. If you perform infrequently, warm up longer. Otherwise you warm up on your audience or, worse, you find congestion, range weakness or other problems on stage rather than in the privacy of your home - w here you can work to overcome them. If you're sick or tired or very congested, having enough warm up time allows you to make good decisions on song selection and the actual set list. X= X Factor Once you've got some solid vocal technique, let your personality and spirit shine through. Your voice is the window to your soul and vision; your technique needs to support your vision, not overtake it. If you aretechnically in control and have clear intent, even a single word can move listeners to tears. Y = You are the Messenger If you're on stage or in the studio and you have to be perfect, it never works. Focus on communicating the song, sharing that experience with the audience. It's easy to make mistakes when it's all about us (how greator not we are). Z= Get in the Zone Singing is a mental, spiritual, emotional and physical pursuit. It takes preparation, focus and energy! Prepare mentally for a performance. Take time to get quiet and focused before you sing. Warm up and visualizeyourself giving a great performance. Teri Danz is a pro recording artist and vocal coach/producer with record credits, national press. Her band played the very cool November FemMuse Hard Rock show and has their debut CD in Tower Records!! For more info: go to Teri Danz www.teridanz.comTHE IMPORTANCE OF VOCAL HEALTH by Yvonne DeBandi, Sing Smart Vocal Coach © 2010 All Rights Reserved. Many singers believe if they do not perform regularly they do not need to worry about vocal health and singing “properly.” Unfortunately, just like an unexpected fall out of a tree can cause a broken bone that aches when it rains the rest of your life, one impromptu karaoke performance and improper vocal belt on that high note can cause irreparable vocal damage. A more common condition and resu ltant situation, however, is Vocal Hyperfunction and Muscle Tension Dysphonia or hoarseness. Vocal tone is created when air bursts through the cleft created by our vocal cords and vibration occurs. To create a clear sounding tone, the vocal cords need to come together solidly and completely. If the membranes or surrounding tissues are swollen (or contain lumps or tears), hoarseness will occur. While the damaging effects of infrequent hoarseness are not usually permanen t, hoarseness is a sign of significant vocal abuse or fatigue and should not be ignored. This week I will discuss some basic techniques to prepare your vocal cords for singing and prevent vocal damage. Tip #1 Warm-up your voice before you sing. Just like you woul dn’t jump into running a ten-mile race without first stretching and warming your muscles, give your voice the same courtesy. It is a good idea to develop a regular routine. Repeating your effective warm-up routine before each singing event will help prepare your voic e. Here are some specific tips to get you started: relax your body, do some proper breathing exercises to wake up your airflow and diaphragm, hum yourfavorite song and do some vocal sirens (slide up and dow n your singing range on the syllable “ee” imitating the sound of a siren). Tip #2 Vocal hydration is extremely important, so drink lots of water. Be sure to drink room temperature water before, during and after singing. Drinking anything but room temperature water shocks the vocal cords: cold water tenses the muscles (like jumping in a coldswimming pool does to your whole body) and drinking warm water or substance relaxes the muscles. It is also important to note that water must be absorbed by the body before being redistributed to your voice organ, so drink water all day long. You might also consider a quality vocal hydration substance, likeEntertainer’s Secret Throat Relief to help. Tip #3 Know your limits. Don’t try to sing too high or too low, especially not right off the bat. Allow your voice to prepare for this type of action. Kind of like the high-jump in a track meet - start at a comfortable range and extend from there. Tip #4 Avoid abusing your voice throughout the day: a. don’t talk for extended periods of time b. don’t “talk over” loud noises, such as machinery in the workplace or loud musicc. avoid whispering. All of these actions are stressful to your voice and will cause vocal fatigue.Performing these basic exercises and remembering thes e basic facts will reduce the risk of vocal damage, help you enjoy a better singing performance and keep you from sounding like a frog afterwards! Using a professional vocal warm-up and training program is recommended as a fun and easy way to ensure that yourvoice will be ready to perform day in and day out. Yvonne DeBandi, NATS Member and magna-cum laude graduate of the renowned Florida State University School of Music has been educating singers and musicians since 1989. As creator of the Sing Smart, Not Hard™ vocal training method and co-founder of The A2Z Educational Network, her pr imary focus has been on providing vocal education to the masses through the development of unique and innovative vocal education tools, as well as networking and workingclosely with many other vocal educators. In 2000 she began training singers around the world using online training curriculums and distance training programs with great succ ess and is known as a true pioneer in the vocal education industry. www.singsmart.com BREATHING 101 FOR SI NGERS & VOCALISTS by Yvonne DeBandi, Sing Smart Vocal Coach © 2010 All Rights Reserved. Introduction Breathing properly for singing is the most important foundation technique. Each and every tone we create is carried on the airflow of our breath. The more control you have over the air flow, the more control you willhave over your singing tone. Imagine a kite flying high in the air. When the airflow is consistent, the kite will fly smoothly and steadily on top of the air current. When the airflow is inconsistent the kite will bob and dive with no rhyme or reason. Yoursinging tone is much like that kite. If you provide a strong steady airflow, your vocal tone will have theopportunity to ride strongly and smoothly to our ears. But if your airflow is uncontrolled and inconsistent your voice will break and waiver. The purpose of this narration is to teach you to breathe properly. The purpose of the breathing exercise below is to increase your breathing capacity and control. Before beginning this breathing exercise variation, plea se note that bringing more oxygen into your body than accustomed can sometimes result in lightheadedness or dizziness. Please take care to stand close to something that offers support should you need to steady yourself. Conferring with a physician isrecommended before beginning any exercise routine. Breathing 101 To breathe properly for singing, you must breathe low into the bottom portion of the lungs, engaging the diaphragm. Your rib cage and back will expand. Your s houlders and upper chest will remain still and will not rise. Try it yourself: Inhale deeply and exhale completely. Again inhale and exhale. Now try it again, only this time inhale for four counts, hold your breath for four counts, exhale over four counts and then wait four counts before inhaling again. Let’s do three complete sets of that counting exercise.Remember to inhale deeply and properly for singing. Inhale 2 3 4, Hold 2 3 4 Exhale 2 3 4 and Wait 2 3 Again. Inhale 2 3 4, Hold 2 3 4 Exhale 2 3 4 and Wait 2 3Last Time.Inhale 2 3 4, Hold 2 3 4 Exhale 2 3 4 and Wait 2 3 4. This basic exercise is an easy one you can do every day. Plain fact, the more you exercise your breathing, the more control you will have over your voice. With a li ttle time and practice you will be a master of breathing control. As you make progress, challenge yourself to increase the breathing count to 8, 12, 16 and more. For best results mix and match the numbers. The size of singing phrase is never the same, so practicing alldifferent airflow situations is ideal. Breathing correctly needs to be a habit, meaning you need to do it correctlywithout thinking about it. So in the beginning you really want to concentrate on the proper technique. Bonus Tip Are you sure you’re breathing right? If you are uncertain of yourself see if this little experiment helps. Sit in a chair and while keeping your back straight, lean over and put your elbows on your knees. Take a deep breath. Feel your back and rib cage expand? Now sit up and work to duplicate the feeling, only the expansion should be a ring around your entire body. Yvonne DeBandi, NATS Member and magna-cum laude graduate of the renowned Florida State University School of Music has been educating singers and musicians since 1989. As creator of the Sing Smart, Not Hard™ vocal training method and co-founder of The A2Z Educational Network, her primary focus has been on providing vocal education to the masses through the development of unique and innovative vocal education tools, as well as networking and working closely with many other vocal educators. In 2000 she began training singers around the world using online training curriculums and distance training programs with great succ ess and is known as a true pioneer in the vocal education industry. www.singsmart.com WICKED COLD AND A BIG GIG? TIPS FOR SINGERS - WHAT WORKS! by Teri Danz, Vocal Coach for One World Music © 2010 All Rights Reserved. So you've got a big gig and a wicked cold or flu (especially with lots of congestion), the bad news is that this is the worst for singers. Your body is your instrument, so when you're ill, stressed or compromised in any way, itcan impact your performance directly. The good news is that you can still sing and perform, in most cases, without the audience knowing. It's just a bigger challenge than a normal performance. The key is to prepare, take care and modify to get the best performance po ssible. It's a tribute to your skill, training and professionalism to pull off the vocals convincingly. no matter how compromised you feel. When you have a cold, flu or sinus infection type illness before a gig, there are a number of things you can do that really work. Being good at assessing the situation is critical - how sick or ill you actually are (do you need to see a doctor for instance?), what type of gig, what time (it takes longer to warm up for a day gig), how many sets, the venue, your schedule around the gig and how much time you hav e to take care of yourself with rest prior to the gig. Once you clearly assess the situation, there are lots of things you can do. First let's look at remedies and then specific steps you can take to "deal"!! Remedies A while ago, a dentist recommended putting Lipton tea bags on my gums to decrease the intense inflammation. Lipton tea has tannin root in it and is very soothing. Miraculously, the aching was relieved. It works when your voice is congested, stressed or when you're just ill. You can use it to warm up faster (it works!) or just if you can't seem to get your voice or throat clear. You can also try Throat Coat tea (Medicinaltea) - it has slippery elm root in it. Commercial products also work such: Two Tree Voice Lozenges(www.thayers.com (www.thayers.com) or Vocal eZe Throat Spray (www.vocal-eze.com) or try music stores(Guitar Center).The following are recommended tips that really work Assess the damage This means doing vocal exercises to see exactly wher e in your range the notes are compromised. Usually with a cold or extreme nasal congestion, there will be "drop-out" on the high end. Don't force your range - youjust need to find out where the real problems are. Rest, rest, rest! Fatigue is the enemy of singers and worse when you're sick. Sleep more! Don't sing at rehearsal Talk the parts so as not to strain your voice. Your band will be fine with the vocals simply marked. Warm up gently Drink lots of Lipton tea before and during the warm-ups. This has worked for me for countless gigs. Also, drink lots of water! Stay hydrated. A rule of thumb for a normal gig is to do at least 20 minutes of vocal exercises and 40 minutes of singing. You may need more (but gently) when you're sick. Consider changing your set list to exclude demanding or very rangy songs Also, trim the set list if possible. It's better to do less songs with a small range than force your voice and cracketc... This is a professional and less stressful approach. Quit pushing Feeling powerful in singing and being powerful in singing are two entirely different things. While efforting - pushing chest, singing louder to hitpitches, creating and pushing sound from the throat - may feel powerful, it actually sounds worse. It's easy to go off pitch, sound strident (even painful), hurt your voice, crack etc... when you do this. Singing this way when you're sick or very congested compounds the problem. Use decongestants on a per need basis I like to use the 4 hour ones and experiment with when they're working but I'm not too dried up to sing.Lubrication is essential in singing, so keep that in mind. Coughs are even worse for singers The reflex is hard to suppress. Use a cough suppressant. Take Lipton tea with you to the gig. If you feel like you will break into a cough, it's better not to come in than risk a coughing fit. (I did this at an original gig and no one except my band knew the difference ... or that I was so sick!). Be sure to eat! Proteins are essential for maintaining energy in si nging. Singing takes energy. Many performers lose energy halfway through a set and then end up efforting, pushing and stressing their vocal chords. It takes even more energy to sing when you're not well. For health and sound quality reasons, use your own microphoneA hot bath or steamy shower will loosen up congestionAnd most of all: be gentle with yourself Come up with plan B or C until you find something that works. Do whatever it takes to get functioning for the gig. Your reputation depends on people being able to depend on you! A pro attitude is to show up and do thevery best show possible despite the obstacles. Teri Danz is a pro recording artist and vocal coach/producer with record credits, national press. Her band played the very cool November FemMuse Hard Rock show and has their debut CD in Tower Records!! For more info: go to Teri Danz www.teridanz.com DRUNKEN MELODIES by Kate Hart, Detroit Women © 2010 All Rights Reserved. The other night there was a special on television about the amazing Roy Orbison. Memories of opening for him in 1985 came flooding back ……..or rather faint recollections came seeping through. The day I stood in the Coliseum in front of eleven thousand people I was horribly hung over. Bonnie Raitt stood at the side of thestage, Roy and his band waited backstage as I numbly went through the schtick of being a blues mama.Walking off stage Bonnie grabbed my hand and said, "You can sing th e blues!" So what's really wrong with that picture? It took me a while to have the answer revealed to me. I was there inbody, but I wasn't there in spirit. Here was this golden moment and I couldn't grab a hold of it. It was as if ithad happened to someone else. Even as I sit here, years later writing this article with eleven years of sobriety under my belt, I wish I could remember the details of that evening. What was I wearing? How did it feel to singin front of all those people? What did the roar of the crowd sound and feel like? That's what it really boils downto, isn't it? All we have is the moment, as human beings and especially as artists. When you get done singing in front of a band humping so hard you think you are going to die, singing notes that just fall out of the front ofyour face to an audience that is hanging onevery note, you realize if you are lucky, that it only last s as long as the song. And then, it's over. And that is how it is supposed to be. But the booze and the drugs keep you out of the center of things and feed therockets on your back, keeping you from re-entry. But of course you have to stop sometime and when you do, honey, re-entry ain't no pretty picture. Because all you want to do is just put those rockets back on and chase the magical moment all around, just sure that you can recreate it. I had gone to bed 5 or 6 A.M. The rhythm the night before had been intense and frantic coming off of a great gig in Pioneer Square. The show had moved too fast, it was hard for me to stay in the center o f it. I was trying to make it all manageable. At that point in my life I was st ill trying to control the flow of things, but that evening I just couldn't get drunk right away and I was so tired that I had no choice but to let go and feel the madness.The crowd in the bar was a part of the beat change, making it impossible to separate any of the moving parts. When I did finally wake up from my drunken stupor years later, I realized that I had gathered pieces from the past, the present and worries about the future and created my own monster. My head belonged to someone else, because when I looked in the mirror I didn't recognize myself anymore. If I could just undo those two bolts on the side of my neck and find a new head, one that had a familiar look to it; I would be able stopscreaming inside. Just like Dr. Frankenstein's creation, the monster had taken on a life of its own and was outterrorizing the countryside. But I was in the bars and the little girl I almost drowned was me. I have spent over thirty years in the music business and today I won't touch caffeine, sugar, cigarettes, drugs, alcohol and starch. I walk and meditate and incorporate Tai Chi in my life. I have come to believe that if I amgoing to be an artist with any true vision that I have to be clean and connected to someplace above my hair. I have become so sensitive to that connection that even a cup of coffee disrupts the place where the truthcomes from. Being "plugged in" or "connected" or whatever the hell you want to call it, I wouldn't trade for anyamount of whiskey in the world.But there was a time when it was necessary. I had to play it out until it didn't work anymore. Play it out like you do a bad poker hand…..just sure this time you are going to win, only to lose over and over again. Not only do you not care if you are going to lose that hand but you begin to look forward to it. And then one morning, if youare lucky, like I was, you will wake up and know you c an't do it anymore. That none of it works and there must be something else out there. Another life that is part of the dreams you originally had before the booze anddrugs stole them from you. When that happens that is when your life truly begins. Allowing the music to finally begin to play. Kate Hart has been nominated for several Grammy's and has been the recipient of or nominated for over 25 awards including the NAMA award for best Blues Recording, 4 WC Handy Awards, 3 Washington Blues Society Awards and 8 Detroit Music Awards. www.katehartblues.com14. DEALING WITH STAGE FRIGHT HOW TO BEAT STAGE FRIGHT by Jocelyn Brady, Suite101 © 2010 All Rights Reserved. Everyone suffers from stage fright from time to time, but there are ways of subduing the sensat ion of fear. Your heart is pounding; sweat dripping into your eyes, head about to implode from thoughts of failure. You are about to step onto the stage and the fear of forgetting your lines has turned into reality. You freeze, imagining them all laughing at you. Sound familiar? Stage fright is something that EVERYONE deals with. From seasoned Hollywood celebrities to fourth graders reading their first book report, the fear of performing in public grips all ages and walks of life.But how is it that some people manage to make it look so effortless? Some scholars say that among the shy folk who overcame their timidity are greats like Abe Linco ln, Thomas Edison and Albert Einstein. Even stars like Kim Basinger and Michael Dougla s have talked openly with their battles with this crippling ailment. Michael Douglas remembers his initial fear of stage fright: “I used to sit there in (drama) school with a waste basket offstage, throw up and then go off onstage. I conquered it. It took a long time.” The point is, you’re not alone. And despite what the instant-cure-in-a-bottle populace thinks, there is no overnight cure for fear of performing on stage. But there are some simple step s you can take to ease the butterflies (and stomach bombs). Take deep breaths This is the key to relaxation. Yogi masters have known this for centuries and the science of breath has been studied in Eastern philosophies way before ‘American’ entered the global vocabulary. Unfortunately, oursociety often overlooks this simple life-changing and essential practice. We tend to think that breathing issomething we needn’t think about, because it happens automatically. But the fact is, yogic breathing has helped millions of people stave off high blood pressure, heart problems and stress. All you have to do is take a long inhale, counting to five, then exhale, counting to ten. When doing this, think about your breath traveling to all your inte rnal organs, soothing them like a cool breeze under those hot spot lights. Imagine that your breath is releasing the tension of all your muscles, allowing for smoother blood flow and oxygen to travel to that frozen stump upon your shoulders. Try taking ten of these deep breaths before moving on to some stretche s. Make faces This may sound silly, but so does sweating like you’ re on fire when preparing for your first monologue. Remember – these people in the audience don’t like wa tching failure because it’s uncomfortable. They want to see you succeed. So get over your apprehension of sill y exercises and scrunch up your face into as tight a ball as you can muster. All your facial muscles should cont ract. Then release, stick out your tongue, open your eyes wide and stretch that face out like your trying to scare away your in-laws with insanity. See? It can be fun. Warm up those vocal chords The worst thing about public speaking is everything gets so tensed up, that when you finally manage to let a word pass through those pursed lips, it sounds like an excited squirrel who just dropped his prized chestnut. To avoid those embarrassing squeaks, start with some simple voice warm ups.Now pant like a dog. A little dog, who just took a BIG long run. Do this for a few breaths to o pen up your diaphragm and stabilize your breathing. Now take a deep inhale and as you exhale, keep your lips loose but closed and let out a ‘Hummmmmm.’ Next, recite some silly tongue twisters. Some favorites from acting classe s are: “The lips, the teeth, the tip of the tongue.” That one is more for pronunciation. Now try: “Unique New York,” three times. Get on that stage Now that your body and voice are warmed up, you’re ready to go! Don’t freak out, instead, take some more of those deep breaths. And remember that the audience is looking out for your best side. Besides, under theglare of that spotlight, you probably won’t see ‘em anyway. And if you do, you can always re vert back to the good old “pretend they’re all naked’ trick. Just be yourself (or who ever you are pretending to be) and act out as that superstar you always wanted to be – the one who belts out tunes in the shower and dances around the living room naked. You know you want to. Jocelyn Brady is a freelance writes that writes for Suite101 www.suite101.com She offers She offers a creative catalyst for all of your ghostwriting, sales collateral, copywriti ng, storytelling and marketing conundrums. www.jocelynbrady.com [email protected] 7 SURE FIRE WAYS TO OVERCOME STAG E FRIGHT WHEN SPEAKING OR PERFORMING by Reverend Michael Bresciani © 2010 All Rights Reserved. Prayer or meditation can’t ever hurt. Use it to try and clear your mind. Here are some other tips. Concentrate only on what your doing or saying Finding something to focus on in the room, the podium or in your own head is the quick road to failure. If you are concentrating on some external matter your attention is divided and everyone will see that as clearly as a red blinking light on you head. One hundred percent of your attention on your subject, your music or anything else leaves zero percent wasted on fear, faces and nerves. It also goes without saying that you should nevergiveany attention to time. It is another great false detractor. If you’re in a hurry, it shows a lack of confidence, if you go over time you must be approaching expert levels in your field. Take that as an unspoken compliment. Ask yourself one single question Before you begin speaking ask yourself one all important question. Who in th is entire audience could do or say what I am doing or saying? If you consider the answe r very carefully you will always arrive at the same answer which is, few to none. When I was playing American and Irish Folk music I con stantly reminded myself that I had a repertoire of about one thousand songs. I wasn’t trying to feed my ego but I was reminding myself of one fact. If I were to ask my audience how many people could do one thousan d songs, I would get no answers at all most of the time. When I get up to speak I am reminded of years of schooling, hours ofpersonal preparation, scores of published articles and two published books. Ego, no, it is only the answer to the all important question. The bottom line is that since no one can say or do what you are saying or doing just get on with it. Waste no time on what anyone thinks. If they could do what you are doing they would be in the podium and you wouldbe in the audience.Get emotional If you stuff doesn’t move you it won’t move anyone else either. This is an immutable rule of presentation. If you are singing your interpretation of Twinkle Twinkle Little Star pour yourself into it. If y ou are speaking about the nocturnal habits of fire ants do it with gesticulations, reverberations and tremors. Ridiculous you say, think again. One of the greatest influences in my days of performing music was a man I had never met and I never heard even one note of his music. His influence came from the remarks I heard others make about him. They all agreed that his shows were amazing becau se he was so overwhelmingly emotional and caught up in what he was doing. I soon discovered that when I got all wrapped up and emoted in my music that even when I thought my performance was poor the audience did not. Try it you’ll like it. Use humor Not everyone is good at telling jokes and humorous storie s but almost everyone knows at least one or two good ones. Nothing breaks the ice quicker than humor. If you get them laughing early you have already invoked at least one basic human emotional response, provoking others will be a great deal easier from then on. Don’t comb the joke books looking for thebest jokes. Think of the jokes you have heard others say recently. The key is twofold. Pick a joke or humorous story that is somewhat related to what you are presenting. And do not pick joke s that you alone think are funny. Use jokes that you have seen bringing others to a belly laugh. Use humor that has worked in the publicdomain. Don’t overdue the humor angle because people can recognize filler material very easily. The other side of the coin is not to ignore this useful tool of the trade. Laughter is a great equalizer for both audienceand speaker. Get personal This is far more than good advice, it is a rule that if ignored will become the difference between success and failure. I have watched skilled musicians who never once addressed their audiences. Their performance mayhave been impeccable but in the end met with little acclaim. I’ve heard speakers who know their subjectforward and backward but left people yawning and fidgeting. What was missing was often if not always the personal touch. You must get a rapport going with any audience on the personal level or will get nothing else going at all. How can you do that? Take a cue from the stand up comedian or the storyteller. They ask mundane questions and they wait for someone to answer or acknowledge it with a gesture or murmur. Where are you from, any one here from New York? Hey,does it ever stop raining here in Washington. Let me see how many of you are here tonight; if you’re here raise your hand. For those of you that didn’t rais e your hand I have a question, where the heck are you? I often started off by saying, thank you for having me here tonight and it is goo d to see you all here to hear my music, now get out of here every one of you. Some were shocked, some giggled some roared but all came toattention. Sound silly, it is but make no mistake, it works. See the crowd as only one person No science is available to prove how or why this little tool works, but be assured it will never fail. Always speakto the audience as if you were talking to only one single person. It makes them feel that you are being very personal with each individual, they can feel the difference. It shrinks the crowd on a perceptional level for you.Remember that perception is often the better part of reality. It moves the entire matter to a, one on one. Whowouldn’t admit that they are more comfortable talking to their neighbor or some stranger but not a wholecrowd? Approach your performance or address as if you were doing just that and you will succeed. Rev Bresciani is the leader of a non-denominational ministry in the New Orleans area. He has written many articles over the past thirty years in such periodicals as Guideposts and Catholic Digest. He is the author of two books available on Amazon.com, Alibris, Barnes and Noble and many other plac es. Rev Bresciani wrote, Hook Line and Sinker or What has Your Church Been Teaching You, published by PublishAmerica of Baltimore MD. He also wrote a book recently released by Xulon Press entitled An American Prophet and His Message, Questions and Answers on the Second Coming of Christ. Rev Bresciani has his own website at www.americanprophet.orgCONQUERING STAGE FRIGHT by Speaking-Tips.com © 2010 All Rights Reserved. If you experience stage fright during speaking or pres entation assignments then take heart because you are not alone. Actors, singer, musicians, dancers and athletes are frequently afflicted with the same syndrome. Biographies of well known celebrities often reveal continuing and acute stage fright even after decades of recognition and success. You should also recognize that there are varying degrees of stage fright. At one end, there is simple excitement with adrenaline preparing the performer to excel. At the other, there is a near death experience. Somewhere in the middle is a cross over point at wh ich your performance becomes impaired by the state of your nerves. If you are reading this article then chances are that you have crossed that point on more than one occasion. Read on! In order to begin conquering your stage fright, you first need to recognize when you are approaching your crossover point. This will differ from individual to individual and may also be affected by the type ofperformance event. For example, some people find that facing an audience of thousands is nothing, butperforming before a small group turns them into jelly . Others find an audience of friends more intimidating than strangers. Secondly, you must know how to take immediate remedial action. Almost everyone experiences stage fright at some time. The polished speakers you see have learned to take control of the stage fright experience through a mixtur e of preparation, physical skills and positive attitude. Master these and you will be able to conquer your fear. Preparation Preparation is absolutely vital. This includes your material, audience/event analysis and the physical setting. You may know the subject, but do you know the audience and the significance of this occasion? Not knowingcan be a significant cause of anxiety. Practice by video or audio recording yourself which helps to visualize performance and to develop muscle memory. Researchers have confirmed that use of video tape in preparation for public speaking or singing reduces anxiety and improves performance. Develop an inconspicuous personal relaxation ritual. Singers, musicians and dancers can often do this behind the scenes but presenters are usually on the stage before their performance and would look a bit odd doing tai chi, yoga or standing on their head. Improvise a prompt so that you are not anxious about forgetting the sequence of your material. You can useprepared flip charts, pictures on the wall, slides or presentation software. Physical skills Public speaking is a physical activity. Stage fright is an emotional reaction which restricts physical abilities. To unlearn the unwanted physical reactions associated with stage fright, you must practice performance before an audience. Once is not enough. Mastery requires distributed and incremental learning. One possibility to obtain regular speaking experience in a less threatening environment is to engage a professional coach orenroll in a class or seminar. You could also consider joining a local Toastmasters club. With practice you canaccess other kinds of intelligence and appear physically relaxed, enthusiastic and confident even though you are not.Positive attitude Mold your attitude around all your successes. Remember what success feels like, what it looks like. Even when you perform in a less than stellar fashion, remember the parts you did that were outstanding. People overwhelmed with stage fright have negative attit udes. They imagine everything that could go wrong or develop a litany of other negatives. Replace negative attitudes with positive ones. A positive attitude will leadyou to seek any help you may need to improve. A negat ive attitude shackles your personal and professional life. Think about all the things you have to share with this audience and how it will benefit them . Decide beforehand that it will be a fun experience. Perfor mance is an act of faith. You have to believe your body will perform what it has practiced whether it is a speech, a song, a dance or an athletic competition. Speaking-Tips.com is one of the web's best-known reso urces for learning public speaking and presentation skills www.speaking-tips.com STAGE FRIGHT by Donn Marshall, University of Puget Sound © 2010 All Rights Reserved. “I freaked out” Those were the words of a good friend describing his experience of playing as a finalist in a mandolin competition at a major festival. He had practiced long hours. He knew just what he wanted to do and had done it we ll many times. He had done well in the preliminary round well enough that he made it to the finals. Stepping onto that main stage was something he had dreamed about for years. He was nervous and hit a wrong note in the first measure of his first tune. At that point his mind and fingers, froze. What it is We all experience it to some degree. You may recognize it as butter flies in your gut, profuse sweating, dry mouth, frequent trotting off to the lavatory (or port-a-potty), rapid short breaths and quick heartbeat. You see it in others as the nervous chatter, short te mper, giggling or the avoidance of conversation prior to going on stage. Everyone responds a bit differently, but almost everyone experi ences performance anxiety. For some of us it is a much more serious problem. The jitters become debilitating. For some it does not have to be when you are "on stage" in a formal sense. One m andolin player recently shared with me his experience of being so anxious about playing "in public" that he is nervous even when playing around his wife even when she is sleeping! For some people, performance anxiety is an extension of anx iety they experience in other areas of their lives. Prior to the preliminary round of a recent mandolin contest I overheard a friend whipp ing through an amazing rendition of Kentucky Mandolin. I expressed my support by observing that the playing I just had heard would have won the first prize in the contest the year earlier. He nervously replied that he had a history of choking in pressure situations, pointing to his freezing up during college exams. The outcome: He didn't make it past the preliminary round, largely due to the incapacitating anxiety.What to do about it Fortunately there are several approaches to the effe ctive management of performance anxiety. I'll offer a sampling that should help you be aware of the possibilities. The first suggestions about how to manage anxiety involve changing how you think about anxiety-provoking situations in order to shift the way you feel. For example, people with anxious responses tend to catastrophizeor anticipate the worst possible outcome and react as if that was actually happening. Here's an example of this kind of thinking: "I'm not r eady for this next solo. Everyone will notice and I'll look foolish. I'll feel humiliated and never have the chance to play in public again." With that kind of pressure who could do their best? A related common thinking pattern that causes disruptiv e anxiety is the tendency toward perfectionism setting impossibly high expectations. Aiming high can be helpful and motivating. Aiming beyond reach and then condemning oneself for not getting there is a prescription for feeling like a miserable failure. These sufferers set such high standards for themselves that there is little chance that they will feel satisfied with their performances; thus, they fill themselves with dread and fear in advance of any public outings. The first step in changing these disruptive thoughts is to recognize them. When you feel the anxiety building, use it as a cue to do a mental scan: Am I telling myself this is going to be a catastrophe? Am I pressuring myself excessively? Practice some alternative thoughts to break up these anxiety-producing patterns. Instead of "I must play perfectly or everyone will laugh at me." - try substi tuting, "I'm going to do my best and I know that most people out there really hope I do well. Friends and family are going to love me no matter how well I play." Thefirst thought is likely to increase anxiety and actually distract you from doing your best. The second can be calming and help your focus and performance. The strategies identified above focused on shifting your th inking in order to influence your feelings. There are several other helpful strategies that are more "behavioral." That is, they involve engaging in some types of action to address the feelings and the anxious symptoms. We all know something about these approaches since the most obvious is called "practice." Let's face i t, there is no substitute for knowing the material you are going to perform. In fact, learning a piece and then continuing to practice results in an "over-learning" that allows performance with limited drains on your concent ration. The playing can begin to feel automatic while still being quite musical. Even when you ad lib, over-learning relevant patterns can provide a comfort zone for your playing. There are ways of practicing intentionally to help manage anxiety. First, practice playing loose. If your hands or arms tighten up that translates into anxiety. Take the time to slow the speed until you are playing with good form and no unnecessary tightness. Experiment with posture so that you and the instrument are at peace with each other instead of wrestling around. Next, pay attention to how you breathe when you practice t hose difficult parts. Again, slow it down so that you can breath deeply and steadily throughout the piece and not hold your breath during that section with the tremolo and triplets. If you find yourself continuing to ta ke rapid, shallow breaths or not breathing at all, it might be helpful to practice some breathing exercises. There are lots of options out there for learning forms ofmeditation (Zen, deep breathing, yoga), all of which help build the skill of focused relaxation just what you want for smooth, flowing musicianship. Practicing thes e skills can help your stage anxiety and other anxieties, in dramatic ways. One of the most effective approaches of dealing with anxiety is to confront it. In fact, it is well known that avoiding anxiety typically serves to maintain it since you never learn that the feared stimulus is manageable.Therefore, if your anxiety peaks any time you play with other people, get out every chance you get to play with others. Even if that means you crash and burn, do it and learn that you survive.But even better is learning one piece that you find relatively simple well within your reach skill-wise. Get a few trusted friends together and ask them to play that piece with you. Give yourself a success experience! One e-mail friend of mine wrote that going to one of the players' camps was the key. He put himself in a situation where players of all abilities were playing constantly for a week. By the time camp was over he discovered he wasn't nearly so self-conscious of playing with others. Now that's diving in! One whole class of strategies to reduce performance anx iety is referred to as desensitization." This basically means you should take every opportunity to play in t he situations that cause you anxiety. If you know from experience that your anxiety grabs you on stage, try pr acticing in conditions as near to those you'll find in performance as possible. If you are preparing for a coffee shop gig, maybe you can actually go to that stage and play a couple of tunes in advance of the show without an audience. Here's a cool thing Many people benefit from imagining t hemselves successfully engaging in t he feared behavior, reducing their anxieties noticeably before they actually set foot on stage. To make this approach work you must first relax. Close your eyes and breath deeply. When you are aware of feeling relaxed, imagine as clearly as you canplaying your part. Imagine what you see, what you hear, what the pick feels like in your hand. Remind yourselfto breath deeply as you picture yourself performing while feeling comfortable on stage. Repeat this imagination practice daily and you'll likel y experience less anxiety when the performance comes along in real life. You may have heard that this technique is now common practice among top athletes who learn to practice complex routines in their minds as a performance aid. It is equally helpful for all performance- oriented activities. If your fears have to do with all eyes being on you get a few friends together and play as an informal group. Go to local open mics and you are pretty sure to have a supportive audience who have all been there t errified. They will want to you do well and will appreciate your efforts, even if you flub up. Of course, many people turn to some form of substance to help manage anxiety. The most common would be alcohol in its many incarnations, but stories about musicians becoming dependent on the widest range of substances imaginable are legion. In addition to the risk of dependence or addiction, relying on alcohol (or other drugs) to get you "into the zone" is unreliable. For example, the effect of alcohol is highly dependent on how recently we've eaten, how well rested we are, our overall stress levels etc. However, utilization of prescriptive medication to help control performance anxiety has proven the most helpful course for some. Medications known as beta-bl ockers were originally developed to help regulate heart rate and manage blood pressure. They have been discovered to assist many whos e performance anxiety is so extreme that they become physica lly incapacitated prior to going on stage. One e-mail correspondent offered real hope for using beta-blo ckers to treat extreme anxiety. He wrote that his stage fright was extreme (he cited lack of skill combined with a Type A personality as contributors) and the use of beta-blockers provided the much-needed relief. Plus, he wrote that with more stage experience,increased acceptance of his level of skill and by allo wing his playing to become more fun he has not needed to use beta-blockers in years. A real success story! Summary Spending time on managing performance anxiety is a form of practice and is as important as working on the tunes themselves. After all, the whole effort is aimed at improving your skills at communicating through the music and anything that interferes deserves attention. Most of us do not relish the thought of practicing scales and arpeggios, but we do them because doing so helps us play better.What works for you is most likely to be what has worked in the past: What did you do in preparation for and during those big tests in school to help manage your fears and do your best? What can you apply from that experience that might help with your playing? Take what you know about yourself and develop a systematic, intentional plan for addressing your performance anxiety. Remember, the goal is not to eliminate all anxiety . I wouldn't suggest that anyone become so detached they are numb, zombie-like on stage. An appropriate amount of anxiety can be a performance aid it helps motivate us to do our best. We're anxious because we care and the experience is meaningful to us. If you find that you are not able to make progress toward managing your performance anxiety on your own, consider seeing out an experienced mental health practitioner to help develop a systematic approach to addressing the fears. Just as you might consider taking mandolin lessons as a learning aid, you might consider working with a professional to assist you as a performance aid. Most importantly, don't ignore your anxiety when you discover it is negatively affecting your performance and y our enjoyment. Start taking steps to learn what will work for you. Let me know what you discover! Donn is the Associate Director for Counseling Services at the University of Puget Sound. www.ups.edu/x8193.xml He works at managing his own performance anxiety with the bluegrass group HeyWire and the singer/songwriter trio, Late Harvest. GETTING PAST THE FIRST THIRTY SECONDS by Yvonne DeBandi, Sing Smart Vocal Coach © 2010 All Rights Reserved. During an audition or performance situation it is some times necessary to introduce yourself. Be sure to get started on the right foot because sometimes you only have thirty seconds to make an impression. Practiceintroducing yourself in front of the mirror and analyze y our first impression-no matter how silly you feel. Learn from opinions, but do what feels right. Tip #1 State your name, don't ask it. Have you ever heard those introductions that make you wonder - is that their name or are they asking me? Practice yourdelivery tone and make sure your inflection does not rise at the end of the sentence making it sound like an inquiry. Tip #2 Slow down. Nerves can often cause you to speed up y our speech pattern without you even knowing it. Before you begin speaking, take a deep breath andthen speak slow and clearly with good articulation. Tip #3 Mind your body language. Don't fidget. Stand comfortably with one foot slightly in front of the other, with the weight on the balls of your feet. Your arms and hands should remain relaxed by your side unless effective hand motions are being done.Tip #4 Eye contact. Look confident, even if you don't feel quite that way underneath. Make good eye contact with your audience. If you are not comfortable withmaking eye contact, try looking just over the audience's head. When using this technique they will often think you are talking/singing directly to them. Yvonne DeBandi, NATS Member and magna-cum laude graduate of the renowned Florida State University School of Music has been educating singers and musicians since 1989. As creator of the Sing Smart, Not Hard™ vocal training method and co-founder of The A2Z Educational Network, her pr imary focus has been on providing vocal education to the masses through the development of unique and innovative vocal education tools, as well as networking and working closely with many other vocal educators. In 2000 she began training singers around the world using online training curriculums and distance training programs with great succ ess and is known as a true pioneer in the vocal education industry. www.singsmart.com STAGE FRIGHT? ME? by Anne Minnery, Recording Artist © 2010 All Rights Reserved. I am one of those people who suffer dreadfully from stage fright. I f ind that I am fine until about 2 minutes before going on stage and when my stomach starts to churn. Then, a s soon as I hear my name called, my mouth suddenly goes completely dry. Worse than that, when I start to sing I find that my stomach is fluttering and my chin quivers. Once the first song is over, I seem to settle down and by the second and third songs I am in full control again. I have tried everything I can think of to get over stage fright. I have attended lectures, read books, looked on the internet for ideas and talked to singing coaches. The only thing that really seems to work for me is'comfort'. If I am comfortable in a setting or a club and know members of the audience that seems to help. I used to sing at happy hour in a piano bar in Greenwich Village in New York called "Rose's Turn". At thebeginning I had all the prior problems that I mentioned, but the more I sang there the more comfortable Ibecame and I found that the symptoms seemed to disappear - all except the dry mouth - that I still had. Mysinging teacher told me to bite the inside of my cheek or bite down on the inside my mouth to try to get a bit ofmoisture going, but nothing seems to work. Then I discovered another horrible tendency I have - and that is to allow my mind to wander while singing. I have had to really talk to myself about this and force myself to stay focused on the song from beginning to end. I have read that people are so worried about forgetting the first few lines of a song that once they getpast that part they let their guard down and then they run the risk of forgettin g the middle part. That describes me to a tee. What I have found works in helping me get over my st age fright is "control". If I have done all the rehearsal necessary and know all my patterns and moves, then my nerves don't seem as bad. And, as I mentioned earlier, if I know the place and feel comfortable in the surroundings it helps too. However, how many times are we going to have the occasion to get used to a place before we have to play it? Mostly, we just get a gig and have to show up and perform. So, I have to use other tools at my disposal. My sister is an entertainer with tons of confidence and is completely at ease speaking with the audience. She can work an audience better than anyone else I know. I asked her once why she never has stage fright and she told me "Because I know when I get up there that I am the best singer in the room and that I am the best person to entertain them". This coming from a person who is quiet an d unassuming off stage. But, she is right..she KNOWS that she is the best when she gets on stage - and she is. She takes command of the stage and is totally at ease with her performance. Why? Because she rehearses her material so well off stage that it is second nature to her when on stage.She knows her lines so well that if something unexpected happens (and when doesn't it in a live show?) she is able to handle it and move on. She told me that the audience deserves the very best from a performer andthat comes from the performer providing the very best she or he can. I had a wonderful singing coach who once told me that I had to be so well rehearsed before a performance that I knew each song as well as I knew "Happy Birthday". We all know that song so well, by heart, that if the walls started crumbling around us while we were singing it, we could still carry on while moving out of harm'sway. She told me that I had to know each and every song as well as "Happy Birthday" - to OWN each song,make it mine. And that I had to own not just the first few songs but the e ntire repertoire of songs. Another trick she told me was to always 'eye' the parameters of the room or stage, not only what was in frontor at the side of me but at the back as well. She said this could be done quickly while entering the stage areaand while saying hello to the audience. Her reasoning for this was so that the singer would own her space andgive her a sense of control or comfort.. I am getting better at focusing, I have noticed. I have learned the hard way that I must stay completely focused on the words and meaning of each and every song and to sing it from the heart, not just mouth the words. If I am in touch with the meaning of the song, I don't lose focus - not as much.. A good trick I learnedwas to actually say the words of the song out loud during rehearsal. Each song has a story or message toconvey and by speaking them we commit them better to memory and to heart. I hope by sharing my story of stage fright I have helped some of you who suffer from the same thing. There are probably many of you who have never suffered the fear of being on stage like I have but this article is for those who have and who may have an even worse case of it than I. There are many books on dealing with stage fright and I can recommend a great internet site run by Art Nefsky that has online help available at www.nefsky.com. Give it a try. It is fun and has some great ideas. Hope it helps. Anne Minnery is a Country singer/songwriter with 3 CDs to her credit. Anne has been featured and has enjoyed #1 status for her songs at MP3.com, Amp3.com and FranceMp3.com. www.minnery.com LIVE PERFORMANCE: CALMING YOUR NERVES by Catherine L. Tully, Indie-Music.com © 2010 All Rights Reserved. Just about everyone experiences "nerves" before a performance. Some people have learned to ride the wave and it feels more like excitement to them. "Adrenaline junkies" thrive on it. Others fee l just a pinch of jitters. But sometimes there are situations where even the most seasoned performer is ju st plain nervous. A larger crowd than ever can do it - but so can something like an ex-girlfriend or boyfriend in the audience. Can you learn to get past the butterflies and give it your best? You bet you can! Its all a matter of finding out what works for you. Take a breather Part of being nervous is mental, but your physical self plays a role in it, too. Taking deep, belly breaths is a technique that works very well to get rid of tension. Breathing from the belly is taught in T'ai Chi and can have a profound effect on your body. Learn to feel when your body starts to get tense and respond by taking some nice, slow breaths to counteract this feeling. The best part about this technique is that you can do it anytime and anywhere!Distract yourself Focusing on whatever is making you nervous will only make it much worse. Don't keep peeking at the crowd - practice a song - with your eyes closed for added concen tration. Talk with fellow band members. Call a friend and have them distract you for a few minutes. Break the cycle of thinking about it and refocus your mindelsewhere. Stewing about it will add to the problem. Pump yourself up Take an inventory of your successes instead of thinking you might fail, after all, that is where most nerves stem from. Is there someone in the audience you need to impress and you are feeling the pressure? Visualize how you are going to go out on stage and WOW them in stead of worrying you might not do well. Seeing yourself do well in your mind's eye can help boost your confidence. Develop a routine Routine can be comforting when you get a case of the nerves. Try to develop a set of things that you do before every performance so that you know what you will be doing each time. If you have things to do, it is less likely you will be focusing your energy on worry ing about going on stage - you will be too busy preparing for it. Blow off some steam If you are really feeling tense, do a little somethi ng physical and take the edge off. Try some jumping jacks. Run in place for a minute. Strike a yoga pose. Get rid of the ten sion by getting active - it works. Walk awayIf the nerves have really got you and you have a fe w minutes - step outside and get a little fresh air. Sometimes the scene itself gets you all pumped up and shaky, so just walking away for a minute can help rid you of some stress. Before you go back in, take a few deep breath s. (And before you leave - make sure you can get back in!) Listen up Musicians love music - why not get into some before the nerves set in? Grab your headphones, kick ba ck and let the music take you away. Anything that you know you' ll get into will work - it doesn't necessarily have to be mellow. Just be sure someone comes to get you when it's time to go on! Do something simple Play solitaire. Put on makeup in the exact same order every time. Fold PR brochures. Anything that is easy and repetitive can soothe your jitters if you do it for a while and keep a slow, steady pace. Stretch out Do a basic stretching routine to relax yourself. It doesn't have to be anything complex, but if you do the same one every time, you will eventually come to associate it with unwinding. Make sure you don't push too hard though - you don't want to pull a muscle before you take to the stag e! Think things through What relaxes you at other times will probably work here, too. Is there something that soothes you? Can you adapt it to your pre-performance routine? Take a look and see if you can find something that really works for you at home - or even on vacation - and apply it backstage. You don't have to let your nerves get the best of you when you are waiting to perform. Figuring out what works may take a few tries, but if you can get a system going, you'll be a lot happier in the long run - and a lotless likely to get wrapped up in a case of the jitters! Catherine L. Tully is a freelance writer and photographer . You can see her work at www.moonbeamdigital.com She is on-staff at Indie-Music and you can re ach her at [email protected] TO TURN SHAKING KNEES INTO A NICE VIBRATO by Don Bray, Singer/Songwriter © 2010 All Rights Reserved. I remember reading somewhere that the number one fear in women is death by fire and the number one fear in men is public speaking, followed by death by fire. As a firefighter I can handle running into a burning building, but as a songwriter, getting up on stage can scare the bejeezus out of me. Go figure. Theuncomfortable feeling I get when I perform has long been an issue for me. In fact, it was the core reason Itook a brief hiatus from performing that lasted well over a decade. Earthquake knees, Gobi Desert mouth, Iron butterflies…the symptoms are no fun. I’ve been playing guitar and writing songs for about thirty-five years and they still haunt me. It’s been only over the past few years that I’ve begun to feel more comfortable. It would be a relief to be one of those people born for the stage (some day, after a really bad gig, I may be borne from the stage by an angry mob, but that’s something else ent irely). For the longest time I thought it was a matter of perform ance anxiety, worrying I would forget a lyric or flub a guitar part. Going stone cold blank in front of a few hundred people (which, believe me, I have done) can beuncomfortable in the extreme. Certainly this adds to the butterflies, but I don’t think it’s the basis of my problem. In fact, in a perfect world (or at least one in which I had a perfect attitude), it would just add to theexcitement of living on the edge (of the stage). Lately I’ve gained insight into why it’s an issue for me. I’m hoping this will allow me to become even more comfortable as time goes by. It came to me in a flash of light (not like a back draft, you understand, more like a good-sized camp fire or when a smoker doesn’t realize the butane lighter is set too high). Having never done a house concert, I was looking forward to doing my first one. I pictured myself going int o some stranger’s lovely home and sitting in their living room in front of a small group of smiling people . I thought to myself, ‘What a nice intimate setting’. It was then, with the utterance of the “I” word, that the bells went off (not like a fire alarm - more like a doorbell rung by a panicking victim). Intimacy, oh my gosh, it’s intimacy! I guess this might seem obvious to some, but to me it was a revelation, one that made more sense the longerI thought about it. I’ve never considered myself to be a person with intima cy problems. Over the years I’ve had tons of intimate relationships. I’ve enjoyed them, reveled in them and grown from them. All of these intimate relationships have one thing in common. I had the opportunity to get to know these people first, become comfortable with them and come to the conclu sion that I could trust them before drawing closer. You need to know whether the spittle on their lip is because they are crazy in a potentially dangerous way or because they have a bad habit of putting too much jalapeño sauce on their Cheerios like your uncleBob. Either one is OK, and maybe they’re the same thing … but it’s nice to know. When you get on stage, of course, it’s a different thing. Though you may know some of the people in the audience, there are sure to be some you don’t. At least not that well. And what about the one drooling in the front row? Are you really sure you want to sing t hat painstakingly crafted song whose underlying symbolic meaning is the psychological damage caused by how small or large your…well you get the idea. Some things you don’t even tell your mother. My mother taught me that emotions were perfectly a cceptable to express as long as they were mild happiness or half-assed enthusiasm. Anything else was anathema.As a sensitive singer/songwriter of course, I saw this as being counter-productive and worked, with what stifled passion I could evoke, to overcome my inabilit y to emote (my brother calls me a SNAFF—Sensitive New Age Fire Fighter—I think it might be an oxymoron). Over the years my songs have become an acceptable way for me to express my emotions. Take sadness for example. I have trouble expressing it in my day-to-day world. It embarrasses me still, despite all the work. So I write a sad song. It’s a real tear-jerker. (Not like a 38mm hand line sprayed on a working house fire, youunderstand, but more like half a cup of coffee tossed on a smoldering ashtray or perhaps the bottom eighth ofa warm beer thrown at your face in a bar by an ir ate but strangely beautiful woman you’ve never met before with deep green eyes and who doesn’t like the suggestive way you were leering at the “I Love Cats” broochstrategically located on…her lapel). Anyway I get to release my sadness without admitting to any chinks in thearmor, so to speak.Getting back to intimacy, the problem is that I then go out and play this song in front of complete strangers.Not friends, family or my dog, who knows me deeply in all my glorious and transparent weaknesses, but others, more distant and alien to my faltering ways. And that’s why my hands sometimes shake when I play the guitar. These people are going to judge me by my music: nothing more, nothing less. And they’ll be able to see things. They’ll know I was sad when Johncommitted suicide, that I was horny when I saw the girl in the tan k top riding the bicycle on Queen Street in the rain. The more perceptive or astute might even figure out that “Yum” is about my secret eating disorder, not my dog’s (that’s why I’m so skinny). And none of this “seeing” of me will be mitigated by an understand ing of the deeper me, by seeing my weaknesses juxtaposed against my strengths or by having an overlying view of the context that makes up my life and my point of view and tends to make me mildly fearful of stout women in high heels.So what does all this mean to me as a performer? I know I’ll continue to get nervous and worry about breaking strings, dropping picks, going out of tune, forgetting lyrics and leaving my fly open. I know noteveryone is going to like me (but that’s OK, my family ’s stuck with me and, besides, my dog loves me). I know that just when I’m coming up to the particularly poignant line I always have trouble remembering in that sad song about homeless people, some devilish aspect of my inner psychology will internally blurt out, “You idiot, you forgot to pick up Soy milk at the health food store for Mary’s breakfa st tomorrow. Boy is she going to be pissed!” The bottom line is this: there are a few facts I just have to accept. I’m a songwriter who feels the need to perform his songs. I can be sensitive and emotional as well as tough, concrete-headed and slightly middle- aged. People can be cruel. They can also be incredibly accepting and supportive. There is a great deal of joyto be had (and hopefully given) in saying what you feel and really feeling it to o. I guess in the long run it’s apparent that my performing isn’t going to go away and the best thing for me to dois learn to accept who I am, including all those yu cky emotions. Despite the front row droolers I should perform with honesty, not only because people have built in Bull-poop detectors, but because they deserve it.If I can do these things maybe I won’t worry so much about what people think of me and I’ll be able to execute a more relaxed and full-hearted performance. Singer/Songwriter Don Bray works as a To ronto firefighter to support his musi c habit. His award winning songs can be heard on his CD "Decisions". You can check out his website (and buy his CD if you'd like) at www3.sympatico.ca/donbrayBETTER PLAYING THROUGH CHEMISTRY (BETA BLOCKERS) by Blair Tindall, mozartinthejungle.com © 2010 All Rights Reserved. For the Record Ruth Ann McClain, a flutist from Memphis, used to suffer from debilitating onstage jitters. My hands were so cold and wet, I thought I'd drop my flute, Ms. McClain said recently, remembering a performance at the National Flute Convention in the late 1980's. Her heart thumped loudly in her chest, sheadded; her mind would not focus and her head felt as if it were on fire. She tried to hide her nervousness, buther quivering lips kept her from performing with sensitivity and nuance. However much she tried to relax before a concert, the nerves always stayed with her. But in 1995, her doctor provided a cure, a prescription medication called Propranolol . "After the first time I tried it," she said, "I never looked back. It's fabulous to feel normal for a performance." Ms. McClain, a grandmother who was then teaching flute at Rhodes College in Memphis, started recommending beta-blocking drugs like Propranolol to adu lt students afflicted with performance anxiety. And last year she lost her job for doing so. College officials, who declined to comment for this article, said at the time that recommending drugs fell outside the student-instructor relationship and charged that Ms. McClain asked a doctor for medication for herstudents. Ms. McClain, who taught at Rhodes for 11 years, says she merely recommended that they consult a physician about obtaining a prescription. Ms. McClain is hardly the only musician to rely on bet a blockers, which, taken in small dosages, can quell anxiety without apparent side effects. The little secret in the classical music world - dirty or not - is that the drugs have become nearly ubiquitous. So ubiquitous, in fact, that their use is starting to become a source of worry. Are the drugs a godsend or a crutch? Is there something artificial about the music they help produce? Isn't anxiety a natural part of performance? And could Cl assical music someday join the Olympics and other athletic organizations in scandals involving performance-enhancing drugs? Beta blockers Are cardiac medications, not tranquilizers or sedatives - were first marketed in 1967 in the United States for disorders like angina and abnormal heart rhythms. One of the commonest is Propranolol, made here byWyeth Pharmaceuticals and sold under the brand name Inderal. By blocking the action of adrenaline andother substances, these drugs mute the sympathetic nervous system, which produces fear in response to any perceived danger, be it a sabre-toothed tiger or a Lincoln Center audience. Even the most skillful and experienced musicians can experience this fear. Legendary artists like the pianists Vladimir Horowitz and Glenn Gould curtailed their careers because of anxiety and the cellist Pablo Casalsendured a thumping heart, shortness of breath and shakiness even as he performed into his 90's. Before theadvent of beta blockers, artists found other, often more eccentric means of calming themselves. In 1942, a New York pianist charged his peers 75 cents to attend the Society for Timid Souls, a salon in whichparticipants distracted one another during mock performances. Others resorted to superstitious ritual, drink ortranquilizers. The pianist Samuel Sanders told an interviewer in 1980 that taking Valium before a performancewould bring him down from wild panic to mild hysteria.Musicians quietly began to embrace beta blockers after their application to stage fright was first recognized in The Lancet, a British medical journal, in 1976. By 1987, a survey conducted by the International Conferenceof Symphony Orchestra Musicians, which represents the 51 largest orchestras in the United States, revealed that 27 percent of its musicians had used the drugs. Ps ychiatrists estimate that the number is now much higher. Before Propranolol, I saw a lot of musicians using alcohol or Valium, said Mitchell Kahn, director of the Miller Health Care Institute for the Performing Arts, describing 25 years of work with the Metropolitan Operaorchestra and other groups. "I believe beta blockers are far more beneficial than deleterious and have noqualms about prescribing them." But use of drugs is still largely secretive. "Inderal is like Viagra," a woodwind player at a major orchestra said. "No one admits to using it because of the implication of weakness." Robin McKee, the acting principal flutist of the San Francisco Symphony, agrees, saying, "It's too bad we're reluctant to talk about using such a greattool." Indeed, the effect of the drugs does seem magical. Beta blockers don't merely calm musicians; they actually seem to improve their performances on a technical level. In the late 1970's, Charles Brantigan, a vascular surgeon in Denver, began researching classical musicians' use of Inderal. By replicating performance conditions in studies at the Juilliard School and the Eastman School in Rochester, he showed that the drug not only lowered heart rates and blood pressure but also led toperformances that musical judges deemed superior to those fueled with a placebo. In 1980, Dr. Brantigan,who plays tuba with the Denver Brass, sent his findings to Kenneth Mirkin, a frustrated Juilliard student whohad written to him for help. I was the kid who had always sat last-chair viola, said Mr. Mirkin, whose bow bounced from audition nerves. Two years later, he won a spot in the New York Philharmonic, where he has played for 22 years. "I never would have had a career in music without Inderal," said Mr. Mirkin, who, an hour before his tryout, took 10milligrams. For the last two decades, such use of beta blockers has generally met with approval from the medical establishment. "Stage fright is a very specific and time- limited type of problem," said Michael Craig Miller, the editor of The Harvard Mental Health Letter. Dr. Miller, who is also an amateur pianist, noted that beta blockers are inexpensive and relatively safe and that they affect onl y physical, not cognitive, anxiety. "There's very little downside except whatever number you do on yourself about taking the drugs." BUT now that the drugs have established themselves as a seemingly permanent part of the classical music world, some musicians and physicians are beginning to question the acceptability, safety, efficacy and ethicsof using them. One concern is that many musicians use beta blockers without proper medical supervision. The 1987 survey of orchestra musicians revealed that 70 percent of musicians taking beta blockers got themfrom friends, not physicians. Mr. Mirkin, the Philharmonic violist, first obtained Inderal from his father, who took it for angina. Others buy it while touring c ountries where they are sold over the counter. Stephen J. Gottlieb, a professor of medicine who published a study on the effects of beta blockers in The NewEngland Journal of Medicine in 1998, says beta blocke rs should be obtained only after a medical examination, since people with asthma or heart disease could develop problems like shortness of breath or a slowing of theheart rate. "One-time use of low doses of beta blockers should be safe in healthy people," Dr. Gottlieb said, adding that the fatigue, hallucinations, tingling and vivid dreams listed as side effects in Physicians' Desk Reference would be unusual in those using Inderal only occasionally. The risks are far more seriousfor those who use beta blockers consistently and ta ke up to 700 milligrams of Inderal a day. Musicians typically take 5 to 20 milligrams in isolated doses.But some performers object to beta blockers on musica l rather than medical grounds. "If you have to take a drug to do your job, then go get another job," said Sara Sant'Ambrogio, who plays cello in the Eroica Trio. Chemically assisted performances can be soulless and inauthentic, say detractors like Barry Green, the author of "The Inner Game of Music," and Don Greene, a former Olympic diving coach who teaches Juilliard students to overcome their stage fight naturally. The sound may be technically correct, but it' s somewhat deadened, both men say. Angella Ahn, a violinist and a member of the Ahn Trio, remembers that fellow students at Juilliard who took beta blockers "lost a little bit of the intensity," she said. Ms. Ahn doesn't use thedrugs, she said: "I want to be there 100 percent." Indeed, the high stakes involved in live performance are part of what makes it so thrilling, for both performers and audiences. A little onstage anxiety may be a good thing: one function of adrenaline is to provide extraenergy in a threatening or challenging situation and that energy can be harnessed to produce a particularlyexciting musical performance. Performance anxiety tends to push musicians to rehearse more and to confronttheir anxieties about their work; beta blockers mask these musical and emotional obstacles. Some musicians are also grappling with the ethics of better performing through chemistry. In auditions, which are even more nerve-racking than regularperformances, do those who avail themselves of the drug have a better chance of success than those who do not? Should drug testing apply to performers, as it does to some athletes and to job applicants at somecompanies? If you look at the logic of why we ban drugs in sport, the same should apply to music auditions, said Charles Yesalis, a professor at Pennsylvania State Univer sity who studies performance-enhancing drugs. But the issue receives little attention because, unlike athletes, classical musicians are seldom called on to representbig business ventures. "If Nike offered musicians ad contracts," Dr. Yesalis said, "more people would payattention." Speaking from the Athens Olympics in August, Steven Ungerleider, a sports psychologist and the author of "Faust's Gold," said that beta-blocking medications are prohibited for some events, like riflery, in which competitors use the drug to slow the pulse so that they can fire between heartbeats to avoid a jolt. The drugs are banned in a number of other sports, including motorcycling, bob sledding and freestyle snowboarding. But Dr. Miller, the Harvard physician, points out that beta blockers differ significantly from steroids, which usetestosterone to increase muscle mass, strength and speed. Inderal enables rather than enhances, byremoving debilitating physical symptoms; it cannot impr ove tone, technique or musicianship or compensate for inadequate preparation. As Ms. McClain's firing demonstrates, the use of beta blockers by students is a particularly delicate issue. Those who openly use the drugs believe they have a responsibility to mention them to students suffering fromsevere stage fright. If I'm looking out for the welfare of my students, I cannot in good conscience not tell them about beta blockers, said Ms. McClain, adding that she would be more careful about how she represented the information in the future. Some teachers believe that coping with performance anxiety is an essential part of a classical music education and that early use of beta blockers deprives students of the chance to confront their stage fright. Robert Barris, a bassoonist and a co-chairman of the music performance studies faculty at Northwestern University, encourages students to address the roots of their anxieties while avoiding psychologicaldependence on chemicals. Unlike previous generations of musicians, these students can draw on a rich array of non-chemical treatment options. The new field of performing-arts medicine includes some 20 centersacross the country, many of which treat stage fright with therapies that range from Inderal to more holisticapproaches like hypnosis, yoga and aerobic exercise.But several musicians interviewed for this article expressed impatience with these treatments, which can seem slow and uncertain compared with the instant gratification and convenience offered by the betablockers. "Holistic solutions take work and time to be effective, whereas Inderal is a quick fix," Mr. Barrisconfirmed. As it happens, he takes Inderal by prescription for a heart ailment and he said that he works to combat any soporific effects the drug might have on his musicianship by putting extra energy into his concerts. "No one wants to listen to a secure, accurate but disconnected performance," he added. Jim Walker, a former principal flutist of the Los Angeles Philharmonic who has recorded more than 400 movie soundtracks, says that preparation is the best medicine. Still, he describes himself as an Inderal advocate, with the caveat that the drug be approved by a physician. Some of his best students at the University of Southern California, he said, are too nervous to deliver a representation of how well they really play and might stand to benefit from beta blockers. It's absolutely legitimate to recommend Inderal to a student who's unable to perform because of nerves, he added. "If I'd never heard the story about Ruth Ann McClain, I'd be far more blatant in recommending it." Blair Tindall, a professional oboist, is writing "Mozart in t he Jungle" for Grove/Atlantic Press www.mozartinthejungle.com. Elaine Aradillas contributed reporting for this article. This ar ticle originally appeared in The New York Times, October 17, 200415. GENERATING CD SALES AT YOUR SHOWS SELLING MORE CDs AT GIGSA Case Study: The Rogues by Marc Gunn, The Bard's Crier © 2010 All Rights Reserved. A few weekends back, the Brobdingnagian Bards performed at the Austin Celtic Fe stival. We shared the stage with some amazing bands, but at the very top of my list were The Rogues. We first met The Rogues last year at the Texas Renaissance Festival. Since then I've been a big fan of not only their killer bagpipes and drums, but their phenomenal ability to sell CDs. They work magic on and off stage and sell tons of CDs. What do they do that is so special? Well, The Rogues are very proactive when it comes to selling. Whi le many bands will setup a table and say, "go to our table and buy our CDs", The Rogues take it a step further. They send their sales ladies to their fans. I remember at the Kansas City Renaissance Festival when they played the Pub Sing. They began playing music. Their Sales Ladies danced to the music. Then they picked up their baskets of CDs, grabbed a couple,held them high, while The Rogues invited the audience to, "Go buy our CDs." Then the lasses walked throughthe aisles through the rest of the entire performance. While the rest of us were on stage watching with shocked amazement at our own untouched sales table, The Rogues sold a dozen CDs! They repeated that performance at the Austin Celtic Fest ival. We shared a booth with The Rogues at the festival and I asked Sharon about how they do it. She told me it varies in different parts of the country. In Texas, this direct approach works magic. In Florida, an older recreational audience gets angry if sales people disturb their show. But the key is to realize that your sales team is a PART of the show! They don't just stand up there silently holding up CDs. If they do, they disappear. We learned that during our first show this weekend. Integrate your sales people into your show. Get them to dance in the isles, clap their hands, sing-a-long. If they do, the audience will follow their lead. This will help them to attract attention to theCDs and you will sell more. Be proactive. Don't wait for your fans to come to you or they may never! If you go to them, you'll sell more CDs and make more fans in the process. Bard Marc Gunn of the Brobdingnagian Bards has helped thou sands of musicians make money with their musical groups through the Bards Crier Music Marketing and Promotion E-zi ne and the Texas Musicians' Texas Music Biz Tips. Now you can get personal advice by visiting www.bardscrier .com for FREE "how-to" mu sic marketing assistance.CONFESSIONS OF A MASTER CD SALES WOMAN by Sharon Wothke, The Rogues © 2010 All Rights Reserved. As head sales person for the band, I think that I would be the one to talk to. The Rogues are definitely unique in what they do and if you will indulge me, very good at what they do. As a sales person, I know that the way the guys play their music definitely is the biggest factor in their sales quotient. When the music, which can be described as infectious, is smoking hot and everyone is having a good time, the sales are usually pretty good. Most people who come to a Renaissance Fe stival, where the band still does the lion's share of their gigs, do not come expecting to buy a CD with bagpipe music on it. TheRogues have converted many people to this form of music. So in other words, they create a unique atmosphere which is conducive to sales. If the guys are doing their job (making great music), it ma kes my job a lot easier. I just have to be available and approachable to people and looking like a I am a part of the show for people to feel comfortable in coming up to me. We started from the very beginning employing the use of a roaming basket. It is very effective and other groups have successfully copied our approach. Our sellers walk around holding up the product so people can see them. Our sellers try to blend in with the show and not be pushy, just visible. I personally enjoy interacting with the crowd, spoofing off of what is beingsaid on the stage and telling jokes to make the audience laugh. And I will talk and be nice to everyone, even ifthey don't buy a CD simply because I enjoy people and I am trying to be an ambassador for the band. They may not buy today, but chances are they will think about it and buy a CD at another time." Straight from the Master's mouth. What does it take? • great music • great live performance• roaming sales people with baskets of CDs • sellers hold up product DURING the show • sellers blend in an interact with the show Well a great performance and an interactive sales crew is just the start to selling more CDs at gigs. The Rogues also employ other salespeople. Our sellers work off of a commission, with bonuses built in when an individual's sales total reaches a certain amount. Giving a salesperson a commission motivates them to sell more product than just giving them a flat rate. We do have minimum pay for a day's work when the sales are not good. In that case the band usually pays $50 day or a 10% commission of the sales total, whichever is greater. At the more modern venues, such as highland games and Ce ltic festivals, we have found that having a sales table is an extremely successful way to increase sales, especially in combination with a roaming salesperson (when using both are appropriate). At pub gigs, we only have a sale s table. Having someone roam in a tight space like a pub would be seen as too aggressive or invasive, which the Rogues do not encourage their salespeople to be. Friendly competition between two or more sellers is fine a s long as there is a feeling of team spirit. Our sellers help each other out when one needs change or more stock. The larger the crowds, the more sales people are needed. The sheer size of the crowd has a tremendous impact on sales. When you get that many people standing or sitting that close together and they are all excited about the music, it is like a ripple effect -onc e the sales start flowing, everyone seems to jump on the buying bandwagon.At one particular show at the Maryland Renaissance Festival, where the crowd was huge, our three sellers were not able to maximize the full sales potential. A good indication of my not being able to tap the salespotential that is when I am standing in one spot and have not moved out of it the entire show. Just as soon asI finish one sell, another person comes up to buy a CD. I call that standing in a sweet spot - when people come up to you already wanting to buy a CD. My job then is to try to figure out, as quickly as possible, what CD or CDs would best suit what they are looking for. I always try to point out the fact that they can order moreCDs through the website or mail order or listen to the music online. As a band member's wife, I am always trying to promote the band. I take business cards from people who want to hire the band for potential gigs and I direct them to my husband, Randy, who is the business manager for the band. • reward sales people with commission • set up sales table for venues • encourage friendly sales competition • more people to sell for larger crowds, enjoy 'ripple effect'• take business cards to gigs and hand out at every opportunity Mrs. Sharon Wothke first and foremost, is the fifth cog in the Rogues traveling circus. She has been with the Rogues from the inception and continues to be a vital part of the organization. She designs; she dances and she keeps the guys organized. Bard Marc Gunn of the Brobdingnagian Bards has helped thousands of musicians make money with their musical groups through the Bards Crier Music Marketing an d Promotion E-zine and the Texas Musicians' Texas Music Biz Tips. Now you can get personal advice by visiting www.bardscrier.com for FREE "how-to" music marketing assistance. TIPS FOR SELLING YOUR CD AT GIGS from The IGS Guitar Forum © 2010 All Rights Reserved. I've been doing well lately - selling about 50 CDs every week. I only sell 4 or 5 per month through my website. Here's a few things I've learned about selling at gigs. Don't be bashful. I used to be ashamed of myself for trying to sell CDs. I don't know where those feelings come from, but I know I used to MUMBLE at the end ofthe show, "oh by the way, talk to me if you want to buy a CD". It was ridiculous and it never worked. I've learned to say it loud and proud, "I have a great CD for sale, buy one after the show and he lp me send my kids to college!." Or "I have a new CD for sale, you'll like it a lot … feel free to buy in bulk!" In our society, people respect hard work and creativ ity and if you show some boldness, they'll be happy to help support your adventure. Don't apologize. Just smile and say "Thanks a lot, enjoy!” Make the transaction easy! People want a quick easy transaction. The best investment I ever made was buying a bunch of displays fromDisc Makers. Make sure that there is a poster attached to the display that clearly displays the price of your products. If people have to ask "how much" - it's an unnecessary step that’s in the way of the transaction. I taped two displays together and attached a big piece of foam board to the back. On the foam board is a short description of each CD along with the prices. Now people can just read about the different CDs. I’ve attached a small money box with a slot to the side of the display. Now I end up selling CDs before, during and after my show.Placement Put your display right on the stage or on a table near you. People will see it and start thinking about buying a CD while you're playing. Always have change. If you get stuck making change for one person, the other people waiting might drift. If you don't want to invest in a bunch of displays from Disc Makers, you can f ind permanent wooden CD stands at www.CDStands.com This article was posted originally at The IGS Guitar Foru m. The IGS was created to provide a "safe" place where beginners as well as advanced players can learn from each other, expand their musicianship and take musical chances. Thanks to our incredible staff and the enthusiasm of our students, we have succeeded in creating one of the premiere guitar worksh ops in the world. www.guitarseminars.com HOW TO SELL 60,000 CDs by April, Singer/Songwriter © 2010 All Rights Reserved. It has taken me over four years at 200 performances a y ear, combined with all my fans' word of mouth, for me to sell 60,000 units, says April, referring to the sales of her self-released album, Strong Willed Woman. Selling 60,000 CDs is no small feat. Major label artists often dream of selling that m any discs — and they have national distribution behind them. So, how does an independent artist with limited distribution and no major label marketing power behind them do it? With a combination of hard work, talent and classic marketing strategies. April moved to Nashville in 1997 "to live and breathe s ongwriting" and to submerse herself into the music business. She was hired as the National Membership Director for the Nashville Songwriter s Association International where she worked with over 100 chapters from all over the world, making valuable con tacts along the way. "Additionally," she said, "I served on a grassroots coalition with ASCAP, BMI, SESAC, NARAS, CMA, NSAI and top publishers in this town to fight on Legislative issues such as Life +70, The Copyright Extension and Digital Infringement." One thing that every successful artist we've intervie wed has in common is they realize the importance of having a mailing list. April not only had a mailing list but had a fan club with almost 3,000 paid members. She explains, "My fan club fee was $10.00 a year, which included: an autographed photo, a subscription to my quarterly newsletter, a membership card, special merc handise offerings and more, like chances to win concert tickets. I spoke about how to join the Posse Fan Club at every show I performed or any review, article or interview I had." The newsletter proved an especially helpful promotional tool. "I used it to keep our fans up to speed with our shows, album releases and personal notes on the group. I would hand out thousands of those a year at every show and would always get CD orders back." Aside from gig sales and orders from her newsletter, April had to get creative with her distribution to bring in the sales. "I originally sold my CDs and cassette s via consignment at the Watt Avenue and the Downtown Tower Records but soon I started selling them in local record stores, western clothing stores etc. I even placed them in beauty supply stores." Another promotional tool April has found extremely useful is her music video. "I am so proud of my video "Tempted," it was produced by the same man who does Gl oria Estefan's videos. I originally had it done to get the eye of a major label, but then after it was done, I found it was getting me better gigs. Booking agents loved it, they felt like were getting an artist from CMT or so mething. The coolest thing is one time I was performing in Vegas and they displayed it on this multimillion dollar screen. To see me on a Vegas strip in lights was incredible."Her parting thoughts for musicians: "Stay true to yourself first, enjoy what you sing and write and it will project to the fans! If you try to force the music, people can tell. Also, you can't please everyone, so why try? That's why there are many genres of music. If someone doesn't like your sound, that's OK, it doesn't mean you're not good, it's just their opinion. But above all, have fun!" April is a seasoned performer, opening for over 40 major coun try artists and legends over the past 8 years. She has won four years in a row for her and her six piece band, "The Texas Rangers", as band and artist of the year. April was inducted into the Hall of Fame in 1996 for Singer/ Songwriter, proving her fans and industry professionals believe in her talent as well. www.aprilnash.com [email protected]. Th is article first appeared in Disc Makers' Fast Forward e- Newsletter.16. SELLING MERCH AT YOUR SHOWS HOW TO DOUBLE YOUR GIG R EVENUES BY SELLING MERCH by Tony van Veen, Disc Makers © 2010 All Rights Reserved. It's a long-established fact: it's easier (and more lucrative) to sell more to your existing customers than to find a new customer. Read any business book on marketing, attend any sales training seminar and there is noshortage of expert advice on how to sell more to your existing customers. We artists have the bad habit of calling our fans, well, fans and forgetting what they rea lly are: our valued customers. And customers have this wonderful habit of buying our stuff. In a career filled with unpaid gigs, gigs for beer money and gigs for gas money, there is one sure way to make sure you walk away from every performance with cash in your pocket. It's called your merch table — and it'swhere you sell whatever you have to sell to your fans, ehh, customers. CDs, posters, stickers, buttons and that most popular and best-selling item of them all, wearable merch. Everyone loves merch, don't they? Your customers love advertising how cool they are because they are wearing your cutting edge brand on their chest (or back or sleeve or head). And for you as an ar tist, what could be better than having someone pay you to advertise your brand? Of all items artists can sell at their gigs, wearable merch such as T-shirts, baseball or trucker caps, hoodies, baby doll shirts, long sleeve T's and skullies, sell bette r than anything else they can sell, even better than CDs. Why? Because your fans feel that your coolne ss rubs off on them when they wear garments with your name on them. They just become a smidge cooler than they were before as soon as they walk out their front door with your T-shirt on. The appealing thing about merch is that you don't need any notoriety to start generating revenues. You don't need to be famous. You don't need to have 12 songs recorded (and re leased on CD). All you need is a desire to perform live, a few gigs booked (where else are you going to find customers?) and a cool design. Once you're performing live, people WILL buy your merch, so long as it's cool. Lame merch is a waste of money. You want your customers to covet the items you have for sale. Ready to take the merch plunge? There are plenty of merch vendors out there, ranging from local silk screen printers to national companies. There are some tricks to buying merch, so here are a few tips to make the buying experience a breeze: How to buy merch wi thout getting burned Choosing your item(s) Who are your fans and what do they wear? You'll defin itely want standard T-shirts, which represents 80% of all merch sold. But feel free to add other garment items. Sometimes offering more unusual items will be more appealing to your fans. The greater the variety of Merch you have to sell, the greater your opportunity togenerate real revenue. What's better than selling someone a T-shirt? Selling them a T-shirt AND a baseball cap! Design If you decide to design your Merch yourself, here's some advice: Keep it simple. That doesn't mean "uncool." It just means that intricate designs don't necessarily translate well to silkscreen printing. You want something eye-catching and memorable. Also keep in mind that silkscreening onto garments is not like printing on paper.The more simple and iconic the design, the easier it will translate to a T-shirt or hat. In addition, more simpledesigns tend to appeal to a larger, more varied audience base. Maximize your potential for Merch sales byoffering a design that will appeal to the most people possible.Choose ink color(s) Choosing ink colors will be based on both your design and the color of the garment you are printing on. Unlike paper printing, it's usually not possible to do full color printing on your merch. Maybe that's why most classicand memorable T-shirts are one or two colors. If you are choosing multiple garment colors, make sure you take the extra time to ensure your ink colors will work well on ALL of the garment colors you choose. You don't want to end up picking a yellow ink and then specifying a yellow shirt. Three things to know when deciding on ink colors 1. For every color you choose, there's a screen that needs to be made. Your printer will charge you for that screen. More colors = more screens = higher costs 2. Your printer will charge you per color. If you print colors on a shirt, it'll cost you more per shirt than a one-color design. 3. And if you want to print a light color ink (say, yellow) on a dark garment (say, black), the printer will often need to first lay down a base of white (known as flashing) before they overprint the yellow. That means a second screen and possibly a fee for a second color printing (1st color white, 2ndcoloryellow). Choose design location(s) On some garments you can print in multiple locations: front, back and sleeves. While t hat can look really cool, I'll give you the same advice we've been giving you. Keep it simple: For every color and location you add, ther e will be an additional cost involved. Check with your printer. Choose garment color(s) While most printers will let you mix garment colors with in the same order (ie: you can select your 48-shirt order in smaller lots of black, white, red and pink shirts), you need to keep the ink colors in mind. Red ink on awhite shirt will work and it may work on the black shirt (though white flashing may be required), but it probably won't work on your pink shirt and definitely not on the red one. Again, simplicity rules. Start with one shirtcolor. Black is a good start, chosen by three quarters of all artists. Choose sizes for each color You can usually split your order into S, M, L or XL for any garment at no additional charge. XXL and larger sizes usually cost more. Check with your printer. These basic tips cover most of the merch buying decis ion points. Once you start contacting merch vendors there are other things to be aware of as well. Most will have design templates and recommended design software programs they'll want you to use. And ther e are many brands of shirts, ranging from cheap no-name brands (stay away from those) to premium (and costly) name brands like Am erican Apparel. Usually a heavyweight 100% cotton shirt will do the trick. How to sell the most Merch Once you've bought merch, you've got to maximize your sales. Fortunately, selling mucho merch is easy Just follow some of these common-sense tips to make the most of every selling opportunity. When you're on stage, mention that you have cool merch for sale at the table in the back. And mention how much — or better said, how affordable it is ("Only $15."). Trust me, if you keep it a secret that you have merch for sale, you won't sell any.Prominently display your Merch at a table in a high traffic area at your gigs Close to the entrance or exit is often good. Or maybe even on the way to the rest rooms. You want to be in an area where lots of potential customers will see it and then display your items attractively. Keep prices reasonable You're an independent artist, not a chart topper (yet) — and be sure to list those prices clearly on or next to the items you're selling. Sell a range of garments Standard tees, baby dolls, long sleeve, hats. The more opti ons you offer, the more customers you'll appeal to. And sell CDs too. Here's where the theory of "it's easier to sell more to existing customers than to find a new customer" becomes real. Make sure that the person working your merch table is a sales person a nd actively tries to encourage customers looking at a CD to also take a look at a T-shirt. Offer bundles If you sell a CD for $12 and a shirt for $15, sell both for $25 (a $2 savings). People love getting stuff for free Offer something free with purchase — a poster, sticker or maybe even a copy of an old CD whose sales have cooled off. Tell your audience that the first 50 people to buy a shirt get a free copy of your last CD. Or, tell them you'll be signing CDs at the table later. Anything to get folks to come to your merch table... Accept credit cards Our friends at CD Baby have an excellent program which allows you to get your very own credit card swiper, which you can take to your gigs and which will help you sell a LOT more Merch www.cdbaby.net/swiper Play out a lot The more gigs you play, the more Merch you'll sell. Just make sure you remind your audience every time that you have Merch to sell. Make sure whoever is selling your merch is also wearing your merch Nothing looks cooler than a roadie in full gear. Go as far as getting "crew" printed on the back for them — it will get them psyched and work hard for you. Give your merch to whoever booked you into the club Always cool when the owner is wearing your stuff the next time you come to perform. Same goes for DJs, program directors and other industry folks you run into. Have friends wearing your merch hang out in front of the venue before the show Nothing like creating a buzz before the show even begi ns and having folks walk around the venue with your gear on. Don't underestimate the power of friends and family Spend the money and give away your merch as gifts for the holidays. They will wear your merch to the mall, soccer practice, in school- you get the idea.You are in for the long haul (aren't you?) Give stuff away in the beginning — it will all come back in the end. Selling merch is as close to a no-brainer as an artist can get, frequently leading to gig revenues more than doubling, merely by having apparel for sale. If you think you can't afford merch, think again. You can't afford not to have merch for sale at your next performance. Tony van Veen is president of Disc Makers and a dru mmer. When he was performing and touring, his merch always outsold his albums by a large margin. He finally got the hint and took a day job at Disc Makers, where, after a 20-year career, he is proud to at last have introduced a full li ne of custom merch services for artists, available at www.discmakers.com/merch HOW TO MAKE MONEY: WYLIE GUSTAFSON ON MERCHANDISING by Scott McCormick, Disc Makers © 2010 All Rights Reserved. One of the reasons we've become successful is there's a market out there that Nashville and the major labelshave forgotten about. That's where the independent labels come in, filling niches that the majors forget about. Despite playing a style of music long forgotten by Nashville, Wylie & the Wild West Show's years of hard work has brought them respectable indie success. They've appeared regularly on Country Music Television, TheNashville Network and the Grand Ole Opry. Their last two releases, Way Out West (voted 1997's "BestIndependent Country Album of the Year" by AFIM) and Total Yodel, were picked up by Rounder Records and are distributed through Mercury/Polygram. However, even with a record deal, major label distribution and constant touring, it's merchandising that puts The Wild West Show over the top into a profitable venture. "It's what makes u s able to tour," says Gustafson. "It's one of those things I didn't see the potential of unt il I got down to business with it—now I think every band should pay attention to that aspect of their business, because it can be the make or break point. We sell CDs, hats, T-shirts, refrigerator magnets, photos, bumper stickers...in the last few years CDs have become the main item, but some people only have a c ouple of bucks to spend so they can buy a bumper sticker or a signed photo. "We also have a Website and have developed a mail order business which we run out of my home. The Internet is nice for our fans because it's a place where they can find our records. Since we're on an independent label and K-mart doesn't carry our product, a lot of people in areas where K-mart is the main shopping place can't find our CDs in stores, but they can go on the Internet, do a search and place an order.We've just refurbished the Website, trying to make it simple and user friendly. We find it's best to put in theleast amount of information that you can so when people download it d oesn't clog up. Gustafson estimates that about 10 percent of the Wild West's merchandising currently comes from onlinesales. That 10 percent has proven fairly simple to achieve, even though the business runs on the honor system and isn't set up to accept credit cards. So far the fee for credit card sales seems prohibitive,"" heexplains. ""Fans just send a check and we mail them out a CD. In the four years or so that we've been doingthis we've never yet had a bad check. If people call and want our CD, I'll send one out even before I get the check and they always send payment—we've had nothing but good experiences. " Tour sales account for the bulk of the band's merchandising income, with, according to Gustafson, about 75 percent of the venues taking a cut of sales that varies between 10 and 30 percent. "Those 30 percent venueshurt us," he says ruefully, "By the time we pay seven dollars for the CD, then another 30 percent to the house out of the 15 dollars we're selling the CD for, it's almost not worth it. But most of the venues that take that much are very advantageous for us to be playing and we're just happy to be there. Since we're not a bigenough band to be able to negotiate, we just have to bite the bullet.The Wild West has found that it pays to offer quality in the items that the band has for sale. "We don't always go for what's cheapest, we go for something that lasts," Gustafson asserts. "It doesn't cost that much more for100% cotton or for good quality 50/50 shirts. We deal with companies who do quality product and are reliable and we stick with people we can count on because in the summer we go through a lot of product. If we sell out and need 100 more shirts, we need to get them as fast as possible. The group hasn't encountered any conflicts with local re tailers about selling at shows. "Rounder has always been behind us, making it easy for us to do. They recognize that it's an opportunity because after a good show people are inspired to buy the product right there," continues Gustafson. "We make a point of telling people after the show that we'll be selling merchandise at the table and that we'll be signing autographs. People love that—it gives them a chance to meet us. We talk to them and find out where they're from and what they liked about the show. I think that's a rea lly important part of touring, meeting the audience and relating to them—making them feel they know you a little bit better by the time you're heading down the road.Direct contact also helps you understand what people like about you. It's something we always strive to do, whether it's through the music or just talking to them, to relate to them and entertain them in a way that's a real good experience for them. Scott McCormick is a production manager at Disc Makers. In business since 1946, Disc Makers is the nation’s leading independent media manufacturer, offering a wide variety of products and services, including state-of-the-art automated printers and duplicating systems as well as complete CD and DVD replication and custom packaging for independent musicians, filmmakers and businesses. www.discmakers.com Fo r tour dates, music clips and more info on Wylie & The Wild West Show, check out thei r website at www.wylieww.com THE “T” IN TOUR MERCHANDISE STANDS FOR T-SHIRT by Gigi Swanson, M.G. Incentives © 2010 All Rights Reserved. When you think of tour merchandise you might envision major label artists playing large arenas and selling everything from tie-dye t-shirts, bumper stickers, embroidered baseball caps and in the case of the Rolling Stone’s famed Voodoo Lounge tour—a custom motorcycle. But even if you are an independent artist you can run y our business like the big acts by utilizing an added revenue stream source—custom merchandise. As an arti st/performer you are selling an experience and fans will buy a souvenir of that experience in the form of a CD, clothing, buttons, posters etc. As music fans we have all come home with something more tangible than a ticket stub and it’s usually something we can wear.The custom wearables market has plenty to choose from, but let’s focu s on the long held wardrobe staple - the T-shirt. What better promotion is there than a walking billboard to advertise who you are and what you do. It’s generally inexpensive to produce and if made with good-quality materials it can last a very long time. But better than that, there is a healthy margin of profit in the sales of wearables, which can at least offset or even cover your travel expenses. You can package CDs with a T-shirt for an “added value” sales in centive such as offering them “half off” with a CD purchase. You can use them as door prizes or as a thank you for the sound guy or the waitress at the clubs you play. The same applies for coffeehouse, chur ch and house concert gigs. Even when you play for free you can earn money and build goodwill and name recognition. Don’t think selling T-shirts is for more visible and established acts. If you are playing out and selling CDs you can sell shirts. But before you jump in, here are a few pointers to make your promotional dollars work for you.The most popular T-shirt is the basic crew neck. Not only is it low in cost, it’s a style people are familiar with. As far as color options are concerned, the sky is the limit with the least expensive being the standard white,then the heathers/naturals and then the darker colors. Besides the basic tee, you can branch out with differentstyles such as ‘70s retro ringer tees, baseball ragl an tees and new styles made for women such as scoop necks, baby-doll tees and the new layered looks. I prefer 100% cotton heavyweight Tees in the 6.0 oz range for lo ng term durability. Brands such as Gildan, Hanes and Jerzees have been common favorites for years. Heavier fabric is knitted tighter which enables a better screen print, especially when using detail and four color process. Plus they are typically cut larger and hold up better with multiple washings. But you must think of the tastes of the end user and the image you are trying to promote. That’s where fashion often comes in. Knowing your audience is key. For example, one of my Rap group clients goes for the extra large size heavier weight tees, whereas a rock group client sells mostly light weight, smaller tight fitti ng “alternative” tees. They cost more but the look they achieve supports their brand image. Check out the on-line stores of different recording artists to get a sense of what fans are buying and to see what might work with your audience. What makes your T-shirt sell isn’t the style, its size or color but its logo design. Logo art needs to be readable and convey the image you want to promote, but keep in mind it should be something a person will want to wear. When it comes to printing logos, you can opt for gel, sugar-glitter, suede, reflective, metallic, glow in the dark and ink in one color and up to 12 colors. Screen printing using one color ink in one position on the shirt is the most economical. You have to pay for an art screen with each color you use as well as for any extra handling of the shirt. That includes flipping it over to print on a different side. Some artwork may require added film screens to rep licate more complicated designs. So keep it simple if you can. If you have to go with a certain “look” make sure you get a thorough quote before you proceed. Your logo art needs to be in a graphic format generally saved as an eps file. Many imprinters charge an hourly rate to prepare art that isn’t standard or isn’t vector art for more complicated designs. Most printers carry standard Pantone Colors but also offer color-matching inks for an added charge. How many T shirts should you buy? The real price breakpoints in the industry start at 144 units, but that amount isn’t practical for everyone. You can find reasonabl e shirts at the 72-unit range or even less if you plan it right. Funds still short? I know of some bands that purchased co-op shirts with another band or with a sponsor such as a local nightclub. They basically sold space on the shirt to share or subsidize the cost and helped promote their partners at the same time. If you can get your shirts for under $5 and sell them in the $10-15 range you will see a quick return on your investment. When I taught music business classes, I used to illustrate the power of selling tour merchandise to my students this way: A typical major label recording artist might make a little over $1 off the sale of a CD .He would have to sell five CDs or more to make the same margin off the sale of one basic T-shirt. Tha t’s why some of the major labels have affiliated merchandise companies as an added revenue stream for themselves.Tour or gig merchandise can be incorporated in your overall marketing plan. It fits right in with preparing press kits, driving traffic to your website, getting people in the door and selling CDs. The right product will promoteyou long after the gig. Keep an eye out for future articles on more promotional products. Trucker hats anyone? Gigi Swanson started an entertainment division three years ago when she left her teaching and administrative duties as director of the music business program at McNally Smith Co llege of Music located in t he Twin Cities. She commutes between the company’s Minneapolis and St. Petersburg office s and recently opened a satellite office in Nashville. M.G. Incentives, Inc., a company that specializes in promotional products. The company has worked with advertising firms and corporations for over 15 years. WHY SHOULD YOU ORDER SHIRTS TO SELL AT YOUR EVENT? by Django Bohren, Seatthole Shirts © 2010 All Rights Reserved. There are a variety of reasons you might need T-shirts, pins with your logo on them or bumper stickers. This article will focus on why you need to sell this stuff if you're a band. According to Rolling Stone magazine, Britney Spears was expected to make as much as $125 ,000.00 per concert in merch sales alone. Of that, she'd keep up to $60,000.00. That's sixty thousand dollars for Britney per night. Do the math and you'll see that over the course of a big o l' tour, she'd make a lot of money. Billboard.com reports that Ozzy Osbourne has raked in more than $50 million in merch sales. Of course, most bands aren't at that point yet. But if you're playing decent-sized venues, you've got cool shirts and your band has some sort of following, there's no reason you can't make WAY more in merch sales than you do at the door. Selling CDs is fine (and a smart thing to do), but why not offer your more affluent fans something extra? T-shirts, pullover hoodies, girlie shirts, panties, all with your logo on them will give people a chance to havesomething they like and support you at the same time. Don't worry about sounding like you're selling out by hyping your merch onstage. It doesn't show that you're money hungry, just that you won't be begging for gas money to get to the next show. And who knows? By the time you've sold out of shir ts at a few concerts, you might just become as big as Britney Spears. Django Bohren is the owner of Seatthole Shirts. Django has b een in the design and printing business for nearly 10 years. He's got many projects under his belt and his fingers in many pies, but Seatthole is his primary source of excitement. "I have two strange fetishes," says Django, "The office supply aisle in Target and making custom t shirts, one-inch buttons and vinyl bumper stickers for anyone and everyone who needs them. All of my other fetishes are pretty standard."www.seatthole.comSELL YOURSELF AT GIGS (NOB ODY'S GONNA DO IT FOR YA) by Tim Ziegler, LostRock.com © 2010 All Rights Reserved. Once you have something to sell - a CD, T-shirts, upcoming gigs - you'll get a lot more bang if you sell yourself. It's not hard, it's just basic self-promotion. Selling yourself at gigs entails a few basic principles. Tell them what you've got You might feel cheesy doing it, but announce what you have for sale from the stage. Wait until the audience digs a song, then say what you have for sale in any way that doesn't make you not feel like a pro stitute. Be sure to announce upcoming gigs too. Repeat this info a couple times during the performance and make surethey know where your merch is set up. Make sure to announce your website address too. The display kit You'll need to display your wares if they're physi cal and you'll need to make the display beforehand (or at least have the materials - tape, sharpie, paper etc. with you). If you have, for example, CDs, T-shirts and bumper stickers for sale, you can either make an elaborate stand- up cardboard display or just make a sign for each item saying what it is and how much it costs. We playedwith the San Marcos, TX band Richardson Seeds the other night and they just taped their T-shirt and CD tothe club wall along with a sign that had prices. You can also just lay it all out all your merch on a table in the club. If you have a T-shirt or poster, put it up some where the audience can see it while you're playing. Get helpIt's important that somebody does the selling during breaks and after the show. Help comes in the form of one single person who is willing to sit at the merch display and sell stuff. It helps if that person can speak the native language and is not a felon. Sex sells, of course, so hot girlfriends and boyfriends at the merch booth will increase sales. If you can get friends to do this for free, all the better. If not, try giving somebody a cut (10percent?) of everything they sell. Price well Finally, it's important to set your prices well. My band's theory is that the more of your band stuff you get out in circulation, the more you'll sell in the long run - so we sell our CDs and T-shirts for an affordable $8-$10 and give away our bumper stickers for free. There are many theories of pricing. Keep in mind that the more merch you sell, the more people will get to know about you and possibly come out to see your live shows. LostRock.com is a music website with promotional tips for in dependent artists. The idea behind Lostrock.com is simple: Market your own damn music. Created by Austin resident Tim Ziegler, the site tells you how to promote your band, get gigs, become a rock star and achieve nirvana in this lifetime.www.lostrock.com LIVE CONCERT RECORDI NGS ON USB STICKS by Ryan Jarrett, blog.ryanajarrett.com © 2010 All Rights Reserved. Recently, I blogged about a new company planning to sell reco rdings of concerts on USB sticks as you leave the venue. Since then I’ve actually found articles proposing a similar idea that dates back to 2004, although I believe it was a slow starter then. Nowadays, USB sticks have surpassed floppy disks and even CDs as the most popular way to physically move data around, plus they have a much higher capacity than they used toand are more physically robust.This is an excellent way of making money out of ever y live recording an artist makes — usually only one live recording is sold on through CDs/DVDs — and I think people would love to have a recording of the gig that they were actually at, rather than buy a recording through a record store of one random concert. The USBkeys could be customized with artwork from the curr ent tour or contain video footage and photos from the show, which in-turn would make them more collectible. Not only does this let artists and promoters monetizetheir events more effectively, it’s also one in the eye for the commercial bootleggers. If the concert recording is available to buy legally then this weakens the appeal and strength of the bootleggers product, an illegal copy,which is probably going to be of poorer quality than the official produ ct. I think that the immediate delivery of a recorded even t, whether it’s a rock concert, an opera, a sporting even, a play or a West End musical, is likely to becom e more and more prominent as technology becomes more efficient and the costs come down. I can easily imagine being able to take home a recording of a Formula Onerace or a football match. In theme parks, instead of having your picture taken as your roller coaster carriagetips over the brow of the biggest hill on the track, on board cameras will record you for the whole ride, as wellas external cameras recording the carriage’s progress. As always, Digital Rights Management (DRM) plays a par t. I’ve found no definitive answer to whether or not these recordings are sold with DRM or not, but I suspect the label/artist will decide in each case. It has been reported that Canadian group, The Barenaked Ladies, are selling their concerts without DRM on USB sticks,along with albums in the same format. All live recordings are also available for purchase online and without DRM. Ryan Jarrett is an IT consultant, specializing in network and desktop design/su pport and Microsoft Office/VBA scripting. He has 8 years commercial experience and has been freelance since 2003. For more information contact Ryan at [email protected] blog.ryanajarrett.com17. GETTING MORE PEOPLE TO YOUR SHOWS HOW CAN I GET PEOPLE TO MY GIG? by George Howard, Artists House © 2010 All Rights Reserved. You must first pick the right gig. Too often artists do everything they can to book a gig at a club, only to find themselves playing to two men and a dog on a Monday night. This is counterproductive. Chances are you willnot be invited back to this club to play a second time. So it makes sense to build up a following in a more organic manner. Look to alternative venues — house parties, college gigs, churches, even open-mics — to not on ly refine your live show, but to begin building a fan base. To this end, it's essential that you collect info rmation (email and snail mail) from those who attend your shows. It's often not enough to simply pass around a mailing list. You may want to consider burning a three- song CD to give out to people only if they sign your ma iling list. In this way, you're not only giving them an incentive to sign your mailing list, but more importantly , you're giving them a tangible souvenir of your gig (encourage them to burn copies for their friends). Once you've played enough of these non-traditional (ie: non club) gigs and have developed a decent mailing list, you can begin thinking about booking a "professional" gig - that is, a gig in a club. Once you book this gig, your work really begins. Y ou have to not only notify all of those people whose names and e-mails you've collected about the upcoming gig, but you must also try to maximize the gig in other ways. It's imperative, for instance, that you notify the local media (press and radio) of your upcoming gig and try and get whatever coverage for the gig you can. This may very well be just a listing in the paper or anannouncement on the college radio station, but in addition to being a reminder to those who know your music, it also serves the purpose of putting your (or your band' s) name in front of those in the media. Doing this repeatedly will cause them to take notice and eventually lead to more substantive press and radio coverage. Of course, you should use the new tools as well. MySpace, Facebook and other social networking sites are effective ways to alert people of your upcoming gigs. My only caution regarding these new tools is that you must do the core things (build a following organically, have great songs etc.) before you will see any sust ained long-term benefit from tools like MySpace. Once you've successfully played a few club gigs, you have to begin timing your gigs. Too often bands over- play their home market. You really shouldn't play your home market (unless you're a GB band, of course) more than once a month (I'd advise once every three months or so). You have to make every gig an event. Ifyou're playing every weekend, it can't be too eventful. What should you be doing during the time betweenhome-town gigs? Get out and play in other cities of course. Repeat what you've done in your home town in the cities within driving distance to you. One way to accelerate this is to find an artist (or band) who is in asimilar career place and musical style as you are and trade opening slots. That is, if you can draw 150 people in your home town and there's an artist a town over who is stylistically similar to you and can also draw 150 people, you go open for him in his town and let him open for you in your home town. In this way you canspeed the process of developing a following in nearby to wns. Keep doing this, in ever expanding circles away from your home base and pretty soon you'll be touring.I'll leave you with the one fail-safe way to get more people to your gig: make an emotional connection with them when you play. If you do this and follow the other guidelines I've listed above, you'll build a real andcommitted fan base. Former president of the storied Rykodisc label and founder of Slow River Records, George Howard is an accomplished musician, producer, executive and educator . He currently holds posts as Assist ant Professor of Management at Loyola University, Instructor and lecturer at Berklee College of Music’s BerkleeMusic program and editor and frequent contributor to Artists House. He is the author of Getting Signe d! An Insider's Guide to the Record Industry and Publishing 101, both aimed at educating aspiring artists in how to succeed in a music industry game that at times seems rigged against them. www.artistshousemusic.org TIPS TO NURTURE YOUR FANS by Jeri Goldstein, Performingbiz.com © 2010 All Rights Reserved. Building your audience and growing your fan base is your golden ring to success. None of the industry executives at labels, management firms, booking agencies, the media or retail can ignore a demanding, loyal fan base. Job number one, in that case, is to nurture your audience. It is not enough to simply have someone come to one show . You want them to sign on for the long haul. You plan to be around for a while. You want the fans to grow with you. In order for that to happen, you need to care about them by providing them with something more than just the show. Here are a few tips to get your fans involved, excited and committed to the act so that they show up at your gigs often and they bring others to shows with them. Mailing list benefits Having a mailing list with both snail mail address and e-mail address is a must if you want to target yourmarketing directly to those who have indicated their interest in your music. Don't just use the list as a name- gathering device though, use it to help your fans feel like they are special and that they are participating insomething special. Create Individual sign-up cards to be placed on seats, at tables or handed out at the door. Ask that they be returned before intermission. Do a drawing from the cards for someone to win a CD, T-shirt or other logo-clad item of the groups. You will get more sign-ups and the anticipation of winning something is infectious. Do thisat each gig and it becomes something to which your fans will look forward. Be informative in your mailings. Share newsy items about the industry, something that you are involved with or concerned about as well as group information, upcoming performance dates and new merchandise items. Be creative with your information. Perhaps share t he words to a new song to build excitement about the material going on the next CD. Offer special mailing list only sales or discounts. Again, the fans feel special when they are on the mailing list and receive these special considerations. It drives more people to sign up when you mention this from the stage. Be accessible to the audience during the intermission and after the show Invite people to the merchandise table from the stage. Let them know you'll be at the merchandise table and would love to meet them. Don't be shy about promoting the merchandise table. Eventhough the merchandise table is placed in a conspicuous spot, a direct invitation builds crowds clambering for your stuff during intermission. Stand near the merchandise table, sign autographs and meet the fans. When you make it known that you will be available to "meet and greet," the fans feel closer to you. Don't run off to the dressing room and then out the back door.Meet the winner after the show. Make a special announcem ent that you would like to personally greet the winner of the drawing and sign the prize. This will get more people signing those mailing list cards. Establish opportunities for fans to get free tickets to your shows. Bring a Guest. If a fan brings 4 or 6 other guests to a single show, they can get a pair of free tickets to either that show or the next. This works especially well when you produce your own shows and have control over the ticket sales. Free Ticket Opportunities Free ticket opportunities work nicely when promoted through the mailing list and are offered as a special for mailing list members only. Create a five or six song CD and offer it for low-cost sale If you are waiting for the record deal but have fans asking for your music, make something available tobuild the buzz and whet their appetites. Charge only $5.00 and make back your cost quickly saving the rest of the money for other marketing projects or the full recording. Send your mailing list an advanced sample MP3 of new songs you are working on during your recording session Again, this keeps them in the loop and makes them feel like they are part of the process. These suggestions will get your juices flowing and hopef ully spark additional creative ideas. The main point is to let your fans know how much you appreciate their support. As you develop a long-lasting career, fan loyalty grows when they feel they have a part in your history. Challenge yourself to keep the fans in mind when you come up with new promotions and new tours. Consider your fans at each turn and they will remain loyal, enthusiastic and eager to help you expand your audience. Jeri Goldstein is the author of, How To Be Your Own Bo oking Agent The Musician's & Performing Artist's Guide To Successful Touring 2nd Edition UPDATED. She had been an agent and artist's manager for 20 years. Currently she consults with artists, agents and managers through her consultation program Manage r-In-A-Box and presents The Performing Biz, seminars and workshops at conferences, universities, for arts councils and to organizations. Her book, CD-ROM and information about her other programs are available at are ava ilable at www.Performingbiz.com or phone (434) 591-1335 or e-mail Jeri at [email protected] DEVELOPING A HOME BASE OF SUPPO RT TO BUILD NATIONAL SUCCESS by Jeri Goldstein, Performingbiz.com © 2010 All Rights Reserved. There is great advantage to concentrating the majority of your development in your hometown as you plan forfuture tours to new territories. I have always been a believer in starting your career in a central place, like your hometown or a town nearby that would be conduciv e to your career development. Then, expand outward systematically from that central point. I picture a stone dropped into a pool of water—ripples cascade outwardfrom the center where the stone landed. This approach hel ps you build your fan bas e and business skills in a step-by-step strategic manner.Let's examine some of the benefits of developing a home base of support. Build performance confidence Your home base provides a supportive environment to test new songs and performance styles. Hometownfans want you to succeed and will be encouraging of each new effort. Most artists will be quick to say, "There is nothing like playing a CD release concert for their hometown fans." As younetwork with other artists locally, open mic nights and songwriter's groups offer avenues for creative growth,testing and critique. Your first fans grow out of those creative groups turning out at upcoming gigs to fatten theaudience. These fans are also among the first to promote you to their fans as your accomplishments grow. Build a local reputation Creating that, all-important "buzz," needs to begin somewhere. Some of the most fertile ground to begin that process is in your home base. As performance confidence grows and you being to play more often, a solid foundation of fans forms. When you work within a concentrated area such as your hometown, the word can spread quickly about an a ct that is unique and has something new and exciting to say. A loyal audien ce begins to grow that might be counted on to attend your shows consistently. Once a solid followi ng is built in the hometown, it is possible to expect some of those fans to follow you to the nearby towns when you begin to expand your touring. A local reputation has a tendency to filter out beyond the home base as fans share their excitement about newfound acts. I can cite many examples of major recording artists touring today that started by developing a loyal home base of support. One of the closest examples to me living here in Charlottesville, VA is the Dave Matthews Band. He grew a solid home base foundation before moving into other parts of the southeast region. We allwatched as his solo gigs at the local bar moved to a regular Tuesday night gig at the local club with his band. He expanded strategically around Charlottesville and throughout the southeast region -the rest is history! He remains committed to Charlottesville today as his entire organization still lives and operates out ofCharlottesville. They consistently pump funds back into this community to support local businesses andcharities. All of this grew out of their original development of Charlottesville as their home base. Thecommunity offered their loyalty as fans helped the band gain a local then regional then a national reputation and now the DMB support the community in return. Keep costs down Touring is expensive and touring long distances can whither an already slim budget. When concentrating on home base performance dates, you're not spending unne cessary money on hotel, meals and gas since you are sleeping at home. When guarantees are low and sometimes nonexistent, additiona l travel costs can deplete your motivation as well as your budget. HOT TIP: As you play more home base performances, consider creating a savings account for future tour dates out of the area. Take a percentage of each home date profit and place it in the savings account. When the time comes to launch a regional tour, you'll have funds to invest. Daily routines remain familiar You can comfortably go about your business in familiar surroundings when most of your gigs are home based. The interruption to your daily routines is only for the brief time when you pack up and go to play the gig ratherthan days of preparation and being on the road for just a short tour. You can continue working on larger plans and projects within your normal, supportive environment.Develop business skills Just as you seek to practice your performance ski lls in a supportive environment, you need the opportunity to practice your business skills and become proficien t. Working within the home base allows you such golden opportunities. Here you may work on your booking, phone techniques, build your confidence as you negotiate with local promoters and draw upon your network of musi cians for gig information. There is less at stake in these circumstances rather than those of intense road touring situations. You can ease your way into better venues as you develop the various aspects of your performance career and business savvy. While home based you can also begin to create a network of potential financial supporters or sponsors. Here you are constantly in touch with local businesses and organizations that are becoming familiar with your act. You can take the first steps to contacting some of them with proposals. Once you have success on the homefront, it will be much easier to attempt a proposal to a regional, state wide or national business or organization. Develop marketing know-how What better way to become familiar with the marketing game than to practice in your home base. Here youare already aware of the various print media outlets and probably know each of the radio stations intimately. You won't have to spend much time researching in order to begin any marketing campaigns. What isunfamiliar to you, can probably be gleaned from one of your musician friends in your now growing network. Developing a marketing template here at the home base should be relatively comfortable and easy. Once youhave a working system for the home base, it is easily app lied to distant touring markets with a bit of research thrown in for each new market. If you apply the concent ric circle expansion plan, you can use your home base media contacts to begin networking with those markets near by. It is very likely that the features editor at your daily paper knows the name of the features editor two towns up the road. Similarly, your hometown radio and television contacts can toss you some names to help get your foot in the door at nearby towns. Once you've established working relationships with the hometown media, their network can be open to you for your expansion. Use these contacts that you've worked so hard to develop and who have become supportive of your efforts. Now, I'd like to help you determine just how much of a home base you have already developed and what you might do to build upon some of your successes. First, it is important to take a realistic look at your current position within your community or wherever you have decided to call your home base. I've provided a questionnaire below to help you do just that. Once you complete the questionnaire, you will have a concrete assessment of your current situation and be able toclearly see the next steps necessary to move toward your goals. I think it would be helpful to use a similarform every year, revising it to start at your current position at that time and then increase the venue capacities and touring radius as your career develops. This will keep you on track in a very systematic manner enabling you to achieve success at each level. This systemat ic approach will ensure that you move at a manageable pace, rather than skipping to levels that might prove daunting and for which you are unprepared. Keep in mind that "overnight success" is a long and steady process of reaching one goal at a time that often takes manyyears. We don't hear about all the hard work of a successful group until an historical retrospective is produced for MTV, VH1 or some similar media outlet. Take some time to complete the questionnaire. Be honest with yourself even when your answers portray a vision of your career that you wish were more immediately successful. The sooner you begin working with a realistic picture, the sooner you can take the necessary next steps to im prove upon your situation. Once you've completed the questionnaire, alone or with other members of your group, share the outcome anduse it as a catalyst to generate suggestions for new strategies within the group.Assess Your Home Base of Support Have you built a local fan base? Yes ______ No _____ Somewhat ______ List three things that you can do or have done, to accomplish this. 1. ________________________________________ 2. ________________________________________3. ________________________________________ Do you have local media recognition? Yes ______ No _____ Somewhat ______ List three notable media events that support your media recognition. 1. __________________ ______________________ 2. ________________________________________ 3. ________________________________________ Do you have a network of other local performers with whom you may communicate? Yes ______ No _____ Somewhat ______ List three other performer resources that you regularly communicate with outside of your performing group or ensemble. 1. ________________________________________ 2. ________________________________________ 3. ________________________________________ Do you have a steady ongoing loca l performance venue or venues? Yes _____ No _____How many times per year? ______How many venues ____? Can you sell out the smaller performance venues? 50-150 seats Yes __ No__ Sometimes __ Almost __ What type of venue are you playing? _______________________________ What is your average ticket price? _______What time of day are your shows? _________________________________ How much merchandise do you sell in dollars per night? ______ Can you sell out a medium size performance space in town of 250-500? Yes __ No__ Sometimes __ Almost __ What type of venue are you playing? _______________________________ What is your average ticket price? ______What time of day are your shows? _________________________________How much merchandise do you sell in dollars per night? ______ Can you sell out one of the larger performance spaces in town of 500+? Yes __ No__ Sometimes __ Almost __What size? ______ What type of venue are you playing? _______________________________ What is your average ticket price? _________ What time of day are your shows? _________________________________ How much merchandise do you sell in dollars per night? _______Are you called upon for local community events?Yes ______ No _____ Somewhat ______ Often _____ Not often enough ____ List three such community events. 1. ________________________________________ 2. ________________________________________ 3. ________________________________________ Can you estimate the distance to which your base of suppo rt extends? 50 miles, the entir e county, the three neighboring counties, (beyond that it becomes regional). _________________________________________ How many people are on your mailing list? _______How many of them are from your home base? ________ As you review your answers, there are a number of issues that may be of interest to consider. For instance, at each increase in venue capacity, notice whether the type of venue has changed and what kind of impact that change has had on your ticket price, the time of show and how many are buying tickets. As you grow into a larger venue, make sure your audience is following you to that venue. If you notice a drop off in attendance, review the venue's location, whether the ticket price has gotten out of hand or if the start time is inconvenientfor your particular audience. These issues can be addressed and altered if necessary once you understand what is driving the change in audience response. With each growth spurt, promotional requirements ma y need adjustment to reach a larger audience. Are you keeping pace with those needs? Has your media outreach extended to accommodate the larger venue capacity? You may need to add some paid advertising to your marketing plans whereas the smaller venues required a less extensive and less expensive media campaign relying on free promotion posters, press releases, calendar listings and some radio interviews. You may also need to create some incentives such as aticket giveaway and a CD giveaway on local radio shows or MP3 download giveaway linked in an e-mailcampaign... Before deciding to move to a larger venue, have you tried to increase your appearances in the smaller venue? Perhaps a monthly gig at the smaller venue would help bu ild your audience and be a less risky test of your fan base. Perhaps you are playing too often and moving to a larger venue while reducing the number of plays in town may be the next best move to increase demand and expand your fan base.Have you explored alternative venue opportunities to hel p increase your local reputation and build your fan base? If you find yourself struggling to maintain a st eady audience level, even at the smaller venue, you may need to try some alternative venues and get out of t he one you currently play. By stepping outside the venue you consider to be the right one for you, you may discover new fans for your act, fans that may follow you to other venues. Check the city papers, chambers of commerc e, local universities, fraternities, sororities, downtown foundations, local organizations and charities for events taking place in the near future where you may be the paid entertainment. It may be necessary to us e these alternative venue si tuations to shore up your local support and move to the next level within your home base. Have you networked with some of the other local musicians to create some co-bill concerts or asked to be an opener to help transition to a larger venue with less risk of low sales? By joining together with one, two ormore local artists to create a larger event, you expand your audience by tapping into the other act's fan base. They, in turn tap into yours and everyone benefits from the joint effort. Make a yearly assessment part of your growth proc ess. It will help you make calculated and innovative decisions to spark future successes as you develop your local and regional touring strategies. Happy assessing! Jeri Goldstein is the author of, How To Be Your Own Bo oking Agent The Musician's & Performing Artist's Guide To Successful Touring 2nd Edition UPDATED. She had been an agent and artist's manager for 20 years. Currently she consults with artists, agents and managers through her consultation program Manage r-In-A-Box and presents The Performing Biz, seminars and workshops at conferences, universities, for arts councils and to organizations. Her book, CD-ROM and information about her other programs are available at are ava ilable at www.Performingbiz.com or phone (434) 591-1335 or e-mail Jeri at [email protected] BAND TOURING USING GIG SWAPPING by James Blakely, GoListenLive.net © 2010 All Rights Reserved. In the beginning bands usually play local venues. This is great exposure to build a local fan base, but there comes a point in a band's life when it is time to move beyond playing the local club. Your music needs to be heard by people outside of your city. Many bands are hesitant to make this step, but it is very important to play outside your area. Exposing your sound to other areas builds your reputation. The problems start with money. Trave ling is expensive. Housing and feeding all of your band members looks to be enormous, but it can be a very good investment. One of the best ways to get gigs in other cities is to gig swap. Gig swapping in the most elementary sense is to contact a band in another city and find venues that they play and give them information about venues in your city. Now you can get more involved and actua lly let a band open for you at a local club and then open for them at their club. Some even get the gigs for each other. Anyway you do it, gig swapping will help you getthat exposure in different cities. First you need to contact a band in another city. I w ould find another music scene near you that you haven't played. You can do a search online for bands in that city. I would try and find a band that plays your genre or styl e of music, since they will have the in on bars and clubs that you will want to play. Plus you want to ex pose their fans to your music. Part of doing a swap is giving your fans exposure to their band vice-versa. You will be helping to promote the show in your city for them in exchange for the same. That way you won't be playing an empty hall.Once you find a band that looks suitable shoot them an e-mail. I would make sure to choose a band that has a good fan base, but has not started playing in your city. I would also not just pick one. Try and find 5 or more, if all five agree then you could fill a whole week of gigs and make the money back from traveling. You will be surprised how open to the idea local bands will be. You can even link to this article to explain what you are talking about. Whatever you decide to say I would make it short. It is better to open a dialogue then togiving orders. Just make sure that both parties understand what you are agreeing to. If you are going to help promote, let them open or get the gig, make sure everyone under stands the deal. That way you won't have any problems and you can make a good business relationship. James Blakely was the creator of the online music community GoListenLive.net CO-OPERATIVE AUDIE NCE SWAPS TO BREAK INTO NEW MARKETS by Jeri Goldstein, Performingbiz.com © 2010 All Rights Reserved. Acts looking to expand their audience beyond their k nown markets need to be open to new options. One such idea is swapping audiences with another musician or band. The idea is perfectly suited to acts that have astrong following in their own market. Here's how it works. First, find an artist in a new market where you would like to expand, whose work you like and with whom you think you would be compatible. Second, make sure the artist sele cted has a strong following in the desired market. You are attempting to break a new market and it only makes sense to do this with an artist who can sell tickets in that market. In order for this to work, it would be optimal if the selected artist is interested in expanding into your market. Suggest to the artist that you will book and promote at least one gig or perhapseven a number of gigs in your market where you have a strong fan base. You (or your team) will negotiate the dates, do all the press and generally do whatever it takes or whatever you normally do to promote your gigs to their fullest. The other group will provide you with t heir press materials and will co-bill the show. All the publicity will include the visiting group and you will even try to arrange print and radio interviews for the group. Negotiate a percentage or minimal guarantee plus some percentage for the act. Make sure they understand that you will take a larger fee and greater percentage since this is your audience and you are doing all the work to introduce the group in your market. In return you expect the group to do the same for you in their own market introducing you to their audience. There are so many benefits to expanding your audience in this manner. When entering a new market where you have no following, you have little leverage to negotiate decent fees. This alone can be a major budgetdrain when opening new markets. By swapping audiences you enter a new market with some mo mentum provided by the other group. There is a likelihood of making more money; selling more merchandise and gaining a larger number of mailing list names to contact for return dates. Since the hometown group is doing all the legwork, you will have the advantage of hitting a ll the possible media outlets in the area as well as performing in the appropriate venue(s). All of this spells success rather than chance. How often have tours tountested markets resulted in a huge investment expense and small turnouts? Audience swapping can reducethe risks while creating a favorable collaborative effort where everyone gains. You have a chance to learn a new market and build a reputation with in it while expending little of your own energy. Save your hard work for the exchange tour when you host the other group.When considering this method of audience expansion, it is very important to select a group with similar work ethics as your own. You want to be sure they will ex tend you every professional courtesy in their market, as you would do for them in yours. It is certainly no benefit to you if they are lax in their efforts to promote you in their market. Therefore I suggest asking the following questions to be sure the group you are considering is the right one for your audience expansion project. How often do they perform in their home area? You want to be sure they play often enough to have built a loyal following. When was their last performance? You don't want to schedule a performance on the heels of one just played. Make sure there is enough time between their last gig so the demand is there to see the group again. How many paying people do they draw to a concert? Obviously, you want to have a group whose income can support a co-bill. Do they ever perform at events that are free to the public where a large crowd may gather? For example, some cities produce free concerts in the parks or downtown malls. This let's you know the expanse of their popularity in the market. What size venues do they normally play? This will give you some idea of whether the tour to their area is financially feasible. Splitting fees at 50 seat venues may hardly be worth the trip whereas co-billing in a 300 or larger seat venue may accomplish youraudience expansion goals nicely. What is the size of their mailing list in their area and the nearby surrounding areas? If they have a small mailing list, then again the tour may not be worth the effort. Select an artist whose fan base is substantial. Who does the booking? This is just good to know so you have a point person. If the group has an agent, there may be somecommission to pay. Who does the publicity? You will want to connect with the publicity person to get your materials to them as well as arrange any interviews. You may also offer suggestions on how best to promote your group. Do they get coverage from local press and radio? Have they ever had a feature article written about them in local papers? This relates to question #1 as well. If the group has recently been covered for gig s, the media may be reluctant to offer more space for this act. However, with you co-billing, your act may receive the lion's sh are of the publicity in order to breathe new life to the hometown band. Be careful about this one, it could work for you or against you. Make sure they hadn't recently had a feature article in the main paper. The above questions all relate to you as the host band as well. Choose dates for your concerts after considering all of the above. You want to gain the most from all of your efforts in both markets.I've seen many acts use this method to gain new audiences. When all of the factors are well suited, audience swapping can boost your career in a new market more smoothly than trying to open the market on your own.The real key to holding the newly-won audience is to follow up with return tour dates. Good luck! Jeri Goldstein is the author of, How To Be Your Own Bo oking Agent The Musician's & Performing Artist's Guide To Successful Touring 2nd Edition UPDATED. She had been an agent and artist's m anager for 20 years. Currently she consults with artists, agents and managers through her consultation program Manage r-In-A-Box and presents The Performing Biz, seminars and workshops at conferences, universities, for arts councils and to organizations. Her book, CD-ROM and information about her other programs are available at are ava ilable at www.Performingbiz.com or phone (434) 591-1335 or e-mail Jeri at [email protected] THREE METHODS TO GETTING OPENERS AND SUPPORT ACT SLOTS by Jeri Goldstein, Performingbiz.com © 2010 All Rights Reserved. One method to expand your audience is to serve as a s upport act for a known main act on multiple tour dates or to open a show for a larger act. These are choice slots and many acts are vying for them. Sometimes you can get lucky and be in the right place at the right time. If you are more interested in process rather thanchance, here are a few suggestions on how to go about landing some of these choice performance slots. Whether you are attempting to open a single date or be considered as the supporting act for a full tour, there are three methods to follow that may help you land those slots. Contact the acts you have selected as logical, compatible choices. In some instances, you may know a compatible band personally and are friends with some of the members. This would be the most direct route to getting on a tour or single date. If you were unfamiliar with anyone in the act, the next step would be to contact the act's management. Emerging acts, still building their own following, but much more established than you, often have a hot list of new acts on the scene from which they select potential support or opening acts. Get on that hot list. First youneed to contact the act's management. Check on their tour schedule for an upcoming or recently played date.If they are playing locally, check with the venue, if not look on Musi-cal.com. Once you reach management, tell them you are intere sted in being considered for an opener or support act. Let them know you are very familiar with the act and why you think you would be a good addition to the show. Offer to send your current press materials and latest recording and some support materials detailing youractivities. Be realistic, you may be one of many acts attempting to be considered, make sure you represent yourself well. This process may take some time as you develop a relationship with the a ct's management. Be persistent. Keep in touch with your contact. Provide them with updates as your career and tours take shape. The payoff may not be immediate, but it may be well worth a wait if you have selected the right act.Contact the booking agency Acts may not have management but may have a booking agent. They would be the next contact. Approach the agent in a similar manner as you would management. As you build a relationship with the agency, this may also serve as your entrée if you have been looking for an agent for your act. As you consider logical, compatible acts for which y ou may open, it is likely that those agency's rosters would also be logical choices to represent your act.Contact the venue booking person As you determine where you would like to play, specific venues in certain markets become important. As you identify these venues, you may find it impossible to get a date if you haven't pr eviously played the venue. Asking for an opening act slot may again be a way of gaining entrance. Find out which acts have been booked for upcoming shows from the venue booking contact. If you can identify a few of the acts mentioned as ones that might be compatible with your act, suggest that to the bookerand ask to be considered as the opening act. Send your pr omotional material. Often, they will have to check with the acts management or agency. You can ask for the act's management contact in case you need to establish contact and begin your process with the management or agent as suggested above. I would first let the venue booker make the initial contact. Some venues have the ability to arrange opener s for certain acts and sometimes they receive strict instructions from the act's agent regarding the act's policy on openers. If you begin to let the venues know about your int entions, they may keep you in mind when appropriate situations arise. The opening act is so often frowned upon as being a bad slot. However, the opening act can be a very strategic position if you plan appropriately. I don't believe opening for just anyone serves you well. It is important that you consider which act your act is com patible with in order to play to an appropriate audience. You want to expand your audience, so your choice of main act ought to be one whose audience you wouldlike to eventually make your own. Here are some further tips to consider as you search for appropriate main acts. Select an act that is at least one or two steps ahead of you with the market. If you aim too high, for an act that is playing arenas when you are playing 200 seat clubs, you are unlikely to achieve an opening slot. Even if you did get to open for a much larger act, your ability to really use the occasion to your fullest advantage may be hampered by the fact that you are probably not ready to do so. You want an act that has a large enough draw to have some room in the budget so you can get paid something. Select an act within your own genre of music If you are attempting to gain a country fan base select up and coming country acts. If you play Rock, Hip Hop, Blues etc., select the appropriate genre. Select acts of the opposite sex in some instances For example, single female Singer/Songwriter, most often, would select a male act rather than another female singer/songwriter. The same would work for male acts . This doesn't always have to hold true, especially in situations where many acts who know each other decide to join together to create a special multi-act tour. Theother exception may be in cases where a solo male or female act opens for a group or the same sex. Select acts that you may have some personal familiarity with or even have a friendship Start with people you know. If they know and like your music, there is a greater likelihood of them being open to you sharing the bill. Make sure you are added to the date in time to be included in media promotions and added to any flyers or posters. This will help build your reputation in the areas where the dates are played. The money for openers and support acts may not be great depending on the main act's budget, the venue budget and your relationship with the main act. In circumstances where the fee is low, negotiate 100% or ashigh a percentage as possible on all of your merchandise. Many openers make up for a low fee with theirmerchandise sales when they have a large and receptive audience.Don't over stay your time on stage Be clear about your arrangements with the main act. Set your start and end times and be prompt. If you get called back for an encore, check with the main act before heading back on stage for an encore. Leave theaudience wanting more rather than wanting you to get off the stage. Try to arrange for a welcoming introduction If you have any connection to the main act at all, it helps if you can be linked to the main act in some way. For example, "Please welcome the XYZ band, one of ABC's favorite new talents." If the audience is made aware of the respect the main act has for the opener, the audience is usually more enthusiastic about the opener. Make friends with the main act's sound engineer Unless you travel with your own sound engineer, the house sound engineer usually is the one designated to mix the opening act. If you can get to know the main act's sound eng ineer, perhaps they will mix your sound as well. Sometimes you may have to pay them something. It is often worth the money. Landing a support act tour can boost your career a notch or two Make the most of it. Make sure you notify the media of any support tours by getting your tour itinerary listed in the appropriate trade magazines and online sources. Issue press releases and get your CDs to as many radio stations along the tour route as possible. This may be the right time to explore hiring a radio promotions company to get airplay. Getting opening act slots or a support tour should be one of the many strategies used to expand your audience. Begin this process by making a list of acts you might consider appropriate main acts. As time goes on and your act develops, the list will need updating. There is no time like the present to begin this strategic audience development process. Jeri Goldstein is the author of, How To Be Your Own Bo oking Agent The Musician's & Performing Artist's Guide To Successful Touring 2nd Edition UPDATED. She had been an agent and artist's m anager for 20 years. Currently she consults with artists, agents and managers through her consultation program Manage r-In-A-Box and presents The Performing Biz, seminars and workshops at conferences, universities, for arts councils and to organizations. Her book, CD-ROM and information about her other programs are available at are ava ilable at www.Performingbiz.com or phone (434) 591-1335 or e-mail Jeri at [email protected]	[ "get", "show", "artist", "band", "one", "venue", "time", "music", "make", "gig" ]	{ "summary": "115 Articles on Touring \n and Playing Live!\nReading this collection of touring\narticles will ens" }
record-store-day-2020-offizielle-releases-gsa-hc3a4ndler-und-vertriebe-05.03.2020.pdf	Vertrieb Interpret Titel Info Format Inhalt Label Genre Artikelnummer UPC/EAN AT+CH (ja/nein/über wen?) 375Media Ace Of Base The Sign Exclusive Record Store Day version pressed on 7" picture disc! Top song on Billboard's 1994 Year End Chart.7" 1 !K7 Pop SI 174427 730003726071 D 375MEDIA ACID MOTHERS TEMPLE NAM MYO HO REN GE KYO (RSD PINK VINYL)[ENG]Pink heavyweight 180 gram audiophile double vinyl LP. Not previously released on vinyl. 'Nam Myo Ho Ren Ge Kyo' was first released on CD only in 2007 by Ace Fu Records and now re-mastered by John Rivers at Woodbine Street Studio especially for vinylLP 2SPACE AGE RECORDINGSPSYDEL 139791 5023693106519 AT: 375 / CH: Irascible 375MEDIA BAKER, CHET MR. B Out of print on vinyl since 1984, FIRST official vinyl reissue since 1984 -Chet Baker (1929 - 1988) was an American jazz trumpeter, actor and vocalist that needs little introduction. This reissue was remastered by Peter Brussee (Herman Brood) and is featuring the original album cover shot by Hans Harzheim (Pharoah Sanders, Coltrane & Sun Ra). Also included are the original liner notes from jazz writer Wim Van Eyle and two bonus tracks that were not on the original vinyl release. This reissue comes as a deluxe 180g vinyl edition with obi strip_released exclusively for Record Store Day (UK & Europe) 2020.LP 1TIDAL WAVES MUSICJAZZ 139267 0752505992549 AT: 375 / CH: Irascible 375MEDIA BARBIERI, GATO LAST TANGO IN PARIS* Record Store Day 2020 Exclusive Release.* Features new artwork* LP pressed on pink vinyl & housed in a gatefold jacket Limited to 500 copies//Last Tango in Paris" is a 1972 film directed by Bernardo Bertolucci, saxplayer Gato Barbieri' did realize the soundtrack. Three main ingredients are blended among the grooves of this memorable score: the tango melodies - of course, the melancholy of the orchestra string instruments and the erotic tension generated by Gato Barbieri's saxophone, thanks to his unique style that could combine energy and feeling like few others in the world.LP 1 AMS OST 139389 8016158315745 AT: 375 / CH: Irascible 375MEDIA BARDO POND ON THE ELLIPSE (RSD PURPLE VINYL)1500 copies worldwide. Double Purple Vinyl. Gatefold Sleeve. The sixth album by Bardo Pond, a critically revered space rock masterpiece, 2003's 'On The Ellipse' is reissued for the first time since 2003. LP 2 FIRE RECORDS ROCK 139834 0809236159014 AT: 375 / CH: Irascible 375MEDIABBC RADIOPHONIC WORKSHOP, THEFOUR ALBUMS 1968 - 1978Six CD box set including the four main RADIOPHONIC WORKSHOP albums ("BBC Radiophonic Music" / "The Radiophonic Workshop" / "Fourth Dimension" / "Through A Glass Darkly") + 2 bonus discs ("Stone Tape" / "Changes") in card wallets, and a booklet.CD 6 SILVA SCREEN OST 139029 0738572159924 AT: 375 / CH: Irascible 375MEDIA BEVIS FROND, THE WHAT DID FOR THE DINOSAURSDouble black Vinyl, gatefold sleeve with DLC. 1000 copies worldwide. "A staggering 16 slices of his trademark psych-pop in the manner of sprawling Bevis Frond classics like 1991's 'New River Head'." Available on double vinyl for the first time ever, lovingly packaged in a gatefold sleeve.LP 2 FIRE RECORDS ROCK 139834 809236159014 AT: 375 / CH: Irascible 375MEDIA BEVIS FROND, THE VALEDICTORY SONGSDouble black Vinyl, gatefold sleeve with DLC. 1000 copies worldwide. Recorded in Gold Dust Studios with a new sense of optimism and a fuller sound down to lots of extra energy (Nick believed it might be their last ever record) and the addition of piano and keyboards brings an instrumental direction. With former Hawkwind bassist Adrian Shaw and Ex-Marrillion tub thumper Andy Ward,LP 2 FIRE RECORDS INDIE 139795 0809236145314 AT: 375 / CH: Irascible 375MEDIA BEVIS FROND, THE WHAT DID FOR THE DINOSAURSDouble black Vinyl, gatefold sleeve with DLC. 1000 copies worldwide. "A staggering 16 slices of his trademark psych-pop in the manner of sprawling Bevis Frond classics like 1991's 'New River Head'." Available on double vinyl for the first time ever, lovingly packaged in a gatefold sleeve.LP 2 FIRE RECORDS INDIE 139839 0809236145413 AT: 375 / CH: Irascible 375MEDIA BLACK LIPS THEY'S A PERSON OF THE WORLD FEAT. KESHABlack vinyl, 1500 copies worldwide. Black Lips and pop superstar Kesha join forces for on 'They's A Person Of The World', this lush country ballad is a fitting tribute to the traditions of Nashville and it's rich musical history. The flip is exclusive Black Lips track 'Left Out In The Cold', culled from the album sessions.7" 1 FIRE RECORDS INDIE 139845 0809236158871 AT: 375 / CH: Irascible 375MEDIA BLANCK MASS BLANCK MASSAs Blanck Mass, Benjamin John Power takes the anthemic melodies and heroic doses of noise he pioneered with Fuck Buttons in directions that are sometimes more immediate but always thought-provoking. This ambient, droning electronic music he recorded in his apartment became the project's self-titled debut album, which Mogwai's Rock Action label originally issued in 2011. More abstract, yet often more accessible than his work with Fuck Buttons, Blanck Mass received favorable reviews as well as comparisons to Brian Eno and Ghost Box's roster of artists. "Sundowner," a track from the album, was used during the 2012 Summer Olympics opening ceremony. RSD 2020 clear vinyl!LP 1 SACRED BONES ALTERN 139273 0843563121894 AT: 375 / CH: IrascibleRecord Store Day 2020 (GSA) - 18.04.2020 \| (Stand: 05.03.2020) Vertrieb Interpret Titel Info Format Inhalt Label Genre Artikelnummer UPC/EAN AT+CH (ja/nein/über wen?)Record Store Day 2020 (GSA) - 18.04.2020 \| (Stand: 05.03.2020) 375MEDIA BMX BANDITS C86 (RSD WHITE VINYL)Surprisingly not available on vinyl since it's release in 1990, this debut LP from BMX Bandits features Norman Blake, and Francis MacDonald of Teenage Fanclub, with 6 Blake songs co-written with Duglas Stewart and one Blake sole original. Essential twee, brilliant brit.LP 1GLASS MODERNINDIE 139849 5024545873467 AT: 375 / CH: Irascible 375MEDIA BRION, JON SYNECDOCHE NEW YORK - OSTThe soundtrack to Charlie Kaufman's 2009 cult movie Synecdoche New York starring the late Philip Seymour Hoffman is released for the first time on white vinyl (1000 copies). LP 1FIRE SOUNDTRACKSOST 139860 0809236101013 AT: 375 / CH: Irascible 375Media Broken Bones Dem BonesBroken Bones’ classic 1984 debut album 'Dem Bones' is reissued limited in black & white QUAD (quartered) vinyl. LP 1 Fall Out/Jungle Punk/Metal LP 195581 5013145302811 D/AT 375MEDIA DETROIT COBRAS, THE FEEL GOODDetroit Cobras pride themselves in finding obscure b-side gems and making it exciting for new generations. Both tracks are the first to come out of the Black River House recording studio, personally built by Kenny over 2 years of hard work, even refurbish an old RCA tube console by hand, similar to the one that was used in Sun Studios.7" 1WILD HONEY RECORDSR'N'R 139865 0651519530955 AT: 375 / CH: Irascible 375MEDIA DOCTORS OF MADNESS DARK TIMESLimited edition of 1000 copies on clear vinyl of their triumphant return! The DOM are "the missing link between David Bowie & The Sex Pistols" (The Guardian). Now, 40 years after they imploded, they are backwith an album seething with lyrical anger and passion. It is the most potent and incisive musical dissection of modern life and contemporary politics released the decade.LP 1MOLECULAR SCREAMROCK 139866 5055869546522 AT: 375 / CH: Irascible 375MEDIA DRANSFIELD, BARRY BARRY DRANSFIELD (RSD GREEN VINYL)Originally released in 1972, on Polydor's Folk Mill imprint, Barry Dransfield's first solo album was an extraordinary debut, comprised of inspired original songs, traditional tunes, and some unexpected covers, including a legendaty version of MichaeLP 1GLASS MODERNFOLK 139864 5024545868319 AT: 375 / CH: Irascible 375MEDIA EÇA, LUIZ Y LA FAMILIA SAGRADA LA NUEVA ONDA DEL BRASIL (RSD 2020)180g vinyl reissue of the mega rare Mexican-only Luiz Eτa album from 1970 in facsimile artwork and remastered sound.The Brazilian pianist and founder member of Tamba Trio is accompanied here by a large group of top-notchBrazilian musicians. LP 1 VINILíSSSIMO LATIN 139001 8435008875640 AT: 375 / CH: Irascible 375Media Eddie And The Hot Rods Get Your Rocks OffEddie & the Hot Rods live in France in May 1976, for the first time on vinyl and with bonus unreleased tracks featuring Lew Lewis – in a limited red and blue vinyl 2xLP.LP 2 Jungle/Skydog Rock/Punk LP 195561 5013145207918 D/AT 375MEDIA ESPLENDOR GEOMÉTRICO NECROSIS EN LA POYA (RSD 2020)One of the essential works of early Esplendor GeomΘtrico. A pioneering and very influential piece of rhythmic-noisy industrial music originally pressed in tiny numbers. After years unavailable, and previously officially reissued as part of RSD 2020.7" 1 GEOMETRIK EBM 139002 8435008870683 AT: 375 / CH: Irascible 375MEDIA EXIT NORTH BOOK OF ROMANCE AND DUST (RSD WHITE VINYL)500 copies, gatefold sleeve, double 180g white vinyl LP. Quartet featuring Japan co- founder Steve Jansen, Thomas Feiner, Ulf Jansson, and Charlie Storm traces the edges of darkness and hope across a nuanced, provocative song cycle. Remastered for vinyl on two discs to maximise quality and volume, presented in a gatefold sleeve with full lyrics and white inner bags.LP 2EXIT NORTH RECORDSAMB 139867 5055869546928 AT: 375 / CH: Irascible 375MEDIA FINNIGAN, KELLY THE TALES PEOPLE TELL (INSTRUMENTALS)Kelly Finnigan, the lead singer of Bay Area-based indie-soul auteurs Monophonics, released his debut solo album ‘The Tales People Tell,’ in 2019 on Colemine Records. Over the course of the album’s 10 new, original songs, Kelly channels a multitude of influences that reflect a lifetime immersed in the music and culture of soul, R&B, and hip- hop - it’s the story of an outsider that followed an unorthodox route, always guided by his own creative north star. These are the instrumental tracks on blue vinyl, exclusive for RSD 2020.LP 1COLEMINE RECORDSSOUL 139278 0674862654468 AT: 375 / CH: Irascible 375MEDIA FOLEY, BLAZE LIVE AT THE AUSTIN OUTHOUSE (LP+7") Rare Blaze Foley recordings from the Austin Outhouse,circa 1989. Includes on bonus 45 a version of "If I Could Only Fly" and "Let Me Ride in Your Big Cadillac." "Live at the Austin Outhouse" captures Blaze Foley, Austin's legendary singer-songwriter, at his final appearance at the iconic Austin Outhouse venue. Recorded over two nights in 1989 just days before his tragic murder these twelve tracks are available on vinyl for the first time. The package includes a bonus reproduction copy of the Blaze's rare 1979 Zephyr Records 45 RPM record. Recorded in Houston, Texas on a label that quickly disappeared, the Zephyr 45 never received commercial distribution.LP 1 ART YARD AMERIC 139390 AT: 375 / CH: Irascible 375MEDIA FOSTER, JOSEPHINE THIS COMING GLADNESSBlack vinyl, 1000 copies worldwide. An essential reissue of Josephine Foster's crucially revered classic for the first time on vinyl since 2008. Brand new artwork and is housed in a reverse board sleeve with a download card.LP 1 FIRE RECORDS FOLK 139868 0809236119971 AT: 375 / CH: Irascible 375MEDIA FUZZTONES LYSERGIC EMANATIONS (RSD PICTURE DISC LP)Issued as a picture disc Lp for the very first time since its 1985 release date. All tracks have been remastered for vinyl. Contains the singles Strychnine, 1- 2- 5 & She s Wicked. 2020 is the bands 40th Anniversary, too!LP 1 EASY ACTION GARAGE 139869 5060446072639 AT: 375 / CH: IrascibleVertrieb Interpret Titel Info Format Inhalt Label Genre Artikelnummer UPC/EAN AT+CH (ja/nein/über wen?)Record Store Day 2020 (GSA) - 18.04.2020 \| (Stand: 05.03.2020) 375Media Geraint Watkins Geraint Watkins & The DominatorsThe first time on vinyl since 1979, with bonus LP of extra tracks, in limited red and green vinyl.LP 2 Jungle Rock/Americana LP 195571 5013145212615 D/AT 375MEDIA GIANT SAND RAMP (RSD 2020 REISSUE)Black vinyl, gatefold sleeve, DL card.1000 copies only worldwide. Deluxe remastered edition of Giant Sand's 1991 album 'Ramp' with a second disc featuring the Mad Dog sessions from earlier that same year. The Tucson sound at it very best.LP 2 FIRE RECORDS INDIE 139778 0809236117519 AT: 375 / CH: Irascible 375Media Girl Band Vicar Street LiveIn November 2019, Girl Band played back to back sold out shows at Dublin’s iconic Vicar street, this was following the release of long awaited second album ‘The Talkies’ hailed as ‘more abstract and more focused than their debut’ and a sold out East coast U.S & European tour. Recognised for their ferocious live shows which have been described as chaotic, electrifying and ‘genuinely dangerous, like one last rave before the apocalypse’, these shows were highly intimate and intensely sought after creating an air of ‘you had to be there’. This is their first ever Live vinyl and features tracks from their whole repertoire, some of which have only been performed a handful of times2LP 2Rough Trade RecordsAlternative LP 05193701 191402012316 D/AT 375MEDIA GROUNDHOGS, THE SPLIT (RSD RED VINYL)3000 copies worldwide. Double red vinyl. The second of three ground-breaking albums by the ultimate power trio who morphed blues into hard rock and spawned punk. Remastered and packaged with a second disc of out-takes from the original sessions that spawned this spontaneous monster. LP 2 FIRE RECORDS ROCK 139870 0809236150813 AT: 375 / CH: Irascible 375Media Gruff Rhys(Don't) Welcome The Plague As A Blessing/ The Babelsberg Basement FilesLP with split coloured black & white vinyl - Early in 2016 Ali Chant texted me, asking if I still wanted to record some stuff at his studio - as property developers were about to knock it down. Another creative space bulldozed away for capital gain. Politically it was a shit year. The noise building for the Brexit referendum that would fuck with the future of the young was in full swing. Bowie died, and on the morning of the first recordings I had the worst migraine. I left the building and threw up in the street. I wanted to commit to the lyrics and sing live so I think I was stressed about getting them ready to sing. I had a batch of songs I wanted to record but I didn’t have a record label or any plans of what to do with them. I gathered incredible musicians from my square mile in Cardiff in the van and drove to Bristol. Kliph on drums, Steve on bass and Osian on piano. I sang and played guitar - We recorded live takes for 3 days then I sat on the songs for almost 2 years. Eventually handing them to composer Stephen McNeff to work on orchestral arrangements. I called the album that was mixed by Samur Kouja; Babelsberg - and I’m very happy with it. This album meanwhile is an exploration of how it came to be - and the songs in their raw state. A companion piece rather than the definitive article. Most tracks are similar to the final work except for Selfies in The Sunset which is pre- duet and much longer. 2LP 2Rough Trade RecordsAlternative LP 05193711 191402012019 D/AT 375MEDIA HAYSEED DIXIE BLAST FROM THE GRASSEDLimited pressing of 1000 copies of recent album "Blast from the Grassed" on black vinyl. This moonshine-inspired collection finds the band bringing the retro party reimagining classic guilty-pleasures songs from the Golden Era of pop-rock. If you already love Hayseed Dixie, you'll love this album; if you think they suck ass, this record will only confirm that for you.LP 1HAYSEED DIXIE RECORDSROCK 139843 5055869546904 AT: 375 / CH: Irascible 375MEDIA HOLLOWAY, LOLEATTA CRY TO MEOut of print on vinyl since 1975, FIRST official vinyl reissue since 1975 - Loleatta Holloway (born in Chicago,1946) was an American R&B-Disco singer known for her massive hit songs such as "Hit and Run", "Love Sensation" and "Relight My Fire", all of which have been sampled extensively worldwide. Billboard magazine ranked her as one of most successful dance artists of all-time. Her second album (Cry to Me from 1975), which we are presenting you today, is a total classic_both the album (and the title track) peaked in the R&B and Billboard Hot Soul Singles charts. This record is a soul masterpiece extraordinaireThis reissue comes as a deluxe 180g vinyl edition with obi strip_released exclusively for Record Store Day (UK & Europe) 2020 .LP 1TIDAL WAVES MUSICDISCO 139269 0752505992464 AT: 375 / CH: Irascible 375Media Hunny Yes, Yes, Yes, Yes, Yes First time ever on vinyl. Blue vinyl. LP 1 Epitaph Punk LP 05195081 045778768592 D/ATVertrieb Interpret Titel Info Format Inhalt Label Genre Artikelnummer UPC/EAN AT+CH (ja/nein/über wen?)Record Store Day 2020 (GSA) - 18.04.2020 \| (Stand: 05.03.2020) 375MEDIA JANSCH, BERT LIVE IN ITALYDouble black vinyl, 1000 copies worldwide. Previously unreleased live recording of Bert Jansch's stunning concert in Mestre at the Teatro Corso, Italy 1977. The double vinyl is housed in a wide spined sleeve and includes a download card.LP 2EARTH RECORDINGSFOLK 139851 0809236174017 AT: 375 / CH: Irascible 375MEDIA JAZZ BUTCHER, THE BIG PLANET SCARY PLANET1000 copies worldwide, black vinyl. Big Planet, Scarey Planet (1989) "This was a real "band" album by a touring unit which had become really quite ferocious." Pat Fish. The sound is bigger, symphonic - all swirling guitars… Remastered & reissued.LP 1 FIRE RECORDS INDIE 139871 0809236147219 AT: 375 / CH: Irascible 375MEDIA JAZZ BUTCHER, THE CONDITION BLUEBlack vinyl, 1000 copies worldwide. 'Condition Blue' (1991) sees The Jazz Butcher now solo but with a band playing "smart pop songs with cleverly twisted lyrics, ringing guitars, and sad sax solos; a poppy kind of music that's slightly nostalgic… Remastered & reissued.LP 1 FIRE RECORDS INDIE 139872 0809236147417 AT: 375 / CH: Irascible 375MEDIA JAZZ BUTCHER, THE CULT OF THE BASEMENT1000 copies, black vinyl. Cult Of The Basement (1990) sees them withdrawing very much into their own mad little world, something's happening here. There's still jangle but it's wrestling with accordions. It's "lean, jazz and cabaret-style pop gems" Remastered & reissued.LP 1 FIRE RECORDS INDIE 139873 0809236147318 AT: 375 / CH: Irascible 375MEDIA JAZZ BUTCHER, THE FISHCOTHEQUE1000 copies worldwide. Black vinyl. I had my shades and I had my fringed suede jacket and I had the Weather Prophets' rhythm section," recalled Pat. "That rare beast, an LP of cool, laid back pop," said Record Mirror. Remastered & reissued.LP 1 FIRE RECORDS ALTERN 139855 0809236147110 AT: 375 / CH: Irascible 375MediaJohnny Thunders & Wayne KramerGang WarThe New York Dolls & MC5 guitarists collaboration! First time on vinyl; a limited edition in dark red & dark yellow coloured vinyl, on 2xLP with five bonus 'Live at Max's' tracks only previously available on bootleg. LP 2 Jungle/Skydog Rock/Punk LP 195551 5013145207611 D/AT 375MEDIA JOHNSTON, DANIEL THE END IS NEVER REALLY OVER - BOX SET (SHIRT ?)THE END IS NEVER REALLY OVER - die exklusive Record Store Day Box von Daniel Johnston mit den ikonischen Vinylalben "Artistic Vice" und "1990" (beide Alben sind seit über 10 Jahren nicht erhältlich)- exklusives FOLK T-shirt in M oder XL, Motiv "Captain America", Sticker-Sheet mit sieben Aufklebern, 16-seitiges Art-Buch, "Jeremiah the Frog" Metal-Pin AnsteckerLP 3 FERALTONE INDIE 139366 5051083154697 AT: 375 / CH: Irascible 375MEDIA JUNE OF 44 ENGINE TAKES TO THE WATERPostrock! June of 44's compositions usually follows conventional structures, but their arrangements evolved into a more diverse proposition, augmenting the heavy guitars with electronics, sampled loops, and chamber jazz flourishes courtesy of strings, trumpet, and vibes. This is the group's debut album "Engine Takes to the Water" reissued on glacial blue vinyl.LP 1 QUARTERSTICK ALTERN 139271 0036172003235 AT: 375 / CH: Irascible 375MEDIA JUNE OF 44 TROPICS AND MERIDIANS Tropics and Meridians, is Postrockers JUNE OF 44's second LP and picks up right where their formidable debut left off, with a similarly broad spectrum of song structures. Reissued for RSD on glacial blue vinyl.LP 1 QUARTERSTICK ALTERN 139272 0036172004430 AT: 375 / CH: Irascible 375MEDIA LINARES, ALFREDO Y SU SONORA YO TRAIGO BOOGALOO (RSD 2020)Long sought after by collectors, DJs and lovers of hard salsa and boogaloo alike, 'Yo Traigo Boogaloo' is now lovingly reissued in replica form with the original cover art, remastered from the studio tapes, reproducing that magical MAG stuio sound for today's aficionados to enjoy like it was 1969 all over again.LP 1 VAMPISOUL LATIN 139000 8435008863593 AT: 375 / CH: Irascible 375MEDIA LOVELY EGGS, THE I AM MORON (RSD SPECIAL EDITION)Another inimitable Lovely Eggs handmade release. This time this limited RSD edition features (in typical Eggs style) a cheeky and irreverant special reflective mirrored "moron" cover, posing the question: Who is moron? Could it be you?? 1000 copies , neon pink vinyl.LP 1 EGG RECORDS PUNK 139874 5055869546881 AT: 375 / CH: Irascible 375Media Marcy Luarks & Classic Touch Electric MurderOfficially Release for the first time since 1983. American-Nigerian Afro boogie masterpiece LP 1 Kalita Funk LP 193671 4062548005646 D 375MEDIA MASSONI, JOHN & SONIC BOOM THE SUNDOWNER SESSIONS (RSD ARMY GREEN VINYL)Army green coloured heavyweight 180 gram audiophile vinyl LP. Not previously released on vinyl. 'The Sundowner Sessions' is a recording featuring John Massoni (electronics) and Sonic Boom (custom human voice synthesizer). LP 1SPACE AGE RECORDINGSEXPER 139875 5023693102511 AT: 375 / CH: Irascible 375MEDIA MEMBRANESKISS ASS GODHEAD (30TH ANNIVERSARY EDITION)(RSD PINK)30th Anniversary Edition, of the 1989 Glass LP, recorded by Steve Albini in Chicago & Leeds, it's a screeching and wailing chunk of strumming and shouting. His first 'production' outside of Big Black. File Under Punk Fucking Rock. LP 1GLASS MODERNPUNK 139876 5024545838817 AT: 375 / CH: Irascible 375MEDIA MONK, THELONIOUS PALAIS DES BEAUX-ARTS 1963FIRST time on vinyl (and on any format) -Thelonious Monk (1917 - 1982) was an American jazz pianist and composer who needs little introduction. He had a unique improvisational style and made numerous contributions to the standard jazz repertoire. This concert album comes as a deluxe 180g vinyl edition with obi strip. Also included is an exact reproduction of the original concert poster from 1963, released exclusively for Record Store Day 2020 .LP 1TIDAL WAVES MUSICJAZZ 139268 0752505992471 AT: 375 / CH: Irascible 375MEDIA MORBY, KEVIN OH MON DIEU: LIVE A PARIS OH MY GOD! Kevin Morby live in Paris! Formidable! Opaque red vinyl. LP 2 DEAD OCEANS INDIE 139277 0656605151533 AT: 375 / CH: IrascibleVertrieb Interpret Titel Info Format Inhalt Label Genre Artikelnummer UPC/EAN AT+CH (ja/nein/über wen?)Record Store Day 2020 (GSA) - 18.04.2020 \| (Stand: 05.03.2020) 375MEDIA MORRICONE, ENNIO FISTFUL OF DOLLARS* Record Store Day 2020 Exclusive Release.* 10" pressed on red vinyl & housed in a gatefold jacket Limited to 750 copies//Year 1964. Almost out of nowhere, the little- known and regarded director Sergio Leone transposes into a western key a film by Akira Kurosawa, and by putting together all the right pieces, adding a bit of intuition, lays down new rules for the 'spaghetti western' genre, giving way to an endless series of imitations.EP 1 BTF OST 139380 8018163165025 AT: 375 / CH: Irascible 375MEDIA MORRICONE, ENNIO FOR A FEW DOLLARS MORE* Record Store Day 2020 Exclusive Release.* 10" pressed on yellow vinyl Limited to 750 copies// After the ""Dollar Trilogy"", Sergio Leone was given a new offer on another western movie that he could not refuse. After the ""Dollar Trilogy"", Sergio Leone was given a new offer on another western movie that he could not refuse. Following his own rules again, and working on the film story with Bernardo Bertolucci and Dario Argento, he directed the monumental ""Once upon a time in the West"", featuring the American actors Henry Fonda and Charles Bronson among others. EP 1 AMS SOUL 139381 8016158308259 AT: 375 / CH: Irascible 375MEDIA MORRICONE, ENNIO ONCE UPON A TIME IN THE WESTRecord Store Day 2020 Exclusive Release.* 10" pressed on yellow vinyl & housed in a gatefold jacket* Includes a poster• Limited to 750 copies worldwide In 1965 the previous year's film ""A Fistful of Dollars"" by Sergio Leone, thanks to its success, had already helped to codify and massively increase the popularity of the 'spaghetti western' genre, together with the one the two lead actors Clint Eastwood and Gian Maria Volonte.LP 1 BTF OST 139383 8018163165032 AT: 375 / CH: Irascible 375MEDIA MORRICONE, ENNIO THE GOOD, THE BAD AND THE UGLY* Record Store Day 2020 Exclusive Release.* LP pressed on red vinyl & housed in a gatefold jacket* Includes poster Limited to 1000 copies. The Good, the Bad and the Ugly"" is neither more nor less than the perfect soundtrack to the most wonderful of western movies, the third and final act of the ""Dollar Trilogy"" directed by Sergio Leone.LP 1 AMS OST 139382 8016158316049 AT: 375 / CH: Irascible 375MEDIA MOUTH CONGRESS AHHH THE POLLUTIONMouth Congress is a movie about a mid-80s comedy punk band fronted by Paul Bellini and Scott Thompson from The Kids in the Hall. Mouth Congress was very much a ‘do it yourself’ band, as was the nature of the mid 80s. Both Bellini and Thompson enjoyed this ragtag aesthetic - recording on a tape recorder sitting on a freezer in the basement; putting up xeroxed posters in the neighbourhood; buying costumes at the Salvation Army; using equipment from 20 years earlier. They loved the rough edges, as it fit with their message of self-realization. Whereas The Kids in the Hall was a professionally produced big-budget television show, Mouth Congress was an assembly of brilliant scraps artfully arranged. This is their first single, transparent orange vinyl for RSD.7" 1CAPTURED TRACKSINDIE 139276 0817949020279 AT: 375 / CH: Irascible 375MEDIANAHKO AND MEDICINE FOR THE PEOPLETAKE YOUR POWER BACK (LIVE) / LIFEGUARD10" Vinyl Record, limited edition picture disk- Includes 20x20 Poster featuring original art by MEAR1- Includes letter from artist- Includes Download Card. In a career built on reflective, deeply personal songwriting, Nahko's extraordinary new album, 'Take Your Power Back,' stands as far and away his most profound, revelatory, and fully realized collection yet.D30EP 1SIDE ONE DUMMYALTERN 138495 0603967173314 AT: 375 / CH: Irascible 375MEDIAO.S.T. / BALFE, LORNE & BBC NATIONAL ORCHESTRA OF WALESTHE MUSICAL ANTHOLOGY OF HIS DARK MATERIALSTwo 12" black LPs in a gatefold sleeve with a set of 4 alternative 'Multiverse' covers printed on x2 double-sided inserts. Composer LORNE BALFE with BBC NATIONAL ORCHESTRA OF WALES introduces the series and character themes for HIS DARK MATERIALS, the new TV adaptation of Philip Pullman's acclaimed series of novels.LP 2 SILVA SCREEN OST 139028 0738572161279 AT: 375 / CH: Irascible 375MEDIA O.S.T. / BERNARD, JAMES DRACULA / THE CURSE OF FRANKENSTEINGatefold sleeve with red and green 12" LPs.World Premiere Recordings of the Complete Scores from Two Classic Hammer Films of the 1950sTHE CURSE OF FRANKENSTEIN starred Peter Cushing as Baron Victor Frankenstein and Christopher Lee as The Creature. RACULA, made in 1958, also starred Peter Cushing (as Doctor Van Helsing) and Christopher Lee (as Count Dracula).LP 2 SILVA SCREEN OST 139027 0738572162177 AT: 375 / CH: Irascible 375MEDIA O.S.T. / ROTA, NINO THE GODFATHER 7" sleeve w/ printed inner sleeve on white vinyl! 7" 1 SILVA SCREEN OST 139026 0738572161774 AT: 375 / CH: Irascible 375MEDIA OBSESSED, THEINCARNATE ULTIMATE EDITION (SUN YELLOW RSD 2020 VINYL)Long out of print, Blues Funeral Recordings' new ultimate edition of The Obsessed 'Incarnate' is completely remastered, features the addition of 4 new tracks, and is packaged with all new artwork, photos, and all-new extensive liner notes written by THE OBSSESSED's Wino himself to tell the stories behind each long-lost gem. Incarnate will be released in a beautiful gatefold double LP package with a unique vinyl color configuration exclusively for Record Store Day, RSD EU 2020 colour is limited to 500 copies.LP 2BLUES FUNERALSTONER 139373 0760137339618 AT: 375 / CH: IrascibleVertrieb Interpret Titel Info Format Inhalt Label Genre Artikelnummer UPC/EAN AT+CH (ja/nein/über wen?)Record Store Day 2020 (GSA) - 18.04.2020 \| (Stand: 05.03.2020) 375MEDIA OHL OKTOBERREVOLUTION (RSD 2020)Ein weiterer Klassiker deutscher Hardcore / Punk-Geschichte. Erstmals als 10 "Format gepresst, unglaublich kraftvolle Musik, eingängige Gitarren-Fortschritte, clevere Stop- and-Go-Arrangements stellen Ihre bisherigen Veröffentlichungen in den Schatten. Bei der Verpackung wurde Wert auf Originalität gelegt, Vinyl kommt in bedrucktem Innencover (Cover-Artwork der Nachpressung), das Sleeve folgt der Originalpressung aus dem Jahre 1983. Darüber hinaus enthält diese Veröffentlichung auch die überarbeitete Version der Originalbeilage. Nur 200 Stück in exklusiver RSD-Farbe.EP 1 POWER IT UP PK/HC 135805 4059251358053 AT: 375 / CH: Irascible 375Media Operation Ivy EnergyFirst European pressing of this classic. Half white / Half black. Limited to 1000.LP 1 Epitaph Punk LP 05195061 8714092689334 D/AT 375Media Pale Saints Mrs DolphinOriginally released in 1991 and previously only available on CD in Japan, 4AD are finally giving the Pale Saints early singles compilation, Mrs. Dolphin, its first ever vinyl pressing on RSD 2020. The album rounds up all the tracks from their early 4AD EPs Barging Into The Presence Of God and Half-Life, plus a track from the indie compilation Gigantic! 2 and ‘The Colour Of The Sky’, a track that is exclusive to this record and never been pressed on vinyl before. Coming hot on the heels of the 30th Anniversary edition of their debut album, The Comforts of Madness, the sleeve for Mrs. Dolphin is also being designed by Tim O’Donnell, based upon the original art. Will be a limited coloured vinyl pressing.LP/ 7"/ 12"/ CD 3 4AD Alternative LP05193631 191400019683 D/AT 375MEDIA PARKER, BOBBY SOUL OF THE BLUESLimited exlclusive pressing for RSD of 500 units. It has taken 66 years since his recording debut for a vinyl LP compilation to be issued under his name. What a great soulful blues singer Bobby Parker was too. From his 1956 recording of Titanic, to 1969's It's Hard But It's Fair, the latest cut on this album, we present 15 unforgettable vocal performances plus two instrumentals that showcase his unique way of playing the blues.LP 1RHYTHM AND BLUESBLUES 139877 5060331752103 AT: 375 / CH: Irascible 375MEDIA PAW PATROL PAW PATROL OFFICIAL THEME SONG* Record Store Day 2020 Exclusive Release* 7" Limited to 1,000 copies * Pressed on bone colored vinyl & housed in a full color jacket// Limited edition 7" vinyl pressed on Dog Bone-White featuring four hit children songs from the Paw Patrol series including the official theme song. The album is officially licensed from Nickelodeon & comes housed in a full color 7" jacket & center labels featuring characters from the show.7" 1ENJOY THE RIDEOST 139385 0843563126615 AT: 375 / CH: Irascible 375Media Pennywise The FuseFirst time ever on vinyl. 15th anniversary. Orange w/ black splatter vinyl. Limited to 1000.LP 1 Epitaph Punk LP 05195071 8714092676938 D/AT 375Media Phoebe Killdeer The Fade Out Line (Picture Disc)Limited / One Sided 12" Picture Disc of the original track. Initally released in 2010 12" 1Kwaidan Records Pop MS 193686 4062548007459 D 375MEDIA PIGBAG DR HECKLE & MR JIVEBlack vinyl, 1000 copies worldwide. The debut album by post-punk/funk group, Pigbag - Formed from creative jam sessions in punk's aftermath, the young group gathered steam after convincing ex-Pop Group's Simon Underwood to join the fun. Mixing punk, funk, jazz, ska, reggae and afrobeat into a bewitching brew, this vinyl reissue is the first time this album has been on wax since 1982.LP 1CALL OF THE VOIDPUNK 139878 0809236190710 AT: 375 / CH: Irascible 375Media Qasim Naqvi Betaclear vinyl (inkl. Download Code). Pakistani-American avant-composer, and drummer from the cult experimental acoustic trio Dawn of Midi, Qasim Naqvi. LP 1 Erased Tapes Pop LP 05184621 3700551783021 D/AT 375Media Raised Fist Sound Of The Republic First time ever on vinyl. Black vinyl. LP 1 Epitaph Punk LP 05195091 7332109120215 D/AT 375MEDIA ROSS, TAL GIANT SHIRLEYFIRST time on vinyl. Only released in 1995 on CD -Of the numerous musicians who have played along with George Clinton in his Parliament/Funkadelic mob, perhaps the most mysterious of them all would be guitarist Tal (aka 'Tawl') Ross. Now available as a deluxe 180g DOUBLE vinyl edition with obi strip_released exclusively for Record Store Day (UK & Europe) 2020 .LP 2TIDAL WAVES MUSICFUNK 139270 0742338383683 AT: 375 / CH: Irascible 375Media Sarathy Korwar Otherland 4 new Track / Transparent Green Vinyl 12”MS 1 The Leaf Label Jazz/World MS 05195606 843190057160 D/AT 375MEDIA SHAKESPEARS SISTER #3 (RSD RED VINYL)1000 copies only. First time on vinyl for the third Shakespears Sister album "#3". One LP on transparent red vinyl and the other on transparent blue. Following the success of Hormonally Yours (2.5 million sales ), Siobhan Fahey went on to record the third in the Shakespears Sister trilogy - the sexy, glam influenced '3'. The first single, I Can Drive , was a UK top 30 hit but the album was never released UNTIL NOW.LP 2DO YOURSELF INPOP 139879 5055869547024 AT: 375 / CH: Irascible 375Media Skye Keeping SecretsLimited Edition LP Gatefold White vinyl of Skye's 2009 release - Keeping Secrets.LP 1 Skye Soul LP 194951 5056032328785 D/AT/CH 375MEDIA SLINT BREADCRUMB TRAIL / GOOD MORNING, CAPTAINOut-take versions, recorded September 1990, of two Spiderlands songs on exclusive 12"! Comes in clear vinyl!12" 1 TOUCH & GO ALTERN 139274 0036172106639 AT: 375 / CH: IrascibleVertrieb Interpret Titel Info Format Inhalt Label Genre Artikelnummer UPC/EAN AT+CH (ja/nein/über wen?)Record Store Day 2020 (GSA) - 18.04.2020 \| (Stand: 05.03.2020) 375MEDIA SLUT FEAT. ACID PAULI FOR THE SOUL THERE IS NO HOSPITALNeuer Track in exklusiven Remixen (Acid Pauli & Console)!Limitiert auf 500 Exemplare.7" 1 SLUT INDIE 139473 4059251394730 AT: 375 / CH: Irascible 375Media Snapped Ankles 21 Metres to Hebden BridgeLive Album. Limited Edition Leaf Green Vinyl LP + DLLP 1 The Leaf Label Rock/Pop LP 05195481 843190012237 D/AT 375Media SOHN SOHN Live with the Metropole Orkest First release on black vinyl (2LP widespine) LP 1 4AD Pop LP 05193691 191400023413 D/AT 375MediaSoul Jazz Records Presents/VariousStudio One RockersDouble LP on Green Vinyl! 20th anniversary edition of their classic Studio One RockersLP 2Soul Jazz RecordsReggae LP 192521 5026328004518 D/AT 375MediaSoul Jazz Records Presents/VariousLicensed To Ska! (5x7" Boxset)Limited- edition one-off pressing. Seven-inch box set, featuring ten super rare killer cuts on five 7" singles!SI 5Soul Jazz RecordsSka SI 192537 5026328004501 D/AT 375MediaSoul Jazz Records Presents/VariousBRAZIL FUNK POWERCollectors Seven-Inch Box Set / Rare and Classic Brazilian Funk, Boogie and Samba Soul tracksSI 5Soul Jazz RecordsFunk SI 05192547 5026328004549 D/AT 375MEDIA SPACEMEN 3 THREEBIE 3 (RSD YELLOW VINYL)Yellow heavyweight 180 gram audiophile vinyl LP, Previously only released as very limited mailorder edition black vinyl in 1989. 'Threebie 3' is a live Spacemen 3 recording featuring performances from a 1988 gig at Melkweg in Amsterdam which were excluded from the live 'Performance' album.LP 1SPACE AGE RECORDINGSINDIE 139880 5023693102016 AT: 375 / CH: Irascible 375MEDIA SPECTRUM FOREVER ALIEN (RSD ORANGE VINYL)Orange heavyweight 180 gram audiophile double vinyl LP. Previously released on vinyl in 1997. British space rock band Spectrum is a project led by Sonic Boom aka Pete Kember. As a solo artist, Kember has recorded as Spectrum and E.A.R. (ExperimentalLP 2SPACE AGE RECORDINGSEXPER 139881 5023693106618 AT: 375 / CH: Irascible 375Media Sun Ra Egypt '71 (5xLP Boxset)First Vinyl Reissue + 2xLP previously unreleased! Rare photos and extensive new liner notes. Live Perfomances 1971 - Egypt. LP 5 Strut Jazz LP 193661 4062548007428 D 375MEDIA SURFER BLOOD ASTRO COAST (10TH ANNIVERSARY EDITION)West Palm Beach's Surfer Blood fuse sunny surf rock charm with indie rock cool. The buzz around the band built quickly as they hit the road with Art Brut and Japandroids while preparing their debut album. Originally released in early 2010 "Astro Coast" was warmly received by critics and introduced Surfer Blood to a greater audience, this anniversary RSD edition comes on blue and red vinyl.LP 2KANINE RECORDSINDIE 139275 0827175024019 AT: 375 / CH: Irascible 375MEDIA TELESCOPES, THE ALTERED PERCEPTION (RSD PURPLE VINYL)Purple heavyweight 180 gram audiophile double vinyl LP. Not previously released on vinyl. The Telescopes are an English noise, space rock, dream pop and psychedelic band, formed in 1987 by Stephen Lawrie. They have a total of eleven released albums including their debut, Taste, released in 1989. 'Altered Perception' collects 15 of their most intricate workings from their first two albums with the odd rarity and b-side thrown in for good measure. Never before released on vinyl, but now.LP 2SPACE AGE RECORDINGSNOISE 139882 5023693101415 AT: 375 / CH: Irascible 375MEDIA TELEVISION PERSONALITIES SOME KIND OF HAPPINESS?: SINGLES 1994-1999Double black Vinyl, 1000 copies only worldwide. A two disc retrospective of every single track released by The Television Personalities between the tail end of 1994 and 1999. The legendary songwriter Dan Treacy is a gifted teller who places the world in his own hazy shade of focus, heading deep into introspection. A diary of demise. "Seen through this half empty glass, darkly, Dan Treacy is not Pete Doherty. He's Elliott Smith, or Ian Curtis, but honestly, genuinely better and more gifted than either." - Pop MattersLP 2 FIRE RECORDS INDIE 139744 0809236159113 AT: 375 / CH: Irascible 375Media The Charlatans UK The Charlatans UK v. The Chemical BrothersOriginally pressed as a four track promo 12” in 1995, and again as a five track CD for the US market in 2000, this is the first time all five Charlatans’ Chemical Brothers remixes have been available together on vinyl. The remix of Patrol was originally released as a b- side of the Jesus Hairdo in 1994, whilst Nine Acre Dust and Chemical Risk Dub appeared on the Just When You’re Thinking Things Over single in 1995. Available for Record Store 2020 on translucent yellow.LP 1Beggars BanquetAlternative LP 05193651 607618216481 D/AT 375Media The Dead South This Little Light Of Mine/House Of The Rising SunUnveröffentlichter Song + "The House of the Rising Sun" Cover7" 1DevilDuck RecordsBluegrass SI 193787 4015698664416 D/AT/S 375Media The Delines The ImperialBlue colour vinyl edition. Americana-UK.com Readers poll 2019 - Best Band - Winners. Best Live Act - winners. Best album - winners.LP 1 Decor Alternative LP 192511 5052571085912 D/AT 375Media The Pale Fountains Longshot For Your LoveNew enhanced, remastered vinyl edition of the long-deleted Pale Fountains compilation. Originally released in 1998. Enhanced artwork - in a beautiful gatefold cover!LP 1 Marina Records Pop LP 172471 4015698347968 D/AT 375 Media The Wolfgang Press Unremembered, RememberedThis one will be a real surprise for both Wolfgang Press and 4AD fans. Featuring 7 never before heard tracks, Unremembered, Remembered is essentially the final album from The Wolfgang Press that never was. Having exhumed the tracks, the band have mastered their final studio sessions at Abbey Road and they sound magnificent. Art for this release has been done by long-time 4AD collaborator Chris Bigg and news of the album’s existence will drop with the RSD 2020 announcement.LP 1 4AD Alternative LP 05 193641 191400020689 D/ATVertrieb Interpret Titel Info Format Inhalt Label Genre Artikelnummer UPC/EAN AT+CH (ja/nein/über wen?)Record Store Day 2020 (GSA) - 18.04.2020 \| (Stand: 05.03.2020) 375MEDIA THROWING MUSES PURGATORY/PARADISE (RSD RE-ISSUE)2000 copies worldwide. Originally released in 2013, Purgatory/Paradise gets reissued on double vinyl with a gatefold sleeve. Emerging ten years from a hiatus, it's a formidable 32 track opus of tangible bliss from the alt-rock heroes. LP 2 FIRE RECORDS ALTERN 139883 0809236158918 AT: 375 / CH: Irascible 375MEDIA VARIOUSDENNIS HOPPER'S 'THE LAST MOVIE' (RSD YELLOW VINYL)Limited yellow vinyl, gatefold sleeve. After the incredible success of the film Easy Rider, Dennis Hopper was given complete freedom to direct and star in the bizarre, surrealist The Last Movie - released in 1971. The Last Movie recordings are being released for the first time ever in any audio format - taken from the original movie reels! Featuring the first ever performances of Kristofferson's legendary "Me and Bobby McGee" plus sublime country-folk songs from John Buck Wilkin, Peruvian folk & dance music - all recorded live on set in Peru - nothing was overdubbed! Plus, provocative movie dialogue from Dennis Hopper, Sam Fuller and others..LP 1EARTH RECORDINGSWORLD 139884 0809236174161 AT: 375 / CH: Irascible 375MEDIA VARIOUSDETROIT PUNK ARCHIVE: THE END OF THE NIGHT (1976- 1983)This 2-LP set on 180 gram vinyl features 29 songs including twelve previously unreleased tracks by Detroit first wave punk/new wave groups.Limited to 1,000 copies and pressed @ Third Man Pressing - Detroit, MI* Beautiful, deluxe tip-on gatefold jacket with extensive liner notes, inserts, digital download card, and more!LP 1 HOLD FAST PUNK 139419 0826853968911 AT: 375 / CH: Irascible 375MEDIA VARIOUSKISS KISS BANG BANG (RSD DOUBLE PACK COLOURED 7'')Double pack coloured vinyl 7". 4 track compilation of covers of the James Bond themes of Dame Shirley Bassey. David Gedge (the Wedding Present) teams up with Louise Wener (Sleeper) on the unused Thunderball theme; Mr Kiss Kiss Bang Bang. The Left Outsides provide a psychedelic take on Diamonds Are Forever. Darren Hayman re- imagines Goldfinger with his own chorus of Bond girls. DJ Downfall and Theoretical Girl's icy cool synthpop Moonraker will please fans of Ladytron, Black Box Recorder and Flying Lizards.7" 2 WHERE ITS AT INDIE 139885 5057805487715 AT: 375 / CH: Irascible 375MEDIA VARIOUS MEMPHIS SOUL '66Limited exlclusive pressing for RSD of 500 units. LP 1HISTORY OF SOUL RECORDSSOUL 139888 5060331752004 AT: 375 / CH: Irascible 375MEDIA VARIOUS MIGHTY INSTRUMENTALS SOUL & R&B-STYLE 1965Limited exlclusive pressing for RSD of 500 units. From Junior Parker to Sly Stone, from Lonnie Brooks to Ike Turner, we've got Soul meets R&B 1965-style. Plenty of Organ. Plenty of Soul. No Twangy Guitar. No Honkin'. No Screamin'. Just Instrumentals Soul and R&B-Style.LP 1RHYTHM AND BLUESBLUES 139893 5060331752073 AT: 375 / CH: Irascible 375MEDIA VARIOUS NEW ORLEANS SOUL '69Limited exclusive pressing for RSD of 500 units. LP 1HISTORY OF SOUL RECORDSSOUL 139889 5060331752011 AT: 375 / CH: Irascible 375MEDIA VARIOUS NEW YORK SOUL '69Limited exclusive pressing for RSD of 500 units. Truly the pick of New York 1969! LP 1HISTORY OF SOUL RECORDSSOUL 139891 5060331752035 AT: 375 / CH: Irascible 375MEDIA VARIOUS SOHO SCENE '66 (VOLUME 2 JAZZ GOES MOD)Limited exlclusive pressing for RSD of 500 units. This album contains twelve tracks you'd have heard in some smoke-filled Soho basement back in '66. Featured amongst the British acts, are the swinging 'What's Her Name' by the Ian Hamer Sextet, where the trumpeter is joined by Tubby Hayes, Dick Morrissey and Alan Skidmore.LP 1RHYTHM AND BLUESBLUES 139892 5060331752066 AT: 375 / CH: Irascible 375MEDIA VARIOUS TAANG! SINGLES VOLUME #1 (RSD 2020)The first ten singles from TAANG one one LP! .These ten since long out of print records would cost you several thousand dollars to get hold of these iconic punk / hardcore power pop BOSTON gems from the early to mid 80's.This is the first single LP version, exclusive for RSD 2020.LP 1 TAANG! PK/HC 135366 7229750021117 AT: 375 / CH: Irascible 375MEDIA VARIOUS TEXAS SOUL '69Limited exlclusive pressing for RSD of 500 units. This is Texas '69 at its very best from strutting southern funk to deep, deep Soul. LP 1HISTORY OF SOUL RECORDSSOUL 139890 5060331752028 AT: 375 / CH: Irascible 375MEDIA VASELINES, THE / POOH STICKS DYING FOR IT / DYING FOR ITThe Vaselines sing The Vaselines and The Pooh Sticks do too, Fierce Records Svengali Steve Gregory's dream of a split single come true 30 years later, you're gonna die for it. 7" 1GLASS MODERNINDIE 139886 5024545873375 AT: 375 / CH: Irascible 375MEDIA VLADIMIR HARKONNEN VLAD SMASH (RSD 2020)VLADIMIR HARKONNEN were right into the process of doing songwriting for the next record, THE GREEN ALBUM, when suddenly a wild idea came up: What would it be like to do a special record with short but crisp songs only? Of course with all the trademarks of VLADIMIR-HARKONNEN (Thrash, speed, melodies, destruction)! At first it sounded a bit too crazy, but then the songs were creating themselves very fast! CRASH! BANG! WALLOP!LP 1 POWER IT UP CR/GRD 135875 4059251358756 AT: 375 / CH: Irascible 375Media Warmduscher European CowboyTriple-cooked Warmduscher fries courtesy of Soulwax, Decius and Savage GaryMS 1 The Leaf Label Dance/Electronic MS 05195476 843190056965 D/ATVertrieb Interpret Titel Info Format Inhalt Label Genre Artikelnummer UPC/EAN AT+CH (ja/nein/über wen?)Record Store Day 2020 (GSA) - 18.04.2020 \| (Stand: 05.03.2020) 375MEDIA WARSAW PAKT NEEDLE TIME (RSD 2020)Real high-energy rock'n'roll in its most potent form is best captured live and in the moment. Maximum thrills, minimum frills. In 1977, London's Warsaw Pakt took that premise one step further, recording their album live, straight through, direct to the cutting lathe. More than forty years later, "Needle Time" stands as one of the most authentic documents of the lean, visceral sound of London punk rock in its banner year. LP + 7" single pack reissued here on vinyl for the first time. Includes insert with extensive liner notes by Mike Stax (Ugly Things Magazine) and individually hand customized record cover. Exclusive RSD 2020 release.LP 2 MUNSTER PK/RNR 138999 8435008839710 AT: 375 / CH: Irascible 375MEDIA WIPERSIS THIS REAL? ANNIVERSARY EDITION: 1980-2020 (RSD 2020)Celebrating the 40 year Anniversary of the debutLP by the Wipers. Includes individually AUTOGRAPHED concertposter by Greg Sage. Bonus 45 with four songs from the original 4 tracksessions. Transparent Clear Audiophile Vinyl pressed at RTI with custom reflective mirror board jacket. Unquestionably Portland's most well-loved punk group, they formed in the late 70s & in 1980 released their debut LP. 12 songs of stabbing, jittery guitar, snapped vocals, & unabashed teen angst. Full of desperation & yearning, the LP has stood as a blueprint for wretched youth for over 25 yrs. In the early 90s it was given mainstream attention when Nirvana covered 2 tracks off the record & Cobain announced it was one of the primary influences on his group. 2000 units worldwide.LP 2JACKPOT RECORDSPK/HC 139358 0843563123706 AT: 375 / CH: Irascible 375MEDIA WIRE 10.20A glimpse into Wire's working practises. When Wire play live there are different 3 classes of pieces that are performed, new songs, old songs and "new old" songs. There are also pieces that have never seen a major release but for some reason never fitted on an album. The best of these ideas have been recorded in two sessions - one relating to Red Barked Tree but recorded in 2010 and another relating to Wire's latest album Mind Hive released in 2020, hence the title.LP 1 PINK FLAG ROCK 139887 5024545882117 AT: 375 / CH: Irascible 375MEDIA ZAVALA, MALENA LA YARARA (PINK VINYL / RSD VERSION)Pink Vinyl, RSD 2020 edition. Including Download-Code for the album as well as to her Abbey Road session. + Magazine made by the artist.LP 1YUCATAN RECORDSSINGSO 139922 5060579520168 AT: 375 / CH: Irascible ALIVEDalvanius and the Fascinations / Golden HarvestVoodoo Lady / I Need Your Love (RSD 2020)Warm launch their new reissue label RE:WARM on Record Store Day by heading south of the equator with a New Zealand 7” double-header.Vinyl 12" 1 Warm Disco / Dance 6005607 5053760056072 GA ALIVE D-Mob We Call It Acieed Remixes (RSD 2020)(RSD 2020) Classic, pioneering 1989 acid house track with new remixes by Serge Santiago, Mall Grab, Rebuke and Nathan Micay.Vinyl 12" 1 London Records House 5521335 5060555213350 GA ALIVEGiorgio Moroder Ft Kylie MinogueRight Here Right NowLimited edition 12" grey vinyl containing two unreleased Kenny Summit remixes - both the 'Club' and 'Instrumental' mixes of the huge Giorgio Moroder track ‘Right Here Right Now’ featuring vocals from none other than Kylie Minogue.Vinyl LP 1 Good For You Records Dance 2594597 5060202594597 GA ALIVE Grid, The Flotation (Clear Vinyl) (RSD 2020)(12" Clear) The Grid (Dave Ball / Soft Cell and Richard Norris) released this groundbreaking slice of ambient house in 1990 and it soon became regarded as an all- time Ibiza Balearic classicVinyl 12" 1 Chemical Alley Techno 6005707 5053760057079 GA ALIVE Himons, Aashid The Gods And I (EP) (RSD 2020)Aashid Himons classic 1984 Electonic/Reggae/Boogie-Funk track finally gets a well deserved re-issueVinyl LP 1 Music For Dreams Reggae/Dub/Dancehall 7625563 0616576255630 GA ALIVE Jungle Brothers Because I Got it Like ThatThe Sly Stone sampling, scene smashing hip hop track 'Because I Got it Like That' that launched the Jungle Brother's to the world in 1988, housed on their groundbeaking debut album 'Straight Out The Jungle'. Original copies of the single now change hands for £50 if you’re lucky so a fully remastered, official reissue is exactly what the doctor ordered! Backed with the rare Ultimatum mix (aka The Stereo MC's).Vinyl 7" 1 Idlers Hip-hop 2594573 5060202594573 GA ALIVE Kraftwerk Kraftwerk I (RSD 2020)50th year anniversary edition of Kraftwerks seminal first album. 180 gr. black vinyl LP with full replica artwork and shrinkwrappedVinyl LP 1True Choice Recordings Krautrock 2594658 5060202594658 GA ALIVE Kraftwerk Kraftwerk II (RSD 2020)Reissue of Kraftwerks sophomore album, II. 180 gr black vinyl LP with full replica artwork and shrinkwrapped.Vinyl LP 1True Choice Recordings Krautrock 2594665 5060202594665 GA ALIVE Minnie Riperton Les Fleur / Oh By The WayOn its 50th birthday this influential slice of soul is celebrated again. A 7” remastered, reissue of Minnie Riperton’s iconic, majestic and much sampled ‘Les Fleur’ in a hand numbered, limited edition picture sleeve run of 1000. Favoured by the likes of Jurassic 5, Damu The Fudgemunk & Cut Chemist, famously covered by Dego and backed with the equally serene ‘Oh By The Way’. With original copies selling for upwards of £60+ here’s a chance to own this slice of soul perfection at a fraction of the price.Vinyl 7" 1 Selector Series Soul 2594542 5060202594542 GAVertrieb Interpret Titel Info Format Inhalt Label Genre Artikelnummer UPC/EAN AT+CH (ja/nein/über wen?)Record Store Day 2020 (GSA) - 18.04.2020 \| (Stand: 05.03.2020) ALIVE RAH Band Producers ChoiceRemastered tracks from original tapes carefully selected from various RAH Band albums and presented over a double vinyl with printed sleeve from the seminal 70's/80's British Studio Project masterminded by Richard A Hewson. Clouds Across The Moon, Messages From The Stars and many, many more delights.Vinyl LP 2Atjazz Record Company Funk 2594153 5060202594153 GA ALIVE Shakespears Sister You're History Remixes (RSD 2020)(RSD 2020) New and classic remixes of 80ies hit 'You're History' by Shakespears Sister on vinyl for the first time.Vinyl 12" 1 London Records Pop 5521348 5060555213480 GA ALIVE T La Rock & Jazzy Jay It’s YoursThe debut release on Rick Rubin and Russell Simmons now seminal Def Jam label that shook the world with its evil bass and percussion. Never released on 7" before, this is a true Hip Hop collectors dream. Featuring the ground-breaking "Scratch Party Death Mix".Vinyl 7" 1 Partytime Hip-hop 2594580 5060202594580 GA ALIVE Various Music For Dreams: Summer Sessions 2020 (RSD 2020)Limited Edition LP (500) on heavyweight 180g Black Vinyl. Vinyl LP 1 Music For Dreams Ambient 7625584 0616576255845 GA Bertus BATMOBILE BIG BAT A GO-GO7" / DISCO SLEEVE/B-SIDE: HAMMERING/ BATMOBILE TOGETHER WITH AN AMAZING HORN SECTION (THIS WILL BLOW YOU AWAY!) TEASER FOR THE 10INCH TO FOLLOW LATER THIS YEAR (WITH EXCLUSIVE TRACKS) 1000 NUMBERED COPIES ON YELLOW COLOURED VINYL7" 1MUSIC ON VINYLPsychobilly MOV 7042 8719262013810 AT = Major Babies / CH = Bertus Bertus BENNETT, JAY & EDWARD BUR PALACE AT 4AMThe Palace at 3AM is the first (and only) collaboration between the late Jay Bennett and songwriting partner, Edward Burch. After fronting Minneapolis legends, Titanic Love Affair, from 1994-2001 Bennett was a key member of the band Wilco, often co- writing songs on the band's early releases with Jeff Tweedy. The power struggle was well documented in the Wilco documentary "I Am Trying To Break Your Heart" where Bennett was fired as the cameras rolled. The band was working on "Yankee Hotel Foxtrot" at the time. Bennett immediately teamed up with Burch and The Palace at 4am was released on the same streetdate in 2002 as Yankee Hotel Foxtrot. Hardcore Wilco fans loved the release and immediately started making comparisons on who was the real 'genius' of Wilco, Bennett vs. Tweedy. Bennett passed away suddenly in 2009 and with the blessings of his family, 10 years after his death, Schoolkids Records has teamed up with Edward Burch to release The Palace at 4am for the first time ever on Vinyl for RSD 2020. The album also includes the track "My Darlin'" which was also on Wilco's "Yankee Hotel Foxtrot" Bennett re-recorded the song for this release. Limited edition colored vinyl, 2xLP gatefold. Download card includedLP 2 SCHOOLKIDS ROC LPSMR 062 0634457007109 AT = Major Babies / CH = Bertus Bertus BLACK HONEY CORRINECorrine Record Store Day Heart Shaped Vinyl release 7" 1FOXFIVE RECORDSROC BHRSD 001 0195081009247 CH = Bertus / NO AT! Bertus BLACK SABBATH =TRIBUTE= NATIVITY IN BLACK - A Tribute to Black Sabbath CLEAR WITH HEAVY BLACK SWIRL VINYL LP 2REAL GONE MUSICHR. RGM 1017 0848064010173 AT = Major Babies / CH = Bertus Bertus BLAKE, TIM CRYSTAL MACHINE TRANSLUCENT BLUE VINYLLP 1CULTURE FACTORYELE 783191 3700477831912 AT = Major Babies / NO CH! Bertus CAAMP LIVE FROM NEWPORT MUSIC HALLCaamp's 'Live from Newport Music Hall' album was recorded during their 3- night run leading into New Year's Eve. It features 5 live songs that capture the energy of the band's electric live set. The tracklist includes a fan-favorite 'No Sleep' which amassed 16 million streams and 'Peach Fuzz' which reached #1 at AAA radio. The vinyl color is 'coke bottle clear" and the cover art features a photo of Taylor crowd-surfing, taken from the stage. In 2019, Caamp released their chart-topping album, 'By and By' which was featured in Billboard, NPR, Rolling Stone and more. Caamp made their TV debut on Jimmy Kimmel Live! and performed on CBS This Morning Saturday. On the heels of the album release, Caamp hit the road on their sold out North American Fall Tour and performed at numerous festivals and venues worldwide. 'Live from Newport Music Hall' captures the special moment where Caamp returned back to their hometown city of Columbus, bigger than they've ever been before.12" 1MOM POP MUSICFOL LPMP 468 0858275060218 AT = Major Babies / CH = Bertus BertusCANNED HEAT & JOHN LEE HOOKERHOOKER 'N HEAT YELLOW & GREY VINYLLP 2CULTURE FACTORYPOP 782567 3700477825676 AT = Major Babies / NO CH!Vertrieb Interpret Titel Info Format Inhalt Label Genre Artikelnummer UPC/EAN AT+CH (ja/nein/über wen?)Record Store Day 2020 (GSA) - 18.04.2020 \| (Stand: 05.03.2020) Bertus Cherry, Don Cherry Jam 4 tracks of previously unreleased Don Cherry material, including 3 new compositions. - Recorded in 1965, Copenhagen, Denmark. - True AAA pressing from the original tapes. (Analogue recording, analogue mix, analogue master) - A Gearbox Cut, meaning a premium pressing courtesy of Gearbox Records' vintage and modern mastering house, - 45rpm for optimised sound quality. - Hand numbered sleeves. - Limited pressing of 2000 Worldwide,LP 1Gearbox RecordsJAZZ GBRSD 1559 5060708610081 CH = Bertus / NO AT! Bertus CHURCH GOLD AFTERNOON FIX GOLD COLOURED VINYLLP 1REAL GONE MUSIC USAALT RGM 1016 0848064010166 AT = Major Babies / CH = Bertus Bertus CLEARLIGHT SYMPHONY CLEAR LIGHT SYMPHONYOPAQUE PINK VINYLLP 1CULTURE FACTORYPRG 783190 3700477831905 AT = Major Babies / NO CH! Bertus COLE, NAT KING WHEN I FALL IN LOVE CD HAS FULL ALBUM / / GOLD COLOURED VINYLLP 2CULTURE FACTORYJAZ 783189 3700477831899 AT = Major Babies / NO CH! Bertus CRADLE HISTORY"A vital document of one of the first bands to put serious cracks in rock's glass ceiling! Never able to fit the mold that label executives demanded, at the very end of 1969 the Quatro sisters' Pleasure Seekers became Cradle. Though ""the suits"" weren't ready for them, their forward-thinking sound and quintessentially Detroit determination blazed a trail for the decades of hard-rocking women who followed -- as did their choice to remain true to themselves, no matter what."CD 1MODERN HARMONICROC CDMH 209 0090771820921 AT = Major Babies / CH = Bertus Bertus CRADLE HISTORY"A vital document of one of the first bands to put serious cracks in rock's glass ceiling! Never able to fit the mold that label executives demanded, at the very end of 1969 the Quatro sisters' Pleasure Seekers became Cradle. Though ""the suits"" weren't ready for them, their forward-thinking sound and quintessentially Detroit determination blazed a trail for the decades of hard-rocking women who followed -- as did their choice to remain true to themselves, no matter what."LP 2MODERN HARMONICROC LPMH 8209 0090771820914 AT = Major Babies / CH = Bertus Bertus DREAD, MIKEY -PRODUCTION- HIS IMPERIAL MAJESTY10" / 120 GRAM AUDIOPHILE VINYL / DISCO SLEEVE FIRST TIME ON VINYL ANOTHER EXCLUSIVE MIKEY DREAD PRODUCTION; ALL TRACKS HAVE THAT SPECIAL MIKEY DREAD VIBE LIMITED EDITION OF 1000 NUMBERED CPS ON COLOURED VINYL: PRESSED ON RED VINYL, GOLD VINYL OR GREEN VINYL, DELIVERED AT RANDOM! RSD 2010" 1MUSIC ON VINYLREG MOV 10032 8719262014466 AT = Major Babies / CH = Bertus Bertus Düsseldorf Düsterboys, The Im Winter 10" INCL. 4 EXCLUSIVE TRACKS - LIMITED EDITION 300 PCS 10" 1 STAATSAKT FOLK STAAT 55209 4260437155209 AT = Major Babies / CH = Bertus Bertus ESCOVEDO, ALEJANDRO LA CRUZADAColoured Vinyl // This is Alejandro Escovedo's critically acclaimed album, The Crossing, with the vocals recorded in Spanish. It features guest vocalists, as well as Alejandro singing all of the songs from The Crossing in Spanish. This double vinyl LP will be pressed on colored vinyl.LP 2 YEP ROC LAT LPYEP 2716 0634457271616 AT = Major Babies / CH = Bertus Bertus EVANS, BILLSOME OTHER TIME - THE LOST SESSION FROM THE BLACK FOREST Back by overwhelming popular demand, the critically acclaimed 2016 Resonance release by jazz piano icon Bill Evans, 'Some Other Time: The Lost Session from the Black Forest', is available once again as a deluxe, exclusive Record Store Day limited-edition (of 6,000 copies worldwide) 180gram 2LP 2nd pressing newly remastered by renowned engineer Kevin Gray at Cohearant Audio, cut at 33 1/3 RPM and pressed by RTI. The extensive booklet includes essays by the acclaimed author Marc Myers and MPS studios engineer and studio manager Friedhelm Schulz; interviews with Eddie Gomez and Jack DeJohnette; plus previously unpublished photos by David Redfern, Giuseppe Pino, Jan Persson, and Hans Harzheim, including images taken at the actual June 20th session by German Hasenfratz.LP 2 RESONANCE JAZ HLP 9019B 0096802280283 AT = Major Babies / CH = Bertus Bertus EZRA COLLECTIVE Samuel L.Riddim / Dark Side RiddimGatefold Cover12" 1Enter The JungleJAZZ ETJ 008LP0194491972585 CH = Bertus / NO AT!Vertrieb Interpret Titel Info Format Inhalt Label Genre Artikelnummer UPC/EAN AT+CH (ja/nein/über wen?)Record Store Day 2020 (GSA) - 18.04.2020 \| (Stand: 05.03.2020) Bertus FEMININE COMPLEX LIVIN' LOVEINCL. Bonus Tracks // Features the original '69 album plus 11 originally unissued tracks!" "A road paving, agency grabbing, '69 girl group garage band trip! Nashville, 1966: five young girls teach themselves their instruments playing along to the radio. Initially named 'The Pivots' and by the end of '67 christened as The Feminine Complex, they were playing out and developing a local following including radio and television appearances. They created their own versions of popular songs, a style that reflected their need to express their own experience of girlhood. Gender bending 'boys' songs' they simply changed the lyrics, modifying the major characters and pronouns creating a space for themselves inside the music where they were able to become the agents of their own wishes, needs and desires. Come '68, they appeared on NBC's nationally syndicated Showcase '68, hosted by Lloyd Thaxton paving way to their cult status. It is not allegorical to say that in some way, they widened the entrance to the historical vacuum that a generation later would come to be filled by Riot Grrrl and rock 'n' roll camps for girls. The Feminine Complex were not just a good band because they were girls, or because they were the first girls. They are a good band because they are. Lucky for us, we have these recordings, so we can continue to hear why.CD 1MODERN HARMONICPSY CDMH 204 0090771820426 AT = Major Babies / CH = Bertus Bertus FEMININE COMPLEX LIVIN' LOVEFeatures the original '69 album plus 11 originally unissued tracks!" "A road paving, agency grabbing, '69 girl group garage band trip! Nashville, 1966: five young girls teach themselves their instruments playing along to the radio. Initially named 'The Pivots' and by the end of '67 christened as The Feminine Complex, they were playing out and developing a local following including radio and television appearances. They created their own versions of popular songs, a style that reflected their need to express their own experience of girlhood. Gender bending 'boys' songs' they simply changed the lyrics, modifying the major characters and pronouns creating a space for themselves inside the music where they were able to become the agents of their own wishes, needs and desires. Come '68, they appeared on NBC's nationally syndicated Showcase '68, hosted by Lloyd Thaxton paving way to their cult status. It is not allegorical to say that in some way, they widened the entrance to the historical vacuum that a generation later would come to be filled by Riot Grrrl and rock 'n' roll camps for girls. The Feminine Complex were not just a good band because they were girls, or because they were the first girls. They are a good band because they are. Lucky for us, we have these recordings, so we can continue to hear why.LP 2MODERN HARMONICPSY LPMH 8204 0090771820419 AT = Major Babies / CH = Bertus Bertus FIGHT A SMALL DEADLY SPACE RED & BLACK MARBLE VINYL LP 1REAL GONE MUSIC USAHM. RGM 1015 0848064010159 AT = Major Babies / CH = Bertus BertusFITZGERALD, ELLA & LOUIS ARMSTRONGVERY BEST OF GREEN VINYL / / CD HAS FULL ALBUMLP 2CULTURE FACTORYJAZ 783188 3700477831882 AT = Major Babies / NO CH! Bertus FLESHTONES FACE OF THE SCREAMING WEREWOLFLegendary garage rockers The Fleshtones have been pumping out hits for over four decades, earning them the honor of being "America's Garage Rock Band." They're one of the final remaining original CBGB bands, they've played on Andy Warhol's short-lived MTV show while Sir Ian McKellen read Shakespeare over their jamming, and were the last band to publicly perform at the World Trade Center's Windows on the World. However, what's most incredible about The Fleshtones is that they're putting out some of their best music yet forty years into their career, as evidenced by their new album Face of the Screaming Werewolf. Featuring soon-to-be-hits done in the inimitable Fleshtones style, such as "Alex Trebek," "Spilling Blood at the Rock & Roll Show," and their cover of the Stones' classic "Child of the Moon."CD 1 YEP ROC ROC CDYEP 2671 0634457267121 AT = Major Babies / CH = Bertus Vertrieb Interpret Titel Info Format Inhalt Label Genre Artikelnummer UPC/EAN AT+CH (ja/nein/über wen?)Record Store Day 2020 (GSA) - 18.04.2020 \| (Stand: 05.03.2020) Bertus FLESHTONES FACE OF THE SCREAMING WEREWOLFLIMITED RED VINYL // Legendary garage rockers The Fleshtones have been pumping out hits for over four decades, earning them the honor of being "America's Garage Rock Band." They're one of the final remaining original CBGB bands, they've played on Andy Warhol's short-lived MTV show while Sir Ian McKellen read Shakespeare over their jamming, and were the last band to publicly perform at the World Trade Center's Windows on the World. However, what's most incredible about The Fleshtones is that they're putting out some of their best music yet forty years into their career, as evidenced by their new album Face of the Screaming Werewolf. Featuring soon-to-be- hits done in the inimitable Fleshtones style, such as "Alex Trebek," "Spilling Blood at the Rock & Roll Show," and their cover of the Stones' classic "Child of the Moon."LP 1 YEP ROC ROC LPYEPX 2671 0634457267138 AT = Major Babies / CH = Bertus Bertus FLYIN' SPIDERZ FLYIN' SPIDERZ180 GRAM AUDIOPHILE VINYL INSERT DEBUT ALBUM FEATURING THE SINGLES "MOVIES" AND "STUPID PHOTOGRAPHS" 500 NUMBERED COPIES ON PINK VINYL LP 1MUSIC ON VINYLROC MOVLP 2662 0602508573255 AT = Major Babies / CH = Bertus Bertus FRUMPIES, THE FRUMPIE ONE PIECE / FRUMPIES FOREVER 7"Incl. Bonus 7" // The original Frumpie One Piece release was only on CD. It was a collection of tracks previously released over five 7" vinyls, from a Bikini Kill related band who were conceived of as a singles project. This vinyl release includes the songs from the CD as well as the one 7 inch that was released after the collection (Frumpies Forever 7"). The personnel of this band was 3/4 of Bikini Kill (Tobi Vail, Kathi Wilcox, Billy Karren), plus 1/3 of Bratmobile (Molly Neuman), and they were sometimes joined by Michelle Mae, who went on to be in The Make-Up and Weird War. The Frumpies were formed in Washington DC during the same 1991 summer that birthed the first Riot Grrrl zines and meetings, which the Frumpies dubbed Revolution Summer.LP + 7" 2KILL ROCK STARSPUN LPKRS 662 0759656066211 AT = Major Babies / CH = Bertus Bertus GLASS, PHILIP ESSENTIAL (BOX SET)180 GRAM AUDIOPHILE VINYL / RSD 20 DELUXE LIFT-OFF BOX SET WITH BLUE FOIL EMBOSSING 4 PRINTED INNERSLEEVES, 8-PAGE BOOKLET + GLOSSY PICTURE THE BEST / MOST MEMORABLE SELECTIONS FROM NAQOYQATSI, EINSTEIN ON THE BEACH, SATYAGRAHA, AKHNATEN, A.O. COLLABORATIONS WITH SUZANNE VEGA, YO-YO MA A.O. FIRST TIME ON VINYL / BLACK VINYL LIMITED EDITION OF 1.500 INDIVIDUALLY NUMBERED COPIESLP 4MUSIC ON VINYLCLS MOVCL 049 8719262012943 AT = Major Babies / CH = Bertus Bertus GOLDEN EARRING RADAR LOVE7"/DISCO SLEEVE/NEVER BEFORE RELEASED WITH THIS TRACKLISTING ONE OF THE BIGGEST DUTCH HITS EVER INCLUDES EXCLUSIVE "GOLDEN EARRING" ADAPTER 2500 NUMBERED COPIES ON YELLOW COLOURED VINYL/RSD 20 DISCO SLEEVE7" 1MUSIC ON VINYLROC MOV 7055 8719262013476 AT = Major Babies / CH = Bertus Bertus GONG LIVE! AT SHEFFIELD 1974GREEN & RED VINYLLP 2CULTURE FACTORYPRG 783177 3700477831776 AT = Major Babies / NO CH! Bertus Green, Al Green Is BluesDISC 1 1. One Woman 2. Talk To Me 3. My Girl 4. The Letter 5. I Stand Accused 6. Gotta Find A New World 7. What Am I Gonna Do With Myself 8. Tomorrow's Dream 9. Get Back Baby 10. Get Back 11. SummertimeLP 1 Fat Possum R&B FPH 15351 0767981153513 CH = Bertus / NO AT! Bertus HALLYDAY, JOHNNY LE PLUS GRANDS SUCCHS 5 COLOURS PER DISCLP 1CULTURE FACTORYR&R 783186 3700477831868 AT = Major Babies / NO CH!Vertrieb Interpret Titel Info Format Inhalt Label Genre Artikelnummer UPC/EAN AT+CH (ja/nein/über wen?)Record Store Day 2020 (GSA) - 18.04.2020 \| (Stand: 05.03.2020) Bertus HARDING, JOHN WESLEY MAN WITH NO SHADOWThe CD package includes the original album plus a bonus unheard band demos and studio outtakes, all previously unreleased. The Man With No Shadow First Edition restores the album to Wes's original vision. The audio has been remastered from the original tapes, and the package includes cover art from the original sessions and extensive liner notes. In May 2002, Disney pulled the plug on Mammoth Records just weeks before the June 25th release date of John Wesley Harding's The Man with No Shadow. No more than 300 hundred journalists received advance CDs of Harding's new record, while only a handful of radio stations received the single "Negative Love'. No other physical copies existed. Over the years those advance CDs have fetched untold hundreds of dollars from an eager fan base in search of Wes' great 'lost" album. Though many - but not all - of the songs ended up on 2004's Adam's Apple (DRT Records), which All Music Guide called 'the finest album of his career', those that did make the cut were in a jumbled running order. CD 1 YEP ROC ROC CDYEP 2676 0634457267626 AT = Major Babies / CH = Bertus Bertus HARDING, JOHN WESLEY MAN WITH NO SHADOWFirst Time on vinyl. The Man With No Shadow First Edition restores the album to Wes's original vision. The audio has been remastered from the original tapes, and the package includes cover art from the original sessions and extensive liner notes. The CD package includes the original album plus a bonus unheard band demos and studio outtakes, all previously unreleased. In May 2002, Disney pulled the plug on Mammoth Records just weeks before the June 25th release date of John Wesley Harding's The Man with No Shadow. No more than 300 hundred journalists received advance CDs of Harding's new record, while only a handful of radio stations received the single "Negative Love'. No other physical copies existed. Over the years those advance CDs have fetched untold hundreds of dollars from an eager fan base in search of Wes' great 'lost" album. Though many - but not all - of the songs ended up on 2004's Adam's Apple (DRT Records), which All Music Guide called 'the finest album of his career', those that did make the cut were in a jumbled running order. LP 2 YEP ROC ROC LPYEPX 2676 0634457267619 AT = Major Babies / CH = Bertus Bertus HAY, BARRY & JB MEIJERS ARTONE SESSIONLIVE DIRECT-TO-DISC SESSION RECORDED AT ARTONE STUDIO, HAARLEM FT. "IT'S NOT FOR YOU", "BLACK STAR", "I'M ON FIRE" AND "BLUE BAYOU" FEATURING DANNY VERA LIMITED EDITION OF 750 COPIES ON BLACK VINYL/RSD 2010" 1MUSIC ON VINYLROC MOV 10030 0602508473586 AT = Major Babies / CH = Bertus Bertus HOPPER, HUGH 1984 TRANSLUCENT RED VINYLLP 1CULTURE FACTORYPOP 783192 3700477831929 AT = Major Babies / NO CH! Bertus JAMES, BOBONCE UPON A TIME - THE LOST 1965 NEW YORK STUDIO SESSIONSLimited 180g Vinyl in DeluxeGatefold Set incl. extensive Booklet with Essays by jazz writer Mark Stryker (Jazz from Detroit) and engineer George Klabin; a new interview with Bob James by Zev Feldman, and 2011 interview with Bob Pozar by Hank Shteamer (Rolling Stone); plus rare archival photographs. Mastered by Bernie Grundman, cut at 33 1/3 RPM and pressed by RTI. Previously-unissued release of studio recordings from pianist Bob James captured with no audience at Wollman Auditorium in New York City in 1965 by Resonance founder and co-president George Klabin. This limited-edition (of 5,000 copies worldwide) 180g LP features James in two different trio settings - one from January 20, 1965 with bassist Larry Rockwell and drummer Bob Pozar, and one from October 9, 1965 with bassist Bill Wood and drummer Omar Clay - performing a mix of jazz standards and original compositions.LP 1 RESONANCE JAZ HLP 0712758040435 AT = Major Babies / CH = Bertus Bertus KEENAN, DAVID ALCHEMY & PROSE: LIVE RECORDINGSSILVER & WHITE SPLATTER VINYL // David Keenan’s burgeoning reputation has been greatly aided by the stellar, all-consuming intensity of his live gigs. Performing either solo or with other musicians, he is an eminently watchable story-teller with a passionate voice. This limited edition vinyl release for Record Store Day captures both the intimacy and excitement of his live work, collecting songs recorded at the Olympia Theatre, both in session and in concert at his recent sold out gig, plus live-in-the-studio tracks recorded in his hometown of Dundalk. Of the eight tracks featured, four of the songs - ‘Big Boys Must Cry’, ‘Bless The Mad Ones’, ‘Grace, A State’ and ‘Badlands’ - are brand new and exclusive to this release. ‘Alchemy & Prose: Live Recordings’ is released on white and silver splatter-effect vinylLP 1 RUBYWORKS ROC RWXLP 415 0194491975913 CH = Bertus / NO AT!Vertrieb Interpret Titel Info Format Inhalt Label Genre Artikelnummer UPC/EAN AT+CH (ja/nein/über wen?)Record Store Day 2020 (GSA) - 18.04.2020 \| (Stand: 05.03.2020) Bertus KID MOXIE BIG IN JAPANLIMITED PICTURE DISC 7" 1ATLANTIC CURVE/SCHUB ERT MUSICELE AC 001 4260472170298 CH = Bertus / NO AT! Bertus KNIGHT AREA D-DAYGATEFOLDLP 2BUTLER RECORDSROC BUR 340079 8718627231425 AT = Major Babies / CH = Bertus Bertus KOELEWIJN, PETER BEST I CAN GIVE IS STILL UNWORTHY OF YOU180 GRAM AUDIOPHILE VINYL / INSERT HIS PREVIOUSLY UNRELEASED ENGLISH ALBUM FROM 1977, FIRST TIME ON VINYL IN ENGLISH INCL THE, TRANSLATED FROM DUTCH, SONGS "FLIGHT 204 (ALS IK GOD WAS)", "YOU'RE GROWING OLDER PAPA (JE WORDT OUDER PAPA)" A.O. LIMITED EDITION OF 500 INDIVIDUALLY NUMBERED COPIES ON WHITE VINYL / RSD 20LP 1MUSIC ON VINYLROC MOVLP 2634 0602508435621 AT = Major Babies / CH = Bertus Bertus LOEB, LISA A SIMPLE TRICK TO HAPPINESS180G Vinyl in Deluxe Tip-On Jacket, Poster Insert!! // For the entirety of her nearly three-decade-long career, globally acclaimed singer-songwriter Lisa Loeb has been exploring a variety of styles of music, moving seamlessly between creating family- friendly albums, including her 2018 Grammy-winning Feel What U Feel, and adult- focused studio albums like Tails, Firecracker, and The Way It Really Is. It is her latest release, her fifteenth record to date, A Simple Trick To Happiness, that finds Loeb putting forth her most poignant and profoundly personal album in an exceptional body of work. LP 1 FURIOUS ROSE POP LPFRP 004 0634457008557 AT = Major Babies / CH = Bertus Bertus LOTHAR AND THE HAND PEOPL MACHINES: AMHERST 1969Recently unearthed final performance of the iconic theremin rock pioneers Lothar & The Hand People! Unique unissued takes forma a virtual greatest hits from a band with zero digital footprint! While technically live recordings, these takes rival the studio cuts and even include some completely unheard compositions that will finally reach the ears of the Hand fans. Who knew they could make a take on 'Machines' with more horsepower than any version you've heard!CD 1MODERN HARMONICPSY CDMH 053 0090771805324 AT = Major Babies / CH = Bertus Bertus LOTHAR AND THE HAND PEOPL MACHINES: AMHERST 1969Recently unearthed final performance of the iconic theremin rock pioneers Lothar & The Hand People! Unique unissued takes forma a virtual greatest hits from a band with zero digital footprint! While technically live recordings, these takes rival the studio cuts and even include some completely unheard compositions that will finally reach the ears of the Hand fans. Who knew they could make a take on 'Machines' with more horsepower than any version you've heard!LP 1MODERN HARMONICPSY LPMH 8053 0090771805317 AT = Major Babies / CH = Bertus Bertus METEORS TEENAGE HEART 180 GRAM AUDIOPHILE VINYL DEBUT ALBUM FEAT. A.O. THE SINGLES "MY BALLS ACHE", "IT'S YOU, ONLY YOU (MEIN SCHMERZ)" 500 NUMBERED COPIES ON TRANSPARENT YELLOW VINYL RSD 20LP 1MUSIC ON VINYLPsychobilly MOVLP 2648 0602508538742 AT = Major Babies / CH = Bertus Bertus MEW AND THE GLASS HANDED KITES180 GRAM AUDIOPHILE VINYL / GATEFOLD SLEEVE INCL. 12-PAGE BOOKLET WITH PICTURES AND LINER NOTES THE ORIGINAL 2005 ALBUM INCL. A.O. THE SINGLES "APOCALYPSO", "SPECIAL" & "WHY ARE YOU LOOKING GRAVE?" 10 BONUSTRACKS INCL "DROWN", "DARK DESIGN (RED VERSION) "WHEREFORE ARE YOU NOT THERE?" (UNRELEASED) A.O. LTD 15TH ANNIVERSARY EXPANDED EDITION OF 2500 NUMBERED COPIES ON BLACK & WHITE MARBLED VINYL/RSD 20LP 2MUSIC ON VINYLPRG MOVLP 2561 8719262012295 AT = Major Babies / CH = Bertus Bertus OSTBLACK MIRROR SMITHEREENS (Music By Ryuichi Sakamoto)180 GRAM AUDIOPHILE VINYL / PVC PROTECTIVE SLEEVE MUSIC FROM THE ORIGINAL TV SERIES UNIQUE SLEEVE DESIGN BY VISUAL ARTIST/AMBIENT MUSICIAN/ COMPOSER CARSTEN NICOLAI (ALVA NOTO) 1500 NUMBERED COPIES ON BLACK & WHITE MARBLED VINYL RSD 20LP 1MUSIC ON VINYLOST MOVATM 278 8719262014701 AT = Major Babies / CH = Bertus Bertus OST TURNING: KATE'S DIARY180 GRAM AUDIOPHILE VINYL/PVC PROTECTIVE SLEEVE/RSD 20 INCL. UNRELEASED SONG BY DAVID BOWIE; "AMERICAN LANDFILL FT. KRISTEEN YOUNG AND AN ACOUSTIC VERSION OF "MOTHER" BY COURTNEY LOVE. ALSO INCL. A SONG BY THE AUBREYS FT. STRANGER THINGS ACTOR FINN WOLFHARD MUSIC USED IN THE MOVIE THE TURNING, NOT FEATURED ON THE ORIGINAL SOUNDTRACK 2500 NUMBERED CPS ON DARK RED & BLACK MARBLED VINYLLP 1MUSIC ON VINYLOST MOVATM 279 8719262014848 AT = Major Babies / CH = Bertus Bertus PARABELLUM POST MORTEM LIVE RED/WHITE SPLATTER VINYL LP 2CULTURE FACTORYROC 831875 3700477831875 AT = Major Babies / NO CH! Bertus PARADISE LOST LIVE AT ROCKPALAST 1995180 GRAM AUDIOPHILE VINYL 6MM SLEEVE WITH EMBOSSED PARADISE LOST LOGO LIVE SHOW RECORDED AT BIZARRE FESTIVAL, GERMANY 19.08.1995 INSERT FIRST TIME ON VINYL 1500 NUMBERED COPIES ON WHITE VINYL RSD 20LP 2MUSIC ON VINYLHVM MOVLP 2636 8719262013322 AT = Major Babies / CH = Bertus Bertus PERKINS, CARL LIVE IN PARIS - The Last European ConcertBLUE VINYL / THE LAST EUROPEAN CONCERT / 2LP + FLEXI, BOTH BLUE COLOURED BLUE SUEDE SHOES EDITION.2LP+Flexi 3CULTURE FACTORYR&R 783180 3700477831806 AT = Major Babies / NO CH!Vertrieb Interpret Titel Info Format Inhalt Label Genre Artikelnummer UPC/EAN AT+CH (ja/nein/über wen?)Record Store Day 2020 (GSA) - 18.04.2020 \| (Stand: 05.03.2020) Bertus PONTIAC, MARVIN ASYLUM TAPESFirst Time On Vinyl!! // 'Marvin Pontiac was anonymously sent a 4 track tape recorder during the years he was held at Esmerelda State Mental Institution. This is what he did with it.' This was the sole statement accompanying the release of Marvin Pontiac: The Asylum Tapes, the first release in 17 years by John Lurie's alter ego Marvin Pontiac. Coming to prominence during the no wave era as part of NYC's notorious Lounge Lizards and starring in Jim Jarmusch's film Down By Law, Lurie's quirky compositions under the Pontiac pseudonym have developed a legendary reputation from fans and critics alike. Though Asylum Tapes was initially shared with the world in 2017, Northern Spy is proud to bring it to the vinyl medium for the first time in 2020.LP 1 NORTHERN SPY EXP LPNS 123 0309272738001 AT = Major Babies / CH = Bertus Bertus POP, IGGY KISS MY BLOOD (Live In Paris 1991) TRIPLE RED/SPLATTER VINYLLP 3CULTURE FACTORYROC 783178 3700477831783 AT = Major Babies / NO CH! Bertus PRESLEY, ELVIS ELVIS PROHIBITED! RED/YELLOW SPLATTER VINYL / BEST SONGS OF HIS FIRST 3 MOVIES!LP 2CULTURE FACTORYR&R 783185 3700477831851 AT = Major Babies / NO CH! Bertus PRESLEY, ELVIS ROCK & ROLL COLLECTIONFIRST 5 FRENCH EP'S COMPILED / MIXED COLOURS PER VINYL COPYLP 1CULTURE FACTORYR&R 783184 3700477831844 AT = Major Babies / NO CH! Bertus RUSSELL, GENE NEW DIRECTION CLEAR WITH HEAVY BLACK SWIRL VINYLLP 1REAL GONE MUSIC USAJAZ RGM 1018 0848064010180 AT = Major Babies / CH = Bertus Bertus Skyzoo & Pete Rock Retropolitan (Instrumentals)SIDE 1 1. Men Like Us (inst) 2. Glorious (inst) 3. Truck Jewels (inst) 4. Carry The Tradition (inst) 5. (inst)Homegrown 6. It's All Good (inst) SIDE 2 1. Ten Days (inst) 2. Richie (inst) 3. Penny Jerseys (inst) 4. One Time (inst) 5. Eastern Conference All-Stars (inst) 6. The Audacity of Dope (inst)LP 1Mello Music GroupHIPHOP/RAP MMGINS 001341 0843563125342 CH = Bertus / NO AT! Bertus SLOWDIVE SLOWDIVE EP180 GRAM AUDIOPHILE VINYL / 45RPM JACKET WITH SPECIAL DELUXE ALUBRUSH FINISH FT. THE SONGS "AVALYN I" & "AVALYN II" + THE TRACK "SLOWDIVE" LIMITED 30TH ANNIVERSARY EDITION OF CRITICALLY ACCLAIMED DEBUT EP 4000 NUMBERED COPIES ON GREEN & BLACK MARBLED VINYL RSD 2012" 1MUSIC ON VINYLPOP MOV 12009 8719262012455 AT = Major Babies / CH = Bertus Bertus SMITHER, CHRIS MORE FROM THE LEVEE This is Chris Smither's first vinyl release since the 70's. // In 2013, Chris Smither returned to his hometown of New Orleans to record a retrospective of his five decade career with an all star band including the legendary Allen Toussaint. The sessions were especially productive, resulting in the double CD release Still On The Levee in 2014. There were more than a dozen songs that couldn't fit on the original release, and they are collected here on More From The Levee.12" 1SIGNATURE SOUNDSFOL LPSIG 7035 0701237703527 AT = Major Babies / CH = Bertus Bertus SOFT BOYS I WANNA DESTROY YOU / NEAR THE SOFT BOYSUltra-rare releases as a limited edition gatefold double 45. Both titles have never been reissued. "I Wanna Destroy You" has become an anthem in today's political climate and features the rare disco version of "I'm an Old Pervert" on it's b-side. Near The Soft Boys features two Hitchock-penned originals - "Kingdom of Love" and "Strange" - as well as a cover of Syd Barrett's "Vegetable Man".7" 2 YEP ROC PSY SIYEP 2693 0634457269316 AT = Major Babies / CH = Bertus Bertus SPACEHOG RESIDENT ALIEN CREAM WITH PINK SPLATTER VINYLLP 2REAL GONE MUSIC USAROC RGM 1014 0848064010142 AT = Major Babies / CH = Bertus Bertus SUGARHILL GANG SUGARHILL GANG 180 GRAM AUDIOPHILE VINYL GATEFOLD SLEEVE THEIR CLASSIC ALBUM WITH THE SINGLE VERSION OF " "RAPPER'S DELIGHT" AS AN EXCLUSIVE BONUS TRACK 40TH YEAR ANNIVERSARY EDITION 1500 NUMBERED COPIES ON YELLOW VINYL / RSD 20LP 1MUSIC ON VINYLDAN MOVLP 1933 8719262004351 AT = Major Babies / CH = Bertus Bertus SUMY FUNKIN' IN YOUR MIND180 GRAM AUDIOPHILE VINYL/45RPM/12" IN DISCO SLEEVE MUCH SOUGHT AFTER RARE DUTCH FUNK 12-INCH INCLUDES LONG AND SHORT VERSION REMASTERED FROM THE ORIGINAL TAPES 1500 NUMBERED COPIES ON TRANSPARENT BLUE VINYL RSD 2012" 1MUSIC ON VINYLDAN MOV 12010 0602508609763 AT = Major Babies / CH = Bertus Bertus TANGERINE DREAM TYGER YELLOW VINYL LP 1CULTURE FACTORYELE 783179 3700477831790 AT = Major Babies / NO CH!Vertrieb Interpret Titel Info Format Inhalt Label Genre Artikelnummer UPC/EAN AT+CH (ja/nein/über wen?)Record Store Day 2020 (GSA) - 18.04.2020 \| (Stand: 05.03.2020) Bertus TEAM DRESCH CHOICES, CHANCES, CHANGESPINK VINYL // Pressed on colored vinyl and the vinyl edition will be exclusive to RSD 2020.LP 1JEALOUS BUTCHERPUN LPJBR 0177 0843563117057 AT = Major Babies / CH = Bertus Bertus THE THE I WANT 2 B UThe new 7” vinyl single by THE THE A-side: 'I WANT 2 B U' Mixed by Grammy award winner Craig Silver B-side: 'Velvet Muscle Scream' Mixed by Grammy award winner Matt Lawrence Mastered by Matt Colton at Metropolis Studios. Matt was awarded the Music Producers Guild (MPG) Mastering Engineer of the year award in 2018 and 2013. 'I WANT 2 B U' and Velvet Muscle Scream are taken from the forthcoming feature film Muscle, the critically acclaimed new film by Gerard Johnson which recently premiered at the London Film Festival. Lead actor Cavan Clerkin picked up the best actor award at the prestigious Tallinn Film Festival in November 2019. 'I WANT 2 B U' is the first song Matt Johnson has written and recorded using the quirky Omnichord instrument since 1983’s 'This Is The Day'. The single features artwork by Matt’s late brother Andy Dog who also designed all of the early THE THE single and album sleeves. This is the first single THE THE have released since 2017’s 'We Can’t Stop What’s Coming', which proved to be one of the big successes of RSD17.7" 1 CineolaROCK ENGLISCHSPRACHIGCINE 103 0787099971564 CH = Bertus / NO AT! Bertus TRES VAMPIRES TRES VAMPIRES LIMITED BLOOD RED VINYL / download card included LP 1 SCHOOLKIDS GOT LPSMR 063 0634457007116 AT = Major Babies / CH = Bertus Bertus URINE, JIMMY & SERJ TANKIAN FUKTRONIC A COLLABORATION BETWEEN JIMMY URINE (MINDLESS SELF INDULGENCE) & SERJ TANKIAN (SYSTEM OF A DOWN) 180 GRAM AUDIOPHILE VINYL/VINYL ONLY RELEASE/RSD 20 GATEFOLD SLEEVE/PRINTED INNERSLEEVE THE ULTIMATE SOUNDTRACK FOR THE BRITISH GANGSTER FILM SUPPORTED BY FANTASTIC GRAPHICS LIMITED EDITION OF 2.500 INDIVIDUALLY NUMBERED CPS ON BLUE MARBLED (SOLID BLUE, WHITE & BLACK MIXED) VINYLLP 1MUSIC ON VINYLELE MOVLP 2695 8719262014497 AT = Major Babies / CH = Bertus Bertus V/ABEHIND THE DYKES - BEAT, BLUES AND PSYCHEDELIC NUGGETS FROM THE LOWLANDS 1964 - 1972180 GRAM AUDIOPHILE VINYL / GATEFOLD SLEEVE / RSD 20 BEHIND THE DYKES - BEAT, BLUES AND PSYCHEDELIC NUGGETS FROM THE LOWLANDS 1964 - 1972 (DECCA) INCL RARE SONGS FROM SHOCKING BLUE, THE OUTSIDERS, THE HAIGS, DRAGONFLY, THE FOOL, POPERA, MODESTY BLAISE, AO PRINTED INNERSLEEVES WITH LINER NOTES, PHOTOS & CREDITS LIMITED EDITION OF 3000 INDIVIDUALLY NUMBERED COPIES ON YELLOW (LP1) AND TURQUOISE (LP2) VINYLLP 2MUSIC ON VINYLPOP MOVLP 2692 0600753898703 AT = Major Babies / CH = Bertus Bertus V/A STUDIO ONE: FROM THE VAULTS VOL.2 CD 1 STUDIO ONE REG CDSOR 020 0634457902022 AT = Major Babies / CH = Bertus Bertus V/A STUDIO ONE: FROM THE VAULTS VOL.2 2LP + 12" 2LP + 12" 3 STUDIO ONE REG LPSOR 020 0634457902015 AT = Major Babies / CH = Bertus Vertrieb Interpret Titel Info Format Inhalt Label Genre Artikelnummer UPC/EAN AT+CH (ja/nein/über wen?)Record Store Day 2020 (GSA) - 18.04.2020 \| (Stand: 05.03.2020) Bertus Various Artists Hi Tide Groove1. Contact Off Funk - Larry "T-byrd" Gordon 2. Love Ritual - Al Green 3. Come to Mama - Ann Peebles 4. The Love You Left behind - Syl Johnson 5. Somebody's On Your Case - Ann Peebles 6. Into Something (Can't shake Loose) - O.V. Wright 7. Stepchild - Veneice 8. Slipped, Tripped, And Feel In Love - Ann Peebles 9. Satisfactorize Your Mind - Africano 10. Open Your Herats Pts. 1&2 - Africano 11. Back Into Your Heart - Majik 12. Full Of Fire - Al Green 13. She's Miss Wonderful - Bobby McClure 14. Let Them Know You Care - George Jackson 15. Little Things - Phillip Mitchell 16. Look At The Boy - Jean Plum 17. It's Your Thing - Ann Peebles 18. Get Back Baby - Al Green 19. My Babe - Willie Mitchell 20. I don't Lend My Man - Ann Peebles 21. Love come Wicked - Iota 22. No One Else Pts. 1&2 - Odyssey 23. Where's Your Love Been - Donna Rhodes 24. Pour On The Loving - Jean Plum 25. Mon Belle-Amour - Ann Peebles feat. Don BryantLP 2 Fat Possum R&B FPH 17441 0767981174419 CH = Bertus / NO AT! Bertus VERLAINES DUNEDIN SPLEENDunedin Spleen' is The Verlaines first studio album in over 7 years. Featuring a blistering and brilliant 19 tracks, this double-LP will be exclusively released on Record Store Day 2020 via North Carolina indie, Schoolkids Records. Limited edition colored vinyl, gatefold 2xLP, download card includedLP 2 SCHOOLKIDS ROC LPSMR 060 0634457834217 AT = Major Babies / CH = Bertus Bertus WATT, MIKE & THE SECONDME IN QUINTESSENCE This is the first time Mike's version of "In Quintessence" has ever been released and will be available as a 45 single, with the vocal version on the A-side and the instrumental version on the B-side, for Record Store Day 2020.7" 1 YEP ROC PUN SIYEP 2720 0634457272071 AT = Major Babies / CH = Bertus Bertus Who, The A Quick Live OneRed/White/Blue Striped Vinyl // The Who live at the Monterey International Pop Festival! LP 1The Monterey International Pop Festival FoundationROC MIPF 19676 0194491663711 CH = Bertus / NO AT! Bertus WILLSON-PIPER, MARTY NIGHTJARNightjar is Marty Willson-Piper's (the church, All About Eve, Noctorum) 8th studio album originally released in 2008. First time on Vinyl! Limited colored vinyl, with new artwork design on inside gatefold. Download card included.LP 1 SCHOOLKIDS POP LPSMR 061 0634457007093 AT = Major Babies / CH = Bertus Bertus WISHBONE ASH LIVE DATES II YELLOW & BLUE VINYL LP 2CULTURE FACTORYROC 783183 3700477831837 AT = Major Babies / NO CH! Bertus YOUNG FRESH FELLOWS TOXIC YOUTHThe Young Fresh Fellows are back with an electric new toaster, Toxic Youth. Remember their 1989 anthem 'Two Guitars Bass & Drums'? Well, nothing has changed, except everything. Hopes have been dashed, but the men still love music. Subtitled Back To The Egg, the Fellows return to where it all began, with one last roundup at the infamous Egg Studios, Seattle WA, produced once again by Conrad Uno (who also struck gold with The Presidents Of The United States Of America). When heard that Uno was closing up his studio and retiring from the limelight, the band grabbed a last weekend to record a couple songs (they had THREE in various shape of decomposition). A couple days later there were 17 tracks, of which 12 were deemed PERFECT. 'Gear Summer 2013' is Everything-Is-Falling-Apart-In-Three-Minutes, and was planned to be a smash summer single ' in 2013 (amazingly, things have gotten worse). The Buzzcocks and Rezillos concur. 'Never Had It Bad' heralds the spring with blue jays and more sad punk- pop problem-solving, Ramones-style. And don't miss the heart-rending saga of a rock and roll band(s) (#47 in a series) 'Bleed Out'.LP 1 YEP ROC POP LPYEPX 2722 0634457272231 AT = Major Babies / CH = Bertus Best Music World ROBYN ROBYN 2LP Gatefold, 180 Gramm, Red Colored, Downloadcard LP 2 Embassy O Punk KOR062 0602508509544 Best Music WorldVertrieb Interpret Titel Info Format Inhalt Label Genre Artikelnummer UPC/EAN AT+CH (ja/nein/über wen?)Record Store Day 2020 (GSA) - 18.04.2020 \| (Stand: 05.03.2020) Broken Silence ABWÄRTS Computerstaat / Amok Koma (Lim.Ed./Clear Vinyl)RSD-Edition des Debütalbums "Amok Koma" plus 5-Track-EP "Computerstaat" im streng limitierten Clear-Vinyl-Doppel-12"-Format (500 Exemplare weltweit). "Computerstaat / Amok Koma (Lim.Ed.)" erscheint auf OFF YA TREE RECORDS.LP 2Off Ya Tree RecordsPunk/Wave LP 07187 4250137271873 GSA Broken Silence B-FAX feat. ROZI PLAIN B-Fax B-FAX is the project of JAMIE WHITBY-COLES, best known for his drumming with THIS IS THE KIT, ROZI PLAIN and THE LIFTMEN. Featuring vocals by ROZI PLAIN. LP 1 Disco-Ordination Indie LP 21967 GSA Broken Silence BOLT RUIN ObriultnA destructive compilation curated by BOLT RUIN. Will be released on Record Store Day (18 April) 2020 through our electronic imprint Circuits. BOLT RUIN writes the soundtrack to overgrown industrial wastelands. Destructive signal paths seek the threshold where sound sources collapse beyond repair. The remaining debris is reconstructed into the pillars of dense compositions. Layers of grainy textures, deteriorated tape-loops and warped voices collide with fractured rhythms and thunderous bass. BOLT RUIN shredded all tracks of his self-titled debut (album) to pieces & constructed a new composition out of the debris. In the same manner, he invited five artists to let their inspiring approach to destructive sound-design crash with his source-material. These processes resulted in six completely new productions. Bands included in the compilation: BOLT RUIN, OBSEQUIES, PIANO PRINCESS, FAUSTO MERCIER, JULEK PLOSKI & SIAVASH AMINI. Mastering by Jeremy Cox, additional mixing by Glide Studios. POINTS OF INTEREST: (Dutch) "Een ratelende speelgoedgitaar gaat de strijd aan met een kapotte printplaat." - Knack Focus (Dutch on the debut album) "Op zijn album geeft Linden het abstracte karakter van aftakeling een gelaat, getekend door rouwende melancholie. Het koude mechanische [ het cilinderslot op de album cover ] wordt op een zinderende manier verweven met melodie die voor een broeierig geheel zorgt. De weg richting het zwarte gat biedt op die manier een zekere troost." - Indiestyle For fans of: Forest Swords, Ben Frost, The Haxan Cloak, Raime, Holy Others, Vessel, Orphax, Lustmord...LP 1 Circuits Electronica LP 22901 GSA Broken Silence GOLDIE LOOKIN CHAIN Original Pyrite Material (Gold Coloured Vinyl)Gold vinyl, limited edition of 500 copies worldwide. The best hip hop group from a small town in South Wales are back . Newport's GOLDIE LOOKIN CHAIN'S latest album on limited edition gold vinyl for RSD. Once again GLC skilfully combine beats, rhymes and swearing to create the ultimate collection of rap essentials to play loud in your car, on your boom box or just to annoy your mum.LP 1 1983 HipHop LP 22851 GSA Broken Silence INN HOUSE CREW, THE Something Special THE INN HOUSE CREW is a nucleus of top musicians including VIN GORDON - the legendary trombone player from STUDIO ONE and BOB MARLEY & THE WAILERS - and Grammy winner guitarist JIMMY HAYNES. Here they have produced a collection of instrumentals in various styles - jazz, afro beat, reggae soul n funk,LP 1 Room In The Sky Reggae LP 21970 GSA Broken Silence KRAAN Finkenbach Festival 2005Der legendäre Auftritt der Krautrocklegende KRAAN feat. HELLMUT HATTLER, PETER WOLBRANDT, JAN FRIDE und INGO BISCHOF beim Finkenbach Festival 2005 Limitierte Auflage im grün-farbigen Vinyl-Format (500 Exemplare weltweit) erschient auf 36MUSIK.LP 2 36Music Krautrock LP 21875 4260186850851 GSA Broken Silence MORRICONE, ENNIO Giallo Criminale (Yellow Vinyl)Limited Yellow Vinyl (499 copies). This compilation wants to highlight the more dramatic, frenetic, criminal, tense and oneiric musical aspect that in many films and musical influences, has accompanied the characteristic cinematographic and literary genre called “GIALLO”. Contains famous song "here's to you" with JOAN BAEZ, "Rabbia Tarantella" (TARANTINO's Inglourious Basterds), "Chi Mai", "Ninna Nanna in Blu ( DARIO ARGENTO' s The Cat o' Nine Tails) and "Outsider". LP 1 Rustblade Soundtrack LP 22495 GSAVertrieb Interpret Titel Info Format Inhalt Label Genre Artikelnummer UPC/EAN AT+CH (ja/nein/über wen?)Record Store Day 2020 (GSA) - 18.04.2020 \| (Stand: 05.03.2020) Broken SilenceNORTH SEA RADIO ORCHESTRA I Am Moon (Lim.Ed./Red Vinyl) Das dritte Album (2011) der britischen Formation NORTH SEA RADIO ORCHESTRA erstmalig im Vinyl-Format erhältlich (500 Exemplare weltweit / rote Vinyl-Edition). E- Musik / Minimal trifft auf kammermusikalische Folkklänge, Progressive-Artrock, Electronia und Poetry. Für alle Fans von PENGUIN CAFÉ ORCHESTRA, MICHAELNYMAN, HIGH LLAMAS oder INCREDIBLE STRING BAND. „I Am Moon" erscheint auf THE HOUSEHOLD MARK.LP 1 The Household Mark LP 21968 GSA Broken SilenceREEDY, WINSTON/THE INN HOUSE CREW Black Pearl WINSTON REEDY is a renowned Jamaican reggae singer, known for his numerous number one hits as a solo artist and lead singer for top reggae band THE CIMARONS. Here is a collection of original and classic cover versions of hit songs. He is joined here by THE INN HOUSE CREW, consisting of many top flight musicians including VIN GORDON - the legendary trombone player from STUDIO ONE and BOB MARLEY & THE WAILERS, and numerous other top players. The vinyl LP comes in a lovely hand silk screen printed jacket.LP 1 Room In The Sky Reggae LP 21969 GSA Broken Silence SIMONETTI, CLAUDIO Demon35 Anniversary Edition. Original Soundtrack 7" von CLAUDIO SIMONETTI (GOBLIN) zum Kultfilm „Demons“ von LAMBERTO BAVA. Limited Silver Mask Vinyl (499 Copies). 7" 1 Rustblade Soundtrack 7" 22496 GSA Broken Silence Various Artists Sireena Jubilee Single Box (5 Singles)Single Box. Limitiert auf 300 Stück Single 1 A ELEMENT OF CRIME "Motorcycle Song" B THE PERC MEETS THE HIDDEN GENTLEMAN "Man-I-Toba" Single 2 A RUMBLE ON THE BEACH "Purple Rain" B THE PERC MEETS THE HIDDEN GENTLEMAN "Chainsmoker's Thrill" Single 3 A FRANZ K. "Wir haben Bock auf Rock" B ZOFF "Gimme Gummi" Single 4 THE ELECTRIC FAMILY A "The Inca Cosma Fudge Pt. 1" B "The Inca Cosma Fudge Pt. 2" Single 5 A IRON HORSES "I Like It Dirty And Need It Filthy" B ABERRATIONS "Aftermath"7" 5 Sireena V.A. 7" 22607 GSA Deutsche Austrophon GmbH & Co. KGPink Cream 69 Games People PlayLimited Vinyl Edition (180 g Pressung, pinkes Vinyl)Vinyl LP 1 DA Records Metal/Rock 877574-2 4002587757427 Deutsche Austrophon GmbH & Co. KGRobert Schroeder Harmonic AscendantLimited Vinyl Edition (180 g Pressung)Vinyl LP 1 Racket Records Pop 15020 4002587015206 Deutsche Austrophon GmbH & Co. KGSilent Circle No. 1Limited Vinyl Edition (180 g Pressung, blaues Vinyl)Vinyl LP 1 DA Records Pop 877575-2 4002587757526 Deutsche Austrophon GmbH & Co. KGStraight Shooter My Time, Your TimeLimited Vinyl Edition (180 g Pressung)Vinyl LP 1 Sky Records Rock 034 4002587003425 Edel Abdullah Ibrahim Dream Time (RSD) Die LP zum Erfolgsalbum welches nur auf CD erhältlich war! Ltd. LP 1 Enja Jazz 1096761EY2 063757967613 GAS Edel Barney Wilen & Alain Jean-Marie Montréal Duets180 g,unveröffentlichte Tracks, enthält Inhalte von Pascal Anquetil (Jazz Magazine) & Brian Morton (Penguin Guide To Jazz)LP 1 Elemental Jazz 8435395502921 GAS Edel Chet Baker Young Chet 3LP Boxset limitiert auf 200 EH Ltd. 3LP Boxset 3 Elemental Jazz 1019476EL2 8436569194768 GAS Edel Deep Purple Whoosh! Streng limitierte 10" Vinyl-Single Ltd. 10" Vinyl-Single 1 earMUSIC Hard Rock 0214891EMU 44029759148913 GAS Edel Dexter Gordon Quartet Live in Chateauvallon 1978 7" Single zum RSD 2020 Ltd. 7" Single 1 Elemental Jazz 1050286EL1 8435395502853 GAS Edel Duran Duran A Diamond In The Mind - Live 2011 (Ltd. 2LP)Streng limitierte Pink (transparent) Doppel-LP im Gatefold // Inkl. LP-Bonus-Track "Is There Something I Should Know?"Ltd. 180g 2LP 2earMUSIC CLASSICSNew Wave / Synth- Pop0213047EMX 4029759130475 GAS Edel Enders Room Dear World (RSD) LP lang vergriffen - jetzt exklusiv zum RSD 2020! Ltd. LP 1 Enja Jazz 1077991EY1 767522779912 GAS Edel Gamma Ray Heading For Tomorrow (Ltd. turquoise 2LP)Streng limitierte türkise Doppel-LP im Gatefold Ltd. 180g 2LP 2 earMUSIC Heavy Metal / Power Metal0214880EMU 4029759148807 GAS Edel Gamma RayHeaven Can Wait / Who Do You Think You Are? (Ltd. White 10")Streng limitierte weiße 10" Vinyl-SingleLtd. 10" Vinyl-Single 1 earMUSIC Heavy Metal / Power Metal0214887EMU 4029759148876 GAS Edel John Mayall & The Bluesbreakers Padlock On The Blues (Ltd. White 2LP)Erstmals auf Vinyl / Streng limitierte weiße 2LP im GatefoldLtd. 180g 2LP 2earMUSIC CLASSICSBluesrock / Blues 0214852EMX 4029759148524 GAS Edel Manowar Kings Of Metal (RSD2020) Coloured LP zum RSD limitiert auf 250 EH! Ltd. LP 1 Listenable Heavy Metal 1084471LIR 724754213768 GAS Edel Manowar Triumph Of Steel (RSD2020) Coloured LP zum RSD limitiert auf 250 EH! Ltd. 2LP 2 Listenable Heavy Metal 1084472LIR 724754213775 GAS Edel Manowar Fighting The World (RSD2020) Coloured LP zum RSD limitiert auf 250 EH! Ltd. LP 1 Listenable Heavy Metal 1084470LIR 724754213720 GASVertrieb Interpret Titel Info Format Inhalt Label Genre Artikelnummer UPC/EAN AT+CH (ja/nein/über wen?)Record Store Day 2020 (GSA) - 18.04.2020 \| (Stand: 05.03.2020) Edel Miles Davis The Complete Cookin' Sessions 4LP Boxset limitiert auf 200 EH Ltd. 4LP Boxset 4 Elemental Jazz 1019475EL2 8436569194751 GAS Edel Nils Landgren Funk Unit Live in Stockholm (RSD)Doppel LP, inkl. Download Code, das Album ist erstmals bei ACT vor 25 Jahren auf CD erschienenLtd. 2LP 2 ACT Jazz 1092231ACT 614427922311 GA Edel Ron Carter Stockholm (RSD)Dopppel LP, 2 bisher unveröffentlichte Bonus Tracks (über 20 Minuten), weltweit limitiert auf 1999, Handsigniert und nummeriert / limitiert auf 250EH für GAS Ltd. 2LP 2 In & Out Jazz 1071391IO2 798747713917 GAS Edel Stratovarius Infinite (Ltd. Light Blue/Purple 2LP)Streng limitierte farbige 2LP im Gatefold / LP1 = Hellblau, LP2 = LilaLtd. 180g 2LP 2 earMUSIC Power Metal / Symphonic Metal0214882EMU 4029759148821 GAS Edel The Jimmy Giuffre 3 & 4 The New York Concerts180 g, Deluxe Gatefold Edition, unveröffentlichte Tracks, enthält Anmerkungen von Philippe Carles & Bob BlumenthalLP 2 Elemental Jazz 8435395502945 GAS Edel The Pineapple Thief Uncovering The Tracks (RSD) Rote Coloured LP zum RSD 2020! Limitiert auf 100EH! Ltd. LP 1 Kscope Prog Rock 1080531KSC 802644805313 GAS Edel YesSongs From Tsongas (Yes 35th Anniversary Concert) (Ltd. Yellow/Orange/Red/Light Blue 4LP)Erstmals auf Vinyl / Streng limitierte farbige 4LP im Gatefold / LP1 = Gelb, LP2 = Orange, LP3 = Rot, LP4 = Hellblau) // Seite H = EtchedLtd. 180g 4LP 4earMUSIC CLASSICSProgressive Rock 0214312EMX 4029759143123 GAS GOODTOGOAlpha & Omega Meets The DisciplesThe Sacred Art Of Dub, Vol.1 (White LP) (RSD20)LP-Erstveröffentlichung des Kollabo-Meisterwerks "The Sacred Art Of Dub" der beiden UK-Dub-Legenden Alpha & Omega und The Disciples, das 1998 nur auf CD erschien. Die 14 CD-Tracks wurden auf 2 LPs "Vol.1+2" verteilt, jede LP enthält einen zusätzlichen unveröffentlichten Bonustrack. Beide LPs erscheinen in limitierter Auflage auf weißem Vinyl.LP 1 MANIA DUB DUB MD017 8713748986056 DE+AT GOODTOGOAlpha & Omega Meets The DisciplesThe Sacred Art Of Dub, Vol.2 (White LP) (RSD20)LP-Erstveröffentlichung des Kollabo-Meisterwerks "The Sacred Art Of Dub" der beiden UK-Dub-Legenden Alpha & Omega und The Disciples, das 1998 nur auf CD erschien. Die 14 CD-Tracks wurden auf 2 LPs "Vol.1+2" verteilt, jede LP enthält einen zusätzlichen unveröffentlichten Bonustrack. Beide LPs erscheinen in limitierter Auflage auf weißem Vinyl.LP 1 MANIA DUB DUB MD018 8713748986063 DE+AT GOODTOGO Ambros/Tauchen/Prokopetz Der Ur-Watzmann (RSD20)"Der Watzmann ruft" ist eines der legendärsten Alben der österreichischen Popgeschichte. Entstanden 1974, ist es ein Mittelding aus Song-Kollektion, Hörspiel und Musical - Autor Manfred Tauchen und die Mitstreiter Wolfgang Ambros und Joesi Prokopetz nannten es selbst "Rustical". Das hat mit dem Szenario zu tun: ein alpines Bergbauern-Drama vor der Kulisse der Alpen. Nicht ganz ernst gemeint, aber wirkungsvoll: bislang wurden über 250.000 Exemplare des denkwürdigen Hörstücks verkauft, ab den achtziger Jahren des vorigen Jahrhunderts wurde es im deutschsprachigen Raum immer wieder auch live aufgeführt; für 2020 ist die definitiv letzte Bühnen-Inszenierung mit Wolfgang Ambros geplant. Der Ur-Watzmann, quasi eine erste kürzere Skizze, lief 1972 als Live-Hörspiel auf dem ORF-Popsender Ö3; der Mitschnitt galt lange als unauffindbar. Es darf als kleine Sensation gewertet werden, dass dieses Dramolett nun auf einer limitierten 10 Inch- Schallplatte dokumentiert wurde.10" 1SCHALLTER / MONKEY.AUSTRO POP SCHALL036 9008798319459 DE+AT+CH GOODTOGO Amorphous Androgynous A Monster Psychedelic Bubble (Ltd 180g LP) (RSD20)Amorphous Androgynous, die psychedelische Supergroup um Future Sound Of London, verarbeitet den neuen Track "We Persuade Ourselves We Are Immortal" (aus dem kommenden Album) innerhalb ihrer legendären Serie "A Monstrous Psychedelic Bubble Exploding in Your Mind" in vielfältigen Versionen zu einem sampledelischen Multiversum-Trip allererster Güte. Zu den beteiligten Musikern gehören Peter Hammill, Paul Weller und Mitglieder der Spencer Davis Grouop, Ian Gillan Band und Soft Machine. Kollabos und Remixes kommen von Atomic Simao, Higher Peaks, Regal Worm, u.a. Limitierte & nummerierte Auflage auf 180g Vinyl.LP 1 FSOL DIGITAL ELECTRONIC LPRSDTOT77 5013993996958 DE+AT+CH GOODTOGO Awesome Dre You Can't Hold Me Back (RSD20)In den späten 80er Jahren gehörte der Detroiter Rap-Pionier Awesome Dre zu den ersten, die aus dem Mittleren Westen auf die nationale Szene stürmten. Mit seiner Mischung aus Politik und Hardcore bot er eine einzigartige Perspektive und Stimme auf dem Höhepunkt der goldenen Ära des Hip-Hop. Eine Stimme, die nicht vor Kontroversen zurückschreckte, indem sie Detroits Platz in der Welt des Hip-Hop behauptete. Enthält eine Download-Karte für das gesamte Album und drei exklusive Bonus-Cuts. Präsentiert auf transparentem roten Vinyl mit OBI-Streifen.LP 1 BLOCGLOBAL HIP HOP BGBSR0001VLP 860000923347 WW GOODTOGO Ben Lee Grandpaw Would (25th Anniversary Del. Ed.)(RSD20)Anniversary Reissue zum 25. Jubiläum von Grandpaw Would, dem Debüt-Soloalbum von Ben Lee, ursprünglich erschienen 1995 bei Grand Royal. Auf LP 1 das gesamte Album in remasterter Fassung. Die zweite Scheibe ist eine Mischung aus Covern, Demos, bisher unveröffentlichten Aufnahmen sowie Songs von einer EP und 7” Single. Ebenfalls enthalten ein hochwertiges Booklet mit Testimonials von u.a. Mike D (Beastie Boys), Damian Abraham (Fucked Up) und Sean Tillman (Har Mar Superstar). Gepresst auf Birthday Cake Splatter Vinyl.LP 2PIAS/NEW WEST RECORDSSINGER/SONGWRIT ER39147801 0607396538218 DE+ATVertrieb Interpret Titel Info Format Inhalt Label Genre Artikelnummer UPC/EAN AT+CH (ja/nein/über wen?)Record Store Day 2020 (GSA) - 18.04.2020 \| (Stand: 05.03.2020) GOODTOGO Ben Watt With Robert Wyatt Summer Into Winter (Ltd. 12") (RSD20)Ben Watt, die eine Hälfte von Everything But The Girl, arbeitete 1982 für diese wunderbare EP mit Robert Wyatt zusammen. Fünf Indie-Pop-Perlen - erstmal seit über 30 Jahren wieder erhältlich als limitierte RSD-Edition auf türkisfarben-transparentem Vinyl.12" 1 CHERRY RED ROCK 12CHERRY524 5013929152465 DE+AT GOODTOGO Black Ark Players Guidance (Picture Disc) (RSD20)Erstmalig als Single erscheint der gesuchte Tune "Guidance" als Limited Edition Picture Disc mit Artwork / Original-Graffiti von Lee Perrys legendärem Black Ark Studio!- "Guidance" ist ein Jah Shaka Soundsystem Favorit der von den Black Ark Players (aka The Upsetters) in den späten '70er eingespielt wurde. Ein Sammlerstück und ein Vorgeschmack auf die im Mai erscheinenden Re-Issues von "Black Ark In Dub" und "Black Ark Vol.2". 12" 117 NORTH PARADEREGGAE VP6654 054645665414 EU GOODTOGO Bob Mould Circle Of Friends (RSD20 180Gr. Coloured 2-Vinyl)2006 spielte Bob Mould diesen Gig der als 'Circle Of Friends' Konzertfilm auf DVD erschien. Erstmalig erscheint nun eine Vinyl-Edition dieser Aufnahme. Neben diversen Solo-Nummern spielte Bob Mould natürlich auch Klassiker seiner Bands Sugar und Hüsker Dü. 180 Gr. Doppel-Vinyl und Coloured Vinyl!LP 2DEMON RECORDSALTERNATIVE DEMREC 660 5014797902350 DE+AT+CH GOODTOGO Bobby Moore / Sweet Music (Call Me Your) Anything Man / I Get Lifted (RSD20)Zwei Disco-Raritäten des Scepter/Wand-Labels als exklusive und limitierte Soul Brother- Reissue: Bobby Moores nur als limitiertes Acetate erschienene 12" Version seines Meisterwerks "(Call Me Your) Anything Man" (1975) als kommerzielle Erstveröffentlichung. Zusammen mit dem Disco-Hit "I Get Lifted" von Sweet Music, des Background-Vocal-Trios der KC & The Sunshine Band, das hier erstmals auf 12" vinyl erscheint.12" 1 SOUL BROTHER DISCO 12RSDSBT15 5013993996156 DE+AT+CH GOODTOGO Bombs Of Hades Phantom Bell (Ltd. Red LP + Etched Side/RSD20)Schwedischer Death-Metal mit Motörhead-artig und doomigen Stil mit Crust-Wurzeln - exlkusive rote LP mit Etched B-Seite zum RSD!LP 1SOUND POLLUTION / BLACK LODGE RECORDSDEATH METAL BLOD144LP01 0200000082529 DE+AT GOODTOGO Caribou Swim (LTD Marbled Orange/Red 2LP RSD20)10 Jahre nach Erstveröffentlichung erscheint Caribous "Swim" Album als limitierte Record Store Day Edition im marmoriertem orang-roten Vinyl! Inklusive der Hits "Odessa und "Sun"!LP 2 CITY SLANG ELECTRONIC SLANG50275X 4250506835262 WW GOODTOGO Charles Mingus Mingus Ah Um Redux (RSD20)DOPPEL LP IN EINEM KLAPPCOVER MIT AUFNAHMEN, DIE NOCH NIE ZUVOR AUF VINYL VERÖFFENTLICHT WURDEN! Mingus Ah Ähm, das Debüt des Künstlers für Columbia aus dem Jahr 1959 ist eines der konsequentesten Alben im Jazz oder jedem anderen Genre. Die Veröffentlichung ist Teil der Library of Congress National Recording Registry und wurde in die Grammy Hall of Fame aufgenommen. "Goodbye Pork Pie Hat", "Boogie Stomp Shuffle", "Open Letter To The Duke"...die Veröffentlichung ist vollgepackt mit Klassikern und ist bis heute eine Bestseller-Veröffentlichung. Für den Record Store Day 2020 präsentiert Get On Down Ah Um Redux, die komplette Ah Um-Platte, wie Sie sie kennen und lieben, mit einer zweiten LP mit alternativen Takes aus der Session, die bisher nicht auf Vinyl veröffentlicht wurden.LP 2 GET ON DOWN JAZZ GET51339LP 664425133912 WW GOODTOGO Charly Coombes All In The End Is Harvest (Ltd. 200g LP) (RSD20)Limitierte Erstauflage des vierten Albums des britischen Rockmusikers Charly Coombes (Mitglied von Supergrass, The New Breed und 22-20s). Aufgenommen in Sao Paolo, Brasilien, mit Musikerkollegen von Supergrass und Ride, ist "All In The End Is Harvest" ein organischer, warmherziger und komplexer Ansatz eines modernen Rock'n Roll- Albums. Limitierte & nummerierte Auflage auf 200g Superheavyweight-Vinyl.LP 1 FINYL VINYL ALTERNATIVE 12FVP20201 5065002115201 DE+AT+CH GOODTOGO Chuck Mosley First Hellos And Last Goodbyes (RSD20)GEPRESST AUF AQUABLAUEM VINYL, VERPACKT MIT EINEM DELUXE-OBI-STREIFEN UND MIT EINER DOWNLOAD-KARTE FÜR DAS GESAMTE ALBUM! Chuck Mosley (ex Faith No More & Bad Brains) mit einer Live-Sammlung von Songs, inkl. Dem brandneuen Track „ Blue Heart“!LP 1 BLOCGLOBAL ROCK BGOG0001VLP 860000923316 WW GOODTOGO Clint Eastwood & General Saint Stop That Train/Talk About Run (Col)+ Game (RSD20)Das renommierte Greensleeves Label präsentiert einen wahren Gimmick und Sammlerstück für alle Reggae und HipHop Fans: Ein Brettspiel für 2 bis 4 Personen plus 7-Inch Single die im Dunkeln leuchtet. Die beiden MCs bzw. das Deejay Duo Clint Eastwood & General Saint landeten in 1983 mit "Stop That Train" einen veritablen Hit in England und Kontinentaleuropa, hier erstmalig auf einer Single mit "Talk About Run", der Single von 1981 aus dem Album "Two Bad D.J.". 7" 1 GREENSLEEVES REGGAE VPGS7073 054645707374 EUVertrieb Interpret Titel Info Format Inhalt Label Genre Artikelnummer UPC/EAN AT+CH (ja/nein/über wen?)Record Store Day 2020 (GSA) - 18.04.2020 \| (Stand: 05.03.2020) GOODTOGO Clutch The Obelisk (Boxset/RSD20)Exklusiv zum RSD! "The Obelisk" ist ein außergewöhnlich umfangreiches Vinyl Box Set der Band Clutch. Hier finden sich alle auf dem bandeigenen Weathermaker Music Label bis dato veröffentlichten Alben: 6 Doppel LP's, 3 reguläre LP's und 3 Picture Discs. Hinzu kommt eine Plattentellerauflage und ein von allen Bandmitgliedern unterzeichneter Kunstdruck. Die Box schließt magnetisch und der silberne Foliendruck auf schwarzem Sierra Tuch gibt dem ganzen Paket etwas Besonderes. Dies ist ein Sammlerstück von dem es weltweit nur 1,000 Einheiten gibt. LP 18WEATHERMAK ER MUSICROCK WM085 857018008012 EU GOODTOGO Coogans Bluff The C-Side of Metronopolis (Black Vinyl-4-Track C-Seite, aber keine Überbleibsel, sondern fette Rocksongs, die ungewohnt straight für das Quintett sind. Treibend, tanzbar und ohne den freifliegenden Prog- oder Fusion-Rock-Anteil !LP 1 NOISOLUTIONAlternative - GarageNOIS 100RSD 4051579010019 DE+AT GOODTOGO Corb Lund Cover Your Tracks (RSD20)Eine EP mit 8 Coversongs. Darunter Stücke von u.a. Lee Hazlewood, Billy Joel, Marty Robbins and AC/DC. Bisher nur auf CD erhältlich, jetzt endlich auch auf Vinyl. 12" 1PIAS/NEW WEST RECORDSROCK 39147790 0607396534319 DE+AT GOODTOGO Craig Finn All These Perfect Crosses (RSD20)Schwarze Doppel-LP mit B-Seiten und alternativen Versionen von Craig Finn's vorhergehenden drei Alben Faith In The Future (2015), We All Want The Same Things (2017) und I Need A New War (2019).LP 2PIAS/PARTISAN RECORDSALTERNATIVE 39147781 0720841218319 DE+AT GOODTOGO Damien Jurado Birds Tricked Into The Trees (RSD20)Limitiertes hellblaue 7inch Vinyl mit der neuen Single 'Birds Tricked Into The Trees' und exklusiver B-Seite 'From Devils To Davis'. RSD exklusiv!7" 1 LOOSE MUSICSINGER/SONGWRIT ERVJS131RSD 5029432013179 WW GOODTOGO Dave Pike Jazz For The Jet Set (RSD20)Mit seinem Debüt für Atlantic im Jahr 1966 hat der Jazz-Vibraphonist und Marimbaspieler Dave Pike mit einer All-Star-Besetzung eine perfekte Mischung aus Jazz, Latin, Soul und R&B geschaffen, die sich bewährt hat. Produziert von Pikes häufigem Mitarbeiter Herbie Mann, zeigte "Jazz for the Jet Set" einen jungen Herbie Hancock an der Orgel (ein Instrument, das er selten wieder spielte), Clark Terry an der Trompete, Billy Butler an der Gitarre, Grady Tate am Schlagzeug und viele andere talentierte Musiker. Mit dieser offiziellen Neuauflage mit freundlicher Genehmigung von Nature Sounds ist "Jazz For The Jet Set" nun wieder auf Vinyl in limitierter Auflage erhältlich, solange der Vorrat reicht.LP 1NATURE SOUNDSJAZZ NSD815LP 822720781515 DE+AT GOODTOGO Devil's Witches Guns, Drugs and Filthy Pictures (Ltd. 10"/RSD20)Devil's Witches feiern ihr 3 jähriges Bestehen mit dieser exklusiven black/pink splattered Vinyl 10" 1SOUND POLLUTION / MAJESTIC MOUNTAINPSYCHEDELIC ROCK MMR008 7350074242053 DE+AT GOODTOGO Dinosaur Jr. Swedish Fist - Live (Ltd. Colour Edition) (RSD20)Mitschnitt des Auftritts der legendären US-Band beim Vattenfestival in Stockholm 1997. Limitierte RSD-Edition auf 'orange brown colour' Vinyl. LP 1 CHERRY RED ROCK PBRED798 5013929179813 DE+AT GOODTOGO Dissection Somberlain (Ltd. Blue 2LP + Etched Side/RSD20)Einen mehr als nur soliden Grundstein für ihre Unsterblichkeit legten DISSECTION bereits mit ihrem 1993er-Debüt - neu aufgelegtes Sammlerstück als blaue Vinyl mit Etched B-Side!LP 1SOUND POLLUTION / BLACK LODGE RECORDSDEATH METAL BLOD018DLP01 0200000082390 DE+AT GOODTOGO DJ Cam Quartet The Essential (Green LP) (RSD20)Die besten Tracks des DJ Cam Quartet aus den beiden Klassikeralben "Rebirth Of Cool" (2008) und "Diggin'" (2009) plus das exklusive, bislang unveröffentlichte "So What". Limitierte LP auf grünem Vinyl.LP 1DIGGERS FACTORYELECTRONIC UVN19003 3760300310601 DE+AT+CH GOODTOGO Doctor Who The Massacre (RSD20 180Gr. Parisian Blaze 2Vinyl)Eine weitere Doctor Who-Story aus den Tiefen der BBC-Archive. Die ursprünglich 1966 im TV gezeigten Folgen sind komplett verloren gegangen und existieren nur noch als Tapes. Auf zwei 180 Gr. LPs ('Parisian Blaze Vinyl') kann man das Abenteuer des Doctors in Paris im Jahr 1572 nachhören.LP 2DEMON / EDSELSPECIAL INTEREST DEMWHO 003 5014797902046 DE+AT+CH GOODTOGO Don Shinn Departures (RSD20 180Gr. Deluxe 2LP+7inch)Nachdem Shinn einige Singles mit den Soul Agents veröffentlicht hatte, spielte er im Dez. 1967 sein Debütalbum ein, dem 1969 dann das von Jazz (Stan Tracey war beteiligt) beeinflusste 'Departures' folgte. Der von seiner explosiven Orgel geprägte Progrock war u.a. Vorbild für Keith Emerson. Der RSD-Release kommt als Deluxe-LP mit Hand- nummeriertem Flipback-Cover, Bonus 7"(drei Songs) , und großem 12-seitigem Booklet. 180 Gr. und schwarzes Vinyl!LP 2 SUNBEAM PSYCHEDELIC ROCK SBMLP 5108 5051125510825 DE+AT GOODTOGO Don Shinn Don Shinn (RSD20 180Gr. Deluxe 2LP+7inch)Nachdem Shinn einige Singles mit den Soul Agents veröffentlicht hatte, spielte er im Dez. 1967 sein Debütalbum ein. Der von seiner explosiven Orgel geprägte Progrock war u.a. Vorbild für Keith Emerson. Der RSD-Release kommt als Deluxe-LP mit Hand nummeriertem Flipback-Cover, Bonus 7", und großem 12-seitigem Booklet. 180 Gr. und schwarzes Vinyl!LP 2 SUNBEAM PSYCHEDELIC ROCK SBMLP 5107 5051125510726 DE+ATVertrieb Interpret Titel Info Format Inhalt Label Genre Artikelnummer UPC/EAN AT+CH (ja/nein/über wen?)Record Store Day 2020 (GSA) - 18.04.2020 \| (Stand: 05.03.2020) GOODTOGO Dr.John Remedies (RSD20)Mardi Gras Splatter Vinyl! Auf den Fersen des sozialbewussten Babylons angekommen, markierte Dr. Johns Album Remedies aus dem Jahr 1970 seine dritte Studioveröffentlichung unter seiner exzentrischen, Voodoo-inspirierten "Night Tripper"- Persönlichkeit, und seine erste, die nicht von Harold Bapttiste produziert wurde, sondern sich stattdessen an den berühmten Rockproduzenten Tom Dowd wandte. Mit einer psychedelischen und progressiven Version von Dr. Johns charakteristischem Stil des sumpfigen, verschwommenen New Orleans Boogie-Woogie-Rock.LP 1 GET ON DOWN ROCK GET52735LP 664425273519 WW GOODTOGO Dusty Kid A Raver's Diary (2LP+MP3/RSD20)"A Raver's Diary" war mit seinen groovigen Techno-Beats und magischen Melodien ein Meilenstein in den Nuller Jahren. Kurz nach dem 10-jährigen Jubiläum bietet Isolade eine neu gemasterte Veröffentlichung auf Doppel-Vinyl anlässlich des Record Store Days an, die einen Download-Code für das Album sowie neue Remixe, neue Versionen und alle B-Seiten aus den Maxi-Veröffentlichungen der "A Raver's Diary"-Ära enthält. LP+MP3 2 ISOLADE ELECTRONIC ISOLA010 8021965990139 DE+AT GOODTOGO Edith Sitwell/William Walton Façade (RSD20)10” mit Seltenheitswert… Ein wirklich rares Stück, das neben dem Originalartwork von Kultkünstler Jim Flora auch aus einem 12-seitigem Booklet besteht mit Texten von Edith Sithwell, einer exzentrischen britischen Dichterin, die u.a. auch von The Smiths’ Frontmann Morrissey verehrt wird.10" 1PIAS/MOOCHI N ABOUTKLASSIK 39147810 5051083145145 DE+AT GOODTOGO Ennio Morricone Peur Sur La Ville (OST) (RSD20)Ennio Morricones Soundtrack für den französischen Film "peur Sur La Ville" aus dem Jahr 1975 wurde zum ersten Mal auf Doppel-Vinyl inklusive einer 2Nd Lp-Prämie neu aufgelegt. Genehmigt von Ennio Morricone und von den Originalbändern neu gemastert mit Liner Notes von den Musikerkollegen Am und Jb Dunckel (Air). Diese Sonderausgabe enthält die 1975 veröffentlichte Originalpartitur sowie eine zweite Vinyl im Wert von Boni, die noch nie auf Vinyl erschienen sind. Dazu gehören zwei Titel, die nach 45 Jahren ihr offizielles Debüt geben. Ennio Morricones Zusammenarbeit mit dem französischen Regisseur Henri Verneuil kommt der des Maestro mit Sergio Leone sehr nahe. Aus dieser fruchtbaren Zusammenarbeit gingen zahlreiche Klassiker hervor, darunter The Sicilian Clan (1969), Le Casse (1971), Le Serpent (1973) und I Comme Icare (1979). Peur Sur La Ville aus dem Jahr 1975 ist wahrscheinlich der Höhepunkt ihrer Zusammenarbeit und zweifellos eine der besten Partituren von Morricone. Der Thriller mit Jean Paul Belmondo war in Frankreich ein großer Blockbuster-Hit, und Morricones Soundtrack wurde ebenso berühmt. LP 1WEWANTSOUN DSSOUNDTRACK WWSLP28 3700604722809 DE+AT+CH GOODTOGO Entombed Clandestine - Live (Ltd. Gold 2LP+Poster/RSD20)Entombed's Klassiker neuaufgelegt als limited Gold 2LP + Poster! LP 2SOUND POLLUTION /THREEMAN RECORDINGSDEATH METAL TRE032LP01 0200000070120 DE+AT GOODTOGO Fallen Angels Paradise Lost (RSD20 180Gr. Deluxe 2LP+Poster)Zwei Alben brachte die Band aus Washington 1967 und 1968 auf den Markt. The Fallen Angeles haben seitdem Kultstatus unter Psych-Kennern. Für den exklusive RSD-Release wurden ein bislang unveröffentlichter Live-Gig und diverse Outtakes und Demos zusammengestellt, u.a. ursprünglich für ein drittes, angedachtes Album. Doppel-LP im Gatefold-Sleeve mit großformatigem Booklet und Repro eines Vintage-Posters!LP 2 SUNBEAM PSYCHEDELIC ROCK SBMLP 5111 5051125511129 DE+AT GOODTOGO Far East Family Band Nipponjin (RSD20 180Gr. Orange Vinyl)Zur Besetzung der Band gehörte bei Entstehung des Albums der spätere New Age Composer Kitaro, während den Mix Klaus Schulze von Tangerine Dream übernahm. An dessen Stamm-Band orientierte sich auch die Far East Family Band. Natürlich mit weiteren Anleihen bei Pink Floyd. In Julian Cope's Japan-Rock-Bibel ganz weit oben angesiedelt, kommt das Album zum RSD nun in Hand-nummeriertem Sleeve. 180 Gr. und Orange Vinyl!LP 1 AOZORAPROGRESSIVE ROCK – ART ROCKAZLP 2001 8271983200127 DE+AT+CHVertrieb Interpret Titel Info Format Inhalt Label Genre Artikelnummer UPC/EAN AT+CH (ja/nein/über wen?)Record Store Day 2020 (GSA) - 18.04.2020 \| (Stand: 05.03.2020) GOODTOGO Fehlfarben Monarchie Und Alltag (Live) (RSD20)Laut "Rolling Stone" ist es "das wichtigste deutsche Popalbum aller Zeiten". Erschienen ist das Werk 1980: "Monarchie und Alltag" von Fehlfarben. Das Debut der Düsseldorfer Punk/Wave-Combo hat nachfolgende Entwicklungen wie etwa die "Hamburger Schule" oder die gegenwärtige Post-Punkwelle mit Bands wie Messer und Die Nerven maßgeblich beeinflusst. Auch "Spex", das Zentralorgan der deutschsprachigen Pop- Intelligenzia, reihte das Opus folgerichtig auf Rang 15 der "100 besten Platten des 20. Jahrhunderts". Nach mehr als fünfdreißig Jahren, wurde "Monarchie und Alltag" von den Original- Bandmitgliedern, allen voran Sänger Peter Hein, komplett, originalgetreu und ungekürzt wieder auf die Bühne gewuchtet. Die vorliegende Aufnahme - das komplette Album live in der Original-Titelreihenfolge - stammt aus dem Dezember 2016 und begründete im Zakk in Düsseldorf das Live-Format "Lieblingsplatte". Fehlfarben präsentieren sich hier als kompetente, spielfreudige, immer noch macht- und kraftvolle Interpreten ihrer eigenen Legende.LP 1SCHALLTER / MONKEY.NEW WAVE SCHALL035 9008798319435 DE+AT+CH GOODTOGO Fischer-Z S.I.T Annexe (12"EP)(RSD20)Drei Outtakes von den Aufnahmesessions zu Swimming In Thunderstorms, dem aktuellen Album der Band um John Watts von 2019. Jetzt erstmals erhältlich. 12" 1 PIAS/SO-REAL NEW WAVE 39147780 5051083156387 DE+AT GOODTOGO Flamin' Groovies Live At The Whiskey A Go-Go ‘79 (Red LP) (RSD20)Reissue des Livealbums aus 1979 der US-Rockband Flamin' Groovies aus San Francisco, die aufgrund ihrer rebellischen und antizyklischen Haltung zu gängigen Musiktrends nie großen kommerziellen Erfolg, aber dafür legendären Kultstatus erlangten. Sie gelten als Wegbereiter der Power-Pop und für viele auch des Punk und New Wave. Limitierte LP auf transparent-rotem Vinyl.LP 1DIGGERS FACTORYROCK LOLITA5037LP 3760300310588 DE+AT+CH GOODTOGO Francis Lai Made In France (Transparent Blue LP) (RSD20)Reissue des legendären Easy Listening-Klassikers "Made In France" (1972) des französischen Komponisten Francis Lai, weltberühmt für seine "Love Story" und "Bilitis" Soundtracks und als Songschreiber für Stars wie Charles Aznavour, Dalida, Marie Laforet, Mirelle Mathieu, Francoise Hardy, Johnny Hallyday, Patricia Kaas, Yves Montand, Edith Piaf, Petula Clark und Nana Mouskouri. Limitierte LP auf transparent- blauem Vinyl.LP 1DIGGERS FACTORYEASY LISTENING PL2003450LP 3760300310618 DE+AT+CH GOODTOGO Freddie Gibbs & Madlib Pinata: The 1974 Version (RSD20)Diese LP-Edition von "Piñata" wurde von Metropolis Mastering in London für höchste Klangtreue mit halber Geschwindigkeit gemastert und in einem Blaxploitation-Cover exklusiv für den Record Store Day 2020 untergebracht . Diese Single-LP-Version von Piñata, dem gefeierten Rap-Album aus dem Jahr 2014, mit Features von Mac Miller, Earl Sweatshirt, Raekwon, Scarface, Domo Genesis, Ab-Soul und vielen anderen.LP 1MADLIB INVAZIONHIP HOP MMS041LP 989327004116 WW GOODTOGO Future Sound Of London Cascade 2020 (Ltd. Numbered 180g LP) (RSD20)Future Sound Of London veröffentlichen zehn neue Versionen, Rekonstruktionen und Interpretationen ihres Top-30-Charthits "Cascade" aus dem Jahr 1993. Limitierte & nummerierte Auflage auf 180g Vinyl.LP 1 FSOL DIGITAL ELECTRONIC LPRSDTOT78 5013993997054 DE+AT+CH GOODTOGO Gaston My Queen (Ltd. Hand Numbered LP) (RSD20)Soul Brother präsentiert die erste Vinyl-Reissue eines der legendärsten Klassiker des Funk: das Debütalbum "My Queen" (1978) des Disco-Funk-Septetts Gaston aus Atlanta, Georgia, mit 7 zeitlosen Funk-Tracks, darunter den später gesampleten Tunes "Clap Song" und "My Dreams". Limitierte und nummierte LP-Auflage. Ein Heiliger Gral für alle Black Music-Sammler.LP 1 SOUL BROTHER FUNK LPSBRSD3 5013993997252 DE+AT+CH GOODTOGO Gemma Ray Lights Out Zoltar! (10th Anniversary Ed.)(RSD20)Exklusive nur am Record Store Day erhältliche limitierte Neuauflage von Gemma Ray’s zweiten, längst vergriffenen Solo-LP “Lights Out Zoltar!”. Aufgenommen und produziert zuhause in London mit Michael J Sheehy (Dream City Film Club, Miraculous Mule). Pinkes Vinyl. Mit der beiligenden Downloadkarte erhält man Zugriff auf zusätzliche bisher unveröffentlichte Tracks.LP+MP3 1PIAS/BRONZER ATROCK 39147811 5051083155069 DE+AT GOODTOGO Gene Rising For Sunset (RSD20 180Gr. Orange 2-Vinyl)Die Band brachte zwischen 1995 und 2001 vier Alben heraus und konnte 10 Songs in den UK Top 40 platzieren. Das gleichnamige Live-Album wurde 2000 im Troubador, Los Angeles mitgeschnitten und ist erstmalig auf Vinyl erhältlich! 180 Gr. Doppel-LP, Orange Vinyl!LP 2DEMON RECORDSBRIT POP DEMREC 664 5014797902404 DE+AT+CHVertrieb Interpret Titel Info Format Inhalt Label Genre Artikelnummer UPC/EAN AT+CH (ja/nein/über wen?)Record Store Day 2020 (GSA) - 18.04.2020 \| (Stand: 05.03.2020) GOODTOGO Georg Danzer / Garish Weisse Pferde (RSD20)"Weisse Pferde" gehört zu den großen Erfolgen Georg Danzers in Deutschland und bescherte dem Wiener Liedermacher sogar einen Auftritt in der ZDF-Hitparade. Die burgenländische Band Garish, eine regionale Größe etwa in der Art von Element of Crime, hat "Weisse Pferde" nicht einfach nur nachgespielt, sondern mit Respekt und viel Gefühl zu einem Garish-typischen Lied verwandelt. Auch auf dieser stark limitierten Single - Sammlerstück-Alarm! - sind beide Versionen zu hören.7" 1SCHALLTER / MONKEY.AUSTRO POP SCHALL033 9008798319411 DE+AT+CH GOODTOGO Georg Danzer / Marianne Mendt (Komm) Alter Pianospieler (RSD20)Alle Jahre wieder veröffentlichen wir - in Zusammenarbeit mit Blacky Schwarz, dem ehemaligen Manager von Georg Danzer - speziell zum Record Store Day Sammlerstücke für Fans des Wiener Liedermachers. 1974 produzierte Georg Danzer beim bekannten Produzenten (u.a. Wolfgang Ambros, Opus) Peter Müller acht Liedervorschläge für Marianne Mendt. Darunter auch "Alter Pianospieler", der nach einer musikalischen Überarbeitung von Richard Österreicher als "Komm, alter Pianospieler" zu einem der bekanntesten Lieder der Austropop-Pionierin Marianne Mendt wurde. Hier sind beide Versionen zu hören.7" 1SCHALLTER / MONKEY.AUSTRO POP SCHALL034 9008798319428 DE+AT+CH GOODTOGO Gerry Beckley Discovering America (RSD20)Aufgenommen im Juni 1970 in den Morgan Studios in Willesden NW London, wo Gerry Beckley als Tonbandmusiker arbeitete, also sind dies Stücke, die er mit Hilfe von einheimischen Musikern und wahrscheinlich Dan Peek, der zu diesem Zeitpunkt in London war, kurz vor ihrer Gründung von Amerika mit Dewey Bunnell aufgenommen hat. Amerika nahm dann im selben Studio 'Horse with No Name' auf. Erstmals veröffentlicht auf sammelbarer 10"-Vinyl mit einer CD-Version.10"+CD 1MORGAN BLUE TOWNPSYCHEDELIC ROCK BT5022 5036436124220 DE+AT+CH GOODTOGO Halo Let Me Do It / Life (Ltd. Numbered 12") (RSD20)Exklusive Reissue des Halo Boogie-Klassikers "Let Me Do It" (1981) als Re-Edit der Extended Version. Die Flipside enthält die Halo Single "Life" (1988) als neuer, exklusiver und Rockgitarren-freier Re-Edit. Halo waren ein mehrköpfiges Soul/Boogie-Kollektiv der US-Westküste. Limitierte und handnummerierte 12".12" 1 EXPANSION FUNK 12RSDHALO1 5019421104780 DE+AT+CH GOODTOGO Heptones Back on Top (Colored LP/RSD20)Das Original-Album wurde 1983 veröffentlicht. Jetzt wiederveröffentlicht auf 180 Gramm RED Vinyl + Innentasche mit umfassenden Sleeve Notes. Musiker - The Roots Radics: ; Bass: Errol ‘Flabba’ Holt & Robert ‘Robbie’ Shakespeare ; Drums: Lincoln Valentine ‘Style’ Scott ; Lead Guitar: Eric ‘Bingy Bunny’ Lamont ; Rhythm Guitar: Eric ‘Bingy Bunny’ Lamont ; Piano: Wycliffe ‘Steely’ Johnson & Winston ‘Brubeck’ WrightLP 1BURNING SOUNDSREGGAE BSRLP900 5036436124329 DE+AT+CH GOODTOGO Hitchhikers Guide To The Galaxy The Original Albums (RSD20 180Gr. Coloured Vinyl)Nach dem großen Erfolg des Hörspiels der BBC schrieb Douglas Adams diese Adaption für zwei Schallplatten die 1980 erstmalig erschienen. Das mit exzellentem Cast eingespielte Hörspiel erscheint nur exklusiv für den RSD nochmal als wertig aufgemachtes 3LP-Set inkl. Coloured Vinyl!LP 2DEMON RECORDSHÖRSPIEL DEMREC 635 5014797902053 DE+AT+CH GOODTOGOHolger Czukay, Jaki Liebezeit, Jah WobblA Full Circle (Triple-Gatefold 2x10") (RSD20)Limitierte, DJ-freundliche 2x10" Sonderauflage mit Versionen von 4 Tracks aus Holger Czukays Postpunk-Platte "Full Circle" (1982), einer Kollaboration mit Jaki Liebezeit (Can) und Jah Wobble (PiL), die Czukay zu seinen Favoriten zählte. 6-seitiges Gatefold im 10" Format mit farbigem 10" Beileger. Sammlerstück!10" 2 GRÖNLAND KRAUTROCK LPGRON165 5060238632997 WW GOODTOGO Hugo Montenegro Hugo In Wonder-Land (RSD20)Hugo Montenegro war ein produktiver Komponist und Orchesterleiter, der in den 1960er- und 1970er-Jahren vor allem für die Herstellung dynamischer Film- und Fernsehtonspuren bekannt war. Zusätzlich zu den Originalkompositionen nahm der gebürtige New Yorker auch viele einzigartige Interpretationen zeitgenössischer Werke anderer Künstler auf. 1974 veröffentlichte Montenegro "Hugo In Wonder-Land", seine Interpretation des Katalogs der Musikikone Stevie Wonder. Das Album ist vollständig instrumental und bietet eine völlig neue Perspektive auf die gefeierten Originale von Wonder. Montenegros üppige Arrangements und Moog-lastige elektronische Elemente sorgen für einen genreübergreifenden Klassiker, für den sich Stevie Wonder selbst eingesetzt hat. Nach Jahren der Vergriffenheit ist "Hugo In Wonder-Land" nun wieder auf Vinyl in limitierter Auflage erhältlich.LP 1NATURE SOUNDSFUNK NSD821LP 822720782116 DE+AT GOODTOGO Humble Pie Official Bootleg Collect. Vol.2 (Ltd. 2LP) (RSD20)Limitierte 180g Doppel-Vinyl-Album-Edition im Gatefold Sleeve zum RSD 2020 - die besten Tracks der legendären Humble Pie von vier Konzerten aus den Jahren 1971 bis 1981.LP 2 CHERRY RED ROCK HNELP101D 5013929920118 DE+AT GOODTOGO Iggy Pop & The Stooges Russia Melodia (Transparent Red 7“) (RSD20)Drei Songs von Iggy Pop & The Stooges, aufgenommen 1973 in ihrer Heimatstadt Detroit, mit der rohen und wilden Energie des Quartetts aus Iggy Pop, den beiden Asheton-Brüdern (Ron & Scott) und James Williamson. Limitierte 7" auf transparent- rotem Vinyl.7" 1DIGGERS FACTORYROCK REV200370EP 3760300310571 DE+AT+CHVertrieb Interpret Titel Info Format Inhalt Label Genre Artikelnummer UPC/EAN AT+CH (ja/nein/über wen?)Record Store Day 2020 (GSA) - 18.04.2020 \| (Stand: 05.03.2020) GOODTOGO Ivan Conti Poison Fruit (Grey Splattered LP+7") (RSD20)Limitierte Deluxe-Ausgabe des 2019er Albums des legendären Azymuth-Drummers Ivan "Mambo" Conti. "Poison Fruit" ist ein modernes Electronic-Samba-Werk mit Jazz, Beats und House-Einflüssen, aufgenommen mit Top-Musikern wie Alex Malheiros und Kiko Continentino und produziert von Daniel Maunick (aka Dokta Venom). Limitierte Auflage auf farbigem Vinyl (graue Spritzer) samt beiliegender 7" mit zwei bislang unveröffentlichten Bonustracks.LP+7 1FAR OUT RECORDINGSBRAZIL FARO208LPX 5060114368293 DE+AT GOODTOGO Jacqueline Taieb Lolita Chick ‘68 (Orange LP) (RSD20)Reissue des Samplers "Lolita Chick '68" (2001) mit essentiellen Hits der französischen Sängerin und Songschreiberin tunesischer Abstammung, Jacqueline Taieb, ohne die kein französischer Rock-Sampler komplett wäre. Limitierte LP auf orange-farbenem Vinyl.LP 1DIGGERS FACTORYCHANSON/FRANZ. VT010601 3760300310533 DE+AT+CH GOODTOGO Jah Wobble A Very British Coup (RSD20 Yellow Vinyl)Der ehemalige PIL-Bassist setzt mit dieser 12"ein Brexit-Statement. Mit an Bord sind die ehemaligen PIL-Musiker Richard Dudanski, Keith Levene sowie Pop Group-Sänger Mark Stewart. Dazu Youth, Charlie Wardle, Andrew Weatherall und Nina Walsh. Radio-Edit und Instrumental Dub-Mix on top. Neon Orange VinylLP 1SOULFOOD IMPORTREGGAE – DUB CADIZ 12179 844493061793 DE+AT+CH GOODTOGO Jesse Dayton Texas 45 RPM Showdown (RSD20)Die exklusive Record Store 2020 7inch "Der Texas 45 RPM Showdown" ist eine Hommage an zwei der größten texanischen Einflüsse von Jesse Dayton, Doug Sahm und Townes Van Zandt!7" 1BLUE ELAN RECORDSCOUNTRY BER1257 194491751999 WW GOODTOGO Ken Ishii feat. PAC-MAN JOIN THE PAC (RSD20)Exklusive 7" als Teaser aus dem kommenden Album zum 40-jährigen Jubiläum des weltberühmten Computerspiels "Pac-Man", einer Kooperation zwischen dem Hersteller Bandai Namco und der japanischen Techno-Legende Ken Ishii.7" 1 IAM8BIT SOUNDTRACK 8BIT81237 850971008723 DE+AT+CH GOODTOGO Khemmis Doomed Heavy Metal (Clear/Black SplatterExklusive 6-Track Vinyl der frisch zu Nuclear Blast gewechselten DOOM-Metal Kings von KHEMMIS (Denver/Colorado). Inklusiv bisher unveröffentlichtem Live- und Studiomaterial sowie einer unfassbaren Version von 'Rainbow In the Dark' (DIO)LP 1 20 BUCK SPIN Doom Metal SPIN125LPRSD 721616902310 DE+AT+CH GOODTOGO Killing Joke Laugh At Your Peril (RSD20 Deluxe Coloured 3LP)Der Killing Joke-Gig wurde 2018 im Rahmen der '40th Anniversary Laugh At Your Peril'- Tour im Berliner Huxley's mitgeschnitten. Das Original Line-Up mit Jaz Coleman, Geordie Walker, Paul Ferguson und Youth spielte sich durch ein wuchtiges Set mit Klassikern wie 'Eighties', 'Requiem', 'Love Like Blood' oder 'Wardance'. Auf dem eigenen Label der Band Killing Joke Records erscheint der RSD-Release erstmalig als LP in Black, Pink & Purple Vinyl + Etching (Killing Koke-Logo) auf Seite 6.LP 3SOULFOOD IMPORTALTERNATIVE CADIZLP 189 844493061892 DE+AT+CH GOODTOGO Killing Joke Turn To Red (RSD20 Red Vinyl)Vier gesuchte Mixe (u.a. auch Dub) aus der Frühphase der Band und remastert von Youth und dem langjährigen Engineer Michael Rendall enthält diese exklusiv zum RSD geplante EP. Das Artwork ist eine Neubearbeitung von Sleeve Designer Mike Coles. Nummeriertes, rotes Vinyl!LP 1SOULFOOD IMPORTALTERNATIVE CADIZ 12187 844493061878 DE+AT+CH GOODTOGO Kirsty Maccoll Other People's Hearts-B-Sides 1988-89 (RSD20 180Gr)Was hätte die unter tragischen Umständen viel zu früh verstorbene Sängerin noch für Platten machen können! Zusammenstellung von B-Seiten u.a. vom Album 'Kite' das mit Produzent Steve Lillywhite und Johnny Marr entstand, und diverse Hitsingles abwarf. U.a. mit der Smiths-Coverversion 'You Just Haven't Earned It Yet, Baby'. 180 Gr. Coloured Vinyl!LP 1DEMON RECORDSROCK DEMREC 653 5014797902282 DE+AT+CH GOODTOGO Laneous Elsewhere / Flawless (RSD20)Limitierte 7" mit zwei neuen Tracks der australischen Soul-Jazz-Band Laneous, deren Debütalbum "Monstera Deliciosa" Gilles Peterson Worldwide Award 2020 als bestes Album des Jahres nominiert ist. Produziert von Nick Herrera (Hiatus Kaiyote).7" 1SOUL HAS NO TEMPOJAZZ SHNT8 5053760056584 DE+AT+CH GOODTOGO Lee Fields Let's Get A Groove On (Colored Vinyl / RSD20)Record Store Day 2020 Exklusives Farbvinyl! Frisch aus den Tresoren von Desco Records befreit und zum ersten Mal seit seiner Veröffentlichung im Jahr 1998 neu gemastert, ist es eine Ehre, die Wiederveröffentlichung eines der schönsten und befriedigendsten Needle Drops der letzten 40 Jahre anzukündigen. Ein Album, das keine Einführung braucht, aber doch eine... wir sprechen von rohem Soul und schwerem, schweren Funk, der von einem der Besten im Geschäft mit Souveränität gesungen wird... Meine Damen und Herren... Ich präsentiere... Der Klassiker von Lee Fields, "Let's Get a Groove On". Und grooven sollen Sie, denn dies ist eine Supernova der gefühlvollen Überlegenheit. Es gibt keine Gleiche.LP+MP3 1DAPTONE RECORDSSOUL DAP062-1 823134906211 DE+AT+CHVertrieb Interpret Titel Info Format Inhalt Label Genre Artikelnummer UPC/EAN AT+CH (ja/nein/über wen?)Record Store Day 2020 (GSA) - 18.04.2020 \| (Stand: 05.03.2020) GOODTOGO Magic In Threes Stay In Your Lane / Measly Peace (RSD20)KingUnderground ist stolz darauf, Magic in Threes "Stay In Your Lane" zu präsentieren - eine Sonderausgabe, das offizielle 7-Zoll-Vinyl des Record Store Day 2020. Die Platte enthält 2 Songs, von denen einer exklusiv für den RSD 2020 gemacht wurde. Sie ist bei 45 RPM auf eine gezinkte 7"-Vinyl gepresst. Das aus Nashville, Tennessee, stammende, ausgeräucherte Instrumentalisten-Trio Magic In Threes ist stark von Bibliotheksaufnahmen, alten Film-Soundtracks und Hip-Hop-Kassetten beeinflusst. 7" 1KING UNDERGROUN DFUNK KU078 5057805492924 DE+AT GOODTOGO Magnum Fully Loaded (Remastered Red LP) (RSD20)Von Tom Moulton remastered Reissue des Latin-Funk-Klassikers "Fully Loaded" (1974) der ikonischen 1970er West-Coast-Band Magnum, der mit diesem von Cal Wade produziertem Werk "ein Killeralbum des Funk und Soul gelang". Das neue digitale Mastering von Tom Moulton bringt den kraftvollen Stereoklang des Albums zur vollen Entfaltung. Limitierte Auflage auf amethyst-farbenem Vinyl.LP 1 PHOENIX FUNK TPS4015 647780401513 DE+AT+CH GOODTOGO Marc Bolan & T.Rex Shadowhead (RSD20 180Gr. Purple Vinyl)Die Compilation beinhaltet 'Session Takes', 'Working And Master Versions' sowie 'Mixe' aus den extrem kreativen T. Rex-Jahren 1972-1976. Erstmalig überhaupt auf Vinyl kommt 'Shadowhead' als 180 Gr. LP und Purple Vinyl mit Outer und Inner Sleeve!LP 1DEMON RECORDSGLAM ROCK DEMREC 633 5014797901988 DE+AT+CH GOODTOGO Menswear Nuisance-25th Anniv. (RSD20 180Gr. Orange Vinyl)Die kurzlebige Britpop-Formation wurde bereits vor Erscheinen dieses (Debüt-) Albums als das kommende große Ding gehandelt. Tatsächlich konnte 'Nuisance' dann auch drei Singles in den UK-Charts platzieren. Die exklusive RSD-Edition kommt als 180 Gr. LP (Orange Vinyl) und zwei Bonustracks!LP 1DEMON RECORDSBRIT POP DEMREC 654 5014797902299 DE+AT+CH GOODTOGO Menzingers Chamberlain Waits (RSD20)AUF FARBIGES VINYL GEPRESST UND MIT EINEM RETRO-TOUR-POSTER GEBÜNDELT! Bevor sie zu den Kaisern des Punks von Süd-Philadelphia wurden, haben die Menzinger ihre Dienstfahrt in den Gräben von Red Scare durchgeführt. Wir haben einige ihrer frühen Veröffentlichungen, und diese LP ist diejenige, die sie auf die Landkarte gebracht hat. Für Fans von The Gaslight Anthem, Jawbreaker, Bouncing Souls, The Lawrence Arms, Bayside!LP 1RED SCARE INDUSTRIESROCK CCCP10139LP 187223105702 WW GOODTOGO Michael Chapman Americana (RSD20)Der legendäre Gitarrist wählt Tracks aus seinen beiden Americana-Alben aus und veröffentlicht sie auf 180 Gramm 12"-Vinyl mit umfangreichen Sleevenotes. Michael hat auch das Foto für die Titelseite gemacht..LP 1 SECRET PSYCHEDELIC ROCK CRESTLP108 5036436123926 DE+AT+CH GOODTOGO Michel Colombier Capot Pointu (White LP) (RSD20)Reissue des legendären Albums "Capot Pointu" (1969) des französischen Filmkomponisten Michel Colombier, einer zeitlosen Mixtur aus Pop, Jazz und Klassik mit Vocals von Serge Gainsbourg und Pierre Delanoe. Limitierte LP auf weißem Vinyl.LP 1DIGGERS FACTORYJAZZ PL050288LP 3760300310595 DE+AT+CH GOODTOGO Michel Legrand Jazz On Film/Michel Legrand The NewWave Era(RSD20)Jazzstücke des französischen Kultkomponisten aus den Scores zu neun Nouvelle Vague Filmen, Cleo de 5 a 7, Eva, La Baie de Anges, Les Sept Peches Capitaux, L’Amerique Insolite, Une Femme est Une femme, Les Plus Belles Escroqueries du Monde, Lola und Vivre sa vie. Enthält Download Codes zu den kompletten Film-Scores. Mit einem Vorwort von Iggy Pop.LP 1PIAS/MOOCHI N ABOUTSOUNDTRACK 39147841 5051083156431 DE+AT GOODTOGO Mikis Theodorakis Serpico (OST) (RSD20)Sonderausgabe des Serpico-Klassiker-Soundtracks von 1973, komponiert von Mikis Theodorakis, der zum ersten Mal seit Jahrzehnten wieder auf Vinyl herausgegeben wird, mit neu gemastertem Ton, Klappcover, Grafiken von Eric Adrian Lee und Ärmelnotizen des Filmkritikers Jason Wood, einschließlich eines speziellen Interviews mit dem Arrangeur Bob James. Sidney Lumets 1973 veröffentlichtes Meisterwerk Serpico ist einer der ikonischsten Filme der 70er Jahre. Mit einer karrierebestimmenden Darstellung von Al Pacino in der Titelrolle ist es ein hervorragender Neo-Noir-Film, der die Post-Watergate-Stimmung der frühen 70er Jahre einfängt. Der Soundtrack des Films von Mikis Theodorakis ist ebenso atemberaubend. Er wurde von dem griechischen Musiker komponiert und vom Kult-Jazz-Pianisten Bob James arrangiert und ist eine hervorragende Mischung aus funky Instrumental- und traditionellen Melodien, die an den Godfather OST erinnern.LP 1WEWANTSOUN DSSOUNDTRACK WWSLP30 3700604723776 DE+AT+CHVertrieb Interpret Titel Info Format Inhalt Label Genre Artikelnummer UPC/EAN AT+CH (ja/nein/über wen?)Record Store Day 2020 (GSA) - 18.04.2020 \| (Stand: 05.03.2020) GOODTOGO Milton Nascimento Ultimo Trem (White 2LP) (RSD20)LP-Erstveröffentlichung des legendären Ballett-Soundtracks "Ultimo Trem" (1981) von Milton Nascimento, eines der größten Songschreiber Brasiliens, an dem auch weitere prominente Musiker wie Nana Vasconcelos, Joao Donato, Paulinho Jobim und Mitglieder von Som Imaginario beteiligt waren. "Ultimo Trem" behandelt die Konsequenzen der Schließung einer Bahnstrecke im Nordosten Brasiliens und erschien - obwohl 1981 aufgenommen - erst 23 Jahre später auf Tonträger (2004, 2CD, zusammen mit dem Ballett-Soundtrack "Maria Maria"). Limitierte Auflage auf weißem Vinyl.LP 2FAR OUT RECORDINGSBRAZIL FARO217DLP 5060114368262 DE+AT GOODTOGO My Life Story Versions (Ltd. One-Sided Ice Blue 12") (RSD20)Remix 12" mit zwei Highlights aus dem vielgepriesenen Album "World Citizen" (2019) der britischen Indieband My Life Story. Das mehrfach prämierte Produktions-Duo Chøppersaurus verleiht ihrem orchestralen Pop einen epischen Soundtrack-Charakter. Einseitig bespielte 12" auf eisblauem Vinyl.12" 1 EXILOPHONE INDIE MLS8T 5053760056591 DE+AT+CH GOODTOGO Nas God's Son (RSD20)AUF BLAU-WEIßES SWIRL-VINYL GEPRESST! God's Son wurde 2002 veröffentlicht und wurde wie zuvor Stillmatic von der Kritik sehr gelobt. Nas assistierten eine Reihe von Spitzenproduzenten wie The Alchemist, Eminem, Ron Browz und Salaam Remi, über Proben von James Brown, der Incredible Bongo Band, Fela Kuti und Beethoven sowie Gastgesang von Alicia Keys, Kelis, Claudette Ortiz von City High, und sogar ein posthumer 2Pac. God's Son ist seit seiner ersten Veröffentlichung im Jahr 2002 auf Vinyl vergriffen, aber Get On Down freut sich, Ihnen dieses Deluxe-LP-Paket anbieten zu können – für den Record Store Day 2020, remastert vom Original-Audio und gepresst auf exklusives farbiges Vinyl!LP 2 GET ON DOWN HIP HOP GET51445LP 664425144512 WW GOODTOGO Nev Cottee Stations (Remastered) (RSD20)Remastered und mit 2 Bonustracks erweiterte Vinyl-Erstveröffentlichung mit neuem Artwork der Debüt-EP von Nev Cottee, Singer-Songwriter aus Manchester, die 2013 nur als CD erschien. Inspiriert vom Psychedelic-Pop eines Lee Hazlewood und den großartigen Simfonien von Spiritualized gelang Nev Cottee hier ein fantastisches Solodebüt, produziert von Mason Neely und Carwyn Ellis (Colorama, Edwyn Collins). "A lesson in songwriting." - Noel GallagherLP 1WONDERFULS OUNDINDIE WSD97LP 5060170501641 DE+AT+CH GOODTOGO New Barbarians The First Barbarian Live (RSD20 Coloured 2LP-Set)1974 wollte Ronnie Wood sein erstes Soloalbum promoten und holte sich mit Keith Richards und Ian McLagan prominente Unterstützung in die Tour-Band. Das Konzert in London's Kilburn Gaumont State Theatre wurde als 'Woody And Friends' angekündigt. Bislang existierte lediglich eine offizielle CD&DVD-Version des Mitschnitts. Exklusiv für den RSD kommt nun ein 2LP-Set mit Blue & White Vinyl!LP 2SOULFOOD IMPORTROCK WDNLP 006 844493089964 DE+AT+CH GOODTOGO Nihilist Carnal Leftovers (Ltd. White LP/RSD20)Nihilist, die schwedischen Death-Metal-Götter, die später als Entombed bekannt wurden, mit einer Re-Mastered-Version als limitierte White LP!LP 1SOUND POLLUTION /THREEMAN RECORDINGSDEATH METAL TRE035LP01 0200000082468 DE+AT GOODTOGONik Turner & Youth With Space FalconsInterstellar Energy (RSD20 Neon Blue Vinyl)Der Hawkwind Mastermind hat sich mit dem Produzenten Youth für das kurzlebige Spacerock-Projekt zusammengefunden. Nach erfolgreichen Glastonbury Live-Sets ging man ins Studio und spielte einige Tracks für die Nachwelt ein. Neon Blue Vinyl exklusiv zum RSD!LP 1SOULFOOD IMPORTPSYCHEDELIC ROCK CADIZLP 191 844493061915 DE+AT+CH GOODTOGO Norman Watt-Roy Faith & Grace (RSD20 Numbered Neon Red 2-Vinyl)Der Name Norman Watt-Roy mag vielen Musikliebhabern erst mal fremd erscheinen. Wer sich allerdings die Bass-Läufe einiger Clash-Songs auf 'Sandinista' in Erinnerung ruft, oder auch jene von Ian Dury's No. 1-Single 'Hit Me With Your Rhythm Stick', weiß das Kaliber des viel gebuchten Session-Bassisten einzuschätzen. Sein Soloalbum 'Faith & Grace' erscheint nun nochmal zum RSD als nummerierte Neon Red Vinyl-Version.LP 2SOULFOOD IMPORTROCK CADIZLP 188 844493061885 DE+AT+CH GOODTOGO Odd Future The OF Tape Vol.2 (Neon Pink) (RSD20)The OF Tape Vol. 2 ist das 2012 erschienene Debüt-Studioalbum des Hip-Hop-Kollektivs Odd Future, zu dessen Mitgliedern der kürzlich mit dem Grammy ausgezeichnete Tyler, The Creator gehört (2019) und Frank Ocean (2012) sowie weniger bekannte, aber gleichwertige Mitglieder wie Hodgy Beats, Domo Genesis, Mike G, Das Internet, Taco, Jasper Delphin, Left Brain, L-Boy und Earl-Sweatshirt. Von Vinyl- und Hip-Hop-Sammlern seit langem begehrt, ist dieses Meisterwerk in zwei einzigartigen Plattenhüllen neu herauszubringen, und auf zwei verschiedenen farbigen Vinyl-Konfigurationen.LP 2 GET ON DOWN HIP HOP GET51334PLP 664425133455 WWVertrieb Interpret Titel Info Format Inhalt Label Genre Artikelnummer UPC/EAN AT+CH (ja/nein/über wen?)Record Store Day 2020 (GSA) - 18.04.2020 \| (Stand: 05.03.2020) GOODTOGO Odd Future The OF Tape Vol.2 (Neon Purple) (RSD20)The OF Tape Vol. 2 ist das 2012 erschienene Debüt-Studioalbum des Hip-Hop-Kollektivs Odd Future, zu dessen Mitgliedern der kürzlich mit dem Grammy ausgezeichnete Tyler, The Creator gehört (2019) und Frank Ocean (2012) sowie weniger bekannte, aber gleichwertige Mitglieder wie Hodgy Beats, Domo Genesis, Mike G, Das Internet, Taco, Jasper Delphin, Left Brain, L-Boy und Earl-Sweatshirt. Von Vinyl- und Hip-Hop-Sammlern seit langem begehrt, ist dieses Meisterwerk in zwei einzigartigen Plattenhüllen neu herauszubringen, und auf zwei verschiedenen farbigen Vinyl-Konfigurationen.LP 2 GET ON DOWN HIP HOP GET51334BLP 664425133417 WW GOODTOGO Pete Rock PeteStrumentals 3 (RSD20)Pete Rock ist weithin als einer der die größten Hip-Hop-Produzenten aller Zeiten bekannt. Seine Name fällt oft im Pantheon der besten Beatmaker neben DJ Premier, RZA und J Dilla. Darüber hinaus hat Pete eine der die weltweit umfangreichsten Vinylsammlungen, die Art der Sammlung, deren Größe nur geschätzt werden kann - und diese Schätzung steht bei mehr als 100.000 LPs. Unter Petes meistverkaufte Veröffentlichungen sind ein paar das Instrumental-Genre definierende Projekte wie "PeteStrumentals" und" PeteStrumentals 2". Am Record Store Day 2020 legt er auf seinem eigenen Tru Soul Label mit "PeteStrumentals 3" nach.LP 1TRU SOUL RECORDSHIP HOP TRU1005LP 706091105517 WW GOODTOGO Peter Bruntnell Normal For Bridgewater (RSD20)Loose Music veröffentlicht erstmalig das wegweisende und einflussreiche Americana Album "Normal For Bridgewater" zum diesjährigen RSD auf Vinyl! Bei der Veröffentlichung des Albums im Juni 1999 beschrieb die NME das Album in ihrem 8/10 Review als "einen diabolischen Pakt zwischen Onkel Tupelo und den Eagles, ausgelöst durch ein inneres Dröhnen, das die Musik über ihre scheinbar prosaischen Bedenken hinaus zu treiben scheint". Darüber hinaus war es Americana Album des Monats im Mojo. Das Album wird exklusiv für den Record Store Day 2020 auf schweres weißes Vinyl gepresst und ist auf 500 EH weltweit limitiert.LP 1 LOOSE MUSIC ROCK VJLP256RSD 5029432025615 WW GOODTOGO Pluto Journey’s End (RSD20)Bisher unveröffentlichtes zweites Album von Pluto, dessen erstes in hohem Maße sammelbar ist. Von der Band neu gemastert und von Original-Masterbändern, die in den Morgan-Bandläden gefunden wurden, abgemischt. Zur Band gehören Mitglieder von Dry Ice und The Foundations. Veröffentlicht auf 180-Gramm-Vinyl.LP 1MORGAN BLUE TOWNPSYCHEDELIC ROCK BT5020 5036436124121 DE+AT+CH GOODTOGO Prater WG Zwischen Spittelberg Und Handelskai (RSD20)Es mag unüblich erscheinen, eine Single einer noch gänzlich unbekannten Band am Record Store Day einem internationalen Publikum vorzustellen - aber wir nutzen bewusst diese Möglichkeit. Warum? Weil wir der Meinung sind, dass es sich bei dieser ersten Veröffentlichung des Wiener Songschreiber-Duos Verena Doublier ("Wiener Blond") und Florian Kargl ("Freischwimma") um einen Instant-Klassiker handelt. Der Song liegt tonal und thematisch zwischen Rock, Herz-Schmerz-Ballade und Neuem Wienerlied, bekommt aber durch den ausdrucksstarken Gesang von Doublier eine eigene dramatische Note. Im Herbst 2020 erscheint das Debut-Album der Prater WG, diese Single wird absehbares ein rares, begehrtes Souvenir der Frühzeit der Formation werden.7" 1 MONKEY. POP MONMAX013 9008798319398 DE+AT+CH GOODTOGO Raw Material Raw Material (RSD20 180Gr. Deluxe 2LP+Poster)Das britische Prog-Psych-Album gilt bei Kritikern als Geheimtipp und wenn ein Original (auf Evolution Records) angeboten wird, dann nicht unter 1.000 EUR. Der exklusive RSD- Release wurde mit 16 Bonustracks aufgestockt, ist handnummeriert, mit Booklet im LP- Format sowie einem 1970er Repro des Shop-Posters ausgestattet. 180 Gr. 2-LP-Set, Gatefold-Cover!LP 2 SUNBEAM PSYCHEDELIC ROCK SBMLP 5110 5051125511020 DE+AT GOODTOGOSan Fransico Christian Center ChoirThe Sound of the San Francisco... (RSD20BISHER NUR ALS PRIVATPRESSUNG ERHÄLTLICH! Wenn die meisten Menschen an das musikalische Vermächtnis von San Francisco denken, fällt ihnen meist als erstes der Sommer der Liebe ein. Viel seltener hört man von der Stadt durch das reiche Erbe der Gospelmusik der Bay. Cultures Of Soul ist stolz darauf, mit der Neuauflage von The Sound Of The San Francisco Christian Center dieses Kapitel der Stadtgeschichte wieder aufzugreifen. Das San Francisco Christian Center war eine der ersten Kirchen, die ihre Türen für unzufriedene Hippies auf der Suche nach einer tieferen spirituellen Substanz öffnete. In dieser Ära gab es neue, von der Jugend geprägte Formen der "Jesus-Musik", die die Botschaften des Gospel mit der Rock- Ästhetik verschmolzen. Einer der wichtigsten dieser Gospelkünstler neuen Stils war der in San Francisco lebende Andraé Crouch, der einer der Einflüsse hinter dieser Aufnahme war. LP 1CULTURES OF SOULSOUL COS020LP 820250002018 WWVertrieb Interpret Titel Info Format Inhalt Label Genre Artikelnummer UPC/EAN AT+CH (ja/nein/über wen?)Record Store Day 2020 (GSA) - 18.04.2020 \| (Stand: 05.03.2020) GOODTOGO Sasha Scene Delete : The Remixes (White 2LP) (RSD20)Limitierte Remixausgabe zu Sashas Album "Scene Delete", das er - inspiriert von modernen Klassik-Minimalisten wie Nils Frahm, Max Richter oder Steve Reich - 2016 veröffentlichte. Zusätzlich zu sechs bereits erschienenen 10"-Remixes von Kiasmos, Rival Consoles, Plaid, Matthew Dear, Christian Löffler und Max Cooper enthält die Do-LP sechs weitere Remixe von Eat Lights Become Lights, Stet, Colin Benders, Throwing Snow, Skanna und Sasha selbst, alle exklusiv auf (weißem) Vinyl.LP 2NIGHT TIME STORIESELECTRONIC ALNLP43RSDUK 5060391092591 DE+AT+CH GOODTOGO Sean Price & Small Professor Latoya Jackson (RSD20)Pünktlich zum Record Store Day 2020 freuen sich Coalmine Records und Duck Down Music, die 7-Zoll-45-Veröffentlichung von "Latoya Jackson" anzukündigen, dem imposanten, körnigen Posse-Cut, der erstmals auf der LP '86 Witness von Sean Price & Small Professor zu hören ist. Die A-Seite wird die Originalversion enthalten, auf der Quelle Chris mit Ausschnitten aus DJ Revolution zu hören ist, während die B-Seite den "Back to the Old School Remix" mit einer anmutigen Gaststrophe des berühmten Texters Masta Ace enthält. Um die Attraktivität der Platte für Sammler und Hip-Hop-Fans gleichermaßen zu erhöhen, wurde das Artwork von dem in Atlanta ansässigen Schwergewicht FRKO (Action Bronson, Gucci Mane) bearbeitet, der das Cover des Just-Ice-Klassikers Back to the Old School (Fresh Records, 1986) gekonnt neu gestaltet hat. Diese Sammleredition 7-Zoll von "Latoya Jackson" wird auf ein auffälliges rosa Bubblegum-Vinyl gepresst.7" 1 COALMINE FUNK CM088 682670889927 DE+AT GOODTOGO Serge Gainsbourg A La Maison De La Radio (RSD20)Exklusive LP mit legendären Aufnahmen von Serge Gainsbourg, aufgenommen 1964 und 1966 im Maison de la Radio. Zu dieser Zeit endete seine "blaue Phase" mit Jazz- Elementen und exotischen Rhythmen in seinen Liedern, inspiriert von der Left Bank/Rive Gauche, der US-amerikanischen Künstlerszene in Paris.LP 1DIGGERS FACTORYCHANSON/FRANZ. DFINA12 3760300310540 DE+AT+CH GOODTOGO Sleeper At The BBC (Transparent Blue LP) (RSD20)Limitierte LP mit BBC Sessions der britischen Indierocker Sleeper aus den Jahren 1994- 1995. Aufgenommen für John Peel, The Evening Session und Mark Redcliffe. 12 Tracks, darunter die Klassiken "What Do I Do Now", "Statuesque", "Delicious Inbetweener" und "Lie Detector".LP 1GORSKY RECORDSALTERNATIVE SLEEP24LPC 5053760056751 DE+AT+CH GOODTOGO Soft Cell Mutant Moments E.P. (Remastered Clear 10") (RSD20)Remastered Reissue der ersten Soft Cell 7", die im Oktober 1980 in 2.000er Auflage erschien und sofort vergriffen war. Jetzt - erstmals seit 40 Jahren - erscheint nach etlichen Bootleg-Ausgaben die erste offizielle Reissue, mit neuester Technik digital remastered speziell für Vinyl. Limitierte 10" auf klarem Vinyl.10" 1 BIG FROCK ELECTRONIC ABF4 5053760057062 DE+AT+CH GOODTOGO Soul Asylum Hurry Up and Wait (RSD20)Laut Sänger/Gitarrist Dave Pirner war es eine völlig reibungslose, angenehme und produktive Erfahrung, das zwölfte Studioalbum von Soul Asylum mit dem Titel "Hurry Up And Wait" aufzunehmen. Das mit John Fields koproduzierte und in den Nicollet Studios in Minneapolis aufgenommene Album spiegelt den gewohnt eklektischen Ansatz von Soul Asylum wider, denn es wurde in den Nicollet Studios in Minneapolis aufgenommen, dem gleichen Ort, an dem die gefeierte Rockband ihre ersten Alben schon aufgenommen hat.LP+7 2BLUE ELAN RECORDSROCK BER1251LPR 194491860264 WW GOODTOGO Steve Earle Times Like These/Devil Put The Coal In... (RSD20)Aufgenommen während der Sessions zu Ghost Of West Virginia, dem für Ende Mai geplanten neuen Album von Steve Earle, enthält diese 7” mit "Times Like These” einen exklusiven Track, mit "Devil Put The Coal In The Ground" aber auch ein Stück vom Album.7" 1PIAS/NEW WEST RECORDSALTERNATIVE 39147797 0607396415113 DE+AT GOODTOGO Suede See You In The Next Life (RSD20 180Gr. Red Vinyl)Nach dem ersten Split der der Band 2003 wurde diese Compilation vom SIS (Suede Information Service) zusammengestellt. Gerade mal 2000 CDs wurden damals ausgepresst und an SIS-Mitglieder verteilt. Demos, Akustik-Versionen und andere Kuriositäten wie eine französische Version von 'The Power' sind hier enthalten. Erstmalig als LP, 180 Gr. und rotes Vinyl!LP 1DEMON RECORDSBRIT POP DEMREC 630 5014797901957 DE+AT+CHVertrieb Interpret Titel Info Format Inhalt Label Genre Artikelnummer UPC/EAN AT+CH (ja/nein/über wen?)Record Store Day 2020 (GSA) - 18.04.2020 \| (Stand: 05.03.2020) GOODTOGOTear Da Club Up Thugs of Three 6 MafiaCrazyNDaLazDayz (RSD20)In den späten 90er Jahren waren im Hip Hop alle Augen auf den Süden gerichtet - und der Down South-Sound bekam die Oberhand. Nur wenige Gruppen waren so heiß wie die Three 6 Mafia von Memphis. CrazyNDaLazDayz war ein regionaler Renner, als es 1999 unter dem Gruppennamen Tear Da Club Up Thugs veröffentlicht wurde, aber im Wesentlichen eine Three 6 Mafia in voller Länge als Kern Drei 6 Mitglieder DJ Paul, Juicy J und Lord Infamous tragen alle zu dem Projekt bei. Die Platte wurde mit Gold ausgezeichnet, und Three 6 Mafia gewann einen Oscar für ihren Beitrag zu Hustle & Flow. CrazyNDaLazDayz hat noch nie eine kommerzielle Vinyl-Veröffentlichung gesehen (bei der ursprünglichen Veröffentlichung wurde nur Promo-Vinyl herausgegeben). Für den Record Store Day bringt Ihnen Get On Down diesen oft übersehenen und definitiv überholungsbedürftigen Teil des Vermächtnisses der Three 6 Mafia als splatterfarbige 2LP.LP 2 GET ON DOWN HIP HOP GET51338LP 664425133813 WW GOODTOGO Terumasa Hino A Part (RSD20)Terumasa Hino ist ein repräsentativer japanischer Trompeter, seine ganz besonderen 4 Platten aus den früheren Katalogen werden endlich zum allerersten Mal neu aufgelegt! Original veröffentlicht 1971 von Love Records, Reissue mit Original Artwork in Torfaltenhülle, 2020 überarbeitet!LP 1 TRIO RECORDS JAZZ OTS184 4526180516088 DE+AT GOODTOGO Terumasa Hino Journey To Air (RSD20)Terumasa Hino ist ein repräsentativer japanischer Trompeter, seine ganz besonderen 4 Platten aus den früheren Katalogen werden endlich zum allerersten Mal neu aufgelegt! Original veröffentlicht 1970 von Love Records, Reissue mit Original Artwork in Torfaltenhülle, 2020 überarbeitet!LP 1 TRIO RECORDS JAZZ OTS182 4526180516064 DE+AT GOODTOGO Terumasa Hino Love Nature (RSD20)Terumasa Hino ist ein repräsentativer japanischer Trompeter, seine ganz besonderen 4 Platten aus den früheren Katalogen werden endlich zum allerersten Mal neu aufgelegt! Original veröffentlicht 1971 von Love Records, Reissue mit Original Artwork in Torfaltenhülle, 2020 überarbeitet!LP 1 TRIO RECORDS JAZZ OTS185 4526180516095 DE+AT GOODTOGO Terumasa Hino Peace And Love (RSD20)Terumasa Hino ist ein repräsentativer japanischer Trompeter, seine ganz besonderen 4 Platten aus den früheren Katalogen werden endlich zum allerersten Mal neu aufgelegt! Original veröffentlicht 1971 von Love Records, Reissue mit Original Artwork in Torfaltenhülle, 2020 überarbeitet!LP 1 TRIO RECORDS JAZZ OTS183 4526180516071 DE+AT GOODTOGO The Alarm Celtic Folklore Live (Ltd. LP) (RSD20)Limitiertes neues Livealbum der britischen Alternative-Rocker The Alarm als Nachfolger ihres Liveklassikers "Electric Folklore Live" (1988). Die 10 neuen, bislang unveröffentlichten Livetracks wurden Anfang 1988 im Londoner Hammersmith Odeon (Seite A) und im The Cabaret Club im kalifornischen San José (Seite B) aufgenommen. Auch das Cover ist dem Original aus 1988 nachempfunden, so dass sich beide LP's, nebeneinander gestellt, zu einem Doppelalbum ergänzen.LP 1 21ST CENTURY ALTERNATIVE 21C115 192641068072 DE+AT+CH GOODTOGO The Durutti Column Idiot Savants (RSD20 180Gr. White Vinyl)Das 2007er Album des Projekts von Gitarrist Vini Reilly erscheint erstmalig als LP. Gastsängerin dieses schönen, im Katalog der Band unterbewerteten Albums war Poppy Roberts. 180 Gr. weißes Vinyl und das hypnotisierende Gitarrenspiel von Vini Reilly!LP 1DEMON RECORDSALTERNATIVE DEMREC 658 5014797902336 DE+AT+CH GOODTOGO The Fall Austurbæjarbíó - Live 1983 (Ltd. Gtf. 2LP) (RSD20)"Austurbæjarbíó - Reykjavic Live 1983" erschien im Februar 2001 auf Cog Sinister, dem eigenen Label von The Fall. Das Album dokumentiert ein großartiges Konzert der Indie- Kultband in Islands Hauptstadt vom 06.05.1983. Diese exklusive und limitierte RSD- Edition ist remastered und nun einmalig als Gatefold-Doppel-LP in orange-gelber Splatterfarbe erhältlich. LP 2 CHERRY RED ROCK BREDD797 5013929179714 DE+AT GOODTOGO The Fall Cerebral Caustic-25th Anniv. (RSD20 180Gr. Splatter)Zum 25. Jubiläum gibt es 'Cerebral Caustic' als 180 Gr. Vinyl mit Splatter Effect Vinyl. Das Album von 1995 orientierte sich musikalisch wieder an den legendären Frühwerken von Mark E. Smith & Co. Vielleicht auch weil Gitarristin und Smith's Ex-Frau Brix Smith wieder mit an Bord war und sehr viel Einfluss auf das Songwriting nehmen konnte!LP 1DEMON RECORDSALTERNATIVE DEMREC 657 5014797902329 DE+AT+CH GOODTOGO The Hotrats Turn Ons (RSD20 2x10" Coloured Vinyl)Die Hot Rats waren Gaz Coombes (Supergrass) und Danny Goffey die sich den Spaß machten Songs ihrer Jugend zu covern. Überwacht hat das Ganze dann noch Star- Producer Nigel Godrich. Neben Songs von Bowie, Kinks, Velvet Underground, Sex Pistols U.a. gibt es den Bonustrack 'Under My Thumb' der nur auf einem Soundtrack erschien. Die RSD-Edition kommt als exklusive 2x10inch inkl. Coloured Vinyl und vier Bonustracks!LP 2DEMON RECORDSROCK DEMREC 662 5014797902374 DE+AT+CHVertrieb Interpret Titel Info Format Inhalt Label Genre Artikelnummer UPC/EAN AT+CH (ja/nein/über wen?)Record Store Day 2020 (GSA) - 18.04.2020 \| (Stand: 05.03.2020) GOODTOGO The London Suede The London Suede (RSD20 180Gr. Coloured Vinyl)Das sensationelle Debüt mit den Singles 'The Drowners', 'Metal Mickey', 'Animal Nitrate' und 'So Young' wurde in den USA unter dem Namen The London Suede veröffentlicht. Die Version erscheint nun erstmalig für den RSD auf 180 Gr. Coloured Vinyl!LP 1DEMON RECORDSBRIT POP DEMREC 634 5014797902039 DE+AT+CH GOODTOGO The New Clarence Reid Cadillac Annie b/w Tired Blood (RSD20)Erster Reissue seit dem Original-Release 1967: die legendäre 7" von Clarence Reid, dem Urvater des Miami Soul, später auch als Blowfly bekannt. Die Single war seine Hommage an Wilson Picketts "Mustang Sally" und die zweite Veröffentlichung des damals jungen Phil-LA Of Soul-Labels aus Philadelphia.7" 1PHIL-LA OF SOULFUNK PHILLA1416 647780141617 DE+AT+CH GOODTOGO The Pastels Advice To The Graduate / Ship To Shore ("Advice To The Graduate/Ship to Shore", zwei Songs der legendären Pastels veröffentlicht Domino zum Recordstore Day 2020 als 7“ Vinyl. Die Songs wurden 1997 für die John Peel Show im Maida Vale-Studio der BBC aufgenommen. Ship To Shore ist ein Song, den die Band ursprünglich mit Sandy Dirt aufgenommen hatte. Die neue Version ist die Version, die The Pastels hätten aufnehmen wollen, wenn sie früher die Ressourcen oder das Können dazu gehabt hätten. Advice To The Graduate ist ein süßer, ergreifender Silver Jews-Song von David Berman, den die Band mit ihm zusammen aufgenommen hat, nachdem Laurence Bell von Domino die Musiker einander vorgestellt hatte.7" 1DOMINO RECORDSALTERNATIVE RUG1108 887829110871 WW GOODTOGO The Residents Icky Flix OST (Ltd. Colour Gtf. 2LP) (RSD20)Erstmalige Wiederveröffentlichung des 2001 anläßlich des 30jährigen Bühnenjubiläums veröffentlichten Albums - der Soundtrack zu gleichnamigen Videosammlung plus Re- Interpretationen von Klassikern wie "Constantinople" und "This Is A Man's Man's Man's World". Diese exklusive und limitierte RSD-Edition ist nun einmalig als Gatefold-Doppel- Album auf orange-gelbem Vinyl erhältlich. LP 2 CHERRY RED ROCK NRTLP014D 5013929361416 DE+AT GOODTOGO The Unrighteous Brothers Unchained Melody/You've Lost That Lovin'(RSD20)Orville Peck (Sub Pop) und Paul Cauthen (Lightning Rod) duettieren als The Unrighteous Brothers. Und covern – wie sollte es auch anders sein – zwei Stücke von den Righteous Brothers. Phänomenal.7" 1PIAS/NEW WEST RECORDSCOUNTRY 39147807 0607396701919 DE+AT GOODTOGO The Valentines 1967-1970 (RDS20 180Gr. Coloured Vinyl)Obwohl sie nicht ein einziges Album veröffentlicht haben, muss man der australischen Band eine Fußnote in der Rock'n Roll-Historie zugestehen: Leadsänger war kein geringerer als der spätere AC/DC-Frontmann Bon Scott. Die Compilation fasst A und B- Seiten diverser Singles zwischen 1966-1970 zusammen. 180 Gr. Coloured Vinyl!LP 1DEMON RECORDSBEAT DEMREC 665 5014797902411 DE+AT+CH GOODTOGO The Wedding Present Shaun Keaveny Session (Blue 7"+MP3) (RSD20)Limitierte 7" mit drei Hits von The Wedding Present, eingespielt im August 2019 für die Shaun Keaveny Session (BBC Radio 6 Music), gleichzeitig auch das Finale der "Sessions" Release-Reihe dieser wegweisenden Indieband. Limitierte Auflage auf blauem 7" Vinyl plus Downloadcode, die auf 33 1/3 rpm läuft.7" 1 HATCH INDIE HAT33V7 5053760056669 DE+AT+CH GOODTOGO Timeless Legend Synchronized (Ltd. Numbered LP) (RSD20)Limitierte und nummerierte Reissue des einzigen Albums des US-Soul/Funk-Quartetts Timeless Legend aus Ohio, "Synchronized", ein ikonischer Rare Groove-Klassiker von 1976.LP 1 EXPANSION SOUL EXRSDLP65 5019421406518 DE+AT+CH GOODTOGO Tony Joe White The Beginning (Remastered)(RSD20)Schon lange vergriffen und nun erstmals auf Vinyl erhältlich: Tony Joe White solo. Aufs Wesentliche reduziert. Akustikgitarre und Gesang. Gepresst auf “white and black swirl Vinyl”.LP 1PIAS/NEW WEST RECORDSBLUES 39147791 0607396533916 DE+AT GOODTOGO Ulrich Drechsler Caramel (Goldenes Vinyl) (RSD20)Der preisgekrönte Wiener Klarinettist, Saxophonist und Komponist Ulrich Drechsler ist ein Wanderer zwischen den musikalischen Welten. Seine Duette mit den Pianisten Tord Gustavsen oder Stefano Battaglia, sein Cello Quartet, das akustische HipHop Trio "Café Drechsler", Filmmusik uvm. sind nur einige Beispiele seines erfolgreichen internationalen Schaffens der letzten Jahre. Nun präsentiert er mit seinem neuen Opus Magnum "Liminal Zone" gleich ein ganzes musikalisches Universum. In drei eigenständigen Projekten, den sogenannten Scopes, verarbeitet er mit drei Besetzungen und drei Programmen die Einflüsse, die ihn in den vergangenen Jahren am stärksten geprägt haben: vor allem Neo-Klassizismus, skandinavischer Minimalismus, britischer TripHop & Ambient und Filmmusik. Entstanden ist eine traumhaft schöne Musik, die sich bewusst jeder Kategorisierung entzieht. "Caramel", der erste Teil dieser Trilogie, erscheint auf dem Jazz-Label Enja, die strikt limitierte LP zum Record Store Day auf monkey.LP 1 MONKEY. JAZZ MONLP030 9008798319367 DE+AT+CH GOODTOGO Various Bonzai Power Vinyl 1 (Red 2x7" Gatefold) (RSD20)Limitierte Doppel-7" mit 4 Hardcore-Rave-Klassikern aus den Bonzai-Archiven. Feat. DJ Bountyhunter, Phrenetic Hunter, Belgica Wave, Final Analyzis. Limitierte Auflage auf rotem 7"-Doppelvinyl im Gatefold.7" 2 BONZAI HARDSTYLE BCV2020010 5413647892610 DE+ATVertrieb Interpret Titel Info Format Inhalt Label Genre Artikelnummer UPC/EAN AT+CH (ja/nein/über wen?)Record Store Day 2020 (GSA) - 18.04.2020 \| (Stand: 05.03.2020) GOODTOGO Various Doo-Wop (RSD20)Das französiche Label Le Chant du Monde veröffentlicht ihre erste Doo-Wop- Compilation als limitierte Vinyl. Die Doo-Wop-Welle tauchte zwischen 1950 und 1960 in den USA von Ost nach West auf. Auf der Compilation sind große Klassiker des Genres (The Capris, The Penguins) als auch sehr seltene Perlen (The Inspirators, etc.) miteinander vereint.LP 1PIAS FRANCE/LE CHANT DU MONDEBLUES 39226911 3149020941720 DE+AT GOODTOGO Various Gilles Peterson Presents: MV4 (RSD20)Limitierter 2LP-Sampler zu einer UK-Jazz-Session in den legendären Londoner Maida Vale Studios, gehostet von Joe Armon-Jones im Rahmen der Gilles Peterson-Show auf BBC Radio 6 Music im Oktober 2018. Mit einem Allstar-Lineup britischer Jazz-Musiker (Joe Armon-Jones, Mutale Chashi, Dylan Jones, James Mollison, Marijus Aleksa), zahlreichen Featuregästen (Fatima, Hak Baker, Oscar Jerome, Asheber, Nubya Garcia), sowie zwei Beiträgen des Bristoler Kollektivs Ishmael Ensemble.LP 2BROWNSWOO DJAZZ BWOOD218LP 5060180324339 DE+AT+CH GOODTOGO Various Jazz On Film…Henri Crolla & Andre Hodeir(RSD20)Drei Film-Score Klassiker von dem italienischen Jazzgitarristen Henri Crolla und dem französischen Violinisten André Hodeir, Une Parisienne (mit Brigit Bardot), Voulez-Vous danser avec moi? (mit Brigitte Bardot & Serge Gainsbourg) sowie Saint Tropez Blues.LP 1PIAS/MOOCHI N ABOUTSOUNDTRACK 39147821 5051083156417 DE+AT GOODTOGO Various Jazz On Film/M.Mastroianni (RSD20)“Marcello Mastroianni - music from his classic Italian films” enthält Musik von Piero Piccioni, Armando Trovajoli, Carlo Rustichelli und Nino Rota.LP 1PIAS/MOOCHI N ABOUTSOUNDTRACK 39147831 5051083156424 DE+AT GOODTOGO Various The Ladies Of Too Slow To Disco Vol. 2 (RSD20)„The Ladies of Too Slow to Disco Vol. 2” - Limited coloured Record Store Day Edition! "Too Slow To Disco" beginnt das neue Jahrzehnt mit einer weiteren musikalischen Entdeckungsreise in die späten 70er und frühen 80er Jahre. Der erste Teil der Serie erschien bereits 2016 und featurete Vorreiterinnen der weiblichen Pop Revolution, die hart gegen die männliche Dominanz in allen Bereichen des Musikmachens und Geschäfts kämpften. Für den zweiten Teil hat DJ Supermarkt sich wieder ordentlich ins Zeug gelegt und stellt neben etablierten Namen auch wieder Künstlerinnen vor, die diesseits des Atlantiks wohl nur einige Wenige bisher zu Ohren gekommen sein dürften.LP+MP3 2HOW DO YOU ARE?POP HDYARE06LTD 4250506835231 WW GOODTOGO Various The Mixtapes Vol.1 (Mixed By Bountyhunter) (RSD20)Limitierte MC mit 2 DJ-Sets des belgischen Rave-DJ's Bountyhunter, der Anfang der 1990er in den Clubs TGV und Rave Zone auflegte und dessen erster Release 1992 der Startschuss für das legendäre Bonzai-Label war. Mit ingesamt 33 Hardcore-Klassikern von Yves Deruyter, Techno Junkies, DJF, Thunderball, System D, Traxcalibur, Bam Bam, X-Change, Zolex und natürlich DJ Bountyhunter.Tape 1 BONZAI HARDSTYLE BCT2020002 5413647893419 DE+AT GOODTOGO Various Wick Records: Battle Of The Band(Col.LP+MP3/RSD20)Exklusiv für den RSD 2020, Wick Records freut sich eine Sammlung von ausgeflippten Gewinnern zu präsentieren ... -Record Store Day 2020 Exclusive -Pressed on Grey marbled vinyl -Limited pressing 1. Michael Rault "I'll Be There" 2. The Ar-Kaics "She's Obsessed with Herself" 3. The Mystery Lights "What Happen When you Turn the Devil Down" 4. Mark Sultan "Let Me Out" 5. Mystery Lights "Someone Else is in Control" 6. Steady Sun "Truth is a Needle" 7. Benny Trokan "Get it in the End" 8. The Ar-Kaics "Just My Life" 9. The Fame-Beats "Watford Stomp" 10. T. Benny and the Buzz Bros. "Gimme a Buzz" 11. Michael Rault "Sitting Still" 12. The Jay Vons "Did You See Here" 13. Johnny's Uncalled Four "DaydreamLP+MP3 1 WICK RECORDS ROCK WCK005LPX 823134990517 DE+AT+CH GOODTOGO Various Xterminator - Earth Feel It 7x7'' Box-Set (RSD20)Hochwertige Hardcover Box mit sieben 7-Inch Singles produziert von Philip "Fatis" Burrell aka Xterminator, inklusive einem 35x35 cm großen Poster und Linernotes! - Als ein Muss für die Fans des Modern Roots bietet die "Xterminator - Earth Feel It" Box top- a-top remasterte Highlights, Raritäten und unveröffentlichtes Material aus den Archiven, u.a. von Dennis Brown, Luciano, Chezidek, Beres Hammond, Marcia Griffiths, Sizzla, Xterminator Crew aus den Jahren 1993 bis 2009. aufgenommen.7" 7 VP REGGAE VP4231 054645423175 EUVertrieb Interpret Titel Info Format Inhalt Label Genre Artikelnummer UPC/EAN AT+CH (ja/nein/über wen?)Record Store Day 2020 (GSA) - 18.04.2020 \| (Stand: 05.03.2020) GOODTOGO Various Artists Girls In The Garage Vol. 8 (RSD20 180Gr. Pink LP)Dass Frauen auch schon vor Joan Jett, Patti Smith oder Courtney Love in die Garagen und Studios gegangen sind um Lärm zu machen, wird seit Jahren mit den 'Girls In The Garage'-Samplern dokumentiert. Der achte erscheint exklusiv zum RSD passend ladylike in Pink Vinyl auf 180 Gr. Vinyl mit einem 4-Seiten-Booklet.LP 1PAST & PRESENTALTERNATIVE - GARAGEPAPRLP 2008 827010200813 DE+AT GOODTOGO We Are Scientists With Love And Squalor/Live Woodstock 1969 (RSD20)We Are Scientists spielen ihr Hit-Album "With Love And Squalor" (2005), ein Indie-Disco- Klassiker, mit dem ihnen der Durchbruch gelang (#67 in den deutschen Media Control- Charts), im Acoustic-Stil einer Woodstock-Band 1969 neu ein. Die streng limitierte LP erscheint auf psychedelisch in drei Farben (pink, grün, blau) coloriertem Vinyl.LP 1100 PERCENT RECORDSALTERNATIVE 100LP100 5060204803697 DE+AT+CH GOODTOGO Wizz Jones Wizz Jones (RSD20 180Gr. Deluxe LP+CD)Der Modern Folk und Akustik-Gitarrist hat erst kürzlich den 'Lifetime Achievement' bei den BBC Folk Awards erhalten. Seine erste LP wird nun erstmalig als Vinyl Reissue aufgelegt. Beigelegt ist eine CD die Mono also auch Stereo-Mixe beinhaltet. Hand- nummeriertes Flipback-Cover, Bonus-Repro-Shop-Flyer von 1969 und schwarzes 180 Gr. Vinyl.LP+CD 1 SUNBEAM FOLK SBMLP 5109 5051125510924 DE+AT GOODTOGO Youth And The Slaves Of Venus Wooden Floor (RSD20 Black 7inch Single)Das Gründungsmitglied von Killing Joke und Top-Produzent (Tom Jones, Paul McCartney, Bananarama, The Orb oder Heather Nova) mit einer Vorab-Single zum demnächst erscheinendem, neuen Solo-Album. Classic Folk meets Psychedelic Pop als 7" in Pink!7" 1SOULFOOD IMPORTPSYCHEDELIC ROCK CADIZ 7192 844493061922 DE+AT+CH SONY MUSIC Britney Spears Oops!...I Did It Again (Remixes and B-Sides) 12" Baby Blue Vinyl 12" 1 Legacy Dance 19439727511 194397275117 G/A, Schweiz über Bestmusicworld SONY MUSIC Cheap Trick Out To Get You! Live 1977 2x 12" Vinyl 2-LP 2 Epic Rock 19439730551 194397305517 G/A, Schweiz über Bestmusicworld SONY MUSIC Destiny's Child Say My NamePicture Vinyl - Two decades after it topped the Billboard Hot 100,it’s being released as a collectible picture disc by Certified Classics, featuring remixes by Timbaland and Maurice Joshua.12" 1 Columbia Dance 19439723381 194397233810 G/A, Schweiz über Bestmusicworld SONY MUSIC Judas Priest British Steel - Limited Edition 40th Anniversary Edition12" Vinyl (2LP -Red, white and blue marbled on a clear base with UV image printed on sides B & D)2-LP 2 Columbia Metal 19439719681 194397196818 G/A, Schweiz über Bestmusicworld SONY MUSIC Manic Street Preachers La Tristessa DureraThis limited edition 12" vinyl is inspired by a Manics promo issued in 1994. The Record Store Day exclusive features mixes of two singles:'La Tristesse Durera(Scream to a Sigh)' and 'Roses In The Hospital'.the remix treatment by The Chemical Brothers and Ashley Beedle.12" 1 SME Uk Brit-Pop 19439724601 194397246018 G/A, Schweiz über Bestmusicworld SONY MUSIC Miles DavisDouble Image: Rare Miles From the Complete Bitches Brew SessionsRotes Vinyl -This double LP release on red vinylfeatures 10 keyboard-rich recordings captured in the wake of the originalBitches Brewsessions from August ’69 to February ‘70 with a rotating cast of luminaries including Wayne Shorter, John McLaughlin, Herbie Hancock, Joe Zawinul, Chick Corea, Jack DeJohnette and much more2-LP 2 Columbia Jazz 19439727471 194397274714 G/A, Schweiz über Bestmusicworld SONY MUSIC Nick Mason's Saucerful of Secrets See Emily Play/Vegetable Man 12"This collectible 12” single features two performances from the dazzling Roundhouse sets last May(including Pink Floyd outtake “Vegetable Man,” played for the first time ever on this tour) backed by a custom etching.12" 1 Legacy Prog-Rock 19439723411 194397234114 G/A, Schweiz über Bestmusicworld SONY MUSIC Primal Scream Loaded12" EP – featuring expanded artwork in a gatefold sleeve – also features B-sides I’m Losing More Than I Ever Had, the original track from which Andy Weatherall’s Loaded remix was born, as well as a cover version of Ramblin’ Rose by the MC5, a live favourite of the band at the time. Plus Etching in der Auslaufrille12" 1 SME Uk Alternative Pop 19439734931 194397349313 G/A, Schweiz über Bestmusicworld SONY MUSIC Quarry No Ordinary Love  Die 6 Track 12" (2 songs sind davon hidden Tracks) des Sänger, Songwriter, Musiker und Produzenten. Er spielt großartigem Indie-Pop, der durch elektronische Einschübe und soulige Vocals geprägt ist.12" 1 EPIC Alternative Pop 19439742217 194397422177 G/A, Schweiz über Bestmusicworld SONY MUSIC TLC Waterfalls Picture Vinyl, mit 6 Songs 12" 1 LaFace Dance 19439724381 194397243819 G/A, Schweiz über Bestmusicworld SONY MUSIC Toto Live In Tokyo 198012" Rotes Vinyl - For the first time as a standalone release, the Live In Tokyo 1980 EP captures the original line-up of the band –vocalist Bobby Kimball, guitarist Steve Lukather, keyboardists David Paich and Steve Porcaro, bassist David Hungate and drummer Jeff Porcaro 1-LP 1 Columbia Rock 19439724181 194397241815 G/A, Schweiz über Bestmusicworld SONY MUSIC Tyler, The Creator Cherry Bomb2LP -rotes Vinyl - One of his most ambitiousalbums, featuring everything from lush orchestras to hard-driving guitars across its grooves (plus standout guest verses from Kanye West, Lil Wayne, ScHoolboy Q and others2-LP 2 Columbia Rap 19439735721 194397357219 G/A, Schweiz über Bestmusicworld SONY MUSIC Tyler, The Creator Cherry Bomb (The Instrumentals)2LP pink Vinyl - Now, for the first time on vinyl, the instrumental version of the album 2-LP 2 Columbia Rap 19439735741 194397357417 G/A, Schweiz über Bestmusicworld SONY MUSIC Various Artists Sweet Relief: A Benefit For Victoria Williamsin 1992, Victoria Williams was a talented singer-songwriter with a big problem: diagnosed with multiple sclerosis as she started gaining widespread exposure, she had no health insurance to cover her treatment costs. Within a year, an army of fans and friends, including Pearl Jam,Buffalo Tom. Michelle shocked, Lucinda Williams, Evan Dando,Matthew Sweet, Maria McKee, Soul Asylum, Lou Reed, The Jayhawks and Giant Sand, recorded favorites from her songbook for Sweet Relief.2-LP 2 Colummbia Grunge 19439727491 194397274912 G/A, Schweiz über BestmusicworldVertrieb Interpret Titel Info Format Inhalt Label Genre Artikelnummer UPC/EAN AT+CH (ja/nein/über wen?)Record Store Day 2020 (GSA) - 18.04.2020 \| (Stand: 05.03.2020) SPV CHROMEO NEEDY GIRLGRAMMY-preisgekröntes Duo, über 45 Millionen Streams,2018 Late Night Performance bei Stephen Colbert, Jimmy Fallon. Hauptschlagzeilen bei Coachella (Hauptbühne) Headline-Auftritte bei Red RocksLP 1 Last Gang eOne Elektronic LP 783711 634164965129 GSA SPV LIL' KIM 9 DELUXEGrAMMY-Award Gewinnerin, über 15 Millionen verkaufte Alben. Solo Karriere. Erste weibliche Rapperin mit einem #1 Hit der Billoard Hot 100 Charts. LP 1eOne Music- VertriebPOP International LP 783611 634164631314 GSA SPV THE GAME BORN 2 RAPDas Album enthält Kollaborationen und Features von und mit Künstlern wie Ed Sheeran, Miguel, Anderson, Paak, Nipsey, Hussle, 21 Savage, Bryson Tiller, Chris Brown, Trey Songz und vielen anderen.LP 3eOne Music- VertriebRap LP 783701 634164631512 GSA Universal Music Bastille All This Bad Blood Das Debüt-Album von Bastille setzte 2013 einen neuen Maßstab für den englischsprachigen Indie. Die Deluxe Version „All This Bad Blood“ enthält neben dem kompletten Hauptalbum noch einige weitere Songs, die ein zweites Bonusalbum bilden. Diese Pressung des Doppelalbums auf zwei 12 inch Vinyls ist nur während des Record Store Days 2020 erhältlich.2LP 2 Virgin Pop 0855278 0602508552786 AT / CH: Best Music World Universal Music Black Crowes, The Jealous Again Repress of the original Jealous Again 12” originally released in 1990. 12" Maxi 1 Ume Rock 0873854 0602508738548 AT / CH: Best Music World Universal Music Cash, Johnny Classic Cash: Hall Of Fame Series (Early Mixes) In 1986, after almost 30 years on Columbia Records, Johnny Cash signed to Mercury Records. Two years later, in 1988, he released Classic Cash: Hall Of Fame Series, which featured 20 new re-recordings of classic Johnny Cash material. Including renowned tracks such as “Ring Of Fire”, “Get Rhythm”, “Long Black Veil”, “Folsom Prison Blues”, and “I Walk The Line”, Classic Cash: Hall Of Fame Series captured one of Country music’s greatest sons singing the songs that made him a legend. For the very first time on vinyl, and exclusive for Record Store Day 2020, UMe / Mercury Records is proud to present Classic Cash: Hall Of Fame Series (Early Mixes) – Johnny Cash’s early mix of his 1988 album, mastered from newly discovered master tapes in the Mercury vault. Presented in a 2LP format, and pressed on 180g vinyl for the highest quality audio fidelity, Classic Cash: Early Mixes is a must-have for Cash fans and collectors and will not be available on vinyl anywhere else ever again.2LP 2 Mercury Country 6772685 0602567726852 AT / CH: Best Music World Universal Music Charlatans, The Live It Like You Love ItIn the summer of 2001, The Charlatans embarked on a huge tour of the UK and North America, the penultimate live show in December that same year would be a grand homecoming to the Manchester Evening News Arena “This is a fine old place! Let’s do the show right here!” proclaimed Tim Burgess to the 21,000 strong crowd! A set list with such enduring songs as ‘Love Is The Key’, ‘One To Another’, ‘North Country Boy’ and Manchester staples ‘Weirdo’ and ‘Sproston Green’ just go to show that this is more than a set-list it’s a scrapbook of memories and rock ‘n’ roll preservation. The blood of a band that means so much to so many. Released for the very first time on double gatefold 180g transparent orange vinyl this very special package comes loaded with a set of original Tom Sheehan live archive photographs beautifully restored as individual art prints to cherish. Complete with SoV Download code.col. 2LP 2 Island Rock 0860141 0602508601415 AT / CH: Best Music World Universal Music Chemical Brothers Surrender To Love12” heavy weight vinyl / Side A – 11minute medley with 4 tracks from the album / Side B – Out Of Control Remix12" 1 Virgin Electro / Dance 0859927 0602508599279 AT / CH: Best Music World Universal Music Christine and the Queens La Vita Nuova : Séquences 2 et 3 Side A: Je disparais dans tes bras / Side B: Je disparais dans tes bras [Studios Saint Germain session] / Side C: Mountains (we met) / Side D: Mountains (we met) [Studios Saint Germain session] / Double 7” black vinyl in gatefold sleeve. Paper inner-sleeves.2x7" 2 Because Music Pop 8650763 5060686507632 AT / CH: Best Music WorldVertrieb Interpret Titel Info Format Inhalt Label Genre Artikelnummer UPC/EAN AT+CH (ja/nein/über wen?)Record Store Day 2020 (GSA) - 18.04.2020 \| (Stand: 05.03.2020) Universal MusicCinematic Orchestra with the London Metropolitan Orchestra, TheThe Crimson Wing – Mystery of The Flamingoes Released for the first time on vinyl – The Crimson Wing – Mystery of The Flamingos by the Cinematic Orchestra. Originally released in 2009 on CD and download, Record Store Day will see the soundtrack issued for the first time on 2LP coloured vinyl – pink! The soundtrack accompanied The Crimson Wing: Mystery of the Flamingos a 2008 British- American nature documentary that explored the massive gathering of lesser flamingos in Tanzania. It was the very first movie released under the Disneynature label. In what may have seemed an unusual move at the time the producers of the film wanted to find a popular artist they liked and combine them with the truly striking imagery the film would produce. This led them to the critically acclaimed British jazz-electronic group Cinematic Orchestra who would go on to compose and perform the soundtrack. Produced by The Cinematic Orchestra and Steve McLaughlin with score orchestration by Teese Gohl it was performed at Air Lyndhurst by The Cinematic Orchestra and the London Metropolitan Orchestra. A deeply evocative soundtrack the multi-layered instrumentation captures beautifully the story of these mysterious creatures.col. 2LP 2Walt Disney RecordsSoundtrack 8744326 0050087443269 AT / CH: Best Music World Universal Music Cross, Keith / Ross, Peter Bored CiviliansEin 1972er British-Prog-Rock-Juwel, inspiriert durch den US-Westküsten-Sound, dessen ursprüngliche Vinyl-Veröffentlichung zu einer äußerst sammelnswerten LP geworden ist. Die Band wurde in der Vergangenheit als "The British Eagles" beschrieben, und die Besetzung bestand aus Nick Lowe (Brinsleys), BJ Cole (Procol Harum, John Cale, Robert Plant, David Gilmore, Cat Stevens, Rafferty, etc), zusammen mit anderen großartigen Musikern. Bored Civilians ist eine etwas mysteriöse Geschichte, in der sowohl Cross als auch Ross bald darauf von der Bildfläche verschwanden, aber das Vermächtnis des Albums hält ihre Namen auf dem Sammlermarkt hoch. Die erste offizielle Neuauflage auf LP, die rein analog von den Originalbändern neu gemastert wurde, wird exklusiv für die RSD 2020 mit zusätzlichen Liner Notes und seltenen Fotos aus den Decca-Archiven auf der inneren LP-Tasche geliefert.LP 1 Decca Prog Rock 0854477 0602508544774 AT / CH: Best Music World Universal Music Cure, The Bloodflowers First time on Picture Disc for this 20th Anniversary – RSD 2020 Exclusive / Grammy Nominated 2LP set featuring 10 tracks / Contains a Download CardPic 2LP 2 Polydor 0847972 0602508479724 AT / CH: Best Music World Universal Music Cure, The Seventeen Seconds First time on Picture Disc for this 40th Anniversary – RSD 2020 Exclusive / Features the single “A Forest” / Contains a Download Card.Pic 1LP 1 Polydor 0847975 0602508479755 AT / CH: Best Music World Universal Music Damned, The Evil Spirits Limited to 666, Transparent Green, Single Sleeve 180GM col. LP 1 Spinefarm 7723570 0602577235702 AT / CH: Best Music World Universal Music Def Leppard Rock ‘N’ Roll Hall Of Fame 2019 The complete five track show from Def Leppard’s Hall of fame inauguration featuring guest stars Brian May and Ian Hunter on All the Young Dudes, mastered by Ronan McHugh and Joe Elliott.1LP 1 Virgin EMI Rock 0819206 0602508192067 AT / CH: Best Music World Universal Music Down N Outz Magic Box EP To complement the release of ‘This is How We Roll’ this 12” 4 track EP features alternate versions of 3 tracks and a previously unreleased version of Roxy Music’s Virginia Plain12" EP 1 Virgin EMI Rock 0819201 0602508192012 AT / CH: Best Music World Universal Music Eminem My Name Is / Bad Guys Always Die7” Single featuring ‘My Name Is’ and ‘Bad Guys Always Die (From The “Wild Wild West” Soundtrack’)7" 1 Interscope Rap 0876686 0602508766862 AT / CH: Best Music World Universal Music Eno, Brian Rams: Original Soundtrack Album ‘RAMS: Original Soundtrack Score’ is the complete soundtrack from the film ‘Rams’, produced and directed by Gary Hustwit. All instrumentals are Previously Unreleased and are written, performed and produced by Brian Eno. The Record Store Day Exclusive is pressed on solid White Vinyl and contains a Download Card.col. 1LP 1 UMC Soundtrack 0855249 0602508552496 AT / CH: Best Music World Universal Music Gallagher, Rory Cleveland CallingRecovered from the depths of the Rory Gallagher archive comes ‘Cleveland Calling’ a previously unreleased acoustic radio session by Rory Gallagher, recorded at WNCR in Cleveland on August 7th,1972. This intimate 45-minute, 8 song acoustic session and interview with DJ Carolyn Thomas and was found on a small 7” reel and is released for the first time specially for Record Store Day 2020.LP 1 Chess Rock 0815525 0602508155253 AT / CH: Best Music WorldVertrieb Interpret Titel Info Format Inhalt Label Genre Artikelnummer UPC/EAN AT+CH (ja/nein/über wen?)Record Store Day 2020 (GSA) - 18.04.2020 \| (Stand: 05.03.2020) Universal Music Goulding, Ellie Lights (10th Anniversary)Ellie’s debut album, Lights, catapulted her to international fame 10 years ago, and includes the multimillion selling title track and Ellie’s cover of Your Song by Elton John. To celebrate its 10th anniversary, it has been expanded with the seven tracks that were added to the record in late 2019 to form the ‘Bright Lights’ package, as well as six judiciously selected remixes. Bright Lights and the remixes have never been on vinyl before and this record store day come pressed as a double LP on recycled vinyl in a sleeve made from recycled board. To further reduce its environmental impact, it comes without shrink wrap, the sleeve opening protected by the addition of a second sticker.2LP 2 Pop 0873354 0602508733543 AT / CH: Best Music World Universal Music Graham, Davy The Holly KaleidoscopeDavy Graham war einer der führenden Pioniere der Akustikgitarre, der viele Techniken für dieses Instrument erfand und entwickelte, darunter Akkordfolgen und offene Tunings (am bekanntesten für DADGAD). Er inspirierte auch viele führende Musiker wie Bert Jansch, Martin Carthy, John Martyn, Paul Simon und Jimmy Page. Das Holly Kaleidoscope war Grahams letzte LP für Decca, und er wurde von seiner damaligen Frau, der amerikanischen Sängerin Holly Gwyn, begleitet, die bei einigen Stücken den Gesang beisteuerte. Die vierzehn Tracks der LP enthalten fünf Graham-Originale sowie eine Mischung aus neu arrangierten populären Liedern. Diese Neuauflage der RSD 2020- LP kommt mit zusätzlichen Liner Notes und seltenen Fotos auf der LP-Innentasche. Rein analoges Remastering direkt von den Originalbändern und gepresst auf "Kaleidoskop/Paddled"-Effekt-Farbvinyl. Die erste Neuauflage auf LP seit der ursprünglichen Veröffentlichung 1970 vor 50 Jahren.col. LP 1 Decca Folk 0854475 0602508544750 AT / CH: Best Music World Universal Music Graham, Davy / Collins, Shirley Folk Roots, New RoutesEines der besten Folkmusik-Revival-Alben der 1960er Jahre. Folk Roots, New Routes ist ein wunderschönes, hochgeschätztes und oft auch als das Erfolgsalbum der britischen Folkmusik angesehen, das von vielen Musikern, Kritikern und Fans auf der ganzen Welt bewundert wird. Die bahnbrechenden Arrangements und das Spiel von Graham und Collins sind unnachgiebig und zeitlos, doch ihr kompromissloser Ansatz war auch sehr innovativ. Gedruckt auf 180grm Vinyl, analog remastert mit vielen Tracks erstmals in Stereo, direkt von Bändern für RSD 2020. Mit neuen zusätzlichen Liner Notes und seltenen Fotos auf der Innenhülle. Einige Titel werden zum ersten Mal in Stereo veröffentlicht.LP 1 Decca Folk 0854474 0602508544743 AT / CH: Best Music World Universal Music Inhaler It Won't Always Be Like This Inhaler ist die Band von Bonos Sohn Elijah Hewson und eine der großen Neuentdeckungen aus UK. A) It Won’t Always Be Like This B) Oklahoma – Late Night Version 7" 1 Polydor Rock 0868699 0602508686993 AT / CH: Best Music World Universal Music Inhaler My Honest Face „Sie sind ein bisschen wie Bunnymen und die frühen U2“, so Noel Gallagher. Inhaler sind noch neu auf den Bühnen Europas unterwegs und sammeln bereits Millionen von Streams auf ihre Songs. A) My Honest Face (cut at 45rpm) / B) There’s No Other Place (cut at 33 1/3 rpm) 10" 1 Polydor Rock 0868698 0602508686986 AT / CH: Best Music World Universal Music Inhaler We Have To Move On / Ice Cream Sundae Für den Record Store Day 2020 erscheinen sechs Songs von Inhaler einmalig auf drei Vinyls mit je zwei Songs A) We Have To Move On B) Ice Cream Sundae 7" 1 Polydor Rock 0867120 0602508671203 AT / CH: Best Music World Universal Music J.J Johnson & Kai Winding J&K: Stonebone 1970’s J&K: Stonebone, by the trombonists J.J. Johnson and Kai Winding, is the rarest of all A&M/CTI releases. Recorded in 1969 and only ever released in Japan, this album has not been available since its initial release in 1970 and has never been available on CD or for streaming. Long sought after by collectors, an original copy of this LP can sell for upwards of $1,000 USD. In addition to the two leaders, it features an all-star group that includes Herbie Hancock, George Benson, Bob James, Ron Carter, Grady Tate and Ross Tompkins. Release for RSD 2020 in red vinyl.col. 1LP 1 Verve Jazz 0866887 0602508668876 AT / CH: Best Music WorldVertrieb Interpret Titel Info Format Inhalt Label Genre Artikelnummer UPC/EAN AT+CH (ja/nein/über wen?)Record Store Day 2020 (GSA) - 18.04.2020 \| (Stand: 05.03.2020) Universal Music John, Elton Elton John Celebrating the 50th anniversary of its release, Elton John will be released for Record Store Day as a Deluxe 2LP. Featuring the classics Your Song, Border Song and Take Me To The Pilot, the album propelled Elton John into the charts. This Record Store Day release on transparent purple vinyl features LP1 – the 2016 remaster of the original album and LP2 – selected bonus tracks from 2008’s Deluxe Edition (not previously released on vinyl). It also includes after further archive searches two previously unreleased demos – Border Song and Bad Side Of The Moon.col. 2LP 2 Mercury 5086404 60250864041 AT / CH: Best Music World Universal Music Keane Night TrainOriginally released in May 2010, Night Train is an 8 track EP which debuted at #1 in the UK charts. 2020 marks the 10th anniversary and this will the first time it has been made available on vinyl. This Record Store Day release features two additional bonus tracks – See You Again, which features K’NAAN and a Work In Progress version of Stop For A Minute. It will be pressed on 180-gram transparent orange vinyl and features a digital download card.col. 1LP 1 Island Pop 0850595 0602508505959 AT / CH: Best Music World Universal Music Kennedy, Dermot Without Fear “Without Fear” ist das äußerst gelungene Debütalbum von Dermot Kennedy aus Irland. Nachdem die Fans jahrelang auf dieses warten mussten, kam es im vergangenen Herbst umso gewaltiger daher. Die 13 Titel werden für den Record Store Day 2020 in einer neuen und einmaligen 12-inch Picture Vinyl-Version veröffentlicht.Pic LP 1 Island Pop 0863530 0602508635304 AT / CH: Best Music World Universal Music Klaxons Surfing The Void Orange vinyl re-issue to celebrate the 10th Anniversary of The Klaxons second album, Surfing The Void. This not been on vinyl since first pressed in 2010, this reissue will feature the 10 album tracks plus 3 bonus songs (originally Japanese bonus tracks) never been on LP before.col. 2LP 2 Polydor Pop 0850904 0602508509049 AT / CH: Best Music World Universal Music Knopfler, Mark Metroland First release on vinyl for the soundtrack to the 1997 film ‘Metroland’ by British director Philip Saville. As well as 7 original Mark Knopfler compositions, the soundtrack includes the Dire Straits hit single ‘Sultans Of Swing’ plus songs by Elvis Costello, The Stranglers, Hot Chocolate, Django Reinhardt and Françoise Hardy. Limited edition 180g clear vinyl.LP 1 Mercury Rock 5712886 0602557128864 AT / CH: Best Music World Universal MusicLennon/Ono with the Plastic Ono BandInstant Karma! (2020 Ultimate Mixes)Written, recorded and released in just 10 days in January 1970, Instant Karma! was to become one of John Lennon’s biggest and most popular singles reaching #5 in the UK and #2 in the USA. Featuring George Harrison alongside bassist Klaus Voorman, drummer Alan White and keyboard player Billy Preston; this was the first time any Beatle had collaborated with legendary producer Phil Spector, who would later that same year work on The Beatles’ final album, Let It Be as well as solo albums from John (Plastic Ono Band) and George (All Things Must Pass). Audio is newly mixed from the original multi-tracks and artwork is a faithful reproduction of the original UK sleeve. Side A: Instant Karma! (We All Shine On) [2020 Ultimate Mix] / Side B: Who Has Seen The Wind [2020 Ultimate Mix]7" 1 Apple 0877871 0602508778711 AT / CH: Best Music World Universal Music Linton Kwesi Johnson Bass Culture / LKJ In Dub40th anniversary 2-LP edition of ‘dub poet’ Linton Kwesi Johnson’s classic 1980 album, released on Island Records, with additional LP – ‘LKJ in Dub’, featuring dub versions of tracks from Bass Culture and previous studio LP ‘Forces Of Victor. Remastered at Abbey Road, released on heavyweight coloured vinyl: GREEN for Bass Culture RED for LKJ In Dub. Features expanded artwork in a bespoke gatefold sleeve Both albums out of print on vinyl for years.col. 2LP 2 Island Reggae 0844840 0602508448409 AT / CH: Best Music World Universal Music Loduca, Joe / Elfman, Danny Army of Darkness - Original Motion Picture Soundtrack Sam Raimi’s Evil Dead film series rolled into the 1990’s with the classic Army of Darkness, which once again starred Bruce Campbell as Ash and featured the work of composer Joe Loduca, who continued to score Evil Dead projects through the Starz series, Ash vs The Evil Dead which ran from 2015-2018. Army of Darkness is musically distinct however in having a secondary composer contribution, as Danny Elfman, (Batman, Pee-wee, The Simpsons) deliver the killer theme, “March of the Dead.”2LP 2Varese Sarabande/Craf t RecordingsSoundtrack 7215793 0888072157934 AT / CH: Best Music World Universal Music Marley, Bob Redemption Song40th Anniversary of ‘Redemption Song’ / Recreation of the original Limited Edition U.K. 12”. / To be released outside the U.K. for the first time / B-side features the rare “Band Version” of the song, and a live “Sheriff” from the 1977 Rainbow Theatre concert, both unavailable on vinyl since 1980 / Clear colour vinylcol. 12"Maxi 1 Island Reggae 0866893 0602508668937 AT / CH: Best Music WorldVertrieb Interpret Titel Info Format Inhalt Label Genre Artikelnummer UPC/EAN AT+CH (ja/nein/über wen?)Record Store Day 2020 (GSA) - 18.04.2020 \| (Stand: 05.03.2020) Universal Music McCartney, Paul McCartney 1Released in 1970, a month before The Beatles’ swansong Let It Be, McCartney was Paul McCartney’s first solo album. Notable for the fact that he performed all instruments and vocals himself, aside from some backing vocals performed by Linda, it’s an album rich in experimentation, and the original home of hit single ‘Maybe I’m Amazed’. The album achieved the number 1 position in the US and hit number 2 on the UK charts. To mark the 50th anniversary of the album’s release, the album will be re-issued on 180 gram black vinyl as a half-speed master cut done at Abbey Road and includes a certificate indicating as such, plus an obi strip on the cover denoting the 50th anniversary.LP 1 Capitol 0846472 0602508464720 AT / CH: Best Music World Universal Music Meat Loaf Bat Out Of Hell II: Back Into Hell Roaring Harleys, screeching vocals and 14 million copies sold worldwide – Bat Out of Hell II: Back into Hell is a certified opus of rock opera whose demonic technicolour is fully realised in this double picture disc vinyl that makes full use of sci-fi/fantasy artist Michael Whelan’s iconic artwork. Coming 16 years after the release of the multiplatinum Bat out of Hell, Back into Hell doubles down on the humour and theatricality of Meat’s debut making it a worthy successor. The songs are once again written by Jim Steinman and the album features the same cast from the original: keyboardist Roy Bittan and drummer Kenny Aronoff, with vocal support by Ellen Foley, Kasim Sultan and Todd Rundgren.Picture 2LP 2 Virgin EMI Rock 0846203 0602508462030 AT / CH: Best Music World Universal Music Mellow Candle Swaddling SongsSwaddling Songs ist ein Album von 1972, das von der irischen progressive Folk-Rock- Band Mellow Candle veröffentlicht wurde. Es war das einzige Studioalbum der Band und ist im Laufe der Jahrzehnte zu einer geschätzten und wertvollen Platte geworden, bei der die neuwertigen Originalkopien der LP hohe Summen erzielten. Die komplizierten Arrangements und Gesangsharmonien haben sie zu einem Klassiker ihres Genres gemacht, und diese RSD-exklusive Vinyl-Ausgabe wird mit zusätzlichen Liner Notes und seltenen Fotos auf der Innenseite der LP-Tasche geliefert. Rein analoges Remastering direkt von den Originalbändern für RSD 2020. 180grm weißes Vinyl und im originalen Klappcover-Format.col. LP 1 Deram Folk Rock 0854470 0602508544705 AT / CH: Best Music World Universal Music Metronomy Metronomy Forever Remixes Best remixes from the current Metronomy Forever campaign onto a 12” including Idles take on Wedding Bells, the Bristol band’s first official remix created for another artist. A-side: Wedding Bells (IDLES ‘Til Dev do us Party Remix) / Insecurity (Michael Mayer What IZ Love Remix) III B-side: Salted Caramel Ice Cream (Anna Lann Remix) / Wedding Bells (Georgia Remix) / Lately (Gerd Janson & Shan Remix) (flourescent orange vinyl)col. 12" EP 1 Because Music Electro / Pop 8650681 5060686506819 AT / CH: Best Music World Universal Music Monty PythonThe Album Of The Soundtrack Of The Trailer Of The Film Of Monty Python And The Holy Grail Simply one of the funniest albums ever released, the soundtrack to the Pythons first feature length movie (1975) debuts as a picture disc. The packaging was configured by Terry Gilliam and the record includes the addition of a previously unreleased track: ‘The Trailer of the Film of Monty Python & the Holy Grail.’ Ni!!Picture 1LP 1 Virgin EMI Soundtrack 0860131 0602508601316 AT / CH: Best Music World Universal Music Ocean Colour Scene One From The Modern The 4th Ocean Colour Scene album was a slight departure from the previous two albums, with a more reflective, soulful and pastoral sound as well as a more political slant, albeit with a late-60s psychedelic slant, reminiscent of The Byrds, Small Faces or later-period Beatles. Remastered at Abbey Road, released on heavyweight GREEN vinyl. Exclusive, limited edition double LP, in gatefold sleeve. All formats now deleted – the vinyl has been out of print for many yearscol. 2LP 2 Island Pop 0848091 0602508480911 AT / CH: Best Music World Universal Music Opeth Orchid This band has received massive critical acclaim for their combination of progressive influences and annihilating Swedish death metal. This Purple marble swirl colored, 140g re-issue with embossed sleeve is a must for fans and collectors alike. Strictly limited to 1000 copies worldwide.col. 2LP 2Spinefarm/Can dlelightRock 0854820 0602508548208 AT / CH: Best Music World Universal Music Parker, Charlie Jazz At Midnight: Live at the Howard TheatreStunning performances recorded live at the Howard Theater, Washington, D.C., March 8, 1953* and October 18, 1952. / Previously released as part of a larger collection and only on CD in 2000 / All cuts available as a standalone album for the first time / All cuts available on vinyl for the first time / Features stellar band members Max Roach, Charlie Byrd, Zoot Sims and more / Includes original liner notes by the producer Bill Potts / Midnight Blue LPcol. LP 1 Blue Note Jazz 0866903 0602508669033 AT / CH: Best Music World Universal Music Refused Not Fit For Broadcasting - Live At The BBC The band recorded a live five song set at the iconic BBC Maida Vale studios, performing four songs from their latest album ‘War Music’, along with a mash up of ‘It’s Not Ok/Rather Be Dead from the classic ‘Songs to Fan the Flames of Discontent’ album. This will be presented to fans in 2020 as a limited Record Store Day LP. Single sleeve, ultra clear vinylcol. 12" EP 1 Spinefarm Rock 0854781 0602508547812 AT / CH: Best Music WorldVertrieb Interpret Titel Info Format Inhalt Label Genre Artikelnummer UPC/EAN AT+CH (ja/nein/über wen?)Record Store Day 2020 (GSA) - 18.04.2020 \| (Stand: 05.03.2020) Universal Music Roger Waters The Wall - Live In Berlin To herald the 30th anniversary of one of the most symbolic concerts of all time, for RSD 2020, we are releasing a limited clear vinyl run of the landmark 1990 Berlin version of The Wall, Roger Waters’ landmark concept album. Recorded in the former ‘no-man’s land’ between the Brandeberg Gate and Potsdamer Platz in Berlin just eight months after the fall of the Berlin Wall, the live spectacular was watched by over 500,000 people. A string of special guests makes this a truly unique recording: few records can boast a range of stellar talent such as Van Morrison, The Band, Cyndi Lauper, The Scorpions, Jerry Hall, Sinead O’Connor and Joni Mitchell. Transferred at Abbey Road and offered in 180gm vinyl, it is an opportunity for many to reacquaint themselves with an absolutely unique reading of Pink Floyd’s towering 1979 concept album.col. 2LP 2 EMI Rock 0853850 0602508538506 AT / CH: Best Music World Universal Music Rolling Stones, The Metamorphosis The first official Rolling Stones’ rarities collection originally released in June 1975 to try and outwit the bootleggers. The release combines some legendary out-takes and rarities as well as focusing on the wealth of demos that Jagger & Richards composed for other artists (produced by Andrew Loog Oldham or Jimmy Miller). Remastered by Bob Ludwig (Gateway Mastering) and Lacquer cutting by Sean Magee (Abbey Road Studios) Released exclusively on 180g HUNTER GREEN vinyl Includes exclusive iron-on t-shirt transfer of the sleeve design, which alludes to Franz Kafka’s ‘The Metamorphosis’ (the story of a man who wakes up one morning to find himself inexplicably transformed into a huge insect!). This release replicates the U.K. version, with two extra songs, “Some Things Just Stick In Your Mind” and “We’re Wastin’ Time” that were not on the original U.S. release.col. 1LP 1 ABKCO Rock 7186311 0018771863113 AT / CH: Best Music World Universal Music Roxy Music Roxy Music - Steven Wilson’s stereo mixThe final piece of the Roxy Music debut album celebration jigsaw. Originally intended as part of the groundbreaking box set from 2018, Steven Wilson’s stereo mix of the epochal work has been whispered about from its non-inclusion onwards. Now, with the full blessing of the band, it sees the light of day in strictly limited clear vinyl for RSD 2020, mastered for vinyl by Frank Arkwright at Abbey Road.col. 1LP 1 Virgin EMI Rock 0855366 0602508553660 AT / CH: Best Music World Universal Music Sandie Shaw Reviewing The Situation Sandie Shaw was one of the most successful British female singers of the 1960s, forever famous for winning the Eurovision Song Contest in 1967 with “Puppet On A String”. She dominated the UK charts with a flood of pop hits during the late 1960s – including three number one singles – yet ventured into a funkier direction with this her fifth studio album. This was Shaw’s first time producing an album herself and she chose songs by alternative artists from the 1960s with covers of tracks by The Beatles, Rufus Thomas, Lovin’ Spoonful, Dr. John, Rolling Stones, Bob Dylan and what, on release in 1969, was the first ever cover of a Led Zeppelin song (Your Time Is Gonna Come). Her sensual voice and a strong backing band, featuring Ian Wallace of King Crimson on drums, gives these classic tunes a new lease of life. This release features the long lost mono mix of the original album plus a second disc of bonus material from the same sessions, including versions of Paul McCartney’s ‘Junk’ and ‘Frank Mills’ from the Broadway show Hair, collected together on vinyl for the first time.2LP 2 EMI Pop 0836040 0602508360404 AT / CH: Best Music World Universal Music Sea Girls Call Me Out Die Debüt-EP von Sea Girls erschien 2017 ausschließlich als digitale Version. Die EP enthält u.a. den Titelsong, der der erste Song ist, den die Band aus London je veröffentlicht hat. Für den Record Store Day 2020 erscheinen die vier Songs einmalig als 12-inch Maxi-Single.V12 1 Polydor Indierock 0855762 0602508557620 AT / CH: Best Music World Universal Music Shankar, Anoushka Love LettersAlongside Alev Lenz, a host of trail-blazing women feature on ‘Love Letters’ including twin sister vocal duo Ibeyi, singer and cellist Ayanna Witter-Johnson, renowned Indian singer Shilpa Rao, Brooklyn-based mastering engineer Heba Kadry (Björk, Slowdive) and British audio mastering engineer Mandy Parnell (Aphex Twin, The XX). A brand new 6 track EP, physically released just for RSD 2020EP 1 Mercury KX World 0851615 0602508516153 AT / CH: Best Music World Universal Music Smith, Sam I Feel Love SIDE A – I FEEL LOVE / SIDE B – I FEEL LOVE (EXTENDED) 12” Picture Disc Pic 12" Maxi 1 Capitol Pop 0861594 0602508615948 AT / CH: Best Music World Universal Music Stevens, Cat But I Might Die Tonight7″ single of Cat Stevens song But I Might Die Tonight from the album Tea For The Tillerman. Side A will feature the alternative version of the song from the film Deep End. The A-side was reworked specifically for the film (which starred Jane Asher and somewhat a UK cult classic) and is a previously unreleased in any form! Colour of the 7″ Single is Light Blue.col. 7" 1 Island Folk-Rock 0864459 0602508644597 AT / CH: Best Music World Vertrieb Interpret Titel Info Format Inhalt Label Genre Artikelnummer UPC/EAN AT+CH (ja/nein/über wen?)Record Store Day 2020 (GSA) - 18.04.2020 \| (Stand: 05.03.2020) Universal Music Tangerine Dream Phaedra Tangerine Dreams first release after signing the Richard Branson’s Virgin Records. Released on 20 February 1974, it unveiled a brooding title track that was spread across the whole of side A. Phaedra was recorded at the Manor, the studio inside a manor house in Shipton-on-Cherwell in Oxfordshire, England, which was already celebrated by early 1974 as the location in which Mike Oldfield had created Tubular Bells, It was produced by Tangerine Dream founder Edgar Froese who also painted the image on the album cover. With audio taken from 2019’s boxset In Search Of Hades and bonus tracks not on the original album this has been made in a double LP for the first time, pressed on 180g heavyweight tangerine coloured vinyl.col. 2LP 2 EMI Kraut / Electro 0850921 0602508509216 AT / CH: Best Music World Universal MusicThe Comet Is Coming, Featuring Joshua Idehen Imminent The Comet is Coming follow up their globally successful 2019 releases Trust in the Lifeforce of the Deep Mystery and The Afterlife with this Record Store Day exclusive 12” vinyl titled Imminent. Side A is ‘Imminent’, a pulsating, frenetic number featuring lyrics and vocals by Joshua Idehen. Side B features a DJ Noss remix of the standout track ‘Super Zodiac’ from the band’s impulse! records debut.12" 1 Impulse 0873423 0602508734236 AT / CH: Best Music World Universal Music Thin Lizzy Chinatown40th Anniversary newly re-mastered edition of Chinatown which comes with a second LP of previously unheard demos housed in an embossed sleeve. 2LP 1 Mercury Rock 0823373 0602508233739 AT / CH: Best Music World Universal Music Tyrannosaurus Rex Unicorn First time on coloured vinyl for the 3rd Tyrannosaurus Rex album from 1969 Produced by Tony Visconti, the album features such Bolan favourites as “”Cat Black ( The Wizards Hat)””, “”She Was Born To Be My Unicorn””, “”Nijinksi Hind”” and the children’s story, “”Romany Soup””, narrated by John Peel. Contains a Download Card.col. 1LP 1 Polydor Rock 5390454 0600753904541 AT / CH: Best Music World Universal Music U2 11 O’CLOCK TICK TOCK (40th Anniversary Edition)‘11 O’Clock Tick Tock’ was recorded with producer Martin Hannett in Dublin’s Windmill Lane Studios in 1980. Originally released in May that year, the song was U2’s first single on Island Records. This 40th anniversary edition includes the full length version of ’11 O’Clock Tick Tock’ and the original 7” b-side ‘Touch’, plus two previously unreleased live recordings from the band’s show at the Marquee in London in September 1980 – ‘Touch’ and ‘Twilight’ . • 4 track 12” EP , cut at 45 rpm • Pressed on 180gsm transparent blue vinyl • Full colour gatefold outer sleeve • Photo gallery on inner gatefoldcol. 12" 1 Island Rock 0846180 0602508461804 AT / CH: Best Music World Universal Music V/AAustin Powers: International Man of Mystery (Walt Disney Records)Mike Myers’ ultra-mod ’60s spy spoof Austin Powers: International Man of Mystery skillfully wrings humor from the differences and the similarities between the ’60s and ’90s, so it isn’t surprising that the soundtrack balances ’60s pop hits with ’90s songs that wryly rework those swinging styles. Naturally, the original Burt Bacharach songs sound the best, yet there a number of retro-style gems, ranging from the funky acid jazz of the James Taylor Quartet and the straight-ahead pop/rock of Edwyn Collins and Susanna Hoffs to the Lightning Seeds’ trip-hop reworking of the Turtles’ “You Showed Me” and the Wondermints’ ringing title theme. In other words, it’s nearly fab. 2LP Coloured Vinyl – LP1 is Purple & LP2 is Redcol. 2LP 2Walt Disney RecordsSoundtrack 8744545 0050087445454 AT / CH: Best Music World Universal Music V/AMERCURY KX CURATES FIRST EVER COMPILATION: ‘FLOW’ FEATURING: A RARE NILS FRAHM REWORK / BRAND NEW CUSTOM COMPOSITIONS BY ISOBEL WALLER-BRIDGE & FEDERICO ALBANESE / BEAUTIFUL CONTRIBUTIONS FROM JOSIN & SOPHIE HUTCHINGS / & OF COURSE MUSIC FROM MKX MAINSTAYS ÓLAFUR ARNALDS, KEATON HENSON, GRAMMY-NOMINATED SEBASTIAN PLANO, LAMBERT, ANATOLE, LUKE HOWARD & GUY SIGSWORTH!LP 1 Mercury KX Neoklassik 0853227 0602508532276 AT / CH: Best Music World Universal Music Various Artists Hackers - Original Motion Picture Soundtrack The definitive soundtrack to the film Hackers, featuring tracks from the film that were not included on the original soundtrack, including “Protection” by Massive Attack, “Open Up” by Leftfield, two tracks by Guy Pratt, “One Combination” and “Grand Central Station” featuring David Gilmore, as well as “Hackers Suite” performed by composer Simon Boswell. The double LP release comes in conjunction with the 25th anniversary of the film, which will see revival screenings all over the world. The package includes new notes from Director/Producer, Iain Softley and unreleased photos of the cast.2LP 1Varese Sarabande/Craf t RecordingsSoundtrack 7215581 0888072155817 AT / CH: Best Music WorldVertrieb Interpret Titel Info Format Inhalt Label Genre Artikelnummer UPC/EAN AT+CH (ja/nein/über wen?)Record Store Day 2020 (GSA) - 18.04.2020 \| (Stand: 05.03.2020) Universal Music Weeknd, The My Dear Melancholy „My Dear Melancholy“ ist die bisher einzige EP-Veröffentlichung von The Weeknd und umfasst 6 Tracks. Die Liste der Co-Autoren und -Producer ist so eklektisch wie hochkarätig: Nicolas Jaar (Co-Autor „Call Out My Name“) ist genauso dabei wie Skrillex (Co-Produzent „Wasted Times“), Frank Dukes (mehrfach Produzent), Gesaffelstein (Albumgast und Produzent „I Was Never There“ + „Hurt You“) oder auch Mike WiLL Made-It („Try Me“). Auch Daft Punk sind (zumindest zu 50%) wieder dabei: „Hurt You“ feat. Gesaffelstein komponierte The Weeknd u.a. mit Guy-Manuel de Homem-Christo und knüpfte damit direkt an „Starboy“ und „I Feel It Coming“ an. 12" EP 1 Republic HipHop 0823643 0602508236433 AT / CH: Best Music World Universal Music Who, The Odds and Sods One of the very first ‘rarities ’ collections , released to try and defeat the bootleggers , the original 11-track album was released on the Track Records label in September 1974 . This reissue includes the original LP sequence on disc one and adds 14 bonus tracks – B- sides , rarities & extras on disc two , ‘Odds & Sods Too ’ – to create a definitive , 25-track double LP . The stunning artwork and design restore the original ‘die-cut’ front sleeve and includes all Pete Townshend ’s original track annotation . Pressed on heavyweight coloured vinyl : Disc One – RED / Disc Two – YELLOW . Also features replica 1973 North American tour poster image (as part of the gatefold ) and lyric insert , with two printed inner bags Remastered and cut using half -speed mastering process at Abbey Road studios .col. 2LP 2 Polydor Rock 7712462 0602577124624 AT / CH: Best Music World Universal Music Yarbrough, Camille The Iron Pot Cooker First ever vinyl reissue of this rare and highly collectible album released on Vanguard in 1975. Features the song “Take Yo’ Praise” that was sampled in the hit Moby song “Praise You.” 180-gram vinyl in tip-on jacket.LP 1Concord/ Craft RecordingsFunk/Soul 7215906 0888072159068 AT / CH: Best Music World Universal Music Zappa, Frank You Can’t Do That On Stage Anymore (Sampler)Frank Zappa’s 1988 compilation sampler for the expansive live series intended for compact disc. Featuring live tracks ranging from 1969 to 1984. Limited Edition pressing on Yellow & Red Haze Vinyl and remastered by Bernie Grundman 2019.col. 2LP 2Zappa Family TrustRock 0217421 0824302174210 AT / CH: Best Music World Warner Music CE ALICE COOPER Live from the Apollo Theatre Glasgow Feb 19.1982 Classic performance from Alice Cooper recorded live from The Apollo theatre Glasgow, Scotland, Feb 19, 1982 on his "Special Forces Tour". This recording is largely unreleased with only three tracks - "Who Do You Think We Are", "Under My Wheels" and "Model Citizen" - being previously released as 12" B-sides in 1982, and have not been available since. Strictly limited to 7000 copies. Tracklisting: 1. Who Do You Think We Are, 2. Model Citizen, 3. Go to Hell, 4. Guilty, 5. I'm Eighteen, 6. Cold Ethyl, 7. Only Women Bleed, 8. No More Mr. Nice Guy, 9. Clones (We're All), 10. Under My Wheels, 11. I Never Cry, 12. 7 and 7 Is, 13. Grim Facts, 14. Pain, 15. Billion Dollar Babies, 16. Generation Landslide, 17. Who Do You Think We Are, 18. Schools Out. (previously released)LP 2 Rhino / Warner Rock 0603497850167 0603497850167 ja Warner Music CE ALPHAVILLESounds Like A Melody (Grant & Kelly Remix by Blank & Jones x Gold & Lloyd)Special unreleased new mix for Record Store Day 2020 created by original band members Marian Gold and Bernhardt Lloyd together with Blank & Jones. For the first time Bernhard Lloyd worked with Marian Gold in the studio again since he left Alphaville in 2003. Only original parts from the 1984 multi track tapes were used, no additional instruments. The name "Grant & Kelly Remix“ results from a line in the second verse of the song: "….Like the Cary Grants and Kellys once before…“ Blank & Jones work closely with the band since 2013 on various projects like "so8os (so eighties) Reconstructions pres. Alphaville“ and the "Forever Young - Super Deluxe Edition". This limited edition also features a special long version on the B-side.12" Single yellow vinyl 1Warner Music GermanyPop 5054197066849 5054197066849 jaVertrieb Interpret Titel Info Format Inhalt Label Genre Artikelnummer UPC/EAN AT+CH (ja/nein/über wen?)Record Store Day 2020 (GSA) - 18.04.2020 \| (Stand: 05.03.2020) Warner/ADA AmericaHeritage II: Demos/Alternate Takes 1971–1976 (RSD 2020 Exclusive)Contains 11 previously unissued demos and alternate tracks from 1971-1976. • Liner notes by the band’s Gerry Beckley • Includes long rumoured 13 minute acoustic jam “Jameroony.” In 2017, Omnivore Recordings released Heritage: Home Recordings/Demos 1970-1973. And now, due to critical and commercial acclaim, we are pleased to announce for Record Store Day 2020, the vinyl release of Heritage II: Demos/Alternate Takes 1971-1976. This collection picks up where the first volume left off, centering mostly on the beginning of the Sir George Martin era. Martin produced seven albums by America and Heritage II focuses in on demos and alternate takes from the Holiday, Hearts, and Hideaway albums from 1974–1976. Hear for the very first time, an unreleased Gerry Beckley song, “Mandy”; demos of songs from Holiday (“What Does It Matter” and “Mad Dog”), outtakes from Hearts (“Simple Life”) and alternate mixes from Hideaway (“Amber Cascades” and “Today’s The Day”). In addition to these gems, there’s a real rarity included herein from 1971, an acoustic instrumental jam by Gerry Beckley, Dewey Bunnell and Dan Peek entitled, “Jameroony” lasting nearly 13 minutes. Unearthed from the band’s archives, this track has been rumored for years but only just found recently. An early ’70s soft rock fan’s dream come true. This collection spotlights a new direction in the band’s sound as Sir George Martin takes the reins and leads them to many more platinum albums and hit records. Please enjoy this alternate walk down memory lane as you immerse yourself in the guilty pleasures of America!LP 1 Omnivore Pop 0816651018208 0816651018208 ja Warner/ADA Annihilator Triple Threat Unplugged Canadian thrash metal protagonists Annihilator celebrate Record Store Day with a 12” picture disc release of acoustic material previously only available in 2017’s Triple Threat CD format (the picture disc is the 2017 release cover art). Titled Triple Threat Unplugged, the 10-cut selection further accentuates the virtuoso skills of founder and leader, Jeff Waters, and were never previously released on vinyl. Joining Waters for the recordings, which took place in his home studio near Ottawa, were band members Aaron Homma and Richard Hinks, Vancouver BC drummer and friend Marc LeFrance plus Ottawa session player Pat Robillard, and the selections (which include “Sounds Good To Me”, Stonewall” and “Phoenix Rising”) illustrate the more unique, calmer elements of Annihilator’s library, with Waters’ guitar as vibrant as ever in this acoustic setting. This is Annihilator annihilating in a whole other way!LP Picture Disc 1 Silver Lining Thrash Metal 0190296855658 0190296855658 ja Warner Music CE Biffy Clyro ModernsSpecial opaque white vinyl exclusive 7” single features the Frightened Rabbit cover, “Modern Leper” and the David Bowie cover “Modern Love.”7" Single 1Warner Music UKAlternative Rock 0190295288532 0190295288532 ja Warner/ADA Black SabbathEvil Woman, Don't Play Your Games With Me / Wicked World / Paranoid / The Wizard Despite a run of legendary hit singles in the 1970s, Black Sabbath and the seven-inch single format didn’t always sit well together. After the release of their debut single ‘Evil Woman’ in 1970, followed by their ultimate explosive chart success with ‘Paranoid’, the band were not comfortable with the confines of the mainstream pop format and the audience it brought them, leading to their now legendary self-imposed ban on releasing singles in the early 70s. Features four iconic images of the Sabbath band members emblazoned across two 7” picture discs, one image per side packaged in rare picture sleeves. Unique ultra-rare international colour picture sleeves. Remastered by renowned engineer Andy Pearce7" Picture Discs 2 Sanctuary Heavy Metal 4050538564501 4050538564501 ja Warner Music CE Brandi Carlile A Rooster Saystbc12" Single black & Yellow 1The New ElektraSinger-Songwriter 0075678650109 0075678650109 ja Warner/ADA Carter USM 1992 The Love Album (RSD 2020 Exclusive) This is an exclusive Album Picture Disc for RSD. Now that the UK have left the European Union (presumably…) Carter release a special commemorative Picture Disc of their UK Number 1 album ‘1992: The Love Album’, featuring their adapted EU ‘Flag of Europe’ design. The album reached Number One in the UK and contains the hits ‘The Only Living Boy In New Cross’ and ‘Do Re Me So Far So Good’. Track List: 1993 Is Wrestling Fixed The Only Living Boy In New Cross Suppose You Gave A Funeral And Nobody Came England Do Re Me So Far So Good Look Mum, No Hands While You Were Out Skywest And Crooked The Impossible Dream k Bottom Too Hot To Handle Shoot Shoot 12" Picture Disc 1 Chrysalis Pop 5060516094172 5060516094172 ja Warner Music CE Charli XCX Vroom Vroom EPtbc 12" Coloured LP 1East West Records UK LtdPop 0190295275686 0190295275686 jaVertrieb Interpret Titel Info Format Inhalt Label Genre Artikelnummer UPC/EAN AT+CH (ja/nein/über wen?)Record Store Day 2020 (GSA) - 18.04.2020 \| (Stand: 05.03.2020) Warner Music CE DAVID BOWIE ChangesNowBowieCHANGESNOWBOWIE is a 9-track session recorded for radio and broadcast by the BBC on David’s 50th birthday on 8th January, 1997. The broadcast originally featured an interview with David by Mary Ann Hobbs interspersed with specially recorded birthday messages and questions from the likes of Scott Walker, Damon Albarn, Bono, Robert Smith and many more. The interview and birthday messages do not feature on this album. This mostly acoustic session was a stripped back affair featuring some of David’s favourites of his own compositions and was produced by Bowie himself, Reeves Gabrels and Mark Plati. LP 1 PLG UK Pop 0190295332747 0190295332747 ja Warner Music CE DAVID BOWIE ChangesNowBowieCHANGESNOWBOWIE is a 9-track session recorded for radio and broadcast by the BBC on David’s 50th birthday on 8th January, 1997. The broadcast originally featured an interview with David by Mary Ann Hobbs interspersed with specially recorded birthday messages and questions from the likes of Scott Walker, Damon Albarn, Bono, Robert Smith and many more. The interview and birthday messages do not feature on this album. This mostly acoustic session was a stripped back affair featuring some of David’s favourites of his own compositions and was produced by Bowie himself, Reeves Gabrels and Mark Plati. CD Digipak 1 PLG UK Pop 0190295301514 0190295301514 ja Warner Music CE DAVID BOWIE I'm Only Dancing (The Soul Tour 74)I’m Only Dancing - Taken from recently discovered sources in The David Bowie Archive®, I’m Only Dancing (The Soul Tour 74) was recorded mostly during David’s performance at the Michigan Palace, Detroit on 20th October, 1974, with the encores taken from the Municipal Auditorium, Nashville on 30th November, 1974. The Soul Tour was a radical mid-tour departure from Bowie’s 1974 Diamond Dogs theatrical extravaganza. During a three week break in late 1974, the Diamond Dogs Tour’s elaborate six-ton Hunger City stage set was drastically stripped back, and the tour’s set list overhauled to include as-yet-unreleased tracks from the Young Americans sessions at Sigma Sound in Philadelphia. The Soul Tour also featured a revamped band, augmented to include musicians and vocalists from those sessions, and rechristened The Mike Garson Band. I’m Only Dancing (The Soul Tour 74) follows on from the previous Record Store Day 2 LP release Cracked Actor (Live Los Angeles ’74) and is an incredible historical document of a performer and band at the height of their live powers. The artwork for both the 2 LP and 2 CD releases is based on the original design for the programmes available at venues for dates on The Soul Tour. The Soul Tour has taken a on mythical status among Bowie fans, as the tour only visited 17 cities in the East and South of US. This is the first time that any audio from this incarnation of the tour has ever been officially released.LP 2 PLG UK Pop 0190295314170 0190295314170 ja Warner Music CE DAVID BOWIE I'm Only Dancing (The Soul Tour 74)I’m Only Dancing - Taken from recently discovered sources in The David Bowie Archive®, I’m Only Dancing (The Soul Tour 74) was recorded mostly during David’s performance at the Michigan Palace, Detroit on 20th October, 1974, with the encores taken from the Municipal Auditorium, Nashville on 30th November, 1974. The Soul Tour was a radical mid-tour departure from Bowie’s 1974 Diamond Dogs theatrical extravaganza. During a three week break in late 1974, the Diamond Dogs Tour’s elaborate six-ton Hunger City stage set was drastically stripped back, and the tour’s set list overhauled to include as-yet-unreleased tracks from the Young Americans sessions at Sigma Sound in Philadelphia. The Soul Tour also featured a revamped band, augmented to include musicians and vocalists from those sessions, and rechristened The Mike Garson Band. I’m Only Dancing (The Soul Tour 74) follows on from the previous Record Store Day 2 LP release Cracked Actor (Live Los Angeles ’74) and is an incredible historical document of a performer and band at the height of their live powers. The artwork for both the 2 LP and 2 CD releases is based on the original design for the programmes available at venues for dates on The Soul Tour. The Soul Tour has taken a on mythical status among Bowie fans, as the tour only visited 17 cities in the East and South of US. This is the first time that any audio from this incarnation of the tour has ever been officially released.CD Digipak 2 PLG UK Pop 0190295301477 0190295301477 jaVertrieb Interpret Titel Info Format Inhalt Label Genre Artikelnummer UPC/EAN AT+CH (ja/nein/über wen?)Record Store Day 2020 (GSA) - 18.04.2020 \| (Stand: 05.03.2020) Warner Music CE DEXTER GORDON The SquirrelThe Squirrel (subtitled Live in Montmatre, Copenhagen 1967) is a live album by American saxophonist Dexter Gordon recorded at the famous Jazz house Montmartre in Copenhagen, Denmark in 1967 by Danmarks Radio and released on in 1997. 1. "The Squirrel" (Tadd Dameron) – 15:25 2. "Cheese Cake" (Dexter Gordon) – 20:43 3. "You've Changed" (Carl T. Fischer, Bill Carey) – 12:25 4. "Sonnymoon for Two" (Sonny Rollins) – 17:45 Band: Dexter Gordon – tenor saxophone, Kenny Drew – piano, Bo Stief – bass, Art Taylor – drumsLP numbered 2 PLG Denmark Jazz 5054197065835 5054197065835 ja Warner/ADA DIO Annica A limited edition 12” Dio picture disc based around the Magica album. A-side leads wit rare track “Annica” (previously only available as a rare Japanese only bonus track ) from the Magica sessions and includes live and studio versions of “Lord Of The Last Day”. Side B features the 18 minute epic Dio spoken word piece Magica Story. Never before on vinyl12” Picture Disc 1 BMG Heavy Metal 4050538597165 4050538597165 ja Warner/ADA Emerson, Lake & PalmerLive At Waterloo Field, Stanhope, New Jersey, U.S.A., 31st July‘Flame-coloured’ vinyl 1LP, single sleeve. LP of live CD album from sold-out out, deleted, 2016 deluxe box set only. 1992 New Jersey US show. 50th Anniversary of ELP formation.12” LP flame coloured 2 BMG Progressive Rock 4050538590890 4050538590890 ja Warner/ADA Erasure Blue Savannah Transparent Blue 12”. 2020 celebrates the 30th anniversary of Erasure’s UK #3 single ‘Blue Savannah’. This exclusive Record Store Day 12” on transparent blue vinyl includes a brand new remix by Vince Clarke, original B-sides, rare 1989 Shep Pettibone U.S. Promo mixes and 1990 remixes from Mark Saunders and Gareth Jones with Fischerman’s Friend.LP 1 Mute Electro Pop 4050538554021 4050538554021 ja Warner Music CEERIC CLAPTON, DAVID SANBORN and MICHAEL KAMENLethal Weapon (Original Motion Picture Soundtrack)The Original 1987 Soundtrack. Newly Remastered For Vinyl Composed and Performed by Eric Clapton, Michael Kamen and David Sanborn Features Clapton on guitar on 9 tracks. LP 1 Warner Soundtrack / O.S.T. 0093624894711 0093624894711 ja Warner Music CE ÉTIENNE DAHO SurfKaren Dalton; on the terrace, Air have a drink with Smokey Robinson and Roger Waters; while in the kitchen, Audrey Hepburn, Dennis Wilson and Phoenix are considering a trip to the West Coast. No other alchemist could gather such precious gems with such a cohesive result. Surf is indeed much more than a covers album, it is a genuine Daho record with splashes of folk, echoes of soul, psychedelic vibes… Owning his legendary eclectism, the singer has fun letting himself go. He sings eternal classics with respect, envy, love and honesty (I Can’t Escape From You, My Girl Has Gone, Moon River), performs and records with sixteen musicians including the David Whitaker strings at Abbey Road (Glad To Be Unhappy), and also rediscovers forgotten gems (the amazing You Choose by the Pet Shop Boys). Daho is of course a pop icon, an idol who performs for ardent fans in sold-out venues, but he is also, just like you and me, a human being. Like us, he loves, falls out of love, hopes, loses himself, gets excited and, at night, alone at home, plays and hums songs that tell stories. With Surf, using the words of other songwriters, Daho reveals himself like never before. He shares his personal playlist, and offers us an intimate record full of glowing beauty and pure melancoly. A friend for our future emotions. (Matthieu Dufour)LP - Orange 1Warner Music FrancePop 0190295304423 0190295304423 ja Warner/ADA Fatboy Slim Sunset (Bird of Prey) This 20th Anniversary edition of Fatboy Slim’s Sunset (Bird Of Prey), celebrates the iconic original and includes a brand new, un released remix by the critically acclaimed Horse Meat Disco that’s nailed-on to become a dancefloor classic. The package includes orange vinyl and a 12” art card hand designed by street artist RYCA.12" 1 Skint Dance/Big Beat 4050538564815 4050538564815 ja Warner Music CE FAY WILDHAGEN Leave Me To The Moon (Live In Oslo)“Leave Me to the Moon”, is a live album from Norwegian singer / songwriter Fay Wildhagen. Recorded at Oslo Concert Hall, the album is a blend of songs from Fay Wildhagen`s albums, “Snow” and “Borders”. It also includes her single “Different”, released fall 2019. The focus track on the live album is “When I Let Go”, one of her most popular songs. On this new version we find the amazing Ane Brun on vocals.Limited 12" Black vinyl album1Warner Music NorwaySinger Songwriter 5054197071799 5054197071799 ja Warner/ADA Feeder Feeling a Moment / Pushing the Senses 10” Splatter Vinyl PVC bag. Limited edition 10” single, splatter vinyl. 15 year anniversary of ‘Feeling A moment’ single - UK No. 13, 1995. B-side fan favourite ‘Pushing The Senses' 10" 1 Echo Alternative 4050538589870 4050538589870 jaVertrieb Interpret Titel Info Format Inhalt Label Genre Artikelnummer UPC/EAN AT+CH (ja/nein/über wen?)Record Store Day 2020 (GSA) - 18.04.2020 \| (Stand: 05.03.2020) Warner Music CE FLEETWOOD MAC The Alternative RumoursFollowing the format of previous Fleetwood Mac RSD releases (for Tusk, Mirage, Tango In The Night and Fleetwood Mac), this RSD we will release a 1LP album of alternate takes mirroring the original album, from the “Rumours” deluxe edition. Alternate takes include early versions and alternate versions for “Gold Dust Woman”, “The Chain”, “Don’t’ Stop”, “Dreams” and “Second Hand News”. On vinyl for the very first time. Strictly Limited Edition. Track List Side 1 - 1. SECOND HAND NEWS (Alternate), 2.DREAMS (Alternate),3.NEVER GOING BACK AGAIN (Acoustic Duet), 4.DON’T STOP (Alternate), 5.GO YOUR OWN WAY (Alternate), 6.SONGBIRD (Alternate) SIDE 2 - 1. THE CHAIN (DEMO), 2. YOU MAKE LOVING FUN (ALTERNATE), 3. I DON’T WANT TO KNOW (EARLY TAKE), 4. OH DADDY (EARLY TAKE), 5.GOLD DUST WOMAN (EARLY TAKE)180 gram black vinyl 1 Rhino / Warner Pop 0603497848300 0603497848300 ja Warner/ADA Frank Marino & Mahogany Rush RealLIVE! Vol. 1 (RSD 2020 Exclusive) 2LP. First time on Vinyl. Embossed Deluxe Gatefold with live photos. Recorded live at Club Soda in Montreal, Canada on September 8, 2001. When headbanger historians look back on the important heavy metal and hard rock bands that were active during the '70s, Mahogany Rush's name doesn't come up nearly as often as Led Zeppelin, Black Sabbath, Deep Purple, Kiss, Van Halen, Judas Priest, Blue Öyster Cult or Aerosmith - and that is regrettable because Frank Marino led one of the '70s' most exciting hard rock/metal outfits. Mahogany Rush is, without question, underrated. Marino's refusal to change with the times is just as well - he is great at what he does, and the singer/guitarist is as inspired on original material as he is on performances of the Zombies' "She's Not There" and two Hendrix classics: "Voodoo Chile (Slight Return)" and "Red House.”LP 2 Nettwerk/Justin Time Rock 0068944026715 0068944026715 ja Warner Music CE GARY CLARK JR. Pearl Cadillac (feat. Andra Day) Exclusive RSD 10” single from the multiple Grammy Award winning artist Gary Clark Jr. Originally released on his acclaimed 2019 album “This Land”, this limited edition release includes two remixes of the track “Pearl Cadillac” featuring Andra Day, and is pressed on pearl colored vinyl.Coloured 10" LP 1Warner RecordsRock 0054391938893 0054391938893 ja Warner/ADA Gold, Andrew Something New: Unreleased Gold (RSD 2020 Exclusive)Andrew Gold’s first recordings as a solo artist. • Contains 12 previously unissued demos from 1973 • Liner notes by Grammy® Award-winning producer Peter Asher. • Pressed on colored vinyl for RSD. In the mid-1970s, Andrew Gold’s skills as a musician and an arranger were ubiquitious, appearing on some of the biggest records of the decade by artists such as Linda Ronstadt, Art Garfunkel, and James Taylor. By 1977, he had reached the Billboard Top 10 as an artist and writer with his self penned hit, “Lonely Boy.” LP 1 Omnivore Pop 0816651018031 0816651018031 ja Warner Music CE GORILLAZ D-Sides"D-Sides" is a compilation of b-sides and remixes from singles and bonus tracks for Gorillaz second album, "Demon Days." The 22 track album also includes unreleased tracks recorded during the album session. Originally released in 2007, this is the first time "D-sides" has been available on vinyl. The audio has been remastered and the 3-LP set is pressed on 180g vinyl.LP 3 PLG UK Pop 0190295307745 0190295307745 ja Warner Music CE GORILLAZ G-SidesOriginally released on CD in Japan 2001, and in 2002 in Europe and the US, this is the first time the album will be available on vinyl. The album is a collection of 10 b-sides and remixes from their debut album, "Gorillaz", and the "Tomorrow Comes Today" EP. The audio has been remastered and is pressed on 180 gram vinyl.LP 1 PLG UK Pop 0190295307738 0190295307738 ja Warner Music CE Grateful Dead Buffalo 5/9/77THE CONTENDER TO THE CORNELL CROWN BUFFALO 5.9.77 5-LP SET, 180-GRAM VINYL, WITH CUSTOM-ETCHED 10TH SIDE FEATURES ARGUABLY THE BEST-EVER RENDITIONS OF “HELP>SLIP>FRANKLIN’S” & “COMES A TIME” REMASTERED BY JEFFREY NORMAN FROM THE ORIGINAL ANALOG BOARD TAPES PRODUCED FOR RELEASE BY DAVID LEMIEUX LIMITED EDITION OF 7.700 Tracklisting: Side 1 – 1. Help On The Way, 2. Slipknot, Side 2 – 1. Franklin’s Tower, 2. Cassidy, Side 3 – 1. Brown-Eyed Woman, 2. Mexicali Blues, 3. Tennessee Jed, Side 4 – 1. Big River, 2. Peggy-O, 3. Sunrise, Side 5 – 1. The Music Never Stopped, 2. Bertha, 3. Good Lovin’, Side 6 – 1. Ship Of Fools , Side 7 – 1. Estimated Prophet, 2. The Other One, 3. Drums, Side 8 – 1. Not Fade Away, 2. Comes A Time, Side 9 – 1. Sugar Magnolia, 2. Uncle John’s Band180 gramm LPs 10th-side with etching.5 RBDO 2171 Rock 0603497848959 0603497848959 jaVertrieb Interpret Titel Info Format Inhalt Label Genre Artikelnummer UPC/EAN AT+CH (ja/nein/über wen?)Record Store Day 2020 (GSA) - 18.04.2020 \| (Stand: 05.03.2020) Warner/ADA Hardcastle, Paul 19: The Mixes (RSD 2020 Exclusive) Exclusive 12” Camouflage coloured vinyl for RSD. To celebrate the 35th Anniversary of the track ‘19’ this special mini album compilation is being released. The track got to No.1 in the UK in April 1985, USA, Germany, Italy, Spain and Japan, some of these featured local language versions. This 7 track Mini LP release features the 6 original remixes from 1985 along with Paul’s original demo. Track list: 19 (12" Mix) 19 (Destruction Mix) 19 (The Final Story) 19 (7" Mix) 19 (Instrumental 1) 19 (Instrumental 2) 19 (Original Demo)LP camouflage 1 Chrysalis Pop 5060516094189 5060516094189 ja Warner Music CE HAWKWIND At The BBC 1972Recorded live by the BBC on 28th September 1972 at the BBC’s famed Paris Theatre in London, this is the classic “Space Ritual” era Hawkwind featuring Dave Brock, Nik Turner, Lemmy Kilmister & Stacia Blake. This 11 track, hour long show of the stereo version features Hawkwind classics “Born To Go”, “Seven By Seven” & "Master of the Universe". The release also includes two bonus tracks recorded for Johnny Walker’s BBC Radio 1 show the same year; “Brainstorm” & “Silver Machine”LP 2 PLG UK Rock 0190295300210 0190295300210 ja Warner Music CE HOOTIE & THE BLOWFISH Live at Nick's Fat City 19952LP featuring a live show from Nick's Fat City in Pittsburg, PA from 1995. Features tracks: Only Wanna Be With You, Hold My Hand, Let Her Cry, I Go Blind, Love The One You’re With. Limited to 5000 copies wordwide. LP Gatefold 2 Rhino Atlantic Rock 0603497851973 0603497851973 ja Warner Music CE JETHRO TULL Stormwatch 2Stormwatch 2 will consist of 9 of the associated recordings mixed by Steven Wilson for the Stormwatch 40th ANNIVERSARY FORCE 10 EDITION.LP 1 PLG UK Rock 0190295309961 0190295309961 ja Warner Music CE K.D. LANG DragFirst time on vinyl! “Filled with seriously beautiful singing, Drag sharpens Ms. lang’s image as pop music’s smartest post-modern torch singer.” -New York Times “A collection of covers that are somehow related to smoking, Drag is far more ambitious than the average cover record.” -All Music Limited Edition - Pressed on smoky vinyl LP - etched 2Warner RecordsPop 0093624895619 0093624895619 ja Warner Music CE K.D. LANG AND THE RECLINES Angel With A LariattbcLP - red 1Warner RecordsPop 0093624895657 0093624895657 ja Warner Music CE LOU REED & JOHN CALE Songs For Drella30th Anniversary edition of Lou Reed’s album recorded with John Cale (Both formerly co-founders of The Velvet Underground) the concept album is a tribute to their friend and mentor “Andy Warhol” who had died a couple of years earlier… “…here they [Reed & Cale] paint a portrait of Warhol that has far more depth and poignancy than his public image would have led one to expect. It's a moving and deeply felt tribute to a misunderstood man, and it's a pleasure to hear these two comrades-in- arms working together again, even if their renewed collaboration was destined to be short-lived.” All Music Review. This double vinyl edition, exclusive to Record Store Day is pressed on audiophile, heavyweight vinyl and includes an etching on Side 4. Limited to 8500 copies worldwide. LP (Side 4 etched) 2 Rhino Warner Rock 0603497848232 0603497848232 ja Warner/ADA Madness Work Rest & Play Fortieth anniversary re-issue of the iconic UK band’s “Work Rest & Play EP” – the follow- up to their debut album, 1979’s “One Step Beyond…” Limited edition Record Store Day 2020 release on double 7” with triple gatefold sleeve including newly-discovered rare photos from the time of the original release. Includes the Madness classic “Night Boat to Cairo”.7" Vinyl 2 BMG Ska 4050538555752 4050538555752 ja Warner Music CE MARK SNOW The Truth And The Light: Music From The X-FilesFirst time on Vinyl! Musical selections from the first three years of the acclaimed science fiction television series by resident composer Mark Snow, with interspersed dialogue by the cast written by Chris Carter. The Truth is out there. Limited Edition. Pressed on glow-in-the-dark vinyl. LP - green glow 1Warner RecordsPop 0093624895381 0093624895381 ja Warner/ADA Morrissey Honey, You Know Where to Find Me 3 track, 10” single, as an innovative transparent clear photo disc in a clear PVC bag, with all audio on one side. Tracks are taken from the 2009 Deluxe re-issue of the Southpaw Grammar album, recorded at the original 2005 sessions. The album celebrates its 25th anniversary in 2020. The tracks and artwork for this new Record Store Day release were chosen by Morrissey.10" 1 BMG Alternative 4050538587784 4050538587784 ja Warner/ADA Motörhead Ace of Spades / Dirty LoveA limited edition shaped picture disc celebrating the 40th anniversary of Motörhead’s speaker smashing, worldwide outlaw anthem ‘Ace Of Spades’Shaped 12” picture disc 1 Sanctuary Heavy Metal 4050538555578 4050538555578 ja Warner Music CE MY CHEMICAL ROMANCE Life On The Murder SceneFirst time on vinyl! Contains live tracks, b-sides, & rare demos. Includes "Helena," "Thank You For The Venom," "The Ghost Of You," and "Bury Me In Black" Pressed on limited clear vinyl with red splatter.LP - splatter 1 Reprise Rock 0093624895589 0093624895589 jaVertrieb Interpret Titel Info Format Inhalt Label Genre Artikelnummer UPC/EAN AT+CH (ja/nein/über wen?)Record Store Day 2020 (GSA) - 18.04.2020 \| (Stand: 05.03.2020) Warner/ADA Nazareth Love Hurts / This Flight Tonight10” orange coloured vinyl. 45th anniversary re-release of the worldwide hit single ‘Love Hurts’ (US top 10) from one of the most successful and long-lasting bands on the planet - the Scottish rockers having formed in 1968 and still going strong. The track is paired for the first time with ‘This Flight Tonight’ as the B-Side, another of Nazareth’s big hits, reaching UK #11 in 1973. This new, limited edition, record Store Day single is on 10” orange coloured vinyl, and features the original German cover of ‘Love Hurts’ and the Portuguese cover of ‘This Flight Tonight’10" 1 Salvo Rock 4050538588576 4050538588576 ja Warner Music CE NEW ORDER Peel Session '82A 4 track 12” E.P. (playing at 33 1/3) featuring New Order’s session for John Peel’s radio show broadcast on 1st June, 1982. The release features a newly a created Peter Saville sleeve.12" Single 1Warner Music UKPop 0190295303433 0190295303433 ja Warner/ADA New Riders Of The Purple Sage Field Trip (Live) (RSD 2020 Exclusive) Recorded Live to 16-Track at Temple Meadow in Veneta, Oregon. • Long out-of-print recording Buddy Cage on pedal steel guitar. • Taken directly off the master reels in the NRPS Archive and mastered by David Glasser at Airshow Mastering. • Liner notes by NRPS Historian Rob Bleetstein with rare photos. With Billboard magazine hailing the New Riders Of The Purple Sage as “the definitive band of the country-rock genre,” 1972 was a year of major growth for the band. By the time Summer rolled around, Buddy Cage was now firmly entrenched as Jerry Garcia’s replacement on pedal steel guitar and their second studio album, Powerglide, was getting rave reviews. On the live front, they were beginning to fill concert halls across the U.S. while continuing to emerge from the shadows of the Grateful Dead with an intoxicating mix of classic and original American songwriting from the worlds of country, rock, bluegrass, and soul. LP 2 Omnivore Rpck 0816651018703 0816651018703 ja Warner Music CE OL' DIRTY BASTARDReturn To The 36 Chambers: The Dirty Version (25th Anniversary Edition)In celebration of the 25th Anniversary of the debut album of Wu-Tang Clan founding member Ol’ Dirty Bastard, Return To The 36 Chambers: The Dirty Version, we’re releasing a 25th Anniversary 7” Singles Box of the recently platinum-certified release (Originally released on March 28, 1995). Limited to only 3,000 individually numbered copies world-wide, this release will be pressed on blue, yellow and white 7” vinyl. Track Listing: Disc 1: A: Intro / 4:47, B: “Shimmy Shimmy Ya” / 2:42 Disc 2: A: “Baby C’mon” / 3:26, B: “Brooklyn Zoo” / 3:38 Disc 3: A: “Hippa to da Hoppa” / 3:01, B: “Raw Hide” (featuring Raekwon & Method Man) / 4:03 Disc 4: A: “Damage” (featuring GZA) / 2:47, B: “Don’t U Know” (featuring Killah Priest) / 4:27 Disc 5: A: “The Stomp” / 2:23, B: “Goin’ Down” / 4:20 Disc 6: A: “Drunk Game (Sweet Sugar Pie)” / 4:21, B: “Snakes” (featuring Killah Priest, RZA, Masta Killa & Buddha Monk) / 5:26 Disc 7: A: “Brooklyn Zoo II (Tiger Crane)” Part 1 (featuring Ghostface Killah) / 4:45, B: “Brooklyn Zoo II (Tiger Crane)” Part 2 / 3:15 Disc 8: A: “Proteck Ya Neck II the Zoo” (featuring Brooklyn Zu, Prodigal Sunn, Killah Priest, & 60 Second Assassin) / 4:00, B: “Cuttin’ Headz” (featuring RZA) / 2:28 Disc 9: A: “Dirty Dancin’” (featuring Method Man) / 2:43, B: “Harlem World” / 6:167" Singles vinyl box set 9 Rhino Elektra Rap 0603497848126 0603497848126 ja Warner Music CE Pink Floyd Arnold Layne (Live at Syd Barrett Tribute, 2007)To celebrate RSD 2020, Pink Floyd will release a limited edition one sided etched 7” of their first single “Arnold Layne” recorded live at the Syd Barrett Tribute concert ‘The Madcap’s Last Laugh’, produced by Nick Laird-Clowes with Associate Producer Joe Boyd, held at The Barbican in London, on May 10th, 2007. This special release represents the last live performance of Pink Floyd with David Gilmour, Nick Mason and Richard Wright. The Pink Floyd members were augmented by Jon Carin (Keyboards, vocals) and Andy Bell from Oasis on bass guitar.7" etched vinyl 1 PLG UK Rock 0190295283681 0190295283681 jaVertrieb Interpret Titel Info Format Inhalt Label Genre Artikelnummer UPC/EAN AT+CH (ja/nein/über wen?)Record Store Day 2020 (GSA) - 18.04.2020 \| (Stand: 05.03.2020) Warner Music CE PRETENDERS Live! At the Paradise, Boston, 1980. Reissue of a promo-only Warner Bros. Music Show featuring new artwork including photos from the show. In celebration of the bands 40th anniversary, this will be available on 1-LP clear with red colour in colour vinyl. Tracklisting: Side One: 1. Space Invader, 2. The Wait, 3. Precious, 4. Kid, 5. Private Life, 6. Cuban Slide Side Two: 1. Talk Of The Town, 2. Tattooed Love Boys, 3. Up The Neck, 4. Mystery Achievement, 5. Stop Your Sobbing. LP - 140gram Clear LP 1 Rhino / Warner Rock 0603497848287 0603497848287 ja Warner Music CE QUATRO, SCOTT AND POWELL QUATRO, SCOTT AND POWELLQuatro, Scott & Powell (QSP) is a supergroup founded in the very heart of glam rock, bringing together the combined forces of three legends of rock ‘n’ roll with Suzi Quatro on vocals and bass guitar, Andy Scott of The Sweet on vocals and guitar and Don Powell from Slade on drums. Their 2017 album “Quatro, Scott & Powell” is due to be released on white vinyl for the first time, as a limited edition for RSD 2020.LP - 180gram white vinyl 2Warner Music RussiaRock 0190295318949 0190295318949 ja Warner Music CE RAMONES It's Alive IISpecial Edition 40th Anniversary release. It's Alive II includes a live show recorded in the UK - Live at Victoria Hall, Stoke-On-Trent, Staffordshire, Dec, 29, 1977 - prior to the original New Years’ Eve live performance recorded at the Rainbow Theatre, Dec, 31, 1977. It’s Alive II has been mixed by original Ramones engineer and producer Ed Stasium. Exclusive for Record Store Day 2020 on double heavyweight, numbered vinyl with a "Gabba Gabba Hey" sign etching on side 4. Limited to 8000 units worldwide. Tracklisting: Side One: 1. Rockaway Beach, 2. Teenage Lobotomy 3. Blitzkrieg Bop, 4. I Wanna Be Well, 5. Glad To See You Go, 6. Gimme Gimme Shock Treatment, 7. You’re Gonna Kill That Girl. Side Two: 1. I Don’t Care, 2. Sheena Is A Punk Rocker, 3. Havana Affair, 4. Commando, 5. Here Today, Gone Tomorrow, 6. Surfin’ Bird, 7. Cretin Hop Side Three: 1. Listen To My Heart, 2. California Sun, 3. I Don’t Wanna Walk Around With You, 4. Pinhead, 5. Do You Wanna Dance, 6. Chainsaw, 7. Today Your Love, Tomorrow The World. Side Four: 1. I Wanna Be A Good Boy 2. Suzy Is A Headbanger, 3. Let’s Dance, 4. Oh Oh I Love Her So, 5. Now I Wanna Sniff Some Glue, 6. We’re A Happy Family.LPs – 180gram numbered edition - 3 sides of audio, one side etching2 Rhino Warner Punk 0603497848270 0603497848270 ja Warner Music CE RANDY NEWMAN The Natural (OST)Back on vinyl for the first time in decades. One of the 100 Scores Of All Time - Movie Music UK "...one of the most defining, effective, and memorable sports scores of all time." - Filmtracks Pressed on aqua blue vinyl. LP - blue/transparent 1 Warner Pop 0093624898269 0093624898269 ja Warner/ADA Richards, Keith Hate It When You LeaveNever before on 7” red vinyl, Side A features the Main Offender classic “Hate It When You Leave”, while Side B Features rare Keith Richards track “Key To The Highway” which only ever saw release on the Japanese version of Main Offender.7" 1 BMG Rock 4050538592535 4050538592535 ja Warner/ADA Shankar, Ravi Chants of IndiaLimited Edition Double Red Vinyl. Ravi Shankar’s 1997 collaboration with George Harrison, available for the first time on vinyl, in celebration of Ravi Shankar’s Centennial. Housed in gatefold sleeve with excusive photo print. LP 2 BMG Folk 4050538595338 4050538595338 ja Warner Music CE SKID ROW Slave To GrindFor Record Store Day 2020, Run Out Groove is reissuing Slave To The Grind (the uncensored version) on solid red 180g vinyl for the first time in 29 years and expanding it to a 2LP set that includes 4 bonus tracks making their debut on wax. Remastered for maximum fidelity. Limited to 3000 copies worldwide.LP - red 2 Rhino Rock 0081227908584 0081227908584 ja Warner/ADA Status Quo Ma Kelly's Greasy Spoon 50th anniversary re-issue of the UK rockers’ third studio album, “Ma Kelly’s Greasy Spoon”, on limited edition “fried egg” coloured vinyl for Record Store Day 2020. LP 1 Sanctuary Rock 4050538556346 4050538556346 ja Warner/ADA Supergrass Caught By The FuzzStandard Sleeve on Recycled 140g 10” Vinyl. Originally released in 1994, ‘Caught By The Fuzz’ celebrates its 25th Anniversary in 2020. Taken from their platinum selling debut LP ‘I Should Coco’, this is an exclusive for Record Store Day 2020 and includes a brand new remix. 2020 also sees Supergrass reform and embark on UK, EU & US tours and release their career spanning best of ‘The Strange Ones: 1994-2008’.10" 1 BMG Alternative 4050538556957 4050538556957 ja Warner Music CE TEGAN AND SARA Tonight We're In The Dark Seeing ColorsRecorded live from their “Hey, I’m Just Like You” Tour. Includes exclusive versions of Tegan and Sara favorites on limited edition purple splatter vinyl.LP - splatter 1Warner RecordsAlternative 0093624895060 0093624895060 jaVertrieb Interpret Titel Info Format Inhalt Label Genre Artikelnummer UPC/EAN AT+CH (ja/nein/über wen?)Record Store Day 2020 (GSA) - 18.04.2020 \| (Stand: 05.03.2020) Warner Music CE THE BLACK KEYS Let's RockExclusively for Record Store Day, The Black Keys will be releasing the limited edition 45- RPM version of their chart-topping 9th album “Let’s Rock.” The album, which was originally released on June 28 via Easy Eye Sound / Nonesuch Records has spawned three Top 10 radio singles and was one of the most critically acclaimed albums of 2019. The 45-RPM version of the album is limited to 7500 pieces worldwide/5000 copies in the US. It’s a gorgeous 180-Gram 2-LP set in a deluxe holographic gatefold jacket, with each piece individually numbered. The band just announced a run of Canadian dates this Spring before hitting the road for a slate of shed shows this summer. LP (45 RPM Edition) 2 Nonesuch Rock 0075597923476 0075597923476 ja Warner Music CE THE BOYS NEXT DOOR Door, Door40th Anniversary reissue of the first album featuring Nick Cave, before the band’s name morphed into The Birthday Party and prior to the formation of his next band, Nick Cave and the Bad Seeds. Includes the classic “Shivers,” which has recently been covered by the likes of Cat Power & Courtney Barnett, to name a few. LP - red vinyl 1Warner Music AustraliaRock 5054197066856 5054197066856 ja Warner Music CE THE DOORS The Soft Parade: Stripped 1-LP, 180-gram, limitied and numbered edition, pressed on vinyl for the first time, (previously only available on CD for the first time on The Soft Parade 50th Deluxe Edition). Tracklisting: Side One: 1.Tell All The People (Doors only mix), 2. Touch Me (Doors only mix), 3. Runnin’ Blue (Doors only mix), 4. Wishful Sinful (Doors only mix) Side Two: 1. Touch Me (Doors only mix w/new Robby Krieger guitar overdub), 2. Runnin’ Blue (Doors only mix w/new Robby Krieger guitar overdub), 3. Wishful Sinful (Doors only mix w/new Robby Krieger guitar overdub), 4. Who Scared You (Doors only mix)LP - 180gram numbered, Clear vinyl1 Rhino Elektra Rock 0603497848256 0603497848256 ja Warner/ADA The Kinks The Kink Kronikles Limited edition, gatefold, red vinyl 2LP. Reproduction of sought after, 28 track, 1972 Reprise US LP compilation (1966-1971). Contains Hits, album tracks, US only versions, non-album singles and B-Sides. Original sleeve-notes inside gatefold.LP 2 Sanctuary Rock 4050538592030 4050538592030 ja Warner/ADA The Murder CapitalLove, Love, Love / On Twisted Ground – Live from London: The Dome, Tufnell Park (RSD 2020 Exclusive) The Murder Capital released their debut album When I Have Fears on their own label Human Season Records to much critical claim in August of 2019. The band played a string of headlining shows around Europe and the UK and this 12" will feature two live tracks from one of their explosive shows.12" 1Human Season Records/Qprime Indie Rock 0850007715809 0850007715809 ja Warner Music CE THE NOTORIUS B.I.G. It Was All A Dream: The Notorious B.I.G. 1994-19999LP box set featuring Biggie's four albums - Ready to Die (2LP), Born Again (3LP), Life After Death (2LP), & Junior Mafia’s Conspiracy (2LP) bundled together for this first time, pressed on clear vinyl and housed in a boxed set . Life After Death - First time digitally remastered audio has been available on any physical release (2014 digital remasters) Born Again - First time digitally remastered audio has been available on both physical and digital (2019 digital remasters) Includes biographical liners from veteran hip hop journalist & author, Kathy Iondoli Artwork done by Grammy winning artist Masaki Koike. Strictly limited to 2000 copies worldwide. LP Box - 180 gram, pressed on clear vinyl, housed foiled stamped slip case. 9 Rhino Atlantic Rap 0081227909628 0081227909628 ja Warner Music CE THE POGUES BBC Sessions 1984-1985BBC Sessions 1984-1985 Side 1 - Broadcast 17th April 1984 (as Pogue Mahone) The John Peel Show1-Streams Of Whiskey 2-Greenland Whale Fisheries 3-Boys From The County Hell 4-The Auld Triangle Broadcast 9th July 1984 The David ‘Kid’ Jensen Show 5-Dingle Regatta 6-Poor Paddy On The Railway 7-Boys From The County Hell 8-Connemara Let’s Go Side 2 - Broadcast 12th December 1984 The John Peel Show 1-Whiskey You’re The Devil 2-Navigator 3-Sally MacLennane 4-Danny Boy Broadcast 11th July 1985 The Janice Long Show 5-Wild Cats Of Kilkenny 6-Billy’s Bones 7-The Old Main Drag 8-Dirty Old Town LP - Single sleeve with poly lined inner bag.1Warner Music UKRock 0190295299491 0190295299491 ja Warner Music CE THE REPLACEMENTS The Complete Inconcerated Live3LP set featuring a complete live show recorded at University of Wisconsin in 1989. Pressed on 140-gram black vinyl, the set features the tracks "Alex Chilton", "Bastards of Young", "I’ll Be You", "Can’t Hardly Wait", "I Will Dare", and many more. Limited to 8500 copies worldwide. LP - 180gram black vinyl 3 Rhino / Warner Rock 0603497848263 0603497848263 jaVertrieb Interpret Titel Info Format Inhalt Label Genre Artikelnummer UPC/EAN AT+CH (ja/nein/über wen?)Record Store Day 2020 (GSA) - 18.04.2020 \| (Stand: 05.03.2020) Warner/ADA The Specials Dubs (RSD 2020 Exclusive) Exclusive 10” vinyl for RSD. This is a new half-speed master and part of the Two Tone Records 40th Anniversary celebrations. Containing dub mixes of three classic Specials tracks that were recorded at the time but remain unreleased. Tracks List: 1. Gangsters (Clangsters Dub / Half-Speed Master) 2. Too Much Too Young (Piano Instrumental / Half-Speed Master) 3. Why? (Dub / Half-Speed Master)10” 1 Chrysalis Ska 5060516094165 5060516094165 ja Warner/ADA UFO Live In Youngstown ‘78 (RSD 2020 Exclusive)Exclusive 180gm Double Album for RSD. UFO are currently celebrating their 50th Anniversary with a World Tour. Chrysalis present a special live concert that was recorded, along with 5 other concerts, to make up their seminal double live ‘Strangers In The Night’. Released for the first time in its entirety, this previously unreleased concert is featured on this exclusive double album. Track List: Intro / Hot N Ready Pack It Up (And Go) Cherry Let It Roll Love To Love Natural Thing Out On The Street Only You Can Rock Me On With The Action Doctor Doctor Lights Out Roc2LP 2 Chrysalis Hard Rock 5060516094196 5060516094196 ja Warner/ADA Ultravox Sleepwalk/Waiting (RSD 2020 Exclusive) Exclusive 12” Clear vinyl for RSD. A 40th Anniversary release of Ultravox’s debut single with Midge Ure on vocals. Originally only released on 7” single in 1980, this will be the first time on 12” and features a brand-new stereo mix by Steven Wilson. A-side ‘Sleepwalk [2020 Stereo Mix], B-side ‘Waiting [2020 Stereo Mix]. the A-side is taken from the forthcoming 'Vienna' 40th Anniversary Box Set for late Summer 2020. Track Listing: Sleepwalk (Steve Wilson Stereo Mix) Waiting (Steve Wilson Stereo Mix) Sleepwalk (Conny Plank 1980 Mix) Waiting (Conny Plank 1980 Mix) 12" clear 1 Chrysalis Pop 5060516094202 5060516094202 ja Warner Music CE Various Artists Music From The Motion Picture PhenomenonFirst time on vinyl! Contains repertoire recorded specifically for this chart-topping Platinum Soundtrack With songs by Eric Clapton, Aaron Neville and Robbie Robertson, Peter Gabriel, Taj Mahal, Marvin Gaye, Jewel, The Iguanas, Bryan Ferry, J.J. Cale, Dorothy Moore and Thomas Newman “…a cross-section of singer/songwriters, mellow blues, and synthesized soul-inflected pop.” -AllMusic Limited Edition Pressed on translucent cobalt vinyl.Coloured LP 2 Reprise Soundtrack / O.S.T. 0093624895510 0093624895510 ja Warner Music CE VARIOUS ARTISTSMusic From And Inspired By The Batman & Robin Motion PictureFinally back on vinyl! Contains “The Batman Theme” Danny Elfman’s GRAMMY© Award winner for Best Instrumental Composition “…arguably one of his best scores.” -AllMusic Limited Edition 2-LP set - One red, one blue vinylLP - red/blue 2Warner RecordsSoundtrack / O.S.T. 0093624895404 0093624895404 ja Warner Music CE VARIOUS ARTISTS From The Motion Picture: Austin Powers in GoldmemberFirst time on vinyl! "...this soundtrack is the most calculated Austin Powers record yet.” -All Music Pressed on Gold vinyl, natch. LP - gold 1 Maverick Soundtrack / O.S.T. 0093624898337 0093624898337 ja Warner Music CE VARIOUS ARTISTS Austin Powers: The Spy Who Shagged Me SoundtrackFirst time on vinyl! Contains the hit “Beautiful Stranger” by Madonna Pressed on transparent tan vinyl. “Yeah, Baby” -Austin PowersLP -transparent colour 1 Maverick Soundtrack / O.S.T. 0093624898306 0093624898306 ja Warner/ADA Various Artists The Ska (From Jamaica) Originally scheduled for release in 1966 by leading Afro-Jamaican music specialists, R&B Records, ‘The Ska (From Jamaica)’ album remained lost for well over half a century before the ¼” master tape was finally discovered in the Trojan archives earlier this year. Comprising a dozen top quality tracks that originally saw issue in the UK as 7” singles on the venerated Ska Beat label, the collection features numerous musical talents now widely regarded as Jamaican legends, their number including the Maytals, Ken Boothe, Clancy Eccles, Derrick Harriott, Glen Brown and Roy Shirley. The album comes presented in a stylishly designed sleeve, and includes an annotated insert, relating the story behind the discovery of the long-lost tape and the music featured therein. With almost all 12 tracks officially unavailable on vinyl for decades, ‘The Ska (From Jamaica)’ is a must for all fans of the ever-popular ska sound as well as those simply wishing to acquire a unique piece of Jamaican music history.LP 1 Trojan Ska 4050538557183 4050538557183 jaVertrieb Interpret Titel Info Format Inhalt Label Genre Artikelnummer UPC/EAN AT+CH (ja/nein/über wen?)Record Store Day 2020 (GSA) - 18.04.2020 \| (Stand: 05.03.2020) Warner/ADA Various Artists Wilcovered (RSD 2020 Exclusive)WILCO Cover Album feat. Yo La Tengo, Parquet Courts, Courtney Barnett, Kurt Vile, Low, Ryley Walker, Jen Cloher, James Elkington, Sharon Van Etten , Handsome Family, Cate Le BonLP 2 BMG Alternative 4050538598087 4050538598087 ja Warner/ADA Various ArtistsDance Craze-The Best Of British Ska Live (RSD 2020 Exclusive) This is a new half-speed master exclusively for RSD and part of the Two Tone Records 40th Anniversary celebrations. This is a soundtrack to the Live movie of the same name featuring exclusive live recordings by The Specials, Madness, The Selecter, The Beat, Bad Manners and The Bodysnatchers. This is also first vinyl repress since its original release in 1981. Track Listing: The Specials - Concrete Jungle The Beat - Mirror In The Bathroom Bad Manners - Lip Up Fatty Madness - Razor Blade Alley The Selecter - Three Minute Hero The Bodysnatchers - Easy Life The Beat - Big Shot Madness - One Step Beyond The Beat - Ranking Fullstop The Specials - Man At C & A The Selecter - Missing Words Bad Manners - Inner London Violence Madness - Night Boat To Cairo The Selecter - Too Much Pressure The Specials - Nite Klub LP 1 Chrysalis Ska 5060516094127 5060516094127 ja Warner/ADA Various ArtistsThis Are Two Tone-40th Anniversary Edition (RSD 2020 Exclusive)This is a new half-speed master exclusively for RSD and part of the Two Tone Records 40th Anniversary celebrations. This was the first Two Tone compilation from 1983 and features singles by The Specials, Madness, The Selecter, The Beat, The Bodysnatchers, Rhoda Daker and The Swinging Cats. This is the first vinyl repress since its original release in 1983. Track Listing: The Special A.K.A. - Gangsters Madness - Madness The Selecter - On My Radio The Beat - Tears Of A Clown The Specials - A Message To You Rudy The Selecter - Too Much Pressure The Bodysnatchers - Too Experienced The Beat - Ranking Full Stop The Specials - Too Much Too Young The Selecter - The Selecter The Specials - Stereotype The Swinging Cats - Mantovani The Specials - Do Nothing Rico & The Special A.K.A. - Jungle Music Rhoda & The Special A.K.A - The Boiler The Specials - Ghost Town LP Chrysalis Ska 5060516094134 5060516094134 ja Warner Music CE VARIUS ARTISTS The Virgin Suicides (Music From The Motion Picture)Celebrating the 20th Anniversary of Sofia Coppola’s directorial debut movie, “The Virgin Suicides (Music from the Motion Picture)” will be released on vinyl for the first time since its original release in 2000, exclusively for RSD 2020. The soundtrack features music from Steely Dan, Todd Rundgren, Boston, Heart, Al Green, 10CC, Styx and two tracks from Air, including one track composed for the film. Limited to 7500 copies worldwide. LP - 140gram dusty pink with red (blood) splatter1 Ryko Rhino Pop 0603497848133 0603497848133 ja Warner Music CE WARREN ZEVONWarren Zevon's Greatest Hits (According To Judd Apatow)Judd Apatow (producer/director of Anchorman, The 40 Year Old Virgin, Bridesmaids, and many more) compiled best of from Warren Zevon. Apatow celebrates Zevon's life with a yearly tribute at the Largo in Los Angeles featuring performances by Zevon's friends. Judd selected tracks from his favorite albums as well as a bonus track "Something Bad Happened to a Clown" by Taylor Goldsmith and Blake Mills from the March 2016 Largo Show. TRACKLISTING: SIDE A: 1Carmelita, 2 The Indifference of Hevan, 3 Accidentally Like A Martyr, 4 Backs Turned Down The Path, 5 Renegade, 6 Desperados Under The Eaves, 7 Something Bad Happened to a Clown (Live) SIDE B: 1. Junko Pardner, 2. The French Inhaler (Live), 3. Mohammed’s Radio (Live), 4. Werewolves Of London (Live), 5. Poor Poor Pitiful Me (Live), 6. Hasten Down The Wind (Live)LP packaged in a nice matte, full color sleeve; black poly inner sleeve w/ 12X12 insert featuring liner notes from Judd Apatow1 Rhino (Pure) Songwriter 0603497848249 0603497848249 ja Warner/ADA Williams, Hank March Of Dimes Hank William’s complete 1951 March Of Dimes performance on 10” Red Vinyl. New restoration and mastering of the 16” radio transcription disc. Features 5 songs, including “Lovesick Blues” and his then current hit, “Moanin’ The Blues.” Also includes a solo track by Audrey Williams and a dual narrative on a Luke The Drifter track, plus a rare PSA read by Hank about Infantile Paralysis. Produced by the GRAMMY award winning team of Cheryl Pawelski and Michael Graves (restoration and mastering). Never before on vinyl10" Red Vinyl 1 BMG Country/Honky Tonk 4050538596199 4050538596199 jaVertrieb Interpret Titel Info Format Inhalt Label Genre Artikelnummer UPC/EAN AT+CH (ja/nein/über wen?)Record Store Day 2020 (GSA) - 18.04.2020 \| (Stand: 05.03.2020) WAS Wordandsound 3 Pieces, The Iwishcan WilliamFull printed sleeve - black 12” vinyl. Washington collective, The 3 Pieces, privately-pressed Iwishcan William on their own DL Records in 1982. The 12 has Discogs, for one, confused. Is it soul, rap, jazz, go-go, funk, electro, or educational? By nature of its birthplace and date of birth, it`s all of those. Synths shimmer in harp-like glissando. The bass grumbles, rumbles, machine-made. The beat pops and locks. The whole thing grooving and exuding positivity. One part the cosmic funk of say Cloud One`s Patty Duke. Another, the balearic chug of Will Powers` Adventures In Success. Like Brother D it looks to “agitate, educate, and organize”, and stirs in the sentiments of Razzy`s I Hate Hate. Imagine if the Last Poets jammed with sister Sarah Webster Fabio. Keys parp like car horns, a real trumpet blows a Don Cherry solo, but the track really revolves around its sweet Sesame Street call-and-response chorus: “I wish love. I can love. I will love. I am love.” Swiss gentleman DJ and Phantom Island resident, Lexx, produces a killer remix - smoothing out the OG`s jerky edges, upping its sophistication. Making clear the contributions of Lexx` new bubbling electronics. rescuing a clipped guitar, previously lost deep in the mix, and moving the children’s voices to the fore. Ensuring you’ll remember that ““I am” is the glory of a wish come true.” Idjut Boy Dan Tyler then ties up the package, well he actually kinda sends it out into space - expanding everything in echo. NYC Peech Boys-esque delay. The result is a mind-12" 1 Rogue Cat Resounds Dance RCRS002 5060202594603 ja WAS Wordandsound Alison Limerick Where Love LivesRemastered reissue celebrating the 30-year anniversary of the seminal 1990 club hit ‘Where Love Lives’. Regularly crowned as one of the greatest ever dance records, it holds a place in many a heart, resonating across generations. Back in 1996 Mixmag had it top of their 100 Greatest Dance Singles Of All Time, adding “There's a touch of sadness about it but it's incredibly uplifting, reaching a bittersweet joy that only the most spiritual of house achieves.” This special RSD reissue includes a rare Frankie Knuckles and David Morales ‘Mo Knuckles’ remix bursting with underground flavour. 12" black vinyl.12" 1 Arista Dance PR65025P 5014524100011 ja WAS Wordandsound Corporation Of One So Where Are You / The Real Life30 year anniversary release of this rare, collectable housey / garage crossover gem 'So Where Are You' harnessing the raw vocal power of Kevin Williams over a tough house rhythm and even throwing in a slice of Manuel Göttsching for good measure. Both the Hashish Dub and Vocal Mix are included on this release. The flip side houses the Oppy Mix of the Queen, Simple Minds, Prince and Scarface sampling rave classic 'The Real Life'. Second-hand copies sell for an average of £50 with very few cropping up on the market so this official remastered reissue will be a welcome sight to many. 12 inch vinyl with replica artwork.12" 1 Smokin' House TAI126612P 5060202594498 ja WAS Wordandsound Gray Never Gonna Leave New York CityFormerly unreleased, super-rare tracks from the original New York scene, art-house band Gray originally fronted by the legendary artist Jean-Michel Basquiat. A slice of the Lower East Side New York grounded in real experiences, real feelings and the joys of urban living, expressed through the tracks ‘Never Gonna Leave New York City’ & ‘Willie Mays, Boom For Real’ from founding Gray member Michael Holman and bandmate Nicholas Taylor. This RSD release comes in a stunning full colour sleeve complete with liner notes from executive producer, as well as legendary counterculture author and rock biographer (Jagger, Dylan, Bowie, Pink Floyd, The Ramones, Talking Heads, Zappa, etc), Barry Miles. 12" 1Anasyrma Record LabelLeft-Field/ ExperimentalANAS1201 5060202594559 ja WAS Wordandsound High Frequency SummertimeUnder their one-off disco moniker, Leroy Burgess & The Fantastic Aleem Brothers produced this 1980 dancefloor wonder that finally gets its first deserved re-issue to celebrate its 40th anniversary. Remastered with love and respect and pressed on limited 7" vinyl for the true collectors.7" 1 Nia Dance N1004 5060202594504 ja WAS Wordandsound Human Race Human Race / Grey BoyFully remastered reissue with replica artwork of rare double header funk 45 by Miami band Human Race from 1971. Black 7" dinked centre hole vinyl.7" 1 Gem Records Funk 101 5060202594429 ja WAS Wordandsound Jackie Stoudemire, Al Stewart DancingFully remastered reissue with replica artwork of this rare and raw ’83 disco bomb from Jackie Stoudemire & Al Stewart. Original copies of the 12” release regularly fetch over £300 on the second hard market. Black 12" vinyl12" 1 TAP Records Funk TP706 5060202594375 jaVertrieb Interpret Titel Info Format Inhalt Label Genre Artikelnummer UPC/EAN AT+CH (ja/nein/über wen?)Record Store Day 2020 (GSA) - 18.04.2020 \| (Stand: 05.03.2020) WAS Wordandsound Joan BibiloniSelected Works 1982 to 1989Rare tracks taken from key albums from Spanish / Balearic Islands musician Joan Bibiloni’s extensive career focusing on the period 1982 to 1989. This will continue the NuNorthern Soul Selected Works series, following on from the x2 Ryo Kawasaki EPs released. One of those was a RSD release in 2017. Vinyl will be black, sleeve notes will come from interviews conducted by Marc Rowlands plus the RSD release will contain a poster of the front cover sleeve artwork.12” EP 1NuNorthern SoulJazz NUNS022 5060202594368 ja WAS Wordandsound Kenny LynchHalf The Day's Gone And We Haven't Earne'd A Penny (Ashley Beedle Remix)Full colour original sleeve artwork housing an aqua coloured 12 inch vinyl. A fully remastered reissue tribute release of the 1983 Kenny Lynch disco floorfiller, 'Half The Day's Gone And We Haven't Earne'd A Penny' complete with a new remix by Ashely Beedle. 12" 1 Satril Soul 12SAT510R 5022221016177 ja WAS Wordandsound King James Version, The He's Forever (Amen)Fully remastered 7 inch reissue with replica artwork for the first time since its original release in 1971 - the sublime, raw and incredibly powerful gospel-soul song, ‘He's Forever (Amen)’ by The King James Version alongside the Sam & Dave channeling high energy gospel number, 'He's Coming'. Original copies of this almost unattainable record trade hands for in excess of £375, so an official reissue will be welcome news to many that have been after this one for years. Black 7" dinked centre hole7" 1 Soul Kitchen Gospel SK7188P 5060202594467 ja WAS Wordandsound Lee Alfred Rockin – Poppin Full TiltingBlack 7" dinked centre hole vinyl. Fully remastered reissue with replica artwork of this super sought after slice of 1980’s disco, 'Rockin – Poppin Full Tilting' celebrating the 40th anniversary of it's original release. A classic in it's own right, Midland brought it back to the forefront of people's minds, expertly sampling it in the 2016 summer anthem ‘Final Credits’, leaving many scrambling to find an original copy of the 7 inch. And with prices in excess of £125 it's high time an official reissue came around.7" 1 Cancer Records Funk 7UR2290 5060202594474 ja WAS Wordandsound Live Band, The A Chance For HopeFor the first time ever this Modern Soul early '80s masterpiece finally gets a 7" release some 38 years later! Quite simply "A Chance For Hope" is one of the all-time, under- rated gems from this era. How it never made to a single release before now we'll never know. One of the classiest 7 inch releases you're ever likely to see! Officially licensed, remastered and LTD 7 inch RSD release with replica artwork.7" 1The Sound of BrooklynFunk 7TS5002 5060202594511 ja WAS Wordandsound Mickey & The Soul Generation Iron LegReissued and remastered with replica artwork - the highly sort after classic rare groove track, 'Iron Leg' by DJ Shadow's favourite Funk band, Mickey & The Soul Generation. Original copies trade hands for £125+. Black 7" dinked centre hole vinyl7" 1 GCP Funk GC5002 5060202594436 ja WAS Wordandsound Mickey & The Soul Generation How Good Is GoodFully remastered reissue with replica artwork of ultra-rare heavyweight Funk 45 by DJ Shadow's favourite Funk band, Mickey & The Soul Generation – ‘How Good Is Good’. 1972 originals of this 7 inch gem sell on the second hand market for £1000. Black 7" dinked centre hole vinyl7" 1 Mr. G Funk MRG1005 506020594443 ja WAS Wordandsound Mickey & Them U.F.O. / Hey, Brother ManFully remastered reissue with replica artwork, for the first time since it's original release, one the rarest TX funk 45's. Black 7" dinked centre hole vinyl. 7" 1 GCP Funk GC1030 5060202594450 ja WAS Wordandsound Rare Pleasure Let Me Down EasyThe instantly recognisable, Northern / Modern Soul crossover, Rare Pleasure – Let Me Down Easy, featuring the entrancing Sandy Barber on lead vocals, gets a much- welcomed official reissue on 7" for RSD. A classic in it’s own right, alongside being expertly sampled by David Morales for the house anthem ‘Needin’ U’, original’s trade hands for £100+ so an official reissue is long overdue.7" 1 South Street Disco Dance SSD7001P 5060202594559 ja WAS Wordandsound Robert Parker I Caught You In A LieFinally, after 53 years, "I Caught You In A Lie" is now rightly regarded as one the GREAT New Orleans Soul classics. Whilst many people may only know the various cover versions, Robert Parker's original sublime slice of heartfelt Soul has steadily built in reputation, especially recently. That's why original Nola copies are £150+, even for battered ones! So here is the official legitimate, remastered repress on the sacred Nola label. 7 Inch with replica artwork.7" 1 Nola Soul 738P 5060202594528 ja WAS Wordandsound Sammy Massamba 1990 - Beni Soit Ton NomA remastered , reissue of the rare cult afro LP from Sammy Massamba – 1990 - Beni Soit Ton Nom for RSD in full picture sleeve . Blending Congolese rumba , soukouss , boogie and funk , this killer album from the Congolese Massamba is an afro -disco essential and now available at a fraction of the £ 50 price it now commands on Discogs .LP 1 SM Productions World SSL1426P 5060202594610 jaVertrieb Interpret Titel Info Format Inhalt Label Genre Artikelnummer UPC/EAN AT+CH (ja/nein/über wen?)Record Store Day 2020 (GSA) - 18.04.2020 \| (Stand: 05.03.2020) WAS Wordandsound Situation feat. Andre Espeut Beyond Compare (Laroye Remixes)7" Black Vinyl Respected French DJ & producer, Thomas Arroyo AKA ‘Laroye’ has teamed up with Andre Espeut (recording a few new vocal parts) to create a James Brown style take of Beyond Compare, with a real a funk extravaganza of a remix. This is Situationism's first funk 7” specially crafted for RSD 2020.7" 1 Situationism Funk SITU027RSD N/A ja WAS Wordandsound Skatt Bros. Walk The NightThe first official, fully remastered reissue of the anthemic chart topping bomb 'Walk The Night' by the LA group Skatt Bros, since its original release in 1979. A spirited and sweltering cut that stormed the clubs in the late '70s, with its raunchy vocals and tough beat. This RSD release includes a new Stefano Ritteri Versione alongside the previously unreleased disco version of 'Old Enough'. 12" black with printed sleeve and shrinkwrapped12" 1Spaziale RecordingsDance SPZ009 N/A ja WAS Wordandsound T La Rock & Jazzy Jay It’s YoursThe debut release on Rick Rubin and Russell Simmons now seminal Def Jam label that shook the world with its evil bass and percussion. Never released on 7" before, this is a true Hip Hop collectors dream. Featuring the ground-breaking "Scratch Party Death Mix".7" 1 Partytime Hip-hop PT104P 5060202594580 ja WAS Wordandsound Tommy McGee Now That I Have YouIndispensable 1981 cosmic funk business from Tommy McGee, remastered and reissued on black 12” with replica artwork that has been calling out for an official reissue due to it’s eye watering £250+ price tag.12" 1 TMG Records Funk TMG9111P 5060202594382 ja WAS Wordandsound Touchdown Ease Your Mind / AquadanceFull colour picture sleeve - officially licensed and remastered 12 inch reissue. Seen as one of the sparks that ignited the bridge between the Brit-Funk and UK Disco styles, Touchdown's 'Ease Your Mind' is a British classic from back in '81. Released on the iconic, influential and original UK dance music label Record Shack from the minds of Jeff Weston and Northern Soul, Blackpool Mecca and Wigan casino DJ/Promoter/icon, Ian Levine.12" 1 Record Shack Dance SHACK1201 5060202594634 ja WAS Wordandsound Various Artists Champion ClassicsSix x 12" boxset to celebrate 35 years of Champion Records featuring classics from the likes of Robin S, Raze, Kristine W, Staxx and OT Quartet housed in printed slipcase with spot UV, hand numbered and shrink wrapped.6 x 12" Box set 6 Champion Records Dance CHAMPCL000 5014524100011 ja WAS Wordandsound Willie Tee Teasing You Again / Your Love, My Love TogetherOne of the most expensive records in the world. The only available copy on Discogs is a mere £4,000! This was Willie Tee returning to his '60s anthem "Teasing You" but updating it with a beautiful 1972 New Orleans production turning it into a Modern Soul anthem. It's a work of sublime genius and the fully remastered 7" reissue will have replica artwork of the original Gatur label. You have just been spoilt, again. 7" 1 Gatur Soul 512P 5060202594535 ja ZYX Music ADRIANO CELENTANO Golden Hits - RSD Editionlimitiert 500 Stück - 180 Gramm Vinyl. Adriano Celentano - Eine Sammlung der frühen Hits von Italiens sympathischer Reibeisenstimme!LP 1 ZYX Music POP RSD 012 194111002777 ja, über ZYX und AT über Major Babies ZYX Music MANILLA ROAD Live at Up The Hammers 2018 - RSD Editionlimitiert 500 Stück - mit Manilla Road Patch und Innersleeve! Highlights einer der letzten Shows der Band mit Mark Shelton 2018. Only available on VINYL for RSD Germany 2020!LP 1 ZYX Music Rock RDS 010 194111002753 ja, über ZYX und AT über Major Babies ZYX Music QUIET RIOT Highway To Hell - RSD Editionlimitiert 500 Stück - Picture Vinyl für alle Fans der US-amerikanischen Heavy Metal Band ein Sammler-Stück!LP 1 ZYX Music Rock RSD 011 194111002760 ja, über ZYX und AT über Major Babies ZYX Music STAR TREK Best of Star Trek - RSD Edition limitiert 500 Stück - orange/transparte Vinyl und Star Trek Sound Effects CD! LP + CD 2 ZYX Music Soundtrack RSD 009 194111002746 ja, über ZYX und AT über Major Babies	[ "vinyl", "lp", "music", "und", "album", "ch", "der", "record", "rsd", "von" ]	{ "summary": "Vertrieb Interpret Titel Info Format Inhalt Label Genre Artikelnummer UPC/EAN AT+CH (ja/nein/über we" }

Subsets and Splits

No community queries yet

The top public SQL queries from the community will appear here once available.